June 19, 2016

The Four Seasons - Helicon (1977)

The Four Seasons is an American rock and pop band that became internationally successful in the 1960s and 1970s.

The Vocal Group Hall of Fame has stated that the group was the most popular rock band before the Beatles. Since 1970, they have also been known at times as Frankie Valli and the Four Seasons. In 1960, the group known as the Four Lovers evolved into the Four Seasons, with Frankie Valli as the lead singer, Bob Gaudio (formerly of the Royal Teens) on keyboards and tenor vocals, Tommy DeVito on lead guitar and baritone vocals, and Nick Massi on electric bass and bass vocals.
Originally slated as the Four Seasons‘ farewell album, Helicon instead heralded only a prolonged absence from the studio, and good thing — it is by any metric the most unappealing and forgettable record of their long career, and one is hard-pressed to imagine a more inappropriate swan song. Bob Gaudio‘s stiff, vacuum-sealed production continues in the nostalgia-meets-disco vein of the group’s previous smash “December, 1963 (Oh, What a Night),” and the more the music strives to sound contemporary, the more dated it sounds. Helicon is clearly an attempt to create an adult record firmly in step with the Four Seasons‘ age and stature, but the music is more awkward than mature, rendering the group as sad and obsolescent as an aging hipster oblivious to his faded cool.
The success of “Who Loves You” increased the popularity of the Four Seasons as a touring group and reignited recording unit, but when 1977’s Helicon album was released by Warner Bros., the climate was changing again, both for the group and for Valli. The new record yielded only one USA single, “Down the Hall”, which limped onto the Hot 100. In the UK they had chart hits with both “Down The Hall” and “Rhapsody” (with verses sung by Don Ciccone and Valli appearing to notable effect only as lead voice over group harmonies on the chorus). At the same time, Valli’s string of solo hits had come to an end as he parted ways with Private Stock Records.
Helicon saw Polci and Ciccone heavily featured as lead vocalists, Valli, besides his co-lead chorus vocal on “Rhapsody” and some backing vocals, only taking a brief bridge lead vocal on two songs that were largely sung by Polci, though on “New York Street Song (No Easy Way)”, Valli also clearly stands out over the group harmonies on two notable a cappella sections. Plus Valli took one solo lead vocal role on the album’s concluding song, the brief Gaudio-Parker-penned “I Believe in You”.


1.  If We Should Lose Our Love  (4:14)
2.  Let’s Get It Right  (5:17)
3.  Long Ago  (5:07)
4.  Rhapsody  (5:14)
5.  Helicon  (4:23)
6.  Down The Hall  (4:11)
7.  Put A Little Away  (4:09)
8.  New York Street Song (No Easy Way)  (4:49)
9.  I Believe In You  (2:59)

Companies. etc,
Credits
Notes
Released:  April, 1977
Genre:  Rock, Pop
Style:  Soft Rock, Pop Rock
Length:  41:18
© 1977

Label - Warner Bros. Records

Jerry Garcia Band - How Sweet It Is (1997)

The Jerry Garcia Band was a San Francisco Bay Area rock band led by Jerry Garcia of the Grateful Dead. Garcia founded the band in 1975; it remained the most important of his various side-projects until his death in 1995. The band toured and recorded sporadically throughout its twenty-year existence, generally, but not always during breaks in the Grateful Dead's schedule.

How Sweet It Is is the second live album by the Jerry Garcia Band. It was released in 1997, two years after Jerry Garcia‘s death. Like the band’s self-titled first live release, it was recorded in the spring of 1990 at The Warfield in San Francisco, California
Along with it’s companion CD set: “Jerry Garcia Band” this CD is the best example of solid and well performed 90’s era live Jerry. This is Jerry, healthy, happy and leading a fine band at the Warfield Theater on Market Street, San Francisco in 1990. A live: “Cats Under the Stars” would have been worth the cover charge, but adding: “Like a Road”,”Gomorrah”,”Tears of Rage” and “Think” really makes this release something special!
In this edition of the Jerry Garcia Band, Mr. Garcia is joined by John Kahn on bass guitar (thank you for bringing him up in this mix) David Kemper on drums (Both David & John played with the acoustic Garcia Band as well) Jackie LaBranch & Gloria Jones: vocals and Melvin Seals on keyboards.
This band is soulful on the ballads, and rocks like a big fun beast on the upbeat tunes. There are comments regarding the sound quality. As an 80’s tape-trader that has heard his share of audience cassettes, this CD sounds really warm, and that isn’t easy to achieve in this digital age.
With ten songs included on this and 77 minutes of this great music, this is essential Jerrymusic.

  1. How Sweet It Is (To Be Loved by You) (Brian Holland, Lamont Dozier, Eddie Holland) – 6:20
  2. “Tough Mama”  (Bob Dylan) – 5:41
  3. “That’s What Love Will Make You Do” (James Banks, Eddie Marion, Henderson Thigpen) – 8:03
  4. “Someday Baby”  (Lightnin’ Hopkins) – 8:54
  5. “Cats Under the Stars” (Robert Hunter, Jerry Garcia) – 8:59
  6. Tears of Rage”  (Dylan, Richard Manuel) – 7:54
  7. “Think”  (Jimmy McCracklin, Deadric Malone) – 7:18
  8. “Gomorrah”  (Hunter, Garcia) – 6:38
  9. “Tore Up over You”  (Hank Ballard) – 7:19
  10. “Like a Road Leading Home” (Don Nix, Dan Penn) – 10:12

Jerry Garcia Band
Production
  • Producers – John Cutler, Steve Parish
  • Recording and mixing – John Cutler
  • Engineers – Jeffrey Norman, Dave Roberts
  • Mastering – Joe Gastwirt
  • Sound – Mike Brady, Uwe Willenbacher
  • Photography – Ken Friedman
  • Cover photography – Mike Conway
  • Design – Gecko Graphics
  • Liner notes – Steve Silberman
Notes
Released: April 15, 1997
Recorded: Spring 1990
Genre: Rock
Length: 1:17:18
© 1997

Label - Grateful Dead Records

Musiq - JUSLISEN (Just Listen) (2002)

Taalib Johnson, professionally known as Musiq Soulchild or Musiq (born September 16, 1977) is an American singer and songwriter whose style blends R&B, funk, blues, jazz, gospel influences fused with hip hop.
On his second album, Juslisen, Musiq — who dropped the “(Soulchild)” surname — delivers on the promise of his debut, turning in a slyly assured, smoothly sexy collection of neo-soul. One of the most appealing things about Musiq is that he never oversells his songs, never indulges in hyperbolic screams or exaggerated grunts and moans.
He lays back on the groove but doesn’t disappear into it — he deepens it and gives it character, making this more than a supremely seductive neo-soul record. And, to be sure, it is that, a wonderfully romantic mood album, but it’s more than that because Musiq has other skills besides crooning and keeping a mood. First of all, he and his collaborators are first-class writers, sustaining interest not just through the singles, but through the album tracks.
Then, he and his producers know how to deliver a sound that at once hearkens back to classic ’70s soul and feels lushly contemporary. Musiq doesn’t hide his love for classic soul — he’s seen on the back cover digging through crates of vinyl, surrounded by eight-tracks — but the great thing about what he pulls off on Juslisen is that this love is absorbed, ingrained in the very music, so while it’s reminiscent of Stevie Wonder or Marvin Gaye at times, it never feels like a forced attempt to follow in their footsteps. Which, of course, is why it feels like a worthy heir.


01.  Scratch Interlude  (0:31)
02.  Newness  (3:45)
03.  Caught Up (Featuring – AAries)  (3:27)
04.  Stoplayin  (3:59)
05.  Religious  (4:14)
06.  Babygirl (3:30)
07.  Halfcrazy  (4:14)
08.  Time  (5:12)
09.  Future  (4:00)
10.  Intermission: Juslisen (1:58)
11.  Realove  (4:22)
12.  Onenight  (4:36)
13.  Previouscats  (3:56)
14.  Solong  (4:11)
15.  Bestfriend  (4:20)
16.  Dontchange  (5:04)
17.  Motherfather  (4:30)
18.  Something  (5:07)
19.  Ifiwouldaknew (Girlnextdoor Remix)  (4:32)

Companies, etc.
Credits
Notes
Executive producers: Musiq, Jerome Hipps, and Michael McArthur for Mama’s Boys Music Inc., and Kevin Liles. Co-executive producers: Ivan “Orthodox” Barias and Carvin “Ransum” Haggins for CarMul (karma) Productions, Inc.
Released at: May 7, 2002
Recorded at: Larry Gold Studio, A Touch Of Jazz Studios, Axis Studios, Philadelphia, Pennsylvania, The Blue Room New Jersey
Genre: Hip Hop, Funk / Soul
Style: RnB/Swing, Neo Soul
Length: 76:21
© 1982

Label - Def Soul ‎Records

Mtume - Juicy Fruit (1983)

Mtume (pronounced em-tu-may) was a funk and soul group that rose to prominence during the early 1980s and had several R&B hits during its career. Its founder, former percussionist James Mtume, previously played and toured with Miles Davis in the early 1970s. Other members of the group included Reggie Lucas and Tawatha Agee.

James Mtume‘s band Mtume hit its commercial and creative peak in 1983, when Juicy Fruit was released. The infectious, mildly risqué title song — which contains the controversial lyrics “I’ll be your lollipop/You can lick me everywhere” — soared to number one on Billboard’s R&B singles chart and ended up being sampled by quite a few hip-hoppers, including the late Notorious B.I.G. (who used the infectious gem on his 1994 hit “Juicy”).
Some of the people who heard the “Juicy Fruit” single on the radio back in 1983 bought the single but not the album, which is a shame because the other tracks are also excellent. In fact, many of Mtume‘s hardcore fans agree that Juicy Fruit is the band’s most essential album.
This LP came at a time when funk was becoming increasingly technology-minded. Horn-driven funk bands were going out of style, and funksters were using a lot more keyboards and synthesizers. Juicy Fruit reflects that evolution; although not totally electronic, funk/urban pearls like “Hips” and “Ready for Your Love” are very keyboard-minded.
Only one horn player is employed on this release: jazz saxophonist Gary Bartz, who did his share of R&B sessions in the late ’70s and early ’80s but eventually returned to being a full-time jazz improviser.
Throughout Juicy Fruit, James Mtume takes a very hands-on approach — in addition to producing the album and co-writing much of the material, he plays keyboards and provides some of the lead vocals (along with the expressive, big-voiced Tawatha Agee).
Juicy Fruit isn’t the only worthwhile album that James Mtume‘s band came out with in the ’80s; as a rule, his ’80s output was solid. But if you must limit yourself to one Mtume release, Juicy Fruit would be the best choice.

1.  Green Light  (5:18)
2.  Juicy Fruit  (6:00)
3.  Hips  (5:44)
4.  Would You Like To (Fool Around)  (3:37)
5.  Your Love’s Too Good (To Spread Around)  (4:47)
6.  Hip Dip Skippedabeat  (5:08)
7.  Ready For Your Love  (3:55)
8.  The After 6 Mix (Juicy Fruit Part II)  (3:21)

Credits
Personnel
Notes
Produced for Mtume-Lucas Productions
Recorded and Mixed at E.A.R.S. Recording Studio, New Jersey
Mastered at A&M Studios, Los Angeles, CA
Manufactured by Epic Records CBS Inc.
Length: 38:28
© 1982

Label - Epic Records

Peter Murphy - Love Hysteria (1988)

Peter John Joseph Murphy (born 11 July 1957) is an English singer and musician. He was the vocalist of the rock group Bauhaus and later went on to release a number of solo albums. Thin with prominent cheekbones, a baritone voice, and a penchant for gloomy poetics, he is often called the "Godfather of Goth".

The album was largely written with former B-Movie keyboard player Paul Statham, who had joined Murphy’s band, The Hundred Men. It was produced by former member of The Fall, Simon Rogers.
Having assembled, for touring purposes, what would soon be his formal backing band, the Hundred Men, and more specifically, having found a new key songwriting collaborator in ex-B. Movie keyboardist Paul Statham,
Murphy created his most elegant post-Bauhaus effort to date. Love Hysteria had definite Bowie echoes, though the feeling was more late-’70s Berlin-era than Ziggy glam. That said, with his band turning in a variety of bright, lively performances and with sympathetic production from ex-Fall member/arranger Simon Rogers, Murphy matched the music with flair, his voice even more of a passionate croon than a powerful howl. Lead single “All Night Long” was something of an American breakthrough hit; its upbeat rock drive and lush keyboards are a perfect bed for Murphy‘s performance.
Other moments, such as the ringing acoustic/electric guitar combinations on “Indigo Eyes” and “Dragnet Drag,” take Murphy even further away from Bauhaus‘ shadow, though “His Circle and Hers Meet” and “Blind Sublime” have a brusquer energy. The definite highlights of the album are two majestic ballads: “Time Has Got Nothing to Do With It,” with a fine Statham synth line matching Murphy‘s soaring vocals; and “My Last Two Weeks,” a simply wonderful romantic sentiment.
If his lyrics now sometimes have the feeling of formal philosophical pronouncements, the sense of style with which he sings them saves the performances more often than not. Closing with a fun romp through Iggy Pop‘s “Funtime,” saluting another one of Murphy‘s old heroes with an appropriately strong vocal and amusing horror-movie samples, Love Hysteria shows Murphy fully coming into his own as a performer.

  1. “All Night Long” — 5:42
  2. “His Circle and Hers Meet” — 6:01
  3. “Dragnet Drag” — 5:46
  4. “Socrates the Python” — 6:47
  5. “Indigo Eyes” — 5:54
  6. “Time Has Got Nothing to Do with It” — 5:21
  7. “Blind Sublime” — 3:55
  8. “My Last Two Weeks” — 6:38
  9. Funtime” (David Bowie, Iggy Pop) — 3:49
  • Bonus tracks on CD reissue:
  1. “I’ve Got a Miniature Secret Camera” — 4:25
  2. “Funtime (Cabaret Mix)” — 5:57
All songs written by Peter Murphy except where noted.

Personnel
Notes
Released: March 1988
Recorded at: Jacob Studios and Abbey Road
Mixed at Abbey Road
Genre: AGothic rock
Length: 60:08
© 1988

Label - Beggars Banquet Records

New England - New England (1979)

New England was an American rock band that was mainly active from 1978-1982. They were discovered by Kiss manager Bill Aucoin.

New England is the debut album by the American rock band New England. The group was best known for the song “Don’t Ever Wanna Lose Ya”, which received heavy radio exposure on Album-oriented rock (AOR) stations and reached the Top 40 in 1979. “Hello, Hello, Hello” also received some airplay. The debut album was released on Infinity Records INF-9007.
The quartet formed in the Boston area and was discovered by manager Bill Aucoin, who also managed Kiss. Paul Stanley helped produced the debut album along with famed producer Mike “Clay” Stone, best known for his work with Queen and Asia. Guitarist and vocalist John Fannon was the leader of the band.
The group had a live stint supporting the falling but still high-profile Kiss, but New England unfortunately slid between the cracks of other Aucoin projects. The group’s success stalled when their label Infinity Records was absorbed by its parent company, MCA Records, in 1979.
Produced by Paul Stanley of Kiss who was also represented by manager Bill Aucoin, this Boston band’s debut still stands as their finest. “Hello, Hello, Hello,” much like Alice Cooper‘s use of Rolf Kemp‘s “Hello Hooray,” is a nice opener, but the lyrics are more like Stevie Nicks witchcraft and magic. Song two is the most classic statement made by writer John Fannon and his group New England. “Don’t Ever Wanna Lose Ya” is perhaps the shortest poem/song on record by Fannon, but it is his most famous.
There are swirling keyboards by Jimmy Waldo and the precision the band is known for in performance.
Like another Boston-based group, Private Lightning on A&M with their local hit “Physical Speed,” these groups were ahead of their time and exploring sounds that were not identified with the city that brought the world the Modern Lovers, Aerosmith, and the Jonzun Crew.
But with three albums on a major label, and superb production, New England had a good shot at the brass ring and a tune with all the elements of “hit” in this track. “P.U.N.K.” is also a song that generated attention. About a punk, and certainly not punk rock, although the band frequented (and played) the clubs like the Paradise and the Rat, which, no doubt, helped inspire this. “Shall I Run Away” has a great vocal from Fannon and is the best tune next to “Don’t Ever Wanna Lose Ya” — mellow with cosmic guitars, a unique sound removed from the Asia style producer Mike Stone and the band New England became known for, almost Roxy Music. And that is where the band could’ve really made its mark, by being more experimental and less like the arena rock bands of the day. “Alone Tonight” is a great song held back by the “overproduction,” to quote the late Stones producer Jimmy Miller and his idea of the New England sound. The thick production on this music is incessant.
“Nothing to Fear” has hooks a plenty and the voice more prominent; “Shoot” is like a progressive Black Sabbath riff sped up and gone pop. Fannons‘ great ideas and lyrics seem to get lost in some of the instrumentation of “Turn Out the Light.”
That stage life which Paul Stanley knows so well from the Kiss hit “Beth” is the theme of “The Last Show.” “Encore” concludes the album with Fannon almost sounding like Roger Waters in delivery and idea. New England deserves recognition for years of hard work and the creation of a very important tune from the late ’70s. The cover photo has Terminator-style lightning (so did Private Lightning‘s cover, of course) and the band being delivered from out the blue.


01.  Hello, Hello, Hello  (3:34)
02.  Don’t Ever Wanna Lose Ya  (5:22)
03.  P.U.N.K. (Puny Undernourished Kid)  (3:22)
04.  Shall I Run Away  (5:06)
05.  Alone Tonight  (3:39)
06.  Nothing To Fear  (5:05)
07.  Shoot  (3:59)
08.  Turn Out The Light  (3:43)
09.  The Last Show  (3:55)
10.  Encore  (3:15)

Companies, etc.
Credits
Notes
Released: 1979
Genre: Rock
Style: Pop Rock
Length: 40:50
© 1979

Label - Infinity Records

The Nite-Liters – Instrumental Directions (1972)

New Birth (also known as The New Birth) is an American funk and R&B group. It was originally conceived in Detroit, Michigan by former Motown songwriter/producer, Vernon Bullock and co-founded in Louisville, Kentucky. The history of the group began with the instrumental outfit, The Nite-Liters, which was originally formed in 1963.


In its heyday, besides Churchill on tenor sax and vibes, the band featured Charlie Hearndon on guitar, James Baker on keyboards, Robin Russell on drums, Robert “Lurch” Jackson on trumpet, Austin Lander on baritone sax, Leroy Taylor on bass, and, later, Carl McDaniel on guitar.
Earlier members included Johnny Graham, later of Earth, Wind & Fire and Jerry Bell also a member at one time. Some sources identify The Nite-liters as the band that played as “The Crawlers” with Chicago artist Alvin Cash on his R&B #1 1964 hit, “Twine Time.”
Instrumental Directions is the third album by the Louisville, Kentucky group The Nite-Liters, the instrumental ensemble offshoot of New Birth. Released in 1972 on RCA Records. Produced by mentor Harvey Fuqua.

  1. Theme from Shaft”  (4:16)
  2. “Brand X”  (4:43)
  3. “Them (Changes)”  (4:45)
  4. “Respect To The Other Man”  (5:00)
  5. “Cherish Every Precious Moment”  (3:00)
  6. “Afro-Strut”  (2:50)
  7. Medley: “McArthur Park, What’s Going On, Fugua’s Theme”  (4:55)
  8. “I’ve Got Dreams To Remember”  (3:15)
  9. Wichita Lineman”  (5:05)
  10. “Bakers Instant”  (3:39)

Credits
Notes

Recorded at RCA’s Studio C, New York City.
Released:  1972
Genre: Funk / Soul
Style: Funk
Length: 37:33
© 1972

Label - RCA Victor Records

Aaron Neville - The Grand Tour (1993)

Aaron Neville (born January 24, 1941, New Orleans, Louisiana, United States) is an American R&B singer and musician. He has also recorded with his brothers Art, Charles and Cyril as The Neville Brothers.


Aaron Neville (born January 24, 1941, New Orleans, Louisiana, United States) is an American R&B singer and musician. He has also recorded with his brothers Art, Charles and Cyril as The Neville Brothers.
The Grand Tour, Aaron Neville’s second solo album for A&M Records, it’s a collection of songs that in ways, both deliberate but unforced, suggests a kind of musical biography. It’s a record that resurrects timeless stains of soul, R&B, country, gospel, rock and roll, Tin Pan Alley, Mardi Gras music and contemporary pop, all rendered with a continuity of style and purpose that seems to travel the world without ever abandoning the spirit of New Orleans the birthplace of American music and, of course, Neville himself. Not coincidentally, many of the songs here also suggest key touchstones from a career and life very much in progress.
Although Steve Lindsey tries a little too hard to make The Grand Tour appeal to everyone, Aaron Neville manages to make the album another solid addition to his latter-day catalog. Lindsey keeps the sound of the album strictly in the mainstream, piling on layers of keyboards, vocalists, and drum machines which neuter any rootsy elements in the music.
This is particularly unfortunate, since the selection of songs is interesting, ranging from George Jones and Chuck Berry to Bob Dylan and Leonard Cohen. Nevertheless, Neville rises to the material, not the production, giving the music an emotional core. Not every teaming works, but enough songs hit the target to make The Grand Tour worthwhile for dedicated fans.


01. Don’t Take Away My Heaven  (4:37)
     Written-By – Diane Warren 
02. I Owe You One  (5:31)
     Written-By – Jon Lind, Phil Galdston, Wendy Waldman 
03. Don’t Fall Apart On Me Tonight  (4:23)
     Written-By – Bob Dylan 
04. My Brother, My Brother  (4:59)
     Written-By – Bob Thiele Jr., Davey Farager, Phil Roy 
05. Betcha By Golly, Wow  (3:54)
     Written-By – Linda Creed, Thom Bell 
06. Song Of Bernadette  (Vocals – Linda Ronstadt)  (4:02)
     Written-By – Bill Elliott, Jennifer Warnes, Leonard Cohen  
07. You Never Can Tell  (2:53)
     Written-By – Chuck Berry  
08. The Bells  (3:22)
     Written-By – Anna Gordy Gaye, Elgie Stover, Iris Gordy, Marvin Gaye  
09. These Foolish Things  (4:22)
      Written-By – Harry Link, Holt Marvell, Jack Strachey
10. The Roadie Song  (4:40)
     Written-By – Aaron Neville 
11. Ain’t No Way  (5:00)
     Written-By – Carolyn Franklin
12. The Grand Tour  (3:17)
      Written-By – Carmol Taylor, George Richey, Norris Wilson  
13. The Lord’s Prayer  (1:58)
     Written-By – Alfred Malotte

Credits
Art Direction – Chuck Beeson
Coordinator [Production] – Julie Larson
Design – Chuck Beeson, Jean Krikorian
Engineer [Assistant] – Dominique Schafer, Enrico De Paoli, Jim Champagne, John Hendrickson
Executive-Producer – David Anderle
Management [Direction] – Bill Graham Management
Mastered By – Doug Sax
Mixed By – Bill Schnee
Photography By – Diego Uchitel
Producer – Steve Lindsey
Recorded By – Gabe Veltri

Notes
Release Date 1993
Recorded at:  Oceanway, Saturn Sound, House Of Soul, New Orleans Recording Studios.
Mixed at:  Schnee Studio.
Mastered at:  The Mastering Lab.
Duration:  52:58
Genre:  R&B, Religious
Styles:  Adult Contemporary, New Orleans R&B
© 1993

Label - A&M Records

National Lampoon - Gold Turkey Radio Hour/Greatest Hits (1975)

National Lampoon was a ground-breaking American humor magazine which ran from 1970 to 1998. The magazine started out as a spinoff from the Harvard Lampoon. National Lampoon magazine reached its height of popularity and critical acclaim during the 1970s, when it had a far-reaching effect on American humor and comedy. The magazine spawned films, radio, live theatre, various kinds of recordings, and print products including books. Many members of the creative staff from the magazine subsequently went on to contribute creatively to successful media of all types.

Gold Turkey is an American album of sketch comedy that was first released as a vinyl record in 1975. It was a spin-off from National Lampoon magazine.
The album is a collection of “greatest hits” from the National Lampoon Radio Hour, a radio show that was broadcast on 600 radio stations and ran from November 17, 1973 to December 28, 1974.
The sketches on Gold Turkey feature numerous National Lampoon actors including Christopher Guest, Bill Murray, John Belushi, Brian Doyle-Murray, Chevy Chase, Harold Ramis, Gilda Radner, Joe Flaherty and Ed Subitzky.
The title of the album “Gold Turkey” is a reference to the phrase “cold turkey” a phrase meaning to suffer sudden withdrawal from an addictive substance; there is a John Lennon song Cold Turkey. “Gold Turkey” as shown in the cover photograph by Arky & Barrett is a visual pun on the golden statue awards for entertainment, such as the Oscars and the Emmy, and is simultaneously a verbal pun on the word “turkey” meaning a box office bomb or entertainment failure.


01.  Front Row Center  (2:00)
02.  Public Disservice / Alternative Child  (3:52)
03.  We’ll Be Back / Mother Goose’s Wine  (2:20)
04.  My Husband  (2:30)
05.  Megaphone Newsreel  (3:25)
06.  The Trial / Terminal Football / Flash Bazbo  (4:12)
07.  Jimmy Dugan Story  (1:38)
08.  Well-Intentioned Blues  (2:45)
09.  A Laugh From The Past  (4:41)
10.  Stand Up / Flash Bazbo  (3:12)
11.  Hockey  (0:21)
12.  Prison Farm  (1:35)
13.  Mr. Veal Chop / Rosenburgs  (0:40)
14.  The Immigrants  (7:07)

National Lampoon, Guests
Chevy Chase
Bill Murray
John Belushi
Brian Doyle-Murray
Brian McConnachie
Stan Sawyer
Bob Ferry
Robert Dryden
Leon Janney
Joseph O´ Flaherty
Harold Ramis
Christopher Guest
Mark Horowitz
Wendy Craig
Adolph Caesar
Martin Harvey Friedberg
Gilda Radner

Credits
Notes
Released: 1975
Genre:  Non-Music
Style:  Comedy
Length:  40:18
© 1975

Label - Epic ‎Records

Michael Nesmith & The First National Band – Nevada Fighter (1971)

The First National Band or Michael Nesmith and The First National Band was a short-lived American collaborative band, led by former Monkee Michael Nesmith. During the two active years, The First National Band released three albums in the country rock genre between 1970 and 1971.

Nevada Fighter is the third solo album by American singer-songwriter Michael Nesmith during his post-Monkees career. The album is also the third and final album with the First National Band. Released by RCA Records in 1971, the LP failed to chart in the top 200 but bubbled under at #202. The lead off single “Nevada Fighter” peaked at No. 70 on the Billboard charts.
Nevada Fighter kicks off with the witty and loose-limbed “The Grand Ennui,” and for a moment it sounds like the album will pick up where Michael Nesmith‘s previous album with the First National Band, Loose Salute, left off.
But before long, the album shifts gears, and it becomes obvious that Nesmith had something different in mind this time. Except for the rollicking side-closer, “Nevada Fighter,” most of the material on side one suggests the more introspective moments of Magnetic South but without the same balance of charm and dry humor that made that album so appealing (though “Propinquity (I’ve Just Begun to Care)” is a fine love song that’s a good bit more approachable than its title would lead you to expect). Side two is turned over to material by other songwriters, and while this shifts the album’s lyrical tone rather dramatically, Nesmith reveals himself to be a fine interpretive vocalist, and “Texas Morning” and “The Rainmaker” are splendid songs that would merit anyone’s attention.
The First National Band were also augmented by a number of session musicians on Nevada Fighter (including James Burton and Ronn Tutt from Elvis Presley‘s band), and the arrangements have a decidedly different flavor than on Nesmith‘s previous two albums, especially in the second half (though Red Rhodes‘ pedal steel is predictably splendid throughout). Nevada Fighter is a fine album, but it’s also the weakest of the three Nesmith would cut with the First National Band, and it’s not hard to imagine that Nesmith was starting to look for new pastures while he was recording this set.
John London and John Ware left the group in late November 1970.
Two tracks were left to finish the album – “Here I Am” (recorded in early January 1971) and “Only Bound” (recorded in late January). Nesmith recruited James Burton, Joe Osborn and Ron Tutt to help finish the album — all three had worked with Nesmith during his days with The Monkees.
The track “Nevada Fighter” was originally recorded under the title “Apology.” “Propinquity” was the third version of this song Nesmith recorded — he demoed it for The Monkees in 1966 and recorded a 1968 version for the group.

  1. “Grand Ennui” – 2:07
  2. “Propinquity (I’ve Just Begun To Care)” – 2:59
  3. “Here I Am” – 3:15
  4. “Only Bound” – 3:23
  5. “Nevada Fighter” – 3:06
  6. “Texas Morning” (Mike Murphy, Boomer Castleman) – 3:00
  7. Tumbling Tumbleweeds” (Bob Nolan) – 4:10
  8. “I Looked Away” (Eric Clapton, Bobby Whitlock) – 3:13
  9. “Rainmaker” (Harry Nilsson, Bill Martin) – 3:17
  10. “René” (Red Rhodes) – 1:40
All songs by Michael Nesmith except where noted.

Personnel
Additional musicians:
Credits
Notes
Released:  1971
Recorded:  Oct 1970 – Jan 1971
Genre:  Country rock
Length:  30:10
© 1982

Label - RCA Records

June 18, 2016

Willie Nelson & Waylon Jennings - Take It To The Limit (1983)

Take It to the Limit is an album by Willie Nelson with Waylon Jennings, released in 1983 on Columbia Records.


Take It to the Limit was the third Jennings/Nelson duet album and the second to be produced by Chips Moman.
Whereas their previous album together, 1982’s WWII, had contained more Waylon solo tracks, this LP includes five tracks sung solely by Willie.
The title actually reads Wille Nelson with Waylon Jennings, likely the result of the LP being released on Nelson’s label CBS (the previous two duet albums had been released on RCA).
The title song was written by Eagles’ members Randy Meisner, Don Henley and Glenn Frey and performed by the Eagles on their 1975 album, One of These Nights, while “Homeward Bound” was originally by Simon and Garfunkel. Take It to the Limit was the next-to-last collaboration between Jennings and Nelson; of the four duets albums released by the singers, 1978’s Waylon & Willie achieved the greatest success.
Despite the fact that neither singer was in top artistic form and Jennings’ most successful days were already over, the record managed to chart, peaking at #3, as did WWII. “Why Do I Have to Choose” also reached #3, while the title track reached #8 on the singles chart.

  1. “No Love at All”  (Johnny Christopher, Wayne Carson Thompson)  – 2:42
  2. Why Do I Have to Choose (Willie Nelson)  – 3:12
  3. Why Baby Why(Darrell Edwards, George Jones)  – 2:40
  4. We Had It All(Donnie Fritts, Troy Seals)  – 3:06
  5. Take It to the Limit(Randy Meisner, Glenn Frey, Don Henley)  – 3:50
  6. Homeward Bound(Paul Simon)  – 3:29
  7. Blackjack County Chain(Red Lane)  – 2:59
  8. ‘Til I Gain Control Again (Rodney Crowell)  – 4:57
  9. “Old Friends” (Roger Miller) – 3:33
  10. Would You Lay with Me (In a Field of Stone)(David Allan Coe)  – 3:16

Production
  • Producer: Chips Moman
  • Art Direction: Virginia Team
  • Cover Illustration Bill Imhoff
  • Photo of Willie: Beverly Parker
  • Photo of Waylon: Charlyn Zlotnick
Personnel
Notes
Released: April 1983
Genre: Country, outlaw country
Length: 33:44
© 1983

Label - Columbia Records

The New Pornographers - Electric Version (2003)

The New Pornographers is a Canadian indie rock band formed in 1999 in Vancouver, British Columbia.


Three years after the sonic honey of Mass Romantic, the New Pornographers come up smiling once more with their sophomore effort and Matador debut, Electric Version. These beloved indie rockers stick with the syrupy goodness found on their first album, but opt to turn the amps up for a brighter, slicker sound, hence the title.
It’s a kitschy play on the band’s power pop, and Carl Newman and secret member Dan Bejar keep their clever lyrical twists in tune. Twiddling riffs and organs dance with Neko Case‘s sunny harmonies on the rollicking “It’s Only Divine Right” and “From Blown Speakers.” The energy is there, but Electric Version captures a new kind of energy from the New Pornographers. While Mass Romantic was a little more quirky in spirit, Electric Version is more polished. They took just under a year to create this album, so naturally a fresh confidence would transpire and “The Laws Have Changed” highlights the New Pornographers‘ musical growth. This album standout is bold as brass, drenched in Case and Newman‘s perky vocals.
“All for Swinging You Around” takes things further with wacky synth beats and tripped-up percussion, Velocity Girl-style, but its the band’s own glossed-over rock & roll on “Miss Teen Worldpower” that truly represents the smooth emotion and might behind the New Pornographers‘ sound. Electric Version is an enjoyable and easy listen, chock-full of hungry hooks and brimming with indie rock’s classic humility.


01. “The Electric Version”  – 2:53
02. “From Blown Speakers”  – 2:49
03. “The Laws Have Changed”  – 3:26
04. “The End of Medicine”  – 2:37
05. “Loose Translation”  – 2:59
06. “Chump Change”  (Dan Bejar)  – 4:18
07. “All for Swinging You Around”  – 3:42
08. “The New Face of Zero and One”  – 4:11
09. “Testament to Youth in Verse”  (Dan Bejar)  – 3:57
10. “It’s Only Divine Right”  – 4:11
11. “Ballad of a Comeback Kid”  (Dan Bejar)  – 3:51
12. “July Jones”  – 4:18
13. “Miss Teen Wordpower”  – 3:23
14. “Turn”  (bonus track on Japanese release)

All songs written by Carl Newman except as noted.

Personnel
Production
Notes
Released:  6 May 2003
Recorded:  November 2001 – October 2002
Genre: Indie rock, power pop
Length: 46:41
© 2003

Label - Mint Matador

Nu Shooz - Poolside (1986)

Nu Shooz is an American FreestyleR&BDance group fronted by husband-and-wife team of John Smith and Valerie Day, based in Portland, Oregon.


The Shooz released four albums in the U.S. during the 1980s. Their third album, Poolside, brought the group’s sound to a wider audience.
Nu Shooz formed in 1979 in a lineup that originally featured 12 members. This incarnation of the group released its debut album, Can’t Turn It Off, in 1982. Although the album saw limited success, the band continued on, paring its lineup down to seven members over the next several years.
Nu Shooz originally released the single “I Can’t Wait” in Portland in April 1985 on Poolside Records. The original recording was done at Cascade Recording in Portland in the fall of 1984 and was also featured on the band’s sparsely distributed second album, Tha’s Right, in 1985. “I Can’t Wait” was a big hit on Portland radio stations at the time, but they were turned down by every major label. A copy of the song made it to the Netherlands, where it was remixed by Peter Slaghuis. This version is known as the ‘Dutch Mix.’ The remix came back into the United States as an import on Dutch label Injection Records.
It was this version that got the attention of Atlantic Records, which signed the band to a contract in January 1986.
Poolside is a 1986 album by the American popLatin freestyleelectronic dance music group Nu Shooz. It was released on Atlantic Records in the U.S. in the May 1986. At the time, the band was creating music in both the synthpop and freestyle genres. It was the band’s first major-label release, and it was responsible for its breakthrough on the pop and dance charts in both the United States and the United Kingdom.
The album spawned three singles that charted in the U.S.: “I Can’t Wait,” “Point of No Return,” and “Don’t Let Me Be the One.”

  1. “Lost Your Number” (John Smith)  - 5:43
  2. I Can’t Wait (Smith)  - 5:25
  3. “Don’t Let Me Be the One” (Smith)  - 4:23
  4. “Goin’ thru the Motions”  (Smith, Valerie Day)  - 4:01
  5. “You Put Me in a Trance” (Smith, Caton Lyles)  - 4:20
  6. Point of No Return(Smith, Day)  - 4:23
  7. “Secret Message” (Smith, Jeff Lorber, Lewis Livermore)  - 3:30
  8. “Don’t You Be Afraid” (Smith)  - 5:14
All Songs Published By Poolside Music.

Nu Shooz
  • Valerie Day: Vocals
  • John Smith: Guitars, Keyboards, Vocals
Additional Musicians
  • Jeff Lorber, Steve Reid: Keyboards
  • Ron Regan: Keyboards, Saxophone
  • Gary Fountaine, Nate Phillips: Bass
  • Marty Higgins: Drums
  • Lewis Livermore: Trumpet
  • Danny Schauffler: Saxophone
  • Shannon Day, Lori Lamphear: Vocal Backing
Production
  • Arranged & Produced By John Smith & Rick Waritz, with additional arrangements by Jeff Lorber
  • Engineered By Tchad Blake, Mike Moore, Fritz Richmond, Stephen Shelton, Bobby Warner, Ellen Fitton, Jim Rodgers
  • Mastered for LP by Dennis King
  • Mastered for compact disc by Barry Diament
Notes
Released: May 5, 1986
Recorded: January – March 1986
Genre: Synth-pop, Latin freestyle
Length: 37:16
© 1986

Label - Atlantic Records

Tommy Page - Tommy Page (1988)

Tommy Page (born Thomas Alden Page, May 24, 1970, Glen Ridge, New Jersey) is an American singer-songwriter, best known for his 1990 hit single, “I’ll Be Your Everything“.

Tommy Page is the debut self-titled studio album by American singer and songwriter Tommy Page, released in 1988 on Sire and Warner Bros. Records.
The album contains Page’s minor and early hits, such as “A Shoulder to Cry On” and “A Zillion Kisses”.
Tommy Page‘s 1988 debut album consists of high-energy dance tracks dripping with synthesizer, mild techno beats and the occasional ballad (three to be exact).
Those who only know him for his ’90s pop music might be surprised to hear this early record — it’s filled with the kind of sound that his later material shows only traces of.
It is a consistent and upbeat blending of songs, and even though it hits a couple of dead notes, such as the bland “Making My Move,” there is an ambitious energy penetrating the album as a whole.
The standout tracks include “A Zillion Kisses,” “I Think I’m in Love” and the soaring, splendid, Arif and Joe Mardin-produced “A Shoulder to Cry On,” which has a message and orchestration equal in beauty.

  1. “A Zillion Kisses” (Tommy Page, L. Russell Brown)
  2. “Turning Me On”  (Page, Brown)
  3. “I Think I’m in Love”  (Page)
  4. “Hard to Be Normal”  (Page, Brown)
  5. “I Love London”  (Page, Brown)
  6. “Making My Move”  (Page, Brown)
  7. “Love Takes Over”  (Page, Shelly Peiken)
  8. A Shoulder to Cry On (Page)
  9. “Minetta Lane”  (Page, Brown)

Personnel
  • Tommy Page: Vocals
  • Art Labriola, Miguel Kertsman, Tommy Page: Keyboards
  • Ira Siegal, Matthew Cang: Guitars
  • Alan Park, Robbie Kondor: Piano
  • Tony Levin: Bass
  • Joe Mardin: Drums
  • Bashiri Johnson: Percussions
  • Gerald Ashbey, Phil Eastop: French horn
  • Jeffrey Smith: saxophone
  • Tommy Page, Shelly Peiken, Maria Adler: Background Vocals
Credits
Notes
Genre: Electronic, Pop
Style:  Synth-pop, Vocal, Freestyle
Length: 36:56
© 1988

Label - Sire Records