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Music Inspired by Lord of the Rings is an instrumental progressive rock album by Swedish musician Bo Hansson. As its title suggests, it is a concept album based on author J. R. R. Tolkien‘s high fantasy novel, The Lord of the Rings. The album was originally issued in Sweden in late 1970, under the Swedish title of Sagan om ringen, and was subsequently re-released internationally as Music Inspired by Lord of the Rings in September 1972. The album reached the Top 40 of the UK Album Chart and was eventually certified gold in the UK and Australia. It was also moderately successful in America, where it reached number 154 on the Billboard Top LPs & Tapes chart. Music Inspired by Lord of the Rings remains the only release by Hansson to have reached the UK and US charts and as a result, it is by far his best known and most successful album.
Prior to the recording of Music Inspired by Lord of the Rings, Bo Hansson had worked as one half of the duo Hansson & Karlsson. The duo were relatively well known in their native Sweden and between 1967 and 1969 they released a series of well received albums. By early 1969, however, Hansson’s musical partner Janne Karlsson had embarked upon a successful career as a television presenter and comedian, resulting in the breakup of the duo. At around the same time, Hansson became fascinated with the works of J. R. R. Tolkien and in particular The Lord of the Rings, after being introduced to the book by a girlfriend. Hansson moved into a friend’s apartment and began working on a musical interpretation of the book, producing a number of demo recordings of material that would eventually be included on the album.
Hansson then approached sound engineer and founder of Silence Records, Anders Lind, with the idea of recording an album based on the book. Lind was encouraged by the demos and agreed to release the album on Silence. However, the fledgling record company could not afford the expensive recording studio time needed to realise the production of the album and so, a small summer house on the remote island of Älgö, in the Stockholm archipelago, was converted into a makeshift recording studio. Throughout late 1969, Hansson and Lind worked on the album at the summer house, with the help of a handful of session musicians and friends, before relocating to Studio Decibel in Stockholm to complete the album in early 1970. Hansson has stated that his original intention for the album was to include a string section and other exotic instruments, such as the harp, but the lack of finances available from Silence Records resulted in the majority of the album having to be recorded using primitive electronic keyboards and Moog synthesizers.
A1. Leaving Shire – 3:28
A2. The Old Forest / Tom Bombadil – 3:43
A3. Fog On The Barrow Downs – 2:29
A4. The Black Riders / Flight To The Ford – 4:07
A5. At The House Of Elrond / The Ring Goes South – 4:40
B1. A Journey In The Dark – 1:10
B2. Lothlorien – 4:01
B3. Shadowfax – 0:51
B4. The Horns Of Rohan / The Battle Of The Pelennor Fields – 3:57
B5. Dreams In The House Of Healing – 1:56
B6. Homeward Bound / The Scouring Of The Shire – 2:54
B7. The Grey Havens – 4:57
- Bo Hansson – organ, guitar, Moog synthesizer, bass guitar
- Rune Carlsson – drums, congas
- Gunnar Bergsten – saxophone
- Sten Bergman – flute
- Peter Lindholm – cover painting (original 1970 release)
- Jane Furst – cover painting (1972 release)
Released: December 1972
Recorded: Late 1969 – early 1970 Studio Bo Hansson’s summer house on Älgö in the Stockholm archipelago and Studio Decibel in Stockholm
Genre: Progressive rock, space rock, psychedelic rock
Label – Charisma Records
Catalog# CAS 1059
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Tumbleweeds was een Nederlandse country & western-formatie die haar voornaamste successen behaalde in het midden van de jaren 70. Het album Tumbleweeds dat in 1974 verscheen werd platina in 1975. In dat jaar werd ook hun versie van Somewhere Between (origineel van Merle Haggard) een nummer 1-hit.
De Tumbleweeds werden opgericht in 1967 door de Kaatsheuvelse broers Ad en Ton Masseurs, aangevuld met Dick van Krimpen, James Bordes en Laura Bordes. Later voegden hun broer Berry en hun zus Ine zich bij de band. In 1973 was de band de eerste Europese countryband die achter het IJzeren Gordijn speelde toen ze een twee weken durende tournee door Roemenië deden.
70s countryrock van eigen bodem. Deze band uit Waalwijk surfde mee op de country(rock)-golf van de jaren 70 en genoot enige bekendheid in Nederland en de VS maar is nooit doorgebroken.
Bassist Mick de Boer vervangt John Koogje. Eind 1974 verschijnt het tweede, titelloze, album, waarmee de groep in Nederland doorbreekt. Ton Masseurs tekent zelf voor de productie. Met de Merle Haggard-cover “Somewhere Between” scoort de groep met een tweede plaats in de top 40 een mega-hit in de zomer van 1975. Het nummer is een onvervalste meezinger en derhalve een evergreen van de Nederpop. Het album, dat in 1974 al een negende plaats haalt, verkoopt na “Somewhere Between” in 1975 nog beter en bereikt de derde plaats in de albumlijsten. De tweede single die dat jaar verschijnt, “It Might As Well Have Rained”, doet het met een vijftiende plaats ook niet slecht.
Hoogtepunten zijn de cover van ‘I believe in music’ en de instrumentele nummers ‘Mojave’ en ‘Tumbleweeds polka’ geschreven door pedalsteelgitarist Ton Masseurs. ‘Somewhere between’ (cover van Merle Haggard) heeft nog enige jaren in de Top 2000 gestaan.
A1. I Believe In Music – 3:07
A2. You’re Still On My Mind – 2:17
A3. Somewhere Between – 2:51
A4. Mojave – 1:57
A5. Bobby McGee – 3:44
A6. Southern Queen – 3:01
B1. Everybody Has His Own Dogs – 2:52
B2. Reno – 2:33
B3. Lead On Me – 2:17
B4. Tumbleweed Polka – 2:22
B5. Kentucky Hills Of Tennessee – 3:40
B6. Country Girl – 3:05
- Arranged By [String Arrangements] – Gerard Stellaard (tracks: B1, B6)
- Bass [Bass-guitar] – Mickey de Boer
- Drums – Ad Masseurs
- Engineer – Dick Swaneveld
- Guitar [6 & 12 String Rhythm] – Berry Masseurs, Ruud Masseurs
- Lead Vocals – Ine Masseurs, Ruud Masseurs
- Piano – Gerard Stellaard
- Producer – Ton Masseurs
- Strings [Sho-bud Pedal Steelguitar], Guitar [Pedal Steel], Guitar [Lead], Percussion [Marimba], Guitar [Dobro], Harmonica – Ton Masseurs
Label: BASF – 17 25551-4
Format: Vinyl, LP, Album
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John Allan Jones (born January 14, 1938) known professionally as Jack Jones, is an American actor and jazz and pop singer, popular during the 1960s. He is the son of actor/singer Allan Jones and actress Irene Hervey.
Jones is primarily a straight-pop singer (even when he recorded contemporary material) whose ventures in the direction of jazz are mostly of the big band/swing variety. Jones has won two Grammy Awards.
He continues to perform concerts around the world and remains popular in Las Vegas. Jones is widely known for his recordings of “Wives and Lovers” (1964 Grammy Award, Best Pop Male Performance), “The Race Is On“, “Lollipops and Roses” (1962, Grammy Award, Best Pop Male Performance), “The Impossible Dream“, “Call Me Irresponsible“, “Lady”, and “The Love Boat Theme”. He was also the voice of Greg’s frog in the 2014 animated television miniseries Over the Garden Wall.
A great voice singing some great songs, with lush, inventive and romantic orchestrations. And, I must admit, Mr. Jones’ version of the Sondheim classic “Send in the Clowns,” with its soaring climax, is one of the best from among the many artists who’ve tackled it.
The Full Life (1977) was produced by Jones and Bruce Johnston of the Beach Boys; on this album, Jones recorded “God Only Knows“, a Beach Boys classic, and “Disney Girls” (Johnston’s most-well-known Beach Boys contribution – Johnston also wrote “I Write The Songs“, made famous by Barry Manilow).
A1. You Make It Easy – 4:25
A2. L.A. Break Down (And Take Me In) – 4:13
A3. You Need A Man – 3:14
A4. Once In A While – 2:58
A5. Send In The Clowns – 3:14
A6. God Only Knows – 4:12
B1. Don’t Be Scared – 3:09
B2. Yesterday’s News – 3:25
B3. Try It Again – 2:55
B4. Love Story – 4:14
B5. Disney Girls – 4:32
- Arranged By – Bob Alcivar (tracks: A4, B2), Bruce Johnston (tracks: A6), Harry Betts (tracks: A1, A5, B1, B5), Pat Williams (tracks: A2, B4), Rick Jarrard (tracks: A3, B3)
- Art Direction – Acy Lehman
- Backing Vocals – Bruce Johnston, Clark Burroughs, Dee Murray, Jack Jones, Maureen McDonald (tracks: A3, B3), Mike H. McDonald (tracks: A3, B3), Rick Jarrard, Ron Hicklin
- Bass – Bill Torma
- Concertmaster – Sid Sharp
- Coordinator – Harriet Diamond
- Drums – Jimmy Blakemore
- Engineer [Recording] – Hank McGill, Kent Tucks
- Guitar – Mike Anthony
- Mastered By – Richard Simpson
- Piano – Joe Kloess
- Producer – Bruce Johnston, Jack Jones, Rick Jarrard
Label: RCA Victor – APL1-2067
Format: Vinyl, LP, Album
Genre: Jazz, Pop
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Leroy Gomes, Born in Cape Cod, Massachusettes; by the age of 14 had already formed his own band. Having worked with local bands and mastered vocals and saxophone, he was lured on tour with Tavares, taking him around the U.S., Canada and Europe. He fell in love with Paris and decided to make it his home.
Worked as a session saxophone player and vocalist, with many artists, including: Patrick Juvet, Gilbert Becaud, Claude Francois and Laurent Voulzy. Played saxophone on Elton John’s album Goodbye Yellow Brick Road.
His first solo success was the single Here We Go Around, an instant hit in France. This led to a chance meeting with producer Nicolas Skorsky who was keen to break into the disco scene. Skorsky brought Gomez together with studio musicians to form Santa Esmeralda.
Gomez remained with Santa Esmeralda until the fourth release in late 1978, Beauty when he was replaced by Jimmy Goings.
Gomez continues to be active in the recording world, mainly as a saxophone player. He’s played on releases by Jose Manuel and Jose Feliciano. He was the first foreign artist to be presented the “Gondola d’Oro” of the Venice Music Festival. He currently tours Europe, both as a solo artist and as part of the re-formed Santa Esmeralda.
A1. Medley: (14:34)
(a) Gypsy Woman
(b) Gipsy Love
A2. Let Me Change Your Mind (4:39)
B1. Spanish Harlem (10:05)
B2. Mama Told Me (6:40)
B3. Foolin’ You (5:45)
- Arranged By [Strings] – Hal Brooks
- Art Direction – Gribbitt!, Stephen Lumel
- Artwork [Logotype] – Chuck Schmidt
- Backing Vocals – Clyde King, Leroy Gomez, Mona Lisa, Terri Young
- Bass – James Jamerson
- Castanets, Tambourine – Simon Soussan
- Drums – Evan Caplan
- Engineer – Bob Stone, Brian Levi, Bryce Robbley, Joe Cannizzaro, Mick Guzauski
- Engineer [Assistant] – Bob Winard, Eric Breekla, J. Arvid Bergman, Linda Corbin
- Executive-Producer – Leroy Gomez
- Guitar – Larry Rolando
- Guitar [Flamenco] – Dave Allen
- Keyboards – Greg Phillingames
- Other [Wardrobe] – Stripthrills
- Percussion – Paulinho Da Costa
- Photography By – Ron Slenzak
- Producer – Simon Soussan
- Soloist, Saxophone – Leroy Gomez
- Strings – Jack Shulman Strings
- Synthesizer – Mike Lewis
- Tenor Saxophone – Bob Hardaway
- Trumpet – Chuck Findley, Ollie Mitchell
Format: Vinyl, LP, Album
Label: Bellaphon Records
Catalog# BBS 2562
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The O’Jays are an American R&B group from Canton, Ohio, formed in 1958 and originally consisting of Eddie Levert (born June 16, 1942), Walter Williams (born August 25, 1943), William Powell (January 20, 1942 – May 26, 1977), Bobby Massey and Bill Isles.
In the 1970s, Philadelphia International Records could seemingly do no wrong where the O’Jays were concerned. The Cleveland trio recorded one gem after another under Gamble & Huff‘s direction, and Family Reunion was no exception. Nothing on this LP has the angry bite of “Back Stabbers,” “Don’t Call Me Brother” or “Rich Get Richer,” and the mood is upbeat and optimistic on everything from the uplifting “Unity” to the ballad “Stairway to Heaven” (not the Led Zeppelin song) to the escapist party anthem “Livin’ for the Weekend.” With the intoxicating “I Love Music,” the O’Jays stressed the soul side of disco and provided one of the most appealing hits of the disco era. From start to finish, Family Reunion was a valuable addition to a catalog that already had its share of treasures.
The album was released in late 1975 on the Philadelphia International Records label. Recorded at Sigma Sound Studios in Philadelphia, and produced by Kenny Gamble and Leon Huff, Family Reunion includes the enduring classic “I Love Music” and “Livin’ for the Weekend“, both of which topped the R&B singles chart, and placed at #5 and #20 respectively on the pop chart. The ballad “Stairway to Heaven”, originally issued as the B-side to “Livin’ for the Weekend”, has also gone on to become a staple of quiet storm radio programming. While the title track did not chart, it still garnered airplay, as the lyrics (as well as the album artwork) focused on the importance of the family structure especially at gatherings.
A1. Unity – 4:57
A2. Family Reunion – 6:54
A3. You And Me – 6:54
A4. She’s Only A Woman – 5:44
B1. Livin’ For The Weekend – 6:29
B2. Stairway To Heaven – 6:15
B3. I Love Music – 6:51
- Distributed By – CBS Records
- Distributed By – CBS Inc.
- Phonographic Copyright (p) – CBS Inc.
- Copyright (c) – CBS Inc.
- Pressed By – Columbia Records Pressing Plant, Terre Haute
- Recorded At – Sigma Sound Studios
- Mastered At – Frankford/Wayne Mastering Labs
- Mastered At – Customatrix
- Published By – Mighty Three Music
- Published By – Blackwood Music Inc.
Genre: Philly Sound, Soul
Label: Philadelphia International Records
Catalog# PIR 69196
Vinyl: Lichte Gebruikerssporen
Cover: Lichte Gebruikerssporen
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Works Volume 1, is the fifth studio album by the English progressive rock band Emerson, Lake & Palmer, released as a double album in March 1977 on Atlantic Records. Following their successful 1974 world tour, the group took a break from recording and touring. They relocated to Montreux, Switzerland and Paris, France to record a new album. Each member was allocated one side of a record to write and arrange their own tracks which were performed by the group. The fourth side features songs written by the entire group. Emerson wrote his Piano Concerto No. 1, Lake wrote several songs with Peter Sinfield, and Palmer picked tracks of varied styles.
The album was the band’s first in three-and-a-half years, following the release of Brain Salad Surgery in 1973. However, Works Volume 1 was far different from the synthesiser-driven music that most fans had expected and received a mixed reaction from fans and press.
Side 1 is the Keith Emerson side, a concerto for piano and orchestra. Emerson was accompanied by the London Philharmonic Orchestra, conducted by John Mayer. On the documentary DVD Beyond the Beginning, Greg Lake says that Leonard Bernstein walked into the studio in Paris where this piece was being mixed because Keith wanted Bernstein to listen to it. Bernstein’s reaction was: “It reminds me of Grandma Moses“, though Emerson does not recall this being said.
Side 3, the Carl Palmer side, includes a remake of “Tank” (from ELP’s eponymous first album), with orchestral accompaniment and without the drum solo. Another track on Palmer’s side is the rocker “L.A. Nights”, featuring Eagles guitarist Joe Walsh on lead and slide guitar and scat vocal. Also, two arrangements of outside composers’ pieces figure on the Palmer side: one of Johann Sebastian Bach‘s baroque D Minor Invention No. 4, BWV 775, and a piece titled ‘The Enemy God Dances With the Black Spirits’, an excerpt of the 2nd movement of the “Scythian Suite” by Sergei Prokofiev (1891–1953), written in 1915.
Side 4 features the entire band, and consists of a modern piece re-arranged for rock band, Aaron Copland‘s “Fanfare for the Common Man“, and the long-form song “Pirates”, which features lyrics added to music Emerson had written for a cancelled film version of Frederick Forsyth‘s book The Dogs of War. Aaron Copland found ELP’s version of his piece appealing although he was puzzled at the inclusion of a modal solo between two fairly straight renditions of his piece. “Pirates” was recorded in three separate studios and featured the Orchestra of the National Opera of Paris, conducted by Godfrey Salmon. According to Sinfeld, the band had wanted Leonard Bernstein to conduct “Pirates”. Bernstein walked out after hearing the music, describing it as “primitive”. Both “Fanfare for the Common Man” and “Pirates” feature Keith Emerson‘s extensive use of the Yamaha GX-1 synthesizer.
A1. Piano Concerto No. 1
(a). First Movement: Allegro Giojoso – 9:18
(b). Second Movement: Andante Molto Cantabile – 2:09
(c.) Third Movement: Toccata Con Fuoco – 6:50
B1. Lend Your Love To Me Tonight – 4:00
B2. C’Est La Vie – 4:17
B3. Hallowed Be Thy Name – 4:35
B4. Nobody Loves You Like I Do – 3:56
B5. Closer To Believing – 5:34
C1. The Enemy God Dances With The Black Spirits (Excerpt From “The Scythian Suite” 2nd Movement) – 3:16
C2. L.A. Nights – 5:42
C3. New Orleans – 2:45
C4. Two Part Invention In D Minor – 1:53
C5. Food For Your Soul – 3:58
C6. Tank – 5:09
Emerson Lake & Palmer
D1. Fanfare For The Common Man 9:38
D2. Pirates 13:20
- Pressed By – PRC Recording Company, Richmond, IN
- Arranged By [Orchestral Arrangements By] – Godfrey Salmon (tracks: B1 to B5), Tony Harris (tracks: B1 to B5)
- Art Direction – Ashley Newton
- Co-producer – Greg Lake (tracks: C5)
- Composed By – Greg Lake (tracks: B1 to B5), Keith Emerson (tracks: A), Peter Sinfield (tracks: B1 to B5)
- Conductor [Orchestra And Choir] – Godfrey Salmon (tracks: B1 to B5)
- Conductor [Orchestra] – Godfrey Salmon (tracks: D2), John Mayer (tracks: A)
- Design, Artwork – Ian Murray
- Engineer [Sound] – John Timperley, Roger Cameron
- Management [Personal Assistance] – Alex Grob
- Mastered By – D.K.
- Orchestra – Orchestre de L’Opéra de Paris (tracks: D2), The London Philharmonic Orchestra (tracks: A)
- Orchestrated By – John Mayer (tracks: A, D2), Keith Emerson (tracks: A, D2)
- Photography By [Emerson] – David Montgomery
- Photography By [Lake] – Kenny Smith
- Photography By [Palmer] – Alex Grob
- Piano [Steinway] – Keith Emerson (tracks: A)
- Producer – Carl Palmer (tracks: C1 to C6), Greg Lake (tracks: B1 to B5, D1, D2), Keith Emerson (tracks: A), Peter Sinfield (tracks: B1 to B5)
Label: Ariola – 28 613 XU
Format: 2 × Vinyl, LP, Album
Genre: Jazz-Rock, Prog Rock
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Steve Winwood is the debut solo studio album by blue-eyed soulster Steve Winwood. It was released in 1977, three years after the break-up of his former band, Traffic. Though the album sold moderately well in the US, it was a commercial disappointment compared to Traffic’s recent albums, peaking at number 22 on the Billboard 200 album chart. In the UK, however, while Traffic’s recent albums had only been moderately successful, Steve Winwood reached number 12 on The Official Charts.
Rock fans had been waiting for a Steve Winwood solo album for more than a decade, as he made his way through such bands as the Spencer Davis Group and Traffic. When Winwood finally delivered with this LP, just about everybody was disappointed. Traffic had finally petered out three years before, but Winwood, using such former members as Jim Capaldi and Rebop Kwaku Baah, failed to project a strong individual identity outside the group. That great voice was singing the songs, that talented guitarist/keyboardist was playing them, and that excellent songwriter had composed them, but nothing here was memorable, and the long-awaited debut proved a bust.
Island Records launched two singles from the album, “Hold On” and “Time Is Running Out”, both of which failed to make the charts.
A1. Hold On – 4:31
A2. Time Is Running Out – 6:29
A3. Midland Maniac – 8:34
B1. Vacant Chair – 6:50
B2. Luck’s In – 5:26
B3. Let Me Make Something In Your Life – 5:48
- Steve Winwood – producer
- Robert Ash – assistant engineer
- Chris Blackwell – producer
- Phill Brown – recording engineer
- Fin Costello – photography
- Ray Doyle – assistant engineer
- Lee Hulko – mastering
- James Hutcheson – cover design, paintings
- Mark Miller Mundy – associate producer
Release: June 1977
Genre: Pop, Blue-Eyed Soul
Label: Island Records
Catalog# ILPS 9494
Cover: Lichte Gebruikerssporen
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Diamond is the second studio album by Spandau Ballet. It was released on 5 March 1982 by Chrysalis Records. The album was promoted with the single “Chant No. 1 (I Don’t Need This Pressure On)“, which was released in 1981, a full year before the album, and it reached #3 in the UK Singles Chart. The last single released, “Instinction“, reached #10.
With the new romantic movement they’d helped spearhead on the way out, futurist icons Spandau Ballet began thinking seriously about the future on their second album. The seeds of the group’s transition to a slick, MOR soul outfit can be heard in hits like “Chant No. 1,” the best song Spandau Ballet had come up with. More funk than rock, “Chant No. 1” got punctuation from the horn section of the British R&B act Beggar & Co., who were apparently a major inspiration for the track.
Diamond features other tentative moves toward an authentically soulful sound; the tuneless single “Paint Me Down” is all chattering rhythm guitar and popping bass, while “She Loved Like Diamond” offers an inferior trial run at the approach that would produce the global mega-hit “True” (this version has an underdeveloped melody, which is OK, since still-improving vocalist Tony Hadley wasn’t ready yet for a better one). The rest of the album sounds like the group had been listening too long to the second side of David Bowie‘s Heroes. “Pharoah” is off-kilter funk reminiscent of “The Secret Life of Arabia” — a dubious choice for emulation — and the gentle, oriental balladry of “Innocence and Science” segues into “Missionary,” a percussion-filled mood piece light on actual substance.
Although it’s an improvement on their debut, Diamond showed Spandau Ballet was musically still far behind likeminded acts such as Duran Duran, Ultravox, and Visage — a situation that would change somewhat with the band’s next, most successful album, True.
A1. Chant No. 1 (I Don’t Need This Pressure On) (4:07)
A2. Instinction (4:47)
A3. Paint Me Down (3:45)
A4. Coffee Club (5:32)
B1. She Loved Like Diamond (2:56)
B2. Pharaoh (6:37)
B3. Innocence and Science (4:27)
B4. Missionary (7:00)
All songs written by Gary Kemp.
- Flute, Saxophone – David ‘Baps’ Baptiste
- Horn [Arrangement] – Beggar & Co.
- Management – Steve Dagger
- Photography By – Andy Earl
- Producer, Horn [Arrangement] – Richard James Burgess
- Sleeve [Design] – Graham Smith
- Trombone – Nathaniel Augustin
- Trumpet – Canute Wellington
- Written-By, Horns [Arrangement] – Gary Kemp
- Tony Hadley – lead vocals, synthesizers
- Gary Kemp – guitar, keyboards, synthesizers, backing vocals
- Martin Kemp – bass, backing vocals
- Steve Norman – guitar, percussion, saxophone, backing vocals
- John Keeble – drums, backing vocals
Label: Chrysalis Records
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Wijdenbosch werd in 1978 benaderd door Simon Been om een beginnende band genaamd Braak, bestaande uit musici die voorheen Lenny Kuhr begeleid hadden, bij te staan met haar vocalen. Afwisselend zou Wijdenbosch songs met de band ten gehore brengen, dan weer zanger Hans Kosterman of Simon Been. Tot in het najaar van 1981 hield deze samenwerking stand, toen na een afmattende tournee om de LP “Suite voor een hypochonder” Been en Wijdenbosch besloten als duo Cherry verder te gaan.
Cherry behaalde diverse successen. Kenmerkend waren de zwoele jazzy stem van Wijdenbosch en de soms erotische, dan weer kritische teksten van Been. Een titelloze mini-LP viel op bij Frits Spits en “Vang me” werd Steunplaat en daarna een hit. Het daaropvolgende anti-racistische lied “Dame uit Suriname” werd een bescheiden hit.
A1. Elke Keer – 4:25
A2. Vang Me – 3:22
A3. Zoals ‘t Hoort – 4:07
A4. Geschift – 2:00
B1. Jokken – 3:22
B2. Leren Is Voor Helden – 4:53
B3. Cola Met Citroen – 4:01
Format: Vinyl, LP, 10″
Label: Vertigo Records
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A deeply spiritual group at the core – so much so that the songs here are all guided towards the aims of Krishna – but one who works with the best sort of jazzy soul styles of the late 70s! The album’s become a surprising modern soul classic over the years – a record that was originally aimed at a small audience, but which has moved into countless collections – thanks to its righteous message and warmly jazzy grooves – an approach that’s quite heavy on smooth keyboards too! Lead vocals are mostly by Chris McDaniels – who’s got a laidback blue-eyed soul approach – but a few other singers are featured as well – and Randy Brecker also plays a bit of trumpet on the record.
The singer has an alluringly androgynous, chilled-out voice, very similar to Sade’s; it could be a white dude or a black dudette, or anything in between. (The name Chris McDaniels doesn’t help much, but I’m pretty sure it’s a woman.) I feel like I’ve been waiting my whole life to hear this voice; it washes over my soul like some sort of magic elixir. You’d like this album if you liked Sade, Air’s Moon Safari, RAMP’s Come Into Knowledge, Sheer’s Absolutely Sheer, or some of the “downtempo” music of the ’90s-’00s (e.g. “Bloodstain” by UNKLE feat.
Alice Temple. But it has a casually propulsive lite funk / post-disco feel that makes it hard for me to want to sit around and overanalyze it. It’s just good summertime sunset music that is executed in a nuanced, sophisticated way; the lyrics are a strange blend of motivational, cosmic, and existential. Two songs mention Krishna, but I’m not sure if the band members were Hare Krishnas.
The inner labels on the LP feature the Hindu goddess Vishnu, and record label’s name seems to be a Hindu reference as well. Anyway, it’s better if you hear it without reading all that stuff I just said, because the essence of the album is its simple purity. De La Soul had a song called “A Roller Skating Jam Named ‘Saturdays’,” whose title I thought of for some reason while listening to this LP.
“Chanting” was sampled in the strange pro-vegetarian anthem “Beef” by Boogie Down Productions; “Within The Sound” was sampled in “Can I Live” by Black Rob & The LOX; I’m sure other songs were sampled by various other hip-hop acts.
*Back cover is a photo of Earth taken from the moon.
A1. Everything You See Is Me – 3:40
A2. Questions In My Mind – 2:52
A3. A Perfect Love – 3:38
A4. Just For Believing – 4:36
B1. Chanting – 4:55
B2. Within The Sound – 3:45
B3. When Will The Day Come – 3:58
B4. The Dream Is Over – 4:29
- Arranged By – London McDaniels (tracks: A1, A3 to B3)
- Backing Vocals – Bee Snow, Ruderial Blackwell
- Bass – Randy Covens
- Drums – Webb Thomas
- Engineer – Peter Robbins
- Engineer [Assistant] – Akili Walker
- Executive-Producer – Sri Rama Das
- Guitar, Arranged By [Horns, Strings] – London McDaniels
- Keyboards – Dave Webb
- Keyboards, Synthesizer – Roger Panansky
- Lead Guitar – Piers Lawrence
- Liner Notes – Adi Kesava Swami
- Saxophone – George Young
- Trumpet – Randy Breacker
- Vibraphone, Producer – Jorge Barreiro
- Vocals, Drums – Chris McDaniels
- Written-By, Producer – Andrew Marks
Label: Govinda Records – RA-106
Format: Vinyl, LP, Album
Genre: Jazz, Funk / Soul