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26
Apr

Mad Season – Above (1995)

mad season - above“Above” is the only studio album by the American rock band Mad Season, released on March 14, 1995 through Columbia Records.
Think of the one-shot Seattle supergroup Mad Season as the grunge version of sober living. Guitarist Mike McCready, best known as the main six-string slinger in Pearl Jam, met bassist John Baker Saunders while in rehab, and the two paired with Screaming Trees’ drummer Barrett Martin and Alice in Chains vocalist Layne Staley, partially in hopes of steering the singer onto the path of the straight and narrow. Ultimately, the plan didn’t pan out, but for a brief while, the quartet who adopted the name Mad Season did have their moment of clarity, captured on the 1995 album “Above”. There was a single issued to modern rock radio “River of Deceit” but this record downplayed easy hooks and melody in favor of churning introspection and slow vamps that occasionally flirt with blues (the never-ending 12-bar “Artificial Red,” balanced by the distorto riffs of “I Don’t Everything”), but usually conjure nothing more than the dank sludge of Seattle. Mad Season aren’t quite mired in the darkest areas of grunge they’re clever enough to let a saxophonist lend color to “Long Gone Day” but the lack of melodicism is a bit of a drag over the long haul, turning “Above” into a bit of heavy mood music. In a sense, it’s the id of Seattle run rampant: all the bands involved, outside of Saunders’ Walkabouts and Martin’s Trees (who were nevertheless considerably more popular than Saunders’ group), enjoyed commercial success in 1995, so they could have gotten away with anything and, in a sense, they did, as a major-label actually released this turgid bit of soul-baring heavy rock. McCready gets plenty of room for his elliptical guitar, the players has space to dig into their minor-key vamps, Staley essays his only set of completely original lyrics, but the whole thing feels kind of inert and indulgent, which may be appropriate for a band treating rock & roll as therapy.

 

Track listing

01.  “Wake Up”  – 7:38
02.  “X-Ray Mind”  – 5:12
03.  “River of Deceit”   5:04
04.  “I’m Above”   (Barrett Martin, Mike McCready, Mark Lanegan)  – 5:44
05.  “Artificial Red”  – 6:16
06.  “Lifeless Dead”  – 4:29
07.  “I Don’t Know Anything”  – 5:01
08.  “Long Gone Day”   (Martin, McCready, Lanegan)  – 4:52
09.  “November Hotel”  – 7:08
10.  “All Alone”  – 4:12

All lyrics by Layne Staley, except where noted.

Mad Season
Barrett Martin – drums, percussion, double bass, cello, marimba, vibraphone
Mike McCready – lead and rhythm electric and acoustic guitars
John Baker Saunders – bass guitar
Layne Staley – vocals, rhythm guitar, illustrations

Additional musicians and production
Brett Eliason – production, engineering, mixing
Sony Felho – engineering
Sam Hofstedt – assistant engineering
Mark Lanegan – vocals on “I’m Above”, “Long Gone Day”, “Locomotive”, “Black Book Of Fear” and “Slip Away”
Mad Season – production, art direction
Lance Mercer – photography
Gabrielle Raumberger – design
Skerik (Nalgas Sin Carne) – saxophone on “Long Gone Day”
Howie Weinberg – mastering

Notes
Recorded at: Bad Animals Studio, Seattle, Washington
Genre:  Alternative Rock, Grunge
Length:  55:36
Release:  1995

Label – Columbia Records

26
Apr

Andrew “Dice” Clay – The Day The Laughter Died (1990)

R-743189-1154249458_jpeg“The Day the Laughter Died” is a comedy double album by comedian Andrew Dice Clay, which was released in 1990. It was produced by record producer, Rick Rubin, and was recorded over two nights at Dangerfield’s in NYC. Rubin’s concept was to record an unadvertised performance in a small club, with a small crowd, many of which would not necessarily be fans of Clay’s act. Clay chose a New York club, owned by comedian, Rodney Dangerfield, Dangerfield’s, as well as to record during the holiday season. A sequel, The Day the Laughter Died, Part II was released in 1993. Sure he’s misogynistic and vulgar, but Andrew Dice Clay does have his humorous moments.
The album is largely improvisational, with Clay interacting with the audience over the course of over an hour and a half. The topics run through his usual gamut of sex, relationships between men and women, masculinity, religion and popular culture. However more so than his prior albums, the jokes are delivered intentionally flat and raw as to offend and alienate the audience turning the performance into the joke itself. Clay’s performance results in several members of the audience leaving the show early, some insulting him as they leave.

 

Track listing

Disc 1
01.  First Kiss  – 2:11
02.  Holiday Season  – 1:50
03.  The Three  – 1:20
04.  Texas  – 3:05
05.  Places To Meet Chicks  – 3:07
06.  The Gift  – 1:40
07.  The Devider  – 2:11
08.  Personal Delivery Service  – 3:52
09.  Female Anatomy  – 3:42
10.  Under 2 Minutes  – 3:30
11.  Kids  – 2:01
12.  Mothers, Daughtes & Sisters  – 2:49
13.  1990  – 2:13
14.  Jerkin’ Off  – 1:20
15.  Milk & Shampoo  – 5:39
16.  Laughter Vs. Comedy  – 1:07
17.  While The Cats Away…  – 3:19
18.  What’ll It Be  – 2:16
19.  Pizza  – 1:49
20.  Concave  – 1:07
21.  Frozen Foods  – 1:09

Disc 2
01.  The Osmonds  – 4:24
02.  Hot Mama  – 2:18
03.  Turn-On Words  – 0:34
04.  Rhyme Renditions  – 3:52
05.  True Stories  – 0:41
06.  Automatic Pilot  – 1:47
07.  Dogs & Birds  – 2:49
08.  Women Comics  – 3:20
09.  Cigarettes  – 2:16
10.  A History Lesson  – 2:00
11.  Judy  – 3:54
12.  Mother & Son  – 3:37
13.  A+  – 2:47
14.  What Did She Say?  – 1:15
15.  Double Date  – 2:25
16.  Multiple Sclerosis  – 0:27
17.  How Are Ya?  – 0:50
18.  Silence Is Golden  – 0:17
19.  Hour Back…Get It?  – 6:40
20.  Something Soft  – 4:44

Credits
Producer – Rick Rubin
All Written-By – Andrew Dice Clay

Notes
Recorded at Dangerfields NYC on December 26th and 27th 1989
Made in U.S.A.
Genre:  Non-Music, Comedy, Spoken Word
Length:  1:41:54
© 1990

Label – Def American Recordings

25
Apr

Nick Kamen – Whatever, Whenever (1992)

nicj kamenNick Kamen (born Ivor Neville Kamen, 15 April 1962 in Harlow, Essex, England is an English male model, songwriter and musician, and brother of session guitarist Chester Kamen and artist Barry Kamen.
Kamen attended St Marks RC Comprehensive School in Harlow along with his brother Chester. Kamen was first brought to the public’s attention in 1984 when Ray Petri featured him on the front cover of The Face. The cover showed him wearing a ski-hat, orange roll-neck sweater and aviator sunglasses. He is most remembered, in the UK, for his 1985 beefcake performance in Levi’s “Launderette” television commercial, where he strips down to stone-wash his blue jeans in a 1950s style public laundromat while he waits clad only in his boxer shorts, which was one of a series of Bartle Bogle Hegarty advertisements that dramatically increased the popularity of Levi 501s.
His first single was the 1986 UK number five hit “Each Time You Break My Heart” from his eponymous début album. Written and produced by Madonna and Stephen Bray. In 1992 Kamen released his fourth and last album to date, “Whatever, Whenever”.

 

Track listing

01.  We’ll Never Lose What We Have Found  – 4:39
        Written-By – Paxman, Kamen, Muggleton
02.  Whatever, Whenever  – 4:19
        Written-By – Guirey, Kamen, Andersen
03.  You’re Not The Only One  – 4:14
        Written-By – Guirey, Kamen, Andersen
04.  Nothing Rhymes Now  – 3:38
        Written-By – Guirey, Kamen, Andersen
05.  Did I Imagine You  – 4:21
        Written-By – Kamen
06.  This Time Is Our Time  – 4:35
        Written-By – Kamen
07.  Don’t You Know  – 4:04
        Written-By – Paxman, Kamen, Muggleton
08.  I Need You  – 4:51
        Written-By – Guirey, Kamen, Andersen
09.  There Was A Time In America  – 5:25
        Written-By – Kamen, Mazda
10.  You And I Are Here  – 4:13
        Written-By – Guirey, Kamen, Andersen
11.  I’ll Find Another Way   4:57
       Written-By – Paxman, Kamen, Muggleton

Credits
Backing Vocals – Judie Tzuke, Lena Fiagbe
Bass – Stuart Knowler
Guitar – David Ogilvy
Keyboards – Bob Noble
Keyboards, Drums – Toby Andersen
Keyboards, Guitar, Percussion, Backing Vocals – Paul Muggleton
Keyboards, Guitar, Percussion, Backing Vocals, Bass – Nick Kamen
Keyboards, Guitar, Percussion, Drums – Mike Paxman
Keyboards, Percussion, Drums – Kadir Guirey
Mixed By – Mark “Tufty” Evans
Design [Sleeve] – Barry Kamen
Photography By – Marc Lebon
Producer – Lotown, Paxman, Kamen, Muggleton

Notes
Recorded at: Lotown and Big Ocean.
Mixed at:  Big Ocean.
Genre:  Synth-pop
Lenght:  48:57
© 1990

Label – WEA Records

25
Apr

Concrete Blonde – Still In Hollywood (1994)

MI0002153345“Still in Hollywood” is a collection of unreleased material, live tracks and cover songs from alternative rock band Concrete Blonde.
With their brief moment of commercial success having long since faded, Concrete Blonde had essentially split by the time this collection was released. For fans, it’s a well-conceived treat, gathering together many of the band’s non-album tracks (although most had been available as B-sides). There’s really not a track that won’t be a delight to the band’s devoted following. There are a handful of well-chosen cover songs. Leonard Cohen’s “Everybody Knows” is given a suitably ominous treatment and there is a beautiful, heartfelt take on the Cheap Trick ballad “Mandocello.” Early college radio hit “God Is a Bullet” appears as a brutal live version (with some searing guitar work from James Mankey). The band’s punk roots show on another live track, “The Sky Is a Poisonous Garden,” and the chilling “Tomorrow, Wendy” retains its potency in a sparse, stripped-down version, showing off Johnette Napalitano’s compelling vocal abilities. The B-side originals are consistently good, with the swaggering, loner lyrics and Mankey’s spidery, twang guitar making “100 Games of Solitaire” especially noteworthy. The liner notes are concise, but informative, and Still in Hollywood is a well-done packaging of work that reinforces Concrete Blonde as a very talented creative unit.

 

Track listing

01.  It’ll Chew You Up And Spit You Out  – 4:34
        (alternate version of “Still In Hollywood” from Concrete Blonde (album)
        Producer – Concrete Blonde, Earle Mankey
02.  Everybody  – 4:43
        Written-By – Leonard Cohen, Sharon Robinson / Producer – Dennis Herring
03.  Free  – 3:10
        Written-By – Concrete Blonde
04.  God Is A Bullet (Live)  – 4:20
        Written-By – Concrete Blonde
        Drums – Paul Thompson
05.  Probably Will  – 2:51
        Written-By – J. Napolitano
06.  Mandocello  – 4:21
        Written-By – Rick Nielsen / Producer – Concrete Blonde, Sean Freehill
07.  The Ship Song  – 4:19
        Written-By – Nick Cave
        Vocals [Duet With] – Steve Wynn
08.  Joey (Acoustic)  – 4:07
        Written-By – J. Napolitano
09.  Little Wing  – 4:13
        Written-By – Jimi Hendrix / Recorded By – Earle Mankey
10.  Roses Grow (Live)  – 3:08
       Written-By – Concrete Blonde
11.  The Sky Is A Poisonous Garden (Live)  – 4:05
       Written-By – B. Moreland, J. Napolitano
12.  Bloodletting (The Vampire Song) (Extended Version)  – 7:07
       Written-By – J. Napolitano / Producer – Chris Tsangarides, Concrete Blonde
       Remix – Concrete Blonde, Earle Mankey
13.  Simple Twist Of Fate  – 5:44
       Written-By – Bob Dylan / Producer – Jim, Johnette
14.  Side Of The Road  – 4:37
       Written-By – J. Napolitano / Producer – Jim, Johnette
15.  100 Games Of Solitaire  – 3:36
       Written-By – J. Napolitano
       Bass [Featuring] – Tom Peterson
16.  Tomorrow, Wendy (Live)  – 4:28
       Written-By – A. Prieboy
       Drums – Paul Thompson

Credits
Johnette Napolitano – vocals, bass, percussion, synthesizer, guitar, keyboard, piano
Jim Mankey – guitar, synthesizer, washboard, bass, percussion, vocals
Harry Rushakoff – drums, percussion, vocals
Al Bloch – guitar
Paul Thompson – drums, timpani, percussion
Gabriel Ramirez-Quezada – drums

Art Direction – Lisa Sparks
Engineer, Mixed By – Sean Freehill
Liner Notes – Sig Sigworth, Steve Karas
Mastered By – Doug Schwartz
Other [Front Cover Model] – Roger
Photography By [Additional] – Anne Sperling, Howard Rosenberg, Margot Reyes, Rick Fernandez, Tom Gracyk, Tony Mott
Photography By [Front Cover] – Lisa Sparks, Rick Fernandez
Producer – Concrete Blonde
Producer [Compilation] – Sig Sigworth
Recorded By – Sean Freehill
Recorded By, Mixed By – Rob Bingston

Notes
Track 4 recorded live at the Vic Theater in Chicago on March 17th, 1981.
Track 8 recorded live on “Hangin’ With MTV.”
Tracks 10, 11 and 16 recorded at the Malibu Nightclub in Long Island.
Genre: Alternative Rock
Length: 1:09:35
Released: November 1, 1994

Label – I.R.S. Records

24
Apr

Malo – Evolution (1973)

malo - evolutionMalo was an American Latin-tinged rock and roll group. The San Francisco-based ensemble was led by Arcelio Garcia and Jorge Santana, the brother of Latin-rock guitarist, Carlos Santana.
Four of Malo’s original members (Santana, Leo, Garcia, Tellez, and Bean) had previously played in the band, The Malibus. The other three founding members (Abel Zarate, Roy Murray, and Richard Spremich) had played together in the group, Naked Lunch.
“Evolution” was Malo’s third album within a year. Perhaps because of that rapid pace and another shift in supporting players around the core trio of Jorge Santana, Pablo Tellez, and Arcelio Garcia, the band was starting to sound more formulaic and anonymous. There was a heavier reliance on fusion jazz keyboards and a lower fire in Jorge Santana’s guitar than there had been on the band’s initial two albums. It’s still competent and often pleasing Latin rock/jazz, given as ever to lengthy but taut, well-structured instrumental sections. And there was, again, a soul-slanted romantic song that seemed more pointed toward the singles market than most of their repertoire, “I Don’t Know.” The most Latin-oriented facets of the band came to the fore on “Merengue” and “Dance to My Mambo,” as their sappiest pop leanings did on “All for You.” When set against tougher, funkier items like “Street Man,” the band did not seem to be maintaining their eclecticism as much as starting to lose some of their focus.

 

Track listing

01.  “Moving Away”   (Ron Smith/James Cicero)  – 7:17
02.  “I Don’t Know”   (Sonny Henry)  – 6:04
03.  “Merengue  ” (Francisco Aquabella/Arcelio Garcia, Jr.)  – 7:03
04.  “All For You”   (Ron DeMasi/Jorge Santana/Pablo Tellez)  – 4:04
05.  “Dance to My Mambo”   (Forrest Buchtel /Arcelio Garcia, Jr.)  – 4:40
06.  “Entrance to Paradise”   (Pablo Tellez /Ismael Versoza)  – 5:09
07.  “Street Man”   (Pablo Tellez /Arcelio Garcia, Jr./Ron DeMasi)  – 5:05

Credits
Arcelio Garcia – vocals, percussion
Pablo Tellez – bass, vocals
Francisco Aquabella – bongos, congas, timbales, percussion, vocals
Ron DeMasi – electric piano, organ, clavinet, vocals
Tony Smith – drums, vocals
Jorge Santana – guitar
Carlos Federico – piano
Al Zulaica – piano
Steve Sherard – trombone, vocals
Forrest Buchtel – trumpet
Ron Smith – trumpet
Producer – David Rubinson

Notes
Recorded at Wally Heider Studio, San Francisco, and Funky Features, San Francisco.
Genre: Latin Rock
Length: 39:22
© 1973

Label – Warner Bros.

24
Apr

The Joe Perry Project – Let The Music Do The Talking (1980)

R-5016867-1382319457-5181_jpegThe Joe Perry Project is an American rock band formed by Aerosmith lead guitarist Joe Perry. Perry started working on forming the band shortly before his departure from Aerosmith in 1979. The Joe Perry Project signed a record deal almost immediately after Perry’s exit from the band with Aerosmith’s label, Columbia Records, who were disappointed with the chaos in the Aerosmith camp and hoping to maneuver Perry back into Aerosmith. “Let the Music Do the Talking” is the first album. It was also the most successful. The title song, “Let the Music Do the Talking” was then covered and rerecorded by Aerosmith on their album “Done With Mirrors”.
Joe Perry split from Aerosmith under less than favorable circumstances in 1979, directly assembling a solo band, the Joe Perry Project (with Ralph Mormon [vocals], David Hull [bass], and Ronnie Stewart [drums]), which soon released its first album, 1980’s Let the Music Do the Talking. Unlike his former band, which would now take excessive amounts of time to record albums that should have been cranked out quickly, L.T.M.D.T.T. recalled the brash and trashy appeal of early Aerosmith. Maybe because he wanted to show his former bandmates that he could succeed without them, the performances were extremely inspired, while the songwriting was sharp and focused. The anthemic title track was aimed at all the in-press bickering that was going on at the time between Aerosmith and Perry. While subsequent Perry Project albums didn’t contain many Perry lead vocal spots, the singing on the debut is split 50/50 between Perry and Mormon. Tracks such as “Conflict of Interest,” “Discount Dogs,” “Shooting Star,” and “Rocking Train” were all up-tempo highlights, and the instrumental “Break Song” showed off the fantastic interplay between the new band, while “The Mist Is Rising” was more low-key. A truly great and underrated record, “Let the Music Do the Talking” could have been a classic Aerosmith release if the drugs hadn’t split the band apart.

 

Track listing

01.  “Let The Music Do The Talking”   (Joe Perry)  – 4:42
02.  “Conflict Of Interest”   (Joe Perry)  – 4:43
03.  “Discount Dogs”   (Perry, Ralph Morman)  – 3:42
04.  “Shooting Star”   (Joe Perry)  – 3:39
05.  “Break Song”   (Perry, David Hull, Ronnie Stewart)  – 2:06
06.  “Rockin’ Train”   (Perry, Morman)  – 6:02
07.  “The Mist Is Rising”   (Joe Perry)  – 6:30
08.  “Ready On The Firing Line”   (Joe Perry)  – 3:54
09.  “Life At A Glance”   (Joe Perry)  – 2:41

Credits
Ralph Morman – Vocals
Joe Perry – Guitar, Vocals, Keyboards, Synthesizers
David Hull – Bass, Vocals
Ronnie Stewart – Drums, Percussion
Arranged By The Joe Perry Project
Produced By Joe Perry and Jack Douglas
Engineered & Mixed By Lee DiCarlo
Producer(s) Joe Perry and Jack Douglas

Notes
Manufactured By – CBS Records Canada Ltd.
Mastered At – Sterling Sound
Genre: Hard Rock
Length: 36:39
© 1980

Label – Columbia Records

24
Apr

Flamin´ Groovies – Shake Some Action (1976)

R-1311019-1354363259-4470_jpeg“Shake Some Action” is the fifth album by the San Francisco rock band the Flamin’ Groovies, released in 1976.
A lot had happened with the Flamin’ Groovies in the nearly five years that separated the epochal Teenage Head album and their return to American record racks with Shake Some Action. The Groovies lost their record deal with Buddah, lead singer Roy Loney had quit the band leaving Cyril Jordan as uncontested leader, and they had spent a lot of time in Europe, building a significant following in the United Kingdom. As a result, the Flamin’ Groovies on Shake Some Action almost sound like a different band, albeit one driven by a similar obsession with the utter coolness of pre-hippie rock & roll. (The fact that Jordan and bassist George Alexander were the only holdovers from the Teenage Head lineup probably had a lot to do with the different approach as well.) The rawer blues and rockabilly accents were gone from The Groovies’ sound, with the guitar-fueled cool of the British Invasion era taking their place. While this version of the Flamin’ Groovies didn’t rock out with the same manic fervor as they did on Flamingo or Teenage Head, they could indeed rock when they felt so inclined, as demonstrated by the glorious “Please Please Girl,” “I Can’t Hide,” and “Let the Boy Rock and Roll,” while the Brit-flavored take on “St. Louis Blues” showed that some shades of the old band were still visible. And the title cut was a stunner a brilliant evocation of the adventurous side of British rock circa 1966, “Shake Some Action” was tough, moody, wounded, and gloriously melodic all at once, and by its lonesome served as a superb justification for The Groovies’ new creative direction. If Shake Some Action was the first salvo from the new and improved Flamin’ Groovies, it also demonstrated that this edition of the band had as much promise as the Loney-fronted group.

 

Track listing

01.  “Shake Some Action”   (Cyril Jordan, Chris Wilson)  – 4:34
02.  “Sometimes”   (Gene Thomasson)  – 2:21
03.  “Yes, It’s True”   (Cyril Jordan, Chris Wilson)  – 2:29
04.  “St. Louis Blues  ” (W.C. Handy)  – 2:39
05.  “You Tore Me Down”   (Cyril Jordan, Chris Wilson)  – 2:50
06.  “Please Please Girl”   (Cyril Jordan, Chris Wilson ) – 2:04
07.  “Let the Boy Rock ‘n’ Roll”   (Joe Butler, John Sebastian)  – 2:18
08.  “Don’t You Lie to Me”   (Chuck Berry)  – 2:27
09.  “She Said Yeah”   (Roddy Jackson, Sonny Christy)  – 1:38
10.  “I’ll Cry Alone”   (Cyril Jordan, Chris Wilson)  – 2:15
11.  “Misery”   (John Lennon, Paul McCartney)  – 1:39
12.  “I Saw Her”   (Hunter, Jordan)  – 2:41
13.  “Teenage Confidential”   (Cyril Jordan, Chris Wilson)  – 2:45
14.  “I Can’t Hide”   (Cyril Jordan, Chris Wilson)  – 3:12

Credits
Cyril Jordan – vocals, guitar, keyboards
Chris “Poet” Wilson, Chris Wilson – vocals, guitar
Dave Edmunds – guitar, piano
James Ferrell – guitar, background vocals
Danny Mihm, David Wright, David Wright – drums
George Alexander – background vocals
Producer – Dave Edmunds
Executive Producer – Greg Shaw

Notes
“Guitarist Cyril Jordan and new singer Chris Watson ditched the Stonesy riffs
of yore for chiming Beatles melodies and Kinks nous.”
Recorded at Rockfield Studios Monmouth, South Wales
Liner Notes – David Brearley
Photography By – Armand Haye
Art Direction [Original Art Direction] – Tom Wilkes
Design [Revised] – Lighthouse Print
Produced at Rockfield Studios Monmouth, South Wales.
Genre: Rock and roll, power pop
Length: 35:56
© 1976

Label – Sire Records

23
Apr

Desmond Child & Rouge – Desmond Child & Rouge (1979)

folderDesmond Child (born John Charles Barrett, October 28, 1953) is an American musician, professional songwriter, and producer. He is a member of the Songwriters Hall of Fame.
It was in Miami, that he formed the group ‘Desmond Child and Rouge’ in 1973 with singers Maria Vidal and Diana Grasselli. Soon after, he moved the group to New York City to pursue their musical dreams, where they recruited another singer, Myriam Valle.
If the goal of this self-titled debut album by Desmond Child & Rouge was to give the listener a bittersweet tour of New York’s mean streets, they did a marvelous job. This album paints a vivid picture of urban life, and the group brilliantly captures the highs and lows of life in the big city. Both musically and lyrically, this album is a gem. The group’s soul-influenced style of pop/rock is quite distinctive, and the characters in Child’s songs are so New York inspired that some reviewers compared him to Billy Joel. They had had a dance hit, “Our Love Is Insane”, but Child tends to have more of an inner-city influence on treasures like “Westside Pow Wow” and “City in Heat” he speaks of gang members and graffiti artists and describes inner-city life with the type of insights you would expect from a hip-hopper. “Otti” is a poignant ode to a 19-year-old street kid who is a master of skateboarding but unsuccessful in romance, while “The Fight” (which Child co-wrote with David Landau and Kiss’ Paul Stanley) takes a look at the gritty world of boxing. And through it all, Child’s affection for New York comes through even though he isn’t blind to the city’s faults. Had justice prevailed, this LP would have been a major hit. But it seemed like Desmond Child & Rouge was simply too creative, too visionary for its own good.

 

Track listing

01.  Westside Pow Pow  – 3:25
        Horns – George Young, Jimmy Buffington, Michael Brecker, Randy Brecker
        Lead Vocals – Desmond
        Soloist, Guitar – Elliott Randall
02.  Our Love Is Insane  – 5:19
        Lead Vocals – Diana
        Mixed By – John LuongoSoloist, Guitar – David Landau
03.  Lovin’ Your Love  – 3:08
        Lead Vocals – Myriam
04.  The Fight  – 4:18
        Arranged By [Synthesizer] – Rick Wakeman
       Lead Vocals – Desmond
05.  Main Man  – 3:30
       Lead Vocals – Maria
       Soloist, Guitar – Elliott Randall
06.  City In Heat  – 3:49
        Arranged By [Guitar] – Larry Saltzman
07.  Lazy Love  – 3:26
       Lead Vocals – Maria
       Soloist, Guitar – David Landau
08.  Otti  – 3:06
        Lead Vocals – Desmond
        Soloist, Guitar – Larry Saltzman
09.  Givin’ In To My Love  – 2:55
        Lead Vocals – Desmond
       Soloist, Guitar – Elliott Randall

all songs written-by – David Landau, Desmond Child, Paul Stanley

Credits
Vocals – Maria Vidal, Diana Grasselli, Myriam Valle
Bass – John Siegler, Neil Jason
Drums – Alan Schwartzberg, John Susswell
Guitar – David Landau, Elliott Randall, Jeff Layton, Jeff Miranoff, Joe Caro, Larry Saltzman
Keyboards – Desmond Child, Paul Shaffer, Ralph Schucket
Arranged By – Charlie Calello
Mastered By – Ken Perry
Percussion – Jimmy Maeulen, Rubens Bassini
Photography By – Ciro Barbaro
Concertmaster – Gene Orloff
Engineer [Assistant] – Bill Stein, Larry Gates
Engineer [Camp Colomby] – Larry Rosen
Engineer [Media Sound] – Godfrey Diamond
Producer – Richard Landis
Remix – Michael De Lugg

Notes
Recorded and remixed at: Media Sound, New York, NY / Camp Colomby Studio, New City, NY
Genre:  Art Rock, Disco, Funk
Length:  33:24
© 1979

Label – Capitol Records

23
Apr

The New Power Generation – (1995) Exodus

folder“Exodus” is a 1995 album by The New Power Generation, also known as The NPG, is the backing group of musician Prince.
Although the track listing boasts 21 tracks, many of them are narrative segues, leaving only nine actual songs. Of those, one is an instrumental. The album spawned three singles, however only one was released in the U.S.
The album’s title was seen as mysterious by most people, due to Prince’s quirks and unusual behavior in various interviews given during promotion of the album. Howevever, in an interview, former NPG dancer Mayte Garcia made a statement regarding the album’s title and concept:
“Well, you know, the Exodus… you can look at in a lot of different ways. It’s an exit from a lot of things, an exit from a way of thinking and a way of doing things to do something new. To do something other so, you know, we’ve taken off on this Exodus stuff and we’re gonna make a mark out here and do some different things.”
In the same interview, Morris Hayes added on to Mayte’s statement and said:
“Times are changing and you know I think people have to start understanding that as things progress, things, situations have to change. That’s the natural progression of life. As things change, then you either change or you’re left behind.”
While their previous album, “Goldnigga” was more hip-hop oriented, “Exodus” is more of a pure funk offering, strongly influenced by the sound of Parliament and P-Funk. This album still downplays Prince’s involvement in the band, with “Tora Tora”, another in the long line of Prince’s personas, as a background vocalist whose face is covered with a red veil (evidenced in the video of “The Good Life”). The front man for the NPG on this release is bass player Sonny T. who handles the lead vocals. Prince does provide lead vocals on two tracks, “Return of the Bump Squad” and “The Exodus Has Begun” using manipulated vocals and is clearly present on many of the spoken segues, although sometimes using a disguised accent.

 

Track listing

01.  “NPG Operator Intro”  – 0:35
02.  “Get Wild”  – 4:32
03.  “segue”  – 0:38
04.  “DJ Gets Jumped”  – 0:22
05.  “New Power Soul”  – 4:10
06.  “DJ Seduces Sonny”  – 0:38
07.  “segue”  – 0:43
08.  “Count the Days”  – 3:24
09.  “The Good Life”  – 5:48
10.  “Cherry, Cherry”  – 4:45
11.  “segue”  – 0:18
12.  “Return of the Bump Squad”  – 7:20
13.  “Mashed Potato Girl Intro”  – 0:21
14.  “segue”  – 3:00
15.  “Big Fun”  – 7:26
16.  “New Power Day”  – 3:49
17.  “segue”  – 0:14
18.  “Hallucination Rain”  – 5:49
19.  “NPG Bum Rush the Ship”  – 1:40
20.  “The Exodus Has Begun”  – 10:06
21.  “Outro”  – 0:37

Credits
Vocals [Assorted Shouts And Insperation] – Levi Seacer, Jr.
Vocals [Assorted Vox] – Kimm James
Voice Actor [NPG Operator] – Rain Ivana
Backing Vocals [Background Vox] – Eric Bradford, James McGregor, Kathleen Bradford, Michael Bradford, Steeles, The
Backing Vocals [Background Vox], Other [Spanish Vibe & Hallucinations] – Mayte
Bass, Lead Vocals [Lead Vox], Backing Vocals [Background Vox] – Sonny T.
Double Bass, Vocals [Vox], Performer [Other Shit] – Tora Tora
Drums, Vocals [Vox] – Michael B.
Featuring [Appears Courtesy] – Artist (Formerly Known As Prince), The
Guitar – Michael Scott
Horns – New Power Generation Hornz
Organ, Synthesizer, Vocals [Vox] – Mr. Hayes
Piano, Keyboards [Purpleaxxe], Vocals [Vox] – Tommy Barbarella
Programmed By – Statik
Saxophone, Flute – Eric Leeds
Scratches – Brother Jules
Violin [Electric] – Denis Boder
Artwork – Debbie McGuan, Michael Van Huffel, Steve Parke
Engineer [Assistant] – Kimm James, Kyle Bess, Shane Keller
Engineer, Mixed By – Chronic Freeze, Ray Hahnfeldt, Steve Durkee
Mastered By – Brian Gardner, Ray Hahnfeldt
Co-producer [Associate Prodution], Arranged By – Kirk Johnson
Producer, Arranged By, Composed By, Performer – New Power Generation, The

Notes
“This album is dedicated to the memory of His Royal Badness”
Recorded & Produced At: Paisley Park Studios
Genre: Funk, Swing, Hip Hop
Length: 66:14
© 1995

Label – NPG Records

23
Apr

Lulabox – Lulabox (1993)

R-408890-1403499857-7964_jpegLulabox were a London-based three-piece shoegaze band active from 1993 to 1994.
Consists of lead singer Mary Cassidy, guitarist Mike Cozzi, and multi-instrumentalist Stephen Ferrera. Similar in sound to bands like Curve or My Bloody Valentine, they combine ethereal melodies and aggressive grooves.”
Well, the first sentence is correct, but the album is an unintentionally hilarious attempt at aping Curve, two years before Garbage succe$$fully pulled it off. Even the magenta artwork and song titles echo Curve, and the singer sings in the same register as Toni Halliday, and is dolled up to look almost exactly like Toni in the booklet. And lots of the flaccid beats are moderately electronic. The problem with Lulabox is that there’s no menace or kinkiness bubbling under the surface, as there was with Curve (and MBV). “Ava” is the best song, reminiscient of In Ribbons-era Pale Saints. Lulabox and Angelfish (Shirley Manson’s pre-Garbage band) were both on the same label (Radioactive) at the same time!

 

Track listing

01.  Ride On – 3:57
        Written-By – Mary Cassidy / Michael Cozzi / Steve Ferrera / Jimmy MacCarthy
02.  Love Street – 3:58
        Written-By – Mary Cassidy / Michael Cozzi / Steve Ferrera / Lyman
03.  I Believe – 3:40
        Written-By – Mary Cassidy / Michael Cozzi / Steve Ferrera
04.  Ivory Hill  – 4:01
        Written-By – Mary Cassidy / Michael Cozzi / Steve Ferrera
05.  Prayer For Rain  – 4:00
        Written-By – Mary Cassidy / Michael Cozzi / Steve Ferrera
06 . Choked  – 4:11
        Written-By – Mary Cassidy / Michael Cozzi / Steve Ferrera
07.  Wild Cherry Bark  – 4:09
        Written-By – Mary Cassidy / Michael Cozzi / Steve Ferrera
08.  Giving It All Away  – 3:54
        Written-By – Mary Cassidy / Michael Cozzi / Steve Ferrera
09.  Precious Thing  – 4:10
        Written-By – Mary Cassidy / Michael Cozzi / Steve Ferrera
10.  Ava  – 4:08
        Written-By – Mary Cassidy / Michael Cozzi / Steve Ferrera
11.  Ride On (Velocity Mix)  – 5:07
        Written-By – Mary Cassidy / Michael Cozzi / Steve Ferrera / Jimmy MacCarthy
       (Programmed By – Richard Dekkard, Remix – Mindwarp)
12.  I Believe (Below The Belt Mix)  – 4:42
        Written-By – Mary Cassidy / Michael Cozzi / Steve Ferrera

Credits
Mary Cassidy – vocals
Michael Cozzi – guitar
Stephen Ferrara – drums, bass, keyboards, percussion, prorgamming
Engineer Paul Gomersall
Producer – Lulabox, Ray Shulman

Notes
Audio Mixers: Steve Casper; Kevin Killen; Lulabox; Ray Shulman.
Recorded at: Orinoco, Metropolitan Studios, Agar Zoo Studios and The Convent, London, England.
Genre:  Shoegazer, Rock
Length:  50:03
© 1993

Label – Radioactive Records

23
Apr

The Motels – Apocalyso (1982)

The_Motels_apocalypso“Apocalyso” was intended to be the third studio album by the band The Motels, recorded between April and August, 1981, but it was rejected by the Capitol Records promotions department. The album that was re-worked and released was “All Four One”. “Apocalypso” remained unreleased until 2011.
McGovern left the band, and the remaining members: Martha Davis, Marty Jourard, Michael Goodroe, and Brian Glasscock, along with Val Garay as producer forged on to create the 1982 “All Four One.” With the exception of “Tragic Surf,” everything was either re-recorded or shelved completely. Now, thirty years later, Omnivore Recordings has dug up the original recordings as well as added demos and alt versions for the CD release. Motels/Martha Davis fans will love this without a doubt, but anyone who appreciates excellent rock music from an era when experimentation was still alive will also love the tracks presented here. Thank you Omnivore for releasing this, and thank you Martha and the then band for recording some of the most dark and soul-inspiring songs rock music has ever known. This collection may have been “lost,” but now it will never be “forgotten.”
The album was released in 1982 as The Motels’ official third studio record and was the band’s first commercial success, featuring the timeless “Only The Lonely,” which would go Top 10 on the Billboard charts.

 

Track listing

01.  “Art Fails”   (Martha Davis, Tim McGovern)  – 2:58
02.  “Tragic Surf”   (Davis, McGovern)  – 3:52
03.  “Only the Lonely”   (Davis)  – 3:28
04.  “Schneekin'”   (Davis)  – 4:12
05.  “So L.A.”   (Davis)  – 3:36
06.  “Apocalyso”   (Davis)  – 4:07
07.  “Mission of Mercy”   (Davis)  – 3:37
08.  “Lost but Not Forgotten”   (Davis)  – 4:26
09.  “Who Could Resist That Face”   (Davis)  – 4:12
10.  “Sweet Destiny”   (Davis)  – 2:12

Bonus Tracks (2011 Remastered)
11.  “Art Fails”  (alternate version)  (Davis, McGovern)   – 2:56
12.  “Don’t You Remember”  (4-track demo)   (Michael Goodroe)  – 6:18
13.  “Tragic Surf”  (4-track demo)   (Davis, McGovern)  – 3:57
14.  “Fiasco”  (4-track demo)   (Marty Jourard)  – 3:11
15.  “Obvioso”  (4-track demo)   (Goodroe)  – 3:14
16.  “Only the Lonely”  (4-track demo)   (Davis)  – 3:42
17.  “Only the Lonely”  (TV mix)   (Davis)  – 3:41

The Motels
Martha Davis: Vocals, Rhythm Guitar
Tim McGovern: Lead Guitar
Marty Jourard: Keyboards, Saxophone
Michael Goodroe: Bass
Brian Glascock: Drums

Production
Produced by Val Garay
Produced for Release, 2011 by Cheryl Pawelski
Arranged by Tim McGovern
Assistant Production by Niko Bolas

Notes
Recorded: April–August, 1981
Genre: New wave
Length: 1:03:39
© 1982/2011

Label – Omnivore Recordings

22
Apr

The Screaming Jets – Tear Of Thought (1992)

Tear+Of+ThoughtThe Screaming Jets returned in 1992 with their second full-length album “Tear of Thought”. Their most successful release (going double platinum in Australia and producing five singles), “Tear of Thought” established them as stars rather than just another pub rock band. Musically, the disc continues in the vein of hard rock established by their debut, although this time the band experiments with some new musical direction, including the jazz-influenced “Helping Hand” and a faithful cover of the Boys Next Door classic, “Shivers.” With enough raw power to delight fans and enough experimentation to keep critics happy, “Tear of Thought” was an enjoyable, but ultimately disposable, example of Australian hard rock.
The album starts as all should with a jugonaught of a song, that manages to pump you up so you feel like you can take on the world, or drive really fast. The rest of the album doesn’t let up. There are some sublime touches such as Helping Hand which is Jazz number injected with some Hard Rock Big Band moments. They’re like the Foo Fighters and Metallica rolled into one.
Excellent – …while making the most of hard rock’s necessary obnoxiousness, Screaming Jets infuse a degree of knowingness that make the whole package listenable….most tracks are solidly riff-driven…. refreshing…

 

Track listing

01.  “Dream On”  – 4:56
02.  “Here I Go”  – 4:39
03.  “Meet Anybody”  (Grant Walmsley)  –  3:22
04.  “Alright”  – 3:09
05.  “Night Child”  – 3:59
06.  “Helping Hand”  – 4:50
07.  “Everytime”  – 4:12
08.  “Living In England”  (Walmsley)  – 2:19
09.  “Think”  – 4:48
10.  “Best of You”  – 4:10
11.  “Rich Bitch”  – 2:38
12.  “Tunnel”  (Dave Gleeson, Richard Lara)  – 4:38
13.  “Hard Drugs”  – 3:03
14.  “Sick and Tired”  – 3:35
15.  “Shivers”  (Rowland Howard)  – 4:26
16.  “Feeble  – 4:19

All songs written by Paul Woseen, except where noted.

Credits
Dave Gleeson – vocals
Richard Lara – guitar
Grant Walmsley – guitar, backing vocals
Paul Woseen – bass guitar
Brad Heaney – drums
Mastered By – Leon Zernos, Steve James
Mixed By – David Price, Micajah Ryan
Mixed At – Rhinoceros Studios
Producer – Steve James

Notes
Recorded At – Gotham Audio
Genre: Rock, pub rock
Length: 63:16
© 1992

Label – rooArt Records

22
Apr

Phish – Hoist (1994)

MI0000035626“Hoist” is the fifth official studio album by the American rock band Phish, released on March 29, 1994, by Elektra Records.
The band suggested a few ideas for the album’s title before finally settling on “Hoist”; one of the alternative suggestions was “Hung Like a Horse”. The band ruled this out, but decided to keep the visual joke intact for the album’s cover. The horse is also a reference to “The Horse,” the only song not visually depicted on the cover of Rift, the band’s previous album.
“Hoist” features guest appearances from Alison Krauss, Béla Fleck and a host of other musicians, as well as actor Jonathan Frakes on trombone. With its jazz, blues, soul and bluegrass influences, the album is marked by more stripped-down, straightforward songwriting and pop-friendly hooks, a somewhat new approach for Phish.
However, the album’s final track, “Demand”, segues into an extended instrumental excerpt from the April 21, 1993, live performance of the song “Split Open and Melt”, followed by the first verse and refrain of the Hebrew song “Yerushalayim Shel Zahav (Jerusalem of Gold).
“Riker’s Mailbox” is a brief interlude track on the album, and the only “song” on the album to have never been performed live by the band. Album producer Paul Fox lived next to Jonathan Frakes, whose mailbox is apparently uniquely decorated. Frakes, who played Commander Riker on Star Trek: The Next Generation, sat in for a while during the Hoist sessions, giving his name to the track.
Phish’s strength is not songcraft or hooks, it’s the band’s love of free-form song structures and extended jams. When the group’s sound is reduced to its core, as it is on Hoist, it isn’t quite as compelling. Nevertheless, the album is an improvement on the dismal Rift and features several fine cuts.

 

Track listing

01.  “Julius”  – 4:42
02.  “Down with Disease”  – 4:07
03.  “If I Could”  (Anastasio)  – 4:09
04.  “Riker’s Mailbox”  (Anastasio, Jon Fishman, Mike Gordon, Page McConnell)  – 0:26
05.  “Axilla (Part II)”  – 4:28
06.  “Lifeboy”  – 6:54
07.  “Sample in a Jar” 4:41
08.  “Wolfman’s Brother”  (Anastasio, Fishman, Gordon, Marshall, McConnell)  – 4:28
09.  “Scent of a Mule” (Gordon)  – 4:02
10.  “Dog Faced Boy”  (Anastasio, Fishman, Marshall, McConnell)  – 2:11
11.  “Demand”  – 10:42

All songs written and composed by Trey Anastasio, Tom Marshall, except where noted.

Phish
Trey Anastasio – guitars, vocals
Page McConnell – keyboards, vocals
Mike Gordon – bass guitar, vocals
Jon Fishman – drums, vocals

Special Guests
Morgan Fichter – violin on “Lifeboy”
Alison Krauss – additional vocals on “If I Could”
Rickey Grundy Chorale – backing vocals on “Julius”
Rose Stone & Jean McClain – backing vocals on “Julius” and “Down With Disease”
Tower of Power Horn Section – horns on “Julius” and “Wolfman’s Brother”
Jonathan Frakes – trombone on “Riker’s Mailbox”
Bela Fleck – banjo on “Riker’s Mailbox”, “Lifeboy,” and “Scent of a Mule”
The Richard Greene Fourteen – strings on “If I Could”

Notes
Recorded: October–November 1993, American Recording Co., Woodland Hills, California
Mixed By, Recorded By: Ed Thacker
Producer: Paul Fox
Genre: Rock
Length: 50:28
© 1994

Label – Elektra Records

22
Apr

Lucifer’s Friend – ….Where The Groupies Killed The Blues (1972)

fwhere_the_f39fe1343972d476df0f1aOn their second album, Lucifer’s Friend pushes their sound in a more straightforward prog-rock direction with mixed results. The resulting album, Where the Groupies Killed the Blues, shows the band had the instrumental dexterity necessary for this style of music but lacked the discipline to create focused and coherent art rock. The album is riddled with instrumental solos that seem so different from the songs surrounding them that they often feel like they have been arbitrarily added to the songs. A good example of this problem is “Rose on the Vine”: it features an arresting, Black Sabbathish guitar riff that is effectively doubled by the vocal melody but makes the mistake of burying these hooks in a series of noodly keyboard and guitar solos. The numbers that work the best are the ones that cut back the excesses and play up the group’s songwriting skills: “Hobo” is a keyboard layered rocker built on a solid array of riffs and a dramatic vocal from John Lawton, and “Burning Ships” is an acoustic-based number that utilizes the band’s instrumental chops to create a compelling atmosphere for the strong tune at its core. Ultimately, Where the Groupies Killed the Blues is neither fish nor fowl: it is too artsy and jazzy to please heavy metal fans, yet is too full of guitar bombast to make a comfortable listen for prog fans. It has enough moments of interest for anyone seriously interested in the work of Lucifer’s Friend, but will most likely be seen by casual listeners as an interesting misfire.

 

Track listing

01.  “Hobo”  – 3:42
         Words By – John Lawton / Written-By – J. Lawton, P. Hesslein
02.  “Rose on the Vine”  – 8:19
         Words By – John O’Brien-Docker / Written-By – J. O’Brian Docker, P. Hesslein
03.  “Mother”  – 7:25
         Words By – John O’Brien-Docker / Written-By – J. O’Brian Docker, P. Hecht
04.  “Where the Groupies Killed the Blues”  – 5:04
         Words By – John O’Brien-Docker / Written-By – D. Horns, J. O’Brian Docker
05.  “Prince of Darkness”  – 5:37
         Words By – John O’Brien-Docker / Written-By – J. O’Brian Docker, P. Hesslein
06.  “Summerdream”  – 8:56)
         Words By – John O’Brien-Docker / Written-By – J. O’Brian Docker, P. Hesslein
07.  “Burning Ships”  – 4:34)
         Words By – John Lawton / Written-By – D. Horns, J. Lawton, P. Hesslein

Credits
Vocals – John Lawton
Piano, Organ, Electric Piano, Synthesizer [Moog], Mellotron – Peter Hecht
Drums, Percussion – Joachim Rietenbach
Guitar, Acoustic Guitar, Percussion, Vocals – Peter Hesslein
Electric Bass [Fenderbass], Double Bass [Bass-fiddle] – Dieter Horns
Arranged By [Strings & Brass] – Peter Hecht
Arranged By [The Group] – Lucifer’s Friend
Design [Album Design] – Witt
Engineer – Conny Plank
Photography By – Foth
Producer – J. Rietenbach, C. Plank, D. Horns, H. Hildebrandt, P. Hecht, P. Hesslein

Companies etc
Pressed By – Deutsche Grammophon Gesellschaft Pressing Plant
Recorded At – Windrose-Dumont-Time Studios
Recorded At – Star Studio Hamburg
Lacquer Cut At – Deutsche Grammophon Gesellschaft Pressing Plant

Notes
Recorded at Windrose – Dumont Time Studio & Star Music Studio, Hamburg, January 1972
Genre:  Jazz-Rock, Progressive Rock
Length:  41:24
© 1972

Label – Vertigo Records

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