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Jimmy Page – Outrider (1988)

James Patrick “Jimmy” Page, OBE (born 9 January 1944) is an English musician, songwriter, multi-instrumentalist, and record producer who achieved international success as the guitarist and leader of the rock band Led Zeppelin.

jimmy page“Outrider” is an album by Jimmy Page, released by Geffen Records on 19 June 1988. It is his first solo studio album.
This was originally intended to be a two album release. However, during the early recording stages of this album, Page’s house was broken into and amongst the items stolen were the demo tapes which had been recorded up to that point. Page didn’t record any demos prior to recording the album itself.
For those dogs that like their Led Zeppelin without any frills, this is the bone for you. Years after the tragic end to Led Zeppelin, Jimmy Page released “Outrider” to very little fanfare, but if guitar rock is your thing, then this is definetly one for you, not a single keyboard used, and don’t let that fool you into thinking the sound isn’t full, think again this is Mr. Jimmy Page we’re talking about here. Jason Bonham occupies the drum stool for seven of the nine tracks, and a more than adequate job he does of it to, you can never compare two musicians fairly, but let us just say that his father would have been more than proud. To these floppy ears it’s the instrumentals on the album that really take the biscuit, showing the likes of Eric Johnson & Kenny Wayne Shepherd how to play with flash but keep it interesting. Although all the songs sound as if they have been recorded by a band who’ve known each other for years, actually Jimmy uses 2 drummers, 3 bassists & spread over the 6 vocal tracks 3 vocalists, the very underrated John Miles (he of “music” fame) handles the first brace with his usual aplomb. Chris Farlowe (“Tears Go By”, Atomic Rooster & Colosseum) takes the final curtain calls, when he engagingly stutters his opening delivery of “I’ve be a b-b-b-b-b-bad b-boy and I’ve been a bad boy all night long” you can actually hear him smirk & wink over Page’s bleeding electric guitar, of course after this the lyrics descend even further into bloke rock, and the guys seem to be having the time of their lives. The final vocalist used is of course Jimmy Page’s old sparring partner, Percy himself Mr. Robert Plant, and it’s a credit to the other two that this song is not the stand out track of the album, I think that has to go to the 12-bar of “Prison Blues”, if Mott could get his paws round a guitar neck, this is the way he’d play guitar, with legs astride, head thrown back, in front of 250,000 screaming women. As in the last quote this album may be a little self indulgent, but they sure don’t make albums like this anymore, and to make sure it was just right Jimmy Page even produced the whole thing himself, at his personal studio The Sol.


Track listing

01.  “Wasting My Time”   (Page, Miles)  – 4:28
02.  “Wanna Make Love”   (Page, Miles)  – 5:20
03.  “Writes of Winter” (Instrumental)   (Page)  – 3:27
04.  “The Only One”   (Page, Plant)  – 4:27
05.  “Liquid Mercury” (Instrumental)   (Page)  – 3:04
06.  “Hummingbird”   (Leon Russell)  – 5:22
07.  “Emerald Eyes” (Instrumental)   (Page)  – 3:20
08.  “Prison Blues”   (Page, Farlowe)   7:10
09.  “Blues Anthem (If I Cannot Have Your Love…)”   (Page, Farlowe)  – 3:24

Jimmy Page – guitars, synthesizer, vocals, production
Barriemore Barlow – drums, percussion
Jason Bonham – drums, percussion
Chris Farlowe – vocals
Tony Franklin – bass guitar
Felix Krish – bass guitar on
Durban Laverde – bass guitar on
John Miles – vocals
Robert Plant – vocals

Peter Ashworth – photography
Dick Beetham – assistant engineering
Steve Hoyland – assistant engineering
JL – artwork and cover co-ordination
George Marino – mastering at Sterling Sound, New York
Leif Mases – engineering, mixing
Jimmy Page – producer

Release date: 19 June 1988
Recorded: Early 1987, The Sol, Cookham, Berkshire, England, United Kingdom
Genre:  Blues Rock
Length:  39:50
© 1988

Label – Geffen Records


KMFDM – Xtort (1996)

 KMFDM (originally Kein Mehrheit Für Die Mitleid, loosely translated as “no pity for the majority”) is an industrial band led by German multi-instrumentalist Sascha Konietzko, who founded the group in 1984 as a performance art project. KMFDM has released nineteen studio albums and two dozen singles, with sales of more than two million records worldwide.

KMFDM“Xtort” (stylized as XTOЯT), released on June 25, 1996 on Wax Trax!/TVT, is the ninth studio album by industrial rock group KMFDM. It was recorded in Chicago, Illinois, from the end of 1995 through early 1996, shortly after the death of Wax Trax! co-founder and band friend Jim Nash. Xtort features a variety of guest artists from the industrial music scene and studio musicians from other genres, but includes limited participation from core member En Esch.
The album was massively promoted by TVT Records, which pressed tens of thousands of free copies of the first single, “Power”. Band leader Sascha Konietzko created his own form of promotion, issuing a press release that both disparaged and lauded the coming set. Xtort was generally well received by critics, with many calling it superlative, and is the highest charting and best-selling KMFDM album to date. After the original release went out of print, a remastered version was released in 2007.
“XTORT” doesn’t sound markedly different than KMFDM’s other releases there are still the bruising mechanical drum beats and numbingly drilling guitars, combined with barked vocals. What’s noticeable about XTORT their first album since industrial broke into the Top 40 with Nine Inch Nails’ The Downward Spiral is how the band made no concessions to the pop/rock mainstream whatsoever. They are still the same grimy, dank heavy dance band they were in the ’80s. For some listeners, that means they’re keeping the flame burning and, to a certain extent, they’d be right KMFDM sounds as good as they ever have, and several tracks rank among their best. But, over a decade into their career, it would be nice to hear the band branch out and start to experiment a little bit more.


Track listing

01.  “Power”   (Sascha Konietzko, Günter Schulz)  – 5:26
02.  “Apathy”   (Mark Durante, Konietzko, Schulz)  – 3:11
03.  “Rules”   (Chris Connelly, Durante, Konietzko, Schulz)  – 4:07
04.  “Craze”   (Connelly, Konietzko, Schulz)  – 3:34
05.  “Dogma”   (Nicole Blackman, F. M. Einheit, Konietzko, Schulz)  – 4:06
06.  “Inane”   (Durante, Konietzko, Schulz)  – 5:30
07.  “Blame”   (Connelly, Konietzko, Schulz)  – 4:06
08.  “Son of a Gun”   (Konietzko, Schulz, Jon Van Eaton)  – 4:23
09.  “Ikons”   (Connelly, Einheit, Konietzko, Schulz)  – 4:12
10.  “Wrath”   (Konietzko, Schulz, Van Eaton)  – 5:29
11.  “Fairy”   (Jr Blackmail, Konietzko, Schulz)  – 4:27   (originally a hidden track at the end of “Wrath” on Wax Trax!/TVT release)

Mark Durante – guitar
Sascha Konietzko – vocals, bass, synthesizers, programming, drums, mixing
Bill Rieflin – drums
Günter Schulz – bass, guitar, piano, mixing, photography

Additional personnel
Dorona Alberti – vocals
Bruce Bendinger – voice
Bruce Breckenfeld – Hammond B3 organ
Jr Blackmail – narration
Nicole Blackman – vocals
Michael Cichowicz – trumpet
Chris Connelly – vocals
F. M. Einheit – whipping, banging, and breaking stuff, lawnchairs, rubble, rocks and dirt (
En Esch – voice, guitar solo
Steve Finkel – saxophone
Jennifer Ginsberg – background vocals
Jack Kramer – trumpet
Ron Lowe – drill and vacuum cleaner
Bob Samborski – trombone
Jon Van Eaton – noise
Cheryl Wilson – vocals

Chris Shepard – production, engineering, mixing
John Van Eaton – assistant production
Ron Lowe – assistant engineering
Claudine Pontier – assistant engineering
Konrad Strauss – mastering
Brian Gardner – remastering
Paul Elledge – photography
Justin Gammon – photography
Brute! – cover art
Produced – Sascha Konietzko, Günter Schulz, Chris Shepard

Released: June 25, 1996
Recorded: Late 1995 – early 1996 (Chicago, Illinois)
Genre:  Industrial Metal
Length:  48:46
© 1996

Label – Wax Trax!/TVT


Tom Kimmel – 5 to 1 (1987)

Tom Kimmel (born Thomas Eugene Hobbs II in 1953 in Memphis, Tennessee), is an American singer-songwriter and poet. Kimmel is known as a songwriter, and his compositions have been recorded by many popular artists, including Johnny Cash, Waylon Jennings, Linda Ronstadt, Joe Cocker and Randy Travis.

tom kimmel“That’s Freedom”, the lead track on his “5 To 1” album, was co-written by Kimmel and gave him a Billboard Hot 100 hit as a solo artist. The song later became a Top 10 hit for Australian singer John Farnham in late 1990.
Remember being transfixed by the obviously-sincere emotional outpouring of Tom’s sugar-coated sandpaper vocals on that number. In an era when “glam rock” was taking over, it was refreshing to discover a new artist who dared defy the trends and present something more meaningful.
There are some real stand-outs on this album in addition to the truly patriotic “That’s Freedom”. “Shake” is a valiant anthem to dance, a rocker that ebbs and flows like a whirling gypsy. “A to Z” is the obligatory love ballad that strives to cover the broadest of emotions. “True Love” is a bold, joyful number that’ll rattle your rib cage and shake your heart loose. You might have heard the moving ballad “Heroes”; this paen to those who drive and inspire us to better ourselves has been recorded by others, including Southern Pacific. It’s one of my personal favorites on the album. “Violet Eyes” is a true gem. I’m at a loss to describe what this powerful number evokes. You really have to hear it. Finally, the title cut is a sobering look at returning home after an extended leave, and discovering rust devouring the shiny things you’d thought were permanently chrome-plated.
His songs have also been featured in television series including Miami Vice, Touched by an Angel and Dawson’s Creek and in films including Twins, Runaway Bride and Serendipity.


Track listing

01.  “That’s Freedom”   (Jeanne Anne Chapman, Tom Kimmel)  – 4:20
02.  “Shake”   (Tom Kimmel)  – 4:16
03.  “Tryin’ to Dance”   (Tom Kimmel)  – 3:20
04.  “A to Z”   (Tom Kimmel)  – 4:20
05.  “True Love”   (Tom Kimmel)  – 4:53
06.  “Heroes”   (Jennifer Kimball, Tom Kimmel)  – 4:28
07.  “On the Defensive”   (Tom Kimmel)  – 3:58
08.  “Violet Eyes”   (Tom Kimmel)  – 3:35
09.  “Tech”   (Kim Kimmel, Tom Kimmel)  – 2:32
10.  “5 to 1″   (Tom Kimmel)  – 6:14

Tom Kimmel – Vocals, Guitars
Kenny Greenburg – Guitars
Mike Lawler – Piano, Keyboards
Michael Joyce – Bass
Joe Vitale – Drums
Mixed By – Bob Clearmountain
Producer – Bill Szymczyk

Mixed At:  Power Station
Genre:  Rock
Length:  41:56
© 1987

Label – Vertigo Records


Kid Frost – Hispanic Causing Panic (1990)

Arturo Molina Jr. (born May 31, 1964), better known as Frost (Originally Kid Frost), is an American hip hop recording artist. He is from windsor, California. He began his music career in 1982 as Kid Frost as a tribute to his rival Ice-T, whom he often battled in the music industry. In an interview Frost stated that his first actual DJ was in fact Dr. Dre and DJ Yella. He soon became a breakdancer for Uncle Jamms Army.

kid_frost-hispanic_causing_panic_a“Hispanic Causing Panic” is the debut album by rapper, Kid Frost (Arturo Molina Jr.), a Mexican American hip hop artist.The album was released in 1990 for Virgin Records and is considered to be one of the first Latin rap albums, setting the stage for later releases by groups like Cypress Hill. The album featured the hit single, “La Raza” This album is classic, and honestly even though it’s not representative of most Chicano rap that you hear nowadays, you can see how Frost set the stage with a couple of tracks, especially “La Raza”. “La Raza” is immortal the first of its kind when it comes to Chicano rap.
The whole album definitely has a very old-school feel to it, with the voice clips starting many of the tracks. As another reviewer mentioned, he seems to borrow from earlier black rappers. Some of the tracks his flow sounds a little like LL Cool J, because he has a hard and direct delivery, but then again many rappers had a somewhat similar sound at this time. Best Tracks on the album are, “Ya Estuvo”, this one is really cool and pioneering for the time. Kid Frost delivers a rap line by line, first in Spanish then in English.
“Homicide Frost” shows off his “storytelling” skills in this. He begins, “This is a dramatization…. Homicide, on the murder scene/ another frustrated gang-related senseless slaying/ victim, a young product of the projects/ system, the sad fact is that nobody’s gonna miss him” “Hispanic Causing Panic”. Even though the word Hispanic is like fingernails on a chalkboard to The Sisters Garcia, we recognize that the track was made a time with the word was new and Frost was just trying it out, so we forgive him. This track has a great flavor.
Frost is way ahead of his time. His lyrics and observations are much more astute than the Chicano rap losers that are popular today like “Mr. Capone-E” and “Lil Cuete”, but unfortunately the same can be said for most rap in general. If you’d like to take a trip back to the golden age and see how it all got started.


Track listing

01.  “La Raza”   (Arturo Molina, Jr., Tony Gonzales, Gerald Wilson)  – 3:29
02.  “Hold Your Own”   (Arturo Molina, Jr. Nick Vidal, Eric Vidal)  – 3:40
03.  “Straight To The Bank”   (Eric Vidal, Nick Vidal, Mark Santiago)  – 3:51
04.  “Come Together”   (Arturo Molina, Jr., Will Griffin)  – 5:07
05.  “Smoke”   (Arturo Molina, Jr., Tony Gonzales)  – 4:02
06.  “Ya Estuvo”   (Will Griffin, George Anthony Perez)  – 4:05
07.  “Homicide”   (Arturo Molina, Jr., Tony Gonzales)  – 3:52
08.  “Hispanic Causing Panic”   (Arturo Molina, Jr., MC A.L.T., 3rd Generation)  – 3:29
09.  “In The City”   (Arturo Molina, Jr., Will Griffin)   4:47
10.  “La Raza (Cantina Mix)”   (Arturo Molina, Jr., Tony Gonzales, Gerald Wilson)  – 4:42

Kid Frost – Rap
Mitch Rafel – Saxophone
Bob Dog – Guitar
Professor Baldwin – Percussion
Tommy D. – Harmonica
Nick Vidal – Scratches
D.J. Battlecat – Scratches
Mastered By – Stephen Marcussen
Mixed By – Mark Williams
Producer – Tony G, The Baker Boyz, Will Roc, Julio G

Recorded & Mixed at: Wildcat Studios
Genre:  Hip Hop
Length:  41:04
© 1990

Label – Virgin Records


Quincy Jones – The Best (1982)

Quincy Delight Jones, Jr. (born March 14, 1933) is an American record producer, conductor, arranger, composer, musician, television producer, film producer, instrumentalist, magazine founder, entertainment company executive, and humanitarian. His career spans six decades in the entertainment industry and a record 79 Grammy Award nominations, 27 Grammys.

R-1295500-1352303656-5647_jpegQuincy Jones’ A&M recordings, which roam gradually from the maestro’s old big-band base to smoothly polished assaults on the pop charts, are given a cursory glance here. Special attention is paid to 1974’s Body Heat, the big initial plunge into mainstream soul and the later hit albums “Sounds…And Stuff like That” and “The Dude”, at the expense of the early Creed Taylor-produced albums (“Killer Joe” is the sole representative) and transition records like Smackwater Jack (“What’s Going On,” with its anemic vocal by Q). One reason why this best-of collection does not do justice to its subject is that it barely touches upon the fascinating tracks from all of Jones’ A&M phases that feature galaxies of jazzmen. It is decent entertainment, though, for casual listening.
This album is amazing not only for those of us wishing to delve into the world of, the finest record producer of our time, but if you just wanna chill and put your feet up at the end of a long, hard day, this is sure to raise a smile!.


Track listing

01.  “Stuff Like That”  – 3:00
       Vocals – Chaka Khan, Nickolas Ashford, Valerie Simpson
02.  “Everything Must Change”  – 6:05
       Vocals [Lead] – Bernard Ighner
03.  “Body Heat”  – 4:18
       Vocals – Leon Ware
04.  “Betcha’ Wouldn’t Hurt Me”  – 3:33
       Vocals – Patti Austin
05.  “Killer Joe”  – 4:12
06.  “Ai No Corrida”  – 4:20
       Vocals [Lead] – Charles May
07.  “If I Ever Lose This Heaven”  – 3:32
       Vocals – Leon Ware, Minnie Riperton
08.  “Just Once”  – 4:32
       Vocals – James Ingram
09.  “I’m Gonna Miss You In The Morning”  – 3:34
       Vocals – Luther Vandross, Patti Austin
10.  “What’s Going On?”  – 3:20
       Vocals – Quincy Jones, Valerie Simpson

Artwork By [Design] – Chuck Beeson
Compilation Producer – Ed Eckstine
Mastered By – Frank DeLuna

Manufactured by RTB Records under licence from A&M Records Inc.
Mastered at A&M Recording Studios
Release date: 1982
Genre:  Soul, Funk, Jazz
Length:  40:26
© 1982

Label – A&M Records


Patrick Juvet – Got A Feeling (1978)

Patrick Juvet (born 21 August 1950, in Montreux, Switzerland) is a former model turned singer-songwriter, who had a string of hit records in France. While his early career was focused on making pop records, he found international success as a disco music performer in the latter half of the 1970s.

patrick juvetThis 1978 album by the tall handsome French singer was produced by Jacques Morali at Sigma Sound in NYC so the music sounds like your fairly typical disco of the era, a style dominated by strings, horns and guitars. In addition, Juvet’s high voice resembles the BeeGees falsetto vocals of the phenomenal “Saturday Night Fever” soundtrack, making “I Love America” even more characteristic of the time. That, however, doesn’t mean that it’s derivative or mediocre. The catchy uptempo “Got A Feeling” which was a club hit I’m sure, is followed by the rather tepid ballad “Another Lonely Man”. Then the fun starts with the 2nd best track “Where Is My Woman”, a tuneful foot-tapper with a mix of French and English lyrics and an expansive, spacious sound. This song was co-written by the French synth-master Jean Michel Jarre. There was also a French only version titled “Ou Sont les Femmes?” which was a chart hit in Europe.
The highlight of the album is of course the 14-minute suite “I Love America”, an exuberant celebration of the United States, its sounds, its cities and its sense of life.


Track listing

1.  “Got A Feeling”   (J.Morali, P.Juvet, V.Willis)  – 3:30
2.  “Another Lonely Man”   (J .Morali, P.Juvet, V.Willis)  – 4:00
3.  “Where Is My Woman”   (J.M. Jarre, P. Juvet, V. Willis)  – 7:14
4.  “I Love America”   (J.Morali, P.Juvet, V.Willis)  – 14:02
5.  “Got A Feeling” (12 Inch Version)   (J.Morali, P.Juvet, V.Willis)  – 5:50
6.  “I Love America” (7 Inch Edit)   (J.Morali, P.Juvet, V.Willis)  – 3:37

Vocals – Patrick Juvet
Rhythm Guitar – Rodger Lee
Timbales – M. Grillo
Lead Guitar – Jimmy Lee
Percussion – Babatunde Olatunji, G. Devens, P. Whitehead, P.C. Kraus
Bass – Alfonso Carey
Congas – E. Bennett
Drums – Russell Dabney
Electric Piano [Fender Rhodes], Clavinet – Nathanial (Crocket) Wilke)
Arranged By [Rhythm And Percussion Arrangements] – J. Morali
Arranged By [Strings And Horns], Conductor [Strings And Horns] – Horace Ott
Arranged By [Vocal Arrangements] – J. Morali, V. Willis
Engineer – Geoff Daking, Gerald Block
Engineer [Assistant] – C. Bandini, J. Paci, V. Carlson
Executive-producer – Henri Belolo
Illustration [Verso] – Patrice Larue
Photography By – Tony Frank
Producer – Jacques Morali, Patrick Juvet

Produced for Can’t Stop Productions N.Y.C.
Recorded at Sigma Sound Studios, N.Y.C. and Sound Mixers, N.Y.C.
Release date:; 15 May 1978
Genre:  Disco
Length:  38:16
© 1978

Label – Casablanca Records


Eddie Howell – The Eddie Howell Gramophone Record (1975)

Eddie Howell is a British singer who has a hit in the Netherlands in 1976 with the song ‘”Man From Manhattan”. That there is a connection between Eddie Howell and Queen, is obvious but also somewhat mysterious.

howell_tehgr“The Eddie Howell Gramophone Record” was the first album by Eddie Howell not long after he was signed to Warner Brothers, released sometime in October 1975. Eddie Howell could called as a One Hit Wonder.
The relationship between Eddie Howell and Queen is obvious but also somewhat mysterious. About the truth circulating two versions … Version 1: Howell made an album in 1975 called “The Eddie Howell Gramaphone Record”, which was contributed by both Phil Collins on drums, as by Brian May and Freddie Mercury. That last drew even for the production. On some songs was also to hear Gary Moore. “Man From Manhattan” was one of the songs on the album.
And then version 2: Eddie Howell know Freddie Mercury only learned during a performance. His album “The Eddie Howell Gramaphone Record” was then almost ready, but Mercury suggested to re-record “Man from Manhattan” with him as a producer and Brian May on guitar. What is certain is that both Freddie Mercury and Brian May have their musical stamp printed on the number.
Few tracks from the Queen-related discography are among the general public as undervalued as “Man From Manhattan”. The song reached in July 1976, the 6th place in the Dutch Top-40.
But who knows, the Queen a little number is specific and should soon come to the conclusion that the British have to do something with this track. The song by one-hit-wonder Eddie Howell was produced by Freddie Mercury and Brian May’s guitar contained. Both also did background stories. And that can be heard: in particular, the energetic eruptions in the song sound 100% Queen. And in particular the solo of May gives it Furthermore what sweet number just a nice rough edge.


Track listing

01.  “Man From Manhattan”  – 3:25
02.  “Happy Affair”  – 2:50
03.  “First Day In Exile”  – 2:53
04.  “Miss Amerika”  – 3:22
05.  “If I Knew”  – 3:01
06.  “Young Lady”  – 2.54
07.  “Walls”  – 2:17
08.  “Chicago Kid”  – 1:14
09.  “Can’t Get Over You”  – 3:28
10.  “Waiting In The Wings”  – 2:49
11.  “Little Crocodile”  – 2:54
12.  “You’ll Never Know”  – 4:02
13.  “Enough For Me”  – 2:32
14.  “Don’t Say You Love Me”  – 3:20
15.  “You Come to Mind  – 4:20
16.  “Touch of Love  – 3:33

All songs written by Eddie Howell

Eddie Howell – acoustic guitar, vocals, kazoo, mellotron, glockenspiel
Phil Collins – drums, percussions, snare drums, vibes, congas
Percy Jones – fender bass
Robin Lumley – fender rhodes, piano, autoharp, mellotron, organ, bass
John Goodsall – electric guitars
Gary Moore – acoustic guitar
Jack Lancaster – tenor, soprano saxophones, flutes
Davis Minns – whispered vocals
Martin Kitkat – whispered vocals
Dennis MacKay – congas
Gaspar Lawai – african percussions
Jerome Rimson – fender bass
Charming Lemmings – additional percussions
Tony Sadler – classical acoustic guitar

Arranged By [Brass] – Dennis MacKay, Eddie Howell, Robin Lumley
Design [Graphics] – Colin Elgie
Design [Photographic Effect] – Hipgnosis
Engineer – Dennis MacKay
Photography By – Mike Putland
Producer – Dennis MacKay, Robin Lumley
Written-By – Eddie Howell

Release: 1975
Genre:  Pop, Rock
Length:  48:54

Label – Warner Bros. Records


Chuck Brown – Your Game… Live At The 9:30 Club, Wahington, D.C. (2001)

Charles Louis “Chuck” Brown (August 22, 1936 – May 16, 2012) was an American guitarist and singer who is affectionately called “the Godfather of Go-go”. Go-go is a subgenre of funk music developed in and around Washington, D.C. in the mid and late 1970s. While its musical classification, influences, and origins are debated, Brown is regarded as the fundamental force behind the creation of go-go music.

R-1282674-1357330340-8840_jpegPerhaps no musician more defines a city and a sound than Chuck Brown does “Washington, D.C.” and go-go. At the age of 67, the godfather of go-go has entertained three generations and still plays to thousands of fans at least three times a week in the D.C./Maryland/Virginia triangle. Go-go is the same age as hip-hop, and shares all of its urban bombast, but it’s a live-band thing, and a community thing too. When disco DJs threatened to displace cabaret bands in the ’70s, Chuck invented the kinetic, syncopated go-go backbeat and put together continuous funkified sets of originals and covers linked by generous crowd shout-outs and sizzling percussive breakdowns. This recent set, featuring appearances by Trouble Funk and Rare Essence luminaries, has it all: Chuck’s exquisite baritone, brilliant musicianship, go-gofied hip-hop, blues and jazz, and breakbeats you can fit a trailer into.
Even an avid R&B fan may not be familiar with go-go music of the 1970s. The unique polyrhythmic style blended horns, bass, and keyboard and eventually became the forerunner to ’80s groups like EU and Trouble Funk as well as the Miami bass music of the ’80s and ’90s. While his unique sound has lived on, Chuck Brown, one of the genre’s originators, has had relatively little commercial success, except for his 1978 hit “Bustin’ Loose.” Recorded in January 2001 in front of a lively hometown crowd in “Washington, D.C., Your Game: Live at the 9:30 Club” is an attempt to shed some light on Brown’s influential work. Brown brings his fans plenty of funk in “Wind Me Up Chuck/Hoochie Coochie Man” and “Walk to the Witches Castle.” He also brings his unique take on ’70s classics such as Herbie Hancock’s “Chameleon” and the Stylistics’ “People Make the World Go Round.” While Your Game: “Live at the 9:30 Club” is unlikely to make Brown a household name, it is an excellent introduction to the genre of go-go music.
If you don’t know anything about go-go or Chuck, “Your Game…Live At The 9:30 Club” might the best introduction you’re ever likely to hear. It’s definitely one of the best records of 2001.


Track listing

01.  “Wind Me Up Chuck / Hoochie Coochie Man”  – 6:21
02.  “Feel Like Movin’ That Body”  – 1:05
03.  “Chameleon”  – 6:17
04.  “Get Your Hands Up / Playing Your Game”  – 7:24
05.  “It’s Love”  (Featuring – Cherie Mitchell)  – 5:27
06.  “2001 (That’ll Work)”  – 5:23
07.  “People Make The World Go Round”  – 5:11
08.  “Wind Us Up Funk & Benny”  – 4:58
09.  “One On One”  (Featuring – Jas Funk, Little Benny)  – 4:43
10.  “Hey Go Go Mickey”  – 2:06
11.  “No Diggy”  (Featuring – Big Tony)  – 3:23
12.  “Do You Know What Time It Is”  (Featuring – Andre “Whiteboy” Johnson)  – 3:44
13.  “Go Go Swing Outro”  (Featuring – Big Tony, Jas Funk, Little Benny)  – 5:45
14.  “Hah Man” (Sinbad, Main Title)  – 2:09

Vocals – Andre “Whiteboy” Johnson, Chuck Brown, Jas Funk, Little Benny Harley, Robert “Dyke” Reed, Big Tony Fisher
Guitar – Andre “Whiteboy” Johnson, Chuck Brown
Bass – Glenn Ellis
Drums – Milton Smith
Keyboards – Cherie Mitchell, Mark “Godfather” Lawson
Percussion – “Go Go” Mickey Freeman*, Robert Green
Saxophone – Bryan Mills
Trombone – Greg Boyer
Trumpet – Brad Clements

Release Date: May 15, 2001
Genre:  Funk, Soul, GOgo
Length:  1:06:29
© 2001

Label – Raw Venture Records


Impact – Impact (1976)

Damon Harris (born Otis Robert Harris, Jr., July 17, 1950 – February 18, 2013) was an African-American soul and R&B singer, most notable as a member of The Temptations from 1971 to 1975. Twenty years old when he joined the group, Harris was the youngest member of The Temptations during his tenure in the group.

frontAs a teenager Harris had formed a Temptations tribute band named The Young Tempts (aka The Young Vandals). The group had charted singles released on T-Neck Records, and later had a few minor hits under the name Impact. He also was instrumental in his former singing group partner, Billy Griffin, getting the opportunity to replace Smokey Robinson in The Miracles. Harris later founded and CEO of The Damon Harris Cancer Foundation dedicated to promoting the awareness, diagnosis, and treatment of prostate cancer.
After leaving the group, the dejected Harris decided to reform The Young Vandals with Simms, Timmons (Kareem Ali), and Tilghman, renaming the group Impact, and signing a deal with Atco Records in 1976. Working with a Philadelphia soul production team, Impact recorded a number of minor soul and disco hits, including “Happy Man” and the #5 disco hit “Give a Broken Heart a Break”. The group released only one album on Atco, 1976’s Impact, before being dropped from the label because of low sales. Impact signed with Fantasy Records in 1977 and issued the album “The Pac is Back”, which also suffered from slow sales. The group disbanded and Harris recorded some solo singles of his own including 1978’s “It’s Music”, and the album Silk.


Track listing

01.  “Happy Man”   (Bobby Eli, Charles Kelly)  – 6:08
02.  “Taboo”   (Bobby Eli, Len Barry)  – 4:46
03.  “Friends”   (Bobby Eli, Terry Collins)  – 3:03
04.  “Give A Broken Heart A Break”   (Bobby Eli, Len Barry)  – 5:57
05.  “One Last Memory”   (Bobby Eli, Len Barry)  – 5:30
06.  “Love Attack”   (Bobby Eli, Len Barry)  – 3:30
07.  “Winning Combination”   (Bobby Eli, Phil Hurtt)  – 3:30
08.  “Man And Woman”   (Bobby Eli, Vinnie Barrett)  – 4:00
09.  “It Only Happens In The Movies”   (Bobby Eli, Lee Philips)  – 3:19

Lead Vocals, Synthesizer [Moog] – Damon Otis Harris
Vocals – John Quintin Simms
Vocals – Charles Timmons
Vocals – Dexter Wansel
Bass – Michael “Sugar Bear” Foreman
Congas, Percussion – Darrell Rhodes, Larry Washington
Drums – Jerry Jones
Guitar – Bobby Eli, Norman Harris, TJ Tindall
Horns – Tower Of Power Horn Section
Keyboards – Carlton “Cotton” Kent, Ron “Have Mercy” Kersey
Strings, Horns – Don Renaldo And His Horns And Strings
Typography [Lettering] – Don Strailey
Vibraphone [Vibes] – Vincent Montana, Jr.

Arranged By [Backing Vocals, Strings, Horns] – Bobby Eli
Arranged By [Backing Vocals] – Impact
Arranged By [Horns] – Greg Adams
Art Direction, Design – Arnie Roberts
Coordinator [Album] – Alan Rubens, Bobby Eli, Murry Swartz, Steve Bernstein
Engineer [Recording] – Carl Paruolo, Dirk Devlin, Jay Mark, Kenny Present
Executive-Producer – Alan Rubens, Steve Bernstein, WMOT Productions
Illustration – Charles Santore
Liner Notes – Dede Dabney
Mastered By – ΔM
Photography By – Paul Wilson
Producer – Bobby Eli

Companies etc
Manufactured By – Atlantic Recording Corporation
Phonographic Copyright (p) – Atlantic Recording Corporation
Copyright (c) – Atlantic Recording Corporation
Pressed By – Monarch Record Mfg. Co.
Recorded At – Sigma Sound Studios
Mastered At – Frankford/Wayne Recording Labs
Overdubbed At – Wally Heider Studios

Produced for WMOT Productions
Recorded at Sigma Sound Studios, Philadelphia, Pa
Mastered at Frankford/Wayne Recording Labs, Phila., Pa
Horns overdubs recorded at Wally Heider Studios, San Francisco, Cal.
Genre:  Soul, Funk
Length:  40:15
© 1976

Label – ATCO Records


Robert Hunter – Tales Of The Great Rum Runners (1974)

Robert C. Hunter (born June 23, 1941) is an American lyricist, singer-songwriter, translator, and poet, best known for his work with the Grateful Dead and for collaborating with singer-songwriter Bob Dylan.

robert hunter“Tales Of The Great Rum Runners” is Robert Hunter’s first solo LP and the second album to be released on the Grateful Dead’s Round Records label. Jerry Garcia, Mickey Hart and Keith and Donna Godchaux play on the album. It includes one song that became a regular in the Grateful Dead repertoire.
On his debut album, supported by several members of the Grateful Dead and other Bay Area musicians, Robert Hunter demonstrated the musical and lyrical approach that had made his co-compositions with Jerry Garcia the best of the Dead’s original material. Hunter’s poetic language was redolent with a rustic Americana of roads, rivers, roses, and rain, and if his melodies lacked Garcia’s grace and the backup lacked the Dead’s cohesion, nevertheless this was identifiably music in the Dead vein. Hunter was an uncertain singer, alternately straining for a higher register reminiscent of Garcia and half-talking in a deeper voice that seemed more natural and advantageous to his lyrics. The album was overly ambitious musically, ranging from folk ballads to rockers and horn-filled raveups, along with barroom choruses and Scottish airs. But Hunter demonstrated he was more than just a lyricist. (Originally released on the Dead’s Round Records label in 1974; reissued by Rykodisc on March 30, 1990, with some of the tracks re-edited.)


Track listing

01.  “Lady Simplicity”   (Hunter)  – 0:20
02.  “That Train”   (Hunter)  – 4:33
03.  “Dry Dusty Road”   (Hunter)  – 2:18
04.  “I Heard You Singing”   (Hunter /Freiberg)  – 3:36
05.  “Rum Runners”   (Hunter)  – 3:01
06.  “Children’s Lament”   (Hunter)  – 4:15
07.  “Maybe She’s A Bluebird”   (Hunter)  – 1:57
08.  “Boys In The Barroom”   (Hunter)  – 1:09
09.  “It Must Have Been The Roses”   (Hunter)  – 3:30
10.  “Arizona Lightning”   (Hunter)  – 3:32
11.  “Standing At Your Door”   (Hunter)  – 4:31
12.  “Mad”   (Hunter/Hart)  – 4:12
13.  “Keys To The Rain”   (Hunter)  – 4:15

Robert Hunter – vocals
Peter Albin – bass
Rodney Albin – vocals, fiddle
Maureen Aylett – vocals, spoons
T.Will Claire – vocals
Hadi El Sadoon – trumpet
Snooky Flowers – saxophone
David Freiberg – bass
Jerry Garcia -guitar
Donna Godchaux – vocals
Keith Godchaux – keyboards
Mickey Hart – drums
Barry Melton – guitar
Jamie Paris – harp
Steve Schuster – saxophone
Markee Shubb – mandolin
Rick Shubb – banjo
Robbie Stokes – guitar

Directed by – Robert Hunter
Engineer – Dan Healy, Steve Brandon and Bob Matthews
Mixing – Jerry Garcia
Technical and production assistance – Barry Melton and Mickey Hart
Art – Rick Griffin
Thanks to Forbes & Jerilyn, to Johnny D Jr & Sr and to Jeff of Roadhog
Changes for Mad – Mickey Hart
Changes for I Heard You Singing – David Freiberg
Recorded at Rolling Thunder Studios
Mixed at Alembic
Mastered at the Lacquer Channel

Release date: June 1974
Genre:  Psychedelic Rock, Folk
Length:  40:47
© 1974

Label – Round Records


Buckwheat Zydeco – Where There´s Smoke There´s Fire (1990)

Buckwheat Zydeco is the stage name of Stanley Dural, Jr. (born November 14, 1947), an American accordionist and zydeco musician. He is one of the few zydeco artists to achieve mainstream success. His music group is formally billed as Buckwheat Zydeco and Ils Son Partis Band, but often they perform as merely Buckwheat Zydeco.

buckwheat“Where There’s Smoke There´s Fire”, is a great album of zydeco party anthems (and others) from Buckwheat Zydeco, the heir apparent in zydeco after the death of Clifton Chenier.
The album was produced by Los Lobos’ David Hidalgo and featured Dwight Yoakam sitting in on a cover of Hank Williams’s “Hey, Good Lookin’.”
This album features a number of Buckwheat’s (Stanley Dural’s) compositions, along with covers of a few standards from other genres. There’s also a cover of the Rolling Stones’ “Beast of Burden” and a version of “Route 66? featuring Hidalgo on vocals and guitar. But the best tracks are the old-fashioned accordion rave-ups, like “Buck’s Hot Rod” and “Pour Tout Quelqu’un.”
The album is generally packed with danceable groove-laden zydeco, complete with horn arrangements and a blasting accordion solo. This is superior in many ways to the music of Chenier (though, of course, he’s a worthy listen as well), due to its generally happier mood and quicker, more emphasized beats and basslines. One last noteworthy item on the album: to finish off the set, Dural shows off some versatility by sitting at the piano and punching out one of the most complex blues solo piano standards in existence with “It’s Getting Late.” A must have for any zydeco fan, and a should have for anyone with a pulse.
Buckwheat zydeco has been bringing zydeco music to the massess for at least 20 years now and “where There’s Smoke There’s Fire” is truly one of his best.
The production is perfect. all of the instruments jump out at your ears and the band is in top form. The songs flow beautifully from one to the next.


Track listing

01.  “What You Gonna Do?”   (Stanley Dural)  – 4:30
02.  “Buck’s Hot Rod”   (Stanley Dural)  – 3:47
03.  “Hey Good Lookin’”   (Hank Williams)  – 4:00
04.  “We’re Having A Party”   (Stanley Dural)  – 4:10
05.  “Beast Of Burden”   (Mick Jagger / Keith Richards)  – 3:42
06.  “Be Good Or Be Gone”   (Stanley Dural)  – 3:30
07.  “Maybe I Will”   (Stanley Dural)  – 3:45
08.  “Pout Tout Quelque’un”   (Stanley Dural)  – 4:35
09.  “Where There’s Smoke There’s Fire”   (Stanley Dural)  – 4:25
10.  “Route 66?”   (Bobby Troup)  – 3:02
11.  “It’s Getting Late”   (Stanley Dural)  – 1:50

David Hidalgo – Vocals, Guitar, Drums
Stanley Dural, Jr. – Vocals, Piano, Organ [Hammond B-3], Accordion
Dwight Yoakam – Backing Vocals
Steve Berlin – Baritone Saxophone
Lee Allen Zeno – Bass
Kevin Menard – Drums
Melvin Veazie – Guitar
Mark Linett – Tambourine
Dennis Taylor – Tenor Saxophone
Lee Thornburg – Trumpet
Illustration – Dan Hatala
Mastered By – Howie Weinberg
Design – Mo Ström
Photography By [Back Cover] – Rick Olivier
Recorded By – Mark Linett
Mixed By – Mark Linett
Engineer [Second] – Tom Nellen
Executive Producer, Management – Ted Fox
Producer – David Hidalgo

Recorded at Sunset Sound Factory, Hollywood, California.
Genre:  Zydeco, Folk, World, & Country Rock
Length:  41:41
© 1990

Label – Island Records


Crosby, Stills, Nash & Young – Déjà Vu Live (2008)

Crosby, Stills & Nash (CSN) is a folk rock supergroup made up of David Crosby, Stephen Stills and Graham Nash. They are known as Crosby, Stills, Nash & Young (CSNY) when joined by occasional fourth member Neil Young. They are noted for their intricate vocal harmonies, often tumultuous interpersonal relationships, political activism, and lasting influence on US music and culture. All four members of CSNY have been inducted into the Rock and Roll Hall of Fame twice, though Young’s inductions were for work not involving the group.

dj_vu_1“Déjà Vu Live” is the sixteenth album by the rock band Crosby, Stills, Nash & Young, and their sixth in the quartet configuration, released by Reprise Records in 2008.
Based on the title, it’s hard not to think that “Déjà Vu Live” finds Crosby, Stills, Nash & Young reaching back into their past, perhaps even performing their classic 1970 album in its entirety. That’s not true, although there is an album that comes close to being performed in its entirety here, and that’s Neil Young’s 2006 political manifesto Living with War, a controversial record that Young supported by re-teaming with CSN for a tour a tour that was documented in the Young-directed feature documentary “Déjà Vu Live”.
Got that? It’s a series of circumstances a bit too confusing for music that’s so straightforward, as the Living with War tour was as direct as the album itself. Direct, yes, but it also was a bit softer than the record, as it was bathed in the warm glow of the reunion of Young with CSN, whose presence helps Young’s songs seem elegiac instead of bitter.
There’s no disguising what this is: this is a set of aging hippies lamenting the way things are now by connecting to who they were back then, reuniting for the new songs and mixing up relevant older ones including, yes, the warhorses “For What It’s Worth” and “Teach Your Children” to provide a bridge to the past. CSNY don’t run from their age, as they can’t escape it: some voices have grown gravelly, the harmonies are shakier, there isn’t quite as much muscle to the guitar. But by not running from these signs of age, CSNY wind up with a live album that has a bit of resonance, as when it’s contrasted with the rangy, restless “4 Way Street”, it’s hard not to be a little moved and marvel that the bandmembers feel so comfortable here, especially considering their tortured history.
This winds up being the overarching impression left by “Déjà Vu Live”, as despite the topicality of the set list, “Déjà Vu Live” feels curiously isolated; there may have been controversy on the tour, all chronicled on Young’s film, but it doesn’t feel engaged with the culture at large, which could be a side effect of the digital dislocation of the 21st century, or it could be a sign that CSNY are growing older and simply don’t stir things up the way they did back then. But for those who are listening, their message has resonance and so does the music, as this live record winds up being a nice understated grace note to their tumultuous career.


Track listing

Disc 1
01.  “What Are Their Names?”   (David Crosby)  – 2:28
02.  “Living with War”   (Neil Young)  – 3:25
03.  “After the Garden”   (Neil Young)  – 3:41
04.  “Military Madness”   (Graham Nash)  – 4:02
05.  “Let’s Impeach the President”   (Neil Young)  – 5:43
06.  “Déjà Vu”   (David Crosby)  – 7:15
07.  “Shock and Awe”   (Neil Young)  – 5:08
08.  “Families”   (Neil Young)  – 2:58

Disc 2
01.  “Wooden Ships”   (David Crosby, Paul Kantner, Stephen Stills)  – 8:18
02.  “Looking for a Leader”   (Neil Young)  – 3:55
03.  “For What It’s Worth”   (Stephen Stills)  – 4:50
04.  “Living with War”   (Neil Young)  – 5:24
05.  “Roger and Out”   (Neil Young)  – 3:55
06.  “Find the Cost of Freedom”   (Stephen Stills)  – 3:55
07.  “Teach Your Children”   (Graham Nash)  – 3:20
08.  “Living with War”   (Neil Young)  – 3:01

David Crosby – vocals, rhythm guitar
Stephen Stills – vocals, guitars, keyboards
Graham Nash – vocals, rhythm guitar, piano
Neil Young – vocals, guitars, piano
Ben Keith – pedal steel guitar
Spooner Oldham – keyboards
Rick Rosas – bass
Chad Cromwell – drums
Tom Bray – trumpet
Producer – Neil Young, and L.A. Johnson

Recorded on the 2006 Freedom Of Speech Tour
Genre:  Folk Rock, Country Rock
Length:  73:00
© 2008

Label – Reprise Records


Brenda & The Tabulations – Dry Your Eyes (1967)

Brenda & the Tabulations were an American R&B group formed in 1966 in Philadelphia, Pennsylvania, originally composed of Brenda Payton, Eddie L. Jackson, Maurice Coates and Jerry Jones.

brendaBrenda and the Tabulations had an overnight success in early 1967 with the smooth, uptown ballad “Dry Your Eyes”.
Like many overnight successes, Brenda Payton and the three Tabulations (Maurice Coates, co-writer with Brenda of many of their tracks, Eddie Jackson and James Rucker) never did re-achieve the same amount of success, but they did have a steady run of medium size chart hits that lasted until 1977.
Their Dionn Records LP “Dry Your Eyes”, contains all the A sides and B sides of the five 45 releases they had on Dionn in 1967, including ‘When You’re Gone’, which is a bonus track, not included on the original album.
As for the music: what we have here is plenty of subtle, orchestrated Philly style ballads: the title track of course and, notably, a nice version of Smokey’s ‘Who’s Loving You’, ‘Stay Together Young Lovers’, and the LP only track ‘Oh Lord What Are You Doing To Me’. The cover of the Marvelettes’ ‘Forever’, taken at a midtempo pace, may cater to northern soulies, as well as ‘Hey Boy’, which was used as a B side on no less than three 45’s. The version of Gershwin’s classic ‘Summertime’ is also interesting.
This is the kind of work that we soul fans should be thankful for, and especially, of course, all you Brenda & the Tabulations fans out there.


Track listing

01.  “Dry Your Eyes”   (Payton, Coates)  – 2:30
02.  “Walk On By”   (Bacharach, David)  – 2:27
03.  “God Only Knows”   (Wilson, Asher)  – 2:10
04.  “Who’s Lovin’ You”   (Robinson)  – 3:10
05.  “Summertime”   (Gershwin)  – 3:40
06.  “Where Did Our Love Go”   (Holland-Dozier-Holland)  – 2:05
07.  “Just Once In A Lifetime”   (Payton, Coates)  – 2:40
08.  “Forever”   (Holland, Holland, Gorman)  – 2:25
09.  “Stay Together Young Lovers”   (Ellison, Bell)  – 2:55
10.  “Hey Boy”   (Payton, Coates)  – 1:55
11.  “Oh Lord What Are You Doing To Me”   (Keyes, Dixon)  – 3:10
12.  “The Wash”   (Payton, Coates)  – 2:10

Brenda Payton
Eddie L. Jackson
Maurice Coates and
Jerry Jones
Arranged By – Richard Rome
Cover – Max Bodden Associates, Tom Kennedy
Engineer – Bob Finiz
Photography By – Michael Denning
Distributed By – Jamie / Guyden Dist. Corp.
Pressed By – Monarch Record Mfg. Co.
Producer – Bob Finiz

Recorded At: 919 Sound Studios
Genre: Funk, Soul
Length: 31:17
© 1967

Label – Dionn Records


The Prodigy – The Fat Of The Land (1997)

The Prodigy are an English electronic dance music group from Braintree, Essex, formed by Liam Howlett in 1990. The current members include Liam Howlett (keyboardist and composer), Keith Flint (dancer and vocalist) and Maxim (MC and vocalist). Leeroy Thornhill (dancer and occasional live keyboardist) was a member of the band from 1990 to 2000, as was a female dancer and vocalist called Sharky who left the group during their early period. Along with The Chemical Brothers, Fatboy Slim, The Crystal Method and other acts, The Prodigy have been credited as pioneers of the big beat genre, which achieved mainstream popularity in the 1990s and 2000s.

TheProdigy-TheFatOfTheLand“The Fat of the Land” is the third studio album by English electronic dance music group The Prodigy. The album title comes from the old English phrase ‘living off the fat of the land’, which means living well or being wealthy. While Liam Howlett is generally responsible for the compositions and Maxim Reality is featured on two tracks, this is the first record to include contribution by Keith Flint who provides vocals on four of the songs.
Few albums were as eagerly anticipated as “The Fat of the Land”, the Prodigy’s long-awaited follow-up to “Music for the Jilted Generation”. By the time of its release, the group had two number one British singles with “Firestarter” and “Breathe” and had begun to make inroads in America. “The Fat of the Land” was touted as the album that would bring electronica/techno to a worldwide audience (Of course, in Britain, the group already had a staggeringly large following that was breathlessly awaiting the album.) “The Fat of the Land” falls short of masterpiece status, but that isn’t because it doesn’t deliver. Instead, it delivers exactly what anyone would expect: intense hip-hop-derived rhythms, imaginatively reconstructed samples, and meaningless shouted lyrics from Keith Flint and Maxim. Half of the album does sound quite similar to “Firestarter,” especially when Flint is singing. Granted, Liam Howlett is an inventive producer, and he can make empty songs like “Smack My Bitch Up” and “Serial Thrilla” kick with a    visceral power, but he is at his best on the funky hip-hop of “Diesel Power” (which is driven by an excellent Kool Keith rap) and “Funky Shit,” as well as the mind-bending neo-psychedelia of “Narayan” (featuring guest vocals by Crispian Mills of Kula Shaker) and the blood-curdling cover of L7’s “Fuel My Fire,” which features vocals by Republica’s Saffron. All those guest vocalists mean something Howlett is at his best when he’s writing for himself or others, not his group’s own vocalists. “Firestarter” and all of its rewrites capture the fire of the Prodigy at their peak, and the remaining songs have imagination that give the album weight.


Track listing

01.  “Smack My Bitch Up”   (Liam Howlett)  – 5:42  (feat. Kool Keith and Shahin Badar)
02.  “Breathe”   (Howlett, Keith Flint, Maxim Reality)  – 5:35
03.  “Diesel Power”   (Howlett, Kool Keith)  – 4:17  (feat. Kool Keith)
04.  “Funky Shit”   (Howlett)  – 5:16
05.  “Serial Thrilla”   (Howlett, Flint, Len Arran, Skin)  – 5:11
06.  “Mindfields”   (Howlett, Maxim Reality)  – 5:40
07.  “Narayan”   (Howlett, Crispian Mills)  – 9:05  (feat. Crispian Mills)
08.  “Firestarter”   (Howlett, Flint, T. Horn, A. Dudley, J. Jeczalik, P. Morley, and G. Langan of Art of Noise, Kim Deal)  – 4:40
09.  “Climbatize”   (Howlett)  – 6:38
10.  “Fuel My Fire”   (Donita Sparks, Walsh, James, and Knight of Cosmic Psychos)  – 4:19  (feat. Saffron) (L7 cover, from Hungry for Stink)

The Prodigy
Keith Flint – vocals (“Breathe”, “Serial Thrilla”, “Firestarter”, “Fuel My Fire”)
Liam Howlett – keyboards, synthesizers, sampling, programming, production, engineering, mixing, art direction
Maxim Reality – vocals (“Breathe”, “Mindfields”)

Additional musicians
Shahin Badar – vocals (“Smack My Bitch Up”)
Kool Keith – vocals (“Smack My Bitch Up”, “Diesel Power”)
Crispian Mills – vocals (“Narayan”)
Saffron – vocals (“Fuel My Fire”)
Gizz Butt – guitar (“Fuel My Fire)
Jim Davies – guitar
Matt Cameron – drums
Tom Morello – guitar (“No Man Army”)

Other personnel
Neil McLellan – engineer
Christian Ammann – photography
JAKe – illustrations
Alex Jenkins – art direction, design, photography
Pat Pope – photography
Alex Scaglia – photography
Lou Smith – photography
Terry Whittaker – photography
Konrad Wothe – photography
Mike Champion – management
Producer – Liam Howlett

Release date: 30 June 1997
Recorded 1996–1997 Studio Earthbound Central
Genre:  Big beat
Length:  56:24
© 1997

Label – XL/Maverick Records


David Geddes – Run Joey Run (1975)

David Cole Idema (born July 1, 1950), best known by the stage name David Geddes, is a soft rock singer who had a U.S. Top 5 hit with “Run Joey Run” in 1975, which peaked at #4 in October 1975.
Under his real name, Geddes was the drummer/vocalist for the cult band The Fredric (also known as Rock Garden) and released several records in the early 1970s. He previously attended the University of Michigan. Geddes got his stage name from a street in Ann Arbor.

!cid_inlineImage0According to Casey Kasem’s “American Top 40″, David had recorded several singles for major record labels, none of which became a hit. He decided to leave the music business and return to school. David was attending law school at Wayne State University in Detroit when he was called by producer Paul Vance to record a song that Vance had written. Vance remembered David’s voice from his earlier records and thought he would be perfect for Vance’s new song.
David flew to New York City to record the vocals for the song, and then returned to Detroit to begin his third year of law school.
Several months later, the song, “Run Joey Run”, began to race up the Billboard Hot 100. David dropped out of law school with just one semester to go and re-entered the music business.


Track listing

01.  “Run, Joey, Run”   (Perry Cone / Paul Vance)  – 2:52
02.  “Frankie, I’m So Sorry”   (Perry Cone / Paul Vance)  – 3:17
03.  “Wise Up Girl”   (Trade Martin / Ralph Swalsky / Paul Vance)  – 2:50
04.  “Changing Colors”   (Perry Cone / Paul Vance)  – 3:52
05.  “Wait For Me”   (Lee Pockriss / Paul Vance)  – 3:14
06.  “Sneaking ‘Round Corners”   (Jack Keller / Paul Vance)  – 3:32
07.  “What Will My Mary Say”   (Andrew Scott / Eddie Snyder / Paul Vance)  – 4:10
08.  “Give Her What She Wants”   (Bob Mersey / Paul Vance)  – 2:49
09 . “When You’re Number One”   (Lee Pockriss / Paul Vance)  – 2:45
10.  “Let Me Hear It Out There”   (Lee Pockriss / Paul Vance)  – 3:25

Release Date: 1975
Genre:  Pop, Soft Rock
Length:  33:11
© 1975

Label – Big Tree Records


Kenny Wayne Shepherd Band – Trouble Is…(1997)

Kenny Wayne Shepherd (born Kenny Wayne Brobst; June 12, 1977) is an American guitarist, singer, and songwriter. He has released several studio albums and experienced significant commercial success both as a blues artist and a young musician.

Trouble_is___“Trouble Is”, is the second album by American blues solo artist Kenny Wayne Shepherd. It features the #1 Mainstream Rock Tracks hit “Blue on Black”. The album also spawned three further hits including “Slow Ride”, “Somehow, Somewhere, Someway”, and “Everything is Broken”, a Bob Dylan cover. Instead of breaking from his high-energy, high-voltage blues-rock, Kenny Wayne Shepherd offers more of the same on his second album, “Trouble Is”… While the record lacks the surprise and impact of “Ledbetter Heights”, it’s clear that Shepherd is growing as a guitarist, developing a cleaner, more nuanced technique. He still suffers from the lack of an original voice, plus a lack of strong material, but his growth as a guitarist compensates for what’s missing. It’s not hard to understand the appeal of Kenny Wayne Shepherd, currently being hailed as the heir to Stevie Ray Vaughan. He’s young (an increasing rarity in blues and blues-related genres), he writes catchy songs, and his “Blue on Black” is widely played on rock radio. “Trouble Is” is an enjoyable listen, from rockers like “Slow Ride” and “Chase the Rainbow,” to swingy mid-tempo songs like “True Lies” and “(Long) Gone,” to slower almost-ballads such as “Nothing to Do with Love” and the all-pervasive “Blue on Black”. Expect to start hearing “I Found Love (When I Found You)” at high school proms and homecoming dances.


Track listing

01.  “Slow Ride”   (Shepherd/Tate/Selby)  – 3:49
02.  “True Lies”   (Shepherd/Tate)  – 5:48
03.  “Blue on Black”   (Shepherd/Selby/Sillers)  – 5:30
04.  “Everything is Broken”   (Dylan)  – 3:48
05.  “I Don’t Live Today”   (Hendrix)  – 4:34
06.  “(Long) Gone”   (Shepherd/Tate/Selby)  – 5:24
07.  “Somehow, Somewhere, Someway”   (Shepherd/Tate)  – 5:34
08.  “I Found Love (When I Found You)”   (Shepherd/Tate)  – 4:01
09.  “King’s Highway”   (Shepherd/Selby/Sillers)  – 4:17
10.  “Nothing to Do with Love”   (Williams/Miller)  – 4:49
11.  “Chase the Rainbow”   (Shepherd/Tonio K)  – 4:57
12.  “Trouble Is …”   (Shepherd/Layton/Shannon/Wynans)  – 3:57

Kenny Wayne Shepherd – vocals, guitar
Noah Hunt – vocals
James Cotton – harmonica
Robby Emerson – bass
Tommy Shannon – bass
Jay Blakesberg piano
Jimmy Wallace, Reese Wynans – keyboards
Sam Bryant – drums, cymbals
Chris Layton – drums
Stephanie Spruitt, Patricia Hodges – background vocals
Producer – Jerry Harrison

Release: October 7, 1997
Recorded at: The Plant Recording Studio and Studio D, Sausalito, California; Dogma Studio, New York
Genre:  Blues Rock
Length:  56:28
© 1997

Label – Giant Records


Danny Joe Brown Band – Danny Joe Brown And The Danny Joe Brown Band (1981)

The Danny Joe Brown Band (DJBB) was founded by lead singer Danny Joe Brown in 1980. Danny Joe Brown had just left the southern metal band Molly Hatchet, which had followed in the footsteps of Lynyrd Skynyrd and Outlaws to achieve wide national success with two multi-platinum albums and international recognition with intensive world tours. The first line-up of the band, besides Danny Joe Brown, consisted of Bobby Ingram (guitar/slide guitar/vocals), Steve Wheeler (guitar/slide guitar/vocals), Kenny McVay (guitar), John Galvin (keyboards/vocals), Buzzy Meekin (bass/vocals) and Jimmy Glenn (drums).

danny_joe_brown_band“Danny Joe Brown and the Danny Joe Brown Band” is the first and only studio album by American southern rock band The Danny Joe Brown Band, released in 1981.
One of the most puzzling moves in the history of Southern rock occurred when vocalist Danny Joe Brown left Molly Hatchet after the huge success of 1979’s Flirtin’ With Disaster, one of the genre’s definitive albums. He released one solo album on Epic, 1981’s Danny Joe Brown and the Danny Joe Brown Band. It only scraped the bottom of the charts, and he wisely rejoined Molly Hatchet by 1982.
This album is of interest to Southern rock fans because it should come as no surprise that it sounds like Molly Hatchet. Like Molly Hatchet, Brown’s band also featured a three-guitar attack, courtesy of Bobby Ingram, Steve Wheeler, and Kenny McVay. A couple of extra musical touches support Brown’s throaty growl: slide guitar riffing by Ingram and Wheeler, keyboard accents by John Galvin and harmony vocals that certainly must have been encouraged by producer/engineer Glyn Johns, a legend who’d worked with the Rolling Stones, the Who, the Eagles and Eric Clapton.
The best tracks are “Sundance,” “Nobody Walks on Me,” “The Alamo,” “Run for Your Life,” and, in particular, “Edge of Sundown,” a mythical guitar-driven epic springing directly from the loins of Lynyrd Skynyrd’s “Free Bird” and the Outlaws’ “Green Grass & High Tides.” But that’s not a bad thing. “Edge of Sundown” also plays an important role in Molly Hatchet’s convoluted history.
Ingram and Galvin would go on to join and lead Molly Hatchet itself (keeping the band alive long after Brown retired due to poor health) and an acoustic version of “Edge of Sundown” is featured on the underrated 2001 album Kingdom of XII. Danny Joe Brown and the Danny Joe Brown Band doesn’t contain any earthshaking surprises, but it will reliably please Southern rock fans.


Track listing

01.  “Sundance”   (Brown, Bush, McVay, Allen)  – 4:19
02.  “Nobody Walks on Me”   (Galvin, Wheeler)  – 3:07
03.  “The Alamo”   (Brown, Ingram,  Meekins, Hilton, Wayne)  – 3:05
04.  “Two Days Home”   (Brown, Galvin, McVay)  – 3:14
05.  “Edge of Sundown”   (Brown, Bush, McVay)  – 6:32
06.  “Beggar Man”   (Bruce Feagle, Ingram)  – 3:44
07.  “Run for Your Life”   (Ingram)  – 3:40
08.  “Hear My Song”   (Meekins, Pat Ramsey)  – 3:13
09.  “Gambler’s Dream”   (Brown, Bush, McVay)  – 3:32
10.  “Hit the Road”   (Brown, McVay)  – 4:08

Danny Joe Brown – lead vocals
Bobby Ingram – guitar, slide guitar, backing vocals
Steve Wheeler – guitar, slide guitar
Kenny McVay – guitar
John Galvin – keyboards, backing vocals
Buzzy Meekin – bass, backing vocals
Jimmy Glenn – drums
George Marino – Mastering
Engineer – Glyn Johns
Producer – Glyn Johns

Recorded at: Compass Point Studios, Nassau, Bahamas
Genre:  Rock, Southern Rock
Length:  38:24
© 1981

Label – Epic Records


Holly And The Italians – The Right To Be Italian (1981)

Holly and the Italians were a short-lived American new wave band that was formed in Los Angeles, California in 1978 by Chicago born singer and guitarist Holly Beth Vincent, bassist Mark Sidgwick, and drummer Steve Young. They relocated to London, England where, after playing on the pub circuit extensively, they quickly came to prominence as the opening act for fellow Americans Blondie and were signed to disc jockey Charlie Gillett’s record label, Oval.

hollyIt’s only fitting that Holly Beth Vincent of Holly & the Italians would eventually make a record with Joey Ramone (the pair revisiting “I Got You Babe” on a 1982 single). In many ways, Vincent could have passed for Ramone’s younger sister (or maybe a kissing cousin). The Right to Be Italian providing the kind of three-chord punk-pop cheap thrills that Joey tried to create with the Ramones. Vincent reinvents the ’60s girl-group aesthetic with a snotty attitude and smoldering sexuality, her voice perfect for this sort of material, deep and throaty and uniquely endearing (much like Ramone’s). Vincent’s lyrics are a whip-smart mix of goofy punk nihilism, high-school romance, and pop-culture references, delivered with all the subtlety of a scorned girlfriend. Written during the band’s lengthy tour of the U.K., “I Wanna Go Home” is an ode to the fast-food joints and all-night stores of America, a big drumbeat and great harmonies supporting fond memories of the “land of opportunity.” Vincent’s hard rock riffs drive “Youth Coup,” her lyrics mixing John Lennon’s “you say you want a revolution?” with the Stones’ “Satisfaction” in a play on teenage angst, frustration, and boredom.
The album’s first single, the Brill Building-styled ballad “Miles Away,” was written by bassist Mark Sidgwick and offers some of Vincent’s most compelling vocals, the song’s subtle construction requiring a greater range of emotion on the part of the singer. A remake of the Chiffons’ “Just for Tonight” is spot-on with swelling musical crescendos and soulful vocals while “Means to a Den” is an edgy ’60s-styled rocker with psychedelic studio gimmickry and a garage rock vibe. “Tell That Girl to Shut Up” is Vincent’s shining moment of glory, however.
It’s the song that got the band signed, a three-minute slice of pop/rock perfection that should have been a hit (and did hit later for Transvision Vamp, Wendy James a pale copy of the vibrant Ms. Vincent). With just the perfect balance of vulnerability and self-righteous anger, an ultracool chorus, and a timeless, time-tested beat behind the lyrics, “Tell That Girl to Shut Up” is one of the great lost singles of rock music. A spiritual godmother to distaff rockers like the Donnas or the Eyeliners, Vincent would never again make music as innocent, stylized and outright fun as she did on “The Right to Be Italian”.


Track listing

01.  “I Wanna Go Home”   (Holly Vincent)  – 3:57
02.  “Baby Gets It All”   (Holly Vincent)  – 3:14
03.  “Youth Coup”   (Holly Vincent)  – 2:41
04.  “Just Young”  (Drums: Anton Fig)   (Holly Vincent)  – 5:23
05.  “Miles Away”   (Mark Sidgwick)  – 3:38
06.  “Tell That Girl To Shut Up”   (Holly Vincent)  – 2:59
07.  “Just For Tonight”  (Vocals: Ellie Greenwich)   (Kusik Adam, Farrell)  – 2:38
08.  “Do You Say Love ”   (Holly Vincent)  – 3:15
09.  “Means To A Den”   (Holly Vincent)  – 3:13
10.  “Rock Against Romance”   (Holly Vincent)  – 5:39

Guitar, Vocals – Holly Vincent
Bass, Guitar, Vocals – Mark Sidgwick
Brass – The Uptown Horns
Conductor, Arranged By [Strings] – Torrie Zito
Drums, Percussion, Vocals – Mike Osborn
Drums, Vocals – Steve Young
Organ, Piano – Paul Schaffer
Synthesizer – Jerry Harrison
Recorder – Angela Brand
Engineer – Thom Pananzio
Mixed By – John Brand
Photography By [Cover] – Lynn Goldsmith
Producer – Richard Gottehrer

Recorded at: Record Plant Studios.
Genre:  New Wave, Punk
Length:  37:08
© 1981

Label – Virgin Records


Steve Hackett – Spectral Mornings (1979)

Stephen Richard “Steve” Hackett (born 12 February 1950) is an English guitarist, musician, songwriter and singer. He gained prominence as lead guitarist of the British progressive rock group Genesis, which he joined in 1970 and left in 1977 to pursue a solo career. Hackett contributed to six Genesis studio albums, three live albums and seven singles.

steve hackett“Spectral Mornings” is the third release and the second post-Genesis album by British guitarist Steve Hackett.
The album is the first recording to feature Hackett’s first true touring band, consisting of his brother John Hackett on flute, guitar and bass pedals, long-time collaborator keyboardist Nick Magnus, bassist/vocalist Dik Cadbury, drummer John Shearer and vocalist Peter Hicks.
To his credit, Steve Hackett learned from the mistakes made on “Please Don’t Touch”, and delivered a much-improved mix of songs and instrumentals on 1979’s “Spectral Mornings”. With a workable backing band that includes John Shearer, Nick Magnus, and former Decameron bassist Dik Cadbury, the ex-Genesis guitarist exploits his strengths: progressive instrumentals that skip between heaven and hell, pastoral pop songs, and a healthy dose of English humor. Vocalist Peter Hicks takes the lead on a few tracks, and as the honey-fied “The Virgin and the Gypsy” makes clear, his voice is much better suited to the material than Richie Havens. Hackett’s lone vocal cameo, “The Ballad of the Decomposing Man,” is a Pythonesque treat. The guitar work is typically top-notch, equally effective in acoustic sections that feature John Hackett’s flute and in tempestuous arrangements where Steve’s trademark electric guitar pierces through the chaos. The guitarist also extends his range to the Cantonese koto (presumably a variation on the Japanese koto) for the delicate instrumental “The Red Flower of Tachai Blooms Everywhere”; in typically mischievous fashion, it lulls the listener into a false sense of relaxation for the sonic onslaught of “Clocks The Angel of Mons.” For many, Voyage of the Acolyte is the definitive Hackett record, but Spectral Mornings is more indicative of his range as a solo artist. The music is true to progressive rock in sound if not in scope, a trait which endears Hackett to Genesis fans who found that band’s subsequent commercialization distasteful.


Track listing

01.  “Every Day”  – 6:14
02.  “The Virgin and the Gypsy”  – 4:27
03.  “The Red Flower of Tachai Blooms Everywhere”  – 2:05
04.  “Clocks – The Angel of Mons”  – 4:17
05.  “The Ballad of the Decomposing Man”  (featuring “The Office Party”)  – 3:49
06.  “Lost Time in Córdoba”  – 4:03
07.  “Tigermoth”  – 7:35
08.  “Spectral Mornings”  – 6:33

All songs written by Steve Hackett, except where indicated.

Guitar, Synthesizer [Roland Guitar Synth], Koto [Cantonese], Harmonica, Vocals, Other [Extras], Written-by, Producer – Steve Hackett
Vocals [Lead & Harmonies] – Pete Hicks
Bass [& Bass Pedals], Violin, Vocals – Dik Cadbury
Drums, Percussion – John Shearer
Flute [Concert & Chinese Bamboo], Bass [Pedals] – John Hackett
Keyboards, Synthesizer [Vox String Thing, Novatron, Rmi, Mini Moog, Roland String Synth, Sh2000], Harpsichord, Clavinet, Electric Piano [Fender Rhodes] – Nick Magnus
Photography [Back Cover] – Tom Sheehan
Producer – John Acock
Artwork By [Front Cover] – Kim Poor
Artwork By [Sleeve] – Cooke Key
Producer – John Acock & Steve Hackett

Released:  May 1979
Recorded: January–February 1979 at Phonogram Studios, Hilversum, The Netherlands
Genre:  Progressive rock
Length:  39:03
© 1979

Label – Charisma Records


Chris Robinson Brotherhood – Big Moon Ritual (2012)

Chris Robinson Brotherhood is an American blues rock band formed in 2011 by Black Crowes singer Chris Robinson while The Black Crowes were on hiatus. The band has released three albums. The band consists of Robinson, guitarist Neal Casal, keyboardist Adam MacDougall, bassist Mark Dutton, and drummer Tony Leone (who replaced original drummer George Sluppick in January 2015).

CRB“Big Moon Ritual” is the debut studio album by American blues rock band Chris Robinson Brotherhood.
It’s hard not to read the name of Chris Robinson’s second post-Black Crowes venture as a jab at his brother Rich: the brothers brawled through two incarnations of the Crowes in the ’90s and 2000s, and only now has Chris found his Brotherhood, now that he has once again parted ways with Rich. Of course, the Chris Robinson Brotherhood also strikes up a communal hippie vibe on their 2012 debut “Big Moon Ritual”, an album they recorded after touring for nearly a year, so it bears all the scars of the road along with a healthy disregard of clock and calendar. It is, as they say, how these things used to be made: bands used to tour forever, then roll themselves into the studio, knock out a session, then head back out on the never-ending road. It also happens to be how the Crowes closed out their career, cutting the exceptional 2009 LP “Before the Frost…Until the Freeze” live in front of an audience at Levon Helm’s upstate New York barn, and Robinson picks up that thread here, channeling that loose live spirit within the studio. Perhaps the Brotherhood is a shade too loose “Tulsa Yesterday” opens with its sprawling 12 minutes and no song dips below the seven-minute mark but the time passes smoothly as the music ebbs and flows, never diving into a grimy, gritty murk but rolling across a pretty, hazy sunset. Surely, it’s steeped in the ’70s so much so there are analog synthesizers straight out of A Clockwork Orange but there isn’t a self-conscious retro-revival here; the Chris Robinson Brotherhood spends their time doing what comes naturally, and the music flows easily, even alluringly, as they jam with no care of when they began or where they will end.


Track listing

01.  “Tulsa Yesterday”   (Robinson, Neal Casal)  – 11:54
02.  “Rosalee”   (Chris Robinson)  – 9:05
03.  “Star or Stone”   (Chris Robinson)  – 9:32
04.  “Tomorrow Blues”   (Chris Robinson)  – 7:07
05.  “Reflections on a Broken Mirror”   (Chris Robinson)  – 7:37
06.  “Beware, Oh Take Care”   (Robinson, Casal)  – 7:46
07.  “One Hundred Days of Rain”   (Robinson, Casal)  – 7:27

Chris Robinson – lead vocals, guitar
Neal Casal – guitar, vocals
Adam MacDougall – keyboards, vocals
Mark Dutton – bass, vocals
George Sluppick – drums
Thom Monahan – engineer, mixing, production
Nicolas Essig – assistant
Geoff Neal – assistant
Bruno Borges – artwork
Alan Forbes – artwork (CRB lettering/label art
Producer – Thom Monahan

Released: June 5, 2012
Recorded at: Sunset Sound, Los Angeles, CA
Genre: Blues rock
Length: 60:28
© 2010

Label – Silver Arrow Records


Keef Hartley Band – Overdog (1971)

Keith “Keef” Hartley (8 April 1944 – 26 November 2011) was an English drummer and bandleader. He fronted his own eponymous band, known as the Keef Hartley Band or the Keef Hartley Big Band, and played at Woodstock. He was later a member of Dog Soldier, and variously worked with Rory Storm, The Artwoods and John Mayall.

MI0000815423“Overdog” is the fourth album by the Keef Hartley Band. After the subtleties and suppleness of 1970’s The Time Is Near…, the Keef Hartley Band’s third full-length, the group returned the following year with Overdog, a set that kicks them into overdrive.
Opening with a dramatic flourish of wah-wah guitar, the anthemic “You Can Choose” instantly wipes all memories of the intricate design of the preceding album off the board. Big and brash, “Choose” pounds rock into funk with savage delight. In contrast, “Plain Talkin'” is all grit and glory, strutting its Stax-y antecedents center-stage, and smugly smirking at their hard-rocking ex-Brit beat contemporaries, who lost the blues in their rush to rock. Elsewhere, “Overdog” puts paid to prog rock pretentiousness, as the band slyly slide from haunting wah-wah guitar and spacy effects straight into funk, and back out again through coursing, driving instrumental sections. It’s a spliced styling that’s reiterated to even more dramatic effect on “Theme Song.” Keef Hartley’s drums keeps those segments pulsing, but it’s “Roundabout” that’s his true showcase, as his skins rumble away under layers of dramatic brass passages and crash around the guitar solos. His drumming reaches an apotheosis on the song’s 7″ version, a blistering attack of swing-styled beats that prods the brass to even greater heights, while his crack drumming on the flip side of the single pushes the guitarist into hyper-speed and the horns into rousing solos of speed jazz, only to collapse into slower passages of big rock that slams straight into Detroit. After that, the gentler, jazzy excursions of “Imitations from Home” are a well-deserved breather, although not for Hartley, whose intricate patterns keep him on his toes.
Only the Beatlesque “We Are All the Same” provides any concession to contemporary pop audiences, but KHB cared little for them, so intent were they on proving to rock fans that there was no need to desert R&B, soul, and funk in their search for more experimental music and/or harder sounds.
On their last set, they delicately pointed out the possibilities; here they hammer it home.


Track listing

01.  “You Can Choose”   (Miller Anderson)  – 5:28
02.  “Plain Talkin”   (Miller Anderson)  – 3:23
03.  “Theme Song / Enroute / Theme Song Reprise”   (Keef Hartley, Gary Thain)  – 8:05
04.  “Overdog”   (Miller Anderson)  – 4:20
05.  “Roundabout”   (Miller Anderson)  – 6:06
06.  “Imitations From Home”   (Keef Hartley)  – 3:34
07.  “We Are All The Same”   (Miller Anderson)  – 4:41

Keef Hartley – Drums, Percussion
Miller Anderson – Vocals, Guitar
Gary Thain – Bass Guitar
Mick Weaver – Keyboards
Dave Caswell – Trumpet, Flugelhorn
Lyle Jenkins – Tenor Saxophone, Flute
Johnny Almond – Flute
Jon Hiseman – Drums, Percussion
Peter Dines – Keyboards
Ingrid Thomas – Backing Vocals
Joan Knighton – Backing Vocals
Valerie Charrington – Backing Vocals
Robin Black – Engineer, Morgan Studios
John Punter – Engineer, A.I.R.
Roy Thomas Baker – Engineer, Trident Studios
Producer – Neil Slaven and Keef Hartley

Released:  8 April 1971
Recorded at:  Trident Studios, Morgan Studios, A.I.R.
Genre:  Blues rock
Length:  35:37
© 1971

Label – Deram Records


Hercules And Love Affair – Hercules And Love Affair (2O08)

Hercules and Love Affair is a dance music project created by American DJ Andy Butler in 2008. Consisting of a rotating cast of performers and musicians, the band work within the genres of house music, disco, and nu-disco.

hercules & love affair“Hercules and Love Affair” is the debut studio album by American electronic music band Hercules and Love Affair, released on March 10, 2008 by DFA Records. Andrew Raposo (of fellow DFA band Automato) and Tyler Pope contributed bass to the album, while Antony Hegarty co-wrote and performed vocals on select songs.
Disco DNA can be found in any current pop chart. There are underground groups and producers who owe as much to the Chic Organization and the Prelude label as a garage band owes to the Stooges and the Rolling Stones. Few treat disco as a living and breathing art form, as opposed to something in need of a revival and the uniqueness-eliminating reverence that often goes with it, like Hercules & Love Affair. Led by Andrew Butler, a songwriter, producer, keyboardist, and vocalist, the group is fleshed out with production and programming from the DFA’s Tim Goldsworthy, a trio of disparate but complementary vocalists (Antony, Nomi, Kim Ann Foxman), and several instrumentalists who are skilled and knowledgeable enough about club music from the mid-’70s through the present to not retrace too many of anyone’s steps.
Apart from their name, which resembles the more rock-oriented Heloise & the Savoir Faire and can be interpreted as a play on the names of both house producer Adonis and disco units like Pam Todd & Love Exchange, they aren’t likely to trigger many concrete flashbacks. Instead, they present an evolved version of disco, one that contains certain trademark elements of the past while sounding brand new.
Wordless vocal samples, synthetic cowbells, prancing keyboard taps, and heartbroken lyrics over a four-four rhythm, as heard on “You Belong,” don’t make for an original set of components, but the manner in which they are put together, constantly twisting into different shapes and sealed inside radiant production, make it practically otherworldly (and it is, by a long distance, the least singular track on the album).
The other tracks that put the dancefloor first, whether small or grand in scope, are generous in delights, supplying supple basslines, beaming keyboard patterns, and singing horns, all of which are arranged in ways that serve the body and the mind, simultaneously muscular and musical. What really puts the album over the top as something else is not just its ideas-stuffed brevity (46 minutes in its original form), but its material not made explicitly for the club.
The back-to-back pair of “Iris” and “Easy” are gorgeous, slow-shifting, electronics-driven songs with lyrics that read as platitudes yet are truly heartfelt and deeply touching, obviously written not just for the sake of vocal accompaniment.


Track listing

01.  “Time Will”   (Andrew Butler)  – 4:34
02.  “Hercules Theme”   (Butler, Nomi)  – 4:29
03.  “You Belong”  (Butler, Antony)  – 4:11
04.  “Athene”   (Butler)  – 3:59
05.  “Blind”   (Butler, Antony)  – 6:18
06.  “Iris”   (Butler)  – 4:15
07.  “Easy”   (Butler, Antony)  – 5:21
08.  “This Is My Love”   (Butler)  – 4:58
09.  “Raise Me Up”   (Butler, Antony)  – 3:51
10.  “True/False, Fake/Real”   (Butler)  – 4:33

Andrew Butler – keyboards, marimba, vocals
Antony – vocals, additional production, additional vocals
Kim Ann Foxman – vocals
Nomi – vocals
Andrew Raposo – bass
Morgan Wiley – keyboards
Carter Yasutaki – trumpet

Additional personnel
Kevin Barker – guitar
Steven Berstein – trumpet
Ben Perowsky – drums
Tyler Pope – bass
Tim Goldsworthy – drum programming
Ben Guttin – drawings
Cory King – trombone
Nick Millhiser – drums
Maxim Moston – strings, drum programming
Eric Broucek – engineering, mixing, rhythm guitar
Alex Nizich – additional engineering
Jason Nocito – photography
Scott Williams – art direction
Chris Castagno – additional engineering
Walter Fischbacher – additional engineering
Producer – Andrew Butler, Tim Goldsworthy

Released: March 10, 2008
Recorded: GoodandEvil (Brooklyn, New York City), Lofish Studios, Plantain Studios (Manhattan, New York City)
Genre:  Disco, House, Electro-funk
Length:  46:29
© 2008

Label – DFA Records


Daughtry – Leave This Town: The B-Sides (EP) (2010)

Daughtry is an American rock band formed and fronted by namesake Chris Daughtry, who was a finalist on the fifth season of American Idol.

Leave_This_Town_B-Sides_EpThis album is a collection of 6 bonus songs from Daughtry’s “Leave This Town” album. These six songs are some of the best that Daughtry has released. It was officially released on May 10, 2011, and included the previously unreleased track “Back Again”.
“Leave This Town: The B-Sides” is an EP by rock band Daughtry. It was released on March 15, 2010 to iTunes. The album features six tracks that were not included on “Leave This Town”.
Chris Daughtry announced on his Twitter that there would be 14 songs on the record, but 5 bonus tracks in different stores. Nearly 70 songs were written for “Leave This Town”, before the selection was narrowed down to. Daughtry co-wrote the songs on the album with Richard Marx, Chad Kroeger from Nickelback, Ryan Tedder from OneRepublic, Jason Wade from Lifehouse, Adam Gontier from Three Days Grace, Eric Dill from The Click Five, and Mitch Allan from SR-71 and Tommy Henriksen. On May 29, 2009,
On April 11, 2011, the band announced that a physical copy of the EP was available for pre-order on the band’s official website. It was officially released on May 10, 2011, and included the previously unreleased track “Back Again”.


Track listing

1.  “Long Way”   (Chris Daughtry, Jason Wade)  – 4:03
2.  “One Last Chance”   (Daughtry, Mitch Allan, David Hodges)  – 3:27
3.  “Get Me Through”   (Daughtry, Brian Craddock)  – 3:44
4.  “What Have We Become”   (Daughtry, Craddock, Barnes, Paul, Steely, Henriksen)  – 3:43
5.  “On The Inside”   (Daughtry, Richard Marx, Chad Kroeger)  – 3:24
6.  “Traffic Light”   (Daughtry, Craddock)  – 3:40
7.  “Back Again”   (Daughtry, Adam Gontier)  – 3:38

Chris Daughtry
Josh Steely
Josh Paul
Brian Craddock
Elvio Fernandes

Released: March 15, 2010 [Digital copy]
Genre:  Alternative Rock
Length:  25:39 [Physical copy]

Label – RCA Records


How To Destroy Angels – How To Destroy Angels (EP) (2010)

How to Destroy Angels is a musical group featuring Nine Inch Nails frontman Trent Reznor, his wife Mariqueen Maandig, Atticus Ross, and Rob Sheridan. The group is named after a 1984 Coil single of the same name. Alessandro Cortini joined the the lineup for the duration of the 2013 tour.

how to destroy angels“How to Destroy Angels” is the debut extended play by post-industrial group How to Destroy Angels. As with many of Trent Reznor’s official releases, each is designated with a unique name and number; this release is “SIGIL 02″.
It’s hard to deny the influence of Trent Reznor on How to Destroy Angels, the group featuring the Nine Inch Nails mastermind, his wife Mariqueen Maandig, and his longtime collaborator Atticus Ross but HTDA isn’t quite NIN fronted by a female. Maandig’s presence isn’t incidental; having her as the focal point shifts the tone considerably, giving the music a dreamy quality even when things get quite gnarled and ugly, as they do on “Parasite.” Draped in twisted, processed guitar gunk, “Parasite” is recognizably Reznor’s, as is the electro-throb of “Fur Lined,” and the ominous undertow of “BBB,” but HTDA’s debut EP doesn’t consist of dressed-up leftovers from The Slip: some of Reznor’s obsessions remain recognizable, but having collaborators opens up the music and Maandig softens it, giving this EP a different feel despite some familiar sounds.
The EP is included as bonus tracks on the iTunes release of their debut album “Welcome Oblivion”.


Track listing

1.  “The Space in Between”  – 3:35
2.  “Parasite”  – 5:05
3.  “Fur Lined”  – 4:00
4.  “BBB”  – 3:31
5.  “The Believers”  – 5:36
6.  “A Drowning”  – 7:04

Written, arranged, produced, performed and art directed by How to Destroy Angels.

How To Destroy Angels
Mariqueen Maandig
Trent Reznor
Atticus Ross
Rob Sheridan

Mixed by Alan Moulder
Engineering: Blumpy
Mastering: Tom Baker
Producer: How to Destroy Angels

Released June 1, 2010
Genre:  Post-industrial, experimental, electronica
Length:  28:47
© 2010

Label – The Null Corporation


Ben Harper – The Will To Live (1997)

Benjamin Chase “Ben” Harper (born October 28, 1969) is an American singer-songwriter and multi-instrumentalist. Harper plays an eclectic mix of blues, folk, soul, reggae and rock music and is known for his guitar-playing skills, vocals, live performances, and activism.

Ben_Harper_-_The_Will_to_LiveAt 28 years intense, Harper released his third album, a mixture of R&B, deep blues, folk-rock, even topical singer-songwriter work (the deliberate, bluesy “Homeless Child”). Harper’s voice and style marry the funk-blues of Taj Mahal and the eccentric, electric Dylan. Those weaned on his more commercially successful peers Hootie and the Blowfish and the Wallflowers will find that Harper is a revelation.
“The Will To Live” is a dramatic change in form musically, if not lyrically, for the retro/roots rock artist.
But unlike fellow Virgin artist Lenny Kravitz, who’s still trying to fuse his influences into his own unique, cohesive sound; Harper has created a sound that blends blues, reggae, gospel, rock, and soul into something entirely unique. Incredibly gifted as a singer and slide guitar player, Harper’s “The Will To Live” is an unheralded classic that will certainly be listened to 40 to 50 years down the road, ala Harper’s musical idle Robert Johnson.
Harper’s songs are timeless and rooted in simplicity, relying heavily on the authentic sound of the Weissenborn guitar and a standard D tuning {Instead of the basic E, he has a tendency to sing most of his songs in B flat]. The down-tuning blends perfectly with his Curtis Mayfield/Sam Cooke angeletic voice, and the musicians who make up the Innocent Criminals create a perfect backdrop of percussion and background tones to push Harper’s new electric sound further. His lyrics are still rooted in spirituality, driven by an intense personal faith in God that hints at a young exposure to Catholicism in particular [I Shall Not Walk Alone]. That spirituality is what drives the music, and creates an intense honesty conveyed well to the audience. Harper’s phrasing is so real, so heartfelt, so honest, only names like Otis Redding, Sam Cooke, and Aretha Franklin have every conveyed more power and feeling on a record. This cannot be overstated, given the wide-range of artists today.
Harper crosses boundries and molds them. His music is undefinable, and not limited to any specific genre. Unlike the Clash’s Sandinista, Harper has the skill and musicianship to pull it off. Ashes is a beautiful ballad of lonliness and remorse, but also a hopefull triumph of the spirit and struggle. Harper also rocks, Jah Work is a wild-tuned, rootsy reggae song unlike anything today. Every song is a unique piece of art. A spiritually overwhelming experience. Enough cannot be said about this wonderful album.


Track listing

01.  “Faded”  – 4:48
02.  “Homeless Child”  – 3:51
03.  “Number Three”  – 1:43
04.  “Roses from My Friends”  – 6:23
05.  “Jah Work”  – 4:54
06.  “I Want to Be Ready”  – 4:02
07.  “The Will to Live”  – 4:57
08.  “Ashes”  – 3:52
09.  “Widow of a Living Man”  – 4:10
10.  “Glory & Consequence”  – 5:40
11.  “Mama’s Trippin'”   (Harper, Plunier)  – 3:45
12.  “I Shall Not Walk Alone”  – 5:13

All songs written by Ben Harper except as noted.

Ben Harper – guitar, saz, vocals, weissenborn
Louis Allen – bass
Alan Anderson – guitar
Agnes Baddoo – background vocals
Brett Banduci – viola
Patrick Brayer – fiddle
Dean Butterworth – drums
Danielle Charles – violin
Juan Nelson – bass, background vocals
Eric Person – saxophone
Amy Piatt – background vocals
Emily Wright – cello

A&R – Andy Factor
Art Direction, Photography By [Desert Photos] – JP Plunier
Design – Flavia Cureteu
Engineer [Assitant] – Erica Stephenson
Lyrics By – Ben Harper
Mastered By – Dave Collins
Mixed By – Eric Sarafin
Mixed By, Engineer [Assistant] – Dann Thompson, Peter Doell
Music By – Ben Harper
Photography By [Cover] – Annalisa
Photography By [Dead Elephant] – Peter Hill Beard
Producer – J.P. Plunier
Recorded By – Todd Burke

Companies etc
Phonographic Copyright (p) – Virgin Records America, Inc.
Copyright (c) – Virgin Records America, Inc.
Recorded At – Grandmaster Recorders
Mixed At – Capitol Studios
Mastered At – A&M Mastering Studios
Pressed By – EMI Uden

Recorded at Grandmaster Recording.
Mixed at Capitol Studios.
Mastered at A&M Mastering.
Genre:  Blues Rock
Length:  53:18
© 1997

Label – Virgin Records


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