CPR or Crosby, Pevar & Raymond was a rock/jazz band that consisted of David Crosby, session guitarist Jeff Pevar, and Crosby’s son, pianist James Raymond.
“CPR” is the first studio album recorded by Crosby, Pevar and Raymond.
The first song that Crosby and Raymond co-wrote, “Morrison”, was performed live for the first time in January 1997. The song recalled Crosby’s feelings about the portrayal of Jim Morrison in the movie The Doors. The success of the 1997 tour spawned a record project, CPR, which was released in March 1998.
Surprisingly familiar, yet new and intriguing, is the best way to describe CPR. For anyone who’s a fan of David Crosby’s best work over the years, CPR will make them think they’ve found heaven. With more than admirable help from guitarist Jeff Pevar and keyboardist James Raymond, Crosby hands us a gem that shines with all the magic of the old and with the enthusiasm of the new. The harmonies are rich and the music textured with a love not readily found these days. What makes this even more incredible is the fact that James Raymond is the son David Crosby never knew about until they were united just before Crosby nearly lost his life to liver failure. Their love and respect for each other’s talents, along with Pevar’s, shine through every track on this disc. An impressive first effort.
The group disbanded in 2004, though Raymond continues to perform with Crosby as part of the touring bands for Crosby & Nash and Crosby, Stills & Nash. Jeff Pevar has toured and recorded with an array of musicians including Ray Charles, James Taylor, Rickie Lee Jones, Joe Cocker, Jefferson Starship, Marc Cohn, Phil Lesh and Friends, Jazz Is Dead.
01. “Morrison” (Crosby/Raymond) – 4:45
02. “That House” (Crosby/CPR) – 5:25
03. “One for Every Moment” (Raymond) – 3:59
04. “At the Edge” (Crosby/CPR) – 4:21
05. “Somebody Else’s Town” (Crosby & Pevar/Raymond) – 5:15
06. “Rusty and Blue” (Crosby) – 7:35
07. “Somehow She Knew” (Crosby & Doerge) – 7:05
08. “Little Blind Fish” (Crosby/Pevar) – 3:37
09. “Yesterday’s Child” (Crosby & Raymond) – 4:00
10. “It’s All Coming Back to Me Now” (Pevar & Crosby/Pevar) – 3:50
11. “Time Is the Final Currency” (Crosby) – 5:18
David Crosby – lead vocals, acoustic guitar
Jeff Pevar – vocals, guitar, fretless bass, ebow, mandolin
James Raymond – lead vocals, piano, drum programming, organ
Leland Sklar – bass
James Hutchinson – bass, fretless bass
Russell Kunkel – drums
Steve DiStanislao – drums
Luis Conte – percussion
Steve Tavaglione – soprano saxophone
Curt Bisquera – drums
Debra Dobkin – percussion
Michael Bland – drums
David Crosby, Jeff Pevar, James Raymond, Dan Garcia – Producers
Jan Crosby – Executive Producer
Dan Garcia – Engineer
Sebastian Haimerl and Bobby Salcedo – Assistant Engineers
John Gonzales – Guitar Technician
Edd Kolakowski – Piano Technician
Release date: June 23, 1998
Label – Sampson
Georgios Kyriacos Panayiotou (born 25 June 1963), better known by his stage name George Michael, is an English singer, songwriter, multi-instrumentalist and record producer. Michael rose to superstardom during the 1980s and 1990s with his style of post-disco dance-pop. He has also been characterised as a blue-eyed soul singer, although his material draws more from middle-of-the-road pop than soul music.
“Listen Without Prejudice Vol. 1” is his the second solo album.
It was the album’s disappointing sales in the U.S. that led to Michael’s legal battles against Sony Music, in which he accused the corporation of not fully supporting him as an artist.
George Michael’s follow-up to the massive success of “Faith” found him turning inward, trying to gain critical acclaim as well as sales. “Listen Without Prejudice, Vol. 1” is not an entirely successful effort; Michael has cut back on the effortless hooks and melodies that crammed not only “Faith” but also his singles with Wham!, and his socially conscious lyrics tend to be heavy-handed. But the highlights the light, Beatlesque harmonies of “Heal the Pain,” the plodding number one “Praying for Time,” and also “Waiting for That Day” as well as the Top Ten “Freedom” make a case for his talents as a pop craftsman.
The album is largely devoted to ballads and folk-styled rock songs, although there are a few dance tracks like “Freedom” and “Soul Free”. There was also a remix of “Freedom” that incorporated elements of Soul II Soul’s “Back to Life”, which was released as a twelve-inch single and received a good deal of club play. Like “Faith”, each track was produced and arranged by Michael himself.
01. “Praying for Time” – 4:41
02. “Freedom! ’90” – 6:30
03. “They Won’t Go When I Go” (Stevie Wonder, Yvonne Wright) – 5:06
04. “Something to Save” – 3:18
05. “Cowboys and Angels” – 7:15
06. “Waiting for That Day” (Mick Jagger, George Michael, Keith Richards) – 4:49
07. “Mother’s Pride” – 3:59
08. “Heal the Pain” – 4:41
09. “Soul Free” – 5:29
10. “Waiting (Reprise)” – 2:25
All songs written and composed by George Michael, except where noted.
Design – Simon Halfon
Design, Producer, Arranged By – George Michael
Engineer – Chris Porter
Engineer [Assistant] – Noel Haris, Pete Frith
Management – Kahane Entertainment
Photography By [Cover] – Weegee
Photography By [Inside] – Bradford Branson
Sequenced By – Pete Gleadall
Written-By – George Michael (tracks: 1, 2, 4 to 10)
Producer – George Michael
Release date: 3 September 1990
Recorded At – Sarm West Studios, Metropolis Studios
Genre: Pop, Blue-Eyed Soul
Label – Columbia Records
Leslie Edward “Les” Claypool (born September 29, 1963) is an American musician, singer, songwriter, composer, author and actor best known as the bassist and lead vocalist of the band Primus. Claypool’s playing style on the electric bass mixes tapping, flamenco-like strumming, whammy bar bends, and slapping. Claypool has also self-produced and engineered his solo releases from his own studio, “Rancho Relaxo”.
“Highball with the Devil” is a studio album by Les Claypool and the Holy Mackerel, released in 1996. “Les Claypool and the Holy Mackerel” is Claypool’s first solo effort; many of the instruments on the album are played by Claypool himself including guitar, most of the drums and vocals as well as all of the bass. He also self produced and engineered the album at his own studio, “Rancho Relaxo”. Credited musicians include Charlie Hunter on guitar for “Me and Chuck;” Marc “Mirv” Haggard on guitar on songs such as “El Sobrante Fortnight” and “Hendershot,” as well as on the saw for “Precipitation”; Adam “Bob Cock” Gates on vocal; Jay Lane on drums; and Henry Rollins narrating “Delicate Tendrils.”
There doesn’t seem to be much reason for Les Claypool to release a solo album. As the leader and prime creative force behind Primus, he basically dictates the very sound of their records. The only excuse for a solo project like Les Claypool & the Holy Mackerel’s Highball With the Devil or his other side project, Sausage is to give the bassist the chance to play with other musicians.
On Highball With the Devil, he rounds up a number of friends and session musicians and places them in his home studio. In other words, it’s an informal jam session. Fortunately, the musicians are uniformly first-rate and occasionally, in the case of Joe Gore and Charlie Hunter, simply stellar. When the group concentrates on jamming, the music is fine and even more interesting than Primus’ extended workouts. When Claypool tries to make these jams into songs by adding inane lyrics and his skittering, mannered vocals, Highball With the Devil loses all of its momentum. And that is his main downfall Claypool can’t help but sabotage his music with his weakness for kitsch and art-funk, and that’s why his first solo album will only be appreciated by dedicated fans.
The touring band for the album were Claypool, Marc “Mirv” Haggard, Adam Gates, and Bryan “Brain” Mantia. “Brain” Mantia was then a new member of Primus.
01. “Running the Gauntlet” – 1:35
02. “Holy Mackerel” – 3:48
03. “Highball with the Devil” – 3:58
04. “Hendershot” – 2:22
05. “Calling Kyle” – 3:54
06. “Rancor” (Les Claypool, Andrew Herod) – 1:16
07. “Cohibas Esplenditos” – 3:10
08. “Delicate Tendrils” – 4:59
09. “The Awakening” (The Reddings cover) – 3:32
10. “Precipitation” – 3:53
11. “George E. Porge” – 2:29
12. “El Sobrante Fortnight” – 3:35
13. “Granny’s Little Yard Gnome” – 3:00
14. “Me and Chuck” – 2:59
15. “Carolina Rig” – 3:00
All songs written by Les Claypool, except where notice.
Les Claypool – guitar, bass, drums, vocals, string bass (arco), rhythm guitar
Joe Gore – guitar
Mark “Mirv” Haggard – guitar solo, guitars, electric-bowed backsaw
Jay Lane – drums
Adam Gates – additional vocals, vocals
Henry Rollins – narration
Charlie Hunter – guitar
Tim Soya – assistant engineer
Matt Murman – mastering
Jill Rose – project coordinator
Producer – Les Claypool
Recorded at: Rancho Relaxo
Genre: Alternative Rock
Label – Interscope/Prawn Song
Stewart Armstrong Copeland (born July 16, 1952) is an American musician, multi-instrumentalist and composer best known as the drummer for the English rock band The Police and for his film music soundtracks. He has also written various pieces of music for ballet, opera and orchestra. According to MusicRadar, Copeland’s “distinctive drum sound and uniqueness of style has made him one of the most popular drummers to ever get behind a drumset”.
With the breakup of the Police, the bandmembers found themselves free to indulge their personal musical obsessions. And so while Sting made a very lucrative venture into working with jazz musicians a logical step for a bassist Stewart Copeland made a drummer’s pilgrimage to Africa. Combining field recordings with Copeland’s multi-instrumental work in an Assyrian studio, “The Rhythmatist” is light years ahead of his sophomorically amiable work as Klark Kent.
The album and accompanying video didn’t make much of a dent in any market, except among fellow drummers and die-hard Police fans. It’s an unfortunate oversight, because its enthusiastic world music fusion has held up better than the other Police solo efforts of this period. The album as a whole focuses on (not surprisingly) the rhythm section of tastefully syncopated drums and percussion against a backdrop of atmospheric synthesizers. Ray Lema’s chorused vocals over the pulsing beat of “Koteja” are absolutely hypnotic, while Copeland’s dry narration after the clattering drum solo of “Serengeti Long Walk” is awkwardly endearing.
01. “Koteja” (Oh Bolilla) (Ray Lema) – 3:31
02. “Brazzaville” (Stewart Copeland) – 4:10
03. “Liberté” (M.D.Baliardo, P.Baliardo, T.Baliardo, J.Bouchikhi, S.Copeland, R.Lema, A.Reyes, N.Reyes – 4:04
04. “Coco” (Stewart Copeland) – 3:55
05. “Kemba” (Stewart Copeland, Ray Lema) – 5:55
06. “Samburu Sunset” (Stewart Copeland) – 6:16
07. “Gong Rock” (Stewart Copeland) – 3:36
08. “Franco” (Stewart Copeland) – 2:11
09. “Serengeti Long Walk” (Stewart Copeland) – 4:27
10. “African Dream” (Stewart Copeland, Wasis Diop) – 3:25
Vocals – Ray Lema
Composed By – Ray Lema, Stewart Copeland
Guitar, Bass, Piano, Keyboards, Percussion, Vocals, Computer [Programmes] – Stewart Copeland
Engineer, Producer – Jeff Seitz, Stewart Copeland
Recorded By [Studio Sounds]
Genre: Instrumental, Score, Pop
Length : 41:28
Label – A&M Records
Cornelius Crane “Chevy” Chase (born October 8, 1943) is an American comedian, actor, and writer. Born into a prominent New York family, Chase worked a plethora of odd jobs before he moved into comedy and began acting with National Lampoon. He quickly became a key cast member in the inaugural season of Saturday Night Live, where his Weekend Update skit soon became a staple of the show.
Admit it, you’ve always wanted to hear Chevy Chase rap. Yes, Chevy Chase released a musical comedy album back in 1980, the self-titled record. Believe it or not, the album’s not great, and Chevy Chase’s biggest contribution to music is still that song he plays on the keys when trying to woo Judge Smails’s niece in Caddyshack.
There are a few stand-out tracks (or at least ones that stand above the rest of the musical parodies recorded here), like Chase’s take on “I Shot the Sheriff” and “Never Never Gonna Sing for You,” a riff on Barry White. Aside from that, the tracks are pretty rough, like his chipmunk-voiced cover of “Let It Be,” hip hop track “Rapper’s Plight,” and parody of Randy Newman’s “Short People,” which was already a novelty song and therefore a weird subject for spoofing to begin with.
You can’t blame Chevy Chase for wanting to cut an album in 1980, in the wake of his peers like Steve Martin, Dan Aykroyd and John Belushi (as the Blues Brothers) making waves in the record industry. Though the record doesn’t really suggest it, Chase has a background in music.
He has perfect pitch, drummed for future Steely Dan founders Walt Becker and Donald Fagen in a college jazz outfit, and played in a band called Chamaeleon Church that cut one record MGM in 1969 and quickly broke up. Despite his musical background, Chevy Chase’s self-titled record debut (and swan song) fails to reach anywhere near the heights of his SNL buddies’ late 70s/early 80s album efforts.
01. “Nat’l Anthem” – 2:03
02. “Short People” (Randy Newman) – 3:45
03. “Never Never Gonna Sing For You” (Chevy Chase, Tom Scott) – 4:40
04. “I Shot The Sheriff” (Bob Marley) – 4:02
05. “Let It Be” (John Lennon, Paul McCartney) – 3:32
06. “Love To Have My Baby” (Chevy Chase, Tom Scott) – 4:59
07. “Sixteen Tons” (Merle Travis) – 3:51
08. “Wild Thing” (Chip Taylor) – 2:35
09. “Rappers’ Plight” (Chevy Chase, Tom Scott) – 5:30
Vocals [Car Voices], Other [Sound Effects] – Chevy Chase, Tom Scott
Saxophone, Lyricon, Piccolo, Cowbell, Synthesizer, Piano, Other [Nitrogen Tank] – Tom Scott
Bass – Matt Bragg, Neil Stubenhaus
Drums – Ed Greene, Steve Gadd
Electric Piano – Don Grusin
Guitar – Carlos Rios, David T. Walker
Percussion – Victor Feldman
Congas – Victor Feldman
Bass – Neil Stubenhaus
Clavinet, Piano – Richard Tee
Percussion, Timbales – Victor Feldman
Trombone – Slyde Hyde
Trumpet – Chuck Findley
Organ, Electric Piano – Richard Tee
Backing Vocals – Bobby Kimball, Dennis Tufano, Slyde Hyde, Stephanie Spruill
Concertmaster – Gerald Vinci
Design, Art Direction – Ria Lewerke-Shapiro
Engineer, Mixed By – Terry Dianne Becker
Mixed By – Hank Cicalo
Photography By – George Hurrell
Producer – Chevy Chase, Tom Scott
Genre: Parody, Comedy, Pop
Label – Arista Records
Doctor and the Medics are an English rock band formed in London in 1981. The group received their great success during the 1980s and are best known for their cover of Norman Greenbaum’s “Spirit in the Sky”, the groups hit single which reached No. 1 in the UK singles charts. The band currently performs, with a different line-up, as a tribute act to various artists. The groups musical style includes neo-psychedelia, glam rock, new wave and pop rock.
Sixties psychedelic nostalgia, mid-’80s style: Coming out of nowhere with a spot-on cover of Norman Greenbaum’s “Spirit in the Sky,” this goofily-dressed band (white pancake make-up, paisley up the wazoo, quasi-goth leanings) had little else to deliver when required to come up with a follow-up album — seems like the Greenbaum song stole all the melody. Lead singer Clive “The Doctor” Jackson sounds like he’s auditioning for the Cult, while backup singers Wendi and Colette are patently more interesting perhaps they should have taken the spotlight instead. Elsewhere, the Medics strike all the right poses after several hundred listens to Nuggets, but there just aren’t the songs to hold it all together. Craig Leon (the Fall, Primitives) produces in usual sharp fashion, while XTC’s Andy Partridge chips in one track “Miracle of the Age,” yet to no avail, really. In fact, their second best song, the album title track, turned up instead on the B-side of “Spirit in the Sky.” Worth hunting out.
01. “No-one Loves You When You’ve Got No Shoes” – 3:37
02. “Kettle on a Long Chain” – 3:00
03. “Come On Call Me” – 2:35
04. “Watermelon Runaway” – 2:29
05. “Fried Egg Bad Monday” – 4:09
06. “Burn” – 3:29
07. “Spirit in the Sky” (Norman Greenbaum) – 3:35
08. “Lucky Lord Jim” – 2:47
09. “Moon Song” – 4:42
10. “Barbara Can’t Dance” – 2:37
11. “Smallness of the Mustard Pot” – 4:07
All songs written by The Doctor, Ritchie, McGuire, Searle, West, except when notice
Design – The Leisure Process
Mastered By – BilBo
Photography By – Adrian Boot, Amanda Searle
Producer [Assisted By] – Cassell Webb
Producer, Mixed By – Craig Leon
Phonographic Copyright (p) – I.R.S. Records Ltd.
Copyright (c) – I.R.S. Records Ltd.
Recorded At – Britannia Row Studios
Recorded At – Redan Recorders
Mastered At – Tape One
Pressed By – PRS Ltd.
Marketed By – MCA Records Ltd.
Distributed By – MCA Records Ltd.
Recording Date: February, 1986
Genre: Psychedelic rock
Label – I.R.S. Records
Earth, Wind & Fire Also known as EWF, founded in Chicago by Maurice White in 1969. Other members have included Philip Bailey, Verdine White, Ralph Johnson, Larry Dunn, Al McKay and Andrew Woolfolk. The band that has spanned the musical genres of R&B, soul, funk, jazz, disco, pop, rock, Latin and African. Rolling Stone Magazine has described them as “innovative, precise yet sensual, calculated yet galvanizing” and has also declared that the band “changed the sound of black pop”.
“Another Time” is a compilation album by Earth, Wind & Fire released in 1974 on Warner Bros. Records. Released as a double album “Another Time” featured songs from the band’s Warner Bros. studio albums “Earth, Wind & Fire” (1971) and “The Need of Love” (1972) which were both also released on Warner Bros. Records.
Once Earth, Wind & Fire became the top black music band in the world, Warner Bros. realized the mistake they had made in not giving Maurice White complete creative freedom. They rushed out this anthology featuring the group’s early music, hoping to piggyback off their huge Columbia hits. These songs are certainly worth hearing again, but few people who hadn’t originally purchased the Warner Bros. tracks were enticed to get them.
1. “Fan The Fire” (Flemons, White, Whitehead) – 4:59
2. “Moment of Truth” (Flemons, White, Whitehead) – 3:08
3. “Love Is Life” (Flemons, White, Whitehead) – 5:02
4. “Help Somebody” (Flemons, White, Whitehead) – 3:37
1. “C’mon Children” (Beal, Flemons, M. White, V. White, Whitehead) – 3:08
2. “This World Today” (Flemons, White, Whitehead) – 3:33
3. “Bad Tune” (Beal, Flemons, M. White, V. White, Whitehead) – 4:31
1. “I Can Feel It In My Bones” (Flemons, White, Whitehead) – 5:04
2. “I Think About Lovin’ You” (Scott) – 5:59
3. “Everything Is Everything” (Evans, Upchurch) – 6:42
1. “Beauty” (Flemons, White, Whitehead) – 4:15
2. “Energy” (Flemons, Scott, White, Whitehead) – 9:40
Maurice White – vocals, kalimba, drums, percussion
Verdine White – bass, percussion, vocals
Philip Bailey – vocals, conga, percussion
Johnny Graham – lead and rhythm guitar, trumpet, percussion
Jessica Cleaves – vocals
Larry Dunn – keyboards, synthesizers
Ralph Johnson – drums, percussion
Al McKay – lead and rhythm guitar, sitar, percussion, vocals
Andrew Woolfolk – flute, saxophone
Mastered At – The Mastering Lab
Arranged By – Earth, Wind & Fire
Engineer – Al Schmitt, Doug Botnick
Mastered By – Arnie Acosta
Producer – Joe Wissert
Release date: September 7, 1974
Genre: Soul, Funk
Label – Warner Bros.
The Guess Who are a Canadian rock band from Winnipeg, Manitoba. Initially gaining recognition in Canada, the group also found international success from the late 1960s through the mid-1970s with numerous hit singles, including “No Time”, “American Woman”, “These Eyes” and “Share the Land”. Several former members of The Guess Who, notably Burton Cummings and Randy Bachman (of Bachman–Turner Overdrive), have found considerable success outside the band.
“Live at the Paramount” is their first live album. It would be their only live album until their reunion in 1983. It was recorded live on May 22, 1972 at the Paramount Theatre in Seattle, Washington. It reached #39 on the Billboard album chart. The 2000 re-release included bonus tracks from the same show which were not included on the original pressing like “These Eyes” and “No Time”. Live at the Paramount was also the first album to feature Donnie McDougall and the last to feature Jim Kale on bass guitar.
The August 2000 reissue of Live at the Paramount on the Buddha label has 13 songs, the whole 75 minutes of music from the first of two shows, and provides the best explanation of how the Guess Who endured as a major concert draw years after their biggest hits were behind them; when they were spot-on, as they were that night, they gave an exciting show. Remixed and remastered properly, this is now a killer concert album, showing off the double lead guitar attack that was a hallmark of their live sound in blazing glory, energizing even familiar songs like “New Mother Nature,” and Burton Cummings near the peak of his form with the band as a singer. Surprisingly, the songs that were left off of the original LP included several hits, both vintage (“These Eyes,” “No Time”) and relatively recent (“Rain Dance,” “Share the Land”), though the highlight is “Sour Suite,” which is a dazzling showcase for Cummings as a singer and pianist. The remixing also helps the material that was on this album originally, pumping up the volume on the bluesy jam that opens “American Woman,” which also sounds a lot better (and is worth hearing in the 15 minute jam version featured here). “Share the Land” comes off better here than its official version, set ablaze by Kurt Winter’s and Don McDougal’s guitars and a spirited vocal performance.
Track listing (2000 Buddha Re-Release)
01. “Pain Train” (Cummings, Winter) – 7:00
02. “Albert Flasher” (Cummings) – 2:59
03. “New Mother Nature” (Cummings) – 4:26
04. “Runnin’ Back to Saskatoon” (Cummings, Winter) – 6:52
05. “Rain Dance” (Cummings, Winter) – 2:53
06. “These Eyes” (Bachman, Cummings) 4:29
07. “Glace Bay Blues” (featuring Don McDougall) (Blair MacLean, Gary MacLean, Don McDougall) – 3:19
08. “Sour Suite” (Cummings) – 3:58
09. “Hand Me Down World” (Winter) – 3:53
10. “American Woman” (Bachman, Cummings, Kale, Peterson) – 16:53
11. “Truckin’ Off Across the Sky” (The Guess Who) – 7:21
12. “Share the Land” (Cummings) – 4:46
13. “No Time” (Bachman, Cummings) – 6:06
Burton Cummings – Lead Vocals, Piano, Flute, Guitar and Harmonica
Kurt Winter – Lead Guitar, Backing vocals
Don McDougall – Guitar, Backing vocals
Jim Kale – Bass, Backing vocals
Garry Peterson – Drums, Backing vocals
Brian Christian – Engineer
Dennis Smith – Engineer
Jackson Richardson – Producer
Release date: August 1972
Recorded: May 22, 1972 at the Paramount Theater, Seattle, Washington
Label – RCA Victor Records
Charlie Dore (born 1956, Pinner, Middlesex) is an English singer-songwriter and actress.
Although best known as a singer-songwriter, Dore has a multi-faceted career that includes acting in film, TV and radio, comedy-improvisation and composition for film and TV. She studied drama at the Arts Educational School, Tring and London.
Charlie Dore was spotted by Island Records and signed to a solo recording and publishing deal by Chris Blackwell in 1978, later that year being flown to Nashville, Tennessee to work with producer Audie Ashworth at his Crazy Mama’s studio. Dore continued to work with Littman, her guitarist and co-writer and the first album, “Where To Now”, featured many of the Nashville A team, including Charlie McCoy, Reggie Young, Sonny Curtis and David Briggs.
The album brings the single “Pilot of the Airwaves” what would be het biggest hit so far.
Charlie Dore was on the scene around the end of the 70s and early 80s releasing her second album “Listen” on Chrysalis. The album was cut in Hollywood in 1981 with members of Toto among her backing musicians.
More succesful in Europe than the Uk, “Listen” got a bit of airplay but ultimately the album failed to impress the record buying public. Nice soft rock album.
She toured with her UK band throughout 1981 and 1982, representing the UK in Tokyo at the Yamaha Song Festival and won the Silver prize at the Seoul Song Festival with her song “Sister Revenge”.
01. “Listen” (Charlie Dore) – 4:54
02. “Do Me A Favour, Don’t” (Charlie Dore) – 3:23
03. “You Should Hear (How She Talks About You)” (Dean Pitchford, Tom Snow) – 3:27
04. “Falling” (Charlie Dore) – 3:01
05. “Don’t Say No” (Charlie Dore, Robbie Buchanan) – 3:54
06. “Wise To The Lines” (Charlie Dore, Robbie Buchanan) – 4:14
07. “I’m Over Here” (Charlie Dore, Julian Littman) – 3:46
08. “Like They Do It In America” (Charlie Dore) – 3:16
09. “Sister Revenge” (Charlie Dore, Julian Littman) – 3:26
10. “Didn’t I Tell You” (Charlie Dore, Robbie Buchanan) – 3:22
Vocals – Charlie Dore
Backing Vocals – Carl Graves, Charlie Dore, Donny Gerrard, Jay Gruska
Bass – Mike Porcaro
Drums – Jeff Porcaro
Guitar – Steve Lukather
Guitar [Additional] – Caleb Quaye
Keyboards, Synthesizer – Robbie Buchanan
Percussion [Additional] – Lenny Castro, Victor Feldman
Mixed By – Rik Pekkonen
Producer, Arranged By – Stewart Levine
Programmed By [Synthesizer] – Lee Underwood
Recorded By – A. Schmitt
Engineer [Assistant] – Ross Pallone
Produced for Outside Productions.
Recorded at Hollywood Sound Records, April-May 1981.
Genre: Pop, Soft Rock
Label – Chrysalis Records
Michael Dinner born June 5, 1953 is an American director, producer, and screenwriter for television. Prior to his TV career, he was a recording artist for Fantasy Records.
This is a great album, full of great tunes. For a first effort this album surpassed 95% of the stuff that was released in 1974. The musicians are all well known, stellar performers and the songs themselves are all jewels.
The album has a definite country feel to it, the likes of other artists of the day like Jackson Browne, ,Linda Ronstadt, Bonnie Raitt, (Who I’ve always thought should do a version of “Woman of Aran”), Danny Okeefe etc……
After his second attempt, “Tom Thumb the Dreamer”, Michael gave up on a music career and went into TV production and has been very successful thruout the years up to current times. While the overall flavor of the record is definitely country, there is so much more to it than that. The songwriting is superb, the arrangements are fantastic, and the musicianship is nothing short of perfection. Many of the players here were the same ones found on Linda Ronstadt’s “Don’t Cry Now” album. In particular, the musical interplay between guitarist Bob Warford and the late, great pedal steel guitarist Ed Black take the album to another level. This represents country rock in the truest sense of the word. Michael Dinner comes off as a real human being with something to say and manages to do it without skin-tight jeans and a big hat. If you’re a fan of Linda Ronstadt, early Eagles, Burrito Bros., etc. check this album out.
01. “The Great Pretender” – 3:29
02. “Jamaica” – 4:00
03. “Yellow Rose Express” – 4:10
04. “Sunday Morning Fool” – 4:09
05. “Last Dance In Salinas” – 2:36
06. “Tattooed Man From Chelesa” – 2:48
07. “Woman Of Aran” – 3:49
08. “Pentacott Lane” – 4:06
09. “Icarus” – 2:57
10. “Texas Knight” – 6:04
All songs written by Michael Dinner.
Michael Dinner – Vocals, Guitars
Guitar – Bob Warford, Ed Black, Don Felder
Steel Guitar – Ed Black, Sneaky Pete, Al Perkins
Keyboards – John Boylan, Andrew Gold, Larry Knechtel, Mike Utley
Fiddle – David Lindley
Accordian – Nick DeCaro
Bass – Michael Bowden
Drums – Mickey McGee, Gary Mallaber, Russ Kunkel
Percussion – Milt Holland
Background Vocals – Linda Ronstadt, Doug Haywood, Herb Pedersen, Ronee Blakley, Gail Davies
Art Direction – Glenn Ross
Design – Richard Kriegler
Mastered By – wly*
Photography By – Norman Seef
Engineered By: Paul Grupp
Producer – John Boylan
Recorded By – Paul Grupp
Recorded at: Capitol Records, Hollywood, Fantasy Records, The Record Plant, Sausalito
Mixed at: Capitol Records
Genre: Country Rock
Label – Fantasy Records
Bob Dylan (born Robert Allen Zimmerman, May 24, 1941) is an American singer-songwriter, artist and writer. He has been influential in popular music and culture for more than five decades. Much of his most celebrated work dates from the 1960s when his songs chronicled social unrest, although Dylan repudiated suggestions from journalists that he was a spokesman for his generation.
“Under the Red Sky” is the twenty-seventh studio, released on September 10, 1990 by Columbia Records.
The album was largely greeted as a strange and disappointing follow-up to 1989’s critically acclaimed “Oh Mercy”. Most of the criticism was directed at the slick sound of pop producer Don Was, as well as a handful of tracks that seem rooted in children’s nursery rhymes.
It is a rarity in Dylan’s catalog for its inclusion of celebrity cameos by Jimmie Vaughan, Slash, Elton John, George Harrison, David Crosby, Stevie Ray Vaughan and Bruce Hornsby.
“Under the Red Sky”, is a record that seemed like a conscious recoil from that album’s depth and atmosphere. By signing Don Was, the king of mature retro-rock, as producer, he guaranteed that the record would be lean and direct, which is perhaps exactly what this collection of simplistic songs deserves. Still, this record feels a little ephemeral, a collection of songs that Dylan didn’t really care that much about. In a way, that makes it a little easier to warm to than its predecessor, since it has a looseness that suits him well, especially with songs this deliberately lightweight. As such, “Under the Red Sky” is certainly lightweight, but rather appealing in its own lack of substance, since Dylan has never made a record so breezy, apart from (maybe) Down in the Groove. That doesn’t make it a great, or even good, record, but it does have its own charms that will be worth searching out for Dylanphiles
The album is dedicated to “Gabby Goo Goo”, later explained to be a nickname for Dylan’s four-year-old daughter. This has led to the popular assumption that the album’s more childlike songs were for her entertainment, something that has never been confirmed nor denied by Dylan.
01. “Wiggle Wiggle” – 2:09
02. “Under the Red Sky” – 4:09
03. “Unbelievable” – 4:06
04. “Born in Time” – 3:39
05. “T.V. Talkin’ Song” – 3:02
06. “10,000 Men” – 4:21
07. “2 × 2” – 3:36
08. “God Knows” – 3:02
09. “Handy Dandy” – 4:03
10. “Cat’s in the Well” – 3:21
All songs written by Bob Dylan.
Bob Dylan – acoustic and electric guitar, piano, accordion, harp, vocals
Kenny Aronoff – drums
Sweet Pea Atkinson – backing vocals
Rayse Biggs – trumpet
Sir Harry Bowens – backing vocals
David Crosby – backing vocals
Paulinho Da Costa – percussion
Robben Ford – guitar
George Harrison – slide guitar
Bruce Hornsby – piano
Randy “The Emperor” Jackson – bass guitar
Elton John – piano
Al Kooper – organ, keyboards
David Lindley – bouzouki, guitar, slide guitar
David McMurray – saxophone
Donald Ray Mitchell – backing vocals
Jamie Muhoberac – organ
Jimmie Vaughan – guitar
Stevie Ray Vaughan – guitar
Waddy Wachtel – guitar
David Was – backing vocals, production
Don Was – bass guitar, production
Marsha Burns – production coordination
Ed Cherney – engineering, mixing
Dan Bosworth, Steve Deutsch, Judy Kirshner, Jim Mitchell, Brett Swain – assistant engineering
Producer – “Jack Frost” (Bob Dylan), Don Was, and David Was
Release date: September 10, 1990
Label – Columbia Records
Ronald “Ronnie” Dyson (June 5, 1950 – November 10, 1990) was an American singer and actor. Born in Washington, D.C., but grew up in Brooklyn, New York where he sang in church choirs. At just 18 years of age, he won lead part in the Broadway production of Hair, debuting in New York in 1968. Dyson became an iconic voice of the 1960s with the lead vocal in the show’s anthem of the hippie era, “Aquarius.”
After Hair, Dyson pursued his stage career with a role in Salvation in 1970. His recording of a song from the Salvation score, “(If You Let Me Make Love to You Then) Why Can’t I Touch You?”, successfully launched his record career, breaking into the Top 10 of the Billboard Hot 100 chart in 1970. The follow-up, “I Don’t Wanna Cry,” was a strong R&B seller.
His record company, Columbia Records, sent him to Philadelphia in 1973 to be produced by Thom Bell, one of the premier producers of the day, for several tracks. Bell’s highly orchestrated style suited Dyson with hits including “One Man Band (Plays All Alone”, and “Just Don’t Want to Be Lonely”. These appeared on an album which was also made up of re-mixes of some earlier recordings, including “When You Get Right Down To It.”
Dyson remained with Columbia working with top-line producers for another three albums.
Dyson then moved to an Atlantic Records subsidiary label, the Cotillion Records label, in 1981 for two albums and several singles which were only moderately successful. His acting and singing career had begun to stall in the late 1970s due to ill health, and it was in 1983 that Dyson appeared on the R&B chart for the last time. His final solo recording was “See The Clown” in 1990. Dyson died at the age of 40 from heart failure in late 1990, in Philadelphia, Pennsylvania.
01. “I Don’t Wanna Cry” (C. Jackson, L. Dixon) – 3:00
02. “Emmie” (L. Nyro) – 3:14
03. “A Touch Of Baby” (B. Bloo, J. Linde, P. Antell) – 2:15
04. “I Just Can’t Help Believin'” (B. Mann, C. Weil) – 2:46
05. “She’s Gone” (B. Jackson, R. Rome) – 3:26
06. “Band Of Gold” (E. Wayne, R. Dunbar) – 2:47
07. “(If You Let Me Make Love To You Then) Why Can’t I Touch You?” (C. C. Courtney, P. Link) – 3:25
08. “Make It With You” (D. Gates) – 3:24
09. “Fever” (E. Cooley), J. Davenport) – 2:36
10. “Do What Your Heart Tells You To Do” (B. Jackson, J. Wisner) – 2:05
11. “Bridge Over Troubled Water” (P. Simon) – 5:25
Arranged By, Conductor – Ellen Starr, Jimmy Wisner, Tommy Bell
Engineer – Stan Tonkel, Stan Weiss
Liner Notes – Don DeVito
Supervised By [Sound] – Warren Vincent
The title song is also from the musical production “Salvation.”
Genre: Soul, Funk
Label – Columbia Records
DC Talk, is Christian rap and rock trio. The group was formed in Lynchburg, Virginia in 1987 by Toby McKeehan, Michael Tait, and Kevin Max Smith.
They began as a hip hop group, but in the mid-90s they reinvented themselves as a pop/rock group. In both instances, they found critical and commercial success in both the Christian music industry as well as the general market.
“Welcome to the Freak Show” is the name of a live audio and video recording by DC Talk. Chronicling the Jesus Freak Tour in the spring of 1996,
By capturing DC Talk on stage, “Live In Concert – Welcome to the Freak Show” functions as a vital greatest hits album. Despite their many virtues, DC Talk’s albums can occasionally sound constrained and guarded. Welcome to the Freak Show remedies that situation, as it relies on the group’s frentic, kinetic energy and interplay with the audience. The group runs through all of their best-known songs, delivering each with vigor. For the uninitiated, this is the best place to become acquainted with the group, and longtime fans will cherish this document of DC Talk at the peak of their powers.
The audio version was recorded in the Pacific Northwest, more specifically in Portland, Oregon and Tacoma, Washington, as evidenced by the band dialogue in several places, such as following “Like It, Love It, Need It” (Michael and Kevin banter about what they like about Seattle). Of notable absence is “Just Between You and Me” which was the album’s biggest mainstream hit. This song’s rise on the Billboard charts was a result of the partnership with Virgin Records that came after the close of the tour. “Between You and Me” was not played until the last dates of the tour, which was after this recording had taken place.
01. “Help!” (The Beatles cover) – 1:02
02. “So Help Me God” – 4:27
03. “Luv Is a Verb” – 4:54
04. “Like It, Love It, Need It” – 7:58
05. “Colored People” – 4:47
06. “Jesus Is Just Alright” – 5:58
07. “What If I Stumble” – 6:12
08. “In the Light” (Charlie Peacock cover) – 5:02
09. “Mind’s Eye” – 6:04
10. “It’s the End of the World as We Know It” (R.E.M. cover) – 7:18
11. “Day By Day” – 4:35
12. “Walls” – 2:16
13. “Time Is…” – 3:51
14. “Alas My Love” – 2:12
15. “The Hardway” – 5:43
16. “Jesus Freak” – 6:03
Performer – Kevin Max Smith, Michael Tait
Guitar – Brent Barcus, Mark Townsend
Keyboards – Jason Halbert
Bass – Otto Price
Drums – Will Denton
Percussion – Marvin Sims
Art Direction – Kevin Max Smith, Tom Davis
Edited By – Jeff Boggs
Edited By [Assisted] – Damon Riley
Engineer – Robert Tassi
Engineer [Assistant] – Joe Hayden, Stan Coty, Tim Roberts
Executive-Producer – Dan R. Brock, Eddie DeGarmo
Management – Dan Pitts, Laurie Anderson
Mastered By – Eric Wolf
Mixed By – John Hampton
Other [Booking] – John Huie
Photography – Louis DeLuca, Martha Neumann
Producer, Mixed By, Performer – Toby McKeehan
Recorded By – Tim Roberge
Release date: August 26, 1997
Recorded for Remote Control, Inc. Lynnwood, WA at Portland Memorial Coliseum, OR & Tacoma Dome, WA
Mixed at Javelina Recordings Studios, Nashville, TN
Mastered at Wolf Mastering, Nashville, TN
Overdubs at The Loft, Nashville, TN
Art Direction at East/West Design Nashville, TN
Genre: Christian Rock, Christian Hip Hop, Alternative Rock
Label – ForeFront Records
The Spencer Davis Group are a mid-1960s British beat group from Birmingham, England, formed by Spencer Davis with Steve Winwood and his brother, Muff Winwood.
The Spencer Davis Group re-formed in 1973 after a couple of years off during which Spencer Davis cut some solo albums and Eddie Hardin recorded the masterful solo record Home Is Where You Find It (with the help of fellow SDGers Pete York and Ray Fenwick). Gluggo is the result of their reunion and while it isn’t terrible by any means, it is a letdown to anyone who was looking for classic Spencer Davis sounds or a reprise of Hardin’s solo album. Too many of the songs are tune-free, the vocals sound like first takes, the playing isn’t particularly interesting, and the whole record is weighed down by an attempt on the band’s part to be heavy. The beats don’t bounce, there is no groove, and the riffs are leaden. The instrumentals “Today Gluggo, Tomorrow the World” and “The Edge” are the main offenders here, but ugly blooze-rockers like “The Screw” and generic boogie rockers like “Feeling Rude” don’t help much either. There are a couple flashes of goodness here and there, like the harmony-drenched “Don’t You Let It Bring You Down” (the one track that could have made the cut on Hardin’s album) and the driving “Living in a Backstreet,” which features some organ that it very reminiscent of the group’s early sound. As far as comebacks go, “Gluggo” is a nonstarter musically. It didn’t do much commercially either, and the band dissolved after recording one more album.
01. “Catch You on the Rebop” (Ray Fenwick/Eddie Hardin) – 3:18
02. “Don’t You Let It Bring You Down” (Ray Fenwick/Eddie Hardin) – 3:57
03. “Alone” (Ray Fenwick/Eddie Hardin) – 3:26
04. “Today Gluggo, Tomorrow the World” (Pete York/L Robbins) – 3:45
05. “Feeling Rude” (Ray Fenwick/Eddie Hardin) – 3:19
06. “Legal Eagle Shuffle” (Spencer Davis) – 3:38
07. “Trouble In Mind” (Ray Fenwick/Eddie Hardin) – 2:23
08. “The Screw” (Ray Fenwick/Eddie Hardin) – 3:47
09. “Tumble Down Tenement Row” (Spencer Davis) – 3:11
Spencer Davis – vocals, guitar, steel guitar)
Ray Fenwick – vocals, guitar
Eddie Hardin – vocals, piano, electric piano, organ, keyboards, synthesizer
Charlie McCracken – vocals, bass guitar
Gary Cooper – guitar
Pete York – drums, percussion
Design [Cover And Prepared By] – John Kosh
Engineer – Mike Butcher
Mastered By – Gilbert Kong
Photography By – Tim Fulford-Brown
Producer – Spencer Davis Group, The
Programmed By [Synthesizer Vcs3] – Dan Armstrong
Genre: Rock, Blye-Eyed Soul
Label – Vertigo Records
Gregory Darling turns out to be an enigma. Famed for appearing in a choir conducted as a child by Ennio Morricone (Exorcist 2) and counting his diminutive godliness Prince amongst his die-hard following, Darling initially signed to Polygram as Bowie/Prince/Queen-influenced outfit Darling Cruel and shifted 100,000 copies of his debut album ‘Passion Crimes’ in its first week of release.
If you had never heard David Bowie, the music on this album might sound marvelously innovative. Unfortunately for the career of Darling Cruel, most people had already heard Bowie when they heard this, and they made some inevitable comparisons that weren’t entirely flattering.
Perhaps it was indeed a coincidence that Gregory Darling had a voice in the same register, and he happened to like the same phrasing and songwriting style and subjects no, on second thought, it wasn’t a coincidence.
Much of “Passion Crimes” sounds like a lost album from the “Ziggy Stardust” era, from a session where they were in a rocking mood. This is not entirely a bad thing, and a few good songs and a lot of good playing can be heard here. “One By One” is an energetic romp that makes much of Danni Bardot’s guitar heroics, and there are other pieces that rock harder than much of what Bowie was doing in the late ’80s. Unfortunately, there are some amazingly bombastic arrangements here that mar everything they come in contact with. Where Darling Cruel did develop his own vocal style, he veered into incredibly histrionic arena rock, as in the overwrought “Love Child,” which features squeals, howls, falsetto shrieks, and even occasional singing. The instrumentation is equally over the top, with the Monmouth School Choir, and “members of the London Symphony, London Philharmonic, and the BBC Symphony Orchestra. This assemblage of talent was not used sparingly, either. They all played and sang at the same time while the band hammered away at full speed.
01. “Everything’s Over (Passion Crime)” – 3:23
02. “Weight On My Shoulders” – 4:04
03. “Beautiful One” – 3:32
04. “Sad Song Jenie” – 4:08
05. “Love Child” – 6:43
06. “Star Collector” – 4:19
07. “One By One” – 4:14
08. “Tales Of Emotion” – 4:34
09. “No Stranger” – 3:13
10. “Legend” – 5:22
Gregory Darling – vocals, piano
Danny Bardot – guitar
Erik Gloege – drums
Janis Massy – sax, flute, background vocals
Producer – Bob Rose
Release date: May 9, 1989
Label – Polydor Records
Brooke Ellen Bollea (born May 5, 1988), better known by her stage name Brooke Hogan, is an American reality television star, actress, singer, and media personality. She is the daughter of famous professional wrestler Hulk Hogan. Brooke took an early interest in music, and began working on her first studio album in 2002.
“The Redemption” is her second studio album, and was released on July 21, 2009 under SoBe Entertainment and Fontana Records. Brooke collaborated with several artists for the album, including Stack$, Colby O’Donis, and Flo Rida.
No doubt about it: the Hogan family had a rough time after the fall 2006 release of Brooke Hogan’s first album, Undiscovered. Within one year, her parents’ marriage dissolved and her mom ran off with a boyfriend younger than the 21-year-old Brooke, sparking a very ugly public divorce not helped at all by her brother’s arrest for reckless driving. It was a heaping dose of TMZ-fueled gossip, but Brooke herself wasn’t at the root of either scandal, prompting the question of what exactly Brooke needs to be redeemed from on her Redemption.
The answer is as unclear as the reason why she chose to immortalize herself as a ’70s van mural for the album’s artwork, and these are the only mysteries on “Redemption”, for Brooke Hogan is a pretty simple, sweet girl who only wants love and understanding. In another era, she’d be Sandra Dee singing about holding hands, but in 2009, she’s a Britney wannabe singing about “BeDDable” boyfriends and rough sex, laying bare the explicit thoughts BritBrit only hints at. But where even Britney at her most addled (i.e., Blackout, a clear sonic template for Redemption) gives the impression that she’s signed off on the direction her pop persona is taking, Brooke only seems in control on her vitriolic attack on her mother, delivered completely with an actual argument pasted over the bridge, and the ominous self-empowerment of the title track.
Apart from this, Brooke happily embraces whatever role handed her, not really caring that most of the songs are only suited for Florida strip clubs, not really caring that her singing is filtered through impenetrable layers of Auto-Tune, not really caring that she winds up making music every bit as classy as her cover art. In a sense, there’s a crass purity to the bad taste of Redemption, as it’s nothing more than the product of a pretty, curvy girl who just wants to sing, and producers who create tracks to fit those curves, and if it’s not a lot of fun to hear Hogan and team race toward the same goal on parallel tracks, at least it produces a whole lot of bewildered fascination.
01. “Intro” (Keith Pittman, Yannique Barker) – 1:01
02. “Strip” (Brooke Bollea, Derek Allen) – 3:16
03. “Hey Yo!” (Pittman, C.O’Donis, C.Harris, Jr., Bollea, Barker) – 3:38 (feat. Colby O’Donis)
04. “Trust Me” (Bollea, Trevor James) – 3:45 (feat. Urban Mystic)
05. “Falling” (Bollea, Allen) – 3:04 (feat. Stack$)
06. “All I Want Is You” (Ken Gioia, Michael Goodman) – 3:26
07. “Dear Mom…” (Bollea, Raymond Diaz) – 4:35
08. “Handcuffed” (Bollea, Jared Hancock) – 3:37
09. “Ruff Me Up” (Bollea, Diaz, Tramar Dillard) – 3:11 (feat. Flo Rida)
10. “BeDDable” (Bollea, Warren Felder) – 3:57
11. “You’ll Never Be Like Him” (Aaron Accetta, Kenneth Gioia, Goodman, Amanda Ventrice) – 3:09
12 . “The One That Got Away” (Bollea, Barker, Hancock) – 3:33 (feat. Stack$)
13. “Redemption” (Bollea, Pittman Keith) – 3:54
14. “Finish Line” (Bollea, Pittman Keith) – 3:33
Artwork [Front & Back Cover] – Gary Smith (26)
Mixed By – Niko Marzouca
Photography By – Gary James
Executive-Producer – Yannique Barker
Recorded By – Niko Marzouca, Rick Bryant
Producer – Keith Pittman, Derek Allen, Trevor James, Ken Gioia, Shep Goodman, Raymond Diaz, Jared Hancock Oak, Aaron Accetta
Release date: July 21, 2009
Genre: Dance-Pop, Hip Hop, R&B
Label – SoBe Entertainment
Amy Holland (born Amy Celeste Boersma; May 15, 1953) is an American pop-rock singer. She received a Grammy Award nomination for Best New Artist in 1981, following an eponymous debut album containing the Billboard Hot 100 song “How Do I Survive”.
“Amy Holland” is Amy Holland’s self-titled debut album. The album was released on LP record in 1980, and was produced by Amy’s future husband Michael McDonald. One of the songs on the album “How Do I Survive” (a song originally sung by The Paul Bliss Band) became a big hit and made it to the Top 30 chart. Amy Holland would often perform “How Do I Survive” live on music TV shows such as Music Fair (a Japanese music show) and Young Oh! Oh!. Those live performances of the song can be found on YouTube. Holland mostly recorded some song covers for this album, with one of them being Annette Hanshaw’s 1928 jazz-standard Forgetting You The success of the song How Do I Survive helped Amy earn a Grammy Nomination for Best New Artist in 1981, but she did not win the award however. Some of the songs on the album have been written by Michael McDonald such as “Here In The Light” and “Show Me the Way Home”. “How Do I Survive” was a hit peaking at #22 on the Billboard Hot 100. Three years later Amy would release another studio album called On Your Every Word.
01. “How Do I Survive” (Paul Bliss) – 4:00
02. “Strengthen My Love” (Timothy H. Moore) – 3:58
03. “Here in the Light” (Michael McDonald, Patrick Henderson) – 3:56
04. “Stars” (Dan Fogelberg) – 4:11
05. “Don’t Kid Yourself” (Amy Holland, Patrick Henderson) – 3:48
06. “I’m Wondering” (Stevie Wonder, Henry Cosby, Sylvia Moy) – 3:01
07. “Looking for Love” (Matthew Moore, Tom Kosta) – 3:37
08. “Holding on to You” (Bill Martin) – 3:46
09. “Show Me the Way Home” (Michael McDonald) – 3:36
10. “Forgetting You” (B.G DeSylva, Lew Brown, Ray Henderson) – 2:33
Amy Holland – lead vocals
Hadley Hockensmith – guitar
Patrick Henderson – piano, electric piano
Michael McDonald – backing vocals, piano, clavinet
Gary Grant – trumpet
Ollie Mitchell – trumpet
Plas Johnson – saxophone
Tom Scott – saxophone, lyricon
Richard “Slide” Hyde – trombone
John Bay Pierce – bass
Mike Baird – drums
Lenny Castro – percussion
Wendy Waldman – backing vocals
Chet McCracken – vibraphone
Donald Boyette – bass
Charity and Linda McCrary – backing vocals
Cornelius Bumpus – saxophone
Bill Payne – synthesizer
Nick DeCaro – strings
Bill Martin – backing vocals
Maureen MacDonald – backing vocals
Norton Buffalo – harmonica
Michael Porcaro – bass
Jim Petteway – guitar
Trey Thompson – bass
Michael Hossack – drums
John McFee – steel guitar, acoustic guitar
Brian Mann – accordion
Michael McDonald – producer
Genre: Pop, Country
Label – Capitol Records
The Incredible Bongo Band, also known as Michael Viner’s Incredible Bongo Band, was a project started in 1972 by Michael Viner, a record artist manager and executive at MGM Records. Viner was called on to supplement the soundtrack to the B-film The Thing With Two Heads. The band’s output consisted of upbeat, funky, instrumental music. Many tracks were covers of popular songs of the day characterized by the prominence of bongo drums, conga drums, rock drums and brass.
There’s a fun story behind this album, retold in detail in the liner notes. In 1972, Michael Viner was an executive at MGM Records. Asked to put together some music for the soundtrack of an upcoming B-movie horror film, The Thing with Two Heads, he called on songwriter Perry Botkin, Jr., and the two of them whipped up a pair of songs called “Bongo Rock” and “Bongolia.” By the middle of 1973, the songs, attributed to the Incredible Bongo Band, began to take off, both in Canada and on the U.S. R&B and pop charts, so Viner and Botkin took the concept to the next obvious level and cut an album, also titled Bongo Rock. Successful enough to scrape into the bottom of the Billboard album chart, the pair put together The Return of the Incredible Bongo Band in 1974 before fizzling out. There are some other pertinent details worth knowing, for example, that Jim Gordon, of Derek & the Dominos fame, was one of the key drummers on the project, and that Ringo Starr supposedly stopped in to bang out a few beats. But some of the best stuff happened long after the demise of the IBB, when early hip-hop DJs such as Kool DJ Herc and Grandmaster Flash, and then the Sugarhill Gang, Massive Attack and others, discovered the Incredible Bongo Band’s recordings and began using samples from them.
What started as a tossed-off filler session for a crummy flick took on a life of its own. This CD reissue contains not all, but most of the tracks from the two original albums, plus two remixes, “Apache (Grand Master Flash Remix)” and “Last Bongo in Belgium (Breakers Mix).”
Interesting as it is to hear how the bongo-centric beats were toyed with by the hip-hoppers, the original recordings stand up on their own as classically kitschy cheese-rock. Bongos aren’t the only sound heard, naturally, and fans of both lounge-rock and that crisp, reverby guitar sound prominent in old spy movies and Ventures records will dig what the IBB were all about.
Their version of “Apache,” the classic ’60s instrumental made famous by the Shadows, is the equal of any other, and while that can’t be said of their takes on “Satisfaction,” “Raunchy,” “Wipeout” or even “In-A-Gadda-Da-Vida,” these studio musicians most of whom the creators of the IBB don’t recall but which may or may not have included some heavyweights sure had a good time stepping out on their nights off.
01. “Let There Be Drums” (Podolar, Nelson) – 2:38
02. “Apache” (Jerry Lordan) – 4:54
03. “Bongolia” (Perry Botkin Jr.) – 2:14
04. “Last Bongo In Belgium” (Viner, Botkin Jr) – 6:55
05. “Dueling Bongos” (Viner, Botkin Jr.) – 2:56
06. “In-A-Gadda-Da-Vida” (Doug Ingle) – 7:42
07. “Raunchy ’73” (Justis, Manker) – 3:23
08. “Bongo Rock ’73” (Egnoian, Epps) – 2:35
Arranged By – Michael Viner
Drums – Jim Gordon
Horn – Steve Douglas
Keyboards – Michael Omartian
Mastered By – Youichi Aikawa
Percussion – King Errisson
Artwork [Artwork Arranged By] – Kazunori Uemura, Satoru Yonekawa
Producer, Executive Producer – Michael Viner, Perry Botkin, Jr.
Recorded At – Can-Base Studios
Genre: Rock, Funk, Surf
Label – MGM Records
Bonnie Hayes is an American singer/songwriter, musician and record producer from San Francisco, California. Her songs have been recorded by Cher, Bette Midler, Natalie Cole, Robert Cray, David Crosby, Adam Ant and Booker T and the MGs.
Much more so than the contemporary New York or London scenes, California punk was very open to female singer/songwriters. From Penelope Houston of the Avengers to Exene Cervenka of X, the San Francisco and Los Angeles punk scenes were emphatically female-friendly, treating women as active, leading participants rather than novelties or pretty faces. It was no accident that the Go-Go’s and the Bangles, from Los Angeles, succeeded where so many New York- and London-based female-fronted bands failed. Singer/songwriter and keyboardist Bonnie Hayes was the leader of the Punts, one of San Francisco’s best punk bands, but Hayes had more on her mind than the usual three-chord ramalama. Coming from a musical family well-steeped in jazz, blues, and soul (Bonnie’s brother Kevin, the Punts’ drummer, later joined Robert Cray’s band; another sibling, Chris, was lead guitarist and a major songwriter in the R&B-laced pop powerhouse Huey Lewis & the News) and clearly fond of Spector-style ’60s girl groups, Hayes took the Punts in a more melodic and musically varied direction; renaming themselves Bonnie Hayes & the Wild Combo, the group signed with LA’s Slash Records and released 1982’s Good Clean Fun, probably the finest album of the entire early-’80s California girl pop scene.
Yes, even better than Beauty and the Beat or All Over the Place. First and foremost, the songs on Good Clean Fun are almost embarrassingly catchy. The first two tracks, “Girls Like Me” and “Shelly’s Boyfriend” (both used to fine effect in Martha Coolidge’s 1983 cult film Valley Girl), are three-minute classics with more vocal and musical hooks than many whole albums. While the other eight tracks are slightly less immediate, every single one of them has a catchy chorus or appealing riff that imprints itself in the listener’s memory.
The Hayes siblings, along with guitarist Paul Davis and bassist Hank Maninger, also have the instrumental chops to pull off considerably more sophisticated tunes than anyone was likely to find on, say, a Josie Cotton album. Able to slip from the restrained turmoil of the surprisingly non-whiny indie band lament “Coverage” to the impassioned hard rock of the devastating closer “The Last Word,” Bonnie Hayes & the Wild Combo also reveal an unexpectedly jazz-influenced bent on the extended instrumental sections of “Dum Fun” and “Raylene.” Aside from the musical heft of the album, Hayes is an acute lyricist with a knack for both clever Elvis Costello-style wordplay and vividly realistic imagery. “Shelly’s Boyfriend” is a sympathetic portrait of the frustrations of teenage love, but the immediacy of the lyrics lifts it above similar tunes.
Other songs, like “Inside Doubt” and “Separating,” deal with more complex emotions without losing the power pop bounce that makes the album so instantly appealing. Good Clean Fun works brilliantly on every level, and only Slash Records’ limited distribution muscle and possibly the unfortunately cheesy cover art kept it from being a hit. As it stands, Good Clean Fun is a neglected ’80s pop masterpiece.
01. “Girls Like Me” (B. Hayes) – 3:04
02. “Shelly’s Boyfriend” (B. Hayes/Savage) – 3:40
03. “Separating” (B. Hayes/Savage) – 3:39
04. “Dum Fun” (B. Hayes/Savage) – 3:17
05. “Coverage” (B. Hayes) – 4:00
06. “Inside Doubt” (B. Hayes/Savage) – 3:42
07. “Joyride” (B. Hayes) – 3:21
08. “Loverboy” (B. Hayes) – 3:34
09. “Raylene” (B. Hayes) – 3:47
10. “The Last Word” (B. Hayes) – 3:25
Vocals, Keyboards – Bonnie Hayes
Guitar, Vocals – Paul Davis
Bass, Vocals – Hank Maninger
Drums, Vocals – Kevin Hayes
Engineer – Brian Risner, Garry Creiman
Engineer [2nd Engineer] – Ricky Lee Lynd, Skip Sitkin
Producer – Bonnie Hayes, Steve Savage, The Wild Combo
Genre: Pop Rock, New Wave
Label – Slash Records
Gypsy was a American progressive rock band from Minnesota, formed as The Underbeats (1962–1968). Gypsy was the house band at the Whisky a Go Go, West Hollywood, California for about eight months from September 1969 to 1970.
“In the Garden” is the second album, their second for Metromedia. It peaked at #173 on the Billboard Pop Albums charts in 1971.
Most of Gypsy’s music was composed and written by guitarist and singer Enrico Rosenbaum. Drummer Bill Lordan went on to play with Sly & the Family Stone and a long career with Robin Trower. Keyboardist James Walsh continued the band in various incarnations as The James Walsh Gypsy Band.
The band, from Minneapolis MN with a following in St. Louis area, was centered around an outstanding singer/guitarist/song-writer, Enrico Rosenbaum, guitarist/vocalist James Johnson, and keyboard/vocalist/composer James (Owl) Walsh. This trio went to LA in 1970 to stake out their musical fortunes and created beautiful melodies and vocal harmonies, and could really rock. Rosenbaum’s vocals are reminiscent of Burton Cummings (The Guess Who), and the group harmonies like CSNY. This album has more vocal solos and instrumental solos, and less soaring harmonies than their double-album debut, called “Gypsy”. But the songs themselves are all outstanding. “Around You” (5:27) – fast paced, guitar and organ “As Far as you can see” (12:07) .. extended jamming, tempo changes, dual-guitar soloing, great vocals “Here (in the Garden) part one” (6:43)..slow paced, acoustic, great vocals, goes into a drum solo “Here (in the Garden) part two” (3:07) has the signature soaring Gypsy vocal harmonies “Blind Man” (3:59) A real hidden gem. beautiful mid-tempo vocal, acoustic guitar, solo electric guitar and organ, a great chorus, “Still I’m fooling myself believing I really don’t know if I need you” “Time will make it better” (2:53) Solo piano and vocal by James Walsh, a lovely tune.
All songs were written by Enrico Rosenbaum, except the last by James Walsh. Rosenbaum died later in the 70’s. Walsh and Johnson have re-organized the group in the late 90’s, and recorded new material true to the original style.
01. “Around You” – 5:27
02. “Reach Out Your Hand” – 2:33
03. “As Far As You Can See (As Much As You Can Feel)” (intro by Lordan/Walsh) – 12:09
04. “Here in the Garden I” – 6:43
05. “Here in the Garden II” – 3:07
06. “Blind Man” – 3:59
07. “Time Will Make It Better” (Walsh) – 2:53
All songs by Enrico Rosenbaum except as noted.
Enrico Rosenbaum – guitar, vocals
James Walsh – keyboards, vocals
James Johnson – guitar, vocals
Bill Lordan – drums
Willie Weeks – bass
Joe Lala – percussion
Produced by – Clark Burroughs
Engineered by – Jerry Barnes
Release date: July 1971
Recorded at: Larrabee Sound, Los Angeles, CA
Genre: Progressive rock
Label – Metromedia Records
David + David was an American rock duo composed of Los Angeles-based studio musicians David Baerwald and David Ricketts. They are best known for their debut single “Welcome to the Boomtown”.
David + David’s “Boomtown” is a hard look at urban life in the 1980s, a time when many were fulfilling the American Dream of financial success and upward mobility. It is not an easy album to listen to, as the characters depicted in the songs are often dealing with major problems such as drugs and domestic violence. But it is an artful record, full of poetry and convincing stories of the hard times that many silently endured. At times the record is full of pop hooks, and at other stages a more bleak sound dominates. The vocals of David + David are also effective in telling the tales, as often there is a shrill, despondent quality that complements what is being related to the listener. In particular, the drums have kind of a hushed sound to them, and the guitars often purvey sounds of doom through distortion or other means. “Welcome to the Boomtown” is the hit off the album, and is one of various cuts that convincingly detail the many trials of the characters such as Kevin, who “deals dope out of Denny’s keeps a table in the back.” Although there are often hints of hope and seemingly a sense of compassion toward the subjects in the songs, it is not apparent that most will eventually pull themselves out of their predicaments. One may not want to listen to this record to lift the spirit, but it is a strong reminder of difficult situations faced during what can be perceived by many as the best of times
David & David disbanded shortly after “Boomtown”, and Baerwald and Ricketts continued to work with other musicians. They both collaborated with Sheryl Crow on her debut LP, “Tuesday Night Music Club”.
01. “Welcome to the Boomtown” – 5:31
02. “Swallowed by the Cracks” – 4:16
03. “Ain’t So Easy” – 4:51
04. “Being Alone Together” – 5:31
05. “A Rock for the Forgotten” – 4:26
06. “River’s Gonna Rise” – 4:29
07. “Swimming in the Ocean” – 4:00
08. “All Alone in the Big City” – 4:42
09. “Heroes” – 3:10
All songs written by David Baerwald and David Ricketts. “Heroes” Written by David Baerwald
David + David – vocals, guitar, bass guitar, mandolin, dobro, piano, drums, keyboards, harmonica, lap steel guitar
Toni Childs – additional vocals
Noland Void – additional vocals
Camille Henry – additional vocals
Judy Clapp – assistant engineering
Paulinho da Costa – percussion
Ed Greene – drums
Bernie Grundman – mastering
John Beverly Jones – engineering, mixing, recording
Melanie Nissen – photography, design, art direction
John Philip Shenale – programming
Davitt Sigerson – production
Chuck Beeson – art direction
All songs written by David Baerwald and David Ricketts. “Heroes” Written by David Baerwald
Recorded 1986 at Skyline, A&M, Mad Hatter and Capitol Studios.
Genre: Pop rock
Label – A&M Records
Perry Farrell (born Perry Bernstein; March 29, 1959) is an American musician, best known as the frontman for the alternative rock band Jane’s Addiction.
“Song Yet to Be Sung” is the second album by vocalist Perry Farrell, released on July 16, 2001, on Virgin Records. The album features collaborations from Farrell’s former bandmates Dave Navarro, Stephen Perkins and Martyn LeNoble. It was originally titled “The Diamond Jubilee”.
Even though Perry Farrell didn’t disappear in the latter half of the ’90s, it sure felt like he had. Lollapalooza dried up not long after he left, his follow-up festival was stillborn, Porno for Pyros never achieved the high profile or respect of Jane’s Addiction and when Jane’s did reunite in 1997, its companion album and tour were a distant memory a year later. So, he seized the opportunity of silence by laying low, developing a new sound for a new project namely, a solo career. During his self-imposed exile he, like many members of the alt-rock generation, became convinced that electronica was the next bold step forward, so he absorbed the sounds and learned how to make it himself, crossing it with worldbeat and new age spirituality for his ambitious comeback record, “Song Yet to Be Sung”. Part of the problem of working in isolation for a prolonged period of time which he essentially was, even if he worked with a number of different collaborators is that the end product feels somewhat hermetic whenever it’s released.
This can be a good thing, since it can help protect an individual vision, which is somewhat true of Song. Farrell certainly has his own brand of mysticism, globe-spanning electronica, and he keeps his focus throughout the record, letting the moods change slowly with the flow of the rhythms. It’s easily the most consistent record he’s cut since Ritual de lo Habitual, and it has a generous spirit that’s brand new to Farrell’s music. This all makes for an interesting listen and, if you’re coming from a similar vantage, it could be quite compelling. Yet despite the idiosyncratic, individual vision Farrell displays throughout the record, it isn’t exactly visionary, especially compared to records released during his prolonged absence from music-making.
No matter its accomplishments, it sounds strangely dated, sharing more with Andrew Weatherall productions from the early ’90s than such late-’90s rock-electronica hallmarks as Homogenic. This doesn’t discount what Farrell’s accomplished here, since this holds its own against Jane’s Addiction far more than any Porno for Pyros record, but it feels more like a product of the ’90s than a new millennium.
The title track,”Song Yet to Be Sung” was the official song for trailers of the series premiere of Smallville.
01. “Happy Birthday Jubilee” (Perry Farrell, Brendan Hawkins, Karl Leiker) – 4:39
02. “Song Yet to Be Sung” (Perry Farrell, Stephen Perkins) – 4:54
03. “Did You Forget” (Perry Farrell) – 4:10
04. “Shekina” (Perry Farrell) – 4:53
05. “Our Song” (Perry Farrell) – 4:21
06. “Say Something” (Perry Farrell, Brendan Hawkins) – 3:45
07. “Seeds” (Perry Farrell) – 3:48
08. “King Z” (Perry Farrell) – 3:31
09. “To Me” (Perry Farrell, Karl Leiker) – 2:59
10. “Nua Nua” (Perry Farrell, Brendan Hawkins, Karl Leiker, Stephen Perkins) – 4:37
11. “Admit I” (Perry Farrell, Karl Leiker, Stephen Perkins) – 4:23
12. “Happy Birthday Jubilee (reprise)” (Perry Farrell, Brendan Hawkins, Karl Leiker) – 2:40
Perry Farrell – vocals, guitar, harp, drums, keyboard programming
Alex Brown – vocals, background vocals
Max Lavilla, Ray McVeigh, Joel Shearer, Noko, Jennifer Turner – guitar
Dave Aron, Michael Mattioli, Willie Waldman, Maurice Spears – horns
Lonnie Jordan – piano
Patrick Warren – organ, chamberlin
Karl Leiker – drums, programming, keyboard programming
Brendan Hawkins – drums, keyboard programming
Stephen Perkins – drums
DJ Garth, Eric James, Alexis Smith, Marius de Vries, Thomas Johnson – programming
Mad Professor, Maxi Anderson, Monalisa Young – background vocals
Audio Mixers: DJ Garth; Eric James; Greg Collins ; Brendan Hawkins; Alan Moulder; Mad Professor; Perry Farrell; Carmen Rizzo.
Producer Perry Farrell, Krish Sharma, Brenden Hawkins, Marius DeVries, Mad Professor, Karl Leiker
Recording information: Blue Barn, England; Golden Robot Studios, Beverly Hills, CA.Battery Studios; Grayhound Studios, El Cerrito, CA; Henson Recording, Hollywood, CA; Moutn Moriah Studios, Venice, CA; Record Planet, Sausalito, CA; Village Studios, Los Angeles, CA; Yobel’s Way, Venice, CA. Photographer: David LaChapelle. Arranger: Brendan Hawkins. Personnel includes: Perry Farrell (vocals, harp, keyboards, programming); Dave Navarro, Dave Marlot, Noko (guitar); Willie Waldman (horns); Lonnie Jordan (piano); Patrick Warren (Chamberlain, organ); Karl Leiker, Bikki Johnson (bass); JuJu (percussion); Brenden Hawkins, Steve Pagan (programming); Mad Professor (background vocals). Producers: Krish Sharma, Marius De Vries, Mad Professor.
Genre: Alternative Rock, Electronic
Label – Virgin Records
Pandora’s Box was a female pop music group assembled by Jim Steinman in the 1980s. Some of its members had previously worked with Steinman, in the ensemble Fire Inc., on the album Bat Out of Hell, on live shows and on other studio recordings.
“Original Sin” is a concept album performed by Pandora’s Box and produced by Jim Steinman. Steinman wrote the majority of this album, although there are a couple of cover versions.
Although the album was not a commercial success (except in South Africa), many of the songs have gone platinum with other artists. Steinman is said to be very proud of the songs on this album,
This gothic rock epic was the brainchild of Jim Steinman, the writer/producer behind Meat Loaf and the 1980s resurgence of Bonnie Tyler. This time, Steinman ups the musical ante by utilizing a quartet of powerful female vocalists (including former Meat Loaf backup singer Ellen Foley). Fittingly, Original Sin bears all the hallmarks of the Jim Steinman style: epic-length songs, over-the-top and romance-obsessed lyrics, and plenty of rock & roll bombast. A great example of this approach is the opening track, “Original Sin”; this moody rumination on romantic obsession starts as a piano ballad but soon transforms into a rock song and continues to build until it becomes a rock-operatic aria. Another highlight in the same vein is “It’s All Coming Back to Me Now,” a tormented ballad about romantic loss and regret built on a spooky yet heart-wrenching piano melody. The latter song is also notable because it would later become a massive hit when covered by Celine Dion. Other songs explore a danceable style enhanced by electronic touches: the most notable example is a cover of the Doors’ “Twentieth Century Fox,” which tarts up this classic with several layers of synthesizer effects, a Jimi Hendrix sample, and musical quotes from “In the Midnight Hour” and “Light My Fire.” These songs are vividly brought to life by the album’s four vocalists, who lend gospel-fueled firepower to the uptempo songs and a surprising emotional vulnerability to the quieter ballads. The resulting album is an odd but fascinating combination of dark humor, heartfelt emotion, and ornate instrumentation. It is not for all tastes, but is well-crafted throughout and will appeal to anyone who enjoyed Jim Steinman’s hits with Meat Loaf and Bonnie Tyler.
01. “The Invocation” – 0:21
02. “Original Sin” (The Natives Are Restless Tonight) – 6:27
03. “Twentieth Century Fox” (Written-By – The Doors) – 4:50
04. “Safe Sex” – 6:23
05. “Good Girls Go To Heaven (Bad Girls Go Everywhere)” – 6:24
06. “Requiem Metal” [Excerpt From “Messa Da Requiem”] – 0:50
07. “I’ve Been Dreaming Up A Storm Lately” – 3:03
08. “It’s All Coming Back To Me Now” – 8:22
09. “The Opening Of The Box” – 1:58
10. “The Want Ad” – 2:43
11. “My Little Red Book” (Written-By – Burt Bacharach, Hal David) – 4:11
12. “It Just Won’t Quit” – 6:36
13. “Pray Lewd” – 3:38
14. “The Future Ain’t What It Used To Be” – 10:33
All songs written by Jim Steinman, except where indicated.
Elaine Caswell – Vocals
Ellen Foley – Vocals
Gina Taylor – Vocals
Deliria Wilde – Vocals
Jim Steinman – Keyboards
Eddie Martinez – Guitars
Steve Buslowe – Bass Guitar
Tony Levin – Bass on “Original Sin (The Natives Are Restless Tonight)”
Roy Bittan – Grand Piano
Steven Margoshes – Piano on “Pray Lewd”
Jeff Bova – Synthesizers, Keyboards, Programming
Jimmy Bralower – Drums, Programming
Todd Rundgren, Eric Troyer, Rory Dodd, Holly Sherwood, Laura Theodore – Backing Vocals
Curtis King, Tawatha Agee, Vaneese Thomas, Brenda King, Darryl Tookes – Additional Backing Vocals
New York Philharmonic (conducted by Steven Margoshes) – Orchestra on “The Opening of the Box”
Producer – Jim Steinman; co-produced by Roy Bittan & Larry Alexander
Phonographic Copyright (p) – Virgin Records Ltd.
Copyright (c) – Virgin Records Ltd.
Printed By – TOPAC
Recorded At – Power Station
Mixed At – Power Station
Mastered At – Sterling Sound
Recorded: The Power Station, New York City
Genre: Gothic Rock, Wagnerian rock
Label – Virgin Records
Jane’s Addiction is an American rock band from Los Angeles, California, formed in 1985. The band consists of Perry Farrell (vocals), Dave Navarro (guitar), Stephen Perkins (drums) and Chris Chaney (bass).
“Strays” is their fourth album, and third full studio on Capitol Records. “Strays” is the first album to feature bassist Chris Chaney. Regarding the decision to record a new studio album after such a long hiatus, drummer Stephen Perkins stated that the band had already completed two reunion tours performing old material, and that Jane’s was ready for “a new challenge. Vocalist Perry Farrell states that the band “went into the studio thinking fast, hard, modern and to the point.”
The last time that Jane’s Addiction headlined Lollapalooza behind a high-profile album was, of course, 1991. Much changed in 12 years, though, and the declining fortunes of Perry Farrell’s breakthrough festival during the summer of 2003 were matched by a desultory return from three-fourths of the original Jane’s Addiction lineup on its third full album, “Strays”. Farrell, guitarist Dave Navarro, drummer Stephen Perkins, and bassist Eric Avery (who declined his reunion invitation) had been a vision of ’80s musical heaven since their studio debut, 1988’s Nothing’s Shocking. Farrell’s art-school intelligence and originality made the band interesting, while Navarro’s and Perkins’ background in heavy metal (they’re both significantly younger than Farrell) gave the band punch, adding the melodicism of power pop and the constant riffing of thrash. Though “Strays” possesses all these characteristics it’s undeniably a Jane’s Addiction record, and a powerful one at that it also illustrates that the group’s formidable musical talents have been subsumed by an apparent quest to save its legacy. For “Strays” is, most of all, a safe record. Farrell’s regal, echo-laden vocals are intact (and out in front like never before), as are Navarro’s ragged, lyrical guitar solos, but the songs lag far behind. In fact, they never even approach the level of any Jane’s material from their two proper albums. This isn’t a record that would allow a throwaway stunner like “Been Caught Stealing” (the tossed-off jam that became the band’s biggest hit) or the majestic ten-minute epic “Three Days.” In their place is a set of majestic jams influenced by Farrell’s second Porno for Pyros LP, “Good God’s Urge”, a mystical mishmash of musical feelings and textures, not songs. The allure of Jane’s Addiction is undiminished by “Strays” (this is still a band creating music unlike any other group on earth).
01. “True Nature” – 3:49
02. “Strays” (Farrell, Navarro, Perkins, Ezrin, Aaron Embry, David J) – 4:32)
03. “Just Because” – 3:51
04. “Price I Pay” – 5:27
05. “The Riches” – 5:44
06. “Superhero” – 3:58
07. “Wrong Girl” – 4:32
08. “Everybody’s Friend” – 3:18
09. “Suffer Some” – 4:14
10. “Hypersonic” – 3:32
11. “To Match the Sun” – 5:25
All songs written by Farrell, Navarro, Perkins, Ezrin, LeNoble, Embry, Chaney except where indicated.
Perry Farrell – lead vocals, programming
Dave Navarro – guitars, piano
Stephen Perkins – drums, percussion
Chris Chaney – bass
Bob Ezrin – mixing, additional keyboards, percussion, orchestral arrangements
Dionna Brooks-Jackson – backing vocals
Scott Page – saxophones
John Shanks – mandolin
Mike Finnegan – organ
Aaron Embry – keyboards, kalimba
Zack Ray – keyboards
Kim Hill – backing vocals
Brian Virtue – engineer, mixing, programming
Alex Gibson, James Murray – additional engineering
Brian Humphrey, Alex Uychocde – assistant engineer
Joe Bishara – programming
Brenden Hawkins, James Murray – additional programming
Leanna Sterios – orchestral arrangements
Brian Gardner – mastering
Producer – Bob Ezrin and Brian Virtue
Release date – July 22, 2003
Recorded – 2002–03 at Henson Recording Studios
Genre – Alternative Rock, Alternative Metal
Length – 48:22
Label – Capitol Records
The Dream Syndicate is an American alternative rock band from Los Angeles, California, active from 1981 to 1989. The band is associated with the Paisley Underground music movement; of the bands in that movement, according to the Los Angeles Times, it “rocked with the highest degree of unbridled passion and conviction”.
Though never commercially successful it met with considerable acclaim, especially for its songwriting and guitar playing.
After waves of positive press, A&M Records signed the Dream Syndicate and they went into the studio with producer Sandy Pearlman, who spent five months in the studio guiding the band through their second LP.
Given their sudden rise to success, the Dream Syndicate probably would have dealt with a certain amount of critical backlash no matter how their sophomore effort turned out, but “Medicine Show” was greeted with openly hostile reviews, largely because it sounded practically nothing like the album that sent tongues wagging two years earlier. Where The Days of Wine and Roses was a raw but passionate fusion of Highway 61-era Bob Dylan and the Velvet Underground at their most primal, Medicine Show sounded big and polished, but also dusty and weathered, with the terse, nose-thumbing lyrics of the debut replaced with dark, complex narratives full of bad luck and bad blood backed with booming drums and roaring guitars that were significantly more rockist than what Steve Wynn and Karl Precoda brought to their earlier recordings.
Viewed in the context of Wynn’s career, Medicine Show marks the spot where the lyrical themes and musical approach of his later work would first come into focus, but it still doesn’t bear much resemblance to what the Dream Syndicate would create on their subsequent albums in its grand, doomy tone and obsessive but curiously unobtrusive production style. Medicine Show isn’t a grand failure as its initial detractors claimed, but it isn’t the triumph some revisionist fans imagine it to be, either; there are a few great songs scattered throughout (especially “Merrittville” and “Armed with an Empty Gun”), and once it works its way in, the 8:48 of “John Coltrane Stereo Blues” is as potent a guitar workout as anything this band would ever release. But in most respects, this finds Wynn and his bandmates reaching for something they couldn’t quite grasp, and Tom Zvoncheck’s keyboards, for all their drama, never really find their way into the music. Lots of bands let loose with a major-label budget for the first time have made lavish records that didn’t quite work, but unlike most of them, “Medicine Show” doesn’t sound like a grandiose waste of money. Instead, it’s a widescreen guitar spectacle with the soul of a Jim Thompson paperback, and if it doesn’t always work, enough of it does to make it worthy of serious reappraisal.
01. “Still Holding on to You” – 3:39
02. “Daddy’s Girl” – 3:02
03. “Burn” – 5:34
04. “Armed with an Empty Gun” – 3:56
05. “Bullet with My Name on It” (Karl Precoda) – 6:20
06. “The Medicine Show” – 6:29
07. “John Coltrane Stereo Blues” (Dennis Duck, Dave Provost) – 8:48
08. “Merritville” – 7:20
All songs written by Steve Wynn, except where indicated.
Steve Wynn – guitar, vocals
Karl Precoda – lead, rhythm guitars
Dennis Duck – drums
Dave Provost – bass
Tom Zvoncheck – piano, Hammond B3 organ
Sid Griffin – background vocals
Stephen McCarthy – background vocals
Paul Mandl – background vocals
Gavin Blair – background vocals
Mastered By – George Marino
Mixed By – Dave Wittman
Engineer – Eric Van Soest, Ken Huncovsky, Paul Mandl, Rod O’Brien
Producer – Sandy Pearlman
Recorded at: Time Enough and World Enough Studios, S.F., CA,
Mixed at: The Automatt, S.F., CA.
Mastered at: Sterling Sound, New York, N.Y.
Recorded By – Paul Mandl
Recorded By [Drum Tracks] – Rod O’Brien
Genre: American Underground, Alternative rock
Label – A&M Records