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Gorilla Manor is the debut album by Los Angeles based indie rock band Local Natives. It was released in the United Kingdom on November 2, 2009, on Infectious Records, and February 16, 2010, by Frenchkiss Records in the United States.
The album was self-funded by the band and recorded by Raymond Richards in his own Red Rockets Glare Studio, in West Los Angeles. It was produced in collaboration by Richards and the band. Gorilla Manor was named after the house they all shared in Orange County, where most of the album was written. “It was insanely messy and there were always friends over knocking around on guitars or our thrift store piano,” said guitarist Ryan Hahn.
Although recorded in late 2008, Gorilla Manor wasn’t released until 14 months later, allowing Local Natives the chance to build a strong blog buzz before their debut hit American shores. The delay wasn’t entirely beneficial, however, as Gorilla Manor sounds quite similar to a number of albums that flourished in the interim.
Local Natives’ sunny harmonies call to mind Fleet Foxes’ debut and Grizzly Bear’s Veckatimest, while the band’s polyphonic hand percussion — which, at its most frenzied, is almost tribal sounding — evokes memories of Yeasayer’s All Hour Cymbals.
For all its familiarity, though, Local Natives’ first album is still an enjoyable piece of work, filled with enough pop melodies and multi-cultural quirks to make the year-long holdup fairly worthwhile.
The band pitches itself somewhere between the post-punk camp and Afro-beat village, with the musicians often yelping their verses in multi-part harmony before barreling into Technicolor choruses.
Matt Frazier’s percussion is sharp, crisp, and always in the foreground, often assuming as much importance as the vocals themselves, while the album’s production — courtesy of the bandmates themselves, along with fellow Silver Lake resident Raymond Richards — stretches a layer of pan-ethnic atmosphere over all 12 tracks, a move that bridges any gaps in the young group’s songwriting. Local Natives may have arrived several months late for their own party, but Gorilla Manor is a refreshing example of good quality trumping bad timing.
1. Wide Eyes – 4:26
2. Airplanes – 3:58
3. Sun Hands – 4:51
4. World News – 4:32
5. Shape Shifter – 5:30
6. Camera Talk – 3:45
7. Cards & Quarters – 4:00
8. Warning Sign (Talking Heads cover) – 4:12
9. Who Knows Who Cares – 3:53
10. Cubism Dream – 4:00
11. Stranger Things – 5:46
12. Sticky Thread – 3:48
Amazon MP3 bonus track
13. Only Son (B-Side) – 4:02
All tracks are written by Local Natives, except “Warning Sign” by David Byrne and Chris Frantz.
- Taylor Rice – vocals, rhythm guitar
- Kelcey Ayer – vocals, keyboards, rhythm guitar
- Ryan Hahn – lead guitar, vocals
- Matthew Frazier – drums, vocals
- Andy Hamm – bass, vocals
- Amanda Salazar – Violin
- Charlene Huang – Violin
- Artwork By [Design & Art Direction] – Local Natives
- Management – Phil Costello
- Mastered By – Dave Cooley (tracks: 01, 03, 05, 07, 08 and 12), Mark Chalecki (tracks: 02, 04, 06, 09 and 11)
- Mixed By – Dan Long (tracks: 02, 04, 06, 09 and 11), Hugo Nicolson (tracks: 01, 03, 05, 07, 08 and 12)
- Photography – Local Natives, Wendy Lynch Redfern
- Producer – Local Natives
- Producer, Engineer – Raymond Richards
Released: November 2, 2009
Recorded at: Studio Red Rockets Glare (Rancho Park, California), Hot Pie Studios (Pasadena, California)
Genre: Indie rock, post-punk revival
Label – Infectious / Frenchkiss Records
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Born Leo Morris in New Orleans, he grew up in the city’s 13th Ward. He showed early talent as a percussionist and began his professional career while still a teenager, playing on Fats Domino’s “Blueberry Hill“.
He also recorded a series of jazz-funk albums among this album “You Ain’t No Friend Of Mine!”, a funky jazz album recorded by Idris Muhammed in 1978 on Kudu Records.
Musicians on this album include Hiram Bullock, Ben Carter, Zakir-Hussain & Max Romeo.
A1. Disco Man – 5:54
A2. See Saw – 5:33
A3. The Doc – 7:26
B1. You Ain’t No Friend Of Mine – 6:45
B2. Tell Me, Where Did We Go Wrong? – 5:06
B3. Big Foot – 7:47
Bass – Lincoln Goines
Drums – Idris Muhammad
Guitar – Hiram Bullock
Keyboards – Cliff Carter
Baritone Saxophone, Clarinet – Ed Xiques
Flute – Jerry Dodgion, Ken Harris,Joe Ford
Piano [Acoustic] – Ben Carter
Tenor Saxophone – Bob Berg, Clarence Thomas
Timbales, Tambourine,Electronic Drums [Syndrums],Drum [Log Drum] – Idris Muhammad
Trombone – Earl McIntyre, Janice Robinson
Trumpet – Earl “Big Bird” Gardner , Jeff Davis, Larry Moses, Cecil Bridgewater
Vocals – Ben Carter, Carl Scott, Larry Marshall , Sylvester “Ricky” Powell,Hiram Bullock
Bells, Synthesizer, Celesta – Bill Fischer
Congas – Bill Summers
Tabla,Drum [Duggis] – Zakir-Hussain
Harp – Margaret Ross
Lead Vocals, Backing Vocals – Max Romeo (track B2)
Percussion – Guilherme Franco
- Phonographic Copyright (p) – Fantasy Records
- Recorded At – Fantasy Studios
- Mixed At – Fantasy Studios
- Recorded At – Generation Sound Studios
- Recorded At – Regent Sound Studios, New York City
- Mastered At – Sterling Sound
- Art Direction – Phil Carroll
- Bass – Lincoln Goines
- Coordinator – Terri Hinte
- Drums – Idris Muhammad
- Engineer [Assistant] – Dan Kopelson
- Engineer [Recording & Remix] – Steve Williams
- Guitar – Hiram Bullock
- Keyboards – Cliff Carter
- Mastered By – Ted Jensen
- Photography By – Jim Houghton
- Producer – William Fischer
Recorded and mixed at Fantasy Studios, Berkeley; except horns on “Disco Man”, “Tell Me”, and “You Ain’t No Friend” recorded at Generation Sound, New York, and horns on “See Saw” recorded at Regent Sound, New York. Vocals recorded at Regent Sound, except “You Ain’t No Friend” recorded at Fantasy.
Mastered at Sterling Sound, New York.
Release Date: 1978
Genre: Jazz Funk
Styles: Crossover Jazz
Label – Fantasy Records
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Jimmy Destri (born James Mollica, April 13, 1954, Brooklyn, New York City, United States) is an American musician. He played keyboards in the rock band Blondie, and was one of the principal songwriters for the band along with Chris Stein and Deborah Harry. Destri ceased touring with the band in 2004, but remained an official member for several more years.
Destri became interested in music in the late 1950s and early 1960s due to his uncle’s being a drummer with Joey Dee and the Starlighters. He formed his first band, the 86 Proof, in high school and they performed in local schools. He played in a group named Milk and Cookies in the early 1970s, but was dismissed from the band just before they relocated to the UK. He joined Blondie in 1975, using the Farfisa organ as his main instrument.
After Blondie’s break-up in 1982, Destri ran a company that bought, renovated, and sold old buildings.
1981 was the year of Blondie solo projects, and Destri tried launching a solo career with this album. However, it proved to be the beginnng and end of that career, although a sticker saying ‘ The first solo album from Jimmy Destri of BLONDIE’ indicates it wasn’t supposed to be that way.
Destri mainly wrote album tracks for Blondie, though they were numbers that were neverthless pop songs, and this album avoids the bloat of Autoamerican for the band’s earlier sound. And he snagged an excellent group of musicians to back him – Blondie bandmate Clement Burke, Bowie sidemen Carlos Alomar and Earl Slick, and producer / keyboardist Michael Kamen.
Destri, the acolyte turned frontman, is not well suited to his new role, being a talented songwriter, but one with a raspy, strained singing voice. The music though is consistent with his Blondie material – full band pop songs with good choruses and beats, such as “Don’t Look Around”, and not overblown either (one exception is “My Little World” which is fashioned into a repetitve ‘big’ number). And “Little Metal Drummer” may be a Blondie out-take, as Stein appears on guitar, and some female sings in the background over what is a hybrid of a 60’s spy theme and a Sergio Leone soundtrack.
Whilst Destri’s delivery is more sincere than Harry’s nuanced singing, the songs do require a strong singer. Instead, Jimmy Destri has to make do with singing whispers or raspy shouts over what would otherwise be a fine set of good songs, the consequence being that there’s a touch too much of the same ‘feel’ to the material.
So whilst most of these songs would’ve made for a good Blondie album, Destri’s limited voice makes the album akin to an elevator with a badly frayed cord.
Keyboardist Jimmy Destri didn’t fare much better here on his down time. Although he wisely avoids typecasting by playing guitar, this album’s a letdown, for several reasons. First, Destri‘s vocals are too thin to tackle the diverse material he’s assembled here. Second, his songs aren’t distinctive enough to cut through the murky production — though traces of the sprightly pop sensibility that he brought his parent band are evident.
The affecting, doo wop-style title track and “King of Steam”‘s goofy metal posturing provide the best moments here, which doesn’t say much for the rest. Lack of talent isn’t the issue: Burke and Harry show up, as do guitarists Carlos Alomar and Earl Slick from David Bowie‘s touring bands. Considering the caliber of folks involved, this album should have been a lot better.
A1. Bad Dreams – 3:24
A2. Don’t Look Around – 4:32
A3. Live In Your Heart – 4:58
A4. My Little World – 5:40
B1. Little Metal Drummer (Harmonica, Guitar [Lead] – Chris Stein) – 4:14
B2. Numbers Don’t Count – 3:29
B3. The King Of Steam – 4:15
B4. Under The Ice – 4:01
B5 . Heart On A Wall – 2:40
- Recorded At – The Hit Factory
- Produced For – Mother Fortune, Inc.
- Mastered At – Sterling Sound
- Published By – Rare Blue Music, Inc.
- Published By – Sir Ted James, Inc.
- Phonographic Copyright (p) – Chrysalis Records, Inc.
- Copyright (c) – Chrysalis Records, Inc.
- Art Direction, Photography – Lynn Goldsmith
- Backing Vocals – Debbie Harry, Donna Destri, Joey Wilson, Sasha Kamen
- Bass – John Siegler
- Drums – Clem Burke
- Guitar [Center] – Earl Slick
- Guitar [Left] – Tommy Morrongiello
- Guitar [Right], Backing Vocals – Carlos Alomar
- Management – Alive Enterprises, Inc., Denny Vosburgh, Shep Gordon
- Mastered By – Greg Calbi
- Mixed By – Jimmy Destri, Robert Clifford
- Mixed By [Mixed With] – John Davenport, Jon Smith
- Other [Logistics] – Ace Penna
- Other [Production Assistance] – Susan Kaplow
- Producer, Keyboards – Michael Kamen
- Vocals, Guitar, Keyboards, Backing Vocals – Jimmy Destri
- Written-By – J. Destri
Genre: New Wave, Pop
Label – Chrysalis Records
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Industry was an American new wave band formed in 1978 in New York City as Industrial Complex, their name later changing to Industry. In 1981, the band became commercial but disbanded three years later. The band has been dubbed as “The American Spandau Ballet“.
Industry was founded as Industrial Complex in 1978 by Mercury Caronia (drummer, vocalist, keyboard player, composer and studio engineer), Andrew Geyer (guitarist) and Sean Kelly (bass guitarist and backing vocalist). The band’s name was later changed to Industry. Caronia and Geyer worked with experimental electronic music, odd time signatures, tape loops, synthesizers and innovative guitar playing into various methods of recording.
In 1981, Geyer and Kelly left the band. Guitarist Brian Unger, new lead singer Jon Carin and Rudy Perrone (who was previously in a progressive rock band called Cathedral, with Mercury Caronia) joined the group which signed to Capitol Records.
The band’s best-known single, “State of the Nation“, entered the Swedish and Italian charts between 1983 and 1984, earning them a place as the support act for artists such as Billy Idol, Talk Talk and INXS. The second single from the same album, “Still of the Night”, was less successful. The band split up in 1984.
Here is the 1983 Industry EP. This 5-song thing called a “Mini-LP”. All of the songs are also find on their debut album “Stranger To Stranger”, released in 1984.
A1. “Communication” (Written-By – Jon Carin, Mercury Caronia) – 4:06
A2. “State Of The Nation” (Written-By – Jon Carin, Mercury Caronia) – 4:35
A3. “Romantic Dreams” (Written-By – Jon Carin) – 3:55
B1. “Still Of The Night” (Written-By – Jon Carin) – 4:16
B2. “Living Alone Too Long” (Written-By – Brian Unger, Jon Carin, Mercury Caronia) – 4:09
- Phonographic Copyright (p) – Capitol Records, Inc.
- Copyright (c) – Capitol Records, Inc.
- Manufactured By – Capitol Records, Inc.
- Recorded At – Bearsville Studios
- Mixed At – Power Station
- Mastered At – Masterdisk
- Pressed By – Capitol Records Pressing Plant, Winchester
- Published By – Exit 60 Music
- Art Direction – Roy Kohara
- Design – Norman Moore
- Drums, Percussion [Electronic], Vocals – Mercury Caronia
- Guitar, Bass, Vocals – Rudy Perrone
- Guitar, Vocals, Written-By – Brian Unger
- Mastered By – Bob Ludwig
- Mixed By – Bob Clearmountain, Scott Litt
- Photography By – Beverly Parker
- Producer – Rhett Davies
- Vocals, Keyboards, Synthesizer – Jon Carin
Format: Vinyl, 12″, Mini-Album
Genre: Electronic, New Wave
Label – Capitol Records
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Headpins are a Canadian rock group, founded as a side project in the late 1970s by then Chilliwack members Ab Bryant and Brian MacLeod. Macleod was impressed by the vocal talents of Vancouver rock singer Denise McCann, and asked her to join his new venture.
Originally, Matt Frenette played drums for The Headpins while Bernie Aubin played drums for a fellow Vancouver band, just before they took the name Loverboy. But within months, Aubin and Frenette swapped bands where each continues to play to the present.
The Headpins began gigging around the Vancouver area throughout 1981, quickly building a fan base. McCann left at the end of that first year, and MacLeod brought in Darby Mills to provide lead vocals.
Their second release, Line of Fire, was another multi-platinum success, and included the hits “Just One More Time” and “Feel It (Feel My Body)”, resulting in the band touring Europe with Whitesnake at the beginning of 1984. The group’s sole entry on the US charts, “Just One More Time”, spent nine week on the Billboard Hot 100, peaking at number 70 in February 1984.
With sultry, seductive ‘n’ sexxxy vocalist Darby Mills out front, the ‘pins lay it on hot ‘n’ hard, with the five-minute album opener “Mine All Mine” charging the recording, along with “Don’t Stand in the Line of Fire”, “I Know What You’re Thinking”, the party-hard “Celebration”, “Double Trouble”, and the freaky “Feel It (Feel My Body)”.
A1. Mine, All Mine – 5:15
A2. Feel It (Feel My Body) – 5:03
A3. I Know What You’re Thinking – 4:14
A4. Just One More Time – 4:39
B1. Don’t Stand In The Line Of Fire – 5:44
B2. Celebration – 4:07
B3. Double Trouble – 4:25
B4. I’ve Heard It All Before – 3:20
- Manufactured By – Solid Gold Records
- Distributed By – A&M Records Of Canada Limited
- Mastered At – Masterdisk
- Pressed By – Europadisk
- Phonographic Copyright (p) – SGR
- Copyright (c) – SGR
- Published By – ATV Music Publishing Of Canada Ltd.
- Published By – 18 Karat Gold Publishing
- Recorded At – Little Mountain Sound Studios
- Recorded At – Ocean Sound Studio
- Mixed At – Little Mountain Sound Studios
- Mixed At – Ocean Sound Studio
- Bass – Ab Bryant
- Drums – Bernie Aubin
- Engineer [Second] – Patrick Glover
- Guitar, Keyboards, Drums – Brian MacLeod
- Mastered By – HW
- Photography By, Art Direction – James O’Mara
- Producer – Brian “Too Loud” MacLeod
- Producer [Assistant] – Ab Bryant
- Recorded By, Mixed By – Dave Slagter (tracks: David Slagter)
- Vocals – Darby Mills
Label – Solid Gold Records
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Romany is an album by The Hollies, the first not to feature their lead singer Allan Clarke, who had left to embark on a solo career. He was replaced by Swedish singer Mikael Rickfors. In the opinion of contemporary and retrospective critics, this album moved the band further away from the original vocal harmony style of Allan Clarke, Tony Hicks and Graham Nash.
The album only features two songwriting contributions from band members: one song was co-written by Tony Hicks, who had been a co-writer on a significant proportion of the band’s material since their second album; and another was written by new member Rickfors. Previous albums, with the exception of Hollies Sing Dylan and the band’s debut album, had much more original material.
The US Epic Records version of the album, which reached number 84 on the Billboard 200, omitted the track “Lizzy and the Rainman”, and has a slightly altered side one track order. The album failed to chart in the UK. The cover of Romany is a rendering of the summer location depicted on Distant Light as a winter scene.
As the album was nearing release the members of the group were getting nervous and made at least three changes in the album, announced a single before retracting it, which delayed the album for three months. Due to the success of the previous album and its smash hit single, the LP initially sold very well in the US. Upon its release, Romany sold six times more copies in the first week in the US than any previous Hollies album had sold in a year. It also received more US FM airplay than the band had ever got in their previous nine years.
The group’s follow-up album to a pair of hit singles (“Long Cool Woman,” “Long Dark Road”) tries for the harder sound that sold those singles. Romany‘s cover art deliberately recalls its immediate predecessor Distant Light, but otherwise the two albums are rather dissimilar. For starters, this is the album that the group cut during the short-lived tenure of Mikael Rickfors as lead singer — he’s more of a weighty, David Clayton-Thomas type singer than Allan Clarke was, much more of a hard-rock crooner, as is evident on the version of David Ackles‘ “Down River” and the self-consciously heavy rocker “Slow Down.”
Tony Hicks and Terry Sylvester make a valiant effort to meld their harmonies into the familiar Hollies mode, and succeed on songs such as “Delaware Taggett and the Outlaw Boys” and “Jesus Was a Crossmaker,” though apart from “Magic Woman Touch,” most of this album’s original first side lacks the memorable hooks, melodies, or tempos needed for hit material.
There are tunes worth discovering, however, for anyone who has never heard this album. The title track, although it was too moody and arty to ever become a hit, could be the prettiest song to come from the group after the 1960s; the Tony Hicks co-authored “Blue in the Morning” has a hard-edged, crisp, economical guitar part reminiscent of “Long Dark Road”; and “Courage of Your Convictions” seems to be a conscious attempt at emulating the sound of “Long Cool Woman.” The playing and singing are impressive, and these are solid album tracks, if not necessarily chart-topping material.
- Side one
- “Won’t We Feel Good” (Cy Crane, Herbert Weiner, John Gluck, Jr.)
- “Touch” (Mikael Rickfors)
- “Words Don’t Come Easy” (Colin Jennings)
- “Magic Woman Touch” (Colin Jennings, Garth Watt-Roy)
- “Lizzy and the Rainman” (Larry Henley, Kenny O’Dell)
- “Down River” (David Ackles)
- Side two
- “Slow Down” (Cy Crane, Herbert Weiner, John Gluck, Jr.)
- “Delaware Taggett and the Outlaw Boys” (Colin Jennings)
- “Jesus Was a Cross Maker” (Judee Sill)
- “Romany” (Colin Jennings)
- “Blue in the Morning” (Kenny Lynch, Tony Hicks)
- “Courage of Your Convictions” (Alan Rush, Randy Cullers)
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Nederlands meest bekende en succesvolle slagwerkgroep. Dansbare en opzwepende slagwerkmuziek met duidelijke etnische invloeden. De groep ziet haar muziek het liefst omschreven als instrumentale popmuziek, waarbij nu eens niet de geijkte instrumenten (gitaar, toetsen, drums, bas) worden gebruikt maar louter slagwerk.
De band werd opgericht in 1982 door Willem van Kruijsdijk (soms ook Kruysdyk) en Mies Wilbrink. Samen schrijven en componeren ze stukken voor de band, al zijn ze er sinds 2003 geen lid meer van. De naam Slagerij van Kampen is afkomstig uit de Kuifje-strip De zaak Zonnebloem: gedurende de hele strip bellen mensen naar kasteel Molensloot, terwijl ze “slagerij Van Kampen” (in het album is dat een slagerij uit het dorp) moeten hebben. Ook in andere Kuifje-albums komen deze verkeerde verbindingen soms voor.
Slagerij van Kampen speelt zowel traditionele als moderne World Percussion. Op de albums uit de beginperiode is vooral de traditionele percussie te horen, terwijl op de latere albums de moderne elektronische snufjes aan bod komen. De meeste nummers zijn instrumentaal, op elk album staan hooguit 1 of 2 nummers met zang. De plaat is opnieuw geproduceerd door Musso en staat drie maanden genoteerd in de top 100.
Link is een reis rond de wereld, eigenlijk een logisch gevolg van ‘A long walk’. Alle culturen gebruiken percussie instrumenten, er bestaan grote verschillen en onverwachte overeenkomsten. Dit album is een vuist tegen rassenhaat en discriminatie en roept op tot verbroedering.
- Link I (1:36)
- Dance to the question (3:55)
- Link II (1:39)
- Flowgo (5:11)
- Link III (1:39)
- Paint the desert wet (8:11)
- Link IV (1:38)
- The ‘she came along’ Gongsong (6:56)
- Link V (1:15)
- Conundrum I (5:49)
- Link VI (1:37)
- Jesters and Monsters (10:03)
- Link VII (21:45)
- Bamboom (The Moso Shoots) (7:06)
- Link VIII (2:00)
- Distributed By – Play It Again Sam [PIAS]
- Published By – Kampfire Music
- Recorded At – Chapel Studio Tilburg B.V.
- Mixed At – Quad Recording Studios
- Pressed By – DADC Austria
- Licensed Through – Solid
- Licensed From – Kampfire Music
- Copyright (c) – Kampfire Music
- A&R – Stagency
- Bass [Ashbory] – Robert Musso (tracks: 2)
- Composed By – Mies Wilbrink (tracks: 1 to 7, 9 to11, 12b to 15), Willem van Kruysdyk* (tracks: 1 to 7, 9 to11, 12b to 15)
- Ensemble, Percussion – Slagerij Van Kampen
- Handclaps [Xtra] – Jan Janssen (tracks: 6d)
- Mastered By – Gunner Ray, Robert Musso
- MIDI Controller [Midi Assistance] – Jan Pieter Geersing
- Mixed By – Robert Musso
- Mixed By [Assisted By] – Russell Elevado
- Other [Special Care] – Peter Willigendael
- Performer, Percussion, Arranged By – Mies Wilbrink, Willem van Kruysdyk
- Photography By [Inner Photo] – Wim Verbeek
- Producer – Robert Musso
- Producer, Lyrics By, Sleeve, Design, Photography By [Front And Back] – Willem van Kruysdyk
- Recorded By – Henri van Bergen
- Recorded By [Midi] – Mies Wilbrink
- Sampler – Huub Van Dooremalen, Mies Wilbrink
- Sleeve, Design – Jeroen Lenssinck
- Surdo – Henri van Bergen (tracks: 11)
- Technician [Jug Pottery] – Dorothy Kars
- Vocals – Arti van Tuijn (tracks: 2), Jac. Hustinx (tracks: 2), Janet Gilbert (tracks: 2), Mies Wilbrink (tracks: 2), Willem van Kruysdyk (tracks: 2)
- Voice [Monstervoices] – Henri van Bergen (tracks: 12c), Maarten Hartveldt (tracks: 12c), Peter Willigendael (tracks: 12c), Willem van Kruysdyk (tracks: 12c)
Genre: Electronic, Tribal
Totale tijdsduur: 1:00:48
Label – [PIAS] Records
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Fortune is a AOR – soul rock fusion band, led by brothers Richard Fortune and Mick Fortune and, on their first album, soul producer – songwriter Mark Davis.
The Fortune Band began in the late 70’s when brothers Richard Fortune on guitar and Mick Fortune on drums decided to join together and form a band. The first Fortune self-titled album was released on Warner Bros in 1978 with follow-up WB singles releases including “Squeeze Me, Tease Me” and “Saddle in the Wind.” In the early 80’s, keyboardist Ray Barrett and bassist David de Leon (formerly Stanley Clarke’s touring support bassist) teamed up with the brothers, and the band began its move more toward the pop rock style of the time. This phase of the band capped with a show at Aloha Stadium Summer Blowout 1981, opening for Heart and Blue Oyster Cult. The band began to receive some national attention with the 1982 Columbia Records/CBS Inc. release of “Airwaves” on The Last American Virgin motion picture soundtrack. The movie is considered by many to be a cult classic of the time and the soundtrack proved to be a memorable compendium of 1980s radio hits with Fortune sharing the bill with bands such as U2, Journey, Blondie, REO Speedwagon and the Police.
As Fortune began to gain momentum, the core of the band, Richard, Mick and David, decided to take their music more mainstream and that some adjustment in personnel was now necessary to move in that direction. By Fall of 1982, the band had recruited keyboardist Roger Scott Craig. Craig had formerly played with Liverpool Express, a British-based group known in Europe and South America. By end of 1982, Fortune’s singer (Richard’s wife, Colleen Fortune) had left the band and was replaced by vocalist Larry Greene.
The band began writing all new songs, to which Roger and Larry contributed significantly. Over the next two years, Fortune spent much of their time in the studio recording demos for CBS records and performing live gigs in clubs around Los Angeles, also opening a stadium show in Hawaii. Unfortunately, the band was unable to get traction during this time and eventually disbanded in 1984.
1. “Saddle The Wind” (Colleen Fortune, Mark Davis, Richard Fortune) – 5:01
2. “Squeeze Me, Tease Me” (Norman Whitfield) – 4:37
3. “Certain Kind Of Feeling” (Mark Davis, Maureen Thornton) – 3:31
4. “Bein’ Real With The Feelin’” (Alice Sanderson, Tony Miller, Keith Echols) – 6:24
5. “Forget About Tomorrow” (Colleen Fortune, Mark Davis, Richard Fortune) – 4:43
6. “Country Love” (Colleen Fortune, Mark Davis, Richard Fortune) – 3:47
7. “Heavy Love” (Colleen Fortune, Mark Davis, Richard Fortune) – 3:40
8. “Swinging From The Stars” (Edward Brown, Robert Pritchard) – 2:45
9. “Rainy Day Woman” (Colleen Fortune, Mark Davis, Richard Fortune) – 5:36
Backing Vocals – Maureen Thornton
Bass [Arp] – Michael Nash
Drums – Alvin Taylor, Mick Fortune, Steve Lagana
Guitar, Backing Vocals – Richard Fortune
Keyboards – Booker T. Jones
Vocals – Colleen Fortune
Bass [De Luxe] – Jeff Eyrich
Keyboards – Mark Davis
Producer – Mark Davis
Genre: Soft Rock, Pop Rock, Arena Rock
Label – Warner Bros. Records
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The La’s is the only studio album by English rock band the La’s, released on 1 October 1990 by Go! Discs. It included “There She Goes,” the group’s biggest hit, and “Timeless Melody“. A deluxe edition of The La’s was released on 7 April 2008. In 2013, NME ranked it at number 153 in its list of the 500 Greatest Albums of All Time.
Some albums exist outside of time or place, gently floating on their own style and sensibility. Of those, the La’s lone album may be the most beguiling, a record that consciously calls upon the hooks and harmonies of 1964 without seeming fussily retro, a trick that anticipated the cheerful classicism of the Brit-pop ’90s.
But where their sons Oasis and Blur were all too eager to carry the torch of the past, Lee Mavers and the La’s exist outside of time, suggesting the ’60s in their simple, tuneful, acoustic-driven arrangements but seeming modern in their open, spacy approach, sometimes as ethereal as anything coming out of the 4AD stable but brought down to earth by their lean, no-nonsense attack, almost as sinewy as any unaffected British Invasion band.
But where so many guitar pop bands seem inhibited by tradition, the La’s were liberated by it, using basic elements to construct their own identity, one that’s propulsive and tuneful, or sweetly seductive, as it is on the band’s best-known song, “There She Goes.” That song is indicative of the La’s material in its melodic pull; the rest of the album has a bit more muscle, whether the group is bashing out a modern-day Merseybeat on “Liberty Ship” and bouncing two-step “Doledrum,” or alluding to Morrissey‘s elliptical phrasing on “Timeless Melody.”
This force gives the La’s some distinction, separating them from nostalgic revivalists even as their dedication to unadorned acoustic arrangements separates them from their contemporaries, but it’s this wildly willful sensibility — so respectful of the past it can’t imagine not following its own path — that turns The La’s into its own unique entity, indebted to the past and pointing toward the future, yet not belonging to either.
01. “Son of a Gun” – 1:55
02. “I Can’t Sleep” – 2:37
03. “Timeless Melody” – 3:01
04. “Liberty Ship” – 2:31
05. “There She Goes” – 2:42
06. “Doledrum” – 2:50
07. “Feelin'” – 1:45
08. “Way Out” – 2:32
09. “I.O.U.” – 2:13
10. “Freedom Song” – 2:23
11. “Failure” – 2:54
12. “Looking Glass” – 7:51
All songs written and composed by Lee Mavers (except where stated).
- Lee Mavers – lead vocals and backing vocals, guitars
- John Power – basses and backing vocals
- Peter “Cammy” Camell – lead guitars
- Neil Mavers – drums and tambourine
- John “Boo” Byrne – electric guitar (on “There She Goes”)
- Chris Sharrock – drums and tambourine (on “There She Goes”)
- Paul Hemmings – electric guitar (on “Way Out”)
- John “Timmo” Timson – drums, tambourine and bells(on “Way Out”)
- Steve Lillywhite – producer, mixing
- Mark Wallis – additional producer, engineer
- Donal Hodgson – engineer (on “Looking Glass”)
- Bob Andrews – producer (on “There She Goes”)
- Dave Charles – engineer (on “There She Goes”)
- Additional personnel
- Ryan Art – design
Released: 1 October 1990
Recorded: July–September 1988, December 1989 – February 1990 Studio Woodcray Studios, Wokingham and Eden Studios, London
Genre: Alternative rock, jangle pop
Label – Polydor Records