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Rock ‘n’ Roll Music is a compilation album by The Beatles that consists of previously released Beatles tracks. The double album was issued on 7 June 1976 in the United States, on Parlophone records. The album is a combination of some notable Lennon–McCartney originals, such as “Drive My Car“, “Revolution“, “Back in the U.S.S.R.” and “Get Back“, George Harrison’s “Taxman“, and a dozen cover versions of songs written by significant rock and roll composers of the 1950s, including Chuck Berry, Little Richard, Carl Perkins and Larry Williams. Rock ‘n’ Roll Music was the first Beatles album to include “I’m Down“, which had previously only been available as the B-side of the “Help!” single.
This album is described as “troubled” by Beatles producer George Martin in his autobiography, as he was asked by Bhaskar Menon, the president of Capitol at the time, to approve the tapes they intended to use, and he was “appalled” because they were some of the early twin-track mono tapes they had made and were going to be transferred to stereo for the issue. Instead of approving the album as it was presented to him, Martin reworked the already mixed tapes for every song, reversing the left and right channels and slightly narrowing the stereo on the tracks “Twist and Shout“, “I Saw Her Standing There“, “I Wanna Be Your Man“, “Boys“, “Roll Over Beethoven” and “Drive My Car“. Some of the song editing is not clean: for instance, the beginning of the crossfade of “Dear Prudence” can be heard during the fade of “Back in the U.S.S.R.“, as originally issued on the White Album. Another example can be found towards the end of “Birthday“, where Starr’s count-in to “Yer Blues” is clearly audible.
EMI Records in Britain refused to use Martin’s reworked Capitol tapes, citing The Beatles’ strict instructions that any reissues had to be exactly as originally recorded.
On toward the mid-’70s, it dawned on the powers-that-were at Capitol/EMI that millions of listeners had come of age since the breakup of the Beatles in 1970 and, thus, had never experienced the group except in a historical context. (This notion was aided by true tales of younger Wings fans discovering — to their amazement — that Paul McCartney had been “a member of another group”). All of the Beatles‘ albums were still in print and easily available (and routinely stocked by most record stores), but it was thought that some new excitement was needed, some fresh exposure, to re-introduce their work to these younger listeners. The label could have launched a new advertising and promotion campaign, but more of an effort seemed in order — especially as the same company had recently seen a huge resurgence of interest in its catalog of Beach Boys material, owing to the chart-topping Endless Summer compilation and its nearly as successful follow-up, Spirit of America.
And so the company decided to try a similar repackaging/re-marketing scheme with the Beatles. And the result was Rock & Roll Music, complete with an accompanying single release of “Got to Get You into My Life.” One of the harder rocking songs off of Revolver, the decade-old track was released in June of 1976 with a B-side of “Helter Skelter”; the latter (likely chosen at all because of the song’s renewed topicality in a then-recently shown and widely watched made-for-television movie about the Manson killings) rode the charts for 11 weeks, peaking at number seven. Given the title and focus of the collection, a lot of the emphasis on the double-LP set was on the group’s pre-psychedelic period; it also emphasized — more than anything seen from them since 1965 — their joyous renditions of other songwriters’ work, especially old rock & roll standards like “Long Tall Sally,” “Slow Down,” “Dizzie Miss Lizzie,” “Twist & Shout,” etc., which had been a significant part of their output before their in-house songwriting came to dominate their recordings.
A1. Twist and Shout (2:33)
A2. I Saw Her Standing There (2:52)
A3. You Can’t Do That (2:33)
A4. I Wanna Be Your Man (1:56)
A5. I Call Your Name (2:05)
A6. Boys (2:24)
A7. Long Tall Sally (2:00)
B1. Rock and Roll Music (2:30)
B2. Slow Down (2:54)
B3. Medley: “Kansas City/Hey, Hey, Hey, Hey (2:31)
B4. Money (That’s What I Want) (2:47)
B5. Bad Boy (2:17)
B6. Matchbox (1:55)
B7. Roll Over Beethoven (2:44)
C1. Dizzy Miss Lizzy (2:53)
C2. Any Time at All (2:10)
C3. Drive My Car (2:25)
C4. Everybody’s Trying to Be My Baby (2:23)
C5. The Night Before (2:32)
C6. I’m Down (2:30)
C7. Revolution (3:22)
D1. Back in the U.S.S.R (2:45)
D2. Helter Skelter (4:29)
D3. Taxman (2:35)
D4. Got to Get You into My Life (2:26)
D5. Hey Bulldog (3:09)
D6. Birthday (2:42)
D7. Get Back (album version) (3:06)
John Lennon: vocals, guitar, harmonica, keyboards
Paul McCartney: vocals, bass, guitar, keyboards, percussion
George Harrison: guitar, vocals, sitar
Ringo Starr: drums, vocals, percussion
Genre: Pop, Rock & Roll
Label: Parlophone Records
Catalog# 5C 178-06137
Vinyl: Near Mint (Gatefold)
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One of These Nights is the fourth studio album by the Eagles, released in 1975. The record would become the Eagles’ first number one album on Billboard‘s album chart in July that year, and yielded three Top 10 singles, “One of These Nights“, “Lyin’ Eyes” and “Take It to the Limit“.
One of These Nights is the last Eagles album to feature guitarist Bernie Leadon, who left the band after the One Of These Nights tour and was replaced by Joe Walsh. The seventh track, “Visions”, is the only Eagles song on which lead guitarist Don Felder sang the lead vocals, despite his desire to write and sing more songs. The album was the band’s commercial breakthrough, transforming them into international superstars.
The Eagles recorded their albums relatively quickly in their first years of existence, their LPs succeeding each other by less than a year. One of These Nights, their fourth album, was released in June 1975, more than 14 months after its predecessor. Anticipation had been heightened by the belated chart-topping success of the third album’s “The Best of My Love”; taking a little more time, the band generated more original material, and that material was more polished.
More than ever, the Eagles seemed to be a vehicle for Don Henley (six co-writing credits) and Glenn Frey (five), but at the same time, Randy Meisner was more audible than ever, his two lead vocals including one of the album’s three hit singles, “Take It to the Limit,” and Bernie Leadon had two showcases, among them the cosmic-cowboy instrumental “Journey of the Sorcerer” (later used as the theme music for the British television series The Hitchhiker’s Guide to the Galaxy). Nevertheless, it was the team of Henley and Frey that stood out, starting with the title track, a number one single, which had more of an R&B — even a disco — sound than anything the band had attempted previously, and continuing through the ersatz Western swing of “Hollywood Waltz” to “Lyin’ Eyes,” one of Frey‘s patented folk-rock shuffles, which became another major hit. One of These Nights was the culmination of the blend of rock, country, and folk styles the Eagles had been making since their start; there wasn’t much that was new, just the same sorts of things done better than they had been before.
In particular, a lyrical stance — knowing and disillusioned, but desperately hopeful — had evolved, and the musical arrangements were tighter and more purposeful. The result was the Eagles’ best-realized and most popular album so far.
A1. One Of These Nights (4:51)
A2. Too Many Hands (4:42)
A3. Hollywood Waltz (4:04)
A4. Journey Of The Sorcerer (6:39)
B1. Lyin’ Eyes (6:21)
B2. Take It To The Limit (4:48)
B3. Visions (4:00)
B4. After The Thrill Is Gone (3:58)
B5. I Wish You Peace (3:45)
- Don Felder – vocals, guitars, slide guitar
- Glenn Frey – vocals, guitars, piano, electric piano, harmonium
- Don Henley – vocals, drums, percussion, tabla
- Bernie Leadon – vocals, guitars, banjo, mandolin, pedal steel
- Randy Meisner – vocals, bass guitar
- David Bromberg – fiddles (“Journey of the Sorcerer”)
- The Royal Martian Orchestra – strings (“Journey of the Sorcerer”)
- Albhy Galuten – synthesizer (“Hollywood Waltz”)
- Jim Ed Norman – piano (“Lyin’ Eyes”, “Take It to the Limit”), orchestrations, conductor, string arrangements
- Sid Sharp – concert master
- The Eagles – string arrangements
- Bill Szymczyk – producer, engineer
- Allan Blazek – engineer
- Michael Braunstein – engineer
- Ed Mashal – engineer
- Michael Verdick – engineer
- Don Wood – engineer
- Gary Burden – art direction, design
- Norman Seeff – photography
- Tom Kelley – cover photography
- Ted Jensen – remastering
Genre: Country Rock
Catalog# AS 53014
Vinyl: Near Mint
Hoes: Near Mint
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Hazel O’Connor (born 16 May 1955) is a British singer-songwriter and actress. She became famous in the early 1980s with hit singles “Eighth Day”, “D-Days” and “Will You”, as well as starring in the film Breaking Glass.
Breaking Glass is the debut album by the English singer Hazel O’Connor. It is the soundtrack album to the film Breaking Glass, featuring songs written and performed by O’Connor who also stars in the film. It was released in 1980 by A&M Records.
Although her career seems to have been more as a media sensation than as a musician at times, British-born singer, songwriter, and actress Hazel O’Connor has stayed active and productive since her breakthrough role as Kate in the 1980 film Breaking Glass. The soundtrack album for Breaking Glass, which O’Connor wrote, was a huge U.K. hit and spawned several singles, launching her musical career, although she continued to act on British TV and in several stage productions while maintaining an active touring schedule with her band Megahype.
Synthpop was new and exciting back in 1980, and seemingly from nowhere came Hazel, releasing her own movie(!) and the soundtrack to boot. She’s a passionate singer with scary eyes and despite missing the movie, the couple of tracks I heard recently made me curious enough to check out the full album.
The first side is very good, particularly “Monsters in Disguise” and the dramatic, funhouse-mirror synths of “Come Into the Air”, O’Connor’s pleading, wailing vocals and wild, dreary keys make this one a showstopper. The impressive sax workouts of Wesley Magoogan are all over the record, and give it a goofy, punk-like vibe almost Berlin-meets-X-Ray Spex.
Side two, O’Connor’s weird, trippy lyrics in “8th Day” wear out their welcome quickly, while a couple of waltz-time numbers and the racial insights of “Blackman” just prove to be chafing to mine ears after multiple listens.
A1. Writing On The Wall (3:20)
A2. Monsters In Disguise (3:22)
A3. Come Into The Air (3:42)
A4. Big Brother (3:04)
A5. Who Needs It (3:09)
A6. Will You (4:49)
B1. Eighth Day (3:11)
B2. Top Of The Wheel (3:15)
B3. Calls The Tune (3:00)
B4. Blackman (3:44)
B5. Give Me An Inch (3:08)
B6. If Only (4:15)
- Bob Carter – Guitars, Keyboards, Vocals
- Wesley Magoogan – Saxophones
- Rick “Pinky” Ford – Bass
- Andy Duncan – Drums, Percussion
- Tony Visconti – Keyboards, Vocals
- Hazel O’Connor – Keyboards, Vocals
- Produced and Arranged by Tony Visconti
- Recorded and Mixed at Good Earth Studios, London
- Engineered by Tony Visconti, Kit Woolven and Gordon Fordyce
- Album Design and Art Direction by Chuck Beeson
- Album Photography by George Whitear
Genre: New Wave
Label: A&M Records
Catalog# AMLH 64820
Vinyl: Near Mint
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The Hunter is the sixth studio album by American band Blondie, released in May 1982.
The Hunter was only made because they still owed Chrysalis an album on their contract, and it sounds like the obligatory record it was.
The Hunter, as stated in the press release, is loosely a concept album based on the theme of “searching, hunting. or pursuing one’s own Mt. Everest.” Tracks on the album include Jimmy Destri‘s Motown pastiche “Danceway”, while “Dragonfly” has a science-fiction theme to its lyrics about a race in space. “The Beast” deals with Deborah Harry’s experiences of becoming a public figure: “I am the centre of attraction, by staying off the streets”. “English Boys” is Harry and Chris Stein‘s melancholy tribute to “those English boys who had long hair”, The Beatles, recorded the year after John Lennon‘s assassination in New York City, describing the innocence and idealism of the 1960s, while “War Child” references military conflicts in Cambodia and the Middle East. The album concludes with a cover version of Smokey Robinson‘s “The Hunter Gets Captured by the Game“, originally recorded by The Marvelettes in 1967.
The song “For Your Eyes Only” was originally written for the 1981 James Bond film of the same name. The producers of the film, however, favored a track composed by Bill Conti and Michael Leeson and asked Blondie to record that song instead. When Blondie declined, the Conti/Leeson song was passed on to Sheena Easton. Blondie opted to release their song (written by Debbie Harry and Chris Stein) on The Hunter.
Two singles were released from the album, “Island of Lost Souls” and “War Child” (the latter of which was also released as a 12″ extended version). “Danceway” was planned for release as a single in Canada (backed with “For Your Eyes Only”) but the single was withdrawn.
The rest of the material was equally second-rate, consisting of funk-rock tracks with the barest of melodies, and lyrics that ranged from impenetrable (“Orchid Club”) to incoherent (the science fiction epic “Dragonfly,” which alternated recited and sung sections having something to do with a spaceship race).
A1. Orchid Club (5:44)
A2. Island Of Lost Souls (4:44)
A3. Dragonfly (5:58)
A4. For Your Eyes Only (3:05)
A5. The Beast (4:50)
B1. War Child (4:00)
B2. Little Caesar (2:57)
B3. Danceway (3:16)
B4. (Can I) Find The Right Words (To Say) (3:04)
B5. English Boys (3:46)
B6. The Hunter Gets Captured By The Game (3:32)
- Arranged By [Horns], Saxophone – Robert Aaron
- Backing Vocals – Darryl Tookes (tracks: B6), Janice G. Pendarvis* (tracks: B6), Lani Groves (tracks: B6), Zachary Sanders (tracks: B6)
- Bass – Nigel Harrison
- Cover [Illustration] – Richard Raynis
- Design – Janet Levinson
- Drums – Clem Burke
- Engineer – Doug Schwartz
- Guitar – Chris Stein, Frank Infante
- Illustration [Back Cover] – Bruce Carleton
- Keyboards – Jimmy Destri
- Mastered By – Steve Hall
- Photography By – Brian Aris
- Producer – Mike Chapman
- Technician – Markie Iannello
- Vocals – Deborah Harry
Label: Chrysalis Records
Vinyl: Near Mint
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Venus and Mars is the fourth studio album by Wings. Released in 1975 as the follow-up to Band on the Run, Venus and Mars continued Wings’ run of commercial success and would prove a springboard for a year-long worldwide tour. The album was Paul McCartney‘s first post-Beatles album to be released worldwide on the Capitol Records label rather than Apple.
After recording Band on the Run (1973) as a three-piece with wife Linda and guitarist Denny Laine, McCartney added Jimmy McCulloch on lead guitar and Geoff Britton on drums to the Wings line-up in 1974. Having written several new songs for the next album, McCartney decided on New Orleans, Louisiana as the recording venue, and Wings headed there in January 1975. Before the departure to New Orleans, Wings had recorded three songs at Abbey Road Studios in London in November 1974: “Letting Go”, “Love In Song” and “Medicine Jar”, all overdubbed later at Sea Saint Studios between January and February.
As soon as the sessions began, the personality clash that had been evident between McCulloch and Britton during Wings’ 1974 sessions in Nashville became more pronounced, and Britton – after a six-month tenure – quit Wings, having only played on three of the new songs. A replacement, American Joe English, was quickly auditioned and hired to finish the album.
The sessions proved to be productive, not only finishing the entire album, but also several additional songs, including two future McCartney B-sides, “Lunch Box/Odd Sox” and “My Carnival”. McCartney also decided to link the songs together much like the Beatles had on Abbey Road to give the album a more continuous feel.
John Lennon, often in a nostalgic mood during his “Lost Weekend” period, had told May Pang (his then girlfriend) that they would visit the McCartneys during the recording sessions for Venus and Mars, and considered writing with him again. Lennon’s planned visit never happened due to his reunion with Yoko Ono.
Wings’ interpretation of the theme to Crossroads, a British soap opera, was sometimes used to end the television program in place of the regular theme tune, usually when there was a cliffhanger ending with a hint of sadness involved.
Preceded by the single “Listen to What the Man Said” in May 1975, Venus and Mars appeared two weeks later to generally favourable reviews and brisk sales. The album reached number 1 in the United States, the United Kingdom and other countries around the world (as did “Listen to What the Man Said” in the US) and sold 4 million copies worldwide. The reaction, though mainly positive, was less than what had greeted Band on the Run a year earlier.
The album cover, which Paul summed up as “a package that would be nice to get, and also something recognizable” was photographed by Linda, depicting two billiard balls in a black background, which are yellow and red to fit the colours of the planets Venus and Mars. To fit the title, the inside photographs of the Wings were shot in the Mojave desert to capture a group photograph in an outerworldly location. Hipgnosis did the art design, incorporating billiard balls and cues in the lettering and illustrations by George Hardie.
A1. Venus and Mars (1:20)
A2. Rock Show (5:31)
A3. Love in Song (3:04)
A4. You Gave Me the Answer (2:15)
A5. Magneto and Titanium Man (3:16)
A6. Letting Go (4:33)
B1. Venus and Mars (Reprise) (2:05)
B2. Spirits of Ancient Egypt (lead vocals by Denny Laine) (3:04)
B3. Medicine Jar (lead vocals by Jimmy McCulloch) (3:37)
B4. Call Me Back Again (4:59)
B5. Listen to What the Man Said (4:01)
B6. Treat Her Gently/Lonely Old People (4:21)
B7. Crossroads Theme (1:00)
- Paul McCartney – vocals, bass, guitars, keyboards, piano, percussion
- Linda McCartney – keyboards, backing vocals, percussion
- Denny Laine – vocals, guitars, keyboards, percussion
- Jimmy McCulloch – guitars, vocals, percussion
- Joe English – drums, percussion
- Geoff Britton – drums on “Love in Song“, “Letting Go” and “Medicine Jar”
- Kenneth “Afro” Williams – congas on “Rock Show“
- Allen Toussaint – piano on “Rock Show“
- Dave Mason – guitar on “Listen to What the Man Said“
- Tom Scott – saxophone on “Listen to What the Man Said“
- Phonographic Copyright (p) – McCartney Music Inc.
- Copyright (c) – J. M. Music Ltd.
- Recorded At – Wally Heider Recording Studio, Los Angeles
- Recorded At – Sea-Saint Studio
- Published By – McCartney Music Ltd.
- Published By – J. M. Music Ltd.
- Published By – ATV Music Ltd.
- Mastered At – Master Room
- Published By – EMI Records
- Arranged By – Paul McCartney, Tony Dorsey
- Engineer – Alan O’Duffy, Geoff Emerick (tracks: A3, A6, B3)
- Graphics – George Hardie, N.T.A.
- Mastered By – Porky
- Photography By [Black & White Poster] – Sylvia De Swaan
- Photography By [Centrefold, Balls] – Po, Hipgnosis
- Photography By [Cover] – Linda McCartney
- Producer – Paul McCartney
- Written-By – Paul McCartney (tracks: A1 to B2, B4 to B6)
Genre: Pop, Rock
Label: Capitol Records
Catalog# 5C 062-96623
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I’m in You is Peter Frampton‘s fifth studio album, released in 1977.
I’m in You was released almost a year and a half after his blockbuster 1976 album, Frampton Comes Alive! It was recorded at Electric Lady Studios in New York, where Frampton’s Camel had been recorded four years earlier.
Guest musicians Stevie Wonder, Richie Hayward, Mike Finnigan, Ringo Starr, and Mick Jagger are featured on this album.
It was almost inevitable that I’m in You would be thought of as a letdown no matter now good it was. Following up to one of the biggest selling albums of the decade, Peter Frampton faced a virtually impossible task, made even more difficult by the fact that in the two years since he’d cut any new material, he had evolved musically away from some of the sounds on Frampton Comes Alive.
The result was mostly a surprisingly laid-back album steeped in lyricism and craftsmanship, particularly in its use of multiple overdubs even on the harder rocking numbers. From the opening bars of “I’m in You,” dominated by the sound of the piano (played by Frampton) and an ARP synthesizer-generated string section, rather than a guitar, it was clear that Frampton was exploring new sides of his music.
Cuts like “Won’t You Be My Friend,” a piece of white funk that might’ve been better at six minutes running time, seemed to be dangerously close to self-indulgence at eight minutes long. The high points also include the title track, “Don’t Have to Worry,” and a killer cover of Stevie Wonder‘s “Signed, Sealed Delivered (I’m Yours)”; a couple of solid rock numbers, “Tried to Love” and the crunching “(I’m A) Roadrunner” also work their way in here to pump up the tension and excitement. I’m in You was successful on its own terms, and had Frampton recorded it before the live album, it would probably be very fondly looked back on.
A1. I’m in You (4:10)
A2. (Putting My) Heart On The Line (3:42)
A3. St. Thomas (Don’t You Know How I Feel) (4:15)
A4. Won’t You Be My Friend (8:10)
B1. You Don’t Have To Worry (5:16)
B2. Tried To Love (4:27)
B3. Rocky’s Hot Club (3:25)
B4. (I’m A) Road Runner (3:40)
B5. Signed, Sealed, Delivered (I’m Yours) (3:54)
- Peter Frampton – electric guitars, acoustic guitars, slide guitar, bass guitar, piano, organ, Moog synthesizer, minimoog, ARP String Synthesizer, ARP Axxe, clavinet, harmonica, drums, percussion, vocals, talk box
- Bob Mayo – organ, Hammond B-3, synthesizer, Moog synthesizer, ARP String Synthesizer, ARP Axxe, clavinet, melodica, electric piano, piano, Fender Rhodes, accordion, guitar, acoustic guitar, backing vocals
- Stanley Sheldon – bass guitar, backing vocals
- John Siomos – drums, percussion, tambourine
- Richie Hayward – drums, percussion, congas on “St. Thomas (Don’t You Know How I Feel)” and “Won’t You Be My Friend” and “Tried To Love”
- Stevie Wonder – harmonica on “Rocky’s Hot Club”
- Mick Jagger – backing vocals on “I’m in You” and “Tried to Love”
- Mike Finnigan – backing vocals on “Signed, Sealed, Delivered (I’m Yours)”
- Ringo Starr – drums, percussion
- Prouducers: Peter Frampton, Chris Kimsey, Bob Mayo, Frankie D’Augusta
- Engineers: Peter Frampton, Chris Kimsey, Bob Mayo, Frankie D’Augusta
- Mixing: Peter Frampton, Chris Kimsey, Bob Mayo, Frankie D’Augusta
- Mastering: George Marino, Doug Sax, Arnie Acosta
- Art Direction: Vartan, Roland Young, Ryan Rogers
- Photography: Neal Preston, Irving Penn
- Supervisor: Beth Stempel, Bill Levenson
- Coordinator: Beth Stempel, Bill Levenson
- Management: Dee Anthony
Genre: Pop, Rock
Label: A&M Records
Catalog# 28893 XOT
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First Under the Wire is the fifth album by Australian group Little River Band. Released in July 1979 by Capitol Records. It was the band’s only United States top ten album and was certified platinum status according to RIAA. The album included two top 10 Billboard Hot 100 hits in “Lonesome Loser” and “Cool Change“.
This was the last time this popular Australian band released an album that matched the earlier Sleeper Catcher and Diamantina Cocktail. With a mix of harmony-drenched pop tunes and unthreatening rockers, they appealed to a wide audience. This album features some of their most poignant lyrics. You can empathize with Glenn Shorrock when he earnestly sings about the albatross and the whales being his brothers in “Cool Change,” this release’s standout track. If you haven’t heard “Lonesome Loser,” you just weren’t listening to AM radio in 1979.
The hooks, the superb musicianship, the songwriting, the three-part vocal harmonies, the peculiarly Australian sound — to American ears — of this late-70s/80s band: they’re all here in 18 tracks of songs that charted during those years. This is a wonderful walk down memory lane from Little River Band’s first American hit to the time when the original musicians had almost all left and the band dropped off the charts. Half the songs feature vocal leads by Glenn Shorrock, with his throaty blues and jazz-influenced style. The other half feature John Farnham, whose voice was every bit as pleasant but higher and more rock-influenced. First time I heard “We Two,” one of their later hits and one of my favorites, I thought the lead vocalist was Mike Reno and the tune a Loverboy fast ballad. No, just one of a pretty wide variety of styles this band used with broad-based appeal.
A1. Lonesome Loser (3:58)
A2. The Rumour (4:18)
A3. By My Side (4:25)
A4. Cool Change (5:14)
A5. It’s Not a Wonder (3:56)
B1. Hard Life (Prelude) (2:42)
B2. Hard Life (4:46)
B3. Middle Man (4:24)
B4. Man on the Run (4:16)
B5. Mistress of Mine (5:32)
- Acoustic Guitar – John Boylan (tracks: A2)
- Backing Vocals – Glenn Shorrock
- Bass – Clive Harrison (tracks: A1, A2, A5, B4, B5), Mike Clarke (4) (tracks: A3, A4, B1, B2, B3, B5)
- Drums, Percussion – Derek Pellicci
- Guitar – David Briggs (3)
- Guitar, Backing Vocals – Beeb Birtles
- Guitar, Vocals, Backing Vocals – Graham Goble
- Keyboards – Peter Jones (6) (tracks: B3, B5)
- Piano – Peter Jones (6) (tracks: A3, A4, B1, B2), Peter Sullivan (2) (tracks: A1, A2, A5, B4)
- Producer – John Boylan, Little River Band
- Saxophone – Bill Harrower (tracks: A4, B3)
- Sitar – David Briggs (3) (tracks: B5)
- Vibraphone – Barry Quinn (tracks: A3)
- Vocals – Beeb Birtles (tracks: A3, B3, B4), Glenn Shorrock (tracks: A1, A2, A4, A5, B2, B3, B5)
Genre: Soft Rock
Label: Capitol Records
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Jeffrey Osborne is the self-titled debut album from Jeffrey Osborne, released in 1982 on A&M after leaving L.T.D. for a solo career. After Osborne departed from L.T.D. in 1980, legal issues prevented him from signing his solo deal with A&M for a whole year. After signing to A&M as a solo artist, Osborne began work on his debut album.
As vocalist for the group L.T.D., Osborne‘s booming voice led hits like “Love Ballad,” “Where Did We Go Wrong,” and “Shine On.” The group enjoyed constant success and offered a catalog of well-executed and classic albums including 1977’s Something to Love and Togetherness from 1978. In 1982 it came as a complete shock when Osborne made his solo bid. Unlike countless other acts who did the same thing, his self-titled release proves that it was a great decision. Producer George Duke offered Osborne an up-to-the-minute sound with a collection of great studio players ranging from drummer Steve Ferrone to bassist Louis Johnson.
That being said, a few of the tracks here don’t play to Osborne‘s strengths as a committed and slightly quirky vocalist. “New Love” and “Eeenie Meenie” are so proficient yet by the numbers anyone could have sung them. The best tracks on this album give him the needed challenges that make him soar. The first single, the moody and rhythmic “Really Don’t Need No Light,” co-written by Osborne and David “Hawk” Wolinski, benefits from a string arrangement from George Del Barrio. The ballad “You Were Made to Love” not only perfectly captures Duke‘s uncluttered and precise production style, it also plays to Osborne‘s emotionality.
The last track, “Congratulations,” is a great tearjerker that has Osborne‘s reserve and intellect making it that much better. This is an impressive solo debut from one of R&B and pop’s best vocalists.
A1. New Love (4:10)
A2. Eenie Meenie (4:23)
A3. I Really Don’t Need No Light (3:40)
A4. On The Wings Of Love (4:00)
A5. Ready For Your Love (3:59)
B1. Who You Talkin’ To (3:51)
B2. You Were Made To Love (3:11)
B3. Ain’t Nothin’ Missin’ (4:09)
B4. Baby (4:18)
B5. Congratulations (2:56)
- Jeffrey Osborne – lead vocals (all tracks), vocal arrangements (all tracks), rhythm arrangements (1, 4, 5, 7-10), backing vocals (2-10), handclaps (5, 6, 8), horn arrangements (5, 8), vocoder (6)
- George Duke – rhythm arrangements (1, 4, 8, 10), acoustic piano (1, 4, 8, 10), synthesizer (2, 3, 7), acoustic piano solo (2), handclaps (5), horn arrangements (5, 8, 10), vocoder (6), bells (7)
- John Barnes – electric piano (2, 7), organ (5)
- Bobby Lyle – electric piano (3)
- Ron Kersey – rhythm arrangements (5), electric piano (9)
- Michael Sembello – guitar (1-4, 10), rhythm arrangements (2)
- Charles Fearing – guitar (3, 5)
- Paul Jackson Jr. – guitar (7)
- David T. Walker – guitar (7, 9)
- Louis Johnson – bass (1, 2, 3, 5, 7, 8)
- Abraham Laboriel, Sr. – bass (4, 10)
- Larry Graham – bass (6, 9)
- Steve Ferrone – drums (all tracks)
- Paulinho Da Costa – cowbell (1), percussion (2, 3, 5, 6, 8), handclaps (6, 8)
- Sheila E. – handclaps (5)
- Tony Maiden – handclaps (6, 8)
- Ernie Watts – tenor sax solo (1)
- Larry Williams – tenor saxophone (1, 5, 6, 8), flute (10), piccolo (10)
- Lew McCreary – trombone (1, 5, 6, 8)
- Gary Grant – trumpet (1, 5, 6, 8, 10)
- Jerry Hey – trumpet (1, 5, 6, 8, 10), horn arrangements (1, 5, 6, 8)
- Bobby Martin – French horn (2, 10)
- George Del Barrio – string arrangements (2, 4, 7, 9)
- Paul Shure – concertmaster (2, 3, 4, 7, 9)
- David “Hawk” Wolinski – rhythm arrangements (3)
- Len Ron Hanks – rhythm arrangements (7)
- Arif Mardin – orchestration (10)
- Lynn Davis – backing vocals (3, 8, 9)
- Producer – George Duke
- Engineers – Erik Zobler (Tracks 1, 3, 6, 8 & 9); Tommy Vicari (Tracks 2, 4, 5, 7 & 10).
- Assistant Engineers – Wally Buck, Bernie Faccone, Matt Forger, Robert Spano and Nick Spigel.
- Mixed by Tommy Vicari
- Recorded at Westlake Audio and George Massenburg Studio (Los Angeles, CA); A&M Studios and Le Gonks West (Hollywood, CA); Fantasy Studios (Berkeley, CA).
- Mastered by Bernie Grundman at A&M Studios.
- Art Direction – Chuck Beeson and Lynn Robb
- Design – Lynn Robb
- Photography – Bobby Holland
Label: A&M Records
Catalog# AMHL 64896
by records facts
Unmasked is the eighth studio album by American hard rock band Kiss, released in 1980. Despite being credited, Peter Criss had no involvement with the recording of the album; Anton Fig played all the drums uncredited.
The album features substantial songwriting contributions from Vini Poncia, who had previously been Ringo Starr‘s post-Beatles songwriting partner. The album marked the first time Kiss had used the contributions of outside songwriters to such a large extent, as all tracks except two of the Frehley contributions, “Talk to Me” and “Two Sides of the Coin”, were written or co-written by someone outside the band.
The band filmed a promotional video for “Shandi” with Criss. It was the last time he appeared with Kiss until he performed with them at a Kiss Convention on June 17, 1995. In the band’s authorized biography, the drummer revealed that he was the last one left in the band’s dressing room after filming and broke down crying. The album cover and poster insert, designed by artist Victor Stabin, featured a winking Criss. “Unmasked was like the tail end of a comet,” reflected Stanley, “and I don’t mean Frehley’s.”
A lip-synched German television performance of “Talk to Me” and “She’s So European” featured the debut of Eric Carr, who became the band’s permanent drummer until his death in 1991. The band would play a concert at the Palladium Theatre in New York City to officially introduce Carr as Criss’ permanent replacement in the band. Kiss then toured Europe and Australia (where their popularity was at an all-time high) and played “Is That You?”, “Talk to Me”, “Shandi” and for a short time, “You’re All That I Want”. Otherwise, the album’s songs have been largely ignored in live performances, with the exception of “Shandi”, which is sometimes played in the band’s shows, particularly in Australia (where the song became a top ten hit in 1980). “Talk to Me” was also played in 2001 during the Australian and Japanese concerts of the Farewell Tour, but has not been performed again since the departure of Frehley.
Although Unmasked was certified gold shortly after its release in the U.S., it quickly fell off the charts. Deciding factors included the band’s failure to mount a stateside tour, the fact that the majority of the compositions on Unmasked were easily forgettable, and longtime fans’ weariness with Kiss‘ attempts to branch out into other musical styles. Vini Poncia was on board as producer again, and again he replaces the raw, heavy rock of earlier Kiss releases with pop gloss. Several tracks are indeed strong, and would have benefited greatly by a more direct sound, such as “Is That You?,” “Talk to Me,” “Two Sides of the Coin,” “Naked City,” and the single, “Shandi.” But there’s more filler on Unmasked than the average Kiss release — “What Makes the World Go ‘Round,” “Tomorrow,” and “She’s So European” are tedious and predictable, both compositionally and sonically. Again, session drummer Anton Fig fills in for Peter Criss, who would officially split from the band soon after the album’s release (eventually replaced by Eric Carr). Although the band’s popularity dwindled in their homeland, they embarked on a massively successful European and Australian tour, where Unmasked was a huge hit, until year’s end.
A1. Is That You? (3:59)
A2. Shandi (3.36)
A3. Talk to Me (4.00)
A4. Naked City (3:49)
A5. What Makes the World Go ‘Round (4:14)
B1. Tomorrow (3:18)
B2. Two Sides of the Coin (3:16)
B3. She’s So European (3:30)
B4. Easy As It Seems (3:24)
B5. Torpedo Girl (3.31)
B6. You’re All That I Want (3.04)
- Paul Stanley – rhythm guitar, vocals, lead guitar on “Shandi”, bass and guitar solo on “Tomorrow” and “Easy As It Seems”, guitar solo on “Is That You?” and “What Makes The World Go ‘Round”
- Ace Frehley – lead guitar, acoustic guitar, vocals, all guitars & bass on “Talk to Me”, “Two Sides of the Coin” and “Torpedo Girl” and guitar solo on “Naked City “
- Gene Simmons – bass guitar, vocals, rhythm guitar on “You’re All That I Want”
- Peter Criss – drums (credit only)
- Bob Kulick – additional guitar on “Naked City”
- Anton Fig – drums
- Vini Poncia – keyboards, percussion, backing vocals
- Tom Harper – bass guitar on “Shandi”
- Holly Knight – keyboards on “Shandi
- Coordinator [Production Coordinator] – Anne Streer
- Design – Howard Marks Advertising Inc.
- Engineer [Assistant] – Gray Russell
- Illustration – Victor Stabin
- Illustration [Illustration, With] – Jose Rivero, Mark Samuels
- Mastered By – George Marino
- Producer – Vini Poncia
- Recorded By, Mixed By – Jay Messina
Genre: Hard rock
Label: Casablanca Records
posted by vinyl facts
Pyramid (stylized as Pyr△mid) is the third album by progressive rock band The Alan Parsons Project, released in 1978. It is a concept album centred on the pyramids of Giza. At the time the album was conceived, interest in pyramid power and Tutankhamun was widespread in the US and the UK. Pyramid was nominated for the 1978 Grammy Award for Best Engineered Album, Non-Classical.
Even with six different vocalists lending their talents to the album, Pyramid still remains an average bit of material from the Alan Parsons Project. Not only does the album’s theme evolve around the mystique of the pyramid, but it also touches on man’s fascination with superstition and its powers. The instrumental “Voyager” opens things up, and its provocative style sets the tone for the album’s supernatural mood. The bright-sounding “What Goes Up” is one of the highlights here, as is “The Eagle Will Rise Again,” sung by Colin Blunstone. The anxiety-ridden “Pyramania” enhances the album’s concept the best, accompanied by some excitable keyboard playing and a friendly middle. The lesson-learning “Can’t Take It with You” teaches that our souls are our most important asset, in typical Parsons-type charm.
While not a stellar album, Pyramid completes the task of musically explaining its concept. Its short but slightly compelling nature grows after a few listens, but the album itself isn’t a necessity.
A1. Voyager (Instrumental) (2:24)
A2. What Goes Up… (lead vocal: David Paton) (3:31)
A3. The Eagle Will Rise Again (lead vocal: Colin Blunstone) (4:20)
A4. One More River (lead vocal: Lenny Zakatek) (4:15)
A5. Can’t Take It with You (lead vocal: Dean Ford) (5:06)
B1. In the Lap of the Gods (Instrumental) (5:27)
B2. Pyramania (lead vocal: Jack Harris) (2:45)
B3. Hyper-Gamma-Spaces (Instrumental) (4:19)
B4. Shadow of a Lonely Man (lead vocal: John Miles, additional vocals: Colin Blunstone) (5:34)
- David Paton – bass, vocals
- Stuart Elliott – drums, percussion
- Ian Bairnson – electric and acoustic guitars
- Eric Woolfson, Duncan Mackay – keyboards
- Dean Ford, Colin Blunstone, Lenny Zakatek, John Miles, Jack Harris – vocals
- Phil Kenzie – saxophone solos on “One More River”
- Choir: The English Chorale, Choirmaster: Bob Howes
- Produced and engineered by Alan Parsons
- Executive production: Eric Woolfson
- Arrangements: Andrew Powell
- Album cover design: Hipgnosis
Genre: Progressive Rock
Label: Arista Records