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22
May

Fats Domino – Rock And Rollin’ with Fats Domino (1956)

frock_and_rb5ac38b94b2147e369dfbe“Rock and Rollin’ with Fats Domino”, originally released as “Carry on Rockin’”, is the 1955 debut album by R&B pianist and vocalist Fats Domino, compiling a number of his hits and other material, some of which would soon become hits. The album, which featured a woodcut portrait of the musician, reached #17 on the Billboard “Pop Albums” chart. It is believed to have been produced by engineer Bunny Robyn due to the notation on the cover “A Robyn Recording”.
Fats Domino had seven years’ worth of recordings behind him when Imperial Records released his first LP, which was made up of songs dating back as far as 1950 “Ain’t It a Shame” was the current hit, and his 1950 hit “The Fat Man” is also here, but there was a lot more to recommend this album. Fats’ singing on “Poor Me” is some of the most expressive R&B of its era, and the worth of this LP is defined by his performance as well as the songs themselves. The latter also include the pounding ballad “Rose Mary,” the bouncy “Please Don’t Leave Me” with its infectious vamping by the singer and his rippling piano arpeggios, and the bluesy lament “You Said You Love Me.”
Although this was Domino’s album debut, the R&B pianist had already been recording singles for seven years at the time of this release. The album compiled a number of Domino’s hit singles as well as some songs that would soon become hit singles, including “Ain’t That a Shame”, “All by Myself”, “Poor Me”, “Bo Weevil”, “Don’t Blame It On Me”, “Don’t You Know”, “I Can’t Go On” and “Thinking of You”.
The album was first released on Imperial Records, catalog #9009, under the title Carry on Rockin’ in November 1955 and reissued under the title Rock and Rollin’ With Fats Domino.

 

Track listing

01.  “The Fat Man”  – 2:38
02.  “Tired of Crying”   (Domino)  – 2:15
03.  “Goin’ Home”   (Domino, Al Young)  – 2:11
04.  “You Said You Loved Me”  – 2:36
05.  “Going to the River”  – 2:30
06.  “Please Don’t Leave Me”   (Domino)  – 2:35
07.  “Rose Mary”  – 2:16
08.  “All by Myself”  – 2:24
09.  “Ain’t That a Shame”  – 2:27
10.  “Poor Me”  – 2:19
11.  “Bo Weevil”  – 2:48
12.  “Don’t Blame It on Me”  – 2:42

Except where otherwise noted, all songs by Dave Bartholomew and Fats Domino.

Credits
Fats Domino – piano, vocals
Bunny Robyn – presumed producer

Notes
Released: November, 1955
Genre:  Rock n roll
Length:  29:41
© 1956

Label – Imperial Records

22
May

The Temptations – Ear-Resistible (2000)

MI0002077452 - kopie“Ear-Resistible” is a 2000 album by The Temptations for the Motown label. Featuring the singles “I’m Here” and “Selfish Reasons”, the album won the 2001 Grammy Award for Best Traditional R&B Vocal Performance.
“Ear-Resistible” marks the 57th album for R&B/pop’s most popular and star-crossed groups. Although many people may still have an image of one particular Temptations lineup, the 1964-1968 group, the group has persevered over everything from exiting members to label indifference. With “Ear-Resistible” the group turns in its strongest set since 1984’s “Truly for You”. The first song, “I’m Here,” produced by R&B crooner Joe sets the stage for an infinitely likeable album. With a dramatic arrangement and confident vocals, led by smooth tenor Terry Weeks, it’s a mix of a timely production well rooted in the mechanics of classic R&B male group singing. Songs like “Your Love” and “Selfish Reasons” are in the same neo-classic, back to the future vein. But what makes Ear-Resistible is a trio of skillfully arranged ballads that pit Ron Tyson’s starry-eyed falsetto to Barrington Henderson’s raspy tenor. From the sensual “Kiss Me Like You Miss Me” to the adultery/late-night sneaking lyrics of “It’s Alright to Be Wrong,” the group effortlessly trades leads all the while creating intricate harmonies. The CD’s best track, the Gerald Levert-produced “Proven and True” is a steady and sure ballad that plays on the chemistry between Tyson and Henderson. Co-executive produced by Kedar Massenburg and Otis Williams, Ear-Resistible proves that you don’t need rap cameos or expletives to make a great R&B album.

 

Track listing

01.  “I’ll Just Go Crazy – Intro”  – 0:33
02.  “I’m Here”   (Katrina Willis, Colin Morrison)  – 4:22
03.  “Your Love”   (Stanley Brown)  – 4:47
04.  “Elevator Eyes”   (Dennis Nelson, Otis Williams)  – 3:51
05.  “Selfish Reasons”   (Gerald LeVert, Joe N Little III)  – 4:48
06.  “Kiss Me Like You Miss Me”   (Narada Michael Walden, Robin Taylor Brooks, Otis Williams)  – 4:40
07.  “Party”   (Narada Michael Walden, Ron Tyson, Sunny Hilden)  – 4:06
08.  “It’s Alright To Be Wrong”   (Calvin Gaines, Joshua Thompson, Donnell Jones)  – 4:21
09.  “Proven & True”   (Gerald LeVert, Joe N Little III)  – 5:27
10.  “Got To Get on The Road”   (Trevor Lawrence, Isaias Gamboa, Otis Williams)  – 4:53
11.  “I’ll Just Go Crazy”   (Arthur Marbury, Terry Weeks, Alonza McKenzie)  – 4:32
12.  “A Little Bit Lonely”   (DeVere Duckett, Keith Rouster)  – 4:30
13.  “One Love, One World – Interlude”   (Arthur Marbury, Terry Weeks, Otis Williams)  – 1:38
14.  “Error Of Our Ways”   (Dennis Nelson, Otis Williams)  – 5:18

Credits
Terry Weeks – vocals
Barrington “Bo” Henderson – vocals
Otis Williams – vocals
Ron Tyson – vocals
Harry McGilberry – vocals
Producer – Kedar Massenberg, Otis Williams

Notes
Released: May 16, 2000
Genre:  R&B
Length:  57:10
© 2000

Label – Motown Records

21
May

Aimee Mann – Whatever (1993)

Aimee_Mann_-_WhateverOn her solo debut “Whatever”, the former vocalist for Til Tuesday cements her position as a center-stage artist and top-notch songwriter, and Aimee Mann’s blend of wit, smarts, cynicism, and downright humability make for a wonderfully pleasing collection of catchy songs. Musically, the jangle-pop feel of “Whatever” harkens back to the Beatles and the Byrds but without forsaking its contemporary origin. Lyrically, it is often hard to know whether Mann is spilling her guts out over a love or a deal gone bad. In fact, it is often a combination. But the seamless ease with which she tells the tales, moving from her head to her heart and back again, exposes her mighty talent. Teaming with some of her former bandmates, including longtime collaborator Jon Brion, gives Mann a comfort and a sure footing from which to climb and stretch, which she does with certainty. “I Should’ve Known,” “Could’ve Been Anyone,” and “Say Anything” get the heads bobbing, while the more somber “4th of July” and “Stupid Thing” will beckon forth even the loneliest of hankies. And how many artists pay tribute to Charles Dickens? (Witness “Jacob Marley’s Chain.”) Talk about literate songwriters and you have to speak of Aimee Mann. The dismissive tone of the title belies the time that was put into this album, for even after its recording, it took Mann quite a long while to find a home.

 

Track listing

01.  “I Should’ve Known”  – 4:53
02.  “Fifty Years After the Fair”  – 3:46
03.  “4th of July”  – 3:21
04.  “Could’ve Been Anyone”   (Mann, Jules Shear, Marty Willson-Piper)  – 4:23
05.  “Put Me on Top”  – 3:28
06.  “Stupid Thing”   (Mann, Jon Brion)  – 4:27
07.  “Say Anything”   (Mann, Jon Brion)  – 4:57
08.  “Jacob Marley’s Chain”  – 3:01
09.  “Mr. Harris”  – 4:05
10.  “I Could Hurt You Now”  – 4:17
11.  “I Know There’s a Word”   (Mann, Jon Brion)  – 3:16
12.  “I’ve Had It”  – 4:42
13.  “Way Back When”  – 4:05
14.  “Nothing”  – 0:09

All songs by Aimee Mann, unless otherwise noted.

Credits
Aimee Mann – vocals, electric guitar, acoustic guitar, bass, mellotron, pump organ, percussion
Michael Hausman – drums, percussion, conga, cymbals
Jim Keltner – drums
Milt Sutton – drums
Jon Brion – bass, electric guitar, turtle guitar, piano, chamberlin, optigan, hammond organ, toy piano, marimba, pipes, pump organ, vibraphone, glockenspiel, tambourine, mellotron, drums, bass harmonica, piccolo, vocals
Buddy Judge – acoustic guitar, vocals, pipes
Todd Nelson – electric guitar
Randy Brion – euphonium, trombone
Mike Breaux – bassoon, oboe
Roger McGuinn – 12 string electric guitar, vocals (on Fifty Years After the Fair)
David Coleman – cello, electric cello
Sid Sharp, Sidney Sharp, Joy Lyle, Harry Shirinian, Harry Shultz – Strings
Producer – Tony Berg, Jon Brio, Michael Hausman, Aimee Mann

Notes
Released: May 11, 1993
Recorded: Q Division, Capitol Studios, Clubhouse, Blue Jay, Bearsville, Zeitgeist, Sunset Sound, Presence
Genre:  Pop, Rock
Length:  52:14
© 1993

Label – Imago Records

21
May

Harvey Mandel – Righteous (1969)

frighteous7628c1743e74022de6809fHarvey Mandel (born March 11, 1945, in Detroit, Michigan, United States) is an American guitarist known for his innovative approach to electric guitar playing. A professional at twenty, he played with Charlie Musselwhite, Canned Heat, The Rolling Stones, and John Mayall before starting a solo career. Mandel is one of the first rock guitarists to use two-handed fretboard tapping.
“Righteous” his second solo album is not as consistent as his debut album “Cristo Redentor” , due to the presence of a few pedestrian blues-rock numbers. The better tracks, though, show Mandel continuing to expand his horizons with imagination, particularly on the cuts with string and horn arrangements by noted jazz arranger Shorty Rogers. Harvey’s workout on Nat Adderley’s “Jive Samba” is probably his best solo performance, and an obvious touchstone for the Latin-rock hybrid of Carlos Santana (whose own debut came out the same year); on the other side of the coin, “Boo-Bee-Doo” is one of his sharpest and snazziest straight blues-rockers.

 

Track listing

01.  “Righteous”   (H. Mandel)   – 3:21
02.  “Jive Samba”   (N. Adderley)   – 5:57
03.  “Love Of Life”   (B. Jones, H. Mandel)   – 3:11
04.  “Poontang”   (B. Jones)   – 3:52
05.  “Just A Hair More”   (H. Mandel)   – 3:36
06.  “Summer Sequence”   (R. Burns)   – 4:12
07.  “Short’s Stuff”   (S. Rogers)   – 7:24
08.  “Boo-Bee-Doo”   (D. Hitchings)   – 3:55
09.  “Campus Blues”   (H. Mandel)   – 4:42

Credits
Guitar, Arranged By – Harvey Mandel
Congas, Cabasa, Drums – Earl Palmer
Vocals, Drums, Guitar – Bob Jones
Bass – Art Stavro
Drums – Eddie Hoh
Bass [Fender] – Bob West
Guitar – Howard Roberts
Piano – Pete Jolly
Saxophone – Bill Perkins, Ernie Watts, Gene Cipriano, Jack Nimitz, Plas Johnson
Trombone – Lew McCreary, Mike Barone, Pete Myers, Richard Leith
Trumpet – Buddy Childers, John Audino, Ollie Mitchell, Stan Fishelson
Vibraphone – Victor Feldman
Organ – Duane Hitchings
Arranged By [String & Horn Arrangements] – Shorty Rogers
Engineer – Hank Cicaco
Photography [Cover Photo] – Dunstan Pereira
Photography [Inner Photo] – Johnny Hayes
Producer – Abe “Voco” Kesh

Notes
Recorded at Amigo Studios, North Hollywood.
Genre:  Electric Blues, Psychedelic Rock
Length:  38:23
© 1969

Label – Philips Records

20
May

Frank Marino & Mahogany Rush – Tales Of The Unexpected (1979)

MI0002391646By the late ’70s, Mahogany Rush were no longer simply Mahogany Rush; they were billing themselves as Frank Marino & Mahogany Rush, which was appropriate given that frontman Marino had done so much to shape the power trio’s sound. Not only was Marino Mahogany Rush’s lead singer and guitarist, he was also the person who wrote all of the songs on studio albums like 1972’s Maxoom, 1974’s Child of the Novelty, and 1975’s Strange Universe. So when Tales of the Unexpected came out in 1979, none of Marino’s admirers complained about seeing the name Frank Marino & Mahogany Rush on the front cover. This is both a live album and a studio album; in its original vinyl LP configuration, “Tales of the Unexpected” (which was reissued on CD in early 2008) consisted of four studio recordings on side one and four live performances on side two. Back in 1979, some fans wondered why the band was offering more live recordings after having just provided a live LP for Columbia in 1978; perhaps that was Marino’s way of addressing fans who complained that their live album should have been a two-LP set instead of a single LP. At any rate, Tales of the Unexpected has a lot going for it. The studio material, all of it solid, ranges from enjoyably psychedelic covers of the Beatles’ “Norwegian Wood” and Bob Dylan’s “All Along the Watchtower” to the funky “Sister Change” and the instrumental title track (which finds the hard rock/metal unit venturing into jazz fusion territory and indicates that Marino had been seriously checking out Chick Corea’s Return to Forever and John McLaughlin’s Mahavishnu Orchestra). The live tracks, meanwhile, include ballsy, inspired performances of “Woman,” “Down, Down, Down,” “Door of Illusion,” and “Bottom of the Barrel.” Although not as essential as Strange Universe, Tales of the Unexpected was a respectable way for Marino and his colleagues to say goodbye to the ’70s.

 

Track listing

Side A
01.  “Sister Change”   (F. Marino)  – 4:43
02.  “All Along The Watchtower”   (B. Dylan)  – 4:34
03.  “Norwegian Wood (This Bird Has Flown)”   (Lennon-McCartney)  – 3:09
04.  “Tales Of The Unexpected”   (F. Marino)  – 7:45

Side B
01.  “Down, Down, Down”   (F. Marino)  – 5:16
02.  “Door Of Illusion”   (F. Marino)  – 5:19
03.  “Woman”   (F. Marino)  – 5:27
04.  “Bottom Of The Barrel”   (F. Marino)  – 4:26

Credits
Guitar, Vocals, Synthesizer – Frank Marino
Bass – Paul Harwood
Drums – Jim Ayoub
Artwork – Joseph Malec
Producer, Arranged By – Frank Marino

Notes
Side A recorded at Tempo Studios, Montreal, Canada
Side B recorded live – mixed at Tempo Studios
Genre:  Hard Rock
Length:  41:55
© 1979

Label – Columbia Records

20
May

Loggins And Messina – On Stage (1974)

61s3kmNzx4L“On Stage” is the fourth album by singer/songwriter duo Loggins and Messina, released in 1974. As their first live album, it was released as a double album and featured a side-long version of their hit song “Vahevala”.
Long before they earned the first of their three gold albums, Kenny Loggins and Jim Messina proved that in-person power was one of their natural assets. Between them arcs a unique electricity, as their performance evolves from a soft, mellow acoustical guitar to a thundering, high-energy six man band. Skillfully directing the music, Jim wraps his voice lovingly around a lyric or forcefully drives a message home. Kenny, best known for his ballads, can still tear into classic rock and roll. Building the walls of sound upon which Loggins and Messina project their imagery is a remarkable band. Al Garth and Jon Clarke texture the music with saxophone styles as distinctive as signatures. As soloists, Jon sweetly embroiders “Vahevala” with his electric flute, subtly complimenting Al’s whining violin. In contrast, Al’s smoldering alto sax highlights “Angry Eyes.” Merel Bregante, on drums, maintains the band’s center of gravity, keeping a rock steady bottom with the help of Larry Sims on bass. Larry also fills the high registers, linking Kenny and Jim’s voices with clear, crisp harmonies of his own.
Captured here are some of their best moments. There are no gimmicks and you don’t need “to have been there” to share the excitement. The music speaks for itself. For Loggins and Messina, “On Stage” was the soundtrack of their success.

 

Track listing

Side 1
1.  “House at Pooh Corner”   (Kenny Loggins)  – 2:40
2.  “Danny’s Song”   (Loggins)  – 3:55
3.  “You Could Break My Heart”   (Loggins)  – 3:06
4.  “Lady of my Heart”   (Loggins)  – 1:50
5.  “Long Tail Cat”   (Loggins)  – 3:23
6.  “Listen to a Country Song”   (Jim Messina, Al Garth)  – 2:33
7.  “Holiday Hotel”   (Messina, Garth)  – 2:08

Side 2
1.  “Just Before the News”   (Messina)  – 1:08
2.  “Angry Eyes”   (Loggins, Messina)  – 10:06
3.  “Golden Ribbons”   (Messina)  – 5:57
4.  “Another Road”   (Loggins)  – 2:22

Side 3
1.  “Vahevala”   (Dan Loggins, Dann Lottermoser)  – 21:00

Side 4
1.  “Back to Georgia”   (Loggins)  – 2:59
2.  “Trilogy: Lovin’ Me/To Make a Woman Feel Wanted/Peace of Mind”   (Loggins, Messina, Murray
MacLeod)
  – 12:12
3.  “Your Mama Don’t Dance”   (Loggins, Messina)  – 3:02
4.  “Nobody But You”   (Messina)  – 4:32

Credits
Kenny Loggins – vocals, rhythm guitar, harmonica
Jim Messina – vocals, lead guitar
Merel Bregante – drums
Jon Clarke – flute, tenor saxophone, baritone saxophone
Al Garth – violin, tenor saxophone, recorder, alto saxophone
Larry Sims – bass guitar, backing vocals

Production
Producer: Jim Messina
Engineers: Alex Kazanergras and John Fiore
Mastering: Vic Anesini
Photography: Ed Caraeff, David Gahr, Bob Jenkins, Jim Marshall, Ellen Wolff, Frank Zinn
Artwork: Ron Coro, Ron Jaramillo
Graphic design: Rev. Richard White
Liner notes: Ellen Wolff

Notes
Recording locations: Winterland, San Francisco, April 28,29, 1972; Carnegie Hall, New York, March 1,2, 1973; Orpheum Theatre, Boston, March 4, 1973.
Genre:  Rock
Length:  82:53
© 1974

Label – Columbia Records

19
May

Jeff Lorber – In The Heat Of The Night (1984)

MI0003670146“In the Heat of the Night” is the second full-length studio album by jazz keyboardist Jeff Lorber. It was released in 1984 on Arista Records.
Recognizing changes on the contemporary jazz scene in the mid 1980’s Jeff Lorber begins making musical changes of his own. This is Lorber’s second “solo release (that is recorded under his own name-without the Jeff Lorber Fusion);the first being his 1982 release It’s a Fact.The efforts at modernizing his sound really began there but that had been a generally smoother,softer album. On this it’s 1984 and Jeff Lorber rises to the occasion by producing an album containing no slow jams or ballads-just up and midtempo tunes. There are also a good deal of vocals here,most of them from producer Maurice Starr (New Edition,etc) and the music is far more contemporary to the mid 80’s and showcasing what is likely Lorber’s final use of analog synthesizers.Some of the most interesting tunes are the vocal ones;the title track is very good pop/R&B that’s very catchy;nill on the jazz content but good pop. “Really Scarey” features an eerie scat from co-writer Nathan East and a clever pop-jazz/early hip-hop production.”Don’t Say Yes” (a vocal piece) and “Tropical”,an instrumental often representing this album on Jeff Lorber compilation CD’s both have a similar light jazz-funk flavor. That style covers “Seventh Heaven” too.There are also a couple of experiments on this album the work to varrying degrees-both are instruments;”Sushi Monster” gives a go at hard rock new-wave style song with Lee Ritenour providing a blistering solo.”Rock II” is actually a much better,featuring an extremely funky bass from Nathan East and a hot jazzy piano solo from Lorber.”Double Bad” is an okay attempt at…well soft rock I guess but it doesn’t really go anywhere after a time.”Blast Off” of course has a very pronounced Herbie Hancock-“Rockit!” influence,typical of some jazz-funk artists at this time. The album ends on the mellowest note on this album with the cool “Waterfall”.

 

Track listing

01.  “In the Heat of the Night”   (Maurice Starr)  – 4:14
02.  “Really Scarey”   (Jeff Lorber, Nathan East)  – 4:08
03.  “Don’t Say Yes”   (Jeff Lorber, Marlon McClain, Tony Haynes) – 4:07
04.  “Tropical”   (Jeff Lorber)  – 4:12
05.  “Sushi Monster”   (Jeff Lorber, Marlon McClain, Nathan East)  – 3:14
06.  “Rock II”   (Jeff Lorber)  – 4:26
07.  “Seventh Heaven”   (Jeff Lorber, Marlon McClain)  – 4:21
08.  “Double Bad”   (Jack Robinson, Joe Ericksen)  – 4:18
09.  “Blast Off”   (Maurice Starr)  – 3:45
10.  “Water Fall”   (Jeff Lorber)  – 4:07

Credits
Jeff Lorber – Vocals, keyboards, guitars, drum programming
Lead Vocals – Alex Ligertwood, Philip Ingram
Nathan East – Bass
Maurice Starr – Vocals, guitars, keyboards, drum programming
Ronnie Laws – Saxophone
Marlon McClain, Lee Ritenour – Guitars
Jimmy Johnson – Congas
Paulinho Da Costa – Percussion
Produced by – Jeff Lorber and Maurice Starr

Notes
Recorded at: Syncrosound, Boston
Mixed at: Normandy Sound, Warren, Rhode Island
Genre:  Smooth Jazz, Jazz Fusion
Length:  40:24
© 1984

Label – Arista Records

18
May

Laurie And The Sighs – Laurie And The Sighs (1980)

laurieTake one listen to the first and only LP by Laurie and the Sighs and it won’t surprise you to learn that vocalist Laurie Beechman is best known as a Broadway star. The 1980 album is a showy burst of energy that mixes hard-edged arena rock a la Pat Benatar with spiky, tongue-in-cheek power pop to create consistently fun results.
Prior to the album’s release, Beechman played in famous theater productions such as Annie and The Pirates of Penzance. After signing with Atlantic Records, Beechman and the Sighs hoped to find success venturing into rock and roll territory. During a time when Benatar was at the top of the charts, it would seem that Beechman, whose physical and musical similarities to the popular singer were not exactly subtle, would be a marketable act for her label. Unfortunately, Laurie and the Sighs received little support from Atlantic and soon faded into obscurity.
The LP rocks harder than you might expect, and it’s clear that Beechman put everything she had into belting out the tunes. Some of the material, such as the brief jolt of “Face to Face”, an amped-up cover of the 60s Claudine Clark hit “Party Lights” and the aggressive “Stop Telling Me No”, even shows traces of punk. The LP only slows down once with the rock opera ballad “Your Bridge Is Burning”.
After the album failed to make a dent, Beechman turned back to musical theater, going on to star in “Cats”, “Joseph and the Amazing Technicolor Dreamcoat” and “Les Miserables”. Unfortunately, after a diagnosis of ovarian cancer in 1988 – which went into remission and then returned in 1995 – Beechman passed on in 1998 at the age of 44.

 

Track listing

01.  “Midnight Love”   (D.L. Byron / James Gregory)  – 3:19
02.  “Touch Me”  (Ray Fenwick / Mike Hurst)  – 3:40
03.  “Party Lights”   (Claudine Clark)  – 3:07
04.  “Love Hostage”   (Andy Goldmark / Jim Ryan)  – 2:53
05.  “Face To Face”   (Laurie Beechman / Derek Fox)  – 1:41
06.  “Never Go Back”   (Andy Goldmark / Jim Ryan)  – 3:51
07.  “Your Bridge Is Burning”   (Marc Blatte / Larry Gottlieb)  – 3:17
08.  “Runaway”   (Derek Fox)  – 2:14
09.  “Stop Telling Me No”   (Derek Fox / Jonathan C. Holtzman)  – 2:15
10.  “Burning Up”   (Laurie Beechman / Derek Fox)  – 2:40

Credits
Vocals – Laurie Beechman
Bass – David Wofford
Drums – Demo Ray Agcaoili
Guitar – Tony Salinas
Piano – Derek Fox
Dennis King Mastering
Bob Defrin Art Direction
Tom Heid Engineer
Bill Dooley Engineer
Producer – Roger Probert

Notes
Genre: Rock
Length: 29:11
© 1980

Label – Atlantic Records

17
May

Bob Marley & The Wailers – Rastaman Vibration (1976)

BobMarley-RastamanVibration“Rastaman Vibration” is a reggae album by Bob Marley and the Wailers released on 30 April 1976. The album was a great success in the US, becoming the first Bob Marley release to reach the top 10 on the Billboard 200 charts (peaking at number 8), in addition to releasing Marley’s most popular US single “Roots, Rock, Reggae,” the only Marley single to reach the Billboard Hot 100 charts. Synthesizers are featured prominently on this album, adding a breezy embellishment to otherwise hard-driving songs with strong elements of rock guitar.
For Bob Marley, 1975 was a triumphant year. The singer’s “Natty Dread” album featured one of his strongest batches of original material (the first compiled after the departure of Peter Tosh and Bunny Wailer) and delivered Top 40 hit “No Woman No Cry.” The follow-up Live set, a document of Marley’s appearance at London’s Lyceum, found the singer conquering England as well. Upon completing the tour, Marley and his band returned to Jamaica, laying down the tracks for “Rastaman Vibration” at legendary studios run by Harry Johnson and Joe Gibbs. At the mixing board for the sessions were Sylvan Morris and Errol Thompson, Jamaican engineers of the highest caliber. “War,” for one, remains one of the most stunning statements of the singer’s career. Though it is essentially a straight reading of one of Haile Selassie’s speeches, Marley phrases the text exquisitely to fit a musical setting, a quiet intensity lying just below the surface. Equally strong are the likes of “Rat Race,” “Crazy Baldhead,” and “Want More.” These songs are tempered by buoyant, lighthearted material like “Cry to Me,” “Night Shift,” and “Positive Vibration.” Not quite as strong as some of the love songs Marley would score hits with on subsequent albums, “Cry to Me” still seems like an obvious choice for a single and remains underrated.

 

Track listing

01.  “Positive Vibration”   (Vincent Ford)  – 3:34
02.  “Roots, Rock, Reggae”   (Vincent Ford)  – 3:38
03.  “Johnny Was”   (Rita Marley)  – 3:48
04.  “Cry to Me”   (Rita Marley)  – 2:36
05.  “Want More”   (Aston Barrett)  – 4:14
06.  “Crazy Baldhead”   (Rita Marley, Vincent Ford)  – 3:12
07.  “Who the Cap Fit”   (Aston Barrett, Carlton Barrett)  – 4:43
08.  “Night Shift”   (Bob Marley)  – 3:10
09.  “War”   (Allen Cole, Carlton Barrett)  – 3:36
10.  “Rat Race”   (Rita Marley)  – 2:50

Credits
Lead Vocals, Guitar [Rhythm], Acoustic Guitar, Percussion – Bob Marley
Backing Vocals – I Threes
Bass, Guitar, Percussion – Aston “Family Man” Barrett
Drums, Percussion – Carlton Barrett
Guitar [Lead, Rhythm], Percussion – Earl Smith
Guitar [Lead] – Donald Kinsey
Keyboards, Bass, Percussion, Backing Vocals – Tyrone Downie
Engineer – Alex Sadkin, Errol Thompson, Jack Nuber
Mixed By – Aston Barrett*, Chris Blackwell
Percussion – Alvin “Seeco” Patterson
Producer – Bob Marley & The Wailers

Notes
Released: 30 April 1976
Recorded at: Harry J. Studios, Joe Gibbs Studio, Kingston, Jamaica, late 1975–early 1976
Mastered at: Sterling Sound, New York.
Genre:  Reggae
Length:  35:21
© 1976

Label – Island Records

16
May

Booker T. Jones – The Road From Memphis (2011)

booker t. jones“The Road from Memphis” is the ninth studio album by Booker T. Jones, released in May 2011 through the record label ANTI. On the album, Booker T. is backed by hip-hop band The Roots. The album reached a peak position of number 85 on the Billboard 200 and received a Grammy Award for Best Pop Instrumental Album.
“On The Road from Memphis”, Jones and his B-3 choose to do some non-linear musical storytelling: in the title lies the key. This set reveals Jones’ musical odyssey from the early days in Memphis to the places that influenced his thought and playing: the soul sounds that emerged from Detroit, Philly, and Los Angeles; all along a labyrinthine, groove-laden path into the present day. He enlisted the Roots the seemingly ubiquitous go-to house band of the 21st century with Amhir ?uestlove Thompson and Rob Schnapf as co-producers, with Dap-Kings’ Gabriel Roth engineering. The Road from Memphis is loaded with treats: Detroit Funk Brother Dennis Coffey adds his trademark wah-wah and the Roots’ Captain Kirk Douglas adds his jazz guitar sounds. Both men do excellent work, adding buckets of feel to Jones’ B-3, ?uestlove’s breaks and beats, and bassist Owen Biddle’s low-end theory. Vocalists appear on some of the album’s key tracks: Sharon Jones and the National’s Matt Berninger duet on the slow, summery, “Representing Memphis”; My Morning Jacket’s “Yim Yames” does a stunning turn as a soul singer on the Motown-inspired “Progress” (who knew?); Jones takes his own authoritative turn on the deep, funky fingerpop of “Down in Memphis” (even his voice has rhythm).
And even Lou Reed gets in on the act on album-closer “The Bronx,” doing his usual “real life happening on the streets” croak. It’s in the instrumentals, however, that Jones reveals his story best. Opener “Walking Papers” uses the main vamp from Johnnie Taylor’s classic “Who’s Making Love,” (he was backed by Jones and the MG’s on the original), and perform it more like the “Cissy Strut”-era Meters. The reading of Gnarls Barkley’s “Crazy” offers some of Jones most subtly inventive melodic organ work.
“The Hive,” “Rent Party,” and “The Vamp” have exactly one transcendent idea each (how often can anyone say that about a song?); the band works them to death firing on all levels. The Road from Memphis has grease, grit, groove, and yes, greatness. Jones’ story is compelling listening, but more than that , it’s a backbone-slipping monster of a dance record.

 

Track listing

01.  “Walking Papers”   (Kirk Douglas, Jones)  – 3:14
02.  “Crazy”   (Brian Burton, Thomas Callaway, Gian Franco Reverberi, Gian Piero Reverberi)  – 3:05
03.  “Progress”   (Jones, Yim Yames) – vocals by Yim Yames  – 3:19
04.  “The Hive”   (Jones)  – 3:48
05.  “Down in Memphis”   (Jones) – vocals by Jones  – 3:51
06.  “Everything Is Everything”   (Lauryn Hill)  – 4:35
07.  “Rent Party”   (Jones)  – 3:58
08.  “Representing Memphis”   (Jones, Liv Jones) – vocals by Matt Berninger and Sharon Jones  – 3:29
09.  “The Vamp”   (Jones)  – 3:22
10.  “Harlem House”   (Jones)  – 3:50
11.  “The Bronx”   (Jones, Liv Jones) – vocals by Lou Reed  – 4:38

Credits
Organ [Hammond B3], Piano, Chimes – Booker T. Jones
Guitar – Dennis Coffey, Kirk Douglas
Bass – Owen Biddle
Percussion – Stewart Killen
Drums – Ahmir “Questlove” Thompson

Production
Engineer – Gabriel Roth
Mastered By – Mark Chalecki
Mixed By – Rob Schnapf
Design – Trevor Hernandez
Photography By [Portrait] – Piper Ferguson
Photography By [Studio] – Michael Weintrob
Executive Producer – Andy Kaulkin
Producer – Ahmir “Questlove” Thompson*, Booker T. Jones, Rob Schnapf
Liner Notes – Booker T. Jones, Robert Gordon
Engineered At – MSR Studios
Mastered At – Little Red Book Mastering

Notes
Recorded & Engineered at MSR Studios, NYC.
Mixed at Mant & Sonora Recorders, LA.
Released:  May 10, 2011
Genre:  Instrumental, Funk, Soul
Length:  41:09
© 2011

Label – ANTI-Records

16
May

G. Love & Special Sauce – Electric Mile (2001)

The_Electric_MileG. Love & Special Sauce is an alternative hip-hop band from Philadelphia. They are known for their unique, “sloppy”, and “laid back” blues sound that encompasses classic R&B. The band features Garrett Dutton, better known as G. Love, Jeffrey Clemens on drums, and Jim Prescott on bass.
“Electric Mile” is their fifth album, released in 2001.
Like G. Love & Special Sauce’s previous albums, “The Electric Mile” isn’t easy to categorize. Is it alternative rock, psychedelic rock, retro-soul, funk, or hip-hop? Actually, this diverse, unpredictable album is a combination of those things and the group also shows its appreciation of reggae, blues, and folk. True to form, vocalist G. Love and his colleagues keep things unpredictable; you never know from one song to the next if they will tend to favor retro-soul (“Night of the Living Dead”), hip-hop (“Parasite,” “Electric Mile”), folk-rock (“Sara’s Song”), psychedelic blues-rock (“Poison”), or reggae (“Unified”). And the impressive thing is that G. Love can go in so many different directions and never fail to sound distinctive, which is something he has in common with Prince and David Bowie. But while The Electric Mile (which is G. Love’s fifth album) has more plusses than minuses, it isn’t perfect. A few of the tunes sound unfocused, and not everything that G. Love & Special Sauce try is successful occasionally, a song will miss its mark. But more often than not, the trio’s risk-taking pays off on this generally rewarding, if imperfect, album.

 

Track listing

01.  “Unified”   (G. Love, RAS)  – 3:07
02.  “Praise Up”  – 3:43
03.  “Night of the Living Dead”   (Jeff Clemens)  – 4:36
04.  “Parasite”   (G. Love, Jimmy Prescott, Jasper Thomas)  – 6:17
05.  “Hopeless Case”  – 3:43
06.  “Free at Last”   (G. Love, Prescott)  – 2:22
07.  “Shy Girl”  – 3:32
08.  “Rain Jam”  – 1:04
09.  “Electric Mile”  – 3:40
10.  “Sara’s Song”  – 4:59
11.  “100 Magic Rings”  – 3:52
12.  “Poison”  – 4:19
13.  “Free at Last (Reprise)”   (G. Love, Prescott)  – 5:55

All tracks by G. Love except were noted

Credits
Garrett Dutton – guitar, vocals, harmonica
Jeffrey “Houseman” Clemens – percussion, drums, background vocals
Jimi “Jazz” Prescott – string bass
Alma – vocals
Arty – viola
Hoch – Cello
Dave Geller – Congas
Jamie Janover – percussion, dulcimer
John Medeski – organ, keyboards, fender rhodes, wurlitzer, clavenette
Jasper Thomas – vocals
Billy Conway – percussion
Nancy Falkow – background vocals
Little Frankie – Lap Steel
Michael Barbiero – producer, mixing, assistant producer
Greg Calbi – mastering
Chris DiBeneditto – producer, mixing
Sean Murphy – photography
Thomas Smith – photography
Special Sauce – producer
Producer – Chris DiBeneditto & G. Love & Special Sauce

Notes
Released: April 24, 2001
Genre:  Alternative Pop, Hip-Hop
Length:  51:09
© 2001

Label – Epic Records

16
May

David Lindley – El Rayo-X (1981)

el rayo-xDavid Perry Lindley (born March 21, 1944, San Marino, California, United States) is an American musician who is notable for his work with Jackson Browne, Warren Zevon, and other rock musicians. He has worked extensively in other genres as well, performing with artists as varied as Curtis Mayfield and Dolly Parton. He has mastered such a wide variety of instruments that Acoustic Guitar magazine referred to Lindley, not as a multi-instrumentalist, but instead as a “maxi-instrumentalist” in a cover story about his career to date in 2005. The majority of the instruments that Lindley plays are string instruments. They include (but are not limited to) the acoustic and electric guitar, upright and electric bass guitar, banjo, lap steel guitar, mandolin, hardingfele, bouzouki, cittern, baglama, gumbus, charango, cümbüs, oud, weissenborn, and zither.
Lindley has performed as a member of the band Kaleidoscope, served as bandleader of his own band El Rayo-X, and has been hired to serve in that capacity for other artists on tour. In addition, he scores music to film and has worked extensively in that capacity.
“El Rayo-X” is David Lindley’s debut studio album, released in 1981.
By the time David Lindley made his move to a solo career, he was already a legend. Having toured and recorded with such names as Jackson Browne, Linda Ronstadt, and Crosby & Nash, his reputation as a multi-instrumentalist (on almost any stringed instrument) was awesome. Lindley scored a contract with Elektra Records and put together an excellent band that was able to keep up with his eclectic vision. Combining blues, rock & roll, Cajun, Zydeco, Middle Eastern music, and other elements, his debut album is an absolute joy. Lindley’s version of “Mercury Blues” became an FM radio staple, and his slide guitar performances on this track alone are easily some of the finest of the decade. There are some wonderfully skewed originals on the record as well, making “El Rayo-X” one of the greatest rock music albums of its time.

 

Track listing

01.  “She Took Off My Romeos”   (Bob “Frizz” Fuller)  – 3:00
02.  “Bye Bye Love”   (Boudleaux Bryant, Felice Bryant)  – 2:50
03.  “Mercury Blues”   (K. C. Douglas, Bob Geddins)  – 3:33
04.  “Quarter of a Man”   (Bob “Frizz” Fuller)  – 3:45
05.  “Ain’t No Way”   (Bob “Frizz” Fuller)  – 3:42
06.  “Twist and Shout”   (Phil Medley, Bert Russell)  – 2:44
07.  “El Rayo-X”   (Jorge Calderón, David Lindley)  – 2:53
08.  “Your Old Lady”   (Elmo Glick, O’Kelly Isley, King Curtis)  – 4:14
09.  “Don’t Look Back”   (William Robinson, Ronald White)  – 3:55
10.  “Petit Fleur”   (Solomon Feldthouse, Nancy Lindley)  – 3:11
11.  “Tu-Ber-Cu-Lucas and the Sinus Blues”   (Huey “Piano” Smith)  – 2:14
12.  “Pay the Man”   (David Lindley, George “Baboo” Pierre)  – 3:30

Credits
David Lindley – Bass, Fiddle, Guitar, Violin, Guitar (Electric), Vocals, Whistle (Human), Slide Guitar, Bandurria, Divan Saz
Curt Bouterse – Hammer Dulcimer on “Petit Fleur”
Jackson Browne – Vocals, Producer
Jorge Calderón – Vocals
Bob Glaub – Bass
Garth Hudson – Horn, Keyboards on “El Rayo X”
Greg Ladanyi – Engineer, Producer
Reggie McBride – Bass on “Twist and Shout”
Bill Payne – Organ, Keyboards on “Bye Bye Love”
Doug Sax – Mastering
William D. “Smitty” Smith – Organ, Keyboards
Gloria Von Jansky – Lettering
Jimmy Wachtel – Art Direction, Design
Ian Wallace – Drums
George Ybara – Assistant
Ras Baboo – percussion, timbales, vocals, accordion on “Pay the Man”
Producer – Jackson Browne and Greg Ladanyi

Notes
Recorded: Record One, Los Angeles
Genre:  Blues Rock, Tex-Mex
Length:  39:31
© 1981

Label – Asylum Records

16
May

Little Feat – Ain’t Had Enough Fun (1995)

Ain't_Had_Enough_Fun_(Little_Feat_album)_cover_art“Ain’t Had Enough Fun” is the 11th studio album by the American rock band Little Feat, released in 1995. It was their first with female vocalist Shaun Murphy and was dedicated to the memory of their cover artist Neon Park who died in 1993 after a long battle with Lou Gehrig’s disease. The band have continued to dip into his portfolio for cover art ever since, having made a promise to that effect in the sleevenotes for this album.
The members of the group that has the legal right to call itself “Little Feat” perhaps are to be complemented for their realization, after three albums, that having Craig Fuller imitate the voice of the band’s deceased founder, Lowell George, was ethically suspect. Or maybe they didn’t realize; this album’s liner notes say only that “mister fuller decided that the road life was not for him.” In any case, the surviving “featsters” have cast against type, recruiting one Shaun Murphy, who can’t imitate George but certainly can imitate longtime Feat booster Bonnie Raitt. The addition of a female voice allows for greater variety in lyric-writing and some entertaining call-and-response singing, however, and more important, it begins to free the group from the ghost of Lowell George. The featsters locate themselves more than ever in the mythology of New Orleans, alternating second-line rhythms with John Lee Hooker boogie. One may still wish they had found another name to distinguish themselves from George’s group, but “Ain’t Had Enough Fun” is a worthy addition to their catalog on its own terms.

 

Track listing

01.  “Drivin’ Blind”   (Bill Payne, Wray)  – 5:12
02.  “Blue Jean Blues”   (Barrère, Payne, Fred Tackett, Wray)  – 6:06
03.  “Cadillac Hotel”   (Payne, Wray)  – 5:35
04.  “Romance Without Finance”   (Clayton, Kibbee, Payne)  – 4:05
05.  “Big Bang Theory”   (Barrère, Murphy, Payne, Tackett, Wray)  – 5:32
06.  “Cajun Rage”   (Barrère, Kibbee, Wray)  – 5:30
07.  “Heaven’s Where You Find It”   (Barrère, Murphy, Payne, Tackett)  – 5:03
08.  “Borderline Blues”   (Barrère, Murphy, Payne, Tackett, Wray)  – 7:43
09.  “All That You Can Stand”   (Barrère, Payne, Wray)  – 6:35
10.  “Rock & Roll Everynight”   (Barrère, Murphy, Payne, Tackett, Wray)  – 5:06
11.  “Shakeytown”   (Barrère, Kibbee)  – 5:12
12.  “Ain’t Had Enough Fun”   (Barrère, Murphy, Payne, Strand, Tackett)  – 3:27
13.  “That’s a Pretty Good Love”   (Lucas, Mendelsohn)  – 4:50

Credits
Paul Barrère – guitar, dobro, vocals
Sam Clayton – percussion, vocals
Kenny Gradney – bass
Richie Hayward – drums, vocals
Shaun Murphy – vocals, percussion (first album as group member)
Bill Payne – keyboards, vocals
Fred Tackett – guitar, mandolin
Producer – Bill Payne, Bill Wray

Texicali Horns
Darrell Leonard – trumpet
Joe Sublett – tenor saxophone
David Woodford – tenor and baritone saxophone

Additional personnel
Piero Mariani – electronic percussion
Van Dyke Parks – accordion

Notes
Released: April 25, 1995
Genre: Southern Rock, Roots Rock, Swamp Rock
Length: 69:56
© 1995

Label – Zoo Entertainment

15
May

Lisa Lisa And Cult Jam – Spanish Fly (1987)

Lisa_Lisa_&_Cult_Jam_-_Spanish_FlyLisa Lisa (born Lisa Velez, January 15, 1966 and her band Cult Jam are an urban contemporary band and one of first freestyle music groups to emerge from New York City in the 1980s. Cult Jam consisted of guitarist/bassist Alex “Spanador” Moseley, and drummer and keyboardist Mike Hughes. They were assembled and produced by Full Force.
Their second consecutive platinum album “Spanish Fly” was a huge success in 1987. It spawned two #1 pop hits, “Head to Toe” and “Lost in Emotion”, both of which went gold and both of which sported a retro Motown flavor mixed with the Freestyle sound they were known for. “Head to Toe” also parked at #1 R&B. And even “Someone to Love Me for Me” had its moments. “Lost In Emotion’s” video went on to become the 4th most played video of 1987 on MTV.
Lisa Lisa was an ingenue one moment and a tough, hardened survivor the next. Lisa Lisa was already beginning to show signs of strain, and the bottom would fall out on the next release.

 

Track listing

01.  “Everything Will B-Fine”  – 5:11
02.  “Head to Toe”  – 5:03
03.  “Face in the Crowd”  – 6:10
04.  “Someone to Love Me for Me”  – 4:51
05.  “Talking Nonsense”  – 1:08
06.  “I Promise You”  – 4:46
07.  “A Fool Is Born Everyday”  – 5:23
08.  “Lost in Emotion”  – 5:07
09.  “Playing With Fire”  – 5:04

All songs written and composed by Full Force, except “Someone to Love Me for Me”, which was written by Full Force/Lisa Lisa.

Credits
Lisa Lisa (Lisa Velez) – Vocals
Michael Hughes – Congas, timbales, talking
Spanador – Guitars, Bass, keyboards
Full Force – Performer
Arranged and produced by Full Force
Engineered by Glenn Rosenstein
Mixed by Full Force and Glenn Rosenstein
Jurgen S. Korduletsch, Don Orilo, Steve Salem: Executive Producers

Notes
Released: May 19, 1987
Recorded: September 1986—March 1987
Genre:  Contemporary R&B, dance-pop, Latin freestyle
Length:  42:43
© 1987

Label – Columbia Records

15
May

K.D. Lang – Shadowland (1988)

K.D. Lang - Shadowland - Front“Shadowland” is the debut solo album by K.D. Lang, released in 1988. The album included her collaboration with Kitty Wells, Loretta Lynn and Brenda Lee on “Honky Tonk Angels’ Medley”.
On her first two albums, k.d. lang took a witty and playful approach to the sounds and traditions of classic country music, and while it was obvious she truly loved the music, she also seemed to be having a bit of fun at its expense at the same time. But in 1988, lang proved beyond a doubt that she was serious about country (as well as her own talent) with “Shadowland”, an homage to the polished countrypolitan sounds of the 1950s and ’60s that was produced by Owen Bradley, the iconic Nashville producer who was behind the controls for many of Patsy Cline’s most memorable recordings. lang herself sought out Bradley to work on the album, and luring him out of retirement proved to be a masterstroke; rather than try to re-create the lush textures and deep atmosphere of Bradley’s sides for Cline or Brenda Lee herself, lang went to the source, and Bradley gave her studio settings that referenced his work during Nashville’s golden era while adding an ever-so-slight contemporary sheen. Bradley also brought aboard an all-star crew of legendary Nashville studio hands and invited Loretta Lynn, Brenda Lee, and Kitty Wells to sing with lang on the closing “Honky Tonk Angels’ Medley.” In the hands of many artists, this sort of project might have been an exercise in misplaced, nostalgic fandom, but on “Shadowland”, lang taps into the sound and style of her most vital musical influences while at the same time putting her stamp on the music — this isn’t k.d. lang trying to be Patsy Cline, but rather lang demonstrating what she learned from Cline and where those lessons took her. lang’s lush, expressive voice has rarely sounded better or more emotionally powerful than it does on “Shadowland”, and it presents her meeting the cream of Nashville’s greatest era not as a wide-eyed acolyte, but as a gifted artist collaborating on equal terms. It’s a magnificent achievement.

 

Track listing

01.  “Western Stars”   (Chris Isaak)  – 3:12
02.  “Lock, Stock and Teardrops”   (Roger Miller)  – 3:28
03.  “Sugar Moon”   (Cindy Walker, Bob Wills)  – 2:26
04.  “I Wish I Didn’t Love You So”   (Frank Loesser)  – 3:07
05.  “(Waltz Me) Once Again Around the Dance Floor”   (Don Goodman, Sara Johns, Jack Rowland)  – 2:35
06.  “Black Coffee”   (Sonny Burke, Paul Francis Webster)  – 3:17
07.  “Shadowland”   (Dick Hyman, Charles Tobias)  – 2:28
08.  “Don’t Let the Stars Get in Your Eyes”   (Slim Willet)  – 2:20
09.  “Tears Don’t Care Who Cries Them”   (Fred Tobias, Charles Tobias)  – 3:03
10.  “I’m Down to My Last Cigarette”   (Harlan Howard, Billy Walker)  – 2:46
11.  “Busy Being Blue”   (Stewart MacDougall)  – 3:40
12.  “Honky Tonk Angels’ Medley”  –  2:55
– In the Evening (When the Sun Goes Down)”   (Leroy Carr, Don Raye)
– You Nearly Lose Your Mind”   (Ernest Tubb)
– 
Blues Stay Away from Me”   (Alton Delmore, Rabon Delmore, Wayne Raney, Henry Glover)

Credits
K.D. Lang – vocals
Harold Bradley – banjo, bass, ukulele, gut string guitar
Jimmy Capps – rhythm guitar
Buddy Emmons – steel guitar
Tony Migliore – piano, accordion
Roger Morris – piano
Hargus “Pig” Robbins – piano
Hal Rugg – steel guitar
Buddy Spicher – fiddle
Henry Strzelecki – bass
Pete Wade – electric guitar
Rob Hajacos – fiddle
Buddy Harman – drums
Jim Horn – saxophone
The Nashville String Machine Bill McElhiney – arrangements
David Angell – violin
Roy Christensen – cello
Connie Ellisor – violin
Ted Madsen – violin
Bob Mason – cello
Pamela Sixfin – violin
Carl Gorodetzky – violin
Dennis Molchan – violin
George Binkley III – violin
John Borg – viola
Gary VanOsdale – viola
Anthony LaMarchina – cello
Lee Larrison – violin

The Jordanaires – vocals on “Western Stars”, “I Wish I Didn’t Love You So” & “Tears Don’t Care Who Cries Them” Gordon Stoker
Louis Dean Nunley
Neal Matthews, Jr.
Duane West

Tennessee – vocals on “Lock, Stock and Teardrops”, “Sugar Moon”, “Don’t Let the Stars Get in Your Eyes” & “I’m Down to My Last Cigarette” Hurshel Wiginton
Doug Clements
Louis Dean Nunley
Jim Ferguson

The Honky Tonk Angels – vocals on “Honky Tonk Angels’ Medley” Brenda Lee
Loretta Lynn
Kitty Wells

Notes
Recorded at: Bradley’s Barn, Mt. Juliet, Tennessee
Producer – Owen Bradley
Engineer – Bobby Bradley
Genre:  Country, pop
Length : 35:17

Label – Sire, Warner Bros.

15
May

Daniel Lanois – Shine (2003)

daniel lanois - shineThirty seconds into “I Love You,” the first track off of “Shine”, Daniel Lanois’ warm, watery guitar signature is already unmistakable, even before his voice entwines ecstatically with Emmylou Harris’. “Shine” is the third Lanois album to appear under his own name, and his first in a decade. What is immediately startling about Shine is how spare it is. There is a plethora of sounds and textures to be sure, but they are suspended in space, looking not outside to communicate but toward the heart as a mirror, as if to make certain that the music played is not necessarily accurate but is true. Folk, country, blues, psychedelia, and atmosphere are wound together into an inseparable knot. Lanois played almost all of the instruments here, with the exception of drums, handled by Brian Blade and occasionally his brother, Brady. Other musicians, such as longtime musical collaborator Malcolm Burn and bassist Darryl Johnson, make appearances. Beginning with “I Love You,” with its acceptance and pleading need (lent great credence by Harris’ singing) and on into “Falling at Your Feet,” a duet co-written with U2’s Bono during the All That You Can’t Leave Behind sessions, to the third track, “As Tears Go By,” with a sampled guitar line by blues guitar legend Charley Patton, it is clear that Lanois is writing from a place more vulnerable, more spiritually conscious, and yet more strident than ever before. Where Acadie was full of warmth and intimacy, it felt like a collection of songs that had been assembled from many sessions. For the Beauty of Wynona, with all of its experimentation and poetic songwriting, was a far more unified project, but it was reliant on its wide-ranging sonic attack to support those adventurous words and melodies. Here, everything is balanced; the scope is small, close, and textured by pedal steel guitars, very organic percussion, and Lanois’ voice way up front. On the instrumentals, such as “Transmitter,” “Matador,” “Space Kay,” and the closer, “JJ Leaves La,” the same whispering feel is evident. The songs on Shine feel like confessions, prayers even, not only to a superior being, but to lovers, full of brokenness and the willingness to learn and heal; they are wrapped in the soil of North America, from Montreal to Mexico; they feel rooted in not only the earth, but in spirituality and a willingness to open to the forces of the heart itself. The instrumentals create a sense of movement through time and space to anchor the intent of the vocal tracks. His instincts are nearly perfect: When the weight of a particular series of songs begins to move the listener too far in one direction, an instrumental or two appears, allowing one to drift in its ambience for a short time. After a pair of instrumentals (“Matador” and “Space Kay”), “Slow Giving” and “Fire” are hymns to unseen angels who may indeed represent living characters or those who’ve passed after imparting some gift. Clearly Lanois’ protagonist relies on them heavily in the dark times with a lyricism that is sophisticated, literate, poetic, and soulful. That’s a rare combination. The album closes with the pedal steel tune “JJ Leaves LA.” The steel guitar was Lanois’ first instrument, and its gentility and sweetness are tempered only by its pervasive melancholy, leaving the listener with a sense of bittersweet longing and a sense that some kind of story has been told, a series of snapshots have been shown that reveal something, postcards have been sent and arrived unexpectedly, and the only way to unravel the mystery is play the record again.

 

Track listing

01.  “I Love You”  – 4:31
02.  “Falling at Your Feet”   (Bono/Lanois)  – 3:41
03.  “As Tears Roll By”  – 3:55
04.  “Sometimes”  – 2:28
05.  “Shine”  – 3:30
06.  “Transmitter”  – 3:08
07.  “San Juan”  – 2:33
08.  “Matador”  – 5:02
09.  “Space Kay”  – 2:01
10.  “Slow Giving”  – 3:52
11.  “Fire”  – 3:38
12.  “Power of One”  – 3:43
13.  “JJ Leaves LA”  – 4:13

All tracks written by Daniel Lanois unless otherwise noted.

Credits
Daniel Lanois – guitar, bass, pedal steel guitar, vocals
Malcolm Burn – guitar, keyboards
Brian Blade – drums
Brady Blade, Jr. – drums
Darryl Johnson – bass
Bono – vocal on “Falling At Your Feet”
Emmylou Harris – backing vocal on “I Love You”
Aaron Embry – Piano, Hammond B3, melodica
Producer – Daniel Lanois

Notes
Released: April 22, 2003
Genre:  Rock
Length:  46:15
© 2003

Label – ANTI-

14
May

LaTour – LaTour (1991)

LaTour - LaTourWilliam LaTour, better known by his stage name LaTour and also known as “Bud” Latour, is an American singer, songwriter, and voice over artist. His musical genres span electronic, house, glam, rock, dance, punk, and parody.
LaTour was a founding member, keyboardist, writer, and musical director for the legendary punk band The Squids, who formed in Chicago in 1989.
He is best known for the 1991 Number 1 Billboard electronic dance hit “People Are Still Having Sex.”and for his instrumental deep house track, “Blue.”
“Blue” was featured in the motion picture film Basic Instinct, as well as being featured on the ABC television series Alias. He was a producer of house music when he released his first album, titled “LaTour” in 1991.
It featured a hit single in the song “People Are Still Having Sex”, which features a deadpan monologue about people having sex all over the world and nothing being able to stop it. In the album edit of the song, the lyric was originally written at “This AIDS thing’s not working”. It was changed to “This safe thing’s not working” for airplay. It reached a peak of 35 on the pop charts, while peaking at number 1 on the dance charts and number 15 on the UK charts.

 

Track listing

01.  “Allen’s Got a New Hi-Fi”  – 4:21
02.  “People Are Still Having Sex”  – 5:31
03.  “Involved”  – 3:27
04.  “Cold”  – 5:52
05.  “Fantasy Soldiers”  – 3:12
06.  “Amazing You”  – 4:24
07.  “Laurie Monster”  – 3:58
08.  “Psych”  – 4:25
09.  “Dark Sunglasses”  – 3:28
10.  “Blue”  – 7:37

All Songs Written By LaTour.

Credits
LaTour – Vocals, Keyboards, Synthesizers, Sampling, Drum Programming
Mark Picchotti – Sampling, Drum Programming
Vocals [Additional] – Kriss Colmen, Siobaun Reynolds

Production
Executive Producer: Marvin Gleicher
Produced By LaTour & Mark Picchotti
Engineers: Bill Rascati, Dave Sears, Steve Spapperi
Mastering: Ted Jensen

Notes
Recorded and mixed at Chicago Trax Recording, Chicago, IL, except “Blue”, recorded at Streeterville Recording, Chicago, IL.
“Cold” mixed at Chicago Recording Co.
Genre:  Industrial, Acid House, Techno
Length:  46:35
© 1991

Label – Smash Records

14
May

Jeff Buckley – Sketches for My Sweetheart The Drunk (1998)

sketches-for-my-sweetheart-the-drunk-4e53bbadda7f4“Sketches For My Sweetheart The Drunk” is a collection of polished studio tracks and four-track demos recorded by Jeff Buckley. Buckley was dissatisfied with material recorded in the summer of 1996 and early in 1997 and continued working on demo recordings to refine his sound. The album’s original sessions were produced by Television frontman Tom Verlaine.
My Sweetheart The Drunk was the working title that Buckley used while writing and recording the album. The title was intended by his mother and sole heir of his estate, Mary Guibert, to be rendered with parentheses, as Sketches (For My Sweetheart the Drunk).
This was because Jeff’s work was not finished, and therefore was just an outline, or “sketch”, of what would have been released. Jeff Buckley was a mess of contradictions: a perfectionist who believed in spontaneity, a man who was at once humble and vain, a musician who shunned his father’s tumultuous legacy while creating one of his own. These are some of the reasons why he took his time writing and recording the material for his second album, laboring over many songs for months at a time. Given such painstaking methods, it shouldn’t have been a surprise that recording was an equally fastidious process. Buckley recorded enough material for an album with producer Tom Verlaine, but deciding that the results weren’t quite right, he scrapped them and moved to Memphis to record the album again. He reworked a few songs as home demos as he prepared to cut the album, but it was never made Buckley died in a tragic drowning accident before entering the studio.
As a way to enlarge his legacy, his mother and record label rounded up the majority of the existing unreleased recordings, releasing them as the double-disc set “Sketches for My Sweetheart the Drunk”. Excepting a few awkward moments and middle-eights, it’s hard to see why Buckley rejected the Verlaine productions that make up disc one.
The material isn’t necessarily a progression from Grace; it’s more like a stripped-down, edgier take on the sweeping, jazz-tinged goth folk-rock that made the first album so distinctive. Neither the nearly finished first disc nor the homemade demos and re-recordings on the second disc offer any revelations, but that’s not necessarily a disappointment. Sketches adds several wonderful songs to his catalog, offering further proof of his immense talent. And that, of course, is what makes the album as sad as it is exciting.
The album was to be titled My Sweetheart, the Drunk, but was never finished, as the rest of the band were traveling to meet Buckley at the time of his death. The album was released posthumously on May 26, 1998. Despite its unfinished state, the album garnered many positive reviews.

 

Track listing

Disc One
01.  “The Sky Is a Landfill”   (Jeff Buckley, Michael Tighe)  – 5:09
02.  “Everybody Here Wants You”   (Jeff Buckley)  – 4:46
03.  “Opened Once”   (Jeff Buckley)  – 3:29
04.  “Nightmares by the Sea”   (Jeff Buckley)  – 3:53
05.  “Yard of Blonde Girls”   (Audrey Clark, Lori Kramer, Inger Lorre)  – 4:07
06.  “Witches’ Rave”   (Jeff Buckley)  – 4:40
07.  “New Year’s Prayer”   (Jeff Buckley)  – 4:40
08.  “Morning Theft”   (Jeff Buckley)  – 3:39
09.  “Vancouver”   (Jeff Buckley, Mick Grondahl, Michael Tighe)  – 3:12
10.  “You & I”   (Jeff Buckley)  – 5:39

Disc Two
01.  “Nightmares by the Sea” [Original Mix]   (Jeff Buckley)  – 3:49
02.  “New Year’s Prayer” [Original Mix]   (Jeff Buckley)  – 4:10
03.  “Haven’t You Heard”   (Jeff Buckley)  – 4:07
04.  “I Know We Could Be So Happy Baby (If We Wanted to Be)”   (Jeff Buckley)  – 4:27
05.  “Murder Suicide Meteor Slave”   (Jeff Buckley)  – 5:55
06.  “Back in N.Y.C.”   (T. Banks, P. Collins, P. Gabriel, S. Hackett, M. Rutherford)  – 7:37
07.  “Demon John”   (Jeff Buckley, Michael Tighe)  – 5:13
08.  “Your Flesh Is So Nice”   (Jeff Buckley)  – 3:37
09.  “Jewel Box”   (Jeff Buckley)  – 3:37
10.  “Satisfied Mind”   (Red Hayes, Jack Rhodes) (recorded 1992.10.11 WFMU)  – 6:00

Credits
Jeff Buckley – guitar, vocals
Michael Tighe – guitar
Mick Grøndahl – bass
Eric Eidel – drums
Parker Kindred – drums

Production
Other [Columbia A&r, Original Recordings] – Steve Berkowitz
Other [Il Dottore Di Musica] – Chris Cornell
Other [La Mano D’aiuto] – Don DeVito
Engineers: Jeff Buckley, Michael J. Clouse, Ray Martin, Irene Trudel
Assistant engineers: Jim Caruana, Joe Lizzi, David Seitz
Mixing: Tom Cadley, Michael J. Clouse, Mary Guibert, Tom Verlaine, Andy Wallace
Mixing assistant: Steve Sisco
Art direction: Nicky Lindeman, Gail Marowitz
Design: Nicky Lindeman, Gail Marowitz
Photography: Merri Cyr
Liner notes: Bill Flanagan, Mary Guibert
Producers: Nicholas Hill, Tom Verlaine

Notes
Recorded Summer 1996, New York; Spring 1997, Memphis
Genre:  Folk Rock
Length:  91:46
© 1998

Label – Columbia Records

14
May

Chuck Brown – We’re About The Business (2007)

chuck brownIn the 1980s, the Washington, DC bandleader Chuck Brown pioneered the percussive, hypnotically swinging dance genre known as go-go, conducting marathon all-night dance sessions with a band whose energy and sheer musical power was legendary. Brown’s 2007 “We’re About the Business” finds the master more relaxed but no less funky, with insistent jams such as “Love Nationwide” and the vintage-sounding “We Come to Party” proving he still has a lien on the dancefloor.
Living legend and creator of Go-Go music Chuck Brown teams up with multiplatinum producer Chucky Thompson (Mary J Blige, Nas, Biggie, etc.) for Chuck Brown s first studio album of original material since his chart topping “Bustin Loose”. While Chuck has built his worldwide following over the past 3 decades with his legendary live shows, he comes full circle with “We´re About the Business” to the business of making your body move with new songs crafted with catchy hooks and infectious beats.
If you are not familiar with Chuck Brown’s music, this would be a wonderful introduction for you. The CD, like Chuck’s live concerts, will not disappoint. The favorites are “Chuck Baby” (Chuck’s daughter KK has a really nice flow on this one), “Theme from ‘The Godfather’”, and “Block Party.” Maryland native and most-able crooner, Raheem DeVaughn makes an appearance on the song “Eye Candy.” We (the DC Metro area) pledge our allegiance to Chuck Brown! He rocks!

 

Track listing

01.  “Chuck Town Intro”  – 1:25
02.  “Love Theme From ‘The Godfather’”  – 3:34
03.  “Block Party”  (Featuring DJ Kool)  – 4:16
04.  “Eye Candy”  (Featuring Raheem DeVaughn)  – 5:31
05.  “Chuck Baby”  (Featuring KK)  – 3:57
06.  “Peacemaker Interlude”  – 0:39
07.  “Jock It In”  – 3:25
08.  “Feelin’ Good”  – 2:47
09.  “Latin Interlude”  – 0:12
10.  “We Come To Party”  – 3:35
11.  “If You Had To Pick One Interlude”  – 0:21
12.  “Everyday I Have The Blues”  – 5:07
13.  “The Party Roll”  – 3:59
14.  “Love Nationwide”  – 4:31
15.  “Sound For The Town Interlude”  – 1:18
16.  “Funky Get Down”  – 4:00

Credits
Chuck Brown – vocals
Dante Thomas – vocals
John Pressley – vocals
Bryan Mills – saxophone
Brad Clements – trumpet
Mark Williams – trombone
Greg Boyer – trombone
Cherie Mitchell – keyboards
Vince Evans – keyboards
Maurice C. “Mighty Moe” Hagans – percussion
Roosevelt Harrell – drum programming
Paul “Buggy” Edwards – drums
Go-Go Mickey Freeman – congas
Glenn Cobb – keyboards

Production
Engineer – John “Gotti” Phipps*
Instruments – Carl “Chucky” Thompson*, Chuck Brown
Mixed By – John “Gotti” Phipps*
Producer – Carl “Chucky” Thompson*
Recorded By – John “Gotti” Phipps*

Notes
Recorded at – Time Machine Studios, Accokeek, MD.
Genre:  Soul, Funk
Length:  48:29
© 2007

Label – Raw Venture

14
May

Jane Olivor – In Concert (1982)

jane oliverJane Olivor (born May 18, 1947) is an American cabaret singer. She was initially compared, often favorably, to Barbra Streisand and Edith Piaf. After releasing five albums from the late 1970s through the early 1980s, her stage fright, anxieties over her rapid success.
Jane Olivor “In Concert”, her first live album, was recorded in December 1981 at the Berklee College of Music in Boston, and released in 1982.
Although it was a live album, Jane Olivor’s fifth LP release, “In Concert”, could be considered her next regular recording rather than the usual profit-taking remake of past hits. At least two-thirds of it could, since eight of the 12 tracks were songs she had not recorded previously. Her back catalog was accounted for by “Better Days (Looks as Though We’re Doing Somethin’ Right)” and “Carousel of Love” from First Night, the title song from Stay the Night, and “Weeping Willows, Cattails” from The Best Side of Goodbye. Her other choices were typically opposite and typically surprising. She reclaimed John Denver’s 1974 hit “Annie’s Song” from a female perspective, rediscovered a worthy but underrated 1980 singles chart entry from Grace Slick with “Seasons,” anticipated the success of Dan Fogelberg’s “Run for the Roses,” and provided a vocal version of Vangelis’ hit theme from the hit film Chariots of Fire with “Race to the End.” These tracks continued her mission of making art songs out of thoughtful pop, but her fans had to be most excited by the inclusion of three songs co-written by the singer: “Pretty Girl,” “Where There Is Love,” and “Marigold Wings (Earthbound).” Here, she indulged her taste for torch singing to the fullest and suggested that she might be able to make the transition to being a singer/songwriter. Alas, In Concert proved to be a swan song, at least to the initial phase of Olivor’s career. Music business pressures and personal tragedy combined to take her away from performing for more than a decade and away from the record bins for more than 18 years, which made her final Columbia album a precious document instead of the relatively minor addition to her catalog it had seemed at the time of its release.

 

Track listing

01.  “Stay The Night”   (M. Green, N. Dolph)  – 3:25
02.  “Run For The Roses”   (Dan Fogelberg)  – 3:27
03.  “Pretty Girl”   (Jane Olivor, Kathy Wakefield)  – 2:50
04.  “Where There Is Love”   (Jane Olivor, M.Leikin)  – 2:45
05.  “Better Days (Looks As Though We’re Doing Somethin’ Right)”   (C.Sager, M.Manchester)  – 2:04
06.  “Carousel Of Love”   (J. Darrow, J. Stone)  – 2:11
07.  “Marigold Wings (Earthbound)”   (Jane Olivor, Kathy Wakefield)  – 2:25
08.  “Annie’s Song”   (John Denver)  – 2:42
09.  “Seasons”   (Grace Slick)  – 2:40
10.  “Weeping Willows, Cattails”   (Gordon Lightfoot)  – 2:30
11.  “Daydreams”   (G. Delerue, Jason Darrow)  – 3:31
12.  “Race To The End (From The Hit Movie “Chariots Of Fire”)”   (Vangelis, J. Anderson)  – 2:30

Credits
Brian Koonin – acoustic guitar, electric guitar, synthesizer
Jack Bashkow – ocarina, reeds, saxophone
David Frank – piano
Joel Diamond , Bob Stecko – keyboards
John Caruso – synthesizer
Ron Tierno – drums, percussion
Don Yowell, Thomas Young – background vocals
Director – David Frank
Photographers – Don Hunstein; David Gahr
Arrangers – J. Stone; David Frank; Joel Diamond ; Richie Rome; Bob Stecko; Bernard Grobman; Jane Olivor; Lee Holdridge ; Michael Delugg; Brian Koonin.

Notes
Recorded at Berkley School of Music, Boston
Genre:  Pop
Lenght:  35:28
© 1982

Label – Columbia Records

14
May

Steel Pulse – True Democracy (1982)

MI0001597037Steel Pulse are a roots reggae musical band, from the Handsworth area of Birmingham, England, which has a large number of Afro-Caribbean, Indian and other Asian migrants. They originally formed at Handsworth Wood Boys School.
“True Democracy” is a roots reggae album released by Steel Pulse in May 1982. The album was recorded over 25 days in Denmark, with legendary reggae producer Karl Pitterson.
Although the group’s first three albums are generally considered their finest, there is a very strong case to be made for including Steel Pulse’s Elektra debut in their core collection as well. Where Reggae Fever had found the band moving from hardcore Rasta politics into lover’s rock and party anthems, “True Democracy” marks a return to more ideological subject matter; the cover art, which shows singer David Hinds reading the Bible to his rapt bandmates, is a dead giveaway. Their sound might be a little bit slicker than before, but it’s also harder and the lyrics less compromising “Leggo Beast” denounces adultery over a stripped-down one-drop beat; “Man No Sober” inveighs against drunkenness; “A Who Responsible?” uses a dour trombone line to call down judgment on Babylon. But the mood is lightened somewhat by “Your House,” a gorgeous love song, and by the exalted “Chant a Psalm.” This is one of Steel Pulse’s most satisfying and fully realized albums.

 

Track listing

01.  “Chant A Psalm”  – 4:30
02.  “Ravers”  – 3:56
03.  “Find It…Quick!”  – 3:26
04.  “A Who Responsible?”  – 3:54
05.  “Worth His Weight In Gold (Rally Round)”  – 4:35
06.  “Leggo Beast”  – 3:44
07.  “Blues Dance Raid”  – 4:53
08.  “Your House”  – 3:42
09.  “Man No Sober”  – 4:29
10.  “Dub’ Marcus Say”   (Phonso Martin)  – 4:41

All tracks written by David Hinds, except where noted.

Credits
Ronald “Stepper” McQueen – Bass
Steve “Grizzly” Nesbitt – drums
Selwyn “Bumbo” Brown – Keyboard & vocals
Phonso Martin – percussion & vocals
David Hinds – Guitar & vocals
Basil Gabbidon – Lead guitar
Cover Concept – Steel Pulse
Art Direction – Ron Coro
Design – Kathy Morphesis
Photography – Eric Watson
Producer – Karl Pitterson

Notes
Released: May 1982
Recorded at: “Feedback” Studios, Aarhus, Denmark, 1981
Genre:  Reggae
Length:  41:50

Label – Elektra Records

13
May

Chapterhouse – Whirlpool (1991)

chapterhouseWhirlpool is the debut album by British shoegazing band Chapterhouse. The album was reissued in 2006, on the label Cherry Red, with seven bonus tracks taken from three EPs (Freefall, Sunburst, and Pearl) released in the same time frame as the album.
Victim of a double whammy — caught in the already building backlash to the shoegazer scene at home and completely ignored in the States, as was just about anything else British — once Nevermind and Ten hit the charts Chapterhouse’s album debut could have, and should have, won a bigger name for itself. At once more dance-flirting and garage-punky than most recordings by other My Bloody Valentine obsessives that emerged in the early ’90s, though suffering the same underplaying in the vocal department, Whirlpool builds nicely on the three earlier EP releases with a similar sense of “what the hey — if it works, try it.” As an album, it doesn’t per se connect as a unified piece — the final track listing comes from a variety of recording sessions with a large number of producers and remixers, including Robin Guthrie, Stephen Hague, John Fryer, and Ralph Jezzard. As a collection of mostly killer tracks, though, this is mighty fine. “Breather” kicks it off with a rushing shudder that mixes its acoustic and electric guitars well, while “Pearl” throws in trancey beats, John Bonham samples, and some fine art-glazed feedback riffs to create as perfect a nugget of the era as any. “Falling Down” has similar heavy-groove action to it, Madchester as played by Loop. Other highlights are more strictly rocky, like the slow-build/rave-up/freak-out/repeat “Autosleeper” and “April,” with a big guitar wash up and out through the length of the song. A gentler version of early track “Something More” closes the album well; the overall effect is strong promise for whatever would come next.

 

Track listing

01.  “Breather”   (Andrew Sherriff)  – 4:20
02.  “Pearl”   (Sherriff)  – 4:52
03.  “Autosleeper”   (Stephen Patman)  – 4:50
04.  “Treasure”   (Patman)  – 6:22
05.  “Falling Down”   (Sherriff)  – 3:58
06.  “April”   (Sherriff)  – 4:39
07.  “Guilt”   (Patman, Sherriff)  – 4:15
08.  “If You Want Me”   (Russell Barrett, Sherriff)  – 2:41
09.  “Something More”   (Sherriff)  – 3:20

2006 CD Reissue Bonus Tracks
10.  “Need (Somebody)”   (Sherriff)  – 3:07
11.  “Inside of Me”   (Ashley Bates, Patman, Simon Rowe)  – 4:40
12.  “Sixteen Years”   (Barrett, Sherriff)  – 4:41
13.  “Satin Safe”   (Patman, Sherriff)  – 5:42
14.  “Feel the Same”   (Patman, Rowe)  – 4:15
15.  “Come Heaven”   (Patman)  – 5:32
16.  “In My Arms”   (Sherriff)  – 4:39

Credits
Vocals, Guitar – Andrew Sherriff, Stephen Patman
Backing Vocals – Rachel Goswell
Bass – Russell Barrett
Drums – Ashley Bates
Guitar – Simon Rowe
Engineer – Chapterhouse, Paul Adkins
Mixed By – John Fryer
Other [Repackage] – Jim Phelan
Other [Sleeve Notes] – Andrew Perry
Artwork By [Front Cover Painting On Sunburst] – El Greco
Artwork By [Sleeve Design Of Freefall & Sunburst] – Chapterhouse
Artwork By [Sleeve Design] – Albert Tupelo
Co-producer – Robin Guthrie, Stephen Hague
Producer – Chapterhouse , Ralph Jezzard, Robin Guthrie
Producer, Engineer – Jim Warren
Recorded By – Jim Warren, Paul Adkins

Notes
Released 1991 June 6, 2006 (reissue)
Genre: Dream pop, Shoegazing
Length: 39:30
© 1991

Label – Dedicated Records

13
May

KMFDM – Adios (1999)

kmdmsKMFDM (originally Kein Mehrheit Für Die Mitleid, loosely translated as “no pity for the majority”) is an industrial band led by German multi-instrumentalist Sascha Konietzko, who founded the group in 1984 as a performance art project.
The band has undergone many line-up changes and featured dozens of guest musicians.
“Adios”, the eleventh studio album, and was originally conceived as the group’s parting shot to its longtime record label, Wax Trax! Records, but it ended up also signaling the break-up of KMFDM itself, at least for a time., this was the last album to feature En Esch and Günter Schulz, who both went on to form Slick Idiot.
The album was released on April 20, 1999, on the same date the Columbine High School massacre took place. Eric Harris and Dylan Klebold, the two perpetrators of the massacre, were both avid KMFDM fans.
The album starts out with a bitter goodbye on the title track, and the usual mechanical sonic assault continues on tracks like “Witness,” the Kraftwerk-inspired “R.U.OK?,” and “Full Worm Garden.” Some songs are more club/dance than industrial; “Today” depicts a calmer eye before “Rubicon” and “Bereit” resume the high energy and aggressive stormy ambience that are the band’s trademark. KMFDM sound smoother yet maintain their emotive mayhem in all its glory.

 

Track listing

01.  “Adios”  – 3:56
02.  “Sycophant”  – 5:13
03.  “D.I.Y.”  – 4:51
04.  “Today”  – 4:57
05.  “Witness”   (Konietzko, Skold, Nina Hagen)  – 7:23
06.  “R.U.O.K?”  – 4:46
07.  “That’s All”   (Konietzko, Skold, Nivek Ogre, En Esch)  – 5:08
08.  “Full Worm Garden”   (Konietzko, Skold, Ogre, William Rieflin)  – 5:03
09.  “Rubicon”  – 3:44
10.  “Bereit”   (Konietzko, Skold, Esch)  – 4:53

All songs written and composed by Sascha Konietzko and Tim Skold, unless otherwise noted.

Credits
Sascha Konietzko – vocals, programming, guitar
Tim Skold – vocals, programming, bass
Günter Schulz – guitar
Cheryl Wilson – vocals
En Esch – hi-hat & cymbals, vocals, add. programming
Frank Chotai – add. programming
Paul de Carli – digital editing
Nina Hagen – vocals
Nivek Ogre – vocals
William Rieflin – programming
Producer – Sascha Konietzko, Tim Skold, Chris Shepard

Notes
Released: April 20, 1999
Recorded: in Seattle, Washington
Genre :Electro-industrial
Length: 49:54
© 2002

Label – Wax Trax!/TVT

13
May

Immaculate Fools – Another Man’s World (1990)

immaculate_fools_another_mans_world_frontThe British band the Immaculate Fools became so popular in Spain that they eventually moved there. Formed in London, England, in 1984, the Immaculate Fools was comprised of Kevin Weatherill (lead vocals, acoustic guitar, harmonica, bass), Paul Weatherill (acoustic bass, backing vocals, percussion), Brian Betts (acoustic guitar, slide guitar, percussion, mandolin), and Barry Wickens (violin, dulcimer, acoustic guitar, accordion). Although the group landed on the charts in Britain, their hybrid of Celtic music, folk, and alternative rock found even more success in Spain and Germany. In 1987, their LP Dumb Poet was released in America by A&M Records and the Psychedelic Furs-esque track “Tragic Comedy” was a minor hit on college radio. The band toured with Bob Dylan, Iggy Pop, Simple Minds, the Stranglers, and the Rolling Stones; however, they grew tired of the English music scene in the late ’80s and relocated to Spain, where they were superstars.
The band underwent a major line-up change when the Ross brothers left, with Barry Wickens (violin), Brian Betts (guitar), Paul Skidmore (drums) and Ian Devlin (keyboards) joining for the Another Man’s World album. The band set up a recording studio in a farmhouse (Woodhouse) on the Welsh borders near Ludlow.

 

Track listing

01.  “Another Man’s World”  – 5:29
02.  “Sad”   (Paul Weatherill)  – 4:05
03.  “The Prince”  – 7:34  Backing Vocals – Jacqui Hewitt
04.  “This Is Not Love”  – 4:06
05.  “Bad Seed”  – 6:38
06.  “Falling Apart Together”  – 6:04
07.  “Come On Jayne”  – 4:28
08.  “Got Me By The Heart”  – 6:06
09.  “Stop Now!”   (Paul Weatherill)  – 5:34
10.  “Fighting Again”  – 5:01   Backing Vocals – Jacqui Hewitt

Credits
Vocals, Acoustic Guitar, Electric Guitar, Harmonica, Tin Whistle [Penny Whistle], Mandolin, Written-by – Kevin Weatherill
Bass, Backing Vocals, Acoustic Guitar – Paul Weatherill
Drums, Percussion – Paul Skidmore
Violin, Acoustic Guitar, Backing Vocals – Barry Wickens
Guitar, Mandolin – Brian Betts
Keyboards, Accordion – Ian Devlin
Arranged By – Andy Ross, Immaculate Fools
Engineer – John Davis
Engineer [Assistant] – Ruth Starns
Mastered By – Vlado Meller
Producer – Andy Ross

Notes
Release Date Jun 05, 1990
Genre: Alternative, Indie Rock
Length: 54:46
© 1990

Label – Epic Records

12
May

The Kinks – Phobia (1993)

fphobiac3070891acfa17d17b33d6“Phobia”, released in 1993, was the twenty-third and final studio album by English rock group The Kinks before they disbanded three years later.
“Still Searching,” one of the sixteen cuts on “Phobia”, finds Ray Davies singing, “Lookin’ at another sign for another town/Wondering if I’m ever gonna settle down.” The yearning of the forty-eight-year-old chief Kink resounds unsettlingly. Davies personifies the Eternal Misfit, a disaffected dandy and twenty-nine years after “You Really Got Me” he’s still unsatisfied. “We stretched the bounds but always kept the code,” he declares on “Wall of Fire,” and this note of beleaguered nobility serves the Kinks well; since inventing power rock, they’ve long fired their salvos from the sidelines, their classics (Something Else, The Kinks Are the Village Green Preservation Society, Muswell Hillbillies) and later fluke hits constituting a fitfully brilliant body of work that never won them the stadium appeal of other Brit Invasion stars.
“Phobia” is prime late-model Kinks. Dave Davies drives home customarily tough, wry guitar work, and the rhythm section of Bob Henrit and Jim Rodford provides resolutely unflashy accompaniment. But the spotlight, as always, is less on the playing than on the songs themselves. Mining Ray’s trademark obsessions anxiety, nostalgia and longing these sturdy melodies support decidedly disturbing themes: eco-apocalypse (“Wall of Fire”), suicide (“Don’t”), urban threat (“Somebody Stole My Car”) and multiform angst (“Phobia,” “Babies”). But while Lou Reed or Nick Cave might employ such subject matter for something darkly baroque, Davies’s thin, affecting singing and caustic, romantic vision render these phobias as disconcertingly comical, bitterly Chaplinesque.
True sweetness, of a very British reticence, also sneaks into the mix. Davies, after all, wrote “Waterloo Sunset,” the most tender ballad of the Mod era, and that same sensibility betrays itself in the album’s slower songs, most notably “The Informer.” “Just two people having a beer/But on either side there is so much anger and so much fear,” Ray recounts in that tale of friendship and betrayal. Then, after conceding that the pain of the past still hurts, he offers reconciliation: “I’ll be the one who’s gonna take you home tonight.”
If the bulk of “Phobia” proves that the old warhorse still can rock & roll without embarrassment, it’s the album’s poignant moments that echo boldest. Revealing Ray Davies’s essential restlessness, they show an artist still expert at shaking us up.

 

Track listing

01.  “Opening”  – 0:38
02.  “Wall of Fire”  – 5:01
03.  “Drift Away”  – 5:05   (with Dave Davies)
04.  “Still Searching”  – 4:52
05.  “Phobia”  – 5:16
06.  “Only a Dream”  – 5:04
07.  “Don’t”  – 4:36
08.  “Babies”  – 4:47
09.  “Over the Edge”  – 4:20
10.  “Surviving”  – 6:00
11.  “It’s Alright (Don’t Think About It)”   (Dave Davies)  – 3:34
12.  “The Informer”  – 4:03
13.  “Hatred (A Duet)”  – 6:06
14.  “Somebody Stole My Car”  – 4:04
15.  “Close to the Wire”   (Dave Davies)  – 4:01
16.  “Scattered”  – 4:11
17.  “Did Ya”  (bonus track – Japan / UK only)  – 4:32

All songs by Ray Davies, except as noted

Credits
Ray Davies – guitar, keyboards, vocals
Dave Davies – guitar, vocals
Jim Rodford – bass, background vocals
Bob Henrit – drums

Notes
Released: 29 March 1993
Recorded: September 1990 – February 1992 at Konk Studios, London
Producer: Ray Davies and Dave Davies
Genre: Rock
Length: 76:10
© 1993

Label – Columbia Records

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