Betty Davis (born Betty Mabry, July 26, 1945) is an American funk singer. She met Miles Davis in 1967 and married him in September 1968. In just one year of marriage she influenced him greatly by introducing him to the fashions and the new popular music trends of the era. In his autobiography, Miles credited Betty with helping to plant the seeds of his future musical explorations by introducing the trumpeter to psychedelic rock guitarist Jimi Hendrix and funk innovator Sly Stone. The Miles Davis album Filles de Kilimanjaro includes a song named after her and her photo on the front cover.
Funk diva Betty Davis was supposed to break big upon the release of her third album, Nasty Gal. After all, her Just Sunshine Records contract had been bought up by Chris Blackwell and Island Records, and they were prepared to invest not only big money in the recording, but in the promotion of the 1975 release. Davis and her well-seasoned road band, Funk House, entered the studio with total artistic control in the making of the album. This set contains classic and often raunchy street funk anthems such as the title track (with its infamous anthemic lyric: “…You said I love you every way but your way/And my way was too dirty for ya now….” ), “Talkin’ Trash,” “Dedicated to the Press,” and the musically ancestral tribute “F.U.N.K.” It also features the beautiful, moving, uncharacteristic ballad “You and I,” co-written with her ex-husband, Miles Davis, and orchestrated by none other than Gil Evans. It’s the only track like it on the record, but it’s a stunner. The album is revered as much for its musical quality as its risqué lyrical content.
This quartet distilled the Sly Stone funk-rock manifesto and propelled it with real force. Check the unbelievable twinning of guitar and bassline in “Feelins” that underscore, note for note, Davis’ vocals. The drive is akin to hardcore punk rock, but so funky it brought Rick James himself to the altar to worship (as he later confessed in interviews). And in the instrumental break, the interplay between the rhythm section (bassist Larry Johnson and drummer Semmie “Nicky” Neal, Jr.) and guitarist Carlos Moralesis held to the ground only by Fred Mills’ keyboards.
In essence, the album is missing nothing: it’s perfect, a classic of the genre in that it pushed every popular genre with young people toward a blurred center that got inside the backbone while smacking you in the face. Heard through headphones, its spaced out psychedelic effects, combined with the nastiest funk rock on the block, is simply shocking. The fact that the album didn’t perform the way it should have among the populace wasn’t the fault of Davis and her band, who went out and toured their collective butts off, or Island who poured tens of thousands of dollars into radio and press promotion, or the press itself (reviews were almost universally positive). The record seemed to rock way too hard for Black radio, and was far too funky for White rock radio. In the 21st century, however, it sounds right on time.
01. “Nasty Gal” (Betty Davis) – 4:35
02. “Talkin Trash” (Betty Davis) – 4:40
03. “Dedicated To The Press” (Betty Davis, Larry Johnson) – 3:40
04. “You And I” (Betty Davis, Miles Davis) – 2:45
05. “Feelins” (Betty Davis) – 2:42
06. “F.U.N.K.” (Betty Davis) – 4:20
07. “Gettin Kicked Off, Havin Fun” (Betty Davis) – 3:07
08. “Shut Off The Light” (Betty Davis) – 3:53
09. “This Is It!” (B. Davis, C. Morales, F. Mills, L. Johnson, N. Neal) – 3:25
10. “The Lone Ranger” (Betty Davis) – 6:08
Vocals – Betty Davis
Vocals – Carlos Morales
Backing Vocals – Carlos Morales, Fred Mills, Nicky Neal
Keyboards, Vocals – Fred Mills
Lead Guitar – Carlos Morales
Bass – Larry Johnson
Bass Drum – Buddy Williams
Drums – Nicky Neal
Congas – Errol “Crusher” Bennett
Synthesizer [Arp] – James Allen Smith
Arranged and Conducted By [Brass] – Gil Evans
Arranged By – Betty Davis
Design [Album] – Antonio Lopez
Engineer [Assistant Engineer] – Alec Head
Engineer, Mixed By [Mixing Engineer] – Bob Clearmountain
Mastered By – Josea Rodriguez
Photography By – Charles Tracy
Producer – Betty Davis
Recorded and Mastered at Media Sound, New York.
Produced For – Just Sunshine, Inc.
Genre: Funk, Soul-Jazz
Label – Island Records
Rick Derringer (born Ricky Dean Zehringer; August 5, 1947) is an American guitarist, vocalist, Grammy Award winning producer and entertainer.
Derringer came to prominence in the 1960s as a member of The McCoys, who had a number one hit single with “Hang on Sloopy.” Derringer then turned to blues rock, scoring a 1974 hit with “Rock and Roll, Hoochie Koo”. He has also worked extensively with brothers Edgar and Johnny Winter, and with the group Steely Dan.
At 17, Rick Derringer earned a spot in the record books by singing lead on ’60s chestnut “Hang on Sloopy.” Then “Rock N’ Roll Hoochie Coo” netted the guitarist an eternal FM classic. (He’s also rumored to be the title character in “Rikki Don’t Lose That Number.”) Lost in history is Derringer’s perennial position as a ’70s arena rocker. Derringer always dwelled third from the top in those great festival lineups that dominated the decade. This stadium spotlight life is documented on the aptly dubbed Guitars and Women. Fellow warped wunderkind Todd Rundgren’s mid-range production approach lacks the great sonic boom exclusive to the time period, but this LP doesn’t try to recreate the wheel; sturdy songcraft, vintage ’70s dexterity, and Derringer’s stance as a rock & roll true believer combine to make Guitars and Women purr like a Camaro on the open road. These are solid tunes, not just excuses for great guitar breaks (of which Derringer supplies plenty). Wannabe radio slice “Something Warm” starts things off unobtrusively in a quaint summer car-stereo fashion. “Everything” almost achieves a ponderous perch atop the Alan Parsons pyramid. Cheap Trick’s Rick Nielsen, at the top of his game, contributes two disposable dandies: “Need a Little Girl” and “It Must Be Love.” (Many of these lyrics reappear in Trick’s own “I Love You Honey but I Hate Your Friends” and “Standing on the Edge.”) Derringer deftly imitates Nielsen’s jagged riffs and broken runs. “Timeless” could easily have come from one of the Runt’s own releases. “Don’t Ever Say Goodbye” is a great anthemic finish to a no-worries American pop/rocker, which is nicely preserved, as always, by Razor & Tie, who tack on two more Derringer originals from the deleted ’80s follow-up, Face to Face: “Let the Music Play” and “Runaway.” Pat Benatar’s future hubby, Neil Geraldo, adds more guitar, and bassist Kenny Aaronson went on to HSAS.
01. “Something Warm” (Rick Derringer) – 3:30
02. “Guitars And Women” (Rick Derringer / Myron Grombacher) – 3:34
03. “Everything” (Adrian Belew / Rick Derringer / Sam Hopkins) – 6:39
04. “Man In The Middle” (Rick Derringer / Myron Grombacher) – 3:17
05. “It Must Be Love” (Rick Derringer) – 3:39
06. “Desires Of The Heart” (Rick Derringer / Myron Grombacher) – 3:59
07. “Timeless” (Rick Derringer) – 4:34
08. “Hopeless Romantic” (Rick Derringer) – 3:03
09. “Need A Little Girl (Just Like You)” (Rick Nielsen) – 3:30
10. “Don’t Ever Say Goodbye” (Rick Derringer) – 3:38
11. “Let The Music Play” (Rick Derringer / Donnie Kisselbach) – 3:24
12. “Runaway” (Rick Derringer / Donnie Kisselbach) – 4:36
Guitar, Bass, Vocals – Rick Derringer
Backing Vocals – Kasim Sulton, Todd Rundgren
Bass – Kasim Sulton, Kenny Aaronson
Drums – Myron Grombacher
Effects [Bomb] – Roger Powell
Organ – Roger Powell
Piano – Neil Geraldo
Rhythm Guitar – Neil Geraldo
Synthesizer – Roger Powell
Engineer – Dave Still, Todd Rundgren, Tom Edmonds
Management [Direction] – Steve Paul
Mastered By – George Marino
Producer – Rick Derringer, Todd Rundgren
Distributed By – CBS Records
Distributed By – CBS Inc.
Pressed By – Columbia Records Pressing Plant, Terre Haute
Mastered At – Sterling Sound
Phonographic Copyright (p) – CBS Inc.
Copyright (c) – CBS Inc.
Published By – Derringer Music, Inc.
Published By – Monomania Enterprises, Inc.
Published By – Adult Music (3)
Published By – Screen Gems-EMI Music Inc.
Recorded and Mixed At – Bearsville Studios
Label – Blue Sky Records
Al Kooper (born Alan Peter Kuperschmidt; February 5, 1944) is an American songwriter, record producer and musician, known for organizing Blood, Sweat & Tears (although he did not stay with the group long enough to share its popularity), providing studio support for Bob Dylan when he went electric in 1965, and also bringing together guitarists Mike Bloomfield and Stephen Stills to record the Super Session album. He has had a successful solo career since then, written music for film soundtracks, and has also lectured in musical composition.
Overall the record is a well balanced showing of rock, break beat funk, 70s party music, and even moments of theremin driven ambiance. It all makes sense within the context of the movie. Side A opens with the white bread ‘Elgar Version’ of “Brand New Day” as sung by Al Kooper, and the B-side opens with the same track sung by the Staple Singers, in a nod to the tenants.
“Love Theme” packs alot of ballad in it’s three minutes. It starts with Kooper singing about Elgar’s journey into manhood and ends with some pretty tasty guitar work. “The Landlord” is worthy to be part of Blue Note’s Rare Grove Series. It was sampled by DJ Shadow on his Preemptive Strike track “The Hindsight”.
“The Landlord” and “Soul Hoedown” are fun, funky tracks that foretell the blaxploitation sound and the early versions of Kooper’s “Brand New Day” are worth hearing, but overall this is pretty blase soundtrack work, its instrumentals largely forgettable and pop songs just cast-offs from The Staple Singers and Lorraine Ellison. Especially embarrassing is the “Love Theme,” featuring the cringe-worthiest aspects of 70s radio rock, and “Elgar’s Fantasy,” a psychsploitation cut that betrays every bit of its creators’ square-ness. In light of the latter it’s actually pretty interesting that “The Axe” is here, given that it’s genuinely spacey and weird, but it really just feels sort of out-of-place between a couple of soulful cuts at the end of the record.
A1. “Brand New Day #” (Vocals – The Martha Stewart Singers) – 5:19
A2. “The Landlord” – 1:43
A3. “Car Commercial” – 1:41
A4. “Walter G’s Boogaloo” – 1:03
A5. “Crouqet Game” – 1:26
A6. “Let Me Love You” (Vocals – Lorraine Ellison) – 2:32
A7. “Rent Party” – 1:35
B1. “Love Theme” (Vocals – The Martha Stewart Singers) – 3:13
B2. “Soul Hoedown” – 3:00
B3. “Elgars Fantasy” – 2:30
B4. “Doin’ Me Dirty” (Vocals – Lorraine Ellison) – 2:15
B5. “Lainies Theme” – 1:39
B6. “Brand New Day” (Vocals – The Staple Singers) – 4:01
B7. “The Axe” – 2:43
B8. “God Bless The Children” (Vocals – The Staple Singers) – 3:53
Al Kooper – Guitar, Keyboards
Eric Gales – Guitar
Chuck Rainey – Bass
Frank Owens – Keyboards
Drums – Al Rogers
George Young – Saxophone
Joe Farrell – Saxophone [Reeds]
Phil Bodner – Saxophone [Reeds]
The Martha Stewart Singers – Vocals
Marvin Stamm – Trumpet
Bernie Glow – Trumpet
Lorraine Ellison – Vocals
Joe Beck – Guitar
Harvey Brooks – Bass
John Hall – Guitar
Al Rogers – Guitar, Drums
Stuart Scharf – Guitar
Art Polhemus – Drums
Manny Green – Strings
Wells Kelly – Drums
Paul Harris – Piano
John Miller – Bass
Engineer – Art Polhemus
Genre: Pschedelic Rock / Funk / Soul
Label – United Artists Records
Sly and the Family Stone was an American band from San Francisco. Active from 1967 to 1983, the band was pivotal in the development of soul, funk, and psychedelic music. Headed by singer, songwriter, record producer, and multi-instrumentalist Sly Stone, and containing several of his family members and friends, the band was the first major American rock band to have an “integrated, multi-gender” lineup.
“Back on the Right” Track is the ninth album by Sly and the Family Stone, released by Warner Bros. Records in 1979. The album was, as its title alludes to, an overt comeback attempt for Sly Stone. However, the album and its singles, “Remember Who You Are” and “The Same Thing (Makes You Laugh, Makes You Cry)”, failed to live up to expectations.
By the late ’70s, Sly Stone had been so thoroughly written off as a has-been that few listeners checked out “Back on the Right Track”. Nor have listeners been inspired to rediscover the album, since his late-’60s/early-’70s classics cast such a huge shadow over his subsequent work. It comes as somewhat of a surprise, then, to find the basic Stone soul/rock/funk foundation still firmly in place here. There were two problems: the foundation didn’t make any notable advancements on the territory he’d already mapped out by the early ’70s, and the songs themselves weren’t that special, sounding more like basic vamps or promising scraps than fully baked ideas. Judged solely on its own terms, it’s actually a respectable slice of funk; it’s only when stacked against Stone’s other works that the disappointment becomes intense.
Some of the original Family Stone members, including Cynthia Robinson, Pat Rizzo, Freddie Stone, and Rose Stone, make contributions to this album. “Back on the Right Track” is the first Sly Stone album not to be produced by the artist; Mark Davis was in charge of the project.
01. “Remember Who You Are” – 3:17
02. “Back On The Right Track” – 3:15
03. “If It’s Not Addin’ Up…” – 2:09
04. “The Same Thing (Makes You Laugh, Makes You Cry)” – 2:24
05. “Shine It On” – 4:21
06. “It Takes All Kinds” – 3:14
07. “Who’s To Say” – 2:28
08. “Sheer Energy” – 4:05
09. “Somebody To You” (Bonus Track) – (7:25)
10. “Lady Is A Champ” (Bonus Track) – (2:51)
All songs credit Sly Stone as songwriter; except “Remember Who You Are”, written by Sly Stone and Hamp Banks
Sylvester Stewart – vocals, keyboards, harmonica
Mark Davis – keyboards
Walter Downing – keyboards
Alvin Taylor – drums
Keni Burke – bass
Hamp Banks – guitar
Joseph Baker – guitar
Roscoe Peterson – guitar
Ollie E. Brown – percussion
Cynthia Robinson – trumpet
Tom DeCourcey – trombone
Pat Rizzo – saxophone
Steve Madaio, Gary Herbig, Fred Smith – horns
Rose Banks, Lisa Banks, Joe Baker, Freddie Stewart – background vocals
Karat Faye – Engineer
Producer – Mark Davis
Release date: November 3, 1979
Recorded at The Sound Factory, Hollywood and K.R. Studio, Santa Monica.
Mixed at The Sound Factory.
Mastered at Kendun Recorders, Burbank.
Label – Warner Bros. Records
Martha Davis (born January 19, 1951), the lead singer, earned great acclaim as the frontwoman and a guiding artistic force with the Los Angeles band the Motels during the 1980s.
“Policy” is her first solo studio album since she broke up with her band in February 1987, declaring that she was going solo, and by November, she had released her first solo album.
Given how popular the Motels were in the ’80s, Martha Davis should have been big as a solo artist. But “Policy”, the singer’s first solo album, wasn’t the major hit it deserved to be, which is surprising because Policy isn’t a radical departure from her work with the Motels. Produced by Richie Zito, Policy picks up where the Motels’ final album, Shock, leaves off. Davis wrote or co-wrote most of the material, and true to form, her lyrics tend to be dark and ominous — or at least melancholy. Arguably, the Motels were a pop/rock version of film noir; their view of the world was as dark and cynical as any Raymond Chandler thriller of the ’40s. And Davis’ obsession with the dark side didn’t end when the Motels broke up and she went solo; the haunting “Lust,” the brooding “Rebecca,” and other gems that she wrote or co-wrote for Policy are as dark as any of the songs on the Motels’ five albums. Especially disturbing is “What Money Might Find,” which takes a look at the uglier side of prostitution — not upscale call girls (whose profession should be legal), but kids who work the streets. Davis was never one to provide an abundance of happy endings, and on Policy, happy endings are few and far between. However, she surprises us on the album’s last track, “My Promise,” which describes a romantic relationship that is happy and fulfilling not dysfunctional. The tune has a sweetly romantic quality, and it is certainly an interesting way for Davis to conclude the album; after so much darkness, melancholia, and disillusionment, she gives us something sweetly romantic.
01. “Tell It to the Moon” (Diane Warren) – 4:16
02. “Just Like You” (Martha Davis, John Dexter) – 4:11
03. “Heaven Outside My Door” (Davis) – 4:03
04. “Don’t Tell Me the Time” (Davis) – 3:34
05. “Rebecca” (Davis) – 3:22
06. “What Money Might Buy” (Davis) – 3:32
07. “Don’t Ask Out Loud” (Davis, Roger Bruno, Ellen Schwartz) – 4:24
08. “The Hardest Part of a Broken Heart” (Davis) – 4:03
09. “Lust” (Davis, David Batteau) – 3:59
10. “My Promise” (Davis, Batteau, Bruce Gaitsch) – 3:52
11. “Bridge of Sighs” (Davis, Sue Shifrin) (Bonus Track) – 3:52
Arrangers: Gary Chang; Martha Davis ; Richie Zito.
Producer – Richie Zito
Recorded at: One On One Recording, N. Hollywood, CA; The Enterprise, Burbank, CA.
Genre: Pop, Rock, New Wave
Label – Capitol Records
The dB’s are an American power pop and jangle pop group who first came into prominence in the late 1970s and 1980s. The band members are Peter Holsapple, Chris Stamey, Will Rigby and Gene Holder. While the members are all from Winston-Salem, North Carolina, the group was formed in New York City in 1978.
The years between 1984 and 1987 were not a lot of fun for The dB’s; Chris Stamey left the group shortly before they began work on Like This, forcing them to reinvent themselves as a trio with Peter Holsapple as leader, and shortly after the album was released, their record company, Bearsville Records, went out of business, killing the record’s commercial possibilities and leaving the group in legal limbo as they tried to sort out the details of their still-valid contract with a non-existent label. Consequently, 1987’s The Sound Of Music was, in many ways, a “make or break” album for the band (and their first opportunity to release an album through a fully-functioning American label), and the band seemed determined to make the most of it. The Sound Of Music is easily the group’s most polished and least eccentric album. Greg Edward’s production is far slicker than anything The dB’s had come in contact with in the past, and Peter Holsapple’s songs shrewdly leaned to the most accessible side of his musical personality. In other words, if you loved the quirks and angles of Repercussion or Stands For Decibels, this is not the album you’re looking for. But no one has ever denied that Peter Holsapple writes great pop tunes, and he came up with a dozen winners on The Sound Of Music; from the moody “I Lie” and the mournful “Never Before and Never Again,” to the rollicking “Change With The Changing Times” and “Any Old Thing.” These songs are smart and superbly crafted, and the band performs them with a winning enthusiasm. And the oddball racing anthem, “Bonneville,” the catty breakup tune, “Molly Says,” and the idiosyncratically anthemic closer, “Today Could Be The Day,” made it clear that Holsapple hadn’t entirely subsumed the group’s personality in a bid for mainstream success. The Sound Of Music was the biggest reach The dB’s ever made towards a larger audience, and if the masses didn’t take the bait, one listen proves it was certainly their loss.
01. “Never Say When” – 3:08
02. “Change With The Changing Times” – 2:53
03. “I Lie” – 4:30
04. “Molly Says” – 2:16
05. “Bonneville” – 2:42
06. “Any Old Thing” – 3:26
07. “Think Too Hard” – 2:59
08. “Working For Somebody Else” – 3:28
09. “Never Before And Never Again” – 4:12
10. “A Better Place” – 3:14
11. “Looked At The Sun Too Long” – 2:55
12. “Today Could Be The Day” – 3:21
13. “Feel Alright” – 2:23
14. “Sharon” – 3:21
All songs written by Peter Holsapple
Vocals – Syd Straw
Cello – Jane Scarpantoni
Organ, Synth – Benmont Tench
Performer – Gene Holder, Jeff Beninato, Peter Holsapple, Will Rigby
French Horn – Jeremy Smith
Piano, Synthesizer – Van Dyke Parks
Violin – Lisa Germano
Engineer – Dave Wolk, Spike Wolk
Engineer [Assistant] – Andy Udoff
Management – Jim Ford
Mastered By – Stephen Marcussen
Mixed By – Greg Edward
Mixed By [Assistant] – Jeff Poe
Producer – Greg Edward
Recorded at: Quad Penthouse, NYC. Additional Recording at Rumbo Records, LA
Label – I.R.S. Records
Katy Dalton was originally a member of the Gas Company, a folk rock act based in Los Angeles, USA, who released ‘Blow Your Mind’ in 1965. As Kathleen Yesse she joined ex-Gas Company singer Greg Dempsey in the Daughters Of Albion before embarking on a solo career in 1973.
Released an album called “Amazing” on Frank Zappa /Herb Cohen’s Discreet label in October 1973, featured stellar support from Little Feat, but the material rarely rose above average. The set was reissued the following year with the addition of its new title-track. Dalton’s recording career ended when Discreet broke up.
This was reissued in November 1974 as “Boogie Bands & One Night Stands” having had the track “Long Gone Charlie”, “Hit & Run” replaced by the title track “Boogie Bands & One Night Stands”. The album was produced by Greg Dempsey and engineered by Kerry McNab. Kathy was backed by the likes of Little Feat, Van Dyke Parks, Carl Wilson and Sneaky Pete Kleinow. It is an enjoyable listen without in any way being exceptional. The track “Justine” reminds very much of the sort of record Bonnie Raitt was making round about the same time.
01. “Boogie Bands & One Night Stand” – 3:25
02. “Pour Your Wine All Over Me” – 3:01
03. “Ride, Ride, Ride” – 3:04
04. “Gypsy Dancer” – 3:12
05. “The Light That Shines” – 3:06
06. “At The Tropicana” – 2:09
07. “I Need You Tonight” – 3:18
08. “Musical Chairs” – 3:03
09. “Justine” – 2:54
10. “Cannibal Forest” – 4:16
11. “Midnight Creeper” – 2:47
Engineer – Kerry McNabb
Other [In Discreetion] – Herb Cohen
Photography – Ed Caraeff
Producer, Written-By – Greg Dempsey
Genre: Country Rock
Label – Discreet Records
The Fire Theft is an indie rock band from Seattle, Washington. It was formed in 2001 by vocalist/guitarist Jeremy Enigk, bassist Nate Mendel, and drummer William Goldsmith, all of whom were previously members of Sunny Day Real Estate. Mendel also plays bass for Foo Fighters, and Goldsmith drummed for Foo Fighters between 1995 and 1997. The Fire Theft is a side project of Sunny Day Real Estate.
Back in the day, when Jeremy Enigk, William Goldsmith, and Nate Mendel were still recording as Sunny Day Real Estate, it was their flair for coloring the ethos of punk and hardcore with progressive rock’s pacing and stylistic breadth, which helped define their deliberate, emotionally invested music. SDRE quickly reached “can do no wrong” status in the hearts and minds of millions. However, inner turmoil of both the personal and band-oriented variety reared up, and it was too soon before Sunny Day Real Estate had bought the farm. It’s been a rocky road of reunions, religion, and redoubtable side projects since, but the trio has been led back to one another, and a reformation as the Fire Theft. The band’s eponymous Rykodisc debut doesn’t skimp on the scope violin, viola, French horn, and a children’s choir vie peacefully with piano, guitar, and Enigk’s typically enormous vocals. But it is not a project concerned with upholding or continuing any sort of legacy.
Enigk and co-songwriter Goldsmith (whose inventive percussion unifies the album) freely cross Yes with Modest Mouse (“Oceans Apart”), approach Presence-era Led Zeppelin with their instrumentals, and embrace a classic, unironic sense of melody with “Chain” and “Heaven.” At the same time, those tracks are made fabulously, achingly poignant by lyrics that lance through any preconceived notions of emo or anything else, and pierce directly into Enigk’s psyche. There’s no crybaby posing here, no deployment of cliché.
Even if SDRE had a hand in the popularization of the emo movement, the Fire Theft’s music is much too personal to be anything other than a therapy session, both for Enigk and his musical co-conspirators and friends. “Heaven/Are you really waiting outside the door?”; “I’m going nowhere waiting for the future to begin”; “Lift back the veil that hides you from me” while The Fire Theft is steeped in ambiguity, its creators’ strange journey must play into its numerous parts and emotions.
What’s wonderful about all of this soul searching though is its foundation in melody. The album has its drifting moments, to be sure. But a crashing chorus or epic melodic shift is never far around the bend. Its penultimate moment is the eight-minute finale, “Sinatra.” Over cascading, perfectly mixed drums, dreamy guitars, touches of piano, and a chorus of questioning voices, Enigk dwells on adulthood and direction in unflinching first person. “Now that I’ve buried my life away/Can I dig it out again?” The Fire Theft doesn’t make clear whether he can, and its search for the truth down arty indie paths might lead some listeners to look elsewhere. But Enigk, Goldsmith, and Mendel are still sussing out the passion, and stealing emotion back from labelers.
01. “Uncle Mountain” – 4:03
02. “Waste Time Segue” – 1:02
03. “Oceans Apart” – 4:15
04. “Chain” – 3:43
05. “Backwards Blues” – 2:46
06. “Summertime” – 4:01
07. “Houses” – 3:14
08. “Waste Time” – 4:15
09. “Heaven” – 4:12
10. “Rubber Bands” – 4:01
11. “It’s Over” – 4:01
12. “Carry You” – 4:22
13. “Sinatra” – 14:49
All song written by Jeremy Enigk and William Goldsmith
The Fire Theft
Jeremy Enigk – Guitar/vocals
Nate Mendel – Bass guitar
William Goldsmith – Drums/percussion
Billy Dolan – Guitar
Violin – Gregg Rice, Ken Wright
Viola – Sam Williams
Cello – Dave Beck
Bass Violin – Phil Wright
French Horn – Roger Burnett
Bass Trombone and Tuba – Dan Marcus
Clarinet – Craig Flory
Bass Clarinet, Clarinets, Flute, Piccolo – Jim Dejoie
Glockenspiel – Jeremy Enigk
Girl Voice – Kelsey Mackin
Children’s Choir – Kelsey Mackin, Ella Banyas, Lilliam Louden-Mosio, Julia Thomas, and Lauren Hill
Produced by – Brad Wood and The Fire Theft
Mixed by – Brad Wood
Engineered by – Brad Wood, Jeremy Enigk, William Goldsmith, Greg Williamson, and Adam Wade.
Mastered at – Oasis Mastering
Recorded at – The Fire Theft STudio, Kirkland, WA; Brad’s Guest House, Valley Village, CA; and The Park Studio, Studio City, CA.
Mixed at – The Park Studio, Studio City, CA
Management – Steve Smith/Smith Management Group
Release date: September 23, 2003
Genre: Indie rock, emo
Label – Rykodisc
Future Leaders of the World is a rock band formed in 2003. The band released their debut album, LVL IV in 2004, before going through a period of being named Machina, featuring former Evanescence members guitarist John LeCompt and drummer Rocky Gray.
“LVL IV”, pronounced “Level Four”, is the debut by American post-grunge band Future Leaders of the World. It features the song “Let Me Out” which received extensive airplay and launched Future Leaders of the World into the mainstream. The songs “Kill Pop” and “Make You Believe” was also featured on the game ATV Offroad Fury 3
Spearheaded by frontman and creative catalyst Phil Tayler, Future Leaders of the World has its roots in a time of Tayler going homeless in San Francisco after moving to the Bay Area from Buffalo, NY. After getting booted out onto the streets, the New Yorker got involved with non-profit, grassroots organizations, going door-to-door getting petitions signed and writing songs on the side. These experiences spawned LVL IV, a 10-pack of tunes that employs a clever use of dynamics, powered by agitated guitars and Tayler’s voice, a howl with a Kurt Cobain-ish nuance to it.
Operating with a sound that’s more a nod to Nirvana than outright mimicry, Future Leaders uses social activism and anger at government corruption as inspiration. Tayler goes from the barbed rant “Your Gov’t Loves You,” with mention of corporate waste and the Middle East, to the subtler but no less powerful “Unite,” which picks peace over war in regards to the invasion of Iraq. Tayler’s ire only seems to subside during the catchy power-ballad “House of Chains,” which features sweeping guitar chords and radio-friendly hooks.
01. “Spotlight” – 4:11
02. “Everyday” – 3:22
03. “Let Me Out” – 4:04
04. “Kill Pop” – 3:47
05. “Unite” – 5:12
06. “Make You Believe” – 3:26
07. “Sued” – 4:05
08. “House Of Chains” – 4:42
09. “4 Sale” – 5:02
10. “Your Government Loves You” – 4:13
Future Leaders of the World
Phil Tayler – vocals
Jake Stutevoss – guitar
Bill Hershey – bass guitar
Carl Messina – drums
Ben Kaplan – programming
Mike Flynn – production
Audio Mixers: Michael Barbiero; Andy Wallace.
Release date: October 5, 2004
Recorded at: Plumper Mountain Sound, Gibsons, British Columbia, Cana; The Armoury Studios, Vancouver, British Columbia, Canada
Label – Epic Records
Before forming The Silencers, vocalist Jimme O’Neill and guitarist Cha Burns were active in London’s new wave music scene. O’Neill wrote songs for Paul Young and Lene Lovich, while Burns played guitar in Adam Ant’s backing band during 1982–1984 together with Bogdan Wiczling. In 1979, they met and formed a post-punk/new wave project called Fingerprintz, and released three albums under that name.
Now sadly relegated to footnote status, England’s Fingerprintz were one of the few bands that lent credibility to the marketing-inspired expression “new wave.” Formed by Scottish-born singer/guitarist Jimmie O’Neill in 1978, the ‘Printz slowed down punk’s careening guitar rock, adding clever, rhythmic twists and turns, and offering up deftly written stories about lust, angst, and urban desolation. The problem was finding an audience; the music was certainly spot-on, but one can only guess as to what kept hordes of people away. Certainly it wasn’t the quality of their recorded work, which, despite occasional concessions to slick production, is mostly smart and insightful. Perhaps it was simply a matter of being out of step with the zeitgeist or simply not getting a break.
The 2nd full length by Fingerprintz on Virgin Records is a solid filthy fingernails scratch away album with ten goodies. Brilliant cleanings combined with cool tools, just the right sound after a long drunken night. I’ve never heard so far a single tone from the London boys but I’m impressed, runs well. Fingerprintz formed 1978 in London, by singer and songwriter Jimme O’Neill (guitarist by Adam & the Ants): “to give at least some authority to market the term new wave”. The quartet played melodic powerpop/rock, simple but elegant arrangements. After the release of the third and latest album “Beat Noir” (1981) O’Neill decided to dissolve the group. In 1987, along with Burns, he founded The Silencers, which had a far greater commercial success than Fingerprinz. That’s It! Enjoy!
01. “Yes Eyes” (Jimme O’Neill) – 3:00
02. “Houdini Love” (Jimme O’Neill) – 3:05
03. “Criminal Mind” (Jimme O’Neill) – 4:05
04. “Bullet Proof Heart” (Jimme O’Neill) – 4:50
05. “Remorse Code” (Jimme O’Neill) – 3:15
06. “Amnesia” (Jimme O’Neill) – 2:45
07. “Ringing Tone” (Jimme O’Neill, Cha Burnz) – 2:40
08. “Radiation” (Jimme O’Neill, Cha Burnz) – 4:50
09. “Jabs” (Jimme O’Neill, Cha Burnz, B. Wiczling, K. Alton) – 3:25
10. “Hide And Seek” (Jimme O’Neill) – 4:50
Bass, Vocals – Kenny Alton
Drums, Percussion – Bogdan Wiczling
Guitar, Vocals – Cha Burnz, Jimme O’Neill
Keyboards – Bernie Clarke
Engineer [Assistant, Mixing] – David Kemp
Engineer [Recording, Mixing] – Trevor Hallesy
Engineer [Recording] – Terry Medhurst
Illustration – John Stalin
Producer [Produced By] – Nick Garvey
Sleeve, Design – Peter Saville
Phonographic Copyright (p) – Virgin Records
Copyright (c) – Virgin Records
Published By – Oval Music
Published By – Almo Music Corp.
Recorded At – Underhill Studios
Mixed At – The Roundhouse
Pressed By – Specialty Records Corporation
Distributed By – Atlantic Recording Corporation
Genre: New Wave
Label – Virgin Records
Jay Farrar (born December 26, 1966 in Belleville, Illinois) is an American songwriter and musician currently based in St. Louis, Missouri. A veteran of two critically acclaimed music groups, Uncle Tupelo and Son Volt, he began his solo music career in 2001. Beyond his established talents as a songwriter, he is a guitarist, pianist, harmonicist, and a vocalist.
After the breakup of Uncle Tupelo, most fans would have guessed that Jay Farrar was a cinch for a brilliant solo career, but that hasn’t quite been the case. While Trace, the first album from Farrar’s post-Uncle Tupelo group, Son Volt, was a low-key masterpiece, the follow-up, Straightaways, sounded like he was treading water, offering up more of the same but without the same level of quality, and the songs simply weren’t as interesting.
Son Volt’s third album, “Wide Swing Tremolo”, was a conscious effort to bring new colors to the band’s sound, and while it was a decided improvement over Straightaways, it still paled in comparison to Trace or his better Uncle Tupelo work. In 2001, with Son Volt on hiatus (widespread rumor had it that the band had split up, though the group’s representatives denied this), Jay Farrar cut his first proper solo album, “Sebastopol”, which seems to pick up where “Wide Swing Tremolo” left off. The arrangements move much of the focus away from Farrar’s Neil Young-styled electric guitar, with keyboards and sampled horns and strings taking a prominent role in many of the tunes (though don’t worry, Farrar’s big fuzzy leads are still very much in evidence on “Clear Day Thunder,” while “Outside The Door” shows he’s still in touch with his acoustic, introspective side).
The melodies are often brighter than on the Son Volt albums, and the blend of keyboards and acoustic guitars give the songs a more buoyant quality than one might expect (“Directions” sounds downright poppy), and Farrar injects a welcome sense of humor on “Barstow” and “Damn Shame.” But, while Farrar has streamlined the chassis and thrown a new coat of paint on his music, Sebastopol proves the engine that drives his songwriting is still the same, and that’s part of the problem. Without a strong collaborator, Farrar seems to have trouble finding new and different things to say, even while he’s finding new and interesting ways to say them; Sebastopol sounds like a variation on the same themes he’s been pursuing since Trace, and while it’s probably his strongest album since Son Volt’s debut, it also suggests he still isn’t living up to his potential.
01. Feel Free – 3:13
02. Clear Day Thunder – 2:42
03. Voodoo Candle – 3:53
04. Barstow – 3:54
05. Damn Shame – 2:36
06. Damaged Son – 3:25
07. Prelude (Make It Alright) – 1:36
08. Dead Promises – 2:11
09. Feed Kill Chain – 3:19
10. Make It Alright – 5:02
11. Fortissimo Wah – 0:38
12. Drain – 3:35
13. Different Eyes – 3:12
14. Outside The Door – 3:56
15. Equilibrium – 0:49
16. Direction – 2:20
17. Vitamins – 4:04
All tracks are written by Jay Farrar
Vocals, Acoustic Guitar, Guitar, Piano, Keyboards [Roland], Tambura – Jay Farrar
Bass – Tom Ray
Drums, Percussion – Jon Wurster, Matt Pence
Electric Guitar, Percussion – John Agnello
Bass [Bowed Stand Up Bass] – Dade Farrar
Piano, Keyboards [Roland And Ensoniq], Melodica, Backing Vocals – Steve Drozd
Slide Guitar – Kelly Joe Phelps
Saxophone – Lou Winer
Acoustic Guitar, Lap Steel
Guitar – David Rawlings
Vocals – Gillian Welch
Artwork, Photography – Jim Ward Morris
Engineer, Mixed By – John Agnello
Mastered By – Greg Calbi
Producer – Jay Farrar, John Agnello
Phonographic Copyright (p) – Sheridan Square Entertainment, LLC.
Copyright (c) – Sheridan Square Entertainment, LLC.
Manufactured By – Artemis Records
Marketed By – Artemis Records
Distributed By – RED Distribution
Recorded At – Jajouka Studio
Mixed At – Water Music
Mastered At – Sterling Sound
Recorded at Jajouka Studio, Millstadt, IL April – June 2000.
Genre: Pop, Rock
Label – Artemis Records
Canadian band named, The Dudes, were Kootch Trochim, Ritchie and Dave Henman, Bob Segarini, Wayne Cullen and Brian Greenway. The Dudes formed in 1974 and were from Montreal. Their members were from previous bands like The Wackers, April Wine and Mashmakan.
A&R man Mark Spector produced “We’re No Angels”, an album featuring pop’s forgotten boy, Bob Segarini; ex-members of April Wine guitarist David Henman and his brother, drummer Ritchie Henman; and for some odd reason, the drummer from the last version of the Wackers as well. Three guitars, bass, and two drummers for a pop band? The thin sound of the disc doesn’t help the diluted songs, which are certainly derivative, but not in the right way. Managed by Fred Heller, who did an absolutely terrible job with Mott the Hoople, it seems like he was feeding CBS his follow-up to Mott with this lackluster disc. Add the terrible artwork to this mix and the boys have an uphill battle to begin with. David Henman mentions rock & roll debutantes twice, once in “Dancin’ Shoes” and once again in “Rock ‘N’ Roll Debutante,” so listeners know what he has on his mind, but unless the young ladies wanted to date the entire cast of the film Revenge of the Nerds, there wouldn’t be much hope. Having learned nothing from the terrible photo work on Bob Segarini’s Roxy album, liner-note king Greg Shaw should have demanded a copy of the album artwork before scribbling his relentless hyperbole on the back. What We’re No Angels is is a passable album of music that is neither bad nor extraordinary.
The vocal work is equally passable, but won’t give Paul McCartney or Emmit Rhodes any sleepless nights. Mark Spector’s production is so pedestrian that if the band gets close, as they do in the melodic rip-off that is “Deeper and Deeper,” he can’t turn it up a notch for them. The song borders on copyright infringement, but unfortunately, Freda Payne’s excellent song of the same name, “Deeper and Deeper,” is not the victim. It’s just another problem with the album: no one is reaching into their soul here to churn out a hit not the band, not the producer, not the label. Poor Greg Shaw seems to be howling at the moon in these liners. “Got Me Where You Want Me” is an interesting tune, and maybe the latter-day Mott could have taken the title track somewhere, because like “We’re No Angels,” the song has a little bit of something, maybe Kim Fowley’s contribution as co-writer.
Like the Roxy album, this is not the second coming. Listeners won’t find a “Whiter Shade of Pale” here, nor will they find a sublime pop masterpiece like Pete Shelley’s “Homosapien.” There is no “Louie Louie” in these grooves, and if listeners want “Don’t Worry Baby” they’ll have to get a Beach Boys album. “Saturday Night” leads off side one, and it doesn’t have the bounce or the hooks of the song by the same name which the Bay City Rollers hit with. Greg Shaw drove the point home about another group, the Flaming Groovies, and though this ensemble might aspire to such lofty heights, a song like “Fuel Injection” is and never can be “Shake Some Action.”
Maybe Dudes weren’t angels, but they certainly weren’t devils either, and what this album needed was a little angst, a little misconduct, a little bit of down-and-dirty rock & roll. This is rock music with clean hands and shackled sounds, guaranteed to keep listeners in their seats. What’s the point?
01. “Saturday Night” – 3:36
02. “Fuel Injection” – 3:19
03. “I Just Wanna Dance” – 3:27
04. “Lylee Lady” – 5:12
05. “Deeper And Deeper” – 4:28
06. “Dancin’ Shoes” – 4:09
07. “Got Me Where You Want Me” – 3:18
08. “My Mind’s On You” – 4:22
09. “Rock ‘N Roll Debutante” – 3:46
10. “We’re No Angels” – 5:13
Guitar, Vocals – Bob Segarini, Brian Greenway, David Henman
Bass, Vocals – “Kootch” Trochim
Drums, Vocals – Ritchie Henman, Wayne Cullen
Engineer – Alan Varner
Engineer [Assistant] – Leanne Unger
Mastered By – Stewart Romanie
Producer – Mark Spector
Genre: Pop, Rock
Label – Columbia Records
“Guitar Heaven: The Greatest Guitar Classics of All Time”, is the twentieth studio album by Santana, released on September 21, 2010. It is a classic rock covers album and features guest performances by several popular vocalists, including India.Arie, Joe Cocker, Chris Cornell of Soundgarden & Audioslave, Scott Stapp of Creed, Scott Weiland of Stone Temple Pilots & Velvet Revolver, Chris Daughtry of Daughtry, Jacoby Shaddix of Papa Roach, Chester Bennington of Linkin Park, Dead By Sunrise and Stone Temple Pilots, Rob Thomas of Matchbox Twenty, Pat Monahan of Train and rapper Nas.
It is not necessarily a terrible idea for an album, having Santana interpret classic rock standards. Carlos Santana is one of the great rock guitarists and he has a jazzy interpretative bent, cutting duet albums with no less of a heavy hitter as John McLaughlin back in the ‘70s. It goes without saying that those were different times and that the Santana of 2010 is not the Santana of 1972, although he’s remarkably close to the Santana of 1999, the one who gave himself over to Clive Davis for a shot at chart success.
Davis once again follows his patented formula of teaming Santana with guest singers, having his team of producers polish everything so it will glisten on as many cross-platforms as possible. This worked remarkably well on 1999’s “Supernatural”, thanks to the freshness of the concept and the presence of powerhouse pop tunes like “Smooth” and “Maria Maria,” but Guitar Heaven isn’t Supernatural, no matter how much the producers try to replicate its success, right down to bringing in all the superstars of 2000 Rob Thomas, Chris Cornell, Scott Weiland, Jacoby Shaddix, Gavin Rossdale, Pat Monahan, Chester Bennington to act as frontmen, along with Chris Daughtry who feels like he should be part of this class.
They’re balanced by a handful of non-rockers (India.Arie, Nas), a blues guitarist in the form of Jonny Lang, and, for old fans, Joe Cocker singing Hendrix, but it doesn’t matter who is singing because every track is produced as a pop tune, not a rock song. The vocals are pushed to the front and little room is left for extended solos, so Santana winds up tossing off frilly fills while the vocalist is singing and each cut winds up as a cheery bright wall of sound constructed from constrictive computer loops.
There are no reinterpretations not even the Nas-fronted “Back in Black” changes the song much just restatements of riffs and replicated effects, each familiar element offering a reminder that Santana, Davis, and company chose to take the easy road by settling for gauche pop instead of guitar rock.
01. “Whole Lotta Love” (feat. Chris Cornell) – 3:51
(Led Zeppelin Cover) John Bonham, John Paul Jones, Jimmy Page, Robert Plant, Willie Dixon
02. “Can’t You Hear Me Knocking” (feat. Scott Weiland) – 5:38
(The Rolling Stones Cover) Mick Jagger, Keith Richards
03. “Sunshine of Your Love” (feat. Rob Thomas) – 4:43
(Cream Cover) Pete Brown, Jack Bruce, Eric Clapton
04. “While My Guitar Gently Weeps” (feat. India Arie & Yo-Yo Ma) – 6:02
(The Beatles Cover) George Harrison
05. “Photograph” (feat. Chris Daughtry) – 4:04
(Def Leppard Cover) Joe Elliott, Pete Willis, Steve Clark, Rick Savage, Robert John “Mutt” Lange
06. “Back in Black” (feat. Nas) – 4:20
(AC/DC Cover) Angus Young, Malcolm Young, Brian Johnson
07. “Riders on the Storm” (feat. Chester Bennington & Ray Manzarek) – 5:23
(The Doors Cover) Jim Morrison, Robby Krieger, Ray Manzarek, John Densmore
08. “Smoke on the Water” (feat. Jacoby Shaddix) – 5:06
(Deep Purple Cover) Ritchie Blackmore, Ian Gillan, Roger Glover, Jon Lord, Ian Paice
09. “Dance the Night Away” (feat. Pat Monahan) – 3:23
(Van Halen Cover) Edward Van Halen, Alex Van Halen, Michael Anthony, David Lee Roth
10. “Bang a Gong ” (feat. Gavin Rossdale) – 3:41
(T. Rex Cover) Marc Bolan
11. “Little Wing” (feat. Joe Cocker) – 4.52
(The Jimi Hendrix Experience Cover) Jimi Hendrix
12. “I Ain’t Superstitious” (feat. Jonny Lang) – 3:56
(The Jeff Beck Group Cover) Willie Dixon
13. “Fortunate Son” (feat. Scott Stapp) – 3:45
(Creedence Clearwater Revival Cover) John Fogerty
14. “Under the Bridge” (feat. Andy Vargas) – 5:09
(Red Hot Chili Peppers Cover) Michael Balzary, John Frusciante, Anthony Kiedis, Chad Smith
Carlos Santana – lead guitar
Dennis Chambers – drums
Benny Rietveld – bass guitar
Karl Perazzo – timbales
Tommy Anthony – rhythm guitar
Freddie Ravel – keyboards
Andy Vargas – background vocals
Raul Rekow – congas
Bill Ortiz – trumpet
Jeff Cressman – trombone
Producer – Carlos Santana, Clive Davis, Matt Serletic and Howard Benson
Release dat: September 21, 2010
Genre: Hard rock, blues rock, heavy metal, alternative rock, latin rock, psychedelic rock
Length: 1:04:08 (deluxe edition)
Label – Arista Records
The Elvis Brothers were a power pop trio (with a hint of rockabilly and roots rock) comprised of Rob Elvis (guitar, vocals), Graham Elvis (bass, vocals), and Brad Elvis (drums). Formed in the early ’80s in Champaign, Illinois
The band started off as a duo of Rob and Graham and at that time they included many Elvis Presley covers in their set, so when they had to come up with a name, they jokingly went with “The Elvis Brothers” and it stuck.
The band released two albums with Portrait/Epic Records.
“Movin’ Up” was their debut album. The album was released in 1983 and was recorded at the Power Station in New York City, and produced by Lance Quinn and Tony Bonjovi.
“Movin’ Up traverses a panoply of mildly bent styles, from mock-Stray Cats (“Fire in the City”) to Dave Edmunds-ish nostalgia (“Hey Tina”) to Anglo-pop (“Hidden in a Heartbeat”) to countryfied rock (“Santa Fe”) and much more.
Sure, they futz around a lot (especially onstage), but their silliness never interferes with the serious task of playing catchy pop with maximum gusto. It may not have meant a lot, but the first album is truly mega-fun.”
The band lost their record deal when Portrait was closed in 1986. The original trio re-united in 1992 and released an album called “Now Dig This” on Recession Records.
After the Elvis Brothers broke up, Brad Elvis replaced Clem Burke as the drummer for The Romantics.
01. “(I Know You) Shake It” (G. Elvis) – 2:04
02. “It’s So Hard” (G. Elvis) – 4:30
03. “Hidden In A Heartbeat” (G. Elvis) – 3:16
04. “Hey Tina” (B. Elvis) – 2:38
05. “Red Dress” (G. Elvis) – 2:55
06. “Fire In The City” (R. Elvis) – 4:27
07. “Here We Go Again” (B. Elvis) – 3:48
08. “Movin’ Up” (G. Elvis) – 2:51
09. “Santa Fe” (R. Elvis) – 3:40
10. “Full Speed Straight Ahead” (G. Elvis) – 2:22
11. “You Got Me” (B. Elvis) – 2:31
12. “Long Gone” (B. Elvis) – 3:15
Rob Elvis (Rob Newhouse) – guitar, vocals
Graham Elvis (Graham Walker) – bass, vocals
Brad Elvis (Brad Steakley) – drums
Art Direction – Janet Perr
Engineer – Bill Scheniman, Jeff Hendrickson, Malcolm Pollack, Tony Bongiovi
Engineer [Assistant] – Bruce Lampcov, John Babich
Management [Pm] – Ken Adamany
Mastered By – Bob Ludwig
Photography By – Benno Friedman
Producer – Lance Quinn and Tony Bonjovi
Produced For – Red Sox Music Productions, Inc.
Recorded At – Power Station
Remixed At – Masterdisk
Phonographic Copyright (p) – CBS Inc.
Copyright (c) – CBS Inc.
Published By – Blackwood Music Inc.
Published By – Boss Of The World Music
Recorded at: The Power Station
Mastered at: Masterdisc, New York, NY
Genre: Rock, Pop
Label – Portrait Records
Eye to Eye are a duo formed by American singer Deborah Berg and British pianist Julian Marshall (previously of Marshall Hain).
They first met in San Diego, California in 1980 at a performance of the dance ensemble Mostly Women Moving, for whom Berg danced. Berg had been injured and sang instead of dancing on the night of the performance Marshall attended; he spoke with Berg and a few weeks later asked her to fly to England to record with him.
A recording contract with Automatic Records followed soon after, and their first single, “Am I Normal?”, came out later that year. The single came to the attention of Steely Dan producer Gary Katz, which led to a contract with Warner Bros. Records.
Their self-titled debut album was produced by Katz and released in 1982. A second album, “Shakespeare Stole My Baby”, followed in 1983, but it did not receive much label support and did not sell well.
In 1982 a rumor was swirling around that Steely Dan had recorded a “secret” album with a new name and a new female vocalist. Well, of course the rumor turned out to be untrue, but Eye To Eye’s eponymous debut album, and the 1983 follow up “Shakespeare Stole My Baby” do feature production by Gary Katz, who helmed the Steely Dan albums, as well as guest appearances by Donald Fagan and a lot of the same studio musicians that the Dan were known to favor (Elliot Randall, Larry Carlton, Jeff Porcaro etc.).
In spite of the personnel overlaps, Eye To Eye forged an identity quite distinct from Steely Dan. Singer Deborah Berg and keyboard player Julian Marshall co-wrote all the songs on both albums. Berg has an amazing, beautiful high voice, almost totally free of vibrato, and she sings in a cool, detached, ethereal style. The instrumental backing is crisp, danceable techno pop, dominated by Marshall’s keyboards but benefiting from the ultra-tasty flavoring added by the all-star guests.
Eye to Eye loses some of the vision that made their debut album a pleasure on “Shakespeare Stole My Baby”, their second (and final) release. Though the album has a couple of excellent tracks, it also has several so-so tunes and one song, “Jabberwocky,” which is so bad that it’s almost unlistenable. The album has many of the elements of their debut, including ultra-clean production by Gary Katz and a stellar lineup of studio musicians, but unfortunately the dreaded sophomore slump takes over and the results are less than stellar.
01. “Shakespeare Stole My Baby” – 4:49
02. “Tonight Insomnia” – 3:51
03. “Falling For A Funny One” – 5:14
04. “Jabberwokky” – 4:23
05. “Lucky” – 4:02
06. “T.W.A. Sari” – 4:38
07. “Something Good” – 3:06
08. “Mermaid Man” – 3:59
09. “Are You Listening? ” – 4:51
All songs written by Deborah Berg and Julian Marshall.
Eye To Eye
Deborah Berg – vocals
Julian Marshall – piano
Additional Keyboards – Donald Fagen
Solo Guitar – Steve Lukather
Guitar – Larry Carlton
Drums – Art Wood
Bass – Jimmy Haslip
Guitar – Domenic Troiano
Percussion – Martin Ditcham
Hanclaps – Martin Ditcham, Prasant & Joe Salvo
Background vocals – Deborah Berg, Frank Floyd & Zac Sanders
Synthesizer Effect & Additional Programming : Clifford Carter
Sax & Flute – Kim Hutchcroft
Trumpet – Jerry Hey & Chuck Findley
Saxophone – Larry Williams & Kim Hutchcroft
Horn Arrangement – Jerry Hey
Producer – Gary Katz
Genre: New wave, Synth-pop
Label – Warner Bros. Records
The Electric Indian was a studio group assembled by Bernie Binnick, co-founder of Swan Records which included Daryl Hall of Hall & Oates fame. Influenced by the popularity of American Indians in the media, Binnick put together the group to record an Indian-esque instrumental, “Keem-O-Sabe.”
A US studio group that recorded a song called ‘Keem-O-Sabe’ in 1969 and took it to number 16 on the US charts. The group was assembled by Bernie Binnick, and included musicians who later went on to form the Philadelphia group MFSB, as well as Frank Virtue of the instrumental group the Virtues. ‘Keem-O-Sabe’ was notable in that it was an Indian-music flavoured instrumental that made heavy use of the then-trendy sitar.
An album of similar material was recorded, and the follow-up, an Indian style cover version of “Land of a Thousand Dances,” charted. No future releases were forthcoming. Many of the tracks on the LP were engineered by Joseph Tarsia and recorded at his Philadelphia based Sigma Sound Studio, with many of the musicians later becoming members of the studio’s notable in-house group, MFSB.
The Electric Indian released one LP and two singles in 1969.
A1. “Keem-O-Sabe” (Binnick, Borisoff) – 2:10
A2. “I Heard It Through The Grapevine” (Barrett Strong. Norman Whitfield) – 3:10
A3. “Spinning Wheel” (D. C. Thomas) – 3:05
A4. “Storm Warning” (Carl Fisher) – 2:18
A5. “Rain Dance” (Wisner, Borisoff) – 2:10
B1. “Geronimo” (Vince Montana, Jr.) – 5:15
B2. “Only The Strong Survive” (Gamble/Huff, Butler) – 2:27
B3. “My Cherie Amour” (H. Cosby, S. Wonder, S. Moy) – 3:12
B4. “What Does It Take To Win Your Love” (J. Bristol/H. Fuqua, V. Bullock) – 3:07
B5. “1-2-3” (L. Borisoff, J. Madara/D. White) – 2:20
Vibraphonist – Vince Montana Jr.
Guitarists – Bobby Eli
Keyboard – Daryl Hall
Arranged By – Jimmy Wisner, Vince Montana, Jr., Tom Sellers
Art Direction – Frank Gauna
Artwork [Sculpture] – Tony Price
Engineer – Brooks Arthur , Joe Tarsia
Liner Notes – Jimmy Bishop
Photography By – S. Faine Studios
Producer – Len Barry
Genre: Funk / Soul
Label – United Artists Records
Stephen Fain “Steve” Earle (born January 17, 1955) is an American rock, country and folk singer-songwriter, record producer, author and actor. Earle began his career as a songwriter in Nashville and released his first EP in 1982. His breakthrough album was the 1986 album “Guitar Town”.
On Steve Earle’s first major American tour following the release of his debut album, Guitar Town, Earle found himself sharing a bill with Dwight Yoakam one night and the Replacements another, and one listen to the album explains why while the music was country through and through, Earle showed off enough swagger and attitude to intimidate anyone short of Keith Richards.
While Earle’s songs bore a certain resemblance to the Texas outlaw ethos (think Waylon Jennings in “Lonesome, On’ry and Mean” mode), they displayed a literate anger and street-smart snarl that set him apart from the typical Music Row hack, and no one in Nashville in 1986 was able (or willing) to write anything like the title song, a hilarious and harrowing tale of life on the road (“Well, I gotta keep rockin’ while I still can/Got a two-pack habit and motel tan”) or the bitterly unsentimental account of small-town life “Someday” (“You go to school, where you learn to read and write/So you can walk into the county bank and sign away your life”), the latter of which may be the best Bruce Springsteen song the Boss didn’t write. And even when Earle gets a bit teary-eyed on “My Old Friend the Blues” and “Little Rock ‘n’ Roller,” he showed off a battle-scarred heart that was tougher and harder-edged than most of his competition. Guitar Town is slightly flawed by an overly tidy production from Emory Gordy, Jr., and Tony Brown as well as a band that never hit quite as hard as Earle’s voice, and he would make many stronger and more ambitious records in the future, but Guitar Town was his first shot at showing a major audience what he could do, and he hit a bull’s-eye it’s perhaps the strongest and most confident debut album any country act released in the 1980s.
“Guitar Town” was released on March 5, 1986. It topped the Billboard country album charts. Earle was also nominated for two 1987 Grammy Awards, Best Male Country Vocalist and Best Country Song, for the title track.
The album was recorded in late 1985 and early 1986 in Nashville, Tennessee, at Sound Stage Studio. Overdubs were later recorded at Nashville’s Emerald Studios. It was one of the first country music albums to be recorded digitally, utilizing the state-of-the-art Mitsubishi X-800. Each of the album’s ten tracks was either written or co-written by Earle.
In 2003, the album was ranked number 489 on Rolling Stone magazine’s list of the 500 greatest albums of all time. In 2012, the album ranked at #482 on a revised list.
01. “Guitar Town” – 2:33
02. “Goodbye’s All We’ve Got Left” – 3:16
03. “Hillbilly Highway” (Earle, Jimbeau Hinson) – 3:36
04. “Good Ol’ Boy (Gettin’ Tough)” (Earle, Richard Bennett) – 3:58
05. “My Old Friend the Blues” – 3:07
06. “Someday” – 3:46
07. “Think It Over” (Bennett, Earle) – 2:13
08. “Fearless Heart” – 4:04
09. “Little Rock ‘n’ Roller” – 4:49
10. “Down the Road” (Tony Brown, Earle, Hinson) – 2:37
Bonus track on 2002 Remastered CD
11. “State Trooper” [live] (Bruce Springsteen) – 5:12
All songs written by Steve Earle unless otherwise noted
Steve Earle – guitar, vocals
Bucky Baxter – pedal steel guitar, guitar on “State Trooper”
Richard Bennett – guitars, 6-string bass, slap bass, associate producer
Ken Moore – organ, synthesizer, keyboards on “State Trooper”
Emory Gordy, Jr. – bass, mandolin, producer
Harry Stinson – drums, vocals
Reno Kling – bass on “State Trooper”
Michael McAdam – guitar on “State Trooper”
Paul Franklin – pedal steel guitar on “Fearless Heart” and “Someday”
John Barlow Jarvis – synthesizer, piano
Steve Nathan – synthesizer
Release date: March 5, 1986
Recorded at: Sound Stage Studio, Nashville, Tennessee
Producer – Emory Gordy, Jr., Tony Brown
Associate Producer – Richard Bennett
Genre: Rockabilly, Country
Label – MCA Records
Graeme Charles Edge (born 30 March 1941) is an English musician best known as the drummer and a songwriter for the English band, The Moody Blues. Edge is the only remaining original member of The Moody Blues still performing in the band. In addition to his work with the Moody Blues, Edge has worked as the bandleader of his own outfit, the Graeme Edge Band. He has contributed his talents to a variety of other projects throughout his career. He currently resides on the waterfront in Bradenton, Florida.
After the Moodies’ world tour ended in 1974 the band members took a break, during which, between his two solo albums, Edge sailed on a round the world voyage with a small crew in his yacht Delia.
Edge returned to recording later in 1974 forming his studio based The Graeme Edge Band (Featuring guitarist/vocalist Adrian Gurvitz) who first issued a non-album single “We Like To Do it” on Threshold (TH 18) in July 1974 (this was later added to his first Graeme Edge Band album as a bonus track on the CD release). The Graeme Edge Band then released two albums in the mid 1970s. The first was “Kick Off Your Muddy Boots” in September 1975. It was released as a gatefold with album art by Joe Petagno and featured Adrian Gurvitz and Paul Gurvitz, plus a guest appearance co-drumming with Edge by Ginger Baker (on ‘Gew Janna Woman’), and backing vocals by fellow Moodies member Ray Thomas. This first album reached No. 107 in the US on the Billboard chart.
A solo album from a drummer is rarely cause to celebrate, for invariably it arrives stillborn. But Kick Off Your Muddy Boots is a solo set from Moody Blues’ skin basher Graeme Edge in name only, and instead is really a showcase for the Gurvitz brothers, or more precisely singer/guitarist Adrian.
Edge contributed only three songs to his set; the dreamy “Lost in Space,” the introspective “Have You Ever Wondered,” and dramatic “Somethin’ We’d Like to Say,” providing very tentative links to the Blues’ own sound. The rest of the album, composed by Adrian Gurvitz, goes very much its own way. The fabulously funky instrumental “The Tunnel” flies furthest from the mothership, while a guesting Ginger Baker edges Edge into the shadows on the Chicago blues spectacular “Gew Janna Woman,” the set’s apotheosis.
“My Life’s Not Wasted” is nearly as epic, meandering from funk to blues, soul to orchestral overkill in one fell swoop. Swinging from the C&W-tinged rocker “Shotgun” to the sunny California-styled “Bareback Rider,” Muddy Boots treads into as many musical pastures as possible, with the bonus “We Like to Do It” (the band’s 1974 single) tossing ragtime into the mix.
Keyboardist Mickey Gallagher provides excellent work throughout, his lovely soundscapes and delicate melody lines providing a perfect foil to Gurvitz’s soaring leads and hefty riffs. The rhythm section is strong of course, but in the end, this is Gurvitz and Gallagher’s show from start to finish, and what a show it is.
01. “Bareback Rider” (Adrian Gurvitz) – 5:14
02. “In Dreams” (Adrian Gurvitz) – 5:13
03. “Lost In Space” (Graeme Edge) – 4:39
04. “Have You Ever Wondered” (Graeme Edge) – 5:08
05. “My Life’s Not Wasted” (Adrian Gurvitz) – 2:59
06. “The Tunnel” (Graeme Edge) – 2:05
07. “Gew Janna Woman” (Adrian Gurvitz) – 4:13
08. “Shotgun” (Graeme Edge) – 4:09
09. “Somethin’ We’d Like To Say” (Adrian Gurvitz) – 3:32
10. “We Like To Do It” (Adrian Gurvitz, Graeme Edge) – 4:02
Lead Vocals – Adrian Gurvitz, B. Parrish
Guitar – Adrian Gurvitz
Bass – Paul Gurvitz
Drums – Ginger Baker, Graeme Edge
Keyboards – Mike Gallagher
Orchestra – J. Bell, Martyn Ford
Backing Vocals – B. Parrish, Barry St. John, Joanne Williams, Lesly Ducan, N. James, R. Thomas, Ruby James, Sunny Leslie
Engineer – A. Martins, Derek Varnals, J. Burns
Design [Sleeve Design], Painting – Joe Petagno
Liner Notes – John Tracy
Producer – Adrian Gurvitz, Graeme Edge, Tony Clarke
Release date: September, 1975
Genre: Prog Rock
Label – Threshold Records
William Edward “Billy” Crystal (born March 14, 1948) is an American actor, writer, producer, director, comedian, and television host. He gained prominence in the 1970s for playing Jodie Dallas on the ABC sitcom Soap and became a Hollywood film star during the late 1980s and 1990s, appearing in many box office successes.
In 1982, Billy Crystal hosted his own variety show, The Billy Crystal Comedy Hour on NBC. When Crystal arrived to shoot the fifth episode, he learned it had been canceled after only the first two aired. After hosting Saturday Night Live twice on March 17, 1984 and the show’s ninth season finale on May 5, he joined the regular cast for the 1984-85 season. His most famous recurring sketch was his parody of Fernando Lamas, a smarmy talk-show host whose catchphrase, “You look… mahvelous!,” became a media sensation. Crystal subsequently released an album of his stand-up material titled Mahvelous! in 1985, as well as the single “You Look Marvelous”, which peaked at No. 58 on the Billboard Hot 100 in the US.
“Mahvelous” is a budget-line sampler of Billy Crystal’s Saturday Night Live routines, which helped make him a star in the early to mid-’80s. Although it’s better to experience the material with the visuals, it is kind of handy to have a lot of it all in one place.
Most of the tracks here are taken from a live standup performance at The Bottom Line in New York City. It’s pretty funny stuff. But the highlight is the studio recording “I Hate When That Happens”, which features Billy and Christopher Guest doing their “Willie & Frankie” characters from Saturday Night Live. There is also a song by “Fernando Lamas” called “You Look Marvelous”, which is pretty funny. The album closes with “Fernando’s Special Gift”, which is an answering machine message you could actually use on your machine, if you wanted.
01. “I Hate When That Happens” (feat. Special Guest – Christopher Guest) – 5:16
02. “Live” From The Bottom Line” (Billy Crystal) – 5:21
03. “Godammit, You… Bastard” (Billy Crystal) – 3:20
04. “A Mind Of It’s Own” (Billy Crystal) – 5:12
05. “Now!” (Billy Crystal) – 4:58
06. “Sammy For Africa” (feat. Special Appearance By Paul Shaffer) (Billy Crystal) – 3:22
07. “You Look Marvelous” (Billy Crystal, Paul Shaffer) – 4:24
08. “Where’s Your Messiah Now?” (Billy Crystal) – 2:29
09. “Buddy Young, Jr.” (Billy Crystal) – 2:44
10. “Howard Cosell, Right There!” (Billy Crystal) – 5:03
11. “Face” (Billy Crystal) – 8:27
12. “Fernando’s Special Gift” (Billy Crystal) – 0:25
Guitar – Dan Huff
Keyboards – Greg Phillinganes
Saxophone – Kim Hutchcroft, Larry Williams
Trombone – Bill Reichenbach
Trumpet – Gary Grant, Jerry Hey
Voice – Bob Tischler
Coordinator [Reissue Project Coordination] – Jeff Fura, Lynise Levine
Executive Producer – Billy Crystal
Producer – Bob Tischler
Written-By – (Billy Crystal)
Genre: Non-Music, Comedy
Label: A&M Records
Michael R. “Mike” Doughty (born June 10, 1970) is an American singer-songwriter and author. He founded the band Soul Coughing in the 1990s. He broke up with the band and released his first solo album in 2000.
“Sad Man Happy Man” is Mike Doughty’s third studio album. It was released on October 6, 2009 on ATO Records.
On “Sad Man Happy Man” Mike Doughty returns to acoustic folk; to the pared-down version of his ’90s band Soul Coughing’s funk-infused, downtown jazz-embracing indie rock that made his solo debut such a delight.
Half Brooklyn hipster aging delightfully gracelessly, half pre-electric Dylan, Doughty muses over lost loves and lusts, throws in odd references, abstract couplets that, defying logic, retain meaning, and crafts bohemian characters past, present, and future. Since his days fronting the 120 Minutes-feted band, Doughty’s been the master of his own brand of half-Beat mantra half-rap, and he doesn’t take long to return to the repetition well.
By the second track, “(I Keep On) Rising Up,” he’s skipping lyrical grooves, and on the next track, “(You Should Be) Doubly (Gratified),” he’s practically in his usual scat trance; it’s predictable, but oh so comfortable, and his prose poetry loses no substance during all the verbal substance. He continues to switch tacks effortlessly, dropping a straightforward Ani DiFranco-esque modern folk ballad on “(I Want To) Burn (You Down),” before returning to the underground hip-hop off-beat vigor of “Pleasure on Credit.” Doughty closes (fittingly) on a reverent cover of Daniel Johnston’s “Caspar the Friendly Ghost,” a sweetly off-kilter product of another merrily fevered mind. While “Sad Man Happy Man” is nothing particularly new, it’s a thoroughly fun and gleefully disorienting effort from one of the alternative era’s truly unique pop artists.
01. “Nectarine (Part Two)” – 2:26
02. “(I Keep On) Rising Up” – 3:25
03. “(You Should Be) Doubly (Gratified)” – 3:07
04. “Lorna Zauberberg” – 3:02
05. “(I Want To) Burn You (Down)” – 2:01
06. “Pleasure on Credit” – 2:48
07. “Lord Lord Help Me Just to Rock Rock On” – 2:57
08. “(He’s Got The) Whole World (In His Hands)” – 2:40
09. “(When I) Box the Days (Up)” – 2:12
10. “Year of the Dog” – 2:30
11. “Diane” – 2:02
12. “How to Fuck a Republican” – 2:52
13. “Casper the Friendly Ghost” (Daniel Johnston cover) – 1:32
All songs written by Mike Doughty except when noticed.
Producer – David Kahne; Pat Dillett
Engineer Jon Altschuler
Release date: October 6, 2009
Genre: Small Rock
Label – ATO Records
Adrian James “A.J.” Croce (born September 28, 1971 in Bryn Mawr, Pennsylvania) is an American singer-songwriter. He is the son of singer-songwriters Jim Croce and Ingrid Croce.
“A. J. Croce” is the self-titled debut album by American singer-songwriter A. J. Croce, released in 1993.
If you like blues, jazz and rock and roll don’t miss this album. I think he is a cross between Dr. John’s piano and Louis Armstrong’s voice good company and high praise indeed! I first saw A.J. on Austin City Limits and had to go to the newspaper to find out who this remarkable artist was. I still wondered if he was any kin to the late Jim Croce. He is, and his dad passed on some great musical genes, but the resemblence stops there. He’s never going to write “Time In A Bottle” and you wouldn’t want him to do so.
A.J. Croce’s coarse voice and bluesy/jazzy style bear no resemblence to his father’s music. But he has certainly inherited Jim Croce’s genius for telling a story through his song. “He’s Got A Way With Women” and “How’d We Get So Good At Saying Goodbye” are but a couple of examples of words painting a thousand pictures. It is difficult to categorize Croce’s music because of the variety of styles he adopts and has mastered. “I Found Faith” is an introspective look at one man’s search for truth, set to a smooth, soothing rhythm. That same soothing feeling comes through in “I Wonder”, a classic torch song. But don’t look for this album to lull you to sleep. “Which Way Steinway”, “Smokin’ Good Time”, and “Stuff You Gotta Watch” will rock your sock off. A.J.’s vocal qualities are well suited to the songs he sings, but his talent on the piano are what hooked me. I suspect this guy could have made a living playing Mozart as well as his own material. Since A.J.’s music is not typical of the candy-coated drool that fills the pop airwaves, he is not likely to become a household name.
01. “He’s Got a Way with Women” (Rodney Lay, Hank Thompson) – 3:31
02. “Which Way Steinway” (A.J. Croce) – 3:21
03. “I Wonder” (Cecil Gant, Raymond Leveen) – 5:01
04. “How’d We Get So Good at Sayin’ Good-Bye” (A.J. Croce) – 4:06
05. “I Found Faith” (A.J. Croce) – 2:45
06. “Keep on Lookin'” (A.J. Croce) – 4:09
07. “She Wouldn’t Give Me None” (Minnie McCoy, Joe McCoy) – 3:15
08. “I Know Better Now” (A.J. Croce) – 3:11
09. “Back Where I Began” (A.J. Croce) – 3:00
10. “Smokin’ Good Time” (A.J. Croce) – 3:15
11. “Stuff You Gotta Watch” (Tom Dowd, Dan Greer, George Jackson) – 2:32
12. “If I Could Be with You (One Hour Tonight)” (Henry Creamer, James P. Johnson) – 2:03
A. J. Croce – piano, vocals
Bob Boss – electric guitar
Garnett Brown – trombone
T-Bone Burnett – acoustic guitar
Armando Campion – acoustic bass
Ron Carter – bass, acoustic bass
Evan Christopher – clarinet, tenor saxophone
Armando Compion – bass, electric bass
Dave Curtis – electric bass
Tim Drummond – electric bass
Sally Dworsky – background vocals
Chuck Findley – trumpet
Robben Ford – acoustic guitar, guitar, electric guitar
Gary Herbig – baritone saxophone
Dick Hyde – tuba
Jim Keltner – drums
Paul Kimbarow – drums
Mitch Manker & his Brass Section – trumpet
Arnold McCuller – background vocals
Carolyn Perry – background vocals
Lori Perry – background vocals
Sharon Perry – background vocals
Greg Prestopino – background vocals
Bill Reichenbach, Jr. – trombone, bass trombone
Jim Self – tuba
Paco Shipp – harmonica, tenor saxophone
John Simon – conductor
Fred Tackett – acoustic guitar, dobro
Benmont Tench – organ
Snooky Young – flugelhorn
Producers – T-Bone Burnett, John Simon
Engineers – Steve MacMillan, Joe Schiff, Allen Sides
Assistant engineers – Jim Champagne, Noel Hazen
Mastering – Chris Bellman
Production coordination – Joe Henry
Arrangers – Evan Christopher, Mitch Manker & his Brass Section, John Simon
Art direction – Melanie Penny
Design – Kurt DeMunbrun
Photography – William Claxton
Recorded At – Ocean Way Recording
Mixed At – Ocean Way Recording
Mastered At – Bernie Grundman Mastering
Label – Private Music
Rick Derringer (born Ricky Dean Zehringer; August 5, 1947) is an American guitarist, vocalist, Grammy Award winning producer and entertainer. Derringer came to prominence in the 1960s as a member of The McCoys, who had a number one hit single with “Hang on Sloopy.” Derringer then turned to blues rock, scoring a 1974 hit with “Rock and Roll, Hoochie Koo”. He has also worked extensively with brothers Edgar and Johnny Winter, and with the group Steely Dan.
Rick Derringer’s 1980 release “Face to Face” is a disappointing return to mediocrity after the fresh and fun “Guitars and Women” album from the previous year. The majority of the tracks are heavy, piano-led ballads that Derringer can’t pull off due to his Twiggy-thin vocals. The only songs that give any indication of Derringer’s strengths are the rocking “I Want a Lover” and the sticky-sweet bubblegum pop tune “Let the Music Play,” though his guitar pyrotechnics on the cover of Neil Young’s “My My, Hey Hey (Out of the Blue)” and the overly long “Jump, Jump, Jump” give you an idea of why he was a much sought-after sideman.
Mostly the record sounds like it was cut by a guy who is out of gas and out of ideas. The record has only a shred of the energy and passion that made 1979’s Todd Rundgren-produced “Guitars and Woman” a surprising return to the promise of Derringer’s early solo albums.
01. “Runaway” (Rick Derringer / Donnie Kisselbach) – 4:37
02. “You‘ll Get Yours” (Rick Derringer) – 4:57
03. “Big City Loneliness” (Rick Derringer / Larry Sloman) – 3:58
04. “Burn The Midnight Oil” (Donnie Kisselbach) – 5:34
05. “Let The Music Play” (Rick Derringer / Donnie Kisselbach) – 3:25
06. “Jump, Jump, Jump” (Rick Derringer) – 7:12
07. “I Want A Lover” (Rick Derringer) – 3:23
08. “My, My, Hey Het (Out Of The Blue)” (Jeff Blackburn / Neil Young) – 6:09
Guitar, Vocals – Rick Derringer
Bass, Vocals – Donnie Kisselbach
Drums, Vocals – Jimmy Wilcox
Engineer, Mixed By – Dave Still
Keyboards, Vocals – Benjy King
Mastered By – Ted Jensen
Producer – Rick Derringer
Mastered At – Sterling Sound
Label – Blue Sky Records
The Music were an English alternative rock band, formed in Kippax, Leeds in 1999. Comprising Robert Harvey (vocals, guitar), Adam Nutter (lead guitar), Stuart Coleman (bass) and Phil Jordan (drums), the band came to prominence with the release of their debut album, “The Music”, in 2002.
Without a nerve, the Music arrived in America shortly after the Vines hype of 2002 had simmered down. But unlike their Aussie chart mates, the four boys from Leeds waltzed in with raw confidence. It was about the music, pure and simple. Their name made it obvious, and their infectious, brash sound proved it tenfold. The Music, whose members were on the cusp of their twenties, constructed material that’s not only aware of what the band is like sonically, but also keenly resistant to then-current post-grunge flair. The bombast of ’60s psychedelia were woven around; glazed techno bits give a vibrant overtone to the album itself, and the flurry of manic musical bliss is almost immediate. Such a task is impractical to pull off on a first album, however. The Verve’s earlier singles “All in the Mind” and “Gravity Grave” maneuvered such a move, and remarkably so, but the Music do it with a lesser degree of cockiness. Frontman Robert Harvey is a near vocal double for Geddy Lee, a matchless prospect for guitarist Adam Nutter. Together, the two are a dynamic pair, roaring and rollicking on “Take the Long Road and Walk It.”
The unwashed sexiness of “Human” builds upon that formula, maintaining a powerful instrumentation while designing an artsy lyrical stance. Like Richard Ashcroft, the Music seek a simple purpose, which is to love and find a good, solid place. Harvey’s muddled vocals twist and moan throughout the white-hot “Float”; “The People” is certainly driving with its political coup de foudre, and rock’s most basic emotions are heavy.
The Music don’t necessarily wish to start a fight, but they’re tough in staying individualists in an effort to comfortably embrace a chosen path. “You’re love is finding a better way/Everybody wants you to know,” from the blistering electronic haze of “Getaway,” is a testament to that, and “The Truth Is No Words” follows suit.
For a debut album, the Music have managed to take passion to another level, and it’s much more stylish than what the Hives, the Vines, and the Strokes have done. They’re serious with their craft. Reaching for a spiritual haven is a touch overdone, but it works this time. The Music is an incredible debut and a brilliant example of where rock could be headed.
01. “The Dance” – 5:08
02. “Take The Long Road And Walk It” – 4:53
03. “Human” – 5:28
04. “The Truth Is No Words” – 4:35
05. “Float” – 5:21
06. “Turn Out The Light” – 6:23
07. “The People” – 4:58
08. “Getaway” – 6:29
09. “Disco” – 6:36
10. “Too High” – 5:55
all songs written by the music.
Vocals – Robert Harvey
Bass – Stuart Coleman
Design [Sleeve] – Linda Baritski
Drums – Phil Jordan
Guitar – Adam Nutter
Engineer – Barny
Engineer [Assistant] – Ben Thackeray, Louis Reed, Myles Clarke, Neil Tucker, Tom Paterson
Management – Coalition Management
Painting [Original Cibachrome Print With Paint By] – Rob & Nick Carter
Photography By [Band] – Tom Craig
Producer – Jim Abbiss
Recorded at: Jacobs Studios, Surrey.
Mixed at: Mayfair, The Strongroom and Metropolis Studios London.
Genre: Indie Rock
Label – Hut Recordings
Counting Crows is an American rock band from Berkeley, California, formed in 1991. The band consists of Adam Duritz (lead vocals, piano), David Bryson (guitar), Charlie Gillingham (accordion, keyboards), Dan Vickrey (lead guitar), David Immerglück (guitar, banjo, mandolin), Jim Bogios (drums) and Millard Powers (bass).
Counting Crows recently release an iTunes exclusive live performance “Live from Soho”.
This is an 11 song set, not sure if it’s the whole set or just selected for iTunes, but they certainly picked a good mix of tunes to play on this one. Not only a few from the new album, but also some of the classics like, “Richard Manuel is Dead”, “Angels of the Silence”, “Long December” and “Rain King”.
In the cozy environs of Apple’s SoHo store in New York City, Counting Crows delivered a stripped-down, mostly acoustic live set for iTunes’ exclusive use. Coming on the heels of the “Saturday Nights & Sunday Mornings” album, “Live from Soho” finds the band delivering tunes from that release as well as reinterpreting a batch of earlier material in a manner that emphasizes the “folk” part of their folk-rock sound. The Crows demonstrate that they’ve got an admirable sense of musical history by opening with a cover of the late cult singer/songwriter Jackson C. Frank’s “Blues Run the Game,” and giving a nod to the soulful singer/pianist for the Band on “Richard Manuel Is Dead.”
Overall the Soho Recording is a good one. The mix of songs is good, the versions are nice as well. Adam tells little stories about some of the songs as well in between playing. It’s a nice intimate sounding concert. The almost 10 minute version of “Rain King” is a good way to finish it off as well.
01. “Blues Run the Game” – 4:11
02. “Richard Manuel Is Dead” (A. Duritz, C. Gillingham, D. Immerglück, M. Malley, D. Vickrey) – 4:37
03. “Angels of the Silences” (D.Bryson, A.Duritz, C.Gillingham, M.Malley, B.Mize, D.Vickrey) – 3:56
04. “A Long December” (Adam Duritz) – 5:10
05. “Washington Square” (Adam Duritz) – 4:47
06. “On Almost Any Sunday Morning” (Adam Duritz) – 2:54
07. “When I Dream of Michelangelo” (A.Duritz, C.Gillingham, D.Immerglück, D.Vickrey) – 3:39
08. “You Can’t Count on Me” (Adam Duritz) – 3:24
09. “Le Ballet d’Or” (Adam Duritz, Charlie Gillingham, David Immerglück) – 5:02
10. “On a Tuesday in Amsterdam Long Ago” (Adam Duritz) – 4:37
11. “Rain King” (Steve Bowman, David Bryson, Adam Duritz, Charlie Gillingham, Matthew Malley) – 9:31
Jim Bogios – drums, sleigh bells, tambourine, maracas, percussion, vocals
David Bryson – guitar, vocals
Adam Duritz – vocals
Charlie Gillingham – keyboards, vocals
David Immergluck – guitar, vocals
Millard Powers – bass guitar, upright double bass, vocals
Dan Vickrey – guitar, banjo, keyboard, vocals
Michael Judeh – Engineer
Suzanne Varney – Producer
Mike Crehore – Mastering
Jason Marcucci – Engineer, Mixing
Recorded: iTunes exclusive live performance “Live from Soho”.
Genre: Alternative Rock, Indie Rock
Label – Geffen/iTunes
The Del Fuegos were a 1980s garage-style rock band. Formed in 1980, the Boston-based band gained success in 1986 on success of their songs “Don’t Run Wild” and “I Still Want You” and appearing in a widely seen television commercial for a beer company. The band’s fans included Tom Petty, who appeared on one of the band’s songs and featured them as an opening act on one of his tours.
Abandoning both longtime producer Mitchell Froom, and label, Slash, the Del Fuegos’ move to RCA was ultimately their last stand. While it plays more like a Dan Zanes solo album, complete with horns, strings, and guest spots from two members of the J.Geils Band, they made a valiant but only partially successful attempt to rebound from the slickness of Stand Up. Things sure get off to an energetic start with the Geils-sounding “Move With Me Sister,” assisted by Magic Dick’s over-driven harp, then move into Bruce Springsteen territory with the anthemic, we-gotta-get-outta-this-place sentiments of “Down In Allen’s Mills.” But the strings and background vocals of “I’m Inside You” show a disturbing attempt to sweeten the band’s raw R&B/rock tendencies, similar to fellow-Bostonians Aerosmith ill-advisedly attempted. “Breakaway” takes a jangle rock page from Tom Petty’s book with its singalong chorus, and “Stand By You” sounds too Dylan-ish for its own good. Individually, the songs and performances are fine, if a little derivative, but overall the band seems to be going for that elusive hit. As in the past, the production reigns them in and dilutes their garage sound. Zanes is in fine form with ragged voice throughout, yet this album remains a blueprint for how these generally well-written tunes probably sounded live in a smoky club, the band’s natural habitat. A little too constricted and calculated, “Smoking In The Fields” never achieved the radio play they (or their new label) desperately wanted and needed. They broke up soon afterward.
01. “Move With Me Sister” (Tom Lloyd / Dan Zanes) – 3:20
02. “Down In Allen´s Mills” – 3:20
03. “I`m Inside You” – 4:27
04. “Headlights” – 3:04
05. “Breakaway” – 3:44
06. “Dreams Of You” – 3:40
07. “The Offer” – 4:07
08. “Part Of This Earth” – 3:26
09. “Stand By You” – 3:03
10. “Lost Weekend” – 5:49
11. “No No Never” – 3:50
12. “Friends Again” – 3:06
All songs written by Dan Zanes, except where notice.
Vocals, Guitar – Dan Zanes
Bass, Vocals, Cello, Glockenspiel – Tom Lloyd
Chorus [Quartet] – The G-Strings
Drums, Percussion – Joe Donnelly
Guitar [Additional] – John McCurry
Guitar, Vocals – Adam Roth
Harmonica – Magic Dick
Harmony Vocals – Rick Danko
Horns – The Heavy Metal Horns
Piano, Organ – Seth Justman
Producer, Recorded By, Mixed By – Dave Thoener
Recorded At – Bearsville Studios, B.T.E. Studios, Long View Farms
Genre: Roots Rock, Garage Rock
Label – RCA Records