Latin Quarter – Modern Times (1985)

FrontCover (2)AModern Times is the first album by the British band Latin Quarter. It reached the top 20 in Germany and Sweden[1] and spent two weeks on the UK Albums Chart, peaking at Number 91. It includes the songs “Radio Africa” which reached Number 19 in the UK Singles Chart. and “America for Beginners” which was covered by Toyah on her album Minx.

Latin Quarter’s lyricist Mike Jones describes the album as “a veritable manifesto” of their left wing views as members of Big Flame. The title track takes its name from the Charlie Chaplin film as it critiques the effect of McCarthyism on Hollywood; “Radio Africa” describes the effect of Imperialism on that continent; “Toulouse” is about racism in France; “No Rope As Long As Time” is a plaintive account of Apartheid South Africa and “America for Beginners” describes the rise of the right wing in the United States. (by wikipedia)

AmericaForBeginners“… He’s [Mike Jones] also a dab hand at those snappy one liners that the likes of a Costello or a Difford get regularly feted for.” NME

“… the catchy hooks fly thick and fast.” The Hit

“You’ve got to respect an English synth band that bothers to write real songs about real issues.” Playboy

“… a really superb lyrical content throughout.” RM

“The lyric comes from a catchy exercise in light reggae called Radio Africa (included here), and any expectations it awakened that here was a band with not only a conscience but also political awareness are fulfilled by this album. The songs are literate, punchy and pertinent – this tour through the modern world takes in, for instance, South Africa, both Reagan’s and McCarthy’s America, the Falklands/Malvinas, and the Welsh coal-mining valleys. The kind of songs New Internatioanalist readers (and editors) would write if they had the chance and the skill.” Politics 5/5, Entertainment 4/5 – New Internationalist Magazine

Carol Douet (Vocals, percussion)
Yona Dunsford (vocals, piano)
Greg Harewood (bass)
Steve Jeffries (keyboards, vocals)
Mike Jones (lyrics)
Steve Skaith (vocals, guitar)
Richard Stevens (drums, percussion)
Richard Wright (guitar, vocals)
Martin Ditcham (percussion)
Steve Greetham (bass on 03.)
Steve Gregory (saxophone)

01. Modern Times (Skaith/Jones) 3:45
02. No Ordinary Return (Skaith/Jones) 3.35
03. Radio Africa (Skaith/Jones/Keefe) 3.53
04.Toulouse (Skaith/Jones) 4.20
05. America for Beginners (Skaith/Jones) 5.16
06. Eddie (Skaith/Jones(Keefe) 3.08
07. No Rope As Long As Time (Skaith) 4.28
08. Seaport September (Skaith/Jones) 3:18
09. New Millionaires (Jeffries/Jones 3.35
10. Truth About John (Skaith/Jones) 4.00
11. Cora (Skaith/Jones) 258


What’s keeping the White House white
Is it chalk, is it fog, is it fear?
Are they staying up most of the night
And sending somebody out for a beer?
Is it bed-time for Bonzo?
Is it time for a change?
Is it flavour-free TV dinners?
It’s a hard thing to take, when they make a mistake
America for Beginner.

The sound of a bell with a crack
Even the swingers are swinging right
The vigilantes are on the way back
With prime-time “fight the good fight”.
What a start to a day
It starts three times with a “K”
There’s no sponsored hour for sinners
They’II bring back the hot seat
And turn up the heat
America for Beginners.

That’s America for Beginners.

You wear designer jeans after dark
And your shirts are sharp-cut in satin
But won’t you watch out for Central Park
And apartments in uptown Manhattan.

It’s a sign of the times
Better stoy out in front
Because they’ve only got time for the winners.
Just keep living for fun, you son of a gun
America for Beginners.

Everywhere there’s stripes ond stars
Men in dark suits in unmarked cars
Sipping Jack Daniels in Third World bars
They’re close to the edge,
They’re as close as you can get.

Dave Weckl – Heads Up (1992)

FrontCover1Dave Weckl (born January 8, 1960) is an American jazz fusion drummer and leader of the Dave Weckl Band.

Weckl attended Francis Howell High School in St. Charles, MO and graduated in 1978. He majored in jazz studies at the University of Bridgeport in Connecticut. Starting out on the New York fusion scene in the early 1980s, Weckl soon began working with artists such as Paul Simon, Madonna, George Benson, Michel Camilo, Robert Plant and Anthony Jackson. His most famous early work though, where his popularity blossomed, was with the Chick Corea Elektric Band from 1985 to 1991.

Weckl spent a total of seven years with Corea, during which he performed on numerous albums and also appeared with Corea’s Akoustic Band. He augmented his work with Corea by continuing his session work and appearing often with the GRP All-Star Big Band. In addition, he recorded four albums in 1988 and 1989 with the Manhattan Jazz Quintet. Weckl has also released a series of instructional videotapes, and in 1990, he led his first solo date, Master Plan, for GRP. Heads Up followed in 1992, as well as Hard-Wired in 1994.

After leaving Corea’s band, Weckl recorded and toured with guitarist Mike Stern.[3] Under his own name, he has been the leader of ten recordings since 1990, seven of which as the Dave Weckl Band.

Booklet01AWeckl currently resides in Los Angeles, California, where he has his own home studio.
Endorsements and equipment

Weckl endorses Yamaha drums, pedals & hardware, Sabian Cymbals, Vic Firth Sticks & Mallets, Remo drumheads and mufflers,Shure Microphones, Latin Percussion, M-Audio and XL Cases.

Weckl played and endorsed Zildjian cymbals[19] until 2001, when he switched to Sabian. In 2001, Weckl and Mark Love of Sabian Cymbals designed and released the HHX Evolution line of cymbals in accordance with Weckl’s tastes for bright, open, and responsive sounds. In 2006, Weckl and Love released a new HHX Legacy line of cymbals which Weckl describes as the “darker side” of his sound. Weckl currently plays both lines in concert and recording situations.

Weckl has endorsed Vic Firth drumsticks throughout his career. In 1988, the Dave Weckl Signature series (SDW) was released, which were tailored according to Weckl’s standards at that time. In 2001, the Dave Weckl Evolution Sticks (SDW2) were released. These sticks feature a short tear-drop tip on a 5A shaft with a different balance than the SDW line. These changes comply with the stylistic changes that Weckl made to his playing in the late 1990s, when he began to center his style of playing on openness and rebound.

Around 1996 his style and setup radically changed, in large part because of his studies with renowned drum teacher Freddie Gruber and the influence of Jim Chapin, the father of singer/songwriter Harry Chapin.(by wikipedia)

Booklet02AOn drummer Dave Weckl’s GRP set the rhythms are funky but complex and intelligent, Weckl’s sidemen are very complementary and the grooves are quite infectious. Altoist Eric Marienthal and tenor saxophonist Steve Tavaglione get to blow up a storm twice apiece over vamps, Jay Oliver’s synth spot recalls Chick Corea on “Tomatillo” and there are strong cameos by trumpeters Randy Brecker and Jeff Beal. Listeners who hate the sound of electronics would best avoid this date, but within its genre Heads Up is a superior effort.(by Scott Yanow)

Jeff Beal (trumpet)
Randy Brecker (trumpet)
James Earl (bass)
Eric Marienthal (saxophone)
Gary Novak (bass, keyboards)
Jay Oliver (keyboards, synthesizer)
John Patitucci (bass)
Steve Tavaglione (saxophone)
Dave Weckl (drums, bass, synthesizer)Synthesizer, Timbalitos

01. 7th Ave. South (Oliver/Weckl) 5.13
02. Heads Up (Oliver/Weckl) 5.39
03. Taboo (Oliver/Weckl) 5.21
04. Tomatillo (Oliver/Weckl) 5.32
05. Peripheral Vision (Beal) 5.09
06. Tee Funk (Oliver/Weckl) 5.31
07. Against the Wall (Novak/Weckl) 5.44
08. Full Moon (Weckl) 5.36
09. Trigger Happy (Weckl) 3.58


Seun Kuti + Fela´s Egypt 80 – Many Things (2008)

FrontCover1Oluseun Anikulapo Kuti (born 11 January 1983), commonly known as Seun Kuti, is a Nigerian musician, and the youngest son of legendary afrobeat pioneer Fela Kuti. Seun leads his father’s former band Egypt 80.

Seun and his brother Femi are the two commercially successful musical offspring of the late Nigerian afrobeat innovator Fela Kuti. Seun has one younger sister who used to sing in his band. At the age of nine Seun expressed the wish to sing to his father.[citation needed] A short while later Seun started performing with his father and the band. Since then, Seun has followed the political and social ethos of his father.

After Fela had died in 1997, Seun, then only 14 years old, became the lead singer of Egypt 80. While in school Seun had to choose between a career in music and one in African Football for which he has an outstanding talent.[citation needed] He had a friend performing for crowds too, sometimes consisting of only 3 or 4 people. He honed his musical skills for several years. Those skills were showcased to the world with his 2008 debut album, Many Things, produced by Martin Meissonnier, who had already produced two albums for his father.

SeunKutiAbout three quarters of the current Egypt 80 line-up consists of musicians that not only played with Fela Kuti, but often were arrested and harassed alongside the founder of the Afrobeat movement. Live sets consist of both new material and originals from Seun’s father. Since during his lifetime, Fela Kuti had never performed any songs live on stage which he had recorded in the studio, this is the first chance for many long-time fans to enjoy classics like Shuffering and Shmiling, Colonial Mentality and Army Arrangement in a live setting. A new studio album called From Africa with Fury: Rise was released on 5 April 2011. It was recorded in London, produced by Brian Eno, John Reynolds and Seun himself.

Seun Kuti is featured in Calle 13’s song “Todo se mueve” (Everything Moves), on their 2010 album Entren los que quieran.

He participated actively in the Occupy Nigeria protests against the fuel subsidy removal policy of President Goodluck Jonathan in his native Nigeria, in January 2012. Seun Kuti is an atheist.

Seun and girlfriend Yetunde George Ademiluyi welcomed a baby girl on 16 December 2013 and named her Ifafunmike Adara Anikulapo-kuti. (by wikipedia)

Booklet01AIt’s no surprise that Seun Kuti’s debut album takes a page from Fela Kuti, seeing that Seun is Fela’s son, and that Egypt 80 was also Fela’s last band. While those facts may raise objections of coattail riding, there’s very little to criticize here, as the second Egypt 80’s ferocious groove kicks in on “Many Things,” the album’s lead-off track.

Seun sings with a passion that is inherited directly from his father, addressing politics, hypocrisy, and injustice with fearless conviction. Yet while Fela’s radical spirit lives in Seun, it is the relentless polyrhythms, infectious horn lines, and slinking guitar and bass of songs like “Da Oil” and “Mosquito Song” that make this debut surge with life. (by Anthony Tognazzini)

Ajayi Raimi Adebiyi (drums)
Oyinade Adeniran (saxophone)
Lekan Animashun (Baba Ani) (saxophone)
Chief Udoh Essiet (percussion)
Adedimeji Fagbemi (Showboy) (saxophone)
Kunle Justice (keyboards)
Kayode Kuti (bass)
Emmanuel Kunnuji (trumpet)
Seun Anikulapo Kuti (saxophone, vocals, organ)
David Obanyedo (guitar)
Olugbade Okunade (trumpet)
Dele Olayinka (percussion)
Alade Oluwagbemiga (guitar)
Kola Onasanya (congas)
Wale Toriola (percussion)
Background vocals:
Bolande Kamson – Iyabo Adeniran – Moturayo Anikulapo Kuti

01. Think Africa (Kuti)  6.49
02. Don’t Give That Shit To Me (Fagbemi) 9.21
03. Many Things (Kuti) 8.01
04. Fire Dance (Kuti/Logie) 8.09
05. Mosquito Song (Kuti) 7.23
06. Na Oil (Animashaun) 8.09
07. African Problems (Kuti) 5.01


John Hammond – Long As I Have You (1998)

FrontCover1John Hammond’s latest album marks a major departure in one respect — for the first time in anyone’s memory, he sings, but plays nothing on one of his records, while Little Charlie & the Nightcats, led by guitarist Charlie Baty, handle the guitars and everything else. The difference is very subtle, the playing maybe a little less flashy than Hammond’s already restrained work — think of how good Muddy Waters sounded on the early-’60s records where he sang and didn’t play. And that comparison is an apt one — even more than 35 years after he started, Hammond inevitably ends up sounding like its 1961 and he’s working at Chess studios in Chicago, cutting songs between Muddy Waters sessions. Harpist Rick Estrin also contributes a smooth and eminently enjoyable original amid a brace of covers of blues standards. There is not a weak number here, and this band is a kick to listen to, sounding more naturally authentic than anybody in the 1990’s has a right to (Baty’s quiet pyrotechnics on “Lookin’ for Trouble” would make this record worth owning, even if Hammond’s singing and the rest of the songs weren’t as good as they are). And the songs include numbers by Howlin’ Wolf, Eddie Taylor, Little Walter, Rice Miller, Sonny Boy Williamson, and Willie Dixon. And as a bonus, we get Hammond playing and singing on three unplugged acoustic tracks, accompanied by a washboard, where he shows off his still-formidable country blues sound, whetting the appetite for more like this. (by Bruce Eder)

Charlie Baty (guitar)
June Core (drums)
Rick Estrin (harmonica)
John Hammond, Jr. (guitar, harmonica, vocals)
Steve Lucky (piano)
Ronnie James Weber (bass)
Washboard Chaz Leary (washboard)

01. Don’t Start Me Talkin’ (Williamson) 2.57
02. As Long as I Have You (Dixon) 3.17
03. I Feel So Sorry (Estrin) 2.53
04. Stranded (Malone) 2.55
05. Lookin’ For Trouble (Taylor) 3.03
06. I Got Lucky (Warren) 2.57
07. Sad to Be Alone (Williamson) 3.20
08. Goin’ Away Baby (Lane) 2.33
09. So Many Roads, So Many Trains (Paul) 3.03
10. I’m Gonna Find My Baby (Walker) 3.49
11. Crying At Daylight (Burnett) 3.08
12. Everything’s Gonna Be Alright (Jacobs) 3.09
13. Untrue Blues (Fuller) 2.17
14. Tell Me Mama (Jacobs) 3.11
15. Homeless Blues (Jackson) 4.17


Raymond Lefevre – Mammy Blue (1971)

FrontCover1Raymond Lefèvre (November 20, 1929 – June 27, 2008) was a French easy listening orchestra leader, arranger and composer.

Born on November 20, 1929 in Calais, France, Raymond Lefèvre is best known for his 1968 theme “Soul Coaxing (Ame Caline)”, which became an international hit. He also wrote soundtracks for movies with Louis de Funès like La Soupe Aux Choux (1981) or the series of legendary Le Gendarme de Saint Tropez. During the late 1950s and early 1960s he accompanied Dalida on most of her recordings (Bambino, Por Favor, Tu peux tout faire de moi, Quand on n’a que l’amour), amongst many others. He started his musical career in 1956 on the Barclay Records label. (read more)

This is another beautiful by the french maestro of Easy Listening, especially produced fir the US market … very nice !

Raymond LeFevre Orchestra


01. What Have They Done To My Song Ma (Safka) 2.33
02. Here’s To You (Baez) 2.32
03. How I Always Want To Love (Hamilton) 2.20
04. Wig Wam (Dylan) 2.34
05. Gloria (Delanoe/de Senneville) 3.41
06. Largo Of Haendel (Händel) 2.27
07. Mammy Blue (Giraud/Trim) 2.56
08. Two Friends From One Love (Debout/Dumas) 2.35
09. El Condor Pasa (Tradtional) 3.06
10. Adagio Of The Pethetic Sonate Of Beethoven (Beethoven) 3.00
11. The Black Eagle Dedicated To Laurence (Barbara) 2.40
12. Modinha (Villa/Lobos) 3.33

SingleASingle of “Mammy Blue”


Alvin Lee – Detroit Diesel (1987)

FrontCover1By the time of 1986’s Detroit Diesel, Alvin Lee had settled down somewhat. No longer were his songs simply showcases for his astonishingly fast technique, and he was able to open his blues jams into funky grooves. That doesn’t mean that Detroit Diesel is a particuarly remarkable album, but it does have more enjoyable moments, such as the Stonesy “Too Late to Run for Cover,” than the average latter-day Lee album. (by Stephen Thomas Erlewine)

Detroit Diesel portrays Alvin Lee in more mature and relaxed mood. This collection of 10 tracks includes cuts that range from Blues romps to funky jams. His astonishing technique is still well displayed, but the material gives him a chance to stretch out and groove in a style closer to the Rolling Stones than Ten Years After. An all-star collection of old mates – such as Jon Lord, Joe Brown and George Harrison – make guest appearances, but the heavy duty backing work is carried out by Tim Hinkley (keyboards), Steve Gould (guitar), the late Boz Burrell (bass) and Bryson Graham (drums), who cook up a smokin’ rhythm section (by Repertoire Records).

Booklet 6APersonnel:
Mick Fe’at (bass, background vocals)
Alvin Lee (guitar, vocals, harmonica, drums + bass on 04.)
Alan Young (drums)
Boz Burrell (bass on 08.)
Joe Brown (fiddle on 06.)
Vicky Brown (background vocals)
Steve Gould (background vocals, synthesizer on 04. + 09., guitar on 06. + 10.)
Bryson Graham (drums on 05., 07. + 09.)
George Harrison (slide-guitar on 04.)Lee
Tim Hinckley (keyboards on 01, 03, 04. + 08., piano on 06., background vocals)
David Hubbard (keyboards, bass on 02., synthesizer on 09.)
Jon Lord (organ on 05. + 10.)
Leo Lyons (bass on 01.)

01. Detroit Diesel (Lee/Gould) 4.45
02. Shot In The Dark (Lee/Hubbard) 4.02
03. Too Late To Run For Cover (Lee/Hinkley)
04. Talk Don’t Bother Me (Lee) 3.38
05. Ordinary Man (Lee) 4.00
06. Heart Of Stone (Lee/Gould) 4.07
07. She’s So Cute (Lee) 3.18
08. Back In My Arms Again (Lee)
09. Don’t Want To Fight (Lee/Gould) 4.25
10. Let’s Go (Lee/Gould) 3.30



Alexis Korner – Audimax Hamburg (1969)

FrontCover1This is another “Riffmaster” rip from an old tape I got 30 years ago.

It´s a broadcast recording of an exciting performance by Alexis Korner and Peter Thorup feat a very young Colin Hodgkinson (pre- Back Door) and Ray Warleight (He has played and recorded with major figures and bands of the UK jazz and blues scene, including Mike Oldfield, Alexis Korner, Tubby Hayes, Humphrey Lyttelton, Terry Smith, Ronnie Scott, Long John Baldry, Nick Drake, Charlie Watts, John Mayall, Allan Holdsworth, Soft Machine, Georgie Fame, Mike Westbrook, Dick Morrissey and Kenny Wheeler, as well as accompanying visiting major foreign artists such as Champion Jack Dupree)

As we all know, Alexis Korner (19 April 1928 – 1 January 1984) was a British blues musician who has sometimes been referred to as “a founding father of British blues”.. He was a major influence on the sound of the British music scene in the 1960s.

And he had a very unique style to play the blues. Listen to this rare recordings and enjoy Alexis Korner & friends …

Recorded live at the Audimax, Hamburg/Germany, December 09, 1969

Colin Hodgkinson (bass, vocals)
Alexis Korner (guitar, vocals)
Peter Thorup (guitar, vocals)
Ray Warleight (saxophone, vocals)

01. Polly Put the Kettle On (Traditional/Williamson) 1.44
02. Little Sister (unknown)4.45
03. Mary Open The Door (Powell) 5.33
04. Make Up Your Mind (unknown) 4.32
05. Down The Road Ago (unknown) 3.43
06. Evil Woman (Voodoo Queen) (unknown) 4.28
07. Mighty Mighty Spade (Mayfield) 4.16
08. Rivers Invitation (Mayfield) 4.28
09. Right Rosie (unknown)  12.51
10. Rock Me Baby (incomplete) (Broonzy) 0.27


Big Country – The Seer (1986)

FrontCover1The Seer is the third studio album by the Scottish band Big Country, released in 1986. The album featured very traditional Scottish musical settings, reminiscent of the band’s debut album The Crossing (1983). Kate Bush worked on the title song in a duet with lead singer and lyricist Stuart Adamson. The album’s first single, “Look Away”, was an Irish number one, and was also the group’s biggest hit single in the UK, reaching #7.

The album reached #2 in the UK Albums .Chart.(by wikipedia)

When Big Country first roared onto the American scene with The Crossing in 1983, the band was humanism’s revenge on soulless pop posturing. Its soaring guitars, folk-derived jigs and reels and unfettered passion shattered the technopop anomie dominating music at that time. But while its battle’s been won – big hearts and big guitars are no longer merely accepted but are even fashionable, courtesy of U2 – Big Country hasn’t yet been able to cash in on the victory. Steeltown, the band’s sturdy 1984 LP, failed to grip listeners as strongly as The Crossing did; plans for touring in the United States were ill-timed; and it’s taken the band nearly two years to release The Seer, its third album and possibly its strongest effort to date.

BigCountryProduced by Robin Millar, who’s worked with Sade, The Seer tones down the storm and clang of the band’s two LPs with Steve Lillywhite at the board, and the (relative) restraint proves effective. All the elements of Big Country’s distinctive sound remain – the surging dual riffs and elegant E-bow flights of Stuart Adamson and Bruce Watson’s guitars; the yearning strain in Adamson’s vocals; the ballast of bassist Tony Butler and drummer Mark Brzezicki’s solid bottom. But Millar creates more sonic space than Lillywhite allowed in his assaultive wall of sound. As a result, the songs, rather than evoking detached awe, seem easier to enter.

Happily, Big Country’s vision – articulated by Adamson’s songwriting – is as generous and determined as ever. The single “Look Away” and the ballad “Hold the Heart,” both chronicles of lost love, capture Adamson’s grim romanticism, his characteristic urge to transcend but not deny emotional ravishment. “One Great Thing,” “I Walk the Hill” and “Eiledon” are stirring expressions of the desire for individual integrity and a future filled with peace. And Adamson’s folkloric mysticism suffuses “The Seer” (where Kate Bush contributes a haunting vocal) and “The Teacher.”

On “The Sailor,” the closing track of The Seer, Brzezicki and Butler swing the band with a looseness and ease they haven’t shown before. The open-ended lyricism of that track’s closing instrumental passage evokes the quality of Big Country’s hopes this time out – as well as the scope of their potential success if this LP gets the exposure it deserves.  Anthony Decurtis, Rolling Stone No. 481)

Stuart Adamson (guitar, vocals)
Mark Brzezicki (drums, percussion, vocals)
Tony Butler (bass, steel guitar, vocals)
Bruce Watson (guitar, mandolin, sitar)
Kate Bush (background vocals on 02.)
Davie Duncan (bodhran)
June Miles-Kingston (background vocals on 05. + 08..)

01. Look Away  (Adamson) 4.24
02. The Seer (Watson/Adamson) 5.25
03. The Teacher (Adamson) 4.06
04. I Walk The Hill (Brzezicki/Adamson/Butler) 3.31
05. Eiledon (Adamson) 5.38
06. One Great Thing (Adamson/Butler) 4.02
07. Hold The Heart (Adamson) 6.07
08. Remembrance Day (Watson/Adamson/Butler) 4.30
09. The Red Fox (Adamson) 4.11
10. The Sailor (Brzezicki/Adamson) 4.53


John Klumper- Forbidden Fruit – UK Singles 1963 – 1969 No 3 (1985)

ForbiddenFruitNo3_01AI have a large collection of fanzines and I will open my archive with a very special one: John Klumper´s “Forbidden Fruit” magazine from the 80´s of the last century.

Forbidden Fruit was an A5 size fanzine/booklett by a Dutch guy called John Klumper, and it came as 11 separate little A5 volumes. (the last one was Vols 11 & 12 Combined) It was subtitled “Uk Singles 1963-1969″

It was bought by a 4 issue per year subscription, and ran from 1985 to 1988.

It was a real work of love, as each band got it’s line up and some history if known, and all UK releases by them and type of music etc.. considering this was pre internet, the work involved was staggering.. (by woodbutcher)

And someone wrote in an internet forum called “”: “Probably very hard to find but now at least I now know what I’m looking for.”

And here is the No. 3 … (published in October 1985) … “In this  issue I cover artists/groups from Dek & Jerry to Fortunes.Again some well kept secrets will be revealed” (John Klumper)

Hard to believe: all informations was written with a simple typewriter ,,, long time ago …

And I will publish in the next weeks all edition of this fantastic fanzine !



MoreForbiddenFruitsclick !

Small Faces – Playmates (1977)

FrontCover1Nothing went right when the Small Faces regrouped for old times’ sake (and a few quid, too). Founding bassist Ronnie Lane quit when recording started, bickering with original producer Shel Talmy left the band adrift, and the album appeared when punk audiences didn’t give a hoot about four mods with a glorious past. What else went wrong? Well, the songs fall shy of the old glories, all right, but they’re not without their charms. Most of them sound half-finished and half-baked: some stronger production would have been wise. Then again, since nobody made any pretense of a band effort, Jones, McLagan, and Marriott could follow whatever individual obsessions they wished. This laissez-faire policy naturally yielded mixed results. “High & Happy” is a ramshackle opener, though its brazen lyrics (“Let’s outrun the Tour77Aconstable, Jack, and do another line”) show the train wreck that Steve Marriott’s life was becoming. The only cover (“Lookin’ for a Love”) is surprisingly perfunctory for such a soulful group, and Marriott’s voice also cracks to alarming degrees on his Elvis-cum-country weeper “Saylarvee.” Some decent moments manage to triumph over the problems. McLagan and Marriott collaborated effectively on the R&B ballad “Never Too Late” and the low-key closer “Smilin’ in Tune,” which effectively lays out the older, world-weary Small Faces viewpoints. “Find It” and “Drive-in Romance” milk different sides of that signature funky organ groove to good effect, and “This Song’s Just for You” is a nice low-key country ballad. “Playmates” itself best sums up the group’s mood: gutsy, but resigned (“We could dance and sing/Now all we have are memories to pass on”). In the end, only hardcore fans will care one way or another, although to be fair, this was probably the best album that the band could muster at the time.(by Ralph Heibutzki)

Kenney Jones (drums, background vocals)
Steve Marriott (vocals, guitar, harmonica, piano)
Ian McLagan (keyboards, guitar, background vocals)
Rick Wills (bass, background vocals)
P.P. Arnold (background vocals)
Joe Brown (guitar, mandolin, background vocals)
Vicki Brown (background vocals)
Mel Collins (horn)
Dave Hynes (background vocals)
Greg Ridley (background vocals)
Tony Williams (background vocals)

01. High and Happy (Marriott)  2.44
02. Never Too Late (Marriott/McLagan) 3.53
03. Tonight/Marriott/Pidgeon) 2.47
04. Saylarvee (Marriott) 2.16
05. Find It (Jones/Marriott /McLagan) 6.01
06. Lookin’ For A Love (Alexander/Samuels) 3.13
07. Playmates (Marriott) 3.37
08. This Song’s Just for You (Marriott/McLagan) 4.08
09. Drive-In Romance (Marriott/Pidgeon) 5.11
10,. Smilin’ In Tune (Marriott/McLagan) 4.43