It´s hard to find some informations about Michael Gatley.
Michael Gately is unknown purely for reasons unknown. He shares the same melodic stage and songwriting prowess as Harry Nilsson and Curt Boettcher (of Millenium/Sagittarius) yet he’s basically never been mentioned anywhere as far as I’ve ever read. He’s largely replaced the latter artists as my unconscious wafting into head, bits of chorus sung aloud while aimlessly wandering song source. AKA highest melody regards. He recorded two singles, released two unbelievably good solo albums within the same year then disappeared without a trace.
It took a long time to find out more about the mysterious A.M. Gately and his recording career. It turns out that he wrote and recorded mostly under the name Michael Gately, releasing several singles (perhaps the least obscure with Robert John, a rather lovely Beach Boys inflected bit of sunshine pop called If You Don’t Want My Love) and two US albums, Gately’s Cafe (1971) and Still Round (1972), both on the Janus label.
Both LPs feature contributions from Gately’s regular collaborator Al Kooper (for whom he seems to have returned the favour, appearing as a writer, arranger and backing vocalist on Kooper’s own records) but despite his links to better-known musicians, a berth on a major label, and the fact that it’s clear he was a highly distinctive singer-songwriter, with plenty of commercial promise, it seems none of Gately’s various releases left the kinds of mark they deserved to, and Gately himself eventually died of a heart condition in 1982 at the age of 39.
Before is death in 1982 aged 39, Gately was working as the night recepcionist in Record Plant studio in Hollywood.
On this firt album he was accompanied by musician from british group Hookfoot (some of this musician are in the Elton John Band, too).
Initialy the sound is soft, melancholy, whimsical, almist aimless. Then Gatley´s intensity manifests itself, given purpose and direction by a superb Al Kooper production. Hßghlights are his own “Karo” and “Love Of My Life” and “Color All The World” oenned jointly with Robert John who also handeld background vocals. Reaction to this deut LP should bbe immediate favorable. (Billboard, January 1972)
Personnel:
Ian Duck (guitar)
Herbie Flowers (bass)
Michael Gately (vocals, guitar)
Robert John (background vocals)
Al Kooper (keyboards)
Roger Pope (drums)
Caleb Quaye (guitar)
+
Jerry Goodman (violin)
Paul Kossoff (guitar)
Tracklist:
01. Introduction (My Heart Sings) (Gately) 2.07
02. The Way Your Love Is Going (Gately) 3.18
03. Love Of My Life (Gately(John) 3.22
04. Karo (Gately) 2.00
05. Lonesome Song (‘Bout Someone Who’s Gone He’s Got To Carry On I Wonder Can He Make It?) (Kooper/Major) 3.05
06. The Piano Player’s (Kooper) 4.33
07. Sometimes I Get A Notion (Gotta See The Country) (Gately) 2.10
08. You’re What’s Been Missing From My Life (Gately(John) 3.00
09. Hook Another Horse (To Your Love Carriage) (Gately) 3.52
10. Over Now (Gately(John) 2.51
11. Color All The World (Gately(John) 5.13
Michael Gately
(October 28, 1942 in New Jersey – April 12, 1982 in Los Angeles, California)
The World We Know is an album by bandleader Stan Kenton recorded in 1967 by Capitol Records.
The album “When the Eagle Flies,” released in 1974, was yet another Top Ten album in the USA, and moderately successful in the UK. However, a subsequent tour of the USA, while successful in terms of ticket sales,[9] was emotionally exhausting for the band. Capaldi later recalled “Rosko Gee and I were the only ones in anything like normal shape. Steve was having recurrent problems with the peritonitis, and Chris’s body was suffering from chemical warfare.”[10] Winwood ultimately passed his boiling point, walking off the stage in the middle of what would prove the band’s final show, in Chicago. The following day he left the tour without a word to anyone, leaving the rest of the band waiting for him at the venue for that night’s scheduled performance.[10] Feeling Winwood had been integral to Traffic’s music, the remaining members opted not to continue the band without him.
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Taken from the original liner notes:
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Jerry Garcia was once asked what he liked to do when he wasn’t playing music. “Play music!” was his response. For about five years, the Grateful Dead guitarist spent many nights collaborating with organist Merl Saunders both in concert and in the studio. The five-year association of Saunders, who’d worked primarily as a jazz organist, and Garcia took root in early1970 with a weekly jam session featuring Saunders, Garcia, bassist John Kahn, and drummer Bill Vitt, at San Francisco’s Matrix.
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Part one of this series got a little flak because about half the tracks were recorded by bands that were not from behind the Iron Curtain. No such problem with the follow-up; all 24 cuts were done by groups from East Germany, Russia, Hungary, Romania, Czechoslovakia, and Poland between 1963-1967. Many of them are instrumental, and despite the “Surfbeat” in the album title, it’s striking how much they’re influenced not by surf music or the Ventures, but by the Shadows. Those galloping rhythms, the tremolo-laden sound with hints of country and Hawaiian music — it’s beyond a doubt that the Shadows, through radio broadcasts or clandestine means, were getting heard in Eastern Europe. Of course the recording conditions and execution were more primitive in these socialist lands, which puts on a layer of spookiness that gives it a certain charm.
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