INXS – Kick (1987)

LPFrontCover1INXS (pronounced “in excess”) were an Australian rock band, formed as The Farriss Brothers in 1977 in Sydney, New South Wales. The band’s founding members were bassist Garry Gary Beers, main composer and keyboardist Andrew Farriss, drummer Jon Farriss, guitarist Tim Farriss, lead singer and main lyricist Michael Hutchence, and guitarist and saxophonist Kirk Pengilly. For twenty years, INXS was fronted by Hutchence, whose magnetic stage presence made him the focal point of the band. Initially known for their new wave/pop style, the band later developed a harder pub rock style that included funk and dance elements.

In 1984, INXS had their first number-one hit in Australia with “Original Sin”. The band would later achieve international success in the mid-to-late 1980s and early 1990s with the hit albums Listen Like Thieves, Kick, and X, as well as the singles “What You Need”, “Need You Tonight” (the band’s first and only number-one single in the United States), “Devil Inside”, “Never Tear Us Apart”, “Suicide Blonde” and “New Sensation”.

Following Hutchence’s death from suicide in November 1997, INXS made appearances with several guest singers and toured and recorded with Jon Stevens as lead singer beginning in 2002. In 2005, members of INXS participated in Rock Star: INXS, a reality television series that culminated in the selection of Canadian J.D. Fortune as their new lead singer. Irish singer-songwriter Ciaran Gribbin replaced Fortune as lead singer in 2011. During a concert on 11 November 2012, INXS stated that the performance would be their last, although they did not announce the band’s permanent retirement.

Singles

INXS won six Australian Recording Industry Association (ARIA) awards, including three for “Best Group” in 1987, 1989 and 1992; the band was inducted into the ARIA Hall of Fame in 2001. INXS has sold an estimated 60 million records worldwide.

Kick is the sixth studio album by the Australian rock band INXS, released in 1987 by WEA in Australia, Atlantic Records in the United States and Mercury Records in Europe.

As the band’s most successful studio album, Kick has been certified six times platinum by the RIAA and spawned four US top 10 singles (“New Sensation”, “Never Tear Us Apart”, “Devil Inside” and “Need You Tonight”, the last of which reached the top of the US Billboard singles charts). At the 1988 MTV Video Music Awards, the band took home five Moonmen for the “Need You Tonight”/”Mediate” video.

The album was produced by British producer Chris Thomas and recorded by David Nicholas in Sydney, Australia, and in Paris, France. The album was mixed by Bob Clearmountain at Air Studios in London.

CDBooklet02A

Between 1980 and 1984, INXS had released four studio albums and had toured their native country Australia extensively. The 1985 release of Listen Like Thieves brought the group international acclaim, as well as a long-awaited breakthrough in the US.[5] The album peaked at No.11 on the US Billboard 200, and featured the band’s first top 5 single in the US, “What You Need”.
INXS gathered at the Sydney Opera House in Australia to begin the rehearsal sessions for Kick.

INX01

After the success of Listen Like Thieves and its second single “What You Need”, INXS knew their next album would have to be even better. According to guitarist and saxophonist Kirk Pengilly, “We wanted an album where all the songs were possible singles”. Towards the end of 1986, the band members gathered at the Sydney Opera House in Sydney, NSW, Australia to rehearse the songs that Michael Hutchence and Andrew Farriss had written for Kick. (by wikipedia)

Inlet2A.jpg

“What You Need” had taken INXS from college radio into the American Top Five, but there was little indication that the group would follow it with a multi-platinum blockbuster like Kick. Where the follow-ups to “What You Need” made barely a ripple on the pop charts, Kick spun off four Top Ten singles, including the band’s only American number one, “Need You Tonight.” Kick crystallized all of the band’s influences — Stones-y rock & roll, pop, funk, contemporary dance-pop — into a cool, stylish dance/rock hybrid. It was perfectly suited to lead singer Michael Hutchence’s feline sexuality, which certainly didn’t hurt the band’s already inventive videos. But it wasn’t just image that provided their breakthrough. For the first (and really only) time, INXS made a consistently solid album that had no weak moments from top to bottom.

INX02

More than that, really, Kick is an impeccably crafted pop tour de force, the band succeeding at everything they try. Every track has at least a subtly different feel from what came before it; INXS freely incorporates tense guitar riffs, rock & roll anthems, swing-tinged pop/rock, string-laden balladry, danceable pop-funk, horn-driven ’60s soul, ’80s R&B, and even a bit of the new wave-ish sound they’d started out with. More to the point, every song is catchy and memorable, branded with indelible hooks. Even without the band’s sense of style, the flawless songcraft is intoxicating, and it’s what makes Kick one of the best mainstream pop albums of the ’80s. (by Steve Huey)

BackCover1.jpg

Personnel:
Garry Gary Beers (bass)
Andrew Farriss (synthesizer, drum machine, guitar, background vocals)
Jon Farriss (drums, percussion)
Tim Farriss (guitar, background vocals)
Michael Hutchence (vocals)
Kirk Pengilly (saxophone, guitar, background vocals)

Booklet.jpg

Tracklist:
01. Guns In The Sky (Hutchence) 2.21
02. New Sensation (Farris/Hutchence) 3.40
03. Devil Inside (Farris/Hutchence) 5.15
04. Need You Tonight (Farris/Hutchence) 3.01
05. Mediate (Farris/Hutchence) 2.37
06. The Loved One (Clyne/Humphreys/Lovett) 3.36
07. Wild Life (Farris/Hutchence) 3.10
08. Never Tear Us Apart (Farris/Hutchence) 3.07
09. Mystify (Farris/Hutchence) 3.18
10. Kick (Farris/Hutchence) 3.14
11. Calling All Nations (Farris/Hutchence) 3.03
12. Tiny Daggers (Farris/Hutchence) 3.30

LabelB1.jpg
*
**

Review

Michael Kelland John Hutchence (22 January 1960 – 22 November 1997) was an Australian musician, singer-songwriter and actor who co-founded the rock band INXS, which sold over 60 million records worldwide and was inducted into the ARIA Hall of Fame in 2001. Hutchence was the lead singer and lyricist of INXS from 1977 until his death. According to rock music historian Ian McFarlane, “Hutchence was the archetypal rock showman. He exuded an overtly sexual, macho cool with his flowing locks, and lithe and exuberant stage movements.” Hutchence was named ‘Best International Artist’ at the 1991 BRIT Awards, with INXS winning the related group award.

Hutchence was a member of the short-lived pop rock group Max Q. He also recorded some solo material and acted in feature films, including Dogs in Space (1986), Frankenstein Unbound (1990), and Limp (1997).

Michael Hutchence

Hutchence had a string of love affairs with prominent actresses, models and singers, and his private life was often reported in the Australian and international press. In July 1996, Hutchence and English television presenter Paula Yates had a daughter, Heavenly Hiraani Tiger Lily.

On the morning of 22 November 1997, Hutchence was found dead in his hotel room in Sydney. His death was reported by the New South Wales Coroner to be the result of suicide by hanging. (by wikipedia)

Willie Nelson & Wynton Marsalis – Two Men With The Blues (2008)

FrontCover1.jpgTwo Men with the Blues is a live album by Willie Nelson and Wynton Marsalis. It was released on July 8, 2008 by Blue Note and sold 22,000 copies in it first week of release. It was recorded on January 12–13, 2007, at Jazz at Lincoln Center in New York City.

The album held the number one position in the Billboard Jazz Albums chart for four weeks. It spent a total of 67 weeks on that chart. It peaked at number 20 on both the Billboard 200 and the Billboard Digital Albums charts, spending eight weeks and one week on the charts respectively. (by wikipedia)

History has proven that Willie Nelson will duet with pretty much anybody who comes along, and while this open-hearted open mind sometimes backfires, more often than not it results in some of his most sublime recordings. Two Men with the Blues, his album with jazz trumpeter Wynton Marsalis recorded over a two-night stand at Jazz at Lincoln Center on January 12 and 13, 2007, belongs in the latter category, standing as truly one of the most special records in either Nelson’s or Marsalis’ catalog. If the pair initially seem like an odd match, it’s only because Wynton long carried the reputation of a purist, somebody who was adamant against expanding the definition of jazz, which cast him as the opposite of Willie, who never found a border he couldn’t blur.

BackCover1A

Marsalis mellowed over the years, but it’s also true that he and Nelson share a common background in jazz and the Great American Songbook, so this pairing plays naturally, providing equal measures of comfort and surprise. The engine for this music is Marsalis’ band — pianist Dan Nimmer, drummer Ali Jackson, bassist Carlos Henríquez, and saxophonist Walter Blanding — with Nelson bringing his harmonica player Mickey Raphael along, which is enough to give this a flavor that’s quite distinct from a typical Marsalis session without being foreign. Similarly, this isn’t quite alien territory for Nelson either, as the repertoire relies heavily on blues standards, including a pair of tunes he cut on his jazzy breakthrough, Stardust (the title track and “Georgia on My Mind”), plus he’s always veered close to jazz in his vocal and guitar phrasings. All this means that Two Men with the Blues has the warm comfort of a reunion and the freshness of a new collaboration, feelings that are palpable as soon as the album kicks off with a loose yet nimble reading of Jimmy Reed’s “Bright Lights, Big City.” It’s a subtle arrangement that doesn’t draw attention to its unique touches, something that’s also true of the flashier take on Hank Williams’ “My Bucket’s Got a Hole in It,” which lurches and careens like a New Orleans marching band, coming to a highlight when Marsalis throws in a few lines from “Keep on Knockin'” for good measure.

Booklet04A

These sly spins on standards, along with a jump blues reworking of Merle Travis’ “That’s All” (first heard on a Willie Nelson record back in 1969), are balanced by numbers that are perhaps a bit more expected but are no less delightful, as “Night Life” is turned into a showcase for Wynton and the bandmembers sound as good skipping through “Caldonia” as they do laying back on “Basin Street Blues.” It’s music that flows so easily it’s perhaps easy to take for granted, but Two Men with the Blues is truly something special, as it captures two masters enjoying their common ground while spurring each other to hear old sounds in new ways. It’s a flat-out joy. (by Stephen Thomas Erlewine)

BackCoverA

Personnel:
Walter Blanding (saxophone)
Carlos Henriquez (bass)
Ali Jackson (drums)
Wynton Marsalis (trumpet, vocals)
Willie Nelson (vocals, guitar)
Dan Nimmer (piano)
Mickey Raphael (harmonica)

Booklet03A.jpg

Tracklist:
01. Bright Lights, Big City (Reed) 5.21
02. Night Life (Nelson) 5.44
03. Caldonia (Moore) 3.26
04. Stardust (Carmichael) 5.09
05. Basin Street Blues (Williams) 4.57
06. Georgia On My Mind (Carmichael/Gorrell) 4.41
07. Rainy Day Blues (Nelson) 5.44
08. My Bucket’s Got A Hole In It (Williams) 4.57
09. Ain’t Nobody’s Business (Grainger/Robbins) 7.28
10. That’s All (Travis) 6.08

CD1

*
**

Booklet01A.jpg

I would like to dedicate this entry to greygoose … a real enthusiastic fan of Willie Nelson

Cal Tjader – Plays The Contemporary Music Of Mexico And Brazil (1962)

FrontCover1.jpgCal Tjader Plays the Contemporary Music of Mexico and Brazil is a 1962 studio album by Cal Tjader.

This 1962 set by Cal Tjader, recorded at the beginning of the bossa nova craze in the United States (released in the same year and on the same label as the smash Jazz Samba by Stan Getz and Charlie Byrd), has one of the most boring titles imaginable, and it doesn’t begin to describe the laid-back yet magical innovations in the grooves. Produced by Creed Taylor, the date was arranged and orchestrated by the great pianist Clare Fischer (who also wrote the liner notes). Tjader set out to offer a very modern portrait of the music pouring out of Mexico City by showcasing selected Mario Ruíz Armengol compositions, and out of Brazil by spotlighting numbers by singers such as Elisete Cardoso and João Gilberto. Tjader’s vibes are placed in juxtaposition with Fischer’s piano and percussion by Changuito, Milt CalTjader01Holland, and Johnny Rae, with a woodwind section that included both Don Shelton and Paul Horn, and even some wordless exotica vocals by Ardeen DeCamp. In addition, Brazilian guitar star Laurindo Almeida helps out on about half the set and contributed “Chôro e Batuque,” while Fischer offers “Elisete,” named for the singer. The feel here is gentle with infectious rhythms and beautifully wrought woodwinds (check “Se é Tarde, Me Perdoa”), gorgeous piano, and spacious vibes. The arrangements by Fischer certainly represent the era, but they endure into the 21st century because of the shining example of interplay between the percussion and melodies (note the breezy “Silenciosa”). Tjader had been playing samba on records for a number of years by this point, and worked with Getz in 1957, but this was the first place he allowed his own complex yet delightfully subtle melodic (rather than just rhythmic) sensibilities to shine on the vibes. The most remarkable thing about this set is how effortlessly the two traditions blend. (by Thom Jurek)

Recorded in Hollywood, Calif., March 5, 6 and 7, 1962

BackCover.jpg

Personnel:
Laurindo Almeida (guitar)
Ardeen de Camp (vocals)
Changuito (percussion)
Clare Fischer (piano)
Milt Holland (percussion)
Johnny Rae (drums, timbales)
Freddie Schreiber (bass)
Cal Tjader (vibraphone)
+
woodwind:
Bernie Fleischer – Don Shelton – Gene Cipriano – John Lowe – Paul Horn

Booklet.jpg

Tracklist:
01. Vai Querer (Almeida/Lobo) 3.04
02. Qué Tristeza (Armengol) 2.50
03. Meditação (Meditation) (Mendonça/Jobim/Gimbel) 3.33
04. Soñé (Armengol) 3.09
05. Se é Tarde, Me Perdoa (Bôscoli/Lyra) 2.51
06. Não Diga Nada (Carlita/Mercenes) 2.48
07. Silenciosa (Armengol) 3.28
08. Elizete (Fischer) 2.31
09. Imagen (Armengol) 2.41
10. Tentaço do Incoveniente (da Conceição/Mesquita) 2.33
11. Preciosa (Armengol) 2.41
12. Chôro e Batuque (Almeida) 5.02

LabelA1

*
**

CalTjader02
Callen Radcliffe Tjader, Jr. (July 16, 1925 – May 5, 1982)

Toad The Wet Sprocket – Bread And Circus (1988)

OriginalMCFrontCover1.jpgToad the Wet Sprocket is an American alternative rock band formed in 1986. The band consists of vocalist and guitarist Glen Phillips, guitarist Todd Nichols, bassist Dean Dinning, and drummer Randy Guss. They had chart success in the 1990s with singles that included “Walk on the Ocean”, “All I Want”, “Something’s Always Wrong”, “Fall Down”, and “Good Intentions”. The band broke up in 1998 to pursue other projects but in 2006 began touring the United States again for short-run tours each summer in small venues. In December 2010, the band announced their official reunion as a full-time working band and started writing songs for their first studio album of new material since their 1997 Columbia Records release, Coil. Their most recent full-length album, New Constellation, was released on October 15, 2013.

Bread & Circus is the debut album by Toad the Wet Sprocket, originally self-released on cassette only in 1988, and re-released in 1989 by Columbia Records on CD, Cassette and Vinyl with altered artwork. The album was recorded while the four members were still in high school for a total cost of $650. The album shows a more youthful and emotional side of their music. Singer Glen Phillips wrote most of the lyrics when he was only 15 years old.

ToadThe01

In May 2009, the band announced plans to re-release Bread & Circus, out of print since 2001, in a remastered edition with expanded artwork and bonus tracks culled from the album sessions that didn’t make it onto the album. Their sophomore record, “Pale” would also get the same kind of re-issue. In 2010 the band signed a deal with Primary Wave to handle their back catalog and licensing. These reissues had been confirmed by lead singer Glen Phillips via Toad’s “Fan Questions” portion of their official website for release in 2011, but never occurred. Instead, a remastered vinyl LP reissue of fear and Dulcinea were released in 2018 through the band’s online store. (by wikipedia)

Toad’s first LP, Bread And Circus, was recorded independently (for $650) as the band played local bars. The band was soon signed with Columbia Records on the condition that Bread And Circus be released “as-is” – and it was in August, 1989. The band then hit the road to promote themselves and the LP. (by rockonthenet.com)

ToadThe02

This is the first taste of Toad the Wet Sprocket’s brand of California-flavored thinking man’s pop. Bread and Circus is a collection of songs Toad had worked up over two years of playing the Santa Monica club circuit, and the album doesn’t have the cohesive flow the band would find with later releases like Pale and Fear, but the songs are good from the get-go. “When We Recovered” and “One Little Girl” show two emotional sides to the band’s songwriting, and the superb “Know Me” portends Toad’s future efforts in one track — plaintive acoustic strumming, acerbic minor-key angst, and a soaring, defiant chorus. (by Troy Carpenter)

MCBooklet2A

Personnel:
Dean Dinning (bass, background vocals)
Randy Guss (drums)
Todd Nichols (guitar)
Glen Phillips (vocals, guitar)

OriginalMCBooklet2.jpg

Tracklist:
01. Way Away 3.07
02. Scenes From A Vinyl Recliner 4.12
03. Unquiet 2.54
04. Humble/Know Me 5.13
05. When We Recovered 2.52
06. One Wind Blows 3.26
07. Pale Blue 3.22
08. Always Changing Probably 4.49
09. One Little Girl 3.25
10. Covered In Roses 4.26

All songs written by Dean Dinning – Randy Guss ´- Todd Nichols – Glen Phillips

OriginalMC2

*
**

MC2A

And he band ist still alive and well (pic from their website in 2019):

website

 

Kid Rock – All Summer Long + 2 (2008)

FrontCover1.jpgRobert James Ritchie (born January 17, 1971), known professionally as Kid Rock, is an American singer-songwriter, rapper, musician, record producer, and actor. In a career spanning over 20 years, Rock’s musical style alternates between rock, hip hop, and country. A multi-instrumentalist, he has overseen his own production on nine of his eleven studio albums.

Kid Rock started his professional music career as a self-taught rapper and DJ, releasing his debut album Grits Sandwiches for Breakfast in 1990 on the major record label Jive; his subsequent independent releases The Polyfuze Method and Early Mornin’ Stoned Pimp saw him developing a more distinctive style which was fully realized on his 1998 album Devil Without a Cause; this and his subsequent album Cocky were noted for blending elements of hip hop, country, rock and heavy metal. Starting with his 2010 album Born Free, the country music style has dominated his musical direction, and since 2007’s Rock n Roll Jesus until 2017’s Sweet Southern Sugar, he has not recorded any rap-influenced tracks.

“All Summer Long” is a song by American recording artist Kid Rock. It was released in 2008 as the third single from his seventh studio album Rock n Roll Jesus. The song samples two hit songs of the 1970s, Warren Zevon’s “Werewolves of London” and Lynyrd Skynyrd’s “Sweet Home Alabama”. The idea for the mashup was suggested by Mike E. Clark.

KidRock01

The song was a number-one hit in eight countries across Europe, Australia, and the United Kingdom. It even crossed over to southern rock radio, giving Kid Rock his first top-ten country hit. The song was the official theme song to WWE’s pay-per view event, Backlash 2008. The song was also the theme song to the 2009 World Cup. It was featured in the video game Power Gig: Rise of the SixString. He performed the song at the 2009 Grammy Awards and at WrestleMania 25, both in medleys. He also promoted the song in Europe performing on Top of the Pops and the World Music Awards. The song led to the TV special VH-1 Storytellers in November 2009.

Eight people are credited for writing “All Summer Long”: the songwriters of “Werewolves of London” (Leroy Marinell, Waddy Wachtel and Warren Zevon), the songwriters of “Sweet Home Alabama” (Ed King, Gary Rossington and Ronnie Van Zant) as well as Matthew Shafer (Uncle Kracker) and Robert Ritchie (Kid Rock).

The music video for the song was shot in Nashville Tennessee and features Kid Rock driving a Grand Craft Grand Sport boat out on the Old Hickory Lake, while two teenagers are shown enacting the song’s lyrics, taking place in the implied year of 1989 as mentioned in the first verse. Kid Rock is also shown partying with girls or women on a different boat, and singing the song on a platform on the lake during night time. The platform, float & lights are a homage to the “Playboy girls” scene in the film Apocalypse Now. As the video ends, the small boat Kid Rock is driving can be seen with the word “cowboy” on the back.

“All Summer Long” is Kid Rock’s fourth song to chart on the Billboard Hot 100, and overall his biggest hit of his career. It reached number 23 on the Hot 100, based solely on airplay, since Kid Rock had not made his catalog available for legal digital download at the time (therefore, the song received no assistance from digital sales). It peaked at number three on the Billboard Hot 100 Airplay chart, making it his highest peaking single on this chart. It is his third top 40 hit on the Hot 100. It also became a pop crossover hit, reaching the top ten on Mainstream Top 40 radio. “All Summer Long” has also reached the top ten on Billboard’s Adult Top 40.

KidRock02

It marks Kid Rock’s third entry on the American Billboard Hot Country Songs chart, after “Picture” and “Single Father”, both in 2003, reaching number four, his first top 20 and top 10 on that chart. It was a moderate hit on U.S. rock, peaking at number 17 on the Mainstream Rock Tracks chart and number 38 on the Modern Rock Tracks chart. The song has sold 943,000 copies in the US as of April 2016.

The song is Kid Rock’s first international hit as well. In the United Kingdom, the song knocked off Dizzee Rascal’s “Dance wiv Me” from the top of the UK Singles Chart and was replaced at the summit by Katy Perry’s “I Kissed a Girl”. In the rest of Europe, the song was available as a physical and digital release and it has also topped the charts in Ireland, Austria, Germany and Switzerland. It has reached the top five in Flemish Belgium, the Netherlands, Norway and Sweden. In Australia, the song is his first top-ten and number-one single, while in New Zealand, the song peaked at number three. ((by wikipedia)

BackCover1

Tracklist:
01. All Summer Long (album version) (King/Rossington/Marinell/Shafer/Ritchie/ Wachtel/VanZant/Zevon) 4.56
02. Son Of Detroit (live) (Coe/Tipton/Brooks/DeLuca) 5.12
03. Bawitdaba (live) (Krause/Shafer/Ritchie) 5.45

CD1.jpg

*
**

And here´s a great live version (including the original “Sweet Home Alabama”) … Kid Rock & members of Lynyrd Skynyrd:

 

It was 1989, my thoughts were short my hair was long
Caught somewhere between a boy and man
She was seventeen and she was far from in-between
It was summertime in Northern Michigan
Ahh Ahh Ah

Splashing through the sand bar
Talking by the campfire
It’s the simple things in life, like when and where
We didn’t have no internet
But man, I never will forget
The way the moonlight shined upon her hair

And we were trying different things
We were smoking funny things
Making love out by the lake to our favorite song
Sipping whiskey out the bottle, not thinking ’bout tomorrow
Singing Sweet home Alabama all summer long

Catching wild life from the dock
Watching the waves roll off the rocks
She’ll forever hold a spot inside my soul
We’d blister in the sun
We couldn’t wait for night to come
To hit that sand and play some rock and roll

Unicorn – One More Tomorrow (1977)

FrontCover1And this is the story of Unicorn:

Fans of rock music from the 1970s may remember Unicorn, a local band, that made some great albums, but unfortunately never had the fame they justly deserved.

Unicorn’s bass player was Pat Martin, who grew up in Send. In 1963 he began making music with Ken Baker, a friend from St Bede’s School, in Send. During the summer holidays Pat would ride his bike from his home to Ken’s house in Ockham with his guitar. They then both plugged into a home-made amplifier that Ken’s uncle had made.

Pat says: “My dad thought that if continued to pursue my love of beat music, it might keep me away from what he termed ‘the yobs’ he said I was mixing with.

“He bought us some better equipment, became our manager and we soon recruited a drummer, Pete Perryer.”

PinkBears01

 

The band was originally called the Senders. They then became the Pink Bears, later changing their name to the Late. They played many gigs in and around the local area and not long after they had left school aged 17, they were performing as a living. In the early days various members came and went, including, Trevor Mee. He was a gifted guitarist, so Pat switched to playing bass guitar.

Other gigs Pat recalls playing with his band include the Stereo club that was above the Co-op store in Woking. He says: “We got a gig there as a replacement to another band. I don’t think it was a licensed premises, but there was a lot of good beat and rhythm ’n’ blues bands who played there.”

PinkBears02

Not only did Pat and his bandmates play at Woking’s famous Atalanta club, he saw many other bands there – some of whom are now legendary. He says: “I saw the Who, the Turtles, John Mayall’s Bluesbreakers, Graham Bond Organisation, and Cream, who were playing their second-ever gig when I saw them there.”

Atalanta owner Bob Potter managed Pat’s band the Late for three years. Pat recalls: “We did an audition for him and he liked us as we sounded like the Hollies. We were signed to him from 1967 to 1969. He had a studio in Mytchett and when we had some free time we recorded some demo tapes there.

The Late

“Under his management we got gigs from Hampshire down to Cornwall and up to North Wales. We never made much money, but it was great fun.”

The band rehearsed in Pat’s dad’s garage, which he had converted into a studio for them. They called it The Shed. Some recordings they made in it, have now been released on CD.

After a while their bookings for gigs slowed up, but they were lucky in that they became singer Billy J Kramer’s backing band. It was regular money, but they quit after about nine months as the routine of playing a medley of all of Kramer’s hits every day became somewhat tiresome.

By this time band member Ken Baker was writing his own songs and they got a break when Transatlantic Records offered them a deal. Now named Unicorn, the album was titled Uphill All The Way and was released in 1971.

Unicorn01

Their style was soft rock with a country tinge plus lots of vocal harmonies. Gigs took them to countries in Europe such as Sweden and Italy where they were well received.

In 1973, David Gilmour, the guitarist in the world famous rock band Pink Floyd took Unicorn under his wing and the results were the albums Blue Pine Trees (released in 1974), Too Many Crooks and Unicorn2 (both released in 1976) and One More Tomorrow (1977).

Unicorn02.jpg

Pat recalls this as an exciting time as they toured the USA, playing support to such bands as Fleetwood Mac, Manfred Man’s Earthband, Billy Joel and Linda Ronstadt. Unfortunately, Unicorn never made it big in their own right and by 1977 the emergence of punk music meant only the biggest country-soft rock bands could survive.

Unicorn played its last gig that year in Canning Town, London, to an audience that was so small the band cut the performance short.

After driving lorries for a living and also driving a mobile library bus for a while, Pat has now retired, but music is in his blood and he still plays. (by David Rose)

Unicorn03.jpg

77’s One More Tomorrow proved to be the final Unicorn album. Capitol Records issued it first in the U.S., before Harvest brought it home to the U.K. in early 1978. While David Gilmour returned to helm the album, the record label also brought in Muff Winwood. Muff had played with his younger brother Steve in the Spencer Davis Group before transitioning into an A&R role at the Island and CBS labels. Winwood was enlisted by EMI (parent of Harvest and Capitol) to add a commercial sheen to the album. (The cover, a departure from the Hipgnosis-designed sleeve for Crooks reflected this as well.) Winwood recorded four tracks with the band which would supplement the Gilmour sessions, and in fact, his quartet of productions was selected to lead off the LP.

Single1.jpg

Hoping for a hit, Winwood brought along a pair of songs from outside writers – the first time Unicorn had recorded non-original material since the band’s debut. Covering John Fogerty’s CCR (“Have You Ever Seen the Rain”) and Eagles pal Jack Tempchin (“Slow Dancing,” a contemporary hit for Johnny Rivers in 1977), Unicorn nonetheless sounded comfortable. Muff also helmed two Ken Baker songs – the catchy, upbeat “New Shoes” and smooth, ironic “Get Along Fine.” Surprisingly, Winwood’s productions fit snugly on the album with Gilmour’s; “The Night,” like “Get Along Fine,” would reside comfortably on a so-called “yacht rock” playlist. The SoCal-inspired country-rock of Crooks wasn’t abandoned entirely, cropping up on songs like “Eric,” “The Way It Goes” and the jaunty, breezy “British Rail Romance.”

Unicorn04

The Byrds’ influence is keenly felt on title track “One More Tomorrow,” with Baker adopting a natural drawl for his rueful lyrics. Baker’s bandmate Kevin Smith teamed with Roy St. John to pen the atmospheric “Magnolia Avenue.” One More Tomorrow was elegantly-crafted soft rock with impeccable musicianship guided, in large part, by David Gilmour’s deft and organic production touch, but like its predecessor, it failed to make a chart impact. After a brief parting of the ways between Baker and his bandmates, resulting in a handful of singles, Unicorn quietly broke up. The bandmates went their separate ways, though all remained involved in music, in one capacity or another.

This edition adds the non-LP B-sides “Give and Take” and “Nothing I Wouldn’t Do” plus three demos, and two performances from the same December 1975 radio session.

BackCover1.JPG

Personnel:
Ken Baker (vocals, guitar, harmonica, keyboards)
Pat Martin (bass, vocals)
Peter Perrier (drums, percussion, vocals)
Kevin Smith (guitar)
+
Howie Casey (saxophone on 10.)
Bill Livsey piano on 03., 04.)
Chris Pidgeon (keyboards, percussion on 03., 04.)

AlternateFront+BackCoverAlternate front + back cover

Tracklist:
01. Have You Seen The Rain (Fogerty) 3.11
02. New Shoes (Baker) 3.02
03. Slow Dancing (Tempchin) 3.33
04. Get Along Fine (Baker) 3.29
05. British Rail Romance (Baker) 3.10
06. Eric (Baker) 4.19
07. One More Tomorrow (Baker) 3.14
08. So Hard To Get Through (Baker) 3.42
09. I’m Alright (When I’m With You) (Baker) 2.48
10. The Night (Baker) 4.29
11. The Way It Goes (Baker) 3.53
12. Magnolia Avenue (Smith/St.John) 3.26
+
13. Nothing I Wouldn’t Do (Single B-side) (Baker) 4.51
14. Give & Take (Single B-side) (Baker) 3.54

LabelB1.JPG

*
**

Single2.jpg

 

 

Henri Salvador – Reverence (2006)

FrontCover1.jpgHenri Salvador (18 July 1917 – 13 February 2008) was a French Caribbean comedian and singer.

Salvador was born in Cayenne, French Guiana. His father, Clovis, and his mother, Antonine Paterne, daughter of a native Carib Indian, were both from Guadeloupe, French West Indies. Salvador had a brother, André, and a sister, Alice.

He began his musical career as a guitarist accompanying other singers. He had learned the guitar by imitating Django Reinhardt’s recordings, and was to work alongside him in the 1940s. Salvador recorded several songs written by Boris Vian with Quincy Jones as arranger. He played many years with Ray Ventura and His Collegians where he used to sing, dance and even play comedy on stage.

He also appeared in movies including Nous irons à Monte-Carlo (1950), Nous irons à Paris (Jean Boyer’s film of 1949 with the Peters Sisters) and Mademoiselle s’amuse (1948).

He is known to have recorded the first French rock and roll songs in 1957 written by Boris Vian and Michel Legrand — “Rock’n Roll Mops”, “Rock hoquet, Va t’faire cuire un oeuf, man” and “Dis-moi qu’tu m’aimes rock” — under the artist name of Henry Cording (a play on the word “Recording”). Despite this historical aspect, he never ceased to claim that he disliked rock and roll and even refused to talk about this subject later on.

HenriSalvador01

In the 1960s, Salvador was the host of several popular television variety shows on French TV. In 1964, he scored a hit with “Zorro est arrivé”, which was inspired by The Coasters’ U.S. hit “Along Came Jones”. He is also famous for his rich, catchy laugh, which is a theme in many of his humorous songs. In 1969, Henri Salvador recorded a variation of “Mah Nà Mah Nà” entitled “Mais non, mais non” (“But No, But No” or “Of Course Not, Of Course Not”), with lyrics he had written in French to Piero Umiliani’s music.

Henri Salvador and his song “Dans mon île” (1957) were thought to be an influence on Antônio Carlos Jobim in formulating the Brazilian bossa nova style.

Caetano Veloso, a famous Brazilian composer and singer, made Henri Salvador famous to Brazilian audiences with the song “Reconvexo”, in which he says “quem não sentiu o swing de Henri Salvador?” (“who hasn’t felt the swing of Henri Salvador?”). Veloso also recorded a version of Salvador’s song “Dans mon île”.

HenriSalvador02

At the age of 70, Salvador was the voice-over of the crab Sebastian in the 1989 French dubbing of Disney’s The Little Mermaid. Recordings of “Embrasse-la” (“Kiss the Girl”) can be found on YouTube.

Salvador discovered singers Keren Ann and Art Mengo.

He died of a ruptured aneurysm at his home in the early hours of 13 February 2008. He was 90 years of age. He was buried next to his wife Jacqueline in Père-Lachaise Cemetery.

He was known as a supporter of Paris Saint-Germain F.C. He obtained four seats for life in the Parc des Princes.

HenriSalvador03

Henri Salvador continues to be popular today among French communities in Canada. In 2000, Virgin Records released a CD featuring popular hits such as “Jazz Mediterrannée”, which continues to receive regular air play. In 2002, his album Chambre avec vue sold over two million copies. In 2005, Salvador was awarded the Brazilian Order of Cultural Merit, which he received from the acclaimed singer and Minister of Culture, Gilberto Gil, in the presence of President Luiz Inácio Lula da Silva for his influence on Brazilian culture, particularly on bossa nova, to whose invention he contributed. That same year he took 52nd place in the election of Le Plus Grand Français (The Greatest Frenchman).

He was also a commander of the French Légion d’honneur and of the French National Order of Merit. In 2007, he released Révérence on V2 Records, featuring Gilberto Gil and Caetano Veloso. He then went on to perform the track “La vie c’est la vie” from that album on an episode of the BBC programme Later… with Jools Holland aired on 4 May 2007. (by wikipedia)

HenriSalvador05

At 88 years old, Henri Salvador has been a popular figure in the French music world for quite a while (he started there in 1945). In 2000, he reinvigorated his career and reintroduced himself to the public with Chambre Avec Vue (re-released as Room with a View two years later) and since then has been going quite strong, coming out with Ma Chère et Tendre in 2003, and now Révérence in 2006. Recorded mostly in Brazil under the direction of Caetano Veloso’s — who makes an appearance here on a new version of “Dans Mon Île” — longtime producer and arranger Jaques Morelenbaum, Salvador continues his legacy as singer of the sweet melancholy. The quiet, breathy strings and soft bossa nova rhythms that are incorporated into many of the pieces on the album add to the overall poignancy of Salvador’s voice, which shows no sign of aging, still smooth and clean, reflecting the warmth of his native French Guyana.

BookletBackCover1.jpg

It works especially well on the francophone version of the classic Vinicius de Moraes/Antonio Carlos Jobim song “Eu Sei Que Voi Te Amar,” retitled “Tu Sais Je Vais T’Aimer” here (it appears twice on Révérence actually, once as a solo track and once as a duet with Gilberto Gil), where the longing and suffering of love come through in the timbre of his voice, the hesitation in his phrasing. In “Italie (Un Tableau de Maître),” he riffs on a familiar Italian melody as he reminisces about the country, talking about it like a woman he loves, even slipping into its own language for a line or so, and in “Cherche la Rose,” one of three older tracks on the album, and done with Caetano Veloso, there’s a bittersweet hesitancy to the way he sings the song 40 years after its initial release that comes only from the experience and understanding he’s gained as he’s gotten older.

Booklet01A.jpg

This is where he’s best, and most comfortable, and it’s what sounds the best, too, so it makes sense that most of Révérence stays in the adagio, in the reflection. In fact, it even seems a little out of place when Salvador moves into faster, jazzier pieces like the gospel-inspired “Alléluia! Je l’Ai dans la Peau” or the Frank Sinatra-esque “L’Amour Se Trouve au Coin de la Rue,” adding saxophones and bright drums and coming across slightly forced, albeit exuberant. Salvador has aged nicely, and settled down into his years, and the best bits of Révérence convey this perfectly, the life of an artist who has truly been inspired, and inspired countless others. (by Marisa Brown)

Booklet05A

Henri Salvador is an 89-year-old with an extraordinary history. Born in French Guyana, he moved to France as a child, joined a dance orchestra as guitarist, and ended up working in Brazil, where his songs would later influence the work of the great Tom Jobim – the greatest composer of the bossa nova era of the late 1950s. Salvador also became a celebrity, and a TV personality back in France, and he now seems poised for unlikely international success. This new set was recorded in Paris, New York and (of course) Rio, where his producer was the great Jacques Morelenbaum, who has worked with everyone from Jobim to Mariza; they were joined by Brazilian stars Caetano Veloso and Gilberto Gil. It’s remarkable for Salvador’s effortlessly clear, perfect vocals and equally unexpected range. Many of the songs are gently charming laid-back ballads, but there’s also a swinging French-language treatment of Ray Charles, with Alleluia! Je l’Ai Dans la Peau. Alleluia, indeed. (by Robin Denselow)

BackCover1

Personnel:
Patrick Artero (saxophone, trumpet)
Marcelo Bernades (flute)
Bernardo Bessler (violone)
Paulinho Braga (drums, percussion)
Denner Campolina (bass)
Mino Cinelu (drums, percussion)
Michel Coeuriot (clarinet, keyboards, oboe, synthesizer)
Thomas Coeuriot (guitar, mandoline)
Marcelo Costa (percussion)
Guy Delacroix (bass)
João Donato (piano)
Phillip Doyle (tuba)
Claude Egéa (trumpet)
Laurent Faucheux (drums)
Michel Feugère (saxophone, trumpet)
Frederic Gaillardet (piano)
Luis Galvão (guitar)
Gilberto Gil (vocals)
Alain Hatot (flute, saxophone)
Didier Havet (rombone)
Jorge Helder (bass)
Denis Leloup (trombone)
Eduardo Morelenbaum (clarinet)
Jaques Morelenbaum (cello)
Katia Pierre (flute)
Hugo Vargas Pilger (cello)
Iura Ranevsky (cello)
Rob Reddy (saxophone)
Saul Rubin (guitar)
Marcello Isdebski Salles (cello)
Henri Salvador (vocals, percussion)
Paulo Sérgio Santos (clarinet)
Eric Seva (saxophone)
Billy Jay Stein (organ)
Caetano Veloso (vocals)
Jean-Christophe Vilain (trombone)
André Villéger (flute, saxophone)
+
violone(violin:
Ricardo Amado – Rick Amado – Paul Prates Barbato – Michel Bessler – José Alves Da Silva – Daniel Guedes – Antonella Pareschi – Eduardo Pereira – Paschoal Perrota – Felipe Prazeres – Rogério Rosa – Maria Christine Springuel – Ricardo Taboada
+
background vocals:
Jerry Barnes – Stephanie McKay

Booklet03A.jpg

Tracklist:
01. La Vie C’est La Vie (Salvador) 2.24
02. Mourir à Honfleur (Salvador) 3.48
03. Dans Mon Île (Pon/Salvador) 4.56
04. Cherche La Rose (feat. Caetano Veloso) (Salvador) 4.57
05. L’ ‘Amour Se Trouve au Coin de la Rue (Salvador) 3.27
06. Tu Sais Je Vais T’Aimer (Jobim/de Moraes) 4.04
07. J’Aurais Aimé (Salvador) 2.37
08. Italie (Un Tableau de Maître) (Martinico/Salvador) 3.11
09. D’Abord (Salvador) 2.57
10. Les Amours Qu’on Delaisse (Salvador) 5.17
11. Alleluia! Je l’Ai Dans La Peau (Salvador) 2.50
12. Les Dernières Hirondelles (Salvador) 3.21
13. Tu Sais Je Vais T’Aimer (feat: Gilberto Gil) (Jobim/de Moraes) 4.05

CD1

*
**

HenriSalvador04
Henri Salvador (18 July 1917 – 13 February 2008)