Status Quo – Live (1977)

FrontCover1Live! is the first live album by English Rock band Status Quo. It contains 2 discs. It is an amalgam of performances at Glasgow’s Apollo Theatre between 27 and 29 October 1976, recorded using the Rolling Stones Mobile Studio.

Recorded, with perfect timing, just as Status Quo hit their live peak, 1977’s double Live! album is, contrarily, a timeless reminder of just how much power and excitement was bound up in the band through the mid-’70s — and on, in fact, into the early ’80s. It would be several years before Status Quo turned into the faintly embarrassing cabaret singalong that scarred the latter years of their career, a fact that Live! broadcasts via a picture-perfect snapshot of the last calm before that particular storm. Touring to support 1976’s Blue for You (U.S. title Status Quo) album, the band is still reaching back to the dawn of the decade for material. “Junior’s Wailing” and “In My Chair” both date back to the tentative days of 1970, as the band prepared to slide from psych to boogie without knowing whether there was even an audience for such a shock.

StatusQuoLive

The fact that there was, of course, would be celebrated with some of the most visceral singles of the decade. “Roll Over Lay Down,” “Rain,” “Don’t Waste My Time,” and, most impressively, “Caroline” all slough off well-loved 45s, to be transformed into veritable showstoppers, while the LP epics “Forty-Five Hundred Times” and “Roadhouse Blues” receive marathon workouts that all but defy gravity.

The mid-’70s were a golden age for double live albums, and from Frampton Comes Alive! to Thin Lizzy’s Live and Dangerous, the era is littered with what now rank as classics. Live! effortlessly takes its place alongside those most hallowed of halcyon howlers, and no matter what else Status Quo might have become in later years, this is what they sounded like before that happened. Priceless. (by Dave Thompson)

In other words. A classic live album including a brilliant version of “Roadhouse Blues” original recorded by The Doors !

And it´s fun and fun only !

Muro do Classic Rock

Personnel:
John Coghlan (drums)
Alan Lancaster (bass, vocals)
Rick Parfitt (guitar, vocals)
Francis Rossi (guitar, vocals)
+
Andy Bown -(keyboards)
Bob Young (harmonica)

Booklet

Tracklist:

CD 1:
01. Junior’s Wailing (White/Pugh) 5.21
02. Backwater/Just Take Me (Parfitt/Lancaster) 8.28
03. Is There A Better Way” (Rossi/Lancaster) 4.17
04. In My Chair (Rossi/Young) 3.36
05. Little Lady/Most of the Time (Parfitt/Rossi/Young) 7.19
06. Rain (Parfitt) 4.53
07. Forty-Five Hundred Times (Rossi/Parfitt) 16.42

CD 2:
08. Roll Over Lay Down (Rossi/Parfitt/Lancaster/Coghlan/Young) 6.04
09. Big Fat Mama (Rossi/Parfitt) 5.22
10. Don’t Waste My Time (Rossi/Young) 4.05
11. Roadhouse Blues (Morrison/Densmore/Krieger/Manzarek) 14.21
12. Caroline (Rossi/Young) 6.43
13. Bye Bye Johnny (Berry) 6.22

LabelD1

*
**

RickParfitt

This entry is dedicated to one of the boys in the band:
Rick Parfitt (12 October 1948 – 24 December 2016)

Various Artists – Boys On The Side (OST) (1995)

FrontCover1Boys on the Side is a 1995 American comedy-drama film directed by Herbert Ross (in his final film as a director). It stars Whoopi Goldberg, Drew Barrymore and Mary-Louise Parker as three friends on a cross-country road trip. The screenplay was written by Don Roos.

 

Three unique women embark on a cross-country road trip: Jane (Whoopi Goldberg), a lesbian lounge singer in search of a new life after breaking up with her girlfriend and getting fired; Holly (Drew Barrymore), a pregnant girl who just wants to escape her brutal boyfriend; and Robin (Mary-Louise Parker), an uptight real estate agent who has her own secrets (namely being infected with HIV).

Robin puts an ad in the newspaper that she is looking for a traveling companion to accompany her on a cross country trip to California. Jane answers the ad and agrees to join Robin after her car gets towed during their meeting. Jane and Robin leave New York City and travel through Pittsburgh to take Jane’s friend Holly to lunch. They stumble across a knock out-fight between Holly and her abusive boyfriend, Nick, over some missing drugs.

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They leave him there bound to a chair with tape after Holly hits him in the head with a bat to stop him from attacking Jane. Later, he frees himself from the chair, stumbles across the floor, falls and hits his head on the bat and dies. The three unlikely travelers then form a special friendship on their journey which sees them through ultimately tragic times.

After discovering that Nick is dead and that Holly is pregnant, the three women decide to continue across country and end up in Tucson, Arizona when Robin has to be hospitalized. They decide to stay in Tucson, hoping to start a new life. However, Jane has a secret crush on Robin, Holly falls in love with and eventually confesses to a local police officer named Abe Lincoln (Matthew McConaughey), and Robin finds the courage to face her impending death.

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Shortly after Jane and Robin have a falling out over Jane telling a friendly bartender (James Remar) who was interested in Robin that she has HIV, Holly is arrested by Abe. She is taken back to Pittsburgh to face the consequences of her actions. The return to Pittsburgh involves Robin and Jane making peace with each other on the courthouse’s “Bridge of Sighs” while the Pittsburgh Police process Holly.

A few months pass, in Tucson, Holly is free and with Abe and her daughter, which is celebration to all family and friends. Robin is now farther along with AIDS and is not expected to live much longer. The party asks Robin to sing the Roy Orbison song “You Got It” as she performed that song in a Star Search contest; though weak, she manages to sing with Jane backing her singing. In the final scene, Robin has died from AIDS as her wheelchair is now empty, Holly and Abe plan to stay in Arizona and become a family, while Jane hits the road to finally seek a life of her own.

The film’s soundtrack album is made up entirely of contributions from female pop/rock artists, including lesbian icons Melissa Etheridge (“I Take You With Me”), Joan Armatrading (“Willow”) and the Indigo Girls (“Power of Two”). Previous hit singles by Annie Lennox (“Why”) and The Cranberries (“Dreams”) are also included, as are new recordings by Sheryl Crow, Sarah McLachlan, Stevie Nicks and The Pretenders among others. The hit single from the movie soundtrack was Bonnie Raitt’s cover of the Roy Orbison hit “You Got It”, which peaked at #34 on the Billboard Hot 100 singles chart. (by wikipedia)

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Boys on the Side is a collection of mainstream ’90s rock dominated by female artists, which is appropriate for the feminist nature of the film. Not all of the music is first-rate, but much of it is, particularly Bonnie Raitt’s cover of Roy Orbison’s “You Got It.” Fans of the film will find much to enjoy here, but the record doesn’t quite hold together as an individual entity. (by Stephen Thomas Erlewine)

This is just such an amazingly wonderful collection of beautiful songs, from the movie of the same title. This CD is like a warm, happy, occasionally sad, emotional journey through the eyes & hearts of some really talented women! I’m going to stockpile some more copies of this CD, as I never want to be without it! (by Mary Jo Ashleyon)

Booklet04A

This has always been one of my favorite CDs, given the assortment of some of the best tracks of a series of female artists. Recently on a trip out west I inadvertently left the CD playing when my daughter (4th grade) got in the car–it is now her favorite album as well, and I don’t have to listen to the teeny bop music she usually pleads for–what a relief!!
I had never heard many of these artists before, given that I stopped hearing new artists about when my daughter was born and Raffi took over our lives, and it was such a delight to discover so much talent–it really sent me out to get acquainted with more of their music on their own individual albums. (by an Amazon customer)

This is a strong album for strong women … And I love strong women …

Booklet01A

Tracklist:
01. Bonnie Raitt: You Got It (Lynne/Orbison/Petty) 3.25
02. Melissa Etheridge: I Take You With Me (Etheridge) 4.48
03. Sheryl Crow: Keep On Growing (Clapton/Whitlock) 5.24
04. Indigo Girls: Power Of Two (Saliers) 5.22
05. Stevie Nicks:  Somebody Stand By Me (Crow/Wolfe) 5.05
06. The Pretenders: Everyday Is Like Sunday (Morrissey/Street) 3.41
07. The Cranberries; Dreams (Hogan/O’Riordan) 4.30
08. Annie Lennox: Why (Lennox) 4.53
09. Sarah McLachlan: Ol’ 55 (Waits) 4.11
10. Joan Armatrading: Willow (Armatrading) 4.01
11. Jonell Mosser: Crossroads (Johnson) 2.49
12. Whoopi Goldberg: You Got It (Lynne/Orbison/Petty) 3.08
13. Bonnie Raitt: You Got It (Lynne/Orbison/Petty) 3.25

CD1

*
**

Cassette
AristaPromoPic1Promotion pic

Glenn Frey – Soul Searchin’ (1988)

FrontCover1Soul Searchin’ is the third solo studio album by Glenn Frey, the guitarist and co-lead vocalist for the Eagles. The album was released in mid 1988 on MCA in the United States and the United Kingdom, four years after Frey’s successful album, The Allnighter and eight years after the demise of the Eagles. The album features eight original songs co-written by Frey with Jack Tempchin and the song “Two Hearts” contributed by Frey’s friend, Hawk Wolinski. The album also features contributions from fellow Eagles member Timothy B. Schmit, Max Carl, Robbie Buchanan, Michael Landau, and Bruce Gaitsch.

The album was received negatively by the majority of music critics, while other reviewers noted good points to the album. It was also not as successful as Frey’s previous albums (although one of his favorites), peaking at #36 on the Billboard 200, which marked the beginning of a downturn in Frey’s fortunes on the album charts. The album’s first and leading single, “True Love”, unlike the album, was a commercial success, peaking at #2 on the Adult Contemporary chart, and so was the second single, the title track (“Soul Searchin'”), which peaked at #5 also on the Adult Contemporary.

MCFrontCover1Frey began work on the album in the midst of a string of hits in the 1980s, as well as animosity between him and other members of the Eagles. The album’s title refers to his efforts to find his own identity

When Frey was asked about his musical direction, he said “In a sense I’m working my way back home, Though I left Detroit and went to California to cut my teeth on country-rock, I’ve remained obsessed with the music of my adolescence, the great soul hits of the 60’s and early 70’s. It’s a style that most black musicians have abandoned for dance music and rap. There are a whole lot of people who miss the sound of Sam & Dave, and Wilson Pickett. It’s left a gap that is being filled by people like Steve Winwood.”

Reviewing for AllMusic, critic William Ruhlmann wrote of the album “the songs here were so interchangeable with those on his first two albums he apologized for it in his note about “True Love,” which became the album’s sole Top 40 hit. The music was pleasant, but inconsequential, and suggested that Frey, living off his Eagles royalties, had come to think of his solo career as a hobby.” In a review for The Rolling Stone Album Guide (1992), Mark Coleman gave the album one and a half out of five stars and wrote that “Frey sounded like he wasn’t even trying anymore; his pump-your-body TV gym commercials at the time displayed more sweat and effort”.

BookletBackCover1

Personnel:
Barry Beckett (synthesizer, piano, keyboards)
Bill Bergman (saxophone)
Robbie Buchanan (Keyboards)
Duncan Cameron (guitar, background vocals)
Dave Chamberlain (bass)
Steve Forman (Percussion)
Glenn Frey (vocals, synthesizer, bass, guitar, percussion, piano, drums, keyboards)
Bruce Gaitsch (guitar)
Al Garth (saxophone)
Roger Hawkins (drums)
Heart Attack Horns (horns)
David Hood (bass)
Paul Jackson Jr. (guitar)
Russ Kunkel (drums)
Michael Landau (guitar)
Ralph MacDonald (percussion)
Chris Mostert (saxophone)
Steve Nathan (keyboards)
Prairie Prince (drums)
John “J.R.” Robinson (drums)
Ron Skies (keyboards)
Neil Stubenhaus (bass)
Steve Thomas (keyboards)
David “Hawk” Wolinski (synthesizer, keyboards)
+
background vocals:
Max Carl – Roy Galloway – Institutional Radio Choir – Timothy B. Schmit – Julia Waters – Maxine Waters – Oren Waters

Booklet02A

Tracklist:
01. Livin’ Right (Frey/Tempchin) 5.07
02. Some Kind Of Blue (Frey/Tempchin) 4.40
03. True Love (Frey/Tempchin) 4.40
04. Can’t Put Out This Fire (Frey/Tempchin) 5.04
05. I Did It for Your Love (Frey/Tempchin) 4.00
06. Let’s Pretend We’re Still in Love (Frey/Tempchin) 4.51
07. Working Man (Frey/Tempchin) 3.25
08. Soul Searchin’ (Frey/Tempchin/Cameron) 5.38
09. Two Hearts (Wolinski/Newton-Howard) 4.01
10. It’s Your Life (Frey/Thoma) 4.58
11. It’s Cold In Here (Frey/Cameron) 3.48

CD1*
**

 

GlennFrey
Glenn Lewis Frey (November 6, 1948 – January 18, 2016)

MC1

Bonnie Raitt – Nick Of Time (1989)

FrontCover1Nick of Time is the 10th album by the American singer Bonnie Raitt, released on March 21, 1989.

Nick of Time topped the Billboard 200 chart, selling five million copies, and won three Grammy Awards, including Album of the Year, which was presented to Raitt & producer Don Was. In 2003, the album was ranked number 230 on Rolling Stone magazine’s list of the 500 greatest albums of all time. The album was also included in the book 1001 Albums You Must Hear Before You Die.

Pior to Nick of Time, Bonnie Raitt had been a reliable cult artist, delivering a string of solid records that were moderate successes and usually musically satisfying. From her 1971 debut through 1982’s Green Light, she had a solid streak, but 1986’s Nine Lives snapped it, falling far short of her usual potential. Therefore, it shouldn’t have been a surprise when Raitt decided to craft its follow-up as a major comeback, collaborating with producer Don Was on Nick of Time. At the time, the pairing seemed a little odd, since he was primarily known for the weird hipster funk of Was (Not Was), but the match turned out to be inspired. Was used Raitt’s classic early-’70s records as a blueprint, choosing to update the sound with a smooth, professional production and a batch of excellent contemporary songs.

BonnieRaitt02

In this context, Raitt flourishes; she never rocks too hard, but there is grit to her singing and playing, even when the surfaces are clean and inviting. And while she only has two original songs here, Nick of Time plays like autobiography, which is a testament to the power of the songs, performances, and productions. It was a great comeback album that made for a great story, but the record never would have been a blockbuster success if it wasn’t for the music, which is among the finest Raitt ever made. She must have realized this, since Nick of Time served as the blueprint for the majority of her ’90s albums. (by Stephen Thomas Erlewine)

BackCover1

Personnel:
Arthur Adams (guitar on o3.)
Sweet Pea Atkinson (background vocals on 03., 08., 09. + 11.)
Bill Bergman (Saxophone on 03.)
John Berry, Jr. (trumpet on 03. + 09.)
Sir Harry Bowens (background vocals on 01., 03., 08., 09. + 11.)
Tony Braunagel (percussion on 02., + 05., drums on 04.)
Fran Christina (drums on 11.)
David Crosby (background vocals on 04.)
Paulinho Da Costa (Percussion on 01., 04. + 07.)
Chuck Domanico (bass on 4. + 06.)
Dennis Farias (trumpet on 03. + 09.)
Ricky Fataar (drums on 01. – 03., 05. + 07. – 09, Percussion on 01.)
Marty Grebb (Saxophone on 03. + 09.)’
Herbie Hancock (piano on 10.)
Heart Attack Horns (Horns on 03. + 09.)
Preston Hubbard (bass on 11.)
James “Hutch” Hutchinson (bass on 01. – 03., 05., 07. – 09.)
John Jorgenson (guitar on 08.)
Michael Landau (guitar on 01. + 03.)
David Lasley background vocals on 07.)
Jay Dee Maness (pedal steel guitar on 08.)
Arnold McCuller (background vocals on 01., 07., 08. + 11.)
Larry John McNally (background vocals on 05.)
Graham Nash (Background vocals on 04.)
Bonnie Raitt (vocals, piano on 01. + 09., slide-guitar on 02. – 04., guitar, on 05., 06. +11.)
Michael Ruff (Keyboards on 04.)
Johnny Lee Schell (guitar on 02., 03. + 09, vocals on 02.)
Greg Smith (Saxophone on 03. + 09.)
Swamp Dogg (piano on 05.)
Scott Thurston (keyboards on 03. + 07.)
Don Was (keyboards on 08.)
Kim Wilson (harmonica on 05. + 11.)

Booklet1
Tracklist:
01. Nick Of Time (Raitt) 3.52
02. Thing Called Love (Hiatt) 3.52
03. Love Letter (Hayes) 4.04
04. Cry On My Shoulder (Ruff) 3.44
05. Real Man (Williams) 4.27
06. Nobody’s Girl (McNally) 3.15
. Have A Heart (Hayes) 4.50
08. Too Soon To Tell (Bourke/Reid) 3.45
09. I Will Not Be Denied (Williams) 4.55
10. I Ain’t Gonna Let You Break My Heart Again (D.Lasley/J.Lasley) 2.238
11. The Road’s My Middle Name (Raitt) 3.31CD1*
**

BonnieRaitt01

 

 

 

Mr Albert Show – Warm Motor (1971)

FrontCover1During the weekend of August 30th to 31st, 1969, a number of musicians from various bands active in the region of Eindhoven, The Netherlands, performed in a club in Mannheim, Germany. Some of the band members from “Moses and the Scouts” and “Dirty Underwear” discovered that they had much in common in terms of musical ideas and decided to form a new band – with Broer Bogaart drums and congas, Tom Fautubun bass, Eric Lintermans guitar, Bonki Bongaerts organ, Bertus Borgers saxophone and vocals and Inez and Moses performing as extra solo vocalists.

After some rehearsals, and on the way to the first gig, there wasn’t a name yet for the new band. To tease the shy roadie, Albert, it was decided to call the band “The Mr. Albert Show” and despite Albert’s protests, the name was never changed. After recording the new written repertoire on a cassette, Bertus and Moses hitched a ride to the Red Bullet record company. Willem van Kooten, the big boss, immediately decided to offer the band a four-year record contract, which the band members signed without any hesitation.

In 1971, the second LP, “Warm Motor”, which was also produced by Peter Koelewijn, was released and perfectly reflected the band at that time. However, Red Bullet was unable to lift a single from the LP, as the songs were too long, the band no longer had a female vocalist and the music was too freaky. The band was focussing on the new trends of the time and exploring music from around the whole world, i.e. Jazz, Underground, African, Indian and much more. We wanted to be actively involved in the cultural and social developments that were actually taking place and coming up with appropriate singles wasn’t exactly part of our daily interests.

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As a result, the first signs of friction arose between the band and the record company. As a compromise, additional recordings were made in order to be able to release a single, e.g. “Show Me Your Tongue”, but in 1972, we broke all ties with Red Bullet. We continued to play, but still had two years remaining on our contract, rendering the band members unable to sign up with another record company. We decided to go our own separate way and on September 29th, 1973, The Mr. Albert Show gave their last performance at “de Effenaar” in Eindhoven, The Netherlands. (by Bertus Borgers)

AlternateFrontCover2Alternate frontcover (1977)

This album is more on the trippy side than the first one, spheric organ, flute/sax, and great guitarwork . The 6 tracks show the bands outstanding talent for progressive rock music with trippy jazz elements but also straight Hardrock. Music ranges from Golden Earring, King Crimson, Colosseum style over to several Krautrock bands.

“Warm Motor”! Big differences to debut the group is more on the trippy side than the first one, spheric organ, flute/sax, and great guitarwork . The 6 tracks show the bands outstanding talent for progressive rock music with trippy jazz elements but also straight Hardrock. However, the women’s singing is gone, all the rocks are often a little harder now and the pieces have become longer. Still the foundation of the music of the five Dutch is a bluesy-jazzy Protoprog that sometimes slightly harder rocking lives, the interplay of organ and electric guitar. Based enriched the group their sound by jazz and rock influences Brass. Especially Bertus Borgers provides – not just when he sings – with various saxophones and a flute that the music somewhat from the usual organ-heavy and hard rock of the early Protoprog apart. Colosseum, Black Widow, Warm Dust or the compatriots of Focus are perhaps quite a good comparison to the music on “Warm Motor”, then the Danish sax Progger (Burnin Red Ivanhoe, Blast Furnace, the Rainbow Band and Thor’s hammer) but the compositions of the band from Eindhoven are knitted little easier.

MrAlbertShow03

At the time of their second album, the band had dropped the psychedelic element of their music to concentrate more on the jazz-rock side, resulting in some first rate progressive rock. ‘Did You Really Find Somebody’ opens the album, and straight away you can hear the difference. Much more relaxed and jazz-orientated, it includes a lovely jazz guitar solo, which you hear far too little these days, and good use of the horn section. ‘Electronic Baby’ beefs up the rock element slightly, with some heavy guitars making an appearance, and also includes a good keyboard solo and a nice flute interlude. ‘Let It All Hang Out’ has a funky groove to it, and a vocal at times reminiscent of Joe Cocker, while ‘Bantal’ is the most out and out jazz track on here, featuring intricate rhythms and time changes. The generally longer tracks on this album (only six in all) work very well, and none of them drag at all, making for a truly progressive album – in that the band have actually progressed on from their debut. Now out on CD with bonus tracks – a couple of fifties style rock’n’rollers (which really do not fit in with the music on the rest of the album) in ‘I Can’t Help It’ and ‘Show Me Your Tongue’, and whether you have heard their first one or not this is definitely worth checking out

Singles

Then it apparently came into larger differences with the record company (marketed by Philip label Red Bullet Productions), with which the band then no longer wanted to work together. However, they were still under contract with the label, which, however, did not release the tape. To end the deadlock, the group finally dissolved in the fall of the 1973. The saxophonist and singer Bertus Borgers then worked with Robert Stips of Supersister in the band Sweet d’Buster,together with Robert Jan Stips of Supersister and is very active as a studio musician.

AlternateFrontCoverAlternate frontcover from Canada

In the United States this album was called Dutch Treat and had a different cover On the cover you can see singer Floortje Klomp, who sang for a short time with the band, but she doesn’t appear on this album. Although singer Floortje Klomp had left the band after a few month after replacing singer Inez (sang on 1st album), she had credits as singer. As Bertus Borgers also told me, the musicians´ statements on the US cover’s back front were a result of the group promoter’s fantasy. The band members themselves hadn’t been informed.(by adamus67)

This is one of the finest LP´s from the prog-rock era … and their song “I’m Not More Than A Sign ” is such a killer song …

And Mr. rockasteria wrote in his blog: sensational prog jazz blues rock !

That´s right !

MrAlbertShow01

Personnel:
Bertus Borgers (vocals, flute, saxophone, guitar, keyboards, vibraphone)
Bonki Bongaerts (keyboards, harmonica)
Broer Boogaart (drums, percussion)
Tom Fautubun (bass)
Erik Lintermans (guitar)

B'ooklet1

Tracklist:
01. Did You Really Find Somebody (Borgers) 9.54
02. I’m Not More Than A Sign Borgers) 3.52
03. Electronic Baby (Borgers/Bongaerts/Sylvester) 6.45
04. Let It All Hang Out (Borgers) 4.39
05. Bantal (Borgers) 3.49
06. Woman (Borgers) 11.25
+
07. I Can’t Help It (Borgers) 2.33
08. Show Me Your Tongue (Borgers) 3.32
09. Can’t Find My Way Home (Winwood) 5.00
10. Hooked On You (Borgers) 4.01
11. Picking Up Your Page (Borgers) 3.26LabelB1*
**

Front+BackCover1

Rainbow – Down To Earth (1979)

LPFrontCover1Down to Earth is the fourth studio album by the British hard rock band Rainbow. It is their last album to feature drummer Cozy Powell and their only album with vocalist Graham Bonnet. Released in 1979, it contains Rainbow’s first hit single “Since You Been Gone”, marking a more commercial direction of the band’s sound.

The writing of Down to Earth began at Ritchie Blackmore’s house in Connecticut in December 1978. By that time, the band leader had dismissed both bassist Bob Daisley and keyboard player David Stone soon after singer Ronnie James Dio quit the band. Blackmore had already recruited his old Deep Purple band mate Roger Glover as producer and started auditioning musicians for the vacant slots in the band, while songwriting progressed with the line-up of Blackmore, Cozy Powell and session musician Clive Chaman on bass. The backing tracks were largely written by Blackmore and Glover. By the end of 1978, Blackmore had recruited keyboardist Don Airey, under suggestion from Powell, and also considered Ian Gillan and Peter Goalby of Trapeze as replacements for Dio.

In April 1979, Jack Green of The Pretty Things was hired as new bass player for the recording sessions at Château Pelly de Cornfeld, in the countryside of Southern France, but he did not stay for long. Producer Glover ended up playing bass on the album and provided lyrics for all songs. While auditions for the new singer proceeded, Glover tracked down ex-The Marbles singer Graham Bonnet, who auditioned in France and was immediately hired.

During song composition, Bonnet made his vocal melodies though his contributions remained uncredited. His vocals were not recorded with the other tracks in France, but later at Kingdom Sound Studios in Long Island, when all other recording sessions were completed. Down to Earth is the only Rainbow album to feature Bonnet, though he was still part of the band when writing for Difficult to Cure began.

 

SinglesThe singles from this album

Also recorded for the proposed next single, but unreleased due to Bonnet’s departure, was “Will You Love Me Tomorrow”. Bonnet had previously recorded this song for his first, eponymously titled, solo album in 1977. Rainbow’s version was recorded in the studio in May 1980, during rehearsals for the Japanese leg of the Down to Earth tour. It was subsequently played live throughout that tour.
Tour

In 1980, Blackmore’s Rainbow headlined the inaugural Monsters of Rock festival at Castle Donington in England.

Songs from Down to Earth have been performed by Graham Bonnet at his solo shows, as well as at concerts performed with Don Airey (2001) and Joe Lynn Turner (2007).

In the UK there was a limited edition clear vinyl LP release.

Inlet01A

“Bad Girl”, an outtake from the album sessions, was used as the B-side to the “Since You Been Gone” single. Similarly, “Weiss Heim”, an instrumental recorded in Copenhagen in January 1980, was the B-side to “All Night Long”.

AllMusic editor Stephen Thomas Erlewine defines the album “a fine hard rock platter”, which “might not offer anything unique, but it delivers the goods.” He criticizes mostly Bonnet’s vocals, but praises “the guitar artistry and mystical sensibility of Ritchie Blackmore”, who “sounds invigorated on the album”. PopMatters’ Adrien Begrand, reviewing the 2011 Deluxe Edition, remarks how Down to Earth “is somewhat underrated compared to the towering Dio discography, but it remains a strong outing 31 years later”, even with “the new material sounding so much more stripped-down compared to the overtly epic heavy metal arrangements of Dio-era Rainbow”. The songs are “eight searing, hooky hard rockers”, remarkably rendered by Bonnet’s performance and energy. The album “is perhaps the most divisive record in Rainbow’s catalogue” according to Record Collector reviewer, because of “Blackmore’s single-minded pursuit of mainstream success” and the departure from the sound of preceding albums. He adds that this is a “strong” album with many “classic radio” staples, but the second disc of the Deluxe Edition does not add anything essential to the listening experience.

In 2005, Down to Earth was ranked number 431 in Rock Hard magazine’s book of The 500 Greatest Rock & Metal Albums of All Time.

In an interview with Sounds (magazine) in 1979, Blackmore said: “I have so much respect for classical musicians that when I listen to myself I think, oh, that’s nonsense. I can put down other people’s music because the fact is I put down my own music and say it’s rubbish. A lot of it is- not all of it- No Time To Lose definitely is but Eyes of the World is OK. But a good deal of it is a waste of time.” (by wikipedia)

RainBow

Personnel:
Don Airey (keyboards)
Ritchie Blackmore (guitar)
Graham Bonnet (vocals)
Roger Glover (bass)
Cozy Powell (drums)

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Tracklist:
01. All Night Long (Blackmore/Glover) 3:53
02. Eyes Of The World (Blackmore/Glover) 6.42
03. No Time To Lose (Blackmore/Glover) 3.45
04. Makin’ Love (Blackmore/Glover) 4.38
05. Since You Been Gone (Ballard) 3.25
06. Love’s No Friend (Blackmore/Glover) 4.55
07. Danger Zone (Blackmore/Glover) 4.31
08. Lost In Hollywood (Blackmore/Glover/Powell) 4.51

 

LabelB1
*
**

 

Genesis – We Can’t Dance (1991)

FrontCover1We Can’t Dance is the fourteenth studio album by English rock band Genesis, released on 28 October 1991 by Atlantic Records in the United States and 11 November 1991 on Virgin Records in the United Kingdom. It is their last album recorded with drummer and lead singer Phil Collins before his departure in 1996 to pursue solo projects. Production began after a four-year period of inactivity from the group, following the commercial success of Invisible Touch (1986) and its tour.

We Can’t Dance was a worldwide commercial success for the band. It became the band’s fifth consecutive No. 1 album in the UK and reached No. 4 in the U.S., where it sold over 4 million copies. Between 1991 and 1993, six tracks from the album were released as singles, including “No Son of Mine” and “I Can’t Dance”. The latter received a Grammy Award nomination for Best Pop Performance by a Duo or Group With Vocals. Genesis toured in support of We Can’t Dance in 1992 which saw the band play large stadiums and arenas across North America and Europe.

We Can’t Dance was Genesis’s first studio album in five years, following the international success of Invisible Touch in 1986. After the tour for that album ended, the band took a long hiatus to focus on solo careers. Both Tony Banks and Mike Rutherford expected Collins to leave the band during this time due to his huge solo success, but he stayed until 1996. The album reached No. 1 in the UK and No. 4 in the U.S., selling several million copies (including 4 million in the U.S. alone). The album also spawned several hit singles, including “No Son of Mine”, “Hold on My Heart”, “I Can’t Dance” and “Jesus He Knows Me”, the latter two supported by humorous videos. Two songs, “On the Shoreline” and “Hearts on Fire”, were cut from the album, because “there wasn’t enough room on the record.” Both songs were released as B-sides.

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Contrary to popular belief, “Since I Lost You” is not about a broken relationship. The lyrics were written by Collins for friend Eric Clapton. On 20 March 1991, Clapton’s four-year-old son Conor died after falling from the 53rd-story window of his mother’s friend’s New York City apartment, landing on the roof of an adjacent four-story building. Collins played it to him before putting it on the album to get his approval.

Most of the songs were written through improvisation, and rehearsed and recorded at The Farm, their recording studio in Chiddingfold, Surrey in England.

We Can’t Dance was released on 28 October 1991 by Atlantic Records in the United States and 11 November 1991 on Virgin Records in the United Kingdom. The album was a success in the charts, going to number one on the UK Albums Chart for one weeks from 23 November 1991. In the United States, it debuted the Billboard 200 chart at number four, the week of 30 November 1991. It stayed at its peak for one week during its 72-week stay on the chart.

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On 1 December 1991, the album was certified double Platinum by the British Phonographic Industry (BPI) for shipment of 600,000 copies. A year later, sales grew to reach quadruple platinum, signifying 1.2 million copies sold. The album reached quintuple platinum status in March 1997, for 1.5 million copies sold. In the United States, We Can’t Dance shipped 1 million copies by 27 December 1991. Five years later, the album was certified quadruple platinum by the Recording Industry Association of America (RIAA) for four million copies sold.

Rolling Stone chiefly commented on the album’s lyrics. They criticised “Tell Me Why” and “Way of the World” for being soulless and impersonal social commentaries, but regarded most of the songs as outstanding, and summarised “Although We Can’t Dance doesn’t quite achieve the vulnerable grace of Duke or the exuberance of Abacab, Genesis has nevertheless delivered an elegantly spare – and even adventurous – album.”

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AllMusic similarly criticised the lyrics of “Tell Me Why” and “Way of the World”, calling them “paeans for world understanding that sound miles away from any immediacy”. However, they praised the album for returning to a less pop-oriented direction, and especially complimented the grittiness of “No Son of Mine”, “Jesus He Knows Me”, and “I Can’t Dance” (which received a Grammy Award nomination for Best Pop Performance by a Duo or Group With Vocals in 1993).

David Browne of Entertainment Weekly gave a lacklustre review, stating: “At a time when everything is uncertain … you almost have to admire a record like We Can’t Dance. … You know there will be a couple of fleeting moments when the band breaks out of its torpor – for instance, on the very polite primal stomp of ‘I Can’t Dance’ – and that such moments will just as quickly be subsumed by the rest of the musical quicksand.”

Stevie Chick of The Guardian has dismissed the album as “blandness”.

The album garnered Genesis an American Music Award for Favorite Pop/Rock Band, Duo, or Group and two further nominations for Favorite Adult Contemporary Album and Favorite Adult Contemporary Artist. At the Brit Awards in 1993, the album was nominated for Best British Album while Phil Collins was nominated as Best Male British Artist for his contribution to the album. (by wikipedia)

Singles
The singles from this album


Personnel
Tony Banks (keyboards)
Phil Collins (drums, percussion, vocals, drum machines)
Mike Rutherford (guitar, bass)

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Tracklist:
01. No Son of Mine 6.39
02. Jesus He Knows Me 4.16
03. Driving The Last Spike 10.08
04. I Can’t Dance 4.01
05. Never A Time 3.50
06. Dreaming While You Sleep 7.16
07. Tell Me Why 4.58
08. Living Forever 5.41
09. Hold On My Heart 4.37
10. Way Of The World 5.38
11. Since I Lost You 4.09
12. Fading Lights 10.16

All songs written by Tony Banks, Phil Collins and Mike Rutherford.

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