Ralph Burns Orchestra – Carbaret (OST) (1972)

FrontCover1Cabaret is a 1972 American musical drama film directed by Bob Fosse, and starring Liza Minnelli, Michael York, and Joel Grey.

Set in Berlin during the Weimar Republic in 1931, under the presence of the growing Nazi Party, the film is loosely based on the 1966 Broadway musical Cabaret by Kander and Ebb, which was adapted from the novel The Berlin Stories / Goodbye to Berlin (1939) by Christopher Isherwood and the 1951 play I Am a Camera adapted from the same book. Only a few numbers from the stage score were used for the film; Kander and Ebb wrote new ones to replace those that were discarded. In the traditional manner of musical theater, called an “integrated musical”, every significant character in the stage version sings to express his or her own emotion and to advance the plot. In the film version, the musical numbers are entirely diegetic. All of them take place inside the club, with one exception: “Tomorrow Belongs to Me”, the only song sung neither by Grey’s character of the Kit Kat Klub’s Master of Ceremonies nor by Minnelli’s character of Sally Bowles.

In 1931 Berlin, young American Sally Bowles performs at the Kit Kat Klub. A new British arrival in the city, Brian Roberts, moves into the boarding house where Sally lives. A reserved academic and writer, Brian wants to give English lessons to earn a living while Cabaret
RŽal. : Bob Fosse
Liza Minnelli
COLLECTION CHRISTOPHELcompleting his doctorate. Sally tries to seduce Brian, but he tells her that on three previous occasions he has tried to have sexual relationships with women, all of which failed. They become friends, and Brian witnesses Sally’s bohemian life in the last days of the Weimar Republic. Much later in the movie, Sally and Brian become lovers, concluding that his previous failures with women were because they were “the wrong three girls”.

Maximilian von Heune, a rich playboy baron, befriends Sally and takes her and Brian to his country estate where they are both spoiled and courted. After an unexplained off-screen experience with Brian, Max drops his pursuit of the pair in anger. During an argument, Sally tells Brian that she has been having sex with Max, and Brian reveals that he has as well. Brian and Sally later reconcile, and Sally reveals that Max left them 300 marks and mockingly compares the sum with what a professional prostitute gets.

Sally learns that she is pregnant but is unsure of the father. Brian offers to marry her and take her back to his university life in Cambridge. At first, they celebrate their resolution to start this new life together, but after a picnic between Sally and Brian, in which Brian acts distant and uninterested, Sally becomes disheartened by the vision of herself as a bored faculty wife washing dirty diapers. Ultimately, she has an abortion, without informing Brian in advance. When he confronts her, she shares her fears, and the two reach an understanding. Brian departs for England, and Sally continues her life in Berlin, embedding herself in the Kit Kat Club.


A subplot concerns Fritz Wendel, a German Jew passing as a Protestant, who is in love with Natalia Landauer, a wealthy German Jewish heiress who holds him in contempt and suspects his motives. Sally advises him to be more aggressive, which eventually enables Fritz to win her love. However, to get her parents’ consent for their marriage, Fritz must reveal his religion, which he does and the two are married by a rabbi.

The Nazis’ violent rise is an ever-present undercurrent in the film. Their progress can be tracked through the characters’ changing actions and attitudes. While in the beginning of the film, a Nazi is kicked out of the Kit Kat Klub, the final shot of the film shows the cabaret’s audience is dominated by uniformed Nazis. The rise of the Nazis is also demonstrated in a rural beer garden scene when Max and Brian stop for drinks. A blonde boy – only his face is seen initially – sings to an audience of all ages (“Tomorrow Belongs To Me”) about the beauties of nature and youth. The camera shifts to show that the singer is wearing a brown Hitler Youth uniform.


The ballad gradually transforms into a militant Nazi anthem, one by one, nearly all the adults and young people watching rise and join in the singing. The song culminates with the singer donning his Hitler Youth cap and lifting his hand in the Nazi salute. Max and Brian return to their car after witnessing this show of growing support for the Nazi movement, where Brian asks Max, “Do you still think you can control them?” Later, Brian’s confrontation with a Nazi in the streets of Berlin leads to nothing but him being beaten.

While he does not play a role in the main plot, the “Master of Ceremonies” serves a background role throughout the film. His intermittent songs in the Kit Kat Klub are increasingly risqué and pointedly mock the Nazis initially, while a later song reveals the growing acceptance of anti-Semitism. (by wikipedia)

All the songs were written by Kander and Ebb, mostly for the 1966 Broadway production. It starts and ends with a cymbal stroke. The style is inspired by old cabaret and burlesque songs in Berlin and by Kurt Weill. Willkommen is sung by Joel Grey, who worked hard on his German accent and who was in the original Broadway cast. The first original Mein Herr introduces Liza Minnelli as Sally Bowles. Maybe This Time was already recorded by her in 1964.


The satirical Money, Money uses the sound of the cash register, like Pink Floyd one year later. If You Could See Her is a comical song with a serious undertone, in which the ape represents a non-Aryan. Tomorrow Belongs to Me announces the rise of the Nazi movement. Cabaret is the apotheosis in which Liza gives her everything and proves what a unique theatrical performer and vocalist she is. It’s a musical representation of the conflicting ideologies in the early thirties. Cabaret represents life and life is a cabaret. (Bonnie Laurel)


Ralph Burns Orchestra
Joel Grey – Liza Minnelli – Mark Lambert – Greta Keller


01. Joel Grey: Willkommen 4.31
02. Liza Minnelli: Mein Herr 3.37
03. Liza Minnelli: Maybe This Time 3.11
04. Joel Grey, Liza Minnelli: Money, Money 3.05
05. Joel Grey: Two Ladies 3.12
06. Sitting Pretty (Instrumental) 2.27
07. Mark Lambert: Tomorrow Belongs To Me  3.07
08. Joel Grey: Tiller Girls 1.41
09. Greta Keller: Heiraten (Married) 3.35
10. Joel Grey: If You Could See Her 3.55
11. Liza Minnelli: Cabaret 3.35
12. Joel Grey: Finale 2.29

Music:John Kander
Lyrics: Fred Ebb




Goodthunder – Same (1972)

FrontCover1.jpgGoodThunder was a psychedelic/progressive rock/hard rock band that formed in 1972 as James Cahoon Lindsay (vocals and percussion), John Desautels (drums), David Hanson (guitars and vocals), Bill Rhodes (bass), and Wayne Cook (keyboard). Other members include Fritz Richmond (engineering), Rick Rodrigues (cover art), Lorrie Sullivan (photography), and Robert Heimall (art direction). Not much is known about this band except the information you find on the back cover of their first and only album. If you don’t listen to it, the only thing that stands out on this album is the fact that famous producer Paul A. Rothchild (who produced albums by The Doors, Janis Joplin, and Rush just to name a few) produced this album. Most of the core band went on to join AOR band L.A. Jets, then most of L.A. Jets went on to record under the name 1994. Both L.A. Jets and 1994 included GoodThunder members John Desautels, Bill Rhodes, Terry Linvill, and included singer/songwriter Karen Lawrence. Wayne Cook went on to play keyboards with Steppenwolf and co-wrote the instrumental “Lip Service” from the Skullduggery album. Wayne Cook also played keyboards with Player on their first two albums, he filled in as keyboardist for Alice Cooper for a few shows, but was never a permanent member.

The song “Sentries” is notable for beginning with a few notes from a caliope.

GoodThunder is the 1972 self-titled album by GoodThunder. This was their only album after they broke up after this album was released. The original vinyl included a lyric sheet. (by wikipedia)


GoodThunder is practically unkown, which is really a shame considering they released one of the best albums of 1972!

I Can’t Get Thru to You – Is a short, but powerful, number loaded with heavy guitars and beautiful organ and piano use.

For a Breath – Starts with some wind-sounding effects, then the main guitar riff fades in. Great guitar solos follows not to long after the vocal parts. Other than the powerful guitars, you also get some nice keyboard work. Then the song changes to a nice and slower melodic piece, which only lasts less than 30 seconds before going back to the main riff and a short bass solo. Then the song picks up right where it started.

Moonship – is another short song, but one of my favorites. Opening up with organ and guitar. This song has haunting vocals and lyrics, the keyboards are the key piece to this haunting puzzle. Moonship pretty much describes GoodThunder in a nutshell.

Home Again – is about a man who is misses his home, family, and friends. This song starts out tame, but don’t let that mislead you! For you will be treated with a nice lengthy guitar solo!

Sentries – The shortest song from this album. It opens with an oddly placed circus sounding intro…trust me this band wasn’t without a great sense of humor! Sentries is a nice hard rock song that sounds like it was made to be the leading single from this album….which it was! As with the rest of the album, this song is full of great guitaring and keyboarding!


P.O.W. – is, in my opinion, their masterpiece (along with Barking at the Ants). Expert guitaring and keyboarding. Starts with a piano and acoustic intro which then opens to a nice guitar part. James Cahoon Lindsay gives his best vocals to this song. As I said before, this is simply a masterpiece. Not much else I can say. You definitely have to hear this.

Rollin’ Up My Mind – possibly their heaviest song. Beautiful guitaring and lyrics, also one of my favorites from this amazing album.

Barking at the Ants – don’t know what the song title means or is about, but it starts with a great guitar riff. As said above in parenthesis, this is their other masterpiece. The guys give the best vocal harmonies and instrumentation on Barking at the Ants. Lyrics are just suberb!

For a bands that’s unknown, there sure as hell made on of the best heavy prog albums of the early 70s that effortlessly stands the test of time.

Oh and did I mention the best vocal harmonies of Heavy Prog? I did? Shame on me for being so redundant.

5 Stars to an that really deserves it! (AmericanProgster)


Wayne Cook (keyboards)
John Desautels (drums)
David Hanson (guitar, vocals)
James Cahoon Lindsay (vocals, percussion)
Bill Rhodes (bass)


01. I Can’t Get Thru To You (Cook/Lindsay) 3.26
02. For A Breath (Foster/Desautels) 5.24
03. Moonship (Cook/Phifer/Lindsay) 2.45
04. Home Again (Hanson/Lindsay) 6.44
05. Sentries (Hanson/Lindsay/Linvill) 2.35
06. P.O.W. (Hanson/Desautels) 6.44
07. Rollin Up My Mind (Cook) 4.09
ß8. Barking At The Ants (Hanson) 6-35



Most of the band’s members later went to form the AOR group L.A. Jets, while Cook found himself in the Steppenwolf line-up for a couple of years, while he also served as a keyboardist for Alice Cooper in some of his live shows.


Christy Moore – Prosperous (1972)

FrontCover1.jpgChristy, a native of Co. Kildare, started in the music business in the mid-sixties, when his life as a bank clerk was interrupted by a bank strike, and he moved to England. There he became involved in the folk music scene at the time, and spent a few years playing pubs and clubs around the country.

His return to Ireland was marked by the album Prosperous, which proved to be a milestone in the rapprochement of Irish music to the popular mainstream. This album benefited from a collaboration of the leading talents of contemporary folk music, musicians such as Andy Irvine, Donal Lunny and Liam O’Flynn, and this one-off was to lead to the formation of Planxty, a band who were at the leading edge of the revival of Irish traditional music.

Over the following years the musical status of Planxty became legendary both in Ireland, Britain and throughout Europe. However in 1974 the band split up to pursue solo projects. It was during this period that Christy continued to explore new ground as a solo artist recording a number of solo albums including ‘The Iron Behind the Velvet’  which featured Andy Irvine and ‘Live in Dublin’ with Donal Lunny.


PlanxtyThe original Planxty lineup of Christy, Andy, Liam and Donal then reformed in 1979. They recorded two further albums with Tara Records ‘After the Break’ (TARACD3001) and ‘The Woman I Loved So Well’ (TARACD3005). There were several additions and changes to their lineup most notably the addition of Matt Molloy, flautist from the Bothy Band, who later joined The Chieftains and Bill Whelan. In 1981 Planxty performed a Bill Whelan arrangement called ‘Timedance’ as the intermission piece for the Eurovision song contest, held that year in Ireland. Later it was released as a single and is now included on Bill’s CD of ‘The Seville Suite’ released by Tara in 1992.

In the eighties Christy again teamed up with Donal Lunny to form Moving Hearts, another ambitious and innovative Irish band which sought to mix jazz into the folk-rock fusion. Ever the wanderer, Christy was soon breaking out on his own again, and it was in the eighties that he began to establish himself as one of Ireland’s leading solo artists with a string of acclaimed albums and high profile tours. In the mid-ninties Christy decided to take a break from the music for a few years. In the year 2000 Christy return to live performances with a series of Dublin concerts. Over the last few years he has released a number of solo projects including a television series, a live album and a 6 CD boxset.


In 2004 Christy once again teamed up with Planxty for a series of Irish concerts and a new live CD and DVD, while at the same time performing regularly in his own right with in Ireland and the UK, with Declan Sinnott. (taramusic.com)

As I got over the excitement of having made an album I began to hear what it was that had been recorded. I realised how important it was to work with musicians who could hear the work and empathise with the singer. All these songs have an atmosphere and a definite vibe of their own and that must be respected.†

When Bill Leader agreed to record my work for his Trailer label. I made contact with Donal Lunny, Andy Irvine, Liam O’Flynn and asked them to play on my second album. I’d known Donal since school and followed his music right from the start. He taught me how to play guitar and bowrawn and has always been the most sensitive collaborator and friend.

He also has a great understanding of the other instruments their capabilities and limitations and can write riffs and fills for all occasions. Liam O’Flynn is the first piper I encountered and forty years on is still my favourite. I’d known Andy from his work with Sweeny’s Men and occasional meetings along the trail.

This was a wonderful session of recordings. It was a time of great music and fun. Bill Leader was the most innovative of engineers and got on with his task of getting it down. Considering he was working with a Revox Reel to Reel and two mikes the sounds he recorded are ageing well.

I’ve talked about this album in many interviews. It has been viewed in lots of ways and taken apart, dissected and given all sorts weighty significance these past 30 years. It is flattering and titillating to hear of it’s debate but the truth is it was made primarily for the sheer joy of making music. We did it because we loved to do it. We had a ball and all we sought to do was to record the sounds that we liked. All that followed has been an unexpected and most welcome bonus. (Christy Moore)


The album that started it all, the revival of traditional Irish music (which assumes, of course, that it needed reviving) and most importantly, led to the formation of the great Irish traditional band, Planxty.

A bunch of mates collect in a hotel, how Irish, and record, crudely, a belter of an album. Truly a great album. (prognotfrog.blogspot.com)


Dave Bland (concertina)
Clive Collins (fiddle, banjo)
Kevin Coneff (bodhrán)
Liam Og O’Flynn (uilleann Pipes, tin whistle)
Andy Irvine (mandolin)
Donal Lunny (bouzouki, guitar)
Christy Moore (vocals, guitar)

01. Raggle Taggle Gypies : Tabhair Dom Do Lamh (Traditional) 4.23
02. The Dark Eyed Sailor (Trad.itional) 3.58
03. I Wish I Was In England (Moore) 2.04
04. Lock Hospital (Traditional) 4.13
05. James Connolly (Traditional) 3.03
06. The Hackler From Grouse Wall (Traditional) 2.28
07. Tribute To Woody (Dylan) 2.15
08. The Ludlow Massacre (Guthrie) 4.13
09. A Letter To Syracuse (Cartwright/Caddick) 2.54
10, Spancil Hill (Traditional) 5.52
11. The Cliffs Of Doneen (Traditional) 3.04
12. Rambling Robin (Traditional) 2.19




Black Sabbath – Vol. 4 (1972)

FrontCover1.JPGVol. 4 is the fourth studio album by English rock band Black Sabbath, released in September 1972. It was the first album by Black Sabbath not produced by Rodger Bain; guitarist Tony Iommi assumed production duties. Patrick Meehan, the band’s then-manager, was listed as co-producer, though his actual involvement in the album’s production was minimal.

In June 1972, Black Sabbath began work on their fourth album at the Record Plant studios in Los Angeles.

“It’s the first album we’ve produced ourselves,” observed Ozzy Osbourne. “Previously we had Rodger Bain as a producer – and, although he’s very good, he didn’t really feel what the band was doing. It was a matter of communication. This time, we did it with Patrick, our manager, and I think we’re all very happy… It was great to work in an American studio.”[1]

The recording was plagued with problems, many due to substance abuse. In the studio, the band regularly had speaker boxes full of cocaine delivered.

Struggling to record “Cornucopia” after “sitting in the middle of the room, just doing drugs”,[3] Bill Ward feared that he was to be fired: “I hated the song, there were some patterns that were just horrible. I nailed it in the end, but the reaction I got was the cold shoulder from everybody. It was like ‘Well, just go home, you’re not being of any use right now.’ I felt like I’d blown it, I was about to get fired.”


According to the book How Black Was Our Sabbath, Ward “was always a drinker, but rarely appeared drunk. Retrospectively, that might have been a danger sign. Now, his self-control was clearly slipping.” Iommi claims in his autobiography that Ward almost died after a prank-gone-wrong during recording. The Bel Air mansion the band was renting belonged to John du Pont and the band found several spray cans of gold DuPont paint in a room of the house; finding Ward naked and unconscious after drinking heavily, they proceeded to cover the drummer in gold paint from head to toe. According to Sharon Osbourne’s memoirs, a Doberman at the mansion got into part of the band’s cocaine supply, laced with the baby laxative mannitol, and became ill from the effects of the drug.


The Vol. 4 sessions could be viewed as the point when the seeds were planted for the demise of Sabbath’s classic line-up. Bassist Geezer Butler told Guitar World in 2001: “The cocaine had set in. We went out to L.A. and got into a totally different lifestyle. Half the budget went on the coke and the other half went to seeing how long we could stay in the studio … We rented a house in Bel Air and the debauchery up there was just unbelievable.” In the same interview, Ward said: “Vol. 4 is a great album, but listening to it now, I can see it as a turning point for me, where the alcohol and drugs stopped being fun.” To Guitar World in 1992, Iommi admitted, “L.A. was a real distraction for us, and that album ended up sounding a bit strange. The people who were involved with the record really didn’t have a clue. They were all learning with us, and we didn’t know what we were doing either. The experimental stage we began with Master of Reality continued with Vol. 4, and we were trying to widen our sound and break out of the bag everyone had put us into.” In the liner notes to 1998’s Reunion, Iommi reflected, “By the time we got to Bel Air we were totally gone. It really was a case of wine, women and song, and we were doing more drugs than ever before.” In his memoir Iron Man: My Journey Through Heaven & Hell with Black Sabbath, the guitarist says, “Like Tony Montana in the movie Scarface: we’d put a big pile (of cocaine) on the table, carve it all up and then we’d all have a bit, well, quite a lot.”

BlackSabbath02In his autobiography I Am Ozzy, Osbourne speaks at length about the sessions: “In spite of all the arsing around, musically those few weeks in Bel Air were the strongest we’d ever been.” But he admits, “Eventually we started to wonder where the fuck all the coke was coming from … that coke was the whitest, purest, strongest stuff you could ever imagine. One sniff, and you were king of the universe.” Osbourne also recounts the band’s ongoing anxiety over the possibility of being busted, which worsened after they went to the cinema to see The French Connection (1971), about undercover New York City cops busting an international heroin-smuggling ring. “By the time the credits rolled,” Osbourne recalled, “I was hyperventilating.” In 2013, Butler admitted to Mojo magazine that heroin, too, had entered the picture: “We sniffed it, we never shot up … I didn’t realize how nuts things had gotten until I went home and the girl I was with didn’t recognize me.”

Vol. 4 saw Black Sabbath beginning to experiment with the heavy sound they had become known for. In June 2013 Mojo declared, “If booze and dope had helped fuel Sabbath’s earlier albums, Vol. 4 is their cocaine … Despite their spiraling addictions, musically Vol. 4 is another ambitious outing. The band’s heavy side remains intact on the likes of ‘Tomorrow’s Dream’, ‘Cornucopia’ and the seismic ‘Supernaut’ (a firm favorite of Frank Zappa, featuring Bill Ward’s soul-inspired breakdown), but the guitar intro on ‘St. Vitus Dance’ possesses a jaunty, Led Zeppelin-flavoured quality, while ‘Laguna Sunrise’ is an evocative neo-classical Iommi instrumental.” After being up all night and watching the sunrise at Laguna Beach, Iommi composed the song. In the studio, an orchestra accompanied Iommi’s guitar, although they refused to perform until their parts were properly written out. The same orchestra performed on “Snowblind”.


“Snowblind” is the band’s most obvious reference to cocaine, their drug of choice during this period. Snowblind was also the album’s working title, but Vertigo Records executives were reluctant to release an album with such an obvious drug reference. The liner notes thank “the great COKE-cola” and, in his autobiography, Osbourne notes, “Snowblind was one of Black Sabbath’s best-ever albums – although the record company wouldn’t let us keep the title, ‘cos in those days cocaine was a big deal, and they didn’t want the hassle of a controversy. We didn’t argue.”

Although most of the album is in the band’s trademark heavy style, some songs demonstrate a more sensitive approach. “Changes”, for example, written by Iommi with lyrics by Butler, is a piano ballad with mellotron. Iommi taught himself to play the piano after finding one in the ballroom of the Bel-Air mansion they were renting. It was on this piano that “Changes” was composed.[2] “Tony just sat down at the piano and came up with this beautiful riff,” Osbourne writes in his memoir. “I hummed a melody over the top, and Geezer wrote these heartbreaking lyrics about the break-up Bill was going through with his wife. I thought that was brilliant from the moment we recorded it.”


“FX” came about unexpectedly in the studio. After smoking hashish, the crucifix hanging from Iommi’s neck accidentally struck the strings of his guitar and the band took an interest in the odd sound produced. An echo effect was added and the band proceeded to hit the guitar with various objects to generate odd sound effects. Iommi calls the song “a total joke”.

Of “Wheels of Confusion”, Henry Rollins said: “It’s about alienation and being lost in the wheels of confusion, which is the way I find myself a lot of the time. Sabbath could be my favourite band. It’s the ultimate lonely man’s rock. There’s something about their music that’s so painful and yet so powerful.”

Tourposter.jpgThe album, Tony Iommi told Circus’s sister magazine Circus Raves, “was such a complete change – we felt we had jumped an album, really … We had tried to go too far.”

The album cover features a monochrome photograph of Ozzy Osbourne with hands raised throwing the peace sign, taken during a Black Sabbath concert. The album’s original release (on Vertigo in the UK, on Warner Bros. in the United States and on Nippon Phonogram in Japan) features a gatefold sleeve with a page glued into the middle. Each band member is given his own photo page, with the band on-stage at the Birmingham Town Hall (and photographed from behind) at the very centre.

Vol. 4 was released in September 1972, and while most critics of the era were dismissive of the album, it achieved gold status in less than a month, and was the band’s fourth consecutive release to sell one million copies in the United States. It reached number 13 on Billboard’s pop album chart and number 8 on the UK Albums Chart. The song “Tomorrow’s Dream” was released as a single but failed to chart. Following an extensive tour of the United States, the band toured Australia for the first time in 1973, and later Europe. (by wikipedia)


Vol. 4 is the point in Black Sabbath’s career where the band’s legendary drug consumption really starts to make itself felt. And it isn’t just in the lyrics, most of which are about the blurry line between reality and illusion. Vol. 4 has all the messiness of a heavy metal Exile on Main St., and if it lacks that album’s overall diversity, it does find Sabbath at their most musically varied, pushing to experiment amidst the drug-addled murk. As a result, there are some puzzling choices made here (not least of which is the inclusion of “FX”), and the album often contradicts itself. Ozzy Osbourne’s wail is becoming more powerful here, taking greater independence from Tony Iommi’s guitar riffs, yet his vocals are processed into a nearly textural element on much of side two. Parts of Vol. 4 are as ultra-heavy as Master of Reality, yet the band also takes its most blatant shots at accessibility to date — and then undercuts that very intent. The effectively concise “Tomorrow’s Dream” has a chorus that could almost be called radio-ready, were it not for the fact that it only appears once in the entire song. “St. Vitus Dance” is surprisingly upbeat, yet the distant-sounding vocals don’t really register. The notorious piano-and-Mellotron ballad “Changes” ultimately fails not because of its change-of-pace mood, but more for a raft of the most horrendously clichéd rhymes this side of “moon-June.”


Even the crushing “Supernaut” — perhaps the heaviest single track in the Sabbath catalog — sticks a funky, almost danceable acoustic breakdown smack in the middle. Besides “Supernaut,” the core of Vol. 4 lies in the midtempo cocaine ode “Snowblind,” which was originally slated to be the album’s title track until the record company got cold feet, and the multi-sectioned prog-leaning opener, “Wheels of Confusion.” The latter is one of Iommi’s most complex and impressive compositions, varying not only riffs but textures throughout its eight minutes. Many doom and stoner metal aficionados prize the second side of the album, where Osbourne’s vocals gradually fade further and further away into the murk, and Iommi’s guitar assumes center stage. The underrated “Cornucopia” strikes a better balance of those elements, but by the time “Under the Sun” closes the album, the lyrics are mostly lost under a mountain of memorable, contrasting riffery. Add all of this up, and Vol. 4 is a less cohesive effort than its two immediate predecessors, but is all the more fascinating for it. Die-hard fans sick of the standards come here next, and some end up counting this as their favorite Sabbath record for its eccentricities and for its embodiment of the band’s excesses. (by Steve Huey)


Geezer Butler (bass, mellotron)
Tony Iommi (guitar, piano, mellotron)
Ozzy Osbourne (vocals)
Bill Ward (drums, percussion)


01. Wheels Of Confusion (including The Straightener) 8.12
02. Tomorrow’s Dream 3.09
03. Changes 4.43
04. FX (Instrumental) 1.40
05. Supernaut 4.44
06. Snowblind 5.28
7. “Cornucopia” 3:55 [26]
8. “Laguna Sunrise” (instrumental) 2:56
9. “St. Vitus Dance” 2:30
10. Under The Sun (including Every Day Comes And Goes) 5.53

Music written by Geezer Butler – Tony Iommi – Ozzy Osbourne – Bill Ward)
Lyrics: Geezer Butler.



More from Black Sabbath:


The Rolling Stones – Philadelphia Special II (1990)

FrontCover1.jpgThe Rolling Stones American Tour 1972 was a much-publicized and much-written-about concert tour of the United States and Canada in June and July 1972 by The Rolling Stones. Constituting the band’s first performances in the United States following the Altamont Free Concert in December 1969, critic Dave Marsh would later write that the tour was “part of rock and roll legend” and one of the “benchmarks of an era.”

Mick Jagger and Keith Richards share a microphone during the June 1972 Winterland shows

The tour in part supported the group’s Exile on Main St. album, which was released a few weeks earlier on 12 May. It was also part of a tour-America-every-three-years rotation that the group established in 1969 and maintained through 1981.

On the first show of the tour, 3 June in Vancouver, British Columbia, 31 policemen were treated for injuries when more than 2,000 fans attempted to crash the Pacific Coliseum.

TourPosterIn San Diego on 13 June, there were 60 arrests and 15 injured during disturbances. In Tucson, Arizona on 14 June, an attempt by 300 youths to storm the gates led to police using tear gas.[3] While in Chicago for three appearances on 19 and 20 June, the group stayed at Hugh Hefner’s original Playboy Mansion in the Gold Coast district.[4] Eighty-one people were arrested at the two sellout Houston shows on 25 June, mostly for marijuana possession and other minor drug offences.[5] There were 61 arrests in the large crowd at RFK Stadium in Washington, D.C. on the Fourth of July.[6]

On 13 July police had to block 2,000 ticket-less fans from trying to gain access to the show in Detroit.[7] On 17 July at the Montreal Forum a bomb blew up in the Stones’ equipment van, and replacement gear had to be flown in; then it was discovered that 3,000 forged tickets had been sold, causing a fan riot and a late start to the concert.[2] The next day, 18 July, the Stones’ entourage got into a fight with photographer Andy Dickerman in Rhode Island, and Jagger and Richards landed in jail, imperilling that night’s show at the Boston Garden. Boston Mayor Kevin White, fearful of a riot if the show were cancelled, intervened to bail them out; the show went on, albeit with another late start. Dickerman would later file a £22,230 lawsuit against the band.


The tour ended with four shows over three consecutive nights at New York City’s Madison Square Garden, the first night of which saw 10 arrests and two policemen injured,[9] and the last leading to confrontations between the crowd outside Madison Square Garden and the police.[10] The last show on 26 July, Jagger’s birthday, had balloons and confetti falling from Madison Square Garden’s ceiling and Jagger blowing the candles off a huge cake. Pies were also wheeled in, leading to a pie fight between the Rolling Stones and the audience.

Following the final performance, a party was held in Jagger’s honor by Ahmet Ertegun at the St. Regis New York. Guests included Bob Dylan, Woody Allen, Andy Warhol, the Capote entourage, and Zsa Zsa Gabor, while the Count Basie Orchestra provided musical entertainment. At the event, Dylan characterized the tour as “encompassing” and “the beginning of cosmic consciousness.”


Rock critic Robert Christgau reported that the mood of the shows was friendly, with Jagger “undercut[ting] his fabled demonism by playing the clown, the village idiot, the marionette.”

The official name of the tour was ‘American Tour 1972’. However, among the press and fans the tour is widely known as the ‘Stones Touring Party 1972’, derived from the laminates handed out by the management to crew, family, friends and press, granting access to the various area’s at the concert venues and hotels. ‘Stones Touring Party’ was then shortened to ‘STP’, the street name of the drug 2,5-Dimethoxy-4-methylamphetamine, where STP stands for “Serenity, Tranquility and Peace”. In 2015 Jose Cuervo in association with the Rolling Stones launched a brand of tequila with a marketing campaign stating that the STP Tour was known as the ‘tequila sunrise tour’. This statement does not hold any historical truth.


Several writers were assigned to cover the tour. Truman Capote was commissioned to write a travelogue for Rolling Stone. Accompanied by prominent New York socialites Lee Radziwill and Peter Beard, Capote did not mesh well with the group; he and his entourage abandoned the tour in New Orleans before resurfacing for the final shows at Madison Square Garden.[13] Having struggled with writer’s block since the publication of In Cold Blood in 1966, he failed to complete his feature, tentatively titled “It Will Soon Be Here.” Rolling Stone ultimately recouped its stake by assigning Andy Warhol to interview Capote about the tour in 1973. In the interview, Capote alleged that tour doctor Laurence Badgley (a 1968 graduate of the Yale School of Medicine who was later retained by Led Zeppelin for their 1977 North American tour) had a “super-Lolita complex” and initiated the statutory rape of a high school student (also filmed by Robert Frank) on the band’s business jet during a flight to Washington, D.C.


Terry Southern, a close friend of Keith Richards since the late 1960s, wrote about the tour for Saturday Review in what proved to be one of his last major journalistic assignments. Southern and Beard developed a friendship on the tour and collaborated intermittently on The End of the Game (an unfilmed screenplay) for over two decades.

Robert Greenfield’s S.T.P.: A Journey Through America With The Rolling Stones (derived from his tour reportage for Rolling Stone) was published in 1974. Greenfield had already covered the band’s 1971 British Tour for Rolling Stone and was granted unlimited access to the band’s affairs. Although Greenfield was initially assigned as the magazine’s sole correspondent for the tour before a last-minute deal was reached with Capote, he was permitted to continue in his assignment, paralleling Hunter S. Thompson and Timothy Crouse’s two-pronged coverage of the contemporaneous 1972 United States presidential election for the magazine.


Dick Cavett hosted a one-hour special shot before the concluding New York engagement of performances. Capote appeared on The Tonight Show Starring Johnny Carson and several other talk shows, talking about his experiences on the tour. New York radio host Alex Bennett reported on the first Madison Square Garden show as soon as he got back from it.

No official live album was released from the tour at the time, although one was planned as far as having a front and back cover designed and studio touch-ups being made on several recorded tracks. Eventually, the album was shelved due to contractual disputes with Allen Klein.


Two films of the tour were produced. The concert film Ladies and Gentlemen: The Rolling Stones! only saw a limited theatrical release in 1974. Aside from an Australian VHS release in the early 1980s, it wasn’t officially available on home video until 2010. The film’s complete soundtrack was released as an album by Eagle Records/Universal in 2017.

Robert Frank’s Cocksucker Blues is a documentary shot in cinéma vérité style; several cameras were available for anyone in the entourage to pick up and start shooting backstage parties, drug use, and roadie and groupie antics, including a groupie in a hotel room injecting heroin. The film came under a court order which forbade it from being shown other than in very restricted circumstances. The film has since surfaced online in various bootlegged versions of varying quality. (by wikipedia)


And here´s a superb bootleg from this tour.

This is an excellent soundboard recording from one of the best Stones’ tours ever, featuring the great Mick Taylor on leadguitar.


Mick Jagger (vocals, harmonica)
Keith Richards (guitar, background vocals)
Mick Taylor (guitar)
Charlie Watts (drums)
Bill Wyman (bass)
Nicky Hopkins (piano)
Bobby Keys (saxophone)
Jim Price (trumpet, trombone)



CD 1:
01. Brown Sugar 3.42
02. Bitch 4.24
03. Rocks Off 3.46
04. Gimme Shelter 4:41
05. Dead Flowers 4.15
06. Happy 3.08
07. Tumbling Dice 4.49
08. Love In Vain 6.18
09. Sweet Virginia 4.05

CD 2:
2-1 You Can’t Always Get What You Want 7.57
2-2 All Down The Line 4.02
2-3 Midnight Rambler 10.08
2-4 Rip This Joint 2.10
2-5 Jumping Jack Flash 3.34
2-6 Street Fighting Man 4.17
2-7 Tumbling Dice II 4.29
2-8 Bitch II 4.29

All songs written bei Keith Richards & Mick Jagger,
except “Love In Vain” which was written by Robert Johnson



Yma Sumac – Miracles (1972)

FrontCover1.jpgYma Sumac (September 13, 1922 (birth certificate) or September 10, 1923 (later documents) – November 1, 2008), was a Peruvian coloratura soprano. In the 1950s, she was one of the most famous exponents of exotica music.

Sumac became an international success based on her extreme vocal range. She had six-and-a-half octaves according to some reports,[6] but other reports (and recordings) document four-and-a-half at the peak of her singing career.[2][7] (A typical trained singer has a range of about three octaves.)[8]

In one live recording of “Chuncho”, she sings a range of over four and a half octaves, from B2 to G♯7. She was able to sing notes in the low baritone register as well as notes above the range of an ordinary soprano and notes in the whistle register. Both low and high extremes can be heard in the song “Chuncho (The Forest Creatures)” (1953). She was also apparently able to sing in a remarkable “double voice”.

In 1954, classical composer Virgil Thomson described Sumac’s voice as “very low and warm, very high and birdlike”, noting that her range “is very close to five octaves, but is in no way inhuman or outlandish in sound.” In 2012, audio recording restoration expert John H. Haley favorably compared Sumac’s tone to opera singers Isabella Colbran, Maria Malibran, and Pauline Viardot. He described Sumac’s voice as not having the “bright penetrating peal of a true coloratura soprano”, but having in its place “an alluring sweet darkness … virtually unique in our time.” (by wikipedia)

Yma Sumac02

Miracles re-unites the extraordinary five-octave voice of Peru’s Yma Sumac with Les Baxter, the producer of her first album, “The Voice of Xtabay” (released in 1950). Acclaimed for her powerful and unique artistry, Miss Sumac achieved world fame during the Fifties with the use of Mr. Baxter’s productions. He has chosen to record Yma in a contemporary setting with a four-piece rock band and modern recording techniques. The results are a stunning showcase for an unparalleled performer.
Yma is an adventurous musician. She has conquered many modes, from Peruvian folksongs, through operatic arias, as well as popular Latin songs and international folk music. Now, in her very unique way, she tackles rock.
Miracles melds the most extraordinary music of this century with the most extraordinary voice of three generations – an improvisational tour de force. (www.discogs.com)

This a album full of magic and miracles … it´s a brilliant album ! What a voice !


Chuck Cowan (guitar)
Roger Cowan (bass)
Richard Person (organ)
Yma Sumac (vocals)
Skippy Switzer (drums)

Yma Sumac03
01. Remember (Baxter) 4.03
02. Medicine Man (Baxter) 3.02
03. Let Me Hear You (Baxter) 2.24
04. Tree Of Life (Baxter) 2.53
05. Flame Tree (Baxter) 2.42
06. Zebra (Baxter) 2.48
07. Azure Sands (Baxter) 2.34
08. Look Around (Baxter) 2.16
09. Magenta Mountain (Baxter) 2.43
10. El Condor Pasa (Robles/Milchberg/Simon) 4.44



Yma Sumac01

Mott The Hoople – All The Young Dudes (1972)

FrontCover1.jpgAll the Young Dudes is the fifth studio album by Mott the Hoople, released in 1972. It was their initial album for the CBS Records label (Columbia Records in North America), after three years with Island Records in the UK and Atlantic Records in North America.

All the Young Dudes was a turning point for the then-struggling British band. Mott the Hoople were about to break up when David Bowie stepped in and gave them the song “All the Young Dudes”. Bowie also produced the album, which took Mott “from potential has-beens to avatars of the glam rock movement”. A remastered and expanded version was released by Sony BMG on the Columbia Legacy label in the United Kingdom and the United States on 21 February 2006.

The title track, “All the Young Dudes”, was released as a single prior to the album and charted worldwide, becoming the “ultimate ’70s glitterkid anthem”.[6] “Sweet Jane”, a cover of the Velvet Underground song from their 1970 album Loaded, was issued as a single in Canada, the Netherlands, Portugal, Spain and the United States, though not in their home market of the UK. “One of the Boys”, originally the B-side of “All the Young Dudes”, was also released in North America and Continental Europe.

In 2003, the album was ranked number 491 on Rolling Stone magazine’s list of The 500 Greatest Albums of All Time. In 2012, the album listed at No. 484 on a revised list by the magazine.

“Ready for Love” was reworked by Mick Ralphs’s subsequent band Bad Company on their self-titled debut.


Speculation has persisted over the years that, although All the Young Dudes was released by CBS/Columbia Records, Mott the Hoople may have recorded part or all of the album while still under contract to their original label, Island Records – a situation that, if proven true, might give Island ownership rights to the recordings. Fuel was added to this speculation in 2006 with the re-release of All the Young Dudes in remastered form, including several bonus tracks. Production on one of the bonus tracks, “Black Scorpio” (an early version of “Momma’s Little Jewel”), is co-credited to Island staff producer/A&R executive Muff Winwood, possibly suggesting that work on at least that track was begun while Mott were still signed to Island.


Public comments from the band regarding this matter have been inconsistent. In an extended August 1980 interview with Trouser Press magazine, Ian Hunter stated that Mott had completed All the Young Dudes prior to the band’s leaving Island Records, and that Island’s head Chris Blackwell was unaware the band had a new album ready for release when dissolving their relationship. However, when interviewed about the situation for Chris Hall’s and Mike Kerry’s 2011 documentary Ballad of Mott the Hoople, Hunter laughed nervously, saying “I can’t really discuss it … there’s a blank there as far as I’m concerned – all of a sudden we’re on Columbia Records, and ‘Dudes’ was the first single.” (by wikipedia)



Just at the moment Mott the Hoople were calling it a day, David Bowie swooped in and convinced them to stick around. Bowie spearheaded an image makeover, urging them to glam themselves up. He gave them a surefire hit with “All the Young Dudes,” had them cover his idol’s “Sweet Jane,” and produced All the Young Dudes, the album that was designed to make them stars. Lo and behold, it did, which is as much a testament to Bowie’s popularity as it is to his studio skill. Not to discount his assistance, since his production results in one of the most satisfying glam records and the title track is one of the all-time great rock songs, but the album wouldn’t have worked if Mott hadn’t already found its voice on Brain Capers.



True, Dudes isn’t nearly as wild as its predecessor, but the band’s swagger is unmistakable underneath the flair and Ian Hunter remains on a songwriting roll, with “Momma’s Little Jewel,” “Sucker,” and “One of the Boys” standing among his best. Take a close look at the credits, though — these were all co-written by his bandmates, and the other highlight, “Ready for Love/After Lights,” is penned entirely by Mick Ralphs, who would later revive the first section with Bad Company. The entire band was on a roll here, turning out great performances and writing with vigor. They may not be as sexy as either Bowie or Bolan, but they make up for it with knowing humor, huge riffs, and terrific tunes, dressed up with style by Ziggy himself. No wonder it’s not just a great Mott record — it’s one of the defining glam platters. (by Stephen Thomas Erlewine)


Verden Allen (organ, vocals on 07  background vocals)
Dale “Buffin” Griffin (drums, percussion, background vocals)
Ian Hunter (vocals, guitar, piano)
Mick Ralphs (lead guitar, vocals on 08.,  background vocals)
lead vocals on “Soft Ground”
Pete Overend Watts (bass, background vocals)
Buddy Bauerle (pan flute)
Jeff Hanover (vibraslap)
Mike Walls (organ)


01. Sweet Jane (Reed) 4.21
02. Momma’s Little Jewel (Hunter/Watts) 4.27
03. All The Young Dudes (Bowie) 3.32
04. Sucker (Hunter/Ralphs/Watts) 5.01
05. Jerkin’ Crocus (Hunter) 4.02
06. One Of The Boys (Hunter/Ralphs) 6.47
07. Soft Ground (Allen) 3.20
08. Ready For Love/After Lights (Ralphs) 6.48
09. Sea Diver (Hunter) 2.53



Billy rapped all night about his suicide
How he’d kick it in the head when he was 25
Don’t want to stay alive when you’re 25

Wendy’s stealing clothes from unlocked cars
Freddy’s got spots from ripping off stars from his face
A funky little boat race

The television man is crazy
Saying we’re juvenile delinquent wrecks
But, man, I need a TV when I’ve got T. Rex
Hey, brother, you guessed
I’m a dude

All the young dudes
Carry the news
Boogaloo dudes
Carry the news

Now Jimmy’s looking sweet though he dresses like a queen
He can kick like a mule
It’s a real mean team
We can love

And my brother’s back at home
With his Beatles and his Stones
We never got it off on that revolution stuff
What a drag
Too many snags

Well, I drunk a lot of wine
And I’m feeling fine
Gonna race some cat to bed
Is this concrete all around
Or is it in my head?
Oh, brother, you guessed
I’m a dude

All the young dudes
Carry the news
Boogaloo dudes
Carry the news

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