Outlaws – Same (1975)

LPFrontCover1Southern rock unit the Outlaws were formed in Tampa, Florida, in 1972 by singers/guitarists Hughie Thomasson and Henry Paul, bassist Frank O’Keefe, and drummer Monte Yoho. With the 1973 addition of guitarist Billy Jones, the lineup was complete, and after a year of intense touring the band became the first act signed to Arista under Clive Davis; the Outlaws’ self-titled 1975 album spotlighted their Eagles-influenced harmonies and Allman Brothers-like guitar attack, yielding the Top 40 hit “There Goes Another Love Song.”

In the wake of 1977’s Bill Szymczyk-produced Hurry Sundown, both Paul and O’Keefe exited, with guitarist Freddie Salem, bassist Harvey Dalton Arnold, and second drummer David Dix signing on for the 1978 concert set Bring It Back Alive and the studio effort Playin’ to Win. The lineup shuffles continued when Arnold announced his departure following 1979’s In the Eye of the Storm, with bassist Rick Cua recruited for the next year’s Ghost Riders in the Sky, which netted a Top 40 entry with its title track, a rendition of the Vaughn Monroe favorite. Yoho left to rejoin Henry Paul soon after, and with the subsequent exit of Jones, only Thomasson remained from the original Outlaws roster — not surprisingly, the group disbanded upon completing 1982’s Los Hombres Malo.

A year later Thomasson and Paul formed a new Outlaws lineup, adding guitarist Chris Hicks, bassist Barry Borden, and drummer Jeff Howell; after issuing 1986’s Soldiers of Fortune, Paul again quit the band, with the remaining quartet returning in 1993 with Hittin’ the Road. While Paul resurfaced in 1994 in the chart-topping contemporary country band Blackhawk, Thomasson later toured with the re-formed Lynyrd Skynyrd while continuing to lead the Outlaws, releasing So Low in 2000.


Sadly, Jones and O’Keefe died within three weeks of one another in early 1995. In 2005, original members Thomasson, Paul, Yoho, and David Dix reunited as the Outlaws, rounding out the lineup with three members of Blackhawk, guitarist Chris Anderson, bassist Randy Threet, and keyboardist Dave Robbins. Paul and Robbins departed a year later to concentrate again on Blackhawk, while Thomasson, the only original member of the Outlaws to make it through all of the band’s configurations, kept things going, reportedly finishing a new studio album, Once an Outlaw, before his death from a heart attack in 2007. (by Jason Ankeny)

By the mid-’70s, Southern bands seemed be making a last stand for rock & roll, with two- and three-guitar lineups and not a keyboard in sight. The Outlaws’ self-titled debut was released in 1975, a few years after the Allman Brothers Band’s greatest glories and a couple of years before the untimely demise of the original Lynyrd Skynyrd. The Outlaws latched onto their Southern heritage by way of Florida, threw in some harmony by way of the Eagles, and then wrote a number of songs that played to their strengths. The result was — and is — a good classic rock & roll album. Several of The Outlaws’ best songs are present here, including “There Goes Another Love Song,” “Green Grass and High Tides,” and “Song for You.” Hughie Thomasson only sings lead on these three songs, but since two of them were the best-known Outlaw songs, it is his voice that is most associated with the band. It’s fun to hear cuts like “Song for You” and “Knoxville Girl,” which never received a lot of radio play. “Keep Prayin’,” sung by Henry Paul and Billy Jones, is a fine piece of Southern boogie with high soaring harmony on the chorus. Although “Green Grass and High Tides” has been played a million and six times on album-oriented rock stations, it nonetheless deserves mention. Created in the tradition of the Allman Brothers Band’s “Dreams” and Lynyrd Skynyrd’s “Free Bird,” the song still sounds fresh in the context of the album, and doesn’t feel long at its nearly ten-minute length. The Outlaws’ debut blew a fresh blast of rock & roll onto a scene increasingly dominated by synthesizers and dance music. It will leave the listener singing along and dreaming about the good ol’ days. (by Ronnie D. Lankford, Jr. )

And the last song of this album, “Green Grass And High Tides” is another highlight in the history of Southern Rock !!!


Billy Jones (guitar, vocals)
Frank O’Keefe (bass)
Henry Paul (guitar, vocals)
Hughie Thomasson (guitar, vocals)
Monte Yoho (drums)
J.D. Souther (background vocals on 04.)


01. There Goes Another Love Song (Thomasson/Yoho) 3.03
02. Song For You (Jones/Thomasson) 3.30
03. Song In The Breeze (Paul) 3.03
04. It Follows From Your Heart (Jones) 5.19
05. Cry No More (Jones)4.17
06. Waterhole (Tomasson/Jones/Yoho/O’Keefe/Paul) 2.03
07. Stay With Me (Paul) 3.28
08. Keep Prayin’ (O’Keefe) 2.42
09. Knoxville Girl (Paul) 3.29
10. Green Grass And High Tides (Thomasson) 9.46




Scorpions – In Trance (1975)

FrontCover1.jpgIn Trance is the third studio album by German rock band Scorpions, released by RCA Records in 1975. The album’s music was a complete departure from the progressive krautrock of the two previous albums in favor of a hard rock sound of shorter and tighter arrangements with which the band would achieve their later global success and fame; extended suites in the vein of songs such as “Lonesome Crow” and “Fly to the Rainbow” are absent altogether. It is the first album by the band to contain the now-famous logo and controversial artwork.

The original version of the album cover, photographed by Michael von Gimbut,[4] was censored for clearly showing the cover model’s exposed breast hanging down towards the guitar. Later releases have the breast blacked out so that it is not visible. This is the first of many Scorpions album covers that have been censored. The band’s former lead guitarist Uli Jon Roth claimed he may have come up with the “idea to do the thing with the guitar for the cover of In Trance”.

However, in a 2008 interview Roth claimed that early Scorpions album covers in general were “the record company’s idea, but we certainly didn’t object. And so shame on us. Those covers were probably the most embarrassing thing I’ve ever been involved with.” He did, though, classify the In Trance cover as “borderline”.


The White Stratocaster shown on the cover belonged to Roth and he can be seen playing the same guitar on the cover of the Electric Sun album Fire Wind. This is the guitar that Roth used on all subsequent Scorpions and Electric Sun albums on which he played.

This was the band’s first album to feature the band’s name written in the now-familiar font used on nearly all subsequent album covers, as well as their first collaboration with producer Dieter Dierks. (by wikipedia)


The Scorpions’ third release, In Trance, continues to display their high-energy music, which is impossible to ignore. With the eyebrow-lifting “Dark Lady” as the opening track, the album immediately captures the listener’s attention and keeps it all the way until the end. The interesting title track is clearly the best song of the album, but singles such as the fast-paced “Robot Man” and the hard-rocking “Top of the Bill” also stand out as highlights. Excellent singing and powerful music make this the best Scorpions recording working with Uli Jon Roth. (by Barry Weber)


Francis Buchholz (bass, background vocals)
Rudy Lenners (drums, percussion)
Klaus Meine (vocals)
Uli Jon Roth – lead guitar, background vocals, vocals on 01. + 08.)
Rudolf Schenker (guitar, background vocals)
Achim Kirschning (keyboards)

01. Dark Lady (Roth) 3.29
02. In Trance (Schenker/Meine 4.45
03. Life’s Like A River (Roth/Schenker/Fortmann) 3.51
04. Top Of The Bill (Schenker/Meine) 3.24
05. Living And Dying (Schenker/Meine) 3.22
06. Robot Man (Schenker/Meine) 2.45
07. Evening Wind (Roth) 5.05
08. Sun In My Hand (Roth) 4.23
09. Longing For Fire (Schenker/Roth) 2.45
10. Night Lights (Instrumental) (Roth) 3.13



Agnes Strange – Same (Strange Flavour) (1975)

FrontCover1Sometimes, albums become far more interesting because of their back story. Case in point: Agnes Strange. This heavy trio from Southampton, England, led by singer-guitarist John Westwood, somehow didn’t make a splash on the early ’70s boogie circuit despite their obvious similarities to beloved acts like the Groundhogs, Budgie and the almighty Status Quo. Despite some heavy names in their corner, including management company DJM (led by Dick James, who had made a mint off the Beatles’ publishing) and A&R folks at Pye Records, some bad luck and inexplicable business decisions led them off course. Foremost among these was a fundamental misunderstanding of the term “pub rock,” which led Pye to release Strange Flavour on a one-off label called Birdsnest, which was affiliated with a chain of theme pubs of the same name, owned by the beer manufacturer Watney’s. The existing heavy rock audience at the time reacted much as straight-edge punks would if McDonald’s and Sony BMG joined forced to release a hardcore album available only at fast food restaurants, and Strange Flavour disappeared without trace, as did Agnes Strange.

Agnes Strange01

Funny thing, though: it turns out that Strange Flavour is actually pretty good. Produced by Dave Travis, whose remarkably cheesy country albums from the ’60s are much beloved by Anglo-kitsch collectors, and engineered by Colin Thurston, who was about a half decade away from his heyday as a name post-punk and new romantic producer, Strange Flavour is comfortably pitched between the old and the new, or at least the new iterations of the old. “Clever Fool” is a basic bluesy shuffle that would sound right at home on one of Dave Edmunds’ Rockpile-era albums, while “Motorway Rebel” is tailor-made for the Foghat crowd, with its faux bluesy riffage and a hackneyed opening line “Well, I been to New York City/You know I been to L.A.” delivered in a voice that screams that its owner has never been further west than Liverpool.


On side two, things get a lot spacier, culminating in the epic freak-out “Children of the Absurd,” complete with Pink Floyd-style sonar guitar pings and rampant wah-wah abuse. Westwood and his compatriots, bassist Alan Green and drummer Dave Rodwell, may not have been able to solidify a trademark Agnes Strange sound, but the “see if it works” variety and generally tasteful playing makes Strange Flavour an interesting listen for rock obscurantists and old boogie fans alike. This reissue features remastered sound, full liner notes of the whole odd story and four bonus tracks including the punchier 45 single mix of the anthemic opening track “Give Yourself a Chance.” (by Stewart Mason)

Hey boys … where are you now ???


Alan Green (bass, vocals)
Dave Rodwell (drums, vocals)
John Westwood (guitar, vocals)
Colin Thurston (background vocals)
Dave Travis (guitar, slide guitar, harmonica, vocals)


01. Give Yourself A Chance (single mix) (Westwood/Green) 3.29
02. Clever Fool (Westwood) 3.23
03. Motorway Rebel (previously unreleased) (Westwood) 4.04
04. Traveling (previously unreleased) (Travis) 2.54
05. Strange Flavour (Westwood/Green/Rodwell) 3.56
06 Alberta (Travis) 5.44
07. Loved One (Green) 6.00
08. Failure (Rodwell) 5.18
09. Children Of The Absurd (Rodwell/Green/Barber) 7.48
10. Odd Man Out (Westwood) 3.54
11. Highway Blues (Westwood) 5.31
12. Granny Don’t Like Rock ‘n’ Roll (Westwood) 5.22
13. Interference (Travixs) 1.44
14. Give Yourself A Chance (LP mix) (Westwood/Green)






Various Artists – Night Of The Mayas – Music of Silvestre Revueltas (1994)

FrontCover1Silvestre Revueltas Sánchez (December 31, 1899 – October 5, 1940) was a Mexican composer of classical music, a violinist and a conductor.

Revueltas was born in Santiago Papasquiaro in Durango, and studied at the National Conservatory in Mexico City, St. Edward’s University in Austin, Texas, and the Chicago College of Music. He gave violin recitals and in 1929 was invited by Carlos Chávez to become assistant conductor of the National Symphony Orchestra of Mexico, a post he held until 1935. He and Chávez did much to promote contemporary Mexican music. It was around this time that Revueltas began to compose in earnest. He began his first film score, Redes, in 1934, a commission which resulted in Revueltas and Chávez falling out. Chávez had originally expected to write the score, but political changes led to him losing his job in the Ministry of Education, which was behind the film project Revueltas left Chávez’ orchestra in 1935 to be the principal conductor of a newly created and short-lived rival orchestra, the Orquesta Sinfónica Nacional.

He was part of a family of artists, a number of whom were also famous and recognized in Mexico: his brother Fermín (1901–1935) and sister Consuelo (born before 1908, died before 1999) were painters, sister Rosaura (ca. 1909–1996) was an actress and dancer, and younger brother José Revueltas (1914–1976) was a noted writer. His daughter from his first marriage to Jules Klarecy (née Hlavacek), Romano Carmen (later Montoya and Peers), enjoyed a successful career as a dancer, taught ballet and flamenco in New York, and died on November 13, 1995, at age 73, in Athens, Greece. She is survived by three sons, and two kindred creative female heirs in Oceanside, California. His daughter from his second marriage, Eugenia (born November 15, 1934), is an essayist. His nephew Román Revueltas Retes, son of José, is a violinist, journalist, painter and conductor of the Orquesta Sinfónica de Aguascalientes (OSA).


In 1937 Revueltas went to Spain during the Spanish Civil War, as part of a tour organized by the leftist organization Liga de Escritores y Artistas Revolucionarios (LEAR);[2] upon Francisco Franco’s victory, he returned to Mexico. He earned little, and fell into poverty and alcoholism. He died in Mexico City of pneumonia (complicated by alcoholism), at the age of 40 on October 5, 1940, the day his ballet El renacuajo paseador, written four years earlier, was premièred. His remains are kept at the Rotonda de los Hombres Ilustres in Mexico City.

Revueltas wrote film music, chamber music, songs, and a number of other works. His best-known work is a suite by José Ives Limantour drawn from his film score for La Noche de los Mayas, although some dissenting opinions hold that the orchestral work Sensemayá is better known. In any case, it is Sensemayá that is considered Revueltas’s masterpiece.


He appeared briefly as a bar piano player in the movie ¡Vámonos con Pancho Villa! (Let’s Go With Pancho Villa, Mexico, 1935), for which he composed the music. When shooting breaks out in the bar while he is playing “La Cucaracha”, he holds up a sign reading “Se suplica no tirarle al pianista” (“Please don’t shoot at the piano player”). (by wikipedia)
The music of Revueltas is too often overlooked and that is a shame. Only 41 years old when he died, he was not only Mexico’s greatest composer but an innovator combining native Indian music with traditional classical forms and instrumentations. The music is, indeed, “fiery and passionate” while evoking scenes of danger and horror. It will provide you with a wonderful journey, and this performance by the Orquestra Sinfonica de Jalapa under the direction of Luis Herrera de la Fuente is that experience. (by Robert Jager)

Tracks 1 to 2: recorded in Walthamstow Town Hall, London, in November 1975. Tracks 3 to 8: recorded in London in November 1979. Tracks 9 to 12: recorded in Sala Nezahualcoyotl, México D.F., in September 1980.


London Sinfonietta Orchestra conducted by David Atherton  (03. – 08.)
New Philharmonia Orchestra conducted by Eduardo Mata  (01. + 02.)
Orquesta Sinfónica De Jalapa conducted by Luis Herrera de la Fuente (09. – 12.)


01. Homenaje A Federico García Lorca 10.52
02. Sensemaya 5.57
03. Ocho X Radio 5.08
04. Toccata 3.34

Alcancías (10.07):
05. Allegro 3.05
06. Andantino 3.19
07. Allegro Vivo 3.38
08. Planos 7.34

La Noche De Los Mayas (25.24):
09. I. La Noche De Los Mayas 5.53
10. II. La Noche De Jaranas 4.59
11. III. La Noche De Yucatàn 6.42
12. IV. La Noche De Encantamiento 7.40

Composed by Silvestre Revueltas



SilvestreRevueltas4Silvestre Revueltas Sánchez
(December 31, 1899 – October 5, 1940)

Camel – The Snow Goose (Deluxe Edition) (1975)

FrontCover1The Snow Goose is the third studio album by the band Camel, released in 1975. The critical success[2] of “The White Rider” suite (based on J. R. R. Tolkien’s The Lord of the Rings and appearing on the band’s previous 1974 album, Mirage), inspired the group to write more novel-inspired conceptual suites.

The band considered several novels on which to base their next album. For a time they settled on Siddhartha, by Hermann Hesse, and some songs were written before the idea was abandoned in favour of Paul Gallico’s novella The Snow Goose. The album’s name, originally The Snow Goose was altered to Music Inspired by The Snow Goose to accommodate legal protests by Paul Gallico. The album was originally due to feature lyrics based on Gallico’s text, but this was abandoned due to the copyright objections. The music was mostly written over a fortnight in a cottage in Devon, England

Recording began in January 1975 at Island Studios in London with producer David Hitchcock and engineer Rhett Davies. Later overdubs were recorded at Decca Studios and engineered by John Burns. The London Symphony Orchestra participated in the recording, with David Bedford supplying the arrangements.

The ‘duffle coat’ on the album’s credits was used by Andrew Latimer and Doug Ferguson on “Epitaph” to simulate a flapping of wings by waving it in the air.

The album was released in April 1975, eventually reaching number 22 in UK album chart that summer. It spent 13 weeks on chart and was certified silver. In the US, the album was released in July and reached No. 162. It was critically successful and sold well in Europe and Japan. and in 2014 was voted no. 31 in the Top 100 Prog Albums of All Time by readers of Prog magazine.


The Snow Goose was re-recorded in May 2013 and released that November (dropping the “Music Inspired By” from the title) as a tribute to the original line-up by founder Andrew Latimer, remaining close to the original arrangement.

The album’s success led to a sell out concert at the Royal Albert Hall, London, with the London Symphony Orchestra in October 1975, which was later released as part of the live double album A Live Record (1978). The Melody Maker magazine to declare Camel to be Britain’s “Brightest Hope”, leading to an appearance on BBC’s The Old Grey Whistle Test, (where the band performed with a woodwind section a medley of “Snow Goose” themes) and Radio One In Concert programme. To promote the album Decca decided to release an edited version of “Flight of the Snow Goose/Rhayader” as a single in May.

Camel embarked on a brief tour in autumn 2013, performing The Snow Goose for the first time since the Royal Albert Hall show in 1975. Andrew Latimer was joined by Colin Bass, Denis Clement, Guy LeBlanc and Jason Hart for the tour, which marked the first time the band had played since their farewell tour.

Camel02A statement from the band for the initial show said: “The evening pays tribute to former band member Peter Bardens, who died of cancer at the same time as frontman Latimer was battling a terminal illness. Ten years later, Latimer has regained health and is willing to celebrate a career that spans over four decades. This two-set show will also embrace compositions recorded throughout those years in a personal covenant of appreciation for a deeply rewarding life of music.” (by wikipedia)

Camel’s classic period started with The Snow Goose, an instrumental concept album based on a novella by Paul Gallico. Although there are no lyrics on the album — two songs feature wordless vocals — the music follows the emotional arc of the novella’s story, which is about a lonely man named Rhayader who helps nurse a wounded snow goose back to health with the help of a young girl called Fritha he recently befriended. Once the goose is healed, it is set free, but Fritha no longer visits the man because the goose is gone. Later, Rhayader is killed in battle during the evacuation of Dunkirk. The goose returned during the battle, and it is then named La Princesse Perdue, symbolizing the hopes that can still survive even during the evils of war. With such a complex fable to tell, it is no surprise that Camel keep their improvisational tendencies reined in, deciding to concentrate on surging, intricate soundscapes that telegraph the emotion of the piece without a single word. And even though The Snow Goose is an instrumental album, it is far more accessible than some of Camel’s later work, since it relies on beautiful sonic textures instead of musical experimentation. (by Stephen Thomas Erlewine)

Beautifully composed, sensitively interpreted and elegantly played.This musical opus from Camel is undoubtedly their finest hour and despite some great albums after this nothing quite ever managed to recapture the standards of delivery and musical excellence of this superb recording.Telling the story of the snow goose to music it has it all, soft sensual passages, dreamy sequences and some upbeat rocking numbers…All in all it combines to make a magnificent album of outstanding presence and imagination. (by Steve Smith)


Peter Bardens (keyboards, synthesizer)
Doug Ferguson (bass)
Andrew Latimer (guitar, flute, vocals
Andy Ward (drums, vibraphone, percussion)


01. The Great Marsh 2.02
02. Rhayader 3.01
03. Rhayader Goes To Town 5.19
04. Sanctuary 1.05
05. Fritha 1.19
06. The Snow Goose 3.11
07. Friendship 1.43
08. Migration 2.01
09. Rhayader Alone 1.50
10. Flight Of The Snow Goose 2.40
11. Preparation 3.58
12. Dunkirk 5.19
13. Epitaph 2.07
14. Fritha Alone 1.40
15. La Princesse Perdue 4.43
16. The Great Marsh 1.20
17. Flight Of The Snow Goose (Single version) 2.05
18. Rhayader (Single version) 3.09
19. Rhayader Goes To Town” (Recorded live at The Marquee Club) 5.07
20. The Snow Goose/Freefall (Recorded live at The Marquee Club) 11.01
Recorded live from 1975 BBC Radio One concert
21. Rhayader Goes To Town 5.08
22. Sanctuary 1.12
23. The Snow Goose 3.03
24. Migration 3.31
25. Rhayader Alone 1.43
26. Flight Of The Snow Goose 2.56
27. Preparation 2.04
28. Dunkirk 5.10
29. Epitaph 1.16
30. La Princesse Perdue 4.40
31. The Great Marsh 1.57
32. Selections from The Snow Goose (BBC 2 The Old Grey Whistle Test 1975) 9.39
32.1. The Snow Goose
32.2. Friendship
32.3. Rhayader Goes To Town

All songs written by Peter Bardens and Andrew Latimer




Peter Bardens (19 June 1944 – 22 January 2002)

Grupo Folklorico Y Experimental Nuevayorquino – Concepts In Unity (1975)

FrontCover1.jpgThe Grupo Folklorico y Experimental Nuevayorquino made only two records–Concepts in Unity (1975) and Lo Dice Todo (1976) –but both are classics of the 1970’s New York salsa scene. The recordings came out of jam sessions held in Andy and Jerry Gonzalez’s basement in the Bronx (I’m imagining the Latin version of Minton’s Playhouse), and they have that spirit to them: open, loose, with a lot of space for supremely talented musicians to do their thing. (lapelanga.com)

This release contains the superlative debut album Concepts In Unity, by the legendary Grupo Folklorico y Experimental Nuevayorquino. The 16 piece band was composed of the finest New York Puerto Rican & Cuban musicians, who combined their own traditional music with the Latin sounds heard on the streets of New York City.

Originally released in 1975, this timeless album is a Salsa masterpiece in every way–I’d personally go as far as saying that it’s THE most important Salsa recording ever. Why? These legendary musicians took Salsa’s Afro-Cuban and Afro-Puerto Rican roots to the forefront in a way no other artist had ever done previously. Guaguancos, rumbas, descargas and other Afro-Cuban-derived rhythms are all included here. “Cuba Linda”, “Choco’s Guajira”, “Anabacoa” and “Iya Modupue” are glorious masterpieces yet to be equalled. Manny Oquendo, Jerry Gonzalez and Andy Gonzalez (and some other musicians featured here)would go on to form the equally-superb Conjunto Libre several years after recording this masterpiece. INDISPENSABLE!!! (Justo Roteta)


This album stands alone in the Salsa field because of the excellent mixture of Jazz, Puerto Rican, and Cuban rhythms, with Africa being the “abuelo” (grandfather), of them all. The opening cut, (Cuba Linda), will force you to fasten your salsa seatbelt and go along for one of the best musical rides of your life. It opens with the rumberos jammin’ into the main melody, with the lead singer setting you up for what comes next. Chocolate’s trumpet takes over, while, at the same time, Manny Oquendo’s timbale cowbells go into overdrive, launching the musicians into high gear. The jam goes on until it reaches it’s glorious conclusion. Let me tell you, this whole album is a masterpiece and belongs in the catalogue of every Salsa lover. But don’t take my word for it, listen to it for yourself, you won’t be disappointed. Highly recommended. (Charlie Farrar)


Chocolate Armenteros (trumpet)
Milton Cardona (percussion)
Julito Collazo (percussion)
Noel de Costa (violín)
Alfredo de la Fe (violín)
Marcelino Guerra (guitar, vocals)
Gonzalo Fernández (saxophone, flute)
Guillermi Franco (percussion)
Gene Golden (drums, percusion)
Andy González (bass, marimba)
Jerry González (percussion)
Nelson González (guitar)
Oscar Hernández (piano)
Reinaldo Jorge (trombone)
Ron Libscomb (cello)
Francisco Tan Martínez (harmonica)
Víctor Montañez (percussion, vocals)
Portinho (percusión)
Marcial Reyes (guitar, background vocals)
Ashley Richardson (viola)
Jaime Rivera (percussion. background vocals)
Frankie Rodríguez (percussion, vocals)
José Rodrigues (trombone)
Henny Álvarez – Virgilio Martí – Willie García – Ubatan do Nascimento – Félix Rodríguez – Rubén Blades


01. Cuba Linda (Marti) 9.04
02. Choco’s Guajira (Armenteros/Lopez) 6.14
03. Anabacoa (Ramirez) 6.43
05. Adelaida (D.R.) 4.51
06. Luz Delia (Martinez) 3.07
07. Carmen La Ronca (Alvarez) 6.56
08. Canto Asoyin (D.R.) 4.26
09- Canto Ebioso (D.R.) 3.02
10. A Papa Y Mama (Alvarez) 7.52
11. Iya Modupue (D.R.) 8.31




Brownsville Station – Motor City Connection (1975)

FrontCover1.JPGBrownsville Station is an American rock band from Michigan that was popular in the 1970s. Original members included Cub Koda (guitarist/vocalist), Mike Lutz (guitarist/vocalist), T.J. Cronley (drummer), and Tony Driggins (bassist/vocals). Later members included Henry “H-Bomb” Weck (drummer) and Bruce Nazarian (guitarist/vocalist).

They are remembered for the top-10 hit single “Smokin’ in the Boys Room” (1973).
Brownsville Station was formed in Ann Arbor, Michigan in 1969. Brownsville Station’s early albums included song covers from bands which had inspired them.[2] In 1970, they released their debut studio album, No BS, on a Warners Bros. label. Their biggest hit, “Smokin’ In the Boys Room”, written by Michael Lutz & Cub Koda, from their 1973 album Yeah!, reached No. 3 on U.S. Billboard Hot 100 chart and No. 27 in the UK Singles Chart. The track sold over two million copies and was awarded a gold disc status by the RIAA on 15 January 197
After drummer Cronley left the band, Van Wert, Ohio native Henry “H-Bomb” Weck was called on to fill the position left by Cronley.

The band’s second-highest Billboard charting single was “Kings of the Party” which topped out at No. 31 in 1974.


In 1977, Brownsville Station recorded “Martian Boogie”, one of their seven singles to chart on the Hot 100. The song was also a feature on Dr. Demento’s radio show. “(Lady) Put The Light On”, their penultimate single, also charted in the Hot 100, at 46.

Original members of Brownsville Station disbanded in 1979 and their final studio album together, Air Special, was released by Epic in 1978.

Cub Koda was the most visible Brownsville Station member after their break up. He recorded a number of solo albums and toured with his own group The Points as well as blues man Hound Dog Taylor’s backing band The Houserockers. His solo repertoire included the albums Cub Koda and the Points, It’s the Blues, Box Lunch and the career spanning compilation Welcome to My Job. In addition, Koda, a rabid collector of rockabilly, doo wop and blues, wrote liner notes for numerous retro releases (including Jimmy Reed, Freddy Cannon and The Kingsmen) and countless music reviews for the All Music Guide series of books and website. He also wrote a popular column (“The Vinyl Junkie”) for Goldmine magazine and co-authored the book Blues For Dummies. In addition, he hosted The Cub Koda Crazy Show for Massachusetts radio station WCGY during a period in the early 80s. Koda died of kidney disease in July 2000 at the age of 51.


Mike Lutz went on to produce many bands, including Ted Nugent’s Spirit of the Wild album, and toured in the 1990s with Nugent. Lutz still resides in Ann Arbor, teaches guitar and bass at a local music store called Oz’s Music, writes and produces many acts.

While still in Brownsville Station, Henry Weck engineered and co-produced the Strikes album for Blackfoot, which produced two hit singles, Highway Song and Train Train (on which Koda played harmonica). Weck continues to record and produce in Memphis, in Ann Arbor at Lutz’s Tazmania Studios and is the co-driving force of the re-united Brownsville Station.

After T. J. Cronley left Brownsville Station, he spent a career in the U.S. Marine Corps as a Marine aviator, and retired as a lieutenant colonel in 1992. He is currently a pilot for FedEx and resides in Yuma, Arizona. He is also an artist.


Bruce Nazarian went on to produce, engineer and perform with his band “The Automatix”, who released their debut LP on MCA in 1983. He was the CEO of Digital Media Consulting Group and ran a popular digital media website “TheDigitalGuy.com”. Nazarian also produced and hosted The Digital Guy radio show in addition to being a music producer, concert impresario and artist manager. His last band, “The Brotherhood” is slated to release their debut CD “(It’s) All About The Groove” in early 2016. Nazarian died in October 2015.

Through the band’s early days, Weck captured over 500 hours of Brownsville demos, rehearsals, live shows and even some special events. In 2012, Lutz and Weck began sorting through the recordings in Lutz’s Tazmania Studio. The result is Still Smokin’, featuring new songs and updated versions of the band’s “My Friend Jack” and “Smokin’ In The Boys Room”.

Augmented by new players Billy Craig, Arlen Viecelli and Brad Johnson, Brownsville Station returned to the road in 2013. (by wikipedia)


If Yeah! and School Punks were nonstop parties, Brownsville Station’s fifth album, Motor City Connection, is the hangover, the one where the group reckons with the aftermath of having a good time all of the time. Most of the original numbers are racked in guilt, heartbreak, and self-recrimination, tales of broken hearts and loneliness, highlighted by the moody and driving opener, “Automatic Heartbreak,” the bitter yet swaggering “Self Abuse,” and the proto-power ballad “You Know Better.” In between these moments of introspection are a couple of good covers — J.B. Hutto’s “Combination Boogie” and the Little Walter instrumental “Crazy Legs” — and the album ends with the suite “They Call Me Rock ‘n’ Roll,” a nine-minute epic that is the closest old-time rock & roll ever came to art rock. Cub Koda is now firmly the band’s frontman — Michael Lutz only sings a segment of “They Call Me Rock ‘n’ Roll” — and the group is more musically ambitious here, trying a little bit of everything. Not only is there the aforementioned suite, but there’s a variety of guitar sounds; it’s not all pedal-to-the-metal distortion. There are some synthesizers in the mix and the entire sound has been streamlined, so it’s sleek and hard-hitting, bringing them away from their patented boogie rock and closer to the mid-’70s mainstream. While the bandmembers were most at home tearing it up — as evidenced by the hardest-rocking numbers here — they still sounded good with a little more polish, and that variety makes Motor City Connection one of Brownsville Station’s more intriguing albums, even if it’s not among their most consistent. (by Stephen Thomas Erlewine)


Cub Koda (guitar, vocals, harmonica, steel-guitar)
Michael “Sam” Lutz (vocals, bass, keyboards, guitar)
David “H-Bomb” Weck (drums, percussion)
Albhy Galuten (synthesizer on 03.)
Bruce Nazarian (guitar on 08.)


01. Automatic Heartbreak (Koda/Lutz) 2.54
02. One That Got Away (Koda/Weck) 5,32
03. Self Abuse (Koda) 2.54
04. Crazy Legs (Jacobs) 3.22
05. Give It To Get It (Koda/Lutz) 3.18
06. Combination Boogie (Hutto) 2.27
07. Load Of Love (Koda/Lutz) 4.29
08. You Know Better (Koda/Lutz) 3.28
09. They Call Me Rock ‘N’ Roll (Koda/Lutz) 9.33
09.1. They Call Me Rock ‘N’ Roll, Part 1
09.2. God Bless Rock ‘N’ Roll
09.3. Can’t Wait For Friday Night
09.4. Welcome
09.5. They Call Me Rock ‘N’ Roll, Part IILabelB1.JPG*