UFO – Force It (1975)

FrontCover1UFO are an English rock band that was formed in London in 1968. They became a transitional group between early hard rock and heavy metal and the new wave of British heavy metal. The band’s current lineup includes vocalist Phil Mogg, lead guitarist Vinnie Moore, rhythm guitarist and keyboardist Neil Carter, bass guitarist Rob De Luca, and drummer Andy Parker. They have gone through several line-up changes, leaving Mogg as the only constant member, and had two hiatuses (1983–1984 and again from 1989 to 1991). The band are also notable for featuring former Scorpions guitarist and MSG founder Michael Schenker, who was a member of UFO from 1973 to 1978 and again, occasionally, between 1993 and 2003, when Moore replaced him. In May 2018, Mogg announced that he will retire from UFO after one last tour as a member of the band in 2019.

Over a career spanning 52 years, UFO have released 22 studio albums, 14 live recordings, 16 compilation albums and one album of cover songs. They achieved moderate success in the late 1970s and early 1980s with several albums and singles (including their 1979 live album Strangers in the Night) in the UK and US Top 40 charts, and have sold over 20 million records worldwide. Some of their best-known songs include “Doctor Doctor”, “Rock Bottom”, “Natural Thing”, “Lights Out”, “Too Hot to Handle” and “Only You Can Rock Me”. UFO are considered one of the greatest classic hard rock acts,[9] and often cited as one of the key influences on the 1980s and 1990s hard rock and heavy metal scenes. The band were ranked number 84 on VH1’s “100 Greatest Artists of Hard Rock”.

Force It is the fourth studio album by the British rock band UFO, released in 1975. It became their first album to chart in the United States.


The album was produced by Ten Years After bass player Leo Lyons. Another Ten Years After member, Chick Churchill, played keyboards, the first use of that instrument on a UFO record.

The somewhat controversial original cover was designed by Hipgnosis, as were almost all other UFO albums of the 1970s. The nudity on the cover verged on breaching decency standards and the genders of the couple in the bathtub were not known for several years. The models were later revealed to be Genesis P-Orridge and Cosey Fanni Tutti, both later of the influential industrial band Throbbing Gristle. The artwork was softened for the initial US release, making the couple in the bathtub transparent. The cover is a pun — there are multiple taps (British English) or “faucets” (US English) in the picture, which is a play on the album’s title. (by wikipedia)

The US frontcover:

Michael Schenker and Phil Mogg really started to find their groove as a songwriting team with their second album together (and fourth UFO release overall), Force It. In fact, the last remaining folk and space rock tendencies that had stolen much of Phenomenon’s thunder are summarily abandoned here, as the group launches itself wholeheartedly toward the hard rock direction that would make them stars. The first step is taken by Schenker, of course, who confidently establishes the aggressive, biting guitar tone that would define all the releases of the band’s glory years. “Let It Roll” and “Shoot Shoot” kick off the album in rousing fashion, and while holding them under a microscope might reveal them as rather disposable slabs of hard rock, they would remain concert favorites for the band nonetheless.


The punchy single “Love Lost Love” sounds tailor-made for the American market and acoustic ballad “High Flyer” is quite good, despite taking a dip in energy. But things only really start to gell on the album’s second half. Schenker and Mogg wheel out their most mature composition yet with the piano-led “Out in the Street,” whose softer sections truly highlight Mogg’s highly disciplined, understated vocal style and make the guitar player’s more restrained soloing all the more memorable. Schenker is soon back in charge, however, on the stuttering riffs and blistering fretboard work of “Mother Mary” and the downright vicious stop-start strut of “This Kids” — both UFO anthems. One of the band’s best albums, Force It will not disappoint lovers of ’70s English hard rock. (by Eduardo Rivadavia)


Phil Mogg (vocals)
Andy Parker (drums)
Michael Schenker (guitar)
Pete Way (bass)
Chick Churchill (keyboards(


01. Let It Roll (Schenker/Mogg) 3.57
02. Shoot Shoot (Schenker/Mogg/Way/Parker) 3.40
03. High Flyer (Schenker/Mogg) 4.09
04. Love Lost Love (Schenker/Mogg) 3.22
05. Out In The Street (Way/Mogg) 5.18
06. Mother Mary (Schenker/Mogg/Way/Parker) 3.50
07. Too Much Of Nothing (Way) 4.03
08. Dance Your Life Away (Schenker/Mogg) 3.35
09. This Kid’s (including “Between the Walls”) (Schenker/Mogg) 6.14
10. A Million Miles” (previously unreleased studio track) (SchenkerMogg) 4.49
11. Mother Mary (live) (Schenker/Mogg/Way/Parker) 4.05
12. Out In The Street (live) (Way/Mogg) 5.12
13. Shoot Shoot (live) (Schenker/Mogg/Way/Parker) 3.48
14. Let It Roll (live) (Schenker/Mogg) 5.00
15. This Kid’s (live) (Schenker/Mogg) 4.19



Another censored frontcover:

More from UFO:

John Cale – Slow Dazzle (1975)

FrontCover1John Davies Cale, OBE (born 9 March 1942) is a Welsh musician, composer, singer, songwriter and record producer who was a founding member of the American rock band the Velvet Underground. Over his five-decade career, Cale has worked in various styles across rock, drone, classical, avant-garde and electronic music.

He studied music at Goldsmiths College, University of London, before relocating in 1963 to New York City’s downtown music scene, where he performed as part of the Theatre of Eternal Music and formed the Velvet Underground. Since leaving the band in 1968, Cale has released 16 solo studio albums, including the widely acclaimed Music for a New Society. Cale has also acquired a reputation as an adventurous producer, working on the debut albums of several innovative artists, including the Stooges and Patti Smith.

Slow Dazzle is the fifth solo studio album by Welsh musician John Cale, released on 25 March 1975, his second album for record label Island.

“Mr. Wilson” is about seminal American musician Brian Wilson; the Beach Boys founding member has been a strong influence on Cale’s work over the years. The song reflects the strong, divisive personal struggles in Wilson’s life. The music’s tone fluctuates from paranoid and unhappy to warm and pleasant moment by moment.


“Heartbreak Hotel” is a cover of the Elvis Presley song (written by Mae Boren Axton and Tommy Durden) with fundamental elements of the track changed such the singing taking in “chilling” screams and dark synthesizer elements added to the background.

The track “Guts” opens with the line “The bugger in the short sleeves fucked my wife”. This refers to rock musician Kevin Ayers sleeping with Cale’s wife before the concert that’s captured on the June 1, 1974 album; John Cale related the details in his autobiography, with Victor Bockris, What’s Welsh for Zen, that was published in 1998.


“The Jeweler” is a spoken word piece under an instrumental backdrop that recalls, at least in its poetic and freeform structure, the track “The Gift” from the Velvet Underground’s album White Light/White Heat. While Cale speaks in a calm, monotone voice, “The Jeweler” features a drone-like set of unsettling sounds that appear to build and build without reaching a conclusion. The non-vocal side of the track is somewhat reminiscent of contemporary 1970s-era horror film scoring.

The cover photography was by Keith Morris. It is also the second consecutive album to feature both Brian Eno and Phil Manzanera of Roxy Music.

Slow Dazzle was released on 25 March 1975. No singles were released off the album, although there was a promotional-only single of “Dirtyass Rock ‘n’ Roll” b/w “Heartbreak Hotel”. (by wikipedia)


Recording again with Phil Manzanera, along with noted journeyman guitarist Chris Spedding, Cale kept up the focus and amazing music on Slow Dazzle, easily the equal of Fear in terms of overall quality. With Brian Eno again helping out on synth work, Slow Dazzle comes across as a little more fried and unsettling than earlier work. Even the warm, epic lift of the chorus of “Mr. Wilson,” very much a tribute to the Beach Boys’ main man and one of the best he’s ever received, is surrounded by strings and piano both lovely and paranoid. The more accurate tone of the record can be found in such numbers as “Dirty Ass Rock ‘n’ Roll,” an intelligent, sly demolition of the lifestyle done to a glam-touched chug topped off with brass and backing singers, and even more dramatically with “Heartbreak Hotel.”


One of the most amazing cover versions ever, and arguably the best Elvis Presley revamp in existence, the slower pace, freaked-out Eno synth arrangement, and above all else Cale’s chilling delivery make it a masterpiece. Then there’s “Guts,” which deserves notice for its low-key but still sharp feedback snarl and steady, cool rhythm, but perhaps has its best moment with Cale’s gasped, killer starting lyric: “The bugger in the short sleeves f*cked my wife.” For all of the stronger rock power, Cale’s obviously not out to be pigeonholed, thus the calmer swing of many other numbers, like the great ’50s rock tribute “Darling I Need You,” featuring great guest sax from Andy Mackay, and the quick, almost sprightly “Ski Patrol.” In terms of his own performance, Cale’s voice again sounds marvelous, balanced perfectly between roughness and trained control, while his piano skills similarly find the connection between straightforward melodies and technical skill. (by Ned Raggett)


John Cale (guitar, keyboards, clavinet, vocals)
Gerry Conway (drums)
Timi Donald (drums)
Pat Donaldson (bass)
Brian Eno (synthesizer)
Phil Manzanera (guitar)
Chris Spedding (guitar)
Chris Thomas (violin, piano)
Geoff Muldaur (background vocals on harmony vocals on “Guts” and “Darling I Need You”


01. Mr. Wilson 3.17
02. Taking It All Away 3.00
03. Dirty-Ass Rock ‘n’ Roll 4.45
04. Darling I Need You 3.39
05. Rollaroll 3.59
06. Heartbreak Hotel 3.14
07. Ski Patrol 2.13
08. I’m Not The Loving Kind 3.12
09. Guts 3.27
10. The Jeweller 5-07

All tracks composed by John Cale,
except 06. which was written by Mae Boren Axton, Tommy Durden & Elvis Presley



Rare Promo-Single:

Nils Lofgren – Same (1975)

FrontCover1Nils Hilmer Lofgren (born June 21, 1951) is an American rock musician, recording artist, songwriter, and multi-instrumentalist. Along with his work as a solo artist, he has been a member of Bruce Springsteen’s E Street Band since 1984, a member of Crazy Horse (1970–1971; 1973; 2018–present), and founder/frontman of the band Grin. Lofgren was inducted into the Rock and Roll Hall of Fame as a member of the E Street Band in 2014.

Nils Lofgren is a 1975 album by Nils Lofgren, also known as the “Fat Man Album”. It was his first solo album, following the breakup of his group, Grin.

The album was critically praised at the time of its release, most notably in a 1975 Rolling Stone review by Jon Landau. The 1983 Rolling Stone Record Guide said it was a “tour de force of unquenchable vitality and disarming subtlety.” In 2007, nearly 32 years after the release of Nils Lofgren, the album was again praised by Rolling Stone in the “Fricke’s Picks” column, where David Fricke said it was one of 1975’s best albums.[3] The album was on the Billboard 200 chart for nine weeks and peaked at number 141 on May 10, 1975.


In 2007 the album was finally re-mastered and rereleased by Hip-O Select after being out of print for nearly a decade on compact disc.

The circus billboard that appears on the cover of this album also appears in an episode of The Monkees television series, “The Monkees at the Circus,” season 1, episode 22. (by wikipedia)



When Nils Lofgren released his first solo album in 1975, most fans were expecting a set confirming his guitar hero status, and more than a few listeners were vocally disappointed with the more laid-back and song-oriented disc Lofgren delivered. However, with the passage of time Nils Lofgren has come to be regarded as an overlooked classic, and with good reason — Lofgren has rarely been in better form on record as a songwriter, vocalist, musician, and bandleader. While Lofgren doesn’t lay down a firestorm of guitar on each selection (with his piano unexpectedly high in the mix), when he does solo he makes it count, and the rough but tasty chordings and bluesy accents that fill out the frameworks of the songs give the performances plenty of sinew. Just as importantly, this is as good a set of songs as Lofgren has assembled on one disc, consistently passionate and forceful, from the cocky “If I Say It, It’s So” and “The Sun Hasn’t Set on This Boy Yet” to the lovelorn “I Don’t Want to Know” and “Back It Up,” while “Keith Don’t Go (Ode to the Glimmer Twins)” comes from the heart of a true fan and “Rock and Roll Crook” suggests Lofgren had already learned plenty about the music business by this time.


The production on Nils Lofgren is simple but simpatico, giving all the players plenty of room to shine, and Lofgren’s rhythm section (Wornell Jones on bass and Aynsley Dunbar on drums) fits the album’s funky but heartfelt vibe perfectly. Lofgren has made harder rocking and flashier albums since his debut, but he rarely hit the pocket with the same élan as he did on Nils Lofgren, and it remains the most satisfying studio album of his career. (by Mark Deming)


Aynsley Dunbar (drums)
Wornell Jones (bass)
Nils Lofgren (guitar, piano, vocals)
Stu Gardner (background vocals on 02. -04. + 06.)


01. Be Good Tonight 0.48
02. Back It Up 2.23
03. One More Saturday Night 3.09
04. If I Say It, It’s So 2.59
05. I Don’t Want To Know 2.54
06. Keith Don’t Go (Ode To The Glimmer Twin) 4.23
07. Can’t Buy A Break 3.16
08. Duty 2.56
09. The Sun Hasn’t Set On This Boy Yet 2.48
10. Rock And Roll Crook 2.55
11. Two By Two 3.06
12. Goin’ Back 3.51

All songs written by Nils Lofgren
except 12, which was written by Gerry Goffin and Carole King



Cat Stevens – Numbers (1975)

FrontCover1Numbers is the ninth studio album, and the first concept album by singer/songwriter Cat Stevens released in November 1975.

The album Numbers, subtitled “A Pythagorean Theory Tale,” was based on a fictional planet in a far-off galaxy named Polygor. The album included a booklet with excerpts from a planned book of the same name written by Chris Bryant and Allan Scott. The booklet features pen-and-ink illustrations drawn by Stevens.

The concept of the album is a fantastic spiritual musical which is set on the planet Polygor. In the story there is a castle with a number machine. This machine exists to fulfill the sole purpose of the planet – to disperse numbers to the rest of the universe: 1, 2, 3, 4, 5, 6, 7, 8, and 9 (but notably not 0). The nine inhabitants of Polygor, the Polygons, are Monad, Dupey, Trezlar, Cubis, Qizlo, Hexidor, Septo, Octav, and Novim. As the last lines of the book say, they “followed a life of routine that had existed for as long as any could remember. … It was, therefore, all the more shocking when on an ordinary day things first started to go wrong.” The change takes the form of Jzero, who comes from nowhere as a slave and eventually confuses everybody with his simple truth.

Cat Stevens01

Upon its initial release in late 1975 both fans and critics were confused by the concept and the lack of the sort of “catchy” music that they had been used to from Stevens, and although the album eventually achieved gold status, it sold far less than his previous four albums and was considered a critical failure. At one point A&M Records (his American record label) contemplated terminating his contract, but he still had two albums left to make for them. Stevens continued to be bitter about the process of fame and the pressures to make money for his label, and distanced himself from participating in promotion for the album.


Confronted with an ultimatum from the label along the lines of “make a pop record or else,” he set out to make one of the more expensive records of his career, 1977’s Izitso, which yielded several hits. The success of Izitso showed the label that he was still hit-worthy, but Stevens was now in process of embracing the faith of Islam, and after supplying the album Back to Earth, he opted out of the music business altogether, changed his name to Yusuf Islam, and devoted himself to the Islamic faith, education, and humanitarian work. But he would officially return to pop music with the release of An Other Cup in 2006. (by wikipedia)


Subtitled “A Pythagorean Theory Tale,” Numbers was a concept album relating to a faraway galaxy, a planet called Polygor, a palace, and its people, the Polygons. So one learned from the album’s accompanying booklet. The songs presumably told the tale, but as with so many concept albums, listening to Numbers was like hearing a Broadway cast album without having seen the show — something seemed to be going on, but it was hard to tell what. The setting did allow Cat Stevens to indulge his affection for Middle Ages madrigal music, and individual songs, notably the singles-chart entry “Banapple Gas,” were appealing. The lyrics were full of references to home, God, and “the truth,” which gave the whole a vaguely spiritual tone, though the key word here is “vague.” Stevens fans may have been somewhat put off by the fear that Numbers was a kind of musical math class — though it went gold, the album was the first in his last seven to peak below the Top Ten. (by William Ruhlmann)


Gerry Conway (drums, vocals)
Alun Davies (guitar, vocals)
Bruce Lynch (bass)
Jean Roussel (keyboards, synthesizer, vocals, vibraphone)
Cat Stevens (guitar, vocals, piano. synthesizer)
Chico Batera (percussion, waterphone)
Gordie Fleming (accordion)
Simon Nicol (guitar, percussion, waterphone)
David Sanborn (saxophone)
background vocals:
Barbara Massey – Carl Hall – Tasha Thomas – Art Garfunkel – Lewis Furey – Melba Joyce – Carmen Twillie – Brenda Russell – Vennette Gloud – Suzanne Lynch – Anna Peacock – Vincent Beck – vocals
Magic Children of Ottawa (background vocals)


01. Whistlestar 3.47
02. Novim’s Nightmare 3.53
03. Majik Of Majiks 4.32
04. Drywood 4.57
05. Banapple Gas 3.10
06. Land o’ Freelove & Goodbye 2.49
07. Jzero 3.48
08. Home 4.13
09. Monad’s Anthem 2.17

All songs written by Cat Stevens



And this is a waterphone:

More from Cat Stevens:


Todd Rundgren – Initiation (A Treatise On Cosmic Fire) (1975)

FrontCover1Todd Harry Rundgren (born June 22, 1948) is an American multi-instrumentalist, singer, songwriter, and record producer who has performed a diverse range of styles as a solo artist and as a member of the band Utopia. He is known for his sophisticated and often-unorthodox music, his occasionally lavish stage shows, and his later experiments with interactive entertainment. He also produced music videos and was an early adopter and promoter of various computer technologies, such as using the Internet as a means of music distribution in the late 1990s.

A native of Philadelphia, Rundgren began his professional career in the mid 1960s, forming the psychedelic band Nazz in 1967. Two years later, he left Nazz to pursue a solo career and immediately scored his first US top 40 hit with “We Gotta Get You a Woman” (1970). His best-known songs include “Hello It’s Me” and “I Saw the Light” from Something/Anything? (1972), which get frequent air time on classic rock radio stations, and the 1983 single “Bang the Drum All Day”, which is featured in many sports arenas, commercials, and movie trailers. Although lesser known, “Couldn’t I Just Tell You” (1972) was influential to many artists in the power pop genre. His 1973 album A Wizard, a True Star remains an influence on later generations of bedroom musicians.


Rundgren is considered a pioneer in the fields of electronic music, progressive rock, music videos, computer software, and Internet music delivery. He organized the first interactive television concert in 1978, designed the first color graphics tablet in 1980, and created the first interactive album, No World Order, in 1994. Additionally, he was one of the first acts to be prominent as both an artist and producer. His notable production credits include Badfinger’s Straight Up (1971), Grand Funk Railroad’s We’re an American Band (1973), the New York Dolls’ New York Dolls (1973), Meat Loaf’s Bat Out of Hell (1977) and XTC’s Skylarking (1986).


Initiation is the sixth album by American musician Todd Rundgren, released May 23, 1975 on Bearsville Records. With this album, Rundgren fully embraced the synthesized prog sound he had begun exploring in more depth in his work with his band Utopia. However, unlike Utopia, in which Rundgren had limited himself to playing guitar, most of the synthesizers on Initiation were played and programmed by Rundgren himself.[not verified in body]

The album’s original inner sleeve included a technical note that stated: “Due to the amount of music on this disc (over one hour), two points must be emphasized. Firstly, if your needle is worn or damaged, it will ruin the disc immediately. Secondly, if the sound does seem not loud enough on your system, try re-recording the music onto tape. By the way, thanks for buying the album.”(by wikipedia)


Returning to solo recording almost immediately after forming Utopia, Todd Rundgren continued with the synth-heavy prog rock he pioneered with Todd Rundgren’s Utopia on Initiation. The differences immediately resonate with “Real Man,” a terrific song that encapsulates not only his newfound fondness for electronics, but also his burgeoning spirituality and his knack for pop craft. “Real Man” is so good, it’s tempting to believe that the remainder of Initiation will follow in the same direction, resulting in an inspired, truly progressive fusion of classic Rundgren and synthesizers. As soon as the second track, an a cappella vocoder opus called “Born to Synthesize,” it’s clear that Rundgren has no intention of following that path, choosing to push the limits of synth technology and recorded music instead of constructing an album. Initiation suffers accordingly. At times, particularly on the first, song-oriented side, it is pretty intriguing, but too often, the results are simply frustrating because it doesn’t go anywhere. That’s particularly true with “A Treatise on Cosmic Fire,” a half-hour “suite” that comprises all of side two and doesn’t really go anywhere, despite hitting many stops along the way. It’s enough to erase the memory of “Real Man,” “Eastern Intrigue” and “Initiation,” the moments where it all comes together on the first half of the record, but another spin of the first side reveals that Rundgren could have made Initiation something special if he had the discipline. (by Stephen Thomas Erlewine)

For fuck sake, this is music I can really dive into.

Side one is just what you expect from an art rock act:
an acapella track, a hard rock number, blue eyed soul,
pop, progressive rock…all covered in layers of synths and sound-effects.

But on side two things gets radical.

From this point on the musician loses control over the synthesizer, reversing their roles (poor Todd) and what’s left are 35 minutes of pure electronic dementia!

First, it’s pretty melodic, sometimes even mellow,
as if the machine was just testing its new toy.
As the track progresses, things only gets weirder and weirder until you think your sound system is damaged.

Towards the end, the opening tune repeats, symbolizing the artist’s triumph.
An overturn has occurred and now peace is restored.

Todd will never give his synth such freedom again. (by Eric_Iozzi)

In other words: A real weird album !


Barbara Burton (percussion)
Rick Derringer (guitar, bass)
Kevin Ellman (drums)
Dan Hartman (bass)
Barry Lazarowitz (drums)
Moogy Klingman (RMI keyboard computer, organ)
Roy Markowitz (drums)
Rick Marotta (drums)
John Miller (bass)
Chris Parker (drums)
Lee Pastora (percussion)
Roger Powell (synthesizer treatments, nose flute)
Bernard Purdie (drums)
Bob Rose (guitar)
David Sanborn (saxophone)
Ralph Schuckett (clavinet)
John Siegler (bass)
Todd Rundgren (vocals, guitar, keyboards, synthesizer, percussion)
John Wilcox (drums)
Edgar Winter (saxophone)


01. Real Man 4.28
02. Born To Synthesize 3.46
03. The Death Of Rock And Roll 3.51
04. Eastern Intrigue 5.07
05. Initiation 7.07
06. Fair Warning 8.03

A Treatise on Cosmic Fire (Instrumental) 35.22
07. Intro – Prana 4.24
08. The Fire Of Mind – Or: Solar Fire 3.53
09. The Fire Of Spirit – Or: Electric Fire 7.35
10. The Internal Fire – or: Fire by Friction 19.37
10.1. Mûlâdhâra: The Dance of Kundalini
10.2. Svâdhishthâna: Bam, Bham, Mam, Yam, Ram, Lam, Thank You, Mahm
10.3. Manipûra: Seat of Fire
10.4. Anâhata: The Halls of Air
10.5. Vishudda: Sounds Beyond Ears
10.6. Ajnâ: Sights Beyond Eyes
10.7. Brahmarandhra: Nirvana Shakri
10.8. Outro – Prana

All songs are written by Todd Rundgren



Roxy Music – Viva (1976)

FrontCover1Viva! Roxy Music was the first live Roxy Music album. It was released in August 1976 and was recorded at three venues in the United Kingdom between 1973 and 1975. The recordings were from the band’s shows at the Glasgow Apollo in November 1973, Newcastle City Hall in October 1974 and the Wembley Empire Pool in October 1975. (by wikipedia)

As Roxy Music took an extended hiatus, the live album Viva! was released. Comprised of material recorded on tours from 1973, 1974, and 1975, Viva! is a tough, powerful document of Roxy at the peak of their live powers, featuring a fine cross-section of their best work. (by Stephen Thomas Erlewine)

The biggest flaw with this album is that it isn’t longer. I’d love to hear more music from this great live unit. The song selection leans heavily on the first two Roxy albums, when Eno was part of the band.

Roxy Music

Those numbers, here played live by the Eddie Jobson version of Roxy (Jobson was Eno’s replacement), are effectively reworked versions and are great. Not necessarily better, though Do The Strand and Pyjamarama are way more energetic then the originals, just different and very well done. For me, a highlight is the expanded If There Is Something, with its beautiful instrumental passages and powerful drumming. Great music and a great complement to the studio albums. (by Jonathan Krall)

This is Roxy Music after developing a reportoire of numbers. This formation would basically set the formula of Roxy Musics live performance. This is not the big Concert Bowl perfomance but the intimate concert hall performance that Roxy satisfied itself with and probably more that any other group featured more the skills of the musicians and at the same time keep itself in contact with the audience. (by TDN)


Bryan Ferry (vocals, keyboards)
Eddie Jobson (violin, synthesizer, keyboards)
Andy Mackay (saxophone, oboe)
Phil Manzanera (guitar)
Paul Thompson (drums)
John Wetton (bass)
John Gustafson (bass on 05.)
Sal Maida – bass on 02. + 04.)
The Sirens (Doreen Chanter and Jacqui Sullivan) (background vocals on 05.)


01. Out Of The Blue 4.45
02. Pyjamarama 3.37
03. The Bogus Man 7.06
04. Chance Meeting 2.58
05. Both Ends Burning 4.47
06. If There Is Something 10.39
07. In Every Dream Home A Heartache 8.22
08. Do The Strand 4.01

All songs written by Bryan Ferry.
except 01., which was written by Bryan Ferry andPhil Manzanera






Bob Dylan – Desire (1975)

FrontCover1Desire is the seventeenth studio album by American singer-songwriter Bob Dylan, released on January 5, 1976 by Columbia Records.

It is one of Dylan’s most collaborative efforts, featuring the same caravan of musicians as the acclaimed Rolling Thunder Revue tours the previous year (later documented on The Bootleg Series Vol. 5). Many of the songs also featured backing vocals by Emmylou Harris and Ronee Blakley. Most of the album was co-written by Jacques Levy, and is composed of lengthy story-songs, two of which quickly generated controversy: the 11-minute-long “Joey”, which is seen as glorifying the violent gangster “Crazy Joey” Gallo, and “Hurricane”, the opening track that tells a passionate account of the murder case against boxer Rubin Carter, whom the song asserts was framed. Carter was released in 1985, after a judge overturned his conviction on appeal.

A well-received follow-up to Blood on the Tracks, Desire reached No. 1 on the Billboard Pop Albums chart[1] for five weeks, becoming one of Dylan’s bestselling studio albums, and was certified double Platinum; the album reached No. 3 in the UK. It claimed the No. 1 slot on NME Album of the Year. Rolling Stone named Desire No. 174 on its list of The 500 Greatest Albums of All Time. It was voted number 761 in the third edition of Colin Larkin’s All Time Top 1000 Albums (2000).

Desire was released between the two legs of Dylan’s Rolling Thunder Revue tour. By 1975, Dylan had extensive experience playing with a number of bands, but these groups were assembled by others. In the case of the Hawks (later known as The Band), the group had performed for a number of years before ever meeting Dylan.


Dylan’s idea of forming his own band, who would later be known as the Rolling Thunder Revue, came when he saw Patti Smith and her group play at The Other End (formerly, and currently renamed The Bitter End) on June 26, 1975. Smith had yet to record an album, but she was already attracting a lot of attention from the music press and industry. According to Clinton Heylin, these were her first shows with drummer Jay Dee Daugherty, the culmination of four years spent “compiling a unique rock & roll sound”. According to Smith, Dylan was immediately struck by the chemistry between Smith and her band, and expressed a wish that he had chosen to stay with a single band.

Dylan would spend many nights over the next two weeks in New York’s Greenwich Village and The Other End in particular, eventually meeting Rob Stoner and reacquainting himself with Bob Neuwirth. Stoner would later join his Rolling Thunder Revue, and Dylan would meet the remaining members through Neuwirth. According to Smith, he was thinking about improvisation and extending himself “language-wise”.

The album’s cover is tentatively inspired by and reminiscent of John Phillips’ 1970 album John Phillips (John, the Wolf King of L.A.). (by wikipedia)

Bob Dylan02

If Blood on the Tracks was an unapologetically intimate affair, Desire is unwieldy and messy, the deliberate work of a collective. And while Bob Dylan directly addresses his crumbling relationship with his wife, Sara, on the final track, Desire is hardly as personal as its predecessor, finding Dylan returning to topical songwriting and folk tales for the core of the record. It’s all over the map, as far as songwriting goes, and so is it musically, capturing Dylan at the beginning of the Rolling Thunder Revue era, which was more notable for its chaos than its music. And, so it’s only fitting that Desire fits that description as well, as it careens between surging folk-rock, Mideastern dirges, skipping pop, and epic narratives.

Bob Dylan03

It’s little surprise that Desire doesn’t quite gel, yet it retains its own character — really, there’s no other place where Dylan tried as many different styles, as many weird detours, as he does here. And, there’s something to be said for its rambling, sprawling character, which has a charm of its own. Even so, the record would have been assisted by a more consistent set of songs; there are some masterpieces here, though: “Hurricane” is the best-known, but the effervescent “Mozambique” is Dylan at his breeziest, “Sara” at his most nakedly emotional, and “Isis” is one of his very best songs of the ’70s, a hypnotic, contemporized spin on a classic fable. This may not add up to a masterpiece, but it does result in one of his most fascinating records of the ’70s and ’80s — more intriguing, lyrically and musically, than most of his latter-day affairs. /by Stephen Thomas Erlewine)


Vinnie Bell (bouzouki)
Dominic Cortese (accordion, mandolin)
Bob Dylan (vocals, guitar, harmonica, piano on 02.)
Emmylou Harris (background vocals)
Scarlet Rivera (violin)
Rob Stoner (bass, background vocals)
Howard Wyeth (drums, piano)
Eric Clapton (guitar on 07.)
Luther Rix (percussion on 01.)
background vocals on 01.:
Ronee Blakley – Steven Soles


01. Hurricane  8.33
02. Isis (Dylan/Levy) 6.59
03. Mozambique (Dylan/Levy) 3.01
04. One More Cup Of Coffee (Dylan) 3.46
05. Oh, Sister (Dylan/Levy) 4.04
06. Joey (Dylan/Levy) 11.05
07. Romance In Durango (Dylan/Levy) 5.44
08. Black Diamond Bay (Dylan/Levy) 7.30
09. Sara (Dylan) 5.30



Bob Dylan, Eric Clapton and Emmy Lou Harris
in Columbia Studio E on the first night of “Desire”:
Bob Dylan01