The New Order – Same (1977)

FrontCover1The New Order was an American hard rock and protopunk band. The band was based in Los Angeles and existed from early 1975 to October 1976.
After The Stooges imploded in 1974, former Stooges lead guitarist Ron Asheton formed a new band, ultimately acquiring drummer Dennis “Machine Gun” Thompson, bass player Jimmy Recca and keyboardist Scott Thurston. For a while, the new band shared rehearsal space at a house owned by Ray Manzarek, during his collaboration with Stooges’ lead singer Iggy Pop.
When The New Order’s first singer Jeff Spry was forced to quit the band (due to jail time incurred from a drinking/quaalude related DUI coupled with failure to perform community service), The New Order’s first drummer, K.J. Knight, recommended Dave Gilbert as a replacement. K.J. and Gilbert had both been veterans of the 1971/1972 incarnations of Ted Nugent’s Amboy Dukes. After keyboardist Scott Thurston quit, his position was filled by a second guitarist, Ray Gunn, another Detroit veteran who was recommended by Dennis Thompson.

Leading up to the making of The New Order’s first demo tapes, long time Blue Öyster Cult producer, Sandy Pearlman, was approached to produce the band but ultimately this didn’t come together. The back cover of the Declaration Of War album bears the inscription: “This album is dedicated to the CULT”, furthering the links with the Blue Öyster Cult.

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A projected collaboration with ’60s and ’70s Rock impresario, Kim Fowley, was also talked about, but never came to fruition.
The New Order had at least one classic, the song Rock ‘n’ Roll Soldiers, later covered by The Hitmen and more recently covered by The Hellacopters. One of the lyrics from the song, the infamous battle-cry “The War Against The Jive”, is used as the heading to the liner-notes of Radio Birdman’s 2001 release, The Essential Radio Birdman (1974 – 1978). The exact heading is: “Total Victory: Radio Birdman’s War Against The Jive”.
The New Order recorded demos twice in Los Angeles: First in 1975 with Jeff Spry as lead singer and then in 1976 with Dave Gilbert as lead singer. Both recordings were later released with a production by Neil Merryweather in 1977 as a single album “The New Order”, on the Fun Records/Isadora label and distributed by RCA Records. The album’s lo-fi quality was the result of it being produced from Ron Asheton’s inferior cassette copies, instead of the original master tapes.  (by wkipedia)
Really this is just a selection of demos – i love the Stooges and there are some good song ideas on here, however nothing is of a quality that could really be enjoyed of its own merit. I have no doubts that the New Order would have been great, IF they had been produced/recorded properly though. (by Pete)

Okay … rough, loud and dirty ! The New Order … Brothers and sisters !

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Personnel:
Ron Asheton (guitar)
Dave Gilbert (vocals on 05. – 07.)
Ray Gun (guitar)
Jimi Recca (bass)
Jeff Spry (vocals on 01. 04.)
Dennis Thompson (drums)
Scott Thurston (keyboards)

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Tracklist:
01. Lucky Strike 3.52
02. Declaration Of War 2.48
03. Hollywood Holidays 3.53
04. Sidewinder 3.14
05. I Can’t Quit Ya 3.02
06. Rock ‘N’ Roll Soldiers 4.03
07. Of Another World 4.47

All Songs written by:

Tracks 01 – 04 (1975):
eton – Ray Gun – Jimi Recca – Jeff Spry – Dennis Thompson – Scott Thurston

Tracks 05 – 07. (1976):
on – Ray Gun – Jimi Recca – Dave Gilbert – Dennis Thompson – Scott Thurston

 

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Felix Pappalardi & Creation – Travelling In The Dark – Live … Denver `76 (2016)

FrontCover1As Cream’s “fourth member,” Felix Pappalardi was already a rock legend by the time he founded Mountain in 1969. Having enjoyed worldwide success with them, in 1973 he departed to collaborate with Japanese rockers Creation. This superb live set at the Ebbets Field club in Denver, Colorado, on July 30, 1976, was broadcast on KCUV-FM shortly after the release of their first album together, and includes contemporary material as well as an epic 20-minute rendition of Mountain’s classic “Nantucket Sleighride.” The complete broadcast is presented here in professionally remastered sound with background notes and rare archival photos.

This is killer album, as I was expecting this live recordings have nothing to do with their uneven studio album, here much heavier and better. The sound quality is nearly perfect, this is a rare and unique testimony, do not miss it.

And their version of “Nantucket Sleighride” is a brilliant version with great duitars and very fine drum playing.

Felix Pappalardi

Personnel:
Masayuki Higuchi (drums)
Yoshiaki Iljima (guitar)
Shigeru Matsumoto (bass)
Felix Papalardi (vocals, bass)
Kazuo Flash Takeda (guitar, vocals)

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Tracklist:
01. Preachers’ Daughters (Pappalardi/Collins/Takeda) 4.31
02. Secret Power (Pappalardi/Collins/Takeda) 6.47
03. Dreams I Dream Of You (Pappalardi/Collins/Takeda) 4.24
04. Travellin’ In The Dark (To EMP) () 3.55
05. Reason To Believe (Hardin) 3.15
06. Dark Eyed Lady Of The Night (Pappalardi/Collins/Takeda) 5.07
07. As The Years Go Passing By (Harris) 7.15
08. Nantucket Sleighride (To Owen Coffin) (Pappalardi/Collins) 21.39
09. High Heeled Sneakers (Higginbotham) 2.14

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Sylvie Vartan – Au Palais Des Congres (1977)

FrontCover1Although actor/pop singer Sylvie Vartan is Bulgarian, she would eventually receive recognition from the French, usually singing entirely in the language of her adopted homeland. Born August 15, 1944, in Iskretz, Bulgaria, Vartan showed great talent for both acting and singing at an early age, resulting in an appearance in the Bulgarian film Under the Yoke in 1950. Two years later (while only ten years old), Vartan and her family relocated to France. 1961 would prove to be an important year for Vartan’s career, as she entered a recording studio for the first time, picked up some TV work, and appeared at the famed Olympia Theater. The early ’60s saw the release of a steady stream of singles, EPs, and albums (such as 1962’s Sylvie), in addition to further appearances in European movies — including A Moonlight in Maubeuge and Just for Fun.
Other impressive accomplishments for Vartan in the early ’60s included recording a pair of songs (“If I Sing” and “Most Beautiful to Go to Dance”) with famed country artists Chet Atkins and Ray Stevens, and playing on the same bill as the Beatles at the Olympia in January of 1964.
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During the mid-’60s, Vartan concentrated on making inroads to the American music market, as she appeared on such TV shows as The Ed Sullivan Show, Hullaballooh, and Shindig, while one of her best singles, “2’35 de Bonheur,” hit the charts in early 1967. Subsequently, Vartan kept on issuing albums and touring at a steady rate right up to the 21st century, as 2001 saw the release of the 14-track career overview L’Essential. (by Greg Prato)
And here´s one of her glamourus Performance from the mid-seventies … and, oh yes … more or less in the disco-style … not really my world … but many fantastic colors, you know.
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Photography by Helmuth Newton
Personnel:
Michel Barrault (trumpet)
Simon van der Cam (guitar)
Marc Chantereau (percussion)
Michel Ciric (violine)
Gilbert Ciuffi (saxophone)
Gérard Daguerre (piano)
Gilbert Dall’Anez (saxophone)
Pierre Defaye (violine)
Daniel Faidherbe (viola)
Christian Guizien (trombone)
André Laidli (trumpet)
Dino Latore (drums)
Pierre Louis (violine)
Alex Perdigon (trombone)
Slim Pezin (guitar)
Tonyo Rubio (bass)
Georges Tapie (piano)
Louis Toesca (trumpet)
Stephan Wiener (viola)
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Background vocals:
Catherine Bonnevay – Cora Carnier – Dominique Poulain – Francine Chabot – Martine Latorre

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Tracklist:

01. Ouverture (Kaufman) 3.03
02. C’est Instant Est A Moi (E. Vartan/Mallory) 4.27
03. Petit Rainbow (Summer Love Sensation) (Martin/Coulter/Grillet) 3.41
04. 4  L’Amour C’est Comme Les Bateaux (Popp/Thibaut) 3.32
05. Dieu Merci (Si Sisto) (Covecchio/Chammah/Thibaut) 3.00
 3:01
06. Qu’Est-Ce Qui Fait Pleurer Les Blondes (Kongos/Leroy/Delanoé) 1.26
07. Arrete De Rire (Sail On) (Rivat/Warren) 4.31
08. Ne Pars Pas Comme Ca (Don’t Leave Me This Way) (Manilow/Mallory) 4.26
09. Le Temps Du Swing (House Of Swing) (Thibaut/Stonebridge/McGuinness) 5.48
10. Tout Le Bazar (All That Jazz) (Stillman/Carter/Mallory) 7.01
11. Ouverture (Swing) (Kaufman) / Georges (George’s Disco Tango) (Hall/Mallory/Simon´/Billon/Strasser) 5.29
12. La Drole De Fin (Last Tango) (Libert/Rivat/Vincent/Meakin) 3.47
13. 2’35 De Bonheur (Thomas/Renart/Rivat) 2.32
14. Jubilation (Harris/Anka) 3.12
15. Operator (featuring Gary Chapman + Peter Newton) (Spiveri) 4.21
16. Photo (featuring Gary Chapman + Peter Newton) (E.Vartan/Mallory) 5.25
17. Medley (4.13)
17.1. Danse-La, Chante-La (Dibbens/Shepstone/Dessca)
17.2. Irrestistiblement (Aber/Renard)
17.3. Ta Sorcière Bien Aimée (Di Nino/Gouty/Mallory/Billon)
17.4. L’Amour Au Diapason (Renard/Mallory)
17.5. Danse-La, Chante-La (Dibbens/Shepstone/Dessca)
18. Parle-Moi De Ta Vie (Bourtayre/Dessca) 3.28
19. Je Suis Nee Dans Une Valise (E. Vartan/Mallory) 3.15
20. Dancing Star (Vartan/Mallory) 4.58
21. Finale (E. Vartan/Mallory) 2.38

22. Side 1 (uncut) 20.19
23. Side 2 (uncut) 22.10
24. Side 3 (uncut) 20.16
25. Side 4 (uncut) 25.37

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Sylvie Vartan , 1968

Boston – Cleveland (1976)

FrontCover1John “Sib” Hashian, who played the drums on arena-rock group Boston’s first two albums, has died on March 22, 2017. He was 67, TMZ and The Associated Press reported. His son Adam, who confirmed his death to TMZ, said Hashian was playing a set on a Legends of Rock Cruise when he collapsed Wednesday night.

He did not provide the cause of death. The cruise began on March 19 in Miami and was scheduled to make stops in the Bahamas and Puerto Rico. It’s not clear how his death will impact the rest of the voyage.

Hashian was recruited in 1975 to play drums on Boston’s self-titled debut album, replacing Jim Masdea at the request of their record label. He remained with the band for their second album, Don’t Look Back. Masdea returned for the next record, Third Stage. But that was enough time to become part of rock history, playing on hits like More Than a Feeling, Long Time and Peace of Mind. (by USA Today)

Boston – the band behind “classic rock” – a label that had been thrown at Tom Scholz’s group. And not far behind… the excesses of “corporate rock.” But then, guitar virtuoso Scholz, who has a master’s degree in mechanical engineering from MIT, was fiercely independent, taking his time to get the sound right; and the band was a real garage outfit – Scholz recorded his tracks in his basement studio.

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Boston’s rise was meteoric and this was before MTV. Overnight they had a hit debut album on their hands and vocalist (the late) Brad Delp was recognised as much as guitarist Scholz. To this day, More Than A Feeling remains a radio staple.

Thanks then to Philip Cohen for sharing the excellent sounding lossless tracks, and we are offering them as high quality mp3s (320 kbps). This is what Philip noted: “This unofficial release was taken from a radio broadcast that was aired locally in Cleveland, Ohio… which was a homecoming of sorts for Boston leader Tom Scholz, who was born in Cleveland. This was recorded by the original line-up while they were touring behind their highly successful debut album.”

Darryl Hirschler, reviewing the CD on his Unofficial Boston site adds: “This concert is one of Boston’s earliest concerts. The band had only been on the road for just over a month and it shows. Their performance is raw and unrefined with an occasional mistake. Brad is especially enthusiastic in his vocal performance. The highlight for me was the very early version of A Man I’ll Never Be. It is not to be missed. The chorus is totally different from any other version of this song anywhere. We are so lucky that this concert was recorded if not for anything else but that song. Sib’s drumming is also noteworthy, especially on Peace of Mind.

Sib Hashian

“This concert was recorded for broadcast on WMMS in Cleveland, OH back in 1976. Parts of it have been occasionally broadcast to this day. The sound quality is top notch. It rivals that of the King Biscuit CDs and may even be a tad better… The reel to reel masters have survived 20-plus years remarkably well. The odd (but beautiful) thing is that I know that the reel is presently damaged with about 3.5 seconds missing from More Than A Feeling, but source used for this CD must’ve been digitally recorded 10 years earlier – before the damage, and before 10 additional years of degradation (hiss).”

And here´s not only a tribute to John “Sib” Hashian but to the band “Boston”, too …  the perfect masters of the “adult orientad rock” (AOR) of the Seventies … and of course I have to mention Tom Scholz … the mastermind of “Boston” …

Tom Scholz

Personnel:
Brad Delp (vocals)
Barry Goudreau (guitar)
Sib Hashian (drums)
Fran Sheehan (bass)
Tom Scholz (guitar, organ)

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Tracklist:
01. Rock & Roll Band (Scholz) 3.44
02. Help Me (Shattered Images) (Scholz) 3.54
03. Peace Of Mind (Scholz) 5.06
04. Something About You (Scholz) 4.32
05. A Man I’ll Never Be (Scholz) 6.39
06. Smokin’ (Scholz/Delp) 8.04
07. Foreplay (Scholz) 2.40
08. Long Time (Scholz) 6.38
09. Don’t Be Afraid Of Love (Scholz) 5.01
10. More Than A Feeling (Scholz) 9.49
11. Television Politician (Scholz) 3.54

Sib Hashian2

John Thomas “Sib” Hashian
(August 17, 1949 – March 22, 2017)

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Southern Cross – Same (1976)

FrontCover1Southern Cross was an Austalian heavy rock band formed by ex-Buffalo members Alan Milano and John Baxter.
Milano was co-vocalist on Dead Forever while John Baxter was responsible for Buffalo’s heavy rock guitar sound. By the time this recording came about Baxter had left to be replaced by Bruce Cumming.
Alongside the likes of Finch, The Angels, Kevin Borich Express, Rose Tattoo, and Chariot, Southern Cross swiftly became one of the most popular hard rock bands on the Sydney scene.
They were signed to the independent Living Sound/Laser label where they issued their debut single towards the end of 1976, followed by their self-titled debut album in early 1977.
The album features melodic, raunchy hard rock in the vein of Billy Thorpe and the Aztecs and UK band Bad Company. It mixed flat out riff-rockers with moody rock ballads.
The album scored only minimal sales, despite its strong content and by 1978 they had broken up with Cumming and Brouet moving on to The Press, another Sydney based band with a punk edged heavy metal sound. (by silveradoraremusic.blogspot)
Okay thehard and heavy period of the Seventies is over … but this album is one of all theese forgotten pearls …
On YouTube, lisaveg1    wrote: “A mix of Eagles and Lynyrd Skynyrd….:))”
Inlet
Personnel:
Jeff Beacham (drums)
Michel Brouet (bass, vocals)
Bruce Cumming (guitar)
Alan Milano (vocals)

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Tracklist:
01. Money Maker (Beacham/Cumming/Milano) 4.42
02. You Need It (Baxter/Brouet/Cumming/Milano) 5.21
03. Jessie (Cumming/Milano) 5.24
04. What Am I Waiting For? (Beacham/Brouet/Cumming/Milano) 5.31
05. Harris Street (Beacham/Brouet/Cumming/Milano) 4.51
06. Story Teller (Cumming/Milano) 5.23
07. Games (Baxter/Beacham/Brouet/Cumming/Milano) 9.20
08. Stormy Lady (Beacham/Brouet/Cumming/Milano) 4.57

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Vincent Crane (feat Arthur Brown) – Taro Rota (1997)

frontcover1Properly termed a Vincent Crane solo album, but so dominated by Arthur Brown’s preternatural vocals that the billing has been totally flipped, the oft misspelled Taro Rota album was originally conceived around 1975, when Crane and wife-to be Jeannie Crane found their shared interest in Tarot cards spilling over into their songwriting. (The pair used to offer Tarot readings at fetes and fairs.) A 22-minute opus arranged for orchestra and more, Taro it was a fascinating piece of work, but far too ambitious to ever be realized. Even Crane’s otherwise-enthusiastic publishers were willing only to fund a ten-minute demo, which was recorded later in 1975 with Arthur Brown and a full band — it is this piece which leads off the 1997 Voiceprint CD, alongside Crane’s own piano demo of the full work. The original Taro Rota did not remain entirely unheard. Atomic Rooster’s valedictory Headline News album lifted elements for the songs “Time” and “Machine,” although little more than the melody will prepare the listener for the full Taro Rota experience. Nor, of course, does the music presented here. Despite a spellbinding Brown recital, the band performance is just a shade too clunky to capture the full dynamic of the Cranes’ vision, while the piano rendition is by necessity too Spartan. But both allow one to dream of what could have been — and it is a wonderful dream. (by Dave Thompson)

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Vincent + Jeannie Crane, April 15th, 1977 
Vincent and I composed this piece way back in 1976, especially for Arthur Brown. There is a ten minute demo with Arthur on vocals, but unfortunately, due to contractual reasons, at the last minute it couldn’t be included on the CD. At the moment the Taro Rota Suite is an impressive 23 minutes of Vincent doing the whole thing! Hopefully this will be amended later this year!
Taro RotaOne day a charity bazaar was held in the grounds of a very large and beautiful house and Vincent and I went along to do Tarot Readings.Inside the conservatory, surrounded by lush hangings of grape vine, we spread the cards time and time again. We told story after story for an endless queue of people but the day was just was not long enough to be with everyone. So, when everyone else had left, the remaining books had been packed, the paintings put away and the money counted, we lay out a spread of cards for all the people we didn’t see. It told us your story and it told you ours. We called it Taro Rota. (Jeannie Crane, 1997)
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Incorrectly and repeatedly billed as a joint effort with Arthur Brown. Whilst that was the original plan, this is ostensibly a solo effort by Vincent Crane. The shorter Part two is Crane with a band doing a re-visit of Atomic Rooster’s biggest hit, “Tomorrow Night”.
Overall this is a very good album. Many have panned it but I will take anything by the late great, and much lamented, keyboard maestro. The two long songs do drag ever so slightly, in that their is little variation and much repetition. What there is does highlight Crane’s virtuosity as a piano player and I will always wish that circumstances had prevailed to give him more success, especially within the Atomic Rooster framework. He remains one of my few heroes and this album only serves to prolong and enhance his stature with me. His suicide is still a matter of supreme sadness and he left the world with a huge dose of “what could and, indeed, what should have been”. (by Crazyworldof)
Vincent Crane  of Atomic Rooster,Copenhagen 1972

Personnel:
Vincent Crane piano, organ, vocals)
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unknown studio musicians on 02.
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no Arthur Brown !

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Tracklist:
01. Part 1 22.30
02. Part 2 (“Tomorrow Night”) 3:21
03. Part 3 22:29 01.

Music Vincent Crane
Lyrics Vincent Crane + Jeannie Crane

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I don’t really know what I’m doing,
I don’t really care what you say.
Following the signs of illusion,
Dancing in the sun on my way.
See a light burn in the darkness,
Quicksilver sky, clouds of fire.
Hear a door close in the silence,
Echoes of dreams and desire.
Mountains of stone turn to ashes,
Ribbons of gold turn to clay,
River of life overflowing
Trapped in the dreams of today.
I don’t really know what I’m doing,
I don’t really care what you say.
Following the signs of illusion,
Dancing in the sun on my way.
I don’t know what’s wrong,
With reality.
I don’t know what’s wrong,
Is it only me?
Time to get over this feeling again.
Life is stealing away.
I keep on feeling life stealing away,
Stealing away while I dream of today.
Time to break out of it,
Must get away.
Get away!
See a light burn in the darkness,
Quicksilver sky, clouds of fire.
Hear a door close in the silence,
Echoes of dreams and desire.
Mountains of stone turn to ashes,
Ribbons of gold turn to clay,
River of life overflowing
Trapped in the dreams of today.
I don’t really know what I’m doing,
I don’t really care what you say.
Following the signs of illusion,
Dancing in the sun on my way.
Magician or fool!
Taro Rota, Arot Taro,
Taro Rota, Arot Taro,
Taro Rota, Arot Taro,
Taro Rota, Arot Taro,
Taro Rota, Arot Taro,
Taro Rota, Arot Taro.
I’m walking in a dream,
Places where I’ve been fade away,
Floating from rhyme or reason,
Future will unfold flowers of gold.
I see the world below, I know that it is turning,
But circles of the wheel turn slowly,
And nothing is explained just light forever burning
And time is going by, so slowly.
Fly in the sky on wings that are so weary,
‘Til the eagle’s nest comes in sight.
Time in a word and that word simply nothing,
Watch the water flow, silent snow.
I see the world below, I know that it is turning,
But circles of the wheel turn slowly,
And nothing is explained just light forever burning
And time is going by, so slowly.
Time for the reason, I feel free.
I’m just the last one to find I’m me.
Veils of illusion set me free.
My eyes are open and I can see.
Time for the reason, I feel free.
I’m just the last one to find I’m me.
Veils of illusion set me free.
My eyes are open and I can see.
Stealing over me,
Sleeping endlessly,
River flow to the sea,
Time is free.
Stealing over me,
Sleeping endlessly,
River flow to the sea,
Let me dream.
Let me dream….
Hell train,
See the demons dance.
Hell train,
See the demons dance.
Hell train,
See the demons dance.
Hell train,
See the demons dance.
In your mind,
Mirrors of your mind.
In your mind,
Mirrors of your mind.
Taro Rota, Arot Taro,
Taro, Rota, Arot Taro……..
You have summoned me,
But I am not in your control.
I will eat your mind
And then destroy your very soul
Though you stand within
The circle I won’t stay my hand,
For the very stones
You stand on are at my command.
‘Cos you’re mine!
Yes, you’re mine!
You have summoned up
A power that is beyond your will.
You have brought to life
A force that death itself can’t kill.
See your useless symbols
Turn to dust before your eyes,
Feel my power engulf you,
Laughter drown your helpless cries.
‘Cos you’re mine!
Yes, you’re mine!
You are a ma-chine,
You are a ma-chine,
You are a ma-chine………..
You’re dreaming,
Is this real?
Illusion,
Confuse your mind.
Hold fast now,
Thoughts shifting patterns.
Hold fast now
And then let go.
Stare into the sun,
Become one incandescent ray of your creation.
Watch the water flow
And sink below a single drop in one vast ocean.
Fly into the air,
Ensnare your mind upon a pin of concentration,
Deep inside the earth,
Rebirth, the rotten coffin breaks the maggots welcome.
You’re dreaming,
Is this real?
Illusion,
Confuse your mind.
Hold fast now,
Thoughts’ shifting patterns.
Hold fast now,
And then let go…………..
Time is going through the motion,
Drowning tears in one vast ocean,
Rivers flee from valley fire,
Can the mountains climb no higher?
Frozen in a sea of sorrow,
Dream away forget tomorrow,
Words will always be unspoken,
Promises will soon be broken.
Driving down the endless highway,
Time is starting to go my way.
Find the people who will know why,
Love will lose and time will go by.
Circling in an endless season,
Stop and ask yourself the reason.
Time marches on!
Life’s illusions melting away,
Now is the time for change,
Changing,
Everything remains the same,
You will find,
Though the stars lose their brightness
One by one.
Come!
Fly, Fly away!!!

Steve Marriott – Marriott (1976)

frontcover1In 1975, Humble Pie came sputtering to a halt after a series of less than inspiring albums. Surprisingly, frontman Steve Marriott’s first solo album after the split, 1976’s Marriott, is a sprightly, rollicking affair that is light on the blues-rock of Humble Pie and heavy on soul, funk, and hard-charging rock & roll. The album is divided into a British side (recorded by Marriott’s band that included ex-T. Rex guitarist Mickey Finn) and an American side (with backing by a raft of West Coast session players including Michael Nesmith sidekick Red Rhodes on pedal steel). The British side is a rocked-out blast of noise with Marriott’s wailing vocals sounding rejuvenated and his live-wire guitar playing fully to the front. Tracks like “East Side Struttin’,” “Lookin’ for a Love,” a fully fleshed-out version of a Small Faces track, “Wam Bam Thank You Ma’am,” and “Midnight Rollin'” equal the best moments of Humble Pie, and only the blues ballad “Help Me Through the Day” lets the side down. The American side is unsurprisingly a much slicker proposition, relying on backing vocalists and synths to flesh out the sound. Marriott’s ragged soul shines through, however, on rollicking tracks like “Star in My Life,” the disco-fied “Late Night Lady,” and a slinky cover of Freddie Scott’s “Are You Lonely for Me Baby.” Again, the ballad drags things down as the cheesy arrangement of “You Don’t Know Me” shows that maybe Marriott should have steered clear of the ballads — the cheesy arrangement is pure supper club, and Marriott sounds very out of place. Batting .800 is nothing to look sideways at, though, and Marriott is a stunning return to form and a powerful two-finger salute to anyone who had written the lad off as washed up. He’s dirty as ever and on top of his game, and the album flat out rocks. ( by Tim Sendra)

steve-marriott
Personnel:
Ben Benay (guitar on 06. – 10.)
Alan Estes (percussion on 06. – 10.)
Mickey Finn (guitar on 01. – 05.)
David Foster (keyboards on 06. – 10.)
Dennis Kovarik (bass on 06. – 10.)
Steve Marriott (guitar, vocals)
Greg Ridley (bass, background vocals on 01. – 05.)
Red Rhodes (guitar, pedal steel-guitar on 06. – 10.)
David Spinozza (guitar on 10.)
Ian Wallace (drums, Percussion on 01. – 05.)
Ernie Watts (Saxophone on 06. – 10.)
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background vocals:
Carlena Williams – Greg Ridley – Maxayn Lewis – Venetta Fields
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Tracklist:

British Side:
01  East Side Struttin’ (Finn/Marriott) 4.55
02. Lookin’ For A Love (Alexander/Samuels) 3.51
03. Help Me Through The Day (Russell) 6.01
04. Midnight Rollin’ (Stephens/Marriott) 3.36
05. Wam Bam Thank You Ma’am (Lane/Marriott) 4.03

 American Side:
06. Star In My Life (Wallace/Marriott) 3.37
07. Are You Lonely For Me Baby (Burns) 3.58
08. You Don’t Know Me (Walker/Arnold) 5.03
09. Late Night Lady (Ridley/Marriott/Hinkley) 3.07
10. Early Evening Light (Marriott) 4.08

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