Miroslav Vitous – Miroslav (1977)

FrontCover1Miroslav Ladislav Vitous (6 December 1947), is a Czech jazz bassist who was born in Prague. He begun play violin at age of six, started playing the piano at age ten, and bass at fourteen. He studied music at the Prague Conservatory subsequently winning an international music contest in Vienna, earning him a scholarship to the Berklee College of Music in Boston. One of his early music groups was the Junior Trio with his brother Alan on drums and young another future-great Czech fusion musician Jan Hammer on keyboards.

A year later after he came to Boston, in 1966, Miroslav moved to New York & collaborated with musicians such as Bob Brookmeyer, Chick Corea, Miles Davis, Art Farmer, Stan Getz, Charlie Mariano, and Herbie Mann. In 1970, the group WEATHER REPORT was formed along with Wayne Shorter and Joe Zawinul. After three years left the group due to musical differences. After brief break he formed Miroslav Vitous Group with John Surman, Kenny Kirkland and Jon Christensen, and recorded 3 albums for ECM. After 3 years group was disbanded.

Vitous has become a director of Jazz Department in New England Conservatory in Boston, and leads the department for 3 years. He reunited with Chick Corea and Roy Haynes (Trio Music): it was a very successful period for the trio for the following 2 and half years. Tours all over the world and 2 albums recorded for ECM is the outcome of this reunion.

Miroslav Vitous01After this time he made a very successful duet world wide tour with Stanley Clark.

Makes several performances as a soloist with Pittsburg Symphony Orchestra and Music of Viva of Boston.

He recorded also a solo album for ECM (“Emergence”).

In 1988 he moved back to Europe. Stopped teaching completely and became full time composer/performer, once again.

He made a lot of different projects with his band or solo, appeared at many festivals and concerts and participated in other projects with different top European musicians. After 22 years he returned to Prague and recorded an album with his brother Alan Vitous.

In March 1989 he started playing solo concerts. He wrote and performed concerts for Orchestra and solo bass in Frieburg (Germany) and Italy. Prior to the release of ‘Universal Syncopations’, he took a seven year break from performing to concentrate his efforts at making orchestral sample libraries. He was in search of electronic sounds to assist him in composing, but discovered what was available in the marketplace to be Miroslav Vitous03lacking in quality. As a result, Miroslav became consumed in producing the symphonic samples that he had been searching for, by sampling each solo player amongst an orchestra. “Sampling is an extremely expensive process, but allows me to compose more easily when ideas are fresh in my mind.”

The result of being able to compose with the electronic samples, brought about the release of the album ‘Universal Syncopations’. Miroslav knew beyond a doubt that Jack DeJohnette would be his drummer, since Jack was his favorite drummer for several decades and had participate in many collaborations. John McLaughlin was chosen for the work that he had done with Miles Davis in the seventies, and Miroslav wanted to tap into that evolutionary style and to take it up a notch. Chick Corea has asked for Miroslav’s help on many of his previous albums, so this time it was Corea who was asked to collaborate. Jan Garbarek is Miroslav’s favorite sax player, and they have an intuitive musical connection. This particular work captures the creative force in the sounds and motifs, and justaposes jazz and classical styles in a very open and free way. (by progarchives.com)

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Master bass player Vitous doubles up on piano and moog and, together with percussionist Don Alias, creates music from fusion to samba to ambient! Includes the jazz dance classic “Bassamba”! (by soundsoftheuniverse.com)

1976-1977 sessions with Don Alias and Armen Halburian on percussion. Vitous overdubs bass and keyboards. A stunning musical trip through Afro-jazz texture music. “Tiger in the Rain” is absolutely captivating. (byMichael G. Nastos)

In other words: excellent and exciting stuff!

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Personnel:
Don Alias (drums, percussion)
Miroslav Vitous (bass, piano, synthesizer, ARP string ensemble)
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Armen Halburian (percussion (on 06.)

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Tracklist:
01. Watching The Sunset Run 8.07
02. Bassamba 3.02
03 Tiger In The Rain 9.01
04 Concerto In E Minor 5.35
05. Pictures From Moravia 4.54
06. Sonata For A Dream 5.39

Music composed by Miroslav Vitous

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Ramones – Same (1976)

FrontCover1.jpgRamones is the debut studio album by American punk rock band Ramones, released on April 23, 1976 by Sire Records. After Hit Parader editor Lisa Robinson saw the band at a gig in New York City, she wrote about them in an article and contacted Danny Fields, insisting that he be their manager. Fields agreed and convinced Craig Leon to produce Ramones, and the band recorded a demo for prospective record labels. Leon persuaded Sire president Seymour Stein to listen to the band perform, and he later offered the band a recording contract. The Ramones began recording in January 1976, needing only seven days and $6,400 to record the album. They used similar sound-output techniques[clarification needed] to those of the Beatles and used advanced production methods by Leon.

The album cover, photographed by Punk magazine’s Roberta Bayley, features the four members leaning against a brick wall in New York City. The record company paid only $125 for the front photo, which has since become one of the most imitated album covers of all time. The back cover depicts an eagle belt buckle along with the album’s liner notes. After its release, Ramones was promoted with two singles, which failed to chart. The Ramones also began touring to help sell records; these tour dates were mostly based in the United States, though two were booked in Britain.

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Violence, drug use, relationship issues, humor, and Nazism were prominent in the album’s lyrics. The album opens with “Blitzkrieg Bop”, which is among the band’s most recognized songs. Most of the album’s tracks are uptempo, with many songs measuring at well over 160 beats per minute. The songs are also rather short; at two-and-a-half minutes, “I Don’t Wanna Go Down to the Basement” is the album’s longest track. Ramones contains a cover of the Chris Montez song “Let’s Dance”.

Ramones peaked at number 111 on the US Billboard 200 and was unsuccessful commercially, though it received glowing reviews from critics. Many later deemed it a highly influential record, and it has since received many accolades, such as the top spot on Spin magazine’s list of the “50 Most Essential Punk Records”. Ramones is considered an influential punk album in the US and UK, and had a significant impact on other genres of rock music, such as grunge and heavy metal. The album was ranked at number 33 in Rolling Stone’s 2012 list of the “500 Greatest Albums of All Time” and was certified gold by the Recording Industry Association of America in 2014. (by wikipedia)

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With the three-chord assault of “Blitzkrieg Bop,” The Ramones begins at a blinding speed and never once over the course of its 14 songs does it let up. The Ramones is all about speed, hooks, stupidity, and simplicity. The songs are imaginative reductions of early rock & roll, girl group pop, and surf rock. Not only is the music boiled down to its essentials, but the Ramones offer a twisted, comical take on pop culture with their lyrics, whether it’s the horror schlock of “I Don’t Wanna Go Down to the Basement,” the gleeful violence of “Beat on the Brat,” or the maniacal stupidity of “Now I Wanna Sniff Some Glue.” And the cover of Chris Montez’s “Let’s Dance” isn’t a throwaway — with its single-minded beat and lyrics, it encapsulates everything the group loves about pre-Beatles rock & roll.

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They don’t alter the structure, or the intent, of the song, they simply make it louder and faster. And that’s the key to all of the Ramones’ music — it’s simple rock & roll, played simply, loud, and very, very fast. None of the songs clock in at any longer than two and half minutes, and most are considerably shorter. In comparison to some of the music the album inspired, The Ramones sounds a little tame — it’s a little too clean, and compared to their insanely fast live albums, it even sounds a little slow — but there’s no denying that it still sounds brilliantly fresh and intoxicatingly fun. (by Stephen Thomas Erlewine)

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Personnel:
Dee Dee Ramone (bass guitar, background vocals, vocals on 11.)
Joey Ramone (vocals)
Johnny Ramone (guitar)
Tommy Ramone (drums, background vocals)
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Leigh (background vocals on 01., 03. + 04.)

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Tracklist:
01. Blitzkrieg Bop (T.Ramone/D.Ramone Leigh 2.14
02. Beat On The Brat (Joey Ramone) 2.33
03. Judy Is A Punk (Joey Ramone) 1.33
04. I Wanna Be Your Boyfriend (T.Ramone) 2.25
05. Chain Saw (Joey Ramone) 1.57
06. Now I Wanna Sniff Some Glue (D.Ramone) 1.36
07. I Don’t Wanna Go Down To The Basement (D.Ramone/Johnny Ramone) 2.40
08. Loudmouth (D.Ramone/Johnny Ramone) 2.15
09. Havana Affair (D.Ramone/Johnny Ramone) 1.57
10. Listen To My Heart (D.Ramone) 1.59
11. 53rd & 3rd (D.Ramone) 2.22
12. Let’s Dance (Lee) 1.52
13. I Don’t Wanna Walk Around With You (D.Ramone) 1.43
14. Today Your Love, Tomorrow The World (D.Ramone) 2.17

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Supercharge – Local Lads Make Good (1976)

FrontCover1.jpgSupercharge were a 1970s English rock band from Liverpool, founded by singer/saxophonist Albie Donnelly and drummer Dave Irving. They had a number three hit single in Australia with “You’ve Gotta Get Up and Dance” in 1977.

Founded in early 1974, by Liverpool tenor-saxophonist, Albie Donnelly (born Albert Edward Donnelly, 12 August 1947, Huyton, Liverpool), and drummer Dave Irving (born David Geddes Irving, 18 November 1946, Crosby, Liverpool) after they had both left the ‘In Crowd’ cabaret band, Supercharge soon built up quite a cult following in Liverpool at ‘The Sportsman’, a popular city-centre pub on Sunday and later Monday nights and also at the ‘Dove and Olive’ at Speke.
Original members included Donnelly (bandleader, vocalist, and tenor saxophonist), Ozzie Yue (guitar/vocals) (born Austin J Yue, 12 August 1947, Liverpool), Allen ‘Gaz’ Gaskell (tenor sax, guitar, harmonica, and vocals), Alan Peters (trumpet), Bob Robertson (baritone sax), Pete Newton (bass guitar), Tony Dunmore (bass) and Dave Irving (drums).
Supercharge also quickly established themselves as a major player on the UK college / university circuit. Their first album Between Music and Madness, which was locally produced, soon followed.

Around 1975, in an attempt to attract a major record label offer, Supercharge began to gig regularly on the London live circuit at venues such as the Hope and Anchor, Islington, the Nashville Rooms, and the Marquee Club. As a result, Supercharge were soon signed by Virgin Records, and with the company’s new record producer, Robert “Mutt” Lange, they had a number three hit in Australia with their 1976 single “You’ve Gotta Get Up and Dance”. Personnel on these recordings also included organist Iain Bradshaw. It was also in Australia that their first album, Local Lads Make Good went gold – resulting in a number of successful major tours with a version of the band that included Les Karski on guitar.

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And here´s is their beautiful album called “Local Lads Make Good” and it´s a real crazy mixture between Rhythm & Blues and the Disco Sound from this period … you can´t believe it?

Listen and enjoy this total crazy stuff  … between music and madness …

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Personnel:
Iain Bradshaw (keyboards)
Albie Donnelly (saxophone, flute, vocals)
Tony Dunmore (bass, vocals)
Dave Irving (drums)
Les Karski (guitar, vocals)
Ozzie Yue (guitar, vocals)

supercharge1974_01Tracklist:
01. Lonely And In Love (Lange) 3.35
02. Hole Town (Karski) 5.33
03. Everyone! Everywhere! (Lange) 5.29
04. I Believe In You (Robertson/Bradshaw) 4.13
05. Get Down Boogie (Lange) 3.16
06. Only You (Karski) 4.02
07. Gimme Your Love (Lange) 3.43
08. You’ve Gotta Get Up And Dance (Lange) 2.57
09. She Moved The Dishes First (Donnelly) 7.01

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Joni Mitchell – Hejira (1976)

FrontCover1.jpgHejira is the eighth studio album by Canadian singer-songwriter Joni Mitchell.

The songs on the album were largely written by Mitchell on a trip by car from Maine back to Los Angeles, California, with prominent imagery including highways, small towns and snow. The photographs of Mitchell on the front and back cover were taken by Norman Seeff and appear against a backdrop of Lake Mendota, in Madison, Wisconsin, after an ice storm.

Characterized by lyrically dense, sprawling songs, and graced with the overdubbed fretless bass playing of Jaco Pastorius, whom Joni had just met, Hejira continued Mitchell’s journey beyond her pop records towards the freer, jazz inspired music she would implement on later recordings.

The album did not sell as well as its predecessors, peaking at No. 22 in her native Canada. It reached No. 13 on the Billboard 200 pop album chart in the United States, where it was certified gold by the RIAA, and No. 11 in the UK, where it attained a silver certification. Critically, the album was generally well received, and in the years since its release, Hejira has been considered one of the high marks of her career. (by wikipedia)

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Joni Mitchell’s Hejira is the last in an astonishingly long run of top-notch studio albums dating back to her debut. Some vestiges of her old style remain here; “Song for Sharon” utilizes the static, pithy vocal harmonies from Ladies of the Canyon’s “Woodstock,” “Refuge of the Roads” features woodwind touches reminiscent of those in “Barangrill” from For the Roses, and “Coyote” is a fast guitar-strummed number that has precedents as far back as Clouds’ “Chelsea Morning.” But by and large, this release is the most overtly jazz-oriented of her career up to this point — hip and cool, but never smug or icy. “Blue Motel Room” in particular is a prototypic slow jazz-club combo number, appropriately smooth, smoky, and languorous. “Coyote,” “Black Crow,” and the title track are by contrast energetically restless fast-tempo selections. The rest of the songs here cleverly explore variants on mid- to slow-tempo approaches.

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None of these cuts are traditionally tuneful in the manner of Mitchell’s older folk efforts; the effect here is one of subtle rolls and ridges on a green meadow rather than the outgoing beauty of a flower garden. Mitchell’s verses, many concerned with character portraits, are among the most polished of her career; the most striking of these studies are that of the decrepit Delta crooner of “Furry Sings the Blues” and the ambivalent speaker of “Song to Sharon,” who has difficulty choosing between commitment and freedom. Arrangements are sparse, yet surprisingly varied, the most striking of which is the kaleidoscopically pointillistic one used on “Amelia.” Performances are excellent, with special kudos reserved for Jaco Pastorius’ melodic bass playing on “Refuge of the Roads” and the title cut. This excellent album is a rewarding listen. (by David Cleary)

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Personnel:
Max Bennett (bass on 03. + 06.)
Larry Carlton (guitar on 01., 02, 04., 07. + 08.)
Chuck Domanico (basss on 08.)
Victor Feldman (vibraphone on 02.)
Chuck Findley (horn on 09.)
John Guerin (drums on 06., 08. + 09.)
Bobbye Hall (percussion on 01., 04. + 05.)
Jonui Mitchell (vocals, guitar)
Abe Most (clarint on 05.)
Jaco Pastorius (bass on 01., 05., 07. + 09.)
Tom Scott (horn on 09.)
Neil Young (harmonica on 03.)

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Tracklist:
01. Coyote 4.58
02. Amelia 5.57
03. Furry Sings The Blues 5.03
04. A Strange Boy 4.15
05. Hejira 6.36
06. Song For Sharon 8.28
07. Black Crow 4.12
08. Blue Motel Room 5.03
09. Refuge Of The Roads 6.37

All songs written by Joni Mitchell

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Old Beale Street  is coming down
Sweeties’ Snack Bar boarded up now
And Egles the Tailor and the Shine Boy’s gone
Faded out with ragtime blues
Handy’s cast in bronze
And he’s standing in a little park
With a trumpet in his hand
Like he’s listening back to the good old bands
And the click of high heeled shoes
Old Furry  sings the blues
Propped up in his bed
With his dentures and his leg removed
And Ginny’s there
For her kindness and Furry’s beer
She’s the old man’s angel overseer

Pawn shops glitter like gold tooth caps
In the grey decay
They chew the last few dollars off
Old Beale Street’s carcass
Carrion and mercy
Blue and silver sparkling drums
Cheap guitars eye shades and guns
Aimed at the hot blood of being no one
Down and out in Memphis Tennessee
Old Furry sings the blues
You bring him smoke and drink and he’ll play for you
lt’s mostly muttering now and sideshow spiel
But there was one song he played
I could really feel

There’s a double bill murder at the New Daisy
The old girl’s silent across the street
She’s silent waiting for the wrecker’s beat
Silent staring at her stolen name
Diamond boys and satin dolls
Bourbon laughter ghosts history falls
To parking lots and shopping malls
As they tear down old Beale Street
Old Furry sings the blues
He points a bony finger at you and says
“I don’t like you”
Everybody laughs as if it’s the old man’s standard joke
But it’s true
We’re only welcome for our drink and smoke

W. C. Handy * I’m rich and I’m fey
And I’m not familiar with what you played
But I get such strong impressions of your hey day
Looking up and down old Beale Street
Ghosts of the darktown society
Come right out of the bricks at me
Like it’s a Saturday night
They’re in their finery
Dancing it up and making deals
Furry sings the blues
Why should I expect that old guy to give it to me true
Fallen to hard luck
And time and other thieves
While our limo is shining on his shanty street
Old Furry sings the blues

 

JD Souther – Live At Ebbets Field, Denver, Colorado (1976)

FrontCover1.jpgSinger-songwriter JD Souther is probably best known for his well-honed writing abilities, especially in the field of country rock. He co-wrote some of the biggest hits for the Eagles, including Best Of My Love, Victim Of Love, Heartache Tonight, and New Kid in Town.

He wrote Run Like A Thief, which appeared on Home Plate by Bonnie Raitt in 1975. Souther dated Linda Ronstadt briefly, co-produced her Don’t Cry Now album, and wrote songs for several of her multi-platinum albums. (by wikipedia)

“Hanging out in the bar at the Troubadour with Glenn Frey and Jackson Browne and playing open mike Mondays, then opening for Poco and The Flying Burrito Brothers – it was the best study in songwriting I can imagine… It’s also where I met Linda Ronstadt and where Don Henley and Glenn Frey met to form this little country rock band called Eagles that would go on to make musical history.” (jdsouther.net)

And here´s a pretty good solo acoustic show.

Thanks to rzahakos for the CD rip; and to kingrue for sharing the show at The Traders’ Den.

Recorded live at Ebbets Field, Denver, Colorado; July 2, 1976.
Very good FM broadcast.

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Personnel:
John David Souther (vocals, guitar)

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Personnel:
01. Kite Woman 3.16
02. Intro for Run Like A Thief 3.04
03. Run Like A Thief 3:41
04. Faithless Love 4.54
05. Mexico 4.10
06. Simple Man, Simple Dream 2.32
07. Silver Blue 3.59
08. Your Turn Now 4.35
09. Banging My Head Against The Moon 5.22
10. Prisoner In Disguise 5.36
11. Baby Come Home 4.24

All songs written by John David Souther

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Polish Radio Orchestra + Peter Sanders & His Players -Melody & Rhythm – Volume 10 (1976)

FrontCover1.JPGI am really excited and anxious to find out what kind of reception this new “Melody & Rhythm” album will get from our listeners and professional programme builders. However I am confident that the originality of the musical ideas offered by Polish composers, arrangers and performer is much to good to be ignored. I would even go further and dare to suspect that the style and somehow peculiar mixture of their kind of pop music will be imitated and followed by the Anglo-Saxon leaders in this field an will ceate a new fashion. Obviosly everybody admires the genius of great Polish composers and musicians in the field of serious and avant-garde music, but this time please listen to their “instrumental pops”, convincingly played by the Polish Radio Orchestra and you will get, I hope, a few nice surprices.

Peter Sander was born in Hungary bt settled in this country when he was still very young. His musical career as a composer, arranger and pianist is quite impressive and covers a wide range of serious and commercial music. Between writing the scores for films and conducting sessions in a recording studio, he finds time to hold the post of lecturer in composiion at the Institute of Adult Education in London.

Peter was very pleased with the kind of combination chosen for our album. The instrumentation of two flutes and bass-clarinet with a light rhythm section of harpsichord, piano, bass-guitar and tuned percussion he found ideal for his sensitive musical taste. In effect he offers a refreshing sound, delicate yet colourful. The excellent quality of the recording makes the listening a pleasant experience (by Richard Frank, taken from the origiaal liner notes).

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On side one we hear a real crazy mixture of very different styles … from Discosound (“Bej-Ge-Le”), to sentimentals ballads (“Theme In A-Minor”, “Feminine Touch”), Funk (“Hurry, Hurry”) and Big Band Jazz (“The Curtain Goes Up “)

On side B we hear Peter Sanders & His Players …. and he played in a really soft and gentle way … the interaction between the flutes and the bass is really intersting and nice.

Peter Sanders sounds like music from fairy tales …

Some informations about the producer of this album, Richard Frank and the Apollo Sound label:

Richard Frank (Henry Richard Spritzer Frank) is a Polish composer, producer and music publisher. Associated with publisher Anglo-Continental Music Co., based in Denmark Street, London, who notably had a contract with Apollo Sound.

Apollo Sound:
British label based at 32 Ellerdale Road, London and largely centered around composer/publishers Albert Kunzelmann, Heinz Herschmann and Richard Frank.
The catalogue features composers from both the UK and continental Europe, including Poland, the former Yugoslavia and Hungary. Some of the material appears to be licensed. And this label is still active.

So here is a very rare libary music album .

Enjoy !

ApolloSoundWebsite.jpgThe Apollo Sound website

Personnel:
Polish Radio Orchestra (01. – 07.)
Peter Sanders & His Players (08. – 14.)

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Tracklist:

Polish Radio Orchestra:
01. Bej-Ge-Le (Sikora) 2.13
02. Theme In A-Minor (Żylis) 2.51
03. Hurry, Hurry (Gernard) 2.42
04. Abdul Ben Omar (Mikuła) 2.46
05. Feminine Touch (Maliszewski) 2.29
06. The Curtain Goes Up (Kalemba) 3.15
07. Why Do You Say Goodbye (Gernard) 2.27

Peter Sander And His Players:
08. Love At First Sight (Chubb/Sander/Moncrieff) 3.54
09. Let Me Do It (Deryng/Lauri/Crandell) 2.44
10. Dyevushka (Maylin/Elcome/Molescu) 4.53
11. I’ll Be With You (Wellgarth/Sander/Konar) 3.19
12. Sometime, Somewhere (Liebana/Elcome/Moncrieff) 3.37
13. Tell Me More (Korten/Chubb/Moncrieff) 3.42
14. Fairy Tale (Liebana/Meldrum/Elcome) 4.17

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Jess Roden Band – Blowin´(1977)

FrontCover1.JPGSinger/guitarist Jess Roden was born in Kidderminster in England’s West Midlands, and his first band was the Shakedown Sounds. In 1967, he joined the Alan Bown Set as their new lead singer. Although their records never charted nationally, he did pick up a fandom in London (and belatedly became something of a star on the Northern Soul scene) with the release of their single “Emergency 999.” He remained with the Bown group through 1970, after which he formed the band Bronco, and later worked on Wildlife, the third Mott the Hoople album, and with Keef Hartley on the album Lancashire Hustler. In the mid-’70s, he teamed up with ex-Doors John Densmore and Robby Krieger in the Butts Band, and sang on their first album. Roden finally emerged as a solo artist in his own right in the mid-’70s on Island Records, with his 1974 self-titled solo album, which was cut in New Orleans and included Allen Toussaint and Art Neville on keyboards. His albums throughout the ’70s got great reviews but he never saw any significant sales; in between his own work, he managed to sing and play on albums by Carol Grimes, Jim Capaldi, Stomu Yamashta, Sandy Denny, and Grace Jones. He was with the group Rivits on Island for one album at the outset of the ’80s. (by Bruce Eder)

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The former gravel-voiced Butts Band shouter sounds riotously confident on this live album, which has no real agenda except documenting a hot night before a British college crowd. Roden’s band is slick and proficient, with guitarists Bruce Roberts and Steve Webb being the standouts, though percussionist/saxophonist Ron Taylor gets lots of space, too. Roden and company manage to show themselves as diverse performers and crowd-pullers at the same time — no mean feat when hits drove the engine of ’70s mass-market rock. The preeminent sound is slinky, laid-back pop-funk, as exemplified on story songs like “The Ballad of Big Sally” or “Me and Crystal Eye.” Cut from similarly breezy cloth, “In a Circle” is an example of how Lowell George might have sounded if he’d grown up across the pond. The band stretches out on “Can’t Get Next to You,” which dips into the blues bag, but Roden’s husky howl shines brightest on the glistening title track (which also makes clever use of varying internal rhymes). There’s also a blistering boogie in “Jump Mama,” where Roden pushes his throat in the manner of peers like Frankie Miller and Maggie Bell. The album ends on an unconventional note with a brief, piano-led reprise of “Blowin’.” Unlike many live albums of this period, there’s no side-long solos to pad out an average evening — just a proficient band and their frontman throwing down before a packed house. The story would change after Britain went punk, but there’s no denying what Roden could offer. This isn’t an easy album to find, but worth the hunt if you see it. (by Ralph Heibutzki)

Recorded live at the Birmingham Town Hall & Leicester University, Autumn 1976

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Personnel:
John Cartwright (bass)
Chris Gower (trombone, perussion)
Pete Hunt (drums)
Billy Livsey (keyboards, vocals)
Bruce Roberts (guitar, vocals)
Jess Roden (vocals)
Ron Taylor (saxophone, vocals)
Steve Webb (guitar, vocals)

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Tracklist:
01. The Ballad Of Big Sally (Cartwright/Roberts) 5.51
02. In A Circle (Webb/Cartwright) 5.51
03. Desperado (Henley/Frey) 7.34
04. Me And Crystal Eye (Roden) 7.01
05. Blowin’ (Roden/Cartwright)
06. Jump Mama (Roden) 4.59
07. Blowin’ (Reprise) (Roden/Cartwright) 2.43
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08. Blowin´ Side 1 (uncut version) 19.19
09. Blowin´ Side 2 (uncut version) 19.51

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I add the inlet fo this album: An Island Catalogue from spring 1977:

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