Vienna Philharmonic & Willy Boskovsky – Das Schönste aus den Neujahrskonzerten (The best from the New Year’s concerts) (1977)

FrontCover1The Vienna New Year’s Concert (Neujahrskonzert der Wiener Philharmoniker) is an annual concert of classical music performed by the Vienna Philharmonic on the morning of New Year’s Day in Vienna, Austria. The concert occurs at the Musikverein at 11:15. The orchestra performs the same concert programme on 30 December, 31 December, and 1 January but only the last concert is regularly broadcast on radio and television.

The concert programmes always include pieces from the Strauss family—Johann Strauss I, Johann Strauss II, Josef Strauss and Eduard Strauss. On occasion, music principally of other Austrian composers, including Joseph Hellmesberger Jr., Joseph Lanner, Wolfgang Amadeus Mozart, Otto Nicolai (the Vienna Philharmonic’s founder), Emil von Reznicek, Franz Schubert, Franz von Suppé, and Carl Michael Ziehrer has featured in the programmes. In 2009, music by Joseph Haydn was played for the first time, where the 4th movement of his “Farewell” Symphony marked the 200th anniversary of his death. Other European composers such as Hans Christian Lumbye, Jacques Offenbach, Émile Waldteufel, Richard Strauss, Verdi, and Tchaikovsky have been featured in recent programmes. (wikipedia)

You can find more informations about the Vienna New Year’s Concert here.

Musikverein concert hall, Vienna

Willibald Karl Boskovsky (16 June 1909 – 21 April 1991) was an Austrian violinist and conductor, best known as the long-standing conductor of the Vienna New Year’s Concert.

Boskovsky was born in Vienna, and joined the Vienna Academy of music at the age of nine. He was the concertmaster of the Vienna Philharmonic from 1939 to 1971. He was also, from 1955, the conductor of the Vienna New Year’s Concert, which is mostly devoted to the music of Johann Strauss II and his contemporaries. Along with the Vienna Philharmonic, he was also the chief conductor of the Wiener Johann Strauss Orchester up until his death. A forerunner of this ensemble was the 19th-century Strauss Orchestra founded by Johann Strauss I in 1835. He died in Visp, Switzerland.

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In chamber ensemble he led the Boskovsky Quartet with Philipp Matheis (2nd violin), Gunther Breitenbach (viola) and Nikolaus Hübner (violoncello). The Boskovsky Quartet, together with Johann Krump (double-bass), Alfred Boskovsky (clarinet), Josef Veleba (horn) and Rudolf Hanzl (bassoon) formed the Vienna Octet.

Boskovsky was also a Mozart performer: he recorded all the sonatas for violin and piano, with pianist Lili Kraus, and the complete trios for violin, piano and cello, with Kraus and Nikolaus Hübner for Les Discophiles Français. He played in Brahms’ Double Concerto in A minor, Op.102, with Wilhelm Furtwängler conducting the Vienna Philharmonic.

A month after his last New Year’s Concert, after having already agreed with Alfred Altenburger to conduct again in 1980, on January 30, 1979, he was hit by a stroke, which caused him a slight paralysis on the right side. In October 1979, the convalescence being too slow, he communicated his decision to give up and the orchestra asked Lorin Maazel, designated director of the Wiener Staatsoper, to carry on the tradition of these concerts.

He died in Visp, Valais (Switzerland) at the age of 81. (wikipedia)

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And here is a double LP from Germany (the liner notes are written in German), exceptionally not a live recording, but studio recordings …

Some of the titles are quite funny and the Johann Strauss son was apparently also a joker, because he liked to use sound gimmicks like pistol shots, whip cracks or a whistle …

And then I would like to point out the “Pizzicato Polka”, a little gimmick of a special kind:

Pizzicato – this term is borrowed from the Italian language and literally means plucked. It refers to a playing technique in which the strings are plucked with the fingers.

So, a polka that is only plucked on the violin … is not something you hear every day.

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Personnel:
Vienna Philharmonic conducted by Willi Boskovsky

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Tracklist:
01. Ouvertüre from „Der Zigeunerbaron“ (Johann Strauß Sohn) 7.20
02. Wiener Blut, Walzer Op. 354 (Johann Strauß Sohn) 7.58
03. Tritsch-Tratsch, Polka schnell Op. 214 (Johann Strauß Sohn) 2.35
04. Frauenherz, Polka-Mazur Op. 166 (Johann Strauß Sohn) 4.00
05. Eingesendet, Polka schnell Op. 240 (Johann Strauß Sohn) 1.48
06. Bahn frei!, Polka schnell Op. 45 Eduard Strauß) 2.20
07. Freut euch des Lebens, Walzer Op. 340 (Johann Strauß Sohn) 8.01
08. Vergnügungszug, Polka schnell Op. 281 (Johann Strauß Sohn) 2.45
09. Fledermaus-Quadrille, Op. 363 (Johann Strauß Sohn) 7.50
10. Perpetuum Mobile, musikalischer Scherz Op. 257 (Johann Strauß Sohn) 2.47
11. Ouvertüre „Die Schöne Galathee“ (v.Suppé) 6.44
12. Plappermäulchen, Polka schnell Op. 245 (Johann Strauß Sohn) 2.38
13. Frühligsstimmen, Walzer Op. 410 (Johann Strauß Sohn) 6.02
14. Pizzicato-Polka (Johann Strauß Sohn) 2.34
15. Banditen-Galopp, Op. 378 (Johann Strauß Sohn) 2.12
16. Persischer Marsch, Op. 289 (Johann Strauß Sohn) 1.55
17. Eljen A Magyar, Ungarische Polka Schnell Op. 332 2.34
18. Auf der Jagd, Polka schnell Op. 373 (Johann Strauß Sohn) 2.05
19. Feuerfest, Polka Op. 269 (Johann Strauß Sohn) 2.51
20. Unter Donner und Blitz, Polka schnell Op. 324 (Johann Strauß Sohn) 3.02
21. Annen-Polka, Op. 117 (Johann Strauß Sohn) 3.56
22. An der schönen Blauen Donau, Walzer Op. 314 (Johann Strauß Sohn) 9.14
23. Radetzky-Marsch, Op. 228 (Johann Strauß Vater) 2.53

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Solution – Fully Interlocking (1977)

FrontCover1Solution were a Dutch progressive rock band that existed from 1970 to 1983, during which time they released six studio albums and one live album. They incorporated jazz, rock, pop and soul influences, becoming more commercial on their fifth and sixth albums.

Their first eponymous LP comprised mainly instrumental pieces, complex yet repetitive in structure, with bassist Peter van der Sande singing on one track. He was succeeded by Guus Willemse around the time of its release, and immediately the band began recording more vocal songs; three of the tracks on second album Divergence featured lyrics.

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The third album Cordon Bleu (1975) was released on Elton John’s own label named The Rocket Record Company, as was its follow-up Fully Interlocking (1977). Both albums were produced by John’s producer Gus Dudgeon, and featured a crisper sound and more concise songwriting.

Despite some criticism for a more commercial direction, the next two albums, It’s Only Just Begun (1980) and Runaway (1982) continued this trend. The two title tracks from these albums became hit singles in Europe.

Solution signing the conract with CBS Records in 1979:
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Solution split in 1983, playing a final concert at Paradiso in Amsterdam and releasing a double live album. They regrouped in March 2006 for two concerts at Panama, Amsterdam (released as a DVD in July 2007), while a triple CD compilation (The Ultimate Collection, comprising almost every track they released) was issued in 2005. Also, a 1976 pairing of Solution and Divergence (simply titled Solution) was reissued by EMI in February 2007, featuring “Fever” (left off the original CD edition) and “Divergence”, the studio version of which was omitted from The Ultimate Collection in favour of the 1983 live recording.

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Fully Interlocking is the fourth album by the Dutch symphonic rock group Solution. It was released in 1977 by The Rocket Record Company. The line “Fully interlocking” appears on jigsaw puzzle boxes, as referenced on the album cover.

Like the preceding album Cordon Bleu, Fully Interlocking was produced by Gus Dudgeon and released on the label he set up with Elton John. Another name reappearing from Cordon Bleu was engineer Phil Dunne, while Hipgnosis again did the artwork. This time the recording location was switched from Wales to The Sol in Cookham, England.

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Fully Interlocking comprised four jazzy instrumental pieces sandwiched by two vocal songs, the lyrics of which were written by singer Guus Willemse. This album shares the highest quantity of instrumental tracks with their first album Solution (1971); the other four albums they released included more songs with lyrics. “Give Some More” was released as a single in Europe, backed by an edit of “Chappaqua” from Cordon Bleu. “Empty Faces” was also a 45, with “French Melodie” as the B-side.

Fully Interlocking charted in the Netherlands on 5 November 1977, reaching #30 and spending 7 weeks on the chart.

The album was re-released by CBS in 1980 (again on vinyl) and 1988 (on CD). (wikipeda)

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The Dutch fusion band here took a more accessible way to produce easier tracks, still having some lead vocals. The saxes, keyboards, bass and drums are well balanced, and it sounds melodic, joyful, fresh and good. The ensemble is rather catchy, pleasant to listen. I would say it is definitely romantic: the saxophones are greatly responsible of that. The keyboards are varied and often floating, while there are different kinds of pianos. The best track is definitely “Carousel”, a beautiful sentimental masterpiece, totally jazzy and progressive, full of Fender Rhodes: you absolutely have to enjoy the intense quintessential bit, where intense sax solo, heavily floating keyboards, punchy bass and expert drums suddenly take the maximum room available, creating an unbelievable extreme dynamic romantic passage. WOW! (by greenback)

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Personnel:
Tom Barlage: (saxophone, flutes, string-ensemble, keyboards. background vocals)
Willem Ennes (keyboards, string-ensemble, background vocals)
Hans Waterman (drums)
Guus Willemse (bass, vocals)
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Ray Cooper – congas and percussion on “Give Some More” and “Free Inside”
Stuart Epps – additional backing vocal on “Empty Faces”

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Tracklist:
01. Give Some More (Barlage/Ennes/Willemse) 5.23
02. Carousel (Barlage/Ennes/Willemse(Waterman) 7.19
03. Sonic Sea (Barlage/Ennes) 7.19
04. Free Inside (Barlage/Ennes/Willemse(Waterman) 6.22
05. French Melodie (Barlage) 4.36
06. Empty Faces (Willemse) 6.32

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Joan Armatrading – Live In London (1977)

FrontCover1Joan Anita Barbara Armatrading is a Kittitian-English singer-songwriter and guitarist.

A three-time Grammy Award nominee, Armatrading has also been nominated twice for BRIT Awards as Best Female Artist. She received an Ivor Novello Award for Outstanding Contemporary Song Collection in 1996.

In a recording career spanning nearly 50 years, Armatrading has released 20 studio albums, as well as several live albums and compilations.

She’s a little long-winded, but that’s mostly because she puts so much thought into her relationships, which in turn is because she puts so much feeling into them; this is one of those rare pop stars who’s invariably serious but never pompous, which is why she isn’t a bigger star. (Christgau’s Record Guide: The ’80s (1990))Armatrading possesses the vocal range of a contralto. Her music draws on a wide range of influences including rock, folk, jazz, blues, soul, and reggae.

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Her songs have been described as “some of the most deeply personal and emotionally naked … of our times”. In a 2003 interview, she said: “My songs aren’t about me at all. They’re always about love, the pain and anguish of it. But the way I’ve always written is from observation. They’re about what I see other people going through. If the songs were about me I’d be so embarrassed I don’t think I’d be able to walk out the front door.” She went on to say: “the optimistic songs reveal a bit more of me because that’s how I feel. I’m definitely a ‘glass is half full’ kind of a person.” Many of her lyrics do not specify the gender of their subjects and she frequently uses the word “you” rather than a gender pronoun. (wikipedia)

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And here´s a low-budget sampler, but a real nice and good sampler.

Over thirty years after this show was captured for  the King Biscuit Flower Hour at the Hammersmith Odeon in London, at the Hammersmith Odeon in London, the music of singer/songwriter Joan Armatrading still stands the test of time. This was the dawn of her career when, after becoming a press darling in her native U.K. in 1976, she embarked on a campaign to break out in the states. This recording marks her return to London, after Armatrading had finished her first U.S. tour and done extensive promotion for her current LP on A&M Records.

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It is clear from these tracks that she is home and happy to be there. She performs with incredible emotion and zest, especially on the up-tempo tracks “Help Yourself,” “Show Some Emotion,” and “Love and Affection,” which were among the biggest tracks for her outside of the U.K. Other songs in this set, performed with her band of excellent musicians, include “Cool Blue Stole My Heart” and the coy number “Kissin’ and Huggin’.”

Joan Armatrading would never break through to big audiences outside of the U.K., but she built enough of a core audience to allow her to tour worldwide for more than two decades after this show was recorded. Of course, in England Armatrading remained a big star, and still performs regularly today, often playing sold out U.K. tours and large summer music festivals.

Recorded live at the Hammersmith Odeon, London, UK; November 5, 1977:

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Personnel:
Joan Armatrading (vocals, guitar, piano)
Quitman Dennis (saxophone, flute)
Jerry Donahue (guitar)
Brian Garfalo (bass)
David Kemper (drums)

Joan Armatrading04Tracklist:
01. Never Is Too Late 7.37
02. Show Some Emotion 4.28
03. Willow 6.16
04. Opportunity 3.43
05. Won’t You Come On Home 4.06
06. Steppin’ Out 4.12
07. Love And Affection 5.13
08. Cool Blue Stole My Heart 6.23
09. Mama Mercy 4.41
10. Kissin’ And A Huggin’ 4.55
11. Tall In The Saddle 7.22

All songs written by Joan Armatrading

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Emmylou Harris – Luxury Liner (1977)

LPFrontCover1Emmylou Harris (born April 2, 1947) is an American singer, songwriter and musician. She has released dozens of albums and singles over the course of her career and has won 14 Grammys, the Polar Music Prize, and numerous other honors, including induction into the Country Music Hall of Fame. In 2018, she was presented the Grammy Lifetime Achievement Award.

Harris’ work and recordings include work as a solo artist, a bandleader, an interpreter of other composers’ works, a singer-songwriter, and a backing vocalist and duet partner. She has worked with numerous artists. (wikipedia)

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Luxury Liner is the fourth studio album by American singer Emmylou Harris, released in 1977. The album was Harris’ second successive #1 country album on the Billboard charts, although, unlike the preceding Elite Hotel, there were no #1 hits from this album. The highest-charting singles were the #6 Chuck Berry cover “(You Never Can Tell) C’est la Vie” and the #8 “Making Believe” (originally a hit for Kitty Wells). However, the album may be better known for including the first cover version of Townes Van Zandt’s 1972 song “Pancho and Lefty”, which subsequently became Van Zandt’s best-known composition. (wikipedia)

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Luxury Liner ranks as Emmylou Harris’ best-selling solo record to date, and it’s one of her most engaging efforts as well; her Hot Band is in peak form, and the songs are even more far afield than usual, including Chuck Berry’s “(You Never Can Tell) C’est la Vie” and Townes Van Zandt’s painterly tale of aging outlaws, “Pancho & Lefty.” (by Jason Ankeny)

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This is where Emmylou made the jump from promising singer, to fully realized artist. She adds something worthwhile to every song, pulling from sources as diverse as the Carter Family, Chuck Berry, and Townes Van Zandt. The support from the brilliant Hot Band is supplemented by Dolly Parton (a Trio preview on When I Stop Dreaming), Nicolette Larson, and future Hot Band member, Ricky Skaggs. Her cover of Pancho & Lefty predates the hit version by Willie & Merle, and is still the defining reading of the iconic song. Nearly every aspect of country music is touched upon, and Harris does more than justice to them all. Great songs, great performances. (dapperdan pomade)

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Personnel:
Brian Ahern (guitar)
Mike Auldridge (dobro)
James Burton (guitar)
Rodney Crowell (guitar, backgroun vocals)
Rick Cunha (guitar)
Hank DeVito (pedal steel-guitar)
Emory Gordy Jr. (bass)
Glen Hardin (piano)
Emmylou Harris (vocals, guitar)
Nicolette Larson (duet vocals)
Albert Lee (guitar, mandolin, background vocals)
Mickey Raphael (harmonica)
Ricky Skaggs (fiddle, mandolin)
John Ware (drums)
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background vocals:
Dianne Brooks – Dolly Parton – Herb Pedersen – Fayssoux Starling
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Delia Bell (vocals on 12.)
Nicolette Larson (vocals on 08.)

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Tracklist:
01. Luxury Liner (Parsons) 3.39
02. Pancho And Lefty (v.Zandt) 4.49
03. Making Believe (Work) 3:37
04. You’re Supposed To Be Feeling Good (Crowell) 3.59
05. I’ll Be Your San Antone Rose (Clark) 3.43
06. (You Never Can Tell) C’est la Vie (Berry) 3.25
07. When I Stop Dreaming (I.Louvin(C.Louvin) 3.15
08. Hello Stranger (Carter) 3.58
09. She (Parsons/Ethridge) 3.15
10. Tulsa Queen (Harris/Crowell) 4.46
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11. Me And Willie (Hyde-Smith) 5.16
12. Night Flyer (Mullins) 3.34

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Vangelis – Spiral (1977)

FrontCover1Evángelos Odysséas Papathanassíou (29 March 1943 – 17 May 2022), known professionally as was a Greek musician and composer of electronic, progressive, ambient, jazz, and orchestral music.

He was best known for his Academy Award-winning score to Chariots of Fire (1981), as well as for composing scores to the films Blade Runner (1982), Missing (1982), Antarctica (1983), The Bounty (1984), 1492: Conquest of Paradise (1992), and Alexander (2004), and for the use of his music in the 1980 PBS documentary series Cosmos: A Personal Voyage by Carl Sagan.

Aphrodite's Child

Vangelis began his career working with several pop bands of the 1960s such as The Forminx and Aphrodite’s Child, with the latter’s album 666 (1972) going on to be recognized as a progressive-psychedelic rock classic. Throughout the 1970s, Vangelis composed scores for several animal documentaries, including L’Apocalypse des Animaux, La Fête sauvage, and Opéra sauvage; the success of these scores brought him into the film scoring mainstream. In 1975 he set up his new 16-track studio, Nemo Studios in London, which he named his “laboratory”, releasing many solo albums including Heaven and Hell and China among others. In the early 1980s, Vangelis formed a musical partnership with Jon Anderson, the lead singer of progressive rock band Yes, and the duo released several albums together as Jon & Vangelis; he had previously joined Yes as their keyboard player, but left the group before recording any material with them.

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In 1980, he composed the score for the Oscar-winning film Chariots of Fire, for which he won an Academy Award for Best Original Score. The soundtrack’s single, the film’s theme, also reached the top of the US Billboard Hot 100 chart and was used as the background music at the London 2012 Olympics winners’ medal presentation ceremonies. He also composed the official anthem of the 2002 FIFA World Cup held in Korea and Japan. In his last twenty years he collaborated with NASA and ESA on music projects Mythodea, Rosetta and Juno to Jupiter, which was his last studio album.

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Having had a career in music spanning over 50 years and having composed and performed more than 50 albums, Vangelis is considered to be one of the most important figures in the history of electronic music.

Vangelis died on 17 May 2022, aged 79, at a hospital in Paris due to heart failure while receiving treatment for COVID-19. (wikipedia)

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Spiral is a studio album by the Greek electronic composer Vangelis, released in December 1977. It was the third album produced by Vangelis in Nemo Studios, London, which was his creative base until the late 1980s. For the track “To the Unknown Man” Vangelis received the Midem International Instrumental award in 1978.

It is a concept album, thematically inspired by ancient Tao philosophy, exploring the nature of the universe moving in spirals. On the front cover is cited Tao Te Ching: “Going on means going far – Going far means returning”, while the sleeve notes state that the track “Dervish D” is “inspired by the Dervish dancer who by his whirling realises the spiralling of the universe”.

It was a less known and acclaimed album than the two which preceded in the 1970s, Heaven and Hell (1975) and Albedo 0.39 (1976).

The album reached #38 on the Dutch album charts in 1978.

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In 2011, the album was included, along with Heaven and Hell and Albedo 0.39, in a 3-CD box set series “Original Album Classics” by Sony, RCA and Legacy Recordings. In 2013, the album was released in a remastered and reissued digipak edition by Esoteric Recordings. It includes a bonus track, previously never issued on CD, “To The Unknown Man (II)”, which was released as a B-side of the single “To the Unknown Man” in 1977.

The album is entirely instrumental, apart from Vangelis’ processed vocals on “Ballad”. Vangelis plays synthesizer, sequencers, electric piano, electronic organ, harmonica, brass, timpani, percussion. It is the first album on which Vangelis used the Yamaha CS-80 synthesizer, on which he would come to rely heavily in subsequent work, and is the most sequencer-based album of his career.

Henri Stirk from Background Magazine rated the 2013 edition by Esoteric Recordings 4/5 stars.

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In December 1977, the follow-up album ‘Spiral’ was released. It was inspired by ancient Tao philosophy, exploring the nature of the universe moving in spirals. The album oozes with a myriad of spectacular sounds. It featured the unforgettable marching track ‘To the Unknown Man’, for which Vangelis was awarded the Midem International Instrumental of the year 1978.In December 1977, the follow-up album ‘Spiral’ was released. It was inspired by ancient Tao philosophy, exploring the nature of the universe moving in spirals. The album oozes with a myriad of spectacular sounds. It featured the unforgettable marching track ‘To the Unknown Man’, for which Vangelis was awarded the Midem International Instrumental of the year 1978. (www.nemostudios.co.uk)

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As far as Vangelis’ early work is concerned (pertaining to the five years of his solo career), Spiral stands up quite well, although it’s almost always regarded as an inessential effort. Although the structures and the overall dynamics of the pieces are less complicated and less sophisticated, Spiral’s keyboard utilization is still extremely effectual, even if it does take awhile to get off the ground. The five tracks that make up the album aren’t as atmospheric or as elaborately shifting as 1975’s Heaven and Hell or 1976’s Albedo 0.39, but his musical movement does seem to transgress toward full, complete soundscapes, especially in “To the Unknown Man,” the album’s best example of Vangelis’ artistry. The album is based on a dancer’s appreciation of the universe and how it spirals into infinity, a concept which came to him through his own pirouettes. Both “Spiral” and “Ballad” touch ever so lightly on melody, appropriately relating to the album’s theme, while the lengthy “3+3” begins to unveil Vangelis’ creativity and sense of electronic exploration. After Spiral, Vangelis’ style changed somewhat, with more of a smoother, more melodic approach to the synthesizer, implemented to create a closer relationship between classical and electronic music. Albums such as Beauborg and China lay claim to this, also employing stronger ties between the theme and the music, while 1981’s Chariots of Fire has him merging the two styles completely. (by Mike DeGagne)

I can´t agree with Mike DeGagne:

An often overlooked masterpiece that all of his fans should listen to. (Jake Roberts)

Or: A fascinating journey through the possibilities of electronic music !

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Personnel:
Vangelis (synthesizer, keyboards and other instruments)

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Tracklist:
01. Spiral 6:55
02. Ballad 8:27
03. Dervish D 5:21
04. To The Unknown Man 9:01
05. 3+3 9:43
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06. To the Unknown Man (Part Two) 2.55

Music composed by Vangelis

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Sex Pistols – Never Mind The Bollocks, Here’s The Sex Pistols (1977)

FrontCover1The Sex Pistols were an English punk rock band that formed in London in 1975. Although their initial career lasted just two and a half years, they are regarded as one of the most groundbreaking acts in the history of popular music. They were responsible for initiating the punk movement in the United Kingdom and inspiring many later punk and alternative rock musicians. Their fashion and hairstyles have been credited as a significant influence on punk image, and they are often associated with anarchism within music.

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The Sex Pistols originally comprised vocalist John Lydon (known at the time by his stage name “Johnny Rotten”), guitarist Steve Jones, drummer Paul Cook and bassist Glen Matlock. Matlock was replaced by Sid Vicious in early 1977. Under the management of Malcolm McLaren, the band attracted controversies that both captivated and appalled Britain. Through an obscenity-laced television interview in December 1976 and their May 1977 single “God Save the Queen”, the latter of which attacked Britons’ social conformity and deference to the Crown, they popularised punk rock in the UK. “God Save the Queen” was banned not only by the BBC but also by nearly every independent radio station, making it the “most heavily censored record in British history”.

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The band’s only album Never Mind the Bollocks, Here’s the Sex Pistols (1977)—a UK number one—is a staple record of punk rock. In January 1978, at the end of their over-hyped and turbulent tour of the US, Rotten announced the band’s break-up. Over the next few months, the three remaining band members recorded songs for McLaren’s film version of the Sex Pistols’ story, The Great Rock ‘n’ Roll Swindle. Vicious died of a heroin overdose in February 1979, following his arrest for the alleged murder of his girlfriend, Nancy Spungen. Rotten, Jones, Cook and Matlock reunited for a highly successful concert tour in 1996.[1] Further one-off performances and short tours followed over the next decade.

The Sex Pistols have been recognised as an influential band. In 2004, Rolling Stone placed them No. 58 on its list of the “100 Greatest Artists of All Time”. On 24 February 2006, the Sex Pistols—the four original members plus Vicious—were inducted into the Rock and Roll Hall of Fame, but they refused to attend the ceremony, calling the museum “a piss stain”

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Never Mind the Bollocks, Here’s the Sex Pistols is the only studio album by English punk rock band the Sex Pistols, released on 28 October 1977 by Virgin Records in the UK and on 11 November 1977 by Warner Bros. Records in the US. The album has influenced many bands and musicians, and the industry in general. In particular, the album’s raw energy, and Johnny Rotten’s sneering delivery and “half-singing,” are often considered game-changing. It is frequently listed as the most influential punk album, and one of the most important and best albums of all time.

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The band’s internal relationships were always volatile, and the lineup saw changes during the recording of the album. Original bass guitarist Glen Matlock left the band early in the recording process, and while he is credited as a co-writer on all but two of the tracks, he only performed bass and backing vocals on one track, “Anarchy in the U.K.” Recording sessions continued with a new bass player, Sid Vicious, who is credited on two of the songs the band wrote after he joined. While Vicious’s bass playing appeared on two tracks, his lack of skill on the instrument meant that many of the tracks were recorded with guitarist Steve Jones playing bass instead. Drummer Paul Cook and singer Johnny Rotten appear on every track. The various recording sessions were led alternately by Chris Thomas or Bill Price, and sometimes both together, but as the songs on the final albums often combined mixes from different sessions, or were poorly documented who was present in the recording booth at the time, each song is jointly credited to both producers.

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By the time of its release, the Sex Pistols were already controversial, having spoken profanity on live TV, been fired from two record labels, and been banned from playing live in some parts of Britain. The album title added to that controversy, with some people finding the word “bollocks” offensive. Many record stores refused to carry it and some record charts refused to list its title, showing just a blank space instead.

Review

Due in part to its notoriety, and in spite of many sales bans at major retailers, the album debuted at number one on the UK Album Charts. It achieved advance orders of 125,000 copies after a week of its release and went gold only a few weeks later, on 17 November. It remained a best-seller for nearly a year, spending 48 weeks in the top 75.[1] The album has also been certified platinum by the RIAA. It has seen several reissues, the latest in 2017.

In 1987, Rolling Stone magazine named the album the second best of the previous 20 years, behind only the Beatles’ Sgt. Pepper’s Lonely Hearts Club Band. The same magazine ranked it number 80 on their list of 500 greatest albums of all time in 2020. In 2006, it was chosen by Time magazine as one of the 100 greatest albums ever. (wikipedia)

Acetate disc:
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While mostly accurate, dismissing Never Mind the Bollocks as merely a series of loud, ragged midtempo rockers with a harsh, grating vocalist and not much melody would be a terrible error. Already anthemic songs are rendered positively transcendent by Johnny Rotten’s rabid, foaming delivery. His bitterly sarcastic attacks on pretentious affectation and the very foundations of British society were all carried out in the most confrontational, impolite manner possible. Most imitators of the Pistols’ angry nihilism missed the point: underneath the shock tactics and theatrical negativity were social critiques carefully designed for maximum impact.

The Picture Disc edition:
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Never Mind the Bollocks perfectly articulated the frustration, rage, and dissatisfaction of the British working class with the establishment, a spirit quick to translate itself to strictly rock & roll terms. The Pistols paved the way for countless other bands to make similarly rebellious statements, but arguably none were as daring or effective. It’s easy to see how the band’s roaring energy, overwhelmingly snotty attitude, and Rotten’s furious ranting sparked a musical revolution, and those qualities haven’t diminished one bit over time. Never Mind the Bollocks is simply one of the greatest, most inspiring rock records of all time. (by Steve Huey)

I remember well when the Sex Pistols made it big … I was quite outraged because they made my “old heroes” look so bad … smile.

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Personnel:
Paul Cook (drums)
Steve Jones (guitar, bass, background vocals)
Glen Matlock (bass and background vocals on 07.)
Johnny Rotten (vocals)
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Sid Vicious (bass on 04. + 08.)

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Tracklist:
01. Holidays In The Sun (Cook/Jones/Rotten/Vicious) 3.21
02. Body (Cook,/Jones/Matlock/Rotten) 3.02
03. No Feelings (Cook,/Jones/Matlock/Rotten) 2.49
04. Liar (Cook,/Jones/Matlock/Rotten) 2.41
05. God Save The Queen (Cook,/Jones/Matlock/Rotten) 3.19
06. Problems (Cook,/Jones/Matlock/Rotten) 4.11
07. Seventeen (Cook,/Jones/Matlock/Rotten) 2.01
07. Anarchy In The U.K. (Cook,/Jones/Matlock/Rotten) 3.32
08. Submission (Cook/Jones/Rotten/Vicious) 4.11
10. Pretty Vacant (Cook,/Jones/Matlock/Rotten) 3.16
11. New York (Cook,/Jones/Matlock/Rotten) 3.05
12. E.M.I. (Cook,/Jones/Matlock/Rotten) 3.11

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The official website:
Website

The Dictators – Search & Destroy + Sleepin´ With The TV On (1977)

FrontCover1The Dictators are an American punk rock band formed in New York City in 1973. Critic John Dougan said that they were “one of the finest and most influential proto-punk bands to walk the earth.”

The band was formed in 1972 by Andy “Adny” Shernoff who was attending The State University of New York at New Paltz and Ross “The Boss” Friedman who was playing in the local band, Total Crudd. Scott “Top Ten” Kempner was asked to join, and the trio rented a house in Kerhonkson, New York, where they lived and rehearsed with various drummers. The original recording line-up consisted of vocalist/bassist/songwriter Andy Shernoff, lead guitarist Ross Friedman (aka Ross Funicello), rhythm guitarist Scott Kempner, and drummer Stu Boy King. It was this line-up–along with roadie/occasional vocalist and “Secret Weapon” Handsome Dick Manitoba–which recorded the band’s 1975 debut album, The Dictators Go Girl Crazy! for Epic Records, produced by Sandy Pearlman and Murray Krugman (best known for their work with Blue Öyster Cult). The album sold poorly at the time but is now considered to be the starting point for American punk rock . Entertainment Weekly wrote “Go Girl Crazy’s junk-generation culture and smart-aleck sensibility did provide an essential blueprint for ’70s punk. With its TV references and homely vocals, this ground-breaking and long-unavailable album continues to inspire underground groups everywhere.”

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Frustrated by the lack of sales, the band broke up for a few months in late 1975, but reconvened in early 1976, with bassist Mark “The Animal” Mendoza replacing Shernoff and Ritchie Teeter replacing King. After a few months Shernoff was persuaded to return to the group as the group’s keyboardist. This line-up soon secured a contract with Asylum Records (at least partly due to the notoriety the group had developed following a well-publicized brawl between Manitoba and Wayne County) and released their second album, Manifest Destiny, in 1977. The album was produced by Pearlman and Krugman with songs written by Shernoff. (wikipedia)

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And here´s their “Special Limited Edition” (12″, 45 RPM) single from their album “Manifest Destiny,”

In particular “Search & Destroy” has become a cult song … rightly so …  the song ist a killer in the best MC5 tradition !

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Personnel:
Ross H. “Ross The Boss” Friedman (guitar)
Scott “Top Ten” Kempner (guitar)
Handsome Dick Manitoba (vocals)
Andy Shernoff (keyboards, vocals)
Rich Teeter (drums, vocals)

TheDictators01Tracklist:
01. Search & Destroy (Osterberg/Williamson) 3.27
02. Sleepin’ With The TV On (Shernoff) 4.17

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Still alive and well: The official website:
Website

Alice Cooper – Lace & Whiskey (1977)

FrontCover1Alice Cooper (born Vincent Damon Furnier, February 4, 1948) is an American singer, songwriter, and actor whose career spans over 50 years. With a raspy voice and a stage show that features numerous props and stage illusions, including pyrotechnics, guillotines, electric chairs, fake blood, reptiles, baby dolls, and dueling swords, Cooper is considered by music journalists and peers to be “The Godfather of Shock Rock”. He has drawn equally from horror films, vaudeville, and garage rock to pioneer a macabre and theatrical brand of rock designed to shock audiences.

Originating in Phoenix, Arizona, in 1964, “Alice Cooper” was originally a band with roots extending back to a band called The Earwigs 1964, consisting of Furnier on vocals and harmonica, Glen Buxton on lead guitar, and Dennis Dunaway on bass guitar and background vocals. By 1966, Michael Bruce on rhythm guitar joined the three and Neal Smith was added on drums in 1967. The five named the band ‘Alice Cooper’ and released their debut album in 1969 with limited chart success. The band reached their commercial peak in 1973 with their sixth studio album, Billion Dollar Babies. They broke up in 1975 and Furnier adopted the band’s name as both his legal name and his stage name, beginning his solo career with the 1975 concept album Welcome to My Nightmare.

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Cooper has experimented with a number of musical styles, including art rock, hard rock, heavy metal, new wave,[6] glam metal,[7][8] and industrial rock. He helped to shape the sound and look of heavy metal, and has been described as the artist who “first introduced horror imagery to rock and roll, and whose stagecraft and showmanship have permanently transformed the genre”.[9] He is also known for his wit offstage, with The Rolling Stone Album Guide calling him the world’s most “beloved heavy metal entertainer”. Away from music, Cooper is a film actor, a golfing celebrity, a restaurateur, and, since 2004, a radio DJ with his classic rock show Nights with Alice Cooper.

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Lace and Whiskey is the third solo studio album by American singer Alice Cooper, released on April 29, 1977 by Warner Bros. Records.

After many years of portraying a dark and sinister persona Alice Cooper decided to try something new and donned the persona of a heavy drinking comic PI named “Maurice Escargot” – a fictional character in the same vein as Inspector Clouseau. Cooper is pictured as Escargot on the back cover of Lace and Whiskey, which was still a rock-based album but was stylistically influenced by Cooper’s love for 1940s’ and 1950s’ movies and music. The album only peaked at No. 42 in the US and No. 33 in the UK Albums Chart.[6]

The album’s lead single, “You and Me”, was an easy listening ballad which provided Cooper with his last US top-ten single for twelve years. “(No More) Love at Your Convenience”, a disco-inspired pop song, was released as the second single – it did not chart in most countries. Music videos were created for both songs, at a time well before the advent of MTV. The song “King of the Silver Screen” features a sampling of the main motif of the “Battle Hymn of the Republic”.

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Cooper’s “King of the Silver Screen” tour in support of this album, featured a stage set designed as a giant TV, with its slit screen allowing Cooper and his dancers to jump into and out of it along to filmed choreographed sequences during songs, and had comedic mock commercials screened in between some songs. The tour only ran in the US and Canada, throughout the summers of 1977 and 1978 (renamed the “School’s Out for Summer” tour in 1978). Filmed highlights from the opening night of the 1977 tour, capturing a very inebriated Cooper, were featured in the Alice Cooper and Friends TV special. The tour’s Las Vegas concerts were recorded, resulting in The Alice Cooper Show live album. With the exception of “It’s Hot Tonight”, which was a regular part of setlists on the 2001 ‘Brutal Planet’ and the 2008-2009 ‘Psychodrama’ tours,[7] and “Road Rats” which was a regular during the 1980 ‘Flush the Fashion’ tour,[8] nothing from Lace and Whiskey has been performed live since the end of the tour supporting the following From the Inside album. “Damned If You Do”, “Ubangi Stomp”, “(No More) Love at Your Convenience”, “I Never Wrote Those Songs”, and “My God” have never been played live by Cooper.

It was after the completion of the 1977 tour, that Cooper checked into a New York-based sanitarium for his first treatment for alcoholism.

During the initial stage of this album’s era, when it was clear that Cooper was not going to return from his new success, original Alice Cooper group members Dennis Dunaway, Neal Smith, and Michael Bruce formed a new band with Mike Marconi and Bob Dolin called “The Billion Dollar Babies”. Michael Bruce sang their lead vocals.

Lace and Whiskey was digitally remastered and re-released on CD by Metal Blade Records in 1990.

The opening song “It’s Hot Tonight” would later be sampled by the hip hop group The Beastie Boys for the song “What Comes Around” on their 1989 album Paul’s Boutique. (wikipedia)

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Lace and Whiskey is the tenth studio album by Alice Cooper, released in May 1977. After many years of portraying a dark and sinister persona Alice Cooper decided to try something new and donned the persona of a heavy drinking comic PI named “Maurice Escargot” – a fictional character in the same vein as Inspector Clouseau. Cooper is pictured as Escargot on the back cover of Lace and Whiskey, which was still a rock-based album but was stylistically influenced by Cooper’s love for 1940s’ and 1950s’ movies and music. The album’s lead single, “You and Me”, was an easy listening ballad which provided Cooper with his last US top-ten single for twelve years. (press release)

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As the rock & roll that made him famous began to grow stale, Alice Cooper found himself desperately trying to revive that fad with Lace and Whiskey. There are no shocking songs here — just flat, dull melodies that sound like a bad combination of ’50s rock & roll and classic ’70s rock. One exception to the album might be the Top 20 hit “You and Me,” but even this somewhat catchy ballad doesn’t save the album from being a bore. Although it isn’t as horrible as many critics have claimed it to be, Lace and Whiskey still fails to get anywhere beyond mediocrity. (by Barry Weber)

But … a real great cover !

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Personnel:
Bob Babbitt (bass)
Alice Cooper (vocals)
Steve Hunter (guitar)
Allan Schwartzberg (drums)
Dick Wagner (guitar; vocals)
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Josef Chirowski (keyboards)
Bob Ezrin (keyboards)
Jim Gordon (drums on 03., 04. + 05.)
Prakash John (bass on 03.)
Tony Levin (bass on 03., 04. + 05.)
Al MacMillan (piano on 04.)
Jimmy Maelen (percussion)

Inlet02ATracklist:
01. It’s Hot Tonight (Cooper/Wagner/Ezrin) 3.22
02. Lace And Whiskey (Cooper/Wagner/Ezrin) 3.14
03. Road Rats (Cooper/Wagner/Ezrin) 2.43
04. Damned If You Do (Cooper/Wagner/Ezrin) 3:.14
05. You And Me (Cooper/Wagner) 3.29
06. King Of The Silver Screen (Cooper/Wagner/Ezrin) 5.35
07. Ubangi Stomp (Underwood) 2.13
08. (No More) Love At Your Convenience (Cooper/Wagner/Ezrin) 3.49
09. I Never Wrote Those Songs (Cooper/Wagner/Ezrin) 4.34
10. My God (Cooper/Wagner/Ezrin) 5.41

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More from Alice Cooper:
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Pat Travers – Makin’ Magic (1977)

FrontCover1Patrick Henry Travers (born April 12, 1954) is a Canadian rock guitarist, keyboardist and singer who began his recording career in the mid-1970s.

Pat Travers was born and raised in Toronto, Ontario. Soon after picking up the guitar at age 12, he saw Jimi Hendrix perform in Ottawa. Travers began playing in bands early in his teens; his first bands were the Music Machine (not to be confused with the Californian psychedelic/garage band of the same name), Red Hot, and Merge, which played in clubs in the Quebec area.

While performing with Merge, he was noticed by rock artist Ronnie Hawkins, who invited Travers to perform with him. In his early twenties Travers moved to London and signed a recording contract with the Polydor label. His self-titled debut album was released in 1976, and featured bassist Peter “Mars” Cowling, who would become a mainstay in Travers’ band for several years. An appearance on the German TV show Rockpalast in November 1976 was later released on DVD under the title Hooked on Music. This performance showcases an early version of Travers’ band featuring Cowling and drummer Nicko McBrain. (wikipedia)

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And here´s his second solo-album:

What a revelation “Making Magic” was after Pat’s first sincere, but pedestrian & hurried (Ten days) effort “Pat Travers”. No one could have expected the wonderful music that was to come from this visionary Canadian guitarist. “Making Magic” just jumped off the vinyl through the speakers into my head like some sort of sonic train that I could ride on the rest of my life! The album starts off with the funky intense namesake song filled with snaking snarling leads & intricate time changes that were to become a Pat Travers signature. Next came “Rock’N’Roll Susie” & “You Don’t Love Me,” showing PT’s roots in the blues, but faster & more high energy than most artist have ever dreamed of at that time or since. “Stevie” is a moving song dedicated to PT’s little brother that shows what a sense of beautiful melody PT has & how he could sonicly build a song structure to epic purportion. “Statesoro Blues,” retools the old blues tune in everyway made famous by The Allman Brothers. “Need Love” & Hooked on Music” are the real crown jewls of this album for me. Killer, killer, fast funky rock that would inspire later bands like Extreme. “Need Love” starts with funk that is just pure groove & seamlessly runs into the fast & furious metal tinged funk of “Hooked on Music”! The all instrumental ending tune “What You Mean to Me” is another prime example of Pat’s melodic sense, & serves as a taste of even better songs to come on the next album, “Putting it Straight.” (James McCormick)

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Personnel:
Peter “Mars” Cowling (bass)
Nico McBrain (drums, percussion)
Pat Travers (guitar, vocals
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Roy Dyke (drums on 05.)
Glenn Hughes (background vocals on 04.)
Brian Robertson (guitar on 05.)
Peter Solley (keyboards on 03., 04. + 08.)

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Tracklist:
01. Makin’ Magic 4.58
02. Rock ‘N’ Roll Susie 3.39
03. You Don’t Love Me 3.28
04. Stevie 7.14
05. Statesboro Blues 3.47
06. Need Love 5:04
07. Hooked On Music 6.19
B4 What You Mean To Me 4.34

All songs written by Pat Travers,
except 05, written by Blind Willie McTell

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Steve Goodman – Say It In Private (1977)

FrontCover1Steven Benjamin Goodman (July 25, 1948 – September 20, 1984) was an American folk music singer-songwriter from Chicago. He wrote the song “City of New Orleans,” which was recorded by Arlo Guthrie and many others including John Denver, The Highwaymen, and Judy Collins; in 1985, it received a Grammy award for best country song, as performed by Willie Nelson. Goodman had a small but dedicated group of fans for his albums and concerts during his lifetime, and is generally considered a musician’s musician. His most frequently sung song is the Chicago Cubs anthem, “Go Cubs Go”. Goodman died of leukemia in September 1984.

On September 20, 1984, Goodman died of leukemia at the University of Washington Medical Center in Seattle, Washington. He had anointed himself with the tongue-in-cheek nickname “Cool Hand Leuk” (other nicknames included “Chicago Shorty” and “The Little Prince”) during his illness. He was 36 years old.

Four days after Goodman’s death, the Chicago Cubs clinched the Eastern Division title in the National League for the first time ever, earning them their first post-season appearance since 1945, three years before Goodman’s birth. Eight days later, on October 2, the Cubs played their first post-season game since Game 7 of the 1945 World Series. Goodman had been asked to sing “The Star-Spangled Banner” before it; Jimmy Buffett filled in, and dedicated the song to Goodman. Since the late 2000s, at the conclusion of every home game, the Cubs play (and fans sing) “Go, Cubs, Go”, a song Goodman wrote for his beloved team.

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In April 1988, some of Goodman’s ashes were scattered at Wrigley Field, the home of the Chicago Cubs He was survived by his wife and three daughters.[9] His eldest daughter, Jesse, died in 2012.

In 2006, Goodman’s daughter, Rosanna, issued My Old Man, an album of a variety of artists covering her father’s songs.

Interest in Goodman’s career had a resurgence in 2007 with the publication of a biography by Clay Eals, Steve Goodman: Facing the Music. The same year, the Chicago Cubs began playing Goodman’s 1984 song “Go, Cubs, Go” after each home game win. When the Cubs made it to the playoffs, interest in the song and Goodman resulted in several newspaper articles about Goodman. Illinois Lieutenant Governor Pat Quinn declared October 5, 2007, Steve Goodman Day in the state. In 2010, Illinois Representative Mike Quigley introduced a bill renaming the Lakeview post office on Irving Park Road in honor of Goodman. The bill was signed by President Barack Obama on August 3, 2010 (wikipedia)

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Steve Goodman reached the charts with his first two albums for Asylum Records, Jessie’s Jig & Other Favorites (1975) and Words We Can Dance To (1976), and that may have convinced the label to spend more money on his next LP (money intended to be recoupable against royalties should the album take off, of course), because the sessions for Say It in Private appear to have been quite elaborate. For the first time since his second album, Somebody Else’s Troubles (1973), Goodman had a real producer (i.e., somebody who produced records for a living), Joel Dorn, and among the six dozen singers and players who contributed to the sessions were plenty of arrangers and string players. Nevertheless, Say It in Private ended up being a fairly typical Steve Goodman album. In a sense, the cover art told the story. It featured a painting by Howard Carriker that replicated Jacques Louis David’s famous 1793 portrait Death of Marat, in which French revolutionary and invalid Jean-Paul Marat was shown lying in his medicinal bath after having been assassinated. In Carriker’s version, the body belonged to Goodman, who was alive and smiling. So, here was an expensive-looking illustration that was making a macabre joke, and the album was more of the same, really. For all the production and all those musicians, Goodman was still doing what he loved to do, writing a few modest, entertaining songs and gathering other ones from various genres. The covers included the 1913 ballad “There’s a Girl in the Heart of Maryland,” which, despite the strings and chorus, was essentially a duet between Goodman’s voice and Jethro Burns’ mandolin; the 1936 country song “Is It True What They Say About Dixie?,” another frantic Goodman/Burns duet; Hank Williams’ “Weary Blues from Waitin'”; and Smokey Robinson’s account of romantic schizophrenia, “Two Lovers.”

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With his own pen, Goodman turned out a couple of warm love songs that were sequenced back to back at the start of the disc, “I’m Attracted to You” and “You’re the Girl I Love,” followed by a novelty, “Video Tape,” and then the four cover tunes. Next came two consecutive musical obituaries, both of them surprising. “Daley’s Gone” was this Chicago native’s lament for the late Mayor Richard J. Daley, a man much despised by those of Goodman’s generation in connection with his activities during the Democratic Convention of 1968. Even more personal was “My Old Man,” about Goodman’s own father. Some relief was needed after that, and it came in the form of a folk anthem co-written by Goodman and his pal John Prine, “The Twentieth Century Is Almost Over.” Again, there was a big vocal chorus, but again the song was in some ways just a duet between Goodman and an acoustic musical instrument played by another mentor, in this case the banjo of Pete Seeger. There may have been 73 musicians in the credits for Say It in Private, but it still ended up sounding like an old-fashioned folk collection most of the time. (by William Ruhlmann)

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Personnel:
David Amram (flute on 05.)
Ken Ascher (piano on 02. + 03.)
Erroll Bennett (percussion on 05.)
Saul Broudy (vocals, harmonica on 07.)
Peter Bunetta (drums on 01.)
Steve Burgh (guitar on 07.)
Jethro Burns (mandolin on 04. + 06.)
Francesco Centeño (bass on 02. + 03.)
Rick Chudacoff (guitar, piano, bass on 01.)
Tony Conniff (bass on 07.)
Steve Goodman (guitar, vocals)
Milton Grayson (vocals on 05.)
Scott Hamilton (saxophone on 01.)
Milt Hinton (bass on 04.)
Will Lee (bass on 05.)
Jimmy Maelen (percussion on 01. – 03.)
Cliff Morris (guitar on 05.)
Denny Morouse (saxophone on 02.)
Rob Mounsey (piano on 05.)
Gary Mure (drums on 05.)
Larry Packer  (fiddle on 07.)
Leon Pendarvis (piano on 05.)
Pete Seeger (vocals, banjo on 10.)
Allan Schwartzberg (drums on 02. + 03.)
Mauricio Smith (saxophone on 02.)
David Tofani (saxophone on 02.)
John Tropea (guitar on 05.)
Roger Rosenberg (saxophone on 02.)
Eric Weisberg (guitar on 02., pedal steel-guitar on 03.)
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strings:
Alan Shulman – Alfred Brown – Barry Finclair – Charles Libove – Charles McCracken – David Nadien – Guy Lumia – Harold Kohon – Harry Cykman – Joseph Malin – Julien Barber – Kathryn Kienke – Kermit Moore – Marvin Morgenstern – Max Ellen – Max Pollikoff -Ralph von Breda-Selz – Richard Sortomme – Sanford Allen – Selwart Clarke – Yoko Matsuo
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background vocals:
Andrew Holland – Arlene Martell – Benny Diggs – Bill Swofford – Chris King – Delores Hall – Ellen Bernfeld – Heather Wood – Helen Miles – Helene Edner – Jack Tobi – Jean Denise Quitman – John Prine – Kenny Vance – Linda November – Mary Sue Johnson – Michael Gray – Rob Mounsey – Sally Lloyd – Sheila Ellis – Thomas Dunn – Vivian Cherry – Yvonne Lewis

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Tracklist:
01. I’m Attracted To You (Chudacoff/Goodman) 3.17
02. You’re The Girl I Love (Goodman) 3.54
03. Video Tape (Goodman) 3.16
04. There’s A Girl In The Heart Of Maryland (MacDonald/Carroll) 1.55
05. Two Lovers (Robinson) 3.43
06. Is It True What They Say About Dixie? (Marks/Caesar/Lerner) 2.21
07. Weary Blues From Waitin’ (Williams) 3.49
08. Daley’s Gone (Goodman) 4.32
09. My Old Man (Goodman) 4.07′
10. The Twentieth Century Is Almost Over (Prine/Goodman) 5.09

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Back in 1899, when everybody sang “Auld Lang Syne”
A hundred years took a long, long time for every boy and girl
Now there’s only one thing that I’d like to know
Where did the 20th century go?
I’d swear it was here just a minute ago
All over this world

And now the 20th century is almost over
Almost over, almost over
The 20th century is almost over
All over this world
All over this world, all over this world
The 20th century is almost over, all over this world

Does anyone remember the Great Depression?
I read all about it in True Confession
I’m sorry I was late for the recording session
But somebody put me on hold
Has anybody seen my linoleum floors
Petroleum jelly, and two World Wars?
They got stuck in the revolving doors
All over this world

And now the 20th century is almost over
Almost over, almost over
The 20th century is almost over
All over this world
All over this world, all over this world
The 20th century is almost over, all over this world
The winter’s getting colder, summer’s getting hotter
Wishin’ well’s wishin’ for another drop of water
And Mother Earth’s blushin’ ’cause somebody caught her
Makin’ love to the Man in the Moon
Tell me how you gonna keep ’em down on the farm
Now that outer space has lost it’s charm?
Somebody set off a burglar alarm
And not a moment too soon
Because…

The 20th century is almost over
Almost over, almost over
The 20th century is almost over
All over this world
All over this world, all over this world
Now the 20th century is almost over, all over this world

Old Father Time has got his toes a tappin’
Standing in the window, grumblin’ and a rappin’
Everybody’s waiting for something to happen
Tell me if it happens to you!
The Judgment Day is getting nearer
There it is in the rear view mirror
If you duck down I could see a little clearer
All over this world!
And now the 20th century is almost over
Almost over, almost over
The 20th century is almost over
All over this world
All over this world, all over this world
The 20th century is almost over, all over this world

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Steve Goodman (July 25, 1948 – September 20, 1984)