Jackson Browne – Running On Empty (1977)

FrontCover1Running on Empty is the fifth album by American singer-songwriter Jackson Browne. Released in 1977, the album reached #3 on the Billboard Pop Albums chart in 1978 and stayed on the charts for 65 weeks. The single for the title track, “Running on Empty”, peaked at #11 and the follow-up single, “The Load-Out”/”Stay”, reached #20 on the Billboard Pop Singles chart.

The album received two Grammy Award nominations in 1979: one for Album of the Year and the other for Pop Male Vocal Performance for the song “Running on Empty”.

In addition to tracks recorded on-stage during concerts, it also contains songs recorded in hotel rooms, on the tour bus, and backstage. It is unusual among live albums in that none of the tracks had ever appeared on a previous studio album. Browne was the sole writer on only two songs, co-writing four others and covering another four. The theme of the album was life on the road. In a Rolling Stone interview about the tour during which the album was recorded, Browne expressed pleasure at finally being able to afford the session musicians he wanted to go out on the road with him.

The album was certified as a Gold record in 1977 and Platinum in 1978 by the RIAA. It reached Multi-platinum in 1997 and 2001. It reached 7X platinum and is Browne’s best-selling album to date. In popular culture, the album cover can be seen framed and hanging on the wall next to the front door in the apartment on the set of Mork & Mindy. (by wikipedia)

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Having acknowledged a certain creative desperation on The Pretender, Jackson Browne lowered his sights (and raised his commercial appeal) considerably with Running on Empty, which was more a concept album about the road than an actual live album, even though its songs were sometimes recorded on-stage (and sometimes on the bus or in the hotel). Unlike most live albums, though, it consisted of previously unrecorded songs. Browne had less creative participation on this album than on any he ever made, solely composing only two songs, co-writing four others, and covering another four. And he had less to say — the title song and leadoff track neatly conjoined his artistic and escapist themes. Figuratively and creatively, he was out of gas, but like “the pretender,” he still had to make a living. The songs covered all aspects of touring, from Danny O’Keefe’s “The Road,” which detailed romantic encounters, and “Rosie” (co-written by Browne and his manager Donald Miller), in which a soundman pays tribute to auto-eroticism, to, well, “Cocaine,” to the travails of being a roadie (“The Load-Out”).

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Audience noises, humorous asides, loose playing — they were all part of a rough-around-the-edges musical evocation of the rock & roll touring life. It was not what fans had come to expect from Browne, of course, but the disaffected were more than outnumbered by the newly converted. (It didn’t hurt that “Running on Empty” and “The Load-Out”/”Stay” both became Top 40 hits.) As a result, Browne’s least ambitious, but perhaps most accessible, album ironically became his biggest seller. But it is not characteristic of his other work: for many, it will be the only Browne album they will want to own, just as others always will regard it disdainfully as “Jackson Browne lite.” (by William Ruhlmann)

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Personnel:
Jackson Browne (guitar, piano, vocals)
Craig Doerge (keyboards)
Danny Kortchmar (guitar, background vocals)
Russ Kunkel (drums, percussion)
David Lindley (lap steel guitar, fiddle, co-lead vocals on “Stay”
Leland Sklar (bass)
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background vocals on
Joel Bernstein – Rosemary Butler  Doug Haywood

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Tracklist:
01. Running On Empty (Browne) 5.31
02. The Road (O’Keefe) 4.46
03. Rosie (Miller/Browne) 3.41
04. You Love The Thunder (Browne) 3.55
05. Cocaine (Davis/Frey/Browne) 4.57
06. Shaky Town (Kortchmar) 3.41
07. Love Needs A Heart (Browne/George/Carter) 3.30
08. Nothing But Time (Burke/Browne) 3.37
09. The Load-Out (Garofalo/Browne) 5.36
10. Stay (Just A Little Bit Longer) (Williams) 3.22

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Looking out at the road rushing under my wheels
Looking back at the years gone by like so many summer fields
In sixty-five I was seventeen and running up one-oh-one
I don’t know where I’m running now, I’m just running on
Running on, running on empty
Running on, running blind
Running on, running into the sun
But I’m running behind
Gotta do what you can just to keep your love alive
Trying not to confuse it with what you do to survive
In sixty-nine I was twenty-one and I called the road my own
I don’t know when that road turned, into the road I’m on
Running on, running on empty
Running on, running blind
Running on, running into the sun
But I’m running behind
Everyone I know, everywhere I go
People need some reason to believe
I don’t know about anyone but me
If it takes all night, that’ll be all right
If I can get you to smile before I leave
Looking out at the road rushing under my wheels
I don’t know how to tell you all just how crazy this life feels
Look around for the friends that I used to turn to to pull me through
Looking into their eyes I see them running too
Running on, running on empty
Running on, running blind
Running on, running into the sun
But I’m running behind
Honey you really tempt me
You know the way you look so kind
I’d love to stick around but I’m running behind
You know I don’t even know what I’m hoping to find
Running into the sun but I’m running behind

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The Alan Parsons Project – I Robot (1977)

FrontCover1Robot is the second studio album by the British progressive rock band The Alan Parsons Project, released on 1 June 1977 by Arista Records. The album draws conceptually on author Isaac Asimov’s science fiction Robot trilogy, exploring philosophical themes regarding artificial intelligence.

The album was intended to be based on the I, Robot stories written by Asimov, and Eric Woolfson spoke with Asimov himself, who was enthusiastic about the idea. As the rights already had been granted to a TV/movie company, the album’s title was altered slightly by removing the comma in “I,”, and the theme and lyrics were made to be more generically about robots rather than to be specific to the Asimov universe.[3][4] The cover inlay read: “I Robot… The story of the rise of the machine and the decline of man, which paradoxically coincided with his discovery of the wheel… and a warning that his brief dominance of this planet will probably end, because man tried to create robot in his own image.” The title of the final track, “Genesis Ch.1 v.32”, follows this theme by implying a continuation to the story of Creation, since the first chapter of Genesis only has 31 verses.

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The album cover photo features the band members in the escalator tubes of the circular Terminal 1 building of the Charles de Gaulle Airport outside of Paris. Over this is superimposed a painting of a robot with a stylised atom for a brain. This illustration appears in a two-dimensional form on the label of the record. The original vinyl release had a gatefold-style cover; the inside spread had printed the lyrics for the non-instrumental selections and a monochrome photograph of Parsons himself.

Three singles were released from the album: “I Wouldn’t Want to Be Like You”, “Don’t Let it Show” and “Day After Day (The Show Must Go On)”. The LP track “Breakdown” went into heavy rotation on AOR stations and continues to be played on classic rock radio.

“Don’t Let It Show” was covered by Pat Benatar for her In the Heat of the Night LP. Gail Godwin describes it as “much more sentimental than the usual Alan Parsons”. “Some Other Time” was also covered by Arjen Anthony Lucassen in his 2012 album Lost in the New Real. “I Wouldn’t Want to Be Like You” is featured in the 2013 video game Grand Theft Auto V on the fictional radio station Los Santos Rock Radio. “I Wouldn’t Want to Be Like You” is also featured in an episode of the Netflix series Mindhunter. (by wikipedia)

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Alan Parsons delivered a detailed blueprint for his Project on their 1975 debut, Tales of Mystery and Imagination, but it was on its 1977 follow-up, I Robot, that the outfit reached its true potential. Borrowing not just its title but concept from Isaac Asimov’s classic sci-fi Robot trilogy, this album explores many of the philosophies regarding artificial intelligence — will it overtake man, what does it mean to be man, what responsibilities do mechanical beings have to their creators, and so on and so forth — with enough knotty intelligence to make it a seminal text of late-’70s geeks, and while it is also true that appreciating I Robot does require a love of either sci-fi or art rock, it is also true that sci-fi art rock never came any better than this. Compare it to Jeff Wayne’s War of the ArticleWorlds, released just a year after this and demonstrating some clear influence from Parsons: that flirts voraciously with camp, but this, for all of its pomp and circumstance, for all of its overblown arrangements, this is music that’s played deadly serious. Even when the vocal choirs pile up at the end of “Breakdown” or when the Project delves into some tight, glossy white funk on “The Voice,” complete with punctuations from robotic voices and whining slide guitars, there isn’t much sense of fun, but there is a sense of mystery and a sense of drama that can be very absorbing if you’re prepared to give yourself over to it. The most fascinating thing about the album is that the music is restless, shifting from mood to mood within the course of a song, but unlike some art pop there is attention paid to hooks — most notably, of course, on the hit “I Wouldn’t Want to Be Like You,” a tense, paranoid neo-disco rocker that was the APP’s breakthrough. It’s also the closest thing to a concise pop song here — other tunes have plenty of hooks, but they change their tempo and feel quickly, which is what makes this an art rock album instead of a pop album. And while that may not snare in listeners who love the hit (they should turn to Eye in the Sky instead, the Project’s one true pop album), that sense of melody when married to the artistic restlessness and geeky sensibility makes for a unique, compelling album and the one record that truly captures mind and spirit of the Alan Parsons Project. (by Stephen Thomas Erlewine)

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Personnel:
Ian Bairnson (guitar)
B.J. Cole (steel guitar)
John Leach (cimbalom, kantele)
Duncan Mackay (keyboards)
Alan Parsons (keyboards)
David Paton (bass, guitar)
Stuart Tosh (drums, percussion)
Eric Woolfson (keyboards)
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vocals:
Allan Clarke (on 04.)
Steve Harley (on 06.)
Jack Harris (on 08.)
Peter Straker & Jaki Whitren (on 03.)
Dave Townsend (vocals on 05.)
Lenny Zakatek (on 02.)
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background vocals on 03.:

Tony Rivers – John Perry – Stu Calver.

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Tracklist:
01. I Robot (Parsons/Woolfson) 6.02
02. I Wouldn’t Want To Be Like You (Parsons/Woolfson) 3.22
03. Some Other Time  (Parsons/Woolfson) 4.06
04. Breakdown (Parsons/Woolfson)  3:50
05. Don’t Let It Show (Parsons/Woolfson)  4.24
06. The Voice (Parsons/Woolfson) 5.24
07. Nucleus (Parsons/Woolfson) 3.31
08. Day After Day (The Show Must Go On) ( Parsons/Woolfson)  3:49
09. Total Eclipse (Powell) 3.09
10. Genesis Ch.1 V.32 (Parsons/Woolfson) 3.28
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11. Boules (I Robot experiment) (Parsons/Woolfson) 1.59
12. Breakdown (early demo of backing riff) (Parsons/Woolfson) 2.09
13. I Wouldn’t Want To Be Like You (backing track rough mix) (Parsons/Woolfson) 3.28
14. Day After Day (early stage rough mix) (Parsons/Woolfson) 3.40
15. The Naked Robot (Parsons/Woolfson) 10.19

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Marc-Antoine Charpentier ‎– Te Deum + Messe De Minuit Pour Noël (1989)

FrontCover1Marc-Antoine Charpentier composed his grand polyphonic motet Te Deum (H. 146) in D major probably between 1688 and 1698, during his stay at the Jesuit Church of Saint-Louis in Paris, where he held the position of musical director. The work is written for the group of soloists, choir, and instrumental accompaniment.

Charpentier authored six Te Deum settings, although only four of them have survived. It is thought that the composition was performed to mark the victory celebrations and the Battle of Steinkirk in August, 1692.

Charpentier considered the key D-major as “bright and very warlike”. The instrumental introduction, composed in the form of rondo, precedes the first verset, led by the bass soloist. The choir and other soloists join gradually. Charpentier apparently intended to orchestrate the work according to the traditional exegesis of the Latin text. The choir thus predominates in the first part (verset 1-10, praise of God, heavenly dimension), and individual soloists in the second part (verset 10-20, Christological section, secular dimension). In subsequent versets, nos. 21-25, both soloists and choir alternate, and the final verset is a large-scale fugue written for choir, with a short trio for soloists in the middle.

The composition is scored for five soloists (SSATB) and choir (SATB), accompanied with an instrumental ensemble of 2 nonspecified recorders or flutes, 2 oboes, 2 trumpets (second trumpet in unison with timpani), timpani, 2 violins, 2 violas (“haute-contres de violon” and “tailles de violon”) and basso continuo.

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Typical continuo instruments used in French baroque music are “basses de violon” (a cello-like, large scaled instrument often replaced by the cello in modern performances), organ, harpsichord, theorbo, bass viol and bassoon or “basse de cromorne” (a kind of bass oboe). Furthermore, serpents were frequently used to double the bass line of vocal choirs in 17th century France.

Since the instrumental ensemble is mostly constricted to 4 parts only (wind instruments and violins playing the same line), it is very easy to reduce the instrumentation if needed.

After the work’s rediscovery in 1953 by French musicologist Carl de Nys, the instrumental prelude, Marche en rondeau, was chosen in 1954 as the theme music preceding the broadcasts of the European Broadcasting Union. After over sixty years of use notably before EBU programs such as the popular Eurovision Song Contest and Jeux Sans Frontières, the prelude, as arranged by Guy Lambert and directed by Louis Martini, has become Charpentier’s best-known work. (by wikipedia)

Marc-Antoine Charpentier

Probably composed in 1690, the Messe de Minuït pour Noël, H 9, is perhaps Marc-Antoine Charpentier’s best-known composition after the Te Deum, H 146. The special appeal of this “Mass for the Midnight Service on Christmas Eve” lies in its use of no fewer than ten traditional French carols while impressively revealing Charpentier’s mastery of the concertante style.

The eight solo vocalists (SSAATTBB) can easily be taken from the chorus. They are divided into three groups – one group of two sopranos and two groups each comprising alto, tenor and bass – which interact with the chorus and instruments. This new edition represents the current state of scholarship and offers a completely revised Urtext of Charpentier’s masterpiece. (by musicroom.com)

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Personnel:

Te Deum:
Charles Brett (alto)
Eiddwen Harrhy (soprano)
Felicity Lott (soprano)
Ian Partridge (tenor)
Stephen Roberts (bass)
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Academy Of St. Martin-in-the-Fields conducted by Philip Ledger
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Choir Of King’s College, Cambridge

Messe De Minuit Pour Noël:
James Bowman (alto)
April Cantelo (soprano)
Helen Gelmar (soprano)
Christopher Keyte (bass)
Ian Partridge (tenor)
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English Chamber Orchestra conducted by David Willocks
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Choir Of King’s College, Cambridge conducted by David Willocks
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Andrew Davis (organ)

Booklet

Tracklist

Te Deum (recorded 1977):
01. Prélude 1.45
02. Te Deum Laudamus 1.18
03. Te Aeternum Patrem 1.55
04. Pleni Sunt Coeli Et Terra 2.20
05. Te Per Orbem Terrarum 3.19
06. Tu Devicto Mortis Aculeo 1.07
07. Judex Crederis 0.51
08. Te Ergo Quaesumus 2.08
09. Aeterna Fac Cum Sanctis 3.12
10. Dignare Domine 2.03
11. Fiat Misericordia 1.51
12. In Te Domine Speravi 3.21

Messe De Minuit Pour Noël (recorded: 1967):
13. Kyrie 6.27
14. Gloria 6.11
15. Credo 11.25
16. Offertoire 4.45
17. Sanctus 2.49
18. Agnus Dei 2.54

Music composed by Marc-Antoine Charpentier

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The Count Bishops – Same (1977)

FrontCover1The Count Bishops were a British rock band, formed in 1975 in London and which broke up in 1980. The Count Bishops had limited commercial success, but forged an important stylistic and chronological link between the root rhythm and blues band Dr. Feelgood and the proto punk sound of Eddie and the Hot Rods; together forming the foundation of the pub-rock scene, which influenced the emergence of punk rock. The group made history in England by releasing the first record from independent label Chiswick Records. They splintered following the death of guitarist Zenon DeFleur on 18 March 1979.

The Count Bishops formed in spring 1975 when members of the group Chrome joined the American vocalist Mike Spenser. In July of that year, Spenser (née Scolnick) called fellow countryman Johnny Guitar from Paris for five days straight and finally convinced him (guitar) to pack up two Les Pauls and fly to the UK and join up with Spenser and Zenon DeFleur (so named by Johnny after seeing him passed out on the floor at their first recording session). They found Steve Lewins (bass) and Paul Balbi (drums) within a few weeks. The new line-up recorded the next month at Pathway Studios with Barry Farmer at the desk and of these 13 tracks, four became the Speedball EP, the first release of Chiswick Records.

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Shortly before the release (on Dutch label Dynamite) of the single “Taking it Easy” (released in the UK as “Train, Train”), Spenser left the band after an incident involving a glass door and his boot. Johnny and Zen handled lead vocals for the next year, including on the Dutch release “Good Gear” on the Dynamite label. After recording the backing tracks for their first LP on Chiswick, they decided to bring over Dave Tice (formerly of Australian band Buffalo). With this lineup, the group finished recording its debut UK album, and toured heavily making a name for themselves and bringing to a new level their traditional influences of the 1960s: beat music (the Beatles, the Rolling Stones) and garage rock (the Standells, the Strangeloves).

For the rest of 1977, the Count Bishops toured continuously (including the support slot on the first Motörhead tour and John Cale’s tour that year, as well as their own shows) and built a formidable army of fans – despite the fact that they did not fit the mold considered against the backdrop of old-fashioned punk movement. In the spring of 1978, they signed up for a live album with the participation of six groups of the Chiswick Records roster. The project was not fully realised, but the label released it as a mini-album called Live Bishops, reducing the band name to the Bishops. With this material (and a new bass player Pat McMullan, who replaced Steve Lewins) the Count Bishops toured extensively.

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In 1978, two singles (“I Take What I Want” and “I Want Candy”) led the Count Bishops to an appearance on the TV show Top of the Pops. A few days after the release of their album Cross Cuts, which had been a year and a half in production, Zenon Hierowski crashed his Aston Martin and died on March 17, 1979, and instead of the anticipated “breakthrough”, the Bishops were forced to retrench. They toured with Blitz Krieg (of Blast Furnace fame) deputising for Zen, and then Paul Balbi (drums) was deported back to Australia after returning from a Spanish festival. The band carried on with Charlie Morgan (Tom Robinson Band, Elton John) on drums and just Johnny on guitar for some months, including a tour of Australia with Balbi, but Zen’s death had taken much of the impetus away and they split up. (by wikipedia)

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Kicking off with a great cover of the Kinks’ “I Need You,” this solid, unpretentious debut album belongs in the home of every fan of English R&B from the Yardbirds to the Pretty Things to Dr. Feelgood. Guitarists Johnny Guitar and Zenon de Fleur keep it tight and simple, never wasting a note, and vocalist Dave Tice is so macho, it’s enough to make you laugh. The originals are OK if somewhat predictable blues-based rave-ups, but the energy and good cheer more than make up for the album’s derivative nature. Not a deep album by any stretch of the imagination, just good dirty fun. (by John Dougan)

Ladies and gentlemen: Loud & proud, hot & dirty: The Count Bishops now !

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Personnel:
Paul Balbi (drums)
Zenon De Fleur (guitar, slide-guitar)
Johnny Guitar (guitar, vocals)
Steve Lewins (bass)
Dave Tice (vocals)
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Julian Holland (piano on 06.)

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Tracklist:
01. I Need You (Davies) 2.22
02. Stay Free (De Fleur) 3.08
03. Down In The Bottom (Dixon) 2.52
04. Talk To You (Lewins) 3.45
05. Shake Your Moneymaker (James) 2.31
06. Down The Road Apiece (Raye) 2.51
07. Baby You’re Wrong (De Fleur) 2.44
08. Don’t Start Crying Now (Moore/West) 2.05
09. Someone’s Got My Number (Lewins) 2.33
10. Good Guys Don’t Wear White (Cobb) 2.47
11. You’re In My Way (Lewins) 3.11
12. Taste & Try (Youlden) 2.33

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The Japanese edtion

Keith Richards – Unknown Dreams (Toronto Sessions) (1977)

OriginalLPFrontCover1As the story goes: Keith recorded a full album titled: “Unknown Dreams” in 1978. This was right after his heroin bust in Canada.

This was a bootleg album and only 1000 copies were ever made.

And we can hear Keith Richards  .. playing the piano and singing old Rock N Roll and Country & Western tunes … in a very sentimental mood …

In other words: This is the most intimate Keith Richards album … this is the other side of Keith Richards … a  real treasure in the history of rock !

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Personnel:
Keith Richards (piano, vocals)

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Tracklist:
01. Say It’s Not You (Frazier) 3.29
02. Don’t (Leiber/Stoller) 3.29
03. Blue Monday (Domino/Bartholomew) 1.58
04. Oh What A Feelin’ (Everly) 3.50
05. Sing Me Back Home (Haggard) 4.18
06. Nearness Of You (Carmichael/Washinton) 3.52
07. Apartment No. 9 (Paycheck/Foley/Owen) 3.44
08. All I Have To Do Is Dream (Bryant) 4.00
09. Whole Lotta Shakin’ Going On (Williams/David) 1.14
10. Oh What A Feelin’ (Everly) 2.32
11. Apartment No. 9 (version 2) (Paycheck/Foley/Owen)  4.41

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Paice Ashton Lord – Malice In Wonderland (1976) (2001 Special Edition)

LPFrontCover1Malice in Wonderland is the only studio album by Paice Ashton Lord. It was released in 1977.

Once they had decided to leave and disband Deep Purple, Paice and Lord began to plan a very different type of band, built around a trio of themselves and long time friend Tony Ashton, who was to handle the vocals and share keyboard duties. Ashton, Gardner & Dyke had supported Deep Purple in the early seventies, and shared management. Jon Lord found he got on well with Ashton, and helped AGD out in the studio culminating in the superb western soundtrack ‘The Last Rebel’ which the pair co-wrote and performed on.

In 1974 Ashton and Lord finally finished the “The First Of The Big Bands” album (started three years before), influenced by the Phil Spector wall of sound idea. The album did not sell well, despite a BBC In Concert appearance and an all-star show in London, but did establish the heavy r’n’b foundations on which PAL were to build. To complete PAL, mysterious “guitarist and bassist wanted” press ads appeared in July 1976, and from the auditions guitarist Bernie Marsden (ex of Cozy Powell’s Hammer and Babe Ruth) and bassist Paul Martinex (from Stretch) were signed. Work then got underway on a debut album, the group accompanied off and on by a film crew for the eventual PAL documentary ‘Lifespan’. Jon Lord also broke off to help promote his latest (and some would say best) solo album Sarabande before finishing off the PAL album.

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PAL’s debut Malice In Wonderland in March 1977 got a mixed reception and a European tour was cancelled in favour of just five UK dates during which PAL expanded to an 11-piece group with a brass section and girl backing singers. A nervous world debut on BBC TV’s ‘Sight And Sound In Concert’ was with hindsight a PR blunder, and showed how uneasy Tony Ashton was fronting a band launched on such a grand scale but even so most of the subsequent gigs were packed and Tony enjoyed himself more when able to communicate a little with the first few rows. Paice and Lord tried unsuccessfully to bring in David Coverdale to take the pressure from Ashton’s shoulders (he was also being headhunted by Uriah Heep around the same time), before eventually deciding in early 1978 to cut their losses and call it a day with work on a second album abandoned (some tracks later being unearthed for a CD reissue).

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David Coverdale in turn brought Bernie Marsden into his new band Whitesnake, and a few months later managed to tempt Jon Lord into the fold. Ian Paice followed in mid 1979. Tony Ashton returned to sessions (appearing on one or two of Lord’s solo albums), production, occasional live work and painting. An all-star concert in his honour was held at Abbey Road in 2000 which included the only PAL reunion, with all the original group except for Martinez taking part. Tony Ashton was quite ill by this time and sadly passed away in 2001. (by deep-purple.net)

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Paice Ashton Lord’s sole album is a rather anonymous-sounding late-1970s hard rock/AOR effort. There’s more funk, soul, boogie, and jazz influence than you would expect from Deep Purple alumni, but at heart these are typical period mainstream rock songs that don’t lend a distinctive personality to the short-lived band. There’s an outrageously blatant quote from Blood, Sweat & Tears’ “Spinning Wheel” in “Silas & Jerome.”

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The 2001 CD reissue on Purple Records adds eight bonus tracks from the sessions for their unreleased second album, which are of a similar but less polished quality. Some of the songs are instrumentals rather than fully worked-up compositions, and the fidelity on a few of them is substandard, though not truly bad. The liner notes for the reissue give a thorough history of the band. (by Richie Unterberger)

And the bonus tracks from the unreleased second album are fucking good … listen to “Steamroller Blues”, “Moonburn” and to all the other tracks … and you´ll know wha I mean !

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Personnel:
Tony Ashton (vocals, keyboards)
Jon Lord (keyboards, synthesizer)
Bernie Marsden (guitar, background vocals)
Paul Martinez (bass)
Ian Paice (drums, percussion)
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Reg Brooks (trumpet, flugelhorn, trombone)
Howie Casey (saxophone)
Gilbert Dall’enese (saxophone, clarinet)
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background vocals:
Jeanette McKinley – Sheila McKinley

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Tracklist:
01. Ghost Story (Paice/Ashton/Lord) 5.47
02. Remember The Good Times (Paice/Ashton/Lord/Marsden/Martinez) 5.46
03. Arabella (Oh Tell Me) (Ashton) 4.07
04. Silas & Jerome (Paice/Ashton/Lord)  3.24
05. Dance With Me Baby (Paice/Ashton/Lord/Marsden/Martinez) 3.21
06. On The Road Again, Again (Paice/Ashton/Lord/Marsden) 3.59
07. Sneaky Private Lee (Paice/Ashton/Lord7Marsden) 6.07
08. I’m Gonna Stop Drinking (Paice/Ashton/Lord) 5.09
09. Malice In Wonderland (Paice/Ashton/Lord) 6.06
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10. Steamroller Blues (Taylor) 4.52
11. Nasty Clavinet (Paice/Ashton/Lord/Marsden) 4.30
12. Black And White (Paice/Ashton/Lord) 4.13
13. Moonburn (Paice/Ashton/Lord/Marsden/Martinez) 3.22
14. Dance Coming (Paice/Ashton/Lord) 4.57
15. Goodbye Hello LA (Paice/Ashton/Lord) 3.54
16. Untitled (Paice/Ashton/Lord/Marsden/Martinez) 3.16
17. Ballad Of Mr. Giver (Ashton/Lord) 5.53

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Charlie Mariano – October (1976)

FrontCover1Carmine Ugo “Charlie” Mariano (November 12, 1923 – June 16, 2009) was an American jazz alto saxophonist and soprano saxophonist.

Mariano was born in Boston, Massachusetts, the son of Italian immigrants, Giovanni Mariano and Maria Di Gironimo of Fallo, Italy. He grew up in the Hyde Park neighborhood of Boston, enlisting in the Army Air Corps after high school, during World War II. After his service in the Army, Mariano attended what was then known as Schillinger House of Music, now Berklee College of Music. He was among the faculty at Berklee from 1965–1971. Mariano moved to Europe in 1971, settling eventually in Köln (Cologne), Germany, with his third wife, Dorothee Zippel.

He played with one of the Stan Kenton big bands, Toshiko Akiyoshi (his then wife), Charles Mingus, Eberhard Weber, the United Jazz and Rock Ensemble, Embryo and numerous other notable bands and musicians.

He was known for his use of the nadaswaram, a classical wind instrument from Tamil Nadu.

Mariano had six daughters, including four with his first wife, and musician Monday Michiru with his second wife. He had six grandchildren and two great-granddaughters. He died of cancer on June 16, 2009. (by wikipedia)

A ’77 session with onetime Charlie Parker imitator Charlie Mariano now as immersed in Asian and Indian music as he ever was in bop. He’s working with a European rhythm section that includes keyboardist Rainer Bruninghaus and bassist Barre Phillips. There are some compositions that reflect Mariano’s jazz background, while others have everything from classical strains to Asian scales and instruments. (by Ron Wynn)

CharlieMariano

Personnel:
Rainer Brüninghaus (piano, synthesizer)
Udo Dahmen (drums, percussion)
Trilok Gurtu (tabla, percussion, drums)
Charlie Mariano (saxophone, flute, nagaswaram)
Hansgeorg Meuser (electric bass)
Barre Phillips (acoustic bass)

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Tracklist:
01. Aszù (Brüninghaus) 8.10
02. Nagaswarup (Mariano) 7.47
03. Earth (Brüninghaus) 2.47
04. Out Of The Jungle (Dahmen) 4.18
05. To An Elfin Princess (Mariano) 7.26
07. 7 Up (Meuser) 5.26
08. Back Of J. (Phillips) 2.53
09. Down The Kaveri (Mariano) 4.41

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