Miúcha & Antonio Carlos Jobim – Same (1977)

FrontCover1.jpgHeloísa Maria Buarque de Hollanda (30 November 1937 – 27 December 2018), whose artistic name is Miúcha, was a Brazilian singer and composer.

Heloisa Maria Buarque de Hollanda was born in Rio de Janeiro. She was the daughter of historian Sérgio Buarque de Holanda and Maria Amélia Cesário Alvim; she had a brother, singer and composer Chico Buarque and two sisters, the singers Ana de Hollanda and Cristina.

When she was 8 years old her family moved to São Paulo. As a child she formed a vocal ensemble with her brothers, including Chico Buarque. In 1960 she moved to Paris where she studied Art History at the École du Louvre.

In 1975 she made her first professional recording as a singer on the album The Best of Two Worlds in partnership with João Gilberto and Stan Getz. After this release, Miúcha partnered with Tom Jobim on two albums, 1977 and 1979, and was part of the show organized by Aloysio de Oliveira along with Vinicius de Moraes, Tom Jobim and Toquinho. The act was shown for a year at Canecão in Rio de Janeiro, followed for Miúcha01.jpginternational presentations in South America and Europe, and gave origin to the recording Tom, Vinícius, Toquinho e Miúcha recorded live in Canecão (RCA Victor, 1977)

In 1963 Miúcha made a holiday trip with friends to Greece, Italy and France. In Rome, in the bar La Candelaria, she met the Chilean singer Violeta Parra, through whom she met singer João Gilberto. Miúcha and Gilberto got married in 1965 and had a daughter, Bebel Gilberto, in 1966.

Miúcha died on 27 December 2018, in Rio de Janeiro, at the age of 81. (by wikipedia)

The sweet voice, exemplary interpreter of the Brazilian song, sister of the singer and writer Chico Buarque, was a muse of bossa-nova, an important emerging musical revolution in Rio at the end of the 1950s. (by http://www.archynewsy.com)

And heré as a tribute to the great Miúcha one of her firstalbums, recorded together with the one and only Antonio Carlos Jobim:

In 1977 the best selling album Miúcha e Antonio Carlos Jobim was released and the unforgettable musical encounter Tom, Vinicius, Toquinho e Miúcha was staged for almost one year at Canecão in Rio and toured many South American and European cities. The live record of the show is a landmark in the Brazilian music history. (by showbras.com.br)

Enjoy the wonderful world of Bossa Nova !

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Luís Alves (bass)
Chico Buarque (vocals)
Danilo Caymmi (flute)
Dori Caymmi (guitar)
Ariovaldo Contesini (percussion)
Wilson DasNeves (drums)
Peter Dauelsberg (cello)
Franklin (flute)
Antônio CarlosJobim (piano, flute, vocals)
Paulo Jobim (flute)
Edson Lobo (bass)
Miúcha Coro (vocals)
Novelli (bass)
Rubinho (drums)
Robertinho Silva (drums)


01. Vai Levando (Buarque/Veloso) 3.19
02. Tiro Cruzado (Borges) 2.09
03. Comigo É Assim (Bittencourt/Menezes) 3.13
04. Na Batucada da Vida (Barroso/Peixoto) 2.50
05. Sei Lá (de Moraes/Toquinho) 2.32
06. Olhos Nos Olhos (Buarque) 4.10
07. Pela Luz Dos Olhos Teus (de Moraes) 2.45
08. Samba Do Avião (Jobim) 2.50
09. Saia Do Caminho (Mesquita) 4.08
10. Maninha (Buarque) 2.42
11. Choro de Nada (Carneiro) 2.40
12. É Preciso Dizer Adeus (Jobim(de Moraes) 2.06




Heloísa Maria Buarque de Hollanda (30 November 1937 – 27 December 2018)

Starz – Violation (1977)

FrontCover1Violation is the second studio album by the late-1970s American hard rock band Starz, released in 1977.

Starz’ sophomore album, Violation, was quite similar to its predecessor. Jack Douglas was still the band’s producer, and Starz continued to favor the type of slick, commercial hard rock that would be called pop-metal in the ’80s and early ’90s. This 1977 LP didn’t establish Starz as major players in the pop-metal field; the New Yorkers did have a small following, although not a huge one. Nonetheless, this is an enjoyable record. It doesn’t contain any pop-metal masterpieces like Kiss’ “Shout It out Loud” or Sweet’s “Ballroom Blitz,” but tracks like “Cherry Baby” and “Rock Six Times” are certainly decent. Most of the time, Starz vocalist Michael Lee Smith sings about the same things that Kiss and Sweet were singing about in the ’70s; namely, all-night parties and wild young women in tight dresses. Starz’s lyrics, as a rule, were meant to be fun, not profound, and while Violation didn’t go down in history as one of pop-metal’s all-time classics, it’s worth hearing if you’re a fan of the style. (by Alex Henderson)

A dystopian nightmare that became one of the best records of the 1970’s. And what an album cover! This is the best record in the Starz catalog.

Starz avoided the fabled sophomore jinx with the 1977 classic Violation, arguably the best album in their entire catalog. Ok, so there’s only four records in their catalog, but nevertheless this would have to be regarded as their best statement. It is also the closest they came to a commercial breakthrough. The lead-off track, “Cherry Baby,” climbed its way into the US top 40 albeit for only a brief stay. That song, along with its equally accessible follow up single, “Sing It Shout It,” should have been enough to break Starz into the top tier of late seventies rock bands. Alas, it was not to be. However it wasn’t from a lack of quality.

Historically we are told that Violation was supposed to be something of a concept record relating a story about some dystopian future where rock music has become a criminalized form of expression. Unfortunately Capitol records saw things differently and had the songs re-sequenced and removed any other hints of a unifying plot. Like another famously abandoned concept record, Who’s Next, This one is no worse for its re-purposing…and may even be the better for it.

The two singles that were released could lead you to believe that Starz was making a move towards a more radio friendly commercial viability, however the other tracks are as combustible as anything on their debut record…and then some!


“Rock Six Times” is a ferocious rocker that, more than any other track, reveals the elements of the abandoned story line. Michael Lee Smith sings of his discovery of a “scratchy old record called Walk This Way” that apparently is the beginning of a life of delinquency. This, of course, is frowned upon by a committee convened to decide how to handle such young hooligans in the excellent title track. The accusatory choruses of “No that’s a Violation!” reverberate over the decades into our world that itself is all too willing to embrace censorship in the name of political correctness. This song should be required listening on every college campus.

The record’s best track is the ultra-violent “Subway Terror.” Another of Starz excellent odes to the excitement of committing crimes. This riff-rocker seems all too relevant considering the recent NYC subway homicides that resemble the one committed in this song a little too closely. I have always thought this song and Thin Lizzy’s “Killer on the Loose” deserve to be coupled together as some sort of homicidal celebration.

“All Night Long” is a straight-forward song that would have seemed perfect for their first record with its’ Kiss-alike nature. With “Cool One” Starz injects their always dependable sense of humor into things and the results are fabulous. The “cuckoo” sounding choruses are unlike anything you would hear in this style of music and the story conveyed in the lyrics is equally delightful…and quite a bit nasty for the moral sensitivities of the late Chartsseventies. They wouldn’t be playing this one on the radio! It has been suggested that the band was not too pleased with this version of the song, instead preferring the more straight-forward arrangement of the original demo recording. The demo version has been subsequently released over the years and I have to disagree. Though the original version of the song is fine, the final studio version as we have come to know it is highly original by comparison, and if producer Jack Douglas is the one who made this call…he made the right one.

“S.T.E.A.D.Y.” has an ominous sounding beginning that does not portend the rollicking rocker that quickly evolves out of it. The album ends with a somewhat strange ballad called “Is That A Street Light Or The Moon”” Singer Michael Lee Smith was always a strength for this band and his voice lends an atmospheric feel to the song. It is said that this track was a leftover from the first record but the solemn atmospherics give this record a fitting end.

Violation comes across as Starz best and most aggressive record. However, in spite of having a legitimate top 40 hit with “Cherry Baby,” the album failed to sell the number of units their record company was anticipating. One can only wonder why. This album, as well as any released in the decade of the seventies, is representative of the best of American Hard Rock. Drastic changes would be made on their next record in an attempt to crack the American market. (by Semjaza)

Indeed … one of the finest albums from the hard & heavy scene in this decade !


Joe X. Dubé (drums)
Brendan Harkin (guitar)
Richie Ranno (guitar)
Michael Lee Smith (vocals)
Pieter “Pete” Sweval (bass)


01. Cherry Baby (Dubé/Harkin/Ranno/Smith/Sweval) 3.48
02. Rock Six Times (Dubé/Harkin/Ranno/Smith/Sweval) 3.14
03. Sing It, Shout I (Dubé/Harkin/Ranno/Smith/Sweval/Parrot/Delaney) 5.14
04. Violation (Dubé/Harkin/Ranno/Smith/Sweval) 4.28
05. Subway Terror (Dubé/Harkin/Ranno/Smith/Sweval) 3.44
06. All Night Long (Dubé/Harkin/Ranno/Smith/Sweval) .29
07. Cool One (Dubé/Harkin/Ranno/Smith/Sweval) 3.41
08. S. T. E. A. D. Y. (Dubé/Harkin/Ranno/Smith/Sweval) 5.41
09. Is That A Street Light Or The Moon? (Dubé/Harkin/Ranno/Smith/Sweval) 3.19
10. Do It With The Lights On (demo version) (Dubé/Harkin/Ranno/Smith/Sweval) .35
11. Cool One (demo version) (Dubé/Harkin/Ranno/Smith/Sweval) 3.22
12. Rock This Town (demo version) (Dubé/Harkin/Ranno/Smith/Sweval) 2.47


And this song (“Violation”) was for many, many years one of the soundtracks of my life:

Empty pockets, empty bed
Empty bottles, empty head
The committee says shape up
Or they’ll fix me quick enough

(we are with you everywhere)
(we protect you from yourself)
(we are watching)
I wanna rock an’ roll
(no, that’s a violation)
I wanna lose control
(no, that’s a violation)
I wanna love someone
(no, that’s a violation)
I wanna have some fun
(you better not try it)

Lousy jobs, down in holes
Join the union, learn to bowl
Lovely houses of cement
The committee pays the rent

Thank you for electing us
We appreciate your trust
There’s a problem we’re aware
That many of your children share
But we’ve developed new techniques
The process takes about two weeks
It”s based upon electroshock
A daily dose of microwatts
And when we’re through with what we do
We’ll ship the begger back to you
And then he’ll be as good as new

Doctor says i’m almost fine
And they’ll let me out in time
I’m a very stubborn case
And my tapes not quite erase

No, no, no

Harry Chapin – Dance Band On The Titanic (1977)

LPFrontCover1Dance Band on the Titanic is the seventh studio album by the American singer-songwriter Harry Chapin, released in 1977. Its vinyl release is a double album. It was later released as a single CD.

Who would have figured, listening to the heart-on-his-sleeve sensibilities of Heads & Tales in 1972, that Harry Chapin would or could ever generate a wry, sly, sardonic double-LP (single CD) album like this? The diversity of this album is its strong point, the core of the record made up of straightforward, serious songs, most notably “We Grew up a Little Bit” and the gorgeous ballads “Mismatch” (arguably Chapin’s prettiest song) and “I Do It for You, Jane” (of which the latter could have been a smash done countrypolitan style in Nashville), and there’s one lean vignette into traditional music (“Bluesman”). But those are surrounded by some of the most bittersweet work of his career, including the title track, “Mercenaries,” and “Manhood,” not to mention the satirical, phantasmagoric “There Only Was One Choice,” a 14-minute conceptual piece that conflates a bitter, sardonic look at the music business and the history of the United States, all looping back to the opener, “Dance Band on the Titanic.”


The whole album is dazzling in its range, from full-blown orchestrated numbers to solo acoustic-style tracks, and moods running from wide-eyed innocence to seething anger and frustration, all of it interesting and 95 percent of it highly entertaining as well. As with most of Chapin’s work — but perhaps more so throughout this album — one gets the sense of an artist who desperately needed to break out of the boundaries of recording, onto a larger canvas; on this record, the music is so effective that he nearly made it, without ever actually breaking out to another format. (by Bruce Eder)


Harry Chapin died far too early. One of the best singer songwriters of all time. Well respected across the years for all he did to make the world a better place. It’s nice to know he lives on in his fab music. You never get bored of listening to his music and lyrics. One of the all time greats. (by Helen1960)


Harry Chapin (guitar, vocals)
Stephen Chapin (piano, vocals)
Tom Chapin (guitar, banjo, vocals)
Howie Fields (drums)
John Wallace (bass, vocals)
Tim Scott (cello)
Doug Walker (guitar, mandolin, vocals)
Buzz Brauner (saxophone)
Harry DiVito (trombone)
Steve Gadd (drums)
Neil Jason (bass)
Arthur Jenkins (percussion)
Bernie Keising (bass, vocals)
Ronald Palmer (guitar, vocals)
Elliott Randall (guitar)
Kim Scholes (cello)
Gus Skinas (programming)
Chris Waite (percussion)
bckground vocals:
Barbara Carr – Marsh Lynn Goldberg – Jeff Gross – Art Krahulek – Barbara Lindquist – Theodore Marnel – Craig Mitchell – Nancy Newman – John Quayle – Steve Randall – Donna D. Reilly – Mike Solomon


01. Dance Band On The Titanic (H.Chapin) 5.15
02. Why Should People Stay The Same (H.Chapin)  – 4:47
03. My Old Lady (H.Chapin) 3.52
04. We Grew up A Little Bit (H.Chapin) 5.10
05. Bluesman (H.Chapin) 5.18
06. Country Dreams (H.Chapin) 4.47
07. I Do It For You, Jane (H.Chapin/S.Chapin) 5.08
08. I Wonder What Happened To Him (H.Chapin) 4.11
09. Paint A Picture Of Yourself (Michael) (H.Chapin) 3.52
10. Mismatch (H.Chapin) 5.00
11. Mercenaries (H.Chapin) 5.46
12. Manhood (H.Chapin) 3.48
13. One Light In A Dark Valley (An Imitation Spiritual) (Burke) 3.26
14. There Only Was One Choice (H.Chapin) 14.01




Doobie Brothers – Livin´ On The Fault Line (1977)

FrontCover1.jpgLivin’ on the Fault Line is the seventh studio album by the American rock band The Doobie Brothers, released in 1977. It is one of the few Doobie Brothers albums of the 1970s which did not produce a Top 40 hit on the Billboard Hot 100 (although “You Belong to Me” was a hit as recorded by co-author Carly Simon). Still, the album received modest critical acclaim. Tom Johnston (guitar, vocals) left the band early in the sessions. He is listed as part of the band (appearing in the inside group photo) but appears on little or none of the actual album; despite writing and singing five songs during the sessions for the album, they were not included on the final release. Much of this consistently mellow album has a jazz tinge, and the influences of R&B are palpable throughout. The track “Little Darling (I Need You)” is a remake of the Marvin Gaye 1966 hit. (by wikipedia)

Livin’ on the Fault Line fell between two of the Doobie Brothers’ biggest-selling records. The album had no hit singles, and one-time leader Tom Johnston kept a markedly low profile (this would be his last record with the group, not including a later reunion). Despite this, Livin’ on the Fault Line contains some of the most challenging and well-developed music of the band’s career, with Patrick Simmons and Michael McDonald really stepping to the fore.


There’s a vague mood of melancholia running through the songs, as well as a definite jazz influence. This is most obvious on the title track, which has several instrumental passages that showcase the guitar abilities of Simmons and Jeff Baxter. Similarly, “Chinatown” is a spooky mood piece not unlike the smooth fusion of late-period Steely Dan or Little Feat. But “Echoes of Love” and “Nothin’ But a Heartache” are both intelligent, glistening pop songs that confirm Simmons and McDonald as first-rate tunesmiths. The record slips a little at the end, with a plodding R&B song and a Piedmont guitar instrumental thrown in as filler. Overall, though, this is a chapter in the Doobie Brothers’ history that deserves a second look. (by Peter Kurtz)


Jeff Baxter (guitar, steel guitar)
John Hartman (drums)
Keith Knudsen (drums, vocals)
Michael McDonald (keyboards, synthesizer, vocals)
Tiran Porter (bass, vocals)
Patrick Simmons (guitar, vocals)
Dan Armstrong (electric sitar solo on 09.)
Norton Buffalo (harmonica on 08.)
Rosemary Butler (background vocals on 03., 04. + 08.)
Victor Feldman (vibraphone on 05.)
Bobby LaKind (congas, vocals)
Maureen McDonald (background vocals on 01.)
Ted Templeman (percussion)


01. You’re Made That Way (McDonald/Baxter/Knudsen) 3.30
02. Echoes Of Love (Simmons/Mitchell/Randle) 2.57
03. Little Darling (I Need You) (Holland/Dozier/Holland) 3.24
04. You Belong To Me (Simon/McDonald) 3.04
05. Livin’ On The Fault Line (Simmons) 4.42
06. Nothin’ But A Heartache (McDonald) 3.05
07. Chinatown (Simmons) 4.55
08. There’s A Light (McDonald) 4.12
09. Need A Lady (Porter) 3.21
10. Larry The Logger Two-Step (Simmons) 1.16




Roger Glover – Elements (1978)

FrontCover1.jpgElements is the second solo album from Deep Purple bassist Roger Glover. It was recorded in early 1977 but wasn’t released until April 1978 on PolyGram Records. The album’s main concept is based on the four elements. (by wikipedia)

Former Deep Purple bassist Roger Glover’s first true solo album is an ambitious concept built around the properties and powers of the four elements — earth, wind, water, and fire — with the four principle tracks dedicated to each one in turn. Recorded with the Munich Philharmonic, plus an impressive arsenal of keyboards, percussion, and wind, the sound of the album is vast, yet never so prepossessing as to leave the listener feeling at all alienated by another ham-fisted attempt to meld rock with the classics. Rather, the Wagnerian scope of the Roger Gover1music, and the immensity of the orchestra itself, are both wholly ingested into Glover’s traditional knack for writing well-arranged, dynamic pop/prog rock. Thus, the riff that is central to “The First Ring Made of Clay” could, with only minor readjustment, have driven a hard-rocking Purple classic, while some of the shifts in tempo and mood put one in mind of early albums by Steve Hackett and/or Godley & Creme — with the link to the latter further cemented, of course, by the thematic similarities between Elements and the duo’s Consequences. “The Next a Ring of Fire,” too, rattles along like a well-oiled prog jam, with the sax and drum solo duel amidships conjuring images of mid-’70s King Crimson. To dwell on such reference points, however, is to wholly overlook the sheer originality, excitement, and overall exuberance that is the hallmark of Elements. Though decidedly late in the day by conventional prog rock standards, it nevertheless represents a towering achievement that any fan of the genre — not to mention of Purple — needs to investigate immediately. (by Dave Thompson)

Great to hear the other side of Roger Glover !

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Ronnie Aspery (saxophone, flute)
Martin Birch (guitar, background vocals)
Helen Chappelle (vocals)
Roger Glover (synthesizer, bass, percussion, tabla, sitar guitar, guitar, vibraphone, background vocals)
Simon Phillips (drums, tabla, percussion)
Graham Preskett (violin, clarinet)
Micky Lee Soule (keyboards, percussion)
Liza Strike (vocals)
The Munich Philharmonic Orchestra conducted by Graham Preskett


01. The First Ring Made Of Clay” (Roger Glover) 7.46
02. The Next A Ring Of Fire (Glover) 9.38
03. The Third Ring’s Watery Flow (Glover) 8.53
04. The Fourth Ring With The Wind (Glover/Birch) 6.36
05. Finale (Glover/Birch) 2.14



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Nina Simone – Antibes (1977)

FrontCover1.jpgOne of the integral voices of the 1960s Civil Rights Movement, her music provides and will continue to resonate as a thoroughly unique chronicle of the changes of our epoch. In her heyday she moved effortlessly between frameworks and genres, and was perhaps the World Champion of being able to use material from all walks of song and experience to transmit her message of dignity.

She had one toe in Chanson, one in Jazz, one in Soul, one in Rock, one in Classical, and both feet in using the power of sound and expression to make a cohesive statement about the imperative need for human equality in our world.

I’ll say it: if Nina Simone was alive and kicking today, the cartoon shitscape of a social construct we see spitting in our dourly mocked faces on a daily basis would in no way go unchallenged. – nowbodhi’s blissness

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Thanks to nowbodhi’s blissness for sharing the show on the net.

Recorded live at the Festival de jazz d’Antibes, Juan-les-Pins, Antibes, France; July 19, 1977. Very good FM broadcast.
Master digicapture of a 2017 European radio rebroadcast

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Al Schackman (guitar, vibes, percussion)
Nina Simone (piano, vocals)


01. Ne Me Quitte Pas (Brel/Jouannest) 3.56
02. My Way (François/Revaux/Anka) 4.41
03. Plain Gold Ring (Burroughs) 2.21
04. Please Read Me (R.Gibb/B.Gibb) 4.30
05. I Love To Love (Baker/Hayton) 3.05
06. Just Say I Love Him (Val/Dale/Kalmanoff/Ward) 5.51
07. Four Women (Simone) 5.23
08. I Loves You Porgy (Heyward/G.Gershwin/I.Gershwin) 5.52
09. Let’s Stick Together (Harrison) 2.05
10. Be My Husband (Stroud) 3.41
11. Alabama Song (Brecht/Hauptmann/Weill) 3.41
12. In Our Childhood’s Bright Endeavor (Brecht/Hauptmann/Weill) 2.51
13. In My Life (Lennon/McCartney) – Let’s Stick Together (Reprise) (Harrison) 4.57

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Nina Simone (February 21, 1933 – April 21, 2003)

Sea Level – Cats On The Coast (1977)

FrontCover1.JPGCats on the Coast was the second album by American rock band Sea Level. It was released in 1977 on Capricorn Records.

The leadoff track, “That’s Your Secret”, reached #50 on the Billboard Hot 100, the band’s only charting single.

The cover photo of Sea Level’s sophomore album, 1977’s Cats on the Coast, depicts nearly twice the number of musicians as the cover photo of the band’s eponymous debut album released earlier that same year. There’s a lot of promise on display, and the music largely fulfills expectations. In addition to the quartet introduced on Sea Level — keyboardist/vocalist Chuck Leavell, drummer/percussionist Jaimoe, bassist Lamar Williams, and guitarist Jimmy Nalls — the band now includes singer/songwriter and saxophonist Randall Bramblett, guitarist Davis Causey, and drummer George Weaver (the latter featured prominently since Jaimoe only plays congas, and only on three tracks). This lineup bears remarkable similarity to the then-disbanded Allman Brothers, from whom Leavell, Jaimoe, and Williams had departed: two guitarists, two percussionists (well, sometimes), a bassist, a keyboardist — and, importantly, Bramblett, a proven session man, saxophonist, and singer/songwriter with two acclaimed but underappreciated solo albums (1975’s That Other Mile and 1976’s Light of the Night) under his belt. Cats on the Coast wastes no time introducing the new singer with the Bramblett/Causey co-written leadoff track “That’s Your Secret,” building from pure Southern R&B/soul/funk into dual-guitar fireworks (Causey in one channel; Nalls in the other) that any Southern rock fan could appreciate. Bramblett’s somewhat oblique lyrics may lack the emotional immediacy his writing often possesses, but Sea Level clearly weren’t about to introduce the singer with anything remotely approaching a downer (“This Could Be the Worst” could wait for the next album, On the Edge).

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Leavell takes over the mike on the soul shouter “It Hurts to Want It So Bad,” featuring the Muscle Shoals Horns, and Bramblett and Leavell trade off verses on the down-n-dirty Louisiana swamp blues-funk of “Had to Fall,” which collapses into utterly unhinged howling derangement at the end. The mood is far calmer in “Every Little Thing,” Bramblett’s “let’s-talk-it-over” display of sensitivity later in the track list. But Sea Level’s instrumental skill was the main attraction on the debut, and here they arguably up the ante. Leavell’s “Storm Warning” stands with his best jazz-rock fusion numbers, but with stinging dual lead guitars the likes of which hadn’t emerged from a Capricorn studio date since the Allmans left their blues at home on Idlewild South. Bramblett’s soprano sax here, and his soulful alto on Neil Larsen’s “Midnight Pass,” add even stronger jazziness to the band’s palette. Best of all is the two-part instrumental title track, with Nalls’ slide approaching Duane Allman territory and Bramblett’s soprano answering him in a stunning call and response; after a full-band climax, Jaimoe and Weaver take the track out under a flurry of simulated seagull cries. The album then concludes with the brief “Song for Amy,” a lovely and unexpected coda featuring Leavell on piano accompanied by a string quartet. Some great music from Sea Level was still to come, but the best moments of Cats on the Coast wouldn’t be topped. (by Dave Lynch)


Randall Bramblett (organ, saxophone. vocals, percussion)
Davis Causey (guitar, background vocals)
Jai Johanny Johanson (percussion)
Chuck Leavell (keyboards, clavinet, percussion, vocals)
Jimmy Nalls (guitar, background vocals)
George Weaver (drums)
Lamar Williams (bass)


01. That’s Your Secret (Bramblett/Causey) 5.12
02. It Hurts To Want It So Bad (Feldman/T.Smith/S.Smith) 3.33
03. Storm Warning (Leavell) 5.23
04. Had To Fall (Bramblett/Nalls/Williams) 4.35
05. Midnight Pass (Larson) 6.32
06. Every Little Thing (Bramblett) 4.43
07. Cats On The Coast (Causey) 5.39
08. Song For Amy (Leavell) 1.42