(Eumir) Deodato – Love Island (1978)

FrontCover1.jpg1978’s Love Island found Deodato in pretty much the same space he’d been for much of the decade, concocting his own ineffable brew of fusion and funky disco, with the help of friends and cover songs along the way. Love Island finds him unleashing yet another passel of songs which are all pleasant to the ear, if not completely fresh — what makes it most interesting is that it could almost be considered a concept album, every song title apparently revolving around jungle tropics, warm winds, sandy beaches, and, more likely than not, a few beauties bearing cocktails to complete the picture. The album kicks off with “Area Code 808,” which places the initial action in Hawaii, a twitchy extended fusion revolving around quite a nice funk bassline. The remainder of the set carries on from there, with the groove ebbing and flowing from the punchy “Whistle Bump” to the pleasant and decidedly mellow strains of “San Juan Hut,” and on to the title track.

Deodato

It is unfortunate hindsight alone, and no fault whatsoever of Deodato’s, that it conjures up nothing so much as scenes from The Love Boat. Damn pop culture. Also of note is “Tahiti Hut,” co-written by Deodato and Earth, Wind & Fire’s Maurice White, and buoyed by guest appearances by three more EW&F members: Verdine White, Freddie White, and the percussive genius of Philip Bailey. A pleasing piece of easy listening, Love Island probably won’t thrill the pants off anyone but the most rabid fan. By this late in the decade, one had kind of heard it all before. But if you should need to hear it all again, Love Island sounds great when the sun is shining. (Amy Hanson)

BackCover1.jpg

Personnel:
Ray Armando (percussion)
Larry Carlton (guitar)
Joe Correro (drums)
Eumir Deodato (keyboards, percussion, whistle, synthesizer, vocals)
Jimmy Maelen (percussion)
Pops Popwell (bass)
+
Philip Bailey (percussin on 03.)
George Benson (guitar on 05.)
Charlie Conrad (percussion on 01.)
Gordon Edwards (bass on 06.)
Victor Feldman (percussion on 05. + 07.)
Ray Gomez (guitar on 01.)
Rick Marotta (drums on 06.)
Harvey Mason (dums on 01. + 07.)
Al McKay (guitar on  0 + 08.)
Erica Norimar (vocals on 05.)
George Parrish, Jr. (guitar on 01.)
Tony Price (tuba)
John Tropea (guitar on 06., 07, + 08.)
Freddie White (drums on 03.)
Verdine White (bass on 03.)
+
flute:
Jerry Dodgion – Joel Kaye – Romeo Penque – Wally Kane
+
french horn:
Brooks Tillotson – Jimmy Buffington
+
trombone:
Gerry Chamberlain – Sam Burtis – Wayne Andre
+
trumpet:
John Gatchell, Randy Brecker, Bob Millikan
+
violin:
Charles Lisbove – Charles McCracken
+
violin + cello:
Charles Lisbove, Charles McCracken, Irving Spice, Jesse Levy, Kermit Moore, Max Pollikoff, Michael Comins, Michael Spivakowsky, Paul Winter, Richard Sortomme, Sandra Billingslea, Selwart Clarke, Stanley Pollock, Tony Posk

Booklet1+2.jpg

Tracklist:
01. Area Code 808 (Deodato/Parrish, Jr.) 5.46
02. Whistle Bump (Deodato) 4.33
03. Tahiti Hut (Deodato/White) 4.28
04. San Juan Sunset (Deodato) 4.16
05. Love Island (Deodato) 6.41
06. Chariot Of The Gods (Starr/Mancha) 3.09
07. Piña Colada (Deodato) 5.56
08. Take The A Train (Strayhorn) 3.49

LabelB1.jpg

*
**

Deodato2

The Byrds – Reunion Concert In San Francisco (1978)

FrontCover1.jpgIn early 1978, three of the founding members of the Byrds – Roger McGuinn, Gene Clark, and Chris Hillman – were touring the West Coast with a show in which they each played short solo sets before concluding the show as a trio, performing a handful of Byrds classics. The shows were so well received that the trio would later land a record deal and record a pair of new albums, but on February 9, 1978, fans who came to see McGuinn, Clark & Hillman at the Boarding House in San Francisco got a special surprise.

David Crosby joined his former Byrds bandmates on-stage for eight numbers, delivering a memorable performance that was the closest thing to a reunion of the original Byrds most of the audience would ever see, with only drummer Michael Clarke missing on-stage. The show was recorded by a local radio station, and Live at the Boarding House: The Historic Radio Broadcast preserves this oft-bootlegged show…

Clark performs “Silver Raven” and “Release Me Girl,” followed by Hillman singing “Bound to Fail” and “It Doesn’t Matter,” while McGuinn tackles “The Ballad of Easy Rider” and “Jolly Roger.” Then the trio teams up for three songs before Crosby takes the stage, and the foursome performs a number of Byrds favorites, including “Turn! Turn! Turn!” “Mr Tambourine Man,” “Eight Miles High,” and “Feel a Whole Lot Better.”

TheByrds1978_02

If the performances are sometimes less than perfect, there’s a spontaneity and passion in this recording that makes it clear the artists really did feel something special was happening, and this was a stronger and more heartfelt reunion of one of the great American bands of the ’60s than the tremendously disappointing studio reunion that took place in 1973. Live at the Boarding House: The Historic Radio Broadcast is a rumpled treasure for Byrds fans who cherished their harmonies most of all. (The CD skips the concert opening numbers by Gene Clark for reasons unknown, though.) (by Mark Deming)

BackCover1.jpg

Personnel:
Gene Clark (vocals, guitar)
Chris Hillman  (vocals, guitar, mandolin)
Roger McGuinn (vocals, guitar)
+
David Crosby (vocals on 08. – 16.)

TheByrds1978A

Tracklist:

Chris Hillman:
01. Bound To Fall (Brewer/Mastin) 2.38
02. It Doesn’t Matter (Hillman/Roberts) 2.31

Roger McGuinn:
03. Ballad Of The Easy Rider (mcGuoinn) 2:11
04. Jolly Roger (McGuinn/Levy) 2.57

Gene Clark, Chris Hillman, Roger McGuinn:
05. Chestnut Mare (McGuinn/Levy) 6.10
06. Crazy Ladies (Clark/Kaye) 3.42
07. The Train Leaves Here This Morning (Clark/Dillard) 4.04

The Byrds with David Crosby:
08. Mr Tambourine Man (Dylan) 7.05
09. You Ain’t Going Nowhere (Dylan) 4.50
10. Turn! Turn! Turn! (Seeger) 2.59
11. Knockin’ On Heaven’s Door (Dylan) 5.18
12. Bye Bye Baby (Hippard/McGuinn) 3.52
13. So You Want To Be A Rock ‘n’ Roll Star (McGuinn/Hillman) 2.38
14. Interlude 0.38
15. Eight Miles High (Clark/Crosby/McGuinn) 5.05
16. I’ll Feel A Whole Lot Better (When You’re Gone) (Clark) 3.33

CDg

*
**

Roy Brown – Cheapest Price In Town (1978)

FrontCover1.jpgThere is an on-going debate about the origins of Rock’n’Roll, but there is little doubt that it sounded very much like the R&B that Roy Brown was producing in New Orleans around 1950. His powerful, emotional Gospel style vocals, with melismatic swoops, shrieks and bellowing choruses, influenced the singing of generations of Rockers and Bluesmen that followed. Bobby ‘Blue’ Bland, Little Richard and James Brown all took a lesson from Roy, but he could also write a great song, and his best remembered composition saw him inducted into the Blues Hall of Fame.

Roy Brown was born in New Orleans in 1925, and grew up in Louisiana and Texas but moved to Los Angeles when his mother died in 1942. His vocal skills were honed in Church, but Roy was keen on becoming a boxer and fought as a welterweight, although Roy Brown01he was rejected for Military service on account of his flat feet! Roy won a singing contest, then moved to Galveston, Texas, where he fronted a band and started to play some Blues. When he wrote a song called ‘Good Rockin’ Tonight’, he tried to get his idol Wynonie Harris to record it, but he didn’t take it up. In June 1947, Roy went to Cosimo Matassa‘s J&M studio across from Congo Square in New Orleans, and he emerged with his own version of ‘Good Rockin’ Tonight’, which put his Gospel vocals over a driving rhythm and “talked a little dirty”, making it a prime candidate to be a rock’n’roll anthem. It got some airplay on ‘white’ radio stations, and the local ‘black’ stations, especially ‘Poppa Stoppa’s Show’, played it almost non-stop, and Roy’s version reached No.13 in the R&B charts. Wynonie Harris finally recognised a ‘good thing’ and his version went to No.1 in the following year, and Elvis, Jerry Lee Lewis, Ricky Nelson and Bruce Springsteen have all had success with Roy’s composition. Further big hits in the same vein, like ‘Hard Luck Blues’, ‘Miss Fanny Brown’ and ‘Cadillac Baby’, made Roy the best selling R&B artist from 1949-51.

After a backstage bust-up with Fats Domino that divided opinion in the New Orleans Roy Brown04music community, in 1952 Roy won a court battle for access to his royalty payments from Wynonie’s records on the King label. This was a double-edged victory that may have caused him to be black-listed by record companies, and it certainly caused him trouble with the IRS, because he did some jail-time for tax evasion, despite Elvis generously writing him a cheque. Roy’s career never recovered, although he made the R&B charts in 1957 with ‘Let the Four Winds Blow’. He sold encyclopedias door-to-door, sold the rights to ‘Good Rockin’ and played only the occasional gig. In 1970, he played the Monterey Festival with the Johnny Otis Show and had a reasonable hit with ‘Love for Sale’, and a low-key revival started. He toured in Europe in 1978 and his final appearance in 1981 was at the New Orleans Jazz Festival, one month before he passed away from heart trouble at home in California. (allaboutbluesmusic.com)

And this is the last album by Roy BRown and it´s another fine album by of the most importnt musicians of this very special New Orleans mixture of Blues, Jazz & Gospel ..

Listen and enjoy!

BackCover

Personnel:
Roy Brown (vocals)
Don Cook (trombone)
Darryl Coleman (bass)
Tony Coleman (percussion)
Leslie Drayton (trumpet)
Charles Givings (drums)
Jimmy Gough (guitar)
Johnny Paul (trombone)
Herman Riley (saxophone)
Johnny Ross (piano)
+
Charles Brown (drums on 01., 05. + 10.)
Duke Burrell (piano on 01., 05. + 10.)
Bill Clark (saxophone on 01., 05. + 10.)
Pee Wee Crayton (guitar on 01., 05. + 10.)
Leon Goss (percussion on 01., 05. + 10.)
Bill Walker (bass on 01., 05. + 10.)
Evans Walker (guitar on 01., 05. + 10.)
+
background vocals:
Charles Givings – Deborah Givings – Johnny Ross

Roy Brown02

Tracklist:
01. Love For Sale (Cheapest Price In Town) (R.Brown) 3.58
02. This Land Is My Home (R.Brown) 3.53
03. Louise,Louise (R.Brown) 6.19
04. Boss Lover Blues (R.Brown) 6.39
05. Good Sweet Loving (R.Brown) 2.57
06. Poon Tang Time (R.Brown) 3.18
07. Separation Blues (R.Brown) 2.43
08. Grits ‘N’ Gravy (Crayton) 5.28
09. Midnight In Texas (Crayton) 5.57
10. Lack Of Nookie (R.Brown) 8.04

LabelB1.jpg

*
**

Roy Brown03Roy James Brown (September 10, 1920 or 1925 – May 25, 1981)

Roy Brown05

Jan Akkerman – Live At Montreux Jazz Festival (1978)

FrontCover1.jpgA perfect live album.

This Jan Akkerman record is a real gem! After firs spin I was convinced this by far his best live album. The material comes mainly from his self-titled record (1977), though Tommy (of the Eruption suite) of Focus is added and two new compositions in the spirit of the self-titled Jan Akkerman album. The recording of this live album is perfect, nothing more can be expected, not even today.

For newcomers. Jan Akkerman is ex-guitarist of Dutch prog band Focus. In his solo career he concentrated on jazz-rock/fusion and some historical lute-guitar playing. Though at first (Profile, Tabernakel) Jan akkerman would use his rockin’ electric guitars most of the time, in 1977 Jan decided to become the master of the clean jazz-guitar. This resulted in the 1977 self-titled album with clean guitars, a great band and the best of string arrangements. The compositions had a relaxing but slightly magical vibe and some up-tempo moments. Most of the compositions of this record were played on this live album.

Now, the problem Akkerman and band had to face was the fact that on the album these unbelievable string arrangements made a big contribution to the end result, but they weren’t able to get such an arrangement for their tour. The problem was successfully solved by adding an inspired percussionist (I love his contribution) and some synths that JanAkkerman06both helped to establish a more progressive climate, though the main genre would still be fusion. The two minuted atmospheric synth opening track by Jasper Van ‘t Hoff really gets me warm for the rest of the album!

A nice track from the Focus era, Tommy, is played with precision but the great vocals of Thijs van Leer are a loss. Still the band makes a great symphonic jazz track with that magical feel and the great guitar solo’s (this time clean) of Jan Akkerman.

Conclusion. This recording is perfect, the tracks are great, there’s a magical progressive climate on this concert, all instruments are played perfect, some problems concerning the arrangements were solved very intelligent and Jan Akkerman plays plain beautiful. There’s only one letdown: the album is short. Running for 35 minutes this doesn’t live up to the standards of these days. Still this album is highly recommended to basically every-one who can hear the difference between elevator music and great Fusion. A big four star.

After some more listens I have decided this is a masterpiece.  A warm recommendation! (by friso)

LPBackCover1

Personnel:
Jan Akkerman (guitar)
Tom Barlage (keyboards, saxophone)
Willem Ennes (keyboards)
Jasper Van ‘t Hoff (keyboards)
Cees van der Laarse (bass)
Neppie Noya (percussion)

JanAkkerman05
Tracklist:
01. Transitory (v.Hoff) 2.08
02. Skydancer (Akkerman) 8.37
03. Pavane (Akkerman) 7.17
04. Crackers (Akkerman) 6.53
05. Tommy (Barlage) 3.38
06. Azimuth (Bijlsma) 6.11

LabelB1.jpg

*
**

More from Jan Akkerman:

More

 

 

East Of Eden – It´s The Climate (1978)

FrontCover1.JPGEast of Eden was a British progressive rock band, who had a Top 10 hit in the UK with the single, “Jig-a-Jig”, in 1971. The track was stylistically unlike any of their other work . Although some might consider this group as being a symphonic progressive band, others state that their style is mostly jazz oriented.

Their professional career began back in 1967 when they were formed in Bristol as Pictures of Dorian Gray, by Dave Arbus (born David Arbus, 8 October 1941, Leicester) (violin, flute, saxophone, trumpet), Ron Caines (born Ronald Arthur Caines, 13 December 1939, Bristol) (alto saxophone), Geoff Nicholson (born Geoffrey Nicholson, 27 June 1948, near Bristol, Somerset) (guitar, vocals), Mike Price bass, and Stuart Rossister drums. Price left in Spring 1968 and was replaced by Terry Brace (born Terrence Brace, 28 September 1943, in Bristol, Somerset). Vocalist Al Read (born Alan G Read, 26 March 1942, Chelsea, London) at the same time.

With this line-up the band released the now very rare King Of Siam single on 25 July 1968. They appeared in the film “Laughter in the Dark” directed by Tony Richardson.

In September 1968 Brace left and was replaced by Steve York (b. 24 April 1948, London) and Rossister also left and was replaced in September 1968 by Dave Dufort (born David Dufort, in 1947, in London). In 1968 they moved to London, and the group was signed to a recording contract with Deram Records. In February 1969 Dufort left and in came Bryan Appleyard, who was replaced in June 1969 by Geoff Britton (born Geoffrey Britton, 1 August 1943, Lewisham, South East London) (drums), who later joined Wings. York also left in June 1969 and in came bassist Andy Sneddon (born Andrew Sneddon, 8 May 1946, Kilbirnie, Ayrshire, Scotland).

East Of Eden01

In 1969 they released the Mercator Projected album, followed shortly after by Snafu (1970), and Jig-a-Jig, a European only compilation, released in 1971. Snafu reached the Top 30 in Britain of the UK Albums Chart, whilst a single, “Ramadhan,” reached number two in France. Caines and Nicholson left the band in the 1970s for an unsuccessful stint with Harvest Records. Arbus also left around this time, and was replaced by Joe O’Donnell. The band continued to record and tour in Europe.

In May 1970 original guitarist Nicholson left. The band broke up in 1978 having undergone various changes in membership. Important members in late line-ups included vocalist Al Read; bassist Terence ‘Terry’ Brace; bassist Andy Sneddon; bassist/vocalist David ‘Davy’ Jack (born 24 January 1940, Glasgow, Strathclyde, Scotland), drummer Jeff Allen (born Jeffrey Allen, 23 April 1946, Matlock, Derbyshire) (from June 1970);Bassist/vocalist Martin Fisher (born in 1947, in Kingston-upon-Thames, Surrey); and violinist Joe O’Donnell (born Joseph O’Donnell, 26 December 1948, in Limerick, County Limerick, Ireland) (from March 1973); Alan ‘Al’ Perkes (born 26 May 1949, in Bow, East London); guitarist Garth Watt-Roy (born Garth Philip Watt-Roy, December 1947, in Bombay, India) (from February 1972).

East Of Eden02

The three core members (Arbus, Caines and Nicholson), reunited in 1996 and their album Kalipse was released the next year. Like most of their earlier work, it was a cult hit.

Arbus was a guest musician on The Who’s track “Baba O’Riley”, playing the violin solo. He was a friend of the band’s drummer Keith Moon, and was also later a member of Fiddler’s Dram. (by wikipedia)

And here´s an album at the end of their career in the Seventies.

It´s a good album, but to be honest, not their best album. They sound more then the Average White Band then the early East Of Eden ..

But … listen and make your own decision …

BackCover1.JPG

Personnel:
Jeff Allen (drums)
Les Davidson (guitar)
David Jack (vocals)
Dyl Katz (bass)
Ian Lynn (keyboards)
Don Weller (saxophone)
+
Bary st. John – Bimbo Acock – Theo Thunder – Dave Rose – George Howden – John McNicol – Brenda Lynn

East Of Eden03

Tracklist:
01. Rock’N’Roll King (Davidson/Allen) 3.04
02. It’s The Climate (Davidson) 5.18
03. This Time (Davidson/Allen) 4.35
04. Walnut (Weller) 3.42
05. Sensible Shoes (Davidson) 1.50
06. If You Go (Davidson/Allen) 3.05
07. Patterns (Davidson/Brown) 4.45
08. Down And Out (Acock) 4.28
09. You (Davidson/Allen) 4.25

LabelB1.JPG

*
**

Inlets

The inlets from the German edition

 

Angel – Blowing Great Guns (1991)

FrontCover1.jpgAngel is an American rock band from Washington, D.C., United States, formed in the mid-1970s by Punky Meadows and Mickie Jones. They were signed to Casablanca Records, and had the image of dressing in white.

Angel was discovered by Kiss bass player Gene Simmons performing at a nightclub and was eventually signed to the same label as Kiss, Casablanca.

Angel’s image of dressing in all white was a deliberate contrast to Kiss, which wore black. Angel sported an androgynous image and elaborate stage sets. They were slammed by rock critics, and Frank Zappa ridiculed the all-male band’s feminine appearance in the song “Punky’s Whips”.[2] Angel never achieved mass commercial success but acquired a following as a cult band.

Their first album was the self-titled Angel (1975) and consisted of guitarist Punky Meadows, bassist Mickie Jones, vocalist Frank DiMino, keyboardist Gregg Giuffria, and drummer Barry Brandt. This lineup would hold for the following two albums, Helluva Band (1976) and On Earth as It Is in Heaven (1977), after which Jones would be replaced by Felix Robinson. (by wikipedia)

Angel01.jpg

This is actually the same show as ‘White Heroes,’ only this is the entire show, split up into two discs. This has got to be one of the rarest discs in the world. I literally offered to kiss the feet of my friend who found this disc for me. Anyhow as I said in the ‘White Heroes’ review this is a killer live set. “Can You Feel It” sounds great in this live setting, especially adding the extended Punky solo towards the end. Most of this disc is quite different from the officially released “Live Without a Net” album, especially the solos and introduction. Gregg’s excellent keyboard solo alone is worth the price of admission. This solo is quite different from the edited solo on “Live Without a Net” and reminds me slightly of something Rick Wakeman might do. The sound quality of this boot, while not being perfect, is quite good (A). Overall, an excellent live CD bootleg. (by nolifetilmetal.com)

Recorded Live in Fresno, Ca. May 10, 1978

Angel02.jpg

Personnel:
Barry Brandt (drums)
Gregg Giuffria (keyboards)
Punky Meadows (guitar)
Frank DiMino (vocals)
Felix Robinson (bass)

BackCover1.jpg

Tracklist:

CD 1:
01. Gabriel Introduction 5.25
02. Tower (DiMino/Giuffria/Meadows) 7.16
03. Can You Feel It (DiMino/Giuffria/Meadows) 6.08
04. On the Rocks (DiMino/Giuffria/Meadows) 5.24
05. Don’t You Leave Me Lonely (Brandt/DiMino) 2.46
06. Telephone Exchange (DiMino/Giuffria/Meadows) 5.06
07. Over & Over (DiMino/Giuffria/Meadows) 4.42
08. Hold Me, Squeeze Me (DiMino/Giuffria/Meadows) 4.35

CD 2: 
9. Gregg Giuffria keyboard solo (Giuffria) + Got Love if You Want It (DiMino/Giuffria/Meadows) 9.50
10. Ain’t Gonna Eat Out My Heart Anymore (Burton/Sawyer) 4.01
11. Anyway You Want It (DiMino/Meadows) 3.03
12. Rock ‘n Rollers (DiMino/Giuffria/Meadows) /Punky Meadows guitar solo (Meadows)  10.06
13. Feelin’ Right (DiMino/Giuffria/Meadows) 6.53
14. “White Lightning (Meadows/Mormon)/outro” (12:08)

CD1+2.jpg

*
**

More from Angel:

More.jpg

Starz – Coliseum Rock (1978)

FrontCover1.jpgStarz was one of my favourite Heavy band in the Seventies, despite their more or less ugly cover and their stage-outfit.

Coliseum Rock is the fourth and final studio album by the American hard rock band Starz. The album was released in 1978.

Starz was never a favorite among rock critics, who had few kind words for its Capitol releases of the late ’70s. Whether Starz was providing pop-metal or power pop, the band received its share of negative reviews. But then, one can’t always measure an artist’s worth based on the opinions of critics. As a rule, critics tend to like music that is challenging and provocative instead of merely entertaining, which explains why the late ’70s critics who praised the Sex Pistols, Elvis Costello, Bruce Springsteen, and the Clash had nothing nice to say about Starz, a band that was seldom challenging and didn’t pretend to be. Starz was merely entertaining, and the band was good at what it did it did — not great, but good. After detouring into power pop on 1978’s Attention Shoppers!, Starz got back to emphasizing pop-metal/hard rock on its fourth album, Coliseum Rock.

Single.jpg

Not surprisingly, critics trashed this 1978 LP and denounced escapist tunes like “Don’t Stop Now” and “So Young, So Bad” as frivolous and superficial. But then, Starz never claimed to be Springsteen, and it was silly for critics to complain because the album wasn’t Born to Run. Truth be told, Coliseum Rock is a likable party record. But it wasn’t the major commercial breakthrough that Starz was hoping for, and in 1980 the band called it quits. by Alex Henderson)

But … Starz is still alive and well again …

Listen to songs like “So Young, So Bad”,  “Last Night I Wrote A Letter” or the titel track of this album and you´ll  know how fucking good this band was !

BackCover1.jpg

Personnel:
Orville Davis (bass)
Joe X. Dubé (drums)
Bobby Messano (guitar)
Richie Ranno (guitar)
Michael Lee Smith (vocals)

Starz01.jpgTracklist:
01. So Young, So Bad (Smith) 3.27
02. Take Me (Ranno/Smith/Messano) 3.58
03. No Regrets (Ranno/Smith/Messano/Davis/Dubé) 4.54
04. My Sweet Child (Smith/Davis) 3.58
05. Don’t Stop Now (Ranno/Smith/Davis/Messano) 3.39
06. Outfit (Smith/Ranno/Davis) 3.19
07. Last Night I Wrote A Letter (Ranno/Smith) 5.00
08. Coliseum Rock (Ranno) 3.30
09. It’s A Riot (Ranno/Smith) 3.36
10. Where Will It End (Ranno/Smith/Dubé) 4.27

LabelB1.jpg

*
**

Sticker.jpg

The website in 2019:

website.jpg