Dire Straits – Same (1978)

LPFrontCover1Dire Straits were a British rock band formed in London in 1977 by Mark Knopfler (lead vocals and lead guitar), David Knopfler (rhythm guitar and backing vocals), John Illsley (bass guitar and backing vocals) and Pick Withers (drums and percussion). They were active from 1977 to 1988 and again from 1991 to 1995.

Their first single, “Sultans of Swing”, from their 1978 self-titled debut album, reached the top ten in the UK and US charts. It was followed by hit singles including “Romeo and Juliet” (1981), “Private Investigations” (1982), “Twisting by the Pool” (1983), “Money for Nothing” (1985), and “Walk of Life” (1985). Their most commercially successful album, Brothers in Arms (1985), has sold more than 30 million copies; it was the first album to sell a million copies on compact disc and is the eighth-bestselling album in UK history. According to the Guinness Book of British Hit Albums, Dire Straits have spent over 1,100 weeks on the UK albums chart, the fifth most of all time.

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Dire Straits’ sound draws from various influences, including country, folk, the blues rock of J. J. Cale, and jazz. Their stripped-down sound contrasted with punk rock and demonstrated a roots rock influence that emerged from pub rock. There were several changes in personnel, with Mark Knopfler and Illsley being the only members who lasted from the beginning of the band’s existence to the end. After their first breakup in 1988, Knopfler told Rolling Stone: “A lot of press reports were saying we were the biggest band in the world. There’s not an accent then on the music, there’s an accent on popularity. I needed a rest.” They disbanded for good in 1995, after which Knopfler launched a solo career full-time. He has since declined reunion offers.

Dire Straits were called “the biggest British rock band of the 80s” by Classic Rock magazine; their 1985–1986 world tour, which included a performance at Live Aid in July 1985, set a record in Australasia. Their final world tour from 1991 to 1992 sold 7.1 million tickets. Dire Straits won four Grammy Awards, three Brit Awards (Best British Group twice), two MTV Video Music Awards, and various other awards. They were inducted into the Rock and Roll Hall of Fame in 2018. Dire Straits have sold over 120 million units worldwide, including 51.4 million certified units, making them one of the best-selling music artists.

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Dire Straits is the debut studio album by the British rock band Dire Straits released on 9 June 1978 by Vertigo Records, internationally, Warner Bros. Records in the United States and Mercury Records in Canada. The album has the hit single “Sultans of Swing”, which reached number 4 on the Billboard Hot 100 chart and number 8 on the UK Singles Chart. The album reached the top of the album charts in Germany, Australia and France, number 2 in the United States and number 5 in the United Kingdom. Dire Straits was later certified double platinum in both the United States and the United Kingdom.

Dire Straits was recorded at Basing Street Studios in London from 13 February to 5 March 1978. Knopfler used a few guitars for the recording, including a pair of red Fender Stratocasters—one from 1961 (serial number 68354) and one from 1962 (serial number 80470). He played his 1938 National Style O 14 fret guitar (serial number B1844) on “Water of Love” and “Wild West End”. He also used a black Telecaster Thinline (serial number 226254) on “Setting Me Up”. David played a black Fender Stratocaster and a Harmony Sovereign acoustic guitar. The album was produced by Muff Winwood, and engineered by Rhett Davies,assisted by Greg Cobb

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The album was released in the US on 20 October 1978. The first single released was “Sultans of Swing” which first broke into the United States top five early in the spring of 1979, becoming a hit a full five months after the album was released there, and then reached number eight in the UK Singles Chart. “Water of Love” was also released as a single in some countries, and charted in Australia, reaching number 54, and in the Netherlands, reaching number 28.

Singles

“Sultans of Swing” was re-released as a single in the UK in November 1988 to promote the greatest hits compilation Money for Nothing, released in October that year.[8]

The album was remastered and reissued with the rest of the Dire Straits catalogue in 1996 to most of the world excluding the U.S. and on 19 September 2000 in the United States.[9]
Artwork

The album cover artwork is designed by Hothouse, who commissioned the cover painting from Chuck Loyola. The Dire Straits Fender logo, which appears on the back cover, was designed by Geoff Halpern.

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Dire Straits promoted the release of their first single and album with the Dire Straits Tour, which started on 6 June 1978 at the Lafayette Club in Wolverhampton, included 55 shows, ending on 18 November 1978 at the College of Education in Hitchin. The European tour included concerts in the United Kingdom, France, Belgium, Germany and the Netherlands. These concerts presented Dire Straits with their largest audiences to that date. The first leg of the tour promoted their first single, “Sultans of Swing”. This first leg took the band around Great Britain in June and July 1978, performing in England, Scotland and Wales. The band typically performed in small halls with a maximum capacity of 1,000. The second leg of the tour promoted the band’s debut album. This leg took the band to several European countries, where they met journalists and performed on television programmes.

In his review for Rolling Stone magazine, Ken Tucker wrote that the band “plays tight, spare mixtures of rock, folk and country music with a serene spirit and witty irony. It’s almost as if they were aware that their forte has nothing to do with what’s currently happening in the industry, but couldn’t care less.” Tucker singled out “Sultans of Swing” for its “inescapable hook” and “Bob Dylan-like snarl in its vocal”. He also praised “Setting Me Up” as a “heavenly number, funny and bitter”

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Dire Straits’ minimalist interpretation of pub rock had already crystallized by the time they released their eponymous debut. Driven by Mark Knopfler’s spare, tasteful guitar lines and his husky warbling, the album is a set of bluesy rockers. And while the bar band mentality of pub-rock is at the core of Dire Straits — even the group’s breakthrough single, “Sultans of Swing,” offered a lament for a neglected pub rock band — their music is already beyond the simple boogies and shuffles of their forefathers, occasionally dipping into jazz and country. Knopfler also shows an inclination toward Dylanesque imagery, which enhances the smoky, low-key atmosphere of the album. While a few of the songs fall flat, the album is remarkably accomplished for a debut, and Dire Straits had difficulty surpassing it throughout their career. (by Stephen Thomas Erlewine)

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Personnel:
John Illsley (bass, background vocals)
David Knopfler (guitar, background vocals)
Mark Knopfler (vocals,  lead guitar)
Pick Withers (drums)

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Tracklist:
01. Down To The Waterline 4.02
02. Water Of Love 5.25
03. Setting Me Up 3.19
04. Six Blade Knife 4.12
05. Southbound Again 2.59
06. Sultans Of Swing 5.48
07. In The Gallery 6.16
08, Wild West End 4.42
09. Lions 5.04

All songs written by Mark Knopfler

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Herman Brood & His Wild Romance – Cha Cha (1978)

FrontCover1Hermanus “Herman” Brood (5 November 1946 – 11 July 2001) was a Dutch musician, painter, actor and poet. As a musician he achieved artistic and commercial success in the 1970s and 1980s, and was called “the greatest and only Dutch rock ‘n’ roll star”. Later in life he started a successful career as a painter.

Known for his hedonistic lifestyle of “sex, drugs and rock ‘n’ roll”, Brood was an enfant terrible and a cultural figure whose suicide by jumping from a hotel roof, apparently influenced by a failure to kick his drug and alcohol habit, strengthened his controversial status; according to a poll organised to celebrate fifty years of Dutch popular music, it was the most significant event in its history.

Herman Brood was born in Zwolle, and started playing the piano at age 12. He founded beat band The Moans in 1964, which would later become Long Tall Ernie and the Shakers. Brood was asked to play with Cuby and the Blizzards, but was removed by management when the record company discovered he used drugs. For a number of years Brood was in jail (for dealing LSD), or abroad, and had a number of short-term engagements (with The Studs, the Flash & Dance Band, Vitesse).

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In 1976, Brood started his own group, Herman Brood & His Wild Romance (and started work with photographer Anton Corbijn),[5] initially with Ferdi Karmelk (guitar), Gerrit Veen (bass), Peter Walrecht (drums), and Ellen Piebes and Ria Ruiters (vocals). They played the club and bar circuit, first in Groningen (the northeasternmost province of the Netherlands). In 1977 the band released their first album, Street.

The band played all over the Netherlands, playing as many gigs as possible. And Herman’s drug habit became public: In 1977 for instance the Wild Romance played a gig in a high school in Almelo, the Christelijk Lyceum; during the break Brood was caught on the toilet taking heroin or speed (there are different reports on the type of drug, but it is a well-known story amongst former students), the rest of the concert was cancelled, and this also was the last time a rock concert took place at this school for many years.[citation needed]
Murals by Brood on a parking garage in Leidschendam

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They are still best known for their second album, Shpritsz—a play on the German word Spritze for syringe—from 1978. This album contained Brood anthems like “Dope Sucks,” “Rock & Roll Junkie,” and their first Dutch hit single, “Saturday Night.” The band went through many personnel changes over the years; the best-known formation was Freddy Cavalli (bass), Dany Lademacher (guitar) (later replaced with David Hollestelle), and Cees ‘Ani’ Meerman (drums). A frequent contributor was Bertus Borgers (saxophone).

Brood’s outspoken statements in the press about sex and drug use brought him into the Dutch public arena even more than his music. He was romantically involved with the German singer Nina Hagen, with whom he appeared in the 1979 film Cha-Cha. He is reputed to be the subject of her song “Herrmann Hiess Er” (English title “Herrmann Was His Name”) from the 1979 Unbehagen album, a song about a drug addict. Brood relished the media attention and became the most famous hard drug user in the Netherlands. “It is quite common for an artist to use drugs, but not for him to tell everybody. I admit that it scared me that my popularity could make people start using drugs,” he once said in an interview.

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In the summer of 1979, Brood tried to enter the American market, with support from Ariola’s US division, which was attempting to expand into rock music. Following on the success of Shpritsz, the band was booked as a support act for The Kinks and The Cars, playing in auditoriums; “Herman Brood and His Wild Romance Tour Cha Cha ’79” headlined in New York’s (Bottom Line) and Los Angeles’ (Roxy).[8] A re-recorded version of “Saturday Night” peaked at number 35 in the Billboard Hot 100,[9] but the big break Brood hoped for didn’t happen.[10] When he returned to the Netherlands in October 1979, his band had begun to fall apart, and soon his popularity went downhill.[4] Go Nutz, the album Brood had recorded while in the States, and the movie Cha-Cha, which finally premiered in December 1979, were considered artistic failures, even though Go Nutz produced three charting singles in the Netherlands and the Cha Cha soundtrack attained platinum status. The 1980 album Wait a Minute… was a minor success, but the follow-up albums Modern Times Revive (1981) and Frisz & Sympatisz (1982) failed to make the Dutch album charts.

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Brood continued to record throughout the 1980s and had a few hits—a top-10 single, “Als Je Wint” with Henny Vrienten, and a minor hit with a reggae song, “Tattoo Song,” but he spent more and more time on his art work. At the end of the ’80s he made a comeback of sorts; Yada Yada (1988), produced by George Kooymans, was well-received, and he toured Germany with a renewed Wild Romance (which saw the return of Dany Lademacher). In 1990, he won the BV Popprijs, one of the highest Dutch awards for popular music, and recorded Freeze with Clarence Clemons of the E Street Band and Tejano accordion player Flaco Jiménez. A live “best of” album, Saturday Night Live, appeared in 1992. His 50th birthday, in 1996, was celebrated with a show at the Paradiso music and cultural center in Amsterdam, and the album (of duets) was released the same year.

Self portrait:
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After his career in music, Brood turned to painting and became a well-known character in Amsterdam art circles. His art is best described as pop-art, often very colorful and graffiti-inspired screen prints, and he achieved some commercial success and notoriety by, for instance, creating murals in various public spaces in and around Amsterdam.[12] He continued to remain in the public eye, by appearing in the media and by his cooperation with biographical films such as 1994’s Rock’n Roll Junkie.

Toward the end of his life, Brood vowed to abstain from most drugs, reducing his drug use to alcohol and a daily shot of speed (“2 grams per day”[13]). On 11 July 2001, depressed by the failure of his drug rehabilitation program and facing serious medical problems because of his prolonged drug use, he committed suicide by jumping from the roof of the Amsterdam Hilton Hotel at the age of 54. He left a note, stating “Party on. I’ll be seeing you.”

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Extensively covered by the national media, his cremation took place five days later. Before the cremation, Brood’s casket was driven from the Hilton hotel to Paradiso, Amsterdam, the streets lined with thousands of spectators. A commemorative concert was held in Paradiso, with performances by Hans Dulfer, André Hazes, and Jules Deelder, and the leading Dutch music magazine Muziekkrant OOR devoted an entire issue to him. His ashes were inurned at Zorgvlied cemetery.

Soon after his suicide, Brood’s version of “My Way” spent three weeks as number one in the Dutch singles charts; the market value of his art work also increased greatly. A characteristic note is that Brood’s paintings had often been targeted by vandals during his life,[20] but after his death they were stolen for their value. His popularity (or notoriety) was confirmed by the fact that his name turned out to be the strongest brand of the year.

When U2 performed in the Netherlands three weeks after Brood’s suicide, they paid tribute to him at each of the three shows. They dedicated a version of “Stuck in a Moment You Can’t Get Out Of” (written for Michael Hutchence after his death) to him, with Bono singing Brood’s “When I Get Home” as an a capella intro.

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At the third show in Arnhem they also dedicated their own “Gone” to him and had his version of “My Way” played over the PA as outro music. In the middle of the show Bono delivered an emotional eulogy to Brood before the band performed “In a Little While”.[citation needed]

On 5 November 2006 the Groninger Museum opened an exposition devoted to Herman Brood’s life and work, comprising paintings, lyrics, and poetry, portraits by photographer Anton Corbijn, a collection of private pictures (from the family album), and concert photos and videos. The exhibition continued until 28 January. It was centered on Herman’s atelier (studio) where he created most of his paintings. The atelier had been entirely re-built in the museum. During the 1990s, Herman Brood’s studio was located on the second floor of the gallery in the Spuistraat in Amsterdam and has remained untouched since his death.

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In 2007 the film Wild Romance, a movie about Brood’s life, premiered in the Netherlands, with Brood portrayed by Daniël Boissevain. He continues to inspire other artists: the 2007 album Bluefinger by Black Francis is based on Brood’s life and works. A tribute band called the Brood Roosters (“bread toasters”) was active in the Netherlands until they split up in early 2009. Another tribute band called Yada Yada is still active in the Netherlands, often appearing with original members of the Wild Romance (Dany Lademacher, Ramon Rambeaux).

In 2010 the Catastrophic Theatre Company collaborated with Frank Black on a rock opera based on the Bluefinger album. The opera’s first performance, with Matt Kelly portraying Brood, was on 12 November 2010 in Houston, Texas. (wikipedia)

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Cha Cha is the first live album by Dutch rock and roll and blues group Herman Brood & His Wild Romance. The album produced one single, “Still Believe.” On the Dutch album chart, the album reached #2 on 13 January 1979, and stayed on the chart for 18 weeks.[1] The album was certified gold in 1979.

Cha Cha is also the name of a movie filmed in 1979 with Herman Brood, Nina Hagen, and Lene Lovich, whose soundtrack was released separately on LP, also called Cha Cha. In the movie, he marries Nina Hagen; in reality they had a brief affair.

Cha Cha was re-released on CD in 1991 by Sony BMG/Ariola. (wikipedia)

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‘Cha Cha’ is Herman Brood’s third album with ‘His Wild Romance’. They already toured throughout Western Europe successfully for a couple of years and Herman Brood with his sex & drugs & rock ‘n roll lifestyle build up a reputation as a notorious rock ‘n roll junkie. In 1978 Herman Brood recorded an album LIVE in the studio in front of a small selected audience with ‘His Wild Romance’.

What Cha Cha demonstrates is that Brood and Wild Romance were able to capture and build on the excitement of some of the songs on their first two records live. On ‘Street’ and ‘Sphritz’ there are a number of unparalleled Dutch rock and roll classics. Enormously uptempo, full of thrills and excitement. Rock And Roll Junkie’, ‘Hit’, ‘Dope Sucks’, to name but three, are a huge blast from this record. With Bertus Borgers on board, ‘Still Believe’, one of Brood’s hit singles, but co-written by Borgers, also comes to life. The three backing vocalists, José van Iersel of Gruppo Sportivo, Floor van Zutphen and Monica Tjen A Kwoei, do complete the sensation.

Most striking is actually the absence of Brood’s best-known song ‘Saturday Night’. The band also serves up a number of covers, Little Richard and Lou Reed’s ‘Can’t Stand It Anymore’. Especially the latter fits so well in Brood’s repertoire that I almost get the idea that this song has been the model for Brood’s solo career. (WoNa)

This album is hot … featuring the great Bertus Borgers  on saxophone !

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Personnel:
Herman Brood (keyboards, vocals)
Freddy Cavalli (bass)
Danny Lademacher (guitar)
Cees Meerman (drums)
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Bertus Borgers (saxophone)
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background vocals:
Monica Tjen Akwoei – Josee van Iersel – Floor van Zutphen

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Tracklist:
01. Hit (Lademacher/Hawinkels/Brood) 1.29
02. Too Slow (Lademacher/Brood) 2.29
03. Street (Brood) 2.10
04. Still Believe (Smeenk/Borgers) 3.10
05. True Fine Mama (Penniman) 1.48
06. Rock ‘n Roll Junkie (Brood) 2.29
07. One More Dose (Brood/Sinzheimer) 3.14
08. Speedo (Navarro) 0.25
09. Dope Sucks (Lademacher/Brood) 2.08
10. City (Allison) 3.36
11. Blue (Brood) 3.18
12. Can’t Stand It (Reed) 2.08
13. Phony (Brood) 3.26
14. Pop (Brood) 3.53

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SBB – Follow My Dream (1978)

FrontCover1SBB is one of the most important Polish bands of the seventies. This band, rightfully listed in the eclectic progressive genre, mainly plays a hybrid of symphonic prog, space/atmospheric prog and fusion.

The band originated from the early seventies, with their initial name being SILESIAN BLUES BAND. The band was formed by composer, keyboardist, bass-player and extravert vocalist Józef SKRZEK. Young, but skill-full guitar-player Antymos APOSTOLIS added his great solo’s and drummer extraordinaire Jerzy PIOTROWSKi freely experimented with his recognizable fast fills and break-up rhythms.

In the end of ’71, after a year full of gigs, the band started a fruitful cooperation with one of Polish most important musicians and song-writers: Czes³aw NIEMEN. ((by friso/progarchives)

More informations about SBB: here.

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And here´s their 8th album:

This is a great album… it consists in two very long tracks, but beautifully made. almost instrumental, it has a very fluid but complex sound, with lots of different combinations of keyboard sounds and atmospheres, tpically from the seventies, always changing and each time bringing new delightfull harmonies. Sometimes, there are some calm vocal parts from Skzrek, in polish, adding a dreamy atmosphere to the music. The guitar in this album is rare, at least as a lead instrument, but when Apostolis plays, he can grab all the attentions to his notes, which proves that is a discreet but a top notch guitar player. This is an essencial album, highly recommended, with a sound totally different from other bands, including polish bands. Excelent! (by Melos)This is a great album… it consists in two very long tracks, but beautifully made. almost instrumental, it has a very fluid but complex sound, with lots of different combinations of keyboard sounds and atmospheres, tpically from the seventies, always changing and each time bringing new delightfull harmonies. Sometimes, there are some calm vocal parts from Skzrek, in polish, adding a dreamy atmosphere to the music. The guitar in this album is rare, at least as a lead instrument, but when Apostolis plays, he can grab all the attentions to his notes, which proves that is a discreet but a top notch guitar player. This is an essencial album, highly recommended, with a sound totally different from other bands, including polish bands. Excelent! (by Melos)

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I started listening to this album lying in my bed because i couldn’t sleep so I took my headphones and started rolling it. My first impression was really good (two 20-minute epics is not bad) and was very pleasent in that precise moment, due to the quiet character of the first part of Going Away. I kept listening to every detail in the beginning of the song. There are lots of things going on, lots of sounds, nice sounds, very calming. The voice is espectacular too, I’ve no complains about Józef Skrzek’s way of singing. When 3th Reanimation started I was completly blown away, after being so calmed with Freedom with us, the entrance to 3th Reanimation is like a slap of the face, but then you get to realize the idea and you can enjoy the song. The rest is (not technically) very much like Freedom with us, but just a little bit harder. Then comes the tipical end of an epic song, for about 4 minutes which is calles Mountain Mellody. WHAT AN ENDING!. Speaking of song’s endings i’ts nothing compared with As sure as eggs is eggs or It, but is a great ending though.

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After getting out of that psychedelic, technic and jazzy voyage I got into another one, but this time was different. Even when the structure of both of the songs in the album are very simila, they both have a distinctive mark that makes them different, i mean, imagine that each song is a picture on an exhibition; now, they both have the same height and width, in the same figure painted, but in diferent colours. Now, I don’t want to give more clues to the readers. This album is a MUST HAVE. I’ve no doubt that you wont be dissapointed with it, i’ts a remarcable sample of what this polish guys have to offer, along with Memento Z Banalnym Tryptykiem but in my opinion this is far much noble and better. and for the people who likes it, ¿why isn’t among the 50 top albums? (by wato)

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Personnel:
Apostolis Antymos (guitar, bouzouki)
Jerzy Piotrowski (drums)
Józef Skrzek (keyboards, harmonica, vocals)

The Polish edition from 1991:
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Tracklist:
01. Going Away 24.13.
01.1. Freedom With Us (Skrzek/Milik) 8.12
01.2. 3rd Reanimation (Skrzek) 6.14
01.3. Going Away (Skrzek/Brodowski) 6.36
01.4. (Żywiec) Mountain Melody (Skrzek) 3.08
02. Follow My Dream 22.09
02.1. Wake Up (Skrzek) 5.05
02.2. In The Cradle of Your Hands (Song for Father) (Skrzek/Brodowski) 2.46
02.3. Growin’ (Skrzek) 6.19
02.4. Follow My Dream (Skrzek/Brodowski) 8.08
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3. Królewskie marzenie (Royal dream) (Recorded 1977 in Polish Broadcasting, Opole) (Skrzek/Antymos) 6.38
4. Wiosenne chimery (Vernal chimeras) (Recorded 1978-03-16 till 25 in Polish Broadcasting, Katowice) (Skrzek) 15.54
5. Dla przyjaciół (For friends) (Recorded 1977 in Polish Broadcasting, Opole) (Skrzek) 7.11

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U.K. – Same (1978)

LPFrontCover1U.K. were a British progressive rock supergroup originally active from 1977 to 1980. The band was founded by bass guitarist John Wetton and drummer Bill Bruford, formerly the rhythm section of King Crimson. The band was rounded out by violinist/keyboardist Eddie Jobson, and guitarist Allan Holdsworth. Bruford and Holdsworth left in 1978, and Bruford was replaced by drummer Terry Bozzio. Jobson, Wetton and Bozzio reformed U.K. for a world tour in 2012.

John Wetton (formerly of Family, Uriah Heep and Roxy Music) and Bill Bruford (formerly of Yes) had worked together in King Crimson from 1972 to 1974, when guitarist Robert Fripp disbanded the group. In July of 1976, Bruford assisted Wetton on demos originally proposed for a Wetton solo album (two of these demos were later released on the compilation Monkey Business in 1998). In September of 1976, they formed a band with keyboardist Rick Wakeman, who had previously worked with Bruford in Yes. The project was stopped after rehearsals by Wakeman’s label. According to Bruford, “A&M Records were unwilling to let their ‘star’, Wakeman, walk off with a used, slightly soiled King Crimson rhythm section, and the idea failed”.

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Bruford and Wetton next approached Robert Fripp to reform King Crimson. When Fripp eventually declined, Bruford and Wetton decided that each would choose a musician in order to form a new band. Wetton brought in Eddie Jobson (formerly of Curved Air, Roxy Music and Frank Zappa’s band), whom he had met during his brief time as touring bassist with Roxy Music, thus “stealing” him from Zappa. Bruford recruited Allan Holdsworth (formerly of Soft Machine, Gong, Tempest and The Tony Williams Lifetime) who had played on Bruford’s debut solo album, Feels Good to Me (1978).

The band’s formation coincided with the introduction of the Yamaha CS-80 synthesizer, and this instrument became an integral part of their developing sound.

U.K. released their self-titled debut album in 1978 and followed it with a supporting tour. Following two lengthy American tours (June to October of 1978), Wetton and Jobson decided to fire Holdsworth over musical differences, and since Bruford had indicated to Wetton that he would favour Holdsworth’s more improvisational approach in the event of a disagreement on the direction of the band, they lined up Terry Bozzio (another one-time Frank Zappa band member) to replace Bruford. Bruford took several instrumentals with him that he had developed for the live U.K. repertoire (“Forever Until Sunday”, “Sahara of Snow”), that he instead recorded with his solo band Bruford on his second album One of a Kind (1979).

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U.K. attempted unsuccessfully to find another guitarist before resolving to continue as a trio. They recorded the studio album Danger Money, released in March 1979, and spent much of that year touring North America as opening act for Jethro Tull. The album spawned a minor hit single, “Nothing to Lose”, which reached number 67 on the UK charts. A live album, Night After Night, was recorded in Japan that spring and released in September 1979. Following a final European tour in December 1979, and in spite of plans to record a new studio album in America in March 1980, U.K. disbanded as Jobson and Wetton had different ideas on how the band should develop. Jobson wanted UK to go on with more long instrumental pieces, while Wetton thought that performing shorter, more commercial songs was a better idea. Jobson stated that one particularly pop-oriented song contributed to the band dissolving: “When Will You Realize”, a non-LP B-side featured on the “Night After Night” single, which Wetton would re-record (with slightly different lyrics) in 1980 on his solo album Caught in the Crossfire.

Jobson worked with Jethro Tull on the album A (1980) and went on to a solo career. Wetton, following the recording of his solo album Caught in the Crossfire (summer 1980) and a brief stint with Wishbone Ash (October–December 1980), eventually left E.G. Records to sign with Geffen Records and ex-Yes manager Brian Lane and started Asia with Steve Howe, Carl Palmer and Geoffrey Downes. Bozzio formed Missing Persons with his then-wife Dale Bozzio, guitarist Warren Cuccurullo, bassist Patrick O’Hearn and Chuck Wild on keyboards– the first four also from line-ups with Zappa. Holdsworth and Bozzio played together in HoBoLeMa almost three decades later. John Wetton and Allan Holdsworth both died in 2017.

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From 1995 to 1998, Jobson and Wetton worked together on a proposed U.K. reunion album, also recording contributions by Bruford, Tony Levin, Steve Hackett and Francis Dunnery. When Wetton departed, “Legacy” became an Eddie Jobson solo project, with Wetton replaced on vocals by Aaron Lippert. However, Jobson eventually abandoned this project. Three tracks intended for it were included on Voices of Life, a compilation by Bulgarian Women’s Choir organised by Jobson.

In October 2007, Jobson announced a new band, UKZ, with Lippert and former King Crimson bassist/guitarist Trey Gunn among others, which released an EP called “Radiation” in March 2009. In late 2009, Jobson and Wetton both talked about a possible reunion of U.K. A reunion tour in February/March 2010 with Jobson, Wetton, Marco Minnemann on drums (from UKZ) and Greg Howe (Victor Wooten, Vitalij Kuprij, Michael Jackson) on guitar was described to promoters, but would not happen until 2011.

Wetton and Jobson performed three concerts in Poland in November 2009 as part of Jobson’s Ultimate Zero (U-Z) project. The line-up also featured Minnemann, Howe, and Tony Levin (stick). They performed music from UK and King Crimson. A CD compiled from various U-Z performances from 2009, entitled Ultimate Zero Tour – Live, including multiple tracks from the Polish shows, was then released.

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It was announced on 11 February 2011, and later confirmed by John Wetton on his website, that U.K. had reformed to play two shows in Japan on 15 and 16 April 2011. The line-up was Jobson and Wetton, with Minnemann and Alex Machacek performing drums and guitar respectively. US dates, including a show in San Francisco, were also announced and performed in April 2011. A DVD called “Reunion: Live in Tokyo” was culled from these shows and officially released in 2013.

Former drummer Bozzio then rejoined for an American tour in 2012. The line-up for the subsequent European tour included additional musicians Gary Husband (drums) and a returning Alex Machacek on guitar.

In 2013, U.K. did an “Azure Seas” tour with Machacek once again taking on guitar duties, and an East Coast tour with Virgil Donati performing drumming duties in place of Bozzio, who had once again departed the band. On 8 November of the same year, the band did also a special concert performance of their two studio albums in Kawasaki, in Japan. The drummer for that special concert was Marco Minnemann.

U.K. appeared in the 2014 edition of Cruise to the Edge progressive rock festival. The line-up once again included both Machacek and Donati. In 2015 the band announced their final world tour, with the band being joined by Donati and Machacek. Donati was then replaced by Dream Theater drummer Mike Mangini for the final dates in the USA and Japan.

Throughout their brief existence, U.K.’s music was characterised by skilled musicianship, jazzy harmonies, close harmony vocals, mixed meters, electric violin solos, and unusually varied synthesiser (Yamaha CS-80) sonorities. Relative to specific styles, the band spans various genres ranging from progressive rock to jazz fusion.

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U.K. is the debut album by the progressive rock supergroup U.K., released in May 1978 through E.G. Records and Polydor Records. It features John Wetton, Eddie Jobson, Bill Bruford, and Allan Holdsworth. “In the Dead of Night” and “Mental Medication” were both edited for single release. The album was well received by FM album rock radio and by the public during the summer of 1978. The LP sold just over 250,000 copies by 1 September 1978, with further sales through the rest of the year. The album was remastered in 2016 and included as part of the box-set “Ultimate Collector’s Edition”.

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“Alaska” was written by Eddie Jobson for the Yamaha CS-80.[6] The first three tracks belong to a suite entitled “In the Dead of Night”, which began as a chord sequence by Jobson, to which Wetton added the melody and lyrics.[6] Early versions of “In the Dead of Night” and “Thirty Years” were written before the formation of the band.[7]
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In 2015, Rolling Stone magazine ranked it as the 30th best progressive rock album of all time.

In an interview with the TeamRock site in 2016, Ty Tabor of King’s X selected the album as his top pick in a “5 Essential Guitar Albums” list, stating, “I had never heard anybody think about playing guitar the way that [Holdsworth] plays on that record.” (wikipedia)

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The debut album from amalgamated progsters John Wetton, Bill Bruford, Eddie Jobson, and Allan Holdsworth has the edge over both Danger Money and Night After Night because of the synthesis of melody and rhythm that is inflicted through nearly every one of the eight tracks. While not as commercial sounding as Wetton’s 1980s supergroup Asia, U.K. mustered up a progressive air by the use of intelligent keyboard and percussion interplay without sounding mainstream. Jobson’s work with the electric violin and assorted synthesizers adds to an already profound astuteness carried by Wetton. Former Yes and Genesis drummer Bill Bruford is just as important behind the kit, making his presence felt on numbers like “Thirty Years” and “Nevermore.” Without carrying the same rhythms or cadences through each song, U.K. implements some differentiation into their music, straying from the sometimes over-the-top musicianship that occurs with the gathering of such an elite bunch. The melodious finish of such tracks as “By the Light of Day” and “Alaska” showcases the overall fluency of each member, and shows no signs of any progressive tediousness that could have easily evolved. All three of U.K.’s albums are enjoyable, but the debut sports the most interest, since it spotlights their remarkable fit as a band for the first time. (by Mike DeGagne)

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Personnel:
Bill Bruford (drums, percussion)
Allan Holdsworth (guitar)
Eddie Jobson (keyboards, violin, electronics)
John Wetton (bass, vocals)

InletsTracklist:
01. In The Dead Of Night (Jobson/Wetton) 5.35
02. By The Light Of Day (Jobson/Wetton) 4.28
03. Presto Vivace And Reprise (Jobson/Wetton) 3.06
04. Thirty Years (Wetton/Jobson/Bruford) 8.04
05. Alaska (Jobson) 4.43
06. Time To Kill (Jobson/Wetton/Bruford) 4.54
07. Nevermore (Holdsworth/Jobson/Wetton) 8.12
08. Mental Medication (Holdsworth/Bruford/Jobson) 7.23

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John Wetton

Allan Holdsworth

Mark Farner Band – No Frills (1978)

FrontCover1Mark Fredrick Farner (born September 29, 1948) is an American singer, guitarist and songwriter, best known as the lead singer and lead guitarist for Grand Funk Railroad, and later as a contemporary Christian musician.

Farner began his career in music by playing in Terry Knight and The Pack (1965–1966), The Bossmen (1966–1967), The Pack (aka The Fabulous Pack) (1967–1968), before forming Grand Funk Railroad with Don Brewer (drums) and Mel Schacher (bass guitar) in 1969. Craig Frost (keyboards) joined the band in 1972. Farner has Cherokee ancestry from his maternal side.

Terry Knight and The Pack

Farner was the guitarist and lead singer for Grand Funk Railroad as well as the songwriter for most of their material. His best-known composition is the 1970 epic “I’m Your Captain (Closer to Home)”. He also wrote the 1975 hit “Bad Time”, the last of the band’s four singles to make the top 5 on the Billboard Hot 100.

After Grand Funk initially disbanded in 1976, Farner released his self-titled debut solo album in 1977, and his second, No Frills, in 1978 (both Atlantic Records). In 1981, Farner and Don Brewer launched a new Grand Funk line-up with bassist Dennis Bellinger and recorded two albums, Grand Funk Lives and What’s Funk?[citation needed] Farner went solo again with 1988’s Just Another Injustice on Frontline Records.

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His third Frontline release was 1991’s Some Kind of Wonderful, which featured a revamped Jesus version of the Grand Funk classic of the same name. Farner became a born again Christian in the late 1980s and enjoyed success with the John Beland composition “Isn’t it Amazing”, which earned him a Dove Award nomination and reached No. 2 on the Contemporary Christian music charts.

In the 1990s, Farner formed Lismark Communications with former Freedom Reader editor Steve Lisuk. Soon after, Farner began reissuing his solo albums on his own record label, LisMark Records.

From 1994 to 1995, Farner toured with Ringo Starr’s Allstars, which also featured Randy Bachman, John Entwistle, Felix Cavaliere, Billy Preston, and Starr’s son, Zak Starkey.

In the late 1990s, Farner reunited with Grand Funk, but left after three years to resume his solo career. He currently tours with his band, Mark Farner’s American Band, which plays a mixture of Grand Funk songs and Farner’s solo offerings.

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Farner had a pacemaker installed October 22, 2012, having struggled with heart troubles for the previous eight years.

Mark Farner was voted into the Michigan Rock and Roll Legends Hall of Fame as a solo artist in 2015. He had previously been inducted as a member of both Grand Funk Railroad and Terry Knight & The Pack.

Farner was honored with the Lakota Sioux Elders Honor Mark in 1999. During the concert in Hankinson, North Dakota, a special presentation was held honoring Mark’s Native ancestry and his contributions. Members of the Lakota Nation presented him with a hand-made ceremonial quilt. He has also been honored with the Cherokee Medal of Honor by the Cherokee Honor Society.

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An authorized biography of Farner, entitled From Grand Funk to Grace, was published in 2001.

This section appears to contain trivial, minor, or unrelated references to popular culture. Please reorganize this content to explain the subject’s impact on popular culture, providing citations to reliable, secondary sources, rather than simply listing appearances. Unsourced material may be challenged and removed. (December 2018)

Mark Farner is mentioned by Homer Simpson in The Simpsons episode, “Homerpalooza”, in season 7, episode 24 of the series. As Homer drives his children and their friends to school, Grand Funk is on the car radio. The children do not like it and ask him to change the station when he responds, “you kids don’t know Grand Funk? The wild, shirtless lyrics of Mark Farner. The bong-rattling bass of Mel Schacher. The competent drum work of Don Brewer?”

Mark Farner was mentioned in episode 9 of season 8 of the HBO comedy series Curb Your Enthusiasm in September 2011. (wikipedia)

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And here´s his second solo-album after leaving Grand Funk Railroad:

Grand Funk Railroad’s most potent and primal recordings (such as Closer to Home and their 1970 live album) were cut as a power trio, and even their more polished later work on We’re an American Band and Shinin’ On only added a keyboard player to the mix, so when GFR guitarist and singer Mark Farner went into the studio to cut his second solo album in 1978, the LP’s title summed up the approach: No Frills. Producer Jimmy Iovine set Farner up with a good rhythm section (bassist Dennis Bellinger and drummer Andy Newmark), took them into the studio and rolled tape. What could go wrong? Well, Farner’s songwriting chops weren’t what they once were, and while he could pen a worthy mass of power chords earlier in his career, the mixture of pop, soul, and hard rock that informs most of these tunes lack the clarity and force of his best work.

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The lyrics aren’t especially inspired, either, though “If It Took All Day” is at least funny and “He Sent Me You” anticipates the tone of his later Christian recordings. The lack of musical focus also impacts Farner’s guitar work, which doesn’t approach the full-bodied grit of Grand Funk’s glory days (and who told the guy to go crazy with the flanger, anyway?). Bellinger and Newmark play just fine, but it’s clear they don’t have quite the same empathy for this music as Mel Schacher and Don Brewer, and the engineering is too slick and doesn’t have the muscle to give this the loud and proud punch it needs. No Frills may have been a good philosophy for Mark Farner, but he needed a bit more than that to make an album worthy of his hard rock legacy. (by Mark Deming)

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Personnel:
Dennis Bellinger (bass, background vocals)
Mark Farner (guitar, vocals, clavinet, piano)
Andy Newmark (drums)
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Karen Lawrence (background vocals on 06.)

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Tracklist:
01. He Sent Me You (Farner) 3.17
02. If It Took All Day (Farner) 3.14
03. When A Man Loves A Woman (Wright/Lewis) 3.46
04. Faith Keeps It Away (Farner) 4.49
05. Crystal Eyes (Farner) 3.56
06. Just One Look (Payne/Carroll) 2.47
07. All The Love You Give Me (Farner) 4.49
08. Cool Water (Farner) 3.16
09. Without You (Farner) 2.07

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The official website:
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The Doobie Brothers – Minute By Minute (1978)

LPFrontCover1The Doobie Brothers are an American rock band from San Jose, California, known for their flexibility in performing across numerous genres and their vocal harmonies. Active for five decades, with their greatest success in the 1970s, the group’s current lineup consists of founding members Tom Johnston (guitars, vocals) and Patrick Simmons (guitars, vocals), alongside Michael McDonald (keyboards, vocals) and John McFee (guitars, pedal steel, violin, backing vocals), and touring musicians including John Cowan (bass, vocals), Bill Payne (keyboards), Marc Russo (saxophones), Ed Toth (drums), and Marc Quiñones (percussion). Other long-serving members of the band include guitarist Jeff “Skunk” Baxter (1972–1979), bassist Tiran Porter (1972–1980, 1987–1992) and drummers John Hartman (1970–1979, 1987–1992), Michael Hossack (1971–1973, 1987–2012), and Keith Knudsen (1973–1982, 1993–2005).

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Johnston provided the lead vocals for the band from 1970 to 1975, when they featured a mainstream rock sound with elements of folk, country and R&B. Michael McDonald joined the band in 1975 as a keyboard player and second lead vocalist, to give some relief to Johnston, who was suffering health problems at the time. McDonald’s interest in soul music introduced a new sound to the band. Johnston and McDonald performed together as co-lead vocalists for one album, Takin’ It to the Streets, before Johnston retired fully in 1977. Frequent lineup changes followed through the rest of the 1970s, and the band broke up in 1982 with Simmons being the only constant member having appeared on all of their albums. In 1987, the Doobie Brothers reformed with Johnston back in the fold; McDonald, who had previously made several guest appearances since their reformation, returned to the band full-time in 2019 for their 50th anniversary tour.

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The group’s fourteen studio albums include six top-ten appearances on the Billboard 200 album chart, including 1978’s Minute by Minute, which reached number one for five weeks, and won the band a Grammy for Best Pop Vocal Performance by a Duo or Group, while the single “What A Fool Believes” from the album won three Grammys itself. The band has released six live albums, and numerous greatest hits compilations, including 1976’s Best of The Doobies, which was certified diamond by the RIAA for reaching album sales of ten million copies, the band’s best selling album. The band’s sixteen Billboard Hot 100 top-40 hits include “Listen to the Music”, “Jesus is Just Alright”, “Long Train Runnin'”, “China Grove”, “Black Water” (#1 in 1974), “Takin’ It to the Streets”, “What A Fool Believes” (#1 in 1979), and “The Doctor”, all of which remain in heavy rotation on classic rock radio.

The Doobie Brothers were inducted into the Vocal Group Hall of Fame in 2004, and the Rock and Roll Hall of Fame on November 7, 2020. The group has sold more than 40 million albums worldwide.

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Minute by Minute is the eighth studio album by American rock band The Doobie Brothers, released on December 1, 1978, by Warner Bros. Records. It was their last album to include members John Hartman (until Cycles) and Jeff “Skunk” Baxter.

The album spent 87 weeks on the Billboard 200 chart and spent two weeks at number one. In the spring of 1979 Minute by Minute was the best-selling album in the U.S. for five non-consecutive weeks. It was certified 3× Platinum by the RIAA.

The song “What a Fool Believes” hit No. 1 on the Billboard Hot 100 in April 1979 and became the band’s biggest hit. The title track and “Depending on You” were also released as singles and reached the top 30.

Minute by Minute made The Doobie Brothers one of the big winners at the 22nd Grammy Awards. The album got the trophy for Best Pop Vocal Performance by a Duo or Group and received a nomination for Album of the Year; the single “What a Fool Believes” earned them three Grammys, including Song and Record of the Year. (wikipedia)

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With Tom Johnston gone from the lineup because of health problems, this is where the “new” Doobie Brothers really make their debut, with a richly soulful sound throughout and emphasis on horns and Michael McDonald’s piano more than on Patrick Simmons’ or Jeff Baxter’s guitars. Not that they were absent entirely, or weren’t sometimes right up front in the mix, as the rocking, slashing “Don’t Stop to Watch the Wheels” and the bluegrass-influenced “Steamer Lane Breakdown” demonstrate. But given the keyboards, the funky rhythms, and McDonald’s soaring tenor (showcased best on “What a Fool Believes”), it’s almost difficult to believe that this is the hippie bar band that came out of California in 1970. There’s less virtuosity here than on the group’s first half-dozen albums, but overall a more commercial sound steeped in white funk. It’s still all pretty compelling even if its appeal couldn’t be more different from the group’s earlier work (i.e., The Captain and Me, etc.). The public loved it, buying something like three million copies, and the recording establishment gave Minute by Minute four Grammy Awards, propelling the group to its biggest success ever. (by Bruce Eder)

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Personnel:
Jeff “Skunk” Baxter (guitar)
John Hartman (drums, percussion)
Keith Knudsen (drums, percussion, background vocals)
Michael McDonald (keyboards, synthesizer, vocals)
Tiran Porter (bass, background vocals)
Patrick Simmons (guitars, vocals)
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Lester Abrams (piano on 10.)
Byron Berline (fiddle on 08.)
Norton Buffalo (harmonica on 05. + 08.)
Rosemary Butler (background  vocals on 01. + 04.)
Ben Cauley (trumpet on 01., 04. + 10.)
Tom Johnston (background vocals on 05.)
Bobby LaKind (percussion, background vocals)
Nicolette Larson (vocals on 07,  background vocals on 04.)
Andrew Love (saxophone on 01., 04. + 10.)
Sumner Mering (guitar on 06.)
Novi Novog (synthesizer on 06.)
Bill Payne (synthesizer on 02. + 03.)
Herb Pedersen (banjo on 08.)
Ted Templeman (drums on 02.)

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Tracklist:
01. Here To Love You (McDonald) 4.03
02. What A Fool Believes (McDonald/Loggins) 3.46
03. Minute By Minute (McDonald/Abrams) 3.29
04. Dependin’ On You (McDonald/Simmons) 3.47
05. Don’t Stop To Watch The Wheels (Simmons/Baxter/Ebert) 3.29
06. Open Your Eyes (McDonald/Abrams/Henderson) 3.20
07. Sweet Feelin’ (Simmons/Templeman) 2.44
08. Steamer Lane Breakdown (Simmons) 3:24
09. You Never Change (Simmons/McDonald) 3.30
10. How Do The Fools Survive? (McDonald/Sager) 5.17

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Harold Budd – The Pavilion Of Dreams (1978)

FrontCover1Harold Montgomory Budd (May 24, 1936 – December 8, 2020) was an American avant-garde composer and poet. Born in Los Angeles and raised in the Mojave Desert, Budd became a respected composer in the minimalist and avant-garde scene of Southern California in the late 1960s, and later became better known for his work with figures such as Brian Eno and Robin Guthrie. Budd developed what he called a “soft pedal” technique for playing piano.

Budd was born in Los Angeles, California and spent his childhood in Victorville, California by the Mojave Desert. Drafted into the army, he joined the regimental band where he played drums. Jazz saxophonist Albert Ayler was drafted at the same time and was also a member of the band. Budd joined him in gigs around the Monterey area. Budd’s experience of the army made him determined to get an education.

After working as “everything from cowboy to mailman,” including a stint at Douglas Aircraft, Budd enrolled in a course in architecture at Los Angeles Community College. He switched to a course in harmony and his musical talent was spotted by a teacher who encouraged him to compose. He began to attend performances by artists like Chet Baker and Pharoah Sanders.

Harold Budd03Budd’s career as a composer began in 1962. In the following years, he gained a notable reputation in the local avant-garde community. Budd studied music at the University of Southern California, under the tutelage of Ingolf Dahl, graduating in 1966. Budd’s work of this period was primarily minimalist drone music influenced by John Cage and Morton Feldman, as well as the abstract expressionist painter Mark Rothko, with whom he corresponded.

After completing his degree in composition in 1969, Budd took up a teaching position at the California Institute for the Arts.[8] In 1970, he released his first piece, The Oak of the Golden Dreams, which he recorded with an early model Buchla modular synthesizer at the institute.

Soon afterwards, Budd gave up composition, disgusted by the “academic pyrotechnics” of the avant-garde community.

The road from my first colored graph piece in 1962 to my renunciation of composing in 1970 to my resurfacing as a composer in 1972 was a process of trying out an idea and when it was obviously successful abandoning it. The early graph piece was followed by the Rothko orchestra work, the pieces for Source Magazine, the Feldman-derived chamber works, the pieces typed out or written in longhand, the out-and-out conceptual works among other things, and the model drone works (which include the sax and organ Coeur d’Orr and The Oak of the Golden Dreams, the latter based on the Balinese ‘Slendro’ scale which scale I used again 18 years later on ‘The Real Dream of Sails’).

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In 1972, while still retaining his teaching career at the California Institute for the Arts, he resurfaced as a composer. Spanning from 1972 to 1975, he created four individual works under the collective title The Pavilion of Dreams. The style of these works was an unusual blend of popular jazz and the avant-garde. His 1972 work Madrigals of the Rose Angel was sent to English composer Gavin Bryars who passed it on to Brian Eno. Eno contacted Budd and brought him to London to record for his Obscure Records label.

I owe Eno everything, OK? That’s the end of that… I was plucked from the tree, and suddenly I had flowered. I was just waiting. I couldn’t do it on my own. I didn’t know anything.

Budd resigned from the institute in 1976 and began recording his new compositions, produced by Eno. Two years later, Harold Budd’s debut album, The Pavilion of Dreams (1978), was released. The first performance of the piece was at a Franciscan church in California conducted by Daniel Lentz.”

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The work with Eno led Budd to shift his focus to studio-led projects, characterised by use of synthesisers and electronic treatments, often collaborating with other musicians. Budd developed a style of piano playing he deemed “soft pedal,” which can be described as slow and sustained. While he is often placed in the Ambient category, he emphatically declared that he was not an Ambient artist, and felt that he got “kidnapped” into the category.

His two collaborations with Eno, 1980’s The Plateaux of Mirror and 1984’s The Pearl, established his trademark atmospheric piano style. On Lovely Thunder, he introduced subtle electronic textures. His thematic 2000 release The Room saw a return to a more minimalist approach. In 2003, Daniel Lanois, a producer for U2 and Bob Dylan, and occasional collaborator with Brian Eno, recorded an impromptu performance of Budd playing the piano in his Los Angeles living room, unaware; it was released in 2005 as the album La Bella Vista.

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He had a long-running collaboration with guitarist Robin Guthrie. They worked together initially when Budd worked with Guthrie’s band The Cocteau Twins on their 1985 collaboration The Moon and the Melodies. The record was released by 4AD under all the collaborator’s names (rather than being a Cocteau Twins/Harold Budd record), with Budd being listed first as it was an alphabetical listing. In November 1986, the record charted on the UK Top 75 album chart, spending a week at number 46. Budd and Guthrie subsequently released several albums together, including two soundtracks to the Greg Araki films Mysterious Skin (2004) and White Bird in a Blizzard (2014), with the last, 2020’s Another Flower, released four days before Budd’s death.

Budd also collaborated with Andy Partridge of XTC on the album Through the Hill (1994), John Foxx on the album Translucence/Drift Music (2003) and work with Jah Wobble on the Solaris concert and live album in 2002.

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He composed music for the score of the 2020 miniseries I Know This Much Is True.

Brian Eno called Budd “a great abstract painter trapped in the body of a musician”.

The Guardian said, “The core Budd sound of yearning piano motifs and reverb-laden impressionism is often called minimalism. But compared with the cyclical craft of Steve Reich and early Philip Glass, his low-key, expansive forays felt deftly maximalist. This has made Budd’s craft synonymous with the dreamworld. An heir to Satie and Debussy, his music was treated and poetic, never kneejerk nor incautious.”

Budd died on December 8, 2020, aged 84, due to complications from COVID-19. (wikipedia)

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The Pavilion of Dreams is the second album from minimalist composer Harold Budd and produced by Brian Eno. Billed as “an extended cycle of works begun in 1972,” it was recorded in 1976 but not released until 1978 on Eno’s label Obscure Records. It was later re-released on Editions EG in 1981. (wikipedia)

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Mixing ethereal melodies communicated by voice or saxophone with glissando accompaniment, Harold Budd creates a series of siren songs on The Pavilion of Dreams that shimmer like light reflected on the water’s surface. Billed as “an extended cycle of works begun in 1972,” Budd’s debut apparently took a while to see the light of day itself, having been recorded in 1976, released on the aptly titled Obscure label in 1978, and re-released in 1981 on Editions EG. The minimalist composer had gained some attention in avant-garde circles with the piece “Madrigals of the Rose Angel”; featured here, it reveals the unhurried and unfolding nature of Budd’s melodies as well as his penchant for clusters of bell-like notes. “Two Songs” was written in the years that followed, adapting works from Pharoah Sanders and John Coltrane with arrangements that feature only mezzo-soprano Lynda Richardson and harpist Maggie Thomas; unless you thought the theme song to the Star Trek TV series was high art, you can skip this.

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The opening “Bismillahi ‘Rhahmani ‘Rrahim” is the musical equivalent of a bubble bath; led by the soulful saxophone of Marion Brown, it’s initially lovely, yet the circumspect arrangement saps the piece of its spellbinding effect before long. The last piece composed here, “Juno,” is also the most passionate, foreshadowing the warmth and presence that would appear on subsequent works like “The Plateaux of Mirror.” As with most minimalist works, The Pavilion of Dreams requires patience and open-mindedness on the part of the listener, only more so. Harold Budd achieved an evocative and succinct style on subsequent albums, and these songs are simply the rudimentary steps that led there. (by Dave Connolly)

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Personnel:
Richard Bernas (piano, celeste)
Marion Brown (saxophone)
Harold Budd (piano, voice)
Gavin Bryars (glockenspiel, voice)
Brian Eno (voice)
Jo Julian (marimba, vibraphone, voice)
Michael Nyman (marimba, voice)
Howard Rees (marimba, vibraphone)
Nigel Shipway (percussion)
Maggie Thomas (harp)
John White (marimba, percussion, voice)
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chorus:
Lynda Richardson – Margaret Cable – Lesley Reid – Ursula Connors – Alison MacGregor –  Muriel Dickinson

CDBooklet

Tracklist:
01. Bismillahi ‘Rrhamani ‘Rrahim 18.17
02. Two Songs 6.19
02.1. Let Us Go Into The House Of The Lord Budd Rate
02.2. Butterfly Sunday (After The Rain) , Harold Budd Rate
03. Madrigals Of The Rose Angel 14.28
03.1. Rosetti Noise
03.2. The Crystal Garden
04. Juno 8.06

Music composed by Harold Budd
except 02.2. composed by Harold Budd & John Coltrane

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AC/DC – If You Want Blood You’ve Got It (1978)

FrontCover1AC/DC are an Australian rock band formed in Sydney in 1973 by Scottish-born brothers Malcolm and Angus Young. Their music has been variously described as hard rock, blues rock, and heavy metal, but the band themselves call it simply “rock and roll”.

AC/DC underwent several line-up changes before releasing their first album, 1975’s High Voltage. Membership subsequently stabilised around the Young brothers, singer Bon Scott, drummer Phil Rudd, and bassist Mark Evans. Evans was fired from the band in 1977 and replaced by Cliff Williams, who has appeared on every AC/DC album since 1978’s Powerage. In February 1980, about seven months after the release of their breakthrough album Highway to Hell, Scott died of acute alcohol poisoning after a night of heavy drinking. The group considered disbanding but elected to stay together, bringing in longtime Geordie vocalist Brian Johnson as Scott’s replacement. Later that year, the band released their first album with Johnson, Back in Black, which was dedicated to Scott’s memory. The album launched AC/DC to new heights of success and became one of the best selling albums of all time.

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The band’s eighth studio album, For Those About to Rock We Salute You (1981), was their first album to reach number one in the United States. Prior to the release of 1983’s Flick of the Switch, Rudd left the band and was replaced by Simon Wright, being in turn replaced by Chris Slade in 1989. The band experienced a commercial resurgence in the early nineties with the release of 1990’s The Razors Edge. Rudd returned to the band in 1994, replacing Slade and appearing on the band’s next five albums. Their fifteenth studio album Black Ice was the second-highest-selling album of 2008, and their biggest chart hit since For Those About to Rock, eventually reaching No.1 worldwide.

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The band’s line-up remained the same for twenty years, until 2014 with Malcolm Young’s retirement due to early-onset dementia (he died in 2017) and Rudd’s legal troubles. Malcolm was replaced by his nephew Stevie Young, who debuted on AC/DC’s 2014 album Rock or Bust, and on its accompanying tour, previous drummer Chris Slade filled in for Rudd. In 2016, Johnson was advised to stop touring due to worsening hearing loss. Guns N’ Roses frontman Axl Rose stepped in as the band’s vocalist for the remainder of that year’s dates. Long-term bass player and background vocalist Cliff Williams retired from AC/DC at the end of the Rock or Bust tour in 2016 and the group entered a four-year hiatus. A reunion of the Rock or Bust lineup was announced in September 2020 and the band’s seventeenth studio album Power Up was released two months later.

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AC/DC have sold more than 200 million records worldwide, including 75 million albums in the United States, making them the ninth-highest-selling artist in the United States and the 16th-best-selling artist worldwide. Back in Black has sold an estimated 50 million units worldwide, making it the third-highest-selling album by any artist, and the highest-selling album by any band. The album has sold 22 million units in the US, where it is the sixth-highest-selling album of all time. AC/DC ranked fourth on VH1’s list of the “100 Greatest Artists of Hard Rock” and were named the seventh “Greatest Heavy Metal Band of All Time” by MTV. In 2004, AC/DC ranked No. 72 on the Rolling Stone list of the “100 Greatest Artists of All Time”. Producer Rick Rubin, who wrote an essay on the band for the Rolling Stone list, referred to AC/DC as “the greatest rock and roll band of all time”. In 2010, VH1 ranked AC/DC number 23 in its list of the “100 Greatest Artists of All Time”

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If You Want Blood You’ve Got It (written as just If You Want Blood) is the first live album by Australian hard rock band AC/DC, and their only live album with Bon Scott as lead vocalist. It was originally released in the UK and Europe on 13 October 1978, in the US on 21 November 1978, and in Australia on 27 November 1978. The album was re-released in 1994 on Atco Records and in 2003 as part of the AC/DC Remasters series.

The album was released six months after the band’s previous studio album Powerage. Originally, a greatest hits package had been in the works called 12 of the Best but the project was scrapped in favour of a live album. It was recorded during the 1978 Powerage tour and contains songs from T.N.T., Dirty Deeds Done Dirt Cheap, Let There Be Rock, and Powerage. It is the last Bon Scott-era AC/DC album produced by Harry Vanda and George Young, who also produced the band’s first five studio releases. In his 1994 Bon Scott memoir Highway to Hell, author Clinton Walker observes, “Live albums, which tended to be double or triple sets in which songs short in their studio versions were stretched out into extended tedium, were for some reason popular in the seventies. If You Want Blood reversed this tradition… it boasted a blunt ten tracks and, allowing nothing extraneous, got straight to the point, that being raging AC/DC rock and roll.”

AC/DC’s concert at the Apollo Theatre in Glasgow, Scotland on 30 April 1978 was used for the live tracks, and it has never been confirmed if any other concert tracks from this tour were also used.[citation needed] This concert will also be remembered for the encore when AC/DC came back on stage dressed in the Scottish Football strip, paying homage to Scott’s and the Young brothers’ homeland.[citation needed] A song with the same title of “If You Want Blood (You’ve Got It)” appeared on the next album, and the band’s US album chart breakthrough, Highway to Hell.

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The song “Dog Eat Dog” performed on the night was eventually removed from the album release, and the encore “Fling Thing/Rocker”, was edited for the album, removing “Fling Thing” and cutting out the extended Angus guitar solo, as he did a walk around the audience (with an early version of a wireless guitar lead). This part of the band’s future concert theatrics was later replaced with “Let There Be Rock”, as “Rocker” has not been performed more than a few times since the passing of Bon Scott in 1980. The live rendition of “Dog Eat Dog” from the concert was initially released as the B-side of the single “Whole Lotta Rosie” in November 1978, but only in Australia. It was later re-released worldwide in 2009 on the two (standard) and three (collectors) CD boxed set compilation Backtracks, featuring the Australian album only songs not released internationally at the time, and the live B-Sides from some 7″ and 12″ singles. The encore songs “Fling Thing” and “Rocker” (with its complete guitar solo) have appeared only on video footage of the concert by a Dutch TV station played at the time but were eventually released on the Family Jewels DVD.

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According to the 2006 book AC/DC: Maximum Rock & Roll, the album title was an extension of Scott’s response to a journalist at the Day on the Green festival in July 1978 who asked what they could expect from the band and Scott replied, “Blood.”[citation needed] The cover art is from a shoot done with Atlantic Records’ staff photographer Jim Houghton before a show at Boston’s Paradise Theater, the idea for which came from Atlantic’s art director, Bob Defrin.

Picture disc from Australia:
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The album is often considered to be one of the greatest live albums of all time. In a 1992 interview with Metal Hammer at the time of the band’s second live release, Malcolm Young admitted, “I personally still prefer the old album. We were young, fresh, vital and kicking ass.”[citation needed] Greg Prato of AllMusic notes, “While most other rock bands of the era were busy experimenting with disco or creating studio-perfected epics, AC/DC was one of the few specializing in raw and bluesy hard rock, as evidenced by 1978’s live set, If You Want Blood You’ve Got It.” Eduardo Rivadavia of Ultimate Classic Rock enthuses, “Other concert records may boast more songs, more Top 40 hits or even more crowd-pleasing gimmicks. But very few can challenge the sheer excitement and reckless abandon captured on AC/DC’s terrific concert document.”[citation needed] The album was listed at #2 on Classic Rock magazine’s readers’ poll of “50 Greatest Live Albums Ever”. Carlo Twist of Blender magazine praised the album, saying that “They were always a mighty live act, and this is the sound of AC/DC in Europe just prior to 1979’s U.S. breakthrough. The audience’s hysteria regularly cuts through the amps, as they howl along to singer Bon Scott’s tale of sexually transmitted disease (“The Jack”) and punctuate guitarist Angus Young’s staccato riffing on “Whole Lotta Rosie.” Imagine a punk-rock Chuck Berry played at nosebleed volume.”

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Personnel:
Phil Rudd (drums)
Bon Scott (vocals)
Cliff Williams (bass, background vocals)
Angus Young (lead guitar)
Malcolm Young (guitar, background vocals)

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Tracklist:
01. Riff Raff (from Powerage) 6.03
02. Hell Ain’t A Bad Place To Be (from Let There Be Rock) 4.15
03. Bad Boy Boogie (from Let There Be Rock) 7.34
04. The Jack (from T.N.T.) 5.53
05. Problem Child (from Dirty Deeds Done Dirt Cheap) 4.45
06. Whole Lotta Rosie (from Let There Be Rock) 4.09
07. Rock ‘n’ Roll Damnation (from Powerage) 3.45
08. High Voltage (from T.N.T.) 5.09
09. Let There Be Rock (from Let There Be Rock) 8.38
10. Rocker (from T.N.T.) 3.29

All songs written by Angus Young, Malcolm Young & Bon Scott.

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Australian labels:
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Status Quo – If You Can’t Stand The Heat (1978)

FrontCover1f You Can’t Stand the Heat… is the eleventh studio album by English rock band Status Quo. Recorded at Wisseloord Studios, Hilversum, Holland, and produced by Pip Williams, it was released in October 1978 and reached #3 in the UK album chart. The sleeve notes that Aphex Aural Exciter was used in the recording process, thus contributing to a more atmospheric sound than its predecessor, “Rockin’ All Over The World”. Unusually for a Status Quo record, a brass section, The David Katz Horns, was used, as well as a backing vocal trio: Jacquie Sullivan, Stevie Lange, and Joy Yates.

“Again and Again” was the first single to be released from the album and managed to reach #13.

The second single to be released from the album was an edited version of “Accident Prone” which stalled at #36. (by wikipedia)

After the turn toward a more accessible sound that Rockin’ All Over the World supposed, the British band returned to its hard rock approach on its next work. If You Can’t Stand the Heat isn’t so hard and heavy as Quo or Blue for You, but it incorporates subjects — the electric guitars filling everywhere again, the groovy boogie spirit — that recover the rocking essence they seem to have lost only one year before. One of the best examples is the infectious “Again and Again,” the first single from the record, but also the sweaty “Gonna Teach You to Love Me” and the danceable “Long Legged Linda,” borrowed from keyboardist Andy Bown’s previous solo album.

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Status Quo keeps on worrying here about a clean production that enriches the different textures within the songs. The job is endorsed to Pip Williams for the second time, after the successful results in Rockin’ All Over the World. Parallel to the groovy approach, the band also tries to experiment with its sound, without giving its roots up. Surprises are specially relevant in “Accident Prone” — filled with disco synths, and one of the most singular and effective songs in the record — or in the gospel choirs found in “Oh! What a Night!” Accurate and precise performances in the rest of the album, in which also stand out the catchy “Stones” and “Let Me Fly” and the gorgeous ballad “Someone Show Me Home,” made of the 12th record by Status Quo one of their most unfairly underrated efforts from their discography from the second half of the ’70s. (by Robert Aniento)

Status Quo … again and again ….

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Personnel:
John Coghlan (drums)
Alan Lancaster (bass, guitar, vocals)
Rick Parfitt (guitar, vocals)
Francis Rossi (guitar, vocals)
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Andy Bown (keyboards, background vocals)
Frank Ricotti (percussion)
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background vocals:
Jacquie Sullivan – Stevie Lange – Joy Yates
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The David Katz Horns

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Tracklist:
01. Again And Again (Parfitt/Bown/Lynton) 3.41
02. I’m Giving Up My Worryin'” (Francis Rossi, Bernie Frost) 3.07
03. Gonna Teach You To Love Me (Lancaster/Green) 3.11
04. Someone Show Me Home (Rossi/Frost) 3.64
05. Long Legged Linda (Bown) 3.30
06. Oh, What A Night (Parfitt/Bown)
07. Accident Prone (Williams/Hutchins) 5.05
08. Stones (Lancaster) 3.57
09. Let Me Fly (Rossi/Frost) 4.24
10. Like A Good Girl (Rossi/Young) 3.27

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Paul Brett – Interlife (1978)

FrontCover1Paul Brett began his career appearing (while still a teenager) as an uncredited backing guitarist on ROY HARPER’s 1966 debut ‘Sophisticated Beggar’ which is generally acknowledged as contemporary British folk classic although not especially progressive when compared to some of Harper’s later work into the mid-seventies and beyond.

The same can be said of AL STEWART’s ‘Zero She Flies’, recorded in 1969 with Brett again appearing as a nameless studio musician while other studio players such as Trevor Lucas and Gerry Conway of FOTHERINGAY do appear in the liner notes.

Brett appeared (with credits) on the STRAWBS’ ‘Dragonfly’ studio album which was also recorded in 1969, and cut a couple of singles with ARTHUR BROWN. That same year he played guitar on most of ELMER GANTRY’S VELVET OPERA second and final release ‘Ride a Hustler’s Dream’, and closed out the decade as a member of the short-lived psych band FIRE, largely leading the studio effort for the now ultra-rare ‘The Magic Shoemaker’ LP.

After his work with the STRAWBS Brett formed his own band (PAUL BRETT SAGE) and released three studio albums between 1970-1972. That group consisted at various times of Nicky Higginbottom (flute, saxophone), Mike Piggot (later of the PENTANGLE), bassist Dick Dufall (STRAWBS, FIRE), Stuart Cowell (guitars) and percussionist Bob Voice (FIRE), among others. The band’s sound ranged from contemporary to progressive folk and mildly heavy rock with occasional blues-rock and even a bit of jazz.

Brett would go on to a lengthy solo career as a mostly 12-string guitarist, recording contemporary rock albums, along with a few progressive works including the complex guitar instrumentals ‘Earth Birth’ and ‘Interlife’. In later years he would release a number of modern folk, instructional and mainstream albums including several K-Tel records. (by Bob Moore)

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An innovative blend of folk and jazz rock, “Interlife” was an all instrumental album like “Earth Birth”, only this time Brett chose the ensemble approach rather than playing solo acoustic guitar. While he wields his considerable talent on all manner of axe, a weighty supporting cast helps bring forth a more celebratory vision. Among the well known talent are featured the ever present Mel Collins on saxes and a post Strawbs Rod Coombes on drums.

The title cut took up a whole side of the original vinyl, and is a tour de force of eclectic instrumental progressive rock. The main theme is noteworthy enough, but that which occupies most of the central minutes of the opus is simply brilliant, and lends itself, at turns, to light experimentation on guitars, saxes, synthesizers, even bass. This is like a less brocaded Mike Oldfield and better for it, especially relative to what Oldfield was doing around the same time. It’s hard to believe this is produced by assembled hired hands, so in sync are the participants.

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Side 2 consists of 4 shorter tracks in a similar vein. “Celebration” begins in a more folkie style with just Brett on acoustic guitar but gradually everyone joins in and Brett delivers a searing lead solo. Some of the time shifts are of a more jazzy nature, but the track eventually ends in a near jig, reminding us of Brett’s sturdiest roots. “Segregation” has a similar structure but the lead solo is just as impressive for its bass work by Delisle Harper. While the shift from the relative shelter of the interlife into real life is no doubt a stormy one in practice, and the finale “Into Life” conveys this, it’s heavy rock is out of place on the disk, and really the only disappointment.

It’s a shame that “Interlife” did not appear a few years earlier. Not that it wasn’t innovative even in its time, but in 1974 it might have had a chance to achieve for Paul Brett some merited recognition. Unfortunately, this release remains unavailable on CD, even though it begs for another life. (by Keneth Levine)

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Personnel:
Derek Austin (keyboards)
Paul Brett (guitar)
Mel Collins (brass)
Rod Coombes (drums)
Steve Gregory (brass)
David Griffiths (bass)
Delisle Harper (bass)

Alternate US frontcover:
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Tracklist:
01. Interlife 16.23
02. Celebration 5.36
03. Segregation 5.32
04. Isolation 3.16
05. Into Life 6.56

Music composed by Paul Brett

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