Siberian Russian Folk Chorus – Same (1979)

FrontCover1.JPGRussian traditional music specifically deals with the folk music traditions of the ethnic Russian people. It does not include the various forms of art music, which in Russia often contains folk melodies and folk elements or music of other ethnic groups living in Russia.

The performance and promulgation of ethnic music in Russia has a long tradition. Initially it was intertwined with various forms of art music, however, in the late 19th century it began to take on a life of its own with the rise in popularity of folkloric ensembles, such as the folk choir movement led by Mitrofan Pyatnitsky and the Russian folk instrument movement pioneered by Vasily Andreyev.

In Soviet Russia, folk music was categorized as being democratic (of the people) or proletarian (of the working class) as opposed to art music, which was often regarded as being bourgeois. After the revolution, along with proletarian “mass music” (music for the proletarian masses) it received significant support from the state. In Post World War II Russia, proletarian mass music however lost its appeal, whereas folkloric music continued to have a widespread support among the population, inside and outside of the Soviet Union. However the authentic nature of folk music was severely distorted by the drive to ‘professionalise’ performers, regardless of the genre they worked in: thus all folk singers were obliged to both learn Western-style classical notation, and to learn to perform classical repertoire – or else risk losing their right to perform as ‘professionals’.

Siberian Russian Folk Chorus1.jpg

In the 1960s, folk music in Russia continued to receive significant state support and was often seen as the antithesis of Western pop music. The fact that numerous Soviet folkloric ensembles were invited for foreign tours raised the prestige of the folk performer to that of academic musicians, and in some cases even higher because access to the West and Western goods was very desirable.

Ethnic (folk) music in Russia can often be categorized according to the amount of authenticity in the performance: truly authentic folk music (reproductive performances of traditional music), folkloric and “fakeloric” performance.

Russia is a multi-ethnic country with some 300 different ethnic groups, many of them non-Slavic, living within its borders.


Authentic village singing differs from academic singing styles. It is usually done using just the chest register and is often called “white sound” or “white” voice. It is often described as controlled screaming or shouting. Female chest register singers have only a low diapason of one octave to 12 notes.

And here´s a nice album by the Siberian Russian Folk Chorus. This group recorded their first album in 1956 and was active till the end of the Eighties.

This music is for me a real unfamiliar world, but I like to discover music from all over the world …

Maybe you will discover the music of the Siberian Russian Folk Chorus, too

AlternateFRontCoverFrontCoverAlternate front cover

Siberian Russian Folk Chorus conducted by Andrei Novikov
Chorus Rusian Folk Instruments Orchestra conducted by B.Burin


01. Siberia Our Pride (Novikov/Pukhnachev) 1.58
02. Play Perky Concertina (Gurin/Ostrikov) 2.35
03. Song Of Siberia (Ponomarenko/Osmushkin) 4.12
04. Night In The Taiga (Traditional) 3.37
05. The Far Off Star Has Lit (Levashov/Pukhnachev) 4.15
06. Through The Wild Mysterious Taiga (Traditional) 3.47
07. Don’t Soar Over Me, Sea-gulls (Traditional) 3.24
08. Motley Hens (Traditional) 2.01
09. On A Rainy Saturday (Traditional) 3.27
10. Yes, My Little Casket (Traditional) 1.09
11. My Dawn Dear Dawn (Traditional) 1.49
12. Is That My Beauty? (Traditional) 2.49
13. Maidens Have Sown Flax (Traditional) 1.26
14. Negligent Cook (Traditional) 1.33




Deke Leonard – Before Your Very Eyes (1981)

FrontCover1.JPGRoger Arnold “Deke” Leonard (18 December 1944 – 31 January 2017) was a Welsh rock musician, “serving a life sentence in the music business”. Best known as a member of the progressive rock band Man, which he joined and left several times, and for fronting his own rock and roll band Iceberg, which he formed and disbanded several times, he was also an author, raconteur and television panelist. (by wikipedia)

And here´s his third solo-album:

The fatal flaw of the Welsh band Man is that they couldn’t quite decide if they wanted to be Ducks Deluxe or Hawkwind; the balance between pub rock and prog is actually quite interesting on their first several albums. Recorded in 1979, after pub rock had mutated into a strain of the British new wave, it’s clear which side ex-Man lead guitarist Deke Leonard is on.


Produced by Martin Rushent and featuring fellow travelers like Rockpile’s Billy Bremner and Dave Edmunds alongside Leonard’s Man accomplices Terry Williams and Martin Ace, Before Your Very Eyes is a terrific collection of 12 power-popping rock & roll songs with a loose, convivial spirit akin to Rockpile’s own albums, Graham Parker’s work with the Rumour, and even the young Elvis Costello. The loose, horn-charged R&B shake of the potential hit “Marlene” and the jangly, nervy “Map of India” are particular highlights, but the whole album is just swell, and deserves far more than the near-total oblivion it received when it was released in 1981, a full two and a half years after it was recorded. (by Stewart Mason)


Martin Ace (bass)
Dave Charles (drums, vocals)
Deke Leonard (guitar, keyboards, vocals)
Lenny Macaluso (guitar)
Malcolm Morley (keyboards, background vocals)
Chris Parren (keyboards)
Terry Williams (drums, background vocals)
Ron Francois (bass on 07.)
John McKenzie (bass on 12.)
horn section:
Ron Aspery (saxophone)
Martin Drover (saxophone, trumpet)
Chris Mercer (saxophone)
background vocals:
Kenny Moore – Vicky Silver – Doreen Chanter – Billy Haynes – Anton Matthews – Dave Edmunds – Billy Bremner – Martin Rushent


01. Someone Is Calling 3.13
02. Fools Like Me 3.16
03. Marlene 3.02
04. Oh 2.49
05. When Am I Coming Back 4.35
06. Get Off The Line 3.05
07. Hiding In The Darkness 3.58
08. Big Hunk Of Love 2.18
09. I Feel Like A Pill 3:00
10. The World Exploded In My Face 2.41
11. What Am I Gonna Do When The Money Runs Out? 3.48
12. Bad Luck 4.01

All songs written by Deke Leonard




“Deke” Leonard (18 December 1944 – 31 January 2017)

1994 – Please Stand By (1979)

FrontCover1.jpgWay back in 1979 the debut album by female-fronted US band 1994 was a record I played to death, and still play regularly today due to Rock Candy’s excellent re-issue five years ago. On the back of the success of Heart and Pat Benatar there were many other good bands of the same ilk from the same era, with fellow Americans Storm (another great brace of great reissues from the same label), Spider and Canada’s Toronto immediately springing to mind. When 1994s sophomore record ‘Please Stand By…’ was first released I was initially very disappointed, but I soon came to like it a lot, even if I never actually loved it as much as their debut.

Who couldn’t love the vocals of the lovely Karen Lawrence? A particularly versatile singer who could just as easily strip the paint off your woodwork with her throaty roar as caress your ears with her beautiful melodies. The main difference for me on this album was the loss of original guitarist Steve Schiff, whose incendiary playing lit up every song, and whilst he was ably replaced by Rick Armand (and bassist Bill Rhodes,who plays more guitar than bass here), the results were maybe just a little too KarenLawrence01.jpgvaried and the album lacked the consistent style of their self-titled release. Having said that the opening title-track is a great upbeat song,and the song the original LP ended with, the raucous ‘Keep Ravin’ On’,is perhaps the heaviest thing they recorded. Both ‘Wait For Me’ and ‘Stop The Heartache’ are nicely arranged Heart-like mid-paced songs with soaring vocals and catchy melodies, whilst ‘Our Time Will Come’ is an impressive power ballad with an inspired guitar solo. The highpoint of the album is the killer hard rocker ‘So Bad’ with it’s multiple stereo guitar parts and pounding bass lines, not to mention a brilliant vocal performance from Ms. Lawrence, but sadly the album is let down by the cheesy jazz-pop of ‘Don’t Break Up’ and the funky 80s vibe of ‘Wild In The Streets, which never seems to get going.


With another great production job from legendary Aerosmith/Alice Cooper man Jack Douglas, this re-issue sparkles with power and clarity and I’m still hearing sounds that I’d never heard before in the thirty years that I’d been listening to the LP. Paul Suter’s sleeve essay tells the usual sad story of lack of record company support and a band falling apart under the pressure, which is a shame because 1994’s sophomore release is still better than most albums of it’s ilk. (Phil Ashcroft)

And listen to “Nerves Of Steel” with a superb slide-guitar !


Rick Armand (guitar, background vocals, piano on 06.)
John Desautels (drums, percussion)
Karen Lawrence (vocals, piano, tubular bells on 04.)
Bill Rhodes (bass, guitar, slide-guitar, clavinet)
Jim Alcivar (synthesizer on 05.)
Lanier Greig (synthesizer on 02.)
Jim Horn (saxophone)
Terry Linvill (bass on 01., 03. + 05.)
background vocals:
Jay Gruska – Michelle Gruska – Sarah Taylor


01. Please Stand By… (St John/Lawrence) 3.55
02. Wait For Me (St John/Lawrence/Armand) 4.33
03. Don’t Break Up (Rhodes/St John/Lawrence) 3.55
04. Our Time Will Come (St John/Lawrence) 4.38
05. Wild In The Streets (Jeffreys) 3.34
06. Stop This Heartache (St John/Lawrence/Armand/Linvill) 3.28
07. So Bad (Leonetti/Desautels/Lawrence/Armand) 4.02
08. Nerves Of Steel (Rhodes/Leonetti/Douglas/Desautels/Lawrence) 4.18
09. Keep Ravin’ On (St John/Lawrence/Armand) 4.05



The (Count) Bishops – Live (1979)

FrontCover1.JPGThe Count Bishops were a British rock band, formed in 1975 in London and which broke up in 1980. The Count Bishops had limited commercial success, but forged an important stylistic and chronological link between the root rhythm and blues band Dr. Feelgood and the proto punk sound of Eddie and the Hot Rods; together forming the foundation of the pub-rock scene, which influenced the emergence of punk rock. The group made history in England by releasing the first record from independent label Chiswick Records. They splintered following the death of guitarist Zenon DeFleur on 18 March 1979. (by wikipedia)

From the best looking rock band this side of The Motors . . . The Bishops’ particular variety of rowdy, rumbustious R&B has always functioned best live, which is why this album cuts their studio elpee to shreds fairly effortlessly.
About three quarters of the material has shown up on previous Bishops’ recordings (“Sometimes Good Guys Don’t Wear White”, “I Need You”, “Baby You’re Wrong”, “Takin’ It Easy” and the sublime “Train Train”) but all of ’em with the possible exception of “Train” sound a lot better here.


The whole thing’s topped off with a couple of comparative newies (“I Don’t Live It” and “Too Much Too Soon” composed by singer Dave Tice and rhythm guitarist Zenon De Fleur) and a sprinkling of revibes: (“Somebody’s Gonna Get Their Head Kicked In” from the repertoire of, believe it or not, Fleetwood Mac, though it must be said that Mac ain’t played that song for a while), Sonny Boy Williamson’s “Don’t Start Me Talkin'” and The Strangeloves’ “I Want Candy” (featuring – gulp – a drum solo).

Right now, The Bishops have a single – a revival of Sam And Dave’s classic “I Take What I Want” on Radio One’s playlist, plus another studio album lined up and ready for Chiswick to disgorge upon a suspecting public. If the world is once again ready for an enthusiastic and finely crafted brew of tough guy pop and drunken R&B, then they might as well get it from The Bishops as from anybody else, because in the two or three years that they’ve been going they’ve waved the flag for their kind of music as hard as anybody against both apathy and more restrictive types of New Wave mentality.
This album is as convincing a demonstration as could be required. Miss out and it’s your loss. (by Charles Shaar Murray in 1979)

In other words: one of the finest live albums from the second wave of British R & B and Beat … Listen and enjoy ! … we want the world, and we want it now !


Paul Balbi (drums)
Zenon de Fleur (guitar)
Johnny Guitar (guitar)
Pat McMullan (bass)
Dave Tice (vocals)

01. Too Much, Too Soon (Tice) 2.41
02. Till The End Of The Day (Davies) 2.07
03. Taking It Easy (Lewins) 3.02
04. Train, Train (de Fleur) 3.19
05. Someone’s Gonna Get Their Head Kicked In Tonight (Spencer) 2.38
06. Sometimes Good Guys Don’t Wear White (Cobb) 2.38
07. Don’t Start Me Talking (Raye) 2.26
08. Baby You’re Wrong (de Fleur) 2.30
09. I Don’t Like It (Tice/de Fleur) 2.05
10. (I Want) Candy (Berns/Feldman/Goldstein/Gottehrer) 3.43



Bonnie Raitt – The Glow (1979)

FrontCover1.jpgThe Glow is the seventh album by Bonnie Raitt, released in 1979. One of the first albums to be recorded and mixed digitally. (by wikipedia)

Bonnie Raitt enjoyed critical success and blues/folk credentials with her self-titled debut, Give It Up, and Takin’ My Time. By 1975, Raitt’s style began to be defined by producer Paul Rothchild. Home Plate and Sweet Forgiveness were uncomfortable overtures to commercial propositions where Raitt’s persona and sense of fun got lost. Produced by Peter Asher, The Glow was released in 1979 and includes great players like Danny Kortchmar, Bill Payne, and Waddy Wachtel. During this time, sales might have been a consideration as well as Raitt’s tough image. If anything, Asher accentuated Raitt’s rough edges and provided his customary production polish. Like many Asher productions of the period, The Glow gets its strength from its covers. Raitt takes on “I Thank You,” “Your Good Thing (Is About to End),” and “Bye Bye Baby,” and struts through them all with ease. “The Boy Can’t Help It” doesn’t fare as well. Robert Palmer’s “You’re Gonna Get What’s Coming” makes for a great fit. Surprisingly, her take on Jackson Browne’s “Sleep’s Dark and Silent Gate” doesn’t dig as deep as the great original. The Glow isn’t a perfect album, but it’s a great example of the music she was doing during a make-or-break time in her career. (by Jason Elias)


Bonnie Raitt is too gifted to make an unlistenable album, but her eagerly awaited collaboration with producer Peter Asher is a solemn bore. Asher has recorded Raitt exactly as he does Linda Ronstadt, mixing R&B oldies with contemporary tunes and turning the singer’s voice into an electronic artifact.

By treating classic soul raveups like Sam and Dave’s “I Thank You” and Little Richard’s “The Boy Can’t Help It” as reverently as art songs, Asher and Raitt reduce them to stodgy, joyless museum pieces. “The Glow” and “(Goin’) Wild for You Baby,” two contemporary torch songs that sport Raitt’s warmest vocals, aren’t particularly outstanding. The LP’s lowest point, however, is an appallingly perfunctory reading of Jackson Browne’s “Sleep’s Dark and Silent Gate.” If ever a composition were too personal to be sung by anyone but its creator, it’s this one.


The Glow glaringly illuminates the limitations of Peter Asher’s studio perfectionism. He doesn’t overproduce in the usual sense by filling tracks with unnecessary sweetening, but rather by turning out gleamingly spare, “official” Los Angeles rock that’s as spiritually hollow as it is technically immaculate. Raitt’s best record, 1972’s Give It Up, doesn’t sound half as lustrous as The Glow, but at least it wasn’t embalmed. (by Stephen Holden, Rolling Stone, November 29, 1979)


Bob Glaub (bass)
Danny Kortchmar (guitar, background vocals)
Rick Marotta (drums), percussion)
Bonnie Raitt (vocals, slide-guitar, national steel-guitar)
Waddy Wachtel (guitar, background vocals)
Bill Payne – acoustic piano (1-4), electric piano (8, 10), Oberheim synthesizer (9, 10)
Paul Butterfield (harmonica on 06.)
Don Grolnick (piano on 05.)
John Guerin (drums on 05.)
Freebo (bass on 08.)
Bob Magnusson – bass (5)
Freebo – bass (8)
horn section on 02.:
Steve Madaio (trumpet)
Trevor Lawrence (saxophone)
David Sanborn (saxophone solo)
Larry Williams (saxophone)
background vocals:
Rosemary Butler – Kenny Edwards – Maxayn Lewis – J.D. Souther – Craig Fuller – Peter Asher


01. I Thank You (Hayes/Porter) 2.51
02. Your Good Thing (Is About to End) (Hayes/Porter) 3.49
03. Standin’ By The Same Old Love (Raitt) 4.03
04. Sleep’s Dark And Silent Gate (Browne) 3.14
05. The Glow (Hildebrand) 4.12
06. Bye Bye Baby (Wells) 3.17
07. The Boy Can’t Help It (Troup) 3.39
08. (I Could Have Been Your) Best Old Friend (McMahon/Nelson) 2.43
09. You’re Gonna Get What’s Coming (Palmer) 3.18
10. (Goin’) Wild For You Baby (Batteau/Snow) 5.26


  • (coming soon)

Teaze – One Night Stand (1979)

FrontCover1.jpgThe story of Teaze is one of unbridled success in foreign lands, yet often a constant struggle at times for mere recognition on their native soil. They were formed in Windsor, Ontario in 1975 by Brian Danter on bass guitar and vocals, guitarists Mark Bradac and Chuck Price, and Mike Kozak on drums.

“In the beginning, Teaze played hardly any bars – but highschools – which were still the rage then. We really didn’t play clubs period,” Bradac said.

Powered by a heavy but no-nonsense approach, they honed their sound while playing mostly at highschools, and were signed to Stan Whitcher Management, along with Mel Shaw from Stampeders fame. “Mel was the first to put us on out on exclusively on a label called Force One Records, distributed by London Records,” he added.

Their self-titled debut album was in the stores in ’77, but failed to make a dent in the top 40 charts. Still, driven by straight-forward production, the record was as raw a sound as one could capture in a studio, as evidenced by the tracks “Rockin With The Music”, co-written by George Young – older brother and producer of Ac/Dc’s Angus & Malcolm, “Hot To Trot,” and “Boys’ Night Out”. They caught the attention of Bob Rags at Terry Flood Management, and the group was signed to Aquarius records in 1977, who re-released the album.


Their follow-up, ON THE LOOSE, was released early the next year and although still holding true to the band’s simple approach, the record showed a maturity in the writing and featured the rockers “Nobody’s Fool” and a re-make of “Gonna Have A Good Time Tonight.” Also noteable were the title track, “Ready To Move,” and “Sweet Misery.” It was the band’s only ever hit single, and the tender piano and acoustic guitar driven ballad also showcased their versatility.

The group moved operations from Windsor to Montreal the next year and continued touring eastern & central Canada and in the US, but still couldn’t seem to get their ‘big break’. This all changed for Teaze in the fall of 1978 when they travelled to Japan and were met with sold out stadiums and mobs at the airports. But the jury was still out as to whether or not Teaze simply cashed in on rock and roll starved Japanese kids after the likes of KISS, BTO and Cheap Trick had already paved the way. Whatever the reason, the reception of Teaze in Japan was almost comparable to the reception the Beatles or Rolling Stones enjoyed in the United States. Their ten day tour of the Orient led to 1979’s live album, TOUR OF JAPAN.

Teaze02.jpgLater that year the band released their third studio album, ONE NIGHT STANDS. With Myles Goodwyn of April Wine (also on the Aquarius label) behind the helm, it showed a definite progression from its predecessors. Ranging from the typical ballad “Loose Change”, the record’s only single, to the straight forward – grab you by the balls “Back in Action” and “Young & Reckless”, ONE NIGHT STANDS was typical Teaze, but with a maturity. However the tour that followed was a disappointing failure, considering management’s expectations following the band’s success overseas.

The group cut BODY SHOTS in the summer of 1980, their final album. Though two singles were released, “Roses and Chrome” and “Living On The Edge”, the record still failed to garner enough radio interest to support another full-fledged attempt at cracking the North American market. Management at Aquarius by this time had decided that “Teazemania” was never going to catch on here and chose not to commit to any more records.

Now without a deal, Teaze continued to do arena and theatre dates in and around the Toronto area, but disbanded in 1981. Everyone went on to do individual projects and life outside of music. Bradac opened up a pawnshop, and eventually became so established in the business he landed a role on “Pawnathon Canada,” a TV show where experts buy people’s relics and memorabilia.

A ‘best of’ package titled A TASTE OF TEAZE was released in ’84 and the compilation OVER SIXTY MINUTES WITH TEAZE, the definitive collection with 17 tracks, followed in 1990. (by



One Night Stands was the third album released by Teaze on the Aquarius Records label, and their debut release in the U.S. on Capitol. With the success of the live album, Tour of Japan, the Montreal-based band became one of the hottest Canadian acts of the late ’70s. For this U.S. debut album, all the stops were pulled out by the band’s management. Myles Goodwyn, from April Wine, was brought in for production and eight new songs were written by the bandmembers for the album. The songs were powerful hard rock numbers with intelligent lyrics and good choruses. The album had all of the right ingredients to make it a hit, but, despite this, the timing was just not right. Disco was dominating the charts, new wave music was becoming the current rage, and punk rock was rearing its ugly head. The music world in general was in turmoil and commercial styled hard rock was just not where it was at in 1979, causing the album to become a commercial failure. There was no single released from the album, and because of that Teaze failed to attract the attention it deserved. The failure of One Night Stands in the U.S. prompted Capitol Records to drop the band from its contract midway through the recording of a follow-up album. Teaze’s shot at international stardom had been dashed. The band was still signed to Aquarius Records in Canada, so there still was an outlet for the album they were working on, which was to be called Body Shots. (by Keith Pettipas)


Teaze was a terrific band from Ontario, Canada that produced four studio albums in the late ’70s/early ’80s and—sadly and shamefully—generated only little more than a cult following here in America.

One Night Stands, the band’s third release, contains both slamming rockers (“Back In Action,” “Boys Night Out,” “Young and Reckless,” etc.) along with AOR-tinged songs (“Heartless World,” “Stay Here,” “Touch The Wind,” etc.), all of which undoubtedly repeat in one’s head upon initial hearing, and all mega-classics that should have made Teaze ultra-famous and ultra-rich.

With high quality in everything from songwriting to musicianship to production, this band should have been HUGE. Yes, it’s a “heartless world” indeed. (by zap_niles)

What as great album … listen to “Heartless World” … one of the finest Heavy Metal ballads ever !

Oh yes, the boys were hot !


Marc Bradac (guitar, slide guitar, background vocals)
Brian Danter (bass, synthesizer, vocals)
Mike Kozak (drums, percussion)
Chuck Price (guitar, background vocals)
unknown saxophone player on 03.


01. Back In Action (Bradac/Danter/Kozak) 3.25
02. Young And Reckless (Bradac/Danter/Kozak) 3.55
03. Heartless World (Bradac/Kozak) 5.40
04. Boys Night Out (Bradac/Kozak) 4.07
05. Through The Years (Bradac/Danter/Price/Kozak) 4.10
06. Reach Out (Danter) 3.44
07. Stay Here (Bradac/Kozak) 3.33
08. Red Hot Ready (Bradac/Kozak) 3.22
09. Touch The Wind (Danter) 5.02




You’re a living sin
You’re the harlequin in a one-act play
And you’ve given up
Even though you can’t say why
So your hero died back in 69
Well that’s no excuse
To go lose yourself in a FM headphone high
It’s a heartless world
It’s a heartless world

Have you had enough?
Are you going back to that crazy place?
Are you listening?
Am I talking to myself?
Well it’s sad to say but it’s just that way and it’ll
never change, never change
Have you won or lost?
You know it’s hard to tell
It’s a heartless world
It’s a heartless world
And some room to breathe may be all you need
to get on your feet
And the time to step outside and see outside and see the sky
Oo, no, no, no, it’s a heartless world
It’s a heartless world
Will you control me
Would you please hold me
Don’t let me show my vicious side

If you disown me
If you’ve outgrown me
I’ll change my name, and say goodbye

Nazareth – No Mean City (1979)

FrontCover1.jpgNo Mean City is the tenth studio album by the Scottish hard rock band Nazareth, released in 1979. The album title comes from the 1935 novel No Mean City and features artwork illustrated by Rodney Matthews. With this record the band’s sound was heavier, considering the addition of guitarist Zal Cleminson of the Sensational Alex Harvey Band. It sold very well at the time, with the main single Star, preceded by Whatever You Want Babe. The popularity of the album allowed the band to play with several big names such as Thin Lizzy, on their 1978/79 tour. (by wikipedia)

This 1978 album found Nazareth continuing to mine the combination of stripped-down hard rock and roots rock sounds explored on 1977’s Expect No Mercy. No Mean City is also notable because the veteran Scottish rock outfit expanded its lineup for the first time with addition of guitarist Zal Cleminson, formerly of the Sensational Alex Harvey Band. He helped the band create a gutsy twin-guitar attack that stamps its authority all over the album: prime example of the group’s new firepower include “Just to Get Into It,” a blinding speed rocker that provides the album with a fitting opener, and “Simple Poster.jpgSolution,” a hard-driving slab of boogie rock that sets cynical lyrics against the backdrop of a gritty, hypnotic guitar riff. Another major highlight is “May the Sunshine,” which starts as a Celtic-inflected acoustic tune, but soon adds electric guitars and rumbling bassline to become a stomping folk metal tune in the style of Led Zeppelin. However, the album’s secret gem is “Star,” a power ballad about a love affair broken up by the music biz that is driven by a sweetly harmonized guitar riff almost as heart-tugging as the song’s lyrics. The problems with No Mean City is that while all of its rockers are sturdy, some of them pale in comparison to these highlights: an example is “Claim to Fame,” a rocker that relies upon endless repetition of its central riff but is saved by a ferocious vocal from Dan McCafferty. Also, the emphasis on heavy twin-guitar means there is less of the experimentation that distinguishes the best Nazareth album. That said, No Mean City remains a bracing and electric set of hard rock tunes that is well worth a listen for both Nazareth fans and anyone addicted to 1970s hard rock. (by Donald A. Guarisc)


Pete Agnew (bass, background vocals)
Manny Charlton (guitar)
Zal Cleminson (guitar)
Dan McCafferty (vocals)
Darrell Sweet (drums)


01. Just To Get into It (Charlton/McCafferty/Cleminson/Agnew/Sweet) 4.22
02. May The Sunshine (Charlton/McCafferty/Cleminson/Agnew/Sweet) 4.54
03. Simple Solution, Parts 1&2 (Cleminson) 4.58
04. Star (Charlton/McCafferty) 4.53
05. Claim To Fame (Charlton) 4.28
06. Whatever You Want Babe (Charlton) 3.40
07. What’s In It For Me (Charlton) 4.18
08. No Mean City, Parts 1&2 (Charlton/McCafferty/Cleminson/Agnew/Sweet) 6.29
09. May The Sunshine (single edit) (Charlton/McCafferty/Cleminson/Agnew/Sweet) 3.30
10. Whatever You Want Babe (single edit) (Charlton) 2.57
11. Star (US Version) (Charlton/McCafferty) 4.54
12. No Mean City (alternate edit) (Charlton/McCafferty/Cleminson/Agnew/Sweet) 3.31
13. Simple Solution (edit) (Cleminson) 4.17