The Only Ones – Live At The Paradiso (1979)

FrontCover1The Only Ones were an English rock band formed in London in 1976, whose original band members are Peter Perrett, Alan Mair, John Perry and Mike Kellie, they first disbanded in 1982. They were associated with punk rock, yet straddled the musical territory in between punk, power pop and hard rock, with noticeable influences from psychedelia.

The Only Ones reformed in 2007 after their biggest hit “Another Girl, Another Planet” experienced a resurgence of public interest. The band completed a comeback UK tour in June 2007, and continued touring throughout 2008 and 2009. New material was recorded in 2009 and played live, but was never released.

The Only Ones were originally formed in August 1976 in South London by Peter Perrett. Perrett had been recording demos since 1972, and in late 1975 he was looking for a bass player. He was introduced to John Perry as a possible candidate, but Perry wanted to concentrate on playing guitar instead. By August 1976, Perry and Perrett had found drummer Mike Kellie (ex-Spooky Tooth) and bass guitarist Alan Mair, who previously had huge success with the Scottish band The Beatstalkers. Their first single, “Lovers of Today”, self-released on the Vengeance record label, was immediately made “record of the week” by three of the four main music papers. A year later they signed to CBS. Their next single “Another Girl, Another Planet” became a popular and influential song, and remains the band’s best-known song. It is often featured on various musical box-sets featuring a punk rock or new wave theme. After its inclusion on the 1991 compilation album The Sound of the Suburbs, it was re-released as a single and reached no. 57 in the UK singles chart.

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The band released their debut studio album The Only Ones in 1978, which was well received by both reviewers and fans.[3] The band’s follow-up album, Even Serpents Shine, was released the following year. A year later, they released their final studio album, Baby’s Got a Gun. In the summer of 1980, they supported the Who on their tour of the United States, and in 1982 the band officially disbanded. In subsequent years, the Only Ones retained a following and their posthumously released records – live performances, BBC Television and radio shows, and compilation albums – now outnumber their studio albums. Unusually, The Only Ones’ discs were never deleted from the CBS catalogue and remain in-print.

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In an interview published in the 10 November 2006 issue of the tabloid newspaper, The Daily Record, Alan Mair commented that he was set to reform The Only Ones after “Another Girl, Another Planet” was used in a Vodafone ad campaign in 2006, and picked up as the introduction theme to Irish DJ Dave Fanning’s radio show.[4] On 21 February 2007, Perry confirmed via his MySpace page that the band would reform for a five-date UK tour in June. Besides these dates, they played a number of festivals, debuting at All Tomorrow’s Parties festival in Minehead, England, on 27 April. During the summer, they also played at the two-part Wireless Festival in Hyde Park, London, Harewood House, (near Leeds), and the Connect Music Festival at Inveraray Castle in Scotland on 1 September.

News of the tour prompted coverage in several UK national newspapers and the dates were met with positive reviews. During these gigs, the band played a new song called “Dreamt She Could Fly”.

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The press also reported that three of the band were keen to record a new studio album following the tour, but that Perrett seemed hesitant. In April 2008, the band were seen on Later… with Jools Holland performing their song, “Another Girl, Another Planet”, and a new song entitled “Black Operations”. The band also played other new songs including “Is This How Much You Care” and “Magic Tablet” live on a Canal+ TV special in Paris and an acoustic/unplugged session for Radio 6 Queens of Noize. A live DVD of the Shepherds Bush Empire show was released in March 2008. Other rumoured releases included DVDs from a show on the band’s last US tour, and a re-release of Faster Than Lightning, which was released on VHS in 1991 and on DVD in 2012.

All three CBS studio albums, remastered by Alan Mair, were re-released with bonus tracks in February 2009. “Another Girl, Another Planet” was used in the film D.E.B.S. (2004), as well as in the 2010 hit film Paul. Sony BMG announced a January 2012 release date for an Only Ones box set in the “Original Album Classics” series. The set comprised the three remastered studio albums, plus various B-sides and out-takes. The Only Ones topped the bill at the 2012 Rebellion Festival in Blackpool on 4 August of that year.

TheOnlyOnes02In late 2014 the Only Ones (minus Mike Kellie) played some gigs in Tokyo, co-headlining with the Flamin’ Groovies. In August 2014 Perrett began playing solo shows (Felipop festival, Spain) using his sons’ band Strangefruit, followed by more dates in 2015 (Hebden Bridge, Bristol, London etc.) with the same formation. The band ceased activity after the death of drummer Mike Kellie, but Perrett, Mair and Perry reunited to play a three-song set in summer 2019.

The band members’ musical proficiency distinguished them from most of their peers. Their dominant drug-related lyrical themes on songs such as “Another Girl, Another Planet,” and “The Big Sleep,” also fit in with the Zeitgeist of the era on both sides of the Atlantic. Perrett and Kellie caught the eye of Johnny Thunders, founding member of the New York Dolls and the Heartbreakers, and worked as sidemen on Thunders’ solo debut album, So Alone, notably appearing together on the classic “You Can’t Put Your Arms Around a Memory”. However, drug addiction, particularly heroin use,[11] derailed their career, and singer/guitarist/songwriter Perrett has only sporadically been heard from since the band split in 1982. He briefly resurfaced in the mid 1990s with the album, Woke Up Sticky, and released his debut solo album, How The West Was Won in 2017.

Lead guitarist Perry went on to play as a session guitarist for artists including The Sisters of Mercy, Evan Dando and Marianne Faithfull. More recently, he has written several well received music biographies on the Who’s seminal hits compilation Meaty Beaty Big and Bouncy, the Rolling Stones’ double album Exile on Main Street and in 2004, Jimi Hendrix’s Electric Ladyland. During 2005–2006, he played and recorded with singer-songwriter Freddie Stevenson.

The Only Ones have been influential on the indie rock and alternative rock scenes ever since their initial success, on bands such as The Replacements, Blur, Nirvana, and more recently The Libertines. Several bands have covered their song “Another Girl, Another Planet”, including The Libertines (at London Forum with Perrett guesting),[13] The Replacements and Blink 182. Their song “The Whole of the Law” was covered by Yo La Tengo on their album, Painful. (wikipedia)

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And here´s is an excellent bootleg:

This show was recorded at the Paradiso, the famous Amsterdam concert hall, and captured on the 3rd of November 1979, some months before their last LP Baby’s Got A Gun was released. It was apparently broadcasted by a Dutch radio but I don’t know which one. If the playing is far from being perfect and often Peter Perrett seems a little elsewhere (not too much vocally, but his guitar is quite erratic , there are some stunning versions of “Big Sleep” or “The Beast” where one can understand why for some of us the Only Ones will remain among the greatest and most exciting and moving band of our lives. (thefatangelsings.com)

Recorded live at The Paradiso, Amsterdam, Holland  November 3, 1979
(excellent broadcast recording)

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Personnel:
Mike Kellie (drums)
Alan Mair (bass)
John Perry (guitar)
Peter Perrett (vocals, guitar)

Alternate frontcover:
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Tracklist:
01. As My Wife Says 3.27
02. In Betweens 4.43
03. Programme 2.17
04. Oh Lucinda Love Becomes A Habitb 3.31
05. Big Sleep 5.27
06. Language Problem 3.02
07. Miles From Nowhere 4.10
08. The Beast 6.09
09. Another Girl, Another Planet 3.11
10. Peter And The Pets 3.17
11. City Of Fun 3.43
12. Trouble In The World 3.20
13. Me And My Shadow 4.39
14. The Immortal Story 3.05

All songs written by Peter Perrett

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Michael Alexander Kellie (24 March 1947 – 18 January 2017):

…from the iconic introduction of “Waiting For The Wind” by Spooky Tooth to the manic psychedelic rhythm pictures of “Another Girl, Another Planet” by The Only Ones, Mike Kellie’s career has spanned over 3 decades & his picturesque drumming accompanied some of contemporary music’s most successful artists…..

Paradiso World Aids Night, Amsterdam

The Paradiso is a Dutch music venue and cultural centre located in Amsterdam.

It is housed in a converted former church building that dates from the nineteenth century and that was used until 1965 as the meeting hall for a liberal Dutch religious group known as the “Vrije Gemeente” (Free Congregation). It is located on de Weteringschans, near the Leidseplein, one of the nightlife and tourism centers of the city. The main concert hall in the former church interior has high ceilings and two balcony rings overlooking the stage area, with three large illuminated church windows above the stage. The acoustics are rather echoey, but improvements have been made over the years. In addition to the main concert hall, there are two smaller cafe stages, on an upper floor and in the basement.

Paradiso was squatted by hippies in 1967 who wanted to convert the church to an entertainment and leisure club. The police ended the festivities the same year. In 1968, the city opened Paradiso as a publicly subsidized youth entertainment center. Along with the nearby Melkweg (Milky Way), it soon became synonymous with the hippie counterculture and the rock music of that era. It was one of the first locations in which the use and sale of soft drugs was tolerated. From the mid-1970s, Paradiso became increasingly associated with punk and new wave music, although it continued to program a wide variety of artists. Starting in the late 1980s, raves and themed dance parties became frequent.

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In 1994, Paradiso, along with the Institute for Sonology and The ArtScience Interfaculty (Amsterdam), initiated Sonic Acts together. In recent years, the venue has settled into an eclectic range of programming, which, besides rock, can include lectures, plays, classical music, and crossover artists. Long associated with clouds of tobacco and hashish smoke, Paradiso banned smoking in its public areas (except for a small smoking room) in 2008 in accordance with a nationwide ban on smoking in public venues. (wikipedia)

Average White Band – Feel No Fret (1979)

FrontCover1The Average White Band (also AWB) are a Scottish funk and R&B band that had a series of soul and disco hits between 1974 and 1980. They are best known for their million-selling instrumental track “Pick Up the Pieces”, and their albums AWB and Cut the Cake. The band name was initially proposed by Bonnie Bramlett. They have influenced others, such as the Brand New Heavies, and been sampled by various musicians, including the Beastie Boys, Public Enemy, TLC, The Beatnuts, Too Short, Ice Cube, Eric B. & Rakim, Nas, A Tribe Called Quest, Christina Milian, and Arrested Development, making them the 15th most sampled act in history. As of 2018, 46 years after their formation, they continue to perform.

Feel No Fret is the seventh album by Scottish funk and R&B band Average White Band (also AWB) released in 1979 on the RCA label in the United Kingdom and the Atlantic label in the United States.

It reached No. 15 in the UK charts, with 15 weeks in total on the charts, and No. 32 in the US charts. (by wikipedia)

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From their self-titled sophomore album of 1974 to 1978’s Warmer Communications, the Average White Band enjoyed a commercial winning streak in the ’70s; all of the albums they recorded for Atlantic during that period went either gold or platinum in the United States (and that is in addition to their impressive sales in Europe). But if any AWB album demonstrated that all good things must eventually come to an end, it was Feel No Fret. This 1979 LP marked the first time since 1973’s Show Your Hand (also known as Put It Where You Want It) that an AWB album didn’t enjoy either gold or platinum sales in the U.S., and it was also the most uneven album they recorded in the ’70s. So what went wrong? Perhaps the absence of Arif Mardin was a factor; Mardin had produced all of AWB’s previous Atlantic releases, whereas they produced Feel No Fret themselves. If Mardin had been encouraging the Scottish soul/funk band to go that extra mile, they settled for decent or competent on this record.

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Feel No Fret is far from a total meltdown, and the material is generally likable — especially the good-natured “Atlantic Avenue,” the slow-grinding “When Will You Be Mine,” and a remake of the Burt Bacharach/Hal David favorite “Walk On By” (which became a minor hit and made it to number 32 on Billboard’s R&B singles chart). But after Mardin-produced treasures like AWB, Soul Searching, Cut the Cake, and Warmer Communications, AWB followers had become extremely spoiled — they expected excellence, not a record that was merely adequate. Nonetheless, hardcore devotees (as opposed to casual listeners) will want to hear this album.

Oh yes, I´m a hardcore freak …

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Personnel:
Roger Ball (keyboards, synthesizer (saxophone)
Malcolm Duncan (saxophone)
Steve Ferrone (drums, percussion)
Alan Gorrie (bass, vocals, guitar)
Onnie McIntyre (guitar, vocals)
Hamish Stuart (guitar, vocals, bass)
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Mike Brecker (saxophone on 05. + 09.)
Randy Brecker (trumpet on 05. + 09.)
Zeca de Cuica (cuica on 06.)
Lew Delgatto (saxophone on 05. + 09.)
Airto Moreira (percussion on 06.)
Luis Carlos Dos Santos (surdo on 06.)
Luther Vandross (background vocals on 08.)

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Tracklist:
01. When Will You Be Mine (Gorrie/White) 4.20
02. Please Don’t Fall In Love (Ball/Gorrie) 3.42
03. Walk On By (David/Bacharach) 4.00
04. Feel No Fret (Stuart/Gorrie/Ferrone) 6.31
05. Stop The Rain (Gorrie/Stuart) 4.32
06. Atlantic Avenue (Ferrone, Gorrie, Average White Band) – # 24 UK chart[6]
07. Ace Of Hearts (Ferrone/Gorrie/Stuart) 3.52
08. Too Late To Cry (Stuart) 3.45
09. Fire Burning (Gorrie/White) 3.15

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Georges Moustaki – Moustaki (1979)

FrontCover1Georges Moustaki (born Giuseppe Mustacchi; 3 May 1934 – 23 May 2013) was an Egyptian-French singer-songwriter of Jewish Italo-Greek origin, best known for the poetic rhythm and simplicity of the romantic songs he composed and often sang. Moustaki gave France some of its best-loved music by writing about 300 songs for some of the most popular singers in that country, such as Édith Piaf, Dalida, Françoise Hardy, Yves Montand, Barbara, Brigitte Fontaine, Herbert Pagani, France Gall, Cindy Daniel, Juliette Gréco, Pia Colombo, and Tino Rossi, as well as for himself.

Georges Moustaki was born Giuseppe Mustacchi in Alexandria, Egypt, on 3 May 1934. His parents, Sarah and Nessim Mustacchi, were Francophile, Greek Jews from the ancient Romaniote Jewish community. Originally from the Greek island of Corfu, they moved to Egypt, where young Giuseppe was born and first learned French. They owned the Cité du Livre − one of the finest book shops in the Middle East – in the cosmopolitan city of Alexandria, where many ethnic communities lived together.

Moustaki’s father spoke five languages whereas his mother spoke six. The young Giuseppe and his two older sisters spoke Italian at home and Arabic in the streets.[4] The parents placed Giuseppe and his sisters in a French school where they learned to speak French.

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At the age of 17, after a summer holiday in Paris, Moustaki obtained his father’s permission to move there, working as a door-to-door salesman of poetry books. He began playing the piano and singing in nightclubs in Paris, where he met some of the era’s best-known performers. His career took off after the young singer-songwriter Georges Brassens took Moustaki under his wing. Brassens introduced him to artists and intellectuals who spent much of their time around Saint-Germain-des-Prés. Out of gratitude, Moustaki adopted the first name of the only musician he called “master”.[1][2]

Moustaki said that his taste for music came from hearing various French singers – Édith Piaf, Charles Trenet, Henri Salvador, Georges Ulmer, Yves Montand, Georges Guétary and Luis Mariano – sing.

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Moustaki was introduced to Édith Piaf in the late 1950s by a friend whose praise of the young songwriter was so flattering that Piaf, then at the peak of her fame, requested somewhat sarcastically to hear him sing his best works. “I picked up a guitar and I was lamentable. But something must have touched her. She asked me to go and see her perform that same evening at the Olympia music hall and to show her later the songs I had just massacred.”

He soon began writing songs for Piaf, the most famous of which, Milord, about a lower-class girl who falls in love with an upper-class British traveller, reached number one in Germany in 1960 and number 24 in the British charts the same year. It has since been performed by numerous artists, including Bobby Darin and Cher.

Piaf was captivated by Moustaki’s music, as well as his great charm. Piaf liked how his musical compositions were flavored with jazz and styles that went beyond France’s borders. Moustaki and Piaf became lovers and embarked on what the newspaper Libération described as a year of “devastating, mad love”, with the newspapers following “the ‘scandal’ of the ‘gigolo’ and his dame day after day”.

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After a decade of composing songs for various famous singers, Moustaki launched a successful career as a performer himself, singing in French, Italian, English, Greek, Portuguese, Arabic and Spanish.

Moustaki’s songwriting career peaked in the 1960s and 1970s with songs like “Sarah”, performed by Serge Reggiani, and “La Longue Dame brune”, written for the singer Barbara (Monique Serf).

In 1969 Moustaki composed the song “Le Métèque” — ‘métèque’ is a pejorative word for a shifty-looking immigrant of Mediterranean origin – in which he described himself as a “wandering Jew” and a “Greek shepherd”. Serge Reggiani rejected it and the record companies refused to produce it. Moustaki then sang it himself, on a 45rpm disc, and it became a huge hit in France, spending six non-consecutive weeks at number one in the charts. “A small, subliminal settling of scores became the hymn of anti-racism and the right to be different, the cry of revolt of all minorities,” Moustaki said of the song.

In 1971 Moustaki adapted the Ennio Morricone/Joan Baez song “Here’s to You” under the new title “Marche de Sacco et Vanzetti” for his album “Il y avait un jardin” (“There was a garden”).

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In 1972 Moustaki popularized the translation of two songs by Mikis Theodorakis, “l’Homme au cœur blessé” and “Nous sommes deux”, the latter being a French version of Imaste dio.

Moustaki’s philosophy was reflected in his 1973 song “Déclaration”: “I declare a permanent state of happiness and the right of everyone to every privilege. I say that suffering is a sacrilege when there are roses and white bread for everyone.”

Moustaki became a French citizen in 1985.

In 2008, after a 50-year career during which he performed on every continent, Moustaki recorded his last album, Solitaire. On it, he recorded two songs with China Forbes.

In 2009, in a packed concert hall in Barcelona, he told the stunned audience that he was giving his last public performance as he would no longer be capable of singing because of an irreversible bronchial illness.

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Moustaki married Annick “Yannick” Cozannec when he was twenty years old and she was twenty-five. Their daughter, Pia, was born the following year. They lived in an apartment at rue des Deux-Ponts on the Île Saint-Louis in Paris for many years, before his lung illness forced him to leave his beloved Paris to seek out warmer and cleaner air in the French Riviera.

In his last interview given to Nice-Matin newspaper in February 2013, Moustaki said, “I regret not being able to sing in my bathroom. But singing in public, no. I’ve done it all…. I’ve witnessed magical moments.”

Georges Moustaki died on 23 May 2013 at a hospital in Nice, France, after a long battle with emphysema.

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The French president, François Hollande, called Moustaki a “hugely talented artist whose popular and committed songs have marked generations of French people”. French Culture Minister Aurélie Filippetti hailed Moustaki as an “artist with convictions who conveyed humanist values … and a great poet”. Paris Mayor Bertrand Delanoë remembered Moustaki as “a citizen of the world who was in love with liberty, a true rebel until his last days”, who had given France “unforgettable compositions and lyrics”. Juliette Gréco, one of France’s biggest singers in the 1960s, grieved the loss of a “poet” and “unique person”. “He was a fine, elegant man who was infinitely kind and talented,” she told RTL radio.

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Moustaki’s funeral was held on 27 May 2013. It was attended by his widow Annick Cozannec and their daughter Pia, the French Culture Minister Aurélie Filippetti and numerous personalities from the entertainment world – Guy Bedos, Véronique Genest, Maxime Le Forestier, Jacques Higelin, Brigitte Fontaine, Arthur H, Valérie Mairesse, Hervé Vilard, Irène Jacob, François Corbier, Cali, Sapho, Enrico Macias, François Morel, Costa Gavras.

Moustaki was buried according to Jewish rites in a family vault at the Père Lachaise Cemetery in Paris a few meters from the grave of his former amour Édith Piaf. (by wikipedia)

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And here´s one of his countless album, a more or less unknown album from 1979 … and it´s again a wonderful album … an album full of pure poetry … soft and gentle, with many beautiful melodies … Georges Moustaki was really a great one !

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Personnel:
Amaziane (drums)
Kim Choe Cheah (flute, vocals)
Christian Chevalier (piano)
Marta Contreras (vocals)
Benhamadi Kamel (drums)
Mario Lima (guitar, vocals)
Georges Moustaki (vocals, guitar)
Joseph Mustacchi (guitar)
Claude Pavy (guitar)
Jean-Pierre Sabar (piano)
Pierre Yves Sorin (bass)
Jannik Top (bass)

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Tracklist:
01. Et pourtant dans le monde (Moustaki) 3.13
02. Je réussis ce que je rate (Moustaki)
03. Elle appelle “Au secours” (Moustaki)
04. So Many Miles (Moustaki)
05. Dis l’étranger (Moustaki/Lima)
06. Fugue en la mineure (Moustaki)
07. Nostalgie du tiers-monde (Moustaki/Chevalier)
08. L’île habitée (Moustaki)
09. Elle est partie (Moustaki)
10. Reprends ta vieille guitare (Moustaki)
11, Soyez bons pour le poète (Moustaki)

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Lyrics

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Georges Moustaki (03 May 1934 – 23 May 2013)

 

Joni Mitchell – Mingus (1979)

FrontCover1Mingus is the tenth studio album by Canadian singer-songwriter Joni Mitchell, and a collaboration with composer and jazz musician Charles Mingus. Recorded in the months before his death, it would be Mingus’s final musical project; the album is wholly dedicated to him. Mingus was released on June 13, 1979.

The album is quite experimental, featuring minimalist jazz, over-plucked, buzzing acoustic guitars, and even wolves howling through “The Wolf That Lives in Lindsey”. All of the lyrics are by Mitchell, while the music for four of the songs was composed by Mingus, three being new tunes, a fourth being his tribute to saxophonist Lester Young from his 1959 classic Mingus Ah Um, “Goodbye Pork Pie Hat”, for which Mitchell wrote a set of lyrics.

As with the release preceding, Don Juan’s Reckless Daughter, Mitchell hired personnel from jazz fusion group Weather Report, notably bassist Jaco Pastorius to play on the sessions. Mingus would also mark the first reunion of saxophonist Wayne Shorter and pianist Herbie Hancock in the studio since recording together on Shorter’s seminal Native Dancer album, featuring Milton Nascimento, released in September 1974.

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The album is spliced with excerpts, which are labelled “(Rap)”, from recordings provided by Sue Graham Mingus, including a scat singing interplay between Joni and Mingus, and Charles and Sue arguing over his age at a birthday party. In “Funeral”, Mingus and others discuss how long he’ll live and what his funeral will be like. He refers to the Vedanta Society and asserts that he’s going to live longer than Duke Ellington, who died in 1974, aged 75, by saying, “I’m going to cut Duke!”. “God Must Be a Boogie Man”—having taken shape two days after his death—was the only song Mingus was unable to hear. Mitchell suggests in the liner notes that Mingus would have found it hilarious. The song was re-recorded with orchestral accompaniment on Joni’s 2002 album “Travelogue”. The artwork features several paintings by Mitchell of Mingus. It peaked at #17 on the Billboard Pop Albums chart. (by wikipedia)

Mingus Card Lyrics Front1

In the months prior to the passing of legendary jazz bassist Charles Mingus, Joni Mitchell had been personally summoned by the bop pioneer to collaborate on a musical version of T.S. Eliot’s Four Quartets. The project would entail Mitchell to condense the text for Mingus to score instrumentally. He planned on utilizing a full orchestra, as well as the more traditional guitar and bass. They would accompany Mitchell’s vocals and the narration of selected portions of the text. After a few weeks of consideration, Mitchell’s reaction was that “[she]’d rather condense the bible.” Mingus then bestowed Mitchell with six melodies — “Joni I” through “Joni VI” — penned specifically for her. Mitchell spent a few weeks with Mingus — who was totally immobilized from amyotropic lateral sclerosis (aka Lou Gehrig’s Disease) — during the spring of 1978. Their partnership advanced the half-dozen tunes. More importantly, it shook Mitchell from a three-month long writer’s block/drought — yielding two of her best late-’70s compositions: “God Must Be a Boogie Man” and the revisitation and completion of a track she’d been wood-shedding, now titled “The Wolf That Lives in Lindsey.” Incidentally, the former piece was inspired by the opening chapters of Mingus’ autobiography, Beneath the Underdog.

Mingus

Initial recordings during Mitchell’s stay with Mingus in New York City produced several interesting experimental sessions with the likes of Stanley Clarke (bass), Jan Hammer (keyboards), John McLaughlin (guitar), Gerry Mulligan (baritone sax), and Tony Williams (drums). A few of these recordings — while rumored to have been lost, destroyed, or made otherwise unavailable — were leaked into the trading community in the late ’90s. Arguably, Mitchell could not have chosen any finer musicians than the sextet she ultimately incorporated into this work. The luminaries include Herbie Hancock (electric piano), Wayne Shorter (soprano sax), Jaco Pastorious (bass/horn arrangements), Peter Erskine (drums), Don Alias (congas), and Emil Richards (percussion). Sprinkled amongst these soulfully jazzy pieces are five “raps,” or aural snapshots of the time Mitchell and Mingus spent together. Sadly, Charles Mingus passed before he was able to listen to this timeless and ageless paean to his remarkable contributions to bop and free jazz. (by Lindsay Planer)

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Personnel:
Don Alias (percussion)
Peter Erskine (drums)
Herbie Hancock (piano)
Joni Mitchell (guitar, vocals)
Jaco Pastorius (bass)
Wayne Shorter (saxophone)eeeeeey
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Emil Richards (percussion (on 04.)

LPBooklet

Tracklist:
01. Happy Birthday 1975 (Rap) (Hill) 0.58
02. God Must Be A Boogie Man /Mitchell) 4,32
03. Funeral (Rap) / A Chair In The Sky (Mitchell/Mingus) 7.47
04. The Wolf That Lives In Lindsey (Mitchell) 6.22
05. I’s A Muggin’ (Rap) / Sweet Sucker Dance (Mitchell/Mingus) 8.13
06. Coin In The Pocket (Rap) / The Dry Cleaner From Des Moines (Mitchell/Mingus) 3.40
07. Lucky (Rap) / Goodbye Pork Pie Hat (Mitchell/Mingus) 5.27

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LinerNotes

More from Joni Mitchell:

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Ian Hunter – You’re Never Alone With A Schizophrenic (1979)

FrontCover1You’re Never Alone with A Schizophrenic is the fourth solo album by Ian Hunter. The album featured members of Bruce Springsteen’s E Street Band as the backing band. Allmusic considers the album to be Hunter’s best.

Hunter says that the title had been spotted on a toilet wall by co-producer Mick Ronson which he had planned for one of his solo albums. Hunter loved the title so much that he offered Ronson co-writing credit on the first single “Just Another Night” in exchange for the use of the title for the album. “Just Another Night” reached the Billboard Hot 100 No. 68. The album became one of Hunter’s biggest sellers at the time. Later, singer Barry Manilow covered the song “Ships” for his album One Voice which became a top-ten hit.

In 2009 EMI released a 30th-anniversary reissue of the album remastered with five bonus tracks on the first disc of outtakes and a second disc of live tracks recorded on the tour to support the album but previously unreleased. The reissue also came with a deluxe booklet discussing the making the album along with vintage and new interviews with Hunter.

The song “Cleveland Rocks” (originally recorded as a single for Columbia Records and entitled “England Rocks” around the time of “Overnight Angels”) later became a hit when The Presidents of the United States of America re-recorded the song as the theme song to The Drew Carey Show in 1997, raising Hunter’s profile. (by wikipedia)

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This classic album from 1979 is considered by many to be the high point of Ian Hunter’s solo career. Although its sales never matched up to the enthusiastic critical reaction it received, this polished hard rock gem has held up nicely through the years and is definitely deserving of its strong cult reputation. You’re Never Alone with a Schizophrenic also marked the reunion of Hunter with his finest creative ally, Mick Ronson, who had been forced to sit out of Hunter’s last few albums due to management problems. Together, the reunited duo put together an album that matches Hunter’s literate lyrics to a set of catchy, finely crafted tunes brimming with rock & roll energy. Two of the finest tracks are “Cleveland Rocks,” an affectionate, Mott the Hoople-styled tribute to an unsung rock & roll city that later became the theme for The Drew Carey Show, and “Ships,” a heartrending ballad built on a spooky and ethereal keyboard-driven melody that was later covered with great success by Barry Manilow.

Ian Hunter

Elsewhere, the album features plenty of tunes that soon became mainstays of Hunter’s live show: “Just Another Night” is a rollicking rocker with an infectious, piano-pounding melody reminiscent of 1970s-era Rolling Stones, and “Bastard” is a pulsating rocker that features guest star John Cale contributing to its ominous hard rock atmosphere. However, the unsung gem of the album is “When the Daylight Comes,” a beautifully crafted mid-tempo rocker that balances a soulful, organ-driven melody with rousing guitar riffs and surprisingly vulnerable lyrics about romance. It should also be noted that You’re Never Alone with a Schizophrenic benefits from a sterling mix by Bob Clearmountain, who gives the sound a muscular quality that makes it leap out of the stereo speakers. In the end, You’re Never Alone with a Schizophrenic is not only Ian Hunter’s finest and most consistent album but one of the true gems of late-’70s rock & roll. (by Donald A. Guarisco)

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Personnel:
Roy Bittan (keyboards, synthesizer, background vocals)
Lew Delgatto (saxophone)
Ian Hunter (vocals, guitar, keyboards, synthesizer, percussion)
Mick Ronson (guitars, vocals on 05., background vocals, percussion)
Garry Tallent (bass)
Max Weinberg (drums)
George Young (saxophone)
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John Cale (piano, synthesizer on 07.)
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background vocals:
Ellen Foley – Rory Dodd – Eric Bloom

The inlets:
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Tracklist:
01. Just Another Night (Hunter/Ronson) / Wild East (Hunter) 8.37
02. Cleveland Rocks (Hunter) 3.48
03. Ships (Hunter) 4.05
04. When The Daylight Comes (Hunter) 4.19
05. Life After Death (Hunter) 3.48
06. Standin’ In My Light (Hunter) 4.22
07. Bastard (Hunter) 6.31
08. The Outsider (Hunter) 5.49

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Ian Carr’s Nucleus – Out Of The Long Dark (1979)

FrontCover1Although, I recently found out this album was not the Group’s final studio album, since there was a German-released Awakening album a few years after the present, Out Of The Long Dark is very much in the line of its predecessors. Out Of The Long Dark is the last album of the second full- fledged stable lie-up Nucleus group (one that had started with Under The Sun) and we’re still finding keyboardist Geoff Castle and drummer Roger Sellers, and returning to the fold, woodwind player Brian Smith. Only bassist Billy Kristian is new, replacing the usual Sutton. Great ‘proggy artwork on the artwork cover too.

Recorded hot on the heels of In Flagrante Delicto, OOTLD is almost a brother album, even though there is a general light concept feel to the present as most of the pieces on the flipside are dedicated to long-time buddy and sculptor Gerald Laing (the titles in the brackets are named after a few of his sculptures). But let’s return to the A-side with the 9-mins+ funky Lady Bountyful (inspired by his second wife) track that features long solos from Brian and Ian over a solid groove. The quieter 7-mins Solar Winds features two more percussionist, but the main theme seems to emerge from the Plexus project from almost a decade earlier, even though the groove and keyboard layers are definitely late 70’s-ish, somewhat reminiscent of his buddy Neil Ardley’s Hamony Of The Spheres, on which most of the band participated. The sensual Selina track feature some ecstatic background brass and piano riff.

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As mentioned above, the flipside tracks have a bit their own life as the opening 7-mins+ title track features Brian’s flute, the 5-mins Sassy has an ultra-funky bass-line, Simply This’ disputable synth choices (the late-70’s synths were rather tacky in some cases) despite Castle’s superb Rhodes in the second part, the gentle 7-mins Black Ballad’s shifts from slow- mo ballad to mid-tempo funk and the closing trumpet requiem For Liam. Well the least we can say is that Nucleus remained a superb and relevant band all the way until the 70’s decade and that OOTLD might just be a tad better than the IFD release. Definitely worth your while if you’re into classic fusion sounds from the later-70’s. (by Sean Trane)

Ian Carr died aged 75 on 25 February 2009, having suffered from Alzheimer’s disease.

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Personnel:
Ian Carr (trumpet, flugelhorn, piano)
Geoff Castle (synthesizer, piano)
Billy Kristian (bass)
Roger Sellers (drums, percussion)
Brian Smith (saxophone, flute, percussion)
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Chris Fletcher (percussion on 03.)

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Tracklist:
01. Gone With The Weed (Carr) 3.26
02. Lady Bountiful 9.14
03. Solar Wind 7.32
04. Selina 4.09
05. Out Of The Long Dark 7.28
06. Sassy (American Girl) 5.08
07. Simply This (The Human Condition) 4.30
08. Black Ballad (Ecce Domina) 6.55
09. For Liam 1.04

Music composed by Ian Carr,
except 03, which was composed by Geoff Castle

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Ian Carr (21 April 1933 – 25 February 2009)

Harry Chapin – Coffee With Harry (Remastered Edition) (1979)

FrontCover1Harry Forster Chapin (December 7, 1942 – July 16, 1981) was an American singer-songwriter, humanitarian, and producer best known for his folk rock and pop rock songs, who achieved worldwide success in the 1970s and became one of the most popular artists and highest paid performers. Chapin is also one of the best charting musical artists in the United States. Chapin, a Grammy Award winning artist and Grammy Hall of Fame inductee, has sold over 16 million records worldwide and has been described as one of the most beloved performers in music history.

Chapin recorded a total of 11 albums from 1972 until his death in 1981. All 14 singles that he released became hit singles on at least one national music chart.

As a dedicated humanitarian, Chapin fought to end world hunger; he was a key participant in the creation of the Presidential Commission on World Hunger in 1977.[2] Chapin is credited with being the most politically and socially active American performer of the 1970s. In 1987, Chapin was posthumously awarded the Congressional Gold Medal for his humanitarian work. (by wikipedia)

Originally released as Simple Man Productions SMP 009 (only as a CD-R trade)

Phase and Pitch corrected version by Remasters Workshop

This was posted on Usenet in early 2003. In its original incarnation, it ran quite fast. I slowed it down to A=440 in March 2003 and reposted it to the same lossless groups. In doing some research on the net in preparation to torrent it, I discovered a Russian website selling mp3s of my Usenet post! The uncorrected version is still being traded and has been torrented elsewhere and on TTD as recently as 01-12-08 by Dylan (now inactive).

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I haven’t found any reference to the remastered edition being torrented. Before sending it in, I opened up the .wav files from my backup CD-ROM in Audition 3 and ran automatic phase correction on the lot, then resplit the tracks on sector boundaries, and converted to FLAC with TLH. Revised artwork is included, to indicate the new track times and the additional step of phase correction, otherwise it’s the same as the previous artwork (which is still out there on the web, too – both versions). This is a really nice show. Harry is funny and engaging as usual, and uses some language that must have been bleeped in the broadcast!

Note: Track 1, which is mistitled “God Babe, You’ve Been Good For Me” on the back insert, is actually called “All The Ones I Counted On Are Gone.” (nots from the original uploader)

Oh yes, a wonerul bootleg with the music of a more than wonderful singer/songwriter …

Recorded live at the Agora Ballroom, Cleveland, December 5, 1979
for WMMS “Coffee Break Concerts”

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Personnel:
Harry Chapin (guitar, vocals)

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Tracklist:
01. God You’ve Been Good For Me, Babe 6.14
02. W*O*L*D 6.35
03. Cats In The Cradle 8,46
04. Flowers Are Red 7.01
05. I Wanna Learn A Love Song 3.53
06. Odd Job Man 5.50
07. 30,000 Pounds Of Bananas 13.00
08. Taxi 6.13
09. Circle 5.22

All songs written by Harry Chapin

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Bad Company – Desolation Angels (1979)

LPFrontCover1Desolation Angels is the fifth studio album by the English rock band Bad Company. The album was released on March 17, 1979. Paul Rodgers revealed on In the Studio with Redbeard (which devoted an episode to Desolation Angels) that the album’s title came from the novel of the same name by Jack Kerouac. The title was almost used 10 years previous to name the second album from Rodgers’ previous band, Free, which in the end was called simply Free.

Desolation Angels was recorded at Ridge Farm Studios in Surrey, England in late 1978. It is considered the last strong album by Bad Company with the original lineup, mostly because it contains their last major hit, “Rock ‘n’ Roll Fantasy”, written by Paul Rodgers and inspired by a guitar synthesizer riff that Rodgers had come up with.

“Gone, Gone, Gone”, written by bassist Boz Burrell, also received substantial airplay on rock stations. The album reached No. 3 on the Billboard album charts in 1979 and went Platinum in 1979 and Double Platinum subsequently.

A cover version of “Oh, Atlanta”, written by Mick Ralphs, was recorded by Alison Krauss and appears on her 1995 album Now That I’ve Found You: A Collection. The original version was used in the open to The Nashville Network’s 1993 broadcast of the Motorcraft 500 when ABC (which originally had the broadcast) could not find time to air the race, postponed six days by a snowstorm in the Atlanta Motor Speedway. (by wikipedia)

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By the time Bad Company released Desolation Angels, it was evident that even Rodgers and Ralphs were getting tired of their ’70s-styled, conveyor-belt brand of rock & roll, so they decided to add keyboards and some minor string work to the bulk of the tracks. Although this change of musical scenery was a slight breath of fresh air, it wasn’t enough to give Desolation Angels the much added depth or distinction that was intended, and only the vocal passion of “Rock ‘n’ Roll Fantasy” really comes out on top, eventually becoming a gold single. The good news is that Desolation Angels is a noticeable improvement from 1977’s Burnin’ Sky, with Bad Company’s sound taking on a smoother, more polished feel than its predecessor.

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“Gone, Gone, Gone,” “Lonely for Your Love,” and “She Brings Me Love” work best in Rodgers’ favor, and fans did prove their loyalty, pushing the album to the number ten mark in the U.K. and to number three in the U.S. The campaign toward a new sound does cause a few of the cuts (“Crazy Circles,” “Evil Wind”) to appear a bit forced and overly glitzy (especially the use of electronic drums), and the album spawns a smattering of a few attractive moments rather than evolving as a complete, constructive listen. Things didn’t get much better for Bad Company, and it was after the release of 1982’s Rough Diamonds, a much weaker and unattached effort, that Rodgers decided to call it quits. (by Mike DeGagne)

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Personnel:
Boz Burrell (bass)
Simon Kirke (drums)
Mick Ralphs (guitar, keyboards)
Paul Rodgers (vocals, guitar, piano, synthesizer)
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Tracklist:
01. Rock ‘n’ Roll Fantasy (Rodgers) 3.19
02. Crazy Circles (Rodgers) 3.32
03. Gone, Gone, Gone (Burrell) 3.50
04. Evil Wind (Rodgers) 4.22
05. Early In The Morning (Rodgers) 5.45
06. Lonely For Your Love (Ralphs) 3.26
07. Oh, Atlanta (Ralphs) 4.08
08. Take The Time (Ralphs) 4.14
09. Rhythm Machine (Kirke/Burrell) 3.44
10. She Brings Me Love (Rodgers) 4.42

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AC/DC – Dutch Radio (Live Amsterdam) (1979)

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; however, the band themselves describe their music as simply “rock and roll”.

AC/DC underwent several line-up changes before releasing their first album, High Voltage, in 1975. Membership subsequently stabilised around the Young brothers, singer Bon Scott, drummer Phil Rudd, and bass player Mark Evans. Evans was replaced by Cliff Williams in 1977 for the album Powerage. In February 1980, a few months after recording the album Highway to Hell, lead singer and co-songwriter Bon AC DC 01Scott died of acute alcohol poisoning. The group considered disbanding but stayed together, bringing in Brian Johnson as replacement for Scott. Later that year, the band released their first album with Johnson, Back in Black, which they dedicated to Scott’s memory. The album launched them to new heights of success and became one of the best selling albums of all time.

The major breakthrough in the band’s career came in their collaboration with producer “Mutt” Lange on the band’s sixth studio album Highway to Hell, released in 1979. Eddie Van Halen notes this to be his favourite AC/DC record, along with Powerage. It became the first AC/DC LP to break into the US top 100, eventually reaching No. 17, and it propelled AC/DC into the top ranks of hard rock acts. Highway to Hell had lyrics that shifted away from flippant and comical toward more central rock themes, putting increased emphasis on backing vocals but still featured AC/DC’s signature sound: loud, simple, pounding riffs and grooving backbeats. (by wikipedia)

And here´s a brilliant bootleg … recordd live for a Dutch Radio station

This source of this bootleg  comes from the original dutch radio reels (tapes).
This source never aired in it’s full version !

I guess everyone knows AC/DC … here they are: High energy Rock … loud and proud !

Probably one of the best AC/DC bootlegs around from the Bon Scott era, perfectly mixed….

Recorded live at the Jaap Edenhall, Amsterdam/Netherlands, November 12, 1979
excellent broadcasting recording

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

Alternate front+backcover:
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Tracklist:
01. Live Wire (A.Young/M.Young/Scott) 6.01
02. Shot Down In Flames (A.Young/M.Young/Scott) 3.33
03. Hell Ain’t Bad Place To Be (A.Young/M.Young/Scott) 4.10
04. Sin City (A.Young/M.Young/Scott) 5.31
05. Walk All Over You (A.Young/M.Young/Scott) 4.55
06. Bad Boy Boogie (A.Young/M.Young/Scott) 12.43
07. The Jack (A.Young/M.Young/Scott) 5.38
08. Highway To Hell (A.Young/M.Young/Scott) 3.13
09. High Voltage (A.Young/M.Young/Scott) 6.26
10. Whola Lotta Rosie (1) (A.Young/M.Young/Scott) 4.58
11. Rocker (A.Young/M.Young/Scott) 6.51
12. Guitar Solo (A.Young) 2.30
13. Whola Lotta Rosie (2) (A.Young/M.Young/Scott) 3.47
14. Guitar Solo (A.Young) 1.26
15. Let There Be Rock (A.Young/M.Young/Scott) 7.38

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Tony Banks – A Curious Feeling (1979)

FrontCover1Anthony George Banks (born 27 March 1950) is an English musician, songwriter and film composer primarily known as the keyboardist and founding member of the rock band Genesis. Banks is also a prolific solo artist, releasing six solo albums that range through progressive rock, pop, and classical music.

Banks co-formed Genesis in 1967 while studying at Charterhouse as their keyboardist and one of their principal songwriters and lyricists. He became a prolific user of the Hammond T-102 organ, Mellotron, ARP Pro Soloist and Yamaha CP-70 piano. In the band’s earliest years Banks would play acoustic guitar for some of the mellow and pastoral songs.

In 2010, Banks was inducted into the Rock and Roll Hall of Fame as a member of Genesis. In 2015, he was named “Prog God” at the Progressive Music Awards. Banks is ranked No. 11 on MusicRadar’s greatest keyboard players of all time.

A Curious Feeling is the début solo album from Genesis keyboardist Tony Banks. Recorded at ABBA’s Polar Music Studios during a brief Genesis hiatus, it was released in 1979 on Charisma Records and is one of only two of Banks’ solo albums to have entered the UK Albums Chart, reaching 21 and staying on the chart for five weeks. The album is a loose adaptation of the Daniel Keyes novel Flowers for Algernon. Its cover was designed by Hothouse and contains Wuluwait – Boatman of the Dead by Australian artist Ainslie Roberts. It was digitally remastered in 2009.

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The instrumental piece “From the Undertow” was used in the 1978 British film The Shout, for which Banks, with Mike Rutherford, composed the incidental music. No soundtrack of the film was released. The piece was originally intended to be the intro to “Undertow” from the Genesis album …And Then There Were Three… (hence the title).

According to Banks himself, the album “got some extremely scathing reviews, I don’t think they were fair” but he conceded “this was post-punk and this was really not the album that people wanted to hear”. Classic Rock reviewer Jerry Ewing agrees with Banks, writing that the album is made of “lush pastoral English prog rock that deserved better at the time” and is probably the musician’s best solo effort(by wikipedia)

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Tony Banks’ first solo album borrowed faint elements of Genesis’ early progressive sound, making his debut release the strongest in his catalog. Solid keyboard movements lend themselves to mystic, fantasy-like excursions found in tracks such as “From the Undertow,” “Somebody Else’s Dream,” and “The Waters of Lethe,” one of the album’s strongest cuts. Banks manages to capture the wonderment and allure that enveloped Genesis’ Peter Gabriel days in a number of his tracks, yet he filters out the instrumental intricacies, unorthodox time signatures, and complex poetry which enveloped these works to create a milder but equally effective progressive realm, thus generating a fair amount of musical distinction across the album.

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Banks has refreshingly disposed of any coagulated instrumental pretentiousness that one might have thought would be present, as cuts like “For a While,” “In the Dark,” and the title track verge on a new age sort of keyboard/guitar beguilement. Vocalist Kim Beacon, who has worked with the Walkie Talkies, String Driven Thing, and Thin Lizzy, is quite significant throughout, as is the atmospheric percussion work of Chester Thompson. Later efforts from Banks began to show a drift toward commercial pop, much like Genesis’ material, making A Curious Feeling and, to a lesser extent, 1983’s The Fugitive his most compelling work. (by Mike DeGagne)

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Personnel:
Tony Banks (keyboards, guitar, bass, percussion)
Kim Beacon (vocals)
Chester Thompson (drums, percussion)

Inlet02ATracklist:
01. From The Undertow 2.47
02. Lucky Me 4.27
03. The Lie 4.56
04. After The Lie 4.50
05. A Curious Feeling 3.59
06. Forever Morning 6.04
07. You 6.29
08. Somebody Else’s Dream 7.51
09. The Waters Of Lethe 6.22
10. For A While 3.39
11. In The Dark 2.57

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