Jack Bruce – Automatic (1983)

FrontCover1.JPGAutomatic is the eighth studio album by Scottish musician Jack Bruce, released in January 1983. It makes heavy use of the Fairlight CMI digital sampling synthesiser and Bruce is the sole performer. The album was originally only released in Germany, on the Intercord label. (by wikipedia)

Jack Bruce’s Automatic, recorded and originally released only in Germany in 1983, is an interesting LP and one that bears the distinction of being the final Bruce catalog album to be released on compact disc. It was recorded in the aftermath of a series of collaborative projects that included albums with Robin Trower, the Jan Hammer Group, and Rocket 88; the dreadful Jack Bruce and Friends album I’ve Always Wanted to Do This with Clem Clemson, Billy Cobham, and David Sancious; the beginning of his stellar collaboration with percussionist, conceptualist, and producer Kip Hanrahan; and a tour with his road band of Clemson, Bruce Gary, and Ronnie Leahy. The story is that Bruce became enamored with the Fairlight. The Fairlight was a keyboard and computer rolled into one, and was already being employed by numerous artists as a way of filling out their recordings without having to pay studio players. It was an ’80s phenomenon that is to be blamed for ruining many a record, though it is also to be credited with at least one classic: Ministry’s Twitch, produced by Adrian Sherwood, was recorded using only the Fairlight.

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The end results on Bruce’s album, however, aren’t quite so stellar. He used the device in the extreme: he played bass, harmonica, and cello and used the Fairlight for everything else. First, the positive: musically, the songs hold up. Bruce’s ballads, such as “New World,” “Traveling Child,” and “Encore” are as fine and tight as anything he’d written. The album’s opener, the reggae-influenced soul number “Make Love,” might have been a hit with different production. Bruce’s voice was in fantastic shape on the set as well, cementing his rep as one of the most instantly recognizable voices in rock. Then there’s the rest. “E. Boogie” is a dreadful attempt at computerized urban funk and sounds like a Cerrone reject. “Swarm” is perhaps what Bruce conceived of as a jazz tune (something he’s more than capable of writing with real sophistication). Because of the production, it’s simply a mess, so dense one can’t make out just what it is supposed to be. The closing tune is a blues jam with Bruce accompanying himself only on the harmonica. Though extremely brief, it feels like a breath of fresh air after the rest of Automatic. Bruce himself admits in the liners that “I’m not sure of the merits of the project itself 25 years on, but I do see it as an attempt to do something very different and worthwhile.” And that’s the caveat: this one is perhaps for those who follow Bruce’s recording career rather obsessively and can see it for what it is — a rather interesting if utterly failed experiment. (by Thom Jurek)

Tourposter1983Jack Bruce, mastermusician, composer, vocalist, made a string of brilliant solo albums in the years after Cream broke up. “Songs For A Tailor”, “Harmony Row”, “Out Of The Storm”, masterfully blending hard rock, jazz, powertrio, avantgarde. But after that his soloalbums have been a more uneven affair, mixing the splendid with the more mundane.

One album has always stood out as a masterstroke, “Automatic”. So its certainly in due time this excellent and compelling music is out on CD. Really just Jack and a lot of synths and keyboards and perhaps his strongest collection of songs ever. Bruce has always belonged to the chosen few who can write ballads that’s not clichériden or sentimental, but instead heartgripping and transcendentally beautiful. Here we get a wholesome dose of those gorgous Jack-ballads, like “The Best Is Still To Come” and “Travellin’ Child”.

Some of synth-pads may sound a bit outdated, but as a whole this is really timeless quality music. Showing – in the many details – his great musical scope, incorporating elements of jazz and classical in the proceedings. Ranging from fiery soul in “Make Love (pt.II)” to the rather wacky avantgarde of “The Swarm”. All of it sung with his trademark golden voice.

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And perhaps the finest bunch of lyrics ever from long time collaborator Pete Brown. Often hinting at the transcendental and the spiritual. (by Bodhi Heeren)

“Automatic Pilot” ends the album just Jack and his harmonica barking out
a bleak future.

An unusual, but very satisfying album by the one and onyl Jack Bruce !

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Personnel:
Jack Bruce (vocals, bass, keyboards, Fairlight CMI digital sampling synthesizer, drum programming, harmonica)

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Tracklist:
01. A Boogie 4.27
02. Uptown Breakdown 4.29
03. Travelling Child 5.12
04. New World 3.23
05. Make Love (Part II) 3.37
06. Green & Blue 5.12
07. Swarm 4.00
08. Encore 4.10
09. Automatic Pilot 1.03

Music: Jack Bruce
Lyrics: Pete Brown

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More Jack Bruce:

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Peggy Seeger & Ewan MacColl – Freeborn Man (1983)

AmigaFrontCover1Some not-so-old favourites by Ewan MacColl with the exception of “The Ballad of Springhill, ” which is chiefly the work of Peggy Seeger

For most of the nearly thirty years that Peggy and I have been singing together we have kept detailed programme lists. They fill twelve large notebooks and are an invaluable aid in planning the repertoire for a tour. Because of them we are able to visit a concert-hall or dub again and again, each time with a programme of new songs — or rather, with songs that are probably new to that particular audience.

It is these unfamiliar songs which lend the elements of surprise and freshness to a performance. But there is another equally important element which the new songs cannot provide: familiarity. Almost everyone who goes to a concert enjoys the stimulus that comes from listening to a new song but at the same time almost everyone finds comfort in listening to the old favourites.

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The singer, then, must not only sing but compose programmes in which the familiar and the unfamiliar are held in balance. The people who have come to listen collaborate with the singer by requesting this or that song … and that brings us to the reason for issuing this album.

The titles listed above represent some of the most frequently requested songs in our joint repertoire. All of them have appeared on disc at some time or another but, for the most pan, are no longer available. A number of Peggy’s most popular songs are still available and consequently are not included here. The result is an album weighted rather heavily in my favour and consisting mostly of songs made up in the course of creating those BBC documentaries called “radio ballads, ” These songs were based on taped interviews with herring-fishermen, railwaymen, coal-miners, road-builders, boxers, and others and, several of them have already entered the traditional repertoire. (Ewan MacColl)

Biographical Note
Ewan MacColl is a Scot who considers himself primarily a playwright. He was one of the co-founders of Theatre Workshop and was their resident dramatist for eight years. He has worked in radio, television and film. Peggy Seeger, an American, joined him in 1956 and together they are considered one of the lop folksinging teams in the English-speaking world. Their records — nearly 160 LP’s — include connoisseur ballad-collections, women’s albums, children’s discs and specialised collections of songs Their sons Calum (20) and Neill (24), who play with them on this disc, occasionally accompany them onstage. (taken from the original liner – notes)

What a great family album … everybody who loves traditional folk songs … should listen to this album.

My album is a rare Amiga Records pressing … Amiga was the recorcd company of the German Democratic Republic, released in 1989 !

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Personnel:
Dill Katz (bass)
Calum MacColl (zither, guitar, whistle, appalachian dulcimer, background vocals))
Ewan MacColl (vocals)
Neill MacColl (guitar, mandolin, background vocals)
Peggy Seeger (guitar, banjo, autoharp, concertina, vocals)
Chris Taylor (harmonica)
Ian Telfer (fiddle)
Bruce Turner (clarinet)
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background vocals:
Calum MacColl – Hamish Mac’Coll – Kirsty

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Tracklist:
01. North Sea Holes 2.38
02. The Shoals Of Herring 3.53
03. The Lag’s Song 2.49
04. Come, Me Little Son 3.50
05. Moving-On Song 3.18
06. Sweet Thames, Flow Softly 4.57
07. I’m a Rambler (The Manchester Rambler) 4.34
08. Freeborn Man
09. The Driver’s Song
10. The Ballad of Springhill
11. Thirty-Foot Trailer
12. Down the Lane
13. The First Time Ever I Saw Your Face
14. The Big Hewer
15. The Battle is Done With
16. Dirty Old Town

All songs are Traditionals

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Ewan MacColl & Peggy Seeger

Los Lobos – …And A Time To Dance (1983)

FrontCover1…And a Time to Dance is a 1983 EP by Los Lobos. It was co-produced by T-Bone Burnett and Steve Berlin (not yet a full-time member of the band) and was the band’s first release on Slash Records. The EP brought the band its first wide acclaim. It was voted best EP of the year in the Village Voice’s influential Pazz & Jop critics poll. Critic Robert Christgau gave the record an “A-” in his Consumer Guide, calling it “good old rock and roll East L.A. style.” Trouser Press raved about “a spicy romp (in two languages) back and forth across musical borders few can traverse with such ease,” while Rolling Stone called it “an infectious dance record that deserves to be heard by rock fans.”

The track “Anselma” won the first Grammy Award for Best Mexican-American Performance. The album was mixed and recorded entirely digital (by wikipedia)

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1983’s …And a Time to Dance wasn’t Los Lobos’ first record, but if you lived outside of East Los Angeles, chances are excellent that you’d never crossed paths with a copy of their self-released debut album (Del Este de Los Angeles (Just Another Band from East L.A.)) before this EP hit the racks. At only seven songs, …And a Time to Dance didn’t give the group the space to present more than a quick once-over of their eclectic musical range, but it did make it clear that this was a really great band, with the kind of chops, intelligence, and maturity that can come from a decade of woodshedding. And on …And a Time to Dance, not only was the band having a great time playing “spot the genre” with their audience, they were crossbreeding styles and coming up with great sounds all their own: the straight-up rock & roll of “Let’s Say Goodnight” is fortified with a strong dose of Tex-Mex fire thanks to David Hidalgo’s accordion, the bluesy swing of “Walking Song” gets a spring in its step from a fleet-fingered jazz guitar line, and the two traditional numbers in Spanish both burn with the high spirits and hot tempos of a potent rock & roll band. And it’s hard not to love a song like “How Much Can I Do?,” in which a guy tries to prove his love to his wife by promising to lay off cheap wine and nights out at the nudie bar. If …And a Time to Dance didn’t quite make clear Los Lobos were one of America’s truly great bands, it did make clear they were a lot of fun and a force to be reckoned with, and that’s quite enough of a message to pass along in seven songs. (by Mark Deming)

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Personnel:
David Hidalgo (guitar, accordion, vocals)
Cesar Rosas (guitar, bajo sexto, vocals)
Louie Pérez (drums, vocals)
Conrad Lozano (bass, vocals, guitarrón)
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Steve Berlin (saxophone)

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Tracklist:
01. Let’s Say Goodnight (Hidalgo/Pérez) 2.30
02. Walking Song (Hidalgo/Pérez) 2.45
03. Anselma (Suedan/Trigo) 3.04
04. Come On Let’s Go (Valens) 2.08
05. How Much Can I Do? (Hidalgo/Pérez) 2.34
06. Why Do You Do (Rosas) 2.17
07. Ay Te Dejo En San Antonio (Jimenez) 2.31

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Chuck Farley – ‘Live’ (1983)

FrontCover1Chuck Farley – a band that seems to have been around for generations, as indeed it has.

From 1980 through to the 90¹s, the group went through some band changes, finally settling upon the present line-up. Throughout this time, the Chucks recorded an album, single and toured Germany.

All of the guys, at some time, were members of Roger Chapman’s ShortList and other touring bands, so a pub gig with the Chucks became the perfect antidote to major tours.

However, throughout the ’90’s, the band took a bit of a sabbatical, as members pursued various careers, gigs, money and women – and it wasn’t until 2004 that they decided it would be fun to try and slot some Chuck gigs into their busy diaries.

The Chucks have been described as R ‘n B mixed with hints of Little Feat, Ry Cooder and The Band, but that is a rather simplistic description. Individually the guys cover a myriad of musical styles, so be prepared to hear some interesting mixtures.

Fronted by the very original Steve Simpson, the group can still be seen enjoying themselves at a small select number of gigs.

The original band began in 1980 at the Red Lion pub (now demolished) in Brentford, West London. The founder members were:

Steve Simpson: guitar, vocals, mandolin, fiddle
Pete Willsher:: pedal steel
Jack Brand: bass
Alan Coulter: drums

After meeting up with guys from Hinkley’s Heroes, Steve joined them for a tour – and two of the Heroes, Boz Burrell and Poli Palmer, inveigled their way into the Chucks, as did Geoff Whitehorn. So the Chucks mk2 was Born.

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In 1983, they recorded the “Chuck Farley-Live” album and the single “Busted Loose” (by http://chuckfarley.co.uk)

And here´s this very rare first Album … and it´s not only extremely rare (as far as know this album was never released on CD !), but it´s a great pub-rock (*) album … recorded live at The New Golden Lion, Fulham, The Cartoon, Croydon and at The Red Lion, Brentford. The last track (“Sea Of Heartbreak”) was a Studio recording. 

(*) Pub rock is a rock music genre that was developed in the early to mid-1970s in the United Kingdom. A back-to-basics movement which incorporated roots rock, pub rock was a reaction against expensively-recorded and produced progressive rock and flashy glam rock. Although short-lived, pub rock was notable for rejecting huge stadium venues and for returning live rock to the small intimate venues (pubs and clubs) of its early years. Since major labels showed no interest in pub rock groups, pub rockers sought out independent record labels such as Stiff Records. Indie labels used relatively inexpensive recording processes, so they had a much lower break-even point for a record than a major label.

With pub rock’s emphasis on small venues, simple, fairly inexpensive recordings and indie record labels, it was the catalyst for the development of the British punk rock scene. Despite these shared elements, though, there was a difference between the genres: while pub rock harked back to early rock and roll and R&B, punk was iconoclastic, and sought to break with the past musical traditions (by Wikipedia)

Ok, boys and girls … let´s have a drink … enjoy the album !

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Personnel:
Boz Burrell (bass, vocals)
Alan Coulter (drums)
Poli Palmer (vibraphone, fairlight)
Steve Simpson (guitar, vocals)
Geoff Whitehorn (guitar, vocals)

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Tracklist:
01. Take Me To The River (Green/Hodges) 4.05
02. My Mama Told Me (Sample) 4.43
03. Sweet Dreams (Gibson) 6.10
04. New Delhi Freight Train (Allen) 4.28
05. Old Folk’s Boogie (Barrere) 4.05
06. Jealous Kind (Charles) 4.31
07. Almost (Walsh) 2.57
08. Sail Away (Newman) 4.41
09. Money Honey (Stone) 3.13
10. Carmelita (Zevon) 4.24
11. Sea Of Heartbreak (David/Hampton) 3.19
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12. Chuck Farley – ‘Live’ (uncut edition) 46.37

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29th Street Saxophone Quartet – Pointillistic Groove (1984)

FrontCover1The 29th Street Saxophone Quartet was an American saxophone quartet. Established in 1982, the ensembles members are alto saxophonists Bobby Watson and Ed Jackson, tenor saxophonist Rich Rothenberg (in recent years, Willie Williams), and baritone saxophonist Jim Hartog. The group has performed an eclectic repertoire, including jazz, show tunes, funk, rap, and original experimental works. Throughout the 1980s and 1990s the band toured in Britain, Europe, Istanbul, Canada and in the United States.

In an early review of the band’s first extended engagement in New York City in 1984, John S. Wilson of The New York Times wrote, “The ensemble playing is clean, precise and tightly together, but the solos are filled with slashing, exuberant abandon. At times it is the very essence of loose, free jazz but it also uses the heavy, stylized sound of Stan Kenton’s saxophone writing. The four musicians are choreographed in shifting formations to spotlight soloists and in dance movements that extend the musical movements.”

The Glasgow Herald said “the ensemble’s cohesiveness and the high quality of solo playing made everything the four men played worthy of note.” The group maintained an international presence and recorded several CDs and is still in existence today. (by wikipedia)

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The 29th Street Saxophone Quartet, a cooperative group that worked on and off into the mid-’90s before disbanding, made their debut recording in 1983 for Osmosis, a Dutch label. Although they had been working together since 1981 as a unit, they are still finding their way on this early effort, most of which was recorded live at the Bimhuis in Amsterdam. Each of the musicians wrote original pieces for these sessions. Alto saxophonist Bobby Watson, easily the most recognizable player due to his status as a prominent alumni of Art Blakey’s Jazz Messengers, is also the quartet’s most accessible composer at this point, contributing two strong originals. Fellow alto saxophonist Ed Jackson (who had previously worked with George Russell, Ran Blake, and Jaki Byard’s Apollo Stompers) composed “Pointillistic Groove,” an uneven work with a conversational exchange between the horns and a tedious laughing sax routine that fails to hold the listener’s attention. Better is his stirring arrangement of “Anthropology.” Baritone saxophonist Jim Hartog penned the somewhat eerie “Still,” which makes great use of unison lines, as well as arranging the standard “Love for Sale.” Even though this initial effort doesn’t quite reach the heights of the group’s later recordings, fans of the 29th Street Saxophone Quartet will likely want to track down this now hard to find LP. (by Ken Dryden)

Exciting (partly free) jazz stuff !

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Personnel:
Jim Hartog (baritone saxophone)
Ed Jackson (alto saxophone)
Rich Rothenberg (tenor saxophone)
Bobby Watson (alto saxophone)

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Tracklist:
01. The Curious Child (Watson) 6.06
02. Pointillistic Groove (Jackson) 12.58
03. Still (Hartog) 6.50
04. Love For Sale (Porter) 4.52
05. Bigfoot (Rothenberg) 6.23
06. Anthropology (Parker) 10.13
07. One Chance At Life (Watson) 3.21

“The Curious Child” recorded live at Muziekcentrum Vredenburg, Utrecht, The Netherlands, November 19, 1983. All other selections recorded live at the BIM-Huis, Amsterdam, The Netherlands, November 25, 1983.

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A curiosity about this release – recorded in Amsterdam, manufactured in the US but with only a Netherlands record label address on the sleeve. Until a “manufactured in The Netherlands” version surfaces, it would appear that one printing serviced the world, hence the listing under “country”.

Robert Plant – The Principle Of Moments (1983)

FrontCover1The Principle of Moments is the second solo studio album by the English singer Robert Plant, formerly of Led Zeppelin. It was Plant’s second Top 10 album in the US and UK. It also gave him his first solo Top 40 hit with “Big Log”. The most popular track on album-oriented rock radio in the US was “Other Arms”, which reached number-one on the Billboard Top Tracks chart. Genesis’ drummer Phil Collins played drums for six of the album’s eight songs (as he did on Pictures at Eleven). On the other two tracks former Jethro Tull drummer Barriemore Barlow performed.

Like Plant’s first solo album, Pictures at Eleven, the songs departed from the hard rock sound of Led Zeppelin. Following the strength of these albums, Plant launched a successful tour in 1983. Phil Collins was the drummer for Plant’s band for the North American portion of the tour. Collins was content to perform in the background, despite his own enormous success as a solo artist and with Genesis at the time. Little Feat’s Richie Hayward played drums for the remaining dates.

In 1983, Robert Plant went on a tour to promote the album, starting on August 26 in Peoria, Illinois, and ending on October 1 in Vancouver, British Columbia.(by wikipedia)

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Robert Plant’s follow-up to Pictures at Eleven implements much of his debut’s style and vocal meandering into a new and more exciting bunch of songs. The mysteriousness of “Big Log,” the album’s first single, reached the Top 20 in the United States and in the U.K., while “In the Mood” is The Principle of Moments’ finest offering, proving that Plant could roam freely with his voice and still have it work effectively. But Plant doesn’t stop here, as he gives tracks like “Wreckless Love,” “Stranger Here…Than Over There,” and “Other Arms” an equal amount of curt abstractness and rock appeal. Because Plant’s voice is so compelling in any state, the convolution of his writing tends to take a back seat to his singing in most of his solo work, which is definitely the case in most of the songs here. Plant went on tour with the Honeydrippers within the same year of The Principle of Moments’ release, adding another facet to his already diverse solo repertoire. (by Mike DeGagne)

The 1983 release of The Principle of Moments was the second solo album by Robert Plant, following the disbandment of Led Zeppelin in late 1980. The album follows close on the heels of Plant’s debut, Pictures At Eleven and employs the same musicians and RobertPlantproduction team. Recorded in Wales, the production was polished and clinical while maintaining enough rock edge to keep it original and interesting. Plant had declined to tour following his debut because he didn’t want to perform any Led Zeppelin songs live and didn’t yet have enough original solo material to justify a tour. With the release of this second album, Plant’s second life as a major recording artist took was fully spawned.

The Principle of Moments was the first release on Plant’s independent label Es Paranza Records, after the folding of Led Zeppelin’s label Swan Song, which was also the label from Plant’s debut. Swan Song ceased operations due to the failing health of Zeppelin manager Peter Grant. When Swan Song’s offices were cleared out in 1983, early demos from Iron Maiden, Heart and other popular bands were found.

The sound of The Principle of Moments fuses new wave rock with some elements of reggae and abstract motifs and is percussion heavy with sharp, high-pitched guitars, led by guitarist Robbie Blunt and drummer Phil Collins. While not as dynamic as in the heart of the Zeppelin years, Plant’s vocals are melodic and refined. The album’s title comes from the scientific Varignon’s Theorem, which states that the moment of any force is equal to the algebraic sum of the moments of the components of that force. With the experimental tracks on this album, Plant seems to be declaring his independence from the Zeppelin sound and celebrating his own “moment” in time.

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Although not officially released as a single, the opener “Other Arms” reached number one on the Billboard Mainstream Rock chart. Musically, the song continues the style of Pictures at Eleven, melodic and heavy on the chorus backing vocals, a long way from the improvised arrangements of Zeppelin’s early days. “In the Mood” (which was officially released as a single) follows and marks the point where the album starts to distinguish itself. Built on bassist Paul Martinez’s very simple yet infectious bass line, with Blunt’s simple, strummed chords on top and a strong percussion presence by Collins in contrast to laid back music and vocals. Plant’s melody rhythm is almost like blue-eyed rap and this translated into a Top 40 single on the pop charts.

Keyboardist Jezz Woodroffe shines brightest on the ballad “Through with the Two Step”, where Plant’s melodic verse vocals drip with melancholy sweetness to the waltz of Woodroffe’s wafty keyboards and in contrast to Blunt’s excellent lead later in the song. “Horizontal Departure” is a very upbeat and entertaining, sex-infused rock song, like a new wave version of Zeppelin;s “Whole Lotta Love”. Again Collins has a very strong and dynamic performances on drums, contrasting against the very measured riffs of Blunt and Martinez.

RobertPllantThe album’s biggest hit is the closer “Big Log”. Reflective and somber, this is a mature song in every respect, musically, lyrically and production-wise. It employs some of the better synth-era techniques – the rubber kick effect, snappy top beat – along with well refined guitars, a swell of long synths, and vocal choruses by session singers John David and Ray Martinez. But this song is a true showcase for Robbie Blunt, one of rock’s forgotten great guitarists, whose cleaver latin phrasing leaves the most indellible mark in this truly unique composition.

The Principle of Moments includes a trio of experimental songs. “Messin’ With the Mekon” starts with an almost Jimmy Page-like riff before giving way to a moderate Caribbean groove with measured beats, although the arrangement does seems hollow when trying too hard to fit odd pieces together. “Wreckless Love” contains a mixture of electronic and Middle Eastern textures and other highly experimental arrangement that only gels due to Plant’s strong melody. The song features Barriemore Barlow, formally of Jethro Tull, on drums, as does “Stranger Here…Then Oven There”. Another experimental song with some brilliant verse vocals, this song also suffers from too many superfluous effects and arrangements, which do little more than interrupt the reggae beat and flow of the song’s core.

With two Top 10 albums under his belt, Plant launched a successful tour in late 1983, taking the stage for the first time since Zeppelin’s Knebworth concerts in 1979. In the following years Plant would work with his former bandmates sporadically, starting with the short-lived oldies project The Honeydrippers, while continuing to build his solo career. (by classicrockreview.com)

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Personnel:
Robbie Blunt (guitar)
Phil Collins (drums)
Paul Martinez (bass, background vocals)
Robert Plant (vocals)
Jezz Woodroffe (keyboards)
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Barriemore Barlow (drums on 04. + 07.)
John David -(background vocals)
Bob Mayo (guitar; keyboards; background vocals on 09. -11.)

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Tracklist:
01. Other Arms (Plant/Blunt) 4.21
02. In The Mood (Plant/Blunt/Martinez) 4.23
03. Messin’ With The Mekon (Plant/Blunt/Martinez) 4.40
04. Wreckless Love (Plant/Blunt) 5.18
05. Thru’ With The Two Step (Plant/Blunt/Martinez) 5.34
06. Horizontal Departure (Plant/Blunt/Martinez/Woodroffe) 4.20
07. Stranger Here… Than Over There (Plant/Blunt/Martinez/Woodroffe)  4,19
08. Big Log (Plant/Blunt/Woodroffe) 5.05
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09. In the Mood (Plant/Blunt/Martinez) 7.34
10. Thru’ With The Two Step (Plant/Blunt/Martinez) 11.09
11. Lively Up Yourself (Marley) 3.02
12. Turnaround (Plant/Blunt/Martinez/Woodroffe) (previously unreleased studio track) 4.55

(Tracks 09. – 11,  recorded live at the Summit, Houston, TX, September 20, 1983)

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Marcus Miller – Suddenly (1983)

FrontCover1Suddenly is the first solo- album by Marcus Miller, released in 1983.

Multi-talented Marcus Miller’s debut Suddenly was issued in the spring of 1983 on Patrick Rains’ PRA Records label through Warner Bros. Miller shared production chores with Ray Bardani and Michael Colina, whom he’d worked with before on sides for David Sanborn.

It’s a tasty showcase for the bassist/songwriter/vocalist/producer who went from New York session stardom to mega-stardom with his frequent collaborator Luther Vandross. Vandross does vocals on “Lovin’ You,” “Just for You,” and the squishy “Be My Love.” The cornerstone cut is the gentle steppers favorite/quiet storm precursor “Much Too Much.”

The artist better realized his R&B/funk/jazz fusion on his 1984 Warner Bros. LP, Marcus Miller. (by Ed Hogan)

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Personnel:
Dean Crandall (2-string bass)
Yogi Horton (drums)
Ralph MacDonald (percussion)
Mike Mainieri (vibraphone)
Harvey Mason (drums)
Marcus Miller (vocals, bass all instruments (other than noted below)
Nicky Moroch (guitar)
Lewis Paer (2-string bass)
David Sanborn (saxophone)
Buddy Williams (drums)
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background vocals:
Yvonne Lewis – Luther Vandross – Tawatha Agee – Brenda White

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Tracklist:
01. Lovin’ You (Miller) 5.18
02. Much Too Much (Miller) 6.08
03. Suddenly (Miller/Ramsay) 5.29
04. Just For You (Miller) 3.56
05. The Only Reason I Live (Miller) 5.05
06. Just What I Needed (Miller) 4.54
07. Let Me Show You (Miller) 4.43
08. Be My Love (Miller/Vandross) 4.29
09. Could It Be You (Miller) 3.24

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