Gary Moore – We Want Moore (1984)

FrontCover1.jpgWe Want Moore! is a live album by Irish guitarist Gary Moore, released in 1984.

This album is a jaw-dropping affair for anyone who believes that Eddie Van Halen is the ultimate guitar-shredding experience. Gary Moore’s classic live album We Want Moore! is about as good as it gets. Drawing mainly from the Irish guitarist’s previous two studio albums, every cut gets a shot in the arm from Moore’s extended soloing, most notably the Yardbird’s “Shapes of Things” at almost nine minutes. Recorded in places as distant as Tokyo, Glasgow and Detroit, the performances also benefit from the impressive vocal tag team between Moore and rhythm guitarist Neil Carter. (by Eduardo Rivadavia)

“We Want Moore” is Gary Moore’s first official live album to be available worldwide (Rockin’ Every Night was initially only available in Japan) and is not only a superb live album but also one of the strongest albums he has ever recorded. It is clear from the off that Moore is keen to show off his metallic side with album opener Murder In The Skies, which was one of the standout tracks from his brilliant Victims Of The Future album and remains one of the heaviest tracks he has ever recorded. Although the guitarist isn’t GaryMoore1exactly a natural vocalist, his vocals are more than adequate for the job in hand and are reasonably consistent throughout this live album. In fact it wouldn’t be too much of a stretch to say that his vocals actually sound better at times here than they did on his two previous studio albums, however keyboard player and rhythm guitarist Neil Carter does take over on lead vocals on occasion.

Moore’s take on The Yardbirds classic Shapes Of Things follows on from the energy of the album’s opener and features a truly breathtaking extended guitar solo, which shows that Moore’s guitar skills are right up there with the greats.

Following a blistering performance of the title track from his previous album, Victims Of The Future, Cold Hearted marks the albums first song from 1982’s Corridors Of Power and is possibly one of the bluesiest tracks on the album and hints towards Moore’s later days as a blues guitarist/singer. This version of Cold Hearted also incorporates an extended version of the intro to the next song, the epic End Of The World. End Of The World, also from the Corridors Of Power album is quite possibly one of the best songs he GaryMoore2has ever recorded and features some truly jaw-dropping guitar playing particularly during the intro. This live version certainly does the song justice, there’s just one thing missing from the studio version; Jack Bruce’s vocals. Former Cream member Jack Bruce, who provided lead vocals for the original version of the song, unfortunately does not make a guest appearance on this album, however, between them, Gary Moore and Neil Carter manage to do a good job of the vocals and this version is energetic, dramatic and overall a fine performance of a truly great metal song.

Back On The Streets, with it’s sing-a-long chorus, provides a bit of light-hearted relief following the darker, heavier sound of the previous song and is one of only two songs on the album not taken from either Corridors Of Power or Victims Of The Future. This is followed by the emotional ballad, Empty Rooms, before Moore and his boys launch back into much heavier territory with the opening track from Corridors Of Power, Don’t Take Me For A Loser.

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Closing track, Rockin’ And Rollin’ is the only track on the album taken from 1980’s G-Force album and is a great way to close the album, the song features a surprising guest appearance from Jimmy Nail, who, in Gary Moore’s words, gives the crowd “a singing lesson”. All this leaves you and evidently the crowd wanting mo(o)re…

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Overall this is an astonishingly good live album by a criminally underrated musician and like Moore himself, doesn’t get the recognition it deserves. We Want Moore is the kind of live album that can leave you with a big smile on your face as well as leaving you awestruck by the band’s (and in this case particularly the guitarist’s) technical ability. It is possibly Gary Moore’s best and most consistent heavy metal album, and is a good place to start if you’re looking to get into early to mid 80’s era Gary Moore. This is one of those live albums that makes you wish that you could have been there, but if you weren’t, listening to this is a damn good compromise. (by Jamie Twort)

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Personnel:
Neil Carter (keyboards, guitar, background vocals)
Bobby Chouinard (drums on 01. – 03. + 09.)
Craig Gruber (bass, background vocals)
Gary Moore (vocals, lead guitar)
Ian Paice (drums, percussion on 04. – 08 + 10.)
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Phil Lynott (bass, vocals on 11.)
Jimmy Nail (background vocals on 10.)
Paul Thompson (drums on 11.)

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Tracklist:
01. Murder In The Skies ( Moore/Carter) 5.33
02. Shapes Of Things (Samwell-Smith/Relf/McCarty) 8.14
03. Victims Of The Future (Moore/Carter/Paice/Murray) 8.25
04. Cold Hearted (includes “Majestuoso E Virtuoso” and “White Knuckles” from other concerts) (Moore) 10.24
05. End Of The World (Moore) 4.33
06. Back On The Streets (Moore) 5.21
07. So Far Away (Foster/Russell) 2.39
08. Empty Rooms (Moore/Carter) 8.31
09. Don’t Take Me For A Loser (Moore) 5.43
10. Rockin’ And Rollin’ (Moore/Nauseef) 6.15
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11. Parisienne Walkways (Moore/Lynott) 7.04 (*)

(*) Recorded live at the Ulster Hall, Belfast, Northern Ireland, 17 December 1984

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John Fahey – Let Go (1984)

FrontCover1.jpgLet Go is an album by American fingerstyle guitarist and composer John Fahey, released in 1984. It was his first release on the Varrick label after over 25 years on his own label Takoma, as well as a few releases on other labels.

Since his move to Salem, Oregon in 1981, Fahey met guitarist and producer Terry Robb, who accompanies him on all but three of the songs on Let Go.[1] He would work with Robb on three subsequent releases. Since his final album on Takoma (Railroad) Fahey had signed with Varrick Records, an imprint of Rounder Records. It was to be his first of four releases on the label.

His liner notes distance himself from the folk music label he had had since his career began. The notes begin “No folk music on this record—not even that sounds or suggest folk music… it’s hard to break out of a bag I never intended to be in—never thought I was in… I’m not a Volk. I’m from the suburbs.” He also noted the influence of the Brazilian guitarist Bola Sete. He had commented on Sete’s influence in 1977 in the notes to his guitar transcription book The Best of John Fahey 1959–1977. He did his first cover of a Sete composition on his 1979 album John Fahey Visits Washington D.C..

He had previously recorded the “River Medley” on the 1972 Reprise release Of Rivers and Religion. “Dvorak” is based on themes from Antonín Dvořák Eighth and Ninth symphonies. Regarding the duo’s cover of the Derek and the Dominos song “Layla”, Fahey commented: “Talk about ambition, Chutzpah—that’s us.”

The original LP lists a track titled “Lost Lake”. There was never such a track. (by wikipedia)

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Anyone who has read liner notes on John Fahey albums knows they are not necessarily to be taken as strict truth, but in the case of Let Go, it seems likely that the man was talking straight. Most of the back cover of the LP is a caustic, satirical diatribe against “Volkmusik” fans who try to pigeonhole Fahey as a folk artist. Almost the first words are “No folk music on this record, not even anything that sounds like or suggests folk music.” Fahey almost delivers on that promise on this album of Brazilian jazz, blues, old-time medleys, and other miscellany. In the hands of a guitarist with a less individual style this could have been a chameleon act or a hopeless mishmash, but Fahey pulls it off nicely. Producer and session guitarist Terry Robb duets with him on about half the cuts, and there are sparse but effective bits of percussion and bass that flesh out a vastly superior remake of “River Medle,y which originally appeared on Of Rivers and Religion. Other highlights include the peaceful “The World Is Waiting for the Sunrise and the energetic two-guitar remake of “Layla.” On the latter, Fahey plays Clapton’s bridge note-for-note, but makes it completely his own thanks to his distinctive phrasing. If everything else on this album was trash, that cut would make it worth buying, but thankfully that isn’t the case. Let Go may not be the definitive John Fahey album, but it is a very good one from end to end. (by Richard Foss)

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Personnel:
John Fahey (guitar)
Terry Robb (guitar, bottleneck guitar)
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Ron “Dr.” Manfredo (bass on 05.)
Johnny Riggins (percussion on 05. + 06.)

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Tracklist:
01. Let Go (original title in Portuguese: Canto de Ossanha) (Powell) 6.33
02. Black Mommy (Chargas/Martius) 8.02
03. Dvořák (Traditional) 8.02
04. The World Is Waiting For The Sunrise (Lockhart/Seitz) 2.30
05. River Medley 4.51
05.1. Deep River (Traditional)
05.2. Ol’ Man River (Hammerstein II/Kern)
06. Lights Out (Fahey/Robb) 2.42
07. Pretty Afternoon (Sete) 3.05
08. Sunset On Prince George’s County (Fahey) 4.13
09. Layla (Clapton/Gordon) 5.15
10. Old Country Rock (Traditional) 1.18

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Pascal Rogé – After The Rain – The Soft Sound Of Eric Satie (1995)

FrontCover1.jpgPascal Rogé (born 6 April 1951) is a French pianist.

His playing includes the works of compatriot composers Saint-Saëns, Fauré, Debussy, Ravel, Satie, and Poulenc, among others. However, his repertoire also covers the German and Austrian masters Haydn, Mozart, Brahms, and Beethoven.

Rogé first appearance in public was in 1960 with a performance of Claude Debussy’s Préludes. He won the piano prize at the Paris Conservatory and worked for several years with Julius Katchen. At seventeen, he gave his first recitals in major European cities, landing an exclusive contract with Decca in the process. He has a particular affinity with French composers such as Claude Debussy, Gabriel Fauré, Maurice Ravel and Francis Poulenc. He also performs chamber works, with the Pasquier Trio, and with musicians such as Pierre Amoyal or Michel Portal, with whom he recorded Poulenc and Tchaikovsky. He gives recitals worldwide, in all the major centres. A friend of conductor Charles Dutoit, he was regularly invited to Canada to work with the Montreal Symphony Orchestra while Dutoit was conductor there.

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In 2011 he and his wife Ami premiered the Concerto for Two Pianos by the Australian composer Matthew Hindson, which was commissioned to celebrate their recent wedding. (by wikipedia)

If you think the title After the Rain is silly, wait until you get to the subtitle: “The Soft Sounds of Erik Satie.” Oh, well, never mind titles and subtitles: it is ultimately the music and performance that make or break the disc and, in this case, the music and performances are both superb. Satie was, of course, the utterly unclassifiable composer who wrote pieces that are easy and hard, cold and hot, ironic and sentimental, ancient and modern, sublime and mundane. Pascal Rogé is, of course, the French pianist with a virtuoso technique (which, in a French pianist, is rare), a beautiful tone (which, in a French pianist, is typical), and superb taste (which, in a French pianist, is inevitable). In this set of Gymnopedies, Gnossiennnes, Nocturnes, and other short and improbably named works, Rogé shows that tone and taste triumph over technique, that is, that Rogé plays with precisely voluptuous tone and objectively subjective taste, but wholly without drawing attention to himself. The result is one of the best Satie recordings ever made. Decca’s ’90s digital sound was as warm and cool as the music itself. (by James Leonard)

Pascal Roge02.jpgIf you do not like instrumental, piano, slow, acoustic, older-than-you, or non-beat driven music then you may not like this disc; but then you might (but probably not). Hidden in Satie’s “classical” music are hints of jazz, new age, and ambient. I am prejudiced toward ambient jazz and Satie may have been the first to give us a glimpse of its future almost a century before. This recording is consistently smoothe, well engineered, and flawlessly performed. Each note is given its own space and invites you to savor each individual tone. Some of the pieces have melody lines; others seem to be random, sometimes progressive, series of notes/tones (sonorous, in any event). On the easy listening scale between ponderable/contemplative and zoned-out/trance-inducing at the extremes this disc falls in the middle of the spectrum and roams freely over the relaxation and meditation spheres. I placed this disc within my top ten favorite listens, right up there with with Pachelbel’s Canon (Kolbialka’s extended version), Twin Peaks, Scheherezade, Leonard Cohen (More Best of), Chet Atkins (Master and his Music), Nightingale’s Light Dance, Windham Hill’s Impressionists sampler, Oystein Sevag’s Visual, and another take on Satie’s Gymnopedies (Kolbialka’s extended version). (byLarry Deemer)

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Eric Satie’s [1866-1926] music is all over the map regarding quality and appeal – from gregarious, borderline-annoying, player-piano-like music to his more famous, luminescent, nocturnal slow masterpieces featured on this CD (without the former). Personally, I have little ear for the burlesque-inspired music on other Satie collections, so this compilation has found a nice niche in my collection for frequent playing when quiet, meditative music is in order (yes, often to help get to sleep assisted by the soothing Gymnopedies).

The sound quality of this CD is very rich and vivid as is Pascal Roge’s playing, with beautiful, bell-like sustained notes from Roge’s Steinway. What I most appreciated is his well-conceived tempos of these pieces – which for some reason suffer from too-slow, dirge-like tempos in other recordinds that strip the music of much of its life and enriching effects (as I find in fellow Frenchman, Jean Yves Thibaudet’s Decca recording – fitting for a funeral – why so slow?!)

In contrast, Roge to me finds the sweet-spot tempo and infuses these works with a subtle vibrancy in his tempos and colorations that allow the pieces to maintain constant interest to the listener and effect their simple magic. The highest Satie collection recommendation. (by Alan Lekan)

Music for the quiet moments in life …

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Personnel:
Pascal Rogé (piano)

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Tracklist:
01. Gymnopédie No. 1 3.08
02. Gymnopédie No. 2 2.30
03. Gymnopédie No. 3 2.31
04. Gnossienne No. 1 3.41
05. Gnossienne No. 2 2.30
06. Gnossienne No. 3 3.08
07. Gnossienne No. 4 3.29
08. Gnossienne No. 5 4.02
09. Gnossienne No. 6 1.51
10. Nocturne I 3.17
11. Nocturne II 2.04
12. Nocturne III 3.03
13. Nocturne IV 2.55
14. Nocturne V 1.54
15. Avant-Dernieres Pensées 3.42
15.1 I Idylle, À Debussy
15.2 II Aubade, À Paul Dukas
15.3 III Meditation, À Albert Roussel
16. Pieces Froides – Trois Airs À Fuir 8.58
17. Pieces Froides – Trois Danses De Travers 6.26
18. Deux Reveries Nocturnes 3.20
19. Prélude De La Porte Héroïque Du Ciel 4.30

Music composed by Eric Satie

Tracks 1-9, 13 recorded in 1984.
Tracks 10-12, 14-19 recorded in 1989

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Jean-Luc Ponty – Open Mind (1984)

frontcover1Open Mind is an album by French jazz fusion artist Jean-Luc Ponty, released in 1984.

Ponty embarks on more experiments in the future-is-now world of synthesizers and sequencers, where the painstakingly programmed machines often seem to generate an irresistible momentum of their own. As on Individual Choice, Ponty’s melodies are immediately appealing in an almost Continental manner, whether spelled out on violin, violectra, or on the sequenced synths that set up the ostinato underpinning. Ponty has even less help than before — no more than one or two supporting players on a few tracks. One of them is George Benson, who does his flavorful jazz/funk thing over Ponty’s rhythm computer on “Modern Times Blues”; the other is Chick Corea, who appears on two tracks. This is almost as essential as Individual Choice, and in some ways, even more confident and assured. (by Richard S. Ginell)

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Jean-Luc Ponty plays himself some really modern keyboards here, creating very atmospheric textures, rather urban, often flirting with a jazz-New Age style. To enhance the modern aspect of the music, Ponty plays a VERY “bottom” synth bass, which gives very much color, personality and depth to the music. Ponty is so much involved in the keyboards that it seems his electric violin almost becomes a secondary instrument here: his electric violin is however still very present, but it seems to be less monolithic and to merge more with the rest of the music: sometimes, it participates to the rhythm itself, or it is just simply played with less speed, focusing more on the sound or on the ambience itself. Chick Corea plays some good & nervous keyboards solos! The overall sound is very clean, fresh and modern. The complex keyboards exploration on “Orbital encounters” is absolutely impressive. The echoed atmosphere created with the violin sound on “Intuition” is really breathtaking! Every track is at least very good, so that this record is among his best ones. (by greenback)

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Personnel:
Jean-Luc Ponty (violin, keyboards, piano, vocals, violectra, rhythm programming)
Casey Scheuerell – drums, tabla on 03.)
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George Benson (guitar on 04.)
Chick Corea (synthesizer on 01. + 03.)
Rayford Griffin (drums, percussion on 05.)

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Tracklist:
01. Open Mind 8.06
02. Solitude 6.09
03. Watching Birds 5.02
04. Modern Times Blues 7.19
05. Orbital Encounters 5.19
06. Intuition 7.43

Music composed by Jean-Luc Ponty.

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Earl Scruggs Revue – Super Jammin´ (1984)

FrontCover1.JPGEarl Eugene Scruggs (January 6, 1924 – March 28, 2012) was an American musician noted for popularizing a three-finger banjo picking style, now called “Scruggs style”, that is a defining characteristic of bluegrass music. His three-finger style of playing was radically different from the ways the five-string banjo had been historically played. He popularized the instrument in several genres of music and elevated the banjo from its role as a background rhythm instrument, or a comedian’s prop, into featured solo status.

Scruggs’ career began at age 21 when he was hired to play in a group called “Bill Monroe and the Blue Grass Boys”. The name “bluegrass” eventually became the eponym for the entire genre of country music now known by that title. Despite considerable success with Monroe, performing on the Grand Ole Opry and recording classic hits like “Blue Moon of Kentucky”, Scruggs resigned from the group in 1946 due to their exhausting touring schedule. Band member Lester Flatt resigned as well, and he and Scruggs later paired up in a new group called “Flatt and Scruggs and the Foggy Mountain Boys”. Scruggs’ banjo EarlScruggs01.jpginstrumental called “Foggy Mountain Breakdown”, released in 1949, became an enduring hit, and had a rebirth of popularity to a younger generation when it was featured in the 1967 film Bonnie and Clyde. The song won two Grammy Awards and, in 2005, was selected for the Library of Congress’ National Recording Registry of works of unusual merit.

Flatt and Scruggs brought bluegrass music into mainstream popularity in the early 1960s with their country hit, “The Ballad of Jed Clampett” — the theme music for the successful network television sitcom The Beverly Hillbillies — the first bluegrass recording to reach number one on the Billboard charts. Over their 20-year association, Flatt and Scruggs recorded over 50 albums and 75 singles. The duo broke up in 1969, chiefly because, where Scruggs wanted to switch styles to fit a more modern sound, Flatt was a traditionalist who opposed the change, and believed doing so would alienate a fan base of bluegrass purists. Although each of them formed a new band to match their visions, neither of them ever regained the success they had achieved as a team.

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Scruggs received four Grammy awards, a Grammy Lifetime Achievement Award and a National Medal of Arts. He became a member of the International Bluegrass Music Hall of Fame and was given a star on the Hollywood Walk of Fame. In 1985, Flatt and Scruggs were inducted together into the Country Music Hall of Fame and named, as a duo, number 24 on CMT’s 40 Greatest Men of Country Music. Scruggs was awarded a National Heritage Fellowship by the National Endowment for the Arts,the highest honor in the folk and traditional arts in the United States. Four works by Scruggs have been placed in the Grammy Hall of Fame. After Scruggs’ death in 2012 at age 88, the Earl Scruggs Center was founded near his birthplace in Shelby, North Carolina, with the aid of a federal grant and corporate donors. The center is a $5.5 million facility that features the musical contributions of Scruggs and serves as an educational center providing classes and field trips for students. (by wikipedia)

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Gosh, I hate writing these posts. This not really an obituary, but it is. This is one of my all-time favorite records. Earl Scrcuggs Revue – Super Jammin’ I bought it originally when it came out – back in 1984, it’s not a new edition to my collection. The songs are wonderful, but what’s most impressive is the sheer number of all-time great musicians who play on it. They likely weren’t all in the same studio at the same, but this record still has what might be the largest collection of A-listers on any type Revue album. They are: Lester’s sons Gary, Steve, and Randy, Jimmy Messina, Kenny Loggins, Jim Keltner, Doug Kershaw, Loudon Wainwright III, Joan Baez, Johhny Cash, Michael Martin Murphy, Alvin Lee, Billy Joel, Willie Hall, Bonnie Bramlett, Waylon Jennings, Charlie Daniels, Leon Pendarvis, Ron Cornelius, Larry Gatlin, Dan Fogelberg, the Pointer Sisters, George McCorkle, Jerry Eubanks, and many others. (by curtiscollectsvinylrecords.blogspot)

This is a criminally underrated album by Earl Scruggs … maybe one of the best Country albums of the Eighties ….

Contains previously released material except 04. + 10.

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Personnel:
Joan Baez (vocals on 03.)
Bonnie Bramlett (vocals on 04., 08.)
David Briggs (piano on 02., 03.)
Kenny Buttrey (drums on 02,, 03.)
Johnny Cash (vocals on 03.)
Ron Cornelius (guitar on 05.
Charlie Daniels (guitar on 05., background vocals on 10.)
Pete Drake (steel-guitar on 06.)
Jerry Eubanks (saxophone on 10.)
Dan Fogelberg (background vocals on 07.)
Larry Gatlin (guitar on 07.)
Willie Hall (drums on 04., 05., 07., 08. 10.)
Teddy Irwin (guitar on 06.)
Waylon Jennings (vocals on 04.)
Billy Joel (piano on 04., 05., 08.)
Bob Johnston (organ on 07.)
Shane Keister (piano on 06. + 10.)
Jim Keltner (drums on 01.
Doug Kershaw (fiddle on 02.)
Alvin Lee (guitar on 04., 05. + 10.)
Jack Lee (organ on 10.)
Mylon LeFevre (background vocals on 10.)
Kenny Loggins (percussion, vocals on 01.)
Jody Maphis (drums on 06., percussion on 08.)
George McCorkle (guitar on 10.)
Roger McGuinn (guitar on 04., 05., 07., 08.)
Jim Messina (guitar, vocals on 01.
Michael Murphey (vocals on 03.)
Leon Pendarvis (organ on 05., 08., piano on 07.)
Pointer Sisters (background vocals on 08.)
Earl Scruggs (banjo, vocals)
Gary Scruggs (bass, vocals)
Steve Scruggs (piano on 06.)
Randy Scruggs (banjo, guitar, slide-guitar, percussion)
Loudon Wainwright III (vocals on 02., 03.)
Tim Wipperman (trumpet on 08. + 10.))
Reggie Young (guitar on 02., 03., 05., 07., 08.)
Rusty Young (dobro, steel-guitar on 01.)

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Tracklist:
01. Banjo Man (Messina) 2.28
02. The Swimming Song (Wainwright III) 2.07
03. Gospel Ship (Carter) 2.41
04. I’ve Got My Mojo Working (Foster) 3.59
05. Bleeker Street Rag (R. Scruggs) 4.56
06. Harley (R. Scruggs) 3.35
07. Rollin’ In My Dreams (Nix) 5.01
08. Third Rate Romance (Smith) 3.29
09. Instrumental In D Minor (E. Scruggs) 2.03
10. Step Out Of Line (G. Scruggs) 3.39

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Kip Hanrahan – Vertical’s Currency (1995)

FrontCover1Kip Hanrahan (born December 9, 1954) is an American jazz music impresario, record producer and percussionist.

Hanrahan was born in a Puerto Rican neighborhood in the Bronx to an Irish-Jewish family. He has an unusual role in the albums released under his name, one which he has analogized to that of a film director. He assembles players and materials, combining modern/avant-garde/free jazz figures like Don Pullen and Steve Swallow, Latin jazz players such as Milton Cardona and Horacio “El Negro” Hernandez, and occasionally rock musicians like Sting, Jack Bruce and Grayson Hugh, also Bassist,singer,song writer,producer Fernando Saunders.

He produced a number of significant recordings by the nuevo tango master Ástor Piazzolla in the last decade of Piazzolla’s life, as well as recordings by Latin music figures including Jerry Gonzalez. Hanrahan also worked with the poet Ishmael Reed on three recordings with the Conjure Ensemble, featuring Taj Mahal on the first release. These side projects were not the only poetry-based discs: Darn It from 1994 celebrates the work of Paul Haines (by wikipedia)

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Sting founded the Pangea label in the mid-’80s, unearthing some important and overlooked recordings from the defunct American Clave catalogue, much to the delight of ears lucky enough to hear (as a side note, some of tango sensation Astor Piazolla’s most important work would be lost were it not for the mining of such treasure). Such is the case for Kip Hanrahan, a soulful, New York-based percussionist and producer who unleashed two particularly fantastic albums — Days and Nights of Blue Luck Inverted and Vertical’s Currency — a lush, sensuous Afro-Cubano feast for the ears that is so warm as to engulf the listener with flames. There is a wonderful spirit to “Shadow Song,” an instantly recognizable anthem of Ricky Ricardo cliché that roars with boisterous horn arrangements, congas, cowbells, and vocals of uncanny, third-person self-analysis: “Today I have these blues that are wittier than me/That jokes with my girlfriend while drinking my rum.” “Smiles and Grins” follows with tight polyrhythms that snap and clap along with syncopated piano clusters, as vocalist Jack Bruce hurriedly lilts beat poetry through the chord changes that only twice pause for contemplation.

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Elsewhere in the disc there is an element of sultry longing and hot Miami sunsets, as with “Two Heartedly, To the Other Side,” “Make Love 2,” and “Dark (Kip’s Tune).” It is with this all-star cast of the New York underground jazz fusion scene that Hanrahan finds such rich moods, textures, and symbiosis. Steve Swallow on the bass rarely disappoints, and both guitarist/avant-gardist Arto Lidsay and keyboardist Peter Scherer, who together comprise the group Ambitious Lovers, fill out the room with equally reliable musicianship. Vertical’s Currency overflows with rich contributions in an organic stew of worldly fusion that slinks through the city streets after hours. Find this album and pounce on it. (by Keir Langley)

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Taken from the American Clave catalogue
(is a part of the file)

Personnel:
Frisner Augustin (quinto, tambou, tamboura)
Ignacio Berroa (drums)
Jack Bruce (bass, piano, vocals)
Milton Cardona (percussion)
Anton Fier(drums)
Kip Hanrahan (percussion)
Nancy Hanrahan (vocals)
Andriau Jeremie (saxophone)
Arto Lindsay (guitar)
Claudette Mitchell (chekere)
David Murray (sacophone)
Elysee Pyronneau (guitar) (Electric)Charles Reilly PhotographyOrlando
Orlando “Puntilla” Rios (percussion)
Mario Rivera (saxophone)
Ned Rothenberg (saxophone)
Peter Scherer (organ, synclavier, synthesizer)
Lew Soloff (trumpet)
John Stubblefield (saxophone)
Steve Swallow (bass)
Richie Vitale (trumpet)
Nancy Weiss (vocals)

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Tracklist:
01. A Small Map Of Heaven (Hanrahan/Swallows) 5.17
02. Shadow Song (Mario’s In) (Hanrahan/Hernandez) 4.06
03. Smiles And Grins (Bruce/Brown) 3.02
04. Two Heartedly To The Other Side (Hanrahan/Swallows) 3.03
05. Chances Are Good (Baden’s Distance) (Hanrahan/Powell) 5.08
06. Make Love 2 (Bruce/Brown) 4.27
07. One Casual Song (After Another) (Bruce/Hanrahan) 3.03
08. Intimate Distances (Jack’s Margrit’s Natasha) (Hanrahan) 3.01
09. Describing It To Yourself As Convex (Hanrahan/Scherer) 4.07
10. What Do You Think ? That This Mountain Was Once Fire ? (Hanrahan/Swallows)v 1.41
11. Dark (Kip’s Tune) (Hanrahan/Lindsay) 2.59

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Weekend At Waikiki – Perfect Punisment (1986) + demo tape (1984)

FrontCover1Unfortunatly I have not many informations about this group:

Formed in 1983, Wolvega, Friesland, Netherlands and I guess they disbanded in 1994 …

Other sources said, that they are still alive … Maybe they come togehter from time to time for some live Shows …

Weekend At Waikiki is a New Wave band, with a real dark and gloomy Sound … like Simple Minds, Talking Heads or David Bowie.

Here is their debutalbum, recorded at the Spitsbergen Studios, Holland April 1986

This is not my kind of music but … you know … many fantastic Colors …

I add a rare demo tape from 1984 with 3 Songs:

Not the best recording quality even when it was recorded by Dutch radio… but:
Despite the lesser audio quality – the music is drop dead gorgeous, absolute New Wave killer. (by soundmill)

WAW

Personnnel:
Jan Dijksma (bass)
Henk Gubbels (guitar)
Jelke Haisma (percussion)
Thijs Helfrich (vocals)
Wijnand Helfrich (keyboards, vocals)
Han Raggers (guitar)

Boelie Winter (drums)
+
Maarten de Reus (saxophone on 05.)

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Tracklist:
01. Love In A Most Peculiar Way 4.21
02. Fight 4.18
03. Snake Attack 3.57
04. No Way To Go 3.42
05. Kling Around ….. The Desk 4.50
06. The Night 4.29
+
07. Let’s Invite Mary 3.08
08. Wonderschoon 3.01
09. Perfect Punishment

All songs written by Weekend At Waikiki

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