Bryan Adams – Reckless (1984)

FrontCover1Reckless is the fourth studio album by Canadian singer-songwriter Bryan Adams. Released on 5 November 1984 through A&M Records, the album was co-produced by Adams and Bob Clearmountain, and it was arguably Adams’ most successful solo album. The album was a huge international hit, selling over 5 million units in the United States for a total of 12 million worldwide. It was the first Canadian album to sell more than a million units within Canada. The album reached number 1 on the Billboard 200 and reached high positions on album charts worldwide. (by wikipedia)

Bryan Adams capitalized on the momentum of Cuts Like a Knife with 1984’s Reckless, a virtually flawless collection of melodic hard rock which would dominate radio for years to come. “Run to You” was a brilliant lead-off single which remains one of Adams’ best songs ever, but its success still pales in comparison to follow-up smashes such as “Summer of ’69,” “It’s only Love,” (a duet with Tina Turner), and the ballad to end all ballads, “Heaven.”

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Although some songs haven’t aged very well (especially the overtly cheesy “Kids Wanna Rock”), these weak links are easily eclipsed by further highlights such as the cool rock of “One Night Love Affair” and the irrepressible pop chorus of “Somebody.” Sales figures may point to 1991’s Waking Up the Neighbors as the peak of Bryan Adams career, but the songs from Reckless will most certainly prove to be his lasting legacy. (by Eduardo Rivadavia)

This album is a killer album … and “Summer Of ´69” was and is an anthem of a whole generation:

I got my first real six-string
Bought it at the five-and-dime
Played it ’til my fingers bled
Was the summer of sixty-nine

Me and some guys from school
Had a band and we tried real hard
Jimmy quit, Jody got married
I should’ve known we’d never get far

Oh, when I look back now
That summer seemed to last forever
And if I had the choice
Yeah, I’d always wanna be there
Those were the best days of my life

Ain’t no use in complainin’
When you’ve got a job to do
Spent my evenings down at the drive-in
And that’s when I met you, yeah

Standin’ on your mama’s porch
You told me that you’d wait forever
Oh, and when you held my hand
I knew that it was now or never
Those were the best days of my life

Oh, yeah
Back in the summer of sixty-nine, oh

Man, we were killin’ time, we were young and restless
We needed to unwind
I guess nothin’ can last forever, forever, no

Yeah

And now the times are changin’
Look at everything that’s come and gone
Sometimes when I play that old six-string
I think about you, wonder what went wrong

Standin’ on your mama’s porch
You told me that it’d last forever
Oh, and when you held my hand
I knew that it was now or never
Those were the best days of my life

Oh, yeah
Back in the summer of sixty-nine, oh
It was the summer of sixty-nine, oh, yeah
Me and my baby in sixty-nine, oh
It was the summer, the summer, the summer of sixty-nine, yeah

Oh yeah …

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Personnel:
Bryan Adams (vocals, guitar, piano, harmonica)
Keith Scott (guitar, background vocals)
Pat Steward (drums, background vocals)
Dave Taylor (bass)
Jim Vallance – percussion
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Mickey Curry (drums)
Tommy Mandel (keyboards)
Jody Perpick – backing vocals, background sounds
Steve Smith (drums on 04.)
Tina Turner (vocals on 08.)

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Tracklist:
01. One Night Love Affair 4.32
02. She’s Only Happy When She’s Dancin’ 3.14
03. Run To You 3.54
04. Heaven 4.03
05. Somebody 4.44
06. Summer Of ’69 3.35
07. Kids Wanna Rock 2.36
08. It’s Only Love 3.15
09. Long Gone 3.57
10. Ain’t Gonna Cry 4.06

All songs written by Bryan Adams and Jim Vallance.

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And here´s the best live recording ever of “Summer Of ´69”
directed by Andrew Catlin:

 

 

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Herbie Armstrong – Back Against The Wall (1985)

FrontCover1The young Herbie Armstrong spent his teens and early twenties touring Ireland and the North of England with Irish show bands, and also worked for six months in late 1967 as the lead guitarist in Screaming Lord Sutch’s backing band.

In the early 1970s, after a period living abroad in Portugal in which he ran a riding school, Armstrong founded in London the pop band Fox, with the American songwriter and musician Kenny Young (who had written the 1964 hit, ‘Under the Boardwalk’, for the Drifters) and Australian singer Noosha Fox. Fox had two major chart hits, 1974’s ‘Only You Can’ and 1976’s ‘S-S-S Single Bed’, both of which sold over 200,000 copies. While ‘Only You Can’ reached number three in the UK charts, ‘S-S-S Single Bed’ stalled at number four, but was also a number one hit in Australia. There were also three Fox albums, ‘Fox’ (1975), ‘Tails of Illusion’ (1975) and ‘Blue Hotel’ (1977).

HerbieArmstrong2When Noosha left Fox after ‘Blue Hotel’, Armstrong and Young maintained their song writing partnership and formed new wave act Yellow Dog. Yellow Dog released three albums, ‘Yellow Dog’(1977), ‘Beware of the Dog’(1978) and ‘Strangers in Paradise’(1981), and in 1978 had two chart singles, ‘Just One More Night’ and ‘Wait Until Midnight’ (the latter of which was the first single that this writer bought as a twelve year old).

Herbie Armstrong spent the late 1970s and early 1980s touring the world with his childhood friend Van Morrison, and played lead guitar on four of his albums, ‘Wavelength’(1978), ‘Into the Music’(1979), ‘Common One’(1980) and ‘Beautiful Vision’(1982). He then embarked on a solo career, which saw him release one album, ‘Back Against the Wall’, in 1983 on the short-lived Making Waves label, before he moved on from music to take up a career in management in the licensed trades.

He ran in London for a while Armstrong’s, a restaurant, whose regular customers included Yellow Dog’s old label boss Richard Branson at Virgin Records and the comedian Kenny Everett, for whom Fox had written his TV theme tune. Armstrong then went on to open two live venues in Sheffield including the renowned Boardwalk, and now runs The Fountain, an inn, live venue and restaurant in the village of Rowland’s Castle near Portsmouth. (by John Clarkson)

And here´s his first solo ablum … and it´s a superb album … This should have been so much more successful … if you like Van Morrison … than is this album a must.

A forgot hewel in the history of Irish rock, including a great band (Pee Wee Ellis !).

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Herbie Armstrong + rare single

Personnel:
Herbie Armstrong (guitar, vocals)
Mitch Dalton (guitar)
Pee Wee Ellis (saxophone)
Peter Van Hooke (drums, percussion)
Mark Isham (bass, keyboards, saxophone)
Patrick O’Hearn (bass, synthesizer)
Phil Palmer (guitar)
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background vocals:
Linda Taylor – Sharon Campbell

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Tracklist:
01. Losing You (Armsrong) 4.34
02. Horses Of Steam (Kelly/Richmond) 5.04
03. You Take Me Up (Armstrong) 4.08
04. Friday’s Child (Morrison)
05. Back Against The Wall (Armstrong) 3.55
06. Heaven Only Knows (Armstrong/Platania) 3.48
07. Josie (Armstrong) 5.17
08. Let It Run (Armstrong) 3.33
09. Save The Last Dance (Pomus/Shuman) 4.14
10. Coming In From The Rain (Armstrong) 4.38

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Herbie Armstrong in 2011

Dumpy´s Rusty Nuts – Somewhere In England (1984)

FrontCover1Dumpy’s Rusty Nuts are a British rock band founded in 1981 by the lead singer Graham “Dumpy” Dunnell. Though unsuccessful as recording artists the band have been a successful and popular live act for decades. The band attracted a cult following for their live performances in small rock venues. Playing classic blues rock, their initial audiences were drawn from the new wave of British heavy metal[2] and ‘Bikers’ and they became particularly well-known at the London Marquee Club, where they were a regular and popular attraction. In the early to mid-1980s the band toured extensively around the UK playing at small rock/’Biker’ pub and club venues including the Isle of Man TT, and music festivals, cementing their name and following.

The band were not successful recording artists, preferring to concentrate on live work. They released a debut single “Just For Kicks” in June 1982 but in order to get airplay the band had to change their name to “Dumpy’s Rusty Bolts”. Sales of the single were poor, and the original band name was restored. A second single, “Box Hill Or Bust”, was released. Subsequent sporadic releases have only found favour with their small core audience.

They released a double live album, Somewhere in England, in 1984, which was recorded at the Marquee Club.

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Despite the group’s longevity, they became for a time a favourite target for mockery from the British music press, especially Melody Maker, where they were regularly portrayed as claiming to be jumping on the latest improbable bandwagon in the humorous section “Talk Talk Talk” written by David Stubbs.

As of 2010, the band is still performing in small venues, music festivals and bike rallies across Europe. The band has toured with and supported many bands including Hawkwind, Motörhead and Status Quo. (by wikipedia)

Dumpy01Dumpy’s Rusty Nuts are a biker rock band in every sense of the term — not only do they play the sort of loud, heavy, riff-driven bar boogie you’d expect, but singer and lead guitarist Graham “Dumpy” Dunnell actually started out as a motorcycle mechanic before making the switch to rock & roll. Dunnell’s first gig was with a pub rock band called Borzoi, which didn’t survive the punk revolution; he briefly joined an Elvis Costello-influenced new wave band called the Rivvits before deciding it didn’t reflect his musical taste. In 1981, Dunnell formed a boozy blues/boogie unit called Dumpy’s Dirt Band; early the following year, he assembled the more focused Dumpy’s Rusty Nuts, with bassist Mac McKensie and drummer Chris Hussey. In June 1982, Dumpy’s Rusty Nuts issued their debut single, “Just for Kicks,” which became a minor metal hit in the U.K. The follow-up, “Boxhill or Bust,” became a British biker anthem; it featured new bassist Jeff Brown, and was actually released as Dumpy’s Rusty Bolts since the BBC banned their proper name. Both singles were released on the Blues Band’s house label, Cool King, and the Rusty Nuts’ subsequent tour supporting the Blues Band (the post-Manfred Mann group of Paul Jones) cemented their reputation. By that time, bass duties had passed to Kerry Longford, in a revolving-door situation that would continue for most of the band’s history. Dumpy’s Rusty Nuts released their debut album,

ConcertPosterSomewhere in England (which contained their two prior singles), in 1984 and hit the road in support. Hot Lover followed in 1985, as did 1987’s Get Out on the Road — an apt description of the band’s philosophy, since even as their recording activity diminished and their rhythm section personnel came and left, they remained an active touring and performing unit. Starting in 1995, the lineup stabilized with bassist Martin Connolly and drummer Andy Smith, and the band continued to play hard rock and motorcycle festivals around the U.K. (by Steve Huey)

DRN’s roots lie mainly in the Heavy Rock/ Blues music of the late sixties and seventies, taking influences from Eric Clapton and Jimi Hendrix through to Pink Floyd, Dr Feelgood and Motorhead.

In other words: Heavy Metal meets Blues, Boogie & Rock N Roll …  and you can hear a great version of Peter Green´s “Out Of Reach” (from the John Mayall album “So Many Roads”, 1967)

But this crazy album starts with Vivaldi  … and than … the ride beginns …

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Personnel:
Mark Brabbs (drums)
Graham “Dumpy” Dunnell (guitar, vocals)
Kerry Langford (bass)l

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Tracklist:
01. It’s Got To Be Blues (Dunnell) 4.21
02. Ride With Me (Dunnell)  4.28
03. I’m A Hog For You Baby (Leiber/Stoller) 3.18
04. Rip It Up (Blackwell/Marascalco) 6.20
05. Night Rider (Dunnell) 2.58
06. Woke Up This Morning (Dunnell) 3.48
07. Look In The Mirror (Dunnell) 6.36
08. Whole Lot Of Blues (Dunnell) 2.48
09. Out Of Reach (Green) 5:27
10. Box Hill Or Bust (Dunnell) 3.07
11. Tush (Gibbons/Hill/Beard) 2.13
12. Just For Kicks (unknown) 3.34
13. Cross Keys (Dunnell) 4.19
14. Wee Wee Baby (Reed) / Wildy Thing (Taylor) (Guitar Jam (Dunnell) 14.18
15. Route 66 (Troup) 2.37
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16. Somewhere In England (uncut version with lots of noise and stage announcements) 1.18.34
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Andy Summers & Robert Fripp – Bewitched (1984)

FrontCover1On Andy Summers and Robert Fripp’s second album, Bewitched, the duo offered a new batch of their instrumental songs, which turned out to be much more rock-oriented than their texturized 1982 debut, I Advance Masked. The album was originally going to be a more musically varied affair — at the time, Summers talked about recording calypso and Tex-Mex/Ry Cooder-like tunes with Fripp, but they never saw the light of day. Like its predecessor, it contains plenty of great guitar work, with songwriting being stressed over instrumental virtuosity.

For example, Summers and Fripp know how to subtly insert challenging sections into their songs (such as the 7/4 time signature in “Maquillage”), without making them seem like an obvious attempt to impress fellow musicians. Although ’80s-sounding electronic drums are primarily used for backbeats (such as the track “Train”), it doesn’t take away from the album’s charm. Whereas their last album featured a few compositions that were quite King Crimson-like, their sophomore effort contains a few that sound like Police instrumentals (the title track). Unfortunately, Bewitched would prove to be Summers and Fripp’s last collaboration together. (by Greg Prato)

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Personnel:
Paul Beavis (drums)
Robert Fripp (guitar, keyboards, synthesizer, percussion, drum machine & more)
Jesse Lota (tabla)
Andy Summers (guitar, keyboards, synthesizer, percussion, drum machine & more)
Chris Winter (saxophone)

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Tracklist:
01. Parade (Summers) 3.03
02. What Kind Of Man Reads Playboy (Summers/Fripp) 11.11
03. Begin The Day (Summers/Fripp) 3.38
04. Train (Summers) 4.35
05. Bewitched (Summers) 3.55
06 Tribe (Summers/Fripp) 3.30
07. Maquillage (Summers/Fripp) 2.19
08. Guide (Summers) 2.35
09 Forgotten Steps (Summers) 4.02
10- Image And Likeness (Summers/Fripp) 1.31

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Steve Marriott & The Packet Of Three – Dingwalls 6.7.84 (1991)

FrontCover1If you don’t mind hearing more rock than blues, pick up Steve Marriott – Dingwalls 6.7.84. It’s an outstanding Packet of Three set with much better recording and performances from around the same time. If you’re like me, you’ll love the entire CD. The blues tracks here are “Five Long Years”, the Ashford-Simpson-penned Ray Charles song “I Don’t Need No Doctor” and “Walkin’ the Dog” but Stevie’s rockers are great as well. (by William Sout)

This 1984 show at the North London club Dingwalls was originally broadcast live on the radio, featuring Marriott backed by his band Packet of Three; this performance has also been released under the titles of Dingwalls and Packet of Three: Live. This version has the advantage of liner notes detailing Marriott’s career. (Steve Huey)

Just like many nights at the Half Moon in Putney, this recording really captures the feel of Steve Marriott live. Although there is no Jerry Shirley on drums (as in some Packet of Three performances), this CD has a great R&B feel (soulful vocals and crunchy chords). Only regret is that there is no version of Afterglow, a highlight of most shows. (by an Amazon customer)

Listen to another album by one of my favorite musician of all time !

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Personnel:
Fallon (drums)
Jim Leverton (bass, vocals on 03., background vocals)

Steve Marriott (guitar, vocals, harmonica)

Booklet1

Tracklist:
01. What’cha Gonna Do About It? (Potter/Samwell) 4.17
02. Fool For A Pretty Face (Marriott/Shirley) 5.50
03. Shame On You (Cooley) 4.06
04. Bad Moon Rising (Fogerty) 6.32
05. The Cockney Rhyme (Traditional) 0.48
06. All Shook Up (Blackwell/Presley) 3.17
07. The Fixer (Marriott/Ridley/Shirley) 7.25
08. All Or Nothing (Marriott/Lane) 5.49
09. Five Long Years (Boyd) 7.43
10.  Thirty Days In The Hole (Marriott) 10.57
11. I Don’t Need No Doctor (Armstead/Ashford/Simpson) 12.47
12.  Big Train Stop At Memphis (Traditional) 5.25
13. Walkin’ the Dog (Thomas) 4.04
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TheDingwalls

Russ Ballard – Same (1984)

FrontCover1Russell Glyn “Russ” Ballard (31 October 1945) is an English singer, songwriter and musician.

Originally coming to prominence as the lead singer and guitarist for the band Argent, Ballard became known by the late 1970s as a songwriter and producer. His compositions “New York Groove”, “You Can Do Magic”, “Since You Been Gone”, “Liar”, “Winning”, “I Know There’s Something Going On”, “So You Win Again” and “God Gave Rock and Roll to You” were hits for other artists during the 1970s and 80s. He also scored several minor hits under his own name in the early/mid-1980s.
Ballard was initially a guitarist, joining Buster Meikle & The Day Breakers in 1961 together with his older brother Roy and their friend the drummer Bob Henrit. After a stint with The Roulettes, backing Adam Faith, he then went on to join Unit 4 + 2 in the early 1960s, before becoming the lead singer and guitarist of Argent (along with Henrit, who joined as drummer), writing their hit “God Gave Rock and Roll to You”,[1] which would later be covered by both Petra and KISS. Ballard is most well known as the vocalist on Argent’s smash “Hold Your Head Up”. In 1972, Ballard performed on Colin Blunstone’s album Ennismore, which was produced by Chris White. Ballard also wrote the hit single, “I Don’t Believe in Miracles”, which featured on that album.
He left Argent in 1974 and pursued a solo and songwriting career. He wrote such hits as Three Dog Night’s “Liar” (originally recorded by Argent), Hot Chocolate’s 1977 UK chart topper “So You Win Again”, and Rainbow’s 1979 hit “Since You Been Gone”. Head East had also recorded the song in 1978 for its self-titled album, and before that it was included in Ballard’s 1976 solo album Winning. Ballard also wrote Rainbow’s 1981 No. 3 (UK) hit “I Surrender”.

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Ballard also wrote and performed on Roger Daltrey’s first two solo albums, Daltrey (1973) and Ride a Rock Horse (1975). Daltrey recorded some other Russ Ballard originals for his McVicar soundtrack, and his albums Under a Raging Moon and Can’t Wait to See the Movie. Ballard did a tour with Roger Daltrey in 1985, playing guitar and even singing one of his own songs.

British pop band Hello recorded Ballard’s “New York Groove” in 1975, reaching No. 7 in Germany and No. 9 in the UK. “New York Groove” would also be recorded three years later by Ace Frehley, who turned the tune into a stateside hit.
Ballard also wrote the No. 17, 1981 hit for Santana, called “Winning”, which appeared on their album entitled Zebop! and had previously been released by Ballard himself on his second solo album. To promote the Winning album he toured Europe and the US in October and November 1976 working with the John Stanley Media Management Company and a four-piece band doing large theatre venues in Europe and medium-sized clubs like The Bottom Line in New York and the Whisky A Go Go in LA in the States with excellent results. Ground Control sound engineer Robin Mayhew looked after the sound for both tours.

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Ballard wrote and produced “You Can Do Magic” for the group America on its 1982 album View from the Ground. The single climbed to No. 8 on the Billboard Hot 100 in October 1982, and helped resurrect the band’s career. The following year, America brought in Ballard to produce their follow-up album, Your Move. One of its tracks, “The Border”, which was co-written by Ballard with Dewey Bunnell, reached No. 33 on the Billboard Hot 100.

Ballard wrote ABBA singer Anni-Frid Lyngstad’s 1982 solo hit: “I Know There’s Something Going On” (which was produced by Phil Collins, and also featured Collins on drums). The track reached No. 13 on the Billboard Hot 100. He also penned “Can’t Shake Loose” for fellow ABBA former member Agnetha Fältskog, which peaked at No. 29 in the same listings.

In 1991 the song he co-wrote with John Waite and Jonathan Cain, “So This Is Eden”, appeared on Bad English’s album, Backlash.
Ballard has also written and produced for Elkie Brooks, and more recently[when?], acting as a talent scout, he “discovered” Lauren Harris.
Solo recordings
As a solo artist, Ballard charted once on the US Billboard Hot 100 chart, when “On the Rebound” reached No. 58 in 1980. English rock band Uriah Heep covered “On the Rebound” in 1982 on their album Abominog. In 1980, he released a solo album on Epic entitled Barnet Dogs.

Another notable solo hit, “Voices” – from his second self-titled album (1984) – was featured in the Miami Vice episode “Calderone’s Return: Part 2 – Calderone’s Demise”, which aired on 26 October 1984. The song was a brief hit on rock radio stations, peaking at No. 15 on the Hot Mainstream Rock Tracks chart. However, “Voices” stalled below the Billboard Hot 100, peaking at No. 110. Another song from the same album, “In the Night” was featured in the episode “Calderone’s Return: Part 1 – The Hit List”. The show also featured “Your Time Is Gonna Come” by Ballard later in its run.
“The Fire Still Burns”, the title track of his 1985 album attained No. 15 on the Hot Mainstream Rock Tracks chart. (by wikipedia)

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A sunglasses-carrying member of the Roy Orbison/Ian Hunter shades club, former Argent vox-man and crack songwriter Russ Ballard (“Since You’ve Been Gone,” “I Know There’s Something Going On”) breaks out with an ace band for another shot at the spotlight. “Voices” deservedly garnered dial time; and Ace Frehley, who hit big with Ballard’s “New York Groove,” returned to plunder the slattern “In the Night” for Frehley’s Comet. Ballard himself blatantly rips the opening chords of “Who’s Crying Now” for “The Last Time.” He almost creates the Outfield on “Day to Day,” but Ballard doesn’t have the pipes. Russ Ballard won’t knock you out of your socks, but he is a surprisingly strong guitarist and his songs maintain a high level of generic quality on both sides of this slab: a decent disc that goes everywhere but nowhere. Ballard’s bizarre “fire” leitmotiv continues here. ( by Doug Stone)

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Personnel:
Russ Ballard (vocals, guitar)
Mo Foster (bass)
Simon Phillips (drums)
Greg Sanders (keyboards)

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Tracklist:
01. I Can’t Hear You No More 5.50
02. In The Night 4:.10
03. Two Silhouettes 4.19
04. Voices 5.34
05. A Woman Like You 4.27
06. Day To Day 3.53
07. Playing With Fire 5.09
08. The Last Time 5.27

All Songs written by Russ Ballard

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The German inlets

Lenny Kaye Connection – I´ve Got A Right (1984)

frontcover1Lenny Kaye (born December 27, 1946) is an American guitarist, composer, and writer who is best known as a member of the Patti Smith Group.

Kaye was born to Jewish parents in the Washington Heights area of upper Manhattan, New York, along the Hudson River. Growing up in Queens and Brooklyn, Kaye originally began playing accordion, but by the end of the 1950s, had dropped the instrument in favor of collecting records. His family moved to North Brunswick, New Jersey, in 1960 where Lenny attended high school, and later, college, graduating from Rutgers in 1967. He became a fan of science fiction and gained experience in writing, publishing his own fanzine, Obelisk, at the age of 15.[3] Though he majored in American History, his true avocation was musical, and it was there that he first began playing in bands, on a college mixer and fraternity circuit. His first gig, with the Vandals (“Bringing down the house with your kind of music”), was at Alpha Sigma Phi on November 7, 1964

As musician, writer, and record producer, Kaye was intimately involved with an array of artists and bands. He was a guitarist for poet/rocker Patti Smith from her band’s inception in 1974, and co-authored Waylon, The Life Story of Waylon Jennings. He worked in the studio with such artists as R.E.M., James, Suzanne Vega, Jim Carroll, Soul Asylum, Kristin Hersh, and Allen Ginsberg. His seminal anthology of sixties’ garage-rock, Nuggets, is widely regarded as defining the genre.[citation needed] You Call It Madness: The Sensuous Song of the Croon, an impressionistic study of the romantic singers of the 1930s, was published by Villard/Random House in 2004.

lennykaye01His uncle, songwriter Larry Kusik (“A Time For Us” from Romeo and Juliet; “Speak Softly Love” from The Godfather) took note of his lengthening hair and musical commitment, and asked him to sing on a song he’d recently penned with Ritchie Adams, once of the Fireflies (“You Were Mine”). Kaye soon found himself in Associated Recording Studios on Times Square, recording “Crazy Like A Fox”, along with its flip side, “Shock Me”. The resultant 45, issued under the name of Link Cromwell, was leased to Hollywood Records, a division of Starday Records located in Nashville, Tennessee, and released in March 1966. It garnered a Newcomer Pick of the Week from Cashbox (“A rhythmic bluesy folk-rocker with a pulsating beat”) and was issued in England as well as Australia; but failed to move in the charts. Though hardly a smash, it gave Kaye a sense of self as a musician, and inspired him to continue performing and playing. His group at the time, The Zoo, worked a college circuit ranging from New York to Pennsylvania; this early experience has been captured on a live album issued by Norton Records, Live 1966.

Moving back to the city, Kaye began writing reviews for Jazz and Pop magazine (which was edited at the time by Jim Morrison’s soon-to-be wife, Patricia Kennealy Morrison; branching out to such nascent rock publications as Fusion, Crawdaddy and Rolling Stone. He became the music editor of Cavalier, a men’s magazine, and would write a monthly column for them until 1975; and the New York correspondent for the British weekly, Disc. As a free-lance writer, he wrote for a wide range of periodicals, including Melody Maker, Creem, and edited such publications as Rock Scene and Hit Parader throughout the seventies.

While working at the record store Village Oldies on Bleecker Street in New York, Kaye met poet-singer Patti Smith. On February 10, 1971, he backed her at a reading at St. Mark’s Church on E. 10th St. When they resumed performance in November 1973, their artistic efforts bore fruit as one of the major rock bands of the 1970s. Kaye produced Patti’s debut single (“Hey Joe / Piss Factory”), and performed as part of her Group throughout the decade, as reflected in four Arista albums: Horses (1975), Radio Ethiopia (1976), Easter (1978) and Wave (1979).

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Following the Patti Smith Group’s final performance in September 1979, Kaye joined the Jim Carroll Band, as well as fronting his own Lenny Kaye Connection. He co-produced Suzanne Vega’s first two albums, including her 1987 hit single, “Luka”, which was nominated for a Grammy as Record of the Year. He has been nominated three times for Grammy awards in the liner notes category for boxed sets on the sixties folk revival (Bleecker and MacDougal), white blues (Crossroads), and progressive rock (Elektrock); and has co-authored a comprehensive hall of fame with David Dalton (Rock 100).

In 1995, he reunited with Patti Smith and has been a part of her band since, creating five studio albums, a retrospective, and celebrating the thirtieth anniversary release of their landmark debut album, Horses.

In 2010, Kaye contributed a solo recording for Daddy Rockin’ Strong: A Tribute to Nolan Strong and the Diablos (The Wind/Norton Records). Kaye recorded a version of “I Wanna Know,” a 1950s R&B ballad. He appears on and wrote one song for The Fleshtones 2011 album Brooklyn Sound Solution (Yep Roc). Also, he appeared on “Alligator Aviator Autopilot Antimatter” and “Blue” on R.E.M.’s 2011 album Collapse into Now, an album that Patti Smith also contributed to, also on “Blue” and another song, “Discoverer”. (by wikipedia)

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Lenny Kaye with … who the fuck is Mick Jagger ?

And this is his first solo-album after the split of the Patti Smith Group.

Rock critic, guitarist, Patti Smith musical cohort, producer, New York scene veteran, Nuggets albums compiler, Jim Carroll sideman — Lenny Kaye has done a bit of everything, distinguishing himself in most areas. He also led a band under his own name and released this solo album. Kaye may fumble a few lyrics in an attempt to express schmaltzy emotions, but his obvious sincerity makes up for the occasional prosaic excess. The title track is brilliant pop with an infectious hook and anthemic sound; “Luke the Drifter” is a memorable old-fashioned cowboy ballad updated with a pumping rock beat. A swell record from a swell guy. (Ira Robbins)

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Personnel:
David Donen (drums, vocals)
Paul Dugan (bass)
Lenny Kaye (vocals, gutiar)
C.P. Roth (synthesizer)
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Jim Carroll (background vocals)
John Giorn (background vocals)
Jonathan Helfand (pedal steel-guitar)
Jan Mulaney (organ, synthesizer)
Patrick O´Conner (bass, vocals)

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Tracklist:
01. I’ve Got A Right (Kaye) 4.21
02. Luke The Drifter (Kaye) 3.28
03. Still Life /Carroll/Kaye) 4.17
04. Tell-Tale Heart (Kaye) 3.46
05. Jealousy (Kaye) 2.56
06. I Cry Mercy (T.Smith/S.Smith) 3.49
07. Record Collector (Kaye/O´Conner) 3.30
08. As I Make Love (Kaye/O´Conner/Mulaney/Donen 6.18

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