Various Artists – Gnawa Music Of Marrakesh – Night Spirit Masters (1990)

FronzCover1As Paul Bowles states in his liner notes, the music of the Gnawa (Malinese slaves brought to Morocco in the 16th century) is very different than most of what’s heard in Morocco. Indeed, there’s a healthy strain of the kind of vocal and percussion styles heard in the Gnawa’s West African homeland on this fine collection. And even though the Middle Eastern darbouka drum is occasionally used and the language sung in is Arabic, the predominant sound comes from large, deep-toned drums called the tbola (akin to the talking drum of Ghana) and from the chorus of singers heard on half the cuts (the harmonies produced being similar to those in both traditional and popular West African song).

Sounding like a cross between the oud (the Middle Eastern predecessor to the lute) and the West African kora, the upright string instrument the sentir musically fuses the two cultures. Musicology aside, this Bill Laswell-produced recording is a must for fans of both African and Middle Eastern music. Half the pieces feature lead and group singers in call and response mode buoyed by a full compliment of sentirs, drums, hand clapping, and qrakechs (finger cymbals made from sheet metal). The other portion includes both drum features and sentir and vocal pieces. A great collection. (by Stephen Cook)

BackCover

 

Tracklist + Personnel:

01. Baba L’Rouami1 Baba L’Rouami 3.05
Goblet Drum [Darbouka] – Abdelhak Bou NaamSintir, Vocals – Mustapha BaqbouVocals – Ahmed Hamzaoui, Mahjoub El Khalmouss, Said Oughassal
02. . Mimoun Mamrba 5-12
Castanets [Qrakech] – Abdel Kbir Msolom, Abdellatif OughassalDrums – Abderrahim Oughassal, Abelmar Bou NaamSintir, Vocals – Said OughassalVocals – Abdelqader Oughassal

03. Tramin 2.57
Drums – Abbes Larfaoui, Brahim El Belkani, Mahjoub Jaffer

04. Chabako 6.27
Castanets [Qrakech] – Abdellatif OughassalDrums – Abderrahim OughassalGoblet Drum [Darbouka] – Abdelhak Bou NaamHandclaps – Samir ZougariHandclaps, Vocals – Abdel Kbir Msolom, Abdenbi Binizi, Aziz Radi, Hassan Zougari, Mohammed MslomiOud, Vocals – Said OughassalSintir, Vocals – Abdelqader Oughassal

05. Moulay Abdellah Ben Hassaine / Moulay Brahim 4.12
Shaker – Ahmed MamzaoiSintir, Vocals – Mustapha Baqbou

06. Toura Toura Tour Kelilah 4.07
Sintir, Vocals – Mustapha BaqbouVocals – Abdel Kbir Mershan, Mahjoub El Khalmouss, Mbarrek Ben Othane

07. Baniya 5.59
Castanets [Qrakech] – Abdellatif OughassalDrums – Abderrahim OughassalGoblet Drum [Darbouka] – Abdelhak Bou NaamHandclaps – Samir ZougariHandclaps, Vocals – Abdel Kbir Msolom, Abdenbi Binizi, Aziz Radi, Hassan Zougari, Mohammed MslomiOud, Vocals – Said OughassalSintir, Vocals – Abdelqader Oughassal

08. Jillala 4.49
Sintir, Vocals – Abdel Kbir Mershan, Mustapha BaqbouVocals – Mahjoub El Khalmouss, Mohammed Qrifli

09. Said Fafy Drum Solo 2.15
Drums – Said Fafy, Said Oughassal

10. Toura Toura Tour Kelilah #2 3.12
Castanets [Qrakech], Vocals – Mahjoub MethoumHandclaps – Rachid El BelkaniSintir, Vocals – Brahim El Belkani

11. Hamouda 6.00
Castanets [Qrakech] – Abdellatif OughassalDrums – Abderrahim OughassalGoblet Drum [Darbouka] – Abdelhak Bou NaamHandclaps – Samir ZougariHandclaps, Vocals – Abdel Kbir Msolom, Abdenbi Binizi, Aziz Radi, Mohammed MslomiOud, Vocals – Said OughassalSintir, Vocals – Abdelqader Oughassal

Inlet

 

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MusicInMarrakesh

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Lucky Peterson – Triple Play (1990)

FrontCover1Lucky Peterson (born Judge Kenneth Peterson, December 13, 1964, Buffalo, New York) is an American musician who plays contemporary blues, fusing soul, R&B, gospel and rock and roll. He plays guitar and keyboards. Music journalist Tony Russell, in his book The Blues – From Robert Johnson to Robert Cray has said, “he may be the only blues musician to have had national television exposure in short pants.”Lucky Peterson (born Judge Kenneth Peterson, December 13, 1964, Buffalo, New York) is an American musician who plays contemporary blues, fusing soul, R&B, gospel and rock and roll. He plays guitar and keyboards. Music journalist Tony Russell, in his book The Blues – From Robert Johnson to Robert Cray has said, “he may be the only blues musician to have had national television exposure in short pants.”

Lucky Peterson01
Peterson’s father, bluesman James Peterson, owned a nightclub in Buffalo called The Governor’s Inn. The club was a regular stop for fellow bluesmen such as Willie Dixon. Dixon saw a five-year-old Lucky Peterson performing at the club and, in Peterson’s words, “Took me under his wing.” Months later, Peterson performed on The Tonight Show, The Ed Sullivan Show and What’s My Line?. Millions of people watched Peterson sing “1-2-3-4”, a cover version of “Please, Please, Please” by James Brown. At the time, Peterson said “his father wrote it”. Around this time he recorded his first album, Our Future: 5 Year Old Lucky Peterson, for Today/Perception Records and appeared on the public television show, Soul!.

Lucky Peterson02

As a teen, Peterson studied at the Buffalo Academy for Visual and Performing Arts, where he played the French horn with the school symphony. Soon, he was playing backup guitar and keyboards for Etta James, Bobby “Blue” Bland, and Little Milton.[2]
The 1990s were a prolific period for Peterson. Two solo Bob Greenlee produced albums for the Chicago-based Alligator Records (1989’s Lucky Strikes! and the following year’s Triple Play) remain his finest recorded offerings. He then released four more for the record label, Verve Records (I’m Ready, Beyond Cool, Lifetime and Move). While with Verve, Peterson collaborated with Mavis Staples on a tribute to gospel singer Mahalia Jackson, called Spirituals & Gospel. Peterson played electronic organ behind Staples’ singing.

More albums from Peterson came after 2000. He recorded two for Blue Thumb Records (Lucky Peterson and Double Dealin’), and one for Disques Dreyfus entitled, Black Midnight Sun. In 2007, he released Tete a Tete on JSP Records.
In 2013, the Blackbird Music/55 Arts Club DVD of Live At The 55 Arts Club Berlin was nominated for a Blues Music Award.[4]Lucky Peterson in 1984.Current work and lifestyle
Today, Peterson lives in Dallas, Texas, and maintains a rigorous tour schedule performing all over the world.
Peterson has four children. (by wikipedia)

Lucky Peterson03

Even more impressive than his previous Alligator set, thanks to top-flight material like “Don’t Cloud Up on Me,” “Let the Chips Fall Where They May,” and “Locked Out of Love,” the fine house band at Greenlee’s King Snake studios, and Peterson’s own rapidly developing attack on two instruments. (by Bill Dahl)

It’s a shame that Lucky Peterson has still not been discovered by some blues fans; they don’t know what they’re missing. This collection, recorded at Kingsnake Studios in Sanford, FL and released on Alligator Records in 1990, offers some great music from start to finish. Of the ten songs, I could start naming favorites such as “Six O’Clock Blues”, “Let the Chips Fall Where They May”, and the classic “I Found A Love”, but there isn’t a bad track on this disc. While it was originally released many years ago, it still sounds fresh. All in all, “Triple Play” is one well-done album. (by Blue Ox)

Lucky Peterson is a natural born musician and entertainer. He first exposed his bewildering talent during session work for Florida’s King Snake Records. Then, he progressed to holding stints with Little Milton and Bobby `Blue’ Bland. Given the number of artists and CDs that I see and hear annually, Lucky Peterson consistently rates at the top. Unlike the name of this 42-minute album, Peterson is more than a triple threat. He is an exhilarating multi-instrumentalist (capable of playing organ, guitar, bass, drums and trumpet), flamboyant songwriter, passionate singer, and a radiant live entertainer. If you haven’t had the pleasure of experiencing his multiple talents, check out “Let The Chips Fall Where They May” with its slick and funky arrangement. Here, and throughout Peterson plays explosive lead guitar while backed by his sleek organ and vocals. Just 27-years-old at the time this album was released, Peterson shows infinite potential. (by Tim Holek)

In other words: a brilliant album !

BookletBackCover1

Personnel:
Bryan Bassett (guitar)
Bob Greenlee (bass)
Dale Horton (bass)
Ernie Lancaster (guitar)
Jim Payne (drums)
Lucky Peterson (keyboards, guitar, vocals)
William Pell Pinner III (drums)
George Taylor (guitar)
+
The Kingsnake Horns:
Bob Greenlee (saxophone)
Sylvester Polk (trumpet)
Bill Samuel (saxophone)
+
Ray Anderson (trombone of 10.)
Ray”Bruce Staelens (trumpet on 10.)
+
Funky Ray”Lester Chambers (vocals on 05.)

Booklet

Tracklist:
01. Let The Chips Fall Where They May (Greenlee) 4.11
02. Your Lies (Greenlee/Peterson/Payne) 3.11.
03. Six O’Clock Blues (Boylston/Michel) 3.44
04. Repo Man (Payne/Peterson/Boylston/Greenlee) 3.26
05. I Found A Love (Pickett/West/Scofield) 5.47
06. Jammin’ In The Jungle (Payne/Peterson/Greenlee) 3.43
07. Locked Out Of Love (Payne/Peterson/Greenlee) 3.39
08. I’m Free (Payne/Greenlee) 5.18
09. Don’t Cloud Up On Me (Greenlee/Peterson/Boylston) 3.15
10. Funky Ray (Anderson/Peterson/Payne/Greenlee) 5.29

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AC/DC – The Razors Edge (1990)

FrontCover1The Razors Edge is an album by Australian hard rock band AC/DC. It was the band’s eleventh internationally released studio album and the twelfth to be released in Australia. It was a major comeback for the band, featuring the hits “Thunderstruck” and “Are You Ready”, which reached #5 and #16 respectively on Billboard’s Mainstream Rock Tracks Chart, and “Moneytalks”, which peaked at #23 on the Billboard Hot 100. The album went multi-platinum (5 million copies sold) and reached the US top ten. The album reached #2 on the US Billboard 200 and #4 in the UK, a smash commercial success that returned the band to the popularity of its glory years of the late 1970s and early 1980s. The album has been certified 5x platinum (5 million copies sold) in the US, and was re-released in 2003 as part of the AC/DC Remasters series. The album was produced by Bruce Fairbairn.

The Razors Edge was recorded at Windmill Road Studios in Dublin, Ireland and Little Mountain Studios in Vancouver, BC, Canada, and was mixed and engineered by Mike Fraser and produced by Bruce Fairbairn, who had previously worked with Aerosmith and Bon Jovi. According to the book AC/DC: Maximum Rock & Roll, George Young was involved early on but had to bow out because of personal issues. Lead singer Brian Johnson was unavailable for several months while finalising his divorce, so the Young brothers wrote all the songs for the next album, a practice they continued for all subsequent releases (In a 1995 interview, Johnson told Guitar World that he was relieved at not having to deal with the pressure of writing the lyrics anymore).

MalcolmYoung1990
The instantly recognizable opening riff to “Thunderstruck” features Young alternating between fretted notes and playing the open string. In a 1993 interview with Guitar World’s Alan Di Perna, the guitarist recalls, “I was just fiddling with my left hand when I came up with that riff; I played it more by accident than anything. I thought, ‘not bad,’ and put it on a tape. That’s how me and Malcolm generally work. We put our ideas down on tape and play them for one another.” He expanded in greater detail in the liner notes of the 2003 re-release of The Razor’s Edge:

It started off from a little trick I had on guitar. I played it to Mal and he said ‘Oh, I’ve got a good rhythm idea that will sit well in the back.’ We built the song up from that. We fiddled about with it for a few months before everything fell into place. Lyrically, it was really just a case of finding a good title…We came up with this thunder thing and it seemed to have a good ring to it. AC/DC = Power. That’s the basic idea.”

ACDC1990

“Moneytalks” is also one of AC/DC’s biggest hits, breaking the top 40 on the Billboard Hot 100, the UK Singles Charts, and the Australian ARIA Singles Chart. It is still the band’s highest charting single in the United States, at number 23 (no other AC/DC single has even cracked the top 30). During their subsequent world tour, thousands of “Angus Bucks” were dropped on the audience during the song. A music video of the song, directed by David Mallet, was also released, featuring a live performance during the tour. Author Murray Engleheart states in his band memoir AC/DC: Maximum Rock & Roll: “On songs like ‘Mistress for Christmas’ and “Moneytalks,’ Malcolm and Angus showed their working-class roots, despite multi-millionaire selling albums, by taking aim at the high flyers in the business world.”

ACDC1990_02

In a February 1991 interview with Guitar World Angus Young stated, “I think the funniest song on this album is ‘Mistress For Christmas.’ That song’s about Donald Trump. He was big news at the time, so we thought we’d have a bit of fun and humor with it.” In the same interview, he declared that his best guitar solo on the LP was on the song “The Razors Edge,” which also features a rare foray into finger picking. Although AC/DC had always remained apolitical when it came to their music, the title track was a commentary of sorts, with Young explaining to Muchmusic in 1992:

“The Razors Edge” comes from an old saying farmers used to use in Britain where you’d have a fine sunny day, you know, a very good day with a hot sun, and then all of a sudden right in the distance you could see these black clouds coming over the horizon, an ominous thing…I thought it was a great title. The world was at peace again and everyone thought, “Ah, the Berlin Wall’s come down and it’s all gonna be fun and games, a party every night,” and you can see now that it’s not that way. It’s just our way of saying the world’s not perfect and never will be. (by wikipedia)

Chris Slade

Although AC/DC’s popularity had decreased by the early ’90s, the band still had a lot of life left in it. Arguably the Australian headbangers’ strongest album in over half a decade, The Razor’s Edge is quintessential AC/DC — rowdy, abrasive, unapologetically fun metal full of blistering power chords, memorable hooks, and testosterone-driven lyrics. Lead singer Brian Johnson sounds more inspired than he had since 1983’s Flick of the Switch, and lead guitarist Angus Young isn’t about to take any prisoners on such hard-hitting material as “Shot of Love,” the menacing title song, and the appropriately titled “Got You By the Balls.” Although not quite in a class with Back in Black, Highway to Hell, or Let There Be Rock — all of which would, for novices, serve as fine introductions to the distinctive band — The RazoYear Of Recording: 1990r’s Edge was a welcome addition to AC/DC’s catalog. (by Alex Henderson)

The 57th Annual GRAMMY Awards - Telecast

Personnel:
Brian Johnson (vocals)
Chris Slade (drums, percussion)
Cliff Williams (bass, background vocals)
Angus Young (lead guitar)
Malcolm Young (guitar, background vocals)

Booklet1

Tracklist:
01. Thunderstruck 4.52
02. Fire Your Guns 2.53
03. Moneytalks 3:48
04. The Razors Edge 4.22
05. Mistress For Christmas 3.59
06. Rock Your Heart Out 4.06
07. Are You Ready 4.10
08. Got You By The Balls 4:30
09. Shot Of Love 3.56
10. Let’s Make It 3.32
11. Goodbye & Good Riddance To Bad Luck 3.13
12. If You Dare 3.08

All songs written by Angus Young and Malcolm Young

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Angelo Badalamenti – Music From Twin Peaks (OST) (1990)

FrontCover1The music of the American television series Twin Peaks, and its 1992 sequel film Twin Peaks: Fire Walk with Me, was composed by Angelo Badalamenti. Twin Peaks’ co-creator David Lynch wrote lyrics for five songs used throughout the series—including “Falling”, “The Nightingale”, “Into the Night”, “Just You” and “Sycamore Trees”—and three songs featured in Twin Peaks: Fire Walk with Me, including “A Real Indication”, “Questions in a World of Blue” and “The Black Dog Runs at Night.” Julee Cruise, who made cameo appearances in both the series and film, provided vocals for four of Lynch’s and Badalamenti’s collaborations, and jazz vocalist Jimmy Scott performed on “Sycamore Trees.” Three of the series actors, James Marshall, Lara Flynn Boyle and Sheryl Lee, provided vocals for “Just You.”

Badalamenti’s compositions have been released on three soundtrack albums: Soundtrack from Twin Peaks (1990), Twin Peaks: Fire Walk with Me (1992) and Twin Peaks Music: Season Two Music and More (2007). Starting in March 2011, David Lynch began distributing The Twin Peaks Archive, a collection of previously unreleased and unused songs on his official web site for digital download. In total, 215 songs were made available for download.

TwinPeaks01

Twin Peaks’ music has received widespread critical acclaim. The Guardian has said that the original soundtrack “still marks the summit of TV Soundtracks” and Allmusic reviewer Stephen Eddins has referred to it as “a model of film music ideally matched to the images and actions it underscores.” The main theme song to Twin Peaks, composed by Badalamenti, also received a Grammy Award for Best Pop Instrumental Performance at the 1991 Grammy Awards.

All the songs from the album were written by Angelo Badalamenti, who received the 1991 Grammy Award for Best Pop Instrumental Performance for “Twin Peaks Theme”. Most of the songs are instrumental pieces, but three songs that contain lyrics were written by David Lynch. These three songs are available on the singer Julee Cruise’s album Floating into the Night. Cruise’s album also contains songs that were used in the series, but are not included in any soundtrack release. (by wikipedia)

TwinPeaks02
Composer Angelo Badalamenti (Cousins) set the tone for David Lynch’s bizarre television soap with a haunting theme created from electric piano, synthetic strings, and the twangiest guitar this side of Duane Eddy. The love theme, appropriately enough, sounds like a funeral march. (The series’ central character was found dead at the beginning of the first episode.) The rest of the music, instantly recognizable to anyone who saw even one episode of the series, borders on fever-dream jazz. Lynch favorite Julee Cruise sings the only three vocal songs. The music from Twin Peaks is dark, cloying, and obsessive — and one of the best scores ever written for television. (by Brian Mansfield)

TwinPeaks03

And yes … I´m a real fan of “Twin Peaks” … till today and this soundtrack is one of the finest soundtracks ever !

Listen to the Magic “Twin Peaks Theme 2 or to “Dance Of The Dream Man” and you´ll know, what I mean !

TwinPeaks04

Personnel:
Angelo Badalamenti (piano, synthesizer)
Vinnie Bell (guitar)
Julee Cruise (vocals on 04, 07. + 11.)
Eddie Daniels (flute, clarinet)
Eddie Dixon (guitar)
Kinny Landrum (Synthesizer)
Al Regni (saxophone, clarinet, flute)
Grady Tate (drums)

Booklet01A

Tracklist:
01. Twin Peaks Theme (Instrumental) 5.10
02. Laura Palmer’s Theme (Instrumental) 4.52
03. Audrey’s Dance (Instrumental) 5.17
04. The Nightingale (vocal by Julee Cruise) 4.56
05. Freshly Squeezed (Instrumental) 3.48
06. The Bookhouse Boys (Instrumental) 3.29
07. Into The Night (vocal by Julee Cruise) 4.44
08. Night Life In Twin Peaks (Instrumental) 3.27
09. Dance Of The Dream Man (Instrumental) 3.41
10. Love Theme From Twin Peaks (Instrumental) 5.04
11. Falling (vocal by Julee Cruise) 5.21

All music composed by Angelo Badalamenti
All lyrics by David Lynch

 

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AngeloAngelo Badalamenti

 

Latin Quarter – Nothing Like Velevet (1990)

FrontCover1“This is not a “Best Of…” album. Although we have included tracks like “Radio Africa”, our main aim has been to provide songs or recordings that are not already available – and to do it in a way that shows a cross-section of our life as a band: studio recordings, bedroom demo recordings and some live recordings.

There was a temptations as we compiled the album, to go back and try and change some fo the tracks, to touch them up. But with small and easy exceptions, we’ve avoided that temptation. The bedroom demos remain the bedroom demos − cheap drum machines, microphone and all − and the live tracks … well we had a little choice. “See Him” and “Snow Blind” are exactly as they went to tape in Bochum, West Germany, sometime in February or March 1986. So yes, the voice on “Snow Blind” does only come up one side of the stereo, and no, there is no need to adjust your sets.” (taken from the original liner notes)

With three studio albums to its credit and a bona fide hit with “Radio Africa” (from Latin Quarter’s debut album, Modern Times), this politically minded worldly pop band decided to call it quits, leaving behind this compilation of oddities, rarities, unreleased demos, and re-recordings. For those looking for the hit, “Radio Africa” (album version) is here in all its splendor, but most of the remaining tracks are exclusive to this release.

GermanLPFront+BackCover

The ones that have been released elsewhere include the beautiful “The Colourscheme” (sung by Yona Dunsford), which was a B-side, and “The New Millionaires,” which is the same version as the one on their debut. Other songs from the debut (“Truth About John,” “America for Beginners,” “Toulouse”) are either in demo form or re-recordings, all equal to the passionate album versions. “See Him!,” “Snow Blind,” and “The Big Pool” are funky live tracks never released (or recorded?) in studio form. “February 1990,” “Pyramid Label,” and the title track are demos of songs never officially released.

“Dominion” is the German-language version of the “Swimming Against the Stream” album track. There are musical surprises around every corner, almost every one of them from the creative minds of vocalist/guitarist Steve Skaith and lyricist Mike Jones.

Packed with so much quality music unavailable elsewhere, this is the perfect introduction to Latin Quarter’s eclectic musical repertoire and the perfect rarities disc at the same time. Who woulda thunk it? (by Steve “Spaz” Schnee)

YouCanTakeOurHome
Personnel:
Yona Dunsford (keyboards, vocals)
Greg Harewood (bass)
Steve Skaith (vocals, guitar)
Richard Wright (guitar)
+
Darren Abraham (drums on 11., 15.)
Dave Charles (drums on 03., 09.)
Paulinho Da Costa (percussion on 07.)
Martin Ditcham (percussion on 13.)
Carol Douet (background vocals on 03., 08., 09., 11., 14. vocals on 06., 15., 16.,   percussion on 11.)
Steve Greetham (bass on 08.)
Steve Gregory (saxophone on 13.)
Steve Jeffries (keyboards on 06., 09., 14.)
Kate St John (saxophone on 04.)
Martin Lascelles (keyboards on 03., 09., 11., 15., 16.)
Ricky Stevens (drums on 06., 08., 14., 16.)
Paul Slowly (drums on 01.)

Booklet11A

Tracklist:
01. Truth About John (Recorded 1990) (Skaith) 3.41
02. Nothing Like Velvet (Demo Recording 1989) (Skaith) 3.29
03. See Him! (Live Recording 1986) (Harewood/Wright/Skaith/Dunsford) 3.56
04. February 1990 (Demo Recording 1990) (Skaith) 1.38
05. Race Me Down (Demo Recording 1988) (Skaith) 4.08
06. Toulouse (Skaith) 5.04
07. Dominion (German Lyrics) (Skaith)
08. Radio Africa (Keefe/Skaith) 3.53
09. Snow Blind (Live Recording 1986) (Keefe/Skaith) 3.41
10. The Colour Scheme (Skaith) 3.31
11. The Big Pool (Live Recording 1987) 4.24
12. It Makes My Heart Stop Speaking (Demo Recording 1988) (Skaith) 4.14
13. The New Millionaires (Jeffries/Skaith) 3.38
14. Pyramid Label (Skaith) 6.07
15. The Men Below (Skaith) 4.38
16. America For Beginners (Skaith) 8.07 (*)

All lyrics by Mike Jones
German lyrics on 07: Harry Gutowski

“See Him!” and “Snow Blind” were recorded live in Bochum, Germany 1986

 

(*) I dedicate this song to Ronald Trump !

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https://www.youtube.com/watch?v=pQXg0_3HdZM&spfreload=10

Scorpions – Crazy World (1990)

frontcover1Crazy World is the eleventh studio album by German hard rock band Scorpions, released on November 6, 1990.[5] The album peaked at No. 21 on the Billboard 200 chart for albums in 1991. That same year, the song “Wind of Change” reached No. 4 on the Billboard Hot 100[6] and “Send Me an Angel” reached No. 44 on the same chart.[6] Crazy World was the last album to feature bassist Francis Buchholz, and by that extent, the last to feature the band’s classic lineup. It also has the only Scorpions track to credit Buchholz, “Kicks After Six”. This album was the band’s first album in a decade and a half to not be produced by Dieter Dierks and is widely considered to be the last “classic” Scorpions album. In the UK, it remains the only Scorpions album to attain Silver certification (60,000 units sold) by the British Phonographic Industry, achieving this in November 1991.
“Hit Between the Eyes” was played during the ending credits of the 1992 film Freejack. “Send Me an Angel” was played at the closing scene in an episode of the show Cold Case. “Wind of Change” was also used during the 2009 film Gentlemen Broncos and towards the end of the 2014 film The Interview. (by wikipedia)

After the release of Savage Amusement in 1988, the Scorpions expressed disdain toward the album, feeling that it was too polished when compared to their other work. Their longtime producer, Dieter Dierks, was replaced with well-known rock producer Keith Olsen, who would produce Crazy World and assist in making it one of the Scorpions’ greatest recordings. Their music had certainly changed since Savage Amusement, sounding a little bit heavier and less glamorous. But even with the metal sound, the songs remain melodic and catchy. The power ballads on the album, “Wind of Change” and “Send Me an Angel,” are arguably two of the band’s greatest slow numbers, boasting soothing harmony and lyrics. Crazy World remains the Scorpions’ finest ’90s album and is sure to please its listeners. (by Barry Weber)
scorpions1990
Personnel:
Francis Buchholz (bass, background vocals)
Matthias Jabs (guitar, background vocals)
Klaus Meine (vocals)
Herman Rarebell (drums, background vocals)
Rudolf Schenker (guitar, background vocals)
+
Koen van Baal (keyboards on (04.)
Robbie Buchanan (keyboards on 04.)
Jim Vallance (keyboards on 11.)
Michael Thompson (guitar on 04.)
+
background vocals:
Claudia Frohling – Tony Ioannoua – Cliff Roles – Jim Lewis – Dries van der Schuyt
booklet05a
Tracklist:
01. Tease Me Please Me (Meine/Rarebell/Vallance/Jabs) 4.44
02. Don’t Believe Her (Rarebell/Meine/Vallance/R.Schenker) 4.55
03. To Be With You In Heaven (Meine/Schenker  4:48
04. Wind Of Change (Meine) 5.10
05. Restless Nights (Meine/Rarebell/Vallance/R.Schenker) 5:44
06. Lust Or Love (Meine/Rarebell/Vallance) 4.22
07. Kicks After Six (Rarebell/Meine/Vallance/Buchholz)  3.49
08. Hit Between The Eyes”  Rarebell, Meine, Vallance  Schenker  4:33
09. Money And Fame  (Jabs/Rarebell) 5.06
10. Crazy World (Meine/R.Schenker/Rarebell/Vallance) 5.08
11. Send Me An Angel (Meine/Schenker) 4.32
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Pixies – Bossanova (1990)

frontcover1Bossanova is the third studio album by the American rock band Pixies. It was released in August 13, 1990 on the English independent record label 4AD in the United Kingdom and by Elektra Records in the United States. All of Bossanova’s original material was written by the band’s frontman Black Francis; this was a first for a Pixies album, but he has written all of their songs since. The album’s sound, inspired by surf rock and space rock, complements its lyrical focus on outer space, which references subjects such as aliens and unidentified flying objects.

Because of 4AD’s independent status, major label Elektra Records handled distribution in the United States; Bossanova reached number 70 on the Billboard 200. The album peaked at number three in the UK Albums Chart. Two singles were released from Bossanova, “Velouria” and “Dig for Fire”; both charted on the US Modern Rock Tracks chart, at #4 and #11, respectively.

After Pixies finished touring obligations for their second album Doolittle (1989) in January 1990, band members Black Francis, Joey Santiago, and David Lovering moved from Boston to Los Angeles. Bassist Kim Deal meanwhile stayed in the UK to record the first Breeders album during January with producer Steve Albini. Deal ultimately decided to travel out to Los Angeles with the rest of the group. Lovering stated that he, Santiago, and Black Francis moved to Los Angeles because that’s where they intended to record. The three band members lived in the Oakwood apartments, along with comic Garrett Morris and members of the band White Lion. Producer Gil Norton also moved into the apartment complex.

Pixies started recording material for Bossanova at Cherokee Studios in February 1990, where the sessions ran into problems. Norton said that nothing could be recorded after six P.M. because the recording desk would pick up pirate radio stations. Norton decided to illustrationwork at overdubs somewhere else for a few days until the problem was corrected, but when he returned to Cherokee, he found that any time something was plugged into a guitar amplifier it would generate “this incredible hum”. Norton refused to tell 4AD owner Ivo Watts-Russell about the problem until he felt he could address the problems. One day while visiting a bar, Norton and Santiago met producer Rick Rubin, whom they informed of their situation. Rubin had his secretary find another studio for the group, and the band continued recording at Master Control.

One album song, “Blown Away”, had been written in Spain in early June 1989 while on tour. The song was recorded at Hansa Tonstudio after their 19 June 1989 Berlin gig with producer Gil Norton who was specially flown in for the one-song session.

In contrast to previous records, many songs were written in the studio and few demo recordings were created. Santiago said that the band only practiced for a two-week period, in contrast to previous practice in Boston where the group rehearsed constantly. Black Francis noted, “So I was writing [lyrics] on napkins five minutes before I sang. Sometimes it’s good, sometimes not. That’s just the nature of that songwriting.” (by wikipedia)

When Bossanova arrived in 1990, it reflected the exhaustion the Pixies felt after Doolittle’s enormous success: For the first time, the band seems to be running out of ideas. Tellingly, Kim Deal contributes no songs, having formed the Breeders to give her work an outlet; that summer, their debut Pod won a warmer response than Bossanova received. Arguably the Pixies’ weakest album — though Francis has said it’s his favorite — most of it finds the band in fine form. Gil Norton’s spacious, reverb-heavy production makes the Pixies sound like a Martian bar band, which fits the cover of the Surftones’ “Cecilia Ann” and the glorious, shimmering closer “Havalina” perfectly. On the theremin-driven “Velouria,” science fiction imagery displaces Francis’ penchant for fetishistic lyrics; next to the token kinky song “Down to the Well”‘s tired sound, it’s a refreshing change.

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The similarly cryptic “All Over the World” and alien abduction tale “The Happening” add to the sci-fi feel. Quirky pop songs like “Allison,” a tribute to jazz cool-cat Mose Allison, and “Dig for Fire,” Francis’ self-professed Talking Heads homage, heighten Bossanova’s playful, slightly off-kilter vibe, but rockers like “Hang Wire” and “Blown Away,” fall flat. However, “Rock Music” is one of the group’s most fiery outbursts, and “Is She Weird”‘s chugging grind and sexy, funny lyrics make it a classic Pixies song. The band was so consistently amazing on their previous albums that when they released a slightly weaker one, critics and fans alike judged them too harshly. But on Bossanova’s strongest moments, the Pixies explored their softer side and found different uses for their extreme dynamics. Like a straight-A student who suddenly receives a B+, Bossanova might have been a disappointment initially, but its (small) failings emphasize the strengths of the rest of the Pixies’ work. (by Heather Phares)

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Personnel:
Kim Deal (bass, vocals)
Black Francis (vocals, guitar)
David Lovering (drums)
Joey Santiago (guitar)
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Robert F. Brunner (theremin on 03. + 05.)

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Tracklist:
01. Cecilia Ann (Hoffman/Horton) 2.05
02. Rock Music (Francis) 1.52
03. Velouria (Francis)– 3:40
04. Allison (Francis) – 1:17
05. Is She Weird (Francis) – 3:01
06. Ana (Francis) – 2:09
07. All Over The World (Francis) 5.27
08. Dig For Fire (Francis) 3.02
09. Down To The Well (Francis) 2.29
10. The Happening (Francis) 4.19
11. Blown Away (Francis) 2.20
12. Hang Wire (Francis) 2.01
13. Stormy Weather (Francis) 3.26
14. Havalina (Francis) 2.33

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