CHRIS FARLOWE - 14 Things To Think About (1966) & The Art Of Chris Farlowe (1966) [+ Bonus Tracks]
Chris Farlowe's debut LP for Immediate Records actually offers one a lot to think about and even more to enjoy, while pondering how this white Englishman could pour forth such convincing gutbucket soul. One of the finest soul albums to come out of England (or anywhere else) that year, 14 Things to Think About, was spawned by Farlowe's successful U.K. charting -- albeit at a low level -- with his version of Mick Jagger and Keith Richards' "Think." The latter opens the LP about as strongly as any record issued in England that year, the horns and the beat and Farlowe all giving us a very vivid idea of how Otis Redding might've handled the song in Memphis. The other material here is a decidedly mixed bag, ranging from the Kander & Ebb "My Colouring Book," Ira and George Gershwin's "Summertime," and the Bacharach/David "I Just Don't Know What to Do With Myself" to Bob Dylan's "It's All Over Now Baby Blue" -- every track here is worth hearing, though the Kander & Ebb number comes close to not working; and on the Bacharach and Dylan songs, and "Lipstick Traces," "Don't Play That Song," "Looking for You," "Why Don't You Change Your Ways," and "My Girl Josephine," it's very easy to forget that one is listening to a white vocalist working out of England. It was to be Farlowe's most consistent and -- apart from a cover of the Beatles' "Yesterday" -- his most exciting album, and his purest soul album.
Chris Farlowe's second Immediate Records LP (and his second album of 1966) was probably generated more by Andrew Oldham's need for ready cash than any real need for a second long-player -- he'd had a number one hit with Mick Jagger and Keith Richards' "Out of Time" and an accompanying LP was the way to go; luckily, he had the pipes and the inspiration to pull it off. He roars out of the starting gate with a sizzling rendition of "What Becomes of the Broken-Hearted" and "We're Doing Fine," but then Oldham had him look in-house for a song, "Life Is but Nothing" by Skinner and Rose (aka Twice as Much) (which isn't nearly as strong as their "You're so Good to Me," also here), and threw on two too many additional Jagger/Richards songs, in the violin-laden "Paint It Black" and the lightweight "Yesterday's Papers" ("I'm Free," by contrast, does work), interspersed with the harder "Open the Door to Your Heart," "It Was Easier to Hurt Her," "I've Been Loving You Too Long," and "Reach Out I'll Be There," and even the Farlowe co-authored "Cuttin' In." Except for the two weaker Jagger/Richards covers (we'll forgive "Out of Time," as it sort of had to be here) and the one Skinner/Rose miscalculation, this is as strong a soul album as Farlowe's debut, and only somewhat diluted from that perfection, at the weak points.
BILLION DOLLAR BABIES - Battle Axe (1977) + Battle Axe Complete Edition (2020)
In 1977, three of Alice Cooper's former band members recorded a little known album without the influential shock rocker and called themselves the Billion Dollar Babies. That year, Mike Bruce (guitar, vocals), Dennis Dunaway (bass) and Neal Smith (drums) teamed up with keyboardist Bob Dolin and guitarist/ singer Mike Marconi and named themselves after Cooper's Billion Dollar Babies album of 1973, which was among his biggest sellers. Offering competent but unremarkable hard rock and arena rock that wasn't nearly as distinctive or as interesting as Cooper's own music, the Billion Dollar Babies recorded Battle Axe for Polydor in 1977. The LP bombed commercially, and the Billion Dollar Babies never recorded a second album. Battle Axe has been out of print since the late 1970s and is unlikely to ever be reissued on CD, although Tendolar (a bootleg label) swiped three of its selections (&"Too Young," &"Need Your Love" and &"Dance With Me") in the 1990s for the Cooper bootleg Camelback Kids.
Battle Axe Complete Edition (2020) - Three CDs. Following Muscle Of Love in 1974, the original Alice Cooper band took a break to consider solo projects outside of the band. The plan had been for the original Alice Cooper band to regroup and record in 1977, but by this time the name of the band had become very much synonymous with it's lead singer - Vincent Furnier - who now had very much morphed into Alice as far as the public were concerned. The "solo" Alice record Welcome to My Nightmare had firmly separated Alice Cooper the singer from Alice Cooper the band. Rather than abandon the intended album, drummer Neal Smith, guitarist Michael Bruce and bassist Dennis Dunaway joined forces with lead guitarist Mike Marconi and Alice Cooper keyboard player Bob Dolin, and signing to Polydor records, fashioned the abandoned Alice Cooper band album into Battle Axe, calling themselves Billion Dollar Babies, a very deliberate nod to their previous incarnation. The Battle Axe LP was a creditable collection of a dozen original, commercial rock songs that would easily have served as a new Alice LP. The album unfortunately strled to find an audience upon release, and the Billion Dollar Babies project was short lived. The original album has now been augmented with a whole disc of demos made for the album, including non-album tracks 'I Don't Know Babe', 'Wallow Through This Madness', 'Only One Will Walk Away' and 'High Heels Hollywood'. The Billion Dollar Babies only played four live shows before disbanding, but thankfully someone was around to record the very first of these shows, in Flint, Michigan on 6th July 1977.
NICOLETTE LARSON - Nicolette + In The Nick Of Time + Radioland (2016)
After working as a backup vocalist for several country-rock acts and serving as a member of Commander Cody's Lost Planet Airmen for several years during the mid-'70s, vocalist Nicolette Larson launched a solo career in the late '70s. Initially, Larson followed the sound of laid-back Californian country-rock, which resulted in a Top Ten pop hit in 1979 with "Lotta Love." In the years following the success of "Lotta Love," Larson continued to mine the soft rock California sound, eventually leaving it behind for country music in the mid-'80s. During the course of the '80s, she racked up a number of country hits before moving into semi-retirement.
Digitally remastered two CD set containing a trio of albums from the acclaimed vocalist. This set features Nicolette Larson's first three solo albums from 1978, 1979 and 1981. Larson had been a singer with Commander Cody and on the back of that obtained her Warner Bros contract. All three albums made the US Top 100, with Nicolette peaking at #15 and the single 'Lotta Love' making the Top 10. Larson was very much an interpreter of other people's songs, with producer Ted Templeman coaxing the best from her. Larson sadly died in 1997.
STEVIE WONDER - At The Close Of A Century (1999)
He's been called one of the most influential performers and songwriters of the century, but until 1999 Stevie Wonder didn't even have a box set to call his own. Such was the reissue campaign at Motown that, until very recently, some of the best pop music of the '60s sounded poorer in reissue form than when it was first played on AM radio. In 1996, the long-awaited Stevie Wonder digital-age hits package Song Review reached the shelves, but it didn't even follow compilation etiquette (that is, chronological order). Finally, At the Close of a Century made everything right -- complete with digital remastering, near-perfect sound, complete coverage of his epic career, an attractive design, and copious liner notes and pictures. The box, a four-disc set spanning 1962 to 1996, debuts with "Fingertips, Pts. 1 & 2," the long-unheard seven-minute version of his first hit. The first disc includes every hit that fans can remember, including great-sounding versions of "Uptight (Everything's Alright)" and "Hey Love," plus plenty of moderate hits they may not remember, like his definitive cover of the Beatles' "We Can Work It Out." Disc two features more than a dozen of his biggest hits, including "Superstition," "You Are the Sunshine of My Life," "Living for the City," "Higher Ground," and "Boogie On Reggae Woman." Disc three begins with no less than nine tracks from Songs in the Key of Life, his standout double album from 1976. Right into the '80s and '90s, Stevie Wonder remained at the top of the charts, with hits like "Rocket Love," "Master Blaster (Jammin')," "Happy Birthday," "I Just Called to Say I Love You," and "Part-Time Lover." It took far too long, but Motown finally issued a box set worthy of Stevie Wonder's continuing artistry.
PINK FLOYD - The Division Bell (1994) [The High Resolution Remasters, 2020]
The Division Bell is the fourteenth studio album by the English progressive rock band Pink Floyd, released on 28 March 1994 by EMI Records in the United Kingdom and on 4 April by Columbia Records in the United States. The second Pink Floyd album recorded without founding member Roger Waters, The Division Bell was written mostly by guitarist and singer David Gilmour and keyboardist Richard Wright. It features Wright's first lead vocal on a Pink Floyd album since The Dark Side of the Moon (1973). Gilmour's fiancée, novelist Polly Samson, co-wrote many of the lyrics, which deal with themes of communication. It was the last Pink Floyd album recorded with Wright, who died in 2008. Recording took place in locations including the band's Britannia Row Studios and Gilmour's houseboat, Astoria. The production team included longtime Pink Floyd collaborators such as producer Bob Ezrin, engineer Andy Jackson, saxophonist Dick Parry, and bassist Guy Pratt. The Division Bell received mixed reviews, but reached number one in more than 10 countries, including the UK and the US. It was certified double platinum in the US the year it was released, and triple platinum in 1999. It was followed by a tour of the US and Europe. The album won the Grammy for Best Rock Instrumental Performance on "Marooned". The Division Bell was nominated for the 1995 Brit Award for Best Album by a British Artist, but lost to Blur's Parklife. In Uncut's 2011 Pink Floyd: The Ultimate Music Guide, Graeme Thomson wrote that The Division Bell "might just be the dark horse of the Floyd canon. The opening triptych of songs is a hugely impressive return to something very close to the eternal essence of Pink Floyd, and much of the rest retains a quiet power and a meditative quality that betrays a genuine sense of unity.
Limited Edition of 300 numbered copies. Incl. a 12 page booklet with the complete tracklistings and information. All tracks newly remastered.
GENESIS - The Last 4... (1983/97)
Genesis is the twelfth studio album by the English rock band Genesis, released on 3 October 1983 by Charisma and Virgin Records. Following the band's tour in support of their 1982 live album Three Sides Live, Genesis took an eight-month break before they regrouped in the spring of 1983 to record a new studio album, their first since Abacab (1981). It marks their first written, recorded, and mixed in its entirety at their own recording facility named The Farm. Its title derives from the fact that the album was written collectively. According to AllMusic, the album established that Genesis were "now primarily a pop band", although "art rock functions as coloring". Genesis was a commercial success upon its release, becoming the band's third straight album to reach No. 1 on the UK Albums Chart. It also reached No. 9 on the US Billboard 200, where it sold over 4 million copies. Five singles were released between 1983 and 1984, with "Mama" being the band's highest-charting single in the UK at No. 4.
Invisible Touch is the 13th studio album by the English rock band Genesis, released on 6 June 1986 by Atlantic Records in the United States and 9 June 1986 by Charisma and Virgin Records in the United Kingdom. After taking a break in group activity for each member to continue with their solo projects in 1984, the band reconvened in October 1985 to write and record Invisible Touch with engineer and producer Hugh Padgham. As with their previous album, it was written entirely through group improvisations and no material developed prior to recording was used. Invisible Touch was a worldwide success and reached No. 1 on the UK Albums Chart and No. 3 on the US Billboard 200. It remains the band's highest selling album after it was certified multi-platinum for over 1.2 million copies sold in the UK and 6 million sold in the US. Genesis became the first band and foreign act to have five singles from one album reach the top five on the US Billboard Hot 100, with "Invisible Touch" being their first and only song to reach No. 1 on the charts.
We Can't Dance is the fourteenth studio album by English rock band Genesis, released on 12 November 1991 by Atlantic Records in the United States and 11 November 1991 on Virgin Records in the United Kingdom. It is their last studio album recorded with drummer and singer Phil Collins before his departure in 1996 to pursue solo projects full time. Production began after a four-year period of inactivity from the group, following the commercial success of Invisible Touch (1986) and its tour. We Can't Dance was a worldwide commercial success for the band. It became the band's fifth consecutive No. 1 album in the UK and reached No. 4 in the US, where it sold over 4 million copies. Between 1991 and 1993, six tracks from the album were released as singles, including "No Son of Mine" and "I Can't Dance". The latter received a Grammy Award nomination for Best Pop Performance by a Duo or Group With Vocals in 1993. Genesis toured in support of We Can't Dance in 1992 which saw the band play large stadiums and arenas across North America and Europe.
Calling All Stations is the fifteenth and most recent studio album by English rock band Genesis, released on 1 September 1997 by Virgin Records. After longtime drummer and lead vocalist Phil Collins left the group in 1996, the remaining members founding keyboardist Tony Banks and guitarist/bassist Mike Rutherford decided to continue and write new music for an album. After an auditioning process throughout 1996, they chose Scottish singer Ray Wilson as Genesis's new lead singer. Calling All Stations was released to mostly negative reviews from music critics who chastised its lack of direction, but praised Wilson's performance. It sold poorly in comparison to their earlier albums; it reached No. 2 in the UK and performed well in Europe, but it peaked at No. 54 in the US.
JOHN FOGERTY - Fogerty's Factory (2020)
“There’s nothing like family during a crisis,” John Fogerty says. And that’s something he certainly found out this year. For the Creedence Clearwater Revival frontman and Rock and Roll Hall of Famer, the Covid-19 pandemic gave birth to Fogerty’s Factory, a “little family band” with sons Shane (a regular member of his tour band) and Tyler and daughter Kelsy. Starting during the spring, the quartet began a weekly YouTube series covering CCR and Fogerty songs including a rendition of “Centerfield” taped on Fogerty’s 75th birthday, May 28, in center field at Dodger Stadium in Los Angeles that led to an NPR Tiny Desk concert and a SiriusXM radio special. Now it’s resulted in a “Fogerty’s Factory” album, a 12-song set whose cover recreates the front of 19702s acclaimed “Cosmo’s Factory” by CCR. And while Fogerty’s in pandemic drydock like so many of his peers, he’s both happy and surprised to have an album to show for a year of enforced hiatus. “I never foresaw this coming especially, let’s say, in a professional way,” he says by phone from his home in southern California. "It was so much fun, and what it’s got going for it is it’s so innocent. The thing is so unpretentious, and we’re just having fun. It’s like a campfire sing or something like that. It isn’t like, ‘Well, one day we’re gonna play Madison Square Garden.’ “It’s just something we enjoy doing, and people seem to enjoy it, too.”
SLY & THE FAMILY STONE - Higher! (2013) [4 CD Box Set + Bonus Disc from Amazon]
Sly & the Family Stone harnessed all of the disparate musical and social trends of the late '60s, creating a wild, brilliant fusion of soul, rock, R&B, psychedelia, and funk that broke boundaries down without a second thought. Led by Sly Stone, the Family Stone was comprised of men and women, and blacks and whites, making the band the first fully integrated group in rock's history. That integration shone through the music, as well as the group's message. Before Stone, very few soul and R&B groups delved into political and social commentary; after him, it became a tradition in soul, funk, and hip-hop. And, along with James Brown, Stone brought hard funk into the mainstream. The Family Stone's arrangements were ingenious, filled with unexpected group vocals, syncopated rhythms, punchy horns, and pop melodies. Their music was joyous, but as the '60s ended, so did the good times. Stone became disillusioned with the ideals he had been preaching in his music, becoming addicted to a variety of drugs in the process. His music gradually grew slower and darker, culminating in 1971's There's a Riot Going On, which set the pace for '70s funk with its elastic bass, slurred vocals, and militant Black Power stance. Stone was able to turn out one more modern funk classic, 1973's Fresh, before slowly succumbing to his addictions, which gradually sapped him of his once prodigious talents. Nevertheless, his music continued to provide the basic template for urban soul, funk, and even hip-hop well into the '90s.
This career-spanning package feature 17 previously unreleased tracks, alternate versions, mono singles, demos, instrumental and live performances from concerts and TV appearances. A 104-page book comes as part of the set, and the discs and book will reside in a ten-inch square deluxe slip-case. The book sounds excellent, featuring fully comprehensive liner notes, an illustrated timeline of Sly’s career, track-by-track annotations, rare photography, 45 rpm label and picture sleeve repros, vintage concert posters and ticket stubs from Sly & The Family Stone shows. Higher! includes 77 tracks in total and is released on 26 August 2013. As well as the 4CD box set, US Amazon is offering an ‘exclusive’ (and expensive) 8LP+CD package, with the bonus CD said to contain “6 more extremely rare and previously unreleased tracks”.
THE BAND - The Last 4... (1977/98)
For roughly half-a-decade, from 1968 through 1975, the Band were one of the most popular and influential rock groups in the world, their music embraced by critics (and, to a somewhat lesser degree, the public) as seriously as the music of the Beatles and the Rolling Stones. Their albums were analyzed and reviewed as intensely as any records by their onetime employer and sometime mentor Bob Dylan. Although the Band retired from touring after The Last Waltz and disbanded several years later, their legacy thrived for decades, perpetuated by the bandmates' respective solo careers as well as the enduring strength of their catalog.
Islands is the seventh studio album by the Canadian-American rock group the Band. Released in 1977 to mixed reviews, it is the final studio album from the group's original lineup. Primarily composed of previously unreleased songs from the Band's career (including their 1976 cover of "Georgia on My Mind", which was recorded to aid Jimmy Carter in his presidential bid), Islands was released to fulfill the group's contract with Capitol Records, so that the soundtrack to their film The Last Waltz could be released on Warner Bros. Records. In the CD liner notes, Robbie Robertson compares the album to the Who's Odds & Sods.
Jericho is the eighth studio album by Canadian-American rock group the Band. Coming seventeen years after their "farewell concert", it was released in 1993 and was the first album to feature the latter-day configuration of the group, as well as their first release for the Rhino subsidiary Pyramid Records. Joining original members Levon Helm (drums/mandolin/guitar/vocal), Rick Danko (bass/guitar/vocal) and Garth Hudson (organ/keyboards/horns) were Jim Weider (who had played guitar for the group from the time of their 1983 reformation), Randy Ciarlante (who had joined on drums in 1990) and Richard Bell (who had joined as keyboardist in 1991). There were an additional fourteen guest musicians. Having so many guests would be commonplace on the latter-day group's albums.
High on the Hog is the ninth studio album by Canadian-American rock group the Band, released in 1996. As with its predecessor, 1993's Jericho, it relies heavily on cover versions; only two tracks are original. Songs include Bob Dylan's "Forever Young" (which was intended as a tribute to Jerry Garcia), a live recording of Richard Manuel (who had died ten years prior) performing "She Knows", and the closer "Ramble Jungle" (which features vocals by Champion Jack Dupree).
Jubilation is the tenth and final studio album by Canadian/American rock group The Band. Recorded in the spring of 1998 in Levon Helm's home studio in Woodstock, New York, it was released on September 15, 1998. Bucking the trend set on Jericho and High on the Hog, there were more originals than covers on Jubilation. Songs include "Last Train to Memphis", featuring guest guitarist Eric Clapton, Garth Hudson's solo instrumental closer "French Girls", Rick Danko's "High Cotton" and the ode to Ronnie Hawkins, "White Cadillac".
RORY GALLAGHER - The Best Of (2020)
When you get to a guy like Rory releasing a ‘Best of’ compilation is surely the definition of an impossible task the man created so much wonderful music over his all too short career It’ hard to know where to start. Well beginning with Taste’s ‘What’s Going On’ isn’t a bad place is it? It’s of course a classic soulful Blues with a solo by Rory that whilst it far from says it all opens up a world of promise. Indeed as compilations go this one seems to hit all the right notes, taking you on a ride through a stunning musical landscape. ‘Shadow Play’ that follows that opener sounds like the template Dire Straits used for a career and the moments keep coming all the way to the eight minute ‘Ghost Blues’ from his final studio album 1990’s ‘Fresh Evidence.’ This is no chronological affair though, its simply a celebration of the man both Jimi Hendrix and Joe Bonamassa rate as the very best and it’s simply ‘un-put-downable.’
After the recent success of the ‘Blues’ triple CD set and the more recent ‘Check Shirt Wizard’ live set, here’s a great ‘Best Of’ which features 30 tracks split over 2 CDs. Its the prefect entry into the world of the man who most in the know rate as one of the very best and the man dared venture to Belfast during ‘The Troubles.’ If you want to know why I love the Blues its because every generation leaves a mark and stir a little into the pot enriching the whole, but no one in the last 40 years for me added as much as Gallagher. And you can hear that here. You can feel that here. You will be transported. Of course there are omissions (all the more reason to explore further) but there is also a bonus in the form of an outtake of ‘I Can’t Get No Satisfaction’ featuring Jerry Lee Lewis, which was originally recorded for Lewis’s famous 1973 ‘London Sessions.’ If you own much of Rory’s catalogue then you may not need this album, but if you’re new to the man then this is a great way to start with great track selections and a lovely running order.
METAMORFOSI - ...E Fu Il Sesto Giorno (1972) & Inferno (1973)
A band based in Rome, though their singer Jimmy Spitaleri was from Sicily, Metamorfosi have released with Inferno another of those album that any Italian prog fan should have. The group was formed in 1969 when Spitaleri joined the musicians of I Frammenti, a group specialized in the "beat mass" typical of those years. Their first album, ...e fu il sesto giorno, contains seven songs, the main elements of the band's music are already there, with the almost operatic voice of Jimmy Spitaleri in great evidence and the nice classical influenced playing of keyboards player Enrico Olivieri on a strong rhythm section, but the album is still fragmented and not particularly imaginative, and some 60's influences can still be heard. The group had a five-piece line-up at that point but kept playing as a quartet with no guitar for the second LP.
Second album, Inferno, is their masterpiece, with two long suites (there are 16 titles on the cover but these are only the small pieces forming the Inferno suite) and the majestic voice of Spitaleri perfectly mixed with Olivieri's keyboards to form a highly original and exciting result. Tracks like Caronte are among the best of the Italian prog! A third album, that was to be called Paradiso as a prosecution to the previous one, was written but never recorded and released, and the band split. Singer Spitaleri went to the USA and later, coming back to Italy, released two solo albums in 1979 and 1980, the first under the name of Thor, the second with his real name Davide Spitaleri. The band made some reunion concerts in the 90's around the leading duo of Spitaleri and Olivieri, and the long waited Paradiso project emerged again. The CD was finally released in the summer of 2004, a vibrant album that took again where Inferno had ended, the sound being not so different though less dark than before. The group included on the CD Jimmy Spitaleri, Enrico Olivieri and a very solid rhythm section of newcomers Leonardo Gallucci (bass and classical guitar) and Fabio Moresco (drums). The band presented the new CD with concerts in Italy and in the USA playing at the NearFest in Philadelphia. The recording of another concert held in Rome in December 2004, in the church of S.Galla using the pipe organ and acoustic instruments, was issued in 2011 on the CD La chiesa delle stelle. The same line-up as on previous album issued in 2016 the last chapter of the trilogy, Purgatorio, released both on LP and on CD with bonus tracks.
60,000,000 BUFFALO - Nevada Jukebox (1972)
Folk singer Judy Roderick had been recording without much success for about a decade before forming a rock band, 60,000,000 Buffalo. The band was signed to a two album deal, but broke up after the release of their only album, Nevada Jukebox. The album was produced by Bill Szymczyk, who had success producing the James Gang and the Eagles.
60,000,000 Buffalo were the rock and roll manifestation of Judy Roderick. This album was the first recording of songs from the Judy Roderick/Bill Ashford catalog. The album was recorded over a period of five days at the legendary Record Plant West, in September, 1971. Raw around the edges it was produced “live” with minimal overdubbing by not yet, but soon to be famous producer Bill Szymczyk. Good songs, played and sung with passion.
IRON BUTTERFLY - The First Four...(1968/70) [Japan 2009]
The heavy, psychedelic acid rock of Iron Butterfly may seem dated to some today, but the group was one of the first hard rock bands to receive extensive radio airplay, and their best-known song, the 17-minute epic "In-A-Gadda-Da-Vida," established that more extended compositions were viable entries in the radio marketplace, paving the way for progressive AOR. The track was written by vocalist, organist, and bandleader Doug Ingle, who formed the first incarnation of Iron Butterfly in 1966 in San Diego with drummer Ron Bushy. After the group moved to Los Angeles and played the club scene, it secured a recording contract and got national exposure through tours with the Doors and Jefferson Airplane. Following the release of their 1968 debut album, Heavy, original members Jerry Penrod (bass), Darryl DeLoach (vocals), and Danny Weis (guitar) left the band and were replaced by guitarist Erik Braunn and bassist Lee Dorman. Weis went on to join Rhinoceros. The new lineup recorded In-A-Gadda-Da-Vida later that year, which sold four million copies and spent over a year in the Top Ten. (The title has been translated as "In the Garden of Eden" or "In the Garden of Life.") A shortened version of the title track, which contained extended instrumental passages with loud guitars and classical/Eastern-influenced organ, plus a two-and-a-half-minute drum solo, reached number 30 on the singles charts. The follow-up, Ball, showed greater musical variety and went gold, but it also marked the beginning of the band's decline. Braunn left the group and was replaced by guitarists Mike Pinera and Larry "Rhino" Reinhardt, but the group's success was largely over. Iron Butterfly broke up in 1971; Braunn and Bushy re-formed the group in the mid-'70s without success.
Heavy is the debut studio album by the rock band Iron Butterfly, released on January 22, 1968. The first two tracks, "Unconscious Power" and "Possession", were released as the respective sides of a single. Three of the group's members (Darryl DeLoach, Jerry Penrod, and Danny Weis) left the band shortly after the album was recorded, leaving Ingle and Bushy to find replacements. Despite being a debut album with no hit single to provide an entry point for the casual listener, Heavy was a commercial success, reaching number 78 on the Billboard Charts and eventually going Gold in the US.
In-A-Gadda-Da-Vida is the second studio album by the American rock band Iron Butterfly, released in 1968. It is most known for the title track which occupies the whole of Side B. The In-A-Gadda-Da-Vida LP peaked at number 4 on the Billboard albums chart. It sold more than eight million copies within its first year of release, outselling every record in the history of recorded music to that time, and achieved worldwide sales of over 30 million copies. It was the biggest selling album for the year 1969 in the US, although Billboard does not give any exact sales figures. For a number of years it was the biggest selling item in Atlantic Records' catalogue. It was first officially certified a Platinum and 4× Multi-Platinum album in the United States on January 26, 1993.
Ball is the third studio album by the rock band Iron Butterfly, released on January 17, 1969. After the enormous success of In-A-Gadda-Da-Vida, Iron Butterfly modified its acid-rock sound somewhat and experimented with more melodic compositions. The band's trademark heavy guitars, however, are still evident on such tracks as "In the Time of Our Lives" and "It Must Be Love". The album reached number 3 on the Billboard 200 charts, making Ball more immediately successful than In-A-Gadda-Da-Vida. Ball was certified Gold in March 1969. It also spawned two minor hit singles: "Soul Experience", an uncharacteristically uplifting song for the group, went to number 75 on the Billboard charts, and despite its nightmarish musical tones and morbid lyrics, "In the Time of Our Lives" managed to reach number 96. This is the second and final studio album to feature the famous lineup of Ingle, Bushy, Dorman and Brann.
Metamorphosis is the fourth album by Iron Butterfly, released on August 13, 1970. It reached number 16 on the US charts. Mike Pinera and Larry " El Rhino" Reinhardt became members of Iron Butterfly in the early part of 1970. The album was recorded at American Recording studio and produced by Richard Podolor, engineered by Bill Cooper. The single "Easy Rider", reached number 66 on the Billboard chart, making it the band's biggest hit aside from "In-A-Gadda-Da-Vida". The album is noted for having one of the earliest uses of the talk box on a rock album, which Pinera used on "Butterfly Bleu."
AC/DC - Power Up (2020)
Following the 2014 album Rock or Bust, the group embarked on a seventeen-month world tour. Prior to the tour, drummer Phil Rudd was charged with attempting to procure murder, threatening to kill, possession of methamphetamine, and possession of cannabis. For the tour, Rudd was replaced by Chris Slade who had also previously played with AC/DC on their 1990 album The Razors Edge, several years after Rudd first left the band. Mentions of Rudd were also scrubbed from the band's website as well. By 2016, lead singer Brian Johnson had started to suffer hearing loss, which he attributed not to 36 years of touring, but to his love of racecars.This caused the final ten dates of the Rock or Bust tour to be rescheduled. Ultimately, he was replaced with Guns N' Roses vocalist Axl Rose for the remaining dates. On 8 July, 2016, bassist Cliff Williams announced that he would be retiring from the band once the tour was finished, citing health issues as reasons for retiring, and calling AC/DC a "changed animal". Two years later, rumours began circulating that AC/DC were working on their seventeenth studio album, with Johnson, Rudd, and Williams having returned to the group. Johnson, Rudd, Angus Young and Stevie Young were photographed in August of 2018 at Warehouse Studio, a recording studio in Vancouver, British Columbia, Canada owned by fellow musician Bryan Adams, sesting the band were working where they had recorded their three previous albums. Later confirmed, it was also stated that the album had been recorded there over a six-week period in August and September 2018 with producer Brendan O'Brien (who also worked on 2008's Black Ice and 2014's Rock Or Bust) with some tweaking having followed in early 2019. Every track is credited to Angus and Malcolm Young as Angus raided the AC/DC vault of unreleased songs to record the album.
TOM PETTY - Wildflowers & All the Rest (2020) [Deluxe Edition]
During Tom Petty’s final interview with the Los Angeles Times, as the triumphant 40th anniversary tour with The Heartbreakers was coming to an end, he announced that his next big focus would be to finally revisit his 1994 masterpiece, 'Wildflowers', co-produced with Rick Rubin and Mike Campbell. 'Wildflowers' in many ways changed Tom’s creative life—as a recording artist, collaborator and band leader while a profound, personal crisis transformed the stories and emotional thrust in his songs. Tom ultimately wrote more songs than he could release at the time. In fact, Tom, Rubin and Campbell completed the album as a double CD with 25 songs, nearly two hours of music, but his label advised restraint. Released on November 1, 1994, Wildflowers a single CD with 15 songs, still more than an hour in length was Tom’s most acutely confessional album to date. 'Wildflowers & All The Rest', the long-awaited Wildflowers comprehensive collection released on October 16 via Warner Records. Tom’s vision of the project is becoming a reality due to the commitment of his loving family, bandmates and collaborators who helped unearth many previously unheard gems. The compilation was curated by Tom’s daughters, Adria and Annakim Petty and his wife Dana Petty who call it, “Many, many hours of pure sonic joy,” as well as Heartbreakers Mike Campbell and Benmont Tench, and was produced by Tom’s longtime engineer and co-producer Ryan Ulyate. Together they stewarded the warmth Tom created through his music and relationship to his fans.
RORY GALLAGHER - Cleveland Calling (2020)
Recovered from the depths of the Rory Gallagher archive comes ‘Cleveland Calling’ a previously unreleased radio session recorded at WNCR in Cleveland on August 7th,1972. This intimate 8-song acoustic session and interview with DJ Carolyn Thomas was found on a small 7” reel and released for the first time for Record Store Day 2020.
The sound quality of this recording is extremely clear and very well done. While it is all acoustic guitar and harmonica he still jams. The banter between songs with Rory and Carolyn makes this special. Rory is at the top of his game here both musically and vocally. Great LP of Rory playing acoustic guitar. Definitely one for all his fans.
SKIN ALLEY - Big Brother Is Watching You: The CBS Recordings Anthology (2011)
Formed in 1969, Skin Alley were part of the infamous Clearwater stable that included fellow acts such as Hawkwind, High Tide and Trees. Skin Alley’s infectious fusion of jazz and rock was suited to the time and the band became a regular attraction on the underground festival and concert circuit. Signing to CBS records in the autumn of 1969, the band recorded their debut album with producer Dick Taylor (former guitarist with the Pretty Things). Famous for its Policeman cover, the album featured excellent tracks such as Living In Sin, Tell Me, Country Aire & Night Time. Prior to the release of their second album skin alley recorded a soundtrack album for the film Stop Veruschka! About the infamous German model. A wonderful set of music & songs, the album was shelved in favour of a new set of recordings that was released as the album to Pagham & Beyond. This anthology includes all tracks from that second album, plus the entire unreleased Stop Veruschka! Soundtrack. Re-mastered from the original master tapes, Big Brother is watching you is a fine tribute to one of britain’s greatest underground acts of the early 1970s.
V.A. - Zabriskie Point OST (1970)
Zabriskie Point is a soundtrack album to the Michelangelo Antonioni film of the same name. It was originally released in January 1970 and is composed of songs from various artists. A 1997 re-release includes four bonus tracks each from Jerry Garcia and Pink Floyd that were used in the film, but not the original soundtrack. Jim Morrison of the Doors wrote the track "L'America" for the film, but was rejected by Antonioni (L'America was later released on The Doors album L.A. Woman).
Disc 1 contains music by a variety of artists, including 3 tracks from "The Pink Floyd" (sic). It shows the band in pre-Atom Heart Mother/Meddle mode (all Floyd music for the soundtrack was recorded in Nov/Dec 1969). "Heart Beat, Big Meat" is a great mood piece along the lines of "Speak to Me"; "Crumbling Land" could have fitted nice along Meddle's "Fearless"; "Come in Number 51" is a retooled "Careful With That Axe Eugene". Jerry Garcia contributes the "Love Scene" accoustic guitar solo. Strangely there is also a 2 min. excerpt from the Dead's "Dark Star" that starts and ends with no rhyme or reason and begs the question: why? (Deadheads know what I mean). Disc 2 is completely new. It is divided up between 4 Jerry Garcia tracks (more accoustic "noodling"), and 4 Pink Floyd tracks. The latter are fascinating, and what makes this reissue so good. "Country Song" is another one of those classic early-Floyd ballads; "Unknown Song" (a/k/a "Rain in the Country" on bootlegs) is a great instrumental with many undertones. "Love Scene Version 6" is Pink Floyd doing the blues. "Love Scene Version 4" is Rick Wright in piano solo (even if credited to the entire band).
MOTÖRHEAD - The First 5... (1977/80)
Motörhead were an English rock band formed in June 1975 by bassist, singer, and songwriter Ian "Lemmy" Kilmister, who was the sole constant member, guitarist Larry Wallis and drummer Lucas Fox. The band are often considered a precursor to the new wave of British heavy metal, which re-energised heavy metal in the late 1970s and early 1980s.
"Motörhead" is the self-titled debut studio album by the band Motörhead, released on 21 August 1977, on Chiswick Records, one of the first for the label. It is officially regarded as the band's debut album, though an album was recorded in 1975 for United Artists which was shelved, and was only released in 1979 after the band had established themselves commercially. This would be the first album to feature what would become the "classic" Motörhead lineup of Lemmy Kilmister, "Fast" Eddie Clarke and Philthy Animal Taylor and their only release under Chiswick, as they were signed to the larger Bronze Records by early 1978.
"Overkill" is the second studio album by the band Motörhead, released 24 March 1979. It was the band's first album with Bronze Records. Kerrang! magazine listed the album at #46 among the "100 Greatest Heavy Metal Albums of All Time". Overkill was an unexpected success, reaching #24 on the UK albums chart. It is considered by many to be a vast improvement over the band's debut and the album where they laid the foundation for their classic sound. AllMusic: Motörhead's landmark second album, Overkill, marked a major leap forward for the band, and it remains one of their all-time best, without question. In fact, some fans consider it their single best, topping even Ace of Spades. It's a ferocious album, for sure, perfectly showcasing Motörhead's trademark style of no holds barred proto-thrash – a kind of punk-inflected heavy metal style that is sloppy and raw yet forceful and in your face." In 2005, Overkill was ranked number 340 in Rock Hard magazine's book of The 500 Greatest Rock & Metal Albums of All Time.
"Bomber" is the third studio album by the band Motörhead, released on 27 October 1979, on Bronze Records, their second with the label. One critic sests that the album is well regarded by the fans, and packed full of essential Motörhead tracks, with "Dead Men Tell No Tales," "Stone Dead Forever" and the title track itself being phenomenally good metal songs, adding that, with the exception of the bluesy "Step Down," the tracks are full of the characteristic sound of the classic line-up of Lemmy, Clarke and Taylor, with Clarke's solo in "All the Aces" described as "blistering" and Lemmy spitting out intentions to "poison his wife" in the life-reflecting "Poison" making it a sound of metal-dripping brilliance. Jason Birchmeier of AllMusic writes, "There are a couple killers here, namely "Dead Men Tell No Tales", "Stone Dead Forever," and "Bomber," but overall, the songs of Bomber aren't as strong as those of Overkill were.
"On Parole" is the fourth recording released by the band Motörhead. It was intended as their first album and left unreleased at the time of its completion in 1976, and it was not released until over three years later, on 8 December 1979, after the commercial success of Overkill and Bomber that same year. It was released without the band's permission, and they consequently distanced themselves from it. As a result, it was not considered an official release by the band at the time and they did not want it released, as they had moved on, since then, first to Chiswick Records and then to Bronze Records. With the addition of lead guitarist "Fast" Eddie Clarke, On Parole was re-recorded almost in its entirety in 1977 for the album Motörhead, largely due to having very limited studio time available.
"Ace of Spades" is the fifth studio album by the band Motörhead, released 8 November 1980, on Bronze Records. It is the band's most commercially successful album, peaking at number four on the UK Albums Chart and reaching gold status in the UK by March 1981. It was preceded by the release of the title track as a single on 27 October, which peaked in the UK Singles Chart at No. 15 in early November. It was the band's debut release in the United States, with Mercury Records handling distribution in North America. In 2020, the album was ranked at 408 on Rolling Stone's 500 Greatest Albums of All Time list.
WHITESNAKE - Love Songs (2020)
Whitesnake brings together some of the most-passionate music of its multi-platinum career on Love Songs, a new collection that contains remixed and remastered versions of the group’s best love songs. It’s the second release in the band’s “Red, White and Blues Trilogy,” a series of compilations organized by musical themes that began this summer with The ROCK Album (white) and will conclude next year with The Blues Album (blue). The new collection includes a mix of hits and deep tracks that were originally released between 1987 and 2011 on five Whitesnake studio albums and David Coverdale’s third solo album, Into the Light. Like The Rock Album, Coverdale says all the tracks on Love Songs have been revisited, remixed and remastered. “Some have been musically embellished where my co-producer Michael McIntyre, my new mixer Christopher Collier and I felt it appropriate or necessary to bring out the best in these songs,” he explains. Coverdale continues, “As most of you know, pretty much all the songs I write are love songs in some way, shape or form. These are some of my favorites. Not all are ballads. Some are out and out rockers with powerful romantic themes…and of course…include heavy breathing in all of them!!”
15-Track collection presents revisited, remixed and remastered versions of the band’s best love songs, plus unreleased tracks from David Coverdale’s Into The Light.
Ken Hensley With...
TOE FAT - Toe Fat I & II  (1995)
At the end of 1969, Cliff Bennett had seemingly run out his string as a British Invasion-era star. Seeking a new sound and image, he hooked up with keyboard player/singer Ken Hensley, bassist John Glascock, and drummer Lee Kerslake, all of whom had previously played with a group called the Gods (who later became known for having Greg Lake, in his pre-King Crimson days, as a member). For unknown reasons, they christened themselves Toe Fat and managed to get signed to Parlophone and then to Regal Zonophone in England, with their albums appearing in America on the Rare Earth label. Their mix of blues and progressive rock wasn't the most commercial of sounds in any case, and the grotesque cover art on the group's two LPs seemed to repel potential purchasers. By 1970, Hensley had left to hook up with David Byron and Mick Box in what would become Uriah Heep, and Kerslake followed his lead out of Toe Fat. Brian Glascock came in on drums and Alan Kendall joined on guitar for one U.S. tour, but the group finally split up in 1972. Kerslake subsequently re-teamed with Hensley and joined Uriah Heep, while John Glascock later joined Jethro Tull and Alan Kendall joined the Bee Gees, initially as a session guitarist and later as a permanent bandmember, where he remained until the early '80s. Toe Fat's two LPs were reissued on a single CD in the mid-'90s by the Beat Goes On label.
THE GODS - Genesis (1968) & o Samuel A Son (1969)
The Gods are probably better known for including a few famous British rock stars as members before those musicians went on to international recognition than they are for the two albums they actually released. Two future Uriah Heep stalwarts, keyboardist/singer Ken Hensley and drummer Lee Kerslake, both played on those albums, and prior to the first Gods band album, both Mick Taylor and Greg Lake had passed through the lineup. The two Gods albums were undistinguished, keyboard-based rock that were midway between late-'60s British pop-psychedelia and early-'70s heavy progressive rock. They were less histrionic than Uriah Heep by a long shot, but nor were they very distinguished, settling into the second or third class of late-'60s British rock music.The Gods s tarted in Hatfield, England, in 1965 as a blues-based band including Hensley and future Rolling Stones guitarist Mick Taylor. Taylor left in 1967 to join John Mayall & the Bluesbreakers, and the Gods disbanded for a few months before re-forming, with only Hensley left from the first version. Greg Lake played in this lineup for a while, but he quit before the Gods' debut album, Genesis, was recorded in 1968; soon, of course, Lake would resurface in King Crimson and then Emerson, Lake & Palmer. Genesis didn't make much of an impact, nor did some non-LP singles, including a 1969 cover of "Hey Bulldog," quite possibly the only attempt at making that obscure Beatles' song into a hit. The Gods disbanded in early 1969, though a second album, To Samuel a Son, was posthumously released in 1970. Both Gods' albums have been reissued on CD by Repertoire, with the non-LP 45's added as bonus tracks.
HEAD MACHINE - Orgasm (1970)
Featuring members of the Gods performing under pseudonyms Ken Leslie (keyboards/vocals/guitars), John Leadhen (bass), Brian Poole (drums), and Lee Poole (percussion) British hard rock quartet Head Machine was created to record an album of compositions by producer/songwriter David Paramor, the bandmembers pledging themselves to a basic, pummeling rock sound redolent of Atomic Rooster. Their music was accented heavily toward crushing rhythms, with the Poole brothers providing a distinctive multi-layered backdrop to Leslie's alternately mythological or humor-based lyrics. Their sole album, Orgasm, was released in 1969 but failed to build a commercial profile. The band eventually morphed into Toe Fat and later Uriah Heep, after the bandmembers had returned to their more famous billings: Leslie, aka Ken Hensley; Leadhen, aka John Glascock; and the Poole brothers, aka Brian Glascock and Lee Kerslake. Featuring members of the Gods performing under pseudonyms Ken Leslie (keyboards/vocals/guitars), John Leadhen (bass), Brian Poole (drums), and Lee Poole (percussion) British hard rock quartet Head Machine was created to record an album of compositions by producer/songwriter David Paramor, the bandmembers pledging themselves to a basic, pummeling rock sound redolent of Atomic Rooster. Their music was accented heavily toward crushing rhythms, with the Poole brothers providing a distinctive multi-layered backdrop to Leslie's alternately mythological or humor-based lyrics. Their sole album, Orgasm, was released in 1969 but failed to build a commercial profile. The band eventually morphed into Toe Fat and later Uriah Heep, after the bandmembers had returned to their more famous billings: Leslie, aka Ken Hensley; Leadhen, aka John Glascock; and the Poole brothers, aka Brian Glascock and Lee Kerslake.
WEED - Weed (1971)
Weed‘s Weed is little more than half an hour long, but that proves to be plenty of time for it to summarize much of what was righteous about the heavy rock movement of the early ’70s. The band was founded circa 1970 by keyboardist Ken Hensley, who by then had not only released two records with Uriah Heep, but albums with Toe Fat, Head Machine and The Gods as well. Bringing him to the fore on lead vocals and guitar in addition to keys, Weed would only release this one album during their time together, but it nonetheless captures a moment right at the intersection of psychedelia, heavy rock and what would in the early/mid-1970s become krautrock and prog, something of course Uriah Heep would dig into deeply after their rawer earlier work. Joining Hensley in Weed were guitarist Werner Monka, bassist Reinhold Spiegelfeld, flutist Bernd Hohmann, keyboardist Rainer Schnelle and drummer Peet Becker, some of whom came from the German prog band Virus, and while commonly thought of as a solo-project for Hensley, Weed‘s Weed boasts a definite and significant full-band feel.
KEN HENSLEY & LIVE FIRE - Live In Russia (2019)
Ken Hesley (24 August 1945 - 4 November 2020), who was the keyboard player for Uriah Heep, died peacefully surrounded by his family this week.
Best-known for his tenure with long-running heavy metal act Uriah Heep, singer/multi-instrumentalist Ken Hensley was born in Hertforshire, England, on August 24, 1945. During the mid-'60s, he formed the psychedelic blues combo the Gods with Greg Lake (subsequently of Emerson, Lake & Palmer) and future Rolling Stone Mick Taylor, although only Hensley remained from the original lineup by the 1968 release of their debut album Genesis. Upon issuing To Samuel a Son the following year, the band added Cliff Bennett and rechristened themselves Toe Fat. A pair of John Peel-produced LPs followed before Toe Fat split and in 1970, Hensley signed on to play guitar and keyboards in Spice, soon renamed Uriah Heep in honor of the Charles Dickens character. Despite near-unanimous critical animosity, Uriah Heep earned a loyal following in hard rock circles and in 1973, Hensley recorded his solo debut, Proud Words on a Dusty Shelf, with the aid of bandmates Lee Kerslake and Gary Thain. Eager to Please followed two years later and after completing Uriah Heep's 1980 album Conquest, Hensley left the group to mount a full-time solo career, issuing Free Spirit in 1981. The year following he joined the Florida hard rock outfit Blackfoot, remaining with the group until they disbanded in 1984. Hensley then settled into semi-retirement, collecting his unreleased material on the 1994 collection From Time to Time.
The former Uriah Heep member Ken Hensley on Keyboards and Vocals performing with his band Live Fire: Roberto Tiranti - Vocals and Bass Guitar, Ken Ingwersen - Lead Guitar & Backing Vocals , Tom Arne Fossheim - Drums. Recorded in concert in the City Centre of Novokuznetsk, Russian Federation on the 07 July 2018.
AC-DC - Backtracks (2009)
Backtracks is a box set by Australian hard rock band AC/DC. It was released on 10 November 2009. Arriving in two distinctly different fan-friendly editions, Backtracks spans the length and breadth of AC/DC’s career, bringing together rare songs, hard-to-find live performances and the long-awaited debut of “Family Jewels Disc 3,” a DVD showcasing the group’s music videos, live performances, and promotional clips from 1992-2009. (The original double-disc “Family Jewels” was named 2005’s “DVD of the Year” by the UK’s Classic Rock magazine while the RIAA certified the collection 10x Platinum for sales in excess of 1 million copies in the US alone.) Manufactured in an exclusive run limited to 50,000 pieces, the deluxe collector’s edition of Backtracks includes a CD of studio rarities, two CDs of live rarities, the “Family Jewels Disc 3” DVD, the “Live at the Circus Krone” DVD, a front-row immersion in the band’s scorching 2003 club show in Munich, Germany, and a 123 long-playing album, struck in 180 gram vinyl, of hard-to-find studio tracks. The limited edition Backtracks includes a five-disc media carrier to house and transport the set’s three CDs and two DVDs. The three-disc standard version of Backtracks distills the electrifying essence of the deluxe set into one CD of studio rarities, one CD of hard-to-find live tracks, and the indispensable “Family Jewels Disc 3” DVD.
AC-DC - Bonfire (1997)
Bonfire is a five-disc box set by Australian rock band AC/DC, released in 1997, and remastered with a release in Digipak format in 2003. It was originally conceived to mark what would have been the 50th birthday of Bon Scott, the band's previous lead vocalist who died of alcohol-related misadventure in 1980. The release includes the two disc soundtrack for the film Let There Be Rock, a live recording from the Atlantic Records studio in New York, some previously unreleased early material and a remastered version of the 1980 Back in Black album.
Part 1 – Live at Atlantic Studios. This was an old live set once released as a promotional LP to radio stations. As much as possible was remastered from the original tapes, which were partially erased. The rest of the music was taken from an actual LP and spliced. Sounds as great as can be expected, and I love the sound of AC/DC playing away in a small venue. This disc is more proof that AC/DC could gel like no other. This is really an outstanding disc.
Part 2 – Let There Be Rock: The Movie. Spread out over 2 CDs, this is the complete concert. It is heavy, it is fast, and it is awesome. To hear the old band jam away on a 10 minute + version of “Rocker” is simply amazing. It’s this kind of thing we’ll never hear again. It’s a good thing they recorded it, and the audio on these discs is perfect. The concert was recorded in France mere months before Bon’s death. I would consider this set to be the definitive live AC/DC album.
Part 3 – Volts. It’s partly rare and demo material, with a couple album hits (“Ride On” and “It’s A Long Way”) sprinkled in. Obviously AC/DC cleared out their vaults of rare stuff with the Backtracks box last year, but this is a fun taster. I’m not sure how they arrived at this track listing, considering how much material they had to pick from, and the disc’s running time is fairly short. The end of the disc has hidden stuff, interviews with Bon himself.
Part 4 – Back In Black. Including this disc on Bonfire, I have bought Back In Black on CD five times. (Original CD issue, first remaster, Bonfire, second remaster, dual disc.) I’m sure if you’re reading this, you own Back In Black too. I believe this to be the same music tracks as the first Back In Black CD remaster. It comes in a little digipack, which is unique to this set, although similar to later releases.
RAMATAM - Ramatam (1972) & In April Came The Dawning Of The Red Suns (1973)
Ramatam was a 1970s rock band featuring Mike Pinera on guitar and vocals, April Lawton on lead guitar, and, for a short time, Mitch Mitchell on drums.
Ramatam was notable for having Lawton, a female lead guitarist. Tom Dowd produced their self-titled debut album in 1972. Pinera was known for his work with Blues Image ("Ride Captain Ride") and later Iron Butterfly. Mitchell had been a member of the Jimi Hendrix Experience. The group also included some former members of Janis Joplin's Big Brother and the Holding Company. Russ Smith was the Bass player and co-writer on some of the tunes. Ramatam performed at Concert 10 in Long Pond, PA with Emerson Lake & Palmer, Edgar Winter, Three Dog Night, the Faces, and others in 1972. Mitchell's departure came before the band released its second and final album, In April Came the Dawning of the Red Suns (1973). Pinera left the band after claiming Lawton, who wanted both Pinera and Mitchell out, wanted to turn Ramatam into the "April Lawton Band." Pinera and Mitchell departed from the band at that point, leaving the focus entirely on Lawton. Jimmy Walker replaced Mitchell at that point and they recorded their second album "In April Came the Dawning of the Red Suns" along with Tommy Sullivan on Bass. The band, shortly thereafter, fractured under the pressure of business and musical direction and broke up in 1974.
GOTTHARD - Steve Lee: The Eyes Of A Tiger - In Memory Of Our Unforgotten Friend! (2020)
How do you honor a legend? Someone, who has become immortal through his songs, his voice, and his nature – and ten years after the tragic accident, is still vivid in the hearts of friends, colleagues, and fans. What do you say about a singer among the world’s finest of his genre, who never lost touch with the real world? It’s only possible with music. For the 10th anniversary of Steve Lee’s passing, Gotthard bow to their frontman with "The Eyes Of A Tiger" and offer two unreleased tracks – among them the eponymous 'Eye Of The Tiger' in two different takes – as well as eleven stripped-down versions of well-known songs: performed by GOTTHARD – sung by Steve Lee. Steve Lee was born in August 1963 in the Swiss town of Horgen and later moved to the Canton of Ticino with his family. Although buying his first drum set already at the age of 12 and knowing his whole life would revolve around music, the grounded young man completed a goldsmiths apprenticeship before becoming a drummer. “When I saw Steve for the first time, he was sitting behind his drums singing ‘Child in Time’, the classic by Deep Purple,” Leo Leoni recalls. “I was impressed by the way he sang the song and knew straight away: This is a voice that can conquer the world.” Everybody wanted a singer like Steve Lee – his musicality, passion, and integrity could change an entire song and thrilled colleagues, producers, and audiences alike. And this, without ever aiming for the frontman position: Because his first band’s singer had left the group at short notice, he was persuaded to take the mic and was actually shocked to be the lead singer in front of 8000 people. Even later – during his 18 years with Gotthard, including their rise to Switzerland’s most successful band, 14 No.1 albums, and global headliner tours as well as tours with Deep Purple, Bon Jovi or AC/DC – Steve Lee never was too sure of himself. “He believed in his talent well enough,” Leoni explains “but he was skeptical as well. I always encouraged him to make the best of his instrument. He had a gift.” – The rest is music history.
DISCLAIMER: The music found through this blog is intended for review purposes and should not be seen as a substitute for the original, legal, RIAA approved, record company enriching product. Please note that songs are available for VERY short amount of time. And if you like the music BUY IT. Please support the artists and buy as much as you can directly from them and cut out the middle man.
zinhof [at] gmail.com