Friday, January 29, 2021

Little Quirks - Devil's Ivy (2020)

Little Quirks are an Australian indie folk band formed on the Central Coast of New South Wales in 2015 by sisters, Abbey Toole (guitar, lead vocals) and Mia Toole (drums, vocals), and their cousin Jaymi Toole (mandolin, vocals), and in 2019 they were joined by Jaymi's older brother Alex on bass guitar. When they started, Jaymi was 17 and Abbey was 15, while Mia was just 11 year old, and they busked at food markets, playing cover versions of tracks by the Cranberries, Of Monsters and Men, and Vance Joy. In 2016 they issued their first EP 'Where We Hide', which was produced by Abbey and Mia's father Adam Toole, who himself had played in bands Adam's Apple and Sugarmoth, and a second EP 'Suzie Knows' appeared in 2017. I first became aware of them in 2018 when I found some of their tracks on Soundcloud, and was impressed enough to follow them and discover more of their music. In January 2020 they issued their third EP 'Cover My Eyes', and have now have more than enough music for an album, so as they haven't released one then I'll do it for them, with a record that includes the very best of the songs from their three releases to date, plus a recent single and three tracks that are only available on Soundcloud.

01 Stay Awake 
02 Run Away  
04 Big Jet Plane
05 Unwinding  
06 Hold On 
07 I Told You So
08 Crumbled
09 Stand Still
10 Devil's Ivy
11 Where We Hide
12 Someone To Hold
13 Bury Our Bones



Johnny Winter - ...and on guitar (1977)

John Dawson Winter III was born in Beaumont, Texas, on February 23, 1944, two years before his brother Edgar made an apperance in 1946. They were encouraged in their musical pursuits by their father John Dawson Winter Jnr, who was also a musician who played saxophone and guitar and sang at churches and weddings, and they appeared on a local children's show with Johnny playing ukulele when he was 10 years old. His recording career began at the age of 15, when his band Johnny and the Jammers released 'School Day Blues' on a Houston record label, and after recording a single with Roy Head And The Traits, he released his first album 'The Progressive Blues Experiment' in 1968. His big break came at the end of that year, when Mike Bloomfield, whom he met and jammed with in Chicago, invited him to sing and play a song during a Bloomfield and Al Kooper concert at the Fillmore East in New York City. Representatives of Columbia Records were at the concert, and after Winter played and sang B.B. King's 'It's My Own Fault' to loud applause, they snapped him up with reportedly the largest advance in the history of the recording industry at that time — $600,000. Winter's first Columbia album 'Johnny Winter' was recorded and released in 1969, using the same backing musicians who played on 'The Progressive Blues Experiment', plus blues legend Willie Dixon on upright bass and Big Walter Horton on harmonica. With brother Edgar added as a full member of the group, Winter recorded his third album 'Second Winter' in Nashville in 1969, with the two-disc album having just three sides of music, with the fourth side being blank. In 1970 the original blues trio disbanded, after Edgar left to record a solo album 'Entrance', and to form Edgar Winter's White Trash, an R&B/jazz-rock group, with Johnny playing guitar on both 'Entrance', and White Trash's debut album. He then formed a new band with the remnants of The McCoys who had just split, nabbing guitarist Rick Derringer, bassist Randy Jo Hobbs, and Derringer's brother Randy Z on drums, with the original name of Johnny Winter And The McCoys being shortened to Johnny Winter And. 
Winter's momentum was throttled when he sank into heroin addiction during the Johnny Winter And days, but after seeking treatment for and recovering from the addiction, he returned to the music scene with the release of the prophetically titled 'Still Alive and Well', a basic blend of blues and hard rock, whose title track was written by Rick Derringer. In live performances, Winter often told the story about how, as a child, he dreamed of playing with the blues guitarist Muddy Waters, and in 1974 he got his chance, when renowned blues artists and their younger brethren came together to honor Waters with a concert featuring many blues classics, and which was the start of an admired TV series 'Soundstage', with 'Blues Summit In Chicago' being the first episode. In 1977 he took Waters into the studio to record 'Hard Again' for Blue Sky Records, a label set up by Winter's manager and distributed by Columbia, and it was this record that kick-started the resurgence of Waters' career, with this and their subsequent two albums together producing three Grammy Awards. Throughout his career Winter has helped out friends and relatives on their records, contributing to solo albums by Rick Derringer and former White Trash singer Jerry LaCroix, as well as playing with James Cotton in 1970, who returned the favour by contributing harmonica to the 'Hard Again' sessions seven years later.
 


Track listing

01 She Moves Me (from 'Taking Care Of Business' by James Cotton Blues Band 1970)
02 Tobacco Road (from 'Entrance' by Edgar Winter 1970)
03 I've Got News For You (from 'Edgar Winter's White Trash' by Edgar Winter's White Trash 1971)
04 Funny Boy (from 'The Second Coming' by Jerry LaCroix 1974)
05 Skyscraper Blues (from 'Spring Fever' by Rick Derringer 1975)
06 King Tut Strut (from 'Temple Of Birth' by Jeremy Steig 1975)
07 Reggae Rock & Roll (from 'Hit It Again' by Tornader 1977)
08 Mannish Boy (from 'Hard Again' by Muddy Waters 1977)

Mick Jagger & The Red Devils - Red Devil Blues (1993)

The Red Devils were a Los Angeles-based blues rock band who were active from 1988 to 1994. With their no-frills approach and singer Lester Butler's convincing Chicago-style blues harp, they were a popular fixture on the Los Angeles club scene and toured the U.S. and Europe. By early 1991, the Blue Shadows (as they were then known) came to the attention of producers Rick Rubin and George Drakoulias of Def American Recordings, and the band hoped that Drakoulias would work with them, but it became clear that Rubin wanted to produce their debut album. One of his first orders of business was a name change, so the Blue Shadows became the Red Devils, and then Rubin decided that their debut album was going to be a live album, a one-take, no-overdubs release, titled simply 'King King', for which he chose the songs and the cover art. The album was recorded at the King King club during three or four of their regular Monday-night performances in 1991, and featured a mix of songs by blues figures such as Little Walter, Sonny Boy Williamson II, Howlin' Wolf, and Willie Dixon along with some band originals. Mick Jagger became interested in the Red Devils following a recommendation by Rick Rubin, who was producing Jagger's third solo album, and after scouting the band at King King, Jagger joined them on stage in May 1992 and performed Bo Diddley's 'Who Do You Love?' and Little Walter's version of 'Blues With A Feeling'. A month later, the Red Devils were invited to record some blues standards with Jagger, presumably for his upcoming solo album, and during one thirteen-hour recording session at Ocean Way Recording in Hollywood, Jagger and the band recorded thirteen songs, mostly completed in three or fewer takes, with no overdubs, as Jagger wanted to recreate the spontaneous, rough-and-tumble quality of his favorite early Chicago blues. When Jagger's 'Wandering Spirit' was released in 1993, it didn't include any of the songs recorded with the Red Devils, and the sessions passed into legend until bootlegs started to appears some years later. On listening to these recordings you can hear that Jagger and the band are having a ball, and while the production is rough and ready, that's what they wanted, and so it really is an authentic r'n'b/blues album by an artist trying to re-connect to his roots.



Track listing

01 Mean Old World
02 Blues With A Feeling
03 I Got My Eyes On You
04 Still A Fool
05 Checkin' Up On My Baby
06 One Way Out
07 Talk To Me Baby
08 Evil
09 Ain't Your Business
10 Shake 'M On Down
11 Somebody Loves Me
12 Dream Girl Blues
13 40 Days 40 Nights

Xero - Xero (1996)

Xero formed in 1996, and consisted of three Californian high school friends, Mike Shinoda, Brad Delson and Rob Bourdon. After graduating from high school, they began to take their musical interests more seriously, recruiting Joe Hahn, Dave "Phoenix" Farrell, and Mark Wakefield to perform in the band. Though limited in resources, they began recording and producing songs in Shinoda’s makeshift bedroom studio in 1996, resulting in a four-track demo tape, entitled 'Xero'. However, tensions and frustration within the band grew after they failed to land a record deal, and this prompted Wakefield, at that time the band's vocalist, to leave in search of other projects, followed by Farrell shortly afterwards. After spending a considerable time searching for Wakefield's replacement, Xero recruited Arizona vocalist Chester Bennington, formerly of post-grunge outfit Grey Daze, and the band then agreed to change their name from Xero to Hybrid Theory. The band still struggled to sign a record deal, and they were eventually helped by Jeff Blue, who had recommended Bennington to the group, and he managed to get them a deal with Warner Brothers as developing artists in 1999. As part of the deal, the label advised them to change their name to avoid confusion with the band Hybrid, and so after considering calling themselves Plear and Platinum Lotus Foundation, they finally settled on Linkin Park. The demo tape surfaced some years ago, with two different covers, one being the baby, and the other a shopping cart, but the shopping cart cover was scrapped after Shinoda and Hahn collaborated on the final artwork.


 
Track Listing

01 Rhinestone
02 Reading My Eyes
03 Fuse
04 Stick 'n' Move

Suggested by 'The Greatest Albums You'll Never Hear' by Bruno MacDonald

Tuesday, January 26, 2021

The Waterboys - Medicine Jack (1985)

'This Is the Sea' was released in 1985, and is the last of their 'Big Music' albums, with the band going back to their folk roots for their next release. Considered by critics to be the finest album of their early rock-oriented sound, it was the first Waterboys album to enter the UK charts, peaking at number 37. Steve Wickham made his Waterboys recording debut playing violin on 'The Pan Within' and subsequently joined the band, although this would be the last appearance of Karl Wallinger, who left the group after the album was released to form his own band, World Party. It was one of Scott's personal favourites, describing it as "the record on which I achieved all my youthful musical ambitions, the final, fully realised expression of the early Waterboys sound". After completing the album, Scott felt that he'd finished with that kind of music, achieving whatever it was he was trying to achieve, and didn't need to do it anymore, resulting in the complete change of direction for 'Fisherman's Blues'. As with all the band's previous records, much more material was recorded than was needed, and so we can make up yet another album just from the out-takes and the extended version of one of their b-sides, none of which deserved to be consigned to the vaults at the time.



Track listing

01 Beverley Penn (previously unreleased)
02 Medicine Jack (previously unreleased full length version)
03 Sleek White Schooner (previously unreleased)
04 Even The Trees Are Dancing (previously unreleased)
05 High Far Soon (b-side of re-issue of 'The Whole Of The Moon' 12" single 1991)
06 Then You Hold Me (previously unreleased)
07 Spirit (full length version on b-side of 'The Whole Of The Moon' 12" single 1985)
08 Towers Open Fire (previously unreleased)
09 Miracle (previously unreleased)
10 The Waves (previously unreleased)
11 Sweet Thing (Van Morrison) (previously unreleased) 

 and as a bonus here's a track that you can use as your answer-phone message

12 I Am Not Here

Saturday, January 23, 2021

George Benson - ...and on guitar (1971)

George Washington Benson was born on March 22, 1943, and as a child prodigy he first played the ukulele in a corner drug store, for which he was paid a few dollars, then at the age of eight he was playing guitar in an unlicensed nightclub on Friday and Saturday nights, before the police closed the club down. At the age of nine he cut his first recordings, and of the four sides he recorded, two were released as the 1954 'She Makes Me Mad'/'It Should Have Been Me' single on RCA Victor in New York. He first came to prominence in the early 1960's, starting his professional career at age 19 by playing soul jazz with Jack McDuff, and at the age of 21 he recorded his first album as leader, with 'The New Boss Guitar' featuring McDuff on organ. He followed this with more albums as leader of The George Benson Quartet, with 'It's Uptown' in 1966 and 'The George Benson Cookbook' the following year. At the same time as having his own band, he was also playing in other groups, with such jazz luminaries as Hank Mobley, Jimmy Smith, Larry Young, and Stanley Turrentine, and he was even employed by Miles Davis to add guitar on 'Paraphernalia' from Davis' 1968 Columbia release 'Miles In The Sky'. Benson then signed with Creed Taylor's jazz label CTI Records, where he recorded several albums with some jazz heavyweights guesting on them, and his solo career really began to take off, culminating in him signing to Warner Brothers Records for his Grammy Award-winning breakthrough album 'Breezin''. This collection showcases some of his best work from the early 60's to early 70's on other artist's albums, and fans of his later smooth-jazz output might be astounded to hear what an excellent straight jazz guitarist he was in the early part of his career. It's a double disc set, as some of these tracks are quite lengthy, but I just couldn't bear to edit them down, so we end up with an hour and a half of superb mid-60's jazz.  



Track listing

Disc One
01 This Can't Be Love (from 'Cookin' Together' by Red Holloway 1964)
02 It Ain't Necessarily So (from 'Live!' by Brother Jack McDuff 1963)
03 Alligator Bogaloo (from 'Alligator Bogaloo' by Lou Donaldson 1967)
04 Sideman (from 'Finger-Lickin' Good' by Lonnie Smith 1967)
05 Music To Watch Girls By (from 'Jaki Byard With Strings!' by Jaki Byard 1968)
06 Paraphernalia (from 'Miles In The Sky' by Miles Davis 1968)
07 Up, Over, And Out (from 'Reach Out' by Hank Mobley 1968)
08 Some Of My Best Friends Are Blues (from 'The Boss' by Jimmy Smith 1968)

Disc Two
01 The Infant (from 'Heaven On Earth' by Larry Young 1969)
02 Mellow Blues (from 'Mellow Blues' by Willis Jackson 1970)
03 How Long Will It Be (from 'Crying Song' by Hubert Laws 1970) 
04 Sunshine Alley (from 'Sugar' by Stanley Turrentine 1970)
05 Straight Life (from 'Straight Life' by Freddie Hubbard 1971) 

Sandy Coast - And Their Name Is... Sandy Coast (1968)

Hans Vermeulen formed the band in 1961 as Sandy Coast Skiffle Group, with his bass-playing brother Jan, and on the latter's insistence they became Sandy Coast Rockers. The name was eventually abbreviated to Sandy Coast, and in 1965 they won a recording contract with Delta Records and released their debut-single 'Being In Love'. It wasn't until their fourth single, a 1966 cover-version of Vera Lynn's 'We'll Meet Again', that they achieved any chart success, and they followed that with 'I See Your Face Again', which broke the Dutch top 20 in the spring of 1968. The band soon traded beat for psychedelic rock, and 'Capital Punishment' became another top 20 hit in early 1969, the same year they signed to Page One Records for their next three singles, and their third album 'Shipwreck'. Despite now being regarded as the better album, it failed to be as successful as its predecessor 'From The Workshop', and when Page One folded following a row between Larry Page and Dick James, their contract was held to be still valid, and they were unable to issue any new material for two years. In 1971 they signed to Polydor and released 'True Love (That's A Wonder)' and 'Just A Friend', and in 1972 had a couple more chart hits with 'Just Two Little Creatures' and 'Summertrain' in 1972, but after one more album the band broke up in 1974. Although a lot of Dutch bands of the 60's and 70's concentrated on the singles market, Sandy Coast also put a lot of work into their albums, and their first three from 1968 to 1971 are all fine examples of psychedelic/progressive rock, and are rightly regarded as being some of the best Dutch rock music of the period. This collection charts their progress to making that first album in 1968, and comprises all their singles and b-sides from that first disc in 1965, up to their last non-album single in 1968. 



Track listing

01 Being In Love (single 1965)
02 I Want You For My Own (b-side of 'Being In Love')
03 Subject Of My Thoughts (Single 1966)
04 I'm A Fool (b-side of 'Subject Of My Thoughts)
05 That Girl Was Mine (single 1966)
06 I Lost A Dream (b-side of 'That Girl Was Mine')
07 We'll Meet Again (single 1966)
08 Coming Home (b-side of 'We'll Meet Again')
09 Sorry She's Mine (single 1966)
10 Make Me Belong To You (b-side of 'Sorry She's Mine')
11 A Girl Like You (single 1967)
12 Sing Before Breakfast (b-side of A Girl Like You')
13 Milk And Tranquilizers (single 1967)
14 I'm Working My Way Back To You (b-side of 'Milk And Tranquilizers')
15 And Her Name is... Amy (single 1967)
16 Anyway You Want Me (b-side of 'And Her Name Is... Amy')
17 I See Your Face Again (single 1968)
18 Goodbye Don't Cry (b-side of 'I See Your Face Again')

Friday, January 22, 2021

Jekyll - Midnight Swim (2020)

As I was piecing back together my other blog The Amplified Review, which was also deleted over Christmas, I realised that Blackpool alternative rockers were the only band to feature twice in the New Band Specials, and so I thought it must be about time that an album is due from them. After putting out a couple of tracks on Soundcloud in 2015, they released an eponymous EP on Fierce Panda in 2018, and followed this two years later with their 'Whispering Gallery' EP, but so far that's all we've had from them. In their early days a track like 'Cramp' displayed more than a nod to Muse, but by the time they released their EP's they'd developed a sound of their own, with shredding solos, sharp falsettos and bitter sweet tones between blistering instrumentation. They show their shoegaze swagger through  tracks like ‘Echoes’, with crashing razor sharp guitars which  lacerate through a buoyant backdrop, while ‘Midnight Swim’ is a delicate number which shows they're not all bluster. As I can't wait for the album I've put together my own from all the tracks they've issued so far, and if you end up loving them as much as I do then the album proper can't come soon enough. In the meantime check out a couple of Youtube videos they've uploaded, covering songs by Japan and Echo & The Bunnymen.



Track listing

01 Cramp
02 Unspoken
03 Plan A
04 Othello
05 The Wounds We've Ignored
06 Mania
07 I Do What I Can
08 Midnight Swim
09 So Wrong
10 The Escapist
11 Marionette
12 Echoes


Cliff Richard - Nine Times Out Of Ten (1962)

For the final collection of Cliff singles and b-sides we arrive at the beginning of the 60's, and start with a couple of songs which later appeared on the 'Expresso Bongo' EP, albeit with different recordings, and then we work our way through some big and not so big hits from 1960 to 1962, along with their b-sides. At this point in his career he was still billed as Cliff Richard and The Shadows, and the band's distinctive sound can be heard on a number of these songs, although towards the end of the album the backing was more session musicians and orchestral arrangements. I'd never really paid much attention to Cliff's recorded output of the 60's and 70's, and assumed that most of his singles were taken from his albums, and so was astonished to find that he'd released over a hundred non-album tracks in the twenty years between 1960 and 1979, and if you'd bought all his albums as they came out in the 60's and 70's you'd have very few of the songs featured on these six collections.  



Track listing

01 A Voice In The Wilderness (single 1960) 
02 Don't Be Mad At Me (b-side of 'A Voice In The Wilderness')
03 Please Don't Tease (single 1960)
04 Where Is My Heart (b-side of 'Please Don't Tease')
05 Fall In Love with You (single 1960)
06 Willie And The Hand Jive (b-side of 'Fall In Love With You')
07 Nine Times Out of Ten (single 1960)
08 Thinking Of Our Love (b-side of 'Nine Times Out Of Ten')
09 I Love You (single 1960)
10 'D' In Love (b-side of 'I Love You')
11 Theme For A Dream (single 1961)
12 Mumblin' Mosie (b-side of 'Theme For A Dream')
13 A Girl Like You (single 1961) 
14 Now's The Time To Fall In Love (b-side of 'A Girl Like You')
15 I'm Lookin' Out The Window (single 1962)
16 Since I Lost You (b-side of 'It'll Be Me' 1962)
17 Do You Want To Dance (b-side of 'I'm Lookin' Out The Window')

I've found this site http://www.cliffrichardsongs.com/cliffuksingles/index.htm invaluable in helping to compile these albums, and if you're a Cliff fan then you need to check it out as there's a wealth of information on there that you'll find fascinating.

Tuesday, January 19, 2021

The Waterboys - Another Kind Of Circus (1984)

In 1981 Mike Scott was working in the punk rock band Funhouse, who had recently changed their name from Another Pretty Face, and after signing to Ensign Records the group moved to London to record their music. Scott had been unsatisfied with the group's sound and so in December 1981 decided to use Redshop Studio to record some of his own songs solo, after prompting from Ensign Records to consider a solo career. With the help of a drum machine, Scott sang and played the piano and guitar on five of his songs, and the quality of the session convinced him to leave Funhouse and make further recordings at Redshop in early 1982. In spite of his label's advice of embarking on a solo career, Scott began forming a new band to work with, and recruited Anthony Thistlethwaite for the new project, which became The Waterboys, soon adding Kevin Wilkinson as drummer. In the Spring of 1982 the band recorded 'A Girl Called Johnny' which became their first single, and which was included on the following year's eponymous debut album. Tracks for the album were selected from the London recordings following aborted sessions in New York with Lenny Kaye as producer, and the songs that didn't make the cut were later added to the expanded re-issue of the album in 2019. Recording of the follow-up to 'The Waterboys' was begun before either the band's first single 'A Girl Called Johnny', or the album had been released, and comprised two recording sessions. The first was in November 1982 at Redshop Studio in London, involved Mike Scott, Anthony Thistlethwaite and Kevin Wilkinson, and the second was held in September 1983 at Rockfield Studio in Wales, included contributions from Karl Wallinger, who had joined the band that year. 'A Pagan Place' was released in June 1984, sharing a title with the book 'A Pagan Place' by Irish novelist Edna O'Brien, although Scott insists that he'd never read the book. The album was greeted with much acclaim from critics and fans alike, and when 'The Big Music' was released as a single it became a descriptor of the sound of the band's music. As with their first album, a number of songs did not make it to the final track-listing, and were added to the 2019 re-issue, so this album collects all the out-takes from the sessions for both albums, along with a b-side to the 'A Girl Called Johnny' 12" single, so settle back and enjoy some 'big music'. 



Track listing

01 Something Fantastic (previously unreleased)
02 Ready For The Monkeyhouse (b-side of 'A Boy Called Johnny' 12" single)
03 Another Kind Of Circus (previously unreleased)
04 A Boy In Black Leather (previously unreleased)
05 Jack Of Diamonds (previously unreleased)
06 Some Of My Best Friends Are Trains (previously unreleased)
07 The Late Train To Heaven (previously unreleased)
08 Love That Kills (previously unreleased)
09 The Madness Is Here Again (previously unreleased)
10 Cathy (previously unreleased)
11 Down Through The Dark Streets (previously unreleased)

Friday, January 15, 2021

Frank Zappa - ...and on guitar (1978)

Frank Vincent Zappa was born on 21 December 21 1940, in Baltimore, Maryland, and was often sick as a child, suffering from asthma, earaches and sinus problems. A doctor treated his sinusitis by inserting a pellet of radium into each of his nostrils, as at the time little was known about the potential dangers of even small amounts of therapeutic radiation, and that might explain why nasal imagery and references appear in his music and lyrics, as well as in the collage album covers created by his long-time collaborator Cal Schenkel. Zappa joined his first band at Mission Bay High School in San Diego as the drummer, and he was interested in sounds for their own sake, particularly the sounds of drums and other percussion instruments. At Antelope Valley High School, Zappa met Don Glen Vliet (who later changed his name to Don Van Vliet and adopted the stage name Captain Beefheart), and he played drums in local band the Blackouts, but he also started to develop an interest in the guitar, and in 1957 he was given his first instrument. Zappa's interest in composing and arranging flourished in his last high-school years, and by his final year he was writing, arranging and conducting avant-garde performance pieces for the school orchestra, and after he left high school he attempted to earn a living as a musician and composer. During the early 1960's, Zappa wrote and produced songs for other local artists, and in 1964 he moved into the Pal studio and began routinely working 12 hours or more per day recording and experimenting with overdubbing and audio tape manipulation. Aided by his income from film composing, Zappa took over the studio from Paul Buff, and renamed it Studio Z, although it was rarely booked for recordings by other musicians, and following a brief prison sentence for recording alleged pornographic mateiral there, he could no longer afford to pay the rent on the studio and was evicted, with the building being torm down in 1966. That was also the year that Zappa formed The Mothers, and recorded the classic 'Freak Out' album, which was to put him on the path to being one of the most influential musicians in the world. In July of that year he was asked to produce some tracks for The Animals, one of which was his own composition 'All Night Long'. The following year he played guitar on both sides of a 7" single by Tommy Flanders, and on the A-side of Barry Goldberg's 'Carry On' single. 
During the late 1960's, Zappa continued to develop the business sides of his career, and he and Herb Cohen formed the Bizarre Records and Straight Records labels, distributed by Warner Bros. Records, releasing albums by Alice Cooper, The Persuasions, and Wild Man Fischer, on whose record he also played guitar. In 1970 Zappa helped out former band-mate Jeff Simmons by producing and playing on his first proper solo album (following a collaborative film soundtrack with Randy Sterling), and the same year he composed the music for Jean-Luc Ponty's 'King Kong' album, as well as playing on the record, and afterwards asked the violinist to join The Mothers Of Invention as a permanent member. In 1971 he and the Mothers were part of John Lennon's live performance at the Fillmore East in New York City on 6 June 1971, which was taped and released the following year on John Lennon & Yoko Ono's 'Some Time In New York City' album. In 1968 The Mothers Of Invention had released a pastiche of 50's doo-wop music under the title of 'Cruising With Reuben & The Jet's', and four years later a Los Angeles band named themselves after the album, producing two records of their own, the first of which was produced by Zappa, as well on him contributing one song to it, and playing guitar on another. In 1974 he helped out former Mothers' keyboardist George Duke on his own album 'Feel', and in 1976 he managed to reform Grand Funk Railroad, who had just broken up, by telling then that he wanted to produce them, which he did on their 'Good Singin', Good Playin'' album, on which he played guitar on one track. In 1976 Zappa was in Montreal for a concert, and was asked by Robert Charlebois to participate in the recording of a track on his new album. Zappa accepted and showed up the next day in a Montreal Studio to record the solo on 'Petroleum', not only playing the end solo, but also participating in the arrangements, but then  Charlebois sat on the tapes for over a year before the album eventually appeared in 1977. After Grand Funk Railroad  broke up in 1976, band members Don Brewer, Mel Schacher, and Craig Frost formed the group Flint and released their self titled album in 1978, and because of his connection with the members from their 'Good Singin', Good Playin'' album, Zappa offered to play guitar on a couple of tracks. Obviously this is a very concise biography of Frank Vincent Zappa, just concentrating on his collaborations with other artists, but he has lived the most fascinating life, and the 'radium up the nose' story is fairly typical of the sort of thing that happened to him, so do check out his Wikipedia page while you are listening to this diverse collection of music that he's been involved with throughout the 60's and 70's.   



Track listing

01 All Night Long (from 'Animalism' by The Animals 1966)
02 Friday Night City (single by Tommy Flanders 1967)
03 Carry On (single by Barry Goldberg 1967)
04 The Circle (from 'An Evening With Wild Man Fischer' by Wild Man Fischer 1968)
05 How Would You Like To Have A Head Like That? (from 'King Kong' by Jean-Luc Ponty 1970)
06 Raye (from 'Lucille Has Messed My Mind Up' by Jeff Simmons 1970)
07 Well (Baby Please Don’t Go) (from 'Some Time In New York City' by Lennon/Ono 1972)
08 Dedicated To The One I Love (from 'For Real!' by Ruben And The Jets 1973)
09 Old Slippers (from 'Feel' by George Duke 1974)
10 Out To Get You (from 'Good Singin' Good Playin'' by Grand Funk Railroad 1976)
11 Petroleum (from 'Swing Charlebois Swing' by Robert Charlebois 1977)
12 You'll Never Be The Same (from 'Flint' by Flint 1978)

Cliff Richard - Constantly (1965)

Moving further back towards the start of his career, we have another solid collection of non-album singles and b-sides from Cliff, spanning the years 1963-1965. The one includes a rare Australian single from 1964, plus a good selection of well-known and lesser-known hits, and their flips, making for another fine album showcasing songs that could easily be overlooked.  


Track listing

01 Lucky Lips (single 1963) 
02 I Wonder (b-side of 'Lucky Lips')
03 It's All in the Game (single 1963)
04 Your Eyes Tell On You (b-side of 'It's All In The Game')
05 Don't Talk to Him (single 1963)
06 Say You're Mine (b-side of 'Don't Talk To Him')
07 I'm the Lonely One (single 1964)
08 Watch What You Do With My Baby (b-side of 'I'm The Lonely One')
09 I Only Have Eyes For You (Australian single 1964)
10 Constantly (L'Edera) (single 1964)
11 True, True Lovin' (b-side of 'Constantly')
12 The Twelfth of Never (single 1964)
13 I'm Afraid To Go Home (b-side of 'The Twelfth Of Never')
14 The Minute You're Gone (single 1965)
15 Just Another Guy (b-side of 'The Minute You're Gone')
16 On My Word (single 1965)
17 Just A Little Bit Too Late (b-side of 'On My Word')

Big Brother & The Holding Company - Misery (1968)

In September 1966, Big Brother signed a contract with Mainstream Records, and recorded four of the songs for the album 'Big Brother & the Holding Company', with the remainder of the songs being recorded in Los Angeles later in the year. Mainstream was known for its jazz records, and Big Brother was the first rock band to appear on the label, and this may have influenced the final result, since the album sounded very different from what the band expected, being acoustic and folky instead of heavy acid rock. The band's historic performance at the Monterey Pop Festival in June 1967 attracted national and international attention, and they signed a contract with Columbia Records which was able to buy out their contract from Mainstream. The band's first album for Columbia was due to be recorded during the spring and summer of 1968, and released later that year, and was eagerly anticipated after the first record had been largely ignored. Initially it was planned as a live album, with the band recording two concerts at the Grande Ballroom in Detroit, but the results were considering not good enough, and so the live album was scrapped and Columbia decided to re-record most of the songs in the studio. The album was initially named 'Sex, Dope and Cheap Thrills', but Columbia asked them to shorten it to just 'Cheap Thrills', and the group was photographed by Richard Avedon for the cover, but the pictures were not used. Dave Getz suggested that the band hire underground comic-book artist R. Crumb whom he knew through a mutual friend, and what was originally meant to be the back cover art became the classic front cover of the album. Crumb's first effort was a picture just of Joplin, but this was also rejected, and so I've resurrected it for this album. Sessions for the record produced way more material than was needed, and although some of the songs have since surfaced, they've been scattered over various posthumous Joplin anthologies, but they were finally released in one place on the deluxe 'Cheap Thrills' re-issue, and by extracting the best takes we can construct a companion record to 'Cheap Thrills' which contains some superb songs in excellent sound quality.



Track listing

01 Catch Me Daddy
02 Farewell Song
03 Flower In The Sun
04 Magic Of Love
05 Roadblock
06 Harry
07 Misery'n
08 Easy Once You Know How
09 It's A Deal
10 How Many Times

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