Steve Grossman - Born At The Same Time (1977)

This one is a very nice spiritual jazz album released on OWL records label in 1977 and recorded by tenor/soprano saxophonist Steve Grossman with a solid quartet featuring Daniel Humair on drums, Patrice Caratini on bass, and Michel Graillier on piano.

It seems that the reissue included "Lord Jesus Thinks On me" not available on the original vinyle edition.

A very coltranish session with a french all-star rythm section ...

Personnel:

Patrice Caratini (bass)
Michel Graillier (piano)
Steve Grossman (saxophone)
Daniel Humair (drums)

Tracklist:

01. Capricorne (Grossman) 0.52
02. Ohla Graciela (Grossman) 2.14
03. Plaza Francia (Grossman) 6.50
04. Capricorne (Grossman) 0.51
05. March Nineteen (Grossman) 6.27
06. Ohla Graciela (Grossman) 2.06
07. A Chamada (Grossman) 9.12
08. Pra Voce (Grossman) 2.45
09. Giminis Moon (Grossman) 5.52
+
10. Lord Jesus Thinks On Me (Cables) 5.52

ARMU 0253

Weather Report - Heavy Weather (1977)

Weather Report's biggest-selling album is that ideal thing, a popular and artistic success -- and for the same reasons. For one thing, Joe Zawinul revealed an unexpectedly potent commercial streak for the first time since his Cannonball Adderley days, contributing what has become a perennial hit, "Birdland." Indeed, "Birdland" is a remarkable bit of record-making, a unified, ever-developing piece of music that evokes, without in any way imitating, a joyous evening on 52nd St. with a big band. The other factor is the full emergence of Jaco Pastorius as a co-leader; his dancing, staccato bass lifting itself out of the bass range as a third melodic voice, completely dominating his own ingenious "Teen Town" (where he also plays drums!). By now, Zawinul has become WR's de facto commander in the studio; his colorful synthesizers dictate the textures, his conceptions are carefully planned, with little of the freewheeling improvisation of only five years before. Wayne Shorter's saxophones are now reticent, if always eloquent, beams of light in Zawinul's general scheme while Alex Acuña shifts ably over to the drums and Manolo Badrena handles the percussion. Released just as the jazz-rock movement began to run out of steam, this landmark album proved that there was plenty of creative life left in the idiom. (by Richard S. Ginell)

Personnel:
Alex Acuña (drums, percussion)
Manolo Badrena (percussion, vocals)
Jaco Pastorius (bass, drums, mandolin, vocals)
Wayne Shorter (saxophone)
Joe Zawinul (keyboards, guitar, bass, drums, vocals)

+
Tom Oberheim (synthesizer)

Tracklist:
01. Birdland (Zawinul) 5.57
02. A Remark You Made (Zawinul) 6.51
03. Teen Town (Pastorius) 2.51
04. Harlequin (Shorter/Zawinul) 3.59
05. Rumba Mamá (Acuña/Badrena) 2.11
06. Palladíum (Shorter) 4.46
07. The Juggler (Zawinul) 5.03
08. Havona (Pastorius) 6.01

ARMU 0251

Dizzy Gillespie & Lalo Schifrin - Free Ride (1977)

Although Lalo Schifrin is justifiably praised for his soundtrack work, many jazz purists turn up their noses at his jazz dates, such as his '60s work with Jimmy Smith and Wes Montgomery. The things that make Schifrin an anathema to the diehards -- the huge orchestras, the pop and soul riffs, the general air of over the top theatricality -- are all over 1977's Free Ride, his reunion date with Dizzy Gillespie. (Schifrin had been Gillespie's arranger in the late '50s.) In fact, Free Ride is so painfully dated that it's transformed into cockeyed cool, just the sort of record ironic hipsters should listen to while they're reading the novelizations of '70s cop shows that they bought for a bundle off of eBay. Gillespie plays with his usual wit and panache, but most of the time, he sounds like a sideman on his own album; the real focus of Schifrin's arrangements is the funky wah-wah guitars and ARP synthesizer solos that take center stage on tracks like "Fire Dance" (which sounds exactly like it should be the theme for a Charlie's Angels spinoff) and the mellow disco of the closing "Last Stroke of Midnight." Occasionally, Gillespie gets to break out on his own album, with the lovely solo on "Love Poem for Donna" his particular standout. For what it is, Free Ride is really quite good (guests include Lee Ritenour and future star Ray Parker, Jr.), but it's very much a record of and for its time. (by Stewart Mason)

Personnel:
Oscar Brashear (trumpet)
Sonny Burke (keyboards)
Paulinho Da Costa (percussion)
Wilton Felder (bass)
Dizzy Gillespie (trumpet)
Ed Greene (drums)
James R. Horn (flute, saxophone)
Jim Horn (horn)
Jack Laubach (trumpet)
Lew McCreary (trombone)
Ray Parker, Jr. (guitar)
Jerome Richardson (flute)
Lee Ritenour (guitar)
Lalo Schifrin (keyboards)
Wah-Wah Watson (guitar)
Ernie Watts (saxophone)

Tracklist:
01. Unicorn (Schifrin) 6.48
02. Fire Dance (Schifrin) 4.25
03. Incantation (Schifrin) 6.40
04. Wrong Number (Schifrin) 4.36
05. Free Ride (Schifrin) 5.22
06. Ozone Madness (Schifrin) 6.34
07. Love Poem For Donna (Schifrin) 4.33
08. The Last Stroke Of Midnight (Schifrin) 4.29

ARMU 0251

Freddie King - Burglar (1974)

Produced in part by Mike Vernon, who worked on The Legendary Christine Perfect Album, this is an entertaining and concise package of ten songs performed by the late Freddie King and a slew of guests. Opening with Gonzalez Chandler's "Pack It Up," featuring the Gonzalez Horn Section, the youthful legend was only 40 years of age when he cut this career LP two years before his death. Though no songs went up the charts like his Top Five hit in 1961, "Hide Away," Burglar is one of those gems that journeymen can put together in their sleep. Tom Dowd produced "Sugar Sweet" at Criteria Studios in Miami, FL, featuring Jamie Oldaker on drums, Carl Radle on bass, and guitarists Eric Clapton and George Terry, which, of course, makes this album highly collectable in the Clapton circles. The sound doesn't deviate much from the rest of the disc's Mike Vernon production work; it is pure Freddy King, like on the final track, E. King's "Come On (Let the Good Times Roll)," where his guitar bursts through the horns and party atmosphere, creating a fusion of the pure blues found on "Sugar Sweet" and the rock that fans of Grand Funk grooved to when he opened for that group and was immortalized in their 1973 number one hit "We're an American Band" a year after this record's release. Sylistically, Freddie King is from the same school as Buddy Guy, two men instrumental in bringing this art form to a mass audience. King stretches those sounds with great fervor on the Hayes/Porter number "I Had a Dream," containing the strength Mark Farner said the blues artist displayed in concert, which could snap a guitar neck. The voice of Freddie King is what drives J.J. Cale's "I Got the Same Old Blues," the horns and the guitar battling between verses and uniting to ooze under the guitarist's vocal expression. Rhythm guitarist Bob Tench, producer Mike Vernon, bassist DeLisle Harper, drummer Steve Ferrone, and pianist Roy Davies all co-write "Texas Flyer" with Freddie King, a prime example of the modern blues this artist was developing. With Brian Auger and Pete Wingfield contributing to the title track, Jerry Ragovoy's "She's a Burglar," this project stands as a solid representation of an important musician which is as enjoyable as it is historic. (by Joe Viglione)

Personnel:
P.P. Arnold (background vocals)
Patrick Arnold (background vocals)
Brian Auger (organ)
Bud Beadle (saxophone)
Misty Browning (background vocals)
Ron Carthy (trumpe)
Eric Clapton (guitar)
Roy Davies (keyboards)
Mick Eve (saxophone)
Steve Ferrone (drums)
The Gonzales Horn Section (horn)
Steve Gregory (saxophone)
DeLisle Harper (bass, percussion)
Freddie King (guitar, vocals)
Chris Mercer (sacophone)
Jamie Oldaker (drums)
Carl Radle (bass)
Dick Sims (keyboards)
Bob Tench (guitar)
George Terry (guitar)
Mike Vernon (drums, percussion)
Donnie Vie (background vocals)
Pete Wingfield (keyboards)

Tracklist:
01. Pack It Up  (Chandler) 4.10
02. My Credit Didn't Go Through (Johnson/Perry) 4.08
03. I Got the Same Old Blues (Cale) 3.22
04. Only Getting Second Best (Hayward/Vernon 3.48
05. Texas Flyer (Davis/Ferrone/Harper/King /Tench/Vernon) 3.45
06. Pulp Wood (Davis /Ferrone/Harper/King /Tench /Vernon/Wingfield) 3.11
07. She's A Burglar (Ragovoy) 3.49
08. Sugar Sweet (London)  2.51
09. I Had A Dream (Hayes/Porter) 5.0
10. Let the Good Times Roll  (Johnson/King/Martin/Wilson) 3.33

ARMU 0250

Don Covay - Mercy! (1965)

In late 1964, Don Covay, then fronting Don Covay & the Goodtimers, scored a Top 40 hit with "Mercy Mercy." He and the record label decided to capitalize on the unexpected crossover success with this LP, one of the finest soul albums ever to come out of Atlantic Records. Given their first chance to stretch out on ten new tracks at once, Covay and his group (including keyboard man and songwriting collaborator Horace Ott) rose to the occasion and delivered an LP's worth of cuts that were as good as the single they were tied to. In addition to the hit, a gospel-blues amalgam of soulful vocals and bluesy lead guitar (which may be better known today to many listeners by way of the Rolling Stones' version from Out of Our Heads), Mercy! is filled with tracks that are never less than good and mostly a lot better than that: "I'll Be Satisfied," with its memorably passionate singing and crunchy guitar; the thumping dance number "Come on In" -- which, true to its origins, features a compendium of dance step references and nods to then-current hit songs; the gorgeous, falsetto-dominated "Can't Stay Away"; and the mournful, wrenchingly beautiful "You're Good for Me," which is too great a performance by Covay and all concerned to be buried at the end of an LP side. "Can't Fight It Baby" is a lost hit, a spellbindingly beautiful, exciting, and memorable cut that ought to have been a single, if not for Covay and company, then in a version by the 1965-vintage Drifters, who were probably working just down the hall in another studio when this side was cut.

Side two is just as good as side one and, indeed, starts out as virtually a repeat of the latter, with "Take This Hurt Off Me" replicating "Mercy Mercy," though it has an unexpected crop of lost singles -- Covay's soaring "Come See About Me," which he'd previously recorded early in 1964 for the Landa label, with its epic-scale lyrical passion, dominates the side, though "You Must Believe Me" and "Daddy Loves Baby" could also certainly have rated a place on a 45-rpm platter. Given the currents rippling out to the Rolling Stones as well as serious soul fans, this record is obviously capable of striking resonant chords 40 years later, but fans of Jimi Hendrix may also want to make special note of Mercy! -- Hendrix played on a number of Covay sessions, and although the records are sketchy, was likely one of the guitarists on "Mercy Mercy" and possibly one or two other songs (the other guitarists present on the album, for the record, were Bob Bushnell, Wally Richardson, Harry Jensen, and Ronald Miller). It's no more significant in relation to Hendrix's later sound than the guitarist's work with the Isley Brothers from the same period, but it is great music that he happened to play on.  (by Bruce Eder)

Personnel:
Bob Bushnell (guitar)
Billy Butler (guitar)
Steve Cropper (guitar)
Donald "Duck" Dunn (bass)
Dicky Harris (trombone)
Al Jackson, Jr. (drums)
Harry Jensen (guitar)
Booker T. Jones (keyboards)
Andrew Love (saxophone)
Ronald Miller (guitar)
Floyd Newman (saxophone)
Horace Ott (piano)
Bernard "Pretty" Purdie (drums)
Wally Richardson (guitar)

Tracklist:
01. Mercy Mercy (Covay/Miller) 2.23
02. I'll Be Satisfied (Carlo/Covay/B.Gordy/G.Gordy/Miller) 3.13
03. Come On In (Covay/Hayes/Ott/Porter/Stewart) 2.16
04. Can´t Stay Away (Covay/Ott) 2.48
05. Can´t Fight It Baby (Covay/Ott) 2.48
06. You´re Good For Me (Covay/Ott) 3.28
07. Take This Hurt Off Me (Covay/Miller) 2.28
08. Daddy Loves Baby (Covay/Miller) 2.19
09. Come See About Me (Covay) 3.20
10. You Must Believe In Me (Mayfield) 2.33
11. Please Don´t Let Me Know (Smith/Tony) 2.23
12. Just Because (Brown/Logan/McKinney/Nelson/O'Hara/Price/Touchstone) 3.23

ARMU 0249

Arlo Guthrie - Running Down The Road (1969)

Although this album's "Coming in to Los Angeles" crossed Guthrie over and into the rock underground, especially via its performance at Woodstock, most of his third record is actually far more laid-back country-rock. Very much a production of its time, in a slightly negative sense, Running Down the Road features Guthrie employing the cream of L.A.'s top country-rock players as session men: Ry Cooder, James Burton, Clarence White, Jim Gordon, Gene Parsons, Jerry Scheff, and Chris Etheridge. The tone is good-natured and easygoing -- too good-natured and easygoing sometimes, in fact, as on the unexciting cover of "Stealin'." Guthrie acknowledges his folk roots with covers of tunes by his father Woody Guthrie ("Oklahoma Hills"), Pete Seeger ("Living in the Country"), and Mississippi John Hurt. These are surrounded by originals that follow the Dylan "back to basics" mold of the late '60s, both in musical and lyrical concerns ("My Front Pages" might even be taken as a gentle Dylan satire). As such, much of the record is inoffensive but inconsequential, although the drug smuggling ode "Coming into Los Angeles" adds a touch of much-needed urgency. The title track is entirely uncharacteristic of the album, with its harsh blasts of distorted psychedelic guitar and tough, walking-blues stance -- for these reasons, it's a standout.

Personnel:
James Burton (guitar)
Ry Cooder (bass, mandolin)
Chris Ethridge (bass)
Jim Gordon (drums)    
Arlo Guthrie (guitar, piano, vocals)
Milt Holland (percussion)
Gene Parsons (drums, harmonica)
John Pilla (guitar)
Jerry Scheff (bass)
Clarence White (guitar)

Tracklist:
01. Oklahoma Hills (J.Guthrie/W.Guthrie) 3.27
02. Every Hand in the Land (A.Guthrie) 2.17
03. My Creole Belle (Hurt) 3.42
04. Wheel Of Fortune (A.Guthrie) 2.27
05. Oh, In The Morning (A.Guthrie) 4.50
06. Coming Into Los Angeles (A.Guthrie) 3.03
07. Stealin'  (Cannon) 2.45
08. My Front Pages (A.Guthrie) 3.47
09. Living In The Country (Seeger) 3.15
10. Running Down The Road (Seeger) 4.28

ARMU 0248

Woody Guthrie - Sings Folk Songs (1962)

In April 1944, 31-year-old Woody Guthrie discovered a recording outlet when he hooked up with record company owner Moses Asch, who agreed to let him cut a virtually unlimited number of masters informally. Guthrie simply would turn up at Asch's studios alone or with such friends as Cisco Houston, Sonny Terry, Leadbelly, and Bess Lomax Hawes, and record his repertoire of original and traditional songs. The repository soon grew to hundreds of titles, far more than even a major label, much less a tiny independent, could release contemporaneously. Over the decades, Asch did release many of the tracks, but by 1962, when he assembled the LP Woody Guthrie Sings Folk Songs, he still had a significant caché of unissued material like that found on this disc. In the ensuing 18 years, the folk revival had kicked in, and such artists as Joan Baez were taking folk music into the upper reaches of the charts. Guthrie was considered the godfather of the movement, and Woody Guthrie Sings Folk Songs played right into that, as he could be heard singing songs like "The Rising Sun Blues" (aka "The House of the Rising Sun") and "The Boll Weevil," the same songs that the new generation of folk singers were performing in coffee houses. In truth, with the combination of guitars, mandolin, harmonica, and fiddle, plus Houston's rough high harmonies, the arrangements often were more evocative of the old-timey country string bands of the '30s, such as the Monroe Brothers, than early-'60s urban folk. Then, too, although some of the songs were credited to Guthrie as a songwriter, this was not the Guthrie of "This Land Is Your Land," but rather Guthrie the traditional folk singer. Still, Woody Guthrie Sings Folk Songs was an excellent representation of rural folk music that consolidated Guthrie's position as the newly fashionable genre's main progenitor. (by William Ruhlmann)

Personnel:

Woody Guthrie (guitar, vocals, fiddle, harmonica)
Cisco Houston (guitar)

Tracklist:

01. Hard Travelin'  (Guthrie) 2.10
02. What Did The Deep Blue Sea Say (Houston/Traditional) 2.36
03. The Rising Sun Blues (House Of The Rising Sun) (Traditonal) 2.55
04. Nine Hundred Miles (Traditional) 2.42
05. John Henry (Traditional) 2.42
06. Oregon Trail (Guthrie) 2.46
07. We Shall Be Free (Leadbelly) 3.00
08. Dirty Overhalls (Guthrie) 1.55
09. Jackhammer Blues (Guthrie) 2.36
10. Springfield Mountain (Traditonal) 2.36
11. Brown Eyes (Guthrie) 2.58
12. The Boll Weevil Blues (Traditional) 3.11
13. Guitar Blues Guthrie) 2.20
14. Will You Miss Me? (Guthrie) 2.29

ARMU 0247

Manassas - Down The Road (1973)

Following the release of "Down The Road" Manassas broke up. 

Perhaps they should have done so before recording this disc, for there is little here to recommend it. 

Two cuts, Chris Hillman's "Lies" and Stephen Stills' "Do You Remember the Americans," are of some worth, but the rest come off sounding like lame attempts at Latin-inflected blues jams with embarrassing lyrics to boot. 

For completists only (All music guide)

 

Personnel:
Paul Harris (keyboards)
Chris Hillman (guitar, bass, mandolin,vocals)
Joe Lala (percussion,vocals)
Al Perkins (pedal steel guitar, guitar, banjo
Calvin Samuels (bass, vocals)
Stephen Stills (vocals, guitar, keyboards, bass)
Dallas Taylor (drums)

Tracklist:
01. Isn't About Time (Stills) 3:02
02. Lies (Hillman) 2:55
03. Pensamiento (Stills/Escoto) 2:36
04. So Many Times (Hillman/Stills) 3:30
05. Business On The Street (Stills) 2:55
06. Do You Remember The Americans (Stills) 2:05
07. Down The Road (Stills) 3:16
08. City Junkies (Stills) 2:50
09. Guaguaó De Veró (Stills/Lala) 2:51
10. Rollin' My Stone (Stills/Samuel) 4:50

ARMU 0246

Tentacle - The Angel Of Death (1971)

A rare, unknown band from Scotland, produced by Jim West.
Tentacle are playing fine guitar rock on the high level.

"Excelent and obscure band of Heavy Psych.from Scothland. Similar to Morly Grey, Dark, T2. The album was recorded in 1970/71. Really Cool !!!!!!!" (enlil)

"Wonderfully morose scottish rock with some flowery, folk-derived electric guitar work and heavy bits that don't get too loutish. Wholeheartedly recommended to fans of T2's first album, Dark, Parameter, Janus..." (gafnerostow)

No more information, sorry !

Backcover

Alternate frontcover

Tracklist:
01. My Destiny-My Faith 20.20
02. Thoughts 5.50
03. Tentacle 3.45
04. Angel Of Death 7.33
05. Epitath 0.31

ARMU 0245

Hot Tuna - Same (1970)

Hot Tuna is the self-titled first album by the blues-rock band Hot Tuna. Released in 1970, it was recorded live at the New Orleans House in Berkeley, California in September 1969. The album rose to #30 on the Billboard charts.

Hot Tuna would later become a blues band, but they started out playing traditional "country" blues. 

 

The group was formed by Jorma Kaukonen and Jack Casady as a side project when they were in Jefferson Airplane. On their first album, Kaukonen plays acoustic guitar. 

 

With Casady on electric bass and Will Scarlett on harmonica, the early Hot Tuna played the old time acoustic blues that had been a predecessor of rock music.

 

Personnel:

Jack Casady (bass)
Jorma Kaukonen (guitar, vocals)
Will Scarlet (harmonica)

Tracklist:
01. Hesitation Blues (Traditional) 5.09
02. How Long Blues (Carr) 3.59
03. Uncle Sam Blues (Traditional) 4.57
04. Don't You Leave Me Here (Morton) 3.03
05. Death Don't Have No Mercy (Davis 6.11)
06. I Know You Rider (Traditional) 4.09
07. Oh Lord, Search My Heart (Davis) 3.53
08. Winin' Boy Blues (Morton) 5.34
09. New Song (For The Morning) (Kaukonen) 5.03

ARMU 0244

The Beatles - New Year's Day (The Decca Audition) (1962)

The Beatles produced a half-hour long, fifteen song demo tape for Decca on January 1st, 1962. 

 

With the track selection chosen by manager Brian Epstein, they played twelve cover tunes and three originals, “Like Dreamers Do,” “Hello Little Girl,” and “Love Of The Loved.” It was recorded live on 2 track mono at Decca Studios in West Hampstead in north London with original drummer Pete Best in the band. 

 

Based on this recording Decca rejected signing the band with the infamous statement “guitar groups are on the way out” and the label chose to sign a band called The Tremeloes instead.

Personnel:
Pete Best (drums)
George Harrison (guitar, vocals)
John Lennon (guitar, vocals)
Paul McCartney (bass, vocals)

Tracklist:
01.Like Dreamers Do (McCartney/Lennon) 2.39
02. Money (That's What I Want) (Gordy/Bradford) 2.27
03.Till There Was You (Wilson) 3.03
04. The Sheik Of Araby (Smith/Synder/Wheeler) 1.45
05. To Know Her Is To Love Her (Spector) 2.40
06. Take Good Care Of My Baby (Goffin/King) 2.31
07. Memphis, Tennessee (Berry) 2.24
08. Sure To Fall (In Love With You) (Perkins/Claunch/Cantrell) 2.06
09. Hello Little Girl (Lennon/McCartney) 1.43
10. Three Cool Cats (Leiber/Stoller) 2.28
11. Crying, Waiting, Hoping (Holly) 2.06
12. Love Of The Loved (Lennon/McCartney) 1.55
13. September In The Rain (Warren) 1.59
14. Besame Mucho (Velazques/Skylar) 2.43
15. Searchin' (Leiber/Stoller) 3.06

ARMU 0243

Gary Moore Band - Grinding Stone (1973)

After 2 albums with his band Skid Row, Gary recorded "Grinding Stone" in 1973. 

 

This album was not that much different than the music he had done before,but it was better, more polished. It is a must for any hard-core fan. 

 

Gary is one of the best guitarists of all-time, this album does not prove that yet; but shortly after this with Colosseum II and Thin Lizzy; Gary is on top of the heap. 

 

His style got more refined and became easier to listen to. So this album was a great start of things to come (Marlon Hill).

Personnel:
John Curtis (bass)
Pearse Kelly (drums, percussion)
Gary Moore (guitar,vocals)
+
Frank Boylan (bass)
Philip Donnely (guitar)
Jan Schallhaas (keyboards)

Tracklist:
01. Grinding Stone (Moore) 9.41
02. Time To Heal (Moore) 6.20
03. Sail Across The Mountain (Moore) 6.57
04. The Energy Dance (Moore) 2.28
05. Spirit (Moore) 17.14
06.Boogie My Way Back Home (Moore) 5.39

ARMU 0242

Destroy All Monsters - November 22, 1963 (1989)

When it comes to Detroit-area, proto-punk supergroups, I like Destroy All Monsters more than Sonic's Rendezvous Band. The energy, the passion, the fire; it's all just booming in this band. On the other hand, Sonic's Rendezvous Band got a little dad-rock sounding at times, and it was pretty formulaic throughout. Destroy All Monsters were anti-rock, meaning they just did what they wanted pretty much, and in doing so, they came up with some fantastic riffs, and some fantastic melodies.

I listened to this, and it finally struck me - Sonic Youth is a complete rip-off of Destroy All Monsters. They both have that crazy, manic type sound, and Kim Gordon is a dead ringer for Niagra; vocally that is. In fact, Thurston Moore actually released everything Destroy All Monsters had ever done on a box set, so you know the influence was definitely there.

Musically, this thing is way chaotic, and it even rocks more than The Stooges at points. It's loaded with fuzzy guitar, and crazy free saxophone going off in each and every direction. I really like it. Especially the song "Bored"; boy does that rock. Other highlights are "Nobody Knows", "What Do I Get", and "Anyone Can Fuck Her". This is crazy, testosterone-pumping rock with a female vocal lead, and it's probably the sexiest thing ever conceived by mankind.

A sweating recommendation goes out to you rock lovers! Wooooooeeeeee!!!! (Seattle Junkie queen)

Personnel:
Ron Asheton (guitar, background vocals)
Michael Davis (bass)
Rob King (drums)
Niagara (vocals)
+
Bill Franck (drums on 9. - 11.)
Ben Miller (sax on 1. - 4.)
Larry Miller (guitar on 1. - 4.)
Charlie Tyfklind (saxophone on 10.)

Tracklist:
01. Bored (Asheton/Niagra) 3.55
02. You´re Gonna Die (Loren/Asheton/Niagara) 2.49
03. Meet The Creeper (Davis) 4.56
04. November 22, 1963 (Asheton/Niagara) 4.24
05. Jesus is A Shotgun (King/Asheton/Niagara) 2.55
06. Nobody Knows (Davis/Niagara) 3.26
07. What Do I Get (Asheton/Niagara) 4.16
08. These Boots Are Made For Walking (Hazelwood) 5.40
09. Anybody Can (Fuck Her) (Asheton/Niagara) 3.32
10. Party Girl (Asheton/Niagara) 3.42
11. A/D (Angel In The Daytime, Devil At Night) (Franck/Niagara/Asheton) 2.38

ARMU 0241

Various Artists - Mar y Sol - The First International Puerto Rico Pop Festival (1972)

After Monterey Pop, Woodstock, the Atlanta Pop Festival, and Isle of Wight, the Mar Y Sol: First International Puerto Rico Pop Festival was more than anti-climactic, and the resulting double-record set runs almost like a supplement to the similar Medicine Ball Caravan film soundtrack. The Allman Brothers Band, Emerson, Lake & Palmer, and B.B.King may have been legitimate headliners, but Osibisa were hardly a household name, and "Bedroom Mazurka" by Cactus on this LP makes one wonder why half that band would ever want to leave Vanilla Fudge to create a watered down Black Oak Arkansas. A five-minute-plus version of "Looking for a Love" by J. Geils Band rips the album wide open; it's a terrific performance by a terrific up and coming band that had barely dented the Top 40 with the tune three months before this concert, held on April 1, 2, and 3, 1972. Atlantic executive and album producer Tunc Erim should've known better than to follow Geils' up-tempo raver with 13 minutes and 20 seconds of John McLaughlin's Mahavishnu Orchestra. Despite the heavy use of violin, this was not the Velvet Underground, and the manic early fusion is just a little too progressive to balance out the program. It's great to hear Jonathan Edwards perform two songs for almost eight minutes; his originals are highlights here, and like J.Geils Band, he was making his music in Boston and had recently charted on the Top 40, but this festival wasn't going to do for these artists what Woodstock and its triple-vinyl set would do for the acts on that enterprise. While Dr. John and John Baldry bring legendary status to the affair, Nitzinger and even Herbie Mann are a bit of a stretch for what is called a "pop" festival. Jean-Charles Costa's liner notes are lengthy, but don't tell us much about the event. The double LP is a freeze frame of something that happened in the early '70s, but the styles are so diverse that it stands better as a documentary than a listening experience. Dr. John sure is fun performing Willie Dixon's "Wang Dang Doodle," however it was his stage performance at that point in time that was truly memorable. If Mar Y Sol was filmed, the DVD would translate better than this well-recorded but rather eclectic set of performances. The Allman Brothers and Emerson Lake & Palmer are also highlights, but the album comes off as an Atlantic sampler with half of the artists coming from its roster. Add to this mix the fact that Columbia Records strangely combined Isle of Wight and Atlanta Pop Festival performances for a triple vinyl set released around this same time (the Allman Brothers appear on that as well), and you get an idea of the festival mania that was going on. Still, both these albums are important as historical documents, despite the fact they did not have the impact of the Woodstock albums on Cotillion/@Atlantic, two sets which amounted to ten sides of vinyl — the same amount between the Mar Y Sol and The First Great Rock Festivals of the Seventies albums. That's 20 sides of vinyl between four album sets...quite a bit to take all at once in the early '70s. As stated, an expanded DVD release of Mar Y Sol would be far more fulfilling, though this album does have its moments (by Joe Viglione).

Tracklist:
01. J.Geils Band: Looking for a Love (Alexander/Samuel) 5:16
02. Mahavishnu Orchestra: Noonward Race (McLaughlin) 13:20
03. Dr. John: Wang Dang Doodle (Dixon) 5:10
04. B.B. King: Why I Sing the Blues (King/Clark) 6:12
05. Osibisa: Y sharp (Osibisa)/Oranges (Osei) 8:34
06. Cactus: Bedroom Mazurka (Hitchings-French) 5:00
07. Allman Brothers Band: Ain't Wastin' Time No More (Allman) 4:59
08. Emerson, Lake & Palmer: Take a Pebble/Lucky Man (Lake) 7:33
09. Nitzinger: Texas Blues/Jelly Roll (Nitzinger) 9:18
10. Jonathan Edwards: Sometimes in the Morning (Edwards) 4:15
11. Jonathan Edwards: Train of Glory (Edwards) 3:35
12. Long John Baldry: Bring My Baby Back(Baldry) 6:22
13. Herbie Mann: Respect Yourself (Rice/Ingram) 9:22

ARMU 0240
ARMU 0240 (zippyshare)

Moody Marsden Band - Never Turn Our Back On The Blues (1992)

This album includes three staples from the set of hard rock legends, Whitesnake, a tribute not only to the days when Micky Moody and Bernie Marsden first worked together, but to their enduring qualities as top-flight songwriters.

On this album they return to it now in style - with a set of material both old and new, played with a feeling and passion that remains as timeless as it is rare ...

Recorded live in England, December 1991.

Personnel:
Jaz Lochire (bass, vocals)
Bernie Marsden (guitar, vocals)
Micky Moody (guitar, slide-guitar, vocals)
Zak Starkey (drums)

Tracklist:
01. Baby What You Want Me To Do (Reed) 4.57
02. The Stealer (Rodgers/Fraser/Kossoff) 4.20
03. Have You Ever Loved A Woman/How Blue Can You Get (Myles/King) 10.01
04. Foolin´ With My Heart (Moody/Marsden/Hinkley) 5.29
05. It Hurts Me Too (James) 5.48
06. Ain´t No Love (In The Heart Of The City) (Price/Walsh) 6.11
07. Never Turn My Back On The Blues (Moody/Marsden) 6.20
08. Fool For You´re Lovin´ (Coverdale/Moody/Marsden) 6.23
09. Going Down (Nix) 3.55
10. Here I Go Again (Coverdale/Marsden) 4.45
11. Wee Wee Baby (Turner/Johnson) 4.32

ARMU 0239
ARMU 0239 (zippyshare)

Jethro Tull - 25 Anniversary Box - The Booklet (1993)

As an addition to the 4 CD´s of this 25th Anniversary Box we offer now the complete booklet of this fantastic complication, just fo fun, just to complete this edition:

ARMU 0238

Air Jazz Quartet - Jazz Tribute To Deep Purple (1995)

A four french man band remakes nine classics Deep Purple's songs with jazz style.

Dim out the lights, light on a cigar, have a glass of good wine, and enjoy!!!!!

Personnel:
Philippe Ballot (drums)
François Barisaux (piano)
Alain Gaillet (bass)
Philippe Miraille (saxophone)

Tracklist:
01. Hush 3.50
02. Highway Star 5.11
03. Black Night 7.15
04. Smoke On The Water 6.01
05. Woman From Tokyo 4.15
06. Strange Kind Of Woman 5.01
07. Burn 5.23
08. Fireball 5.50
09. Child In Time 7.10

ARMU 0237

The Marbles - Same (1968)

The Marbles are well known to serious Bee Gees fans for covering a number of Bee Gees compositions, as well as being produced by Barry Gibb. Those expecting a sort of Bee Gees Jr., however, will be sorely disappointed by the Marbles' sole, eponymous album, even if five of the 12 tracks were penned by the Brothers Gibb. It's a far more blustery, orchestral brand of pop/rock than the relatively tender one mastered by the Bee Gees in the late '60s, even when they're doing some songs the Bee Gees themselves recorded back then (like "I Can't See Nobody" and "To Love Somebody"). Most blustery of all is Graham Bonnet's overbearing voice, which sounds a bit like a cross between Tom Jones and the Righteous Brothers, painting mental pictures of some tuxedoed guy sweating it out on the northern England cabaret circuit, his bulging neck muscles turning red with the effort. The pop and soul covers -- including "A House Is Not a Home," "Storybook Children," and "Breaking Up Is Hard to Do" -- are rendered schmaltzy by both the vocals and arrangements. The Marbles' few attempts at their own songwriting (numbering only three) are better though not great, convincingly emulating the bittersweet aspects of the early Bee Gees, though sometimes with even more ornate orchestration than the Bee Gees employed. It's of most interest to Bee Gees fans, though, for the inclusion of three Brothers Gibb compositions the Bee Gees didn't record at the time on their own records: "Only One Woman" (a number five British hit), "The Walls Fell Down," and "By the Light of a Burning Candle." They're characteristic of the Bee Gees' late-'60s style, but given such a bombastic treatment that you can't help wishing that the Bee Gees had done them instead.

Personnel:
Barry Gibb (guitar)
Maurice gibb (bass, piano)
Graham Bonnet (vocals)
Trevor Gordon (vocals)
Vince Melouney (guitar)
Colin Petersen (drums)

Tracklist:
01. I Can't See Nobody (Barry & Robin Gibb)
02. A House Is Not A Home (Bacharach / David)
03. Storybook Children (Taylor / Vera)
04. Daytime (Gordon)
05. By The Light Of A Burning Candle (Barry, Robin & Maurice Gibb)
06. Stay With Me Baby (Ragavoy/Weiss)
07. Only One Woman (Barry, Robin & Maurice Gibb)
08. To Love Somebody ( Barry & Robin Gibb)
09. Breaking Up Is Hard To Do (Greenfield/Sedaka)
10. Elizabeth Johnson (Gordon)
11. Little Laughing Girl (Bonnet)
12. The Walls Fell Down (Barry, Robin & Maurice Gibb)


ARMU 0236

Joe Lynn Turner - Under Cover (1997)

You won't be disapointed by these great cover-songs. Joe's voice is incomparable as always. 

 

His unique voice can only adorn all these songs. "Street Of Dreams" is a wonderful Rainbow song, which turned to a magical, hipnotic sound, Joe's voice can take you away from this world into the mystery time...

 

But this album "lives" through the work of the "sideman" ... wonderful hard rock guitar playing by guxs like Karl Cochran, Vernon Reid etc. 

 

A brilliant album full of fresh cover versions from the past !

Personnel:
Tony Bruno (guitar)
Karl Cochran (guitar)
Rick Derringer (guitar)
Akira Kajiayam (guitar)
Kenny Kramme (drums)
Paul Morris (keyboards)
Al Pitrelli (guitar)
Vernon Reid (guitar)
Greg Smith (bass)
Joe Lynn Turner (vocals)
Leslie West (guitar)

Tracklist:
01 . We're An American Band (Brewer) 3.32
02. Freedom (Hendrix) 4.04
03. Fire And Water (Fraser/Rodgers) 4.57
04. Street Of Dreams (de Carvalho/Borrell/Lafalce) 5.14
05. Fortunate Son (Fogerty) 3.34
06. Vehicle (Shwersky/Cross) 2.56
07. Hush (South) 4.11
08. Unchained Melody (Turner/Sabu/House) 3.49
09. Chained (Turner/Pitrelli/Held) 3.40
10. Gimme Some Lovin'/I'm A Man (Davis/Winwood) 6.44
11. Thief In The Night (Blackmore/Turner/La Rue) 3.49
12. Deal With The Preacher (Ralphs/Rodgers) 4.51
13. Sunshine Of Your Love (Bruce/Brown/Clapton) 4.16

ARMU 0235

Makis Abliantis - Bahar (2000)

“Bahar” is the ultimate musical expression of contemporary multicultural identity. It is a musical journey that begins from the soil of the Balkans, opens up into the big blue of the Mediterranean, to end in the trails of the East. The inspired compositions are by Makis Ablianitis. It is music shed by the sun of the Mediterranean.

The deep melodic voice of Manolis Lidakis, graces the two songs of the album. Poetic lyrics performed by the best Greek male vocalist.

The album also features four very prominent artists:
Hariprasad Chaurasia, the greatest Indian flutist, internationally acclaimed, known for his collaborations with Ravi Shankar, John McLaughlin and Jan Garbarek, among others Dragan Dautovski, the kaval and gajda virtuoso from FYROM Haig Yazdjian, the great Armenian oud player Petros Tabouris, the Greek canun virtuoso

In times when the borders of nations are falling and a new cultural identity is emerging, “BAHAR” takes on the role of the sound sample of this new culture. A sound that respects the diversities and individualities of the cultures that comprise this album, but at the same time is the median that presents us with a contemporary musical direction.

Personnel:
Maki Abliantis (vocals, guitar, bass, synthesizer, percussion)
Solis Barkis (percussion)
Hariprasad Chaurasia (noth indian flute)
Dragen Dautovski: kaval
Vangelis Karipis: percussion
Manulis Lidakis (vocals)
Tanja Nikoloudi (keyboards, background vocals)
Nikos Kapilidis (drums)
Petros Tabouris (kanun)
Haig Yazdijan (oud)

Tracklist:
01. Love Secret (Abliantis) 4.00
02. Afri Kriso (Ablianitis/Papadaki) 2.16
03. Eternal Song (Abliantis)3.42
04.Sun Walk (Abliantis) 4.21
05. Bahar (Abliantis) 3.17
06. Dhaulagiri (Abliantis) 4.36
07. Mi Mou Arnithis (Ablianitis/Papadaki) 4.02
08. Sky Colours (Abliantis) 3.09
09. Hand Built (Abliantis)4.15
10. Balloon Traveller (Abliantis) 7.17
11. River (Abliantis) 2.51
12. Seabird (Abliantis) 6.03
13. Wood, Steel, Air (Abliantis) 4.23
14. Sagarmatha (Abliantis) 5.35
15. Astro Krifo (Instrmental) (Abliantis) 3.16

ARMU 0234

Vanessa Mae - Storm (1998)

After proofing with the 'Classical Album 1' that a dual pop and classical career is possible, Vanessa-Mae returned to the pop oriented side of her musicianship with her new album. On 'Storm,' Vanessa-Mae elaborates further on her techno-acoustic fusion concepts that so successfully catapulted her into word wide fame. 'Storm' is daring, is more dynamic and more versatile than 'The Violin Player.' Where 'The Violin Player' was a first try-out step into the launch of a new musical concept, 'Storm' develops the framework of the new concept further into maturity and sophistication. The album contains of famous pop songs in new and original arrangements , one modern and embellished version of a movement of Vivaldi's 'Four Seasons,' and several new compositions primarily by Andy Hill and Vanessa-Mae. This all together forms a mix that makes 'Storm' a brilliant album without any weak points. The music gives Vanessa-Mae all the possibilities to excel and to show her unique technical skills and that she has grown as musician, composer and violinist, and, moreover, to proof that she is much more than only the cute beautiful young girl who gained attention by the famous heavily discussed video of 'Toccata & Fugue,' that she in fact is a skilled creative and high profile musician. 'Storm' takes Vanessa-Mae in her career to another level; a level only artists usually reach who are able to sustain success and creativity. On this album, Vanessa-Mae adds singing lead vocals to her repertoire too. In this she never overestimates the limited vocal abilities of her soft voice. On the contrary, Vanessa-Mae's soft voice singing is actually very nice and effectively on Donna Summer's soul classic 'I Feel Love' and on her own composition 'I Am A Doun' that was already on the 'Classical Album 1.'

For music enthuiasts: Geoff Whitehorn on guitar ! And the Focus tune "Hocus Pocus: A brilliant version of Thijs van Leers and Jan Akkerman's famous composition. Vanessa-Mae's violin adequately mimics the voice of Thijs van Leer in the vocal parts of the original.

Personnel:
Graham Broad (drums)
Andy Hill (keyboards, bass, guitar)
Anton Juminez (flamenco guitar)
Peter Lockett (percussion)
Vanessa Mae (violin, vocals)
Miguel Montero (vocals on 5.)
Geoff Whitehorn (guitar)
+
London Symphony Orchestra
Orchestra Of The Royal Opera House

Tracklist:
01. Summer Haze (Vivaldi) 3.09
02. Storm (Vivaldi) 3.44
03. Retro (Hill/Mae) 3.57
04.  Bach Street Prelude (Bach) 4.26
05. Leyenda (Hill/Mae) 6.33
06. (I) Can, Can (You) (Offenbach) 3.41
07. Happy Valley (Hill/Nicholson/Mae) 6.33
08. A Poets Quest (For A Distant Paradise) (Hill/Mae) 4.32
09. Embrace Moi (Andy Hill/Page) 5.03
10. Aurora (Hill/Wherry) 4.56
11. I' Am A Doun (Mae) 4.29
12. I Feel Love (Summer/Moroder/Bellotte) 6.58
13. Hocus Pocus (v. Leer/Akkerman) 3.14
14. The Blessed Spirits (Hill/Mae) 8.17

ARMU 0233