Invisible Man's Band - s/t

Name: Invisible Man's Band
Album: s/t
Year: 1980
Style: Disco, R&B, Funk
Similar Bands: Dr Buzzards Savannah Band, Parliament Funkadelic, Bobby McFerrin
"One-Word" Review: Island Funk Disco
Based Out Of: Chicago
Label: Mango Records, Island Records

Cover, Notes, Record

Back, Lyrics, Record

Invisible Man's Band (1980)

1. Full Moon 4:53
2. All Night Thing 6:20 (#9 R&B chart single)
3. X Country 6:19 /
4. 9 X's Out of Ten 5:52
5. Rent Strike 6:54
6. Love Can't Come / Love Has Come 8:03

Album Rating (1-10): 5.5

Members & Other Bands:

• Clarence Burke - Producer, Lead + Acoustic Guitar, Rhythm+Synth Arrangement (Five Stairsteps, Venus Dodson, Kwame, Keith Pol, Together as One, Dream Theater, herbie Mann, Touch of Class, Freddie Jackson)
• Alex Masucci - Producer, Backing Vox, Mgmt, Direction
• Chris Blackwell - Exec Producer
• Keni Burke - Bass (Five Stairsteps, Peabo Bryson, Ca$hflow, Andy Lewis, Smoove, Preston Glass, Billy Preston, DJ Rogers, Bill Withers, Gladys Knight & Pips, Stargard, Linda Clifford, Dusty Springfield, Spyder Turner, Leroy Hutson, Les McCann, Emotions, Narada Michael Walden, Eugen Record, Terry Callier, Sly & Family Stone, Undisputed Truth, Clifford Coulter, Ramsey Lewis, Curtis Mayfield, Chocolate Milk, Ahmad Jamal, Smokey Robinson, Thelma Houston, Brenda Holloway, Natalie Cole, Cameo, more  )
• Dennis Burke - Rhythm Guitar (Five Stairsteps, Trinidad Oil Company, Brenda Holloway)
• James Burke - Vibes (Five Stairsteps, Rob Galbraith)
• Dean Grant - Synths, Keys, Arrangement (Stargard, Linda Clifford, Spinners, Stephanie Mills, Larry Graham, Jones Girls, Madonna, Keni Burke, Anita Baker, Outkast, Peabo Bryson, Don Kinsey, Sunfire more)
• Steve Ferrone - Drums (Average White Band, BFD, Brian Auger's Oblivion Express, Easy Pieces, Eric Clapton, Legacy, Spin 1ne 2wo, Superfriends, Domenic Troiano, SNL band, Tom Petty & Heartbreakers more)
• Ricardo Marrero - Latin Percussion (Buggers, Las Siete Potencias, Ruben Blades Y Seis Del Solar, Stairsteps, Franke Dante, Touch of Class, La Charanga 76, Special Request, Jellybean, Roman Sandals, Caco Senante Y Despues, Hector Lavoe, James Ingram, Roberto Roena Apollo Sound)
• John Weisenburg - Banjo
• Totico Sanchez - Latin+Vocal Percussion
• Carlos Sanchez - Latin+Vocal Percussion 
• Bob Byrant - Trumpet (Corcovado Trumpets, Gerald Wilson, James Bond & his Sextet, Oliver Nelson, Quincy Jones, South Central Avenue Municipal Blues Band, Buddy Collette, Clayton-Hamilton Jazz Orch. more)
• Greg Fowler - Guitar 
• Lee Jaffe - Harmonica (Bob Marley & Wailers, Peace Choir, Kwame, Joe Higgs, Culture, Lenny Kravitz, Wingless Angels, Alpha Blondy, Tricky, Peter Tosh)
• Don Myrick - Sax, Flute (Sky, Phil Collins, Phenix Choir, Philip Cohran, Artistic Heritage Ensemble, Intentions, Pharaohs, Salty Peppers more)
• Rahm Lee - Trumpet, Flugal Horn, all solos (Phenix Choir/Horns, Piece of Peace, Ramsey Lewis, Grey and Hanks, Phil Collins, Beatchuggers, Imaginations, Smoke, Chanson, Emotions, Pockets, Kinsman Dazz, Eugene Record, Twennynine, Lenny White, Whispers, Earth Wind & Fire, Al Johnson, Edmund Sylvers, Kwame, Chuck Jackson, Chi-Lites, Randy Brown, Rodney Franklin, Dells, Gene Chandler, Stanley Turrentine, Patrick Cowley, Frida, Toshiki Kadomatsu, Superior Movement, Kaoru Hirose, Heaven 17, MCB, George Kranz, Philip Bailey, Shuybah, Kassav, Topanga Express, France Gall, Jocelyne Beroard, Pharaohs, Dee Dee Bridgewater, Anri, Bobby Lyle, Grainger)
• Louis "Vibes" Satterfield - Trombone (Phenix Choir/Horns, Philip Cochran, Artistic Heritage Ensemble, Sky, Inentions, Pharaohs, Salty Peppers, Phil Collins, BB King, Fontella Bass, more)
• Brenda Madison - Backing Vox (David Dancious & Tone, Andy Pratt, Kwame, Don Kinsey & Chosen Ones)
• Janice Burke - Backing Vox (Kwame)
• Yvonne Wright - Backing Vox (Minnie Riperton, Kwame)
• Vernon Stuart - Backing Vox 
• Pete Jackson  - Backing Vox (Al Raymond Big Band, Touch of Class, Moody Blues, T. Life, Michael Pedicin Jr, Meco, Buddy FeFranco, Maynard Ferguson)
• Gerald Jackson - Backing Vox  (Touch of Class, Bohannon, Ojeda Penn, Victor Vick, Sonny Emory, Meco, Issac Hayes, MC Breed)
• Ben Taylor - Backing Vox 
• Chris White - Rhythm Arrangement
• Steven Stanley - Mixing Engineer
• Jonathan Fearing - Editing
• Jim Douglas - Mixing Engineer
• Alfredo Li - Mixing Engineer
• Mark Ledzian - Photos, Design
• Jane Walsh-Ronayne - Art Direction, Design
• Eddie Kamali - Clothing
• Maggie Hahn - Model

Unknown-ness: Never heard of this band, but it looks like a weird Robert Palmer-like (model's red outfit + red lipstick) new wave band.

Album Review: This is the Burke family's regrouping from the remnants of Five Stairsteps. The doo-wop sound is mostly dropped, and this is an interesting mix of genre-disco...imagine disco through the eyes of funk, soul, r&b, calypso, country, and soft ballad for each song. But it always carries the shuffle percussive beat. The first track features a lot of earthy tribal vocal beats, track 2 is straight up disco single, track three comically plays with country music at the intro, before trading it in for a stereotypical disco (Flaming/Hot/Fire/Burning) lyric content. Side B track one is a smooth & slow R&B love song. Rent Strike explores Funk (and comes off as very topical in the current pandemic), and the closing track explores island percussion and Love Boat wavering vocals with a solid support harmonic choir and smooth jazz.

Stand Out Track: Rent Strike

Links:
discogs
Five Stairsteps wiki
allmusic
Gant's Passing 4/25/20
Clarence Burke's Passing
Soulwalking
Who Sampled

Instructions - s/t

Name: Instructions
Album: s/t
Year: 1982
Style: New Wave, Synth
Similar Bands: Devo, Styx, Buggles, Adam Ant, Gary Numan, Mi-Sex, Roxy Music
"One-Word" Review: Future Theatrical Synth-Wave
Based Out Of: Canada
Label: Atlantic, Radio Records, Warner Communications

 Cover, Record

Back, Record

Instructions (1982)

1. Wicked Heart 4:00
2. So You Learn From Computers 4:15
3. Don't Say Love 3:47 (single)
4. Suburban Dream 4:19
5. Ha Ha Ha 4:29 /
6. The Factory 3:40
7. The Extra 3:55
8. Naked Deer 2:49
9. Cleek 2:56
10. O K 3:51

Album Rating (1-10): 7.0

Members & Other Bands:

• Owen Smith - Vox, Writer (Vehicle, Maxwell Friday, Old Sailor, Paris Mob, The Immortals)
• Martin Wall - Keys & Textures, Writer (Vehicle, Wenzday)
• Domenic Troiano - Guitar (Guess Who, Black Market, Bush, James Gang, Mandala, Robbie Lane & Disciples, Hawks more)
• Mike Jones - Engineer
• Larry - Backing Vox
• Peter Crolly - Bass, Writer (Frank Soda, Lee Aaron, Robert Connolly)
• Alan Webster - Drums
• Dave Beatty - Guitar (Robert Connolly)
• Regan Myers - Keys, Writer (Cosmic Ray)
• Janet Williamson - Vox
• Kimberly Johnston - Vox
• Phantasmagoria Ltd Toronto - Design
• Greg Lawson - Design
• Hugh Cooper - Asst Engineer
• Jeff Stobs - Asst Engineer
• Mick Walsh - Asst. Engineer
• Robin Brouwers - Asst. Engineer
• Claudette Abrams - Photos
• John Driscoll - Producer
• Gaston Gravell- Producer Asst.

Unknown-ness: I never heard of this band, but it cover makes them look like a dark, pub band with back-alley musical style. The font, however, looks computer-generated, but that might feed into the spy theme with instructions for a secret mission. Still going to assume this is Pub Rock.

Album Review: The music is much more synthetic and new wave, similar to a cold, future concept album like Mr. Roboto, with dark, sanitized synth beats juxtaposed with an emotive singer, sometimes singing with a Devo-like monotone. "Suburban Dream" has a bit of a Police-like reggae melody to it. O K sounds a little like Roxy Music's "The Strand." The synthy part of "Cleek" reminds me of Adam Ant's talk-singing. "The Extra" is fun Power-Pop still keeping a toe in future synth sounds, but "Ha Ha Ha" sounds out of place on the album, like a Supertramp song.

Stand Out Track: Factory

Links:
what Frank is listening to
Willfully obscure
Discogs
owen smith website

Image (thee) - Inside the Triangle

Name: Thee Image
Album: Inside the Triangle
Year: 1975
Style: Prog, Jazz, Disco, Psych
Similar Bands: Traffic, Little Feat, Dr. John, Bee-Gees
"One-Word" Review: Hard Jazz Fusion Disco
Based Out Of: Miami FL
Label: Manticore, Motown

Cover & Record

Back, Record

Inside the Triangle (1975)

1. Fly Away 6:36
2. Far Away Places 2:55 (single b-side)
3. High Time Feeling 3:34
4. IOU's 2:32
5. All Night Long 4:15 / 
6. Good To You 6:02
7. Alone With You 5:05 (single)
8. Rapture of the Deep 1:45
9. Nobody Wins till the Game is Over 4:15 (cover Sir Mack Rice)

Album Rating (1-10): 5.5

Members & Other Bands:

• Mike Pinera - Producer, Guitar, Lead & Backing Vox (Blues Image, Iron Butterfly, Cactus, Alice Cooper, Ramatam, Classic Rock All Stars, Fanz, Thee Butterfly, Judy Mayhan, )
• Duane Hitchings - Keys, Moog, Synth, Backing Vox (Buddy Miles Express, Cactus, Charmer, Steel, Kim Carnes, Carmine Appice,  The Runaways, Rod Stewart, Bad Finger, Alice Cooper )
• Donny Vosburgh - Drums, Percussion, Backing Vox (Blues Image, Buddy Miles, Fortress, Mother's Finest, Darrell Mansfield Band)
• Karl Richardson - Recording & Mixing
• Ed Mashal - Asst. Engineer
• John Blanche - Mastering Engineer
• Srat Stills - Cover Art
• Mario A Algaze - Photography
• Thee Big "M" - Album Concept & Art Direction
• Mario Medious - Executive Producer

Unknown-ness: Never heard of this band. Although the title and cover are is heading to somewhere ominous...the Bermuda triangle...the three guys in the band couldn't look more like three stoner surfer dudes incapable of evil. I assume the back image is of them at some palace in Bermuda, with the three guys looking a little glammy with cape, embroidered shirt, and bedazzled bell-bottoms. So I'm guessing this band is somewhere between glam, and prog, with the cover art being conceptual enough to make me think of prog.

Album Review: The Band name was a nostalgic throw-back tribute for Pinera & Vosburgh, who used to play together in Blue Image at a "legendary" club in Miami called Thee Image. Some of the album (Single "Alone With You") sounds like if a typical lounge singer like Tom Jones would decide to make a funky-disco album..okay, that might actually work or sound cool, but this does not sit in such a positive light. But some sounds like psych rock, or prog fusion. "IOUs" sounds kind like a video game

Stand Out Track: IOU's

Links:
prog aspect
audiophile man
discogs
rockasteria
rate your music
classic rock louder sound
spotify double album
allmusic

Illusion - Out of the Mist

Name: Illusion
Album: Out of the Mist
Year: 1977
Style: Prog, New Age, Baroque Chamber
Similar Bands: Renaissance, Rush, Dream Theater, Pink Floyd, Emerson Lake & Palmer
"One-Word" Review: Enchanting Mystic Chamber Prog.
Based Out Of: London, England
Label: Island

Cover, Record

Record, Back

Out of the Mist (1977)

1. Isadora 6:58
2. Roads to Freedom 3:55
3. Beautiful Country 4:21
4. Solo Flight 4:20 /
5. Everywhere You Go 3:18
6. Face of Yesterday 5:43
7. Candles Are Burning 7:10

Album Rating (1-10): 6.0

Members & Other Bands:

• Doug Bogie - Producer, Engineer
• John Hawken - Keys, Mellotron (Strawbs, Renaissance, Frankie Reid Band, Nashville Teens, Third World War, Trifle, Vinegar Joe, Luther Grosvenor, Claire Hamill, Sutherland Bros, Carl Perkins, Smithereens, Doughboys, Yardbirds, Spooky Tooth)
• Louis Cennamo - Bass (Renaissance, Armageddon, Chicago Line, Colosseum, Herd, Jimmy Powell & the 5 Dimensions, Stairway, Steamhammer, James Taylor, Jody Grind, Al Stewart, Linda Lewis, Beyond Sound, Chuck Berry)
• Jane Relf - Vox  (Renaissance, Holy Smoke, Stairway, Colin Scot, Yardbirds, The Fishermen)
• Jim McCarty - Vox, Guitar, Percussion (Yardbirds, Renaissance, Box of Frogs, Holy Smoke, Pilgrim, Pretty Things, Shoot, Stairway, Together, many)
• John Knightsbridge - Guitar (Third World War, Ruthless Blues, Hug, Yardbirds, Gnidrolog, Warm Dust, Mars, Limey, Box of Frogs )
• Eddie McNeil - Drums, Percussion (Strange Days, Paddy Kingsland)
• Dennis McKay - Mixing
• Goodwin Logie - Tape Operator
• Keith Morris - Photography
• Bloomfield / Travis - Sleeve Design

Unknown-ness: I've never heard of Illusion, assuming this is different than The Illusion. The pictures are all of them as a live band, so one has to wonder if it was hastily put together, or if the live setting was just their art choice. The pink and blue color scheme meshes well with the live photo lighting, creating a mystique that also supports the name Illusion. So i imagine it will be some sort of light new agey-prog.

Album Review: This group is a reshuffled line up of the band Renaissance, with the exception of Keith Reif (Ex-Yardbirds singer whom Jane is the younger sister to), who tragically died of electrical shock at the hands of a guitar amp. They are one of the many bands that succumbed to the capitalistic fan fare (ironically) toward punk rock, as Baroque Chamber Prog was waning in popularity. The songs are lofty, floating compositions, featuring heavy on piano and soothing, delicate vocals.

Stand Out Track: Solo Flight

Links:
youtube album
wiki
prog archives
discogs
rate your music
background mag
allmusic
old rock news
steve hoffman music forums
music street journal

Illinois Speed Press (the) - s/t

Name: The Illinois Speed Press
Album: s/t
Year: 1969
Style: Blues, Southern Pub Rock
Similar Bands: Hendrix, Chicago, Lynard Skynyrd, Buffalo Springfield, Allman Brothers
"One-Word" Review: Country R&B Rock
Based Out Of: Chicago, IL
Label: Columbia, CBS

Cover & Back, Sleeve, Record

Gatefold, Sleeve, Record

Illinois Speed Press (1969)

1. Overture 3:29
2. Get In The Wind 2:57 (single)
3. Hard Luck Story 4:46
4. Here Today 3:18
5. Pay the Price 5:18 /
6. P.N.S. (When You Come Around) 7:54
7. Be A Woman 4:57
8. Sky Song 2:25
9. Beauty 5:19
10. Free Ride 4:37

Album Rating (1-10): 6.5

Members & Other Bands:

• Paul Cotton (Norman) - Guitar, Vox (The Capitols, The Mus-Twangs, The Starfires, Carol Vega Trio, The Gentrys, The Rovin' Kind, Poco, Peter White, Gunhill Road, Ten City, Hannibal, Richie Furay)
• Kal David (David Raskin) -  Guitar, Vox (The Exceptions, The Rovin' Kind, The Fabulous Rhinestones, HP Lovecraft, The Stupid Guys, Merryweather & Carey, Rhythm Heritage, Kat McCord, Robbie Dupree, Leslie Smith, Jennifer Warnes, Julie Brown, Smokey Robinson, Darlene Love, Dirk Hamilton, Vonda Shepard, Rod Piazza & Mighty Flyers, Janis Ian, Bobby Martin, Bonnie Raitt, Tony Wilson, Robert Lee, Thelma Camacho, Ringo Starr, Johnny Rivers, John Mayall, BB King, Pete Levin)
• Mike Anthony - Keys, Vox (The Gentrys, The Rovin' Kind)
• Fred Page (Pappalardo) - Drums (The Gentrys, The Rovin' Kind)
• Rob Lewine - Bass (Song)
• Jerry Hochman - Engineer
• Dave Dillar - Engineer
• Roy Halee - Engineer
• Glen Kolotkin - Engineer
• James William Guercio - Producer (Chicago, Buckinghams, Blood, Sweat & Tears)
• Craig Butler - Design
• Dave McMacken - Design
• Patti Mitsui - Design
• Dave Swaney - Writer
• Mark Gottlieb - Photos
• Frank Bex - Photos

Unknown-ness: Never heard of them. Cover and front and back photo look like any CSNY or Loggins and Messina record, so i am supposing it will be southern-bluesy rock. The gatefold newspaper liner notes & stories is a fun artistic choice, centered around their printing press name suggestion.

Album Review: Although the album begins with a collage of tracks layered over each other, sounding like a bit of chaos, the album is a soulful slice of country-blues rock. Singer Paul Cotton went on to replace Messina in Poco, and the band was instrumental in the formation of Lynyrd Skynyrd. They were originally from Chicago, and along with The Flock, Aorta & Chicago, were touted as the "Chicago Sound" by Columbia Records, even through they had moved to LA. "Beauty" carries more Psych & California pop in it than the other tracks on the record.

Stand Out Track: P.N.S. (When You Come Around), Beauty

Links:
Youtube full album
wiki
Discogs
allmusic
angelfire paul cotton archive
rate your music
steve hoffman music forum
rock tour database
wiki commons
second hand songs

It's Immaterial - Life's Hard And Then You Die

Artist: It's Immaterial

Album: Life's Hard And Then You Die

Year: 1987

Style: Spoken, Roots Rock, Experimental

Similar Bands: James, The Alarm, Borghesia

One Word Review: Discordant Jazz-Theaterical Dreams

Based Out Of: Liverpool, England

Label: A&M, Virgin Records

 Life's Hard And Then You Die - Cover, Record

 Life's Hard And Then You Die - Back, Record

Life's Hard And Then You Die - Notes

Life's Hard and Then You Die

1. Driving Away From Home (Jim's Tune) 4:12
2. Happy Talk 5:29
3. Rope 3:37
4. The Better Idea 5:42
5. Space 3:59 /
6. The Sweet Life 4:38
7. Festival Time 3:52
8. Ed's Funky Diner 3:05
9. Hang On Sleepy Town 4:02
10. Lullaby 6:21

Album Rating (1-10): 5.5

Members & Other Bands:
Dave Bascombe - Producer
Felix Kendall - Engineer
John Campbell - vox (Yachts, La Fiancee)
Jarvis Whitehead - instruments (Branda & the Beachballs)
Dave Bates - Producer
Ross Stapleton - A&R
Jerry Harrison - Keys (Talking Heads, Tom Tom Club)
Tarrant Bailey Jr
Roddy Lorimer
Steve Wickham
Brenda Kenny
Henry Preistman (Yachts)
Gillian Miller
Merran Laginestra - Vox
Red Ranch - Art Direction & Design
Charlie Rivel - Clown on Cover
Tansy Spinks - Photographic Treatment Cover
Alastair Thain - Band Photo
Jim Lieber - Harmonica

Unknown-ness: I've never heard of this band, but from the dark album title, nihilistic name, scratchy clown artwork and general font choices, I'd imagine this is a hardcore, thrash band.

Album Review: “Driving Away From Home (Jim's Tune)” is a haunted country landscape tune similar to the Alarm, full of bouncy bass, echoing vocals and harmonica. The vocals are sedately spoken for the verse, and mildly sung for the chorus. The dead- gong jumps out from the background, echoing off in the distance.

“Happy Talk” kicks off with a discordant couple of notes, and quietly, whispers into a rushed, yet muted tempo. It is poetic, like many songs from James albums Laid and Seven, and the vocals are very similar in sound & style to Tim Booth. There is an over all, wind-swept sound to these songs so far. The song is long and meandering, where it can really lose the listener.

“Rope” begins with a skipping synth drum loop, and the Tim Booth style theatrical vocals continue here, supported by piano bursts and a steady bass. The chorus is very dreamy, upbeat and catchy. It slowly transitions into a Celtic jig, thanks to the violin section. A chorus of vocals supports the lead in bold, deep bursts at the end.

“The Better Idea” starts off with a windy background, and slow wood block percussion. It slowly creeks awake, stuttering and going back and forth between singing and beat poetry. It is much more a work on aestetic art than a song

“Space” begins with some mild, repetitive jungle xylophone action, and cold synth. The vocals are like an instruction manual or encyclopedic entry about space. The chorus breaks out into a cold, dark wave song, there is a little Russian Cold wave aspect here.

“The Sweet Life” is another dream-like minimal song, with held, wavering notes, somewhat operatic.  There is a little optimism in the horns at first before they squawk discordantly. The applause at the end give further suggestion of a theatrical
“Festival Time” starts out with a vibe similar to the Ewok celebration at the end of Jedi. Adding in some tribal rhythms, and flutes, but it also has periods of avant guard jazz bursts. And the song fades out with one or two remaining instruments played

“Ed's Funky Diner” has a more straightforward funky melody, a beat-snapping post-apocalyptic dance with horns and a lot of energy, comparatively to the rest of the album.

“Hang On Sleepy Town” has a slow, quiet swaying swagger with acoustic guitar and violin. The vocals glide through, painting a sad, sullen image. The farmhouse instruments slowly grow in urgency.

“Lullaby” begins with twinkling bells, and unexpectedly fast tempo in bass and guitars for a lullaby. The song is actually driving, musically, as the vocals slowly glide overtop. The lyric “It’s a shame” repeats over in the chorus. The piano and bass have an urgent quality to them, although the overall song is not that pressing. The end of the song has actual lullaby lyrics over synth instrumentations that sound like an ominous heart monitor, which paints a sad picture of a prayer for comfort in a hospital room.

Stand Out Track: Rope

Links:
Wiki
Discogs
facebook
pledge music drive (over)
allmusic
SuperDelux Edition
rate your music

(the) Incredible String Band - Changing Horses

Name: The Incredible String Band
Album: Changing Horses
Year: 1969
Style: Folk, Renaissance, Psychedelic
Similar Bands: Donovan, Nick Drake, Strawberry Alarm Clock
"One-Word" Review: Spaced Out ,Tired Minsterals
Based Out Of: Scotland
Label: Elektra

Changing Horses: Cover, Back & Record

Changing Horses: Liner Notes & Record

Changing Horses (1969):

1. Big Ted 4:21
2. White Bird 14:46
3. Dust Be Diamonds 6:14/
4. Sleepers, Awake 3:44
5. Mr. and Mrs. 4:54
6. Creation 16:04

Album Rating (1-10): 4.5

Members & Other Bands:

Joe Boyd - Producer
Walter Gundy - Harmonica
William S. Harvey - Sleeve Design
Mike Heron - Bass, Guitar, Guitar (Electric), Horn, Keyboards, Mandolin, Percussion, Piano, Sitar, Vibraphone, Vocals, Artwork (Heron)
Licorice McKechnie - Guitar, Kazoo, Keyboards, Organ, Percussion, Violin, Vocals
Ivan Pawle - Keyboards, Organ, Piano (Dr. Strangely Strange)
Janet Shankman - Photography
Rose Simpson - Bass, Percussion, Vocals
Robin Williamson - Flute, Gimbri, Guitar, Guitar (Electric), Keyboards, Organ, Percussion, Piano, Violin, Vocals, Washboard, Artwork
John Wood - Engineer

Unknown-ness: I’ve never heard of this band. From the cover art to the interior art work, I’m guessing it will be light and folky. Music from the hippie culture can be a vast array of music, though, but I’m thinking it is going to be more renaissance themes and medieval instrumentation.

Album Review: “Big Ted” sounds like a swampy southern jug & washboard band song. It is also a bit like Dr Dog. It’s about selling an old pig named Ted to market. It is kind of a silly song. In fact, it has nonsense words skatting over a fun bouncy bridge including a sound that I think is “Squirrelly.” It is this fun bouncy section that really brings the song together, and finishes out the song to the end. Very enjoyable.
“White Bird” is a slower, quiet, recorder played song. It is a long light, flittering ballad. The harmonized chorus sounds downright religious, especially with the organ playing long, drawn out single notes. It feels like it is going to tire out and stop at any time, as it slowly crawls along, but there is still 12 minutes to go. So rather than stop, a psychedelic bass and backing instrumental section lifts the song up as the vocals slowly change and wake up. But that stops and the recorder takes over, bringing back the renaissance style folk ballad and choir-like chorus. After this offering, the music stops completely and picks up with a painful moaning style of singing with only the faintest hint of musical accompaniment...strings perhaps? Then for a little there is a strings-only instrumental: a little plucked and flamenco style guitar play. This is eventually followed by more painful chanting and echoing, wind blown effects. The chorus chant of “white bird” is revisited in the end with bongo percussion, but it still sounds churchey.
“Dust Be Diamonds” feels connected to the previous song as it is slow and soft, but the melody of the verse sounds a little progressive, as it is broken and disjointed. The chorus is quite annoying, as it sounds like a folksy cover of something that would come from Ren & Stimpy. It has a sort of royal welcoming announcement as played on the piano feel to it too. But the song consists of these two uninteresting parts, making this song a long, drawn out chore.

“Sleepers, Awake” is an all acapella song that has a folksy church choir feel. It is harmonized with a strong separation of the male and high pitch female vocals.
“Mr. and Mrs.” Takes the mood back to folksy psychedelic genre. The song just has a feeling that it was played in a cloud of smoke and black light. It rambles along a path not quite cemented down, so bits of the melody do wander off track. It borrows a little in the melody from the Beatles odd creations, as this song reaches a point halfway through where the time signature and tempo constantly changes.
“Creation” starts with a quiet moaning chant and slow acoustic guitar playing with liquid percussion in the background. It has a spacey higher plane feel to it, with the spoken lyric dialogue over laying the sitar and chants. If it weren’t so serious sounding and plodding, droning on, I’d think it was a joke from something like The Monkee’s “Head.” The dialogue turns into a very calculated singing with minimal elevated emotion. Around 4:50, the style changes, bridged by an Eastern European sounding section. The spoken psychedelic poetry continues over a much more upbeat musical section, with la-la-la’s replacing the painful moaning. The eastern bridge comes back and continues longer, in a very klezmer dance section. That quickly turned back into the initial moaning and dark section from the beginning. Then a whirling piano sends the vocalists spinning around in a tripped out dream, as they exclaim “aaahhh” closer and further away from the mic. The style makes a complete turn about, as slow ragtime piano begins, and the vocals are sung through an olde tyme microphone, accompanied by a trumpet playing the vocal melody. This jazzy radio era section is followed by an instrumental section that finishes off completely. But there is still a minute left for the old tyme mic sound and vocals that sound drunken and swaying, accompanied by kazoos.

Stand Out Track: Big Ted

Links:

Wiki

Allmusic
fan site
be glad the song has no end
Mike Heron site

last fm
Web Resources for ISB
rate your music

(the) Inmates - First Offence

Name: (the) Inmates
Album: First Offence
Year: 1979
Style: Garage / Pub Rock
Similar Bands: Rollign Stones, J. Geils Band, Steppenwolf, Ace, Charlie & The Pep Boys, Van Morrison
"One Word" Review: R, B & Roll Rebirth
Based Out Of: London, England
Label: Radarscope Records, Radar Records, Polydor

First Offence - Cover & Record

First Offence - Back & Aquarian Clipping.

First Offence (1979)

1. Dirty Water 3:00
2. Love Got Me 3:36
3. Midnight to Six Man 2:20
4. The Walk 2:44
5. You're The One That Done It 2:29
6. Jealousy 2:57 /
7. Mr. Unreliable 2:52
8. Three Time Loser 2:33
9. I Can't Sleep 3:03
10. If Time Could Turn Backwards 4:04
11. Back In History 2:17

Album Review (1-10): 6.5

Members & Other Bands:Ray Beavis - Sax (Tenor)
John Bull - Drums
Ben Donnelly - Bass
John Earle - Baritone Sax
Laurie Garman - Harmonica
Malcolm Garrett - Design, Sleeve Design
Peter Gunn - Guitar, Vocals
Dick Hanson - Trumpet
Eddie Hedges - Drums (Blessed Union of Souls, The Vibrators)
Bill Hurley - Vocals
Vic Maile - Producer
Tony Oliver - Guitar (Rhythm), Vocals
Gavin Povey - Keyboards, Organ
Tim Read - Design
Sheila Rock - Photography

Unknown-ness: I love the look of the band, the name’s random capitalization / logo, the dark color and the play on words with the band name and album title. Whoever got rid of this record included a neat artifact in the record sleeve: a page out of the NJ music mag Aquarian around the time the album came out, and when the band was touring the states. From these elements of judgment, I’d guess that this band is going to be a great, angular new wave pop band with bouncy melodies and a driving vibe. I’m kinda excited to listen to and review this record.

Album Review: So it turns out the band is British, and consists of mainly pub & garage rock roots, taking aim at early Stones style. And their first track was their “hit,” which is a cover of the Standell’s “Dirty Water.” The band is also, apparently, still somewhat active with an updated website and all, as of 12/19/11.

“Dirty Water” immediately feels like it is a live recording in a pub. And the vocals are borrowed straight from Jagger. The guitar is a simple hook, and the rhythm is steady, but not really driving. The guitar solo is gritty and feels grimy like the best of pub rock.
“Love Got Me” starts right off with a guitar right out of Steppenwolf’s “Born to be Wild.” It is song best listened to while driving. And just when I got the feeling that there was going to be an ultra catchy chorus, the song just reverted back to the verse melody. There is not much diversity to the song, as it stays fast to the simgle melody.
“Midnight to Six Man” is a much more motivated, 60’s inspired garage band song. It features a harmonic dual vocal that splits apart in the chorus.
“The Walk” feels like a happy-go-lucky R&B strut. It also feels a little dopey, as in I could see back a dopey, aw-shucks character in a film montage. Maybe it feels like it should be in a Kids In The Hall sketch.
“You're The One That Done It” has a start stop bass groove that feels a little like Depeche Mode (whom I’m not a fan of) It covers its tracks well with the R&B slide guitar and Jagger vocals.
“Jealousy” drives right from the get go with a motor like bass line and a guitar that feels like the echo of a train passing a station. The chorus here does carry through with an anticipated catchy chord progression and I’d imagine the energy in the song performed live would be quite intense.

“Mr. Unreliable” is slower and darker, and actually feels like a different vocalist. Not to say this is a slow song, because the bass line is still full of punch and the guitar does not let you sit. The song has a building feeling like it has the chance to go faster, but it is comfortable at its set course.
“Three Time Loser” blasts off with a horn section, and immediately settles itself in for a groovy, bluesy, confident tempo. The vocals n this song remind me of Van Morrison’s “Wild Night”
“I Can't Sleep” takes us back again to a simple 60’s garage rock song. It is simple in composition, and relies heavily on the bass groove. It is just a bit too simple and lacks a musical challenge.
“If Time Could Turn Backwards” slows things down tempo and singing wise. This is the sweaty, mid-show-stopper “Time Is On My Side” ballad that makes the ladies swoon. “Back In History” has a somewhat annoying use of the vocals, hanging onto the word baby. The rest is great example of classic rock n’ roll: a Chuck Berry esq song.

Stand Out Track: Midnight to Six Man

Links:

Subversive Sound
Sons of the Dolls
Wiki
Last FM
Riverside Records
Allmusic
rate your music

(the) Illusion - s/t

Name: (the) Illusion
Album: s/t
Year: 1969
Style: Psychedelic Soul/Garage
Similar Bands: MC5, Mooney Suzuki, Hives
"One Word" Review: soulful-homemade-drugs
Based Out Of: Long Island, NY
Label: Steed, Jeff Barry Enterprises, DOT Records, Paramount Pictures

The Illusion - Cover & Record

The Illusion - Back & Record

The Illusion (1969)

1. Did You See Her Eyes 6:55
2. Talkin' Sweet Talkin' Soul 2:42
3. Just Imagine 3:30
4. Medley: Run, Run, Run / Willy Gee 5:55 /
5. I Love You, Yes I Do 2:20
6. Alone 3:00
7. Charleena 2:17
8. Medley: Why, Tell Me Why / The Real Thing 6:24
9. You Made Me What I Am 3:28

Album Rating (1-10): 7.0

Members & Other Bands:

Chuck Alder - Bass (The Uncalled Four, The Arrivals, The Del Sonics, The Creations, The Deep, Jerry Ross Orchestra, Vince Martell )

Rich Cerniglia - Guitars (Network, Daryl Hall and John Oates, Aviator, Ellen Shapely, Vince Martell, Wiggy Bits)

Mike Maniscalco - Guitars, Keys, Organ (Wiggy Bits)

Michael (Sylvester) Ricciardella - Drums (Network, Baraby Bye, Aviator, Wiggy Bits, Alice Cooper)

John Vinci - Vox (Network, Vince Martell)
Jeff Barry - Producer
Fred Weinberg - Engineer
Joel Brodsky - Cover Photo
Christopher Whorf - Art Direction

Unknown-ness: I’ve never heard of this band. I love the look of the album. It feels like I’m holding an artifact from a superb era of music. The photo reminds me of the Box Tops, whom I love. And I really enjoy the simplicity and color scheme of the logo. I don’t know if it’s going to be dripping in psychedelia, but I’m holding this record up to high regards and expectance.

Album Review: “Did You See Her Eyes” starts with the band counting down and marking the recording with the title. The song is very bluesy and possesses raw energy from many garage bands. The harmonies and some of the guitar work also give it the psychedelic edge. The lengthy instrumental section feels odd to have so early in the song, and so early on the album. Usually bands wait for deeper in the album to put unconventionally long instrument solos. And this features solos from every member it seems. The song then comes back in for a great rhythm section like some of their counterparts of the day performed, Vanilla Fudge. The song breaks down to sound as if it were a practice session, and feels nothing like the beginning of the song. The pounding bass and drum line throw the listener into the necessary psych trance. Then the vocals take over and the song returns for the last 50 seconds of the song.
“Talkin' Sweet Talkin' Soul” starts right off with a damn catchy ba-da-bap harmony hook. This song is a classic rock toe tapper. Every time it comes back to the harmonized chorus it fills the ears with such a happy hook. And it is that hook which we hear last as the song fades out.
“Just Imagine” begins with a psychedelic folky guitar and light echoy balladeer singing. It becomes a sing along with the rest of the band in harmony, but it always remains the light ballad.
“Medley: Run, Run, Run / Willy Gee” has an aggressive vocal and a driving tempo thanks to the drums and accenting guitars. This song too relies on another extended instrumental section. The song has basic generic lyrics and it feels like a party song without literal meaning, but one that creates a definitive atmosphere with a spacey harmonic chorus of Run, Run, Run. The guitar plays the last section and the bass picks up leading us into the second half of the medley; an early Beatles and Kinks like garage revival.

“I Love You, Yes I Do” carries over the same characteristics from the Willy Gee portion of the last song: Garage Soul. The vocals are angsty, like a lot of the good late 70’s jittery new wave rock. The chorus is a constant breakdown and restart. After every section, it feels like the song could end on the final discordant note.
“Alone” almost feels like it is a Motown single, it has all the bouncing bass and drum beat, but thanks to the guitars, and echoing harmonies, it is far grittier.
“Charleena” is a “wacka-wacka” guitar based poppy love song. It is the basic recipe of 50’s pop songs with a description of the sought after girl set to happy bouncy music.
“Medley: Why, Tell Me Why / The Real Thing” starts as a dark, stirring, “music-to-smoke-drugs- to” number. It lingers on with its only purpose to create an atmosphere to space out in. Then at 2:50, the tempo changes, and the psychedelics kick in for a jumping dance party. The guitars kinda make the song sound like a Pepsi commercial. It is a very catchy vocal melody and the song travels all over the place while maintaining its cohesion. And the song makes me feel like it is going to transition into the Cowsill’s “Hair”
“You Made Me What I Am” is a dark, but bouncy pop song that reminds me of the Robbers On High Street. The song breaks form to slum it in the experimental department. Suddenly, the song takes off and colors morph into each other for a rushed, bombastic psychedelic freak out. The drums fade out, only to fade back in to one last electric wah-wah guitar section before it fades out completely, yet too quickly.

Stand Out Track: Talkin' Sweet Talkin' Soul

Links:

allmusic Wiki
Official Band Site

myspace
Long Island Music

Chuck Alder.com

Rich Cerniglia myspace

Rich Cerniglia NY arts Mike Ricciardella's website

Rate Your Music

Donnie Iris - Back On The Streets~, King Cool*

Name: Donnie Iris (and the Cruisers*)
Albums: Back On The Streets~, King Cool*
Years: 1980~, 1981*
Style: Power Pop
Similar Bands: Cars, ELO, REO Speedwagon, The Knack, Jackson Browne, Supertramp, Genesis, Art In America, Hall & Oates
"One-Word" Review: Pop-New-Metal-Mish-mosh
Based Out Of: Ellwood City, PA
Label: Carousel Records, MCA

Back On The Streets - Cover, Record
Back On The Streets - Back, Record

King Cool - Cover, Record

King Cool - Back, Record

King Cool - Lyric Sheet Insert

Back On The Streets (1980)

1. Ah! Leah! 3:41
2. I Can't Hear You 3:37
3. Joking 3:10
4. Shock Treatment 3:44
5. Back on the Streets 3:32 /
6. Agnes 3:26
7. You're Only Dreaming 4:41
8. She's So Wild 2:33
9. Daddy Don't Live Here Anymore 3:45
10. Too Young To Love 5:28

King Cool (1981)

1. Sweet Merilee 3:37
2. The Promise 4:06
3. Pretender 5:15
4. Love is Like A Rock 3:35
5. That's The Way Love Ought to Be 4:19 /
6. My Girl 3:59
7. Broken Promises 4:21
8. King Cool 4:05
9. Color Me Blue 5:19
10. The Last To Know 5:19

Album Rating (1-10): ~6.0,
* 5.0

Members & Other Bands:

Donnie Iris - Most Vox~* (The Jaggerz, Wild Cherry, Donnie & the Donnells, Cellarful of Noise)

Mark Avsec - Producer, Piano, Organ, Synth, Some Vox, the Dr.~* (Wild Cherry, Breathless, Cellarful of Noise)

Marty Lee Hoenes - Acoustic & Electric Guitars~* BackingVox*

Albritton McClain - Bass~* Backing Vox* (The Innocent)

Kevin Valentine - Drums~ (Breathless, The Innocent)

Carl Maduri - Exec Producer~* Asst. Engineer*
Kenny Blake - Sax~

Robert Peckman - Bass~

Jerry Reed - Recording Engineer~*

Don Garvin - Asst. Engineer~*

Robert E Rath Jr - Art Direction & Design~

Robert Holcepl - Photography~

Bob Janusz - Art~
Michael Barbiero - Mixing*

Jack Skinner - Mastering*

George Osaki - Art Direction*

Georgopoulos/Imada - Design*

Georgina Karvellas - Cover Photograph

Marcia Resnick - Back Photograph

Unknown-ness: I’ve never heard of Donnie Iris. But when I saw these two records come up in a row at a thrift store in Austin, I had to pick them up. Donnie himself has an image like Elvis Costello crossed with Marshall Crenshaw. I liked both album covers, the silly, stripping down from a yellow tux on “Streets” and the new wave potential of “King Cool.” The years were good too, 1980-81. Looking back in hind site, it is weird, being from Pennsylvania (as is Iris), having to go all the way to Texas to find these records.

Album Review: ~“Ah! Leah!” begins with a heavy metal electric guitar and heavy bass drums. The chorus is a harmonic choir. It sounds like any number of late 70’s rock albums, with synth and new wave combining with Middle America hard rock / power pop. It is somewhat catchy, but nothing to unique.
“I Can't Hear You” has a sort of deeper, Elvis Presley/ Roy Orbison type voice, thick and rich. The chorus is the same choir harmony as the first song. The music is skipping guitar and a whiny synth is added over the mini-instrumental break. The song is repetitive in its nature, thus, it feels like it drags on.
“Joking” begins right off the bat with a more energetic, jittery start with the bass and faster drumming, and a tone down on the electric guitar. The vocals are jitterier and nasally, this is the type of song I like. The backing vocals add the title of the song to the chorus, in a dual layered hook. It has a great build to a catchy footloose “dance when your angry” tempo chorus. The guitar solos fall within the building framework of the song, and add quite a lot to the over all production. It is a non stomp movement.
“Shock Treatment” begins with synth over top of laughing, feeling like being drunk at a carnival or on an amusement park carousel. It abruptly stops and the smooth power pop song begins. The vocals are stolen right from the Cars, and even a little Sparks…the nervous, unsure vocals. The vocals explode with energy and lose the nervousness with the bridge into the chorus. A sax is used late in the song, and all the melodies come together, overlapping as if to prove that they were all compatible, and consisted of the same melody.
“Back on the Streets” is the album’s title track, and ends side one, with music that is similar to the opening track, but the lyrics are sung like a Billy Joel song. Aggressive, but rolling along effortlessly. There still remains some of that Middle America urgency with the tone in his voice and the use of the electric guitar, synth keys and driving drums. As the song cloes down, the synth picks up the reigns and the tone becomes a cold calculated synth head rush.

“Agnes” drums and a “My Sharona” bass/synth beat begin the song underneath spoken dialogue. The singing begins and they sound like they have found some middle ground between the aggressive shouting and the nasally youthful new wave with this song. The harmonic choir of backing vocals brings some smooth texture to the rocking production, and adds a little Supertramp to the Cheap Trick.
“You're Only Dreaming” starts a little darker, but emerges with the Orbison/Presley like vocals again, laid over a bouncing synth keyboard, and it forms a song that should have been included in Fast Times at Ridgemont High, as it sounds exactly like Jackson Browne’s “Somebody’s Baby.” After the whole verse/chorus runs through one stanza, it recycles it self perfectly to a fresh start at the beginning.
“She's So Wild” is a name that just admits loud heavy guitars into its production. So that’s just what starts the song off with a heavy drum beat too. But once it reaches the chorus it goes glam, with the addition of the Queen/Supertramp like backing vocals. The lead guitar comes back to try and take over, but they are abandoned for the glam chorus a few times more.
“Daddy Don't Live Here Anymore” is a slow sad ballad. This feels like the slower of the A’s songs. The mood picks up as it approaches the chorus, which has quite a catchy vocal melody. The verse of the song is just built around the chorus, to build up to the bridge and fall into the chorus delivery. A neat synth sound, dare I call it Egyptian, covers the instrumental break before the bridge returns, again, delivering the chorus back again. It is a well constructed song, neatly organized, maximizing the hook’s effectiveness with its usage.
“Too Young To Love” gives off the sense of a monster ballad as it begins…I can see the Scorpions style “Wind Of Change” breeze blowing through the music video’s set, and an arena of lighters sparked, toasting the singer’s pain. The song is a mixture of singing and speaking, and both have a gruff, throaty sound; sometimes even a controlled yell. The second half of the song invites a sax to add to the questionable bluesy sadness of the song.

*“Sweet Merilee” begins Iris’s second album as a light power pop number. The harmonizing backing vocals blaze onto the song and bring with them a completely prog vibe akin to Genesis of about the same era. The bombastic and energetic vocals overpower the music, which is forced to bring itself up a level to an ethereal gospel sound.
“The Promise” with all its synth keys (which remind me of Goonies) and slower, slightly disjointed rhythm screams power pop new wave. This is a pop ballad mystical and steady. The mid song instrumental breakdown is good, though. It removes all the smoke and mirrors and it brings to light the intended melody. This reminds me a little of one of the earlier albums I reviewed: Art In America.
“Pretender” fllows the lay out of the first album, where this, the third song is very jittery new wave. The vocals are a not as jittery, but the music more than makes up for it. The vocals are fast and steady. But even a minute into the song, the jittery new wave sound is lost and traded in for a bland pseudo new wave sound. The production tries to bring the synth back, but it is already too late. It now feels like a Hall & Oates song (a band I read that Iris toured with).
“Love is Like A Rock” begins with synth electric guitars, something I know I’ve heard on Danny Elfman’s solo album. The vocal style is like a white boy version of James Brown. And the chorus is a chanting, shouting choir, mixed with a brief harmonic choir just underneath. But the driving momentum of this song comes off as disgusting. It is like a terrible remix of we will rock you, stripped of all its musical credentials, leaving all the stomping, basketball game chanting over top of the electric guitar sound. And it too is stupidly repetitive.
“That's The Way Love Ought to Be” dabbles in an off key sung verse, still a different aspect of Iris’s voice I have not yet heard. But it is layered over more stale, dated synth (which might have seemed fresh at the time). The melody is not that catchy, the only high point is the upturned note that is sung in the bridge. Again, this feels like more “Somebody’s Baby” synth. The yelling and repetitive ness at the end gets quite out of hand, and eventually fades out.

“My Girl” Begins side two with a side to side Billy Joel style groove. It is part oldie and part power pop. The structure is a little more complicated than the rest of the album. There are many different musical sections that build with overlapping vocal sections which leads us to the climactic chorus of the title of the track, which is the only section that releases the building pressure with a downturning melody.
“Broken Promises” blasts off with a power pop bouncy beat and smooth layered vocals. Lots of mini melodies bounce off each other as they get their chance to take the spotlight. The entire gathering of the melodies is so catchy, that there is no room to pick one out and follow it. Together it is tough to put a finger on and figure out where the song is going. Eventually after a percussive instrumental break, it fades out.
“King Cool” features the stylized pop wave keyboard sound of the 80’s and more Hall & Oates song style. The song has the razor blade slickness that borders on prog. It builds and builds with electric guitar at the end, and the entire thing just fades out in the end.
“Color Me Blue” is a slowish side to side swaying waltz. This could have been played at an oldies dance, and features a dip back into the Presley vocal style, particularly in the uttering of the song title in the chorus. The backing vocals and swaggering music repeat over and over ad-nauseum for way way to long. The end does not come soon enough as the soaring keyboards take you back to the middle school dances you hated. And then suddenly it stops.
“The Last To Know” picks up exactly where “Color Me Blue” ended…another ballady slow dance song, like something that could be over the end credits of a cheesy 80’s rom com that ended all right at prom night.

Stand Out Tracks: ~Joking

Links:

Allmusic

Official Site

Wikipedia
Unofficial Site: Parallel Time

Songfacts Interview

Invisible Men - s/t

Name: Invisible Men
Album: s/t
Year: 1983
Style: Power Pop
Similar Bands: Tears For Fears, Paul Simon, XTC, Jerry Harrison, Thomas Dolby, Sparks, Big Country
"One Word" Review: 80's-let's-try-this-button-on-the-keyboard-pop

Based Out Of: West London
Label: Jem Records, Passport Records

Invisible Men - Cover & Sleeve

Invisible Men - Back & Sleeve

Invisible Men - Record

Invisible Men (1983)

1. Sally 4:09
2. Golden Bodies 3:01
3. Going For Broke 3:53
4. Exocet 3:10
5. Love In A Hot Air Balloon 3:34
6. Traces 4:35 /
7. I Want Your Heart 3:53
8. Falling For Love 3:31
9. Guru 4:30
10. The Women Were Watching 4:31
11. My Time Has Come 4:33

Album Rating (1-10): 6.5

Members & Other Bands:Anthony Phillips - Bass, Guitar, Vocals, Organ, Producer, Jupiter 8, Polymoog, Arp 2600, Loupy Choir (Genesis)
Martin Drover - Trumpet, Flugelhorn
Malcolm Griffiths - Trombone
Joji Hirota - Cymbals, Marimba, Tambourine, Tympani , Shaker, Wood Block, Jawbone, Bell Tree, Cabasa
Morris Pert - Tambourine, Kalimba, Shaker, Jawbone (Isotope)
Vic Stench - Bass
Bimbo Acock - Saxes, Brass Arrangement
Richard Scott - Piano, Guitar, Loupy Choir, Chorus, Noise, Producer, Vocoder, Drum Machine, Tubular Bells, Roland TR-808, Binoculars, Windows
Trevor Vallis - Producer
Stephen Marsh - Photography
Paul Robinson - Drums
Martin Robertson - Sax
Uti Koofreh - Bvox
Jeff Dunne - Drums
Henry & The Cakettes - Party
R. Bernascone - Sarrusaphone
Jonathan Snowdon - Piccolo
The Vicar - Church Organ
The Professor - Title & Harmony Class

Unknown-ness: I’ve never heard of these guys. Actually, I saw the sticker on the cover, and because I’m not a big Genesis fan, I am not familiar with the name Anthony Phillips. So I bought this album, probably because it fit into an artistic genre of albums I was buying: pastel colors, and minimal design. Just the fact that it had the sticker gave it some potential, that this was the new project from a famous somebody. So it has to be at least respectable, right? The date on the record was 1983, so even if it is getting a little old for the height of the power pop style (which is what I’m expecting), it might still be good.

Album Review: So there are lots and lots of instruments and musicians on this album, so there should be a thick rich palette of textures and sounds. I’d only assume that being in Genesis before this would add to the talent pool of musical friends Philips has acquired. I’ve read that the ideas are there, but the production and execution of the songs is not that great. So here it is.
“Sally” is a smooth synth keyboard, followed up by terrible 80’s jazz sax. Oh god, a twinkling chimey keyboard and the awful parts of the synth 80’s style have all clocked in. Once the song breaks free from the verse, the chorus is not too bad. But there is a lot of making up ground for the inspirational-yet-superficial verse. This reminds me of terrible Tears for Fears songs.
“Golden Bodies” more synth samples, which start out with promise are quickly dashed with overpowering synth brass. But the vocal melody of the song is very interesting and catchy, reminding me of latter XTC. Even if the music is like bad Paul Simon meets TV Dramedy Theme songs. The song has a natural islander flow to it, something like Talking Heads. If only the 80’s stylized synth was toned down, the song could have been a fabulous song. This will probably be the strongest song on the album.
“Going For Broke” has a metal/prog intro, which transfers to a jittery, driving Flashdance-style song. The atmospheric whining guitar takes away from the song, where the direction of the majority of the song is straight ahead, and fun, the guitar grabs your attention and pulls you away toward the opposite direction. It is like the force of an ambient prog song trying to bury its way into this catchy rock/pop song. They don’t blend, rather they tear it apart.
“Exocet” begins with a simple drum machine loop. The vocals remind me of Tears for Fears again. But the synth effects, which are trying to sound like sterile marching war, thus the reference in the song’s name to the missile that struck a British warship in the Falklands War (wikipedia). The song picks up a little, but it feels like it is about to fall apart at any second. The song loops with increased effects to the point of siren like warning. And it cuts off into the polite and delightful next song.
“Love In A Hot Air Balloon” has a slightly warbly guitar sound paired with a upbeat drum section and a triumphant trumpet. The vocals are upbeat and happy, pretty much like what you’d literally expect with the song’s title. I think the song refers not as much love IN, but love FOR a hot air balloon ride. The chorus features short burst of rhythmic vocals that build up to a high climactic finish of the song title.
“Traces” is a quiet ballad that feels a bit like Thomas Dolby in its simplicity and dreamy landscape. There is a popular 80’s song that this reminds me, but I can’t for the life of me think about who it is or what the lyrics are. The deepness, and the liquid nasally-ness of the vocals are the only characteristics that make me think of this missing song. Anyway, I could really see young middle schoolers slow dancing to this song in the mid 80’s

“I Want Your Heart” is a smoothly produced upbeat pop song, with high pitched signing, similar to Sparks, and a bouncy keyboard synth beat, featuring swirling synth sections all over in the back and foregrounds. It is a good song, but it is just a little one-dimensional, never really losing track of its sugary bubble gum purity.
“Falling For Love” fades up with a quiet synth tambourine and totally 80’s keyboard production. The vocal melody trembles up and down, barely attached to the musical accompaniment. The instrumental section brings back the synth sax effect, which sounds like a blister on the song’s surface rather than something blended for the betterment of the song.
“Guru” is an off-timed song, with a staggered section orchestral beginning. Then the sax introduces the verse. This is a proud waltz of a song. It has many new-agey elements, and the same thick, but nasally voice still similar to Tears for Fears, with less energy. The song ends in a swirling fade-out of the chanting chorus.
“The Women Were Watching” begins with a drum and cymbal into, and is soon added to with a thick New Order sounding bass, with a flute and other clashing effects. The chorus comes on bold, like Big Country, and for an instant, it becomes very fun. By far, the most energy exerted is all bonded up in this song. I could totally see Roland from Tears for Fears singing this song.
“My Time Has Come” is a slow, breezy ballad, ending the album on a soothing sleepy note. But the chorus is comparatively bombastic: bold and marching. The melody is proud and all-knowing. And as it loops around, it could go on forever in its catchy building or momentum. Instead of changing it up, and improving with the melody, the song just fades out, just as it begins to get repetitively catchy.

Stand Out Track: Golden Bodies

Links:
Wikipedia
Wikipedia - Anthony Phillips
Phillips Official
Prog Archives
Rate Your Music
Camino Records
Allmusic

Interview - Big Oceans~, s/t*

Name: Interview
Album(s): Big Oceans~, s/t (Snakes & Lovers)*
Year(s): 1979~, 1980*
Style: New Wave, Smooth Pop, Singer/Songwriter
Similar Bands: Graham Parker, Aztec Camera, A's, Daddy Licks, John Mellencamp, Elvis Costello, Dramarama
"One Word" Review: Nazal-Smooth Pop-Wave
Based Out Of: Bath, England
Label: Virgin, Atlantic, Warner

Big Oceans - Cover & Sleeve
Big Oceans - Back & Sleeve Notes

Big Oceans - Record

s/t - Cover & Record

s/t - Back & Record

Big Oceans (1979)~

1. You Didn't Have to Lie to Me 3:12
2. Here Come the Cavalry 4:25
3. Feet Start Walking 2:30
4. Love Fallout 3:47
5. Fire Island 4:40/
6. Academies to Anger 3:41
7. Blow Wind from Alesund 3:00
8. St Jean Wires 4:56
9. Hart Crane in Mexico 3:45
10. Shipyards 4:52

S/T (1980)*

1. Adventures 4:50
2. Hope It's Me 3:45
3. Hide & Seek 2:58
4. Crossing Borders 3:16
5. It's Over Now 3:18
6. Union Man 3:30 /
7. To The People 3:39
8. A Gift 4:38
9. The Conqueror 4:10
10. Style on Seaview 4:12
11. Until I Hold Her 7:20

Album Rating (1-10): ~ 7.5

*6.5

Members & Other Bands:

Pete Allerhand - Guitar, Keys, Vox

Alan Brain - Guitar, Vox, Sleeve Concept~

Jeff Starrs - Vox

Manny Elias - Drums

Phil Crowther - Bass~

Alfie Agius - Bass, Vox*

Colin Thurston - Producer~ (Duran Duran, Kajagoogoo)

Arnold Frolows - Executive Producer~

Ansell Sadgrove - Design~

Marlis Duncklau - Vox*

Pete Wingfield - Piano, Synth, Hammond, Clavinet*

Mick Glossop - Producer,Engineer*

Roger Stowell - Photography*

Unknown-ness: I had never heard of these guys. I got the two albums at different times, not even knowing or remembering each one. I got the spotted, self titled album first, mostly because of the picture of the band on the cover. The rest of the album looks to be too 80’s – in a bad way, for my taste, but I liked to take a chance on it, also because of the year. But on Big Oceans, the minimal artwork is bright and the font for the band looks pretty cool too.

Album Review: “You Didn't Have to Lie to Me” begins with a pleasant smooth rock intro, akin to Aztec Camera and college radio music, with light rock harmonized vocals. There is a large adult contemporary vibe to this, and the lead vocals are sung in a nasally urgency, similar to Graham Parker, or like a very light Elvis Costello. The songs have a very minimal produced sound that floats by.
“Here Come the Cavalry” had a bold 80’s new wave, but the production is so light and wispy, that its potency is completely lost. The nasally vocals and harmonized background still sound good, but it is like an impression of new wave rock music. There is a heart beat pulse breakdown halfway through the song, and the bass kicks in giving it more of an edge, but the jangely guitar does nothing to bolster that power. This could have been a really great song with a youthful production.
“Feet Start Walking” is a slower, near-ballad sentimental song that beckons the feeling of a doo-wop love-lost song. The vocals have an honest emotion, and the minimal music actually helps accent that in this song in a good way.
“Love Fallout” has a nice bouncy upbeat progression, and the lead guitar does its own things within the boundary of the bass. The melody is catchy and feels like it is going to explode into an ultimately catchy chorus at any second. The chorus instead turns into something like adapted-disco.
“Fire Island” starts with the jangley 80’s guitar and the vocals are hushed, until the song builds up to its full force. It is still near-disco and harmonized vocals here in the chorus. There are some neat ideas with the bass and guitar in the instrumental sections, but it’s the production, being drawn and quartered between new wave, light adult contemporary rock, and popular disco. If they would have embraced the nasally, high-energy vocals, and tuned down the harmonized vocals and disco themes, the album would be a classic. The song ends with an ambulance siren like guitar

“Academies to Anger” has a slightly buzzing guitar in the background and a thin watery bass in the front. The drums carry the danceable beat and the bass soon follows. This song, produced differently, could have been a rival to XTC’s energy and style.
“Blow Wind from Alesund” begins like a Duran Duran song without the thick electronic wall of synth. It quickly turns into a prog song, at least for the chorus, the over all theme of the song is a sneaky, dark groove, like “Watching the Detectives” or another sly theme.
“St Jean Wires” is a slow stumbling theme, pushed along by drums and flopsy bass. This is a day break, sun rising ballad, still full of the adult contemporary production. For a 5 minute song, it is pretty tedious.
“Hart Crane in Mexico” comes back and revisits a Duran Duran like intro, but the song evolves into a Middle America rock anthem. It is a bit smoky and a bit dancy, but the guitars are still too light in production for their own good.
“Shipyards” feels aquatic, with its partially liquid guitar sound. The pace of the song is similar to the ambulance siren tempo of “Accidents Will Happen.” The chorus has different sections cleverly woven together, where, just when you think the final note has been struck, the melody starts over again under a different layer of music. It is one of those songs that could go on forever. The instrumental section presents a large, heavy and repetitive bass hook, sounding like a tanker’s horn. Interwoven is a lighter keyboard sound like a littler ship trying to dock as well. This is perhaps the most complicated and interesting song on the album and it sounds good within its own production.

“Adventures” begins the second album, this the American version, titled and organized differently from the UK release. It follows suit with more light production, identifiable right off the bat. Even the urgentness in the vocals is gone. The nasaliness is there, however, he sounds reserved and calm. The bass is two-note simple, the kick drum gives no thrust and the keyboards are adequate at best. The chorus is ballad-catchy, meaning slow and lofting, but not all that fun. It almost feels like it was written to be performed by the groom at a cheesy wedding in an 80’s movie.
“Hope It's Me” comes back with a more funky 80’s synth fast number. The synth is jittery, even if the wave/arc of the jitteriness is slight. But there is an unnatural smoothness to the song’s structure, where it should bear its teeth more, rather than slink down to a Billy Joel story song. The bridge into the chorus is catchy with a bit of extra energy, but over all it falls flat.
“Hide & Seek” dabs its feet into country with the sound of the bass. But the song sounds like a typical singer songwriter song, with its roots growing back into an Oldies style. Here it’s simple design works in its favor. And I have since reconsidered the country style bass to be much more fitting to the song, after its third visit to the mix. The chorus is very head nodding catchy. There is still a lot of Graham Parker in the sound.
“Crossing Borders” sounds like it is basically the same song as “Hide & Seek,” but slightly rearranged in its outset. But this is lighter and not as fun. And not as catchy either. This song sounds more like a piano songwriter’s specialty, with one guitar hook overlaid repetitively.
“It's Over Now” starts out with a revisiting the same guitar hook from “Crossing Borders.” It is more upbeat of a song, but feels a little tedious and repetitive in a bad way.
“Union Man” is a soft piano ballad, like a lesser version of Elvis Costello’s later sentimental work. It really is like a demo, as the music is so sparse. But I imagine that was the key with the very quiet production.

“To The People” rocks back into shape as much as Interview rocks. This initially strikes me as a straightforward rock song, with slight harmonies, and a steady driving beat, and nothing too memorable or catchy. Well, perhaps the chorus is a bit catchy in a repetitive sing song way, which actually makes for a good chorus.
“A Gift’s” vocals are a bit different than the rest of the album. It is the same, but even more nasally, British and higher pitch. The melody is nice, but it does not need to be shoved down out throats, as it is guided with the in your face keyboard melody. And this is the first time where the singer breaks form and talks through some of the lyrics. And the over all vibe of the song would have to be categorized as anthemic.
“The Conqueror” is a slow bluesy waltzing ballad. Its lyrics easily evoke imagery of the storyline. This is more singer/songwriter folk storytelling at its most elemental form. The emotion of the vocals is quite clear, not buried under the music at all.
“Style on Seaview” feels long winded and like filler to me. There a steady beat broken once in a while by a brief pause and energy build, which is quickly relinquished for the steady tempo. The instrumental section is filled with a medieval/Spanish sounding plucked guitar. And the song reminds me of throwaway Dramarama slow ballads.
“Until I Hold Her” is a long 7:30 epic song that is a bit divergent from the rest of the album at its onset. It possesses an overproduced slyness, but that mood is never altered of overcome. It slinks along into a deeper hazy unsureness, the metaphoric rantings of continued drunkenness and deeper slinking down in the corner booth at a favorite dive bar. It oozes classless and an unavoidable downward spiraling feeling.

Stand Out Tracks: ~Shipyard

*Hide & Seek

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