Vanwarmer, Randy - Beat Of Love

Name: Randy Vanwarmer
Album: Beat of Love
Year: 1981
Style: New Wave, Island, Light Rock
Similar Bands: The Cars, Grandaddy, Generationals, Marshall Crenshaw, Cecilio & Kapono, Eric Carmen, Howard Jones, Billy Squier
"One-Word" Review: Wispy Contemplative Pop
Based Out Of: New York

Label: Bearsville, Warner, Warner Communications

Cover, Record

Back/Lyrics, Record

Beat of Love (1981)

1. Suzi Found a Weapon 3:08 (single #55)
2. Always Right 3:56
3. Babel / Don't Hide 3:07/4:08
4. Amen 1:48 
5. I Guess it Never Hurts to Hurt Sometimes 3:54 /
6. Frightened By the Light of Day 3:26
7. Hanging On To Heaven 3:18
8. The Beat of Love 4:33
9. When I'm Dead & Gone 3:27 (McGuinness Flint cover)
10. Don't Wake Me Up 2:48

Album Rating (1-10): 6.0

Members & Other Bands:

• Randy Vanwarmer - Vox (Brian Briggs, Michael Franks, Svenne & Lotta, Barbara Mandrell, Ottar "Big Hand" Johansen, Tony Wilson, Pat Terry)
• John Holbrook / Brian Briggs - Producer, Engineer, Guitar, Synth, Vox (TCTC, Freida Parton, Utopia, Josh Joplin Group, Claude Dubois, Paul Butterfield, Bernie Cash, Isley Bros, Terence Boylan, Roger Powell, Ian Hunter, Nicole Wills, Tony Wilson, natalie Merchant, Joy Askew, Katell Leineg, Madder Rose, David Mead, Jim Weider, Honky Tonk Gurus, Brian Vander Ark, Five Day Rain, Upchuck, Verve Pipe)
• Ian Kimmet - Producer, Vox (Jook, The Band, Trevor White)
• Del Newman - String Arrangement & Conducting (Cat Stevens, Ten Years After, Peter Frampton, Donovan, Roger Daltrey, Elton John, Kiki Dee Band, Neil Sedaka, Rod Srtewart, Charles Aznavour, Art Garfunkel, George Harrison, Squeeze, Paul Simon, Carly Simon, more)
• Jeff Golub - Guitar (Avenue Blue, Rod Stewart, Billy Squier, Sharz, Patris, Bill Evans, Peter Wolf, Toshiki Kadomatsu, Palace, David Broza, Paul Shaffer, Tina Turner, Grayson Hugh, Bryan Adams, Rick Braun, Cheryl Wheeler, Dar Williams, Gato Barbieri, Kazee, Shawn Mullins, Philippe Saisse, Marcia Hines, Joe Lynn Turner, Miu Sakamoto, Everette Harp, Marc Antoine, Dulcie Taylor, Richard Elliot, VIP Club, Marek Niedzeiecki, Krysten Berg, Jimmy Norman, Steve Cole, Steve Ferrone, Yves Carini, Sax Pack, Harlem Parlour Music Club, Bernie Williams, Kirk Whalum. Euge Groove, David Benoit, Michael Lington, Nils, Bob James
• Leigh Foxx - Bass (Blondie, Brian Briggs, Benny Mardones, Paley Bros, Frankie & Knockouts, Nicole Willis, Iggy Pop, Henry Lee Summer, Cyndi Lauper, Debbie Harry, Yoko Ono, DJ David Knapp, Clayton Bruce Ost, Holly & the Italians, Sonny Kenn Band, Karen Lawrence & the Pinz)
• Mike Braun - Drums, Percussion (Graham Parker & the Shot, Brian Briggs, Elliott Murphy, King of Hearts, Arlen Roth, Eddie Schwartz, Tycoon, Rick Wakeman, Leon Redbone, Peter Criss, Nicole Wills, Michael Bolton, Ellen Shipley, Stevie, Dian Tell, Rick Springfield, Peter Allen, Jennifer Rush, Elm St Group, John Waite, Hall & Oates, Diane Tell, Eileen Ivers, Madgesdiq, Mackintosh Braun, Kenny Rogers)
• Murray Weinstock - Keys, Horn Arrangement (Fifth Ave Band, Mark Moogy Klingman, Jon Paris Band, Bread & Butter, Manhattan Transfer, John Sebastian, Tom Pacheco, Woodstyock Mts Revue, Artie Traum, Pat Alger, Sic Fucks, Nicole Wills, Motherhead Bug, Richie Havens)
• Kevin Jones - Congas (Sunrize, Winard Harper, Charles McPherson, Archie Shepp, Isley Bros, Michael Gregory, Clyde Criner, Sweet Obsession, Larry Price, Blaze, Nick Rolfe, Norman Simmons, Babatunde Lea, Winvent Ector, Jihad Muhammad, Organissimo, 
• Cyndi Cashdollar - Dobro, Vox (Asleep at the Wheel, Bob Dylan, Leon Redbone, Dave Alvin, Guilty Women, Geoff Muldaur, Tx Sheiks, Woodstock Mt revue, Happy Traum Band, John Herald, Ryan Adams & Cardinals, Cathy Winter, Karen Beth, Jean Redpath, Christopher Shaw, Graham Parker, Peter Rowan, Hans Theessink, Don Walser, Steve Hames, Peter Stone Brown, Manhattan Transfer, Omar & the Howlers, George Strait, Trace Adkins, Red Dirt Rangers, Kris Kehr, Rod Moag, Leroi Bros., Rex Foster, Gina Lee, Dwight Yoakam, Susanna Van Tassel, Roger Wallace, Ted Roddy, Lucky Tomblin Band, Joe McDermott, Beausoleil Avec Michael Doucet, Cooder Graw, The Gimbles, Eric Hanke, Van Morrison, Bill Kirchen, The Twang, Heybale, Burrito Delux, Matthew Ballard, Fingerpistol, Marcia Ball, Carolyn Wonderland, James Hand, Leo Rondeau, JaLaLa, David Newbould, Houston Marchman, Bordertown Bootleggers, Esteban, Manodlin Bros, Booka & Flaming Geckos, Pinetop Perkins, Carla Olson, Arlen Roth, Okee Dokee Bros, Amy Laber, Happy Traum, Elly Wininger, Rosie Flores, Mamadou Kelly, Leif Vollebekk, Shelley King)
• Mark McKenna - Engineer, Vox (Johnny Average Band)
• Ray Neznik - Asst Engineer
• RJ Raymon - Asst Engineer
• Shep Siegel - Asst Engineer
• Bob Ludwig - Mastering
• Philip Balou - Backing Vox (Revelation, Utopia, Genral Johnson, Southside Johnny & Asbury Jukes, Steve Goodman, Joe Thomas, Major Harris, Asleep at the Wheel, Jebadiah, John Hall, Ramona Brooks, Bette Midler, Charles Earland, Lou Rawls, Luther Vandross, Hi-Gloss, Pleasure, Change, High Fashion, Aretha, Michael Franks, Irene Cara, Melba Moore, Howard Johnson, Cheryl Lynn, Fonzi Thorton, Bernard Edwards, Michael Wycoff, Lillo Thomas, Dionne Warwick, Manhattans, Kashif, Nile Rodgers, Carl Anderson, EPM, Teddy Pendergrass, Damaris, Merc & Monk, Village People, Ralph macDonald, Jeff Tyzik, Nona Hendryx, Tramaine, Air Supply, Peter Gordon, Jonathan Butler, Glenn Jones, The System, Gavin Christopher, Bernard Lavilliers, George Benson, Stage Dolls, Billy Ocean, Darryl Tookes, Carol Davi$, Dance With A Stranger, Laurie Anderson, James Taylor, Billy Joel, Simon Tittley, Arnold McCuller, David Lasley, Carly Simon, Harvey Miller, Michael Wycoff, Power Station, Boys Choir of Harlem, Tom Jones)
• Benny Diggs - Backing Vox (Revelation, Douglas Sisters, Melba Moore, Southside Johnny & Asbury Jukes, Asleep at the Wheel, Lou Rawls, Ramsey Lewis, Hi-Gloss, Sylvester, Nona Hendryx, Robert Palmer, Doc Powell, Joe Cocker, Diana Ross, Dance With a Stranger, Al Green, Braxtons, Laurie Anderson, Carly Simon, George Benson, Westlife more)
• Morris Gray - Backing Vox (Revelation, Ramsey Lewis, Cheri, Peter Gordon, Golden Gospel Singers)
• Kevin Owens - Backing Vox (Revelation, Ray Goodman & Brown, Luther Vandross, Jaheim, Caress, Festival, Masquerade, Lou Rawls, Cheri, Ramsey Lewis, Pleasure, Nona Hendryx, Curtis Hairston, Doc Powell, Gavin Christopher, Kirk Whalum, Gregory Hines, Philip Michael Thomas, Millie Scott, Freddie Jackson, Darryl Tookes, Dance With a Stranger, Edelweiss, Marc Nelson, Lisa Fischer, Noel Pointer, Ava Cherry, Smappies, Byron Stingily, USA-European Connection, Boris Midney, Black Russian, Kathy Troccoli, Anastacia, Norman Connors)
• Dick Katz - String Performance (New World Philharmonic, Benny Carter, Buck Clayton, Gene Quill, Jimmy Knepper, Joe newman, Larry Sonn, Lee Konitz, Loren Schoenberg, Manny Albam, Oscar Pettiford, Osie Johnson, Paul Horn, Stan Getz, American Jass Orch, Jay and Kai, Mat Matthers, Tony Scott more )
• George James - Trumpet (Benny Carter, Louis Armstrong, Lucky Millinder, Teddy Wilson, Harlem Blues & Jazz Band, Sarah Vaughn, Jabbo Smith, Clyde EB Bernhardt, Fats Waller, Sister Rosetta Tharpe, Punch Miller, Albert Wynn, Sine, Alex Hill, Hoagy Carmichael, Junie C. Cobb, :Kid Punch" Miller)
• Josh Shneider - Alto Sax (Irene Cara, Eric Von Schmidt & the Cruel Family, Artie Traum, Steve Forbert, Late Nite Music Band, Tom Rush, Force MDs, Joy Askew)
• Ralph Carney - Tenor Sax (Tom Waits, Tin Huey, B-52's, Marc Ribot, Jim White, Jonathan Richman, Waitresses, Clarinet Thing, Caucho, Labatomy, Swollen Monkeys, Pluto, Preacher Boy, Melon, Bill Laswell, Victoria Williams, Jad Fair, Allen Ginsberg, Galaxie 500, Loved Ones, Elvis Costello, Grant Lee Buffalo, Pere Ubu, Custard, Chuck Prophet, Jack Kerouac, Black Francis, Thao & the Get Down Stay Down, Stephen King-John Mellencamp-T Bone Burnett,St. Vincent, Drive By Truckers, Legendary Shack Shakers, more)
• Tim Ritchie - Art Direction, Design
• Broun - Photos
• RonVanwarmer - (WDST)
• Helen Kimmet - Haircuts

Unknown-ness: I've never heard of this singer / band. From the cover photo and the band photo on the back, I imagine this will be nasally, anxious, neurotic, jittery, catchy-as-hell power pop. I'll actually be slightly upset if it is not...perhaps i'm setting too high a bar, surly to lead to disappointment.

Album Review:  From the first track, Vanwarmers voice is delicate and warm, a little like Ric Ocasek  but an octave higher. The opening two tracks mixes power chords with jangleypop melodies and throws in some keys and synth to keep up with appearances in the 80's. Much of the rest are lighter ballads, that harken back to simple oldies and classic country, and a couple would fit right in to today's breezy island pop sound, even if it is not all synthesized.

Vanwarmer was a friendly, well liked musician who passed away too early at 48 years old from leukemia, a year after diagnosis. He had a short, bright career in pop, with the #1 single "Just When I Needed You the Most," a song that his wife sued Warner/Chappell for copyright ownership. Soon after his first 3 records, he transitioned to writing Country songs when "I Guess It Never Hurts to Hurt Sometimes" which already sounds like a country ballad, was covered by the Oak Ridge Boys. Other musicians Charley Pride, Michael Johnson, Kenny Rogers, Dolly Parton, Alabama (and many more) converted his songs to hits. Upon his death a portion of his ashes were sent into space.

Stand Out Track: Suzi Found a Weapon

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3 Mustaphas 3 - Shopping

Name: 3 Mustaphas 3
Album: Shopping
Year: 1988
Style: World Music, Middle Eastern, Caribbean/Island, Russian, Polka
Similar Bands: Harry Belafonte, Gorky's Zygotic Mynci, Zap Mama, Immigrant Suns, Gipsy Kings, Residents
"One-Word" Review: Upbeat Mos Eisley Fusion
Based Out Of: London, England
Label: Shanachie Records Corp., Ace Records Ltd.

Cover, Record

Back, Record

Newsletter Sign-Up Card

Shopping (1988)

1. Shouffi Rhirou (Regard the Jealosy) 6:44 (Najat Aatabou cover)
2. Selver (The Girls Name) 3:36
3. Xamenh Evtesia/Fiz'n (Lost Fortune / Lost Refrigeration) 6:31
4. Musafir (Oh Traveler)/ 5:05
5. Ljubav Kraj Izvora / Zvezdanovo (Skupovo) Kolo (I Took My Lover To The Well) 4:32
6. Valle E pogradecit (A Dance of That Religion) 5:14
7. Shika Shika (Hold, Hold) 6:20
8. A Night Off Beirut (Descriptive Suite) 6:13
9. Szegerely Farewell (Farewell, Szegerely) 1:20

Album Rating (1-10): 6.0

Members & Other Bands:

• Isfa'ani [Salah Dawsom Miller]- Djembe Bendir-Krakab, Tam-Tam, Tama, Gangoqui, Conga, Bells, Ganza, Tambourine, Pandeiro, Cuica, Darbouka, Ti Bois, Campana, Cymbals, Electro Gamelan (Polly Bolton, Paul Dunmall, Indigo Girls, Eddi Reader, Justin Adams, Saladin's Orch, James Horner, Rahat Nusrat Fateh Ali Khan, Vanessa Mae, Reem Kelani, Tinariwen, U-Cef, Juldeh Camara, Les Triaboliques, Sonia Slany)
• Sabab Habar [Colin Bass] - Bass, Vox, Fond Memories (Camel, Jugala Allstars, Stella Chiweshe, Clancy, RBC, Steve hillage Band, Velvet Opera, Quidam, Amarok, Eddie Quansah, Gasper-Lawal, Oumou Sangare, Jozef Skrek, Etran Finatawa)
• Hijaz [Ben Mandelson] - Cumbus, Keman, Guitar, Bouzouk, Fiddle, Banjo, Szegeruele (Stella Chiweshe, Blue Blokes 3, Les Triaboliques, Amazorblades, Billy Bragg, Lemez Duo, Magazine, Orchestre Jazira, False Beards, Mighty Cloud of Dust, Kirsty MacColl, Jah Wobble, Mathilde Santing Combo, Gasper Lawal, Shriekback, Robert Wyatt wti the Swampo Singers, Sussan Deihim, Richard Horowitz, Abana Ba Nasery, English Country Blues Band, Susheela Raman, Abdul Tee-Jay, Cechomor, Imagined Village, Oi Va Voi, Shtetl Superstars, Bob Copper, Yiddish Twish Orch )
• Niaveti 3 [Tim Fienburgh] - Vox, Flute, Bulgarian Kaval, String Writing, Tulum (The Republic)
• Kemo "Kem-Kem" [Kim Burton]- Synth, Keys, Tumbador, Conga, Accordion (Onward International, Working Week, Vic Godard, Lizzy Mercier Descloux, Fairgrond Attraction, Maddy Prior, Rick Kemp, Steve Arguelles, Eddi Reader, Patron Saints of Imperfection, Billy Rain, Kirsty MacColl, Eric Matthews, Aterciopelados, Negrocan, Maryam Mursal, Chris Haigh, Ingrid Laubrock, Viramundo, Barb Jungr, Davide Mantovani, Sierra Maestra, Joglaresa, Jackson Sloan, Amira, Tracey Thorn, Dunja Knebi)
• Houzam [Nigel Watson]- Drums, Conga, Fond Memories (Stella Chiweshe, Orchestre Jazira, Element of Crime)
• Expensive [Chris Batchelor]- Trumpet, Tenor Horn (Abana Ba Nasery, Oysterband)
• Duane Mustapha - Guitar
• Uncle Patral Mustapha Bib Mustapha [Lu Edmonds] - Saz (Blue Blokes 3, Les Triaboliques, Damned, Mekons, Athletico Spizz 80, Billy Bragg, Blabbermouth, Jane Aire & the Belvederes, Pulic Image Limited, Raz3, Shriekback, CrashBaptists, The Edge, The Spizzles, Unlaunched Orchestra, Tuvan throat singers Yat-Kha, Laurie Anderson, Waterboys, Kirsty MacColl, Jon Langford, Carl Marsh, Howard Werth, Yat-Kha, Laurie Anderson)
• Lavra Tima Daviz - Vox
• Madagascar [Tarika Sammy]- Crickets (Musical group from Madagascar)
• Loquat Pathfinder Dance Club - Dancing
• Joss [Jocelyn] Pook - Viola (ABC, Massive Attack, PJ Harvey, Peter Gabriel, Communards, Regular Music, Electra Strings, Jools Holland, Mark Knopfler, Stranglers, Cranberries, This Mortal Coil, Nick Cave, Divine Comedy, Paul Weller, Ryuichi Sakamoto, Michael Nyman, Laurie Anderson, more)
• Clare Finnimore - Viola (Britten Oboe Quartet, Britten Sinfonia, Guildhall String Ensemble, Virginia Astleu, Corelli, Robert Salter, Field of Blue, Oxford U. Press House Composers, theaudience, Suggs, Boyzone, Paradise Lost, Muse, Jocelyn Pook, Cousteau, Cirque Du Soleil, Moloko, Feeder, Robin Milford, Ten tenors, Snow Patrol, Christopher Benstead, Tom Jones, Kiki Dee, White Lies, Pixie Lott, Sting, Magic Numbers, Aziza Sadikova, Kylie, Melanie C, Girls Aloud, Siobhan Lamb, Gerard Presencer, Theodore Shapiro, Ralph Vaughan Williams, Jonathan Dove, Peter Warlock, James Newton Howard, Jaga Jazzist, Marco Beltrami, Nick Urata, Charlie Wood, Kazuma Jinnouchi, John Powell, Lianne La Havas, Michael Giacchino, Mick Cave & Warren Ellis, Benjamin Britten, Woodkid, De La Martinez, Lontano)
• FEZCO - Producers
• Ian Caple - Engineer, Mixing
• Corinne Turner - Photos
• Adam Skeaping - Post Production
• DKB - Designer

Unknown-ness: Never heard of this band, and by the looks of the back & the story there in, these folks grew up in the Balkan nations in Eastern Europe, and draw heavy influence from local, roots music of the region...mixed in with influences from whatever was passing by or stopped in from the newly paved motorway. So my guess is Klezmer music with Russian sounding baseline with pop and folk affects fused in.

Album Review: Although the music is all over the place, style-wise;  Middle Eastern to Caribbean to Polka, the underlying grooves make the album fully cohesive. They are a British band, and I even get a Welsh vibe to a couple songs ("Musafir" perhaps because I am a big fan of Gorky's Zygotic Mynci). The vocals are passionate and sometimes quite silly, but they are having a great time all the while, and it translates in their music, perhaps summarized in their punny musical catch phrase "take it to the fridge" and adopted motto "forward in all directions!"

Although their Balkan roots from a town called Szegerely with adopted Mustaphas names and being smuggled into England in refrigerators was a humorous ruse, it was a good story to set the stage for their eccentric and unique (there was no World Music genre) brand of blended musical styles. They lasted about 9 years, from 1982 - 1991, with revivals in 97 & 01. They recorded seven times with John Peel, and found themselves playing at a variety of festivals and venues, almost every time, requiring a fridge full of fruit on stage to "take 'it' to." In complement to this, they requested the audience to bring mysterious cheeses to their shows for the band to identify.

Stand Out Track: Shouffi Rhirou (spelled Choufi Ghirou on later versions)

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Robotiks (the) - Man and Machine

Name:The Robotiks
Album: Man and Machine
Year: 1985
Style: Synth, Electronic Reggae, Dub
Similar Bands: Manuel Gottsching, Mad Professor, King Tubby, Lee "Scratch" Perry
"One-Word" Review: Jazzy Synth House Reggae
Based Out Of: London, UK
Label: Ariwa Sound

Cover, Record

Back, Record

Man and Machine (1985)

1. Man and Machine 3:36
2. Dubbing in Harmony 3:26
3. San Remo 6:05
4. Test Tube Mix 4:29
5. Recharge 3:42/
6. Mystic Robotik 3:39
7. Shooting Star 4:38
8. Positive Logic 3:59
9. Dub De Goeblin 3:27
10. It All Started Under a Coconut Tree 3:51

Album Rating (1-10): 5.0

Members & Other Bands:

• Mad Professor (Neil Joseph Stephen Fraser) - Producer, Vox (Anti-Social Workers, Sergeant Pepper, Lost Cherrees, Perry Farrell, Dubital, The Nomad, Professor Skank, Ranking Ann, Ben Zephaniah, Johnny Clarke, Jah Shaka, Lee "Scratch" Perry, Kofi. Bob Andy, Clementine, Massive Attack so many)
• Preacher - Vox, Bass, Piano (Sane Inmates, Rosie Gaines, Twinkle Brothere, Ranking Ann, Mad Professor, Sergeant Pepper, Johnny Clarke. Jah Shaka, Alvin Dread., Wild Bunch, Addis Rockers, Sandra Cross, Macka B, Kendell Smith, Kofi, Champion Doug Veitch, Lee Scratch Perry, Nitty Gritty, Junio Delgado, Mr Palmer the Ninja, Sister Audrey, U-Roy, John McLean, Tippa Irie, Peter Hunningale, Luciano, Susan Cadogan, Joseph Cotton, Daddy Freddie, Tex Johnson)
• Michael Walters - Vox (Macka B)
• Robotics - Drums
• Black Steel (Errol Nicholson) - Bass, Guitars, Piano (Klearview Harmonix, Peter Culture, Mad Professor, Sandra Cross, Dr. Alimantado, Johnny Clarke, Aisha, Barry Biggs, Kofi, Dennis Brown, Twinkle Bros, KLF, U-Roy, Kevin Eastwood, Moody Boys, Intense, Thriller Jenna, Sade, Gregory Isaacs, Earl Sixteen, Kingpin, Macka B, Nolan Irie, Paulette Tajah, Yabby You, Workshy, Unitone Rockers, Tucker Rainbow, John McLean, Della Grant, more)
• Jeffrey Beckford - Guitar (Mad Professor, Sandra Cross, Nitty Gritty, U-Roy, Bert Martin, John McLean, Macka B, Aisha, Madelaine, Luciano)
• Cleveland Neunie - Piano (Ranking Ann, Mad Professor, Sandra Cross, Johnny Clarke, Nitty Gritty, Bert Martin, Madelaine, Susan Cadogan, Joseph Cotton, Daddy Freddie)
• Roger - Horns (Mad Professor, Macka B, Sandra Cross, Lee "Scratch" Perry)
• Patrick - Horns (Mad Professor, Macka B, Sandra Cross, Lee "Scratch" Perry)
• George Wilkins - Harmonica (Peter Culture, Mad Professor, Long Tall Texans)

Unknown-ness: Never heard of this band. But from the straight line cover of a military force taking on a robot attack, i imagine it is some sort of futuristic electro hard core or political minded indie punk with synthesizers. 

Album Review: So i was way out of my league when I put this record on. It reminds me a little of Manuel Gottsching with the synthetic repetitive house/techno sound, with the big exception is that this album has a chill reggae dub vibe. It is mostly instrumental, and the repetitive hooks and grooves are slow and deliberate. I've read they are the house band for their label, Ariwa, and support artist like Lee "Scratch" Perry. Mad Professor is by far the biggest name related to this band, and he is one of the pioneers bringing dub into the digital age, which is more than apparent on this album.

Stand Out Track: Man and Machine

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OXO - s/t

Name: OXO
Album: OXO
Year: 1983
Style: Synth Pop, Dance-pop
Similar Bands: Devo, English Beat, Haircut 100, Rubblebucket, Pointer Sisters, Bee Gees, Heaven 17
"One-Word" Review: Synthy Island Boy Band
Based Out Of: Florida
Label: Geffen, Warner Brothers, Warner Communications, David Geffen Company

Cover, Sleeve, Record

Back, Lyrics, Record

OXO (1983)

1. Whirly Girl 2:56
2. Dance All Night 2:26
3. My Ride 2:39
4. Wanna Be Your Love 3:45
5. In The Stars 4:14 /
6. You Make It Sound So Easy 3:05
7. Waiting For You 2:41
8. Back In Town 2:37
9. I'll Take You Back 3:31
10. Love I Need Her 2:36
11. Runnin' Low 2:20

Album Rating (1-10): 5.5

Members & Other Bands:

• Ish Angel (Ledesma) - Vox, Horn Arrangement, Percussion, Guitar, Synth Programming, Producer (Foxy, Company B, Blue Moderne, Bubble Solution, Garcia's Super Funk, Wizzzard, Rick Ashton, Sergio Mendes, Boyzone, George & Gwen McCrae, Betty Wright, Tony Wilson, Abba, Space People, Time Traveler, Apollonia, Dimples Tee, Gloria Estefan, 2 Live Crew, Mo Thugs, Santa Esmeralda, Little Beaver )
• Orlando -Guitar, Vox, Synth, Percussion (Vanessa Williams, DJ Don Juan, Ish)
• Frank Garcia - Bass, Programming, Vox
• Freddy Alwag - Drums, Vox (Sylvie Vartan, Smokey Robinson, Tonio K. Stacy Lattisaw, Billy Vera & Beaters, Four Tops)
• Uptown Horns - Horns
• Steve Porcaro - Synth Programming (Chris Squire Experiment, Toto, Bette Midler, Alice Cooper, Hall & Oates, more)
• Ian Underwood - Synth Programming (The Abnuceals Emuukha Electric orchestra, The Mothers, Frank Zappa, John Lennon, Jean-Luc Ponty, Sergio Mendes, Quincy Jones, more )
• David Thoener - Re-Recording Engineer, Mixing, Producer
• Umberto Gatica - Re-Recording Engineer
• Bill Bottrell - Re-Recording Engineer
• Richard McKernan - 2nd Engineer
• Steve Marcantonio - 2nd Engineer
• Ricky DeLena - 2nd Engineer
• Stephen Schmitt - 2nd Engineer
• George Marino - Mastering
• Ken Mansfield - Producer
• Carole Childs - Producer
• Mick Haggerty - Album Design
• Aaron Rapoport - Photos

Unknown-ness: Never heard of this band. But the black & white w/ minimal yellow cover art of the OXO repeating over and over has a feeling of a synth band, although the photo on the back has a 70's power pop vibe.

Album Review: OXO, not to be confused with the home kitchen gadgetry company or tic-tac-toe video game from 1952, was a "one hit wonder" band with top 40 Adam Ant-ish, swingy single "Whirly Girl" (about Ish's wife). Overall, this album has a harmonic island dance boy band style going on. "My Ride" has some Devo & Thomas Dolby elements, but is much more overproduced with the slick, tinny mid 80's synth sound. "In the Stars" sounds like a Pointer Sisters song. 2007's real footage documentary and 2015's comedy remake, both called Frank & Cindy is about bassist Frank Garcia odd marriage told by his filmmaker stepson. 2015 casts Oliver Platt as Frank & Renne Russo as Cindy.

Stand Out Track: My Ride

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The Parachute Club - s/t

Name: (the) Parachute Club|

Album: s/t

Year: 1983

Style: Lite Pop, Caribbean, Reggae

Similar Bands: Toyah, Debbie Harry, Belle Stars

One Word Review: Deconstructed Antiseptic Jazz Wave 

Based Out Of: Toronto, Canada

Label(s): Current, RCA

 Parachute Club: Cover, Slip Cover, Record

Parachute Club: Back, Lyrics, Record

Paracute Club - S/T (1983)

1. Rise Up 5:10
2. Slip Away 4:36
3. Alienation 3:48
4. Are You Hungry 5:07
5. Free Up Yourself 3:41/
6. Boys Club 3:32
7. Hot Pursuit 5:09
8. She Tell You 5:05
9. Tobago Style 5:41

Album Rating (1-10): 5.0

Members & Other Bands:
Lorraine Segato - Vox, Guitar, Percussion, Mixing (Mama Quilla II, V, Dance Appeal, Northern Lights, Lillian Allen, Ramm)

Lauri Conger - Keys, Vox (Mama Quilla II, Heather Bishop)

Billy Bryans - Drums, Percussion, Mixing (Downchild Blues Band, V, Time Twins, Lillian Allen)
Margo Davidson - Sax, Percussion, Vox (Foxrun Band)

Julie Masi - Percussion, Sax, Timbales Vox (Martha & Muffins, Rita MacNeil)

Steve Webster - Bass (Billy Idol, Heads in the Sky, Dalbello, )

Dave Gray - Guitar (Lillian Allen)

Daniel Lanois - Producer, Engineer, Mixing

Lynne Fernie - Lyrics

Debbie Griffiths - Vox (Martha & Muffins)
Mohjah - Percussion

Tim Forbes - Art Direction, Artwork
Deborah Samuel - Art Direction, Artwork

Gerry Young - Management

Bill Kaye - Makeup
Dick Smith - Percussion

Unknown-ness: I've never heard of them. But from the font, artworks and band picture it looks like they will be a soft-yet-quirky 80's band that might be a little bouncy, but most likely, will be adult-contemporary new wave music. 

Album Review: The Parachute Club was pretty big in Canada for the mid 80's, spawning 3 top 40 hits, and voted "most likely to succeed" at the 1984 Canadian Juno awards (also taking best single with "Rise Up"). 1988 saw them battle and settle out of court against McCain Foods Limited for using the song in an ad. In 2006, they were entered into Canadaian Indies Hall of Fame. Two years later, founding member Margo passed away.

“Rise Up” was their most popular song, and single winning them single and most promising group of 1984. Later, the song sparked controversy as it was used against the band’s wishes in a self-rising pizza dough commercial. From the start it has a world, Caribbean bongo beat, and jazzy synth 8^-bit notes. The chorus of Rise Up starts off the lyrics, and the song feels like a spiritual hymn. The synth notes swirl around and accent the gospel feel, and reach some cheesy levels. The vocals are empowered and excited.
“Slip Away” has a bit of a reggae vibe with steel drums, but incorporates dreamy guitar and sleepy vocals. It is a good example of blending Caribbean music with antiseptic new wave. The song skitters along, with bongo flourishes and dual female lead vocals that fluidly take turns and overlap each other.
“Alienation” starts with some gritty guitar and sax, reminding me a little of mid 80’s period Oingo Boingo. The song contains political statements, and the vocals are emotional. There is no cohesive melody to the song, however, just a bunch of sounds, rattlings, crashes and other ideas thrown together.
“Are You Hungry” begins with a bit of a light ska vibe with a rhythmic deep bass. But the chime-synth sounds like the same effect used in Goonies. The vocals are bold and echoing, and there is a free-form feeling to the construction of the song. Toward the middle of the song, there are some deep masculine chanting vocals layered below.
“Free Up Yourself” fades in suddenly to a marching tempo, accented with weaving synth lines. The layers of female vocals share the stage and echo on repeat for an artificial chorus. It even has a little of a deconstructed disco sound.

“Boys Club” has a bit of a Debbie Harry attitude at the outset. The song is a little dark, and it carries an attitude of suppression due to anti-feminism. There is a “Military Rap” section to the song, too.
“Hot Pursuit” slinks back to a smooth, reflective, jazzy style. The vocals are deep, and sound a little like Chrissie Hynde.
“She Tell You” has a dark, futuristic feel to it with wood block percussion and deep grueling guitars. Of course, no song escapes this period without the cheesy synth, so the Goonies effect lightens the mood. The overall tone of the song shifts to a shuffling, indecisive yet uplifting track.
“Tobago Style” starts out with a couple of echoing laughs, and the song feels like it could evolve into a good post-punk no-wave song. But the synth comes in, and the song is quartered into multiple directions and loses cohesion.

The album has a lot of good potential. Good effects, solid vocals, interesting beats, but it really lacks an overall vision, is soft on hooks and repetitive, catchy choruses, and it is hard to pin down a melody that follows through.

Stand Out Track: Alienation

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Mighty Sparrow - Hotter Than Ever, Knock Dem Down

Name: Mighty Sparrow

Albums: Hotter Than Ever~

Knock Dem Down*

Years: 1972~

1973*

Style: Calypso, Island

Similar Bands: Harry Belafonte, Lord Melody, Lord Kitchener, Tom Jones

"One Word" Review: Non-stop shuffling-gameshow themes.

Based Out Of: Trinidad

Label: RA (Recording Artists)

~Hotter Than Ever - Cover & Record

 ~Hotter Than Ever - Back & Record

*Knock Dem Down - Cover & Record

*Knock Dem Down - Back & Record

~Hotter Than Ever (1972)

1. Rope 3:45
2. Toronto Mas 2:53
3. Winer Girl 3:30
4. Woom Poom 3:45
5. Drunk & Disorderly 4:15 /
6. Miss Ruby 3:54
7. More Cock 3:43
8. Melody 72 3:24
9. No Love 4:03
10. Donkey Can't Wine 3:38

*Knock Dem Down (1973)

1. Priest 4:21
2. Leggo Me Stick 4:22
3. Lion & Donkey 3:04
4. Brenda 4:29
5. Trinidad Woman 4:58/
6. Miss Mary 3:45
7. Carnival Venders 4:56
8. Funky Carnival 4:21
9. No Future 3:34
10. Bad Johns 4:27

Album Rating (1-10):~6.0
*5.5

Members & Other Bands:
Slinger Francisco (Mighty Sparrow) - Vocals, Composition, Musical Director, ~Arrangement
Sparrow's Calypso Troubadours - Musical Accompaniment
~A. Seaton - Vocal Accompaniment
~D. Hector - Vocal Accompaniment, Congas
~Ed Watson - Organ
~R. Bacchus - Drums
~N. Sampson - Trumpet
~M. Jarvis - Trumpet
~C.Lynch - Cowbell
~H. Jackson - Lead Guitar
~J. Bethel - Alto Sax
~H. Prince - Alto Sax
~N. Gill - Trombone
Earl Rodney - Arranger, ~Bass
Henry De Freitas - *Executive Producer, ~Assistant Engineer, Supervision
~Byron Lee - Recording Engineer
*Key Caribbean Productions - Graphics
~Asquith Clarke - Piano

Unknown-ness: I had never heard of this artist before. Furthermore, I picked up both albums on different occasions, forgetting I had the first one. I believe I purchased Knock Dem Down first, and figured it would be some fun steel drum, Caribbean music (obvious by the cover’s ‘superstar’ statement), and the second one, I thought would be some soulful R&B, maybe even a little poppy too, with the psychedelic backdrop to the dancer. So I am hoping it is somewhere between the two, but what do I know (not much, apparently).

Album Review: So apparently, The Mighty Sparrow, or Sparrow as he goes by on these albums, or Dr. Slinger Francisco (a freaking amazing stage name, in its own right), is a majorly well-known Calypso artist spanning a career beginning back in 1949 through to today, even performing in Brooklyn last Jan 2014, despite being in poor health (having been in a 2 week coma 4 months earlier). Known as the Calypso King of the World, his title accurately explains what style of music he produces. He was not popular in the US until the 70’s and while immensely popular in Trinidad, he recorded an average 2 albums a year from 1960-1979.

“Rope” sounds like game show music at the intro, and perhaps that’s just my lack of understanding calypso music in general, and having a fondness for The Price Is Right and Let’s Make A Deal. Loungey dancable strings, a funky bass, and a dense percussive sound of shuffling metal bells. The vocals are smooth, bold and confident, yet playful. My naivety and inexperience with the style only draws a couple of comparisons to the likes of “Jump in the Line,” the Chiquita banana commercials, or the spin-a-round section of the roller rink standard, the Chicken Dance.

“Toronto Mas” continues the lively flair, and features vocals that are a bit more rushed. The sax and horns are more prevalent on this song. In a live setting, I have no doubt that the continuing shuffle tempo keeps limbs moving and the crowd dancing, and is as infectious as tropical drinks.

“Winer Girl” carries the whole wood block, organ/keyboard, rhythm guitar steady skipping organic beat. Further with horns standing out again, and a rising and falling of emotion in the chorus vocals. The vocals balance out in the verse.

“Woom Poom” sounds similar to Rope, with the soaring game show style themes. The vocals have a slight echoing, distant effect employed. The vocal syllables don’t match up perfectly with the music’s tempo, in a Sinatra sort of way. The energy behind the vocals in bursts reminds me of the little I know about Tom Jones.

“Drunk & Disorderly” is a little looser of a melody, although the background percussion does not quit. The chorus is a harmonized group of vocals singing along with the lead, and supporting when they diverge in directions. It has classic lines like: “A Hungry man is an angry man, but a drunk man is a happy man.” “Every weekend I’m in jail” “Drunk and Disorderly / with Friends and Family.” Some low impact words to live by.

“Miss Ruby” is just a continuation of the party on side two. The vocals have some surprise rises and falls in pitch, but despite that, the song is presented in a nice looping, repetitive template. And the lyrics include the solid rhyming derogatory word for a woman, which is not used as much anymore “Wench.”

“More Cock” does not divert from the percussive tempo, but the horns introduce the dancing melody. The song features a chorus of call and response between the lead, and a multi-voice chorus of lines that rhyme with “More Cock.” The following melody mimics the chorus minus the lyrics. I’m not 100% sure what if the title refers to a bird or another man, because one line talks about killing the cock.

“Melody 72” has a rolling vocal melody over the familiar calypso melody and rhythm. It has the same choppy pace of “Jump in the Line,” and at times it feels like it could flow right into the song.

“No Love” is not much different, and again sounds like Love Connection is about to start. The vocals are sung slowly, with emphasis on clarity of syllable. But the sentiment of the song is about the state of argument and fighting with races and society. It is a nice story song that is interesting to follow along with and has a moral in the end: even if that message involves belief in a “lord above.”

“Donkey Can't Wine” not much else can be said here, it kinda feels like a They Might Be Giants song as the exit bridge from the chorus builds. It also sounds like the sax is played to recreate a donkey braying at times too. But the melody, like the rest of the album, always returns back to the starting note of the linear melody. There is mention in the song of a lion, but it is a different song than Lion and Donkey in the next album.

“Priest” starts the album off with a typical calypso shuffling dance melody and it builds to a harmonized chorus. This song tells a story about a girl going into town to dance and misbehave. Her daddy is playing Priest, but she ain’t no nun.  

“Leggo Me Stick” is a horn heavy song, but I’m not sure what stick this Rosy character is supposed to let go of quickly…if it is “adult” in nature, or if it is a drum or limbo stick for Carnival day. Reminds me a little of Chuck Berry’s My Ding-a-Ling. But perhaps I’m reading into it too much, and just don’t know the culture. Such is the nature of these blind reviews.

“Lion & Donkey” features a very fun melody to trace along with the vocals. The chorus is sung in a deep harmonized African tribal style, and it pits a donkey and lion to fight to find the king of the jungle. Obviously the donkey loses, but is it just a set up? I like the line that the lion rips away the donkey’s clothes to reveal a naked ass. Clever song.

“Brenda” builds up and up in pitch right at the beginning of the song. And once the vocals start, they are begging and pleading for forgiveness, ultimately asking for Brenda to not go. There is a slight sentimental tone to the vocals, but they don’t seem too sincere.  

“Trinidad Woman” starts with a gameshow style melody. I know I compare too many songs to this, but again, there is a bit of the Jump in the Line melody in this song’s chorus. This connection goes beyond the line Jump in the Water. In the instrumental breakdown, whistles are used, like it might become a Spanish disco song…even featuring some wah-wah electric guitars. It just seems out of place for the previously set template for songs.

“Miss Mary” is more tribal than Caribbean in the intro drums and percussive cowbell. But then the horns come in, and the song takes off. The song mentions a Miss Mary, big and hairy, which does not seem to be complementary. The composition allows for the different melody making instruments showcase themselves for a few bars before taking a back seat to the next set.
“Carnival Venders” follows the same pattern of a complete circle for the melody. The song starts out rising and falling, and coming back to the starting note, like a perfect rhyme. The instrumental section is a call and response battle between woodwinds and horns. Apparently vendors at carnival in Trinidad sold different forms of weed, per the song’s lyrics.

“Funky Carnival” is a little funkier, as the title states. The tempo is slowed down a little, and the vocals feature some interesting mutterings and sounds. In the background it sounds as if there is a large swooping metal bird, which comes off as a little odd. Also, the lyrics call for old men grabbing young girls at the festival.

“No Future” is a slow loungey song. It lays out the problems and reasons the person whom the song is focusing on might not have a future. It is a light and airy cautionary tale.

“Bad Johns” ends the album with a bit more upbeat melody. This features a guitar heavily in the instrumental section; not usual compared to the rest of the album. The emotion in the vocals is stronger and bolder than the other songs on this side. 

Stand Out Track: ~Rope
*Lion & Donkey

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Ebn Ozn - Feeling Cavalier

Name: Ebn Ozn
Album: Feeling Cavalier

Year: 1984

Style: New Wave, Dance, Island
Similar Bands: Kid Creole, Devo, ABC, Pet Shop Boys
"One Word" Review: Synth Conglomerate
Based Out Of: NYC
Label: Elektra/Asylum, Warner

 Feeling Cavalier: Cover, sleeve, record

Feeling Cavalier: Back, Sleeve, Record

Feeling Cavalier (1984)

1. Bag Lady (I wonder) 6:35
2. Stop Stop Give It Up 3:50
3. I Want Cash 3:22
4. Kuchenga Pamoja 6:18
5. TV Guide 1:40/
6. Video DJ 4:16
7. Pop Art Bop 4:57
8. Rockin' Robin 3:27
9. AEIOU Sometimes Y 6:27
10. The Dawn 2:09

Album Rating (1-10): 7.0

Members & Other Bands:

Ebn - Fairlight CMI & Other Instruments Arranged, Programmed & Performed, Recording, Producer, Video Co-Producer, Engineer (Scritti Politti)

Ozn - Vox, Co-Producer. Video Producer(Dada Nada)

Kenn Fink - Recording, Backing Vox, Engineer

Gregory J. Moss - Asst Engineer
Tito Puente - Timbales, Cowbell & Cymbals
Bobby Blain - Piano
Jack Waldman - Fairlight CMI techmex trumpets
April Lang - Backing vox (Techettes)
Lisa Herman - Backing Vox (Techettes)
Jay Aaron - Backing Vox (Techettes)
Velvert Turner - Backing Vox (Techettes)
Jimmy Lowell - Backing Vox (Techettes)
Joe Berger - Backing Vox (Techettes)
Dave Wittman - Mix Engineer & Engineer
Tom Swift - Asst. Engineer
John Luongo - Asst. Engineer, Mixing
Bruce Buchalter - Asst. Engineer
Buddy Pollock - Asst. Engineer 
Jay Mark - Engineer
Linda Randazzo - Asst. Engineer
Greg Calbi - Mastering
Virginia Liberatore - Photography
Lynn Dreese Breslin - Art Direction
Ed Steinberg - Video Production

Unknown-ness: I’ve never heard of these guys. They look eclectic, wacky, and very arty. The names sound Swedish or something, like something they’d have at Ikea. I’m guessing this is going to be very on electronics and synth, but very juvenile and catchy. In any case, it looks very interesting.

Album Review: “Bag Lady (I Wonder)” has a techno middle-eastern start to it. The heavy electro bass makes this feel very dark. Then a heavy guitar adds to the landscape and a twinkling keyboard. This feels like a combination of Pet Shop Boys and New Age New Wave. The instrumental flourishes give depth to the song, but over all it is a genra crossing, yet stereotypical 80’s pop song. There are metal-like electric guitar solos, some off key yelling, and other random synth effects. And just as it feels seems like it is about to end, it launches into an extra verse-chorus.
“Stop Stop Give It Up” is a much more mellow, but equally synth pop song. It is smooth, like ABC or Howard Jones, and has that relaxed crooning vibe. There are vocals synthesized in the background that remind me of the Clockwork Orange soundtrack, or Chromeo. If this was produced in the 60’s it would be quite the Motown/doo-wop song. The chorus is very repetitive, but it is a fun hook, so the repetition is welcomed.
“I Want Cash” straight away, feels like Devo, with it’s jittery synthesizer and talk-singing structure (that almost qualifies as rap). The background yeah-yeahs also reminds me of Oingo Boingo. But the stand out star of this song is the amazingly catchy chorus of Wanting, Needing, Loving cash. There is a mini-breakdown about 2 min in that is short, but chaotic and noisy. Also, all synthesized. But the end of the song breaks form and becomes a wild party of the chorus repeating and fading out under laughing and other crowd noised overlaid.
“Kuchenga Pamoja” features a synth xylophone as a driving, jungle anchor for the song. The keyboard has a mix of island and steel drum intertwined as one instrument. The band attains a cool and tropical atmosphere in this song with all the synth elements they can, including many wooden percussion effects. And the chanting adds to the tribal feel. There are some very dated effects, however, there are a couple different bird/squawks (I think) that are a bit cringe-worthy, as well as the deep vocal electric transformation that reminds me of Ween’s song Big Fat Fuck (this effect is used again to completely ruin Rockin’ Robin” And it sounds like the backing vocals keep repeating “Broadway,” buit I’m pretty sure that is not the intended vocal.
“TV Guide” is a very weird wind down to side one. It is a church organ, almost Phantom of the Opera style. The vocal in the background chants TV Guide, and harmonizing vocals perform different in-the-round style lyrics, and eventually, an adult playing to be a kid whines about wanting to watch TV to end the song…for 5 more minutes. Just odd.

“Video DJ” heads back into the tropical styling with ska horns and another island beat, and Kid Creole style vocals. The chorus is catchy, head bobbing-so. There is a call and response with the backing vocals that enhances the interactive facet of music played at an outdoor cultural event. The song mentions NY Salsa, so perhaps that is the style of music they are heading for. I guess the piano could be a bit salsa, but still, it feels more smooth and reggae stylized.
“Pop Art Bop” would fit right into the category of Electric Boogaloo. It is a bit Jan Hammer electronic effects mixed with organic classic hip-hop vocal style and simple electronic bass/drum beat. The song title is repeated a couple of times at accent places in a robot voice. It is a stereotypical 80’s synth dance track. There is some hip-hop jargon laden conversation mixed over the beat at some places which, again, sounds a bit dated.
“Rockin’ Robin” just ruins the song, and almost the entire album. The creepy vocals add nothing to the song, and should only be reserved in songs trying to be unappealing. Down to the root, it is an electronic cover of the song, pretty dedicated to the synth production and the robot synth chorus, but the deep vocals in the verse does nothing for the song. The guitar is even produced in a rock-a-billy manner. But the verse vocals are just embarrassing.
“AEIOU Sometimes Y” is their hit song, which is a combination of a slight dance beat, mixed down under dark synth music that takes us back to the opening track production. The vocals are spoken over the verse melody. This is followed by a big vocal chorus of the song name, sung like a countdown. This repetition repeats a good deal of times, mixing dark instrumentals with steady rhythmic verse, and the catchy and upbeat echoing chorus hook. The spoken-part of the story tells of a guy and girl hunt/chase relationship, and, perhaps in tribute to the Kinks, or as a message in the song, the targeted female’s name is Lola. Because the song is so simple in its nature…only made chaotic by many ADD changes in the synth-keyboard sound, there are many clashing musical breakdowns. They also paraphrase a bunch of theatrical lines, including a line that seems like it is from Ice Pirates. The chorus backing music ends the song in a fade out. “The Dawn” creates an atmosphere of a sun rising, the instruments slowly rise to the surface, like combining the woodwinds of the Beatles with the bass of David Lynch’s Twin Peaks (or the song Take My Breath Away) It is a forever rising instrumental, still bleak and cold as it grows. Then it fades out as slowly as it began.

Stand Out Track: "I Want Cash"

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David Lindley - Win This Record!

Band: David Lindley
Album: Win This Record!
Year: 1982
Style: Rock N Roll, Island, Reggae,
Similar Bands: Jackson Browne, Joe Jackson, Bill Haley, Cecilio & Kapono, Blasters, Bob Marley
"One-Word" Review: Relaxed, Carefree, Carribi-Rock
Based Out Of: California
Label: Elektra/Asylum, Warner

Win This Record! - Cover & Tape

Win This Record! - Liner Noted & Tape

Win This Record! (1982)

1. Something's Got A Hold on Me 2:43
2. Turning Point 4:45
3. Spodie 4:57
4. Brother John 5:50
5. Premature 3:57/
6. Talk to the Lawyer 4:55
7. Make It On Time 3:17
8. Rock It With I 5:06
9. Ram-A-Lamb-A Man 4:10
10. Look So Good 1:31

Album Rating (1-10): 6.0

Members & Other Bands:

David Lindley - Bass, Guitar, Guitar (Electric), Guitorgan, Producer, Saz, Violin, Vocals (Kalidescope, El-Rayo-X, Jackson Browne, Linda Ronstadt, Rod Stewart, Dolly Pardon, Ry Cooder, Warren Zevon, Wally Ingram, Hani Naser)

Craig Anderson - Photography
Jorge Calderón - Bass, Percussion, Vocals
Terry Christian - Assistant Engineer
Peter Golmen - Managment
Booker T. Jones - Keyboards, Organ (Booker T & the MGs, & Pricilla, Drive By Truckers, Blues Brothers)
Greg Ladanyi - Engineer, Mixing, Producer
Bernie Larsen - Bass, Guitar, Guitar (Electric), Percussion, Vocals
George Massenburg - Engineer
Richard McKernan - Assistant Engineer
Jim Nipar - Engineer
Mike Reese - Mastering
Barbara Rooney - Assistant Engineer
Randee Saint Nicholas - Photography
Kaz Sakamoto - Photography
Doug Sax - Mastering
William D. "Smitty" Smith - Keyboards, Organ (Blood Sweat & Tears, Billy Joel, Tracey Chapman, Ry Cooder, Pointer Sisters)
Wayne Tanouye - Assistant Engineer
Jimmy Wachtel - Art Direction, Design
Ian Wallace - Drums, Guitar, Guitar (Bass), Percussion, Vocals (King Crimson, Bob Dylan, Jackson Browne, Bonnie Raitt, Crosby, Stills & Nash, Fizzion Trip, Warriors, 21st Century Schizoid Band, Crimson Jazz Trio, Quireboys)

Unknown-ness: I’ve never heard of this artist / band. The cover is bright and has a bit of rock n roll oldies energy to it, reminding me of a combination of Bill Haley, Joe Jackson and Weird Al. And with the album title of “Win This Record,” I cannot imagine the album being too serious or complex.

Album Review: “Something's Got A Hold on Me” rocks and rolls from the starting gate. A harmonized mix of dual vocals carries the honky-tonk / 50’s style rock and roll song. An electric guitar instrumental modernizes the song, but the classic back beat drums continue through out, holding it in the past.
“Turning Point” is funkier with bass heavy and initial tambourine cymbal drum beat. The bass makes it sound like Squeeze’s “Black Coffee In Bed.” The vocals also follow a funky melody, but the voice is a higher pitch singer songwriter style. This song does in fact remind me of Joe Jackson, even featuring some horns in the chorus, and organ-style keyboards. The song ends with a long slide guitar spotlighted instrumental.
“Spodie” feels like a Dire Straits song. The bass is used to give a funky yet gritty & sly vibe. The vocals are shrill, and actually remind me of a non-screaming Axl Rose. Extended instrumental populate much of the song, giving center stage representation to the electric guitar.
“Brother John” has a warble guitar intro which ends after its scale, and is followed by drums then bass in sections. Electric guitar adds its two cents, and the song begins in its reggae, dancehall beat, including a repetition of “Brother John is gone” and some steel drum mixed with more electric guitar.
“Premature” also has an island feel to it, where the guitar sounds like a slowed version of Foghat’s “Slow Ride.” Once the vocals start the song takes root in a combination of slow reggae and gospel.

“Talk to the Lawyer” is a poppier interpretation of reggae, so it still retains a funky, “don’t worry be happy” island vibe, even if the topic is that of deceit and suspicion.
“Make It On Time” rocks back with a honky-tonk/pub vibe and gritty slide guitar track. It is a driving song, with a “Blasters” feel. The song rocks out with a lengthy instrumental to end it.
“Rock It With I” begins with harmonized picked electric guitars which evolve into a relaxed reggae beat with harmonized layered vocals as well. It feels like a warm and fuzzy Bob Marley song.
“Ram-A-Lamb-A Man” feels like Talking Heads song (And She Was) right away. Then the vocals start: a harmonized high pitched, with an obvious and somewhat annoying melody. The music is fun and interesting, but I can’t get behind the vocals here“Look So Good” is a slow, country, acoustic, “on the range” guitar ballad.

Stand Out Track: Turning Point

Links:

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Doll By Doll - s/t

Name: Doll by Doll
Album: s/t
Year: 1981
Style: Rock
Similar Bands: INXS, bits of Buzzcocks, the Clash and The Jam, English Beat, Cecilio & Kapono, Joe Jackson, Graham Parker, John Wesley Harding,
"One-Word" Review: new wave pop rock sampler platter.
Based Out Of: London, UK
Label: MCA, Magnet

Doll By Doll - Cover & Record

Doll By Doll - Back & Record

Doll By Doll (1981)

1. Figure it Out 3:26
2. Caritas 4:13
3. Soon New Life 3:22
4. Main Traveled Roads 3:52
5. Those In Peril 3:08 /
6. The Perfect Romance 3:11
7. Fantastic Sensation 2:48
8. I Never Saw the Movie 4:13
9. Up 4:08
10. A Bright Green Field 5:16

Album Rating (1-10): 7.5

Members & Other Bands:
Jackie Leven – vocals and guitar, Producer (Concrete Bulletproof Invisible)
Jo Shaw – Vocals, Mandolin, Piano and guitar (Concrete Bulletproof Invisible)
Tony Waite- vocals and bass
David Macintosh – vocals, Marimba and percussion (Concrete Bulletproof Invisible)
Geoff Westley - Oberheim
Shelly Morris - Congas
Rod Beddall - Accordian
Pete Gibson - Harmonica
Wild Tom Newman - Vox, Producer, Engineer
Nina Spencer - Vox
Fiona Prendergast - Vox
Suaie O'List - Vox
Andrew Jackson - Engineer
Jeremy Marlow - Tape Operator
Pete Smiff - Tape Operator
Alan Douglas - Additional Recording
Mikki Rain - Front Design
Claire Verve - Writer

Unknown-ness: I never heard of these guys. When I first saw the old looking, beat up record sleeve, I began assuming that these guys were an early 70’s band, with the faded way it looked, the imagery and artwork. Even down to the design of the logo, this looks like a 70’s band. But I saw that it was released in 1981, so away went the ideas of it being a glam / light metal album of some early worth. But I am still curious what might be on this album.

Album Review: “Figure it Out” begins with dark, synth extendedly held notes. Sunrise/Brand New Day guitars (as I like to call them) are added, uplifting the dark tones of the synth. The vocals are hard to pin down, as they are moderately deep, but they begin and end in wavering fades. The vocals have definite soul R&B roots as they sing across the pleasant guitars and synth buried deep in the back. The entire song feels like an intro to something grander, like it is an intro for the album, rather than a stand alone song.
“Caritas” is their “hit” as I’ve read. And it is swirling synth guitar sounds and progression like a Midnight Oil or INXS songs, and slightly reminiscent of The Clash. There is a genuine power in his voice. The anthemic punk is mixed with disco dance floor redundancy in a combination that is surprisingly fitting, catchy, and complex. The chorus chanting in the background just adds to the powerful marching authority that the musical soundscape lays out. The song never rests. It continually treads on with purpose and drive. The echo chamber placed over the electric guitar makes it cry and wail with an earthy presence. “Soon New Life” lightens the atmosphere with a ska-reggae themed pleasant song. This song does not seem to fit, but that does not mean that it is a bad song. It is like a less nervous Buzzcocks’s “Girl From the Chain Store,” stripped down of its urgency and covered by a Virgins Islands groovy band. It is comparable in style to something from the English Beat’s Beat Service record. That and a bit of Motown.
“Main Traveled Roads” begins with a light gospel chanting, and it gently moves forward, unveiling a delightful vocal range, even if the music is basic and limp. Later, a soaring lead guitar is added, paralleling the vocal pattern. Again, this song does not feel like it fits in progress of the album, but I’ve definitely thrown out the idea of a cohesive album at this point. This sounds so light; I’d think that it was a Fleetwood Mac song or something.
“Those In Peril” feels like a very adult Caribbean lounge act. It has an old timey groove, like a Jimmy Buffett song or Cecilio & Kapono; or a Ween “Banana’s and Blow” without the humor. His voice has a great range, and the melody would be hard to capture by just anyone, but the music does not pull its own weight.

“The Perfect Romance” brings a bit more of prog with its intro. And then the song abandons the darkness for a straightforward rock song. The vocals again show the range of vocals, as the singer wanders down in the lower register, the emotion and power of the music in the chorus begs for energy and higher vocals, and he delivers. The lower level vocals almost sound like Johnny Cash or a similar country & western singer.
“Fantastic Sensation” has a jittery, bouncy feel to it, but the underlying mood is stripped from oldies rock. The vocals run over the short sections of the songs, as the melody jumps from short segment to the next. The segments are all very catchy, and it makes you want to dance your way across the ballroom. “I Never Saw the Movie” is a slower countryish song, lazily bumping along into the chorus. The chorus features a comparable bombastic vocal and musical section, full of a brief burst of energy, but it is catchy and fun, like a Joe Jackson tune. For no good reason, a loudly strummed electric guitar interrupts the quiet rolling rhythm near the end. A fade out creates a pretty good fake ending, and the song, for some reason comes back in for one more repetition of the chorus, and fades out again for the true finish of the song.
“Up” begins with happily strummed guitar and light hand claps/finger snaps. It is light, upbeat and generally a feel good song. The vocal melody uniquely rolls over the melody like something from Graham Parker or John Wesley Harding. The chorus is something that you wait for, and is really fun and powerful. The breakdown for the last minute of the song feels somewhat theatrical, like it could be a dance number from a Broadway musical. It fades out, and ends with what sounds like crystal bell tones finishing up the melody.
“A Bright Green Field” again shows the range and diversity of the vocal talent. It takes on a life and musical melody of its own, overlying the unoriginally and uninteresting standard bass and kick drum/tambourine beat in the background.

As the album never takes a hold of a specific style or consistent rhythm, the cohesiveness of an album was dissolved by the third song. But that does not mean that this is not a collection of strong songs. To be more like a greatest hits with each track carrying with it a different influential genre is an interesting way to compose an album, especially coming off the AOR recorded albums of the 70’s.

Stand Out Track: "Soon New Life"

Links:
Allmusic
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Imaginations - Forever Rockin'

Name: Imaginations
Album: Forever Rockin
Year: 1985
Style: Calypso, Ska
Similar Bands: Kid Creole & Coconuts, English Beat
"One-Word" Review: fastbeat-happy-real-ska
Based Out Of: St. Thomas, Virgin Islands
Label: Self Produced

Forever Rockin' - Cover & Record
Forever Rockin - Back & Record

Forever Rockin (1985)

1. Children Rock 6:06
2. Woman Take Over 4:09
3. The Iron Man 5:43 /
4. The Heat Is On 3:51
5. Break Dancing 2:55
6. Clear The Way 5:45
7. Party Grover 4:02

Album Rating (1-10): 6.0

Members & Other Bands:

Dicksie Jarvis - St Tenor Sax

Alvaro DeLugo III - Trumpet

Sergio (Messiah) Feliciano - Trumpet, Arrangements

Rudolph E. Sebastian - Trumpet

Joseph A. Engerman, Jr - Trombone

Michael Coggings - Trombone

Kelvin A. Cardin - Keys

Funk Gumbs - Keys, Arrangements

Albert Vanterpool - Guitar

Lonard Monsanto II - Drums

Dar(y)il Scott - Bass, Vox, Arrangements

Wilfredo Michael - Percussions

Rubio Finch - Percussions

Alphonso Demming - Vox

Geroge (Val) Whyte - Vox

Steve Tyrell - Cox

Jeanette Rouse - Backing Vox

Robert Becker - Cover Design

Cecil O Forbes - Cover Design, Exec Producer

Peter Andrews - Cover Design

Hilton Colon - Mixing

Unknown-ness: I never heard of these guys. I bought it because of the amazing artwork. The cover is so energetic, full of Japanese explosive sun imagery, and the back is familiar and cute, with the yearbook advertising like promotions of local businesses in the Virgin Islands. At first I thought they were fake (which they could be) but I think they are for real now. I like how some of the advertisers wish the band luck and congratulations. I see that the label is calypso records, so that is a dead give-a-way to the genre. But the band itself is huge, and I’m excited to check out a fun island sound.

Album Review: Let me first say, I could not find anything about this album anywhere. I’ve seen the name Imaginations Brass, also from the VI’s, but I don’t know if it is the same band.

“Children Rock” is a happy constantly moving song, featuring fast bongos/conga drums, horns that burst with excitement and upbeat party atmosphere. You can hear the smiles that the singers must be making in the vocals. There is a great usage of electronic synth too, that adds just a touch of diversity in brief moments. If there is any fault, is that the repetitiveness of the song is enhanced due to the length of the song. It is an incredibly catchy rhythm, but it does go on, feeling like an extended version of Buster Poindexter’s “Hot Hot Hot.” It ends in new wave style surge of energy
“Woman Take Over” picks up on the uber-glee and fast island/calypso music. The synth makes an interesting steel drum effect which parallels the melody that the excited horns play. And it fades out as the different horns solo briefly.
“The Iron Man” again features the electronic steel drum sound. But the music style, even though the drums are still fiery fast, the general tempo is slower, enough so to do easier dance moves to. The chorus is a nice three note downward scale played in different ranges, also in a downward scale. The constant drumming pace makes for the repetitive nature of the song.

“The Heat Is On” begins with cop sirens, and bleeds right into the drums and upbeat horns. This song is a little more like a dancing can-can show than basic island music. I guess the can-can shows are based on the same music, but this just feels more theatrical. But it is still very fast. Laser blasts are synthly produced over the end of the song; kinda new wave, and kinda disco.
“Break Dancing” continues again in the unfaltering energy output and fast authentic reggae/ska style singing. This song features a very fun chorus. A choir of voices chants Break, as the lead vocals follow up with dancing. And it is sung in a melody that is part conga, part salsa. Other percussive elements are layered in the background besides the normal drums. The structure is such that the verses are very short, and the chours comes on to take up equal time as the verse.
“Clear The Way” has more synth than the other songs at the outset, like a Sonic the Hedgehog level. But it sounds like a ska song with the trumpets. The percussion still thumps and pounds on.
“Party Grover” is a smoother, sexier song than the rest of the record. The occelating drum and cymbal is still pulsing, but the synth keyboard is much smoother, and the horns are used in short sporadic burst as an accent rather than the main musical force. The scene it creates is a smoky and sweaty club scene. Like a more authentic “All Night Long” And this is the first instance where I recognize the female vocals supplementing the lead vocals, but they have perhaps been there the whole time.

Stand Out Track: Break Dancing

Links:

Kwayne Bartlett - core

Music Stacks

Foxy - Party Boys

Name: Foxy
Album: Party Boys
Year: 1979
Style: Disco, R&B, Dance, Island
Similar Bands: Michael Jackson, Kool & The Gang, Kid Creole, Bus Boys, Dr Buzzard's Band, Rockwell
"One-Word" Review: Ecclectic Island Partiers
Based Out Of: Miami, Fl
Label: TK Productions, Dash

Party Boys: Cover & Sleeve
Party Boys: Back & Sleeve

Party Boys: Record

Party Boys (1979)

1. Girls 3:26
2. Let's Be Bad Tonight 3:40
3. Sambame Rio 4:20
4. I Belong To You 4:18
5. She's So Cool 3:06/
6. I Can't Stand the Heat 3:10
7. RRRRRRock 4:14
8. Fantazy 4:12
9. Pensando En Ti 4:08
10. Party Boys 3:20

Album Rating: 5.5

Members & Other Bands:Ish Ledesma - Lead, Rythm Guitars, Vox Percussion (Company B, Mo Thugs, OXO)
Arnold Paserio - Bass, Backing Vox
Richie Puente - Conga, Percussion, Guitar, Synth, Back Vox
Joe Galdo - Drums, Percussion, Backing Vox
Airto Moreira - Percission, Vibes
Richard Baker - Piano & Synth

Skip Edwards - Vox Organ
Rick Kelly - Synth
Jack Kelso - Sax
Gerry Peterson - Sax
Rick Ash - Tape Tearing, Enginner, Mixing
Stan Johnson - Finger Cymbals
Webster Lewis - String Arrangement
Charles Veal, Jr - Concertmaster
John Van Nest - Asst. Engineer
Michael Nosker - Asst. Engineer
Bernie Grundman - Mastering

Unknown-ness: I’ve never heard of the band…in fact, I did not know if the band was called Foxy or Party Boys, since the title is before the name. But I figured it out since, obviously. I picked up this album because of the possibilities that the cover and back held. I like the color schemes and the comic vibe of the manager/show girl on the back, with the band’s images presumably on the back board. I was able to listen to a track or two, and I liked what I heard, so I bought the album for a dollar. But does the rest of the album hold up to the first two shows…I’ll figure it out now.

Album Review: “Girls” starts off the album, with some cowbell and jangley percussion and a Michael Jackson Off The Wall bass beat. It is a real catchy song that straddles the disco and r&b fine line, featuring a mix of falsetto and smooth vocals. It kinda sounds like the record is skipping; the beat just doesn’t feel quite steady, and is off in a jarring way. But it is a good dance song. A Didgeridoo starts off the next dance song “Let's Be Bad Tonight.” It features short simple guitar work and a disco/dance drum and bass beat. The synthesized vocal effects in the instrumental breakdown are picture perfect for 80’s disco-r&b. This is a good song too. “Sambame Rio” starts with 35 seconds or so of yipping, crowd and island sound effects, then a bongo and Samba/Cha-Cha islander dance beat begins with maracas and Kid Creole style rhythms. The chorus is a little catchy, and creates a relaxing vibe with its smooth groove. “I Belong To You” has a quiet ballad, volume raising string intro. This feels like Beatles’ instrumental soundtrack music. Then the smooth r&b vocals enter, and it is a lounge act sung over slow-dance disco. “She's So Cool” ends the side with a sort of countrified dance song. The twangyness of the guitar gives way to R&B with the high pitch & regular vocals of the verse. This shows a nice mix of rock and r&b, but not as good as the Bus Boys do it later on.

“I Can't Stand the Heat” infuses the electric guitar with disco dance, like Jackson did with “Beat it,” just more minimally. The vocals try to add a little James Brown breakdown, and then it is back to the electric guitar. The repetitive vocals end up being catchy, and they explore different melodies within the same basic bass/drum structure. The song blends with into “RRRRRRock” with some whistle blowing and rhythmic guitar playing. The song has a slow dance quality, similar to Rockwell or Chromeo. They use a good selection of synthesized effects, but they really could lose the annoying whistle, that just comes off like something you’d expect to hear in the Village People or something equally campy. It sounds like they were the victims of not knowing which direction to take their music. “Fantazy” features some sax in the intro, and it lays down a catchy groove. For some reason this feels like the verse to “I Want a New Drug” to me. The song winds down with the sax, and some swirling effects and deep sounding bongos. “Pensando En Ti” is a slow ballady song, again like the Beatles soundtrack instrumentals, all sung in Spanish. “Party Boys” is straight ahead disco, sounding like the male falsetto in the Bronski Beat, or Annie Lennox doing disco/R&B…but actually, the chorus leading up to the lyrics “Party Boys” sounds exactly like the line “Whether times are good or bad, happy or sad” in “Let’s Stay Together.”

Stand Out Track: "Girls"

Links:allmusic
wikipedia
dance music blog

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