Mike Batt - Zero Zero

Name: Mike Batt
Album: Zero Zero
Year: 1982
Style: Soundtrack, New Wave, Avant-Garde, Art Rock
Similar Bands: Styx, Cirque Du Soleil, John Williams, Split Enz
"One-Word" Review: Bonkers Futuristic Absurdist Live-Action Cartoon Rock Opera
Based Out Of: Southhampton, England
Label: CBS, Epic

 Cover, Record

Record, Back

Zero Zero (1982)

1. Introduction (The Birth of Number 17) 5:22
2. System 605 2:15
3. Love Makes You Crazy 3:36
4. Delirium 8:45/
5. Whispering Fool 4:28
6. Zero Zero 7:17
7. The Dance of the Neurosurgeons 3:50
8. No Lights in My Eyes 3:10
9. Love Makes You Cry (instrumental reprise) 3:00

Album Rating (1-10): 7.0

Members & Other Bands:

• Mike Batt - Producer, Arrangement, Conductor, Vox, Percussion, Synth (Hapshash & the Coloured Coat, Wombles, Phase 4, Synthesonic Sounds, so much more)
• Tommy Emmanuel - Guitars, Bass (Australian Country Music Unites, Aus Olympians, Dragon, Hunter, Julian Lee Orch, Southern Star Band, Trailblazers, Love Junkie, Bushwackers, Jimmy Barnes, Maureen Elkner, Air Supply, Kevfin Somerville, Swanee, John Williamson, Goldrush, Doug Parkinson, Valentine)
• Rex Goh - Guitars (Air Supply, QED, Leon Berger, Simon Gallaher, DD Smash, Flaming Hands, Renee Geyer, Byrt Mallanyk, Dangerzone, Play School, Tony Williams, Armando Hurley, Robyne Dunn, Grace Knight, Marc Almond, Savage Garden, Wiggles, Eurogliders, Amy Pearson)
• Ian Bloxham - Timpani & Congas (Crossfire, Judy Bailey Orch, Julian Lee Orch, Kirk L Orange Orch., Southern Contemporary Rock Assembly, Kenny Powell Orch, Mell-O-Tones, Digby Richards, Patch, Digby Richards, John Sangster, Air Supply, Robyn Archer)
• Steve Hopes - Snare Drum (Crossfire, Julian Lee Orch, Renee Geyer, Expression, Delaney/Venn, Marcia Hines, Nev Nicholls, Jeff St. John, Edith Bliss, Philippe Gabbay, Reg Lindsay, Doug Parkinson, Sue Halford, Doug Mulray)
• Myra de Groot - Spoken Word
• Ron Ratcliff - Spoken Word
• Russ Lupalle - Medial Officer
• Wendy Batt - #36 Spoken Word
• John Bee - Principle Sound Engineer
• Glen Phinister - Sound Engineer
• Alan McClean - Sound Engineer
• Brendan Frost - Sound Engineer
• Richard Lush - Sound Engineer
• David Harvey - Sound Coordinator

Unknown-ness: Never heard of this, but it looks like something quite arty out of a New Order video or Klaus Nomi's head. Or just Split Enz. I'm guessing it is a future-fantasy inspired concept album,

Album Review: Zero Zero is a soundtrack to an "audio-video" piece set in an odd, checkerboard, antiseptic world that is trying to phase out love, however the protagonist (#17) finds that he can't help loving another (#36) and is sentenced to Zero Zero facility for his cleansing. It is bleak, and cold synth new wave, as the world he's created would suggest. The vocal songs are punctuated with a scoring of the follies and fumbles that the cast experiences could be described as bumbling cartoon synths. And at times, it sounds like bottom shelf Star Wars tribute.

 At a young age, Batt began recording & producing other acts , and scored countless soundtracks and tv themes (including the Animated Watership Down, and co-writing the title song to Phantom of the Opera). In 1980, he went on a boat ride with his family heading west from France around South America up to LA, then past Hawaii to Australia. On the final lag of the journey was when he was commissioned by Australia to write a piece for the Australian Broadcasting Corp's 50th anniversary, which aired on the UK in '82. His work includes working with many famous people, including Roger Daltrey, Art Garfunkle, Bonnie Tyler, Huey Lewis, and so many more. Of personal interest, he wrote the Orchestral sections for XTC songs "Green Man" and "I Can't Own Her."

Stand Out Track: Love Makes You Crazy

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Mic Holwin - Starting to Remember

Name: Mic Holwin
Album: Starting to Remember
Year: 1986
Style: Electronic, Instrumental, New Age
Similar Bands: Tangerine Dream, Ghostwriters
"One-Word" Review: 80's Drama-Horror Soundtrack for Film
Based Out Of: NYC, NY
Label: Lifestyle, Moss Music Group

Cover & Record

Back & Record

Starting to Remember (1986)

1. Brujo 3:22
2. The Hunt 3:58
3. Aligning the Warlock 3:32
4. This Close 4:06
5. Gray 3:14
6. Amon Ra 3:11
7. Being Swum 3:16 /
8. Abandon 3:08
9. The Bridge 3:56
10. Burning Beyond 3:38
11. Unbound 5:58
12. Shaon 3:01
13. Aviatar 4:43

Album Rating (1-10): 6.5

Members & Other Bands:

• Mic Holwin - Writer, Performer, Programmer, Producer, Asst Engineer (Brujo)
• Paul Zinman - Associate Producer, Engineer, Digital Editing, Additional DX Timbres
• Niko Joel Anducich - Lifestyle Exec. Producer
• Glascock - Cover
• David Meieran - Additional DX Timbres
• Vinnie Fusco - Manager

Unknown-ness: Never heard of this artist, and I keep wanting to call him Mic Howlin' but the L & W are transposed. I like the VHS-quality scanline cover art, and simple artwork & angular font. Not sure what to expect with this one, as it could be really anything from a singer songwriter to future rock. I do anticipate some sort of synth element.

Album Review: Well, this is all synth element. 100% synth done on at least 5 different synthesizers, creating strange and elegant new-agey B-movie background themes. Apparently, the Mic in her name refers to the method she writes music that is visible: "synesthesia'

Stand Out Track: Amon Ra

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Meco - Music Inspired By Star Wars

Artist: Meco

Album: Music Inspired By Star Wars

Year: 2005

Style: Disco, Electronic, Soundtrack

Similar Bands: there is nothing quite like this.

"One-Word" Review: Fanboy's-musical-diorama

Based Out Of: Johnsonburg, PA

Label: DM Records Group

Music Inspired By Star Wars - Cover, CD, Back

Music Inspired By Star Wars - Liner notes, CD Tray

Music Inspired By Star Wars (2005)

1. I Am Your Father 3:09
2. Star Wars Party 3:12
3. Across the Stars / Princess Leia's Theme (Star Wars Love Themes) 4:03
4. Star Wars Theme (New Star Wars) 3:08
5. The Imperial March (Empire Strikes Back) 3:32
6. Yoda's Theme (You Are Reckless) 3:22
7. Jedi Knight 4:05
8. Lapti Nek 3:25
9. Live Your Life 3:19
10. Boogie Wookiee 6:25

Album Rating (1-10): 3.0

Members & Other Bands:

Meco Mondardo - Producer, Arrangements, Programming, Recording, Mixing (Eastman School of Music Jazz Band, Tommy James, Diana Ross)

Peter Frank - Vox, Character Vocal Re-enactment, Guitar Solo

Jeff Jenkins - Character Vocal Re-enactment

Kim Weiss - Vox, Character Vocal Re-enactment

Yamira Santieli - Vox

Sal Vecchio - remix

David Watson - Executive Producer

Mark Watson - Executive Producer

Brian Fleniken - Mastering

Joe Corcoran - Licensing & Copyright Administration

Karl Braun Esq. - Legal Advisor

Herman Moskowitz CPA - Accounting

Unknown-ness: I have heard of Meco, sure. Being a fan of Star Wars, and growing up with the original 3 as my template to compare all other movies to, I was a fan of the Cantina Band version Meco produced. But that song is nowhere on this 2005 version, which professes to have music inspired by all 6 episodes of the dual trilogy. I doubt it is good, since Meco is generally a Disco-related producer/musician, and although 1977 music could lend itself to the genre, I don’t see how the newer three will translate. But it is worth a few minutes of time to find out.

Album Review: So more to the history of Meco…he went to school for music, even formed a band in school with friends Chuck Mangione and bassist Ron Carter. In the mid 70’s as disco was emerging, he was producer to a couple of Gloria Gaynor hits. But it was his love of sci-fi growing up that lead him to making dance versions of familiar soundtrack themes. All that aside, this is a horrendous album. It is incredibly embarrassing, almost more so than hearing the Mini-Pops sing about “making love.”

“I Am Your Father” starts with an echoing cymbal, Darth Vader’s famous breathing, and a sensuous light jazz backing melody. Vocal/quote samples are spoken/layered over the music. The song is not even dancey. It brings in Vader’s melody via synthesized string sections. Luke’s “that’s impossible” line is added in, and there are lots of washed quotes, and a guitar solo for no reason. The song is chaotic and is like a child’s magazine cut up collage for 3^rd grade.

“Star Wars Party” is just an embarrassing attempt at rapping about how great a star wars party is. It’s general, never really explaining what exactly a star wars party is, except that it involves dancing Jedi and Wookies helping R2. There is a flat produced quality about the song: nothing sounds crisp or “real.” The melody for the chorus feels Christmassy. The chorus fades out in the end.

“Across the Stars / Princess Leia's Theme (Star Wars Love Themes)” uses more rattling cymbals. The familiar Leia’s Theme is played with fast tempo marching drums played to make it more dancey. The tone is solemn, and it sounds like an 80’s TV show.  There are more quotes layered over the music of Darth Vader, the Emperor, then Obi-Wan. The rest of the cast joins in with one off quotes, taken out of meaning or sequence. But the Han, Luke and Leia voices don’t sound very identifiable. Not a good song, or really, a song at all.

“Star Wars Theme (New Star Wars)” begins like it’s going to be a new age pop song, and features star fighters swooping by, and a loose representation of the star wars theme is synthesized behind more vocal samples. The song grows stagnant quickly, and tried to just carry a drum beat beneath more rearranged character dialogue. Rather than songs inspired by Star Wars, this is more like a bastardized version of your childhood memories.  

“The Imperial March (Empire Strikes Back)” has a dark, metallic quality beneath the familiar march. This feels closer to music, as it is more like a game show version of the theme. There are disco stings accenting certain measures, and the only movie sounds are lasers shots and light saber battles. Later R2 sounds are added as the song rises out of the dark, and moves to positive territory. It is definitely the most creative and musically interesting interpretation of the familiar themes.

“Yoda's Theme (You Are Reckless)” starts with mediocre-to-poor vocal impressions of Yoda over a floating dream like sequence complete with harp playing and a new age or medieval like melody. This again could be the actions of a 15 yr old making a tribute to Yoda with self-made audio clips. At the 2:10 mark, the familiar Star Wars themes are mashed together in disco fashion with sound effects added at random moments.

“Jedi Knight” is a sung song, it is a driving, yet light female sung number that is slightly disco, slightly Japanese, and pretty toe tapping. If it did not have the Weird Al like embarrassment of partial knowledge and selected information of a topic, it might be a generally ok song. The chorus reminds me of Village People, with the chorus of male “sailors” saying to fight behind the female vocals. It follows a good pop music template of music.

“Lapti Nek” reaches more funky disco territories, and is another actually sung song that harkens back more accurately to the disco era. There are creature samples of monsters from Jabba’s Palace. The synthesizer flourishes make this into an interesting audio song. The tempo is danceable and driving, and if the annoying Jabba sounds were removed, it might be a stand-alone tolerable song.

“Live Your Life” starts with a tinny drum beat and dialogue clips overlayed. The mellow melody is very thin, and cruises along for the first minute, until the chorus hits after about a minute, and the sung vocals are raise from the background. This song feels like a fleshed out version of one single thought.

“Boogie Wookiee” fades up with a jungle drum beat and a complex melody with overly synthesized effects and short singing Ooos and other bursts of lyric. The overall general is world music, and not nearly as funky as the rhyming title would suggest. About half way through the tempo and melody shifts up a notch and although it is still a world music beat, it is done in a video game (toe-jam and earl) spirit for a minute. After that, the music falls away leaving an angelic vibe and maraca percussion. It has dropped most of the boogie, and has become a floating cloud of mechanically created choir. 

Stand Out Track: Jedi Knight

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Soundtrack (James William Guercio) - Electra Glide In Blue

Name: Soundtrack (James William Guercio)
Album: Electra Glide In Blue
Year: 1973
Style: Soundtrack, Film Dialogue, 70's Jazz-Funk, Doo-Wop, Country
Similar Bands: Chicago, Donald Byrd, Marcels
"One Word" Review: Waaka-Wah-Funk-Conglomorate
Based Out Of: Chicago / L.A.
Label: United Artists

Electra Glide In Blue - Cover & Back

Electra Glide In Blue - Gatefold Picture

Electra Glide In Blue - Sleeve & Record

Electra Glide In Blue - Sleeve Liner Notes & Record

Electra Glide In Blue (1973) [lengths minus dialogue bits]

1. Morning 1:05
2. Prelude 4:45
3. Meadow Mountain Top 2:45
4. Overture 2:09
5. Most Of All 2:08
6. Jolene's Dance 3:11/
7. Concert / Free From The Devil 1:47
8. The Chase 3:21
9. Song Of Sad Bottles 4:05
10. Monument Valley 1:27
11. Tell Me 7:43

Album Rating (1-10): 5.0

Members & Other Bands:
James William Guercio -Produced and Directed (Chicago, Buckinghams, Blood, Sweat & Tears)

Ben Benay - Guitars (Chicago, Markettes, Merrell Fankhauser & the Mavi Band )

Larry Carlton - Guitars (Chicago, Fourplay, Wrecking Crew)
Louie Shelton - Guitars (Chicago)

Michael Lang - Pianos

Michael O'Martian - Pianos (Peter Cetera, Crackin')

Terry Kath - Electric Bass (Chicago)
Ross Salomone - Drums (Robert Lamm)
Dale Anderson - Percussion

Sanora Crouch - Percussion
Victor Feldman - Percussion (Fuse One)
Guille Garcia - Percussion (Chicago, REO Speedwagon, Joe Walsh, )

Paul Beaver - Moog & Organ (Beaver & Krause)
Gene Cipriano - Woodwinds

Walter Parazaider - Woodwinds (Chicago)
Johnny Rotella - Woodwinds

Vincent De Rosa - French Horns

David Duke - French Horns
William Hinshaw - French Horns
Richard Perissi - French Horns
Gale Robinson - French Horns (Two Brothers on the Fourth Floor)
Henry Sigismonti - French Horns

Shirlie Matthews - Chorus

Patricia Hall - Chorus
Andra Willis - Chorus
Jackie Allen - Chorus

Bud Brisbois - Trumpets

Conti Candoli - Trumpets (Candoli Brothers)
Chuck Findley - Trumpets (The Imperials)
Lee Loughnane - Trumpets (Chicago)
Oliver Mitchell - Trumpets
Tony Terran - Trumpets

Harold Diner - Trombones

Robert Knight - Trombones
Lew McReary - Trombones
James Pankow - Trombones (Chicago)

Sidney Sharp - Violins

Arnold Belnick - Violins
Assa Drori - Violins
Henry Ferber - Violins
Ronald Folson - Violins
James Getroff - Violins
Bernard Kundell - Violins
William Kurash - Violins
Tibor Zelig - Violins
Wilbert Nuttycombe - Violins
Ralph Schaeffer - Violins

Sam Baghossian - Violas

Allan Harshman - Violas
Harry Hyams - Violas
David Schwartz -Violas

Jesse Erlich - Cellos

Armand Kaproff - Cellos
Raymond Kelley - Cellos

James Bond - String Basses

Abe Luboff - String Basses
Lyle Ritz - String Basses

David Ward - Music copyists

M. Lee Allman - Music copyists
Jeffery Jones - Music copyists

Charles Stern - Orchestra Contractor
Alan Freed - Soundtrack Band: Marcels

Harvey Fuqua - Soundtrack Band: Marcels (Moonglows, Marquees)

Mark Spoelstra - Author, Writer
Alan De Carlo - Film band: Madura: guitar (Robert Lamm)

David "Hawk" Wolinski - Film band: Madura: Organ (Chicago)
Ross Salomone - Film band: Madura: Drums
Armin Steiner - Producer
Jimmie Haskell - Producer
Jim Nelson - Producer

Unknown-ness: I’ve never heard of this, but I bought it because I liked the cover design. Later, upon inspection, did I find out that it is a soundtrack to a film I’ve not heard of either. So from there, I really have no idea if it will be rock, orchestral, or something else completely. The one thing I do know is that the liner notes list a slew of names as part of an orchestra, so if I had to guess, I’m leaning toward background music for the film.

Album Review: So the filmmaker is better known for producing some of Chicago’s finest early albums, and most of the members of Chicago appear either in the film as minor roles or on the soundtrack at some capacity; be it in the orchestra or in composition of the music.

“Morning” is an instrumental that summons the feeling of just that: new day, full of possibility and a bright future, as many good-guy-turned-bad plots instill at the outset.“Prelude” starts with dialogue from the film, and an Electra Glide taking off down the road. The instrumental “Prelude” that follows feels rooted in funk that many 70’s films exploited: strong jazzy horns, and a liquid wah-wah guitar effect, recalling Disco-funk. This is smoother and more relaxed than use of hectic / action scene disco funk in most 70’s films. Reminds me the little I know of Donald Byrd.
“Meadow Mountain Top” starts with dialogue from the move of a cop pulling over another cop, and the ensuing argument. The song itself begins with country violins and a soothing country vocal. The beat is that of a waltz. The campfire style song are lazy, calming and non-confrontational.
“Overture” is also separated from the last song with argument dialogue from the police headquarters in the film. A slow piano paralleled with strings starts the actual song, with a native American tribal rhythm. The liquid wah-wah guitar is brought back, adding the 70’s Funk element to the song, changing it into something much more orchestral and bombastic, leading to a grand finale of the final note held.
“Most Of All” is separated by more dialogue of the cops discussing the case, claiming it was murder. An acoustic guitar starts the song, followed by a deep baritone vocal, which kicks off this pure doo-wop slow dance number. I can only assume this number backed some romantic situation in the film. This is the direct version done by the Marcels.
“Jolene's Dance” has a long bit of dialogue at its beginning. Then more funky 70’s wah-wah guitar mixed with a soothing horn section create a relaxed, almost slow-motion sensation of a film situation that could either be a “roof top” chase, or a “building friends” montage. Dialogue ends the track, too.

Right before “Concert/Free From the Devil” is more dialogue. And a drum solo starts the song, with a bouncy bass to back it right up. Waaka-Wah guitar instrumentals are added, making an intense live jam session. At the very end vocals are added just as the song fades out, and a fake audience clapping covers the fade.
“The Chase” begins with dialogue about the cops coming, so that sets up the whole “Chase” instrumental. There is a little more driving pace behind this, mainly with the drums and bass, but the liquid Wah-Wah guitar and funky organ, drop anchor and forever link the music to a smoky, haze filled era of film.
“Song Of Sad Bottles” has dialogue to begin! Then, as expected from the namesake, the song struggles along, soaked in sad, drunken country music style.
“Monument Valley” is an instrumental that kicks in after a gun shot/murder dialogue scene. And with humming strings and a deep bass drum, feels like the preparation for war, or the sun setting on the character who, at the beginning, had an anything’s possible disposition.
“Tell Me” ends the album after a final bit of dialogue, and was apparently also used in the final episode of Miami Vice. This is the one example of 70’s AOR song that could be considered something from Chicago’s catalogue, and was apparently written by the director, and sung by Chicago’s Terry Kath. It is a slow, dawning song that builds in strength and sound. The song becomes passionate and intense as it continues. Elements from the scoring of the film are still identifiable here, including the guitar and horns, but this is an anthemic take on the entire production, even throwing a “god bless America, children, everybody and world” in the female backing chorus, which verges on Gospel.

Stand Out Track: Most Of All

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