Tymes (the) - Tymes Up

Name: The Tymes
Album: Tymes Up
Year: 1976
Style: Soul, Gospel, Funk
Similar Bands: Stylistics, TSOP, Philly Cream, Tavaras, Spinners, Delfonics, Chi-Lites, Five Stairsteps
"One-Word" Review: pimped out gospel soul
Based Out Of: Philadelphia, PA
Label: RCA, Victor

Cover, Record

Record, Back

Tymes Up (1976)

1. Only Your Love 5:01
2. It's Cool 3:38 (single)
3. If I Can't Make You Smile 3:54
4. God's Gonna Punish You 4:44/
5. Hypnotized 3:48
6. Goin' Through the Motions 3:40
7. To the Max 4:49
8. Good Morning Dear Lord 5:54

Album Rating (1-10): 6.0

Members & Other Bands:

• Billy Jackson - Producer, Director, Percussion, Backing Vox/Rap (The Citizens' Band, Daddy Kae Trio, Soiree, The Re-Vels, Lifestyle, Beverley Craven)
• Richie Rome - Arrangements, Keys (African Suite, Patti LaBelle, Terry Knight, Cheltenham Orch, Carol Stivers, Jimmy Ruffin, Dianne Steinberg, Persuaders, Horseshoe, Willis Jackson, Archie Bell & Drells, Chi-Lites, Ritchie Family, many)
• George Williams - Lead Vox, Backing Vox/Rap 
• Albert Berry Tenor 1st, 2nd (Latineers)
• Norman Burnett - Tenor, Baritone (Latineers)
• Wade Davis - Baritone (Ferguson, Davis & Jones, Lifestyle, Davis & Lee)
• Jerry Ferguson - Tenor (Ferguson, Davis & Jones, Lifestyle, Davis & Lee)
• Donald Banks - Bass (Latineers)
• Bernard Purdie - The Sounds of NY Band Leader, Drums (Harlem River Drive, Hummingbirg, New Pulse Jazz Band, Pretty Purdie & Playboys, Profile, Rhythmstick, Roy Ayers Ubiquity, Godfathers of Groove, Leon Thomas Blues Band, Mac Chrupcala Trio, Liv Warfield, Bruce Arnold, Nina Simone, Jimmy Smith, Phil Upchurch, Charlie Byrd more)
• Karl Chambers - Drums (MFSB, Ronald & Karl, The Producers, The Romeos, Toomorrow, Yellow Sunshine, Barbara Mason, Don Covay, Teddy Pendergrass, Intruders, The Three Degrees, O'Jays, Orlons)
• George Devins - Percussion, Vibes (Dizzy Gillespie, Harris-Leigh +3, Lew Davis, Ninapinta & his Bongos & Congas, Brassmates, Brothers, Jerry Ross, Don Costa, Irving Joseph, Don Arnone, Al Caiola more)
• Ray Barretto - Congas, Timbales (Art Farmer, Artists United Against Apartheid, Cannonball Adderley, Fania All Stara, Lou Donaldson, Oliver Nelson, Quincy Jones, New World Spirit, Charanga Band, Charanga Moderna, Al Grey, Billy Mitchell, Blackout Allstars, Herbie Mann, Ray Bryant, Tito Puente, Wild Bill Moore, Woody Herman, Thundering Herd, more)
• Paul Griffith - Keys (Aretha Franklin, Tim Carroll) 
• Larry Bongo Washington - Percussion, Congas (Anglo Saxon Brown, Black Light Orch, Eddie Drennon & BBS unlimited, John Davis & Monster Orch, MFSB, Salsoul Orch, Stylistics, Laura Nyro, Good God, Harold Melvin, more)
• Carl Lynch - Guitar (Dayton Selby Sound, Brownie McGhee, Cootie Williams, Will Holt, Preston McKinnon, Casey Anderson, Rose Murphy, The Orioles, Joan Toliver, Curtis Amy, Les McCann, Johnny Hodges, Jerome Richardson, Hank Crawford, George Benson, Jimmy Smith, Circle of Music, Melvin Van Peebles, King Curtis, James Brown, Dizzy Gillespie, Fugs, Peter Allen, Sharon Ridley, Charles McPherson, Carol Hall, Percy Mayfield, Van McCoy, Gerri Granger, Teresa Brewer, Marlena Shaw. Joneses, Bo Diddley, Webster Lewis, Jimmy Owens, Bunky Green, James Moody, Coasters, Herman Chittison, Ruth Brown, James Brown, Nina Simone, Clyde McPhatter, Rita Pavone, Bobby Byrd, JJ Johnson, Carla Thomas, Johnny Hodges, LaVern Baker, Diane Destry, Lee Castle, Sam Taylor, Leo Stephenson)
• Cornell Dupree - Guitar (Harlem River Drive, King Curtis & the Kingpins, Rainbow, Snooky Young, Stuff, Gadd Gang, The RH Factor, Donny Hathaway, Lulu, Aretha Franklin, Laura Nyro, Freddie King, Herbie Mann, Jerry Williams, more)
• Wilbur Bascombe - Bass (New Pulse Jazz Band, Players Assoc. The Zodiac, Willie Collins, Marion Williams, Buddy Terry, Lightnin' Rod, Billy Butler, Bo Diddley, Martin Mull, Roy Ayers, Michael Bolotin, Chuck Berry, Jeff Beck, Frankie Valli, Grace Jones more)
• Don Renaldo - The Sound of Philadelphia Band Leader (Horns & Strings, John Davis & Monster Orch, MFSB, Salsoul Orch, Delfonics, Barbara Mason, Stylistics, Grady Tate, Billy Paul, Charles Mann, Spinners, First Choice, Manhattans, Dick Jensen, Ecstasy-Passion-Pain, Major Harris, Persuaders, William DeVaughn, BB King, Modulations, Blue Magic, Gwen & Bruce, Eddie Kendricks, Universe City, Loleatta Holloway, Double Exposure, Arthur Prysock, Carol Williams, Ritchie Family, Eddie Drennon, Chi-Lites, Johnny Mathis, Harold Melvin, Archie Bell, Grace Jones, Lou Rawls, Billy Paul, Charo, Eddie Holman, Gaz, Metropolis, Ellen McIlwaine, Gary Criss, Jerry Butler, Montana, Dexter Wansel, Silver Convention, Trammps, Karen Young, Love Committee, The Futures, Gabriel, Ruth Waters, Jean Carn, Jones Girls, Bonnie Boyer, Cindy & Roy, Jackie Moore, Michael Pedicin Jr, Chuck brown, McFadden & Whitehead, Philly Cream, Fania All Stars, Strange Affair, OC Smith, Mizz, Sal Barbieri & Royal Company, Kat Mandu, Teddy Pendergrass, Dee Dee Sharp, Deniece Williams, Cashmere, Spinners, Flower, The Three Degrees, Laura Nyro, Exodus)
• Richie Genovese - Bass Trombone (Salsoul Orch, Stylistics, Delfonics, JJ Barnes, First Choice, Spinners, Loleattsa Holloway, Doulbe Exposure, Eddie Holman, Charo, Gloria Gaynor, Montana, Arthur Prysock, Ahsa Puthli, Bonnie Boyer, Michael Pedicin Jr, William Bolcom, Arnold Weinstein, Lulu Santos, Nuyorican Soul, Exodus)
• Roger DeLillo - Trombone, Euphonium (Dan McMillion, Jazz in the Classroom, Salsoul Orch, Woody Herman, Herman & Puemte, Carol Williams, Arthur Prysock, Loleatta Holloway, Paul Williams, First Choice, Eddie Holman, Charo, Gloria Gaynor, Montana, Karen Young, Michael Pedicin Jr, Bonnie Boyer, Mizz)
• Rocco Bene - Trumpet (Salsoul Orch, Stylistics, Delfonics, JJ Barnes, First Choice, Spinners, Loleattsa Holloway, Doulbe Exposure, Willis Jackson, Eddie Holman, Charo, Kool & the Gang,  Arthur Prysock, Ahsa Puthli, Touch of Class, Bonnie Boyer, Michael Pedicin Jr, Montana, FLB, Mizz, Abstract Truth, Nuyorican Soul, Joe Sgro, Exodus)
• Bob Hartzell - Trumpet (Salsoul Orch, Stylistics, Delfonics, JJ Barnes, First Choice, Spinners, Loleatta Holloway, Double Exposure, University City, Willis Jackson, Eddie Holman, Arthur Prysock, Ahsa Puthli, Cindy & Roy, Touch of Class, Bonnie Boyer, Michael Pedicin Jr, Montana, Karen Young, Mizz, Moana, Exodus)
• Christine P Reeves - Strings (Salsoul Orch, Frist Choice, Loleatta Holloway, Carol Williams, Double Exposure, Charo, Eddie Holman, Gloria Gaynor, Montana, Karen Young, Bonnie Boyer, Cinry & Roy, Mizz, Was (Not Was), Jean Carne, Men At Large, Gerald Levert, Eddie Levert, Incognito, Braxtons, Lulu Santos, O'Jays, Nuyorican Soul, Phyllis Hyman, Men of Vizion, Delfonics, Fantastic Plastic Machine)
• Charles A Apollonia - Strings (Salsoul Orch, Stylistics, Delfonics, Carol Williams, First Choice, Loleatta Holloway, Double Exposure, Eddie Holman, Gloria Gaynor, Montana, Karen Young, Bonnie Boyer, Cindy & Roy)
• Davis A Barnett - Strings (Philly Sound Orch, Salsoul Orch, Stylistics, Delfonics, First Choice, Loleatta Holloway, Double Exposure, Eddie Holman, Gloria Gaynor, Montana, Karen Young, Cinry & Roy, Mizz, Bonnie Boyer, Men At Large, Gerald Levert, Eddie Levert, Nuyorican Soul O'Jays, Backstreet Boys, Kelly Price, Nicole Ray, Jermaine Duprie, Men of Vizion, Jazzyfatnastees. Eric Benet, Will Smith, Martha Clancy, Jill Scott, Will Downing, eryKah Badu, Jagged Edge, Jaguar Wright, Vivian Green, Glenn Lewis, Darious Rucker, Floetry, Kindered The Family Soul, Curse, Javier, Ruben Studdard, Funk Bros, Patti LaBelle, Bonnie McKee, Southside Johnny & Asbury Jukes, Vivian, Anthony Hamilton, Margarets, Joy Denalane, Sleepy Brown, Roots, Justin Timberlake, Ron Hall & Muthafunkaz, Carol Riddick, Macy Gray, John Legend, Kanye West, Ne-Yo, NERD, Alexandra Burke, Paul Van Dyk, Rihanna, Esmee Denters, Black Eyed Peas, Fun, Daughtry, Michael Jackson, Aretha Franklin, Troye Sivan, Kelly Clarkson, 
• Vincent Pignotti - Strings (MFSB, Gamble & Huff, Salsoul Orch)
• Anthony Singagoga - Strings (Salsoul Orch, Stylistics, Delfonics, Carol Williams, First Choice, Loleatta Holloway, Double Exposure, Eddie Holman, Gloria Gaynor, Charo, Montana, Karen Young, Bonnie Boyer, Cindy & Roy)
• Rudolph Malizia - Strings (Salsoul Orch, Stylistics, Delfonics, Carol Williams, First Choice, Loleatta Holloway, Double Exposure, Eddie Holman, Gloria Gaynor, Charo, Montana, Karen Young, Bonnie Boyer, Cindy & Roy, Mizz)
• Albert Barone - Strings (Salsoul Orch, Stylistics, Delfonics, First Choice)
• J Chudnow - Strings
• Larry Gold - Strings (Good News, NFSB, Salsoul Orch, Woody's Truck Stop, Emile Haynie, Michael Bacon, Carol Williams, First Choice, Double Exposure, Eddie Holman, Charo, Karen Young, Bonnie Boyer, Mark Child & Cottage St Gang, Mizz, Montana, Lorenzo Smith, Bruce Saunders, Good 2 Go, Brue Cohen, John Rose, Rodney Mannsfield, Men At Large, Whitehead Bros, Gerald Levert, 2 Aces & a Jack, Gustav Mahler, Uri Caine, Nicole Renee, Nicole Ray, Kelly Price, Jermaine Dupri, Jazzyfatnastees, Roots, Shaboom, Will Smith, Eric Benet, Will Downing, Common, Jill Scott, Changing Faces, Dice Raw, eryKah Badu, Jagged Edge, Bubba Sparxxx, Bebel Giberto, Jay-Z, Philadelphia Experiment, Jaguar, Wright, Jennifer Lopez, Glenn Lewis, Darius Rucker, Floetry, Ms Jade, Erro, Brandy, Christina Aguilera, Donell Jones, Ms Jade, Justin Timberlake, Kindered the Family Soul, King Britt, Bacon Brothers, Ruben Studdard, LSG, Murphy lee, Joe, Jeff Bradshaw, Zap Mama, Osunlade, R. Kelly, Charlie Wilson, Amos Lee, V, Raheem DeVaughn, Syleena Johnson, Thomas Dutronc, Low Cut Connie, Grace Carter, Michael Jackson, Troye Sivan, Fleeting Ends, Paloma Faith, Kelly Clarkson, Lana Del Ray, Ne-Yo, Caine, Joy Denalane, Natalie, Carol Riddick, Ween, Macy Gray, Al gerween, TI, LL Cool J, John Hill, Kid Cudi, Pleasure P, Bedouin Soundclash)
• Jack Faith - Flute, Strings (Stylistics, Swamp Dogg, Delfonics, Moonglows, Spinners, Salsoul Orch, Blue Magic, Carol Williams, Willis Jackson, LTG Exchange, Charo, Johny Mathis, Montana, First Choice, Asha, Gloria Gaynor, Mizz, Leon Huff, Futures, MFSB, Rose Royce, O'Jays, Patti LaBelle more)
• Romeo DiStephans - Strings (Salsoul Orch, Stylistics, Delfonics, First Choice, Loleatta Holloway, Double Exposure, Charo, Montana)
• J D'Onofrio - Strings
• Isabel Coles - Backing Vox (Kleer, Joey Negro)
• Edna Holt - Backing Vox (Holt '45, Starluv, Ritchie Family, Mongo Santamaria, Michael Boothman, harold Ousley, Fatback Band, Black Renaissance, Stormin' Norman & Suzy, Angela Bofill, OC Smith, Keith Silverfish Ferguson, Fonzi Thornton, Talking Heads, Chickenshack, Kim Ryder, James Freud, Bryan Ferry, Rocking Chairs, David J)
• Barbara Ingram - Backing Vox (School for Arts Singers, Ingram, John Davis & the Monster Orch, New York City, Slick, Spinners, Alpha Angels, Intruders, Philadelphia Angels, Salsoul Hustlers, Sweethearts, Sweeties, Stylistics, Barbara Mason, Detroit Spinners, Dick Jensen, Soul Survivors, Billy Paul, Harold Melvin, Ecstasy-Passion-Pain, MFSB, Archie Bell, Dee Dee Sharp, Blue Magic, Trammps, Dionne Warwick, Manhattans, Major Harris, Bunny Sigler, more)
• Deborah Stockton - Backing Vox (Force of Nature, MFSB)
• Evette L. Benton - Backing Vox (John Davis & the Monster Orch, MFSB, New York City, Spinners, Alpha Angels, Intruders, Philadelphia Angels, Salsoul Hustlers, Sweethearts, Sweeties,  Barbara Mason, Detroit Spinners, Dick Jensen, Soul Survivors, Billy Paul, Harold Melvin, Ecstasy-Passion-Pain, Ritchie Family, Archie Bell, Dee Dee Sharp, Blue Magic, Dionne Warwick, more)
• Carla L Benson - Backing Vox & Special Vox Effect (John Davis & the Monster Orch, New York City, Michael Pedicin Jr, Spinners, Alpha Angels, Intruders, Philadelphia Angels, Salsoul Hustlers, Sweethearts, Sweeties, Barbara Mason, Detroit Spinners, Dick Jensen, Soul Survivors, Billy Paul, Harold Melvin, Ecstasy-Passion-Pain, Ritchie Family, MFSB, Archie Bell, Dee Dee Sharp, Blue Magic, Trammps, Dionne Warwick, more)
• Luz Rivera - Backing Vox Rap (Miguel de Leon)
• Joe Tarsia - Recording Engineer, Remix Engineer
• Jay Marks - Recording Engineer
• Kenny Present - Recording Engineer
• Don Murray - Recording Engineer, Remix Engineer
• Carl Parulo - Recording Engineer
• Vivian Abbott  - Recording Engineer Special Thanks
• Harry Chipetz - Recording Engineer Special Thanks
• Dick Baxter - RCA Recording Engineer
• Tom Brown - RCA Recording Engineer Assistant
• Shelly Yakus - Recording Engineer Record Plant
• Jay Messina - Recording Engineer Record Plant
• Tom Moulton - Mixing
• Nick Sangiamo - Photos
• Design - JJ Stelmach

Unknown-ness: I've never heard of this band, but my mind automatically goes toward associating it with Morris Day And the Time. With the silly misspelled name and the play on words with Tymes Up parking meter photo in the graveyard, i get a sense that they think of themselves as a fun band. But looking at the immense list of musicians who went into the production of this record, i wonder if it will be more choir-like or operatic...especially with two tracks referencing god. I'm going to suggest that this will be soulful R&B, perhaps with a foot in disco, just due to the instruments listed and the year.

Album Review: This is a collection of soulful R&B with some fear of god gospel. Lots of smooth sexy sections coupled with the upbeat soul and cheery gods gonna punish you if you break my heart and sermon filled good morning dear lord. "It's Cool" is a fun, empowering story song where a woman gets hit on at a restaurant and has to cool down her jealous man. The strings do swirl around, hinting at disco on occasion, but it is much firmer placed in the vocal soul group category.

This album comes 20 years into their career (16 as The Tymes). Their two biggest hits in came in 1963 in the US (So Much Love, which beat the Beatles in the #1 spot) and then in 1975 in the UK (Ms Grace). They bounced around from label to label and had minor alterations to their sound trying to find a place to capture the initial first album success. Williams and Banks have both passed away in 2004 & 20011 respectively. But surviving members still play out as The Tymes to this day (2020). They were part of Dick Clark's 1963 American Bandstand tour, which was supposed to play Dallas the day JFK was shot.

Stand Out Track: Only Your Love

Links:
Wiki

Discogs

Allmusic
ABKCO
Banks Obit - Philly Inquirer 11/1/11
Soul Express
Rebeat Mag
Rate Your Music
All but forgotten Oldies
Delafont
Gary Cape Booking
Oldies . com

Rex Smith - Rex

Name: Rex Smith
Album: Rex
Year: 1976
Style: Glam, Power Pop, Hard Rock
Similar Bands: T. Rex, Alice Cooper, Rick Springfield, Leif Garrett, ZZ Top
"One-Word" Review: 70's Pretty-Glam-Boy Power Rocker
Based Out Of: Jacksonville Florida
Label: Columbia, CBS

Cover, Sleeve, Record

Back, Sleeve, Record

Rex (1976)

1. Trouble 4:11 (Single)
2. Ten Seconds of Love 4:02
3. Feeling Better 4:27
4. Stay With Me 4:41 (Lorraine Ellison cover)/
5. Call Her "Easy" 4:20
6. Dead End Kids 3:35
7. I Can't Explain 2:59 (Who cover, single B-Side)
8. Rock & Roll Dream 2:40
9. Violent Playground 3:21

Album Rating (1-10): 8.0

Members & Other Bands:

• Orville Davis - Bass (Hydra, Starz)
• Lars Hanson - Guitar, Backing Vox (Genya Ravan, Ronnie Spector, Rudolf's Nightmare, Benny Mardones)
• Mike Ratti - Drums, Percussion (Heavy Balloon, Morgen, The Nails, Shorud of Lowell)
• Rex Smith - Vox (Phaedra, Rachel Sweet, Frank Wildhorn )
• Lou Vandora - Guitar, backing Vox (Lou's Blues Revue)
• Eddie Leonetti - Producer
• Lee De Carlo - Engineer
• Jay Krugman - Asst. Engineer
• Rod O'Brein - Asst. Engineer
• David Krebs - Direction

Unknown-ness: Never heard of Rex, but that could be short for, or have changed for a number of acts. The cover and band photo make him look to be a typical power pop with a prog edge, with a touch of androgyny.

Album Review: The album is def power pop, but leans heavy on hard rock and glam. Many songs sound like they are going to transition into ZZ Top's "Tush." Vocals take cues from Robert Plant. But the album sounds good with talented musicians and a solid, thick, heavy rock feel, typical of the mid-70's era. The album is attributed to a band named "Rex" but most cataloging databases file this as a Rex Smith album, and i'm following suit. His pretty-boy looks made him a teen idol in the late 70's and early 80s. Rex was just as poplar as an actor as a music. This album came 2 years before he made his debut on broadway in Grease. He was also in the tv series Street Hawk, and is the Quizzo answer to "Who is the first live action actor to portray Marvel Comic's Daredevil." He has had two  top 40 singles with "You Take My Breath Away" (#10 and was on his soundtrack to the film he also starred in Sooner or Later) in 1979, and "Everlasting Love" (#32) as a duet with Rachel Sweet. You can get a personal message made from Rex for $75 bucks on Cameo.

Stand Out Track: Trouble

Links:

Spotify Full Album
Wiki

Discogs

Allmusic

IMDB

Facebook

Website

West Coast Music Blue Desert

On Cameo

Broadway World

Automatic Man - s/t

Name: Automatic Man
Album: s/t
Year: 1976
Style: Funk, Prog, Jazz Fusion
Similar Bands: Asia, Yes, Santana, Brand X, Jimi Hendrix
"One-Word" Review: Funky Space Prog
Based Out Of: San Fran, CA
Label: Island Records

Cover Sleeve Art, Record

Back, Lyrics, Record

Automatic Man (1976)

1. Atlantis Rising Fanfare 1:37
2. Comin' Through 3:35
3. My Pearl 3:41 (single)
4. One and One 6:01
5. Newspapers 3:59
6. Geni-Geni 5:33 / 
7. Right Back Down 5:56
8. There's A Way 5:15
9. Interstellar Tracking Devices 5:14
10. Automatic Man 3:54
11. Atlantis Rising Theme (Turning Of the Axis) 3:17

Album Rating (1-10): 6.5

Members & Other Bands:

• Lou Casabianca - Producer, Art Direction, Design
• Keith Harwood - Associate Producer, Engineer, Mixing
• Chris Kimsey - Mix Engineer
• Jeremy Gee - Tape Operator
• Bari Sage - Tape Operator
• Guy Bidmead - Tape Operator
• Dave Jordan - Tape Operator
• Richard Coble - Euiptment Manager
• Michael Shrieve - Drums, Impakt Electronic Percussion (Santana, Go, Novo Combo, Pete Towshend, Mick Jagger, Rolling Stones, George Harrison, Steve Winwood, HSAS, )
• Bayette (Todd Cochran) - Keys, Synth, Vox (Julian Priester, Peter Gabriel, Aretha Franklin, Eminem, Maynard Ferguson, Grover Washington Jr, Stewart Copeland, Fuse One)
• Pat Thrall - Guitars, Vox (Go, Pat Travers Band, Narada Michael Walden, Alphonso Johnson, Little Steven Van Zandt, Asia, Meat Loaf, beyonce, Elton John, Tina Turner, Frank Ocean, Glenn Hughes)
• Doni Harvey - Bass, Vox (Go, Harvey, Clarence Clemons, Gong, Caribbean Allstars, Unemployed Blues Band, Regi Harvey's Example)
• Dwain Zerio - Cover & Inner Sleeve Painting
• Jim Lee - Photography

Unknown-ness: Never heard of this band, but i assume from the cover and the back photo, it will be space funk.

Album Review: More than funk, the band definitely leads to a more prog genre for a majority of their songs. There are some funk and space elements that make it almost a concept album, but all of the drawn out guitars and synths create the progressive song structure. Automatic Man probably has the most funk to the album, so it stands out, and some great Hendrix-like guitar solos. There were a lot of comments on their youtube videos about how this is one of the greatest albums of all time, and way ahead of their time, etc.

Stand Out Track: Automatic Man

Links:
Full Album Youtube
wiki
discog
prog archive
allmusic
rate your music
Myspace

Duke & the Drivers - Rollin' On

Name: Duke & the Drivers
Album: Rollin' On
Year:1976
Style: Southern Blues Rock, Blue-Eyed Soul
Similar Bands: Lynyrd Skynyrd, Allman Brothers, Brownsville Station, Foghat, J. Geils Band
"One-Word" Review: Soulful Party in a Bar Band.
Based Out Of: Boston Mass
Label: ABC Records

 Cover & Record

Record & Back

Rollin' On (1976)

1. I Need Your Love 3:45
2. I Ain't Particular 3:18
3. Love on My Hands 3:25
4. Check Yourself 2:52
5. That Kind of Love 2:33
6. Let Me Be your Handyman 4:08 /
7. I'll Take Care of You 3:58
8. People Sure Act Funny 2:41
9. Check Your Bucket 3:40
10. Rollin' On 8:45

Album Rating (1-10): 8.0

Members & Other Bands:

• Cadillac Jack (Henry Eaton) - Guitar, Vox (Thunderhand Joe & the Medicine Show)
• Rhinestone Mudflaps III (Ando Hixon) - Tenor Sax, Harp, Percussion, Vox
• Mad Mississippi Buffalo (Tom Swift) - Keys, Vox
• Bobby Blue Sky (Bobby Chouinard) - Drums, Vox (Orphan, Billy Squier, Alice Cooper)
• Koko Dee (John Smith) - Bass, Vox
• Sam Deluxe (Joe Lilly) - Guitar, Vox
• George Lilly - Engineer
• Steve Maslow - Engineer
• Earthquake (Greg) Morton - Engineer
• Butch Lynch - Engineer
• Deke Richards - Producer
• Peter Casperson - Personal Manager
• Mark Schremmer - Road Manager
• Dick Douglas - Road Crew
• Brad Berger - Road Crew
• Larry Weinles - Road Crew
• Tom Wilkes - Art Direction & Photography
• Joe Garnett - Illustrations
• Fred Valentine - Liner Portraits

Unknown-ness: Never heard of this band, but it looks like it will be a straight up country album. I like the jokey nature of the album title and the cover photo, where the band is really Rollin' On some poor dude under the truck.

Album Review: They have been around the Boston area since 73 or so, playing to huge supportive followers in the local bar scene. That turned to bigger shows and record deals, and they still play once in a while to this day (2020). They mix honky tonk with soulful blues in a fun, upbeat dancey way. All of their songs are full of a jovial energy that promises to be a great time live. Motown and J Geils band collide well on many of these tracks, and they have a sense of humor about themselves, with their gag stage names and word play of their cover art.

Stand Out Track: Check Yourself

Links:
Allmusic
Music Museum of NE
Facebook
Discogs
Website
Rate Your Music

Allan Clarke - I've Got Time

Name: Allan Clarke
Album: I've Got Time
Year:1976
Style: Singer / Songwriter Covers, Easy Listening
Similar Bands: 70's version of the Hitmaker Cover bar bands
"One-Word" Review: Wispy-Soft-Musak-Familiars
Based Out Of: Salford, Lancashire, England
Label: Asylum Records, Elektra, Nonesuch, Pasha Music Org

 Cover, Record

Back, Record

I've Got Time (1976)

1. Blinded By the Light 4:37
2. Light A Light 4:16
3. We've got Time 3:53
4. Stand By Me 3:26
5. The Long Way 4:20 / 
6. Hallelujah Freedom 3:40
7. If Your Think You Know How to Love Me 4:11
8. If You Walked Away 4:18
9. Sunrise 4:18
10. Living In Love 3:30
11. Finale 4:05

Album Rating (1-10): 5.0

Members & Other Bands:

• Allan Clarke- Vox (Hollies, Clarke-Hicks-Nash, Fourtones, Deltas)
• Spencer Proffer - Producer, Arrangement
• Jimmie Haskell - Arrangement: Strings, Horns, Finale, Conductor
• Ron Malo - Engineering & Sound
• David Apps- Management Direction
• Glen Christensen - Art Direction
• John Van Hammersveld - Design
• Norman Seeff - Photography

Unknown-ness: I've never heard of this singer/songwriter, but he looks weathered, and confident, so my guess is the tracks will be thoughtful countrified (cowboy hat) versions of hit songs.

Album Review: I did not know he was the famous hall of fame lead singer of the Hollies and childhood friend/bandmate with Graham Nash. The songs are light, almost like a band that would play for a 40th wedding anniversary or retirement party. But Clarke is still recording, despite taking time off from medical problems with his vocal chords, but he released a new album in 2019.

Stand Out Track: Blinded By The Light

Links:
Wiki
Allmusic
Discogs
facebook
telegraph - hollies
best classic bands
Noise 11
website

Kevin Westlake - Stars Fade (In Hotel Rooms)

Name: Kevin Westlake

Album: Stars Fade (In Hotel Rooms)

Year:1976

Style: Bluesy & Country Rock. 

Similar Bands: Kinks, Rockets, Creedence Clearwater, Blasters, Rod McKuen, Ween's 12 Country Greats

One Word Review: Smooth Country Tributes

Based Out Of: London, England 

Label: Utopia

Stars Fade (In Hotel Rooms) -  Cover & Record

Stars Fade (In Hotel Rooms) - Back & Record

Stars Fade (In Hotel Rooms) (1976)

1. Yankee Girl 1:41
2. Stars Fade 2:32
3. Anticipation 4:20
4. The Girl 3:10
5. I Like Rock n' Roll 2:20 /
6. Love, Love, Love 3:57
7. Sweet Green Eyes 3:47
8. Pretty Boys Daces 2:30
9. Borrowed From a Dream 3:23
10. Monkee Tree 3:39

Album Rating (1-10): 6.0

Members & Other Bands:
Kevin Westlake - Guitar, Vox, Composer (BB Blunder, Blossom Toes, Ronnie Lane & Slim Chance, The Frankies)
Tony Meehan - Producer, Arrangement
Hugh Jones - Engineer
Keith Bessey - Engineer
Milton Glaser - Cover Design
Jimmie Jewell - Sax (Keef Hartley Band, Ronnie Lane & Slim Chance, Roger Daltrey, No Dice, The Hollies)
Billy Livsey - Keys (Slim Chance)
Steve Bingham  Bass (Slim Chance)

Unknown-ness: I've never heard of this artist. It looks like it may be a kinda plain, singer songwriter album. The straight lines and color fade, although resembles the window of the hotel room in the album title, it also has a bit of a Jazz artistic style to it, including the font- so it may be a little more than tedious guitar folk.

Album Review: Kevin was born into a world where music was prevalent. A drummer in the late 60’s his art college background allowed him to transition and weave easily between a couple of semi-popular bands and a solo career. Although he continued to play, art became the main focus of his career in the 80’s through to his death in 2004

“Yankee Girl” is a boozey, bouncy New Orleans big band jaunt. Lots of horns in the background, and a light pleasant vocal, reminding me of the Kinks. Odd how the song, that drips of bourbon street parade is considered a good style for a Yankee girl.

“Stars Fade” is a quieter, reflection of a song. With layered vocals during the verse, and echoing organ that rings out, the song is almost an easy listening track. But the bass countrifies the song a little.

“Anticipation” follows with a slow, leg dragging tempo, and it is either a big coincidence or appropriating the key line in 1975’s Rocky Horror Picture show, as the vocals drag out the last two syllables of the song title. The song builds as it moves along, bringing in sax, a chorus of backing female vocals, and a bit quicker drive. The vocals are a little singer-songwriter Beatle-y. The sax & keys play the song out to a fade

“The Girl” sounds like a slow Belle & Sebastian song at first, with the organ melody and tempo. But the vocals are soft, and the melody is not too complex, with a sleepy male vocal like Rod McKuen.

“I Like Rock n' Roll” kicks right in with a driving rock and roll tempo thanks to guitar and drums. It then becomes a pub rock version of RnR, driven by the piano melody. A sax plays out the instrumental, sticking to the basic melody.

“Love, Love, Love” starts of side two with a trip back to the southern, bluesy & boozy swamp stomping ditty. The chorus of Loves is layered with harmonizing backing vocals. The demeanor of the vocals are lazy, almost bored.

“Sweet Green Eyes” starts slow and quiet with a couple of chords held for a few seconds and soothing, vocals serenating a woman with mentioned green eyes. Overall it feels a little churchy, especially when the organ emerges from the main chords as its own distinct voice. The song ends somewhat abruptly.

“Pretty Boys Daces” kicks right in with an older honky-tonk style song. Driving bass line and country & wester style vocals, and twangy guitar in the background. The chorus slows the song down alongside the vocals, and supporting “Oooo’s” make the break seem important and angelic.  

“Borrowed From a Dream” begins with a barn dance style song with simple two note bass line and violin strings. The verse only keeps the bass line, and it loses the danceable element. The instrumental breaks should have an accompanying line dance, and it really does feel like it could be on Ween’s 12 Country Greats.

“Monkee Tree” starts with piano, and the vocals croon, with beatle-esq quality over the slowly growing musical accompaniment. The bass is featured prominently along with the pub room piano. There is one section where his vocals train higher for emphasis, which reminds me a lot of how Robert Schneider (of Apples In Stereo) sings “but you” toward the end of their song “Nobody But You.” The sad sax seems to echo sadness in the vocals. The song seems to reset itself with a bouncy section right before it ends.

Stand Out Track: Yankee Girl

Links:
website
Discogs
Allmusic
IMDB

Back Street Crawler - 2nd Street

Artist: Back Street Crawler

Album: 2nd Street

Year: 1976

Style: Pub Rock, Guitar Rock, Southern Blues

Similar Bands: Bad Company, Allman Brothers Band, Rod Stewart, Lynyrd Skynyrd

"One Word" Review: Southern Guitar Blues

Based Out Of: England

Label: ATCO, Atlantic Records

2nd Street - Cover, Sleeve Photo, Record 

2nd Street - Back, Liner Notes, Record

2nd Street (1976)

1. Selfish Lover 3:26
2. Blue Soul 3:46
3. Stop Doing What You're Doing 3:26
4. Raging River 3:16
5. Some Kind of Happy 5:00 /
6. Sweet Sweet Beauty 3:14
7. Just For You 6:18
8. On Your Life 3:54
9. Leaves in the Wind 5:12 

Album Rating (1-10): 5.5

Memebers & Other Bands:
Terry Wilson Slesser - Vox (Beckett, Charlie)
Paul Kossoff - Guitar (Free)

Terry Wilson - Bass, Guitars (Bloontz, Blackwell, Speedy Keen)
John "Rabbit" Bundrick - Keys, Vox (The Who, Johnny Nash, Bob Marley, Free)

Tony Braenaugel - Drums, Vox (Bloontz, Taj Mahal, Eric Burdon Band)
John Bundrick

Richard Digby Smith - Engineering

Glyn Johns - Mix Producer

Abie Sussman - Art Direction

Bob Defrin - Art Direction

David Wilcox - Illustration

Sam Emerson - Sleeve Photo

W.G. Snuffy Walden - Guitars (Stray Dog, Free, Eric Burdon Band, TV: My So Called Life)

Unknown-ness:
I’ve never heard of this band. I found the record in a dusty pile of records in a shady but very nice thrift shop in New Orleans. There was not much that I liked about the album to be honest, I was just on a hunt while on vacation to find records that I’d not heard of, thinking that this would be something local. Based on the name and the “character” on the front, it seems like the back image is setting up some sort of Jack the Ripper esq. storyline. But I like how it was done: reminds me of Joe Jackson.

Album Review: So this was an album from a very talented guitarist, but heavily medicated, Paul Kossoff, whom I’m not really familiar with, yet understand he was highly revered. Due to his drug issues and subsequent health issues, I read that W.G. Snuffy Walden actually recorded much of the guitar on this album. Walden has recently become more famous for popping up in TV scoring, with such hits like thirtysomething, Wonder Years, My So Called Life, West Wing, Friday Night Lights, Rosanne, Quarterlife and Under the Dome to name a few.

“Selfish Lover” starts off right away with a bluesy back alley rock song, dripping with sleaze and sweat. The song has a distinctive hard rock composition, where the vocals are guided by the music, rather than the music supporting the vocals. The chorus is off-times, dropped in the middle of the verse with out any sort of bridge leading up to it. The chorus has a big and heavy sound. I keep thinking the vocals are saying Sandwich lover, but I know it is not that. We know what direction Weird Al would have taken the song if it were popular enough to earn parody
“Blue Soul” is a slow, sulking ballad. The only power the song gives off is in the chorus, and it feels like an Allman Brothers or Lynard Skynyrd or some other classic/country rock blend. The way the vocals are harmonized, it almost has a Native American feel to the production and lyrically “Cold Wind Blow, Blow These Blues Away.”
“Stop Doing What You're Doing” picks up a bluesy bass line straight out of Higher Ground. The song is repetitive, catchy and slightly psychedelic. It drives and grooves with care free, hippy-jazz abandon. The song is basically made up of short, but jamming instrumental sections patched together with the chorus, and spoken word verse seems.
“Raging River” switched gears back to the slow, methodical southern bluesy trippin’ jam. It has a nice flow to it, and is catchy, not just ramblin’ but it could put you to sleep if you are not spaced out on drugs. The vocals have a free range to speak over the instrumental sections at whim, giving it a slight jazzy feel.
“Some Kind of Happy” begins with a quiet, solemn organ sound, and launches into something that feels like a Rod Stewart song in the verse. The chorus builds up with emotion, and the lead vocals sound a little Jimmy Page-ish, and is backed up by a choir of female vocals. The end of the song is long and drawn out, with the guitar feeling like a storm, and the choir of the title repeats over and over with more randomly sung vocals. It is climactic in its chaos.

“Sweet Sweet Beauty” is a slowed down, sweaty and bluesy love ballad. It has a country/western (think Blaze of Glory) feel. It could be a soundtrack scored song to when a rough and tumble outlaw falls for a delicate yet deadly woman.
“Just for You” has a slow gritty start, which carries on through out, with a minorly rhaspy Eric Clapton or George Harrison reminiscent chorus. It also carries a very sad undertone, which classifies it as a bluesy jam. It builds up toward the end, and finishes with a quick, and abrupt ending
“On Your Life” is a crooning ballad, sung in another Rod Stewart-like performance. It is a slow and boldly confident song featuring an organ in the background that makes the song, and especially the chorus, seem like gospel.
“Leaves in the Wind” ends with an optimistic and upbeat jazzy pub rock song that sounds like a jazzier J Geils Band. The chorus breaks from the verse’s jazziness and is powerful and ethereal. The contrasting verse and chorus of the song, and later combined with the instrumental sections, really define what this band stands for and does.

Stand Out Track: Stop Doing What You're Doing

Links:

Wiki

Allmusic

Discogs
Last FM
Facebook

Alex Gitlin's site

(the) Lost Gonzo Band - Thrills

Name: (the) Lost Gonzo Band
Album: Thrills
Year: 1976
Style: Southern Rock / Classic Rock
Similar Bands: Neil Young, Credence Clearwater Revival, Commander Cody, older Bee-Gees, Blasters
"One-Word" Review: The South
Based Out of: Austin Texas
Label: MCA Records

Thrills - Cover, Record, Lyrics

Thrills - Back, Sleeve, Record

The Lost Gonzo band - Thrills (1976)

Write A Song 3:20

Relief 4:10

Wilderness Song 2:55

Sweet Little Lilly 3:56

Life is the Reason 4:20

Dead Armadillo 2:14/

The Last Thing I Need 3:55

Life in the Pines 3:15

Ain't No Way 4:04

Sexy Thing 3:34

Daddy's Money 3:42

I'll Come Knocking 3:20

Album Rating (1-10): 6.5

Members & Other Bands:

Michael Brovsky - Engineer, Producer, Remixing

Chuck Childs - Recording Engineer

Donny Dolan - Drums, Percussion
Kelly Dunn - Arp, Clavinet, Organ, Synthesizer
Gene Eichelberger - Engineer
Johnny Gimble - Mandolin, Violin (Asleep at the Wheel, Mother Earth, Bob Willis & His Texas Playboys)
Sanchez Harley - Horn
John Inmon - Guitar, Vocals (Omar & the Howlers)
Ladysmith Black Mambazo - Vocals (Background) (Paul Simon)
Robert Livingston - Bass, Guitar, Piano, Vocals
Weldon Myrick - Pedal Steel
Gary P. Nunn - Bass, Guitar, Piano, Vocals (Lavender Hill Express)
Tomás Ramírez - Saxophone
Sundance - Engineer
Bobby Thompson - Banjo, Guitar (Acoustic) (Barefoot Jerry)

Bill Halloway - Cover Photography

Unknown-ness: I’ve never heard of this band, but I have to say, I was immediately caught by the cover art that screams Evil Carnival music. Now I know it is 1976, so it’s not going to be wacky Oingo Boingo style music, but one can hope there is a shred of support for this great cover. And the name is just wacky enough that it might be something I’d like. But something tells me, perhaps the font on the back, that this will just be something simple, especially since its from 1976, when AOR was king.

Album Review: “Write a Song” sounds like it is going to be a delightful, fluffy Billy Joel style piano ballad. And it sounds like a classic Bee Gees song. It feels odd to begin the album here, with a bedtime ballad. But halfway through the song, the production picks up, and it sounds somewhat Beatley. But the song finishes out in piano and simplicity, just as it began.

“Relief” bounces into life with a kick drum, and a stumbling drunk Kinks style song. Based in southern ragtime rock, the song features a nice simple folk-country melody. The vocals are layered with a dense harmonized background vocal effort. I could visualize this being played out on a single home porch with a jug band.
“Wilderness Song” is another slow but bouncy song with a synthesized bass beat. The vocals remind me of Neil Young in this song. The song is simple, one dimensional song, but the sound of that synthesized bass is just overwhelmingly harsh and draws most of the attention from the song.
“Sweet Little Lilly” is the first full fledged country song with a country & western back and forth guitar bounce like from “Country Death Song”. And then at the chorus the song picks up with banjo and fast singing as if you’ve flung the doors open to witness some talented square dancing at a cowboy bar.
“Life is the Reason” has a slow, rising, day break tempo, and again sounds like Neil Young. It again features the side to side bouncing bass guitar sound. The song also includes slide guitar and a fiddle, giving it an authentic country feel. It actually sounds a lot like a slowed down version of the preceding song.
“Dead Armadillo” starts with a nice honky tonk tempo and melody. The vocals are gruff, trying to sound like a bluesman. But as he sings, that impression quickly falls away. This sounds like a Fabulous Thunderbirds or Blasters song. It is classic rock n’ roll brought to life through rock-a-billy & country filters. All that a side, it is a fun song, literally about a Dead Armadillo on the side of the road

“The Last Thing I Need” is a slow country waltz. It has a sorrow mood about it, like a guy who’s singing about his dong that just up and ranned away. And yeah, the song is a sorrowful song about a significant other walking out on the singer. At times it sounds like the singer is about three gulps away from finishing a one liter bottle of bourbon.
“Life in the Pines” is a little faster back & forth bouncing bass with a banjo playing second fiddle. And the song is a Ween-ish country song, one where the lyrics are easy to pick up and where you can feel the rhyme scheme as soon as each verse starts. It is simple, and fun to follow along with, where the notes are held out extra long at the end of each lyrical line. “Ain't No Way” features horns, and is really more of a bluesy, Blasters type song. Again, this song features the synthesized bass that actually reminds me of the similar sound Stevie Wonder used at this period. The song is upbeat and fun, if a bit nasally and repetitive. The end the song breaks the mold, as the band became tired of the repetitive playing, and they allowed a little free space to experiment with vocals and instruments. The very end sounds like the end of “Stairway to Heaven.”
“Sexy Thing” reminds me of a slow and quiet Big Star song covered by a country band. This is a lighter-raising piano and slide guitar anti-love ballad about a hot momma’s girl that won’t betray her mom.
“Daddy's Money” is an upbeat Credence Clearwater type song that has a fun bouncy tempo and a sweet guitar hook backing up the chorus. It has the most energy and is the most straightforward pop song of the bunch. This is usually not my style, but I like this song, especially how every verse is worked to end in “your daddy’s money.” The fun bit about the chorus, is that it has a hidden anticipation / delivery build up. Just as you think the chorus is going to end on a perceived note, the energy is kicked up, and the lyric goes up an octave: Very satisfying.
“I'll Come Knocking” is a final slow ballad, more piano and lounge-based than the other ballads. Again, this makes me think of the early Bee-Gee’s stuff. But the song has a fun guitar sound that reminds me of the liquid distortion that Ween uses in their stuff. The slow nature of the song brings us right back to where the album began. Full circle.

Stand Out Track: Daddy's Money

Links:

Wiki

Texas Music
facebook
Gary Nunn's page

John Inom's page

Panda Conspiricy
Danny Garret's Poster
Skydog's Elysium
Austin City Limits

Allmusic

Charlie & The Pep Boys - Daddy's Girl

Name: Charlie & The Pep Boys
Album: Daddy's Girl
Year: 1976
Style: Southern/Pub Rock
Similar Bands: Rolling Stones, Mooney Suzuki, J Geils Band
"One-Word"Review: Dirty 70's Rock
Based Out Of: Washington DC?
Label: A&M

Daddy's Girl - Cover & Record
Daddy's Girl - Back & Record

Daddy's Girl (1976)

1. Daddy's Girl - 3:21
2. Right as Rain - 3:16
3. Still Thiniing About You 4:07
4. Seven Come Eleven 3:58
5. Give Me More 3:29/
6. Give Her Up 3:27
7. Walk Out 4:04
8. Dispair 3:07
9. Lara 3:16
10. The Storm Has Passed 4:22

Album Rating (1-10):
6.5

Members & Other Bands:
Alan Adkins - Guitar
Bobby Manriquez - Guitar
Charles Woods Pearson - Vocals
Craig Ryan - Trumpet
Lefty Potomac - Keys, Backing Vox
Michael Shear - Sax
Michael Zack - Drums
Michael Stern - Guitar
Rolf Hanson - Bass
Nils Lofgren - Producer
Art Linson - Exec Producer
Gart St. Clair - Backing Vox
Bob Dawson - Engineer
Roland Young - Art Direction
Junie Osaki - Design
John Cabalka - Design
Steve Silverstein - Photo Front
Flag Studios - Photo Back

Unknown-ness: I had never heard of these guys. From the cover, I wanted to buy the album. It looks extremely low budget, like a juvenile inside joke that just comes off zany or wacky to those who aren’t in the know. But there is an energy in the choice of imagery in the cover. The filthy old man smirk with ice cream for the inflatable doll, is properly titled, (and doubles as the album title) DADDY’S GIRL. But the back imagery shows an all-business rock band, in leather jackets and long hair, and they leave all the joking on the cover, showing that there are (literally) two sides to the band.

Album Review: The first song “Daddy’s Girl” shows the band trying to sound like the Rolling Stones, especially in the vocal style. The exception is that they add a saxophone to their rock and roll style. It is an energetic first track, where you can almost see the high leg kicks and over exaggerated emotional expressions. A drum lick and spacey guitar effect start off Right as Rain. This follows suit as another rocking song, but it lacks the energy in the title track. Even its whining guitar solo cannot pick up the flatness and lack of energy of the vocals. “Still Thinking About You” has a light island-feel. It is easy listening 70’s rock, more Air Supply than the Stones. “Seven Come Eleven” features the sax again prominently in the beginning. Then the song bounces into a strong pop song through its guitar hook, and light Jagger-esq vocals. Unfortunately the Sax makes the song too light jazzy for my taste and ruins the otherwise good song. “Give Me More” is back to the southern bluesy rock formula in the first two tracks with wailing guitars, and a tinkling piano.

“Give Her Up” starts Side B with a dirty pub rock-pop song. But the song blossoms into a good pop song with the repetitive title, and fun melody. “Walk Out” is a choppy song, the musical pieces don’t feel like they fit together completely at first, but they come together in something of a psychedelic bridge into the chorus. “Despair” starts off with a near dance groove, but the guitars come in mimicking a steel drum, creating the island sound again. The song remains bouncy, but the vocals accent comes off somewhat silly. It is a very upbeat song for a depressing subject like despair. “Lara” is not the typical about-a-girl-ballad that most albums from the 70’s aimed for. It has more character, and depth than a sad story of longing for an unattainable girl. This song poses the storyteller as being comfortable, because he is actually with Lara. “The Storm Has Passed” is a swaying, waltzing paced song. This is the slow-dance ballad on the album, full of soul and gospel style vocals and a church organ. This is a Gospel Blues Ballad.

Stand-Out Track:
Daddy's Girl

Links:
Charlie & The Pep Boys - allmusic
Charlie & The Pep Boys - A&M music
Charlie & The Pep Boys - MSN Music
Charlie & The Pep Boys - Diamente Music
Charlie & The Pep Boys - A&M Discussion Topic

Dr. Buzzard's Original Savannah Band - S/T

Name: Dr. Buzzard's Original Savannah Band
Album: S/T
Year:1976
Style: Disco-Swing
Similar Bands: Kid Creole & the Coconuts, Sergio Menendez
"One-Word" Review: Ballroom-Latin-Disco-Jive
Based Out Of: Bronx, NY
Label: RCA Records, Victor

DBOSB - Cover & Insert
DBOSB - Back & Insert
DBOSB - Record

Dr. Buzzard's Original Savannah Band (1976)

1. I'll Play The Fool 4:47 (Sample)
2. Hard Times 4:12 (Sample)
3. Cherchez la Femme / Se Si Bon 5:44 (Sample)
4. Sunshower 4:04 (Sample)/
5. We Got It Made / Night And Day 3:46 (Sample)
6. You've Got Something/Betcha' the Love Bug Bitcha' 5:40 (Sample)
7. Sour & Sweet / Lemon in the Honey 6:03 (Sample)

Album Rating (1-10):

5.0

Members & Other Bands:

Cory Daye - Vocals

August Darnell - Bass, Writer/Screenplay, Vocals, Lyrics (Kid Creole & the Coconuts)

Stoney Browder Jr- Guitar, Piano, Musical Director, Arangement

"Sugar Coated" Andy Hernandez - Vibes, Bass, Marimba, Percussion (Kid Creole & the Coconuts, Coati Mundi)

Sandy Linzer - Producer

Mickey Sevilla - Drums
Don Armando Bonilla - Percussion
Jeffery Kawalek - Sound Engineer
Jim Bonnefond - Associate Engineer
Larry Fast - Special Effects
Tommy Mottola - "Capo de Capo"
Susandra Minsky - Casting Director
Charlie Calello - Orchestrations, Arrangements

Unknown-ness: I had never heard of the band. From the album cover and name, I was thinking this would be a Dixie land jazz album: Big Band, which would either be untouched or updated for the era of the 70's.

Album Review: Later to come, I will be reviewing Kid Creole & the Coconuts, a band made up mostly of people from this band. That is a good thing to know, going into the review of them, as I am unaware of their music and style too. "I'll Play the Fool" begins the album with a cymbal drum beat, and it transforms into a big band tune, tinged with Latin groove, and disco beats just under the surface. Where the vocals were a mix of male and female, the female takes the lead for the majority of the song. Soon, the big band style is lost, and the disco style takes over complete control, with its use of percussion, bass and strings. They revisit the big band swing for le last 30 second, and there is a grand ballroom finish. "Hard Times" also starts off with a big band woodwind sound. Then Latin percussion and piano take over, and the song becomes a laid back breezy Latin disco song. The song finishes off combining the two styles for a nice atmospheric groove, and the song fades out. Their popular disco dance song "Cherchuz..." also blends the old big band style with new (new for the time period) disco bass & drum beats for a refreshing new take on 20-30's jazz. The sound is not as dated as Bee Gees disco, and it is just as danceable. There is even soothing use of a xylophone that blends the two genres together very nicely. "Sunshower" begins with what sounds like a chorus of children echoing a man in repetitive lyrics, all underneath a storm. Then the song begins with a slide guitar & catchy chorus of children singing the lyrics "Sunshower, just a sign of the power of loving you, oh baby." That is the real hook. The rest of the song is a slow groove, with the woman's lyrics overlaying the relaxing drum and sleigh bell verse. Two and a half minutes the child chorus breaks down with two or three younger, selected voicies to carry the chorus. The end of the song is a reprise in melody of the chorus, and the song winds down very gently.

"We Got It" made is more of the same salsa/Cha-cha music with disco and brass overlay. The only slight difference is that this is a more driving song than has been represented on the album. "You've Got Something" is more Latin lounge than disco, and it features male vocals more than other tracks, although the female vocals are still the definitive lead. "Sour & Sweet" is back to the Latin disco theme mostly present throughout the album. It is a very deep and complex song with disco drum & bass, much brass, choruses of vocals, strings, and the consistent female lead. There are even s few odd electronic samples (one sounds just like a cell-phone ring) mixed in separately through the left and right speakers for even more depth.

Although the music feels dated to the 70's it smartly fits into the disco genre as well as lounge. Together they blend, mixing in big band elements, to form a cohesive unique sound, yet it is very familiar. This is probably nothing I'll ever come back too, but I can at least appreciate it, especially when thinking about the time period it is from.

Stand-Out Track:

Sunshower

Links:

DBOSB - Wikipedia

DBOSB - Allmusic

Savannah Band blog article

DBOSB - Myspace

DBOSB - Discomuseam

DBOSB - Disco Music

Brand X - Unorthodox Behaviour, Moroccan Roll, Masques, Product, Do They Hurt?

Name: Brand X
Albums: Unorthodox Behaviour~, Moroccan Roll^, Masques*, Product`, Do They Hurt?{
Years: 1976~, 1977^, 1978*,1979`, 1980{
Style: Prog Fusion Jazz
Similar Bands: Genesis`, Chromeolodeon
"One-Word" Review: Space-Jazz-Videogame-Soundtrack
Based Out Of: England
Label: Passport, ABC Records~^, Artista*, Columbia Pictures*, Jem`{

Unorthodox Behavior~ - Cover & Insert Unorthodox Behavior~ - Back & Insert Moroccan Roll ^- Cover Moroccan Roll ^- BackMasques *- Cover Masques *- BackProduct `- Cover Product `- Back Do They Hurt {- Cover Do They Hurt {- Back

Unorthodox Behaviour (1976)~

1. Nuclear Burn (6:25) (sample)
2. Euthansia Waltz (5:37) (sample)
3. Born Ugly (8:10)/ (sample)
4. Smack of Euphoric Hysteria (4:25) (sample)
5. Unorthodox Behaviour (8:13) (sample)
6. Running On Three (4:35) (sample)
7. Touch Wood (3:03) (sample)

Moroccan Roll (1977)^

1. Sun in the Night (4:23) (sample)
2. Why Should I Lend You Mine (11:19) (sample)
3. ...Maybe I'll Lend You Mine After All (2:09) (sample)
4. Hate Zone (4:41) (sample)
5. Collapsar (1:34) (sample) /
6. Disco Suicide (7:55) (sample)
7. Orbits (1:35) (sample)
8. Malaga Virgen (8:27) (sample)
9. Macrocosm (7:23) (sample)

Masques (1978)*

1. The Poke (5:06) (sample)
2. Masques (3:17) (sample)
3. Black Moon (4:48) (sample)
4. Deadly Nightshade (10:54) (sample)/
5. Earth Dance (6:10) (sample)
6. Access To Data (8:04) (sample)
7. The Ghost of Mayfield Lodge (10:08) (sample)

Product (1979)`

1. Don't Make Waves (5:28) (sample)
2. Dance of the Illegal Aliens (6:52) (sample)
3. Soho (3:47) (sample)
4. ...And So To F... (6:34) (sample)/
5. Algon (6:07) (sample)
6. Rhesus Perplexus (4:06) (sample)
7. Wal to Wal (3:09) (sample)
8. Not Good Enough - See Me! (7:27) (sample)
9. April (2:40) (sample)

Do They Hurt? (1980) {

1. Noddy Goes to Sweden (4:30) (sample)
2. Voidarama (4:21) (sample)
3. Act Of Will (4:43) (sample)
4. Fragile! (5:26) (sample)/
5. Cambodia (4:31) (sample)
6. Triumphant Limp (7:34) (sample)
7. D.M.Z. (8:39) (sample)

Album rating (1-10):
Unorthodox Behaviour 5.0
Moroccan Roll 5.0
Masques 5.0
Product 5.0
Do They Hurt? 4.5

Band Members & Other Bands:John Goodsall - Guitars~^*`{, Vocals` (Tunnels, Nova)
Percy Jones - Bass~^*` (Tunnels)
Robin Lumley - Keys~^`{ Producer*
Phil Collins - Percussion~^`{Mixed~, Vocals` (Genesis)
Morris Pert - Percussion Etc^*`{
Peter Robinson - Keyboards*`{ (Quartermass)
Chuck Burgi - Drums* (Blue Oyster Cult, Rainbow)
Mike Clarke - Drums`
John Giblin - Bass`{, Photos`
Jack Lancaster - Sax~
Dennis Mackay - Engineer~,Produced~^, Mixed~
Geoff Leach - Tape Op~
Julian Tayler - Tape Op~
Steve Taylor - Tape Op~
Neil Ross - Tape Ops^
Geoff Leach - Tape Ops^
Steve Short - Tape Ops^
John Brand - Tape Ops^
Chris Ysangarides - Tape Ops^
Tex Reed - Equipment & Stimulants~^
Hipgnosis - Sleeve Design~`{Photos`{
Richard Manning - Colouring{
Colin Elgie - Graphics`
Paul Cantry - Photos`
Trident Studios 1975~, 1976-77^, 1978*
Perdurabo Stephen Tayler - Engineered^*
Ray Staff - Mastered^`
Colin Green - Asst Engineer* Recording Engineer`{, Produced`
Neil Kernon - Recording Engineer`{, Producer`{
Richard Austin - Engineered{
Reno Ruocco - Asst Engineer*
Mike Donegani - Asst Engineer*
Jack Skinner - Mastered*
Pete Donovan - Equipment*
Steve Jones - Equipment*
Dave Powell - Equipment*
Hit & Run Music - Management* (Brian Murray-Smith){
Chris Kutschera- Front Photo*
Hag - Back Cover*
AD Design - Layout*
Tony Smith - Management{

Unknown-ness: I had never heard of Brand X. The first of the albums I picked up was "Do They Hurt?" It reminded me of any other pseudo-metal band of the 80's. Later that same visit, I found "Unortho," "Morrocan Roll" & "Masques." So I picked them all up. Looking at the backs, I saw Phil Collins' name, so I realized it was not going to be metal. After examining the song lengths, other album artwork, and band images, I deduced that these would be prog albums. I did not know that they would be all instrumental albums, prog-jazz fusion though. It was not until later that I got "Product," which looks like a really fun album, with all its Rube Goldbergian pipes and random objects.

Album Reviews: If three Bram albums was tough enough to review at one time, this is ever more daunting. For this time I have five albums, and I am not very fond of, nor familiar with this genre of music. I am honestly not experienced in listening to instrumental jams. I've read reviews of these albums, and cannot identify the same characteristics that those reviewers find, and I do not know the correct terminology to describe it anyway. Furthermore, I do not know the historical time line as to what happened in music influentially or what the musicians were up to when these albums were made. So these reviews might seem bare-bones or uninformed; and that is because they are.

~Unorthodox behaviour starts with "Nuclear Burn," as bass & drums fueled Jazz, touched off by soft keyboards. There is a very catchy guitar hook that sets the changes in musical timing. Around 4 min in, the bass and guitar pick up the pace and there is a quick, funky musical burst before the guitar hook brings us back to the familiar tempo. Overall, the album is very liquid jazzy and funky. It is somewhat mystical at times, but there is not as guitar heavy prog as on the later albums. There is one kind of instrumental music that I like and can compare to this music, which is 8-Bit video game cover bands. It is through them, that I have developed any kind of liking to instrumental prog. "Running of the Three" sounds very much like it could have been the background music to a number of classic NES games. With soaring guitars, and quick paced bass & cymbals, this song has all the motivation and energy that keeps a player pacing themselves through out a video game level. The album ends with the quiet, yet ominous "Touch Wood."
^ True to it's conceptual origins, "Moroccan Roll" begins with "Sun In The Night;" a Middle Eastern, Arabic sounding keyboard, which is soon supplemented by chanting in the same melody. This sounds like something that Mr Bungle would have come up with on their last album, or something from one of the Bungle off-shoot bands. More Moroccan based instruments are added, possibly a sitar, or something manufactured to sound like a sitar. Then it is back to the jazzy tempo as from the first album. The humorously titled "Why Would I Lend You Mine" is a long song in 2 parts. After the jazz beginning, the second part is a quiet, dreamy piece with raindrop guitars and echoy insect sounds. Around 8:30, the instruments build to crashing prog, then quietly dissipate back to the quiet, meandering dream-scape. The bass line cements the two sections together. Seemingly continuous in the dream state, the retort to the comedic question: "Maybe I will Lend You Mine After All" is a much shorter, but still as dazed as the preceding track. Changing moods Hate Zone begins with a rollicking drum solo, and is followed up with all sorts of prog elements; the bass line, variety of keyboard sounds, and more soaring guitar. There is a proud, strutting quality to this song. The short "Collapsar" is a spacey, magical journey. It feels like a sample of a song that could go much longer and deeper. This sparse theme is briefly revisited in "Orbits". "Disco Suicide" is a 70's lounge-jazz track, with fast bass play and sudden drum fills. But it is spaced out in equal parts with slower, mystical prog sections. Toward the end, the aspects combined: the strength of the jazz, and the tempo of the mystical side; to produce an anthemic, powerful instrumental ending. The end of "Macrocosm" is of crowd chatter, followed by the dropping and exploding of a bomb, perhaps a way to wipe the slate clean, or a statement about war. This did not have a cohesive Middle Eastern feel as the album title and imagery imply.

* "The Poke" begins Masques with a quick and slightly dark musical attack up and down the scale. There is a slow head nodding musical chorus break. "Black Moon" has a catchy bit, even if it's catchiness feels like a TV show theme to an early 80's dramady. "Deadly Nightshade" begins with twinkling bells, and falls right into dreamy, stretched out prog-lite. And after 2 minutes, the driving tempo that I associate with video game music comes on squealy and strong. That lasts for a great portion of the song, and the music fades out to a dark slowly wobbling atmospheric drone around seven minutes. The song then picks up the slower prog elements from the beginning of the song, as it finishes in fade. "Earth Dances" starts out as positive, yet alien investigation music. It then picks up as a jungle dance number, and changes into a Sonic The Hedgehog musical parody (or due to dates, the parody would be the other way around). It is a fun song, adding and combining a variety of elements to make a chaotic percussion dance number. The only stand out aspect of "Access to Data" is that it ends with a very fast & whiny guitar solo. The last 2.5 minutes of "The Ghost..." are virtually silent, as if the tape was left rolling as they closed up shop for the record (although I know that everything on these albums is meticulously planned).

`The first song from Product is a straightforward radio hit, complete with simple, distinct sections and vocals. It could be a Genesis song, with a multi-layered Phil Collins on vocals. The build to the chorus is driving and very catchy. "Dance" has mismatched fast, groovy bass + drums and slower classical piano overlaid. Yet it is the bass that drives the song. Chapter 2 of the song begins about 2.5 into the song. The music slows to a stop, and the tempo changes to a darker, devilish atmosphere. But chapter 3 comes back with a positive outlook and crooning guitar with 2 minutes to go. The second of pop tracks, Soho is a homage to So-Ho in NYC. It has metal guitars, swirling keyboards and a catchy march-beat of vocals. It gives all the imagery of walking down the street, observing everything around you, and maintining pace with foot traffic. "...And So To F..." is a very repetitive driving song, with the same bass and xylophone sounding instrumentation in the background. Everything follows the path and build of the melody, from the guitar chord crunches to the stuttering obscure vocals in the background. Algon is a futuristic, and it starts out with an incredible amount of energy, which reminds me again of "Sonic The Hedgehog" music. It slows down quite early to a soothing atmospheric sound and calming bass. It wakes up again 2.5 into the song to return to the frantic jittery style. It switches back and forth from calm to rushed music another time, and stalls into a prolonged slow section. But it gains pace, and ends as if Sonic won the level. "Rhesus" feels like Caribbean lounge mixed with salsa. It is care free, and the guitar structure is so much like vocals, you can almost understand what it says. "Wal to Wal" is another head nodding song, but this song feels like a slow, simple tribute to new wave. It is a showcase for the bass. "Not Good Enough" feels like 'secret agent on the move' action music. It is sinister and secretive, but has all the 'limited time' energy of setting up or diffusing a bomb. Yes, it feels like A-Team music. There is a slow transitional period that ends around five minutes with a launch back into some sort of chase scenario set around waterfront streets in Miami Vice. A car drives off and the scene is over with the bad guys getting away. The final track feels like a warm, spring rain, with birds twittering in the background and the water a pleasant happening rather than a nuisance. The music gives out, and the album ends with a bird chirping fade.

{I took a break before I listened to "Do They Hurt." So now I am coming back to this album after not listening to Brand X for two days. Apparently, these are all songs recorded during Product, but were reserved for a year to make this album. "Noddy" starts off with a quick burst of bass prog energy, then slinks along with minimal, repetitive instrumentation. There are some backwards vocals underlying the bass and synthesizer driven song. The song fades out without going anywhere. "Voidarama" follows up the sparse nature of the last song, with a layout that lacks anything distinct or memorable. Synthesized vocals make "Act Of Will" stand out, sounding like a slow version the Moog Cookbook's cover of "More Than A Feeling." This song falls in the category of slow hard (southern) rock. Fragile is more sparse music, where the attention falls on the silence between the musical bits rather than vice versa. There is a neat cartoonish, rapid xylophone played in the background for a couple brief moments. The song slowly builds, to some seemingly Jazz improv sequences, but really never materializes into cohesive song. "Cambodia" follows right in line with as a slow, cigarette lighter ballad. Like a lazy soundtrack score, "Triumphant Limp" is just background fodder. The end starts to build, but it peters out before it can really take off. The final song contains the most energy, and pace, as it possesses a quick drum beat & bass play throughout. This album feels like a bunch of half-baked ideas that were not flushed out, or were just given passage by a band that wanted to get the album done. There seems to be less experimentation with synthesized sound effects. I cannot specify a stand out track, because none of them do. I think one from each of the other four albums is plenty though.

Stand Out Tracks:~Nuclear Burn
^Sun In The Night
*Earth Dances
`Soho

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