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

Nails (the) - Dangerous Dreams

Name: The Nails
Album: Dangerous Dreams
Year: 1986
Style: Dark New Wave
Similar Bands: The The, Church, Fad Gadget, Wolfgang Press, The Cult, Sisters of Mercy
"One-Word" Review: Darkwave for Arenas
Based Out Of: Boulder, CO
Label: RCA Victor

Cover, Record

Record, Back

Dangerous Dreams (1986)

1. Dig Myself a Hole 4:40
2. Hello Janine 4:57
3. Voices 3:32
4. The First Time 3:45
5. The Veil 5:07/
6. Things You Left Behind 4:02 (single)
7. Save Me 4:33
8. Dangerous Dreams 4:02
9. Darkness Grows Uncivilized 4:15
10. Ocean 4:16

Album Rating (1-10): 6.0

Members & Other Bands:

• Pete Solley - Producer
• Marc Campbell - Vox (Ravers, Jack Mack, Misterwives)
• David Kaufman - Keys (Phil Gammage, Longboard Ranch)
• George Kaufman - Bass (Ravers)
• Steve O'Rourke - Guitars (The Scruffs, The Shroud of Lowell, Mike Magoo)
• Douglas Guthrie - Sax (Safi Abdullah)
• Mike Ratti - Drums (Heavy Balloon, Morgen, Rex Smith, Jay & the Americans, Shroud of Lowell)
• Joe Galdo - Percussion, Emulator (Foxy, The Jerks, Sunergyans, Barry manilow, George & Gwen mcCrae, Toni Bishop, Betty Wright, Bobby Caldwell, Ish, Niteflyte, ABBA, Leif Garrett, Dion, Ron Dante, bee Gees, Billy Luke Burton, Firefall, Ship, Viola Wills, Eddie Money, Alliance, Space people, jeannie Cruz, KC, Miami Sound Machine, Timmy Thomas, Lissette, Stephen Stills, Bellamy Bros, Rudy, Miguelito, 97 A-1-A, Hugger, Jimmy Bo Horne, Margaret Reynolds, Celi Bee, Nicole, Steve Alaimo, Donna Allen, ted Nugent, Julio Iglesias, Gloria Estefan, Bandera, Gene Ryder, Angelique Kidjo, Martika, CSN, Mink Deville, Professor Trance, Andres Calamaro, David Byrne, Flayer, Baaba Maal, ApeX)
• Soozie Kirschner - Electric Violin, Backing Vox (Southside Johnny & Asbury Jukes, David Johansen, Crosstalk)
• Trevor Hallesy - Engineer
• Dave Axelbaum- Asst. Engineer
• Mike Fuller - Mastering
• Michael McClure - album quote
• Terry Dunne - Mgmt
• Luis Cruz Azacata - Cover Painting 

Unknown-ness: Never heard of this band, but based on the dark cover, and abstract skull collage artwork + year, i'm going to guess they are dark, brooding new wave, not too different than The The.

Album Review: So yeah, the album is dark and brooding, vocals a little like the modern band Ceremony's non-hardcore songs, which grow from calculated, deep chants to angry and aggressive emo. There is also an element of Cowpunk to the songs composition, too. This was a follow-up record (2 of 3) to their much more praised debut, which featured a hit with "88 Lines About 44 Girls." Before that, they were known as the ravers, and had a very yet-to-be famous roadie in Eric Boucher, AKA Jello Biafra. 

Stand Out Track: Things You Left Behind

Links:
Wiki

Discogs

Allmusic

website

doug epstein

spotify album

Joboxers - Like Gangbusters

Name: Joboxers
Album: Like Gangbusters
Year: 1983
Style: Blue-Eyed Soul, Swing, Motown
Similar Bands: Joe Jackson, Dexy's Midnight Runners, Elvis Costello, Big Bad Voodoo Daddy, Madness, The Jam
"One-Word" Review: Showtune Soul & Swing
Based Out Of: London, UK
Label: RCA, Victor

 Cover, Sleeve, Record

Back, Sleeve, Record

Like Gangbusters (1983)

1. Boxerbeat 3:03 (single)
2. Crosstown Walk Up 3:02
3. Fully Booked 3:22
4. Not My Night 2:28
5. Just Got Lucky 4:45 (single, #36 US) /
6. She's Got Sex 2:59 (single b-side)
7. Curious George 3:22 (single b-side)
8. Hide nor Hair 3:15
9. Crime of Passion 2:46
10. Johnny Friendly 5:05 (single)

Album Rating (1-10): 8.5

Members & Other Bands:

• Alan Shacklock - Producer
• Mike Pela - Engineer
• Ian Mullard - Mgmt
• John Wallace - Sax (Heavyshift, Stargazers, Big Town Playboys, Sound Barrier, Peter an the Test Tube Babies, Little Willie Littlefield, Tot Taylor, James Taylor Quartet, Marshall & the Shooting Stars, Princess Erika, Grant & Forsyth, Jive Romeros, Virna Lindt, 
• Nick Pentelow - Sax (Andy Fairweather-Low & the Lowriders, Juice on the Loose, Shortlist, Wizzard, Glenn Cardier, Steve Gibbons Band, Louis Clark, Adrian Snell, Roger Chapman, Paul Field, Rejects, Normaal, Swans Way, Diz Watson, Cliff Aungier, Big Jay McNeely, Nick Lowe, Ron Kavana, Flesh For Lulu, Poli Palmer, Elton John, Vic Goddard, Chas & Dave, Colin James hay, Dreams Come True, Gary Moore, Wishbone Ash, Squeeze, Virunga, Paul Millns, Moody Marsden, Martin Barre, Stephanie Lawrence, Jim Preen, Robert Forster, Balham Alligators, Jack-E McAuley, Rhythm Kings, Geraint Watkins, Ui, Eric Bibb, Bill Wyman, Lee Sankey Group, Annie Haslam, Tony Stevens, Mick Abrahams, High Society, Slim Chance)
• Dig Wayne (Timothy Wayne Ball) - Vox (Buzz and the Flyers, DW & the Chisellers, Matt Bianco)
• Sean McLusky - Drums, Vox (Subway Sect, If?, Joe Public, Stingrays, Johnny Britton, Euston Jones, Whitey, Cazals)
• Chris Bostock - Bass, Vox (Subway Sect, Spiritual Cowboys, Style Council, Stingrays, X-Certs, Johnny Britton, Spear of Destiny, Shakespears Sister, Amina, Rhythm Sisters, Tracey Thorn)
• Robert Marche - Guitar, Vox (Subway Sect, If?, Earl Brutus, Joe Public, JLP Sessions Project, Johnny Britton, Euston Jones, The Grid, Dreadzone, )
• Dave Collard - Keys, Vox (Subway Sect, If? The The, Lisa Stansfield, Johnny Britton, Humpe Humpe, Billy Ocean, Richenel, Beth Nielsen, Tanita Tikaram, Laura Satterfield, Celien Dion, Gardenz Darkx)
• Steve Rapport - Photos
• Andrew Christian - Cover

Unknown-ness: Never heard of this band, but from the grainy cover, and depression era newsies outfits, I imagine this is going to be tedious, overthought, overproduced jangly college radio rock.

Album Review: So the album does have a mid-80's pub-band-discovers Jazz feel, but it is done so through very fun and bouncy swing and blue eyed soul /motown songs...somewhere between Madness and Dexy's with some Cab Calloway thrown in. I guess I could just say Joe Jackson, or offer "Town Called Malice" for comparison. Singles "Boxerbeat" and "Just Got Lucky" (featured in 40 Yr Old Virgin) are super catchy and fun tracks that make up for some of the free-er jazzy numbers and slightly odd compositions like "Curious George" and "Fully Booked." They have reunited and are scheduled to play in London this year (2020)

Stand Out Track: Boxerbeat, Just Got Lucky

Links:
Wiki
website
Discogs
allmusic
nostalgia central
bbc
rate your music
trouserpress

Don Bowman - Funny Folk Flops

Name: Don Bowman
Album: Funny Folk Flops
Year:1968
Style: Parody, Comedy, Folk
Similar Bands: Frank De Lima, Weird Al, Ray Stevens
"One-Word" Review: tea-bagger-get-off-my-lawn-anti-hippie-unfunny-jokester
Based Out Of: Lubbock TX
Label: RCA Victor 

Cover & Record

Back & Record

Funny Folk Flops (1968)

1. Green Sleeves 2:28
2. Crawdad Song 2:28
3. Under Tremendous Amount of Pressure 2:45
4. Worried Man 2:20
5. All My Trials 2:00
6. Dealyer's Stoned 2:35 /
7. The San Francisco Scene 2:16
8. In the Pine Trees 2:10
9. Messin' Up My Mind 2:50
10. House of the Setting Sun 2:05
11. Tom Dooley Baby 2:00
12. Streets of San Francisco 2:39

Album Rating (1-10): 2.0

Members & Other Bands:

• Don Bowman - Vox, Writing
• Chet Atkins - Procucer
• Felton Jarvis - Producer
• Al Pachucki - Recording Engineer
• Eddy Arnold - Liner Remarks

Unknown-ness: Never heard of this artist. But the cover, with him taking on different stereotypes and forms to produce "funky folk flops" with a "can you believe this?" look on his face, i'm guessing this is not someone who takes these styles or cultures seriously or respectfully, and this is probably a joke / insult album.

Album Review: This is a comic record, which mostly pokes fun at counter culture and flower children via an out of touch sense of humor which would ring true with older folks worryin' 'bout them hippies. Bowman passed away in 2013, but was a disc jockey, singer & songwriter, and comedian. His career genre was country as he was the original DJ for "American Country Countdown" from 73-78, and he apparently helped Waylon Jennings get a start. There is really no singing on the album, it is jut Don saying some rhyming phrases over country-folk music, with elderly lines like "can you believe that, and aw shucks chuckles at his own "unbelievable" realizations. From the loose parody of  House of the Rising Sun as the perspective of a nosey neighbor to a community house of folk singers and hippies, like a redneck tea-bagging trumper's version of Tom Wait's "What is He Doing in There?" to the outright hatred of hippies in the obnoxious "The San Francisco Scene" and "Streets of San Francisco" the album is just as terrible in its intolerance as well as the storytelling. Perhaps they assumed that hippies and their culture was a passing phase, that looking back at the scene would put this album ahead of it's time, alas, it's just grandpa yelling get offa my lawn. Or maybe the prejudice was part of the charm, and this album is trying to show folks how disrespectful people come off? I really doubt it.

Stand Out Track: The San Francisco Scene

Links:
Youtube album
Spotify album
Wiki
discogs
allmusic
IMDB
website
second hand songs

Werewolves (the) - Ship Of Fools (summer weekends and no more blues)

Name: The Werewolves
Album: Ship Of Fools (summer weekends and no more blues)
Year: 1978
Style: Pub Band, Blues-Rock, Powerpop
Similar Bands: J. Geils Band, Jeff Beck, Animals, Bad Company, Rolling Stones, Flamin' Groovies
"One-Word" Review: Country Blues Rock N' Roll Party
Based Out Of: Dallas TX
Label: RCA, Victor

Ship Of Fools (summer weekends and no more blues) (1978)

1. Baby Eyes 3:32 (single)
2. Crazy Arms 3:26 (cover)
3. There We Were 1:59
4. Days of the Rest of My Life 2:33
5. Face on Wrong 3:19 /
6. Summer Weekends 2:31
7. One Up on You 2:44
8. Catch My Drift 2:27
9. Waking Up Is Hard to Do 2:17
10. No More Blues 3:31
11. Ship of Fools 3:19

Album Rating (1-10): 7.0

Members & Other Bands:

• Andrew Loog Oldham - Producer, Director (Rolling Stones)
• Brian Papageorge - Vox (The Hurricanes)
• Buckner Ballard - Vox, Guitar, Bass 
• Kirk Brewster - Vox, Guitar, Bass (Patricia Vonne)
• Seab Meador - Guitar (The Gentlemen, The Bridge.The Hurricanes, Zombies (fake))
• Bobby Baranowski - Drums & Percussion (Rev. Horton Heat, Hash Brown's TX Blues Review, Josh Alan Band, Herman Brock Jr. & The Eurocasters, Eugene Hideaway Brisges, Rocky Athas Group, Jim Suhler)
• Joey Stann - Horns, Keys (Bullet, Southside Johnny & Asbury Jukes, American Men, Miami Horns, gary US Bonds, Steve Satten, Stephen Dees, Benny Mardones, Stompers, Neil Sedaka, Bob Bandiera, Allman Bros Band, Bon Jovi, Bruce Springsteen)
• Ralph Mooney - Dialogue
• Charles Seals - Dialogue
• Neal Teeman - Sound Recording
• Chris Andersen - Sound Recording
• Mick Rock - Set Design
• Ernie Thormahlen - Set Design

Unknown-ness: I never heard of this band, but it looks like a low budget, as seen on tv album based on cramming four lines of active artwork across the cover (and not even fitting it all, having to wrap around to the back). They look "cool" and the toxic disaster palm tree sunset puts them in California, i imagine...which is supported by the way the back is set up like film credits. The band picture across the bottom makes me think they are a bluesy power-pop act, if only bluesy because they have a sax.

Album Review: The Texas band was "discovered" by ex-Rolling Stones producer Oldham after they moved to NYC to appeal to the up and coming CBGBs scene. Their style is country & southern blues infused rock and roll, which you can hear as they update and rock out on the traditional country cover of "Crazy Arms." "Face On Wrong" does a good job combining blues rock and oldies sounding powerpop.

Stand Out Track: Face On Wrong

Links:
Discogs
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Doug & the Slugs - Music For the Hard of Hearing

Name: Doug & the Slugs
Album: Music For the Hard of Hearing
Year: 1983
Style: Pub Rock, New Wave, Roots Rock
Similar Bands: Blasters
"One-Word" Review: Witty-Whimsical-Oddball Pub-Wave
Based Out Of: Vancouver, Canada
Label: Ritdong, RCA Victor

 Cover, Lyrics, Record

Back, Lyrics, Record

Music For the Hard of Hearing (1983)

1. If You Don't Come 4:00
2. Nobody But Me 3:16
3. Making It Work 3:27
4. Take It Or Leave It 3:10
5. St. Laurnet Summer 4:30 /
6. Who Knows how to Make Love Stay 4:00
7. Operator 3:00
8. Cover of Love 3:10
9. When the Doorbell Rings 3:20
10. She's Looking At Me 3:00

Album Rating (1-10): 7.5

Members & Other Bands:

• Richie Cordell - Producer
• Glen Kolotkin - Producer, Engineer
• Ron Cote - Engineer
• Doug Bennett - Vox, Album Design
• Simon Kendall - Keys, Basso Profundo (Marsys Playground
• John Burton - Elec Guitar
• Rich Baker - Elec & Acoustic Guitars
• Steve Bosley - Bass
• John Wally Watson - Drums
• Mr. Thick Productions - Producer
• Dee Lippingwell - Photography
• D.Baswick - Photography
• Wayne Jordan - Artistic Interpretation 
• Jeff Lesser - Pre-production, Arrangement ideas

Unknown-ness: I don't know this band at all, but based on the artwork & color scheme, it looks like really fun  new wave music...Even the band name & album title are quite silly. I have really high hopes for the music, based on the cover.

Album Review: So this comes across as light, silly new wave. Some songs sound like Americana Roots rock, particularly the vocals. They do an interesting, new-wavey cover of the Isley Brothers' "Nobody But Me." "Who Knows How To Make Love Stay" is a really fun bit of blue-eyed soul. Operator is a good driving Farfisa organ song, with a gruff Captain Beefheart supporting vocal. "She's Lookin At Me" is a fun piece of upbeat synth pop. D&TS were much bigger in Canada than here, with multiple to 40 hits. In their early days, they held massive themed parties wherever they could to draw up a following. To keep control of their music and releases, they made their own Ritdong label for production.  Band Namesake and vocalist Doug Bennett died in 2004 from liver cirrhosis.

Stand Out Track: Operator, Who Knows How To Make Love Stay

Links:
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Pique mag Obit

Beaverteeth - s/t

Name: Beaverteeth
Album: s/t
Year: 1977
Style: AOR, Southern Pop/Rock
Similar Bands: Badfinger, Supertramp, B.T. Thomas, Big Star, Wings, Beatles, Paul McCartney, Kinks, Airwaves
"One-Word" Review: Southern-Lite-Disco-Beatles
Based Out Of: Doraville, Georgia
Label: RCA, Victor

Beaverteeth - Cover & Record

Beaverteeth - Back & Record

Beaverteeth (1977)

1. I'm Callin' 5:13
2. Just Another Local Band 3:47
3. You Wanna Go To Heaven 4:27
4. Where no Man's Been Before 1:53
5. Dixie Fried 3:31/
6. Sing For You 5:10
7. Sacred Harmony 3:58
8. Hope 2:37
9. The World's Really Flat 3:10
10. Where Does Love Go 3:09

Album Rating (1-10): 8.0

Members & Other Bands:
Steve Clark - Engineer
Rodney Justo - Producer, Vox, Guitar (Atlanta Rhythm Section, Roy Orbison, Candymen)
Larry Hunter - Vox, Drums
David Adkins Vox, Guitar, Keys
Jeff Cheshire - Vox, Bass
John Rainey Adkins - Vox, Guitar
Jay Scott - Horn, Vocals (Background)
Laura Scott - Horn, Vocals (Background)
John Ragsdale - String Arrangements
Paul Cochran - Executive Producer
Ron Stansell - Executive Producer

Ken Harper - Artwork
M. Silver Jr - Photography
D.H. Wickham - Photography

Unknown-ness: I’ve never heard of this band, but just from the name and the artwork, the juvenile me had to nervously giggle a bit as I bought it. The main telling of what I can expect in the music comes from the lunar pictures of the band members on the back, sporting the unmistakable 70’s southern rock uniform: Collars, long hair, scruffy facial hair, and the glasses. As for the artwork, I can’t really tell what kind of music it advertises. I’d like to say progressive, but it is more novelty than that, so I don’t really think it is prog. Anyway, it looks like a great album, definitely going to be interesting.

Album Review: “I'm Callin'” is a chill, mellow soft southern rock song. It has a little of the 70’s funk mixed in via organ and disco string section.
“Just Another Local Band” feels more folky, but also part earlier Bee Gees. This would have been on the radio, and I could see it being covered by current artists like Wilco, which would now be ironic. After the first section, it rocks out, and feels like a Big Star song
“You Wanna Go To Heaven” is a bit funkier with a pronounced bass section and light disco with a big horn section, and falsetto harmonizing chorus. “Where no Man's Been Before” sounds like a light Beatles “When I’m 64” mixed with the 70’s southern rock style the Kinks embraced. It is a cute, quiet song with a bit of a bluegrass feel.
“Dixie Fried” begins with a vocal that sounds a little like Glenn Tilbrook of Squeeze, and plenty of well placed southern harmonies in the background. The songs so far have not really been driving, they are lazy and slinky; meandering at their own pace. A few times the lead vocals come out with emotion, nearing a Jimmy Page level of screech and pitch.

“Sing For You” starts out with a very familiar melody, hard to place, but easy to enjoy. Maybe something from Wings? The song definitely reminds me of Paul McCartney’s lighter, simpler songbook. There is even a section, where they mix in I Am the Walrus’s breakdown melody, even jokingly claiming that the Beatles sound exactly like them. This is a southern rock gem. It has a positive vibe and a great repetitive upbeat hook.
“Sacred Harmony” is a slow ballad. The vocals are sentimental, and sad. The piano feels like it stumbles over itself, as if lightly drunk. The strings really work their way into the end, emphasizing the sentiment.
“Hope” is a nice sing song melody. The chorus does not deviate from the verse too much, it is just an accented, and more energetic version of the verse. A violin enters in near the end not adding anything more than a more complex sound scape.
“The World's Really Flat” picks up where “Sing For You” left off. Beautiful engaging harmonies and very rollercoaster-like melody that is reminiscent of the Beatles relaxed, later period and is toe-tapping fun. Actually it sounds very similar to Badfinger’s “No Matter What.” This is a great song.
“Where Does Love Go” relaxed the listener with one final ballad. It is much more confident than “Sacred Harmony” yet just as wispy and smooth. The chorus is louder vocally and emotional, boldly asking allowed the question in the title.

Stand Out Track: The World's Really Flat

Links:Rate Your Music
Skynfan
Allmusic
Southern Garage Bands

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Band to Band

Wolfy's Jukebox
Fan Message Board

Rodney Justo interview

Big V Jamboree

Jack Green - Humanesque~, Reverse Logic*

Artist: Jack Green
Album(s): Humanesque~, Reverse Logic*
Year(s): 1980~, 1981*
Style: Singer/Songwriter Guitar Rock
Similar Bands: Bryan Adams, Graham Parker, Dave Edmunds, Marshall Crenshaw, Walter Egan, Tom Petty
"One-Word" Review: Mysteriously-Smoky-Guitar-Rock
Based Out Of: Glasgow, Scotland
Label: RCA, Victor

Humanesque - Cover & Sleeve
Humanesque - Back & Sleeve

Reverse Logic - Cover & Sleeve

Reverse Logic - Back & Sleeve

Humanesque & Reverse Logic Records

Humanesque (1980)~

1. Murder 3:21
2. So Much 3:53
3. Valentina 4:23
4. Babe 3:34
5. Can't Stand It 3:36 /
6. I Call, No Answer 3:32
7. Life on the Line 4:06
8. 'Bout the Girl 3:00
9. Though It Was Easy 2:46
10. Factory Girl 2:51
11. This Is Japan 3:11

Reverse Logic (1981)

1. One by One 3:39
2. Why Don't You Let Me Go 4:24
3. Cold Modern Days 3:52
4. When I Was Young 3:23
5. It's A Hard World 3:52
6. Let it Rock 2:56 /
7. Too Many Fools 3:05
8. Set Me Free 3:42
9. Brave Madonna 3:28
10. Sign of the Times 5:24
11. Promises 3:31

Album Rating (1-10): ~7.0
* 6.5

Members & Other Bands:

Jack Green - Vox, Guitar, Producer (T Rex, The Pretty Things)~*Cover Concept~*
Ritchie Blackmore - Guitar (Deep Purple, Rainbow, Blackmore's Night, The Lancasters, The Dominators)~

Brian Chatton - Keyboards (Boys Don't Cry, Jackson Heights)~*
Mel Collins - Saxophone (Camel, Pezband, King Crimson, Kokomo, 21st Century Schizoid Band)~*
Andy Dalby - Guitar~*
Ian Ellis - Bass (Savoy Brown)~*
Mac Poole - Drums~
Pete Tolson - Guitar (Electric Banana, The Pretty Things)~*
John Warwicker-Le Breton - Design~ Photo*
Peter Kuys - Executive Producer~* Management*
Ron Aronstein - Engineer~
Phil Bodger - Engineer~
Dom Romeo - Mastering~
Dennis Taylor - Production Advisor / RCA UK Coordinator~
Regis Silas - RCA US & A&R Coordinator ~*
Nick Sangiamo - Photo~

Jo Julian - Engineer*

Llew Horowitz - Engineer~*, Title Concept~Mastering Supervisor*

Mike Pela - Engineer*

Greg Fulginiti - Mastering*

Barry Oslander - Mastering Supervisor*
Ed Dejoy - Mastering Supervisor*
Simon Fox - Drums* (Be Bop Delux)
George Serghi - Vox*
John McBurnie - Vox* (Jackson Heights)

Unknown-ness: I’ve never heard of Jack Green before, but the albums looked like fun, and the dates were 80 & 81, so these are most definitely going to be guitar driven singer/songwriter tunes, but how good will they be? I don’t know if they will lean toward new wave or Americana folk guitar. But I’m game to hope for the first. Just from the design from Humanesque, it looks angular and fun. I like his style on the back too. And the second record looks a little glam. And I do dig the color scheme based on his last name. It is an easy creative decision that I’m happy to indulge.

Album Review: ~“Murder” starts as a bass-heavy70’s rock song, like foreigner or something a bit smoky with a touch of danger. It is a good album starter, because the whole song feels like it is building to something, but it never quite gets there. So, in effect, it’s building up the rest of the album.
“So Much” is introduced with a new wave sounding organ and drums. The vocals make the song feel like a Tom Petty track. But in the chorus, the vocals take on more of an Elvis Costello or Graham Parker feel. And the energetic vocal outburst of ‘alright’ reminds me of Mike Viola, but the comparison really ends there.
“Valentina” is a slower, smooth guitar ballad. The style of the slide guitar in short bursts; a technique not used as much anymore, dates the song, and gives it a bit of a confident and dangerous mood.
“Babe” simplistically bounces and rocks out from the get go with its use of complex but light guitar hook and simple drum beat. It is an immediately fun, catchy song, and then first small taste you get of the chorus solidifies the song as a rollicking pop song, very similar to Elvis Costello’s style. It is repetitive, but a fun melody is still a fun melody. The verse is just a build up to get to the exceptional chorus, which then becomes all you want to hear in a loop.
“Can't Stand It” has an angry Bryan Adams-like presentation in the chorus. Again, the drums and instrumental usage is sparse, but efficient. The songs feel like they have a lot of empty space, which is actually a positive nod to the production, as the songs still feel complete.

“I Call, No Answer” continues with the smoky, mysterious and confident guitar play, and the vocals are no different in their urgency or Bryan Adams, “Run To You” tone.
“Life on the Line” slows the record down a bit with its reggae rhythm. It still has a solid electric guitar presence in the verse, but the tempo is relaxed, despite the high anxiety title. “'Bout the Girl” takes the stripped down guitar rock song to the extreme. It has a catchy upward tempo for the verse, and the chorus takes the opportunity to rock out a bit more, Big Star harmonic style.“Though It Was Easy” is a slower reflective song. It still feeds a bit of a punch with the parallel and layered bass and guitar, but the vocals give it that reminiscent feel. “Factory Girl” has a start stop guitar that makes me think of “867-5309/Jenny.” But there is not that much energy in the song. In fact, the tempo is much slower and the song struts along at its own, hurry-free pace.
“This Is Japan” ends the album as sparse and relaxed as the opening track offered an insurmountable build. After the title is spoke/sung, a tacky oriental keyboard plays in repeat a couple of times, and here and there throughout the slow struggling song. The song does finish off the album nicely though.

* “One by One” has a bit thicker, echoy production than the first album. It rolls a little faster and still maintains the mysterious rock quality. “Why Don't You Let Me Go” is a power song, given by the progression of the bass. Not quite a power ballad, but as it rocks more than lulls along, but the music contains a lot of passion. In one instance in the inflection of the vocals, I felt like I was listening to a Ted Leo song. And the instance repeats: ‘Is making me sweat.’“Cold Modern Days” would have you believe that the following song would be mechanical and digitized. But the singing sounds like Journey, which, I guess, was modern for the time. And this song has a stripped down groove, with ‘empty space’ in the track, like a return to the production style from the first album.
“When I Was Young” has an “Is She Really Going Out With Him” bass line. The verse is slow, but from the first chorus on, the melody becomes much catchier as the song evolves. But the song still travels along the stripped down production.
“It's A Hard World” features a sax, and is a sad, sulking blues track with a touch of realization/acceptance. It reminds me of Buffalo Springfield – “For What It’s Worth” with a little more pace.
“Let it Rock” attempts to do just that. It breaks from the slow songs, and comes back with a song that is sung fast; somewhere between Tom Petty’s “Last Dance with Mary Jane” and Michael Penn’s “Brave New World.” The melody behind the bridge into the chorus does not quite match the vocals, but it is in a good, catchy way, which just sets up the anticipated chorus.

“Too Many Fools” changes the preset of the album. This is quick, a bit nasally in a New Wave / Elvis Costello way, and much more fun than the first side.
“Set Me Free” quickly reverts back to the sparse, slower style with that mysticism and smoky feel. It is repetitive with the title phrase, but it mixes up the melody behind the words.
“Brave Madonna” chugs along with a fun melody. It never quite reaches a climax as the motivational theme continues non-stop through out the song. The chorus is close, but it is not as bold as is anticipated. And there are not enough vocal challenges, as the melody allows for much more experimentalism. Even with that said, it is one of the better songs on the album.
“Sign of the Times” is the slow, long, groove-filled ballad on the album, featuring bluesy guitar solos right in the beginning and the return of the sax later on.
“Promises” initially reminds me of Bruce Springsteen – “Hungry Heart.” It is one part driving, one part disjointed Costello, and one part “My Sharona.” The song is interesting, but it never settles enough to catch a distinct groove.

Stand Out Track: Babe ~
Too Many Fools*

Links

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Grimaldi / Zeiher - Recidive

Name: Grimaldi / Zeiher
Album: Recidive
Year: 1980
Style: French West Coast
Similar Bands: Ween, Foriegner
"One-Word" Review: Relaxed & Airy Prog-Age
Based Out Of: France
Label: RCA, Victor

Recidive - Cover & Sleeve

Recidive - Back & Sleeve

Recidive - Record

Recidive (1980)

1. Sidonie 5:54
2. Dernier's Moments 3:44
3. Une Porte au Fond d'Un Couloir 3:34
4. Plus Comme Avant 3:30
5. Cache-Toi 4:00/
6. Debout en Haut du Toit 4:10
7. Recidive 4:16
8. Melo Dans la Tete 4:30
9. La Califusa 4:48
10. Think Twice 1:42

Album Rating (1-10): 5.0

Members & Other Bands (many artists are session musicians, thus have played with many):
Drums - Jeff Porcaro (TOTO), Jim Keltner (Steely Dan)
Bass - Abraham Laboriel, Leland Sklar
Electric piano, organ - Mark Gibbons
Acoustic piano - Victor Feldman (Steely Dan / The Crusaders)
Synthesizers - Mark Gibbons (Captain Beefheart), Mike Boddicker
Electric guitars - Steve Lukather (TOTO), Larry Byrum, Larry Carlton (Steely Dan / The Crusaders), Dean Parks, Mark Goldenberg
Cythar - Larry Carlton
Acoustic guitars - Billy Walker, Bernard Zeiher
Horns - Chuck Findley (Steely Dan), Steve Madaio, William Reichenbach, Pat Rizzo
Trumpet - Chuck Findley
Sax - Phil Kenzie
Percussions - Victor Feldman, Paulinho DaCosta, Jim Keltner
Backing vocals - Bernard Grimaldi, Bernard Zeiher, Norbert Taillole, Marty McCall, Venetta Fields, Clydie King, Andrea Robinson, Ann White, Matt Vernon, Bill Bowersock
Recorded and Mixed by Mallory EARL.
Producer: Bernard GRIMALDI.
Words & Music by Bernard GRIMALDI and Bernard ZEIHER

Unknown-ness: I’ve never heard of these guys and by the name & album title, I still don’t know if they are truly French or just trying to pull off a foreign look. But after you check out the song titles, it can be assumed they are French. I like the cover and the “story-line” follow-up on the back. Not knowing the song titles makes it tough to get a grasp on what the songs will sound like, and the cover art does not really give any insight either. This makes it all a mystery package that I’m excited to check out.

Album Review: I did not know what the French West Coast scene was, and still do not completely know, besides a group of French bands trying to recreate the sound that came out of LA in the 70's, but I get the feeling that Weens has attempted style borrowing this genre in some of their later songs. Unfortuantely my record skipped during a couple of songs in the recording, but I was still able to get a good idea of the songs.

“Sidonie” begins with tinkling bells and a neo-spacey atmosphere. Its very smooth (although my record skips throughout the song). It feels like a disco come-down, after a coked up roller-dancing night. Aside from the straight forward 70’s electronic and steady bass beat, there are hints of electronic in the background that set it apart, and wades a big toe into prog, but only if you are looking hard enough.
“Dernier's Moments” is a light bouncy 70’s pop rock song. It reminds me of Ween’s borrowed style song, something like “Bananas and Blow” mixed with “Your Party” and a bit of “Stallion pt 5” too. (there is another song that is better, I can’t place it, though)
“Une Porte au Fond d'Un Couloir” begins with classical piano and continues in a sad, longing new age spirit.“Plus Comme Avant” shifts gears and starts with an island ska/reggae groove. The chours-bridge is straight up Bee-Gees disco.
“Cache-Toi” feels like a dulled down disco number. It is not flamboyantly disco, but it has that rushed, shoulder shuffle feel to it.

“Debout en Haut du Toit” skips per the bad edge to my record, but it sounds like more prog, actually like Foriegner covering “Stallion Part 5” again. It has that metal guitar edge, but it does it without being heavy metal.
“Recidive” feels like AOR filler. It has a sly melody, but is really just power pop toned down a bit. It does have a nice prog-style chorus, though.
“Melo Dans la Tete” is a slow, somewhat bluesy journey through the lighter side of prog. From somewhere, I’m getting a bit of a Sting-reggae vibe from this, but really, I’m just back on the “all-I-can-compare-this-to-is-Foreigner” kick.
“La Califusa” is a quiet walk by the sea at sunset. For some reason, it reminds me of Ween’s “Fluffy” I guess once you get it in your mind who a band sounds like, all connections lean in that direction.
“Think Twice” just get more new-agey and lighter. This final track, mostly instruemental, is light and airy, the soundtrack to a medieval romantic scene.

Stand Out Track: Dernier's Moments

Links:

westcoast from france
Steve Lukather.net
Jeff Porcaro Sessions

French West Coast Music

Official Toto Website

Bernard Grimaldi site
Tower Records
Drums World (Porcaro)

Max Demian - The Call of the Wild

Name: Max Demian
Album: The Call of the Wild
Year: 1980
Style: New Wave/Power Pop Rock
Similar Bands: Cars
One Word Review: "Rock-Pop-Dictionary-Definition"
Based Out Of: Florida
Label: RCA, Victor

The Call of the Wild - Cover & Lyrics
The Call of the Wild - Back & Sleeve

The Call Of the Wild - Record

The Call of the Wild (1980)

1. Bundle A Nerves - 3:51
2. Terminal Man - 3:50
3. Is There Anybody In There - 3:10
4. The Call of the Wild - 3:40
5. Slip Away - 3:50 /
6. The Best of Me - 4:17
7. Brainchild - 2:58
8. Suzanne - 2:00
9. Born Senile - 3:50
10. Class of '84 - 4:20
    (click song for the link to the track. songs @ grooveshark.com)

Album Rating: 8.0

Members & Other Bands:
Paul Rose - Guitar, Vox
Jim LeFevre - Kays, Guitar, Vox
Dan Howe - Keys, Vox
Kirt Pennebaker - Bass, Tubular Bells, Vox
Fofi Lancha - Drums, Percussion
Al Garrison - Producer
Larry Osterman - Producer
Pat "Mad Dog" Martin - Engineer
Clyde Pinder - Asst. Engineer
Nancy Parisi - LP Coordinator
David Jarvis - Cover Art
Nick Sangiamo - Back Cover
J.J. Stelmach - Art Director

Unknown-ness: After posting the entry for their first album, "Take It To The Max" many of the fans and people who had a hand at crafting the album(s) began a conversation in the comments section and birthed a nostalgic community of sharing memories and life updates. Upon request and generous offering from Jim, I was given their follow-up album, this record, under the circumstances that I review the album and post its songs. So breaking format, I do know a bit about this band, their fans, and their sound, and I honestly like their music.

Album Review:
“Bundle A Nerves” begins with the promise of driving energy. The gentle keyboard is added for a segment and then nervous vocals begin. It is very Cars like down to the vocals and the synth effects. The jittery rhythm guitar drives the song along, and is accompanied at the same velocity by the bass. It is a solid opening track, and offers a lot of promise for the album.
“Terminal Man” features similar synth elements, but has a slower and more light rock feel.
“Is There Anybody in There” has a fun “good ole’ rock n’ roll,” Billy Joel piano pop feel to it. It’s fast, and rockin and rolling in a true, original sense. No apparent synth on this track. But the vocals are rushed and stressed in a good, over-heated way.
“The Call of the Wild” feels like a generic 80’s radio hit, like something I would have expected to see out of a montage scene from Fast Times at Ridgemont High. (perhaps a little bit of the Cars song “Let’s Go)
“Slip Away” has a lot of potential with the melody, where it combines aspects of Foreigner (verse) and the Kinks (bridge and chorus). And all the prog/synth elements that were famous for the time.

“The Best of Me” begins with a great prog synth, (think Genesis) paralleled with bass. Nervous, jittery vocals then start over a bouncy, driving melody. It comes off sounding British. The repetitive chorus is a bit of a let down, though: all the driving tempo is drained out by the time we reach the chorus.
“Brainchild” switches back from prog to lite rock/new wave: a bit slower and straightforward poppy. I could almost see this as the theme song to a sitcom like Family Ties or perhaps a bit earlier.
“Suzanne” brings back the neurotic flowing pop. With vocal flourishes akin to Bowie, the song is a short fast meld of rock with the speed & pace of punk.
“Born Senile” comes off as a speedy southern rock n’ roll bar room tune.
“Class of '84” is a longing ballad looking back at the subject’s self. The song changes tempo for a head-banging bridge of “Big Brother Is Watching” before slinking back into self-reflection ballad to end the song.

Stand-Out Track: Bundle of Nerves

Links:

Take it to the Max Review from this blog (other links here)

Jose Feliciano - 10 To 23

Name: Jose Feliciano
Album: 10 to 23
Year: 1969
Style: Spanish Folk
Similar Bands: Early Bee Gees, Sergio Menendez
One Word Review: Spanish-Orch-Folk
Based Out Of: Puerto Rico / NYC
Label: RCA Victor

10 to 23 - Cover & Record
10 to 23 - Back & Record

10 To 23 (1969)

1. Amor Jibaro 2:35
2. First of May 3:55
3. Windmills of Your Mind 3:50
4. By The Time I Get to Phoenix 3:11
5. Miss Otis Regrets 3:47
6. Little Red Rooster 5:25 /
7. She's A Woman 5:12
8. Lady Madonna 1:45
9. Rain 2:24
10. I've Gotta Get A Message to You 3:09
11. Hey Jude 8:05

Album Rating (1-10): 7.0
Members & Other Bands:
Jose Feliciano - Vocals & Guitars
Rick Jarrard - Producer
Al Capps - Strings, Brass, Woodwinds Arrangement
Perry Botkin Jr - Strings, Brass, Woodwinds Arrangement
Mickey Crofford - Recording Engineer
Rick Ruggieri - Technician
Malcom Parkhurst - Liner Photo
Dick Hendler - Graphic Consultant

Unknown-ness: I had never heard of Jose Feliciano, although I've heard, as perhaps everyone has, his song Feliz Navidad. I did not know he composed it until writing this review. The quality of the album was what enticed me to buy it. Aside from the title's pastel colors, it is a pure white cover, with Jose's face in slight relief. The record was in very good shape, with the plastic still covering the sleeve. It just looks like a high-class record, and I knew it was pre-70's so I wanted to see what it would be like. I saw the Beatles covers on the track listing, so at least I kinda knew what to expect from a couple of tracks.

Album Review: The album begins with a recording Jose made when he was 10 years old. “Amor Jibaro.” Sung in Spanish, the guitar work is still complicated, and bouncy like a salsa dance, with a washboard percussion. The transition to the next song is light guitar work. There is no break; it flows very well into the folky, bee-gees-ish ballad “First of May.” There are woodwinds and strings in the background of the guitar picking and vocal playing. His voice soars over the music, and carries with it a melancholy sadness of loss. Next, “Windmills of Your Mind” begins with flute and guitar picking. A swirling harp fills in the background too. The minstrel/folk singing style moves up and down with emotional thrust. The strings pick up in the background as the song progresses. The song ends with some Spanish guitar picking and an emphasized chorus. “By the Time I Get to Phoenix” begins as a quiet waking up guitar picked melody, like something out of The Princess Bride. It really does not evoke any feeling of a dry desert city like Phoenix to me, but a lush green forest with peaceful birds and flowing water. Perhaps he’s going through Sedona to get to Phoenix, then that would make sense. Toward the end of this instrumental, a jazzy rhythm is played on the guitar, but it is very short lived as the song ends quickly. “Miss Otis Regrets” follows up as another sad picked-guitar and swirling-strings folk-ballad. “Little Red Rooster” finishes side 1 as a jazzy, bluesy flute & drum block number. Later in the song, horns come into the background, further emphasizing the jazziness of the number. The guitar picking is less Spanish here, and more rock-r&b.

“She’s A Woman,” begins side 2 with a rhythm guitar and maraca drum beat version of this famous Beatles song. Later on, he adds woodwinds to jazz-up the song. In the middle, Jose goes off repeating the title as if he were a lounge-act in Vegas. A short, instrumental version of “Lady Madonna” comes next with more flute and guitar echoing each other to form the famous melody. Strings are added in the background. Jose’s guitar picking picks up the vocal melody. “Rain” is the next song, it is a beautiful song, the strings and flute combined with the bass-guitar create the atmosphere of a rainy jungle scene. I know I’ve heard this song before, and it appears that this is his original. “I’ve Got to Get A Message to You” is the perfect song to cover here. Because it is originally a Bee Gees’ song, it takes us back to the Folk style at the beginning of the album. It features a chorus of female back up singers supporting his chorus here. The album ends with a lengthy guitar and vocal rendition of Hey Jude. Slowly and quietly other supportive instruments are added, like the violins and flutes and harp, until they take over the melody, along with the vocals. The second verse, he interprets into Spanish. And instrumental part of the song goes on with intricate musical combos, with horns, and complex guitar work. Jose purposefully omits the Na-Na-Na’s from the song, and goes with a improve repetition of the title, and the song fades out before it runs the risk of outstaying its welcome.

This album is a nice, purposefully lazy visit to the realm of folk music with the touch of Spanish guitars. It incorporates a lot of musical accompaniment, making it much more than a singer/songwriter’s record.

Stand Out Track: Rain

Links:
Jose Feliciano - Allmusic
Jose Feliciano - wikipedia
Jose Feliciano - Official Site
Jose Feliciano - interview

(the) Max Demian Band - Take it to the Max

Name: Max Demian Band
Album: Take it to the Max
Year: 1979
Style: Rock/Pop
Simialr Bands: Ace, The Cars, J Geils Band
"One Word" Review: "Rock-Pop-Dictionary-Definition"
Based Out Of:(recording done in NYC), Miami, Fl
Label: RCA, Victor

Take it to the Max - Cover & Sleeve
Take it to the Max - Back & Lyric Sleeve
Take it to the Max - Record

Take it to the Max (1979)

1. Havin' Such A Good Day 3:32 [*]
2. See Me Comin' Down 3:55 [*]
3. Burnin' Up Inside 3:52 [*]
4. Still Hosed 4:40 [*]
5. High School Star 4:45 [*]/
6. Through the Eye of a Storm 3:34 [*]
7. Paradise 5:40 [*]
8. Lizard Song 5:10 [*]
9. Hear My Song 3:37 [*by request*]
   

Album Rating (1-10):8.5

Members & Other Bands:Dan Howe - Guitar, Keys, Vox
Jim LeFevre - Guitar, Keys, Vox
Kirt Pennebaker - Bass, Vox (Los Malos)
Paul Rose - Vox, Lead Guitar, Writer
Peter Siegel - Drums
Artie Kornfeld - Produced
Frank D'Augusta - Produced
Michael Schanzer - Art Direction & Concept
Anthony Loew - Photography
Greg Speirs - Illustration

Unknown-ness: I had never heard of the band. From the looks of the cover, it is going to be a generic prog album. Just the artwork: the band trapped in a mystical eyeball, crying football tears in a lizard and pyramid (not to mention goal post) desert, cried for an investigation into what this band sounds like. 1979 was a good, transitional year for music of this apparent style, so I wanted to hear more. I mistakenly filed this band under Demian, as if that were the last name of the band's leader. But apparently, their band name is taken from a character in the book "Demian" by Hermann Hesse. So from the start, they are a critique of and take their energy from a literary work. This is good to know before hearing any of the songs; that they are somewhat of a concept band, or perhaps even a novelty act.

Album review: Track one, “Havin Such a Good Day,” fades into an upbeat, catchy guitar hook, supported by strong, bouncy bass. Keyboards are added to parallel the melody, and the singing sounds somewhat mechanical, like Devo at first, but that is quickly abandoned and they hit their stride, sounding like Ace, or other pub rock bands. A guitar solo enters the mix early, and it follows right along with the melody, brining it home, rather than adding anything new. It is an interesting mix, where individual instruments take there turns surfacing and playing their little sections louder than the rest. And at times I feel like the song could transition cleanly into The English Beat's "Sugar & Stress." “See Me Comin’ Down” starts off like a Cars song. Short quick guitar riffs, and two melodies soldered together with guitars. Even the vocals sound like the Cars in this song, as it is just as nasally deep and extremely catchy. It is like this is their version of “Let the Good Times Roll.” “Burnin’ Up Inside” is a smooth middle-speed rock song. Their style contains a great mix of smooth 70 pop-rock, and somewhat eccentric vocals that accompany new-wave rock. The execution of the music in this song is particularly prog at times too. There is even a brief hint of honky-tonk piano ala Werewolves of London. “Still Hosed” is a straight forward pub-rock song. Short vocal sections packaged lovingly between repetitive guitar hooks. The set up also works for the chorus as well as verse. There is a short guitar solo section toward the end to fulfill the rock song format of verse/chorus 2x, solo, verse/chorus/chorus. The rocking pace picks up right at the end in time to fade out. “High School Star” has some great staggered guitar work in the beginning, reminding me of “Jesse’s Girl.” It is also similar to the Kinks in their Celluloid Heroes era. There is a fantastic swooping bridge section that dumps you back into the catchy guitar hooks of the beginning section. The lyrics are sung in a daze, seemingly uninspired, but they add to the charm of this song. There is also a great echoey, squeaky-liquid dripping sound effect in the chorus that reminds me of some effects M.K. of the Oingo Boingo used early on.

Side two picks up the pace with “Through the Eye of a Storm:” its momentum drives right through this typical rock standard. Loud guitars, higher, somewhat shrill-like vocals, short catchy melodies, all construct the perfect power pop recipe. Track two starts out acoustically with the lengthy “Paradise.” Slowly, quietly, other instruments are introduced, including synthesized keys, which then take over by the chorus. This song, predictably, has an island rock feel to it: a sedate, laid back groove. The song’s chorus reminds me of roller skating rock that Hail Social has taken and made their own style. They add lots of synthesized elements that try to create a care free, peaceful beach, but the tone of the instruments still comes across somewhat dark. The lyrics ask if this girl will ever find paradise with the singer, and this sentiment ends the song in fade out. “Lizard Song” is a bass driven sneaky, sly song, enjoying synthesized sounds that bring up the image of a large iguana (pictured on the cover?) slinking along. The song comes across as very progressive, if just for the instrumentation and musical structure. The synthesized, harmonized vocals do not negate the prog style either. The short 9 song album finishes with a ballad: “Hear My Song.” It is slow and piano driven. Musically it evokes the image of a dark stadium full of lighter brandishing mulleted couples.

The album is actually fantastic. I did not cringe at any points on it since I did with the cover art. But the music is a perfect slice of Rock-Pop blend. The songs represent different aspects of what makes the genre good, and it exceeds at all the aspects. I don’t see a market for this music anymore, as I’ve constantly thought and said that this music cannot be reproduced authentically, as it had its time and place, and can always be enjoyed, just never recreated. It is a shame that there is nothing on-line anywhere about these guys, because I'd really like to know more...if you know more...please drop me a comment!

Stand Out Track:
See Me Comin Down

Links:
MDB - allmusic