Van Zant Band, The Johnny - No More Dirty Deals

Name: The Johnny Van Zant Band
Album: No More Dirty Deals
Year: 1980
Style: Southern Rock, Hair Metal
Similar Bands: .38 Special, Outlaws, Winger, ZZ Top, Lynyrd Skynyrd, Allman Brothers, Bandera, Marshall Tucker, Molly Hatchet
"One-Word" Review: Fledgling Metal
Based Out Of: Jacksonville, FL
Label: Polydor, Polygram

Cover, Sleeve, Record

Back, Lyrics, Record

No More Dirty Deals (1980)

1. No More Dirty Deals 5:25
2. Coming Home 4:08
3. 634-5789 - 2:43 (Wilson Pickett cover)
4. Put My Trust In You 2:44
5. Only the Strong Survive 3:34 /
6. Hard Luck Story 3:08
7. Stand Your Ground 3:11
8. Never Too Late 3:44
9. Keep On Rollin' 3:27
10. Standing in the Darkness 4:57 (Tribute to his brother, Ronnie)

Album Rating (1-10): 5.5

Members & Other Bands:

• Johnny Van Zant - Vox (Lynyrd Skynyrd, .38 Special, Austin Nickels Band, Van Zant, Jim Peterik, )
• Robbie Gay - Lead Guitar (Van Zant, Robert Paul Band)
• Erik Lundgren - Lead Guitar (Van-Zant)
• Danny Clausman - Bass (Van-Zant)
• Robbie Morris - Drums (Van-Zant, Shanytown)
• Ron Hinklin - Backing Vox (Modern Barbershop Quartet, Ray Conniff, Bob Alcivar, California Dreamers, Eligibles, Zip-Codes, Hugo Montenegro, Stan Kenton, Bud Shank, Ralph Carmichael, Michael Colombier, Gabor Szabo, Jack Daugherty, Partridge Family, Dominic Frontiere, PF Sloan, Beaver & Krause, David Wagner, Climaz, BJ Thomas, Sarah Vaughn, Gram Parsons. Austin Roberts, Vikki Carr, Paul Williams, John Davidson, Keith Moon, Elkie Brooks, Jack Jones, Danny & Joyce, Cyndi Grecco, Deanna Edwards, Jim Weatherly, The Tubes, Linda Ronstadt, Elton John, Donovan, Doonesbury's Jimmy Thudpucker, Wayne Parker, TN Ernie Ford, Sparks, Shaun Cassidy, Leif Garrett, Tony Rizzi & Pacific!, Captain & Tennille, Neil Diamond, Alan Price, Jon Bryon, Lalo Schifrin, Westside Strutters, Harvey Mason, Outlaws, Reba Rambo, Dony McGuire, Paul Johnson, David Essex, Sammy Nestico, Nico Ramsden, Frank Sinatra, Jerry Lee Lewis, Harry Connick Jr, Chipmunks, Elvis Presley, The Yellow Balloon, Vince Gill, Patrick Williams, Monkees, Jan & Dean, Charles Fox, Norman Gimbel, Suzanne Klee, Johnny Koonce)
• John Balhler - Backing Vox (Bahler Bros, LA Voices, Ray Conniff, Bob Alcivar, California Dreamers, Love Generation, Bud Shank,Ralph Carmichael, Dory Previn, Gabor Szabo, Partridge Family, Dominic Frontiere, Climax, David Cassidy, Sarah Vaughn, David Essex, Toto, Association, Elvis Presley, Jerry lee Lewis, Jan & Dean, Carpenters, Love Generation, more)
• Jerry Whitman - Backing Vox (Hollywood Film Chorale, David Axelrod, Michael Colombier, Partridge Family, Burt Bacharach, Hal David, Tedd Smith, Ray Conniff, John Strachan, Bob Zwirn, Paul Williams, Phantom of Paradise [sndtk], Cam Floria, Jose Feliciano, Carpenters, Elkie Brooks, The Tubes, Wayne Parker, TN Ernie Ford, Ralph Carmichael, Triumvirat, Grease [sndtk], Jon Bryon, Harvey Mason, Reba Rambo, Dony McGuire, Outlaws, Jimmy & Carol Owens, David Essex, Norman Saleet, Juice Newton, Vince Gill, Frank Sinatra, Werid Al Yankovic, Neil Diamond, Harry Connick Jr, Billy May, Glen Gray, James Newton Howard, Alan Silvestri, Simpsons, Henry Mancini, Charles Bernstein, Ralph Cramichael, Kurt Kaiser)
• Gene Morford - Backing Vox (Modern Barbershop Quartet, Hugo Montenegro, Ralph Carmichael, Jack Daugherty, Michael Legrand, BJ Thomas, David Wagner, Paul Johnson, John Kay, Sarah Vaughn, Sherman Hayes, Paul Williams, John Davidson, Cam Floria, Elkie Brooks, Jose Feliciano, Jim Weatherly, Jon Bryon, Tubes, Elton John, TN Ernie Ford, Shaun Cassidy, Captain & Tennille, Dolly parton, Tony Rizzi & Pacific!, Grease [sndtk], Neil Diamond, Alan Price, Susie Allanson, Jimmy & Carol Owens, Continental Singers, Barry McGuire, David Essex, Kenny Rogers, Parachute, Reba Rambo, Dony McGuire, Laura Branigan, Gail Davis, Toto, John Denver, Roy Orbison, Little Shop of Horrors [sndtk], Frank Sinatra, Weird Al Yankovic, David Foster, Jerry Lee Lewis, harry Connick Jr, Tom Inglis, Natalie Cole, Chipmunks, Clare Fischer, Amy Grant, Simpsons [sndtk], Tom Jones, Suzanne Klee, Johnny Koonce)
• Marti McCall - Backing Vox (Magic, Space Angels, Tuxedo Junction, JOhn Lee Hooker, Linda Ronstadt, Michael White, Righteous Bros, Peggy lee, Paul Williams, Dory Previn, nancy Wilson, Harry Chapin, Jack Jones, Frankie Valli, Seals & Crofts, Blackbyrds, Boz Scaggs, Dolly Parton, David Soul, Dionne Warwick, Burt Bacharach, Sat Night Fever [sndtk], Donna Summer, Roger Voudouris, Grease [sndtk], Peter Allen, Gloria Gaynor, Christopher Cross, The Babys, Gil-Scott heron, Aretha Franklin, Reba Rambo, Imperials, Striesand, Jose Feliciano, Milt Jackson, Madleen Kane, Booker T, Jermaine Jackson, Kids from Fame, Kenny Rogers, Lou Rawls, Barry Gibb, Bil Withers, Diana Ross, Cher, Linda Ronstandt, Olivia-Newton John, Arlo Guthrie, Glen Campbell, more
• Myrna Matthews - Backing Vox (Hollywood Film Chorale, Magic, Paul Johnson, Saint Tropez, Babettes, Space Angels, Billy Preston, Dusty Springfield, Tim Buckley, Steely Dan, Dory Previn, Quincy Jones, Boz Scaggs, Bill Withers, Don Cornelius, Frankie Valli, TN Ernie Ford, Blackbyrds, Seals & Crofts, Helen Reddy, Dolly Parton, Captain & Tennille, Miracles, Dion Warwick, Shaun Cassidy, Grease [sndtk], Cheryl Ladd, Babys, Roger Voudouris, Christopher Cross, Outlaws, Eddie Money, Aretha Franklin, Barbara Streisand, Booker T, Jose Feliciano, SOS Band, Diana Ross, Kenny Rogers, Imperials, Patti Austin, Barry Gibb, Cher, Whitney Houston, Gary Wright, China Crisis, Teddu Pendergrass, Jon Bon Jovi, Dick Tracy [sndtk], Kenny Loggins, Muppets, Pat Boone, Harry Connick Jr more)
• Lorna Willard - Backing Vox (Maxine Waters/Willard, Scott McKenzie, Pacific Gas & Electric, Michael Colombier, Al Kooper, Marc McClure, David Cassidy, Tim Buckley, BW Stevenson, Willie Hutch. Boz Scaggs, Keith Moon, Bobby Womack, Cydni Grecco, Paul Kelly, Alice Cooper, Lenoard Cohen, Tanya Tucker, Chanson, Moulin Rouge, Ken Lauber)
• Julia (Ardie) Waters Tillman - Backing Vox (Rock Flowers, Sugar, Brothers & Sisters, Darlings, Dynels, Goldman Girls, Waters, Waters Sisters, Stan Kenton, Al Kooper, Carole King, Dave Mason, Boz Scaggs, Funk Inc, Eric Andersen, Jose Feliciano, Carly Simon, Johnny Rivers, Keith Moon, Tina Turner, Righteous Bros, Buffy Saint-Marie, Andy Williams, Rare Earth, Glen Campbell, The Tubes, Cher, Paul Butterfield, Santana, Barbara Streisand, Tavares, Carpenters, Inner Circle, BB King, Patti LaBelle, Ben E King, Tony Orlando, Cuba Gooding, Neil Diamond, Gloria Gaynor, Kiss, Denise Williams, Rick James, Teena Marie, Donna Summer, Herbie Hancock, Eddie Money, Jacksons, Peaches & Herb, Kim Carnes, Diana Ross, Curtis Mayfield, Smokey Robinson, Toni Basil, Sam Harris, Lionel Richie, Commodores, Joe Cocker, Gap Band, Natalie Cole, Harold Faltermeyer, many)
• Bobby LaKind - Percussion (Doobie Brothers, Lauren Wood, Nicolette Larson, Little Feat, Eikichi Yazawa, Paul Barrere, Bonedaddys, Michael McDonald, Chris Hillman, Cheech y Chong, Robbie Patton, Ronnie Hawkin, Freddy Henry, Dirt Band, Four on the Floor, Night, Sneaker, Tom Johnston, Benny Hester, Karen Brooks, Greg Guidry, Spirit, Honeymoon Suite, Glenn Hughes, BulletBoys, Tommy Bolin, Steve Fisher)
• Paul Barrere - Slide Guitar (Little Feat, Chicken Legs, Bluesbusters, Robert Palmer, T Lavitz, Jack Casady, Coco Montoya, Steamroller Wheelies, Bonnie Raitt, Eric Kaz, Carly Simon, John Cale, Oak Ridge Boys, Travis Tritt, Taj Majal, Jackson Browne, more)
• Al Kooper - Producer, Arrangement, Remix, Keys (Lynyrd Skynyrd, Blood Sweat & Tears, Child is Father to the Man, Four on the Floor, Frankie & Johnny, Rekooperators, Blues Project, Landlords, Musclemen, Royal teens, Sensational Guitars of Dan & Dale, Mike Bloomfield, Sweet Linda Divine, Mose Jones, David Essex, Green on Red, Tim Petty, Bob Dylan, Tom Rush, Peter Paul & Mary, Moby Grape, Jimi Hendrix Experience, Janis Ian, BB King, Rolling Stones, Bo Diddley, Rita Coolidge, The Who, Alice Cooper, Ringo Starr, George Harrison, Ravi Shankar Project, Was (Not Was), Roy Orbison, Thelonious Monster, Chuck Prophet, Neil Diamond many)
• Ernie Watts - Sax, Flute (Andreas Pettersson, Buddy Rich, Charlie haden, Doc Severinsen, Gerad Wilson, GRP All Star Big Band, Jasper Van Hof's Face to Face, Karma, Leonard Feather, Liberation Music Orch, Love Unlimited Orch, Nat Adderley, Session II, Bruce Eskovitz, John Dentz, The Meeting, The Mothers, Night Blooming Jazzmen, Sergio Mendes, T-Bone Walker, Cannonball Adderley, James Brown, Ella Fitzgerald, Carole King, Spencer Davis, Diana Ross, Arlo Guthrie, Bonnie Raitt, Quincy Jones, Marvin Gaye, Steely Dan  many)
• Paul Grupp - Basic Engineer
• Bob Edwards - Overdub Engineer, Remix
• Mark Linett - Background Vox Engineer
• Linda Corbin - Asst Engineer
• Peggy McCreary - Asst Engineer
• Niko Bolals - Asst Engineer
• George Ybarra - Asst Engineer
• Stewart Henderson - Asst Engineer
• Scooter Sandweiss - Production Coordinator
• Charlie Brusso - Mgmt (High Tide)
• George Cappellini - Mgmt (High Tide)
• Aaron Rapoport - Photos
• Ria Lewerke-Shapiro - Art Direction, Design

Unknown-ness: Never heard of this band, but based on the cover, they make me think of an Ugly Kid Joe meets Journey combination...and that is pretty much what i imagine the music to take form as, too, even if it was 9 years before UKJ.

Album Review: Greasy rock begins with the needle drop. Not necessarily hard or heavy, just sleazy, southern rock with the two lead guitars, and trying to rock your face off (not not doing it) driving tempos. 

The Van Zant family has its fair share of connection and history with southern blues rock. Johnny is the younger brother of Ronnie (died in the 1977 plane crash), who founded/sang for Lynyrd Skynyrd. Johnny is their current singer (since 1987). He also founded .38 Special with brother Donnie, and later Van Zant also with Donnie. This is the first release of the band that evolved from Austin Nickels Band, who formed 3 years earlier. Skynyrd had their farewell tour in 2018-19, Johnny said they could still record.

Stand Out Track: 634-5789

Links:
Youtube full album
Wiki

Discogs

Allmusic
Pure Southern Rock
GB Gazette 2018
Madness to Creation
IMDB
Pollstar 2018
1980 Live show - Wolfgang's
USA Today 2019
Metal Music Archives
What JVZ drives

Jacksonville Paper Father's Obit 2018
RTJ Webzine 
MN Star Tribune 2018

Blowfly - Rappin', Dancin', and Laughin'

Name: Blowfly
Album: Rappin', Dancin', and Laughin'
Year:1980
Style: Rap / Hip Hop
Similar Bands: Grandmaster Flash, Kurtis Blow, Two Live Crew, Afroman, Sugarhill Gang, Kool Keith, ODB
"One-Word" Review: vulgar old school rap
Based Out Of: Georgia / West Palm Beach, FL
Label: TK Productions, Weird World

Cover, Record

Record, Back

Rappin', Dancin', and Laughin' (1980)

1. Convoy 7:15
2. Blowfly Vs. Darth Vader 7:40
3. Cricka 5:00 /
4. The Incredible Fulk 8:40 (single)
5. The Word Game 6:00
6. The Insects Theme 4:00

Album Rating (1-10): 7.0

Members & Other Bands:

• Blowfly/Clarence Reid - Writer, Producer, Vox (Clarence Reid & the Delmiras, Betty Wright, Sam & Dave, Bobby Byrd and KC & Sunshine Band, Helene Smith, Paul Kelly, Gwen McRae, Flea, 2 Live Crew, Deep City Band, Palmerforce Two, Funky Party Band, Miami, Le Coffret Ideal Blaxploitation, many)
• Freedy Stonewall - Recording, Mixing
• Marc Vaughn - Cover Photo
• Rob Vaugn - Art Direction

Unknown-ness: Never heard of Blowfly. Although most of what seemed envelope pushing in the 80's would seem more common place, the hype behind the sexually tinged name and the "X-Rated" classification on the cover & back make me think this is going to be some juvenile, suggestive hip hop music with basic beats and lots of lyrics about the singer himself. Especially interested to see the take on Blowfly vs. Darth Vader...is he posing as the hero, up against the villain? 

Album Review: The album is 80's old-school hip hop with familiar, laid back bass lines and guitar hooks and more talking in skits rather than straight up rapping over the music. But the lyrics are quite vulgar and raunchy; talking about dick size and hard sex, with "fuck" used ad nauseum. Unfortunately, there are no parodies of popular tunes here, as that is what Blowfly made his name for.

His nickname was earned from his grandmom, called him "worse than a blowfly" when he'd sing explicit parodies of radio hits like "Come on baby, and suck my dick (do the twist)" for money on a farm where he worked. He had natural musical skills, as he was an accomplished, renown song writer in his day job as a staff songwriter at TK Records, working with Betty Wright, Sam & Dave, Bobby Byrd and KC & Sunshine band. His mixed style of soul, funk & Caribbean helped coin the term "The Miami Sound." He was also a pioneer in "Soul Talking," the direct predecessor to rap, and might have self-pressed the first rap record in 1964 with a rough version of "Blowfly's Rapp" . Because of that, had to use the stage name Blowfly to protect his integrity. He was one of the first musicians to perform masked, and his gross parodies earned him legal trouble and record store bans (first artist ever?), which eventually led to him selling all his rights to his music in 2003. But in 2005, he signed to Jello Biafra's Alternative Tentacles label. His later career saw a couple more albums and international tours and even had a documentary "The Weird World of Blowfly" in 2010. But his career was a huge influence to many rap and hip hop stars on top of his material being highly sampled. in He passed away in Jan 2016, just before his final album came out. On a side note, his daughter, Tracy Reid played in the WNBA.

Stand Out Track: Convoy

Links:
Wiki

Discogs

Allmusic

Saustex website

Facebook

rollingstone obit

NPR obit

NYTimes obit
Rate your music
Reggieslive
Vulture

Ponderosa Stomp

Brooklyn Vegan obit

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

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Website

West Coast Music Blue Desert

On Cameo

Broadway World

OXO - s/t

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

Cover, Sleeve, Record

Back, Lyrics, Record

OXO (1983)

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

Album Rating (1-10): 5.5

Members & Other Bands:

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

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

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

Stand Out Track: My Ride

Links:

Spotify full Album
Wiki

Discogs

Allmusic

Variety Review of 2007's Frank & Cindy

imdb

Image (thee) - Inside the Triangle

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

Cover & Record

Back, Record

Inside the Triangle (1975)

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

Album Rating (1-10): 5.5

Members & Other Bands:

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

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

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

Stand Out Track: IOU's

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

Classics IV - Traces

Name: Classics IV
Album: Traces
Year: 1969
Style: Folk, Light Pop, Easy Listening
Similar Bands: Bachelors, We Five, Roy Orbison, Association
"One-Word" Review: Loungey pop vocals
Based Out Of: Jacksonville, FL
Label: Imperial, Liberty

 cover, record

record, back

Traces (1969)

1. Everyday With You Girl  2:34 (single)
2. Mr. Blue 2:31
3. Sunny 2:40
4. Free 2:27
5. Traces 2:45 (single) /
6. Something I'll Remember 2:30
7. Our Day Will Come 2:12
8. Rainy Day 2:37
9. Traffic Jam 2:18
10. Sentimental Lady 2:24
11. Nobody Loves You But Me 3:11

Album Rating (1-10): 6.0

Members & Other Bands:

• Dennis Yost - Vox (Echoes, Leroy and the Moments)
• Emory Gordy - Arrangement, Composer (Here Today, Kommotions, St John & the Cardinals, Hot Bandm, TCB Band)
• Bill Lowery - Producer
• Buddy Buie - Producer
• Lew Bradley - Engineer
• Woody Woodward - Art Direction
• Gabor Halmos - Design
• Howard Risk - Photographer
• J.R. Cobb - guitar (Atlanta Rhythm Section)
• DeWayne Blackwell - Composer
• Mac Davis - Composer (Zots)
• Mort Garson - Composer
• Bobby Hebb - Composer
• Bob Hillard - Composer
• Tommy Roe - Composer

Unknown-ness: Never heard of Traces. Hoping they sound like some fun oldies pop like Herman's Herrmits, Monkees or Box Tops. But I never heard of them, so, probably not.

Album Review: I had the band mislabeled as Traces, but their name is actually Classics IV. It changed from Classics, as there was another band with that name from Brooklyn, and they experienced early set backs because the Four Seasons felt their music sounded too close to their style and had the song Pollyanna's NY airplay cut back. They still tour & play out, with a back up vocalist for Yost, (hand picked after he went through throat surgery and passed away in Dec'08). "Traffic Jam" sounds like a Colin Moulding song, and some of the tracks have a mid-period Elvis Costello (Mighty Like A Rose) sound. But most of the songs are easy listening light, with some smooth jazz sax solos and basic pop melodies.

Stand Out Track: Traffic Jam

Links:
Wiki
Website
Discogs
Dennis Yost Obit
Allmusic
Flower Power Cruise
Best Classic Bands

Blackjack - s/t

Band: Blackjack
Album: s/t
Year: 1979
Style: Hard Rock
Similar Bands: Bob Seger, Michael Bolton, Mr. Big, Jackson Browne, Foriegner
"One-Word" Review: Rockin'-Boltin'
Based Out Of: Miami?
Label: Polydor

Blackjack - Cover & Record

Blackjack - Back & Record

Blackjack (1979)

1. Love Me Tonight 2:58
2. Heart Of Stone 3:54
3. The Night Has Me Calling for You 4:35
4. Southern Ballad 3:45
5. Fallin' 3:32 /
6. Without Your Love 3:45
7. Countin' On You 3:35
8. I'm Aware of Your Love 3:37
9. For You 4:44
10. Heart of Mine 2:55

Album Rating (1-10): 6.5

Members & Other Bands:Michael Bolotin - Vocals (Michael Bolton)
Bruice Kulick - Guitar (Kiss, Hookfoot, Good Rats)
Sandy Gennaro - Drums (Pat Travers)
Jimmy Haslip - Bass (Tommy Bolin, The Yellowjackets, Carillo)
Jan Mullaney - Keys (Carillo)
Chuck Kirkpatrick - Backing Vox
Tony Battaglia - Backing Vox
Tom Dowd - Produced
Steve Gursky - Engineer
Rick Allison - Asst. Engineer
Michael Guerra - 2nd Asst. Engineer
Jim Sessody - 2nd Asst. Engineer
Mike Fuller - Mastering
Phil Lorito - Career Consultant
Gerrard Heurta - Cover Illustration, Design
Jim Houghton - Photography
Abie Sussman - Design, Art Direction

Unknown-ness: I’ve never heard of this band. But I do love the packaging for the record. The optical illusion of a full deck of cards, and opening with a flap, like a deck, is very cool. I had to pick it up just for that. The idea of a band called Blackjack makes me think that they will be straight up Southern Guitar Rock. But from the images on the back, the band looks more like a Hair Metal Band.

Album Review: So the singer, Michael Bolotin, is the more famous Michael Bolton, infamous for his terrible soft pop songs of the 80’s. It will be very interesting to hear him in a hard rock band. Also, the guitarist is from KISS, so there’s that element too.

“Love Me Tonight” is their single. When I first head this, before I knew it was Michael Bolton, I was thinking it sounded rough, like Bob Seger or something, but once I knew who he was, he was instantly recognizable. Musically, it is light, melodic rock. Vocally, it is the standard Bolton raspy and quaking sound. The song reminds me a lot of the Fast Times at Ridgemont High famous song, Jackson Browne’s “Somebody’s Baby.”
“Heart Of Stone” is a little heavier. The metal guitar is used lightly, but it definitely has the whining sorrow of a metal guitar. Then Bolton’s vocals ruin the atmosphere…but that’s probably because I’m thinking too much of where those vocals are coming from and what Bolton became. He has range, and his singing style is an emotional, raspy wavering. The music lightens up and becomes pop rock with a bit of metal guitar flurry buried in the background as if that is the only style his voice can be supported by.
“The Night Has Me Calling for You” features a bit of bold electric guitar setting the melody in the beginning, reminding me of Queen. But again, Bolton comes in and basically brings the song to a halt. It picks up and has a fun driving sound for a bit in the bridge, but the chorus is a return to the slow, momentum-less melody. The song ends boldly with a winding down instrumental climatic finish
“Southern Ballad” is a guitar ballad, as the name would suggest. It is like a poor version of “Have I Told You Lately,” with none of the interesting, loving melody, just similarity of the title being sung in Rod’s song.
“Fallin’” starts off with a lot of energy, stored up from the last song, presumably. It is driving and energetic, but not overly emotional. But as it progresses through the general pop rock melody, the harmonized backing vocals of the chorus devolve into a rip off of The Police song “So Lonely.”

“Without Your Love” begins as a strong southern metal rock song with a swagger and a nice metal guitar sound. The drum beat carries the driving tempo through Bolton’s light vocals. It builds well to the chorus, and the chorus is pretty catchy, based in the consistent southern rock style that sounds very familiar with much more emotional vocals.
“Countin' On You” begins as a slow & light, pub band rock song. There is a mystique and slyness to the key of the guitar & bass.
“I'm Aware of Your Love” has a very energetic and catchy beginning, and sounds like a solid, fun guitar pop rock song. The music drives full force, building up power to be released in the chorus, which raises the pitch and intensity of vocals. The major downside is that it is very repetitive, as it is just the title repeated over and over again. This detracts from the over all appeal of the song, which would otherwise be shockingly good.
“For You” takes it back down to the slow plodding pace of a cigarette lighter-held ballad. This could be a lesser Bolton song in his solo heyday.
“Heart of Mine” starts with a catchy pop, near-jangley guitar hook. The initial vocals are week, but the song corrects itself rather quickly once it reaches the first fake-out bridge. It has a power- pop rock composition of short verse and repetitive chorus with harmonized vocals in support. It is catchy and swoops up and down the scale. The first two stanzas are naturally sandwiched with a guitar solo before coming back for one last verse-chorus fade out attack.

Stand Out Track: Heart of Mine

Links:Wiki

Michael Bolton Fan Page
Promo Film on NME
Allmusic
Melodic Rock Message Board

Metal Minos

Pop Dose

Seriously OMG

Bruce Fan's Review
Yperano
Bruce Bio
WNEW.com

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)

Stevie B - Party Your Body & In My Eyes

Name: Stevie B
Album(s): Party Your Body~, In My Eyes*
Year: 1988~, 1989*
Style: Dance Club Pop
Similar Artists: Power Station~Seduction~Tony!Toni!Tone!~Bobby Brown~Whitney Houston Church Songs*
"One-Word" Review: dancefloor-sweat-rhythm
Based Out Of: Miami, Fl
Label: LMR (Lefrak-Fuhrman-Moelis Co.~,Lefrak-Moelis Records*), Little Major Records Distribution~

Party Your Body & In My Eyes - Covers

Party Your Body & In My Eyes - Backs Party Your Body & In My Eyes - Records

Party Your Body (1988)

1. Party Your Body 4:34
2. I Need You 5:06
3. Stop The Love 5:00
4. Day N' Night 5:02/
5. Dreamin' Of Love 4:08
6. No More Tears 6:01
7. Spring Love 5:03
8. Baby I'm A Fool For Love 4:52

In My Eyes (1989)

1. I Wanna Be the One 4:54
2. Girl, I Am Searching For You 4:45
3. I Came To Rock Your Body 5:00
4. Love Me For Life 5:12 /
5. In My Eyes 5:09
6. Lifetime Love Affair 4:11
7. Come With Me 4:39
8. Children of Tomorrow 4:46

Album Rating (1-10): ~8.0 *7.5

Members & Other Bands:Stevie B (Hill) - Wrote, Arranged, Vocals, Instruments, Drum Programs, Computer Edits, Percussion, Produced, Mixed, Engineered~*
Tolga Katas - Instruments, Computer Edits, Percussion, Samples, Produced, Mixed, Engineered~* (Linear, MTS)
PJ Austin - Computer Edits~
Herb "The Pump" Powers - Mastering~*
Herb Moelis - Executive Producer~*
Samuel J. LeFrak - Special Thanks~
Laurence Moelis - General Counsel~
Bonnie Schifano - Copyright Coordinator~
John McKinzie - Art Direction & Design~
Dadgel Ataby - Music Arrangement*
Glenn Gutierrez - Music Arrangement. Computer Programming*
Jimmy Starr - Mixed, Engineered*
Lee Lebowitz - Cover Design*
Johnny Cruize - Photograph*
Claudette DeBarros - Fashion & Design*

Unknown-ness: I never heard of Stevie B. But I saw this at the thrift store, and did not buy it for a few weeks. Then, after I saw Kanye West’s mullet, I was inspired to go back and give these albums a chance if they were still there. The crazy early 90’s artwork, style and especially hair made me want to get these sure-to-be cheesy records, with nearly each song with the word love in the title, like an Air Supply album. I was not sure what exact style this was going to be, but I was pretty sure it was going to be danceable. And I hope the joke-y-ness of the albums does not wear too thin, if the albums are not stratightforwardly good already.

Albums Reviewed: ~“Party Your Body” starts off the first album with latin synthesized horns and typical 90’s dance pop. The vocals are light and non-threatening. The music feels like a steamy, seedy night in a dance club, like he scene from National Lampoon’s European Vacation where Rusty dreams about dancing to “Some Like It Hot” by the Power Station. It is just like that song. “I Need You” starts with new wave conga synth and Stevie yelling out with plenty of reverb. This is a light, generic pop song, but it is still catchy. It has great lines like “Sha-Na-Na-Na-Na-Na-Baby.” The synth bass is a very satisfying liquid deep effect and in uncontrollably pleasant every time it is used to punctuate the end of the musical loop. “Stop The Love” is more 90’s rap in production, and it ends up heading toward something by Denise Williams or any other synth dance pop act from the 80’s or early 90’s. It was an over done style, but that does not mean it was bad. It generates the image of a smoky disco, flashing lights, and care free grinding. Or a near empty skating rink. Lyrically, he borrows directly from The Jackson 5. “Day N' Night” picks up with a slightly slower version of the song directly before it. It features a short breakdown rap shoved in the middle of the song, but it is not given much time to take hold and throw off the smooth catchy rhythm.

“Dreamin' Of Love” starts with the popular synth keyboards, and new wave effects even similar to OMD or Pet Shop Boys. The backing music could even have been used in video game music. There is even some scratching of the vocals to the rhythm. “No More Tears” is slower and features a more island synth rhythm. It is a much simpler, empty sounding song, where besides the vocals; only the bass drum and clicking metronome-like percussion keeps the momentum going. It fades out, and up next is the biggest hit on the record “Spring Love.” It starts with laser like synth keyboard sounds. The sweet, comforting storytelling vocals roll over the catchy melody at another video game like example…it kinda reminds me of Dr Wily’s music from Mega Man 2. The nervous wood block and clicking percussion build a great dance base for the song. It is also a little like Milli Vanilli, but a little less catchy. For a regular listening song, it is a little long, but perhaps for a dance floor, it is perfect. “Baby I'm A Fool For Love” is the last of the songs, and enters with a percussive cow bell mixed with the beat. The jazzy synth adds and the quiet and smooth vocals begin. It feels a little like it should be a Bobby Brown song. The song and album ends in a fade.

* “I Wanna Be the One” picks right up with the same synth sounds. The melody is even catchier and its shaky quality adds even more charm. I might have actually heard this song before…it kinda sounds familiar. It is more complex than anything that appeared on the first album, the chorus is a different catchy (but similar) melody than the rest of the song. The song is a really good pop song, as you wait for the chorus to drop, and it is pleasant when it finally does. The final note is held onto as the song fades out. “Girl, I Am Searching For You” has a grand classical themed synth intro that quickly turns to dance floor rhythm. The song builds well as a pop song, but the delivery does not please as much as it should. The song is missing something in its production that would make it feel bolder and more enjoyable. But the music style definitely takes me back to the radio fare that was on in the early 1990’s. And the follow-up to his “Party Your Body,” “I Came To Rock Your Body” is a little more jazzy, and less danceable, taking its cues from Prince. The strength feels like it is uncontrollably slipping through Stevie B’s fingers with these last couple of songs, when compared to the stellar opening track and last album. They just feel even lighter and airy and lack that dancy punch the first album had. Going all Whitney Houston on us, Stevie B gives us the church prayer “Love Me For Life.” It is perfect for a middle school dance, but not for a Miami Nightclub. This would even make, with different production, for a great monster ballad.

The album’s name-sake starts side B “In My Eyes.” It is a jumpy Latin-jazz synth, but the vocals drain any minimal energy from the song. They are quiet and smooth, but in a negative way for the first time here. The chorus is a bit stronger, and very repetitively catchy, but it does not save the song. “Lifetime Love Affair” starts off just like a Pet Shop Boys song. It has a bit of a “Smooth Criminal” beat. Again, this is more of a pop song than a dance track. The energy is really saved for the chorus, it really breaks through the quiet and safe range that all the songs have run through so far. The repetitive chorus at the end of the song is very good and makes it memorable. “Come With Me” follows up with more jittery electronic dance music, back on track and into the clubs. The build up to the chorus is very strong, the delivery is better than “Searching For You.” There are some generic effects thrown in, perhaps just because they can, and I guess they add a bit to the song, and make it less repetitive. But there is a fade out, where it should be a cold stop. Oh well, still a solid song. “Children of Tomorrow” fulfills the weak theme for this album: to end both sides as Whitney Houston church ballads. I can’t even finish this song up.

Stand Out Tracks: ~Party Your Body
*I Wanna Be The One

Links:wikipedia
Myspace
Allmusic
Discogs
VH-1 page
Last FM
Rate Your Music
Glenn Gutierrez's Blog: G's Odd Spot

Foxy - Party Boys

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

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

Party Boys: Record

Party Boys (1979)

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

Album Rating: 5.5

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

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

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

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

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

Stand Out Track: "Girls"

Links:allmusic
wikipedia
dance music blog

discogs
Soulfunkjazz blog

Ish Discography

(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

Gregg Clemons - s/t

Name: Gregg Clemons
Album: s/t
Year: 1980
Style: Singer/Songwriter Rock/Metal
Similar Bands: Survivor, Springsteen, ZZ Top, A’s
"One-Word" Review: Bi-polar New-Prog-Rock
Based Out Of: Naples, FL
Label: CBS, Nemperor,

Gregg Clemons - Cover & Insert

Gregg Clemons -Back & Insert

Gregg Clemons - Photo & Bio-1

Gregg Clemons - Record & Bio-2

Gregg Clemons (1980)

1. Night Bird 3:22
2. I Feel You Near 4:00
3. 747 2:59
4. Maybe I'm In Love 2:39
5. Without Love 3:26/
6. Get Up 4:03
7. Love Speaks Clearer 2:57
8. What You Need 3:33
9. Don't Turn Around 2:39
10. It Happened in My Life 5:19

Album Rating (1-10):
6.0

Members & Other Bands:

Gregg Clemons - Vocals (Jets, Clicker, Liberty & Justice, Pink Flamingoes)
Cherryl Fonfara - Backing Vox

Greg Wilson - Drums

Jeff Masino - Bass

Jeff Oakley - Keyboard, Vox

John Casella - Tenor Sax
Vito Wiegratz - Alto Sax

John Masino - Lead Guitar (Up Up Down Down Left Right Left B A Start)

Josie Falbo - Background Vox

Marilyn Grimes - Background Vocals

Michael Lorenz - Percussion

Pete Solley - Producer (Romantics, The Records, Steve Forbert)
Steve Brown - recorded & Mixed
Greg Calbi - Mastered
Chuck Toler - Management

Unknown-ness: I had never heard of Clemons, but from the year, the clothing in the photo, the pastel colored room, I thought this might be a new wave singer song writer, similar to Elvis Costello or Graham Parker. Included inside the record were a glossy promo head shot as well as a 2-page bio selling the album. I'd assume this record was property of a radio station or a music reviewer before it ended up in the dollar bin. I did read some of the review, and it tried to equate Gregg to his influences like Elvis Presley, so I figured it would be a good buy.

Album Review: I read a little about Gregg from an interview, and it seems he is deeply religious and motivated by said religion. That is now, but I’m not sure if it held true back in 1980. I’ll be looking for religious tendencies throughout the record. Track one, “Night Bird” is a rock song, with organ and driving rhythm via drums and bass. This is stereotypical 80’s rock, tinged with new wave. There is a short sax solo in the middle of song. There is an underlying feel of a 50’s doo-wop song hidden in the chorus. “I Feel You Near” starts out as a lite-jazz song, with a sax intro, and its steady, mid-tempo beat. His vocals are produced with an echo effect. Synthesized keyboards add to the mix, enhancing a secret, sneaky vibe. The smooth jazz sax comes back for short moments, continuously reminding us of the song’s nature. “747” is a straightforward, solid rock song. His vocals are a little stuffy, like on a verge of catching a cold. But the music is reminiscent of ZZ Top. “Maybe I’m In Love” has a great catchy bass line. This song and the way he sings it, sounds like Roy Orbison number. The tempo is somewhat bouncy, and the lyrics and melody maintain a relaxed start/stop pace. The synthesized keyboards are laid lightly underneath the production. From the start, “Without Love” follows the melody of Springsteen’s “Hungry Heart,” with a similar sounding piano to boot. While the verse remains to a singer-songwriter style, arena rock production of the song takes over in the chorus, complete with heavy synth keyboards.

“Get Up” is slightly darker musically, but once the lyrics start, the song sounds very much like the A’s. It possesses a chanting chorus of ‘get up,’ and tries to be persuasive about getting that action done. The main hook and drive of the song is the 80’s synthesized melody buried underneath the handclaps and vocals. A rolling drum beat, electronic jittery keyboards, and a nice driving bass all come together to form what sounds like a Blondie’s “Call Me” on Clemons’ “Love Speaks Clearer.” Metal guitars are added for the short instrumental break, and a rising vocal bridge brings us back into the chorus. “What You Need” continues the same driving spirit, and adds bouncy, jittering keyboards into the first part of the chorus. A chorus of voices supports Clemons angelically in the second part of the chorus. “Don’t Turn Around” has a unique sing-speak-rap groove to it. His voice goes deeper here than he has displayed before. Funky synth sounds fill the first musical break. His song also rises and holds on emotional, high notes. Finally, “It Happened In My Life” begins, feeling something like a driving metal-prog song at first. The chorus is made up of a call and response chant of the title. The musical break has a loud metal electric guitar showing off.

The album was much heavier than I imagined it. While I was expecting pop singer songwriter songs, what this is, is more metal, prog influenced music. I do not see the connections with Elvis Presley and oldies that the liner noted proclaimed, with the exception of “Maybe I’m In Love.” The new-wave/rock songs are really good though.

Stand Out Track:
Maybe I’m In Love

Links:

Gregg Clemons - Allmusic (empty)

Gregg Clemons Interview w/ Jiberty & Justice

Gregg Clemons Photography Business

Axe

Band: Axe
Album: s/t
Year: 1979
Style: Metal-Prog
Similar Bands: Journey, Motley Crew, Scorpions, Ratt
"One Word" Review: Proggy-Metal-Rock
Based Out Of: Florida (origin) /Texas (now)
Label: Curb Records, MCA

Front Cover & Side2

Back Cover & Side 1

Axe - 1979
1. Life's Just An Illusion (sample)- 3.36
2. Hang On - 3.10
3. Sympathize - 3.25
4. How Come I Love You - 3.24
5. Forever (sample)- 3.31 /
6. Back On the Streets (sample)- 3.44
7. Doin' the Best That I Can - 4.25
8. You're Out Of Line - 3.47
9. Battles - 6.13

Album Rating: (1-10)
6

Members & Other Bands:
Michael Osborne
Teddy Mueller (Babyface)
Michael Turpin (Babyface)
Bobby Barth (Babyface, Red Rock Rooster, Blackfoot, Caught In The Act)
Edgar Riley Jr. (Babyface)
Michael Lloyd-Producer: Mike Curb Productions
Unknown-ness: Never heard of these guys. But with the menacing Axe on the cover of the album Axe, by the band Axe, I got the picture of what was inside: driving, cutting metal. And lots of it. But then there is the mystical back of the band surrounding a glowing obelisk. That seemed more prog based. Then returning to the front, the drawing of the axe breaking glass, well that could definitely fit into a prog category.

Album Review: Good bands can package their sound as imagery and Axe completed this goal with flying colors. They are a hard, loud guitar band, with tendencies to let the keyboards drive a song. With a vocal style similar to Journey, they are not quite as heavy (at least not yet...maybe they get heavier) as the bands they toured with in their future: Iron Maiden, Motley Crew, Judas Priest. The voices here are a harmonic blend, rather than the anticipated shouting or whiny screeching of a metal band. They can all sing.

The first track is more of a prog song than metal. And with the keyboard taking the lead, it gives correct imagery as to how the rest of the album will play out. The second song starts off with a jaunty piano, and again the Steve Perry vocal style takes over with a driving melody, that delivers us to a harmonic chorus 'Hang On, Hang On Forever'. Even at their hardest, their supporting instrumentation acts like water repelling the grimy grease of pure metal from its tracks.

"Forever" is the quintessential power ballad. At the end of the song, the whiny guitar takes the place of full lyrical verses, and sings a more heart broken melody than any vocal could attempt. The record ends with their longest track, a 6+minute quiet prog ballad, following a similar formula to "Forever."

This album has a very dated feel to it. And in this case, that is a good thing. It is from an era of a bands young life where they are not sure which direction they want to go in. With knowing that they become a metal based band, this album is like a Heavy Metal lad, before trying to break the hold of its prog mother. It is a nice blend, and really comes across as one unique sound.

Stand Out Track
Hang On

Links:AXE webpage
AXE Myspace on tour
AXE on wikipedia
ACE on AllmusicInterview with Bobby Barth 1997Retun of Axe 11/5/07-Sleaze RoxxUnited Mutations AXE page