Andrew Dice Clay - 40 Too Long (1992)

Andrew Dice Clay (born Andrew Clay Silverstein; September 29, 1957) is an American comedian and actor.
He played the lead role in the 1990 film The Adventures of Ford Fairlane.
 Clay has been in several movies and has released a number of stand-up comedy albums. He is currently focused on acting and putting aside his stand-up.
40 Too Long is a comedy album by comedian Andrew Dice Clay, which was released in 1992. The album's name was taken from an argument he says he had with a Chinese clothing sales guy who took his size (42 long) the wrong way and kept suggesting smaller sizes.
Unlike Clay's albums previously, he tends to side more with the women in this one on just about everything.

01.  Dice Goes to the Mall   (3:35)
02.  Dice Talks to the Salesmen   (1:00)
03.  Dice Buys a Suit   (3:36)
04.  Dice on Disasters   (1:51)
05.  Dice on Nutrition   (1:38)
06.  Dice Just Says No Leno   (1:48)
07.  Dice on Redheads   (1:41)
08.  Dice on Lasting Relationships   (2:53)
09.  Dice the Advocate   (2:34)
10.  Dice Stops for Gas   (2:29)
11.  Dice on Reading Material   (1:07)
12.  Dice on Orgasms   (2:06)
13.  Dice's Checklist   (1:41)
14.  What a Mess   (0:50)
15.  Dice on Reheaded Men   (0:42)
16.  Dice Knows When to Say When   (2:46)
17.  Dice on Complaints   (1:25)
18.  Dice Jerks Off   (2:25)
19.  Dice on Manners   (1:19)
20.  Dice Vs. Peewee   (0:30)
21.  Dice at the Drive-Thru   (1:03)
22.  Dice Gets Creative in Bed   (5:07)
23.  Dice Learns to Mambo   (3:09)
24.  Dice on Bodybuilders   (1:13)
25.  Dice Does It Like Dis   (0:59)
26.  Dice Has Random Thoughts   (1:38)
27.  Dice Greeting Cards   (0:43
28.  Dice Rewrites History   (2:25)
29.  Let Yourself Go   (2:15)
30.  You May Be Dancing With Me   (3:34)

Label - American Recordings

3rd Nation - Close Encounters Of The 3rd Kind (1996)

 

Tracklist

1.  Stand Up  (4:48) 
2.  I Believe  (4:06) 
3.  Real Love  (3:45) 
4.  One More Chance  (6:12) 
5.  Give Me Your Love  (0:35) 
6.  Do Me Right  (4:29) 
7.  Better Then You  (5:07) 
8.  Joy & Happines  (4:00) 
9.  Give Your Love To Me  (4:53) 
10.  Hold On  (5:21) 
11.  Baby Come Lay  (5:58) 

Companies, etc.

• Record Company – Warner Music Group
• Phonographic Copyright ℗ – SweMix
• Phonographic Copyright ℗ – Warner Music Sweden AB
• Copyright © – SweMix
• Copyright © – Warner Music Sweden AB
• Published By – SBK April Music Inc.
• Published By – Ultrawave Music
• Published By – Rightsong Music, Inc.
• Made By – Warner Music Manufacturing Europe
• Produced For – Two Black Productions
• Produced For – JSP
• Pressed By – WMME Alsdorf

Credits

• Design [Graphic] – Leena 'Lelle' Kilpi
• Design [Help] – Charlie 'C'

Notes

Released: 1996

Genre:  Electronic

Style:  Garage House

Length:  48:02

Label - SweMix Records

Thompson Twins ‎- Out Of The Gap (1984) [Special Limited Edition]

Thompson Twins were a British music group that formed in April 1977 and disbanded in May 1993. Initially a new wave group, they switched to a more mainstream pop sound and achieved considerable popularity in the mid-1980s, scoring a string of hits in the United Kingdom, the United States, and around the globe.
The Thompson Twins had a major chart run in the 1980s with no less than 7 top 40 hits. It was the decade of Megamixes and the Thompsons had a series of 3 "Out Of The Gap" Megamixes.
There was the "Out Of The Gap" (Extended Megamix) with 4 songs and also includes the "Sister Of Mercy" (Extended Mix) - this one was about 9 mins long.

1.  Out Of The Gap  (Megamix)  (8:57) 
2.  Still Water  (3:00) 
3.  Sister Of Mercy  (9:26) 
4.  Funeral Dance  (3:30) 

Label - Arista Records

Aretha Franklin - Yeah!!! (1965)

Yeah!!! (or Aretha Franklin In Person With Her Quartet) is the eighth studio album by American singer Aretha Franklin, Released on May 17, 1965 by Columbia Records. Contrary to the overdubbed sounds of audience murmurs, the album was not a live album, but instead was recorded live at New York's Columbia Studios and produced by Clyde Otis.
This 'live' nightclub date with a jazz trio, revealed to be a faked on the Columbia compilations that have since come out, is nonetheless a great LP, maybe the best single Columbia LP from Aretha. John Hammond discovered her and just wanted great music, but the label couldn't decide if she was a show tune singer, jazz or r&b and never figured out she was all of the above and deserved her own category. This is the most jazzy Aretha ever and if she'd wanted to concentrate on this one area of her talent, she would still be ruling it. Hopefully Columbia will issue the undoctored recordings complete some day soon. The clicking silverware and audience murmurs as if they were ignoring her are actually distracting on a couple of songs, which given that it was dubbed in are overkill besides being ridiculous.
This would be Franklin's last collection of jazz recordings until the release of 1973's Hey Now Hey (The Other Side of the Sky), released during her landmark tenure at Atlantic Records.

01.  This Could Be the Start of Something   (Steve Allen)  (1:23)
02.  Once In a Lifetime   (Anthony Newley, Leslie Bricusse)  (3:20)
03.  Misty   (Erroll Garner, Johnny Burke) (3:35)
04.  More   (Nino Oliviero, Riz Ortolani, Norman Newell)  (1:55)
05.  There Is No Greater Love   (Isham Jones, Marty Symes)  (4:39)
06.  Muddy Water   (Harry Richman, Jo Trent, Peter De Rose)  (2:22)
07.  If I Had a Hammer   (Lee Hays, Pete Seeger)  (2:29)
08.  Impossible   (Steve Allen)  (3:22)
09.  Today I Love Ev'rybody   (Harold Arlen, Dorothy Fields)  (3:24)
10.  Without The One You Love   (Aretha Franklin)  (3:34)
11.  Trouble in Mind   (Richard M. Jones)  (2:53)
12.  Love for Sale   (Cole Porter)  (2:29)

Label - Columbia Records

Solomon Burke - Soul Alive! [2 CD Remastered] (2002)

For pure soul testifying, no one compares to Solomon Burke. He earned his title -- "King of Soul" -- by bringing the gospel fervor of the Southern preacher to his performances, and no recording proves his command over an audience quite like Soul Alive! Recorded in 1983 in Washington, D.C., the set proves Burke had lost little from his '60s heyday; he works through nearly all of his hits, spurring on the concert-goers as though they were the ones performing instead of him in fact, some of the women are heard screaming so often they should've been credited. Burke shines most when leading the faithful through "I Can't Stop Loving You," pausing for a lengthy monologue before reprising the song and leading into a devastating finish. Elsewhere he works through deeply felt country-blues-gospel fusions like "I Almost Lost My Mind," "Take Me (Just as I Am)," "He'll Have to Go," and "Down in the Valley."
"I know there's something going on in this place that doing good for somebody!" shouts Solomon Burke early on in "Soul Alive," and he may have even understated the case. As with the best live albums (Sinatra, James Brown, the Stones, KISS), this set, recorded mostly in Washington, DC, captures a live soul experience as few others have(especially in the 80s, when it was released).
Many remember Burke from "Cry to Me," featured on the "Dirty Dancing" soundtrack. That hit is here, along with songs he ("The Price," "Everybody Needs Somebody To Love," "Tonight's The Night") or others ("I Can't Stop Loving You," "Hold What You Got," "He'll Have To Go.") recorded during soul's peak years. What makes this album special is that Burke, a preacher and gospel singer since childhood, weaves useful, emotional sermons around these medleys (his monologue about "the women of today" is hilarious and useful) giving the crowd and listener the best of the gospel and secular worlds. In doing so, Burke reversed - 40 years later - Ray Charles' use of gospel style in blues songs which angered, then inspired, fans of those genres. Every shout, every Burke one-liner ("All we need is a water bed now" ), every note of this set is to cherish.

Disc: 1
01. Introduction: Everybody Needs Somebody To Love - 4:36 
02. Medley: If You Need Me/Tonight's The Night/You're Good For Me/I
      Almost Lost My Mind/What Am I Living For/Just Out Of Reach -
      12:20 
03. Medley: Monologue/Take Me (Just As I Am)/I Can't Stop Loving
      You/Monologue/I Can't Stop Loving  You (Reprise)/Down In The
      Valley/Proud Mary - 15:22 
04. Down In The Valley - 3:46 
05. Proud Mary - 3:46 

Disc: 2
01. Medley: Tonight's The Night (Reprise)/Beautiful Brown Eyes/Just
      A Matter Of Time/Monologue/Hold What You've Got/He'll Have To
      Go/Cry To Me - 18:55 
02. Introduction To Encore: Gotta Get You Off My Mind (Instrumental)
      Medley: Meet Me In Church/The Price/Words/Monologue - 10:29 
03. Medley: You're Good For Me (Reprise)/Send Me Some Lovin'/Gotta
      Get You Off My Mind - 6:49 
04. Medley: Having A Party/Amen - 6:42

Label - Rounder Records

K.D. Lang - Ingénue (1992)

On her early albums, k.d. lang was a country traditionalist with a difference while she had a glorious voice and could evoke the risen ghost of Patsy Cline when she was of a mind, there was an intelligence and sly humor in her work that occasionally betrayed her history as a performance artist who entered the musical mainstream through the side door. And while the three years between Absolute Torch and Twang and Ingénue were full of controversy for lang that may have encouraged her to seek out new creative directions (among other things, she came out as a lesbian and her outspoken animal rights activism alienated many fans in the C&W mainstream), the former album suggested lang had already taken her interest in country music as far as it was likely to go. Ingénue presented lang as an adult contemporary artist for the first time, and if she felt any trepidation at all about her stylistic shift, you'd never guess after listening to the record; lang's vocal style is noticeably more subtle on Ingénue than her previous albums, but her command of her instrument is still complete, and the cooler surroundings allowed her to emotionally accomplish more with less. lang's songwriting moved into a more impressionistic direction with Ingénue, and while the literal meanings of many of her tunes became less clear, she also brought a more personal stamp to her music, and the emotional core of "Save Me," "Constant Craving," and "So It Shall Be" was obvious even when their surfaces were evasive. And the production and arrangements by lang and her longtime collaborators Ben Mink and Greg Penny were at once simple and ambitious, creating a musical space that was different in form and effect than her previous albums but one where she sounded right at home.
Ingénue disappoints slightly because while lang was a masterful and thoroughly enjoyable country singer, she was a far more introspective adult contemporary singer/songwriter who seemingly demanded the audience accept her "as is" or not at all.
However, the craft of the album is impressive indeed, and few artists have reinvented themselves with as much poise and panache as lang did on Ingénue.

01. "Save Me"  (Ben Mink / k.d. lang) - 4:33
02. "The Mind of Love"  (Ben Mink / k.d. lang) - 3:48
03. "Miss Chatelaine"  (Ben Mink / k.d. lang) - 3:49
04. "Wash Me Clean"  (Lang) - 3:17
05. "So It Shall Be"  (Lang, Greg Penny) - 4:30
06. "Still Thrives This Love" (Ben Mink / k.d. lang) - 3:35
07. "Season of Hollow Soul" (Ben Mink / k.d. lang) - 4:58
08. "Outside Myself"  (Ben Mink / k.d. lang) - 4:57
09. "Tears of Love's Recall" (Ben Mink / k.d. lang) - 3:49
10. "Constant Craving"  (Ben Mink / k.d. lang)  - 4:37

Label - Sire, Warner Bros.

Tanya Tucker - Strong Enough To Bend (1988)

Strong Enough to Bend is a 1988 album by Tanya Tucker. There were three singles that made the Billboard Top Ten Country singles charts: "Strong Enough to Bend" at #1, "Highway Robbery" at #2, and "Call on Me" at #4. Another single, "Daddy and Home," rose to #27, while the album itself peaked at #9 on the Country Albums chart. This album is typical of her classic period.
I agree with Tanya's assessment of Daddy and home - it is an outstanding cover of the old Jimmie Rodgers classic. The title track is particularly interesting, as it was the first significant songwriting success for Beth Neilson Chapman, who has since become both prolific and successful as a songwriter and has also made some impact with her own recordings.
Apart from the hits, which are available on any number of compilations, You're not alone, As long as I'm dreaming, Lonesome town, Lonely at the right time, Playing for keeps and Back on my feet are all excellent songs, most of them being ballads.
This is an essential album for Tanya's fans but if you haven't got any of her music, it's a great place to start.

01. "You're Not Alone" (Tom Shapiro, Chris Waters)  - 3:05
02. "Strong Enough to Bend" (Beth Nielsen Chapman, Don Schlitz)  - 2:43
03. "As Long as I'm Dreamin'"  (Jeff Cook, Teddy Gentry, John Jarrard, Gary Nicholson)  - 3:35
04. "Lonesome Town"  (Matraca Berg, Ronnie Samoset)  - 4:11
05. "Daddy and Home"  (Jimmie Rodgers, Elsie McWilliams)  - 2:49
06. "Highway Robbery"  (Michael Garvin, Bucky Jones, Shapiro)  - 3:29
07. "Lonely at the Right Time"  (Frank J. Myers, Don Pfrimmer)  - 3:54
08. "Playing for Keeps"  (Lewis Anderson, Lisa Silver)  - 3:36
09. "Call on Me"  (Gary Scruggs)  - 3:22
10. "Back on My Feet"  (Max D. Barnes, Troy Seals)  - 3:24

Label - Capitol

David Clayton-Thomas - David Clayton-Thomas (1973)

David Clayton-Thomas (born David Henry Thomsett; 13 September 1941) is a Grammy Award-winning Canadian musician, singer and songwriter, best known as the lead vocalist for the American band Blood, Sweat & Tears. Clayton-Thomas has been inducted into the Canadian Music Hall of Fame and in 2007 his jazz/rock composition "Spinning Wheel" was enshrined in the Canadian Songwriter's Hall of Fame. In 2010 Clayton-Thomas received his star on Canada's Walk of Fame.
Clayton-Thomas began his music career in the early '60s, working the clubs on Toronto's Yonge Street, where he discovered his love of singing and playing the blues. Before moving to New York City in 1967, Clayton-Thomas fronted a couple of local bands, first The Shays and then The Bossmen, one of the earliest rock bands with significant jazz influences. But the real success came only a few difficult years later when he joined Blood, Sweat & Tears.
Frustrated with the band’s infighting and grueling touring schedule, Clayton-Thomas left Blood, Sweat and Tears in early 1972 to work as a solo artist. Thomas released his first Columbia solo album after BS&T, simply titled "David Clayton Thomas".

01. "Harmony Junction" (David Clayton-Thomas, William D. Smith) - 3:13
02. "Workin' On The Railroad" (David Clayton-Thomas) - 2:34
03. "Alimony" (Tommy Tucker) - 3:25
04. "Harbor Lady" (Timothy Martin, Walter Meskell) - 3:32
05. "When Something Is Wrong With My Baby" (David Porter, Isaac Hayes) - 4:26
06. "Hernando's Hideaway" (Jerry Ross, Richard Adler) - 3:49
07. "Sweet Fantasy" (Hoyt Axton) - 3:22
08. "Small Family" (David Clayton-Thomas, William D. Smith) - 2:37
09. "Can't Buy Me Love" (John Lennon-Paul McCartney) - 2:33
10. "Professor Longhair" (David Clayton-Thomas, William D. Smith) - 2:47

Label - RCA Victor

Queen - A Night At The Odeon [Recorded live At The Hammersmith Odeon, 24th December 1975]

Simulcast live on both BBC Radio 1 and BBC 2, the famous show was the culmination of the 26-date 'Queen Invite You To A Night At The Opera' UK tour of 1975. The group performed 'Bohemian Rhapsody' for the first time during this tour.
"This concert was very special because it was the first time we ever played a whole show completely live on TV … the Christmas Show," said Brian May in a statement. "The quality, after great rescue work and transfer into the digital domain, is amazing. And the energy we had comes across very forcefully."
As well as audio and visual footage of the gig, the DVD and SD Blu-Ray versions feature two special bonus features – 'Looking Back At The Odeon’, a brand new 22-minute documentary featuring a previously unseen interview with May and Roger Taylor by Old Grey Whistle Test presenter Bob Harris, plus the rarely seen Live At The Budokan – Japan 1975 footage, featuring three songs ('Now I'm Here', 'Killer Queen' and 'In The Lap Of The Gods… Revisited') recorded during their famous tour.
Says Bob Harris of that night: "Christmas eve 1975 marked an important moment in the history of the 'Old Grey Whistle Test' and Queen. The band were in party mood at the Hammersmith Odeon that night and no wonder. They had already spent the best part of a month at the top of the UK singles chart with the sensational 'Bohemian Rhapsody', the video for which had instantly redefined the presentation of music on TV.
"They were at the peak of their powers – confident and stage sharp at the end of a barnstorming UK tour. I donned top hat and tails to salute and introduce them before they played one of the best sets I had ever seen. It was an incredible night but it was more even than that. It was the moment Queen became superstars."

01.  Now I´m Here - 4:42
02.  Ogre Battle - 5:19
03.  White Queen (As It Began) - 5:30
04.  Bohemian Rhapsody - 2:28
05.  Killer Queen - 2:08
06.  The March Of The Black Queen - 1:30
07.  Bohemian Rhapsody (Reprise) - 1:02
08.  Bring Back That Leroy Brown - 1:32
09.  Brighton Rock - 2:23
10.  Guitar Solo - 6:37
11.  Son And Daughter - 1:44
12.  Keep Yourself Alive - 4:32
13.  Liar - 8:45
14.  In The Lap Of The Gods... Revisited - 5:23
15.  Big Spender - 1:23
16.  Jailhouse Rock Medley - 9:20
17.  Seven Seas Of Rhye - 3:11
18.  See What A Fool I´ve Been - 4:22
19.  God Save The Queen - 1:22

Label - Virgin/EMI

Alabama Shakes - Boys & Girls (2012)

Pitched somewhere between the retro-purist vibe of Sharon Jones and the nervy revivalism of Jack White, Alabama Shakes possesses a curious character: they're rooted in the past but it's clear they've learned their moves musicians removed some three or four generations from the source. Instead of playing like refractions from a hall of mirrors, Alabama Shakes' 2012 debut Boys & Girls emphasizes how American roots music is now grounded in the '60s notion of blues & soul, all filtered through the prism of '70s classic rock. And it's not just that Heath Fogg tears great, gnarled riffs out of his guitar while the rhythm section of Zac Cockrell and Steve Johnson hit the downbeat with a brutal force lead singer Brittany Howard phrases like a rock singer, playing up vocal affections with glee, ratcheting up the drama by laying hard into her elongated phrases.
Which isn't to say Alabama Shakes ignores the straight stuff: much of Boys & Girls is anchored in a Southern soul groove spliced from Stax and Muscle Shoals, the guitars of Fogg and Howard full and bold in their cleanly chopped rhythms, echoing the work of Steve Cropper and Jimmy Johnson. But Alabama Shakes aren't purists, they're modern they splice familiar sounds and forms together, then reshuffle them in subtly surprising ways.
Unlike White or his Great Lakes cousins the Black Keys, Alabama Shakes aren't entirely enamored with what they can re-create in the studio -- they're too attached to the power of a live performance, making them an ideal candidate for a T-Bone Burnett or Joe Henry production somewhere down the road -- but they bear no special allegiance to the didactic needs of retro-rock. Their roots are just that  roots, not anchors, allowing the group to grow, often in unexpected and quietly thrilling ways.

01.  "Hold On"  - 3:46
02.  "I Found You" -  2:59
03.  "Hang Loose" -  2:24
04.  "Rise to the Sun" -  3:08
05.  "You Ain't Alone" -  4:44
06.  "Goin' to the Party" -  1:45
07.  "Heartbreaker" -  3:47
08.  "Boys & Girls" -  3:25
09.  "Be Mine" -  4:14
10.  "I Ain't the Same"  - 2:55
11.  "On Your Way" -  3:05
12.  "Heavy Chevy" (bonus track and on 7" vinyl)  - 1:34

Label - ATO

V/A - The Big Ball (Warner Bros. Sampler) (1970)

In the bygone days before multinational corporate mergers and acquisitions left the record industry a smoldering husk of its former self, Warner Bros. Records launched a series of bargain-priced label samplers dubbed Loss Leaders: available via mail order for two bucks or less, these remarkably generous compilations often featured B-sides and other non-LP tracks, but what's most notable is the sheer consistency of the listening experience Warner and its affiliated labels housed a veritable murderers' row of rock & roll legends, and only rarely does a disappointing track squeak into the mix.
The Big Ball represents the first Loss Leaders release of the 1970s, and it's a corker, spotlighting a veritable who's who of legends including Van Morrison (the heart-stopping "Caravan"), Neil Young ("The Loner"), Joni Mitchell ("Big Yellow Taxi"), and the Grateful Dead ("Turn on Your Lovelight") alongside cult favorites like Randy Newman ("Mama Told Me Not to Come") and Tim Buckley ("Happy Time"). This is music that celebrates the creative spirit at its most daring and realized and proves a stinging reminder of how calculated and tame major-label rosters have become in the decades since.

Disc 1
01.  The Fifth Avenue Band - Nice Folks - 2:25
02.  John Sebastian - Red Eye Express - 2:53
03.  The Beach Boys - This Whole World - 1:54
04.  Geoff & Maria Muldaur - New Orleans Hopscotch Blues - 2:43
05.  Arlo Guthrie - Coming in To Los Angeles - 3:03
06.  Eric Andersen - I Was the Rebel, She Was The Cause - 2:34
07.  Norman Greenbaum - Jubilee - 2:56
08.  Savage Grace - Ivy - 4:22
09.  Van Morrison - Caravan - 4:54
10.  Fleetwood mac - Oh Well - 3:29
11.  The Pentangle - Sally Go Round the Roses - 3:40
12.  Jethro Tull - Nothing Is Easy - 4:28
13.  The Small Faces - Flying - 4:20
14.  Family - No Mule's Fool - 3:23
15.  The Kinks - When I Turn Off The Living Room Light - 2:21

Disc 2
01.  The Everly Brothers - I'm On My Way Home again - 2:21
02.  Tim Buckley - Happy Time - 3:14
03.  Joni Mitchell - Big Yellow Taxi - 2:15
04.  Neil Young - The Loner - 3:50
05.  Gordon Lightfoot - Approaching Lavender - 3:01
06.  Randy Newman - Mama Told Me Not To Come - 2:12
07.  James Taylor - Fire and Rain - 3:28
08.  Dion - Sit Down Old Friend - 3:25
09.  Ed Sanders - The Iliad - 4:08
10.  The GTO's - Kansas and The BTO's - 1:12
11.  The GTO's - The Captain's Fat Theresa Shoes - 1:56
12.  Captain Beefheart - Ella Guru - 2:26
13.  The GTO's - The Original GTO's - 1:04
14.  The Mother's Of Invention - W.P.L.J. - 2:52
15.  Wild Man Fischer - The Taster (The Story Of The Taster) - 4:39
16.  Pearls Before Swine - Footnote - 1:24
17.  The Grateful Dead - Turn On Your Love Light - 6:37

Label - Warner Bros.

Shriekback - Big Night Music (1986)

Shriekback are an English rock band formed in 1981 in Kentish Town by Barry Andrews, formerly of XTC and League of Gentlemen (keyboards/synthesizers/vocals), and Dave Allen, formerly of the Gang of Four (bass), with Carl Marsh, formerly of Out On Blue Six (guitars/vocals) soon added to the line-up. They were joined by Martyn Barker on drums in 1983.
Other members included: Luc Van Acker, Linda Nevill, Emma Burnham, Brian Nevill, Pedro Ortiz, Clare Hirst, Lu Edmunds, Wendy and Sara Partridge (from Electric Guitars), Steve Halliwell, Eve Moon, Ivan Julian, Mike Cozzi, and Jessica Palin/Jose Fina Cupido. Big Night Music was the fourth full-length Shriekback album, released in 1986. Barry Andrews dominates the writing and performing on the album, with remaining original member Dave Allen fading into the background. Allen would leave the band following this release.
Big Night Music continued Shriekback's evolution from fringe weirdoes to unlikely pop stars. It was more accessible than anything they'd done before, and not by accident -- a conscious intent to reach for a wider audience is apparent even in the album's packaging, which pictures the band members on the cover for the first time, includes a long note from Shriekback to their fans, and gives credits for make-up, hair, and denim. The lush, organic production (by Gavin MacKillop) is a long, long way from the clattering psycho-funk of Tench, and Shriekback's distinctive drum programs have been entirely replaced by Martyn Barker's drums. ("Big Night Music is entirely free of drum machines," say the liner notes. "Shriekback have chosen to make a different kind of music -- one which exalts human frailty and the harmonious mess of nature over the simplistic reductions of our crude computers.") All this makes it tempting to dismiss this album, but that would be a mistake -- taken on its own terms, it's a vastly successful record. Its ten tracks explore a variety of new styles and the results include some of their best songs: "The Shining Path," an evocative moonlight serenade; "The Reptiles and I," with glassine synths echoing over a sinewy rhythm section; and "Sticky Jazz," which is funky in a joyful, floppy way and marks quite a change for the often sinister Shrieks. Barry Andrews, who handles all lead vocals for the first time, is not a great singer, but he manages; Barker shows impressive rhythmic versatility; and Dave Allen continues to be the band's anchor, providing dependable brilliance on the low end. Big Night Music accomplished everything it set out to do, finding success with both record buyers and critics, but was quickly followed by Allen's departure from the band.

01.  "Black Light Trap" - 5:09
02.  "Gunning for the Buddha" - 4:37
03.  "Running on the Rocks" - 4:58
04.  "The Shining Path" - 4:37
05.  "Pretty Little Things" - 3:50
06.  "Underwaterboys" - 4:51
07.  "Exquisite" - 4:30
08.  "The Reptiles and I" - 4:32
09.  "Sticky Jazz" - 4:28
10.  "Cradle Song" - 4:16

Label - Island Records

Jean Michel Jarre - Oxygene (Trance Remix) (1994)

Oxygène (English: Oxygen) is an album of instrumental electronic music composed, produced, and performed by the French composer Jean Michel Jarre. It was first released in France in December 1976, on Disques Dreyfus with license to Polydor. The album's international release was in summer 1977. Jarre recorded the album in his home using a variety of analog synthesizers and other electronic instruments and effects.
It became a bestseller and was Jarre's first album to achieve mainstream success. It was also highly influential in the development of electronic music and has been described as the album that "led the synthesizer revolution of the Seventies".
This was a Trance Remix bootleg (private pressing) from 1994. The same guys made a Kraftwerk remix and many Pink Floyd 'Limited Edition Trance Remixes´.

Jean Michel Jarre – ARP 2600, EMS Synthi AKS, EMS VCS3, RMI Harmonic Synthesizer, Farfisa Professional Organ, Eminent 310U, Mellotron and the Rhythmin' Computer (later revealed to be a Korg Minipops-7 rhythm machine).

 

01.  Oxygene (Part I)  - 11:34 
02.  Oxygene (Part II)  - 11:36 
03.  Oxygene (Part III)  - 12:57 
04.  Oxygene (Part IV)  - 10:20 
05.  Oxygene (Part V)  - 17:32 
06.  Oxygene (Part VI)  - 8:51

 

Label - Not On Label

Boxer - Absolutely (1977)

Absolutely was the second rock music album recorded by the band Boxer, released during 1977 on the Epic record label. Singer/pianist Mike Patto had assembled a new-look lineup including bassist Tim Bogert from Vanilla Fudge, guitarist Adrian Fisher from Sparks, Chris Stainton from Joe Cocker and many others and drummer Eddie Tuduri from the American band Wha-Koo.
The album was also released in the U.S. with a different cover.
There had been rumours that George Martin was interested in working with Boxer.
The album was eventually produced by Jeff Glixman, who had worked with the Allman Brothers and Kansas.
Patto collaborated with all the band members to write the songs on this album. "Rich Man's Daughter" is a reworking of the same song recorded by the Boxer lineup for Bloodletting, which was recorded in 1976. This album was the last recording made by Patto.
"Absolutely" was Boxer's and Mike Patto's final album.  Mike was the only member of the original lineup on the album.  Chris Stainton, who contributed on the "Bloodletting" from 1976, played most of the keyboards.  Tim Bogert's (Cactus, Beck Bogert & Appice et al.) creative bass playing is prominent throughout the album.  Adrian Fisher had the challenge of filling Ollie's shoes on guitar.  Adrian and Eddie were probably session players primarily.  Adrian played on a Sparks album that was produced by Muff Winwood, the producer of the Patto albums.
Of course, with the completely new band lineup, the "Absolutely" album is very different from the first two Boxer albums.  It moves away from the rawer, straight-ahead rock approach with a slicker production and more finessed instrumentation.  Mike's vocals are still in fine form -- he sounds great throughout the album.  While Adrian and Eddie are solid musically throughout the album, Tim Bogert's bass and Chris Stainton's keyboards perhaps dominate the musical side of things.  Tim Bogert's bass playing is particularly impressive, but it seems a bit too busy on some of the more simple tunes -- maybe too much of a good thing?
Mike collaborated with all the band members to write the album's material.  "Big Lucy", "Red Light Flyer", the Randy Newman-esque "Everybody's A Star...", and "No Reply" (despite the terribly out-of-place musical extravaganza after the first verses) are among the better cuts on the album..  Mike delivers a great vocal on "As God's My Judge".  "Rich Man's Daughter" is a remake of the version recorded by the original Boxer lineup for the 1976 "Bloodletting" album, which was not  released until two years later in 1979.
"Everybody's A Star..." was released as a single in the UK with "Can't Stand What You Do" as the flip side (Cat. # Epic EPC 5540).  A promotional single with a picture sleeve was also issued and contained the "No Reply" track (Cat. # Epic SHOTS 1).

01.  "A Fool in Love" (Tim Bogert, Mike Patto) - 4:08
02.  "Red Light Flyer" (Patto) - 3:54
03.  "Big Lucy"  (Bogert, Chris Stainton, Patto) - 3:58
04.  "No Reply" (Stainton, Patto) - 5:20
05.  "Can't Stand What You Do"  (Bogert, Stainton, Patto, Adrian Fisher, Eddie Tuduri) - 3:58
06.  "As God's My Judge"  (Stainton, Patto) - 3:10
07.  "Rich Man's Daughter"  (Patto) - 4:04
08.  "Everybody's a Star"  (Stainton, Patto) - 2:32
09.  "Hand on Your Heart"  (Bogert, Stainton, Patto, Fisher, Tuduri) - 4:43

Label - CBS Records

The Ray Pittman Band - Getcha Some (1981)

Hard Southern Rock from North Carolina/USA similar to LYNYRD SKYNYRD & MARSHALL TUCKER BAND with double leads and slide guitars. Ray Pittman was a member of the US-Bluesrock-Band BULL, before he made this album with his own band.
Excellent album that 70’s styled hard rock and southern rock lovers will enjoy for sure. Highlight of the LP is epic ballad “Bullets” which sounds a bit like a mix of “Free Bird” and Point Blank’s “Stars and Scars”. A real gem! Other tracks are good and pretty varied too, with boogie rock (“Whatever Happened to Ol’ Lucille?”), pure hard rock (“Ain’t What You’ve Got”) or more traditional southern rock à la Marshall Tucker Band (“Love Changes like the Weather”). That’s a rare and very good album so if you find it.

Line-up:
Julius Ray Pittman – Lead Vocals, Hammond B-3 organ, Rhythm guitar and backing vocals
Richard Bell – Lead, slide, rhythm and acoustic guitars, Backing Vocals
Pete George – Electric bass
Ricky Gardner – Drums

01.  "Ain't What You've Got" - 3:23 
02.  "Love Changes Like The Weather" - 4:44 
03.  "Bullets" - 7:47 
04.  "Come On Back To Me" - 3:47 
05.  "Dance With You" - 4:55 
06.  "Whatever Happened To Ol' Lucille?" - 3:04 
07.  "Don't Chain Me" - 3:42 
08.  "Stay Away From The Wanderer" - 3:55

Label - Not On Label

Outlaws - Live: Los Angeles 1976

A vintage live recording by the band that merged Southern Rock with Traditional Country to create a sound all their own, Outlaws!
Features the triple guitar assault of Hughie Thomasson (later of Lynyrd Skynyrd), Henry Paul (later of Blackhawk) & Billy Jones, playing live for a thrilled crowd at the very height of the band’s popularity!
Includes spectacular 14-minute performance of the epic “Green Grass & High Tides” plus “There Goes Another Love Song,” “Knoxville Girl” and more!
Billy Jones - vocals, guitar; Henry Paul - vocals, guitar; Frank O'Keefe - bass; Hugh Thompson - vocals, guitar; Monte Yoho - drums
Recorded as part of the "Live at the Record Plant" series, this 1976 performance finds The Outlaws in excellent form. Promoting the upcoming release of their second album, Lady In Waiting, the band enthusiastically delivers their brand of tight, energetic guitar-driven Southern rock.
The Outlaws were signed to Clive Davis' new label, Arista Records, and when their blend of driving guitars, cowboy twang, and Eagles-esque harmonies came together, the public bought in. The group had a Top 40 hit right out of the box with "There Goes Another Loves Song," from their 1975 self-titled debut album, The Outlaws.
But the ten minute plus opus "Green Grass And High Tides," was, and remains today, the band's signature song. With its beginning slow tempo, followed by a frantic, fast moving ending climaxing with pulsating triple lead guitar solos, the tune echoes Skynyrd in many ways yet is uniquely the Outlaws, with it's thrilling vocal harmonies in the chorus. These two songs quickly become the band's standard closers and this show, although very early in its career, got the same response back then than it does now.
The rest of the set is peppered with strong tunes from both of their first two albums. "Song In The Breeze" gets a solid rendition, and their version of the Jimmy Martin bluegrass classic "Freeborn Man" is outstanding.
After this recording was made at the legendary Record Plant, the band went through its first of many personnel changes. Henry Paul left in 1977, only to return again in the late 1980s when the band had a reunion. He departed again and formed Blackhawk, which has spent several weeks at the top of the country music charts.
The music here encompasses a certain animal compulsion, especially when the band locks into their long instrumental breaks. The Outlaws remained so true to their southern rock roots that they rarely moved in other directions. When Southern Rock veered out of the mainstream in the mid-'80s, many artists made a natural transition to country. The Outlaws, however, remained an American rock 'n' roll band. With an enthusiastic Record Plant audience encouraging them, the Outlaws turned in a strong performance on this classic recording.

01.  "Waterhole"  (Billy Jones, Frank O'Keefe, Henry Paul, Hughie Thomasson, Monte Yoho) - 2:07
02.  "Stick Around for Rock & Roll"  (Hughie Thomasson) - 8:54
03.  "Song in the Breeze"  (Henry Paul) - 4:59
04.  "Lover Boy"  (Hughie Thomasson) - 4:17
05.  "Freeborn Man"  (Keith Allison, Mark Lindsay) - 5:12
06.  "Cry No More"  (Billy Jones) - 4:03
07.  "Knoxville Girl"  (Henry Paul) - 3:35
08.  "Green Grass & High Tides"  (Hughie Thomasson) - 14:10
09 . "There Goes Another Love Song"  (Hughie Thomasson, Monte Yoho) - 4:17

Label - Purple Pyramid

Sass Jordan - Racine (1992)

Racine is the second studio album by Canadian rock singer/songwriter Sass Jordan, released on MCA Records 31 March 1992. Jordan's "barroom hard rock" style on this album has been compared to that of the Black Crowes.
Is anyone named more appropriately than Sass Jordan? On her sophomore effort, the Montreal-based rocker kicks the synth-heavy Starship impersonation of her first album to the curb, raids her old Faces and Bad Company LPs for inspiration, and turns the attitude up to 11. Racine ("roots" in French) lurches into gear with "Make You a Believer," a brassy, swaggering nugget of electric barroom crunch that draws from the same well as the Black Crowes but might go one better with its surging gospel chorus.
"If You're Gonna Love Me" wraps a cutting riff around Jordan's reckless vocal, which threatens to careen out of control but of course never does. Jordan's a pro, as her effortless shift into balladry for "You Don't Have to Remind Me" proves. When she sings the payoff line after the chorus "Because every night I sleep alone" it's with a sigh and a nod, as if she's acknowledging the crappiness of how things go, but will just have another cigarette and forget about it, because there's plenty of fish in the sea. Later, a horn section stops by for "Do What Ya Want," and even if it's totally clichéd, it somehow works, if only on the sheer elastic sandpaper quality of Jordan's vocal. That's the thing about Racine it's not sparklingly original, but who ever said great barroom hard rock had to be? Each song starts with a chip on its shoulder, as if Jordan's the new girl in town and wants to prove she can hang. By song's end, she's the center of attention. And trashing the cold synths of Tell Somebody for the vibrant Hammond organ of the title track and "Windin' Me Up" was the best possible move she could have made. Jordan always sings straight from her heart -- it's great to hear her throaty purr over instrumentation that comes from the same place.

 

01. "Make You a Believer"   (Sass Jordan, Rick Neigher) - 4:45

02. "If You're Gonna Love Me"   (Jordan, Neigher) - 3:45
03. "You Don't Have to Remind Me"   (Jordan, Stevie Salas, Parthenon Huxley) - 4:07
04. "Who Do You Think You Are"   (Jordan, Neigher) - 3:59
05. "Windin' Me Up"   (Jordan, Neigher) - 3:56
06.  "I Want to Believe"   (Jordan, Salas) - 4:30
07. "Goin' Back Again"   (Jordan, Kevin Savigar, Robin LeMesurier) - 4:28
08. "Do What Ya Want"   (Jordan, Neigher) - 4:21
09. "Cry Baby"   (Jordan, Salas) - 4:46
10. "Where There's a Will"   (Jordan, Neigher) - 3:42
11. "Time Flies"   (Jordan, Salas, Randy Cantor) - 4:43

Label - MCA

David Bowie - Station To Station (1976, 2010 Reissue)

Station to Station is the tenth studio album by English musician David Bowie, released by RCA Records in 1976. Commonly regarded as one of his most significant works, Station to Station was the vehicle for his last great "character", the Thin White Duke. The album was recorded after he completed shooting Nicolas Roeg's The Man Who Fell to Earth, and the cover artwork featured a still from the movie. During the sessions Bowie was heavily dependent on drugs, especially cocaine, and recalls almost nothing of the production.
Musically, Station to Station was a transitional album for Bowie, developing the funk and soul music of his previous release, Young Americans, while presenting a new direction towards synthesisers and motorik rhythms that was influenced by German electronic bands such as Neu! and Kraftwerk. This trend culminated in some of his most acclaimed work, the so-called 'Berlin Trilogy', recorded with Brian Eno in 1977–79. Bowie himself has said that Station to Station was "a plea to come back to Europe for me". The album’s lyrics reflected his preoccupations with Nietzsche, Aleister Crowley, mythology and religion.
Blending funk and krautrock, romantic balladry and occultism, Station to Station has been described as "simultaneously one of Bowie's most accessible albums and his most impenetrable". Preceded by the single "Golden Years", it made the top five in both the UK and US charts. In 2003, the album was ranked No. 323 on Rolling Stone magazine's list of the 500 greatest albums of all time.
The songs on Station to Station are composed of a fusion of soul, rock, funk, and disco, twisted by an influence of experimental German artists. When singing as The Thin White Duke, Bowie sounds completely withdrawn from the emotions that the songs convey.
Everything about Station to Station, from its significance as a testament to the evolution of David Bowie as an artist to the role played by his cocaine addiction on its recording, has been oft-discussed in the decades since its release. But if there is ever a time to revisit an album, it’s upon the release of a special edition reissue and new digital transfer. Opener “Station to Station” is as epic an introduction to The Duke as ever.
From the sound of a train chugging along the droning introduction to the buildup to an up-tempo, funky finale, it never slips to anything less than astonishing in its 10-plus minutes. Only someone like Bowie could open an album with his most experimental song yet, and follow it with something as danceable as the still-infectious funk hit “Golden Years”.
“World on a Wing” is an impassioned hymn that seemingly reflects Bowie’s spiritual longing that coincided with his personal woes during the recording of Station to Station. “TVC 15” begins with the false impression of a straightforward piano-rocker but proves to be the most compelling song after the title track, for both its trippy lyrics about a girlfriend getting lost in a holographic television and its desperate coda. Funk-rocker “Stay” features some of the best guitar work of Bowie’s career, and his seductive cover of “Wild Is the Wind” brings Station to Station to a haunting close.
Thirty-four years after its release, Station to Station stands as an intriguing portrait of an artist going through a period of transition. It’s also an excellent album in its own right. The new digital transfer of Station to Station is crystal clear and superbly mastered, but the differences between it and previous masters are subtle and would largely go unnoticed by a non-audiophile. As a better come-on for fans with standard sound systems and/or less discerning hearing, the 1976 concert at Nassau Coliseum is included with the special edition.
The concert captured in the Nassau recordings is energetic, full of hits, and successfully maintains the delicate balance between cleaning up a performance for listening at home and capturing what the music must have sounded like in a live setting.
In addition to the three-disc special edition, a deluxe edition is also available that includes the new Station to Station master and Nassau Coliseum performance on both CD and vinyl, the the original 1985 CD master and an EP featuring single edits, a DVD featuring original analogue masters and new stereo and 5.1 surround sound mixes, and replicas of the 1976 fan club package and memorabilia from the Nassau Coliseum concert. That’s a heck of a lot of packaging and extra bits, but a dedicated Bowie-ite will surely find it worthy of snapping it up. Otherwise, the new transfer is an improvement from the original, but with an album this amazing, any improvement is like another layer of icing on the cake.

Station to Station 2010 transfer (Disc 1)
1.  "Station to Station"   10:11
2.  "Golden Years"   4:02
3.  "Word on a Wing"   6:01
4.  "TVC 15"   5:31
5.  "Stay"   6:12
6.  "Wild is the Wind"   6:02

Live Nassau Coliseum '76 (Disc 2)
1.  "Station to Station"   11:53
2.  "Suffragette City"   3:31
3.  "Fame"   4:02
4.  "Word on a Wing"   6:06
5.  "Stay"   7:25
6.  "I'm Waiting for the Man"   6:20
7.  "Queen Bitch"   3:12

Live Nassau Coliseum '76 (Disc 3)
1.  "Life on Mars?"   2:13
2.  "Five Years"   5:03
3.  "Panic in Detroit" (With most of drum solo edited out) 6:03
4.  "Changes" (With band intro) 4:11
5.  "TVC 15"   4:58
6.  "Diamond Dogs"   6:38
7.  "Rebel Rebel"   4:07
8.  "The Jean Genie"   7:28

Label - RCA Records

R.E.M. - R.E.M. Live (2007)

Cynics may dismiss R.E.M.'s first-ever live CD as a way to run out their contract, and they may not be wrong. Despite the lack of a full-fledged live album in their catalog -- and some could call R.E.M. Live not quite an album, since it is a two-CD/one-DVD package that documents a concert the group gave at the Point Theatre in Dublin, Ireland, on February 27, 2006, so it's as much a video as an album -- there hasn't exactly been a paucity of official live releases, not with all the home videos, DVDs, and B-sides issued over the years (and this isn't even counting the numerous bootlegs). If there wasn't necessarily a need for a live album, it also is true that R.E.M.'s stock never was lower than it was in 2007, as the band was limping along after Around the Sun, which was not so much a flop as it was merely ignored. So, the band could have conceivably been running down their contract or they could have been in a slump, needing the time that a live set bought them, or perhaps they just wanted to offer a reminder of why everybody cared in the first place, something that R.E.M. Live almost provides. At the very least, R.E.M. Live proves that the group packs a stronger punch live than they do in the studio, as the band gives songs from recent albums muscle they sorely missed on record. They also can sound vital on classic material, such as "Cuyahoga," which retains a fragile beauty here, and they give "I Took Your Name" a mean, menacing vibe. Not that everything clicks here -- as they go to the encore, they get a bit too strident and overblown, while Mike Mills' lead vocal on "(Don't Go Back To) Rockville" turns the song into something a little too slight -- but the band sounds tight and enormous, a perfect example of old pros comfortable in their skin. Now, this won't necessarily be everybody's cup of tea -- in particular, fans of the frenzied early R.E.M. rock & roll will find this too anthemic -- but this big, big sound on R.E.M. Live speaks to the band's core strengths in a way no post-Bill Berry studio album does.

CD 1
01. "I Took Your Name"  (originally on Monster) – 4:08
02. "So Fast, So Numb"  (originally on New Adventures in Hi-Fi) – 4:40
03. "Boy in the Well" (originally on Around the Sun) – 5:16
04. "Cuyahoga"  (originally on Lifes Rich Pageant) – 4:25
05. "Everybody Hurts" (originally on Automatic for the People) – 6:49
06. "Electron Blue" (originally on Around the Sun) – 4:13
07. "Bad Day" (originally on In Time: The Best of R.E.M. 1988-2003) – 4:26
08. "The Ascent of Man" (originally on Around the Sun) – 4:12
09. "The Great Beyond" (originally on Man on the Moon Soundtrack) – 4:49
10. "Leaving New York" (originally on Around the Sun) – 4:48
11. "Orange Crush"  (originally on Green) – 4:27
12. "I Wanted to Be Wrong" (originally on Around the Sun) – 5:02
13. "Final Straw" (originally on Around the Sun) – 4:10
14. "Imitation of Life" (originally on Reveal) – 3:53
15. "The One I Love"  (originally on Document) – 3:27
16. "Walk Unafraid" (originally on Up) – 5:02
17. "Losing My Religion" (originally on Out of Time) – 4:53

CD 2
18. "What's the Frequency, Kenneth?"  (originally on Monster) – 4:06
19. "Drive"  (originally on Automatic for the People) – 5:41
20. "(Don't Go Back To) Rockville"  (originally on Reckoning) – 4:39
21. "I'm Gonna DJ" (later released on Accelerate) – 2:27
22. "Man on the Moon" (originally on Automatic for the People) – 6:46

Label - Warner Bros.

Toad The Wet Sprocket - Dulcinea (1994)

Dulcinea is an album by Toad the Wet Sprocket released in 1994. It is their fourth studio album with Columbia Records and the follow-up to their popular album fear, which was released in 1991. Two songs from Dulcinea reached Top 40 designation on the Modern Rock and Mainstream Rock charts: "Fall Down" and "Something's Always Wrong". Dulcinea was RIAA Certified Gold on September 1, 1994 and Platinum on July 31, 1995
From the platform of success built by Fear, Toad the Wet Sprocket dove head first into their fourth release, Dulcinea. Without changing the formula too much, they conjured up 12 more hooks, stretching them ever so slightly to make the alternative tunes a bit edgier and the mellow ones a little folkier, and scoring a couple of modest hits along the way with "Something's Always Wrong" and "Fall Down." One of the thematic threads of Toad's music has always been a certain spirituality, a sense of awe and wonder in regard to life and death. Dulcinea exploits and explores that theme with reverence and humility, going so far as to close the album with "Reincarnation Song," a delicate examination of a soul's transition shrouded musically by a veil of electric guitar feedback. Counteracting that heaviness with an offbeat, country-tinged ditty about the pros of Nanci Griffith versus Loretta Lynn is pure Toad, never being pinned into a stylistic corner. One of the best songs on this album, and perhaps their entire catalog, is "Windmills," a moody look at the fragility and futility of existence that will cause not only the exquisite melody to linger with you, but contemplations of your own purpose in life. Framed by the flawless production of Gavin MacKillop, every song on this record creates a world of its own that is impossible not to be drawn into.

01.  Fly From Heaven  (4:36) 
02.  Woodburning  (3:58) 
03.  Something's Always Wrong  (4:58) 
04.  Stupid  (2:41) 
05.  Crowing  (3:18) 
06.  Listen  (4:08) 
07.  Windmills  (3:48) 
08 . Nanci  (2:58) 
09.  Fall Down  (3:23) 
10.  Inside  (4:17) 
11.  Begin  (4:04) 
12.  Reincarnation Song  (4:42) 
13.  Hope  (3:41) 

Label - Columbia Records

Wing & A Prayer Fife And Drum Corps. - Babyface (1976)

Wing and a Prayer Fife and Drum Corps was an American disco group in existence from 1975 to 1978. The "fife and drum corps" was actually an assemblage of studio musicians put together by Harold Wheeler; the group's vocalists were Linda November, Vivian Cherry, Arlene Martell, and Helen Miles.
Their 1976 album, Babyface, hit #47 on the US pop album chart and #19 on the Black Albums chart, due to the success of the single, "Baby Face". It had previously reached #1 for Jan Garber in 1926 and Art Mooney in 1948.
The single went to #1 on the US Club Play chart, #6 AC, #32 US Billboard Black Singles, and #14 on the Billboard Hot 100. The single also reached #12 in the UK Singles Chart.
Sometime in 1975 Atlantic Records launched their very short-lived Wing & A Prayer subsidiary label in New York City, primarily to provide an outlet for the Disco studio groups Consumer Rapport and Wing & A Prayer Fife & Drum Corps assembled by Harold Wheeler, who had been associated with the Broadway musical The Wiz, at a time when Disco was in its infancy. Just 2 albums were released in their existence along with 6 singles and all we now have at our disposal is the original vinyl covered here as, insofar as I can tell, no CD compilation of their work exists nor have any of the sides even been included in any multiple-artist quality CD compilations.

Act I 
A1. Just An Old Fashioned Medley  (9:45) 
       1. Swanee   
       2. Toot! Toot! Tootsie! (Good-Bye)   
       3. Oh! You Beautiful Doll   
       4. The Best Things In Life Are Fre   
       5. Blue Skies   
       6. I'm Looking Over A Four Leaf Clover   
A2. Eleanor Rigby  (5:11) 
A3. I Hear A Symphony  (3:58) 

Act II 
B1. Show Medley  (5:53) 
       1. There's No Business Like Show Business   
       2. Hooray For Hollywood   
       3. Give My Regards To Broadstreet   
       4. Somewhere
B2. Charleston  (3:36) 
B3. Those Were The Days  (3:28) 
B4  Baby Face  (6:38) 

Label - Wing And A Prayer