Bee Gees - Mr. Natural (1974)

Mr. Natural is the Bee Gees' twelfth album (tenth worldwide), released in July 1974. 

It was the first Bee Gees release to be produced by Arif Mardin, who was partially responsible for launching the group's later major success with the follow-up album Main Course. 

The album's music incorporates more rhythm and blues, soul and funk and hard rock than their previous albums. 

The cover photograph was taken at 334 West 4th Street, Greenwich Village, New York City by Frank Moscati.

The album reached No. 178 on the Billboard 200. Mr. Natural was also the first album to feature drummer Dennis Bryon. 

Although the album contains R&B and soul numbers, Barry said that the album was "whiter" than their next album Main Course (on which he said that they started to turn black on their songs).

Their previous album having scarcely made a ripple and, now, hitless for two years, the Bee Gees went for a new sound in the hands of producer Arif Mardin. 

The result was Mr. Natural, the sultriest and most soulful record they had ever delivered up to that time. Shedding their pop sensibilities here and singing in a freer, more soulful idiom (with a strong Philadelphia soul influence) on songs such as "Throw a Penny," and with a funky beat backing them up on a lot of this record, the group is scarcely recognizable in relation to their previous work. 

Mr. Natural was the liveliest, most invigorating body of music to come from the group since their debut, but it also had moments of extraordinary sensuality, most notably "Charade" and "Had a Lot of Love Last Night." 

In between those two bookends were the beginnings of the sound that would reach maturity on Main Course, the Saturday Night Fever soundtrack, and Children of the World. Most of it is extraordinarily lively and upbeat, which was also a major change for the group; there are still some ballads here in their old style, such as "Down the Road" (which includes the extensive use of a Mellotron), but even these have a subtlety and freshness that had been lacking in the group's work since their debut. 

The main virtue throughout is, of course, the singing, which is some of the finest that all three Gibb brothers had ever turned in on a single LP up, mated to some of their loveliest and liveliest songs. 

Mr. Natural generated no hits, but it was their best original album since Odessa.

Side one

1. "Charade"   (Barry and Robin) - 4:13 

2. "Throw a Penny"   (Barry and Robin) - 4:54 

3. "Down the Road"   (Barry) - 3:35 

4. "Voices"  (Barry Gibb, Robin Gibb, Maurice Gibb) - 4:50 

5. "Give a Hand, Take a Hand"  (Barry Gibb, Maurice Gibb) - 4:44 

Side two

1. "Dogs"  (Barry) - 3:43 

2. "Mr. Natural"  (Robin and Barry) - 3:46 

3. "Lost in Your Love"  (Barry Gibb) - 4:36 

4." I Can't Let You Go"  (Barry Gibb, Robin Gibb, Maurice Gibb) - 3:45 

5." Heavy Breathing"   (Barry and Robin) - 3:26 

6." Had a Lot of Love Last Night"  (Barry Gibb, Robin Gibb, Maurice Gibb) - 4:07 

All tracks written by Barry and Robin Gibb, except where noted. 

Bee Gees

• Barry Gibb – lead, harmony and backing vocal, rhythm guitar
• Robin Gibb – lead, harmony and backing vocals
• Maurice Gibb – harmony and backing vocals, bass, mellotron, organ

Guest musicians

• Alan Kendall – lead guitar
• Dennis Bryon – drums, percussion
• Geoff Westley – piano, keyboards
• Ben Law – fretless bass on "Had a Lot of Love Last Night"
• Phil Bodner – clarinet on "Charade"
• Arif Mardin – orchestral arrangement

Production

• Damon Lyon-Shaw — engineering
• Andy Knight – engineering
• Alan Lucas – engineering
• Gene Paul – engineering
• Arif Mardin – production

Notes

Released: 15 June 1974 

Recorded: 14 November 1973 – 28 January 1974 Studio IBC Studios and Command Studios, London, UK, Atlantic Studios, New York City 

Genre. Pop rock, soft rock, funk rock, R&B, blue-eyed soul 

Length: 45:26 

Label - RSO Records

Elvis Presley - Elvis Country (I´m 10.000 Years Old) (1971)

Elvis Country (I'm 10,000 Years Old) is the thirteenth studio album by American singer and musician Elvis Presley, released on RCA Records (LSP 4460) in January 1971. Recorded at RCA Studio B in Nashville, it reached number 12 on the Billboard 200. It peaked at number six in the United Kingdom, selling over one million copies worldwide. It was certified Gold on December 1, 1977 by the Recording Industry Association of America.

The lead single of the album, "I Really Don't Want to Know" backed with "There Goes My Everything", was released on December 8, 1970 and peaked at number 21 on the Billboard Hot 100.

Western swing, blues, countrypolitan, traditional country, gospel -- if it was music that even brushed the airwaves of a southern state, Elvis Presley at his best could make it his own, and Elvis was at his peak when he cut Elvis Country. Actually, Elvis Presley was positively on a roll at the time. 

A decade after the end of what were thought to be his prime years, he was singing an ever-widening repertory of songs with more passion and involvement than he'd shown since the end of the 1950s; he was no longer transforming the nature of popular music with every record and performance, but he was a major concert draw and tickets to his shows were in nearly as much demand as those for the far less accessible Frank Sinatra. 

What's more, his voice had achieved a peak of perfection as an instrument, acquiring a depth and richness, a beauty to go with its power at which even his best work of the early years had only hinted. And it all came together on Elvis Country, his greatest long-player of the 1970s, and one of his three or four best albums ever. 

Elvis threw himself into this record with every bit of the passion displayed on its better known, soul-oriented predecessor, From Elvis in Memphis, and it was even more personal; new or old, these were all songs he cared about. And he's a commanding and charismatic vocal presence, whether he's covering "Snowbird" (a then recent hit for Anne Murray), redoing a 1940s classic by Ernest Tubb ("Tomorrow Never Comes") in an arrangement akin to Roy Orbison's "Runnin' Scared," a Bill Monroe standard of the same decade ("Little Cabin on the Hill"), reprising Jerry Lee Lewis's "Whole Lotta Shakin' Goin' On" in a version dominated by the guitar and bass (and with scarcely any piano), or covering Willie Nelson's "Funny How Time Slips Away" as a slow blues. 

He doesn't necessarily supplant the originals (except for "Snowbird," where he does make you forget Anne Murray), but he gives you more than enough reason to listen, again and again, to everything here. And good as he is on the covers, nowhere is Presley better than on "It's Your Baby, You Rock It," the only new song on the album and as fine a record as he cut during this entire boom period in his career. Producer Felton Jarvis and a cadre of Nashville sidemen (augmented by James Burton) provided as good backup as Presley ever got, including a hard-rocking electric guitar and harmonica sound on Bob Wills's "Faded Love" and a gospel-style accompaniment to "Funny How Time Slips Away," and giving "Make the World Go Away" a lean, more urgent sound than Eddy Arnold's original hit. 

Side one

1.  Snowbird - 2:17 

2.  Tomorrow Never Comes - 4:07 

3.  Little Cabin on the Hill - 1:58 

4.  Whole Lotta Shakin' Goin' On - 3:10 

5.  Funny How Time Slips Away - 4:32 

6.  I Really Don't Want to Know - 2:59 

Side two

1.  There Goes My Everything - 3:10 

2.  It's Your Baby, You Rock It - 3:04 

3.  The Fool - 2:34 

4.  Faded Love - 3:19 

5.  I Washed My Hands In Muddy Water - 3:54 

6.  Make the World Go Away - 3:46 

Personnel

Sourced from Keith Flynn.

• Elvis Presley – lead vocals, acoustic rhythm guitar on "I Was Born About Ten Thousand Years Ago" and "Little Cabin on the Hill", harmony vocals on “Snowbird” and “There Goes My Everything”
• James Burton – lead guitar, dobro
• Chip Young – acoustic rhythm guitar
• Eddie Hinton – lead guitar on "Snowbird" and "Whole Lotta Shakin' Goin' On"
• David Briggs – piano, organ on "Little Cabin on the Hill" and "I Washed My Hands in Muddy Water"
• Norbert Putnam – bass
• Jerry Carrigan – drums
• Charlie McCoy – harmonica, organ, vibraphone on "I Really Don't Want to Know”
• Charlie Hodge – acoustic rhythm guitar except “Snowbird” and “Whole Lotta Shakin’ Goin’ On”

Overdubbed

• Farrell Morris – percussionand timpanion "Snowbird," "Funny How Time Slips Away," "Make the World Go Away," I Really Don't Want To Know," "Faded Love," and "Tomorrow Never Comes"
• Harold Bradley– electric sitaron "Snowbird"
• Weldon Myrick– pedal steel guitaron "Little Cabin on the Hill"

Production staff

• Felton Jarvis – producer
• Bobby Thompson – banjo (on "Little Cabin on the Hill")
• Buddy Spicher – fiddle (on "Little Cabin on the Hill")
• The Imperials Quartet – backing vocals
• The Jordanaires – backing vocals (on "Funny How Time Slips Away", “There Goes My Everything,” and "Make The World Go Away")
• Joe Babcock – backing vocals
• Millie Kirkham – backing vocals
• Mary Holladay – backing vocals
• Ginger Holladay – backing vocals
• June Page – backing vocals
• Sonja Montgomery – backing vocals
• Dolores Edgin – backing vocals
• Mary Greene – backing vocals
• Temple Riser – backing vocals
• Cam Mullins – string arrangements
• Don Tweedy – string arrangements
• Bergen White – horn arrangements

Notes

Released:  January 2, 1971 

Recorded: June 4-8 and September 22, 1970 

Genre:  Country, country rock, rock and roll 

Length:  38:49 

Label - RCA Records 

Malcolm Mclaren - Fans (1984)

Fans is a 1984 album by Malcolm McLaren. It was a successful attempt at fusing opera with 1980s R&B and contains adaptations of pieces from famous operas such as Madama Butterfly and Carmen. 

The opera recordings were made at the Unitarian Church, Belmont, Massachusetts by Stephen Hague and Walter Turbitt.

A cynical exploitation of some classical tunes, or a prescient mixing of hip-hop with opera, of low and high culture? One never knows with McLaren. 

Not that the classics had never mixed with pop before (see "Whiter Shade of Pale," "Stranger in Paradise"), but McLaren was determined to bring the stories of opera kicking and screaming into the pop realm as well. 

On the single, the beautiful "Madam Butterfly," the formula works transcendently. McLaren plays Colonel Pinkerton and leaves the aria alone backed by hip-hop percussion, and the result is a seamless whole. 

The rest of the album, unfortunately, exists to pad out the single, and the various arias (from Carmen and Turandot) seemed dropped on top of what are some embarrassing funk R&B grooves. Only "Lauretta" (from Puccini's opera Gianni Schicchi) gets close to a successful second try. Look for the 12" single instead. 

Side one

1. "Madam Butterfly"  (from Puccini's opera Madama Butterfly) - 6:32 

2. "Fans (Nessun dorma)"  (from Puccini's opera Turandot) - 3:50 

3. "Carmen (L'Oiseau Rebelle)"  (from Bizet's opera Carmen) - 4:55 

Side two

1. "Boy's Chorus (Là Sui Monti Dell'Est)"  (from Puccini's opera Turandot) - 4:30 

2. "Lauretta (O mio babbino caro)"  (from Puccini's opera Gianni Schicchi) - 5:20 

3. "Death of Butterfly (Tu Tu Piccolo)"  (from Puccini's opera Madama Butterfly) - 4:58 

Personnel

• Timothy McFarland – Conductor and Operatic Coordinator
• Malcolm McLaren – Production
• Robbie Kilgore – Production
• Mike Finleyson – Engineering
• Tom Lord-Alge – Engineering
• Jeff Neiblum – Assistant Engineering
• John Davenport – Associate Engineering
• Bradshaw Leigh – Mixing
• Nick Egan – Cover Design
• Robert Erdman – Photography
• Bob Green – "Butterfly Ball" Photography

"Madam Butterfly" Soprano – Betty Ann White Voice (Cho-Cho San) – Debbie Cole Voice (Pinkerton) – Malcolm McLaren Backing Vocals – Diane Garisto, Sheila Pate Instruments – Hague, Turbitt Production and Engineering – Stephen Hague, Walter Turbitt Remix – Bradshaw Leigh, Robby Kilgore Instruments – Robbie Kilgore "Fans" Lead Vocals – Angie B. Tenor – Michael Austin Voice (Dresser) – Malcolm McLaren Piano – Timothy McFarland Instruments – Robbie Kilgore "Carmen" Soprano – Valerie Walters Voice (Carmen) – Angie B. Voice (Don Jose) – Malcolm McLaren Additional Guitar – Jimi Tunnell Classical Guitar – Craig Bihari Instruments – Robbie Kilgore

"Boy's Chorus"

• Additional Guitar – Jimi Tunnell
• Vocals – Malcolm McLaren and The Boston Choir
• Instruments – Robbie Kilgore

"Lauretta"

• Soprano – Betty Ann White
• Voice (Lauretta) – Diane Garisto
• Voice (Ricky) – Malcolm McLaren
• Engineered Basic Tracks – Walter Turbitt
• Mixing of Basic Tracks – Bradshaw Leigh
• Instruments – Robbie Kilgore

"Death Of Butterfly"

• Soprano – Betty Ann White
• Voice (Pinkerton) – Malcolm McLaren
• Instruments – Robbie Kilgore

Notes

Released:  1984 

Recorded:  1984, Syncro Studio, Boston; Unique Studios and The Hit Factory, New York City 

Genre . Dance, R&B, opera 

Length:  30:05 

Label - Charisma Records

Massada - Live (1980)

In de jaren zeventig zeer populaire Molukse groep, die voortborduurt op de succesvolle latin-sound van Carlos Santana en deze voorziet van een smakelijk oosters tintje.

Op het album "Massada Live" is de sfeer vooral opgewekt en energiek, met afsluiter "Sageru" als een van de hoogtepunten.
''Arumbai' is een uitzondering, het enige nummer geschreven door chris latul en ook het op een na beste nummer. hadden ze maar meer van dat soort nummers gemaakt...

"Impulse of Rhythm/There Is No Time To Return', 19:20 minuten lang, is voor mij het boeiendst. helemaal instrumentaal, zonder dat het een showoff wordt van kijk ons een goeie muzikanten zijn (wat je bij lange nummers nog wel eens hebt in de symfonische of jazz hoek). spannend, speels, fanatasierijk. 

Track listing

A1. Tumbu1 - 1:50  

A2. Akar Bahar - 4:56  

A3. Dansa (Don't Quite Dancing) - 5:46  

A4. I Never Had A Love Like This Before - 6:22  

B1. Arumbai - 4:34  

B2. Mother Of My Origin/Ibu Dari Adzal-Ku - 5:47  

B3. Unknown Destination - 8:56  

C1. Impulse Of Rhythm - 3:45  

C2. There Is No Time To Return - 15:35  

D1. Fathers Within One Father - 4:38  

D2. Discrime - 3:49  

D3. Feelin' Lonely - 6:39  

D4. Sageru - 3:45 

Companies, etc.

• Published By – Luma
• Published By – Benelux Music
• Recorded At – Paradiso Amsterdam
• Recorded At – Theater De Flint
• Recorded At – Theatre Wittebergen
• Recorded At – 't Klöster
• Recorded By – Mira Sound Mobile Studio
• Mixed At – B.M.I. Studios
• Distributed By – Johnny Hoes Benelux Music Industries B.V.

Credits

• Bass Guitar – Wilco Turu Leerdam
• Clavinet – Walther Sell
• Co-producer, Engineer – Jay Denson
• Co-producer, Engineer [Assistent] – Zeth Mustamu
• Drums [Yamaha Drums] – Eppy Manuhutu
• Electric Piano [Fender Rhodes] – Walther Sell
• Flute – Jan Stam
• Lead Guitar – Rudy de Queljoe
• Percussion – Zeth Mustamu
• Producer – Johnny Manuhutu
• Rhythm Guitar – Nino 'Kapitan' Latuny
• Synthesizer [Prophet 5, Minimoog] – Walther Sell
• Trumpet, Flugelhorn – Peter Kuyt
• Vocals – Eppy Manuhutu, Jan Stam, Nino 'Kapitan' Latuny, Peter Kuyt, Rudy de Queljoe, Wilco Turu Leerdam, Zeth Mustamu

Notes

Release: 1980

Genre:  Jazz Latin, Fusion

Tijdsduur: 1:16:07

Label - Kendari Records

The Rubettes - Sometime In Oldchurch (1978)

Sometime In Oldchurch is the sixth studio album by the English band The Rubettes. It was released on the Polydor Records label in March 1978.

Two singles were released from the album, both in advance: "Come On Over" and "Sometime In Oldchurch".

Side one

1. "Great Be The Nation" (Alan Williams) - 5:20
2. "Come On Over" (Alan Williams) - 4:00
3. "Sometime In Oldchurch" (John Richardson, Alan Williams) - 4:35
4. "Top Of The World" (Tony Thorpe) - 6:16

Side two

1. "Alimonia" (John Richardson) - 3:15
2. "Say What You Mean" (John Richardson) - 4:24
3. "Eva St. Clair" (Mike Gower, Alan Williams) - 5:40
4. "You Make It Hard" (Tony Thorpe) - 2:48
5. "Let Him Bleed" (John Richardson) - 4:15

Personnel

• Mick Clarke
• John Richardson
• Tony Thorpe
• Alan Williams

Production and credits

• Produced by The Rubettes with Alan Blakley for Gale
• Recorded at The Chateau, Herouville, France
• Engineer - Mark Jay Wallis
• Cover Artwork & Design - Jo Mirowski, Artwork WadeWood Associates
• Thanks to - Pete, Dud, Long John & Plunkett and Roy Farrant
• Special thanks to:

Rick Westwood, Carey Hunt for help with interpretation

Chris Lewis of DJM London and Audio Design for their help with our technical traumas

• Merci everso beaucoup to all at Le Chateau for making everything as easy and pleasant as possible

Notes

Released: March 1978 

Genre: Pop, rock & roll

Length40:33 

Label - Polydor Records