zondag 7 april 2024

Clash - This Is Dub Clash (2000)

The Clash were an English rock band that formed in London in 1976 and were key players in the original wave of British punk rock. Billed as "The Only Band That Matters", they used elements of reggae, dub, funk, ska, and rockabilly, and they contributed to the post-punk and new wave movements that followed punk. 
For most of their recording career, the Clash consisted of lead vocalist and rhythm guitarist Joe Strummer, lead guitarist and vocalist Mick Jones, bassist Paul Simonon, and drummer Nicky "Topper" Headon. 

This Bootleg,  a great collection of dub material from The Clash, who explored this genre very deeply from 1980 onwards with Mikey Dread, who as Bill Price put it, added "Genuine Jamaican dub" to the Clash's music.
This album collects material from Sandinista! and Super Black Market Clash
along with a few songs no longer in print.
The songs are all remixes of other songs that you will be familiar with.

- The Magnificent Dance - The Magnificent Seven
- Justice Tonight / Kick It Over - Armagideon Time
- Robber Dub - Bankrobber
- The Cool Out - The Call Up
- One More Dub - One More Time
- Version Pardner - Junco Partner
- Mustapha Dance - Rock The Casbah
- Silicone On Sapphire - Washington Bullets
- Return To Brixton - The Guns Of Brixton


Tracklist

1.  The Magnificent Dance
2.  Justice Tonight / Kick It Over
3.  Robber Dub
4.  The Cool Out
5.  One More Dub
6.  Version Pardner
7.  Mustapha Dance
8.  Silicone On Sappohire
9.  Return To Brixton (SW2 Dub)


Credits

Notes
Released: 2000
Genre:  Punk Reggae, Dub
Length: 47:22
Label:  Pirate Radio Numero Uno bootleg

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zaterdag 6 april 2024

Depeche Mode - 101 (2CD) (1989)

101 is a live album and documentary film by English electronic music band Depeche Mode, released on 13 March 1989 by Mute Records. 
It chronicles the final leg of the band's Music for the Masses Tour and the final show on 18 June 1988 at the Rose Bowl in Pasadena, California.

As an event, Depeche Mode's huge (attendance around 60,000) Los Angeles Rose Bowl concert in 1988 remains legendary; no single artist show had totally sold out the venue since eight years beforehand, while the film documentary done by Dylan-filmer D.A. Pennebaker based around the show clearly demonstrated fans' intense commitment to a near-decade-old band most mainstream critics continued to stupidly portray as a flash-in-the-pan synth pop effort. 
This start-to-final-encore record of the concert showcases a band perfectly able to carry its music from studio to stage as well as any other combo worth its salt should be able to do. 
Understandably focused on Music for the Masses material, the album shows Depeche experimenting with alternate arrangements at various points for live performance; big numbers like "Never Let Me Down Again," "Stripped," and "Blasphemous Rumors" pack even more of a wallop here. 
Slower numbers and more than a couple of ballads help to vary the hit-packed set, including a fine "Somebody" and "The Things You Said" combination sung by Martin Gore. 
"Pleasure Little Treasure," on record an okay B-side, becomes a monster rocker live, the type of unexpected surprise one could expect from a solid band no matter what the music. 
With a triumphant set of closing numbers, including magnificent takes on "Never Let Me Down Again," "Master and Servant," and the set-ending "Everything Counts," with what sounds like the entire audience singing the chorus well after the song has finally ended, 101 does far better at its task than most might have guessed.


Side A

  1. "Pimpf" – 0:58
  2. "Behind the Wheel" – 5:55
  3. "Strangelove" – 4:49
  4. "Something to Do" – 3:54
  5. "Blasphemous Rumours" – 5:09

Side B

  1. "Stripped" – 6:45
  2. "Somebody" – 4:34
  3. "The Things You Said" – 4:21
  4. "Black Celebration" – 4:54

Side C

  1. "Shake the Disease" – 5:10
  2. "Pleasure Little Treasure" – 4:38
  3. "People Are People" – 4:59
  4. "A Question of Time" – 4:12

Side D

  1. "Never Let Me Down Again" – 6:40
  2. "Master and Servant" – 4:30
  3. "Just Can't Get Enough" – 4:01
  4. "Everything Counts" – 6:31

Personnel

Credits adapted from the liner notes of 101.

  • Randy Ezratty – recording
  • Mark Shane – recording assistance
  • John Harris – recording assistance
  • Billy Yodelman – recording assistance
  • Alan Moulder – engineering
  • Depeche Mode – production
  • Anton Corbijn – cover
  • Paul West – cover

Companies, etc.

Credits

Notes
Released: 13 March 1989 
Recorded: 18 June 1988 Venue Rose Bowl (Pasadena, California) 
Length: 117:00 
Producer: Frazer Pennebaker 
Label:  Mute Records

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donderdag 4 april 2024

Rupert Holmes - Partners In Crime (1979)

Partners in Crime is the fifth studio album by British-American singer-songwriter and musician Rupert Holmes, released on August 5, 1979. 
The album was Holmes's most commercially successful record and includes all three of Holmes's solo top 40 hits: "Him", "Answering Machine", and "Escape (The Piña Colada Song)". 
"Escape" was the top Billboard hit of December 1979 and January 1980; it was the only single to hold the number-one position in both years and in different decades. 
Although "Escape (The Piña Colada Song)" was released as a single on Infinity Records, "Him" was released on MCA Records; the Infinity catalog had been absorbed by MCA at the time the latter single was released. 
The album itself reached number 33 on the Billboard 200. 

Before the release of this successful 1979 album, Holmes released four albums that failed to capture him at his best. 
Shortly before this, Holmes made his mark as songwriter. He penned the kitschy cannibalism tale "Timothy" for the Buoys. From his 1976 effort Singles came "The Last of the Romantics" which was covered to great effect by Engelbert Humperdinck. 
Partners in Crime finds Holmes more focused with pop savvy and a great batch of songs. The effort's biggest hit, the ingratiating "Escape" (The Pina Colada Song)," though skilled, is cutesy enough to make some people's eyes roll. 
Despite the nature of that track, Holmes was also willing to tackle more interesting issues. With the slightly disco-fied title track, he deftly examines the male/female dynamic as business deal. 
Throughout the song, Holmes is having a lot of fun with every salacious detail. "Nearsighted" has him going the power pop route and all but wringing tears out of seeing "slightly out of focus." 
As Partners in Crime goes along, what becomes striking is some of the tracks' subtle use of R&B flourishes. "Him" depicts Holmes as the cuckold and has a beautiful string arrangement, a great hook, and strong, vivid lyrics. 
The album's best ballad, "The People That You Never Get to Love" has Holmes again giving a warm and confident vocal and is poignant rather than weepy. 
Although there are a few waste cuts, on the whole Partners in Crime is a thought-provoking and polished album.
 

Tracklist

1.  Escape (The Piña Colada Song) - 4:36 
2.  Partners in Crime - 5:16 
3.  Nearsighted - 2:52 
4.  Lunch Hour - 4:40 
5.  Drop It - 4:12 
6.  Him - 4:06 
7.  Answering Machine - 3:35 
8.  The People that You Never Get to Love - 3:47 
9.  Get Outta Yourself - 4:45 
10.  In You I Trust - 4:51 

All songs are written and arranged by Rupert Holmes.


Musicians

Production
  • Rupert Holmes – production
  • Jim Boyer – production, engineering, mixing
  • Eric Bloch – associate engineering
  • Ollie Cotton – associate engineering
  • Ted Jensen – mastering
  • Normand Kurtz – executive production

Artwork
  • Peter Corriston – art direction, cover concept and design
  • Brian Hagiwara – photography

Notes
Released:  August 5, 1979
Recorded:  January–July 1979 Studio Plaza Sound Studios, New York City
Genre:  Soft rock, yacht rock
Length:  42:40
Producer(s):  Rupert Holmes, Jim Boyer
Label:  Infinity / MCA Records


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woensdag 3 april 2024

The Band - Islands (1977)

Islands is the seventh studio album by the Canadian-American rock group the Band. Released in 1977 to mixed reviews, it is the final studio album from the group's original lineup.

Primarily composed of previously unreleased songs from the Band's career (including their 1976 cover of "Georgia on My Mind", which was recorded to aid Jimmy Carter in his presidential bid), Islands was released to fulfill the group's contract with Capitol Records, so that the soundtrack to their film The Last Waltz could be released on Warner Bros. Records. 
In the CD liner notes, Robbie Robertson compares the album to the Who's Odds & Sods. 
John Bauldie in Q called the album "a ragbag of old outtakes and otherwise unplaceable new numbers.

Theoretically, even though the Band had given up touring as of Thanksgiving 1976, they were going to keep making records, and Islands was the first album released in the new era. 
Only it wasn't; it was the album they scraped together to complete their ten-LP contract with Capitol Records and the last new full-length album the original five members ever made. 
The playing, as ever, was impeccable, and the record had its moments, notably a Richard Manuel vocal on the chestnut "Georgia on My Mind" that had been released as a single in 1976 to boost Georgia governor Jimmy Carter's successful run for the presidency. 
But the songwriting quality was mediocre, and the Band had set such a standard for itself in that department that Islands couldn't help suffering enormously in comparison.



Side one
1.  Right as Rain  (Robbie Robertson) - 3:52 
2.  Street Walker  (Robertson, Rick Danko) - 3:16 
3.  Let the Night Fall  (Robertson) - 3:11 
4.  Ain't That a Lot of Love  (Homer Banks, Willia Dean Parker, Levon Helm) - 3:09 
5.  Christmas Must Be Tonight  (Robertson) - 3:38 

Side two
1.  Islands (instrumental)  (Robertson, Garth Hudson, Danko) - 3:54 
2.  The Saga of Pepote Rouge  (Robertson) - 4:14 
3.  Georgia on My Mind  (Hoagy Carmichael, Stuart Gorrell) - 3:09 
4.  Knockin' Lost John  (Robertson) - 3:50 
5.  Livin' in a Dream  (Robertson) - 2:52 

The Band

Additional musicians

Production
  • Ed Anderson – engineering
  • Neil Brody – engineering
  • Rob Fraboni – engineering
  • Nat Jeffrey – engineering

Notes
Released:  March 15, 1977 
Recorded:  December 1972 – January 1977 Studio Shangri-la Studios; Village Recorders, Los Angeles, California 
Genre:  Rock 
Length:  35:15 
Producer: The Band 
Label : Capitol Records


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dinsdag 2 april 2024

Manassas - Manassas (1972)

Manassas is the 1972 debut double album by Manassas, a blues rock group led by American musician Stephen Stills, released April 1972. 
It was a critical comeback for Stills, and continued his commercial success by being certified Gold only a month after being released and peaking at number 4 on the US charts.

The album was recorded at Criteria Studio B late 1971, where Stills used his clout to keep the studio and engineers Ron and Howard Albert available around the clock. 
The band all stayed in a rented house about 30 minutes away from the studio, in Coconut Grove. 
This allowed Stills to record the album around the clock, waking up band members in the early hours of the morning when an idea struck. Stills would also record in mammoth sessions often going on for days, until Chris Hillman and Stills got into a fight, after which they started to record at regular hours. 
Al Perkins and Dallas Taylor had a rule where they would not perform any more than seven takes for a single track, so often Stills would stay in the studio editing after having released the band at 4 or 5 am. 
The band then flew to Stills' house in London in January 1972 to finish recording and mixing the album and to rehearse for an upcoming tour starting in March 1972. It was here that Bill Wyman of the Rolling Stones played bass on and co-authored "The Love Gangster" and is reported to have said that he would have left the Stones to join Manassas. 
At one point Stills put in an unbroken 106 hour stint in the studio, and engineer Ron Albert said he had just gotten to bed after a marathon session lasting 84 hours when the phone rang with Stills summoning him back to the studio with the words: "I know you're tired, but there's this idea I've got for this song that I want to get on tape before I forget it..." Another time, working to Stills' manic schedule, the band cut eight tracks in two days with no sleep.

The album was split into four thematic sides. 
Side 1 - The Raven, is a composite of rock and Latin sounds that the group would often perform in full live exactly as recorded. 
Side 2 - The Wilderness mainly centers on country and bluegrass. 
Side 3 - Consider is largely folk and folk-rock, and contains the song "Johnny's Garden", reportedly for the caretaker at Stills' English manor house bought from Ringo Starr. 
This includes Stills at his most experimental including using a Moog Synthesiser on "Move Around". The closing section, titled "Rock & Roll Is Here to Stay", is a rock and blues set.

"What to Do" and "Right Now" are Stills take on the CSNY split and his relationship with Graham Nash.

The album was included in the book 1001 Albums You Must Hear Before You Die.


Side one – The Raven
1.  Song of Love - 3:28 
2.  Medley - 3:34  
     Rock & Roll Crazies  (Stills, Dallas Taylor)
     Cuban Bluegrass   (Stills, Joe Lala)
3.  Jet Set (Sigh) - 4:25 
4.  Anyway - 4:21 
5.  Both of Us (Bound to Lose) - 3:00  (Stills, Chris Hillman)

Side two – The Wilderness
1.  Fallen Eagle - 2:03 
2.  Jesus Gave Love Away for Free - 2:59 
3.  Colorado - 2:50 
4.  So Begins the Task - 3:57 
5.  Hide It So Deep - 2:44 
6.  Don't Look at My Shadow - 2:30 

Side three – Consider
1.  It Doesn't Matter (original releases of Manassas do not credit Roberts as a co-author) (Stills,            
      Hillman, Rick Roberts) - 2:30 
2.  Johnny's Garden - 2:45 
3.  Bound to Fall (original releases of Manassas do not credit Mastin as a co-author)  (Mike Brewer,    
     Tom  Mastin) - 1:53 
4.  How Far - 2:49 
5.  Move Around - 4:15 
6.  The Love Gangster  (Stills, Bill Wyman) - 2:51 

Side four – Rock & Roll Is Here to Stay
1.  What to Do - 4:44 
2.  Right Now - 2:58 
3.  The Treasure (Take One) - 8:03 
4.  Blues Man   (in tribute: Jimi Hendrix, Al Wilson, Duane Allman) - 4:04 

All tracks are written by Stephen Stills, except where indicated

Manassas

Additional players

  • Sydney George - harmonica (on "The Raven" and "The Wilderness")
  • Jerry Aiello (on "The Raven" and "The Wilderness") - piano, organ, electric piano, clavinet
  • Bill Wyman - bass (on "The Raven" and "The Wilderness")
  • Roger Bush - acoustic bass (on "The Raven" and "The Wilderness")
  • Byron Berline - fiddle
  • Malcolm Cecil - Expanded Series III Moog synthesizer programming

Technical

  • The Albert Brothers - engineers
  • Stephen Stills, Ira H. Wexler - cover design
  • Ira H. Wexler - photography

Special thanks to Bruce Berry & Guillermo Giachetti, Daniel J. Campbell, Michael John Bowen, Michael O'Hara Garcia, Buddy P. Zoloth, Edward Astrin & Ahmet Ertegun


Notes
Released:  April 12, 1972 
Recorded:  Late 1971 Studio Criteria Sound Studios, Miami, Florida 
Genre:  Country rock, folk rock 
Length: 71:57 
Producer(s):  Stephen Stills, Chris Hillman, Dallas Taylor
Label:  Atlantic Records 


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maandag 1 april 2024

C.C.C. Inc. - To Our Grandchildren (1971)

CCC Inc. (eerst opererend onder de naam Capital Canal City Folk & Blues Incorporated) is een Nederlandse Americanaband, oorspronkelijk afkomstig uit Amsterdam. 

De bekendste bezetting was: Joost Belinfante (viool, gitaar, zang), Jaap van Beusekom (banjo, autoharp, dobro, zang), Ernst Jansz (wasbord, piano, zang), Huib Schreurs (mondharmonica, concertina, zang), Jan Kloos (gitaar) en Appie Rammers (bas). 
De groep werd in 1966 opgericht en kwam in 1970 in het nieuws door zich als muziekcommune terug te trekken in de Brabantse Peel. De band werd daardoor een boegbeeld van de hippiecultuur van de 70er jaren en was met name populair in het alternatieve Provadya?
Eind 1969 besloten Cor van Sliedregt en Frank Hoogkamer de band te verlaten. Voor hen in de plaats kwamen Jan Kloos, school- en studievriend van Ernst Jansz, en tieneridool Appie Rammers, voormalig bassist bij de Amsterdamse Outsiders. 
De naam werd nu voorgoed: CCC Inc. of kortweg CCC. Begin 1970 verhuisde het gezelschap naar Neerkant, een klein dorp in de Brabantse Peel, en begon er een muziekcommune. Op 30 juli trad de groep op in VPRO’s live tv programma Piknik. 
Eind dat jaar werd de eerste lp opgenomen in de Bovema Studio van EMI in Heemstede, onder de productie van Wim Noordhoek en Rik Zaal, dj’s bij de VPRO. De vriendinnen van de muzikanten verleenden op een van de nummers vocale medewerking. 
Het album, To Our Grandchildren, opgenomen op 2-sporen en uitgebracht op Imperial, begin 1971, kreeg lovende kritieken: Veruit de beste popelpee in Nederland gemaakt.


Tracklist

1.  Little Maggie - 3:40 
2.  I Don't Care - 3:09 
3.  Payday At Coalcreek - 0:44 
4.  Willie Boy - 3:35 
5.  Tennessee Waltz - 2:51 
6.  Second Dance - 0:32 
7.  On A Junction - 4:22 
8.  Keep On Truckin' - 1:49 
9.  The Visitor - 3:57 
10.  Good Grief - 0:44 
11.  Midnight Special - 8:21 
12.  Country Marriage - 1:51 
13.  (Part Of A) Rag - 1:13 


Companies, etc.

Credits

Notes
Released: 1971 
Genre:  Folk, World, & Country 
Tijdsduur:  37:04
Label:  Imperial Records


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