We are really knocking them out, folks! 28-29 left for me to cover! Canned Heat, Canned Heat (Henry Vestine) [1967] Canned Heat, Boogie With Canned Heat (Vestine) [1968] Canned Heat, Living The Blues (Vestine) [1968] Canned Heat, Hallelujah (Vestine, Elliot Ingber) [1969] The Hamilton Face Band, Hamilton Face Band (Ruth Komanoff-Underwood) [1969] Canned Heat, Vintage (Vestine) [1970] Hamilton Face Band, Ain’t Got No Time (Ruth) [1970] John Mayall, USA Union (Sugarcane) [1970] Don “Sugarcane” Harris, Sugarcane (Sugarcane) [1970] Don “Sugarcane” Harris, Keep on Driving (Sugarcane) [1971] Don “Sugarcane” Harris, Fiddler On The Rock (Sugarcane) [1971] Nolan Porter, No Apologies (Lowell George, Roy Estrada, Jimmy Carl Black) [1971] Bob Smith, The Visit (Don Preston) [1971] T. Rex, Electric Warrior (Mark Volman, Howard Kaylan) [1971] Canned Heat and John Lee Hooker, Hooker n Heat (Vestine) [1971] Canned Heat, Live At Topanga Corral (Vestine) [1971] Canned Heat, Historical Figures And Ancient Heads (Vestine) [1971] Maxayn, Maxayn (Andre Lewis) [1972] Nolan Porter, Nolan (George, Estrada, Black) [1972] Domenic Troiano, Domenic Troiano (Bunk Gardner, Buzz Gardner) [1972] Nicholas Greenwood, Cold Cuts (Bunk) [1972] John Lennon and Yoko Ono, Sometime In New York City (Live Jam/tracks 3-6 featuring Frank, Mark and Howard, Ian, Don Preston, Bob Harris #1, Jim Pons, Dunbar) [1972] T. Rex, The Slider (Mark And Howard) [1972] Pure Food & Drug Act, Choice Cuts (Sugarcane) [1972] New Violin Summit (Sugarcane, Ponty) [1972] Roxy Music, Stranded (Jobson) [1973] Buddy Miles, Chapter VII (Lewis) [1973] Johnny “Guitar” Watson, Listen (Lewis) [1973] Maxayn, Mindful (Lewis) [1973] Don “Sugarcane” Harris, Sugar Cane’s Got the Blues (Sugarcane) [1973] Canned Heat, The New Age (Vestine) [1973] Canned Heat, One More River to Cross (Vestine) [1973] Mick Ronson, Slaughter on 10th Avenue (Dunbar) [1974] Roxy Music, Country Life (Jobson) [1974] Howdy Moon, self titled album (Lowell George, Roy Estrada) [1974] Luis Gasca, Born to Love You [1974] Billy Cobham, Crosswinds (George Duke) [1974] Maxayn, Bail Out For Fun! (Lewis) [1974] Roger McGuinn, Peace on You (Mark And Howard) [1974] Dave Mason, Dave Mason (Sal Marquez) [1974] Herbie Mann, London Underground (Dunbar) [1974] Freddie Hubbard, High Energy (Ian Underwood) [1974] Don “Sugarcane” Harris, Cup Full Of Dreams (Sugarcane) [1974] Don “Sugarcane” Harris, I’m On Your Case (Sugarcane) [1974] Junior Hanson, Magic Dragon (Lewis) Roxy Music, Siren (Jobson) [1975] Freddie Hubbard, Liquid Love (Ian) [1975] Billy Cobham, A Funky Thide Of Sings (Walt Fowler) [1975] Down And Dirty Duck Soundtrack (Preston, Mark Volman, Howard Kaylan, Pons, Dunbar) [1975] Mick Ronson, Play, Don’t Worry (Dunbar) [1975] Nils Lofgren, self titled (Dunbar) [1975] Don “Sugarcane” Harris, Keyzop (Sugarcane) [1975] Mallard, Mallard (Art Tripp) [1975] Journey, Look Into The Future (Dunbar) [1976] Jean-Luc Ponty, Aurora (Ponty, T. Fowler) [1976] Roxy Music, Viva! [1976] Spirit, Farther Along (Ian) [1976] Jean-Luc Ponty, Imaginary Voyage (Ponty, T.Fowler, Allan Zavod) [1976] Grand Funk, Good Singin, Good Playin (Produced by Zappa) [1976] Air Pocket, Fly On (T. Fowler, Bruce Fowler, W. Fowler, Thompson) [1976] Stephen Stills, Illegal Stills (Mark And Howard) [1976] Ian Hunter, All American Space Boy (Dunbar) [1976] Flo and Eddie, Moving Targets (Mark, Howard, Ian) [1976] T. Rex, Futuristic Dragon (Mark and Howard) [1976] Nils Lofgren, Cry Tough (Dunbar) [1976] Carmen MacRae, Can’t Hide Love (Ian) [1976] Sammy Hagar, Nine On A Ten Scale (Dunbar) [1976] Alphonso Johnson, Moonshadow (Ian) [1976] Marathon Man Soundtrack (Ian) [1976] George Duke, Liberated Fantasies (Duke, Napoleon Murphy Brock, Ruth) [1976] Don “Sugarcane” Harris, Flashin’ Time (Sugarcane) [1976] Captain Beefheart And The Magic Band, Bat Chain Puller (Beefheart, Denny Walley) [1976] Seals & Croft, Sudan Village (Ralph Humphrey) [1976] Chunk, Ernie, & Novi, Chunk, Ernie, & Novi (Ian) [1977] George Duke, From Me to You (Duke, Glenn Ferris) [1977] Demon Seeds Soundtrack (Ian) [1977] Journey, Next (Dunbar) [1977] Jean-Luc Ponty, Enigmatic Ocean (Ponty, Zavod) [1977] Little Feat, Time Loves A Hero (Lowell) [1977] Genesis, Seconds Out (Thompson) [1977] Quincy, Jones, Roots (Ian) [1977] Mandré, Mandré (Lewis) [1977] Alphonso Johnson, Spellbound (Thompson) [1977] Journey, Infinity (Dunbar) [1978] U.K., self titled (Eddie Jobson) [1978] Lynda Carter*, Portrait (Humphrey) (*yes, the same one who played Wonder Woman) [1978] George Duke, Reach For It (Duke) [1978] George Duke, Don't Let Go (Duke) [1978] The Brecker Brothers, Heavy Metal Be-Bop (Bozzio) [1978] Jean-Luc Ponty, Cosmic Messenger (Ponty, Zavod) [1978] Steve Hackett, Please Don’t Touch (T.Fowler, Chester Thompson) [1978] David Bowie, Stage (Adrian Belew) [1978] Alice Cooper, From the Inside (Mark And Howard) [1978] Ambrosia, Somewhere I’ve Never Travelled (Ian, Ruth) [1978] Herb Alpert and Hugh Masekela, Herb Alpert/Hugh Masekela (Ian) [1978] Captain Beefheart And The Magic Band, Shiny Beast (Bat Chain Puller) (Beefheart, B.Fowler, Tripp) [1978] Lao Schifrin, Gypsy (Ian) [1978] Barbara Streisand, Songbird (Ian) [1978] Little Feat, Waiting For Columbus (Lowell) [1978] Mandré, Mandré Two (Lewis) [1978] Karen Alexander, Voyager (Humphrey) [1978] U.K., Danger Money (Jobson, Terry Bozzio) [1979] Jean-Luc Ponty, Live (Ponty, Zavod) [1979] David Bowie, Lodger (Belew) [1979] Big Sonny and the Lo Boys, In Heat (Black) [1979] Apocalypse Now Soundtrack (Preston) [1979] The Residents, Eskimo (Preston) [1979] Jefferson Starship, Freedom at Point Zero (Dunbar) [1979] Lowell George, Thanks, I’ll Eat It Here (Lowell) [1979] Peggy Lee, Close Enough For Love (Ian) [1979] Little Feat, Down On The Farm (Lowell) [1979] George Duke, Follow the Rainbow (Duke, Nappy) [1979] George Duke, Master Of The Game (Duke, Nappy) [1979] Tony Banks, A Curious Feeling (Thompson) [1979] Jean-Luc Ponty, A Taste for Passion (Ponty, Zavod) [1979] Freddie Hubbard, The Love Connection (Thompson) [1979] Lalo Schifrin, No One Home (Ian) [1979] The Warriors Soundtrack (Ian) [1979] Mandré, M3000 (Lewis) [1979] Ray Pizzi, The Love Letter (Humphrey) [1979] Leroy Hutson, Unforgettable (Thompson) [1979] David Pritchard, City Dreams (Thompson) [1979]
Ambrosia, Somewhere I’ve Never Travelled: Somewhere I’ve Never Travelled is the second studio album by Ambrosia, released in 1976 on 20th Century Fox. Produced by Alan Parsons, this marks the group’s final record on 20th Century Fox. Besides the band itself (David Pack: guitar/lead and backing vocals/keyboards; Christopher North: keyboards/backing vocals; Joe Puerta: bass/lead and backing vocals; Burleigh Drummond: drums/lead and backing vocals/percussion/bassoon), The album features our very own Ruth Underwood on percussion, Ian Underwood on saxophone, Daniel Kobialka on violin, and Andrew Powell on orchestration. This is on the more poppy side of prog, so right there, I think you can figure out rather or not it will be of interest to you. This does have some strong pop hooks within the orchestral prog, so as far as pop prog, it’s actually pretty good. As far as the Underwoods, certainly Ruth gets some good bits in there, and Ian gets some room to shine as well. It’s a good record. Not necessarily essential, but it’s pretty good.
Herb Alpert and Hugh Masekela, Herb Alpert/Hugh Masekela: Herb Alpert/Hugh Masekela is a collaborative effort between Herb Alpert and Hugh Masekela, released in 1978 on A&M and Horizon. Produced by Caiphus Semenya, Stewart Levine, and Alpert, the album’s lineup consists of Alpert on flugelhorn and trumpet, Masekela on flugelhorn, our very own Ian Underwood on synthesizer, Arthur Adams, Freddie Harris, and Lee Ritenour on guitars, Semenya and Hotep Cecil Barnard on piano, Chuck Domanico on bass (with Louis Johnson from the Johnson Brothers handling bass duties on “Skokaain”), Marylin L. Robinson and Sidney Isaac Muldrow on French horns, Donald Cooke and George Bohanon on trombones (the former also handling orchestrations), Maurice Spears on bass trombone, Paulinho Da Costa on percussion, James Gadson on drums (with Carlos Vega handling the drums on “El Lobo” and Spider Webb on “African Summer”), the great Tommy Tedesco of The Wrecking Crew fame playing acoustic guitar on “El Loco”, and Lani Hall, Letta Mbulu, Alpert, Masekela, and Semenya on backing vocals. The three latter and Levine also handle arrangements on the album. Didn’t have any real expectations going into this, but you know what? It’s a good record. For a mellow jazz kind of album, it’s a really strong effort. Alpert and Masekela are in strong form throughout, and the musicianship impeccable. And I have to say, Ian’s synth work is well incorporated on this album, never feels intrusive or overbearing. It compliments the material and really gives an interesting flavor. This probably wouldn’t be the album I’d use to introduce newcomers to either artist, but for fans, it’s a solid addition to the collection.
Captain Beefheart And The Magic Band, Shiny Beast (Bat Chain Puller): Shiny Beast (Bat Chain Puller) is the ninth studio album by Captain Beefheart And The Magic Band, released in October of 1978 on Warner Bros. Produced by Don Van Vliet and Pete “Puff” Johnson, the album marks the former’s return to his experimental roots after the commercial direction of his 1974 albums. Besides the Captain himself on lead vocals/harmonica/soprano saxophone/whistling, we have our very own Bruce Fowler on trombone and air bass, Jeff Moris Tepper on guitar/slide guitar (right channel)/backing vocals, Richard Redus on guitar/slide guitar (left channel)/fretless bass/accordion, Eric Drew Feldman on bass/keyboards/synthesizer, and Robert Williams on drums, with our very own Art Tripp contributing marimba and percussion. After the Tragic Band, this really is such a breath of fresh air, the good Captain is back. I know some (such as the Magic Band themselves) feel its not as good as the original Bat Chain Puller, but other than “Floppy Boot Stomp”, I can't really agree. The performances are very lively, with Tepper and Redus serving as more than respectable replacements for Zoot Horn Rollo And Antennae Jimmy Semens, their guitar work perfectly wiry as you would want from a Beefheart record. Robert Williams’ drumming is like clockwork, just so on point. Let’s also give it up for Bruce Fowler, who’s trombone is so perfectly quirky and offbeat for a Beefheart record, alongside Eric Drew’s keyboard work. Not to mention that you have so many Beefheart classics like the title cut, “When I See Mommy, I Feel Like a Mummy”, and “Harry Irene”. And of course, even though he’s not here as a proper member, Art’s marimba and percussion work colors the record much as he had in the past, most notably on “Love Lies”. Generally, there’s a very light, easygoing energy throughout this album, making one of the easiest Beefheart records to listen to without losing the Beefheart spirit. This is an album I can’t recommend enough, one of my favorite Beefheart records.
Lalo Schifrin, Gypsies: Gypsies is the twentieth studio album by Argentinian-American jazz keyboardist Lalo Schifrin, released in 1978 on Tabu. Produced by Schifrin, the album’s lineup consists of Schifrin on piano/keyboards/synthesizer/arrangements/conducting, our very own Ian Underwood on synthesizer, Oscar Brashear and Bobby Bryant on trumpets, Charles Loper and Lew McCreary on trombones, Anthony Ortega, Ernie Watts, and Don Menza on winds, Dean Parks on guitar, Mike Melvoin on keyboards, Abraham Laboriel on bass, Emil Richards and Paulinho Da Costa on percussion, and Jim Keltner on drums. This isn’t a bad record, it has some strong musicianship which elevated the material to above average. Schiflin does some nice piano and keyboard work on here, and Ian and Melvoin do a good job at blending in with Schifrin. Not essential listening, but you can do a lot worse than this one.
Barbara Streisand, Songbird: Yes, I am covering Barbara Streisand in a Zappa thread. Guess it wouldn’t be a Zappa thread without at least one WTF moment. Songbird is the twentieth studio album by Barbara Streisand, released in May of 1978 on Columbia. Produced by Gary Klein, this topped the Adult Contemporary charts for two weeks in addition to reaching #25 on the Hot 100. Rounding out the lineup is our very own Ian Underwood and James Newton Howard (who would go on to become a heavyweight in film scores) on synthesizers, Jay Graydon, Steve Lukather, Lee Ritenour, Larry Carlton, Dennis Budimir, Mitch Holder, Charlie Brown, Sal DiTroia, and John Tropea on guitars, Larry Muhoberac, David Foster, Larry Mayorga, and Greg Mathieson on pianos, Leon Pendarvis and Pat Rebillot on keyboards, David Hungate, Will Lee, Abraham Laboriel, and Reinie Press on bass, Gayle Levant on harp, Ronny Lang on alto and soprano saxophones, Jim Horn and Ernie Watts on alto and tenor saxophones and flutes, Larry Williams on saxophone, Jerry Hey and Steve Madaio on trumpets, Bill Reichenbach on trombone, Louise Di Tullio on flute, Ed Greene and Jeff Porcaro on drums, Allan Schwartzberg on drums and percussion, Paulinho Da Costa and Bob Zimmitti on percussion, and George Michalski, Niki Oosterveen, Jim Gilstrap, Julia Tillman Waters, Maxine Willard Waters, Oren Waters, and Stephanie Spruil on backing vocals. I typically wouldn’t find myself cranking Barbara Streisand, but in fairness, this isn’t a bad listen. Streisand certainly turns in some stellar vocals on here, and the musicians give a strong support to Streisand. I can definitely hear hints of the cinematic fair that Ian and Howard would head towards in later years. If you’re into easy listening, this is a solid pick for you.
Little Feat, Waiting For Columbus: Now we’re talking, Waiting For Columbus is the first live album by Little Feat, released February 10, 1978 on Warner Bros. Produced by frontman Lowell George, the album is derived from performances at the Rainbow Theatre in London on August 1-4 of 1977, as well Lisner Auditorium at George Washington University in Washington DC on August 8-10. Supporting Little Feat (consisting as always of Lowell on guitar/slide guitar/vocals, Paul Barrere on guitar and vocals, Bill Payne on piano/keyboards/synthesizer/vocals, Kenny Gradney on bass, Richie Hayward on drums and backing vocals, and Sam Clayton on congas and vocals) is the Tower Power Horn Section (Greg Adams on trumpet, Mic Gillette on trombone and trumpet, Emilio Castillo on tenor saxophone, Lenny Pickett on alto and tenor saxophones and clarinet on “Dixie Chicken”, and Stephen “Doc” Kupka on baritone saxophone), Mick Taylor from the Stones playing lead and slide on “Apolitical Blues”, and Michael McDonald And Patrick Simmons from the Doobie Brothers appearing on “Red Streamliner” (though this track, among others, only appears on the Deluxe Edition). Even with the issues in the band at that time, they still kicked all sorts of ass live. Sam, Kenny, and Richie, one of the best rhythm sections you could ever ask for. Real funky, quirky, powerful, almost hypnotic in a way. Then you have Mr. Bill Payne, fantastic keyboardist and great singer. Paul Barrere, who we sadly lost this past year, great guitarist and singer. And of course, the man, the myth, the legend, Lowell George. First off, yes, I’m aware this album was touched up. Good, touched up live albums rule. Back to Lowell, his vocals and guitar, particularly his slide work, as unique and soulful as you’d expect from him. The Tower Of Power kick so much ass on here. I actually reviewed this album on my blog, one of my earliest and certainly among the better ones from my earlier reviews, so if you want me to track by track, check it out. #3: Little Feat, Waiting For Columbus One of the best live albums ever, I highly recommend it, and it’s a perfect gateway into the most underrated band of 70s rock.
Mandré, Mandré Two: Mandré Two is the second studio effort by Andre “Mandre” Lewis, released in 1978 on Motown. Produced by Lewis himself, the album also features select writing contributions by wife Maxayn Lewis. Similar to the first album, this marks another slice of late 70s synth funk. Lewis shows himself a skilled musician and arranger, though the material doesn’t feel as fresh. The grooves are there, but the material doesn’t measure up. You can do a lot worse, but you can do better at the same time. I give this maybe a middling recommendation at most.
Karen Alexander, Voyager: Voyager is the second and final studio album by singer-songwriter Karen Alexander, released in 1978 on Asylum. Produced by Bob Morin, the album shows a more melancholic atmosphere than Alexander’s debut. The lineup consists of our very own Ralph Humphrey on drums alongside Jim Keltner, Jay Graydon, Ron Cook, and Mike Anthony (not the Van Halen bassist) on guitars, Ralph Grierson and Richard Thompson on keyboards, Pete Robinson on keyboards and synthesizer, Ernie Watts on saxophone and clarinet, Glenn Ferris on euphonium (providing yet another Zappa connection), Jim Self on tuba, Morris Mizrahi on lute, and Morin, Joe Porcaro, Steve Forman, and Gary Coleman (no, not the actor) on percussion. Listening to the songs on YouTube, this is actually pretty good. Like most people here, I had never even heard of Karen Alexander, let alone this album, prior to examining Ralph Humphrey’s resume, but reading up on her is very interesting to say the least. The album isn’t essential, but it’s worth a listen or two.
U.K., Danger Money: Danger Money is the second and final studio album by prog supergroup U.K., released in March of 1979 on E.G./Polydor. Produced by keyboardist/violinist Eddie Jobson and bassist/vocalist John Wetton, the album now features Jobson’s former Zappa bandmate Terry Bozzio on drums in place of Bill Bruford. Replacing Bruford is a pretty daunting task (let me put it this way to the Zappa fans that aren’t into prog: replacing Bruford is like replacing George or Ruth). But damnit, if Terry Bozzio isn’t up for that task, and he more than delivers. Obviously, he’s not Bruford, but his chops are undeniable. And he and Wetton are a match made in musical heaven. Plus you have the amazing Eddie Jobson to top it all of. I’m all about the guitars, but Jobson easily wins me over on this one. If I had to pick between this or the first album, I’d maybe go with this one, but really, both albums are a real treat for any prog fan. I can’t recommend this bad boy enough.
This album would indeed be "experimental" for anyone but CB. I wouldn't call it commercial, but it's certainly an easier listen than most of his earlier stuff. In any case it's got some great writing, both musical and lyric. "Tropical Hot Club Night" is my personal fave.
Jean-Luc Ponty, Live: Live is a live effort by Jean-Luc Ponty, released April 18, 1979 on Atlantic. Produced by Ponty, the album is derived from performances recorded in December of 1978. Backing Ponty (violin/piano/keyboards) is Allan Zavod on electric piano/keyboards/synthesizer, Jamie Glaser and Joaquin Lievano on electric guitars, Ralphe Armstrong on bass and fretless bass, and Casey Scheuerell on drums and percussion. Cosmic Messenger didn’t do a whole lot for me, but this album, I really dig it. Not as much of the slick APR production that left me cold, instead, it just shows the musicians doing their thing. Ponty really rips on this album, showing just why he is such a legend in fusion. In addition, the organic sound really lets his band come through and show what they’ve got. While this album might not hold as much appeal for casual fans, it’s a must have for any fan of Ponty.
I could think of better adjectives. Little Feat was close to ubiquitous in the late 70s, when Southern Rock was a staple on commercial FM. I've probably heard this effing album more than most of the live albums I actually own.
David Bowie, Lodger: Lodger is the thirteenth studio album by David Bowie, released May 18, 1979 on RCA. Produced by Tony Visconti, the record marks the end of the Berlin era of Bowie’s career. Unlike Low and “Heroes”, however, the album lacks any instrumentals and is more poppy in its structure. Backing Bowie (lead and backing vocals/piano on “Fantastic Voyage” and “DJ”/synthesizer on “Yassassin”/Chamberlin on “DJ”/guitar on “Boys Keep Swinging” and “Red Money”) is our very own Adrian Belew (mandolin on “Fantastic Voyage”/guitar on “Move On”, “Red Sails”, “DJ”, “Boys Keep Swinging”, “Repetition”, “Red Money”), Visconti (mandolin on “Fantastic Voyage”/guitar on “Move On”, “Yassassin”/bass on “Boys Keep Swinging”/backing vocals), Brian Eno (ambient drone on “Fantastic Voyage”/ prepared piano and cricket menace on “African Night Flight”/guitar treatment on “Red Sails”/synthesizer on “Red Sails” and “Look Back In Anger”/trumpet and French horn on “Look Back In Anger”/piano on “Boys Keep Swinging”/backing vocals on “Yassassin”), Carlos Alomar (guitar on all tracks except “Fantastic Voyage” and “Boys Keep Swinging”/drums on “Boys Keep Swinging”/backing vocals on “Yassassin”), George Murray (bass on all tracks except “Boys Keep Swinging”/backing vocals on “Yassassin”), Sean Mayes (piano on “Fantastic Voyage”, “African Night Flight”, “Move On”, “Red Sails”, “Look Back In Anger”), Simon House (mandolin on “Fantastic Voyage”/violin on “Yassassin”, “Red Sails”, “Boys Keep Swinging”, “Repetition”), Roger Powell (synthesizer on “Repetition”, “Red Money”), Stan Harrison (saxophone on “Red Sails”), and Dennis Davis (drums on all tracks except “African Night Flight”, “Move On”, “Look Back In Anger”, “Boys Keep Swinging”/percussion one the three former/bass on “Boys Keep Swinging”). I will be honest, this is one of my least favorite from Bowie as far as his pre-Let’s Dance catalog goes. With that said, there’s definitely some good stuff here, and of course, Adrian is always a plus. While not quite as fresh as the two prior albums, the album still has that unique Bowie stamp to it, and still shows him to be a vital artist. I can definitely recommend this for Bowie fans, though I don’t think it’s necessarily the best place to start for a newcomer.
The Residents, Eskimo: Eskimo is the sixth studio album by The Residents, released in September of 1979 on Ralph. Produced by the Residents, the album was originally intended to follow Fingerprints, but the album wound up being delayed due to disputes with management. Besides The Residents themselves, the album features our very own Don Preston on synthesizers, Snakefinger on guitar, and Chris Cutler of Henry Cow fame on percussion. First off, this is one freaky ass record, but then again, it is The Residents. And fortunately, it’s a good freaky ass record, filler to the brim with surrealism and absurdism as you’d expect from the Residents or a Mother. I remember getting into The Residents thanks to Primus covering them around the Frizzle Fry era, and the first album I heard by them was Meet the Residents, which I was totally lost on. Then I started looking to other albums and this one was one that I really dug. The Residents are an act that I have to be in the right mood for, but they’re a wonderfully strange and unique group. This is one I can give a glowing recommendation to, it’s among the group’s best efforts.
Even the Bowie fanatics I know have little love for this record. I think it's OK, but compared with his other Berlin albums the material is pretty weak.
Yeah, it’s really not a bad album, it’s just disappointing when you compare it to what we know Bowie to be capable of (a couple Zappa and Beefheart records could be described as such arguably).
Big Sonny And The Lo Boys, In Heat: In Heat is the only studio album by Big Sonny And The Lo Boys, released in 1979 on Con Safo. The group came about after Geronimo Black disbanded and Jimmy Carl Black moved back to Texas. Initially, JCB worked a normal job (donut shop) before deciding to put together another group. After a few false starts, Jimmy finally put together Big Sonny And The Lo Boys, which consisted of Big Sonny Barlow on vocals and guitar, Rich Barlow on bass, William Russ III on lead guitar, Chava Villegas on percussion, and JCB on drums and vocals. This album is a pain in the ass to find, so I haven’t had much luck in being able to listen to the album in it’s entirety. From what I’ve gathered, it’s not half bad. This clearly exists so Jimmy can get back to playing, but for a cover band, it’s a fun listen and they would probably have been one of the better bar bands. And again, if it gives the Indian a chance to perform again, that’s all fine and dandy with me. While Jimmy obviously never reached the heights the Mothers did, never had a solid enough band other than maybe Geronimo Black, but he never stayed away from the stage for long. It’s interesting to compare him to Frank since they were very much alike in certain ways-both were blunt, opinionated, irreverent, and had a tendency to be fairly (okay, very) cynical. But if I had to sum up how they differed, let me put it this way-Frank was an artist, Jimmy was a guy in a band. Frank was always chasing his muse and spending countless hours perfecting any track, regardless of rather or not it would be on the next album. Jimmy, on the other hand, just wanted to get on stage and then have a cold beer (and maybe flirt with the waitress). However, he still had that need to sing or play or perform, it was almost his purpose in life in a way. Obviously, I’ve never had even a tenth of the notoriety that Jimmy enjoyed, but when you’re on stage, especially as part of a team, every problem seems to melt away, only the performance matters. And then when the audience, however big or small, give you love and reverence, you really feel like you’re on Cloud Nine. You feel like you’ve achieved something remarkable. Can’t say I blame him for going back time and time again. Well back to the album at hand, it’s not essential listen, but it’s interesting for those who enjoy blues and roots based rock or love the Indian Of The Group.
Jefferson Starship, Freedom At Point Zero: Freedom At Point Zero is the fifth studio album by Jefferson Starship, released November 1, 1979 on Grunt. Produced by Ron Nevison, the album is best noted for the hit single “Jane”. The lineup on here consists of our very own Aynsley Dunbar on drums, Mickey Thomas on lead vocals, Paul Kantner on rhythm guitar and backing vocals, David Freiberg on bass and keyboards, Pete Sears on bass/keyboards/rhythm guitar, and Craig Chaquico on lead and rhythm guitars. Additional contributions come from the Tower Of Power horn section on “Jane” and general horns by Steven Schuster. Listening to this album....it exists. That’s...kind of it. I just can’t work up any emotion, positive or negative. It’s a safe, innocuous album, competently delivered and easily passes from one ear out the other. It’s just a nothing album. I’m not even the hugest Jefferson Airplane fan, I think of the major psychedelic bands, they have probably aged the worst, hence why you don’t see them carry on like the Dead have, like Frank and the Mothers have, like Hendrix, The Doors kind of come and go, Janis being another. That said, they have some good stuff, and there was certainly some moments of inspiration throughout their catalogue. Certainly Casady was a great bassist, Grace Slick had a natural charisma, but this album doesn’t even have that going for it. Even Aynsley, he delivers some good drumming, but he’s done better work elsewher. No, I don’t recommend this album. Honestly, even as far as arena rock or AOR or corporate rock, you can do better than this. First off, Journey, the band Aynsley left for this gig. Boston being another, Rick Springfield.
I also want to wish a belated happy 65th birthday to the outstanding Eddie Jobson! Here’s him on “Black Napkin”:
Apocalypse Now Soundtrack: Apocalypse Now is an American Epic war film released in 1979. Directed, produced, and co-written by Francis Ford Coppola, the film was loosely adapted from the 1899 novella Heart of Darkness by Joseph Conrad. Martin Sheen stars as Captain Willard, who goes on a mission during the Vietnam War to assassinate Colonel Kurtz (Marlon Brando). Handling the score is Coppola’s father Carmine and contributing synth work to the soundtrack is none other than our very own Don Preston. I will say I have not seen this film until recently, and though I did like it, it hasn’t fully sunken in yet. That said, it’s a beautifully crafted film (this is Francis Ford Coppola after all), and the soundtrack is fantastic. Besides it’s use of certain songs of the period (most notably “The End” by The Doors), the score perfectly creates a feeling of nightmare, cold sweat dripping from your face as you wake from the nightmares of what you have seen and done on the battle field. Nothing can ever be the same again, any innocence you might have had is dead and gone. And Don perfectly slides in with his synth work, which gives a very surreal feel to the music as you’d expect from Dom DeWilde, our resident mad scientist. The movie and soundtrack are both things I can give a strong recommendation for, as both are more than deserve your time and attention.
Lowell George, Thanks, I’ll Eat Here: First, thank you to @Rne for helping out on this album. Now, I’ll give my two cents. Thanks, I’ll Eat Here is sole solo effort by Lowell George, released March 2, 1979 on Warner Bros. Produced by Lowell himself, the album marks a return to the classic Little Feat sound as opposed to the fusion direction the band was going into at that time. Backing Lowell on here is Bonnie Raitt on vocals, bandmates Richie Hayward and Bill Payne (though they don’t play together on any particular track), fellow Zappa alumni Jim Gordon on drums, Little Feat associate (and future member) Fred Tackett on guitar and backing vocals, the wonderful Nicky Hopkins on keyboards, the not so wonderful David Foster and the pretty cool James Newton Howard on keyboards, future Toto members David Paich and Jeff Porcaro, John Phillips on saxophone, Jim Price on horns, Dean Parks on guitar, you know what, I’ll just post the damn list... Lowell George - guitar, vocals, production Bonnie Raitt - vocals James Newton Howard - keyboards Chuck Rainey - bass Denny Christianson - keyboards, horns David Foster - keyboards Chilli Charles - drums Nicky Hopkins - keyboards Jim Price - horns Jim Keltner - drums Jim Gordon - drums Michael Baird - drums Dennis Belfield - bass Bobby Bruce - violin, guitar Turner Stephen Bruton - guitar Luis Damian - guitar, keyboards Gordon DeWitty - keyboards, piano Maxine Dixon - piano Arthur Gerst - piano Jimmy Greenspoon - guitar, piano Roberto Gutierrez - vocals, guitar, drums Richie Hayward - drums Jerry Jumonville - saxophone, guitar Ron Koss - guitar, engineering Darrell Leonard - horn, vocals Maxayn Lewis - vocals David Paich - keyboards Jeff Porcaro - drums Dean Parks - guitar, keyboards Bruce Paulson - keyboards Bill Payne - keyboards, vocals Herb Pedersen - vocals Joel Peskin - vocals, saxophone John Phillips - saxophone, drums Peggy Sandvig - piano James Self - tuba Steve Madaio - horns Floyd Sneed - drums, vocals J.D. Souther - bass, vocals Paul Stallworth - bass, guitar Fred Tackett - guitar, vocals Maxine Willard Waters - vocals Michael Ward - Truck Driver and Drum Tech Gene Vano - Road Manager Anyway, now for the actual review. Lowell delivered the goods here, giving us another bowl of the Little Feat gumbo while still giving it its own flavor. Even the covers, he makes them his own, delivering them in a way that only Lowell could. I will say I was a bit surprised to see Bill in the credits giving that he and Paul were not getting along too well with Lowell at the time (more on that when I cover Down On The Farm). Then again, Lowell, like Frank, never liked for things to be too easy and too straightforward. While there are certainly differences between Frank and Lowell (obvious, their attitudes towards drug use being one), you can tell working with Frank rubbed off on Lowell, be it through his refusal to compromise and fit into an easy category as well as how perfectionistic Lowell could be, particularly in the studio (again, I’ll tackle that when I cover the Grateful Dead album he produced). Shame he didn’t get many opportunities to shine with the Mothers, but then again, by the time he got there, the music was largely instrumental and there were all the issues between Frank and the other Mothers, most of which had building for a while. Indeed, it was a huge blowup that led to Ray finally quitting for good. Frank obviously respected Lowell’s talent-after all, he was allowed to coproduce the GTOs album, a level of freedom that guys like Roy and Jimmy were never given. I also wonder if Frank saw a bit of himself as well as a bit of Ray in Lowell. Even though Ray has nothing to do with this album, I think discussing his and Frank’s relationship is worth doing as a means of knowing why Lowell didn’t get as much to do. When Ray and Frank met, they were both young, hungry, ambitious guys hoping to catch that big break. While they were very friendly, friends even, Ray was very free spirited, very outspoken and headstrong, and so unlike most of the other Mothers, he had no qualms challenging Frank or speaking his mind. So when Lowell walks in and shows his own talents and ambition, Frank probably wasn’t eager to deal with another Ray. Even with how relatively short lived Lowell’s time as a Mother was, he clearly learned a lot from Frank, and of course his band wouldn’t exist without that tenure. And like Frank, as long as Lowell could get by and keep doing his thing, he was perfectly happy. As far as this record, it’s perfectly Americanic with that slyness you’d expect from Lowell. Certainly essential to any Little Feat fan or Lowell George fan.
