We’re knocking these bad boys out! The Everly Brothers, Beat & Soul (Jim Gordon) [1965] Mel Tormé, Right Now! (Gordon) [1966] Gene Clark, Gene Clark with Gosdin Brothers (Gordon) [1967] Van Dyke, Song Cycle (Gordon) [1967] The Stone Poneys, Evergreen, Volume 2 (Billy Mundi, Gordon) [1967] Canned Heat, Canned Heat (Henry Vestine) [1967] Judy Collins, Who Knows Where The Time Is (Gordon) [1968] Harry Nilsson, Aerial Ballet (Gordon) [1968] Harry Nilsson, Skidoo Soundtrack (Gordon) [1968] Randy Newman, Randy Newman (Gordon) [1968] 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] Bread, Bread (Gordon) [1969] Hoyt Axton, My Griffin Is Gone (Gordon) [1969] Dave Mason, Alone Together (Gordon) [1970] Randy Newman, 12 Songs (Gordon) [1970] 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] Joe Cocker, Mad Dogs And Gentlemen (Gordon) [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] B.B. King, B.B. King in London (Gordon) [1971] Leon Russell, Leon Russell And The Shelter People (Gordon) [1971] Traffic, The Low Spark Of High Heeled Boys (Gordon) [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] Albert Hammond, It Never Rains in Southern California (Gordon) [1972] Bobby Whitlock, Bobby Whitlock (Gordon) [1972] Bobby Whitlock, Raw Velvet (Gordon) [1972] Skip Battin, Skip (Mundi) [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] Art Garfunkel, Angel Clare (Gordon) [1973] Donovan, Essence to Essence (Gordon) [1973] The Incredible Bongo Band, Bongo Rock (Gordon) [1973] Albert Hammond, The Free Electric Band (Gordon) [1973] David Gates, First (Gordon) [1973] The Hues Corporation, Freedom for the Stallion (Gordon) [1973] John Cale, Paris 1919 (Lowell) [1973] Happy Ends, Happy Ends (Lowell) [1973] Gordon Lightfoot, Stallion (Gordon) [1974] Tom Waits, The Heart Of Saturday Night (Gordon) [1974] John Sebastian, Tarzana Kid (Lowell, Gordon) [1974] Robert Palmer, Sneakin Sally Through the Alley (Lowell) [1974] 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) [1974] Souther-Hillman-Furay Band, The Souther-Hillman-Furay Band (Gordon) [1974] John Stewart, The Phoenix Concerts (Gordon) [1974] 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] The Carpenters, Horizon (Gordon) [1975] Minnie Riperton, Adventures in Paradise (Gordon) [1975] Art Garfunkel, Breakaway (Gordon, Max Bennett, John Guerin) [1975] Joan Baez, Diamonds And Rust (Gordon) [1975] Darryl Hall and John Oates, Darryl Hall And John Oates (Gordon) [1975] Richard “Groove” Holmes, Six Millionare Dollar Man (Gordon) [1975] Thelma Houston, I’ve Got the Music In Me (Gordon) [1975] Gordon Lightfoot, Cold on the Shoulder (Gordon) [1975] Robert Palmer, Pressure Drop (Lowell) [1975] Joan Baez, From Every Stage (Gordon) [1976] The Brothers Johnson, Look Out For #1 (Ian) [1976] The Carpenters, A Kind Of Hush (Gordon) [1976] Alice Cooper, Alice Cooper Goes To Hell (Gordon) [1976] Neil Diamond, Beautiful Noise (Gordon) [1976] 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] Joan Baez, Gulf Winds (Gordon) [1976] Phil Keaggy, Love Broke Thru (Gordon) [1977] The Brothers Johnson, Right on Time (Ian) [1977] Dolly Parton, Here You Come Again (Ian) [1977] 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] The Grateful Dead, Shakedown Street (Lowell) [1978] Al Stewart, Time Passages (Tripp) [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] The Muppet Movie Soundtrack (Gordon) [1979] We now have 32 albums left to cover!
Vinnie Tribute to Joe's Garage era FZ featuring Mike Keneally on guitar. The spoken intro is entirely too long but there is a rippin' guitar solo afterwards.
Minnie Riperton, Adventures in Paradise: Adventures in Paradise is the third studio album by Minnie Riperton, released May 22, 1975 on Epic. Produced by Riperton, husband Richard Rudolph, and Stewart Levine, the latter was brought due to previous co-producer Stevie Wonder being busy with a little record you might know of called Songs In The Key Of Life and the label wanting a follow up to Perfect Angel and “Lovin You” ASAP. The album is best known for the single “Inside My Love” and would reach #5 on the Soul Charts and #18 on the Billboard Charts. Backing Minnie Riperton is our very own Jim Gordon on drums and percussion, Larry Carlton on guitar/arrangements/conducting, Rudolph on guitar, Joe Sample on keyboards, Ed Brown on bass, Jim Horn on saxophone, with additional saxophones by that ever so wonderful Tom Scott, Dorothy Ashby on harp, and Sid Sharp on strings. I never listened to a Minnie Riperton album before this one, and frankly, I only ever knew her for “Lovin You” and for being the mother of Maya Rudolph from SNL. The first time I ever thought of her outside of that was maybe seeing Unsung’s profile on her, but I still didn’t go out and listen to a full album. But of course, Jim Gordon is on here, so here we are. This is definitely on the more commercial end of R&B, but it’s executed quite well. Certainly Gordon and Ed Brown’s grooves are impeccable, and Minnie Riperton shows herself an adapt vocalist. And thank God that none of these songs sound like “Lovin You”, I really hate that song. Trite melody, trite lyrics, and I can’t stand the “whistle register” on there. The album has a lot of energetic funk-soul throughout, with the occasional ballad thrown in. Even when Minnie does the whistle register, it’s not nearly as annoying as on “Lovin You”. Even on the title track, it actually doesn’t bother me as much when paired with a big funk sound, compared to a really bare bones song where it sounds that much more shrill. For fans of 70s R&B/soul and funk, this is definitely one to look into, it’s a really solid album.
Art Garfunkel, Breakaway: Breakaway is the second studio album by Art Garfunkel, released October 14, 1975 on Columbia. Produced by Richard Perry, this proved to be Garfunkel’s most commercially successful solo effort, spawning three Top 40 hits and eventually reaching Platinum. Backing Garfunkel is our very own Jim Gordon on drums alongside John Guerin and Max Bennett from the Hot Rats sessions and all these other people: Toni Tennille, David Crosby, Graham Nash, Jon Joyce – background vocals Stephen Bishop – acoustic guitar, background vocals Steve Cropper, Pete Carr – electric guitar Paul Simon – acoustic guitar, background vocals Andrew Gold – acoustic guitar, ukulele, piano, electric guitar, Fender Rhodes, background vocals Nicky Hopkins – piano, Fender Rhodes Bruce Johnston – piano, background vocals, whistle Jim Keltner, Rick Shlosser, Jim Gordon, John Guerin, Russ Kunkel, Roger Hawkins, Denny Seiwell – drums Louis Shelton, Lon Van Eaton – acoustic guitar Barry Beckett, Reinie Press, John Barlow Jarvis – piano Max Bennett, Lee Sklar, Joe Osborn, David Hood, Klaus Voormann – bass guitar Joe Clayton – percussion David Katz – violin, orchestra contractor Larry Knechtel – piano, Fender Rhodes Del Newman – conductor Bill Payne – piano, Fender Rhodes, synthesizer, mellotron New World Philharmonic Orchestra – orchestra And now onto the album. Garfunkel is in fine voice as always, his tenor shines like a bell throughout. Really, the voice is almost always there through his solo career. I just wish his solo career had a little more substance to it. He can do very nice covers, but if he had something to really latch onto like he did with Simon. I know I already went into this when reviewing Angel Clare, but Paul and Art were such a good fit for each other. There is good stuff from both of their solo careers, but I still often think “imagine what Paul or Art could do with this.” In fairness, when you don’t compare it to Simon & Garfunkel, it’s an enjoyable pop record with some strong vocals and respectable cover of previous tunes. I certainly enjoy his take on “Disney Girls”, one of my favorite Beach Boys songs and definitely the best one that Bruce Johnston ever wrote. I’m not the hugest Bruce Johnston fan, some of his songs do get too saccharine for my tastes, but that’s one of a few that I make an exception for. It does have the sweetness that we associate with Johnston, but it’s kept in check, and there’s that underlying melancholy, where the speaker clearly knows his long lost youth can never return. Beyond that, and the fact that Johnston even plays on the cover, this compliments Garfunkel’s voice so well, to the point where I might like it more than the original. I can give this a solid recommendation to S&G fans or fans of 70s pop and soft rock, good listen overall.
Joan Baez, Diamonds And Rust: Diamonds And Rust is the twentieth studio album by Joan Baez, released April 1975 on A&M. Produced by Baez and David Kershenbaum, the album features a mix of originals and covers, with Baez covering the likes of Stevie Wonder, Dylan, and The Allman Brothers. Backing Baez on here is our very own Jim Gordon on drums, Larry Carlton on electric and acoustic guitars and arrangements, Dean Parks on electric and acoustic guitars, Larry Knetchel on piano, Joe Sample on electric piano and Hammond organ, David Paich on piano and electric harpsichord, Malcolm Cecil on synthesizer, Ted Rhodes on pedal steel guitar, Ollie Mitchell and Buck Monari on trumpets, Jim Horn on saxophone, Tom Scott (unfortunately) on flute/saxophone/arrangement, Wilton Felder and Reinie Press on bass. In addition, Max Bennett and John Guerin play bass and drums on “Dida”, which also features Joni Mitchell and guitarist Rick Lo Tempio, and jazz pianist Hampton Hawes plays on “Children And All That Jazz”. Joan Baez is another artist that I never looked deep into, though I liked a lot of what I heard. I also knew of the title track from Judas Priest covering it, and they did a great job with it and making it their own. But I have to say, this is a very strong effort, highlighting Baez’s vocal and songwriting talents as well as being able to leave her own mark on pre-existing songs. The jazz angle also brings a fairly fresh angle to the music as well, with the likes of Gordon, Bennett, and Hawes as icing on the cake. Overall, I give a very strong recommendation to the album, it’s a great record.
Darryl Hall and John Oates, Darryl Hall And John Oates: Darryl Hall And John Oates is the fourth studio album by Hall & Oates, released August 18, 1975 on RCA. Produced by Hall, Oates and Christopher Bond, the album is sometimes referred to as The Silver Album due to the metallic glam cover designed by Pierre LaRoche of Ziggy Stardust fame. The album is best known for spawning the duo’s breakthrough hit “Sara Smile”, which would them led to “She’s Gone” being rereleased. The album’s lineup consists of Hall on vocals (taking lead on all but tracks 1;3;10), Oates on vocals and guitars, our very own Jim Gordon on drums alongside Ed Greene, Bond on synthesizers/guitar/Hammond organ/horn and string arrangements/backing vocals, Scott Edwards and Leland Sklar on bass, and Gary “I’m Not That Gary Coleman, So Knock It The F*** Off With Those Jokes!” Coleman on percussion. In addition, Darryl Hall’s then partner Sara Allen provides backing vocals on “(You Know) It Doesn't Matter Anymore“, Clarence McDonald performs grand piano on “Sara Smile”, and Mike Baird plays on “Grounds For Separation”. Hall & Oates (I know they’re not technically called that and they don’t like the name, but which one is easier to say? Exactly) is a group that I’ve always enjoyed their hits from, just really good, well crafted pop and blue eyed soul. For whatever reason, I never really looked into their albums, even though I bought Abandoned Luncheonette. And the thing that got me to actually finally look into a full album was a Zappa thread. Go figure. And honestly, this is really solid. Really solid. Of course, I’ve always liked “Sarah Smile”, but man, the soul influences the two have always worn on their sleeves really comes through on this record, especially on “Nothing At All”. I also get a light LA vibe at times, certainly on cuts like “Grounds For Separation”, yet its quite seamless with the rest. I will say, that cover. Interesting, to say the least. Definitely an attention grabber. For the right reasons? Not sure. I definitely recommend this album, great 70s pop or soul record.
Richard “Groove” Holmes, Six Millionare Dollar Man: Six Million Dollar Man, the full title being Theme from Six Million Dollar Man and Other Selections, is the thirty-first release by jazz organist Richard “Groove” Holmes, released in 1975 on RCA and Flying Dutchman. Produced by Bob Thiele, the album features material written and arranged by Oliver Nelson. Backing Holmes is our very own Jim Gordon, who plays drums on all tracks except for 3 and 5, David Walker on guitar, Mike Wofford on piano/electric piano/ARP synthesizer, Tom Scott on tenor saxophone/flute/arrangements, Oscar Brashear on trumpet, Chuck Rainey playing bass on all tracks but 3 and 5, and Mayuto Correa on percussion. The personnel on tracks 3 and 5 are: Bobby Bryant and Charles Findley: trumpet Garnett Brown, Maurice Spears, and Lloyd Ulyate: trombone Gene Cipriano, Jack Nimitz, Jerome Richardson, and Bud Shank: woodwinds Chuck Domanico: bass Larry Bunker: percussion Shelly Manne: drums (only on track 5) This was an album and player I had never heard of prior to doing this thread. I am quite fond of the organ, particularly a good Hammond, one of the best things mankind ever created. And man, Holmes knew how to use it. Warm tone and tasteful phrasing, he was a clear follower of Jimmy Smith. By God, Tom Scott is actually good on here. How did that happen? How did you take the man that made me understand why people hate the saxophone, and make him sound good? Did somebody steal his identity? That’s got to be it. In all seriousness, I can now name three things I like from Tom Scott (not counting any good albums he happened to be on): This album The lyricon on “Peg” The Blues Brothers (?) And of course, Gordon is fantastic as always, effortlessly melding the jazz and soul, and locking in so beautifully with Chuck Rainey. Well, if you love jazz and soul music, or love the organ, this is a good album to check out, very enjoyable listen.
Thelma Houston And Pressure Cooker, I’ve Got the Music In Me: I’ve Got The Music In Me is the third studio album by R&B singer Thelma Houston, released in 1975 on Sheffield Lab. Produced by Bill Schnee, the album features backing by “Pressure Cooker”, which consists of our very own Jim Gordon on drums alongside Jim Keltner, Larry Carlton and Dean Parks on guitars, keyboardists Larry Knetchel, Lincoln Mayorga, Mike Melvoin, and Michael Omartian, Reinie Press on bass, Gary “I’m not kidding, goddamnit! Knock It The F—- Off!” Coleman and Victor Feldman on percussion, Chuck Findley and Paul Hubinon on trumpets, Dick Hyde- -and Lew McCreary on trombones, Jim Horn and Tom Scott on saxophones, Richard Perissi on French horn, and backing vocalists Morgan Ames, Jim Gilstrap, Myrna Matthews, Marti McCall, Lisa Roberts, and Jackie Ward. I didn’t expect much of anything going in, but honestly, it’s not too bad. For a disco album fairly early on in the genre, it’s a pretty good stab at it, even if the songs often don’t quite get there. It’s not essential listening, but it’s not too shabby, all things considered.
Let’s wish an amazing 60th birthday to Steve Vai! I discovered him first through his time with David Lee Roth and on Eat Em And Smile in particular. After hearing that record, holy what the hell. That boy played a mean six string, and that album took a twenty pound dump on Van Hagar doing fifth rate Survivor. And from that, I’d hear his solo work, the album he did with PiL, his work with Zappa, and beyond. A true master of his craft, Vai is easily among the most forward thinking from his generation. Beyond the incredible virtuosity, his playing is so alien, so otherworldly and creative. No matter where he goes, he lifts the music to another level and really pushes everyone else to do better. He was the guy that David Lee Roth looked at and said “After Eddie, I need a guy that can wow people, and this cat can wow people for sure!” He’s the dude a movie casted when they needed the baddest, scariest guitarist for the Devil to put up against Ralph Macchio. And other than Ry Cooder’s slide, all that guitar work is Vai! So yes, Vai bested himself. He’s a standard that guitarists still aspire to all these years since he first joined Zappa’s band in 1980. Plus, he was hired as Zappa’s transcriptionist at EIGHTEEN! What were YOU doing at eighteen? Yet through it all, he’s remained such a cool, down to earth guy. He’s never seen himself as better than anyone, and even when he speaks of teachers like Zappa and Satch, you still see how much respect and reverence he still has for them. He may have guitar god status, but he’s still very much a student of music that can still learn a few tricks. Plus, dude looks good for his age.
Cool windmill whammy bar at the 7 minute mark! Honestly some guys make it look too easy. Even Zappa gave you the impression " playing this **** is hard work you know". Stevie always looks like he woke up shredding.
Normally I don't like reaction videos, but this gal is fun. Her immersion into FZ is priceless. Points for experimenting. She even listens to Beefheart! She sure picked a killer performance!
An interesting if dubious ( and poorly edited ) account of the tune, "Montana". "As we all know, the theme of the song MONTANA, from Frank Zappa, relates to "raising dental floss" and in an imaginary sense, choking proverbial Salvador Dali-esque chicken - the "white dental floss" perhaps being a stream of semen ejected, reminiscent of a bad pr0n movie that many people have long ago forgotten. "Salvador Dali's paintings, very well demonstrate the value of the imaginary and the surreal. "The SUBSTANCE of the song MONTANA, relates to the theme, also in the song, that Zappa criticizes the protagonist for being a farmer, MOVING TO MONTANA, and being a happy laboror. "Clearly, Zappa being very motivated by money in all his business dealings, shrewed in every sense, such as when he found out Warner Bros. factories were doing extra production runs in the evening, after the contracted number of records had been manufactured, just to unload them into a truck, and dump that production onto the black market, with no royalties paid on the extra part of the product run and suing Warner Bros for that behavior, or when he had special "contractor" agreements with band members to avoid paying benefits, high payroll taxes or other legal salaried employee costs, for example, decided in the song MONTANA to underline as noteworthy the fact that only MONTANA has rejected the "at-will" juridprudence concerning labor laws,governing company and employee relationships.* "In all other states, except perhaps 2 others where the "at will" case law of the USA regarding labor relations is either mitigated or rejected outright, MONTANA had progressively moved forward since the 1970's to ban "at-will" unfair labor practices with a more modern relationship, that requires some minimal motives for a company to dismiss an employee - tardyism, lack of productivity, etc - which are protections not existing in the other 48 states, comprising the union, of the USA. "Zappa, the ultimate social critic, in his song MONTANA, finally rendered his own social comment on that state's labor progressivism by composing this song,and inter-twining it with surreal and sub-intended meanings, suggesting that workers moving to Montana to take advantage of the little but better labor law protection, will be doing so to generate a "lonely dental floss" stream of output in their jobs ........or in other words, a lonely "masterbation" on the job, of little value to their employers. "Again, a very harsh and ascerbic social critique, on the part of Frank Zappa, about labor legislation as it exists since he came across it back in the 1970's, when he played some gigs down there, by seeing his musicians and lighting-technicans and concert new hires had better labor contracts than merely "at will" employments which the other states offer." – some guy named "Mike" Me? I always thought it was his dismissing in overly-wrought dental hygiene classes being bestowed upon subjects of the public school system of the day. Y'know, Moon was of that age by then. I remember getting the jawbone for one hour every week and the virtues of good dental hygiene. We get it, but you're gonna lose kids' attention span if you yam on too long. And this was done WEEKLY for an entire year. Ugh * I didn't know this. Any of it. Wowee Zowee!
No, she states the LAST Zappa vid she recorded was "Bobby Brown". She'd never heard him before and started with THAT. Yikes. Too funny.
No less an authority: "An astonishing 15 year work of research, Ulrich has created the ultimate encyclopedia of all Zappa + Mothers recordings. The details of the sessions and of the musicians who participated are as fascinating as one of Frank's best compositions." – Art Tripp, Mothers Of Invention percussionist, '68 – '69
Gordon Lightfoot, Cold on the Shoulder: Cold On The Shoulder is the eleventh studio album by Gordon Lightfoot, released February 1975 on Reprise. Produced by Lenny Waronker, the album’s lineup consists of Lightfoot on lead vocals/ six and twelve stringed acoustic guitars/piano, our very own Jim Gordon on drums and percussion, Red Shea on acoustic and classical guitars/Fender Telecaster, Pee Wee Charles on steel guitar, Terry Clements on acoustic guitar, Nick DeCaro on accordion/celesta/string arrangements, Jack Zaza on winds, Rick Haynes and John Stockfish on bass, Milt Holland on percussion, and Suzie McCune and the Jackie Ward Singers on vocals. This is yet another slice of country folk rock, with Lightfoot in strong voice and writing form. Once again, not an album I’m really that familiar with, but it’s quite an enjoyable record on first listen. Not an album I would oppose revisiting and one i Can definitely recommend.
Robert Palmer, Pressure Drop: Pressure Drop is the second studio album by Robert Palmer, released November 1975 on Island. Produced by Steve Smith, the album features backing by all members of Little Feat’s classic lineup-our very own Lowell George on guitar/backing vocals alongside Paul Barrere, Bill Payne on keyboards, Kenny Gradney on bass, Richie Hayward on drums/percussion/backing vocals, and Sam Clayton on backing vocals-as well as Jean Roussel on clavinet/Hammond B3 organ/keyboards, Mel Collins of King Crimson fame on saxophone and flute, Mongezi Feza on trumpet and flageolet, Ray Allen on trombone, Martin Frye on tuba, the Muscle Shoals Horns on...horns, Gordon DeWitty on clavinet, Joe Brown on banjo, David Snell on harp, Steve York on harmonica, Vicki Brown and Fran Tate (furthering the Little Feat connection). on backing vocals, and Gene Page on strings. Sharing drum duties with Richie is Ed Greene, while Kenny shares bass duties with none other than Funk Brother James Jamerson. While the disco strings are of the time, they’re not bad at all on here. On the contrary, they’re quite tasteful in execution. And the mix of disco and New Orleans funk should sit at odds, but it works oddly well. It certainly gives the album a certain variety, and Palmer is in great voice throughout. And plus, you got Little Feat and James flipping Jamerson on this album. “Pressure Drop” by Toot & The Maytalls is covered, and Palmer and company do an excellent job with it, keeping the spirit of the original intact while bringing a different angle to it as well. It’s sure as hell better than when the Stones did “Cherry Oh Baby” (my favorite band, but yikes!). Of all the albums I didn’t really know before doing this thread, this is one of the few that I kept going back to, and giving how many albums I’ve listened to, that says something. It’s a well produced and performed album, great flow to it, I can definitely give this an enthusiastic recommendation.
Of all the strange things I've seen this week, Gordon Lightfoot and Robert Palmer on a Frank Zappa thread is ... well ... up there.
