Friday, March 15, 2024

Yes - 9012Live: The Solos (1985) + Bonus Tracks

(U.K 1968 - 2004, 2009 - Present)

9012Live: The Solos is the third live album by English rock band Yes, released as a mini-LP on 7 November 1985 by Atco Records. 
Recorded during their 1984 world tour in support of their eleventh studio album, 90125 (1983), the album features a selection of solo tracks performed by each of the five band members [Jon Anderson, Chris Squire, Trevor Rabin, Alan White and Tony Kaye], plus live versions of two songs from 90125. The album was an accompany release to the band's 1985 concert film, 9012Live.

In March of 1984, the long overdue show went on the road. Aside from seeing three continents, three tour managers, one small army of Argentinean security, encountering numerous threats, one ticket office bombing, some minor bickering and moaning, one squadron of flying saucers over Denver, lots of vodka and surviving two international escapes, the tour went smoothly and without incident. In spite of, or perhaps as a result of this, what ensued was a series of shows that delighted audiences everywhere.


Yes chose to redefine their image: dispensing, for the second time, with Roger Dean, and embracing a new design style based on computer graphics. The 1980s Yes utilised a new updated YES logo and released only their second promotional video in sixteen years, a live recording of their tour. The young filmmaker Steve Gottenburg produced 9012Live for the Charlex Company, using state-of-the-art video technology – incorporating over 60 stunning visual effects. Nominated for various awards, 9012Live provides an accurate portrait of the reformed band.


With a massive hit album and a number one single, the finances were available to put on a big show. To complement their new sound, Roger Dean’s eerie landscapes were replaced by starker, but still spectacular lasers and computer graphics. Playing only in large arenas on this tour, the stage was multi­-levelled, and sparse, its high-tech design reflecting the new album cover. The front of the stage sloped down to the audience while the rear sloped upwards, all band members on the same level except for Alan, whose drum pedestal was raised above the rest.

Rabin, Anderson, Squire
The Album

This album (or mini-LP) was released to promote the then forthcoming VHS video called "9012LIVE". 

This album could have been better if it was released with more songs played by the entire band and not with the solo performances by each member of the band which were omitted in the video.

"Hold on" is a good live version, but Tony Kaye`s keyboards are more in the background. The other song performed by the whole band is "Changes", with very good keyboards by Tony Kaye (with brief additional keyboards by Jon Anderson, as seen in the video) and better mix.

The other tracks are performed as solos by each member. Tony Kaye`s solo is brief and it seems that he doesn`t like very much to do this kind of performances on stage. He plays with Trevor Rabin in Rabin`s acoustic guitar solo called "Solly`s Beard", the best of the solos. Jon Anderson`s solo is the "Soon" part of "The Gates of Delirium", played differently with Tony Kaye on keyboards. Chris Squire`s solo is a brief and distorted bass guitar and bass pedals version of "Amazing Grace", followed by "White Fish", which has Chris Squire and Alan White playing their "solos" in a medley of fragments of songs like "The Fish", "Tempus Fugit", "Sound Chaser" and others.

Rabin and Squire
In 2009, the album was reissued in Japan by Isao Kikuchi for Warner Music Japan, with two bonus tracks. These two additional songs had both been previously released:

"It Can Happen" - as the B-side of  the studio version "It Can Happen" (Atlanta 4/16/84)

"City of Love" - as the B-side of "Rhythm of Love" (from 9012Live - Edmonton '84)

...and they're nice to have, certainly, but I think it would have been possible and also desirable to include something from that tour which technically had never been released before, such as a recording of  "Hearts." We know there is audio of complete shows in the archives, even though it's very likely it will simply remain there. I also think it's entirely reasonable to state that "Cinema" should have been included as the first track as it represents a collective solo set piece of sorts and makes for a nice overture.

1984 Tour T-Shirt
Final Say

I recall when the LP was first released back in the mid 80s and having purchased it in good faith, was somewhat pissed to discover that it was a 30 minute album selling at full price. It really is a pity they didn’t include more of the live 90125 tracks they played on that tour on this vinyl release. The two additional tracks included on the CD release come across well (and could have fitted on the original vinyl release) but it is a real shame this is the only official release from this tour.

1984 Tour Programme Booklet
To me this is such low hanging fruit - a full live recording would be the perfect accompaniment to the popular film (released on Video) and would be a nice way to celebrate their best selling studio album. I know there are probably good boots available but the Rabin era deserves more official live releases than the solos album and the handful of songs on the Word is Live . I guess if I'm shooting for the stars, I'd also want an official BG, and Talk tour release, but I suspect those are less appealing from a commercial standpoint.

Tony Kaye
Side Note 
On their 1984 World Tour, Tony Kaye was using a bank of synths and samplers hidden under the stage, all triggered from a pair of Yamaha remote MIDI control keyboards (KX-76 or KX-88 would be the model). Well, this was still the early days of MIDI, and sometimes the keyboard sends a note on but forgets to send the note off message. Thus, there's a couple bits where the instrument is sustaining notes that it's not supposed to, and during Tony's solo no less! So you see him reaching over and trying to retrigger the "stuck" notes, so that they'll silence. He must have been thinking, "Bollocks to all of this high tech MIDI gear!".


On the 9012Live album, an extra credit is found for keyboardist Casey Young. It was revealed that while Kaye played keyboards on stage for the tour, Young played additional keyboards backstage, while remaining unseen from the audience. This is not surprising given the technology of the time and the demands placed on the keyboards by the intricate 90125 songs.

Jon Anderson
This post consists of FLACs ripped from my mint condition vinyl which I purchased from a pop up record stall at the Victoria Market in Melbourne, back in the mid eighties.   It is an import pressing as it features a trademark hole punch in the top corner of its cover.  Even though I felt cheated when I bought it (due to the short play time), I still enjoy the recordings - although I think Jon Anderson's edited rendition of "Soon" was far too short, and does no justice for this beautiful song. 
Full album artwork for both vinyl and CD media are included along with the usual obligatory label scans.   I have also decided to include those two additional tracks from the CD release (as listed above), as bonus tracks.   



Tracks Listing:
1. Hold On (6:57)
2. Si (2:40)
3. Solly's Beard (4:39)
4. Soon (2:18)
5. Changes (7:00)
6. Amazing Grace (2:10)
7. Whitefish (8:40)
Bonus tracks
8. City of Love (6:31)
9. It Can Happen (6:29)

Line-up / Musicians:
- Jon Anderson / vocals
- Chris Squire / bass, vocals
- Tony Kaye / keyboards
- Alan White / drums
- Trevor Rabin / guitars, vocals
 

Tuesday, March 12, 2024

REPOST: Contraband - Selftitled (1979) + Bonus Single

(Australian 1973-1979)
.
Initially formed in Sydney and originally called Stillwater, the band changed its name to Finch in 1973 and then, in mid-1978, they changed their name to to Contraband. Owen Orford was the only remaining member of the original 1973 line-up.
The band didn't work fulltime until 1976 when, as Finch, they recorded their first album, 'Thunderbird'. They produced and financed the recording themselves and its release, on the Eagle label, coincided with an upsurge in their popularity.
Originally Sydney-based, they toured Melbourne, Adelaide, Brisbane and country areas of New South Wales. At the end of 1976, they moved to Melbourne and released a single, 'Short Changed Again'. The disc enjoyed moderate success, but its release was followed by a major upheaval. BOB SPENCER (guitar) left to join Skyhooks; then the group split completely leaving only PETER McFARLANE (drums) and Owen. The two of them spent the next three months (April '77 to July '77) auditioning new members. Eventually they came up with David Hinds, who replaced CHRIS JONES as second guitarist, Mark Evans (ex-AC/DC), and an old school friend of Mark's, Graham Kennedy.


Meanwhile the band was signed by CBS. In February 1978, their 'Nothing to Hide' album was released. A single, 'Where Were You', was lifted from it and, in March, became their first national hit.
The band's big break coincided with the album's release — they were picked up for worldwide distribution by American label Portrait. However, as there was already a Dutch band called Finch, Portrait recommended a change of name (to Contraband). Until October '78 the group used both the old and new names to help fans adjust.

.
In March, Contraband set off on a national ten week tour with Dragon and, nearing the tour's end, released a re-mixed, edited version of 'Nothing To Hide' as a single. The band then headlined its own tour and, in July, supported Status Quo on its Australian jaunt. The same month, Contraband's album was released in the US. Apart from receiving favourable reviews, the LP got airplay on some of the major FM stations.
In October '78, Peter McFarlane left the band, basically over differing musical taste. He was replaced by Barry Cram (ex-Front Page and Russell Morris Band). Coinciding with the split they released another single, 'That's Your Way' (also a re-mix).
Contraband was scheduled to leave for the US in January '79 to record an album. However Portrait, which was financing the project, pulled out at the last minute without explanation. Undaunted, the band decided to go ahead on its own, record the album at Albert Studios in Sydney and aim at getting to the US later in the year. This selftitled album is the final LP that they recorded before splitting total later in 1979.  [extract from Noel McGrath's Australian Encyclopedia of Rock 1978-79 Yearbook, p14-16].
.
Finch (Contraband) On Countdown 1979
This post consists of FLACs ripped from my cassette tape (plays just fine) and includes full album artwork (which was sourced from Midoztouch with thanks). Also included is the non-album B-Side single from Rainin' Again.
Not a bad collection of tracks - probably their best songs musically, but I still preferred their heavier rock material from their early Finch days (see previous post)

NEW IMPROVED RIP
.
Track Listing
01. Lead Me to the Slaughter
02. C-61
03. Rainin' Again
04. Twisted
05. Shot Down in Flames
06. Gimme Some Lovin'
07. Only a Fool
08. Jodie on the Break
09. Sittin' Pretty
10. I Want La-Huv
11. Too Drunk To Know (B-Side Single)

.
Band Members:
Barry Cram (drums)
Owen Orford (vocals)
David Hinds (guitar)
Graham Kennedy (guitar)
Mark Evans (bass)
.
Contraband Link (304Mb)
New Link 12/03/2024

Friday, March 8, 2024

Sherbet - The Sherbet Phenomenon (1981) + Bonus Tracks

(Australian 1969-1984)

'The Sherbet Phenomenon' - How else might one explain a run of twenty consecutive hit singles (to say nothing of five for Daryl), twelve albums yielding ten platinum and eight gold discs, every possible Australian music award of the seventies and the honor of being not only the biggest domestic record sellers of all but the first act to sell a million dollars worth of records in Australia.

Sherbet were the first Australian band to insist on taking their music to the people - all the people - on long, tedious national tours.

Lugging seven tons of equipment, they would set out in Greyhound coaches for up to three months - poking their noses into dark corners of the continent which had not seen a rock band since The Easybeats in 1965. They did this not once or twice ... the figure is more like twenty.


Those who were a part of those intense and exciting spectacles called 'Sherbet concerts' will always remember not just the carefully orchestrated visual majesty or the powerfully constructed music, they will also recall the extraordinary warmth and rapport which existed between the stage and the stalls; from the Hordern Pavilion to remote North Queensland council halls.


This release is as close to the perfect Sherbet collection as one might wish to possess on a single vinyl album. Nineteen pieces of carefully crafted and executed pop music from five guys who understood it better than any other Australian band before or after them. Listen to the music ... remember the magic.



FREE THE PEOPLE
The third single and second hit Number five in Sydney in November, l971. A Delaney ond Bonnie track featuring original bassist Bruce Worrall on tuba.

YOU'RE ALL WOMAN
Written by old mate (and later touring companion) Ted Mulry, this was the first track to feature Tony Mitchell, and the first hit to crack the Melbourne top twenty (thirteen), in August 1972.

HOUND DOG
A raucous version of the Lieber/Staller rock classic which found its way on to tape in around three hours. Top thirty in July, 1973 For many years this was the obligatory Sherbet show closer.

CASSANDRA
The first indication of the pop masterpieces that were to come and a perfect national top five summer hit, in October, 1973

SLIPSTREAM
The extremely ambitious title track to their third album and possibly the first truly expensive track to be cut in this country. A national top ten single in July 1974.

SILVERY MOON
Also from 'Slipstream', a highly commercial ballad and another national top ten hit in September 1974.


YOU'RE MY WORLD
Daryl Braithwaite's first solo hit and what a hit! A double platinum national number one (before Sherbet had had done it) over Christmas 1974 and the key to breaking Sherbet in the mass market.

SUMMER LOVE
Another pop classic and the first single to be released in England. National top five. From this point there was really no looking back - March 1975.

LIFE
The dramatic title cut to the 'Life ... Is For Living' album, featuring Clive Shakespeare on acoustic classical guitar. As a single, number seven nationally in August 1975.

ONLY ONE YOU/MATTER OF TIME
A powerful double sided hit from the 'Life' album, One side a weepy ballad, the other a rolling rocker featuring Garth Porter on lead vocals. National top ten in November 1975.

Sherbet 'Howzat Era' 1976
(L-R) Tony Mitchell, Alan Sandow, Daryl Braithwaite, Harvey James, Garth Porter

CHILD'S PLAY
A top ten single in February, 1976 and marked Clive Shakespeare's final recording with Sherbet.

HOWZAT!
From the rubble of turmoil arose - an even stronger Sherbet, with new guitarist Harvey James and a first single that rose to number one in Australia, Thailand and many parts of Europe, and number two in England. From the 'Howzat' album in May, 1976. This was the beginning of Sherbet as an international entity.

ROCK ME GENTLY
A pleasant, soft rocker which had the unfortunate task of following a gorilla like 'Howzat'. It made top ten in October 1976.

YOU'VE GOT THE GUN
Featured as a 'double A side' with 'Rock Me Gently', this was a rather more sophisticated reworking of their original 1972 single.

LOVE HAS NO PRIDE
Daryl's fourth solo single, a quality version of Eric Koz's classic ballad. A hit in April 1977.

MAGAZINE MADONNA
The first single from the 'Photoplay' album which, like 'Howzat', was released all over the world. A top 5 national hit in June 1977.

SLIPPIN' AWAY
The mature and imaginative opening track from the eleventh album titled simply 'Sherbet'. This album was recorded at United Western Studios in Los Angeles. A number 22 hit in March 1978.

ANOTHER NIGHT ON THE ROAD
A second song from the 'Sherbet' album and a band favourite which tells the story of their decade of touring, recording and playing a game so very few people ever really understand. A number 17 hit in August 1978.   [Taken from album Liner Notes]

Glenn A Baker.
Australian Editor Billboard November, 1980

This post consists of FLACs ripped from my 'Hammard' vinyl and includes full album artwork and label scans. Because Hammard Records were a low budget label that released a variety of music genre during the 70's and 80's, I usually tended to avoid them due to their poor sound quality (similar to K-Tel records). However, in this case I made an exception due to the great 'bang for bucks' that this compilation offered - over 60 minutes of music.
Of course, the compromise is the lack of bass that exists with these type of releases, however I have applied some minor bass enhancement to this rip to improve the sound. 

One other gripe that I have with this release is the inclusion of two of Daryl Braithwaite's solo releases, at the expense of excluding some classic Sherbet tracks; such as "Freedom", "Wishing Well" and a personnel favourite "Wild Love" (from their Slipstream album, with its heavy, funky bass line). I have therefore added these as Bonus Tracks.

Tracklist
01 Sherbet–Free The People  2:37
02 Sherbet–You're All Woman  2:52
03 Sherbet–Hound Dog  2:24
04 Sherbet–Cassandra 3:15
05 Sherbet–Slipstream 2:57
06 Sherbet–Silvery Moon 3:21
07 Daryl Braithwaite–You're My World  3:06
08 Sherbet–Summer Love 3:34
09 Sherbet–Life  3:26
10 Sherbet–Only One You 3:27
11 Sherbet–Matter Of Time  2:57
12 Sherbet–Child's Play 3:17
13 Sherbet–Howzat! 3:42
14 Sherbet–Rock Me Gently  3:34
15 Sherbet–You've Got The Gun 3:30
16 Daryl Braithwaite– Love Has No Pride  3:18
17 Sherbet–Magazine Madonna 4:05
18 Sherbet–(Feel Like It's) Slippin' Away  3:21
19 Sherbet–Another Night On The Road   3:46
20    Sherbet-Wild Love (Bonus Track) 3:19
21 Sherbet-Freedom (Bonus Track)  3:48
22 Sherbet-Wishing Well (Bonus Live)  3:54

Sherbet Were:
Daryl Braithwaite (vocals) 1969-84
Gunther Gorman (guitar) 1976
Harvey James (guitar, vocals) 1976-84
Dennis Laughlin (lead vocals) 1969
Tony Mitchell (bass) 1972-84
Garth Porter (keyboards, vcls) 1970-84
Doug Rae (bass) 1969
Alan Sandow (drums) 1969-84
Sam See (keyboards) 1969-70
Clive Shakespeare (guitar, vocals) 1969-76
Danny Taylor (drums) 1969
Bruce Worrall (bass) 1969-72


Tuesday, March 5, 2024

REPOST: Billy T - No Definitions (1977) + Bonus Tracks/Video

(Australian 1975-78)
.
After the demise of Daddy Cool & Mighty Kong, Ross Hannaford formed Billy T with Joe Creighton in Queensland, and later joined up with Russell Smith (Company Caine) and Mick Holden (The Mixtures), playing a mixture of Reggae, Soul, Funk and Rock in Melbourne.
They released 3 singles and their debut LP 'No Definitions'.

As their bass player 'Joe Creighton' recalls on his blog:
Around 1975, I hooked up with Ross Hannaford and we formed Billy T.   Billy T was a unique band in that it broke the mold of standard Aussie rock in pubs. With our own brand of blue-eyed soul and reggae we had quite a successful run in the Australian pub circuit.
Our tour support with legendary US band 'Little Feat' cemented our profile as the band most likely to do it in 76. Unfortunately Ross and I kept floating off to the US and Europe to play for Maharaj Ji and Billy T suffered the consequences of our absences. The rest of the band basically got jack of it and I can't remember if we got sacked or if we called it quits. But whatever, the band eventually dissolved.


L to R: Geoff Bridgford (ex Bee Gee),
Joe Creighton, Ross Hannaford
I don't think Ross was ever all that happy in the band. It is often difficult having two dynamic guitarists in one band and Russel Smith was and still is a great guitarist. I think he and Ross always had trouble defining their roll with each other musically. Maybe they should have taken heed of the title of our only album 'No Definitions'! Having said that, there were many many moments where they rose to great heights and complimented each other superbly. Billy T was a great live band and with a bit more focus probably would have made a bigger imprint on the industry than it did.

.The following is a transcript of an interview conducted by Peter Olszewski of RAM magazine with the members of Billy T (#37 - 30th July 1976):
Get up and Guru?
Do the Funky Electric Meditation?
There's this new band around called BILLY T
who...... well, read on ...


Take a large tin, throw in a hot city bump, one only of Mighty Kong's nose hairs, a smidgeon of cocaine, some dried angels wings, boil it all up. and waddya got? Billy T.
And what exactly is Billy
T? It's a new band in Melbourne, comprised of exiles from Hot City Bump Band, Company-Caine, Band of Angels and Daddy Cool / Mighty Kong.

The band's just one of the many newbies poppin up in Melbourne town, all in accordance with Parkinson's Law of Rock Bandz:— Following a period of n
umerous band break-ups, personnel reshuffle and form a series of new bands which is approximately equal to the number of old bands that have just broken up.
However, what sets Billy T apart from the other 'newbies is their unusual fusion of rock, reggae and soul (Roul? Sock?) Looking at the line-up you find, on the rock side. Russell Smith — guitar (ex-Co.Caine) and Ross Hannaford — guitar (ex-Daddy Cool — Mighty Kong). On the soul side you've got Joe Creighton — bass & vocals and Geoff Maling — percussion (both ex-Band of Angels) and Mick Holden ~ drums (ex-Hot City Bump Band).

The obvious thing to do of course, is to weigh in with the heavy ques
tion of how did this come about.
Says Ross Hannaford: "It's my taste. I've had my fill of rock and roll so we're moving into the kind of music we like to play. We don't want to brand ourselves as a soul group, and I want to incorporate a lot of rock and roll because you find people, especially in Melbourne, can't really dance to soul.

"I notice people nowadays have got a concept of what dancing is all about, and we want to really encourage it because we're simply setting ourselves up as a dance band."
Which of course is fair enough. If you're a dance band and no-one can dance to you then. uh, it's time to hang up dem geetars.

The two founders of the band are Hannaford and Joe Creighton who started to play music together through their affiliation with the Divine Light Mission. Ross and Joe first played together professionally on Jim Keays reggae cum anti-drug song "Give It Up", which presumably wasn't the right message at the right time because it did absolutely nothing sales wise, but that's another story ... or is it?
Ross explains the further development of the band: "I started the band off sort of. Joe had a gig lined up at The Patch in Coolangatta and I went with him. Ever since I left Daddy Cool ... well, at first I wanted a break and then I wanted to get a band going ..."
Joe steps into the conversation ...
"Yes, and we started putting a band together in a really relaxed sort of way and we started writing some songs up there in the sun and the surf and what have you ..."
Mick Holden weighs in with the sound effects: "Tweet, tweet, tweet."

Back to Joe: "Then we came back to Melbo
urne and we just started talking to a few guys Mick was one of the first guys we had a blow with. We dug the feel and then Geoff came along ... it was all very relaxed you know. Russell came over one day and had a blow. Then we started blowing together with this group of guys and one day we had a look at each other and said what do you reckon?"
And on the subject of the rather strange name?
Mick: "It means whatever you want it to,

Uh uh, well I had this immediate association with Billy Tea?
"Yeah, it kinda gives us tha
t Australiana type of thing. Although Mark Barnes at the Station Hotel (Melb's supposedly legendary rock pub of which Barnes is the founder) said: 'Isn't it really a rip off of Billy Thorpe?'

Listening to the band s music and talking to the band, one picks up this continuous ongoing concern about relaxation and detachment. Joe
 kindly explains: "We've all found that the detached attitude makes for really good music. Mick's found that he's detached when he's playing for the Dingoes. (Mick Holden is filling in on drums for the Dingoes until they leave for the States and rejoin with John Lee. their original drummer). It s not the type of thing he's planning for, nor is he worrying about the future; he gets into a real groove because he's just playing. Naturalism is the key. "Talking about this naturalism, relaxation. soul etc brings us to the area of meditation, which brings us to the Divine Light Mission. 


In Melbourne there's quite a strong group of musicians who belong lo this' religious outfit'
From Billy T, Creighton, Mating and Hannaford belong to this organisation but following what you could safely say was a period of bad publicity for the Mission (it was accused of brainwashing devotees), it s very difficult to actually pin down any Divine Lighter into discussing the uh, lighter side of that religion.
I collared Creighton on this subject and he was somewhat
evasive, not wanting lo refer to the Divine Light Mission, preferring to call it "this form of meditation.'
I first saw Creighton's ex-band, the Band of Angels, performing at the Guru
Margarines Melbourne public appearance I was not at all impressed with the little fat man. nor with the music that Band of Angels played, which was mostly recycled Simon and Garfunkel and early melodic Beatles. I was under the
impression that the Band of Angels was sort of a Divine Light house band but Creighton corrected me.
.


"What happened was that the people who were in that band were into doing meditation and they were all musicians. We came from completely different backgrounds and the thing that united us was meditation rather than musical taste. We went from there, created some music, went as far as we could go together, then broke up."
"Ross and Geoff and I still do this meditation and as far as ... well, meditation gives you stillness right, a calmness m your mind, and that's happening, and that s part of the influence in the band, and that's as far as the influence goes, right? Were not a Divine Light band or anything like that, it s just that three of the guys do this meditation."
Is there am coincidence that most of the musicians who uh. do this meditation, usually end up in soul bands?



 I think because soul music expresses that feeling most of all the thing is that everybody in this band has a really nice spiritual awareness. We're not trying to create any image, were just doing what were doing. I think it's a nice high feeling and it'll be like that all the time as long as the band can be left to just relax and play.  Praise the Lord and pass me the meditation mat!
.

The rip of  'No Defintions' was taken from vinyl in FLAC format (thanks to Tarago) and includes full album artwork and label scans.
I have also included 2 bonus live tracks from the 1977 "Nightmoves Concert" (my rip), a scan of the RAM article transcribed above and a Video Clip (mp4) of their single "Gotta Keep On Dancing"

NEW IMPROVED RIP
.Track Listing
01 You Saved Me
02 I Am What You Are
03 Just Like Soul Music
04 Soul Power
05 Keep On Dancing
06 Baby I Need Your Lovin'
07 Live Together
08 Everything I Own
09 I'm In A Dancing Mood
Bonus Tracks
10 Who The Cap Fit (Live 1977)
11 I Am What You Are (Live 1977)
.

.

Band Members:
Ross Hannaford (Guitar, Vocals)
Joe Creighton (Bass, Vocals)
Mick Holden (Drums, Vocals)
Geoff Maling (Percussion)
Russell Smith (Guitar, Vocals)
Neal McPherson (Keyboards)
.

Billy T Link (314Mb)  

Thursday, February 29, 2024

W.O.C.K On Vinyl: Phyllis Diller – Are You Ready For Phyllis Diller? (1962)

 

Before things get too serious here at Rock On Vinyl, I thought it might be fun to post a song / album at the end of each month, that could be categorized as being either Weird, Obscure, Crazy or just plain Korny.

Phyllis Diller (1917-2012) began her comedy career in the 1950s at the age of 37 and broke barriers in the comedy world to become the first solo female comic to be a household name. Diller was also an actress, author and musician. She developed a stage persona of an incompetent housewife and dressed in outlandish outfits with wild hair and exaggerated, crackling laugh.  Her material focused on self-deprecating jokes that tackled the idealized image of American mothers and homemakers. She also created many mythical personas for her stage act including her “husband” Fang, her “neighbor” Mrs. Clean, and her “mother-in-law” Moby Dick.

Diller was one of the first female comics to become a household name in the U.S., credited as an influence by Joan Rivers, Roseanne Barr, and Ellen DeGeneres, among others. She had a large gay following and is considered a gay icon. She was also one of the first celebrities to openly champion plastic surgery, for which she was recognized by the cosmetic surgery industry.

They said it couldn't be done back then (to be a successful lady comic, that is) but the doyenne of female stand-up did just that -- opened the doors for other odd-duck funny girls who dared to intrude on what was considered a man's profession. Initially, the comedienne whipped up an alter-ego that could have only been created with the aid of hallucinogens. Boldly facing the world as a scrawny, witchy-faced, flyaway haired, outlandishly costumed, cigarette-holding, magpie-cackling version of "Auntie Mame", Diller made a virtue out of her weird looks and cashed in on her wifely horror tales and her own idiosyncratic tendencies.

Phyllis Diller's Gag File containing
over 50,000 joke cards
Starting in 1959 and throughout the 1960s, Diller released multiple comedy albums, including the titles 'Wet Toe in a Hot Socket!', 'Laughs', 'The Beautiful Phyllis Diller' and  the featured LP 'Are You Ready for Phyllis Diller?'

For an in-depth discussion and appraisal of this comedy album, I highly recommend you listen to Jason Klamm's Podscast with Riley Silverman at The Comedy On Vinyl Podcast  

And so, this month's WOCK on Vinyl post is not only a big tick for Crazy but also for Comedy, because you are really gonna have some laughs with this one. Note:  a bonus song has been included on this recording - Diller singing the Rolling Stones hit "(I Can't Get No) Satisfaction" which originally appeared on Side-1 of a 1970 Columbia Records Label LP titled 'Born to Sing'.

I have fond memories as a youngster, seeing Phyllis Diller appear on the T.V comedy show 'Laugh In' back in the early 70's and although her gags probably went straight over my head, her voice and appearance was enough to make me laugh and admire her greatly. 

Tracklist:
Satisfaction (song) 2:55
Don't Eat Here 1:08
The Way I Dress 2:55
Beadcraft 1:47
Hypochondriac 2:05
Cook Book 5:57
Household Hints 2:48
Cheese And Turkey 5:38
Tightwad Airlines 11:50
Small Chest Condition 4:15
Labor Day 1:00


Saturday, February 24, 2024

Roberta Flack - Feel Like Makin' Love (1975) + Bonus Live Tracks

 (U.S 1968 - 2022)

Classy, urbane, reserved, smooth, and sophisticated -- all of these terms have been used to describe the music of Roberta Flack, particularly her string of romantic, light jazz ballad hits in the 1970s, which continue to enjoy popularity on MOR-oriented adult contemporary stations. Flack was the daughter of a church organist and started playing piano early enough to get a music scholarship and eventual degree from Howard University. After a period of student teaching, Flack was discovered singing at a club by jazz musician Les McCann and signed to Atlantic.

Some of legendary singer Roberta Flack’s most popular albums include her debut "First Take" and later "Killing Me Softly", gospel-leaning soul albums with immortal ballads like “The First Time Ever I Saw Your Face” and the latter album’s famously Fugees-covered title track. But my favorite is the under-appreciated 'Feel Like Makin’ Love', a lush and sensual foray into the Adult Contemporary sound that defined many hits of the mid-70s.

The Album
Musically, 'Feel Like Makin’ Love' is a little like Carol King, its breezy title track earning a #1 spot on Billboard’s Hot 100 as well as three Grammy nominations including Song of the Year.

The vibe here is resolutely mellow and sexy, with a much larger band than previous Flack recordings, including but not limited to jazz legends Bob James (keyboards), Idris Muhammad and Alphonse Mouzon (drums), and Joe Farrell (oboe). Though quite accessible, the record is expertly arranged and performed, with an early highlight in “I Can See the Sun in Late December”.

“I Can See the Sun” was penned by Stevie Wonder, who was at a career peak around this time. It shows: the nearly 13-minute epic feels less than half that length, with Flack carrying the soaring melody and the band filling out the sound like sunlight shining into the forest of the album cover. It’s a wonderful song on an album full of them.

This album did not come easily however. Her producer of five years, Joel Dorn, departed the album's sessions before they had started, in a flurry of dissension with Atlantic brass. "I didn't know nothing about nothing," Flack stated in the Aquarian. "I had nobody to help me finish the album, so I did it myself. It was one of my worst experiences."

Dubbing herself Rubina Flake, she admitted she was not exactly a whiz at the job. "I knew what I wanted musically but I didn't know a lot of technical things or the business aspects of producing. I learned the hard way," she admitted in the Washington Post. Despite their misgivings, Atlantic Records allowed her free reign, though she "spent a fortune" and took eight months to finish. "If you know what you're doing you can't spend too much time on a album, though you can certainly spend too much money," she defended in the Aquarian.

However, the final product is an outstanding collection of smooth soul, ideal for summer days and nights.

Roberta Flack scored her third No. 1 hit in 1974 with "Feel Like Makin' Love," also her sixth Billboard Top 40 hit. Co-written by Flack and Eugene McDaniels, the single first charted on July 6, 1974, and spent a total of 13 weeks on the chart. It was the title track from Flack's sixth album, "Feel Like Makin' Love", which first charted Mar. 29, 1975, peaking at No. 24 on the Hot 200 album chart and remaining on the chart for 26 weeks.

This post consists of FLACs ripped from my prized vinyl and includes full album artwork for both vinyl and CD media. Although the title track is certainly the pinnacle track on this album, I also think that “I Can See the Sun in Late December” is a standout track, with some wonderful instrumental music by her backing band, as reviewed above. 
As a bonus, I have decided to include live recordings of three of her best known hits, taken from the 1992 Newport Jazz Festival and a concert held in Tokyo, Japan in 1993.

Track List:
01 Feelin' That Glow 5:48
02 I Wanted It Too 2:51
03 I Can See The Sun In Late December 12:48
04 Some Gospel According To Matthew 2:37
05 Feel Like Makin' Love 2:55
06 Mr. Magic 3:55
07 Early Ev'ry Midnite 5:54
08 Old Heartbreak Top Ten 4:22
09 She's Not Blind 5:24
BONUS TRACKS
10 Killing Me Softly with His Song (Live At Newport Jazz Festival, 1992)
11 Feel Like Makin' Love (Live At Newport Jazz Festival, 1992)
12 The First Time Ever I Saw Your Face (Live in Tokyo, 1993)