Friday, May 30, 2008


Digitized from the original vinyl, released in 1974 on ABC Records.
Format: Mp3
Bit Rate: 320kbps
Produced By: Michael Omartian
Engineered By: Michael Lietz, Tommy Vicari, John Guess
Recorded At: Hollywood Sound and Sound Labs
Album Cover: Dave Jarvis
Fat City
The Orphan
Silver Fish
Add Up The Wonders
Take Me Down
Right From The Start
The Rest Is Up To You
White Horse
All music and arrangements by Michael Omartian
Lyrics By Stormie Omartian
Michael Omartian -Vocals, keyboards, Percussion
Guitars - Larry Carlton, Dean Parks
Bass - David Hungate, Wilton Felder, Larry Carlton
Drums - David Kemper, Ed Green
Trumpet - Paul Hubinon
Saxophones - Don Menzo, Jackie Kelso
Strings - Sid Sharp
Flute - Dean Parks
Congas - King Errison
Alto Sax - Dean Parks
Cello - Jesse Ehrlich
Background Vocals - Stormie Omartian, Ann White, Carolyn Willis & Patti Henderson
By Jason Ankeny (All Music Guide)
A solo artist, producer, and composer who enjoyed success in both the secular and CCM arenas, Michael Omartian first surfaced during the early '70s as a top session keyboardist, playing on albums by artists ranging from Steely Dan to the Four Tops to Loggins & Messina before making his solo debut with 1974's ABC label release, White Horse. In 1975, he and producer Steve Barri formed the Los Angeles studio group Rhythm Heritage, topping the pop charts early the following year with their theme to the ABC television series S.W.A.T.; "Baretta's Theme (Keep Your Eye on the Sparrow)" appeared in 1976, but was the unit's last effort of note. After helming Alan O'Day's 1977 chart-topper "Undercover Angel," Omartian graduated to the top ranks of producers through his work with singer/songwriter Christopher Cross, collaborating on a series of hits including the Grammy winning "Sailing," "Ride Like the Wind," and "Arthur's Theme (Best That You Can Do)." From there, he produced sessions for Rod Stewart and Donna Summer, focusing increasingly on CCM projects in the years to follow through work with Gary Chapman, Kathy Troccoli, and 4 Him. In addition to his solo releases, Omartian also recorded several albums with his wife, Stormie.
READ THIS for more information on this album.


Thursday, May 29, 2008


Digitized from the original vinyl, released in 1976 on Columbia records.
Produced by: Norbert Putnam & Glen Spreen
Recorded At: Quadrafonic Sound Studio, Nashville Tennessee
Engineered By: Marty Lewis
Format: Mp3
Bit Rate - 320 Kbps
Darkness, Darkness (Jesse Colin Young)
I'll be gone (IM)
Brown eyed girl (Van Morrison)
Rhythm of the West (IM / Jay Lacy)
Groovin' (Felix Cavaliere / Eddie Brigati Jr)
Lonely hunter (IM / T.Nunes)
Steamboat (IM)
A fool like you (T.Moore)
When the morning comes (Darryll Hall)
Drums and Percussion - Tris Imboden, Kenny Buttrey, Mike Porter
Bass - Don Whaley, Norbert Putnam, Kenny Edwards, Mike Leech
Keyboards - Steve Wood, David Briggs, Peter Wood, Glen Spreen
Arp, mini moog - Shane Kiester
Acoustic Guitar - Jay Lacy, Johnny Christopher
Electric Guitar - Jay Lacy, Joel Tepp, Reggie Young, Harry Robinson,
Ian Matthews harp - Joel Tepp
Muscle Shoals Horns - Harrison Calloway, Charles Rose, Harvey Thompson
string arrangements - Glen Spreen
Where do these idiot reviewers come from anyhow? Here is one of my favorite albums by Ian and this schmuck pans it badly. Does he have a music degree or some criteria that makes his opinion one of value? Does he know a D major from a D7chord?......I think not! Reviews are fine if they contain facts but music is too personal an experience for someone or anyone to tell you what you should like and why or why not.....if it moves your feet and soothes your soul, good enough. What a Nitwit.
(BAD)Review by Brett Hartenbach
To say Ian Matthews was active during the first half-decade following his departure from Fairport Convention is an understatement to say the least, recording nine albums (both solo and with two different bands) for four labels. And while he scored a hit early on, it's safe to say that his artistic triumphs outweighed his commercial ones, especially in the U.S. That said, the nearly two-year layoff between his previous release and Go for Broke was a bit surprising, although not nearly as much as the lackluster pop and lightweight R&B contained within. Like his earlier work, Matthews chooses a handful of good covers, along with his usual scattering of originals, but even many of the best choices here fall flat due to the tepid production and less than inspired performances. The lead track, Jesse Colin Young's "Darkness, Darkness," which Matthews has successfully resurrected a couple of times in subsequent years, sounds routine and cold, while he does little for the old Doris Troy hit "Just One Look." More successful are respectable, if unnecessary, versions of the Van Morrison standard "Brown Eyed Girl," and the sunny Rascals classic "Groovin'." The album's one out-and-out success is a lovely, soulful reading of the Tim Moore pop ballad "A Fool Like You," which somehow captures something that is missing from the majority of Go for Broke. It would take Matthews a couple of years, and another label to rebound from what is by far the weakest record of his career. Hal Horowitz, All Music Guide
READ THIS for more information on this album.


Wednesday, May 28, 2008


Digitized from the original vinyl, released in 1978 on Capitol Records.
Produced by Leon Medica
Recorded at Studio in the Country, Bogalusa, Louisiana
Engineered by Warren Dewey - Assistant Engineers: Brad Aaron and Bill Evans
Mixed At Westlake Audio, Los Angeles, California
Engineer: Warren Dewey - Assistant Engineer: Steve Hodge
Mastered at Capitol Studios, Los Angeles, California
Engineer: Hally Traugott
Art Direction: Leon Medica and Dean Torrence
Photography: Norman Seeff
Cut Glass Photograph: Bill Eastabrook
Design and Graphics: Dean Torrence
Calligraphy: Alice McEuen
Format: Mp3
Bit Rate: 320 Kbps
Take A Ride On A Riverboat
Love Abductor
New Orleans Ladies
Crazy In Love
Slow Burn
Snake Eyes
Bridge Of Silence
Heavenly Days
I Can't Do One More Two-Step
Jeff Pollard - Electric and Acoustic Guitars, Lead Vocals
Leon Medica - Bass, Vocals
Rod Roddy - Rhodes Electric and Acoustic Pianos, Clavinet, Oberheim Synthesizer, Vocals
David Peters - Drums and Percussion
Bobby Campo - Trumpet, Flugelhorn, Flute, Congas, Percussion, Vocals
Tony Haselden - Electric Guitars, Vocals
All arrangements by LeRoux
By Lindsay Planer
Released in 1978, Louisiana's Le Roux is the self-titled debut long-player from Le Roux — a sextet whose moniker is derived from a word describing a distinct gumbo. As it is traditionally extracted from several sources, the broth-like substance retains an extremely unique flavor. In much the same way, Bobby Campo (trumpet, flugelhorn, flute, congas, percussion, vocals), Tony Haselden (electric guitar, vocals), Leon Medica (bass), David Peters (drums, percussion), Jeff Pollard (electric and acoustic guitars, lead vocals), and Rod Roddy (Rhodes electric piano, acoustic piano, clavinet, Oberheim synthesizer, vocals) create a fusion drawing from pop, rock, blues, R&B, funk, jazz, and of course their Crescent City roots. Le Roux evolved from the Jeff Pollard Band out of Baton Rouge, and their initial notice grew out of supporting blues legend Clarence "Gatemouth" Brown (guitar, vocals) during a mid-'70s tour of North America and Africa. Leon Medica (bass, producer) brought them to the attention of Screen Gems-EMI exec Paul Tannen, which ultimately led to a three-disc deal recording for Capitol. For their audience, the platter was undoubtedly a welcome diversion from the pop music disco dregs and remained nowhere as angst-ridden as the ensuing punk movement. "Take a Ride on a Riverboat" is a propulsive midtempo rocker commencing the affair with both their penchant for tight well-arranged harmonies and an ability to kick out the jams — especially Roddy's effusive piano fills, Campo's bluesy solo, and Medica's thick and hearty bassline holding it all together. Pollard's fretwork alternately shines and grinds throughout the slinky and satisfying "Love Abductor." The compact vocals during the chorus stand as a perfect correlation against Pollard's chiming jazzy-inspired progressions. "New Orleans Ladies" is their ode to the bayou's steel magnolias, and became not only the best-known track from this album, but arguably of Le Roux's entire repertoire. That honor was solidified when the prestigious Creole-based Gambit Weekly magazine named "New Orleans Ladies" as Song of the Century. The driving rocker "Slow Burn" allows the band — especially Campo, Medica, and Pollard — a chance to wail. Not surprisingly, it also became an outlet for extended improvisations during live performances. "Snake Eyes" is a bouncy foreboding tale with some tasty phrases recalling Steely Dan's "Haitian Divorce." "Bridge of Silence" is a lyrical love song that again shows the combo's blend and Pollard's considerable skills as a composer, while "I Can't Do One More Two-Step" is freewheeling, offering a groove that isn't too far removed from the Meters. Louisiana's Le Roux made a brief entry onto the Pop Album survey, although outside the prestigious Top 100.
READ THIS for more information on this album.


Tuesday, May 27, 2008


Digitized from the original vinyl, released in 1968 on Capitol Records.

Recorded at the Sierra Sound Lab, Berkeley, California
Recording engineers: Roy Ward & Bob De Sousa

Bit Rate: 320 Kbps
Format: Mp3

1000 Years B.C.
Nothing Can Stop The Elephants
Ashes Of Me
Crying Shoes
I Love You
What We Need Is A Lot More Jesus and A Lot Less Rock & Roll
The Epic

Larry Norman - Lead Singer
Gene Mason - Lead Singer
Geoff Levin - Band Leader,Vocals, Guitar
Robb Levin - Bass Guitar
Albert Ribisi - Keyboards
Denny Fridkin - Drums


By Yours Truly
Well, I say THE EPIC is worth the price of the album, what do these professional reviewer guys know anyhow?? Do they even play music? read music? I think if you're going to review albums that A) you should have something good to say that outweighs the least 51%. If you don't like the band/album/music then why review it in the first place? The silence of no reviews will be deafening. B) Have a background in music and be able to play at least one instrument competently. Include your musical background in all your reviews, like a resume, so us that do know something about music can get an idea whether or not your full of shit right off the bat. C).....I can't think of a "C" at the moment but 2 outa 3 would be an improvement over what we usually get.


Review by Joe Viglione (All Music Guide)
The title track's cover of Zombies member Chris White's fabulous song "I Love You" went Top 15 in the spring and summer of 1968. The anomaly that drifts in from seemingly out of nowhere, this causes one to wonder why bands who have success with someone else's music do not try reinventing other tunes. As Tommy James' composition "Tighter Tighter" for Alive 'N Kickin', Stan Vincent's "O-o-h Child" for the Stairsteps, and producer Paul Leka's visionary "Na Na Hey Hey Kiss Him Goodbye for Steam identified those bands, all three acts failed to follow up their radio play majesty with another magical arrangement of a great tune. In the case of Alive 'N Kickin', it's a poor album of filler to round out a sublime 45 RPM.

People needed to craft an album of songs as beautifully arranged and performed as the title track here, and they failed to do so. Thirteen minutes and 25 seconds of "The Epic" is all that is on side two, and it is a major-league rip-off. At least Iron Butterfly made their signature song, "In a Gadda Da Vida," interesting by dragging it across most of an LP side, and an extended "I Love You" would have made this album a classic. Instead, there are competent but boring exercises like "1,000 Years B.C.," "Crying Shoes," the born-again-tinged "What We Need Is a Lot More Jesus and a Lot Less Rock & Roll," and "Nothing Can Stop the Elephants." Nothing can help this album, actually, except for the marvelous hit single. It's not as bad as the Alive 'N Kickin' disc, but it isn't as good as an album by Gary Lewis with no hit singles, like his New Directions disc, for example. And what does that say? The hit single is so perfect, so stunning, they really should have spread it across both sides of this Capitol record.
READ THIS for more information on this album.


Wednesday, May 21, 2008


Alright folks, it's time for another lesson in '70's music and this time around it's about a band that damn near everyone never heard don't beat yourself up if the name Hoodoo Rhythm Devils don't ring a bell right away. I'd probably never heard of 'em either had it not been for Wazoo records of Ann Arbor. Wazoo Records was a used record store and a fantastic place in it's day, thousands and thousands of albums racked alphabetically for 1 to 5 bucks, depending on the shape the vinyl was in. Those folks were doing what the radio stations couldn't, or wouldn't, do, exposing their customer base to all kinds of wonderful musical sounds. To me, walking into that place was like walking into the lost tombs of the Pharoah, with treasures unknown to be found. For years it was a semi-religious rite to make a trip from Kazoo to Ann Arbor, usually in the fall, sometimes springtime too, with 3 or 4 hundred bucks and a half dozen empty boxes. I would literally spend all day there, starting with A and ending with Z before they locked up for the day. I'd read album jackets to recognize names I knew of players or producers or I'd pick up the occasional album that gave off "the vibe" and when that happened it just went in the box, no questions asked.
Anyhow, my first Hoodoo album came from Wazoo and it was the Bar-B-Q of Deville, Their 2nd LP and still my favorite one to this day. Over ensuing trips I'd find another album and just grab it knowing that more than likely it was gonna be worth the 3 dollar price tag. I ended up with 5 of 'em when the trips to Ann Arbor stopped and as luck would have it that seems to be their entire discography. So for this post we're gonna start with their first effort and go chronologically, like I most always do. If you're as anal as me about this stuff then you'll want to start with Rack Jobbers Rule and make your way to All Kidding Aside. If you just want a taste of the best of the band then I'd suggest jumping to Bar-B-Q of Deville and see how that strikes ya........
It's been a struggle to find out much about The Hoodoo Rhythm Devils, but I did learn that they were a staple around the San Francisco Bay area in the '70's. The core of the HRD was Joe Crane, who's gone now, died from leukemia some years ago and Glenn Walters, who started out as a singing drummer. He's still out there and can visit his website here. I was able to find even less on Joe that I could share but it seems his boy is out there rocking the house these days and here's a link to his My Space page.
I guess it bothers me that people disappear so quickly from the radar once they stop producing. Folks like Joe shouldn't be forgotten for what they did while they're alive simply because they're no longer around to blow their own horn. With that said and so little that I'm able to find thru internet sources I guess the best thing to do is let the music do the talking for him. I suspect that's probably what he'd have wanted anyhow.
Rock on.

Do Do Do
Black Widow
Like Fire
Snake Doctor
Four Set Blues
Black Cadillac
Red Pacific
Hurtin' Side Of Love
Green Light
Hoodoo Beat

Joe Crane - Guitars, Vocals, Keyboards
Glenn "Hambone" Walters - Vocals, Percussion
Dexter C. Plates -Bass
John Rewind - Guitar
READ THIS for more information on this album.



Truer Than Me
Too Hot To Handle
All Tore Down
Eating In Kansas City
I Was Wrong
Lotta Fine Mama
Lead Me On
Cry In The Night
Sign Your Life Away
Suite 16

Joe Crane - Guitars, Vocals, Keyboards
Glenn "Hambone" Walters - Vocals, Percussion
Dexter C. Plates - Bass
John Rewind - Guitar
Roger Clark - Drums

READ THIS for more information on this album.


Crazy About The Ladies
My Old Lady
Bullfrog Holler
Milltown Gambler
Louisiana Line
Right On Mary
Mudcat Stew
The Mirror
I Fought The Law And The Law Won

Joe Crane - Vocals, Guitars, Bass, Keyboards
Glenn Walters - Vocals, Drums, Percussion
John Rewind - Guitar
Dexter C. Plates - Bass, Low Vocals
Jerome - Drums
Roger Clark -Drums
Ruben Gosfield -Steel Guitar
John McFee -Steel Guitar
The Pointer Sisters - Background Vocals
Skip Mesquite - Tenor Sax
Sonny Lewis - Tenor Sax
Dave Luell - baritone Sax
Joe Ellis - Trumpet
Mike Heathman - Trombone


READ THIS for more information on this album.


Gypsy Fly
Little Bit Of Love
Get Somebody New
Safe In Their Homes
Tangled Up In Blue
You Can't Fool Me
Teach Your Daughter
Big Time Band

Joe Crane - Vocals, Guitars, Bass, Keyboards
Glenn Walters - Vocals, Drums, Percussion
Bob Flurie - Guitar, Background Vocals
Mac Cridlin - Bass
Scott Mathews - Drums, Background Vocals
Boots Hughston - Alto Sax
Richard Greene - Bass
John Blakeley - Guitars
Ronnie Montrose - Guitar
Link Wray - Guitar
Brian Seff - Background Vocals
The Hawkins Singers - Background Vocals
Steamin' Freeman Lockwood - Accordion
David Burgin - Harp
Ed Bogas - Synthesizer
Trombones - Fritz Heilbron, Chuck Bennet
Trumpets - John Coppola, Bob Yance
Saxophones -Mel Martin, Bob Ferrara

READ THIS for more information on this album.


Working In A Coal Mine
All Night
Teen Tang
Correction In Your Direction
Sweet City Street
Gotta Lot Of Love In My Soul
Far From Over
I Had A Fight With Love (And I Lost)
Cross Roads

Joe Crane - Vocals
Glenn Walters - Vocals
Clayton Ivey - Keyboards
Larry Byron - Guitar
Bob Wray - Bass
Roger Clark - Drums
Tom Roady - Percussion
Horns - Muscle Shoal Horns
Background Vocals - Barbara Wyrick, Suzy Storm
READ THIS for more information on this album.

Thursday, May 15, 2008


Digitized from the original vinyl, released in 1979 on Warner Bros. Records.
Format: Mp3
Bit Rate: 320 Kbps
Produced By: Ed Sanford & John Townsend
Engineered & Mixed By: Bobby Thomas
Assistant Engineer: Brian Vessa, Carl Cicero & Dean Knight
Recorded & Mixed At: Salty Dog Studios, Van Nuys, California
Album Cover: Jim McCrary
Nail Me To The Wall
Gopher Broke
Every Day
Shady Grove
Just Another Lie
Just A Fool
Hour Of Love
Tell Me How Love Survives
All Arrangements by The Sanford Townsend Band
Ed Sanford - Keyboards, Vocals
John Townsend - Lead Vocals, Keyboards
Guitar - Otis Hale, Roger Johnson
Bass - Jerry Rightmer
Drums - Chris Meyers
Saxophone - Otis Hale
Percussion - Tom Roady
Here's yet another band that suffered from the same fate as so many other bands did back in the 70's. Why they never 'made it' is not a one dimensional question as there was more than one reason why they faded from the scene. Radio stations were certainly to blame as the days of underground radio were history for the most part by the end of the 70’s and pre-programed playlists were the new world order. Payola has been a problem for years in the radio biz and if your record company didn’t want to support your efforts then it was damn hard to get your music heard on commercial radio. Secondly in the 10 to 15 years since the Haight / Ashbury scene started a revolution in music the fan base had grown up, gotten married and started to raise families and music out of necessity had to take a back seat to paying the mortgage and feeding the kids. The same time this was happening men in suits, without a musical bone in their body, were taking over the reins of the “industry” and the prime directive became return on investment, completely. Musical talent was secondary to whether or not the product would return a profit. So anyhow, here’s another great, toe tappin’, extremely high quality musical offering that never got out to the masses so that this group of musicians could make a living doing what they loved to do. Now here we are almost 30 years later and these tunes still hold up. To me that’s the mark of good music…music that transcends time. To Ed Sanford and John Townsend better late than never might not mean much at this point in their lives, but to us who can hear this music for the first time now, better late than never is the best we can do!
READ THIS for more information on this album.



Digitized from the original vinyl, released in 1977 on Warner Bros. Records.
Format: Mp3
Bit Rate: 320 Kbps
Produced By: John Haeny

Engineered By: John Haeny
Assistant Engineer: Paul Black
Recorded At: Sunset Sound, Hollywood, California
Mixed At: Hollywood Sound Recorders, Hollywood, California
Album Cover: Ron Slenzak

Ain't It So, Love
Cryin' Like A Child
Livin's Easy
Mississippi Sunshine
Eights And Aces
Sometimes When The Wind Blows
Eye Of My Storm (Oh Woman)
Ed Sanford - Keyboards, Vocals, Synthesizers

John Townsend - Lead Vocals, Keyboards, Harmonica
Guitar - Fred Tackett, Otis Hale, Jerry McGee, Paul Barrere, Steve Cropper

Keyboards - Bill Payne, Mike Utley, David Paich
Bass - David Hungate
Drums - Jeff Porcaro, Mike Baird
Saxophone - Otis Hale
Percussion - Milt Holland, Jeff Pocaro, Sam Clayton
Background Vocals - Richard Torrance, Herb Pedersen
All Titles Written & Arranged By: Ed Sanford & John Townsend
WHAT IF?, August 12, 2005
By Raleigh Mckeever (Atlanta, GA)
Have you ever wondered what Hall & Oates probably would have been like had they come from Alabama instead of Philadelphia? If you have, look no further than a Sanford & Townsend album for your answer!
These guys are every bit as good as H&O. The only reason I can presume for them not becoming as big is because most of H&O's work was more "commercial"; that is, capable of appealing to a wider audience. S&T, however, remained true to their Southern Roots. For some reason, I can visualize these guys rocking a packed stadium or a local roadhouse with equal ease!
Pleasing harmonies, meaningful lyrics (the kind where you can actually visualize the characters and storylines), catchy hooks. . .it's all here on this album. The only disappointment for me is that it didn't come with liner notes. I would have loved to find out where that title (Duo-Glide) came from and how it pertained to the album; not to mention the interesting cover art.
But the songs more than made up for that slight oversight. In fact, the songs gave me an idea of how much musical range these two had; specifically the song "Sometimes When The Wind Blows"; which John Townsend sang in an almost operatic style. It's definitely a far cry from the driving, gritty "Cryin' Like A Child".
In other words. . .Don't expect the same songs over and over again on this album.
According to John Townsend's web site (, he and Ed Sanford are going to release some of their old songs that, in his words, "by all accounts just crap all over a lot of the stuff that made it to our three albums"! I'll definitely be looking for that here on Amazon, too.
BTW - His site also includes song samples from his latest solo album, "The Road Leads Home". Sounds like another talented guy who's still got it some 20 something years later (One sample is his update of the S&T hit "Smoke From A Distant Fire" from about 26 years ago). That update, alone, is worth the album price!
Once you've heard these older artists blow, you don't want to hear most of these new acts - LOL!!!
READ THIS for more information on this album.


Wednesday, May 14, 2008


Digitized from the original vinyl, released in 1976 on Warner Bros. Records.
Format: Mp3
Bit Rate: 320 Kbps
Produced By: Jerry Wexler & Barry Beckett
Engineered By: Greg Hamm, Steve Melton, Jerry Masters
Recorded & Mixed At: Muscle Shoals Sound Studios, Sheffield Alabama, May 1976
Album Cover: Raul Vega
Smoke From A Distant Fire
Moolah Moo Mazuma ( Sin City Wahh-Oo)
Oriental Gate (No Chance Of Changing My Mind)
Shake It To The Right
Squire James
Does It Have To Be You
Sunshine In My Heart Again
In For The Night
Rainbows Colored In Blue
Ed Sanford - Keyboards, Vocals
John Townsend - Lead Vocals, Keyboards
Otis Hale - Guitarzan, Woodwinds
Roger Johnson - Guitars and Humor
Jerry Rightmer - Basser
Jim Varley - Drummist
Barry Beckett - Keyboards
Tom Roady - Percussion
Kenny Loggins -Vocals
George Hawkins & Billy Townsend - Backing Vocals
Ted Wex - Basso Profundo
Jon Clark - Woodwinds
All Titles Written & Arranged By: The Sanford Townsend Band
Even better than I remember, October 16, 2006
By D. Rhodes "drescueman" (New Jersey)
Sanford and Townsend blew me away thirty years ago with this album. Their performance at the Bottom Line in NYC was even better. Their voice, harmonies, and music are simply incredible. Since my turntable went kaput, I've been unable to enjoy this incredible album. Squire James has become a staple in my household for Halloween music. Now we can enjoy those days all over again. Just sit back, kick back, and get ready to rock n' roll with rock n' soul music!
Sanford & Townsend, "Smoke from a Distant Fire" album, September 27, 2005
By Anne Casebeer (Middle of the USA)
This title song for this album may have been a one hit wonder, but what fabulous music it is in its entirety. I wore out two cassettes a number of years ago, and was having trouble finding it on disc. The vocals are rivaled by the lyrics, the harmony as good as the accompanyment. What a bluesy, jazzy, sexy, sound! I'm so glad I found a copy.
By Jason Ankeny
Best remembered for their ubiquitous 1977 pop hit "Smoke from a Distant Fire," blue-eyed soul duo Sanford & Townsend reunited Ed Sanford and John Townsend, who previously teamed in the Montgomery, AL-based Warner Bros. act the Heart. Despite a series of opening gigs in support of the Jimi Hendrix Experience, the group's lone LP attracted little notice and after the Heart dissolved, both Sanford and Townsend migrated to Los Angeles, where the latter signed on with the group Feather and scored a chart hit with the White Whale label single "Friends." After renewing ties in L.A., Sanford and Townsend began writing songs, most notably placing their "Peacemaker" on Loggins & Messina's 1976 effort Native Sons; with engineer Alex Kazanegras, they cut a demo tape that eventually made its way to the legendary producer Jerry Wexler, and on his recommendation Warner Bros. extended a contract offer. After decamping to the famed Muscle Shoals Recording Studio, Sanford & Townsend issued their Wexler-produced eponymous debut in 1976. The record fared poorly on its initial release, but when "Smoke from a Distant Fire" cracked the Top Ten on the pop charts in the fall of 1977, the LP was re-released, this time titled after its smash hit. In addition to a lengthy stint opening for Fleetwood Mac on their epic Rumours tour, Sanford & Townsend also supported Smoke from a Distant Fire via gigs with Southern rockers the Marshall Tucker Band. Their second album, Duo-Glide, nevertheless failed to repeat its predecessor's success, and when 1979's Nail Me to the Wall met a similarly dismal fate, Warner Bros. terminated the duo's contract. Both Sanford and Townsend then returned to session careers. Sanford later co-authored Michael McDonald's 1982 pop classic "I Keep Forgettin'," while Townsend resurfaced following an extended creative hiatus with a 2003 solo release, The Road Leads Home.
READ THIS for more information on this album.


Sunday, May 11, 2008


Digitized from the original vinyl, released in 1974 on Atlantic records.
Produced by Ron Albert, Howard Albert & Joe Vitale
Recorded at Criteria Recording Studios, Miami Florida
Engineered by: Ronnie & Howie
Art work by: Arman Kachaturian
Format: Mp3
Bit Rate: 320 Kbps
Roller Coaster Weekend
(Do You Feel Like) Movin'
Mad Man
Take A Chance On Love
School Yard
Shoot 'Em Up
Feeling's Gone Away
Two Of Us
Step On You
Joe Vitale - Drums, Bass, Flute, All Keyboards, All Vocals ARP Synthesizer, Percussion, Vibes, Crow Bar & Tin Snipes, Tympani, Gong & Finger Cymbals
Guitars - Rick Derringer, Joe Walsh, Phil Keaggy
Percussion - Nelson "Flaco" Padron
Hand Claps - Ronnie and Howie
Thoroughly enjoyable stuff here, August 8, 2005
By T. LeBaron "Todd LeBaron" (NH) (Amazon Customer Review)
I first heard of Joe Vitale like most of you...through Joe Walsh & Barnstorm, so when I heard he had a solo album out, I jumped on it. This is very similar to a lot of Walsh's stuff...good natured, competent and quite simply...if you like the stuff a lot of Walsh albums are made of, here's more of the same. Vitale and Walsh have very similar singing voices too, and I have no problem with any of it. Most of the same players are here and on a few of Jay Ferguson's solo albums as well. Whoever thought Joe Vitale's music was third-rate compared to Walsh's is totally missing the point. It's the same lineup for all practical purposes, and more of the same enjoyable type of stuff Joe and Jay both put out on a regular basis. It's great to hear this stuff on CD finally. Don't save your money...grab this up while it's available again, and while you're at it, get his other one (Plantation Harbor). It may not have taken the charts by storm, but then there's a lot of incredible music that hasn't either. This is too good to pass up if you're a fan of Ferguson or Walsh, and focusing on a single track doesn't do it justice. Buy it and enjoy.
READ THIS for more information on this album.



Digitized from the original vinyl, released in 1968 on ABC records.
Produced by: Bob Thiele
Bit Rate: 320 Kbps
Format: Mp3
Knocked Out
Goodbye Girl
If She's Right
I Wonder Why
Stone Fox
My Bad Habit
Just Let Go
Out Where The Light Fish Live
Don't Tell Me
Richard (Sham) Schamach - Guitars, Vocals, Songwriter
Larry Kiley - Bass, Background Vocals
Jimmy Sturman - Drums, Percussion, Background Vocals
Of all the Boston groups, Eden's Children is by far the best. Utilizing the trio form now becoming so popular among the blues­oriented groups, they have that gutsy sound that instantly grabs you. The lead singer and guitarist, Sham, has an incredible ability to borrow from blues, jazz, and old rock forms and still come up with his own style. If he continues to develop in the direction he's going now, Sham will become one of the best in pop music. The bassist, Larry Kiley, already ranks among the best in the business. Seldom do we get such bass work in rock. I'm not going to go into a lengthy discourse on each of the cuts; besides, Frank Kofsky's liner notes are very good (a plug). All I can say is that Eden's Children are one of the most exciting new groups this year. Go buy the record and listen.
Jay Ruby - Jazz & Pop magazine June 1968
Because I spent a lot of late evenings as a teenager wide awake, when I should've been asleep, listenting to Dick Summer on WBC out of Boston, I got real familiar what was then being marketed as the Boston or Bosstown Sound. Bands like The Beacon Street Union, Ultimate Spinach, Apple Pie Motherhood Band to name just a few got big time radio play on WBC and Dick Summer did what he could to get all these fledgling bands exposure so that the East Coast could compete with the West Coast for the trippiest music going in the late 60's. There were quite a few of those Bosstown bands that I dug and this group, Eden's Children, was one of my very favorite ones. I pretty much wore this record out. So with that in mind, take a listen and ignore the surface noise, pay attention to the guitar work. It's a shame this cat never got his due cuz he has the chops to have one of the great ones.
READ THIS for more information on this album.


Friday, May 09, 2008


Digitized from the original vinyl, released in 1969 on Mainstream records.
(played quite frequently in it's day, hence the Rice Krispies effect in places)
Format: Mp3
Bit Rate:320 kbps
I guess Mainstream records didn't think in 1969 that the people buying Amboy Dukes records needed to know much about where the band was making their magic. I would assume the album was recorded somewhere in the Detroit area but that's about the extent of my assumptions.
The only other version I've seen of this album available is a jap CD import that inexplictably has shaved off about 4 minutes worth of the running time of the tune Prodigal Man. The original track (included here) is almost 9 minutes long and contains awesome drum, bass, and keyboard solos. Don't have a clue why they cut that out, it's not like you couldn't put the whole album on a CD. Some suit with a short attention span probably made an executive decision, it's not like you can dance to that part, ya know?
Prodigal Man
For His Namesake
I'm Not A Juvenile Delinquent
Good Natured Emma
Inside The Outside
Shades Of Green And Grey
Curb Your Elephant
Loaded For Bear
Rusty Day - Vocals, Harmonica
Ted Nugent - Lead Guitar, Vocals
Steve Farmer - Guitar, Vocals
Andy Solomon - Keyboard, Sax, Vocals
Greg Arama - Bass
Dave Palmer - Drums
By yours truly
Without a doubt in my mind, the best album that Ted Nugent ever put out. It fustrates me to this day that he didn't follow this album up with another effort in the same mindset. Instead he ended up becoming Terrible Ted and putting out crap like Wango Tango. Effectively (to me at least) turning his talent into a musical circus act like Alice Cooper & Kiss. Don't get me wrong....I can't stand Cooper or Kiss, even though I'll grudginly admit that there is a place in Rock n Roll for those bands better at marketing than Pentatonic scales but Ted had talent, a boat load of it and on Migration it shines thru brightly.
We were at the high end of our teens in those days and the Dukes would come to Kalamazoo frequently to play a little club called the Crazy Horse. I can remember buyin' a couple cokes and sitting at a table right smack in from of Ted and the band and watching him just rip up on everybody that was already out there being famous. In those days he played a Gibson Byrdland, a thick bodied jazz style guitar and when he got going the two became one.
I was so impressed with his talent in those days that even though I couldn't afford a Byrdland I actually had Guild guitars make me a left handed version of their blonde jazz model which looked about 90% like Ted's Byrdland. I played that guitar every day until one day I came home to my apartment in downtown Kazoo and found the door swinging open and most everything I owned, including my fake Byrdland, long gone. I miss that guitar to this day, it was a one of a kind and if I ever got my hands on the schmucks who stole her I'd rip off their arms and stuff 'em up their.........awww, it was a long time ago and not much chance she ain't firewood by now.
Allaan Vorda: Discuss the Migration album in general.
Ted Nugent: That album was a joy for me and the song "Migration" to this day is one of my favorites even though it is an instrumental. A big part of our show at that time was my instrumental work because I was a real creative son-of-a-bitch on guitar. The album remains my favorite Amboy Dukes' album by far. There was some great stuff on it, it was a lot of fun recording, and we were progressing as a band. That album was probably indicative of where the band could have gone from the Journey LP to the Migration LP. The progress of the band was short- stopped by drugs.
The most prominent feature of Migration (the Amboy Dukes' third recording, originally released on Mainstream records) is the lack of a spaced-out follow-up to the group's biggest hit, "Journey to the Center of Your Mind." Perhaps "terrible" Ted Nugent was starting to win the drug war that was beginning to wage within the band, a war that would ultimately claim more than a few key lineup casualties. No matter the reason, Migration -- with it's less opaque drug references and general grooviness -- was given a cool reception at record stores as listeners perhaps became slightly confused about the Michigan band's intentions while pondering Nugent's relatively eclectic musical approach. Case in point: the spot-on version of Frankie Lymon and the Teenagers' "I'm Not a Juvenile Delinquent." Besides this bizarre but affective cover, other highlights include the instrumental opener "Migration" and one of Nugent's all-time favorite songs, "Good Natured Emma." More ambitious than the group's huge-selling effort from the year before, "Migration" might be the better of the two discs, if not the best of the Amboy Dukes' career.
Vincent Jeffries, All Music Guide
READ THIS for more information on this album.



Digitized from the original vinyl, released in 1976 on Sire records.
Produced by Al Steckler and Ron Frangipane for Eroica Productions
Engineered by Larry Alexander
Recorded at Ultima Sound Studios, Blauvelt, New York
Strings and Horns arranged and conducted by Ron Frangipane
Format: Mp3
Bit Rate - 320 Kbps
You've Come Over Me
Let's Get To Livin'
A Hundred Times Around
Don't You Refuse
Friday Night Without You
Misery Loves Company
Ravin' Beauty
Where Have They Gone
James Brown - Keyboards, Vocals, ARP 2600, ARP pro-soloist
Richard Bunkiewicz - Assorted Fender basses, mostly fretless
Jerry M. Cordasco - Pearl Drums, percussion, vocals
Jeffery Leynor - Acoustic and electric guitars, vocals
Allan Ross - Saxophone, clarinet, flute
Frank Green - Lyrics
Leslie West - Guitar
Stan Bronstein - Sax
Eric Weisberg - Pedal Steel
I Wasn't able to find a single site with any information.
By Yours Truly
While there's nothing on this album to change the course of musical history it is an enjoyable listening experience if you're not too jaded with life. To the best of my knowledge Stanky Brown was an Austrailian band (Ala Little River Band).
(WHOOPS, According to Jerry Cordasco and he should know, he was the drummer for The SBG, they were from New Jersey, NOT Austrailia. I didn't make that up, I heard or read it somewhere, but nevertheless the record has been set straight now).
The Jersey based boys put out 3 albums in the mid '70's before disappearing off the radar. There are some weak moments on this first effort as there is on many first efforts, but there are also some great tunes that are well done. My favorites include Masquerade, Let's Get To Livin' and U. B. U.
If you're up for hearing new things that you missed the first time around then I'd suggest taking the time to download this one and give it a listen. I feel like I say it all the time but it's true, this is another band which didn't get the recognition their talent should've entitled them to receive.
As a side note I learned while searching for a website or other online info that Jerry Cordasco (drummer) went on to play drums for the Blues Brothers among many others.
READ THIS for more information on this album.


Thursday, May 01, 2008


Digitized from the original vinyl, released in 1977 on Columbia records.
Produced by Glen Spreen & Bruce Welch
Recorded At EMI Studios, Abbey Road, Kendun Recorders, Village Recorders & Haji Sound L.A.
Engineered by Peter Vince, Alwx Kazenegras, Terry Moore & Pete James
Artwork & Design by Roslav Szaybo, Chris Yates, M Nicholson & J. Guttner
Format: Mp3
Bit Rate: 320 Kbps
One More Night With You
Ice In The Fire
Harbour Lights
Dark Ship
Somebody's Fool
Every Tear I Cry
Fun Of The Farm
When I Say I Love You (The Pie)
Ian Sutherland - Vocals, Guitar
Gavin Sutherland - Vocals, Guitar
Mike Baird, Willie Wilson - Drums
Bob Glaub, Andy Pyle, Rick Wills - Bass
Billy Smith, John Bundrick - Keyboards
Ritchie Zito, Rick Vito, Leonard Arnold, Ray Flacke, Mick Grabham & Tim Renwick - Guitar
The Sutherland Brothers began their career in 1968 as A New Generation, having some early success with the single "Smokie Blues Away" (which used a melody based on the main theme of Dvorak's, New World Symphony). Subsequently re-billed as The Sutherland Brothers Band, they won a new recording contract with Island Records and put out two albums in 1972. Their first minor hit was "The Pie" in 1970.
In an effort to diversify and expand their folk based sound, the Sutherland Brothers joined forces with a local rock band known as Quiver. Quiver included the guitarist Tim Renwick, keyboardist Peter Wood and drummer Willie Wilson. Their joint greatest success came under the credit of The Sutherland Brothers and Quiver. Several moderately successful albums were released by Island Records throughout the 1970s under this joint name before they moved to CBS Records where they recorded, amongst other songs, the Top Ten hit single, "Arms of Mary", which also became a hit when covered two years later by the Canadian group, Chilliwack.
The band were just reaching their peak as the punk music explosion happened; they ended up being ousted from their residency at London's Marquee Club to make way for the likes of The Damned and X-Ray Spex. The group quickly found that its cheerful, folk-rock style had fallen out of fashion, and disbanded after recording a final album in 1979.
One of the earlier Sutherland Brothers recordings is "Sailing", which exists in two versions: one with The Sutherland Brothers alone, the other together with Quiver. "Sailing" was no success for the Brothers, but in 1975, it became a major hit for Rod Stewart.
for more information on this album.