Gooder'n Bad Vinyl

HEY!
Almost 1000 downloads of this and not one stinking comments? COME ON NOW!





01 - A High Price To Pay
02 - I Am A Gambler
03 - I've Got A Solution
04 - Everlasting Love
05 - Summer In El Barrio
06 - Long Times Gone
07 - Future Train
08 - Mountain Man
09 - Funky Friday
10 - It's Been a Long Time
11 - I'm Free




Ripped from vinyl promo copy.

Encoded @ 320

Ex-Rascal

Password: bassoprofundo

Review
Two years after the Rascals broke up, leader Felix Cavaliere launched his solo career with this self-titled debut. The good news was that it was a major effort: Cavaliere co-wrote all the songs, and the record was co-produced by Todd Rundgren. Cavaliere had an eclectic ability to mix rock with Latin and soul elements and to sing his songs in a compellingly soulful voice that could be stirring or smooth. The bad news was that the Rascals had been in commercial decline since their popular heyday of 1966-1968, which meant that Cavaliere had the appearance of a has-been. He was unable to overcome this disadvantage, and Felix Cavaliere failed to establish him as a solo star. ~ William Ruhlmann, All Music Guide

Credits
Todd Rundgren (Guitar), Todd Rundgren (Producer), Todd Rundgren (Engineer), Elliott Randall (Guitar), Wayne Andre (Saxophone), Julien Barber (Viola), Kenneth Bichel (Synthesizer), Randy Brecker (Trumpet), Mervin Bronson (Bass), Felix Cavaliere (Organ), Felix Cavaliere (Piano), Felix Cavaliere (Keyboards), Felix Cavaliere (Vocals), Felix Cavaliere (Producer), Felix Cavaliere (Main Performer), Selwart Clarke (Viola), Judy Clay (Vocals), Noel DaCosta (Violin), Kevin Ellman (Drums), John Fausty (Engineer), Paul Fleisher (Clarinet), Paul Fleisher (Sax (Alto)), Paul Fleisher (Sax (Baritone)), Jack Jeffers (Horn (Baritone)), Kermit Moore (Cello), Pablo Rosario (Percussion), Alan Rubin (Trumpet), Allen W. Sanford (Violin), John Seigler (Bass), Larry Spencer (Trumpet), Renelie Stafford (Vocals), Carman Moore (String Arrangements), Carman Moore (Musical Consultant), Deidre Tuck (Vocals), Al Brown & His Tunetoppers (Viola), Antonio Jiminez Arana (Percussion), Antonio Jiminez Arana (Conga)

Frankly - this album didn't do a thing for me. Too much synth, too much wah-wah, too much cowbell (last song). There were a couple of OK songs, but overall I'd rather listen to the Rascals!

1 - Morning Much Better
2 - Brief Replies
3 - Pulse
4 - Come Live With Me
5 - Stay With Me
6 - How Long Before I'm Gone
7 - Last of the Line
8 - Interlude: A View of Soft





Encoded @ 320 from original vinyl

Also includes tracklisting, reviews and high quality album artwork

http://rapidshare.com/files/1501407/twdbr.rar

Password: bassoprofundo

All Music Reviewby Joe Viglione

Quoting Damon Runyon on both the back cover and inside the gate fold, Brief Replies warns "Do not sweet-talk me sweet-talker, for I am no stranger...." Music that was too literate for the time, the second album from Ten Wheel Drive emerged as Jimi Hendrix and Janis Joplin were making their exits in 1970. "Pulse" was intended to be the opening track, and it would have been a great one, but despite being listed that way on the back cover, it is actually the third band on the vinyl's first side, and is evidence that sequencing is so key. "Morning Much Better" opens the album without the sledgehammer blues of this Genya Ravan/Michael Zager funk/rock dirge. It is explosive without the Top 40 appeal of Blood, Sweat and Tears. Going further down the road of complete artistry, "Come Live With Me" pulls away from the big band sound, leaving the authors -- Genya Ravan on a wailing harp and voice alone with co-writerAram Schefrin's guitar. The thing about Ten Wheel Drive is their defiance to what was considered conventional at the time. Each song on all three of their long players, those on the 1969 debut Construction #1, and the polished gems from 1971's effort with Alice in Wonderland cartoons on the cover, Peculiar Friends (are better than no friends at all) break down barriers and stretch the formats of the day. They reached their pinnacle with a cover of the Ragavoy/Weiss masterpiece, "Stay With Me." Janis Joplin's last producer, the late Paul Rothchild -- who created many a Doors album, had Bette Midler sing in the film The Rose what Genya Ravan gave birth to here. But it is Genya's harp and dynamic and soulful performance which puts the tune over the top. The compact, radio-friendly tour-de-force is a departure from the lengthier jams like "How Long Before I'm Gone." Though they change moods enough within a tune like this before veering off into the scribblings which made Chicago Transit Authority such a labor, it was still too progressive for rock audiences that were driven by the Top 40 single. That Clive Davis could edit Ragovoy's "Piece of My Heart" on behalf of Big Brother & the Holding Company was one of the reasons Big Brother's album (and single) charted so high. When Ravan left T.W.D. for her solo outings, including one on Columbia with Davis as president, that too failed to generate the excitement a talent like Genya Ravan deserved then, as she does now. "Last of the Line" shows her chameleon like skills, and those of the band as well. She started as one of the pioneers of the girl group sound in the sixties, reinvented herself in this experimental pop/jazz unit, and went on to put out solid rock & roll solo albums in the 1980's. Had the songwriting duo of Michael Zager and Aram Schefrin continued working with Genya Ravan, we would have a body of work that would be impressive, and they would no doubt be household names. There is every indication of that here, especially on "Last of the Line," perhaps the most commercial of Zager & Schefrin's tunes. A classy hook about a ramblin' gal..."the last branch of the tree/which will die with me/I'm the last of the line." The instrumental "Interlude: A View of Soft" concludes this special album with Ravan's voice used as an instrument, as accurate as Dave Leibman's flute and sax. Powerful music that should have been stretched out over 25 or so albums.