Gooder'n Bad Vinyl

It's almost a two-fer today!


Michigan Militia - 3:18
Get In The Car - 2:36
I've Gotta Get A Message To You - 3:58
Lazlo's Career - 4:13
Sahara - 3:50
Lee - 3:37
No No Raja - 2:57
The Incredible Medicine Show - 3:48
Your New Boyfriend - 2:04
Kick In The Ass - 2:18
Boo Time - 2:25
Love Set Fire - 4:25
You Will Go To The Moon - 2:12
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Kinda like Barenaked Ladies but with a twist.

The third album by the Canadian folk band. Sadly these guys broke up around 2000.

And I live by the lyrics to "Kick In The Ass"!!

(Sorry this is kind of loooong):

Kick in the ass. Kick in the ass. Kick in the ass, it's coming. Kick in the ass, it's coming. (repeats) (All) That guy who's stealing my parking space (Murray) He gets a (All) kick in the ass. (Murray) A great big (All) kick in the ass. (All) That baggage handler playing with my suitcase (Murray) He'll get a (All) kick in the ass. (Murray) It's comin', (All) kick in the ass. (Mike) People telemarketin g, calling during supper. (All) They should come visit and show me their face. (Murray) And get a (All) kick in the ass. (Murray) A great big (All) kick in the ass. (All) A Kick in the ass. (Murray) It's coming. (All) Kick in the ass. (All) Someone's complaining that they got no hors d'oeuvres. (Murray) They'll get a (All) kick in the ass. (Murray) A great big (All) kick in the ass. (Mike) That guy! (All) That guy who wrote that book about the bell curve. (Murray) My hardest (All) kick in the ass. (Murray) It's comin' (All) kick in the ass. (Mike) Jugs of milk left in the fridge, with only drops remaining. (All) I find who did it, they'll get what they deserve. (Dave) (get what they deserve) (Murray) A great big (All) kick in the ass. (Murray) That's right, a (All) kick in the ass. (vocal "kick in the ass, it's comin'" solo) (All) I dole out justice with the tip of my boot. (Dave) I'll kick ya! (All) kick in the ass. (Murray) It's comin' (All) kick in the ass. (Jian ??) (All) It's got a logic that you just can't refute. (Dave) You just can't refute good (Murray) Commander (All) kick in the ass. (Murray) The king of (All) kick in the ass. (Mike) A trail of aching derrière next time they'll be more thoughtful . (All) They'll hunt me down and stop my fun at the root. (Murray) I'll get a (All) Kick in the ass. (Murray) Full circle (All) Kick in the ass. (Murray) Enormous (All) Kick in the ass. (Murray) Gigantic (All) Kick in the ass. Dooo...

Favorite song? "Get In the Car (kinda Beatlesque!)
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Here's a review from Amazon:

YWGGTM, I must admit, is my favorite früvous album - and I own them all! For those of you who have not yet heard Früvous, you don't know what you're missing... for those of you who have, you know their incredible range of style. From the upbeat - ("King of Spain", My Baby Loves a Bunch of Authors) to the beautifully bittersweet ("Fly", "Sad Girl"), and of course the witty political commentaries (The Greatest Man in America, The Ballad of Cedric Früvous and many more!) Früvous combines musical genius with engaging, clever lyrics... who could ask for more? This album combines the best of it all. From the very first note (the opening riff of Michigan Militia is unforgettable) to the exotic sounds of "Sahara" and "No No Raja", the haunting melody and sweet vocals of "Lee", the beatles-esque (HEY!) "Get in The Car" and "Your New Boyfriend" (beatles with a kick, I might add) every song on You Will Go To The Moon is a listening experience and well worth every minute!

192KBPS

http://rapidshare.com/files/35880424/mxfrvs.rar

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Enjoy! And heap praise and comments if you feel so moved!

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BONUS!

01 - Sour Flower
02 - Life In Boanical Gardens (Oh Yes)
03 - Take Out The Dog And Bark The Cat
04 - Mumblin' To Myself
05 - Brother People
06 - Jolly Green Giant And The Statue Of Liberty
07 - Bustin' My Brains
08 - All I Am's





Remember that great guitar solo on Steely Dan's "Reelin' In The Years"? That was Elliot Randall!

THE MUSICIANS: Elliott Randall (Guitars), Paul Fleisher (Sax and Flute), Phillip Namanworth (Piano), Terry Adams (B-3 Organ), Allen Herman (Drums), Bob Piazza (Fender Bass), Andy Muson (Fender Bass).
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Elliott's comment:
What a strange and interesting crew this was! Paul Fleisher and I played together beginning in the early-mid 60's in NYC niteclubs including Trude Heller's, The Peppermint Lounge, and The Metropole. He and I co-authored the entire record. I'd known Allen Herman & Bob Piazza for quite a while too - before they joined The Island, they were members of Genya Ravan's R&B supergroup Ten Wheel Drive. Phillip Namanworth had been playing with Dave Van Ronk & The Hudson Dusters, and brought with him a boogie-thing that was just too contagious! Terry Adams of NRBQ guested on Hammond B-3. George Andrews handled the string arrangements; he used to lead a big-band in NYC, which was well... quite an education. Through the ranks of this band came Steve Gadd, The Brecker Brothers, David Sanborn, Lou Soloff, Chuck Rainey, and most of the Island crew. (Like I said - an education.) Andy Muson also guested on 2 tracks; killer jazzer, also played with Albert King for a spell before moving on to a hugely successful studio career in LA. Finally, the legendary Eddie Kramer, engineer/producer extraordinaire - for most of the Jimi Hendrix records, as well as Led Zeppelin, Traffic, and a host of others. Respect, Eddie!
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Elliott Randall Biography

Elliott Randall's illustrious career has encompassed a wide and varied cross-section of World Musical forms. These include: record production, composition, electronic research and development, lectures and teaching, and of course, a legendary contribution to popular guitar performance and recording.

His guitar solos on Steely Dan's "Reelin' In The Years" and "Fame" (the motion picture) have entered Rock history annals.

Elliott has recorded and performed with artists as diverse as The Doobie Brothers, Carly Simon, Seatrain, The Blues Brothers, Carl Wilson, Peter Wolf, Peter Frampton, James Galway, Richie Havens, The Rochester Philharmonic and The American Symphony Orchestra, among many others. In addition, he is a favourite of esteemed songwriters Jimmy Webb, George David Weiss, Don Covay and the greatly missed Laura Nyro. Other credits include: music consultant for NBC Saturday Night Live and Oliver Stone, and projects with producers Gary Katz, David Kershenbaum, Steve Lillywhite, Eddie Kramer and Jerry Wexler.

In addition to artistic projects, Elliott has also played, produced and composed myriad advertisements (jingles) for television, radio and cinema, for clients including Coca-Cola, PepsiCo, Miller Beer, Budweiser, Cadillac, Ford, McDonalds, Burger King, Wendy's, CitiBank, General Mills, Nabisco, Proctor & Gamble, MTV, ESPN, CBS, ABC, BBC-TV and countless others.

Cutting edge technologies: Since the advent of midi in the early 80s, Elliott has worked as independent consultant for a wide range of companies, including Akai, Roland, Korg and Yamaha, in the areas of musical instrument and amplifier development, recording & sampling technology, software design, and education.

Ripped from vinyl from my original promo copy.

320KPBS

http://rapidshare.com/files/271989783/er_risle.rar

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Enjoy! I know you're out there. Give thanks!

Walter Hyatt
King Tears (1990) Out of print


1. Tell Me Baby
2. Blind Love Blues
3. This Time, Lucille
4. Ruby
5. Outside Looking Out
6. Que Reste-T-Il de Nos Amours?
7. In November
8. Situé
9. King Tears
10. Aloha

Benny Quinn Mastering
Billy Williams Producer
Chuck Ainlay Engineer
Craig Nelson Bass (Acoustic)
David Ball Vocals (Background)
Deschamps Hood Guitar (Acoustic), Vocals (Background)
Jerry Joyner Design
Jessie Noble Project Coordinator
Judy Trenary Engineer
Lyle Lovett Producer
Marty Williams Digital Mixing Assistant, Engineer
Matt Rollings Piano
Paul Leim Drums
Peter Nash Photography
Virginia Team Art Direction
Walter Hyatt Main Performer, Vocals

Reviews:

Review (Amazon)

Right up front, here’s the straight dope: King Tears is a masterpiece. Recorded and released in 1990 for MCA Nashville’s mostly instrumental Master Series imprint and co-produced by Lyle Lovett and Billy Williams, the album got its 15 minutes of obscurity before disappearing — a fate common among Nashville-released records that fall outside what the industry there defines as “country.”

Which is to say that this is a singer-songwriter album that leans more toward jazz ‘n’ lounge than country. Hyatt’s warm and occasionally raspy baritone wraps around the generally downbeat material like fine brandy hugs a snifter; think Nat “King” Cole
woodshedding with Willie Nelson during the latter’s Tin Pan Alley period. The playing, by a small ensemble featuring ex-Uncle Walt’s Band-mate Champ Hood on guitar, Matt Rollings on piano, Craig Nelson on acoustic bass and Paul Leim on drums, is always
sweet and sensitive and never overbearing, as is Lovett and Williams’ deft production. But the sharpness and directness of the approach here betrays a sensibility that’s more honky-tonk weaned than suave.

King Tears opens with a pair of Hyatt originals (”Tell Me Baby”, “Blind Love Blues”) that evoke a peculiarly late-night contemplation of unrequited love; both tunes deserve to become standards in years to come. “This Time, Lucille”, a co-write with another Uncle Walt’s alumnus, David Ball, is next, followed by “Ruby”, a tune associated with Ray Charles. Another fine downbeat original, “Outside Looking Out”, precedes an exquisite cover of a song by French icon Charles Trenet, “Que reste-t-il de nos amours?”, on which Hyatt really demonstrates the resonance and depth of his eclectic approach.

“In November” (co-written with Tom Mitchell) and “Situé” (co-written with Hood) continue the late-night mood, followed by the bluesy Hyatt-penned title cut, which took its name from an East Austin funeral home and contains a wicked descending guitar riff. The album’s closer, the breezy “Aloha”, is also a Hyatt original, written in 1974 for Uncle Walt’s Band; Ball and Hood join him on vocals. All in all, King Tears is a first-rate effort from an American songwriter of major caliber.

Following a gig in Key West with the King Tears Band, Walter Hyatt boarded ValuJet Flight 592 to attend the graduation of his daughter, Haley. However, the plane caught fire and crashed into the Everglades, killing all 110 passengers and crew on board.

Which makes listening to it today such a poignant experience. At the time of his death, Hyatt was working on a new record for Sugar Hill, which released his last album, Music Town, in 1993. Perhaps the reissue of King Tears will garner Hyatt the major recognition in death that eluded him in life. God only knows, if he’d made it the first time around, he might’ve been flying first-class on a real airline. What a loss.

320 kpbs

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Enjoy!

01 - Genuine
02 - Love Won't Find Us Here
03 - All I Can't Explain
04 - Evolution (the Same Way)
05 - Here
06 - Watermark
07 - Pleasure Grounds
08 - Hollow as Bone
09 - Kiss of Life
10 - Faithless
11 - Fine


Named after that horse that Basil won that money on!

Not really - But a great album!

Favorite song? "All I Can't Explain"

They use to play this back "in the day" on the local PBS station before they decided that all talk was the way to go.

Encoded @ 192K

D R A G O N F L Y

PW = bassoprofundo

After the fascinating blend of crisp-and-clear cool and low-key energy that defined Bohemia, on Dragonfly Moore lets the energy bubble up more to the fore. It makes the album just a touch less special than Bohemia and a little more readily earthy -- the type of thing that mid-'90s programmers looking for the next Sheryl Crow or Sarah McLachlan were probably hunting for. But by no means is Dragonfly a bad experience, and with Gavin McKillop handling the production this time around (having assisted on Bohemia), Moore's backing matches her gentle passion quite well. Indeed, sometimes she really steps up excellently; "Pleasure Grounds" features some of her most direct, strongest singing yet, while the backing music makes for a miniature epic touched with a hint of shoegaze power. Her ear for the occasional calm MC break in her songs remains untouched, thus her concluding words on "Genuine," while the restrained funk breaks on "Love Won't Find Us Here" or the just-off-center rhythm of "Hollow As Bone" give some kicky changes to the album's general flow. The woozy guitar chime on "Here" and subtle beauty of "Kiss of Life" have much of Bohemia's wistful power; if the mix is a touch more radio-friendly, the results can't be argued with. Other efforts can be a touch too ham-handed -- usually through no fault of Moore's per se, whose singing never sounds less than excellent. But the parping Hammond organ start of "Watermark" grates a bit, where other appearances aren't so bad, while many of the songs show relatively little difference from each other in the end. Often Dragonfly succeeds best in a matter of details: consider the stripped-down start of "Evolution (The Same Way)," which steers away from the full, flush flow of much of the album to let only a guitar, bass, and Moore do the talking. ~ Ned Raggett, All Music Guide

if you like this go buy the rest of her catalog!!

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