Gooder'n Bad Vinyl

01 - Wishing Well
02 - Suicide Sal
03 - I Was in Chains
04 - If You Don't Know
05 - What You Got
06 - In My Life
07 - Comin' on Strong
08 - Hold On
09 - I Saw Him Standing There
10 - It's Been So Long




Special thanks to my friend Jean C. for letting me digitize this and and the previous Maggie Bell post!

Sleeve notes:
Who was Suicide Sal? Well, there lies a mystery only Maggie Bell can solve. Both are legendary characters, but we know a lot more about Maggie, the Scots' Queen of the Blues. She was undoubtedly one of the greatest blues and soul singers of the rock era, blessed with a powerhouse voice that made fans go weak at the knees. However, Suicide Sal really existed, was famous in her own day and, as it turns out, had a strong family connection with Ms. Bell.
Once the star of Stone The Crows, that excellent hard rock band from the early seventies, Maggie was in the throes of building up her solo career when she unleashed this album back in 1975. It followed on the heels of her debut 'Queen Of The Night' (1974). Both albums were put together by Jerry Wexler, a top US producer who had worked with Aretha Franklin and Ray Charles. It was Wexler who gave Maggie the kind of encouragement and advice that she needed after two previous projects with other producers had failed to work out. In truth, it wasn't always easy for a girl to break through the rock 'n' roll barriers in the Seventies. There weren't so many female artists around, and very few Scots girls singing the blues.
When Maggie arrived in America and toured the Deep South she actually had to sing behind a screen before black audiences would accept her. But once they'd heard her voice and she stepped out from behind the screen, they cracked up and gave her the warmest of Southern welcomes!
Maggie Bell was born in Glasgow (January 12, 1945) and came from a musical family. As a teenager she sang with local dance bands, then went to Germany in the mid-sixties to sing at US Air Force bases. Returning to Scotland. She and guitarist Leslie Harvey formed a new group called Power, which later became Stone The Crows. They were managed by Mark London and Peter Grant, the man behind Led Zeppelin. After Leslie was accidentally electrocuted on stage during a sound check in 1972, the heart went out of the group. They worked for a while with fellow Scots guitarist .Jimmy McCulloch, but broke up after a year. Grant and London then offered to help Maggie make a solo album. She subsequently recorded two for Atlantic in New York, one with producer Felix Pappalardi of the group Mountain, and the other with Felix Cavaliere of the Young Rascals. Both LP's were sadly never released.
Maggie is frank about the reasons: "The record company said they weren't good enough. I was quite upset about that! To this day I believe it was wonderful stuff. I think it was down to a load of politics."
At this point Jerry Wexler stepped in. He told Atlantic: "She can sing. I'd like to take over and see if I can make an album with her And if you don't like it you can burn the tapes!" Wexler and Bell sat down together and listened to over two hundred songs in the search for material. After they had done their homework, and Maggie had dutifully learned the lyrics of the chosen songs, they put a band of studio top class musicians together The result was 'Queen Of the Night', which earned rave reviews. "It was wonderful," recalls Maggie. 'Bette Midler said it was the best solo album from a female artist she'd ever heard, and it got great notices in the American magazines. There was even an article about me in Time Magazine! The record got to Number Ten in the charts and it did really well."
Maggie put a touring band on the road and remembers some nerve-wracking dates with Earth, Wind & Fire in the Deep South, when the spectacular group were at the height of their fame. "I had to open the show and the audiences were all sitting there with their mouths hanging open and doing nuthin'." This was when she hit on the idea of asking her road manager to make a wooden screen. "I told him that I wanted to sing the first song behind the screen and then come on stage in full view, just to see what the response was like. Well the response was unbelievable! You see, at first they couldn't accept a white woman from Scotland singing the blues. Scotland? Where's Scotland - is that near Alaska?' But we used the screen and then it was OK - ha, ha!" Maggie Bell toured Germany in 1975 to promote 'Queen Of The Night' and the response was so good she was encouraged to record her second excellent album, 'Suicide Sal'. "We recorded it at Ringo Starr's studio at Tittenhurst Park in England, which had once been John Lennon's home. It's where they filmed John and Yoko for 'Imagine'. It was a beautiful house with incredible gardens. It now belongs to a rich Sheik. It had a great atmosphere. We all stayed there in these little cottages, and of course Ringo and his wife Maureen, who has since died, made us feel part of the family. They were wonderful people. It was also a great studio to work in and you could go in at anytime of the day or night and there were no restrictions abut noise or parking."
The title song 'Suicide Sal' was written by Maggie with a little help from her friends, including Mark London, Mike Clifford and Chris Trentgrove. She explains: " Suicide Sal' was actually my aunt, who was a music hall queen up in Scotland. She was very famous. That was her nickname of course. Her real name was Doris Droy, who was my father's sister But up in Glasgow everyone called her 'Suicide Sal - she's everybody's pal'. In a way she was an outcast because she came from a church-going family, and for a woman to he on the stage in those days was very risky. God bless her soul, I think the furthest she ever got in the world was up to Inverness and back!" Although Maggie felt at home at Ringo's studio, it proved was much harder to get good songs in England than was the case in America. However, she mixed songs by her favourite artists together with some items by well-respected fellow musicians and created an appealing blend of moods. The first cut, Paul Rodgers' 'Wishing Well', certainly got the album off to a flying start. Maggie: "I've always loved Free and that song in particular, so I was keen my do my own version. The next track, 'I Was In Chains', was written by the Sutherland Brothers, It's a nice Scottish theme with bagpipes and stuff.
'If You Don't Know' was by Pete Wingfield, who was a great keyboard player. He had a hit with a song called 'Eighteen With A Bullet' in 1975. "He came on the road with me for a while and he wrote this one for me." Although Ringo didn't sit in on drums at the recording sessions as one might expect, Maggie did have one distinguished guest on her album: Jimmy Page from Led Zeppelin chipped in on 'If You Don't Know.' "I asked Jimmy which song he'd like to play on one number, and he picked that one and he played a wonderful solo." Next came the hard rocking 'What You Got' and the Leo Sayer and Dave Courtney ballad 'In My Life'. Sayer was one of Maggie's favourites and she felt the lyrics could apply to anybody, but particularly those in the music business. 'Comin' On Strong' was supplied by her ex-drummer Colin Allen and bandleader Zoot Money. "They had a little songwriting thing going together and it was hard for them to get anyone to record their stuff. Well, I heard this song and thought I could record it and sing it on stage." Maggie covered another Free song, 'Hold On', by Simon Kirke and Paul Kossoff, and then came up with her special interpretation of Lennon & McCartney's 'I Saw I Him Standing There', suitably re-titled. "I used to do a great version of that on stage' with Pete Wingfield. I thought it was just as good as Joe Cocker's 'With A Little Help From My Friends'".
The last item, It's Been So Long', was contributed by Phil May of The Pretty Things. They had done it on their 'Silk Torpedo' album and Maggie thought it was ideal for her to cover. "Phil changed a few of the lyrics for me, and I did my version with Phil doing some of the vocal backings". The album sold well, but it did much better in America and Germany than in Britain. Maggie believes this was due to a case of UK audiences finding it harder to accept her away from Stone The Crows. "No matter who you are, if you split away from a band, people have divided loyalties. Some fans don't like you to do solo albums. But it did okay and I did a lot of tours to promote 'Suicide Sal.' So I can't complain!".
Maggie Bell now lives in Holland, remains very active, and is still singing and touring. But her happiest memories are of the crazy seventies when she'd be cruising the skies of America in luxury jetliners alongside her mates in Led Zeppelin. 'They were great days and we were all very lucky to have lived through them!'
CHRIS WELCH, London, England, 1997
Swan Song 8412

Jimmy Page - guitar
Jimmy Jewell - Saxophone
Billy Lawrie - Bass
Pete Wingfield - Keyboards
Brian Breeze - Guitar, Vocals
Hugh Burns - Guitar
Roy Davies - Keyboards
Paul Francis - Drums
Ray Glynn - Guitar
Delisle Harper - Bass
Cuddley Judd - Bagpipes
Mickey Keene - Guitar
Mark London - Vocals
Clark Terry - Guitar

Encoded at 320K from original vinyl promo album. Includes high quality scan of cover suitable for a CD case.

http://rapidshare.com/files/65905773/mb_ss75.rar

Password: bassoprofundo

Enjoy!

This is Mama Cass' little sister! Good stuff!




01 - Step Right Up
02 - Under The Jamaican Moon
03 - Souvenir Of The Circus
04 - If I Could Build My Whole World Around You
05 - Down The Backstairs Of My Life
06 - Losing In Love
07 - Step Out
08 - Don;t Leave These Goodbyes
09 - I've Got To Get A Message To You
10 - Fool At Heart



(from Revola records)
Younger sister of uber-vocalist and super celebrity 'Mama' Cass Elliott. Wife of numero uno all-star rock drummer Russ Kunkel. Session vocalist extraordinaire (she provided ALL the backing vocals for James Taylor's huge JT album and remains the only female singer to ever sing back-up for Art Garfunkel). Songwriter and master interpreter. Leah Kunkel is all these things and more!

Schooled in the Greenwich Village folk scene where she hung with Fred Neil and John Sebastian, her life was changed by the arrival of The Beatles (wasn't everybody's?) and the international success of her elder sister's band The Mamas & The Papas. Leah visited Cass in Los Angeles and soon found herself among the new generation of Hollywood pop songwriters. She soon
signed to Trousdale Music (home of P F Sloan and Steve Barri amongs others) and married old flame Russ Kunkel in 1968. She continued writing and demoing into the '70s as well as cultivating a career as an in-demand session vocalist, contributing to records by Jackson Browne, James Taylor, Art Gunfunkel, Dan Hill, Carly Simon and big sister Cass.

In 1979 she released her first self-titled solo set, produced by (and featuring) husband Russ and featuring Jackson Browne on back-up vocals. It contains songs by The Bee Gees, John Phillips and Stephen Bishop alongside her own compositions and boasts a sleeve note by Art Ganfunkel. Its 1980 follow-up, I Run With Trouble, features songs by Jimmy Webb, Chip Douglas and Judy Henske as well as a guest appearance by Graham Nash and a sleeve from the lens of renowned photographer Duane Micheals.

Musicians on the Leah Kunkel album: Leah Kunkel, Steve Lukather, John Jarvis, Leland Sklar, Russ Kunkel, Jim Horn, Penny Nichols, Matthew McCauley, Joe Farrell, Stephen Bishop, Dan Dugmore, Lenny Castro, Craig Doerge, William Smith, Rosemary Butler, Andrew Gold, Jackson Browne, James Newton Howard, Doug Livingston, Renee Armand & Danny Kortchmar.

Encoded at 320K from original my vinyl promo album. Includes high quality scan of cover (except that joining the scans together this time kind of sucked) and promotional insert sheet (All about Leah Kunkel . . .)!

http://rapidshare.com/files/59881388/lkunk.rar

Password: bassoprofundo

Enjoy!

01 - Tuscumbian Lover
02 - Foxfire
03 - Journey With The Breeze
04 - On Lucifer's Knee
05 - Theme From Sparkle
06 - Trapped In A Bubble
07 - Broken Stone
08 - Race Of The Computers
09 - Twisted Hair





Whew! This guy is great! And he's been very busy over the years!

But this is his first solo album on Big Tree records. Kinda like the Allman Brothers (he was good friends with Duane before his death). Kinda like Sea Level.

Encoded at 320K from original vinyl promo album. Includes artwork, an interview with Pete and track listing.

N o t A W o r d

Password: bassoprofundo

Favorite song? "Theme From Sparkle". Kinda reminds me of an alternate version of the Allman Bothers' "Melissa". And yes, that's Chuck Leavell on the organ!

Read more:
Pete Carr, recognized as one of the most versatile studio guitarists of the past three decades, has contributed to hit recordings by Bob Seger, Paul Simon, Rod Stewart, Wilson Pickett, Hank Williams, Jr., The Staple Singers, Barbra Streisand, Luther Ingram and many other artists. Carr is known for versatility, using the electric or acoustic guitar, playing with taste and his ability to create standout guitar lines on hit songs. Pete being a recording engineer and producer adds even more depth to his talents and understanding of the recording studio environment.

Carr was born in Daytona Beach Florida and started to play the guitar at the age of 13. The Beatles and the Rolling Stones were leading the "British Invasion" at that time. Pete bought their records and others such as the Yardbirds, The Animals and The Searchers which helped him learn the guitar as he studied and played along with the records. The first few albums released by the Beatles and the Stones contained many American Rhythm & Blues songs. The Rolling Stones at that time were deeply influenced by American R&B artists. Two of Pete's favorite "Stones" songs at the time were "It's All Over Now" by Bobby Womack and "Mercy, Mercy" by Don Covay, both American R&B recording artist. Pete never dreamed that he would one day play guitar on recordings for artist like Womack and Covay. It is ironic Carr was introduced to American Blues by British bands. One of Pete's favorite guitar instrumentals was "Walk Don't Run 64" by The Ventures, which he learned note for note. Around this time a guitar player from Memphis, Travis Wammack, released an instrumental guitar record named "Scratchy". The other side of the record was named "Fire Fly". When Pete heard "Scratchy" on the radio he was so impressed he immediately went out and bought the record. Carr also learned from listening to guitarist such as James Burton, Jeff Beck, Eric Clapton, Duane Allman, Ted Connors and Chet Atkins.

Pete's next learning experience was to go and watch bands play. The first band he went to see were playing at the Daytona Beach City Island Recreation Center. They were called the House Rockers, an early version of the Allman Joys. Pete was very young but remembers the two guitar players had blonde hair. Pete didn't talk with the two guitar players at the time. It would be at a later date when he would meet the two guitar players, Gregg and Duane Allman. Later, another popular Daytona Beach band called the Night Crawlers, would play at the same place. Pete would watch The Night Crawlers play songs from the first few Rolling Stones records which Pete had been learning from. Pete learned more as he watched the bands two guitar players, Sylvan Wells and Pete Thomason. Pete now plays an acoustic guitar made by Wells.

At the age of 15, Carr went to see the Allman Joys play at the Club Martinique in Daytona Beach. Carr, with guitar case in hand, introduced himself when the band took a break and asked Gregg Allman to show him some guitar lines. Gregg replied, "That's my brother, Duane's, department." At that point Pete introduced himself to Duane Allman. That meeting began a friendship which lasted until Allman's tragic death in a motorcycle crash Oct. 29, 1971.

Pete moved to Decatur Alabama in 1966 to play guitar for a band called the Five Minutes. Their guitar player, Eddie Hinton, was leaving the band to pursue studio work and Carr was called to be his replacement. Johnny Sandlin, Mabron McKinney and Paul Hornsby were the other members of the band. Pete was a fast learner with the guitar so he fit right into the new band. Pete remembers Sandlin playing him songs such as "It's All Over Now" by Bobby Womack and the Valentinoes. Carr already knew the Rolling Stones version of this song, which he loved, but he also liked Womack's version. Sandlin had heard Womack's version first and did not like the Stones version. They were both great recordings in different ways. Sandlin also got Pete to sit down with the classic B.B. King album "Live at the Regal". The band could not find a lead singer so they eventually disbanded after a few weeks. Carr credits Johnny Sandlin and Paul Hornsby as both being big brother influences and teachers in his music career.

In 1967 Pete, Gregg, Duane, Paul Hornsby and Johnny Sandlin, in a group named The Hour Glass, played together on the "The Power Of Love" album. The Hour Glass had recorded songs in Muscle Shoals, Alabama, at Rick Hall's FAME Studios which was known for innovative productions and great sound. One song recording at FAME, "Sweet Little Angel", was later released in a Duane Allman Anthology set. This recording is now considered a classic piece of raw electric southern rock blues. Pete recalls some warm memories from that time. I remember Gregg, Duane and I playing and singing "Long Black Veil", a great country music standard. It started "Ten years ago, on a cold dark night, there was someone killed, in the town that night". I remember us harmonizing on that song and it really was a moment separated from everything else we were doing. It was like a close family thing. I remember my mother talking about how my Aunt Gertrude would play and sing songs like that. She played guitar also, but she died before I was old enough to really remember her very much. My mom said she would sometimes play the guitar using a kitchen butter knife, so she must have played slide guitar also. She had epilepsy and I think I recall Mom saying that had something to do with her death.

Carr soon found he liked playing in recording studios along with engineering and producing. Pete eventually moved to Muscle Shoals around the age of 20. Johnny Wyker and Court Pickett would soon start work on their "Motorcycle Mama" album. Carr was called on to contribute as musician, engineer and producer of the project. The album was a commercial success for the new Muscle Shoals producer. After this Pete moved into the lead guitarist seat for the Muscle Shoals Sound Rhythm Section. The 70s were among the most productive of the Muscle Shoals Rhythm Section as the cream of rock, pop and soul found their way to 3614 Jackson Highway in Sheffield, AL. Carr played on almost all sessions recorded at the studio for the next 10 years. A good example of Pete's musical ability and taste is the standout guitar lines he played on the Bob Seger hit "Main Street". The Rhythm Section co-produced Paul Simon's "There Goes Rhymin' Simon" which earned them a Grammy nomination. Jimmy Johnson, the rhythm guitar player for the Muscle Shoals Sound Rhythm Section was quoted as saying "..Duane Allman had a magic touch with the guitar that no one else had, with the exception of Pete Carr.."

Carr continued as the premier session guitarist in the Muscle Shoals area playing on projects for artists recording at the main studios and also produced two guitar instrumental albums on himself. This strengthened Carr's reputation as one of the South's best studio session guitarists, as well as an artist in his own right. Jerry Wexler, a world renowned record executive and producer, helped Carr find a record label for his productions. Pete put together the group LeBlanc & Carr and created the album "Midnight Light" as both artist and producer. The song "Falling" became a big hit for LeBlanc & Carr. "Falling" was mixed at FAME Studios which is where Pete did most of the mixing for his production projects. The group's first tour was with Lynyrd Skynyrd on the "Street Survivors Tour" and ended tragically with an airplane crash in Mississippi, Oct. 20,1977. After this tragedy, and other band problems, Pete decided to return to the studio.

Pete Carr had now distinguished himself as the only studio musician in the Muscle Shoals area to succeed as studio musician, artist, composer, engineer and producer. Tom Dowd called Carr to Los Angeles to play on a Rod Stewart album which produced the big hit "Tonight's The Night". Pete's guitar playing was a prominent part of the hit. He layered rhythm and lead guitars throughout the song. In 1980 Carr was chosen to play for the Simon and Garfunkel Reunion World Tour and the legendary HBO Central Park Concert where he played acoustic and electric guitars.

Rolling Stone magazine gave Pete a rave review for his bluesy and tasty electric guitar solo on the Barbra Streisand song "Make It Like A Memory" from her "Guilty" album. The song "Woman In Love" from the same album was a big hit for Streisand. Pete's opening harmony guitar lines were notably unique and hard to categorize but very effective in introducing this Streisand hit.

Carr got his first personal computer in 1978 and became enthralled with it and it's possibilities. Carr experimented with computer multimedia around this time. He had computer data recorded on a music album that when loaded into a computer would display extra information about the album. Denny Purcell, a top mastering engineer in Nashville, ran the test for Carr and it all worked fine. Denny was very impressed with Carr's innovative idea and setup Billboard Magazine to do an interview but Pete was busy at the time. Carr and Purcell believe that this was the first time digital computer information was included along with a music album. Of course the record company did not want to release an album with computer data and for good reason. There were very few personal computers around at the time, thus no market for such a product. Pete studied computer science in Florida during the 80s.

Countless people around the world enjoy Pete Carr's contribution to American music everyday. During the Falklands War of 1982, as British battle ships set sail to reclaim the Islands the BBC (The British Broadcasting Corporation) played the Rod Stewart song "Sailing" nation wide. "Sailing" featured Pete Carr's acoustic and electric guitar playing.

When Things Go Wrong
It'll Only Hurt a Little While
Don't Cry
Without You
Why Do You Tell Lies
I Don't Want to Know
Many Years Ago
Waitin' in Line
Be Mine Tonite
Kathy Lee
Don't Wait Till Tomorrow




Encoded at 320K from original vinyl promo album. Includes artwork, reviews and tracklisting

http://rapidshare(dot)com/files/7263264/rl_chrtbst.rar


Password: bassoprofundo


(By Richie Unterberger)
Even if Robin Lane & the Chartbusters' self-titled 1980 debut album didn't quite meet the expectations of the band and their rabid Boston following, it did capture their blend of new wave pop with dynamic folk-rockish guitar lines for the first time on a widely distributed national release. At the fore were singer-songwriter Lane's own husky vocals, delivering songs that for all their melodic hooks were tinged with far greater darkness and ambivalence than most pop-rock of the time, new wave or otherwise.

Although Robin Lane & the Chartbusters was Lane's first album, she had actually been active as a singer-songwriter for about a decade. Back in 1969 she had sung backup vocals on "Round and Round" on Neil Young's classic Everybody Knows This Is Nowhere. In the 1970s she left California to move East, and only a little prior to hooking up with the Chartbusters, she'd been playing far mellower, folk-rock-aligned singer-songwriter material. Those were the kinds of songs she was doing when she got a deal with Private Stock, Blondie's first label.

Soon afterward, a newfound love for acts like Patti Smith, Television, the Clash, the Sex Pistols, Talking Heads, Tom Petty, Cheap Trick, and Dwight Twilley sent her own music into a much different path. Hanging out with Boston bands like the Real Kids and at the legendary local venue the Rat got her in touch with most of the musicians who would become the Chartbusters: guitarist-vocalists (and ex-Modern Lovers) Asa Brebner and Leroy Radcliffe, bassist-vocalist Scott Baerenwald, and drummer Tim Jackson. "I put this other band together and actually enticed them to be my bandmates, because I had this deal with Private Stock," remembers Lane. "And then about a month or two later, Private Stock folded. So I had my new band and new direction."

The new direction would come as a shock to many of her old fans. "Our first gig, we were opening for another of our manager's bands, NRBQ. I pretty much just didn't sing, I screamed!" she laughs. "NRBQ just hated us. A lot of people who had liked me before went, 'What have you done?' It really wasn't an about-face, because I always felt social issues and identified with the underdog. I just thought that this music was a better way to say it [and] put it in. The people that came to listen to me, [when I was] the mellow Robin, would just kind of sit there, and it would be all nice and peachy-keen. But it wasn't affecting them in the gut. It wasn't passionate. I suddenly realized, 'Here's some fertile soil I can plant some seeds in, and it'll be more meaningful to me.'"

She dropped her old repertoire and penned a new one virtually from scratch, though one of her old numbers would be reworked into her most famous song, "When Things Go Wrong" (the song from which it evolved, "Never Enough," was covered on the 1979 album of the same name by the Pousette-Dart Band). Although several record labels expressed interest, the band signed with Warner Brothers after Jerry Wexler saw a show and offered them a deal. A three-song EP (with an early version of "When Things Go Wrong") had already come out on the Deli Platters label and gotten some airplay in Boston before the Chartbusters went to Los Angeles to record their Warners debut.

In hindsight, Lane feels that the album didn't capture the band as well it could have: "Though some people really liked that album, it lost the guitar sound that we had. They had a really wonderful kind of mesh that was lost. I think I wasn't singing as well as I could have; I was trying to retain the force of the songs that we had live, and pushing too hard. After we came back to Boston, people couldn't believe it when they heard the album; they said, 'This is not you.'"

But the songs were definitely Lane's, though "Don't Wait Till Tomorrow" was written with Jackson and Radcliffe, and "Kathy Lee" and "When Things Go Wrong" had assistance from Joanne Cipolla (from the band Planet Street), who at one time lived upstairs from Robin. "When Things Go Wrong" was the single that made the charts, though just as impressive were cuts like the sullen and jaggedly rhythmic "It'll Only Hurt a Little While," and the Sid Vicious-inspired "I Don't Want to Know." Lane also likes "Many Years Ago" and "Don't Cry" ("a kind of staple for us: a cute little ditty, and it's pop").

"I gravitate towards minor keys," reflects Lane when asked what set her most apart from other acts bridging the new wave-pop gap at the time. "Actually with the Chartbusters I started writing in major keys more. But still, that minor key always calls me. And that, right away, kind of sets up the more brooding kind of feel." Some of her lyrics were not out of the radio airplay textbook either: "I remember I was playing 'you digest me with facts like a piece of cheese' [from 'Waitin' in Line']. My publisher goes, 'You can't say that!'"

"I think her history gave her a distinct advantage over a lot of what were considered 'new wave' acts of the time," adds Asa Brebner. "The whole 'new wave' thing was kind of stuck on us because of Leroy Radcliffe['s] and my background with Jonathan Richman and so forth, and that colored how they proceeded to produce and market us. I think we were naive and happy to be signed to a major label, and although we liked [producer] Joe Wissert very much, we just went along with whatever they had planned for us. I think now we could have done a much better job producing ourselves. I still cringe at that album cover, which I think largely sunk us as a candy-ass major label contrivance to those uninitiated to our music. The music itself was watered down enough so it could not overcome that basically cosmetic impression that the casual record store [browser] would garner on seeing it in the bins. It didn't represent us, and I felt cheated."

The album did not widely break the Chartbusters beyond their regional base, and after another live EP and a second album (1981's Imitation Life), they were dropped from Warner Brothers. Although Lane's only sporadically released music since then (most recently on 1995's Catbird Seat), she and the Chartbusters have recently reunited, with all of the original members save Radcliffe. A new album is in the works that will mix newly written songs with others that the group performed live in their original incarnation, but never recorded. Lane is also working on a book about her "kooky crazy peripatetic life in the music world and other planets" that, given a career that has spanned many styles and intersected with many musicians of both star and cult renown, should prove to be quite a ride.

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!