JAMES TAYLOR - DAD LOVES HIS WORK 1981

James Taylor bounced back from the spotty Flag with this all-original album led by his collaboration with J.D. Souther on "Her Town Too," his biggest pop hit since "Handy Man," and his biggest non-cover hit since his first, "Fire And Rain," in 1970. Also included were "Hard Times" and "Summer's Here," not to mention the unusually impassioned "Stand And Fight." After simmering this long, there wasn't much hope Taylor would ever come to a boil, but that track indicated he could at least heat up now and then. William Ruhlmann, All Music Guide

Tracks :

1. Hard Times (J. Taylor)
2. Her Town Too (J. D. Souther, J. Taylor, W. Wachtel)
3. Hour That the Morning Comes (J. Taylor)
4. I Will Follow (J. Taylor)
5. Believe It or Not (J. Taylor)
6. Stand and Fight (J. Brackman, J. Taylor)
7. Only for Me (J. Taylor)
8. Summer's Here (J. Taylor)
9. Sugar Trade (J. Buffett, T. Mayer, J. Taylor)
10. London Town (J. Taylor)
11. That Lonesome Road (D. Grolnick, J. Taylor)

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JAMES TAYLOR - ACOUSTIC LIVE & RARITIES VOL.1

A compilation with JT Live recordings from 1969 to 1979.


Tracks :

01 Fire & Rain
02 Yesterday
03 If I Needed Someone
04 Satisfied Mind
05 Hush A Bye
06 In My Reply
07 Up On The Roof
08 Night Owl
09 Love HAs Brought Me Around
10 One Man Parade
11 Wow Dont You know
12 Brighten your Night With My Day
13 Aint No Song
14 I Can Dream Of You
15 Lighthouse
16 You Can Close Your Eyes
17 Millworker
18 Long ago And Far Away

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DARK - TAMNA VODA 1988

TAMNA VODA completes the multicultural adventure cycle begun on DARK's coruscating debut. Percussionist extraordinaire Mark Nauseef, guitarist Miroslav Tadic, bassist Mark Sims, and second drummer Leonice Shinneman take us through dank tunnels of killer fusion, aided by guest musicians David Torn and L. Shankar-who rips loose with some of the most hauntingly surreal violin licks in recent memory. Dark takes its cues equally from Mahavishnu Orchestra, Krakatau, and King Crimson. In fact, the opening "Trilok," no doubt a paean to that much-regarded tabla player, could be lost sessions from Crimson's LARKS TONGUES IN ASPIC, featuring Shankar's piercing violin wails, Nauseef's nimble turns of phrase, and Tadic's volcanic guitar rushes.
Things get a little Return to Forever-ish on the skankin' "Ready to Order," replete with vibes right out of the Pierre Moerlen school of post-Gong fusion, but Nauseef's complex fills and trills upset the apple cart every few moments. It doesn't get much better than this. Dark's music is timeless, thoroughly satisfying, original, and excellent.

Tracks :

1. Trilok (M. Nauseef)
2. Xantrophyl (L.Shinneman)
3. Sacred Heart (M. Nauseef)
4. Drifting (J. Hendrix)
5. Buzzard Luck (L.Shinneman)
6. Tamna voda (M. Tadic)
7. Ready To Order (M. London Sims)
8. Smoke At Will (M. London Sims)
9. Para (J. Kühn)
10. Merciful (M. Nauseef)

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BRAND X - DO THEY HURT ? 1980

Brand X is guilty of going through the motions on Do They Hurt? At this juncture in Brand X's career, John Goodsall and Percy Jones are the principal forces, with Phil Collins, Morris Pert, and Robin Lumley reduced to a couple of cameos. Peter Robinson, who adopts Lumley's role of providing dreamy keyboards, and drummer Mike Clarke pick up the slack well enough, though John Giblin appears only on one track (the solid if predictably Goodsallian "Voidarama"). The album's strongest track is Goodsall's "Cambodia," which features his mesmerizing arpeggios and heroic guitar leads in a solid progressive rock instrumental. Little else on Do They Hurt? sounds better than outtakes from previous efforts, however. "Noddy Goes to Sweden" and "Triumphant Limp" are under-inspired efforts from Percy Jones; "Fragile!" (cowritten by Jones and Robinson) lacks the marimba-laden magic that made "Disco Suicide" so interesting. The album's most intriguing, and in many ways frustrating, track is "Act of Will," another attempt at a pop crossover from Goodsall that squanders a good melody by employing heavily treated (and barely intelligible) vocals from the guitarist. The record's final song, "D.M.Z.," is little more than a case of noodling around in a familiar environment. Over the years, Goodsall and Jones have developed unique compositional styles -- one listen will reveal who wrote what. But it's all been done better on earlier albums; without the eclectic approach of Product, Do They Hurt? reveals itself to be little more than a retread of earlier ideas. Of minor interest, Monty Python alumnus Michael Palin provides mildly amusing liner notes. ~ Dave Connolly, All Music Guide

Tracks :

1. "Noddy Goes to Sweden" (Jones) (4:30)
2. "Voidarama" (Goodsall) (4:25)
3. "Act of Will" (Goodsall) (4:44)
4. "Fragile" (Jones, Robinson) (5:26)
5. "Cambodia" (Goodsall) (4:30)
6. "Triumphant Limp" (Goodsall, Giblin, Lumley, Collins) (7:28)
7. "D.M.Z." (Jones) (8:37)

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MAHAVISHNU ORCHESTRA - INNER WORLDS 1976

One of the premiere fusion groups, the Mahavishnu Orchestra was considered by most observers during its prime to be a rock band, but its sophisticated improvisations actually put its high-powered music between rock and jazz. Founder and leader John McLaughlin had recently played with Miles Davis and Tony Williams' Lifetime. The original lineup of the group was McLaughlin on electric guitar, violinist Jerry Goodman, keyboardist Jan Hammer, electric bassist Rick Laird, and drummer Billy Cobham. They recorded three intense albums for Columbia Records during 1971-1973 and then the personnel changed completely for the second version of the group. In addition to McLaughlin, the 1974 incarnation of the band consisted of violinist Jean-Luc Ponty, Gayle Moran on keyboards and vocals, electric bassist Ralphe Armstrong, and drummer Narada Michael Walden; by 1975 Stu Goldberg had replaced Moran and Ponty had left. John McLaughlin's dual interests in Eastern religion and playing acoustic guitar resulted in the band breaking up in 1975. Surprisingly, an attempt to revive the Mahavishnu Orchestra in 1984 (using Cobham, saxophonist Bill Evans, keyboardist Mitchel Forman, electric bassist Jonas Hellborg, and percussionist Danny Gottlieb) was unsuccessful; one Warner Bros. Records, Inc. album resulted. However, when one thinks of the Mahavishnu Orchestra, it is of the original lineup, which was very influential throughout the 1970s.

Tracks :

1. All in the Family (6:01)
2. Miles Out (6:44)
3. In My Life (3:22)
4. Gita (4:28)
5. Morning Calls (1:23)
6. The Way of the Pilgrim (5:15)
7. River of My Heart (3:41)
8. Planetary Citizen (2:14)
9. Lotus Feet (4:24)
10. Inner Worlds Pts. 1 & 2 (6:33)

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MAHAVISHNU ORCHESTRA - BETWEEN NOTHINGNESS & ETERNITY 1973

The first Mahavishnu Orchestra's original very slim catalog was padded out somewhat by this live album (recorded in New York's Central Park) on which the five jazz/rock virtuosos can be heard stretching out at greater length than in the studio. There are only three selections on the disc, all of which were to have been on the group's then-unissued third album -- two of them, guitarist John McLaughlin's "Trilogy: Sunlit Path/La Merede la Mer" and keyboardist Jan Hammer's "Sister Andrea," are proportioned roughly as they were in their studio renditions, while the third, McLaughlin's "Dream," is stretched to nearly double its 11-minute studio length. Each develops organically through a number of sections, and there are fewer lockstep unison passages than on the earlier recordings. McLaughlin is as flashy and noisy as ever on double-necked electric guitar, and Hammer and violinist Jerry Goodman are a match for him in the speed department, with drummer Billy Cobham displaying a compelling, raw power and dexterity to his work as well, especially on the CD edition, which also gives bassist Rich Laird a showcase for his slightly subtler work. Yet for all of the superb playing, one really doesn't hear much music on this album; electricity and competitive empathy are clearly not enough, particularly on the 21-minute "Dream," which left a lot of fans feeling let down at the end of its side-two-filling run on the LP. In the decades since this album was released, the studio versions of these three pieces, along with other tracks being worked up for their third album, have appeared as The Lost Trident Sessions -- dating from May and June of 1973 -- thus giving fans a means of comparing this repertory to what the band had worked out (or not worked out) in the studio; and Between Nothingness and Eternity has come up a bit in estimation as a result, benefiting as it does from the spontaneity and energy of a live performance, though even that can only carry this work so far -- beyond the personality conflicts that broke up the band, they seem to have been approaching, though not quite reaching, a musical dead end as well. ~ Richard S. Ginell & Bruce Eder, All Music Guide

Tracks :


1. Trilogy
2. Sister Andrea
3. Dream

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BRAND X - UNORTHODX BEHAVIOR 1976

Phil Collins' seemingly endless well of energy afforded him two careers: one as the drummer/vocalist in Genesis, and a second as a prolific session musician. It was in this second scenario that Collins hooked up with Percy Jones, John Goodsall, and Robin Lumley during sessions for Brian Eno, Eddie Howell, and Jack Lancaster. The quartet soon formed Brand X, a fusion jazz band that matched the prodigious rhythms of Collins and fretless bassist Jones with the atmospheric melodies of Goodsall and Lumley. Unorthodox Behaviour sets the stage for what would follow: music that plies the same sonic territory as Weather Report, Mahavishnu Orchestra, and the like, punctuated by the distinctive styles of individual members. The songs, though credited to the band, reveal two factions at work, with Jones and Collins teaming for percussive sections and Goodsall and Lumley handling the lyrical passages. When Jones and Collins take the lead, as on the opening "Nuclear Burn" and sections of "Unorthodox Behaviour" and "Running on Three," the music takes a frenetic, mathematical tack. Goodsall and Lumley generally provide the mood, the dominant trait on "Euthanasia Waltz" and "Touch Wood." Middle ground is found on the funky "Born Ugly" and "Smacks of Euphoric Hysteria," true fusions of rock and jazz. Unorthodox Behaviour samples a variety of styles: from melodic to energetic, ethereal to mathematical. Without a standout soloist like John McLaughlin or Wayne Shorter, Brand X does run the risk of sounding like a generic fusion jazz outfit, but their compositional skills pick up the slack nicely. Those interested in the band may do well to start with this album, although their next three records are just as good in terms of quality. ~ Dave Connolly, All Music Guide

Tracks :


1. "Nuclear Burn" (Brand X) (6:20)
2. "Euthanasia Waltz" (Lumley) (5:39)
3. "Born Ugly" (Brand X) (8:13)
4. "Smacks of Euphoric Hysteria" (Goodsall) (4:26)
5. "Unorthodox Behaviour" (Brand X) (8:25)
6. "Running on Three" (Jones) (4:27)
7. "Touch Wood" (Brand X) (3:03)

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AMERICA - LIVE 1977

All of the songs on this album were taken from the fourth night of a four night engagement at the Greek Theater in Los Angeles on July 24, 1977. Playing with Gerry and Dewey were David Dickey (bass guitar), Willie Leacox (drums), Jimmy Calire (keyboards and sax), and Tom Walsh (percussion). The album reached #127 in early 1978. It was the first album released without Dan Peek.

Tracks :

Tin Man
Muskrat Love
I Need You
Old Man Took
Daisy Jane
Company
Hollywood
Sergeant Darkness
Amber Cascades
To Each His Own
Another Try
Ventura Highway
Sister Golden Hair
A Horse With No Name

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AMERICA - HARBOR 1977

Harbor is the seventh original studio album by American folk rock trio America, released by Warner Bros. Records in February 1977. It was the last to feature Dan Peek, who embarked on a solo Christian career shortly after the album's release. The album was produced by legendary Beatles producer George Martin.

This album was a hit in the US, reaching number 21 on the Billboard album chart. Three singles ("God of the Sun", "Don't Cry Baby" and the disco song "Slow Down") were released from the album but all failed to chart.

Tracks :

God of the Sun
Slow Down
Don't Cry Baby
Now She's Gone
Political Poachers
Sarah
Sergeant Darkness
Are You There
These Brown Eyes
Monster
Hurricane
Down to the Water

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CAMEL - THE SNOW GOOSE 1975

Following the relative success of Mirage, Camel decided to embark on that staple of prog rock, the concept album. When they were finished, they produced an instrumental one that holds together quite well. The Snow Goose (technically, the title is legally Music Inspired By The Snow Goose) is a beautiful work of prog grandeur, one that lovers of melodic prog should enjoy.

The story for this disc comes from a short book of the same name (hence the "legal" title). It basically has something to do with an isolated hunchback, a little girl, and a wounded (surprise!) Canadian snow goose. To get the full story, see Eric Porter's review below. Knowing nothing of the story when I first listened to this album, I can say that the plot isn't essential to enjoying the work.

Put simply, this album is a great blend of acoustic and electric guitar work, beautiful melodic keyboard work, accented by the occasional orchestral moment. It is a lush work, well orchestrated. Some of the most interesting non band work, however, is the chamber wind ensemble feel of "Friendship". Where was this when I was a high school clarinet player?

The only downfall here is that the music very rarely hits any emotional high points for me. The closest is probably the buildup of "Dunkirk". Nothing really reaches out and grabs me, tho'. But that's a relatively small nit. There is plenty of great music going on here, particularly if you can just sit back and take it in.

review by Jon Byrne

Tracks :

1. The Great Marsh — 2.02
2. Rhayader — 3.01
3. Rhayader Goes To Town — 5.20
4. Sanctuary — 1.05
5. Fritha — 1.19
6. The Snow Goose — 3.12
7. Friendship — 1.44
8. Migration — 2.01
9. Rhayader Alone — 1.50
10. Flight Of The Snow Goose — 2.40
11. Preparation — 3.58
12. Dunkirk — 5.19
13. Epitaph — 2.07
14. Fritha Alone — 1.40
15. La Princesse Perdue — 4.44
16. The Great Marsh — 1.20

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