Name: Peter, Paul And Mary - Peter, Paul And Mary (1962) 2/3 @54music2
Uploaded: 2026-09-24T08:17:00-05:00
Duration: 8 min 17 s
Description: Peter, Paul And Mary - Peter, Paul And Mary (1962) 2/3

Peter, Paul And Mary - Peter, Paul And Mary (1962) 2/3

54music2 2026-09-24 | Peter, Paul And Mary - Peter, Paul And Mary (1962) 2/3

Little River Band - Diamantina Cocktail (1977) 1/2

54music2 2025-10-01 | Track List: 1-3,5 (Australian Version)

1. Help Is On Its Way (0:00)
2. The Drifter (4:09)
3. L.A. In The Sunshine (8:04)
5. Witchery (11:11)
..............................................
4. The Inner Light (Blocked Worldwide) (see playlist)*

Part 1. youtu.be/ft6lKzsl_gQ
Part 2. youtu.be/bIxwvixaVyA
Playlist: youtube.com/playlist?list=PLkWvh9BoHZBo1gD-99aNYDvfaihZPJ6o9

From Wikipedia, the free encyclopedia:
Diamantina Cocktail is the third studio album by the Australian rock group Little River Band, released in April 1977. It peaked at No. 2 on the Australian Kent Music Report Albums Chart and reaching No. 49 on the Billboard 200. A different version was released in the US by Harvest in May 1977. The album was certified Gold in the US by the RIAA in January 1978 for over 500,000 copies sold.

The titled refers to a drink invented in the area of the Diamantina River in Queensland, Australia. It consists of Bundaberg Rum, condensed milk and an emu egg.

'Diamantina Cocktail' Allmusic Review by Stephen Thomas Erlewine:
Diamantina Cocktail was the first Little River Band album to make signficant commercial headway in America, peaking at number 49 on the album charts and spawning the hit singles "Happy Anniversary" and "Help is on Its Way." With its laidback, sweet country-rock, the album has a simliar sound to the band's debut, but the melodies are a little sharper and catchier, making the album a better, more fully-rounded collection.

Personnel:
Glenn Shorrock – lead vocals, piano
Graham Goble – guitars, vocals
Beeb Birtles – guitars, vocals
David Briggs – guitars
George McArdle – bass guitar
Derek Pellicci – drums, percussion

Additional musicians:
Ric Formosa – guitar (2, 4, 5 on international version)
Roger McLachlan – bass (4, 8)
Eddy Denton – cor anglais
Peter Sullivan – piano
Ian Mason – piano
Tony Buchanan – saxophones
Graeme Lyall – flute

Little River Band - Diamantina Cocktail (1977) 2/2

54music2 2025-10-01 | Track List: 6-9 (Australian Version)

6. Home On Monday (0:00)
7. Happy Anniversary (3:53)
8. Raelene, Raelene (8:01)
9. Changed & Different (12:28)

Part 1. youtu.be/ft6lKzsl_gQ
Part 2. youtu.be/bIxwvixaVyA
Playlist: youtube.com/playlist?list=PLkWvh9BoHZBo1gD-99aNYDvfaihZPJ6o9

From Wikipedia, the free encyclopedia:
Diamantina Cocktail is the third studio album by the Australian rock group Little River Band, released in April 1977. It peaked at No. 2 on the Australian Kent Music Report Albums Chart and reaching No. 49 on the Billboard 200. A different version was released in the US by Harvest in May 1977. The album was certified Gold in the US by the RIAA in January 1978 for over 500,000 copies sold.

The titled refers to a drink invented in the area of the Diamantina River in Queensland, Australia. It consists of Bundaberg Rum, condensed milk and an emu egg.

'Diamantina Cocktail' Allmusic Review by Stephen Thomas Erlewine:
Diamantina Cocktail was the first Little River Band album to make signficant commercial headway in America, peaking at number 49 on the album charts and spawning the hit singles "Happy Anniversary" and "Help is on Its Way." With its laidback, sweet country-rock, the album has a simliar sound to the band's debut, but the melodies are a little sharper and catchier, making the album a better, more fully-rounded collection.

Personnel:
Glenn Shorrock – lead vocals, piano
Graham Goble – guitars, vocals
Beeb Birtles – guitars, vocals
David Briggs – guitars
George McArdle – bass guitar
Derek Pellicci – drums, percussion

Additional musicians:
Ric Formosa – guitar (2, 4, 5 on international version)
Roger McLachlan – bass (4, 8)
Eddy Denton – cor anglais
Peter Sullivan – piano
Ian Mason – piano
Tony Buchanan – saxophones
Graeme Lyall – flute

Erroll Garner - Concert By The Sea (1956) 1/3

54music2 2025-09-30 | Track List: 1-4

1. I'll Remember April (0:00)
2. Teach Me Tonight (4:19)
3. Mambo Carmel (8:02)
4. Autumn Leaves (11:55)

Part 1. youtu.be/1dc0vm5lVC4
Part 2. youtu.be/U8YVPv0SYFE
Part 3. youtu.be/eGd63dN6x4A
Playlist: youtube.com/playlist?list=PLkWvh9BoHZBrv-TYqB2wpfXOwZMUarg2p

'Concert by the Sea' Allmusic Review by Stephen Thomas Erlewine:
Concert by the Sea is certainly one of the biggest albums in jazz history, selling over 225,000 copies in the first year after its 1956 release and turning into such a steady seller over the next few years, it reportedly brought Columbia Records a million dollars by 1958 -- a nice sum at any time but astronomical in the late '50s. It should've turned Erroll Garner into a full-fledged superstar and, in a way, it did, because it was a reliable catalog item and earned him plenty of fans, including Johnny Carson, who frequently invited the pianist onto The Tonight Show. Instead, Concert by the Sea turned into a pinnacle, with Garner and manager Martha Glaser sliding into contractual battles with Columbia that hampered his long-term growth. Glaser is the one who had the idea to turn the tapes of Garner's September 19, 1955 concert at the Sunset School in Carmel-by-the-Sea, California into a full-fledged album, taking tapes that may have otherwise wound up as a bootleg and turning them over to Columbia. The label whittled the 19-song concert into an 11-track single LP -- Columbia/Legacy's 2015 The Complete Concert by the Sea restores the entirety of the concert over the course of two CDs, adding the original LP as a third -- and, by doing so, they wound up distilling Garner's joyous appeal. Supported by bassist Eddie Calhoun and drummer Denzil Best, Garner seems at home skipping and swinging through a collection of bop and big-band standards, tunes that offer showcases for his sly skill of remaining melodic even when departing from the melody. Garner's playing is so robust and easy to enjoy that his flashier flourishes, such as the cloistered chords that call up "Caravan," almost seem camouflaged, but there are also subtler signatures, like how he slyly emphasizes staccato left-hand rhythms as much as the melody on "They Can't Take That Away from Me." These are distinctions that appear on close listening but the wonderful thing about Concert by the Sea is how it's so infectious and open-hearted, it almost defies inspection: it's the kind of warm, inviting music that seems born from joy and can't help but engender bliss in the listener. [The 2015 expansion offers simply more of a good thing: the rest of the concert is every bit as good as the selections that made the official LP.]

Personnel:
Erroll Garner – piano
Eddie Calhoun – bass
Denzil Best – drums

Erroll Garner - Concert By The Sea (1956) 2/3

54music2 2025-09-30 | Track List: 5-7

5. It's All Right With Me (0:00)
6. Red Top (3:30)
7. April In Paris (6:53)

Part 1. youtu.be/1dc0vm5lVC4
Part 2. youtu.be/U8YVPv0SYFE
Part 3. youtu.be/eGd63dN6x4A
Playlist: youtube.com/playlist?list=PLkWvh9BoHZBrv-TYqB2wpfXOwZMUarg2p

'Concert by the Sea' Allmusic Review by Stephen Thomas Erlewine:
Concert by the Sea is certainly one of the biggest albums in jazz history, selling over 225,000 copies in the first year after its 1956 release and turning into such a steady seller over the next few years, it reportedly brought Columbia Records a million dollars by 1958 -- a nice sum at any time but astronomical in the late '50s. It should've turned Erroll Garner into a full-fledged superstar and, in a way, it did, because it was a reliable catalog item and earned him plenty of fans, including Johnny Carson, who frequently invited the pianist onto The Tonight Show. Instead, Concert by the Sea turned into a pinnacle, with Garner and manager Martha Glaser sliding into contractual battles with Columbia that hampered his long-term growth. Glaser is the one who had the idea to turn the tapes of Garner's September 19, 1955 concert at the Sunset School in Carmel-by-the-Sea, California into a full-fledged album, taking tapes that may have otherwise wound up as a bootleg and turning them over to Columbia. The label whittled the 19-song concert into an 11-track single LP -- Columbia/Legacy's 2015 The Complete Concert by the Sea restores the entirety of the concert over the course of two CDs, adding the original LP as a third -- and, by doing so, they wound up distilling Garner's joyous appeal. Supported by bassist Eddie Calhoun and drummer Denzil Best, Garner seems at home skipping and swinging through a collection of bop and big-band standards, tunes that offer showcases for his sly skill of remaining melodic even when departing from the melody. Garner's playing is so robust and easy to enjoy that his flashier flourishes, such as the cloistered chords that call up "Caravan," almost seem camouflaged, but there are also subtler signatures, like how he slyly emphasizes staccato left-hand rhythms as much as the melody on "They Can't Take That Away from Me." These are distinctions that appear on close listening but the wonderful thing about Concert by the Sea is how it's so infectious and open-hearted, it almost defies inspection: it's the kind of warm, inviting music that seems born from joy and can't help but engender bliss in the listener. [The 2015 expansion offers simply more of a good thing: the rest of the concert is every bit as good as the selections that made the official LP.]

Personnel:
Erroll Garner – piano
Eddie Calhoun – bass
Denzil Best – drums

Erroll Garner - Concert By The Sea (1956) 3/3

54music2 2025-09-30 | Track List: 8-11

8. They Can't Take That Away From (0:00)
9. How Could You Do A Thing Like (4:14)
10. Where Or When (8:28)
11. Erroll's Theme (11:39)

Part 1. youtu.be/1dc0vm5lVC4
Part 2. youtu.be/U8YVPv0SYFE
Part 3. youtu.be/eGd63dN6x4A
Playlist: youtube.com/playlist?list=PLkWvh9BoHZBrv-TYqB2wpfXOwZMUarg2p

'Concert by the Sea' Allmusic Review by Stephen Thomas Erlewine:
Concert by the Sea is certainly one of the biggest albums in jazz history, selling over 225,000 copies in the first year after its 1956 release and turning into such a steady seller over the next few years, it reportedly brought Columbia Records a million dollars by 1958 -- a nice sum at any time but astronomical in the late '50s. It should've turned Erroll Garner into a full-fledged superstar and, in a way, it did, because it was a reliable catalog item and earned him plenty of fans, including Johnny Carson, who frequently invited the pianist onto The Tonight Show. Instead, Concert by the Sea turned into a pinnacle, with Garner and manager Martha Glaser sliding into contractual battles with Columbia that hampered his long-term growth. Glaser is the one who had the idea to turn the tapes of Garner's September 19, 1955 concert at the Sunset School in Carmel-by-the-Sea, California into a full-fledged album, taking tapes that may have otherwise wound up as a bootleg and turning them over to Columbia. The label whittled the 19-song concert into an 11-track single LP -- Columbia/Legacy's 2015 The Complete Concert by the Sea restores the entirety of the concert over the course of two CDs, adding the original LP as a third -- and, by doing so, they wound up distilling Garner's joyous appeal. Supported by bassist Eddie Calhoun and drummer Denzil Best, Garner seems at home skipping and swinging through a collection of bop and big-band standards, tunes that offer showcases for his sly skill of remaining melodic even when departing from the melody. Garner's playing is so robust and easy to enjoy that his flashier flourishes, such as the cloistered chords that call up "Caravan," almost seem camouflaged, but there are also subtler signatures, like how he slyly emphasizes staccato left-hand rhythms as much as the melody on "They Can't Take That Away from Me." These are distinctions that appear on close listening but the wonderful thing about Concert by the Sea is how it's so infectious and open-hearted, it almost defies inspection: it's the kind of warm, inviting music that seems born from joy and can't help but engender bliss in the listener. [The 2015 expansion offers simply more of a good thing: the rest of the concert is every bit as good as the selections that made the official LP.]

Personnel:
Erroll Garner – piano
Eddie Calhoun – bass
Denzil Best – drums

Little Feat - (As Time Goes By) The Best Of Little Feat (1986) 1/3

54music2 2025-09-29 | Track List: 1-4

1. Dixie Chicken (0:00)
2. Willin' (3:55)
3. Rock 'N' Roll Doctor (6:52)
4. Trouble (9:51)

Part 1. youtu.be/uei3tgL_N1M
Part 2. youtu.be/HUzvrWsJBQY
Part 3. youtu.be/7eyCslQ4WtQ
Playlist: youtube.com/playlist?list=PLkWvh9BoHZBpBjqkcPlvxDYNBDuJ26IOr

From Wikipedia, the free encyclopedia:
Little Feat is an American rock band from Los Angeles formed by lead vocalist and guitarist Lowell George, bassist Roy Estrada (both formerly of the Mothers of Invention), keyboardist Bill Payne, and drummer Richie Hayward in 1969. The band's classic line-up, in place by late 1972, consisted of George, Payne, Hayward, bassist Kenny Gradney, guitarist and vocalist Paul Barrere, and percussionist Sam Clayton. George disbanded the group because of creative differences shortly before his death in 1979. Surviving members re-formed Little Feat in 1987 and the band continues to perform.

'As Time Goes By: The Very Best of Little Feat' Allmusic Review by Stephen Thomas Erlewine
This is an extraordinary collection that contains almost every essential Little Feat song from their '70s heyday with Lowell George. Most of the band's albums are worth hearing, but this is a great introduction for the curious in one place -- it's a great summation of the group's achievements, and George's songwriting talent in particular.
Edited by Drew

Little Feat - (As Time Goes By) The Best Of Little Feat (1986) 2/3

54music2 2025-09-29 | Track List: 5-8

5. Sailin' Shoes (0:00)
6. Spanish Moon (2:52)
7. Feats Don't Fail Me Now (5:59)
8. All That You Dream (8:28)

Part 1. youtu.be/uei3tgL_N1M
Part 2. youtu.be/HUzvrWsJBQY
Part 3. youtu.be/7eyCslQ4WtQ
Playlist: youtube.com/playlist?list=PLkWvh9BoHZBpBjqkcPlvxDYNBDuJ26IOr

From Wikipedia, the free encyclopedia:
Little Feat is an American rock band from Los Angeles formed by lead vocalist and guitarist Lowell George, bassist Roy Estrada (both formerly of the Mothers of Invention), keyboardist Bill Payne, and drummer Richie Hayward in 1969. The band's classic line-up, in place by late 1972, consisted of George, Payne, Hayward, bassist Kenny Gradney, guitarist and vocalist Paul Barrere, and percussionist Sam Clayton. George disbanded the group because of creative differences shortly before his death in 1979. Surviving members re-formed Little Feat in 1987 and the band continues to perform.

'As Time Goes By: The Very Best of Little Feat' Allmusic Review by Stephen Thomas Erlewine
This is an extraordinary collection that contains almost every essential Little Feat song from their '70s heyday with Lowell George. Most of the band's albums are worth hearing, but this is a great introduction for the curious in one place -- it's a great summation of the group's achievements, and George's songwriting talent in particular.
Edited by Drew

Little Feat - (As Time Goes By) The Best Of Little Feat (1986) 3/3

54music2 2025-09-29 | Track List: 9-12

9. Long Distance Love (0:00)
10. Mercenary Territory (2:42)
11. Old Folks Boogie (7:08)
12. 20 Million Things* (10:40)
From Lowell George - Thanks I'll Eat It Here (1979) solo album*.

Part 1. youtu.be/uei3tgL_N1M
Part 2. youtu.be/HUzvrWsJBQY
Part 3. youtu.be/7eyCslQ4WtQ
Playlist: youtube.com/playlist?list=PLkWvh9BoHZBpBjqkcPlvxDYNBDuJ26IOr

From Wikipedia, the free encyclopedia:
Little Feat is an American rock band from Los Angeles formed by lead vocalist and guitarist Lowell George, bassist Roy Estrada (both formerly of the Mothers of Invention), keyboardist Bill Payne, and drummer Richie Hayward in 1969. The band's classic line-up, in place by late 1972, consisted of George, Payne, Hayward, bassist Kenny Gradney, guitarist and vocalist Paul Barrere, and percussionist Sam Clayton. George disbanded the group because of creative differences shortly before his death in 1979. Surviving members re-formed Little Feat in 1987 and the band continues to perform.

'As Time Goes By: The Very Best of Little Feat' Allmusic Review by Stephen Thomas Erlewine
This is an extraordinary collection that contains almost every essential Little Feat song from their '70s heyday with Lowell George. Most of the band's albums are worth hearing, but this is a great introduction for the curious in one place -- it's a great summation of the group's achievements, and George's songwriting talent in particular.
Edited by Drew

Leah Kunkel - Leah Kunkel (1979) 1/3 (Vinyl Rip)

54music2 2025-09-28 | Track List: 1-3

1. Step Right Up (0:00)
2. Under The Jamaican Moon (3:24)
3. Souvenir Of The Circus (7:07)

Part 1. youtu.be/76kcxeaTdRw
Part 2. youtu.be/QfEPqd5MMvY
Part 3. youtu.be/sazexQU2KKI
Playlist: youtube.com/playlist?list=PLkWvh9BoHZBqp9cAFgtj8RYUsgH-9S6RF

'Leah Kunkel' Allmusic Review by Jo-Ann Greene:
To the general public, Leah Kunkel's name will barely ring a bell, but the younger sister of the legendary Mama Cass Elliot of Mamas & the Papas fame, had an equally stellar career, although one a bit more behind the scenes. A much in demand session singer, Kunkel (she married equally feted session drummer Russ Kunkel in 1968), provided backing vocals to records by a coterie of hit-makers -- James Taylor, Jackson Brown, Carly Simon, and Art Garfunkel amongst them. Finally coming out from behind the shadow, in 1979 Kunkel released her debut solo album, an eponymous set, which her husband produced, and, of course, played on. A second set, I Run with Trouble, arrived the following year, this one produced by Henry Lewry and the singer herself. This reissue brings together both of those Columbia sets, with all the songs annotated by Kunkel in the sleeve notes. Both albums were comprised of astutely chosen covers, alongside a handful of Kunkel's own compositions. Very much a creature of its time, the sets were superior soft rock, featuring flawless musicianship, gentle atmospheres, and, particularly on the second set, slick production. All of which, of course, beautifully showcase Kunkel's lovely vocals. With a rich voice, and a sweetly emotive style, the singer's talent is obvious. What's equally evident though, is she doesn't have the punch needed for the big time. It's all extremely pleasant, very polished, and proof positive of why she was an exceptional backing singer. Perhaps earlier in the decade, she had a shot at stardom in the singer/songwriter scene, but that time had come and gone by the time these sets hit the shops. Still, there are plenty of lessons within for budding idols (American or otherwise) looking to hone their skills.

01. Step Right Up
Backing Vocals – Penny Nichols
Bass – Leland Sklar
Drums – Russ Kunkel
Electric Piano – John Jarvis
Flute – Jim Horn
Guitar – Stephen Lukather*
Strings – Matthew McCauley
Written-By – Peter McCann

02. Under The Jamaican Moon
Acoustic Guitar, Music By – Stephen Bishop
Backing Vocals – Penny Nichols, Stephen Bishop
Bass – Leland Sklar
Drums – Russ Kunkel
Electric Guitar – Dan Dugmore, Stephen Lukather*
Electric Piano – John Jarvis
Lyrics By – Leah Kunkel
Percussion [Additional] – Lenny Castro
Saxophone – Joe Farrell

03. Souvenir Of The Circus
Bass – Leland Sklar
Drums – Russ Kunkel
Electric Piano, Piano – Leah*
Organ [Yamaha Organ], Synthesizer [Arp String Synthesizer] – Craig Doerge
Written-By – Leah Kunkel

Cello – Dennis Karmazyn, Jan R. Kelley*, Jerome A. Kessler*, Raymond J. Kelley*, Robert Lee Adcock*, Selene Hurford
Concertmaster – Sidney Sharp
Double Bass [String Bass] – Beull Neidlinger*
Engineer – Val Garay
Producer – Russ Kunkel, Val Garay
Violin – Alfred C. Breuning*, David Frisina, Dan Palmer*, Haim Shtrum, Harris Goldman, Henry Ferber, Isabelle Daskoff, James Getzoff, Jay Rosen, Joy Lyle, Murray Adler, Ronald Folsom, Sheldon Sanov, Sid Sharp*, Tibor Zelig, William Kurasch

Leah Kunkel - Leah Kunkel (1979) 2/3 (Vinyl Rip)

54music2 2025-09-28 | Track List: 4-6

4. If I Could Build My Whole World Around You (0:00)
5. Down The Backstairs Of My Life (2:39)
6. Losing In Love (5:47)

Part 1. youtu.be/76kcxeaTdRw
Part 2. youtu.be/QfEPqd5MMvY
Part 3. youtu.be/sazexQU2KKI
Playlist: youtube.com/playlist?list=PLkWvh9BoHZBqp9cAFgtj8RYUsgH-9S6RF

'Leah Kunkel' Allmusic Review by Jo-Ann Greene:
To the general public, Leah Kunkel's name will barely ring a bell, but the younger sister of the legendary Mama Cass Elliot of Mamas & the Papas fame, had an equally stellar career, although one a bit more behind the scenes. A much in demand session singer, Kunkel (she married equally feted session drummer Russ Kunkel in 1968), provided backing vocals to records by a coterie of hit-makers -- James Taylor, Jackson Brown, Carly Simon, and Art Garfunkel amongst them. Finally coming out from behind the shadow, in 1979 Kunkel released her debut solo album, an eponymous set, which her husband produced, and, of course, played on. A second set, I Run with Trouble, arrived the following year, this one produced by Henry Lewry and the singer herself. This reissue brings together both of those Columbia sets, with all the songs annotated by Kunkel in the sleeve notes. Both albums were comprised of astutely chosen covers, alongside a handful of Kunkel's own compositions. Very much a creature of its time, the sets were superior soft rock, featuring flawless musicianship, gentle atmospheres, and, particularly on the second set, slick production. All of which, of course, beautifully showcase Kunkel's lovely vocals. With a rich voice, and a sweetly emotive style, the singer's talent is obvious. What's equally evident though, is she doesn't have the punch needed for the big time. It's all extremely pleasant, very polished, and proof positive of why she was an exceptional backing singer. Perhaps earlier in the decade, she had a shot at stardom in the singer/songwriter scene, but that time had come and gone by the time these sets hit the shops. Still, there are plenty of lessons within for budding idols (American or otherwise) looking to hone their skills.

04. If I Could Build My Whole World Around You
Backing Vocals – Rosemary Butler, William D. Smith*
Bass – Leland Sklar
Drums – Russ Kunkel
Guitar – Stephen Lukather*
Organ – William D. Smith*
Piano – Craig Doerge
Strings – Matthew McCauley
Written-By – Harvey Fuqua, Johnny Bristol, Vernon Bullock

05. Down The Backstairs Of My Life
Lyrics By – Eric Mercury
Organ, Piano, Vocals, Music By – William D. (Smitty) Smith*
Strings – Matthew McCauley

06. Losing In Love
Acoustic Guitar – Andrew Gold
Backing Vocals – Jackson Browne
Bass – Leland Sklar
Clavinet, Piano, Electric Piano [Solo], Synthesizer [Moog Solo] – Craig Doerge
Drums – Russ Kunkel
Strings – Matthew McCauley
Written-By – Harlan Collins

Cello – Dennis Karmazyn, Jan R. Kelley*, Jerome A. Kessler*, Raymond J. Kelley*, Robert Lee Adcock*, Selene Hurford
Concertmaster – Sidney Sharp
Double Bass [String Bass] – Beull Neidlinger*
Engineer – Val Garay
Producer – Russ Kunkel, Val Garay
Violin – Alfred C. Breuning*, David Frisina, Dan Palmer*, Haim Shtrum, Harris Goldman, Henry Ferber, Isabelle Daskoff, James Getzoff, Jay Rosen, Joy Lyle, Murray Adler, Ronald Folsom, Sheldon Sanov, Sid Sharp*, Tibor Zelig, William Kurasch

Leah Kunkel - Leah Kunkel (1979) 3/3 (Vinyl Rip)

54music2 2025-09-28 | Track List: 7-10

7. Step Out (0:00)
8. Don't Leave These Goodbyes (3:27)
9. I've Got To Get A Message To You (6:50)
10. Fool At Heart (10:00)

Part 1. youtu.be/76kcxeaTdRw
Part 2. youtu.be/QfEPqd5MMvY
Part 3. youtu.be/sazexQU2KKI
Playlist: youtube.com/playlist?list=PLkWvh9BoHZBqp9cAFgtj8RYUsgH-9S6RF

'Leah Kunkel' Allmusic Review by Jo-Ann Greene:
To the general public, Leah Kunkel's name will barely ring a bell, but the younger sister of the legendary Mama Cass Elliot of Mamas & the Papas fame, had an equally stellar career, although one a bit more behind the scenes. A much in demand session singer, Kunkel (she married equally feted session drummer Russ Kunkel in 1968), provided backing vocals to records by a coterie of hit-makers -- James Taylor, Jackson Brown, Carly Simon, and Art Garfunkel amongst them. Finally coming out from behind the shadow, in 1979 Kunkel released her debut solo album, an eponymous set, which her husband produced, and, of course, played on. A second set, I Run with Trouble, arrived the following year, this one produced by Henry Lewry and the singer herself. This reissue brings together both of those Columbia sets, with all the songs annotated by Kunkel in the sleeve notes. Both albums were comprised of astutely chosen covers, alongside a handful of Kunkel's own compositions. Very much a creature of its time, the sets were superior soft rock, featuring flawless musicianship, gentle atmospheres, and, particularly on the second set, slick production. All of which, of course, beautifully showcase Kunkel's lovely vocals. With a rich voice, and a sweetly emotive style, the singer's talent is obvious. What's equally evident though, is she doesn't have the punch needed for the big time. It's all extremely pleasant, very polished, and proof positive of why she was an exceptional backing singer. Perhaps earlier in the decade, she had a shot at stardom in the singer/songwriter scene, but that time had come and gone by the time these sets hit the shops. Still, there are plenty of lessons within for budding idols (American or otherwise) looking to hone their skills.

07. Step Out
Alto Saxophone – Jim Horn
Backing Vocals – Penny Nichols
Bass – Leland Sklar
Drums, Congas – Russ Kunkel
Electric Piano, Piano – James Newton Howard
Guitar – Stephen Lukather*
Written-By – John Phillips

08. Don't Leave These Goodbyes
Acoustic Guitar – Doug Livingston
Backing Vocals – Penny Nichols
Bass – Leland Sklar
Drums, Congas – Russ Kunkel
Electric Piano, Organ – Craig Doerge
Piano – Leah*
Written-By – Jules Shear

09. I've Got To Get A Message To You
Bass – Leland Sklar
Drums – Russ Kunkel
Guitar – Stephen Lukather*
Harmony Vocals [Chorus] – Leah*, Renee Armand*
Piano – John Jarvis
Synthesizer – Leah*
Written-By – Robin Gibb, Barry Gibb & Maurice Gibb

10. Fool At Heart
Bass – Leland Sklar
Drums – Russ Kunkel
Electric Guitar – Danny Kortchmar
Handclaps – Russ Kunkel, Val Garay
Piano – John Jarvis
Strings – Matthew McCauley
Written-By – Stephen Bishop

Cello – Dennis Karmazyn, Jan R. Kelley*, Jerome A. Kessler*, Raymond J. Kelley*, Robert Lee Adcock*, Selene Hurford
Concertmaster – Sidney Sharp
Double Bass [String Bass] – Beull Neidlinger*
Engineer – Val Garay
Producer – Russ Kunkel, Val Garay
Violin – Alfred C. Breuning*, David Frisina, Dan Palmer*, Haim Shtrum, Harris Goldman, Henry Ferber, Isabelle Daskoff, James Getzoff, Jay Rosen, Joy Lyle, Murray Adler, Ronald Folsom, Sheldon Sanov, Sid Sharp*, Tibor Zelig, William Kurasch

Amy Grant - Unguarded (1985) 1/3

54music2 2025-09-26 | Track List: 1-3

1. Love Of Another Kind (0:00)
2. Find A Way (3:23)
3. Everywhere I Go (6:52)

Part 1. youtu.be/hYQysbz3sHs
Part 2. youtu.be/Z3va-PKPUqU
Part 3. youtu.be/GfoWZ13CaZM
Playlist: youtube.com/playlist?list=PLkWvh9BoHZBpOlAQza-XEu3GcueQhivNT

'Unguarded' Allmusic Review by William Ruhlmann:
Unguarded, Amy Grant's sixth regular studio album (and ninth album overall), marked her big pop move. After 1982's Age to Age and 1984's Straight Ahead went gold despite distribution restricted mainly to Christian bookstores, Grant's management forged a distribution deal with major independent A&M Records for Unguarded, and the album was backed with a promotional campaign and national tour in keeping with a front-line pop act. Grant's producer, Brown Bannister, had been listening carefully to the pop charts throughout her career, and here he seemed determined to give her the kind of sound that would compete successfully on the secular airwaves of the day. For the mid-'80s, that meant synthesizers, programmed drums, and more synthesizers. And Bannister succeeded. It was easy to imagine the tracks on Unguarded being played alongside hits by the Cars, Duran Duran, and Thompson Twins on pop radio. What also made that transition easier was the only lightly spiritual content of the lyrics. In song after song, Grant (who contributed to seven of the ten tunes, mostly writing words) and her collaborators described life as a struggle and suggested encouragement; if you listened carefully, words like "God," "Jesus," "holy," and "pray" might turn up once per song, or might be only implied by context. In her earnest breathy voice, Grant instructed her fans that they'd better "Wise Up," "Fight," and know "Who to Listen To" (and who not to listen to), but, as those fans bopped along to the synthesized beats, they could be forgiven for missing most of the Christian message if they didn't consult the lyric sheet. As a result, Unguarded worked as intended, producing a Top 40 hit in "Find a Way" and reaching the Top 40 of the LP chart itself. And, as would become apparent, that was only the beginning.

Personnel:
Amy Grant – lead vocals, backing vocals (2, 3)
Robbie Buchanan – Roland Jupiter 8 (1), synthesizers (1, 2, 4–7, 10), synthesizer bass (1), sound effects (4), drum programming (4), synthesizer programming (5), Yamaha DX7 (8), acoustic piano (10), track arrangement (10)
Shane Keister – synthesizers (1, 7, 9), acoustic piano (1), explosion (2), synthesizer programming (3), Yamaha GS1 (3, 8), Fender Rhodes (5), Memorymoog (6), Fairlight (8)
Michael W. Smith – Yamaha GS2 (2, 3, 8), Memorymoog (3)
Larry Williams – synthesizer (7), saxophone (7)
Dann Huff – electric guitars, guitar solo (4, 5)
Jon Goin – electric guitars (2–4, 6, 8, 9), acoustic guitar (10)
Michael Landau – electric guitars (2, 4, 7, 9), guitar solo (10)
Paul Jackson Jr. – electric guitars (7)
Mike Brignardello – bass (2–9)
Paul Leim – drums (1–3, 5–10), drum programming (4), drum overdubs (4), LinnDrum programming (7)
Lenny Castro – percussion (2, 6, 8, 10)
Bill Champlin – backing vocals (1, 7)
Gary Chapman – backing vocals (1, 3, 6, 8)
Tommy Funderburk – backing vocals (1, 2, 6, 7)
Diana Hanna – backing vocals (1, 3, 8)
Chris Harris – screams (1), backing vocals (8)
Gary Pigg – screams (1), backing vocals (8)
Kathy Burdick – screams (1)
Tom Kelly – backing vocals (2, 4, 6, 9)
Steve George – backing vocals (4, 9)
Richard Page – backing vocals (4, 9)
Chris Eaton – backing vocals (5)
Kim Fleming – backing vocals (8)
Donna McElroy – backing vocals (8)

Production:
Michael Blanton – executive producer
Dan Harrell – executive producer
Gary Chapman – executive producer
Brown Bannister – producer
Jack Joseph Puig – engineer, mixing
Kevin Burns – assistant engineer
J.T. Cantwell – assistant engineer
Steven Ford – assistant engineer
Dan Garcia – assistant engineer
Alan Henry – assistant engineer
Richard Markowitz – assistant engineer
Mike Ross – assistant engineer
Clark Schleicher – assistant engineer
Doug Sax – mastering at The Mastering Lab (Hollywood, California)
Kent Hunter – art direction, design
Mark Tucker – photography
Julie Miller – stylist

Amy Grant - Unguarded (1985) 2/3

54music2 2025-09-26 | Track List: 4-6

4. I Love You (0:00)
5. Stepping In Your Shoes (4:26)
6. Fight (9:05)

Part 1. youtu.be/hYQysbz3sHs
Part 2. youtu.be/Z3va-PKPUqU
Part 3. youtu.be/GfoWZ13CaZM
Playlist: youtube.com/playlist?list=PLkWvh9BoHZBpOlAQza-XEu3GcueQhivNT

'Unguarded' Allmusic Review by William Ruhlmann:
Unguarded, Amy Grant's sixth regular studio album (and ninth album overall), marked her big pop move. After 1982's Age to Age and 1984's Straight Ahead went gold despite distribution restricted mainly to Christian bookstores, Grant's management forged a distribution deal with major independent A&M Records for Unguarded, and the album was backed with a promotional campaign and national tour in keeping with a front-line pop act. Grant's producer, Brown Bannister, had been listening carefully to the pop charts throughout her career, and here he seemed determined to give her the kind of sound that would compete successfully on the secular airwaves of the day. For the mid-'80s, that meant synthesizers, programmed drums, and more synthesizers. And Bannister succeeded. It was easy to imagine the tracks on Unguarded being played alongside hits by the Cars, Duran Duran, and Thompson Twins on pop radio. What also made that transition easier was the only lightly spiritual content of the lyrics. In song after song, Grant (who contributed to seven of the ten tunes, mostly writing words) and her collaborators described life as a struggle and suggested encouragement; if you listened carefully, words like "God," "Jesus," "holy," and "pray" might turn up once per song, or might be only implied by context. In her earnest breathy voice, Grant instructed her fans that they'd better "Wise Up," "Fight," and know "Who to Listen To" (and who not to listen to), but, as those fans bopped along to the synthesized beats, they could be forgiven for missing most of the Christian message if they didn't consult the lyric sheet. As a result, Unguarded worked as intended, producing a Top 40 hit in "Find a Way" and reaching the Top 40 of the LP chart itself. And, as would become apparent, that was only the beginning.

Personnel:
Amy Grant – lead vocals, backing vocals (2, 3)
Robbie Buchanan – Roland Jupiter 8 (1), synthesizers (1, 2, 4–7, 10), synthesizer bass (1), sound effects (4), drum programming (4), synthesizer programming (5), Yamaha DX7 (8), acoustic piano (10), track arrangement (10)
Shane Keister – synthesizers (1, 7, 9), acoustic piano (1), explosion (2), synthesizer programming (3), Yamaha GS1 (3, 8), Fender Rhodes (5), Memorymoog (6), Fairlight (8)
Michael W. Smith – Yamaha GS2 (2, 3, 8), Memorymoog (3)
Larry Williams – synthesizer (7), saxophone (7)
Dann Huff – electric guitars, guitar solo (4, 5)
Jon Goin – electric guitars (2–4, 6, 8, 9), acoustic guitar (10)
Michael Landau – electric guitars (2, 4, 7, 9), guitar solo (10)
Paul Jackson Jr. – electric guitars (7)
Mike Brignardello – bass (2–9)
Paul Leim – drums (1–3, 5–10), drum programming (4), drum overdubs (4), LinnDrum programming (7)
Lenny Castro – percussion (2, 6, 8, 10)
Bill Champlin – backing vocals (1, 7)
Gary Chapman – backing vocals (1, 3, 6, 8)
Tommy Funderburk – backing vocals (1, 2, 6, 7)
Diana Hanna – backing vocals (1, 3, 8)
Chris Harris – screams (1), backing vocals (8)
Gary Pigg – screams (1), backing vocals (8)
Kathy Burdick – screams (1)
Tom Kelly – backing vocals (2, 4, 6, 9)
Steve George – backing vocals (4, 9)
Richard Page – backing vocals (4, 9)
Chris Eaton – backing vocals (5)
Kim Fleming – backing vocals (8)
Donna McElroy – backing vocals (8)

Production:
Michael Blanton – executive producer
Dan Harrell – executive producer
Gary Chapman – executive producer
Brown Bannister – producer
Jack Joseph Puig – engineer, mixing
Kevin Burns – assistant engineer
J.T. Cantwell – assistant engineer
Steven Ford – assistant engineer
Dan Garcia – assistant engineer
Alan Henry – assistant engineer
Richard Markowitz – assistant engineer
Mike Ross – assistant engineer
Clark Schleicher – assistant engineer
Doug Sax – mastering at The Mastering Lab (Hollywood, California)
Kent Hunter – art direction, design
Mark Tucker – photography
Julie Miller – stylist

Amy Grant - Unguarded (1985) 3/3

54music2 2025-09-26 | Track List: 7-10

7. Wise Up (0:00)
8. Who To Listen To (3:52)
9. Sharayah (8:16)
10. The Prodigal (13:09)

Part 1. youtu.be/hYQysbz3sHs
Part 2. youtu.be/Z3va-PKPUqU
Part 3. youtu.be/GfoWZ13CaZM
Playlist: youtube.com/playlist?list=PLkWvh9BoHZBpOlAQza-XEu3GcueQhivNT

'Unguarded' Allmusic Review by William Ruhlmann:
Unguarded, Amy Grant's sixth regular studio album (and ninth album overall), marked her big pop move. After 1982's Age to Age and 1984's Straight Ahead went gold despite distribution restricted mainly to Christian bookstores, Grant's management forged a distribution deal with major independent A&M Records for Unguarded, and the album was backed with a promotional campaign and national tour in keeping with a front-line pop act. Grant's producer, Brown Bannister, had been listening carefully to the pop charts throughout her career, and here he seemed determined to give her the kind of sound that would compete successfully on the secular airwaves of the day. For the mid-'80s, that meant synthesizers, programmed drums, and more synthesizers. And Bannister succeeded. It was easy to imagine the tracks on Unguarded being played alongside hits by the Cars, Duran Duran, and Thompson Twins on pop radio. What also made that transition easier was the only lightly spiritual content of the lyrics. In song after song, Grant (who contributed to seven of the ten tunes, mostly writing words) and her collaborators described life as a struggle and suggested encouragement; if you listened carefully, words like "God," "Jesus," "holy," and "pray" might turn up once per song, or might be only implied by context. In her earnest breathy voice, Grant instructed her fans that they'd better "Wise Up," "Fight," and know "Who to Listen To" (and who not to listen to), but, as those fans bopped along to the synthesized beats, they could be forgiven for missing most of the Christian message if they didn't consult the lyric sheet. As a result, Unguarded worked as intended, producing a Top 40 hit in "Find a Way" and reaching the Top 40 of the LP chart itself. And, as would become apparent, that was only the beginning.

Personnel:
Amy Grant – lead vocals, backing vocals (2, 3)
Robbie Buchanan – Roland Jupiter 8 (1), synthesizers (1, 2, 4–7, 10), synthesizer bass (1), sound effects (4), drum programming (4), synthesizer programming (5), Yamaha DX7 (8), acoustic piano (10), track arrangement (10)
Shane Keister – synthesizers (1, 7, 9), acoustic piano (1), explosion (2), synthesizer programming (3), Yamaha GS1 (3, 8), Fender Rhodes (5), Memorymoog (6), Fairlight (8)
Michael W. Smith – Yamaha GS2 (2, 3, 8), Memorymoog (3)
Larry Williams – synthesizer (7), saxophone (7)
Dann Huff – electric guitars, guitar solo (4, 5)
Jon Goin – electric guitars (2–4, 6, 8, 9), acoustic guitar (10)
Michael Landau – electric guitars (2, 4, 7, 9), guitar solo (10)
Paul Jackson Jr. – electric guitars (7)
Mike Brignardello – bass (2–9)
Paul Leim – drums (1–3, 5–10), drum programming (4), drum overdubs (4), LinnDrum programming (7)
Lenny Castro – percussion (2, 6, 8, 10)
Bill Champlin – backing vocals (1, 7)
Gary Chapman – backing vocals (1, 3, 6, 8)
Tommy Funderburk – backing vocals (1, 2, 6, 7)
Diana Hanna – backing vocals (1, 3, 8)
Chris Harris – screams (1), backing vocals (8)
Gary Pigg – screams (1), backing vocals (8)
Kathy Burdick – screams (1)
Tom Kelly – backing vocals (2, 4, 6, 9)
Steve George – backing vocals (4, 9)
Richard Page – backing vocals (4, 9)
Chris Eaton – backing vocals (5)
Kim Fleming – backing vocals (8)
Donna McElroy – backing vocals (8)

Production:
Michael Blanton – executive producer
Dan Harrell – executive producer
Gary Chapman – executive producer
Brown Bannister – producer
Jack Joseph Puig – engineer, mixing
Kevin Burns – assistant engineer
J.T. Cantwell – assistant engineer
Steven Ford – assistant engineer
Dan Garcia – assistant engineer
Alan Henry – assistant engineer
Richard Markowitz – assistant engineer
Mike Ross – assistant engineer
Clark Schleicher – assistant engineer
Doug Sax – mastering at The Mastering Lab (Hollywood, California)
Kent Hunter – art direction, design
Mark Tucker – photography
Julie Miller – stylist

John Denver - Back Home Again (1974) 1/3

54music2 2025-09-25 | Track List: 1-4

1. Back Home Again (0:00)
2. On The Road (4:45)
3. Grandma's Feather Bed (7:23)
4. Matthew (9:41)

Part 1. youtu.be/Kh9-kOLutOE
Part 2. youtu.be/Osam045Ct4g
Part 3. youtu.be/idgUTpho8iI
Playlist: youtube.com/playlist?list=PLkWvh9BoHZBrCbj93M5eh6Xugvy2FrvZe

'Back Home Again' Allmusic Review by Shawn M. Haney:
On Back Home Again, John Denver was in one of the brighter and more spirited moments of his career. It features a plethora of uplifting, merry, and lyrically witty songs written and arranged by Denver and played with the most charming and delightful of backup bands. Highlights include the humor of "Grandma's Feather Bed," the poignancy of "Matthew," and the spirit and delight of "Thank God I'm a Country Boy." A well-orchestrated recording under his label, RCA, Denver makes clear to his fans and listeners of new and old that the "music is in you." Opening up the second side of this 1974 recording is the ever so romantic tearjerker, a song for his wife, "Annie's Song," certainly one of Denver's finest achievements. The highlight of the record finds him playing six-string guitar, with Steve Weisberg on lead guitar, Dick Kniss on bass, John Sommers on mandolin, and Jim Gordon on percussion, with the creativity of Lee Holdridge and his orchestral arrangement. Two more songs come along during this 12-song set with the hearty "Sweet Surrender," and the heartfelt "This Old Guitar." Lazy days, and summer days, and windy days, and rainy days may encourage the listener to find him- or herself listening to this recording under a shady tree, as the joyful tune "Cool an' Green an' Shady" illustrates. John Denver pulls out all the stops to create, and experience himself, one of his finer recordings of the '70s. [Back Home Again was reissued in 2005 in a remastered and expanded edition that included extensive liner notes, photos, and bonus alternate versions of "Matthew" and "This Old Guitar"]

Personnel:
John Denver – 6 & 12-string acoustic guitars, vocals
Buddy Collette – clarinet
Jim Gordon – drums, percussion
Hal Blaine – drums, percussion
Jim Connor – banjo, harmonica, vocals
Julie Connor – vocals
Glen Hardin – piano
Lee Holdridge – orchestral arrangements
David Jackson – bass
Dick Kniss – bass
John Sommers – banjo, acoustic guitar, mandolin, fiddle, backing vocals
Steve Weisberg – acoustic guitar, dulcimer, dobro, backing vocals, arranger

John Denver - Back Home Again (1974) 2/3

54music2 2025-09-25 | Track List: 5-8

5. Thank God I'm A Country Boy (0:00)
6. The Music Is You (3:13)
7. Annie's Song (4:43)
8. It's Up To You (7:43)

Part 1. youtu.be/Kh9-kOLutOE
Part 2. youtu.be/Osam045Ct4g
Part 3. youtu.be/idgUTpho8iI
Playlist: youtube.com/playlist?list=PLkWvh9BoHZBrCbj93M5eh6Xugvy2FrvZe

'Back Home Again' Allmusic Review by Shawn M. Haney:
On Back Home Again, John Denver was in one of the brighter and more spirited moments of his career. It features a plethora of uplifting, merry, and lyrically witty songs written and arranged by Denver and played with the most charming and delightful of backup bands. Highlights include the humor of "Grandma's Feather Bed," the poignancy of "Matthew," and the spirit and delight of "Thank God I'm a Country Boy." A well-orchestrated recording under his label, RCA, Denver makes clear to his fans and listeners of new and old that the "music is in you." Opening up the second side of this 1974 recording is the ever so romantic tearjerker, a song for his wife, "Annie's Song," certainly one of Denver's finest achievements. The highlight of the record finds him playing six-string guitar, with Steve Weisberg on lead guitar, Dick Kniss on bass, John Sommers on mandolin, and Jim Gordon on percussion, with the creativity of Lee Holdridge and his orchestral arrangement. Two more songs come along during this 12-song set with the hearty "Sweet Surrender," and the heartfelt "This Old Guitar." Lazy days, and summer days, and windy days, and rainy days may encourage the listener to find him- or herself listening to this recording under a shady tree, as the joyful tune "Cool an' Green an' Shady" illustrates. John Denver pulls out all the stops to create, and experience himself, one of his finer recordings of the '70s. [Back Home Again was reissued in 2005 in a remastered and expanded edition that included extensive liner notes, photos, and bonus alternate versions of "Matthew" and "This Old Guitar"]

Personnel:
John Denver – 6 & 12-string acoustic guitars, vocals
Buddy Collette – clarinet
Jim Gordon – drums, percussion
Hal Blaine – drums, percussion
Jim Connor – banjo, harmonica, vocals
Julie Connor – vocals
Glen Hardin – piano
Lee Holdridge – orchestral arrangements
David Jackson – bass
Dick Kniss – bass
John Sommers – banjo, acoustic guitar, mandolin, fiddle, backing vocals
Steve Weisberg – acoustic guitar, dulcimer, dobro, backing vocals, arranger

John Denver - Back Home Again (1974) 3/3

54music2 2025-09-25 | Track List: 9-12

9. Cool An' Green An' Shady (0:00)
10. Eclipse (3:09)
11. Sweet Surrender (6:54)
12. This Old Guitar (12:23)

Part 1. youtu.be/Kh9-kOLutOE
Part 2. youtu.be/Osam045Ct4g
Part 3. youtu.be/idgUTpho8iI
Playlist: youtube.com/playlist?list=PLkWvh9BoHZBrCbj93M5eh6Xugvy2FrvZe

'Back Home Again' Allmusic Review by Shawn M. Haney:
On Back Home Again, John Denver was in one of the brighter and more spirited moments of his career. It features a plethora of uplifting, merry, and lyrically witty songs written and arranged by Denver and played with the most charming and delightful of backup bands. Highlights include the humor of "Grandma's Feather Bed," the poignancy of "Matthew," and the spirit and delight of "Thank God I'm a Country Boy." A well-orchestrated recording under his label, RCA, Denver makes clear to his fans and listeners of new and old that the "music is in you." Opening up the second side of this 1974 recording is the ever so romantic tearjerker, a song for his wife, "Annie's Song," certainly one of Denver's finest achievements. The highlight of the record finds him playing six-string guitar, with Steve Weisberg on lead guitar, Dick Kniss on bass, John Sommers on mandolin, and Jim Gordon on percussion, with the creativity of Lee Holdridge and his orchestral arrangement. Two more songs come along during this 12-song set with the hearty "Sweet Surrender," and the heartfelt "This Old Guitar." Lazy days, and summer days, and windy days, and rainy days may encourage the listener to find him- or herself listening to this recording under a shady tree, as the joyful tune "Cool an' Green an' Shady" illustrates. John Denver pulls out all the stops to create, and experience himself, one of his finer recordings of the '70s. [Back Home Again was reissued in 2005 in a remastered and expanded edition that included extensive liner notes, photos, and bonus alternate versions of "Matthew" and "This Old Guitar"]

Personnel:
John Denver – 6 & 12-string acoustic guitars, vocals
Buddy Collette – clarinet
Jim Gordon – drums, percussion
Hal Blaine – drums, percussion
Jim Connor – banjo, harmonica, vocals
Julie Connor – vocals
Glen Hardin – piano
Lee Holdridge – orchestral arrangements
David Jackson – bass
Dick Kniss – bass
John Sommers – banjo, acoustic guitar, mandolin, fiddle, backing vocals
Steve Weisberg – acoustic guitar, dulcimer, dobro, backing vocals, arranger

Buckingham Nicks - Buckingham Nicks (1973) 1/3 (Vinyl Rip)

54music2 2025-09-24 | Track List: 1-3

1. Crying In The Night (0:00)
2. Stephanie (3:00)
3. Without A Leg To Stand On (5:14)

Please support 'DooDahDave’s Records' YouTube Channel:
See unboxing of Buckingham Nicks - Buckingham Nicks:
Buckingham Nicks Vinyl Record Remaster Analogue Productions Unboxing!: youtube.com/watch?v=pSKNHH6mac8

Part 1. youtu.be/n1fPr8mgi7Q
Part 2. youtu.be/3ZCcL6r1Ido
Part 3. youtu.be/euUPl_9Xrho
Playlist: youtube.com/playlist?list=PLkWvh9BoHZBqAIVBiSsP0UjyHaUtLLinY

'Buckingham Nicks' Allmusic Review by Tim Sendra:
In the early 1970s, singer/songwriters Stevie Nicks and Lindsey Buckingham decided they were through with trying to make a band happen and decided to strike out as a duo. Their skills as vocalists and writers -- Buckingham also played a mean guitar -- landed them a record contract and they laid down an album with producer Keith Olsen at the helm. Made up of almost equal amounts of songs penned and sung by each of the pair, the album sank like a stone despite their winning visual appeal and the strength of the songs and recording. One person who did hear the record and got excited was Mick Fleetwood of Fleetwood Mac. They were looking to hire a new guitarist, and Buckingham seemed to fit the bill. He agreed to join but only if Nicks could come aboard too. Fleetwood agreed and the rest is well-known history. Interestingly, even though the band and both Nicks and Buckingham became million-selling rock icons, it took until 2025 for the Buckingham Nicks album to be officially reissued. It might lead one to think that the album was below par or other some kind of embarrassment. That's not the case; in fact, it's on par with the first Fleetwood Mac album and a few of the songs compare quite nicely to some of Mac's best loved classics. The duo and Olsen craft a sound that's slick and smooth but roughed up by Buckingham's guitar -- which both jangled in fine folk-rock form and snapped and spit like a rock & roller -- and Nicks' raspy and one-of-a-kind vocals. The pair already sound joined at the hip; their harmonies feel pre-ordained and their tunes slot together like two sides of a broken heart. The poppier songs jump out first -- Nicks' lovely bit of Laurel Canyon soul, "Crying in the Night," shows off a light vocal touch, and Buckingham's "Don't Let Me Down Again" is a rippling rocker with some fine, lightning-fast guitar work -- but the soft rock ballads prove just as hooky in a more restrained way. Buckingham's "Without a Leg to Stand On" puts America and Bread to shame, Nicks' "Long Distance Winner" and "Races Are Run" foreshadow some of her timeless Mac songs while also keeping one foot in the late-'60s singer/songwriter scene. Most impressive is the lengthy "Frozen Love," which lasts a long time but never gets boring thanks to the mood the duo create with their winding harmonies and Buckingham's vibrant guitar work on both acoustic and electric. It's easy to see what caught Fleetwood's ear, and once he realized the deal he was getting by having both artists in his group, he must have been elated. Buckingham and Nicks were no doubt overjoyed to have the Mac's built-in audience, and said fans were obviously thrilled when the duo's magic revitalized the band in ways no one could have imagined. To say it all started here is no understatement. This is an album filled with magic and promise, along with top-notch songcraft and performance. It deserves more than footnote status and perhaps once it is circulated again, people will embrace it as they should.

Personnel:
Lindsey Buckingham – vocals, guitars, bass guitar, percussion
Stevie Nicks – vocals

Additional personnel:
Waddy Wachtel – guitars
Jerry Scheff – bass guitar
Mark Tulin – bass guitar
Peggy Sandvig – keyboards[nb 3]
Monty Stark – synthesizer
Jim Keltner – drums
Ron Tutt – drums
Gary "Hoppy" Hodges – drums, percussion
Jorge Calderón – percussion
Richard Halligan – string arrangements

Production:
Keith Olsen – producer, engineer
Lee Lasseff – executive producer
Richard Dashut – assistant engineer
Jimmy Wachtel – album design, photography

Buckingham Nicks - Buckingham Nicks (1973) 2/3 (Vinyl Rip)

54music2 2025-09-24 | Track List: 4-6

4. Crystal (0:00)
5. Long Distance Winner (3:49)
6. Don't Let Me Down Again (8:42)

Please support 'DooDahDave’s Records' YouTube Channel:
See unboxing of Buckingham Nicks - Buckingham Nicks:
Buckingham Nicks Vinyl Record Remaster Analogue Productions Unboxing!: youtube.com/watch?v=pSKNHH6mac8

Part 1. youtu.be/n1fPr8mgi7Q
Part 2. youtu.be/3ZCcL6r1Ido
Part 3. youtu.be/euUPl_9Xrho
Playlist: youtube.com/playlist?list=PLkWvh9BoHZBqAIVBiSsP0UjyHaUtLLinY

'Buckingham Nicks' Allmusic Review by Tim Sendra:
In the early 1970s, singer/songwriters Stevie Nicks and Lindsey Buckingham decided they were through with trying to make a band happen and decided to strike out as a duo. Their skills as vocalists and writers -- Buckingham also played a mean guitar -- landed them a record contract and they laid down an album with producer Keith Olsen at the helm. Made up of almost equal amounts of songs penned and sung by each of the pair, the album sank like a stone despite their winning visual appeal and the strength of the songs and recording. One person who did hear the record and got excited was Mick Fleetwood of Fleetwood Mac. They were looking to hire a new guitarist, and Buckingham seemed to fit the bill. He agreed to join but only if Nicks could come aboard too. Fleetwood agreed and the rest is well-known history. Interestingly, even though the band and both Nicks and Buckingham became million-selling rock icons, it took until 2025 for the Buckingham Nicks album to be officially reissued. It might lead one to think that the album was below par or other some kind of embarrassment. That's not the case; in fact, it's on par with the first Fleetwood Mac album and a few of the songs compare quite nicely to some of Mac's best loved classics. The duo and Olsen craft a sound that's slick and smooth but roughed up by Buckingham's guitar -- which both jangled in fine folk-rock form and snapped and spit like a rock & roller -- and Nicks' raspy and one-of-a-kind vocals. The pair already sound joined at the hip; their harmonies feel pre-ordained and their tunes slot together like two sides of a broken heart. The poppier songs jump out first -- Nicks' lovely bit of Laurel Canyon soul, "Crying in the Night," shows off a light vocal touch, and Buckingham's "Don't Let Me Down Again" is a rippling rocker with some fine, lightning-fast guitar work -- but the soft rock ballads prove just as hooky in a more restrained way. Buckingham's "Without a Leg to Stand On" puts America and Bread to shame, Nicks' "Long Distance Winner" and "Races Are Run" foreshadow some of her timeless Mac songs while also keeping one foot in the late-'60s singer/songwriter scene. Most impressive is the lengthy "Frozen Love," which lasts a long time but never gets boring thanks to the mood the duo create with their winding harmonies and Buckingham's vibrant guitar work on both acoustic and electric. It's easy to see what caught Fleetwood's ear, and once he realized the deal he was getting by having both artists in his group, he must have been elated. Buckingham and Nicks were no doubt overjoyed to have the Mac's built-in audience, and said fans were obviously thrilled when the duo's magic revitalized the band in ways no one could have imagined. To say it all started here is no understatement. This is an album filled with magic and promise, along with top-notch songcraft and performance. It deserves more than footnote status and perhaps once it is circulated again, people will embrace it as they should.

Personnel:
Lindsey Buckingham – vocals, guitars, bass guitar, percussion
Stevie Nicks – vocals

Additional personnel:
Waddy Wachtel – guitars
Jerry Scheff – bass guitar
Mark Tulin – bass guitar
Peggy Sandvig – keyboards[nb 3]
Monty Stark – synthesizer
Jim Keltner – drums
Ron Tutt – drums
Gary "Hoppy" Hodges – drums, percussion
Jorge Calderón – percussion
Richard Halligan – string arrangements

Production:
Keith Olsen – producer, engineer
Lee Lasseff – executive producer
Richard Dashut – assistant engineer
Jimmy Wachtel – album design, photography

Buckingham Nicks - Buckingham Nicks (1973) 3/3 (Vinyl Rip)

54music2 2025-09-24 | Track List: 7-10

7. Django (0:00)
8. Races Are Run (1:03)
9. Lola (My Love) (5:18)
10. Frozen Love (8:48)

Please support 'DooDahDave’s Records' Youtube Channel:
See unboxing of Buckingham Nicks - Buckingham Nicks:
Buckingham Nicks Vinyl Record Remaster Analogue Productions Unboxing!: youtube.com/watch?v=pSKNHH6mac8

Part 1. youtu.be/n1fPr8mgi7Q
Part 2. youtu.be/3ZCcL6r1Ido
Part 3. youtu.be/euUPl_9Xrho
Playlist: youtube.com/playlist?list=PLkWvh9BoHZBqAIVBiSsP0UjyHaUtLLinY

'Buckingham Nicks' Allmusic Review by Tim Sendra:
In the early 1970s, singer/songwriters Stevie Nicks and Lindsey Buckingham decided they were through with trying to make a band happen and decided to strike out as a duo. Their skills as vocalists and writers -- Buckingham also played a mean guitar -- landed them a record contract and they laid down an album with producer Keith Olsen at the helm. Made up of almost equal amounts of songs penned and sung by each of the pair, the album sank like a stone despite their winning visual appeal and the strength of the songs and recording. One person who did hear the record and got excited was Mick Fleetwood of Fleetwood Mac. They were looking to hire a new guitarist, and Buckingham seemed to fit the bill. He agreed to join but only if Nicks could come aboard too. Fleetwood agreed and the rest is well-known history. Interestingly, even though the band and both Nicks and Buckingham became million-selling rock icons, it took until 2025 for the Buckingham Nicks album to be officially reissued. It might lead one to think that the album was below par or other some kind of embarrassment. That's not the case; in fact, it's on par with the first Fleetwood Mac album and a few of the songs compare quite nicely to some of Mac's best loved classics. The duo and Olsen craft a sound that's slick and smooth but roughed up by Buckingham's guitar -- which both jangled in fine folk-rock form and snapped and spit like a rock & roller -- and Nicks' raspy and one-of-a-kind vocals. The pair already sound joined at the hip; their harmonies feel pre-ordained and their tunes slot together like two sides of a broken heart. The poppier songs jump out first -- Nicks' lovely bit of Laurel Canyon soul, "Crying in the Night," shows off a light vocal touch, and Buckingham's "Don't Let Me Down Again" is a rippling rocker with some fine, lightning-fast guitar work -- but the soft rock ballads prove just as hooky in a more restrained way. Buckingham's "Without a Leg to Stand On" puts America and Bread to shame, Nicks' "Long Distance Winner" and "Races Are Run" foreshadow some of her timeless Mac songs while also keeping one foot in the late-'60s singer/songwriter scene. Most impressive is the lengthy "Frozen Love," which lasts a long time but never gets boring thanks to the mood the duo create with their winding harmonies and Buckingham's vibrant guitar work on both acoustic and electric. It's easy to see what caught Fleetwood's ear, and once he realized the deal he was getting by having both artists in his group, he must have been elated. Buckingham and Nicks were no doubt overjoyed to have the Mac's built-in audience, and said fans were obviously thrilled when the duo's magic revitalized the band in ways no one could have imagined. To say it all started here is no understatement. This is an album filled with magic and promise, along with top-notch songcraft and performance. It deserves more than footnote status and perhaps once it is circulated again, people will embrace it as they should.

Personnel:
Lindsey Buckingham – vocals, guitars, bass guitar, percussion
Stevie Nicks – vocals

Additional personnel:
Waddy Wachtel – guitars
Jerry Scheff – bass guitar
Mark Tulin – bass guitar
Peggy Sandvig – keyboards[nb 3]
Monty Stark – synthesizer
Jim Keltner – drums
Ron Tutt – drums
Gary "Hoppy" Hodges – drums, percussion
Jorge Calderón – percussion
Richard Halligan – string arrangements

Production:
Keith Olsen – producer, engineer
Lee Lasseff – executive producer
Richard Dashut – assistant engineer
Jimmy Wachtel – album design, photography

Cal Tjader - Latin Kick (1958) 1/3

54music2 2025-09-23 | Track List: 1-4

1. Invitation (0:00)
2. Lover Come Back To Me (4:16)
3. September Song (8:02)
4. Will You Still Be Mine (11:05)

Part 1. youtu.be/WHeSNLSY2TU
Part 2. youtu.be/ZCHGyyvAJ8E
Part 3. youtu.be/Fea_I5KwAqM
Playlist: youtube.com/playlist?list=PLkWvh9BoHZBr0LJNGYI0nEoWSdkLivjTY

'Latin Kick' Allmusic Review by Richard S. Ginell:
Cal Tjader's era-defining mixture of Afro-Cuban rhythms and mainstream jazz solos undergoes a bit of a horizontal expansion in these 1956 sessions. The tracks are often longer than on previous albums, finally taking advantage of the logistics of the LP, and as a result, both the Latin and jazz elements benefit. Tenor saxophonist Brew Moore gets extended chances to blow in an easy-grooving Getz-like manner on several tracks, and on "I Love Paris," Luis Miranda (congas) and Bayardo Velarde (timbales) engage in some spirited percussion battles over the vamping of the brothers Duran (Manuel on piano and Carlos on bass). Everything cooks in a bright yet disciplined manner, and Tjader's elliptical, swinging vibes preside genially over the ensemble.

Credits:
Artwork – Arnold Roth
Bass – Carlos Duran (2)
Congas – Luis Miranda
Piano – Manuel Duran
Tenor Saxophone – Brew Moore
Timbales – Bayardo Velarde
Vibraphone – Cal Tjader

Cal Tjader - Latin Kick (1958) 2/3

54music2 2025-09-23 | Track List: 5-7

5. I Love Paris (0:00)
6. Tropicville (5:55)
7. Moonlight In Vermont (9:12)

Part 1. youtu.be/WHeSNLSY2TU
Part 2. youtu.be/ZCHGyyvAJ8E
Part 3. youtu.be/Fea_I5KwAqM
Playlist: youtube.com/playlist?list=PLkWvh9BoHZBr0LJNGYI0nEoWSdkLivjTY

'Latin Kick' Allmusic Review by Richard S. Ginell:
Cal Tjader's era-defining mixture of Afro-Cuban rhythms and mainstream jazz solos undergoes a bit of a horizontal expansion in these 1956 sessions. The tracks are often longer than on previous albums, finally taking advantage of the logistics of the LP, and as a result, both the Latin and jazz elements benefit. Tenor saxophonist Brew Moore gets extended chances to blow in an easy-grooving Getz-like manner on several tracks, and on "I Love Paris," Luis Miranda (congas) and Bayardo Velarde (timbales) engage in some spirited percussion battles over the vamping of the brothers Duran (Manuel on piano and Carlos on bass). Everything cooks in a bright yet disciplined manner, and Tjader's elliptical, swinging vibes preside genially over the ensemble.

Credits:
Artwork – Arnold Roth
Bass – Carlos Duran (2)
Congas – Luis Miranda
Piano – Manuel Duran
Tenor Saxophone – Brew Moore
Timbales – Bayardo Velarde
Vibraphone – Cal Tjader

Cal Tjader - Latin Kick (1958) 3/3

54music2 2025-09-23 | Track List: 8-11

8. Bye Bye Blues (0:00)
9. Manuel's Mambo (3:39)
10. All The Things You Are (6:59)
11. Blues From Havana (11:12)

Part 1. youtu.be/WHeSNLSY2TU
Part 2. youtu.be/ZCHGyyvAJ8E
Part 3. youtu.be/Fea_I5KwAqM
Playlist: youtube.com/playlist?list=PLkWvh9BoHZBr0LJNGYI0nEoWSdkLivjTY

'Latin Kick' Allmusic Review by Richard S. Ginell:
Cal Tjader's era-defining mixture of Afro-Cuban rhythms and mainstream jazz solos undergoes a bit of a horizontal expansion in these 1956 sessions. The tracks are often longer than on previous albums, finally taking advantage of the logistics of the LP, and as a result, both the Latin and jazz elements benefit. Tenor saxophonist Brew Moore gets extended chances to blow in an easy-grooving Getz-like manner on several tracks, and on "I Love Paris," Luis Miranda (congas) and Bayardo Velarde (timbales) engage in some spirited percussion battles over the vamping of the brothers Duran (Manuel on piano and Carlos on bass). Everything cooks in a bright yet disciplined manner, and Tjader's elliptical, swinging vibes preside genially over the ensemble.

Credits:
Artwork – Arnold Roth
Bass – Carlos Duran (2)
Congas – Luis Miranda
Piano – Manuel Duran
Tenor Saxophone – Brew Moore
Timbales – Bayardo Velarde
Vibraphone – Cal Tjader

Jennifer Warnes - Best of Jennifer Warnes (1982) 1/3

54music2 2025-09-22 | Track List: 1-3

1. Right Time of the Night (0:00)
2. It Goes Like It Goes (2:55)
3. I Know a Heartache When I See One (5:49)

Part 1. youtu.be/LqA6Ue66x6E
Part 2. youtu.be/A8BpGgTQk6o
Part 3. youtu.be/pkmzd1cgDPs
Playlist: youtube.com/playlist?list=PLkWvh9BoHZBpE59iPyN1uDSOyZybx0nPd
Playlist: youtube.com/playlist?list=PLkWvh9BoHZBq1rJX6jmp_48HUdufi0dKe

From Wikipedia, the free encyclopedia:
Best of Jennifer Warnes is a 1982 compilation album by singer/songwriter Jennifer Warnes comprising five of her six Billboard Hot 100 singles - including the Top 40 hits "Right Time of the Night" and "I Know a Heartache When I See One" - supplemented by four other tracks also recorded for Arista Records. In addition the album gave Warnes' recording of "It Goes Like It Goes" its first wide release.

Warnes had been recording tracks for her planned third Arista album at the Producers Workshop, reuniting with producer Jim Ed Norman who had overseen Warnes' 1977 Top Ten hit "Right Time of the Night", in the summer of 1981 with one track "Could It Be Love" issued as a single that June. However, the interference of Arista president Clive Davis in the matter of song choice ultimately caused the planned album's cancellation although a second track from the Producers Workshop sessions: "Come to Me" - a remake of a 1977 Juice Newton recording - was issued in April 1982.

Released in September 1982, Best of Jennifer Warnes featured the two single releases from Warnes' inaugural 1977 Arista album release Jennifer Warnes: "Right Time of the Night" and "I'm Dreaming", and also two of the three singles released from Warnes' 1979 follow-up album Shot Through the Heart: "I Know a Heartache When I See One" and "When the Feeling Comes Around", with that album's second single release "Don't Make Me Over" omitted in favor of two Warnes-composed album tracks: "I'm Restless" and "Shot Through the Heart", which had respectively served as B-side for "I Know a Heartache When I See One" and "When the Feeling Comes Around".

Best of Jennifer Warnes also marked the Arista release of "It Goes Like It Goes" which Warnes had recorded for the 1979 film Norma Rae: despite the song's earning the Academy Award for Best Original Song Warnes' recording had previously only been available in a single featured in the Norma Rae press kit. Also included in Best of Jennifer Warnes were three tracks from the sessions for her abandoned third Arista album: the singles "Could It Be Love" and "Come to Me" and the previously unreleased "Run to Her", Warnes' remake of the 1961 Bobby Vee hit "Run to Him".

By the time of the September 1982 release of Best of Jennifer Warnes the singer was no longer on the Arista Records roster, Warnes' post-Arista career already being well underway with the August 1982 release of "Up Where We Belong" Warnes' duet with Joe Cocker which Warnes correctly predicted would afford her a major hit single.

Jennifer Warnes - Best of Jennifer Warnes (1982) 2/3

54music2 2025-09-22 | Track List: 4-7

4. When the Feeling Comes Around (0:00)
5. I'm Restless (3:18)
6. Could It Be Love (7:37)
7. Run to Her (11:11)

Part 1. youtu.be/LqA6Ue66x6E
Part 2. youtu.be/A8BpGgTQk6o
Part 3. youtu.be/pkmzd1cgDPs
Playlist: youtube.com/playlist?list=PLkWvh9BoHZBpE59iPyN1uDSOyZybx0nPd
Playlist: youtube.com/playlist?list=PLkWvh9BoHZBq1rJX6jmp_48HUdufi0dKe

From Wikipedia, the free encyclopedia:
Best of Jennifer Warnes is a 1982 compilation album by singer/songwriter Jennifer Warnes comprising five of her six Billboard Hot 100 singles - including the Top 40 hits "Right Time of the Night" and "I Know a Heartache When I See One" - supplemented by four other tracks also recorded for Arista Records. In addition the album gave Warnes' recording of "It Goes Like It Goes" its first wide release.

Warnes had been recording tracks for her planned third Arista album at the Producers Workshop, reuniting with producer Jim Ed Norman who had overseen Warnes' 1977 Top Ten hit "Right Time of the Night", in the summer of 1981 with one track "Could It Be Love" issued as a single that June. However, the interference of Arista president Clive Davis in the matter of song choice ultimately caused the planned album's cancellation although a second track from the Producers Workshop sessions: "Come to Me" - a remake of a 1977 Juice Newton recording - was issued in April 1982.

Released in September 1982, Best of Jennifer Warnes featured the two single releases from Warnes' inaugural 1977 Arista album release Jennifer Warnes: "Right Time of the Night" and "I'm Dreaming", and also two of the three singles released from Warnes' 1979 follow-up album Shot Through the Heart: "I Know a Heartache When I See One" and "When the Feeling Comes Around", with that album's second single release "Don't Make Me Over" omitted in favor of two Warnes-composed album tracks: "I'm Restless" and "Shot Through the Heart", which had respectively served as B-side for "I Know a Heartache When I See One" and "When the Feeling Comes Around".

Best of Jennifer Warnes also marked the Arista release of "It Goes Like It Goes" which Warnes had recorded for the 1979 film Norma Rae: despite the song's earning the Academy Award for Best Original Song Warnes' recording had previously only been available in a single featured in the Norma Rae press kit. Also included in Best of Jennifer Warnes were three tracks from the sessions for her abandoned third Arista album: the singles "Could It Be Love" and "Come to Me" and the previously unreleased "Run to Her", Warnes' remake of the 1961 Bobby Vee hit "Run to Him".

By the time of the September 1982 release of Best of Jennifer Warnes the singer was no longer on the Arista Records roster, Warnes' post-Arista career already being well underway with the August 1982 release of "Up Where We Belong" Warnes' duet with Joe Cocker which Warnes correctly predicted would afford her a major hit single.

Jennifer Warnes - Best of Jennifer Warnes (1982) 3/3

54music2 2025-09-22 | Track List: 8-11

8. I'm Dreaming (0:00)
9. Shot Through the Heart (3:33)
10. Come to Me (7:51)

Bonus Track:
11. Up Where We Belong (11:15)

Part 1. youtu.be/LqA6Ue66x6E
Part 2. youtu.be/A8BpGgTQk6o
Part 3. youtu.be/pkmzd1cgDPs
Playlist: youtube.com/playlist?list=PLkWvh9BoHZBpE59iPyN1uDSOyZybx0nPd
Playlist: youtube.com/playlist?list=PLkWvh9BoHZBq1rJX6jmp_48HUdufi0dKe

From Wikipedia, the free encyclopedia:
Best of Jennifer Warnes is a 1982 compilation album by singer/songwriter Jennifer Warnes comprising five of her six Billboard Hot 100 singles - including the Top 40 hits "Right Time of the Night" and "I Know a Heartache When I See One" - supplemented by four other tracks also recorded for Arista Records. In addition the album gave Warnes' recording of "It Goes Like It Goes" its first wide release.

Warnes had been recording tracks for her planned third Arista album at the Producers Workshop, reuniting with producer Jim Ed Norman who had overseen Warnes' 1977 Top Ten hit "Right Time of the Night", in the summer of 1981 with one track "Could It Be Love" issued as a single that June. However, the interference of Arista president Clive Davis in the matter of song choice ultimately caused the planned album's cancellation although a second track from the Producers Workshop sessions: "Come to Me" - a remake of a 1977 Juice Newton recording - was issued in April 1982.

Released in September 1982, Best of Jennifer Warnes featured the two single releases from Warnes' inaugural 1977 Arista album release Jennifer Warnes: "Right Time of the Night" and "I'm Dreaming", and also two of the three singles released from Warnes' 1979 follow-up album Shot Through the Heart: "I Know a Heartache When I See One" and "When the Feeling Comes Around", with that album's second single release "Don't Make Me Over" omitted in favor of two Warnes-composed album tracks: "I'm Restless" and "Shot Through the Heart", which had respectively served as B-side for "I Know a Heartache When I See One" and "When the Feeling Comes Around".

Best of Jennifer Warnes also marked the Arista release of "It Goes Like It Goes" which Warnes had recorded for the 1979 film Norma Rae: despite the song's earning the Academy Award for Best Original Song Warnes' recording had previously only been available in a single featured in the Norma Rae press kit. Also included in Best of Jennifer Warnes were three tracks from the sessions for her abandoned third Arista album: the singles "Could It Be Love" and "Come to Me" and the previously unreleased "Run to Her", Warnes' remake of the 1961 Bobby Vee hit "Run to Him".

By the time of the September 1982 release of Best of Jennifer Warnes the singer was no longer on the Arista Records roster, Warnes' post-Arista career already being well underway with the August 1982 release of "Up Where We Belong" Warnes' duet with Joe Cocker which Warnes correctly predicted would afford her a major hit single.

Gary Wright - The Dream Weaver (1975) 1/3

54music2 2025-09-21 | Track List: 1-3

1. Love Is Alive (0:00)
2. Let Out (3:54)
3. Can't Find The Judge (7:21)

Part 1. youtu.be/HaALYBYbNyo
Part 2. youtu.be/JHTb_y_fuMY
Part 3. youtu.be/G527c4Jvmxg
Playlist: youtube.com/playlist?list=PLkWvh9BoHZBqAIVBiSsP0UjyHaUtLLinY

From Wikipedia, the free encyclopedia:
The Dream Weaver is a solo album by American singer and musician Gary Wright released in July 1975.
The album was said by Wright to be the first-ever all-keyboard album (though there were many all-synthesizer LPs before this, including Switched-On Bach by Wendy Carlos, in 1968), but in fact it also features drums, vocals, and guitar, among other instruments. The performers include David Foster, Bobby Lyle, and Wright himself on keyboards, and Jim Keltner and Andy Newmark on drums. The track "Power of Love" featured Wright's Warner Bros. labelmate Ronnie Montrose on electric guitar.
The album's success was a slow but steady accomplishment as the album eventually peaked at number 7 on the U.S. Billboard Top LPs & Tape chart in the spring of 1976. It was certified Gold in 1976, Platinum in 1986 and 2× Platinum in 1995. The album's title cut (unlike the album, the song omits the article "The") and "Love Is Alive" both peaked at number 2 on the Billboard Hot 100 singles chart.

Personnel:
Gary Wright – lead and backing vocals, Fender Rhodes electric piano, Hammond organ, Hohner clavinet, Moog synthesizers, ARP String Ensemble, woodwinds, special effects
David Foster – Fender Rhodes electric piano, Hammond organ, ARP String Ensemble
Bobby Lyle – Hohner clavinet, Fender Rhodes electric piano
Ronnie Montrose – electric guitar (track 5)
Andy Newmark – drums
Jim Keltner – drums
Lorna Wright, Betty Sweet, and David Pomeranz – backing vocals

Production:
Arranged and produced by Gary Wright
Recorded and engineered by Jay Lewis
Mastered by Doug Sax
Illustrations by Mick Haggerty and Ed Scarsbrick
Photography by Norman Seeff

Gary Wright - The Dream Weaver (1975) 2/3

54music2 2025-09-21 | Track List: 4-6

4. Made To Love You (0:00)
5. Power Of Love (3:46)
6. Dream Weaver (7:24)

Part 1. youtu.be/HaALYBYbNyo
Part 2. youtu.be/JHTb_y_fuMY
Part 3. youtu.be/G527c4Jvmxg
Playlist: youtube.com/playlist?list=PLkWvh9BoHZBqAIVBiSsP0UjyHaUtLLinY

From Wikipedia, the free encyclopedia:
The Dream Weaver is a solo album by American singer and musician Gary Wright released in July 1975.
The album was said by Wright to be the first-ever all-keyboard album (though there were many all-synthesizer LPs before this, including Switched-On Bach by Wendy Carlos, in 1968), but in fact it also features drums, vocals, and guitar, among other instruments. The performers include David Foster, Bobby Lyle, and Wright himself on keyboards, and Jim Keltner and Andy Newmark on drums. The track "Power of Love" featured Wright's Warner Bros. labelmate Ronnie Montrose on electric guitar.
The album's success was a slow but steady accomplishment as the album eventually peaked at number 7 on the U.S. Billboard Top LPs & Tape chart in the spring of 1976. It was certified Gold in 1976, Platinum in 1986 and 2× Platinum in 1995. The album's title cut (unlike the album, the song omits the article "The") and "Love Is Alive" both peaked at number 2 on the Billboard Hot 100 singles chart.

Personnel:
Gary Wright – lead and backing vocals, Fender Rhodes electric piano, Hammond organ, Hohner clavinet, Moog synthesizers, ARP String Ensemble, woodwinds, special effects
David Foster – Fender Rhodes electric piano, Hammond organ, ARP String Ensemble
Bobby Lyle – Hohner clavinet, Fender Rhodes electric piano
Ronnie Montrose – electric guitar (track 5)
Andy Newmark – drums
Jim Keltner – drums
Lorna Wright, Betty Sweet, and David Pomeranz – backing vocals

Production:
Arranged and produced by Gary Wright
Recorded and engineered by Jay Lewis
Mastered by Doug Sax
Illustrations by Mick Haggerty and Ed Scarsbrick
Photography by Norman Seeff

Gary Wright - The Dream Weaver (1975) 3/3

54music2 2025-09-21 | Track List: 7-9

7. Blind Feeling (0:00)
8. Much Higher (4:45)
9. Feel For Me (7:47)

Part 1. youtu.be/HaALYBYbNyo
Part 2. youtu.be/JHTb_y_fuMY
Part 3. youtu.be/G527c4Jvmxg
Playlist: youtube.com/playlist?list=PLkWvh9BoHZBqAIVBiSsP0UjyHaUtLLinY

From Wikipedia, the free encyclopedia:
The Dream Weaver is a solo album by American singer and musician Gary Wright released in July 1975.
The album was said by Wright to be the first-ever all-keyboard album (though there were many all-synthesizer LPs before this, including Switched-On Bach by Wendy Carlos, in 1968), but in fact it also features drums, vocals, and guitar, among other instruments. The performers include David Foster, Bobby Lyle, and Wright himself on keyboards, and Jim Keltner and Andy Newmark on drums. The track "Power of Love" featured Wright's Warner Bros. labelmate Ronnie Montrose on electric guitar.
The album's success was a slow but steady accomplishment as the album eventually peaked at number 7 on the U.S. Billboard Top LPs & Tape chart in the spring of 1976. It was certified Gold in 1976, Platinum in 1986 and 2× Platinum in 1995. The album's title cut (unlike the album, the song omits the article "The") and "Love Is Alive" both peaked at number 2 on the Billboard Hot 100 singles chart.

Personnel:
Gary Wright – lead and backing vocals, Fender Rhodes electric piano, Hammond organ, Hohner clavinet, Moog synthesizers, ARP String Ensemble, woodwinds, special effects
David Foster – Fender Rhodes electric piano, Hammond organ, ARP String Ensemble
Bobby Lyle – Hohner clavinet, Fender Rhodes electric piano
Ronnie Montrose – electric guitar (track 5)
Andy Newmark – drums
Jim Keltner – drums
Lorna Wright, Betty Sweet, and David Pomeranz – backing vocals

Production:
Arranged and produced by Gary Wright
Recorded and engineered by Jay Lewis
Mastered by Doug Sax
Illustrations by Mick Haggerty and Ed Scarsbrick
Photography by Norman Seeff

Genesis - A Trick Of The Tail (1976) 1/2

54music2 2025-09-18 | Track List: 1-4

1. Dance On A Volcano (0:00)
2. Entangled (5:54)
3. Squonk (12:21)
4. Mad Man Moon (18:49)

Part 1. youtu.be/P2lWiTA9nEk
Part 2. youtu.be/YUJHgKucbNU
Playlist: youtube.com/playlist?list=PLkWvh9BoHZBp9YXoyLgfugU3JvBe4lK6s

'A Trick of the Tail' Allmusic Review by Stephen Thomas Erlewine;
After Peter Gabriel departed for a solo career, Genesis embarked on a long journey to find a replacement, only to wind back around to their drummer, Phil Collins, as a replacement. With Collins as their new frontman, the band decided not to pursue the stylish, jagged postmodernism of The Lamb Lies Down on Broadway -- a move that Gabriel would do in his solo career -- and instead returned to the English eccentricity of Selling England by the Pound for its next effort, A Trick of the Tail. In almost every respect, this feels like a truer sequel to Selling England by the Pound than Lamb; after all, that double album was obsessed with modernity and nightmare, whereas this album returns the group to the fanciful fairy tale nature of its earlier records. Also, Genesis were moving away from the barbed pop of the first LP and returning to elastic numbers that showcased their instrumental prowess, and they sounded more forceful and unified as a band than they had since Foxtrot. Not that this album is quite as memorable as Foxtrot or Selling England, largely because its songs aren't as immediate or memorable: apart from "Dance on a Volcano," this is about the sound of the band playing, not individual songs, and it succeeds on that level quite wildly -- to the extent that it proved to longtime fans that Genesis could possibly thrive without its former leader in tow.

Personnel:
Phil Collins – drums, percussion, lead and backing vocals
Steve Hackett – electric guitar, 12-string guitars
Mike Rutherford – bass guitar, bass pedals, 12-string guitar, backing vocals
Tony Banks – pianos, synthesizers, Hammond organ, Mellotron, 12-string guitar, backing vocals

Production:
Genesis – production
David Hentschel – production, engineering
Nick "Haddock" Bradford – engineering
Tex and Jeff – equipment
Neal, John and Terry – liquid sustenance
Hipgnosis – sleeve design
Colin Elgie – sleeve design
Special thanks to Tony Smith, Alex Sim and Regis
Recorded at Trident Studios, London

Genesis - A Trick Of The Tail (1976) 2/2

54music2 2025-09-18 | Track List: 5-8

5. Robbery, Assault And Battery (0:00)
6. Ripples (6:16)
7. A Trick Of The Tail (14:22)
8. Los Endos (18:56)

Part 1. youtu.be/P2lWiTA9nEk
Part 2. youtu.be/YUJHgKucbNU
Playlist: youtube.com/playlist?list=PLkWvh9BoHZBp9YXoyLgfugU3JvBe4lK6s

'A Trick of the Tail' Allmusic Review by Stephen Thomas Erlewine;
After Peter Gabriel departed for a solo career, Genesis embarked on a long journey to find a replacement, only to wind back around to their drummer, Phil Collins, as a replacement. With Collins as their new frontman, the band decided not to pursue the stylish, jagged postmodernism of The Lamb Lies Down on Broadway -- a move that Gabriel would do in his solo career -- and instead returned to the English eccentricity of Selling England by the Pound for its next effort, A Trick of the Tail. In almost every respect, this feels like a truer sequel to Selling England by the Pound than Lamb; after all, that double album was obsessed with modernity and nightmare, whereas this album returns the group to the fanciful fairy tale nature of its earlier records. Also, Genesis were moving away from the barbed pop of the first LP and returning to elastic numbers that showcased their instrumental prowess, and they sounded more forceful and unified as a band than they had since Foxtrot. Not that this album is quite as memorable as Foxtrot or Selling England, largely because its songs aren't as immediate or memorable: apart from "Dance on a Volcano," this is about the sound of the band playing, not individual songs, and it succeeds on that level quite wildly -- to the extent that it proved to longtime fans that Genesis could possibly thrive without its former leader in tow.

Personnel:
Phil Collins – drums, percussion, lead and backing vocals
Steve Hackett – electric guitar, 12-string guitars
Mike Rutherford – bass guitar, bass pedals, 12-string guitar, backing vocals
Tony Banks – pianos, synthesizers, Hammond organ, Mellotron, 12-string guitar, backing vocals

Production:
Genesis – production
David Hentschel – production, engineering
Nick "Haddock" Bradford – engineering
Tex and Jeff – equipment
Neal, John and Terry – liquid sustenance
Hipgnosis – sleeve design
Colin Elgie – sleeve design
Special thanks to Tony Smith, Alex Sim and Regis
Recorded at Trident Studios, London

Bee Gees - 1st (1967) 1/4

54music2 2025-09-16 | Track List: 1-3

1. Turn Of The Century (0:00)
2. Holiday (2:30)
3. Red Chair Fade Away (5:29)

Part 1. youtu.be/AmnYciSZhrQ
Part 2. youtu.be/zyTfHaTwjIQ
Part 3. youtu.be/g907G9Boq88
Part 4: youtu.be/OVaeHm9mir4
Playlist: youtube.com/playlist?list=PLkWvh9BoHZBoUKu5p8_kSl83_SYsz1rNx

'Bee Gees' 1st' Allmusic Review by Bruce Eder:
The debut international long-player by the Bee Gees may shock anyone who only remembers them for their mid- to late-'70s disco mega-hits, or their quirky early-'70s romantic balladry. Up until 1966, they'd shown a penchant for melodic songs and rich, high harmonies, in the process becoming Australia's answer to the Everly Brothers. When the Bee Gees arrived in London late in 1966, however, they proved quick studies in absorbing and assimilating the progressive pop and rock sounds around them. In one fell swoop, they became competitors with the likes of veteran rock bands such as the Hollies and the Tremeloes, and this long-player, Bee Gees' 1st, is more of a rock album than the group usually got credit for generating. Parts of it do sound very much like the Beatles circa Revolver, but there was far more to their sound than that. The three hits off of Bee Gees' 1st, "To Love Somebody," "New York Mining Disaster 1941," and "Holiday," were gorgeous but relatively somber, thus giving Bee Gees' 1st a melancholy cast, but much of the rest is relatively upbeat psychedelic pop. "In My Own Time" may echo elements of the Beatles' "Dr. Robert" and "Taxman," but it's difficult to dislike a song with such delicious rhythm guitars and a great beat, coupled with the trio's soaring harmonies; "Every Christian Lion Hearted Man Will Show You" was close in spirit to the Moody Blues of this era, opening with a Gregorian chant backed by a Mellotron, before breaking into a strangely spaced-out, psychedelic main song body. Robin Gibb's lead vocals veered toward the melodramatic and poignant, and the orchestra did dress up some of the songs a little sweetly, yet overall the group presented themselves as a proficient rock ensemble who'd filled their debut album with a full set of solid, refreshingly original songs. [In 2006, as part of the shift of the group's back catalog to Reprise Records, Bee Gees' 1st was reissued in remastered form, with seriously improved sound and expanded to two CDs with a brace of chronologically-related outtakes -- comprising some of the most fascinating material of their history -- initially as part of the collection The Studio Albums 1967-1968.]

Personnel:
Barry Gibb – lead, harmony and backing vocals; rhythm guitar
Robin Gibb – lead, harmony and backing vocals; Hammond organ and pump organ
Maurice Gibb – harmony and backing vocals; bass and rhythm guitars; piano, Mellotron, Hammond organ, and harpsichord
Vince Melouney – lead guitar
Colin Petersen – drums

Additional musicians and production:
Phil Dennys – orchestral arrangement on #3, 4 (side 1) and #1, 4 (side 2)
Bill Shepherd – orchestral arrangement
Mike Claydon – audio engineer
Robert Stigwood, Ossie Byrne – producer
Klaus Voormann – cover art

Bee Gees - 1st (1967) 2/4

54music2 2025-09-16 | Track List: 4-6

4. One Minute Woman (0:00)
5. In My Own Time (2:21)
6. Every Christian Lion Hearted Man Will Show You (4:40)

Part 1. youtu.be/AmnYciSZhrQ
Part 2. youtu.be/zyTfHaTwjIQ
Part 3. youtu.be/g907G9Boq88
Part 4: youtu.be/OVaeHm9mir4
Playlist: youtube.com/playlist?list=PLkWvh9BoHZBoUKu5p8_kSl83_SYsz1rNx

'Bee Gees' 1st' Allmusic Review by Bruce Eder:
The debut international long-player by the Bee Gees may shock anyone who only remembers them for their mid- to late-'70s disco mega-hits, or their quirky early-'70s romantic balladry. Up until 1966, they'd shown a penchant for melodic songs and rich, high harmonies, in the process becoming Australia's answer to the Everly Brothers. When the Bee Gees arrived in London late in 1966, however, they proved quick studies in absorbing and assimilating the progressive pop and rock sounds around them. In one fell swoop, they became competitors with the likes of veteran rock bands such as the Hollies and the Tremeloes, and this long-player, Bee Gees' 1st, is more of a rock album than the group usually got credit for generating. Parts of it do sound very much like the Beatles circa Revolver, but there was far more to their sound than that. The three hits off of Bee Gees' 1st, "To Love Somebody," "New York Mining Disaster 1941," and "Holiday," were gorgeous but relatively somber, thus giving Bee Gees' 1st a melancholy cast, but much of the rest is relatively upbeat psychedelic pop. "In My Own Time" may echo elements of the Beatles' "Dr. Robert" and "Taxman," but it's difficult to dislike a song with such delicious rhythm guitars and a great beat, coupled with the trio's soaring harmonies; "Every Christian Lion Hearted Man Will Show You" was close in spirit to the Moody Blues of this era, opening with a Gregorian chant backed by a Mellotron, before breaking into a strangely spaced-out, psychedelic main song body. Robin Gibb's lead vocals veered toward the melodramatic and poignant, and the orchestra did dress up some of the songs a little sweetly, yet overall the group presented themselves as a proficient rock ensemble who'd filled their debut album with a full set of solid, refreshingly original songs. [In 2006, as part of the shift of the group's back catalog to Reprise Records, Bee Gees' 1st was reissued in remastered form, with seriously improved sound and expanded to two CDs with a brace of chronologically-related outtakes -- comprising some of the most fascinating material of their history -- initially as part of the collection The Studio Albums 1967-1968.]

Personnel:
Barry Gibb – lead, harmony and backing vocals; rhythm guitar
Robin Gibb – lead, harmony and backing vocals; Hammond organ and pump organ
Maurice Gibb – harmony and backing vocals; bass and rhythm guitars; piano, Mellotron, Hammond organ, and harpsichord
Vince Melouney – lead guitar
Colin Petersen – drums

Additional musicians and production:
Phil Dennys – orchestral arrangement on #3, 4 (side 1) and #1, 4 (side 2)
Bill Shepherd – orchestral arrangement
Mike Claydon – audio engineer
Robert Stigwood, Ossie Byrne – producer
Klaus Voormann – cover art

Bee Gees - 1st (1967) 3/4

54music2 2025-09-16 | Track List: 7-10

7. Craise Finton Kirk Royal Academy Of Arts (0:00)
8. New York Mining Disaster 1941 (2:20)
9. Cucumber Castle (4:35)
10. To Love Somebody (6:43)

Part 1. youtu.be/AmnYciSZhrQ
Part 2. youtu.be/zyTfHaTwjIQ
Part 3. youtu.be/g907G9Boq88
Part 4: youtu.be/OVaeHm9mir4
Playlist: youtube.com/playlist?list=PLkWvh9BoHZBoUKu5p8_kSl83_SYsz1rNx

'Bee Gees' 1st' Allmusic Review by Bruce Eder:
The debut international long-player by the Bee Gees may shock anyone who only remembers them for their mid- to late-'70s disco mega-hits, or their quirky early-'70s romantic balladry. Up until 1966, they'd shown a penchant for melodic songs and rich, high harmonies, in the process becoming Australia's answer to the Everly Brothers. When the Bee Gees arrived in London late in 1966, however, they proved quick studies in absorbing and assimilating the progressive pop and rock sounds around them. In one fell swoop, they became competitors with the likes of veteran rock bands such as the Hollies and the Tremeloes, and this long-player, Bee Gees' 1st, is more of a rock album than the group usually got credit for generating. Parts of it do sound very much like the Beatles circa Revolver, but there was far more to their sound than that. The three hits off of Bee Gees' 1st, "To Love Somebody," "New York Mining Disaster 1941," and "Holiday," were gorgeous but relatively somber, thus giving Bee Gees' 1st a melancholy cast, but much of the rest is relatively upbeat psychedelic pop. "In My Own Time" may echo elements of the Beatles' "Dr. Robert" and "Taxman," but it's difficult to dislike a song with such delicious rhythm guitars and a great beat, coupled with the trio's soaring harmonies; "Every Christian Lion Hearted Man Will Show You" was close in spirit to the Moody Blues of this era, opening with a Gregorian chant backed by a Mellotron, before breaking into a strangely spaced-out, psychedelic main song body. Robin Gibb's lead vocals veered toward the melodramatic and poignant, and the orchestra did dress up some of the songs a little sweetly, yet overall the group presented themselves as a proficient rock ensemble who'd filled their debut album with a full set of solid, refreshingly original songs. [In 2006, as part of the shift of the group's back catalog to Reprise Records, Bee Gees' 1st was reissued in remastered form, with seriously improved sound and expanded to two CDs with a brace of chronologically-related outtakes -- comprising some of the most fascinating material of their history -- initially as part of the collection The Studio Albums 1967-1968.]

Personnel:
Barry Gibb – lead, harmony and backing vocals; rhythm guitar
Robin Gibb – lead, harmony and backing vocals; Hammond organ and pump organ
Maurice Gibb – harmony and backing vocals; bass and rhythm guitars; piano, Mellotron, Hammond organ, and harpsichord
Vince Melouney – lead guitar
Colin Petersen – drums

Additional musicians and production:
Phil Dennys – orchestral arrangement on #3, 4 (side 1) and #1, 4 (side 2)
Bill Shepherd – orchestral arrangement
Mike Claydon – audio engineer
Robert Stigwood, Ossie Byrne – producer
Klaus Voormann – cover art

Bee Gees - 1st (1967) 4/4

54music2 2025-09-16 | Track List: 11-14

11. I Close My Eyes (0:00)
12. I Can't See Nobody (2:27)
13. Please Read Me (6:16)
14. Close Another Door (8:35)

Part 1. youtu.be/AmnYciSZhrQ
Part 2. youtu.be/zyTfHaTwjIQ
Part 3. youtu.be/g907G9Boq88
Part 4: youtu.be/OVaeHm9mir4
Playlist: youtube.com/playlist?list=PLkWvh9BoHZBoUKu5p8_kSl83_SYsz1rNx

'Bee Gees' 1st' Allmusic Review by Bruce Eder:
The debut international long-player by the Bee Gees may shock anyone who only remembers them for their mid- to late-'70s disco mega-hits, or their quirky early-'70s romantic balladry. Up until 1966, they'd shown a penchant for melodic songs and rich, high harmonies, in the process becoming Australia's answer to the Everly Brothers. When the Bee Gees arrived in London late in 1966, however, they proved quick studies in absorbing and assimilating the progressive pop and rock sounds around them. In one fell swoop, they became competitors with the likes of veteran rock bands such as the Hollies and the Tremeloes, and this long-player, Bee Gees' 1st, is more of a rock album than the group usually got credit for generating. Parts of it do sound very much like the Beatles circa Revolver, but there was far more to their sound than that. The three hits off of Bee Gees' 1st, "To Love Somebody," "New York Mining Disaster 1941," and "Holiday," were gorgeous but relatively somber, thus giving Bee Gees' 1st a melancholy cast, but much of the rest is relatively upbeat psychedelic pop. "In My Own Time" may echo elements of the Beatles' "Dr. Robert" and "Taxman," but it's difficult to dislike a song with such delicious rhythm guitars and a great beat, coupled with the trio's soaring harmonies; "Every Christian Lion Hearted Man Will Show You" was close in spirit to the Moody Blues of this era, opening with a Gregorian chant backed by a Mellotron, before breaking into a strangely spaced-out, psychedelic main song body. Robin Gibb's lead vocals veered toward the melodramatic and poignant, and the orchestra did dress up some of the songs a little sweetly, yet overall the group presented themselves as a proficient rock ensemble who'd filled their debut album with a full set of solid, refreshingly original songs. [In 2006, as part of the shift of the group's back catalog to Reprise Records, Bee Gees' 1st was reissued in remastered form, with seriously improved sound and expanded to two CDs with a brace of chronologically-related outtakes -- comprising some of the most fascinating material of their history -- initially as part of the collection The Studio Albums 1967-1968.]

Personnel:
Barry Gibb – lead, harmony and backing vocals; rhythm guitar
Robin Gibb – lead, harmony and backing vocals; Hammond organ and pump organ
Maurice Gibb – harmony and backing vocals; bass and rhythm guitars; piano, Mellotron, Hammond organ, and harpsichord
Vince Melouney – lead guitar
Colin Petersen – drums

Additional musicians and production:
Phil Dennys – orchestral arrangement on #3, 4 (side 1) and #1, 4 (side 2)
Bill Shepherd – orchestral arrangement
Mike Claydon – audio engineer
Robert Stigwood, Ossie Byrne – producer
Klaus Voormann – cover art

Stevie Wright - Hard Road (1974) 1/3 (Vinyl Rip)

54music2 2025-09-14 | Track List: 1-3

1. Hard Road (0:00)
2. Life Gets Better (3:00)
3. The Other Side (6:07)

Part 1. youtu.be/uw7fggoLfl8
Part 2. youtu.be/YBL0dCEmsOY
Part 3. youtu.be/GaEinsoSv_A
Playlist: youtube.com/playlist?list=PLkWvh9BoHZBoc9o3HZP3fuT4OJD2I-SzT

From Wikipedia, the free encyclopedia:
Hard Road is the debut solo album from Australian singer Stevie Wright. The album's first single, "Evie (Part 1)", was hugely successful and the title track was later covered on Rod Stewart's 1974 album Smiler. The album itself reached #2 on the Australian album charts in 1974 and was the 16th-highest-selling album in Australia that year.

In 1973, Harry Vanda and George Young returned to Australia after a period working in London paying off debts incurred while working as the Easybeats. They renewed their partnership with Albert Productions and as in-house producers began assembling a roster of artists for the label, among them their former Easybeats bandmate Stevie Wright.

Work soon commenced on an album with Wright, with Vanda and Young assembling a backing group that included themselves, pianist Warren Morgan of The Aztecs, and Malcolm Young, George's younger brother and the rhythm guitarist for AC/DC, on guitar. Wright wrote six songs for the album, while Vanda and Young wrote the remainder, including the title track and the three-part "Evie".

Personnel:
Stevie Wright - vocals
George Young - bass
Harry Vanda - guitar
Malcolm Young - guitar
John Proud - drums
Warren Morgan - piano

Stevie Wright - Hard Road (1974) 2/3 (Vinyl Rip)

54music2 2025-09-14 | Track List: 4-6

4. I Got You Good (0:00)
5. Dancing In The Limelight (3:15)
6. Didn't I Take You Higher (5:52)

Part 1. youtu.be/uw7fggoLfl8
Part 2. youtu.be/YBL0dCEmsOY
Part 3. youtu.be/GaEinsoSv_A
Playlist: youtube.com/playlist?list=PLkWvh9BoHZBoc9o3HZP3fuT4OJD2I-SzT

From Wikipedia, the free encyclopedia:
Hard Road is the debut solo album from Australian singer Stevie Wright. The album's first single, "Evie (Part 1)", was hugely successful and the title track was later covered on Rod Stewart's 1974 album Smiler. The album itself reached #2 on the Australian album charts in 1974 and was the 16th-highest-selling album in Australia that year.

In 1973, Harry Vanda and George Young returned to Australia after a period working in London paying off debts incurred while working as the Easybeats. They renewed their partnership with Albert Productions and as in-house producers began assembling a roster of artists for the label, among them their former Easybeats bandmate Stevie Wright.

Work soon commenced on an album with Wright, with Vanda and Young assembling a backing group that included themselves, pianist Warren Morgan of The Aztecs, and Malcolm Young, George's younger brother and the rhythm guitarist for AC/DC, on guitar. Wright wrote six songs for the album, while Vanda and Young wrote the remainder, including the title track and the three-part "Evie".

Personnel:
Stevie Wright - vocals
George Young - bass
Harry Vanda - guitar
Malcolm Young - guitar
John Proud - drums
Warren Morgan - piano

Stevie Wright - Hard Road (1974) 3/3 (Vinyl Rip)

54music2 2025-09-14 | Track List: 7-9

7. Evie (Parts 1, 2 & 3) (0:00)
8. Movin' On Up (11:05)
9. Command Line (14:21)

Part 1. youtu.be/uw7fggoLfl8
Part 2. youtu.be/YBL0dCEmsOY
Part 3. youtu.be/GaEinsoSv_A
Playlist: youtube.com/playlist?list=PLkWvh9BoHZBoc9o3HZP3fuT4OJD2I-SzT

From Wikipedia, the free encyclopedia:
Hard Road is the debut solo album from Australian singer Stevie Wright. The album's first single, "Evie (Part 1)", was hugely successful and the title track was later covered on Rod Stewart's 1974 album Smiler. The album itself reached #2 on the Australian album charts in 1974 and was the 16th-highest-selling album in Australia that year.

In 1973, Harry Vanda and George Young returned to Australia after a period working in London paying off debts incurred while working as the Easybeats. They renewed their partnership with Albert Productions and as in-house producers began assembling a roster of artists for the label, among them their former Easybeats bandmate Stevie Wright.

Work soon commenced on an album with Wright, with Vanda and Young assembling a backing group that included themselves, pianist Warren Morgan of The Aztecs, and Malcolm Young, George's younger brother and the rhythm guitarist for AC/DC, on guitar. Wright wrote six songs for the album, while Vanda and Young wrote the remainder, including the title track and the three-part "Evie".

Personnel:
Stevie Wright - vocals
George Young - bass
Harry Vanda - guitar
Malcolm Young - guitar
John Proud - drums
Warren Morgan - piano

Lynyrd Skynyrd - Pronounced Leh-Nerd Skin-Nerd (1973) 1/2

54music2 2025-09-09 | Track List: 1-4

1. I Ain't The One (0:00)
2. Tuesday's Gone (3:53)
3. Gimme Three Steps (11:25)
4. Simple Man (15:54)

Part 1. youtu.be/ijTKoO2JN8k
Part 2. youtu.be/Mn5ZdPQKKT8
Playlist: youtube.com/playlist?list=PLkWvh9BoHZBoNMOuj2rUHZqX8IcewYdp7

(Pronounced 'Lĕh-'nérd 'Skin-'nérd) Allmusic Review by Stephen Thomas Erlewine:
The Allman Brothers came first, but Lynyrd Skynyrd epitomized Southern rock. The Allmans were exceptionally gifted musicians, as much bluesmen as rockers. Skynyrd was nothing but rockers, and they were Southern rockers to the bone. This didn't just mean that they were rednecks, but that they brought it all together -- the blues, country, garage rock, Southern poetry -- in a way that sounded more like the South than even the Allmans. And a large portion of that derives from their hard, lean edge, which was nowhere more apparent than on their debut album, Pronounced Leh-Nerd Skin-Nerd. Produced by Al Kooper, there are few records that sound this raw and uncompromising, especially records by debut bands. Then again, few bands sound this confident and fully formed with their first record. Perhaps the record is stronger because it's only eight songs, so there isn't a wasted moment, but that doesn't discount the sheer strength of each song. Consider the opening juxtaposition of the rollicking "I Ain't the One" with the heartbreaking "Tuesday's Gone." Two songs couldn't be more opposed, yet Skynyrd sounds equally convincing on both. If that's all the record did, it would still be fondly regarded, but it wouldn't have been influential. The genius of Skynyrd is that they un-self-consciously blended album-oriented hard rock, blues, country, and garage rock, turning it all into a distinctive sound that sounds familiar but thoroughly unique. On top of that, there's the highly individual voice of Ronnie Van Zant, a songwriter who isn't afraid to be nakedly sentimental, spin tales of the South, or to twist macho conventions with humor. And, lest we forget, while he does this, the band rocks like a motherf*cker. It's the birth of a great band that birthed an entire genre with this album.

Personnel:
Ronnie Van Zant – lead vocals, lyrics
Gary Rossington – lead guitar (tracks A2–A4, B1, B3); rhythm guitar (A1, B2, B4); slide guitar (B4)
Allen Collins – lead guitar (A1, A4, B4); rhythm guitar (A2, A3, B1–B3); acoustic guitar (B4)
Ed King – bass (all tracks except A2, B2); guitar fills (A2, during piano solo); lead guitar (B2)
Billy Powell – keyboards
Bob Burns – drums (all tracks except A2 and B2)

Additional personnel:
Al Kooper ("Roosevelt Gook") – bass (A2); backing vocals (A2); mandolin & bass drum (B2); organ (A4, B3, B4); Mellotron (A2, B4)
Robert Nix – drums (A2)
Bobbye Hall – percussion (A3, B1)
Steve Katz – harmonica (B2)

Technical:
Al Kooper – producer, engineer
Bob "Tub" Langford – engineer
Rodney Mills – engineer
Thomas Hill – photography

Lynyrd Skynyrd - Pronounced Leh-Nerd Skin-Nerd (1973) 2/2

54music2 2025-09-09 | Track List: 5-8

5. Things Goin' On (0:00)
6. Mississippi Kid (4:58)
7. Poison Whiskey (8:54)
8. Free Bird (12:07)

Part 1. youtu.be/ijTKoO2JN8k
Part 2. youtu.be/Mn5ZdPQKKT8
Playlist: youtube.com/playlist?list=PLkWvh9BoHZBoNMOuj2rUHZqX8IcewYdp7

(Pronounced 'Lĕh-'nérd 'Skin-'nérd) Allmusic Review by Stephen Thomas Erlewine:
The Allman Brothers came first, but Lynyrd Skynyrd epitomized Southern rock. The Allmans were exceptionally gifted musicians, as much bluesmen as rockers. Skynyrd was nothing but rockers, and they were Southern rockers to the bone. This didn't just mean that they were rednecks, but that they brought it all together -- the blues, country, garage rock, Southern poetry -- in a way that sounded more like the South than even the Allmans. And a large portion of that derives from their hard, lean edge, which was nowhere more apparent than on their debut album, Pronounced Leh-Nerd Skin-Nerd. Produced by Al Kooper, there are few records that sound this raw and uncompromising, especially records by debut bands. Then again, few bands sound this confident and fully formed with their first record. Perhaps the record is stronger because it's only eight songs, so there isn't a wasted moment, but that doesn't discount the sheer strength of each song. Consider the opening juxtaposition of the rollicking "I Ain't the One" with the heartbreaking "Tuesday's Gone." Two songs couldn't be more opposed, yet Skynyrd sounds equally convincing on both. If that's all the record did, it would still be fondly regarded, but it wouldn't have been influential. The genius of Skynyrd is that they un-self-consciously blended album-oriented hard rock, blues, country, and garage rock, turning it all into a distinctive sound that sounds familiar but thoroughly unique. On top of that, there's the highly individual voice of Ronnie Van Zant, a songwriter who isn't afraid to be nakedly sentimental, spin tales of the South, or to twist macho conventions with humor. And, lest we forget, while he does this, the band rocks like a motherf*cker. It's the birth of a great band that birthed an entire genre with this album.

Personnel:
Ronnie Van Zant – lead vocals, lyrics
Gary Rossington – lead guitar (tracks A2–A4, B1, B3); rhythm guitar (A1, B2, B4); slide guitar (B4)
Allen Collins – lead guitar (A1, A4, B4); rhythm guitar (A2, A3, B1–B3); acoustic guitar (B4)
Ed King – bass (all tracks except A2, B2); guitar fills (A2, during piano solo); lead guitar (B2)
Billy Powell – keyboards
Bob Burns – drums (all tracks except A2 and B2)

Additional personnel:
Al Kooper ("Roosevelt Gook") – bass (A2); backing vocals (A2); mandolin & bass drum (B2); organ (A4, B3, B4); Mellotron (A2, B4)
Robert Nix – drums (A2)
Bobbye Hall – percussion (A3, B1)
Steve Katz – harmonica (B2)

Technical:
Al Kooper – producer, engineer
Bob "Tub" Langford – engineer
Rodney Mills – engineer
Thomas Hill – photography

Rolling Stones - Made In The Shade (1975) 1/3

54music2 2025-09-07 | Track List: 1-3

1. Brown Sugar (0:00)
2. Tumbling Dice (3:50)
3. Happy (7:34)

Part 1. youtu.be/wWnSjOXY3Jg
Part 2. youtu.be/9uPxXROzTYc
Part 3. youtu.be/tN8U2H8FuFQ
Playlist: youtube.com/playlist?list=PLkWvh9BoHZBokmST3lEbmElaOD2FOjdSx
Playlist: youtube.com/playlist?list=PLkWvh9BoHZBq1rJX6jmp_48HUdufi0dKe

From Wikipedia, the free encyclopedia:
Made in the Shade, released in 1975, is the fourth official compilation album by the Rolling Stones, and the first under their Atlantic Records contract. It covers material from Sticky Fingers (1971), Exile on Main St. (1972), Goats Head Soup (1973) and It's Only Rock 'n' Roll (1974).

The Stones had two previous "official" compilation albums on Decca Records, Big Hits (High Tide and Green Grass) in 1966 and Through the Past, Darkly (Big Hits Vol. 2) in 1969. In addition, 1971's Hot Rocks 1964–1971 and 1972's More Hot Rocks (Big Hits & Fazed Cookies) were released by Allen Klein's ABKCO Records without The Rolling Stones' authorisation.

The material on Made in the Shade surveys the highlights from the band's first four post-Decca/London era thus far, with no new material.

Although Made in the Shade bought The Rolling Stones time to deliver their next studio album (they were midway through recording Black and Blue upon this album's June 1975 release), it was also released to capitalize on the band's summer Tour of the Americas.

Made in the Shade, which had to compete with the latest cash-in ABKCO release (which came out the same day)—this time an outtakes compilation called Metamorphosis—reached No. 14 on the UK Albums Chart and No. 6 on the US Billboard 200, eventually going platinum. Subsequent Rolling Stones compilation albums have also anthologised tracks included on this album.

In 2005, Made in the Shade was remastered and reissued by Virgin Records.

Personnel:
Mick Jagger – lead vocals (all except 3), backing vocals (1, 3, 5, 8-9), percussion (1), electric guitar (2)
Keith Richards – electric guitar (all except 6), acoustic guitar (1, 5-6), backing vocals (2-3, 5, 7-10); bass guitar (3, 9), lead vocals (3)
Mick Taylor – electric guitar (1-2, 4, 7, 9-10), acoustic guitar (5-6), slide guitar (2); bass guitar (2), backing vocals (9)
Bill Wyman – bass guitar (1, 4-7)
Charlie Watts – drums (1-2, 4-7, 9-10)

Additional Personnel:
Bobby Keys – tenor saxophone (1-2, 7, 9-10), baritone saxophone (3), tambourine (3)
Ian Stewart – piano (1, 4, 8)
Nicky Hopkins – piano (2, 6, 10)
Jimmy Miller – drums (2-3), percussion (7)
Clydie King, Venetta Fields, Sherlie Matthews – backing vocals (2)
Jim Price – trumpet (2-3, 7, 10), trombone (2-3, 10), horn arrangement (9)
Jim Dickinson – piano (5)
Nicky Harrison – string arrangement (6)
David Bowie – backing vocals (8)
Kenney Jones – drums (8)
Willie Weeks – bass guitar (8)
Ronnie Wood – twelve-string acoustic guitar (8), backing vocals (8)
Billy Preston – clavinet (9), piano (9)
Chuck Findley – trumpet (9)
Jim Horn – alto saxophone (9)
Bill Plummer – double bass (10)

Rolling Stones - Made In The Shade (1975) 2/3

54music2 2025-09-07 | Track List: 4-6

4. Dance Little Sister (0:00)
5. Wild Horses (4:10)
6. Angie (9:51)

Part 1. youtu.be/wWnSjOXY3Jg
Part 2. youtu.be/9uPxXROzTYc
Part 3. youtu.be/tN8U2H8FuFQ
Playlist: youtube.com/playlist?list=PLkWvh9BoHZBokmST3lEbmElaOD2FOjdSx
Playlist: youtube.com/playlist?list=PLkWvh9BoHZBq1rJX6jmp_48HUdufi0dKe

From Wikipedia, the free encyclopedia:
Made in the Shade, released in 1975, is the fourth official compilation album by the Rolling Stones, and the first under their Atlantic Records contract. It covers material from Sticky Fingers (1971), Exile on Main St. (1972), Goats Head Soup (1973) and It's Only Rock 'n' Roll (1974).

The Stones had two previous "official" compilation albums on Decca Records, Big Hits (High Tide and Green Grass) in 1966 and Through the Past, Darkly (Big Hits Vol. 2) in 1969. In addition, 1971's Hot Rocks 1964–1971 and 1972's More Hot Rocks (Big Hits & Fazed Cookies) were released by Allen Klein's ABKCO Records without The Rolling Stones' authorisation.

The material on Made in the Shade surveys the highlights from the band's first four post-Decca/London era thus far, with no new material.

Although Made in the Shade bought The Rolling Stones time to deliver their next studio album (they were midway through recording Black and Blue upon this album's June 1975 release), it was also released to capitalize on the band's summer Tour of the Americas.

Made in the Shade, which had to compete with the latest cash-in ABKCO release (which came out the same day)—this time an outtakes compilation called Metamorphosis—reached No. 14 on the UK Albums Chart and No. 6 on the US Billboard 200, eventually going platinum. Subsequent Rolling Stones compilation albums have also anthologised tracks included on this album.

In 2005, Made in the Shade was remastered and reissued by Virgin Records.

Personnel:
Mick Jagger – lead vocals (all except 3), backing vocals (1, 3, 5, 8-9), percussion (1), electric guitar (2)
Keith Richards – electric guitar (all except 6), acoustic guitar (1, 5-6), backing vocals (2-3, 5, 7-10); bass guitar (3, 9), lead vocals (3)
Mick Taylor – electric guitar (1-2, 4, 7, 9-10), acoustic guitar (5-6), slide guitar (2); bass guitar (2), backing vocals (9)
Bill Wyman – bass guitar (1, 4-7)
Charlie Watts – drums (1-2, 4-7, 9-10)

Additional Personnel:
Bobby Keys – tenor saxophone (1-2, 7, 9-10), baritone saxophone (3), tambourine (3)
Ian Stewart – piano (1, 4, 8)
Nicky Hopkins – piano (2, 6, 10)
Jimmy Miller – drums (2-3), percussion (7)
Clydie King, Venetta Fields, Sherlie Matthews – backing vocals (2)
Jim Price – trumpet (2-3, 7, 10), trombone (2-3, 10), horn arrangement (9)
Jim Dickinson – piano (5)
Nicky Harrison – string arrangement (6)
David Bowie – backing vocals (8)
Kenney Jones – drums (8)
Willie Weeks – bass guitar (8)
Ronnie Wood – twelve-string acoustic guitar (8), backing vocals (8)
Billy Preston – clavinet (9), piano (9)
Chuck Findley – trumpet (9)
Jim Horn – alto saxophone (9)
Bill Plummer – double bass (10)

Rolling Stones - Made In The Shade (1975) 3/3

54music2 2025-09-07 | Track List: 7-10

7. Bitch (0:00)
8. It's Only Rock 'N Roll (3:36)
9. Doo Doo Doo Doo Doo (Heartbreaker) (8:45)
10. Rip This Joint (12:11)

Part 1. youtu.be/wWnSjOXY3Jg
Part 2. youtu.be/9uPxXROzTYc
Part 3. youtu.be/tN8U2H8FuFQ
Playlist: youtube.com/playlist?list=PLkWvh9BoHZBokmST3lEbmElaOD2FOjdSx
Playlist: youtube.com/playlist?list=PLkWvh9BoHZBq1rJX6jmp_48HUdufi0dKe

From Wikipedia, the free encyclopedia:
Made in the Shade, released in 1975, is the fourth official compilation album by the Rolling Stones, and the first under their Atlantic Records contract. It covers material from Sticky Fingers (1971), Exile on Main St. (1972), Goats Head Soup (1973) and It's Only Rock 'n' Roll (1974).

The Stones had two previous "official" compilation albums on Decca Records, Big Hits (High Tide and Green Grass) in 1966 and Through the Past, Darkly (Big Hits Vol. 2) in 1969. In addition, 1971's Hot Rocks 1964–1971 and 1972's More Hot Rocks (Big Hits & Fazed Cookies) were released by Allen Klein's ABKCO Records without The Rolling Stones' authorisation.

The material on Made in the Shade surveys the highlights from the band's first four post-Decca/London era thus far, with no new material.

Although Made in the Shade bought The Rolling Stones time to deliver their next studio album (they were midway through recording Black and Blue upon this album's June 1975 release), it was also released to capitalize on the band's summer Tour of the Americas.

Made in the Shade, which had to compete with the latest cash-in ABKCO release (which came out the same day)—this time an outtakes compilation called Metamorphosis—reached No. 14 on the UK Albums Chart and No. 6 on the US Billboard 200, eventually going platinum. Subsequent Rolling Stones compilation albums have also anthologised tracks included on this album.

In 2005, Made in the Shade was remastered and reissued by Virgin Records.

Personnel:
Mick Jagger – lead vocals (all except 3), backing vocals (1, 3, 5, 8-9), percussion (1), electric guitar (2)
Keith Richards – electric guitar (all except 6), acoustic guitar (1, 5-6), backing vocals (2-3, 5, 7-10); bass guitar (3, 9), lead vocals (3)
Mick Taylor – electric guitar (1-2, 4, 7, 9-10), acoustic guitar (5-6), slide guitar (2); bass guitar (2), backing vocals (9)
Bill Wyman – bass guitar (1, 4-7)
Charlie Watts – drums (1-2, 4-7, 9-10)

Additional Personnel:
Bobby Keys – tenor saxophone (1-2, 7, 9-10), baritone saxophone (3), tambourine (3)
Ian Stewart – piano (1, 4, 8)
Nicky Hopkins – piano (2, 6, 10)
Jimmy Miller – drums (2-3), percussion (7)
Clydie King, Venetta Fields, Sherlie Matthews – backing vocals (2)
Jim Price – trumpet (2-3, 7, 10), trombone (2-3, 10), horn arrangement (9)
Jim Dickinson – piano (5)
Nicky Harrison – string arrangement (6)
David Bowie – backing vocals (8)
Kenney Jones – drums (8)
Willie Weeks – bass guitar (8)
Ronnie Wood – twelve-string acoustic guitar (8), backing vocals (8)
Billy Preston – clavinet (9), piano (9)
Chuck Findley – trumpet (9)
Jim Horn – alto saxophone (9)
Bill Plummer – double bass (10)

Young-Holt Unlimited - Soulful Strut (1968) Single

54music2 2025-09-05 | Track List:

1. Soulful Strut (0:00)
2. Country Slicker Joe (3:01)

Playlist: youtube.com/playlist?list=PLkWvh9BoHZBocFCV5Sv-8D2ehaP1A_yJh

From Wikipedia, the free encyclopedia:
Young-Holt Unlimited (also known as Young-Holt Trio), were a U.S. soul and jazz instrumental musical ensemble from Chicago, Illinois, United States.

Drummer Isaac "Redd" Holt and bassist Eldee Young, formerly members of Ramsey Lewis' jazz trio, formed a new outfit called the Young-Holt Trio with pianist Don Walker in 1966. They met with modest success, including the minor hit "Wack-Wack", which charted at number 40 on the Billboard Hot 100 and number 44 in Canada.

In 1968, the group renamed itself Young-Holt Unlimited, and replaced Walker with Ken Chaney. Under their new name, the group scored a number three Hot 100 hit with "Soulful Strut," the backing instrumental track from Barbara Acklin's "Am I the Same Girl." "Soulful Strut" sold a million copies with the gold record awarded by the RIAA in January 1969, less than three months after the track's release. Follow-up releases failed to match the commercial success of "Soulful Strut", and the group disbanded by 1974, with Young and Holt continuing to play in Chicago small bands. "Who's Making Love" reached number 47 in Canada in March 1969.

The band has been sampled over 200 times, most often in the hip hop genre.

Young died of a heart attack on February 12, 2007, in Bangkok, Thailand, at the age of 71. Holt died on May 23, 2023, a week after his 91st birthday.

Sergio Mendes Trio ... - Brasil 65 (1965) 1/3

54music2 2025-09-04 | Track List: 1-3

1. So Nice (Samba de Verao) (0:00)
2. Favela (2:15)
3. Berimbau (5:14)

Part 1. youtu.be/p1krQ2qUdMs
Part 2. youtu.be/9VvnsujNWlI
Part 3. youtu.be/ciZ9J5lB66A
Playlist: youtube.com/playlist?list=PLkWvh9BoHZBqLPKvnMY8kMp-V9SzaYELB

'Brasil '65' Allmusic Review by Thom Jurek
In 1965, Sergio Mendes and his trio conducted their first out-of-Brazil experiment: They recorded in L.A. for the first time in what proved to be their first major move into the U.S. market and their embrace of the new bossa nova sound. Accompanying the Mendes band were then-great vocalist Wanda de Sah and guitarist Rosinha de Valenca. This is deeply swinging bossa; it is crisp and pops out at the listener in every conceivable way. It features exotic and pioneering rhythmic work, smooth accessibility, and sophisticated melodies, many of which were written by the hottest talents in Brazil, such as Marcos Valle ("Samba de Verão" [aka "So Nice"]), Baden Powell and Vinícius de Moraes ("Berimbau"), João Donato ("Muito a Vontade"), Edú Lobo ("Reza"), and of course Antonio Carlos Jobim ("One Note Samba" and "She's a Carioca"). Also adding to the jazzed-out nature of the new bossa flavor was Bud Shank blowing alto on "So Nice" and other cuts, which had its lyric -- -as did "One Note Samba" and a few others -- translated into English. But the appeal of Shank's appeal with this band cannot be overrated. Shank took the shimmering mist that Getz contributed to bossa nova and punched it up and gave it an edge and some raw emotion. This stands with Mendes' best work from Brazil and is truly one of his American highlights.

Credits:
Bass – Sebastião Neto
Drums – Chico Batera
Flute, Alto Saxophone – Bud Shank
Guitar – Rosinha De Valenca*
Piano – Sérgio Mendes
Producer – David Cavanaugh
Vocals – Wanda De Sah* (tracks: 1, 3, 6, 9, 11)

Sergio Mendes Trio ... - Brasil 65 (1965) 2/3

54music2 2025-09-04 | Track List: 4-7

4. Tristeza Em Mim (0:00)
5. Aquarius (2:03)
6. One Note Samba (4:31)
7. She's A Carioca (6:55)

Part 1. youtu.be/p1krQ2qUdMs
Part 2. youtu.be/9VvnsujNWlI
Part 3. youtu.be/ciZ9J5lB66A
Playlist: youtube.com/playlist?list=PLkWvh9BoHZBqLPKvnMY8kMp-V9SzaYELB

'Brasil '65' Allmusic Review by Thom Jurek
In 1965, Sergio Mendes and his trio conducted their first out-of-Brazil experiment: They recorded in L.A. for the first time in what proved to be their first major move into the U.S. market and their embrace of the new bossa nova sound. Accompanying the Mendes band were then-great vocalist Wanda de Sah and guitarist Rosinha de Valenca. This is deeply swinging bossa; it is crisp and pops out at the listener in every conceivable way. It features exotic and pioneering rhythmic work, smooth accessibility, and sophisticated melodies, many of which were written by the hottest talents in Brazil, such as Marcos Valle ("Samba de Verão" [aka "So Nice"]), Baden Powell and Vinícius de Moraes ("Berimbau"), João Donato ("Muito a Vontade"), Edú Lobo ("Reza"), and of course Antonio Carlos Jobim ("One Note Samba" and "She's a Carioca"). Also adding to the jazzed-out nature of the new bossa flavor was Bud Shank blowing alto on "So Nice" and other cuts, which had its lyric -- -as did "One Note Samba" and a few others -- translated into English. But the appeal of Shank's appeal with this band cannot be overrated. Shank took the shimmering mist that Getz contributed to bossa nova and punched it up and gave it an edge and some raw emotion. This stands with Mendes' best work from Brazil and is truly one of his American highlights.

Credits:
Bass – Sebastião Neto
Drums – Chico Batera
Flute, Alto Saxophone – Bud Shank
Guitar – Rosinha De Valenca*
Piano – Sérgio Mendes
Producer – David Cavanaugh
Vocals – Wanda De Sah* (tracks: 1, 3, 6, 9, 11)

Sergio Mendes Trio ... - Brasil 65 (1965) 3/3

54music2 2025-09-04 | Track List: 8-11

8. Muito a Vontade (0:00)
9. Let Me (Deixa) (3:01)
10. Consolacao (5:55)
11. Reza (9:09)

Part 1. youtu.be/p1krQ2qUdMs
Part 2. youtu.be/9VvnsujNWlI
Part 3. youtu.be/ciZ9J5lB66A
Playlist: youtube.com/playlist?list=PLkWvh9BoHZBqLPKvnMY8kMp-V9SzaYELB

'Brasil '65' Allmusic Review by Thom Jurek
In 1965, Sergio Mendes and his trio conducted their first out-of-Brazil experiment: They recorded in L.A. for the first time in what proved to be their first major move into the U.S. market and their embrace of the new bossa nova sound. Accompanying the Mendes band were then-great vocalist Wanda de Sah and guitarist Rosinha de Valenca. This is deeply swinging bossa; it is crisp and pops out at the listener in every conceivable way. It features exotic and pioneering rhythmic work, smooth accessibility, and sophisticated melodies, many of which were written by the hottest talents in Brazil, such as Marcos Valle ("Samba de Verão" [aka "So Nice"]), Baden Powell and Vinícius de Moraes ("Berimbau"), João Donato ("Muito a Vontade"), Edú Lobo ("Reza"), and of course Antonio Carlos Jobim ("One Note Samba" and "She's a Carioca"). Also adding to the jazzed-out nature of the new bossa flavor was Bud Shank blowing alto on "So Nice" and other cuts, which had its lyric -- -as did "One Note Samba" and a few others -- translated into English. But the appeal of Shank's appeal with this band cannot be overrated. Shank took the shimmering mist that Getz contributed to bossa nova and punched it up and gave it an edge and some raw emotion. This stands with Mendes' best work from Brazil and is truly one of his American highlights.

Credits:
Bass – Sebastião Neto
Drums – Chico Batera
Flute, Alto Saxophone – Bud Shank
Guitar – Rosinha De Valenca*
Piano – Sérgio Mendes
Producer – David Cavanaugh
Vocals – Wanda De Sah* (tracks: 1, 3, 6, 9, 11)

Enya - The Best Of [Paint The Sky With Stars] (1997) Part 1/4

54music2 2025-09-02 | Track List: 1-4

1. Orinoco Flow (0:00)
2. Caribbean Blue (4:27)
3. Book Of Days (8:27)
4. Anywhere Is (11:23)

Part 1. youtu.be/iShwi6yj238
Part 2. youtu.be/W7MCaU5uQhA
Part 3. youtu.be/6XZmd8bMkAc
Part 4. youtu.be/h0UKv37_xJo
Playlist: youtube.com/playlist?list=PLkWvh9BoHZBq1rJX6jmp_48HUdufi0dKe

From Wikipedia, the free encyclopedia:
Paint the Sky with Stars: The Best of Enya is the first greatest hits album by Irish singer-songwriter Enya, released on 3 November 1997 by WEA. Following her worldwide promotional tour in support of her previous album The Memory of Trees (1995), Enya began selecting tracks for a compilation album in early 1997, as her recording contract with WEA permitted her to do so. The album contains songs from her debut album Enya (1987) to The Memory of Trees (1995) and two new tracks, "Paint the Sky with Stars" and "Only If...".

Paint the Sky with Stars received positive reviews from critics and was a commercial success, reaching number 4 in the United Kingdom and number 30 on the Billboard 200 in the United States. In the latter territory, the album continued to sell over the next eight years, reaching four million copies shipped in 2005. In Japan, it became the first non-Japanese album under the Warner label to receive a Japan Gold Disc Award in the Grand Prix Album category for selling over one million copies.

Production:
Produced by Nicky Ryan
Arranged by Enya and Nicky Ryan
Lyrics by Roma Ryan
Marble Halls (Traditional) arranged by Enya and Nicky Ryan
All tracks published by EMI Songs Ltd
Principal photography: David Scheinmann
Calligraphy and Design: Brody Neuenschwander
Mastered by Arun

Enya - The Best Of [Paint The Sky With Stars] (1997) Part 2/4

54music2 2025-09-02 | Track List: 5-8

5. Only If (0:00)
6. The Celts (3:19)
7. China Roses (6:17)
8. Shepherd Moons (10:57)

Part 1. youtu.be/iShwi6yj238
Part 2. youtu.be/W7MCaU5uQhA
Part 3. youtu.be/6XZmd8bMkAc
Part 4. youtu.be/h0UKv37_xJo
Playlist: youtube.com/playlist?list=PLkWvh9BoHZBq1rJX6jmp_48HUdufi0dKe

From Wikipedia, the free encyclopedia:
Paint the Sky with Stars: The Best of Enya is the first greatest hits album by Irish singer-songwriter Enya, released on 3 November 1997 by WEA. Following her worldwide promotional tour in support of her previous album The Memory of Trees (1995), Enya began selecting tracks for a compilation album in early 1997, as her recording contract with WEA permitted her to do so. The album contains songs from her debut album Enya (1987) to The Memory of Trees (1995) and two new tracks, "Paint the Sky with Stars" and "Only If...".

Paint the Sky with Stars received positive reviews from critics and was a commercial success, reaching number 4 in the United Kingdom and number 30 on the Billboard 200 in the United States. In the latter territory, the album continued to sell over the next eight years, reaching four million copies shipped in 2005. In Japan, it became the first non-Japanese album under the Warner label to receive a Japan Gold Disc Award in the Grand Prix Album category for selling over one million copies.

Production:
Produced by Nicky Ryan
Arranged by Enya and Nicky Ryan
Lyrics by Roma Ryan
Marble Halls (Traditional) arranged by Enya and Nicky Ryan
All tracks published by EMI Songs Ltd
Principal photography: David Scheinmann
Calligraphy and Design: Brody Neuenschwander
Mastered by Arun

Enya - The Best Of [Paint The Sky With Stars] (1997) Part 3/4

54music2 2025-09-02 | Track List: 9-12

9. Ebudae (0:00)
10. Storms In Africa (1:53)
11. Watermark (6:05)
12. Paint The Sky With Stars (8:31)

Part 1. youtu.be/iShwi6yj238
Part 2. youtu.be/W7MCaU5uQhA
Part 3. youtu.be/6XZmd8bMkAc
Part 4. youtu.be/h0UKv37_xJo
Playlist: youtube.com/playlist?list=PLkWvh9BoHZBq1rJX6jmp_48HUdufi0dKe

From Wikipedia, the free encyclopedia:
Paint the Sky with Stars: The Best of Enya is the first greatest hits album by Irish singer-songwriter Enya, released on 3 November 1997 by WEA. Following her worldwide promotional tour in support of her previous album The Memory of Trees (1995), Enya began selecting tracks for a compilation album in early 1997, as her recording contract with WEA permitted her to do so. The album contains songs from her debut album Enya (1987) to The Memory of Trees (1995) and two new tracks, "Paint the Sky with Stars" and "Only If...".

Paint the Sky with Stars received positive reviews from critics and was a commercial success, reaching number 4 in the United Kingdom and number 30 on the Billboard 200 in the United States. In the latter territory, the album continued to sell over the next eight years, reaching four million copies shipped in 2005. In Japan, it became the first non-Japanese album under the Warner label to receive a Japan Gold Disc Award in the Grand Prix Album category for selling over one million copies.

Production:
Produced by Nicky Ryan
Arranged by Enya and Nicky Ryan
Lyrics by Roma Ryan
Marble Halls (Traditional) arranged by Enya and Nicky Ryan
All tracks published by EMI Songs Ltd
Principal photography: David Scheinmann
Calligraphy and Design: Brody Neuenschwander
Mastered by Arun