On their second album, the band continues the grooves laid down on its first record, adding funkier rhythms and melodies. The richly layered soul album Barefoot Soul appeared in In they released the ambitious Test Pattern, a richly atmospheric collection of material that included a bonus DVD of multimedia centered around two short films by director and cinematographer Jeth Weinrich. Hi, I'm interested in this group but your file service seems to be kaput!
Any chance of a re-post? Thanks for the great blog, OtisFrisco. Yim here I originally found your site while I was looking for the first Sonia Dada album cleverly titled Sonia Dada. I have been looking for this for years. You wouldn't have a copy of it laying around you'd care to post It's got a pic of a kid riding an alagator OK, maybe a crocodile. The Bob Gaynor midi files are sensational I also just wanted to mention I dug up a copy of Chicago II. I loved it as a kid but it went by the way-side for decades.
Screaming John (Electric) - Sonia Dada - Screaming John (CD) heard a piece from it now and then and, out of context, the individual pieces are somewhat lack-luster. But taken as an entire work, the album is incredibly dynamic and inventive Anyway it is an amazing composition and it might go nicely with some of the other things you have up on your site not to mention the possibility of it hitting a harmonious ting on one of your ear bones.
Hi, Yim! How are you? Those midi files are good. I would love to hear a full jazz reworking of them. They could be great. Thanks for idea of new blog tune. I've changed it before, and got requests to put it back I like the early Chicago stuff. The later stuff became far too commercial. Thanks for link. I have the album you mention. It's a great album The cover is very unusual.
I'll put album up, although sound quality is not perfect. Thanks, as usual, Yim. We'll be in touch soon. Post a Comment. C recommends Mizar6 Get this crazy baby off my head!
Posted by A. In each of these aspirations, Sonia Dada excels, foretelling their future as music ambassadors to the soul. Perhaps the most striking quality of this collection is the superior compositional style of this band. Songs are tales- communicating settings, characters, and plots.
The lyrics seem not to be sung as much as lines that are delivered into the setting laid out by the music.
These songs seem to be more closely related to the music of the first half of the century when Broadway and Folk defined the musical consciousness of the people. Lester's Methodone Clinic is a perfect example. When you have finished consuming this song, you feel as if you have been transported into a story, whose scenery and texture are palpable.
Your mind easily pictures the sound, visualization. You feel familiar, though not comfortable, with the surroundings. These songs have a universal appeal that extends beyond any particular genre and reaches into the hearts of music lovers.
No less striking is Sonia Dada's ability to fill the confines of this disc with vibrant and rich sound. Whether through the penetrating subtlety of a percussion triangle in the aforementioned Methodone Clinic or the classic funk styling of Never See Me Again Sonia Dada continually impress with their command of the band's sound. If it were not so seamless and crafted, these musical shifts would blind you.
Full steam ahead vamping gives way to the soulful ballad of Amazing Jane. Given the quality of the composition and orchestration, it is no surprise that the talent driving the performance is of the highest caliber. I am used to three-part vocal harmony, but the depth and spirit of these voices genuinely lifted my expectations and set a new standard for vocal quality.
Paris Delane has a soaring voice that has the heft and weight that I had only seen in the greats: Aretha, Janis, and Ella, Screaming John (Electric) - Sonia Dada - Screaming John (CD).
There is a bass vocalist, and I am not certain if it is Christopher or Scott, that has the ability to freeze the listener. I have never heard a bass vocalist of this quality off of a theatrical stage.
And the male lead vocal is attention grabbing and exciting in the front, driving the melodic center of the songs. For fear that I am not including the excellent instrumental abilities of this band, I must mention that the rhythm section of Larry Beers on drums, Erik Scott on bass, Chris Cameron on piano and B3 is supportive and steady.
A pocket is created without drawing attention too heavily away from the song. This cradles the performers and the listener equally. The Persistence Horns and the guitar duo of Phil Miller and Dan Pritzker round out the sound, supplying all of the kick and pomp that is necessary in music as genuine as this. All of this talent would be wasted, were it not directed and nurtured into an original musical vehicle with purpose and energy.
Thankfully, Sonia Dada is artistic enough to really sculpt this sound into a collection that is diverse and yet focused. That this music inspires joy and sadness is unquestionable. It rolls off the tip of this album's tongue without a stutter or slur. It stands up to a continuous listen as well as the random shuffle with equal excellence, further illustrating the quality of the songs.
Rarely does modern music become Art worthy of the attention of future and present generations alike. Rarely do artists ascend so brilliantly into stardom while still strolling among us.
Do yourself a favor- experience this album, experience Sonia Dada. Live recordings can have a way of separating the men from the boys and the women from the girls. Bands that are short on talent, chops, or substance might be able to hide behind technology when they're in the studio, but when they take it to the stage, their weaknesses become painfully obvious.
True, an artist can use studio technology to "improve" an inferior live recording, but Lay Down never sounds artificial. Like their labelmates the Freddy Jones Band, they are based in Chicago. The members take their songwriting inspiration from their experiences in that city as well as on the road.
One day insongwriter-guitarist Dan Pritzker got off a subway train and heard the three-part harmonies of Michael Scott, Paris Delane and Sam Hogan. Pritzker had already been working with a group that consisted of his long time friends, guitarist Dave Resnik, drummer Hank Guaglianone and bassist Erik Scott. The three singers joined the quartet, and Sonia Dada had a new lineup: Paris Delane, vocals, Sam Hogan, vocals, Michael Scott, vocals plus the original four.
Shortly after they began rehearsing in earnest, they added keyboardist Chris "Hambone" Cameron. The group's intoxicating blend of blues-rock, rhythm and blues and soul music won them fans in faraway places like Australia, and led to the international touring schedule they now maintain. When the group toured Australia, they sold out all 19 concert dates, and inthey opened 40 shows for Traffic while headlining some large clubs and theaters around the U.
Songs like "Deliver Me" and "We Treat Each Other Cruel'' are soul-gospel-rock celebrations that feature creative arranging and the messages that appeal to the audience for adult rock radio.
The songs on Day At The Beach continue the band's genre-fusing traditions, with tracks like "Lay My Body Down'' recalling the gospel-rock mix of their debut record, and the single from the album, "Screaming John,'' which showcases a memorable melody, good harmonies and crafty lyrics.
On their second album, the band continues the grooves laid down on its first record, adding funkier rhythms and melodies. The richly layered soul album Barefoot Soul appeared in In they released the ambitious Test Pattern, a richly atmospheric collection of material that included a bonus DVD of multimedia centered around two short films by director and cinematographer Jeth Weinrich.
The guy's cv is incredible. The list goes on and on. Amazingly, when people talk of the great rock and blues artists, Mick Taylor's name seldom comes up!
The man is a legend, and on this album he pays a great compliment to artists like Albert King, Jimi Hendrix, and Willie Dixon with Screaming John (Electric) - Sonia Dada - Screaming John (CD) very good cover versions. Some critics are of the opinion that the album lacks passion and fire, and that tracks like "Laundromat Blues " do not have the firepower of, for example Rory Gallagher's version.
It is the opinion of A. C that Mick Taylor's cover is an excellent version of this blues classic, and again demonstrates the myriad ways in which the blues can be interpreted. Mick's version of "Red House" is also great. This album is H. This is a blues album, make no doubt about it, and it is one of Taylor's finest.
Keith Richard producer Rob Fraboni re-mixed the title track, as well as the almost six minute version of one of Taylor's favorite Stones tunes, "Jumpin' Jack Flash. Carol Bernson's photographs of the rock legend are something to behold; Taylor under a blue light performing with his shadow reflecting on the floor adorns the back of the CD, as well as the inside four-page booklet. The front cover has the journeyman with his guitar and a long, black coat, and there's an impressive black-and-white portrait inside the booklet.
He performs Albert King's "I Wonder Why" and "Laundromat Blues," citing King in the liner notes as "a big influence, and a man who is wise and whom I respect and admire.
Were that the case, he would have had the opportunity to enjoy the popularity of a Buddy Guy or B. King, and the general public would have a better understanding of this superb and highly underrated artist. Musicians know, and all the evidence needed is on this disc. Mick is rumored to have said at one time that he considered this release to be a 'bootleg' because of financial issues relating to its release. Luckily for us, it came out, because it officially documents what Mick was doing in the late 's on tour in Europe and the eastern United States.
A compilation of live tracks from club dates nicked off the soundboard, Stranger In This Town was an attempt to capture the energy of Mick's live performances while capitalizing to some extent upon his Stones past, for commercial purposes. For a number of years, this CD was easily available in record stores nationwide and served to keep Mick in the public eye. With some nice cover and liner photography by Carol Bernson, and pretty strong execution in the packaging department, finances notwithstanding I have always felt this CD favorably presented Mick to the public.
Perhaps best of all, I am guessing that Mick was strongly encouraged to write a "Stonesy Rocker" for the title track, and accordingly we get the title tune -- Stranger In This Town.
And the payoff! Mick solos to Stranger like he is back in the band, with the same frenzied build and release all in a minute-plus, through a wah-wah fog. I particularly enjoy that mid-Seventies liquidy-echo sound so prevalent in his crying notes on Goat's Head Soup. Check out that crying note in the last half of the 48th second of the provided clip.
I have listened to Stranger In This Town probably over one thousand times and I never, ever tire of Mick's near-vocal lead guitar lines. The version of Albert King's I Wonder Why is laid-back, in contrast to many others he played at the time.
This song was made for Mick, the king of the fast Blues shuffle. Staying with Albert King, again in a mellow mood, Laundromat Blues makes more of an impact atmospherically than directly. I have heard versions of this that absolutely burn. My guess is that these versions of King's chestnuts were selected for reasons of their recording quality rather than their performance. Red House, a Hendrix classic and staple of many of Mick's live performances from the mids through the mids, is memorialized here, along with Mick's liner notes noting the performance is "[m]y tribute to the greatest guitar player who ever lived.
There is a languid quality to the performance, emphasized by the fade out during a tinkling DX-3 keyboard solo. The song segues into Going Down Slow before the fadeout.
If someone had told me in the late 70s that Mick Taylor would release a cover version of Jumping Jack Flash and sing lead vocal on it too, I wouldn't have believed it.
I would have considered it an impossible dream. Again, I credit the guys at Maze Records for making this happen, for the obvious commercial and promotional possibilities. It just doesn't seem like a decision Mick would have made on his own. Now that I've heard it though, I'd rather it hadn't happened.
The reason we want Mick to play Stones songs he used to play is to hear him solo to them. This version contains no guitar solo, and if there is one song Mick Jagger's vocals can't possibly be adequately covered on, it's JJF. While Taylor may have intended it as a tribute -- his liner notes indicate it's one of his favorite Stones songs -- third parties hearing it might come away with unflattering comparisons and questions about his motives.
This is ironic, of course, because those of us who have followed Mick's post-Stones career closely know he has made yeoman efforts to avoid exploiting his Stones history, despite entreaties from virtually everyone around him in the industry and his fans.
Only in a few cases have industry people been able to get him to do things that will yield some commercial angle. This track may have set the cause back a few years. While the fadeout to Jumping Jack Flash sounds like the album's finale, the action heats up from here on out. The playing here is fiery and tasty, and foreshadows Mick's future development of other Blues standards, some with RS history, that would characterize the core of his live set list.
Goin' South, a Taylor composition, features a blistering Taylor guitar sound and aggressive up-front keyboard playing by longtime Mick Taylor Band member Max Middleton. South American in feel, Goin' South is a favorite of Mick's, setting up a loose dance groove and plenty of space for band member solos. As a staple of his live shows for nearly 15 years, the song is either loved or hated by the faithful. While there may be room for a definitive version of Goin' South, this version isn't it.
Again, it is faded mid-keyboard solo. There's a reason why there is no significant market for rock concerts by solo keyboard players, bass players and drummers, and Goin' South suffers as a song from free-form democracy. Well, it's my review so it's my prerogative to tell you that my favorite track on the CD, other than the title track, is You Gotta Move.
It was recorded at the Ambler Cabaret, in a sleepy suburb of Philadelphia. Mick played my neighborhood! Again, if you had told me that would happen while I was listening to my Stones "West German Tour " bootlegs in the car as a teenager driving around in the 'burbs, I wouldn't have believed it.
Unfortunately, Ambler missed it's chance at being immortalized, as the liner notes say "Philadelphia". But Nico Zentgraf's database captures the true venue, a fact that makes me very grateful.
If nothing else, the version proves that Philly fans are the king of the "woo-hoo". All in all, Stranger In This Town is an absolute must-have for its title track. Plus, how can you not own a rare performance of Mick doing Jumping Jack Flash, no matter how odd it seems? The rest of the performances were subsequently polished up by Mick and done much better in subsequent years -- but the record is by no means weak because of this.
For many years, this CD was the sole evidence to the world that Mick Taylor was alive and well and playing the Blues. For that we are thankful. But the sophisticated jazz- and blues-influenced guitar licks Taylor added to such classic albums as Sticky Fingers gave the Stones an added dimension they lacked before and after him. Michael Kevin Taylor was born Jan.
He grew up in Hatfield, a London suburb, and began playing guitar at age 9. As a teen, Taylor played in bands called the Juniors and the Gods. Inhe accepted the Rolling Stones' offer to replace the departing Brian Jones, who died later that year. The Stones had already established their reputation as one of rock's greatest bands and had just issued one of their best LPs, Beggar's Banquet But Taylor quickly added his imprint on the Stones' style and was present for the legendary concert tours, during their — heyday.
Sticky Fingerswas the first studio Stones' album for which he was present during the entire recording. He added his famous vibrato effect to the blues lead guitar line on "Sway" and handled most of the guitars on the quietly majestic "Moonlight Mile. Many theories have been offered for Taylor's departure, including conflict with guitarist Keith Richards and Taylor's fear that he'd get caught up in the band's allegedly drug-crazed lifestyle.
Whatever the reason, Taylor's replacement, Ron Wood — formerly of the Faces — brought the band a grittier sound.
Four years later, he issued an eponymous jazz-fusion solo debut that sold poorly in the punk-rock era. Taylor toured with the Alvin Lee Band in the early '80s and did a reunion tour with the Bluesbreakers.
He played on Bob Dylan's Infidels and toured with the songwriting legend. During the latter part of the '80s, Taylor formed a series of short-lived bands that played blues-rock in eastern U. In the early '90s, Taylor went to L. In the second half of the '90s, he returned to England to play blues festivals with a touring band. InTaylor issued A Stones Throw and toured in To Be Continued C recommends Mizar6 Get this crazy baby off my head!
Posted by A. C at Labels: Nineties Rhythm And Blues. Rare Earth - Band Together - - Prodigal Production could have been better on this album, and although it's not one of Rare Earth's better albums, it has some strong cuts, and is a well above average recording. Check out their album Ma. Dreamer - Jerry Zaremba B1.
Love Music - Dennis Lambert B3. Of the musicians who would be part of the band dubbed Rare Earth, only sax player Gil Bridges and drummer Pete Rivera were present. John Parrish joined on bass in Rod Richards became a guitarist with the group in Keyboardist Kenny James came into the fold the same year. The album received little reaction and the group was picked up by Motown Records as the first act on their yet-to-be-named new label. Rare Earth suggested to Motown that the label name their new subsidiary after the band and Rare Earth Records was born.
When they set out to record their first album, they essentially ran out of material and did a minute rendition of the Temptation's "Get Ready" to fill out the space. The album was making no headway on the charts for a long period of time.
So they took the first three minutes of "Get Ready," released it as a single and it made its way into the U. Top Ten list, peaking at number four. Pulled along by the success of the single, the album also began to sell, breaking the Top 20, and Rare Earth's career was officially on its way. The second album, Ecology, was released in June ofa couple months short of a year after "Get Ready" had been put out. Interestingly enough, Ecology was not really the group's second album, but their third.
An album entitled Generation was recorded as the soundtrack to the film of the same name. When the film stalled at the box office, the album was shelved. Still, Ecology would yield not one, but two hit singles. The second single, "Born to Wander," did not fare quite so well, but did make the Top The album was catapulted to number Not wanting to lose momentum, One World followed almost exactly a year after Ecology, and yielded another hit single in a longtime classic, "I Just Want to Celebrate.
They released a live album in December of the same year. For the next album, Willie Remembers, the group insisted on doing all originals, a move that was not common around the Motown camp.
Unfortunately, for a band trying to prove a point, the album never reached the type of sales of previous records. Indeed, it stalled out at number 90, and the single "Good Time Sally" didn't even break the Top Motown tightened the creative grip on the group and original producer Norman Whitfield, who had worked with the group on earlier albums, was brought in to save the day.
The resulting album, Ma, was released in May of and fared just a little better than Willie Remembers, peaking at number The label was not pleased and sent the group into the studio to record with Stevie Wonder. That pairing did not really gel, though, and only two tracks were recorded, neither of which were released.
Instead, the label sought to release another live album, trying to regain the spark that Rare Earth had had. That project also fell by the wayside, though. What followed was a series of lineup changes and legal battles, and the group stopped touring altogether in The following year Rare Earth, in a new lineup, released Back to Earth. The album did a bit better than the previous one, reaching number 59 on the charts. A disco-oriented excursion entitled Midnight Lady was released inbut failed to really go anywhere.
To make matters worse, Rare Earth Records was discontinued altogether. The band had broken up by this time. As fate would have it, though, this was not the end of Rare Earth.
He talked the group into reuniting to record the label debut. The resulting album, Rare Earth, was released in and made no real waves in the music business. Rare Earth got things together again for a marathon recording session the following year.
That session yielded not one, but two albums. Neither of those albums every really took off, either. The group essentially broke up inalthough a version of the original lineup was touring all the way into A different incarnation of the group, with just two original members, still makes the circuits.
Labels: Seventies Rhythm And Blues. Juliet Turner. This is an album full of witty intelligent lyrics and captivating melodies. Unlike many singer songwriters, Juliet doesn't try to be anyone but herself. She has no qualms about singing in her northern accent, in fact the lilt works rhythmically with the melodies. Juliet Turner is a refreshing break from the innumerable 'Artists' who take themselves too seriously.
Unlike many of her peers she shares the inspiration and meaning of every song with her audience. Juliet began when she was given a guitar for her 15th birthday. Inwhile studying in Strathclyde, Scotland, she enlisted the help of a musician she knew from Glasgow, Charlie Irvine to record a demo to promote her concerts.
These supports slots quickly built up a cult following for Juliet throughout Ireland. With her profile so high, her manager decided to record a second album as soon as possible and producer Gerard Kiely gathered some very talented musicians to make, "Burn The Black Suit". Released in and backed by a nationwide tour, "Burn The Black Suit" went onto to sell 52, copies in Ireland Screaming John (Electric) - Sonia Dada - Screaming John (CD).
It went platinum in Ireland, and also brought her some international attention. The Greatest Show On Earth One Night Business As Usual The album was released on 9 November by Columbia Records.
Keyboard player Franny Griffiths joined the line-up a year later, and the band came to prominence throughout the mids with hit singles such as "Female of the Species", "Me and You Versus the World", "Neighbourhood", "Avenging Angels" and "The Ballad of Tom Jones", the latter a duet with Cerys Matthews of Catatonia.
Transvision Vamp were an English alternative rock band. James, the lead singer and focal-point of the group, attracted media attention with her sexually charged and rebellious image. Andrew Roachford is a British singer-songwriter and the main force behind the band Roachfordwho scored their first success in with the hits "Cuddly Toy" and "Family Man".
He has also had a successful solo career. Reunion tours occurred in, — and Southern Sons was an Australian rock band, formed in Melbourne, Victoria in by members of The State along with lead vocalist and guitarist Irwin Thomas, who was then using the stage name Jack Jones.
Chocolate Starfish are an Australian rock music group formed inbefore separating in Their self-titled debut album was issued in Aprilwhich peaked at No. It was followed in October by their second album, Boxwhich reached No. It peaked at No. They had another hit with "Mountain" in Marchwhich reached No. The group reformed inbut on 31 March Romic died of non-Hodgkin lymphoma after remission from an earlier bout.
Their Screaming John (Electric) - Sonia Dada - Screaming John (CD) number-one album, Weideman reformed in with a new line-up. Age of Reason is a studio album by Australian pop singer John Farnham. It was the follow-up to his previous No. As ofit was eleven times platinum, indicating sales of overunits. It is also critically considered one of Farnham's best albums, with "Age of Reason" and "Beyond the Call" being about the urgency for the world to wake up and solve its problems.
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