THE HORACE SILVER QUINTET : Song For My Father (1964)

Not much to say about this one. An instant jazz standard, this song has been covered numerous times. It was inspired by Horace Silver's trip to Brazil, see below.

From wicn.org:

"Song for My Father," Horace Silver's most commercially successful song, was inspired by the Portuguese music that his father so loved. Rosenthal quotes Silver’s description of how he came to write it: "My dad through the years had always said to me, ‘Why don’t you take some of this Portuguese folk music and put it into jazz?’ I never could see it. To me it always seemed corny – because I was born here into American music, whether it be jazz or whatever. But there is a feeling there: there’s something there that’s valid. I didn’t really get in tune with that feeling until I was invited by Sergio Mendes to his house in Rio de Janeiro. I went to see Carnival and went around to different places he was playing and sat in, and I was fascinated by the musical capabilities of some of the young musicians down there. They were all into this bossa nova thing, which as you know was greatly inspired by our American jazz. I got turned onto that beat. So I got back to New York and I said, ‘I’ll try to write a tune using that rhythm.’ I started fooling around and I came up with the melody and I realized the melody I came up with was akin to Cape Verdean – like something my dad would play. That was ‘Song for My Father.’"

"Song for My Father" was introduced as the title track on Silver’s 1964 Blue Note Records album and the album cover featured a picture of Silver’s father. The album was a best seller for Blue Note and ranks as one of the greatest mainstream hard bop recordings. Its title song had a notable influence on pop music, with the jazz-rock group Steely Dan borrowing the opening piano notes for their greatest pop hit, "Rikki Don't Lose That Number", and Stevie Wonder borrowing the opening horn riff for his song "Don't You Worry ‘Bout a Thing".

Song : "Song For My Father" by The Horace Silver Quintet

LP "SONG FOR MY FATHER" (Blue Note) 1964

LINEUP :

Horace Silver : piano

Carmell Jones : trumpet

Joe Henderson : tenor saxophone

Teddy Smith : bass

Roger Humphries : drums

Get it here : Song For My Father

KINGDOM COME : Spirit Of Joy (1973)

Back from summer vacation! And Arthur Brown is back too! So after "The Crazy World..." fell apart, Brown tried jamming with various people (including Jimi Hendrix!). He ultimately settled on forming a progressive rock group, Kingdom Come. It continued the wackiness of his first album, but with a higher level of musicianship, and more contributions from other band members. Yet things changed quickly; after a couple of band members left, Brown decided not to use a drummer at all and replace him with a Bentley drum machine. This song is from the band's third and final album, and shows one of the earliest uses of a drum machine on a record. It's a catchier tune, but it still shows Brown's solid vocal range. Brown would basically go solo after this record.

Song : "Spirit Of Joy" by Kingdom Come
LP "JOURNEY" (Polydor) Apr. 1973

LINEUP :
Arthur Brown : vocals, Bentley drum machine
Andy Dalby : electric guitar, vocals
Phil Shutt : bass, vocals
Victor Peraino : mellotron, piano, synthesizer

Get it here : Spirit Of Joy

THE CRAZY WORLD OF ARTHUR BROWN : Prelude - Nightmare (1968)

Arthur Brown has always been a musical enigma. At a time of peace & love, he was screaming "I am the God of Hellfire!", he was lighting his head on fire, he carried an operatic voice in a psychedelic band, and was a poster-boy for eclecticism in music. This is the opening track to his first (and most successful album), which led into his biggest hit, "Fire". His use of theatrics and costume predated Alice Cooper, David Bowie, and glam rock. His screaming vocals inspired many rock singers of the '70s, particularly Ian Gillan (of Deep Purple). Unfortunately, Crane's career never hit these heights again.

Note: soon after this album, Brown recruited drummer Carl Palmer (of ELP fame). Palmer would stay for about a year before leaving with keyboardist Vincent Crane to form Atomic Rooster.

Song : "Prelude - Nightmare" by The Crazy World Of Arthur Brown
LP "THE CRAZY WORLD OF ARTHUR BROWN" (Track) July, 1968

LINEUP:
Arthur Brown : vocals
Vincent Crane : organ
Drachen Theaker : drums

Get it here : Prelude - Nightmare

THE BUDOS BAND : Ephra (2009)

The Budos Band are a retro-sounding Afrobeat/funk group from Staten Island, NY. Part of the funky NY label, Daptone Records, the members sub in for other groups on the label. This song is off their newest EP, a collection of rare and unreleased tracks by the group. "Ephra" is a guitar/bass driven song, a sweet repetitive riff that when combined with the percussion section, becomes a solid smashing groove. The horns come in to top it all off, and a great trumpet solo.

Song : "Ephra" by The Budos Band
From the EP "The Budos Band EP" (Daptone) Jun. 16, 2009

LINEUP (most likely) :
Vincent Balestrino : Shekere
Thomas Brenneck : Electric Guitar
John Carbonella Jr. : Congas, Drums
Mike Deller : Organ
Daniel Foder : Bass Guitar
Cochemea Gastellum : Tenor Sax, Flute
Andrew Greene : Trumpet
Dave Guy : Trumpet
Rob Lombardo : Bongo, Congas
Brian Profilio : Drums
Dame Rodriguez : Cowbell, Clave, Tambourine
Jared Tankel : Baritone Saxophone

Get it here : Ephra

JACKSON 5IVE : You Made Me What I Am (1973)

R.I.P. Michael Jackson (Aug. 29, 1958 - Jun. 25, 2009)

From michaeljacksonobit:
Michael Joseph Jackson was an American recording artist, entertainer, and businessman. The seventh child of the Jackson family, he debuted on the professional music scene at the age of 11 as a member of The Jackson 5 and began a solo career in 1971 while still a member of the group. Referred to as the “King of Pop” in subsequent years, five of his solo studio albums are among the world’s best-selling records: Off the Wall (1979), Thriller (1982), Bad (1987), Dangerous (1991) and HIStory (1995).

In the early 1980s, he became a dominant figure in popular music and the first African-American entertainer to amass a strong crossover following on MTV. The popularity of his music videos airing on MTV, such as “Beat It”, “Billie Jean” and Thriller—credited for transforming the music video into an art form and a promotional tool—helped bring the relatively new channel to fame. Videos such as “Black or White” and “Scream” made Jackson an enduring staple on MTV in the 1990s. With stage performances and music videos, Jackson popularized a number of physically complicated dance techniques, such as the robot and the moonwalk. His distinctive musical sound and vocal style influenced many hip hop, pop and contemporary R&B artists.

One of the few artists to have been inducted into the Rock and Roll Hall of Fame twice, his other achievements include multiple Guinness World Records—including one for “Most Successful Entertainer of All Time”—13 Grammy Awards, 13 number one singles in his solo career—more than any other male artist in the Hot 100 era—and the sales of over 750 million albums worldwide. Cited as one of the world’s most famous men, Jackson’s highly publicized personal life, coupled with his successful career, made him a part of popular culture for almost four decades.

On June 25, 2009, he collapsed at his home in Los Angeles. After being taken to the hospital in a coma, Jackson was pronounced dead.

There's not much needed to be said about Jackson's importance in popular music in the last 40 years. He encapsulated the pinnacle of 'entertainer', and was ultimately a victim of the media that catapaulted his career. His songs are SO well-known, that it would be somewhat redundant to post a majority of them. Instead, here is a relatively unknown Jackson Five song, from a relatively unsuccessful album, from a relatively unhappy period of the band. The Jacksons were demanding to be able to write some of their own songs, a request to which Motown chief Barry Gordy flat-out refused. The album, "Skywriter", was the first to start showing the cracks in the group's energy, plainly evident by their unhappiness on the cover! The album did moderately well, but was a step back from previous heights.

This track is a b-side from the album, written by The Corporation, and is a forgotten funky soul gem. The brothers are singing as well as ever, and the rhythm is infectious. I would LIKE to think that Tito and Jermaine were playing the guitar and bass, respectively, but who knows when it comes to Motown?

Song : "You Made Me What I Am" by Jackson 5ive
From the LP "SKYWRITER" (Motown) Mar. 1973

Get it here : You Made Me What I Am

EMBRYO : Side Track (1974/5)

R.I.P. Charlie Mariano (Nov. 12, 1923 - Jun. 16, 2009)

Obit:

Born Carmine Ugo Mariano on November 12, 1923 in Boston MA died June 16, 2009 in Cologne Germany at the Mildred Scheel Hospiz. Charlie’s music career spans from 1940 when at the age of 17 his sister Colina gave him his first saxophone to 2009 when at the age of 85 he was still performing and recording music. Charlie served three years in the Army Air Corps during World War II where he met his first wife Glenna Gregory.

Following his service in the military he became a student at Schillinger House (now Berklee College of Music) graduating in 1951. He became a well known alto saxophonist during his time with the Stan Kenton Orchestra and Shelly Manne through his West Coast era. In 1958 with wife and four daughters in tow Charlie returned to Boston to teach at Berklee where he immersed himself in the Boston jazz scene. Along with Herb Pomeroy and Ray Santisi he founded the Jazz Workshop which became a popular jazz club featuring many jazz greats. During this period he met and married Toshiko Akiyoshi and formed the Toshiko Mariano Quartet. Afterwards he also performed with Charles Mingus and appeared on the Black Saint and The Sinner Lady and Mingus Mingus Mingus albums. At this time his fifth daughter was born.

From 1965 to 1971 he raised two of his daughters as a single father while teaching at Berklee. During that time he moved to Newburyport and formed a rock fusion band called Osmosis with local pianist Charlie Bechler. Prior to moving to Europe his sixth daughter was born with his partner Charlotte Bulathsinghala. While in Europe he played and recorded in many diverse musical genres including jazz rock fusion, South Indian music and contemporary European jazz. Charlie is considered one of the pioneers of world music.

Mariano was a true musical sponge, he played with SO MANY European jazz artists, it didn't seem like he ever took a break. Notable artists he played with (especially in the '70s): Sadao Watanabe, Osmosis, Supersister, Embryo, Philip Catherine, Eberhard Weber, Rolf Kuhn, Jasper van't Hof, and of course The United Jazz + Rock Ensemble.
This obscure track is by German jazz-rock/world music band Embryo. This is from the period when they were quite funky, as you can tell by the sloppy drum groove. Mariano is one of the featured sax soloists, and you can hear him blowing after some of the verses. This was one of the many songs that fell through the cracks due to labelling. Too funky for jazzheads, too jazzy for rockers, too straightforward for progressive rock fans, and too 'western' for Europeans. But it fares better without the pigeonholing. It does have a progressive side to it, starting at 3:41, with the continued funky beat. A very underrated album, and a fantastic cover!

Song : "Side Track" by Embryo (recorded 1974)
From the LP "SURFIN'" (BASF) Jan. 1975

LINEUP :
Christian Burchard : drums, mellotron
Roman Bunka : guitar, vocals, bass, percussion
Charlie Mariano : soprano sax
Edgar Hofmann : soprano sax, violins)

Get it here : Side Track

SOFT MACHINE : 1983 (1973)

R.I.P. Hugh Hopper (Apr. 29, 1945 - Jun. 7, 2009)

From Jazzwise:
Bass guitarist Hugh Hopper has died at the age of 64, it was announced yesterday. The Kent-born musician is best known as the bass player in Soft Machine which he joined in 1968. He remained with them until 1972 but later became an important part of Soft Machine Legacy which has toured the world in recent years.

Before Soft Machine Hopper worked with Daevid Allen and Robert Wyatt in the Daevid Allen Trio before forming the Wilde Flowers joined by his brother Brian, Wyatt, Kevin Ayers and Richard Sinclair. But it was with Wyatt, Allen, Ayers and also Mike Ratledge that he was to make his mark on the history of progressive rock and forward-looking jazz-influenced psychedelic groups of the period and since with his innovative fuzz-bass sound.

After Soft Machine, Hopper worked with a range of groups including the influential Gilgamesh and Isotope and began an association with free jazz saxophonist Elton Dean who joined Soft Machine in 1969. Later important collaborations also included work with the late Pip Pyle, Phil Miller’s In Cahoots and since 2002 with Soft Works which later became Soft Machine Legacy. Hopper had been suffering from leukaemia in recent years.

NOTE: Hopper has also worked with Syd Barrett, and toured with Jimi Hendrix.
This strange track was his last recording with the progressive rock/jazz/psych group Soft Machine. All the fuzzy bass and sound effects were his. It's interesting that although the piano sounds almost completely random, it is actually completely written out (as you can tell by the band being completely in synch with the accents). This 'song' sounds like the soundtrack to an unreleased future horror movie, and was his jumping-off point to his first solo album, "1984". He later joined jazz-rock groups Isotope, Gilgamesh, and Soft Heap.

Song : "1983" by Soft Machine (written by Hugh Hopper)
From the LP "SIX" (CBS/Columbia) 1973

LINEUP :
Hugh Hopper : bass
Mike Ratledge : organ, electric piano, grand piano
John Marshall : drums, percussion
Karl Jenkins : electric piano, grand piano

Get it here : 1983

THE RACONTEURS : Salute Your Solution (2008)

This side project of The White Stripes' Jack White and solo artist Brendan Benson has a serious preoccupation with hard rock with driving beats. This was the first single of their latest album, and did fairly well in the US. Of note is the dirty noisy guitar sound they employ, as well as the distorted keyboards. The half-time middle section is a great throwback to '70s rock.

Song : "Salute Your Solution" by The Raconteurs
From the LP "CONSOLERS OF THE LONELY" (Third Man Records) Mar. 25, 2008

LINEUP :
Patrick Keeler : drums, percussion
Brendan Benson : vocals, guitar, keyboards
Jack White III : vocals, guitar, keyboards
Jack L.J. Lawrence : bass, backing vocals

Get it here : Salute Your Solution

BETTY BARNEY meets CHILI PEPPERS meets THE PAZANT BROTHERS : Momma, Momma/Chicken Scratch (1969)

Apologies for the confusing title, but it's a confusing story! GWP was a record label based in New York City that produced singles for a number of jazz, soul, and funk acts. The 'house band' for the label was a group called The Pazant Brothers, with real brothers Al on trumpet and Eddy on sax. They played as the rhythm section on many of the singles, and had many great funk singles of their own. One the artists was singer Betty Barney, who recorded only one single "You Want My Lovin'". The track "Momma, Momma" is the funky b-side, and Barney is just belting out the lyrics. You can hear the typical staccato horns of the Pazant Brothers in the background. An interesting use of string swells occurs throughout.

Now, what makes it slightly confusing is that GWP re-released the song later in the same year, but this time keeping it instrumental and calling it "Chicken Scratch". Yet instead of making it a Pazant Brothers single, they went under the pseudonym, Chili Peppers. Thus, as the Chili Peppers, this was the sole single! Either way, you get to hear how nice n greasy the track is. Barney would continue to sing for the Pazants, particularly on their later album, "Loose And Juicy".

Song : "Momma, Momma" by Betty Barney
Single B-side (GWP 502) 1969

Song : "Chicken Scratch" by Chili Peppers
Single A-side (GWP 511) 1969

Both of the songs can be found on the compilation, "SuperFunk. Volume 4" (BGP) 2004

Get them here :
Momma Momma
Chicken Scratch

BILLY COBHAM : Stratus (1973)

Here is a classic track by master fusion drummer Billy Cobham. Since he was already playing in the intense environment of Mahavishnu Orchestra, it became apparent from his solo output that Cobham wanted tunes that were more funky.
Allmusic has words:
This is one of the most potent instances of the viability of the jazz-rock merger. Of course this style had been done a few years earlier with acts like Tony Williams Lifetime and the Mahavishnu Orchestra. In fact Cobham was a member with Mahavishnu when this was recorded. As tension began to give off sparks in that unit, he thought about doing a solo album. "Stratus" was the most influential track from Cobham's debut, "Spectrum", from 1973. How "Stratus" is different is that it featured guitarist Tommy Bolin's rock style. It proved especially incendiary in the jazz-rock idiom. Throughout "Stratus" his playing was less concerned with sounding "pretty" like many jazz guitarists, and his burning solos just go for the jugular. Of course that's not unlike Cobham's drumming style. No wonder they played so well together. Unlike a lot of the era's finest work, "Stratus" has endured.
In 1991 elements of Lee Sklar's loping bass part were used in Massive Attack's "Safe From Harm." For Bolin, he continued to be respected in jazz and rock until his death from a drug overdose in 1976. Posthumously, live versions of "Stratus" have appeared on solo albums released on the label Tommy Bolin Archives. This version of "Stratus" was the perfect way for Cobham display his skills as a composer and to kick off his successful solo career.

A 10-minute groove from start to finish, which leans more towards that funk than jazz. You can really hear Cobham go crazy at the finale at 9:52, with a rock-ish riff. Jan Hammer came from Mahavishnu to help, before going on to his own solo career. Tommy Bolin was just getting his big break, as he had just joined The James Gang. Lee Sklar, even the studio bassist, was just there to add this album to his thousands of sessions.

This song was also featured in the "Grand Theft IV" video game soundtrack.

Song : "Stratus" by Billy Cobham

From the LP "SPECTRUM" (Atlantic) Oct. 1, 1973

LINEUP :

Billy Cobham : drums

Tommy Bolin : guitar

Jan Hammer : electric piano, Moog synthesizer

Lee Sklar : bass

Get it here : Stratus

BLACK SABBATH : Heaven And Hell (1980)

Black Sabbath without Ozzy? How is that possible?? Well, it was possible for about 16 years after Ozzy left/got sacked. And for a brief time, Sabbath were more popular than they had been in years. They picked up Elf/Rainbow singer Ronnie James Dio, and went in a more 'traditional' heavy metal direction. The riffs were still there, just a little more theatrics, and those ubiquitous metal wizard-n-warrior lyrics.

Allmusic says it well with run-on sentences:
After Ozzy Osbourne left the mighty Black Sabbath, they hunted down Elf singer Ronnie James Dio and tried their hand at making an album with him. Bassist Geezer Butler stepped aside as head lyricist for the first time in a decade and allowed Dio to pen his own songs, which drastically changed the direction of the band and affected them years after Dio had moved on to do solo work. "Heaven and Hell" is one of the first songs they ever collaborated on, and the result is one of the best songs they managed to muster in their post-Ozzy years. A thunderous bass line (rumored to have been written by Geoff Nichols) carries the song throughout, while a slab of sludge guitar pops up whenever Dio stops singing. The lyrics are the usual doomy nonsense, but they focus much more on kings and bringers of evil and lose much of their Christian paranoia in exchange for a Dark Age mythology. Luckily, this recording forgoes Dio's later additions to the song, which included lyrics about "little white sheep" asking him to go to heaven, but he turns them down to rock with his fans. But the Dungeons and Dragons formula works well here, building to the raging second half where all the instruments meet up to carry Dio's campy theatrics to their natural end. But to even be able to notice a drop in lyrical quality when talking about Black Sabbath is a bad sign, and only two years later they would no longer have the musical chops to compliment the subpar words written by Dio. But for one brief moment it looked like the band would really pull it together, and this song was by far the best example of that optimism.

Other tidbits from wiki:
Dio explains the song is about how every individual has "heaven and hell" inside him or herself, as well the ability and the choice whether to choose good or evil.
In live performances by Black Sabbath or Dio, the song is usually stretched out with extended guitar solos, audience participation, and new or ad libbed lyrics.
The song is featured on the soundtrack for the 2007 movie "Halloween", and is featured in the 2008 video game "Grand Theft Auto IV" on the radio station "Liberty Rock Radio 97.8".

This song is basically written in three parts. The first part is the main body of the track, with the bass providing the pulse while Dio does his thing. Riffs come in an out, adding to the gradual buildup. After a well-balanced guitar solo, the second part begins at 4:16 which basically picks up the pace so the back can rock out. Finally, in true Sabbath fashion, a seemingly random coda ends the track with Iommi on double-tracked acoustic guitars playing a soft minstrel-like piece. Taken together, it captures the theme of the song quite well, balancing darkness with light.

Song : "HEAVEN AND HELL" by Black Sabbath (1980)
From the LP "HEAVEN AND HELL" (Warner Bros) Apr. 25, 1980

LINEUP :
Tony Iommi : guitar
Ronnie James Dio : vocals
Geezer Butler : bass
Bill Ward : drums
Geoff Nicholls : keyboards

This version is from the recent 2008 remaster, released in the box-set "THE RULES OF HELL".
Get it here : Heaven And Hell

DAVID BOWIE : Quicksand (1971)

Here is a grossly underrated song by Bowie; flowing lyrics and melodies over an acoustic guitar, with a tasty use of strings. Piano arpeggios were added by none other than Rick Wakeman, with backing by his soon-to-be Spiders From Mars band.

From allmusic:
One of Bowie's most mystifying (and, thus, most over-analyzed) compositions, "Quicksand" originally appeared on 1971's Hunky Dory album, closing side one with a lengthy examination of the emotional mire of politics and religion. (An acoustic demo of the song also appeared on the album's 1990 reissue.)

Churchill, Himmler, Crowley, Garbo, and Nietzsche all file through the "dream reality" of this gentle, but incredibly hard-hitting song, and its occasional appearances in Bowie's live set have always proven firm fan favorites. That said, Bowie only began performing the song in its entirety in 1997 — hitherto, it featured in a 1973-era medley with "Life on Mars?" and "Memory of a Free Festival."

However, he revived it for the 50th birthday celebrations; one version was included in the BBC's ChangesNowBowie broadcast, another — a duet with the Cure's Robert Smith — was aired at the Madison Square Garden birthday concert. The song then became the opening number throughout 1997's "Earthling" tour.

Song : "Quicksand" by David Bowie

From the LP "HUNKY DORY" (RCA) Dec. 17, 1971

LINEUP :

David Bowie : vocals, guitar

Mick Ronson : guitar, vocals, Mellotron, arrangements

Rick Wakeman : piano

Trevor Bolder : bass

Mick Woodmansey : drums

Get it here : Quicksand

DR. Z : Summer For The Rose (1971)

Dr. Z has to be one of the strangest projects in UK progressive rock. A occult-laden concept album written and performed by a Wales university professor. It was one of the worst-selling albums of the Vertigo label (something like 80 copies were sold), but by now has become a huge collector's item. Aside from the quirky music, the great album artwork has helped increase the value of this album.

Song : "Summer For The Rose" by Dr. Z

From the LP "THREE PARTS TO MY SOUL" (Vertigo) Sep. 1971

LINEUP :

Keith Keyes : keyboards (harpsichord, organ, piano), vocals

Bob Watkins : drums

Rob Watson : bass

Get it here : Summer For The Rose

DAVE PIKE And His Orchestra : Montuna Orita (1964)

As the title suggests, this is Latin-tinged jazz by vibist Dave Pike. There are a number of classic jazz and Latin musicians featured here, including Willie Bobo, Hubert Laws, and "Patato" Valdes. This track also featured a VERY young Chick Corea on piano, one of his first recording sessions.

Song : "Montuna Orita" by Dave Pike and his orchestra

From the LP "MANHATTAN LATIN" (Decca) 1964

LINEUP:

Dave Pike : vibes

Hubert Laws : piccolo, tenor saxophone

Dave Burns : trumpet

Ray Copeland : flugelhorn

Chick Corea : piano

Israel "Cachao" Lopez : bass

Carlos "Patato" Valdes : conga, vocals

Robert Thomas : percussion, vocals

Willie Bobo : drums

Get it here : Montuna Orita

THE METERS : Yeah, You're Right (1970)

Here's a track from The Meters second album; a nice mid-tempo funk number which originally opened up side two. Like most of The Meters early tunes, it seems to be a great backing track waiting for the right vocalist. But it stands out on its own either way. A good use of guitar breaks, and very tight drumming.

Song : "Yeah, You're Right" by The Meters
From the LP "LOOK-KA PY PY" (Josie, JOS 4011) Jan. 1970

LINEUP :
Art Neville : organ
Joseph "Zigaboo" Modeliste : drums
Leo Nocentelli : guitar
George Porter, Jr : bass

Get it here :

Yeah, You're Right

DEPECHE MODE : Wrong (2009)

This is the newest single from Depeche Mode, which is currently an internet-only release (the CD-single will be released on Apr. 9). It is accompanied by a great music video (which looks like it could belong to Radiohead).

Song : "Wrong" by Depeche Mode
From the LP "SOUNDS OF THE UNIVERSE" (EMI) Apr. 20, 2009

LINEUP:
Dave Gahan : vocals
Martin Gore : keyboards, guitar, vocals
Andy Fletcher : keyboards

Get it here :

Wrong

SPACE NEEDLE : One Kind Of Lullaby (1997)

This alternative rock band from the mid-90s only lasted two albums, but made some decidedly experimental music in their time. Going from soft introspective ballads to full-on progressive rock noise experiments, it would be nearly impossible to pin them down into a 'genre' (probably explaining their lack of success, like most other bands that try to vary their sound). This is the last track of their second album, and tries to balance their pop sensibilities (at the beginning) with their sonic explorations (towards the end). Yet overall, a catchy song, with a subtle use of violin in the background. Cover art by none other than Roger Dean, album-cover artist extroardinaire!

Song : "One Kind Of Lullaby" by Space Needle

From the LP "THE MORAY EELS EAT THE SPACE NEEDLE" (Zero Hour) Jan. 21, 1997

LINEUP :

Jud Ehrbar : drums, vocals, keyboards, guitars, percussion

Jeff Gatland : guitars, percussion

Anders Parker : guitars, vocals, drums, percussion

Max Buckholtz : violin

: Original artwork by Roger Dean :

Get it here : One Kind Of Lullaby

HALINA FRACKOWIAK : Snij Tylko Szczescie (1977)

Halina Frackowiak is a popular singer in her native Poland, and became popular in the late 60s as part of the groups Terpany and later Grupa ABC. Inevitably, she went solo, and this track is from her second solo album. She lays crisp, clear vocals over the somewhat progressive rhythm section. The backing band is none other than SBB, one of my favourite progressive rock groups! In particular, Jerzy Piotrowski's drumming is always spot-on, and very funky when wants to be. All the music on the album was written by SBB leader Jozef Skrzek (she would collaborate with him again a couple of years later).

Song : "Snij Tylko Szczescie" by Halina Frackowiak
From the album "GEIRA" (Muza) 1977

LINEUP:
Halina Frackowiak : vocals
Jozef Skrzek : bass guitar, keyboards
Antymos Apostolis : guitar
Jerzy Piotrowski : drums

Get it here : Snij Tylko Szczescie

BRIAN ENO : Sombre Reptiles (1975)

Here is a track by Eno just as he was shirking the pop mainstream and treading into ambient territory. He is using guitars for the main melody, but with an almost completely programmed rhythm section. He recreated this song live with the band 801 (with Roxy Music's Phil Manzanera on guitar).

Here's a blurb from allmusic:
ithout doubt, one of Brian Eno's most evocative instrumentals, "Sombre Reptiles," was an absolute standout on both his own "Another Green World" album in 1975, and the following year's "801 Live" album.

Over a persuasively percolating, but so dry rattle, a grandiose melody conjures up nothing so much, indeed, as an array of very somber reptiles: stately lizards, frowning serpents, superior crocodiles, and the lot. But, if that description sounds at all comical, the reality of the piece is somewhat more menacing, as a heavily treated, formally attired guitar traces a repetitive, but extraordinarily eloquent melody.

Behind it, layers of barely discernible electronics, keyboards, and, apparently, "unnatural sounds" twitch and wriggle, hastening even further the sensation of some scaly court of justice. One regrets only that it all wraps up so soon as little more than two minutes are expended on the song, although sharp ears might well recognize elements of Godley & Crème's "Consequences" as a distinct sonic successor.

Song : "Sombre Reptiles" by Brian Eno

From the LP "ANOTHER GREEN WORLD" (Island) Sep. 1975

LINEUP:

Brian Eno : guitars, percussion, keyboards, sound effects, tapes

Get it here : Sombre Reptiles

THE GRASS ROOTS : Midnight Confessions (1968)

So while watching the US version of The Office, an interesting tidbit of information came out during the "Booze Cruise" episode. The eccentric character, Creed Bratton, admitted (in a deleted scene) that he had played in the '60s group, The Grass Roots. I thought that was odd, considering that it was a real group. But even more odd was that it was true! Creed Bratton actually plays a fictional version of HIMSELF on the show, but he definitely got his start as the guitar player and vocalist for this '60s pop-rock band. I'm sure hardcore fans of The Office already know these details, but it IS always nice to make the discovery for oneself! Here is one of their best-known songs, with the prerequisite catchy chorus. Creed is on guitar and backing vocals.

Song : "Midnight Confessions" (Dunhill 4144) 1968

Single A-side

LINEUP :

Creed Bratton : guitar, vocals

Rick Coonce : drums

Warren Entner : keyboards, rhythm guitar, vocals

Rob Grill : lead vocals, bass

Get it here : Midnight Confessions