Vital Information - 2004 "Come On In"

Steve Smith's Vital Information has evolved from being a fusion band into one that is closer to soul-jazz. He had led units under the Vital Information name for 21 years when he recorded Come On In, a tight quartet album featuring guitarist Frank Gambale (of Chick Corea's Elektric Band), keyboardist Tom Coster (who also plays accordion), and bassist Baron Browne. The music includes some grooves worthy of Joe Zawinul, straight-ahead sections, catchy themes, and plenty of funky rhythms that avoid being predictable, plus a heated up-tempo blues "A Little Something." Smith is mostly in the background, content to propel and inspire his sidemen into playing some of their finest music. This set, which crosses many musical boundaries, reveals Steve Smith's Vital Information to be one of the most underrated bands in modern jazz and serves as an excellent introduction to the group's music. 

 Personnel:
Steve Smith - Audio Production, Composer, Drums, Primary Artist, Producer, Udu
Tom Coster Accordion, Composer, Group Member, Keyboards
Frank Gambale Composer, Group Member, Guitar
Baron Browne Bass, Bass (Electric), Composer, Group Member, Guitar (Bass)

Songs / Tracks Listing
1. Time Tunnel ( 5:38 )
2. Come On In ( 5:40 )
3. Beneath The Surface ( 2:06 )
4. Cat Walk ( 6:05 )
5. Around The World 9:35 )
6. Soho ( 6:25 )
7. A Little Something ( 8:23 )
8. From Naples To Heaven ( 4:08 )
9. Baton Rouge ( 6:18 )
10. Fine Line ( 2:18 )
11. High Wire ( 5:52 )

Total Time : 62:28

Vital Information - 1996 "Ray Of Hope"

Ray of Hope is Vital Information's seventh release, the first for Intuition Records and their first in four years. The material was actually recorded long before the release, while leader/drummer Steve Smith shopped around for a record deal. The majority of the selections have heavy commercial overtones, but the heavy grooves, nice melodies, and superb musicianship save this from being just another light fusion affair. Ever the selfless leader, Smith gives all bandmates plenty of opportunities to shine. In particular, keyboardist Tom Coster and bassist Jeff Andrews both shine on their duet of Horace Silver's "Peace." Drummers will be most pleased with the Max Roach-inspired drum solo "Maxed Out," a three-minute tour de force that proves why Smith is held in such high regard among his colleagues. While Ray of Hope may not be the most inspired recording the band has released, there is enough here to please most fans of high-energy jazz/rock fusion and/or contemporary jazz. 

 Line-up / Musicians

Steve Smith / drums
Tom Coster / keyboards
Frank Gambale / guitar
Jeff Andrews / bass

Songs / Tracks Listing

1. Clouds ( 1:01 )
2. Celebrate Life ( 4:57 )
3. Rio Lize ( 4:48 )
4. Lorenzo`s Soul ( 5:32 )
5. Sacred Treasure ( 5:49 )
6. Sixth Sense ( 4:37 )
7. Ray Of Hope ( 5:41 )
8. Maxed Out ( 2:56 )
9. All My Love, Always ( 6:30 )
10.Peace ( 4:13 )
11.Fit To Be Tied ( 6:25 )
12.Over And Out ( 5:39 )

Total Time : 60;01

Vital Information - 1991 "Vitalive!"

The drummer with the very successful rock group Journey for seven years, Steve Smith left the band in 1985 to devote his career to jazz and specifically his group Vital Information. This CD is taken from their tour of August 1989 and features Smith's unit (which also includes Larry Schneider on reeds, guitarist Frank Gambale, keyboardist Tom Coster, and bassist Larry Grenadier) playing a strong set of group originals plus the standard "I Should Care" (a straight-ahead feature for Coster and the rhythm section). Although Coster uses electronics on some of the pieces, much of his date is simply high-quality acoustic jazz; even the funkier material swings. Recommended. 

 Songs / Tracks Listing

1. One Flight Up ( 6:06 )
2. Looks bad, Feels Good ( 5:39 )
3. Jave And A Nail ( 5:12 )
4. (What Lies) Beyond ( 7:09 )
5. I Should Care ( 7:29 )
6. Mac Attack ( 5:01 )
7. Johnny Cat ( 7:30 )
8. The Perfect Date ( 6:37 )
9. Island Holiday ( 7:31 )
10. Europa ( Earth Cry - Heaven`s Smile ) ( 4:37 )

Total Time : 62:51

Recorded live at Club Nova 2, Ignacio, California, August 2, 1989

Line-up / Musicians

Frank Gambale / guitar, voice on Johnny Cat
Steve Smith / drums
Tom Coster / keyboards
Larry Schneider / saxophone
Larry Grenadier / acoustic bass
Tom Coster Jr. / additional keyboards on Johnny Cat

Vital Information - 2000 Live Around The World "Where We Come From" Tour '98 - '99.

A live album not to be missed, Live Around the World is a two-disc set full of funk, fusion, fiery fretwork, and just plain fun. It's obvious these guys are having the time of their lives, working and reworking material old and new. From the zydeco funkiness of "Swamp Stomp" to the Headhunters' era funk of "The Perfect Date," this music has a groove that won't let up. When Frank Gambale goes into the melody of Led Zeppelin's classic drum feature, "Moby Dick," it's over a Steve Smith swing/funk rhythm the likes of which John Bonham could never have imagined. A 15-minute "Mr P.C." resembles the Coltrane original only in the brief head before the band takes it to places previously unknown.

The group stretches out on most of the tracks here, and the foursome uses the time to shine individually and as a group. Gambale's fleet fingers are amazing, burning up the fretboard like Dimeola, Coryell, or McLaughlin, then delivering an extended slice of tasty Wes Montgomery smoothness that ought to get radio airplay on "First Thing This Morning." Tom Coster's Hammond B-3 is also in the front seat much of the time. He occasionally recalls Larry Young back in the Tony Williams Lifetime days, reminds listeners of his own great '70s work with Santana, and does a mean Jimmy Smith on "Listen Up" and "First Thing This Morning." For a change of pace, Coster turns the Santana classic "Europa" into an accordion love song out of a Paris bistro. On "It's a Jungle out There," bassman Baron Browne captures Black Market-era Jaco, while "Over and Out" is a hard driving jam à la Return to Forever. Steve Smith brought his personal fusion crusade out of the studio to eager crowds for the tour captured in this collection. Judging by the recorded results, it was a huge musical success.

Personnel:

Bass – Baron Browne
Drums – Steve Smith (5)
Guitar – Frank Gambale
Keyboards – Tom Coster

Track Listings:

Disc: 1
1. Dr. Demento
2. Moby Dick
3. Swamp Stomp
4. Cranial Jam
5. Happy House
6. Fortaleza
7. First Thing This Morning
8. The Perfect Date
9. It's A Jungle Out There

Disc: 2
1. The Drum Also Waltzes
2. Take Eight
3. Listen Up!
4. Europa
5. Do You Read Me?
6. Over And Out!
7. Mr. PC
8. Soulful Drums

Lenny White - 1978 "Streamline"

Lenny White - 1978 Streamline
Personnel
Lenny White – drums, percussion, production
Chaka Khan – lead vocals (track 2)
Diane Reeves – vocals (track 4), background vocals
Don Blackman – vocals (track 6), keyboard, Minimoog (track 4), synthesizer (track 7), Rhodes piano (track 10), piano (track 11), organ (track 3)
Nick Moroch – guitar (except tracks 1, 3, 10)
Jamie Glaser – guitar (tracks 1, 3, 10)
Denzil Miller, Jr. – keyboard (track 8), Minimoog (track 9), rhythm arrangement (track 2)
Larry Dunn – Minimoog (track 1), synthesizer programming, production
Marcus Miller – bass

Track listing
No. Title Writer(s) Length
1. "Struttin'" Jamie Glaser 4:45
2. "Lady Madonna" John Lennon, Paul McCartney 3:54
3. "12 Bars From Mars" Nick Moroch 3:10
4. "Earthlings" Lenny White, Don Blackman 4:48
5. "Spazmo Strikes Again" White 0:25
6. "Time" Blackman 2:58
7. "Pooh Bear" White, Weldon Irvine 5:02
8. "Lockie's Inspiration" Denzil Miller, Jr. 0:41
9. "I'll See You Soon" White 6:30
10. "Night Games" Marcus Miller 3:58
11. "Cosmic Indigo" Blackman 0:50
Total length:
37:01

Lenny White - 1975 [2017] "Venusian Summer"

CD reissue. Lenny White is a three time Grammy Award winning American jazz fusion drummer. He is best known for being the drummer of Chick Corea's Return To Forever. As far as Jazz-Rock-Fusion albums go... this is one of the very best. Very impressive for his first solo album! This album, originally released on Nemperor Records, made the Billboard Music Charts on 1/31/76. Guest musicians include Hubert Laws, Al Di Meola, Larry Coryell, Jimmy Smith, David Sancious and Larry Young

Lenny White's "Venusian Summer" is a reissue of a 1975 album by this superb jazz drummer, assisted by great guitarists such as Al Di Meola, Larry Coryell, Ray Gomez and Doug Rodrigues, along with keyboard players including Jimmy Smith and Larry Young. Six tracks total mark this classic mid '70s fusion album, including "Chicken Fried Steak" and "Prince Of The Sea", the latter which features Di Meola and Coryell cuttin' heads. A drummer-led, guitarist-fueled instrumental fusion must-have.

One of the better entries to emerge from a genre that was quickly growing tired. Return to Forever drummer Lenny White, while not as powerful or talented as counterparts Billy Cobham or Alphonse Mouzon, had an excellent feel for funk and an amazing sense of taste. "Chicken-Fried Steak" contains enough odd-time beats and fills to satisfy any drum fanatic, but White proves to be more than just a technician. "The Venusian Summer Suite" and "Mating Drive" are both moody pieces that were obviously influenced by the music of Tangerine Dream. But the primary reason this session succeeds is "Prince of the Sea." It is a strong composition that features Al di Meola and Larry Coryell. This was their only recorded performance together in the '70s and fans are still seeking this recording out to see "who won". This is a must-have fusion recording.

I have no problem giving this album 5 stars or more! The drummer from Return to Forever delivers an incredible fusion album that never got the recognition it deserves! David Sancious does his usual wonderful job on keyboards on a few tunes. And the closing finale piece has superlative playing by fusion guitar legends Larry Coryell and Al DiMeola (they each take one long solo, then they trade alternating solos at the end...an album highlight, for sure!). Billed as a concept album (as hard as it is to do that with an instumental album), this CD features influences of jazz, rock, funk, an occasional drift into classical, and just GREAT performances by all the musicians involved, although I don't remember recognizing any of the personnel other than those I have mentioned. Wonderful guitar solos are plentiful........keyboards solos pop up here and there.......there's even a flute solo in there somewhere. And of course, Lenny's drumming is spectacular, as always. Lenny wrote or cowrote most of the songs.....although his fusion mindset on this album is much different (more rockin') than the tunes he wrote for Return to Forever. Still, if you like fusion and you're a Return to Forever fan, this is an overlooked classic that you just have to hear! Take my word for it!! Don't pass this one up!!!

Bought this on vinyl back in the seventies. This music is the essence of fusion. Although there are a couple of space funk tunes on the album the rest follows the Venusian summer theme.Mating drive is strictly high energy fusion at its best. The rhythm section of Doug Rauch on bass and Lenny on drums absolutely smokes. Raymond gomez does the guitar work on this tune and does not disappoint. Prince of the sea is my favorite tune on this compilation. It starts off with the sound of seagulls and the sound of the sea.As the tune builds,Tom Harrel plays a great flugelhorn solo. Next the amazing solo by Larry Coryell. Coryell at this point has one of the best sounds on his guitar and takes it to the moon .After a great keyboard solo by Onjae Allan Gumbs, Al Dimeola takes his turn. After his amazing solo both he and Coryell trade off back and forth with some of the best guitar playing I ever heard.Please be advised this music is not for the faint of heart. Buy this disc if you dare,it's monster! Oh yeah, one of the keyboard players David Sancious has an album he put out back then called The Forest of Feelings. What an amazing album. Not a bad tune on the record check it out.

Tracks Listing:

1. Chicken-Fried Steak (4:33)
2. Away Go Troubles (Down The Drain) (3:21)
3. The Venusian Summer Suite:
 Part 1. Sirenes (4:28)
 Part 2. Venusian Summer (6:38)
4. Prelude To Rainbow Delta (1:10)
5. Mating Drive (7:40)
6. Prince Of The Sea (11:37)

Line-up / Musicians:

Lenny White - bateria, Wandering Clavinet, Minimoog, Eu Synthesizer, ARP 2600, baixo, tímpano, Snare Drum B1, Roto-Toms, triangulo, gongo, marimba, címbalo suspenso
Larry Coryell - guitarra (6)
Al DiMeola - guitarra (6)
Raymond Gomez - guitarra rítmica (1, 5)
Doug Rodrigues - guitarra (1, 2, 5)
Jimmy Smith - órgão (1)
Larry Young - órgão (5)
David Sancious - Minimoog, órgão
Peter Robinson (Quatermass, Brand X) - Clavinet, Minimoog
Weldon Irvine - órgão (2)
Onaje Allan Gumbs - piano elétrico, piano, Clavinet, Mellotron, órgão (2, 3, 5, 6)
Tom Harrel - Minimoog, flugelhorn
Patrick Gleeson - Eu Synthesizer, ARP 2600, Minimoog Hubert Laws  -  flauta
Doug Rauch (Santana) - baixo
Dennis MacKay - gongo

Network - 2001 "Highly Committed Media Players"

Network - 2001 Highly Committed Media Players


'Highly Committed Media Players' features the talents of legendary jazz guitarist Larry Coryell throughout. This album was also the album that saw Larry Coryell return to the solid body electric guitar follwing an extended period playing a hollow bodied jazz guitar or acoustic. The album also features Jack Bruce on bass and vocals on the track 'Manic Depression'. Elsewhere Wolfgang Schmid and Laurence Cottle handle bass duties. 'Highly Committed Media Players' is one of a series of albums to be released from Network in remastered format.

Release Date: September 11, 2001 

Track listing:

1 Interstellar Overdrive
2 The Hellical Friction Principal
3 Dennis the Menace
4 Sitting on the Back of the Bus
5 Manic Depression
6 Larry's Tune
7 The Target Man
8 The Little Blue Book

 Personnel:

Bass – Chris Laurence (tracks: 3), Laurence Cottle (tracks: 8), Wolfgang Schmid (tracks: 1, 2, 4, 7)
Bass, Vocals – Jack Bruce (tracks: 5)
Drums – Steve Clarke (18) (tracks: 1 to 5, 7, 8)
Guitar – Larry Coryell (tracks: 1 to 5, 7,8)
Guitar [Right + Left] – Larry Coryell (tracks: 6)
Keyboards – Pete Jacobsen (tracks: 1 to 4, 7,8)
Organ – Pete Jacobsen (tracks: 5)
Trumpet – Ted Emmett (tracks: 1 to 5, 7,8)

Tommy Bolin - 1972 [1999] "Energy"

THE BAND:
Energy were formed in 1971 in Boulder, Colorado when Tommy Bolin and Bobby Berge left Zephyr. The members in the most well-known lineup were:
Tommy Bolin: guitar
Jeff Cook: vocals, harmonica
Tom Stephenson: keyboards, vocals
Stanley Sheldon: bass
Bobby Berge: drums

Other players included:
Kenny Passarelli: first bassist (quickly left to join Joe Walsh)
Jeremy Steig: flute
Gary Wilson: first vocalist (replaced by Jeff Cook)
Max Gronenthal: keyboards, vocals (replaced Jeff Cook and Tom Stephenson)
Russell Bizzett: drums (after Bobby left, then second drummer after Bobby returned)
Archie Shelby: percussion (intermittent)

THE STORY:
Bassist Stanley Sheldon and his cousin keyboardist Tom Stephenson arrived in Boulder, Colorado separately. Sheldon had been playing in a psychedelic blues band in his home town of Ottawa, Kansas. Stephenson was from Kansas City and had been playing in horn bands in the style of Chicago. Tommy Bolin and drummer Bobby Berge were still in Zephyr, but that band’s end was near. Stephenson had not yet met Tommy, but knew people who knew him. Stanley Sheldon had talked to Tommy on the phone in late 1970, introduced by the singer in Sheldon’s band’s singer, but had not yet met him in person.

Sheldon’s band then moved to a house on the beach in the Pacific Palisades in California, supported by a backer. Zephyr were doing their last show opening for Mountain at the Santa Monica Civic Center, and Tommy and Stanley finally met face to face. This resulted in a jam with Stanley, Tommy and a drummer named Frosty from Lee Michaels’ band that Tommy knew. Tommy returned to Colorado, followed shortly by Stanley and his band after the withdrawal of their backer.

Tommy and Bobby were set on forming a jazz-rock fusion band, bolstered by Tommy’s experiences meeting players such as Jeremy Steig and Jan Hammer while Zephyr was recording Going Back to Colorado at Electric Lady Studios in New York City at the same time that Steig was working on his Energy album. Tommy and Tom Stephenson had finally met through Sioux City guitarist John Bartle, who had played with Stephenson in a band in Kansas.

At this point all the players in what would become the band Energy knew each other, but the first order of business for Tommy was to form an instrumental band with Jeremy Steig on flute, Bobby Berge on drums and Denver bassist Kenny Passarelli (who went on to play with Joe Walsh and Elton John). This lineup played some shows in Colorado including a residency at Chuck Morris’ club Tulagi in Boulder. Tommy, Jeremy and Kenny then went to New York City, where Steig’s name had more market power. Shows there included over a week at the Gaslight with Marty Morell on drums, ending on May 24, 1971. The last gig with Steig was played after a week at Slugs, in the East Village, a dangerous place where some of Steig’s friends were mugged on their way to that final show. Passarelli soon took a job offer from Joe Walsh. Passarelli has related that he was made to feel a lot less than comfortable during the period of the NYC shows, the competitive nature of the New York scene was brutal. Though it was short lived, audio from the the band provides some excellent examples of playing from the entire band. The music is very jazzy, but there are plenty of guitar excursions by Tommy that are held in high esteem by Tommy’s rock fans.

Tommy then went back to Colorado and got together with Tom Stephenson on keyboards, Stanley Sheldon on bass and Bobby Berge on drums. They chose the name Energy for the new band, taken from the title of the Jeremy Steig album. It was quickly decided to add a vocalist to enhance the band’s commercial appeal. The first vocalist was Gary Wilson, who can be heard on Energy recordings such as “Red Skies” on the CD Tommy Bolin: From the Archives Vol. 1. Wilson was more into soul and R&B than fusion, however, and was replaced by Jeff Cook, who had sung in American Standard with Tommy.

Manager Barry Fey set them up as backing band for some of the major big blues acts that came to Boulder, mainly at Tulagi but also for some road work. Along with names such as John Lee Hooker, Sugar Cane Harris and Chuck Berry, they played with Albert King, who would have a profound effect on Tommy’s blues chops.

The band took the opportunity to save money when it came to finding places to rehearse. Bobby Berge relates that “Energy used to practice at Garth Weber’s farm, in the chicken coup! It’s funny that later on when I reunited with Zephyr for some shows in 1973 we practiced in a converted chicken coup at a different farm.”

Tommy played a number of different guitars, including the well-worn Fender Stratocaster with the Telecaster neck that he is often identified with. On other equipment, Rob Bagg remembers “I moved Tommy’s equipment for him on occasion during the time he was fronting Energy. I remember he had a Marshall speaker cabinet that had eight 12" speakers in it. What a bear to move. Later I found out that Jim Marshall only made a handful of these cabinets before switching to two 4x12" cabs in his stacks. They were originally sold to Pete Townsend of The Who and Bill Wyman of the Stones.”

Chuck Warriner tells the story of the fabled brown Strat: “I traded that brown 1956 Strat to Tommy in Dave Brown's kitchen at 948 South Vine Street when I first got to Denver and stayed with the Brown brothers until I set up my shop at 1st and Broadway. Dave put the Tele neck on at Tommy's request, and when I saw "Shoepolish" a week or so later I was surprised because an old Tele Neck and an old Strat neck pocket are not compatible."

Tommy also took part in many jam sessions around Colorado during this period. As remembered by Mike Reininger, who first saw Tommy with Energy at Massari Gym in Pueblo around Thanksgiving 1971, “In the early 1970s everybody jammed with everybody. Going out on Sunday night to sit in was a ritual. This is how Tommy met my brother Blaine (of Tuxedo Moon). They were jamming in Manitou Springs on a Sunday night. Tommy just loved to play. I hear stories of him jamming in music stores here in Denver. Trying out guitars all afternoon, drawing a crowd. He hung out at Colfax Music all the time I’m told.”

Michael Drumm, who went on to form the Tommy Bolin Archives with Johnnie Bolin in 1995, had become friends with Tommy while he was in Zephyr. A CU student, Drumm was working The Record Center, a hip record store in Boulder that Tommy visited often. By the time Tommy was in Energy they had become even firmer friends, and Drumm bought a 4-track reel-to-reel tape deck for Tommy to use to to record acoustic songs and demos.

Drumm relates that though Energy was a great band, they were not pulling crowds and making money like Zephyr had. Zephyr had been extremely popular with the adventurous young party crowd, but Energy was more of a players band with a smaller but very intense following.

Energy didn’t release any official albums or singles, but did complete a number of studio recordings, some of which appeared later on Tommy Bolin ArchivesCD releases. The first lineup of the band featuring Steig concentrated on long intense jams, often featuring Steig’s flute more than Tommy’s guitar. The band’s appeal was notably widened after adding a vocalist, beginning with Gary, then Jeff and later Max. The greatest amount of existing live material features Jeff Cook, and shows the band ranging from slow blues to rocking blues to hard rock to marathon fusion jams, often in one performance. Their studio output showed a band that would have made the big time if they had the power of a record deal. Some of the material written by Tommy with John Tesar and Jeff Cook went on to be used by Tommy in later bands. “Got No Time for Trouble” and “Praylude/Red Skies” were used in James Gang, “Lady Luck” with Deep Purple and “Dreamer” was used on Teaser.

Tommy’s appearance was beginning to change, partly with the influence of his girlfriend Karen Ulibarri. She dyed psychedelic colors into his hair and made stage clothes such as a silver lamé suit that he would wear into the James Gang days, and a pair of leopard skin-covered platform shoes. Tommy also pierced his ears and wore the feathered earrings that became his trademark for a while. Tommy was into glitter rock and loved David Bowie’s Ziggy Stardust album, so androgyny becoming an acceptable form of stage presentation.

The lack of getting a record contract resulted in the group’s eventual demise, as they were having trouble making ends meet and becoming frustrated at not being able to move upward. Jeff Cook has related a story about the band being seen by record company representatives at a club on Colfax in Denver. The reps were blown away by the first set and told the band that a recording contract was definite. The reps then left and the band then celebrated by getting wasted during the break, and when they returned to to play they found that the reps had stayed and their second set was haphazard and the reps were turned off.

In the first part of 1973 Max Gronenthal came in on keyboards and vocals to replace Tom Stephenson, who left to join Joe Walsh’s new band Barnstorm, and Jeff Cook who was given his release by the band. Though the band would prove to work well with Max, the end was near. Tommy recorded Spectrum with Billy Cobham in New York City in May, 1973 and started getting national attention immediately, which included some shots at the big time.

After the band split, Tommy went on to join the James Gang as a replacement for the departing Joe Walsh. Tommy and Stanley would hook up again in Boulder after Tommy left the James Gang in August 1974. By the end of December they would also get back together with Bobby Berge in Los Angeles. Jeff Cook would continue to supply Tommy with song lyrics until his passing. In 1975 Tom Stephenson joined Tommy in guesting on the debut album from Moxy.

In spite of the lack of commercial success, the band is held in especially high regard by the band’s members, some considering it the musical highlight of their lives.

By 1972, Tommy Bolin had left Zephyr and was yet to join the James Gang. He had formed a band christened, aptly enough, Energy, but they broke up before releasing any recordings. Yet, time in the studio was spent, resulting in this collection of songs released 27 years after their recording. Some of the songs would be redone with the James Gang ("Red Skies," "Got No Time for Trouble") or solo ("Dreamer") in the next few years, while "Naked Edge" comes from the soundtrack to a mountain-climbing film called Break on Through, but most of the contents of the album see their first release here. The album is mixed: "Heartlight" and "Miss Christmas" are fairly generic hard rock, while "Hok-O-Hey" and "Eyes of Blue" have a very Allman Brothers sound/feel, yet all are elevated by Bolin's guitar playing. The neo-psychedelic "Limits," sung by keyboardist Tom Stephenson, is unlike most of Bolin's other work and the extended instrumental "Naked Edge" furthers this psychedelic jamming. "Sky Sail" is a cinematic piano/guitar duet and is a perfect album closer. In the end, the album works more as a compilation of Energy's various styles than as a cohesive album.

Track Listing:

  1. Red Skies
  2. Heartlight
  3. Hok-O-Hey
  4. Got No Time for Trouble
  5. Limits
  6. Eyes of Blue
  7. Dreamer
  8. Miss Christmas
  9. Naked Edge
  10. Sky Sail

Personnel:

Bass – Stanley Sheldon
Drums – Bobby Berge
Guitar – Tommy Bolin
Keyboards, Vocals – Tom Stephenson
Vocals, Harmonica – Jeff Cook

Lenny White - 1977 [2017] "Big City"

On his second solo album, Big City, Return to Forever drummer Lenny White leads an all-star cast on a jaunt through the diverse worlds of jazz fusion. The title track is a groove-oriented monster that unites the Brian Auger Oblivion Express with the Tower of Power horn section. While "Sweet Dreamer" is a soft ballad that features the singing of Linda Tillery, and "Rapid Transit" is a study in funk built around the bass playing of Verdine White, both songs benefit from the presence of Herbie Hancock on electric piano. Not to be forgotten, Lenny White shows off his penchant for sharp and accelerated drum cadences on interludes titled "Egypt" and "Ritmo Loco." Yet his leanings towards rock are taken a bit too far with Ray Gomez and Neal Schon trading epic guitar solos on "Dreams Come and Go Away" as well as "And We Meet Again." Fortunately the gap between sonic freak-outs is bridged by the exceptional "Enchanted Pool Suite," which features Miroslav Vitous on acoustic bass, Jerry Goodman on violin, and Jan Hammer on Minimoog.

With a guest list of over a dozen (including Herbie Hancock,Neal Schon and Jan Hammer) one might think 'Big City' would be a somewhat overwelming album musically. And in many ways it can be-Lenny White's ambitions on this album were quite spacious as usual but he had a pretty good idea what it was he wanted to do. With the title song his intent was very clear:his music hear was going to be based in the groove and this one has plenty of funk-even Lenny Pickett of TOP shows up and his horn really adds to the overal spice of the tune! "Sweet Dreamer" is a simply beautiful,gentle ballad sung by the strong,husky singer Linda Tillery and has a wonderful humanitarian message delivered with great dignity-Herbie Hancock's dreamy solo is icing on the cake. After a couple brief orchestral interludes Herbie's back for a solo of a different color on the heavy fusion funk of "Rapid Transit",one of my favorite songs here.Another guest is emediatly identifiable guest is Verdine White who wraps is popping vamps aroun Lenny's thundering beats. A brief little blip after sure got my attention-the Afro-cuban electronica of "Ritmo Loco" where Lenny plays all the instruments (mostly percussion) and a moog drum solo that sounds a lot like a synthezier. Neil Schoen's presense here is best summed up by the wild "Dreams Come And Go Away". "Enchanted Pool Suite" presents us with an elongated fusion jam that goes from string section to jazzy funk interludes featuring Jan Hammer's keyboards that work so well with Lenny and keeps it right through the finale "And We Meet Again". 'Big City' joins the lost list of "all star fusion albums" the most famous of which is George Duke's Reach for It,Narada Michael Walden's Awakening and Norman Connors' You Are My Starship-all of which are worth checking out and all of which jump to the head of the class. This at least have one the idea that sophmore slump would'nt be a problem for Lenny White.

This album was one of the best releases from the now defunct Nemperor Records. The composition "Rapid Transit" features one of the best pianos solos from Herbie Hancock ever recorded. This CD should be in every fusion afficianado's collection.

"Big City" is far more throughaly funky and far less self
indulgent then alot of Lenny Whites solo work and therefore can be seen as an overall high water mark in his catalog.Nothing
on this album is dull or overdone and the funk level is set on
HIGH so if you want some Lenny White in your collection,get this!

This is White's second solo album ,the first one was Ven. Summer.
This is the ex-drummer from the great Chick Corea band Return
to Forever. His fame with them was on the CD Romantic Warrior.
(get this too ,amazing!!) The is much better than his first,
White uses an all-star cast to make this cd Groove!!! Great
CD,worth getting.

How long I have waited to see the great Lenny White's work available on digital media. I just died and went to heaven!!! This album is a funky masterpiece that has been hidden from view in the the digital world far too long!!! I still have my vinyl copy under lock and key as well as armed guards on duty round the clock!!! If anyone even thinks about stealing my "Big City" LP all I have to say is make sure your insurance premiums are paid up and you may as well say good-bye to your family, because when I catch you with my copy of Lenny Whites "Big City" the undertaker will have work to do!!!

Tracks Listing:
 

1. Big City

  2. Sweet Dreamer

  3. Egypt

  4. Nocturne

  5. Rapid Transit

  6. Ritmo Loco

  7. Dreams Come And Go Away

  8. Enchanted Pool Suite(Part I-II)

  9. And We Meet Again

Line-up / Musicians

Lenny White Synthesizer, Bass, Piano, Arranger, Conga, Drums, Keyboards, Timbales, Moog Synthesizer, Producer, Oberheim, Horn Arrangements, Roto Toms, Announcer, Mini Moog, Arp Strings, Moog Drum
Verdine White Bass  
Tower of Power Horn
Miroslav Vitous Bass, Bass (Acoustic)
Neal Schon Guitar, Guitar (Electric), Soloist
Marcus Miller Bass
Bennie Maupin Saxophone, Sax (Soprano)
Patrick Gleeson Synthesizer, Keyboards, Producer, Brass, Brass Arrangement, Arp Strings
Ray Gomez Guitar (Acoustic), Guitar, Arranger, Guitar (Electric), Performer, Soloist
Jerry Goodman Violin
Onaje Allan Gumbs Piano, Keyboards
Jan Hammer Piano, Keyboards, Piano (Electric), Mini Moog
Herbie Hancock Keyboards, Piano (Electric)
Paul Jackson, Jr. Bass
Paul Jackson Bass
Greg Adams Trumpet
Lamar Alsop Violin, Viola
Brian Auger Organ, Piano, Keyboards, Piano (Electric)
Raymond Beckenstein Flute
Don Blackman Performer
Alex Blake Bass
Al Brown Viola
Emilio Castillo Sax (Tenor)
Clive Chaman Bass
Louis Colin Harp
Michael Comins Violin
Harry Cykman Violin
Harvey Estrin Flute
Barry Finclair Violin
Paul Gershman Violin
Mike Gibbs Piano, Orchestration
Mic Gillette Trombone, Trumpet
David Earle Johnson Conga
Gary King Bass, Drums
Harold Kohon Violin
Stephen "Doc" Kupka Sax (Baritone)
Lennox Laington Conga
Walter Levinsky Flute
Jesse Levy Cello
Alex Ligertwood Guitar
Guy Lumia Violin
Charles McCracken Cello
Homer Mensch Double Bass
Jack Mills Guitar, Soloist
Marin Morganstern Violin
Marvin Morgenstern Violin
David Nadien Violin
Lenny Pickett Sax (Tenor), Lyricon, Soloist
John Pintavalle Violin
Max Pollikoff Violin
Alan Shulman Cello
Linda Tillery Vocals

Lenny White - 1978 [2015] "Astral Pirates"

One of Lenny White's finest, most essential albums, The Adventures of Astral Pirates is a jazz-fusion masterpiece with a futuristic science-fiction theme. Star Wars was number one at the box office when, in 1977, White produced this disc with Al Kooper, and perhaps Elektra was hoping to cash in on the film's popularity. If you open the record's foldout cover, you can read White's tale of sci-fi battles that take place in the fifth millennium A.D. But you don't have to be a sci-fi fan to appreciate the mostly instrumental songs on this imaginative, risk-taking album, which finds White blending a jazz/rock/funk foundation with elements of everything from Middle Eastern music to Asian music. This set isn't the least bit predictable, and it could easily be described as "the sound of surprise" -- critic Whitney Balliett's term for jazz -- even though no one will mistake it for straight-ahead bop any time soon.

'Lenny White's Adventures Of Astral Pirates' is the drummer's fourth solo album. There is some of the best drumming, jazz, rock or otherwise, on this recording. There is very syncopated, punchy jazz-funk and there is heavy, heavy metallic rock with lightning fast drumset playing on this disc. Highly recommended for anyone serious about playing drums or interested in how experimental recorded music was in the 70's. This album was originally released in 1978. A versatile drummer, Lenny White is still best-known for being part of Chick Corea's Return To Forever in the 1970's. White was self-taught on drums and he largely started his career on top, playing regularly with Jackie McLean (1968) and recording "Bitches Brew" with Miles Davis in 1969. White was soon working with some of the who's who of jazz including Freddie Hubbard, Joe Henderson, Woody Shaw, Gato Barbieri, Gil Evans, Stanley Clarke and Stan Getz among others. As a member of Return To Forever during 1973-76, White gained a strong reputation as one of the top fusion drummers, but he was always versatile enough to play in many settings.

 Fusion Jazz at its prime! I wore this record out!! I played the song Revelation and the Great Pyramid every day for two years (1978-1980), I cant tell you how many metal, rock ,jazz concerts hearing the sound guys use this album while setting and and breaking down. This is a must have album for all musicians!!! Play it ,you will get it! Please play Universal Love if you are wanting to be enlightened or you are having a bad day for real !! Universal Love is one of the best songs ever written !

'Lenny White's Adventures Of Astral Pirates' is the drummer's fourth solo album and I was very skeptical right from the start.My first Lenny White CD purchase was 'Streamline' and that's probably my favorite of all his albums,and between CD's and vinyl I have most of them,including this one.I am not a huge fan of White's early solo albums-he spends a great deal of time imitating Billy Cobham's spastic fusion drumming style and fills every available space with his instrumentation-much as he also did with Return To Forever.So on 'Astral Pirates' his drumming is very loud,but at the same time is more controlled and explores the sci-fi theme of this music.And the louder numbers are also saddled with simple funk numbers that came to full flower on the next outing.Not only that but this is probably his better crafted material thus far,even the fusion pieces.The presence of more vocals on this album gives White's music a sense of individuality that it didn't tend to have earlier when he was trying to imitate the styles of other fusion drummers instead of working on being his own musician.So in the end I have a vinyl LP copy of this album (not the Wounded Bird CD issue spoken of) but an album is an album and for all interested I strongly suggest that for a good introduction to early Lenny White you should pick this up-it's a great sampler from his fusion side rather then his funk side.For that I suggest 'Streamline'.

Track listing:

1 Prelude: Theme For Astral Pirates 1:20
2 Pursuit 2:58
3 Mandarin Warlords 5:06
4 The Great Pyramid 2:30
5 Universal Love 3:30
6 Remenbering 0:34
7 Revelation 3:25
8 Stew, Cabbage And Galactic Beans 3:51
9 Heavy Metal Monster 4:39
10 Assault 3:36
11 Climax: Theme For Astral Pirates 7:42

Personnel:

Bass - Alex Blake
Drums, Percussion, Synthesizer - Lenny White
Guitar [Lead] - Nick Moroch
Guitar [Rhythm] - Jeff Sigman
Keyboards, Vocals - Don Blackman
Synthesizer [Programming] - Patrick Gleeson

Miles Davis - 1974 [1991] "Big Fun" [Japan Import]

Big Fun is a double album by American jazz recording artist Miles Davis, released April 19, 1974, on Columbia Records. It contains tracks recorded between 1969 and 1972 by Davis. Largely ignored on its original release, it was reissued on August 1, 2000 by Columbia and Legacy Records with additional material, which led to a belated critical reevaluation. Big Fun presents music from three different phases of Miles Davis's early-seventies "electric" period. Sides one and four ("Great Expectations/Orange Lady" and "Lonely Fire") were recorded three months after the Bitches Brew sessions and incorporate sitar, tambura, tabla, and other Indian instruments. They also mark the first time since the beginning of Miles Davis's electric period that he played his trumpet with the Harmon mute which had been one of his hallmarks, making it sound much like the sitar. This contributed to creating a very clear and lean sound, highlighting both the high and low registers, as opposed to the busier sound of Bitches Brew which placed more emphasis on the middle and low registers. "Ife" was recorded after the 1972 On the Corner sessions, and the framework is similar to tracks from that record. It has a drum and electric bass groove (which in fact at one point breaks down due to mistiming) and a plethora of musicians improvising individually and in combinations over variations on the hypnotic bassline. "Go Ahead John" Recorded on March 7, 1970, "Go Ahead John" is an outtake from Davis's Jack Johnson sessions. The recording is a riff and groove-based, with a relatively sparser line-up of Steve Grossman on soprano saxophone, Dave Holland on bass, Jack DeJohnette on drums, and John McLaughlin on guitar with wah-wah pedal. It was one of the rare occasions in which Davis recorded without a musical keyboard. It was recorded in five sections, ranging from three to 13 minutes, which producer Teo Macero subsequently assembled in post-production four years later for Big Fun. DeJohnette provides a funky, complex groove, Holland plays bass with one constant note repeated, and McLaughlin plays in a staccato style with blues and funk elements. According to one music writer, the track's bass parts has "a trancelike drone that maintains" the predominantly Eastern vibe of the album. Davis's trumpet and McLaughlin's guitar parts were heavily overdubbed for the recording. The overdubbing effect was created by superimposing part of Davis's trumpet solo onto other parts of it, through something Teo Macero calls a "recording loop". Macero later said of this production technique, "You hear the two parts and it's only two parts, but the two parts become four and they become eight parts. This was done over in the editing room and it just adds something to the music [...] I called [Davis] in and I said, 'Come in, I think we've got something you'll like. We'll try it on and if you like it you've got it.' He came in and flipped out. He said it was one of the greatest things he ever heard". DeJohnette's drums were also manipulated by Macero, who used an automatic switcher to have them rattle back and forth between the left and right speakers on the recording. In his book Running the Voodoo Down: The Electric Music of Miles Davis, Davis-biographer Phil Freeman describes this technique as "100 percent Macero" and writes of its significance to the track as a whole, stating:     This doesn't create the effect of two drummers. It's just disorienting, throwing the ear off balance in a way that forces the listener to pay close attention. The drums cease to perform their traditional function. Jack DeJohnette's beats, funky and propulsive on the session tapes, are so chopped up that their timekeeping utility is virtually nil. Macero has diced the rhythm so adroitly that we are not even permitted to hear an entire drum hit or hi-hat crash. All that remains are clicks and whooshes, barely identifiable as drums and, again, practically useless as rhythmic indicators. Thus, the pace is maintained by Dave Holland's one-note throb and the occasional descending blues progression he plays. The feeling one gets from "Go Ahead John" becomes one of floating in space. Track listing: 1. Great Expectations 27:34 2. Ife 21:33 3. Go Ahead John 28:26 4. Lonely Fire 21:21 Line-up / Musicians - Miles Davis / trumpet (1,3-8), electric trumpet with wah wah (2) - Steve Grossman / soprano saxophone (1,4,5,7,8) - Sonny Fortune / soprano saxophone & flute (2) - Carlos Garnett / soprano saxophone (2) - Wayne Shorter / tenor saxophone (3,6) - Bennie Maupin / bass clarinet (1,3,4,6-8), clarinet & flute (2) - John McLaughlin / electric guitar (1,3,5,7,8) - Khalil Balakrishna / electric sitar (1,4,6-8), Indian instruments (6) - Herbie Hancock / electric piano (1,8) - Chick Corea / electric piano (1,3,4,6-8) - Lonnie Liston Smith / electric piano (2) - Harold I. Williams, Jr. / electric piano (2) - Joe Zawinul / electric piano (3,6), Farfisa organ (6) - Larry Young / organ & celeste (4,7) - Ron Carter / double bass (1,8) - Harvey Brooks / Fender bass guitar (1,4,6-8) - Michael Henderson / electric bass (2 - Dave Holland / electric bass (3,5), double bass (4,6,7) - Billy Cobham / drums (1,4,6-8), triangle (3,8) - Al Foster / drums (2) - Billy Hart / drums (2) - Jack DeJohnette / drums (3-7) - Airto Moreira / percussion (1,3,6), cuica (3,4,7,8), berimbau (4,7,8), Indian instruments (6) - Badal Roy / tabla (2) - James Mtume / African percussion (2) - Bihari Sharima / tamboura (1,4,7,8), tabla (1,8)

Frank Zappa - 1994 "Apocrypha" [4 CD Box]

Apocrypha (Thirty Years of Frank Zappa) (4-CD box)

• Various live
• Various studio

Length: 62:10+61:31+71:56+66:35 = 4:22:12
Sound quality: Various, often from vinyl
Label: Great Dane Records GDR9405/ABCD (Italy 1994)
Bar code: 8 013013 940524

Musicians: Various
This is a very popular bootleg box with luxurious packaging: a book-style box with a leather appearance (although not at all made of leather). The front has a photo of Zappa's moustache, and says "APOCRYPHA", "FZ" and "Thirty Years Of Frank Zappa". The back cover shows Zappa walking down the street with his UHER portable tape recorder, wearing a bulbous derby (from the same session as the inside photo in the Strictly Commercial package). A paper insert is glued under the disc trays to discs 3 and 4, which extends out to boast the track listing. The package contains a large (40-page) colour booklet with dozens of pictures and a very long and confusing 1988 interview. Liner notes appear on the far right on every right-hand page - in the style of the Stage series, "complete with misinformation" (the band line-up details are especially abominable: they are not complete, and they falsely state that the Bob Harris from 1971 and the Bob Harris from 1980 were the same person). The front of the booklet has a mid-'70s Zappa picking his nose with his middle finger; the back has an old Zappa pulling down one of his eyelids, looking rather sickly. Some copies have had errata & corrigenda inserts.
The discs are an attractive black, and bear 1) the moustache photo from the front cover, 2) the legend "Apocrypha" as it appears on the front cover, 3) the disc number in silver with the beige letters FZ slapped on top, and 4) the legend "The Live Experience" which appears around the rim of all Great Dane releases.

Disc 1

1. Lost in a Whirlpool (02:45) [The Lost Episodes version]
2. Do it in C (01:45) ["The Black-Outs" plus "Ronnie Sings?" - The Lost Episodes versions]
3. Any Way the Wind Blows (02:28) [The Lost Episodes version]
4. Fountain of Love (02:18) [Collins/Zappa] [The Lost Episodes version]
5. Deseri (01:51) [Collins/Buff]
6. The Story of Electricity (02:22) [Power Trio from Saints & Sinners / Bossa Nova Pervertamento] [Mystery Disc version]
7. Metal Man Has Won His Wings (02:59) [Mystery Disc version]
8. I Was a Teenage Maltshop / Status Back Baby / Ned the Mumbler / Ned Has a Brainstorm (06:25)
9. Whiskey Gone Behind the Sun (01:19) ["Louisiana Blues" by McKinley "Muddy Waters" Morganfield] [Mystery Disc version]
10. [Party Scene from] MONDO HOLLYWOOD (01:54) [Mystery Disc version]
11. Sandwich Song (01:43)
12. How Could I Be Such a Fool? (01:58) [longer edit of the Mystery Disc version]
13. Agency Man (05:43) [Mystery Disc version]
14. Randomonium (01:30)
15. My Head (00:45) [mislisted as outtake dialogue from Lumpy Gravy]
16. In Memoriam: Hieronymus Bosch (05:02)
17. In the Sky (02:00) ["Oh, in the Sky"]
18. Remington Electric Razor (00:57)
19. Directly from My Heart to You (05:46) [Penniman]
20. Twinkle Tits (10:09)

A lot of these tracks (1-4, 6-7, 10, 12-13 and 15) have been officially released on The Lost Episodes, Stage #5 and Mystery Disc. The sound quality is always a lot better on the official releases, but here are some other differences:

• Tracks 1-2 are slightly slower/lower here - about one half step down.
• Track 4 has a slightly longer fade-out here, "but the sound is so fantastically better on The Lost Episodes that it's not even funny".
• Track 12 is a different, shorter edit on Mystery Disc:

BIFFY: I always miss hearing the part from the radio broadcast where Zappa pops in to say "Missed the beat that time, didn't he?"
SPLAT: Well, there will always be Apocrypha. :) About the first 15 times I heard that, it really annoyed me; like, "C'mon Frank, could you please not cut up this nice tune, just once?" It's funny, though. It'll be good to have both versions.

As for the other tracks:

• Track 5 is a real oldie from 1962 (officially released on the Grandmothers' album Looking Up Granny's Dress)
• Tracks 8-12 taken from I Was a Teenage Maltshop and Confidential
• Parts of track 8 released on the Mystery Disc (called "I Was a Teenage Maltshop" and "The Birth of Captain Beefheart")
• Track 9 has been officially released (in a shorter edit) on the Mystery Disc (as "Original Mothers at the Broadside (Pomona)"); the song they're playing is "Louisiana Blues" by McKinley Morganfield, known as Muddy Waters
• A small fragment of track 11 has been officially released on the Mystery Disc, as "Original Mothers Rehearsal"
• Track 14 is an alternate take of "Dwarf Nebula" from Weasels Ripped My Flesh, recorded at Apostolic Studios, New York
• Track 16 is a live improvisation from a New York TV show called The Bitter End in 1967 (Hieronymus Bosch was a 15th/16th-century painter from the Netherlands, who painted monstrous images)
• Track 17, a Ruben-esque tune sung by Roy Estrada, is a BBC TV recording from 1968
• Track 18 appears to be a Remington electric razor commerical, and is featured on the Remington Electric Razor bootleg
• Tracks 19-20 are live at the Olympic Auditorium, Los Angeles, 07-Mar-1970, taken from the bootleg Frank Zappa & Hot Rats at the Olympic

Disc 2

1. Magic Fingers (02:47)
2. Studebaker Hoch (05:58) [excerpt from "Billy the Mountain"]
3. Interview (02:59) ["What's the Name of Your Group?"]
4. RDNZL (04:18) [longer edit of the Lost Episodes version]
5. Inca Roads (03:46) [Lost Episodes version]
6. T'Mershi Duween (02:20)
7. Stink-Foot (03:59)
8. Down in de Dew (02:54) [Läther version]
9. The Purple Lagoon / Approximate (03:59)
10. Saint Alfonzo's Pancake Breakfast / Rollo (04:03)
11. Black Napkins (04:34)
12. [A Solo from] Heidelberg (03:52)
13. The Squirm (06:03) [to be released on Trance-Fusion in the future, as "Bowling on Charen"]
14. Dong Work for Yuda (02:57)
15. Moe's Vacation / The Black Page #2 (07:07)

On the paper insert, "Down in the Dew" is listed as "Duck Duck Goose", but in the liner notes, "Down in the Dew" and "Duck Duck Goose" are BOTH listed, pushing the track numbers ahead a number. Only "Down in the Dew" appears, however. Track 8 has been officially released on Läther. As for the other tracks:

• Track 1 is from 1970, maybe from Butte, Montana - it can also be found on Beyond the Fringe of Audience Comprehension.
• Track 2 is a 1971 excerpt from "Billy the Mountain", the same as on Randomonium and Cuccurrullo Brullo Brillo). It's a live recording, but there has been speculation that there are some overdubs on it.
• Track 3 is taken from the Remington Electric Razor bootleg; it's an out-take from 200 Motels, really called "What's the Name of Your Group?". It includes the intro to "German Lunch" on Stage #5, which followed immediately after it on the original bootleg, Remington Electric Razor.
• Tracks 4 and 5 have been officially released on The Lost Episodes, but in shorter edits: "RDNZL" is 04:11 here (22 seconds longer than on The Lost Episodes), and the fade-out in "Inca Roads" is a couple of seconds longer, too, "but the sound is so fantastically better on The Lost Episodes that it's not even funny". "RDNZL", though, includes a bit of guitar soloing by Zappa here, which may be interesting to hear.
• Track 6 live at the War Memorial Gym, Vancouver, 01-Oct-1975.
• Track 7 is a KCET-TV recording from 6/7-Aug-1974 (broadcast in December), which first appeared on the bootleg A Token of His Extreme (better sound here).
• Tracks 9-10 from the Saturday Night Live TV show: track 9 from 11-Dec-1976 (with comedian John Belushi) and track 10 from 21-Oct-1978.
• Track 11 is a version with the Mike Douglas band (from a 1976 TV show) backing Frank Zappa.
• Track 12 has been officially released on The Guitar World According to Frank Zappa, as "A Solo from Heidelberg" (Eppelheim 24-Feb-1978); it's from the song "Yo' Mama".
• Track 13 taken from the Zurkon Music bootleg (Halloween 1977, The Palladium, New York): it will be officially released on the guitar-solo album Trance-Fusion some time in the future, as "Bowling on Charen"
• Tracks 14 and 15 taken from the Remington Electric Razor bootleg. Track 14 (source unknown, February 1977) is surrounded by additional dialogue on Remington Electric Razor, which has been edited out here. The first 4:08 of track 15 is "Moe's Vacation" (an early version of "Moe & Herb's Vacation" in a basic arrangement), the rest is "The Black Page #2". It is from Poughkeepsie 21-Sep-1978.

Disc 3

1. Suicide Chump (09:14)
2. Nite Owl (02:14) [Tony Allen]
3. Heavy Duty Judy (04:41) [with vocals]
4. Pick Me, I'm Clean (03:31)
5. Teenage Wind (03:06)
6. Harder Than Your Husband (02:33)
7. Bamboozled by Love (03:06)
8. Falling in Love is a Stupid Habit (01:46)
9. This is My Story (01:21) [Forrest/Levy]
10. Whipping Post (06:27) [Allman]
11. Clownz on Velvet (05:54)
12. Frogs with Dirty Little Lips (02:08) [Frank/Ahmet Zappa]
13. In France (03:55)
14. Broken Hearts are for Assholes (05:54)
15. Texas Medley (09:05) [Lennon/McCartney/Zappa]: Norweigian Jim ["Norweigian Wood"] / Louisiana Hooker with Herpes ["Lucy in the Sky with Diamonds"] / Texas Motel ["Strawberry Fields Forever"]
16. I Am the Walrus (03:43) [Lennon/McCartney]
17. America the Beautiful (03:16) [traditional]

• Track 1 is live at Stonybrook, New York, 15-Oct-1978.
• Track 2 is taken from the bootleg Remington Electric Razor. It's from the late show in Santa Monica on 11-Dec-1980 - a soundboard recording.
• Track 3 is a soundboard recording from the second show in Pittsburgh 13-Nov-1980 (from Good Grief!). It has "vocals", in the sense that Ike and Ray sing "Heavy Duty Judy" in the very beginning over the riff.
• Tracks 4-8 are taken from the Crush All Boxes version in the Mystery Box.
• Tracks 9-11 are from The Ritz in New York, 17-Nov-1981, as on the bootleg Assault on New York - The Toxic Shock Trilogy (Part III: Clownz on Velvet). Al DiMeola guests on track 11. "This Is My Story" was originally recorded by Gene & Eunice, with Johnny's Combo (Johnny was Johnny Otis, inspiration for Zappa's moustache) on the Alladin label (3282), 17-Feb-1955, and peaked at #8 on the R&B chart 21-May-1955.
• Track 12 is a 1981 studio version (taken from the Demos bootleg).
• Track 13 is from Hollywood 22-Jul-1984, with George Duke and Jonny "Guitar" Watson guesting. It's the same performance as on the bootleg All You Need is Glove, but from a different source tape. Whereas the All You Need is Glove version is a soundboard A+, this sounds miserable, and also has a minute or so of "banter" before the song starts.
• Track 14 is live in Santa Monica, 11-Dec-1981 (early show). Someone throws food on stage; Zappa stops the song and makes him eat it.
• Tracks 15-16 are live in Springfield 13-Mar-1988, with the medley lyrics changed to ridicule the disgraced TV evangelist Jimmy Swaggart.
• Track 17 is live in Burlington 12-Mar-1988.

Disc 4

1. The World's Greatest Sinner (11:58)
2. Sink Trap [listed as "Gypsy Airs"] (01:51)
3. Some Ballet Music (06:33)
4. The Jelly (02:13) [last part of the CD version of "Didja Get Any Onya?" from Weasels Ripped My Flesh, plus a couple of extra seconds]
5. Revenge of the Knick-Knack People (06:25) [extended version]
6. Spontaneous Minimalist Composition (02:01)
7. Sinister Footwear (26:08)
8. The Black Page #1 (02:05)
9. While You Were Art #1 (07:19)

• Track 1 is an excerpt from the film THE WORLD'S GREATEST SINNER that Zappa scored in 1961. The film music was played by the Pomona Valley Symphony Orchestra, conducted by Fred E. Graff, and the parts of Satan (the narrator) and Clarence "God" Hilliard were played by Paul Frees and Timothy A. Carey, respectively. It's taken from the Serious Music bootleg.
• Track 2 is taken from the Zut Alors bootleg. The piece was originally recorded in 1967 for an unreleased single, which was planned for release on Capitol Records together with the all-orchestral original version of Lumpy Gravy, which was only released on 8-track. However, this recording is probably from the 1975 concert at the UCLA Royce Hall (the same concert as on Orchestral Favorites) instead.
• Track 3 taken from the bootleg The Ark (Boston, 08-Jul-1969).
• Track 4 is the last part of the CD version of "Didja Get Any Onya?" from Weasels Ripped My Flesh - a spring 1969 recording, exact date and location unknown. It appears on We Are the Mothers & This Is What We Sound Like!, which is both an unreleased album and a bootleg). It has a few seconds at the end that are not on the Weasels CD. 
• Track 5 has been officially released (in a shorter edit) on Läther, as a bonus track. This longer version is taken from the Serious Music bootleg.
• Tracks 6 and 7 were recorded at the "A Zappa Affair" concert at the Zellerbach Auditorium at UC Berkeley, 16-Jun-1984, played by the Berkeley Symphony Orchestra, conducted by Kent Nagano. This is the only time "Sinister Footwear" has been performed in its entirety, and Zappa was most unhappy with the results. The ballet consisted of giant puppets with dancers inside them. It's taken from the bootleg Serious Music, and the Serious Music entry has a list of the titles of the 21 parts of the piece.
• Track 8 is a 1986 synclavier version taken from something like an 8" flexi disc issued with Keyboard Magazine.
• Track 9 is a 1985 synclavier version which has somehow found its way here.

Note that although much of Apocrypha has been officially released on The Lost Episodes and the Mystery Disc, the versions on Apocrypha are often slightly longer.

Frank Zappa & The Mothers - 1970 "A Snail In My Nose"

A Snail in My Nose (CD)

• Fillmore East OR West, 1970 (location & date fiercly debatable)

• Re-issued on CD (Lost Rose 8)
• Re-issued on CD as A Snail in My Nose (Teddy Bear Records TB 49 (Italy)), with the bar code 8 016607 942492
• Also issued legally as part of the Beat the Boots II set

Length: 51:37
Sound quality: Soundboard A

The Italian title comes from a 1980s number in the Uncle Meat movie and on the Uncle Meat CD re-issue; an Italian has translated it as "I got a big bunch of dick". An Italian re-issue is cowardly renamed A Snail in My Nose.
This seems to be hodge-podged together from tapes of two shows that night (that goes also for the Freaks & Motherfuckers boot). Tracks 1-5 are probably from the early show and tracks 8-14 from the late show (?). Tracks 6-7 could be from both. The "Interlude" includes "Raindrops Keep Falling on My Head", and track 13 includes 40 seconds of "Inca Roads" (a very early version, of course, with only the 16th-note theme) and 24 seconds of "Easy Meat". Around the track break between tracks 11 and 12 there are some "Mudshark Variations".
"Sharleena" is the same performance as on Hotel Dixie. Tracks 11-14 are the same recording as side two of Freaks & Motherfuckers and Hotel Dixie.
The location and date of this show is up for grabs. Beat the Boots claims it as Fillmore East 11-May-1970, which is wrong; the Flo & Eddie band had not been formed then. According to fanzine T'Mershi Duween, the tape the boots are struck from is recorded at the Fillmore West and sometimes identified as 24-May-1970, sometimes as 6-Nov-1970. (As Mike Phillips points out, Zappa does talk about "the speech-impediment lounge at the Fillmore East" during "Does This Kind of Life Look Interesting to You?".) Some people identify them as 14-Dec-1970, but according to Miles' book A Visual Documentary, Zappa was in Europe in December 1970, which has given rise to the date 14-Nov-1970. The Hotel Dixie boot claims to be from that date - but is it the same recording? Pick your favourite.
A Snail in My Nose has a different, imagainative track listing on the cover, but everyone says its a copy of Tengo 'na Minchia Tanta. The cover picture is a black and white snail on a colourful background. The Lost Rose CD cover has a sepia head-and-upper-body photo of Zappa playing guitar with a blurred portrait of him in the background.

Track listing:

1. Does This Kind Of Life Look Interesting To You? (00:49) [intro]
2. A Pound for a Brown on the Bus (07:26)
3. Sleeping in a Jar / Interlude (04:50)
4. Sharleena (04:31)
5. The Sanzini Brothers / FZ Talking to Audience (02:22)
6. What Will This Morning Bring Me This Evening? (02:30)
7. What Kind Of Girl Do You Think We Are? (01:44)
8. Bwana Dik (01:46)
9. Latex Solar Beef (01:00)
10. Daddy, Daddy, Daddy (02:50)
11. Little House I Used to Live in [including "Penis Dimension"] (04:10)
12. Holiday in Berlin [with lyrics!] [including "Would You Like a Snack?"] (04:29)
13. Instrumental [including "Inca Roads" & "Easy Meat"] (07:16)
14. Cruising For Burgers (02:46)

Musicians:

Frank Zappa,
Mark Volman,
Howard Kaylan,
Jeff Simmons,
Aynsley Dunbar,
George Duke
Ian Underwood

Frank Zappa - 1973 "Around The World"

Around the World (CD)

• Various live 1973; from the "Un-Concert"

Label: All of Us Records (Italy) AS 46
Bar code: 8 016108 093464

Musicians: Frank Zappa, Ian Underwood, Ruth Underwood, George Duke, Bruce Fowler, Tom Fowler, Jean-Luc Ponty, Ralph Humphrey and Irma Coffee
The CD is tracked like this (maybe with index numbers):

1. Pygmy Twylyte / Dummy Up [instrumental, listed as "The Tango"] / Dupree's Paradise Story [listed as "Dupree's Paradise Lounge"] (18:13)
2. Penguin in Bondage / T'Mershi Duween / Dog Breath Variations / Uncle Meat (11:13)
3. Father O'Blivion [Stage #6 version] / Don't Eat the Yellow Snow / Nanook Rubs It / St. Alfonzo's Pancake Breakfast (15:24)
4. Guitar Event (04:40)
5. "Beebop and Tango Dance Contest" / Tango Variations (12:47)

• "Pygmy Twylyte / Dummy Up" live in Wayne, New Jersey, 11-Nov-1973 (early show) with Irma Coffee on guest vocals.
• "Dupree's Paradise" live at the Avery Hall in New York, 22-Nov-1973.
• Track 2 live in Los Angeles, or at the Roxy (of Roxy & Elsewhere fame) in December 1973.
• Track 3 live at the Hordern Pavilion, Sydney, Australia, 24-Jun-1973. "Father O'Blivion" has been officially released on Stage #6.
• Track 4 live at the Boston music hall, 08-May-1973.
• Track 5 (maybe not all of it) is live, Waterloo, Ontario, Canada, 18-Nov-1973.

Brand X - 2014 - Albums Collection 1976-1980 (6 Mini LP SHM-CD Universal Music Japan)

Brand X - 1980 Do They Hurt (Mini LP SHM-CD Universal Japan 2014)

Do They Hurt? (1980) is an album by British jazz fusion group Brand X. The tracks on this album are outtakes from the Product sessions. ("Noddy Goes to Sweden" was a B-side from Product.)

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

Songs / Tracks Listing

1. Noddy Goes To Sweden (4:30)
2. Voidarama (4:25)
3. Act of Will (4:44)
4. Fragile! (5:26)
5. Cambodia (4:30)
6. Triumphant Limp (7:28)
7. D.M.Z. (8:37)

Total Time: 39:40

Line-up / Musicians

- Percy Jones / bass on (1,3,4,5,7), vocals on (1)
- Peter Robinson / keyboards, tam-tam on (5,6)
- Michael Clarke / drums on (1,3,4,5,7)
- John Goodsall / guitar on (2,3,5,6,7), vocals on (3)
- John Giblin / bass on (2,6)
- Phil Collins / drums on (2,6)
- Robin Lumley / keyboards on (2,6)

Notes

• Robin Lumley (2002): "To this day I can proudly count Michael Palin and Terry Jones as good pals! I got Mike to do the sleeve notes on "Do They Hurt ?" (which is itself a line from Holy Grail (witch sequence)... He wanted 25 pence for writing the notes... Charisma didn't pay him so he threatened to sue! (a joke of course)".
• "Act of Will" is sung through a vocoder. John Goodsall himself said, in a private e-mail, that there were never any written lyrics. Various attempts have been made to puzzle out what he is saying, but the words are likely similar to Masoko Tanga by The Police and are not always words.
• This album consists of out-takes from the Product sessions. Because "Noddy Goes to Sweden" was included on this album, the song "Pool Room Blues" gains the distinction of being the only non-album Brand X song.

Brand X - 1979 [2014] Product (Mini LP SHM-CD Universal Japan)

Product is an album by British jazz fusion group Brand X, originally released in 1979.

Brand X's most eclectic album to date, Product is perhaps most notable for its attempts at a pop crossover in the Phil Collins-sung "Don't Make Waves" and "Soho." The range of styles presented here -- hard and soft fusion, pop, progressive rock -- results from the now-interchangeable nature of the Brand X lineup, which, in addition to the returning Collins and Robin Lumley, is expanded to include bassist John Giblin and drummer Mike Clarke (Chuck Burgi having left after Masques). While the pop songs have a tart, new wave sound to them that is oddly ingratiating, they're likely to leave longtime fans scratching their heads. (Genesis fans may hear in "Soho" the musical inspiration for "Illegal Alien," and in Percy Jones' "Dance of the Illegal Aliens" its titular inspiration.) Despite the presence of the original quartet -- Collins, Goodsall, Lumley, Jones -- the four don't appear together on Product, although Goodsall is present for all but one song (the lone pairing of fretless bassists Percy Jones and John Giblin on "Wal to Wal"). Many of this album's tracks have found a place in the band's career retrospectives, including the airy fusion of "Dance of the Illegal Aliens" and the engaging "Algon." While Mike Clarke's impact on the music often goes unnoticed, John Giblin adds a new dimension to the band's sound with two soft, evocative songs: "Rhesus Perplexus" (in which Goodsall's acoustic guitar crosses into Pat Metheny territory) and "April." The remaining tracks, "Not Good Enough -- See Me!" and "...And So to F...," are pleasant instrumentals with a more prominent role for the percussion; Collins thought enough of the latter to include a live version of it on a couple of 12" singles from his subsequent solo career. By nearly doubling the band's size, Product is able to indulge in an interesting game of musical chairs that occasionally overshadows the music itself. The band clearly has talent to spare, but can't seem to agree where to strike. 

Track listing

CD

1. "Don't Make Waves" (Goodsall) – 5:31
2. "Dance of the Illegal Aliens" (Jones) – 7:49
3. "Soho" (Goodsall, Collins) – 3:40
4. "Not Good Enough-See Me!" (Jones, Robinson) – 7:29
5. "Algon (Where an Ordinary Cup of Drinking Chocolate Costs £8,000,000,000)" (Lumley) – 6:08
6. "Rhesus Perplexus" (Giblin) – 4:00
7. "Wal to Wal" (Jones, Giblin) – 3:14
8. "...And So to F..." (Collins) – 6:28
9. "April" (Giblin) – 2:08

Personnel

except on "Dance of the Illegal Aliens"; "Wal to Wal"; "Not Good Enough - See Me!"

• Keyboards, Sounds [Gunfire, Chainsaw] – Robin Lumley
• Guitar – John Goodsall
• Bass – John Giblin
• Drums, Percussion, Vocals – Phil Collins

on "Dance of the Illegal Aliens"; "Not Good Enough - See Me!"

• Keyboards, Sounds [Gunfire], Vocals – Peter Robinson
• Guitar, Vocals – John Goodsall
• Bass – Percy Jones
• Drums – Mike Clark
• Percussion – Morris Pert

on "Wal to Wal"

• Bass – John Giblin
• Bass – Percy Jones
• Drums, Drum Machine – Phil Collins

Notes

• The song "Wal to Wal" is the first recorded song on which Phil Collins used a Roland drum machine. (The first recorded Genesis song on which he used a drum machine is Duchess.)
• Both "Don't Make Waves" and "Soho" were released as singles.
• The non-album song "Pool Room Blues" was used as a B-side to one of the singles. "Genocide of the Straights" is another non-album track that failed to make the cut on Livestock, yet was included on a 1977 EP titled 'X-cerpts - 3 from "Livestock" + 1'.
• Various releases of the album switch the track list with "...And So to F..." and "Not Good Enough - See Me!"