TOWER RECORDS ARTIST FORUM

APRIL, 1970 (41 YEARS AGO) Miles Davis: Bitches Brew is released.

2011-04-04T11:40:00.000-07:00

APRIL, 1970 (41 YEARS AGO)
Miles Davis: Bitches Brew is released.
Allmusic 5/5 stars
Robert Christgau (A-)
Penguin Guide to Jazz 4/4 stars
...Pitchfork Media (9.5/10)
Rolling Stone 5/5 stars
Sputnikmusic 5/5 stars
Virgin Encyclopedia 5/5 stars
Zagat Survey 5/5 stars

Bitches Brew is a studio double album by Miles Davis, released in April 1970 on Columbia Records. The album continued his experimentation with electric instruments previously featured on his critically acclaimed In a Silent Way album. With the use of these instruments, such as the electric piano and guitar, Davis rejected traditional jazz rhythms in favor of a looser, rock-influenced improvisational style.

Bitches Brew was Davis's first gold record, selling more than half a million copies. Upon release, it received a mixed response, due to the album's unconventional style and revolutionary sound. Later, Bitches Brew gained recognition as one of jazz's greatest albums and a progenitor of the jazz rock genre, as well as a major influence on rock and funk musicians. In 1998, Columbia Records released The Complete Bitches Brew Sessions, a four-disc box set that included the original album as well as the studio sessions through February 1970.

Recording sessions took place at Columbia's 30th Street Studio over the course of three days in August 1969. Davis called the musicians to the recording studio on very short notice. A few pieces on Bitches Brew were rehearsed before the recording sessions, but at other times the musicians had little or no idea what they were to record. Once in the recording studio, the players were typically given only a few instructions: a tempo count, a few chords or a hint of melody, and suggestions as to mood or tone. Davis liked to work this way; he thought it forced musicians to pay close attention to one another, to their own performances, or to Davis's cues, which could change at any moment. On the quieter moments of "Bitches Brew", for example, Davis's voice is audible, giving instructions to the musicians: snapping his fingers to indicate tempo, or, in his distinctive whisper, saying, "Keep it tight" or telling individuals when to solo.

Davis composed most of the music on the album. The two important exceptions were the complex "Pharaoh's Dance" (composed by Joe Zawinul) and the ballad "Sanctuary" (composed by Wayne Shorter). The latter had been recorded as a fairly straightforward ballad early in 1968, but was given a radically different interpretation on Bitches Brew. It begins with Davis and Chick Corea improvising on the standard "I Fall in Love too Easily" before Davis plays the "Sanctuary" theme. Then, not unlike Davis's recording of Shorter's "Nefertiti" two years earlier, the horns repeat the melody over and over while the rhythm section builds up the intensity. The issued "Sanctuary" is actually two consecutive takes of the piece.
Mati Klarwein created this artwork for Bitches Brew's gatefold cover.

Despite his reputation as a "cool", melodic improviser, much of Davis's playing on this album is aggressive and explosive, often playing fast runs and venturing into the upper register of the trumpet. His closing solo on "Miles Runs the Voodoo Down" is particularly noteworthy in this regard. Davis did not perform on the short piece "John McLaughlin".

There was significant editing done to the recorded music. Short sections were spliced together to create longer pieces, and various effects were applied to the recordings. Enrico Merlin reports:
Bitches Brew also pioneered the application of the studio as a musical instrument, featuring stacks of edits and studio effects that were an integral part of the music. Miles and his producer, Teo Macero, used the recording studio in radical new ways, especially in the title track and the opening track, "Pharaoh's Dance". There were many special effects, like tape loops, tape delays, reverb chambers and echo effects. Through intensive tape editing, Macero concocted many totally new musical structures that were later imitated by the band in live concerts. Macero, who has a classical education and was most likely inspired by the 1930s and 1940s musique concrète experiments, used tape editing as a form of arranging and composition.

"Pharaoh's Dance" contains 19 edits – its famous stop-start opening is entirely constructed in the studio, using repeat loops of certain sections. Later on in the track there are several micro-edits: for example, a one-second-long fragment that first appears at 8:39 is repeated five times between 8:54 and 8:59. The title track contains 15 edits, again with several short tape loops of, in this case, five seconds (at 3:01, 3:07 and 3:12). Therefore, Bitches Brew not only became a controversial classic of musical innovation, it also became renowned for its pioneering use of studio technology.

Though Bitches Brew was in many ways revolutionary, perhaps its most important innovation was rhythmic. The rhythm section for this recording consists of two bassists (one playing bass guitar, the other double bass), two to three drummers, two to three electric piano players, and a percussionist, all playing at the same time. As Paul Tanner, Maurice Gerow, and David Megill explain, "like rock groups, Davis gives the rhythm section a central role in the ensemble's activities. His use of such a large rhythm section offers the soloists wide but active expanses for their solos."

Tanner, Gerow and Megill further explain that
"the harmonies used in this recording move very slowly and function modally rather than in a more tonal fashion typical of mainstream jazz.... The static harmonies and rhythm section's collective embellishment create a very open arena for improvisation. The musical result flows from basic rock patterns to hard bop textures, and at times, even passages that are more characteristic of free jazz."

The solo voices heard most prominently on this album are the trumpet and the soprano saxophone, respectively of Miles and Wayne Shorter. Notable also is Bennie Maupin's ghostly bass clarinet, which was perhaps the first use of the instrument in jazz not heavily indebted to pioneer Eric Dolphy.

The technology of recording, analog tape, disc mastering and inherent recording time constraints (i.e., bandwidth) had, by the late sixties, expanded beyond previous limitations and sonic range for the stereo, vinyl album: Bitches Brew reflects this. In it are found long-form performances which encompass entire improvised suites with rubato sections, tempo changes or the long, slow crescendo more common to a symphonic orchestral piece or Indian raga form than the three-minute rock song. Starting in 1969, Davis' concerts included some of the material that would become Bitches Brew.

Bitches Brew was a turning point in modern jazz. Davis had already spearheaded two major jazz movements – cool and modal jazz – and was about to initiate another major change (like Davis' album Filles de Kilimanjaro, the album's cover also sports the phrase "Directions In Music By Miles Davis" above the title.) Some critics at the time characterized this music as simply obscure and "outside", which recalls Duke Ellington's description of Davis as "the Picasso of jazz." Some jazz fans and musicians felt the album was crossing the limits, or was not jazz at all. One critic writes that "Davis drew a line in the sand that some jazz fans have never crossed, or even forgiven Davis for drawing." Bob Rusch recalls, "this to me was not great Black music, but I cynically saw it as part and parcel of the commercial crap that was beginning to choke and bastardize the catalogs of such dependable companies as Blue Note and Prestige.... I hear it 'better' today because there is now so much music that is worse."

On the other hand, many fans, critics, and musicians see the records as an important, vital release. In a 1997 interview, drummer Bobby Previte sums up his feelings about Bitches Brew: "Well, it was groundbreaking, for one. How much groundbreaking music do you hear now? It was music that you had that feeling you never heard quite before. It came from another place. How much music do you hear now like that?" The Penguin Guide to Jazz gave Bitches Brew a four-star rating (out of four stars), describing the recording as "one of the most remarkable creative statements of the last half-century, in any artistic form. It is also profoundly flawed, a gigantic torso of burstingly noisy music that absolutely refuses to resolve itself under any recognized guise."In 2003, the album was ranked number 94 on Rolling Stone magazine's list of the 500 greatest albums of all time. Along with this accolade, the album has been ranked at or near the top of several other magazines' "best albums" lists in disparate genres.

ON THIS DATE (39 YEARS AGO) April 3, 1972 - The Mar y Sol festival ends.

2011-04-04T11:36:00.000-07:00

ON THIS DATE (39 YEARS AGO)
April 3, 1972 - The Mar y Sol festival ends. The final box score: four persons dead (including one sixteen-year-old boy who was hacked to death while lying in his sleeping bag); a general lack of sufficient food supplies; a general abundance of brutal Puerto Rican sun; and even after the festival, a major sn...afu in which hundreds of Americans are stranded at the San Juan airport. Promoter Cooley calls the festival a success, but Richard Kimball of KMET-FM in L.A. sums it up this way: "It was a f****** drag."

In general many critics considered this festival a disaster. Several accidental deaths, a murder, rapes, etc. But New York Times reporter Les Ledbetter printed a column on April 9 entitled "It was a success -- ask the people"

LIST OF PERFORMERS
Alice Cooper
Allman Brothers Band
Ashton, Gardner and Dyke
BB King
Banda del K-rajo
Bang
Billy Joel
Black Sabbath
Bloodrock
Brownsville Station
Cactus
Dave Brubeck w/ Gerry Mulligan
David Peel
Dr. John
Elephants Memory Band
Emerson, Lake & Palmer
Faces (w/ Rod Stewart & Ronnie Wood)
Flash Cadillac
Fleetwood Mac
Fran Ferrer
Goose Creek Symphony
J. Geils Band
Jonathan Edwards
John Baldry
Herbie Mann
Mahavishnu Orchestra w/ John McLaughlin
Malo
Michael Overly
Nitzinger
Osibisa
Poco
Pot Liquor
Roberta Flack
Rubber Band
Savoy Brown
Stonehenge

"Mar y Sol was Puerto Rico's Woodstock Nation, except that by 1972 people were beginning to lose faith in the peace and love schtick". ~ Jorge Luis Medina, The San Juan Star

The dark eyes of violence were always staring over your shoulder. Gangs of Puerto Ricans roamed the grounds in varying shades of belligerence, many carrying knives and apparently itchy fingers. It was like an ugly New York City against a postcard backdrop.
- Barry Kramer, CREEM Magazine, July 1972

"Quite ironically, the festival's major drawing card, old sun, readily proved to be one of its most formidable villains. Even the most fanatical sun-worshipers soon found themselves crawling for cover after only minimal exposure; the medical tent reported that a vast majority of cases handled related directly to this torturous sun blaze".
- Barry Kramer, CREEM Magazine, July 1972

"More than once during the three days, in fact we were to feel like a yellowing photograph in Life Magazine; a living theatre re-enactment of hippiedom 1968 staged for the benefit of curious Puerto Ricans."
- Barry Kramer, CREEM Magazine, July 1972

The MAR Y SOL festival was produced by Atlanta's legendary promoter Alex Cooley. Cooley had produced 2 Atlanta Pop Festivals and the Texas Intl. Pop Festival prior to MAR Y SOL.

The tickets were $15, but most people chose one of the packages which included round trip air fare, ground transportation, camping facilities & tickets.

The chosen date for the festival was the weekend of Easter, or Semana Santa (Holy Week) as is called in Puerto Rico. Shortly after the announcement of the dates of the festival, the government turned against Alex Cooley, who wasn't aware at that time how serious Semana Santa is in the island.

After this, everything went downhill, companies/organizations that were supporting him at first started to turn their backs. Rumors started to spread about whether or not the festival would take place due to the strong legal problems Alex Cooley was having with the government. His lawyer helped him fight back, but that didn't change the fact that there was a lot of people against the festival.

This also affected the list of bands. Some bands opted not to fly down to the island to avoid trouble, forcing Cooley to bring other bands that were not on the promo like David Peel, Mahavishnu Orchestra and others.

On Monday March 27th people started arriving at the area, approx. 400. By the end of the day there were about 5,000. By the next day (Tuesday 28th) the area started looking like some kind of hamlet. All kinds of merchants were there too as well as security guards and even undercover agents.

On Wednesday 29th the judge José Rivera Barreras issued an injunction to stop the festival based on evidence from the Police Drug Division on the selling of Marihuana and LSD pills. Groups of teenagers (both locals and visitors) were planning a protest in front of Fortaleza (Official Residence). If that wasn't enough, on that same day one of the visitors, Willie Wardlaw (East Orange, New Jersey) was found dead (drowned on the beach). By then there were approx. 10,000 people. Still the question remained, "will there be a festival?" By Friday 31st there were about 25,000 people.

Saturday April 1st. The long waited festival started at 3:00 pm with local group Rubber Band. The highlights of the day were B.B. King & Allman Brothers Band.

THE BIRTH OF BILLY JOEL’s CAREER
The birth of Billy's career - Most people don't know this but it was at this festival that doors were opened for Billy Joel.

"Columbia records took notice of Billy Joel at the Mar Y Sol Pop Festival in Puerto Rico... Billy played in rainy conditions, and earned some major standing ovations from the crowd".
- Barry, New York, NC

Still not sure if he played on the first or the second day (some reviews say it was April 1st while band member Larry Russell and other eye witness say it was on Sunday the 2nd).

"Before Mar Y Sol nobody had ever heard of Billy Joel, outside of the New York area, and even there, nobody cared about Billy Joel. But as the sun broke through the clouds at Mar y Sol, Billy Joel had the place reeling and rolling".
- Hank Bordowitz (from the book Billy Joel: The Life and Times of an Angry Young Man)

"It was a moment I'll never forget. He had the crowd in the palm of his hands. He had never had that kind of command of an audience before. That was the first moment that he took command of the stage"
- Irwin Mazur, Billy's first manager (from the book Billy Joel: The Life and Times of an Angry Young Man)

Sunday April 2nd. After dealing with some technical problems the music continued at 1:00 am. Crowd size grew to approximately 50,000 by now. Some highlights of the 2nd day were ELP & Alice Cooper.

Aside from music and other things normally seen in festivals, this was also a day of tragedy. Two more people drowned. Locals Vanessa Rivera and Celestino Santiago, both from Fajardo. Also a murder was committed. Visitor Christopher S. Gilligan from St. Croix (16) was killed by a local with a knife and a machete.

Monday April 3rd.

Some highlights of the 3rd day were Nitzinger, Cactus, Faces & J. Geils Band.

The Black Sabbath deception - One of the main attractions was going to be the british band Black Sabbath, scheduled to play at the very end of the festival. Unfortunately this never happened. They made it to the island, but never to the festival.

"Black Sabbath had flown over from Miami for the MAR Y SOL festival. The crew arrived at the site as usual, before the band did. However, as it drew closer to the time for the band to leave for the gig, it became clear that they would never make it, at least on land. The road leading to the festival ground was grid locked. Spock Wall [producer] used a payphone to call Patrick Meehan [producer], who was with the band at the Redondo Beach Hotel, to warn him of the traffic problems. Meehan told him to expect the band.

Rod Stewart (w/ Faces) @ Mar y Sol, April 3rd.
Their only chance would have been to hire a helicopter, but none was available. Meehan then decided that the band should admit defeat. They had nothing to lose as they had been paid in advance, unlike many of the other acts on the bill." (from the book How BLACK was our SABBATH)

The end, the escape & ...life at the airport:

The end of the festival was also the beginning of a new adventure for promoter Alex Cooley who found out he was going to be arrested anytime soon by the police.

"The last night of the festival. Of course, there was a lot of Puerto Ricans that DID help us. Just people, Not organizations but people that were helping us. And a guy who was working in the festival, came over to me, the last night of the festival, and said they'd issued a warrant in San Juan and they were coming to arrest me. So they smuggled me out of there with a Volkswagen bus. I got in the bus and they put things on top of me and they took me to the airport and there were people at the airport that were very sympathetic towards this and they let them.... of course you'd never be able to do this now - they let them drive the Volkswagen out on to the runway. So I got out of the Volkswagen and got directly on the plane. So that's how I got out of San Juan, out of Puerto Rico. That was the first time I had to leave a country like that before, so it was quite an experience." - Alex Cooley

But the music wasn't over yet, while Cooley was being smuggled out, already Tuesday April 4th, the last band to play, Osibisa, went on stage very early in the morning (aprox. 3 am).

"For the four days I was at the Mar y Sol Pop Festival, the only thing that made any sense to me was the music" - Arthur Levy (Zoo World rock magazine)

"Hundreds of young people from the United States mainland were stranded in San Juan today. Airport officials said that the situation could get worse tomorrow when most of the 30,000 youths who attended the weekend Mar y Sol pop festival tried to get home.
Many of them had no return tickets or money. They said that return transportation had been arranged and paid for in advance, but there was no sign of it. "
- Don Heckman, New York Times (April 4, 1972)

"People had begun making the long trek back to San Juan and points beyond after the first day of the festival, but even this steady exodus didn't avert the Tuesday tie-up at the airport. Many of the people who had purchased the $149 festival package found that their return plane tickets were good only for stand-by, thus effectively leaving the stranded until auxiliary flights could be arranged."
- Barry Kramer, CREEM Magazine, July 1972

The authorities took care of all the people stranded at the airport. Tents were set just outside the main terminal by the the Ports Authority and extra festival vibes were offered. Elephant's Memory (one of the bands at the festival) came out and played for the people at the airport. The Red Cross, airlines & the Department of Social Services provided food, water & medical attention. Pan American Airlines provided the flights for about 3,000 people who attended the festival from outside Puerto Rico. This took several days.

ON THIS DAY (February 11, 1994) - First Beatles' "Reunion" Session

2011-02-11T06:44:00.000-08:00

The historic first Beatles reunion session, when they began work on Free As A Bird, takes place on this day at Paul McCartney’s Mill Studios in Sussex, England. (The Mill is a converted windmill on a hill, overlooking English farmland and the English Channel.)

Following the initial recordings, Paul, George, Ringo, and Jeff Lynne visit a local pub. About the recording sessions themselves, from Paul: “I played these songs (of John Lennon’s) to the other guys, warning Ringo to have a hanky ready. I fell in love with Free As A Bird. I thought I would have loved to have worked with John on that. I like the melody, it’s got strong chords, and it really appealed to me. In the end we decided to do it very simply. It’s Paul McCartney, George Harrison and Ringo Starr during the recording of the new Beatles songs for The Beatles Anthology-crazy really, because when you think about a new Beatles record, it is impossible, because John is not around. So I invented a little scenario; he’s gone away on holiday and he’s just rung us up and he says, ‘Just finish this track for us, will you? I’m sending the cassette...I trust you.’ That was the key thing, ‘I trust you, just do your stuff on it.’ I told this to the other guys and Ringo was particularly pleased, and he said, ‘Ahh, that’s great!’ John hadn’t filled in the middle eight section of the demo, so we wrote a new section for that, which, in fact, was one of the reasons for choosing the song. It allowed us some input.”

An Open Letter from Tower Records President

2011-02-09T10:37:00.000-08:00

This letter was recently sent to artists and industry leaders....

For those that know me know that I have written this myself, no PR folks or copywriters, etc. You also know how passionate and serious I am about changing the current business climate, if even just from my little corner of the world….so here it goes.

In my first year at Tower, my focus has been on recapturing the vibe of a brand that had seen a lot of damage incurred since the initial 2004 bankruptcy. We believe that a good plan, honesty and transparency are how we have succeeded in the initial stages. We are in the process of updating a business plan/model that I strongly believe will succeed financially, fit with the Tower Records brand as a cultural icon, and provide a strong advocate of artists.

For many of you that have worked with me know, my mission revolves around how to make music enjoyable again to a large audience. Thanks to various “improvements” in the industry music, especially with the younger generations, music is now background, white-noise. The majors only get behind the latest fad – content about an artist and the effort they put behind their art is lost.

Our shareholders have decided that Tower may not fit their portfolio, thus Tower.com, Inc. (Tower Records), including all intellectual property (international trademarks), is on the market for investor(s) or purchaser(s). Note that this decision was made internally months ago, so this status does not mean that Tower is closing, liquidating or filing bankruptcy. My reason for sharing this with you is in the spirit of transparency and to ask for your help in “spreading the word.” If you or anyone you know may have any interest I would greatly appreciate it if you contact me at the below.

We have had many great moments in 2010, but, we are at a point when execution is the key. The industry is (again) in a state of flux; there are some great models out there but in my opinion, too many choices within them, which means that there is a great opportunity for the right plan with the right brand. Those who know me or have worked with me understand that my passion is in the advocacy of the arts. If your music is listened to and enjoyed it is beneficial for the listener as well. Tower Records is the brand that can get us there.

I would greatly appreciate the following:

Please join the Tower Records facebook page (http://www.facebook.com/pages/Tower-Records/54075391196) and pass it on to peers, colleagues and friends.
Please feel free to contact me or pass on my information at the below to discuss ways we can help you get in front of an audience.

Peace,

Richard Flynn, President

Tower Records

Tower.com, Inc.

email: rflynn@tower.com

ON THIS DATE (February 9, 1964) The Beatles on Ed Sullivan

2011-02-09T07:24:00.000-08:00

February 9, 1964, 8:00 p.m., EST, CBS' "The Ed Sullivan Show" took to the airwaves to broadcast the Beatles' first U.S. television appearance. An estimated 73.7 million Americans – a record for its time, and still one of the highest ratings ever – watched as John, Paul, George and Ringo performed "All My Loving," "Till There Was You," "She Loves You," "I Saw Her Standing There," and "I Want to Hold Your Hand" to 703 screaming teenage fans (mostly girls) in the studio audience. During "Till There Was You," a message flashed on the screen when John appeared: "Sorry, girls, he's married."

Although the group realized how important America was to their career, they had no idea just how important the Sullivan show was to domestic audiences. When the full impact of the event hit them just before showtime, John Lennon became so nervous he taped the band's song lyrics to the back of his guitar, just in case.

Sullivan read a telegram to the audience just before the band's performance: "Congratulations on your appearance on the Ed Sullivan Show and your visit to America. STOP. We hope your engagement will be successful and your visit pleasant. STOP. Sincerely Elvis and the Colonel."

Although the music can barely be heard over the screams, this one show had an enormous effect on aspiring rock stars who would later attempt their own version of Beatlemania. In fact, one future music star from Britain also appeared on the Sullivan stage that night – Davy Jones, two years before he became a Monkee, performing as part of the cast of Broadway's "Oliver!"

ON THIS DATE (February 7, 1964) Beatlemania Arrives in the US

2011-02-07T09:13:00.000-08:00

When The Beatles left the United Kingdom on 7 February 1964, an estimated four thousand fans gathered at Heathrow, waving and screaming as the aircraft took off. "I Want to Hold Your Hand" had sold 2.6 million copies in the US over the previous two weeks, but the group were still nervous about how they would be received.

The Beatles arrive in the United States for the first time, being welcomed with extreme media coverage and already rampant Beatlemania. The demands on their time never let up from the moment they set down at John F. Kennedy International Airport, greeted by 5,000 screaming fans, until their return home on February 21. Reporters, photographers, radio stations, and TV news crews follow their every move. Added to this was the film crew accompanying The Beatles to shoot a documentary of their first American visit. The results of the documentary filming was a UK broadcast on February 12 titled, "Yeah! Yeah! Yeah! The Beatles in New York" and a US broadcast on February 13 called, "The Beatles in America" (the US broadcast was presented by actress Carol Burnett as part of a weekly documentary series called "The Entertainers").

The Beatles Arrive in New York

Over the next few days, The Beatles give extensive interviews to disc jockey Murray the K and Ed Rudy. The Beatles' US merchandising company, Seltaeb, is inundated with requests for licenses to market Beatles merchandise. It was also the day that Baskin-Robbins introduced "Beatle-Nut" ice cream. The Beatles entourage included record producer, Phil Spector, a hearty contingent of press, and for the first time in public, Cynthia Lennon. They are wisked through immigration into a chaotic press conference: a reporter asks, "Aren't you embarrassed by all this lunacy?" John Lennon says, "No. It's crazy." When asked what he thinks of Beethoven, Lennon says, "He's crazy. Especially the poems. Lovely writer." Their off-the-cuff wit wows the hard-nosed American media...and the world will never be the same.

They gave their first live US television performance two days later on The Ed Sullivan Show, watched by approximately 74 million viewers—over 40 percent of the American population. The next morning one newspaper wrote that The Beatles "could not carry a tune across the Atlantic", but a day later their first US concert saw Beatlemania erupt at Washington Coliseum.

Ed Sullivan Show (February 9, 1964)

The band appeared on the weekly Ed Sullivan Show a second time, before returning to the UK on 22 February. If The Beatles expected to be able to rest upon returning to England, they were wrong. Arriving at London Airport in the morning, they hold a press conference, which is broadcast in the middle of a popular sports television show, "Grandstand." Pathe News covered The Beatles return to England and made a documentary film out of the footage for distribution to theaters. There was plenty of radio coverage, too. The Beatles gave a phone interview to Brian Mathew for the program "Saturday Club." That interview was followed by a song request dedicated to George Harrison for his upcoming birthday; it was sent in by his mother (and the song was Shop Around).

During the week of 4 April, The Beatles held twelve positions on the Billboard Hot 100 singles chart, including the top five. That same week, a third American LP joined the two already in circulation; all three reached the first or second spot on the US album chart. The band's popularity generated unprecedented interest in British music, and a number of other UK acts subsequently made their own American debuts, successfully touring over the next three years in what was termed the British Invasion. The Beatles' hairstyle, unusually long for the era and still mocked by many adults, was widely adopted and became an emblem of the burgeoning youth culture.

SHOP: The Beatles Boutique at Tower

ON THIS DATE (February 2, 1973) The Midnight Special makes it series debut.

2011-02-02T08:16:00.000-08:00

The Midnight Special is an American musical variety series that aired during the 1970s and early 1980s, created and produced by Burt Sugarman and airing on NBC. The Midnight Special was noted for featuring musical acts performing live, which was unique since most television appearances during the era showed performers lip-synching to prerecorded music. The series also occasionally aired vintage footage of older acts (such as Bill Haley & His Comets).

First Show line-up
Host: Helen Reddy
--Helen Reddy (host) - "I Am Woman," "Peaceful" & "Come On John"
--Ed McMahon (walk-on cameo) - wishes the show sucess
--Ike and Tina Turner Revue- "I Can't Turn You Loose" & "With a Little Help from My Friends"
--George Carlin (comedian) - stand-up comedy monologue
--Curtis Mayfield - "Superfly"
--Don McLean - "Dreidel" & "If We Try"
--Rare Earth - "We're Gonna Have a Good Time" & "I Just Want to Celebrate"
--Kenny Rankin - "Comin' Down"
--The Byrds - "Mr. Tambourine Man" & "So You Want to Be a Rock 'n' Roll Star"
--The Impressions - "Preacher Man"
--Helen Reddy, Curtis Mayfield and the Impressions - "Amen"

List of guests appearing on The Midnight Special

1972 (pilot)

First aired: 8/19/1972

Andy Kaufman
Argent- "Hold Your Head Up" & "Tragedy"
John Denver (guest host) - "Take Me Home Country Roads" & "Goodbye Again"
Cass Elliot - "Leaving on a Jet Plane" duet w/John Denver
Harry Chapin - "Taxi"
David Clayton-Thomas (singer from Blood, Sweat & Tears) - "Yesterday's Music" & "Nobody Calls Me Prophet"
The Everly Brothers - "All I Have to Do Is Dream" & "Stories We Could Tell"
The Isley Brothers - "Pop That Thang"
Helen Reddy - "I Don't Know How to Love Him"
Linda Ronstadt - "Long, Long Time" & "The Fast One"
War - "Slippin' into Darkness"

1973

Al Green (guest host)
Albert Hammond
Albert King
Alvin Lee & Mylon LeFevre
Anne Murray (guest host) - "Danny's Song"
Aretha Franklin
The Association
Barbara Fairchild
Badfinger
The Bee Gees (guest hosts)
Ben E. King
Bill Cosby (guest host)
Billy Paul
Billy Preston - "Will It Go Round in Circles"
Black Oak Arkansas
Blood, Sweat & Tears
Bloodstone
Bo Diddley
Bobby Day
Bobby Darin
Bobby Womack
Bonnie Bramlett
Brewer & Shipley
Bud Brisbois
Buddy Miles
The Byrds
Canned Heat
Carol Burnett
Charlie Rich
Chi Coltrane
Chubby Checker (guest host)
The Coasters
Commander Cody and His Lost Planet Airmen
The Committee
Conway Twitty
Country Joe McDonald
The Crusaders
Curtis Mayfield (guest host)
Danny & the Juniors
David Bowie - "Space Oddity"
David Brenner
Del Shannon
The Del-Vikings
Dionne Warwick (guest host)
Dobie Gray
Doc Severinsen (guest host)
The Doobie Brothers
Don Gibson
Don McLean
The Doobie Brothers - "Listen to the Music"
Doug Kershaw
Dr. John
Earl Scruggs
Edgar Winter Group - "Frankenstein"
Edward Bear
Edwin Hawkins Singers
Electric Light Orchestra
Eric Weissberg
Fanny^{[disambiguation needed]}
Foghat
Freddy Cannon
Gary Mule Deer
Genesis - "Watcher of the Skies", & "The Musical Box"
George Burns
George Carlin
George Jones
Gladys Knight & the Pips (guest hosts) - "Neither One of Us (Wants to Be the First to Say Goodbye)"
The Grass Roots
Gunhill Road
Harry Chapin (guest host)
Helen Reddy (guest host) - "Delta Dawn"
Henry Mancini
The Hollies
Honey Cone
Hoyt Axton
The Incredible String Band
Ike & Tina Turner
The Impressions
Jack Burns and Avery Schreiber (guest hosts)
Jerry Butler
Jerry Lee Lewis (guest host)
Jim Croce (guest host) - "Bad, Bad Leroy Brown"
Jim Weatherly
Jimmie Spheeris
Jimmy Clanton
Joan Baez (guest host)
Joan Rivers
Joe Walsh
John Kay
John Stewart
Johnny Rivers (guest host)
Johnny Mathis
Johnny Nash (guest host) - "I Can See Clearly Now"
Johnny Paycheck
Johnny Rodriguez
Johnny Winter
Jonathan Winters
Jose Feliciano (guest host)
Kenny Rankin
Kenny Rogers and The First Edition
King Crimson - "Larks' Tongues In Aspic Part 2" & "Easy Money"
King Harvest
Kris Kristofferson
Lakshmi Shankar
Leo Kottke
Leroy Hutson
Little Anthony & The Imperials
Linda Ronstadt - "Long, Long Time"
Livingston Taylor
Lloyd Price
Loggins & Messina - "Your Mama Don't Dance"
Lou Rawls (guest host)
Loretta Lynn (guest host)
Mac Davis (guest host)
Marty Robbins (guest host)
Malo
Melissa Manchester
Merrilee Rush
Mimi Fariña
The Miracles
Nitty Gritty Dirt Band
The O'Jays
Paul Anka (guest host)
Paul Williams^[1] (guest host)
Rare Earth
The Penguins
Ramblin' Jack Elliott
The Raspberries
Ravi Shankar
Ray Charles (guest host)
Richard Pryor (guest host)
Rita Coolidge
Robert Klein
Ronnie Dyson
Savoy Brown
Seals & Crofts - "Summer Breeze"
The Searchers
Sha Na Na
Shawn Phillips
The Shirelles
Skeeter Davis
Skylark
The Skyliners
Slade
Sonny Terry and Brownie McGhee
The Spinners
Smokey Robinson (guest host)
The Staple Singers
The Statler Brothers
Steely Dan - "Reelin' In The Years"
Steve Goodman
Steve Martin
Steve Miller Band
Stories
The Stylistics
Tanya Tucker
Taj Mahal
Tammy Wynette
Timmy Thomas
Todd Rundgren - "Think of Me"
Tom T. Hall
Tower of Power
T.Rex - "Get It On"
War - "The Cisco Kid"
Waylon Jennings
Wilson Pickett
Wishbone Ash
Vicki Lawrence

1974

Aerosmith - "Train Kept A-Rollin'"
Ann Peebles
Barry White - "Can't Get Enough of Your Love, Babe"
Bill Withers - "Ain't No Sunshine"
Brownsville Station
David Essex - "Rock On"
Eddie Kendricks
Edwin Starr
El Chicano
Genesis
Gladys Knight & B.B. King - "The Thrill is Gone"
Golden Earring - "Radar Love"
Gordon Lightfoot - "Sundown"
Humble Pie - "Oh La-De-Da" and "30 Days in the Hole"
Ike & Tina Turner - "Proud Mary"
James Brown - "The Payback"
Jo Jo Gunne
Jobriath
Leo Sayer
Lynn Anderson
Maria Muldaur - "Midnight at the Oasis"
Marvin Gaye - "Let's Get It On"
Montrose - "Rock the Nation" and "Space Station #5"
Neil Sedaka - "Laughter in the Rain"
The New York Dolls
The O'Jays - "Love Train"
Phil Ochs and Jim Glover - "The Power and the Glory" and "Changes"
Redbone - "Come and Get Your Love"
Sly & the Family Stone - "Everybody is a Star"
Todd Rundgren - "Couldn't I Just Tell You?" & "A Dream Goes On Forever"

1975

ABBA - "SOS" and "I Do, I Do, I Do, I Do, I Do"
PFM - "Celebration" and "Alta Loma Nine Till Five"'
The Bee Gees - "Nights on Broadway"
Fleetwood Mac - "Rhiannon"
Earth Wind and Fire - "Shining Star"
KISS - "Black Diamond"
KC and the Sunshine Band - "That's the Way (I Like It)"
Labelle - "Lady Marmalade"
Rod Stewart - "You Wear It Well"
Peter Frampton - "Show Me the Way"
Helen Reddy - "I Am Woman"
Olivia Newton John - "Have You Ever Been Mellow"
Ohio Players - "Love Rollercoaster"
Barry Manilow - "Could It Be Magic?"
Minnie Riperton - "Lovin' You"
Orleans - "Dance with Me"
Natalie Cole - "This Will Be (An Everlasting Love)"
Glen Campbell - "Rhinestone Cowboy"
Aretha Franklin and Ray Charles - "It Takes Two to Tango"
Electric Light Orchestra (guest hosts) - "In the Hall of the Mountain King", "Great Balls of Fire", "Can't Get It Out of My Head", "Orange Blossom Special", "Laredo Tornado", "Flight of the Bumble Bee" & "Roll Over Beethoven"
Todd Rundgren - "Real Man", "Freedom Fighters" & "Seven Rays"
Roxy Music - "Out Of The Blue", "The Thrill Of It All", "A Really Good Time" (aired 05/09/1975, synched to the studio tracks from the Country Life album with live vocals from Bryan Ferry and John Wetton)

1976

Aretha Franklin - "Respect
Electric Light Orchestra - "Evil Woman", "Nightrider" & "Strange Magic"
Elton John - "Your Song"
Gary Wright - "Dream Weaver", "Love Is Alive"
Fleetwood Mac - "Over My Head", "Rhiannon", "World Turning"
Spinners - "The Rubberband Man"
Heart - "Magic Man" "Crazy On You", "Dreamboat Annie"
Hot Chocolate - "You Sexy Thing
Wild Cherry - "Play That Funky Music"
Starbuck - "Moonlight Feels Right"
George Benson - "This Masquerade"
Michael Murphey - "Wildfire"
Diana Ross - "Love Hangover
Eric Carmen - "All By Myself"
Tom Jones - "Delilah
Donna Summer - "Love to Love You Baby"
England Dan and John Ford Coley - "I'd Really Love to See You Tonight"
Janis Ian - "At Seventeen"
Ray Charles - "Georgia on My Mind"
Walter Murphy and The Big Apple Band - "A Fifth of Beethoven"

1977

Andy Gibb - "I Just Want To Be Your Everything"
Andy Kaufman - "I Trusted You"
Bonnie Raitt - "Runaway"
Electric Light Orchestra - "Do Ya"
Little Feat - "Dixie Chicken"
Weather Report - "Birdland"
Bread - "Make It With You"
Dave Mason - "We Just Disagree"
Electric Light Orchestra (hosts) - "Rockaria!", "Livin' Thing", "Do Ya", "Telephone Line" & "Livin' Thing (reprise)"
The Emotions - "Best Of My Love"
James Brown - "Get Up Offa That Thing"
Johnny Rivers - "Slow Dancin'"
Leo Sayer - "You Make Me Feel Like Dancing"
Lou Rawls - "You'll Never Find Another Love Like Mine"
Manfred Mann's Earth Band - "Blinded by the Light"
Marilyn McCoo & Billy Davis, Jr. - "You Don't Have To Be A Star (To Be In My Show)"
Marvin Gaye - "What's Going On"
Player
Sanford-Townsend Band - "Smoke from a Distant Fire"
Thelma Houston - "Don't Leave Me This Way"
Van Morrison - "Domino"

1978

AC/DC - "Sin City"
Aerosmith - "Come Together"
Ambrosia - "How Much I Feel"
The Cars - "Just What I Needed"
Cheap Trick - "Surrender"
Chic - "Le Freak"
Chuck Mangione - "Feels So Good"
Dan Hill - "Sometimes When We Touch"
Eddie Money - "Baby Hold On," "Two Tickets to Paradise"
Exile - "Kiss You All Over"
Four Tops - "Ain't No Woman (Like The One I've Got)"
Hall & Oates - "Rich Girl"
Nick Lowe- "So It Goes"
Player
REO Speedwagon - "Roll With The Changes"
Rick James - "You and I" & "Mary Jane"
Robert Palmer - "Every Kinda People"
Ronnie Montrose - Town Without Pity & "My Little Mystery
Starland Vocal Band - "Afternoon Delight"
Ted Nugent - "Cat Scratch Fever", "Need You Bad", "Free For All" (Hosted this Show)
Todd Rundgren - "Can We Still Be Friends" & "Bread" (with the Hello People)
Todd Rundgren's Utopia - (guest host) "Real Man", "You Cried Wolf", "Love in Action", "Sometimes I Don't Know What to Feel" & "Just One Victory"
Tom Petty & The Heartbreakers - "American Girl," "I Need to Know"
The Trammps - "Disco Inferno"
Yvonne Elliman - "If I Can't Have You"

1979

Alice Cooper - "Billion Dollar Babies"
Amii Stewart - "Knock on Wood"
The Babys - "Everytime I Think of You"
The Beach Boys - "Good Vibrations"
Blondie - "One Way or Another," "Dreaming," "Heart of Glass"
The Cars - "Let's Go," "Just What I Needed," "Dangerous Type"
The Charlie Daniels Band - "The Devil Went Down to Georgia"
Commodores - "Three Times a Lady"
Crystal Gayle - "Cry Me a River"
Dolly Parton - "I Will Always Love You"
Gloria Gaynor - "I Will Survive," "Never Can Say Good-bye"
Grace Jones - "Below the Belt"
Journey - "Lovin', Touchin'. Squeezin'," "Wheel in the Sky," "City of Angels"
Minnie Riperton - "Lovin' You" (memorial replay of her 1975 appearance)
Nick Gilder - "Hot Child in the City"
Peaches & Herb - "Reunited"
The Pointer Sisters - "Fire"
Rick James - "You and I"
Rupert Holmes - "Escape (The Pina Colada Song)"
The Three Degrees - "Giving Up Giving In & The Runner"
The Jacksons - "Shake Your Body Down To The Ground"

1980

Eddie Rabbit - "Drivin' My Life Away"
Frankie Valli & The Commodores - "Grease"
Olivia Newton-John - "Magic"
REO Speedwagon - "Keep On Loving You"
Roy Orbison - (Host, Season 8, Episode 25) "Oh Pretty Woman", "Only the Lonely", "Crying", "Running Scared", "Hound Dog Man", "Blue Bayou" & "The Eyes of Texas"
Hall & Oates - "Kiss on My List"
America - "Sister Golden Hair"

1981

ELECTRIC CHAOS, BUT JUST GREAT - TONY STEWART AT THE DEBUT OF PINK FLOYD'S NEW MASTERWORK (NME 1/29/72)

2011-01-20T08:33:00.000-08:00

From New Musical Express, UK, 29th January 1972 (re: Pink Floyd show on January 20, 1972)

Inspired by the Corn Exchange in Paris and originally covered with a huge segmented glass dome, the remarkable Brighton Dome (shown to the right) was designed as the Prince Regent's riding stables and was finally completed in 1805.

Brighton Dome

Part of the famous Royal Pavilion Estate, it was later converted into a Concert Hall in 1866 and became the most fashionable and culturally significant venue in the south. It was restored again in 1935 with a resplendent art-deco interior, and showcased some of the world's biggest names in entertainment.

From 1967 onwards, it became a regular haunt of Pink Floyd, and they chose the venue to start their 1972 tour.

The Dome went down in history as the place where the band played Dark Side Of The Moon live in public for the first time, although it was not without its problems, as the following review relates...

BUY at Tower

ELECTRIC CHAOS, BUT JUST GREAT -

TONY STEWART AT THE DEBUT OF PINK FLOYD'S NEW MASTERWORK

The atmosphere at Bighton Dome was one of indifference. As Pink Floyd ran through "Echoes" the uniformed officials sat stone faced and silent at the back. There were a few, unimpressed chicks down the front. And Floyd just couldn't get the effects to combine with the music, although they were trying hard.

A couple of times they stopped. Gilmour shouted suggestions at the sound crew, situated at the back of the front stalls. Finally things started to go well: the music slowly took on the unmistakable Floyd force and cohesion. But that was temporary.

The Ultimate Critical Review (DVD)

With a blaze of white, eye-disturbing light, the hall was illuminated. The sound disintegrated. Gilmour rushed up to the control desk. Mason, Wright and Waters disappeared off stage. Rehearsals for the first date of their British tour were over, and the kids swarmed in, shouting, screaming and pushing like rush-hour business gents on the Central line. They too were not unduly concerned who got shoved to the floor.

Perfection

The band had arrived early afternoon; preceded by roadies at nine in the morning. Things just had to be right. Floyd always strive for perfection. The combination of technology and musicianship has to be total - otherwise the resulting sound loses all impact and interest. And Floyd know that too well. The opener of a tour can be a hairy experience.

Japanese Hybrid SACD/CD

Since their return from the States they have worked hard on new material, and rehearsed for several days at London's Rainbow, and also at the Rolling Stones factory, in downtown Bermondsey. The new material was long overdue; they had still been playing "Careful With That Axe Eugene" and "Set The Controls For The Heart Of The Sun."

And they don't dig a complacent approach to creativity.

A spirit of revitalisation had come into the band. "I think," explained Nick Mason, "all of us feel more excited that we have for ages, because we have new material and new equipment."

Floyd's "Atom Heart Mother" - "Echoes" period has been described as unproductive. Certainly there are similarities in structure between the two pieces. But the "unproductive" question is crap, because that whole period, which dates back to 1970, made it so obvious that the band were creating original material. "Echoes" was only possible because of "Mother," and it expressed more.

Download Now

Innovatory

And as Floyd opened the first set of the British tour - incidentally the first time I've seen them since 1970 - a new piece, tentatively titled "The Dark Side Of The Moon," showed that their writing had taken on a new and again innovatory form.

A pulsating bass beat, prerecorded, pounded around the hall's speaker system. A voice declared Chapter five, verses 15 to 17 from the Book of Athenians. The organ built up; suddenly it soared, like a jumbo jet leaving Heathrow; the lights, just behind the equipment, rose like an elevator. Floyd were on stage playing a medium paced piece.

The Floyd inventiveness had returned, and it astounded the capacity house. From the easy-paced tempo, the music gained exuberance, and they went into a racing jazz-based riff. Rick Wright on piano provided some delightful filling, with Gilmour's guitar interweaving well, and the team of Mason and Waters as solid as ever.

30th Anniversary Edition

The song's structure bore little resemblance to their earlier material. There was a definite jazz feel throughout many of the passages.

Not everything in the piece flowed. The church organ part seemed to come all of a sudden, rather than a continuation of the theme. Yet that too added a new dimension to the Floyd music. The instrumentation was truly magnificent, and although the vocals were indistinctive, the harmonisation between Wright and Gilmour was good and emotional.

At the beginning we had the quasi-religious element, and this became more apparent in the middle. "Let the Holy Spirit fill you," the voice urged. "Speak to one another. Sing and make music in your hearts to the Lord."

Other voices, on the quadrophonic system, professed other feelings. At one time three voices fused into complete confusion, and ended with the Lord's Prayer. Pretty hot stuff.

All that the band said in that piece was directly related to themselves. And it's so new that they were still arranging it on the way down to Brighton.

Mason told me after the show: "The piece is related to the pressures that form on us and other people generally. That is the very rough theme - although it doesn't really relate to us as much as we'd originally planned.

The Making of The Dark Side of the Moon (DVD)

"The various pressures that we talked about when we wrote it were physical violence, travelling, money, religion. Those were the things which we thought sidetracked people from things we thought might be important. And religion for us is one of those things. I mean, not religion as much as Christianity as practised by a large section of the population of Britain."

Unfortunately those profound sentiments were lost as a result of two things. One was that the vocals were none too clear, and secondly, the number broke down 30 minutes through. A drone and a hissing sound filled the hall as Floyd went into a simple riff. Gilmour turned to Waters and spoke. We didn't catch what it was he said, but it had a staggering effect. Waters removed his guitar, and both he and Gilmour left the stage.

Up until then the music had been fine. A mood had captivated the audience, and now they didn't quite know what to make of it.

Horror

"That wasn't pretty," said Waters. "We'll fix that." And later, when the band returned to the stage, he explained: "Due to severe mechanical and electric horror we can't do any more of that bit, so we'll do something else."

The Biblical references lost all relevance. Only half of the new piece had been completed. Floyd were using a light show, which seemed OK but nothing spectacular. And it was that which caused the electrical mess.

Vinyl LP

"I don't know if you heard," Mason edified, "but basically what happened was the most incredible tone started rushing through the PA. The scene is the new lighting system is run off a seperate circuit, and due to some power failure somewhere we had to double up on the circuit, so it was on the same circuit.

Shorted

"There was a variac on the lighting system which went wrong, and shorted out the PA. So it was impossible to get any tapes through, any sounds through, and we stopped because there was nothing we could do.

"I think, in that situation, you have to decide whether the show must go on, or whether it's better to stop the show and sort things out - which is what we decided to do."

They restarted the show with part of the "Atom Heart Mother" suite. And they were a new band. The beginning was not too good, but then Floyd flew high. The music flowed naturally, and Gilmour did one hell of a job on vocals during the normal choir piece.

But it was disappointing that such a remarkable new piece should collapse abysmally part way through. Even more disappointing was the fact they restarted the second half with "Careful With That Axe Eugene."

Mason told me afterwards: "We were all tensed up. And we decided that if we started off with "Cut You Into Little Pieces" - which is a very loud, and slightly complex number in terms of getting the electrics right - we might get into trouble and start, well, banging about. "So we thought we'd use 'Axe.' Basically it was a big disappointment to use old stuff. But it couldn't be helped. I think probably it was better to do that."

This nervous pressure on the band resulted in one of the most brilliant sets I have ever heard them perform. "Echoes" was masterful. The vocals came over clearly. What they achieved on the album they strove to perfect, and did so successfully.

Floyd always seem to work best under an awe-inspiring atmosphere. Even their writing comes out better when a dead line has to be kept.

Mason said: "Frankly, I thought some of tonight was fantastic. Like there's all sorts of cueing things that we have to sort out, but the lighting system is amazing. It's a new start."

Oh, he's right. That new piece expressed succinctly in musical terms the innermost feelings of a person, including the strain of being one of this country's top bands. At no time during the performance were Floyd untogether. The musicians go together like salt and vinegar on fish and chips - it is that sort of tasteful relationship.

Floyd proved to me that they are the leading explorers of electronic music. Their effects, which are always used economically, create an intriguing interest. And that music; it's so good.

- New Musical Express, 29th January 1972.

DOWNLOAD

VIEW

Welcome To Tower Records video

2011-01-04T11:10:00.000-08:00

Below is a video from a VHS tape for new employees of Tower Records circa 1999, with a brief history of the company.

This Week - New Releases and Sales

2010-12-07T09:14:00.000-08:00

Message from the President

For those who have not yet seen my "missives" below is what I wrote on my very first one a while ago.

First thing – I am writing this introduction myself. No PR person, copywriter or the like had a hand in this. Whether that is a good thing or not I am not sure, but here it goes.

As the newly appointed President of Tower.com, Inc. I believe that it is my responsibility to communicate honestly. Folks within the business community tell me that this may not be a good idea. Frankly, I am too passionate about the future of Tower.com, Inc. and getting our customers onboard with ideas of what we all want Tower.com to become. By sending out missives in “President-speak” (whatever that is) is counterintuitive and most likely an insult to your intelligence.

So you may read things that may not be written by professionals but will be honest, transparent and from the heart.

I have recently been asked (Thanks Jaymes) to provide updates on new releases/specials/sales on our Facebook page. Rather than having this assigned and numerous meetings later having something just after Christmas I have created a quick message be provided. I hope it is helpful. However, those that know me understand that I thrive on feedback and critique as I want Tower Records to be what we all want not just me. So, please let me know (rflynn@tower.com) with thoughts, comments, etc.

Also, please note that Tower is not fulfilling products any longer. There is a long story behind this that I'll re-post someday but the bottom line is that we are offering a shopping experience that allows you to compare prices with the ability to choose your store through Tower. We also offer exclusive savings and items.

Frankly, Tower Records is in a transition phase - the 5 W's of how we conduct business may change in the near future - we tend to believe to the better. But, again, I need to hear from you.

I greatly appreciate your support for Tower Records and understand that our current shopping experience will improve but please consider us during your holiday shopping. THANKS!

Richard Flynn, President

HOT NEW RELEASE ON CD

Tron Legacy (CD)
By: Daft Punk

More About this Product

Current Price $11.88

ALSO AVAILABLE AT:

Store Name	Price	Condition	Buy
1 Barnes&Noble.com	$10.89	New	Buy
2 CD Universe	$11.19	New	Buy
3 Deep Discount	$11.97	New	Buy
4 ArkivMusic	$17.49	New	Buy

SHOP & COMPARE OTHER NEW RELEASES!

All American Nightmare (CD)

Hinder

CD
2010-12-07
Universal Republic

In Stock

GOT VINYL?

The Original Mono Recordings (Vinyl) Bob Dylan Vinyl 2010-12-07 Sony Legacy	Add To Bag In Stock

The Original Mono Recordings (Vinyl) (Amazon.com Exclusive Bonus Edition) Bob Dylan Vinyl 2010-12-07 Columbia	Add To Bag In Stock

Blues (2 LPs) (Vinyl) Jimi Hendrix Vinyl 2010-12-07 Sony Legacy	Add To Bag In Stock

The Beginning [180 Gram Vinyl] The Black Eyed Peas Vinyl 2010-12-07 Interscope Records	Add To Bag In Stock

WELCOME TO THE TOWER RECORDS COMMUNITY – Clive Bunker

2010-12-06T11:51:00.000-08:00

Clive Bunker was, along with Glen Cornick, Mick Abrahams, and Ian Anderson, a co-founder of Jethro Tull. Their original drummer, he lasted in the lineup up to and including their critical high-water mark, Aqualung. Bunker was born and raised in Luton, Bedfordshire, and came of age during the early-'60s British beat boom. He'd initially aspired to play the guitar but, upon realizing how limited his talent was on that instrument, turned instead to the drums -- his inspirations included not only renowned American jazz figures such as Buddy Rich but also one slightly older British contemporary of his, the Hollies' Bobby Elliott. By the mid-'60s, Bunker had become a serious blues enthusiast -- he and a friend, Mick Abrahams, became members of a blues band called McGregor's Engine in 1967 when they crossed paths with Anderson and Cornick, who were members of another band that was in the process of breaking up. The four decided to join forces in what became known as Jethro Tull, playing a mix of rock, blues, and folk music.

The group began evolving away from those origins almost as soon as the bandmembers started playing regularly. Though their first album, This Was, reflected their original commitment to the blues, and showed the influence of acts such as Cream and other blues-based bands, it was also a fine showcase for the kind of playing that Bunker liked. Alas, by the time it was released, the group was already moving away from jazz and blues and Abrahams -- the most committed to the blues of any of them -- was out of the lineup by the end of 1968. Cornick left next, but Bunker was there for the entire three-album run-up to their commercial and critical triumph with Aqualung, including the group's early tours of the United States. He wasn't comfortable with the more complex progressive rock elements that were starting to manifest themselves in Anderson's writing and the group's sound, however, and had also decided to get married -- his exit from the band followed soon after. He was succeeded by Barriemore Barlow, and over the next few years Bunker concentrated on the closer-to-home endeavors of running a dog kennel and pursuing his original field of engineering.

He wasn't entirely done with music, however, nor was Chrysalis Records -- to which Tull were under contract -- done with him; he ended up joining Procol Harum refugee Robin Trower, Frankie Miller, and Jim Dewar in a band called Jude, who were signed to the label but never released an LP. Somewhat more visible was his tenure with Blodwyn Pig, the blues-based band formed by fellow Tull refugee Mick Abrahams, who, in the decades since, has periodically pursued musical projects to which Bunker has contributed. He also kept his hand in music by working with Gordon Giltrap, Steve Hillage, and Manfred Mann. In more recent years, he has also shifted his blues orientation laterally, over into folk music, as the drummer for the Vikki Clayton Band, backing the folksinger on stage. In 1998 he released the solo album Awakening, which included appearances by Ian Anderson and Tull guitarist Martin Barre. Another independent release, Diving in the Past, was issued in 2005; credited to Bunker and the Italian Tull tribute band Beggar’s Farm, the album also featured a guest appearance by Bernardo Lanzetti, former vocalist of Italian proggers PFM.

Clive's own words (jethrotull.com)

After leaving Tull a few hundred years ago, I played for a while with Robin Trower, Frankie Miller and Jim Dewar in band called "Jude", signed to the Chrysalis label.

· At the same time, I was starting some other activities in areas outside music. I had become a married man, and didn't really expect to stay in music as a full-time job. I moved to a farm outside Luton and started a business in dog boarding kennels and also invested in a engineering firm in the area, together with a few other things, just in case!

· I was still asked to do the odd musical thing and, in no particular order, they included, over the next few years: working with Gordon Giltrap, Steve Hillage, Uli Roth, Manfred Mann and, of course, dealing with the ever-present invitations from Mick Abrahams to become involved with one project or another.

· Since sadly splitting up with my wife, I have been working on a newly released solo album for the "New Day" record label and taking it easy while the offers come pouring in!

Shop:

Jethro Tull

Blodwyn Pig

Clive Bunker

LISTEN & DOWNLOAD

Jethro Tull w/Clive Bunker

Clive Bunker w/others

View: Jethro Tull 1970

WELCOME TO THE TOWER RECORDS COMMUNITY – Dann Glenn

2010-11-16T12:36:00.000-08:00

Dann Glenn (born May 30, 1950) is an American jazz fusion guitarist and composer, who has published and recorded a catalog of six symphonies, and released numerous jazz and avant garde albums, over the years.

Known for years as a bassist, Glenn became disenchanted playing the bass, and switched his primary instrument to that of electric guitar around 2003-04. Also an accomplished pianist, Glenn's status as a multi-instrumentalist has served him well, on his jazz fusion and modern orchestral recordings.

Beginning in the 1970s, Dann Glenn's career started as a rock musician, who later became a serious jazz player and classical composer. During his formative years he played with such musicians as Blues guitarists Michael Bloomfield and Luther Tucker.

Dann was mentored by jazz bass legend Monk Montgomery (the first to play electric bass on a jazz record, with Lionel Hampton), brother to the legendary jazz guitarist Wes Montgomery and vibraphonist /pianist Buddy. After spending years on the road playing in show bands, Dann returned to Los Angeles in 1977, where he studied the Simandl method with bassist and pianist Herb Mickman.

Dave Liebman came over to Dann’s condo years ago in North Hollywood when Dann was one of the first cats to have a contra bass guitar. Dave jumped up and called Steve Swallow in NYC. "Hey man...you ever hear of a six string bass?" After this Dann played and recorded with many musicians and bands in the LA area, while on the faculty at Musicians Institutes Bass Institute of Technology (1988-1991).

During his time in LA, Dann became close with bassists Jeff Berlin and Jaco Pastorius, who was murdered in 1987. Dann and Berlin went on to become lifelong friends, often associated in the music press because of their views on music education for bass guitar players.

The pair spoke out against popular gizmos such as "hand-grip squeezers," "perfect pitch tapes" and the misinformation sometimes sold to unsuspecting students. Dann and Berlin contended that since music has been the same for hundreds of years in terms of its basic principles, such as harmony, it is music that should be taught - not licks and tricks. They also opposed tablature notation, and constantly encouraged young players to simply learn to read music, instead of wasting time learning what they considered to be a musicial non-language.

Glenn played with guitarists Jennifer Batten (Michael Jackson/Jeff Beck) and John Goodsall (Brand X) before leaving Los Angeles for good. Glenn and his wife Francoise (b. May 20 1963, Paris, France) relocated to St. Louis, Missouri in 1993, where he set up his own studio to compose and record his music. In addition to his love for jazz and jazz fusion music, Dann took up orchestral composition, ultimately writing six symphonies by 2007.

He has also written many columns for magazines, and became a published novelist with his first book entitled, Almost a Proverb, an examination of the human condition based on his experiences during the Vietnam War.

Starting and ultimately leaving a band, known as BangTower, Glenn went on to create a new ensemble, the Eleven Eleven Orchestra, which features bass virtuosos Jeff Berlin, Baba Elefante, and renowned drummer Ronnie Ciago. Glenn also collaborated with former Godsticks bassist Jason Marsh, (Also the album's Producer) and Baba Elefante, on a release entitled "dann glenn/Electric." In 2010 Glenn appears in the motion picture "Johnnie Be Good The Movie" alongside Eric Clapton, Keith Richards, and many other icons of music.

Dann, who has been compared to Charles Mingus for his temper as well as his musicianship, is known for his speed as a player and his unusual use of time and space as a composer. He has also mentored many younger players over the years, fulfilling a promise he made to his own mentor, Monk Montgomery to help others, as he had been helped.

LISTEN & DOWNLOAD DANN GLENN'S LATEST, ELECTRIC

Ten Songs For A Halloween Party

2010-10-26T10:01:00.000-07:00

Below are ten songs to start a Halloween party. These may not be the best ten or only ten but ten we believe will get ya’ moving. Enjoy!

The Murder (From The Movie "Psycho")
D.O.A. (Bloodrock)
Rosegarden Funeral Of Sores (Bauhaus)
Zombie Dance (The Cramps)
Psycho Killer (Talking Heads)
Vampira [Explicit] (The Misfits)
Living Dead Girl (Rob Zombie)
Monster Mash (Bobby "Boris" Pickett)
They're Coming To Take Me Away Ha! Haa!! (Napoleon's Ghost)
The Twilight Zone (TV Theme)

WELCOME TO THE TOWER RECORDS COMMUNITY – Mark Egan

2010-10-25T14:10:00.000-07:00

Mark Egan is considered to be one of the most respected and in-demand electric bassists on the music scene today. His unique fretless bass sound and style is both distinctive and versatile and his musical contributions incomparable. With three platinum & three gold albums to his credit, Mark has recorded with the likes of the Pat Metheny Group, Sting, Arcadia, Roger Daltry and Joan Osborne; performed with the Gil Evans Orchestra, Marianne Faithful, David Sanborn, John McGlaughlin and Sophie B. Hawkins and has added his musical prowess to such movies and television shows as; Aladdin, The Color Of Money, A Chorus Line, NBC Sports, ABC’s All My Children, CNN/Headline News and numerous award winning television commercials.

Born in Brockton, Massachusetts, Mark began his musical studies on the trumpet at the age of 10, mainly through the influence of his father who was an avid player. He continued to play the trumpet through high school in jazz bands, R&B groups, the high school orchestra and started playing bass at age 16. He enrolled in the University of Miami School of Music under the direction of Jerry Coker and studied privately with the late, great Jaco Pastorius whose influence remains with him to this day. “When I heard Jaco play it made me aware of what could be done on the electric bass, particularly with regard to grooving and soloing - - Jaco just made me aware of another way of thinking about the bass and music.”

While in Florida Mark formed a band with fellow University of Miami students; Clifford Carter (keyboards), Hiram Bullock (Guitar), Billy Bowker (Drums) and Phyllis Hyman (vocals). They came to New York in 1976 and soon afterward, Mark hooked up with the Pointer Sisters, Deodato and David Sanborn. Mark’s notoriety was gaining and he quickly caught the eye of U of Miami School mate, Pat Metheny - joining the group in 1977. It was through this association that Mark would team up with Metheny drummer, Danny Gottlieb and go on to form the group Elements. To this day, Elements is one of the most highly acclaimed experimental contemporary jazz groups in the world.

The band has recorded over eight full length albums and have toured in over twenty-seven countries. Their uncompromising live sound continues to be on the forefront of the jazz music scene. While Mark continues to work with Elements and hold down the chair in the Gil Evans Orchestra (a position he has held for over thirteen years), his solo projects represent a more personal side of his musical makeup.

His solo debut, Mosaic (Windham Hill Records) delved into adventurous territory on his exotic custom-made eight and ten string basses - - painting beautiful soundscapes over multi-layered musical textures. His follow up LP, Touch of Light ( GRP Records) displayed another facet of Mark’s creativity. Touch of Light featuring; Danny Gottlieb (drums), Clifford Carter (keyboards) and Bill Evans (sax) proved to be more upbeat and aggressive further exploring the sound of his arsenal of basses (30 at last count). In 1993 Mark signed with Bluemoon Records and released the highly anticipated album, Beyond Words which again featured; Gottlieb, Carter and Evans. It also introduced to the American music scene famed Brazilian guitarist, Toninho Horta whose bossa nova style and melodic compositions would take the music in a new direction.

Mark not only continues his recording and touring efforts which recently included studio performances with Joan Osborne, Michael Franks, Rory Block, Marianne Faithful, and tours with; Elements, Bill Evans and Marianne Faithful, but his passion and visionary approach to contemporary jazz music has led him to the creation of his independent record label, Wavetone Records. He brings his twenty years of performing, recording and producing experience to this new label, dedicated to providing an outlet for creative music projects. To-date Wavetone has released to critical appraise four albums; Elements, Far East Volume I and II, Elements Untold Stories, Egan’s, Mosaic Joe Beck, Finger Painting and the most recent release, Jeff Ciampa, Signs of Life. In addition, Mark has realized his dream with the completion of is own state-of-the-art recording studio, Electric Fields, designed by the highly acclaimed acoustical architect John Storyk. Electric Fields is equipped with a 40-track digital recording system and an array of vintage sound processing gear. Projects already in production include Mark’s solo project, guitarist Jeff Ciampa Trio and Element’s long awaited studio album.

Mark continues to explore new sound territories through his extraordinary recording, composing and touring activities. His successful efforts as a musician, producer and label manager keep him on the forefront of the contemporary music scene.

LISTEN & DOWNLOAD
Mark Egan (Leader) & Elements (w/Danny Gottlieb)

Sampling of other work by Mark Egan

VIEW
Berliner Jazztage 1978, with Pat Metheny, Lyle Mays, Mark Egan, Danny Gottlieb

WELCOME TO THE TOWER RECORDS COMMUNITY – Mickey Thomas

2010-10-12T10:56:00.000-07:00

Mickey Thomas (born December 3, 1949, Cairo, Georgia) is an American singer.

He was inspired to take part in music after seeing a Beatles performance in 1965. He travelled to Atlanta with long time childhood friends Charles Connell, Lewis Oliver, Tommy Verran, and Walter Wight. Thomas, Connell, and Verran wound up in their first rock and roll band together. Verran was the lead singer at the time. They split up to go to different colleges but later reformed in the early 1970s along with friend Bud Thomas as the "Jets". While singing lead for the Jets in 1974, Thomas joined the Elvin Bishop Group as a harmony singer and eventually made it to lead vocals. His best known achievement was singing on Elvin Bishop's chart hit 'Fooled Around And Fell In Love', a #3 single in 1976.

In April 1979, Thomas was asked to join Jefferson Starship, after the departure of Marty Balin and Grace Slick. In 1981 he recorded his second solo album Alive Alone. Former Elvin Bishop Group drummer Donny Baldwin became Starship's drummer two years later when Aynsley Dunbar left.

He spent most of the early eighties as the main vocalist of Jefferson Starship, performing several duets with Slick (who rejoined in 1981) and gaining greater influence in the band. After Paul Kantner left in 1984, Thomas was sole leader of the band. From 1985-1989 the newly dubbed 'Starship' scored some of their biggest hits. When Grace Slick left again in 1988, Thomas sang all lead vocals - in a band that was formed when he was just 15 years old. But their fortunes as pop music artists soon ran out. A tour was cancelled after Thomas was attacked in a bar and required facial reconstruction surgery. (His assailant was Donny Baldwin who chose to resign after the incident.)

He has also appeared in the 1989 film Dream a Little Dream as well as having recorded the film's titled theme song and its duet version with Mel Tormé for the soundtrack. The duet version was also played during the end of the film.

The original incarnation of Starship disbanded in 1991. In 1992 Paul Kantner reformed Jefferson Starship without Thomas and Thomas formed a new touring band called 'Starship featuring Mickey Thomas'. Touring has continued with this title.

In 1998 he guested on Sammy Hagar's album Marching To Mars.

In 2002 Thomas and his touring band re-recorded all of the Jefferson Starship hits on which he had appeared. The resulting album was released in 2003, without any band credits being provided, as Forever Gold, part of a series of releases by St. Clair Entertainment.

In 2004 he released an album project, under the title of Over the Edge, produced by Fabrizio Grossi. In 2008 he recorded a new album with Aynsley Dunbar for Direct Music, featuring artists such as Jake E Lee, former guitarist for Ozzy Osbourne. Thomas reunited with Elvin Bishop when Starship closed for them in late 2008.

SHOP:

Jefferson Starship

Mickey Thomas

“Like” Tower Records on Facebook

LISTEN & DOWNLOAD

Mickey Thomas Albums

Jefferson Starship Albums

Mickey Thomas w/others – Albums

VIEW

Jefferson Starship: Jane (Live)

WELCOME TO THE TOWER RECORDS COMMUNITY – Mighty Sam McClain

2010-10-07T15:33:00.000-07:00

"America’s best purveyor of red-clay soul blues…"

Sam McClain was born on the northern edge of the Bible Belt in Monroe, Louisiana in 1943. As a five year old, he began singing in his mother’s Gospel Church, loving every bit of that attention!

He left home when he was thirteen to escape an abusive stepfather and followed local R&B guitarist, "Little Melvin" Underwood through the Chitlin Circuit, first as his valet and then as lead vocalist himself at 15.

While singing at the 506 Club in Pensacola, Florida he was introduced to Producer/ DJ, "Papa Don" Schroeder and in 1966, Sam recorded Patsy Cline’s "Sweet Dreams" – his first real success. Several recording sessions at Muscle Shoals produced singles, "Fannie-May" and "In the Same Old Way". For fifteen years, first in Nashville, then in New Orleans Sam worked menial jobs and was forced to sell his plasma while he was homeless. From cotton fields to the Apollo Theater to the park bench, all while living the songs that would jump-start his career in the mid-1980. New Orleans own, Neville Brothers extended themselves at this lowest of times. Sam was offered a chance to tour and record in Japan in 1989. "Live in Japan", featuring legendary Wayne Bennett is a fine recording, much sought after by fans worldwide.

By the early 1990’s Sam networked his way to New England through his participation in the "Hubert Sumlin Blues Party" project (produced by Hammond Scott on Black Top), which involved many Boston based musicians. These friends provided encouragement and collaborations, which led to Joe Harley and AudioQuest Music. The results were the successful releases, "Give It Up To Love" and "Keep On Movin". After his move to New Hampshire the momentum continued to build with "Sledgehammer Soul and Down Home Blues". In 1998 Sam had two releases, "Journey" (AQM) and "Joy and Pain –Live in Europe" on the CrossCut label. "Soul Survivor –The Best of MSM" was his farewell to AudioQuest in 1999. ("Journey" and "Soul Survivor" both include "New Man in Town", featured on David E. Kelley’s Ally McBeal on FOX-TV). Sam signed on with the Telarc Blues label in 1999, taking his longtime producer Joe Harley with him and recorded W.C. Handy nominated "Blues for the Soul in 2000 and "Sweet Dreams" in 2001 (also Handy nominated)

Sam started to take back his career in 1996 and turned to managing himself. His publishing company, Emily’s Son Publishing, has been licensed since 1993 when his original work appeared on "Give It Up To Love". McClain formed McClain Productions after successfully co-producing his CD’s with Joe Harley. And now, the last step of his independence has been realized through the creation of his own label, Mighty Music which release his CD "One More Bridge To Cross" in February 2003. His newest project, "Betcha Didn’t Know" which reveals yet another side of MSM was released in July 2009 on Mighty Music with City Hall Records as the distributor. Sam greatly appreciated the nomination of this CD by The Blues Association as “Soul/Blues Album 2010”. You can find it in a store near you or order it directly from our web store – stop by and listen!

2008 brought Sam into the “Give US Your Poor” project, benefiting the homeless. He co-wrote (with saxophonist Scott Shetler) “Show Me the Way”, which was included in the compilation where he and Jon Bon Jovi sung this stirring anthem as a duet. He continues to work with this project, performing at both The Lincoln Center, New Your City and at The Kennedy Center in Washington and other venues, sharing the stage with Natalie Merchant, and the smashing Greek tenor, Mario Frangoulis as well as the others mentioned on the CD. In early 2009, MSM was asked to record a CD of duets with Iranian folk vocalist Mahsa Vadhat. The resulting CD, “Scent of Reunion—Love Duets Across Civilizations” (www.kkv.no) reached #6 in the European World Music Charts and this is a Mighty Sam McClain that has never been heard before! Mahsa and Sam have had concerts in Norway to celebrate this music. Sam and the guitarist for this project, Knut Reisersrud, are collaborating on a CD that will be recorded in Norway in January 2011. Also, Sam has sung the theme song for Ernest Thompson, (the Oscar winner for “On Golden Pond”) for his new film, “Time and Change$. “Find the Sun” is a song written by Thompson and Joe Deleault (keyboards in MSM’s band) but is recognizable a song that Sam has made his own. Furthermore, he will have a cameo in the film, singing it! To top it of, Sam has recorded another CD—ready to go, called “Too Much Jesus (Not Enough Whiskey)” and the next music in the works. Pat Herlehy (Sam’s guitarist) and MSM have a deep connection that is producing some great music.

Mighty Sam McClain is in control – of his life and career as he continues to perform nationally and internationally. It’s full steam ahead for this great vocalist! "The Soul of America" is what he is called in Europe – he is, just as his lyrics describe, "I’m a singer, a man with a song…and I’ve got a message for you.”

Shop – Mighty Sam McClain

“Like” Tower Records on Facebook

LISTEN & DOWNLOAD

IN THEIR OWN WORDS

2010-10-05T14:06:00.000-07:00

When A Rock Star Isn’t Exactly The Rock Star You Thought They Were… or Are

And a Great NEW EP!

Same Mirror, Different Reflections

1. Don’t Surrender

2. Learning To Love

3. Indigo Blue

4. Baby’s Got A Secret

By: Rick Roberts

Rick,

I got an email from a guy I know in St. Louis complaining about someone inviting my friends friends to his own bands gigs, and saying my friend was in the band, which he wasn't! It reminded me of this little event in my own life. They're not exactly the same, but I think you'll understand the link.

About ten years ago, after I had semi-retired, a friend asked me a question that I didn't quite understand. The thing is, I had gotten pretty used to being on tour and arriving in some town, only to hear that someone had been around the day before, gone to some bar, announced that he was Rick Roberts, and had all his drinks bought for him, and maybe even got lucky and went home with some lovely young thing with stars in her eyes. That was just part of the package deal in those days. It happened a whole bunch of times, and after a while it wasn't too big a surprise.

But this was different. In the first place, I hadn't been on tour for a while. But more important was the fact that my friend asked me if I was still drinking as much as I had been. When I asked why, he said he thought that what had happened in Texas would have been a wakeup call, even for me. I said I didn't know what he was talking about, and he said that no matter how bad a shape I had been in, I couldn't have forgotten TEXAS!! So I asked him to explain. This is what he told me:

"When you were on tour as a soloist last summer, you didn't have a lot of cash, so a friend of mine (his) said he would put you up, and drive you around to some of your first gigs." He said his friend had let me sleep ON HIS COUCH!! His friend had told him that I was pretty drunk for every one of the first two or three gigs, but they were in small towns in the middle of nowhere, and were kind of warm up shows. His friend also told him I was really bad. Then came the first show in a fairly large city. According to his pal, I was trashed again! By this time in the story, I was so astonished that I didn't even catch the name of the city. I stopped him and said he was out of his mind, and that I hadn't even been on tour for about two and a half years, and definitely nowhere near Texas. In fact, I had not played any gigs outside of Colorado or California since I had gotten married. Anyway, he said he couldn't believe I was so out of it I didn't even remember. He said his friend was totally disgusted by that time, and felt like I was also making him look like a fool, so instead of taking me to the show, he had driven me to the airport, taken my ticket, and put me on a flight to Denver. From there on, I was supposed to find my own way back to Boulder.

I asked my friend who his friend was, and did I know him before I supposedly went to Texas. He said I didn't, and that was one reason he was upset, and had never talked to me about it. He said he was humiliated because his friend had taken me in because my friend said I was good people. I got my wife to verify the fact that I was nowhere near Texas the previous summer, and finally my friend realized that I was telling the truth, and that someone had pulled off a gigantic scam.

Here's the funny part. I just kind of shrugged my shoulders, shook my head, and said it was incredible, but no one had ever tried to sue me, or anything else untoward, so I supposed we should just chalk it up to another crazy. Welllll....my wife didn't quite see it that way! She was absolutely furious, I mean just short of going postal. She thought about what we should do about it, and after a day or two, when nothing really came to mind, she grabbed the Boulder-Denver phone book, and started calling all the Rick Roberts' that were listed. Oh yeah, I forgot. The impostor had ID that identified him as Rick Roberts (there's a lot of R.R.'s around). After calling three or four, and asking if they were Rick Roberts the singer, a woman answered her call, and said, yes, her husband was the singer from Firefall. My wife screamed at her "NO HE'S NOT......MINE IS!!!!", and slammed the phone down. So far as I know, there has never been any further mix up concerning who is who! And to tell the truth, if you'd heard my wife, you would have made sure no one you were married to ever crossed my wife's path again.

Just thought I'd share that with you. I got a note back from my pal in St. L. saying he was withdrawing his own complaints, considering what goes on in the "shadow world" of R&R.

Rick

About Rick Roberts
Rick Roberts (born August 31, 1949, in Florida) is a country rock and classic rock singer-songwriter who recorded with many influential artists over several genres in the 1970s. He is best known for his work with The Flying Burrito Brothers on their 1971 self-titled album, and as a founding member and lead singer of Firefall from 1976 to 1981.

He started his music career in 1970, with the Flying Burrito Bros., a direct offshoot of the legendary Byrds. After the band parted company with Gram Parsons, Rick stepped in as rhythm guitarist, splitting the vocals with Chris Hillman, and composing both with Hillman and by himself. He recorded with the Burrito’s on their third and fourth albums before the original group broke up. Rick then recorded two critically acclaimed albums before forming the group Firefall in Colorado in 1974.

Rick wrote and sang the hit songs “You Are The Woman”, “Just Remember I Love You”, “Livin’ Ain’t Livin’”, “Strange Way To Tell Me You Love Me”, “Headed For A Fall”, “Goodbye, I love You”, before leaving the band in 1981. After taking some time off, Rick formed another band in southern California with Randy Meisner, original bass player and singer of The Eagles, called The Roberts-Meisner Band, and toured nationally during the late 1980’s. Unfortunately there is no commercially recorded music of the band, but you can view some of their television performances on YouTube. His earlier hits continue to receive strong radio airplay worldwide. “You Are The Woman” has just topped 5 million airplays, while “Just Remember” hit 3.5 million, and “Strange Way”, almost 2 million.

For the past twenty years, Rick has been living a more relaxed lifestyle, enjoying his life and marriage. Rick is excited to be releasing new songs in 2010 after so many years and is taking advantage of the internet to make those songs widely available.

Shop – Rick Roberts

Flying Burrito Brothers

Firefall

Check out Rick’s website

“Like” Tower Records on Facebook

LISTEN & DOWNLOAD

RICK ROBERTS: SAME MIRROR DIFFERENT REFLECTION

RICK ROBERTS – SOLO ALBUMS

VIEW

WELCOME TO THE TOWER RECORDS COMMUNITY – Sam Andrew

2010-09-28T08:08:00.000-07:00

Sam Andrew (born Sam Houston Andrew III, 18 December 1941, in Taft, California, U.S.) is a musician, singer, songwriter, composer, artist and founding member and guitarist of Big Brother and the Holding Company. During his career as musician and composer, Andrew has had three platinum albums and two hit singles. His songs have been used in numerous major motion picture soundtracks and documentaries.

As the son of a military father, he moved a great deal as a child. Sam developed a skill for music at a very early age. By the time he was fifteen living in Okinawa, he already had his own band, called the "Cool Notes". His early influences were Chuck Berry, Bo Diddley, and Little Richard. He also listened to a great deal of Delta blues. Not only did Sam have his own band at age fifteen, but he also had his own weekly TV show, an Okinawan version of American Bandstand.His brother Leland Andrew frequently stated his brother was the Benny Goodman of Japan.

Shortly after Sam graduated from high school his father was transferred to Hamilton Air Force Base in northern California. It was during this period that Sam started attending classes at the University of San Francisco and got involved in the San Francisco folk music scene of the early 1960s. But it was not until he returned from a two-year stay in Paris that he met Peter Albin at 1090 Page Street.

As Big Brother began to gel, Sam brought many songs into the band. He has been a prolific songwriter all of his life, penning his first tune at the age of six. Of his early compositions, "Call on Me" and "Combination of the Two" have been two of Big Brother’s most enduring classic tracks.. Sam continues today in his original role as musical director of the band.

Janis Joplin was recruited by band manager Chet Helms to join Big Brother as lead singer on June 4, 1966. They soon landed a record contract, issuing their first album on Mainstream and their second - a top seller - on Columbia Records.

Sam and original band mate James Gurley were known for their searing, psychedelic guitar work. In February 1997, Guitar Player magazine listed Andrew's and Gurley's work on "Summertime" as one of the top ten psychedelic solos in music history.

In December 1968 Sam along with Janis Joplin left Big Brother and the Holding Company to form the Kozmic Blues Band. After about nine months and one album, I Got Dem Ol’ Kozmic Blues Again Mam a!, Sam returned to Big Brother.

After Big Brother stopped performing in 1972, he moved to New York where he studied harmony and counterpoint at the New School for Social Research and composition at Mannes School of Music. During this period he also scored several films in the US and Canada as well as writing two string quartets and a symphony. He remained in New York City for eight years before returning to San Francisco where he began playing clarinet and saxophone. Big Brother and the Holding Company reunited in 1987.

During the 1990s in addition to touring with Big Brother, Andrew was involved with his solo project, The Sam Andrew Band, that toured across North America, and the spoken word quartet, Theatre of Light, that featured The Vagabond Poet, Tony Seldin, keyboardist, Tom Constanten and harpist/pianist, Elise Piliwale.

Andrew is also Music Director of the play Love, Janis, a biopic based on the life of Janis Joplin, written by Laura Joplin and directed by Randal Myler.

Andrew performed at the 40th Anniversary of Woodstock Concert on August 22, 2009 at Bethel Woods, New York.

Sam lives in northern California with his wife Elise Piliwale. He has one daughter, Mari Andrew, from his marriage to Suzanne Thorson.

LISTEN & DOWNLOAD

VIEW

David Becker Announces New CD BATAVIA in Conjunction With 65th Anniversary of the Atomic Bombings in Japan

2010-09-27T12:30:00.000-07:00

Internationally Acclaimed Guitarist, Composer and Producer Takes Listeners on Powerful Personal Musical Journey Chronicling Events Leading up to His Family's Captivity and Liberation During WWII in Indonesia and Holland.

LOS ANGELES, CA--(Marketwire) - For more than two decades guitarist, composer and producer David Becker has continued to define himself as one of the best and most unique voices in contemporary jazz guitar by combining diverse influences and a passion for the new and different. And, in conjunction with the 65th anniversary of the atomic bombings in Japan, August 6, he announces the release of his latest recording, BATAVIA, with his world renowned trio the David Becker Tribune, and takes us on his most personal journey yet.

As we enter the second phase of our publicity or should I say public awareness of the new project "Batavia", I am struck by the amount of enthusiasm I have received. For those who have shown their support with only a thumbs up, please know by purchasing the CD, you are getting us one brick closer to a memorial. Help give these two ladies and the 1000's of other Dutch POW's their dignity back! ~David Becker on his FB page (September 27, 2010)

"This is by far the most personal and challenging project we have endeavored during our 25 year recording history," states Becker. "All of the compositions have been directly influenced by or written about the experiences of my mother's family in Indonesia and Holland

during WWII. She, along with her mother, younger brother and stepfather spent four years in a concentration camp in Indonesia, while her father, older brother and sister were under siege in Holland."

With 13 instrumental tracks, Becker transports the tragedy of his family from incarceration through liberation to the mind's eye of the listener. Each of the individual compositions is explained with short well written text in the 12 page CD booklet which also contains intimate family photos. "The Japanese Government has yet to take responsibility for what occurred," states Becker. "With the release of BATAVIA, it is my goal to bring attention to this terrible tragedy and begin making inroads to get my family, (particularly my mom and her dear friend Edith who are still alive to tell the story), and the thousands of people interned with them the restitution they so deserve."

This is a highly emotional recording and it is precisely this spiritual force that makes it such a powerful attraction, from which the listener cannot escape. Accompanied as usual in the DBT are David's brother Bruce on drums and Bolle Diekmann on bass. The CD also features some very special guest artists including the Yellowjackets' Russell Ferrante on piano.

LISTEN & DOWNLOAD BATAVIA

WELCOME TO THE TOWER RECORDS COMMUNITY – DDrive (Don Mancuso/Phil Naro)

2010-09-17T11:41:00.000-07:00

DDrive

DDrive began rocking the Northeast in 2004 when guitarist Don Mancuso (The Lou Gramm Band, Black Sheep, Cheater, and Celtic Fire) put together his second solo recording effort after finishing tracks for singer Phil Naro’s (Talas, Peter Criss & 24K) “Glass Mountain” project. Mancuso and Naro joined forces to write the first self-titled DDrive album. Singer Lou Gramm (The Lou Gramm Band, Foreigner, Black Sheep) heard the demos for the D Drive CD, asked if he could come in as guest vocalist/co-writer, and they obliged! Canadian producer Steve Major rounded out the direction and production.

Released in 2005, the first DDrive CD received critical acclaim and airplay in the US, Australia, and Europe. The band’s signature sound blends strong classic rock roots with a modern edge sound all its own. The first DDrive CD did so well that Mancuso and Naro decided to put together the band’s second release in 2007 entitled "Straight Up The Middle." The new album has received accolades from a rapidly growing legion of D Drive fans, and is in its second pressing. D Drive released a video in summer '08.

3D is the long awaited follow up to “Straight Up The Middle” (2007) and promises to be an album that will be enjoyed fans for generations to come. 3D has great significance as well, not only as our 3rd release but the CD housed in a special edition 3D cover with 3D Glasses and 11 new rocking tracks and featuring some special guests like Long time friend Billy Sheehan (Mr. Big, Talas, David Lee Roth). on the first single Dig Down.

Don Mancuso

High energy. Pure joy. There’s simply no other way to describe Don Mancuso’s guitar style. Mancuso’s acclaimed artistry, versatility and professionalism have earned him the respect of his peers plus the accolades of worldwide audiences.

The Rochester, NY native began playing guitar at the age of six and began playing in earnest when he was a teen. A keen ear and study of the Rochester music scene allowed Mancuso to hone a unique style and an intense stage presence. By age 18, he was playing professionally with the blues-rock band Black Sheep, featuring vocalist Lou Gramm, who would go on to front the ‘80s supergroup Foreigner.

Black Sheep built a solid regional following before touring nationally in support of a host of legendary artists and bands, including Argent, Peter Frampton, Hall & Oats, KISS, Ted Nugent and Procol Harem. Black Sheep released two albums, Black Sheep and Encouraging Words, both of which featured songs penned in part by Mancuso.

When Gramm moved to Foreigner and Black Sheep disbanded, Mancuso explored many options. He studied classical guitar, dabbled in rock/fusion with the band Aurora, and did studio work in New York City with Ian Lloyd of Stories. He also studied piano and voice at the College of Marin in California. After returning to his beloved hometown of Rochester, he began playing with the band, Cheater, which quickly gained recognition in the northeastern U.S. with the 10-inch EP, “Ten Cent Love Affair.”

Over the years Mancuso has worked with a host of other artists including Imaginary Few, Johnny Smoke, Linda Rutherford & Celtic Fire, Steve Robb, Red Heart, Jessica Hamilton and Regi Hendrix.

His continued friendship with Lou Gramm allowed Mancuso to contribute to Gramm’s various solo projects, including Gramm’s successful debut solo album, Ready or Not, which featured the hit single, “Midnight Blue."

Presently Mancuso divides his time between service as the guitarist in The Lou Gramm Band and work on his solo endeavors. His first solo album, Now You See It, was followed up by D:Drive, which featured the talents of Gramm, Phil Naro, Jeff Cosco, Jessica Hamilton, Dave Quick, Joe Lana, Larry Crozier, Brian Egglestein and fellow Lou Gramm Band member Andy Knoll.

While D:Drive began as a solo effort, it metamorphosed into a true band effort by the time the follow-up Straight Up The Middle made its debut in early 2007. Straight Up the Middle featured the nucleus of Mancuso, Naro and Knoll. Gramm lent his voice to background vocals at Mancuso’s request. Originally a self-published effort, Straight up the Middle,
drew the attention of Chavis Records and subsequently was released on the label in July 2007.

The future looks bright for Don Mancuso, who still plays for one reason: sharing his joy with others. “I do this for the love of playing,” he says. “I do this in hopes of making people smile with a momentary distraction from the daily grind.”

He also hopes he can be an inspiration to the next generation of guitarists. “I really feel blessed to have been given these gifts,” he says with a smile. “What else can I say, it makes me feel good to share these gifts with people who appreciate them.” ~by Barbara Laughon

SHOP:

Don Mancuso

Lou Gramm w/Don Mancuso

Phil Naro

Phil Naro is a singer-songwriter originally from Rochester, New York. He is best known as the frontman for Billy Sheehan’s Talas in the mid-1980s. His major influence is Aerosmith frontman Steven Tyler.

Naro’s first major gig was in 1976 with Rochester band Black Sheep, replacing Lou Gramm who had left to form Foreigner. In 1978, Naro joined the popular Canadian band Chain Reaction, which released two albums and played an intense coast-to-coast tour schedule of 600 shows in two years.

Phil Naro is a Daytime Emmy award-winning performer, and, Internationally acclaimed composer, performer, singer, guitar player, songwriter and producer, well known for his powerful voice and his tremendous four octave range. Naro’s career began in his hometown of Rochester, New York at the age of fifteen where he performed in a variety of popular High School bands. Word of his amazing voice quickly spread to the bar bands where he pursued his musical career.

In 1980 Naro had a musical opportunity to go Toronto, ON, where he joined the band “Chain Reaction,” and released “X-Rated Dream” on the Attic Records label. Following the release of “X-Rated Dream” he then returned to Western New York. While Naro immersed his talents writing and recording songs with other musicians in Rochester and Buffalo, bass player, Billy Sheehan (www.billysheehan.com,) from Talas was in search of a lead singer for his band. Then late in 1983 he found the voice of the band in Phil Naro. After numerous performances, the band recorded “Live Speed on Ice" at L'Amour in New York City which simultaneously made the top ten charts in both England and Japan.

While with Talas Phil Naro enjoyed great success on a unique American heavy metal tour performing with many of the 80's top attractions such Yngwie J. Malmsteen's Rising Force, Anthrax, White Lion, Quiet Riot, and Iron Maiden. After his time with Talas, Naro joined with Canadian AOR Coney Hatch, replacing James LaBrie as the band’s new charismatic front man. Highlighting his career, Naro was a much sought after lead vocalist, discovered by respected producer Eddie Kramer who had worked with Led Zeppelin, Jimi Hendrix and KISS. This discovery resulted in Kramer recommending Naro to Peter Criss (www.petercriss.net,) former KISS drummer, who was preparing his solo career. At the helm of Criss’ solo project two of Naro’s songs, “Bad People” and “Blue Moon Over Brooklyn” appeared on Criss’ 1995 release, “Cat 1.” While he was creating music with Criss, Naro also wrote songs for Lee Aaron's 1989 multi-platinum selling album "Body Rock" and provided his powerful voice in studio work with Grammy winning producer Tom Lord-Alge, known for his work with Billy Joel, The Cure, Steve Winwood, Marilyn Manson and The Rolling Stones.

Naro also appeared on a compilation disc released through Liberty N' Justice Records entitled "Soundtrack Of A Soul" which featured ex-Skid Row member Sebastian Bach, Mark Slaughter, and Joe Cerisano of Trans Siberian Orchestra. From “Soundtrack of A Soul,” Naro followed up by fronting a band from NYC and Kivel Records, Tango Down (www.myspace.com/tangodown); he produced Jim Crean's (www.metalworksband.com) new CD "Velvet Crush" for Glass Mountain Music, Phil collaborated and did lead vocals with former Foreigner lead singer Lou Gramm,(www.lougramm.com) on both of the D-Drive albums, “DDrive 1” and "Straight Up The Middle". D Drive will be releasing their new CD, "3-D" in June 2010.

Phil Naro is an extraordinary artist. His tremendous talent affinity for music and his extraordinary artistry is continuously demonstrated through his contribution to the music industry. Phil, along with composers Don Breithaupt and Anthony Vanderburgh, created the theme song for the animated series,'6teen', which won a Daytime Emmy Award for best original song and main title. Whether recording with fellow artists, producing CD's, or singing as a frontman with a band, Phil Naro’s love and passion of music are inherent as he continues to prosper in his career.

Naro performs and sings the title theme to the animated series,'6Teen'.'6Teen' won a Daytime Emmy award for best original song-main title theme on August 30 2009, along with composers Don Breithaupt and Anthony Vanderburgh.

SHOP:

Chain Reaction

Note: Images courtesy of Scott Hamilton (3D cover) and Sheryle & Rob Photography

LISTEN & DOWNLOAD

WELCOME TO THE TOWER RECORDS COMMUNITY – Paul Collins

2010-09-17T09:40:00.000-07:00

Paul Collins is an American writer, author, music producer, and multi-instrumentalist. He is best known for his work in the power pop groups The Nerves and The Beat.

Paul Collins has released several solo projects with his alternative country group The Paul Collins Band, who play Americana music inspired by country rock and folk rock. Collins also continues to tour with his The Beat, his longtime rock group which combines power pop with Alternative rock and punk rock.

Paul Collins began his career as the drummer (and sometime singer & songwriter) in an influential Los Angeles power pop trio The Nerves, alongside Jack Lee and future Plimsouls frontman Peter Case. The band are best remembered for "Hanging on the Telephone", a song later made famous by Blondie. After The Nerves' demise, Paul Collins formed his own group as singer, rhythm guitarist, and songwriter for The Beat, sometimes called The Paul Collins Beat to avoid confusion with the British ska group also called The Beat (or The English Beat in the US).

Renamed the Paul Collins' Beat in the early 1980s, the band became icons in the genre of indie rock Paul Collins' Beat were in a constant state of touring and recording around the world. They appeared on Dick Clark's American Bandstand and contributed a song to the Caddyshack soundtrack, alongside Journey, Bill Murray and Kenny Loggins. The band broke up in 1989, following the release of their sixth album, One Night. Paul Collins continues to perform to this day with a new version of Paul Collins' Beat, in addition to his solo project, an all star country-rock band called the Paul Collins Band.

Since the early 1980s, Collins has been living on and off in Spain, where he has a particularly strong following, and spends most of his time performing in Europe and Japan, although he still holds citizenship in the United States. In fact, his two former wives are from Spain. During this time, he produced a lot of Spanish pop bands, like La Granja, Los Limones and Los Protones. Collins also runs two record labels, Paul Collins' Beat Music Group and Wagon Wheel Records, which specialize in indie rock, punk, power pop and alt-country music.

In 2007, Collins released his first solo album of the decade, Flying High. The music received strong reviews and is reminiscent of the catchy power pop of The Beat, particularly in the opening song, Rock and Roll Shoes. Additionally, Flying High showcases Paul Collins' alt-country, roots-rock and Americana styles, with the singles Will You Be A Woman and Afton Place, which were released worldwide as music videos.

A new version of the band Paul Collins’ Beat surfaced more recently and resulted in an album of new material entitled Flying High. Considered to be their best to date, Flying High is a solid record, done half acoustic and half electric. The album gets back to the classic sound of The Beat, while combining the raw energy of Collins’ solo works. Flying High is available from the official Paul Collins’ Beat website and Lucinda Records International. Paul Collins’ Beat play clubs, music halls and arenas, touring Japan, USA, Spain, UK, Italy and France among others. Expect Paul Collins’ Beat to play in your city very soon!

SHOP:

Paul Collins

The Nerves

LISTEN & DOWNLOAD

ON THIS DATE (September 15, 1965) - The 8 Track CLUNK! Is Introduced

2010-09-15T09:26:00.000-07:00

Stereo 8, commonly known as the eight-track cartridge, eight-track tape, or eight-track, is a magnetic tape sound recording technology, popular from the mid-1960s to the early 1980s, primarily in the United States — it was relatively unknown in many European countries. Stereo 8 was created in 1964 by a consortium led by Bill Lear of Lear Jet Corporation, along with Ampex, Ford Motor Company, General Motors, Motorola and RCA Victor Records (RCA). It was a further development of the similar Stereo-Pak four-track cartridge created by Earl "Madman" Muntz. A later quadraphonic version of the format was announced by RCA in April 1970 and first known as Quad-8, then later changed to just Q8.

The original format for magnetic tape sound reproduction was reel-to-reel audio tape recording, first made widely available in the late 1940s. However, threading tape into the recorders was more difficult than simply putting a disc onto a phonograph player. Manufacturers introduced a succession of cartridges which held the tape inside a metal or plastic housing to eliminate handling. The first was RCA, which in 1958 introduced a cartridge system called Sound Tape or Magazine Cartridge Loading, but until the introduction of the Compact Cassette in 1963 and Stereo 8 in 1965, none was very successful.

The inside of an 8-track cartridge. The black rubber pinch roller is at upper right.

The endless loop tape cartridge was first designed in 1952 by Bernard Cousino around a single reel carrying a continuous loop of standard 1/4-inch, plastic, oxide-coated recording tape running at 3.75 in.(9.5 cm) per second. Program starts and stops were signaled by a one-inch-long metal foil that activates the track-change sensor. (Bill Lear had tried to create an endless-loop wire recorder in the 1940s, but gave up in 1946, even though endless-loop 8 mm film cartridges were already in use for him to copy from. He would be inspired by Earl Muntz's four-track design in the early 1960s.)

Inventor George Eash, also from Toledo, invented a cartridge design in 1954, called the Fidelipac. The Eash cartridge was later licensed by manufacturers, notably the Collins Radio Corporation, which first introduced a cartridge system for broadcasting at the National Association of Broadcasters 1959 annual show. Fidelipac cartridges (nicknamed "carts" by DJs and radio engineers) were used by many radio stations for commercials, jingles, and other short items right up until the late 1990s when digital media took over. Eash later formed Fidelipac Corporation to manufacture and market tapes and recorders, as did several others, including Audio-Pak (Audio Devices Corp.).

There were several attempts to sell music systems for cars, beginning with the Chrysler "Hiway hi-fi" of the late 1950s (which used discs). Entrepreneur Earl "Madman" Muntz of Los Angeles, California, however, saw a potential in these "broadcast carts" for an automobile music system. In 1962 he introduced his Stereo-Pak four-track cartridge stereo system (two programs, each consisting of two tracks) and tapes, mostly in California and Florida. He licensed popular music albums from the major record companies and duplicated them on these four-track cartridges, or "CARtridges", as they were first advertised.

The Lear Jet Stereo 8 track cartridge was designed by a team of engineers working under Bill Lear and for his Lear Jet Corporation in 1964. The major change was to incorporate a neoprene rubber and nylon pinch roller into the cartridge itself, rather than to make the pinch roller a part of the tape player, reducing mechanical complexity. Lear also eliminated some of the internal parts of the Eash cartridge, such as the tape-tensioning mechanism and an interlock that prevented tape spillage. In the Cousino, Eash, Muntz, and Lear cartridges, tape was pulled from the center of the reel, passed across the opening at one end of the cartridge and wound back onto the outside of the same reel. The spool itself was freewheeling and the tape was driven only by tension from the capstan and pinch roller.

With a reel turning at a constant rate, the tape around the hub has a lower linear velocity than the tape at the outside of the reel, so the tape layers must slip past each other as they approach the center. The tape was coated with a slippery backing material, usually graphite and patented by Bernard Cousino, to ease the continuous slip between the tape layers. While the design allowed simple, cheap, and mobile players, unlike a two-reel system, it didn't permit rewinding of the tape. Some players offered fast-forward by speeding up the motor while cutting off the audio; but rewinding was never offered, because it was technically impossible.

Muntz's cartridge had used two pairs of stereo tracks in the same configuration as then-current "quarter track" reel-to-reel tapes. This format was intended to parallel his source material, which was usually a single LP (long playing) record with two sides. Program switching was achieved by physically moving the head up and down mechanically by a lever. The Stereo 8 version doubled the amount of programming on the tape by providing eight total tracks, usually comprising four programs of two tracks each. Lear touted this as a great improvement, because much more music could be held inside a standard cartridge housing, but in practice this resulted in a slight loss of sound quality and an increase in background noise from the narrower tape tracks. Unlike the Stereo-Pak, the Stereo 8 could switch between tracks automatically, with the use of a small length of conductive foil at the splice joint on the tape, which would cause the player to change tracks as it passed the head assembly.

The Stereo 8 also introduced the problem of dividing up the programming intended for a two-sided LP record into four programs. Often this resulted in songs being split into two parts, song orders being reshuffled, shorter songs being repeated, and songs separated by long passages of silence. Some eight-tracks included extra musical content to fill in time such as a piano solo on Lou Reed's Berlin and a guitar solo in Pink Floyd's Animals.

In rare instances, an eight-track was able to be arranged exactly like the record album version, without any song breaks. Examples of this are Quadrophenia by The Who, and some versions of Days of Future Passed by The Moody Blues. Other examples of this rarity are Freeways by Bachman-Turner Overdrive, Live Bullet by Bob Seger and the Silver Bullet Band, Caught Live + 5 by The Moody Blues, The Concert in Central Park by Simon & Garfunkel, and Octave by The Moody Blues.

In 1964, Lear's aircraft company constructed 100 demonstration Stereo 8 players for distribution to executives at RCA and the auto companies.

The popularity of both four-track and eight-track cartridges grew from the booming automobile industry. In September 1965, Ford Motor Company introduced factory-installed and dealer-installed eight-track tape players as an option on three of its 1966 models (Mustang, Thunderbird and Lincoln), and RCA Victor introduced 175 Stereo-8 Cartridges from its RCA Victor & RCA Camden artist's catalogs. By the 1967 model year, all of Ford's vehicles offered this tape player upgrade option. Thanks to Ford's backing, the eight-track format quickly won out over the four-track format, with Muntz abandoning it completely by late 1970.

Despite its problems, the format gained steady popularity because of its convenience and portability. Home players were introduced in 1966 that allowed consumers to share tapes between their homes and portable systems. "Boombox" type players were also popular. With the availability of cartridge systems for the home, consumers started thinking of eight-tracks as a viable alternative to vinyl records, not only as a convenience for the car. Within a year, prerecorded releases on eight-track began to arrive within a month of the vinyl release. Eight-track recorders had gained popularity by the early 1970s.

Quadraphonic eight-track cartridges (announced by RCA in April 1970) were also produced, with the major auto manufacturers being particularly eager to promote in-car quadraphonic players as a pricey option. The format enjoyed a moderate amount of success for a time but faded in the mid-1970s. These cartridges are prized by collectors since they provide four channels of discrete sound, unlike matrixed formats such as SQ. Most quadraphonic albums were specially mixed for the quad format.

Decline and demise

There are numerous reasons for the format's decline. While the cassette offered features that the eight-track lacked, such as smaller size and rewinding capability, its tape speed was half that of Stereo 8, producing theoretically lower sound quality; however, constant development of the cassette turned it into a widespread high-fidelity medium. Another factor was the cost of blank tapes and recorders, where cassette systems tended to be cheaper. There was also a sustained effort by record companies to reduce the number of different formats offered in the late 1970s, and when sales of eight-tracks slipped, they were quick to abandon the format. This was not due to any inherent weakness of the cartridge format (although the later cartridges were being manufactured with cheaper, lower quality materials); the professional broadcast cart format survived for more than another decade at most radio stations for playing and switching the likes of short jingles, advertisements, station identifications, and music content until they were replaced with various computer-based methods in the 1990s. However, these were used only for short sounds where starting from the beginning, not track access, was important. The endless loop tape concept, too, continues to be used in modern movie projectors, although in that application the spool is actively rotated and not drawn by tension on the film. That too, however, is endangered by digital cinema technologies.

Eight-track players became less common in homes and automobiles in the late 1970s. By the time the compact disc arrived to USA in 1982–1983, the eight-track cartridges had greatly diminished in popularity, although in other Latin American countries that format was abandoned in the mid-70s in favor of the cassette.

It was a popular and highly portable music format suitable for home, recreation, or vehicle that reached a wide market and perpetuated the recordings of a majority of music genres. The eight-track format maintains a cult following with avid collectors even after its demise on the open market.

What is Music Legend Al Kooper Listening To?

2010-09-09T09:31:00.000-07:00

Al Kooper is often referred to as the "Zelig" or "Forrest Gump" of Rock. Somehow, in a career that spans 50 years, he has managed to turn up at key points in the last five decades. In 1958, Koop began his professional career as guitarist in The Royal Teens ("Short Shorts"). He metamorphisized into a Tin Pan Alley songwriter with cuts by Gary Lewis, Gene Pitney, Keely Smith, Carmen MacRae, Pat Boone, Freddie Cannon, Lulu, Lorraine Ellison, Donnie Hathaway and later was sampled by The Beastie Boys, Jay-Z, Pharcyde, and Alchemist to name but a few. In the mid-sixties, Al was a member of The Blues Project and then founded Blood Sweat & Tears, remaining only for their debut album "Child Is Father To The Man." He then slipped his producer hat on and began with the top ten album "SuperSession" in 1968 featuring Mike Bloomfield & Stephen Stills. He is well known for his organ playing on Bob Dylan's "Like A Rolling Stone." He played off & on with Dylan for many years, live and in the studio. His playing skills have graced the works of The Rolling Stones, George Harrison, The Who, Jimi Hendrix, Peter Paul & Mary, Tom Petty, Joe Cocker, BB King, Taj Mahal, Alice Cooper, Roger McGuinn, Betty Wright, Trisha Yearwood, Tracy Nelson and scores more. Major moments include playing piano, organ and FRENCH HORN for The Rolling Stones on "You Cant Always Get What You Want," keyboards on George Harrison's #1 hit "All Those Years Ago," keys on "The Who Sell Out," and on "Electric Ladyland" for Jimi Hendrix.

AL with JIMI HENDRIX and CHAS CHANDLER

As a producer he is best known for discovering Lynyrd Skynyrd and producing their first three albums including "Sweet Home Alabama," "Free Bird," "Gimme Three Steps," and "Saturday Night Special." His other producing clients included, The Tubes, Nils Lofgren, Eddie & The Hot Rods, Ray Charles, BB King, The Staple Singers, Lorraine Ellison, Bob Dylan, Joe Ely, Thelonious Monster and Green On Red. His autobiography "Backstage Passes & Backstabbing Bastards" is considered by many to be a rock n roll must-read. He scored Hal Ashby's first film "The Landlord," John Waters film "Cry Baby," Michael Mann's TV series "Crime Story" and Peter Riegert's recent directorial debut "King Of The Corner."

Lynyrd Skynyrd's SECOND HELPING album
Ronnie Van Zant, Billy Powell, Allen Collins, roadie Kevin Elson & Al Kooper

His live show accompanied by his band of Berklee professors, "The Funky Faculty," has been acclaimed all over the USA and in Japan, Italy, Spain, Demark, Finland, Norway, The Czech Republic, with more countries lining up for for 2009.

FUNKY FACULTY - 2000:
Daryl Lowery, Jeff Stout, Larry Finn, Al, Bob Doezema, Tom Stein

There are many more credits, but in interest of space, we will close with his 2005 solo album "BLACK COFFEE" released to much critical acclaim featuring four stars in MOJO magazine and three stars in Rolling Stone. It was awarded the Memphis Blues Award for Comeback Album Of The Year. His humorous appearances in the Martin Scorcese Dylan biopic "No Direction Home" were consideered a highlight by many. In 2006, he was awarded the Milestone Lifetime Achievement Award. In 2007, the AES voted him the Les Paul Award presented to Al by its namesake, and in 2008, he was inducted into the Musicians Hall Of Fame.

His latest album is WHITE CHOCOLATE: "I think it's better than BLACK COFFEE and that was no easy task!" Kooper laughs. The two songs co-authored by legendary lyricist Gerry Goffin certainly help the cause. Al has added yet another sidetrip; a three piece band that just plays the rockabilly music he grew up listening to. And most assuredly, Al will be seen in many live performances all over the world in 2009, either solo, with The Rekooperators, The Funky Faculty or his Rockabilly Trio. Not bad for a 66 year old in his 52nd professional year.

LISTEN & DOWNLOAD AL'S MUSIC

The best way to introduce Al Kooper to those that are not familiar with him is to provide documentation of his body of work. Following is a list of just some of the artists and albums Al Kooper has played on or produced:

Solo

Act Like Nothing's Wrong

Al Kooper & Steve Katz

Al's Big Deal/Unclaimed Freight

Black Coffee

Championship Wrestling

Easy Does It

Four on the Floor

I Stand Alone

Naked Songs

New York City (You're a Woman)

Possible Projection of the Future

Rare + Well Done: The Greatest…

Rekooperation

Soul of a Man: Al Kooper Live

You Never Know Who Your Friends Are

w/Mike Bloomfield

Live Adventures of Al Kooper & Mike Bloomfield

Fillmore East: The Lost Concert Tapes 12/13/68

w/Shuggie Otis

Kooper Session: Super Session, Vol. 2

Alice Cooper

Lace and Whiskey

Alvin Lee

Free Fall

Anton Fig

Figments

Atlanta Rhythm Section

Back Up Against the Wall

B.B. King

King of Blues: 1989

King of the Blues [Box]

Live & Well

Bill Wyman

Stone Alone

Blood, Sweat & Tears

Child Is Father to the Man

Classic B S T

What Goes Up: The Best of Blood, Sweat & Tears

Al with Bob Dylan at The Newport Folk Festival

Bob Dylan

30th Anniversary Concert Celebration

Blonde on Blonde

Bob Dylan's Greatest Hits, Vol. 3

Bootleg Series, Vol. 7: No Direction Home

Bootleg Series, Vols. 1-3 (Rare & Unreleased)

Dylan [1973]

Empire Burlesque

Highway 61 Revisited

Knocked Out Loaded

Masterpieces

New Morning

Other Side of the Mirror: Live at Newport Folk

Self Portrait

Thin Wild Mercury Music

Under the Red Sky

George Harrison

Somewhere in England

Dark Horse Years 1976-1992

Janis Ian

Society's Child: The Verve Recordings

Labelle

Lynyrd Skynyrd

20th Century Masters - The Millennium Collection

Best of the Rest

Chronicles

Essential Lynyrd Skynyrd

Family

Lynyrd Skynyrd [Box Set]

Nuthin' Fancy [Bonus Tracks]

Poison Whiskey

Pronounced Leh-Nerd Skin-Nerd

Second Helping

Skynyrd Collectybles

Skynyrd's Innyrds: Their Greatest Hits

Thyrty: The 30th Anniversary Collection

Bloomfield/Kooper/Stills

Super Session

Mick Jagger

Very Best of Mick Jagger

Moby Grape

Grape Jam

Neil Diamond

In My Lifetime

Tennessee Moon

Peter, Paul and Mary

Peter, Paul and Mary Album

Ray Charles

Genius & Friends

Rick Nelson

Stay Young: The Epic Recordings

Ringo Starr

Photograph: The Very Best of Ringo Starr

Stephen Stills

Turnin' Back the Pages

Taj Mahal

Natch'l Blues

Taj's Blues

The Blues Project

Anthology

Blues Project Live at Town Hall

Live at the Café Au Go Go

Original Blues Project Reunion in Central Park

Projections

The Butterfield Blues Band

In My Own Dream

The Byrds

20 Essential Tracks from the Boxed Set: 1965-90

The Jimi Hendrix Experience

Electric Ladyland

Al with Jimi Hendrix at The Monterey Pop Festival

The Rolling Stones

Forty Licks

Let It Bleed

The Who

Odds & Sods

Who Sell Out

Who's Next [Bonus Tracks]

Tom Petty & the Heartbreakers

Playback

Tommy Bolin

From the Archives, Vol. 1

From the Archives, Vol. 2

Trisha Yearwood

Mayall, Clapton, Wyman, Kooper

Following is what Al is listening to on his iPod.

To listen to a sample click on the “Play” button and a list of the following tracks will be viewable, sampled and purchased.

1 Love Reign O'er Me (Live from the Kennedy Center) Bettye LaVette

2 Thinking 'Bout Somethin' Hanson

3 One Short Night Grace Potter & the Nocturnals

4 The Rest Is Noise Field Music

5 When I Still Have Thee Teenage Fanclub

6 Dreams Brandi Carlile

7 Armistice Phoenix

8 Semi-Automatic Stuedabakerbrown

9 The Trailer and the Truck Josiah Wolf

10 Collector Here We Go Magic

11 American Slang The Gaslight Anthem

12 Annabelle A Rocket to the Moon

13 What Goes Around Comes Around Lance Lopez

14 Take A Load Off (Album Version) Stone Temple Pilots

15 Maydays and Rosaries AM Taxi

16 The Waters of Forgetfulness Gerry Rafferty

17 Moving to Zion Jimmy Needham

18 Hustle Tunng

19 Always Joonie

20 Waiting for This Hanson

21 Feather White A Silent Film

22 Sitting In Limbo Miranda Dodson

23 Are You Experienced Jim Suhler & Alan Haynes

24 Question Nada Surf

25 The Letter Matt Schofield

26 Don't Dream It's Over (Album Version) Straight No Chaser

27 Sister Sadie Steve Gadd

28 I Can See Me Loving You Beth Nielsen Chapman

29 Sometimes I Don't Need to Believe in Anything Teenage Fanclub

30 Between the Needles & Nightfall Marco Benevento

31 Bring On the Wonder Sarah McLachlan

32 Mean 8mm

33 Winning Streak Unbunny

34 Over My Head Gerry Rafferty

35 No Good With Faces Jack Johnson

36 Multiply Jamie Lidell

37 Isabel BIGBANG

38 Now That You're Gone Indigenous

39 Lost and Found Anoop Desai

40 Conscious Love Gerry Rafferty

41 Dare If You Dare (Album Version) Stone Temple Pilots

42 Say It Like You Mean It Howard Jones

43 Fallen Jennifer Knapp

44 Loose Wires Unbunny

45 How We Love Beth Nielsen Chapman

46 Teeth Lisa Hannigan

47 Big Jet Plane (Radio Edit) Angus & Julia Stone

48 After All This Time The Beautiful Girls

49 Shane Martin Sexton

50 Laredo Band of Horses

51 Snowden (Rich Costey Mix) Doves

52 Maybe I'm Amazed Bettye LaVette

53 Blow This House Down Anthony Rankin

54 Wayne County Killer John 5

55 Nobody But You The Apples In Stereo

56 Jaded Tourist Widespread Panic

57 One Man Show 30db

58 Together Anthony Rankin

59 Starving Robins Horse Feathers

60 Angeline (Live) John Martyn

61 Angelina (live) Ray Charles

62 Oh What a Feeling Solomon Burke

63 Love 'N Affection Sass Jordan

64 Something Beautiful Tracy Bonham

65 Cell Phone Unbunny

66 Alibi Shelby Lynne

67 Grey Skies Nikki Yanofsky

68 She's Gone PJ Morton

69 Driven By a Beating Heart A Silent Film

70 Grave 30db

71 Fell In Love Again Sass Jordan

72 Tomorrow's Another Day Carney

73 My Name Anoop Desai

74 There Is a Reason Toots & The Maytals

75 My Little Room The Candle Thieves

76 Your Hands (Together) The New Pornographers

77 Time's Caught Up On You Gerry Rafferty

78 Ain't No Hidin' Love Deadstring Brothers

79 Wheels of Wonder (Demo Version) Kevin McDermott Orchestra

80 Foolsong Henheart

81 What I Need Sass Jordan

82 Everything I Do (Gonna Be Funky) Peter Wolf

83 The Great Outdoors The Orange Peels

84 The Widower Horse Feathers

85 Measure Field Music

86 John the Determinist Jeremy Messersmith

87 The Un-American Matt Morris

88 Long Goodbye The Nadas

89 Everyday Sausalito Foxtrot

90 After You're Gone The Len Price 3

91 Don't Leave Tyler James

92 The Drought Horse Feathers

93 My Love, My Enemy Dave Barnes

TOWER RECORDS ARTIST FORUM

APRIL, 1970 (41 YEARS AGO) Miles Davis: Bitches Brew is released.

ON THIS DATE (39 YEARS AGO) April 3, 1972 - The Mar y Sol festival ends.

ON THIS DAY (February 11, 1994) - First Beatles' "Reunion" Session

An Open Letter from Tower Records President

ON THIS DATE (February 9, 1964) The Beatles on Ed Sullivan

ON THIS DATE (February 7, 1964) Beatlemania Arrives in the US

ON THIS DATE (February 2, 1973) The Midnight Special makes it series debut.

List of guests appearing on The Midnight Special

1972 (pilot)

1973

1974

1975

1976

1977

1978

1979

1980

1981

ELECTRIC CHAOS, BUT JUST GREAT - TONY STEWART AT THE DEBUT OF PINK FLOYD'S NEW MASTERWORK (NME 1/29/72)

The Ultimate Critical Review (DVD)

The Making of The Dark Side of the Moon (DVD)

Welcome To Tower Records video

This Week - New Releases and Sales

All American Nightmare (CD)

The Original Mono Recordings (Vinyl)

The Original Mono Recordings (Vinyl) (Amazon.com Exclusive Bonus Edition)

Blues (2 LPs) (Vinyl)

The Beginning [180 Gram Vinyl]

WELCOME TO THE TOWER RECORDS COMMUNITY – Clive Bunker

WELCOME TO THE TOWER RECORDS COMMUNITY – Dann Glenn

Ten Songs For A Halloween Party

WELCOME TO THE TOWER RECORDS COMMUNITY – Mark Egan

WELCOME TO THE TOWER RECORDS COMMUNITY – Mickey Thomas

WELCOME TO THE TOWER RECORDS COMMUNITY – Mighty Sam McClain

IN THEIR OWN WORDS

WELCOME TO THE TOWER RECORDS COMMUNITY – Sam Andrew

David Becker Announces New CD BATAVIA in Conjunction With 65th Anniversary of the Atomic Bombings in Japan

WELCOME TO THE TOWER RECORDS COMMUNITY – DDrive (Don Mancuso/Phil Naro)

WELCOME TO THE TOWER RECORDS COMMUNITY – Paul Collins

ON THIS DATE (September 15, 1965) - The 8 Track CLUNK! Is Introduced

What is Music Legend Al Kooper Listening To?