Short lived band released this one and only album in the late sixties. The sound is close to Vanilla Fudge heavy psych with floods of organ tight rhythm section and dramatically vocals.
Tracks
1 Hold On I'm Coming (David Porter, Isaac Hayes) - 5:05
2 Little Light (Mike Lewis) - 3:52
3 Aunt Millie (The Child) - 3:15
4 You'll Never Walk Alone (Richard Rodgers, Oscar Hammerstein) - 3:15
5 Soft Rocks (The Child) - 4:05
6 Exodus (Ernest Gold, Pat Boone) - 4:30
7 A Child Begins to Cry (The Child) - 3:37
8 Ol' Man River (O. Hammerstein, Jerome Kern) - 6:34
One of the best West Coast folk-rock/psychedelic bands, Love may have also been the first widely acclaimed cult/underground group. During their brief heyday -- lasting all of three albums -- they drew from Byrds-ish folk-rock, Stones-ish hard rock, blues, jazz, flamenco, and even light orchestral pop to create a heady stew of their own.
They were also one of the first integrated rock groups, led by genius singer/songwriter Arthur Lee, one of the most idiosyncratic and enigmatic talents of the '60s. Stars in their native Los Angeles and an early inspiration to the Doors, they perversely refused to tour until well past their peak. This ensured their failure to land a hit single or album, though in truth the band's vision may have been too elusive to attract mass success anyway.
Love was formed by Lee in the mid-'60s in Los Angeles. Although only 20 at the time, Lee had already scuffled around the fringes of the rock and soul business for a couple of years. In addition to recording some flop singles with his own bands, he wrote and produced a single for Rosa Lee Brooks that Jimi Hendrix played on as session guitarist. Originally calling his outfit the Grass Roots, Lee changed the name to Love after another Los Angeles group called the Grass Roots began recording for Dunhill. Love's repertoire would be largely penned by Lee, with a few contributions by guitarist Bryan MacLean.
Inspired by British Invasion bands and local peers the Byrds, Love built up a strong following in hip L.A. clubs. Soon they were signed by Elektra, the noted folk label that was just starting to get its feet wet in rock (it had recorded material by early versions of the Byrds and the Lovin' Spoonful, and had just released the first LP by Paul Butterfield). Their self-titled debut album (1966) introduced their marriage of the Byrds and the Stones on a set of mostly original material and contained a small hit, their punk-ish adaptation of Bacharach/David's "My Little Red Book."
by Richie Unterberger
Tracks
1. My Little Red Book (Burt Bacharach, Hal David) - 2:41
2. Can't Explain (Lee, John Echols, John Fleckenstein) - 3:15
3. A Message To Pretty - 2:09
4. My Flash On You - 2:53
5. Softly To Me (Bryan MacLean) - 2:47
6. No Matter What You Do - 2:07
7. Emotions (Lee, John Echols) - 2:27
8. You I'll Be Following - 2:43
9. Gazing - 2:43
10.Hey Joe (Billy Roberts) - 2:49
11.Signed D.C. - 2:00
12.Colored Balls Falling - 2:41
13.Mushroom Clouds (Lee, John Echols, Ken Forssi, Bryan MacLean) - 3:04
14.And More (Lee, Bryan MacLean) - 2:33
15.My Little Red Book (Burt Bacharach, Hal David) - 2:41
16.Can't Explain (Lee, John Echols, John Fleckenstein) - 3:14
17.A Message To Pretty - 2:10
18.My Flash On You - 2:58
19.Softly On Me (Bryan MacLean) - 2:47
20.No Matter What You Do - 2:02
21.Emotions (Lee, John Echols) - 2:26
22.You'll Be Following - 2:26
23.Gazing - 2:42
24.Hey Joe (Billy Roberts) - 2:42
25.Signed D.C. - 2:47
26.Colored Balls Falling - 1:56
27.Mushroom Clouds (Lee, John Echols, Ken Forssi, Bryan MacLean) - 2:26
28.And More (Lee, Bryan MacLean) - 3:05
29.Number 14 - 1:47
30.Signed D.C. (Alternate Version, Previously Unissued) - 2:50
All songs by Artur Lee unless as else written.
Tracks 1-14 Mono Mix
Tracks 15-28 Stereo Mix
Bonus Tracks 29-30
Perfectly capturing the live connection between the audience and performer, ‘Irish Tour’ is not the only one of Rory Gallagher’s best loved albums but is surely one of his greatest live albums ever released. Recorded in 1973 at Belfast’s Ulster Hall, Dublin’s Carlton Cinema and Cork’s City Hall the album shows Rory putting in performances of awe inspiring power, that after 30 plus years still make you yearn to be there, in the audience.
In 1974 the ‘troubles’, as they were known, were tearing Northern Ireland apart. Most artists refused to play Belfast, concerned about the all too frequent violence that could erupt. Rory was one of the few performers who could bring both sides together, unifying the crowd through his music. A recent article in a Belfast daily newspaper stated “Rory Gallagher never forgot Northern Ireland, he returned throughout the 70’s when few other artists of his caliber dared not come near the place”.
The tour was filmed by Tony Palmer, first envisaged as a TV film, it soon became clear Palmer had a movie with mass appeal. When released in 1974 the film played extensively in the U.K. then spread to Europe, eventually touring along side Rory in America.
The songs featured on ‘Irish Tour’ are mainly chosen from Rory’s previous releases. However the album does feature some cover versions of songs by artists such as J.B. Hutto, Tony Joe White and Muddy Waters, who Rory had worked with previously that year. The band live-up for the tour consisted of Rod De’Ath (drums) Lou Martin (keyboards) and Gerry McAvoy (bass).
Rory was renowned as a live performer, anyone who saw him play or who’d brought the 1972 ‘Live In Europe’ album knew his reputation was justified. He enjoyed success with his previous five releases, constant touring and plaudits from the press. On ‘Irish Tour’ the maturity forged by his musical development and the belief in his own abilities is palpable. Each member of the band shared the passion and understanding for the music they played, anticipating Rory’s mood and flow perfectly.
Throughout ‘Irish Tour’ the guitar tome is outstanding, colourful and hard-hitting, while maintaining a controlled sensitivity. Rory constantly demonstrates his incredible guitar technique. It’s worth mentioning his skilful backing chord work, volume control and his switching of tone, which deepen the musical expression of the album.
by Shu Tomioka
Tracks
1. Cradle Rock (Rory Gallagher) - 7:38
2. I Wonder Who (Morganfield) - 7:52
3. Tattoo'd Lady (Rory Gallagher) - 5:04
4. Too Much Alcohol (J. B. Hutto) - 8:30
5. As The Crow Flies (Tony Joe White) - 6:02
6. Million Miles Away (Rory Gallagher) - 9:29
7. Walk on Hot Coals (Rory Gallagher) - 11:13
8. Who's That Coming? (Rory Gallagher) - 10:05
9. Back on My Stompin' Ground (After Hours) (Rory Gallagher) - 5:18
10.Maritime (Rory Gallagher) - 0:33
Chicken Shack was the product of eccentric guitarist Stan Webb, vetera of several R 'n' B outfits including the Blue 4, Sound Five and The Shades Of Blue. The latter active between 1964 and 1965 included Webb, Christin Perfect (Piano, Vocals) and Andy Silvester (Bass), as well the future Traffic saxophonost Chris Wood. Webb and Silvester formed the core of the original Chicken Shack, who enjoyed a lond residency at Hamburg's famed Star Club before returning to England in 1967.
Perfect then rejoined the line-up which was augmented by several drummers until the arrival of Londoner Dave Bidwell. Producer Mike Vernon then signed the quartet to his Blue Horizon Records label.
Their fourth and last album with Blue Horizon, and the last with Paul Raymond, Andy Silvester and Dave Bidwell was Accept, released in July 1970. It certainly showed a further marked change in style, probably reflecting the fact that quite a few of the tracks were joint Webb/Raymond compositions. Interestingly Blue Horizon publicity material for Accept ran the slogan "If you think Chicken Shack just plays the blues you haven't been paying attention."
Tracks
1. Diary Of Your Life - 3:06
2. Pocket (S. Webb, P. Raymond) - 3:24
3. Never Ever (S. Webb, P. Raymond) - 2:43
4. Sad Clown (S. Webb, P. Raymond) - 2:44
5. Maudie (S. Webb, P. Raymond) - 2:53
6. Telling Your Fortune - 4:25
7. Tired Eyes - 2:11
8. Some Other Time - 3:04
9. Going Round (S. Webb, P. Raymond) - 2:36
10.Andalucian Blues (S. Webb, P. Raymond) - 2:19
11.You Know You Did You Did - 6:32
12.She Didn t Use Her Loaf (S. Webb, P. Raymond) - 4:07
13.Apple Tart - 3:08
14.Hideaway (Instrumental, Bonus Track) (F. King, S. Thompson) - 5:07
All material written by Stan Webb except where indicated
Right from the beginning of Track One 77 Slightly Delayed you just know that this is going to be something special, Manuel wastes no time in setting up a great syncopated backing. Then the guitar comes in - and what guitar! Clean, precise and wonderfully effected. OK, yes I am a fan and have been for over twenty years. So its a joy to pull this album from the shelves in order to write this review.
Manuel manages to mesh his rhythm and lead playing so well, the rhythm being one of those classic and perfect sounds. This isn't one of those guitar improv work-outs, the listener is left in no doubt that Manuel meant to play every note he played.
Track Two Midnight On Mars, ah - my favourite ASHRA track EVER. It's "Midnight on Mars" and I'm there right alongside him. Again Manuel sets up the lead line perfectly with his mix of synths, drum machine (wasn't it the classic EKO Rhythm Computer?) and wicked guitar. This particular melody has lived in my brain since the first moment I heard it, twenty plus years ago. In fact, everyone. I've ever played this track to has commented on it. Manuel should be praised for creating one of the most sublime guitar moments ever to be recorded. I think I'm gushing here. Still what the hell, this track is worth it.
Track Three Don’t Trust The Kids isn't letting up, a bass sequence brings in the piece. This is soon joined by subtle percussion and a very well-crafted rhythm guitar. Manuel certainly gets an amazing rhythmic feel. The lead line isn't far behind, this time two guitars playing in harmony. I've never been really sure whether or not that's a guitar synth. It's the right time for the early Roland GR500 and I believe Edgar Froese was using one at about this time as well.
The lead is given over to a nicely distorting guitar, again Manuel really means every note he's playing. A superb bit of programming moves the whole piece into double-time, and Track Four Blackouts. He isn't even breaking into a sweat, this is fantastic guitar.
Track Five Shuttle Cock again shows off the rhythm playing and what a groove he sets up. The piece just lopes along with some great interplay between the guitars and the sequencers.
Track Six Lotus Part I-IV continues the lesson in setting up a groove, Manuel actually gets a bit discordant here for a while before pulling it all back for the typical ASHRA sound, namely babbling sequencers, the minimum of percussion and smartly effected arpeggios. This track shows his ability to generate a flowing piece of music that takes the listener with it, wherever the end of the journey may be.
The Bottom Line: Buy it, buy it, buy it. Couldn't be clearer really, could it? Beware there is a subliminal message hidden in that last sentence.
The wording on the old LP sums it up quite nicely really, "Manuel Göttsching plays Sequencer, Keyboards and a lot of Guitar". He sure does. by Andy Bloyce
Tracks 1. 77 Slightly Delayed - 6:40 2. Midnight On Mars - 6:51 3. Don't Trust The Kids - 3:16 4. Blackouts - 4:38 5. Shuttle Cock - 8:27 6. Lotus-Part I - IV - 17:05 All compositions by Manuel Göttsching.
Though initially recorded in the late '60s and early '70s, the tracks that make up Victoria's sole release didn't see wide release until nearly 30 years later, seeing a further re-release on Shadoks in 2005.
Consisting of a small limited-edition album and a variety of further cuts from tape and acetate, Victoria's appeal lies perhaps most in the sextet's ability to get a lot out of limited resources.
Opening cut "Peace" is almost surprisingly lush and detailed, triumphant brass parts mixing in with the exultant rock & roll from the band.
From there the 15 songs on the CD wend their way, ranging from gentle contemplation to fuller-bodied affairs, less fried psychedelia than the kind of widescreen pop that coexisted with it.
The exact lineup of the band is unclear -- only four people are credited, not all of whom appear to have performed at the same time -- but one Greg Ruban was the core songwriter and arranger, and it's his ability to capture his band surprisingly well that ensures Victoria is more than simply a rare curio.
In ways he simply reflects his time -- "Gevaro" sounds like a lost cut by contemporary Santana, while the proto-prog of "Village of Etaf (Prelude and Overture)" goes on a touch too long in the end.
Throughout, singers Maureen Deidelbaum, Cherryl Simpson, and Sharon Barton -- or some combination of them -- acquit themselves well enough. One of their best efforts is one of the quietly wittiest -- "Never Knew Blues," the title of which is both somewhat descriptive (the descending blues influence is mostly heard in the verses) and an apt section of lyric.
Intriguingly, some of the best tunes never made the original LP release -- "Mister Let Me Go" is a lovely piano-led country song a la the Band, while the autoharp-led "Wheels" feels almost like a cousin to the third Velvet Underground album thanks to the murky rhythm section and steady rumbling pace
by Ned Raggett
Tracks
1. Peace - 2:44
2. Cumberland - 4:41
3. Gevaro - 4:11
4. Ride a Rainbow - 2:50
5. Never Knew Blues - 4:58
6. Down to the Park (Earth Day Park) - 2:57
7. Village of Etaf (Prelude and Overture) - 12:23
8. Core of the Apple - 8:09
9. Mister Let Me Go - 3:37
10.Johny and Lisa - 3:02
11.Peace - 2:52
12.Cumberland - 2:51
13.Child of Princess - 3:07
14.Sundance - 1:46
15.Wheels - 2:02
Victoria
*Greg Ruban
*Maureen Deidelbaum
*Cherryl Simpson
*Sharon Barton
Riding on the success of their hit single "Hocus Pocus" from the revolutionary Moving Waves album, Focus got to work on this, their third LP in four years. While the debut album featured a style not too dissimilar to the Bonzo Dog Doo Dah Band, Focus' second LP, Moving Waves, was purely instrumental and wholly serious-minded.
Focus III kept this same sound, but approached it with a jollier, more accessible tone. As with its predecessor, Focus III featured only one tune that would have a chance of being a hit single. The enjoyable rhythm of "Sylvia," partnered with Jan Akkerman's victorious guitar solo, some of Van Leer's finest organ work, Bert Ruiter's tight basslines, and Pierre Van Der Linden's mellow drumming, assured the track classic status. "Sylvia" found worldwide success and gained the band valuable radio and press exposure.
The song remains one of the most loved and best remembered songs from Focus' catalog. The consistency in musical quality throughout Focus III is enough to merit any listeners' respect. To be frank, this LP has it all: diverse songs, astounding musicianship, one of the finest singles ever released -- Focus III should unquestionably be ranked alongside the likes of Revolver, Dark Side of the Moon, and any others of rock's greatest.
by Ben Davies
Tracks
1. Round Goes The Gossip..(Virgil AENEIDOS LIBER IV) (Thijs Van Leer) - 5:16
2. Love Remembered (Jan Akkerman) - 2:49
3. Sylvia (Van Leer) - 3:32
4. Carnival Fugue (Van Leer) - 6:02
5. Focus III (Van Leer) - 6:07
6. Answers? Questions! Questions? Answers! (Akkerman, Bert Ruiter) - 14:03
7. Anonymus II (Part 1) (Van Leer, Akkerman, Ruiter, Pierre Van Der Linden) - 19:28
8. Anonymus II (Conclusion) (Van Leer, Akkerman, Ruiter, Van Der Linden) - 7:30
9. Elspeth Of Nottingham (Akkerman) - 3:15
10.House Of The King (Akkerman) - 2:23
Focus
*Thijs Van Leer – Vocals, Piano, Organ, Alto Flute Piccolo, Harpsichord
*Jan Akkerman – Electric, Acoustic Guitar
*Bert Ruiter – Bass Guitar
*Pierre Van Der Linden – Drums
The band Marsupliami borrowed its name from the Belgian cartoonist André Franquin who created this comic character in 1952. Marsupilami was a cross between a monkey and a cat, yellow with black spots; cute, resourceful and anti-authority. Perhaps not an obvious choice, but the progenitors of the group, the Hasson brothers Fred (Vocals and Harmonica) and Leary (Organ), with their Anglo-French upbringing, had grown up with comic characters like Tin-Tin and Les Pieds Nicklés. Pre-empting Prince by several decades, the idea was to use the symbol rather than the name. When Transatlantic Record boss, Nat Joseph, wrote to seek permission, he neglected to mention this and so clearance was given for the name only. At that point a name change was suggested, but Nat Joseph said the name was cool and so it remained.
The idea for Marsupilami began in 1968 following a tour of Southern Spain, organised by Leary for his school r&b band, 'Levitation.' At the last minute Fred, who had sung in the school choir, was drafted in as a replacement for the absent lead singer. Returning to the UK the band secured a gig in its home town metropolis of Taunton, backing the Joe Cocker Band. Fred and Leary were completely smitten with what playing live offered but none of the other members of Levitation could make the commitment. The band had to reform going through numerous iterations, including a short period when a bassoon was featured.
The eventual line up for this eponymous first album was largely recruited through poaching musicians from local bands. The rhythm section of Mike Fouracre (drums) and Ricky Hicks (bass guitar) came from local blues outfit Justin's Timepiece and Dave Laverock (guitar) came from a semi-pro band, the Sabres. Leary's flute playing, art student girlfriend, Jessica Stanley Clarke (now Jecka McVicar, Britain's foremost organic herb grower) completed the line up.
Marsupilami were popular on the Continent and especially at Paradiso in Amsterdam and the AMVJ in Rotterdam. The band also appeared at the 1970 Hamburg Easter Festival alongside Alexis Corner, Chicken Shack and Renaissance. Waiting all day to play, the band finally went on at 5 a.m, only to have the plug pulled by the riot police 30 minutes into the set. This debacle guaranteed the band the first slot the next day - they brought the house down with the only music not written by them, a jam session of Spoonful - the finale of every Marsupilami set.
This first Marsupilami album (originally released at Transatlantic TRA 213) was recorded in June 1969 at the Sound Techniques Recording Studios, just off London's King's Road, and released in April 1970. The studio, which was converted from an old dairy and now replaced by flats, was just being fitted out with some new gizmo's called Dolby's. It is famous for the rosta of artists recorded there by Joe Boyd: Nick Drake, Incredible String Band and Fairport Convention but Joe was reputedly not enamoured with the Marsupilami sound. The engineer was John Wood.
All five tracks were done in a handful of takes, virtually live. The music is really unique and distinctive; hard to categorise and never emulated. There are more sublime melodies packed into a single track than most bands of the period muster in an entire album. Time sequence changes, stylistic shifts and ruptures of mood follow one another: passages move from light jazzy ensembles, driving guitar and organ rock pumped up by the rhythm section, to slow ethereal dream sequences featuring flute, organ and chanting.
The content of the album can only be described as apocalyptic, even misanthropic at times and the titles penned by Dave (Facilis Descensus Averni [It's easy to go to Hell!] and The eagle chased the dove to its ruin) contain some especially gloomy lyrics to accompany the affecting guitar. The only instrumental on the album, Leary's Ab Initio ad Finem is a musical interpretation of an Old Testament style sermon, recounting man's demise through a recent cataclysm. Marsupilami
Tracks 1. Dorian Deep - 7:34 2. Born To Be Free - 5:42 3. And The Eagle Chased The Dove To Its Ruin - 6:36 4. Ab Initio Ad Finem (The Opera) - 10:48 5. Facilis Descencus Averni - 9:34
The cover photo of Sea Level's sophomore album, 1977's Cats on the Coast, depicts nearly twice the number of musicians as the cover photo of the band's eponymous debut album released earlier that same year. There's a lot of promise on display, and the music largely fulfills expectations.
In addition to the quartet introduced on Sea Level -- keyboardist/vocalist Chuck Leavell, drummer/percussionist Jaimoe, bassist Lamar Williams, and guitarist Jimmy Nalls -- the band now includes singer/songwriter and saxophonist Randall Bramblett, guitarist Davis Causey, and drummer George Weaver (the latter featured prominently since Jaimoe only plays congas, and only on three tracks).
This lineup bears remarkable similarity to the then-disbanded Allman Brothers, from whom Leavell, Jaimoe, and Williams had departed: two guitarists, two percussionists (well, sometimes), a bassist, a keyboardist -- and, importantly, Bramblett, a proven session man, saxophonist, and singer/songwriter with two acclaimed but underappreciated solo albums (1975's That Other Mile and 1976's Light of the Night) under his belt. Cats on the Coast wastes no time introducing the new singer with the Bramblett/Causey co-written leadoff track "That's Your Secret," building from pure Southern R&B/soul/funk into dual-guitar fireworks (Causey in one channel; Nalls in the other) that any Southern rock fan could appreciate.
Bramblett's somewhat oblique lyrics may lack the emotional immediacy his writing often possesses, but Sea Level clearly weren't about to introduce the singer with anything remotely approaching a downer ("This Could Be the Worst" could wait for the next album, On the Edge).
Leavell takes over the mike on the soul shouter "It Hurts to Want It So Bad," featuring the Muscle Shoals Horns, and Bramblett and Leavell trade off verses on the down-n-dirty Louisiana swamp blues-funk of "Had to Fall," which collapses into utterly unhinged howling derangement at the end. The mood is far calmer in "Every Little Thing," Bramblett's "let's-talk-it-over" display of sensitivity later in the track list. But Sea Level's instrumental skill was the main attraction on the debut, and here they arguably up the ante.
Leavell's "Storm Warning" stands with his best jazz-rock fusion numbers, but with stinging dual lead guitars the likes of which hadn't emerged from a Capricorn studio date since the Allmans left their blues at home on Idlewild South. Bramblett's soprano sax here, and his soulful alto on Neil Larsen's "Midnight Pass," add even stronger jazziness to the band's palette. Best of all is the two-part instrumental title track, with Nalls' slide approaching Duane Allman territory and Bramblett's soprano answering him in a stunning call and response; after a full-band climax, Jaimoe and Weaver take the track out under a flurry of simulated seagull cries.
The album then concludes with the brief "Song for Amy," a lovely and unexpected coda featuring Leavell on piano accompanied by a string quartet. Some great music from Sea Level was still to come, but the best moments of Cats on the Coast wouldn't be topped.
by Dave Lynch
Tracks
1. That's Your Secret (Randall Bramblett, Davis Causey) - 5:15
2. It Hurts To Want It So Bad (Charles Feldman, Tim Smith, Steve Smith) - 3:38
3. Storm Warning (Chuck Leavell) - 5:23
4. Had To Fall (Randall Bramblett, Jimmy Nalls, Lamar Williams) - 4:35
5. Midnight Pass (Neil Larson) - 6:30
6. Every Little Thing (Randall Bramblett) - 4:40
7. Cats On The Coast (Davis Causey) - 5:38
8. Song For Amy (Chuck Leavell) - 1:40
Keyboardist Chuck Leavell formed the Sea Level quartet in 1976 in the aftermath of the Allman Brothers' first breakup of their post-Duane Allman years, and since two other Sea Level members had also been in the Allmans -- bassist Lamar Williams and original Allmans drummer Jaimoe -- it was tempting to regard the band as an Allman Brothers spinoff, but that wasn't exactly the full story.
Jaimoe and Williams had played together before the Allmans formed, and Sea Level guitarist Jimmy Nalls had been part of Alex Taylor's band -- which also included Leavell -- before both Leavell and Williams had joined the Allmans in the wake of the deaths of Duane and original Allmans bassist Berry Oakley, so the four musicians of Sea Level might be seen as simpatico even outside the Allman Brothers narrative. Of course, the Allmans sound was a major touchstone for Sea Level; certainly, Leavell's pianism had reached its largest audience ever with his solo break on "Jessica," and he would bring similar stylings to his quartet's 1977 eponymous debut album. But Sea Level didn't need to stand in the shadow of any other group, as the debut made clear.
The opening track, the Leavell-penned "Rain in Spain," is as driving and melodic as any Allman Brothers instrumental but also possesses a jazzy harmonic sophistication beyond what the Allmans might have attempted in the lead-in to their first breakup, and the same goes for other instrumental tracks like Leavell's "Tidal Wave," the Neil Larsen composition "Grand Larceny," and certainly the moody, sensitive read of Simon & Garfunkel's "Scarborough Fair." Leavell also wrote the swampy, funky "Nothing Matters But the Fever," with wah-wah slide guitar from Nalls, woozy, disorienting effects on the piano, and a fine vocal turn from Leavell as well, a bluesy cry from the soul that never crosses the line into histrionics.
Another pleasure of this album derives from Jaimoe's role as sole drummer/percussionist; for those who had only heard him as half of the Allman Brothers' powerful drum tandem with Butch Trucks, his inventiveness, drawing from jazz, blues, rock, soul, and funk idioms, stood out on Sea Level in a way that was revelatory for many listeners. Sea Level was a fine debut from a killer quartet, and with the addition of singer/songwriter and saxophonist Randall Bramblett, guitarist Davis Causey, and drummer George Weaver to the lineup for the recording of the sophomore album Cats on the Coast, it did not seem unreasonable to surmise that this band's future possibilities were nearly without limits.
by Dave Lynch
Tracks
1. The Rain In Spain 6:47
2. Shake A Leg (Edward Hoerner) 3:53
3. Tidal Wave 5:40
4. Country Fool 3:39
5. Nothing Matters But The Fever 7:20
6. Grand Larceny (Neil Larsen) 5:22
7. Scarborough Fair (P. Simon, A. Garfunkel) 5:32
8. Just A Good Feeling 3:01
All Songs written by Chuck Leavell except where noted.
Sea Level
*Chuck Leavell - Keyboards, Lead Vocals
*Jimmy Nalls - Guitars, Vocals
*Lamar Williams - Bass, Vocals
*Jai Johanny Johanson - Drums, Percussion with
*Rudolf Carter, Charles Fairley, Earl Ford - Horns
*Leo LaBranche, Donald McClure - Horns
