Winged Horses: Matthew Moore

Album: Winged Horses

Artist: Matthew Moore

Year: 1976

Songs of Note: Stay a Little Longer, Savannah

Most of the records I have been listening to for this self-appointed project have been by artists I have never heard of before. My hope was that I would uncover a lost masterpiece. What I am finding is that most records were hits because they were good and memorable. Whether that is a result of having heard a lot of this music on radio when growing up or from reading reviews in Rolling Stone or on Allmusic.com, I felt that maybe some of these acts didn't get a fair shake because of politics or some other circumstances. I feel Matthew Moore's "Winger Horses" fits into the circumstances category.

Writing music is something I have not tried to do. I don't think I will ever give it a try because I can't play any musical instruments very well. I do appreciate it when I hear talent, and I feel that Matthew Moore does have talent. The songs are all played very well. This album also sounds like it was mixed and produced with great care. I just can't see listening to this as anything other than background music.

The lead off track is "Savannah" and is probably the strongest track on the disc. I immediately thought of Fleetwood Mac. Off course Fleetwood Mac has the whole soap opera that goes along with it and the mysticism of Stevie Nicks to carry the day. These are the notions the listener already has before even dropping the needle. It makes the music interesting. Without that, the music needs to stand on it's own. That doesn't always work.

I have a hard time picking out any other songs. All the rest sound like what I would expect am soft rock radio in the 70's to sound like. Not as smooth to be 'Yacht Rock' caliber but professional none the less. This is one album that feels like a lot of care when into it's creation but will be destined for 70's soft rock oblivion.

Into Battle with the Art of Noise

Album: Into Battle With The Art of Noise

Artist: Art of Noise

Year: 1983

Songs of Note: Beat Box, Moments in Love, Flesh in Armor

Experimental music is something that has always intrigued me. Projects such as the Eno/Byrne collarboration, My Life in the Bush of the Ghost, that used actual sound bytes taped off of local radio programs from across America is a work I can appreciate but not really enjoy because the songs are not that memorable. Just like any scientific process, some experiments prove more fertile than others for future progress in the field.

Into Battle With the Art of Noise is one project that I see echoes of in modern music. Even though it is just an EP with only two full length songs, "Beat Box" and "Moments in Love", the sounds explored had a large influence on hip-hop and the electronic music of today. "Beat Box" sounds like it samples Yes' "Owner of a Lonely Heart", M's "Pop Music", brings in some hard drum machines to inspire Run-DMC and some real sounds that would later inspire DJ Shadow. If I were to transport myself back to 1983 I would think the song sounds like nothing else I had heard before. Listening in 2011, it's less groundbreaking and more charming as I try and spot what artists were inspired by this.

Most of the other songs are just 1 to 2 minute snippets. "Flesh in Armor" features some prominent record scratching while "Comes and Goes" has some very Eno-like textures and haunting vocals that remind me of being chased through a cemetery by lost souls.

I would recommend checking this out if your interested in industrial, electronic, or even hip-hop. Very interesting mix of experimental sounds and songs.

Henry Gross: Love is the Stuff

Title: Love is the Stuff

Artist: Henry Gross

Year: 1978

Songs of Note: Rock 'N' Roll I Love You

For those not familiar with Henry Gross, you are not alone. He was a founding member of Sha Na Na and had one minor hit "Shannon". This was inspired by the passing of Carl Wilson's Irish Setter. The song was also the subject of the long distance dedication that gave us this Casey Kasem gem where he flips his lid.

Side 1 starts strongly enough with "Rock 'N' I Love You", a lite rock number that would fit nicely alongside Gerry Rafferty or Michael McDonald era Doobie Brothers. Guitars are the driving force behind the song and Gross showcases a lovely falsetto. The rest of the songs on this side continue this lite rocking motif. "Love is the Stuff" and "Only the Beautiful" are surprisingly bitter given how upbeat the music sounds. "Love is the Stuff" outlines why a relationship is failing and "Only the Beautiful" seems to be him complaining how good looking people always get their way

Side 2 starts off with the sleepy number , "Where the Blue Begins". Todd Rundgren had already mastered this sound six years earlier on Something/Anything and moved on. The rest of the side bounces between styles, with a lite jazz rock of "Buy With My Heart" to more of a lite southern rock fare of "Creeping Jenny" and "Shakedown Your Love".

Overall, this was a surprisingly good album. I was not optimistic with the prominently featured chest hair on the cover but I gave the music a chance. This fits nicely in category of simple 70's lite rock that would play well at the pharmacy or dentist's waiting room.

Rain Forest: Paul Hardcastle

Album: Rain Forest

Artist: Paul Hardcastle

Year: 1985

Songs of Note: Rain Forest, Panic, Sound Chaser

Rocking one of the most awesomely 80's album covers ever is Paul Hardcastle with "Rain Forest". What more could you want, the fro is tight, the keyboard is featured prominently, and the green bars that were associated with computer worlds are all there. Of course this could only be a instrumental album. To really enjoy this you need to be paying close attention to really get the most out of your listening experience. For me, the electronic sounds made me think of video game music, specifically Mega Man. Some of the effects sounded a lot like the protoman whistle.

The tracks here either had a large influence on or were influenced by early hip-hop. I'm guessing it was hip-hop that had the influence because this was released in 1985. There are a lot of drum machines and synthesizers throughout. The standout tracks for me incorporate the electronic instruments and place them in the context of real songs, not using these electronic instruments just for the sake of using them. "Rain Forest" is probably one of the best known songs. At least that's what I can gather from my google search. I don't think it stands out anymore than some of the other tracks. My personal favorite was "Panic". It starts out with some record scratching a guitar riff and transitions into a synthesizer sound that reminded me of Big Boi's "Shutterbugg". Some vocal synthesizer sounds are sprinkled throughout.

I don't know much about Paul Hardcastle but this record shows that he was ahead of his time. I can appreciate the music but I don't think I need to listen to it again.

Speedy Keen: Y'Know Wot I Mean?

Artist: Speedy Keen

Album: Y'Know what I Mean?

Year: 1975

Songs of Note: Bad Boys, Almost Eighteen


What is a Speedy Keen? It is a former roommate and chauffeur of Pete Townshend and member of Thunderclap Newman of "Something in the Air" fame. Not a bad pedigree for a rocker. Unfortunately, Speedy does not do enough on this release to make himself stand out. Many of the songs on this record sound derivative and he doesn't establish a voice unique to Speedy Keen.

Much of the phrasing of the singing is very reminiscent of The Who and Pete Townshend. The lead track "Crazy Love" has a guitar riff that borrows extensively from George Harrison's "Apple Scruffs". Other tracks dabble in country and reggae to provide some variety.

Just because an artist is derivative does not necessarily make the music bad. It can be done in a way that at least makes it interesting to the listener. Speedy Keen tries and succeeds for the first half of the album. The second half is a real snoozer. It is the love side and is filled with ballads that did not hold my interest.

Does one side of record make it worth listening to? Not this record. It is was nice to see him experimenting in different styles on side one but the execution was just not there to carry one full album and what was at one time intended to be a double album.

William Oz: William Oz

Artist: William Oz

Album: William Oz

Year:1979

Songs of Note: Star Dreamer, She's Mine

"Pay no attention to that man behind the curtain". These are the words of the Wizard of Oz. Unlike the that classic character, William Oz is someone that wants your attention. He is begging you to care about the guy behind those shades, holding his cigarette in a way he thinks is cool. Maybe it is was his or idea or the photographer's, but the attitude given off by this shot is that I am huge deal even if you don't know it yet. After listening to the music I tend to think it was Mr. Oz's idea.

Most artists wait until they have made it big before looking back on the people they had to leave behind to make it big. The people you leave behind are usually the ones that supported you through the tough times and get the shaft after you make it big. Oz has not made it big yet but is already prepared to move on. After listening to the album, I'm surprised he didn't make it big. This is competent power-pop with some smart lyrics and good hooks. "Star Dreamer" , "She's Mine", and "You Can Count on Me" all sound like they could have been singles but never made it onto radio. I'm not sure why this.

There is also the question of what happened to this guy. With the other records I have been able find at least a little information on the artists. William Oz seems to have totally disappeared. This is a solid record if you like power-pop in the Rick Springfield vein. I think I will keep this one.

Sanctuary

Artist: Celestium

Album: Sanctuary

Year: 1984

Song of Note: Sanctuary, Children of the Stars




Most of the records I purchased in the lot I am currently reviewing appear to be in unused condition. I am guessing that they came from a radio station, as most have "for promotional use only" stamped on their sleeves. Interestingly, most of the records in this lot have not found their way to CD yet either and may never make it to digital form. I am guessing it is because they are not popular. What becomes of these artists? Someone paid to record this music, did someone go bankrupt?

Thus far I have found it difficult to find information on a number of the artists I have reviewed as well. My preferred site is allmusic.com but that has been sparse on such acts as Munson and Celestium. Wikipedia was more helpful in rounding out the background for Celestium. Gary Usher was the driving force behind this record. If you are not familiar with Gary, he got his start in the California Surf Music scene of the early 60's and co-wrote some of the Beach Boys hits, "409" and "In My Room". Sanctuary does not have the surf music sound but the vocalization is very reminiscent of Carl Wilson from the Beach Boys. Usher does not sing but does play most of the instruments. The liner notes, written by Gary, outline how important these songs are to him and what their meaning is. Unfortunately for him, I have a feeling very few people bought this or listened to it.

Most of the music on this album has a very new age feeling. The theme of love and searching inside oneself is very prominent. Listening to "Children of the Stars" I couldn't help but think of a dude in a long pony tail in a billowing white robe dancing around a fire on a beach. Don't drink the Kool-Aid. The leadoff track of the album, "Sanctuary", is one of the stronger tracks and features some Bryan Ferry "Avalon" era vocal flourishes and very 80's synths.


An interesting listen for sure but not something I can see myself listening to again. I would check this out if you are a fan of 80's synth driven music.

Passport: Looking Thru

Album: Looking Thru

Artist: Passport

Year: 1974

Songs of note: Eternal Spiral, Rockport

Jazz/Rock fusion is not a musical style I often frequent, the few times I have encountered it, namely Jeff Beck's Wired and Blow by Blow I have enjoyed it. With Jeff Beck, you get a more guitar driven sound. With Passport, the sax is the focus on most of the tracks. Klaus Doldinger is the creative force behind Passport and has remained active in music into the 2000's. A side note on the cover, before this project I don't recall ever seeing green people on the cover of albums. Now with Passport and previously Blind Date the number is now two. Very strange.

The first side starts strongly enough with "Eternal Spiral". The sound is very similar to Yes on this track but the sound moves in a jazzier direction and the drumming is superb. I am not a technical musician but I believe the time signatures used are complex. The following tracks on side one straddle the line between Kenny G and 70's game or variety show music with some keyboard that is frequently cutting in and out.

Side two starts with "Tarantula", which is not nearly as scary as the title would indicate. Just another jazzy/fusion number with some smooth sounds. Very polished. The only other song that struck me was a keyboard portion of "Eloquence". It sounded very similar to "Girl's Just Want to Have Fun". This was 1974. She's so Unusual didn't come out until 1984.

This is not a musical style I enjoy. The songs might be interesting to someone with more of a jazz background but I have no desire to listen to any of these songs ever again. If you are a fan of fusion than check this out. I will give you this album because I don't plan on keeping it.

Homegrown: Don Agrati

Album: Homegrown

Artist: Don Agrati

Year: 1973

Songs of Note: Bloodstream, Sunny Day, Protoplasm Blues

Who is Don Agrati? Apparently he is Don Grady of "My Three Sons" fame. I have never seen the program so I am basing my impression of him on the album cover, I would guess he is the character on the left with the Hollywood sign reflecting in his glasses. The other images, a grass field with a marching band, a tambourine, lovers in the sunset, a pot (hehe). This reeks of hippy. I'm not a an expert on the hippy species but I thought they flourished in the 60's and petered out with the Nixon Era. This probably explains why this album never found an audience. The music is very well played, Agrati even plays most of the instruments on the disc. Mr. Agrati also has a pleasant voice but the lyrics are clumsy in places and there are no sing-a-long choruses.

The highlights are "Bloodstream", "Sunny Day", and "Protoplasm Blues". "Bloodstream" stands out for it's jazzy sound and dreamy lyrics. A nice way to lead off the album. "Sunny Day" is about a love triangle where one party is asking the other to stop jerking him around and leading him on. A timeless theme. "Protoplasm Blues" jumps around between styles. There are some bongo drums and a blues jam at the end. The character in the song sounds like he is getting tired of the party boy life-style and is looking to settle down. Not to short change the rest of the album but despite covering a variety of musical styles, big band, marching band, honky tonk, I was never that interested in the songs. I could respect the variety but the songs did not capture my attention.

My copy of this record was a "for promo only copy" sent to radio stations and includes a publicity write up from the record company. Reading these types of documents always brings a smile to my face. They are always so positive and sound as if the author never actually listened to the record but just read the lyric sheet and filled in some biographical information. This piece boldly proclaims that you will be singing along to all 11 compositions after only a few listens! I found this very surprising because one of the 11 tracks is an instrumental.

Overall this is not a bad album. The musicianship is excellent, as is the singing. The songs are just not that strong. If someone likes a diverse musical style with some pop sensibility, this may be your match.

Joy of Cooking

Album: Joy of Cooking

Band: Joy of Cooking

Year: 1970

Songs of Note: Red Wine at Noon, Did you go Downtown, Hush

The purpose of this project was to weed out my album collection and find some hidden musical gems. This is the first gem uncovered. This album worked for me from start to finish. The band was lumped into the psychedelic genre but after to listening to the group, it is quite apparent that they fit more in line with the jam band sound. There is a lot of potential for improvisation on these songs and some of it was captured on the album. The groups musical influences seem more steeped in country, folk, and jazz than rock. The songs themselves are more piano-driven. I did not notice the guitar much, if at all in most of the songs. The two female bandleaders, Toni Brown and Terry Garthwaite, really shape the sound and message of the band.

The music sounds like it was made in a cabin in the woods. Very relaxed and not forced. The lyrics were also very intriguing. A strong female perspective was prominent but it is not the "I am woman, hear me roar" feminism, but more about the heartbreaking situations women can find themselves in. "Red Wine at Noon" details a woman who is growing distant from her husband as he travels on business while she is at home raising the children. Is he cheating? Is this relationship working? We don't know but the woman copes by having white wine at breakfast and red wine at noon. Other songs detail a daughter with a complicated relationship with her father due to history of abuse and lost youth. There is a deep emotional resonance that permeates all songs.

Despite sharing a name with a famous recipe book, Joy of Cooking is a hidden gem from the early '70's. Definitely worth a listen.

Backatcha

Album: Backatcha

Group: The Two Tons

Year: 1980

Songs of Note: I Depend on You, I Been Down

For those of you that are fans of pop-up video, novelty songs, and one hit wonders from the 80's, you should already be familiar with The Two Tons. After changing thier name to the Weather Girls, they had their first and only hit with the Waylon Smithers' favorite, "It's Raining Men".

After doing some very brief research, the two singers, Martha Walsh & Izora Rhodes Armstead, got their start in the gospel group NOW (News of the World) before moving on to more secular jams. This shaped my view of the groups music. Whether it was intentional or not, I heard a religious undertone to almost all of the songs on the album. This may be a christian disco album. Many of the songs are about love as a source of saving. The giver of that love is not always clear, it could be a man or a higher being. Granted " if you like what I’m givin, then I’ll give you a little more" is most likely about something secular, many other lyrics are about the joy of your love and never feeling a love like this before.

The record itself has definite arc, Side 1 songs are all about finding love and how special that love. Side 2 focuses on the end of that love affair and closes with the "I Will Survive" style anthem and grammatically impaired "I Been Down".

I am fascinated by the career paths of many one-hit wonders. What may seem to be instant success really is the product of years of hard work. They work hard but are only remembered for one thing. For The Two Tons, Martha Walsh did go on to be a prominent vocalist in a number of 90's dance hits, C+C music factory's "Everybody Dance Now" is one example. Backatcha provides a glimpse into the career of one such act. The music is worth a listen if you like disco but is not for anyone else.

Munson: Driven to the Point of Abstraction

Artist: Munson

Title: Driven to the Point of Abstraction

Year: 1984

Songs of Note: Driven to the Point of Abstraction, OO-DY-KOO-KOO-DAI

What an odd record. The pointillism on the cover, the white vinyl, no information on the back. Only six songs, more like an EP. I'm not sure why someone would have bought this in the first place. Munson is actually Art Munson, who according to his website has worked with an impressive list of performers, Dick Dale and the Del-tones, Cher, Billy Joel, and John Lennon. I could not guess what type of music would be on this based on that list. I could not find any reference to this album except on Art Munson's website where he says he has been asked if he was on drugs when he made it.

I put the needle down and was greeted with the first track, "Driven to the Point of Abstraction"and was totally surprised by audio snippets followed by a blast of electronic music. I'm not sure if this was sampling other music or just some majorly distorted keyboards and vocals. Thankfully there was a lyric sheet but no instrumentation or band members were listed. I am guessing Art Munson did it all. I was excited to listen to the rest of the album because this first track really surprised me.

Unfortunately, the rest of the album does not live up to the standards of the opening track except for the closing track "OO-DY-KOO-KOO-DAI", which continually chants the songs title behind lyrics that were probably created from one of those poetry magnet sets you put on your fridge. Lines like take a shower with a couch, Put a leopard in your hair, squeeze a cup of tea with a feather in your mouth all sound like drug induced hallucinations or the incoherent ramblings of a street person. It was very strange but held my interest.

The other four songs were not nearly as memorable but were all interesting. I'm not quite sure what each song was about but I think one was about futuristic lovemaking, and another was about a private eye from the future.

If you come across this, I would recommend picking it up for a small price. I wouldn't spend big bucks on it, but a dollar or two seems reasonable.

Blind Date

Artist: Blind Date

Album: Blind Date

Year: 1979

Songs of Note: Boys will be Boys, Twin Engines, Trouble Maker

What is the first impression for this Blind Date? A green, bald alien talking on a telephone with what I assume is an Avatar fan. I am intrigued.
What about the band? With awesome names like Dane Bramage, Arnie Badde, Brad Billion, and Pinky Chablis, stardom is foregone conclusion. Blind Date has a lot going for it before I even start listening. Alas, they never made another album.

The album starts with Boys will be Boys, a Cheap Trick style rocker, that seems to be referencing solo love. The music stays in this sonic range, with a sound I would compare to Sloan. The song's subjects are not complex, boy meets girl, boy declare loves for girl, girl needs to decide what to do with boy. Fairly cliche, but performed with energy. The one exception is the instrumental track, Twin Engines. The boy-girl stuff is left behind and the band just rocks it out.

It's a shame the band did not carry on after this initial release. The foundation laid down on their debut is certainly a solid one. They could have moved into harder rocking territory or even become a softer Def Leppard. The subject matter of the songs would have to become more diverse but overall a good effort.

The Peanut Butter Conspiracy is Spreading

Band: Peanut Butter Conspiracy
Album: The Peanut Butter Conspiracy is Spreading
Year: 1967
Songs of Note: It's a Happening Thing, Dark on You Now, Then Came Love

Psychedelia is a genre that was never fully defined for me. Some would put Jefferson Airplane and Quicksilver Messenger Service in that category, but for me when I think psychedelic music, I think Pink Floyd's "The Piper at the Gates of Dawn". Psychedelic music should be totally unhinged. I should be taken on an aural voyage into the dark places of the solar system or medieval fantasy. Peanut Butter Conspiracy, or PBC as they are referred to on the liner notes, is a psychedelic band, but I feel it falls more into the psychedelia of west coast sixties music. This means a band needs to dress a certain way (like hippies), talk a certain way (like hippies), and do drugs (like hippies). It's almost formulaic. I don't get the impression that this group was at the forefront of the movement either. From reading the liner notes, the target audience seems to be people who are "underground", know about bandmember Lance's famous hat, and "get" what the group is trying to say about love.

Most of the songs on the album are about love, but not in the deeper sense of marital vows or life partnerships. No, the love our garishly garmented gadabouts sing is a feeling that never elevates beyond the simplistic "I need you", "this is the first time I felt this way sentiment". They just sound like lame lines somebody would use to get someone in the sack.

That being said, the songs can be catchy at times. The album opener is "It's a Happening Thing" moves along and bounces and sets the tone for the music to follow. This is followed by "Then Came Love" which features some orchestral arrangements, which I don't believe was all that common in 1967 for rock music. "Second Hand Man" had a country vibe to it. The only song that was truly terrible was "The Marketplace". The Beatles experimented with Indian instruments in a number of their songs quite well. PBC tries that with "The Marketplace" and it is an utter disaster. Musically and lyrically it sounded like a sacred cow drowning in the Ganges. Both album side closers "Why Did I Get so High" and "You Took too Much" sound drug related based on the titles but are once again about love.

PBC sounds like a decent psychedelic band who were playing the right sound at the right time. Just like Seattle grunge acts in the early 90's, PBC got signed because they had the look and fans wanted more of that particular music. This record works well for folks who want to hear what psychedelic music was in 1967 but it does not hold up very well to contemporary ears.

Dudes: We're no Angels

Band: Dudes

Album: We're No Angels
Songs of Note: I Just Wanna Dance, Dancin' Shoes, Got Me Where You Want Me.

The year is 1975. A group of Canadian musicians, known as the Dudes, is generating a lot of buzz in America's hat. The group is based out of Montreal, and if you are willing to believe the liner notes, their mystique is growing just like the early days of Liverpool. Unfortunately for the band, they never made it big. I was curious what the group would sound like. A band with three guitar players, two drummers, and a bassist named "Kootch" should have some complicated songs so all the instruments get a chance to be heard. Before I even started listening to the music, I knew why this group is not mentioned with the great ones. Image means a lot. Especially in the days of vinyl when an album cover acted as a billboard for the band. This album cover sends a message, a message no one wants to hear. I think they took an old backdrop from the Lawrence Welk show that had guitars and a big piano on it and had these guys do show girl kicks for the camera. The one guy that is sitting down has an "aw shucks" grin on his face and seems to be happy just being in the picture. The back cover features mug shots of the band that look like they were taken by the person from Olan Mills that makes an annual visit to public schools.

I am spending so much time on image with these guys because when I started listening to the music, it was better than I was expecting. Side One contains what my research tells me was their only hit, a little number called " I Just Wanna Dance". Oddly, this song did not make me wanna dance but was a slice of 70's am radio that goes down smooth and leaves no aftertaste. I can't say anything on side one was great, but it was nice. My overall impression was that this a band that could open for the BeeGee's before they found disco. The second side of the record was much more entertaining to me. The music was a little funkier. The band shows off more of its glam influences as well. The high point for me was the confused ballad "Got Me Where You Want Me". It starts off from the perspective of a true player, a real ladies man who tells his newest acquaintance, "Tonight's the night for love. I’m just an artist, I got a brush, you’re just a canvas waiting for my touch. Taking something you love to give away." A shift in the tone soon follows and our fearless narrator is now at the whim of his latest conquest, saying you got me right where you want me.
I can understand why this band never made it big. The songs are nice but not particularly memorable. The band does not do enough to stand out. There is no mystery, no sex appeal, and the music sounds a little flat. My recommendation would be to find a better producer or mixer and use this as an album cover instead.