Wall Street Crash - No Strings Attached (1988)

Wall Street Crash were an English 6-piece (originally 8-piece) vocal harmony group, formed in March 1980 by Keith Strachan.

They performed in three Royal Variety Shows, and appeared on many TV programmes in the 1980s including The Morecambe and Wise Show  and 3-2-1.

The idea of Wall Street Crash was formed when Keith Strachan the Musical Director and the founder members of the group were working on Jack Good's OH BOY Show in 1979 and 1980.
The original members of the group were Colin Copperfield, Mary Dunne, Paul Felber, James Graeme, Shaun Harris, Ricky Piper, Jean Rich and Sharron Skelton.
They rehearsed in early 1980 and had their premiere performance at the Country Cousin Club in May 1980.  They were helped at this stage by the producer Richard Leyland who organised rehearsal space and publicity for the launch. Also, a big thanks goes to the groups benefactor at this time.

Jean introduced the group to Melchior Baron Von Schlippenbach who donated enough money to buy costumes and pay the band etc. Schlippi, as he was known, continued to support the group during this embryonic stage and was rewarded by receiving a financial return for a number of years. Schlippi also held the distinction of having served as Rommel's batman during the North African desert conflict of World War II.

Simultaneously, Wall Street Crash were gaining popularity in Holland, and a series of concerts was arranged at the Stadtsschouwberg, a grand theatre in the centre of Amsterdam.  Much to the group’s amazement, the audience was familiar with much of the material from the first album which had been released in 1981. 

This was the start of the group’s love affair with The Netherlands, and also the group’s first concert – no support act and a two hour show.  Eventually, (1987 – 1992),Wall Street Crash would embark on regular concert tours of The Netherlands, and build a very large and loyal following there.

"No Strings Attached" was produced for the German market and released in 1988 on the Mercury label..

Side A
A1.  Too Shy  (5:11)
A2.  Call A Reporter  (3:55)
A3.  Hold On To Love  (4:38)
A4.  Catch Ya Later  (3:05)
A5 . Dancin´  (5:01)
A6 . So Good  (3:58)

Side B
B1.  Musicman  (3:52)
B2.  Latin Dancer  (3:54)
B3.  So Easy  (3:20)
B4.  The Bassman Song  (4:43)
B5.  Like Dreamers Do  (4:38)
B6.  S.A.S.  (4:47)
B7.  Cloud Number Nine  (2:35)

Credits
Producer – 'What's My Note' Marcel Schimscheimer, 'Mad' Ronald Sommer

Notes
Release: 1988
Genre:  Doo Wop, Jazz Pop
Label:  Mercury Records
Catalog#  836279-1
(P) 1988

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Hubert Laws - Romeo & Juliet (1976)

Hubert Laws (born November 10, 1939) is an American flutist and saxophonist with a career spanning over 40 years in jazz, classical, and other music genres.

After Eric Dolphy and alongside Herbie Mann, Laws is probably the most recognized and respected jazz flutist. Laws is one of the few classical artists who has also mastered jazz, pop, and rhythm-and-blues genres, moving effortlessly from one repertory to another.

Originally a classical instrument, the flute made its way into jazz in a rather unusual way. In the early days of jazz, it was seldom used. It did not make it to the front row of lead instruments, like the trumpet and the saxophone, for a very simple reason: its comparatively low volume. In the messy and noisy ensembles of the twenties and thirties, a subtle and intimate flute fill stood no chance against the energetic, sweaty and furious leads of Armstrong’s trumpet.

As a consequence, jazz flute did not emerge as a lead instrument until the height of the Bebop era, in the early 1950’s. At this time, jazz musicians were craving for new sounds and musical horizons and, as the use of on-stage microphones became more widespread, the flute began gaining credit as a subtle and delicate alternative to the stronger sound of the trumpet.

In the second half of the fifties, jazz flute was inevitably associated with West Coast virtuosos Buddy Colette (who played with the Buddy Rich Big Band) and Bud Shank, for their audacious and very technical style of playing.

But back then, the flute was not yet ready for the spotlight; it was still widely seen as the saxophonists’ side instrument. It is only thanks to musical masterminds such as Hubert Laws, Yusef Lateef, Rahsaan Roland Kirk or Herbie Mann, that the flute really gained popularity. These genius multi-instrumentalists redefined the place of flute in jazz music throughout the 1960’s and 1970’s, building lifelong careers powered by relentless inspiration and desire for experimentation.

The least we can say about Romeo & Juliet, released in 1976 through Columbia Records is that it is a very ambitious record; ambitious in its harmonies and arrangements.

 

Inviting over 30 studio musicians, including star drummer Steve Gadd on “Undecided”, Hubert Laws managed to recreate the feel of a full-scale orchestra. Sixteen names in the string section, five brass musicians, five different choir voices… The arrangements are rich and complex, yet never invasive. On “What Are We Gonna Do”, the strings are mellow and soft; they come in and out of the mix like waves on the shore, setting the perfect mood for a super-catchy flute theme. On “Undecided”, as things get groovier, the brasses punctuate the melody in a superb manner, pairing with the drums in an almost Brownesque fashion.

 

Harmonically, Romeo & Juliet is indeed a very intricate and subtle piece of art. Every solo, every melody seems to flow through scales and modes with a natural ease, revealing Laws’ deep knowledge of harmony gained through years of classical practice. As a matter of fact, two tracks on the album are classical works arranged by Laws; “Romeo & Juliet” is a jazz-funk adaptation of the “love theme” in Tchaikovsky’s Symphony and “Forlane” is an intimate and amazingly beautiful guitar-flute version of Ravel’s piece from “le Tombeau de Couperin”. This is what makes this album so special; never failing to deliver grooves and body-shaking bass lines, Laws pushes the harmonic research to a yet unknown level of sophistication in funk.
Combining groove with harmonic excellence, Romeo & Juliet has a special place among the albums that forged the jazz flute repertoire. Its kitschy accents and overly enjoyable smooth melodies make it the perfect record for a laid-back summer afternoon, and its groovier tracks have serious dance potential. It is safe to say that Romeo & Juliet is one of these inspiring and incredibly well-thought-out pieces of art that will ravish both your body and soul.

Side A
A1.  Undecided  (6:07)  
A2.  Tryin' To Get The Feeling Again  (8:07)  
A3.  Forlane  (4:11) 

Side B
B1.  Romeo & Juliet  (7:41)  
B2.  What Are We Gonna Do?  (5:309  
B3.  Guatemala Connection  (5:43)
        
Personnel
Hubert Laws - Flute
Bob James - Fender Rhodes, Clavinet, Keyboards
Eric Gale, Richie Resnicoff, Barry Finnerty, Steve Khan - Guitar
Gary King - Bass
Andy Newmark, Steve Gadd - Drums
Ralph MacDonald - Percussion
Mark Gray - Clavinet, Keyboards
Alan Rubin, Randy Brecker, Jon Faddis, Marvin Stamm, Bernie Glow - Trumpet, Flugelhorn
Allen Ralph, David Taylor, Wayne Andre - Trombone
George Marge, David Sanborn, Howard Johnson, Phil Bodner, Jerry Dodgion, Harvey Estrin - Woodwinds
David Nadien - Concertmaster
Alan Schulman, Alfred Brown, Barry Sinclair, Charles McCracken, Emanuel Green, Emanuel Vardi, Guy Lumia, Harold Kohon, Harry Cykman, Harry Lookofsky, Matthew Raimondi, Max Ellen, Max Pollikoff, Paul Gershman, Seymour Barab - Strings
Denise Wigfall, Kenneth Coles, Robin Wilson, Shirley Thompson, Stanley Stroman - Vocals

Production
Produced, Arranged and Conducted by Bob James
Co-Produced and Engineered by Bob Clearmountain
Engineered by Joe Jorgensen
Vocal Arrangements by Stanley Stroman

Notes
Genre: Jazz
Label: Columbia Records
Length: 37:33
Catalog# 34330
(P) 1976

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Wilma - Wilma

Wilma Landkroon (Enschede, 28 april 1957) is een Nederlandse zangeres die op jeugdige leeftijd onder de artiestennaam Wilma een bliksemcarrière in het levenslied doormaakte.

Haar zuivere stemgeluid was haar handelsmerk. Omdat Wilma op jeugdige leeftijd al fulltime artieste was en nadien een weinig fortuinlijke levensloop had, wordt zij door velen beschouwd als een slachtoffer van onverantwoorde exploitatie.

Wilma werd ontdekt door Gert Timmerman en scoorde in 1968 haar eerste hit met Heintje (Bau' Ein Schloss Für Mich) - een antwoordlied op Ich bau dir ein Schloss van Heintje.

Wilma behaalde vervolgens nog een aantal successen, speelde in enkele Duitse films en houdt zich al die tijd, gestimuleerd door haar manager Ben Essing en haar vader, meer bezig met het artiestendom dan met het afronden van een schoolopleiding.
In 1969 was Wilma te zien in de Duitse film Klassenkeile.

Na Gert Timmerman en Ben Essing ontfermde Pierre Kartner zich over het jonge sterretje tussen 1968 en 1972 en scoorde Wilma haar grootste hit: Zou het erg zijn lieve opa - een duet met Vader Abraham dat in 1971 de eerste plaats bereikte in de Top 40 en de Daverende Dertig.

Daarna ging het bergafwaarts met Wilma. De single Waarom laat iedereen mij zo alleen was voorlopig haar laatste studio-opname en in 1972 eindigde de samenwerking.

Een poging tot een wat volwassener repertoire met de Makkers in 1973 mislukt. Nadien raakt Wilma diverse malen in opspraak en in aanraking met de politie door recalcitrant gedrag.

Side A
A1.  Een Klomp Met Een Zeiltje
A2.  Grootpapa
A3.   80 Rode Rozen
A4.   Ja, Ja, De Maan
A5.  Kleine Melodie D'Amour
A6.  Als Het Zondag Is

Side B
B1.   Heintje Baue Ein Schloss Für Mich
B2.   Kleine Bingo
B3.   Zauberfee
B4.  Ein Tag Wie Dieser Tag
B5.  Kokonuss
B6.  Tulpen Aus Amsterdam

Notes
Genre: Nederlandstalig
Label: Carpenter Records
Catalog# K 115/4
(P) 19..

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John Lennon - Mind Games (1973)

John Winston Ono Lennon MBE (born John Winston Lennon; 9 October 1940 – 8 December 1980) was an English singer and songwriter who rose to worldwide fame as a co-founder of the band the Beatles, the most commercially successful band in the history of popular music.
With fellow member Paul McCartney, he formed a celebrated songwriting partnership.

Mind Games is the fourth studio album by John Lennon. It was recorded at Record Plant Studios in New York in summer 1973. The album was released in the US 29 October 1973 and the UK 16 November 1973. The album was Lennon's first self-produced recording without help from Phil Spector.

Like his previous album, the politically topical and somewhat abrasive Some Time in New York City, Mind Games was poorly received by some music critics upon release. It reached number 13 in the UK and number 9 in the US, where it was certified gold.

The album was recorded while Lennon was having difficulties with US immigration and at the beginning of his 18-month separation from Yoko Ono.

The title track was released as a single at the same time as the album. The album itself was later reissued several times throughout the 1970s and 1980s.

Mind Games was recorded between July and August 1973 in Lennon's characteristic quick fashion, and was mixed over a two-week period. Lennon produced the album by himself, following his previous three-year partnership with Phil Spector.

Side A
A1. Mind Games  (4:10)  
A2. Tight A$  (3:35)  
A3. Aisumasen (I'm Sorry)  (4:41)  
A4. One Day (At A Time)  (3:27)  
A5. Bring On The Lucie (Freda Peeple)  (4:11)  
A6. Nutopian International Anthem  (0:03) 

Side B
B1. Intuition  (3:05)  
B2. Out The Blue  (3:19)  
B3. Only People  (3:21)  
B4. I Know (I Know)  (3:56)  
B5. You Are Here  (4:06)  
B6. Meat City  (2:52)

Credits
Producer, Arranged By, Vocals, Artwork By [Cover] – John Lennon
Bass – Gordon Edwards
Drums – Jim Keltner
Engineer – Dan Barbiero, Roy Cicala
Guitar – David Spinozza
Mastered By – Tom Rabstanek
Percussion [Extra Sensory], Guitar, Clavinet – Dr. Winston O'Boogie, Los Paranoias 
Piano, Organ, Mellotron – Ken Ascher
Saxophone – Michael Brecker
Steel Guitar [Pedal] – Sneaky Pete

Notes
Recorded and mastered at Record Plant, N.Y., N.Y.
Genre:  Pop
Label:  Apple Records
Catalog#  5C 062-05491
(P) 1973

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Jim Reeves - Sings With Some Friends (1969)

James Travis "Jim" Reeves (August 20, 1923 – July 31, 1964) was an American country and popular music singer-songwriter.

With records charting from the 1950s to the 1980s, he became well known as a practitioner of the Nashville sound (a mixture of older country-style music with elements of popular music).

Known as "Gentleman Jim", his songs continued to chart for years after his death.
Reeves died in the crash of a private airplane. He is a member of both the Country Music and Texas Country Music Halls of Fame.
One thing the wife of a celebrity learns early is that, she must share her hushband with his public.

Being the wife of Jim Reeves was like this, with one small exception: Jim´s public were his friends.
Everywhere we went together there seemed to be a host of “Friends” waiting to greet us and remind me that Jim belonged to them, too.
I loved this continuous flow of affection for  Jim from his friends, and I often felt a glow from them to him when he would call some aspiring young singer up to the bandstand, announce his conviction that the performer would someday reach great heights and ask the newcomer to sing with him.
From time to time Jim recorded with “Friends” – many times as a group, as well as duets.
Remembering all those exciting years, the multitudes of “Friends”  and their excitement, brought such a feeling of nostalgia that I thought perhaps you would like to share a few of these magic moments with me.
Here are ten of them I hope you will enjoy
                                                                                                                                
                                                                      Mary Reeves

Side A
A1. Jim Reeves & Dottie West - Love Is No Excuse   
A2. Jim Reeves & Leo Jackson & Floyd Robinson - You'll Never Be Mine Again   
A3. Jim Reeves & Gordon Stoker - How Can I Write On Paper (What I Feel In My Heart)   
A4. Jim Reeves & Steve Moore - But You Love Me, Daddy   
A5. Jim Reeves & Alvadean Coker - Are You The One   

Side B
B1. Jim Reeves & Dottie West - Look Who's Talking   
B2. Jim Reeves & Carol Johnson - Mother Of A Honky Tonk Girl   
B3. Jim Reeves & Leo Jackson - My Hands Are Clean   
B4. Jim Reeves & Ginny Wright - I Love You   
B5. Jim Reeves & Leo Jackson - Stand At Your Window

Credits
Jim Reeves - Guitar, Composer, Vocals
Jim Carroll - Composer
Buddy DeVal - Composer
Pat Twitty - Composer
Don Grashey - Composer
Justin Tubb - Composer
Bob Newman - Composer
Shorty Long - Composer
Buddy Killen - Composer
Producer – Chet Atkins, Danny Davis

Notes
Recorded in RCA's "Nashville Sounds" Studio, Nashville, Tennessee.
Release: 1969
Label: RCA Camden Records
Catalog# CDS 1128

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Cliff Richard - Live! (1972)

Recorded in Tokyo in September 1972, was largely overlooked in the U.K. and Europe.

1972 was not, after all, a vintage year for Cliff Richard in fact, the 1970s as a whole had been less than kind to the lad, as he continued to wallow in a lightweight pop vein that was ultimately as worthless as it was directionless.

The handful of newer songs that make it into the set "Sunny Honey Girl," "Silvery Rain" and "Flying Machine" are so unexceptional that even Richard sounds dispirited singing them, and it's not until the late-set eruption through a host of golden oldies that this album picks up speed.

Not that we really need more live versions of "Living Doll," "Bachelor Boy," and "The Young Ones," but they're here if anyone does. Sadly, the show quickly returns to the middle of the road, which is why EMI's decision to include it among the souvenirs of Cliff's 50th anniversary celebrations was marked by the original package being somewhat sliced up. So we lose the contributions of Olivia Newton-John that rounded out the original Japanese vinyl, and end instead with Cliff's own finale, a rock & roll medley and a punchy "Sing a Song of Freedom." Again, not one of his better songs, but at least it rocks a little.

Side A
A1.  The Minute You're Gone   (2:34)
A2.  The Day I Met Marie   (2:12)
A3.  Move It   (2:47)
A4.  Living In Harmony   (3:16)
A5.  Walk On By / The Look Of Love   (2:53)
A6.  Early In The Morning   (1:54)
A7.  Goodbye Sam, Hello Samantha   (2:26)

Side B
B1.  Living Doll   (1:58)
B2.  Bachelor Boy   (1:27)
B3.  The Young Ones   (1:36)
B4.  Congratulations   2:41
B5.  Rock 'N' Roll Meldey     5:44
        (a) The Girl Can't Help It
        (b) Great Balls Of Fire
        (c) Lucille
        (d) Jailhouse Rock
        (e) Good Old Rock 'N' Roll
        (f) Do You Want To Dance
B6.  Sing A Song Of Freedom   3:30

Credits
Backing Vocals – Olivia Newton-John, Pat Carol
Design [Sleeve] – David Wharin
Drums – Brian Bennett
Guitar – Hank Marvin, John Farrar
Liner Notes – Nigel Hunter
Photography By – Redferns
Piano – Alan Hawkshaw

Notes
Recorded Live In Japan, September 1972
Orignally released as a double album 'Cliff Goes East' (Outside U.K. only)
Release: 1972
Label: MFP Records
Catalog# MFP 50307

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Lou Rawls - All Things In Time (1976)

“All Things in Time” is an album by American R&B singer Lou Rawls, released in June 1976 on the Philadelphia International Records label.

Coming after a career lull in the years immediately preceding, “All Things in Time” was Rawls' first album for PIR; at the time he was the first artist to sign with PIR after having already enjoyed a substantial recording career and chart success with other record labels (The Stylistics and Archie Bell & the Drells would later join him in this category).

Recorded at the legendary Sigma Sound Studios and produced by such PIR luminaries as Gamble & Huff, Bunny Sigler and Dexter Wansel, “All Things in Time” became an immediate success on the back of its celebrated lead single "You'll Never Find Another Love Like Mine", which gave Rawls the biggest hit of his career.

Shortly before Rawls signed with Philadelphia International, his career had stalled. After a mostly successful stint with Capitol Records, he later signed with MGM and had a big hit with "Natural Man" in 1971. But the hits didn't keep coming and his 1975 Bell album, “She's Gone”, barely made a dent. His 1976 signing with Philadelphia International recharged his career and he immediately became one of the label's most successful acts. “All Things in Time” is his label debut. Rawls was one of the few acts on the label who could do great work with a variety of the producers and arrangers.

"Time" written by Jack Faith and Allan Felder has Rawls doing a pitch-perfect vocal that makes the song sound like a standard. On this album, Rawls also got a chance to do work with the quixotic Bunny Sigler. Both "Need You Forever" and "Frow Now On" have Sigler accentuating Rawls' rougher edges. Unfortunately, all of the tracks aren't great here. Despite Dexter Wansel's imaginative arrangement, "Pure Imagination" could not be saved.

"All Things in Time" does end on a great note. On "Let's Fall in Love All Over Again," a song previously done by Billy Paul and Nancy Wilson, Rawls' take is arguably the best version. "All Things in Time" is not only one of Rawls' best albums, it's also one of the finest from Philadelphia International.

Side A
A1. You're The One  (5:20)  
A2. You'll Never Find Another Love Like Mine  (4:28)  
A3. Time  (2:55)  
A4. Groovy People  (3:20)  
A5. Need You Forever  (4:38) 

Side B
B1. From Now On  (4:57)  
B2. Pure Imagination  (3:43)  
B3. This Song Will Last Forever  (5:08)  
B4. Let's Fall In Love All Over Again  (4:02)

Credits
Arranged By – Bobby Martin
Design – Ed Lee
Engineer – Carl Paroulo, Jay Mark, Jim Gallagher, Joe Tarsia
Photography By – Frank Laffitte
Producer – Bobby Martin
Producer, Written-By – Gamble & Huff

Companies, etc.
Recorded At – Sigma Sound Studios
Mastered At – Frankford/Wayne Mastering Labs
Manufactured By – Columbia Records of Canada, Ltd.
Manufactured By – CBS Records Canada Ltd.
Distributed By – CBS Records Canada Ltd.
Copyright (c) – CBS Records Inc.
Phonographic Copyright (p) – CBS Records Inc.

Notes
Recorded at Sigma Sound Studios, Philadelphia, PA.
Mastered at Frankford/Wayne Mastering Labs, Philadelphia, PA.
Genre: Soul
Length: 38:11
Label:  Philadelphia International Records
Catalog#  PIR 81368
© 1976 CBS Inc.

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Johnny Hates Jazz – Turn Back The Clock (1988)

“Turn Back the Clock” is the debut album by Johnny Hates Jazz released in the beginning of 1988.

The band consists of Clark Datchler, Mike Nocito and Calvin Hayes.

The album, whose most famous single was "Shattered Dreams," peaked at #1 on the UK charts. Kim Wilde sung backing vocals on the song "Turn Back the Clock." The track "Foolish Heart" was originally released as a single in 1986 as "Me and My Foolish Heart."

The song "Listen", written and co-produced by Phil Thornalley was later re-recorded for his only solo album Swamp, also released in 1988.

With their dapper attire, clean-cut image, and glossy production, Johnny Hates Jazz were too slick to receive any respect. Consequently, the group's debut album “Turn Back the Clock” was unjustly thrashed in the press.

Best known for its bittersweet hit single "Shattered Dreams," Turn Back the Clock is actually a well-crafted LP. On "Shattered Dreams," vocalist Clark Datchler sings of a breakup over a finger-snapping, synthesized groove. The success of the song is no mystery; it is unbelievably catchy. However, there are actually better ones on the album. The sentimental lyrics and shimmering keyboards of the title track express heartfelt feelings of nostalgia.

The music on “Turn Back the Clock” is generally upbeat synth pop, but the words are often sad. Although Johnny Hates Jazz offer no profound revelations about failed relationships or lost love, there is genuine emotion beneath the studio luster of "What Other Reason," "Different Seasons," "Don't Let It End This Way," and "Foolish Heart." On "Heart of Gold," Datchler illustrates the plight of a prostitute without sounding preachy, and the funky "I Don't Want to Be a Hero" is a surprisingly effective anti-war song. "Turn Back the Clock" is a true guilty pleasure; an LP that takes absolutely no artistic risks yet it's too hummable to ignore.

Side A
A1. Shattered Dreams  (3:26)  
A2. Heart Of Gold  (3:20)  
A3. Turn Back The Clock  (4:30)  
A4. Don't Say It's Love  (3:43)  
A5. What Other Reason  (3:20) 

Side B
B1. I Don't Want To Be A Hero  (3:37)  
B2. Listen  (3:44)  
B3. Different Seasons  (3:31)  
B4. Don't Let It End This Way  (3:40)  
B5. Foolish Heart  (3:33)  

Johnny Hates Jazz
Clark Datchler - Vocals, piano, keyboards, guitar
Calvin Hayes - Keyboards, drums
Mike Nocito - Guitar, bass

Additional musicians
J.J. Belle, Neil Hubbard - Guitars
Chris Newman - Synthesizers, Keyboards, Fairlight CMI
Peter-John Vitesse [sic] - Keyboards
Frank Ricotti - Percussion
Martin Drover, Malcolm Duncan, Molly Duncan, Neil Sidewell - Horns
Stevie Lange, Miriam Stockley, Kim Wilde - Additional vocals
Anne Dudley - Arrangements

Production
Producers - Mike Nocito, Calvin Hayes, Phil Thornalley
Engineers - Mike Nocito, Greg Jackman, Bob Kraushaar, Julian Mendelsohn, Phil Thornalley
Assistant Engineers - Matt Berry, Richard Edwards, Terry Irwin, Roy Spong, Tim Weider
Mastering - Kevin Metcalfe

Notes
Recorded At: RAK Studios
Mixed At: SARM Studios
Mastered At: The Town House
Release: 1988
Genre:  Sophisti-pop
Length: 36:24
Format:  LP
Label: Virgin Records
Catalog# VG 50336

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Jim Diamond - Double Crossed (1985)

Born in Glasgow’s East End, Jim, heavily influenced by the voices of Ray Charles and Otis Redding, joined his first band at the age of 14.

Moving to London, he formed the band Bandit and went on to sign to Clive Davis’ Arista Records. This brought his voice to the attention of the Godfather of British Blues, Alexis Korner, who invited him to work with him on his "Just Easy" album. You can listen to some of Jim's work with Bandit and Alexis Korner here.

Jim was then approached to go to Los Angeles to form a band with Earl Slick (guitarist on Bowie's "Young Americans") and Carmine Appice from Rod Stewart’s band.

All three went on to write and record with Eddie Kramer, the legendary producer of Jimi Hendrix. While in LA, Jim was asked to return to London to hook up with Tony Hymas and Simon Phillips from the Jeff Beck band and so Ph.D were formed.

The first single taken from "Ph.D The Album", "I Won’t Let You Down" went on to sell millions and become the classic song that it is today. The second album "Is it Safe?" also included a European hit, "I Didn’t Know", which featured Jeff Beck on guitar.

When Ph.D went their separate ways, Jim signed to A&M Records.

Taken from his 1984 solo album "Double Crossed" the single "I Should Have Known Better" went straight to No.1 and went on to be nominated for an Ivor Novello award. The song’s success became synonymous with the Band Aid single released at the same time when Jim urged the public to buy the charity single and not his own.

Side A
A1.  Double Crossed  (3:51)  
A2.  I Sleep Alone At Night  (4:57)  
A3.  After The Fire  (4:06)  
A4.  I Should Have Known Better  (4:06)  
A5.   Stumblin' Over  (4:15)

Side B
B1.  New Generation  (5:04)  
B2.  Co-Operation  (5:58)  
B3.  She Is Woman  (4:32)  
B4.  I'm Yours  (4:50)  
B5.  Impossible Dream  (4:35)

Credits
Jim Diamond - vocals
Colin Pincott, Earl Slick - guitar
John McKenzie - bass
Chris Parren, Paul "Wix" Wickens - keyboards
Simon Kirke - drums
Martin Ditcham - percussion
Dick Morrissey - saxophone on "Double Crossed", "After the Fire" and "She is Woman"
Graham Lyle - acoustic guitar on "I Should Have Known Better"
Pip Williams - additional guitar on "Stumblin' Over"
Zoot Money - Hammond organ on "I'm Yours"
Producer - Jim Diamond, Pip Williams

Notes
Recorded at: Chipping Norton
Remixed at: Compass Point, Nassau
Release: 1984
Genre:  Pop
Format:  LP
Label: A&M Records
Catalog# AMA 5029

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Tom Principato Band - I Know What You're Thinkin' (1988)

Tom Principato (born 1952) is an American electric blues and blues rock singer, guitarist, and songwriter.

This release for the Tom Principato Band after the leader Tom Principato launched his solo career. Continuing in the grand tradition of their first album "Smokin'" , the guitarist/vocalist again partners with Steve Wolf on bass and Clark Matthews on drums.

This trio, assisted here and there by organ fills and horn arrangements, is a real threat, and they dish out some fine rock-n-roll that is infused with some jazz and some blues/soul.

Tom Principato contributes 2 originals, the jumping "Try to Reach You" and the searing instrumental "Blue Lights", which is one of the best songs he ever wrote. "Blue Lights" certainly finds a rival in the title track of Tom's "In The Clouds" album, it is definitely a composition that should have been considered for a Grammy.

Steve Wolf, who is a remarkable bass player in his own right, contributes 3 originals that bring a greater strength and diversity to the album. With Steve Wolf paired up with Clark Matthews on drums, the rhythm section in this power trio is rock solid and tighter than a bull's butt.

The choice of covers on this album is quite fun: "Congo Square" by Sonny Landreth, "Never Make a Move Too Soon" which has been a staple in BB King's repertoire, and "Honeydripper" by Art Neville.

The band does an excellent job with the covers, really making them their own and delivering a really fun rendition of  "Never Make a Move Too Soon" Tom also nails the vocals down to a tee on this great tune.

That being said, Tom does a super job with the vocals throughout.

Side A
A1.  I Won't Recover  (3:56) 
A2.  Never Make Your Move Too Soon  (5:16) 
A3.  Rose Marie  (3:50) 
A4. Blue Lights  (6:13) 

Side B
B1.  Congo Square  (5:50) 
B2.  Try To Reach You   (Vocals [Harmony Vocals]: Clark Matthews)  (3:00) 
B3.  I Know What You're Thinkin'  (3:50) 
B4.  Honeydripper  (5:29) 

Credits
Tom Principato - vocals, guitar, steel guitar, lap steel guitar, electric bass, 6-string bass
Steve Wolf - Bass
Clark Matthews - vocals, drums
Tom Lepson - vocals
Scott Young - tenor saxophone, horns
Pete Barrenbregge - tenor saxophone
Dave Brink - baritone saxophone
Vaughn Nark, Bruce Gates - trumpet
Rick Lillard - trombone
David Palmer - drums, percussion
Cindy Wallman, Margot Kunkel, Mary Chapin Carpenter - background vocals

Production
Enginered by - Bob Dawson
Executive Producer - Tom Grady
Mixed & Mastered from Analog Multi-Track Tapes
Producer – Bob Dawson, Steve Wolf, Tom Principato

Notes
Recorded at Bias Recording Studio, Springfield, VA, 1987
Release: 1988
Genre:  Rock, Blues
Format:  LP
Label: Powerhouse Records
Catalog#  P-103

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Danny Davis & The Nashville Brass - Supersongs (1976)

Danny Davis (May 29, 1925 – June 12, 2008) was a country music band leader, trumpet player, vocalist and producer, best known as the founder and leader of the Nashville Brass.

During the remainder of the 1940s and into the 1950s Davis continued working as a trumpeter/vocalist in several big bands including the band's of Bobby Byrne, Sammy Kaye, Art Mooney (he played First Trumpet on Mooney's huge seller "I'm Looking Over a Four Leaf Clover"), Vincent Lopez and Freddy Martin. In Martin's band, in addition to his duties on trumpet, Davis sang as one of the "Martin Men" and roomed on the road with the band's male vocalist, Merv Griffin.

In the mid-sixties Davis moved to the RCA label. While still in New York he pitched his idea of recording country songs with a brass ensemble. To say the least, the idea was not well received. Not long after he joined RCA Davis was approved for transfer to the Nashville office by Chet Atkins.

One evening Davis was in the office of his boss, Chet Atkins. He decided to pitch Chet his idea of recording country songs with brass instruments. Davis was surprised when Atkins told him he thought it was a good idea. In fact, Davis told Atkins that the RCA label executives in New York had thought it was a "terrible idea." Atkins told Davis, "young fella, I run Nashville, go do it." The only suggestion Atkins made was instead of calling the group "Country Brass" he thought Davis should call it "Nashville Brass."
Davis immediately went to work on a demo. He chose Nashville arranger and fellow trumpeter, Bill McElhiney, to help create the sound of the Nashville Brass.

The basic idea was to replace the vocalist with a brass ensemble (two to three trumpets, two trombones) playing over a standard country rhythm section (guitar, bass, drums, banjo).

Danny Davis and the Nashville Brass literally took Country Music around the world, being one of the first acts in the genre to have their own airplane (originally a DC-3 later a Martin 404, named "Lady Barbara" for Davis' wife). They were also one of the first Country acts to take the music to the Vegas strip working first as an opening act for Connie Francis and later Kay Starr, they soon returned to headline.

The group also guest starred on many of the biggest television shows of the day including Red Skelton, Ed Sullivan and the show of his old friend, Merv Griffin.

Side A
A1.  King of the road  (2:06)
A2.  Make the world go away  (2:15)
A3.  Don't let the stars get in your eyes  (2:09)
A4.  (I'd be) a legend in my time  (2:33)
A5.  Cold, cold heart  (2:52)

Side B
B1.  Cattle call  (2:30)
B2.  He'll have to go  (2:39)
B3.  Why don't you love me  (2:19)
B4.  I don't hurt anymore  (2:38)
B5.  She still thinks I still care  (2:57)

Production
Recorded in RCA´s "Nashville Sound" Studios, Nashville Tennessee
Recording Engineer - Tom Pick
Recording Technician - Roy Shockley
Arranged and Conducted by - Bill McElhiney
Arranged by - Terry Waddell
Produced by - Bob Ferguson

Notes
Release: 1976
Genre:  Country, Big Band
Format:  LP
Label:  RCA Records
Catalog#  APL1-1986

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Ambrosia - One Eighty (1980)

Ambrosia is an American rock band formed in southern California in 1970.

The group was founded as a quartet with guitarist/vocalist David Pack, bassist/vocalist Joe Puerta, keyboardist Christopher North, and drummer Burleigh Drummond.

They chose the name Ambrosia in 1970 to represent a vision of their music: all shades, textures, colors and styles.
While Ambrosia had many radio hits in the 1970s, much of the material on their five albums is progressive in nature.

In 1980 Warner Bros. released “One Eighty”, which produced two of the year's biggest hits. The first, "Biggest Part of Me", reached number three for three weeks on the Hot 100 and crossed over to the soul chart, where it peaked at number thirty-five. The second, another blue-eyed soul hit, "You're the Only Woman (You & I).

It became their most successful album but lacks the ambition or inspiration that infused their first two albums.

The prog rock style that characterized the group's early work is almost completely gone: The only real progressive cut is "Kamikaze", which attempts to create a stylized blend of prog rock and traditional Japanese music but comes off as stilted and awkward.

The rest of the album's songs are either pop/rock tunes or ballads. Rockers like "Ready" go for an ambitious blend of radio-friendly rock and new wave elements, but sound too forced to be convincing.

The ballads are the album's redeeming feature. They are all lovingly crafted and boast strong, often complex melodies that keep them from getting too sappy or sentimental: "You're the Only Woman" is a keyboard-rich song that highlights Christopher North's soulful Hammond organ playing, and "Livin' on My Own" layers harmonies reminiscent of the Doobie Brothers over a jazzy tune driven by an intricate bassline.

The album's finale, "Biggest Part of Me", is the best of these ballads. It combines rich Beach Boys-styled harmonies with a heartfelt lyric to create a rich slice of blue-eyed soul that gave the group a number two hit single.


“One Eighty” earned the band three Grammy nominations, including Best Pop Vocal Group. A headlining world tour followed. For the Japanese leg of the tour, the group was joined by their longtime friend guitarist Cliff Woolley (formerly of The Association).

The title of the album "One Eighty" was believed by fans to signal the group's "180-degree" change in direction.

In actuality, it was so named because it was recorded in January 1980. (1/80).
They dedicated one of their songs to Sandie Clark.









Side A
A1.  Ready   (4:25) 
A2.  Shape I'm In  (3:29) 
A3.  Kamikaze  (4:01) 
A4.  Your'e The Only Woman   (4:20) 
A5.  Rock N' A Hard Place   (3:59) 

Side B
B1.  Livin' On My Own   (4:41) 
B2.  Cryin' In The Rain   (4:37) 
B3.  No Big Deal   (4:25) 
B4.  Biggest Part Of Me   (5:26) 

Credits
Vocals, Percussion – Royce Jones
Bass Guitar, Vocals – Joe Puerta
Drums, Percussion, Vocals – Burleigh Drummond
Electric Piano, Synthesizer – David Cutler Lewis
Guitar, Vocals – David Pack
Organ, Chamberlin, Clavinet, Synthesizer – Christopher North

Production
Associated Produder - Bill Pfordresher
Engineered & Mixed - Michael Verdick
Producer – Ambrosia, Freddie Piro
Recorded & Mixed at Location Recording Services Burbank, California
Additional Recording at Mama Jo´s by Joe Bellamy & Win Kutz Monterey Recording Studio
Warner Bros. Recording Studios, North Hollywood Sound City

Notes
Release: 1980
Genre:  Soft Rock
Format:  LP
Length:  39:4
Label:  Warner Bros. Records
Catalog#  BSK 3368

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Connie Smith - Connie In The Country (1967)

Connie Smith (born Constance June Meador; August 14, 1941) is an American country music artist.

Active since 1964, Smith is widely considered to be one of the genre's best female vocalists. She has earned 11 Grammy award nominations, 20 top ten Billboard country singles, and 31 charting albums, three of which have hit number one. On October 21, 2012, Smith became the 12th solo female vocalist and 19th woman to be elected to the Country Music Hall of Fame.

Despite her success, Smith is considered by some music critics to be one of the most underrated vocalists in country music history due to the decision not to pursue super stardom with the non-country general media market like such contemporaries as Loretta Lynn, Dolly Parton, and Tammy Wynette. Artists such as Parton, George Jones, and Chely Wright have cited Smith as either one of the best vocalists in the music industry or their favorite female artist. Eddie Stubbs of Nashville radio station WSM and the Grand Ole Opry has dubbed Smith "The Rolls-Royce of Country Singers."

“Connie In The Country” is her seventh studio album, released in February 1967 as a budget album on RCA Camden Records and was produced by Bob Ferguson.

“Connie in the Country” contained ten tracks. The album was a showcase of unreleased material Smith has recorded in the RCA studios between August 22 and August 23, 1966.
The album included cover versions of Loretta Lynn's "World of Forgotten People," Buck Owens's "Foolin' Around" and "Love's Gonna Live Here," and "I Overlooked an Orchid (While Searching for a Rose)." 

The album "Connie in the Country" was one of several albums of original new product by popular country stars released by RCA on its budget-line RCA Camden (which usually was just a line for repackaging older material) to encourage country fans to start collecting the label's currently popular artists. Smith's other albums on the Camden label are repackaged material from her RCA Victor albums.

The album's only single, "Cry, Cry, Cry" (not to be confused with Johnny Cash's 1955 hit of the same name) became a major hit on Billboard Magazine's Hot Country Songs chart, reaching #20, becoming Smith's first single to peak outside of the country Top 10.

Side A
A1.  Cry, Cry, Cry   (2:29) 
A2.  Foolin' 'Round   (2:12) 
A3.  World Of Forgotten People   (2:04) 
A4.  I'm Little But I'm Loud   (2:27) 
A5.  Slowly   (2:01)

Side B
B1.  I Overlooked An Orchid   (2:42) 
B2.  A' Sleeping At The Foot Of The Bed   (2:07) 
B3.  You Ain't Woman Enough   (2:17) 
B4.  Y'All Come   (2:16) 
B5.  Love's Gonna Live Here   (1:49)

Personnel
Connie Smith - lead vocals
Anita Carter - background vocals
Dorothy Dillard - background vocals
Dolores Edgin - background vocals
Buddy Harman - drums
Walter Haynes - bass guitar, guitar
Priscilla Hubbard - background vocals
Ron Huskey - bass
Charles Justice - fiddle
Leonard Miller - drums
Weldon Myrick - steel guitar
Louis Nunley - background vocals
Dean Porter - guitar
Hargus "Pig" Robbins - piano
Velma Smith - guitar
William Wright - background vocals

Notes
Release: 1967
Genre:  Folk, World, & Country
Format:  LP
Length:  23:22
Label:  RCA Camden 
Catalog#   CAS-2120

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Ike & Tina Turner - Live In Paris At The Olympia Theatre 1971 (1971)

Ike & Tina Turner were an American musical duo composed of the husband-and-wife team of Ike Turner and Tina Turner.

The duo was once considered "one of the hottest, most durable, and potentially most explosive of all R&B ensembles".

“Ike & Tina Turner: Live In Paris at the Olympia Theatre 1971” is recorded "live" at the Olympia Theater Paris, January 30, 1971.

This double album set captures, the excitement of the live concert of the duo as they roar through Paris.
The Ikettes sound great as the opening act, and once Tina hits the stage she tears it up!  The guitar is gritty, and Tina sings with her whole body, the sound is urgent, cathartic, and when she and the guitar start to talk to each other, something happens that is so graceful, so natural, yet so unpredictable, so fierce… you have to hear it to love it….

While in the studio they were experimenting a new, funky, electric, rock sound, Ike & Tina Turner's shows hadn't changed much since the mid 60s; the new hits "Proud Mary", "Honky Tonk Women", "Come Together" merge with the old ones "A Love Like Yours" while even the Ikettes' number is present (3 songs!) and the opening Tina medley is the same one can find in "In Person" (but the instrumental rendition of "Gimme Some Lovin'" is particularly rocking here!).

P.S. be not fooled by the 10 minute version of I Smell Trouble because it's full of the chat that was part of the Revue's shows since 1964...


Side A
A1.  Grumbling (performed by: Ike Turner)  (1:07)
A2.  You Got Me Hummin’ (performed by: The Ikettes)  (4:00)
A3.  Everyday People (performed by: The Ikettes)  (2:13)
A4.  Shake A Tail Feather (performed by: The Ikettes)  (2:12)
A5.  Medley: Gimme Some Loving / Sweet Soul Music  (3:39)
A6.  Son Of A Preacher Man  (2:45)

Side B
B1.  Come Together  (3:30)
B2.  Proud Mary  (8:48)
B3.  A Love Like Yours Don’t Come Knocking Everyday  (3:37)

Side C
C1.  I Smell Trouble  (10:00)
C2.  Respect  (3:55)
C3.  Honky Tonk Women  (2:05)

Side D
D1.  I’ve Been Loving You Too Long  (7:15)
D2.  I Want To Take You Higher  (4:45)
D3.  Land Of 1000 Dances  (4:57)

Credits
Arranged By – Ike Turner
Art Direction – Patrick Sabatier
Engineer [Recording] – Roger Roche
Photography By – Jean-Pierre Leloir
Producer – Eddie Adamis
Recording Supervisor, Sequenced By [Sequencing] – Michel Poulain

Notes
Release: 1971
Genre: Rhythm & Blues, Soul, Funk
Format: 2 LP
Length:  1:06:05
Label:  Liberty Records
Catalog#  LBS 83468

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Michael Cassidy - Nature's Secret (1979)

The Hindu visionary Michael Cassidy Michael Cassidy [Mangalananda] was born May 16, 1949 in Manchester, New Hampshire.

Michael Cassidy is the common denominator between Golden Avatar and Progress-both on Sudarshan Records. There is a connection to Hansadutta. This record is on Golden Lotus Records(GL-1) Recorded in LA in 1977 falling in between Golden Avatar (1976) and Progress (1978) 10 songs.

In 1971, Michael became an initiated disciple of A. C. Bhaktivedanta Swami, the renowned scholar who translated Bhagavad-gita As It Is, the jewel of India’s spiritual wisdom. The combination of studying the teachings of bhakti-yoga and practicing the disciplines became a continuous source of inspiration and enlightenment for Michael.

Early-on he liked the surfing sounds of Dwayne Eddy, the Ventures, and the Safaris. Later his tastes expanded to the finger-styles of Charlie Byrd, Jose Feliciano, and Carlos Jobim. “My Dad’s record collection was mostly jazz and standards from his own generation. Hearing that music influenced the melodic and harmonic aspects of my composition. Bob Dylan, Joni Mitchell, and Leonard Cohen inspired me to express myself with words.”

The cover photo needs some serious analysis. A man in monk robes sitting peacefully in the woods with a bunny as a doe approaches him. The picture of serenity. Is that Mike in the robes looking like Mr.Spock? Even better their appears to be another pressing with an alternate cover-a painting rather than a photo.

As far as the music goes this may be my favourite of the Michael Cassidy productions. A little less produced than Golden Avatar. Serious keyboard fireworks are busted out on "Spirit of Reason". "Simple Living" is a nice pastoral ode to the good life that morphs into the Maha Mantra dueling with a guitar. The lyrics are full of Krishna imagery and thoughts.

Once again, this is a record you will see listed as "acid folk" or "xian folk", and the cover could get you thinking that, but the music is above average west coast country rock, folk rock.

Side A
A1.  Come Along  (2:44) 
A2.  Golden Avatara  (4:10) 
A3.  Sign Of Surrender  (4:36) 
A4.  Simple Living  (3:33) 
A5.  Spirit Of Reason  (2:56) 

Side B
B1.  Hidden Worlds  (3:24) 
B2.  I'll Never Be Younger Than Today  (3:14) 
B3.  Natures Secret  (3:04) 
B4.  Embodiment Of Bliss  (3:16) 
B5.  Oh Thoughtful Men  (4:23) 

Credits
Vocals - Michael Cassidy
Backing Vocals – Lea Harper, Lyn Harper
Banjo – Terry McNelly
Bass – Bill Breland
Cello – Robertleigh H. Barnhart
Drums – Drew Lawrence
Flute – Gerry Peterson
Flute, Clarinet – Glen Garret
Keyboards – Wayne Cook
Lead Guitar – Steve Bartek
Tabla – Peter Peringer
Engineer – Andy Wallace
Engineer [Assistant] – Ken Krabitz
Written-By – Jeffrey Armstrong, Michael Cassidy

Notes
Release: 1979
Genre: Folk Rock
Format:  LP
Length: 36:24
Label: Golden Lotus Records
Catalog# GLR-1

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Tom Jones - Live At Caesar´s Palace (1971)

Sir Thomas Jones Woodward, (born 7 June 1940), is a Welsh singer known by his stage name Tom Jones.

He became one of the most popular vocalists to emerge from the mid-1960s. Since then, he has sung nearly every form of popular music pop, rock, R&B, show tunes, country, dance, soul, and gospel and sold over 100 million records.

Tom really mixes it up in this energetic 1971 performance, singing everything from Soul Man to My Way to his own hits She's a Lady and I (Who Have Nothing) . He also tosses his screaming fans a "hit medley" ( I'll Never Fall in Love Again/Daughter of Darkness/Love Me Tonight/It's Not Unusual ) and a "rock 'n' roll medley" ( Johnny B. Goode/Bony Moronie/Long Tall Sally ).

Of all the live Tom Jones albums this one comes closest to the "feel" of his fabulous TV variety show from 1969 to 1971. The arrangements sound essentially the same as on "This Is Tom Jones" and his performance is typically...Tom Jones.

The burning opener, "Dance of Love", sets the tone and mood of the show. Although a little light lyrically, it does seems to borrow from the Everly Brothers' version of Little Richard's "Lucille", and so we're right in Jones' musical territory - sock it to 'em, Big Tom. Soon he settles in for many expected romantic bombasts like "Till" and "Delilah". Ofcourse, at the end it's Richard's "Long Tall Sally" which takes 'em home.

Side A
A1.  Dance Of Love  (2:41)
A2.  Cabaret  (3:28)
A3.  Soul Man  (3:41)
A4.  I (Who Have Nothing)  (3:51)
A5.  Delilah  (4:15)
A6.  Bridge Over Troubled Water  (4:16)
A7.  My Way  (4:39)
A8.  God Bless The Children  (3:24)

Side B
B1.  Resurrection Shuffle  (4:37)
B2.  She's A Lady  (2:27)
B3.  Till  (2:23)
B4.  Hit Medley (I'll Never Fall In Love Again / Daughter Of Darkness / Love Me Tonight / It's Not Unusual)  (6:44)
B5.  Hi Heel Sneakers  (4:07)
B6.  Rock 'N' Roll Medley (Johnny B. Goode / Bony Moronie / Long Tall Sally)  (5:03)

Artist:  Tom Jones
Title:  Live At Caesar´s Palace
Release: 1971
Format:  LP
Label:  MFP Records
Catalog#  MFP 50351

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Enoch Light & The Light Brigade - Film Fame (1966)

Enoch Henry Light (18 August 1905, in Canton, Ohio – 31 July 1978, in Redding, Connecticut) was a classical violinist, bandleader, and recording engineer.

He led a band who recorded as early as March 1927 through at least 1940. In 1928, he led a band in Paris. The remaining band records were recorded in New York. As A&R chief and vice-president of Grand Award Records, he founded Command Records in 1959. Light's name was prominent on many albums both as musician and producer. In the 1930s Light studied conducting with the French conductor Maurice Frigara in Paris.

He is credited with being one of the first musicians to go to extreme lengths to create high-quality recordings that took full advantage of the technical capabilities of home audio equipment of the late 1950s and early 1960s, particularly stereo effects that bounced the sounds between the right and left channels (often described as "Ping-pong recording").

Enoch Light released myriad albums in various genres of music under a variety of names during the late 1950s and early 1960s. Some were released under Grand Award Records, a subsidiary label he founded earlier. The music was intended for older audiences, as opposed to most popular music of the time, which was generally intended for teenagers and young adults.

During this time, he pioneered many recording techniques such as the use of 35 mm magnetic film instead of magnetic tape, thereby reducing the effects of "wow" and "flutter". The recordings were released under the "35MM" series, starting from "Stereo 35-MM" released by Command Records. Musicians who appeared on Light's albums include The Free Design, The Critters, Rain, Doc Severinsen, Tony Mottola, Dick Hyman, organist Virgil Fox (on the Wanamaker Organ), and arranger Lew Davies.

In 1965, Light sold the Command record label, which had released the Persuasive Percussion series, to ABC Records, which itself was subsequently sold to MCA Records. After the sale, the quality of those records plummeted dramatically.The signature gatefold format (along with Light's prose) was immediately discontinued, and the covers changed to budget labels pressed on recycled vinyl. In 1975 they were completely discontinued.

Light continued recording after the sale of Command with a new label called Project 3, but did not concentrate so heavily on stereo effects. Light recorded several successful big band albums with his earlier established band in the Command days Enoch Light And The Light Brigade

In 1966 he released the album !Film Fame”. "Here is movie music at an unmatched peak of perfection! Rarely in the entire history of motion pictures have as many brilliant, exciting songs come from films all at one time as there are in the movies that are being shown right now!"

Side A
A1.  If Ever I Would Leave You  (3:15)  
A2.  To Sir, With Love  (2:40)  
A3.  Tara Theme  (3:06)  
A4.  More Than A Miracle  (2:45)  
A5.  Theme From 'Valley Of The Dolls'  (3:27)  
A6.  Bonnie & Clyde  (2:03) 

Side B
B1.  For A Few Dollars More  (2:22)  
B2.  When The World Is Ready  (2:58)  
B3.  In The Heat Of The Night  (2:27)  
B4.  Wait Until Dark  (3:03)  
B5.  Live For Life  (2:19)  
B6.  Imagine  (2:49)

Artist:  Enoch Light & The Light Brigade
Title:  Film Fame
Release:  1966
Format:  LP
Label:  Project 3 Total Sound
Catalog#  33016

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