Category: Show Notes

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Episode #85 – Tommy Bolin – The Final Show

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      • He’s been listening to the Concerto 1999 since he was 2 and this is how he got into Deep Purple.

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Jai-Alai Fronton

Profile:

Sports complex located in Miami, Florida. The venue hosted concerts during the 1960s and 1970s.

Contact Info:

3500 NW 37th Avenue

Miami, FL 33142

Sites:

Wikipedia

Lead up to the Album:

  • THE ROLLING STONE MAGAZINE
  • February 26, 1976
  • BY DAVID RENSIN
  • Along with Jeff Beck, Keith Moon, Salvador Dali and 12 roadies, Bolin was named a correspondent in Ritchie Blackmore’s divorce suit against his wife, Babs. As he tugged at a single large silver hoop earring and straightened his tinted hair, Bolin conceded nothing: ” I was in a drunken stupor for four days and I passed out at her place. She was always having these parties. I never fucked her or nothing.” Bolin’s name has since been dropped from the suit.
  • After recording Private Eyes Tommy headed out on the road to tour.  They played their first show on April 28, 1976 in Encinitas.  At this point it’s unclear that Bolin knew Deep Purple had broken up.
  • In May he played a show at Ebbets Field.  “I have the best of both worlds,” he said. “I can make money with Purple and be as artsy as I want on my own.”  As we’ve discussed previously, while Deep Purple had broken up it wasn’t until later than Bolin and Hughes were made aware of this.
  • After leaving Deep Purple his long time girlfriend had left him, starting a relationship with Glenn Hughes.
  • Tommy reportedly pulled back a little on the tour and some fans reported disappointment when he gave some of his solos to Norma Jean Bell.
  • His drug use was increasing and decreasing night-tonight.
  • He verbally insulted record label executives at one show who were in attendance.
  • Shortly after he was dropped by Nemperor records and found a new home with Columbia.
  • The Private Eyes Lineup began the tour, Jimmy Haslip took over on bass with Johnnie Bolin on Drums up until October of 1976.
  • Norma Jean Bell was critical of Johnnie Bolin’s drumming stating he didnt’ have the same jazz style of previous drummers being more of a straight ahead rock drummer and Johnnie left the band.
  • In October Mark Craney took over on drums with Max Gronenthal taking over on keyboards.
  • The band played a show in Sioux City, Tommy’s home town, on November 22 and had a rest there.
  • The next show was December 3, 1976 opening for Jeff Beck on the first date of a new tour.
  • Show at Miami Jai-Alai Fronton, a sports complex located in Miami, Florida. The venue hosted concerts during the 1960s and 1970s.

Personnel

  • Bass – Jimmy Haslip
    • Extremely prolific bassist who has played with everyone from Crosby, Stills, and Nash to Blackjack, and Diana Ross.
  • Drums – Mark Craney
    • Played with Jean Luc Ponty, Jethro Tull, Z (on the Shampoohorn album).
    • Claude Schnell’s Phil Collins story
    • Passed away in 2005.
  • Guitar, Vocals – Tommy Bolin
  • Keyboards, Vocals – Max Gronenthal
    • Played with Rod Stewart, Grand Funk Railroad, 
  • Saxophone, Vocals – Norma Jean Bell

Album Tracks:

  1. Teaser 
  2. People People
  3. You Told Me That You Loved Me
  4. Drum and Guitar Solos
  5. Wild Dogs
  6. Post Toastee

After the Show

  • Tommy returned to the Newport Hotel after the show.  He passed away in the early morning of December 4, 1976.  The coroner’s investigation found the death to be caused by an overdose of morphine, cocaine, lidocaine, and alcohol.
  • It’s reported that his drug and alcohol abuse intensified to battle the depression he was suffering from as a result of his breakup with his longtime girlfriend Karen and financial concerns.
  • His funeral was held on December 10, 1976 in Sioux City and he was buried in his family’s plot at Calvary Cemetery.
  • Karen Ulibarri returned from England and is said to have placed a ring on Tommy’s finger that Jimi Hendrix had been wearing the day he died.
  • It’s said that Deep Purple’s manager had given the ring to Tommy as a gift and Karen had kept it safe because Tommy kept losing it.

For Further Information:

Listener Mail/Comments

  • Comments about the show? Things you’d like us to cover?  We’d love to hear from you. Send us an email at info@deeppurplepodcast.com or @ us on Twitter, Facebook, or Instagram.
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Episode #84 – Whitesnake – Trouble

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Thanks to our Brothers at the Deep Dive Podcast Network:

Thanks to the Patron Saint and Archivist of The Deep Purple Podcast:

Show Updates:

  • Comments from social media.
  • New Apple Podcasts review: 5 Stars!
  • Well Disguised , 10/29/2020
  • Great guys, great show
    • I thought I was a big Deep Purple fan…then I discovered these guys. They do a wonderful job of truly digging deep into the entire world of Deep Purple, and if you know anything about the history of the band, that gives them a wide latitude of things to explore. The Twitter account is fun to follow, too. This is well worth your time if you have any interest in DP.
  • Tommy Bolin Memorial Statue Fundraiser

Lead up to the Album:

  • Martin Popoff talks in his book “Sail Away” about how David Coverdale’s solo career was a bit disjointed in 1978.  He talks about the confusing album titles and ban names (White Snake vs. Whitesnake) and the Snakebite EP.  He says that the public “did not want funky R&B or blues fusion or whatever it was he was selling.  He cites Ian Gillan Band and Paice Ashton Lord for more evidence to support this.
  • Coverdale had apparently tried to recruit Colin Towns from Ian Gillan Band and also Tony Ashton on keys.  Paice Ashton Lord had also attempted to get Coverdale to join them as we discussed on our PAL episode to form a band called CLAP!
  • Mick Ralphs from Bad Company had been attempting to get Lord to join but the idea was vetoed by Paul Rodgers.  Micky Moody and Paul Rodgers had been in a couple of bands together when they were younger.
  • Bernie Marsden: “Jon brought to the table what Jon Lord did.  I mean, when he overdubbed the stuff on Trouble, we had already recorded with the previous keyboard player, before Jon joined the band.  And literally, when Jon brought his Hammond organ and stuff into the studio I mean, the room literally shook.  And you know, Jon had a presence about him, as a person, and you know what he was like as a musician.”
  • Coverdale: “A lot of people don’t realize . . . they either look at Purple as a collective or particularly Ritchie.  But a huge part of Deep Purple’s sound was Jon Lord’s left hand on that customized Hammond organ.  My God, it would shake your haemorrhoids when he would hit the bottom end of that Hammond.”
  • Neil Murray says that even though Jon recorded over Solley’s tracks that Solley still had a great input on the album seeing that he was involved in the whole process.

Personnel

Album Art & Booklet Review

  • US Snake/Egg Cover
  • Art Direction, Design – Bill Burks (2)
    • Designed covers for Kenny Rogers, Dusty Springfield, Tina Turner
  • Illustration – Bill Imhoff
    • Did covers for Billy Joel, Willie Nelson, The Beach Boys

Album Tracks:


Side One:

  1. Take Me With You (Coverdale, Moody)
    • Neil Murray calls this “a big and exciting work-out with lots of solos in it.”
  2. Love to Keep You Warm (Coverdale)
  3. Lie Down (A Modern Love Song) (Coverdale, Moody)
    • First UK single in late September of 1978 with “Don’t Mess with Me” as the B-side.
    • There are also a number of TV appearances available for Lie Down and Trouble, from the Uk and from Germany
  4. Day Tripper (Lennon, McCartney)
    • In Germany Day Tripper was released as a single, coupled with Love To Keep You Warm
    • Marsden said that he wanted to do a funky version of the song.  MArsden said that DAvid Dowle was a really good funk drummer which gave this song a great feeling.
    • This was the first Whitesnake hit.
  5. Nighthawk (Vampire Blues) (Coverdale, Marsden)
    • Marsden had the idea for the song and says Coverdale came out with a dark lyric.
    • The song gets its title from Coverdale’s mother’s name for him.  I’m assuming this means “Nighthawk.”

Side Two:

  1. The Time Is Right For Love (Coverdale, Marsden)
    • Second UK single in March 1979
    • A: The Time Is Right For Love B: Come On (Live Version)
    • Videos for Day Tripper and The Time Is Right For Love were recorded early November 1978 (4th and 5th, if I can trust a 1978 tour rider I recently found).
  2. Trouble (Coverdale, Marsden)
  3. Belgian Tom’s Hat Trick (Moody)
    • Allegedly Coverdale had done a solo on this song but it got scrapped.  Marsden disputes this saying Coverdale never did any guitar on their albums.  Marsden does say that Coverdale was “a pretty good soloist.”  He says in rehearsals Coverdale was always playing the guitar.
  4. Free Flight (Coverdale, Marsden)
    • Marsden sings this one.
    • Marsden says Coverdale wanted him to sing this one.  He says in those days Coverdale didn’t want his name on the band, wanted it to be a real band.
  5. Don’t Mess with Me (Coverdale, Moody, Marsden, Murray, Lord, Dowle)

Reception and Review

  • Micky Moody states that the band was a lot of fun and that there was a lot of camaraderie.  He says that they didn’t make a lot of money since they never really broke our toured in the States and that’s where the money was.
  • Coverdale would share the publishing rights on one song per album in hopes of keeping the guys happy with their low pay.
  • Stargazer: Issue 17  October/December 1978
    • For those of you who don’t like bad reviews, read the live report below. I saw the band before I heard this, and there ain’t no comparison. ‘Take Me With You’ has a nice opening, synthesised noises and chunky guitar before the track proper starts, but it kind of tails off after a while. I don’t think Dowle is right for the band, but not being a drummer I can’t really say why. ‘The Time Is Right For Love’ is a track which, had it had the time devoted to it that ‘Northwinds’ had might have been very good. In case you miss the news about Lord, they just turn him up as it ends, both on this and other tracks. Overall it’s very ordinary and two-dimensional.
  • On November 9 1978 both Whitesnake and Gillan played a show in Manchester
  • The UK tour was in October/November 1978 and the last show in London was released later as “Live At Hammersmith” in Japan March 1980 and as part of “Live In The Heart Of the City” late 1980 worldwide

For Further Information:

Listener Mail/Comments

  • Comments about the show? Things you’d like us to cover?  We’d love to hear from you. Send us an email at info@deeppurplepodcast.com or @ us on Twitter, Facebook, or Instagram.
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Episode #83 – Hughes/Thrall Videos

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Thanks to our Brothers at the Deep Dive Podcast Network:

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Show Updates:

Videos and Links:

Listener Mail/Comments

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Episode #82 – Down to Earth (Part 2 with Martin Popoff)

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      • Too many people at the $5 tier, I changed mine to $5.99 to separate myself from the unwashed 🙂 – Thinking maybe call it “The Nice Price” Tier? Whaddya say?
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    • The “Abominable” Leaky Mausoleum
    • Michael Vader

Thanks to our Brothers at the Deep Dive Podcast Network:

Thanks to the Patron Saint and Archivist of The Deep Purple Podcast:

Show Updates:

Open Discussion:

Album Track Rundown:

Side One:

  1. All Night Long (Blackmore/Glover)
  2. Eyes of the World (Blackmore/Glover)
  3. No Time to Lose (Blackmore/Glover)
  4. Makin’ Love (Blackmore/Glover)
    • Steve Pilkington says that the “Don’t Believe that I’m a liar” sections sounds reminiscent of Kiss.

Side Two:

  1. Since You Been Gone (Russ Ballard)
  2. Love’s No Friend (Blackmore/Glover)
  3. Danger Zone (Blackmore/Glover)
  4. Lost in Hollywood (Blackmore, Glover, Powell)

For Further Information:

Listener Mail/Comments

  • Comments about the show? Things you’d like us to cover?  We’d love to hear from you. Send us an email at info@deeppurplepodcast.com or @ us on Twitter, Facebook, or Instagram.
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Episode #81 – Down to Earth (Part 1)

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Thanks to Our Show Supporters – Three Ways To Show Your Support

  • The $25 “Super Trouper” Tier
  • The $20 “Shades of Deep Pockets” Tier
    • Ryan M
  • The $15 “Highball Shooter” Tier
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    • Gerald Kelly
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    • Greg Sealby
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    • John Convery
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    • Fielding Fowler
    • Kenny Wymore
  • $3 “Nobody’s Perfect” Tier
    • Peter Gardow
    • Ian Desrosiers
    • Mark Roback
    • Anton Glaving
    • Will Porter
  • $1 Made Up Name Tier
    • Ells Murders
    • Spacey Noodles
    • The “Vampiric” Leaky Mausoleum
    • Michael Vader

Thanks to our Brothers at the Deep Dive Podcast Network:

Thanks to the Patron Saint and Archivist of The Deep Purple Podcast:

Show Updates:

Lead up to the Album:

  • We talked in a previous episode about how Roger Glover had bumped into Ritchie in Munich when they were recording “Stargazer” and Ritchie had played the tracks for Roger.  Glover said he was blown away and told Ritchie he thought it was a masterpiece.
  • The band sort of fell apart and Blackmore asked Glover to produce their next album.  Glover joined and worked on writing songs and playing bass as a session player.
  • Glover: “Why have a grudge against someone who’s such a great artist? I gave him a pass and decided to let him get away with it.”
  • In Martin Popoff’s book “Sensitive to Light” he says that Glover says he started his production duties on the album before Dio left the band and that it was very clear that Dio and Blackmore weren’t on the same page.  Glover acted as a go between the two.
  • Glover describes Dio sitting in the corner writing lyrics as the band played but not going to the mic to sing anything.
  • Just before Christmas of 1978 Ritchie Blackmore turned up at Ian Gillan’s house.  They ended up drinking a lot of vodka and Blackmore invited Gillan to join Rainbow.  Despite the vodka Gillan refused the offer.
  • They hired a bass player named Clive Chaman for a brief period.  As well as Jack Green who had been with The Pretty Things.  Pete Goalby, who’d been in Trapeze with Glenn Hughes, was also considered as a replacement for Dio.
  • They set up to record at Chateau Pelly de Cronfield in the south of France with the Maison Rouge mobile studio.
  • Bonnet’s vocals were recorded separately after the rest of the recoding was done at Kingdom Studios in Long Island.  Bonnet said he didn’t want to record unless it was in an actual studio.
  • They were still in need of a singer and they thought Graham Bonnet would be perfect. They’d heard him in the band The Marbles who had a hit called “Only One Woman.”
  • Don Airey claims Bonnet’s name came up when the band was playing “name that tune” and Cozy sang some of “Only One Woman.”
  • Bonnet says he got the interview to audition and had to go to the store to buy some Rainbow albums because he’d never heard of them.  Ritchie told him to learn Mistreated which he did and used that for his audition.
  • By all accounts Bonnet hated being at the castle and just wanted to go home.  Cozy wasn’t crazy about being there too.  Both stating there was nothing to do there in the middle of the countryside.
  • Again there were pranks of Ritchie making ghostly sounds and hazing Bonnet and Airey.

Personel

Visit my website https://vinyl-records.nl for complete album information and thousands of album cover photos

Album Art & Booklet Review

  • Art Direction – Bill Levy
    •  
  • Illustration – Ron Walotsky
    •  
  • Album cover bares some resemblacnce to the cover of Fireball.
  • No gatefold, just an insert with band photos.
Visit my website https://vinyl-records.nl for complete album information and thousands of album cover photos

Technical:

Credits:

  • Recorded at Château Pelly de Cornfeld, somewhere in France, 1979 with the Maison Rouge Mobile Studio and thanks to Bernie.
  • Comes with a full colour picture inner sleeve, an insert with pictures of the previous albums and a merchandise insert.

Album Tracks:

Side One:

  1. All Night Long (Blackmore/Glover)
    • Reached number 5 in the UK singles chart.
    • Glover penned all lyrics with Dio gone.
    • It was released as the follow up single to “Since You Been Gone.”
    • This is the only song Bonnet felt like he might have deserved writing credit on.  He says Ritchie had written it and Bonnet came up with the medley.
    • Ritchie reportedly contributed some lyrics to the song which was unusual for Blackmore.  Ritchie says his idea was about playing a gig, catching the eye of a girl in the crowd, and spending the night with her.
  2. Eyes of the World (Blackmore/Glover)
    • Classic ‘epic’ Rainbow style.
    • Keyboard intro a nod to Holst’s “Mars – The Bringer of War?”
  3. No Time to Lose (Blackmore/Glover)
  4. Makin’ Love (Blackmore/Glover)
    • Steve Pilkington says that the “Don’t Believe that I’m a liar” secions sounds reminiscent of Kiss.
Visit my website https://vinyl-records.nl for complete album information and thousands of album cover photos

Side Two:

  1. Since You Been Gone (Russ Ballard)
    • Reached number 6 in the UK sing chart, and the peak of Rainbow’ commercial success
    • Very divisive song for the old school fans while gaining them lots of new ones
    • Cozy Powell reportedly strongly disliked this song and would only do one take
    • The band’s first cover since the debut album
    • Glover says Bruce Payne, Rainbow’s manager played the track for Glover and asked if it would be a hit.  Glover said he thought so.  Then he said he meant for Rainbow and Glover said Blackmore would never play the song.  Payne told Glover that Ritchie really wanted to do the song and Glover was in disbelief.
  2. Love’s No Friend (Blackmore/Glover)
  3. Danger Zone (Blackmore/Glover)
  4. Lost in Hollywood (Blackmore, Glover, Powell)
Visit my website https://vinyl-records.nl for complete album information and thousands of album cover photos

Reception and Review

  • Ritchie and Roger both claim that Bonnet wasn’t “up to” being in Rainbow.  Glover says he couldn’t go the distance and Ritchie says that he wasn’t highly motivated.  Ritchie said Graham needed a lot of coaching and didn’t really come up with ideas on his own.

For Further Information:

Listener Mail/Comments

  • Comments about the show? Things you’d like us to cover?  We’d love to hear from you. Send us an email at info@deeppurplepodcast.com or @ us on Twitter, Facebook, or Instagram.
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Episode #79 – Jesus Christ Superstar (Part 3: The Album, Part 1)

Disclaimer: The video used on YouTube is a byproduct of producing our audio podcast. We post it merely as a convenience to those who prefer the YouTube format. Please subscribe using one of the links below if you’d prefer a superior audio experience.

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Thanks to Our Show Supporters – Three Ways To Show Your Support

  • The $25 “Super Trouper” Tier
  • The $20 “Shades of Deep Pockets” Tier
    • Ryan M
  • The $15 “Highball Shooter” Tier
    • Alan Begg
  • The Turn it up to $11 Tier
    • Frank Theilgaard-Mortensen
  • $10 “No One Came” Tier
    • Vacant
  • $6.66 Tier
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    • Kenny Wymore
  • $3 “Nobody’s Perfect” Tier
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    • Ian Desrosiers
    • Mark Roback
    • Anton Glaving
    • Will Porter
  • $1 Made Up Name Tier
    • Ells Murders
    • Spacey Noodles
    • The “Uncanny” Leaky Mausoleum
    • Michael Vader

Thanks to our Brothers at the Deep Dive Podcast Network:

Thanks to the Patron Saint and Archivist of The Deep Purple Podcast:

Show Updates:

  • Comments from social media.
  • Problems with Part 1 being banned from YouTube due to Sgt. Pepper’s Lonely Hearts Club Band.  We played a 20 second clip from an album that is 53 years old.
  • Part 2 also banned from YouTube for “I’m Gonna Make You Love Me” by Madeleine Belle.
  • Technical difficulties update.
  • The Jesus Christ Superstar DNA Playlist – Over 600 songs by the singers and musicians who contributed to Jesus Christ Superstar.
  • Tommy Bolin Memorial Statue Fundraiser

Lead up to the Album:

  • The story for Jesus Christ Superstar is based on The Synoptic Gospels (The Gospels of Matthew, Mark, and Luke) and “The Life of Christ” by Fulton J. Sheen.  The idea was to calibrate the gospels but to put more of a focus on the interpersonal relationships between Jesus, Judas, and Mary.
  • Tim Rice also said that the song “With God On Our Side” by Bob Dylan was an inspiration.
    • Bob Dylan – With God on Our Side (Audio)
    • The line: “Did Judas Iscariot have God on his side?
    • This was a fascinating subject for Rice to consider.
    • The premise of the musical is “Was Judas the rational disciple trying to preven tthe popular reaction to Jesus’s teaching from getting so out of hadn that the Romans would crush it?
    • Was Jesus beginning to believe what the people were saying, that he truly was the Messiah?
  • What if we dramatized the last days of Jesus’s life from Judas’s perspective?
  • By early 1969 there was an official 30 minute recording of the Joseph show giving them a sample of their work to try to get potential backers for their idea to turn JCSS into a broadway show.
  • Andrew had written to Sefton Myers with an idea of creating a museum of rock and roll memorabilia and slipped a copy of the Joseph 30 minute album.
  • Sefton got back to them and arranged a meeting where they presented a deal to Webber and Rice.  Webber was eager to jump at it but Rice was more hesitant as he wasn’t sure if it was safe to leave his job.  This lead to management being more aggressive and generous with their offers.
  • By summer of 1969 they were able to write and create and focus on their new project.
  • Their first attempt to create something was a musical based on King Richard the Lionheart.  It only had one performance.
  • One release “Come Back Richard, Your Country Needs You” by Tim Rice and The Webber Group.
  • They decided to try something “heavier, more serious.”
  • Tim went to visit Mike Leander who was head of A&R at MCA records. Leander was the person who had arranged the song “She’s Leaving Home” for The Beatles.  Mike asked Tim what became of his idea of making a musical about Jesus and Judas Iscariot.  This is something Tim had been thinking about for a while but had never mentioned to Webber.
  • The idea was to put themselves into the minds of Judas and Pilate and how they would have acted under the circumstances, not knowing what would become of Jesus.
  • Rice went back and told Webber and told him it would be the store of Christ’s last week on Earth from the perspective of Judas.
  • The idea was that they could put a lot of words into Judas’s mouth without betraying what was in the Gospels.
  • This was shortly after the backlash about John Lennon’s comments about The Beatles being bigger than Jesus.  So their backers were a little hesitant.
  • They wanted to write a stage production and thought that any recording would be a spinoff of that production.  It ended up being the opposite.

Production:

Additional Info:

  • This is The 1st UK release of Jesus Christ Superstar Recorded At Olympic Sound Studios, Barnes, Advision Studios, Island Studios And Spot Productions Studios On 16-Track Tape.
  • This is the rare, earliest first pressing, of which only a few hundred copies were made. It has the unique fold-out star cover and the late-sixties style MCA labels with the orange/yellow swirl design.
  • The album’s official release date was 16th October 1970 by which time MCA had introduced the new ‘bow-tie’ label design.
  • Later pressings followed with different label.
  • The booklet is slightly different from later copies – it is printed on shiny paper and has rounded corners.
  • Sleeve printed and made in England by E. J. Day.
  • Inner sleeve: Blue Decca poly-lined inners. The date codes on these sleeves are 6/70 and 7/70 which precedes the official release date by several months.
  • Booklet: This is the original first press booklet which has much shinier paper than later issues and rounded corners.

Canada release:

On Front Cover Label:

RECORDED IN ENGLAND

Performing in “SUPERSTAR” are members (past and present) of DEEP PURPLE, JOE COCKER’S GREASE BAND, LORD SUTCH, AYNSLEY DUNBAR RETALIATION, THE BIG THREE, JUICY LUCY, QUATERMASS, MERSEYBEATS, GRACIOUS, PLASTIC PENNY, SPOOKY TOOTH, MANFRED MANN and NUCLEUS.

Also performing is an 85 piece orchestra and the strings of the City of London

Released in a Box Cover including a 28 page Libretto and a 4 page statement in french, by Rèv. Jéan Malo M.A.

Lp’s housed in white paper sleeves

Records are set up for record changers

  • Ian Gillan of Deep Purple appears by courtesy of EMI Records and Warner Bros. Seven Arts Records Inc. (USA)
  • Victor Brox appears by courtesy of Bam Bam Records (UK) and “with love” from Blue Thumb Records (USA)
  • John Gustafson appears by courtesy of EMI Records and by permission of “Quatermass” AIR (London) Ltd
  • Paul Davies appears by kind permission of Philips Records Ltd
  • Pat Arnold appears by kind permission of Polydor Records Ltd
  • Tony Ashton appears through the courtesy of Capitol Records Inc
  • Peter Barnfeather appears by courtesy of Sunny Records Ltd
  • Madeline Bell appears by courtesy of Philips Records (Holland)
  • Brian Bennett appears by courtesy of B&C Records Ltd
  • Lesley Duncan appears by courtesy of CBS Records Ltd
  • Neil Hubbard and Chris Mercer appear by courtesy of Vertigo Records (UK) and the Atlantic Record Corporation (USA)
  • Peter Robinson appears by permission of AIR (London) Ltd
  • Carl Jenkins, John Marshall and Jeff Clyne appear by courtesy of Philips Records Ltd
  • Chris Spedding appears by courtesy of EMI Records Ltd

Album Art:

UK Release:

US Release:

  • Seems to be the same

Album Tracks:

LP 1

Side One:

  1. Overture
    • Leader [Choir] – Alan Doggett
    • The Theme Lloyd-Webber says he wrote on the back of a napkin at a restaurant called Carlo’s Place on Fulham Road
  2. Heaven On Their Minds
    • What’s The Buzz / Strange Thing Mystifying
      • Everything’s Alright
        • This Jesus Must Die

          Side Two:

          1. Hosanna
            • Simon Zealotes / Poor Jerusalem
              • Pilate’s Dream
                • The Temple
                  • Everything’s Alright
                    • I Don’t Know How To Love Him
                      • Webber said he’d seen Judy Garland in a movie called “I Could Go on Singing” which was also the title song.  He said there was a line about “When the cows come home.”  The director was Ronnie Neame, a friend of Webber’s Auntie Vi.  He decided to play a song to the director that he thought was better.  The music ended up becoming “I Don’t Know How To Love Him.”
                      • This melody had been used before from a 1968 song by Webber/Rice called “Kansas Morning.”  The song was never recorded.
                    • Damned For All Time / Blood Money

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                    Posted on

                    Episode #77 – Jesus Christ Superstar (Part 1: The Musicians)

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                    Show Updates:

                    Lead up to the Album:

                    • Andrew Lloyd Webber met Tim Rice in 1965.  Webber was 17 and trying to write for musical theater.  Rice was 20 and trying to make it as a writer of pop songs.
                    • On April 21, 1965 wrote a letter to Lloyd-Webber.  He said that he’d heard through a Mr. Desmond Elliott of Arlington Books, that Webber had been looking for a “with it” writer of lyrics for his songs.  Lloyd-Webber contacted him and they arranged a meeting.
                    • In Lloyd-Webber’s autobiography he describes Tim Rice as a “six foot something, thin as a rake, blond bombshell of an adonis.”  He also states that he learned Rice’s real ambition was to be a heartthrob rock star.
                    • He also states that Rice was working on a lot of stuff and that he imagined that one day it “would be nice to say I had met him before he was world famous . . . “
                    • The first collaborated on “The Likes of Us”  a musical which was never able to get a backer and  didn’t end up getting live production until 2005.
                    • Alan Doggett, a family friend of the Lloyd Webbers who had worked with them on “The Likes of Us” commissioned them to write a “pop cantata” based on the Old Testament. Two previous “pop cantatas” existed.  The first was “The Daniel Jazz” written by Herbert Chapell in 1963.  The second was Jonah-Man Jazz written by Michael Hurd in 1966.  Both had been published by Novello, a music publisher who would be producing this.
                    • The result was NOT Jesus Christ Superstar, but Joseph and the Amazing Technicolor Dreamcoat.  It got some recognition as a humorous retelling of the story of Joseph.
                    • In 1969 they paired up again and wrote the song “Try it And See” for the Eurovision Song Contest for the artist Lulu.  It did not make it as the UK entry for 1969 though Lulu did sing the song “Boom Bang-a-Bang.”
                    • Superstar was the first song they recorded and released as a single written by Judas, questioning Jesus and his legacy from a 20th century perspective, the eventual follow up to “Heaven on Their Minds” which is the opening song by Judas questioning Jesus in his own time.
                    • They wanted to get a successful single on the charts so they’d be given the green light to record the entire album that hadn’t yet been written.  This would get them the ability to finally perform the sive show.  They intentionally made this single radio friendly.  It got a ton of release internationally and sold well.
                    • They were given the budget for a full symphony orchestra by MCA and were allowed to produce it themselves.  The catch was that MCA wanted to own the worldwide rights to future recordings.
                    • They got a terrible deal for the royalties behind the “Superstar” single but they were in no position to turn it down.
                    • Murray head recommended the Grease band and other musicians and they got to work recording.
                    • The recordings took place at Olympic Studios in the Southwest suburb of Barnes. It was considered to be a top rock studio.  It also had a large room that could fit an entire orchestra so that’s what they used to record the Superstar single.
                    • The engineers suggested the band record with a metronome in their headphones.  Lloyd-Webber and the band did not want to do this as they were afraid it would come across too mechanically.  Keith Grant who was engineering was very worried about how they’d be able to overdub a symphony orchestra with no click track.  Webber wanted to take the gamble so that they could have a great rhythm track.
                    • The band and the soul singers were recorded first then the orchestra after under the direction of Alan O’Duffy.
                    • Apparently the timekeeping issue did become extremely difficult for the orchestra.
                    • The first day with the band on the studio was coming and Webber got the band together and had them jam for a half an hour then they’d record a short segment with the band.  That’s how “What’s the Buzz” came together along with the moneylenders sequence.

                    Personnel

                    • The musicians for Jesus Christ Superstar, the principle rock band at least,  were largely recruited from UK rock bands at the time including The Grease Band, Juicy Lucy, and Wynder K Frog.

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                    Posted on

                    Episode #76 – Hughes/Thrall

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                    Lead up to the Album:

                    • Hughes had spent the most of the five years in heavy drug use, feeling uninspired, and still grieving the death of Tommy Bolin.
                    • There was a brief Trapeze reunion.  Hughes had also done vocals on 2 tracks on their 1975 self-titled album while still in Deep Purple.
                    • There was a small tour with Hughes back in Trapeze but Hughes’s drug problem got in the way and the band had considered firing him before it completely fell apart.  The trio recorded “L.A. Cut Off” and “Space High” during this reunion which were both eventually used on 1977’s “Play Me Out.”
                    • Galley on Hughes: “[he] wasn’t in a good state of mind at the time”, suggesting that “if we could have carried the electricity of those shows on, we could have known no bounds”.
                    • Tony Perry (Trapeze’s manager) on Hughes: “[had] major problems at the time and was very difficult to deal with”, adding that he and the other members of the band had discussed the possibility of firing and replacing him during the tour.
                    • Hughes:
                      • Hughes’s bio on the Hughes/Thrall site states this about his time after Play Me Out: “Shortly thereafter, Hughes settled in Los Angeles where he could write, relax and wait for the right moment to jump back in.”
                      • “I had been bored to death for five years,” Hughes affirms today. “So, yes, thank God the formation of Hughes/Thrall came about.”
                      • “When Tommy died it was difficult for me,” says the Cannock, Staffordshire-born Hughes. “I was still in my dark period. From March or April 1976 when Purple broke up, to August 1981 when Hughes/Thrall began to take shape, I was definitely just hanging out rather than working. That five-year period”¦ I hate to use the word hiatus, but that’s what it was. I wasn’t interested in doing very much at all.”
                      • But then Hughes fell firmly off the radar. One of his first attempts at a comeback revolved around a supergroup comprising himself, fusion guitarist Ray Gomez and R&B/soul star Narada Michael Walden. The trio was supposed to sign with Atlantic Records but Gomez opted for a solo deal with Columbia instead. (Nevertheless, Hughes continued to work on and off with Gomez, while keeping his options open.)
                      • “Besides the so-called “supergoup’ you mention, me and Gary Moore tried to do an album with [Elf, Thin Lizzy and Ian Gillan Band drummer] Mark Nauseef, called G-Force. But that was aborted in 1980 ““ for numerous reasons. Sharon [Osbourne] was managing us.”
                      • That he once claimed to have fired himself from G-Force ““ on his birthday, no less ““ says a lot about Hughes’s state of mind at the time. Moore’s new outfit continued on without him, recording a single album for Jet Records, but with false starts aplenty it really did seem as if Glenn’s career was going nowhere fast.
                      • Hughes: “At the beginning of the 80s I went to see Def Leppard open for Pat Travers at the Santa Monica Civic. It was Travers together with “Mars’ Cowling [bass], Tommy Aldridge [drums] and Pat Thrall. And I saw first-hand what Travers was talking about when he told me: “You’ve got to see my new guitar player, Pat Thrall.’ The two were sharing lead guitar duties. Immediately after the show I said to Pat Thrall: “Do you want to form a band with me?’ Because I just loved what he was doing.”
                      • “I enjoy things that are totally out of the box ““ particularly after the experience of playing with Tommy [Bolin], which was total fusion in some respects. I’ve always wanted to work with people who’re a little on the edge, a little different. When we put Hughes/Thrall together we immediately had all these amazing signatures and this great sound. As a trio [drums being supplied by a varying cast including Gary Ferguson, Gary Mallaber, Peter Schless and Frankie Banali] we sounded huge. Pat had his synthesiser guitar back then, and we had this amazing depth to pull from. We wrote a lot of material. We were in pre-production for maybe six months before we went into the studio.”
                      •  
                    • Thrall:
                      • “I was aware of Glenn from Purple, but the first time I really heard him was when I was hanging with Pat Travers and he put on the Play Me Out album. Travers plays on it; he was very proud to be a part of Glenn’s record. I was hugely impressed by Play Me Out. At that point I thought: “Great, I’m starting out with Travers now, but at some point I know I’m going to be playing with Glenn Hughes.'”
                      • Thrall, however, remembers the events leading up to the formation of Hughes/Thrall a little differently: “After I left Travers’s band I got in touch with Glenn to see what he was doing and he said: “I’ve already got something going with Ray Gomez.’ So I went up to the San Francisco Bay Area, where my family is and where I grew up, and I started a band with my brother.
                      • “About four months later I got a call from Foreigner’s manager, Bud Prager. He said he was concerned because it wasn’t working out with Glenn and Gomez. Apparently Prager had invested a lot of his own money into the project and it wasn’t going anywhere. Prager knew Glenn had expressed an interest in working with me, but I thought his [Prager’s] approach was kind of disrespectful. He wanted me to haul my ass down to LA, and spend a lot of my own money on rehearsal studios, demos and suchlike. Prager implied that, in the unlikely event of things working out between me and Glenn, if I was lucky he might take us on.
                      • “But all I cared about was playing with Glenn, so I moved to LA and we began working together regardless. Eventually Prager came into town, and when he heard what we were doing he flipped out and wanted to sign us. But I wasn’t so sure because of his attitude, and because of the way he’d approached me initially. So Glenn and I decided not to get involved with Prager, although obviously he did play a role in bringing us together.”
                    • Pat Thrall got his start in a band called Go with Steve Winwood.  There’s a connection there to Spencer Davis Group.  This band also included Michael Shrieve and the two of them formed another project called Automatic Man.
                    • Thrall did a lot of studio work and eventually this got him the job with the Pat Travers band.  With Travers he did three albums: Heat In The Street, Go For What You Know and Crash And Burn. The last album had the hit song “Snortin’ Whiskey and Drinkin’ Cocaine” co-written by Thrall and Travers.
                    • The work with Pat Travers band earned him the “Best New Talent” award in 1980 by Guitar Player Magazine.
                    • All this attention got him noticed by Hughes and they formed the band in 1981.

                    Personnel

                    • Drums – Frankie Banali
                    • Drums – Gary Ferguson
                    • Drums – Gary Mallaber
                    • Guitar, Guitar Synthesizer – Pat Thrall
                      • Jack of all trades: vocals, guitar, production.
                      • Played guitar with Cookin Mama with his brother Preston Thrall on drums.
                      • Was in the Pat Travers band.
                      • Was in the band Automatic Man.
                      • Also played with Asia and Meatloaf.
                      • Was on the Glenn Hughes solo album “Feel.”
                      • Also played bass on the Joe Satriani album “Engines of Creation.”
                      • Also worked with Stevie Wonder and Celine Dion.
                      • Known as being an early adopter of Pro Tools.
                      • Worked with Demi Lovato on her version of “Let it Go” from the Frozen soundtrack.
                    • Keyboards – Peter Schless
                      • Worked with Dr. John, Kenny Loggins, Jeffrey Osbourne.
                    • Vocals, Bass – Glenn Hughes
                    • Written-By – G. Hughes*, P. Thrall*

                    Album Art & Booklet Review

                    • Steve Carver
                      • Kansas, Rufus with Chaka Kahn, and the Beach Boys
                    • Matt Mahurin
                    • John Lykes
                      • Work for Sun Ra and Doc Severinsen
                    • Earl Keleny
                      • Hughes/Thrall is only credit.
                    • Nick Taggart
                      • Loggins and Messina, Richard Pryor, Bernadette Peters, John Hiatt
                    • Andy Zito
                    • Lettering by Margo Nahas
                      • Did work for Stevie Wonder, Toto, and Van Halen’s 1984 album.
                    • Promo Photos
                      • Nevertheless, the promo photos that accompanied the release of Hughes/Thrall in 1982 showed the duo not as raddled rockers, but as remarkably healthy and fresh-faced individuals ““ even though they also looked like cheesy extras out of the soap opera, Dynasty.
                      • Thrall laughs: “Those pictures were very much of their time. I guess we were trying to look as good as we could, but believe me we were not living a very healthy lifestyle.”
                      • Hughes: “I was really healthy when we started the Hughes/Thrall project and I lost a lot of weight; I was very California-looking. But unfortunately it didn’t last”¦”
                    • Thrall on album cover:
                      • “It’s one of the worst in the history of rock,” he laughs again. “They gave us two choices. The other choice was a scantily clad woman riding on the back of a dinosaur. They said: “Which do you want, the masks or the dinosaur?’ We said: “I guess we’re going have to go with the stoopid masks.’ If you ever saw the video for The Look In Your Eye ““ ha-ha! ““ the director had everyone holding up those damn masks. It’s awful.”

                    Technical:

                    • United Western Studios, Hollywood, California, USA & Shangri-La Studios, Malibu, California, USA
                    • Producer – Andy Johns
                      • Worked with Free, Jack Bruce, and Rod Stewart.
                      • Over 500 entries on Discogs.
                    • Producer – Hughes / Thrall
                    • Producer – Rob Fraboni
                      • http://robfraboni.com/
                      • Worked with Bob Dylan, The Rolling Stones, The Band, Eric Clapton, Keith Richards, The Beach Boys, and Bonnie Raitt.
                      • The producer on Hughes/Thrall was initially Rob Fraboni. But it didn’t work out.
                      • Thrall: “Rob worked on Hughes/Thrall in the evening and into the night, but during the day he was producing Bonnie Raitt’s album Green Light. He’s more oriented toward that kind of music. We’d done probably four songs with Rob when we realised we needed to get a bigger sound. So we brought in Andy Johns, because of Led Zeppelin and all the stuff he’d done. You can definitely hear that bigger sound ““ particularly with the drums ““ on tracks such as Muscle & Blood and I Got Your Number. So that’s why we made the change. It was an education working with Andy because of his history ““ he’s a star in his own right, basically.”
                      • Hughes expands: “I really wanted Andy because of the work he’d done with Free, The Rolling Stones and Led Zeppelin, of course. Andy’s a wild card, a six-foot-four Brit in California. He wears a cowboy hat, has been known to carry guns from time to time, and he was larger than life. He still is. He was massive character in the studio. He was great at fixing the stew”¦ although he’d probably call it making the sauce!
                      • “Andy was very good at combining Pat and me’s vibe together. The groove was very important to Andy, that great groove that carries on through the record, from Muscle & Blood to Beg Borrow Or Steal, to First Step Of Love. All those songs have got great grooves to them. That still survives today.”
                      • There was no great falling-out when Fraboni was replaced by Johns, as Thrall explains: “No, not at all. It was exciting and the whole thing needed to be invigorated anyway, because Rob and us weren’t quite the perfect match, production-wise. I’ve worked with Rob since ““ I played on a Phoebe Snow album that he produced ““ but his approach wasn’t fitting in with what Glenn and I envisioned Hughes/Thrall to be. So when Andy came in it was a shot in the arm for us ““ and you can certainly hear it on the record.
                      • “We did overdubs with Andy on the tracks we did with Rob [which included Coast To Coast and First Step Of Love]. And then of course Andy mixed the whole record. Although I have to say it’s a little bit small and reverb-y for my tastes in this day and age. I’d give anything to be able to remix it, but unfortunately the master tapes were stored at the studio in Los Angeles [United Western Studios]. The ownership of the studio changed hands and any tape in the library that hadn’t been claimed was erased and used for bulk tape. That’s what happened to Hughes/Thrall. It’s horrible. We don’t have the multi-track masters any more. Glenn and I were pretty devastated when we found out.”
                    • Executive Producers – Ron Domont
                      • Only other credit is the Y&T album Black Tiger
                    • Executive Producer- Joel Brandes
                      • Two Y&T albums and an album by Jerry Corbetta
                    • Assistant Engineers – David Ahlert
                      • Worked with Oingo Boingo, Rod Stewart, and Gordon Lightfoot
                    • Assistant Engineers – Jim Perkins
                      • A few other entries, most notably Save Ferris.
                    • Assistant Engineers – Tom Yuill
                      • Worked with Ronnie Wood.
                    • Mastered by Bob Carbonne at A&M Recording Studios, Hollywood, California, USA
                      • Worked with Joe Jackson and UB40.

                    Album Tracks:

                    All songs written by Hughes/Thrall except “Coast to Coast” written by Hughes.

                    Side one:

                    1. I Got Your Number
                    2. The Look In Your Eye
                      1. Track #2 invariably appears as: “Look In Your Eye” in listings, but the Epic release cites: “The Look In Your Eye” on LP.
                    3. Beg, Borrow Or Steal
                    4. Where Did The Time Go
                    5. Muscle And Blood

                    Side two:

                    1. Hold Out Your Life
                    2. Who Will you Run To
                    3. Coast To Coast (Hughes)
                      1. Hughes: “I wanted to give it another stab ““ it’s such a great song. We thought Hughes/Thrall were going to have a lot of success Stateside and I wanted Coast To Coast to get some airplay over there. Most people don’t know it was a Trapeze song; most think of it as a Hughes/Thrall track.”
                      2. Thrall: “Glenn had cut a version when he was with Ray Gomez and that’s what I had been listening to. Gomez is a fantastic guitar player; he’s one of my favourites. The solo I take on Coast To Coast is note-for-note what Gomez’s solo was on the demo with Glenn. It’s actually more of a melody than a solo. I thought: “I’m just going to pay homage to Ray on this.’ So I was more familiar with the Gomez version than the original Trapeze one. But then, of course, Glenn and me did our own thing as well ““ all the arpeggiated guitars and the rhythmic colours”¦ all that stuff. But Gomez’s solo was perfect ““ how are you going to beat perfection?”
                    4. First Step Of Love

                    Reception and Review

                    • Interestingly all this versatility resulted in a pretty safe, AOR-sounding release.
                    • The album received a lot of praise from critics but did not do well with sales.  Hughes blamed this on the fact that both he and Thrall were both battling pretty serious drug addictions during this time and couldn’t do a full tour.  They played in support of Santana with Tommy Aldridge on drums but could only play a few shows. Jesse Harms was on keyboard.  He had previously been part of Sammy Hagar’s backing band.
                    • Hughes admits that he and Pat were to blame for the album not really taking off.
                      • “If Pat and I had been really on the money I’ve no doubt we’d’ve gone on to huge success with Hughes/Thrall. If we’d’ve been teetotalers ““ as I am now, and have been for many years ““ with no drinking, no drugging, no anything, it would’ve been different.”
                    • It’s speculated that having worked with someone with the versatility of Bolin inspired him to search for a similar experience with Thrall.
                    • Hughes/Thrall was released on the little-known Boulevard Records, a subsidiary of Epic. 
                    • Hughes: “We were one of the first artists to sign for Boulevard ““ we may have been the only artist, in fact. We could have gone with Atlantic, we had three or four offers, but we chose this company.”
                    • Thrall elaborates: “The reason we went with them [Boulevard was run by Dennis Lavinthal and Lenny Beer] was that they were two of the biggest independent record promoters in the US at the time. The labels would pay these guys upwards of $100,000 to get radio play. So Epic said: “Since we’re paying this much to you guys to do that, we’ll give you a couple of hundred thousand more and you can go sign some new acts.’
                    • Hughes has since described Thrall as “the best guitarist I’ve worked with in my entire career”.
                    • “That’s a huge compliment considering all the guys he’s played with ““ that’s wonderful,” Thrall says. “But Glenn and I have a natural chemistry. When we get into a room and start playing, we just click. That’s the bizarre thing. So it’s really easy for us to make music together. You can’t force that to happen, it’s either there or it’s not, and Glenn and I just have that thing.”
                    • Hughes agrees: “When we strap on our guitars and stand toe-to-toe in the studio there’s an instant vibe. It’s just there. It’s wonderful. We’re like a force of nature.” A Hurricane/Tornado, if you like”¦
                    • “I think our soul is what separates us from a lot of bands. Pat, for instance, is one of the warmest guitarists I’ve ever heard…Right now, we’re looking forward to going out there and destroying audiences”, said Glenn at the time. “Now you’ve really got to be on the ball to make it – you have to be a good musician. We may not be newcomers to rock & roll, but we’re as energetic and hungry as any new band”.
                    • Thrall said of this project: “This is the first time I’ve had the chance to totally express myself musically. The music on the album takes a lot of twists and turns because Glenn and I like to weave a variety of textures. The idea was to diversify the music as much as we could without getting esoteric. Most of all, we wanted to keep everything on the edge.”
                    • Hughes remarks; “I have lost count of the many people (and musicians!) who have put this LP at the top of their playlist. I am very proud of this project. There is a definite vibe on this gem”. 
                    • Claude Schnell joined the live band.  Interview with Claude here: http://www.claudeschnell.com/interview.html
                    • Hughes: “Claude was in the band when we started to make demos for the second record. But we never really completed them; we were sort of falling apart. We were also working with Tommy Bolin’s old drummer, Mark Craney. He passed away from diabetes and kidney failure, poor fella. But I like Claude, he’s sort of a Jon Lord type of character.”
                    • These days, Glenn Hughes is philosophical about what might have been: “Hughes/Thrall had a short life span. It was extremely short! But I’m glad that we’re embracing the record again now,” he says enthusiastically.
                    • Photography by Jim Kennedy captured live at Rissmiller’s (“Country Club“) in Reseda, California on Friday, November 19th, 1982.
                    • Link to photos here: https://hughesthrall.com/photos/
                    • Glenn Hughes & Pat Thrall (Hughes/Thrall) 1982 Japan TV Interview
                    • HUGHES & THRALL – THE LOOK IN YOUR EYES
                    • HUGHES & THRALL – I GOT YOUR NUMBER
                    • Hughes/Thrall would cross paths a number of times after this album, recording a song for the film “Dragnet” as well as Thrall appearing on Hughes’s solo albums and Hughes using some of the unused songs from their abandoned follow up project.
                    • In 2006 a follow up album was announced but it never materialized.  In 2009  Hughes was quoted as saying: “”I have put the Hughes/Thrall 2 project behind me… We started the album in 1997 and Pat Thrall wanted to produce it by himself. Ten years to produce an album? I usually take no more than six months. Let’s move on with our lives.””
                    • Tom Hanks & Dan Aykroyd – City Of Crime (Dragnet)

                    For Further Information:

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                    Episode #72 – The Deep Purple Game Show

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                    The Deep Purple Game Show:

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                    The Subjects:

                    • What is the funniest Deep Purple Song?
                    • Drink, Dinner, Jam
                    • Favorite Deep Purple Album Cover
                    • Duel Pepper (Deep Purple Anagram Game)
                    • Least Favorite Deep Purple Album Cover
                    • Fly on the Wall
                    • What is a better name than “The Deep Purple Game Show”
                    • Deep Purple as . . . The Simpsons
                    • Would you rather . . .
                      • Have the Deep Purple Catalog from 1968 to 1973
                      • Or the Deep Purple catalog from 1974 through 1990

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                    Episode #71 – Billy Cobham – Spectrum (with The Simple Man)

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                    Personnel

                    Album Art & Booklet Review

                    • Design [Album Design] – Stanislaw Zagorski
                      • Polish graphic artist who worked on a number of album covers, mostly for jazz bands starting in the 60s.
                    • Painting [Cover] – Jeff Snider (2)
                      • Canadian musician and artist, only a few other entires on Discogs.
                    • Photography By [Backliner Photo] – Armen Kachaturian
                      • Did work for some other artists throughout the 70s, including Billy Cobham’s “Crosswinds” album.
                    • Photography By [Inside Liner Photo] – Urve Kuusik
                      • Did work for Charles Mingus, Miles Davis, Chicago, Earth Wind & Fire

                    Technical:

                    • Engineer [Recording & Re-mix] – Ken Scott
                      • Engineered for The Beatles, Elton John, Pink Floyd

                    Notes:

                    All selection written by William E Cobham Jr.

                    The personnel on all selections except Spectrum & Le Lis is Billy Coham,, percussion; Tommy Bolinm guitar; Jan Hammer, Electric piano, acoustic piano & Moog synthesizer; Leland Sklar, fender bass. There is no acoustic piano on Red Baron.

                    Moog synthesizer drum, Moog sample and hold devices were used on drum solos on Straus and Snoopy’s Search.

                    The personnel on Spectrum & Les Lis is Billy Cobham, percussion; Joe Farrell, flute & soprano sax on Spetrucm and alto on Le Lis; Jimmy POwens, fugelhorn on Spetctrum and flugelhorn & trumpet on Le Lis; John Tropea, guitar on Le Lis; Jan Hamer, electric piano & Moog synthesizer; Ron Carter, acoustic bass; Ray Barrelo, congas.

                    What is life but a spectrum and what is music but life itself. Billy Cobham, Jr.

                    Album Tracks:

                    Side one:

                    1. Quadrant 4
                    2. a) Searching For The Right Door b) Spectrum
                    3. a) Anxiety b) Taurian Matador

                    Side two:

                    1. Stratus
                    2. a) To the Women in My Life b) Le Lis
                    3. a) Snoopy’s Search b) Red Baron

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