Sunday, February 11, 2018

Kansas


Origin: Topeka, Kansas (USA)

KANSAS
Kansas Dave Hope - Kerry Livgren - Rich Williams - Phil Ehart - John Elefante
Dave Hope - Kerry Livgren - Rich Williams - Phil Ehart - John Elefante
Discography:

Kansas [Drastic measures - 1983] aor melodic rock music blogspot full albums bands lyricsDrastic measures - 1983 (with lyrics)

Notes:

- Kansas is an American rock band that became popular in the 1970s initially on album-oriented rock charts and later with hit singles such as "Carry On Wayward Son" and "Dust in the Wind". The band has produced eight gold albums, three multi-platinum albums (Leftoverture, Point of Know Return, The Best of Kansas), one platinum live album (Two for the Show) and a million-selling single, "Dust in the Wind". Kansas appeared on the Billboard charts for over 200 weeks throughout the 1970s and 1980s and played to sold-out arenas and stadiums throughout North America, Europe and Japan. "Carry On Wayward Son" was the second-most-played track on US classic rock radio in 1995 and No. 1 in 1997.


History

1970–1973: Early years
In 1969 Lynn Meredith, Don Montre, Dan Wright and Kerry Livgren (guitars, keyboards, synthesizers) were performing in a band called The Reasons Why in their hometown of Topeka, Kansas. After changing the band's name to Saratoga, they started playing Livgren's original material with Scott Kessler playing bass and Zeke Lowe on drums.

In 1970 they changed the band's name to Kansas and merged with members of rival Topeka progressive rock group White Clover. White Clover members Dave Hope (bass) and Phil Ehart (drums, percussion) joined with Livgren, vocalists Meredith and Greg Allen, keyboardists Montre and Wright and saxophonist Larry Baker. This early Kansas group, which lasted until early 1971 when Ehart, Hope and some of the others left to re-form White Clover, is sometimes referred to as Kansas I.

Ehart was replaced by Zeke Lowe and later Brad Schulz, Hope was replaced by Rod Mikinski on bass, and Baker was replaced by John Bolton on saxophone and flute. (This lineup is sometimes referred to as Kansas II, and 30 years later would re-form under the name Proto-Kaw).

In 1972, after Ehart returned from England (where he had gone to look for other musicians), he and Hope once again re-formed White Clover with Robby Steinhardt (vocals, violin, viola, cello), Steve Walsh (vocals, keyboards, synthesizers, percussion) and Rich Williams (guitars). In early 1973 they recruited Livgren from the second Kansas group, which then folded. Eventually they received a recording contract with Don Kirshner's eponymous label, after Kirshner's assistant, Wally Gold, heard one of their demo tapes and came out to check out the band at one of their local gigs in March 1973. After signing with Kirshner, the group decided to adopt the Kansas name.


1974–1979: Rise to national prominence
Their self-titled debut album, produced by Gold, was released in March 1974, nearly a year after it was recorded in New York. It defined the band's signature sound, a mix of American-style boogie rock and complex, symphonic arrangements with changing time signatures. Steinhardt's violin was a distinctive element of the group's sound, being defined more by heartland rock than the jazz and classical influences which most progressive rock violinists followed.

The band slowly developed a cult following, due to promotion by Kirshner and extensive touring for the debut album and its two follow-ups, Song for America (February 1975) and Masque (October 1975). Song for America was co-produced by Wally Gold and their former White Clover bandmate Jeff Glixman, who would go on to produce all of their albums from Masque to Two for the Show (October 1978) on his own, returning to the helm for 1995's Freaks of Nature. Both Masque and their next release, Leftoverture, were recorded at a studio in the middle of the Louisiana Bayou named Studio in the Country.

Kansas released its fourth album, Leftoverture, in October 1976, which produced a hit single, "Carry On Wayward Son", in 1977. The follow-up, Point of Know Return, recorded at Studio in the Country and Woodland Sound in Nashville and released in October 1977, featured the title track and "Dust in the Wind", both hit singles. Leftoverture was a breakthrough for the band, hitting No. 5 on Billboard's pop album chart. Point of Know Return peaked even higher, at No. 4. Leftoverture and Point each sold over four million copies in the U.S. Both "Carry On Wayward Son" and "Dust in the Wind" were certified gold singles, selling over one million units each. "Dust in the Wind" was certified gold as a digital download by the RIAA in 2005, almost 30 years after selling one million copies as a single. Leftoverture was eventually certified five-times platinum by the RIAA in 2001.

During this period, Kansas became a major headlining act and sold out the largest venues available to rock bands at the time, including New York's Madison Square Garden. The band documented this era in 1978 with Two for the Show, a double live album of recordings from various performances from its 1977 and 1978 tours. The band gained a solid reputation for faithful live reproduction of their studio recordings.

In March 1978 Kansas was brought over to tour Europe for the very first time and later on that same year, they were named UNICEF Deputy Ambassadors of Goodwill.

The follow-up studio album to Point of Know Return was Monolith (May 1979), which was self-produced. The album generated a Top 40 single in "People of the South Wind", whose title refers to the meaning of the 'Kanza' (Kaw) Native American people, after whom the state and the band are named. The album failed to garner the sales and radio airplay of its two predecessors. Nevertheless, the album eventually went platinum. Livgren's platinum award for the album is on display at the Kansas History Museum. The band toured the US for Monolith during the summer and fall of 1979 then went over to tour Japan for the first time in January 1980.


1980–1984: Creative tensions
Kansas' band members began to drift apart in the early 1980s. During the tour supporting Monolith, Livgren became a born-again Christian, and this was reflected in his lyrics on the next three albums, beginning with Audio-Visions (September 1980). "Hold On", a Top 40 single from that album, displayed his new-found faith. Hope soon converted to Christianity as well. This would be the final album with the original lineup (until they briefly reunited in 1999-2000), and also the last Kansas studio album to be certified gold by the RIAA.

Due to creative differences over the lyrical direction of the next album, Walsh left in October 1981 to form a new band, Streets. In early 1982 Walsh was replaced by vocalist/keyboardist/guitarist John Elefante, who—unknown to Livgren and Hope at the time—was also a Christian. He was chosen from over 200 applicants, such as Sammy Hagar, Doug Pinnick, Ted Neeley (who played the title character in the movie Jesus Christ Superstar), Warren Ham (ex-Bloodrock, who would join the band on the road in 1982 adding sax, flute, harmonica, back-up vocals and extra keyboards) and Michael Gleason (who would supply keyboards and back-up vocals on the group's 1983 tour).

Kansas' first album with Elefante, Vinyl Confessions, was released in June 1982. The record renewed interest in the group and generated the band's first Top 20 hit in several years, "Play the Game Tonight", which hit number 4 on Billboard's newly deployed Mainstream Rock chart. The album's mostly Christianity-based lyrics attracted a new audience. Still, sales of the album fell short of gold status.

Drastic Measures followed in July 1983. For various reasons, Livgren contributed only three songs to the album. The rest were penned by the Elefante brothers (John and Dino, who later became successful producers for contemporary Christian music artists, including Sweet Comfort Band, Petra, Bride, Rick Cua and Guardian). With violinist Steinhardt leaving the group before the recording sessions, the result was a more mainstream pop-rock album. Though the album charted lower than any Kansas album since Masque, peaking at number 41, its single "Fight Fire with Fire" fared better. It did not crack the Top 40 on the Billboard Hot 100, but reached No. 3 on the Billboard Mainstream Rock chart. It was the highest chart position of any Kansas release on any chart, though this particular chart did not exist prior to 1981. For their 1983 tour for Drastic Measures, Kansas was joined on stage by the aforementioned Michael Gleason and Terry Brock (who covered the absent Steinhardt's harmony vocals).

During the band's time with Elefante as lead vocalist, Livgren became increasingly uncomfortable with Kansas representing his Christian worldview. After a final New Year's Eve performance on December 31, 1983, Livgren and Hope left to form AD with Warren Ham and Michael Gleason. They were joined by drummer Dennis Holt.

Elefante, Ehart and Williams sought to continue as Kansas and recorded one more song, "Perfect Lover", which appeared on the retrospective The Best of Kansas (August 1984), which has sold over 4 million units in the U.S. alone. The song would eventually be removed in favor of other songs on the remastered release of the compilation. The group disbanded after its release, which thus became the final Kansas recording with Elefante. Since leaving the band, Elefante has become a popular Contemporary Christian music artist and has not performed with the group since.

In March 1984 Ehart, Williams and Elefante were part of a United Service Organizations (USO) tour of US military bases that had been put together by Ehart, called 1st Airborne Rock and Roll Division, that also included Patrick Simmons (Doobie Brothers), Leon Medica (LeRoux), David Jenkins, Cory Lerios and John Pierce (from Pablo Cruise) and Robin Zander, Rick Nielsen and Bun E. Carlos (from Cheap Trick). The supergroup began four days of rehearsals in Hawaii on March 10 before beginning a 17-day tour playing for the United States Seventh Fleet in the Indian Ocean and land-based troups in Korea, Okinawa, Diego Garcia and the Philippines. This was followed by a second USO tour in March 1985 that included Ehart, Williams and Steve Walsh.


1985–1990: Reformation
In July 1985 the band came back together with Ehart, Williams and Walsh (who had briefly played keyboards on the road for Cheap Trick in the spring and summer of 1985 after the break up of Streets), but without Livgren, Hope or Steinhardt. The new lineup included Streets bassist Billy Greer and guitarist Steve Morse (formerly of the Dixie Dregs). The first performances of the new lineup with Morse and Greer took place during a third USO 1st Airborne Rock and Roll Division tour that toured US military bases in the US, Japan, Okinawa, the Philippines, Singapore, Iceland and most of Europe during the late summer through early October 1986.

The re-formed band released Power in November 1986. The first single, "All I Wanted", became the last Kansas single to hit the Billboard Top 40 chart, peaking at No. 19. It also received considerable airplay on MTV. Two more singles, the title track and "Can't Cry Anymore", were less successful, "Power" hitting the lower end of the Hot 100 and getting substantial play and charting on the Rock Charts, but "Can't Cry Anymore" receiving little airplay despite a clever music video.

The band added New Orleans native Greg Robert on keyboards and back-up vocals at the suggestion of LeRoux's Leon Medica. Greg played his first show with Kansas on January 31, 1987 at Roberto Clemente Stadium in Puerto Rico. The new lineup released a second album, In the Spirit of Things, in October 1988. The concept album and subsequent tour were popular with the fan base but did not receive widespread airplay beyond the "Stand Beside Me" video on MTV. Morse temporarily left the band at the end of a tour of Germany in April 1989.

On September 15, 1990, Walsh, Williams and Ehart played a charity event at the Saddlerock Ranch in Malibu, California, alongside Saga, Lou Gramm (of Foreigner), Mr. Big, Eddie Money, Kevin Cronin (from REO Speedwagon) and others. Alex Lifeson joined them on stage for a short set of Kansas before Geddy Lee flew in to join Alex for a Rush set, with Ehart on drums subbing for Neil Peart.

In November 1990 a German promoter arranged to reunite all the original members of Kansas (except for Steinhardt) for a European tour. Greer joined them, along with keyboardist Greg Robert. At the end of the tour, Hope left again, but Livgren remained on into 1991.


1991–1997: Addition of David Ragsdale
In March 1991 violinist David Ragsdale (who had submitted a tape of his playing to Ehart several years earlier) was invited to join the group and the return of the violin allowed Kansas to perform earlier material in arrangements closer to the originals. Livgren left during the 1991 summer tour, to be replaced temporarily by Steve Morse again. After the tour, Morse left the band for good to return to his own projects and eventually become a member of Deep Purple, and Ragsdale took over the extra guitar parts, leaving Williams as the primary guitar player. The resulting lineup of Ehart, Greer, Ragsdale, Robert, Walsh and Williams lasted from 1991 to 1997. This period saw one live album and accompanying video, Live at the Whisky (July 1992), and one studio album, Freaks of Nature (May 1995).

During the fall of 1993, drummer Van Romaine (formerly of Blood Sweat and Tears and Steve Morse's band) came in to substitute for Ehart, who was taking care of the group's business and putting together The Kansas Boxed Set, which was released in July 1994. Bryan Holmes, from The Producers, likewise filled in for Ehart during the spring and summer of 1994 until that December, when Phil returned for a tour of Germany.

On July 28, 1995 Kansas was inducted into the Rock Walk of Fame in Hollywood.


1997–2006: Return of Robby Steinhardt
In early 1997, Robert and Ragsdale left the band, and Steinhardt returned.

In May 1998 Kansas released Always Never the Same, which featured Larry Baird conducting the London Symphony Orchestra. The album was a mix of older Kansas material (with new arrangements by Baird), several new songs, and a cover of "Eleanor Rigby".

Somewhere to Elsewhere, a new studio album released in July 2000, featured all the original members of Kansas, plus Greer, with all songs written by Kerry Livgren. That same summer, Kansas was the opening act for Yes during their "Masterworks" tour.

During the late 1990s and early 2000s, Livgren would occasionally attend Kansas shows and come on stage to play one or more songs with the band. At a March 9, 2002 concert at Lake Tahoe, he played the whole show, subbing for Rich Williams, who was "under the weather" and another live album and DVD from Kansas, entitled Device - Voice - Drum, which was recorded in the band's present home of Atlanta, was released on June 15, 2002.

Also in 2002, Kansas II (the lineup prior to the recording and release of Kansas' first album) released an album under the name Proto-Kaw, featuring demos and live material recorded from 1971 to 1973. This led to a new studio album, Before Became After (2004), with most of the Kansas II members participating. Proto-Kaw released a third album, The Wait of Glory, in 2006 and their fourth and final studio album, Forth, was released in 2011, after which the band ceased.


2006–2014: Continued touring and regained popularity
Kansas continued to tour every year. The 2006 tour was delayed for a few weeks due to Steinhardt's second departure in March and Ragsdale's subsequent return to the lineup.

In 2008 the Kansas website announced that four of the five members (Ehart, Ragsdale, Williams and Greer) had formed a side recording group called Native Window, and they released their self-titled debut album in June 2009.

In February 2009 Kansas recorded a concert in Topeka featuring a full symphony orchestra, with Larry Baird conducting. Morse and Livgren appeared as special guests on several songs. The performance was released on CD, DVD and Blu-ray as There's Know Place Like Home that October, and the DVD hit No. 5 on the Billboard Music Video Chart the week after its release.

In July 2010 Kansas completed a 30-day "United We Rock" tour with fellow classic rock acts Styx and Foreigner. Kansas then began a collegiate tour in September 2010. On this tour, they performed with the symphony orchestras of various US colleges in an effort to raise money for the individual schools' music programs. The success of the tour led the band to start another one the following year.

On September 13, 2012 Kansas began a new tour with a performance at the Best Buy Theater in New York City. Opening for them was the band King's X and a one-man-band called That 1 Guy. This tour featured many hits from the albums Leftoverture and Point of Know Return, as well as material from a number of their other albums.

The band kicked off 2013 being featured on the Rock Legends II cruise. The floating rock festival for a cause aboard Royal Caribbean International's Liberty of the Seas departed January 10, 2013 from Fort Lauderdale, FL. Other big names included Foreigner, Paul Rodgers, Creedence Clearwater Revisited, Bachman & Turner, 38 Special, The Marshall Tucker Band, Blue Öyster Cult, Foghat, and Molly Hatchet.

On March 1, 2013, Kansas announced a 40th anniversary celebration was in the works. "Celebrating 40 years as a band, legendary American progressive rock band Kansas is taking a break from their regular touring schedule to say 'thank you' to their legions of loyal 'Wheatheads' with a once-in-a-lifetime fan appreciation concert scheduled for August 17, 2013, in Pittsburgh, Pennsylvania", their press release read. The statement continued, "To start the concert Kansas will perform a set backed by a 35-piece symphony orchestra. Following an intermission, Kansas will then rock out a traditional band set of classics from their repertoire. The night will be highlighted by special guest appearances throughout the concert by original members Dave Hope, Kerry Livgren, and Robby Steinhardt—marking the first time all original members of the band will be on the same stage together in more than 30 years." However, Steinhardt suffered a heart attack days before the concert and was unable to participate.


2014–present: Retirement of Steve Walsh, The Prelude Implicit
On July 2, 2014 a declaration was issued on the band's official Facebook page announcing the impending retirement of lead singer Steve Walsh: "On June 30, 2014, Steve Walsh informed the members of Kansas that he is resigning from the band. His last performance with Kansas will be August 16, 2014, in Sioux City, Iowa, at the Hard Rock Hotel & Casino. As Kansas continues on, the band wishes Steve only the best in his future endeavors and thanks him for the 41 years." On July 6, 2014, former Kansas lead singer John Elefante issued a statement that he had been contacted by the band on July 2 to discuss rejoining. However, on July 4, after turning to prayer, he said that it was not meant to be. At that point, he also cited Steve Walsh as one of the reasons he wanted to become a singer.

A statement was issued on July 14, 2014 through the band's official Facebook page stating that Chicago area native Ronnie Platt (who had previously sung with Shooting Star) had been selected as the band's new lead vocalist and keyboard player: "Kansas would like to introduce lead vocalist and keyboardist Ronnie Platt as its newest member. Ronnie's first show with the band will be September 12 in Oklahoma City, OK, where he will take over singing duties for departing vocalist Steve Walsh." On July 24, 2014, the band announced that their longtime lighting specialist David Manion would be handling the main keyboard parts for the band on stage along with Platt, giving the group a full-time keyboardist for the first time since Greg Robert`s departure in 1997. Manion had also handled keyboard responsibilities for Kansas' bassist and vocalist Billy Greer's band, Seventh Key.

In March 2015 the band released a documentary, Miracles Out of Nowhere. The documentary chronicles the band's formation and follows them throughout their success with Leftoverture and Point of Know Return. It was initially available in a limited-edition release that contained an extra DVD of bonus interviews. The documentary was released alongside a companion CD of the same name that contained a selection of the band's greatest hits along with snippets of commentary from the documentary.

On September 1, 2015, a press release announced that Kansas had signed with Inside Out Music, a German label dedicated to progressive rock and related genres, for the release of their upcoming 15th studio album. The release of this album marked the longest period to date between studio releases since Kansas' previous album, Somewhere to Elsewhere, had been released over 15 years prior, in 2000. On February 26, 2016, the group officially announced The Prelude Implicit for a September 2016 release. The album's co-producer and co-writer, Zak Rizvi, was subsequently named as a full member of the band, giving Kansas a second full-time guitarist for the first time since Steve Morse's departure in 1991.

On September 30, 2016, the current lineup kicked off a multi-city tour at the Benedum Center in Pittsburgh, PA, in celebration of the 40th anniversary of the release of Leftoverture, which was done again in the spring of 2017 with a twelve show 40th anniversary tour, that, like the fall jaunt, included performances of newer tracks, older songs and a complete rendering of the full Leftoverture album. A two CD set, Leftoverture Live & Beyond, was released in November 2017 that contained nineteen songs culled from different shows during the tour and the band's 2017 fall dates also included further 40th anniversary shows.


Influences
Kansas' musical style, the fusion of hard rock, southern rock and progressive rock, was influenced by several previous bands. The music of Yes and Genesis was inspirational to Kansas, especially demonstrated in the lyrics of Walsh. Livgren cited the 1960s band Touch as foundational to his development. Livgren's evolving spirituality is reflected in the band's songs, with early works showing an interest in the mysticism of Eastern religions, works in the late 1970s influenced by the American spiritual philosophy of The Urantia Book, followed in the early 1980s by works embracing born-again Christianity. The re-formed band produced a harder pop metal album in the late 1980s.

In a 2003 interview with The A.V. Club, Berkeley Breathed, the creator of the Opus comic strip, revealed that "Opus was named after a Kansas song." From the band's 1976 album Leftoverture, the songs "Opus Insert" and the epic "Magnum Opus" could both be the inspiration for the name. He also added, "If you're too young to know who Kansas was, to hell with you."


Appearances in other media
"Carry On Wayward Son" has been covered by many artists. It was included on soundtracks for the following movies and television shows: Anchorman: The Legend of Ron Burgundy, Family Guy, Gentlemen Broncos, Happy Gilmore, Heroes (1977), Scrubs, South Park ("Guitar Queer-o" episode), King of the Hill ("My Own Private Rodeo"), Strangers with Candy ("Yes You Can't"), Supernatural (during the intro for each season finale), and Supernatural: The Anime Series (as the ending for each episode). It was also featured in the video games Grand Theft Auto V, Guitar Hero II, Guitar Hero Smash Hits, Rock Band 2, and Rock Band Unplugged.

"Dust in the Wind" was parodied by comedian Tim Hawkins, the parody called "A Whiff Of Kansas" which is on the Pretty Pink Tractor album, and a video parody on the Insanitized live DVD. In 2016, the music video for the song was parodied on The Late Late Show with James Corden. -

(https://en.wikipedia.org/wiki/Kansas_(band))




- Fusing the complexity of British prog rock with an American heartland sound representative of their name, Kansas were among the most popular bands of the late '70s, with many of their hits becoming staples of AOR radio playlists. Formed in Topeka in 1970, the founding members of the group -- guitarist Kerry Livgren, bassist Dave Hope, and drummer Phil Ehart -- first played together while in high school; with the 1971 addition of classically trained violinist Robbie Steinhardt, they changed their name to White Clover, reverting back to the Kansas moniker for good upon the 1972 arrivals of vocalist/keyboardist Steve Walsh and guitarist Richard Williams. The group spent the early part of the decade touring relentlessly and struggling for recognition; initially, their mix of boogie and prog rock baffled club patrons, but in due time they established a strong enough following to win a record deal with the Kirshner label.

Kansas' self-titled debut LP appeared in 1974; while only mildly successful, the group toured behind it tirelessly, and their fan base grew to the point that their third effort, 1975's Masque, sold a quarter of a million copies. In 1976, Leftoverture truly catapulted Kansas to stardom. On the strength of the smash hit "Carry on Wayward Son," the album reached the Top Five and sold over three million copies. Released in 1977, Point of Know Return was even more successful, spawning the monster hit "Dust in the Wind." While the 1978 live LP Two for the Show struggled to break the Top 40, its studio follow-up, Monolith, the band's first self-produced effort, reached the Top Ten. That same year, Walsh issued a solo record, Schemer-Dreamer.

In the wake of 1980's Audio-Visions, Kansas began to splinter; both Hope and Livgren became born-again Christians, the latter issuing the solo venture Seeds of Change, and their newfound spirituality caused divisions within the band's ranks. Walsh soon quit to form a new band, Streets; the remaining members forged on without him, tapping vocalist John Elefante as his replacement. The first Kansas LP without Walsh, 1982's Vinyl Confessions, launched the hit "Play the Game Tonight," but after only one more album, 1983's Drastic Measures, they disbanded.

In 1986, however, Kansas re-formed around Ehart, Williams, and Walsh; adding the famed guitarist Steve Morse as well as bassist Billy Greer, the refurbished band debuted with the album Power, scoring a Top 20 hit with "All I Wanted." When the follow-up, 1988's In the Spirit of Things, failed to hit, seven years passed before the release of their next effort, Freaks of Nature. The London Symphony-assisted Always Never the Same followed in 1998, and in 2000 Kansas issued Somewhere to Elsewhere, their 14th studio album, which saw the return of founder singer/songwriter Kerry Livgren. The next decade found Kansas continuing to tour heavily and release compilations and live albums, culminating in their 2014 induction into the Kansas Hall of Fame and the Georgia Music Hall of Fame, which coincided with the group's 40th anniversary. Miracles Out of Nowhere, a DVD/CD career retrospective, followed in early 2015. After signing with Century Media's InsideOut label, Kansas released The Prelude Implicit in 2016. Their 15th studio effort overall, the prog-heavy LP also marked the band's first new album in 16 years. The following year saw the release of Leftoverture Live & Beyond, a collection of concert performances culled from their 40th anniversary tour. -

(https://www.allmusic.com/artist/kansas-mn0000303626/biography)

Kansas [Drastic measures - 1983]


Kansas [Drastic measures - 1983]

Origin: Topeka, Kansas (USA)

Kansas [Drastic measures - 1983] aor melodic rock music blogspot full albums bands lyrics

Take a listen on youtube

Line-up:

John Elefante - Vocals, keyboards
Rich Williams - Guitar
Kerry Livgren - Guitar, keyboards
Dave Hope - Bass
Phil Ehart - Drums, percussion

Additional musicians:

Jim West - Guitar
Neil Kernon - Keyboards
David Pack - Backing vocals
Kyle Henderson - Backing vocals
Terry Brock - Backing vocals
Boxcar PeeWee and the Megapeople - Backing vocals
The Gang of men - Backing vocals
Women at work - Backing vocals

Tracks:

1. Fight Fire With Fire lyrics
2. Everybody's My Friend lyrics
3. Mainstream lyrics
4. Andi lyrics
5. Going Through the Motions lyrics
6. Get Rich lyrics
7. Don't Take Your Love Away lyrics
8. End of the Age lyrics
9. Incident on a Bridge lyrics

Sunday, January 28, 2018

Hughes & Thrall


Origin: Los Angeles (USA)

Hughes & Thrall
Hughes & Thrall Frankie Banali - Glenn Hughes - Pat Thrall
Frankie Banali - Glenn Hughes - Pat Thrall
Discography:

Hughes & Thrall [st - 1982] aor melodic rock music blogspot full albums bands lyricsst - 1982 (with lyrics)

Notes:

- Hughes/ Thrall was musical project formed in 1982 by former Deep Purple and Trapeze bassist/vocalist Glenn Hughes and guitarist journeyman Pat Thrall.

While Pat Thrall had spent the late 1970s and early 1980s making a name for himself by playing with the likes of Automatic Man and Pat Travers, former Deep Purple member Glenn Hughes recorded one solo album after the demise of Purple in 1976 entitled Play Me Out; a record that focused more on his love of soul and funk rather than hard rock. Play Me Out had limited success and Hughes had slipped off the musical map, save for a few guest appearances here and there.

Hughes moved to Los Angeles to write with the intention of releasing new material. In 1981, Thrall's playing caught Hughes' eye and the two formed a musical partnership. After a period of jamming and writing they started recording with producer Andy Johns (who had previously worked with the likes of Led Zeppelin, Free and The Rolling Stones). They released their debut album, simply called Hughes/Thrall in August 1982.

Released on a short-lived subsidiary of Epic, called Boulevard Records, the album had little marketing behind it and although it received critical acclaim it failed to make a big impression with the music buying public and saw disappointing sales. Hughes blamed some of the obscurity on the fact that both he and Thrall were suffering from drug addictions at the time, and couldn't support the album with a proper tour.

The album itself had a definite radio-friendly, album-oriented rock sound. However it also had elements of post-punk and new wave, many musicians and critics have cited the record as highly influential to the direction of rock music in the eighties. Over time it has become something of a cult record.

Hughes/Thrall took to the road for a short American tour, playing a handful of gigs in California and Texas supporting Santana. The touring band featured drummer Tommy Aldridge and keyboardist Jesse Harms.

The pair recorded some demos for a proposed follow-up to the first album, but these never ended up being released and the album was scrapped. A few of these demos have surfaced over the years, but are of limited quality.

One of the songs originally intended for the aborted follow-up to Hughes/Thrall, "Still the Night" later appeared on the 1985 Phenomena album, which featured Hughes’ vocals. This song also made an appearance on John Norum’s 1992 album Face the Truth, again featuring Hughes. Thrall would also record another version of the song, re-titled "Steal the Night", alongside former Strangeways frontman Tony Liddle and Billy Rush of Southside Johnny & The Asbury Jukes, though this never progressed beyond demo form.

Hughes and Thrall did team up again in 1987 to record a track for the Tom Hanks-Dan Aykroyd comedy Dragnet. The song, "City of Crime", featured Hanks and Aykroyd rapping the verses, while Hughes sang the chorus. It was released as a single and a promotional video was shot, which received heavy rotation on MTV.

Two songs, "You Were Always There" and "Devil in You", from the abandoned follow-up album were included on Hughes’ 1994 solo album From Now On...; although both were new recordings that did not feature Thrall’s playing.

Thrall did, however perform on Hughes’ 1995 album Feel, playing guitar and keyboards on eight of the tracks and co-writing two of them. To date this is the most recent collaboration between Hughes and Thrall.

In 2006 it was announced that Hughes and Thrall were actively working on a follow-up to their 1982 album, and were in the process of writing and recording new material. In September, they started the final phase of the recording process, and announced that the album would be released in 2007.

The news of the new album coincided with the setting up of hughesthrall.com. The first Hughes/Thrall album was remastered and re-released in January 2007 on Rock Candy Records. This new version included two additional tracks.

In 2007, it was announced on their website that Hughes/Thrall 2 had been pushed back to 2008. They also stated that the album includes thirteen songs, of which eleven are new compositions, while two date back from the sessions of the scrapped initial follow-up.

In June 2009, Hughes confirmed "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."

on Sept 2,2016 Pat joined Glenn Hughes on stage in Las Vegas to play two Hughes & Thrall numbers during Glenn's solo tour. -

(https://en.wikipedia.org/wiki/Hughes/Thrall)




- An unusual pairing, and coming from different backgrounds leading up to this point, but the teaming up of singer/bassist Glenn Hughes and ace axeman Pat Thrall certainly presents some interesting options musically. Sick of being treated like an outcast by fellow guitar strangler Pat Travers in his band, Thrall set off for greener pastures. A very technically accomplished guitarist, even as far back as his days playing with Automatic Man, he was been given some latitude on this album, combining with a singer who could sing the socks off Santa Claus coming down the chimney! Hughes of course had spent time with Deep Purple and Trapeze, and his hard hitting style was a great foil for Thrall's aerodynamics.

What a great introduction we get with the awe inspiring 'I Got Your Number', big crunching guitar riffs and Hughes' trademark vocal howl. The solo is also one for the G.I.T grads to check out. 'The Look In Your Eye' has been one of my personal favourites for many years, containing subtle keyboards and a killer chorus. 'Beg Borrow Or Steal' has a pompy feel to it while 'Muscle And Blood' is pure hard rock, with some of the steamiest rhythm guitar work this side of a strip joint! Also on the hot rockin' menu are the clean grooves of 'Hold Out Your Life' and the melodic gallop of 'Who Will You Run To'. I just love those guitar tones of Thrall, and the way he uses analog delay effects. Or how about the heavy Led Zeppelin like smash of 'First Step Of Love'? I think Frankie Banali plays drums on this one. He's the only one of the drummers named above that could smash that hard.

Was a pity then that Hughes/Thrall was a short-lived union, but it gives you an idea what happens when you get two talented dudes together to cause mayhem in the studio. I am wondering if there were more than the nine songs which ended up on the album. Now those would be worth tracking down. Thrall went on to work with a number of other artists, even putting in a short stint with Asia, while Glenn has played with.. well.. mores the point, who hasn't he played with since then? Anyhow, the good news is that both of them are reuniting in 2003 for some more melodic mayhem, and that the album saw a re-release on Rock Candy Records (with bonus tracks) during 2006. Awesome.. -

(http://www.glorydazemusic.com/articles.php?article_id=378)




- Extracts from Glenn Hughes interview, Kerrang magazine, March 1982


"There have been some strange rumours concerning the welfare of Glenn Hughes since his departure from Deep Purple five years ago. Tales about him being 'strung-out' on drugs in Los Angeles, where he now lives, have been rife. The chances of the music world hearing from the former Deep Purple bassist / vocalist were becoming increasingly remote. Indeed, while the likes of Blackmore, Gillen and Coverdale have enjoyed a good deal of success, all has remained quiet on the Hughes front. Until now, that is.

At last, the man is back, ready to attack with a mighty powerful new outfit. Together with former Pat Travers Band guitarist Pat Thrall and 'unknown' drummer Frankie Banali, Glenn has assembled Hughes-Thrall, who are currently in the studios working on material for their debut album. At this stage, recording deals are being negotiated and already the group's publishing has been snapped up by Warner Brothers Music.

Glenn and I recently rendezvoused in the plush Beverly Hills offices of his new management company, where his protracted vow of silence was finally broken. "It's weird," he mused, "because I haven't done any interviews for over five years. I'm ready for this!"

And so, with the tape machine rolling, our conversation began. Naturally, the first topic of discussion was the evolvement of the Hughes-Thrall band. Glenn explained' "I'd been lying low for quite a while and then about three years ago I was supposed to put a band together with Ray Gomez and Narada Michael Walden for Atlantic Records. We went to New York to sign but the project was shelved when Gomez decided to sign with Columbia. And then a year ago I was asked to form another group with Gomez and we got a drummer together but things didn't work out. Eventually I was asked who I really wanted to play with and I said Pat Thrall, because I knew he'd finished with Travers. So he came down last April, we auditioned some drummers and we've been rehearsing ever since."

"Pat and I are good for each other. We both like the same sort of music and both have this incredible feeling for what we play. Forming this group was no last ditch effort as far as I was concerned either. I'd rather have never worked again than work for the sake of it. I can't go on stage or make a record of stuff that I don't want to play. After Deep Purple I decided that the next thing I'd do would be what I really wanted to. I wasn't prepared to join another band where I didn't have that much of a say."

To these ears, Glenn Hughes has one of the finest voices in the business, and combined with the acclaimed guitar playing of Pat Thrall the end product should be extremely interesting. While over ini LA, Glenn played me some of the songs they recorded. The music has strong leanings towards funk but at the same time retains the overall 'heavy' feel. In fact one track in particular, titled 'Pay The Price', is mind-blowing. Check out the masterful vocal and axework when this one surfaces on vinyl. When I asked Glenn to describe the band's music, his answer was short and to the point "We play eighties funk/rock 'n' roll."

Hughes is adamant that he's never had a better working relationship than the one he with PT. "I couldn't have picked a better person to play with than Pat," he enthuses. "He's always been in the background. He was a sideman with Travers and got treated real badly. I've brought him out of that and when we're in the studio I push him all the time, because I know how good he is."

Hughes-Thrall are recording their album at studio in Malibu with the aid of producer Rob Fraboni, whose previous credits include Eric Clapton, Joe Cocker and Bonnie Raitt. Aside from his work with Purple and Trapeze, Glenn's only other vinyl output was his 'Play Me Out solo LP. However, that too takes us back to the seventies and I wondered how he feels his voice is holding out these days. "I don't want to sound big-headed but I think I'm singing better. You see I don't smoke and I don't touch liquor any more, and I hardly ever get a sore throat, I'm so lucky — I think God must have said 'Let this boy sing'."

It looks as though Glenn Hughes should be back on the road before the end of 1982 and he'll probably kick off in Japan, where he always had a strong following. America will a prime target for Hughes-Thrall but there's every chance that the band could come to Britain immediately after their Far Eastern tour. For the time being, they continue to work in the Californian sunshine. So there you have it . . . Glenn Hughes is alive and kicking in LA. In fact, as we wandered down the elegant driveway towards his car, the sun blazing down, I could see why he's quite happy to reside in the States. And somehow, I think the kids are going to like Hughes-Thrall."



Hughes Thrall album reviews, DPAS magazine no.27, July 1983

Top of the import charts for weeks, we had a load of reviews in before the UK version was issued, and I would even hazard a guess that it was the quantity of imports which made them rush it out here too.

"Single sleeve cover, with lyrics on just one side of the record bag. The music? Well being a Hughes fan on first hearing I was disappointed as I'd expected it to be like Play Me Out. This is more rock which might get the anti-Hughes brigade to give it a listen. It opens with I Got Your Number; a powerful rocker, Glenn's voice sounding good and he sticks to what you describe as his 'normal vocal range', even letting out one or two Gillan type screams!

The Look In Your Eye is easily the most commercial song on the album, a single in America I believe, and I'm quite positive that released here with airplay it could be a big hit. You could descibe it as an up tempo type Hall and Oates number. Beg, Borrow or Steal is more soul, with a synth dominated sound and little guitar. Next is a slow number, Where Did The Time Go again with little guitar but Thrall makes up for this on the closer Muscle And Blood. It also shows that Glenn can still play heavy rock, it's as powerful as anything Rainbow or Whitesnake can churn out.

The second side opens with another barrage of guitar but settles down to a more moderate pace. Thrall gets more room on this side, I don't think his playing is as good as Pat Travers but the influence is there. Really it's Glenn who makes the album with superb vocals and more than adequate bass playing. Coast To Coast doesn't improve on the Trapeze original, and it's the last track - The First Step Of Love - which is the real mind blower, epic. So overall I look upon it as an album to convert his detractors and which prove he really can sing." Jerry Bloom

"Having waited so long and after being disappointed by his last offering I was pleasantly surprised. The album is excellently produced and contains some very good material. Glenn's distinctive vocal style of course sticks out but on the whole he uses it to good effect, more intelligently than in the past, especially on my own favourite The First Step Of Love. Probably the biggest surprise was Muscle And Blood, a very heavy number. My only dislike is Coast To Coast which is wishy washy and lacks something to bring it up to standard. I'd also like to see more of his funky influences, especially in the bass!" Derek Rust

Just two of the many positive reviews. I've only heard snippets myself, and the immediate reactions were that it reminded me of Rainbow - in the production style, which is generally very professional, and The Police!


Glenn Hughes / Pat Thrall interview, Kerrang magazine, Jan-Feb 1983

Towards the end of last year, the debut album from Hughes-Thrall was released in America and subsequently topped the Kerrang import album chart for several weeks. Mind you, this was hardly surprising when one considered the overall strength of the material and the abundance of musical talent contained therein. Former Deep Purple bassist Glenn Hughes has an amazing voice and his partner in crime, ex-Pat Travers Band guitarist, Pat Thrall has an excellent reputation in the axe world.

The two musicians initially started working together several months after Pat had quit the Travers set-up, although they'd first met in New York a few years earlier. According to Glenn: "I'd always considered Pat Thrall to be an amazing guitarist and when I found out that he wasn't doing anything I asked him to come down to Los Angeles, where I've been living for a number of years, to see if we could put something together. Things started to happen very quickly and before long we began recording demos of some of the songs we'd written together."

After a brief spell in the demo studios, Hughes-Thrall decided to master their product and aim for an immediate deal. There was plenty of record company interest but it took a while before any contract was signed. In the end, it was Boulevard Records (a CBS affiliate) who picked up on the outfit.

"Quite a few companies were keen to sign us," states Thrall, "but we were quite happy to go with a smaller label like Boulevard, rather than one of the majors, where you can get kinda buried in the system. We felt that we needed that intimacy between the band and a label. Going through the red tape and the bureaucracy of a large record company, you can totally lose out in this day and age."

While their management were negotiating a deal, Pat and Glenn kept themselves busy in the studio, using producer Rob Fraboni. However, dissatisfied with the way things were going, they opted to work with Andy Johns, whose past credits include Free, Zeppelin and the Stones.

"It just wasn't really happening with Rob Fraboni," Glenn explains. "We felt that we were outgrowing the nature of his intentions of what he wanted as opposed to what we wanted. We really weren't happy with the sounds that were coming out of the studio. We wanted the more British rock edge and that's why we got hold of Andy. Free were always one of my favourite bands and so Andy's work with them was a good enough qualification on its own – and he was f**king great. He was very easy to work with in the studio and I think he added a lot of intensity to some of the tracks on our album."

As well as varying the producers, Hughes-Thrall also employed three different drummers: initially they used Frankie Banali (now (re)working with ex-Ozzy bassist Rudy Sarzo in Quiet Riot) before enlisting the services of Gary Ferguson and Gary Mallaber. The latter played on and wrote the majority of the tunes on Steve Miller's 'Abracadabra' album.

The Hughes-Thrall LP was completed in July '82 and surfaced in Stateside record stores a month or so later. Curiously enough though, it's only just come out in Britain and one suspects UK sales will be affected by the large influx of import copies. Ideally, it should have been released simultaneously on both sides of the Atlantic. Nevertheless, it's still a must and finally allows both Glenn and Pat to step into the limelight. In the past they've tended to be retained in the shadows to a degree – Hughes with Purple, and Thrall with Travers. The new combo allows both of them to establish their own identity.

Glenn: "The way we look at it, this album is like two solo LP's in one. After leaving the Purple set-up I actually did a solo record ('Play Me Out' on Safari) but I didn't want to do another because I thought it was too gruelling and basically too much of an ordeal. I wanted another very creative person to bounce ideas off and Pat was ideal. Solo albums are scarey!"

Pat: "I'm inclined to agree with Glenn. I never really had much interest in a solo album, this is what I wanted to do. And I've used this record for getting certain things out of my system –to concentrate on songwriting and not just pursue straightforward rock 'n' roll. And I now feel that I'm letting people know I can do more than just play the occasional lead break.

"I think that there's a fair amount of diversity in the material and it gave us the chance to show-off more of our abilities other than the ones we're known for. Like I used synthesisers quite a bit and probably held back a little on my lead guitar because I wanted the record to be more song-orientated."

Glenn and Pat appear to work extremely well together but one wonders whether tempers ever got heated during their recording sessions. Almost collapsing with laughter, Pat answers: "Oh yeah, we almost killed each other a couple of times!"

"Making records is not easy," assesses Glenn, "especially when you have to let go a producer midway through an album."

Pat: "I think the main cause of any arguments we ever encountered was down to the fact that I'm very slow and tedious in the studio. It takes me a long time to get what I want, whereas Glenn goes in and does everything in one or two takes. After that he gets bored and leaves."

Do Hughes-Thrall consider that their absence from the hard rock scene will benefit or hinder them?
"I think it's gonna work in our favour," declares the Californian guitarist. "I've been away for two years and Glenn's not done anything for five, but you can't really tell from the record that we've been off the scene. And the fact that we've not been in the public eye recently probably put a lot of intensity into the record. You can hear the urgency and tell that we're hungry."

Glenn: "This is the first major thing I've done since Purple and I feel very lucky and proud to have it out. It shows what we can do together as a team and, without wishing to sound big-headed or anything, I think it's a bloody good debut LP. I'm the last one of the Deep Purpleites to do anything and I believe that in terms of overall acceptance this is a stronger international record than any of the others have come up with. I don't want to start any slagging matches – God bless Whitesnake and Rainbow, 'cause I wish them well."

"Both Pat and I view Hughes-Thrall as a long term venture. We know that things won't necessarily happen overnight but we're confident enough in ourselves to look ahead to the future. In fact we've already started writing for the second album and there were loads of songs left over that never made the first one. We're taking things very seriously – believe me, this is not a hobby! "

At the time of our conversation, Glenn and Pat were preparing to go out on the road and it was clear they were extremely eager to do so. "At first I didn't really want to go back to touring," Glenn reveals, "but now I'm animal for it – we have to get out there. We couldn't bear the thought of just sitting at home."

Their first live dates were in Texas with Santana a couple of months ago, after which Hughes-Thrall headlined a few dates of their own. Drumming with them was Tommy Aldridge (he and Pat played together in the Pat Travers Band) but whether he will become the permanent skinbeater remains to be seen.

Glenn recently told me: "Tommy had his commitments with Ozzy for his UK tour but Pat and I are hoping that he'll be coming back to us because things were working out very well indeed. In Texas we were playing in front of 10-15,000 people a night and did some great legwork for the future."



Hughes Thrall news, DPAS magazine no.27, July 1983

"Following the American release of the Hughes/Thrall album, the band spent October thru to December doing live concerts in America, usually as supporting act - to Santana at the Convention Centre Arena on Oct 28, University of Texas Oct 30, Hollywood Pavillion Dec 17, Orange Pavillion San Bernadino Dec 18 etc. (Live shows were largely built around the Hughes Thrall album, with an encore of 'Highway Star'.)

They also made a promotional visit to Japan in between gigs, fitting in several dozen radio stations for interviews. On such interviews they sounded in good spirits, and the stories of a bust up in most of the UK papers came as something of a surprise. As yet there has been no official word on this.

They were due to make a second album in February 1983 (they recorded or wrote enough for a double in the first place), and follow this with dates in Japan and Australia in April / May. A British visit was being arranged for late summer. I've had no word on the tour, so it does look as if something may have gone wrong."



Glenn Hughes interview, Kerrang magazine, Feb 1985

"One of the great mysteries - even tragedies - of the rock world has been the strange inactivity of Glenn Hughes since the Deep Purple bubble finally burst back in stack-heeled '76. Cruelly robbed of (surely) one of the finest voices in the business - not to mention a great bassist and songwriter -we've been teased with many a rumour during Glenn's absence; he was supposed to be in the original G-Force with Gary Moore and Mark Nauseef; he was going to get a band together with Ray Gomez and Narada Michael Walden . . . but nothing - apart from the immaculate 'Play Me Out' solo album in '77 and the odd session - emerged on vinyl.

Nothing, that was, until he sprang up fresh-faced 'n' fighting with Pat Thrall in '82 delivering the quite superb 'Hughes/Thrall' album. It seemed as if Glenn was back, so, natch, the ol' ticker stalled when reports filtered through from LA that the pair had thrown synchronised wobblers and called it a day. "We freaked out," Glenn told me when I finally snared him in Hollywood in February '84. "The people around Pat and myself swept us into an incredibly
over-confident state and everybody thought the album would be such a big hit that nobody even considered putting the maximum effort into promoting it. When the album bombed, we freaked out."

Glenn and Pat split to pursue solo projects (Glenn even being asked by his record company, Boulevard, to do a Thomas Dolby-type album!) and generally take it easy, before deciding to get back together. "We just let time heal the wounds," Glenn explained, "and we were so determined to give it another go."

The launching pad for Hughes/Thrall part II was, surprisingly enough, 'Ghostbusters'. The two had been asked to write some songs for the film and took the opportunity to apply themselves to something not directly related to the Hughes/Thrall band in order to get some momentum going. It worked, and although the material was turned down at the last minute in favour of Ray Parker's more 'poppy' offer, Glenn and Pat threw themselves into each other's musical arms with relish, writing and rehearsing some incredibly strong material which would form the basis of their long-awaited vinyl return. With a new, more efficient management secured and all sorts of tour proposals being considered (even a spot on 1984's Donington bill looked likely) it seemed, once again, as if Glenn's sparkling talent would be unleashed.

Sadly, it proved too good to be true. When Glenn and I met at London's Chocolate Factory studios in April '84, where he was working on the soundtrack to a film called 'Phenomena', the Hughes/Thrall engine was ticking over nicely and a second album was well on the way. But then, just before Christmas, when Glenn returned to London to record two more tracks for Phenomena', it had fallen apart again.

"The spark was gone and the flame was out," Glenn sighed. "That creative gel which we had when we did the first album just wasn't there and so it was mutually decided that maybe we should go our own ways. It's not something that's easy to explain, because we're both emotional players and we can't just roll up our sleeves and get stuck in if the feeling isn't right. We had some great material and we shared a desire to get out there and play to people again, but somehow it just wasn't working out." -

(http://www.deep-purple.net/tree/hughes-thrall/hughes-thrall.html)




- Glenn Hughes emerged on the music scene in 1969 with Trapeze, the British group for which he was lead vocalist, bassist and chief songwriter. Trapeze was signed to open for the Moody Blues 1969 tour of America and went on to release four albums: Trapeze, Medusa, You Are The Music, We're Just The Band and Final Swing featuring Glenn Hughes.

In 1973, Hughes, born and raised in Cannock, England, was invited by Ritchie Blackmore, Ian Paice and Jon Lord to join Deep Purple at a time when the group's classic, "Smoke On The Water", was a worldwide hit. Hughes immediately put his stamp on Purple's sound, sharing lead vocals with other newcomer, David Coverdale, playing bass and writing songs on such LP's as Burn, Stormbringer and Come Taste The Band. The result was a series of multi-platinum record awards and massive international concert tours.
In 1975, Hughes was voted No.1 bassist by England's Melody Maker, topping such artists as Jack Bruce and Greg Lake. After leaving Deep Purple, Hughes recorded a solo LP, Play Me Out, released in 1977. Made with one-time Trapeze sidemates Mel Galley and Dave Holland plus guests like Pat Travers, the LP charted high in Japan, Germany and England. Shortly thereafter, Hughes settled in Los Angeles where he could write, relax and wait for the right moment to jump back in.

The result was the formation of the Hughes/Thrall band, and their August 1982 debut album, Hughes/Thrall. Recorded in Los Angeles at Shangri La and United Western studios, the LP was produced by Hughes, Thrall, Rob Fraboni and Andy Johns, who, as either a producer or engineer, has worked with such artists as the Rolling Stones, Led Zeppelin, Paul McCartney and Rod Stewart. Hughes/Thrall features eight songs co-written by Hughes and Thrall and one by Hughes. Throughout the LP, Hughes vocally soars through a four and one half octave range and distinctively weaves his bass lines.

"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".

Since 1982 Glenn has had over 20 solo projects released and has been involved in close to 100 session projects. Highlights include working with his good friends, Tony Iommi of Black Sabbath (Seventh Star, The DEP Sessions, Fused) and Chad Smith, John Frusciante and Dave Navarro, who of course, are current and former members of the Red Hot Chili Peppers (Soul Mover, Music For The Divine). His most recent and to date, his best selling solo album, is the 2008 release, First Underground Nuclear Kitchen.

Pat Thrall was born and raised in the San Francisco Bay Area, Northern California and began attracting attention as a guitarist in 1976 while working with Stomu Yamashta's Go. Adventurously blending elements of rock, jazz, funk and Latin music, the group also included Stevie Winwood and the original Santana drummer, Michael Shrieve. Go released two albums, Go and Go: Live In Paris. While with Go, Thrall and Shrieve formed Automatic Man, a rock quartet which released two albums. Automatic Man and Visitors, both of which advanced the guitarist's reputation.
Studio and sideman work in the fusion field followed, with musicians like Narada Michael Walden and Alphonso Johnson. Thrall's guitar is an integral part of Walden's Awakening LP and Johnson's Spellbound. In 1978, Thrall was chosen from seventy auditioning guitarists for the co-lead spot with Pat Travers. He recorded on three LP's with Travers: Heat In The Street, Go For What You Know and Crash And Burn. The latter LP featured the FM hit, "Snortin' Whiskey and Drinkin' Cocaine", which Thrall co-wrote with Travers.

Pat was singled out by the readers of Guitar Player magazine in 1980, when they named him that year's best new talent for his guitar work with the Pat Travers Band. Previous winners have included Dicky Betts, Robin Trower and Eddie Van Halen.

Thrall's high visibility and onstage dynamism with Travers brought him to the attention of Glenn Hughes, and the chemistry between the two clicked immediately when they formed the band in 1981 in Los Angeles. On Hughes/Thrall, Thrall's fiery, inventive guitaring, which intermittently incorporates a variety of synthesized effects, charges the group's sound with as much heart and clout as Hughes' vocals and bass work.

"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", Pat said upon the debut release in 1982.

Since 1982, Pat has performed live with such high profile bands such as Asia and Meatloaf, but found his niche and phenomenal success as producer and engineer, becoming a tecnology leader, pioneering the use of Pro Tools for studio recordings. He's worked with artists in all genres of music such as Elton John, Tim Rice, Beyonce, Dave Stewart (The Eurythmics), Bono & The Edge (U2), Peter Gabriel, Tina Turner, Joe Satriani, Dream Theater, Joey McIntyre, Queen and Patti Scialfa (Bruce Springsteen's wife) and has been involved with remixing classic artists such as Miles Davis and Sly Stone, to name just a few! In addition, he's lent his talent and support behind initiatives such as Nelson Mandela's foundation to fight AIDS in Africa. -

(http://www.hughesthrall.com/bio.html)

Hughes & Thrall [st - 1982]


Hughes & Thrall [st - 1982]

Origin: Los Angeles (USA)

Hughes & Thrall [st - 1982] aor melodic rock music blogspot full albums bands lyrics

Take a listen on youtube

Line-up:

Glenn Hughes - Vocals, bass
Pat Thrall - Guitar

Additional musicians:

Gary Ferguson - Drums
Frankie Banali - Drums
Gary Mallaber - Drums
Peter Schless - Keyboards

Tracks:

1. I Got Your Number lyrics
2. The Look in Your Eye lyrics
3. Beg, Borrow, or Steal lyrics
4. Where Did the Time Go lyrics
5. Muscle and Blood lyrics
6. Hold Out Your Life lyrics
7. Who Will You Run To lyrics
8. Coast to Coast lyrics
9. First Step of Love lyrics

Wednesday, January 17, 2018

Eddie Schwartz


Origin: Toronto, Ontario (Canada)

EDDIE SCHWARTZ
Eddie Schwartz
Eddie Schwartz
Discography:

Eddie Schwartz [Public life - 1984] aor melodic rock music blogspot full albums bands lyricsPublic life - 1984 (with lyrics)

Notes:

- Edward Sydney "Eddie" Schwartz C.M. (born December 22, 1949) is a Canadian musician who had moderate success as a recording artist in the early 1980s, before becoming a successful songwriter, and record producer in the late 1980s and the 1990s.

Schwartz was born in Toronto, Ontario, Canada, and graduated from Toronto's York University in 1976 as a music and English major. He began his musical career soon after playing guitar for Charity Brown's backing band and signed with Infinity Records for a solo contract in 1979. His self-titled debut album, Schwartz, followed in 1980, with A&M Records, as Infinity had gone bankrupt by then, and spawned his first Canadian hit, "Does a Fool Ever Learn".

His next album, No Refuge, came out in 1981, and did well in Canada, as well as the US, placing in the Billboard 200 and spawning a U.S. and Canadian hit single, "All Our Tomorrows," (#28 in the U.S. Billboard Hot 100). A follow-up track from this album, "Over the Line" also crept into the Hot 100, peaking at #91. This single would be his last one to crack the U.S. charts to date. At least half of the songs on the No Refuge album have since been covered by other mainstream artists ("Good With Your Love," by Mickey Thomas on his 1981 Alive Alone album; "Tonight," by Amii Stewart on her 1982 I'm Gonna Get Your Love album; "Heart on Fire" by Honeymoon Suite on their 1984 self-titled debut album; and "All Our Tomorrows," by Joe Cocker on his 1987 Unchain My Heart album).

Schwartz's third and last album for a major record label, Public Life, came out two years later and featured another Canadian hit with "Strike." Also included on this album was the original recording of his composition, "Special Girl," which was a minor hit for him and became a bigger hit for the band, America.

Although his earliest hit as a songwriter for other artists was Pat Benatar's 1980 single "Hit Me with Your Best Shot", Schwartz didn't focus significantly on producing and songwriting until the late 1980s. Since then he has produced artists of various genres including The Doobie Brothers, Paul Carrack, Rita Coolidge, Donna Summer, and Lawrence Gowan, and penned hits for Paul Carrack ("Don't Shed a Tear", "I Live By the Groove"), The Doobie Brothers ("The Doctor"), and Donna Summer ("Fascination"). Additionally, many songs he himself originally recorded/performed have been covered by other artists to great success. Examples include: "All Our Tomorrows" (recorded by Joe Cocker), "Does a Fool Ever Learn" (recorded by Helix), and "Special Girl" (covered by both America & Meat Loaf).

He has won multiple BMI, Juno, and SOCAN awards. In 1995 he released an album, Tour de Schwartz, only in Canada, to generally good reviews.

Schwartz was appointed a Member of the Order of Canada in 2012. -




- Born in 1947, the Toronto native grew up playing in a number of bands while attending York University. A Music & English major, his first 'break' was as guitarist for the touring version of Charity Brown in after graduating in 1977. He ventured out on his own and in 1978 landed a deal as a writer for ATV Music.
After peddling his demos to every conceivable label, he eventually landed a deal of his own with Infinity Records the next year and headed into the studios with producer Murray Klugman. But before the album could be released his label closed its doors. He instead got distribution from A & M and released his debut - simply titled SCHWARTZ in 1980. A virtual 'who's who', co-producer was Murray Krugman, and had a helping hand from the likes of Rick Derringer, Nona Hendryx and David Tyson (who'd worked with Alannah Myles). The first single was "Two Hearts Full Of Love", followed by "Does A Fool Ever Learn". Though neither made a particularly huge impact on the charts, Helix scored big with "Fool" on their breakout NO REST FOR THE WICKED album later that year.

Meanwhile one of the demos he'd used to shop around for a solo deal ended up in the hands of the producers of Pat Benatar. Her 1981 version of the still-unrecorded "Hit Me With Your Best Shot" wond up being one of her biggest singles ever, selling over 2 million copies worldwide. His next full solo album was NO REFUGE, released in 1981. With three tracks co-written by David Tyson, the first single was "Heart On Fire", followed by "All Our Tomorrows" (recorded also by Joe Cocker) and "Over The Line". But despite Schwartz's version of "All Our Tomorrows" cracking Billboard's Top 30, solo success for the most part still eluded him.

Nearly 2 full years would pass before his next album. PUBLIC LIFE was another well-crafted pop/AOR mix of slick production and tight melodies. With guest appearances by Rick Derringer, the album took on a more guitar-oriented 'rock' record than his previous solo work. The lead single was "Strike", backed with "I've Had Enough". Along with other tracks like "Special Girl" (covered by both America & Meatloaf later), " PRIVATE LIFE - BEST SHOTS also hit the shelves the same year. Basically a repackaging of PUBLIC LIFE, it also contained Schwartz's spin on songs best known by the artists who made them hits, not him - including "Hit Me With Your Best Shot" and "Does A Fool Ever Learn".

The latter part of the decade saw him focusing more on a production career, working with the likes of Donna Summer, Long John Baldry, Hall & Oates, Rita Coolidge Joe Cocker, The Doobie Brothers, Paul Carrack and many others - a trend which continued though the beginning of the 90's as well. It wouldn't be until '95 that Schwartz released a new disc. Mostly a collection of all of his biggest-selling songs, TOUR DE SCHWARTZ is the quintessential album - including "Best Shot", "All The Lovers In The World" (covered by Gowan) and "Don't Shed A Tear" (recorded by Paul Carrack). Guest appearances include Gowan, Alannah Myles and Marc Jordan among others. Though he released "Bourbon Street" as a single, yet again major chart success of his own eluded him.

One of Canada's most prolific songwriters, Eddie Schwartz has received countless Juno and International awards and other acclaim. His songs have sold over 20 million copies worldwide and have been recorded by an incredible array of versatile artists - as is the list he's worked with as a producer. Aside from those already mentioned, he's also worked with April Wine, Asia, Amy Sky & The Arrows. His work has also found its way into several movie soundtracks, including 'Continental Divide' with John Belushi (which he also had a small part in) and 'Navy Seals' featuring Charlie Sheen. -

Eddie Schwartz [Public life - 1984]


Eddie Schwartz [Public life - 1984]

Origin: Toronto, Ontario (Canada)

Eddie Schwartz [Public life - 1984] aor melodic rock music blogspot full albums bands lyrics

Take a listen on youtube

Line-up:

Eddie Schwartz - Vocals, guitar, backing vocals
Rick Derringer - Guitar
Peter Follett - Guitar
David Tyson - Keyboards, bass, backing vocals
Jimmy Bralower - Drums
Gary Craig - Drums
Michael Braun - Drums

Tracks:

1. Don't Come To Me lyrics
2. Feed The Fire lyrics
3. Special Girl lyrics
4. Times Square Heart lyrics
5. Not Tonight lyrics
6. I've Had Enough lyrics
7. Strike lyrics
8. Passing Ships (The Ballad Of Henry And Lucy) lyrics

 
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