Chateau Dietrich

If You Would Like to Hear This Record

Because of various problems with public blogs and rights problems, I have decided to take my blog and convert it to a private email. If you’d like to listen to this album (and more) or any other album I am posting here, just send me your email address at radiovickers1@gmail.com and I will put you on my list. Along with this album, I have a gigantic archive of my vinyl digitizations that gets added to every week. I do them myself and de-click them. Most sound pretty darned good, if I do say so myself.
This is not some come on. Just caution on my part. It costs nothing and there’s nothing to join. Just an email address. I have about a hundred people on my list at the moment. Come and join the musical fun.


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Saturday, March 8, 2014

My Vinyl Attic - Andy Zwerling - Spiders in the Night (1971)


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The vinyl sounds pretty good.  The music is a bit slow. 




Excellent info stolen from This Marvelous Site:
     
Year: 1971
Format: LP
Label: Kama Sutra
The songs on Spiders are bittersweet tales of an American suburban upbringing and a longing for the innocence of childhood. But with adulthood right around the corner (he was seventeen at the time) they come from the perspective of a young man with just enough wisdom to know that it was time to move on. His modest voice airs over an equally low-key arrangements (often just acoustic guitar and electric bass; there are no drum tracks on the record) created by Zwerling with help from producers Lenny Kaye and Richard Robinson, who both play on the album.
Many of the songs are lyrically straight-forward, and recall Brian Wilson’s more direct numbers like “Busy Doin’ Nothin’, ” while others possess an almost Syd Barrett-like wordplay (sample title: “Turtles vs. Green Ants”). Like Syd’s The Madcap Laughs, Spiders In the Night is an early example of lo-fi production, and as with Paul McCartney’s first solo record, Spiders resembles an intimate home demo recording. The tunes here also bring to mind another outsider, Alexander “Skip” Spence, and the psych-folk of his lone LP Oar, which Zwerling himself claims as an influence. (Drastic Plastic)
Track Listing
  1. Knife Man
  2. Slicing
  3. Turtles Vs.The Green Ants
  4. It’s In The Morning
  5. Spiders In The Night
  6. Sifting Around In A Haze
  7. Word To This Song
  8. Orange Skylight
  9. Branches
  10. Downwaters/Crosswaters
                                      

My Vinyl Attic - Natural Scientist - Anaesthetic of Love (1984)


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The vinyl sounds great.  I got this for 25 cents at the old Moby Disc on Ventura Blvd.  The music is a bit reminiscent of other bands of the time but it's quite good.


A1 See Through You
Engineer – Tony Wilson Producer – Natural Scientist
4:21
A2 Love Jungle
Engineer – Adam Williams Producer – Nigel Grey*
5:03
A3 Pleasure
Engineer – Guy Forrester Producer – Natural Scientist
4:26
B1 7 Not 17 Ways
Engineer – Natural Scientist Producer – Natural Scientist
5:37
B2 (Let's Hear It For) The Natural Sciences
Engineer – Natural Scientist Producer – Natural Scientist
5:33

Credits

  • Artwork By [Concept, Design, Photography] – Micheal Cookson
  • Artwork By [Concept, Design] – Dick Bangham
  • Artwork By [Photography] – Arthur Thompson, Neil Thompson
  • Bass Guitar, Vocals [Lead], Written-by [Arrangement]Neil 'Fee' Crossley*
  • Drums, Written-by [Arrangement]Marek Gabrysch
  • Engineer [Remix Engineer]Guy Forrester
  • Guitar, Vocals [Lead], Written-by [Composition], Written-by [Arrangement]Boris Forrest
  • Guitar, Vocals, Written-by [Arrangement]Stuart Baldwin
  • Keyboards, Written-by [Arrangement]Pete Marsh (2)
  • Mastered ByBob Ludwig

Notes

A1 was recorded at BBC Studio Three in England.
A2 was recorded at Surrey Sound Studios in London, England.
A3 was recorded at Linden Sound Studio in Chap, England.
B1 and B2 was recorded at Cargo Studios in Rochdale, England.
"Instant romance at the touch of a button."          

My Vinyl Attic - Norman Nardini and The Tigers (1985)


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The vinyl on this sounds great.  I think I bought the album at Aaron Records when they were on Melrose.  (Sigh, what a great old store)  The music is good time rock and roll.  Quite enjoyable. 

High Times
3:42

01
In The Heat Of The Night
3:45
02
If You Don't Want Me
3:16
03
Loverman
3:31
04
Anything You Do Is Alright
4:13
05
I Think We're Alone Now
2:58
06
Girls All Around The World
3:14
07
No Other Girl
3:06
08
Reptile Rock
2:57
09
Eastside Tiger
3:29
Info stolen from The Great Site:

Songwriter, singer, guitarist, band leader, recording artist and producer Norman Nardini bills himself as the “Manful! Handful”…"the high priest from the church of rock’n roll" and the “Uncrowned King” of rock and roll.  He earned his billing playing thousands of gritty East Coast rock club gigs with his energetic over the top performances.  Nardini gained national attention releasing recordings on the Buddah, CBS, and Circumstantial labels as the leader of "Norman Nardini and the Tigers" and on Atlantic Records as a member of Diamond Reo.  Over his 50 year career he has rocked audiences with his wild antics and clever songs at top rock clubs up and down the East Coast including the Stone Pony, Kenny's Castaway, Buffalo's Mohawk club, the Cleveland Agora and clubs in Florida.  He hit the top 5 in the German music charts and toured Germany, Austria, and Switzerland in 1991.”Norman Nardini is the epitome of rock’n’roll. He lives it and breathes it. The greatest compliment anybody can pay a player is that he lives it. God bless him for it…” ~Jon Bon Jovi
From Accordion to Rock and Roll
Norman Nardini was born at the beginning of the rock era in 1951.  He took up music at age 6 learning to play accordion at a Natrona Heights accordion school.  He made one of his first public appearances playing accordion in a talent show at the Cheswick Theater in 1957. At 12 he decided he wanted to make music his life's work.

Norman began playing rock and roll on Hammond B-3 organ  in 1966 with a cover band named the Yardleys with guitarist Robbie John.  Norm and Rob left the Yardleys to join the Igniters when they went under the name the Friends. Norman was also hired to play guitar and keyboards in pick up bands that backed Little Anthony and the Imperials, The Detroit Emeralds, and The Manhattans in Pittsburgh area performances. He attended the Berklee School in Boston. In 1971, while living in Boston Nardini spent a week playing guitar for music legend Big Mama Thornton and George “Harmonica’ Smith at The Jazz Workshop. 

Working as a session played at Fox Studios in Pittsburgh he performed on recordings by At Fox studio he had the opportunity to play on recordings by Jimmy Beaumont and the Skyliners, Lou Christie, and Terry Bradshaw. and played bass on Jimmy Pohl's Steeler fight song version of “The Pennsylvania Polka”.
National Success with Diamond Rio
Norman joined with Frank Cruzi, Bubs McKeg, and Robbie Johns to form the band Diamond Reo in 1974.   Norman played bass and wrote songs.  Working with producer Tom Cossie Diamond Reo recorded a demo tape at East Liberty's Red Fox Studio and sent it off to Atlantic Records.  The Atlantic subsidiary Big Tree Records released Diamond Reo’s first album “Diamond Reo” in 1975.  Scoring a top 40 hit with a version of the Marvin Gaye song, "Ain't That Peculiar" the band launched a national tour. They appeared on Dick Clark's "American Bandstand" and performed with Kiss, Aerosmith, Ted Nugent, Frank Zappa, Kansas, Ian Hunter, Blue Oyster Cult, Rush, Kiss and Canned Heat. 
Adding guitarist Warren King to the band Diamond Reo released the "Dirty Diamonds" album in 1976 on Kama Sutra.  Nardini, Czuri, and Warren King, co-wrote most of the music on that release.  Diamond Rio recorded their last album "Ruff Cuts" on the Piccadilly label in 1978.  The group disbanded later 1978 as punk and new wave were emerging.
Norman Nardini & The Tigers
Leaving Diamond Reo Nardini started his own band “Norman Nardini & The Tigers” for his first shot as lead singer, lead guitar and chief song writer. The original line-up included his Diamond Reo band mates Warren King and Robbie Johns along with drummer Derrick Edwards and bassist Ray Gunn.  They recorded the 3 song EP "Norman Nardini and the Tigers" featuring Norman's song "Burn'in Up", "Ready Freddy" and a cover of Psycho. After Warren King quit the Tigers to form the Silencers with Franz Czuri, Norman reformed the band recruiting guitarist Paul Shook, keyboard player Nason Gieg and drummer Mark Whitey Cooper from the band Resistance.  The Tigers quickly became popular playing the Pittsburgh area clubs Fat City, Morry's Speakeasy, and others.  They also performed in Cleveland, Detroit, Asbury Park's Stone Pony,  the College Avenue Pub at Rutgers College along with other Jersey shore clubs in Long Branch, Asbury Park and points south..

Headlining at the Fast Lane club in Asbury Park, New Jersey in 1980 Norman made friends with the lead singer of the opening act the Rest.  He became life long friends with the newcomer Jon Bon Jovi who was in high school a the time. Impressed with Norman and his band, Bon Jovi invited them to his house, where they had dinner with Jon’s family.  They stayed friends since that evening.  Norman played at Jon Bon Jovi's wedding.
With growing popularity on the east coast, the Tigers attracted the attention of some national labels.  The Tigers released their first album "Eat'n Alive” in 1981 on Buddah Records.  It was recorded live on January 14, 1981, at Cleveland's Agora Ballroom during a WMMS Coffee Break Concert.  Pittsburgh Press music writer Pete Bishop praised the album.  "The raw, unbridled power and the joy of rock 'n' roll on this disc are such welcome changes from senescent adult contemporary flue and social significant young Britons.  Lest you think "Eat'n Alive" is juvenile or Neanderthal heavy metal,..many songs have melodies enhancing the thunder. Nardini has a surprisingly good voice and even better diction for a hard rock singer.."
Norman Nardini and the Tigers signed a recording deal with CBS Records in 1982.  CBS released the “Norman Nardini and The Tigers” album in January of 1985.  Recorded at The Power Station, New York it featured Warren King on guitar and Norman’s longtime friend, Jon Bon Jovi, on background vocals. 

In 1987, CBS released “Love Dog” which featured Rick Derringer, Dr. John and Paul Schaeffer.  The Philadelphia Inquirer gave it a 3 star (good) review. This Pittsburgh-based rocker makes rough rock-and-roll with a pervasive air of rhythm-and-blues - he may come out of a Springsteen tradition, but he's more original than, say, Southside Johnny. Nardini likes to present himself as a street-tough Romeo - he is, he asserts, a love dog - which makes his runty bluntness all the more appealing."
Circumstantial Years
Throughout the 90’s, Norman continued touring and recording. He released 3 CDs on the New York City  label Circumstantial as Norman Nardini:  The label was owned by Larry Germack, who had been a Pittsburgh music writer and DJ.  Pittsburgh Post Gazette reviewer Peter B. King wrote: Norman Nardini 's first full-length album in almost five years helps prove the adage that things get better with age. Nardini sings in an altogether fuller, more convincing growl than on 1986's "Love Dog." The songs are better too; Nardini no longer relies on half-baked odes to sexy mamas..... It sizzles with gutsy, unadorned, guitar-driven roots rock, surprisingly well-recorded at Nardini's own Transport Studios in Swissvale. 
Norman Conquers Germany
“This Ole Train” Nardini's second release on Circumstantial in 1991 found an audience in Germany. The single  "Smoke Two Joints" rose to No. 2 on the charts in Munich and the single  "Please Don't Talk About Me" made it to the top 5 on Radio M1, a major station in the Bavaria that had a million listeners.  To promote the album  Norman toured Germany, Austria, and Switzerland opening 15 shows for the Blues Brothers.   He appeared in several cities from May 22 to June 4 opening opening 2,000- to 3,000-seat halls for the Blues Brothers Band, which included Booker T., Steve Cropper, Eddie Floyd, "Duck" Dunn and Matt "Guitar" Murphy. He also headlined several club dates. 
Norman released “Breakdown In Paradise” in 1994 and 1996’s, “It’s Alive”. In 1998, Moondog Records released Norman's “There Was A Time”. 
Through the years, Norman has continued to develop his guitar playing, song writing skills and stage persona. Norman released the album “Redemption”  with 16 written between 1977 – 1988. The album features l drummer-singer, Whitey Clyde Cooper and bass player,/ singer Harry Bottoms.  Hermie Granti appears as special guest on keyboards along with Phil Brontz on Tenor Sax.  Nardini released the albums "Breakdown in Paradise" in 2009 and "Bona Fide" in 2011. The Nighthawks recorded 3 of Nardini’s songs on their 2012 "Damn Good Time" Release.

My Vinyl Attic - VA - Strictly Canadian (1968)


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The vinyl on this one sounds pretty good.  Not mint - but considering the age and the label - it's pretty good. The music is a delightful trip into 60's pop.  There really isn't much on the Internet about this collection.  Anybody?

01 The Plague - Love & Obey
02 Lyn McEachern - World of Dreams
03 Tomorrow's Keepsake - Eat Your Hot Dog Boy
04 Duncan & Fife - Winds of Yesterday
05 Sandi Shore - Like a Madness
06 The Plague - High Flyin' Bird
07 Lyn McEachern - Searchin'
08 Sandi Shore - Until You're Home Again
09 Duncan & Fife - My Love Stood By Me
10 The Checkerlads - So Much In Love With You

My Vinyl Attic - John Otway - Where Did I Go Right (1979)


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The vinyl sounds really good on this on.  I have a big soft spot for John Otway and his personal brand of musical lunacy.  


A1 Makes Good Music 4:13
A2 It's A Pain 4:37
A3 Blue Eyes Of The Belle 4:41
A4 Best Dream 4:47
B1 What A Woman 3:23
B2 Frightened And Scared 2:23
B3 Waiting (Waiting For You) 2:55
B4 Hurting Her More 3:50
B5 The Highwayman 6:00

Credits

Info stolen from This Great Site:

John Otway's first solo album, following two shimmering gems with Wild Willy Barrett, is a sad affair indeed, and that despite starting out with at least as much potential as his earlier output insisted. Throughout summer 1978, following the breakup with Barrett, Otway was working with a dynamic new band, highlighted by guitarist Jim Keilt, keyboardist Paul Ward, and bassist Paul Lilley, and caught in ferocious form on that season's "Baby's in the Club" 45. By the new year, however, only drummer Maurice Bacon remained, as Otway surrounded himself instead with session men, recruited former Bonzo Dog Band frontman Neil Innes as overseer, and proceeded to turn in an album that is so stilted, lifeless, and utterly overproduced that, if it wasn't for the vocal quirks, you'd scarcely even recognize the singer. Unfortunately, it was those quirks that undermined any hope this album had of passing itself off to any but the faithful. Instrumentally, Innes delivered a record that was made for tupperware parties and headphone-clad relaxation, the kind of audience that thought Kansas were adventurous and Fleetwood Mac were thoughtful. Faced with the mania of Otway unleashed, however, such an audience would have suffered apoplexy -- or, at least, spilled their fondue in their lap. Neither was the songwriting up to Otway's usual quality. Largely comprising songs written specifically for the album, rather than being drawn from his stockpile of reliable oldies, "Makes Good Music," "What a Woman," and "It's a Pain" were essentially wacky Otway by numbers; "Best Dream," "Waiting," and "Hurting Her More" were heartache by similar rote. Elsewhere, "Blue Eyes of the Belle," a lovely lament perfected with the abandoned band, was stripped of all its original simplicity and emotion in favor of an orchestral gravitas that simply broke the ballad's back. And "Frightened and Scared," though it tried to salvage the proceedings with a maniacal vocal outburst, was itself so short (less than two and a half minutes) that it was gone before you noticed it. It was left to the closing number, an epic arrangement of Alfred Noyes' poem The Highwayman, to save at least the end of the day. A long-standing live favorite, its lyrics alive with all the theatricality that characterized Otway at his abandoned best, and with the band playing hell for leather, it is indeed a worthy successor to any of his past recordings -- so much so that, if the entire album had captured even half the spirit and energy of "The Highwayman," it would have been an absolute triumph. Instead, the LP's title posits a question whose answer is woefully predictable. Where did he go right? He didn't.                 



My Vinyl Attic - Norm Hacking - Live (1977)


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The vinlyl sounds really good, 

Info stolen from This Great Site:

Norm Hacking Live:
The Scarborough College Concerts
TSR-1 (LP 1977)
no longer available

Norm Hacking Live LP coverNorm Hacking returned to Scarborough College (part of the University of Toronto) in Toronto to make his first full indie recording from two solo concerts. His musical influences (Michael Smith), direction and friendships (Mose Scarlett, Ron Nigrini, Paul Corby) were already clear.
Photography by Don Agro.
Vinyl, no longer available.
Words and music by Norm Hacking, except where otherwise noted in the track list:

April Fool's '77:
1. (Introduction by Mose Scarlett)
excerpts from:
Michigan Water Blues (Clarence Williams)/
Don't You Leave Me Here (trad)/
Caldonia (F. Moore)
Just Like Me 5:47
2. The Dutchman (Michael Smith) 5:03
3. Christine 3:49
4. Sure is Bad, When the Booze Don't Help 3:26
5. Maggie (trad, adapted by Tom Rush) 3:28
Halloween '76:
6. Song for Sixpence 5:12
7. Great Loves of the 20th Century (Monsters Fall in Love, Too) 8:04
8. You Have to Look a Little Harder Now 1:55
9. Two Children 5:30
total time: 43:14
Musicians:
All guitar and vocals: Norm Hacking
Recorded by Doug McClement, Natural Sound and Comfort Sound, Toronto.
"Norm's biggest talent is singing solo in concert. By listening to his first album, Norm's warm personality is sharply reflected in his music." 

My Vinyl Attic - Napua - No Disguise (1988)


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http://s.ecrater.com/stores/26865/48600bb1ad9d8_26865b.jpg

The vinyl sounds great.  The music is nice sounding and she's certainly got a nice set of pipes.  I couldn't really find anything out about Napua on the internet.  Anybody?



A1 Helpless 4:01
A2 Oh Babe (a/k/a "Oh Girl") 4:05
A3 Lover Let Me Go 3:46
A4 It's All Over Now 4:35
A5 Don't It Feel Good 3:47
B1 My Love 3:48
B2 Do What You Gotta Do 3:29
B3 Temporary Love 4:00
B4 This Is The World 4:18
B5 I Did Not Know 3:50

Credits

My VInyl Attic - Norman Nardini - Love Dog (1987)


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The vinyl sounds great.  The album is good time rock and roll.  I quite enjoyed it.  It's also pretty cool that the album was produced by Rick Derringer. 

01 Love Dog
02 Give It Everything You Got
03 Read For Action
04 That Girl
05 T-Bird
06 What Goes Around Comes Around
07 Scratch My Back
08 Dance With Me,
09 Can't Kill Love With a Gun
10 Friend of Mine


Info stolen from This Great Site

As bass player for the 1970′s Pittsburgh rock n’ roll band, Diamond Reo, Norman Nardini got his career started. After a very brief stay at Berklee School Of Music and more than a few special moments….while still in high school he rented his Hammond B-3 organ and roadied for Billy Preston and Sly and the Family Stone when they came to town…..was hired to play guitar and keys in fake versions of The Sonics and The Cherry People…………backed up Little Anthony and the Imperials, The Detroit Emeralds, and The Manhattans in pickup bands…..played guitar behind Big Mama Thorton and George Harmonica Smith at The Jazz Workshop in Boston Mass. At Fox studio he had the opportunity to play on recordings by Jimmy Beaumont and the
Skyliners, Lou Christy, Terry Bradshaw……Nardini played bass on “The Pennsylvania
Polka” Steeler fight song.
After doing an arrangement of “Dancing In The Street” that got picked up by RCA he did an arrangement of Marvin Gaye’s “Ain’t That Peculiar” that brought an album deal with Big Tree Records that got Diamond Reo started. With a single on the charts The Diamonds appeared on Dick Clark’s American Bandstand and did shows with Aerosmith, Rush, Ted Nugent, Kansas, Canned Heat, Blue Oyster Cult……they opened up for Kiss at Cobo Hall in Detroit the night they recorded Kiss Alive. Dirty Diamonds, they’re second release was on the Buddah label and was produced by Adrian Barber who had done Aerosmith’s first LP……although it didn’t do so well at the time, Dirty Diamonds is currently being re-released on Rock Candy Records and is considered to be a classic piece of work……Nardini produced Ruff Cuts The Diamonds third and final LP.
Norman Nardini and the Tigers started tearin’ up rock n’ roll shows in 1979 opening shows for bands  like The Romantics, Joan Jett, and Beaver Brown. In the fall of 1980 The Tigers played Asbury Park’s Fast Lane and opened the show for The Rest, one of Jon Bon Jovi’s early bands, he and Jon remain friends to this day. Jon had Nardini open his 2011 performance at Pittsburgh’s Consol Energy Center. Recorded at Cleveland’s legendary Agora Nightclub, Eat n’ Alive, which received a 4 star review from Rolling Stone Magazine was released in ’81 and kept The Tigers on the road constantly. CBS released Norman Nardini and the Tigers in ’83, ole buddy Jon Bon sang BG vocals. With the Tigers broken up, Nardini did one more release with CBS, Love Dog, which featured Rick Derringer, Dr John, and Paul Shaffer and hit in ’86 and was followed by a tour with The Radiators.
A tour of Germany as opening act for The Blues Brothers came about because “Smoke Two Joints”, the single off the Circumstantial LP, This Ole Train was hitting the airways just after the Berlin wall came down and folks were exercising their freedom to rock and smoke. Two more LP’s on Circumstantial followed, 1993′s Breakdown In Paradise and 95′s It’s Alive.
A highly talented, underground group from Wheeling West Virginia, The Brett Cain Band, worked with Nardini to create some legendary music in the late 90′s that resulted in their LP, Rise.
As leader of The Pittsburgh Blues Allstars, Nardini has led their performance at the
Pittsburgh Blues Festival for the last 13 years, shows that have featured the best of the ‘burg Shari Richards, Billy Price, Gary Beloma, Kenny Blake Mark Stutso, and Jill West. The late great Glenn Pavone played his last show with The Allstars at the Blues Fest.
The Redemption LP, which featured new arrangements of his older tunes kept Nardini and his band busy playing week in and week out just like they always had done. Opening slots in front of acts like Johnny Winter, Peter Wolf, Pete Best, Jimmy Thackery and the Drivers, Tommy Castro, and Bernard Allison, John Eddy, and Southside Johnny and the Asbury Jukes helped to keep the Pittsburgh rocker at the top of his game.
The Nardini written and produced Rock My Soul LP in 2007 by singer-drummer Mark Stutso came as the result of Nardini hearing this West Virginian sing with Jimmy Thackery’s Drivers. In 2010 Stutso sang lead on the Nardini produced JJ Burner LP, Roll On that also featured monster player Warren King on lead guitar.
Bone A Fide was 2011′s Norman Nardini release that reached a new hi level for this relentless musical force. Most artist’s that have been around as long as Nardini have long since done their best work, not so in the case of Pittsburgh’s uncrowned king of rock n’ roll.
In 2012 The Nighthawks, Washington DC’s best known and longest running blues band included 3 of  Nardini’s songs on their Damn Good Time Release.
As 2013 is coming to an end, Norman Nardini says that he’s just getting started. With a seemingly endless string of exciting new songs and a guitar style that gets stronger as the years roll by Nardini says, “bring out the rest n’ let me put ‘em to the test n’ we’ll see who’s good rockin’ n’ who’s just talking. 

My Vinyl Attic - Red Wilder Blue - Red Wilder Blue (1971)


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The vinyl sounds really good on this.  Probably not mint.  I bought this album at Record Surplus on Pico.  When I saw it in my attic the other day, I didn't even remember it.  Glad I threw it on the turntable though.  Nice West Coast country rock with some cool harmonies.

Info stolen from This Wonderful Site:


Year: 1971
Format: LP
Label: Pentagram
Red, Wilder, Blue were a West Coast quartet consisting of Mike Ballew (guitar-vocals), Danny Wilder (bass-piano-vocals), Mack Tubb (guitar-vocals) and Lucky Floyd (drums-vocals). The album was produced by Al Scmitt and recorded at Devonshire Studio, North Hollywood, California.
“They do attempt to throw in a few surprises here & there… Like the Raga spin they put on “Darkness Darkness”. “Pamela” sounds like it could have been the theme song of a early 70′s Mary Tyler Moore kind of TV show. . . And the last track takes the LP out with a bit of wildness. Over all, I was surprised it had those good moments. The packaging totally suggests you’re in for a southern folk rock sort of affair.” (thelatepetercook RYM)
Track Listing
  1. Late In The Night
  2. Pamela
  3. I Believe In You
  4. Darkness, Darkness
  5. Sea Trip
  6. Orange County Jail
  7. Carolee
  8. Wha

My Vinyl Attic - Luba - Secrets and Sins (1984)


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The vinyl sounds great.  The music is a little corporate rock.



A1 Secrets And Sins
A2 Every Time I See Your Picture I Cry
A3 Let It Go
A4 Sacrificial Heart
A5 Still The Voices
B1 Young Guns
B2 One With You
B3 Private Wars
B4 Storm Before The Calm
B5 Resurrect The Love

Credits

Info stolen from This Great Site:


Secrets and Sins is the first full length album on Capitol-EMI of Canada by Canadian singer, Luba and band. Produced by Daniel Lanois, this breakout album won Luba Juno Awards for "Best Female Vocalist" and "Female Vocalist of the Year" in 1985. Included is the calypso-reggae style hit single "Let It Go," later featured on the motion picture soundtrack for 9½ Weeks. Other popular singles include "Secrets and Sins," "Storm Before the Calm" and "Everytime I See Your Picture".