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 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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Sunday, July 23, 2017

My Vinyl Attic - Ray Hutchinson - Recorded Live as the Castlemore (Who Knows)

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Ray Hutchinson - Recorded Live as the Castlemore (Who Knows) 

I cannot believe that someone allowed this to be released. The audio is so bad that I thought my needle had died. It sounds like it was recorded on an old handheld cassette recorder. You can hear Ray can still sing and the band is okay but WOW!!!! I've heard bad bootlegs that sound better than this. Am I sorry I bought it? Alas, no. 

01 Evergreen
02 After the Lovin
03 Sir Duke
04 Till
05 Let Me Be the One
06 Could This Be Magic
07 We've Only Just Begun
08 You'll Never Find
09 Feelings
10 Another Time
11 Misty
12 Green Grass of Home
13 That's Where the Music Takes Me

Info stolen from This Great Site
Before 1960, there had been several Canadian acts with major success on the US charts, like Paul Anka, Jack Scott and The Diamonds. However, their hits had all been recorded in the States. The Beau-Marks were the first Canadians to have a rock hit in the USA with a Canadian-produced recording.
The group evolved in June 1958 when polio victims Ray Hutchinson and Mike Robitaille met through a shared interest in music at a school for handicapped children in Montreal, Quebec. Hutchinson (a guitarist/vocalist) and Robitaille (who played the bass) subse- quently teamed up with pianist-vocalist Joey Frechette and drummer Gilles Tailleur. They wrote their own material, financed their own recordings and used local studios, none of which was too common in the late fifties, certainly not in Canada. Originally the group was called The Del-Tones and under this name they had their first release on Canada's Quality label in April 1959, the rockabilly single "Rockin' Blues"/"Moonlight Party". This 45 also saw a UK release on Top Rank JAR 171. However, a copyright hassle from a US group forced the band to change their name to the Beau-Marks, which came from, of all things, the BOMARC missile. Under this name they recorded their second single, "Clap Your Hands"/"Daddy Said", but for some unclear reason, Quality postponed its release until April 1960, some ten months after it had been recorded. The record was purchased for US release by Bob Shad, who owned the Brent, Warner, Shad and Time labels in New York City. Released on Shad 5017, "Clap Your Hands" scored well in many markets and reached # 45 on Billboard's charts in mid-1960, staying in the Top 100 for 14 weeks. The record also did (very) well in Canada, Australia, New Zealand and some European countries and led to appearances at the Peppermint Lounge, Carnegie Hall and on Dick Clark's "American Bandstand". The Beau-Marks followed this up with "Cause We're In Love"/ "Billy Billy Went-a Walkin'", which first came out in the US and then in Canada. Bobby Shad coupled the next release, "Oh Joan" with the USA-unissued "Rockin' Blues", this time on his Time label. Several more singles followed, both in Canada (all on Quality) and the USA (on Time, Rust and Port), but "Clap Your Hands" would remain their only hit. The Beau-Marks remained a popular Canadian attraction until they disbanded in 1965.
Lead singer Ray Hutchinson joined Dave and the Coins before settling in as a North American lounge act, but had to retire from music after sustaining serious injuries in a 1988 car accident. Mike Robitaille became successful in video production ; Gilles Tailleur died of a cerebral hemorrhage at age 35. Joey Frechette was the head of Capitol Records' April Blackwood publishing, then a program director at CHOO radio on Ajax, Ontario, before re-recording his own version of "Clap Your Hands" in 1987 under the name Joey Conrad.
Three LP's (including a live album) were released, all of which were reissued on CD by Unidisc in 1998. In addition, Unidisc released the compilation "Best of Beau-Marks" (20 tracks). I have not heard these Unidisc CD's, but one Amazon customer complains about the "Best Of" set: "The Beau-Marks deserve better than this. Poor sound quality, shoddy artwork, no liner notes." So beware. For the availability of their recordings on compilations see Terry Gordon's website Rockin' Country Style (unfortunately unavailable at the moment, so I can't give the link).

My Vinyl Attic - The Taylor Twins - Take Me Back to Tennessee (1987)

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The Taylor Twins - Take Me Back to Tennessee (1987) 

My father sent me this little beauty, all the way from Saskatchewan. Sealed! The sounds like a million bucks. The album? Quite enjoyable. There is certainly a lot of lively playing.

A-1. Take me back to Tennessee3:49
A-2. Orange Blossum Special3:13
A-3. Lady of the mountains2:50
A-4. Whoa mule whoa1:45
A-5. Fox on the run2:20
A-6. The six flags boogie1:57
B-1. She's leavin' on that midnight special2:42
B-2. The Black Mountain rag2:14
B-3. Truck drivin' Jack2:58
B-4. Foggy Mountain breakdown2:34
B-5. Rocky Top2:39
B-6. Todd's breakdown

Info stolen from This Great Site
They’ve been pickin’ for years. Now, they’re grinnin’. After years of practicing, traveling and opening shows for other musicians, Todd and Allen Taylor - 23-year-old twins from Spartanburg - have something to really smile about: The attention is all their own. The Taylor Twins, as the two who play banjo and guitar are billed, performed April 20 on “Live - Regis and Kathie Lee,” filmed in New York City and carried by WSPA-TV. And all that has followed has made it impossible for the brothers who share the same reflection not to share identical glee. “We got a taste of what it feels like to really be stars,” Todd says, smiling. “We came out of there and people were all over us. They wanted our autographs, a handshake, to know what we were about.” And not only members of the studio audience. Contacts were made with producers/programmers of other shows and networks. Among those planning to feature the Taylor Twins in the next couple of months are “Late Night With David Letterman,” “The Tonight Show,” “Pat Sajak,” “The Smothers Brothers” and “Good Morning America.” The Taylor Twins already have interviewed for a couple of the shows. Todd says that “Late Night With David Letterman” will be their next network appearance. “They don’t give you an exact date. They just say, `We’ll call you in a few weeks; be ready to come.′ ” Being twins makes their act more desirable for television, Todd says. “We’ve got the talent, but you’ve got to be different, too,” he explains. “Being twins and, I think, being Southern makes us unique.” Allen and Todd have thought about how Letterman often belittles his guests. “We’ve decided that we’re going to laugh right along with him, no matter what,” Todd says. “Hey, we’re in the door now - we sure don’t want to get pushed back out.” For the past decade, the twins have performed at amusement parks, including Carowinds in Charlotte and Six Flags Over Georgia in Atlanta, and served as the opening act for “Nashville On the Road,” performing before such country stars as Jerry Clower, Leon Everette and Stella Parton. A couple of years ago, they released an album, “Take Me Back To Tennessee,” featuring some original tunes and some standards done in the twins’ special, toe-tapping style. The LP was produced by Old Homestead Rutabaga Records of Michigan, which distributes only in Northern states. Fans in the South must order the albums. Todd, the older of the twins by two minutes and their business manager, changed the direction of their careers a few months ago. He says he decided that enough was enough. “I told Allen, `We’ve been doing this for years, and we’ve done all we can do as far as getting out to the people,′ ” he says. “But I had an idea.” Todd telephoned a producer at ABC Television in New York. Luckily, someone in the company had heard of the banjo and guitar twin pickers, and the call got through to the programmer of “Live - Regis and Kathie Lee.” A week and a half later, an ABC limousine picked up the Taylor Twins at a New York airport, and they were on the show the next day. “They gave us a welcome like you wouldn’t believe,” Allen says. “And after the show, people went crazy over us.” Television exposure is bound to boost their careers. Todd notes, “As many years as we’ve been traveling and touring, more people saw us during that 15 minutes on television.” Within days following the show, “Take Me Back To Tennessee” sold out in record stores. And the Taylor telephone rang constantly - calls about possible appearances on other shows, endorsements for banjos and guitar strings, and other offers. A national commercial featuring the twins singing and playing the praises of a food product is due out by the end of summer. They understandably are pleased. “We don’t mean to brag,” Todd says. “We’re just happy to be doing what we’ve worked for all our lives.” They also are happy to share the success with other partners: Todd married a year and a half ago; Allen, less than two months ago. “The girls accepted the guys’ love for their instruments long before they tied the knots,” says Nancy Taylor, mother of the twins. “And we’re delighted with their success. They always strove for higher accomplishments.” Now, maybe, the efforts are paying off. “It seems like everybody wants a piece of the Taylor Twins,” Todd says. “And, well, nothing makes us happier.”

My Vinyl Attic - Just Water - The Riff (1977)

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 Just Water - The Riff (1977)

The vinyl sounds pretty good on this album. Interesting, the copy I have as the Side Two label on both side. Mostly working man - tough youth songs. Not the world's best lyrics. 


A1 Mean And Rotten
A2 The Devil Woman
A3 They Live By Night
A4 The Riff
B1 Wayward Boys
B2 Drastic Change
B3 Play It Loud
B4 King Kong
B5 Down In The Riverboat

 Info stolen from This Great Site
In the mid- to late '70s, Just Water were part of the clutch of bands emerging from the New York new wave/punk circuit. But they didn't get to put much on record, issuing a sole obscure 1977 LP and, on 45, a cover of "Singin' in the Rain" that made a stir on East Coast radio. This three-CD compilation unearths more Just Water than anyone outside of the band likely suspected existed, including the entire 1977 LP, The Riff; the unreleased follow-up album, Meet the Competition; the slightly different U.S. and U.K. versions of the "Singin' in the Rain" single; and numerous studio outtakes, demos, and live recordings. The band is billed as "one of the very first mainstays of the New York Punk Rock scene, 1974-1979," but while this collection does document an overlooked group with connections to that scene, caution should be exercised by those expecting or hoping for some actual punk or new wave music. It's not punk; in truth, much of it sounds closer to a more power pop-minded, indie Who than the New York Dolls, Ramones, Blondie, Television, and so forth. That's nothing to be embarrassed about; it would just be more suitably billed as part of the early New York '70s indie rock scene than as part of the punk scene in particular. Much of the material sounds something like the Who with more trivial subject matter and a slight bent toward sardonic novelty-tinged lyrics, with the raffish cover of "Singin' in the Rain" being about as close as they ventured to a new wave approach. Frankly, the material's not nearly as strong as songs by the Who or, for that matter, the best of the other emerging N.Y.C. bands operating outside of the mainstream; it's not bad, but it's no more than average, either. There's too much music here to justify a purchase by the casual fan of the style/era, but it's certainly well-packaged, including a 40-page booklet with a detailed band history, photos, and track-by-track commentary. 

My Vinyl Attic - C'est What - Eight Stories (1984)

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 C'est What - Eight Stories (1984) 

 Picked this up in Toronto. I can't find any info on them, except that you can acquire this beauty up for a song on Discogs. I don't know if it's "New Agey" but certainly dreamy jazz fusion. The vinyl - despite the fact that I dropped it, just before I put it on the turntable, is in great shape. Nice sound. If you're in a mellow mood - you might want to check this one out.


A1 Soweto 5:43
A2 19th Street 5:03
A3 Morning Rain 4:23
A4 On A Promise 6:50
B1 Patience 7:10
B2 Come With Me 3:03
B3 Northern 7:20
B4 I Will 5:52

Saturday, July 22, 2017

My Vinyl Attic - Fat City - Welcome to Fat City (1972)

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Fat City - Welcome to Fat City (1972)

The vinyl sounds good. I've had the other Fat City album for decades. I happened upon this one the other day. It in very nice shape. These guys went on to a lot more success writing for John Denver but there are some enjoyable songs on this record - including the future hit, I Guess He'd Rather Be in Colorado.



Info stolen from This Great Site
Mary Catherine "Taffy" Nivert Danoff (born October 25, 1944, Washington, D.C.) is an American songwriter and singer. She is best known for being a member of the Starland Vocal Band.
Mary Catherine Nivert was born 25 October 1944. She received her nickname Taffy from her elder brother, who — being unable to pronounce her middle name as a young child — would call her Mary Tafferine. Nivert began singing along with the radio in high school. She was discovered by a bartender in Georgetown after he heard her singing to a jukebox. The bartender asked if she wanted to join a vocal group, and through this she met her future husband Bill Danoff.
Nivert began performing with Danoff as Fat City in the late 1960s. Initially a folk duo, the two later married and recorded four albums, the latter two credited to Bill & Taffy.
In 1970, while traveling to Taffy's family reunion, Bill began writing what would become "Take Me Home, Country Roads". The couple planned to complete the song and sell it to Johnny Cash. However, when Fat City opened for John Denver at The Cellar Door in December 1970, they decided to show it to him. Denver, who had injured his thumb in a car crash hours before, arrived at Bill and Taffy's apartment in the early hours of the morning, where Bill, Taffy, and Denver finished the song. The next night, they performed the completed song, with Taffy holding the lyric sheet, and it went on to become a hit song for Denver on RCA Victor in early 1971, and included on his album Poems, Prayers, and Promises, along with "I Guess He'd Rather Be in Colorado", which Bill and Taffy also wrote. Additionally, Bill and Taffy sang backup on four of the album's tracks.
Bill and Taffy Danoff married in 1972. In 1976, the Danoffs paired with Jon Carroll and Margot Chapman to form the Starland Vocal Band. Signed to John Denver's record labelWindsong Records, they were most famous for the hit song "Afternoon Delight". The group released several albums before breaking up in 1981. Bill and Taffy later divorced.
Nivert lived in Washington, D.C. until 2011, where she occasionally performed with Bill Danoff and the rest of the Starland Vocal Band. She then moved to Safety Harbor, Florida

 Info stolen from This Great Site
William T. "Bill" Danoff is an American songwriter and singer. His best-known song is "Afternoon Delight", which he wrote and performed as a member of the Starland Vocal Band. As a songwriter, he also wrote or co-wrote hits for John Denver (notably "Take Me Home, Country Roads")
Bill Danoff's career began in high school in Springfield when he helped form a group called the Reflections. They were very successful in competing at local band contests. Members of the original Reflections included Don "Skippy" Parent, Ricky Rydell, Jimmy Blanchard and another member who was the drummer. They recorded several 45's during their time together and were very popular throughout the Northeast.
On the strength of their track record as songwriters, Danoff and Nivert recorded several albums before forming the Starland Vocal Band with local musicians Jon Carroll and Margot Chapman. The group recorded "Afternoon Delight" which became a hit in July 1976, reaching #1 on the Hot 100 on July 10th. The Starland Vocal Band Show replaced Rhoda with a half-hour weekly series that same summer. Danoff and Nivert also worked with director Robert Altman and producer Jerry Weintraub on the film Nashville, doing research with screenwriter Joan Tewkesbury 
Danoff and his then-wife, Taffy Nivert wrote "I Guess He'd Rather Be in Colorado" and "Take Me Home, Country Roads," both of which were hits for John Denver. "Take Me Home, Country Roads" is an official state song of West Virginia. Danoff has stated he had never been in West Virginia before co-writing the song, having written it in a house in the Georgetown neighborhood of Washington, D.C.. He had even briefly considered using "Massachusetts" rather than "West Virginia", as both four-syllable state names would have fit the song's meter. Denver recorded about a dozen Danoff compositions from 1972 through the end of his career.
Danoff also worked with Emmylou Harris co-authoring "Boulder to Birmingham" (one of Harris' better-known compositions) with her. This track was recorded by The Walker Brothers in 1975 and The Hollies in 1976, and became a Top 10 hit in New Zealand. In 1982, Danoff and fellow Starland Vocal Band member Jon Carroll wrote "Who Knows How To Make Love Stay", a Top 40 Canadian hit for Doug and the Slugs.
Danoff taught a songwriters course in 2007 and a music industry seminar (with Walter Egan) in 2008 at his alma mater Georgetown University.

My Vinyl Attic - Cruel Frederick - The Birth of Cruel (1988)

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Cruel Frederick - The Birth of Cruel (1988)

 This album certainly lives up to its name. The vinyl is in terrific shape but perhaps this type of album would be more on theme, if it were scratched to shit. Not my cup of tea but I'm glad I have it in the collection.

TracklistHide Credits

A1Jukebox In The East River4:52
A2White Logic3:50
A3That Damned Music4:11
A4Moon River
Composed By – Henry Mancini
A5The East Is Red
Composed By – Traditional
B1Lonely Woman
Composed By – Ornette Coleman
B2Amazing Grace
Composed By – Traditional
Composed By – Albert Ayler
Composed By – Albert Ayler