Amon Düül II - Kismet (1978)
From Wikipedia:
Amon Düül began in 1967 as a radical political art commune of Munich-based artists calling themselves, in part, after the Egyptian Sun God Amon. The word Düül originally had no intended meaning.
The commune attained underground popularity for its free-form musical improvisations, performed around the happenings and demonstrations of the youth movement at the time. The commune had a liberal attitude to artistic freedom, valuing enthusiasm and attitude over artistic ability, and as a result, band membership was fluid; anyone who was part of the commune could be part of the group. They issued a declaration: "We are eleven adults and two children which are gathered to make all kinds of expressions, also musical."[5] A faction within the commune was more ambitious, conventional, and musically structured than the commune society overall. This led to a split within the collective, and in September 1968 they performed at the International Essen Song Days—Germany's first underground festival—as two groups, "Amon Düül" and "Amon Düül II", at the suggestion of drummer Peter Leopold.
Amon Düül engaged in exuberant open-ended experimentation that at times equaled their psychedelic rock equivalents in countries such as the USA or Brazil (e.g. [Ed: The vastly better] Os Mutantes), with a focus on political activities. The members were close to Kommune 1 in Berlin and boasted, for a time, a prominent member in the model and activist Uschi Obermaier. Amon Düül signed a contract with the firm "Metronome Records", and continued for seven years with varying degrees of success and in various guises. They wound down in 1973 after releasing four official albums (and a posthumous fifth), though all except one were recorded at the 1968 sessions for their debut. Apparently, the man responsible was producer Peter Meisel, who released the albums without the band's approval in an attempt to capitalize on the success of Amon Düül II. The LPs are these days regarded as unique, if unessential, records in the history of German rock. In contrast, their Paradieswärts Düül album featured a pastoral, folk-influenced sound. The name 'Amon Düül' was trademarked by Chris Karrer and Peter Leopold of Amon Düül II, meaning that re-issues of Amon Düül's albums required to license the name from them.
Like so so so so so many acts of the day, Amon Düül started out with a pure, sincere (if unlistenable) concept and ended up doing disco.
Carole King - Disco Tech (1978)
And ended up doing disco! During the nadir of her career, Carole King recorded with a band named Navarro, which co-wrote this dreck. They themselves put out two albums in the later '70s and faded away. Carole King returned in the video era with a song called "City Streets" which, to my ears, sounds so trite and overproduced that it literally means nothing. Her fella at the time died shortly after this was recorded. That's him on the cover.
Hello People - Future Shock (1974)
Hello People - Destiny (1974)
Hello People - Creego (1974) Two versions. One produced by Rundgren, and the other (somehow...better) recorded at home with fine TEAC equipment.
With the rock-steady guidance of Todd Rundgren and the big break of being asked to team up with TEAC to show off the possibilities of new reel-to-reel home recording technology, it seemed like a match made in heaven. Bowie. Alice Cooper. Peter Gabriel. Mime Rock was due. Alas, it was not to be. I am the proud owner of both of these records, and I feel very, very alone. And yes, they cover "Just One Victory".
From Discogs:
"Recording demonstration; from microphone placing, editing, balancing, channeling, terminology, sound recording & effects.
One full-length song in this recording, it was not recorded inside a Studio; instead, it was fully recorded in someone's house to demonstrate the flexibility of the TEAC multi-track tape record. Many clear examples of what it takes to record a song, all the potential obstacles that come with making a song using all analog instruments.
Home recording tips; recording at home with the 3340-S multi-track tape recorder can offer many of the important elements of the studio experience without the bill. No experience required; you have the opportunity to work ideas in private and to experiment with your own sounds, and learn what you need to know at your own pace.
Recording music, like making music, is fun as it is challenging."
Daddy Dewdrop - Nanu Nanu (I Wanna Get Funky Wich You) (1978) His big hit was "Chick-a-Boom (Don't Ya Jes' Love It)". This is a mawkish attempt at a cash-in. Deftly combining the Mork and Mindy zeitgeist with the Disco zeitgeist, he somehow creates something unlistenable and cheap. His website claims he wrote a song for Ringo Starr. Or that Ringo covered a song of his. That song, "I Wanna Be Santa Claus", was co-written by Mark Hudson, who was the lead singer of The Hudson Brothers, who POACA will remember as the bearded fellow on The Hudson Brothers Razzle Dazzle Show, which aired on Saturday mornings, from September 7, 1974, to August 30, 1975. Chuckie Margolis!!! Ahahahah.....
The brothers released "serious" albums throughout the '70s.
Donny and Marie - I Want It Back (1978) From the movie Goin' Coconuts, which is a graphic retelling of the Dresden bombing. Graphic.
Franki Vallli - Save Me, Save Me (1978) From the album titled, "...Is The Word". Let there be no mistake. He had lots of momentum. Pretty good shelf-life for a '60s singer. His career was revitalized in 1975 with "December, 1963 (Oh, What A Night)" and "Who Loves You". I like Frankie Valli very much. You hear his voice and you know. I think of all the crooners from back then, he deserves his revivals. It didn't hurt to have Barry Gibb behind you in 1978. In a sense, they were contemporaries from different places.
And he was in "The Sopranos".
If after one listen you can't tell who wrote this, you are in the wrong place. Off with you!!!
Gnidrolog - Snails (1972) No one mentions Gnidrolog when they are listing good prog bands. Believe me. I was swimming in the prog for a good decade, and not one soul mentioned them. If I were to compare their two albums to any other artists, it would be Octopus-era Gentle Giant or Gong. I really like them. They didn't last long, but I think their productions were nice. Especially...
Gnidrolog - Social Embarrassment (1972) Members Colin Goldring (vocals / guitar) and Stewart Goldring (guitar / vocals) went on to form Pork Dukes, and either ironically or to satisfy a hunger for, you know, the Zeitgeist, made the lyrics base and the music basic. One album and no one cared.
Jay Traynor - Love Is In The Air (1978) Jay Traynor of Jay and the Americans tries to jump onto the Disco train by covering the 1977 hit by John Paul Young. Look carefully at the composers.
Kitty and the Haywoods - Disco FairyLand (1978) Kitty had a long recording history as a background vocalist for such acts as Curtis Mayfield. She was also a member of The New Rotary Connection after Minnie Riperton departed Rotary Connection.
Kristie and Jimmy McNichol - Hot Tunes (1978) It was "Little Darlings".
Little Nell - Fever (1978) Too much cocaine will make the dancers dance to everything.
Lenny McDowell - Locomotive Breath (1978) And what better way to bring another award-wanting episode to a close than to play a flute version of "Locomotive Breath".
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