Legends – Page 12 – 7th Level Music

Levitation Austin 2019 recap – Day Three

We would spend about twelve hours in downtown Austin on the third day of Levitation Austin 2019. We had tickets to see a lot of bands, and it was the busiest day of the festival for everyone involved.

We began at, once again, Barracuda, where the RidingEasy Records showcase started off the afternoon. We missed the opening of Warish‘s set due to having to eat lunch beforehand at a nearby Thai restaurant. We knew we’d need fuel for the day. Warish was blaring on the inside stage, making my wife say, “There’s nothing ‘ish’ about it!” Their cover of Nirvana‘s “Negative Creep” was solid and much-appreciated.

Next up, and outside, were Here Lies Man, whose last two albums have been in the top ten of their respective years for me. They put on a groovy set to a crowd that was loving their heavy “Black Sabbath plays Afrobeat” sound and the warmer weather.

My wife became a fan of Blackwater Holylight after we went back inside to see their set. It was a cool, trippy, and sexy mix of psychedelia.

She also appreciated the killer set by The Well, who were among the band’s I was most excited to see at the festival. They threw down one of the best sets I’ve seen all year. It was hard-hitting, solid groove stoner-doom metal and a great mid-day lift.

We kept that theme going with Acid King, who flattened what little was left of the outside stage by now. It was great to see and hear these legends live. They still shred.

It was a quick walk to Stubb’s BBQ to see the Black Angels and John Cale. The Black Angels put on another fine set. I’ve lost count of how many times I’ve seen them live now, and they never put on a bad show.

“I think we’re more excited than you are,” said the Black Angels’ lead singer, Alex Maas, before John Cale took the stage to play tracks that ranged from fun to creepy and covered his solo work and Velvet Underground cuts. The Black Angels joined him and his band onstage for an encore performance of “Sister Ray” that was a thrill for everyone on stage and in front of it.

The Black Angels (left) and John Cale and his band perform “Sister Ray.”

As cool as that was to see and hear, we still had more sets to catch. We zipped back to Barracuda to see Night Beats and Cosmonauts. Night Beats were first, with Danny Blackwell rocking his awesome hat as usual, and they put on a great show on the outdoor stage. Blackwell is a gunslinger with his guitar. I’d almost forgotten how much he shreds.

I’d heard good things about Cosmonauts’ live sets, mostly that they were guitar onslaughts. That description wasn’t far off, because they shook the walls of the building and were a great end cap to a long, wild day.

We were exhausted by the time we got back to the garage apartment we were renting in Austin, but it was a fun day. The next would bring death by audio.

Keep your mind open.

[Don’t forget to subscribe.]

Levitation Austin 2019 recap – Day Two

We started off the second night of Levitation Austin 2019 at Stubb’s BBQ, where the Flaming Lips were playing the outdoor stage along with Holy Wave and Mercury Rev. We got there in time for the last two songs of Mercury Rev’s set, which sounded good. The night was cold, but not as cold as the first. Plus, there were more bodies around to block the wind when it would whip through the outdoor stage area.

The Flaming Lips, as always, put on a fun show to an enthusiastic crowd reveling in balloons, confetti, and Jell-O shots being shot from a slingshot wielded by a man on a surfboard that took him through the crowd. Lead singer Wayne Coyne was in a playful mood and frequently chatted with the crowd. The Flaming Lips are my wife’s new favorite band after seeing them live twice. “I always feel happy,” she said about seeing their shows. That’s one of the best reviews you can get.

We zipped back over to Barracuda to catch Death Valley Girls and Elephant Stone. We hadn’t seen Elephant Stone in a long while and were eager to hear some of their new material. I’d also heard good things about Death Valley Girls’ live sets. They were first and as fun as we’d hoped.

“Hell’s house band” – Death Valley Girls

We then walked over to Elysium to catch David J‘s intimate acoustic set. He was accompanied by a pianist and played tracks from his new solo record as well as a Love and Rockets track (“Shelf Life”). It was a mellow way to end the night. My wife rested her head on my shoulder and a bouncer told her, “You can’t fall asleep here.” like it was a dire warning against the dangers of the goth club’s vampires devouring her if she did.

The set might be the closest I ever get to seeing Bauhaus or Love and Rockets live, so it was nice to see and hear.

The next day would be a marathon, but it would be worth it.

Keep your mind open.

[Don’t forget to subscribe.]

The Damned set to release “Black Is the Night: The Definitive Anthology” on All Saints’ Day this year.

The greatest surviving British punk band, The Damned, are set to release their most comprehensive collection of songs yet, with a new greatest hits collection, Black Is the Night, via BMG on November 1st. Pre-order the album here.

[Taken from the album’s liner notes]: Black Is the Night is the first truly comprehensive Damned anthology, spanning their entire career. These tracks have been specifically chosen by the band themselves and every track and every Damned album tells a different story. They are a band that never repeats themselves, with every record charting new territory and breaking new ground.

Designer Phil Smee was chosen to create the gothic artwork. Smee has worked with the band numerous times throughout their long-lasting career, as well as creating legendary designs for Motörhead, Elton John and Madness, amongst many others. Smee commented: “I loved working with the band back in the 80’s and I like to think we came up with some iconic designs. Certainly, I see the many Damned logos I came up with still used on t-shirts to this day. I’ve not cut corners with this new album, even setting all the sleeve copy by hand, which took me back to ‘The Black Album’ which I hand-lettered with a shaky pen. The Damned are a totally unique band, I’ve always loved everything they’ve done. I still get excited about every design project that comes along, but I was particularly pleased to be asked to work on The Damned’s Black Is the Night album.”

The band play Madison Square Garden with Misfits and Rancid on October 19th.

TRACKLISTING: 1. Love Song 2. Wait For The Blackout 3. Generals 4. I Just Can’t Be Happy Today 5. Bad Time For Bonzo 6. Democracy? 7. White Rabbit 8. Anti-Pope 9. Ignite 10. Melody Lee 11. Smash It Up Pt 1 & 2 12. New Rose 13. Machine Gun Etiquette 14. Neat Neat Neat 15. Stretcher Case Baby (produced by Shel Talmy) 16. Sick Of Being Sick (produced by Shel Talmy) 17. Born To Kill 18. Rabid (Over You) 19. Problem Child 20. 1 Of The 2 21. So Messed Up 22. Disco Man 23. Fan Club 24. Suicide 25. Eloise 26. Plan 9 Channel 7 27. Grimly Fiendish 28. The Shadow Of Love 29. The History Of The World (Part 1) 30. Dr Jekyll and Mr Hyde 31. Streets Of Dreams 32. Curtain Call 33. Alone Again Or 34. Lively Arts 35. Standing On The Edge Of Tomorrow 36. Stranger On The Town Fun Factory (previously deleted feat. Robert Fripp) 38. Under The Floor Again 39. Black Is The Night (new song)

Follow The Damned at: www.officialdamned.com twitter.com/@damnedtwits

Keep your mind open.

[Black is the day when you don’t subscribe.]

Dead Kennedys to officially release CD of rare 1978 studio sessions.

Straight out of San Francisco, the Dead Kennedys became punk legends with a slew of classic singles, such as “Holiday in Cambodia” and “California Über Alles.” Any punk fan worth their salt, knows and loves these songs, but may not have heard these early, alternate versions.

Due Sept. 27th on Los Angeles-based Manifesto Records, the rare Iguana Studios Rehearsal Tape — San Francisco 1978, captures the band bashing out these classics in their earliest-known incarnations. The take on “Holiday in Cambodia” is a bit slower in tempo, more melodic, but no less fierce. “California Über Alles” takes on a more ominous tone in this lo-fi rendition. This release is the latest in a series from Manifesto marking the iconic punk band’s 40th anniversary.

The 13-song collection, which also includes such notable tracks as “I Kill Children” and the DK’s infamous cover of “Rawhide,” features the band’s original lineup of singer Jello Biafra, guitarists East Bay Ray and 6025, bassist Klaus Flouride, and drummer Ted, in its first year of existence. This set was recorded two years prior to the release of the band’s 1980 debut album, Fresh Fruit for Rotting Vegetables.

Previously available only as a bootleg and finally legitimately released on vinyl for Record Store Day in 2018, the Iguana Studios Rehearsal Tape – San Francisco 1978 makes its debut on CD for the first time due to overwhelming demand. As the title indicates, the recordings were captured on tape at the legendary Iguana Studios on Folsom Street, where such DK contemporaries as The Avengers also rehearsed.

Aside from the aforementioned songs, the Iguana Studios Rehearsal Tape features such rarities as the punky reggae “Dreadlocks of the Suburbs,” the aural assault known as “Cold Fish,” the captivating “Kidnap” and punk-prog rocker “Mutations of Today,” which make their first official release here. No DK’s collection is complete without this aural artifact. Take a journey back to Iguana Studios in 1978 and hear the band in their infancy, before they became the punk legends you know and love.

Iguana Studios Rehearsal Tape – San Francisco 1978 track listing: 1. Man With the Dogs 2. Kepone Kids 3. Forward to Death 4. Kill the Poor 5. Your Emotions 6. Dreadlocks of the Suburbs 7. I Kill Children 8. Cold Fish 9. Holiday in Cambodia 10. Kidnap 11. Mutations of Today 12. Rawhide 13. California Über Alles

Live shows: Oct 3 San Luis Obispo, CA Alex Madonna Expo Center Oct 4 Ventura, CA Majestic Ventura Theater Oct 5 San Pedro, CA So Cal Hoedown/Port of Los Angeles, Berth 46

Keep your mind open.

[Don’t forget to subscribe while you’re here.]

Live: Willie Nelson, Alison Krauss, and Ida Mae – Memorial Coliseum – Ft. Wayne, In – August 05, 2019

2019 is turning out to be a year of legends in terms of my concert viewing. First there was Sir Paul McCartney, then Jeff Lynne and his latest version of ELO, and now Willie Nelson – one of the greatest songwriters and country music legends of all time.

Opening for him were a new British country / blues husband (Chris Turpin) and wife (Stephanie Jean) duo Ida Mae, who put on a simple and effective set of dark country tunes using nothing but a foot pedal electric bass drum, a guitar, a tambourine, and matching vocals. They were elated to be on the tour and playing in the biggest venue they’ve played so far. According to Jean, the only other time they’d been in an arena was to see a hockey game.

Ida Mae playing the largest venue they’ve played so far.

Up next was none other than multiple Grammy Award-winner Alison Krauss. She’d put on a great show the first time I saw her, and I was sure she’d put on another great performance. She didn’t disappoint. Performing on a stage decorated with antique lamps, doll houses, benches, and even a bicycle, Krauss and her band played a lovely set of Americana, gospel, country, and blues that had everyone in the palm of her hand. Among the highlights were “River in the Rain,” “Forget About It,” “Ghost in This House,” “Angel Flying Too Close to the Ground,” and “Down to the River to Pray.”

Alison Krauss and her lovely voice hypnotizing the place.

The Red Headed Stranger was up next, and he came out belting “Whiskey River.” He had the crowd laughing and singing during his cover of Toby Keith’s “Beer for my Horses.” Nelson’s singing was a little quiet at first, but his acoustic guitar shredding made up for it. His voice was warmed up by the time he reached “If You’ve Got the Money, I’ve Got the Time” and crowd favorites like “Mama, Don’t Let Your Babies Grow Up to Be Cowboys,” “On the Road Again,” and “You Were Always on My Mind.” He also made me giddy by doing three Hank Williams covers (“Jambalaya,” “Hey Good Lookin’,” and “Move It on Over.”).

He ended the show with a fourth Williams cover, “I Saw the Light,” as well as the classic “I’ll Fly Away” – both sung with Ms. Krauss who came back onstage wearing a jacket because it was chilly throughout the whole coliseum. It was nice to see them having fun and you could tell Krauss was joyfully singing with one of her idols.

Nelson has since cancelled his tour due to him experiencing “breathing problems.” I hope he recovers soon and get back on the road. Don’t miss him. He’s still touring at age 86, but I can’t imagine he’ll be doing it much longer.

Keep your mind open.

[Don’t forget to subscribe while you’re here.]

Live: Jeff Lynne’s ELO and Dhani Harrison – United Center – Chicago, IL – July 27, 2019

Electric Light Orchestra is one of my wife’s favorite bands and I’ve always appreciated the way bandleader Jeff Lynne and his mates combined classical music with pop and prog-rock. Lynne had been touring with the newest version of his band for several years, but this was the first time we’d been able to catch one of Jeff Lynne’s ELO shows.

We were surprised to learn that Dhani Harrison (yes, George’s son) and his band were the opening act. They played a solid rock set that melded industrial, psychedelia, and groove. Dhani, much like his father, rocked both electric guitar and ukulele.

Starting with “Standing in the Rain,” Mr. Lynne and his twelve-piece backing band had the crowd with them from the first note. Throwing down “Evil Woman” as the second song and “All Over the World” as the third had the entire United Center jumping.

Two nice treats during the main set were “Do Ya” by the Move (one of Lynn’s first bands) and him playing the Traveling Wilburys‘ “Handle Me with Care” with Dhani Harrison playing along and singing his father’s vocal parts. “Last Train to London” and “Rockaria!” were also great, and I’d be remiss if I didn’t mention the great visuals throughout the entire show. You wouldn’t expect less from a band named Electric Light Orchestra.

One odd moment for us, at least in the section where we were seated, was during “Shine a Little Love” and hardly anyone was clapping at the right moments during the chorus. I tried to encourage everyone around us to take part in, you know, the rhythm section of the song, but alas, we only saw a few people doing it.

They ended the set with the quadruple threat of “Telephone Line” (one of the best sad songs of the 1970’s), “Don’t Bring Me Down,” “Turn to Stone” (which still packs a powerful punch), and “Mr. Blue Sky.” The encore was a cover of Chuck Berry‘s “Roll Over Beethoven” that featured the band, and Lynne, shredding their respective instruments.

It was a fun night, and we were happy to check this off my wife’s bucket list of shows. They’re still touring throughout the summer, so grab some seats if you can.

Keep your mind open.

Jeff Lynne – still shredding guitar and rocking sunglasses.

[Why not shine a little love on the subscription box while you’re here?]

Live: Clutch, Killswitch Engage, and Cro-Mags “JM” – Clyde Theatre – Ft. Wayne, IN – July 16, 2019

The last show I saw at Fort Wayne, Indiana’s Clyde Theatre was the Flaming Lips with Le Bucherettes, which was a communal psychedelic experience and not the type of place in which a mosh pit breaks out while someone screams at you with rage and fury. Now, however, I was seeing three bands who brought plenty of rage and fury – Clutch, Killswitch Engage, and Cro-Mags “JM“.

My friend and I walked in as Cro-Mags “JM” were unleashing their rage with a furious hardcore punk rock set. The “JM,” by the way, stands for “John Mackie” – as in vocalist John Joseph and drummer Mackie Jayson. Joseph and Jayson are two of the longest-serving members in the legendary Cro-Mags band (which has gone through multiple lineup changes). Joseph talked about songs written in 1989, such as “Street Justice,” when there was no such thing as being an online troll (“You said what you needed to say face to face. You didn’t hide behind a keyboard. And if you had to put your fists up, you threw down.”). It was a fast, hard set, yet no mosh pits broke out, which I found baffling.

I’d heard of Cro-Mags from my high school punk rock days, but I’d never heard anything by Killswitch Engage despite the fact they’ve been together for two decades. My metal music collections leans toward stoner and doom, so metalcore is a mostly unexplored genre for me. They put on a heck of a show, bringing relentless energy and a packed house. A lot of people showed up for their set, and a few small mosh pits broke out during it. Crowd surfing was even more popular. A particular highlight was the live debut of their newest single, “I Am Broken, Too.” Lead singer Jessie Leach‘s vocal stylings reminded me of Ronnie James Dio, so I was delighted to hear them close their set with a cover of Dio’s “Holy Diver.”

Clutch came out gunning with the always-invigorating “X-Ray Visions” and “Firebirds!” Bassist Dan Maines had some technical issues in the first two tracks that kept him from putting out as much sound as he wanted, but a couple swapped cables and batteries fixed the issue by the time they got to “Gimme the Keys.”

Psychic warfare is real, and Dan Maines’ bass apparently shoots lasers.

The crowd had thinned a bit, which is a shame, because a lot of the metalcore fans who left missed a great groove-rock show by Clutch that included a lot of tunes I’d never heard live before such as their version of the blues classic “Evil,” the rare cut “Willie Nelson,” “Smoke Banshee,” “Hot Bottom Feeder” (which my friend loved for both the groove and the fact that the entire song is a crab cake recipe), and “Rats.”

Clutch lets us know that Willie Nelson only smokes killer weed.

They ended the night with an encore of “H.B. Is in Control” and “How to Shake Hands,” two more songs I hadn’t heard live until now. I’ve always loved how Clutch changes up their setlist every night. They keep a core of a few tunes for each show but mix in whatever else they want to play. I wish more bands did this, but not every band is as confident as them. So, go see them. It will be a unique experience.

Keep your mind open.

Thanks to Doug Weber of New Ocean Media for getting me a press pass to the show.

[Don’t forget to subscribe before you split.]

Live – Paul McCartney – Memorial Coliseum – Ft. Wayne, IN – June 03, 2019

Thanks to a missing comma, Ft. Wayne apparently renamed the city “Fort Wayne Paul” in McCartney’s honor.

The buzz for Paul McCartney‘s first show ever in Fort Wayne, Indiana was so big that local news outlets were telling people to get to the Memorial Coliseum early, make early dinner plans, and be ready to face construction on Coliseum Boulevard.

I managed to score some upper level tickets at overinflated prices on StubHub after my initial efforts to buy face value tickets were dashed within minutes. I waited months to finally buy the tickets we had. I almost didn’t, but I couldn’t resist the chance to see a living legend in a small arena just over an hour’s drive from my house.

The crowd was enormous and buzzing from the get-go. The merchandise booth was jam-packed with people buying everything from coffee mugs and shirts to tote bags and blankets (Yes, Paul McCartney blankets.). I opted for the limited edition show poster (limited to 100 copies) for the same price as a tour shirt ($45.00). Inside, we also discovered that Sir Paul had vegetarian and vegan food options available at some of the concession stands.

We eventually made our way to our seats, which were nearly ten times face value. Scalpers suck.

The view from our $432.00 seats. Those on the floor in the first section were more than double that EACH.

They turned out to be well worth the money. Sir Paul and his band came out and started with the Beatles‘ “Hard Day’s Night” and then followed it with Wings‘ “Junior’s Farm,” which I didn’t expect and was delighted to hear.

“All My Lovin'” and “Letting Go” followed before they got to “Who Cares” (an anti-bullying song) and “Come On to Me” from his new album Egypt Station (with “Got to Get You into My Life” sandwiched between them).

The Wings track “Let Me Roll It” was followed by a brief instrumental cover of Jimi Hendrix‘s “Purple Haze” and McCartney telling a fun story of him seeing Hendrix play in London just a couple days after Sgt. Pepper’s Lonely Hearts Club Band was released. Another Wings highlight just a couple songs later was “Let ’em In” – a personal favorite of mine.

“Maybe I’m Amazed” is still powerful, and even more so live. Another fun treat was he and his band performing the first Quarrymen song “In Spite of All the Danger.” He told a fun story about the recording of “Love Me Do” (in which he admitted you can still hear how nervous he was singing it in the song after John Lennon asked him to do it so he could play the harmonica on the track) before playing a fun version of it and then playing a solo acoustic version of “Blackbird,” which is still beautiful and poignant. His ode to Lennon, “Here Today,” also tugged at the heartstrings.

In case you’re wondering, Sir Paul played bass, electric guitar (on which he can shred, by the way), acoustic guitar, mandolin, piano, and ukulele throughout the show. The ukulele he played, by the way, was the one given to him by George Harrison. The song he played on it? Harrison’s “Something,” of course, which sounded great.

“George was a very accomplished ukulele player. Many people don’t know that.”

McCartney’s band were no slouches either, with two guitarists, a keyboardist, a drummer, a three-man horn section, and a top-notch sound and video crew doing great work throughout the three-hour show. The graphics on “Back in the USSR” were great, and the pyrotechnics during “Live and Let Die” (complete with jets of fire and cannon explosions) were big crowd-pleasers.

“Live and Let Die” (with cannons and flame throwers)

The main set ended with “Hey Jude.” That alone with over two hours. The encore was another half-hour and included “Birthday,” “Sgt. Pepper’s Lonely Hearts Club Band,” “Helter Skelter” (a wild, unexpected treat), “Golden Slumbers,” “Carry That Weight” (another welcome addition), and ended with (What else?) “The End.”

He looked great, sounded great, and brought us all a great time. He shows no signs of slowing down, so catch him if you can. The stories he tells are almost worth the ticket price by themselves.

Keep your mind open.

[You don’t have to carry the weight of finding music news. Subscribe and I’ll do it for you.]

Sleater-Kinney releases new single, “Hurry On Home,” and North American tour dates.

Rock giantesses Sleater-Kinney are back with not only a sharp new, electro-twinged single, “Hurry On Home,” but also a list of tour dates throughout North America starting in October. “Hurry On Home” is a hot cut about hotter love with a blistering guitar solo from Carrie Brownstein. Don’t miss this tour. Many dates, if not all, are sure to sell out.

10/9/19 – Spokane, WA – Fox Theatre

10/11/19 – Boise, ID – Knitting Factory Concert House

10/12/19 – Salt Lake City, UT – The Depot

10/13/19 – Denver, CO – Ogden Theatre

10/15/19 – Minneapolis, MN – Palace Theatre

10/16/19 – Milwaukee, WI – Riverside Theater

10/18/19 – Chicago, IL – Riviera Theatre

10/20/19 – Louisville, KY – Old Forester’s Paristown Hall

10/21/19 – Nashville, TN – Ryman Auditorium

10/23/19 – Atlanta, GA – Tabernacle

10/25/19 – Washington, DC – The Anthem

10/26/19 – Pittsburgh, PA – Stage AE- Indoor

10/27/19 – Philadelphia, PA – The Fillmore

10/29/19 – Boston, MA – House of Blues

10/30/19 – Brooklyn, NY – Kings Theatre

10/31/19 – New York, NY – Hammerstein Ballroom

11/1/19 – Columbus, OH – Newport Music Hall

11/3/19 – Toronto, ON – Rebel Complex

11/4/19 – Detroit, MI – Majestic Theatre

11/5/19 – St. Louis, MO – The Pageant

11/7/19 – Houston, TX – House of Blues

11/8/19 – Dallas, TX – House of Blues

11/9/19 – Austin, TX – ACL Live at the Moody Theater

11/11/19 – Phoenix, AZ – The Van Buren

11/12/19 – San Diego, CA – The Observatory North Park

11/13/19 – Santa Ana, CA – The Observatory OC

11/14/19 – Los Angeles, CA – Hollywood Palladium

11/16/19 – Oakland, CA – Fox Theater

11/19/19 – Portland, OR – Crystal Ballroom

11/21/19 – Vancouver, BC – Commodore Ballroom

11/23/19 – Seattle, WA – Paramount Theatre

Keep your mind open.

[Hurry on to the subscription box.]

Rewind Review: Herb Alpert – Rise (1979)

It seems that only the legendary Herb Alpert could combine spaghetti western horns with late 1970’s synths and make it work. He did exactly that on his 1979 album Rise – his first without the Tijuana Brass backing him.

The opening track, “1980,” was originally written for NBC Sports’ coverage of the 1980 Olympics and sounds like a vision of what the next decade was going to sound like for all of us – full of futuristic gadgets and obsession over the coming new millennium clashing with old school thinking and ideals (pretty much the 1980’s in a nutshell). The title track is one of the funkiest things ever put on a record, so much so that it was heavily sampled by Biggie Smalls on “Hypnotize” (Abe Laboriel’s bass riffs alone could power two dozen hip hop records). Mike Lang’s piano work mixes well with Alpert’s expert trumpet work, and Alpert knows when to put down his horn and let his band jam.

“Behind the Rain” sounds like unused music from a Roger Moore-era Bond movie with its thrilling string and horn arrangements, machine gun-like drums, and car chase guitar. “Rotation” has this cool, quirky beat to it that mixes simple drum chops with electro-beats that are peppy yet subtle (and Alpert’s trumpet, of course, roots the entire track).

“Street Life” is sassy and brassy, with Alpert’s trumpet taking center stage throughout it while some funky slap bass struts alongside him. Speaking of slap bass, it’s even funkier on “Love Is,” a song that I’m sure was remixed for discos across the country at the time. Louis Johnson practically puts on a clinic on how to lay down a snappy bass groove. Alpert, again, smartly lets his instrument be the backup on the track.

“Angelina” brings in the Central American flair found on so many of Alpert’s records and even some Caribbean beats to boot. That south of the border sexiness continues on “Aranjuez (Mon Amour),” which also throws in disco beats and bass for good measure.

One can’t write about Rise without mentioning Herb Alpert’s nephew, Randy “Badazz” Alpert, who co-produced the record and brought in a lot of the disco / nightclub / funky touches. He helped bring his uncle’s work to even more people by getting “Rise” and other cuts into the hands of club DJ’s. It’s a classic record and worth a listen.

Keep your mind open.

[Slide over to the subscription box before you split, daddy-o.]