THE ANALOGUE YEARS presents a 50-Album overview across 54 CDs, in original jackets, of the celebrated international recordings that emerged from the London-based record label in that pre-digital era.
This two-fer from the Australian Raven label is a part of a series of Delbert McClinton reissues. All of them come with new liner notes, session photos, and bonus tracks. These two albums, from 1980 and 1981, respectively, represent a renaissance for McClinton of sorts. While he never had a fallow period creatively, The Jealous Kind allowed him a renewed commercial viability even if it was short-lived. Both records were issued by the Muscle Shoals Sound imprint of Capitol Records and were produced by Barry Beckett with the Muscle Shoals rhythm section and horns. While the first disc is centered around diversity in its song choices – by everyone from Larry Henley to Bobby Charles to Van Morrison to Al Green to Jerry Williams – and took radical approaches to reinterpreting the material through soul, blues, funk, rock, and country, the latter chose hard-driving Southern-fried funk and R&B and a relatively close-to-the-vest approach in terms of material – most notably covers of "In the Midnight Hour" and Naomi Neville's "Lipstick Traces (On a Cigarette)".
The eighth and ninth studio albums (there was a live recording between them) from the Atlanta Rhythm Section got a belated U.K. CD release in 2010. These closed out the act's affiliation with Polydor Records and are condensed onto a single CD here, as well as digitally remastered. It's another in the classy series of ARS reissues from BGO, which has treated the Southern pop act's catalog with utmost respect on four previous discs that bring the group's original albums back in print for collectors and music fans who want more than the 17 hits on Polydor's well-chosen 1982 vintage Best Of. Liner notes from Campbell Devine tend to be fawning but include a comprehensive history of the band, recounting its story leading up to and even after the recording of these tunes. Musically, ARS captured a unique style halfway between the smooth West Coast pop of the late '70s and the Southern rock of the era.
Lady T is the second studio album by American singer Teena Marie, released by Motown's Gordy label on February 14, 1980. Released in 1980. The album was produced by Richard Rudolph, and the track "Too Many Colors" features the then 7 year-old Maya Rudolph, daughter of Rudolph and his late wife Minnie Riperton. The album was dedicated to Minnie Riperton. Lady T was the nickname of Teena Marie at Motown Records. The packaging of Teena Marie's debut album Wild and Peaceful had not included a picture of the singer, and the image on the sleeve of this album surprised many people who had assumed she was African-American.
Neoton Família (also known as Neoton in Spain, Newton in West Germany, Neoton Familie in East Germany and Newton Family in the rest of the world) was one of the most successful Hungarian pop-bands, their carrier spanning several decades, with changes in line-up. Most active from 1977 to 1989, they released albums and singles and toured in 25 foreign countries, including Germany, France, Spain, Netherlands, Italy, Brazil, Argentina, Mexico, Canada, Cuba, Japan, India, South Korea, also producing many of the best-known hits in the country. From 1979 to 1989 the band sold over 6 millions records in Hungary and about 1.5 millions records in other countries and takes on this indicator second place behind the famous band Omega.
Though Les Rallizes Denudes, also known as Hadaka no Rallizes, were one of the earliest and most revolutionary Japanese psychedelic rock bands, and have existed off and on through four decades, they are also one of the most obscure, barely known even in their native country. This cult of noise terrorists shrouded themselves in mystery, seldom touring and releasing very few records, usually with no discernible label. Their sound presages the later psychedelic experimental noise of Fushitsusha, High Rise, and others in the current crop more than any other Japanese psychedelic group from the late '60s…
With 1980's Borderline, Ry Cooder followed the foray into R&B and soul of his previous effort, Bop Till You Drop, but this time out with a little shot of the Southwest thrown in. At the same time, he also continues the primarily electric sound of that record. As far as his selection of material goes, Borderline may sometimes lack the surprising, esoteric charm of his earlier recordings, but there are still some terrific finds, including the Tex-Mex-flavored "The Girls from Texas," which may be the album's finest moment. Other highlights include one of John Hiatt's best, the written-to-order "The Way We Make a Broken Heart," as well as Billy "The Kid" Emerson's "Crazy 'Bout an Automobile," which Cooder had been performing live for a number of years, and the soulful Maurice & Mac treasure "Why Don't You Try Me." And while it's moments like these that help make Cooder's records special, he also takes on some better-known '50s and '60s offerings with moderate success.