Candyman is the second solo album from Steve Lukather. It was a collaboration of musicians who were for the most part also in Lukather's band Los Lobotomys. Toto familiars Simon Phillips and David Paich participated as well as David Garfield, John Pêna, Chris Trujillo, Lenny Castro, Larry Klimas, Fee Waybill, Richard Page and Paul Rodgers. Lukather recorded the album in mostly live takes with little overdubbing.
This album which has been put together to celebrate the 40th anniversary of one of the greatest rock bands on earth, and to emphisis this you just have to look at the contributing musicians. Chris Sqire (Yes), Alan White (Yes), Tony Kaye (Yes), Dweezil Zappa, Tommy Shaw (Styx), Edgar Winter, Richie Kotzen (Poison/Mr. Big), Pat Torpey (Mr Big), Tony Levin (King Crimson), Glenn Hughes (Deep Purple, HTP), Fee Waybill (The Tubes), Mike Baird (Journey), Bruce Kulick (Kiss), Bobby Kimball (Toto), Mike Porcaro (Toto) and the list goes on!!! The album features 11 classic Floyd tracks and are masterfully performed.
2001 release for guitarist Tommy Denanderos, who's past collaborators read like the 'Who Is Who' of rock, Richard Marx, Bill Champlin, Bobby Kimball, Fee Waybill, Fergie Frederiksen, Vinnie Colaiuta, Tony Franklin, Bruce Gaitsch, Steve Stevens, Glenn Hughes, Yngwie Malmsteen, Dan Reed, Joey Tempest, Max Martin, Talisman & numerous others. 'Ceremony of Innocence' was produced by Tommy Denander himself, together with numerous world famous musicians. The debut album of this brilliant All Star Pop Rock project will certainly wow all fans of this genre.
'The Wall' had a profound effect on musicians of many generations. This 2CD set finds Another Brick in the Wall; Hey You; Is There Anybody Out There; Comfortably Numb; In the Flesh; Run Like Hell , and the rest of Pink Floyd's masterpiece played by Adrian Belew, John Wetton, Rick Wakeman, Robby Krieger, Keith Emerson, Chris Squire, Geoff Downes, Elliot Easton, Steve Howe, Fee Waybill, Ian Anderson and many, many more!
Although their studio albums were often hit-and-miss affairs, the Tubes could always be counted on for a good live show during their mid-'70s heyday. In fact, they became a legend in the rock & roll world for their glitzy shows, which included half-nude women performing elaborate dance routines and a variety of characters invented by frontman Fee Waybill, like punk rocker "Johnny Bugger" and blissed-out glam rock icon "Quay Lewd."…
Produced by Al Kooper, this debut by the notorious San Francisco group is best known for the blazing anthem "White Punks on Dope." Although the Tubes' raison d'être was their shock-rock stage dynamic, Bill Spooner, Fee Waybill, and company could, on occasion, deliver some offbeat pop splendor…
After stunning the rock world with their memorable debut in 1975, the Tubes ran into trouble. Although and had fine moments, they were uneven and left many rock pundits wondering if the Tubes had anything to offer besides shock value. They got their answer with the release of , a cohesive and surprisingly thoughtful concept album. On this 1979 outing, the Tubes enlisted the services of wunderkind producer Todd Rundgren to create a concept album that skewers the television generation. The choice was a wise one - Rundgren helped the group harness their satirical bite and love of pomp-rock excess to create a sharp and engaging collection of songs. As they chronicle the life of an average joe whose life and dreams are swallowed by his television addiction, the Tubes lead the listener through a dazzling array of musical styles that include new-wave, lounge pop, reggae, and even full-throttle punk. Highlights include "Prime Time," a song that utilizes an effective combination of lounge-lizard atmosphere and new wave synthesizer textures to convey its portrait of television's seductiveness, and "Love's A Mystery (I Don't Understand)," a surprisingly straightforward ballad about romantic loss that features a truly heart-rending vocal from Fee Waybill. The group also gets a chance to show off their formidable instrumental chops on "Get-Overture," a tight instrumental that goes from atmospheric prog-rock to driving hard rock as it cleverly weaves together snippets of all the other songs' melodies. In short, proves the Tubes were more than a bunch of musical jokesters. The end result is the band's finest hour and a treat
Produced by Al Kooper, this debut by the notorious San Francisco group is best known for the blazing anthem "White Punks on Dope". The Tubes were arch satirists of popular culture whose outrageous performance-art concepts -- which swung wildly from soft-core pornography to suit-and-tie conservatism -- frequently eclipsed their elusive musical identity. The beginnings of the group originate in Phoenix, Arizona in the late '60s, where guitarist Bill Spooner, keyboardist Vince Welnick and bassist Rick Anderson formed as the Beans (alternately billing themselves as the Radar Men from Uranus). After moving to San Francisco in 1972, the Beans recruited guitarist Roger Steen and drummer Prairie Prince (from Red, White & Blues), and later became The Tubes with the addition of Michael Cotten on keyboards and former roadie Fee Waybill on lead vocals.