The Adverts - 1978 - Crossing The Red Sea With The Adverts

The Adverts - 1978 - Crossing The Red Sea With The Adverts @ 320

The Adverts pulled the masterstroke of releasing a debut album that executed on the potential suggested by their early singles. Directly influenced by the immediate first wave, TV Smith assembled a rampaging set of strikingly simple, and strikingly effective songs for Crossing the Red Seas with the Adverts.

In fact, tracks like “Bored Teenagers” and “New Church” were even more simple than the first Sex Pistols, Damned, and Clash tunes, and just as fast, if not faster. Smith seemed determined to whittle songs down into their most Spartan form and then jack them up with powerful strikes and the energy of a young man… and he did just that.

Perhaps in contrast to the Clash and Pistols, the Adverts focused on hyper-personal issues. Jones and Strummer would often use youthful detachment as a way to describe bigger economic issues, and Rotten started at the very top by smacking around the queen herself, but Smith and crew keep their perspective very ground level. “Bored Teenagers” served as a mandate and short explanation of why the band was so jumpy. Meanwhile, “On the Roof” detailed the sort of loneliness and wanting that only young people have. The record was at once youthful and wizened. these guys were young, but they were smart enough to have a perspective that whittled the experience of young Brits down to three, two, or even one chord.

Mention needs to also be given to Gaye Advert on bass. The British punk scene did have some standout female musicians- the Slits, Raincoats, and X-Ray Spex all come to mind. Still, Gaye Advert was notable both for her amazing musicianship – the driving slam of the Adverts owes a huge debt to her rumbling, but sprinting bass- but also for making herself known and respected in the male dominated scene. That’s no easy task now and certainly it wasn’t easy then, either.

After this release, the adverts would evolve to a more post-punk sound. Still, Red Sea perhaps like no other record before it, found a band focusing on the established ideals of punk, fashioning those tools to their sharpest points possible, and striking with sheer force. (PunkNews.og)

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XTC - 1978-06-03 - Liverpool (Unofficial Release)

XTC - 1978-06-03 - Liverpool

(Unofficial Release) (Flac)

01 Radios In Motion

02 X Wires

03 Heatwave

04 Meccanik Dancing

05 I'm Bugged

06 Crowded Room

07 Atom Age

08 All Along The Watchtower

09 This Is Pop

10 Set Myself On Fire

11 Do What You Do

12 Dance Band

13 Science Friction

14 Neon Shuffle

15 Fireball XL5

16 Statue Of Liberty

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Burning Spear - 1978-02-14 - Trelawney Beach, JA (Unofficial Release)

 Burning Spear - 1978-02-14 - Trelawney Beach, JA (Unofficial Release) (Flac)

On February 14, 1978, roots reggae legend Burning Spear (Winston Rodney) delivered a historic performance at Trelawny Beach, Jamaica, as part of the Dry & Heavy era. This concert coincided with a wave of iconic Island Records releases and featured him alongside other monumental artists like Peter Tosh. 1978 was a breakthrough year for Winston Rodney's solo career as Burning Spear. Following the release of the poetic roots albums Marcus Garvey (1975) and Man in the Hills (1976), his sound was expanding into a more revolutionary, "Social Living" era. The Trelawny Beach performance captured the raw energy and Rastafarian spirituality that defined this critical transitional period in his discography. The Trelawny Beach gig and the broader 1978 Dry & Heavy touring period are celebrated by reggae historians as the peak of roots-era live performances. Archival recordings from this concert tour are highly sought after by fans.

1.Marcus Garvey
2.Slavery Days
3.Live Good
4.The Sun
5.Throw Down Your Arms
6.This Race

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1978 - Phil Pratt - Star Wars Dub (2016)

1978 - Phil Pratt - Star Wars Dub (2016) (Flac)

Phil Pratt, whose full name is George Phillips Pratt, was a significant figure in the Jamaican music industry, particularly known for his contributions as a record producer, singer, and songwriter.

Phil Pratt started his career as a singer in the 1960s and later transitioned into producing and songwriting. He worked with various artists, studios, and labels during Jamaica's golden era of reggae music in the 1960s and 1970s.

As a producer, Phil Pratt was involved in creating numerous classic reggae tracks and albums. He collaborated with artists such as Al Campbell, Dennis Brown, Horace Andy, Ken Boothe, and others, producing hits that became cornerstones of reggae music.

One of his notable productions is the album "The War Is On" featuring artists like Ken Boothe, Delroy Wilson, and others. Additionally, Pratt's work with artists like Dennis Brown on tracks such as "Money in My Pocket" and Horace Andy's "You Are My Angel" contributed significantly to the success of these artists in the reggae genre.

Phil Pratt's legacy primarily lies in his production work, which left a lasting impact on reggae music. His ability to work with various artists and his knack for creating infectious rhythms and melodies cemented his place as a respected figure in Jamaican music history.

The original Star Wars Dub album was released in 1978 on Burning Sounds and shows Phil Pratt’s amazing talent as a record producer, singer, and songwriter. This re-issue of that original album is now available on a picture disc for the first time with an insert and sleeve notes. (Shakedown Records)

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Bob Seger & The Silver Bullet Band

Stranger In Town

(1978)

 

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The 1860 Band

(1978)

 

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1978 - Captain Beefheart - Shiny Beast (Bat Chain Puller)

1978 - Captain Beefheart - Shiny Beast (Bat Chain Puller) (Flac)

So titled because the original album, simply titled Bat Chain Puller, had to be ditched and rerecorded after a legal tuzzle involving Frank Zappa's manager, Shiny Beast turned out to be manna from heaven for those feeling Beefheart had lost his way on his two Mercury albums. Then again, what else could be assumed with a song titled "Tropical Hot Dog Night" that sounds like what happened when Beefheart encountered Miami disco and decided to make something of it? When it comes to singing, though, he's still the atypical growler, snarler and more of lore, conjuring up more wonderfully odd lyrical stories than can easily be measured, while the album as a whole gets steadily more and more bent. "You Know You're a Man" is at once straightforward and incredibly weird when it comes to love and gender, while other standouts include "Bat Chain Puller," a steady chugger that feels like a goofy death march, and the nervy freak of "Owed T'Alex." As for the Magic Band in general, keyboardist Eric Drew Feldman, guitarists Jeff Tepper and Richard Redus and drummer Robert Williams lay down the business with appropriately gone aplomb, as a listen to "Suction Prints" will demonstrate. (AllMusic)

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Steve Hackett

Please Don't Touch

[2005 Remaster]

(1978)

 

320

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1978 - Elvis Costello - This Year's Model - (2021 Remaster Deluxe)

1978 - Elvis Costello - This Year's Model -
 (2021 Remaster  Deluxe) (Flac)

Elvis Costello once released an album called King of America. These days, he could more appropriately be called King of Reissues. This is the third time his early masterpiece, This Year’s Model, has received the reissue treatment, and if the previously unreleased tracks and B-sides didn’t tempt you on Rykodisc’s or Rhino’s repackages, Hip-O/UMe is here to up the ante.

The original album has now been tricked out to a two-disc Deluxe Edition set, and the 11 lean original tracks have been bulked up to include an additional 11 B-sides and 17 live tracks. That’s a bounty of vintage Costello, and at slightly more than two and a half hours, it offers as complete a view of the Angry Young Man, circa 1978, as you could possibly want.

The original This Year’s Model, included here on the first half of Disc 1, is brilliant, a snarky and raging slab of intemperate rock ‘n’ roll, and it sounds as fresh and vital today as it did 30 years ago. Nobody had delivered caustic one-liners like this since Dylan, and, with the debut of The Attractions, Costello had found the manic band to propel his claustrophobic, paranoid screeds. “I don’t want to kiss you/ I don’t want to touch,” he almost whispers at the start of the album, and when The Attractions detonate in all their ragged glory behind him we’re already miles removed from the polite country rock of Clover, Costello’s backing band on his 1977 debut My Aim Is True.

It’s the moment when New Wave found its frontman. And it lurches along that way for 35 minutes, barely in control, the irresistible propulsion of Steve Nieve’s careening keyboards matched by Costello’s acerbic wit. If the Angry Young Man isn’t angry about everything, his vision is still broad enough to draw within his crosshairs the advertising industry, “It” girls, fascism, George Orwell, radio narrowcasting and his own withering self. “Sometimes I almost feel just like a human being,” he snarls, and alienation never sounded so bracing. It’s a wonderful record.

The B-sides have been released in various configurations over the years, but there isn’t much of a drop off in quality between “(I Don’t Want To Go To) Chelsea” and “Big Tears” and the official album tracks. In 1978, Costello was writing great songs at a furious pace, and the brilliance is marred only by a couple of unnecessary demos that would appear as finished songs on Costello’s next album, Armed Forces. The live disc, taken from a Feb. 1978 show at Washington D.C.’s Warner Theater, is good, but not as good as the widely available El Macombo show from the same period.

And therein lies the dilemma. Longtime Costello fans, the target audience for these reissue projects, probably already own most of this music. But curious newcomers, who typically won’t shell out for a 2-disc set, could hardly do better. Elvis Costello has produced a lot of great music over a lot of different years, but the 1978 model was a particularly spectacular one.

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Crazy Cavan & The Rhythm'Rockers

Live at the Rainbow

(1978)

 

320

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Rubén Blades & Willie Colón

Siembra

(1978)

 

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1978 - Buzzcocks - Love Bites (Special Edition 2010)

1978 - Buzzcocks - Love Bites (Special Edition 2010) Flac

1978 was an enormously productive year for the Buzzcocks. It not only saw the release of their exemplary debut album, Another Music In A Different Kitchen, but also their second, Love Bites. In addition, they issued five non-LP singles. An unbelievable pace, and one no band in their right mind would have attempted. But in the first flush of British punk, it seemed like there was no tomorrow, everything had to be done right now.

Love Bites (Special Edition) is Mute Records’ second offering in their stellar Buzzcocks reissue program. One of the great aspects of this series is the opportunity it affords us to reevaluate the albums in context of the times. Besides the original 11 songs, the set includes the two contemporary singles, “Love You More” and “Promises.” Additionally, there are seven tracks from the legendary John Peel Sessions, 13 demos, and a ten-song set recorded live at Manchester’s Free Trade Hall in July of ‘78.

Love Bites has been unfairly viewed as the least of the original trio of albums. I must confess that I once held this opinion as well. Listening to it freshly though, and with the attendant singles, I feel that Love Bites is a classic in its own right. The fact that the band had progressed markedly from Another Music may be a reason it has been dismissed. But any record that includes a single as perfect as “Ever Fallen In Love” deserves a second look.

Love Bites opens with some brilliant guitar work on “Real World.”  The pure-pop brilliance of “Ever Fallen In Love” follows, and then the band’s more aggressive side is showcased. “Operators Manual” and “Just Lust” are prime examples of the Buzzcock’s patented punk hybrid — there was no other group around at the time who could have penned these tunes.

Side two of the original LP was nearly flawless. “Walking Distance,” “Nothing Left,” and “ESP” are simply amazing songs. For the closer, the group looked back at the way they ended Another Music, with “Moving Away From The Pulsebeat.” It was unlike anything that had preceded it, and Love Bites’ “Late For The Train” is a similar concoction. The nearly six-minute instrumental is credited to the entire group, and is intoxicating.

The seven John Peel Sessions recordings are excellent, with the band live in the studio playing songs from the album. But it is the live Free Trade Hall material (all of it previously unreleased) that should get Buzzcocks fans most excited. There was something about playing in front of an audience that got this group fired up. They certainly were at a peak that night, and the crowd definitely got their money’s worth.

In hindsight, Love Bites is the most underrated album in the Buzzcocks' canon. It stands as a truly brilliant record. And there was more to come. Another classic would follow, just a few months later, called A Different Kind Of Tension. (Blogcritics)

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Benny Golson

 I'm Always Dancin' to the Music

(1978)

 

320

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Gruppo Sportivo

Back To 78

(1978)

 

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Bruce Springsteen - Darkness at the Edge of Town + The Promise + Darkness Tour

 Bruce Springsteen - 1978 Darkness On The Edge Of Town @320

Bruce Springsteen - The Promise (2010) @320

Bruce Springsteen - 1978 -
The Darkness Tour '78 (2023) @320

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Talking Heads - 1978 - More Songs About Buildings and Food (Deluxe Version)

Talking Heads - 1978 - More Songs About Buildings and Food (Deluxe Version) @320

The title of Talking Heads' second album, More Songs About Buildings and Food, slyly addressed the sophomore record syndrome, in which songs not used on a first LP are mixed with hastily written new material. If the band's sound seems more conventional, the reason simply may be that one had encountered the odd song structures, staccato rhythms, strained vocals, and impressionistic lyrics once before. Another was that new co-producer Brian Eno brought a musical unity that tied the album together, especially in terms of the rhythm section, the sequencing, the pacing, and the mixing. Where Talking Heads had largely been about David Byrne's voice and words, Eno moved the emphasis to the bass-and-drums team of Tina Weymouth and Chris Frantz; all the songs were danceable, and there were only short breaks between them. Byrne held his own, however, and he continued to explore the eccentric, if not demented persona first heard on 77, whether he was adding to his observations on boys and girls or turning his "Psycho Killer" into an artist in "Artists Only." Through the first nine tracks, More Songs was the successor to 77, which would not have earned it landmark status or made it the commercial breakthrough it became. It was the last two songs that pushed the album over those hurdles. First there was an inspired cover of Al Green's "Take Me to the River"; released as a single, it made the Top 40 and pushed the album to gold-record status. Second was the album closer, "The Big Country," Byrne's country-tinged reflection on flying over middle America; it crystallized his artist-vs.-ordinary people perspective in unusually direct and dismissive terms, turning the old Chuck Berry patriotic travelogue theme of rock & roll on its head and employing a great hook in the process. (AllMusic)

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Mink DeVille

Return To Magenta

(1978)

 

320

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Klaatu

Sir Army Suit

(1978)

 

 

Active for 2 months 320

 

 

 

 

 

Enjoy them!!

The Rutles

The Savage Young Rutles

(1978)

 

 

Active for 2 months 320

 

 

 

 

 

Enjoy them!!