Jun 08

The Beach Boys – L.A. (Light Album) (1979/2015)
FLAC (tracks) 24-bit/192 kHz | Time – 41:18 minutes | 1,66 GB | Genre: Pop
Studio Master, Official Digital Download – Source: HDTracks | Artwork: Front cover | © Brother Records

L.A. (Light Album) is the 23rd studio album by The Beach Boys, released on March 19, 1979. Produced by Bruce Johnston, James William Guercio and the band itself, the album was The Beach Boys’ first on CBS Records, and the first to feature contributions from Johnston since his departure from the band in 1972. Johnston was brought in when it became clear that the ailing Brian Wilson was in no fit state to produce the album, and has remained in the band ever since.

The Beach Boys’ last album of the ’70s, L.A. (Light Album), leads off with “Good Timin’,” a mid-tempo number with excellent harmonies and a charming laid-back vibe. Unfortunately, there’s nothing else of that caliber here (the song actually dated from 1974), and the Beach Boys ended the decade by releasing the worst album of their career. True, there are a few solid spots for Carl and Dennis Wilson, including the quasi-duet “Baby Blue” and several songs originally intended for Dennis’ unfinished second solo album, Bamboo. But songs like Al Jardine’s “Lady Lynda” (a tribute to his wife), Mike Love’s “Sumahama” (a Japanese fantasy), and Brian Wilson’s bizarre run through one of his favorite nursery rhymes (“Shortenin’ Bread”) would never have made it onto vinyl five years before, much less ten. The real shock for fans, however, comes at the beginning of side two, with a reworked version of “Here Comes the Night” (originally on 1967’s Wild Honey). Easily the most idiosyncratic production ever attempted by the group, “Here Comes the Night” tried to get the Beach Boys onto the charts by latching onto the already fading disco movement — if the Bee Gees could do it, why couldn’t they? — with an 11-minute disco single complete with thumping beat and a few digital effects. Though the single never charted, the production (by Bruce Johnston and longtime West Coast producer Curt Becher) was surprisingly well done. And the group’s excellent harmonies and Carl’s over-the-top vocal made “Here Comes the Night” a natural for disco audiences. Besides the occasional pleasing eccentricity, however, L.A. (Light Album) was yet another oddball attempt to push the Beach Boys into the contemporary mainstream despite their many songwriting and production flaws. ~~ AllMusic Review by John Bush

1 Good Timin’ 2:10
2 Lady Lynda 3:58
3 Full Sail 3:28
4 Angel Come Home 3:54
5 Love Surrounds Me 3:37
6 Sumahama 4:28
7 Here Comes The Night 10:57
8 Baby Blue 3:21
9 Goin’ South 3:14
10 Shortenin’ Bread 2:48

Mike Love – lead, harmony and backing vocals, orchestral arrangements
Brian Wilson – harmony and backing vocals on “Angel Come Home”, piano
Carl Wilson – lead, harmony and backing vocals, guitar
Al Jardine – lead, harmony and backing vocals, Guitar.
Dennis Wilson – lead, harmony and backing vocals, drums, percussion
Bruce Johnston – harmony and backing vocals, vocal arrangements

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Jun 08

The Beach Boys – Keepin’ The Summer Alive (1980/2015)
FLAC (tracks) 24-bit/192 kHz | Time – 33:12 minutes | 1,29 GB | Genre: Pop
Studio Master, Official Digital Download – Source: HDTracks | Artwork: Front cover | © Capitol Records

Keepin’ The Summer Alive, released in 1980, was lushly produced by Bruce Johnston after an ill-fated attempt to have Brian Wilson helm the album. Featuring string and horn sections and many contributing musicians, among them Joe Walsh on guitar on the title track, this is the last Beach Boys album issued before the death of Dennis Wilson in 1983. The drummer refused to participate in the recording of Keepin’ The Summer Alive and only appears on one old track from 1972.

By the end of the ’70s, the Beach Boys were turning into a novelty act with their live shows and spewing forth easily forgettable records. One would have hoped that with the emergence of a new decade the group would have adapted a fresh outlook and returned to its former levels of creativity. They did adapt a new way of looking at things, but it just wasn’t the right one. Keepin’ the Summer Alive isn’t just a low point of the band’s career, it is the low point. Ripe with mindless throwaways and lifeless filler, Keepin’ the Summer Alive is the sound of a group earnestly trying to hang on to the last fibers of popularity it accumulated during the mid-’70s. A mindless, predictable rendition of “School Days” does nothing to pick things up and is easily forgettable, as is most of the record. The two exceptions to the rule reside in the title track and the closing “Endless Harmony.” “Endless” could have been a hauntingly beautiful piece had they not tacked on the last minute of the song, where they decided it was a good idea to thank America for letting them tour her majestic plains. It’s hard to believe this album was recorded by the same group that gave the world such brilliance almost 15 years prior with Pet Sounds. Avoid this one at all costs — unless you are looking to increase your ironic-quotient index. ~~AllMusic Review by Rob Theakston

1 Keepin’ The Summer Alive 3:41
2 Oh Darlin’ 3:52
3 Some Of Your Love 2:34
4 Livin’ With A Heartache 4:03
5 School Day (Ring! Ring! Goes The Bell) 2:50
6 Goin’ On 3:02
7 Sunshine 2:50
8 When Girls Get Together 3:30
9 Santa Ana Winds 3:12
10 Endless Harmony 3:07

Brian Wilson – lead, harmony and backing vocals, piano, keyboards, synthesizer
Carl Wilson – lead, harmony and backing vocals, guitar
Al Jardine – lead, harmony and backing vocals, guitar, spoken word introduction on “Santa Ana Winds”
Mike Love – lead, harmony and backing vocals
Bruce Johnston – lead, harmony, and backing vocals, keyboard, production
Dennis Wilson – drums and percussion on “Endless Harmony”

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Jun 08

The Beach Boys – M.I.U. Album (1978/2015) 
FLAC (tracks) 24-bit/192 kHz | Time – 32:26 minutes | 1,16 GB | Genre: Pop
Studio Master, Official Digital Download  – Source: HDTracks | Artwork: Front cover | © Capitol Records

Released in 1978, this Beach Boys album is named for the Maharishi International University in Fairfield, Iowa where it was recorded, a move that caused great turmoil within the band. Neither Dennis nor Carl Wilson approved of the decision, prompted by Mike Love’s adherence to Transcendental Meditation. As a result, only Love, Al Jardine and Brian Wilson were involved in any major way. The single Come Go With Me, re-released off a compilation in 1981, broke into the top 20 the second time around.

M.I.U. Album completes a kind of informal trilogy for the Beach Boys — a cycle begun by Brian Wilson’s widely ballyhooed, confusing and ultimately some-what botched return to an active role inside the group with 15 Big Ones in 1976. The new record has little of the derivative, heavy-handed rock & roll revisionism that characterized 15 Big Ones and even less of the murk eccentricity of The Beach Boys Love You, the middle LP. Instead, it’s a resolutely sunny retrospective: a carefully orchestrated return to the style, if not the scope, of the band’s classic mid-Sixties material. Because of its deliberately small scale, M.I.U. Album is much less dramatically flawed than either of its predecessors. But, largely for the same reason, it’s also the least substantial, and the least interesting, of the three.
In fact, this record would be a trifle — close to a throwaway — if the Beach Boys weren’t the Beach Boys and if Brian Wilson weren’t Brian Wilson. That his big comeback turned out to be such a debacle probably isn’t entirely his fault — the surprise was that he chose to return at all. In his absence, the group scored artistically really only once, with 1973’s underrated Holland. They then went on to become nothing more or less than a slick, well-oiled nostalgia unit. Poor, befuddled Brian, stumbling back onto the stage, could only mess up the gears.
Though 15 Big Ones yielded a couple of hit singles, it wasn’t much of an aesthetic success. Most of the drama seemed to have taken place in the studio before anything actually got put on vinyl, and the result was a stagy, self-conscious, oddly lifeless work. Musically, the songs lacked punch, and Brian’s reliance on other people’s material suggested a man far more insecure about his own abilities than the record’s attendant hype would indicate.
The Beach Boys Love You, on the other hand, was completely Brian Wilson’s album: he wrote every song (three in collaboration), and the dense, quirkily mocking vision was all his. With the exception of the great “Don’t Worry Baby,” Brian had never really been able to translate the brooding, reclusive side of his character successfully into pop terms. His private, confessional songs were eccentrically convincing without being particularly moving — they remained claustrophobic, even somewhat trite. (Curiously, it’s on the joyous early rockers that his personality is most vivid. Our knowledge of the anxiety behind their extroverted hedonism gives them, in retrospect, an added depth.)
The Beach Boys Love You was a monumental self-indulgence in Brian’s most bizarre, least commercial vein. It undercut expectations at every turn with a dark, funny absurdity (“Johnny Carson,” for instance). The response, however, was less than ecstatic — the critical reaction, as I recall it, a sort of protracted “Eh?” And now, as the group returns to a safe, tried-and-true, earlier style, Brian seems to be getting shunted aside again: on the new LP, he’s listed only as “executive producer,” sings very little and wrote just two of the twelve songs on his own. (The Beach Boys Love You was dedicated by the band to “Brian whom we love with all our hearts,” which sounds like nothing so much as a polite way of saying: “We know he’s a nut, but don’t blame us.”)
With Brian Wilson, for all practical purposes, exiled back to the sandbox again, M.I.U. Album seems contrived and artificial right from the start. The tracks strive to recapture the dreamy, adolescent innocence of the Beach Boys’ earliest hits, and fail not so much because the concepts are dated but because the group can’t infuse the new material with the same sense of grandeur that made the old songs such archetypal triumphs. Cuts like “Hey Little Tomboy” and “Wontcha Come Out Tonight” (the titles alone tip you off) are tightly crafted, as always, but minor: mere formal exercises in a tired genre.
There’s a kind of forced spiritual starvation at work here. We know that this band has been through more — and has more to say — than these well-made, insistently simplistic miniatures allow them to express. As if to drive the recidivist point home, “Kona Coast” includes the first reference to surfing in a Beach Boys song in God knows how many years. But it’s just a gesture, and the tune itself, like “Belles of Paris” on side two, is no more than a travelogue (“Wontcha come back to Hawaii”), ready-made for an airline commercial. The mention of disco on “She’s Got Rhythm” is even more jarring: an anachronism intruding upon an anachronism.
Even when the Beach Boys reach for an interesting mood, they can’t quite sustain it. Clearly, a song like “March Point of Our Love” is intended as a playful conceit, but the joke, in this case, is so clunky that the group can’t do much with it except repeat the title line over and over again. Of the two covers, “Peggy Sue,” though it’s a drearily obvious choice, comes off fairly well (there’s a nicely martial percussive effect in bit). But the other, “Come Go with Me,” is cast from the same leaden mold as 15 Big Ones’ “Rock and Roll Music,” which is to say it’s like slow death in sugar frosting.Throughout, the lackluster playing and singing has a melancholy edge, almost as if the Beach Boys are fully aware that they’ve outgrown this kind of teen fantasy, but can’t think of anyplace else to go.
More than any band in the Sixties pantheon, the Beach Boys exemplify the curious duality of rock & roll: that it’s a genre more of and about the immediate moment than any other art form, but that it also (at its best) freezes that moment into something timeless and universal. Bob Dylan, the Beatles and the Rolling Stones knew this, yet the quality of their vision was such that it constantly left them open to fresh revelations. Their epiphanies invariably raised new questions even as they laid old ones to rest.
But the Beach Boys’ vision was always static, and their protagonists curiously passive spokesmen: a state of mind was being celebrated, not any particular action. They invented an era too well — so well, in fact, that it effectively prevented them from expanding on what they’d already done. And if, as individuals, they sometimes progressed, the epic spaciousness of their classic Sixties work still had to be — and was — reduced. The biggest shortcoming of the Beach Boys’ Seventies output, even at its most successful, is that the horizon’s always so small. M.I.U. Album, a sad little footnote to their glory years, only suggests that the notion of an “endless summer” has a darker shade of meaning than they, or we, could have realized at the time. –Tom Carson, RollingStone, November 16, 1978

1 She’s Got Rhythm 2:26
2 Come Go With Me 2:06
3 Hey Little Tomboy 2:24
4 Kona Coast 2:31
5 Peggy Sue 2:14
6 Wontcha Come Out Tonight 2:29
7 Sweet Sunday Kinda Love 2:41
8 Belles Of Paris 2:26
9 Pitter-Patter 3:13
10 My Diane 2:36
11 Match Point Of Our Love 3:29
12 Winds Of Change 3:13


Alan Jardine – vocals, guitar, bass guitar, vocal arrangements
Mike Love – vocals
Carl Wilson – vocals, guitar
Brian Wilson – vocals, piano, electric piano, vocal arrangements
Dennis Wilson – vocals, drums
Ron Altbach – piano, electric piano, organ, percussion, synthesizer, horns
Gary Griffin – piano, electric piano, organ, synthesizer, string arrangements
Ed Carter – guitar, bass guitar
Billy Hinsche – guitar
Mike Kowalski – drums, percussion
Chris Midaugh – steel pedal guitar
Michael Andreas – saxophone, horn arrangements
Charles Lloyd, Rod Novak, Charlie McCarthy, Bob Williams – saxophone
Lance Buller, John Foss – trumpet
Roberleigh Barnhardt – string arrangements

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Jun 08

The Beach Boys – Love You (1977/2015)
FLAC (tracks) 24-bit/192 kHz | Time – 34:28 minutes | 1,31 GB | Genre: Pop
Studio Master, Official Digital Download  – Source: HDTracks | Artwork: Front cover | © Capitol Records

Love You (also known as The Beach Boys Love You) is the 21st studio album by American rock band the Beach Boys, released on April 11, 1977. Originally conceived as a Brian Wilson solo album entitled Brian Loves You, the album is almost entirely written and performed by Wilson, with the other band members mainly serving as additional lead vocalists. Peaking at number 53 on US record charts, the album was received with a sharp divide between fans and critics. One single was issued from the album: “Honkin’ Down the Highway” backed with “Solar System”.

Penned during a process of mental and drug rehabilitation for Wilson, Love You has been praised by reviewers for the album’s honest, unpretentious lyrics, and has been described as a portrait into his sense of self in 1977. Heavily reliant on 1970s analog synthesizers, the album has been recognized as an early work of synthpop, a forerunner to new wave experiments, and an idiosyncratic and creative oddity in the Beach Boys’ canon. After being asked where somebody should begin with the Beach Boys discography, Wilson answered: “Pet Sounds first, then listen to The Beach Boys Love You.” A follow-up album, Adult Child, was completed by the group, but left unreleased.

Judging by the title and the quilted design on the cover, Love You would appear to be an album of ballads or romantic tracks, maybe ’70s remakes of “Surfer Girl” or “In My Room.” But from the brutal synthesizer stabs and Carl Wilson’s throaty yell, “Harrahhh!” on the opening track, it’s clear this is no ordinary Beach Boys LP. Besides several hard-charging pop songs (“Honkin’ Down the Highway,” “Roller Skating Child,” “Let Us Go On This Way”), there are a couple of baffling but ultimately endearing tracks whose titles (“Johnny Carson,” “Solar System,” “Ding Dang”) are good indicators of the amateurish lyrics and subject matter. What makes Love You one of the best Beach Boys LPs of the 1970s, though, is the return to an uncommonly Brian Wilson sense of romantic naïveté and “adult child” wonder at the world. “The Night Was So Young,” “I’ll Bet He’s Nice,” and “Let’s Put Our Hearts Together” form a suite during the middle of side two that rivals Pet Sounds for breadth of emotional attachment. Originally slated to be a Brian Wilson solo album (titled Brian Loves You), it shows the aging genius with many of his pop smarts intact, his wildly eccentric lifestyle tweaking his sense of songcraft in an intriguing direction. ~~AllMusic Review by John Bush

1. Let Us Go On This Way 1:58
2. Roller Skating Child 2:16
3. Mona 2:05
4. Johnny Carson 2:46
5. Good Time 2:51
6. Honkin’ Down The Highway 2:43
7. Ding Dang 0:57
8. Solar System 2:49
9. The Night Was So Young 2:15
10. I’ll Bet He’s Nice 2:35
11. Let’s Put Our Hearts Together 2:13
12. I Wanna Pick You Up 2:38
13. Airplane 3:05
14. Love Is A Woman 2:57

Al Jardine – vocals
Mike Love – vocals
Brian Wilson – vocals, keyboards, synthesizers, drums
Carl Wilson – vocals
Dennis Wilson – vocals

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Jun 08

The Beach Boys – Carl and the Passions ‘So Tough’ (1972/2015)
FLAC (tracks) 24-bit/192 kHz | Time – 34:31 minutes | 1,12 GB | Genre: Pop
Studio Master, Official Digital Download – Source: HDTracks | Artwork: Front cover | © Capitol Records

Taking its title from Carl Wilson’s teenage band, Carl and the Passions – “So Tough” originally included Pet Sounds as a bonus when it was released in 1972. The Beach Boys’ personnel was in flux at this point, with outside members coming and going and minimal input from Brian Wilson. Nevertheless, the album hit number 25 in the UK and number 50 in the US.

With the addition of drummer Ricky Fataar and guitarist Blondie Chaplin to the lineup, the Beach Boys entered a period of surprisingly earthy arrangements, obviously based on what they’d been hearing on cooler outlets like FM radio and AOR. Kicking off with the rough Carl Wilson rocker “You Need a Mess of Help to Stand Alone,” Carl and the Passions – So Tough cycles through all manner of roots-based rock; Fataar and Chaplin lead the band through a bluesy number (“Here She Comes”) and a country song complete with steel guitar (“Hold On Dear Brother”), while Mike Love exercises his spiritual side on the gospel-inspired “He Came Down.” The songwriting was neither as solid as 1970’s Sunflower nor as idiosyncratic as 1971’s Surf’s Up though, and the few fans left from the ’60s were undoubtedly turned off — if not by the weak songs, then certainly by the muddy sound. Still, there are a few moments of beauty: Brian’s “Marcella” is a mid-tempo gem, and side two ends with three excellent ballads, “All This Is That,” “Make It Good,” and “Cuddle Up” (the latter two featuring heart-wrenching performances by Dennis). –AllMusic Review by John Bush

1 You Need A Mess Of Help To Stand Alone 3:26
2 Here She Comes 5:08
3 He Come Down 4:40
4 Marcella 3:52
5 Hold On Dear Brother 4:42
6 Make It Good 2:34
7 All This Is That 3:57
8 Cuddle Up 5:42

Blondie Chaplin – vocals
Ricky Fataar – vocals; drums
Alan Jardine – vocals
Bruce Johnston – vocals on “Marcella”
Mike Love – vocals
Brian Wilson – guitar, keyboards, vocals
Carl Wilson – guitar, keyboards, vocals
Dennis Wilson – vocals

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Jun 08

The Beach Boys – Live In Chicago 1965 (2015)
FLAC (tracks) 24-bit/192 kHz | Time – 01:47:39  minutes | 1,9 GB | Genre: Pop
Studio Master, Official Digital Download – Source: HDTracks | Artwork: Front cover | © Capitol Records

“Live In Chicago 1965” is an album of two previously unreleased recordings of The Beach Boys playing at the Arie Crown Theater in Chicago on March 26 and 27, 1965.

Over the past several years since copyright laws were changed in the EU, it has become a tradition at the end of the year for record labels to release “copyright extension” releases featuring unreleased material from their biggest artists to protect their interests in said material.  Hot off the heels of a compilation of Motown unreleased material from 1965 comes another release in this vein from a group who has made this a yearly tradition:  The Beach Boys.  This last Friday, Capitol put up quietly (as is the norm with these releases) on all digital download services a set of two unreleased concerts: Live In Chicago 1965.

Recorded on March 26 and 27 at the Arie Crown Theater in Chicago, this set presents two full concerts.  The Beach Boys sang many of their biggest hits up to that point in time and also threw in some covers like “Monster Mash.”  The two concerts feature a nearly identical tracklisting just with some shuffled songs and the second concert being slightly longer.  As a matter of fact, the song lineup is fairly similar to the Beach Boys Concert album released in 1964, which was expanded with one of last year’s copyright extension releases: Live in Sacramento 1964.  Also in this new release are four rehearsal takes for the concerts.

Three studio albums were released by the Beach Boys in 1965.  The final one of those, Beach Boys’ Party! was just expanded to two CDs and 81 tracks a little under a month ago as a physical release.  The Beach Boys Today! and Summer Days (And Summer Nights!!) have yet to see any unreleased material freed from the vaults as of yet in 2015.  Last year, Capitol put out a second “copyright extension” release for studio outtakes (Keep An Eye on Summer), so there is the chance of something else appearing before the New Year.


Disc 1 – Live at the Arie Crown Theater, Chicago – March 26, 1965
1 Intro
2 Do You Wanna Dance
3 Little Honda
4 Surfin’ U.S.A.
5 Don’t Worry Baby
6 Papa-Oom-Mow-Mow
7 Monster Mash
8 Louie Louie
9 Hawaii
10 Surfer Girl
11 Runaway
12 Shut Down
13 Wendy
14 Please Let Me Wonder
15 Fun Fun Fun
16 I Get Around
17 Johnny B. Goode

Disc 2 – Live at the Arie Crown Theater, Chicago – March 27, 1965
1 Intro
2 Do You Wanna Dance
3 Hawaii
4 Please Let Me Wonder
5 Surfer Girl
6 Runaway
7 Louie Louie
8 Fun Fun Fun
9 409
10 Shut Down
11 Monster Mash
12 Surfin’ U.S.A.
13 Little Honda
14 Wendy
15 In My Room
16 Don’t Worry Baby
17 I Get Around
18 Johnny B. Goode
19 Papa-Oom-Mow-Mow
Disc 3 – Rehearsals
1 Louie Louie
2 Little Honda
3 Surfin’ USA
4 Wendy

Mike Love – vocals
Al Jardine – vocals, rhythm guitar
Brian Wilson – vocals, bass guitar
Carl Wilson – vocals, lead guitar
Dennis Wilson – vocals, drums

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Jun 04

Raydio – Rock On (Expanded) (1979/2016)
FLAC (tracks) 24-bit/192 kHz | Time – 45:07 minutes | 1,63 GB | Genre: R&B, Pop
Studio Master, Official Digital Download – Source: HDTracks | Front Cover | © Arista/Legacy
Recorded: 1978-1979, Raydio Studios; Mastered at A&M Studios

Ray Parker Jr.’s group Raydio released this album in 1979. The expanded edition features 2 bonus tracks.

To be taken seriously as an R&B group and to shake the stigma of their nursery rhyme hit “Jack and Jill” (their debut single), Raydio answers the call on this album with two Billboard R&B singles. The first is “You Can’t Change That,” a laid-back yet very danceable track; it features the vocals of the mild-tempered Ray Parker, Jr. and the distinctive tenor of Arnell Carmichael. The two alternate between the verses, and Carmichael ad libs in the vamp. “You Can’t Change That” resided on the R&B charts for 19 weeks, peaking at number three; it also reached the number nine position on the pop charts. The follow-up single, “More Than One Way to Love a Woman,” was a midtempo track that made it to the 25th spot on the R&B charts after a 13-week run. ~~AllMusic Review by Craig Lytle

1. What You Waitin’ For 04:12
2. Hot Stuff 05:16
3. You Can’t Change That 03:23
4. Rock On 05:06
5. More Than One Way to Love a Woman 05:44
6. When You’re In Need of Love 06:15
7. Goin’ Thru School and Love 04:17
8. Honey I’m a Star 03:41
9. More Than One Way to Love a Woman (7″ Version)    03:32
10. Rock On (7″ Version)    03:56

Ray Parker Jr. – vocals, guitars, bass, keyboards, synthesizers
Arnell Carmichael – vocals
Jack Ashford – percussion
Norma Jean Bell, Horatio Gordon– saxophone
Ollie E. Brown – drums, percussion, vocals
Charles Fearing – guitars
Ken Peterson – trumpet, vocals
Sylvester Rivers – piano
Larry Tolbert – drums, percussion
Cheryl Brown, Darren Carmichael, Valorie Jones, Francis Pearlman – additional vocals

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Jun 04

Raydio – Raydio (Expanded) (1978/2016)
FLAC (tracks) 24-bit/192 kHz | Time – 47:21 minutes | 1,76 GB | Genre: R&B, Pop
Studio Master, Official Digital Download – Source: HDTracks | Front Cover | © Arista/Legacy
Recorded: 1977–1978, Raydio Studios; Mastered at A&M Studios

Raydio is the self-titled album by American Funk band, Raydio. Ray Parker, Jr., the founder of the group, composed all of the songs on the album.

This was the first of three albums from Raydio. On this album, the group consisted of Vincent Bonham, Jerry Knight, Ray Parker, Jr. and Arnell Carmichael. Formed and fronted by veteran session guitarist Parker, this album produced three Billboard R&B chart singles. Beginning with the Top Ten single “Jack and Jill,” Raydio enjoyed national exposure with this single that peaked at number five after 25 weeks on the charts, and it reached the number eight spot on the pop charts, exceeding sales of 500,000. The less popular releases “Is This a Love Thing” and “Honey I’m Rich” respectively reached the 20th and 43th positions on the Billboard R&B charts. ~~AllMusic Review by Craig Lytle

1. Is This a Love Thing 06:14
2. You Need This To (To Satisfy That) 04:36
3. Betcha Can’t Love Me Just Once 03:54
4. Honey I’m Rich 03:12
5. Jack and Jill 04:35
6. Me 05:00
7. Let’s Go All the Way 03:28
8. Get Down 04:25
9. Is This a Love Thing (7″ Version)    03:47
10. Jack and Jill (Back Up the Hill) (1982 Version)    08:25

Ray Parker Jr. – guitars, vocals, recording engineer, mixing
Vincent Bonham – vocals
Arnell Carmichael – vocals
Jerry Knight – bass, vocals
Jack Ashford – tambourine
Ollie E. Brown – drums, percussion
Charles Fearing – guitars
Horatio Gordon – saxophone
Ken Peterson – trumpet
Melvin “Wah Wah” Ragin – guitars, voice box
Sylvester Rivers – piano
Sylvia Duckworth, Valerie Jones, Francine Pearlman, Rochelle Runnels, Janice Williams – background vocals

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Jun 02

Julio Iglesias – Mexico (2015)
FLAC (tracks) 24-bit/44,1 kHz | Time – 48:53 minutes | 606 MB | Genre: Latin, Pop
Studio Master, Official Digital Download – Source: HDTracks | Front Cover | @ Sony Music Latin

Julio Iglesias, one of the best selling artists of all time with millions of records sold worldwide, presents this very special collection that pays tribute to great Mexican composers. Mexico is his first Spanish recording in twelve years.

It’s been over a decade since Julio Iglesias last released a Spanish-language album with “Divorcio” in 2003. Now, 12 years later, the romantic crooner from Spain will release “Mexico,” his new studio album set for release on September 25th.

In this album, which includes 14 tracks with Mexican flavor, Iglesias pays homage to Mexico’s greatest songwriters. “This record is dedicated to the outstanding composers who, generation after generation, filled our lives with love, nostalgia, memories and moments. After all these years, they remain alive in our souls. With all my respect and profound admiration,” he said.

This isn’t the first time that the 71-year-old GRAMMY Award-winning singer pays tribute to the country. His first album to Mexico was in 1976, following his first performance in the country, where he quickly won over the support of many.

“Mexico is a country that I love dearly. The Mexican people have given me many indelible moments in my life. I know this country as if it was my homeland, and I always carry it in my soul. Mexican music is universal, and its composers are legendary,” Mr. Iglesias said.

1 Usted 03:28
2 Jurame 04:07
3 Ella 03:46
4 Fallaste Corazon 04:01
5 Sway 03:30
6 Amaneci en Tus Brazos 03:17
7 Echame a Mi la Culpa 03:33
8 Juan Charrasqueado 03:46
9 Y Nos Dieron las Diez 04:48
10 La Media Vuelta 03:18
11 Se Me Olvido Otra Vez 03:01
12 Mexico Lindo 02:47
13 Mexico Lindo (feat. Julion Alvarez) 02:47
14 Quien Sera 02:44

Julio Iglesias – Vocals
Julión Álvarez – Featured Artist
Ramón Arcusa – Arreglos, Cuerda, String Arrangements
Carlos Cabral, Jr. – Guitar (Acoustic), Guitar (Electric)
Jorge Casas – Bajos
Yoio Cuesta – Coros
Tim Devine – Bajos, Steel Pads
José Domenech – Arreglos, Bajos, Hammond B3, Percussion, Piano, Steel Pads
Cany González – Coros
Miguel Iniesta – Guitar (Acoustic)
Bárbara Intriago – Coros
Abraham Laboriel – Bajos
Araceli Lavado – Coros
Lee Levin – Bateria
Natalia Lyans – Coros
Enrique Martinez – Accordion
Julián Navarro – Bajos, Bandoneon, Cuerda, Marimba, Steel Pads, String Arrangements
Cynthia Nilson – Coros
Clay Perry – Marimba, Steel Pads, Synthesizer
Alberto Sánchez – Percussion, Programming, Recording, Sequencers
Pepe Sanchez – Bateria
Randy Singer – Harmonica
Dan Warner – Guitar (Electric)

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Jun 02

Julio Iglesias – Non Stop (1988)
FLAC (tracks) 24-bit/44,1 kHz | Time – 38:28 minutes | 455 MB | Genre: Latin, Pop
Studio Master, Official Digital Download – Source: HDTracks | Front Cover | © Columbia

Non-Stop is a Julio Iglesias studio album released in 1988. From the album, “My Love,” a duet with Stevie Wonder, was a minor hit in the United States, reaching #80 on the Billboard Hot 100 and #14 on the Adult Contemporary chart.

1 Love Is On Our Side Again 3:59
2 I Know It’s Over 3:55
3 Never, Never, Never (Grande, Grande, Grande) 4:02
4 Ae, Ao 4:12
5 Words And Music 4:34
6 My Love Featuring Stevie Wonder 5:36
7 Every Time We Fall In Love 4:04
8 Too Many Women 4:12
9 If I Ever Needed You (I Need You Now) 3:44

Julio Iglesias – Vocals

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