Richie Sambora – Undiscovered Soul (1998)

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Richard Stephen “Richie” Sambora (born July 11, 1959) is an American rock guitarist, singer, songwriter and producer, best known as the lead guitarist of the rock band Bon Jovi for 30 years. Sambora and lead singer Jon Bon Jovi formed the main songwriting unit for the band.

Richard Stephen Sambora was born on July 11, 1959 in Perth Amboy, New Jersey, the son of Joan (née Sienila), a secretary, and Adam C. Sambora, a factory foreman. Sambora is of Polish descent and was raised Catholic. He grew up in Woodbridge Township, New Jersey and attended Woodbridge High School there, graduating in 1977. He played basketball in high school, where as a sophomore, his Woodbridge High team won the 1975 Group 4 State title.

Sambora’s first instrument was the accordion which he began to play at the age of 6. He began playing the guitar at the age of 12 following the death of Jimi Hendrix in 1970. From his early days, Sambora was strongly influenced by blues and 1960s rock and roll. His most important influences were The Beatles, Eric Clapton, Jimi Hendrix, Jeff Beck, Stevie Ray Vaughan, Johnny Winter, Jimmy Page, Joe Perry, Joe Kmiecik, George Harrison, and B. B. King. He was also influenced by Spanish classical music and began a lifelong love of the Spanish guitar. Furthermore, he had stated that psychedelic soul singer Janis Joplin had a big influence on his musical style during her career in the late ’60s and early ’70s. Classical music directly inspired several of his songs, such as The Answer which was originally written on piano.[9] Sambora also plays many other instruments, such as drums, bass, saxophone, piano etc. The first time he performed on stage was at a Catholic Youth Organization dance when he was a teenager.

Undiscovered Soul is the second solo studio album from Richie Sambora the guitarist from New Jersey band Bon Jovi. The album was released on February 23, 1998 and is more experimental than his earlier release Stranger in This Town. The album was produced by Don Was.

Richie Sambora’s second solo album Undiscovered Soul is a more ambitious affair than Stranger in This Town, finding the guitarist trying on a wide variety of styles. Not all styles are fit Sambora’s bluesy hard rock foundation, but it’s interesting him to try out blues-rock, power ballads, pop/rock, arena rock and Stonesy rock, even if he’s not always successful. Sambora has a pleasantly bland voice and knows how to craft a hard rock song, even if he doesn’t always come up with a good hook. The result is a respectable journeyman album filled with competent songwriting and fine guitar playing — just the kind of record that will appeal to his fans.



1.  “Made in America” (Richie Sambora, Richard Supa) – 5:34
2.  “Hard Times Come Easy” (Sambora, Supa) – 4:34
3.  “Fallen from Graceland” (Sambora, David Bryan, Supa) – 5:39
4.  “If God Was a Woman” (Sambora, Bryan, Supa) – 4:02
5.  “All That Really Matters” (Sambora, Supa) – 4:19
6.  “You’re Not Alone” (Sambora, Thomas Marolda) – 4:19
7.  “In It for Love” (Sambora, Supa) – 4:19
8.  “Chained” 8Sambora, Marolda, Ernie White) – 3:27
9.  “Harlem Rain” (Sambora, Supa) – 5:01
10. “Who I Am” (Sambora, Marti Frederiksen) – 7:09
11.  “Downside of Love” (Sambora, Bryan, Supa) – 5:27
12.  “Undiscovered Soul” (Sambora, Supa) – 7:17



Released: February 23, 1998
Recorded: 1997/1998
Genre: Blues rock
Length: 61:02

Label – Mercury Records

Savoy Brown – Hellbound Train (1972)

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Savoy Brown, originally known as the Savoy Brown Blues Band, are an English blues rock band formed in Battersea, south west London in 1965. Part of the late 1960s blues rock movement, Savoy Brown primarily achieved success in the United States, where they promoted their albums with non-stop touring.

The band was formed by guitarist Kim Simmonds and harmonica player John O’Leary, following a chance meeting at Transat Imports record shop in Lisle Street, Soho, in 1965. The initial constant line-up adjustments were attributed to the “creative accountancy” employed by the band’s manager, Harry Simmonds, brother of Kim.

The original line-up included singer Bryce Portius, keyboardist Trevor Jeavons, bassist Ray Chappell, drummer Leo Manning and harmonica player John O’Leary (O’Leary appeared on record with the band on its initial recordings for Mike Vernon’s Purdah label). Portius was one of the first black blues musicians to be a part of a British rock band. Jeavons was replaced by Bob Hall shortly after the band’s formation and the arrival of Martin Stone on guitars. Not long after Stone’s arrival, O’Leary left the band as a consequence of a dispute with Manager Harry Simmonds. This line-up, sans O’Leary, appeared on the band’s 1967 debut album, Shake Down, a collection of blues covers.

Hellbound Train is the eighth album by the band Savoy Brown.

Comprising the same lineup as Street Corner Talking, Savoy Brown released Hellbound Train a year later. For this effort, Kim Simmonds‘ guitar theatrics are toned down a bit and the rest of the band seems to be a little less vivid and passionate with their music. The songs are still draped with Savoy Brown‘s sleek, bluesy feel, but the deep-rooted blues essence that so easily emerged from their last album doesn’t rise as high throughout Hellbound Train‘s tracks. The title cut is most definitely the strongest, with Dave Walker, Simmonds, and Paul Raymond sounding tighter than on any other song, and from a wider perspective, Andy Silvester‘s bass playing is easily Hellbound‘s most complimenting asset.

On tracks like “Lost and Lonely Child,” “Doin’ Fine,” and “If I Could See an End,” the lifeblood of the band doesn’t quite surge into the music as it did before, and the tracks become only average-sounding blues efforts. Because of Savoy Brown‘s depth of talent, this rather nonchalant approach doesn’t make Hellbound Train a “bad” album by any means — it just fails to equal the potency of its predecessor.

But there is a noticeable difference in the albums that followed this one, as the band and especially Simmonds himself was beginning to show signs of fatigue, and a significant decline in the group’s overall sound was rapidly becoming apparent.



1.  “Doin’ Fine”  (Andy Silvester, Kim Simmonds) – 2:46
2.  “Lost and Lonely Child”  (Simmonds) – 6:00
3.  “I’ll Make Everything Alright”  (Simmonds) – 3:18
4.  “Troubled by these Days and Times”  (Paul Raymond) – 5:43
5.  “If I Could See an End”  (Raymond, Simmonds) – 2:54
6.  “It’ll Make You Happy”  (Simmonds) – 3:26
7.  “Hellbound Train”  (Silvester, Simmonds) – 9:07


Savoy Brown

  • Neil Slaven – producer (for Gruggy Woof)
  • Roy Thomas Baker – engineer
  • David Anstey – artwork (cover painting and b&w gatefold comic strip)


Recorded at Trident Studios, London


Released: February 1972
Recorded: 1972
Genre: Blues Rock
Length: 33:39

Label – Decca Records

Scarlett & Black – Scarlett & Black (1988)

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Scarlett and Black were a pop duo from the UK, whose birth names were Robin Hild and Sue West. Robin Hild was previously the keyboard player for “Big Supreme”; Sue West was a former backing vocalist for Doctor and the Medics. They released a self-titled album on Virgin Records in 1987, which proved to be a minor success in the U.S., peaking at No. 107 on the Billboard Top 200 in 1988. The single “You Don’t Know” was a hit record that same year, peaking at No. 20 on the Billboard Hot 100 and appearing on the Adult Contemporary (No. 13) and Dance (No. 32 Hot Dance/Club Play, No. 41 Hot Dance Singles) charts.

10 slices of really perfect pop, 10 really well-written and sung and played pop gems. There was a #20 US single in leadoff track “They Don’t Know”, and the album sold so-so, charting at #107, and that’s it.

The song and fun followup “Let Yourself Go-Go” were released as 12″ singles, and both have good non-album B-sides but that’s it. I was hoping there would be more because the album is so good…a breath of fresh air, even in 2011. I just played the album again last night and I still feel the same way…one of THE greatest pop albums of all-time…I had to play it through all over again, start-to-finish, not just select tracks…it’s up there with pop/powerpop/Britpop/rock & roll’s best albums, from the Beatles to ABBA to Roxette to any fave band you may have, a lost classic indeed that is highly undervalued and underdiscovered.

Unable to provide a viable follow-up, Scarlett & Black remain dubbed as one-hit wonders.



1.  “You Don’t Know” – 3:42
2.  “Let Yourself Go-Go” (Written By – Pete Vale) – 3:47 
3.  “Dream Out Loud” (Written By – Pete Vale) – 4:52 
4.  “Someday” (Written By – Brian Fairweather, Mark Holden) – 4:04 
5.  “What Is Love” – 4:50 
6.  “Miracle Or Mirage” (Written By – Mark Holden) – 4:25 
7.  “Yesterday’s Gone” – 4:21 
8.  “Real Love” – 3:44 
9.  “If It’s All The Same To You” – 3:57 
10.  “City Of Dreams (The Last Frontier)” (Written By – Brian Fairweather) – 4:45
         Backing Vocals – Jane Wiedlin


Companies, etc.


Released:  1988 
Genre: Electronic, Pop
Style: Synth-pop
Length: 42:27

Label – Virgin Records

Boz Scaggs – Slow Dancer (1974)

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After first finding acclaim as a member of the Steve Miller Band, singer/songwriter Boz Scaggs went on to enjoy considerable solo success in the 1970s. Born William Royce Scaggs in Ohio on June 8, 1944, he was raised in Oklahoma and Texas, and while attending prep school in Dallas met guitarist Steve Miller. Scaggs joined Miller‘s group the Marksmen as a vocalist in 1959, and the pair later attended the University of Wisconsin together, where they played in blues bands like the Ardells and the Fabulous Knight Trains.

Slow Dancer is the sixth album by Boz Scaggs, originally released by Columbia in 1974. The album was released with a cover photo of Scaggs walking on the beach on the front and a head and shoulders shot lying on the beach. The photographs were taken by Annie Leibovitz.

Featuring his would-be-soulman sound, Slow Dancer finds Boz Scaggs straddling the apparently fine line between Van Morrison and Isaac Hayes. While Silk Degrees is often touted as Scaggs‘ best ’70s album — based largely upon the chart success of “Lowdown” — Slow Dancer features just as many catchy melodic tunes that meld a kind of boogie pub rock with an organic urban soul. Produced by Motown regular Johnny Bristol, Scaggs delivers some of his best performances on the Bristol-penned track “Pain of Love” and the Neil Young meets Marvin Gaye ballad “Sail on White Moon.”  



1.  “You Make It So Hard (To Say No)” – 3:32
2.  “Slow Dancer”  (George Daly, Scaggs) – 3:10
3.  “Angel Lady (Come Just In Time)”  (Johnny Bristol, Jim McDonough, Scaggs) – 3:28
4.  “There Is Someone Else” – 4:32
5.  “Hercules”  (Allen Toussaint) – 4:03
6.  “Pain of Love”  (Johnny Bristol) -3:10
7.  “Sail on White Moon”  (Johnny Bristol) – 3:13
8.  “Let It Happen”  (Johnny Bristol, Scaggs) – 3:18
9.  “I Got Your Number”  (Johnny Bristol, Gregory Reeves) – 3:43
10 . “Take It for Granted” – 4:19

All tracks composed by Boz Scaggs; except where indicated



  • Producer – Johnny Bristol
  • Engineer – Greg Venable
  • Remix – Al Schmitt
  • Photography – Ethan Russell
  • Artwork by Tony Lane


Released: March 1974
Recorded at: Studio Devonshire Studios, North Hollywood, California
Genre: Rock, pop, blue-eyed soul
Length: 36:00

Label – Columbia Records

Adam Sandler – What The Hell Happened To Me? (1996)

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Adam Richard Sandler (born September 9, 1966) is an American actor, comedian, screenwriter, film producer, and musician. After becoming a Saturday Night Live cast member, Sandler went on to star in many Hollywood feature films that combined have grossed over $2 billion at the box office. He is best known for his comedic roles.

What the Hell Happened to Me? is the second studio album by Adam Sandler. It contains the official recording of “The Chanukah Song” (recorded live at UCSB), which has become a holiday staple and one of the best-known works by Sandler. The song hit #80 on the Billboard Hot 100 and #25 on the US Modern Rock charts. The album spent 57 weeks on the Billboard 200 chart and peaked at #18. The album also has been certified double-platinum, and as of 2011, has sold over 2,124,000 copies in the US. That makes it the best-selling comedy album since Nielsen SoundScan began tracking sales in 1991. The “Excited Southerner” skits on the album are early versions of what would end up being his character ‘Bobby Boucher’ in 1998’s The Waterboy.

Just one of many gifted comedians to emerge from Saturday Night Live’s impressive early-’90s roster, Adam Sandler nevertheless defied cynics’ expectations by moving on to an improbably long and successful post-SNL film career, where he proceeded to endlessly recycle his stunted man-child persona ad nauseam — much to the delight of his captive Generation X audience. This meant that Sandler‘s foray into comedy albums had to take an understandable back seat to his more lucrative priorities, but then, many would argue that this wasn’t his strongest suit anyway — a point driven home by his second CD, 1996’s What the Hell Happened to Me? As its title suggests, the disc attempts to juxtapose Sandler‘s innocent childhood (driven home by the cute kiddy pictures strewn across the sleeve) with his severely twisted adult persona. Spoken word bits like “Joining the Cult,” “The Goat,” “The Hypnotist,” and “Memory Lane” (performed with the help of various guest pals and fellow comedians) combine banal notions like Monday Night Football, talking goats, and road trips with generous doses of scatological language, unconventional sex, and uncontrollable flatulence — the usual. These are interspersed with seven examples of Sandler‘s usually reliable musical numbers, but the side-splitting reggae of “Ode to My Car” and the live-in-concert crowd-pleaser “The Chanukah Song” offer two truly distinctive winners.

Sandler went on a 21-day US tour to support the album, complete with a live backing band. The live performance from June 29, 1996 was aired as an hour long special on HBO.



1.  “Joining the Cult” – 2:52
2.  “Respect” – 4:34
3.  “Ode to My Car” – 3:55
4.  “The Excited Southerner Orders a Meal” – 0:45
5.  “The Goat” – 8:51
6.  “The Chanukah Song” – 3:44
7.  “The Excited Southerner Gets Pulled Over” – 1:04
8.  “The Hypnotist” – 8:02
9.  “Steve Polychronopolous” – 3:11
10.  “The Excited Southerner at a Job Interview” – 1:10
11.  “Do It for Your Mama” – 5:23
12.  “Crazy Love” – 3:56
13.  “The Excited Southerner Meets Mel Gibson” – 1:08
14.  “The Adventures of the Cow” – 5:04
15.  “Dip Doodle” – 3:48
16.  “The Excited Southerner Proposes to a Woman” – 1:03
17.  “Memory Lane” – 2:43
18.  “Mr. Bake-O” – 4:06
19.  “Sex or Weight Lifting” – 7:06
20.  “What the Hell Happened to Me?” – 2:26


Release Date: February 13, 1996
Recording Location:
Capitol Studios, Hollywood, CA
Ground Control Studios, Burbank, CA
Record Plant Studios, Hollywood, CA
Rocket Ranch, Encino, CA
Village Recorders, Los Angeles, CA
Genre: Comedy/Spoken
Styles: Song Parody
Duration: 1:15:00

Label – WarnerBros. Records

David Sanborn – Hideaway (1980)

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David Sanborn (born July 30, 1945) is an American alto saxophonist. Though Sanborn has worked in many genres, his solo recordings typically blend jazz with instrumental pop and R&B. He released his first solo album Taking Off in 1975, but has been playing the saxophone since before he was in high school. Sanborn has also worked extensively as a session musician, notably on David Bowie‘s Young Americans (1975).

One of the most commercially successful American saxophonists to earn prominence since the 1980s, Sanborn is described by critic Scott Yannow as “the most influential saxophonist on pop, R&B, and crossover players of the past 20 years.” Sanborn is often identified with radio-friendly smooth jazz. However, Sanborn has expressed a disinclination for both the genre itself and his association with it.

Released in 1980, Hideaway earned David Sanborn fame beyond that of the average studio musician, and rightfully so. Many releases by studio musicians suffer from weak compositions and overproduction, including some albums by Sanborn himself. However, Hideaway features a stripped-down, funky sound that showcases the artist’s passionate and distinctive saxophone sound. This includes two tunes co-written with Michael McDonald and the “love theme” from the motion picture American Gigolo, appropriately entitled “The Seduction.” All eight tunes on Hideaway are winners.



A1.  Hideaway – 5:53 
A2.  Carly’s Song – 5:12 
A3.  Anything You Want – 3:43 
A4.  The Seduction (Love Theme) – 3:54 

B1.  Lisa – 4:28 
B2.  If You Would Be Mine – 4:37 
B3.  Creeper – 4:35 
B4.  Again An Again – 5:15 

Companies, etc.



Release Date: 1980
Recording Location:
Celebration Recording Studio, Inc
New York, NY
Genre: Jazz, Funk / Soul
Style: Smooth Jazz
Duration: 37:37

Label – Warner Bros. Records

Minnie Ripperton – Stay In Love (1977)

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Zainon Mohd Salleh Riperton-Rudolph (November 8, 1947 – July 12, 1979),  known professionally as Minnie Riperton, was an American singer-songwriter best known for her 1975 single “Lovin’ You” and her five-octave coloratura soprano. She is also widely known for her use of the whistle register and has been referred to by the media as the “Queen of the whistle register”. Born in 1947, Riperton grew up in Chicago‘s Bronzeville neighborhood on the South Side. As a child, she studied music, drama and dance at Chicago’s Lincoln Center. In her teen years, she sang lead vocals for the Chicago-based girl group The Gems. Her early affiliation with the legendary Chicago-based Chess Records afforded her the opportunity to sing backup for various established artists such as Etta James, Fontella Bass, Ramsey Lewis, Bo Diddley, Chuck Berry and Muddy Waters. While at Chess, Riperton also sang lead for the experimental rock/soul group Rotary Connection, from 1967 to 1971.

Stay in Love (full title: Stay in Love: A Romantic Fantasy Set to Music) is the fourth studio album by American singer Minnie Riperton, released under Epic Records. The album features the hits “Young Willing and Able” and the Stevie Wonder collaboration “Stick Together”. Unlike her previous works, the soft soul elements here tend to fade, replaced by a more upbeat disco sound which was the musical trend at the time. “Stick Together” peaked at no. 23 on Billboard’s Hot Dance Play, an alternate version known as “Stick Together (Part One)” reached no. 57 on the U.S. Hot Black Singles chart.[2]

Stay in Love was Minnie’s first disco effort – the only of three disco containing releases that is almost entirely focused on that genre. It was also her last album for Epic Records before signing to Capitol Records. Also, this was her first album since Come to My Garden that didn’t feature husband Richard Rudolph as a producer or co-producer, although he still co-wrote all the songs. Instead, the album was produced by veteran Motown producer Freddie Perren.



1.  “Young Willing and Able”  (Riperton, Rudolph, Marlo Henderson) – 3:44
2.  “Could It Be I’m in Love”  – 4:17
3.  “Oh Darlin’ … Life Goes On”  (Riperton, Rudolph, Freddie Perren) – 3:50
4.  “Can You Feel What I’m Saying?”  (Riperton, Rudolph, Leon Ware) – 4:17
5.  “Gettin’ Ready for Your Love” – 3:38
6.  “Stick Together”  (Riperton, Rudolph, Stevie Wonder) – 6:18
7.  “Wouldn’t Matter Where You Are”  (Riperton, Rudolph, Henderson) – 4:00
8.  “How Could I Love You More”  – 4:05
9.  “Stay in Love”  – 3:16

All tracks written by Minnie Riperton and Richard Rudolph, unless otherwise noted.





  • Larry Miles – recording and remixing engineer
  • Freddie Perren – rhythm arrangements, production
  • Irving Azoff – director
  • Kosh – design
  • David Alexander – photography
  • Producer – Freddie Perren



Released: February 5, 1977
Recorded: March–April, October 1976
Studio Total Experience Recording Studios (Hollywood, California)
Paramount Recording Studios (Hollywood, California)
United Western Recorders (Hollywood, California)
Genre: Soul, Funk
Length: 37:23

Label – Epic Records

Graham Parker – Struck By Lightning (1991)

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Struck by Lightning is a solo album by Graham Parker, which was released on compact disc and vinyl in 1991. It was Parker’s best-selling album of the 1990s, reached number 131 on the Billboard 200 albums chart.

After his celebrated “Angry Young Man” recordings, Graham Parker married, settled down, and had kids. This record reflects his new-found maturity. As he’s fond of saying on stage (to great laughter from the audience, who have grown up themselves): “I’m not an angry young man anymore – it was too exhausting.”

Though earlier albums had sensitive songs here and there, this one is chock full of them. His meditation about his daughter growing up is the most beautiful and moving song he’s ever written (“The Kid With The Butterfly Net”). In “Wrapping Paper”, he requests that his wife “pull your skin like wrapping paper around my heart.”

But before you think he’s completely wimped-out, he hits you with the best rock song he’s ever written. That would be “A Brand New Book”, which features the lines “The words come out/Not “Twist and Shout”/’Cause that’s not what a grown man writes about.”

Struck by Lightning was the culmination of Graham Parker‘s previous two records, where he increasingly began to chronicle domestic tasks and affairs of the married heart. For such an intimate subject, Parker wisely decided to scale back the musical ambition of Human Soul on Struck by Lightning, recording a lean, stripped-down album that relied heavily on acoustic guitars. Appropriately, his lyrics were some of the most concise he had written in years, breathing life into tales like “The Kid with the Butterfly Net” and “Wrapping Paper.” Parker‘s music was similarly simple and tuneful, making Struck by Lightning his best effort since the early ’80s.



1.  She Wants So Many Things – 6:08
2.  They Murdered The Clown – 3:54
3.  Strong Winds – 3:52
4.  The Kid With The Butterfly Net – 3:53
5.  And It Shook Me – 3:42
6.  Wrapping Paper – 3:38
7.  That’s Where She Ends Up – 3:10
8.  A Brand New Book – 3:28
9.  Weeping Statues – 3:21
10.  Guardian Angel – 3:24
11.  Children And Dogs – 3:50
12.  Over The Border (To America) – 3:08
13.  When I Was King – 4:18
14.  Ten Girls Ago – 3:28
15.  The Sun Is Gonna Shine Again – 3:55





Released: 1991
Engineered and mixed at Dreamland Studios, West Hurley.
Overdubs engineered at Nevessa Production, Woodstock.
Mastered at Sterling Sound, NYC.
Produced for Blur, Inc.
Genre: Blues rock, soul, rhythm and blues, folk
Length: 57:28

Label – Demon Records

Brenda Russell – Get Here (1988)

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Brenda Russell (née Gordon; born April 8, 1949, Brooklyn, New York) is an American singer-songwriter and keyboardist. Known for her diverse musical style, her recordings have encompassed several genres, including pop, soul, dance, and jazz.

Get Here is her fourth studio album, released in 1988, it is Russell’s most successful album to date and includes her hit single “Piano in the Dark” as well as the minor hit title track, “Get Here,” which became an international success for Oleta Adams three years later.

After the release of her third album, Two Eyes (1983), Russell moved to Stockholm, Sweden and began writing songs for her fourth album in 1984. Working with several producers and recorded at ten different studios in Stockholm and Los Angeles, the album was ultimately released in 1988 and saw Russell return to the A&M Records label that had released her first two solo albums in 1979 and 1981 (her 1983 album had been released via Warner Bros.). The album peaked at #49 on the US Billboard 200 and #20 on the Billboard R&B chart.

Eight years had passed between Brenda Russell‘s excellent eponymous debut and the release of Get Here, and with that so did the tone and palette of R&B songwriting and production. Gone were many of the warm, analog-birthed sessions and in their place came the digital age of sterile, crisp production values designed to target the top of the pop and adult contemporary charts. But this time around, Russell managed to transcend these changes and deliver another potent album-length performance. Get Here delivered two outstanding hits, including the adult contemporary radio favorite “Piano in the Dark,” which earned her three Grammy nominations and remains the biggest hit of her career. And just as Luther Vandross covered her song “If Only for One Night” and turned it into a hit, so did Oleta Adams covering “Get Here,” which resulted in the biggest single of Adams‘ career.



1. “Gravity” (Brenda Russell, Gardner Cole) – 3:28
2. “Just A Believer” (Russell, Jeff Hull) – 3:55
3. “Piano in the Dark” (Russell, Hull, Scott Cutler) – 5:19
4. “This Time I Need You” (Russell, Joe Turano) – 4:54
5. “Make My Day” (Russell) – 4:24
6. “Le Restaurant” (Russell) – 4:33
7. “Midnight Eyes” (Russell) – 3:40
8. “Get Here” (Russell) – 4:56





  • Producers – Brenda Russell (Tracks #1-8); Stanley Clarke (Tracks #1 & 2); Jeff Hull (Track #3); Andre Fischer (Tracks #3-8); Peter O. Ekberg (Tracks #4, 5 & 8).
  • Executive Producer – Brenda Russell
  • Engineers – Csaba Petocz, Bill Schnee, Steve Sykes, Jan Ugand and Gary Wagner.
  • Assistant Engineers – Jim Dineen, Reggie Dozier, Mike Edwards, Steve Ford, Toni Greene, Debbie Johnson, Mike Ross, Micajah Ryan, Joe Schiff and Brad Stevens.
  • Mixing: Csaba Petocz (Track #1); Bill Schnee (Tracks #2-8).
  • Mastered by Doug Sax at The Mastering Lab (Los Angeles, CA).
  • Art Direction – Chuck Beeson
  • Album Design and Special Photo Treatments – Donald Kreiger
  • Photography – Raul Vega
  • Production Assistant and Album Coordination – Marsha Burns



Released: 1988
Recorded; Stockholm: Atlantis Studios
Los Angeles: Cherokee Studios, Elumba Recording, The Grey Room, Mama Jo’s Recording Studio, Ocean Way Recording, Bill Schnee Studio, Take One Recording, The Village Recorder, Westlake Audio, 1985–1987
Genre: R&B, Pop
Length: 35:09

Label – A&M Records

Robbie Robertson – Contact From The Underworld Of Redboy (1998)

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Contact from the Underworld of Redboy is an album by Robbie Robertson that was released in 1998 by Capitol Records. The album is composed of music inspired by Aboriginal Canadian music (including traditional Aboriginal Canadian songs and chants) as well as modern rock, trip hop, and electronica, often integrated together, and features many guest artists.

Throughout his solo career, Robbie Robertson has been as fascinated with sonics as he was with songwriting, so perhaps it wasn’t entirely surprising that he collaborated with techno DJ/producer Howie B and remixer Marius de Vries on his fourth album, Contact From the Underworld of Redboy. Anyone familiar with his moody, atmospheric solo efforts will realize that there’s a bigger jump between Music From Big Pink and Robbie Robertson than there is between the Daniel Lanois-produced Robbie Robertson and the ambient-flavored Contact, but the electronic textures and dance beats still may come as a shock to some. The electronics are interwoven with blues, folk, country, and rock, as well as American Indian music. And, as on Music for the Native Americans, Robertson is primarily concerned with American Indians throughout Contact, whether it’s through the chants of “Peyote Healing” or the protest of “Sacrifice,” which features Leonard Peltier — a Native American who has been imprisoned since 1976 on charges of murder many believe are fabricated — on a telephone call. Both his lyrical and musical concerns can get bogged down in their own pretensions, but often, the results are provocative and unique.

As a child, Robbie Robertson spent summers on a reservation with his mother, who is of Mohawk descent, and on Contact From the Underworld of Red Boy, he is setting out to recover a part of his own past. He’s also advancing the cultural project that he began with his 1994 soundtrack album, Music for “The Native Americans.” Robertson is determined to elevate American Indian music to an essential place in our nation’s heritage. But because Contact is a personal journey, he has the freedom to incorporate all the varied music that has been important to him – from the enduring roots rock he created with the Band to the atmospheric narratives of his solo albums to the up-to-the-minute programming wizardry of mixers Howie B and Marius de Vries, with whom he worked on Contact. The result is a haunting, richly textured blend of ancient spirituality, rattle-the-walls guitar and hypnotic beats.



1. “The Sound Is Fading” (Traditional: Leah Hicks-Manning; music by Howie Bernstein, Robbie Robertson) – 5:00
2. “The Code of Handsome Lake” (Robertson) – 6:11
3. “Making a Noise” (Robertson) – 5:11
4. “Unbound” (Robertson, Tim Gordine) – 4:35
5. “Sacrifice” (Robertson, Marius de Vries, Leonard Peltier) – 6:18
6. “Rattlebone” (Robertson, de Vries) – 4:26
7. “Peyote Healing” (Verdell Primeaux, Johnny Mike; music by de Vries, Robertson) – 6:10
8. “In the Blood” (Robertson, Gordine) – 4:35
9. “Stomp Dance (Unity)” (Robertson, Jim Wilson; Traditional: The Six Nations Women Singers) – 4:49
10. “The Lights” (Robertson, Bernstein) – 5:54
11. “Take Your Partner by the Hand (Red Alert Mix)” (Robertson, Bernstein) – 6:43 [bonus track]


1. “The Sound Is Fading”

  • Produced by Howie B and Robbie Robertson
  • Engineered and Mixed by Howie B
  • Featuring Leah Hicks-Manning – vocals
  • Jeremy Shaw – keyboards and tuning
  • Jules Brooks – keyboards
  • Jony Rockstar – programming
  • Robbie Robertson – guitar and vocals


2. “The Code of Handsome Lake”

  • Produced by Marius de Vries and Robbie Robertson
  • Mixed by Andy Bradfield and Marius de Vries
  • Joanne Shenandoah – vocals
  • James Bilagody – vocals
  • Chief Jake Thomas – spoken word
  • Marius de Vries – keyboards and programming
  • Robbie Robertson – guitar and vocals


3. “Making a Noise”

  • Produced by Howie B, Marius de Vries and Robbie Robertson
  • Engineered and Mixed by Howie B
  • James Bilagody, Jackie Bird, Star Nayea, Ivan Neville, Rita Coolidge, Cree Summer – vocals
  • Jeremy Shaw – keyboards and tuning
  • Jony Rockstar – programming
  • Marius de Vries – programming
  • Geoffrey Gordon – frame drum
  • David Campbell – string arrangement
  • Robbie Robertson – guitar and vocals


4. “Unbound”

  • Produced by Tim Gordine and Robbie Robertson
  • Engineered and Mixed by Tim Gordine
  • Rupert Brown – drums
  • Caroline MacKendrick – vocals
  • Tim Gordine – keyboards and programming
  • Robbie Robertson – guitar and vocals


5. “Sacrifice”

  • Produced by Marius de Vries and Robbie Robertson
  • Mixed by Andy Bradfield and Marius de Vries
  • Featuring Leonard Peltier – spoken word
  • Bonnie Jo Hunt – vocals
  • Anthony Begay – vocals
  • Maztl Galindo – flute
  • Benito Concha – drum
  • Marius de Vries – keyboards and programming
  • Robbie Robertson – guitar and vocals


6. “Rattlebone”

  • Produced by Marius de Vries and Robbie Robertson
  • Mixed by Carmen Rizzo and Marius de Vries
  • Tudjaat (Madeleine Allakariallak and Phoebe Atagotaaluk) – throat singing
  • James Bilagody – vocals
  • Cree Summer – vocals
  • Marius de Vries – keyboards and programming
  • Robbie Robertson – guitar and vocals


7. “Peyote Healing”

  • Produced by Marius de Vries and Robbie Robertson
  • Mixed by Andy Bradfield and Marius de Vries
  • Featuring Verdell Primeaux and Johnny Mike – vocals
  • Geoffrey Gordon, Jim Wilson – drums and percussion
  • Marius de Vries – keyboards and programming
  • Robbie Robertson – guitar


8. “In the Blood”

  • Produced by Tim Gordine and Robbie Robertson
  • Engineered by Tim Gordine and Mixed by Chris Fogel
  • Jony Rockstar – programming
  • Caroline MacKendrick – vocals
  • Tim Gordine – keyboards and programming
  • Robbie Robertson – guitar and vocals


9. “Stomp Dance (Unity)”

  • Produced by Jim Wilson and Robbie Robertson
  • Mixed by Carmen Rizzo
  • The Six Nations Women Singers – vocals
  • Rita Coolidge, Priscilla Coolidge, Laura Satterfield, Star Nayea – vocals
  • Geoffrey Gordon – percussion
  • Joel Shearer – bass
  • Jim Wilson – keyboards and programming
  • Vinez Pvel – pre-programming
  • Andrew Scheps – programming
  • Robbie Robertson – guitar and vocals


10. “The Lights”

  • Produced by Howie B and Robbie Robertson
  • Engineered and Mixed by Howie B
  • Laura Satterfield – vocals
  • Jony Rockstar – programming and NC-303 treatment
  • Bill Dillon – guitar
  • Jeremy Shaw – keyboards and tuning
  • Robbie Robertson – guitar and vocals


11. “Take Your Partner by the Hand (Red Alert Mix)”



Released: March 10, 1998
Genre: Pop / Leftfield, Downtempo
Length: 60:01

Label – Capitol Records