13-052021 FAVTRAX:MiX ~ 33 FAVOURiTE tracks 1979-1984 (2h 37m)

13-052021 FAVTRAX:MiX ~ 33 FAVOURiTE tracks 1979-1984  >>The Police, Embryo, Alvin Lee, Jean-Luc Ponty, Frank Zappa, Robin Trower, Jack Bruce, King Crimson, R.E.M, David Bowie, The Honeydrippers, Julian Cope<<

 M U S I C  (2h 37m)

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favtraxmix label The player always plays the latest playlist tracks. / A lejátszó mindig a legújabb playlist számait játssza.   

1979-1984

British rock trio with an innovative rock/reggae fusion, superb songwriting, and crossover appeal that shot them straight to international stardom.

The Police 

Message in a Bottle  (Sting)

Reggatta de Blanc (Stewart Copeland / The Police / Sting / Andy Summers)

It's Alright for You (Stewart Copeland / Sting)

from Reggatta de Blanc 1979

By 1979's Reggatta de Blanc (translation: White Reggae), nonstop touring had sharpened the Police's original blend of reggae-rock to perfection, resulting in breakthrough success. .. Whereas their debut got its point across with raw, energetic performances, Reggatta de Blanc was much more polished production-wise and fully developed from a songwriting standpoint... With Reggatta de Blanc, many picked Sting and company to be the superstar band of the '80s, and the Police would prove them correct on the band's next release.

German band mixed Krautrock with an eclectic world beat over a career spanning decades. One of the most original and innovative Krautrock bands, Embryo fused traditional ethnic music with their own jazzy space rock style. Over an existence spanning decades, during which Christian Burchard became the only consistent member, the group traveled the world, playing with hundreds of different musicians and releasing over 20 records.

Embryo 

Strasse nach Asien

Kurdistan

Far East

from Embryo's Reise 1979

"Reise" is the German word for "Travel", and that's exactly what the album has to offer here: a genuine musical journey... to the East. After the band's average jazz/rock/world releases during the second half of the 70's (last good album being 1973's "We Keep On"), EMBRYO's leader Christian Burchard decided to save his baby and brought with him the other members for a long trip, from Middle-East to India. During their journey, they met various local musicians, played jam sessions and recorded tracks in their company...

British blues-rock singer, songwriter, and guitarist who found success fronting Ten Years After before launching a lengthy solo career.

Alvin Lee  

Stealin' (Steve Goulding)

Ridin' Truckin' (Alvin Lee)

No More Lonely Nights (Steve Goulding / Alvin Lee)

from Free Fall 1980

...This band probably should have been called the Lee/Gould band, as former Rare Bird vocalist Steve Gould has at least as much to do with the sound of the band on those first few tracks. About four cuts into Freefall, Lee seems to wake up, and he turns in some really tasty guitar and a nice, energetic vocal on "Stealin'." There are even a few whoops and shrieks thrown in, and that's OK, because the song deserves it. So does "Ridin' Truckin'"... 

18-02-2021 FAVTRAX:MiX ~ 33 FAVOURiTE tracks 1976-1980 (2h 30m)

18-02-2021 FAVTRAX:MiX ~ 33 FAVOURiTE tracks 1976-1980  >>Tom Waits, Pat Metheny, Talking Heads, The Clash, Iggy Pop, Brian Eno, Talking Heads, David Bowie, The Police, Embryo, Alvin Lee, Jean-Luc Ponty<<

 M U S I C  (2h 30m)

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favtraxmix label The player always plays the latest playlist tracks. / A lejátszó mindig a legújabb playlist számait játssza.   

1976-1980

A neo-beatnik songwriter who grew weirder and wilder in the '80s, earning a cult following that only grew larger as the years passed.

Tom Waits 

Step Right Up (Tom Waits)

Invitation to the Blues  (Tom Waits)

from Small Change 1976

The fourth release in Tom Waits' series of skid row travelogues, Small Change proves to be the archetypal album of his '70s work. A jazz trio comprising tenor sax player Lew Tabackin, bassist Jim Hughart, and drummer Shelly Manne, plus an occasional string section, back Waits and his piano on songs steeped in whiskey and atmosphere in which he alternately sings in his broken-beaned drunk's voice (now deeper and overtly influenced by Louis Armstrong) and recites jazzy poetry. It's as if Waits were determined to combine the Humphrey Bogart and Dooley Wilson characters from Casablanca with a dash of On the Road's Dean Moriarty to illuminate a dark world of bars and all-night diners...  If you like it, you also will like the ones before and after; otherwise, you're not Tom Waits' kind of listener.

Guitar virtuoso whose accessible, original style and extraordinary sense of technique bridged the gap between jazz and rock.

Pat Metheny 

Bright Size Life (Pat Metheny)

Missouri Uncompromised (Pat Metheny)

from Bright Size Life 1976

Pat Metheny's debut studio album is a good one, a trio date that finds him already laying down the distinctively cottony, slightly withdrawn tone and asymmetrical phrasing that would serve him well through most of the swerves in direction ahead. His original material, all of it lovely, bears the bracing air of his Midwestern upbringing... Besides being Metheny's debut, this LP also features one of the earliest recordings of Jaco Pastorius, a fully formed, well-matched contrapuntal force on electric bass, though content to leave the spotlight mostly to Metheny. Bob Moses, who like Metheny played in the Gary Burton Quintet at the time, is the drummer, and he can mix it up, too.

One of the most acclaimed bands of the post-punk era, a vision of innovative art-pop featuring David Byrne's manic yelp over tight R&B grooves.

Talking Heads 

New Feeling (David Byrne)

Tentative Decisions (David Byrne)

Psycho Killer  (David Byrne / Chris Frantz / Tina Weymouth)

from Talking Heads: 77 1977 

Though they were the most highly touted new wave band to emerge from the CBGB's scene in New York, it was not clear at first whether Talking Heads' Lower East Side art rock approach could make the subway ride to the midtown pop mainstream successfully. The leadoff track of the debut album, Talking Heads: 77, "Uh-Oh, Love Comes to Town," was a pop song that emphasized the group's unlikely roots in late-'60s bubblegum, Motown, and Caribbean music. But the "Uh-Oh" gave away the group's game early, with its nervous, disconnected lyrics and David Byrne's strained voice. All pretenses of normality were abandoned by the second track, as Talking Heads finally started to sound on record the way they did downtown: the staggered rhythms and sudden tempo changes, the odd guitar tunings and rhythmic, single-note patterns, the non-rhyming, non-linear lyrics that came across like odd remarks overheard from a psychiatrist's couch, and that voice, singing above its normal range, its falsetto leaps and strangled cries resembling a madman trying desperately to sound normal...