Oh oh oh oh oh oh
You don't have to go oh oh oh oh oh
You don't have to go oh oh oh oh oh
Baby please don't go.
Ay ay ay ay ay ay
All those tears I cry ay ay ay ay ay
All those tears I cry ay ay ay ay ay
Baby please don't go.
When I read the letter you wrote me
it made me mad mad mad
When I read the news that it brought me
it made me sad sad sad
But I still love you so
I can't let you go
I love you--ooh baby I love you.
Oh oh oh oh oh oh
Every breath I take oh oh oh oh oh
Every move I make oh oh oh oh oh
Baby please don't go.
Ay ay ay ay ay ay
You hurt me to my soul ay ay ay ay ay
You hurt me to my soul ay ay ay ay ay
Darling please don't go.
When I read the letter you wrote me
it made me mad mad mad
When I read the news that it brought me
it made me sad sad sad
But I still love you so
I can't let you go
I love you--ooh baby I love you.
Oh oh oh oh oh oh
You don't have to go oh oh oh oh oh
You don't have to go oh oh oh oh oh
(Baby please don't go)
(Whatever happened to Rosie and the Originals?)
Ladies and gentlemen, for your listening pleasure, Led Zeppelin.
Houses of the Holy (Atlantic)
1. The Song Remains The Same
2. The Rain Song
3. Over The Hills And Far Away
4. The Grunge
5. Dancing Days
6. D'yer Mak'er
7. No Quarter
8. The Ocean
"To call this a new sound would be telling a half-truth, for while it is new in a certain sense, it most definitely is the Swing and Sway sound brought up-to-date with all the taste and articulateness that can come from the marriage of these talents.
But no amount of descriptive verbiage, no matter how accurately attuned it may be to the subject matter, can clearly define anything as well as simply playing and listening and almost unavoidably dancing to this long-play album yourself."
--Cars Get Crushed
1995
Ladies and gentlemen, for your listening pleasure, Cars Get Crushed.
Ladies and gentlemen, for your listening pleasure, Gregorian Chants.
Festival of Gregorian Chants (Madacy)
1. Cantores Chorales Capellae Sancti Casimiri - Vilnius (Litouwen)
2. The Gloriae Dei Cantores - Massachusetts (USA)
3. I Cantori Gregoriani di Milano
4. The Schola Gregoriana of Cambridge
5. The Choristers of Westminster Cathedral, London
6. Het Gregoriaans Koor van Pusan (Zuid-Korea)
7. Schola Cantorum Amsterdam
8. Choeur Gregorien de Paris
9. Liturgischer Singkreis Jena
10. Gregoriaans Koor "Cum Jublio" - Watou
11. Schola Cantorum Achel
12. Laudate Dominum - Kortrijk
13. Cantando - Roeselare
14. Gregoriaans Koor van Leuven
15. Gregoriaans Abdijkoor van Grimbergen
16. "Sabbato Ad Vesperas"
17. "Liturgisch Drama"
"To all our fans, old and new. You guys and gals are truly the best!! Since the mid-'80s when it started to take off on a large scale, you were there. These creations are for you. Everyone of you can relate to these characters in one way or another. Everyone knows a Sol Rosenberg, Frank Rizzo, Kissel and so on. We certainly do and more characters are on the way. In fact, for this CD, we thought we'd share some of them with you and bring you a new twist on the actual calls themselves - eight of the calls are incoming, in response to ads that were placed in several publications by The Jerky Boys. So enjoy there ya sillyass bastards!!!"
--The Jerky Boys
Ladies and gentlemen, for your listening pleasure, The Jerky Boys.
The Jerky Boys (Select/Detonator)
1. Irate Tile Man
2. Unemployed Painter
3. Laser Surgery
4. Insulator Job
5. Egyptian Magician
6. Sol's Glasses
7. Car Salesman
8. Sushi Chef
9. Super Across the Way
10. The Gay Model
11. The Home Wrecker
12. Auto Mechanic
13. Dental Malpractice
14. Started Motor Repair
15. Hurt at Work
16. Hot Rod Mover
17. Firecracker Mishap
18. Punitive Damages
19. Piano Tuner
20. Gay Hard Hat
21. Uncle Freddie
The Jerky Boys 2 (Select/Detonator)
1. Pablo Honey
2. Drinking Problem
3. Pet Cobra
4. Sol's Warts
5. Breast Enlargement
6. Roofing
7. Gay Hairdresser
8. Volunteer
9. Terrorist Pizza
10. Pico's Mexican Hairpiece
11. A Little Emergency
12. Sparky The Clown
13. Security Service
14. Sol's Nude Beach
15 Diamond Dealer
16. Sol's Naked Photo
17. The Mattress King
18. Ball Game Beating
19. Sporting Goods
20. Scaffolding
21. Sex Therapy
22. Sol's Phobia
23. Cremation Services
24. Pizza Lawyer
25. Fava Beans
26. Husband Beating
The Jerky Boys 3 (Ratchet/Mercury)
1. Santa's Delivery
2. Lawn Equipment Debate
3. Balloon Rides
4. The Dresser
5. Silly Food
6. Sol's Chainsaw Shock
7. Stop That
8. Chainsaw Shock (Part 2)
9. Tandem Bicycle
10. Safety Gates
11. Bamm!
12. Facelift Without Surgery
13. Lawnmower Sale
14. Tarbash's New Shoes
15. Signin'
16. No!
17. Sol's Civil War Memoribilia
18. Civil War Memoribilia (Part 2)
19. Bad Tomatoes
20. Florida, The Tropical State
21. TV Repair
22. 1-800-How's My Driving?
23. Bad Ass Massage
24. Paradise
25. Body Building
26. Kissel Crooner
27. Angry Camper's Dad
28. Bird Feed
29. New Awnings
"Silver Apples began in 1967 as a 5-piece band working at New York's Cafe Wha?, calling ourselves 'The Overland Stage Electric Band.' We had 3 guitars, Danny Taylor on drums and me as lead singer. Being that we worked 4 sets a night and only knew so many songs, we took a lot of extended guitar breaks, during which I had nothing to do. One night I plugged in an old oscillator that a friend had loaned me, and started swooping the room with electronic sounds. The band hated it, but I thought it was kind of cool. One by one the guitar players quit, and that left Danny and me! We decided to change our name to Silver Apples after a poem by W.B. Yeats that we liked, get more oscillators, and do all original material. Poet friends gave us poems. The first poem we set to music was 'Oscillations' by Stanley Waren. Every time we wrote another song, it seemed we needed more oscillators, until, by the 6th song or so, we had quite a cumbersome collection. People started calling it the 'simeon' machine, and the name stuck. It consisted of more than a dozen oscillators, 6 of them tuned to bass notes and wired through switches on a piece of plywood that I played with my feet. Our bass lines were always very simple and repetitive, because we only had six notes for any song. The rest of the oscillators (except one) were routed through telegraph keys and used to make rhythmic beeps and boops, and the 'lead' oscillator made all the swoops. So this was Silver Apples. I sang, played bass, beeps, boops and swoops, and Danny held it all together as best as he could with inventive drumming.
The first job we got was in front of 30,000 people! Our manager had a friend who worked in the same office as this big promoter who was booking an all-day concert in Central Park's Sheeps Meadow. Even though nobody had ever heard of Silver Apples, he connived to get us on the bull with The Steve Miller Band, The Chambers Brothers, The Children of God, Sha-Na-Na, The Mothers of Invention, The Fugs, and others. I nearly peed in my pants when I saw the crowd. The promoter guy told us we could only play 5 or 6 songs, then '...get the hell off!' That was fine with us because we only knew 5 or 6 songs, so we played, and got the hell off and felt like we had managed to survive 'the big one.' Then, the next day, when the newspapers came out, we were all over them. They all talked about 'the unique sound of Silver Apples' and we were launched.
On the strength of that one concert we were courted by several record labels but KAPP was the only one that actually propsed marriage so we signed. We recorded the entire first album on a 4 track deck provided by KAPP. We would lay down 3 tracks, then premix down to one, then lay down 2 more, premixing again, and so forth till we ran out of tracks, and that was the end of the song. Simple. With Contact, the second album, we had the luxury of a 24 track board at Universal City. We recorded most of the basic tracks there while on tour in LA, then finished it up at Apostolic Studios in New York. These were the sessions that produced 'A Pox on You,' 'You and I,' 'I Have Known Love' and others that we still do in concert today, along with new music.
It is tremendously rewarding to me as an artist to have my past work recognized, not only through this re-release, but by the numerous tributes and covers that abound now worldwide. If I may be allowed to say so here, it is the new Silver Apples music that turns me on today."
--Simeon
Silver Apples
New York, August 25, 1997
Ladies and gentlemen, for your listening pleasure, Silver Apples.
Ladies and gentlemen, for your listening pleasure, Brian Eno.
The Drop (Thirsty Ear)
1. Slip, Dip
2. But If
3. Belgian Drop
4. Cornered
5. Block Drop
6. Out/Out
7. Swanky
8. Coasters
9. Blissed
10. M.C. Organ
11. Boomcubist
12. Hazard
13. Rayonism
14. Dutch Blur
15. Back Clack
16. Dear World
17. Iced World
"In the summer of 1970, the Velvet Underground played an extended engagement at the renowned New York restaurant-club-focal point, Max's Kansas City. One night during that summer, Brigid Polk, a long-time friend and fan of the Velvets, brought a cassette recorder to Max's to preserve a typical performance for herself. This record is a distillation of the cassette Brigid made that night. (In some ways, this record may be looked at as the first legitimate bootleg album.) The sound of the record is surprisingly good, and, of course, is mono. The low price of this album reflects the low recording costs, and is not a reflection on the Velvet Underground performance -- far from it. Given the fact that the Velvets have gone through personnel changes in the last couple of years, this album stands as the exciting and valuable record of a special group at a special moment in time and space."
--Mark Meyerson
Coordinator of A & R
Atlantic Records
1. I'm Waiting For The Man
2. Sweet Jane
3. Lonesome Cowboy Bill
4. Beginning To See The Light
5. I'll Be Your Mirror
6. Pale Blue Eyes
7. Sunday Morning
8. New Age
9. Femme Fatale
10. After Hours
"Formed in Birmingham, England in 1968, the four man powerhouse known as Black Sabbath pioneered a bone-crunching rock & roll assault that laid the foundations for the heavy metal revolution that swept popular music in the '70s and '80s. While the band's blistering ensemble playing and evocative lyric blend of machismo and mysticism set a standard for countless groups to follow, their 1970 self-titled debut album remains one of the most innovative and influential long players in rock history.
Comprised of Ozzy Osbourne (vocalist), Tony Iommi (guitar), Geezer Butler (bass) and Bill Ward (drums), the quartet was intially known by the name Earth and took their hometown pub-and-club circuit by storm with a high energy blend of blues and rock. Schoolmates from a working class Birmingham neighborhood, the group earned a fervent following throughout the English Midlands and in 1968 changed their name to Black Sabbath. The new moniker reflected the band's penchant for moody, dark-hued music that matched supernatural themes with supercharged ensemble playing. In 1969 they entered the recording studio to cut their first album.
The result is the landmark Black Sabbath. Produced by Rodger Bain, Black Sabbath highlights five original compositions from the band. In addition to such classic cuts as 'The Wizard,' 'Wicked World' and their signature song, 'Black Sabbath,' the album contains two other outstanding tracks, blending road-tested material into eerie, extended song suites. The medley 'A Bit Of Finger,' 'Sleeping Village' and 'Warning' clocks in at over fourteen minutes, while a ten minutes-plus mix of 'Wasp,' 'Behind The Wall Of Sleep,' 'Bassically' and 'N.I.B.' remains one of the most powerful and propulsive cuts in the group's recording history.
Black Sabbath eventually reached the Top Ten on British charts where it remained for three months and earned the band a devoted cult following on both sides of the Atlantic."
Ladies and gentlemen, for your listening pleasure, Black Sabbath.
Black Sabbath (Warner Bros.)
1. Black Sabbath
2. The Wizard
3. Wasp/Behind The Wall Of Sleep/Bassically/N.I.B.
4. Wicked World
5. A Bit Of Finger/Sleeping Village/Warning
