1. Brinsley Schwarz Discogs
2. Brinsley Schwarz Discography Rar 1

Brinsley Schwarz Discography Rar. Complete your Brinsley Schwarz collection. Shop Vinyl and CDs. Discography: Brinsley Schwarz (1970) Despite It All (1970) Silver Pistol (1971) Greasy Truckers Party (1972) Nervous on the Road (1972) Please Don. Brinsley Schwarz - Please Don't Ever Change Rock. 7 rows  Find Brinsley Schwarz discography, albums and singles on AllMusic.

In 1974 Brinsley Schwarz’s began work on It’s All Over Now, the album intended to relaunch their career in the United States, but things did not go as planned. At that time the band was breaking up with members going in multiple directions, but they managed to keep things together long enough to record the album. However, it was the end of the band and the album languished in the studio’s tape library for years until rescued from the dumpster by the band’s guitarist Ian Gomm. Ian mixed the album and almost released it in the 80s, but withdrew it before it could be distributed. Several years ago Ian offered the album on his web site as a CDr, and as of April 28, 2017 it is officially available on Mega Dodo Records in several formats: limited edition orange vinyl LP, black vinyl LP, CD, and cassette. Now to the music. The album is roughly a 50/50 mix of original and cover songs.

Overall the music is a collection pretty lightweight pop, soul,and love ballads with a couple of rockers thrown in. Of note is the title track, a dub version of the Rolling Stones’ hit that works remarkably well, and the rocking instrumental “Do the Cod” that also appears on their recently released live album. Those of us long in the tooth will recognize the covers of late 60s pop tunes: The Buckingham’s “Hey Baby (They’re Playing Our Song),” Tommy Rowe’s “Everybody,” and William Bell’s “Private Number.” Nick Lowe provided lead vocals on most the songs and the album includes the Lowe/Gomm tune “Cruel to Be Kind” that was intended to be their hit single. This album is for the Brinsley Schwarz completist.by Henry Schneider. Brinsley Schwarz released a string of classic Pub Rock albums in the early 1970s, and this could be their best. Its All Over Now was intended to re-launched the group in America, but like their much-hyped visit to New York it didnt go as planned.

Indeed, the album languished in Rockfield Studios tape library for years until rescued by the bands guitarist Ian Gomm, who mixed it at Royal Studios for release on record. But even that didn t go as planned and once again the album disappeared. A few years ago, Gomm made a few homemade CDRs available from his website, but the album has remained largely ignored. Twenty-five years after Ian Gomm rescued and mixed the album, Mega Dodo is set to release a newly mastered version on limited vinyl and CD. The best Brinsley Schwarz album you have never heard now sounds even better. Great album, more soulful than their previous LPs.

Could have done without the 'Direct Metal Mastered' crap of course, especially on a vinyl record! No recording information, no liner notes, (I know, I know, look it up on the web), awful title track sounding like a totally unnecessary micky take of, you've guessed it, Mick Jagger! (Please fellers, leave the parodies to Mick, he's the expert, innit Mick). Apart from those few caveats, another tasty Brinsley Schwarz to enjoy any time of the day or night; almost as much fun as their 1974 'Live Favourites', released in 2016, but not quite. They were always at their best playing live.

I bet they still are! I've said it before & I'll say it again, ain't none of us getting any younger, so digitum exractum est please. Come on sleepyheads, get outta that bed & make some noise with the pots & pans!ByG H. Originally scheduled for release in 1975, It’s All Over Now was supposed to be Pub Rock legends Brinsley Schwarz’s commercial breakthrough.Rescuing their career after the infamous “Brinsley Schwarz Hype” PR disaster, the band had retreated to London’s pubs where they built a solid reputation as one of the best live bands on the circuit playing a mix of good time, self-effacing Rock & Roll, Soul and Country Rock, releasing a handful of well received but commercially disastrous LPs. Despite strong reviews and a dedicated fan base, the Brinsleys never managed to escape cult status, yet they influenced a legion of other artists, creating an underground, back-to-basics movement that laid the foundation for Punk Rock. By 1975, there was a seismic change in the air.the Pub Rock bands were soon to be swept away by Punk bands and there is sense that Brinsley Schwarz knew a change was coming.

The band split up not long after the recording sessions and before the record was due for release, seeing the album binned by United Artists (the album almost made the shops in the 80s but was withdrawn just before release) and it has remained officially unreleased ever since. The archive diggers at Mega Dodo have rescued this gem of a record, given it a good dusting down and will be releasing the album on vinyl as originally intended with copies also available on CD and, for that proper retro vibe, on cassette.For fans of the band, It’s All Over Now is an essential purchase.the record was recorded with Brinsley Schwarz cohort Dave Edmunds in the producer’s chair and a eye on the American market. The album contains several strong Nick Lowe/Ian Gomm penned songs (including the original version of ‘Cruel To Be Kind’ which was to be a massive hit for Lowe a few years later), a studio version of the live favourite William Bell's ‘Private Number, a groovy instrumental Soul stomper ‘Do The Cod’ and a Reggae version of the Bobby Womack song/Stones big hit ‘It’s All Over Now’hey, it was 1975 and everybody was doing at least one Reggae influenced cut on their records. The album is effectively Pub Rock’s last stand and harks back to a time in the 70s when rootsy Americana, cod Reggae and blue eyed Soul side to side on the same record was not deemed strangeDr Feelgood had made such a impact on the scene and as Nick Lowe said about the era “When the Pub Rock scene started going downhill, largely due to Dr Feelgood, who were so great they spawned many duff copyists, it was time to move on”. It’s All Over Now is a record of it’s time, how it would have fared if it had been released back in 1975 is anyone guessbeing a Brinsley’s record it would have no doubt died on it’s arsebut it has aged well for being near 40 years old. One to check out for fans of Graham Parker, Elvis Costello and the ton of bands Brinsley Schwarz’s classy blend of no nonsense Rock, Roots and Soul have influenced.Due for release on, the album will be available in limited edition orange vinyl (150 copies), black vinyl (350 copies), cassette (50 copies) and CD.

Missing in action to one degree or another for over forty years, 70's country-rockers Brinsley Schwarz’s final album will properly see the light of day on Mega Dodo on April 28th. The aptly named 'It’s All Over Now' was recorded at Rockfield Studios with producer Steve Verocca, who was brought in to steer the project toward an American audience.Despite Brinsley Schwarz’s management’s legendarily disastrous attempt to break America the first time, with a badly planned press junket and publicity event surrounding their Fillmore East debut, they were determined to give it one last try with this album. It may well have done so, too, with a pub rock by way of Nashville sound and the first recording of singer Nick Lowe and guitarist Ian Gomm’s song 'Cruel to Be Kind'.

The problem was that the band was also in the process of breaking up.The album was shelved for the first time and languished on a shelf at Rockfield Studios. Meanwhile Brinsley Schwarz had launched the successful careers of its members: Nick Lowe and Ian Gomm as solo artists, guitarist Brinsley Schwarz and Bob Andrews as the nucleus of The Rumour, and Billy Rankin as a member of Big Jim Sullivan’s Tiger.In a rescue effort that should earn Ian Gomm a service award for the arts, he prevented the album’s master tapes from being destroyed in the 80s. “When I came to Wales to work at this recording studio, and help build it, Royal Studios it’s called, we had a sixteen-track recorded there that took two-inch tape,” Gomm says. “We’d wired the studio up and wanted to test it, and I thought two-inch tape, that’s what that Brinsleys album was recorded on. So I phoned up Kingsley Ward at Rockfield Studio and said ‘Do you remember that Brinsleys album that never got finished?’ And Kingsley said: ‘Funny you should mention that we’re clearing out the tape library this week and that’s going in the dumper.’ So I got in my car and I drove that afternoon to Rockfield and rescued it. Then I mixed it down because I had the studio time.”'It’s All Over Now' was again scheduled to be released in the 80s but was then withdrawn – for a second time.

Undaunted, Gomm sold CD-Rs of the album for years on his website.The album sounds like a bar band on the verge of a massive breakthrough, but the choice of material designed to achieve that breakthrough in America is somewhat odd. There is the expected country-tinged rock, but there’s also a strange glut of AM radio sweetness emphasizing sugary harmonies and nods to early soul. The band’s interpretation of white soul works best on their brilliant version of Garnet Mimms’ 1966 hit 'I’ll Take Good Care of You' but is baffling on 'God Bless (Whoever Made You)', recorded by Jona Lewie a few years later.Nick Lowe’s voice is rich and unabashedly sentimental, somehow cutting through the heavy orchestral backing on 'As Lovers Do' (written by Dave Edmunds) and 'Hey Baby (They’re Playing Our Song)' that seem taken from early 60's American pop vocal groups.

Brinsley Schwarz Discogs

Lowe uses his effective and now well-established narrative voice of a wayward lover, who is well aware that he is a bit of a bastard, swanning back into someone’s life on 'We Can Mess Around' and 'Private Number', either of which could have been an early Rumours song.The lovely early version of 'Cruel to Be Kind' here is much mellower and less choppy than the well-known hit from Nick Lowe’s solo album 'Labour of Lust'. A similar version was recorded for the B-side to Lowe’s 'Little Hitler'. It’s by far the strongest original track and undoubtedly would have been the first single off 'It’s All Over Now'.

Glimpses of Rockpile to come, 'Everybody' and 'Give Me Back My Love' are the hardest rocking and least treacly moments on the record. There is a pointless instrumental, 'Do The Cod', and a silly reggae version of Bobby Womack’s 'It’s All Over Now' that was hopefully recorded when they were all very high indeed.by. Kimberly Bright. Vinyl LP pressing. Archive release from the pub rock band featuring Nick Lowe, Ian Gomm, Billy Rankin and future Rumour members Brinsley Schwarz and Bob Andrews. Brinsley Schwarz released a string of classic pub rock albums in the early 1970s, and this could be their best. Its All Over Now was intended to re-launch the group in America, but like their much-hyped visit to New York, it didn’t go as planned.

Indeed, the album languished in Rockfield Studios tape library for years until rescued by the band’s guitarist Ian Gomm, who mixed it at Royal Studios for release on record. But even that didn’t go as planned and once again the album disappeared. A few years ago, Gomm made a few homemade CDRs available from his website, but the album has remained largely ignored. Twenty-five years after Ian Gomm rescued and mixed the album, Mega Dodo is set to release a newly mastered version.

The best Brinsley Schwarz album you have never heard now sounds even better. If you have an account,οn vk,spotify, & deezer you can listen to the albums right from the blog's homepage, without having to change the page,If you do not have an account open one of these three sites, it is very easy, it will take you about three minutes each, and then enjoy, plenty of music.Spotify is famous for its sound quality that you won't find anywhere,the deezer is similar to spotify & the vk (Russian facebook) there are thousands of rare albums by hundreds of users. May all of you be well, and listen to a lot of music.John.

Biography:When Elvis Costello's first record was released in 1977, his bristling cynicism and anger linked him with the punk and new wave explosion. A cursory listen to My Aim Is True proves that the main connection that Costello had with the punks was his unbridled passion; he tore through rock's back pages taking whatever he wanted, as well as borrowing from country, Tin Pan Alley pop, reggae, and many other musical genres. Over his career, that musical eclecticism distinguished Costello's records as much as his fiercely literate lyrics. Because he supported his lyrics with his richly diverse music, Costello emerged as one of the most innovative, influential, and best songwriters since Bob Dylan.The son of British bandleader Ross McManus, Costello (born Declan McManus) worked as a computer programmer during the early '70s, performing under the name D.P. Costello in various folk clubs. In 1976, he became the leader of country-rock group Flip City.

During this time, he recorded several demo tapes of his original material with the intention of landing a record contract. A copy of these tapes made its way to Jake Riviera, one of the heads of the fledgling independent record label Stiff. Riviera signed Costello to Stiff as a solo artist in 1977; the singer/songwriter adopted the name Elvis Costello at this time, taking his first name from Elvis Presley and his last name from his mother's maiden name.With former Brinsley Schwarz bassist Nick Lowe producing, Costello began recording his debut album with the American band Clover providing support. 'Less Than Zero,' the first single released from these sessions, appeared in April of 1977. The single failed to chart, as did its follow-up, 'Alison,' which was released the following month. By the summer of 1977, Costello's permanent backing band had been assembled. Featuring bassist Bruce Thomas, keyboardist Steve Nieve, and drummer Pete Thomas (no relation to Bruce), the group was named the Attractions; they made their live debut in July of 1977.My Aim Is True, his debut album, was released in the summer of 1977 to positive reviews; the album climbed to number 14 on the British charts but it wasn't released on his American label, Columbia Records, until later in the year.

Along with Nick Lowe, Ian Dury, and Wreckless Eric, Costello participated in the Stiffs Live package tour in the fall. At the end of the year, Jake Riviera split from Stiff Records to form Radar Records, taking Costello and Lowe with him. Costello's last single for Stiff, the reggae-inflected 'Watching the Detectives,' became his first hit, climbing to number 15 at the end of the year.This Year's Model, Costello's first album recorded with the Attractions, was released in the spring of 1978. A rawer, harder-rocking record than My Aim Is True, This Year's Model was also a bigger hit, reaching number four in Britain and number 30 in America. Released the following year, Armed Forces was a more ambitious and musically diverse album than either of his previous records. It was another hit, reaching number two in the U.K. And cracking the Top Ten in the U.S.

'Oliver's Army,' the first single from the album, also peaked at number two in Britain; none of the singles from Armed Forces charted in America. In the summer of 1979, he produced the self-titled debut album by the Specials, the leaders of the ska revival movement.In February of 1980, the soul-influenced Get Happy!!

Was released; it was the first record on Riviera's new record label, F-Beat. Was another hit, peaking at number two in Britain and number 11 in America.

Later that year, two collections of B-sides, singles, and outtakes called Taking Liberties was released in America; in Britain, a similar album called Ten Bloody Marys & Ten How's Your Fathers appeared as a cassette-only release, complete with different tracks than the American version.Costello and the Attractions released Trust in early 1981; it was his fifth album in a row produced by Nick Lowe. Trust debuted at number nine in the British charts and worked its way into the Top 30 in the U.S. During the spring of 1981, Costello and the Attractions began recording an album of country covers with famed Nashville producer Billy Sherrill, who recorded hit records for George Jones and Charlie Rich, among others. The resulting album, Almost Blue, was released at the end of the year to mixed reviews, although the single 'A Good Year for the Roses' was a British Top Ten hit.Costello's next album, Imperial Bedroom (1982), was an ambitious set of lushly arranged pop produced by Geoff Emerick, who engineered several of the Beatles' most acclaimed albums. Imperial Bedroom received some of his best reviews, yet it failed to yield a Top 40 hit in either England or America; the album did debut at number six in the U.K.

For 1983's Punch the Clock, Costello worked with Clive Langer and Alan Winstanley, who were responsible for several of the biggest British hits in the early '80s. The collaboration proved commercially successful, as the album peaked at number three in the U.K. (number 24 in the U.S.) and the single 'Everyday I Write the Book' cracked the Top 40 in both Britain and America. Costello tried to replicate the success of Punch the Clock with his next record, 1984's Goodbye Cruel World, but the album was a commercial and critical failure.After the release of Goodbye Cruel World, Costello embarked on his first solo tour in the summer of 1984. Costello was relatively inactive during 1985, releasing only one new single ('The People's Limousine,' a collaboration with singer/songwriter T-Bone Burnett released under the name the Coward Brothers) and producing Rum Sodomy and the Lash, the second album by the punk-folk band the Pogues. Both projects were indications that he was moving toward a stripped-down, folky approach and 1986's King of America confirmed that suspicion. Recorded without the Attractions and released under the name the Costello Show, King of America was essentially a country-folk album and it received the best reviews of any album he had recorded since Imperial Bedroom.

Brinsley Schwarz Discography Rar 1

It was followed at the end of the year by the edgy Blood and Chocolate, a reunion with the Attractions and producer Nick Lowe. Costello would not record another album with the Attractions until 1994.During 1987, Costello negotiated a new worldwide record contract with Warner Bros. Records and began a songwriting collaboration with Paul McCartney. Two years later, he released Spike, the most musically diverse collection he had ever recorded. Spike featured the first appearance of songs written by Costello and McCartney, including the single 'Veronica.'

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'Veronica' became his biggest American hit, peaking at number 19. Two years later, he released Mighty Like a Rose, which echoed Spike in its diversity, yet it was a darker, more challenging record. In 1993, Costello collaborated with the Brodsky Quartet on The Juliet Letters, a song cycle that was the songwriter's first attempt at classical music; he also wrote an entire album for former Transvision Vamp singer Wendy James called Now Ain't the Time for Your Tears. That same year, Costello licensed the rights to his pre-1987 catalog (My Aim Is True to Blood and Chocolate) to Rykodisc in America.Costello reunited with the Attractions to record the majority of 1994's Brutal Youth, the most straightforward and pop-oriented album he had recorded since Goodbye Cruel World.

The Attractions backed Costello on a worldwide tour in 1994 and played concerts with him throughout 1995. In 1995, he released his long-shelved collection of covers, Kojak Variety. In the spring of 1996, Costello released All This Useless Beauty, which featured a number of original songs he had given to other artists, but never recorded himself. Painted from Memory, a collaboration with the legendary Burt Bacharach, followed in 1998.The album was a success critically, but it only succeeded in foreign markets, outside of their home countries of the United States and Britain. A jazz version of the record made with Bill Frisell was put on hold when Costello's label began to freeze up due to political maneuvering. Undaunted, Costello and Bacharach hit the road and performed in the States and Europe. Then after Bacharach left Costello added Steve Nieve to the tour and traveled around the world on what they dubbed the 'Lonely World Tour.'

This took them into 1999, where both Notting Hill and Austin Powers: The Spy Who Shagged Me featured significant contributions from Costello. In fact, he appeared with Bacharach in the latter as a pair of Carnaby Street musicians, albeit street musicians with a gorgeous grand piano at their disposal.Continuing his tour with Nieve, he began singing the last song with a microphone, forcing the audience to sit in complete silence as he usually performed 'Couldn't Call It Unexpected, No.

4' with nothing but his dulcet baritone filling the auditorium. After the record company's various mergers ended, Costello found himself on Universal Records and tested their promotional abilities with a second 'greatest-hits' record (The Very Best of Elvis Costello). The label promoted the album strongly, making it a hit in his native Britain. Unfortunately, they also made it clear that they had no intention of giving a new album the same promotional push, leaving him to venture into other fields as he awaited the end of his record contract. His first project was an album of pop standards performed with Anne Sofie Von Otter, which included a few songs originally written by Costello. The album was released in March 2001 on the Deutsche Grammophon label, neatly coinciding with the extensive re-release of his entire catalog up to 1996 under Rhino Records. Each disc included an extra CD of rare material and liner notes written by Costello himself, making them incredible treats for fans.In 2001, he found himself with a residency at UCLA, where he performed several concerts and was instrumental in teaching music during the year.

He also began work on a self-produced album that featured Pete Thomas and Nieve - now billed as a band called the Imposters - entitled When I Was Cruel, and the album finally found release via Island Records in the spring of 2002; at the end of the year, he released a collection of B-sides and leftovers from the album's sessions entitled Cruel Smile.When I Was Cruel kicked off another productive era for the ever prolific Costello. In 2003, he returned with North, a collection of classically styled pop songs pitched halfway between Gershwin and Sondheim. The next year, he collaborated with his new wife, Diana Krall, on her first collection of original material, The Girl in the Other Room. That fall, Costello released two albums of his own original material: a classical work entitled Il Sogno and the concept album The Delivery Man, a rock & roll record cut with the Imposters. 2006's My Flame Burns Blue was a live album with Costello fronting the 52-piece jazz orchestra the Metropole Orkest; the release featured classic Costello songs (with new orchestral arrangements) alongside new compositions and a performance of the entire Il Sogno.

The River in Reverse, a collaboration with R&B legend Allen Toussaint, arrived in 2006, followed by Momofuku, another effort credited to Elvis Costello & the Imposters, in 2008. That same year, Costello teamed up with veteran producer T-Bone Burnett for a series of recording sessions, the results of which were compiled into Secret, the Profane and Sugar Cane and readied for release in early 2009. The pair also recorded a second album, National Ransom, which appeared the following year.