An Overdose Of Fingal Cocoa: Denny Laine

Denny Laine in December 2016 (moved from later post)

An Overdose Of Fingal Cocoa: Denny Laine

Denny Laine revised

I have separated the tracks for peoples convenience. If you like each side of the LPs as one track, click the tag for the other versions. Limited time only.

Anyone Can Fly
Wings on My Feet

Mirror of Anyone Can Fly
Mirror of Wings on My Feet

Natalie Cole

Natalie Cole at the Java Jazz Festival in 2014, one of her last performances.

 On a Facebook group I help run, we had a request for Natalie Coles 1985 album Dangerous, released on Stevie Nicks's solo label Modern Records. It was overlooked at the time, and both ladies were dealing with addiction at the time. While the label is still a legal entity for its founders own work, it's unclear if the album is owned by the label, Warner Music Group (who would later sign Cole at Elektra), or her estate. There are other albums that have yet to be reissued, even though they sold more copies and had hit singles in the charts like "Pink Cadillac" and "Miss You Like Crazy". While the albums predecessor I'm Ready was reissued before she passed, its successors Everlasting and Good to Be Back haven't since the original Elektra releases were acquired by Craft Recordings at indie powerhouse Concord, which took over other former Warner masters, which I mentioned in the post on Coles former Elektra stablemate Anita Baker. That label bought those two late '80s albums, which were from a brief return to Coles fathers old label Capitol through subsidiaries Manhattan and EMI USA respectively. It may have been because of the parent companies purchase of Chrysalis and Virgin that Elektra got those. They were included in the 5 CD budget boxed set collection Original Album Series with Unforgettable with Love, Take a Look and Stardust, which is now out of print. However, I did look on Amazon Music, and Craft have those two albums from 1987-89, while Dangerous is an anomaly they could look into. Natalie Cole is missed dearly by fans around the world.

Hefiorels eclectic music: Buggles - Video Killed The Radio Star

AI photo of Trevor Horn in recent memory.

Hefiorels eclectic music: Buggles - Video Killed The Radio Star

A&M Records

Sting in Alachua County on his first solo tour in October 1985

 After writing about Dark Horse Records, I went to Wikipedia and clicked on their original distributor A&M Records and found that the label would be relaunched. However, no sources such as Billboard, Rolling Stone, NME, Variety or the like were cited, making this a mere rumour, as Wikipedia can be unreliable if anyone can just put something up, making Fleet Street look like Utne Reader. A&M has been largely dormant in recent years, especially since the late '90s when PolyGram were sold to Universal. The former bought A&M, Island and Polar a decade earlier. In the US, A&M were clustered with Interscope and Geffen. The split between Universal Studios and Music Group in 2003 changed things further. Octone moved from J/BMG to A&M after the old BMG launched their JV with Sony in 2004 and Maroon 5 would eventually appear on Interscope. Sting has been carrying the torch of A&M since he was in the Police in the late '70s and only a few classical releases are on sister label Deutsche Grammophone (he'll be in Syracuse again in April 2026 with Billy Joel, which was postponed). Rick Wakeman had a solo deal with A&M coming out of the Strawbs, but it complicated what he could do in Yes at first, and A&M didn't always support his decisions, and he left the label and Yes in 1980, despite personal issues at the time.

Polydor UK did relaunch A&M on their end once and signed Duffy (on an equally brief reboot of Mercury [not counting Nashville like with MCA] across the pond). Jim Diamond released his first two solo albums on A&M, yet put out his fourth on Polydor, which could either have been to complete the old deal because an A&R left, or was an unrelated new one. His widow would have to answer that.

Supertramp would work their way up to become of the biggest successes for A&M. Roger Hodgson would stay on his own after leaving in 1983 for the first couple solo LPs before a long hiatus. The Carpenters safe as houses sound brought gold and platinum despite their Karens eating disorder. Amy Grant blazed a trail for the Lord being between A&M and Christian label Myrrh making her catalogue more available and becoming the cross-over queen. The Canadian branch had Bryan Adams, Gino Vannelli, Andy Kim, Susan Jacks, Terry Jacks, Bruce Cockburn, Véronique Béliveau, Jann Arden; Sharon, Lois & Bram; Fred Penner, and Raffi (even the Cancon kiddie scene counts). The boys tried to sign with A&M, but were turned down (their loss). Styx and Supertramp were the biggest international acts at the Toronto arm and overall in Canada since the Beatles and Elvis Presley, I would suppose.

I gave you the Cliffs Notes version of A&Ms history, yet we need something that confirms a new one is about to start. The label has a rich legacy and you'd never think it was technically indie in the old days.

Dedicated to the memory of Jerry Moss, who would have been proud to see the label return, despite the two legal rows he and his former colleague Herb Alpert have had with the two subsequent owners over its corporate culture (Alpert moved his lot to a new vanity label since then).

George Harrison remasters and Dark Horse Records: 50 Years On

George Harrison at the Princes Trust appeal, 1987.

 George Harrisons family signed a deal last year with BMG to move distribution of his solo label Dark Horse Records and administration of his publishing. His old friend Bob Dylan started the trend (even though he outright sold his work). A few reissues have already come out, primarily on vinyl, such as the first two solo releases Wonderwall Music and Electronic Sound on limited edition picture disc, to straight reissues of the last couple Cloud Nine and Brainwashed. The newest is Living in the Material World 50th Anniversary (albeit a year and a half too late, but it can only "Be Here Now" [where oasis got the names of both that and "Wonderwall"]). Getting more praise now like his former colleague John Lennons solo album from 1973 Mind Games, expanded last year by their Sean, which was underrated when the elder Lennon and Harrison were both still alive ("You know how it is," the former would say).

One reviewer said that All Things Must Pass had been done enough. However, because of the new contract, one must consider that like Paul McCartneys solo and Wings output prior to 1975, it is no longer on Apple (although his first two had licenced it for new LP reissues for old times' sake). Back to Harrison, his triple smash could either do the same thing, or it would be like in 2001 less than a year before his passing when it was remastered with a new design and was neither on Apple or Dark Horse, but on a one-off vanity label called GnOM (you'd have to look it up, and it was the last solo reissue in his lifetime). The more recent edition would be out again with the new information, but Apple could be loaned out just like Parlophone is with Beatles proper reissues for up to 1967 since EMIs sale in 2013.

Late 1974s Dark Horse album may be next. Named to fill the void since Harrisons old deal wouldn't be done until January 1976. Rolling Stone slated the tour and he never lived it down. His voice was a state. I wonder if Peter Jacksons MAL AI technology could be used to do up a live show if a recording made by Harrison himself exists, coming after Get Back and "Now and Then", or if a decent bootleg is available since it technically can be claimed. Live albums used to have studio overdubs in those days, but this is something Live at the Star Club is reportedly getting (that'll be considered for a future post).

1981s Somewhere in England could have an expanded edition because a number of songs were declined by then-distributor Warner Bros./WEA (Warner Music Group), which were only available later as B-sides, remaster bonus tracks, on Sothebys-rare limited edition CD EPs that came with a book, or on bootlegs (the diehards get it). Their Dhani has his work cut out. There may be even more in the vaults.

Then there's the complication of compilations. The Best of George Harrison was supposed to be the best of both worlds (largely the old guard), but was just a sendoff by EMI to compete with Thirty-Three and a Third in November 1976. The Best of Dark Horse: 1976-1989 is the only one he approved of and is long out-of-print and has no Beatles tracks whatsoever. Let It Roll was a posthumous release. It would be having to licence Beatles tracks from Universal, Apple or Sony (Concert for Bangladesh versions outside North America because of Dylans [on Columbia US/then-CBS, yet on sister label Epic] return to the stage and industry policies at the time, as well as for pre-1968 publishing). Even a new collection could be considered.

Dark Horse in recent years returned to its original vision of signing other people. Joe Strummers estate (The Clash) and Billy Idol are two of the latest to join the fray. Reissues of past artists like Splinter, Henry McCullough (Wings), Keni Burke and Stairsteps, Attitudes and Ravi Shankar (we can't forget him, of course) should be explored, although some already are reissued, so I'm just catching up here.

Absolutely no ChatGPT was used. George would be very concerned about AI if he were still with us, I'm quite sure. He probably would have approved of it being to used to clean up the audio, but not to replicate voices and instruments, because that's what people are afraid of, and Ringo had to assure everyone that John wasn't being imitated by a bot, because it's not like the "new" Steve Marriott album (which is a mockery at a level even Yoko wouldn't stoop to, but we won't go there today). I just know that Harrisons legacy is in capable hands and will continue to bring in new generations of fans.

REO Speedwagon: REO-gate

REO Speedwagon in happier times (cliché, I know!) at Red Rocks, CO Capital Region, 2010

Sjgkfe, CC BY 3.0, via Wikimedia Commons

 Seems that it's never too late for a band to have problems. Just as oasis come back, other bands fall apart, particularly ones from before thirty years ago I grew up seeing in the charts and on MTV & VH1. It's like a marriage that ran its course, A trite comparison but it's true. REO Speedwagon are no stranger to this, and now they're on the way out because of a row over bass player Bruce Halls medical recovery and frontman Kevin Cronin. A similar situation occurred twice in the late '90s with their friends Styx and contemporaries Journey, as well as Yes less than a decade later, so it's not uncommon, especially as one gets on in age. The jury are out on this one. We've just seen Hall & Oates and Janes Addiction become Behind the Music material (now on Paramount+, sister streamer to MTV and VH1).

 Remaining founding member Neal Doughty stopped touring in 2022 and I saw the band for the last time and without him last year, and it wasn't the same. I also learned co-founder and original drummer Alan Gratzer is originally from Syracuse. I didn't go the year before because I couldn't afford to go to that and Elton John, who was wrapping up his life on the road, and his bass guitarist Matt Bissonette (Greggs brother) has just taken over for Hall to boot. I just didn't go this year also because I had to cut back on shows like a lot of people are on less essential activities in this economy. Perhaps the spirits of Gary Richrath and the more recently departed Gregg Philbin told me not to go this time as they turn in their graves over this. I might have even skipped Cronins birthday this year because of how he allegedly stabbed his longtime colleague in the back or I'm focussed on other bands and priorities right now. We're riding a real (two in the south at the time of this writing) and proverbial storm out here. It'd be too easy to throw in some Gene Shalit-style puns to what is a sad end to a nearly six decade legacy that started in the Champaign-Urbana area at uni in the bar scene and became an AOR-corporate rock punchline to many. We're all experienced at being human and life is one big Pandoras box. Terry Luttrell from the 1971 début (later of Starcastle) and would-be vocalist Greg X. Volz (who joined Petra instead, who I once liked, while Cronin returned after the Mike Murphy period in 1976) found the Lord.

  It's a right shame to see a band I've known for over forty years' time since I was very young get to this stage so far along, but let's hope they can sort out their differences so they can end the band with some integrity and dignity for the sake of the fans.

UPDATE: The final lineup will now tour under Cronins name. They will tour with Styx and Don Felder (late of Eagles) in summer 2025, including Syracuse (Styx were in the same boat on a river, while Felder had left, but says never checked out of his old band).

The last REO proper show I attended at the NYS Fair