Whirlwind is the fourth album by singer/songwriter/multi-instrumentalist Andrew Gold. It was released in 1980 on Asylum Records. It is Gold's final major label album and last solo album of any kind for over a decade.
Andrew Gold is the first album by singer/songwriter/multi-instrumentalist Andrew Gold. It was released in 1975 on Asylum Records. Linda Ronstadt, of whose band Gold was a member at the time, appears on the album.
Here is a worthwhile re-issue of a classic jazz-fusion release. The title track is just a sublime piece of midtempo magic, the kind of track would play on his much missed Radio 1 show (the music for a candlelight dinner section). gets to sing on this track. Elsewhere we get some jazz-funk instrumentals the best to my mind being the moody, downtempo with ronnie's soprano sax to the fore atop dreamy fendor rhodes. is an attractive ballad with singing again. With sidesmen and women of the calibre of , , and helping out, he can't really go wrong, can he?
Disgruntled at having to do a gig in a venue he expressly didn’t want to play, RF is anything but a happy gigster and don’t his mates know it! “For myself, it is certainly hard trying to play a gig when one of the guys really doesn't want to be there” says Trey. ”I think, as group, we played quite well… But it was definitely a case of going 'up a hill backwards',tonight.” Not surprisingly, there are a couple of tracks that sound distracted; delivered but not as full-on as you might hope for. Nevertheless, there's plenty to keep one happy.
“A good, supportive audience. . .had a good hearted group to play to them. But, as far as we could tell, probably not our best performance” said Robert at the time. But what does he know eh? He’s just the guitar player after all. Several tracks from this gig would later turn up on the triple live album, Heavy ConstruKction but this is first time the whole kit and caboodle has been officially available. Having been forced to use a borrowed PA Trey observes that the opening sound felt limp and wimpy. The band compensated by playing some of the tunes faster. “I felt myself rushing ahead of the beat with every bar. . .
"Once again, a superb & supportive audience …The Circus Krone is a great venue for circuses, and a good atmospheric for groups. But not sound. All the same, we enjoyed playing” observed the Robert. Trey Gunn agreed. “(the sound) wasn't as bad as last night in Stuttgard, but it was still pretty crappy. However, the audience really redeemed it, tonight.” Belew responds particularly well the crowd, showering them with the sploog on a lethal LTIA IV; a great vocal on Frying Pan and a particularly convincing Oyster Soup.
As the sun was setting over Pittsburgh, P2 opened their show first with silence and then a nebulous soundscape. In his diary at the time, Trey rated the show as "pretty good…though we had to fight with the energy." He goes on to argue that P2 benefit from the pressure cooker environment of a club and though the opening Vector Shift sounds like they’re finding their feet they compensate by offering a snarling Sus-tayn-Z that cuts into a passionate Live Groove demonstrating why Gunn and Fripp are such an effective and dazzling partnership.