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DISCID=ae0c960d
DTITLE=Boz Scaggs / Silk Degrees (Remastered + Expanded)
DYEAR=1976
DGENRE=Rock
TTITLE0=What Can I Say
TTITLE1=Georgia
TTITLE2=Jump Street
TTITLE3=What Do You Want The Girl To Do
TTITLE4=Harbor Lights
TTITLE5=Lowdown
TTITLE6=It's Over
TTITLE7=Love Me Tomorrow
TTITLE8=Lido Shuffle
TTITLE9=We're All Alone
TTITLE10=What Can I Say (Previously Unissued Live - 08.15.1976)
TTITLE11=Jump Street (Previously Unissued Live - 08.15.1976)
TTITLE12=It's Over (Previously Unissued Live - 08.15.1976)
EXTD=Silk Degrees (Remastered + Expanded)\n\n\nOriginally Released Feb
EXTD=ruary 1976 \nCD Edition Released 1985 ??\nMobile Fidelity Gold CD
EXTD= Edition Released July 1990\nSony MasterSound Gold CD Edition Rel
EXTD=eased August 1994\nRemastered + Expanded CD Edition Released Febr
EXTD=uary 27, 2007\n\nAMG EXPERT REVIEW: More than 30 years after the 
EXTD=fact, Boz Scaggs' classic Silk Degrees still lives in musi-cultur
EXTD=al language as his "disco album." For some who had been following
EXTD= the singer and songwriter's career since the late 1960s when he 
EXTD=left the Steve Miller Band and became an R&B shouter in the grand
EXTD= tradition of his home state of Texas, this was a sell out. Many 
EXTD=others had either never heard of Scaggs or knew his work marginal
EXTD=ly at best because he'd released four previous albums under his o
EXTD=wn name. and Silk Degrees became his pop signifier.The real truth
EXTD= of Silk Degrees and why, in 2007 it sounds perhaps more revelato
EXTD=ry than it did in its heyday is that its songs, arrangements and 
EXTD=production feel timeless. The roots of the album lie in Scaggs th
EXTD=ree previous Columbia offerings: the introspective crooning on 19
EXTD=71's Moments, the tough, danceable rhythm and blues and soul in M
EXTD=y Time in 1972 and especially the sublime Slow Dancer in 1974, wh
EXTD=ere he worked with Motown's Johnny Bristol. This last record plac
EXTD=ed Scaggs on par with Van Morrison and Daryl Hall as a great whit
EXTD=e soul singer who understood the nuances in the music as well as 
EXTD=its dynamics.Scaggs left san Francisco for Los Angeles on Silk De
EXTD=grees, paired with producer Joe Wissert (who brought Earth Wind a
EXTD=nd Fire to the popular consciousness with his production of the b
EXTD=and's Open Our Eyes in 1974) and a mighty rhythm section that inc
EXTD=luded David Paich who played not only keyboards but co-wrote "Lid
EXTD=o Shuffle," and "Lowdown," and arranged the album, Jeff Porcaro o
EXTD=n drums and bassist David Hungate. This trio was in demand studio
EXTD= players since leaving Los Angeles's Grant High School three year
EXTD=s before-- later they became known as Toto. (Paich worked off and
EXTD= on with Scaggs all the way through 2001's criminally under-notic
EXTD=ed Dig.) The process of Silk Degrees becoming a bit is one of mus
EXTD=ic legend in that while it was selling respectively, its first si
EXTD=ngle, "It's Over," stalled at #38 until a Cleveland DJ began play
EXTD=ing "Lowdown," during his shift-when DJs could freely select reco
EXTD=rdings and help to break them -and the record just took off, endi
EXTD=ng up at number three and poushing the album into the chart strat
EXTD=osphere.The new edition of Silk Degrees has been truly stunningly
EXTD= remastered by Adam Ayan at Gateway Mastering in Maine. In additi
EXTD=on to the original, there are three unreleased cuts recorded at t
EXTD=he Greek Theatre in L.A. during August of 1976 that prove beyond 
EXTD=the shadow of a doubt that the music here could come off as well 
EXTD=in concert as it did in the studio. Musically, this set doesn't r
EXTD=eally sound dated at all-especially considering the renewed fasci
EXTD=nation with disco as a critically overlooked genre in 2007. It ma
EXTD=y be a product of an era for those that heard it the first time a
EXTD=round because of the smash hits "Lido Shuffle" and "Lowdown," tha
EXTD=t were ubiquitous on radio then, and are continually played on ol
EXTD=dies stations now. The many sounds on the record are rather start
EXTD=ling today Beginning with "What Can I say," the pumping bassline,
EXTD= horn chart and single note piano vamp as backing vocals and stri
EXTD=ngs usher in Scaggs sultry late night slinky tenor. Hungate's fil
EXTD=ls pump the low end staggered with Porcaro's hit hat work takes i
EXTD=t to the dancefloor straightaway. But this is still a soul tune i
EXTD=n the '70s uptown mold. And one can just as easily picture Marvin
EXTD= Gaye singing this as Scaggs. With a great alto break by Plas Joh
EXTD=nson it hearkens back to the grit of the Texas rhythm and blues t
EXTD=radition. "Georgia," (not the tune associated with Ray Charles co
EXTD=mes popping out of the gate with a solid tom, tom rumble, swellin
EXTD=g strings and a synth line that the Human League would have kille
EXTD=3d for a few years later. But it's Scaggs's smoother than fine hi
EXTD=skey delivery that trots it out to the floor. His sense of time w
EXTD=ith the rhythm section is uncanny. He is always on the one and le
EXTD=ts his voice slip and slide all over Paich's arrangement with its
EXTD= swells and stops and a killer horn break. The streetwise "Jump S
EXTD=treet," is the only real concession to Scagg's blues and soul sho
EXTD=uter past, but it's a tough track, with a smoking guitar line by 
EXTD=Les Dudek (Fred Tackett and Louis Shelton were the sionn guitaris
EXTD=ts; Dudek was a guest). And while Scaggs does a fine job with the
EXTD= Allen Toussaint standard-now not then-"What Do You Want The Girl
EXTD= To Do?" it's on his atmospheric ballad "Harbor Lights" that clos
EXTD=ed side one, where the album already defines itself as something 
EXTD=for the ages. Paich's spectral electric piano line informed by Ch
EXTD=ick Corea's work with Return To Forever on Light As a Feather, an
EXTD=d his hovering synth line around Scagg's tender tenor. When the r
EXTD=efrain and Chuck Findley's flugelhorn solo float around the skele
EXTD=tal rhythm section, it underscores itself as of one of the great 
EXTD=baby makers of all time.To think that the big singles are on the 
EXTD=flip side of the album, beginning with "Lowdown"'s high hat and b
EXTD=ass shuffle-that put the track on turntables under the mirrorball
EXTD= of danceclubs everywhere in the United States and Europe---is pu
EXTD=zzling and not so. What listeners heard but could not identity at
EXTD= the time were jazz references that were taking over that music's
EXTD= mainstream as well (Grover Washington Jr.'s "Mister Magic" and "
EXTD=Feels So Good" as well as George Benson's "Breezin'" and "cover o
EXTD=f "This Masquerade" were hits in 1976 as well). Some of the sessi
EXTD=on players on these sides included Johnson, Tom Scott, and Bud Sh
EXTD=ank as well as Findley. The synthesizer, bass and hit hat and cym
EXTD=bals were all of course on the funky side of things, but Paich wa
EXTD=s a skilled arranger who understood these tunes reached beyond th
EXTD=e boundaries of rock, soul, jazz and perhaps it was in disco-on t
EXTD=his album anyway-that they all came together. Check the big Barry
EXTD= White-styled strings on "It's Over" with its duet and backing ch
EXTD=orus vocals on the verses, but the beats slip through standard ti
EXTD=me, especially in the mini bridges at the end of the verses. The 
EXTD=long, instrumental and free form vocal at the end of "Lowdown," c
EXTD=omes right from Stax Volt vamps but the uptempo funk and Walter B
EXTD=ecker styled dual lead guitar, with the moog and Arp coloring in 
EXTD=a whistle sound so closely associated with disco that makes the t
EXTD=une a wonder. Paich's uptown club reggae tiune "Love Me Tomorrow,
EXTD=" fueled by Poprcaro's rim shots and Hungate's rocksteady basslin
EXTD=e leave room for a gorgeous horn arrangement and Scaggs' soul due
EXTD=t vocal with a female chorus that mix the tune beyond boundaries-
EXTD=check the bluesy p electric piano fills Paich makes in between ve
EXTD=rses. "Lido Shuffle," is its own musical universe, with its singl
EXTD=e note bass vamp to introduce Scagg's storytelling vocal. When th
EXTD=e band kicks in after the initial four lines, with fat horns and 
EXTD=synths, But it's a blues and boogie tunes til the refrain. It swe
EXTD=lls bigger than life and switches to an R&B belter that is trumpe
EXTD=d by Paich's arrangement and the bigger than life sound. Those ho
EXTD=rns are so big Scaggs has to reach hard to get on top of them. On
EXTD=ce again, Scagg's knows his strengths and closes the album with a
EXTD=nother ballad. "We're All Alone," that is as romantic as any rock
EXTD= performer ever got and showed the other side of his strength. Hi
EXTD=s mellifluous voice, allowing the lines to float out of his mouth
EXTD=; it's a love song for dimming the lights and turning down the be
EXTD=d. In short. It is the quintessential lullabye for lovemakers in 
EXTD=the silence of the night. It tops off a near perfect recording, o
EXTD=ne made for the concerns of the 1970s as joy, hedonism, and sensu
EXTD=ality became hallmarks of the entire period in popular culture. T
EXTD=hat it sounds as beautifully crafted now is a testament not only 
EXTD=to the production and care taken with the set, but its songs, whi
EXTD=ch are, in large part, timeless. It tops off a near perfect recor
EXTD=ding, one made for the concerns of the 1970s as joy, hedonism, an
EXTD=d sensuality became hallmarks of the entire period in popular cul
EXTD=ture. That it sounds as beautifully crafted now is a testament no
EXTD=t only to the production and care taken with the set, but its son
EXTD=gs, which are, in large part, timeless.The bonus material here-"W
EXTD=hat Can I Say," "Jump Street," and "It's Over," is exactly that a
EXTD=nd makes a case for Legacy actually issuing this live at the Gree
EXTD=k set in its entirety. The first and third cuts jump as the dance
EXTD=floor aesthetic is ramped up on the stage. It's funky, still smoo
EXTD=th but somehow raw and wild at the same time. Scagg's vocals are 
EXTD=so utterly transcendent he rises to every challenge the music mak
EXTD=es. The tight performance is all but unhinged by his improvisatio
EXTD=nal ability. Yet once again, "Jump Street," digs deep into Scagg'
EXTD=s American roots lineage as slide guitar, pumping boogie woogie p
EXTD=iano (that enters with a ragtime vamp) lets the audience know tha
EXTD=t he is not a Johnny come lately, or that he has forgotten the bl
EXTD=ues. This new edition of Silk Degrees is not only worth the purch
EXTD=ase for those who know the record-it's been sampled more times by
EXTD= hip hoppers and dance music producers more times than can be com
EXTD=fortably noted-but for anyone interested n the music of the '70s,
EXTD= Scaggs, or in hearing a perfect meld of pop music's various line
EXTD=ages in a single disc can produce. Silk Degrees is every bit the 
EXTD=memorable classic we think it is, but it is also one of the most 
EXTD=enduring productions in the history of popular music. Finally, Sc
EXTD=aggs, one of the great 20th century vocal stylists, who can sing 
EXTD=anything and still has it is spades as evidenced by 2001's Dig, a
EXTD=nd his jazz record But Beautiful in 2004, should be coaxed out of
EXTD= his comfort zone obscurity as "something that already happened" 
EXTD=and into a studio once again. -- Thom Jurek\n\nAmazon.com Editori
EXTD=al Review\nLanky Texan neo-soul crooner and underrated guitar war
EXTD=rior Boz Scaggs was a Steve Miller Band alumnus who jumped ship t
EXTD=o probe silky R&B instead of gritty blues, the Miller Band's orig
EXTD=inal milieu, and each of his early '70s solo albums polished the 
EXTD=mix toward this triumphant zenith. Hindsight too often devalues S
EXTD=ilk Degrees for its snug fit with the disco aesthetic that prevai
EXTD=led upon its mid-'70s release, and the style's rhythmic signature
EXTD=s do bubble up significantly, particularly on the best-known trac
EXTD=k, "Lowdown," which can't help but risk museum-piece status if on
EXTD=ly for its ubiquity on the radio. Yet Scaggs's lyric intelligence
EXTD= and the skintight playing of a studio band built around what wou
EXTD=ld soon become Toto (!) makes this a modern classic, as noteworth
EXTD=y for its ballads ("We're All Alone," "Harbor Lights") as for its
EXTD= workouts ("Georgia," "Lido Shuffle"), and a typically smart cove
EXTD=r choice in a great version of Allen Toussaint's "What Do You Wan
EXTD=t The Girl to Do." --Sam Sutherland \n\nAMAZON.COM CUSTOMER REVIE
EXTD=W\nEnduring classic cherished for the Class of 1976 and beyond, A
EXTD=ugust 7, 2005\nReviewer: Martha K. Guthrie "constant reader" (Eng
EXTD=lewood, OH USA)\n\nThis album has never gone out of my "regular r
EXTD=otation" - I've had it on LP, 8-Track, cassette and CD and it's a
EXTD=lways in the CD cases that I take for the car. \n\nWhile it's tru
EXTD=e that "Silk Degrees" appeared on the scene during my own persona
EXTD=l "Summer of Love" - the bittersweet summer between my senior yea
EXTD=r of high school and freshman year of college, it's not nostalgia
EXTD= that keeps it on my playlist. While I love Boz's catalogue, this
EXTD= is the one I keep coming back to. I don't think I could ever get
EXTD= tired of "Georgia" or "It's Over." While I recognize the value o
EXTD=f the ballads here, I listen to this for energy and joy and prefe
EXTD=r "Lowdown," "Lido Shuffle," "What Do You Want The Girl To Do." \n
EXTD=\nAlthough I was only really a disco babe during that year to wea
EXTD=r slinky clothes and dance off the 3.2 draft beer I could finally
EXTD= legally drink - "What Can I Say." Every time I hear that song, I
EXTD= feel my body spin just as it once did during the beat just befor
EXTD=e the chorus. I still see a multicolored lighted dance floor wher
EXTD=e I spun and shimmied with boys I was not thinking about - all th
EXTD=e while thinking of boys who didn't venture into discos and who w
EXTD=ere somewhere out there in the night during that bicentennial sum
EXTD=mer. \n\nIt's Boz's style and vocals that make this true American
EXTD= fusion roots music - personally, I hated every song that Toto ev
EXTD=er did. \n\nAn interesting touch on Georgia - I muse over the lin
EXTD=e, "Your daddy was high the night he dreamed up you." Is that a s
EXTD=urrealistic compliment, or what? \n\nI can't possibly count the t
EXTD=imes in later years I spun and shimmied late at night to these so
EXTD=ngs in my living room and sang my once broken heart out along wit
EXTD=h Boz to "It's Over." I just asked my non-music-fanatic husband "
EXTD=You ever heard this song before?" and was only slightly surprised
EXTD= when he said no. Oh well, he's not a part of those years.\n\n\nA
EXTD=MAZON.COM CUSTOMER REVIEW\nThe Power of the Groove!!!, January 6,
EXTD= 2004\nReviewer: D. Hawkins (Denver, CO United States)\n\nQuite o
EXTD=ften, when someone says they like a particular song, it's because
EXTD= of the tune's groove. You see little kids respond to grooves the
EXTD=y like by dancing and moving around. That said, "Silk Degrees" is
EXTD= an album that has held up for almost 30 years now, cuz it's a no
EXTD=nstop groove festival! The late, great Jeff Porcaro shows us all 
EXTD=(at the tender age of 22) that he understood what made a song gre
EXTD=at - "It's got a good beat and you can dance to it." Whether it's
EXTD= a ballad, reggae tune, or my all time favorite drum groove ("Low
EXTD=down") Jeff keeps the party going. Why do you think they used "Ge
EXTD=orgia" on an episode of "Ally McBeal?" It gets you up and moving.
EXTD= Actually, I heard "Lowdown" in the grocery store the other day a
EXTD=nd many people were tapping along on their carts, probably unawar
EXTD=e of it, because music is that powerful. When you couple Jeff's d
EXTD=rumming with Boz's great voice, and great songs (for years I thou
EXTD=ght "Lido Shuffle" was "eeo, oh oh oh oh!"), you have the definit
EXTD=ion of a classic, something that hasn't aged a day and still dema
EXTD=nds regular rotation. "A thing of beauty is a joy forever" was ne
EXTD=ver more true than for this CD.\n\n\nAMAZON.COM CUSTOMER REVIEW\n
EXTD=A forgotten gem..., March 2, 2001\nReviewer: A music fan\nOne rev
EXTD=iewer states that it's "hard to beleive that Boz once ruled the a
EXTD=irwaves" with the songs from Silk Degrees. It's not hard to belie
EXTD=ve for those of us who remember when that was the case.\nThe trou
EXTD=ble is, because Boz's work before and after this LP were rather u
EXTD=nremarkable, Silk Degrees has been largely forgotten, which is a 
EXTD=shame.\n\nA couple of reviewers have stated that "fans of 70's mu
EXTD=sic" will like this CD. Wrong. Fans of good music from any era wi
EXTD=ll enjoy it. If you're under the impression that the junk which p
EXTD=asses as music today is good, you may be in for a shock to hear m
EXTD=usic on Silk Degrees which is very smooth, tight, clean, melodic 
EXTD=and simply enjoyable to listen to. And don't beleive for a second
EXTD= that nonsensical assertion that Silk Degrees is "disco." This so
EXTD=unds nothing like the Bee Gees or Donna Summer.\n\n"Lowdown", "Li
EXTD=do", "We're All Alone" were the big, big songs of their day, and 
EXTD=it was amusing to see "Georgia" resurrected on Ally McBeal. As ot
EXTD=her reviewers have said, there isn't a bad song on here.\n\n\nAMA
EXTD=ZON.COM CUSTOMER REVIEW\nBest album from Boz, September 5, 2000\n
EXTD=Reviewer: Brian D. Rubendall (Oakton, VA)\n\nHard to believe, but
EXTD= Boz Scaggs's "Silk Degrees" once ruled the American airwaves wit
EXTD=h such songs as "Lido Shuffle" and Lowdown," not to mention the s
EXTD=uperb love song "We're All Alone." This is by far Scagg's most ac
EXTD=cessible and listenable album, and contains no bad songs. In fact
EXTD=, it is more consistant than his greatest hits album. The music v
EXTD=aguely recalls latter period Steve Winwood in its jazz-influenced
EXTD= softer rock. Fans of 70s rock should give it a spin.\n\n\nHalf.c
EXTD=om  \nContributing artists: Bud Shank, David Hungate, David Paich
EXTD=, Fred Tackett, Jeff Porcaro, Jim Horn, Les Dudek, Plas Johnson, 
EXTD=Tom Scott \nProducer: Joe Wissert \n\nAlbum Notes\nPersonnel: Boz
EXTD= Scaggs (vocals, guitar); Fred Tackett, Louie Shelton (guitars); 
EXTD=Les Dudek (slide guitar); Plas Johnson (tenor saxophone, horns); 
EXTD=Bud Shank (saxophones, horns); Chuck Findley (horns, flugelhorn);
EXTD= Jim Horn, Tom Scott, Dick Hyde, Paul Hubinon, Vincent deRosa (ho
EXTD=rns); David Paich (keyboards, synthesizer); David Hungate (bass);
EXTD= Scott Edwards (bass guitar); Jeff Porcaro (drums, percussion); C
EXTD=arolyn Willis, Marty McCall, Jim Gilstrap, Augie Johnson, Maxine 
EXTD=Green, Pepper Swenson (background vocals).\n\nRecorded at Davlen 
EXTD=Sound Studios and Hollywood Sound Studios, Los Angeles, Californi
EXTD=a.\nRecording information: Hollywood Sound, Hollywood, California
EXTD= (1976).\n\nBoz Scaggs's 1976 breakthrough, SILK DEGREES, was not
EXTD= only his biggest-selling album, it was also one of his best. Her
EXTD=e Scaggs collaborated with keyboardist and bandleader David Paich
EXTD=, who would soon form the hugely success band Toto with this reco
EXTD=rd's drummer, Jeff Porcaro. In Paich, Scaggs found a foil who add
EXTD=ed just enough pop gloss to make his blues- and R&B-tinged materi
EXTD=al palatable to the masses. Crucially, though, the pair keeps Sca
EXTD=ggs's remarkable voice at the center of things, never going too f
EXTD=ar overboard with the studio polish. As a result, hit singles "Lo
EXTD=wdown" and, particularly, the horn-spiked R&B of "Lido Shuffle" s
EXTD=till sound fresh, while the ballads remain soulful. A year or so 
EXTD=later, Rita Coolidge would take one of those ballads, "We're All 
EXTD=Alone," into the Billboard Top Ten with her own version.\n\n\nROL
EXTD=LING STONE REVIEW\nLast year's Slow Dancer, like his classic firs
EXTD=t album, suggested that Boz Scaggs might break out of his San Fra
EXTD=ncisco Bay Area cult to a larger national following. Dancer wasn'
EXTD=t a radical departure from his earlier recordings, but for the fi
EXTD=rst time Scaggs played no instrument, concentrating instead on si
EXTD=nging.\n\nJoe Wissert has replaced Johnny Bristol as producer, bu
EXTD=t Silk Degrees, although blander, is similar in style to its pred
EXTD=ecessor. "Georgia," a smoky ballad, lets Boz soar into the Fiftie
EXTD=s harmony he's recently discovered; his beautiful voice could eas
EXTD=ily hold its own on any street corner in New York. But "Jump Stre
EXTD=et" points up the dilemma in the decision not to play guitar on r
EXTD=ecord. While similar in form to "Dime a Dance Romance," from his 
EXTD=Steve Miller days, it lacks drive and focus: where "Romance" was 
EXTD=propelled by Scaggs's singing and playing, "Jump Street" just mea
EXTD=nders without an instrumental counterpoint to Boz's singing. It p
EXTD=robably isn't the session players' fault; Scaggs simply doesn't f
EXTD=eel comfortable when singing rock & roll without his guitar.\n\nW
EXTD=ithout solid rock as a base, Scaggs's more diverse approach falte
EXTD=rs. He sings well in the disco fashion, but the tunes don't have 
EXTD=the meat to complement the first-rate ballads. "We're All Alone" 
EXTD=expresses the right mood at the album's close, but it would have 
EXTD=shone brighter had "Lido Shuffle," which preceded it, been more d
EXTD=istinguished. To become as big a force as he is a talent, Boz Sca
EXTD=ggs needs to reintroduce his own rock & roll. (RS 211 - Jan 21, 1
EXTD=977)  -- DAVID LEISHMAN
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