Remastered reissue of Michael de Albuquerque's "We May Be Cattle But We've All Got Names"

"It's always surprising, and the more it sinks in, the better it is."
​-Galactic Ramble

In the realm of 70s rock and fusion, few albums have captured the imagination quite like Michael de Albuquerque's solo debut, "We May Be Cattle But We've All Got Names." Originally released in 1973, during his tenure with the legendary Electric Light Orchestra (ELO), this album stands as a testament to de Albuquerque's innovative spirit and musical prowess. Fast forward to 2024, and music aficionados are in for a treat with the definitive reissue of this groundbreaking album.

Newly remastered by the esteemed Prof. Stoned, this reissue isn't just about bringing back an underrated classic; it's an immersive journey into the album's creation and legacy. George de Albuquerque's insightful liner notes peel back the layers of his brothers history, while rare photos and session notes from Michael de Albuquerque himself offer a peek into the creative process from the bygone era when musicians would record live in the studio.

The album is enriched by the fiery fretwork of Patto guitarist Ollie Halsall, heralded as one of the most innovative guitarists of the era, alongside an all-star lineup of legendary session players including Frank Ricotti on vibraphone, BJ Cole on pedal steel guitar, and Gerry Conway on drums. This ensemble elevates the album to a fusion masterpiece that transcends genre boundaries, blending intricate arrangements with soaring melodies and explosive solos.

For fans of Tower Of Power, Shuggie Otis, Sly & The Family Stone, Ray Charles, and of course, ELO, "We May Be Cattle But We've All Got Names" is an essential listen. Its rich tapestry of sounds and styles makes it a standout record that continues to resonate with listeners old and new. Packaged in a 350g digipak, the reissue includes a 16-page booklet filled with notes, rare photos, and a bonus track that adds even more depth to the original masterpiece.

Mark your calendars for May 31, 2024, as the reissued "We May Be Cattle But We've All Got Names" makes its eagerly anticipated return. This isn't just a revival of a classic album; it's a celebration of the enduring legacy of Michael de Albuquerque and a showcase of musical virtuosity that will captivate audiences once again.

ORDER LINK: https://tlak.rocks/wemaybecattle

ABOUT MICHAEL de ALBUQUERQUE

Born into the musically vibrant environment of Wimbledon, London, on June 24, 1947, Michael de Albuquerque's childhood was steeped in the music he sang with the Choir at Worth Abbey School. His first appearance was with the 28 Choir at the Royal Albert Hall, at the age of nine. And then of course the early days of rock 'n' roll were changing everyone's lives and Michael listened to all the great music that was evolving so rapidly.

His early forays into music saw him leading The Benedicts, a boarding school band where he honed his skills on a Fiesta Red Stratocaster with a repertoire of Shadows hits. His post-school years were marked by a creative partnership with Ed Welch and a flurry of singles like "Better Men Than Me" (1969) and "Roll Him Over" (1970), highlighting his distinctive voice and songwriting prowess.

It was during this period that Michael's reputation as a formidable session musician grew, influenced by Motown legends like James Jamerson, and leading him to produce and perform on Ed Welch's pop gem album with Tom Paxton. The early '70s brought the creation of "First Wind" alongside Frank Ricotti, an album that melded jazz-rock with the English jazz scene’s most talented musicians.

Michael's tenure with the Electric Light Orchestra (ELO) from 1972 to 1974 brought his skills into the limelight, contributing to seminal works like "ELO 2," "On the Third Day," and "Eldorado." His work with ELO, particularly on tracks like "Showdown," showcased his ability to fuse his Jamerson-inspired bass playing with the band's progressive rock style.

Despite the success with ELO, Michael's artistic vision led him to record his solo album "We May Be Cattle But We've All Got Names" in 1973, an introspective work that delved into themes of identity and existence. The project was further enriched by the involvement of virtuoso guitarist Ollie Halsall, who had impressed Michael with his performances in Timebox and Patto.

Following up with "Stalking The Sleeper" in 1976, Michael solidified his legacy as a solo artist. Beyond his solo work and ELO, he continued to explore new musical landscapes, including in 1979/80 with Violinksi. In 1975 Michael's Motown infused bass playing was featured on Maxine Nightingale's debut album release "Right Back Where We Started From" and the title track went on to reach No. 2 in the Billboard Hot 100 in the USA. In 1982, Sundance with Mike Hurst and Mary Hopkin was formed, where he once again displayed his wide-ranging musical talents.

Michael’s journey through music, from his first Stratocaster strums to his thought-provoking solo albums, showcases a relentless pursuit of artistic truth, making him a mainstay in the annals of rock and the broader tapestry of classic rock and pop music history.