Wild Geese – Flight 2 (1979)

FrontCover1.JPGUnfortunately I found no informations about the hisory of the Irish Folk group; maybe they lived in Germany, becaus all their albums were recorded in Germany.

But I found the liner notes from their first album, written by Finbar Furey:

The past twenty years or so have seen a great re-birth and development in the popularity and techniques of traditional Irish music. Many individuals and groups have concentrated on particular aspects of the music.

If one word were applied to WILD GEESE it must surely be “variety”. The 4 musicians — Peadar, Norman and Tony from Ireland, Steve from England — play the whole spectrum of traditional music — from unaccompanied slow-airs and street-ballads to intricate arrangements of dance music and traditional songs. This scope and versatility is well represented on this, their first record together. Finbar Furey, an old friend of the WILD GEESE, wrote to us the following about the musicians: “Sligo is a great County for music. Some of the finest musicians have emerged from here. Peadar is a grand flute player who plays in his native Sligo style, which yet has to be equalled. He’s a very modest man with a smile for the ladies and a great respect for fellow musicians; as Norman would say, ‘a mighty man’. Every group has to have one — what I mean is a Norman. What’s known as a man with a gifted tongue and a shake for the Bodhrán. He also plays guitar and has one of the best voices for singing Dublin street ballads and rowdy pub songs. His Dublin inheritance gives him one of the greatest humours on or off stage. A gentleman and a scholar.


Tony has a beautiful voice and when he sings, not only does he sing the song but tells the story and lives every moment of it. Very few people have this gift, or if you like, this combination. Tony seems to thrive on it. In other words, he doesn’t force it. His accompaniment on guitar with the Irish Reels and slow Jigs is very tasty indeed. He’s the peace-maker in the group, a very necessary man.

Steve is the fiddle player, mandolin, guitar, five-string banjo and even knocks an odd tune out of the tin-whistle. What’s known as an all-rounder. Steve you might say, is the odd man out. You have to look twice to see if he’s there. He’s so quiet sometimes and shy, you’d be afraid to bring him into Madame Tussaud’s Waxworks, in case they might be stock-taking. A very important man.


This is the combination of the WILD GEESE and when they play together they love every minute of it, and that’s the way a group should be. They’ve done many nice things in the arrangements of their material. This group have really sat down and put their heads together and the result is this fine LP.

So if you want some furious advice, get a glass of beer, or a glass of whatever you fancy, put the record player on, sit down and relax and listen to the sporting songs, the love songs, pub songs and music of the WILD GEESE!”

And here´s their second album … and if you like this wonderful Irish traidional tunes, then is this rre album  a must !

Enjoy the music of Wild Geese (and listen to the end of “The Foggy Dew” … what a great rhythm power !)


Eoin O Duigneain (bagpipes, tin whistle)
Norman King (bodhrán, vocals)
Mike Ryan (fiddle, mandolin)
Tony Small (guitar, vocals)
Peadar Óh Uallaigh (flute, tin whistle, concertina, vocals)


01. The First Of May (Traditional) 5.19
02. Galway Bay (Fahy) 5.46
03. Kerry Slide And Sligo Polka (Traditional) 2.28
04. Marrowbones (Traditional) 3.42
05. The Galway Rebel Boys (O Báiread) 4.09
06. The Hills Of Connemara (McCarthy) 3.05
07. Jimmy Clay (Sky/Small) 4.35
08. The Foggy Dew (Traditional) 5.26



Taken from the sleeve notes:

THE FIRST OF MAY — The first of May: We learned this hornpipe from an old recording made in the 1920’s. The tune is used as the melody of a popular song called “The Skillet Pot”. A version of this hornpipe and also of the two following tunes is to be found in “O’Neills -The Dance Music of Ireland” edited at the beginning of the century by Francis O’Neill and now widely available. It appears as number 899 of this collection.

Trip it Up Stairs: The rhythm changes to the triple time of a single jig (O’Neills No. 372).

Another Jig Will Do: Again a change of rhythm. This time a slip-jig, an unusual dance in 9/8 time. (O’Neills No. 437).

The Humours of Whiskey: We recently learned this slipjig from the fiddle playing of Charlie and Paddy O’Neill – father and son who live in Moy, Co Tyrone.

GALWAY BAY — The text is by Francis A. Fahy and the melody is one of Tony’s compromises.

KERRY SLIDE & SLIGO POLKA — Co. Kerry in South West Ireland has its own stock of music played mostly for dancing. The Slide is a popular dance, a type of jig, found in “sets” where a group of dancers, often eight, dance through a series of set patterns.

Peadar’s family come from the village of Curry in Co. Sligo and it was here that he learnt this Polka from the playing of the local musicians.

MARROWBONES — This piece begins with a jig which we learned from Steve Power who spent three enjoyable years with The ‘Wild Geese’.

There are several Irish songs on the theme of Marrowbones with varying melodies but only minor variations of the story line, for example, “The Old Woman of Wexford” and “Tipping it up to Nancy” and many other variants in the English song tradition. The wife in every case wants to rid herself of her old husband, beginning by finding a “medicine” to blind him — “Marrowbones”. The husband pretends to lose his sight and foils the wife’s attempt to drown him. Peadar came across this version in a valuable periodical called ‘Ceol’. The transcription was from a singer called Paul Ryan of Co. Wicklow.

THE GALWAY REBEL BOYS — In 1916 the revolutionary forces in Ireland took advantage of the British Armies’ involvement in the “Great War” and made yet another attempt to end British domination in Ireland. At Easter they took control of Dublin and some rural areas. The great majority of the insurgents were members of the Irish Volunteers, later known as the Irish Republican Army — The I.R.A.

Liam Mellows was an organiser of the Irish Volunteers in the West of Ireland and during Easter week he raised over 1000 men in County Galway, capturing the Police Barracks in Oranmore and holding the town of Athenry. Due to lack of communication with the Provisional Government in Dublin and being seriously short of arms the Galway rebels were forced to disperse. Mellows disguised himself as a priest and escaped to Dublin and later to the U.S.A.

Some years later Mellows was a leader of the Anti-Partition forces during the Irish Civil War and was captured and executed in Dublin in November 1922. While imprisoned in Mountjoy Jail he often played his favourite music on the fiddle – the old Irish airs.

The only son is of great importance in rural Ireland, becoming the farmer and maintaining the family as his father ages. In this song the father, although he supports the stand of Mellows and the Volunteers in their fight for Irish Freedom, nevertheless, asks his son to remain on the farm to meet the family needs. Tony learnt this song from his father John Small and the text is by Tomas Bairead.


THE HILLS OF CONNEMARA — Poitín is the name for homemade spirits – illicit alcohol. The cost of fighting the Napoleanic War led the British Exchequer to raise the duty on Whiskey and other legal spirits by over 500% which caused a massive growth in illegal distilling among the poverty-stricken peasants in Ireland. Cheated of a great income in taxation, the British set up a special force of revenue police in the 1830’s with the sole task of wiping out illegal stills. In 2 years alone they siezed 16,000 stills but neither they nor subsequent police forces succeeded in putting an end to the making of Poitin.

The best alcohol was made from malt and barley but this was too much trouble for many ‘moonshiners’, so potatoes and even blackberries were used. Up to the introduction of bottled gas, turf was used to fuse the stills and although it gave a pleasant taste to the Poitin, the column of turf-fire often betrayed the location to the ‘Excise Men’.

The song was written by Sean McCarthy, the prolific song writer from Co. Kerry.

The Britches Full of Stiches: This is a popular Polka from South Western Ireland. A verse is sometimes sung to the first part of the tune.

JIMMY CLAY — This song was composed by Patrick Sky, the American singer, song writer and piper. It is a bitter comment on the degradation of the individual in capitalistic warfare. He is in total contrast to the individual in the Galway Rebel Boys who is a Freedom Fighter. Jimmy Clay is merely a disposable piece of machinery.

Tony would like to thank Norman King, Smokey and Gerry Carthy for kindly lending him guitars for this album

THE FOGGY DEW — This piece comprises five tunes. The Foggy Dew is an old march followed here by a jig called Jimmy O ‘Brien ‘s jig or Cossey’s jig. The pipes then play a reel which is in fact the same basic melody as the jig. The reel is called ‘The Green Fields of America’ and , a setting can be found in “Ceol Rince Na hEireann” by Breandan Breathnach Number 79. The fiddle and flute play a second reel which is heard in County Sligo and is called Anderson’s No. 1.

The final reel is a rousing farewell from the group until we meet you all again.

Dire Straits – Live On WDR Radio (Cologne, Germany) (1979)

FrontCover1.jpgBrothers Mark and David Knopfler, from Newcastle in northeast England, and friends John Illsley and Pick Withers, from Leicester in the east midlands, formed Dire Straits in London in 1977.[8] Withers was already a 10-year music business veteran, having been a session drummer for Dave Edmunds, Gerry Rafferty, Magna Carta and others through the 1970s; he was part of the group Spring, which recorded an album for RCA in 1971. At the time of the band’s formation, Mark was working as a teacher at art college, Illsley was studying at Goldsmiths’ College, and David was a social worker. Mark and Withers had both been part of the pub rock group Brewers Droop at different points in around 1973.

Initially known as the Café Racers, the name Dire Straits was coined by a musician flatmate of Withers, allegedly thought up while they were rehearsing in the kitchen of a friend, Simon Cowe, of Lindisfarne. In 1977, the group recorded a five-song demo tape which included their future hit single, “Sultans of Swing”, as well as “Water of Love” and “Down to the Waterline”. After a performance at the Rock Garden in 1977, they took a demo tape to MCA in Soho but were turned down. Then they went to DJ Charlie Gillett, host of called Honky Tonk on BBC Radio London. The band simply wanted advice, but Gillett liked the music so much that he played “Sultans of Swing” on his show. Two months later, Dire Straits signed a recording contract with the Vertigo division of Phonogram Inc. In October 1977, the band recorded demo tapes of “Southbound Again”, “In the Gallery” and “Six Blade Knife” for BBC Radio London; in November demo tapes were made of “Setting Me Up”, “Eastbound Train” and “Real Girl”.

The group’s first album, Dire Straits, was recorded at Basing Street studios in Notting Hill, London in February 1978, at a cost of £12,500. Produced by Muff Winwood, it was first released in the United Kingdom on Vertigo Records, then a division of Phonogram Inc. It came to the attention of A&R representative Karin Berg, working at Warner Bros. Records in New York City. She felt that it was the kind of music audiences were hungry for, but only one person in her department agreed at first. Many of the songs on the album reflected Mark Knopfler’s experiences in Newcastle, Leeds and London. “Down to the Waterline” recalled images of life in Newcastle; “In the Gallery” is a tribute to Leeds sculptor/artist Harry Phillips (father of Steve Phillips); “Wild West End” and “Lions” were drawn from Knopfler’s early days in the capital.

That year, Dire Straits began a tour as opening band for Talking Heads after the re-released “Sultans of Swing” finally started to climb the UK charts. This led to a United States recording contract with Warner Bros. Records; before the end of 1978, Dire Straits had released their self-titled debut worldwide. They received more attention in the US, but also arrived at the top of the charts in Canada, Australia and New Zealand. Dire Straits eventually went top 10 in every European country.

The following year, Dire Straits embarked on their first North American tour. They played 51 sold-out concerts over a 38-day period. “Sultans of Swing” scaled the charts to number four in the United States and number eight in the United Kingdom. The song was one of Dire Straits’ biggest hits and became a fixture in the band’s live performances. Bob Dylan, who had seen the band play in Los Angeles, was so impressed that he invited Mark Knopfler and drummer Pick Withers to play on his next album, Slow Train Coming.


Recording sessions for the group’s second album, Communiqué, took place in December 1978 at Compass Point Studios in Nassau, Bahamas. Released in June 1979, Communiqué was produced by Jerry Wexler and Barry Beckett and went to No. 1 on the German album charts, with the debut album Dire Straits simultaneously at No. 3. In the United Kingdom the album peaked at No. 5 in the album charts. Featuring the single “Lady Writer”, the second album continued in a similar vein as the first and displayed the expanding scope of Knopfler’s lyricism on the opening track, “Once Upon a Time in the West”. In the coming year, however, this approach began to change, along with the group’s line-up. (by wikipedia)


And here´s another rarity from these early days of Dire Straits:

A great soundboard recording of the beginning of Dire Straits with very good sound.
The gig from the day after! the famouse “Rockpalast” show (16th feb 1979)

Great atmosphere and an awesome version of Southbound Again.

This is nearly a perfect soundboard recording. The bonus tracks has a bit less quality, but they they came with the package.

And we hear some jokes of Knopfler.

So… enjoy !

Recorded live at the Großen Sendersaal, Cologne, Germany, 17th February 1979
Recorded live at the Philipshalle, Düsseldorf, Germany, 13th February 1979 (11. -13.)


John Illsley (bass, vocals)
David Knopfler (guitar, vocals)
Mark Knopfler (vocals, lead guitar)
Pick Withers (drums)


01. Down To The Waterline 5.18
02. Six Blade Knife 6.14
03. In The Gallery 7.10
04. Water Of Love 6.12
05. Eastbound Train 4.16
06. What’s The Matter Baby ? 3.45
07. Lions 6.39
08. Sultans Of Swing 6.19
09. Wild West End 5.39
10. Southbound Again 3.24
11. Eastbound Train 4.44
12. Southbound Again 7.03
13. Angel Of Mercy 5.28

All songs written by Mark Knopfler



Secret Service – Oh Susie (1979)

FrontCover1.jpgSecret Service was a Swedish new wave/pop band, popular in the early 1980s.

In 1979, Ola Håkansson, former vocalist of Ola & the Janglers and then a publishing manager at Sonet Records, teamed up with Tim Norell and Ulf Wahlberg as Ola+3 to write a few songs that they submitted to the 1979 Melodifestivalen, a popular contest which is the Swedish qualification to the Eurovision Song Contest. Ola+3 did not win but the members decided to continue working together and changed their band’s name to Secret Service. Besides Ola Håkansson (vocals), Tim Norell and Ulf Wahlberg (keyboards), the original lineup also included Tony Lindberg (guitars), Leif Paulsen (bass) and Leif Johansson (drums).

Norell, who along with Björn Håkanson penned most songs of the band, did not however appear with them on stage or on the album covers. Secret Service’s first single “Oh Susie” became a hit in Sweden and several other countries in Europe, in South America and Australia. Their album of the same title included another hit, “Ten O’Clock Postman”, which went gold in Sweden. Other successes followed, with their synthpop number “Flash in the Night” in 1982 (their greatest success) hitting charts all over continental Europe. In the mid-‘1980s, Norell and Håkansson started writing and producing songs for other artists. Ola Håkansson’s duet with ex-ABBA’s Agnetha Fältskog, “The Way You Are”, became a gold single in Sweden.


In 1987, Håkansson, Norell and Wahlberg released Aux Deux Magots, their last album as Secret Service. The other members of the band had quit by then and were replaced by multi-instrumentalist Anders Hansson and bassist Mats A. Lindberg. Håkansson would become Norell’s partner with Army of Lovers’ Alexander Bard in what would be known as the Megatrio, a Swedish equivalent to Stock-Aitken-Waterman known as Norell Oson Bard. In 1992, Håkansson and his associates established Stockholm Records as a joint venture with PolyGram. They produced such artists as Army of Lovers and The Cardigans, among others.


In 2012 Secret Service released “The Lost Box” , an album with forgotten and unreleased recorded songs from the 80’s and the 90’s, such as “Different” and “Satellites”. (by wikipedia)

The Swedish pop band with their debut album ‘Oh Susie’, first released in 1979!

Although the band’s first single, “Oh Susie” was released without any prior promotion or video clip, “Oh Susie” became the first single ever to enter the Swedish charts straight in at No. 1. It stayed there for 14 consecutive weeks!

Service Secret was only successful on the European continent, not in “first league” countries (either US or UK). Not a one hit wonder, though – they had at least several more sizeable cross-European hits before and after. A great pop band, by the way – not really heard of in the UK, say, but deserved of wider recognition for their masterful blend of various music styles and influences.


This song in particular was obviously influenced by the great success of the first wave of synth bands from the UK, like Ultravox and Visage, and helped pave the way for synth sound in Europe. It had such a widespread appeal that it even crossed the Iron Curtain, becoming a smash (if that’s the right word) in the USSR – to this day it’s a staple on retro-oriented radio stations and people still talk about it very fondly. Also, being from Sweden they for a long time in the 1980s were the most successful after ABBA internationally until the Swedes mastered the art of pop music later in the decade. (ukmix.org)

But … this is not my kind of music, really not … but you know: Many fantastic colors …


Ola Håkansson (vocals)
Leif Johansson (drums)
Tonny Lindberg (guitar)
Leif Paulsen (bass)
Tim Norell (keyboards)
Ulf Wahlberg (keyboards)


01. Ten O’Clock Postman (Håkanson/Norell) 3.39
02. Hey Johnny (Håkanson/Norell) 4.21
03. Give Me Your Love (Håkanson/Norell) 3.39
04. Oh Susie (Håkanson/Norell) 4.37
05. Darling, You’re My Girl (Håkanson/Norell) 3.43
06. She Wants Me (Håkanson/Norell) 3.07
07. Why Don’t You Try To Phone (Håkanson/Norell) 3.26
08. Angel On Wheels (Håkanson/Norell) 3.03
09. Family Delight (Gårdebäck/Håkanson) 3.24




Siberian Russian Folk Chorus – Same (1979)

FrontCover1.JPGRussian traditional music specifically deals with the folk music traditions of the ethnic Russian people. It does not include the various forms of art music, which in Russia often contains folk melodies and folk elements or music of other ethnic groups living in Russia.

The performance and promulgation of ethnic music in Russia has a long tradition. Initially it was intertwined with various forms of art music, however, in the late 19th century it began to take on a life of its own with the rise in popularity of folkloric ensembles, such as the folk choir movement led by Mitrofan Pyatnitsky and the Russian folk instrument movement pioneered by Vasily Andreyev.

In Soviet Russia, folk music was categorized as being democratic (of the people) or proletarian (of the working class) as opposed to art music, which was often regarded as being bourgeois. After the revolution, along with proletarian “mass music” (music for the proletarian masses) it received significant support from the state. In Post World War II Russia, proletarian mass music however lost its appeal, whereas folkloric music continued to have a widespread support among the population, inside and outside of the Soviet Union. However the authentic nature of folk music was severely distorted by the drive to ‘professionalise’ performers, regardless of the genre they worked in: thus all folk singers were obliged to both learn Western-style classical notation, and to learn to perform classical repertoire – or else risk losing their right to perform as ‘professionals’.

Siberian Russian Folk Chorus1.jpg

In the 1960s, folk music in Russia continued to receive significant state support and was often seen as the antithesis of Western pop music. The fact that numerous Soviet folkloric ensembles were invited for foreign tours raised the prestige of the folk performer to that of academic musicians, and in some cases even higher because access to the West and Western goods was very desirable.

Ethnic (folk) music in Russia can often be categorized according to the amount of authenticity in the performance: truly authentic folk music (reproductive performances of traditional music), folkloric and “fakeloric” performance.

Russia is a multi-ethnic country with some 300 different ethnic groups, many of them non-Slavic, living within its borders.


Authentic village singing differs from academic singing styles. It is usually done using just the chest register and is often called “white sound” or “white” voice. It is often described as controlled screaming or shouting. Female chest register singers have only a low diapason of one octave to 12 notes.

And here´s a nice album by the Siberian Russian Folk Chorus. This group recorded their first album in 1956 and was active till the end of the Eighties.

This music is for me a real unfamiliar world, but I like to discover music from all over the world …

Maybe you will discover the music of the Siberian Russian Folk Chorus, too

AlternateFRontCoverFrontCoverAlternate front cover

Siberian Russian Folk Chorus conducted by Andrei Novikov
Chorus Rusian Folk Instruments Orchestra conducted by B.Burin


01. Siberia Our Pride (Novikov/Pukhnachev) 1.58
02. Play Perky Concertina (Gurin/Ostrikov) 2.35
03. Song Of Siberia (Ponomarenko/Osmushkin) 4.12
04. Night In The Taiga (Traditional) 3.37
05. The Far Off Star Has Lit (Levashov/Pukhnachev) 4.15
06. Through The Wild Mysterious Taiga (Traditional) 3.47
07. Don’t Soar Over Me, Sea-gulls (Traditional) 3.24
08. Motley Hens (Traditional) 2.01
09. On A Rainy Saturday (Traditional) 3.27
10. Yes, My Little Casket (Traditional) 1.09
11. My Dawn Dear Dawn (Traditional) 1.49
12. Is That My Beauty? (Traditional) 2.49
13. Maidens Have Sown Flax (Traditional) 1.26
14. Negligent Cook (Traditional) 1.33




Deke Leonard – Before Your Very Eyes (1981)

FrontCover1.JPGRoger Arnold “Deke” Leonard (18 December 1944 – 31 January 2017) was a Welsh rock musician, “serving a life sentence in the music business”. Best known as a member of the progressive rock band Man, which he joined and left several times, and for fronting his own rock and roll band Iceberg, which he formed and disbanded several times, he was also an author, raconteur and television panelist. (by wikipedia)

And here´s his third solo-album:

The fatal flaw of the Welsh band Man is that they couldn’t quite decide if they wanted to be Ducks Deluxe or Hawkwind; the balance between pub rock and prog is actually quite interesting on their first several albums. Recorded in 1979, after pub rock had mutated into a strain of the British new wave, it’s clear which side ex-Man lead guitarist Deke Leonard is on.


Produced by Martin Rushent and featuring fellow travelers like Rockpile’s Billy Bremner and Dave Edmunds alongside Leonard’s Man accomplices Terry Williams and Martin Ace, Before Your Very Eyes is a terrific collection of 12 power-popping rock & roll songs with a loose, convivial spirit akin to Rockpile’s own albums, Graham Parker’s work with the Rumour, and even the young Elvis Costello. The loose, horn-charged R&B shake of the potential hit “Marlene” and the jangly, nervy “Map of India” are particular highlights, but the whole album is just swell, and deserves far more than the near-total oblivion it received when it was released in 1981, a full two and a half years after it was recorded. (by Stewart Mason)


Martin Ace (bass)
Dave Charles (drums, vocals)
Deke Leonard (guitar, keyboards, vocals)
Lenny Macaluso (guitar)
Malcolm Morley (keyboards, background vocals)
Chris Parren (keyboards)
Terry Williams (drums, background vocals)
Ron Francois (bass on 07.)
John McKenzie (bass on 12.)
horn section:
Ron Aspery (saxophone)
Martin Drover (saxophone, trumpet)
Chris Mercer (saxophone)
background vocals:
Kenny Moore – Vicky Silver – Doreen Chanter – Billy Haynes – Anton Matthews – Dave Edmunds – Billy Bremner – Martin Rushent


01. Someone Is Calling 3.13
02. Fools Like Me 3.16
03. Marlene 3.02
04. Oh 2.49
05. When Am I Coming Back 4.35
06. Get Off The Line 3.05
07. Hiding In The Darkness 3.58
08. Big Hunk Of Love 2.18
09. I Feel Like A Pill 3:00
10. The World Exploded In My Face 2.41
11. What Am I Gonna Do When The Money Runs Out? 3.48
12. Bad Luck 4.01

All songs written by Deke Leonard




“Deke” Leonard (18 December 1944 – 31 January 2017)

1994 – Please Stand By (1979)

FrontCover1.jpgWay back in 1979 the debut album by female-fronted US band 1994 was a record I played to death, and still play regularly today due to Rock Candy’s excellent re-issue five years ago. On the back of the success of Heart and Pat Benatar there were many other good bands of the same ilk from the same era, with fellow Americans Storm (another great brace of great reissues from the same label), Spider and Canada’s Toronto immediately springing to mind. When 1994s sophomore record ‘Please Stand By…’ was first released I was initially very disappointed, but I soon came to like it a lot, even if I never actually loved it as much as their debut.

Who couldn’t love the vocals of the lovely Karen Lawrence? A particularly versatile singer who could just as easily strip the paint off your woodwork with her throaty roar as caress your ears with her beautiful melodies. The main difference for me on this album was the loss of original guitarist Steve Schiff, whose incendiary playing lit up every song, and whilst he was ably replaced by Rick Armand (and bassist Bill Rhodes,who plays more guitar than bass here), the results were maybe just a little too KarenLawrence01.jpgvaried and the album lacked the consistent style of their self-titled release. Having said that the opening title-track is a great upbeat song,and the song the original LP ended with, the raucous ‘Keep Ravin’ On’,is perhaps the heaviest thing they recorded. Both ‘Wait For Me’ and ‘Stop The Heartache’ are nicely arranged Heart-like mid-paced songs with soaring vocals and catchy melodies, whilst ‘Our Time Will Come’ is an impressive power ballad with an inspired guitar solo. The highpoint of the album is the killer hard rocker ‘So Bad’ with it’s multiple stereo guitar parts and pounding bass lines, not to mention a brilliant vocal performance from Ms. Lawrence, but sadly the album is let down by the cheesy jazz-pop of ‘Don’t Break Up’ and the funky 80s vibe of ‘Wild In The Streets, which never seems to get going.


With another great production job from legendary Aerosmith/Alice Cooper man Jack Douglas, this re-issue sparkles with power and clarity and I’m still hearing sounds that I’d never heard before in the thirty years that I’d been listening to the LP. Paul Suter’s sleeve essay tells the usual sad story of lack of record company support and a band falling apart under the pressure, which is a shame because 1994’s sophomore release is still better than most albums of it’s ilk. (Phil Ashcroft)

And listen to “Nerves Of Steel” with a superb slide-guitar !


Rick Armand (guitar, background vocals, piano on 06.)
John Desautels (drums, percussion)
Karen Lawrence (vocals, piano, tubular bells on 04.)
Bill Rhodes (bass, guitar, slide-guitar, clavinet)
Jim Alcivar (synthesizer on 05.)
Lanier Greig (synthesizer on 02.)
Jim Horn (saxophone)
Terry Linvill (bass on 01., 03. + 05.)
background vocals:
Jay Gruska – Michelle Gruska – Sarah Taylor


01. Please Stand By… (St John/Lawrence) 3.55
02. Wait For Me (St John/Lawrence/Armand) 4.33
03. Don’t Break Up (Rhodes/St John/Lawrence) 3.55
04. Our Time Will Come (St John/Lawrence) 4.38
05. Wild In The Streets (Jeffreys) 3.34
06. Stop This Heartache (St John/Lawrence/Armand/Linvill) 3.28
07. So Bad (Leonetti/Desautels/Lawrence/Armand) 4.02
08. Nerves Of Steel (Rhodes/Leonetti/Douglas/Desautels/Lawrence) 4.18
09. Keep Ravin’ On (St John/Lawrence/Armand) 4.05



The (Count) Bishops – Live (1979)

FrontCover1.JPGThe Count Bishops were a British rock band, formed in 1975 in London and which broke up in 1980. The Count Bishops had limited commercial success, but forged an important stylistic and chronological link between the root rhythm and blues band Dr. Feelgood and the proto punk sound of Eddie and the Hot Rods; together forming the foundation of the pub-rock scene, which influenced the emergence of punk rock. The group made history in England by releasing the first record from independent label Chiswick Records. They splintered following the death of guitarist Zenon DeFleur on 18 March 1979. (by wikipedia)

From the best looking rock band this side of The Motors . . . The Bishops’ particular variety of rowdy, rumbustious R&B has always functioned best live, which is why this album cuts their studio elpee to shreds fairly effortlessly.
About three quarters of the material has shown up on previous Bishops’ recordings (“Sometimes Good Guys Don’t Wear White”, “I Need You”, “Baby You’re Wrong”, “Takin’ It Easy” and the sublime “Train Train”) but all of ’em with the possible exception of “Train” sound a lot better here.


The whole thing’s topped off with a couple of comparative newies (“I Don’t Live It” and “Too Much Too Soon” composed by singer Dave Tice and rhythm guitarist Zenon De Fleur) and a sprinkling of revibes: (“Somebody’s Gonna Get Their Head Kicked In” from the repertoire of, believe it or not, Fleetwood Mac, though it must be said that Mac ain’t played that song for a while), Sonny Boy Williamson’s “Don’t Start Me Talkin'” and The Strangeloves’ “I Want Candy” (featuring – gulp – a drum solo).

Right now, The Bishops have a single – a revival of Sam And Dave’s classic “I Take What I Want” on Radio One’s playlist, plus another studio album lined up and ready for Chiswick to disgorge upon a suspecting public. If the world is once again ready for an enthusiastic and finely crafted brew of tough guy pop and drunken R&B, then they might as well get it from The Bishops as from anybody else, because in the two or three years that they’ve been going they’ve waved the flag for their kind of music as hard as anybody against both apathy and more restrictive types of New Wave mentality.
This album is as convincing a demonstration as could be required. Miss out and it’s your loss. (by Charles Shaar Murray in 1979)

In other words: one of the finest live albums from the second wave of British R & B and Beat … Listen and enjoy ! … we want the world, and we want it now !


Paul Balbi (drums)
Zenon de Fleur (guitar)
Johnny Guitar (guitar)
Pat McMullan (bass)
Dave Tice (vocals)

01. Too Much, Too Soon (Tice) 2.41
02. Till The End Of The Day (Davies) 2.07
03. Taking It Easy (Lewins) 3.02
04. Train, Train (de Fleur) 3.19
05. Someone’s Gonna Get Their Head Kicked In Tonight (Spencer) 2.38
06. Sometimes Good Guys Don’t Wear White (Cobb) 2.38
07. Don’t Start Me Talking (Raye) 2.26
08. Baby You’re Wrong (de Fleur) 2.30
09. I Don’t Like It (Tice/de Fleur) 2.05
10. (I Want) Candy (Berns/Feldman/Goldstein/Gottehrer) 3.43