Nazareth – Ramamanaz in Wonderland (BBC In Concert) (1980)

Nazareth are a Scottish hard rock band formed in Dunfermline in 1968 that had several hits in the United Kingdom, as well as in several other Western European countries in the early 1970s. They established an international audience with their 1975 album Hair of the Dog, which featured their hits “Hair of the Dog” and a cover of the ballad “Love Hurts”. The band continues to record and tour.

Nazareth formed in December 1968 in Dunfermline, Scotland, from the remaining members of semi-professional local group The Shadettes (formed in 1961) by vocalist Dan McCafferty, guitarist Manny Charlton, bassist Pete Agnew, and drummer Darrell Sweet. They were inspired by The Beatles and The Rolling Stones. Nazareth took their name from Nazareth, Pennsylvania, which is cited in the first line of The Band’s classic song “The Weight” (“I pulled into Nazareth, was feelin’ about half past dead…”). (wikipedia)And … the rest is history:

And:

Daniel William McCafferty (14 October 1946 – 8 November 2022) was a Scottish vocalist and songwriter best known as the lead singer for the Scottish hard rock band Nazareth from its founding in 1968 to his retirement from touring with the band in 2013.

McCafferty was born in Dunfermline, Fife. Under the influence of artists such as Little Richard, Elvis Presley, Chuck Berry and Otis Redding, he became one of the founding members of Nazareth in 1968. He appeared on all of Nazareth’s albums up to 2014 and toured with them for 45 years. He co-wrote some of the big Nazareth hits, including “Broken Down Angel”, and “Bad Bad Boy”. He released three solo albums.

On 29 August 2013, Nazareth announced McCafferty’s retirement from touring with the band due to health issues. He elaborated on the specifics of the health issues and the state of his situation in an interview with the UK music magazine, Classic Rock. He stated that he had not suffered a stroke as had been reported in the press. He said that his chronic obstructive pulmonary disease (COPD) that has “worsened in recent years” had made him leave the stage in Switzerland in late August 2013 after only three songs, indicating that, “You don’t know when it’s going to come on, but suddenly you can’t breathe.” Commenting about his most recent episode, at the Swiss festival, McCafferty maintained, “if you can’t do the job you shouldn’t be there — Nazareth’s too big for that.” McCafferty also revealed that another health problem was responsible for his onstage collapse at a concert in Canada in July 2013 – a burst stomach ulcer. He stated reflecting back on the incident, “I thought I’d be fine, but you lose so much blood when that happens.” In addition McCafferty said that he expected Nazareth to continue on without him. “I really hope they get someone else,” he declared. “I’m sure they will.”

Although McCafferty retired from performing, Nazareth fans can still hear his voice on their 2014 album Rock ‘n’ Roll Telephone. The singer also revealed that he could record more new music, either with Nazareth or as a solo artist. He clarified: “To go into a studio and sing isn’t like doing a gig. I could always make another record, but getting up to do an hour and three-quarters, and get people to pay money to come and see me — I can’t do that.” McCafferty expressed his appreciation to his fans near the end of the interview by saying: “Let everyone know I appreciate they’ve been there for all these years.”[4][11] He continued to sing live around the world and record on occasion.[12][13][14][15] On 21 June 2019, he released a new music video titled “Tell Me”. It was from the solo album Last Testament, released on 18 October 2019,[16] McCafferty’s first solo album since 1987’s Into The Ring.
Personal life
McCafferty was married and had two children. He suffered from chronic obstructive pulmonary disease (COPD) and died on 8 November 2022, at the age of 76. (wikipedia)

Nazareth were still very successful in 1980 and here is a brilliant radio recording (BBC) with many of their then great songs in a superb sound quality.

This concert at the Hammersmith Odeon was the last concert from their “Malice In Wonderland” tour 1980)

But to be honest: I was never particularly enthusiastic about Nazareth.

Recorded live at the Hammersmith Odeon, London March 16, 1980
excellent broadcast recording

Personnel:
Pete Agnew (bass, background vocals)
Manny Charlton (guitar)
Zal Cleminson (guitar)
Dan McCafferty (vocals)
Darrell Sweet (drums)

Tracklist:
01. Telegram (McCafferty/Agnew/Charlton/Sweet) 6.07
02. Ramamanaz (McCafferty/Agnew/Charlton/Sweet) 4.18
03. I Want To (Do Everything For You) (Tex) 5.13
04. Showdown At The Border (Cleminson) 4.23
05. Hearts Grown Cold (Cleminson) 5.36
06. Cocaine (Cale) 4.54
07. Big Boy (Cleminson) 5.12
08. Holiday (McCafferty/Agnew/Charlton/Sweet/Cleminson) 3.20
09. This Flight Tonight (Mitchell) 3.45
10. Hair Of The Dog (McCafferty/Agnew/Charlton/Sweet) 4.52
11. Talking To One Of The Boys (Baxter/McCafferty/Agnew/Sweet/Cleminson/Charlton) 4.58
12. Expect No Mercy (McCafferty/Agnew/Charlton/Sweet) 3.46
13. Broken Down Angel (McCafferty/Agnew/Charlton/Sweet) 5.03
14. Bad Bad Boy (McCafferty/Agnew/Charlton/Sweet) 4:09

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More from Nazareth:

The official website:

Markus Stockhausen & Jasper Van’t Hof Aqua Sansa (1980)

An expressive trumpeter and composer whose broad artistry touches upon jazz, classical, and modern creative music, Markus Stockhausen has earned worldwide recognition for his forward-thinking and varied productions. The son of noted contemporary classical composer Karlheinz Stockhausen and a fixture on the international music scene since the 1970s, Stockhausen gained early exposure working with his father on such pieces as “Hymnen,” “Sirius,” and “Michael’s Reise.” Along with their 25-year partnership, he has collaborated with such luminaries as Arild Andersen, Ferenc Snétberger, and Florian Weber, and has been featured with such esteemed institutions as the London Sinfonietta, the Metropole Orkest, the 12 Cellists of the Berlin Philharmonic, the Swiss Jazz Orchestra, the Hamburg Symphony Orchestra, and others. As a composer, he has received commissions from the RIAS Chamber Choir, the London Sinfonietta, the Orchestra d’Archi Italiana, and the Winterthur Chamber Orchestra. Over the years, he has picked up accolades including winning the 1981 Deutscher Musikwettbewerb Prize and taking home the 2005 WDR Jazz Prize as Best Improviser. Highly prolific, he co-leads several groups with his wife, cellist Tara Bouman, and has recorded regularly, issuing albums like 1989’s Aparis on ECM, 1995’s Possible Worlds on CMP, and 2013’s Spaces & Spheres: Intuitive Music on Wergo.

Born in Cologne, Germany in 1957, Stockhausen actually made his recording debut at age four. He appeared on his father’s recording of Originale as “child at play” along with his sister Christine. He began piano lessons at six, and in 1969 began studying jazz with Manfred Schoof and playing trumpet. In 1975 he added the instrument and flügelhorn to his formal studies in a secondary music school in Cologne. He also played and recorded with the fusion quintet Key. A year later, he played on his father’s masterworks Sternklang and Ceylon/Bird of Passage. Stockhausen collaborated often with his father over the next 25 years (the elder composed several works specifically for him, including Michaels Riese). In 1980, the year before his final examinations, he was as a co-leader with Jasper Van’t Hof on the recording Aqua Sansa; he also won the 1981 Deutscher Musikwettbewerb prize. Still largely unknown, he performed on the Eurythmics’ In the Garden album that year as well (as did members of Can), and studied at the Berlin Philharmonic in 1983.

Stockhausen recorded for a number of labels during the late ’70s and early ’80s. In 1983, he was featured on his father’s work Donnerstag Aus Licht, and a year later, as a featured collaborator on Rainer Bruninghaus’ Continuum, his first session for ECM. The trumpeter and his brother Simon (saxophonist, synthesist, and composer) co-founded the avant-garde band Kairos in 1985 (it lasted until 1990 and they never recorded). In 1989, Stockhausen appeared on Ralph Towner’s celebrated City of Eyes and made his own ECM debut as a leader with Cosi Lontano…Quasi Dentro. (Gary Peacock and Kairos’ drummer Zoro Babel and pianist Fabrizio Ottaviucci were his sidemen). In 1990, he followed this set with Aparis in collaboration with Simon and Jo Thönes. Two years later, the same band issued Despite the Firefighters’ Efforts. In 1992, ECM released an album of his father’s trumpet concerto Michaels Reise. The ensemble included Markus, Simon, and clarinetist Suzanne Stephens. The composer also provided sound design.

Between 1993 and 1999, Stockhausen recorded in both classical and jazz settings for several labels. Among the highlights from the period are New Colors of Piccolo Trumpet (EMI Classics, 1993); Possible Worlds (CMP, 1994); Sol Mestizo (ACT, 1996), and Still Light for Paracelsus (MA Recordings, 1996).The trumpeter played in an improvisational jazz trio with bassist Arild Andersen and drummer Patrice Heral, and in 1999, they were joined in the studio by guitarist Terje Rypdal. Their album Karta was issued by ECM in 2000. The same year, Stockhausen also issued Solo I for Aktivraum, followed in 2001 by In Deiner Nähe.

For the first ten years of the new century, Stockhausen directed a concert series called Klangvisionen, with intuitive music in the church of St. Maternus in Cologne. He also remained active recording as a sideman, collaborator, and his own leader dates in a diverse range of projects. He was a featured soloist on the Tiger Dixie Band’s 2003 set Bix; he reunited with the Andersen and Heral trio on Joya for Enja — this time with guitarist Ferenc Snétberger (he also cut a duet album with the axeman for the label in 2007, entitled Streams). For Aktivraum, he recorded nonDUALITY with Simon, a trumpet and string orchestra offering Symbiosis and Symphonic Colours, the latter comprising two dates combined of vanguard jazz and contemporary classical music.

In 2008, Aktivraum released another reunion of the Stockhausen/Andersen/Heral improv trio, this time with Polish pianist Władysław Sendecki. In 2010, the trumpeter recorded Eternal Voyage with an international sextet that delved into Eastern traditional, Mediterranean folk musics, and bold free improvisation. Universally acclaimed as a bold and bracing new direction, it is also notable because it signaled the beginning of Stockhausen’s working relationship with jazz pianist Florian Weber. Duo concerts followed in their hometown of Cologne, and touring in and around Munich. At first, Stockhausen was the sole composer, but as the relationship grew, Weber brought in tunes and began writing expressly for the duo. Though they originally worked with electronics in addition to their standard instrumentation, they eventually evolved into a strictly acoustic unit.

Stockhausen continued recording as a featured soloist when not playing with Weber. Over the next couple of years he appeared on recordings by Irmin Schmidt, Stevko Busch, and Angelo Comiso. In 2013, Markus Stockhausen & the Metropole Orkest was released by Intuition. His Wergo album Spaces & Spheres, with Mark Nauseef, Tara Bouman, Stefano Scodanibbio, and Ottaviucci, appeared later that year. Subsequently, the Stockhausen/Weber duo became a more active concern, and while the trumpeter/composer still worked with others, the duo became his primary project. Alba, their debut studio offering, was released by ECM in 2016. The following year, he paired with cellist Jörg Brinkmann and drummer Christian Thomé for the electronics-accented production Far into the Stars. (by Thom Jurek)

Jasper van ‘t Hof (born 30 June 1947) is a Dutch jazz pianist and keyboard player.

Van ‘t Hof was born in Enschede, Overijssel, Netherlands, and began studying piano at the age of five. He played in jazz bands at school, and by the age of 19 was playing at jazz festivals with drummer Pierre Courbois. In 1969, he became a member of Courbois’ early European jazz rock band Association P.C., with German guitarist Toto Blanke. As part of Piano Conclave he played with pianists George Gruntz, Joachim Kühn, Wolfgang Dauner, and Keith Jarrett.

In 1974, he founded Pork Pie and teamed up with Philip Catherine (guitar), Charlie Mariano (saxophone), Aldo Romano (drums), and Jean-François Jenny Clark (bass guitar). He joined the band Eyeball with saxophonist Bob Malach and violinist Zbigniew Seifert. He had two bands:

Face to Face with Danish bassist Bo Stief and saxophonist Ernie Watts and Pili Pili featuring African singer Angelique Kidjo. He played keyboards with Archie Shepp, although he is best known for his solo piano playing.

For All About Jazz, John Kelman wrote: “Transitory ‘s high point is the two-part title track. Orchestral in scope despite limited instrumentation, Van’t Hof’s strength as a textural player, comfortably blending impressionistic writing with freer concerns, is in full force. (wikipedia)

This rare German Avant-Garde Electronic Cosmic Dreamy Jazz LP was composed in 1980 by Markus Stockhausen & Jasper Van’t Hof.

The rare German Avant-Garde Electronic Cosmic Dreamy Jazz LP composed in 1980 by Markus Stockhausen & Jasper Van’t Hof.

Following in the pioneering steps of his father, the legendary Karlheinz Stockhausen, Markus Stockhausen made quite a splash with his first LP Aqua Sansa, recorded with Jasper Van’t Hof. While jazz can be used as a reference point on this highly sought after album from 1980, it’s more appropriate to think of the record in terms of freeform timbral expression. There’s a fourth world, Jon Hassell-esque charm to pieces such as Daybreak while the likes of Takone sport a more eerie, minimalist charm. Either way, it’s a highly worthy reissue for a much vaunted gem of leftfield music. (archeorecordings.bandcamp.com)

Personnel:
Jasper van’t Hof (keyboards, synthsizer, kalimba)
Markus Stockhausen (trumpet, fluegelhorn)

Tracklist:
01. Aqua Sansa 9:55
02. Silent Bell 11:47
03. Daybreak 3:20
04. Takone 15:33
05. Conspiration 5:03

Music: Jasper van’t Hof & Markus Stockhausen

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More from Jasper van’t Hof:

And here´s another rare album from Markus Stockhausen (click on the cover):

The Allman Brothers Band – Angeline + Mystery Woman (1980)

I want to reduce my collection of singles:

The Allman Brothers Band was an American rock band formed in Jacksonville, Florida in 1969[3] by brothers Duane Allman (founder, slide guitar and lead guitar) and Gregg Allman (vocals, keyboards, songwriting), as well as Dickey Betts (lead guitar, vocals, songwriting), Berry Oakley (bass guitar), Butch Trucks (drums), and Jai Johanny “Jaimoe” Johanson (drums). Subsequently based in Macon, Georgia, they incorporated elements of blues, jazz, and country music, and their live shows featured jam band-style improvisation and instrumentals.

Their first two studio releases, The Allman Brothers Band (1969) and Idlewild South (1970) (both released by Capricorn Records), stalled commercially, but their 1971 live release At Fillmore East was an artistic and commercial breakthrough. It features extended versions of their songs “In Memory of Elizabeth Reed” and “Whipping Post”, and is considered among the best live albums ever made.

Group leader Duane Allman was killed in a motorcycle accident later that year – on October 29, 1971 – and the band dedicated Eat a Peach (1972) to his memory, a dual studio/live album that cemented the band’s popularity and featured Gregg Allman’s “Melissa” and Dickey Betts’s “Blue Sky”. Following the motorcycling death of bassist Berry Oakley one year and 13 days later on November 11, 1972, the group recruited keyboardist Chuck Leavell and bassist Lamar Williams for 1973’s Brothers and Sisters. The album included Betts’s hit single “Ramblin’ Man” and instrumental “Jessica”, which went on to become classic rock radio staples and placed the group at the forefront of 1970s rock music. Internal turmoil overtook them soon after; the group dissolved in 1976, reformed briefly at the end of the decade with additional personnel changes, and dissolved again in 1982.

The band re-formed once more in 1989, releasing a string of new albums and touring heavily. A series of personnel changes in the late 1990s was capped by the departure of Betts. The group found stability during the 2000s with bassist Oteil Burbridge and guitarists Warren Haynes and Derek Trucks (the nephew of their original drummer) and became renowned for their month-long string of shows at New York City’s Beacon Theatre each spring. The band retired for good in October 2014 after their final show at the Beacon Theatre.

Butch Trucks died of a self-inflicted gunshot wound on January 24, 2017 in West Palm Beach, Florida at the age of 69. Gregg Allman died from complications arising from liver cancer on May 27, 2017 at his home in Georgia, also at 69. The band was awarded seven gold and four platinum albums, and was inducted into the Rock and Roll Hall of Fame in 1995. Rolling Stone ranked them 52nd on their list of the 100 Greatest Artists of All Time in 2004.

In 1978, Allman and Walden first approached Betts with the idea of a reunion.[95] Their first public appearance together came at a Great Southern show in New York’s Central Park that summer, when Allman, Trucks, and Jaimoe joined the band for a few songs.[84] Williams and Leavell declined to leave Sea Level, so the Allman Brothers Band hired guitarist Dan Toler and bassist David Goldflies from Great Southern. The band reunited with Tom Dowd at Criteria Studios in Miami to cut their reunion album, which was released in February 1979 as Enlightened Rogues, a term Duane had used to describe the band. While the band “tried to make it happen,” they later concluded that the chemistry was not there; the album was a minor commercial success, which was credited to the production work from Dowd.

Betts filed a lawsuit against Walden for nonpayment of record and publishing royalties, and Betts’s lawyer, Steve Massarsky, began managing the group. Betts won the lawsuit, and the rest of the band filed suit while Capricorn declared bankruptcy that October. Massarsky led the successful effort to sign the band with Arista, which pushed the band to “modernize” their sound. “Arista founder Clive Davis destroyed any hope that we had that we could make the thing work again,” said Trucks later. “He wanted us to be a Southern American version of Led Zeppelin and brought in outside producers and it just kept getting worse.”

Their first Arista effort, Reach for the Sky (1980), was produced by Nashville songwriters Mike Lawler and Johnny Cobb.

And here´s a German single rom this album:

The problem of those years was, that the genre of Southern rock was waning considerably in the mainstream. And so they could no longer continue their earlier successes. The magic of their early years was over … but it´s still a good single and the catchy mean-woman blues “Angeline,” which became a minor radio hit.

Personnel:
Gregg Allman  (vocals, keyboards)
Dickey Betts (guitar, slide guitar)
David Goldflies (bass)
Jai Johanny Johanson (drums)
Dan Toler (guitar)
Butch Trucks (drums, percussion)

Tracklist:
01. Angeline (Betts/Cobb/Lawler) 3.38
02. Mystery Woman (Toler/Allman) 3.35

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More from The Allman Brothers Band:

The official website:

Chris Spedding – I’m Not Like Everybody Else (1980)

Christopher John Spedding (born Peter Robinson, 17 June 1944) is an English musician, singer, guitarist, songwriter, multi-instrumentalist, composer, and record producer. In a career spanning more than 50 years, Spedding is best known for his studio session work. By the early 1970s, he had become one of the most sought-after session guitarists in England. Spedding has played on and produced many albums and singles. He has also been a member of eleven rock bands: the Battered Ornaments, Frank Ricotti Quartet, King Mob, Mike Batt and Friends, Necessaries, Nucleus, Ricky Norton, Sharks, Trigger, and the Wombles. In May 1976, Spedding also produced the very first Sex Pistols recordings.

AllMusic has described Spedding as “one of the UK’s most versatile session guitarists, [he] has had a long career on two continents that saw him tackle nearly every style of rock and roll …”.

Spedding, a long-time friend of Chrissie Hynde, was a regular concert feature artist with the Pretenders on their US tour in March/April 1980. He appeared regularly during the band’s encores, playing the guitar solos on their version of the Kinks’ song “Stop Your Sobbing”.

As well as his celebrated work as a session musician, Spedding pursued a solo career, releasing his debut album Songs Without Words in 1970. Since then, he has released fourteen studio albums, and two live albums. His only solo hit was 1975’s “Motor Bikin'”.

Chris Spedding was born in Staveley, Derbyshire, but was raised in Sheffield and Birmingham by adoptive parents Muriel and Jack Spedding, and renamed Christopher John Spedding.

Whilst still with the Battered Ornaments, which without the departing Pete Brown left Spedding as their frontman, he joined the Frank Ricotti Quartet, and played guitar on the album Our Point of View, released in July 1969. He was also invited to play on Jack Bruce’s first and third solo albums, Songs for a Tailor (1969) and Harmony Row (1971).

Spedding then recorded his own instrumental album, Songs Without Words (1970) for Harvest Records, which was only released in Japan.

During this time, he was also playing jazz-fusion with Nucleus and recorded and toured with Mike Gibbs, featuring as lead soloist on the track “Five for England” on Gibbs’s Tanglewood ’63 album. He played guitar on the Pete Atkin/Clive James album Driving Through Mythical America. He was a session player on Harry Nilsson’s breakthrough album, Nilsson Schmilsson, recorded in London. In 1970, he played on the original recording of Jesus Christ Superstar,[9] and in 1971 he also played on “Pieces of Me” by Linda Hoyle and Coming from Reality by Sixto Rodriguez, who was later the subject of the 2012 documentary Searching for Sugar Man. During 1972–74, Spedding played a central role in Sharks, initially with ex-Free bassist Andy Fraser. They recorded two albums and toured with Roxy Music. After that, he toured and recorded with John Cale. He also played with Roy Harper’s occasional backing band Trigger, notably on 1975’s HQ album. In 1972–76, he played in Mike Batt’s novelty band The Wombles, and confirmed on the Marc Riley show on BBC Radio 6 Music that he performed on television in a Womble suit.

In 1975, Spedding had a Top 20 solo hit in the UK with “Motor Bikin'”,[4] which he promoted with popular television appearances on Top of the Pops and Supersonic, dressed in leather motorcycling gear, with greased hair. On his 1976 single Pogo Dancing he was backed by UK punk band The Vibrators. When further hits failed to materialise, he subsequently became better known as a session guitarist, appearing and recording with Bryan Ferry, Roxy Music, Elton John, Brian Eno, Jack Bruce, Nick Mason, Art Garfunkel, Typically Tropical, Katie Melua, and Ginger Baker, amongst others. During the mid-1970s, he even took part in the Wombles’ UK tour in full costume, whilst wielding his trademark Gibson Flying V.[1] His own album Chris Spedding (1975) was produced by Mickie Most. Spedding recorded a version of the American singer-songwriter Garland Jeffreys’ song, “Wild in the Streets”, on his own Hurt album. The song has since been covered by the Circle Jerks and is featured on Tony Hawk’s American Wasteland.

He also was the producer of the Sex Pistols’ first demos, which were recorded on 12 May 1976 at London’s Majestic Studios, where Spedding had recorded his contributions to Eno’s album Here Come The Warm Jets and the Sharks track “Kung Fu”. The three tracks recorded were “Problems”, “No Feelings” and “Pretty Vacant”; there are persistent rumours that he played guitar and bass on their debut album, Never Mind the Bollocks, Here’s the Sex Pistols, however both Sex Pistols guitarist Steve Jones and Spedding himself deny this entirely. The following year, Spedding featured extensively on the concept album Jeff Wayne’s Musical Version of The War of the Worlds, issued in 1978.

Spedding moved to New York City, joined the Necessaries as a guitarist and songwriter, collaborated with drummer/percussionist David Van Tieghem, and worked extensively with Robert Gordon. Before long he was back in the UK and recorded another album of his own, I’m Not Like Everybody Else (1980). The same year he appeared on Joan Armatrading’s album Me Myself I, playing lead guitar on a number of tracks, including the chart-hit title track.[15] His live album, Friday the 13th was released in 1981. In 1982 he played on Nina Hagen’s recording NunSexMonkRock, and over the next few years he continued his session work on such albums as Tom Waits’ Rain Dogs, while periodically releasing solo material (Mean and Moody (1985), Enemy Within (1986) and Cafe Days (1990). He worked on several solo releases by Jerry Harrison (of Talking Heads) including the critically acclaimed album Casual Gods released in 1988 spawning the No. 7 hit on US Mainstream Charts Rev It Up.

He played on the tracks “Not Such A Bad Boy”, “So Bad” and “No Value” on Paul McCartney’s Give My Regards to Broad Street released in 1984. Spedding recalls Ringo Starr, engineer Geoff Emerick and producer George Martin working on the same sessions as well as McCartney and his wife, Linda. In the same year he played on Roger Daltrey’s solo album Parting Should Be Painless. Spedding was producer of the first two albums by the Canadian rockabilly band, The Razorbacks, entitled Go to Town (1988) and Live a Little (1989). In 1995, he played on Willy DeVille’s Big Easy Fantasy, and later that year, on his album Loup Garou.

Accepting an invitation, Spedding toured with a reformed Roxy Music in 2001. By now in his late fifties, Spedding’s own blues rock offerings One Step Ahead of the Blues (2002) and Click Clack (2005) were released, followed by It’s Now Or Never in 2007. He was one of only two musicians from the 1976 album Jeff Wayne’s Musical Version of The War of the Worlds to return for Jeff Wayne’s Black Smoke Band’s 2006–2012 tour of Europe. He then featured on the 2012 album Jeff Wayne’s Musical Version of The War of the Worlds – The New Generation, touring with the show in 2012 and 2014.

Chris Spedding (far right) on stage with singer Bryan Ferry (centre) at GuilFest, 2012:

On 31 October 2011, the 11 track CD King Mob album was released featuring Spedding on guitar, Glen Matlock on bass, Martin Chambers on drums, Sixteen on guitar and fronted by Stephen W. Parsons, aka Snips a former member of Sharks. Although both the album and live shows received positive reviews, King Mob announced that they were disbanding in September 2012.

In June 2014, Spedding appeared as a special guest playing guitar with Bryan Ferry at the 2014 Glastonbury Festival held in Pilton, Somerset, United Kingdom. In 2016, and again in 2019, he toured the US with Ferry. (wikipedia)

Chris Spedding’s seventh LP, I’m Not Like Everybody Else, was released in 1980 on UK’s RAK label. The album has a similar feel to his previous LP, Guitar Graffiti. Fans will find some really terrific songs on this album such as “Box Number”, “I Got A Feeling”, “Musical Press” and “Contract”. A nice mix of his laid back alternative rock along with some more rocking numbers make I’m Not Like Everybody Else worth seeking out and sort of a must for Chris Spedding fans. (Mark Yokel)

A criminally forgotten and underrated album !

Personnel:
Phil Lanzon (piano)
Dave Mattacks (drums)
Chris Mercer (saxophone)
Chris Spedding  (guitar, vocals, organ)
Paul Westwood (bass)
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cello:
Chris Green – Pete Willison
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background vocals:
Richard Gower – Phil Fursdon – Pete Miller

Tracklist:
01. I’m Not Like Everybody Else (Davies) 3.40
02. Box Number (Spedding) 2.33
03. I Got A Feeling (Spedding) 3.04
04. The Crying Game (Stephens) 2.39
05. Depravitie (Spedding) 3.01
06. Musical Press (Spedding) 3.11
07. Contract (Spedding) 3.07
08. Counterfeit (Spedding) 2.48
09. A Shot Of Rhythm And Blues (Thompson) 3.57
10. Mama Coca (Spedding) 4.48

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More from Chris Spedding:

The official website:

The Three Tenors – Carreras, Domingo, Pavarotti In Concert (1990)

The Three Tenors were an operatic singing group during the 1990s and early 2000s, consisting of Spaniards Plácido Domingo and José Carreras, and Italian Luciano Pavarotti. The trio began their collaboration with a performance at the ancient Baths of Caracalla in Rome, Italy, on 7 July 1990, the eve of the 1990 FIFA World Cup Final, watched by a global television audience of around 800 million. The image of three tenors in formal evening dress singing in a World Cup concert captivated the global audience. The recording of this debut concert became the best-selling classical album of all time and led to additional performances and live albums. They performed to a global television audience at three further World Cup Finals: 1994 in Los Angeles, 1998 in Paris, and 2002 in Yokohama. They also toured other cities around the world, usually performing in stadiums or similar large arenas to huge audiences. They last performed together at an arena in Columbus, Ohio, on 28 September 2003.

The Three Tenors repertoire ranged from opera to Broadway to Neapolitan songs and pop hits. The group’s signature songs included “Nessun dorma” from Puccini’s opera Turandot, usually sung by Pavarotti, and the ballad “O Sole Mio”, which all three tenors typically sang together.

Carreras Domingo Pavarotti in Concert (re-released as The Three Tenors in Concert) is a live album by José Carreras, Plácido Domingo and Luciano Pavarotti with conductor Zubin Mehta. The album was recorded on 7 July 1990 in Rome as the first Three Tenors concert with the orchestra of the Maggio Musicale Fiorentino and the orchestra of Teatro dell’Opera di Roma on the evening before the 1990 FIFA World Cup Final. It was produced by Gian Carlo Bertelli and Herbert Chappell.

The concert is particularly known for the two recordings of “Nessun dorma”. The first is sung by Pavarotti alone. The second, the concert encore, includes all three tenors singing individually and then, for the final ‘Vincerò!’ singing together – conductor Zubin Mehta appeared completely delighted with the effect this had. (wikipedia)

The Three Tenors with Zubin Mehta:

I grew up listening to opera and Italian music, but never appreciated it. After all, Led Zeppelin, Clapton, and the Eagles were more of my generation. However, when I heard this CD 16 years ago, I never stopped listening. I’m on my 4th copy and give it as a gift all the time. Pavarotti needs no description – truly a voice from the universe. Domingo is strong & secure in his voice. Carreras was very ill during this concert and I noticed some reviewers said his voice wasn’t as exceptional as the other 2. It was, given his health at the time. And the orchestra – omg, the orchestra!!! I’ve listened to this so long, I can tune out the voices and listen to the orchestra on its own – magnificent!!!! This CD will awaken you to the beauty of music and voice. The song selection is comfortable for experienced opera listeners, and non-experienced as well. Try it. If you don’t like it, pass it forward. The receiver may just love it for you. (Bostonian)

Personnel:
José Carreras – Plácido Domingo – Luciano Pavarotti
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Maggio Musicale Fiorentino Orchestra / Teatro dell’Opera di Roma Orchestra
conducted by Zubin Mehta

Tracklist:
01. José Carreras: È la solita storia (Lamento Di Federico) (Cilea) 4.21
02. Plácido Domingo: O paradis (Meyerbeer) 3.11
03. Luciano Pavarotti: Recondita armonia (Puccini) 2.37
04. Plácido Domingo: Dein ist mein ganzes Herz (Lehár) 3.36
05. Luciano Pavarotti: Rondine al nido (De Crescenzo) 3.34
06. José Carreras: Core ‘ngrato (Cardillo) 3.27
07. Luciano Pavarotti: Torna a Surriento (de Curtis) 2.52
08. José Carreras: Granada (Lara) 3.41
09. Plácido Domingo: No puede ser (Sorozábal) 2.44
10. José Carreras: Improvviso (Giordano) 5.11
11. Plácido Domingo: E lucevan le stelle (Puccini) 2.40
12. Luciano Pavarotti: Nessun dorma (Puccini) 3.05
13. The Three Tenors: Maria / Tonight / ‘O Paese d’ ‘o sole 5.30
14. The Three Tenors: Memory / Ochi tchorniye / Caminito / La Vie en rose 6.52
15. The Three Tenors: Mattinata / Wien, Wien, nur du allein / Amapola / ‘O sole mio 8.07
16. The Three Tenors: O sole mio (di Capua) 2.54
17. The Three Tenors: Nessun dorma (Puccini) 3:30

Tracks 13–15 are part of a song medley. Tracks 16 and 17 are encores.

*
**

Planxty – The Woman I Loved So Well (1980)

Planxty were an Irish folk music band formed in January 1972,: 99–100  consisting initially of Christy Moore (vocals, acoustic guitar, bodhrán), Andy Irvine (vocals, mandolin, mandola, bouzouki, hurdy-gurdy, harmonica), Dónal Lunny (bouzouki, guitars, bodhrán, keyboards), and Liam O’Flynn (uilleann pipes, tin whistle). They transformed and popularized Irish folk music, touring and recording to great acclaim.

Subsequently, Johnny Moynihan, Paul Brady, Matt Molloy (flute), Bill Whelan (keyboards), Nollaig Casey (fiddle) and, briefly, Noel Hill (concertina) and Tony Linnane (fiddle) were also temporary members.

Planxty broke up twice, first in December 1975  and again in April 1983.  The original quartet reunited in October 2003  and their final performance was on 31 January 2005. (wikipedia)

Along with groups like the Bothy Band, Planxty helped to usher in a new era for modern Celtic music. While their sound remained rooted to traditional music, the band’s virtuosic musicianship and high-energy delivery reflected modern influences, while their unique vocal harmonies and instrumental counterpoint were unprecedented in Irish music.

The founding members of Planxty — Christy Moore, Dónal Lunny, Liam O’Flynn, and Andy Irvine — initially came together to provide instrumental accompaniment for Irish singer/songwriter Christy Moore’s 1973 album, Prosperous. The sessions proved so inspiring that the musicians agreed to continue working together. With the release of their debut single, “Cliffs of Dooneen,” the new band attracted international attention. An equally memorable, self-titled album, affectionately known as the “Black Album,” followed shortly afterwards.

Despite its success, Planxty was plagued by a series of personnel changes. Following the release of the band’s second album, The Well Below the Valley, Lunny departed for the Bothy Band and was replaced by Johnny Moynihan, who had previously played with Irvine in Sweeney’s Men. Moore followed after the release of the band’s third album, Cold Blow and the Rainy Night to resume his solo career, and was replaced by singer/songwriter Paul Brady. The loss of Moore and Lunny was devastating and, shortly after releasing their fifth album, The Woman I Loved So Well, Planxty disbanded in 1981.

The seeds for Planxty’s resurrection were planted in late 1983. In addition to the original members, the re-formed group featured ex-Bothy Band and future Chieftains flute player Matt Molloy and keyboardist and future Riverdance producer Bill Whelan. Fiddlers James Kelly and Noelle Casey were added for the first album by the reunited group, Words & Music. The renewed energy petered out quickly. By 1983, Lunny and Moore had gone off to form a more electric trad-rock group, Moving Hearts. (Craig Harris)

“Planxty” was a word used by people who named works by harper Turlough O’Carolan after his death, and is believed to denote a tribute to a particular person: “Planxty Irwin,” for example, would be in honour of Colonel John Irwin of Sligo. “Planxty” is thought to be a corruption of the Irish word and popular toast “sláinte”, meaning “good health.” Another possible explanation is that it is derived from the Latin planctus, a medieval lament composed in honour of a deceased person or a tragic event.

Regardless of its origin, the moniker, which replaced the provisional “CLAD” (Christy – Liam – Andy – Dónal), turned out to be a good fit, as O’Carolan’s music would play an important part in the band’s repertoire.

A formative influence on Planxty, and in particular on Moore, was the singing of Irish Traveller John “Jacko” Reilly who hailed from Boyle, Co. Roscommon. It was from Reilly that Moore learned “Raggle Taggle Gypsy”, which was recorded for the first Planxty album, in addition to “The Well Below the Valley,” which appeared on The Well Below the Valley. Moore later dipped into Reilly’s songbook again for an updated version of the lengthy ballad “Lord Baker,” which was featured on Planxty’s 1983 album Words & Music. (“Baker” appears to be a mondegreen for the “Beichan” of earlier versions.) Reilly died in 1969 at the age of 44, shortly after being found beneath his coats in the top room of his dwelling in Boyle by Tom Munnelly, who had originally collected his songs for archiving.

The music of Turlough O’Carolan appeared on a number of Planxty albums (including the B-side of their very first single), played by O’Flynn on the pipes. Much of this music first came to the attention of the band through the work of seminal Irish composer Seán Ó Riada and his group Ceoltóirí Chualann.

“The Woman I Loved So Well” is the fifth studio album by the Irish folk band, originally released in 1980. The album features eight musicians, more than any other Planxty album. The core line-up of Christy Moore, Donal Lunny, Andy Irvine and Liam O’Flynn are joined again by flautist Matt Molloy, who had left the band shortly after the release of ‘After the Break’ (1979) to join The Chieftains full-time. Newcomer Bill Whelan joined the group in the studio to play keyboards, as did the concertina/fiddle duo of Noel Hill and Tony Linnane, who completed a short tour of Ireland with the group prior to the recording.Fifth studio album by the Irish folk band, originally released in 1980. The album features eight musicians, more than any other Planxty album. The core line-up of Christy Moore, Donal Lunny, Andy Irvine and Liam O’Flynn are joined again by flautist Matt Molloy, who had left the band shortly after the release of ‘After the Break’ (1979) to join The Chieftains full-time. Newcomer Bill Whelan joined the group in the studio to play keyboards, as did the concertina/fiddle duo of Noel Hill and Tony Linnane, who completed a short tour of Ireland with the group prior to the recording. (claddaghrecords.com)

The Woman I Loved so Well , an album I first heard in the 80’s, remains unforgettable for me. Personally, this Planxty album is beautiful and magnificent and when I listen to it again today in 2016 I am happy and amazed to see that Irish music remains a great love for me and one that has never faded. I recommend this album without hesitation to anyone who loves Ireland. (Andrianaan)

Stirring stuff from the masters of Irish folk. A collection of stirring songs and tunes including Kellswater and Johnny of Brady’s Lea. An essential for any enthusiast – this is how it should be done. (H. Lindsay)

Yes !!!

Personnel:
Andy Irvine (bouzouki, mandolin, harmonica, vocals)
Donal Lunny (bouzouki, guitar, synthesiser)
Christy Moore (guitar, bodhran, vocals)
Liam O’Flynn (uilleann pipes, whistle)
+
Noel Hill (concertina)
Tony Linnane (fiddle)
Matt Molloy (flute)
Bill Whelan (keyboards)

Tracklist:
01. True Love Knows No Season (Blake) 5.31
02. Out On The Ocean (Tierney’s) (Irvine/Lunny/Moore/O’Flynn) 3.21
03. Roger O’Hare (Irvine/Lunny/Moore/O’Flynn) 5.34
04. The Tailor’s Twist (Traditional) 3.14
05. Kellswater (Irvine/Lunny/Moore/O’Flynn) 5.00
06. Johnny Of Brady’s Lea (Irvine/Moore/O’Flynn) 6.32
07. The Woman I Never Forgot (Irvine/Lunny/Moore/O’Flynn) 4.21
08. Little Musgrave (Irvine/Lunny/Moore/O’Flynn) 11.30

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A Planxty website by Andy Irvine:

Jethro Tull – A (1980)

Jethro Tull are a British rock band formed in Blackpool, England, in 1967. Initially playing blues rock and jazz fusion, the band soon incorporated elements of English folk, hard rock, and classical music, forging a signature progressive rock sound. The group’s bandleader, founder, primary composer and only constant member is Ian Anderson, a multi-instrumentalist who mainly plays flute and acoustic guitar, and is also the lead vocalist. The group has featured a revolving door of musicians throughout the decades, including significant contributors such as electric guitarist Martin Barre (the longest serving member besides Anderson), keyboardists John Evan, Dee Palmer, Peter-John Vettese and Andrew Giddings, drummers Clive Bunker, Barrie “Barriemore” Barlow and Doane Perry, and bassists Glenn Cornick, Jeffrey Hammond, John Glascock, Dave Pegg and Jonathan Noyce.

After achieving moderate recognition performing in the London club scene, the band released their debut album This Was in 1968. After a lineup change which saw original guitarist Mick Abrahams replaced by Martin Barre, the band released the folk-tinged second album Stand Up (1969). Stand Up saw the band achieve their first commercial success, reaching No. 1 in the UK, followed by regular tours of the UK and the US. Their musical style shifted in the direction of progressive rock with the albums Aqualung (1971), Thick as a Brick (1972) and A Passion Play (1973), and shifted again to contemporary folk rock with Songs from the Wood (1977), Heavy Horses (1978) and Stormwatch (1979). In the early 1980s the band underwent a major lineup change and shifted towards electronic rock, with the albums A (1980), The Broadsword and the Beast (1982) and Under Wraps (1984). The band won their sole Grammy Award for the 1987 album Crest of a Knave, which saw them returning to a hard rock style. Jethro Tull have sold an estimated 60 million albums worldwide, with 11 gold and five platinum albums among them.[3] They have been described by Rolling Stone as “one of the most commercially successful and eccentric progressive rock bands”.

The last works as a group to contain new material prior to their hiatus were J-Tull Dot Com (1999) and a Christmas album in 2003, though the band continued to tour until 2011. Both Anderson and Barre have continued to record and tour as solo artists, with Anderson saying in 2014 that Jethro Tull “came more or less to an end”.[5] The current group—now billed as “Ian Anderson and the Jethro Tull band”—includes musicians who were part of Jethro Tull during the last years of its initial run as well as newer musicians associated with Anderson’s solo band, however without Barre’s involvement. Jethro Tull released The Zealot Gene, their first studio album in 19 years (and their first one to consist of original, new material in 23 years), in 2022

A is the 13th studio album by British rock band Jethro Tull. It was released on 29 August 1980 in the UK and 1 September of the same year in the United States.

The album was initially written and recorded with the intention of being frontman Ian Anderson’s debut solo album (hence the album’s title: the master tapes were marked “A” for Anderson during recording), however the album was eventually released as a Jethro Tull album after pressure from Chrysalis Records. Anderson has since stated that he regrets allowing the album to be released under the Jethro Tull name.

Musically, the album was a departure from prior Tull works, adopting more of an electronic rock sound with heavy use of synthesizers, although still retaining the band’s trademark folk influence and Anderson’s flute playing. Lyrically, the album saw a similar departure from the fantasy and folklore themes of previous Tull work, instead emphasizing contemporary matters such as the Cold War. The album was the first Tull album released following a large lineup change which saw drummer Barrie “Barriemore” Barlow and keyboardists John Evan and Dee Palmer departing the band in 1980 while bassist John Glascock had died from heart complications the previous year. The album instead features Glascock’s touring replacement Dave Pegg on bass in his first recorded appearance with the band, Mark Craney on drums and Eddie Jobson on keyboards (with Jobson credited as a “special guest”) and electric violin.

A was recorded as an intended Ian Anderson solo album before Tull’s record label, Chrysalis, asked that it become credited to the group. This is the reason for the album’s title, as the tapes were marked “A” for “Anderson”. It is noted for its more synthesiser-based sound, a fact which created controversy among many of the band’s fans.[citation needed] On the other hand, it features a folk-influenced piece, “The Pine Marten’s Jig”.

A features a dramatically different line-up of Tull from the band’s previous album, Stormwatch (1979). Former keyboardist John Evan and organist Dee Palmer were fired from the group, while drummer Barriemore Barlow left the band due to depression over the death of John Glascock as well as plans to start his own band.

The only members of Tull to appear on both Stormwatch (1979) and A (1980) are Ian Anderson and Martin Barre. This is also bassist Dave Pegg’s first appearance on a Tull studio recording, but he had become a member of the band during the Stormwatch tour in 1979, replacing the deceased Glascock. Conflicting reasons have been given for the line-up change. Anderson has stated that he wanted to take the band in a different direction from the folk rock and progressive rock of the 1970s.

Barriemore Barlow was unhappy with the direction the band was taking and later stated that he would have left anyway. However, biographer David Rees reports in his book Minstrels in the Gallery: A History of Jethro Tull (2001) that Anderson had never intended to replace Jethro Tull’s previous line-up with the musicians who recorded A, but was forced by Chrysalis Records, which had decided to release his ‘solo’ album under the name Jethro Tull.[5] This claim was further evidenced by Anderson’s note in the 2003 re-release of the album.

A 40th anniversary box set was released in April 2021, featuring the album remixed by Steven Wilson.

Gone are the longtime Anderson images of the vagabond/sage (the group is clad in white jumpsuits on the cover) — also gone are the historical immersion of their music and anything resembling Dickensian, much less Elizabethan sensibilities. And nearly gone was Jethro Tull itself, for A started life as an Ian Anderson solo project but ended up as a Jethro Tull release, probably for commercial reasons. The difference is probably too subtle for most people to comprehend anyway. It is more reflective than Tull’s usual work, but lacks the sudden, loud hard rock explosions that punctuate most of the group’s albums.

The death of bassist John Glascock in late 1979, and the departure of Anderson’s longtime friend John Evans after the release of Stormwatch, as well as the exit of arranger/keyboard player David Palmer, led to some major lineup shifts; Fairport Convention’s Dave Pegg’s taking over Glascock’s spot and the addition of Eddie Jobson, ex-Roxy Music/King Crimson violinist/keyboardman all seem to have removed some of Anderson’s impetus, at least for a time, for keeping the group going in the studio. What finally emerged is the first Tull record not to feature Anderson’s acoustic guitar, yet it also has a more balanced sound than any of their prior records. Jobson’s arrangements are leaner and more muscular than Palmer’s, giving the music a stripped-down sound, a sort of hard folk-rock (reminiscent of Steeleye Span’s All Around My Hat), augmented by synthesizer and electric violin; this somewhat updated Anderson’s music and moved him into the art rock category. Released in the midst of the punk/new wave boom in the United States, it didn’t do too much for anyone’s career, although it probably maintained Anderson’s credibility better than any traditional Tull album would have. (by Bruce Eder)

Personnel:
Ian Anderson (vocals, flute)
Martin Barre (guitar)
Dave Pegg (bass, mandolin)
Mark Craney (drums)
+
Eddie Jobson (keyboards, synthesizer, violin on 09.)

Tracklist:
01. Crossfire
02. Fylingdale Flyer
03. Working John, Working Joe
04. Black Sunday
05. Protect And Survive
06. Batteries Not Included
07. Uniform
08. 4.W.D. (Low Ratio)
09. The Pine Marten’s Jig
10, And Further On
+
11. Crossfire (extended version)
12. Working John, Working Joe (Take 4)
13. Cheerio (early version)
14. Coruisk
15. Slipstream Intro

All songs written by Ian Anderson

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More from Jethro Tull:

The official website:

Jack Bruce – Live In America (2007)

Although some may be tempted to call multi-instrumentalist, songwriter, and composer Jack Bruce a rock & roll musician, blues and jazz were what this innovative musician really loved.

As a result, those two genres were at the base of most of the recorded output from a career that went back to the beginning of London’s blues scene in 1962.

In that year, he joined Alexis Korner’s Blues Incorporated. Throughout the following decades and into the 21st century, Bruce remained a supreme innovator, pushing himself into uncharted waters with his jazz and folk-rock compositions. (by Richard Skelly)

And here´s an obscure live recording:

This is a concert recorded November 20, 1980 in Denver, CO during a tour to support his 1980 “Ive Always Wanted To Do This” LP . His backing band at this time was Billy Cobham, Clem Clemson & David Sancious.
Jack’s voice & bass playing are very good here. The reason for only 3 stars is that, with rare exception (ex. “Politician” & “Living Without Ja”) the band doesn’t really rise to the occasion, IMO. The recording is professional. This is not a bootleg. The set begins with an odd, slow jazz-vocal intro to “White Room” before morphing into what we all recognize. The next track is “Hit & Run”, which definitely dates the show with quasi-disco drum & bass playing. This is followed by Clem’s Blues Solo, which is a self-indulgent benign blues instrumental. “Theme From An Imaginary Western” & “Born Under A Bad Sign” are two other staples in this set.

Note that this CD is also available as “Alive In America”, which includes lengthy versions of both “Sunshine of Your Love” & “Bird Alone”, which are omitted on this version (same show & band line-up). Other tracks appearing are “Morning Story, Post War, Face Lift 318, Escape From Royal Wood”. “Traintime” is a short harmonica & snare drum only instrumental. The song “Dancing On Air” has backing vocals that are beyond painful. Jack has one of the most distinct & powerful voices in music. Don’t let just anyone in your band sing. Gary Moore & Eric are two exceptions who could actually compliment Jack’s voice. In short, this set offers 14 songs culled from one show in 1980. Not Jack’s finest moment, neither is it his worst. For the record, his swan song “Silver Rails” is a solid CD. Rest in peace, Jack, your music will be eternal. (George Spiggot)

I am already of the opinion that this album is a bootleg … but a good one !

Recorded live  at Denver, Colorado, USA, November 20th, 1980

Personnel:
Jack Bruce (bass, vocals, harmonica)
Clem Clempson (guitar)
Billy Cobham (drums)
David Sancious (keyboards)

Tracklist:
01. White Room (Bruce/Brown) 7.29
02. Hit And Run (Bruce/Brown) 5.06
03. Clempson Blues Solo (Clempson) 3.10
04. Born Under A Bad Sign (Bell/Jones) 4.46
05. Livin’ Without Ja (Bruce/Brown) 3.37
06. Dancing On Air (Bruce/Brown) 4.39
07. Post War (Bruce/Brown) 10.23
08. Theme For An Imaginary Western (Bruce/Brown) 5.08
09. Face Lift 318 (Bruce/Brown) 5.27
10. Escape To The Royal Wood (On Ice) (Bruce/Brown) 8.44
11. Morning Story (Bruce/Brown) 1.47
12. Traintime (Bruce) 3.13
13. Politician (Bruce/Brown) 6.21

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The official website:

More from Jack Bruce:

The Babys – Union Jacks (1980)

The Babys are a British rock group best known for their songs “Isn’t It Time” and “Every Time I Think of You”.

Both songs were composed by Jack Conrad and Ray Kennedy, and each reached No. 13 on the U.S. Billboard Hot 100 and No. 8 on the Cashbox chart in the late 1970s.

The original Babys line-up consisted of founding member keyboardist/guitarist Michael Corby, and, in order of joining the group, vocalist/bassist John Waite, drummer Tony Brock, and guitarist Wally Stocker.

The group signed a contract with Chrysalis Records that was the highest ever for a new music act at the time. Two studio albums, The Babys and Broken Heart, were well received. After recording their third album, Head First, in August 1978, co-founder Michael Corby was replaced by Jonathan Cain as keyboardist and Ricky Phillips took over as bassist. From late 1978 until the breakup in 1981, The Babys line-up consisted of vocalist Waite, drummer Brock, bassist Phillips, guitarist Stocker, and keyboardist Cain.

Union Jacks is The Babys fourth album, which peaked at number 42 on the Billboard 200 in 1980. The lead single “True Love True Confession” failed to chart and was succeeded by the minor hit “Midnight Rendezvous,” and finally the hit single “Back on My Feet Again”, which was their last Top 40 hit, reaching #33. The band recorded a fifth album, On the Edge, then split. Union Jacks was reissued on 26 May 2009 under Rock Candy Records after being out of print for many years. There are no bonus tracks, but all of the tracks have been remastered. This was the first Babys album to feature keyboardist Jonathan Cain and bassist Ricky Phillips.

In 2013 The Babys reformed with originals Tony Brock and Wally Stocker, and two new members – American John Bisaha (The Nameless, Azure Blue, Hall of Souls, BISAHA) on vocals and bass, along with American guitarist Joey Sykes (Boystown, Coward, Meredith Brooks), who replaced J. P. Cervoni after his brief tenure. The debut of the new look Babys happened in the summer of 2013 at The Canyon Club in Agoura Hills, California. In June 2014, their latest album, I’ll Have Some of That!, was released.

Live, the band currently features a keyboardist (at time of writing Walter Ino is playing) and ‘The Babettes’ – Holly Bisaha and Elisa Chadbourne. (wikipedia)

By 1980, the Babys had transformed from a journeyman British rock outfit to an Anglo-American band. These lineup changes were reflected in the sound of their 1980 release, Union Jacks, which represented another stylistic turnabout for the chameleon-like Babys. On this album, the group teamed up with Keith Olsen, the producer behind hit albums for Fleetwood Mac and Pat Benatar, to create a new sound that downplayed the cinematic orchestrations of their past for a punchy, radio-ready sound flavored with new wave-styled synthesizer accents. The resulting album is the top favorite of the Babys catalog for many of the group’s fans but isn’t quite as a strong a release as its cult reputation might suggest.

The carefully arranged “Back on My Feet Again” and the minor hit “Midnight Rendezvous” effectively mix rock riffs with a new wave style, but the new sound doesn’t work quite as well on other songs. The most notable example of this problem is “Jesus, Are You There?,” where the kitschy, shrill tone of the synthesizers provides an awkward musical contrast for the deadly serious lyrics. Other songs feel like they were rushed out a bit too quickly: The title track, sort of a new wave rock opera, is too disjointed to pack a punch, and “Turn Around in Tokyo” comes off as nondescript filler. In the end, Union Jacks is too inconsistent to win the Babys any new fans but is likely to please those who enjoy slick ’80s AOR records. (by Donald A. Guarisco)

Personnel:
Tony Brock (drums)
Jonathan Cain (keyboards, vocals on 08., background vocals)
Ricky Phillips (bass)
Wally Stocker (guitar)
John Waite (vocals)
+
Anne Marie Leclerc (background vocals on 02.)

Tracklist:
01. Back On My Feet Again (Waite/Bugatti/Musker) 3.19
02. True Love True Confession (Waite/Cain) 4.07
03. Midnight Rendezvous (Waite/Cain) 3.36
04. Union Jack (Waite/Phillips) 5.42
05. In Your Eyes (Waite/Phillips) 4.06
06. Anytime (Waite/Brock/Phillips/Stocker/Cain) 3.23
07. Jesus, Are You There? (Waite/Stocker/Cain) 3.34
08. Turn Around In Tokyo (Cain) 3.54
09. Love Is Just A Mystery (Waite(Brock/Stocker) 3.39

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The official website:

Derek Bell – Plays With Himself (1980)

George Derek Fleetwood Bell, MBE (21 October 1935 – 17 October 2002) was a Northern Irish harpist, pianist, oboist, musicologist and composer who was best known for his accompaniment work on various instruments with The Chieftains.

Bell was born in Belfast, Northern Ireland. Because he had been misdiagnosed at an early age as having a disease that would lead to blindness, his parents gave him a musical upbringing. He was something of a child prodigy, composing his first concerto at the age of 12. He graduated from the Royal College of Music in 1957. While studying there, he became friends with the flautist James Galway. From 1958 to 1990 he composed several classical works, including three piano sonatas, two symphonies, Three Images of Ireland in Druid Times (in 1993) for harp, strings and timpani, Nocturne on an Icelandic Melody (1997) for oboe d’amore and piano and Three Transcendental Concert Studies (2000) for oboe and piano. He had mastered and held a notable collection of instruments, including various harps, harpsichord, piano, cymbalom, and all the members of the oboe family of instruments (musette, oboe, cor anglais, bass oboe) and the heckelphone.

As manager of the Belfast Symphony Orchestra, Bell was responsible for maintaining the instruments and keeping them in tune. Out of curiosity, he asked Sheila Larchet-Cuthbert to teach him how to play the harp. Over time he had many harp teachers. In 1965 he became an oboist and harpist with the BBC Northern Ireland Orchestra. He had been known to be able to skilfully play the pedal harp, neo-Celtic harp, and wire-strung Irish-Bardic harp. Bell served as a professor of harp at the Academy of Music in Belfast.

Bell was briefly featured in a 1986 BBC documentary, The Celts, in which he discussed the role and evolution of the harp in Celtic Irish and Welsh society. Derek Bell also appeared with Van Morrison at the Riverside Theatre at the University of Ulster in April 1988. An hour-long BBC special was broadcast in which Derek Bell talks extensively as well as accompanying Morrison on several songs including “On Raglan Road”. The video is available on YouTube in full “VAN MORRISON – In Conversation and Music 1988”. Apart from this, video of him only exists in minor interviews and performances with The Chieftains.

Bell died of cardiac arrest in Phoenix, Arizona on 17 October 2002, just four days shy of his 67th birthday. He is remembered at Cambridge House Grammar School, Ballymena, as House Patron of Bell House. (wikipedia)

And here´s one of his solo-album …. with this really bizarre cover.

Derek Bell, was best known as the harpist and piano player of the Chieftains. However, he played a multitude of instruments. On this album, recorded in 1980, he plays piano, harpsichord, harps, cor anglais, oboes and cimbalom. The music is largely classical with some adaptations of folk melodies. (propermusic.com)

And:
Could Derek Bell have picked a better title for this baroque extravaganza? No. No he could not ! (classicfm.com)

What a nice album !

Personnel:
Derek Bell (all instruments: harpsichord, concert harp, piano, neo-Irish harp, oboe d’amore, cimbalom, oboe)

Tracklist:
01. Minuet (from The Duo Concertane Opus 74 in B Flat For Concert Harp and Piano) (Dussek) 4.41
02. Sonata In C Major For Oboe And Harpsichord (Besozzi) 7.30
03. Rondeau Ecossais For Pianoforte (Field) 4.15
04. Peruvian Dances (Traditional) 4.09
05. Tocata Burlesca For Oboe And Piano (Bell) 3.06
06. Mazurka Opus 28 For Concert Harp (Holý) 3.54
07. Notturno Opus 12 For Concert Harp (Holý) 2.52
08. Spanish Dance Opus 7 For Concert Harp (Holý) 3.45
09. Turkmenian Melody (for Cor Anglais and Piano) (Korchmarev) 2.46
10. Lotus Land Opus 47 For Pianoforte (Scott) 3.38
11. Three Bagatelles For Oboe D’Amore And Piano (Strutt) 5.18
12. Hungarian Folk Dances Cimbalom Solo With Harpsichord (And Piano, Harp And Oboe) (Traditional) 3.31

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