The Clash – Sandinista! (1980)

FrontCover1Sandinista! is the fourth studio album by English rock band the Clash. It was released on 12 December 1980 as a triple album containing 36 tracks, with 6 songs on each side. Anticipating the “world music” trend of the 1980s, it features funk, reggae, jazz, gospel, rockabilly, folk, dub, rhythm and blues, calypso, disco, and rap. For the first time, the band’s traditional songwriting credits of Strummer and Jones were replaced by a generic credit to the Clash, and the band agreed to a decrease in album royalties in order to release the 3-LP at a low price.
The title refers to the Sandinistas in Nicaragua, and its catalogue number, ‘FSLN1’, refers to the abbreviation of the party’s Spanish name, Frente Sandinista de Liberación Nacional.
Sandinista! was voted best album of the year in the Pazz & Jop critics poll in The Village Voice, and was ranked number 404 on the Rolling Stone list of “The 500 Greatest Albums of All Time” in 2003. Slant Magazine listed the album at number 85 on its “Best Albums of the 1980s” list in 2012.

The album was recorded over most of 1980, in London, Manchester, Jamaica and New York. It was produced by the band (which essentially meant Mick Jones and Joe Strummer), recorded and mixed by Bill Price, and engineered by Jeremy “Jerry” Green (Wessex Sound Studios), J. P. Nicholson (Electric Lady Studios), Lancelot “Maxie” McKenzie (Channel One Studios), and Bill Price (Pluto + Power Station Studios). Dub versions of some of the songs and toasting was done by Mikey Dread, who had first worked with the band for their 1980 single “Bankrobber”. With Sandinista! the band reached beyond punk and reggae into dub, rhythm and blues, calypso, gospel and other genres.[8] The album clearly displays the influence of reggae and producer Lee “Scratch” Perry (who had worked with the band on their 1977 single “Complete Control” and who had opened some of the band’s shows during its stand at Bond’s in New York in 1980), with a dense, echo-filled sound on even the straight rock songs.


When recording began in New York bass guitarist Paul Simonon was busy making a film called Ladies and Gentlemen, The Fabulous Stains, and he was replaced briefly by Ian Dury and the Blockheads bassist Norman Watt-Roy; this later caused some bad feeling when Watt-Roy and keyboard player Mickey Gallagher, a fellow Blockhead, claimed they were responsible for co-composing the song “The Magnificent Seven”, as the song was based on a tune of theirs. Dread, too, was upset that he was not credited as the album’s producer, although he was credited with “Version Mix”. Other guests on the album include singer Ellen Foley (Jones’ partner at the time), guitarist Ivan Julian formerly of the Voidoids, former Eddie and the Hot Rods member Lew Lewis, and Strummer’s old friend and musical collaborator Tymon Dogg, who plays violin, sings on and wrote the track “Lose This Skin”; he later joined Strummer’s band the Mescaleros. Gallagher’s children also made appearances: his two sons, Luke and Ben, singing a version of “Career Opportunities” from the band’s first album, and his daughter Maria singing a snippet of “The Guns of Brixton”, from London Calling, at the end of the track “Broadway”.


This is also the only Clash album on which all four members have a lead vocal. Drummer Topper Headon made a unique lead vocal contribution on the disco song “Ivan Meets G.I. Joe”, and bassist Paul Simonon sings lead on “The Crooked Beat”.Release
According to Joe Strummer, the decision to release a triple-LP was the their way of mocking CBS for resisting their desire to release London Calling as a double album, then releasing Bruce Springsteen’s double album The River, also on CBS, less than a year later. The band’s wish to release the album at a low price was also met with resistance, and they had to forego any royalties on the first 200,000 copies sold in the UK and a 50% cut in royalties elsewhere.
Four singles were released from the Sandinista! sessions in the UK: “Bankrobber” (which did not appear on the album), “The Call Up”, “Hitsville UK”, and “The Magnificent Seven”.
A single disc promotional sampler called Sandinista Now! was sent to press and radio. The side one track listing was “Police on My Back”, “Somebody Got Murdered”, “The Call Up”, “Washington Bullets”, “Ivan Meets G.I. Joe” and “Hitsville U.K.”. The side two track listing was “Up in Heaven (Not Only Here)”, “The Magnificent Seven”, “The Leader”, “Junco Partner”, “One More Time” and “The Sound of Sinners”.


The song “Washington Bullets” was lyricist Joe Strummer’s most extensive—and most specific—political statement to date. In it, Strummer name checks conflicts or controversies from around the world; namely in Chile, Nicaragua, Cuba, Afghanistan and Tibet. (In reference to the first three, Strummer seems to side with what he sees as popular leftist movements or governments, while in the latter two, he sharply criticises the policy of Moscow’s and Beijing’s communist governments for what he sees as their imperialist actions). The Rolling Stone review of Sandinista! calls “Washington Bullets”, along with “The Equaliser” and “The Call Up”, “the heart of the album”.
The original, 3-disc vinyl release of Sandinista! included a tri-fold lyric sheet cleverly titled The Armagideon Times, no. 3 (a play on “Armagideon Time”, the b-side from the single London Calling.) Armagideon Times, nos. 1 and 2 were Clash fanzines. The lyric sheet featured cartoons credited to Steve Bell, as well as hand-written (but still legible) lyrics of all the original songs. The 2-CD release contains a facsimile of the lyric sheet considerably reduced in size.

John Piccarella, in a review for Rolling Stone headlined “The Clash Drop The Big One”, argued that in effect, the band said “to hell with Clash style, there’s a world out there.” Some critics have argued that the album would have worked better as a less-ambitious, smaller project, while Piccarella (in his Rolling Stone review) and others think of the album as a breakthrough that deserves comparison to the Beatles’ White Album. Robert Christgau wrote in The Village Voice, “if this is their worst—which it is, I think—they must be, er, the world’s greatest rock and roll band”.
The triple album won several “best of the year” critics polls in 1981. It was voted the best album of the year in The Village Voice’s Pazz & Jop critics poll. Dave Marsh noted that it was a record whose topic was as many years ahead of its time as its sound.Alternative Press magazine included Sandinista! on its 2000 list of the “10 Essential Political-Revolution Albums” In 2003, the album was ranked number 404 on Rolling Stone magazine’s list of the 500 greatest albums of all time. The College Media Journal ranked Sandinista! number two on its list of the “Top 20 Most-Played Albums of 1981”.
The Sandinista! Project, a tribute to the album featuring the Smithereens, Camper Van Beethoven, Jon Langford (Mekons) and Sally Timms, Amy Rigby, Katrina Leskanich (of Katrina and the Waves), Wreckless Eric, Willie Nile, Matthew Ryan, Stew, Mark Cutler, Sex Clark Five, Sid Griffin & Coal Porters, Haale, the Blizzard of 78 featuring Mikey Dread, Ruby on the Vine, and many others, was released on 15 May 2007, on the 00:02:59 Records (a label named after a lyric from the Sandinista! song “Hitsville U.K.”). The album also features a collaboration by Soul Food and Mickey Gallagher on “Midnight Log”. (by wikipedia)


Topper Headon (drums, lead vocals on “Ivan Meets G.I. Joe” and “Look Here”)
Mick Jones (guitar, vocals)
Paul Simonon (bass, backing vocals, lead vocals on “The Crooked Beat” and “Look Here”)
Joe Strummer (vocals, guitar)
Noel “Tempo” Bailey (guitar)
Arthur Edward “Bill” Barnacle (trumpet on 04. 06., 09., 17., 25. + 27.)
Gary Barnacle (saxophone on 04. 06., 09., 17., 25. + 27.)
Tymon Dogg (vocals on 25., violin on 03.,  10.,  11., 21., 25. +  27.,  keyboards on 18,)
Mikey Dread (vocals on 08.,  09., 11. 32.)
Ellen Foley (vocals on 02.)
Maria Gallagher (vocals on 24.)
Mickey Gallagher (keyboards)
Rick Gascoigne (trombone on 04., 06., 25., 27. + 30.)
Den Hegarty (vocals)
Ivan Julian (guitar)
Lew Lewis (harmonica on 03., 08., 15., 20., 21., 31. + 34.)
Jody Linscott (percussion)
Davey Payne (saxophone on. 04. 06., 09., 17., 25. + 27.)
Norman Watt-Roy (bass guitar on 01.)

Anthony Nelson Steelie (Wycliffe Johnson of Steely and Clevie)
Luke & Ben Gallagher (vocals on 35.)
Band Sgt. Dave Yates (Drill Sergeant on 22.)



CD 1:
01. The Magnificent Seven (Jones/Strummer/Headon/Watt-Roy/Gallagher) 5.34
02.. Hitsville UK (Jones/Strummer/Headon/Simonon) 4.22
03. Junco Partner (Traditional) 4.52
04. Ivan Meets G.I. Joe (Jones/Strummer/Headon/Simonon) 3.06
05. The Leader (Jones/Strummer/Headon/Simonon) 1.42
06. Something About England (Jones/Strummer/Headon/Simonon) 3.43
07. Rebel Waltz (Jones/Strummer/Headon/Simonon) 3.26
08. Look Here (Allison) 2,45
09. The Crooked Beat (Jones/Strummer/Headon/Simonon) 5.28
10. Somebody Got Murdered (Jones/Strummer/Headon/Simonon) 3.34
11. One More Time (Jones/Strummer/Headon/Simonon/Dread) 3.32
12. One More Dub (dub version of One More Time) (Jones/Strummer/Headon/Simonon/Dread) 3.37
13. Lightning Strikes (Not Once but Twice) (Reprise Of The Magnificent Seven) (Jones/Strummer/Headon/Watt-Roy/Gallagher)4.51
14. Up In Heaven (Not Only Here) (Jones/Strummer/Headon/Simonon) 4.32
15. Corner Soul (Jones/Strummer/Headon/Simonon) 2.43
16. Let’s Go Crazy (Jones/Strummer/Headon/Simonon)  4.24
17. If Music Could Talk (Jones/Strummer/Headon/Simonon/Dread) 4.37
18. The Sound Of Sinners (Jones/Strummer/Headon/Simonon) 4.02

CD 2:
19. Police On My Back (Grant) 3.18
20. Midnight Log (Jones/Strummer/Headon/Simonon) 2.10
21. The Equaliser (Jones/Strummer/Headon/Simonon) 5.47
22. The Call Up (Jones/Strummer/Headon/Simonon) 5.28
23. Washington Bullets” (Jones/Strummer/Headon/Simonon) 3.52
24. Broadway”(features an epilogue of The Guns of Brixton sung by Maria Gallagher) (Jones/Strummer/Headon/Simonon) 5.49
25.  Lose This Skin (Dogg) 5.09
26. Charlie Don’t Surf (Jones/Strummer/Headon/Simonon) 4.54
27. Mensforth Hill (Something About England backwards with overdubs) (Jones/Strummer/Headon/Simonon) 3.42
28. Junkie Slip (Jones/Strummer/Headon/Simonon) 2.49
29. Kingston Advice (Jones/Strummer/Headon/Simonon) 2.37
30. The Street Parade (Jones/Strummer/Headon/Simonon) 3.28
31. Version City (Jones/Strummer/Headon/Simonon) 4.23
32. Living In Fame (dub version of If Music Could Talk) (Jones/Strummer/Headon/Simonon/Dread) 4.53
33. Silicone On Sapphire (dub version of Washington Bullets) (Jones/Strummer/Headon/Simonon) 4.14
34. Version Pardner (dub version of Junco Partner) (Jones/Strummer/Headon/Simonon)  5.23
35. Career Opportunities (Jones/Strummer/Headon/Simonon) 2.30
36. Shepherds Delight (dub version of Police & Thieves) (Jones/Strummer/Headon/Simonon) 3.29


  • (coming soon)




Allman Brothers Band – Brothers Of The Road (VHS rip) (1982)

FrontCoverIn 1978, Gregg Allman and Walden first approached Betts with the idea of a reunion. 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. Williams and Leavell declined to leave Sea Level, so the Allman Brothers Band hired two new members: guitarist Dan Toler and bassist David Goldflies. 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.[93] Bonnie Bramlett, who toured with the band near the end of the decade, sang lead on one song. Lawler soon became a part of the band’s touring ensemble, incorporating center-stage keytar solos “that most fans consider the band’s nadir.”[93] Drugs remained a problem with the band, particularly among Betts and Allman.[96] Although the album was made with the intention of creating a hit single, the genre of Southern rock was waning considerably in the mainstream.[94] The band again grew apart, firing longtime roadie “Red Dog” and replacing Jaimoe with Toler’s brother Frankie, who had been a member of Great Southern. The main point of contention was Jaimoe’s insistence that his wife and manager, Candace Oakley (Berry’s sister), handle his business affairs. “One of the real blights on the history of the Allman Brothers Band was that Jaimoe, this gentle man, was fired from this organization,” said Allman later.[98] Not long after, “the band changed managers, hiring the promoter John Scher after Massarsky eased himself out, reportedly saying, ‘It’s a million-dollar headache and a quarter-million-dollar job.'”

For their second and final album with Arista, Brothers of the Road (1981), they collaborated with a “name producer” (John Ryan, of Styx and the Doobie Brothers), who pushed the band even harder to change their Sound. “Straight from the Heart” was the album’s single, which became a minor hit but heralded the group’s last appearance on the top 40 charts. The band, considering their post-reunion albums “embarrassing”, subsequently broke up in 1982 after clashing with Clive Davis, who rejected every producer the band suggested for a possible third album, including Tom Dowd and Johnny Sandlin. “We broke up in ’82 because we decided we better just back out or we would ruin what was left of the band’s image,” said Betts. The band’s final performance came on Saturday Night Live in January 1982, where they performed “Southbound” and “Leavin’.” (by wikipedia)

Even this was not the best period of The Allman Brothers Band … this is a real good show with many goodies from the early Seventies … a decade Southern Rock became famous … Long live this Music and enjoy the very intimate sessions in a hotel and in a studio.

Recorded live in Gainsville FL, University of Florida 10-26-1980


Gregg Allman  (keyboards, vocals, guitar)
Dickey Betts (guitar, slide-guitar, vocals)
David Goldflies (bass)
Mike Lawler (piano)
Dan Toler (guitar)
David Toler (drums)
Butch Trucks (drums)
background vocals:
2 unknown female background singers



Gainsville FL:
01. Pony Boy (Betts)
02. Jessica (Betts)
03. You Don’t Love Me (Cobbs)
04. Blue Sky (Betts)
05. Never Knew How Much (I Need You) (G.Allman)
06. Statesboro Blues (McTell)
07. Whipping Post (G.Allman)

Hotel Jam:
08. Let Me Ride (Betts)
09. Danny Blue (unknown)
10. The Preacher (unknown)

Studio Jam:
11. Melissa (G.Allman)
12. Come & Go Blues (G.Allman)

Total time: 55.21










































The Only Ones – Live At The Electric Ballroom (1980)

OLYMPUS DIGITAL CAMERAIn 1980, the Only Ones were maybe the most stoned junkie bunch of musicians in activity but on stage they were no less than magical. I can’t imagine a more intemporal music than this one. Listen to this version of “The Beast” before deciding what is genius. Catch this incredible document here. PS to iceman. The Paradiso concert was re-up recently (here) and is totally available on M.

Here we find the band 6 months after the Paradiso concert (here) but it’s a rather different band. Tensions are strong between members (some of them want to “place” their songs and begin to be unease with the position of sole composer of Peter Perrett… they were wrong actually, it was a good thing) and desillusion begins to grow (Baby’s Got A Gun album was badly produced by a producer mandatory sent by the label, it sells rather poorly, Ajouter une imageno single succeeded in the charts and drugs were beginning to eat every bit of motivation). The concert is very different from the one played at the Paradiso. Faster (they sometimes seem to call for a quick end), tighter (Peter Perrett plays much better and the band seems to behave as a whole and unique entity), it’s a dynamic set with some ups (the songs from Baby’s Got A Gun, here in their truly Only Ones versions) and some downs (some older songs, sometimes botched or with bad options, for example what the fuck is this half-reggae version of “Miles From Nowhere”?).


This concert was captured on 2 nights at the Electric Ballroom of Camden and released in 1989 on Mau Mau label under the name of Live (I did another cover sleeve cos’ I thought the official album one, a close shot ot Peter Perrett’s face, was rather unappropriate). Note that it was wrongly suggested on the back cover sleeve to be captured at the Speakeasy in 1977. Among my interrogations, is this strange (and scandalous) fade at the end of “Why Don’t You Kill Yourself”. If someone could tell me WTF. To conclude, I would say that this concert, in spite of all its low parts, is for me the symbol of what I would have dreamed to do on stage with a band. Yes, nothing can be more close to this dream than this concert. Therefore, you understand the fixation I do about this band. (by dkandroughmix-forgottensongs.blogspot)

Ineresting to hear Mike Kellie (ex-Spooky Tooth) in this famous punk/new wave band.


Mike Kellie (drums)
Alan Mair (bass)
Peter Perrett (vocals. guitar)
John Perry (guitar)

Only Ones Electric Ballroom Back.jpg

01. Trouble In The World (Perrett) 2.50
02. Programme (Perrett) 2.12
03. The Beast (Perrett) 5.46
04. The Happy Pilgrim (Perrett) 2.39
05. Lovers Of Today (Perrett) 2.56
06. Strange Mouth (Perrett) 2.18
07. Why Don’t You Kill Yourself (Perrett) 2.47
08. No Peace For The Wicked (Perrett) 2.06
09. As My Wife Says (Perrett) 3.10
10. Miles From Nowhere (Perrett) 3.41
11. The Big Sleep (Perrett) 4.36
12. Another Girl Another Planet (Perrett) 2.56
13. City Of Fun (Perrett) 3.08
14. Me And My Shadow (Perrett) 4.51




Mike Kellie passed away on 18th January 2017.

…from the iconic introduction of “Waiting For The Wind” by Spooky Tooth to the manic psychedelic rhythm pictures of “Another Girl, Another Planet” by The Only Ones, Mike Kellie’s career has spanned over 3 decades & his picturesque drumming accompanied some of contemporary music’s most successful artists…..

REO Speedwagon – Hi Infidelity (1980)

FrontCover1Hi Infidelity is the ninth studio album by the band REO Speedwagon, it was released on November 21, 1980 (see 1980 in music). The album became a big hit in the United States peaking at number one on the Billboard 200. It went on to become the biggest selling rock albums of 1981, eventually being certified nine times platinum by the Recording Industry Association of America. From the singles released, the band got their first of two number one hits on the Billboard Hot 100, “Keep On Loving You”.Hi Infidelity is the ninth studio album by the band REO Speedwagon, it was released on November 21, 1980 (see 1980 in music). The album became a big hit in the United States peaking at number one on the Billboard 200. It went on to become the biggest selling rock albums of 1981, eventually being certified nine times platinum by the Recording Industry Association of America. From the singles released, the band got their first of two number one hits on the Billboard Hot 100, “Keep On Loving You”.


The album title is a play on the term Hi-Fi (high fidelity), and the album art is an illustration of this pun where an act of sexual infidelity is occurring while the man is putting a record LP to play on the hi-fi stereo.

From the album six songs charted Billboard charts, including “Keep On Loving You” which was the band’s first Number 1 hit, and “Take It on the Run”, which reached No. 5 on the charts. The song “Tough Guys” uses an audio clip from the 1938 Our Gang episode “Hearts Are Thumps”.


“Tough Guys” was one of two songs from the album that charted on the Billboard Mainstream Rock chart despite not being released as singles. Music critic Robert Christgau called “Tough Guys” his favorite song from the album but suggested that the line “They think they’re full of fire/She thinks they’re full of shit” would prevent the song from reaching the pop Top 40.
In October 2004, the band recorded the songs of this album live from beginning to end for an XM Radio “Then Again Live” special. (by wikipedia)


Many albums have scaled to the top of the American charts, many of them not so good, but few have been as widely forgotten and spurned as REO Speedwagon’s Hi Infidelity. In a way, the group deserved this kind of success. They had been slogging it out in the arenas of the U.S., building up a sizeable audience because they could deliver live. And then, in 1980, they delivered a record that not just summarized their strengths, but captured everything that was good about arena rock. This is the sound of the stadiums in that netherworld between giants like Zeppelin and MTV’s slick, video-ready anthems. This is unabashedly mainstream rock, but there’s a real urgency to the songs and the performances that gives it a real emotional core, even if the production keeps it tied to the early, previsual ’80s. And so what if it does, because this is great arena rock, filled with hooks as expansive as Three Rivers Stadium and as catchy as the flu. That, of course, applies to the record’s two biggest hits — the power ballad “Keep on Loving You” and the surging “Take It on the Run” — which define their era, but what gives the album real staying power is that the rest of the record works equally well.


That’s most apparent on the Bo Diddley-inspired opener, “Don’t Let Him Go,” whose insistent beat sent it to the album rock charts, but also such great album tracks as “Follow My Heart,” the sun-kissed ’60s homage “In Your Letter,” and “Tough Guys.” What’s really great about these songs is not just the sheen of professionalism that makes them addictive to listen to, but there’s a real strain of pathos that runs through these songs — the album’s title isn’t just a clever pun, but a description of the tortured romantic relationships that populate this record’s songs. This is really arena rock’s Blood on the Tracks, albeit by a group of guys instead of a singular vision, but that makes it more affecting, as well as a killer slice of ear candy. It’s easy to dismiss REO Speedwagon, since they weren’t hip at the time, and no amount of historical revisionism will make them cool kitsch. And, let’s face it, their records were usually hit-and-miss affairs. But they did get it right on. (by Stephen Thomas Erlewine)


Neal Doughty (keyboards)
Alan Gratzer (drums, percussion, background vocals)
Bruce Hall (bass, background vocals, vocals on 09.)
Kevin Cronin (vocals, guitar, piano)
Gary Richrath (guitar)
Steve Forman (percussion)
background vocals:
He-Man Broken Hearts Club Choir – Tom Kelly – Richard Page – N. Yolletta


01. Don’t Let Him Go (Cronin) 3.46
02. Keep On Loving You (Cronin) 3.23
03. Follow My Heart (Kelly/Richrath) 3.51
04. In Your Letter (Richrath 3.18
05. Take It On The Run (Richrath) 3.01
06. Tough Guys (Cronin) 3.51
07. Out Of Season (Cronin/Kelly) 3:07
08. Shakin’ It Loose (Richrath) 2:27
09. Someone Tonight (Bruce/Hall) 2.41
10. I Wish You Were There (Cronin) 4.27




Gary Dean Richrath (October 18, 1949 – September 13, 2015)

The Tony Rice Unit – Mar West (1980)

FrontCover1Mar West is an album by American guitarist Tony Rice, released in 1980. It is credited to the Tony Rice Unit.
Mar West was reissued in 1987 along with Still Inside as Devlin minus the song “Mar East”.. (by wikipedia)
Mar West is the third recording by the Tony Rice Unit and like their other recordings, it features some of the best acoustic musicians on the scene. Mar West showcases music closely resembling swing jazz, and if it seems less inspired than an earlier effort like Acoustics, it is nonetheless a good instrumental album. Compare it to a lesser effort by Stephane Grapelli and Django Reinhardt: Perhaps the song choice is less than perfect and the musicians less inspired than usual, but who would want to miss it? Sam Bush, Richard Greene, Mike Marshall, and Todd Phillips join Rice for eight instrumentals. The title cut, which opens the album, also reveals its shortcomings. “Mar West” is one of those fast, open-chorded instrumentals that Rice enjoys writing. Rice kicks the piece off with quick-paced flat-picking that is technically perfect, but the solo continues for too long and is lacking in feeling. More successful is the measured “Waltz for Indira” with a nice mandolin part by Bush, and “Neon Tetra” with an inspired violin solo by Greene.
Perhaps the best cut on the album is “Nardis,” written by Miles Davis. “Nardis'” colored textures evoke a romantic mood and challenge the musicians to create distinctive, longing solos. Like the other Tony Rice Unit albums, emphasis remains focused on the skills of the individual musicians involved. Each instrumental provides the violin, guitar, and mandolin room for lengthy solos while Phillips’ bass keeps everyone grounded. Both Rice fans and lovers of good acoustic music will enjoy Mar West. (by Ronnie D. Lankford, Jr.)
Like Paul Brett, Tony Rice is a superb acoustic guitar Player … and it´s such a shame, the musicians like him are more or less unknown.
It´s time to discover the magic of Tony Rice !!!
Sam Bush (mandolin)
Richard Greene (violin)
Mike Marshall (mandolin)
Todd Phillips (bass)
Tony Rice (guitar, vocals)
01. Mar West (Rice) 5.33
02. Nardis (Davis) 3.47
03. Waltz For Indira (Rice) 3.23
04. Neon Tetra (Rice) 4.28
06. Is That So (Rice) 4.29
07. Whoa Baby, Every Day I Wake up With the Blues (Rice) 3.57
08. Mar East (Rice) 4.37
09. Untitled As Of Yet (Rice) 4.23


The Whistlebinkies – The Whistlebinkies 2 (1980)

FrontCover1For more than 45 years the Whistlebinkies have maintained one of the most distinctive sounds in the Scottish folk revival, their essential musical core of “rantin’ pipe and tremblin’ string”, along with clarsach, concertina and side drum winning over audiences throughout Scotland and Europe and as far flung as Memphis and Beijing.

The band pioneered the effective use of revived bellows-blown Lowland pipes, have consistently pursued a democratic group approach to their all-acoustic arrangements and frequently and successfully bridge the divide between Scottish traditional and “art” music, in collaboration with such institutions as the Royal Scottish National Orchestra, the Scottish Chamber Orchestra, Cappella Nova and such revered figures as classical violinist Yehudi Menuhin and avant-garde music luminary John Cage. They were also the first Scottish folk ensemble ever to play in China, in November 1991.
They were the first group to bring the pipes, clarsach and fiddle into regular performance, a combination that seems commonplace now. They continue to use only acoustic traditional instruments and prefer to play in a good natural acoustic without amplification. (by

“Following their highly acclaimed first album, this outing shows a wealth of excellencein the Whistlebinkies approach to the traditional idiom. Combining bothoriginal and traditional material with a skillful approach to arrangement, the whole excercise is a convincing example of what can and should be done in this field.” (by David Etheridge, Melody Maker 18 October 1980)

The album was No 1 in the Melody Maker folk music chart on 18 October 1980 and No 2 on 8 November 1980.


The Whistlebinkies are the Scopttish Version of “The Dubliners” … and one of the finest bands in  Scottish folk Music.


The Whistlebinkies, 1982

Peter Anderson (scottish drums)
Mick Broderick (drums, vocals)
Rhona Mac Kay (harp, vocals)
Eddie McGuire (flute)
Bob Nelson (fiddle)
Rab Wallace (pipe)


01  Waukin’ O’ The Fauld (McGuire) 3.34
02. The Bonnie Moorhen (Traditional) 4.00
03. The Pipe Strathspey And Reel (Traditional)  3:50
04. The Fiddle Strathspey And Reel (Traditional) 2.19
05. Phiuthrag’sa Phiuthar (Sister O Sister) (Traditional) 3.09
06. Broderick’s Bodhran (Wallace) 3.09
07. Great Is The Cause Of My Sorrow (Traditional) 3.53
08. The Pipe March (Traditional) 3.39
09. Gealach Nan Eilean (Island Moon) (Traditional) 2.16
10. The Fossil Grove (Traditional) 3.44
11. Freedom Come All Ye (Henderson) 4.37



The Whistlebinkies today

Albert Mangeldsdorff & Giancarlo Schiaffini – Roma (1980)

frontcover1One of the few shows organized by the Italian RAI in 1980. I had doubts on how to credit this set, from an idea of Pasquale Santoli to unite some famed soloists with RAI Big Band, playing Ellington tunes or tunes dedicated to Ellington composed by the soloists: the Incostant Sol blogspot lists this as “Albert Mangelsdorff Quintet with RAI Big Band”, which could be correct since Mangelsdorff’s name is top of the official bill included here, BUT all spoken intros are by Schiaffini, a couple of his own tunes are played too, and track, Saint James Infirmary, is played by a trio featuring him as the only soloist, so it seems he is the actual leader of the “group”. Quite probably, this was a one-off affair [actually, there was a second date played in Mestre the following day], since Mangelsdorff at the time was mainly playing solo or in duos, and not with a quintet. The show took form in two diferent sets: only the early part of the second set is here (re)broadcast [Incostant Sol has a longer version of this]. This program is introduced by a short speech by Schiaffini (recorded late) remembering the show. (survivor69)

Recorded live at the Teatro dell’Opera di Roma, Roma, Italy; April 21, 1980

Thanks to survivor69 for sharing the show at Dime.


Paolo Damiani (bass)
Billy Higgins (drums)
Albert Mangelsdorff (trombone)
Giancarlo Schiaffini (trombone)
Manfred Schoof (tromba, flugelhorn)
RAI Big Band
Gennaro Baldino (trombone)
Giancarlo Beccattini (trombone)
Doriano Beltrame (trumpet)
Beppe Carrieri (saxophone, flute)
Alberto Corvini (trumpet)Michele Lacerenza (trumpet)
Sal Genovese  (saxophone, flute)
Baldo Maestri (saxophone, flute)
Maurizio Majorana (bass)
Carlo Metallo (saxophone)
Gianni Oddi (saxophone, flute)
Marco Pellacani (trombone)
Dino Piana (trombone)
Roberto Pregadio (piano)
Pino Rucher (guitar)
Cicci Santucci (trumpet)
Roberto Zappulla (drums)

Giancarlo Schiaffini


CD 1:
01. Interview – Schiaffini 2.10
02. Supraconductivity 10:08
03. Spoken Introductions 1:00
04. Introduction / March of The Jazz Aspects 13.42
05. Horizon 15.47

CD 2:
01. Mood Indigo 6.59
02. Saint James Infirmary 10.28
03. Band introductions 1.36
04. Duke of Medley 20.49
05. Radio Outros 0.30
06. Mood Azur 3.42

albert-mangelsdorffAlbert Mangelsdorff