Planxty – The Woman I Loved So Well (1980)

LPFrontCover1Planxty 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)

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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.

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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.

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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.

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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)

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“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.

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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.

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“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)

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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 !!!

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

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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:
Website

Jethro Tull – A (1980)

FrontCover1Jethro 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.

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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”.

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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

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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.

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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”.

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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.

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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.

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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.

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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)

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

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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
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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:
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The official website:
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Jack Bruce – Live In America (2007)

FrontCover1Although 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)

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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.

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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

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

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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:
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The Babys – Union Jacks (1980)

FrontCover1The 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.

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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.

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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.

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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)

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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.

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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)

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

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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:
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Derek Bell – Plays With Himself (1980)

FrontCover1George 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.

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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.

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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)

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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 !

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

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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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Dire Straits – Making Movies (1980)

LPFrontCover1Dire Straits were a British rock band formed in London in 1977 by Mark Knopfler (lead vocals and lead guitar), David Knopfler (rhythm guitar and backing vocals), John Illsley (bass guitar and backing vocals) and Pick Withers (drums and percussion). They were active from 1977 to 1988 and again from 1991 to 1995.

Their first single, “Sultans of Swing”, from their 1978 self-titled debut album, reached the top ten in the UK and US charts. It was followed by hit singles including “Romeo and Juliet” (1981), “Private Investigations” (1982), “Twisting by the Pool” (1983), “Money for Nothing” (1985), and “Walk of Life” (1985). Their most commercially successful album, Brothers in Arms (1985), has sold more than 30 million copies; it was the first album to sell a million copies on compact disc and is the eighth-bestselling album in UK history. According to the Guinness Book of British Hit Albums, Dire Straits have spent over 1,100 weeks on the UK albums chart, the fifth most of all time.

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Dire Straits’ sound draws from various influences, including country, folk, the blues rock of J. J. Cale, and jazz. Their stripped-down sound contrasted with punk rock and demonstrated a roots rock influence that emerged from pub rock. There were several changes in personnel, with Mark Knopfler and Illsley being the only members who lasted from the beginning of the band’s existence to the end. After their first breakup in 1988, Knopfler told Rolling Stone: “A lot of press reports were saying we were the biggest band in the world. There’s not an accent then on the music, there’s an accent on popularity. I needed a rest.” They disbanded for good in 1995, after which Knopfler launched a solo career full-time. He has since declined reunion offers.

Dire Straits were called “the biggest British rock band of the 80s” by Classic Rock magazine; their 1985–1986 world tour, which included a performance at Live Aid in July 1985, set a record in Australasia. Their final world tour from 1991 to 1992 sold 7.1 million tickets. Dire Straits won four Grammy Awards, three Brit Awards (Best British Group twice), two MTV Video Music Awards, and various other awards. They were inducted into the Rock and Roll Hall of Fame in 2018. Dire Straits have sold over 120 million units worldwide, including 51.4 million certified units, making them one of the best-selling music artists.

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Making Movies is the third studio album by British rock band Dire Straits released on 17 October 1980 by Vertigo Records internationally, Warner Bros. Records in the United States and Mercury Records in Canada. The album includes the single “Romeo and Juliet”, which reached #8 on the UK Singles Chart, as well as one of Dire Straits’ best known cuts, “Tunnel of Love”, which was also featured in the 1982 Richard Gere film An Officer and a Gentleman.

Making Movies reached number one on the album charts in Italy and Norway, number 19 in the United States and number 4 in the United Kingdom. Making Movies was later certified platinum in the United States and double-platinum in the United Kingdom. It is regarded as one of Dire Straits’ best albums.

After Dire Straits’ Communiqué Tour ended on 21 December 1979 in London, Mark Knopfler spent the first half of 1980 writing the songs for the band’s next album. He contacted Jimmy Iovine after hearing Iovine’s production on the song “Because the Night” by Patti Smith—a song co-written by Smith and Bruce Springsteen. Iovine had also worked on Springsteen’s Born to Run and Darkness on the Edge of Town albums, and he was instrumental in recruiting E-Street Band keyboardist Roy Bittan for the Making Movies sessions.

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Making Movies was recorded at the Power Station in New York from 20 June to 25 August 1980. Jimmy Iovine and Mark Knopfler produced the album.

David Knopfler left Dire Straits in August 1980 during the recording of the album, following heated arguments with his brother. His guitar tracks were almost complete for the album, but were re-recorded by Mark. David appears on video playing “Solid Rock” and “Les Boys” live in concert, but these performances preceded the recording. The album sessions continued with Sid McGinnis on rhythm guitar, although he was uncredited on the album. Dire Straits expanded into a quintet when keyboard player Alan Clark and Californian guitarist Hal Lindes were recruited as full-time group members shortly after the album’s release in October 1980.

Four songs were recorded during the sessions but not released on the album: “Making Movies”, “Suicide Towers”, “Twisting by the Pool” and “Sucker for Punishment”. “Twisting by the Pool” was released on the ExtendedancEPlay EP on 10 January 1983 and reached the UK Top 20 when released as a single. The title of the album is taken from a line in the song “Skateaway” and from the outtake “Making Movies”.

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Making Movies was released on 17 October 1980 on LP and cassette formats. In 1981, an identically named short film was released on VHS and Beta, as well as screened in some theatrical venues, consisting of three music videos directed by fashion/commercial photographer Lester Bookbinder, for “Romeo and Juliet”, “Tunnel of Love” and “Skateaway”. The original CD version was released in 1984.

The album was remastered and reissued on CD with the rest of the Dire Straits catalogue in 1996 internationally, and on 19 September 2000 in the United States.

The album includes some of Dire Straits’ best known songs. The album’s main single was “Romeo and Juliet” which reached number 8 in the UK singles chart in early 1981. The second single release was “Skateaway”, and the third and final single from the album was the lengthy opening track, “Tunnel of Love”, with its intro “The Carousel Waltz” by Richard Rodgers and Oscar Hammerstein II, which only reached the number 54 position in the UK, however it remains one of Knopfler’s most popular compositions.

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With new group members Alan Clark and Hal Lindes on board, Dire Straits embarked on tours of Europe, North America, and Oceania[5] from October 1980 until July 1981 to promote the album.

Three of the seven tracks from Making Movies continued to be played throughout the Love over Gold, Brothers in Arms and On Every Street tours: “Romeo and Juliet”, “Tunnel of Love” and “Solid Rock”, while “Expresso Love” was played in all concert tours until 1986.

In his review for Rolling Stone, David Fricke gave the album four out of five stars, writing:

Making Movies is the record on which Mark Knopfler comes out from behind his influences and Dire Straits come out from behind Mark Knopfler. The combination of the star’s lyrical script, his intense vocal performances and the band’s cutting-edge rock & roll soundtrack is breathtaking—everything the first two albums should have been but weren’t. If Making Movies really were a film, it might win a flock of Academy Awards.

Rolling Stone ranked Making Movies number 52 in their survey of the 100 Best Albums of the Eighties (wikipedia)

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Without second guitarist David Knopfler, Dire Straits began to move away from its roots rock origins into a jazzier variation of country-rock and singer/songwriter folk-rock. Naturally, this means that Mark Knopfler’s ambitions as a songwriter are growing, as the storytelling pretensions of Making Movies indicate. Fortunately, his skills are increasing, as the lovely “Romeo and Juliet,” “Tunnel of Love,” and “Skateaway” indicate. And Making Movies is helped by a new wave-tinged pop production, which actually helps Knopfler’s jazzy inclinations take hold. The record runs out of steam toward the end, closing with the borderline offensive “Les Boys,” but the remainder of Making Movies ranks among the band’s finest work. (by Stephen Thomas Erlewine)BackCover1

Personnel:
John Illsley (bass, backround vocals)
Mark Knopfler (guitar, vocals
Pick Withers –(drums, background vocals)
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Roy Bittan (keyboards)
Sid McGinnis (guitar)

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Tracklist:
01. Intro: Extract from “The Carousel Waltz” (Rodgers/Hammerstein II) / Tunnel Of Love 8.11 02. Romeo And Juliet 6.02
03. Skateaway 6.40
04. Expresso Love 5.12
05. Hand In Hand 4.49
06. Solid Rock 3.27
07. Les Boys 4.09

All songs were written by Mark Knopfler, except where indicated

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Alexis Korner – Will The Circle Be Unbroken (Testament) (1980)

FrontCover1Alexis Andrew Nicholas Koerner (19 April 1928 – 1 January 1984), known professionally as Alexis Korner, was a British blues musician and radio broadcaster, who has sometimes been referred to as “a founding father of British blues”.

A major influence on the sound of the British music scene in the 1960s, Korner was instrumental in the formation of several notable British bands including The Rolling Stones and Free.

Korner died of lung cancer aged 55 years, on 1 January 1984. He was survived by a daughter, singer Sappho Gillett Korner (died 2006) and two sons, guitarist Nicholas ‘Nico’ Korner (died 1988) and sound engineer Damian Korner (died 2008). (wikipedia)

And here´s a rare live recording he did together with the great Colin Hodkginson on bass:

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Korner working acoustically in the company of another guitarist (who plays electric) and bassist in Paris in 1993. The crowd is largely folkie restrained as Korner delivers a laid-back performance of standards like “One Scotch, One Bourbon, One Beer”,”Stump Blues” “High-Heel Sneakers” or  “32-20 Blues” with several of his originals fleshing things out. The recording quality is good and Korner and company turn in an enjoyable — and very British — set of blues and R&B in the grand old tradition. (by Cub Koda)

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As always, Alexis played his archaic form of the blues here …like his great idols of the pre World War II blues era

Recorded live at La Chapelle des Lombards, Pais/France, March 1980

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Personnel:
Colin Hodkginson (bass, vocals)
Alexisk Korner (guitar vocals)

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Tracklist:
01. One Scotch, One Bourbon, One Beer (Toombs) 2.58
02. Stump Blues (Boonzy) 4.56
03. Stream Line Train (Nelson/Lofton) / My Babe (Dixon) 5.26
04. 32-20 Blues (Johnson) 5.06
05. High-Heel Sneakers (Higginbotham) 4.31
06. Will The Circle Be Unbroken (Traditional) 7.13
07. Mary Open The Door (Power) 6.10

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Neil Diamond – The Jazz Singer (OST) (1980)

FrontCover1Neil Leslie Diamond (born January 24, 1941) is an American singer-songwriter and actor. He has sold more than 100 million records worldwide, making him one of the best-selling musicians of all time. He has had ten No. 1 singles on the Hot 100 and Adult Contemporary charts: “Cracklin’ Rosie”, “Song Sung Blue”, “Longfellow Serenade”, “I’ve Been This Way Before”, “If You Know What I Mean”, “Desirée”, “You Don’t Bring Me Flowers”, “America”, “Yesterday’s Songs”, and “Heartlight”. 38 songs by Diamond have featured in the Top 10 on the Billboard Adult Contemporary charts.

Diamond was inducted into the Songwriters Hall of Fame in 1984 and into the Rock and Roll Hall of Fame in 2011, and he received the Sammy Cahn Lifetime Achievement Award in 2000. In 2011, he was an honoree at the Kennedy Center Honors, and he received the Grammy Lifetime Achievement Award in 2018.

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The Jazz Singer is an album by Neil Diamond from 1980, which served as the soundtrack album to the 1980 remake of the film The Jazz Singer. The soundtrack was released in November 1980 originally on Capitol Records, instead of his then-usual Columbia Records, because the film was produced by EMI Films, owned by the parent company of the label for which the soundtrack was released. The soundtrack was re-released in February 1996 on Columbia Records in the United States and Sony elsewhere. After Diamond signed with Capitol Records, this album was reissued by Capitol globally in 2014.

The film’s reviews were negative, earning Diamond the first Razzie for Worst Actor at the 1st Golden Raspberry Awards, but made a modest profit at the box office, grossing almost double its budget. However, its soundtrack was a huge success and became Neil Diamond’s biggest selling album in the United States, selling over 5 million copies there and reaching #3 on the pop albums chart. This would mark the second time a Neil Diamond soundtrack outperformed the movie it came from (after Jonathan Livingston Seagull). Three songs from the album became top ten hits on the Billboard Hot 100, with “Love on the Rocks”, “Hello Again” and “America” reaching Nos. 2, 6, and 8, respectively. (wikipedia)

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Neil Diamond’s 1980 screen turn as a charismatic singer torn between Jewish tradition and pop music stardom spawned this phenomenally successful soundtrack album — six million copies and counting. Diamond’s 21st century resurgence as a walking item of kitsch has sparked renewed interest in the bombastic melting-pot jam “America,” as well as his signature late-career ballad “Hello Again.” In addition, the lite FM favorite “Love on the Rocks” is classic, raw-throated Neil. But beyond these notables, The Jazz Singer is an album of passable pop songs that stand on the edge of disco and in the grip of melodrama. The hyper “You Baby” is dressed up with an audio clip marking the film’s embarrassing black face sequence, while the album’s midsection sags with songs that shine like Sunset Strip billboards, yet lack any real substance.

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Swelling strings and lovely lyrics abound, but it all seems directionless, as if Diamond’s just going through the motions. Similarly, Jewish traditionals like “Kol Nidre/My Name is Yussel” are important as thematic elements. But removed from the film and in the context of open-collared, glitzy numbers like “Hey Louise,” their reverence is off-putting. As it’s aged, The Jazz Singer has come to mark the moment when Diamond fully embraced his soft rock audience and completely turned his back on the ambition and spine-tingling vocal presence of his early career. That decision certainly proved to be an economic winner, but it ignored the fact that his most resonant performances really tear into a song with true mirth. The Jazz Singer’s big hits have this quality — a fact not lost on a new generation of listeners who revel in Diamond’s powerful voice and showmanship. But the album’s bulk is as wooden as Neil’s acting. (by Johnny Loftus)

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Personnel:
Richard Bennett (guitar)
Vince Charles (percussion)
Neil Diamond (vocals, guitar)
King Errisson (percussion)
Tom Hensley (keyboards)
Dennis St. John (drums)
Alan Lindgren (synthesizers, piano)
Reinie Press (bass)
Doug Rhone (guitar, background vocals)
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background vocals:
Donny Gerard – Marilyn O’Brien – Linda Press – H.L. Voelker – Luther Waters – Oren Waters
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choir:
Timothy Allan Bullara – Jeremy C. Lipton – Dale D. Morich – Yoav Steven Paskowitz – Boyd H. Schlaefer – Mark H. Stevens – David Teisher – James Gregory Wilburn

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Tracklist:
01. America (Diamond) 4.17
02. Adon Olom (Traditional) 0.33
03. You Baby (Diamond) 2.59
04. Love On The Rocks (Diamond/Bécaud) 3.38
05. Amazed And Confused (Diamond/Bennett) 2.53
06. On The Robert E. Lee (Diamond/Bécaud) 2.03
07. Summerlove (Diamond/Bécaud) 3.17
08. Hello Again (Diamond/Lindgren) 4.03
09. Acapulco (Diamond/Rhone) 2.49
10. Hey Louise (Diamond/Bécaud) 2.59
11. Songs Of Life (Diamond/Bécaud) 3.33
12. Jerusalem (Diamond) 3.04
13. Kol Nidre/My Name Is Yussel (Traditional) 1.38
14. America (Reprise) (Diamond) 2.20

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Steve Winwood – Arc Of A Diver (1980)

LPFrontCover1Stephen Lawrence Winwood (born 12 May 1948) is an English singer, songwriter and musician whose genres include progressive rock, blue-eyed soul, rhythm and blues, blues rock, pop rock, and jazz. Though primarily a vocalist and keyboard player, Winwood also plays a wide variety of other instruments; on several of his solo albums he has played all instrumentation, including drums, mandolin, guitars, bass and saxophone.

Winwood was a key member of The Spencer Davis Group, Traffic, Blind Faith and Go. He also had a successful solo career with hits including “While You See a Chance”, “Valerie”, “Back in the High Life Again” and two US Billboard Hot 100 number ones, “Higher Love” and “Roll with It” charting 20 years after the start of his recording career. He was inducted into the Rock and Roll Hall of Fame as a member of Traffic in 2004.

In 2005 Winwood was honoured as a BMI Icon at the annual BMI London Awards for his “enduring influence on generations of music makers”. In 2008, Rolling Stone ranked Winwood No. 33 in its 100 Greatest Singers of All Time. Winwood has won two Grammy Awards. He was nominated twice for a Brit Award for Best British Male Artist: 1988 and 1989. In 2011 he received the Ivor Novello Award from the British Academy of Songwriters, Composers and Authors for Outstanding Song Collection.

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Arc of a Diver is the second solo studio album by singer/multi-instrumentalist Steve Winwood, released in 1980. Winwood played all of the instruments on the album.

Featuring his first solo hit, “While You See a Chance” (which peaked at number 7 on the Billboard Hot 100 in the United States), this was Winwood’s breakthrough album as a solo artist. It peaked at number 3 on the Billboard 200 album chart, establishing him as a commercially viable act.

The cover artwork for the album is by Tony Wright. He took inspiration from Jazz by Henri Matisse, notably VIII: Icarus.

The album was recorded at Winwood’s Netherturkdonic Studios, built at his farm in Gloucestershire; he played all the instruments, wrote all the music, and produced and engineered it himself.

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Reviewing for The Village Voice in June 1981, Robert Christgau credited Winwood for overdubbing all his self-performed instruments, but still found his brand of “British-international groove” more atmospheric than song-oriented and ultimately “lulling”. Robert Palmer was more enthusiastic in The New York Times, saying that Winwood has transformed himself into a “rock traditionalist” with the album. While highlighting “Dust” and the album’s title track as “first-rate lyrics”, Palmer said that “Winwood’s impressive playing and arranging and utterly distinctive vocals make several of his collaborations with Will Jennings, especially the brooding ‘Night Train,’ almost as memorable.” In a retrospective review for AllMusic, William Ruhlmann wrote of the album, “Utterly unencumbered by the baggage of his long years in the music business, Winwood reinvents himself as a completely contemporary artist on this outstanding album, leading off with his best solo song, “While You See a Chance.””

The album was also included in the books 1001 Albums You Must Hear Before You Die. and it was voted number 455 in Colin Larkin’s All Time Top 1000 Albums 3rd Edition (2000). (wikipedia)

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Personnel:
Steve Winwood (vocals, keyboards, synthesizers, guitar, mandolin, bass, drums, percussion, drum machines)

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Tracklist:
01. While You See A Chance (Winwood/Jennings) 5:12
2. “Arc of a Diver” Winwood, Vivian Stanshall 5:28
3. “Second-Hand Woman” Winwood, George Fleming 3:41
4. “Slowdown Sundown (Winwood/Jennings) 5:27
Side twoNo. Title Writer(s) Length
5. “Spanish Dancer (Winwood/Jennings) 5:58
6. “Night Train (Winwood/Jennings) 7:51
7. “Dust” Winwood, Fleming 6:20

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Sea Level – Ball Room (1980)

FrontCover1Sea Level was an American jazz fusion band from Macon, Georgia that mixed jazz, blues and rock and existed between 1976 and 1981. Initially it was an offshoot of The Allman Brothers Band, but as tensions grew between the loss of two of its founding members and personal grievances between Gregg Allman and other bandmates and associates, Sea Level took on a life of its own as an independent band.

After the initial breakup of the Allman Brothers Band when Gregg Allman and Dicky Betts left, most of the remaining members who evolved into Sea Level were the trio “We Three” comprising bassist Lamar Williams, drummer Jaimoe and Chuck Leavell (piano, keyboards, vocals). The trio would occasionally open shows for the group in 1975 and 1976. With the Allmans disbanding in 1976, the trio added guitarist Jimmy Nalls and named the band based on a phonetic pun of their new bandleader Chuck Leavell’s name: “C. Leavell.” They toured relentlessly, experimenting and refining their sound, eventually signing with Capricorn Records (home of the Allman Brothers) and recording their self-titled debut album in 1977.

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After the release of their first album, the group expanded to a septet with the additions of Davis Causey (guitar), George Weaver (drums, percussion) and Randall Bramblett (saxophones, keyboards and vocals). That configuration recorded the group’s second album, Cats on the Coast, in 1978 (with the leadoff track, “That’s Your Secret”,[1] reaching #50 on the Billboard Hot 100). By the time of the third album, On the Edge, Jaimoe and Weaver had both left, replaced by Joe English. The sextet of Bramblett, Causey, English, Leavell, Nalls and Williams recorded the fourth album, Long Walk on a Short Pier (1979), unreleased in the United States for nearly twenty years, adding percussionist Matt Greeley for their fifth and final album, Ball Room, issued on Arista in 1980. Their greatest hits album (CD) wrapped up their body of work, minus a handful of appearances on various compilation albums (mostly Southern Rock). They were also featured on a 1978 live Southern Rock album which included a live version of “Grand Larceny.”

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Leavell later emerged as a much sought-after session musician and producer, touring with Eric Clapton and eventually becoming a “permanent” session player touring with the Rolling Stones.

In 1998, he issued his debut solo LP, a Christmas album called What’s in That Bag? and more recently Forever Blue that includes solo versions of two classic Sea Level compositions: “Whole Lotta Colada” and “Song for Amy.” He also released Southscape, an album of Southern anthems that hearkens back to his Southern roots. (wikipedia)

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Ball Room was the last album released by Sea Level. All previous albums were done for Capricorn records, but since they went bankrupt, this album was made for the Arista label. Sea Level was a Chuck Leavell affair. So you know you won’t have to expect the rocky side of southern rock. Instead we get the rather sophisticated side of things. And singing most songs, again, is Randall Bramblett. Where they used to rely very much on jazzy, fusion skills, this leans towards the trends set in the early 80’s. I quite like this a lot, and I hope you will too… (by Skydog)

Yes, I do … enjoy this very special band …

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Personnel:
Randall Bramblett (keyboards, saxophone, vocals)
Davis Causey (guitar)
Joe English (drums)
Matt Greeley (percussion, vocals on 07.)
Chuck Leavell (keyboards, vocals)
Jimmy Nalls (guitar, slide-guitar)
Lamar Williams (bass)

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Tracklist:
01. Wild Side (Causey/Bramblett) 4.06
02. School Teacher (Pridgen/Bramblett) 3.24
03. Comfort Range (Causey/Bramblett) 4.03
04. Anxiously Awaiting (Leavell) 4.39
05. Struttin’ (Williams) 4.16
06. We Will Wait (Causey/Bramblett) 3.59
07. You Mean So Much To Me (Causey/Bramblett) 3.48
08. Don’t Want To Be Wrong (Leavell) 4.19
09. Bandstand (Causey/Bramblett) 4.34

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Lamar Williams died from lung cancer in 1983.

Jimmy Nalls, who suffered from Parkinson’s disease, died on June 22, 2017