Joan Baez with The Grateful Dead – Unreleased Studio Album (1981)

FrontCover1And here´s another fine rarity in this crazy, little blog:

A Joan Baez studio album with the Grateful Dead backing her, was recorded in late 1981, but never released !

And I never knew this existed.

Joan Baez was dating Mickey when this happened, which is a major reason why it was created.

And we can hear some real fine compositions of Joan Baez.

Her version of “Children Of The 80s” is much better than the one that was recorded later. And “Warriors Of The Sun”is another highlight … a perfect mix between the music of Joan Baez and Grateful Dead.

And her version of the Traditional “Jack-A-Roe” really fantastic  ..

And her “Happy Birthday, Leonid Brezhnev” was another example, that she was a very political person:


So … Listen and enjoy this rarity.

Alternate front+backcover:


I guess this album was put together from different sources. because the sound differs from track to track.

Thanks to everyone who made these tracks available. And I add some more lyrics from this really interesting album.

Recorded at the Barn, Novato, CA 1980


Joan Baez (guitar, vocals)
Jerry Garcia (guitar)
Mickey Hart (drums)
Jim McPherson (keyboards, drums)
Bob Weir (guitar)
Bobby Vega (bass)

Joan Baez04

01. (For The) Children Of The Eighties 5.41
02. Don’t Blame My Mother 4.02
03. Marriott, USA 5.47
04. Happy Birthday, Leonid Brezhnev 4.43
05. Lady Di And I 5.14
06. Lucifer’s Eyes 4.10
07. Warriors Of The Sun 8.38
08. Jack-A-Roe 4.00

All song written by Joan Baez,
except 08, which is a Traditional

Joan Baez03



Joan Jett & The Blackhearts – I Love Rock ‘n Roll (1981)

FrontCover1I Love Rock ‘n Roll is the second studio album by Joan Jett and the first with her backing band The Blackhearts. Soon after the first recording sessions at Soundworks Studios, original Blackheart guitarist Eric Ambel was replaced by Ricky Byrd. It is Jett’s most commercially successful album to date with over 10 million copies sold, largely due to the success of the title track, which was released as a single soon after the album was released.

Joan Jett saw “I Love Rock ‘n’ Roll” performed on TV by Arrows in 1976 and was taken away by the song. It was a staple of her set list for years before the album was recorded.

Along with the Arrows song, plenty of other covers populated the album: “Nag” (originally by The Halos),”Bits and Pieces” (The Dave Clark Five), “You’re Too Possessive” (The Runaways), and “Crimson and Clover” (Tommy James & The Shondells). Of the last song, Jett later commented that “People worried that I didn’t change the words in ‘Crimson and Clover’ to ‘him’ from ‘her’. It was only because that wouldn’t have rhymed.”

Other covers appeared in limited editions: “Louie Louie” (Richard Berry, later performed by The Kingsmen) and “Summertime Blues” (Eddie Cochran) were included as bonus tracks on the CD release, and the traditional Christmas carol “Little Drummer Boy” was a seasonal addition to the LP.


I Love Rock ‘n Roll was made at a vigorous pace. “During the weekdays we’d be in the studio and during the weekends we’d travel around the New York area, the Northeast, doing gigs,” Jett recalled. “So we were doing both without really stopping. Which was good I thought, it really kept us together, it kept us sharp.”[6]

Early copies of the album released during December 1981 ended with the track “Little Drummer Boy”. However, after the holiday season passed, the track was replaced by the newly recorded “Oh Woe Is Me” on most pressings. The LP saw a vinyl reissue in 2009 containing both “Little Drummer Boy”, “Oh Woe Is Me”, and the rehearsal version of “You Don’t Know What You’ve Got” that was the original B-side to Boardwalk Records issues of the “I Love Rock ‘n’ Roll” single. It was possible to acquire “Oh Woe Is Me” without purchasing a replacement album, as it was also released as the B-side of the “Crimson and Clover” single.

JoanJett01“Summertime Blues” was originally left off the vinyl LP, and Boardwalk passed on releasing it as an official commercial single. Instead, Boardwalk placed the song as the B-side of “Do You Wanna Touch Me (Oh Yeah)”, in a promo-only 12-inch release (Boardwalk NB-019-S-5) sent to US rock radio stations. Many DJs and programmers preferred the B-side however, and “Summertime Blues” became a Most Added listing. (The A-side nonetheless peaked at No. 20 on the Billboard Hot 100.) The song was eventually released as a one-sided single in Canada and as a 12-inch single in Australia, accompanied by “Do You Wanna Touch Me (Oh Yeah)”.

The initial CD release was in 1992 on Blackheart Records and included three bonus tracks.

The album was digitally remastered and reissued on CD in 1998 and included two additional bonus tracks.

In conjunction with Joan Jett & the Blackhearts being inducted into the Rock and Roll Hall of Fame on April 18, 2015, exactly 33 ⅓ years after I Love Rock ‘n’ Roll was originally released on November 18, 1981, a 2CD/2LP titled I Love Rock ‘n’ Roll 33 ⅓ Anniversary Edition was released. This commemorative edition paired the original album with a second disc of previously unreleased live recordings made in New York from 1981.


The portrait image used for the cover was taken by British photographer Mick Rock. It is widely considered one of the most iconic images in rock music history. Rock has said his vision for the portrait was clear: “I saw her as a female Elvis”.

The styling played a part in Jett’s overall appeal, Creem observed and asked rhetorically, “who ever said that dark bangs and well-applied mascara had nothing to do with rock ‘n’ roll?” Sounds described her look as the classic “tomboy rock girl”, and quoted her regarding the record label’s initial expectations:

“They wanted me to lie on a couch in leopardskin like Pat Benatar or something,” she gasps, “You know I couldn’t do anything like that!” (by wikipedia)


I Love Rock-n-Roll, Joan Jett’s first record with the Blackhearts, was a tougher, louder album than Bad Reputation, primarily because her new backing band gave her a more coherent sound. That dynamic, hard rock crunch is what made the title track into an international hit, but it also gives the album dimension — not only can Jett & the Blackhearts tear up heavy glam rockers, but they also pull off the mock psychedelia of Tommy James & the Shondells’ “Crimson and Clover” with aplomb. On the whole, I Love Rock-n-Roll doesn’t have as many strong songs as its predecessor, but the band’s muscular, gritty sound makes the album just as good as Bad Reputation. (by Stephen Thomas Erlewine)


Ricky Byrd (guitar, background vocals)
Lee Crystal (drums, background vocals)
Joan Jett (vocals, guitar)
Gary Ryan (bass, background vocals)
Eric Ambel (guitar, background vocals on 05. + 10.)
Will “Dub” Jones (vocals on 10.)
Kenny Laguna (keyboards, percussion, background vocals)


01. I Love Rock ‘N’ Roll (Hooker/Merrill) 2.59
02. (I’m Gonna) Run Away (Jett/Laguna) 2.31
03. Love Is Pain (Jett) 3.09
04. Nag (Crier) 2.46
05. Crimson And Clover (James/Lucia Jr.) 3.19
06. Victim Of Circumstance (Jett/Laguna) 2.57
07. Bits And Pieces (Clark/Smith) 2.09
08. Be Straight (Jett/Kihn/Laguna) 2.43
09. You’re Too Possessive (Jett) 3.38
10. Little Drummer Boy (Davis/Onorati/Simeone) 4.17





Best version ever:

Dr. Feelgood – On The Job (1981)

FrontCover1.jpgDr. Feelgood are an English pub rock band formed in 1971. Hailing from Canvey Island, Essex, the group are best known for early singles such as “She Does It Right”, “Roxette”, “Back in the Night” and “Milk and Alcohol”. The group’s original distinctively British R&B sound was centred on Wilko Johnson’s choppy guitar style. Along with Johnson, the original band line-up included singer Lee Brilleaux and the rhythm section of John B. Sparks, known as “Sparko”, on bass guitar and John Martin, known as “The Big Figure”, on drums. Although their most commercially productive years were the early to mid-1970s, and in spite of Brilleaux’s death in 1994 of lymphoma, a version of the band (featuring none of the original members) continues to tour and record to this day.

The band was formed in Canvey Island in 1971 by Johnson, Brilleaux and Sparks, who had all been members of existing R&B bands, and soon added drummer John Martin. They took their name from a 1962 record by the American blues pianist and singer Willie Perryman (also known as “Piano Red”) called “Dr. Feel-Good”, which Perryman recorded under the name of Dr. Feelgood & The Interns. The song was covered by several British beat groups in the 1960s, including Johnny Kidd & The Pirates. The term is also a slang term for heroin or for a doctor who is willing to overprescribe drugs.

By late 1973, the band’s driving R&B had made them one of the most popular bands on the growing London pub rock circuit, and they recorded their debut album, Down by the Jetty, for United Artists in 1974. Like many pub rock acts, Dr. Feelgood were known primarily for their high energy live performances honed through constant touring and regular performances, although their studio albums like Down by the Jetty and Malpractice (1975) were also popular.


Their breakthrough 1976 live album, Stupidity, reached number one in the UK Albums Chart (their only chart-topper). But after the 1977 follow-up Sneakin’ Suspicion, Johnson left the group because of conflicts with Lee Brilleaux. He was replaced by John ‘Gypie’ Mayo. With Mayo, the band was never as popular as with Johnson but still enjoyed their only Top Ten hit single in 1979, with “Milk and Alcohol”. Johnson never achieved any great success outside the band, apart from a brief spell with Ian Dury and The Blockheads from 1980. Fans always speculated about a return by Johnson that never occurred.

Despite Mayo’s departure in 1981, and various subsequent line-up changes which left Brilleaux the only remaining original member, Dr. Feelgood continued touring and recording through the 1980s. However, the band then suffered an almost career-finishing blow when Brilleaux died of cancer on 7 April 1994. (by wikipedia)


On the Job, recorded live at Manchester University, was the end of several eras for Dr. Feelgood. It was their last record for EMI, meaning it was their last major-label album, and it was their last recording with Gypie Mayo. As a result, it sounds rather tired — the group never sounds particularly bad, but it’s clear that their spirits were slightly broken, and neither the material, which is entirely from Let It Roll and A Case of the Shakes, or the performances are noteworthy. Unfortunately, On the Job sounds like the contractual obligation it was. (by Stephen Thomas Erlewine)

No, no, no … I can´t agree. This is not  needless album but a strong live album with poer songs from this period of Dr. Feelgood …

Listen and enjoy the power of one of the best pub-rock bands ever !


Lee Brilleaux (vocals, harmonica)
The Big Figure (drums)
John Mayo (guitar)
John B. Sparks (bass)


01. Drives Me Wild (Fasterly/Brilleaux/Martin/Mayo/Sparks) 2.47
02. Java Blue (Danko) 3.59
03. Jumping From Love To Love (Fasterly/Brilleaux/Martin/Mayo/Sparks) 3.06
04. Pretty Face (Daneski/Worman/Boyle/Sandall) 2.46
05. No Mo Do Yakamo (Linde/Rush) 2.07
06. Love Hound (Linde/Rush) 2.59
07. Best In The World (Lowe) 2.33
08. Who’s Winning (Brilleaux/Lowe/Martin/Mayo/Sparks) 2.08
09. Ridin’On The L & N (Burley/Hampton) 3.23
10. Case Of The Shakes (Brilleaux/Mayo) 3.07
11. Shotgun Blues (Brilleaux/Martin/Mayo/Sparks) 5.48
12. Goodnight, Vienna (Brilleaux/Martin/Mayo/Sparks)
Lee Brilleaux / John Martin / John Mayo / John B. Sparks) 0.44



Penguin Cafe Orchestra – Same (1981)

FrontCover1.JPGThe Penguin Cafe Orchestra (PCO) was an avant-pop band led by English guitarist Simon Jeffes. Co-founded with cellist Helen Liebmann, it toured extensively during the 1980s and 1990s. The band’s sound is not easily categorized, but has elements of exuberant folk music and a minimalist aesthetic occasionally reminiscent of composers such as Philip Glass.

The group recorded and performed for 24 years until Jeffes died of an inoperable brain tumour in 1997. Several members of the original group reunited for three concerts in 2007. Since then, five original members have continued to play concerts of PCO’s music, first as The Anteaters, then as The Orchestra That Fell to Earth. In 2009, Jeffes’ son Arthur founded a distinct successor band simply called Penguin Cafe. Although it includes no original PCO members, it features many PCO pieces in its live repertoire, and records and performs new music written by Arthur.

After becoming disillusioned with the rigid structures of classical music and the limitations of rock, in which he also dabbled, Simon Jeffes became interested in the relative freedom in ethnic music and decided to imbue his work with the same immediacy and spirit.


Describing how the idea of the Penguin Cafe Orchestra came to him, Jeffes said:
“ In 1972 I was in the south of France. I had eaten some bad fish and was in consequence rather ill. As I lay in bed I had a strange recurring vision, there, before me, was a concrete building like a hotel or council block. I could see into the rooms, each of which was continually scanned by an electronic eye. In the rooms were people, everyone of them preoccupied. In one room a person was looking into a mirror and in another a couple were making love but lovelessly, in a third a composer was listening to music through earphones. Around him there were banks of electronic equipment. But all was silence. Like everyone in his place he had been neutralized, made grey and anonymous. The scene was for me one of ordered desolation. It was as if I were looking into a place which had no heart. Next day when I felt better, I was on the beach sunbathing and suddenly a poem popped into my head. It started out ‘I am the proprietor of the Penguin Cafe, I will tell you things at random’ and it went on about how the quality of randomness, spontaneity, surprise, unexpectedness and irrationality in our lives is a very precious thing. And if you suppress that to have a nice orderly life, you kill off what’s most important. Whereas in the Penguin Cafe your unconscious can just be. It’s acceptable there, and that’s how everybody is. There is an acceptance there that has to do with living the present with no fear in ourselves. ”


The group’s debut album, Music from the Penguin Cafe, recorded from 1974–76, was released in 1976 on Brian Eno’s experimental Obscure Records label, an offshoot of the EG label. It was followed in 1981 by Penguin Cafe Orchestra, after which the band settled into a more regular release schedule.

The band gave its first major concert on 10 October 1976, supporting Kraftwerk at The Roundhouse. They went on to tour the world and play at a variety of music festivals as well as residencies on the South Bank in London. From 1976–1996 they played in the US, Canada, Australia, Japan, and throughout Europe and the UK. In March 1987, they were the subject of an episode of the ITV arts series The South Bank Show, where they performed “Air”, “Bean Fields”, “Dirt” and “Giles Farnaby’s Dream”.


Simon Jeffes experimented with various configurations live and in the studio, including an occasional ‘dance orchestra’ and a quintet of strings, oboe, trombone and himself on piano. On the studio albums, he sometimes played several instruments, and brought in other musicians according to the needs of each piece.

After Jeffes’ death in 1997, the band’s members continued to meet occasionally, but there were no new recordings or public appearances for over ten years. The band briefly reformed in 2007, with the lineup as featured on Concert Program (minus Julio Segovia), with Jennifer Maidman now handling Simon’s guitar parts. The original members, joined onstage by Simon Jeffes’s son Arthur on percussion and additional keyboards, played three sold-out shows at the Union Chapel in London.

After those concerts, Arthur Jeffes wanted to form a new group without any of the original PCO members. He called it “Music from the Penguin Cafe”, later shortened to simply Penguin Cafe. The all-new ensemble, sometimes inaccurately billed as The Penguin Cafe Orchestra, played at a number of festivals in 2009, combining Penguin Cafe numbers with new pieces. In 2010 they appeared at the BBC Proms (with Northumbrian piper Kathryn Tickell).


With the Penguin Cafe name now being used by Arthur, the original PCO members who wanted to continue playing their music needed an alternative name. Four of them, multiinstrumentalists Geoffrey Richardson and Jennifer Maidman, trombonist Annie Whitehead, and pianist Steve Fletcher, have since played some festivals as The Anteaters. They have been joined by percussionist Liam Genockey, well known as a member of Steeleye Span, and who played live with the Penguins in Italy in the 1980s. The name ‘Anteaters’ came from an incident on the 1983 PCO tour of Japan when Simon Jeffes discovered there was a craze for penguins in the country. He joked that, if the fashion changed, the orchestra would have to change its name to ‘The Anteater Cafe Orchestra’. In October 2011, the same lineup appeared at the Canterbury Festival in Kent, UK, performing two hours of original PCO music as The Orchestra That Fell To Earth. They have continued to perform under that name.

PCO_04Penguin Cafe Orchestra was the second album by the Penguin Cafe Orchestra, and was recorded at the Penguin Cafe between 1977 and 1980. By this time the line-up for the band had expanded greatly, with contribution including Simon Jeffes, Helen Leibmann, Steve Nye, Gavyn Wright of the original quartet, as well as Geoff Richardson, Peter Veitch, Braco, Giles Leamna, Julio Segovia and Neil Rennie. All pieces were composed by Simon Jeffes except for “Paul’s Dance” (Jeffes and Nye), “Cutting Branches” (traditional), and “Walk Don’t Run” (by Johnny Smith).

“Cutting Branches for a Temporary Shelter” is based on the traditional Zimbabwean song “Nhemamusasa”, a field recording of which can be heard played on mbira on the Nonesuch Records album The Soul of the Mbira.

The cover painting is by Emily Young. (by wikipedia)


The sophomore album from Simon Jeffes’ homegrown band took over three years to record, but the signs are here that it was a labor of love. While drawing compositional and textural inspiration from both English folk and chamber music, it manages to sound like neither and a wondrous hybrid of both. “Walk Don’t Run,” a cover of the Ventures’ classic, turns from a surf tune into a merry jig of sorts, with the violins and cellos playing the melody backed by drums, bongos, and shakers. “Telephone and Rubber Band” turns a busy signal into something full of beauty and joy. Unfailingly romantic, sunny music and an album that set the tone of all further PCO releases. (by Ted Mills)


Braco (drums, percussion)
Simon Jeffes (guitar, bass, Cuatro, drums, keyboards, harmonium, penny whistle, percussion, ukulele, violin, vocals)
Giles Leaman (oboe, wind)
Helen Liebmann (cello)
Steve Nye (drums, percussion keyboards, cuatro)
Neil Rennie (ukulele)
Geoffrey Richardson (percussion,  guitar, ukulele, viola)
Julio Segovia (percussion)
Peter Veitch (accordion, violin)
Gavyn Wright (violin)


01. Air à Danser (Jeffes) 4.33
02. Yodel 1 (Jeffes) 4.10
03. Telephone And Rubber Band (Jeffes) 2.30
04. Cutting Branches For A Temporary Shelter (Traditional) 3.10
05. Pythagoras’s Trousers (Jeffes) 3.22
06. Numbers 1-4 (Jeffes) 6.59
07. Yodel 2 (Jeffes) 4.37
08. Salty Bean Fumble (Jeffes) 2.14
09. Paul’s Dance (Jeffes/Nye) 1.47
10. The Ecstasy Of Dancing Fleas (Jeffes) 4.01
11. Walk Don’t Run (Smith) 3.03
12. Flux (Jeffes) 1.49
13. Simon’s Dream (Jeffes) 1.49
14. Harmonic Necklace (Jeffes) 1.13
15. Steady State (Jeffes) 3.36



I got this beautiful album from the Greygoose … thanks a lot for supporting this blog !

The Shadows – Hits Right Up Your Street (1981)

FrontCover1.jpgHits Right Up Your Street is the fourteenth rock album by British instrumental (and sometimes vocal) group The Shadows, released in September 1981 through Polydor Records and Pickwick Records. The majority of the album is in the form of covers by popular artists at the time. Cover versions of songs by The Tornados, Ennio Morricone, Cliff Richard, John Lennon, Randy Crawford, Ray Stevens, Shakin’ Stevens, ABBA, Rod Stewart, Leo Sayer, Anton Karas & B. Bumble and the Stingers. (by wikipedia)

After the release of “20 Golden Greats” this was possibly the most popular instrumental album by Shadows. Not only the choice of tunes, but the arrangements and production were flawlessly executed. The opening track “Telstar” with multilayered drum tracks was a preamble for a set of equally beautiful and catchy tunes. Alan Jones’ attractive and punchy bass riffs have added to the overall experience, the type of playing generally not heard on earlier Shadows recordings. Before Jones, the set of bass innovation was introduced by John Rostill. This album is not intended for casual listening. In order to fully appreciate the mastery of Shadows arrangements and performance one must sit down and spend some time listening to this album. (by a guy called Peter)

This is inded one of the finer album by The Shadows including pretty nice cover versions of popular tunes like “Telstar”, “Imagine” (John Lennon), “Sailing”, “More Than I Can Say”, “The Third Man” (the title track from the legendary movie) and “Nut Rocker”.

We can even hear the jazz tune “Misty” from Erroll Garner, written in 1954.

Without any doubts … if you listen to the leadguitar of Hank Marvin you´ll will known from which Mark Knopfler was very impressed. He was really influenced by Hank Marvin.

CDFront+BackCover.JPGCD front + back cover

Brian Bennett (drums, percussion)
Cliff Hall (keyboards)
Alan Jones (bass)
Hank Marvin (lead guitar)
Bruce Welch (guitar)


01. Telstar (Meek) 3.06
02. Chi Mai (Morricone) 3.39
03. We Don’t Talk Anymore (Tarney) 4.25
04. Imagine/Woman (Lennon) 3.36
05. Hats Off To Wally (Marvin/Welch/Bennett) 3.02
06. One Day I’ll Fly Away (Jennings/Sample) 4.15
07. Summer Love ’59 (Marvin/Welch/Bennett) 3.12
08. Misty (Garner/Burke) 3.00
09. This Ole House (Hamblen) 3.26
10. The Winner Takes It All (Andersson/Ulvaeus) 3.54
11. Sailing (Sutherland) 4.51
12. Thing-Me-Jig (Marvin/Welch/Bennett) 2.56
13. More Than I Can Say (Curtis/Allison) 3.30
14. Cowboy Café (Marvin/Welch/Bennett) 2.50
15. The Third Man (Karas) 3.12
16. Nut Rocker (Tchaikovsky/Fowley) 2.15




Bob Dylan – In The Summertime – Live In Drammen, Norway (1981)

FrontCover1.jpgThe Bob Dylan World Tour 1981 was a concert tour by American singer-songwriter Bob Dylan. The tour lasted from June 10, 1981 to November 21, 1981 and consisted of 54 concerts in three legs: 31 in North America and 23 in Europe. The tour promoted the release of Dylan’s 1981 album Shot of Love.

The tour started on June 10, 1981 in Chicago, Illinois. Dylan performed a further three concerts in the United States before travelling to Europe.[5] The European leg of the tour started on June 21 in Toulouse in France and consisted of twenty three concerts, the largest number of concerts taking place in England where eight shows were performed. All shows from July 1 onwards were recorded by members of Dylan’s crew.

Tourposter1981.jpgThe European tour ended in tragedy in Avignon, France where a member of the crowd fell into the electric cables before the first song and caused total power loss. Dylan and the band improvised an unplugged instrumental until the power was restored and ‘Saved’ was started from the beginning. In the accident two people were killed, but the show went ahead despite the incident.

Dylan returned to the United States in October to perform twenty three concerts there. Dylan also performed four concerts in Canada. The tour came to an end in Lakeland, Florida on November 21 after fifty-four concerts. (by wikipedia)

And here´s a pretty good soundboard recording from his concert at the at the Drammenshallen, Drammen, Norway; July 10, 1981 (Concert # 13 of The Europe Summer Tour 1981. 1981 concert #17.)

This 2 CD package is an absolute ‘must have’ for fans of the gospel period. Both shows are smooth, full, warm, and well mixed in a fantastic quality; right from the soundboard.

AlternateBackCover1.jpgAlternate backcover

Tim Drummond (bass)
Bob Dylan (vocals, guitar)
Jim Keltner (drums)
Steve Ripley (guitar)
Willie Smith (keyboards)
Fred Tackett (guitar)
background vocals:
Clydie King – Carolyn Dennis – Regina McCrary – Madelyn Quebec


01. The Times They Are A-Changin’ 5.11
02. Gotta Serve Somebody 4.12
03. I Believe In You 5.04
04. Like A Rolling Stone 6.44
05. Till I Get It Right  3.46
06. Man Gave Names To All The Animals 4.54
07. Maggie’s Farm 1.09
08. Girl From The North Country 5.50
09. Ballad Of A Thin Man 3.28
10. In The Summertime 3.41
11. Slow Train 5.37
12. Let’s Begin  3.38
13. Lenny Bruce 4.38
14. Mr. Tambourine Man 5.44
15. Just Like A Woman 4.22
16. Forever Young 4.37
17. Jesus Is The One 3.55
18. Heart Of Mine 5.11
19. When You Gonna Wake Up 5.31
20. In The Garden (with band introduction) 9.29
21. Blowin’ In The Wind 5.55
22. It Ain’t Me, Babe 5.59
23. Knockin’ On Heaven’s Door 5.44

All songs written by Bob Dylan
except “Till I Get It Right” which was written by Red Lane & Larry Henley and Let’s Begin, which was written by  Jim Webb

AlternateFrontCover.jpgAlternate frontcover


AlternateFront+BackCover1.jpgAnother alternate front + backcover


Blackfoot – Dry Country + Too Hard To Handle + 2 (1981)

FrontCover1.JPGBlackfoot is an American Southern rock band from Jacksonville, Florida formed during 1969. Though they primarily play with a Southern rock style, they are also known as a hard rock act. The band’s classic lineup consisted of guitarist and vocalist Rickey Medlocke, guitarist Charlie Hargrett, bassist Greg T. Walker, and drummer Jakson Spires.

They had a number of successful albums during the 1970s and early 1980s, including Strikes (1979), Tomcattin’ (1980) and Marauder (1981).

By late 1975, the group was living back in Gainesville, Florida. During 1977 they communicated with Black Oak Arkansas’ manager, Butch Stone, who hired them as the backing group for one of his clients, Ruby Starr, who had been a backup singer for Black Oak but was now becoming self-employed. After the stint with Ruby ended during 1978, they met Brownsville Station manager Al Nalli and his partner Jay Frey, who got them a contract with the company Atco Records.

Blackfoot Strikes, produced by Al Nalli and engineered by Brownsville Station drummer Henry Weck, was recorded in Nalli’s basement studio in Ann Arbor, Michigan and was completed by January 1979. It was destined to be the band’s most commercially successful effort. The song “Train, Train”, written by Rickey’s grandfather, “Shorty” Medlocke, became their first success and best known song. “Highway Song” proved to be another success for them later that year.


The group toured frequently during 1979; late during the year they opened for the band The Who at the Silverdome in Pontiac, Michigan while developing their next album, Tomcattin, which was released during 1980. They went on to release the album Marauder during 1981 and Highway Song Live during 1982. (by wikipedia)

And here´s a rare single including as a bonus a “free live single”, recorded at the Castle Donnington Festival, including their legendary “Train Train” written by Shorty Medlocke (the grandpa auf Ricky Melock).

The two sutio tracks were taken from their “Marauder” album.

Enjoy the power of one of the finest Southern Hard Rock groups ever … !


Charlie Hargrett (guitar)
Rickey Medlocke (vocals, guitar)
Greg T. Walker (bass, background vocals)
Jakson Spires (drums, background vocals)


01. Dry Country (R.Medlocke/Spires) 3.42
02. Too Hard To Handel (R.Medlocke/Spires) 4.04
03. On The Run (live Donington 1981) (R.Medlocke/Spires) 4.37
04. Train Train (live Donington 1981) (S.Medlocke) 7.01



Jakson Spires

Jakson Spires April 12th 1951 – March 16th 2005

Larry Coryell – Bolero & Scheherazade (1982)

LPFrontCoverA1Much of Larry Coryell’s work is as difficult to find as it is to categorize — the man seemed to have spent the late ’70s and early ’80s making albums for anyone who could come up with a microphone and a tape recorder. That said, it’s surprising how high the quality level is on most of these releases. Bolero/Scheherazade is one of the most difficult, as it seems to have been released only in Germany and Japan. The album’s obscurity may have something to do with the fact that it is confusingly named; Larry Coryell released an album two years before called Bolero, which has nothing to do with this CD. The “Bolero” on that album was a short, improvised piece composed by Coryell, while the one featured here is a reworking of the classic by Maurice Ravel. In fact all the material here is classical, all written for a full orchestra, and all performed by Larry Coryell in two sessions, alone with one acoustic guitar. In truth he’s up to the material, his playing spanning the full dynamic, from delicate flamenco-like picking to forceful, furiously strummed chords. “Ravel’s Bolero” was designed as a showpiece for slowly building intensity, and even though any listener who has heard the piece knows what is going to happen, Coryell still surprises and delights with the version here. The lesser-known pieces by de Sarasate and de Falla are similarly excellent and may introduce new listeners to the delights of those Spanish composers. Bolero/Scheherazade is an excellent album, an overlooked gem that ranks with Larry Coryell’s best classically inspired work. (by Richard Foss)


Larry Coryell (guitar)



01. The Sea And Sindbad’s Ship (Rimsky-Korsakov/Coryell) 6.51
02. The Story Of The Kalendar Prince (Rimsky-Korsakov/Coryell) 4.34
03. The Young Prince And The Young Princess (Rimsky-Korsakov/Coryell) 4.46
04. Festival At Bagdad – The Sea – The Shipwreck (Rimsky-Korsakov/Coryell) 6.10

05. Bolero (Ravel/Coryell) 10.26
06. Noches En Los Jardines De Espana (d.Falla/Coryell) 9.53
07. Zapateado, Op. 23 No.2 (Sarasate/Coryell) 3.19




Larry Coryell (April 2, 1943 – February 19, 2017)

Rolling Stones – Seattle Supersonic (1981)

FrontCover1.jpgThe Rolling Stones’ American Tour 1981 was a concert tour of stadiums and arenas in the United States to promote the album Tattoo You. It was the largest grossing tour of 1981 with $50 million in ticket sales. Roughly three million concert goers attended the concerts, setting various ticket sales records.[2] The 5 December show in New Orleans set an indoor concert attendance record which stood for 33 years.

Initially, singer Mick Jagger was not interested in another tour, but guitarists Keith Richards and Ronnie Wood were, as were elements of the press and public. Jagger eventually relented. As with previous tours, the American Tour 1981 was promoted by Bill Graham.

The band rehearsed at Long View Farm, North Brookfield, Massachusetts, from August 14 to September 25, 1981. and played a warm-up show at the Sir Morgan’s Cove club in Worcester, Massachusetts on 14 September. Although they were billed as Little Boy Blue & The Cockroaches, word got out and some 11,000 fans pushed and shoved outside the 300-capacity venue. The Mayor of Boston Kevin H. White stopped the notion of further public rehearsals, saying, “The appearance here of Mr. Jagger is not necessarily in the public interest.”


The tour’s elaborate and colorful stage was the work of Japanese designer Kazuhide Yamazaki. “Most concerts that took place outdoors at the time were played during the day,” recalled Jagger, “probably because it was cheaper, I don’t know. So we had the bright, bright primary colors… and we had these enormous images of a guitar, a car and a record—an Americana idea—which worked very well for afternoon shows.”

Most shows later in the tour featured a cherry picker and the release of hundreds of balloons at the show’s end. During the Los Angeles Memorial Coliseum stops on the tour, the band played a Friday and Sunday show and USC had a football game in between on Saturday. As a televised football game, viewers could see the full stage set-up and often field goals would land on stage at the East end zone. Two of the three opening bands, George Thorogood, and The J Geils Band were received well, but the third – a still somewhat unknown Prince – barely got through three songs before being booed off.


The tour was the largest-grossing tour of 1981, but for several years to come. It grossed $50 million in ticket sales when the average ticket price was $16. Roughly three million attended the concerts. The Stones set many records that remain unbroken. The JFK Stadium shows in Philadelphia prompted nearly 4 million requests via post cards for tickets (a method used at the time to prevent scalping); requests for the five arena shows in the New York metropolitan area were in the millions. The New York Times stated, “The tour is expected to be the most profitable in the history of rock & roll; its sheer size has been staggering…ticket requests for these shows ran into the millions…” The tour indeed did turn out to be profitable: the Stones were estimated to have reaped about $22 million after expenses.

The tour also was an early milestone for the rock industry by selling advertising rights to Jōvan Musk. Jōvan paid $1 million to put their name on Stones tickets. This attracted considerable attention in the business media, as Jōvan’s image of a pleasant fragrance was at odds with the Stones’ bad boys image. But the Stones behaved well on tour, and rock tour corporate sponsorships soon became the norm.


In another marketing first, the 18 December performance at Virginia’s Hampton Coliseum was broadcast as “The World’s Greatest Rock’n’Roll Party”, on pay-per-view and in closed circuit cinemas. It was the first such use of pay-per-view for a music event. Keith Richards hit a fan who ran onstage with his guitar.

Also of note was the 14 December performance at Kansas City’s Kemper Arena. Former Stones guitarist Mick Taylor joined the band for a large part of the performance. Ronnie Wood was not happy with Taylor, however: “[He was] bulldozing through parts of songs that should have been subtle, ignoring breaks and taking uninvited solos.” Other guests during the tour were Tina Turner (who would sing “Honky Tonk Women”), Chuck Leavell, Tower of Power and Sugar Blue. Turner, People reported, had toured with the Stones in 1966, and Jagger admitted he had “learned a lot of things” from her.


In general, there was less backstage madness on the tour than on many previous outings. This was largely due to Richards having largely overcome his well-known drugs and alcohol problems; The New York Times wrote of Richards, “He looks healthy, he is playing brilliantly and his backup vocals are often so lusty that they drown out Mr. Jagger, who is working harder to hold up his end of things as result.” However, this and the 1982 tour were the last tours on which Richards contributed the majority of backup vocals; for future tours, additional singers were enlisted.

Several of the concerts were recorded and selected songs were released on 1982’s live Still Life. The Hal Ashby-directed concert film Let’s Spend the Night Together grossed $50 million. Possibly due to the film, most of the shows on this tour were professionally recorded. Bootleg evidence suggests that for 35 of the regular 50 shows from this tour, more than half of each concert is directly from the soundboard.

This was the Stones’ last tour of the United States until 1989. (by wikipedia)


1981 is an embarassment of riches for any Stones fan due to the large number of great-sounding soundboards available from the US tour. This is a typical performance and setlist from the tour; I’ve always found Mick’s vocals to be fairly sloppy during this era, but overall the performance is good and the sound quality is great. (by ax179 at Dime, 2013)

Recorded live at the Kingdome, Seattle, WA; October 15, 1981
Very good soundboard.


Mick Jagger (vocals, guitar, harmonica)
Keith Richards (guitar, vocals)
Ron Wood (guitar, vocals)
Charlie Watts (drums)
Bill Wyman (bass)
Ian McLagan (keyboards, background vocals)
Ian Stewart (piano)
Ernie Watts (saxophone)


01. (Intro) Take The A-Train 1.51
02. Under My Thumb 3.49
03. When The Whip Comes Down 4.53
04. Let’s Spend The Night Together 4.09
05. Shattered 4.51
06. Neighbors 4.30
07. Black Limousine 3.48
08. Just My Imagination 6.37
09. Twenty Flight Rock 2.22
10. Let Me Go 4.07
11. Time is on My Side 3.47
12. Beast Of Burden 6.07
13. Waiting On aA Friend 5.22
14. Let It Bleed 7.20
15. You Can’t Always Get What You Want 8.04
16. Little T&A 3:34
17. Tumbling Dice 4.04
18. Band intros 0.52
19. She’s So Cold 3.52
20. All Down The Line 4.09
21. Hang Fire 2.55
22. Star Star 4.16
23. Miss You 6.16
24. Start Me Up 4.15
25. Honkey Tonk Women 3.21
26. Brown Sugar 3:37
27. Jumping Jack Flash 9.15
28. Satisfaction 6.47
29. (Outro) Star Spangled Banner (Jimi Hendrix Woodstock version, 1969) 4.04

All songs written by Mick Jagger & Keith Richards
“Take The A-Train” written by Billy Strahorn
“Star Spangled Banner” written by John Stafford Smith
“Twenty Flight Rock” written by   Eddie Cochran + Ned Fairchild




The Dutch Swing College Band – Digital Dixie (1981)

FrontCover1.jpgThe Dutch Swing College Band “DSCB” is a traditional dixieland band founded on 5 May 1945 by bandleader and clarinettist/saxophonist Peter Schilperoort.

Highly successful in their native home of The Netherlands, the band quickly found an international following. It has featured such musicians as Huub Janssen (drums), Henk Bosch van Drakestein (double bass), Kees van Dorser (trumpet), Dim Kesber (saxes), Jan Morks (clarinet), Wout Steenhuis (guitar), Arie Ligthart (banjo/guitar), Jaap van Kempen (banjo/guitar), Oscar Klein (trumpet), Dick Kaart (trombone), Ray Kaart (trumpet), Bert de Kort (cornet), Bert Boeren (trombone), Rod Mason, Rob Agerbeek (piano) – among many others.

The band continues to tour extensively, mainly in Europe & Scandinavia, and record directed by Bob Kaper, himself a member since 1967, following the former leader, Peter Schilperoort’s death on 17 November 1990. Schilperoort had led the band for more than 45 years, albeit with a five-year sabbatical from 13 September 1955, when he left to pursue an engineering career before returning to lead the band again officially on 1 January 1960. (by wikipedia)


The Dutch Swing College Band has endured numerous personnel changes in its more than fifty-year history as one of the Netherlands’ top jazz ensembles. Although no members remain from the original group, the latest lineup continues to honor the tradition-rooted approach of the founders.

Bob Kaper (1939- ) replaced clarinet player Peter Schilperoort during an illness in 1966, and remained with the band; he has led the Dutch Swing College Band since Schilperoort’s death in 1990. The fourth leader in the group’s history, Kaper succeeds Frans Vink, Jr. (1945-46), Joop Schrier (1955-60), and Schilperoort (1946-55; 1960-1990). Kaper previously led the Beale Street Seven, a group he founded in 1957.


An amateur group from 1945 until turning professional in 1960, the Dutch Swing College Band reached their early peak in the late ’40s, when they were tapped to accompany such jazz musicians as Sidney Bechet, Joe Venuti, and Teddy Wilson.

The New Melbourne Jazz Band recorded an album, A Tribute to the Dutch Swing College Band, featuring music associated with the Holland-based group. (by Craig Harris)


The labels from the vinyl edition

And here´s a pretty good digital recording (recorded live at the Northsee Jazz Festival, July 12, 1981; featuring Rod Mason and Huub Janssen)


Enjoy this beautful romantic trip in the early days of Jazz …  transmitted in the digital era.



Henk Bosch van Drakestein (bass)
Huub Janssen (drums)
Dick Kaart (trombone, euphonium on  04. + 10.)
Bob Kaper (saxophone, clarinet)
Rod Mason (trumpet, sousaphone on 04.)
Fred Murray (piano)
Peter Schilperoort (saxophone, clarinet)


01. Way Down Yonder In New Orleans (Creamer/Layton) 1.40
02. Knee Drops (Hardin) 4.48
03. West End Blues (Williams/Oliver) 4:.20
04. At A Georiga Camp Meeting (Mills) 4.42
05. I Want A Little Girl (Mall/Mencher) 5.25
06. China Boy (Winfree/Boutelje) 4.04
07. Creole Belles (Traditional) 4.48
08. Sugar (Alexander/Pinkard/Mitchell) 3.28
09. The Kazoos (Kaper) 5.57
10. Down Home Rag (Brown/Sweatman) 3.30
11. On Green Dolphin Street (Bronislau/Kaper/Washington) 5.11
12. Everybody Loves My Baby (Palmer/Williams) 3.49