Tom Verlaine – Dreamtime (1981)

LPFrontCover1Tom Verlaine (born Thomas Miller, December 13, 1949 – January 28, 2023) was an American singer, guitarist, and songwriter, best known as the frontman of the New York City rock band Television.

Verlaine was born Thomas Miller to a Jewish family in Denville, New Jersey on December 13, 1949.[citation needed] He moved to Wilmington, Delaware, with his family at age of six. He began studying piano at an early age, but switched to saxophone in middle school after hearing a record by Stan Getz. Verlaine initially was unimpressed with the role of the guitar in both rock music and jazz, but was inspired to take up the instrument after hearing the Rolling Stones’ “19th Nervous Breakdown” during his adolescence, at which point he began a long period of experimentation to develop a personal style. A later musical influence of Verlaine’s became jazz musician Miles Davis’ electric-period recordings, particularly the Japanese LPs Agharta (1975) and Dark Magus (1977), which he was able to obtain as imports.

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Verlaine also had an interest in writing and poetry from an early age. As a teen, he was friends with future bandmate and punk icon Richard Hell (Richard Meyers) at Sanford School, a boarding school which they both attended. They quickly discovered that they shared a passion for music and poetry.

After one failed attempt, Verlaine (with Hell) succeeded in escaping from school and moved to New York City. He then created his stage name, a reference to the French symbolist poet Paul Verlaine. He is quoted as having said that this name was inspired by Bob Dylan’s name change and was a way of distancing himself from his past.[citation needed] He and Hell formed the Neon Boys, recruiting drummer Billy Ficca.[4] The Neon Boys quickly disbanded after failing to recruit a second guitarist, despite auditions by Dee Dee Ramone and Chris Stein. They reformed as Television a few months later,[4] finding a guitarist in Richard Lloyd, and began playing at seminal punk clubs like CBGB and Max’s Kansas City. In 1975, Verlaine kicked Hell out of the band for his erratic playing and behavior, and they released their first single with Fred Smith replacing Hell. Verlaine dated poet and musician Patti Smith when they were both in the burgeoning New York punk scene. Television released two albums, Marquee Moon and Adventure, to great critical acclaim and modest sales before breaking up in July 1978.

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Verlaine soon released a self-titled solo album that began a fruitful 1980s solo career. He took up residence in England for a brief period in response to the positive reception his work had received there and in Europe at large. In the 1990s he collaborated with different artists, including Patti Smith, and composed a film score for Love and a .45. In the early 1990s, Television reformed to record one studio album (Television) and a live recording (Live at the Academy, 1992); they have reunited periodically for touring. Verlaine released his first new album in many years in 2006, titled Songs and Other Things.

Verlaine died in New York City on January 28, 2023 after a brief illness, at the age of 73.

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Verlaine was in discussion with Jeff Buckley to produce his second album before Buckley’s death by drowning in 1997.

Verlaine guested as guitarist on numerous releases by other artists, including the album Penthouse by the band Luna. He played on Patti Smith’s Grammy-nominated “Glitter in Their Eyes” from her 2000 album Gung Ho. This was not the first time Verlaine had collaborated with one-time romantic partner Smith; four years earlier, he played on the song “Fireflies” from her 1996 album Gone Again, and in the 1970s he played guitar on her debut single “Hey Joe” and on “Break It Up” from her debut album Horses. He also co-wrote the latter song with Smith. He played with Smith in 2005 for a 30th-anniversary concert of Horses in its entirety, which was later released on CD.

Verlaine was part of the Million Dollar Bashers, a supergroup also featuring Sonic Youth musicians Lee Ranaldo and Steve Shelley, Wilco guitarist Nels Cline, Bob Dylan bassist Tony Garnier, guitarist Smokey Hormel, and keyboardist John Medeski. Their work appears on the original soundtrack to I’m Not There, a biographical film reflecting on the life of Bob Dylan.

In 2012, Verlaine collaborated with former Smashing Pumpkins guitarist James Iha on his second solo album Look to the Sky. (wikipdia)

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Dreamtime is the second solo studio album by American musician Tom Verlaine, originally released in 1981. “Without a Word” is a rewrite of “Hard On Love,” an unreleased Television song performed live in 1974 and 1975. (wikipedia)

Tom Verlaine’s second album as a solo artist after disbanding Television is not groundbreaking or innovative as much as it is consistent. What is distinctive about Dreamtime, aside from its thick guitar fortifications, firm stance, and unwillingness to modify a sound he believed in, are the issues surrounding the making of these recordings. The first session was marred by the usage of poor quality reel-to-reel tapes, barely yielding only half an album. Other songs had to be re-recorded with different players, due to the original band’s unavailability. There’s also a strong connection with Patti Smith, who Verlaine toured with when leading Television. First session bassist Fred Smith, also from the original Television group, keyboardist Bruce Brody, and drummer throughout, Jay Dee Daugherty, are major contributors to the uniform texture of the tunes. It’s hard to pin down a single highlight, but several rank as distinctive. “Without a Word” is molded in the classic Television style, with repeat guitar lines from Verlaine and Ritchie Fliegler, “There’s a Reason” is self-explanatory and prototypical, while “Fragile” revises Byrne’s distant vocal foresight, with Verlaine claiming someone “stole my secret,” and further adds the repeat guitar hooks.


“Penetration” is likely the rave fave, at once propelled, strutting, and plodding with the sparest of diffuse guitar, and inferences — sexual or otherwise — galore. “Always” sports the kind of cooled, ambiguous message under no frills rock & roll, with Verlaine exclaiming he has a clue on “the best kept secret in town.” Then there’s “Down on the Farm,” with vocals evocative of Dave Thomas and his stressed out style, the slow funky R&B elements of “Mary Marie” enhanced by the organ work of Bruce Brody, and a choogling Creedence Clearwater Revival ramble during the mainly instrumental jam “The Blue Robe.” Perhaps the most advanced track, “A Future in Noise” epitomizes the disarmed CBGB’s vibe with slightly built intensity, resolutely controlled. Not so much a set of tidy, trimmed concepts when one listens closely, as it is a vision of an artist laying it all out from the bottom of his heart. Many would easily admit Dreamtime is Tom Verlaine’s shining hour. (by Michael G. Nastos)


Bruce Brody (keyboards on 02., 03. + 10.)
Jay Dee Daugherty (drums 01., 02., 05. +  09. )
Ritchie Fliegler (guitar)
Donnie Nossov (bass on 03., 04., 07., 08. + 10.)
Fred Smith (bass on 01., 05., 06. + 09.)
Rich Teeter (drums on 03.,04., 07., 08. +  10.)
Tom Verlaine (vocals, guitar, bass on 02.)

01. There’s A Reason 3.39
02. Penetration 4.00
03. Always 3.55
04. The Blue Robe 3.47
05. Without A Word 3.16
06. Mr. Blur 3.22
07. Fragile 3.26
08. A Future In Noise 4.13
09. Down On The Farm 4.48
10. Mary Marie 3.22
11. The Blue Robe (alternate vocal version) 4.19
12. Always (live) 9.25

All songs written by Tom Verlaine.



Liner Notes

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Molly Hatchet – Take No Prisoners (1981)

FrontCover1Molly Hatchet is an American southern rock band formed by guitarist Dave Hlubek in Jacksonville, Florida, in 1971. They were a popular band during the late 1970s and early-to-mid 1980s among the Southern rock and hard rock communities. The band released six studio albums on Epic Records between 1978 and 1984, including the platinum-selling hit records Molly Hatchet (1978), Flirtin’ with Disaster (1979) and Beatin’ the Odds (1980). They also had successful hits on the Billboard charts, including “Flirtin’ with Disaster”, “The Rambler”, “Bloody Reunion” and “Satisfied Man”. Molly Hatchet has released eight more studio albums since their split with Epic in 1985, although none of them have been as successful as their early albums, nor charted in the United States.

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Molly Hatchet has experienced numerous lineup changes throughout their 51-year career. While its current lineup includes none of the members who played on the band’s first album, who are all deceased, keyboardist John Galvin has been a member of Molly Hatchet since 1984 (with the exception of a break between 1991 and 1994) and Bobby Ingram has been their guitarist since 1987, when he replaced founding member Dave Hlubek, who would rejoin the band 18 years later and stayed with the band until his death in 2017. Also included in the current lineup are drummer Shawn Beamer, bassist Tim Lindsey and vocalist Jimmy Elkins.

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Take No Prisoners is the fourth studio album by American southern rock band Molly Hatchet, released in 1981. This is the second and last studio album released with lead singer Jimmy Farrar and the last one with original bass player Banner Thomas and the last to feature drummer Bruce Crump until The Deed Is Done. “Respect Me in the Morning” is a duet between Farrar and Joyce “Baby Jean” Kennedy of Mother’s Finest. The album is also notable because actress Katey Sagal appears as a backup singer. (wikipedia)

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Molly Hatchet blazes across the face of rock & roll with another Southern/hard rock set, even paying homage to 1950s rock & roll with a cover of “Long Tall Sally.” Still, the band doesn’t seem able to recreate the intensity of its first couple of releases. “Respect Me in the Morning” appears to start off a set of powerful Hatchet tunes, but the ball gets fumbled halfway into the game. (by Michael B. Smith)

A reasonable album which contains 3 of Mollys best ever tracks, POWERPLAY, BOODY REUNION and the fantastic rocker LOSS OF CONTROL..Southern vocal drawls are as cute as ever and the guitar work is slick..This album does’nt quite have the woe factor of some of the others in their catalogue but its not a bad one either. (Steve Smith)


Bruce Crump (drums)
Jimmy Farrar (vocals)
Dave Hlubek (guitar, slide guitar)
Steve Holland (guitar)
Duane Roland (guitar, slide guitar)
Banner Thomas (bass)
Paulinho da Costa (percussion)
Joyce ‘Baby Jean’ Kennedy (vocals on 02.)
Tom Werman (percussion)
Jai Winding (keyboards)
Tower Of Power horn section (horns on 01. + 06.)
background vocals:
Mindy Sterling – Laurie Bono – Katey Sagal

01. Bloody Reunion (Farrar/Hlubek/Roland/Thomas) 3.58
02. Respect Me In The Morning (Farrar/Roland) 3.22
03. Long Tall Sally (Blackwell/Johnson/Penniman) 2.55
04. Loss Of Control (Crump/Roland/Thomas) 3.31
05. All Mine (Thomas) 3.59
06. Lady Luck (Hlubek) 3.29
07. Power Play (Holland) 3.45
08. Don’t Mess Around (Roland/Thomas) 3.00
09. Don’t Leave Me Lonely (Crump/Holland) 3.59
10. Dead Giveaway (Hlubek) 3.26



A nice reminder of the Allman Brothers Band:
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More from Molly Hatchet:

The official website:

Pat Travers – Radio Active (1981)

FrontCover1Pat Travers (born Patrick Henry Travers on April 12, 1954) is a Canadian rock guitarist, keyboardist and singer who began his recording career with Polydor Records in the mid-1970s. Many noted musicians have been members of the Pat Travers Band over the years.

While most bluesy hard rock acts of the ’70s and ’80s hailed from the United States (the south, to be exact), there were several exceptions to the rule, such as Canadian singer/guitarist Pat Travers. Born in Toronto on April 12, 1954, Travers first picked up the guitar just prior to entering his teens, after witnessing a local performance by the great Jimi Hendrix. It wasn’t long before Travers was studying the other top rock guitarists of the day (Eric Clapton, Jeff Beck, Jimmy Page, etc.), and paying his dues by playing in bar bands in the Quebec area.

His first true touring gig came his way when he hooked up with ’50s rock n’ roll vet Ronnie Hawkins (best known for performing with a backing cast that would eventually transform into The Band). But Travers’ main love was hard rock, so after a year, he packed up his belongings and headed to London. Shortly after touchdown in the U.K., Travers recorded a demo that would land him a recording deal with Polydor and result in the release of his debut, Pat Travers, during the spring of 1976. A performance at England’s annual Reading Festival the same year only peaked interest, which resulted in two more releases in 1977, Makin’ Magic and Putting It Straight (both of which featured a pre-Iron Maiden Nicko McBrain on drums), before Travers returned to North America and set his sights on the U.S. rock market.

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Hooking up with a fine backing band comprised of drummer Tommy Aldridge, guitarist Pat Thrall, and bassist Mars Cowling, the new Travers band lineup premiered on 1979’s Heat in the Street. This led to Travers’ most commercially successful period, resulting in a pair of Top 30 releases, 1979’s Live! Go For What You Know (considered by many Travers fans to be his finest hour) and 1980’s Crash and Burn. But soon after the dawn of the ’80s, bluesy hard rock seemed to quickly fall out of favor amongst the U.S. record buying public, in favor of slickly produced arena rock, and later, MTV-approved bands. As a result, each subsequent Travers release sold less, as his last albums to appear on the U.S. album charts included 1981’s Radio Active, 1982’s Black Pearl, and 1984’s Hot Shot.

Unhappy with Polydor, Travers opted to take a break from releasing albums for the remainder of the decade, but continued to tour. Travers’ 1990 comeback album, School of Hard Knocks, failed to re-spark interest on the charts, although he continued to issue new studio albums (Blues Tracks, Just a Touch, Blues Magnet, etc.) and archival live sets (King Biscuit Flower Hour, BBC Radio One Live in Concert) throughout the decade.

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Travers continues to tour and record regularly (playing alongside the likes of Night Ranger’s Jeff Watson, Cinderella’s Tom Keifer, and Rick Derringer), and in 2001, performed as part of the ‘Voices of Classic Rock’ tour. Travers emerged from the recording studio once more in 2003, with P.T. Power Trio, a recording that featured covers by the likes of Cream (“White Room”), Robin Trower (“Day of the Eagle”), and ZZ Top (“Nasty Dogs and Funky Kings”), among others. (Greg Prato)

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Radio Active is a music album released by Pat Travers on Polydor Records in 1981. Radio Active was Pat Travers’ first release after the highly successful Crash and Burn. However, Pat Thrall and Tommy Aldridge had already left the band. Travers and Cowling forged on with former Blackjack drummer Sandy Gennaro, but the album barely made it into the Top 40.[which?] It was quite different from Travers’ previous work, with more emphasis on keyboards than heavy guitars. Disappointed with the lack of sales, Polygram dropped Travers from their roster. Travers’ successfully sued Polydor for breach of contract which he won which allowed him to record two future albums on the label.

Radio Active was recorded at Bee Jay Recording Studios in Orlando, Florida from October 1980 to February 1981. (wikipedia)

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Guitar legend Pat Travers is known for holding court with numerous A-list players who have moved through the ranks of his band over the Toronto native’s storied career. In 1981, RADIO ACTIVE found Travers on the cusp of a crossroads in developing a new sound. The result was this bluesy collection of hard rock in which Travis finally focused his considerable virtuosity for a set of concise tunes. (by Doug Odell)


Peter “Mars” Cowling (bass)
Sandy Gennaro (drums)
Michael Shrieve (percussion)
Pat Travers (guitar, vocals, keyboards)
Tommy Aldridge (drums)
Pat Thrall (guitar)

Pat Travers05Tracklist:
01. New Age Music 5.07
02. My Life Is On The Line 3.44
03. (I Just Wanna) Live It My Way 5.32
04. I Don’t Wanna Be Awake 3.56
05. I Can Love You 2.26
06. Untitled 3.26
07. Feelin’ In Love 3.32
08. Play It Like You See It 5.08
09. Electric Detective 3.08

All songs written by Pat Travers
except 01., written by Roger Lewis, Ian Lewis, Jacob Miller, Bernard Harvey



More from Pat Travers:

The official website:

Chicken Shack – Roadies Concerto (1981)

FrontCover1Chicken Shack are a British blues band, founded in the mid-1960s by Stan Webb (guitar and vocals), Andy Silvester (bass guitar), and Alan Morley (drums), who were later joined by Christine Perfect (later McVie) (vocals and keyboards) in 1967. Chicken Shack has performed with various line-ups, Stan Webb being the only constant member.

David ‘Rowdy’ Yeats and Andy Silvester had formed Sounds of Blue in 1964 as a Stourbridge-based rhythm and blues band. They invited Stan Webb, who was leaving local band The Shades 5, to join them. The band also included Christine Perfect and Chris Wood (later to join Traffic) amongst others in their line up. With a new line-up Chicken Shack was formed as a trio in 1965, naming themselves after Jimmy Smith’s Back at the Chicken Shack album. ‘Chicken shacks’ (open-air roadside chicken stands) had also been frequently mentioned in blues and R&B songs, as in Amos Milburn’s hit, “Chicken Shack Boogie”. Over the next few years the band had a residency at the Star-Club, Hamburg with Morley, then Al Sykes, Hughie Flint (who was John Mayall’s drummer when Eric Clapton was in the band) and later Dave Bidwell on drums.


They made their first UK appearance at the 1967 National Jazz and Blues Festival, Windsor and signed to Mike Vernon’s Blue Horizon record label in the same year;[1] releasing Forty Blue Fingers, Freshly Packed and Ready to Serve in early 1968. A mainstay of the British blues boom, and a regular at UK festivals (Stan Webb’s wandering through the crowd with a 200 ft extension to his guitar lead during the band’s set was a regular occurrence[citation needed]), Chicken Shack enjoyed some commercial success, with Christine Perfect voted Best Female Vocalist in the Melody Maker polls two years running. They had two minor hits with “I’d Rather Go Blind” (c/w “Night Life”), and “Tears in the Wind”, after which Perfect left the band in 1969 when she married John McVie of Fleetwood Mac. She was replaced by Paul Raymond from Plastic Penny.


After being dropped by Blue Horizon, pianist Paul Raymond, bassist Andy Silvester, and drummer Dave Bidwell all left in 1971 to join Savoy Brown.[1] At this point Webb reformed the band as a trio with John Glascock on bass and Paul Hancox on drums, and they recorded Imagination Lady. The line-up did not last; Glascock left to join Carmen, while Webb was recruited for Savoy Brown in 1974 and recorded the album Boogie Brothers with them.

Since 1977 Webb has revived the Chicken Shack name on a number of occasions, with a rotating membership of British blues musicians including, at various times, Paul Butler (ex-Jellybread, Keef Hartley Band)(guitar), Keef Hartley, ex-Ten Years After drummer Ric Lee and Miller Anderson, some of whom came and went several times. The band has remained popular as a live attraction in Europe throughout.

Webb remains as their only constant band member. (wikipedia)

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And here´s a rare and pretty good live album, with an exceptional and unusual line-up (feat. Ric Lee on drums and Tony Ashton on organ).:

Chicken Shack in sensational line-up – their best ever live recording

In 1981 Stan Webb had possibly found the most prolific of all of his line-ups with basically an all-star line-up of bluesrock This ROADIES CONCERTO recording displays the mastery of this assembly of exceptional musicians – a gatheriing of the tribes! Rarely ever CICKEN SHACK played in such perfection.In this line-up they undertook a very successful toru of Europe, esp. Germany … they blew everybody’s mind! (

If you love the British Blues like I do … you should listen and enjoy !


Tony Ashton (keyboards)
Paul Butler (guitar, vocals)
Ric Lee (drums)
Alan Scott (bass)
Stan Webb (guitar, vocals)


01. Tell Me (Burnett) 5.07
02. Why I Sing The Blues (King/Clark) 2.03
03. Back Door Man (Dixon) 7.00
04. Black Night (Webb) 5.59
05. So Far Back (Webb) 6.38
06. The End (Prisoner) (Webb) 4.13
07. Poor Boy (Webb) 4.34
08. Shake Your Money Maker (James) 3.56
09. Hideaway (King) 1.15



More from Chicken Shack:

The Mark Almond Band – The Last & Live (1981)

FrontCover1Mark-Almond was a British folk-rock-jazz band formed in 1970 by acoustic guitarist Jon Mark and saxophonist and flutist Johnny Almond.

The two met and came to appreciate each other in 1969 as band members of John Mayall, with whom they recorded the albums The Turning Point and Empty Rooms in 1969.

The Mark-Almond Band, which initially included bassist Roger Sutton and keyboardist Tommy Eyre, underwent several line-up changes and minor name changes over the years: “Jon Mark/Johnny Almond”, “The Mark/Almond Band”, “Jon Mark/Mark-Almond Band” and “Mark-Almond Band”. (wikipedia)

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It was the band that couldn’t be; it was the age of the British headliners, and they were the loudest the world had ever heard. Some had been around for a while like The Who, some were relative new-comers like Led Zeppelin. All of a sudden, a band appeared that wasn’t louder than it had to be, and they didn’t even have a drummer. But as soon as they had built an audience with their often-times melancholy songs where the lyrics were important and heart-felt although a bit sentimental at times, they brought in the speediest drummer of all, the veteran of many formations around the great Charles Mingus, none other than Dannie Richmond. Still, the gentle sounds of the vibraphone and the acoustic guitars, the flutes and the flügelhorn dominated, and Mark-Almond survived for almost two decades, five vinyl albums’ worth with a few left-overs and live tracks to surface after it was all over.

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Johnny Almond, Tommy Eyre, Roger Sutton, Ken Craddock and Dannie Richmond are no longer with us, and Jon Mark retired to New Zealand. Some of the members have disappeared without a trace but what hasn’t disappeared is the large audience which regroups as time goes on, fascinated by a rare combination of lyricism, energy, virtuosity and by whatever else defines Mark-Almond’s as mindful music.

In acknowledgment of the influence of the blues, Jon Mark, in 1971, had produced a tribute album to Robert Johnson, who was known as “The King of the Delta Blues Singers”; here, among others, Jon Mark brought in his oldest friend, fellow guitarist Alun Davies who had played with him in Mark-Almond’s predecessor, “Sweet Thursday”.

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More solo work followed after the band’s demise;

“Stay”, now out on vinyl, being just one of a few more.

After the loss of his left-hand ring finger in an accident in Hawaii in 1972, Jon switched to keyboard; his composing style went through several permutations, beginning with “The Standing Stones of Callanish” and continuing with a vast output for the next two decades. (Eckart Rahn)

Mark Almond05I’ve been a fan of the Mark-Almond band for decades. Their work was hard enough to find on LPs. I heard them live in NYC and just fell in love with their breathy jazz. LOTS of instruments. Great horns and Guitars. Their studio albums are great but it’s on the live tracks they really stretch out and give new life to old songs. The selection on this live album is some of their best and live just makes them even better. The Last & Live is a great addition to any (jazz) collection. (Mike Walker)

Mark-Almond are among the most UNDER rated band ever in memory … listen to “The City” and you´ll know what I mean.


Johnny Almond (saxophone/flute)
Jon Mark (guitar, vocals)
Dave Marotta (bass)
Carlos Rios (guitar)
Mark Ross (piano)

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01. Then I Have You 6.15
02. You Look Just Like A Girl Again 4.49
03. Lonely Girl 8.59
04. Other People´s Rooms 4.44.

05. The Ciy: 30.14.
05.1. New York State Of Mind 3.34
05.2. The City – Part 1 11.28
05.3. The City – Part 2 / New York State Of Mind 14.56

06. Girl On Table Four 5.10
07. The Last & Live (uncut edition) 1.01.29

All songs written by Jon Mark
except New York State Of Mind written by Billy Joel

My copy was pressed in white vinyl:



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)

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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

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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