Larry Davis – Funny Stuff (1982)

FrontCover1.jpgLarry Davis (December 4, 1936 – April 19, 1994) was an American electric Texas blues and soul blues musician. He is best known for co-writing the song “Texas Flood”, later recorded to greater commercial success by Stevie Ray Vaughan.

Davis was born in Pine Bluff, Arkansas, and was raised in England, Arkansas, and Little Rock, Arkansas. He swapped playing the drums to learn to play the bass guitar. In the mid-1950s, he had a working partnership with Fenton Robinson, and following the recommendation of Bobby Bland was given a recording contract by Duke Records. Davis had three singles released, which included “Texas Flood” and “Angels in Houston”. Thereafter, he had limited opportunity in the recording studio. He resided in St. Louis, Missouri, for a while, and played bass in Albert King’s group. He also learned to play the guitar at this time; the guitar on Davis’s recording of “Texas Flood” was by played by Robinson.

Several single releases on the Virgo and Kent labels followed, but in 1972 a motorcycle accident temporarily paralyzed Davis’s left side. He returned a decade later with an album released by Rooster Blues, Funny Stuff, produced by Oliver Sain. He won four W. C. Handy Awards in 1982, but a decade later he was known only to blues specialists.[3] His 1987 Pulsar LP, I Ain’t Beggin’ Nobody, was difficult even for blues enthusiasts to locate.

LarryDavis01In 1992, Bullseye Blues issued another album, Sooner or Later, highlighting his booming vocals and guitar playing influenced by Albert King.

Davis died of cancer in April 1994, at the age of 57. (by wikipedia)

 

Larry Davis didn’t record all that often, but when he did, he certainly made it count. That’s the case with this fine St. Louis recording. Produced by Oliver Sain (who handled all sax work) and featuring Billy Gayles on drums and pianist Johnnie Johnson, the set is a ringing endorsement of Davis’s slashing, tremolo-enriched guitar and booming vocals. (Bill Dahl)

Larry Davis grew up in Arkansas, working with Fenton Robinson in the mid-50s. He started recording for Duke in 1958 with “Texas Flood” (the original version by the way – and likely still the best.) He signed to Duke at the recommendation of Bobby Bland. Larry LarryDavis02recorded sporadically over the years and passed away in 1994.

Davis was an extraordinary talent. He had a tremendous voice, with a soft vibrato. He sang in the B.B. King, Little Joe Blue, Bobby Bland style. His biting single-not guitar work could be placed somewhere between the sounds of B.B. King and Son Seals. He had more edge in his playing than King, but it wasn’t as harsh as Seals. “Funny Stuff” was originally released in 1982, and was re-released on CD by Rooster Blues in 2001. This review is based on the 2001 version of the album. “Funny Stuff” is basically Larry Davis’ St. Louis album. All of the musicians on the album were St. Louis stalwarts. The cast of characters was: Oliver Sain on piano, organ and all saxes; Phil Westmoreland on guitar; Johnnie Johnson on piano; Billy Gayles on drums; Jimmy Hinds on bass and drums; Eugene Johnson on bass; and Don Smith on drums. The album has all the features of the St. Louis blues sounds, with a combination of raw emotion mixed with Uptown sensibilities. (East Side Slim, stlblues.net)

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Personnel:
Larry Davis (guitar, vocals)
Billy Gayles (drums on 03., 05., 09. + 10.)
Jimmy Hint (bass on 03., 05., 08. – 10., drums on 01., 06. – 08.)
Eugene Johnson (bass on 02. + 07.)
Johnnie Johnson (piano on 02., 04., 07. + 10.)
Oliver Sain (saxophone on 02. – 04., 07. – 09., organ, piano)
Don Smith (drums on 02.)
Phil Westmoreland (guitar, bass on 01., 04. + 06.)

on 05:
Johnny Johnson (piano on right channel)
Oliver Sain (piano – left channel)

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Tracklist:
01. Funny Stuff (Sain) 3.40
02. Teardrops (Davis) 6.25
03. Next Time You See Me (Forest/Harvey) 3.36
04. Worried Dream (B.B.King) 5.02
05. Totsy (Davis) 3.07
06. Since I Been Loving You (Sain) 3.40
07. That Will Never Do (Campbell/Lyons) 3.06
08. Walk Out Like A Lady (Smith) 4.01
09. Find ‘Em, Fool ‘Em & Forget ‘Em (Jackson) 4.07
10. Got To Be Some Changes Made (A.King) 4.12

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Jimmy Goings & Santa Esmeralda – Green Talisman (1982)

OriginalFrontCover1The original concept of “Santa Esmeralda” was formed as a production project in 1976 by Jeanne- Manuel de Scarano and Nicholas Skorsky in Paris, France. Santa Esmeralda was inspired by the heroine of the same name from the Victor Hugo Classic “The Hunchback of Notre Dame”. American musician/vocalist Jimmy Goings recorded six of the group’s seven studio albums, permanently replacing American singer/saxophone player Leroy Gomez, who was used as lead vocalist for the first album titled “Santa Esmeralda”. That album featured the projects first international hit “Don’t Let Me Be Misunderstood”, and the popular ballad, “You’re My Everything”. Creative differences lead to Gomez’s departure in late 1977. Goings joined the project in December of that year, recording lead vocals for the already complete follow up album “The House of the Rising Sun”, which garnered the projects second international hit with the title song. Showcasing a wonderful collaboration of French arranger Jean Claude Petit, brilliant Page 2 of 4 Flamenco/electric guitarist Jose Souc, and French studio guitarist Slim Pezin, the song’s Gypsy infused Flamenco style soon became a Latin disco innovation around the world. Goings was granted the rights to tour the concept and created his first touring band in January of 1978. The group hit the road immediately, touring with disco legend Barry White, and joining the resurgent tour of Carlos Santana. Santa Esmeralda quickly became international headliners, embarking on a world tour that included Puerto Rico, Venezuela, Brazil, Canada, and the United States.

Jimmy Goings

Goings went on to record two more albums for the Skorksy/de Scarano team: “Another Cha Cha” which was a completely original collection of songs with Goings making his first co-writing contributions on all tracks. The title song went on to become another world wide disco hit. The album also contained the popular songs, “Generation”, “Answer”, and “Back to the Beginning”. The final album recorded with the team was C’est Magnifique” also titled “Don’t Be Shy Tonight”, which contained the follow up hit “C’est Magnifique”, and the radio hit “Don’t Be Shy Tonight”, again with Goings contributing to the song writing, providing the lyrics for five of the albums six tunes. Skorsky and de Scarano spilt up in 1980, and Goings continued his collaboration with Skorsky on the next two albums. The group reprised its original sound, on the cover version of another popular 60’s hit, “Hush”. On this album Goings also collaborated again with Jose Souc on “Welcome to the World” and “What I Wanna Do With Your Love”, and provided original arrangements for the cover songs “No Reply” and “Street Fighting Man” which were then transcribed and orchestrated by Souc. The final album of the collaboration came in 1982 with Jimmy Going and Santa Esmeralda “The Green Talisman”. This collection returned to the concept album genre and produced the striking title tune “The Green Talisman” as well as covers of “Siboney” and “Children of Sanchez”, and the lush ballads “Sweet Fusion” and “Eternal Light”. Goings continued to tour through 1982 and the group disbanded officially in 1983 While many greatest hits compilations followed, Goings put his touring aside to raise his daughter, Genevieve, and son Jesse. He was reunited with his first son Dominic in 1989. He continues working in the entertainment field as a music producer, talent agent, and event coordinator through his entertainment company, GFI ENTERTAINMENT, located in the San Francisco Bay Area. (associatedentertainment.com)

Okay … this is disco music ! Not my kind of music, of course.

And this album was even released in Russia:

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Personnel:
Jimmy Goings (vocals)
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Celmar Engel (synthesizer)
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Unknown Orchestra conducted by Jose Souc (on 02. + 05. + 07.) and Slim Pezin (on 01. + 06.)

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Tracklist:
01. The Green Talisman (Skorsky/Carmone/Goings) 9.41
02. Sweet Fusion (Skorsky/Ellis) 3.45
03. Children Of Sanchez (Mangione) 3.29
04. Siboney (Lecuona) 4,28
05. Fortune Teller (Skorsky/Goings) 3.44
06. Eye Of The Cat (Skorsky/Ellis/Goings) 4.10
07. Eternal Light (Skorsky/Ellis/Goings) 3.56

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Santana – Shango (1982)

FrontCover1.JPGShangó is the thirteenth studio album by Santana. The album reached number twenty two in Billboard 200 album charts. The single “Hold On” from the album reached number fifteen in the U.S. Billboard Hot 100 singles chart and number seventeen on Billboard’s Top Tracks chart. A second single from the album, “Nowhere to Run”, peaked at number sixty six on the Hot 100 chart and number thirteen on the Mainstream Rock chart and a third single reached number thirty four in the Mainstream Rock chart. (by wikipedia)

Carlos Santana once likened his penchant for exploring different musical genres to a mountain climber’s obsession with mountains. So long as part of a mountain range — or the musical equivalent — lies uncharted, there remains a challenge to be met. Over the course of fourteen albums, Santana and the various versions of his band have indeed explored many areas of contemporary music. The music on Shangó, much like the group’s 1981 smash, Zebop!, ranges from Latino chants and instrumentals to near-jazz — here, with a bit more synthesized polish to it — to rock, including an upbeat cover of Junior Walker’s “What Does It Take (to Win Your Love).” As usual, the percussion section churns impeccably and Santana’s guitar-playing shines.

There is a cost to Carlos Santana’s eclecticism, however, and it is evident on Shangó. Precisely because he has chosen no distinct stylistic route for his band, the music often lacks distinction altogether. At times, in fact, the playing seems so formulaic Santana could easily be mistaken for one of the faceless bands that now dominate the airwaves. Santana may be winning new fans and airplay with this sort of musical potpourri, but he’s not reaching any new musical peaks. (by Cabot Brown)

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Shango is notable for featuring the return, in the role of co-producer and co-songwriter, of original Santana keyboardist Greg Rolie. The main producer, however, was Bill Szymczyk (James Gang, Eagles), who gave Santana an unusually sharp rock sound resulting in two more hit singles, “Hold On” (Number 15), and “Nowhere to Run” (Number 66), although the band once again slipped below the Top Ten and gold-selling status, with the album peaking at only Number 22, and even this was the highest Santana would get until Supernatural in 1999. (by William Ruhlmann)

One of the biggest critical complaints I keep hearing about the early 1980’s is that a perceived need to become a pop megastar was causing many legacy artists at that time,including Santana,to make contemporary musical concessions that just didn’t work for them. Luckily with Zebop Carlos Santana proved that his inner creative Miles Davis was working very much to his advantage: he could adapt his music to a new era and everyone involved to still play the way he played. After all his guitar,rather than himself, was the star of the show-leading everyone else to melodically and spiritually uplifting musical heights. Recording with the same lineup as the previous album this album upted the contemporary pop music ante as far as Santana could take it.

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“The Nile” is a strong,bluesy rocker to open the album. “Hold On” is a well crafted and produced post disco funky pop number-reminiscent of Stanley Clarke’s Let Me Know You album of the same year,on which Carlos himself appeared. “Night Hunting Time” is a stark,electric piano led groove-a perfect example of nighttime funk and one of my personal favorites here. “Nowhere To Run” was the hit here,a shuffling synthesized new wave type song with highly spirited craft about it. “Nuava York” maintains that new wave synthesizer element on a classic style Santana band instrumental. “Oxun (Oshun)” is another favorite of mine-a catchy Afro Pop tune with a wonderfully mystical lyric. “Body Surfing” is probably my favorite here-adapting the cleanly played mainstream Promoposter.jpgpop/new wave sound of the Police with its glassy guitars and spirited dance/rock chorus.

On a version of Jr.Walker & The All Stars “What Does It Take”,Baker’s electric pianos play a counter melody that brings out the Hall & Oates style rock n soul side of Santana wonderfully. “Let Me Inside” is a heavy funk groove-maybe heavier then their late 70’s grooves and very naked and stripped down-slower than his but workable for the Prince audience. “Warrior” goes into the classic Santana mode before ending with the brief African styled title song. Very much in the spirit of jazz greats like Duke Ellington, Carlos Santana showcased an ability to update a basic instrumental framework with contemporary musical elements on this album. And its an approach he never abandoned. This would become very significant eighteen years later when his Supernatural album,essentially a late 90’s version of this exact albums ethic,became one of his best known and popular release. To me this album is a huge success for Santana and perhaps more significant to his musical career wise than some might think. (by Andre S. Grindle)

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Personnel:
Richard Baker (keyboards)
Graham Lear (drums)
Alex Ligertwood (vocals, guitar)
David Margen (bass)
Armando Peraza (congas, bongos, vocals)
Raul Rekow (congas, vocals)
Gregg Rolie (organ, vocals)
Carlos Santana (guitar, vocals)
Orestes Vilató (timbales, vocals)

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Tracklist:
01. The Nile (C.Santana/Ligertwood/Rolie) 5.03
02. Hold On (Thomas) 4.29
03. Night Hunting Time (Brady) 4.49
04. Nowhere To Run (Ballard) 4.10
05. Nueva York (Santana/Lear/Rekow/Peraza/Ligertwood/Baker/Margen/Vilató/Rolie) 5.06
06. Oxun (Oshūn) (Santana/Ligertwood/Rolie/Lear/Peraza/Rekow/Vilató) 4.16
07. Body Surfing (C.Santana/Ligertwood) 4.29
08. What Does It Take (To Win Your Love) (Bristol/Bullock/Fuqua) 3.23
09. Let Me Inside (C.Santana/Solberg) 3.34
10. Warrior (Margen/Baker/Ligertwood/C.Santana) + Shangó (Rekow/Vilató/Peraza) 6.09

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Asia – Same (1982)

FRontCover1.JPGAsia are an English progressive rock band formed in London in 1981. The most commercially successful line-up was its original, which was a supergroup of four members of different progressive rock bands of the 1970s: lead vocalist and bassist John Wetton of King Crimson and U.K., guitarist Steve Howe of Yes, keyboardist Geoff Downes of Yes and the Buggles, and drummer Carl Palmer of Emerson, Lake & Palmer. Their debut album, Asia, released in 1982, remains their best selling album and went to number one in several countries.

The band underwent multiple lineup changes before the original four members reunited in 2006. As a result, a band called Asia Featuring John Payne exists as a continuation of John Payne’s career as Asia’s frontman from 1991 until Wetton’s return in 2006.[5] In 2013, the original line-up was broken once again when Howe retired from the band and was replaced by guitarist Sam Coulson. After a few years of inactivity, Billy Sherwood (of Yes and World Trade) replaced an ailing Wetton in Asia for a summer 2017 tour with Journey. Following Wetton’s death the same year, the band went on hiatus again, re-emerging in 2019 with Sherwood permanently replacing Wetton on bass and with Ron “Bumblefoot” Thal replacing both Wetton on vocals and Coulson on guitar.

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Asia is the self-titled debut studio album by English rock band Asia, released in 1982. According to both Billboard and Cashbox, it was the #1 album in the United States for the year 1982. It contains their biggest hit “Heat of the Moment”, which reached #4 in the US on the Billboard Hot 100 chart.

Asia’s logo and cover artwork were created by Roger Dean, known for his work with Yes (of which guitarist Steve Howe and keyboard player Geoff Downes had previously been members) and Uriah Heep (of which bassist/vocalist John Wetton had previously been a member) which depicts Leviathan gazing into a crystal orb.

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Since its release, Asia has received highly mixed reception, largely due to a more commercial and pop-oriented sound as opposed to progressive rock, given the past of the group’s members. Robert Christgau blasted the album, and particularly its lyrics. He stated that it had been a rare occasion that “a big new group is bad enough to sink your teeth into any more” and called the album “pompous – schlock in the grand manner”.[4] On the other side, in a Billboard review, it was favourably noted that “the caliber of the [band’s] playing is superb and the music sounds fresh and perfect fare for AOR”.

Upon its release in March 1982, Asia reached #1 in the US and spent nine weeks at the top of the Billboard album chart. Asia was certified 4x-platinum in the US by the RIAA on 10 February 1995.

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In the band’s native UK, Asia did not perform as well as in the US, peaking only at #11 and spent a total of 38 weeks in the UK Albums Chart. The record received a gold status in Britain on 18 October 1982. “Heat of the Moment” climbed to No. 46.

Asia’s total worldwide sales are estimated at over ten million copies. (by wikipedia)

This marriage of four players with impressive pedigrees proved to be the success story of 1982 when Asia’s debut lodged itself at the top of the U.S. album charts for two months. The album spawned a massive number four single in “Heat of the Moment,” a follow-up Top 20 hit in the sweeping “Only Time Will Tell,” and a handful of other tracks that received heavy radio play despite going against the grain of the new wave styling of the day.

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Produced by Mike Stone, Asia’s strengths were the powerful vocals of John Wetton, the nimble, classically tinged guitar work of Steve Howe, Geoffrey Downes’ majestic keyboard playing, and anchoring the band, Carl Palmer’s propulsive drumming. The lyrics are overwrought at moments, but there’s no denying the epic grandeur of the music, which provided some much-needed muscle to radio at the time, and did so with style. (by Tom Demalon)

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Personnel:
Geoff Downes (keyboards, vocals)
Steve Howe (guitar, vocals)
Carl Palmer (drums, percussion)
John Wetton (vocals, bass)

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Tracklist:
01. Heat Of The Moment (Wetton/Downes) 3.55
02. Only Time Will Tell (Wetton/Downes) 4.48
03. Sole Survivor (Wetton/Downes) 4.52
04. One Step Closer (Wetton/Howe) 4.18
05. Time Again (Downes/Howe/Palmer/Wetton) 4.49
06. Wildest Dreams (Wetton/Downes) 5.11
07. Without You (Wetton/Howe) 5.08
08. Cutting It Fine (Wetton/Downes/Howe) 5.41
09. Here Comes The Feeling (Wetton/Howe) 5.41

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Dire Straits – Love Over Gold (1982)

FrontCover1.jpgLove over Gold is the fourth studio album by British rock band Dire Straits, released on 20 September 1982 by Vertigo Records internationally and by Warner Bros. Records in the United States. The album featured two singles: “Private Investigations,” which reached number 2 on the UK Singles Chart, and “Industrial Disease,” which reached number 9 on Billboard’s Hot Mainstream Rock Tracks chart in the United States. The album reached number 1 on album charts in Australia, Austria, Italy, New Zealand, Norway and the United Kingdom, and number 19 in the United States. Love over Gold was later certified gold in the United States, platinum in France and Germany and double-platinum in Canada and the United Kingdom.

Following the end of the On Location Tour on 6 July 1981 in Luxembourg, Mark Knopfler began writing songs for Dire Straits’ next album. Alan Clark (keyboards) and Hal Lindes (guitar), who joined the band for the On Location Tour, would also be involved with the new album.

TShirt.jpgLove over Gold was recorded at the Power Station in New York from 8 March to 11 June 1982. Knopfler produced the album, with Neil Dorfsman as his engineer—the first in a long line of collaborations between the two.

Knopfler used several guitars during the sessions, including four Schecter Stratocasters—two red, one blue, and one sunburst—a black Schecter Telecaster, an Ovation classical guitar on “Private Investigations” and “Love over Gold,” a custom Erlewine Automatic on “Industrial Disease” and his 1937 National steel guitar on “Telegraph Road.” Knopfler also used Ovation twelve- and six-string acoustic guitars during the recording.

Several songs were written and recorded during the Love over Gold sessions that were not released on the album. “Private Dancer” was originally planned for the album, with all but the vocal tracks being recorded. Knopfler decided that a female voice would be more appropriate and handed the song to Tina Turner for her comeback album, Private Dancer. “The Way It Always Starts” ended up on Knopfler’s soundtrack to the film Local Hero, with vocals sung by Gerry Rafferty. “Badges, Posters, Stickers and T-Shirts” was cut from the album and later released in the UK as a B-side to “Private Investigations.” It was subsequently released in the United States as the fourth track on the ExtendedancEPlay EP.

Love over Gold was released on 20 September 1982 on vinyl LP and cassette. “Private Investigations” was released as the lead single from the album in Europe, It reached the number 2 position in the United Kingdom. “Industrial Disease” was released as a single in the United States, reaching the 75 position on the Billboard Hot 100 in 1983.

In 1986, Love over Gold had sold 4.4 million copies in Europe, whereas the album had only reached gold status in the United States by that stage. (wikipedia)

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Adding a new rhythm guitarist, Dire Straits expands its sounds and ambitions on the sprawling Love Over Gold. In a sense, the album is their prog rock effort, containing only five songs, including the 14-minute opener “Telegraph Road.” Since Mark Knopfler is a skilled, tasteful guitarist, he can sustain interest even throughout the languid stretches, but the long, atmospheric, instrumental passages aren’t as effective as the group’s tight blues-rock, leaving Love Over Gold only a fitfully engaging listen. (by Stephen Thomas Erlewine)

Love Over Gold is not just the title of Dire Straits’ fourth album, it is a statement of purpose. In almost suicidal defiance of commercial good sense, singer-songwriter-guitarist Mark Knopfler has chosen to follow his muse, fashioning a collection of radically expanded epics and evocative tone poems that demand the listener’s undivided attention. Certainly a quantum leap from the organic R&B impressionism of the band’s early LPs (Dire Straits and Communique) and the gripping short stories of Making Movies, its 1980 best seller, Love Over Gold is an ambitious, sometimes difficult record that is exhilarating in its successes and, at the very least, fascinating in its indulgences.

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Two drastically different moods dominate the new album. One is sharp and fiery (like the bolt of lightning on the cover); the other is soft and seductive. That dichotomy is particularly explicit in “Private Investigations,” a long, unorthodox ballad in which Knopfler plays a private detective hardened by a life of combing through other people’s dirty laundry. Over a discreet synthesizer ring, gurgling marimba and a delicately plucked acoustic guitar, he grumbles into his whiskey glass like Bob Dylan in a trench coat: “You get to meet all sorts in this line of work Treachery and treason There’s always an excuse for it,” he recites in a raspy nicotine snarl. Then John Illsley sounds a quiet warning with a stalking bass line before the song erupts in dramatic bursts of guitar gunfire and tragic-sounding piano playing.

This wracking schizophrenia between the heart and the heartless, the loving and the pain, has always informed Knopfler’s songs and arrangements. Love Over Gold, however, finds Knopfler casting further than ever for ways to articulate the frustrations that color his romantic streak. At nearly fifteen minutes, the album’s opener, “Telegraph Road,” is certainly a challenge to the average pop fan’s attention span. But the song’s historic sweep and intimate tension — the building of America and the dashing of one man’s dreams in the wake of its accelerating crumble — enable Knopfler to deploy a variety of surprising instrumental voices, from the synthesized sunrise whistle at the beginning to the baroque piano motif in the middle. The song closes with an extended solo guitar crescendo that’s heated up by Pick Withers’ galloping drums.

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“Love Over Gold” is a whispery ballad that plays the jazzy tingle of vibes against an almost classical piano air and the violinlike pluck of a synthesizer to heighten its images of a casual, even cavalier, sex life. On the other hand, “Industrial Disease” — at five minutes, the shortest of the LP’s five songs and its most conventional rocker — crackles with a cynicism underlined by its cheesy “Wooly Bully” organ and coughing guitar effect.

At times, Mark Knopfler, who also plays producer here, seems to try too hard. “It Never Rains” is a harsh chip off the “Like a Rolling Stone” block. And nearly all the songs end in guitar solos, as if he had too many ideas and was unsure how to reconcile them. But in a period when most pop music is conceived purely as product, Love Over Gold dares to put art before airplay. (David FRicke, Rolling Stone)

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Personnel:
Alan Clark (keyboards, synthesizers)
John Illsley (bass)
Mark Knopfler (guitar, vocals)
Hal Lindes (guitar)
Pick Withers (drums)
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Mike Mainieri (vibes, marimba (on 02. + 04.)
Ed Walsh (synthesizer programming)

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Tracklist:
01. Telegraph Road 14.18
02. Private Investigations 6.46
03. Industrial Disease 5.49
04. Love Over Gold 6.17
05. It Never Rains 8.00

All songs written by Mark Knopfler

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A long time ago came a man on a track
Walking thirty miles with a sack on his back
And he put down his load where he thought it was the best
He made a home in the wilderness

He built a cabin and a winter store
And he ploughed up the ground by the cold lake shore
And the other travelers came riding down the track
And they never went further and they never went back

Then came the churches then came the schools
Then came the lawyers then came the rules
Then came the trains and the trucks with their loads
And the dirty old track was the telegraph road

Then came the mines – then came the ore
Then there was the hard times then there was a war
Telegraph sang a song about the world outside
Telegraph road got so deep and so wide
Like a rolling river…

And my radio says tonight it’s gonna freeze
People driving home from the factories
There’s six lanes of traffic
Three lanes moving slow…

I used to like to go to work but they shut it down
I’ve got a right to go to work but there’s no work here to be found
Yes, and they say we’re gonna have to pay what’s owed
We’re gonna have to reap from some seed that’s been sowed

And the birds up on the wires and the telegraph poles
They can always fly away from this rain and this cold
You can hear them singing out their telegraph code
All the way down the telegraph road

You know I’d sooner forget but I remember those nights
When life was just a bet on a race between the lights
You had your hand on my shoulder you had your hand in my hair
Now you act a little colder like you don’t seem to care…

But believe in me baby and I’ll take you away
From out of this darkness and into the day
From these rivers of headlights these rivers of rain
From the anger that lives on these streets with these names
‘Cos I’ve run every red light on memory lane
I’ve seen desperation explode into flames
And I don’t wanna see it again…

From all of these signs saying sorry but we’re closed
All the way down the telegraph road

 

The Blues Band – Take Me Home + 3 (1982)

FrontCover1.JPGThe Blues Band is a British blues band formed in 1979 by Paul Jones, former lead vocalist and harmonica player with Manfred Mann, and guitarist Tom McGuinness also of Manfred Mann and The Roosters. The band’s first line-up also included bassist Gary Fletcher, slide-guitarist Dave Kelly who had previously played with The John Dummer Band, Howling Wolf and John Lee Hooker and drummer Hughie Flint, of John Mayall’s Blues Breakers and McGuinness Flint, the band he formed with Tom McGuinness. In 1982 Flint left and was replaced by former Family drummer Rob Townsend

Their first album The Official Blues Band Bootleg Album, a mixture of blues standards and original songs featured the Jones and McGuinness composition “Come On In” and their long-standing stage favourite “Flatfoot Sam”. This album initially attracted no interest from major record companies, so the band pressed a limited run of 3,000, hand-stamped their logo on the cardboard sleeve and signed them all. After unqualified endorsement from BBC Radio 1 presenter Simon Bates and others, media interest resulted in a recording contract with Arista Records, who re-released the album under the same title. After that they released Ready, Itchy Feet and Brand Loyalty albums and regularly toured through Europe.

They briefly disbanded after recording a live album Bye Bye Blues (1983), but reformed soon afterwards. In the new millennium they recorded albums such as Stepping Out (2002) and Thank You Brother Ray (2004), which paid tribute to Ray Charles. Now in their thirty-ninth year as a band, they still perform across Europe with the same line-up. (by wikipedia)

The Blues Band

And here´s a rare  “limited edition” single from 1982 including two live tracks from 1980.

“Take Me Home” and “So Bad” were more pop orientated songs… but the real Blues Band can be heard on the two live tracks from 1980.

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Personnel:
Gary Fletcher (bass)
Hughie Flint (drums, percussion)
Paul Jones (vocals, harmonica)
Dave Kelly (guitar slide-guitar)
Tom McGuinness (guitar, vocals)

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Tracklist:
01. Take Me Home (McGuiness) 3.19
02. So Bad (Stonebridge/McGuiness) 3.52
03. Hey, Hey Little Girl (live at the Glasgow University, 10-10-80) (Stonebridge/McGuiness) 1.58
04. Sus Blues (live at the Golden Lion, Fulham/London, 09-09-80 (Kelly) 4.18

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Ben Burpp´s Barn Dance Band – In My Little Ol´ Log Cabin (1982)

FrontCover1.JPGA square dance is a dance for four couples (eight dancers in total) arranged in a square, with one couple on each side, facing the middle of the square. Square dances were first documented in 16th-century England but were also quite common in France and throughout Europe. They came to North America with the European settlers and have undergone considerable development there. In some countries and regions, through preservation and repetition, square dances have attained the status of a folk dance. The Western American square dance may be the most widely known form worldwide, possibly due to its association in the 20th century with the romanticized image of the American cowboy. Square dancing is, therefore, strongly associated with the United States. Nineteen U.S. states have designated it as their official state dance.

The various square dance movements are based on the steps and figures used in traditional folk dances and social dances from many countries. Some of these traditional dances include English country dance, Caledonians and the quadrille.

In most American forms of square dance, the dancers are prompted or cued through a sequence of steps (square dance choreography) by a caller to the beat (and, in some traditions, the phrasing) of music. In some forms of traditional square dancing, the caller may be one of the dancers or musicians, but in modern Western square dancing the caller will be on stage, giving full attention to directing the dancers. Modern Western square dances are not learned as complete routines; the dancers learn basic movements, each with its own distinctive call, but do not know in what order they will be called.

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The American folk music revival in New York City in the 1950s was rooted in the resurgent interest in square dancing and folk dancing there in the 1940s, which gave musicians such as Pete Seeger popular exposure. 8by wikipedia)

And here´s a rare LP with 6 tunes for the Sqwuare Dance.

Unfortunately I don´t know anything about this group called “Ben Burpp´s Barn Dance Band”

The band was part of the small British Barn Dance scene …. and now it´s up to you … listen and dance !

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Personnel:
Ben Burpp´s Barn Dance Band

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Gordon Brooks (vocals)

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Tracklist:

The Dances:
01. Ol´ Log Cabin (Traditional) 3.42
02. Country Mile (Pork & Beans) (Fallon) 4.12
03. Lazy River Circle (Carmichael) 4.08
04. Whispering (Schonberger) 3.45
05. Happy Valley Hoedown (Burpp) 3.38
06. Two Little Boys (Morse) 3.29

The Music:
07. Ol´ Log Cabin (Traditional) 3.41
08. Pork & Beans (Fallon) 4.12
09. Lazy River (Carmichael) 4.09
10. Whispering (Schonberger) 3.46
11. Happy Valley (Burpp) 3.38
12. When We Were Two Little Boys (Morse) 3.28

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