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.


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.


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.


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.


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)


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

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



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)


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.


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.


“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)


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

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



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.


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


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



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.


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 !


Ben Burpp´s Barn Dance Band

Gordon Brooks (vocals)



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




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)

Carmen Appice & Friends – Live At The Savoy New York (1982)

CDFrontCover1.jpgIn 1982, a UNICEF benefit held at the Savoy in New York City was organized by rock drummer extraordinaire Carmine Appice. Appice first came to notoriety as the skin basher for Vanilla Fudge, a pioneering heavy metal band that merged blue-eyed soul and psychedelic music. The Fudge had a number of hits with covers of contemporary pop hits of that period, such as The Supremes’ “Keep Me Hanging On,” Sonny & Cher’s “Bang Bang,” and Trade Martin’s “Take Me For A Little While.”

When the Fudge began to fade in 1970, Appice and Fudge bassist Tim Bogart regrouped with a new blues/rock/boogie band called Cactus. From there he and Bogart formed a power trio with Jeff Beck, before Appice went to work for Rod Stewart.

For Carmine Appice the show would mark the first and one of the few times he performed under his own name, and not as part of a band. But, that didn’t stop him from still playing within a band, anyway. After running through a number of popular songs with guests Rick Derringer (who does his trademark “Rock ‘N Roll Hoochie Coo”) and Charlie Daniels (singing outstanding versions of “C.C. Rider” and “Amazing Grace”), and doing the obligatory lengthy drum solo, Appice surprised the audience by staging the first reunion in 12 years of the original Vanilla Fudge.


The Fudge were a little rusty, but overall sounded exceptional as they blasted through powerful versions of “Take Me For A Little While,” and “Keep Me Hanging On.”

The benefit show was broadcast as part of the King Biscuit Flower Hour, and closed with an ensemble version of the rock classic “Bo Diddley.” It was a quirky gathering of musicians and the music is certainly all over the place, but for the Fudge reunion alone, this show is historic, not to mention a lot of fun. (by WolfgangsVault)

What a great show … another night, many legends came out to play … Rock ‘N Roll Hoochie Koo !


Carmine Appice (drums, vocals)
Rick Derringer (guitar, vocals)
Duane Hitchings (keyboards, vocals)
Kasim Sulton (bass, vocals)
Charlie Daniels (vocals, guitar on 04., 05. + 09.)
Phil Lynott (vocals)
Tom Petersson (bass, vocals)
Fran Sheehan (percussion)
Vanilla Fudge (on 06. – 08.) :
Carmine Appice (drums, vocals)
Tim Bogart (bass, vocals)
Vinnie Martell (guitar, vocals)
Mark Stein (organ, vocals)


Alternate front covers

01. Rock ‘N Roll Hoochie Koo (Derringer) 5.12
02. Be My Baby ( Barry/Greenwich/Spector) 4.30
03. Drum City Rocker (Ballad Of Drum City Surfer Girl) (Appice/Cusano) 2.51
04. C.C. Rider (Traditional) 8.15
05. Amazing Grace (Trditional) 4.12
06. Band introduction 0.54
06. Take Me For A Little While (Martin) 5.08
07. People Get Ready (Mayfield) 5.46
08. Keep Me Hanging On (B.Holland/Dozier/E.Holland) 6.47
09. Bo Diddley (McDaniel) 5.58




Janusz Muniak Group – Placebo (1983)

LPFrontCover1Polish saxophonist / composer / bandleader Janusz Muniak was one of the most important Polish Jazz figures during the early post WWII period, which flourished in the 1960s / 1970s. He was part of the emerging revolutionary movement of Polish Jazz, where he played along such legendary pioneers as Andrzej Trzaskowski, Krzysztof Komeda and Tomasz Stanko. Since the late 1970s Muniak leads his own groups and records as a leader. This is his second album as a leader and since then he continued to record a plethora of albums over the years, both as a leader and sideman. He also owns his own Jazz club in Krakow, called “U Muniaka”, which is one of the oldest continuously active Jazz venues in the country.

This album presents Muniak in a quartet setting, with pianist Wojciech Puszek (playing the Fender Rhodes electric piano), bassist Andrzej Cudzich and drummer Krzysztof Zawadzki. They perform four lengthy originals, all by Muniak, which allow for extended improvisations, mostly by the leader.

Janusz Muniak1

The presence of the electric piano sets the overall ambience of this recording, pushing it slightly towards Jazz-Rock Fusion, but the leader keeps the situation in check and well within the modern mainstream bounds. Muniak’s performances on both the soprano and tenor saxophones are first rate as are those by the rhythm section, creating together some excellent, but not very innovative modern Jazz, which most Jazz listeners should enjoy. (Adam Baruch)


Alternate front + back cover

Andrzej Cudzich (bass)
Janusz Muniak (saxophone)
Wojciech Puszek (piano)
Krzysztof Zawadzki (drums)


01. Rozmyślanie na sopranie 8.32
02. Funky dla pani Hanki 6.56
03. Nie bądź na mnie zła kiedy wracam z trasy 9.33
04. Placebo 11.06

Composed by Janusz Muniak