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


Witchfinder General – Death Penalty (1982)

FrontCover1.jpgWitchfinder General was a heavy metal band from Stourbridge, England. They were part of the new wave of British heavy metal scene and have been cited as a major influence on the doom metal genre. They were named after the 1968 British horror film Witchfinder General.

Witchfinder General formed in 1979 by Zeeb Parkes & Phil Cope in Stourbridge, England, as part of the new wave of British heavy metal movement during the early 1980s. They were strongly influenced by Black Sabbath, and are widely recognised today as one of the pioneers of the doom metal style. The band’s importance became acknowledged mostly after they disbanded.

The band (minus vocalist & writer Zeeb Parkes) reformed in November 2006, with new vocalist Gary Martin. In 2007 the band released Buried Amongst the Ruins, a compilation CD featuring the “Burning a Sinner” single, the Soviet Invasion EP, and four live tracks including a live version of the unreleased track “Phantasmagorical”. Whilst stating they would not perform live again, the band released their third full-length album, entitled Resurrected, in 2008.

Witchfinder General01

Death Penalty is the debut studio album by British heavy metal band Witchfinder General. It was released in 1982 on Heavy Metal Records. The album received some criticism for the cover photograph, which featured topless model Joanne Latham. The photograph had been taken in the yard of St Mary the Blessed Virgin Church in Enville, Staffordshire, without the permission of the local Reverend. The album was originally released on LP and picture disc and was later reissued on CD. Pictured on the cover is Phil Cope, Zeeb Parkes, Graham Ditchfield and a member otheir road crew. While Peter Hinton is credited with producing this recording, the writers Phil Cope and Zeeb Parkes always felt the credit should have gone to the engineer Robin George. (by wikipedia)

Witchfinder General02.jpg

Unlike many of their New Wave of British Heavy Metal peers who injected their music with a certain punk attitude, Witchfinder General drank strictly from the Black Sabbath fountain. Their 1982 debut, Death Penalty, is a celebration of all things Sabbath — from the plodding rhythms of “Burning a Sinner” and “R.I.P.” to the early-Sabs intro of “No Stayer,” and even the band’s rocking “Paranoid” knock-off, “Free Country.” Singer Zeeb Parkes’ range is rather limited, but that never stopped Ozzy Osbourne, and his mostly satanic lyrics are especially amusing on the cryptic-sounding opener “Invisible Hate,” which eventually resorts to shouts of “more beer.” Despite similarly silly lyrics, the song that bears the band’s name is definitely the album’s highlight, thanks to its engagingly ferocious main riff. (by Eduardo Rivadavia)

Witchfinder General05

Phil Cope (guitar, bass (bass credited as Woolfy Trope)
Graham Ditchfield (drums)
Zeeb Parkes (vocals)


01. Invisible Hate 6.06
02. Free Country 3.11
03. Death Penalty 5.35
04. No Stayer 4.26
05. Witchfinder General 3.52
06. Burning A Sinner 3.29
07. R.I.P. 4.04

All songs written by Zeeb Parkes and Phil Cope




A backcover like this is not really necessary !

The Dave Brubeck Quartet – Concord On A Summer Night (1982)

LPFrontCover1When Dave Brubeck started recording for Concord Jazz in 1979, it was a homecoming for the legendary pianist—literally. Brubeck was born and raised in the little Northern California town of Concord, and his father grazed cattle in the hills around what would one day be the home of the Concord Pavilion (an impressive amphitheater that Concord Jazz founder Carl Jefferson had successfully lobbied the city of Concord to build).

With the classic Concord On A Summer Night, Dave returned home once again in the summer of 1982, taking the stage at the Concord Pavilion, and mesmerizing an enthralled audience with his one-of-a-kind piano pyrotechnics. (As you’ll hear, even the crickets in the hillside were inspired to join in the music-making). From the first note of “Benjamin” to the final resounding chord of the Brubeck signature “Take Five,” we invite you to experience this magical summer night. (taken from the original liner notes)

In 1982 pianist Dave Brubeck welcomed clarinetist Bill Smith (who he had played with back in his octet days in the late ’40s) as a permanent member of his Quartet along with drummer Randy Jones and Chris Brubeck on electric bass and occasional bass trombone. This album features the new Quartet at the Concord Jazz Festival playing what would become their typical mixture of songs: three Brubeck compositions (“Benjamin,” “Koto Song” and “Softly, William, Softly”), a standard (“Black and Blue”) and yet another remake of “Take Five.” These are fine performances. (by Scott Yanow)

Recorded at the Concord Pavilion, on August 8th, 1982 as the closing group of the 14th Concord Jazz Festival.


Chris Brubeck (guitar, bass, trombone)
Dave Brubeck (piano)
Randy Jones (drums)
Bill Smith (clarinet)


01. Benjamin (D.Brubeck) 6.04
02. Koto Song (D.Brubeck) 9.01
03. Black And Blue (Razaf/Waller/Brooks) 7.22
04. Softly, William, Softly (D.Brubeck) 8.01
05. Take Five (Desmond) 9.09