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




Gillan – Magic (1982)

FrontCover1.JPGMagic is an album by British rock band Gillan, their final collaboration, released in October 1982. It features eight original songs, mostly co-written by Ian Gillan and Colin Towns, and a cover of Stevie Wonder’s 1973 hit single “Living For The City”. This cover was released as a 7″ single, in both picture-bag and picture-disc editions, and was accompanied by a promotional video.

Although the album was generally accepted by Gillan’s staunch UK following, it failed to achieve the chart success of Glory Road or Future Shock, peaking at No. 17 in the UK chart.

Magic was reissued in 1989 and in 2007 with seven bonus tracks, including cover versions and B-sides. (by wikipedia)

The final release of original material from Ian Gillan’s second project to bare his name, Gillan’s Magic was originally issued in 1982 by Virgin Records. The label also reissued the disc in 1988 with seven extra tracks, including covers and B-sides. As the group was winding down, their sound was softened a bit on Magic. The LP was generally accepted by Gillan’s staunch U.K. following; however, it failed to achieve the chart success of Glory Road. After opening with two incredible hard-rockers — “What’s the Matter” and “Bluesy Blue Sea” — Magic loses its edge. Moderated cuts like “Driving Me Wild” and “You’re So Right” have potential, but stall during unimaginative choruses.


There are even a few straight keyboard pop moments on the inexplicable “Long Gone” that couldn’t have pleased older fans. This song in particular flirts with new wave, a heretic move from a co-creator of “Smoke on the Water.” The first single issued from Magic, Stevie Wonder’s “Living for the City” is a spectacular flop. That, along with the bonus cover material (“Helter Skelter” and “Smokestack Lightning”), prove that Gillan’s powerful but quirky scream is exclusively suited for the classically influenced but catchy hard rock that made Deep Purple a platinum success. (by Jason Anderson)


Janick Gers (guitar)
Ian Gillan (vocals, harmonica)
John McCoy (bass)
Colin Towns (keyboards)
Mick Underwood (drums)


01. What’s The Matter (Gillan/McCoy/Gers) 3.32
02. Bluesy Blue Sea (Gillan/Gers) 4.51
03. Caught In A Trap (Gillan/Towns) 3.35
04. Long Gone (Gillan/Towns) 3.57
05. Driving Me Wild (Gillan/Towns) 3.01
06. Demon Driver (Gillan/Towns) 7.16
07. Living A Lie (Gillan/Towns) 4.27
08. You’re So Right (Gillan/McCoy) 2.55
09. Living For The City (Wonder) 4.28
10. Demon Driver (reprise) (Gillan/Towns) 0.45
11. Breaking Chains (Gillan/Gers) 3.28
12. Fiji (Gillan/McCoy) 5.21
13. Purple Sky (Gillan/McCoy) 3.24
14. South Africa (Marsden) 4.03
15. John (Gillan) 4.44
16. South Africa (12″ extended version) (Marsden) 7.18
17. Helter Skelter (Lennon/McCartney) 3.26
18. Smokestack Lightning (Burnett) 4.10




Randy Meisner – Same (1982)

FrontCover1Randy Meisner is the third solo studio album (and the second self-titled) by Randy Meisner. It was released in mid 1982, on Epic in the United States, and in the United Kingdom. It is to-date Meisner’s final solo album of original material. The album features a duet with Heart’s lead vocalist, Ann Wilson. (by wikipedia)

Randy Meisner’s second self-titled album, usually referred to as Randy Meisner (1982) to distinguish it from its 1978 predecessor, is a gorgeous country-rock production with a hard electric edge in all the right places and soaring melodies throughout — all worthy of a founding member of Poco and an original member of the Eagles. The guest players include Heart’s Ann Wilson on one duet vocal and Nancy Wilson on backing vocals elsewhere, and the Tower of Power horns. Meisner is in exceptionally good voice throughout, on the slow, ringing electric ballads like “Never Been in Love,” hard rocking tracks such as the breathless and beautiful “Playin’ in the Deep End” (an original that, as an Eagles song, would’ve been a number one single and still should’ve been in this version) and “Doin’ It for Delilah,” and the ethereal “Strangers.” There are pleasing guitar hooks throughout, and the album’s mix of raw power and subtle lyricism has endured very well over the decades. (by Bruce Eder)


Denny Carmassi (drums)
John Corey (guitar, piano, background vocals)
Tom Erak (bass)
Mitchell Froom (synthesizer)
Dixon House (keyboards, background vocals)
Phil Kenzie (saxophone)
Howard Leese (synthesizer, guitar, background vocals)
Randy Meisner (vocals, bass, guitar)
Brian Smith (guitar)
Sterling Smith (keyboards, synthesizer)
Tower of Power (horn section)
Ann Wilson (vocals on 06.)
background vocals:
Nancy Wilson – Marcy Levy
Paul Buckmaster – string conductor


01. Never Been In Love (Bickhardt) 4.26
02. Darkness Of The Heart (Palmer) 4.18
03. Jealousy (Meisner/House/Leese) 4.55
04. Tonight (Adams/Vallance) 5.11
05. Playin’ In The Deep End (Meisner/House) 4.08
06. Strangers (John/Osborne) 3.54
07. Still Runnin’ (House/Leese) 3.27
08. Nothing Is Said (‘Til the Artist Is Dead) (Meisner/House) 3.57
09. Doin’ It For Delilah (Corey) 3.51




Rainbow – Live Between The Eyes (VHS rip) (1986)

FrontCover1For years this VHS of Rainbow live in concert was the only official live video recording available to fans. It’s an impressive show filmed in San Antonio, Texas in 1982 featuring the ‘Straight Between The Eyes’ album line up and the majority of the songs are from Rainbow’s post 1979 back catalogue with only ‘Long Live Rock ‘n’ Roll’ from the Dio era. The concert closes with the obligatory ‘Smoke On The Water’. Overall the band and Blackmore come across very well, with plenty of energy.

Now when you talk about Live Albums this version of Rainbow is my favourite incarnation of Ritchie Blackmore’s rotating lineup! The studio album from 1982 Straight Behind The Eye’s is an absolute classic of all things classic AOR. I reviewed the studio portion and it’s so good and for some crazy reason people do not really credit it as much as the Dio led version of Rainbow. As far as I’m concerned this is the era I discovered Rainbow so it’s the era I like most.

So here is the live portion from that tour back in 1982 recorded and filmed in San Antonio. Actually come to think of it this may be the exact same lineup that was on the live release Boston 1981. That one also is a great live show and of course the review of that show is lingering around somewhere on this site.

So there as you see above is the track listing of the show and it features some current stuff(at the time) and some golden oldies of Ritchie’s years when Dio sang for his supper with Rainbow and Ritchie’s days from Deep Purple.


Spotlight Kid is a great opener and Bobby Rondinelli just double bass’s the drums throughout the whole opener as Joe Lynn Turner sings indeed for his supper while Bassist Roger Glover(looking like an extra from Miami Vice) keeps the bottom end shuffling while at time keyboardist David Rosenthal locks in with Ritchie and they do solo’s together and at time separately. Watch the video as you gotta love watching Ritchie as he has no idea he’s in San Antonio hahaha. Love the man’s non facial expressions but his guitar tone is wickedly dirty sounding on this album and when he locks in with the keyboards its a throwback to the Purple years gone by!


Must also make mention in the live video how I dig those set of eyes that drop from the ceiling and shot rays of lights throughout the crowd. Almost hokey but it’s 1982 for God’s sake! Give me props!

Joe Lynn Turner has a great voice suited for Rainbow but in this vid man he looks awkward as a frontman. That white leather jacket and him making fists is kinda silly and stuff but I guess he was trying to metal it up at times as a tough guy! Still though he can sing….


Ritchie Blackmore (guitar)
Roger Glover (bass)
Bobby Rondinelli (drums)
David Rosenthal (keyboards)
Joe Lynn Turner (vocals)
background vocals:
Lin Robinson – Dee Beale



01. Overture: Over The Rainbow (Arlen)
02. Spotlight Kid (Blackmore/Glover)
03. Miss Mistreated (Blackmore/Turner/Rosenthal)
04. It Can’t Happen Here (Blackmore/Glover)
05. Tearin Out My Heart (Blackmore/Turner)
06. All Night Long (Blackmore/Glover)
07. Stone Cold ( Blackmore/Turner/Glover)
08. Power (Blackmore/Turner)
09. Blues Interlude (Blackmore)
10. Beethoven’s Ninth: Ode To Joy (Beethoven/Blackmore)
11. Long Live Rock ‘N’ Roll (Blackmore/Dio)
12. Smoke On The Water (Blackmore/Lord/Glover/Gillan/Paice)

Total time 75 min approx

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Keith Jarrett – Concerts (1982 – 2013)

LPFrontCover1The Bregenz/Munich concerts were Jarrett’s most brilliant live solo recordings to date; his level of inspiration is quite extraordinary, and the music covers a wider musical and emotional range than ever. He takes fabulous risks, pushing everything to the limit.”
– Jarrett biographer Ian Carr

After “Bremen/Lausanne” after “The Köln Concert”, after the epic “Sun Bear Concerts”, the next development in Jarrett’s solo concerts was the all-embracing music captured here. Two 1981 improvised concerts from Austria and Germany are featured, recorded respectively at the Festspielhaus Bregenz and the Herkulessaal Munich, venues noted for outstanding acoustics. While the Bregenz concert has hitherto been available as a single CD, this set marks the first appearance of the complete Munich performance on compact disc.

This 3-CD set includes an extensive German-English text booklet with liner notes by Keith Jarrett, an essay by Peter Rüedi, and poetry by Michael Krüger. (press release)


By the early ’80s, Keith Jarrett was definitely under siege, accused of arrogance, singing along too loudly, rambling eclecticism, and other “heinous” jazz crimes, especially in the wake of the massive success of the Köln Concert seven years before, and the issue of the massive, unprecedented Sun Bear Concerts box set in 1978. Indeed, around this time, Jarrett would verbally attack music critics at his solo concerts, and the reflected paranoia is obvious in Peter Ruedi’s defensive booklet essay included here, “The Magician and the Jugglers.” This multi-disc set was recorded during two concerts over four days in the spring of 1981 in Bregenz, Austria, and Munich, Germany. This recording is not to be KeithJarrett02confused with the earlier, more consistently inspired Solo Concerts: Bremen/Lusanne from 1973, which made Jarrett a star, yet the pianist was far from tapped out in these performances. He is often in his best lyrically funky form, where he makes the most out of a single ostinato idea — particularly at the beginning of the Bregenz concert and in the middle of the Munich concert — and his touch and exploitation of the dynamics and timbres of a grand piano are always a pleasure to hear. Even the passages of stasis or seemingly aimless rippling do not cancel out the treasurable moments and have real worth — though for some, the string plucking near the end of the Munich show may be somewhat gratuitous. In any case, this is far more interesting and elevated music-making than that of the New Age navel-gazing imitators who were cropping up in Jarrett’s wake in the early ’80s en masse, and adds immeasurably to the historically unique portrait of the artist.  (by Richard S. Ginell)


Keith Jarrett (piano)



CD 1: Bregenz, May 28, 1981:
01. Part I / 22.00
02. Part II / 12.07
03. Untitled 9.30
04. Heartland 6.02

CD 2: München, June 2, 1981:
01. Part I / 23.24
02. Part II / 24.21

CD 3: München, June 2, 1981:
01. Part III / 26.00
02. Part IV / 11.44
03. Mon Coeur Est Rouge 8.29
04. Heartland 6.11

Music composed by Keith Jarrett





UFO – Mechanix (1982)

FrontCover1Mechanix is the tenth studio album by the British hard rock band UFO; it was released in 1982. The contemporary music-press adverts on the album’s release carried the tag-line ‘Mechanix: it will tighten your nuts’. Immediately after the completion of the tour in support of the album, founding member and bassist Pete Way left the band to join former Motörhead guitarist “Fast” Eddie Clarke in Fastway.

It was reissued in 1994 on Repertoire Records. The album was also reissued in 2009, remastered with an expanded booklet and bonus tracks. (by wikipedia)

A great record with some fine songs. Starts off with The Writer, a great rocker showing vocalist Phil Mogg in fine form. Next up is a rare cover track for the bank, Something Else. A fun high energy song that would have been great live. Now on to the highlight, Back Into My Life. The band slows it down a bit and Phil Mogg sings the hell out of this song. Two other great ones on this record are We Belong To The Night and Let It Rain. Fun high energy record when the partying and personnel issues were becoming major issues in the band. (by Thomas Abraira)


Neil Carter (keyboards, guitar, background vocals, saxophone)
Paul Chapman (guitar)
Phil Mogg (vocals)
Andy Parker (drums)
Pete Way (bass)


01. The Writer (Chapman/Mogg/Carter) 4.12
02. Somethin’ Else (Cochran/Sheeley) 3.21
03. Back Into My Life (Way/Mogg) 4.59
04. You’ll Get Love (Carter/Chapman/Mogg) 3.10
05. Doing It All For You (Way/Chapman/Carter/Mogg) 5.02
06. We Belong To The Night (Way/Carter/Mogg) 3.57
07. Let It Rain (Way/Carter/Mogg) 4.01
08. Terri (Chapman/Mogg) 3.53
09. Feel It (Way/Mogg) 4.07
10. Dreaming (Carter/Mogg) 3.57
11. Heel Of A  Stranger (Japanese CD edition bonus track) (Way/Chapman/Carter/Mogg) 4.05
2009 Digital Remastered edition bonus tracks:
12. We Belong To The Night (live in Oxford, 25 March 1983) (Way/Carter/Mogg) 4.34
13. Let It Rain (live in Oxford, 25 March 1983) (Way/Carter/Mogg) 3.07
14. Doing It All for You (soundcheck at The Birmingham Odeon, 26 March 1983) (Way/Chapman/Carter/Mogg) 5.21





Pekka Pohjola – Urban Tango (1982)

FrontCover1Jussi Pekka Pohjola (13 January 1952 – 27 November 2008)[1] was a Finnish multi-instrumentalist, composer and producer. Best known as a bass player, Pohjola was also a classically trained pianist and violinist.

Originally Pohjola rose to fame as the bass player of the Finnish progressive rock band Wigwam, but he soon departed on a solo career, initially releasing Frank Zappa-influenced progressive rock albums. As his career progressed Pohjola developed a more novel musical style that could best be described as fusion jazz. In addition to Wigwam and his solo albums, Pohjola also played with Made in Sweden, The Group (fi) and the bands of Jukka Tolonen and Mike Oldfield.

Pohjola belonged to one of the most prominent musical families in Finland. Conductor Sakari Oramo is Pohjola’s cousin.

Pohjola studied classical piano and violin at the Sibelius Academy in Helsinki, Finland. After a stint with The Boys (the seminal Finnish band led by brothers Eero and Jussi Raittinen), he joined Wigwam in 1970, contributing on two of their albums before leaving the group in 1972 to pursue a solo career (although Pohjola did again contribute on Wigwam’s Being in 1974). Pohjola’s first solo album Pihkasilmä Kaarnakorva (Resin Eye Bark Ear), released 1972, bears notable resemblance to the works of Frank Zappa.


After leaving Wigwam, Pohjola also played with the Jukka Tolonen Band for a short time. In 1974 his second solo album, Harakka Bialoipokku (fi) (Bialoipokku the Magpie), was released in Finland. The album saw Pohjola’s sound developing to a more distinctive direction, with heavy usage of trumpets, saxophones and piano. The somewhat jazz-influenced album piqued the interest of Virgin Records executive Richard Branson enough to release it in the United Kingdom the following year under the name B the Magpie. (In October 2010 the album was re-released by Cherry Red Records.[2])

By the request of Virgin, Pohjola teamed up with Mike Oldfield to record and produce his third solo album, released in 1977 in Finland as Keesojen Lehto (Grove of the Keeso) and in the UK as Mathematician’s Air Display. The album was released, in Germany (1981, album and cassette) and Italy (1987) as simply Mike & Sally Oldfield / Pekka Pohjola. The album was also released in 1981 on the Happy Bird label, in the Netherlands, under the name The Consequences of Indecisions and credited to Oldfield instead of Pohjola. Oldfield was sufficiently impressed with Pohjola, however, to ask him join him on his 1978 tour. As a result, Pohjola can also be heard on Oldfield’s live album Exposed, released in 1979.


Pekka Pohjola with Wigwam, 1974

In 1978 Pohjola formed The Group, who released a self-titled album the same year. In 1979, Pohjola released Visitation, his fourth solo album. All of Pohjola’s solo albums from the 70s had exhibited fantasy influences, but these were undoubtedly strongest on Visitation.

In 1980 The Group changed its name to Pekka Pohjola Group and released the album Kätkävaaran Lohikäärme (The Dragon of Kätkävaara), with musicians Pekka Pohjola (bass), Ippe Kätkä (drums), Pekka Tyni (keyboards) and Seppo Tyni (guitars). The group disbanded soon after the release of their second album.

Pohjola’s next solo album, Urban Tango, was released in 1982. It was a radical departure from fantasy- and nature-inspired works of the 70s. It was also the first Pekka Pohjola album to feature comprehensible singing, the vocals provided by Kassu Halonen. Urban Tango was also the first of Pohjola’s albums to be released on his own Pohjola Records label. His next album was the soundtrack to Hannu Heikinheimo’s 1983 movie Jokamies (released in 1984 under the title Everyman in the United States and Germany). The album was notable for an abundant use of synthesizers. Space Waltz, released 1985, further explored the themes first heard on Urban Tango (1982). 1986’s Flight of the Angel was to be Pohjola’s last album of the 80s. The following year a compilation of his material was released under the name New Impressionist.


Pekka Pohjola’s record label in the United States during the 1980s was Breakthru’ Records, a pioneering audiophile record company started by Robert Silverstein in 1983. The advent of the compact disc in 1984 made it very difficult for independent American record labels to make CD pressings in the U.S. as the first plants, aside from the Sony plant in Indiana, were in Germany and Japan. As a result, Breakthru’ scrambled and forfeited away its rights to unscrupulous distributors in an effort to adapt to the fast changing audio landscape of the music business during 1984 and 1986. With the 1985 release of Space Waltz, Breakthru’ Records became the first label ever to release a compact disc by Pekka Pohjola. The first Pekka Pohjola album to be released on CD, Space Waltz was mastered in New York City by mastering engineer legend Greg Calbi. Pressed on CD in Switzerland, Space Waltz was also released by Breakthru’ Records on audiophile vinyl and cassette. Robert Silverstein’s 1980 interview with Pekka Pohjola can be found on the Music Web Express 3000 ( web site.


During the late 80s Pohjola composed Sinfonia No 1 (“Symphony No. 1”), which premiered live in 1989 and was released on CD in 1990, performed by the AVANTI! music group. Returning to the music scene in 1992, Pohjola released his ninth solo album Changing Waters. The album’s sound differed greatly from Pohjola’s guitar-driven works of the 80s, offering a softer, more piano-based soundscape. Changing Waters was given in an international release in spring 1993. The album featured Finnish top musicians Seppo Kantonen (keyboards), Markku Kanerva (guitar) and Anssi Nykänen (drums), who became Pohjola’s regular band. In May 1995, Pohjola released Live in Japan, a recording from three shows in Tokyo in November 1994. Later that year, Pohjola released a double-CD Heavy Jazz – Live in Helsinki and Tokyo. His next studio album, Pewit, followed in September 1997. In May 2001 Pekka Pohjola released Views, on which he toned down the rock-solid guitar-based sound of Urban Tango (1982) and Space Waltz (1985), instead focusing more on jazz and pop-classical arrangements, leaning heavily on strings and brass arrangements. The only song on Views to feature a guitar is “The Red Porsche”, after a poem written by Charles Bukowski.


Pohjola’s piece “The Madness Subsides” from B the Magpie (1974) was sampled by DJ Shadow as the main bass line in his song “Midnight in a Perfect World”, from the wildly successful debut album Endtroducing….. (1996).

On 27 November 2008, Pohjola died of alcoholism at the age of 56. (by wikipedia)

And this is his 5th album:

The opening Imppu’s Tango have some serious peak with pekka playing some obscure hard bass play. It took me some time to be used to the tango part in the beginning, but now I love it. It evolves to become the best car music, you picture yourself just speeding through landscape and feel the high momentum 🙂 (by Skink_123 )


Jussi Liski (keyboards)
Leevi Leppänen (drums)
Pekka Pohjola (bass, keyboards)
Kassu Halonen (vocals on 04.)
Esa Kaartamo (vocals on 05.)
Peter Lerche (guitar, mandolin (on 03.)
Timo Tapani Oksala (synth guitar on 01.)


01. Imppu’s Tango 9.23
2. New Impressionist 15.21
3. Heavy Jazz 10.47
4. Urban Caravan 11.47
05. Silent Decade 4-13

Music: Pekka Pohjola
Lyrics: Edu Kettunen