Herbie Armstrong – Back Against The Wall (1985)

FrontCover1The young Herbie Armstrong spent his teens and early twenties touring Ireland and the North of England with Irish show bands, and also worked for six months in late 1967 as the lead guitarist in Screaming Lord Sutch’s backing band.

In the early 1970s, after a period living abroad in Portugal in which he ran a riding school, Armstrong founded in London the pop band Fox, with the American songwriter and musician Kenny Young (who had written the 1964 hit, ‘Under the Boardwalk’, for the Drifters) and Australian singer Noosha Fox. Fox had two major chart hits, 1974’s ‘Only You Can’ and 1976’s ‘S-S-S Single Bed’, both of which sold over 200,000 copies. While ‘Only You Can’ reached number three in the UK charts, ‘S-S-S Single Bed’ stalled at number four, but was also a number one hit in Australia. There were also three Fox albums, ‘Fox’ (1975), ‘Tails of Illusion’ (1975) and ‘Blue Hotel’ (1977).

HerbieArmstrong2When Noosha left Fox after ‘Blue Hotel’, Armstrong and Young maintained their song writing partnership and formed new wave act Yellow Dog. Yellow Dog released three albums, ‘Yellow Dog’(1977), ‘Beware of the Dog’(1978) and ‘Strangers in Paradise’(1981), and in 1978 had two chart singles, ‘Just One More Night’ and ‘Wait Until Midnight’ (the latter of which was the first single that this writer bought as a twelve year old).

Herbie Armstrong spent the late 1970s and early 1980s touring the world with his childhood friend Van Morrison, and played lead guitar on four of his albums, ‘Wavelength’(1978), ‘Into the Music’(1979), ‘Common One’(1980) and ‘Beautiful Vision’(1982). He then embarked on a solo career, which saw him release one album, ‘Back Against the Wall’, in 1983 on the short-lived Making Waves label, before he moved on from music to take up a career in management in the licensed trades.

He ran in London for a while Armstrong’s, a restaurant, whose regular customers included Yellow Dog’s old label boss Richard Branson at Virgin Records and the comedian Kenny Everett, for whom Fox had written his TV theme tune. Armstrong then went on to open two live venues in Sheffield including the renowned Boardwalk, and now runs The Fountain, an inn, live venue and restaurant in the village of Rowland’s Castle near Portsmouth. (by John Clarkson)

And here´s his first solo ablum … and it´s a superb album … This should have been so much more successful … if you like Van Morrison … than is this album a must.

A forgot hewel in the history of Irish rock, including a great band (Pee Wee Ellis !).

Armstrong+Single

Herbie Armstrong + rare single

Personnel:
Herbie Armstrong (guitar, vocals)
Mitch Dalton (guitar)
Pee Wee Ellis (saxophone)
Peter Van Hooke (drums, percussion)
Mark Isham (bass, keyboards, saxophone)
Patrick O’Hearn (bass, synthesizer)
Phil Palmer (guitar)
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background vocals:
Linda Taylor – Sharon Campbell

BookletA1

Tracklist:
01. Losing You (Armsrong) 4.34
02. Horses Of Steam (Kelly/Richmond) 5.04
03. You Take Me Up (Armstrong) 4.08
04. Friday’s Child (Morrison)
05. Back Against The Wall (Armstrong) 3.55
06. Heaven Only Knows (Armstrong/Platania) 3.48
07. Josie (Armstrong) 5.17
08. Let It Run (Armstrong) 3.33
09. Save The Last Dance (Pomus/Shuman) 4.14
10. Coming In From The Rain (Armstrong) 4.38

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Herbie Armstrong in 2011

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Ryan Paris – Dolce Vita (Special Maxi Version) (1983)

FrontCover1Ryan Paris (born Fabio Roscioli, March 12, 1953[2]) is an Italian musician and actor who gained international popularity in 1983 for the worldwide hit single “Dolce Vita”, written and produced by Pierluigi Giombini.

“Dolce Vita” was released in the United Kingdom on the Carrere Records label, distributed by RCA and spent ten weeks in the UK Singles Chart, peaking at Number 5.

Paris continued to release records in the mid-1980s and 1990s, but was not able to emulate the success of his first hit. In 2010, he made a comeback with a new song, “I Wanna Love You Once Again”, which he wrote and composed. The song became popular with 1980s music fans.[citation needed] At the end of that year, Paris co-produced a remix of “Dolce Vita” which peaked at number 54 in the official French club chart.

In 2013, the new song “Sensation of Love”, again composed and produced by Paris, but with a Bulgarian singer, peaked at number 15 in the official Bulgarian CD chart. In March 2014, the 1980s version of the song, co-produced by Paris and sung by Paris in duet with Valerie Flor, was ranked number one on more than 60 Italo disco radio stations around the world (by wikipedia)

Okay … this is DISCO MUSIC … Attention please … Really not my kind of music … but as you maybe know … “Many Fantastic Colors” means, that I will present very different styles of music … and so … here´s my first entry with this kind of music … The Eighties … you know …

Ryan Paris

Personnel:
Ryan Paris (vocals)
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a bunch of unknown studio musicians

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Please find the difference between the front and back cover !

Tracklist:
01. Dolce Vita (vocal version) (Giombini/Mazzolini) 7.30
02. Dolce Vita (instrumental version) (Giombini/Mazzolini) 8.50

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Thanks a lot to greygoose for this funny gag !

Heinz Sauer & Bob Degen with Carey Bell – Blues After Sunrise (1983)

FrontCover1What a great idea, what a great recorded, created by two jazz  and one wonderful blues musician.

Bob Degen Jr (born January 24, 1944 in Scranton, Pennsylvania) is an American jazz pianist. Much of his work has been in the trio format.

Degen attended Berklee College of Music in the 1960s and played locally in Boston while there. He was influenced by jazz musician and multi-instrumentalist Art Kreinberg and played in a trio with Kreinberg and bassist Doug Smith in the early 1960s. In the mid-1960s he played in Europe with Dexter Gordon, Art Farmer, Carmell Jones, and Albert Mangelsdorff, and recorded an album as a leader in 1968. At the end of the decade he played with Paul Motian, as well as with Gary Peacock and Buddy DeFranco in the early 1970s.

In 1974 Degen moved to Germany, where he played often with Heinz Sauer. Since then, he has played with Makaya Ntshoko, the Frankfurter Jazz Ensemble, Adelhard Roidinger, Joki Freund, Leszek Zadlo, Günter Lenz, and Uli Beckerhoff.

BobDegen

Heinz Sauer (born December 25, 1932, Merseburg) is a German jazz saxophonist.

Sauer was an autodidact on tenor saxophone and began his career playing locally around Frankfurt in the 1950s. He played for many years in Albert Mangelsdorff’s ensemble, as well as the Jazzensemble des Hessischen Rundfunks and the German All Stars. He worked often with Bob Degen, and has also performed or recorded with musicians such as Ralf Hübner, Günter Lenz, Stefan Schmolck, and Manfred Schoof. In the 1990s he began experimenting with the use of electronic processing on his saxophones. In the 2000s he founded a trio with Christopher Dell (vibraphones) and Bertram Ritter (percussion). (by www.revolvy.com)

HeinzSauer

Carey Bell (November 14, 1936 – May 6, 2007) was an American blues musician who played harmonica in the Chicago blues style. Bell played harmonica and bass guitar for other blues musicians from the late 1950s to the early 1970s before embarking on a solo career. Besides his own albums, he recorded as an accompanist or duo artist with Earl Hooker, Robert Nighthawk, Lowell Fulson, Eddie Taylor, Louisiana Red and Jimmy Dawkins and was a frequent partner with his son, the guitarist Lurrie Bell. Blues Revue called Bell “one of Chicago’s finest harpists.” The Chicago Tribune said Bell was “a terrific talent in the tradition of Sonny Boy Williamson and Little Walter.”

Bell was born Carey Bell Harrington in Macon, Mississippi. As a child, he was intrigued by the music of Louis Jordan and wanted a saxophone in order to be like his hero Jordan. His family could not afford one, so he had to settle for a harmonica, colloquially known as a “Mississippi saxophone.” Soon Bell was attracted by the blues harmonica greats—DeFord Bailey, Big Walter Horton, Marion “Little Walter” Jacobs, Sonny Boy Williamson I and Sonny Boy Williamson II—and taught himself to play. By the time he was eight, he was proficient on the instrument. When he was thirteen, he joined the blues band of his godfather, the pianist Lovie Lee.

In 1969, Delmark Records in Chicago released Bell’s debut album, Carey Bell’s Blues Harp.[4] He played with Muddy Waters in late 1970 and 1971 and later with Willie Dixon’s Chicago Blues All-Stars.[4] In 1972, Bell teamed up with Big Walter in the studio and recorded Big Walter Horton with Carey Bell for Alligator Records. A year later Bell released a solo project, Last Night, for ABC Bluesway. He continued to play with Dixon and with his own groups. In 1978, he was featured on the Grammy-nominated album Living Chicago Blues, released by Alligator. Also in the 1970s, he contributed to two recordings by the Bob Riedy Blues Band.

CareyBell02During the 1980s Bell continued to record for various labels and to tour. In 1990, he teamed up with fellow harpists Junior Wells, James Cotton and Billy Branch to record Harp Attack!, which became a modern blues classic and one of Alligator’s best-selling albums.

Despite years in the business and work with Alligator, Bell’s first full-length solo album for the label, Deep Down, was not released until 1995. He released a second album, Good Luck Man, for the label in 1997. Second Nature followed in 2004 (recorded in Finland a few years earlier), in which he was accompanied by his son, the guitarist Lurrie Bell (who also played guitar, along with Carl Weathersby, on Deep Down).

In 1998, Bell was awarded the Blues Music Award for Traditional Male Artist of the Year.
Final work

Bell died of heart failure on May 6, 2007, in Chicago. (by wikipedia)

What a hell of a record … most of the numbers are instrumentals and they jammed together … brilliant solos … brilliant duo solos … you know … in the call and response style …

And you will get lucks … listening to this rare album ! It´s another treasure …. a very unique, unusual mix between Jazz and Blues, produced by the great Horst Lippmann

Sometimes I can´t find the right words to describe the enormous power of music … sorry !

CareyBell01

Personnel:
Carey Bell (harmonica, vocals)
Bob Degen (piano)
Heinz Sauer (saxophone)

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Tracklist:
01. I Want You To Love Me (Morganfield) 5.00
02. Degen Blues (Degen) 5.46
03. Tonky Blues (Bell/Degen/Sauer) 5.34
04. Hollerin’ The Blues (Bell/Degen/Sauer) 6.31
05. A Classical Preacher (Sauer) 2.35
06. One Day I Get Lucky (Dixon) 3.02
07. Blues After Sunrise (Bell/Degen/Sauer) 6.13

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The Hollies – Hello Graham Nash (Reunion) (1983)

FrontCover1The Hollies – no introduction nessesary …

This live album is a byproduct of the Hollies’ 1983 reunion tour with Graham Nash, mixing new songs off of the accompanying album, What Goes Around…, with their classic material. Instrumentally, lead guitarist Tony Hicks and drummer Bobby Elliott (who is recorded exceptionally well) are supported by Steve Stroud (bass), Alan Coates (rhythm guitar), Pete Anderson (piano), and Paul Bliss (keyboards), who make a smoother, more polished sound; the openings of “Bus Stop” and “Just One Look,” for example, are more keyboard-dominated than they ever were on the original records or any prior concert release, including the mid-’70s Hollies Live LP. Luckily, the middle sections of most of the songs better represent the band’s classic sound, and there’s no complaining about the singing or the harmonies. The new repertoire presented here, including “Casualty,” doesn’t have the staying power of the group’s vintage work, and it’s clear that the crowd is there to hear the oldies, not the new songs, to judge by the gradations in applause.

TheHollies
“On a Carousel” evokes far more enthusiasm than the newer stuff — as an added benefit of this disc, it captures the group’s first performance on this tour of “King Midas in Reverse,” which is everything one would wish for in delicacy and nuance, as well as radiant harmonies, and here they get the guitar sound (a mix of acoustic and low-amplification electric) exactly right. And when they do “Wasted on the Way” and “Teach Your Children,” it’s worth the price of the disc (as well as the price of admission — the crowd’s delight is almost palpable). The disc isn’t quite essential for Hollies fans — some of its desirability depends upon how one felt about that tour and the What Goes Around… album — but it’s extremely close to it, and shouldn’t be overlooked (and CSN and Graham Nash completists will have to own it).  ( by Bruce Eder)

This concert from the 1983 reunion with Graham Nash was recorded for a planned live album, which was never released … So, we can hear an excellent soundbaoard recording …

Close your eyes and drift away … what a great concert !

TheHollies2

Personnel:
Allan Clarke (vocals, guitar, harmonica)
Bobby Elliott (drums)
Tony Hicks (guitar, vocals)
Graham Nash (guitar, vocals)
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Pete Anderson (piano, synthesizer)
Paul Bliss (keyboards)
Alan Coates (guitar)
Dennis Haines (keyboards)
Steve Stroud (bass)

Booklet

Tracklist:
01 1 I Can’t Let Go (Gorgoni/Taylor 2.31
02. Just One Look (Carrol/Payne) 3.54
03. Bus Stop (Gouldman) 3.29
04. Casualty (Bliss) 3.32
05. On A Carousel (Clarke/Hicks/Nash) 3.32
06. Someone Else’s Eyes (Bliss) 4.11
07. Look Through My Window (Gouldman/Silverman) 2.59
08 .King Midas In Reverse (Clark/Hicks/Nash) 2.53
09. Wasted On The Way (Nash) 3.29
10. Teach Your Children (Nash) 4.01
11. Soldier’s Song (Batt) 4.53
12. Stop, Stop, Stop (Clark/Hicks/Nash The Hollies 2.56
13. The Air That I Breathe (Hammond/Hazelwood) 4.30
14. Carrie Anne (Clarke/Hicks/Nash) 3.33
15. Stop In The Name Of Love (Dozier/Holland) 3.37
16. He Ain’t Heavy, He’s My Brother (Russell/Scott) 4.15
17. Long Cool Woman In A Black Dress (Clarke/Cook/Greenaway) 10.30

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Big Country – The Crossing (1983)

FrontCover1The Crossing is the first studio album released by Scottish band Big Country. The album reached #3 in the UK; overseas, it hit #4 in Canada on the RPM national Top Albums Chart and #18 in the US on the Billboard 200 in 1983. It went on to be certified platinum in the UK and Canada. It contains the song “In a Big Country” which is their only U.S. Top 40 hit single. The song featured heavily engineered guitar playing, strongly reminiscent of bagpipes; Adamson and fellow guitarist Watson achieved this through the use of the MXR Pitch Transposer 129 Guitar Effect. Also contributing to the band’s unique sound was their use of the e-bow, a device which allows a guitar to sound more like strings or synthesizer.

:Critic Kurt Loder of Rolling Stone gave the album a glowing review, writing:“ Here’s a big-noise guitar band from Britain that blows the knobs off all the synth-pop diddlers and fake-funk frauds who are cluttering up the charts these days.

Big Country mops up the fops with an air-raid guitar sound that’s unlike anything else around, anywhere … Like the Irish band U2 (with whom they share young, guitar-wise producer Steve Lillywhite), Big Country has no use for synthesizers, and their extraordinary twin-guitar sound should make The Crossing a must-own item for rock die-hards”.

BigCountry1983

With producer Steve Lillywhite at the helm, Scotland’s Big Country managed to deliver earnest, socially conscious arena anthems in a similar vein to U2 and the Alarm. The twist was their trademark bagpipe sound, achieved through the use of E-Bow. The unique sound of “In a Big Country” garnered the band considerable attention and a Top 20 single in the U.S. The Crossing, however, is an album whose richness goes beyond the single. The more subdued “Chance” is sparser and its personal lyrics are every bit as heartfelt as the more populist-inclined anthems like the wonderful “The Storm” or the thundering “Fields of Fire.” The lyrics are straightforward and, despite the grand themes of many of the tracks, manage to steer clear of being overly pretentious. While this album earned the band a gold record, Big Country’s sound and image (reinforced by the members’ tartan checked shirts) resulted in them being tagged a novelty, and they never duplicated their initial success in America. (by Tom Demalon)

This is one of my favorites bands… and their debut album is a classic album for his own !

Big Country

Personnel:
Stuart Adamson (vocals, guitar, piano, e-bow)
Mark Brzezicki (drums, percussion, vocals)
Tony Butler (bass, vocals)
Bruce Watson (guitar, mandolin, sitar, vocals, e-bow)

Inlet01A

Tracklist:
01. In A Big Country 4.40
02. Inwards 4.36
03. Chance 4.21
04. 1000 Stars 3.53
05. The Storm 6.14
06. Harvest Home 4.16
07. Lost Patrol 4.46
08. Close Action 4.13
09. Fields of Fire (400 Miles) 3.28
10. Porrohman 7.49

All songs written by Stuart Adamson, Mark Brzezicki, Tony Butler, Bruce Watson

 

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I’ve never seen you look like this without a reason
Another promise fallen through, another season passes by you

Shock

I never took the smile away from anybody’s face
And that’s a desperate way to look for someone who is still a child

In a big country, dreams stay with you
Like a lover’s voice fires the mountainside
Stay alive

I thought that pain and truth were things that really mattered
But you can’t stay here with every single hope you had shattered

I’m not expecting to grow flowers in a desert
But I can live and breathe and see the sun in wintertime

In a big country, dreams stay with you
Like a lover’s voice fires the mountainside
Stay alive

In a big country, dreams stay with you
Like a lover’s voice fires the mountainside
Stay alive

So take that look out of here, it doesn’t fit you
Because it’s happened doesn’t mean you’ve been discarded
Pull up your head off the floor, come up screaming
Cry out for everything you ever might have wanted
I thought that pain and truth were things that really mattered
But you can’t stay here with every single hope you had shattered

Shock, 1, 2

I’m not expecting to grow flowers in a desert
But I can live and breathe and see the sun in wintertime

In a big country, dreams stay with you
Like a lover’s voice fires the mountainside
Stay alive

Stuart Adamson
William Stuart Adamson (11 April 1958 – 16 December 2001)

On 16 December 2001, his body was found in a closet in his room at the Best Western Plaza Hotel in Honolulu, Hawaii. According to police, Adamson hanged himself with an electrical cord from a pole in the wardrobe. An empty wine bottle was found in the room. At the time of his death, Adamson had a blood-alcohol content of 0.279%

Barbara Hendricks & Dmitri Alexeev – Negro Spirituals (1983)

FrontCover1Barbara Hendricks is widely regarded as one of the finest American lyric sopranos of her generation, both for her work on the operatic stage and in the concert hall. She possesses a vast repertory in the realm of German lieder and is known for her recitals of American, French and Scandinavian works. She has also sung in performances of Mozart’s Mass in C minor, Brahms’ Requiem, Mahler’s Second Symphony, Del Tredici’s Final Alice, and has frequently appeared in jazz concerts as well. In the realm of opera Hendricks has sung a variety of roles, including Pamina from Mozart’s Die Zauberflöte, Gilda (Verdi’s Rigoletto), Micaela (Bizet’s Carmen), Tatiana (Eugene Onegin), Mimi and Liu (Puccini’s La bohème and Turandot, respectively), and many more. Hendricks has appeared at most of the major operatic venues, including the Met, Paris Opera, La Scala, and Covent Garden. She has made many recordings, from best-selling Christmas CDs and Gershwin song albums to popular Schubert lieder and Verdi opera recordings. She has appeared on nearly 80 recordings spread over a variety of major labels, including DG, Decca, EMI, Sony, Philips, RCA, and Arte Verum.
Barbara Hendricks was born in Stephens, AK, on November 20, 1948. After obtaining a degree at the University of Nebraska in chemistry and mathematics, Hendricks studied voice at Juilliard under Jennie Tourel.

Hendricks’ major debut was in 1974 at the San Francisco Opera in Cavalli’s Ormindo as Erisbe, and that same year she made her recital debut at New York’s Town Hall. In 1975 she appeared on her first recording (Decca), singing Clara in Gershwin’s Porgy and Bess.
Hendricks soon became an international star, receiving a flood of invitations to the major operatic venues, concert halls, and music festivals. Her appearances with Herbert von Karajan (1977) and Leonard Bernstein (1985) were only two of many internationally acclaimed concert tours. From 1987 Hendricks has worked on behalf of refugees, mainly through the United Nations High Commission for Refugees. Since her 1994 debut at the Montreux Jazz Festival, Hendricks has regularly appeared at leading jazz festivals throughout the world.
Barbara Hendricks01
In 2006 Hendricks did not renew her contract with EMI, but formed her own label, Arte Verum. Via this new enterprise she appeared on five recordings in 2008, including an acclaimed disc of Poulenc works. A citizen and resident of Sweden, Hendricks married her manager Martin Engström in 1978, and the couple have three children. (by Robert Cummings)

This is her 3rd solo-Album and it contains a beautiful Collection of spirituals …

The great African-American operatic soprano Barbara Hendricks was accompanied by the brilliant improvisation of Russian concert pianist Dmitri Alexeev.
What a treasure !

RussiaFront+BackCover
Front + back cover from Russia

Personnel:

Dmitri Alexeev (piano)
Barbara Hendricks (vocals)
Booklet
Tracklist:
01. Sometimes I Feel Like A Motherless Child 3.37
02. Plenty Good Room 1.44
03. Nobody Knows The Trouble I’ve Seen 3.09
04. Git On Boa’d, Little Child’n 1.23
05. Oh! What A Beautiful City! 2.27
06. His Name So Sweet 1.51
07. Deep River 3.14
08. When I Lay My Burden Down 1.58
09. Swing Low, Sweet Chariot 2.59
10. Talk About A Child That Do Love Jesus 3.06
11. Joshua Fit De Battle Of Jericho 2.20
12. Fix Me, Jesus 3.33
13. Roun’ About De Mountain 2.18
14. Hold On! 2.33
15. Were You There ? 5.52
16. Ev’Ry Time I Feel De Spirit 2.14

All Songs: Traditional

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Lyell Sayer & Clem Parkinson – Two Up (1983)

frontcover1Clem Parkinson & Lyell Sayer have become to be regarded as an important part of the Australian folk community. These contemporary songwriters are still “having very pointed things to say about social issues” and they still form a key part of a tradition of writing from the stance of the union movement.

Lyell Sayer is one of the legendary figures of Australian folk.
His songs have been covered by notables such as Wongawilli and Warren Fahey, and he is an inspiration to modern-day musical satirists such as Bruce Watson.
Lyell Sayer has worked as a clerk, storeman, driver, salesman, customs officer, as well as being a folk singer and song-writer for many years. His work with the Amalgamated Metal Workers’ Union in Victoria in 1984 gave him and the union the opportunity to express a range of current issues and concerns through a medium not so common in workplaces – music and song. ‘Stand by the union’ is Lyell’s contribution to a tradition of rousing union songs of solidarity in the ‘Which side are you on?’ mode.
He is best known for his song The F-111, regaling the many faults and failings of the RAAF’s most controversial fighter jet acquisition of the 1970s. The General Dynamics F-111C was a controversial aircraft purchased by the Royal Australian Air Force in 1963. Problems began with a 10-year delay in delivery.
Lyell released a follow up album in 1984 called Victoria Street, also released on the Larrikin label.
Lyell currently Tutors in Music at the The University of the Thrid Age in Knox, specialising in the Ukulele.
Clem Parkinson is a Melbourne Folk Song writer
In 1964, Parkinson penned the Pig Iron Song, which retold the story around how Menzies got one of his most well known nicknames. Clem Parkinson has also written many Union Songs (ie. Galloway and Stephens – a song about the fight for an 8 hour working day / 40 hours a week)
Clem Parkinson’s controversial song-attack on the Victorian government over the King Street Bridge reactivated old traditional vs contemporary tensions within the Victorian Folk Music Club
Clem Parkinson also had long history of support for the Maritime Union of Australia.
lyell-sayer-11th-goulburn-gathering-2016

Lyell Sayer

“Life in Australia can be very much like a game of two-up. Sometimes you land on the seat of your pants and sometimes flat on your face! Lyell Sayer and Clem Parkinson have seen both sides of the coin and it shows in their songwriting whether the subject be frivolous or serious. Here, on their first
record is a collection of a dozen of the best. Not that this is the first time these songs have found an audience … not by a long shot… for these musical ‘pen pushers’ have been churning out songs for years and songs like Colonel Sanders and the F-l 11 have, thankfully, become well entrenched
in the repertoire of many of our local singers.
Both Lyell and Clem enjoy taking the ‘mickey’ out of our politicians and why not! I have always felt that these contemporary folk songs play a real role in continuing the tradition of the folk song as the voice of the people. Long may the likes of Lyell Sayer and Clem Parkinson write and sing songs about us!” (Warren Fahey; taken from the original liner notes)

What a great folk Album … ! (thanks to rockonvinyl.blogspot)

sayerparkinson

Clem Parkinson + Lylell Sayer

Personnel:
Rudi Brandsma (bass, piano, Synthesizer, guitar on 03. )
Dick Keam (whistles, guitar, chook noises)
Jon Madin (mandolin, violin, accordion)
Clem Parkinson (vocals, guitar on 09.)
Andrew Riby (flute, tin whistie.concertina)
James Rigby (mandolin)
Lyell Sayer (vocals, guitar, Banjo)
Tony Simpson (banjo)

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Tracklist:
01. Walking Back To (Bourke /Sayer) 4.03
02. Expense Account Racket (Parkinson) 3.15
03. Squizzy Taylor (Sayer) 3.44
04. Mulwala (Parkinson) 3.31
05. Words Of Love (Sayer) 3.48
06. Colonel Sanders (Parksinon) 2.15
07. The Wimmin’s Ball (Parkinson) 3.13
08. The F-111 (Sayer) 3.26
09. Temperance Shearers (Parkinson) 3.24
10. Junk Mail (Parkinson) 3.35
11. Life Begins At Forty (Sayer) 4.27
12. Matt Gabbett (Sayer) 3.00

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