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.
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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)

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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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Locomotive GT – Same (1974)

frontcover1The late ’60s and, most especially, the 70s have inspirited the music and the rock from all over the place, so that it evolved all the way up to contributing to the appearance of the most prestigious and prodigious ensembles. LOCOMOTIV GT is a band that’s legendary in the Hungarian Rock scene, but also in the Occident, lighting up an irresistible and torrential rock, in a way that made them classic. For the culture of rock, LOCOMOTIV GT marks moreover an independent and styled breath than something typical and inspiring – nevertheless, it goes as a defining reference.

LOCOMOTIV GT processed, during the classic period, all the fantasy and the asperities of hard and blues rock. Yet, in almost the same general way, their music consistently caught a much more artistic brightness (and all sorts of jazz, pop, melodic, lyrical and experimental accents). The next periods, along with their transitions, didn’t shattered their spirit, but only changed their personality, their musical greatness and their perfection.

The band was founded in 1971 (biographical dates even state, more precisely, the day and the place: April 6th, Budapest) having a core of four great musicians: Gábor Presser and József Laux from OMEGA, Károly Frenreisz from METRO and Tamás Barta, a guitarist finally finding his way with this ensemble. The pressure of the music, at this beginning phase, was put on sophisticated expression, powerful rhythms and gullible orientations. Playing with familiar rock groups, selling out minimal music through different clubs plus some worthy festivals, was their first good steps up rock’s slipstream.

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Their debut was considered experimental and hazy in Hungary, but the Western side saw it as the best new music that could come from the East. In 1972, the band was invited to play along legendary Joe COCKER or, right from the progressive top scene, with GENESIS. They also spend the year in London, recording a second album, “Ringasd el magad”, or producing several music projects. With Tamás Somló replacing Frenreisz, and with a wide-popular tour through North America, LOCOMOTIV GT became a worthy big name.

High tours and important projects continued in the next years, music itself finding probably the best expressions and wild maturity of all the style and fusion that was, so intimately, used. As oppose to this, the career break was slipping every time. More than a rumor or a hint, it seems LOCOMOTIV GT faced a lot of oppressive taste from the authorities, at least until the end of the 70s. Nevertheless, their portrait was constantly breaking the full standard and emotion of rock and interpretive art. Having always a lyricist by their side (Adamis Ann 1971-1977; Sztevanovity Dusán 1977-1984, 1997-2002) , LOCOMOTIV GT played colorful fictions and complex poetries, in a rustling frame of coolness, until they reached out from the blaze of hard rock (and, implicitly, of heavy thoughts) and continued to mix frictions of pure rock or, lastly, pop rock.

thomas-somloThomas Somlo

The 80s seemed refreshing, thanks to a better contract and an already indubitable fame, but the taste for rock and pop reached, well enough, a lower and colder level, so that the band departed for good after their 1984 studio release. They re-joined in 1992, only with the intention of making a farewell concert out of a big concert in Budapest. Up in 1997, the odds finally stopped being bitter, when the group reunited for good, recording a new studio album and deciding to continue their music journey, through big and important festivals or different projects and productions. Nothing of modern art, but, all the same, something of modern times, when LOCOMOTIVE GT stays legendary and can cheer up the endless taste towards their music and phenomenon.

By all this, LOCOMOTIV GT catches, therefore, a classic, rough, artistic and progressive spot. (by Victor “Philip” Parau; sources include biographical notes from the official website and from wikipedia)

“Locomotive GT were the Hungarian ‘supergroup’ formed by ex-members of Omega, Metro and Hungria. This rare and sought-after (English-language) album was recorded in London in 1973 (with Jack Bruce guesting on harmonica) by the famous The Rolling Stones producer Jimmy Miller and released next year in UK and USA by ABC Records. This is top-notch European progressive rock with jazz-fusion influences” (by .numusi.de)

In 1972, the band was invited to London, where this great second LP was recorded. The album’s material balanced between the classic progressive sounds of ELP, Gentle Giant and Procol Harum, and harder, bluesy rock.(by clear-spot.nl)

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Personnel:
Thomas Barta (guitar, slide-guitar, harmonica, vocals)
Joseph Laux (drums, percussion)
Gabor Presser (piano, vocals)
Thomas Somlo (bass, saxophone, violin, vocals)
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Jack Bruce (harmonica on 05.)
XY (*) (congas on 01., + 03.)

(*) who the fuck is XY ?

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Tracklist:
01. Rock Yourself (Adamis/Presser) 4.21
02. Gimme Your Love (Barta) 3.46
03. Free Me (Barta) 3.15
04. Confession (Barta) 4.21
05. She’s Just 14 (Barta) 3.51
06. Won’t You Dance With Me (Barta) 2.39
07. Hey, Get The Feelin’ (Barta) 3.31
08. Waiting For You (Adamis/Presser) 4.15
09. Serenade (To My Love If I Had One) (Adamis/Presser) 2.18
10. Back Home (Barta)    3:36
11. Jenny’s Got A New Thing (Adamis/Presser) 3.46

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Jon And Vangelis – Private Collection (1983)

frontcover1Private Collection is the third album released by Jon and Vangelis, released in 1983 on Polydor Records. “He is Sailing” was released as a single shortly before the album. The song “Polonaise” was written under the influence of events that took place in Poland a little earlier (martial law). The song is dedicated to Poles.(by wikipedia)

Jon & Vangelis’ first two albums really seemed to be building up to this point. With Private Collection, the two artists (Jon Anderson of Yes fame and Vangelis) have created what feels just a bit like a classical work. Truly the nearly 23-minute “Horizon” really feels a lot like a modern symphony. It is definitely the culmination of their work together, their most ambitious effort. The shorter cuts on the album all have their moments and surely hold up to anything from the previous releases, but “Horizon” stands far above them all. It combines the best elements of Anderson’s work in Yes with the electronically classically tinged stylings of Vangelis to produce a work that is near masterpiece in its quality. It is a life-affirming, positive piece. Among the other highlights of the disc are “Deborah” and “He Is Sailing.” If you only buy one Jon & Vangelis album, choose the best-of collection. However, if you opt for a second disc, this is the one. (by Gary Hill)

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Personnel:
Jon Anderson (vocals)
Vangelis (keyboards, ynthesiser)
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Dick Morrissey (saxophone on 02.)

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Tracklist:
01. Italian Song 2.53
02. And When The Night Comes 4.35
03. Deborah 4.54
04. Polonaise 5.24
05. He Is Sailing 6.49
06. Horizon 22.53

Music composed by Vangelis
Lyrics written by Jon Anderson

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Rick Sanders – String Time (1983)

frontcover1Richard ‘Ric’ Sanders (born 8 December 1952, in Birmingham, West Midlands) is an English violinist who has played in jazz-rock, folk rock, electric folk and folk groups, including Soft Machine and Fairport Convention.

Sanders’ first experience with a professional band was in the summer of 1972, touring Europe with classical/rock percussionist Stomu Yamash’ta’s Red Buddha Theatre. He later went on to play with jazz pianists Johnny Patrick and Michael Garrick. In the late 1970s he briefly toured as a member of the jazz-rock group Soft Machine and followed with a stint in The Albion Band. In 1981 he co-founded a recording studio, Morgreen Studios, with which he remained active for a few years. In 1984 he joined Fairport Convention and recorded his first album with them, Gladys’ Leap, the following year. Since 2002, in addition to his work with Fairport, he has also been working regularly with his trio, known as the Ric Sanders Trio, which features Vo Fletcher on guitar and Michael Gregory on drums and percussion.

Over the years Sanders has worked with a diverse roster of artists, including: Rick Wakeman, Dave Cousins of Strawbs, Jethro Tull, Robert Plant, Roy Harper, Gary Brooker of Procol Harum, Pentangle, Gordon Giltrap, Andrew Cronshaw, June Tabor, Martin Simpson, Charlie Landsborough, All About Eve, The Mission, Fred Thelonious Baker, Catherine Howe and John Etheridge (guitarist with Soft Machine and Stéphane Grappelli) with whom he co-led the group 2nd Vision, whose record has been re-released on Blueprint Records (Voiceprint Records Group).(by wikipedia)

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This is his first soloalbum, recorded for a small German independent label calles “Jeton Records” (so the liner notes are in German only). Together with Steve Richardson and Pete York (from “Pete York´s New York”) he recorded a very unique and exciting album with great instrumentals … sometimes he reminds me to the great Sugar Cane Harris.

This is not only a very rare record … this is highclass Jazz-rock, recorded in direct to disc procedure  (Direct-to-disc recording refers to sound recording methods that bypass the use of magnetic tape recording and record audio directly onto analog disc masters.)

In other words: This is a masterpiece !

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Personnel:
Steve Richardson (bass)
Rick Sanders (violin)
Pete York (drums)

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Tracklist:
01. New Years Day Celebration (Sanders/Jiving Broth.) 7.09
02. Something (Harrison) 5.04
03. Every Little Thing She Does (Sting) 4.26
04. Ebony Slide (Richardson/Jiving Broth.) 4.52
05. Mother Nature’s Son (Lennon/McCartney) 2.37
06. Allois Manius Syneda + Don’t Fret (Sanders/Baker/Jiving Broth.) 9.43

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Chet Atkins – East Tennessee Christmas (1983)

frontcover1East Tennessee Christmas is a Christmas album by guitarist Chet Atkins, released in 1983. He had recorded a Christmas release previously for RCA 22 years earlier. He covers some of the same territory in this release but with a smoother production.

Writing for Allmusic, critic Stephen Thomas Erlewine wrote of the album “… an accomplished but unremarkable holiday effort. Much of the album sounds too slick, and the song selection is a little too predictable for its good, making the record itself sound like it is something Atkins had done before… the overall album makes little impression, and only dedicated Atkins fans will need to add this to their collection. (by wikipedia)

And here´s another opinion:

Christmas is the time in our family to pull out albums that bring back warm family memories. Each album is cozy and familiar as a favorite blanket and the smell of Christmas baking. Every once in awhile a new song will add itself to the list as a family classic (like Mannheim Steamroller Christmas in the Aire .) But, usually we stick to the family faves. Chet Atkin’s East Tennessee Christmas album is one of our standards. I have no idea when the vinyl was purchased (sometime in the 80’s) and by whom, but it is a lovely soothing Christmas album and has a place of honor with Johnny Mathis, Bing Crosby, Andy Williams and Montovani Christmas Carols. The instrumental songs are perfect background music for baking and opening presents and dinner parties. It is not ‘in your face’ or ‘sing along’ or ‘schmaltzy’ Christmas music. You can’t dance to it and it is not the cutesy-poo-gagsome stuff that a lot of holiday tunes have turned into. It is quiet, elegant, and simple steelstring guitar picking by Chet with the occasional background chorus and limited symphony accompaniment. It is calming and slightly sleepy without descending to elevator music.

My favorite tracks are the ones that show off the guitar stylings of Chet sans chorus, “Silent Night”, “Christmas Song” and “I’ll Be Home for Christmas”.
The boys chorus in ‘Away in the Manger’ and “Little Drummer Boy” is unnecessary, but not wince-able. What I like most is that it is a melodious and unique spin on old favorites. And, let’s face it, who needs lyrics? We already know all of these songs by heart. (by Eclectico)

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Personnel:
Chet Atkins (guitar)
David Briggs (keyboards)
Randy Goodrum (keyboards, vocals)
David Lawbaugh (drums)
Larrie Londin (drums)
Tony Migliore (keyboards)
Farrell Morris (percussion)
Bergen White (keyboards, vocals)
Paul Yandell (guitar)
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vocals:
Diane Tidwell – Donna McElroy – Hurshel Wiginton – Lisa Silver – Mrs. Edwards “Kids” – Steve Wariner
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Nashville String Machine

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Tracklist:
01. Jingle Bell Rock (Beal/Boothe) 2.07
02. White Christmas (Berlin) 2.42
03. Let It Snow! Let It Snow! Let It Snow! (Cahn/Styne) 2.40
04. Winter Wonderland (Bernard/Smith) 2.42
05. The Christmas Song (Tormé/Wells) 3.10
06. I’ll Be Home For Christmas (K. Gannon/J.Gannon/Ram) 3.18
07. East Tennessee Christmas (Atkins) 2.47
08. Do You Hear What I Hear? (Regney/Baker) 3.24
09. The Little Drummer Boy (Davis/Onorati) 3.08
10. God Rest Ye Merry Gentlemen (Traditional) 1.22
11. Silent Night (Mohr/Gruber) 2.04
12. Away In A Manger (Traditional) 2.01

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Ronnie James Dio – Live in San Jose (1983)

frontcover1Ozzy may be the Prince of Darkness, but Ronnie James Dio is the Elfin King of Evil!

After reigning as the lead ghoul in TWO prototypical metal bands – Black Sabbath and Rainbow – Ronnie James struck out on his own in 1983 ‘cuz he knew he could do it better. He certainly didn’t disappoint with Holy Diver, the first album from the band that could only be known as DIO. Like fellow black magicians Ozzy Osbourne and King Diamond, Dio had a preternatural ability to surround himself with virtuoso musicians capable of bringing his Medieval fantasies to fruition. As though the molten-metal assault of his band wasn’t enough, Dio augmented his arsenal with outrageous theatrics, including (but not limited to) explosions, smoke and fire, a castle, lasers and a sword fight with a 20 foot dragon. Yes, it’s that awesome.

All the finest moments from Holy Diver are brought to life here, plus a post-Ozzy Sabbath classic, and what would no doubt have been Dio’s signature theme if he hadn’t immediately crushed it with his solo debut: Rainbow’s “Man on the Silver Mountain.” All are flawlessly executed by Ronnie James’s team of ringers, with the notable exception of a showy drum solo by Vinny Appice, which offers little more than an opportunity for the faithful minions to queue up for the toilet without missing a second of their leader’s screed.

Performance values and technical ability have been all but abolished from rock ‘n’ roll. Attempting anything even remotely approximating a Dio show could potentially get a band laughed off the stage – and that’s what makes it great. It takes guts and no small amount of talent to pull this off, and if done correctly, no one can deny its entertainment value. So, stand up and shout! This is DIO! (by concertvault.com)

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Personnel:
Vinny Appice (drums)
Jimmy Bain (bass)
Vivian Campbell (guitar)
Ronnie James Dio (vocals)
Claude Schnell (keyboards)

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Tracklist:
01. Stand Up And Shout (Dio/Bain) 5.59
02. Straight Through The Heart (Dio/Bain) 4.37
03. Shame On the Night (Dio/Appice/Bain/Campbell) 5.42
04. Children Of The Sea (Dio/Iommi/Butler/Ward) 6.34
05. Holy Diver (Dio) 8.33
06. Stargazer (Blackmore/Dio) 4.01
07. Heaven And Hell (Dio/Iommi/Butler/Ward) 16.00
08. Rainbow In The Dark (Dio/Appice/Bain/Campbell) 4.49
09. Man On The Silver Mountain (Blackmore/Dio) 9.08

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Big Country – Live Barrowland Glasgow (1983) (VHS rip)

frontcoverThis energetic show was recorded on New Year’s Eve 1983 in Glasgow, Scotland, near Big Country’s hometown. The show opens with the sounds of rain, thunder and lightning. After an earsplitting crash, the effects slowly fade, and the band breaks into “One Thousand Stars.” Big Country’s trademark guitars in their “bagpipe” mode cut through the song’s intro, leading into Adamson’s passionate vocals. The rest of the show is propelled by the band’s powerful rhythm section and the interplay between the twin guitar action of Adamson and Watson.

“We recorded that show at a venue called Barrowlands in Scotland,” said Mark Brzezicki. “When we tour, the gig we always look forward to is the gig on our home turf. The response at that gig is always exceptional.” “I was aware that I had to play me arse off during that period,” Brzezicki adds, “because we were coming off an important tour for us. Everything kept getting moved during that gig. There was a surge of people from the front of the stage. Complete mayhem, and the hottest gig I have done ever.” “Angle Park,” “Lost Patrol,” “Fields Of Fire” and the signature “In A Big Country” are all here, making this recording a true testament to the quintessential Big Country live show of that era.

bigcountry01“The excitement going on in the room that night was really a Scottish thing,” says Watson. “We tried to make it a huge party, as much as possible. We had just gotten back after three months in America. We loved America but we were missing home. And this show was a homecoming.” The performance was held in a hired ballroom, or dance hall, similar to the legendary Roseland dance hall in New York City.

Steve Lillywhite (the platinum producer best known for his work with The Rolling Stones and U2) was the engineer on recording of the show. Lilywhite had produced the band’s first two albums, and wanted to be part of this historic performance. “We knew that the show was going to be taped and shot on video and it was going to be broadcast live around the world, and in the States on the King Biscuit Flower Hour,” says Stuart Adamson.(by concertvault.com)

The best concert ever. we need it released. I was there and it was the best night of my life.(by h m forrest)

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Personnel:
Stuart Adamson (vocals, guitar, piano)
Mark Brzezicki (drums)
Tony Butler (bass; background vocals)
Bruce Watson (guitar, vocals)
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Dundonald & Dysart Pipe Band

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Tracklist:
01. One Thousand Stars (Adamson/Brzezicki/Butler/Watson) 4.25
02. Angle Park (Adamson/Watson) 4.32
03. Close Action (Adamson/Brzezicki/Butler/Watson) 4.13
04. Lost Patrol (Adamson/Brzezicki/Butler/Watson) 4.48
05. Wonderland (Adamson/Brzezicki/Butler/Watson) 4.10
06. The Storm (Adamson/Brzezicki/Butler/Watson) 5.16
07. Dundonald & Dysart Pipe Band Sequence (Traditional) 3.40
08. Porroh Man (Adamson/Brzezicki/Butler/Watson) 7.51
09. Chance (Adamson/Brzezicki/Butler/Watson) 5.56
10. Inwards (Adamson/Brzezicki/Butler/Watson) 05:54
11.  Fields Of Fire (Adamson/Brzezicki/Butler/Watson) 6.38
12. Harvest Home (Adamson/Brzezicki/Butler/Watson) 4.38
13. Tracks Of My Tears (Robinson/Moore/Tarplin) 3.15
14. In A Big Country / Auld Lang Syne (Adamson/Brzezicki/Butler/Watson/Traditional) 8.13

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