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 !

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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)

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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”.

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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)

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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.
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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 !

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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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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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