Chris Rea – Shamrock Diaries (1985)

LPFrontCover1Christopher Anton Rea (born 4 March 1951) is an English rock and blues singer-songwriter and guitarist from Middlesbrough, England. He is of Italian and Irish descent. He is known for his distinctive, husky singing and slide guitar playing, with the Guinness Rockopedia describing him as a “gravel-voiced guitar stalwart”. After learning to play the guitar relatively late, a short burst of local band activity led to his launching a solo career in 1978.

Louder magazine calls Rea “rock’s ultimate survivor”, given his recovery from several bouts of serious illness. He has produced 25 solo albums, with several from his later blues period – such as Blue Guitars (2005) – having multiple discs. British Hit Singles & Albums says that Rea was “one of the most popular UK singer-songwriters of the late 1980s” and “already a major European star by the time he finally cracked the UK Top 10 with the release of the [1989] single “The Road to Hell (Part 2)…” his 18th chart entry.”


Two of his most successful studio albums, The Road to Hell (1989) and Auberge (1991), topped the UK Albums Chart. His other hit songs include “I Can Hear Your Heartbeat”, “Stainsby Girls”, “Josephine”, “On the Beach”, “Let’s Dance”, “Driving Home for Christmas”, “Working on It”, “Tell Me There’s a Heaven”, “Auberge”, “Looking for the Summer”, “Winter Song”, “Nothing to Fear”, “Julia”, and “If You Were Me”, a duet with Elton John. Rea was nominated three times for the Brit Award for Best British Male Artist: in 1988, 1989 and 1990.

Rea has never toured the United States, where he is best known for the 1978 single “Fool (If You Think It’s Over),” which reached No. 12 on the Billboard Hot 100 and spent three weeks at No. 1 on the Adult Contemporary chart. This success earned him a Grammy nomination as Best New Artist in 1978. A decade later, Working On It topped the Mainstream Rock chart. As of 2009, Rea had sold more than 30 million records worldwide.


Shamrock Diaries is the seventh studio album by British singer-songwriter Chris Rea, released in 1985. This album represents the beginning of a creative and commercial zenith for Rea. Shamrock Diaries was a huge seller in Europe, reaching the top 20 in several countries including Ireland, West Germany, Czechoslovakia, Sweden and the United Kingdom, and spent forty two weeks in the Dutch charts, peaking at No. 3. The album was also successful in Australia, where it charted in the top 50. “Stainsby Girls” became Rea’s first Top 30 single since 1978’s “Fool If You Think It’s Over”. In 1988, Magnet Records was taken over by Warner Bros Records, who re-released Shamrock Diaries with a significantly remixed version of “Josephine”. The original version was used in the 2019 deluxe re-issue of the album.

Rea wrote the material during a protracted stay in Ireland. In a fresh interview for the sleeve notes in the deluxe version of the album (2019), he recalls how Dublin “reminded me so much of my home town…. Middlesbrough back then was about 65% Irish… And half my family are from Ireland.” The two most popular tracks from the album were written for members of Rea’s family. “Stainsby Girls” was a tribute to his wife, Joan, a former student of the Stainsby Secondary Modern School. “Josephine” was written for his daughter, after whom it is named. Almost a decade later, Rea would also name a song after his youngest daughter, Julia, on the album Espresso Logic (1993).


Rea told Q magazine that he wrote “Steel River” after returning to Middlesbrough “to see me father after me mother died, and [they] had knocked the whole place down. I’d been gone three years, hard touring in Europe, I literally went to drive somewhere that wasn’t there. It was like a sci-fi movie. That’s when I wrote Steel River. The Middlesbrough I knew, it’s as if there was a war there 10 years ago.” “Chisel Hill” refers to a house Rea bought in the vicinity of Roseberry Topping, which lies just south of Middlesbrough, and has a distinctive half-cone shaped summit. Rea says that the song “can make me cry quite easily… We’d reached the point where we’d bought a house, I had a child, we were happy. We’d kept the wolf from the door and things were okay… [I] wrote that song all in one quick go… whoever wrote that song back then, he must have been a really happy guy. Yeah, that song gets me.” “You’re looking back at yourself”, he said, “remembering what you thought was going to happen, and then what actually happened… I definitely should have stayed in Chisel Hill, without a doubt!”

The track “Stone” was covered by the Law on their self-titled album, with Rea on guitar. In 2000, “Josephine” was sampled by Superfunk for their song “Lucky Star”, with Ron Carroll, although the samples come from another (shorter) version of the song, rather than the original album version.

In 2007 German guitarist Axel Rudi Pell covered the same track for his album “Diamonds Unlocked”. His version features Johnny Gioeli on vocals. (wikipedia)


After seven albums, Chris Rea was finally beginning to get the hang of what makes a commercial success. He had not changed his style throughout the 1980s, but now it was 1985 and the synth pop sounds and new romantics were both long gone — and in their place were stadium-filling anthemic rock or power ballads. Shamrock Diaries was a mix of soft ballads like “Chisel Hill” and “One Golden Rule” along with saxophone-led uptempo numbers such as the title track and the feel-good song of the summer, “All Summer Long,” which would have made an ideal single had Magnet decided to release it. Shamrock Diaries was written very much with family in mind, particularly considering the two singles released: “Stainsby Girls” was a tribute to his wife, Joan, who had attended Stainsby Secondary Modern School; and “Josephine” was written for his eldest daughter. The opening track, “Steel River,” was rather hard to define, being a soft piano-led ballad until the first chorus kicked in and the song revealed gospel roots, but by the time the second chorus came along it had become a jazz jam. This was followed by “Stainsby Girls,” easily the most like Bruce Springsteen that Rea had ever sounded — and it became his first Top 30 single since “Fool If You Think It’s Over” from the late ’70s. However, Chris Rea saved the best track until the end: the slow-building “Hired Gun,” over eight minutes of brooding menace. (by Sharon Mawer)

And … a real great line-up …

… and listen to the great saxophone player Mel Collins and his solo on “Stainsby Girls” !


Robert Ahwai (guitar)
Mel Collins (saxophone)
Martin Ditcham (percussion)
Kevin Leach (keyboards)
Dave Mattacks (drums)
Max Middleton (keyboards)
Simon Nicol (guitar)
Eoghan O’Neill (bass)
Adrian Rea (drums)
Chris Rea (vocals, guitar, slie-guitar,  organ, synthesizer)
Annie Whitehead (trombone)
The Sultanas (background vocals)
Ian Barnett – Donnie Hilstad – Jesse Lortz – Kimberly Morrison)


01. Steel River 6.17
02. Stainsby Girls 3.52
03. Chisel Hill 4.03
04. Josephine 3.57
05. One Golden Rule 4.30
06. All Summer Long 4.11
07. Stone 4.27
08. Shamrock Diaries 4.56
08. Love Turns To Lies 4.12
09. Hired Gun 8.01

All songs written by Chris Rea.




More from Chris Rea:

The (now deleted) website:

Fleetwood Mac – Then Play (Deluxe Expanded 2013 Edition) (1969)

LPFrontCover1Fleetwood Mac are a British-American rock band, formed in London in 1967. Fleetwood Mac were founded by guitarist Peter Green, drummer Mick Fleetwood and guitarist Jeremy Spencer, before bassist John McVie joined the line-up for their self-titled debut album. Danny Kirwan joined as a third guitarist in 1968. Keyboardist and vocalist Christine Perfect, who contributed as a session musician from the second album, married McVie and joined in 1970.

Primarily a British blues band at first, Fleetwood Mac scored a UK number one with “Albatross”, and had other hits such as the singles “Oh Well” and “Man of the World”. All three guitarists left in succession during the early 1970s, to be replaced by guitarists Bob Welch and Bob Weston and vocalist Dave Walker. By 1974, Welch, Weston and Walker had all either departed or been dismissed, leaving the band without a male lead vocalist or guitarist. In late 1974, while Fleetwood was scouting studios in Los Angeles, he heard American folk-rock duo Lindsey Buckingham and Stevie Nicks, and asked Buckingham to be their new lead guitarist, and Buckingham agreed on condition that Nicks could also join the band.


The addition of Buckingham and Nicks gave the band a more pop rock sound, and their 1975 self-titled album, Fleetwood Mac, reached No. 1 in the United States. Rumours (1977), Fleetwood Mac’s second album after the arrival of Buckingham and Nicks, produced four U.S. Top 10 singles and remained at number one on the American albums chart for 31 weeks. It also reached the top spot in countries around the world and won a Grammy Award for Album of the Year in 1978. Rumours has sold over 40 million copies worldwide, making it one of the best-selling albums in history. Although each member of the band went through a breakup (John and Christine McVie, Buckingham and Nicks, and Fleetwood and his wife Jenny) while recording the album, they continued to write and record music together.


The band’s personnel remained stable through three more studio albums, but by the late 1980s began to disintegrate. After Buckingham and Nicks each left the band, they were replaced by a number of other guitarists and vocalists. A 1993 one-off performance for the first inauguration of Bill Clinton featured the line-up of Fleetwood, John McVie, Christine McVie, Nicks, and Buckingham back together for the first time in six years. A full reunion occurred four years later, and the group released their fourth U.S. No. 1 album, The Dance (1997), a live compilation of their hits, also marking the 20th anniversary of Rumours. Christine McVie left the band in 1998, but continued to work with the band in a session capacity. Meanwhile, the group remained together as a four-piece, releasing their most recent studio album, Say You Will, in 2003. Christine McVie rejoined the band full-time in 2014. In 2018, Buckingham was fired from the band and replaced by Mike Campbell, formerly of Tom Petty and the Heartbreakers, and Neil Finn of Split Enz and Crowded House.

Fleetwood Mac have sold more than 120 million records worldwide, making them one of the world’s best-selling bands. In 1979, the group were honoured with a star on the Hollywood Walk of Fame. In 1998 the band were inducted into the Rock and Roll Hall of Fame and received the Brit Award for Outstanding Contribution to Music. In 2018, the band received the MusiCares Person of the Year award from The Recording Academy in recognition of their artistic achievement in the music industry and dedication to philanthropy.


Then Play On is the third studio album by the British blues rock band Fleetwood Mac, released on 19 September 1969. It was the first of their original albums to feature Danny Kirwan (although he is also listed on two tracks on the earlier compilation The Pious Bird of Good Omen) and the last with Peter Green. Jeremy Spencer did not feature on the album apart from “a couple of piano things” (according to Mick Fleetwood in Q magazine in 1990). The album offered a broader stylistic range than the straightforward electric blues of the group’s first two albums, displaying elements of folk rock, hard rock, art rock and psychedelia. The album reached No. 6 on the UK Albums Chart, becoming the band’s fourth Top 20 LP in a row, as well as their third album to reach the Top 10. The album’s title, Then Play On, is taken from the opening line of William Shakespeare’s play Twelfth Night — “If music be the food of love, play on”.

Then Play On is Fleetwood Mac’s first release with Reprise Records after being lured away from Blue Horizon and a one-off with Immediate Records. The label would be the band’s home until their self-titled 1975 album. The initial US release of the album omitted two tracks that were previously issued on the American compilation English Rose, while the second US pressing further abridged the tracklist with the addition of the hit single “Oh Well”. The original CD compiled all the songs from the two US LP versions, both of which omitted the “English Rose” tracks that are on the original UK version. In August 2013, a remastered edition of the album was reissued on vinyl and CD, restoring its original 1969 UK track listing and adding four bonus tracks from the same era.


Fleetwood Mac’s previous albums had been recorded live in the studio and adhered strictly to the blues formula. For the recording of Then Play On, editing and overdubbing techniques were used extensively for the first time. Green had recently introduced improvisation and jamming to the band’s live performances and three of the tracks on the album including “Underway”, “Searching for Madge”, and “Fighting for Madge”, which were compiled by Green from several hours of studio jam sessions.

Green, the de facto band leader at the time, delegated half of the songwriting to bandmate Danny Kirwan so he could sing more lead vocals. Music journalist Anthony Bozza remarked that Green “was a very generous band leader in every single way. And Peter gave Danny all of that freedom. You just don’t hear about things like that.” Jeremy Spencer, the band’s other guitarist, was retained even though he did not play on any of the album’s original tracks. Green and Spencer had planned to record a concept album — “an orchestral-choral LP” — about the life of Jesus Christ, although the album never came to fruition. Instead, Spencer released a solo album in 1970 with the members of Fleetwood Mac as his backing band.

A German re-issue edition from 1973:

Although “Oh Well” was a hit in the UK, it was not the group’s first single released in America. Instead, Clifford Davis, who was Fleetwood Mac’s manager at the time, selected “Rattlesnake Shake” to be released in the US. While Davis thought “Rattlesnake Shake” would become a big hit, it failed to chart anywhere. After the failure of “Rattlesnake Shake”, “Oh Well” was chosen as the second single for the US market. The second single fared much better, becoming the band’s first song to chart on the Billboard Hot 100. Mick Fleetwood ranked the song in his top 11 favourite Fleetwood Mac songs list.

The “Oh Well” single … all ove the world:
Oh Well Singles

It incorporated the freedom to go off on a tangent, to jam – the classic ‘Do you jam, dude?’ We learned that as players. You hear that alive and well in the double-time structure that I put in at the end, which on stage could last half an hour. It was our way of being in The Grateful Dead.

The painting used for the album cover artwork is a mural by the English artist Maxwell Armfield. The painting was featured in the February 1917 edition of The Countryside magazine, which noted that the mural was originally designed for the dining room of a London mansion.


Contemporary reception of the album was mixed. Writing for Rolling Stone magazine, John Morthland said Fleetwood Mac had fallen “flat on their faces”, and later dismissed the album as mostly “nondescript ramblings”. On the other hand, Robert Christgau was more positive. He described the album’s mixing of “easy ballads and Latin rhythms with the hard stuff” as “odd” but “very good”.

However, modern reviews of the album are highly positive; The New Rolling Stone Album Guide labeling the album as a “cool, blues-based stew” and considered it the second best Fleetwood Mac album. The Telegraph described Then Play On as a “musically expansive, soft edged, psychedelic blues odyssey”. Clark Collins of Blender magazine gave the album five stars out of five, and described “Oh Well” as an “epic blues-pop workout”. (wikipedia)


This Peter Green-led edition of the Mac isn’t just an important transition between their initial blues-based incarnation and the mega-pop band they became, it’s also their most vital, exciting version. The addition of Danny Kirwan as second guitarist and songwriter foreshadows not only the soft-rock terrain of “Bare Trees” and “Kiln House” with Christine Perfect-McVie, but also predicts Rumours. That only pertains to roughly half of the also excellent material here, though; the rest is quintessential Green. The immortal “Oh Well,” with its hard-edged, thickly layered guitars and chamber-like sections, is perhaps the band’s most enduring progressive composition. “Rattlesnake Shake” is another familiar number, a down-and-dirty, even-paced funk, with clean, wall-of-sound guitars. Choogling drums and Green’s fiery improvisations power “Searching for Madge,” perhaps Mac’s most inspired work save “Green Manalishi,” and leads into an unlikely symphonic interlude and the similar, lighter boogie “Fighting for Madge.”


A hot Afro-Cuban rhythm with beautiful guitars from Kirwan and Green on “Coming Your Way” not only defines the Mac’s sound, but the rock aesthetic of the day. Of the songs with Kirwan’s stamp on them, “Closing My Eyes” is a mysterious waltz love song; haunting guitars approach surf music on the instrumental “My Dream”; while “Although the Sun Is Shining” is the ultimate pre-Rumours number someone should revisit. Blues roots still crop up on the spatial, loose, Hendrix-tinged “Underway,” the folky “Like Crying,” and the final outcry of the ever-poignant “Show Biz Blues,” with Green moaning “do you really give a damn for me?” Then Play On is a reminder of how pervasive and powerful Green’s influence was on Mac’s originality and individual stance beyond his involvement. Still highly recommended and a must-buy after all these years, it remains their magnum opus. (by Michael G. Nastos)


Peter Green (vocals, guitar, harmonica, bass, percussion, cello on 16.)
Mick Fleetwood (drums, percussion)
Danny Kirwan (vocals, guitar)
John McVie (bass)
Jeremy Spencer (piano on 16. only)
Sandra Elsdon (recorder on 16.)
Big Walter Horton (harmonica)
Christine Perfect (piano)


01. Coming Your Way (Kirwan) 3.46
02. Closing My Eyes (Green) 4.52
03. Fighting For Madge (Fleetwood) 2.43
04. When You Say (Kirwan) 4:31
05. Show-Biz Blues (Green) 3.52
06. Underway (Green) 3.05
07. One Sunny Day (Kirwan) 3.12
08. Although The Sun Is Shining (Kirwan) 2.26
09. Rattlesnake Shake (Green) 3.30
10. Without You (Kirwan) 4.35
11. Searching For Madge (McVie) 6.57
12. My Dream (Kirwan) 3.32
13. Like Crying (Kirwan) 2.26
14. Before The Beginning (Green) 3.28
15. Oh Well – Pt. 1 (bonus mono track) (Green) 3.25
16. Oh Well – Pt. 2 (bonus mono track) (Green) 5.40
17. The Green Manalishi (With the Two-Pronged Crown) (Green) 4.37
18. World In Harmony (Kirwan/Green) 3.27



LinerNotes Re-Issue1973_1

The inlets of the 1973 re-issue:
Inlets (Re-Issue)


More from Fleetwood Mac:

The official website:

Horslips – The Man Who Built America (1979)

FrontCover1Horslips are an Irish Celtic rock band that compose, arrange and perform songs frequently inspired by traditional Irish airs, jigs and reels. The group are regarded as ‘founding fathers of Celtic rock’ for their fusion of traditional Irish music with rock music and went on to inspire many local and international acts. They formed in 1970 and ‘retired’ in 1980 for an extended period. The name originated from a spoonerism on The Four Horsemen of the Apocalypse which became “The Four Poxmen of The Horslypse”.

Although Horslips had limited commercial success when the band was playing in the 70s, there was a revival of interest in their music in the late 1990s and they came to be regarded as one of the defining bands of the Celtic rock genre. There have since been small scale reunions including appearances on The Late Late Show and RTÉ’s Other Voices. The band reformed for two Irish shows in the Odyssey Arena in Belfast and the 3Arena in Dublin at the end of 2009, and have continued to play shows since then …


… In 1977 they toured Britain, Germany, Canada and the United States. The night they played the Albert Hall in London was described by one critic as the loudest gig there since Hendrix. The Man Who Built America, produced by Steve Katz of Blood, Sweat and Tears and Blues Project fame, concerned Irish emigration to the US and received considerable airplay but broad approval was missing. The heavier sound did bring some acceptance in America but they lost their folk base and their freshness. (wikipedia)


A concept album about an Irish emigrant who makes a success of himself in the US, this album is energetic and often engaging, with some excellent songs (“The Man Who Built America”) and some tepid stretches.


The Irish content is fairly subdued here, with the overall sound favoring rock songs built around moderately complicated hooks.(by Steven McDonald)

Indeed, not the best album … but still a pretty good one !


Eamon Carr (drums)
Barry Devlin (bass, vocals)
John Fean (guitar, vocals)
Jim Lockhart (keyboards, flute, vocals)
Charles O’Connor (violin, mandolin, concertina, vocals)

01. Lonelines 4.17
02. Tonight (You’re With Me) 3.21
03. I’ll Be Waiting 6.26
04. If It Takes All Night 3.34
05. «Green Star Liner» 3:24
Side toNr. Tittel Lengd
06. «The Man Who Built America» 3:36
07. «Homesick» 4:00
08. «Long Weekend» 3:46
09. «Letters from Home» 4:14
10. «Long Time Ago» 3:36

All songs written by:
Eamon Carr – Barry Devlin – John Fean – Jim Lockhart – Charles O’Connor



More from Horslips:

The official website:

Jack Bruce – Live In America (2007)

FrontCover1Although some may be tempted to call multi-instrumentalist, songwriter, and composer Jack Bruce a rock & roll musician, blues and jazz were what this innovative musician really loved.

As a result, those two genres were at the base of most of the recorded output from a career that went back to the beginning of London’s blues scene in 1962.

In that year, he joined Alexis Korner’s Blues Incorporated. Throughout the following decades and into the 21st century, Bruce remained a supreme innovator, pushing himself into uncharted waters with his jazz and folk-rock compositions. (by Richard Skelly)


And here´s an obscure live recording:

This is a concert recorded November 20, 1980 in Denver, CO during a tour to support his 1980 “Ive Always Wanted To Do This” LP . His backing band at this time was Billy Cobham, Clem Clemson & David Sancious.
Jack’s voice & bass playing are very good here. The reason for only 3 stars is that, with rare exception (ex. “Politician” & “Living Without Ja”) the band doesn’t really rise to the occasion, IMO. The recording is professional. This is not a bootleg. The set begins with an odd, slow jazz-vocal intro to “White Room” before morphing into what we all recognize. The next track is “Hit & Run”, which definitely dates the show with quasi-disco drum & bass playing. This is followed by Clem’s Blues Solo, which is a self-indulgent benign blues instrumental. “Theme From An Imaginary Western” & “Born Under A Bad Sign” are two other staples in this set.


Note that this CD is also available as “Alive In America”, which includes lengthy versions of both “Sunshine of Your Love” & “Bird Alone”, which are omitted on this version (same show & band line-up). Other tracks appearing are “Morning Story, Post War, Face Lift 318, Escape From Royal Wood”. “Traintime” is a short harmonica & snare drum only instrumental. The song “Dancing On Air” has backing vocals that are beyond painful. Jack has one of the most distinct & powerful voices in music. Don’t let just anyone in your band sing. Gary Moore & Eric are two exceptions who could actually compliment Jack’s voice. In short, this set offers 14 songs culled from one show in 1980. Not Jack’s finest moment, neither is it his worst. For the record, his swan song “Silver Rails” is a solid CD. Rest in peace, Jack, your music will be eternal. (George Spiggot)

I am already of the opinion that this album is a bootleg … but a good one !

Recorded live  at Denver, Colorado, USA, November 20th, 1980


Jack Bruce (bass, vocals, harmonica)
Clem Clempson (guitar)
Billy Cobham (drums)
David Sancious (keyboards)


01. White Room (Bruce/Brown) 7.29
02. Hit And Run (Bruce/Brown) 5.06
03. Clempson Blues Solo (Clempson) 3.10
04. Born Under A Bad Sign (Bell/Jones) 4.46
05. Livin’ Without Ja (Bruce/Brown) 3.37
06. Dancing On Air (Bruce/Brown) 4.39
07. Post War (Bruce/Brown) 10.23
08. Theme For An Imaginary Western (Bruce/Brown) 5.08
09. Face Lift 318 (Bruce/Brown) 5.27
10. Escape To The Royal Wood (On Ice) (Bruce/Brown) 8.44
11. Morning Story (Bruce/Brown) 1.47
12. Traintime (Bruce) 3.13
13. Politician (Bruce/Brown) 6.21



The official website:

More from Jack Bruce:More

Latin Quarter – Live At Glastonbury Festival (1986)

FrontCover1Latin Quarter is a British band formed in 1983. They had one top 20 single “Radio Africa” in the United Kingdom.

The British radio were cautious in the eighties to play their singles because of their political based lyrics. They became more popular in Germany and in northern Europe.

Latin Quarter released their latest album, Releasing the Sheep, on 29 October 2021. Their sound mixes elements of pop, rock, reggae and folk with largely political based lyrics.

Latin Quarter began when ex-printer and founder-member Steve Skaith left Liverpool for London in 1982 to write songs for music publishers Chappell. Skaith was also working on some rather more radical music with lyrics from an old friend of his called Mike Jones, both were members from the left wing political group Big Flame.

Mike Jones himself did not play with Latin Quarter, but he wrote the lyrics to the songs. The former technical school teacher from Liverpool had already been writing political songs for eight years and had been a friend of Steve Skaith’s since grammar school.

Their political viewpoint were sometimes reflected in the choice of subject matter and lyrics of Latin Quarter’s output.


Latin Quarter were the first band to be managed by Marcus Russell (who is from Ebbw Vale along with Mike Jones). Russell formed the Ignition Management in 1983.

Skaith and Jones formed Latin Quarter in autumn 1983 with guitarist Richard Wright, a classically-trained musician and ex-member of the Inversions, a band active on the jazz/funk scene. Yona Dunsford (vocals/piano) and Carol Douet (vocals/percussion) joined the trio at the end of the year, with the line-up completed by Richard Stevens (drums), Greg Harewood (bass) and Steve Jeffries (keyboards). After the band’s first sporadic London gigs in 1984, ex-Police producer Nigel Gray recorded two of Latin Quarter’s songs at his own expense, and the band released Radio Africa on its own independent record label, Ignition in September 1984.

The band was signed by Rockin’ Horse Records, an offshoot of Arista Records, and completed work on their debut album Modern Times. After being re-released, Radio Africa finally became a UK hit at the start of 1986 when it reached number 19 in the UK Singles Chart.

Latin Quarter02

Jones described their first album Modern Times as “a veritable manifesto”. The album only spent two weeks on the UK Albums Chart, peaking at Number 91, but was a top twenty hit in Germany and Sweden and sold well throughout Europe. They played at Glastonbury Festival 21 June 1986 and at the ‘Rock for Peace Festival’ in East Berlin at the Palace of the Republic in February 1987.

Darren Abraham and Martin Lascalles were new members on the follow-up Mick And Caroline, released 1987. An album that was not as successful as the debut. Skaith later told in an interview that he was not satisfied with Jason Corsaros production of the second album. Corsaro was a Grammy Award Winning music engineer and record producer.

Latin Quarter03

The band had slimmed down to the quartet of Skaith, Wright, Harewood and Dunsford by their third album Swimming Against the Stream, released 1989 on the RCA label in Germany. They recorded the album in Los Angeles, with producer David Kershenbaum and engineer Paul McKenna, but the album was not released in the US. With all lyrics still written by Jones, that album was dedicated to the eleven workers at Dunne’s stores, Dublin, who were sacked for refusing to handle South Africa goods. Their three year fight against dismissal culminated in the Irish Government’s ban on the importation of South Africa Agricultural produce. The single Dominion was originally recorded for the T.V. documentary series Animal Traffic, directed by Arpad Bondy & Ron Orders

After low sales in the UK the band originally split up. In October 1990, however, another album, entitled Nothing Like Velvet was released, which was made up of unreleased demos, alternative versions and live tracks. Judging by the sleeve notes, the band agreed to the release of these songs.

Latin Quarter04

However, the members, they all stayed friends, meeting each other privately. Skaith, Wright and Jones continued as Latin Quarter, and they collaborated with The Bhundu Boys on the latter’s 1993 Friends on the Road album, including a re-working of Radio Africa and two new songs written by members of both bands. Latin Quarter, released the albums Long Pig 1993 and Bringing Rosa Home 1997, both on German record labels. Both albums were recorded with session musicians and Latin Quarter finally went on hiatus in 1998.

Jones went on to run courses in Popular Music at the University of Liverpool. Skaith went to live in Mexico where he formed the Steve Skaith Band with Mexican musicians, and released the albums Mexile 2003, Empires and Us 2005 and Imaginary Friend 2007. He then returned to England and re-recorded some early Latin Quarter songs on Latin Quarter Revisited 2010.

Latin Quarter05

In 2011, Skaith and lyricist Jones re-formed Latin Quarter with original vocalist Yona Dunsford, bass player Greg Harewood and keyboard player Steve Jeffries. The band toured Germany and UK and they released the albums Ocean Head in 2012 and Tilt in 2014. Chris Rea was a guest star playing slide guitar on the Tilt album. Steve Skaith re-recorded acoustic versions of Latin Quarter-songs on Bare Bones in 2015.

In September 2016, Latin Quarter released The Imagination of Thieves, now featuring Skaith, Jeffries, Martin Ditcham (Drums), Yo Yo Buys (Bass and Guitars) and Mary Carewe (vocals).

In February 2018, the new track Pantomime of Wealth was released as a digital release on Westpark Music. The album with the same name was released 13 April 2018.

In April 2019, Latin Quarter released The Colour Scheme, now as a trio featuring Skaith, Jeffries and Carewe. The album consisted mainly acoustic rearrangements of early Latin Quarter songs plus a couple of songs from the Steve Skaith Band albums.

In October 2021 they released the album, Releasing The Sheep. (wikipedia)

Latin Quarter01

And here´s  a wonderful, a brilliant live recording (taken from the legendary “BBC In Concert” series).

Their music was a very special form of pop music, very subtle and always a little fragile. And the lyrics were much needed comments on all those damn topics of those years … Unfortunately, these problems have not really been solved to date, on the contrary.

Latin Quarter were and are an uncomfortable band, unfortunately indispensable in “modern times”.

Enjoy this rare live recording !

Recorded live at the Glastonbury Festival, Worthy Farm, Pilton/UK, June-21, 1986


Carol Douet (vocals, percussion)
Yona Dunsford (keyboards, vocals)
Greg Harewood (bass)
Steve Jeffries (keyboards)
Steve Skaith (vocals, guitar)
Richard Stevens (drums)
Richard Wright (guitar)Inlets

01. Sandinista (Skaith/Jones) 5.23
02. Remember (Skaith/Jones) 4.32
03. Freight Elevator (Jeffries/Jones) 5.05
04. See Him (Skaith/Jones) 5.07
05. Truth About John (Skaith/Jones) 4.03
06. Eddie (Skaith/Jones/Keefe) 3.03
07. No Rope As Long As Time (Skaith 5.02
08. I (Together) (Skaith/Jones) 4.20
09. Radio Africa (Skaith/Jones/Keefe)  6:35
10. The Night (Skaith/Jones) 4.32
11. Pyramid Label (Skaith/Jones) 8.36



More from Latin Quarter:

Various Artists – 2th Blues Festival Bonn 1987 (1988)

FrontCover1As everyone here probably knows, I am a great lover of blues music (regardless of whether it is black or white blues music).

And here is a very special rarity, recorded live at the 2th Blues Festival in Bonn/Germany.

I guess this album was only released in Germany.

So, This are one of the hardest recordings of bands like Canned Heat, Chicken Shack, Man (they were of course not a blues band) and Dr. Feelgood … all bands I like very much …

… and I m guess there are still many fans of these bands and their music.


So enjoy this album (including the jam session as an encore… !) … I call it: Excellent stuff and you should not miss it !

Recorded live at the Biskuithalle, Bonn/Germany, September, 27, 1987



Chicken Shack:
Bev Smith (drums)
Wayne Terry (bass)
Stan Webb (guitar, vocals)
David Wilkie (keyboards)

Dr. Feelgood:
Lee Brilleaux (vocals, guitar)
Philipp Mitchell (bass, vocals)
Drums, Vocals – Kevin Morris (drums, vocals)
Gordon Russell (guitar)

Martin Ace (bass, vocals)
Micky Jones (guitar, vocals)
Deke Leonard (guitar, vocals)
Terry Williams (drums, vocals)

Canned Heat:
Adolpho „Fito“ De LaParra (drums)
Larry Taylor (bass, vocals)
James Thornberry (guitar, vocals, flute)
Henry Vestine (guitar)



Chicken Shack:
01. The Thrill Has Gone (Darnell/Hawkins) 7.52
02. Have You Ever Loved A Woman (Myles) 10.57
03. I’d Rather Go Blind (Jordan) 6.44

Dr. Feelgood:
04. Down At The Doctors (Jupp) 4.13
05. See You Later Alligator (Guidry) 3.27
06. Back In The Night (Johnson) 4.06
05. Milk And Alcohol (May/Lowe) 2.47

06. What A Night (Roger/Leonard) 3.26
07. Jumping Like A Kangaroo (Ace) 4.58
08. Bananas (John/Jones/Ryan/Williams) 8.31

Canned Heat:
09. Going Up The Country (Wilson) 3.01
10. Rollin’ And Tumblin’ (Morganfield) 4.19
11. Amphetamine Annie (Wilson/Hite/Parra/Vestine/Taylor) 4.22

All Star Jam Session:
12. Dust My Broom (James) 8.53




Alternate frontcover:

Vinegar Joe – Same (1972)

FrontCover1Vinegar Joe were an English Blues rock band, formed in 1971 in London. They released three albums on Island Records, but were best known for their live shows and launching the solo careers of Elkie Brooks and Robert Palmer.

Vinegar Joe evolved out of Dada, a 12-piece Stax-influenced, jazz/blues rock fusion band. Dada released one eponymous album in 1970, with a line up including vocalist Elkie Brooks and guitarist Pete Gage. Singer Robert Palmer, formerly with The Alan Bown Set joined Dada after the album had been recorded. Dada were signed by Ahmet Ertegun for Atlantic Records. After their US tour, Ahmet sub-licensed them to Chris Blackwell of Island Records for the UK and rest of the world, with instructions to reduce the line up to form Vinegar Joe in 1971, adding keyboard player Dave Thompson, but the band was still without a drummer. Phil Collins had unsuccessfully applied for the job. Conrad Isidore and Rob Tait drummed on the first album. Tim Hinkley added keyboards alongside Dave Thompson and it was Hinkley who appeared on the cover of the first album. Their debut LP Vinegar Joe was released in April 1972 on Island Records in the UK and Atco Records in the US. The album cover featured plasticine models of the band created by John Padley.

Vinegar Joe01

Tim Hinkley took over from Thompson on keyboards and was succeeded by John Hawken. Drummer Rob Tait played the first series of live shows succeeded by John Woods. Mike Deacon took over on keyboards. During recording of their second album, Rock’n Roll Gypsies, also released in 1972, Keef Hartley played drums. Guitarist Jim Mullen also joined the band for this record and played on the US tour. The artwork for the album was supplied by Hipgnosis. Drummer Pete Gavin joined the band prior to the US tour and recording of their third and final album Six Star General released in 1973. The band dissolved in the spring of 1974. Alan Powell played drums during the band’s final weeks.

Subsequently, Brooks and Palmer went on to enjoy success as solo musicians. Gage became a record producer and arranger, working with Brooks, his wife, until their divorce, and a range of musicians such as Joan Armatrading and specialising in upcoming rockabilly and punk bands including as Restless and King Kurt. (wikipedia)

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And here is their first album:

When I first heard of the semi-obscure soulful progressive blues rockers Vinegar Joe, I was intrigued. To have not one but two future solo stars with legitimate top ten hit single radio staples was one thing, but for those stars to be pop soul star Elkie Brooks (yes, she of “Pearl’s a Singer” fame) and Robert Palmer (yes, the “Addicted to Love” guy), let’s just say I struggled to imagine what that might sound like. Then I saw archive footage of them performing on The Old Grey Whistle Test and I was on board. I resolved to keep an eye out for a Vinegar Joe album.

SingleTurned out they aren’t so easy to track down. Something to do with the fact that they didn’t come close to denting the charts.

Then one day, shortly after the comprehensive Finer Things: The Island Recordings 1972-1973 compilation was released, I found two thirds of their discography in my favourite music exchange, and I duly purchased them out of sheer surprise.

Even when I first listened to Vinegar Joe’s self titled debut album, there wa s a certain reassuring familiarity about it. Not that I’d heard it before, I just have a things for early 70s rock, so sonically, I immediately found Vinegar Joe appealing. While I’m at best lukewarm to Brooks and Palmer’s respective solo outputs, them being the vocalists for a band that seemed determined to bring blue-eyed soul marinated rock music is just pleasing to my ears.

Vinegar Joe03

Something which is interesting is that Brooks and Palmer don’t perform any traditional duets on Vinegar Joe, instead one tends to act as the backing vocalist for the other, or they blend their vocals together, and yeah, it works well. Musically there’s the sense that there was a real ambition for Vinegar Joe to have a slightly funky Southern rock edge about them, and led by Brooks’ then husband Pete Gage on guitar and ably backed up by Steve York and a rotating cast of keyboard players and drummers, yeah, they were a hell of a band that could pretty much adapt their sound to anything the individual songs required.

The fact that the music of Vinegar Joe hasn’t been played to death on classic rock radio gives it a sort of weird vintage freshness. For me the absolute highlights of this debut are the first and second side openers “Rusty Red Armour” and “See the World”, “Never Met a Dog”, “Ride Me Easy Rider”, and “Circles”, a tune which, if we lived in a just and fair world, would have seen Vinegar Joe enjoy a well deserved top ten hit rather than languish in semi-obscurity.

A re-issue edition:
Re-Issue Edition

If I have a criticism of Vinegar Joe, it’s that they perhaps didn’t know exactly what they wanted the sound of their band to me, so tried to cover a few too many bases. Also, there was a tendency to overstretch some of the songs to slightly longer than they needed to be. Having said that, this was an album released in 1972, the height of progressive rock’s commercial success, so they certainly weren’t the worst offenders by any means. (P.Q.)


Elkie Brooks (vocals, percussion)
Pete Gage (guitar, slide-guitar)
Tim Hinkley (keyboards)
Robert Palmer (vocals, guitar)
Dave Thompson (keyboards, saxophone)
Steve York (bass, harmonica)
Roger Ball (horn)
Dave Brooks (saxophone, flute)
Malcolm Duncan (horn)
Keef Hartley (drums)
Conrad Isidore (drums)
Gasper Lawal (percussion)
Mike Rosen (horn)
Rob Tait (drums)
The Vinegrettes (background vocals)

Vinegar Joe04

01. Rusty Red Armour (Palmer) 5.02
02. Early Monday Morning (Gage) 4.44
03. Ride Me Easy, Rider (Gage) 5.42
04. Circles (Palmer) 4.03
05. Leg Up (Palmer) 4.55
06. See The World (Gage) 6.16
07. Never Met A Dog (Palmer) 6.30
08. Avinu Malkenu (Gage/Brooks) 3.24
09. Gettin’ Out (Gage/Thompson/York) 5.04
10. Live A Little, Get Somewhere (Gage) 5.21
11. Speed Queen Of Ventura (Single-B side) (Gage) 4.10
12. Speed Queen Of Ventura (long version) (Gage) 7.06




Bruce Hornsby & The Range – A Night On The Town (1990)

FrontCover1Bruce Randall Hornsby (born November 23, 1954) is an American singer-songwriter and pianist. He draws from folk rock, jazz, bluegrass, folk, southern rock, country rock, jam band, rock, heartland rock, and blues rock musical traditions.

His recordings have been recognized with industry awards, including the 1987 Grammy Award for Best New Artist with Bruce Hornsby and the Range, the 1990 Grammy Award for Best Bluegrass Album, and the 1994 Grammy Award for Best Pop Instrumental Performance.

Bruce Hornsby03

Hornsby has worked with his touring band Bruce Hornsby and the Noisemakers, his bluegrass project with Ricky Skaggs, and as a session and guest musician. He was a touring member of the Grateful Dead from September 1990 to March 1992, playing over 100 shows during that period.

His 21st album, Absolute Zero, was released in April 2019 and features collaborations with Justin Vernon and Sean Carey of Bon Iver; Jack DeJohnette, Blake Mills, yMusic, The Staves, and Brad Cook.

Bruce Hornsby01

A Night on the Town was the third and final studio album by Bruce Hornsby and the Range. Following albums would be credited to Hornsby alone. A Night on the Town features Hornsby’s last significant hit single, “Across the River”, which spent one week at the top of the Billboard Album Rock Tracks chart and peaked at number 18 on the Billboard Hot 100. Bruce Hornsby chose Laurelle Brooks as the female lead in the music video for “Across the River”.. (wikipedia)

Bruce Hornsby02

Bruce Hornsby’s hardest-rocking album, A Night on the Town announces that he is heading into a different direction in its first few notes. John Mellencamp’s producer Don Gehman gives the sound, especially John Molo’s drums, a feel reminiscent of Mellencamp’s best work. The material here is among Hornsby’s best, and guest players include Jerry Garcia, tenor saxman Wayne Shorter, banjo virtuoso Béla Fleck, vocalist Shawn Colvin (before she was known), and jazz bass legend Charlie Haden. The arrangements still include the mix of synthesized and real percussion, and the trademark piano licks are sprinkled abundantly throughout, but the overall feel is much more rock & roll than anything before or since. The songs are great, with a political edge to “Fire on the Cross” and “Barren Ground.”

Jerry Garcia & Bruce Hornsby

The latter features Garcia’s lead guitar, the former a fine Shorter sax solo. “Stander on the Mountain” is a perceptive reflection on a former BMOC, straight out of Hornsby’s own attendance at a high school reunion, and “Lost Soul” is one of the most profound ballads he has composed, sung as a duet with Colvin. The single, “Across the River,” is a powerful look at the pursuit of one’s dreams in the face of local naysayers, and the subsequent return to one’s hometown with the resultant “I-told-you-so’s.” With A Night on the Town, Bruce Hornsby achieves a mix of mostly up-tempo rock music, adult lyrical themes, and crisp production values that has seldom been matched by other popular musicians of his generation. Though it only peaked at number 20 (his first two albums had reached the Top Five), it is an artistic high point. (Jim Newsom)


Bruce Hornsby (vocals, piano, synthesizer, accordion)
George Marinelli (guitar, mandolin, background vocals)
John Molo (drums)
Joe Puerta (bass, background vocals)
Shawn Colvin (vocals on 08.)
Béla Fleck (banjo on 03. + 04.)
Jerry Garcia (guitar on 04. + 05.)
Charlie Haden (bass on 07.)
David Mansfield (guitar on 06., violin on 07.)
Wayne Shorter (saxophone on 03.)
Jimmie Wood (harmonica on 06.)
background vocals:
Laura Creamer – Shaun Murphy – Shawn Colvin – Bridgette Bryant – David Lasley – Arnold McCuller – Fred White


01. A Night On The Town (B.Hornsby/J.Hornsby) 4.26
02. Carry The Water (B.Hornsby) 5.09
03. Fire On The Cross (B.Hornsby/J.Hornsby) 4.38
04. Barren Ground (B.Hornsby/J.Hornsby) 5.29
05. Across The River (B.Hornsby/J.Hornsby) 5.10
06. Stranded On Easy Street (B.Hornsby/J.Hornsby) 3.54
07. Stander On The Mountain (B.Hornsby) 6.09
08. Lost Soul (B.Hornsby) 5.45
09. Another Day (B.Hornsby) 4.24
10. Special Night (B.Hornsby) 4.11
11. These Arms Of Mine (B.Hornsby) 5.53



The official website:

The Kinks – Rockpalast Essen (1982)

FrontCover1The Kinks were an English rock band formed in Muswell Hill, north London, in 1963 by brothers Ray and Dave Davies. They are regarded as one of the most influential rock bands of the 1960s. #

The band emerged during the height of British rhythm and blues and Merseybeat, and were briefly part of the British Invasion of the United States until their touring ban in 1965.

Their third single, the Ray Davies-penned “You Really Got Me”, became an international hit, topping the charts in the United Kingdom and reaching the Top 10 in the United States.

The Kinks

The Kinks’ music drew from a wide range of influences, including American R&B and rock and roll initially, and later adopting British music hall, folk, and country. The band gained a reputation for reflecting English culture and lifestyle, fuelled by Ray Davies’ wittily observational writing style, and made apparent in albums such as Face to Face (1966), Something Else (1967), The Village Green Preservation Society (1968), Arthur (1969), Lola Versus Powerman (1970), and Muswell Hillbillies (1971), along with their accompanying singles including the transatlantic hit “Lola” (1970). After a fallow period in the mid-1970s, the band experienced a revival during the late 1970s and early 1980s with their albums Sleepwalker (1977), Misfits (1978), Low Budget (1979), Give the People What They Want (1981) and State of Confusion (1983), the last of which produced one of the band’s most successful US hits, “Come Dancing”. In addition, groups such as Van Halen, the Jam, the Knack, the Pretenders and the Romantics covered their songs, helping to boost the Kinks’ record sales. In the 1990s, Britpop acts such as Blur and Oasis cited the band as a major influence.

The Kinks02

Ray Davies (rhythm guitar, lead vocals, keyboards) and Dave Davies (lead guitar, vocals) remained members throughout the band’s 33-year run. Longest-serving member Mick Avory (drums and percussion) was replaced by Bob Henrit, formerly of Argent, in 1984. Original bass guitarist Pete Quaife was replaced by John Dalton in 1969. After Dalton’s 1976 departure, Andy Pyle briefly served as the band’s bassist before being replaced by Argent bassist Jim Rodford in 1978. Session keyboardist Nicky Hopkins accompanied the band in the studio for many of their recordings in the mid-to-late 1960s. The band became an official five-piece in 1970, when keyboardist John Gosling joined them. Gosling quit in 1978; he was first replaced by ex-Pretty Things member Gordon Edwards, then more permanently by Ian Gibbons in 1979. The band gave its last public performance in 1996 and broke up in 1997 as a result of creative tension between the Davies brothers.

The Kinks03

The Kinks have had five Top 10 singles on the US Billboard chart. Nine of their albums charted in the Top 40. In the UK, they have had seventeen Top 20 singles and five Top 10 albums. Four Kinks albums have been certified gold by the RIAA and the band have sold 50 million records worldwide. Among numerous honours, they received the Ivor Novello Award for “Outstanding Service to British Music”. In 1990, the original four members of the Kinks were inducted into the Rock and Roll Hall of Fame, as well as the UK Music Hall of Fame in November 2005. In 2018, after years of ruling out a reunion due to the brothers’ animosity and the difficult relationship between longtime drummer Mick Avory and Dave, Ray and Dave Davies finally announced they were working to reform the Kinks, with Avory also on board. However, comments made by each of the Davies brothers in 2020 and 2021 would indicate that in the years since the initial announcement, little (if any) progress has been made towards an actual Kinks reunion for a new studio band album. (wikipedia)

The Kinks04

And here´s their legendary concert, recorded live at the Rockpalast, Essen/Germany:

There are lots of Kinks concert bootlegs out there, but few and far between that have excellent sound quality. Here’s one of those rare stellar sounding ones. It sounds so good because it was professionally recorded for the German TV show “Rockpalast.”

Alternate frontcovers:

In 1980, the Kinks released the live album “One for the Road.” This comes two years later, and one album later, the 1981 “Give the People What They Want” studio album. So there’s some overlap between the songs on “One for the Road” and here, but the Kinks have such a deep catalog of popular songs that there are lots of differences as well. Seven of the songs played come from the “Give the People What They Want” album, and one song, “Bernadette,” came from their soon-to-come 1983 album, “State of Confusion.” (

In other words: Long live The Kinks !

Recorded live at the 10th Rockpalast Rockfestival,
Grugahalle Essen/Germany, April 3, 1982
(broadcast recording)


Mick Avery (drums)
Dave Davies (guitar, vocals)
Ray Davies (vocals, guitar)
Ian Gibbons (keyboards)
Jim Rodford (bass)

Another alternate front + backcover:

01. Introduction / Around The Dial 8.02
02. The Hard Way 2.34
03. Where Have All The Good Times Gone 2.27
04. (Catch Me Now) I’m Falling 3.38
05. Come On Now 2.41
06. Destroyer 4.53
07. Yo, Yo 7.09
08. Lola 7.06
09. Dead End Street 2.25
10. Add It Up 3.34
11. Low Budget 7.03
12. Art Lover 4.03
13. Back To Front 4.35
14. A Gallon Of Gas 4.15
15. Celluloid Heroes 8.25
16. Till The End Of The Day 2.41
17. Bernadette 4.51
18. All Day And All Of The Night 5.56
19. Give The People What The Want 4.45
20. Pressure 2.28
21. You Really Got Me 4.50
22. Stop Your Sobbing 1.21
23. David Watts 2.55

All songs written by Ray Davies



The official website:

More from The Kinks:

Rod Stewart – Downtown Train – Selections From The Storyteller Anthology (1990)

FrontCover1Sir Roderick David Stewart CBE (born 10 January 1945) is a British rock and pop singer, songwriter, and record producer. Born and raised in London, he is of Scottish and English ancestry.

With his distinctive raspy singing voice, Stewart is one of the best-selling music artists of all time, having sold over 250 million records worldwide. He has had 10 number-one albums and 31 top ten singles in the UK, 6 of which reached number one. Stewart has had 16 top ten singles in the US, with four reaching number one on the Billboard Hot 100. He was knighted in the 2016 Birthday Honours for services to music and charity. (wikipedia)


Downtown Train is a compilation album released by Rod Stewart in March 1990. It was a US only release by Warner Bros. Records (WEA 926 158-1/2).

The album is made up of twelve tracks from the previously released Storyteller Anthology. The album is skewed toward the more recent period of Rod’s career, most of the songs dating after 1980.


Included, however, is Stay with Me, a contemporary sounding song from 1971. This is also the only song on Downtown Train that is not from Rod’s solo catalog, though Storyteller includes ten. In the US Downtown Train would peak at #20 and by 1995 would be double platinum. (wikipedia)

A good and nice compilation album … Great mix for any Rod fan!


Rod Stewart (vocals)
many, many studio musicians


01. Stay With Me (Stewart/Wood) 4.39
02. Tonight’s The Night (Gonna Be Alright) (Stewart) 3.56
03. The Killing Of Georgie (Part I and II) (Stewart) 6.27
04. Passion (Chen/Cregan/Grainger/Savigar/Stewart) 5.32
05. Young Turks (Appice/Hitchings/Savigar/Stewart) 5.03
06. Infatuation (Hitchings/Robinson/Stewart) 5.14
07. People Get Ready (feat. Jeff Beck) (Mayfield) 4.55
08. Forever Young (Cregan/Savigar/Dylan/Stewart) 4.06
09. My Heart Can’t Tell You No (Climie/Morgan) 5.14
10. I Don’t Want To Talk About It (Whitten) 4.53
11. This Old Heart Of Mine (Is Weak for You) (L.Dozier/Holland/B.Holland/Moy) 4.12
12. Downtown Train (Tom Waits) 4.39



More from Rod Stewart:

The official website: