Dumpy´s Rusty Nuts – Somewhere In England (1984)

FrontCover1Dumpy’s Rusty Nuts are a British rock band founded in 1981 by the lead singer Graham “Dumpy” Dunnell. Though unsuccessful as recording artists the band have been a successful and popular live act for decades. The band attracted a cult following for their live performances in small rock venues. Playing classic blues rock, their initial audiences were drawn from the new wave of British heavy metal[2] and ‘Bikers’ and they became particularly well-known at the London Marquee Club, where they were a regular and popular attraction. In the early to mid-1980s the band toured extensively around the UK playing at small rock/’Biker’ pub and club venues including the Isle of Man TT, and music festivals, cementing their name and following.

The band were not successful recording artists, preferring to concentrate on live work. They released a debut single “Just For Kicks” in June 1982 but in order to get airplay the band had to change their name to “Dumpy’s Rusty Bolts”. Sales of the single were poor, and the original band name was restored. A second single, “Box Hill Or Bust”, was released. Subsequent sporadic releases have only found favour with their small core audience.

They released a double live album, Somewhere in England, in 1984, which was recorded at the Marquee Club.

Despite the group’s longevity, they became for a time a favourite target for mockery from the British music press, especially Melody Maker, where they were regularly portrayed as claiming to be jumping on the latest improbable bandwagon in the humorous section “Talk Talk Talk” written by David Stubbs.

As of 2010, the band is still performing in small venues, music festivals and bike rallies across Europe. The band has toured with and supported many bands including Hawkwind, Motörhead and Status Quo. (by wikipedia)

Dumpy01Dumpy’s Rusty Nuts are a biker rock band in every sense of the term — not only do they play the sort of loud, heavy, riff-driven bar boogie you’d expect, but singer and lead guitarist Graham “Dumpy” Dunnell actually started out as a motorcycle mechanic before making the switch to rock & roll. Dunnell’s first gig was with a pub rock band called Borzoi, which didn’t survive the punk revolution; he briefly joined an Elvis Costello-influenced new wave band called the Rivvits before deciding it didn’t reflect his musical taste. In 1981, Dunnell formed a boozy blues/boogie unit called Dumpy’s Dirt Band; early the following year, he assembled the more focused Dumpy’s Rusty Nuts, with bassist Mac McKensie and drummer Chris Hussey. In June 1982, Dumpy’s Rusty Nuts issued their debut single, “Just for Kicks,” which became a minor metal hit in the U.K. The follow-up, “Boxhill or Bust,” became a British biker anthem; it featured new bassist Jeff Brown, and was actually released as Dumpy’s Rusty Bolts since the BBC banned their proper name. Both singles were released on the Blues Band’s house label, Cool King, and the Rusty Nuts’ subsequent tour supporting the Blues Band (the post-Manfred Mann group of Paul Jones) cemented their reputation. By that time, bass duties had passed to Kerry Longford, in a revolving-door situation that would continue for most of the band’s history. Dumpy’s Rusty Nuts released their debut album,

ConcertPosterSomewhere in England (which contained their two prior singles), in 1984 and hit the road in support. Hot Lover followed in 1985, as did 1987’s Get Out on the Road — an apt description of the band’s philosophy, since even as their recording activity diminished and their rhythm section personnel came and left, they remained an active touring and performing unit. Starting in 1995, the lineup stabilized with bassist Martin Connolly and drummer Andy Smith, and the band continued to play hard rock and motorcycle festivals around the U.K. (by Steve Huey)

DRN’s roots lie mainly in the Heavy Rock/ Blues music of the late sixties and seventies, taking influences from Eric Clapton and Jimi Hendrix through to Pink Floyd, Dr Feelgood and Motorhead.

In other words: Heavy Metal meets Blues, Boogie & Rock N Roll …  and you can hear a great version of Peter Green´s “Out Of Reach” (from the John Mayall album “So Many Roads”, 1967)

But this crazy album starts with Vivaldi  … and than … the ride beginns …

Mark Brabbs (drums)
Graham “Dumpy” Dunnell (guitar, vocals)
Kerry Langford (bass)l


01. It’s Got To Be Blues (Dunnell) 4.21
02. Ride With Me (Dunnell)  4.28
03. I’m A Hog For You Baby (Leiber/Stoller) 3.18
04. Rip It Up (Blackwell/Marascalco) 6.20
05. Night Rider (Dunnell) 2.58
06. Woke Up This Morning (Dunnell) 3.48
07. Look In The Mirror (Dunnell) 6.36
08. Whole Lot Of Blues (Dunnell) 2.48
09. Out Of Reach (Green) 5:27
10. Box Hill Or Bust (Dunnell) 3.07
11. Tush (Gibbons/Hill/Beard) 2.13
12. Just For Kicks (unknown) 3.34
13. Cross Keys (Dunnell) 4.19
14. Wee Wee Baby (Reed) / Wildy Thing (Taylor) (Guitar Jam (Dunnell) 14.18
15. Route 66 (Troup) 2.37
16. Somewhere In England (uncut version with lots of noise and stage announcements) 1.18.34


Andy Summers & Robert Fripp – Bewitched (1984)

FrontCover1On Andy Summers and Robert Fripp’s second album, Bewitched, the duo offered a new batch of their instrumental songs, which turned out to be much more rock-oriented than their texturized 1982 debut, I Advance Masked. The album was originally going to be a more musically varied affair — at the time, Summers talked about recording calypso and Tex-Mex/Ry Cooder-like tunes with Fripp, but they never saw the light of day. Like its predecessor, it contains plenty of great guitar work, with songwriting being stressed over instrumental virtuosity.

For example, Summers and Fripp know how to subtly insert challenging sections into their songs (such as the 7/4 time signature in “Maquillage”), without making them seem like an obvious attempt to impress fellow musicians. Although ’80s-sounding electronic drums are primarily used for backbeats (such as the track “Train”), it doesn’t take away from the album’s charm. Whereas their last album featured a few compositions that were quite King Crimson-like, their sophomore effort contains a few that sound like Police instrumentals (the title track). Unfortunately, Bewitched would prove to be Summers and Fripp’s last collaboration together. (by Greg Prato)


Paul Beavis (drums)
Robert Fripp (guitar, keyboards, synthesizer, percussion, drum machine & more)
Jesse Lota (tabla)
Andy Summers (guitar, keyboards, synthesizer, percussion, drum machine & more)
Chris Winter (saxophone)

01. Parade (Summers) 3.03
02. What Kind Of Man Reads Playboy (Summers/Fripp) 11.11
03. Begin The Day (Summers/Fripp) 3.38
04. Train (Summers) 4.35
05. Bewitched (Summers) 3.55
06 Tribe (Summers/Fripp) 3.30
07. Maquillage (Summers/Fripp) 2.19
08. Guide (Summers) 2.35
09 Forgotten Steps (Summers) 4.02
10- Image And Likeness (Summers/Fripp) 1.31



Steve Marriott & The Packet Of Three – Dingwalls 6.7.84 (1991)

FrontCover1If you don’t mind hearing more rock than blues, pick up Steve Marriott – Dingwalls 6.7.84. It’s an outstanding Packet of Three set with much better recording and performances from around the same time. If you’re like me, you’ll love the entire CD. The blues tracks here are “Five Long Years”, the Ashford-Simpson-penned Ray Charles song “I Don’t Need No Doctor” and “Walkin’ the Dog” but Stevie’s rockers are great as well. (by William Sout)

This 1984 show at the North London club Dingwalls was originally broadcast live on the radio, featuring Marriott backed by his band Packet of Three; this performance has also been released under the titles of Dingwalls and Packet of Three: Live. This version has the advantage of liner notes detailing Marriott’s career. (Steve Huey)

Just like many nights at the Half Moon in Putney, this recording really captures the feel of Steve Marriott live. Although there is no Jerry Shirley on drums (as in some Packet of Three performances), this CD has a great R&B feel (soulful vocals and crunchy chords). Only regret is that there is no version of Afterglow, a highlight of most shows. (by an Amazon customer)

Listen to another album by one of my favorite musician of all time !


Fallon (drums)
Jim Leverton (bass, vocals on 03., background vocals)

Steve Marriott (guitar, vocals, harmonica)


01. What’cha Gonna Do About It? (Potter/Samwell) 4.17
02. Fool For A Pretty Face (Marriott/Shirley) 5.50
03. Shame On You (Cooley) 4.06
04. Bad Moon Rising (Fogerty) 6.32
05. The Cockney Rhyme (Traditional) 0.48
06. All Shook Up (Blackwell/Presley) 3.17
07. The Fixer (Marriott/Ridley/Shirley) 7.25
08. All Or Nothing (Marriott/Lane) 5.49
09. Five Long Years (Boyd) 7.43
10.  Thirty Days In The Hole (Marriott) 10.57
11. I Don’t Need No Doctor (Armstead/Ashford/Simpson) 12.47
12.  Big Train Stop At Memphis (Traditional) 5.25
13. Walkin’ the Dog (Thomas) 4.04


Russ Ballard – Same (1984)

FrontCover1Russell Glyn “Russ” Ballard (31 October 1945) is an English singer, songwriter and musician.

Originally coming to prominence as the lead singer and guitarist for the band Argent, Ballard became known by the late 1970s as a songwriter and producer. His compositions “New York Groove”, “You Can Do Magic”, “Since You Been Gone”, “Liar”, “Winning”, “I Know There’s Something Going On”, “So You Win Again” and “God Gave Rock and Roll to You” were hits for other artists during the 1970s and 80s. He also scored several minor hits under his own name in the early/mid-1980s.
Ballard was initially a guitarist, joining Buster Meikle & The Day Breakers in 1961 together with his older brother Roy and their friend the drummer Bob Henrit. After a stint with The Roulettes, backing Adam Faith, he then went on to join Unit 4 + 2 in the early 1960s, before becoming the lead singer and guitarist of Argent (along with Henrit, who joined as drummer), writing their hit “God Gave Rock and Roll to You”,[1] which would later be covered by both Petra and KISS. Ballard is most well known as the vocalist on Argent’s smash “Hold Your Head Up”. In 1972, Ballard performed on Colin Blunstone’s album Ennismore, which was produced by Chris White. Ballard also wrote the hit single, “I Don’t Believe in Miracles”, which featured on that album.
He left Argent in 1974 and pursued a solo and songwriting career. He wrote such hits as Three Dog Night’s “Liar” (originally recorded by Argent), Hot Chocolate’s 1977 UK chart topper “So You Win Again”, and Rainbow’s 1979 hit “Since You Been Gone”. Head East had also recorded the song in 1978 for its self-titled album, and before that it was included in Ballard’s 1976 solo album Winning. Ballard also wrote Rainbow’s 1981 No. 3 (UK) hit “I Surrender”.

Russ Ballard01

Ballard also wrote and performed on Roger Daltrey’s first two solo albums, Daltrey (1973) and Ride a Rock Horse (1975). Daltrey recorded some other Russ Ballard originals for his McVicar soundtrack, and his albums Under a Raging Moon and Can’t Wait to See the Movie. Ballard did a tour with Roger Daltrey in 1985, playing guitar and even singing one of his own songs.

British pop band Hello recorded Ballard’s “New York Groove” in 1975, reaching No. 7 in Germany and No. 9 in the UK. “New York Groove” would also be recorded three years later by Ace Frehley, who turned the tune into a stateside hit.
Ballard also wrote the No. 17, 1981 hit for Santana, called “Winning”, which appeared on their album entitled Zebop! and had previously been released by Ballard himself on his second solo album. To promote the Winning album he toured Europe and the US in October and November 1976 working with the John Stanley Media Management Company and a four-piece band doing large theatre venues in Europe and medium-sized clubs like The Bottom Line in New York and the Whisky A Go Go in LA in the States with excellent results. Ground Control sound engineer Robin Mayhew looked after the sound for both tours.

Russ Ballard02

Ballard wrote and produced “You Can Do Magic” for the group America on its 1982 album View from the Ground. The single climbed to No. 8 on the Billboard Hot 100 in October 1982, and helped resurrect the band’s career. The following year, America brought in Ballard to produce their follow-up album, Your Move. One of its tracks, “The Border”, which was co-written by Ballard with Dewey Bunnell, reached No. 33 on the Billboard Hot 100.

Ballard wrote ABBA singer Anni-Frid Lyngstad’s 1982 solo hit: “I Know There’s Something Going On” (which was produced by Phil Collins, and also featured Collins on drums). The track reached No. 13 on the Billboard Hot 100. He also penned “Can’t Shake Loose” for fellow ABBA former member Agnetha Fältskog, which peaked at No. 29 in the same listings.

In 1991 the song he co-wrote with John Waite and Jonathan Cain, “So This Is Eden”, appeared on Bad English’s album, Backlash.
Ballard has also written and produced for Elkie Brooks, and more recently[when?], acting as a talent scout, he “discovered” Lauren Harris.
Solo recordings
As a solo artist, Ballard charted once on the US Billboard Hot 100 chart, when “On the Rebound” reached No. 58 in 1980. English rock band Uriah Heep covered “On the Rebound” in 1982 on their album Abominog. In 1980, he released a solo album on Epic entitled Barnet Dogs.

Another notable solo hit, “Voices” – from his second self-titled album (1984) – was featured in the Miami Vice episode “Calderone’s Return: Part 2 – Calderone’s Demise”, which aired on 26 October 1984. The song was a brief hit on rock radio stations, peaking at No. 15 on the Hot Mainstream Rock Tracks chart. However, “Voices” stalled below the Billboard Hot 100, peaking at No. 110. Another song from the same album, “In the Night” was featured in the episode “Calderone’s Return: Part 1 – The Hit List”. The show also featured “Your Time Is Gonna Come” by Ballard later in its run.
“The Fire Still Burns”, the title track of his 1985 album attained No. 15 on the Hot Mainstream Rock Tracks chart. (by wikipedia)


A sunglasses-carrying member of the Roy Orbison/Ian Hunter shades club, former Argent vox-man and crack songwriter Russ Ballard (“Since You’ve Been Gone,” “I Know There’s Something Going On”) breaks out with an ace band for another shot at the spotlight. “Voices” deservedly garnered dial time; and Ace Frehley, who hit big with Ballard’s “New York Groove,” returned to plunder the slattern “In the Night” for Frehley’s Comet. Ballard himself blatantly rips the opening chords of “Who’s Crying Now” for “The Last Time.” He almost creates the Outfield on “Day to Day,” but Ballard doesn’t have the pipes. Russ Ballard won’t knock you out of your socks, but he is a surprisingly strong guitarist and his songs maintain a high level of generic quality on both sides of this slab: a decent disc that goes everywhere but nowhere. Ballard’s bizarre “fire” leitmotiv continues here. ( by Doug Stone)

Russ Ballard (vocals, guitar)
Mo Foster (bass)
Simon Phillips (drums)
Greg Sanders (keyboards)


01. I Can’t Hear You No More 5.50
02. In The Night 4:.10
03. Two Silhouettes 4.19
04. Voices 5.34
05. A Woman Like You 4.27
06. Day To Day 3.53
07. Playing With Fire 5.09
08. The Last Time 5.27

All Songs written by Russ Ballard


The German inlets

Lenny Kaye Connection – I´ve Got A Right (1984)

frontcover1Lenny Kaye (born December 27, 1946) is an American guitarist, composer, and writer who is best known as a member of the Patti Smith Group.

Kaye was born to Jewish parents in the Washington Heights area of upper Manhattan, New York, along the Hudson River. Growing up in Queens and Brooklyn, Kaye originally began playing accordion, but by the end of the 1950s, had dropped the instrument in favor of collecting records. His family moved to North Brunswick, New Jersey, in 1960 where Lenny attended high school, and later, college, graduating from Rutgers in 1967. He became a fan of science fiction and gained experience in writing, publishing his own fanzine, Obelisk, at the age of 15.[3] Though he majored in American History, his true avocation was musical, and it was there that he first began playing in bands, on a college mixer and fraternity circuit. His first gig, with the Vandals (“Bringing down the house with your kind of music”), was at Alpha Sigma Phi on November 7, 1964

As musician, writer, and record producer, Kaye was intimately involved with an array of artists and bands. He was a guitarist for poet/rocker Patti Smith from her band’s inception in 1974, and co-authored Waylon, The Life Story of Waylon Jennings. He worked in the studio with such artists as R.E.M., James, Suzanne Vega, Jim Carroll, Soul Asylum, Kristin Hersh, and Allen Ginsberg. His seminal anthology of sixties’ garage-rock, Nuggets, is widely regarded as defining the genre.[citation needed] You Call It Madness: The Sensuous Song of the Croon, an impressionistic study of the romantic singers of the 1930s, was published by Villard/Random House in 2004.

lennykaye01His uncle, songwriter Larry Kusik (“A Time For Us” from Romeo and Juliet; “Speak Softly Love” from The Godfather) took note of his lengthening hair and musical commitment, and asked him to sing on a song he’d recently penned with Ritchie Adams, once of the Fireflies (“You Were Mine”). Kaye soon found himself in Associated Recording Studios on Times Square, recording “Crazy Like A Fox”, along with its flip side, “Shock Me”. The resultant 45, issued under the name of Link Cromwell, was leased to Hollywood Records, a division of Starday Records located in Nashville, Tennessee, and released in March 1966. It garnered a Newcomer Pick of the Week from Cashbox (“A rhythmic bluesy folk-rocker with a pulsating beat”) and was issued in England as well as Australia; but failed to move in the charts. Though hardly a smash, it gave Kaye a sense of self as a musician, and inspired him to continue performing and playing. His group at the time, The Zoo, worked a college circuit ranging from New York to Pennsylvania; this early experience has been captured on a live album issued by Norton Records, Live 1966.

Moving back to the city, Kaye began writing reviews for Jazz and Pop magazine (which was edited at the time by Jim Morrison’s soon-to-be wife, Patricia Kennealy Morrison; branching out to such nascent rock publications as Fusion, Crawdaddy and Rolling Stone. He became the music editor of Cavalier, a men’s magazine, and would write a monthly column for them until 1975; and the New York correspondent for the British weekly, Disc. As a free-lance writer, he wrote for a wide range of periodicals, including Melody Maker, Creem, and edited such publications as Rock Scene and Hit Parader throughout the seventies.

While working at the record store Village Oldies on Bleecker Street in New York, Kaye met poet-singer Patti Smith. On February 10, 1971, he backed her at a reading at St. Mark’s Church on E. 10th St. When they resumed performance in November 1973, their artistic efforts bore fruit as one of the major rock bands of the 1970s. Kaye produced Patti’s debut single (“Hey Joe / Piss Factory”), and performed as part of her Group throughout the decade, as reflected in four Arista albums: Horses (1975), Radio Ethiopia (1976), Easter (1978) and Wave (1979).


Following the Patti Smith Group’s final performance in September 1979, Kaye joined the Jim Carroll Band, as well as fronting his own Lenny Kaye Connection. He co-produced Suzanne Vega’s first two albums, including her 1987 hit single, “Luka”, which was nominated for a Grammy as Record of the Year. He has been nominated three times for Grammy awards in the liner notes category for boxed sets on the sixties folk revival (Bleecker and MacDougal), white blues (Crossroads), and progressive rock (Elektrock); and has co-authored a comprehensive hall of fame with David Dalton (Rock 100).

In 1995, he reunited with Patti Smith and has been a part of her band since, creating five studio albums, a retrospective, and celebrating the thirtieth anniversary release of their landmark debut album, Horses.

In 2010, Kaye contributed a solo recording for Daddy Rockin’ Strong: A Tribute to Nolan Strong and the Diablos (The Wind/Norton Records). Kaye recorded a version of “I Wanna Know,” a 1950s R&B ballad. He appears on and wrote one song for The Fleshtones 2011 album Brooklyn Sound Solution (Yep Roc). Also, he appeared on “Alligator Aviator Autopilot Antimatter” and “Blue” on R.E.M.’s 2011 album Collapse into Now, an album that Patti Smith also contributed to, also on “Blue” and another song, “Discoverer”. (by wikipedia)


Lenny Kaye with … who the fuck is Mick Jagger ?

And this is his first solo-album after the split of the Patti Smith Group.

Rock critic, guitarist, Patti Smith musical cohort, producer, New York scene veteran, Nuggets albums compiler, Jim Carroll sideman — Lenny Kaye has done a bit of everything, distinguishing himself in most areas. He also led a band under his own name and released this solo album. Kaye may fumble a few lyrics in an attempt to express schmaltzy emotions, but his obvious sincerity makes up for the occasional prosaic excess. The title track is brilliant pop with an infectious hook and anthemic sound; “Luke the Drifter” is a memorable old-fashioned cowboy ballad updated with a pumping rock beat. A swell record from a swell guy. (Ira Robbins)


David Donen (drums, vocals)
Paul Dugan (bass)
Lenny Kaye (vocals, gutiar)
C.P. Roth (synthesizer)
Jim Carroll (background vocals)
John Giorn (background vocals)
Jonathan Helfand (pedal steel-guitar)
Jan Mulaney (organ, synthesizer)
Patrick O´Conner (bass, vocals)


01. I’ve Got A Right (Kaye) 4.21
02. Luke The Drifter (Kaye) 3.28
03. Still Life /Carroll/Kaye) 4.17
04. Tell-Tale Heart (Kaye) 3.46
05. Jealousy (Kaye) 2.56
06. I Cry Mercy (T.Smith/S.Smith) 3.49
07. Record Collector (Kaye/O´Conner) 3.30
08. As I Make Love (Kaye/O´Conner/Mulaney/Donen 6.18



Sade – Diamond Life (1984)

FrontCover1Diamond Life is the debut studio album by English band Sade, first released in the United Kingdom on 16 July 1984 by Epic Records and in the United States on 27 February 1985 by Portrait Records. After studying fashion design, and later modelling, Sade Adu began backup singing with British band Pride. During this time Adu and three of the original members of “Pride” – Paul Anthony Cook, Paul Denman and Stuart Matthewman – left the group to form their own band called Sade. Following various demos and performances, Sade received interest from record labels and later signed to Epic.

Recording for the album began in 1983 at The Power Plant in London and took a total of six weeks to complete. The album’s content was written by the group Sade whilst the production was handled by Robin Millar. A total of fifteen songs were recorded for the album with the use of live instruments that used sonically experimental material. The album contained a variety of musical elements including soul, jazz and sophisti-pop, with lyrics revolving mainly around themes of love.

Upon release, Diamond Life was met with acclaim from music critics and went on to win the Brit Award for Best British Album in 1985. Commercially the album was a success charting highly in the UK and US, and was later certified multi platinum in both regions. Diamond Life went on to sell over six million copies worldwide, becoming one of the top-selling debut recordings of the ’80s and the best-selling debut by a British female vocalist, until Welsh singer Duffy released her debut studio album, Rockferry in 2008. The album spawned four singles including the hit singles “Your Love Is King” and “Smooth Operator”.

Sade01After studying fashion design, and later modeling briefly, Sade began backup singing with British band Pride, during this time she formed a songwriting partnership with Pride’s guitarist/saxophonist Stewart Matthewman; together, backed by Pride’s rhythm section Paul Anthony Cook and Paul Denman, they began doing their own sets at Pride gigs. Her solo performances of the song “Smooth Operator” attracted the attention of record companies, and in 1983, Adu and Matthewman, split from Pride, along with bassist Paul Denman and drummer Paul Anthony Cook to form the band Sade. By the time she performed her first show at London’s Heaven nightclub she had become so popular that 1,000 people were turned away at the door. In May 1983, Sade performed at Danceteria Club in New York, NY, United States, it was the first US Sade show. On 18 October 1983 Sade Adu signed with Epic Records, while the rest of the band signed to her as contractors in 1984.

Prior to signing the record deal, the group recorded Diamond Life in six weeks. It was recorded at The Power Plant in London. After cutting the proposed singles “Smooth Operator” and “Your Love is King,”, the first album track recorded was “Sally,” a song about the Salvation Army. During recording the band worked collectively on the musical direction, rehearsing each song in details and then recording it. . The song “When Am I Going to Make a Living” was started by Sade on the back of a cleaning ticket after she picked her clothes up from the cleaners. She had no money and she wrote down, “When Am I Going to Make a Living.”

Producer Robin Millar met the band in 1983, and the band members had never worked in a professional studio and only had demos and recordings from the BBC studios and EMI publishing studios. Millar booked a week’s worth of studio time and noted that the limitations of recording before computers had an impact upon the sound. “We used a real piano and a Fender Rhodes piano, painstakingly synching them up.” They recorded fifteen songs,[8] all written by Adu and members of the group, except “Smooth Operator” written exclusively by Adu and Ray St. John. They also recorded a cover version of “Why Can’t We Live Together” (1972) by Timmy Thomas.


For the recording of “Cherry Pie” the band had no mixing desks with automation, each member had their job of putting a bit of echo, delay, or changing a level. Then Millar would edit between the different mixes. Speaking about this Stuart Matthewman said “Very often, we would have six people at the mixing desk at the same time.”

Lyrically the album revolves around themes of love, discussing both the positive and the negative of relationships, the music features jazzy textures, built over prominent basslines, smooth drums and subtle guitar. The album also features heavy use of brass instruments and keyboards.[10] According to Paul Lester of the BBC, the album is “sufficiently soulful and jazzy yet poppy, funky and easy listening,” Lester described the album is being predominantly a quiet storm album with elements of mellifluous R&B. Sade’s vocals on the album were described as “deliberately icy, her delivery and voice aloof, deadpan, and cold” while Ron Wynn of All Music, stated that the album contained “slick production and quasi-jazz backing”.

In a contemporary review, Stephen Holden of The New York Times said Diamond Life, “eschews the synthesizers that dominate British pop to make music that resembles a cross between the rock-jazz of Steely Dan and the West Indian-flavored folk-pop of Joan Armatrading. Smoldering Brazilian rhythms blend with terse pop-soul melodies and jazzy harmonies to create a sultry, timeless nightclub ambiance.” Rolling Stone called it soul music with “self-possessed sophistication”, and described Sade’s vocal as “thick and rich”.


The album opens with the single “Smooth Operator”, musically song cross between R&B, jazz, adult contemporary, pop and dance music over a light production. The song contains a Latin-style percussion and lusty saxophone and features lyrics about an “international playboy.” “Your Love is King,” is a dynamic smooth ballad, that contains wrenching vocals performed by Sade and saxophone solo by Stuart Matthewman. The following song on the album is the uptempo track “Hang On to Your Love”, the song contains a thumping groove with lyrics that revolve around someone holding on to a relationship when things are going bad.[15] “Sally,” is a haunting laid-back, bluesy ballad that was compared to the work of Billie Holiday might have recorded, the album closes with a remake of Timmy Thomas’ 1972 song “Why Can’t We Live Together.”

“Your Love Is King” was released as the album’s lead single on 25 February 1984, the song was a success in European territories charting at number-seven in Ireland and number-six on the UK Singles Chart. The song was less successful in the US where it peaked at number 54 on the US Billboard Hot 100 “When Am I Going to Make a Living” was released as the album’s second single in the UK on 26 May 1984, the single was less successful than its predecessor charting at number 28 on the Irish Singles Chart and number 36 on the UK Singles Chart. However the song did fare well else where peaking at number 12 on the Dutch Top 40.

The third single “Smooth Operator” became the most successful song in the US from the album, “Smooth Operator” was first released on 15 September 1984. In Europe the song fared well peaking at number 19 in the UK, the song also reached the top twenty in Austria, Switzerland, France and Germany. The song was a huge success in the US where it peaked at number-five on the US Billboard Hot 100 and the US Billboard Hot Black Singles, as well as peaking at number-one on the US Billboard Adult Contemporary chart.

The album reached number-two in the UK Album Chart, and sold over 1.2 million copies in the UK The album was also a hit internationally, reaching number-one in several countries and the top ten in the US where it has sold in excess of 4 million copies. Diamond Life had international sales of over 6 million copies, becoming one of the top-selling debut recordings of the 1980s and the best-selling debut ever by a British female vocalist until Duffy’s Rockferry in 2008. The album has sold 983,000 copies in the United States since the introduction of Soundscan. The album was a commercial success in France where it peaked at number-one on the French Albums Charts and was later certified double platinum after selling 1,348,400 copies.

Diamond Life won the 1985 Brit Award for the Best British Album. The video for “Smooth Operator”, directed by Julien Temple, was nominated for two MTV Video Music Awards in 1985, Best Female Video and Best New Artist.

Sade and the band were credited as being Influential to neo soul, the band achieved success in the 1980s with music that featured a sophisti-pop style, incorporating elements of soul, pop, smooth jazz, and quiet storm. The band was part of a new wave of British R&B-oriented artists during the late-1980s and early 1990s that also included Soul II Soul, Caron Wheeler, The Brand New Heavies, Simply Red, Jamiroquai, and Lisa Stansfield. Allmusic’s Alex Henderson writes that, “Many of the British artists who emerged during that period had a neo-soul outlook and were able to blend influences from different eras”. Following the coining of the term “quiet storm” by Smokey Robinson, Sade was credited for helping give the genre a worldwide audience. (by wiipedia)


Sade Adu (vocals)
Paul Denman (bass)
Andrew Hale (keyboards)
Stuart Matthewman (guitar, saxophone)
Terry Bailey (trumpet)
Paul Anthony Cook (drums)
Martin Ditcham (percussion)
Dave Early (drums, percussion)
Gordon Matthewman (trumpet)


01. Smooth Operator (Adu/St. John)  4.57
02. Your Love Is King (Adu/Matthewman) 3.41
03. Hang On To Your Love (Adu/Matthewman) 5.55
04. Frankie’s First Affair (Adu/Matthewman) 4.39
05.When Am I Going To Make A Living (Adu/Matthewman) 3.27
06. Cherry Pie (Adu/Matthewman/Hale/Denman) 6.20
07. Sally (Adu/Matthewman) 5.23
08. I Will Be Your Friend (Adu/Matthewman) 4.45
09. Why Can’t We Live Together (Thomas) 5.28




Phil Carmen – Great Hits Live (1995)

FrontCover1.jpgPhil Carmen (born Herbert Hofmann, February 14, 1953 in Montreal, Quebec) is a Swiss musician and producer of Canadian heritage.

Carmen grew up in Frankfurt am Main, Germany and in Lucerne, Switzerland. In Lucerne, he went to the Conservatory, but later studied bookkeeping. In 1975, he decided to turn to music. With bassist Mike Thompson (born Marcel Galuzzi), he founded the duo Carmen & Thompson, playing especially country music. The single “Time Moves On” reached #31 on the Italian charts in 1980, and in 1981 they appeared at the San-Remo-Festival performing the song “Follow Me”.

After seven years of stage experience Phil Carmen founded the Picar Studios in Stein am Rhein, Switzerland in 1982 and recorded two solo albums which attracted little attention until 1985, when he had a hit with the LP Walkin’ the Dog, which reached #3 in the Swiss charts. The single “On My Way to LA” was his greatest success and climbed in the summer of 1985 to #18 in Germany and #9 in Switzerland. “On My Way to LA” was also used in the PhilCarmen1986television series Wild West in 1988. His 1986 album Wise Monkeys hit #1 on the Swiss charts, while the single “Moonshine Still” reached #10. His last successful album as a solo artist was City Walls (1987), which went to #10 in Switzerland. The corresponding promotional tour led to the Live in Montreux album with the same band line up of Brian Auger on organ, Pick Withers and Larry E. Van on drums, Dick Morrissey on sax, Steve Dawson on trumpet, Steve Evens on bass, and Sabine van Baaren, backing vocals.

In 1986 he founded the country band Clover Leaf. His 1993 album Skyline again featured Dick Morrissey and also Richard Tee. In 1996 he released an album of Bob Dylan covers, Bob Dylan’s Dream, as well as the album Drive and a greatest hits compilation, Cool & Collected: Best of Phil Carmen and Mike Thompson.[2] His subsequent releases include On My Way to L.A. (1999), Back from L.A. Live (1999), No Sweat (2007), and two greatest hits collections, Millennium Collection (2002) and My Way: Hits & Rarities (2007). (by wikipedia)

This is a re-releas of his album “Back From L.A. Live” from 1994 and it´s a nearly percect live album … not only because of all these great vomposition, but becaus of this fantastic bad … read the line-up list and you will know what I mean.

You will here a very relaxed westcoast sound, full of magic moments, great solos and the beautiful voice Of Phil Carmen.

Listen, close your eyes and dream !


Paul Burgess (drums)
Leslie-Ann Carmen (guitar, keyboards, percussion, vocals)
Phil Carmen (vocals, guitar, harmonica)
Liane Carroll (keybpards, accordeon, vocals)
Jerry Donahue (guitar, vocals)
Peter Kaiser (bass)
Walter Kaiser (drums)
Mostafa Krieger (trumpet)
Rolf Krüger (keyboards)
Dick Morrissey (saxophone)
Helmut Schöni (pedal steel-guitar, percussion)


Original front + backcover

01. I Met You At Midnight (Carmen/Brouhton) 3.14
02.Slow Turning (Hiatt) 4.18
03. Moonshine Still (Carmen/Sanders) 5.35
04. Feeling Alright (P.Carmen/L.Carmen) 4.40
05. You Said It (Carmen/Sanders) 3.40
06. Call Me The Breeze (Cale) 5.05
07. On My Way To L.A. (Carmen/Sanders)  7.40
08. Born Rider (P.Carmen/L.Carmen) 3.07
09. Just Like A Woman (Dylan) 4.48
10. Borderline Down (Carmen/Sanders)  4.43
11. Baby It’s A Long Way (Carmen/Lewis) 3.50
12. Cool Night Water (Carmen/Sanders) 7.06
13. Prisoner Of Her Soul (P.Carmen/L.Carmen) 3.50