Lonnie Mack – Strike Like Lightning (1985)

FrontCover1Lonnie McIntosh (July 18, 1941 – April 21, 2016), known as Lonnie Mack, was an American singer-songwriter and guitarist. He was an influential trailblazer of blues rock music and rock guitar soloing.

Mack emerged in 1963 with his breakthrough LP, The Wham of that Memphis Man. It earned him lasting renown as both a blue-eyed soul singer and a lead guitar innovator. In the album’s instrumental tracks, Mack added “edgy, aggressive, loud, and fast” melodies and runs to the predominant chords-and-riffs pattern of early rock guitar. These tracks raised the bar for rock guitar proficiency and helped launch the electric guitar to the top of soloing instruments in rock. They also became prototypes for the lead guitar styles of blues rock and Southern rock.

Lonnie Mack01

Shortly after the album’s release, however, the massively popular “British Invasion” hit American shores, and Mack’s recording career “withered on the vine”.[9] He regularly toured small venues until 1968, when Rolling Stone magazine rediscovered him, and Elektra Records signed him to a three-album contract. He was soon performing in major venues, but his multi-genre Elektra albums downplayed his lead guitar and blues rock appeal and record sales were modest. Mack left Elektra in 1971. For the next fourteen years he was a low-profile multi-genre recording artist, roadhouse performer, sideman, and music-venue proprietor.

Lonnie Mack03

In 1985, Mack resurfaced with a successful blues rock LP, Strike Like Lightning, a promotional tour featuring celebrity guitarist sit-ins, and a Carnegie Hall concert with Roy Buchanan and Albert Collins. In 1986, he went on “The Great American Guitar Assault Tour” with Buchanan and Dickey Betts. In 1990, he released another well-received blues rock album, Lonnie Mack Live! Attack of the Killer V, then retired from recording. He continued to perform, mostly in small venues, until 2004.

Mack died from “natural causes” on April 21, 2016 (age 74) at a hospital near his log-cabin home in rural Tennessee. In the media, his death was overshadowed by that of rock superstar Prince, who died on the same day. Mack was buried in Aurora, Indiana.(wikipedia)

Lonnie Mack02

And here´s his legendary album feat. Stevie Ray Vaughan:

Liner Notes1

Co-produced by Stevie Ray Vaughn, this was Lonnie’s ticket back to the show after a few years on the sidelines. To say it was an inspired date would be putting it mildly. With his batteries recharged, Mack was in peak form, playing and singing better than ever. A major highlight is an inspired duet between Stevie and Lonnie on “Wham (Double Whammy),” going toe to toe for several exciting choruses. (by Cub Koda)

Originally released in 1985, this is the celebrated comeback of legendary blues-rock guitar pioneer Mack, made all the more special for featuring production and guest appearances from Lonnie’s #1 disciple, Stevie Ray Vaughan.

Loads of high-energy guitar and soul-deep singing. (propermusic.com)

Liner Notes2

I love joint albums! Strike Like Lightning features two giants in blues rock: Lonnie Mack and Stevie Ray Vaughan. Produced in 85, Stevie had yet to reach the height of his fame, but his guitar skills are certainly present. Lonnie or his band mates have a part in writing every song on this album and even Stevie coauthors “Strike Like Lightning.” Great album, very original and wonderful instrumentation. Stevie Ray does not appear on all of the songs, but rather five of the ten.

My favorite song on the album is the only song Stevie Ray has a vocal part in: “If You Have to Know.” What is bizarre about this song and track 2, “Satisfy Susie,” is the fact that they have very similar vocal lines. It is shocking how close they are. The guitars are drastically different as are the lyrics (obviously). I can’t say I really enjoy finding blatant similarities between songs on the same album. Apart from this, the album is great. “Double Whammy” is as it sounds, two blastin’ guitars. SRV fans will recognize this song as “Wham” as performed at El Mocambo or as an extra song to one of his CD releases. “Stop” is a pretty good slower blues song. I also enjoy “Strike Like Lightning” and “Long Way From Memphis.”

There are no real duds on this album. Great blues rock tracks that vary in scope and execution. Although I was not blown away by this album, it is a great addition to my blues collection. Lonnie Mack has a very smooth, southern, voice very similar to Gregg Allman. This is very apparent on “Long Way From Memphis.” Not a bad album to listen to if you enjoy SRV or Lonnie Mack. (by Rocky Sullivan)

This is an excellent album of blues/rock. Very fun and top notch playing.Oreo Cookie Blues is one of the best accoustic blues available. (by Mlicinio)


Tim Drummond (bass)
Lonnie Mack (guitar, vocals)
Dennis O’Neal (drums)
Stan Szelest (keyboards)
Gene Lawson (drums on 04. + 06.)
Bill McIntosh (guitar on 03., 04., slide guitar on 10.)
Stevie Ray Vaughan (guitar on 01., 02., 05., 08, national steel guitar on 10.)
The Croquettes (background vocals on 02.):
Lisa Gilkyson – Gwen Newsome – Karen Kraft


01. Hound Dog Man (Drummond) 4.05
02. Satisfy Susie (Mack/Drummond) 4.31
03. Stop (Mack) 5.23
04. Long Way From Memphis (Mack/Drummond/Jennings) 3.21
05. Double Whammy (Mack) 3.36
06. Strike Like Lightning (Mack/Vaughan/Drummond/Jennings) 3.39
07. Falling Back In Love With You (Mack) 4.57
08. If You Have To Know (Mack/Drummond/Jennings) 4.30
09. You Ain’t Got Me (Mack) 2.39
10. Oreo Cookie Blues (Mack/Wilkerson) 4.52



Liner Notes3

Lonnie Mack0

Dana Gillespie – Move Your Body Close To Me (1986)

FrontCover1Dana Gillespie (born Richenda Antoinette de Winterstein Gillespie, 30 March 1949) is an English actress, singer and songwriter. Originally performing and recording in her teens, over the years Gillespie has been involved in the recording of over 45 albums and appeared in stage productions, such as Jesus Christ Superstar, and several films. Her musical output has progressed from teen pop and folk in the early part of her career, to rock in the 1970s and, more latterly, the blues.

Gillespie was born in Woking, Surrey, the second daughter of Anne Francis Roden (née Buxton) Winterstein Gillespie (1920–2007) and Hans Henry Winterstein Gillespie (1910–1994), a London-based radiologist of Austrian nobility. Her older sister, Nicola Henrietta St. John Gillespie, was born in 1946. Dana Gillespie was the British Junior Water Skiing Champion in 1962.


She recorded initially in the folk genre in the mid-1960s. Some of her recordings as a teenager fell into the teen pop category, such as her 1965 single “Thank You Boy”, written by John Carter and Ken Lewis and produced by Jimmy Page. Page also played, uncredited, on Gillespie’s debut LP, Foolish Seasons. Her acting career got under way shortly afterwards, and it overshadowed her musical career in the late 1960s and 1970s.


The song “Andy Warhol” was originally written by David Bowie for Gillespie, who recorded it in 1971, but her version of the song was not released until 1973 on her album Weren’t Born a Man. Her version also featured Mick Ronson on guitar. After performing backing vocals on the track “It Ain’t Easy” from Bowie’s Ziggy Stardust and the Spiders from Mars, she recorded an album produced by Bowie and Mick Ronson in 1973, Weren’t Born a Man. Subsequent recordings have been in the blues genre, appearing with the London Blues Band. She is also notable for being the original Mary Magdalene in the first London production of Andrew Lloyd Webber and Tim Rice’s Jesus Christ Superstar, which opened at the Palace Theatre in 1972. She also appeared on the Original London Cast album. During the 1980s Gillespie was a member of the Austrian Mojo Blues Band.
Left to right: Dana Gillespie, Tony Defries and David Bowie at Andy Warhol’s Pork at London’s Roundhouse in 1971.

Dana Gillespie01

She is a follower of the late Indian spiritual guru Sri Sathya Sai Baba.[8] She performed at his Indian ashram on various occasions and has also recorded thirteen bhajan-based albums in Sanskrit.


Gillespie is the organiser of the annual Blues festival at Basil’s Bar on Mustique in the Caribbean, for fifteen days at the end of January and it is now in its eighteenth year. The house band is the London Blues Band, which consists of Dino Baptiste (piano), Jake Zaitz (guitar), Mike Paice (saxophone), Jeff Walker (bass), and Evan Jenkins (drums) but there are also many other acts. In 2005, Mick Jagger appeared as a guest and sang songs such as: “Honky Tonk Women”, “Dust My Broom” and “Goin’ Down” but also many other Blues artists have appeared there through the years, such as Big Joe Louis, Joe Louis Walker, Billy Branch, Ronnie Wood and Donald Fagen.

From March 2021 on, she had a successful Interview & Music Podcast series Globetrotting with Gillespie from TAM TV – Temple of Art & Music in London. (wikipedia)

Dana Gillespie03

And here´s their 11th solo album:

Dana Gillespie was also very active in Austria during this time and that’s why she released many singles there. Her biggest hit was in 1983 with the single Move Your Body Close to Me, which reached number three in the Austrian charts.


But her music at that time was much too pop oriented and that was not Dana Gillespie´s real strength.

That’s why this album is one of her weaker albums.


Their blues albums are much better … but her voice is also good on this album.


Dana Gillespie (vocals)
a bunch of unknown stidio musicians


01. Move Your Body Close To Me (Gillespie) 5.05
02. The Good Thing (Byrne) 3.52
03. Don’t Touch Me There (Nagle/Doornacker) 4.45
04. In Danger Tonight (Gillespie) 4.40
05. Good And Direct (Gillespie) 3.08
06. Know My Love (Gillespie) 4.38
07. The Air That I Breathe (Hammond/Hazlewood) 3.50
08. Living In Reverse (Cross) 2.46
09. Haunted By You (Gillespie) 3.21




And… she never had a problem to be photographed sexy …:
Dana Gillespie02

Taken from dailymail.co.uk:
Dana Gillespie04More from Dana Gillespie:More
The official website:

United Jazz + Rock Ensemble – Live At The Musee d’Art Moderne, Paris (1985)

FrontCover1The United Jazz + Rock Ensemble (abbr. “United” or “UJRE”) developed from a group of jazz musicians that was formed for a 1974 to 1975 television show of Süddeutscher Rundfunk (South German Broadcasting). Almost all future members of “United” were present from the beginning.

The group played mostly original compositions ranging from jazz to rock. Charlie Mariano’s experience with Indian music occasionally brought in ethnic elements. Because all band members extensively played in their own bands before and after UJRE was formed, the ensemble was often called the ‘Band of Band Leaders’. Some of the members hold teaching positions with various musical colleges.

During the 27 years of its existence, the band produced fourteen albums, all of them on Mood Records.


In 2002, the group went on their “Farewell Tour 2002”. Among the reasons was Barbara Thompson’s suffering from Parkinson’s disease.

The final cast of 2002 was Wolfgang Dauner (piano), Barbara Thompson (saxophone), Jon Hiseman (drums), Dave King (bass), Ian Carr (trumpet), Volker Kriegel (guitar), Rüdiger Baldauf (trumpet), Ack van Rooyen (trumpet, fluegelhorn), Albert Mangelsdorff (trombone), Christof Lauer (saxophone)

Former members include Eberhard Weber, bass, Kenny Wheeler, trumpet, Johannes Faber, trumpet, Charlie Mariano, saxophone and ethnic instruments, Thorsten Benkenstein, trumpet, Peter O’Mara, guitar. (wikipedia)


Featuring some of the finest avant-garde jazz players from Germany and beyond, the United Jazz + Rock Ensemble began life as a loose studio aggregation assembled for a youth-oriented German television show in 1975. Hoping for a contemporary balance between rock and jazz, producer Werner Schretzmeier called upon pianist Wolfgang Dauner, the former leader of Et Cetera, an avant-garde jazz group Schretzmeier had managed until their breakup in 1972. Initially recruiting musicians from his home base of Stuttgart (then a hotbed of avant-garde jazz), Dauner put together a rotating cast of musicians that were at first dubbed the Eleven and a Half Ensemble (after the program’s airtime); this group featured guitarist Volker Kriegel (who shared writing and arranging duties with Dauner), drummer Jon Hiseman, trumpeter Ack Van Rooyen, and trombonist Albert Mangelsdorff.


As demand for recordings and public performances grew, Dauner solidified the lineup with saxophonist Charlie Mariano, saxophonist/flutist Barbara Thompson, trumpeter Ian Carr, and bassist Eberhard Weber. This nine-piece aggregation recorded the first album under the United Jazz + Rock Ensemble name, Live im Schutzenhaus, in 1977; released on the group’s own Mood Records label, the album was a hit, eventually becoming the best-selling German jazz record of all time.


The Ensemble recorded and toured fairly regularly after the success of Live im Schutzenhaus; 1978’s Teamwork and 1979’s The Break Even Point placed the group in a studio setting, with the latter featuring trumpeter Kenny Wheeler. 1981’s double-LP Live in Berlin was another success, and was followed by United Live Opus Sechs in 1984, with Wheeler back in tow. On 1987’s studio album Round Seven, trumpeter Johannes Faber filled in for Wheeler; Wheeler returned once again for the 1992 studio set Na Endlich!, which also featured new bassist Dave King. Mariano was subsequently replaced by tenor saxophonist Christof Lauer, who made his recorded debut on the 1996 concert album Die Neunte von United. In 2002, after well over two decades together, the group announced that it was embarking on a farewell tour, after which its members would move on to other projects (possibly collaborative). (by Steve Huey)


And here is an excellent live recording, which once again shows the high level at which this ensemble played.
Jazz-Rock at its best!

Enjoy this soundboard recording !


Ian Carr (trumpet)
Wolfgang Dauner (keyboards)
Jon Hiseman (drums)
Volker Kriegel (guitar)
Albert Mangelsdorff (trombone)
Charlie Mariano (saxophone)
Ack van Rooyen (trumpet)
Barbara Thompson (saxophone, flute)
Eberhard Weber (bass)
Kenny Wheeler (trumpet)

01. Intro 1.31
02. Ausgeschlafen (Dauner) 8.03
03. Announcement 0.47
04. Die Wiederkehr (Thompson) 7.57
05. Announcement 0.22
06. Randy  (Mariano) 7.08
07. Garberville (Kriegel/Bettermann) 6.37
08. Announcement 0.31
09. Ripp Off (Mangelsdorff) 8.39
10. Lady Bountiful (Carr) 12.34
11. Sometime In Silence (Weber) 6.28
12. Ganz schön heiß, Man (Mangelsdorff/Hiseman) 9.40
13. Circus Gambet (Kriegel) 6.57
14. Live At The Musee d’Art Moderne, Paris (uncut edition) 1.21.24



The official website:

Ian Carr
(21 April 1933 – 25 February 2009)

Wolfgang Dauner
(30 December 1935 – 10 January 2020)

Jon Hiseman
(21 June 1944 – 12 June 2018)

Volker Kriegel
(24 December 1943 – 15 June 2003)

Albert Mangelsdorff
(September 5, 1928 – July 25, 2005)

Charlie Mariano
(November 12, 1923 – June 16, 2009)

Ack van Rooyen
(1 January 1930 – 18 November 2021)

Barbara Thompson
(27 July 1944 – 9 July 2022)

Kenny Wheeler
(14 January 1930 – 18 September 2014)

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:

Roy Buchanan – When A Guitar Plays The Blues (1985)

LPFrontCover1Leroy “Roy” Buchanan (September 23, 1939 – August 14, 1988) was an American guitarist and blues musician. A pioneer of the Telecaster sound, Buchanan worked as a sideman and as a solo artist, with two gold albums early in his caree] and two later solo albums that made it to the Billboard chart. He never achieved stardom, but is considered a highly influential guitar player. Guitar Player praised him as having one of the “50 Greatest Tones of All Time.” He appeared on the PBS music program Austin City Limits in 1977 (season 2).

Buchanan has influenced many guitarists, including Robbie Robertson, Gary Moore, Danny Gatton, Arlen Roth, Jeff Beck, David Gilmour, Jerry Garcia, Mick Ronson, Nils Lofgren, Jim Campilongo, and Steve Kimock; Beck dedicated his version of “Cause We’ve Ended As Lovers” from Blow by Blow to him. His work is said to “stretch the limits of the electric guitar,” and he is praised for “his subtlety of tone and the breadth of his knowledge, from the blackest of blues to moaning R&B and clean, concise, bone-deep rock ‘n’ roll.” In 2004, Guitar Player listed his version of “Sweet Dreams,” from his debut album on Polydor, Roy Buchanan, as having one of the “50 Greatest Tones of All Time.” In the same year, the readers of Guitar Player voted Buchanan #46 in a top 50 readers’ poll.


According to his agent and others, Buchanan was doing well, having gained control of his drinking habit and playing again, when he was arrested for public intoxication after a domestic dispute. He was found hanged from his own shirt in a jail cell on August 14, 1988, in the Fairfax County, Virginia, Jail. According to Thomas Hartman, who was in a cell near Buchanan’s, the deputy sheriff opened the door early in the morning and found Buchanan with the shirt around his neck. His cause of death was officially recorded as suicide, a finding disputed by Buchanan’s friends and family. One of his friends, Marc Fisher, reported seeing Roy’s body with bruises on the head.

After his death, compilation and other albums continue to be released, including in 2004 the never-released first album he recorded for Polydor, The Prophet.

Roy Buchanan is interred at Columbia Gardens Cemetery in Arlington, Virginia. (wikipedia)


When a Guitar Plays the Blues is a 1985 album by American guitarist and blues musician Roy Buchanan. This was his first record for Alligator Records.[1] It was recorded and mixed by Justin Niebank, mastered by Tom Coyne and produced by Roy Buchanan, Dick Shurman and Bruce Iglauer. (wikipedia)


Roy Buchanan was always one of the most respected guitarists in his field, ever since the ’70s. However, he hit a rough patch in the early ’80s, falling out of favor and finding record contracts hard to find. He made a startling comeback in 1985 with When a Guitar Plays the Blues, his first record for Alligator Records. Though the record still suffers the slightly antiseptic formula of Alligator Records, Buchanan shines throughout, making it clear why this brought him back to the spotlight in 1985. (by Stephen Thomas Erlewine)


Roy Buchanan (lead guitar, vocals)
Larry Exum (bass)
Morris Jennings – drums
Bill Heid – keyboards
Steele “Sonny” Seals – saxophone
Criss Johnson – rhythm guitar, solo, (second) (tr.9)[citation needed]
Otis Clay – vocals
Gloria Hardiman – vocals on 06.)


01. When A Guitar Plays The Blues (Johnson/Hables) 6.37
02. Chicago Smokeshop (Buchanan) 5.00
03. Mrs. Pressure (Buchanan) 4.36
04. A Nickel And A Nail (Morrison/Malone) 4.27
05. Short Fuse (Buchanan) 3.31
06. Why Don’t You Want Me (Osso) 6.06
07. Country Boy (Domino/Batholomew) 3.46
08. Sneaking Godzilla Through The Alley (Buchanan) 6.15
09. Hawaiian Punch (Buchanan) 1.52




Russ Ballard – The Fire Still Burns (1985)

FrontCover1Russell Glyn Ballard (born 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 1980s. He also scored several minor hits under his own name in the early and mid-1980s. (wikipedia)

And here´s his 5th solo album:

This man literally has written hundreds of great single hits for other people, but never really succeeded as a solo artist, although he is a more than decent singer and instrumentalist.

The Fire Still Burns brought him close to the breakthrough in 1985. It is a typical AOR rock record with some very nice songs; for example “Hey Bernadette” and the title track, which both sound so similar, that it is almost the same, whether Russ sings “Hey Bernadette …” or “The fire still burns …”. (by Communique)


In my book, making a rock album that stands out from the pack is quite an accomplishment, and here Ballard at least partially succeeds. At their best, his songs offer a new take on old subjects, as when he somehow combines the supernatural and heartbreak in one song. At their worst, they are at least polished, with the kind of upbeat, lightly-driving feel that Tony Carey’s music of this period shares. (by szarka Mar )

This album didn’t turn me into a Russ Ballard fanatic; but at least it wasn’t a waste of money.
Fine follow up to the previous album. Same style, same standard. Quite why EMI America never released a UK single to take advantage of the interest achieved with “Voices” I’ll never know. “Searching” would have been a natural follow-up, being in the same vein. Also “Your Time Is Gonna Come” had considerable commercial potential. (by UKDave)


Russ Ballard (vocals, keyboards, guitar, bass, electronic drums)
Mo Foster (bass)
Stuart Elliott (drums)
Peter Van Hooke (electronic drums)
Mike Richardson (drums)


01. Once A Rebel 5.33
02. The Omen 4.30
03. Hey Bernadette 5.48
04. Searching 6.10
05. Time 1.53
06. Your Time Is Gonna Come 4.39
07. Dream On 5.02
08. The Fire Still Burns 5.37

All songs written by Russ Ballard




Robert Plant – Little By Little (EP – Collectors Edition) (1985)

FrontCover1Robert Anthony Plant CBE (born 20 August 1948) is an English singer, songwriter and musician, best known as the lead singer and lyricist of the rock band Led Zeppelin.

Plant enjoyed great success with Led Zeppelin from the late 1960s to the end of the 1970s. He developed a compelling image as the charismatic rock-and-roll front man, similar to contemporaries such as Mick Jagger of the Rolling Stones, Roger Daltrey of the Who, Jim Morrison of the Doors, and Freddie Mercury of Queen. With his mane of long blond hair and powerful, bare-chested appearance, Plant helped to create the “god of rock and roll” or “rock god” archetype. Although Led Zeppelin dissolved in 1980, Plant occasionally collaborated with Jimmy Page on various projects through this period, including forming a short-lived all-star group with Page and Jeff Beck in 1984, called the Honeydrippers. They released an album called The Honeydrippers: Volume One, and the band had a No. 3 hit with a remake of Phil Phillips’ tune “Sea of Love”, plus a follow-up hit with a cover of Roy Brown’s “Rockin’ at Midnight”.

RobertPlant01A powerful and wide vocal range (particularly evident in his high-registered vocals) has given Plant a successful singing career spanning over 50 years. In 2008, Rolling Stone editors ranked him number 15 on their list of the 100 best singers of all time. In 2011, Rolling Stone readers ranked Plant the greatest of all lead singers. In 2006, Hit Parader magazine named Plant the “Greatest Metal Vocalist of All Time”. In 2009, Plant was voted “the greatest voice in rock” in a poll conducted by Planet Rock.

After Led Zeppelin disbanded in December 1980 (following the death of drummer John Bonham), Plant briefly considered abandoning music to pursue a career as a teacher in the Rudolf Steiner education system, going so far as to be accepted for teacher training. He nevertheless embarked on a successful solo career, helped by encouragement from Genesis drummer Phil Collins, who would go on to play with him.[35] Plant’s solo career began with the album Pictures at Eleven in 1982, followed by 1983’s The Principle of Moments. Popular tracks from this period include “Big Log” (a Top 20 hit in 1983), “In the Mood” (1983), “Little by Little” (from 1985’s Shaken ‘n’ Stirred), “Far Post” (originally only on the B-side of “Burning Down One Side” but popularised by airplay on album-oriented rock stations), “Tall Cool One” (a No. 25 hit from 1988’s Now and Zen) and later “I Believe” (from 1993’s Fate of Nations). This last track, like Led Zeppelin’s “All My Love”, was written for and dedicated to his late son, Karac. Whilst Plant avoided performing Led Zeppelin songs through much of this period (although he would occasionally improvise his unique Zeppelin screams into his set), his tours in 1983 (with Phil Collins on drums) and in 1985 were very successful, often performing to sold-out arena-sized venues. In 1986 Plant performed at the Birmingham Heart Beat Charity Concert with other famous Midlands musicians.

And this Collectors Edition is an EP by Robert Plant released in 1985.

Two rare live tracks, an extended version of “Little By Little” and one of the finest Robert Plant tracks from this period: “Sixes And Sevens” … a must for every Robert Plant collector !


Robbie Blunt (guitar)
Richie Hayward (drums)
Paul Martinez (bass)
Robert Plant (vocals)
Jezz Woodroffe (keyboards)

01. Little By Little (Remix long version) (Plant/Woodroffe) 5.11
02. Easily Lead (live) (Plant/Martinez/Woodroffe) 7.54
03. Rockin’ At Midnight (live with The Honeydrippers) (Brown) 4.09
04. Sixes And Sevens (Plant/Martinez/Woodroffe/Hayward) 5.57

02. + 03. recorded live in Dallas, Texas on 24 June 1985.



Sting – The Dream Of The Blue Turtles (1985)

StingFrontCover1Gordon Matthew Thomas Sumner CBE (born 2 October 1951), known as Sting, is an English musician and actor. He was the principal songwriter, lead singer, and bassist for the new wave rock band the Police from 1977 to 1984, and launched a solo career in 1985. He has included elements of rock, jazz, reggae, classical, new-age and worldbeat in his music.

As a solo musician and a member of The Police, Sting has received 17 Grammy Awards: he won Song of the Year for “Every Breath You Take”, three Brit Awards, including Best British Male Artist in 1994 and Outstanding Contribution in 2002, a Golden Globe, an Emmy and four nominations for the Academy Award for Best Original Song. In 2019, he received a BMI Award for “Every Breath You Take” becoming the most played song in radio history. In 2002, Sting received the Ivor Novello Award for Lifetime Achievement from the British Academy of Songwriters, Composers and Authors and was also inducted into the Songwriters Hall of Fame. He was inducted into the Rock and Roll Hall of Fame as a member of the Police in 2003. In 2000, he received a star on the Hollywood Walk of Fame for recording. In 2003, Sting received a CBE from Elizabeth II at Buckingham Palace for services to music. He was made a Kennedy Center Honoree at the White House in 2014, and was awarded the Polar Music Prize in 2017.


With the Police, Sting became one of the world’s best-selling music artists. Solo and with the Police combined, he has sold over 100 million records. In 2006, Paste ranked him 62nd of the 100 best living songwriters. He was 63rd of VH1’s 100 greatest artists of rock, and 80th of Q magazine’s 100 greatest musical stars of the 20th century. He has collaborated with other musicians on songs such as “Money for Nothing” with Dire Straits, “Rise & Fall” with Craig David, “All for Love” with Bryan Adams and Rod Stewart, “You Will Be My Ain True Love” with Alison Krauss, and introduced the North African music genre raï to Western audiences through the hit song “Desert Rose” with Cheb Mami. In 2018, he released the album 44/876, a collaboration with Jamaican musician Shaggy, which won the Grammy Award for Best Reggae Album in 2019.


The Dream of the Blue Turtles is the first solo album by English musician Sting, released in the United States on 1 June 1985. The album reached number three on the UK Albums Chart[8] and number two on the US Billboard 200.

In the US the album spawned four singles, “If You Love Somebody Set Them Free”, “Fortress Around Your Heart”, “Russians” and “Love Is the Seventh Wave”. The album earned Grammy nominations for Album of the Year, Best Male Pop Vocal Performance, Best Jazz Instrumental Performance and Best Engineered Recording.

The album is named after a dream of Sting’s.

Although the single “If You Love Somebody Set Them Free” reached No. 3 in the US, it only reached 26 in the UK, where the album’s track “Russians” (about Cold War nuclear Stinganxieties, which had peaked in the 1980s) proved more popular.

In the UK the album was kept off No. 1 in the week of its release by Marillion’s Misplaced Childhood and Born in the U.S.A. by Bruce Springsteen occupying the top two places. However, in the US, the album reached No. 2 on the Billboard 200.

The movie Bring on the Night documents some of the recording work that produced this album, as well as the subsequent tour

The songs include “Children’s Crusade” (paralleling the destruction of the younger generation in World War I to the devastation brought about by heroin addiction in modern-day London); the original uptempo arrangement of The Police song “Shadows in the Rain”; “We Work the Black Seam” (about the UK miners’ strike of 1984–85); and “Moon over Bourbon Street”, a song inspired by Anne Rice’s novel Interview with the Vampire. “Consider Me Gone” references the first quatrain of Shakespeare’s Sonnet 35. (by wikipedia)

The Police never really broke up, they just stopped working together — largely because they just couldn’t stand playing together anymore and partially because Sting was itching to establish himself as a serious musician/songwriter on his own terms. Anxious to shed the mantle of pop star, he camped out at Eddy Grant’s studio, picked up the guitar, and raided Wynton Marsalis’ band for his new combo — thereby instantly consigning his solo debut, The Dream of the Blue Turtles, to the critical shorthand of Sting’s jazz record. Which is partially true (that’s probably the best name for the meandering instrumental title track), but that gives the impression that this is really risky music, when he did, after Sting3all, rely on musicians who, at that stage, were revivalists just developing their own style, and then had them jam on mock-jazz grooves — or, in the case of Branford Marsalis, layer soprano sax lines on top of pop songs. This, however, is just the beginning of the pretensions layered throughout The Dream of the Blue Turtles. Only twice does he delve into straightforward love songs — the lovely measured “Consider Me Gone” and the mournful closer, “Fortress Around Your Heart” — preferring to consider love in the abstract (“If You Love Somebody Set Them Free,” one of his greatest solo singles, and the childish, faux-reggae singalong “Love Is the Seventh Wave”), write about children in war and in coal mines, revive a Police tune about heroin, ponder whether “Russians love their children too,” and wander the streets of New Orleans as the vampire Lestat. This is a serious-minded album, but it’s undercut by its very approach — the glossy fusion that coats the entire album, the occasional grabs at worldbeat, and studious lyrics seem less pretentious largely because they’re overshadowed by such bewilderingly showy moves as adapting Prokofiev for “Russians” and calling upon Anne Rice for inspiration. And that’s the problem with the record: with every measure, every verse, Sting cries out for the respect of a composer, not a pop star, and it gets to be a little overwhelming when taken as a whole. As a handful of individual cuts — “Fortress,” “Consider Me Gone,” “If You Love Somebody,” “Children’s Crusade” — he proves that he’s subtler and craftier than his peers, but only when he reins in his desire to show the class how much he’s learned. (by Stephen Thomas Erlewine)


Robert Ashworth (guitar)
Eddy Grant  (percussion)
Omar Hakim (drums)
Darryl Jones (bass)
Kenny Kirkland (keyboards)
Branford Marsalis (saxophone, percussion)
Frank Opolko (trombone)
Danny Quatrochi (synclavier, background vocals)
Sting (vocals, guitar, synthesizer, bass on 09.)
background vocals:
Dolette McDonald – Janice Pendarvis – Pete Smith – Elliot Jones – Jane Alexander – Vic Garbarini – Pamela Quinlan – The Nannies Chorus – Rosemary Purt – Stephanie Crewdson – Joe Sumner – Kate Sumner – Michael Sumner


01. If You Love Somebody Set Them Free 4.16
02. Love Is the Seventh Wave 3.32
03. Russians  3.58
04. Children’s Crusade 5.02
05. Shadows In The Rain 4.52
06. We Work The Black Seam 5.43
07. Consider Me Gone 4.21
08. The Dream Of The Blue Turtles 1.18
09. Moon Over Bourbon Street 4.01
10. Fortress Around Your Heart 4.39

All song written by Sting
except 03. written by Sergei Prokofiev & Sting

Side Two1


Chet Baker Trio – Estate (2008)

FrontCover1This 1983 studio date, titled Crystal Bells here yet previously released under other titles, features trumpet Chet Baker performing within a trio setting with the Belgian duo of guitarist Philip Catherine and bassist Jean-Louis Rassinfosse. Although famously known as an intuitive musician who played by ear, by the ’80s Baker’s improvisation had coalesced into a beautifully logical, root harmony-based style in which one can discern the exact progressions of any given tune simply by listening to him. Here, his lines connect, turn by turn, melody upon melody like a pastel jigsaw puzzle forming before your eyes. Subsequently, Baker thrived in the company of the like-minded Belgians, whose bop-inflected technical prowess on their instruments was also matched by their deft sense for melodicism and sympathetic group interplay. As accompanists alone, they’re superb cohorts for the jazz legend, hanging their ears on each of his notes, outlining the harmonies behind him, and buoying his soft, lyrical phrases. There are also subtle stylistic juxtapositions within the trio with Catherine’s choice of electric, amplified guitar allowing for the occasional foray into country twang, or ambient, fusion-infused colorations. Similarly, though, Rassinfosse’s velvety double-bass lines reveal the influence of the impressionistic tone of Ron Carter, and he never fails to imply a clipped rhythmic pulse; a necessary skill in the drummerless setting Baker often favored in his later years. Ultimately, Crystal Bells is an absolutely magical session with inspired performances that still ring true so many years after Baker’s passing. (by Matt Collar)

Chet Baker

And here´s a review of this re-isssue edition:
Recorded in Belgium in 1983, Estate features Chet Baker backed by one of his best European trios with guitarist Philip Catherine and bassist Jean-Louis Rassinfosse. A lithe guitarist with a sophisticated style well matched to Baker’s melodic lyricism, Catherine is as much a featured player here as sideman. Although Great American Songbook compositions were always Baker’s preference, here he primarily eschews the Broadway canon in favor of lesser-played jazz standards including Horace Silver’s “Strollin’,” Charlie Mariano’s “Crystal Bells,” and Richie Beirach’s softly played tango “Leaving.” Although the aforementioned tracks have been released under alternate album titles, the trio’s 1985 live recording of “My Funny Valentine” is included here as an added bonus. For longtime fans, Estate is essential latter-career Baker. (by Matt Collar)

Original front + backcover:

Chet Baker (trumpet, vocals on 07.)
Philip Catherine (guitar)
Jean-Louis Rassinfosse (bass)

Chet Baker Trio
01. Crystal Bells (Mariano) 6.14
02. Strollin (Silver) 7.26
03. Lament (Johnson) 7.37
04. Leaving (Beirach) 9.43
05. Cherokee (Noble) 6.49
06. Estate (Martino)
07. My Funny Valentine (live) (Rodgers/Hart) 10.19



Alternate labels:


Pete York, Brian Auger & Colin Hodgkinson – Steaming (1985)

FrontCover1.jpgI guess, every serious fan ofRock & Jazz music should know this names:

Pete York – Brian Auger – Colin Hodgkinson:

Everyone has a great career and everyone is a real important part in the history of Rock & Jazz music …use wikipedia to discover them …

A digital live recording of the trio in Freiburg, Germany, in April 1985. After their fine work the previous year with Spencer Davis, the tightness of York and Hodgkinson’s interplay on this release comes as little surprise. Auger makes for a fine third, though, with his electric piano lines wafting effortlessly over the rhythm section of “For No One.” Despite a long and loping cover of Donovan’s “Season of the Witch,” and a Hammond romp through a Jimmy McGriff number, the emphasis brought by Auger’s presence is on electric jazz-rock. The band even gamely covers a couple Billy Strayhorn chestnuts mid-show. Like the York/Hodgkinson concerts with Spencer Davis, though, it’s Hodgkinson’s solo bits that steal the spotlight. His sinewy “Catcote Rag” bass solo features some lovely glissando playing, and the “San Francisco Bay Blues” hearkens back to his string-shredding bass blues with Back Door. (by by Paul Collins)

In other words:


What more can I say? Listen to this exciting and rare Jazz-Rock album …


Brian Auger (keyboards, vocals)
Colin Hodgkinson (bass, vocals)
Pete York (drums)


01. No One (Brunell) 4.40
02. Freedom Jazz Dance (Harris) 6.15
03. Catcote Rag (Hodgkinson) 3.04
04. San Francisco Bay Blues (Fuller) 3.23
05. Take the “A” Train (Strayhorn) 2.42
06. Prelude To A Kiss (Ellington/Gordon/Mills) 3.23
07. The Hawk Talk (Bellson) 3.27
08. Season Of The Witch (Leitch) 11.46
09. All About My Girl (McGriff) 6.12
10. Going Down Slow (Burnett) 5.06
11. Compared to What (McDaniels) 10.07




More rarities from Inak Records: