Richard Tamplin

What a cracking setlist (you only have to view the tracklist to realise how worthwhile this is). Recorded at the Ziggo Dome, Amsterdam, 2024 - hence diamonds in the title. One thing Simple Minds have perfected over the years/recent decades is how to please all of their fans - whether casual or diehard, because you'll get an eclectic mix of early, more obscure material alongside the big commercial crowd pleasers. And wow! what a back catalogue they've got. They could quite easily carry on touring without bothering to record a new studio album (but I hope they do) as they've got so much great material they could play on any given tour. And it's such a great band. I think Jim and Charlie recently joked that they were just surfing the waves of their current line-up, as they were that good! Jim's voice is still strong, Charlie's still doing his guitar stuff, playing those soaring dynamic power chords (he's also very versatile in his guitar playing, including angular guitar playing on some of the early stuff). Sarah Brown adds on her amazing soulful, gospel vocals, and the new keyboard player, Erik Ljunggren is great! Well the whole band are! If the Minds were to return to the studio for another album, they should go a bit darker and more reflective to fit the times were living in now. That's it!

The title says it all - it really is a 'Full House' of gems! Madness are a national treasure - and who wouldn't want this great compilation? The only single that seems to be missing is the wonderful cover of Scritti Politti's 'The Sweetest Girl'. Madness have always been a rhythmically tight band, and I sometimes think we take them for granted and forget what great musicians/lyricists they are who created so many wonderful, life affirming classic hits, from: 2 tone & ska, pop, music hall, reggae and sophisti-pop. All helped along by the excellent production from legendary producers Clive Langer & Alan Winstanley - who were/are pure class! Who also worked with the likes of Dexys Midnight Runners and Bowie (think 'Absolute Beginners') in the 80s. Understandably, the second disc couldn't possibly match the legendary music on the first one, but that is from such a high benchmark that the second disc still makes for a great, rewarding listen - with some songs you'll know and love, and newer material to discover and think that's great!

Ex Skids guitarist, Stuart Adamson's new band at the time - Big Country (formed in '81) really hit the scene in '83 with intent and purpose - with four big hit singles: 'Harvest Home' (ok Sept '82), 'Fields Of Fire', 'In A Big Country' and 'Chance' - taken from their debut 1983 studio album 'The Crossing' - trailblazing an anthemic sound of Celtic & folk rock with post-punk & new wave. As well as the singles, there are plenty of great album tracks on this like: 'Inwards', 'Lost Patrol' and 'The Storm' - with its moving, melancholy and Celtic sound. I defy anyone not to well up when listening to that. You see Big Country didn't just excel at doing big 'rip roaring' anthems, they also excelled at doing tender, melancholy ballads, such as 'The Storm' or 'Chance' - or 'Girl With Grey Eyes' off 'Steeltown'. I'm talking in past tense, because the band is still going strong, though understandably with a different lead singer and less original band members. 'The Crossing' is still a gem. Ps. 'The Storm' is both a tender ballad plus a stirring anthem (a bit of a hybrid) - so call it an anthemic ballad. Anyway you get the gist.

Disclaimer. Nothing I mention will be original, as it's all been said before, but for what it's worth here's my take. I think over the years I've become more fond of 'Aladdin Sane' than 'Ziggy Stardust'. But initially I preferred Ziggy - not that I ever heard those two albums the first time round. I only got into the whole Bowie thing in '83 on the back of 'Let's Dance' when I was still in my early teens. I think once you get past the rush of hearing Ziggy the first few times, you're sort of done - though I still love it! With 'Aladdin Sane' you get a more varied/wider sonic soundscape, with a lot more piano, more sax and sometimes the use of backing vocalists - and generally a more multi-textured sound. So yeah! It's Glam rock and Hard rock with a more American sound, but it still keeps its British eccentricity, plus obviously you have the Stones influences as well (think 'Exile On Main St.') and the cover of 'Let's Spend The Night Together'. The album was given the "Ziggy goes to America" label, but equally you could say "Ziggy does the Stones" or "Ziggy does jazz" - courtesy of the ramped up sax on this record and the introduction of the classically trained pianist/legend Mike Garson. Other cliches, I love the famous iconic cover with Bowie rocking that orange-flamed mullet and the lightning bolt make-up across his face, as the persona of Aladdin Sane. If you had to pick out the personnel/musicians that stood out the most on this album, it would be Bowie (obviously), Mick Ronson at his "riff-tastic!" best and Mike Garson - with his creative, amazing piano playing. The highlights, well everything really, you have so much to choose from, like: 'Aladdin Sane' (I still can't get over how manic that piano solo is), 'Drive-In Saturday', 'Panic In Detroit', 'Cracked Actor', 'Time' and 'Lady Grinning Soul'.

I've always been into Dexys and have always loved their debut, seminal classic 'Searching For The Young Soul Rebels' from 1980 - with its perfect blend of punk rock & new wave, soul and R&B - with a mod sensibility. Dexys Mark 1 were a tight band with the best horn-section around, featuring saxophone, alto saxophone and trombone - courtesy of players Jeff Blythe, Steve 'Babyface' Spooner and Big Jim Paterson. Plus with great organ/piano, guitar, bass and drums - and of course legendary vocalist Kevin Rowland. The image was all leather and donkey jackets with woolly hats inspired by New York dockworkers, like in the movie 'On The Waterfront'. With great songs/tunes like: 'Burn It Down', 'Tell Me When My Light Turns Green', 'The Teams That Meet In Caffs', 'Geno', the moving and soulful 'Keep It' - with that amazing, soaring brass wall of sound, and 'There, There, My Dear' proves that it really was/still is a knockout album. Lastly, we all know that Kevin has his own unique/distinct voice, but listening to 'Thankfully Not Living In Yorkshire It Doesn't Apply' you'd be forgiven for thinking (at times) you were listening to Russell Mael off Sparks. Yep, still brilliant then.

Great mini compilation handpicked by Bowie, featuring some real gems from his 70s and 80s back catalogue, including: 'Life On Mars?', 'Sweet Thing/Candidate/Sweet Thing (Reprise)', 'Lady Grinning Soul', 'Win', 'Some Are', 'Fantastic Voyage', 'Teenage Wildlife' and 'Loving The Alien'. 12 tracks in total - taking in everything from acoustic, epic piano ballads, glam rock, proto-type goth, soul, ambient-synth, art rock, new wave, new wave synth/post-punk and sophisti-pop. Okay, if you were going to split hairs, 'Some Are' was recorded between 1976-1991, and was a bonus track on the EMI/Ryko 1991 CD Edition of 'Low'. And 'Time Will Crawl' is the 2008 'MM Remix'.

I remember when this first came out back in 1982. I was barely into my teens. 'The Lexicon Of Love' - with its blue-eyed soul meets New Romantic sound - and its lush string arrangements or soaring sax and polished production - and Martin crooning for all he's worth. This was epic pop produced by legendary producer Trevor Horn. We all know the wonderful singles from this, but the whole album is pure class. I've always had a soft spot for the album track 'Date Stamp' - with its lush backing vocals and soaring sax solo. It always floors me how brilliant that song was/still is. Like everyone else back then, I sported that New Romantic floppy fringe look, like Martin Fry, David Sylvian or Bowie. Anyway, understandably their debut studio album - 'The Lexicon Of Love' was never bettered by them - because it was their masterpiece.

The concert speaks for itself. Tears For Fears have always been a great live act and this set really showcases what this duo are capable of when playing live. As well as Rowland and Curt both being lead singers (depending on what song) plus creatives, they're also both highly skilled, versatile guitarists. They also choose great musicians and female backing or shared vocalists when playing live or on record. Like the soulful, uplifting organ & piano jazz fest of 'Badman's Song' on this, which is pure joy! As for the four new songs, well they're pure class and prove that the duo are still brimming with creative ideas and energy. And you feel listening to those sublime gems that they're both itching to get back into the studio and record another album. Sublime stuff!

All of those tracks on 'Station To Station' are considered classics and were always live favourites - most notably 'Station To Station', 'Stay', 'TVC15' and 'Golden Years', but they all sounded great when played live on various tours. It was a real tour-de-force of an album. I'll wager that 'Station To Station' is everyone's favourite track on this - it's that rhythmically charged slow build up and Bowie's amazing vocal delivery. Then you get the big pay off, with that large adrenaline rush you get from hearing Earl Slick's big guitar solo towards the end. So the album's tight - and not just in the superb rhythm section of Carlos Alomar on guitar, George Murray on bass guitar and Dennis Davis on drums, but the album itself hasn't got an ounce of fat on it, and is rightfully considered as one of Bowie's finest.