Genesis - Seconds Out (2LP) (1977) - €20,00

Seconds Out is the second live album by English progressive rock band Genesis. It was released as a double album on 14 October 1977 on Charisma Records and was their last to feature guitarist Steve Hackett prior to his departure. The majority was recorded in June 1977 at the Palais des Sports in Paris during the Wind & Wuthering Tour. One track, "The Cinema Show", was recorded the previous year at the Pavillon de Paris during their A Trick of the Tail Tour.

Seconds Out received average to positive reviews upon its release, and reached No. 4 in the UK and No. 47 in the US. Its release coincided with the departure of guitarist Steve Hackett who left the group during the album's mixing stages, thus reducing Genesis to the core trio of keyboardist Tony Banks, guitarist Mike Rutherford, and drummer and singer Phil Collins who recorded ...And Then There Were Three... by this time. 

Depending upon your point of view, Genesis in 1976/1977 was either a band ascending toward its peak commercially, or a group crippled by the departure of a key member, and living on artistic borrowed time. In reality, they were sort of both, and fortunately for the members, their commerciality was more important than their artistic street cred, as their burgeoning record sales and huge audiences on tour during that period attested. 

Seconds Out caught the band straddling both ends of their history, their second concert album and this time out a double LP. Apart from capitalizing on a successful tour, the album's raison d'etre appears to have been to present the case to critics and longtime fans that post-Peter Gabriel Genesis, with Phil Collins as lead singer, was essentially the same band as Genesis fronted by Peter Gabriel. 

The original side one songs consisted of repertory from such post-Gabriel albums as Trick of the Tail and Wind & Wuthering, and most of those live versions, including "Squonk," "The Carpet Crawl" (positively ethereal), and "Afterglow," are superior to the original studio renditions of the same songs. Indeed, part of the beauty of this album is the sheer flexibility of the band during this period -- in addition to superb vocals by Collins throughout, the drumming by Chester Thompson is at least a match for Collins' best playing. 

On that older repertory (which comprised sides two and three of the LP version), the results are more mixed, though still surprisingly enjoyable -- on "The Lamb Lies Down on Broadway," despite the best efforts of Collins, backed by Michael Rutherford's and Tony Banks's singing, he really can't match the subtlety or expressiveness of Gabriel's singing, though he comes close; he actually fares slightly better on the closing section of "The Musical Box," a piece that requires power as much as subtlety. 

"Supper's Ready" -- which, sung by Gabriel, missed making it onto 1973's live album -- holds up well, mostly by virtue of the playing; and in fairness, the band even extended itself to including "Cinema Show," which is worth hearing just for Bill Bruford's transcendent drumming, over and above how well everything else works; as this track was never represented with Gabriel, even on the group's boxed set, it's difficult to complain too loudly about any weakness in Collins' singing.                 

Side A

A1. Squonk - 6:39

A2. The Carpet Crawlers-  5:27

A3. Robbery, Assault and Battery - 6:02

A4. Afterglow -  4:29

Side B

B1. Firth of Fifth - 8:56

B2. I Know What I Like (In Your Wardrobe) - 8:45

B3. The Lamb Lies Down On Broadway - 4:59

B4. The Musical Box (Closing Section) - 3:18

Side C

C1. Supper’s Ready - 24:33

Side D

D1. The Cinema Show - 10:58

D2. Dance On A Volcano - 5:09

D3. Los Endos - 6:20

Notes

Release:  1977

Format:  2LP (Gatefold)

Genre:  Prog-Rock

Label:  Charisma Records

Catalog#  9199263

Vinyl:  VG+

Cover:  VG+

Prijs:  €20,00

Madness - Seven (1981) - €10,00

 

7 (also known as Madness 7) is the third album from the British ska/pop band Madness. Released in October 1981, it reached No. 5 in the UK album chart. All but one track was recorded at Compass Point Studios in Nassau, Bahamas in the summer of 1981, the exception being "Grey Day" which was recorded in London earlier in the year.

The third album is often where a band makes a great leap forward, and so it is with Madness’ Seven. Although they’re still clearly the same nutty band that tore it up with One Step Beyond, Seven finds the group expanding its horizons considerably, ratcheting up the melodious pop quotient in their songwriting, as well as the distinctly English character sketches. 

Much of the album comes across as a blend of the Kinks and Ian Dury backed by a propulsive ska beat, and the production is a appropriately just as imaginative, colored by the odd sitar, finding new carnivalesque flourishes for the horns, and expanding the rhythmic palette considerably. 

Sometimes, the group still gets ridiculously silly -- “Benny Bullfrog” is a novelty by any other name -- but the genius of Madness is that they would toss off these frivolous numbers as easily as they would throw out something as elegiac as “Grey Day,” while finding the sweet spot between those two extremes on singles like “Cardiac Arrest.” 

Side A

A1.  Cardiac Arrest - 2:52

A2.  Shut Up - 4:07

A3.  Sign of the Times - 2:43

A4.  Missing You - 2:32

A5.  Mrs. Hutchinson - 2:17

A6.  Tomorrow’s Dream - 3:54

Side B

B1.  Grey Day - 3:40

B2.  Pac-A-Mac - 2:37

B3.  Promises Promises - 2:52

B4.  Benny Bullfrog - 1:51

B5.  When Dawn Arrives - 2:43

B6.  The Opium Eaters - 3:03

Notes

Release:  1981

Format:  LP

Genre:  Ska, 2Tone

Label:   Stiff Records

Catalog#   SEEZ 39

Vinyl:  VG+

Cover:  VG+

Prijs: €10,00

Talking Heads - Stop Making Sense (1984) - €10,00

Stop Making Sense is a live album by Talking Heads, the soundtrack to the film of the same name. It was released in September 1984 and features nine tracks from the movie, albeit with treatment and editing. The album spent over two years on the Billboard 200 chart. It was their first album to be distributed by EMI outside North America.

While there's no debating the importance of Jonathan Demme's classic film record of Talking Heads' 1983 tour, the soundtrack released in support of it is a thornier matter. Since its release, purists have found Stop Making Sense slickly mixed and, worse yet, incomprehensive. 

The nine tracks included jumble and truncate the natural progression of frontman David Byrne's meticulously arranged stage show. 

Cries for a double-album treatment -- à la 1982's live opus The Name of This Band Is Talking Heads -- were sounded almost immediately; more enterprising fans merely dubbed the VHS release of the film onto cassette tape. So, until a 1999 "special edition" cured the 1984 release's ills, fans had to make do with the Stop Making Sense they were given -- which is, by any account, an exemplary snapshot of a band at the height of its powers. 

Even with some of his more memorable tics edited out, Byrne is in fine voice here: Never before had he sounded warmer or more approachable, as evidenced by his soaring rendition of "Once in a Lifetime." Though almost half the album focuses on Speaking in Tongues material, the band makes room for one of Byrne's Catherine Wheel tunes (the hard-driving, elliptical "What a Day That Was") as well as up-tempo versions of "Pyscho Killer" and "Take Me to the River." 

If anything, Stop Making Sense's emphasis on keyboards and rhythm is its greatest asset as well as its biggest failing: Knob-tweakers Chris Frantz and Jerry Harrison play up their parts at the expense of the treblier aspects of the performance, and fans would have to wait almost 15 years for reparations. 

Still, for a generation that may have missed the band's seminal '70s work, Stop Making Sense proves to be an excellent primer. 

The album was ranked number 345 on Rolling Stone magazine's list of the 500 greatest albums of all time. In 2000 it was voted number 394 in Colin Larkin's All Time Top 1000 Albums. In 2012 Slant Magazine listed the album at #61 on its list of "Best Albums of the 1980s".

Side A

A1. Psycho Killer 4:28

A2. Swamp - 3:50

A3. Slippery People - 3:35

A4. Burning Down the House - 4:14

A5. Girlfriend Is Better - 3:32

Side B

B1. Once in a Lifetime - 4:34

B2. What a Day That Was - 5:08

B3. Life During Wartime - 4:52

B4. Take Me to the River - 5:59

Notes

Release: 1984

Format:  LP

Genre:  Art Rock, Post-punk

Label:  EMI Records

Catalog#  1C 064-240243-1

Vinyl:  VG+

Cover:  VG+

Prijs: €10,00

Santana - Marathon (1979) - €10,00

Marathon is the eleventh studio album by Santana. This marked the beginning of the group's commercial slide, in spite of having the Top 40 hit "You Know That I Love You". Alex Ligertwood, who would sing with the group throughout the 1980s, joined the group for this album.

Marathon marked the addition of keyboard player Alan Pasqua and singer Greg Walker's replacement by singer/guitarist Alex Ligertwood in the Santana lineup. Otherwise, the album was notable for consisting entirely of band-written material, although those songs were in the established R&B/rock style evolved on albums like Amigos, Festival, and Inner Secrets. 

On Marathon, Santana as a group lose everything that made them great except their instincts for pop hooks and the guitar. The first victim of this Santana outfit to go up the creek is good taste. This is a tired work-out, entirely made of kitsch.

So you get indistinct vocalists (or is it just one? makes no difference) singing terrible terrible lyrics on top of melodies straight out of empowering volleyball commercials on what is essentially a washed-up disco-funk record, brimful with pedestrian pop choruses, awful instrumentation and synths overall, and frankly, the guitar sounds lost, limp and assimilated in this context.

Oh, they put in some jazz-rock instrumentals and rockier pieces with „latino percussion“. But just think of a Las Vegas-mobster in a white trenchcoat and  pink crocodile leather pants writing down every possible cliché that gives funk-rock a bad name, who then injects Carlos with horse sedatives and forces him into the studio. This sounds like a computer-generated parody of one of my favourite 1970s bands, with programmed disco-beats, the „funk-rock“ guitar cliché switch on, and nasty „jazz sections“ courtesy of synth hell.

No thought has been given to find a decent vocalist or, say, to write lyrics. Oh wait, that’s not true, here’s a taste: „ If we help each other / we shall reach our destination, yeah / with love! / more love! / all we need is loooooooove!“. I don’t usually quote lyrics to dismiss a record (partly because bad lyrics can’t ruin a great record, partly because taking lyrics out of context, removing their musical and emotional frame, is an unreliable and unfair move), but the fundamental emptiness of every single line on this record just stresses how much this was an effort equally designed for commercialism as it was shambled together by uninvolved marketeers. That’s what it sounds like anyway.

I should mention that this is professionally played music, with okay craftmanship in the recording and some „catchy“ hooks.

Side A

A1. Marathon - 1:28

A2. Lightning In The Sky - 3:52

A3. Aqua Marine - 5:35

A4. You Know That I Love You - 4:26

A5. All I Ever Wanted - 4:03

Side B

B1. Stand Up - 4:02

B2. Runnin' - 1:38

B3. Summer Lady - 4:23

B4. Love - 3:22

B5. Stay (Beside Me) - 3:50

B6. Hard Times - 3:58

Notes

Release:  1979

Format:  LP

Genre:  Latin Rock, Fusion

Label:  CBS Records

Catalog#  86098

Vinyl:  VG

Cover:  VG

Prijs: €10,00

Heaven 17 - How Men Are (1984) - €10,00

How Men Are is the third studio album by the English synthpop band Heaven 17. It was originally released in September 1984, on the label Virgin. The album peaked at No. 12 in the UK and was certified Silver (60,000 copies sold) by the BPI in October 1984.

Three singles were released from this album: "Sunset Now" (UK#24), "This Is Mine" (UK#23) in 1984, and an edited remix of "...(And That's No Lie)" (UK#52) in early 1985, which was the first Heaven 17 single to fail to reach the UK Top 40 since "Let Me Go" at the end of 1982

It all came together for Heaven 17 on this album, and as a result it is by far their strongest, most brilliant album. Combining their various influences (including R&B, pop, dance, electronica), Heaven 17 fused these styles together to create an almost perfect sound. 

There is simply not a weak track on the album. Highlights are numerous, including the very long but very wonderful "And That's No Lie." 

A strong melody, stunning vocals from Glenn Gregory, and tight production equal a fascinating glimpse into the human struggle. Adding a number of session players, including a guitarist, Heaven 17 was able to expand and build on their solid sound. Gregory is also allowed to branch out on this album and write more personal and political statements that were not clearly heard on their first two albums. 

Fans will not be disappointed, and in fact, this could be the album to win new fans over. "Sunset Now," "Flamedown," and the brilliant "This Is Mine" are just a few of the reasons for this album's greatness.

Side A

A1.  Five Minutes To Midnight - 3:46  

A2.  Sunset Now - 3:35  

A3.  This Is Mine - 3:54  

A4.  The Fuse - 3:05  

A5.  Shame Is On The Rocks - 3:59  

Side B

B1.  The Skin I’m In - 3:29  

B2.  Flamedown - 3:00  

B3.  Reputation - 3:03  

B4.  And That’s No Lie - 10:02 

Notes

Release:  1984

Format:  LP

Genre:  Synth-pop

Label:  Virgin Records

Catalog#  206614-620

Vinyl:  VG

Hoes:  VG

Prijs: €10,00

Fleetwood Mac - Tango In The Night (1987) - €10,00

Tango in the Night is the fourteenth studio album by British-American rock band Fleetwood Mac. Released on 13 April 1987, it is the fifth and to date last studio album from the band's most successful line-up of Lindsey Buckingham, Mick Fleetwood, Christine McVie, John McVie and Stevie Nicks, as Buckingham left the band later that year.

Produced by Buckingham with Richard Dashut, Tango in the Night began as one of Buckingham's solo projects, but by 1985 the production had morphed into Fleetwood Mac's next record. It contains several hit singles, including four US top 20 hits: "Big Love" (#5), "Seven Wonders" (#19), "Little Lies" (#4) and "Everywhere" (#14). Two other songs, "Family Man" (#90) and "Isn't It Midnight" were also released as singles to less chart success. 

Artistically and commercially, the Stevie Nicks/Lindsey Buckingham/Mick Fleetwood/Christine and John McVie edition of Fleetwood Mac had been on a roll for over a decade when Tango in the Night was released in early 1987. This would, unfortunately, be Buckingham's last album with the pop/rock supergroup -- and he definitely ended his association with the band on a creative high note. 

Serving as the album's main producer, Buckingham gives an edgy quality to everything from the haunting "Isn't It Midnight" to the poetic "Seven Wonders" to the dreamy "Everywhere." Though Buckingham doesn't over-produce, his thoughtful use of synthesizers is a major asset. Without question, "Family Man" and "Caroline" are among the best songs ever written by Buckingham, who consistently brings out the best in his colleagues on this superb album. 

The cover art for the album was a painting by Australian artist Brett-Livingstone Strong which was hanging in Buckingham's home. The painting is a homage to the 19th-century French painter Henri Rousseau, emulating his colourful jungle theme works such as The Snake Charmer and The Repast of the Lion. 

Side A

A1. Big Love - 3:37  

A2. Seven Wonders - 3:38  

A3. Everywhere - 3:41  

A4. Caroline - 3:50  

A5. Tango In The Night - 3:56  

A6. Mystified - 3:06  

Side B

B1. Little Lies - 3:38  

B2. Family Man - 4:01  

B3. Welcome To The Room...Sara - 3:37  

B4. Isn't It Midnight - 4:06  

B5. When I See You Again - 3:47  

B6. You And I, Part II - 2:40 

Notes

Release:  1987

Format:  LP

Genre:  Pop

Label:  Warner Bros. Records

Catalog#  925 471-1

Vinyl:  VG

Cover: VG

Prijs: €10,00

Commodores - 13 (1983) - €10,00

 

Commodores 13 is the tenth studio album (and thirteenth overall, including two greatest-hits compilations and a live album) by the Commodores, released in 1983 on Motown Records.

Commodores 13 was produced by William King, Thomas McClary, Walter Orange and Milan Williams. 

Singers Vesta Williams and Melissa Manchester made guest appearances on the album.

For the Commodores, losing Lionel Richie in 1982 was a lot like L.T.D. losing Jeffrey Osborne and Rose Royce losing Gwen Dickey -- it was a severe blow, although not a fatal one. In fact, the Commodores had a few major hits after Richie's departure, including "Nightshift" (a number one R&B/number three pop smash) in 1984 and "Goin' to the Bank" in 1986. 

Released in 1983, Commodores 13 was the band's first post-Richie album as well as its first album without producer James Carmichael (who had been working with the Commodores since 1974). 

This LP came out around the same time as Richie's second solo album, Can't Slow Down, which sold over eight million copies in the U.S. alone. Commodores 13 didn't do nearly that well, although it's a generally decent, if uneven, record that had a number 20 R&B hit in "Only You." The lead vocals are handled by Walter Orange, Thomas McClary, and the Mean Machine's Harold Hudson, who was an interim vocalist rather than an official full-time vocalist. 

Not surprisingly, the Commodores cover both their R&B bases and their pop bases, getting into everything from sleek keyboard funk ("Touchdown," "Nothing Like a Woman") to adult contemporary ballads ("Only You"). Meanwhile, "Ooo Woman You," which McClary co-wrote with Melissa Manchester, is a catchy pop/rock number. Is Commodores 13 a masterpiece? 

No. This release isn't in a class with essential treasures like 1976's Hot on the Tracks or 1977's The Commodores. But it isn't a bad album, and it indicated that there could be life after Lionel Richie for the Commodores. 

Side A             

A1. I’m In Love - 4:05

A2. Turn Off the Lights - 4:20

A3. Nothing Like a Woman - 4:56

A4. Captured - 4:37

Side B

B1. Touchdown - 4:30

B2. Welcome Home - 4:20

B3. Ooo, Woman You - 4:22

B4. Only You - 4:10

Notes

Release:  1983

Format:  LP (Gatefold

Genre:  Soul / Funk

Label:  Motown Records

Catalog#  542045                

Vinyl:  VG+

Cover:  VG+ (Gatefold)

Prijs: €10,00

Simple Minds - New Gold Dream (81–82–83–84) (1982) - €10,00

New Gold Dream (81–82–83–84) is the fifth studio album by Scottish band Simple Minds. The album was released in September 1982 by record label Virgin, and was a turning point for the band as they gained critical and commercial success in the UK and Europe.

One of Scotland's finest exports, Simple Minds deliver a strong synth-reared release on New Gold Dream. This album harks the darker side of the band's musicianship, and such material alludes to their forthcoming pop-stadium sound which hurled them into rock mainstream during the latter part of the '80s. They were still honing their artistic rowdiness, and Kerr's pursuing vocals were still hiding. 

But Simple Minds' skill of tapping into internal emotion is profound on songs such as "Someone, Somewhere in Summertime" and the album's title track. 

But the dance-oriented tracks like "Promised You a Miracle" and "Glittering Prize" are lushly layered in deep electronic beats -- it was only a matter of time for Simple Minds to expound upon such musical creativity which made them a household favorite through the 1980s. 

New Gold Dream originated in Simple Minds' unexpected popular and commercial success during an Australian tour with Icehouse, following the release of Sons and Fascination. The band was prompted by this experience to write "Promised You a Miracle" upon their return to Europe.

Jim Kerr recalled the production of the album as a wonderful time during the late spring and early summer of 1982 in which "everything we tried worked", adding: "There were no arguments. We were in love with what we were doing, playing it, listening to it. You don't get many periods in your life when it all goes your way."

The album was recorded over a five-month period at Rockfield Studio, The Townhouse and Oxford Manor, with pre-production at The Old Mill in Fife. During a short tour rehearsal in January 1982, the band wrote what would become the songs "King Is White and In the Crowd", "Hunter and the Hunted" and "Promised You a Miracle". The latter song proved pivotal to the musical direction of the album. "Promised You a Miracle" was unveiled in a Kid Jensen session for Radio 1 and released as a single in April 1982.

For the recording of the album producer Peter Walsh was recruited on the recommendation of guitarist Charlie Burchill, who had been impressed by Walsh's work on the remix of the band's previous single "Sweat in Bullet". During the recording sessions it became evident that the band's drummer Mike Ogletree didn't hit the mark. Walsh decided to recruit session drummer Mel Gaynor to play on the album and, following Ogletree's departure, Gaynor became a full-time member of the band.

Jazz keyboardist Herbie Hancock guested on the album and plays a synthesizer solo on the song "Hunter and the Hunted".

Side A

A1.  Someone, Somewhere in Summertime - 4:36

A2.  Colours Fly and Catherine Wheel - 3:49

A3.  Promised You A Miracle - 4:28

A4.  Big Sleep - 5:00

A5.  Somebody Up There Likes You - 5:02

Side B

B1.  New Gold Dream (81/82/83/84) - 5:39

B2 . Glittering Prize - 4:33

B3.  Hunter and the Hunted - 5:55

B4.  King Is White and in the Crowd - 7:00

Notes

Release:  1982

Format:  LP

Genre:  New Wave

Label:   Virgin Records

Catalog#  204965

Vinyl:  VG+

Cover:  VG+

Prijs: €10,00

Love Unlimited - Love Is Back (1981) - €10,00

 

Love Unlimited was a female vocal trio that provided backing vocals for American R&B/soul singer Barry White on his albums and concert tours. They also found success with their own recordings.Formed in 1969, the group included Barry White's future wife, Glodean James, her sister, Linda James, and their cousin Diane Taylor.

Love Is Back is the fifth studio album by Love Unlimited. The album starts with the track "I'm So Glad That I'm a Woman", an R&B song considered by many a hymn to women, written by Barry White (creator of the group), Frank Wilson and Paul Politi. 

Three tracks entered the charts: "I'm So Glad That I'm a Woman", "High Steppin', Hip Dressin' Fella (You Got It Together)" and "If You Want Me, Say It" but unfortunately all three songs didn't get to a high position because of promotion problems. 

Side A

A1.  I’m So Glad That I’m A Woman - 4:01  

A2.  High Steppin’, Hip Dressin’ Fella (You Got It Together) - 5:32  

A3.  When I’m In Your Arms, Everything’s Okay - 4:33  

Side B

B1.  If You Want Me, Say It - 5:41  

B2.  I’m Givin’ You A Love (Every Man Is Searchin’ For) - 4:30  

B3.  Gotta Be Where You Are - 4:14  

B4.  I’m His Woman - 5:38 

Notes

Release:  1979

Format:  LP

Genre:  Soul / Disco

Label:   Unlimited Gold Records

Catalog#   83790

Vinyl:  VG+

Cover:  VG+

Prijs: €10,00

Joe Jackson Band - Beat Crazy (1980) - €10,00

 

Beat Crazy is the third album by Joe Jackson, released in October 1980, and credited to the Joe Jackson Band It was a relative disappointment commercially, peaking outside the Top 40 in both the UK and the United States, with its singles failing to chart.

Beat Crazy was intended to be a stylistic departure from Jackson's first two albums, but, as Jackson recalled, the band lacked a clear direction during the recording. Jackson later stated that he felt the album "didn't really work". He explained,

The stereotypical difficult third album, in which we tried to change the formula a bit without quite knowing how. It's darker than the first two, and the reggae influence is more pronounced. There's some good stuff on it (I especially like the title track and 'Biology') but it’s not quite the triumphant swan song of this band.

A direct reggae influence is heard on such dub-style cuts like "In Every Dream Home," while more of a pastiche approach is evident on tracks like "Mad at You." Jackson even riffs off of Linton Kwesi Johnson's dub poetry sides with the dancefloor politics of "Battleground," while also laying down some straight ska on "Pretty Boys." 

One also gets intimations of the sophisticated jazz-pop songwriting of Night and Day with torching gems like "One to One." As is the case on most of his albums, Jackson covers a wide array of topics here, including modern relationships, feminism, club life, and the social fringe. A solid effort. 

Side A

A1. Beat Crazy - 4:15

A2. One to One - 3:22

A3. In Every Dream Home (A Nightmare) - 4:30

A4. The Evil Eye - 3:46

A5. Mad at You - 6:02

Side B

B1. Crime Don’t Pay - 4:25

B2. Someone Up There - 3:47

B3. Battleground - 2:33

B4. Biology - 4:31

B5. Pretty Boys - 3:41

B6. Fit - 4:43

Notes

Release:  1980

Format:  LP

Genre:  New wave, punk rock, ska

Label:  A&M Records

Catalog#  AMLH 64837

Vinyl:  VG+

Cover:  VG+

Prijs: €10,00

Cheap Trick - Dream Police (1979) - €10,00

 

Dream Police is the fourth studio album by American rock band Cheap Trick. It was released in 1979, and was their third release in a row produced by Tom Werman. It is the band's most commercially successful studio album, going to No. 6 on the Billboard 200 chart.

At Budokan unexpectedly made Cheap Trick stars, largely because "I Want You to Want Me" had a tougher sound than its original studio incarnation. Perversely -- and most things Cheap Trick have done are somehow perverse -- the band decided not to continue with the direct, stripped-down sound of At Budokan, which would have been a return to their debut. 

Instead, the group went for their biggest, most elaborate production to date, taking the synthesized flourishes of Heaven Tonight to extremes. 

While it kept the group in the charts, it lessened the impact of the music. Underneath the gloss, there are a number of songs that rank among Cheap Trick's finest, particularly the paranoid title track, the epic rocker "Gonna Raise Hell," the tough "I Know What I Want," the simple pop of "Voices," and the closer, "Need Your Love." Still, Dream Police feels like a letdown in comparison to its predecessors, even though it would later feel like one of the group's last high-water marks.

Side A

A1.  Dream Police   (3:49)

A2.  Way of the World   (3:39)

A3.  The House Is Rockin´ (With Domestic Problems)   (5:12)

A4.  Gonna Raise Hell   (9:20)

Side B

B1.  I’ll Be with You Tonight   (3:52)

B2.  Voices   (4:22)

B3.  Writing on the Wall   (3:26)

B4.  I Know What I Want   (4:29)

B5.  Need Your Love   (7:39)

Notes

Release: 1979

Format:  LP

Genre:  Hardrock

Label:  Epic Records

Catalog#  EPC 83522

Vinyl:  VG+

Cover:  VG+ (Gatefold)

Prijs: €10,00

Santana - Inner Secrets (1978) - €10,00

Inner Secrets is the tenth studio album by Santana. It was released in 1978 and marks the start of the phase of Santana's career where he moved away from the fusion of Latin, jazz, rock and blues that marked his previous records and began to move towards an album-oriented rock direction. 

Since he had joined Santana in 1972, keyboard player Tom Coster had been Carlos Santana's right-hand man, playing, co-writing, co-producing, and generally taking the place of founding member Greg Rolie. But Coster left the band in the spring of 1978, to be replaced by keyboardist/guitarist Chris Solberg and keyboardist Chris Rhyme.

As such, the album's quality is widely disputed among fans. "Stormy" and "One Chain (Don't Make No Prison)" were both hit singles. In the Netherlands "Well All Right" was released as a single and reached #22 in the top 40. 

Several of the album's tracks are covers:

• The "Dealer" portion of "Dealer/Spanish Rose" is a cover of the song "Dealer" by Traffic appearing on their 1967 album, Mr. Fantasy.
• "One Chain (Don't Make No Prison)" is a cover of a Four Tops song "One Chain Don't Make No Prison" appearing on their 1974 album Meeting of the Minds, and as a single on the same year.
• "Well All Right" is a cover of the Buddy Holly song "Well... All Right" (appearing as B-side of Holly's 1958 single "Heartbeat") and it was covered earlier by Blind Faith on their 1969 self-titled and only studio album Blind Faith.
• "Stormy" is a cover of the Classics IV's 1968 top-10 hit (Hot 100 No. 5) and included on their 1968 album Mamas and Papas/Soul Train, and 1970 album Stormy.

The only two tracks on the album that were not released as singles are "Dealer/Spanish Rose" and "The Facts of Love".

The album cover photo by Norman Seeff divided the nine-piece lineup between the front and back cover, with Chris Solberg, Pete Escovedo, Raul Rekow and Greg Walker shown with Carlos Santana on the front while David Margen, Armando Peraza, Graham Lear and Chris Rhyne appeared on the back. 

Side A

A1. Dealer/Spanish Rose - 5:51

A2. Move On - 4:26

A3. One Chain (Don’t Make No Prison) - 7:13

A4. Stormy - 4:46

Side B

B1. Well All Right - 4:11

B2. Open Invitation - 4:47

B3. Life Is a Lady/Holiday - 3:48

B4. The Facts of Love - 5:32

B5. Wham! - 3:28

Notes

Release:  1978

Format:  LP

Genre:  Latin Rock

Label:  CBS Records

Catalog#  86075

Vinyl:  VG+

Hoes:  VG+

Prijs: €10,00

Dire Straits - Alchemy: Dire Straits Live (2LP) (1984) - €20,00

Alchemy: Dire Straits Live is a double album and the first live album by the British rock band Dire Straits, released on 16 March 1984 by Vertigo Records 

Recorded at the Hammersmith Odeon in London on 22–23 July 1983, the album features well-known songs from the band's first four albums, the ExtendedancEPlay EP and Knopfler's Local Hero soundtrack. Many of the songs have reworked arrangements and extended improvisational segments. 

Alchemy: Dire Straits Live was recorded live at the Hammersmith Odeon in London on 22–23 July 1983, the final two concerts of Dire Straits' eight-month Love Over Gold Tour promoting their album Love Over Gold. The concerts were recorded by Mick McKenna using the Rolling Stones Mobile unit. The recording was mixed at AIR Studios in London in November 1983. where Nigel Walker was the engineer.

"Tunnel of Love" is preceded by an otherwise unrecorded instrumental (actually faded in from the extended coda of "Portobello Belle", which was left off the album), already played on the 1981 tour, but here re-arranged to showcase Mel Collins' saxophone. It is followed by the brief "Carousel Waltz" intro and standard version of the song (with improvisation sections). 

The album cover artwork was adapted from a section of a painting by Brett Whiteley titled Alchemy 1974. Alchemy is a hypothetical process once believed to turn ordinary elements into gold. The image of a guitar with lips held by a hand was added for the album design. 

The original painting, done between 1972 and 1973, was composed of many different elements and on 18 wood panels 203 cm x 1615 cm x 9 cm. 

In terms of media it used everything from feathers and part of a bird's nest to a glass eye, shell, plugs and brain in a work that becomes a transmutation of sexual organic landscapes and mindscapes. It has been regarded as a self-portrait, a giant outpouring of energy and ideas brought forth over a long period of time. 

Side A

A1. Once Upon A Time In The West - 13:01  

A2. Romeo And Juliet - 8:24  

Side B

B1. Expresso Love - 5:41  

B2. Private Investigations - 7:16  

B3. Sultans Of Swing - 10:53  

Side C

C1. Two Young Lovers - 4:51  

C2. Tunnel Of Love - 14:43  

Side D

D1. Telegraph Road - 13:00  

D2. Solid Rock - 5:35  

D3. Going Home - Theme From 'Local Hero' - 5:09  

Notes

Release:  1984

Format:  2LP

Genre:  Rock

Label:  Vertigo Records ‎ 

Catalog#  818 243-1 

Vinyl:  VG+

Cover:  VG (Gatefold

Prijs: €20,00

Barry White - Change (1982) - €10,00

White’s third release (1982) on his own Unlimited Gold label is more an extension of the second, “Sheet Music.” The title cut touts a “change” in the Maestro’s musical direction but such a path doesn’t fit the trademark White sound. Restraining the use of strings and full orchestra, White goes for a funkier sound that, for this listener, just doesn’t work. It wouldn’t be until his end-of-the-decade releases on A & M that he would return to form that made him such a success in the seventies.

Although his success on the pop charts slowed down as the disco era came to an end, he maintained a loyal following throughout his career. Despite several albums over the next three years, he failed to repeat his earlier successes, with no singles managing to reach the Billboard Hot 100, except for 1982’s “Change,” climbing into the Billboard R&B Top 20 (#12). His label venture was exacting a heavy financial cost on White, so he concentrated on mostly touring and finally folded his label in 1983.

It would be easy to write off some of Barry’s later work, if only because his 70s output was so stellar – and ubiquitous. But this early 80s LP finds Barry trading in his patented rapping over sultry slow jams for crisp uptempo 80s groove numbers – but doesn’t leave his or Gene Page’s sophisticated sensibility behind – including the title track, which was a minor hit, and has an unstoppable groove. Also includes “Passion”, “Turnin On, Tunin In” and “It’s All About Love”.

Side A

A1. Change - 6:12  

A2. Turnin’ On, Tunin’ In (To Your Love) - 5:13  

A3. Let’s Make Tonight (An Evening To Remember) - 5:09  

A4. Don’t Tell Me About Heartaches - 6:52  

Side B

B1. Passion - 6:58  

B2. I’ve Got That Love Fever - 5:11  

B3. I Like You, You Like Me - 5:30  

B4. It’s All About Love - 4:20 

Notes

Release:  1982

Format:  LP

Genre:  Soul / Synth-funk

Label:  Unlimited Gold Records

Catalog#  ULG CX 85788

Vinyl:  VG+

Cover:  VG+

Prijs: €10,00