Linda Ronstadt - Mad Love (1980) - €10,00

Mad Love is the tenth studio album by singer Linda Ronstadt, released in 1980. It debuted at #5 on the Billboard album chart, a record at the time and a first for any female artist, and quickly became her seventh consecutive album to sell over one million copies. 

It was certified platinum and nominated for a Grammy. 

Released in 1980, Mad Love featured Linda Ronstadt taking on new wave with mixed results. At this point, her albums with producer Peter Asher became routine and repetitive. 

This album's predecessor, Living in the U.S.A., hit the cutout bins, so a change was in order. While many may miss the customary Ronstadt here, most of Mad Love does indeed work. 

The insinuating "I Can't Let Go" and the playful "How Do I Make You" do help Ronstadt attain a certain cuteness and freshness. 

The biggest hit, the cover of Little Anthony & the Imperials' "Hurts So Bad," has a great vocal and is made even better by Danny Kortchmar's emotive guitar solos. While the originals and style of guitarist Mark Goldenberg did predominate, Mad Love is mostly known for its three Elvis Costello covers. Although the often pitch-perfect Ronstadt is more than antithetical to Costello's angst, she more than connects with "Party Girl." Costello's "Talking in the Dark" closes the album on an oddly sweet note. The strange thing about Mad Love is that it did include a lot of players from Ronstadt's previous albums. Kortchmar, Russ Kunkel, Andrew Gold, and Nicolette Larson's great backing vocals all appear here. 

For the most part, Mad Love stood the test of time and is certainly different from the Ronstadt albums that preceded and followed it. 

Side one

1.  Mad Love - 3:40  

2.  Party Girl - 3:22  

3.  How Do I Make You - 2:25  

4.  I Can’t Let Go - 2:44  

5.  Hurt So Bad - 3:17  

Side two

1.  Lookout For My Love - 3:29  

2.  Cost Of Love - 2:38  

3.  Justine - 4:00  

4.  Girls Talk - 3:22  

5.  Talking In The Dark - 2:12

Notes

Release:  1980

Format:  LP

Genre:  Country Rock

Label:  Asylum Records

Catalog#  AS 52210

Vinyl:  VG

Hoes:  VG

Prijs: €10,00

Jean-Michel Jarre - Equinoxe (1979) - €10,00

Équinoxe (English: Equinox) is the fourth studio album by French electronic musician and composer Jean-Michel Jarre, released in December 1978 on the Disques Dreyfus record label, with license to Polydor.

Jarre had developed his sound, employing more dynamic and rhythmic elements, particularly a greater use of sequencing on basslines. Much of this was achieved using custom equipment developed by his collaborator Michel Geiss. The album is presented as two suites of music, each consisting of 4 parts and taking up one side of the vinyl release of the album. The separate tracks on the record smoothly segue into each other to this effect.

As the follow-up album to Oxygene, Equinoxe offers the same mesmerizing affect, with rapid spinning sequencer washes and bubbling synthesizer portions all lilting back and forth to stardust scatterings of electronic pastiches. 

Using more than 13 different types of synthesizers, Jarre combines whirling soundscapes of multi-textured effects, passages, and sometimes suites to culminate interesting electronic atmospheres. Never repeating the same sounds twice, it is obvious that the science fiction hype of the late '70s played a large part in the making of this album. 

Computerized rhythms and keyboard-soaked transitions scurry by, replaced by even quicker, more illustrious ones soon after. There is always a pulsating beat or a fluttering tempo happening somewhere in each of the tracks, which are titled as a numbered sequence one to eight. Each track harbors its own energy and electronic fleetness, but none are identical in sound or pace. So much electronic color is added to every track that it is impossible to concentrate on any particular segment, resulting in waves of synth drowning the ears at high tide.

The album reached number 11 on the UK Album Chart and number 126 on the US Billboard 200 chart.

Side one

1.  Equinoxe Part 1  (2:15)  

2.  Equinoxe Part 2  (5:10)  

3.  Equinoxe Part 3  (5:35)  

4.  Equinoxe Part 4  (7:30)

Side two

1.  Equinoxe Part 5  (3:50)  

2.  Equinoxe Part 6  (3:30)  

3.  Equinoxe Part 7  (8:10)  

4.  Equinoxe Part 8  (5:00)

Notes

Release: 1978

Genre:  Electronic, Synth-pop

Format:  LP

Label:  Polydor Records

Catalog#  2344120

Vinyl:  VG

Cover:  VG

Prijs: €10,00

The Buggles - Adventures In Modern Recording (1981) - €10,00

Adventures in Modern Recording is the second and final studio album by English new wave group the Buggles, released on 11 November 1981 by Carrere Records. 

Although the Buggles began as a duo of Trevor Horn and Geoff Downes, the album ended up as mostly Horn's solo effort, as Downes left to join Asia on the day recording was originally scheduled to begin. 

It contains nine tracks, including a version of a track from the Buggles' collaborative album with Yes, Drama (1980); it was originally named "Into the Lens", but the Buggles rendition is titled "I Am a Camera". A stylistically and sonically varied progressive electronic album, Adventures in Modern Recording depicts Horn perfecting his skill as producer and was described by journalists as a document for how he would produce his later works. 

It was one of the earliest albums to use the Fairlight CMI, one of the first digital sampling synthesizers. 

It wasn't surprising that the Buggles' second release, Adventures in Modern Recording, didn't meet the expectations that 1980's internationally successful The Age of Plastic set. Both Horn and Downes had been working on several outside projects, including Yes' 1980 release Drama, which severely limited their time, and for the most part, Adventures was a Trevor Horn solo project; Geoff Downes only appears on three tracks. 

However, many of the criticisms leveled against this outing were unfounded and there is still much to like; several songs, such as the infectious title track, equal The Age of Plastic. Both "Adventures in Modern Recording" and "Inner City," with its lush arrangement and engrossing melody, show off Horn's remarkable production savvy. Horn and Downes collaborations like the sultry "Vermillion Sands" and "I Am a Camera" -- a melancholy, stripped-down version of "Into the Lens," which appeared on Drama -- are top-notch. Meanwhile, "Lenny" is a shot of adrenaline that could have fit nicely on Drama as well; actually, a good portion of that album is as much a Buggles recording as anything you'll find here, so to consider Adventures the second Buggles release would be unfair. Instead, Adventures and Drama should be seen as a collective statement. Buggles fans should look for the Japanese import of Adventures in Modern Recording (Flavour TFCK-87577), which has been remastered and includes unreleased tracks like the bubbly "Fade Away" and the unusual "Blue Nylon," and a 12" mix of "I Am a Camera." Both of the Buggles albums still sound fresh, especially compared to the '90s unimaginative pop. 

Side one
1.  Adventures in Modern Recording  (3:46)
2.  Beatnik  (3:38)
3.  Vermillion Sands  (6:48)
4.  I Am a Camera  (4:56)

Side two
1.  On TV  (2:48)
2.  Inner City  (3:22)
3.  Lenny  (3:12)
4.  Rainbow Warrior  (5:22)
5.  Adventures in Modern Recording (reprise)  (0:51)

Notes

Release:  1981

Format:  LP

Genre: Synth-pop

Label:  Carrere Records

Catalog#  67828

Vinyl:  VG

Cover:  VG

Prijs: €10,00

Fun Fun - Have Fun (1984) - €10,00

Fun Fun were an Italian Italo disco musical group which was active from 1983 to 1994. 

Producers Dario Raimondi and Alvaro Ugolini teamed up with studio vocalists Antonella Pepe, Angela Parisi and Ivana Spagna to create a bouncy, high-energy, dancefloor-friendly sound. 

Their first release, 1983's "Happy Station", found success in Italy and other parts of Europe, thanks to several extended versions, including the most well known "Scratch" version. 

Upon receiving invitations for live performances, Raimondi and Ugolini decided to use models for Fun Fun's public image rather than the vocalists themselves, a common tactic used in the European dance music scene by artists like Baltimora and Den Harrow. 

Have Fun!, the band's first full album from 1984, featured Francesca Merola and Roberta Servelli as the on-stage faces for the group. 

Have Fun! featured other popular dance singles, including "Give Me Your Love," "Living In Japan" and the band's oft-covered signature hit "Colour My Love", which became popular in American nightclubs because of its insistent synth bassline and easily mixable percussion intro. 

Side one

1.  Give Me Your Love - 7:43  

2.  Sing Another Song - 5:03  

3.  Tell Me - 4:54  

4.  Living In Japan - 5:15  

Side two

1 . Color My Love - 7:22  

2.  Give A Little Love Again - 7:07  

3.  Happy Station - 5:55 

Notes

Release:  1984

Format:  LP

Genre:  Italo Disco

Label:  High Fashion Music

Catalog#  88104

Vinyl:  VG

Cover:  VG

Prijs: €10,00

Golden Earring - N.E.W.S. (1984) - €10,00

N.E.W.S. is een muziekalbum van de Nederlandse rockgroep Golden Earring uit maart 1984. Het hele concept rond N.E.W.S. kende vele overeenkomsten met de voorganger Cut uit 1982, met daarop "Twilight zone". In een spitsvondige bui vormde Barry Hay van de eerste letters van de windrichtingen (North, East, West, South) het Engelse woord news.

De single was "When the lady smiles", met een videoclip die insloeg als een bom. 

De opvolger "Clear Night Moonlight" was een tweede "The Devil Made Me Do It", de tweede single van Cut. Ook de producer was dezelfde als van Cut. 

Shell Schellekens was nog altijd te spreken over zijn productionele experimenten, die vooral op "Fist In Glove" en het titelstuk te horen waren, met rapinvloeden. "I'll Make It All Up To You" en "Mission Impossible" waren daarentegen bijna pure pop. "Orwell's Year" refereert aan diens roman 1984: "Orwell's year is here!!" 

Maar het is wel even wat anders dan we van de Earring gewend waren. Te experimenteel waarschijnlijk voor de trouwe rockfans. De single (die volgens mij ook nog eens een andere versie was dan de albumtrack) flopte dan ook genadeloos, nadat "When the lady smiles" en "clear night moonlight" wel hits waren geworden. 
Een veel elektronischer geluid en minder rock, "Fist In Glove" pakt het elektronica-experiment verkeerd uit, wat het tot een regelrechte skipper maakt. En de afsluiter "It's over now" wordt op een gegeven moment ook een beetje langdradig.

Side one

1.  Clear Night Moonlight - 3:25  

2.  When The Lady Smiles - 5:12  

3.  Enough Is Enough - 3:43  

4.  Fist In Glove - 3:27  

Side two

1.  Mission Impossible - 5:57  

2.  I’ll Make It All Up To You - 5:22  

3.  N.E.W.S. - 5:18  

4.  It’s Over Now - 4:03 

Notes

Release:  1984

Format:  LP

Genre:  Rock

Label:  21 Records

Catalog#  210010

Vinyl:  VG

Cover:  VG

Prijs: €10,00

Orchestral Manouvres In The Dark - Dazzle Ships (1983) - €10,00

Dazzle Ships is the fourth album by Orchestral Manoeuvres in the Dark (OMD), released in 1983. The title and cover art (designed by Peter Saville) allude to a painting by Vorticist artist Edward Wadsworth based on dazzle camouflage, titled Dazzle-ships in Drydock at Liverpool.

Dazzle Ships was the follow-up release to the band's hugely successful Architecture & Morality (1981). OMD, then at their peak of popularity, opted for a major departure in sound on the record, shunning any commercial obligation to duplicate their previous LP. 

The album is noted for its experimental content, particularly musique concrète sound collages, and the use of shortwave radio recordings to explore Cold War and Eastern Bloc themes.

Dazzle Ships met with a degree of critical and commercial hostility. However opinion of the record has changed in the years since its release, and it has come to garner critical acclaim and a cult following among music fans. 

The album has also been cited as an influence by multiple artists. 

OMD's glistening run of top-flight singles and chart domination came to a temporary but dramatic halt with Dazzle Ships, the point where the band's pushing of boundaries reached their furthest limit. McCluskey, Humphreys, and company couldn't take many listeners with them, though, and it's little surprise why -- a couple of moments aside, Dazzle Ships is pop of the most fragmented kind, a concept album released in an era that had nothing to do with such conceits. 

On its own merits, though, it is dazzling indeed, a Kid A of its time that never received a comparative level of contemporary attention and appreciation. Indeed, Radiohead's own plunge into abstract electronics and meditations on biological and technological advances seems to be echoing the themes and construction of Dazzle Ships. 

What else can be said when hearing the album's lead single, the soaring "Genetic Engineering," with its Speak & Spell toy vocals and an opening sequence that also sounds like the inspiration for "Fitter, Happier," for instance? 

Why it wasn't a hit remains a mystery, but it and the equally enjoyable, energetic "Telegraph" and "Radio Waves" are definitely the poppiest moments on the album.

Conceived around visions of cryptic Cold War tension, the rise of computers in everyday life, and European and global reference points -- time zone recordings and snippets of shortwave broadcasts -- Dazzle Ships beats Kraftwerk at their own game, science and the future turned into surprisingly warm, evocative songs or sudden stop-start instrumental fragments. 

"Dazzle Ships (Parts II, III, and VII)" itself captures the alien feeling of the album best, with its distanced, echoing noises and curious rhythms, sliding into the lovely "The Romance of the Telescope." "This Is Helena" works in everything from what sounds like heavily treated and flanged string arrangements to radio announcer samples, while "Silent Running" becomes another in the line of emotional, breathtaking OMD ballads, McCluskey's voice the gripping centerpiece. 

Side one
1.  Radio Prague  (1:18)  
2.  Genetic Engineering  (3:42)  
3.  ABC Auto-Industry  (2:06)  
4.  Telegraph  (2:57)  
5.  This Is Helena  (1:58)  
6.  International  (4:26)

Side two
1.  Dazzle Ships (Parts II III & VII)  (2:21)  
2.  The Romance Of The Telescope  (3:26)  
3.  Silent Running  (3:33)
4.  Radio Waves  (3:44)  
5.  Time Zones   (3:23)
6.  Of All The Things We've Made  (3:23)

Notes

Release:  1983

Format:  LP

Genre: Electronic

Label:  Virgin Records

Catalog#  205295

Vinyl:  VG

Cover:  VG

Prijs: €10,00

The B-52´s - Mesopotamia (1982) - €10,00

Mesopotamia is an EP by American new wave band the B-52's. It was produced by David Byrne of Talking Heads and was originally planned to be the band's third studio album. Due to conflicts with Byrne and record label pressure, recording sessions were aborted prematurely and only six of ten songs to be completed were released. 

Mesopotamia is considered a departure in style for the B-52's, with Byrne and the band adding additional instruments, vocal overdubs, horns, synthesizers and layered percussion. A larger emphasis was placed on production after the raw sound of their debut album, The B-52's, and the slightly more produced sound of their second album, Wild Planet. 

Mesopotamia was a major departure in style for the B-52's. The band's two previous albums had been more or less true to the live sound that made them favorites of the '70s New York scene, featuring basic organ, guitar, a keyboard bass and a strong backbeat. 

Mesopotamia, with Byrne at the helm, showcased a new sound that included multi-layered guitars, a horn section, atmospheric synths, complex percussion and various other instruments, including a bass guitar, marimba, piano and accordion.

Mesopotamia was also vocally unique for the band because many of the tracks do not feature the vocal interplay for which the band is known. With two Cindy Wilson solo performances, one solo from Kate Pierson, two duets between Pierson and Fred Schneider, and one Wilson/Pierson duet, the sound was more vocally varied than on previous recordings. The hiring of numerous session musicians was also a first for the B-52's, although this would be repeated on subsequent albums. 

The EP was a moderate success and spawned three single releases: double A-sides "Deep Sleep"/"Nip it in the Bud", "Cake"/"Loveland" and "Mesopotamia"/"Throw That Beat in the Garbage Can."

Side one
1.  Love Land  (5:00)
2.  Deep Sleep  (3:29)
3.  Mesopotamia  (3:53)

Side two
1.  Cake  (5:50)
2.  Throw That Beat in the Garbage Can  (4:35)
3.  Nip It in the Bud  (3:31)

Notes

Release:  1982

Format:  LP

Genre:  Art Pop

Label:  Island Records

Catalog#  204217250

Vinyl:  VG

Cover:  VG

Prijs: €10,00

Christopher Cross - Christopher Cross (1979) - €10,00

Christopher Cross is the self-titled debut album by Christopher Cross, released in December 1979. Recorded in mid-1979, the album was one of the early digitally recorded albums, utilizing the 3M Digital Recording System. In 1981, it won the Grammy Award for Album of the Year, beating Pink Floyd's The Wall and it has been noted for being one of the most influential soft rock albums of the late 1970s and early 1980s. That Album of the Year Grammy was bestowed upon its producer, Michael Omartian. 

Christopher Cross' debut was a huge hit and widely acclaimed, at least among industry professionals (critics didn't give it a second listen), leading to multi-platinum success and Grammys. 

In retrospect, it might seem like the kind of success that's disproportional to the record itself, especially to hipper-than-thou younger generations, but in truth, Christopher Cross was a hell of a record -- it just was a hell of a soft rock record, something that doesn't carry a lot of weight among most audiences. That doesn't erase Cross' considerable gifts as a craftsman. 

Yes, he does favor sentimentality and can be very sweet on the ballads, but his melodicism is rich and construction tight, so there's a sturdy foundation for the classy professional gloss provided by his studio pros and friends, including indelible backing vocals by Michael McDonald. 

And while the hits like the dreamy "Sailing" and the surging "Ride Like the Wind" deserved all the attention, they're hardly the only highlights here -- to borrow a sports metaphor, this has a deep bench, and there's not a weak moment here. In fact, soft rock albums hardly ever came better than this, and it remains one of the best mainstream albums of its time. 

Side one
1.  Say You’ll Be Mine  (2:53)
2.  I Really Don’t Know Anymore  (3:49)
3.  Spinning  (3:59)
4.  Never Be The Same  (4:40)
5.  Poor Shirley  (4:20)

Side two
1.  Ride Like The Wind  (4:30)
2.  The Light Is On  (4:07)
3.  Sailing  (4:14)
4.  Minstrel Gigolo  (6:00)

Notes

Release:  1979

Format:  LP

Genre: Soft Rock

Label:  Warner Bros. Records

Catalog#  WB 56789

Vinyl:  VG

Cover:  VG

Prijs: €10,00

Herman Brood & His Wild Romance - Go Nutz (1980) - €10,00

Go Nutz is the third studio album by Dutch rock and roll and blues group Herman Brood & His Wild Romance. Three singles came from the album, "Love You Like I Love Myself," "Hot Shot," and "I Don't Need You," all of which charted in the Netherlands. On the Dutch album chart, the album reached #6 on 8 March 1980, and stayed on the chart for nine weeks.

Go Nutz, recorded in the United States, was supposed to follow up on the American success of the single "Saturday Night" (from Shpritsz) and a compilation called Herman Brood & His Wild Romance, made specifically for the American market. 

The Dutch market was ripe for another Brood album, since the single "Never be Clever" had reached #10 in the Dutch singles chart on 16 June 1979. 

However, the recording sessions were a disaster; the American producers replaced the rest of the band with session musicians, resulting in a disappointing album and the disbanding of the hitherto successful quartet of Brood, Lademacher, Cavalli, and Meerman. 

The album produced three charting singles in the Netherlands, but failed to chart in the US

Side one

1.  Go Nutz - 3:05  

2.  Love You Like I Love Myself - 3:32  

3.  I Don’t Need You - 3:36  

4.  I’ll Be Doggone - 3:43  

5.  Right On The Money - 4:26  

Side two

1.  Hot Shot - 3:30  

2.  Born Before My Time - 4:28  

3.  Beauty Is Only Skin Deep - 2:58  

4.  Easy Pick Up - 4:33  

5.  Laurie - 4:05 

Notes

Release:  1980

Format:  LP

Genre:  Rock

Label:  Ariola Records

Catalog#  201724

 

Vinyl:  VG

Cover:  VG

Prijs: €10,00

Duncan Browne - The Wild Places (1978) - €10,00

The Wild Places is the third studio album by English singer-songwriter and musician Duncan Browne. Released in 1978 through Logo and Sire Records, it is Browne's first solo album since his departure from the band Metro that year, and features contributions from session musicians Tony Hymas, John Giblin and Simon Phillips. In contrast to his previous self-titled solo record, the sound of the album is fully electric and ranges from progressive rock to straightforward rock music and synthpop.

Following his stint in the group Metro with Sean Lyons and Peter Godwin, Duncan Browne turned up in 1978 with his first solo album since the dawn of the '70s. 

The Wild Places isn't much like his Immediate album Give Me, Take You -- indeed, it's more like a lost Roxy Music album, or perhaps a lost Bryan Ferry record. 

It's electric, and the music has a sense of drama as well as beautiful melodies that were even better realized, with lush contributions on the synthesizer and related keyboards by Tony Hymas and a fierce guitar sound courtesy of Browne himself, aided by the upfront presence of John Giblin and Simon Phillips on bass and drums, respectively. 

The music runs the gamut from edgy progressive rock to straight-ahead rock & roll (the latter highlighted by "The Crash"), though Browne was at the top of his game, as both a singer and composer, working in an introspective, romantic vein, as on the killer title cut and numbers like "Roman Vecu" and "Kisarazu."

Side one
1.  The Wild Places  (6:01)
2.  Roman Vecu  (4:44)
3.  Camino Real (Pt. 1,2 & 3)  (8:28)

Side two
1.  Samurai  (4:29)
2.  Kisarazu  (7:11)
3.  The Clash  (3:53)
4.  Planet Earth  (6:24)

Notes

Release:  1978

Format:  LP

Genre: Synth-pop

Label:  Logo Records

Catalog#  5C062-62361

Vinyl.  VG

Cover:  VG

Prijs: €10,00

Uriah Heep - Firefly (1977) - €10,00

Firefly is the 10th studio album by British rock band Uriah Heep, released in February 1977 by Bronze Records in the UK and Warner Bros. Records in the US. It was their first album without lead vocalist and founding member David Byron, and the first of three albums with new singer John Lawton, formerly of Lucifer's Friend. 

Bassist Trevor Bolder made his Uriah Heep debut on this album. Barring a break of about 18 months in the early 1980s, he remained with the group until his death in 2013.

After losing founding vocalist David Byron in 1976, many hard rock fans thought Uriah Heep had reached the end of the line. 

However, the group bounced back in 1977 with Firefly, an album that pursued a stripped-down sound harking back to the group's early-'70s successes. They also boasted a new singer in John Lawton, a vocalist who had made his fame working with artsy German hard rockers Lucifer's Friend. 

Although he lacked the multi-octave range of David Byron, Lawton boasted an impressive and emotionally rich hard rock voice that instantly jelled with the Uriah Heep sound. 

An ideal example of this new synergy was provided by the opening track, "The Hanging Tree," which featured Lawton dramatically delivering a narrative about an outlaw on the run over a spooky musical track that blended echo-drenched synthesizers with some typically gutsy guitar riffs from Mick Box. 

Other memorable tracks on Firefly include "Who Needs Me," a spirited slice of boogie rock with a rousing singalong chorus, and the title track, a miniature prog epic that deftly blends balladry, hard rock, and acoustic-styled folk into one cohesive outing. Nothing on Firefly hits the epic heights of "Gypsy" or "July Morning," but it contains none of the failed experiments that weighed down High and Mighty and it further benefits from a nice sense of consistency that is built on tight songwriting and inspired performances. 

In the end, Firefly remains one of the most cohesive albums from Uriah Heep's mid- to late-'70s period and is guaranteed to bring a smile to the faces of the group's fan base. 

The first single from the album was "Wise Man". The original vinyl album was a gatefold sleeve, with a cardboard lyric liner. 

Side one
1.  The Hanging Tree  (3:42)
2.  Been Away Too Long  (5:04)
3.  Who Needs Me  (3:39)
4.  Wise Man  (4:43)

Side two
1.  Do You Know  (3:15)
2.  Rollin’ On  (6:23)
3.  Sympathy  (4:49)
4.  Firefly  (6:17)

Notes

Release:  1977

Format:  LP (Gatefold)

Genre: Heavy Metal

Label:  Bronze Records

Catalog#  28520 XOT

Vinyl:  VG

Cover: VG

Prijs: €10,00

Diana Ross - Diana Ross (1976) - €10,00

 

Diana Ross is the seventh studio album by American singer Diana Ross, released on February 10, 1976 by Motown Records. It is her second self-titled record after Diana Ross (1970). It reached #5 in the USA (4 R&B).

The album was Ross' biggest-selling album since 1973's Touch Me in the Morning, reaching #5 on the US Billboard 200 album chart, #4 on the US Billboard R&B Album Chart.

Two of the tracks included on Diana Ross were #1 hits: "Theme from Mahogany (Do You Know Where You're Going To)" (released as a single in 1975 from the Mahogany soundtrack), and the disco anthem, "Love Hangover".

The album's official lead single "I Thought It Took A Little Time" was on its way to becoming a hit when its chart life was circumvented by "Love Hangover", which was rushed to release alongside a competing version by The 5th Dimension. "I Thought It Took A Little Time" became a Top 5 Adult Contemporary single despite its shortened run on the Billboard Hot 100. It remains a fan favorite and was also remixed for the clubs on the Almighty Records dance compilation, We Love Diana Ross. A final single, the disco-flavoured "One Love In My Lifetime" become a Top 10 US R&B hit.

The album also included cover versions of the Charlie Chaplin standard "Smile" and "Ain't Nothin' But A Maybe" that had previously been recorded by its writers Ashford & Simpson and Rufus & Chaka Khan. "After You' was subsequently recorded by Roberta Flack on her classic 1977 album Blue Lights In The Basement while R&B starlet Stacy Lattisaw covered 'I Thought It Took A Little Time" on her 1985 album I'm Not The Same Girl. British soul singer Joss Stone covered "One Love In My Lifetime" for her 2012 album The Soul Sessions Vol. 2.

Ross was also nominated for a Grammy for "Love Hangover" (Best R&B Performance, Female Artist). Victor Skrebneski photographed Diana's iconic album art. It was chosen by the Italian Fan Club association as 'The Most Beautiful Album Art'. She performed many of the tracks from the album on her award-winning, An Evening with Diana Ross Broadway show, tour, television special and album. 

Side one
1.  Theme From Mahogany (Do You Know Where You’re Going To)  (3:22)
2.  I Thought It Took a Little Time (But Today I Fell in Love)  (3:19)
3.  Love Hangover  (7:49)
4.  Kiss Me Now  (2:42)

Side two
1.  You’re Good My Child  (3:35)
2.  One Love in My Lifetime  (3:37)
3.  Ain’t Nothin’ But a Maybe  (3:35)
4.  After You  (4:06)
5.  Smile  (2:55)

Notes

Release:  1976

Format:  LP

Genre: Soul

Label:  Tamla Motown Records

Catalog#  5C 062-97508

Vinyl:  VG

Cover:  VG

Prijs: €10,00

Chaka Khan - Chaka (1978) - €6,00

Chaka is the debut solo album by singer Chaka Khan. It was released on October 12, 1978 through Warner Bros Record label. 

Still very much an integral part of Rufus, Chaka Khan set the charts on fire with her debut solo release. The first single was the R&B chart-topper "I'm Every Woman," an Ashford & Simpson track with Khan lighting up the lyric with her tantalizing vocals. "Life Is a Dance," the second release, doesn't quite compare to its predecessor, but it still made the R&B Top 40. 

The sentimental ballad "Roll Me Through the Rushes" is poetically engaging, and despite never being released as a single, it became a mainstay of radio. 

Although Khan had much credibility from her association with Rufus, this album demonstrated that the dynamic vocalist could hold her own ground alone. 

Two singles were released from Chaka, the first being her anthemic solo debut "I'm Every Woman", one of Khan's signature. 

The album also features the ballad "Roll Me Through the Rushes", never commercially released as a single but still receiving considerable airplay in 1979, as well as Khan's cover version of Stevie Wonder's "I Was Made To Love Her", re-titled "I Was Made to Love Him".

Side one
1.  I'm Every Woman  (4:05)
2.  Love Has Fallen on Me  (4:52)
3.  Roll Me Through the Rushes  (4:42)
4.  Sleep on It  (4:21)
5.  Life Is a Dance  (4:20)

Side two
1.  We Got the Love  (3:27)
2.  Some Love  (5:50)
3.  A Woman in a Man's World  (3:56)
4.  The Message in the Middle of the Bottom  (4:15)
5.  I Was Made to Love Him  (3:23)

Notes

Release:  1978

Format:  LP

Genre: Soul

Label:  Warner Bros. Records

Catalog#   BSK 3245 

Vinyl:  VG

Cover:  Licht Beschadigd

Prijs: €5,99

Depeche Mode - Love In Itself (1983) - €7,99

"Love, in Itself" is Depeche Mode's ninth U.K. single and the final single from the album “Construction Time Again”. Studio Side recorded at the Garden Studios, London, and mixed at Hansa Mischraum, Berlin. Plays at 45rpm. Live Side recorded at Hammersmith Odeon, 25 October 1982 by Mobile One. Mixed at Blackwing.
"Just Can't Get Enough" became a hit of its own in the Netherlands in early 1985. It wasn't released as a separate single, so it was the 12" single (L12Bong4) that entered the Dutch chart. Officially it wasn't allowed in the singles charts as the 12" had been sold (and priced) as a mini-LP in the weeks before that. But due to its popularity on the radio, "Just Can't Get Enough" was allowed to enter and duly became Depeche Mode's biggest Dutch hit of all time.


Side one
1.  Love, in Itself (2)  (4:18)
2.  Love, in Itself (3)  (7:15)

Side two
1.  Just Can't Get Enough (live)  (5:35)
2.  A Photograph of You (live)  (3:21)
3.  Shout! (live)  (4:39)
4.  Photographic (live)  (3:56)

Notes

Release: 1983 

Format:  Mini Album

Genre: Electronic

Label:  Mute Records

Catalog#  585003

Vinyl: Good

Cover: Good

Prijs: €7,99

John Watts - The Iceberg Model (1983) - €10,00

The Iceberg Model (1983). This project incorporated Dexys Midnight Runners' brass section, strings, improvisations and experimental techniques usually associated with modern classical music.A step down from his first solo effort and also a change in style. 

More keyboards than before and Watts adds saxophones. It kicks off with 3 killer tracks: "Interference", "Man in someone else's skin" and "I smelt roses (in the underground)". 

No rock, but horns and also some african percussion. John was experimenting with a new sound, and although i gave the record a lot of listens, i never got the hang of it. 

Especially the closing song "Iceberg model" is an instrumental and a cacophony of horns and keyboards and weird sounds. 

After that the rest of the album is a bit of a let down, but still more than enjoyable for fans of Fischer-Z. 

Side one

1.  Interference   (5:33)

2.  Man in Someone Else’s Skin   (2:56)

3.  I Smelt Roses (In the Underground)   (3:56)

4.  I Was in Love with You   (3:36)

5.  Money and Power   (4:57)

Side two

1.  The Prisoner’s Dilemma   (4:45)

2.  Mayday Mayday   (3:44)

3.  Menagerie Makers   (5:02)

4.  A Face to Remember   (3:58)

5.  Iceberg Model   (4:08)

Notes

Release: 1983

Format:  LP

Genre:  New Wave

Label:  EMI Records

Catalog#  1C 064-07699

Vinyl:  VG

Cover:  VG

Prijs: €10,00