Sweet - Level Headed (1978) - Lp

Release: 1978
Genre:  Glam Rock
Format:  LP
Label:  Polydor Records
Catalog#  2344100
Prijs:  €10,00

Level Headed is the sixth album by Sweet. Different versions were released by Polydor in Europe and by Capitol in the US, Canada and Japan.
The album features "Love Is Like Oxygen", the band's last single to hit the top 40, peaking at #8 in the US and #9 in the UK. The single version of "Love Is Like Oxygen" is substantially shorter than the album version. A second single, "California Nights", was released from the album but only reached #76 in the US.
This was the last album to feature the classic Sweet lineup, as Brian Connolly departed around a year after the album's release, in order to embark on a solo career. The remaining trio of Steve Priest, Andy Scott, and Mick Tucker continued on and delivered three more albums before breaking up in 1981.

Sweet struggled to earn credibility as album artists and/or score hits after finally wresting themselves free of songwriting/production team Nicky Chinn and Mike Chapman in the summer of 1974. They turned out a few albums before achieving both goals with Level Headed. The album gave them their final Top Ten hit with the dreamy "Love Is Like Oxygen," a single that suggested that its accompanying record was a trippy mainstream pop record.
Instead, it was one part of an ambitious sonic mosaic where Sweet tried a little bit of everything, cloaking it all in a neo-prog aesthetic.
If it was hard to hear the candy crunch of early Sweet on "Love Is Like Oxygen," it seems like "Little Willy" in comparison to the rest of Level Headed, where the group runs wild in the studio. Throughout the first half, they indulge in catchy pop, dressing it up with mild psychedelia, elongating melodies with breezy harmonies and studio swirl.
This is just a teaser for the second side, where they delve deep into album rock weirdness, trying on classical-inspired art rock with "Anthem No. 1" and "Anthem No. 2," waltzing along with the Europop "Lettres d'Amour," and livening the proceedings with "Strong Love," a horn-spiked disco tune.
Certainly, this is not classic-era Sweet, but that's precisely what's good about Level Headed -- they're off-kilter and adventurous, occasionally stumbling but always making interesting music on an album that's anything but what the title promises.
If Level Headed didn't spawn another hit, so be it -- it remains one of Sweet's most fascinating albums, compared to both what came before and after. Yes, it was "Ballroom Blitz," "Fox on the Run," and other early hits that influenced the pop-metal of the late '70s and '80s, but for hardcore Sweet fans, Level Headed is a gem to treasure.


Side A
1. Dream On (Scott) – 2:52
2. Love Is Like Oxygen (Scott, Trevor Griffin) – 6:57
3. California Nights – 3:42
4. Strong Love – 3:27
5. Fountain – 4:44

Side B
1. Anthem No. I (Lady of the Lake) – 4:12
2. Silverbird – 3:27
3. Lettres D’Amour – 3:28
4. Anthem No. II – 1:04
5. Air on ‘A’ Tape Loop (Scott, Tucker, Priest) – 5:54

Vinyl: Goed
Hoes: Goed

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Rush - Moving Pictures (1981) - Lp

Release: 1981
Genre:  Progressive Rock
Format:  LP
Label:  Mercury Records
Catalog#  6337160
Prijs:  €10,00

Not only is 1981's Moving Pictures Rush's best album, it is undeniably one of the greatest hard rock albums of all time. The new wave meets hard rock approach of Permanent Waves is honed to perfection -- all seven of the tracks are classics (four are still featured regularly in concert and on classic rock radio).
While other hard rock bands at the time experimented unsuccessfully with other musical styles, Rush were one of the few to successfully cross over.
The whole entire first side is perfect -- their most renowned song, "Tom Sawyer," kicks things off, and is soon followed by the racing "Red Barchetta," the instrumental "YYZ," and a song that examines the pros and cons of stardom, "Limelight." And while the second side isn't as instantly striking as the first, it is ultimately rewarding.
The long and winding "The Camera Eye" begins with a synth-driven piece before transforming into one of the band's more straight-ahead epics, while "Witch Hunt" and "Vital Signs" remain two of the trio's more underrated rock compositions. Rush proved with Moving Pictures that there was still uncharted territory to explore within the hard rock format, and were rewarded with their most enduring and popular album.


Side A
A1.  Tom Sawyer  (4:33) 
A2.  Red Barchetta  (6:07) 
A3.  YYZ  (4:23) 
A4.  Limelight  (4:18)

Side B
B1.  The Camera Eye  (10:55) 
B2.  Witch Hunt  (4:43) 
B3.  Vital Signs  (4:45)

Vinyl: Goed
Hoes: Goed

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Alice Cooper - From The Inside (1978) - Lp

Release:  1978
Genre:  Rock
Format:  LP
Label:  Warner Bros. Records
Catalog#  WB 56577
Prijs:  €10,00

From the Inside is the eleventh studio album by Alice Cooper, released in 1978. It is a concept album about Cooper’s stay in a New York sanitarium due to his alcoholism. Each of the characters in the songs were based on actual people Cooper met in the sanitarium. With this album, he saw the addition of three former members of the Elton John band: lyricist Bernie Taupin, guitarist Davey Johnstone and bassist Dee Murray.
The lead single from the album was “How You Gonna See Me Now”, an early example of a power ballad, which reached number 12 in the US Hot 100 chart. A music video was also created for it. The ‘Madhouse Rocks Tour’ in support of From the Inside lasted from February to April 1979 and saw all songs from the album as regular parts of the setlist except “Millie and Billie”, “For Veronica’s Sake” and “Jackknife Johnny” Since 1979, however, songs from From the Inside have rarely been performed live, with the only cases being “Serious” on the 2003 ‘Bare Bones’ tour, “Wish I Were Born in Beverly Hills” on the 2005–2006 Dirty Diamonds Tour, “Nurse Rozetta” on the ‘Descent into Dragontown’ and ‘Theatre of Death’ tours, and “From the Inside” between 1997 and 1999 and on the late 2000s ‘Theatre of Death’ tour.
The album was adapted into a comic book, Marvel Premiere #50.


Side A
A1.   From the Inside   (3:55)
A2.   Wish I Were Born in Beverly Hills   (3:38)
A3.   The Quiet Room   (3:52)
A4.   Nurse Rozetta   (4:15)
A5.   Millie and Billie (with Marcy Levy)   (4:15)

Side B
B1.   Serious   (2:44)
B2.   How You Gonna See Me Now   (3:57)
B3.   For Veronica’s Sake   (3:37)
B4.   Jackknife Johnny   (3:45)
B5.   Inmates (We’re All Crazy)   (5:03)

Vinyl: Goed
Cover: Goed

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Angela Bofill - Too Tough (1983) - Lp

Release:  1983
Genre:  Soul
Format:  LP
Label:  Arista Records
Catalog#  205273
Prijs:  €10,00

Angela Tomasa Bofill (born May 3, 1954) is an American R&B and jazz singer-songwriter.
Too Tough marks the fourth album released by the recording artist Angela Bofill, released in early 1983. This was her second release through Arista Records, with Narada Michael Walden again serving as joint music producer.
Too Tough performed better on the charts than her previous album, Something About You. The title track, "Too Tough", laced with double entendre, became a sizable dancefloor hit, spending four weeks at number two on the Billboard Dance chart. It also peaked at number five on the Billboard soul chart. The remainder of the album has similar dance-pop songs and a few soulful ballads.


Side A
A1. Too Tough  (5:36) 
A2. Ain’t Nothing Like The Real Thing  (3:04) 
A3. Tonight I Give In  (3:21) 
A4. You Could Come Take Me Home  (3:51) 
A5. Love You Too Much  (3:56) 

Side B
B1. Is This A Dream  (5:11) 
B2. Song For A Rainy Day  (3:37) 
B3. I Can See It In Your Eyes  (3:31) 
B4. Accept Me (I’m Not A Girl Anymore)  (3:34) 
B5. Rainbow Inside My Heart  (3:44)

Vinyl: Goed
Cover: Goed

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Santana - Freedom (1987) – Lp

Release:  1987
Genre:  Latin Rock, Synth-pop
Format:  LP
Label:  CBS Records
Catalog#  450394 1
Prijs:  €10,00

Freedom is the fourteenth studio album by Santana. By this recording, Santana had nine members, some of which had returned after being with the band in previous versions. Freedom moved away from the more poppy sound of the previous album, Beyond Appearances and back to the band’s original Latin rock. It failed, however, to revive Santana’s commercial fortunes, reaching only ninety-five on the album chart.
Freedom marked several reunions in the Santana band, which was now a nonet. In addition to Carlos, the band consisted of percussionists Armando Pereza, Orestes Vilato, and Raul Rekow; returning drummer Graham Lear; bassist Alphonso Johnson; returning keyboardist Tom Coster, keyboardist Chester Thompson, and, on lead vocals, Buddy Miles, who had made a duet album with Santana 15 years before. Credited as an “additional musician” was keyboard player Greg Rolie, an original member. The music also marked a return from the hyper-pop sound of Val Garay on Beyond Appearances to a more traditional Santana Latin rock style. Thus, Freedom was a literal return to form, but, unfortunately, not to the quality of early Santana albums. And the group’s commercial decline continued, with the LP getting to only Number 95.
Recorded at: The Plant Studios, Sausalito, California


Side A
A1. Veracruz  (4:23)
A2. She Can’t Let Go  (4:45)
A3. Once It’s Gotcha  (5:42)
A4. Love Is You  (3:54)
A5. Songs Of Freedom  (4:28)

Side B
B1. Deeper, Dig Deeper  (4:18)
B2. Praise  (4:36)
B3. Mandela  (5:31)
B4. Before We Go  (3:54)
B5. Victim Of Circumstance  (5:21)

Album:  Goed
Cover:  Goed

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Wings - Wings Over America (1976) - 3Lp Boxset

Release:  1976
Genre:  Rock
Format:  3LP Boxset
Label:  EMI-Bovema Records
Catalog#  5C 134-98497
Prijs:  €25,00

Wings over America is a triple live album by Wings, released in December 1976. The album was recorded during the American leg of the band's acclaimed 1975–76 Wings Over the World tour. It peaked at number 8 on the UK Albums Chart and reached number 1 on the US Billboard Top LPs & Tape chart.
In addition to including several of McCartney's hits with Wings, the album features performances of five Beatles songs: "Yesterday", "Lady Madonna", "I've Just Seen a Face", "Blackbird" and "The Long and Winding Road". The album cover was designed by Hipgnosis and depicts an airliner about to open its cabin door.

Basically, there are two things that rock bands do: they make an album and they go on tour. Since Paul McCartney fervently wanted to believe Wings was a real rock band, he had the group record an album or two and then took them on the road. In March of 1976 he released Wings at the Speed of Sound and launched a tour of America, following which he released Wings Over America, a triple-album set that re-created an entire concert from various venues. It was a massive set list, running over two hours and featuring 30 songs, and it was well received at the time, partially because he revived some Beatles tunes, partially because it wasn't the disaster some naysayers expected, and mostly because -- like the tour itself -- it was the first chance that millions of Beatles fans had to hear McCartney in concert properly (the Beatles had toured, to be sure, and had played before millions of people between 1963 and 1966, but as a result of the relatively primitive equipment they used and the frenzied, omnipresent screaming of the mid-'60s teen audiences at their shows, few of those present had actually "heard" the group). Wings were never a particularly gifted band, and nowhere is that more evident than on Wings Over America. Matters aren't really helped by the fact that the large set list gives McCartney full opportunity to show off his vast array of affected voices, from crooner to rocker to bluesman. Also, the repertory, in retrospect, is weighted too heavily toward the recent Wings albums Wings at the Speed of Sound and Band on the Run, which weren't really loaded with great tunes. (It's also hard to believe that there were two Denny Laine vocals so early in the program, or that the concert ended with the plodding rocker "Soily," which was never released on any other McCartney album.) In its defense, the album offers bracing renditions of "Maybe I'm Amazed" -- arguably the best of McCartney's post-Beatles songs and possibly his single greatest composition -- and "Band on the Run," as well as nicely distilling the harder side of his repertory, with a few breaks for softer songs such as "My Love" and "Silly Love Songs"; another highlight is the rippling bass sound, showing off that instrument in a manner closer in spirit to, say, a John Entwistle solo LP than to McCartney's more pop-focused studio work. The triple LP, issued two weeks before Christmas of 1976, was priced so low that it was offered by most stores as a "loss leader" to pull customers in; what's more, the Beatles mystique was still very much attached to record and artist alike -- at the time, John Lennon had seemingly burnt out a major chunk of his talent, George Harrison was losing his popular edge and had done a disastrous 1974 American tour, and no one was expecting great things from Ringo Starr -- and it seemed like McCartney represented the part of the group's legacy that came closest to living up to fans' expectations. Thus the album ended up selling in numbers, rivaling the likes of Frampton Comes Alive and other mega-hits of the period, and rode the charts for months. The double-CD reissue offers considerably improved sound, though the combination of workmanlike performances and relatively pedestrian songs diminishes the appeal of such small pleasures as the acoustic Beatles set or the storming "Hi Hi Hi." Wings Over America is most valuable as a souvenir for hardcore fans and also as a reminder of the excitement -- beyond the actual merits of the group's work -- that attended McCartney and Wings' work in the lingering afterglow of the Beatles.


Side A
A1. Venus and Mars/Rock Show/Jet (10:20)
A2. Let Me Roll It (3:40)
A3. Spirits of Ancient Egypt (3:59)
A4. Medicine Jar  (3:57)

Side B
B1. Maybe I’m Amazed (5:10)
B2. Call Me Back Again (5:04)
B3. Lady Madonna (2:19)
B4. The Long and Winding Road (4:13)
B5. Live and Let Die (3:07)

Side C
C1. Picasso’s Last Words (Drink to Me) (1:55)
C2. Richard Cory (1:52)
C3. Bluebird (3:37)
C4. I’ve Just Seen A Face (1:49)
C5. Blackbird (2:23)
C6. Yesterday (1:43)

Side D
D1. You Gave Me the Answer (1:47)
D2. Magneto and Titanium Man (3:11)
D3. Go Now (3:27)
D4. My Love (4:07)
D5. Listen to What the Man Said (3:18)

Side E
E1. Let ‘Em In (4:02)
E2. Time to Hide (4:46)
E3. Silly Love Songs (5:46)
E4. Beware My Love (4:49)

Side F
F1. Letting Go (4:25)
F2. Band on the Run (5:03)
F3. Hi, Hi, Hi (2:57)
F4. Soily (5:10)

Vinyl: Goed
Cover: Goed

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10CC - Ten Out Of 10 (1981) - Lp

Release: 1981
Genre:  Pop, Rock
Format:  LP
Label:  Mercury Records
Catalog#  6359048
Prijs:  €10,00

After the success of Bloody Tourists, and the artsy excess of Look Hear?, Eric Stewart and Graham Gouldman gave the rest of the band their walking papers, and recorded this album as a duo.
Sounding fresh and energized, this was by far 10cc's best album since 1977's Deceptive Bends.
Maintaining a mild case of the quirkiness of old, Stewart and Gouldman embrace some of their finest melodies on this release, allowing the songs to speak for themselves. "Don't Ask" is one of those great little pop songs that you think you've heard somewhere before, but haven't, and it should have been a massive single, but wasn't. "Memories," "Les Nouveaux Riches," and "Overdraft In Overdrive" all utilize a reggae backbeat, but are even more carefree than their 1978 single "Dreadlock Holiday!" Both members share the spotlight throughout, trading off lead and backing vocals with ease. Gouldman's vocals sound more confident than ever, while Stewart still sings like an angel (he'll melt your heart on "Don't Turn Me Away," and "Lying Here With You").
The only weak track in the bunch is the barroom blues track, "Listen With Your Eyes," which was probably written in their sleep.
The U.K. and U.S. versions of the albums differ by a few tracks (the U.S. version replaces three songs with tracks recorded with Andrew Gold). Quite possibly the last great 10cc album, and certainly the last to sound like a true collaborative effort between Stewart and Gouldman.


Side A
A1. Don’t Ask   (4:02) 
A2. Overdraft In Overdrive   (3:24) 
A3. Don’t Turn Me Away   (5:03) 
A4. Memories   (4:31) 
A5. Notell Hotel   (4:56) 

Side B
B1. Les Nouveaux Riches   (5:11) 
B2. Action Man In Motown Suit   (4:45) 
B3. Listen With Your Eyes   (3:10) 
B4. Lying Here With You   (3:22) 
B5. Survivor   (5:46)

Vinyl: Goed
Hoes: Goed

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Bob Dylan - Desire (1975) - Lp

Release:  1975
Genre:  Folk Rock
Format:  LP
Label:  CBS Records
Catalog#   86003
Prijs:  €10,00

If Blood on the Tracks was an unapologetically intimate affair, Desire is unwieldy and messy, the deliberate work of a collective.
And while Bob Dylan directly addresses his crumbling relationship with his wife, Sara, on the final track, Desire is hardly as personal as its predecessor, finding Dylan returning to topical songwriting and folk tales for the core of the record.
It's all over the map, as far as songwriting goes, and so is it musically, capturing Dylan at the beginning of the Rolling Thunder Revue era, which was more notable for its chaos than its music. And, so it's only fitting that Desire fits that description as well, as it careens between surging folk-rock, Mideastern dirges, skipping pop, and epic narratives. It's little surprise that Desire doesn't quite gel, yet it retains its own character -- really, there's no other place where Dylan tried as many different styles, as many weird detours, as he does here. And, there's something to be said for its rambling, sprawling character, which has a charm of its own.
Even so, the record would have been assisted by a more consistent set of songs; there are some masterpieces here, though: "Hurricane" is the best-known, but the effervescent "Mozambique" is Dylan at his breeziest, "Sara" at his most nakedly emotional, and "Isis" is one of his very best songs of the '70s, a hypnotic, contemporized spin on a classic fable.
This may not add up to a masterpiece, but it does result in one of his most fascinating records of the '70s and '80s -- more intriguing, lyrically and musically, than most of his latter-day affairs.


Side A
A1. Hurricane  (8:33)
A2. Isis  (6:58)
A3. Mozambique  (3:00)
A4. One More Cup of Coffee (Valley Below)  (3:43)
A5. Oh, Sister  (4:05)

Side B
B1. Joey  (11:05)
B2. Romance in Durango  (5:50)
B3. Black Diamond Bay  (7:30)
B4. Sara  (5:29)

Vinyl: Goed
Hoes: Goed

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Randy Newman - Trouble In Paradise (1983) - Lp

Release:  1983
Genre:  Soft Rock
Format:  LP
Label:  Warner Bros. Records
Catalog#  923755-1
Prijs:  €10,00

Trouble in Paradise is the seventh album by American composer Randy Newman. It spawned the hit "I Love L.A.", and included a duet with Paul Simon on "The Blues."
Randy Newman began the slow process of transforming himself into a polished L.A. song-crafter on the album Little Criminals, and with Trouble in Paradise the metamorphosis was complete; by this time, Newman could make a record just as ear-pleasing as anything Paul Simon, Don Henley, or Lindsey Buckingham could come up with, and proved it by persuading all three to appear on the sessions.
But no matter how polished the arrangements and smooth the production, Newman's songs don't sound like they're ready for radio, and he's too bright not to understand that songs about apartheid, self-pitying white bluesmen, and arrogant yuppies are poor prospects for the pop charts. Trouble in Paradise marked the high point of Newman's struggle between pop sheen and his satiric impulses, and the album is a significant improvement over Little Criminals and Born Again.
The targets of Newman's satirical gaze are easy to skewer, and his pen is hardly subtle, but the overall tone is more respectful than on Born Again and the results are stronger. The bitter Afrikaner in "Christmas in Capetown" and the egocentric blowhard in "My Life Is Good" have at least earned Newman's disgust, and while many of the character studies ("Mikey," "I'm Different") and vignettes ("Miami," "Take Me Back") take a less than charitable view of their protagonists, like the losers and half-wits that populate Good Old Boys, they're human beings whose flaws reveal a hint of tragedy. And the closing number, "Song for the Dead," is a stunner in which a soldier explains to the bodies he's burying the purpose behind the war that took their lives.
While too slick for Newman's core audience, Trouble in Paradise was his most intelligent and best realized work since Good Old Boys, and his finest album of the 1980s.
Trouble in Paradise was ranked as number 67 on Rolling Stone's 100 Greatest Albums of the 80s list


Side A
A1.  I Love L.A.  (3:29) 
A2.  Christmas In Capetown   (4:21) 
A3.  The Blues (with Paul Simon)  (3:01) 
A4.  Same Girl  (2:53) 
A5.  Mikey’s  (2:10) 
A6.  My Life Is Good  (4:38) 

Side B
B1.  Miami  (4:04) 
B2.  Real Emotional Girl  (2:28) 
B3.  Take Me Back   (4:09) 
B4.  There’s A Party At My House   (2:50) 
B5.  I’m Different   (2:33) 
B6.  Song For The Dead   (3:00)

Vinyl: Goed
Hoes: Goed

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George Harrison & Friends - The Concert For Bangladesh (1971) - 3LP Boxset

Release:  1971
Genre:  Rock, Hindustani classical
Format:  3LP Boxset
Label:  Apple Records
Catalog#  STCX 3385
Prijs:  €25,00

The Concert for Bangladesh – originally titled The Concert for Bangla Desh – is a live triple album by George Harrison and celebrity friends, released on Apple Records in December 1971 in America and January 1972 in Britain. The album followed the two concerts of the same name, held on 1 August 1971 at New York's Madison Square Garden, featuring Harrison, Bob Dylan, Ravi Shankar, Ali Akbar Khan, Ringo Starr, Billy Preston, Leon Russell and Eric Clapton. The shows were a pioneering charity event, in aid of the homeless Bengali refugees of the Bangladesh Liberation War, and set the model for future multi-artist rock benefits such as Live Aid (1985) and the Concert for New York City (2001).
Co-produced by Phil Spector and featuring the latter's signature Wall of Sound in a live setting, the fundraiser album was delayed for three months due to protracted negotiations between Harrison and two record companies keen to protect their business interests, Capitol and Columbia/CBS. Besides the main performers, the musicians and singers on the recording include Badfinger, Jim Horn, Klaus Voormann, Alla Rakha, Jim Keltner, Jesse Ed Davis and Claudia Linnear. The box set's original packaging included a 64-page book containing photos from the concerts; the album cover, designed by Tom Wilkes, consisted of an image of a malnourished child sitting beside an empty food bowl.
On release, The Concert for Bangladesh was a major critical and commercial success, topping albums charts around the world, and went on to win the Grammy Award for Album of the Year in March 1973. Together with the 1972 Apple concert film directed by Saul Swimmer, the album gained Indian classical music its largest Western audience up until that time.


Side A
A1. George Harrison/Ravi Shankar - Introduction  (5:19)
A2. Ravi Shankar - Bangla Dhun (16:40)

Side B
B1. George Harrison - Wah-Wah (3:30)
B2. George Harrison - My Sweet Lord (4:36)
B3. George Harrison - Awaiting on You All (3:00)
B4. Billy Preston - That’s the Way God Planned It (4:20)

Side C
C1. Ringo Starr - It Don’t Come Easy (3:01)
C2. George Harrison / Leon Russell - Beware of Darkness (3:36)
C3. George Harrison - Band Introduction (2:39)
C4. George Harrison - While My Guitar Gently Weeps (4:53)

Side D
D1. Leon Russell, Don Preston - Medley: Jumpin’ Jack Flash/Young Blood  (9:27)
D2. George Harrison - Here Comes the Sun” (Acoustic)  (2:59)

Side E
E1. Bob Dylan - A Hard Rain’s A-Gonna Fall (5:44)
E2. Bob Dylan - It Takes a Lot to Laugh, It Takes a Train to Cry (3:07)
E3. Bob Dylan - Blowin’ in the Wind (4:07)
E4. Bob Dylan - Mr. Tambourine Man (4:45)
E5. Bob Dylan - Just Like a Woman (4:49)

Side F
F1. George Harrison - Something (3:42)
F2. George Harrison - Bangla-Desh (4:55)

Album: Goed
Cover:  Gebruikerssporen

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Pink Floyd - A Collection Of Great Dance Songs (1981) - Lp

Release: 1981
Genre:  Progressive Rock
Format:  LP
Label:  EMI Records
Catalog#  1C 064-07575
Prijs:  €10,00

A Collection of Great Dance Songs is a compilation album by the English rock band Pink Floyd, released on 23 November 1981 (1981-11-23) by Harvest Records in the United Kingdom and by Columbia Records in the United States.
The title is facetious, given that Pink Floyd are not known for making particularly danceable music. This is perhaps evidenced by the album art, which featured a photograph of ballroom dancers anchored to the ground so they cannot move.
The inner sleeve had pictures of dancers in either a white (UK) or black (US) background. The picture labels were a black background with blue lines and red sketch lined dancers on side one and reverse on side two.

The album contains alternative mixes of "Shine On You Crazy Diamond" (which comprises parts 1, 2, 4 and 7) edited down for time reasons, and "Another Brick in the Wall (Part 2)" (which combines the intro from the single mix with the album version which fades out during the "if you don't eat your meat" ending). Also, the track "Money" was re-recorded as Capitol Records refused to license the track to Columbia/CBS Records. David Gilmour re-recorded the track himself, guitars, keyboards, bass guitar and vocals and co-producing the song with James Guthrie.
Dick Parry reprised his saxophone role on the track.
There are some differences between the re-recorded version and the original; mainly in the saxophone and guitar solos and the overall use of reverb and Gilmour repeating "away" at the end instead of the high pitch scat singing on the original. The drumming is noticeably different from Nick Mason's, especially during the guitar solo, with very little of the tom-tom fills heard on the original.


Side A
A1.  One of These Days   (5:49)
A2.  Money (Re-recorded in 1981)   (6:45)
A3.  Sheep  (10:25)

Side B
B1.  Shine On You Crazy Diamond (edit)   (10:41)
B2.  Wish You Were Here   (5:25)
B3.  Another Brick in the Wall (Part II) (edit)   (3:52)

Vinyl: Goed
Hoes: Goed

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Styx - Cornerstone (1979) - Lp

Release: 1979
Genre:  Progressive Rock
Format:  LP
Label:   A&M Records
Catalog#   AMLK 63711
Prijs:  €10,00

Cornerstone is the ninth studio album by Styx, released in 1979. Cornerstone was Styx's follow-up to their second consecutive Top 10 selling Triple Platinum album in a row, 1978's Pieces of Eight. Like the four previous Styx albums, the band produced the album themselves. The band started using the new recording studio Pumpkin Studios in Oak Lawn, Illinois.
The album was the first where the band shied away from the art-rock/prog-rock influences that dominated their first eight studio albums and was the band's first move towards a more pop/rock direction (band member Dennis DeYoung stated in a 2009 interview that the change in direction came from reading bad reviews that the group received in the rock press while on their first tour of England).
Dennis DeYoung had two ballads on the album. The first was the album's first single and Styx's only US #1 single "Babe" which Dennis wrote for his wife Suzanne. The track was performed and recorded as a demo with just him and the Panozzo brothers but then James Young and Tommy Shaw heard the track and decided to put it on Cornerstone with Shaw overdubbing a guitar solo in the song's middle section. Another ballad was the power ballad "First Time" which was intended to be Cornerstone's second single (radio stations were playing it and got such a response that A&M wanted it released) until Shaw complained and threatened to leave the band. "Borrowed Time" was released instead, reaching a disappointing #63 on the charts.
DeYoung also wrote the Top 30 hit, the poppish "Why Me", which was the third single release from the album. Dennis predominantly used a Fender Rhodes electric piano on over half of the tracks. Also, the group used real horns and strings on the album on several tracks.
DeYoung and Shaw co-wrote two tracks. The opening "Lights" was music by DeYoung and Shaw with lyrics by Shaw (who also sang on the track). The rocking "Borrowed Time" had music by DeYoung (intro) and Shaw with lyrics from DeYoung (who sang on this track). "Borrowed Time" would open concerts on the group's tour in support of Cornerstone nicknamed The Grand Decathlon tour.
Shaw's famous song on the album was the folkish "Boat on the River", which became the band's biggest European hit. He also penned the pop-rocker "Never Say Never" and the epic proggish closer "Love in the Midnight." JY contributed the rocker "Eddie", which was about Edward Kennedy, pleading with him not to make a run for the U.S. presidency.
Cornerstone became Styx's first US Top 5 album peaking at #2 on the Billboard album charts.


Side A
A1. Lights   (4:37) 
A2. Why Me   (3:35) 
A3. Babe   (4:26) 
A4. Never Say Never   (3:07) 
A5. Boat On The River   (3:10) 

Side B
B1. Borrowed Time   (4:58) 
B2. First Time   (4:23) 
B3. Eddie   (4:15) 
B4. Love In The Midnight   (5:22)

Vinyl: Goed
Hoes: Goed

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Boston - Boston (1976) - Lp

Release:  1976
Genre:  Hard rock
Format:  LP
Label:  Epic Records
Catalog#  EPC 81611
Prijs:  €10,00

Boston is the debut studio album by American rock band Boston. Produced by Tom Scholz and John Boylan, the album was released on August 25, 1976, in the United States by Epic Records. Scholz had studied classical piano in his childhood and became involved in the Boston music scene in the late 1960s. He subsequently started to concentrate on demos recorded in his apartment basement with singer Brad Delp, and although their previous group, Mother's Milk, had received numerous rejection letters from major record labels in the early 1970s, by 1975, the demo tape had fallen into the hands of CBS-owned Epic Records, who signed the band.
Epic wanted the band to record in Los Angeles with a record producer, but Scholz was unwilling and wanted to record the album in his basement studio, so he hired Boylan to run interference with the label. In an elaborate ruse, Scholz tricked the label into thinking the band was recording on the West Coast, when in reality, the bulk was being tracked solely by Scholz at his Massachusetts home. The album's contents are a complete recreation of the band's demo tape, and contain songs written and composed many years prior. The album's style, often referred to as the "Boston sound", was developed through Scholz's love of classical music, melodic hooks and guitar-heavy rock groups such as the Kinks and the Yardbirds.
The album was released by Epic in August 1976 and sold extremely well, breaking sales records and becoming one of the best-selling debut albums of all time. Boston's style was appropriated by label executives and imitated by bands to create radio-friendly "corporate rock", the creation of which the band was also accused of. The album's singles, most notably "More Than a Feeling" and "Long Time", were both AM and FM hits, and nearly the entire album receives constant rotation on classic rock radio. The album has been referred to as a landmark in 1970s rock and has been included on many lists of essential albums. The album has sold 17 million copies in the United States alone and 25 million worldwide


Side A
A1. More Than a Feeling  (4:44)
A2. Peace of Mind  (5:02)
A3. Foreplay/Long Time  (7:47)

Side B
B1. Rock and Roll Band  (2:59)
B2. Smokin’  (4:22)
B3. Hitch a Ride  (4:12)
B4. Something About You  (3:48)
B5. Let Me Take You Home Tonight  (4:44)

Vinyl: Lichte Gebruikerssporen
Hoes: Zijkant Licht Beschadigd

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Gary Wright - The Light Of Smiles (1977) - Lp

Release:  1977
Genre:  Synth-pop, Progressive Rock
Format:  LP
Label:  Warner Bros. Records
Catalog#   WB 56278
Prijs:  €10,00

The Light of Smiles is the fourth album by American rock musician Gary Wright. It was released in January 1977 on Warner Bros. Records as the follow-up to his commercial breakthrough, The Dream Weaver. The album was produced by Wright and recorded in Los Angeles in 1976. Aside from drums and orchestral strings, the music was created entirely on synthesizers and other keyboard instruments. The lyrics reflect Wright's preoccupation with spirituality, particularly the teachings of Indian yogi Paramahansa Yogananda.
Although the album failed to match the commercial impact of its predecessor, The Light of Smiles was moderately successful and received a favorable response from some music critics. In the United States, it peaked at number 23 on Billboard's albums chart, while the single "Phantom Writer" reached number 43 on the Hot 100.

Gary Wright began writing songs for The Light of Smiles while on tour in 1976, having become a popular concert draw with the success of The Dream Weaver. Recording started in Los Angeles during the summer, with Wright using members of his tour band, including keyboardist Peter Reilich and drummer Art Wood, and session musicians David Foster and Jim Keltner, both of whom had contributed to The Dream Weaver. In early June, Chris Charlesworth of Melody Maker reported that the new album would be "a logical development" of its predecessor and focus solely on sounds generated through keyboard instruments, particularly synthesizers. Played mainly by Wright, Foster and Reilich, the range of keyboard instruments includes clavinet, organ, and Moog, Oberheim and ARP synthesizers. Foster also provided arrangements for orchestral strings on some of the songs, such as the title track, "Time Machine", "I Am the Sky" and "Who Am I".
On "I Am the Sky", Wright gave a songwriting credit to the late Indian guru and Kriya Yoga teacher, Paramahansa Yogananda. 
The latter's poem "The Light of Smiles", taken from his book Metaphysical Meditations, appeared on the LP's inner sleeve. During the recording sessions, Wright and Foster also contributed to George Harrison's first album for Warner Bros. Records, Thirty Three & 1/3, with Wright playing synthesizer on "See Yourself", one of the album's two Yogananda-inspired tracks. Having been introduced to Yogananda's book Autobiography of a Yogi by Harrison in the early 1970s, Wright subsequently acknowledged the guru as a lifelong influence. The front cover of The Light of Smiles includes a portrait of Wright painted by John Silletto


Side A
A1. Water Sign   (4:32) 
A2. Time Machine   (3:40) 
A3. I Am The Sky (Paramahansa Yogananda)   (0:40) 
A4. Who I Am   (3:15) 
A5. Silent Fury   (4:20) 
A6. Phantom Writer   (3:29) 

Side B
B1. The Light Of Smiles   (3:26) 
B2. I’m Alright   (3:35) 
B3. Empty Inside   (3:30) 
B4. Are You Weepin’   (4:02) 
B5. Child Of Light   (4:56)

Vinyl: Goed
Hoes: Goed

http://www.ad-vinylrecords.com/product/wright-gary-the-light-of-smiles-lp/

Freek De Jonge - De Openbaring: Oudejaarsavond 1982 (1983) - Lp

Release:  1983
Genre:  Cabaret / Nederlandstalig
Format:  LP
Label:  Ariola Records
Catalog#  205242
Prijs:  €10,00

Frederik Jan Georg (Freek) de Jonge (Westernieland, 30 augustus 1944) is een Nederlandse cabaretier. Hij werd bekend toen hij samen met Bram Vermeulen optrad als het sociaal geëngageerde Neerlands Hoop. Vanaf 1980 ging hij solo en maakte naam als cabaretier met zijn geconstrueerde conferences, waarbij hij als eerste een rode draad door zijn programma liet lopen.

In 1979 ging Neerlands Hoop uit elkaar en begon De Jonge aan een solocarrière. Hij was de eerste cabaretier die een rode draad in zijn verhaal aanbracht. Typisch voor De Jonge is ook de running gag, een grap waarnaar meerdere malen verwezen wordt. De Jonge bracht vele succesvolle programma's op het toneel, waaronder ook meerdere oudejaarsconferences en nieuwjaarsconferences.

De Openbaring (van Freek de Jonge), zoals de volledige titel luidt, is rechtstreeks op televisie te zien vanuit de kleine zaal (de Globezaal) van de Eindhovense Stadsschouwburg. Het feit dat Freek de Jonge in de traditie van de oudejaarsconference stapt, dwingt hem tot vormelijke en inhoudelijke keuzes. Zijn publiek bestaat deze keer niet alleen uit belangstellende thea-terbezoekers, maar voor het grootste deel uit televisiekijkers en hun familie, vrienden en kennissen die samen zijn gekomen in feestelijke stemming. Bij hen ontbreekt de concentratie voor een voorstelling in de lijn van de theatershows. Daarom kiest hij niet voor een toneelmatig programma in bedrijven (zoals De Komiek en De Tragiek) of een kernverhaal met terzijdes (zoals De Mars), maar voor een aaneenschakeling van losse onderdelen: conferences over de actualiteit, anekdotes, liedjes, sketches, grappen… Terugkerende elementen, zoals terloopse verwijzingen naar de inzamelacties voor Polen, zijn er voor de goede verstaander. Dat geldt ook voor de plaatsing van een blocnote van één bij twee meter met steekwoorden, wat natuurlijk verwijst naar Wim Kans spiekborden.
Freek de Jonge realiseert zich terdege dat zijn publiek niet overwegend bestaat uit progressieve hoogopgeleiden, maar uit alle lagen van de bevolking.
Dat is geen reden de lat laag te leggen...


Tracklist

0. Intro
1. Iets Links
2. Brief Van Mijn Moeder
3. De Zoon Van Visser Kwakman
4. Stekelvarken
5. Eikel
6. Onzin
7. Liegen
8. Fout Geweest
9. Je Vader
10. De Trekhond
11. Kinderen
12. Jeugdjournaal, Weerbericht
13. Suriname
14. Sprookje (Roodkapje)
15. Cavia’s
16. Achterwerk (V.P.R.O. Gids)
17. Flevohof
18. Vervelen
19. De Derde Wereldoorlog (Opstel)
20. De Eerste de Beste
21. Toneelstukje
22. Subsidies
23. Stakingen
24. Persiflage
25. In de Winkel
26. In de Disco (We Want Amor)
27. Oorlog En Vrede
28. Het Kistje

Vinyl: Goed
Hoes: Goed

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