November 27, 2020

Aretha Franklin - Aretha (1986) - €10,00

Side A
A1. Jimmy Lee (5:47)
A2. I Knew You Were Waiting (For Me) (with George Michael) (4:02)
A3. Do You Still Remember (5:07)
A4. Jumpin’ Jack Flash (5:04)

Side B
B1. Rock-A-Lott (6:23)
B2. An Angel Cries (5:03)
B3. He’ll Come Along (4:13)
B4. If You Need My Love Tonight (duet with Larry Graham) (4:34)
B5. Look to the Rainbow (5:13)

Release:  1986
Format:  LP
Genre:  Soul, Pop
Label:  Arista Records
Catalog#  208020

Vinyl:  Goed
Hoes:  Goed

Prijs: €10,00

November 26, 2020

Wham - Make It Big (1984) - €10,00

Side A
A1. Wake Me Up Before You Go-Go - 3:50
A2. Everything She Wants - 5:01
A3. Heartbeat - 4:42
A4. Like a Baby - 4:12 
Side B
B1. Freedom - 5:01
B2. If You Were There - 3:38
B3. Credit Card Baby - 5:08
B4. Careless Whisper - 6:30

Release: 1984
Format:  LP
Genre:  Dance-Pop
Label:  Epic Records
Catalog#  EPC 86311

Vinyl:  VG
Cover: VG

Prijs: €10,00

November 25, 2020

Paul Simon - Hearts And Bones (1983) - €10,00

Side A
A1. Allergies - 4:37
A2. Hearts and Bones - 5:37
A3. When Numbers Get Serious - 3:25
A4. Think Too Much (b) - 2:44
A5. Song About the Moon - 4:07

Side B
B1. Think Too Much (a) - 3:05
B2. Train in the Distance - 5:11
B3. Rene and Georgette Magritte with Their Dog after the War - 3:44
B4. Cars Are Cars - 3:15
B5. The Late Great Johnny Ace - 4:45

Release:  1983
Format:  LP
Genre: Pop, Rock
Label:  Warner Bros. Records
Catalog#  92-3942-1

Vinyl:  VG
Cover:  VG

Prijs: €10,00

John Lennon & Yoko Ono - Double Fantasy (1980) - €10,00

Side A
A1.  (Just Like) Starting Over - 3:55  
A2.  Kiss Kiss Kiss - 2:41  
A3.  Cleanup Time - 2:57  
A4.  Give Me Something - 1:34  
A5.  I’m Losing You - 3:58  
A6.  I’m Moving On - 2:19  
A7.  Beautiful Boy (Darling Boy) - 4:01  

Side B
B1.  Watching The Wheels - 3:59  
B2.  I’m Your Angel - 3:08  
B3.  Woman - 3:32  
B4.  Beautiful Boys - 2:54  
B5.  Dear Yoko - 2:33  
B6.  Every Man Has A Woman Who Loves Him - 4:02  
B7.  Hard Times Are Over - 3:20 

Release:  1980
Format:  LP
Genre:  Pop, Rock
Label:  Geffen Records
Catalog#  GEF 99131

Vinyl:  VG
Cover:  VG

Prijs: €10,00

November 24, 2020

Eric Clapton - Backless (1978) - €10,00

Side A
A1.  Walk Out in the Rain - 4:16
A2.  Watch Out for Lucy - 3:26
A3.  I’ll Make Love to You Anytime - 3:23
A4.  Roll It - 3:42
A5.  Tell Me That You Love Me - 3:31

Side B
B1.  If I Don’t Be There by Morning - 4:38
B2.  Early in the Morning - 7:58
B3.  Promises - 3:04
B4.  Golden Ring - 3:32
B5.  Tulsa Time - 3:28

Release:  1978
Format:  LP (Gatefold)
Genre:  Blues Rock
Label:  RSO Records
Catalog#  2394213

Vinyl:  VG
Cover:  VG

Prijs: €10,00

Van McCoy - Disco Kid (1975) - €10,00

 Side A
A1.  The Disco Kid - 3:23  
A2.  I’m Gonna Love You - 3:27  
A3.  Change With The Times - 3:16  
A4.  Love Child - 3:08  
A5.  The Walk - 3:41  

Side B
B1.  Earthquake - 4:44  
B2.  Words Spoken Softly At Midnight - 3:00  
B3.  Roll With The Punches - 3:06  
B4.  Keep On Hustlin’ - 3:57  
B5.  Good Night, Baby - 3:58  

Release:  1975
Format:  LP
Genre:  Soul / Disco
Label:  AVCO Records
Catalog#  AV 69009

Vinyl:  VG
Cover:  VG

Prijs: €10,00

November 20, 2020

Bee Gees - Living Eyes (1981) - €10,00

Living Eyes is the Bee Gees' sixteenth original album (fourteenth internationally), released in 1981. The Bee Gees turned away from the disco sound that was prominent on their work in the middle-to-late 1970s with this album. However, the album was not a commercial success, perhaps due to their being so strongly associated with disco.

In terms of hit singles and precise musical vision, it would have been difficult for anyone to have to follow-up the brilliant Spirits Having Flown album, but these industry veterans created a real gem in Living Eyes which seems to have gotten lost in the maze that is their deep catalog. 
The title track is almost up there with "Spirits Having Flown," which is significant praise, and the song "Paradise" follows suit, pretty and passionate. "Don't Fall in Love With Me" has all three Bee Gees brothers contributing to this ballad with their trademark highly creative hooks. The one downer, unbelievable as it seems, is the hit single "He's a Liar." It just doesn't make it -- odd vocals on a theme which goes nowhere. 
Nicking the Top 30 in October of 1981, well after "Love You Inside Out," their final (and questionable) number one hit, the tune disrupts their staggering array of wonderful singles. To stay off the charts for two and a half years might have been fallout from the Sgt Pepper film debacle; though the successful Spirits Having Flown came after that non-epic, it all added up to massive overexposure. The victim of too much airplay (or too much heaven) was this very decent and highly listenable album. "I Still Love You" has Robin Gibb in classic Bee Gees form with lush arrangements and production. 
There is even additional information included on the inner sleeve regarding the consoles used in recording and the wardrobe person, as well as photos of co-producers Albhy Galuten and Karl Richardson. 
The album exhibits the opulence enjoyed by the brothers on the front, back cover, and inside gatefold -- regal photos which are enhanced by the fact that the boys had the chops to back it up. "Wildflower," not the 1973 hit by Skylark but a brilliant original with folky overtones, really should have been the single. How it didn't hit for the Bee Gees or the popular acts they were working with -- Kenny Rogers and Dolly Parton in 1982 and Dionne Warwick in 1983 -- is evidence of the richness of their songbook. Barry Gibbs' lead on "Nothing Could Be Good" is so perfectly adult contemporary, a song written by Galuten and the three brothers, it is just stunning that they did nothing with it and that this beautiful work is so forgotten. 
A song from the Staying Alive film soundtrack went Top 25 in 1983, and in 1989 they broke the Top Ten with "One," but there is no reason for such time in between hits. "Cryin' Every Day" has it, another brilliant hook accompanied by dramatic production; the title track has it; and Barry Gibbs' ethereal and dreamy conclusion to this disc, "Be Who You Are," has it. A strong work by a classic group which is worth hearing again. Truly the weakest track is the hit single "He's a Liar," which must have contributed to this album getting lost in the shuffle.

Side A
A1. Living Eyes - 4:20
A2. He’s a Liar - 4:05
A3. Paradise - 4:21
A4. Don’t Fall In Love With Me - 4:57
A5. Soldiers - 4:28

Side B
B1. I Still Love You - 4:27
B2. Wildflower - 4:26
B3. Nothing Could Be Good - 4:13
B4. Cryin’ Everyday - 4:05
B5. Be Who You Are - 6:42

Release:  1981
Format:  LP (Gatefold)
Genre:  Pop
Label:  RSO Records
Catalog#  2394301

Vinyl:  VG
Cover:  VG

Prijs: €10,00

November 17, 2020

Paul Young - Between Two Fires (1986) - €10,00

Between Two Fires is the third solo album by the English singer Paul Young. Released in October 1986.
Three singles were taken from the album; "Wonderland", "Some People", and "Why Does a Man Have to Be Strong", though none of these made the UK Top 20 unlike Young's previous singles. "Wonderland", written by Betsy Cook who also provided backing vocals on the album. 
"Some People" reached #56 in the UK and #65 in the U.S., while "Why Does a Man have to be Strong" reached #63 in the UK. After the numerous covers contained in the previous two works, Between Two Fires contained many more self-penned compositions, and Young actually co-produced, co-wrote and co-arranged most of the tracks. 

Despite popular belief to the contrary the 1980's were much like the 60's in terms of musical developement. That is in the sense that months,not merely years made an enormous different. Take Paul Young for example. What it felt like for him after he made  Secret of Association  bore precious little to how it felt when he recorded this follow up album. Any semblance of big instrumentation with lots of gating,electronic effects and heavy synthesizers had suddenly gone very much out of the pop mainstream. Especially if your music was of the soulful bent. Interestingly enough the way Paul Young was going during this time was a similar direction to that of Prince during that time,toward a live band oriented sound that embraced elements of psychedelic soul.

The album starts out with "Some People",which along wih "Wonderland" have this thick,uptempo rocking soul to it. There's little gloss except for accents here and there. Paul helps this out by writing/co-writing every song here with a strong sense of reflection and thoughtfulness reflecting more adult matters and relationships. "War Games" is an excellent song. Could be about romance or politics actually much like "Respect" has has this thick psychedelic funk groove to it and an unusual melody. "In The Long Run" and "A Certain Passion" ride less on rhythm and more on these low bubbling bass lines and a softly percussive effect. The ballads "Wasting My Time" and the title song are straight of the Sam Cooke era gospel drenched soul ballad attitude which Paul brings to life even more so. The final song is the intense,upbeat horn funk of "Wedding Day",my personal favorite on the album.

One thing about this album is that it really helps you realize there's a big difference between melodic music and melodic pop music. In pop you tend to have melodies that tend to be crafted to sound as close to perfect as humanely possible together. That's where hit songs tend to come out of. These songs all have melodies. But they aren't as heavily crafted. Some of the melodic ideas on this album seem to spring out into similar ones. They are definitely designed not just to show how far Paul Young could extend his voice,but how his band could handle themselves musically. This is one of those few very commercial sounding albums that isn't a big hit parade. Paul Young had always had a strong artistic vision behind what he did. And was lucky enough to extend it into big pop success. Here he just sings and writes from his mind and heart. And it really does work.

Side A
A1.  Some People - 4:43
A2.  Wonderland - 4:58
A3.  War Games - 4:18
A4.  In the Long Run - 4:19
A5.  Wasting My Time - 5:18

Side B
B1.  Prisoner of Conscience - 4:22
B2.  Why Does a Man Have to Be Strong? - 4:21B
B3.  A Certain Passion - 4:12
B4.  Between Two Fires - 3:48
B5.  Wedding Day - 4:56

Release:  1986
Format:  LP
Genre: Pop
Label:  CBS Records
Catalog#  450150-1

Vinyl:  VG
Cover:  VG

Prijs: €10,00

November 13, 2020

Paul McCartney - Pipes Of Peace (1983) - €10,00

Pipes of Peace is the fourth solo studio album by English singer-songwriter Paul McCartney, released in 1983. As the follow-up to the popular Tug of War, the album came close to matching the commercial success of its predecessor in Britain but peaked only at number 15 on America's Billboard 200 albums chart. 
While Pipes of Peace was the source of international hit singles such as "Say Say Say" (recorded with Michael Jackson) and the title track, the critical response to the album was less favourable than that afforded to Tug of War

Many of the songs released on Pipes of Peace were recorded during the 1981 sessions for Tug of War, with "Pipes of Peace", "The Other Me", "So Bad", "Tug of Peace" and "Through Our Love" being recorded afterwards, in September–October 1982. Accordingly, the album has many things in common with its predecessor: it was produced by George Martin, it featured two collaborations with the same artist (this time with Michael Jackson; the Tug of War collaborations being with Stevie Wonder), and continued McCartney's alliance in the studio with Ringo Starr, former 10cc guitarist Eric Stewart and his last session work with Wings guitarist Denny Laine

Unlike Tug of War, the album features an electro-tinged sound. On the track "Tug of Peace", McCartney blended the title song to Tug of War with that of the new album. The album describes the mix as "an almost-electro collage that twists the songs into McCartney II territory".

All songs written by Paul McCartney, except "Say Say Say" and "The Man" co-written by Michael Jackson, and "Hey Hey" co-written by Stanley Clarke.

Side A
A1. Pipes of Peace - 3:56
A2. Say Say Say (with Michael Jackson) - 3:55
A3. The Other Me - 3:58
A4. Keep Under Cover - 3:05
A5. So Bad - 3:20

Side B
B1. The Man (with Michael Jackson) - 3:55
B2. Sweetest Little Show - 2:54
B3. Average Person - 4:33
B4. Hey Hey - 2:54
B5. Tug of Peace - 2:54
B6. Through Our Love - 3:28

Release:  1983
Format:  LP (Gatefold)
Genre:  Pop
Label:  Odeon Records
Catalog#  SPEED 33

Vinyl:  VG+
Cover:  VG+

Prijs: €10,00

November 08, 2020

Stray Cats - Gonna Ball (1981) - €10,00

Gonna Ball is the second studio album by American rockabilly band Stray Cats, first released in the UK by Arista Records in November 1981. The album was produced by the band and Hein Hoven. It went platinum in the U.K.
Five of the album's tracks ("Baby Blue Eyes", "Little Miss Prissy", "You Don't Believe Me", "Rev It Up and Go" and "Lonely Summer Nights") were later included on the band's first American album, Built for Speed (1982). 

The Stray Cats' second album, Gonna Ball, was considered something of a disappointment when it was released in 1981; back then, it had the disadvantage of competing with the expectations raised by its immediate predecessor, a miraculous debut produced under the guidance of Dave Edmunds
When they pulled up stakes in England and returned to the U.S.A., they signed with EMI-America and built their American debut around what the band considered the best songs off of their first two records -- as a result, neither U.K. album was widely heard intact on American shores. 

Heard on its own terms 23 years later, Gonna Ball seems like a minor masterpiece, capturing the group going deep into early rock & roll and even pre-rock & roll roots music and far beyond the boundaries of rockabilly, supported by various players, including Rolling Stones alumnus Ian Stewart
Their rendition of Johnny Burnette's "Baby Blue Eyes" was a bracing opener (later moved to the closing spot on their third album). Brian Setzer's "Cryin' Shame" included a killer extended jam and harmonica showcase, and the Lee Rocker/Slim Jim Phantom-authored "(She'll Stay Just) One More Day" was a sophisticated piece of jump blues with a beautiful sax solo at its center and powerful central riff; Setzer's "What's Goin' Down (Cross That Bridge)," in turn, was as fine a Bo Diddley tribute as had been done by any white artist since the 1960s -- and none of those three made it on to their American debut LP. Setzer's "You Don't Believe Me" oozed the spirit of Elmore James out of every guitar note, while "Gonna Ball" and "Wicked Whisky" were exercises in rockabilly primitivism.
 "Rev It Up and Go" -- which made it to the third album -- was an impassioned Chuck Berry homage that also obliquely acknowledged the Beach Boys' service in making his riffs work in a uniquely white suburban context. "Lonely Summer Nights" -- also on the third album -- proved that this band could handle the ballad side of '50s music with the best of them when they wanted to. And "Crazy Mixed Up Kids" (which didn't make the cut to album number three) was a psychobilly instrumental workout par excellence. 

Side A
A1.  Baby Blue Eyes - 2:49  
A2.  Little Miss Prissy - 3:01  
A3.  Wasn’t That Good - 2:45  
A4.  Cryin Shame - 3:30  
A5.  (She’ll Stay Just) One More Day - 3:42  

Side B
B1.  You Don’t Believe Me - 2:58  
B2.  Gonna Ball - 3:15  
B3.  Wicked Whiskey - 2:17  
B4.  Rev It Up & Go - 2:28  
B5.  Lonely Summer Nights - 3:21  
B6.  Crazy Mixed Up Kid - 2:40 

Release:  1981
Format:  LP
Genre:  Rockabilly
Label:  Arista Records
Catalog#  204019

Vinyl:  VG+
Hoes:  VG+

Prijs: €10,00

November 01, 2020

Earth, Wind & Fire - Faces (2LP) (1980) - €20,00

Faces is the tenth studio album by the R&B band Earth, Wind & Fire released on October 14, 1980 on ARC/Columbia Records. The album reached number 2 on the Billboard Top LPs chart.

The gaudiest Earth, Wind and Fire album to date, Faces is an effervescent pop-funk pageant with lots of color and not much substance. None of its fifteen songs is as striking as “That’s the Way of the World,” “After the Love Is Gone,” “Boogie Wonderland” or “September” cuts whose hooks helped focus the group’s diffuse, cosmological cheeriness.

Faces addresses cosmic and social concerns, but its thinking is only Madison Avenue deep: e.g., when Joseph Worken Hardy (the name of the black everyman in “Let Me Talk”) ends his complaints about the Arabs, inflation and designer jeans with the observation “We’re all the same, with different names.”

What holds this double LP together isn’t tunes or ideas but a collective élan and Maurice White’s sparkling production, which runs the gamut from Sly Stone funk (“Pride”) to aural collage (“Faces”) to Bee Gees-influenced pop romanticism (“Sparkle,” “You”). The common denominator of White’s productions is their highly contrasted textures and boldly blocked arrangements, with brass and percussion every bit as important as the singing.

However impersonal, sprawling and weak at the seams Faces is, at least it coheres as a “happening,” resplendent with fireworks and pep-rally vibes.

Faces was partly recorded in the Caribbean island of Montserrat and produced by EWF leader Maurice White.
Artists such as Fred Wesley and Toto's Steve Lukather guested on the album.

Side A
A1.  Let Me Talk   (4:09)
A2.  Turn It Into Something Good   (4:10)
A3.  Pride   (4:11)
A4.  You   (5:10)

Side  B
B1. Sparkle   (3:50)
B2.  Back on the Road   (3:33)
B3.  Song in My Heart   (4:17)
B4.  You Went Away   (4:24)

Side C
C1.  And Love Goes On   (4:05)
C2.  Sailaway   (4:37)
C3.  Take It to the Sky   (3:50)
C4.  Win or Lose   (3:53)

Side D
D1.  Share Your Love   (3:17)
D2.  In Time   (4:13)
D3.  Faces   (8:02)

Release:  1980
Format:  2LP (Gatefold)
Genre:  Soul / Funk
Label:   Columbia Records 
Catalog#   CBS 88498

Vinyl:  VG+
Cover:  VG+

Prijs: €20,00

October 31, 2020

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

Release:  1977
Format:  2LP (Gatefold)
Genre:  Prog-Rock
Label:  Charisma Records
Catalog#  9199263

Vinyl:  VG+
Cover:  VG+

Prijs:  €20,00

October 29, 2020

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

Release:  1981
Format:  LP
Genre:  Ska, 2Tone
Label:   Stiff Records
Catalog#   SEEZ 39

Vinyl:  VG+
Cover:  VG+

Prijs: €10,00

October 27, 2020

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

Release: 1984
Format:  LP
Genre:  Art Rock, Post-punk
Label:  EMI Records
Catalog#  1C 064-240243-1

Vinyl:  VG+
Cover:  VG+

Prijs: €10,00

October 26, 2020

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

Release:  1979
Format:  LP
Genre:  Latin Rock, Fusion
Label:  CBS Records
Catalog#  86098

Vinyl:  VG
Cover:  VG

Prijs: €10,00