December 18, 2018

ABC - Beauty Stab (1983) - Lp
















Release: 1983
Genre:  Synth-pop, Sophisti-pop
Format:  LP
Label:  Mercury Records
Catalog#  814661-1
Prijs:  €10,00

Vinyl:  Goed
Cover:  Goed


ABC are an English pop band that formed in Sheffield in 1980. Their classic line-up consisted of lead singer Martin Fry, guitarist and keyboardist Mark White, saxophonist Stephen Singleton and drummer David Palmer. Developed from an earlier band, Vice Versa.

Beauty Stab is the second studio album by English pop band ABC. It was originally released in November 1983, on the labels Neutron, Mercury and Vertigo.
The album was recorded over a period of three months between August and September 1983, in sessions that took place at Sarm Studios East and West, Townhouse Studios and Abbey Road Studios. It was a departure from the stylised production of the band's debut album, The Lexicon of Love and featured a more guitar-oriented sound.

The difference between Beauty Stab's chart statistics in the U.K. and in the U.S. is extremely contrasting. The album's only single, "That Was Then and This Is Now," reached number 18 in the U.K., while it stalled at number 89 in the United States. The album itself climbed to number 12 on ABC's side of the ocean, while it stalled at number 69 on the American charts. The reason that Beauty Stab made such a substantial impact in the U.K. was due mainly to the album's makeshift concept about the band's take on modern England, with Martin Fry and Mark White trying to push their opinions through the buzz of guitars rather than the shiny pop sparkle of synthesizers and drum machines. Every aspect that made Lexicon of Love a masterpiece is absent on Beauty Stab. Gone is the brilliant songwriting which involved Fry's clever wordplay and acute wit, the pre-fabricated hooks that are so addictive, and, above all, the squeaky-clean sound from both a production standpoint and an instrumental one is nowhere to be found.

ABC tried to implement a slightly hardened sound into their music, but the result came out thin and undistinguished. The single was the only redeeming factor, showing the most pizzazz of any of the other cuts. "Bite the Hand," "Unzip," and "S.O.S." contain small amounts of pop delight, while "Love's a Dangerous Language" and "Power of Persuasion" tried to recapture Lexicon's spirit, but they both came up short. Album sales for Beauty Stab faltered, since fans were expecting a Lexicon of Love part two, but were utterly disappointed. The change for ABC seemed to be rushed, and the band should have echoed the same characteristics into Beauty Stab since the high demand for their brand of lustrous was still alive and well. Only Fry and White remained for 1985's How to Be A...Zillionaire!, with a handful of session musicians hired to play on the album.

The album was produced by ABC with Gary Langan, who was the audio engineer on the band's first album. The band employed the rhythm section of Andy Newmark (drums) and Alan Spenner (bass guitar) both of whom had recently recorded and toured with Roxy Music at the time. The cover photography was by Gered Mankowitz.


Side A
A1. That Was Then But This Is Now  – 3:33
A2. Love’s A Dangerous Language  – 3:39
A3. If I Ever Thought You’d Be Lonely  – 3:55
A4. The Power Of Persuasion  – 3:31
A5. Beauty Stab  – 2:06
A6. By Default By Design  – 4:07

Side B
B1. Hey Citizen!  – 3:55
B2. King Money  – 4:02
B3. Bite The Hand  – 3:06
B4. Unzip  – 2:49
B5. S.O.S.  – 4:48
B6. United Kingdom  – 3:19





December 16, 2018

Vanity 6 - Vanity 6 (1982) - Lp

















Release: 1982
Genre:  Dance-pop, Funk
Format:  LP
Label:  Warner Bros. Records
Catalog#  WB 57023
Prijs:  €10,00


Vanity 6 was an American female vocal trio assembled by American musician Prince in mid–1981.

In 1981, Prince, himself a rising musical star, suggested that his three female friends—his girlfriend Susan Moonsie, Boston native Brenda Bennett, and Jamie Shoop—form a girl group that would be called "The Hookers". Prince's vision was that the three women would perform in lingerie and sing sensual songs with lyrics about sex and fantasy.

Vanity 6 is the 1982 self-titled debut and only studio album by American R&B/Pop vocal girl group Vanity 6 released on Warner Bros. Records. The group had been created by Prince as an outlet for his prolific song writing. All three women in the group (Vanity, Brenda Bennett, Susan Moonsie) shared lead and background vocals.
As was typical for Prince's side projects, he obscured his virtually complete responsibility for the production, songwriting, and instrumental performances by arbitrarily attributing the credits to other members of his musical stable or the fictional "The Starr Company". "If a Girl Answers (Don't Hang Up)" was co-written with The Time member Terry Lewis and "Bite the Beat" was co-written with Jesse Johnson.

"He's So Dull" was written by Dez Dickerson and can be heard briefly in the 1983 film National Lampoon's Vacation. The "other woman" rap on the song "If a Girl Answers (Don't Hang Up)" is performed by Prince in an affected voice whose resemblance to that of The Time's lead singer Morris Day has sometimes led to Day being misidentified as the performer.

As it turned out, Vanity 6's first album was also its last. In 1984, Vanity went solo, and Brenda and Susan formed the very similar Apollonia 6 with singer Apollonia.


Side A
A1. Nasty Girl (5:10)
A2. Wet Dream (4:12)
A3. Drive Me Wild (2:31)
A4. He’s So Dull (2:32)

Side B
B1. If a Girl Answers (Don’t Hang Up) (5:34)
B2. Make-Up (2:40)
B3. Bite the Beat (3:12)
B4. 3 X 2 = 6 (5:24)

Vinyl:  Goed
Cover:  Goed

December 13, 2018

Prince - Controversy (1981) - Lp

















Release:  1981
Genre:  Pop, Funk
Format:  LP
Label:  Warner Bros. Records
Catalog#  WB 56950
Prijs:  €10,00


Controversy is the fourth studio album by American recording artist Prince, released on October 14, 1981 by Warner Bros. Records. It was produced by Prince, written (with the exception of one track) by him, and he also performed most of the instruments on its recording.

Controversy continues in the same vein of new wave-tinged funk on Dirty Mind, emphasizing Prince's fascination with synthesizers and synthesizing disparate pop music genres. It is also more ambitious than its predecessor, attempting to tackle social protest ("Controversy," "Ronnie, Talk to Russia," "Annie Christian") along with sex songs ("Jack U Off," "Sexuality"), and it tries hard to bring funk to a rock audience and vice versa. Even with all of Prince's ambitions, the music on Controversy doesn't represent a significant breakthrough from Dirty Mind, and it is often considerably less catchy and memorable.

Controversy opens with the title track, which raises questions that were being asked about Prince at the time, including his race and sexuality. The song "flirts with blasphemy" by including a chant of The Lord's Prayer. "Do Me, Baby" is an "extended bump-n-grind" ballad with explicitly sexual lyrics, and "Ronnie, Talk to Russia" is a politically charged plea to President Ronald Reagan. "Private Joy" is a bouncy bubblegum pop-funk tune, "showing off Prince's lighter side", followed by "Annie Christian", which lists historical events such as the murder of African-American children in Atlanta and the death of John Lennon. The album's final song, "Jack U Off", is a synthesized rockabilly-style track.
This was the first of his albums to associate Prince with the color purple as well as the first to use sensational spelling in his song titles.


Side A
A1. Controversy - 7:15
A2. Sexuality - 4:21
A3. Do Me, Baby - 7:43

Side B
B1. Private Joy - 4:29
B2. Ronnie, Talk to Russia - 1:58
B3. Let’s Work - 3:54
B4. Annie Christian - 4:22
B5. Jack U Off - 3:09

Vinyl:  Goed
Cover:  Goed

Chic - Take It Off (1981) - Lp

















Release:  1981
Genre:  Soul / Funk
Format:  LP
Label:  Atlantic Records
Catalog#  19323
Prijs:  €10,00


Take It Off is the fifth studio album by American R&B band Chic, released on Atlantic Records in November 16, 1981. It includes the single "Stage Fright", which reached #35 on the US R&B chart, but was the first Chic single failing to enter the US Pop charts, and this album only proved to be moderately successful as well, stalling at #124 on the US albums chart and #36 on the R&B chart.

In 1981, a lot of rock & rollers were claiming that the disco era was officially over. Disco, of course, never really died -- a lot of the dance-pop, house music, Hi-NRG, and Latin freestyle that was recorded in the '80s and '90s was essentially disco -- but as far as many of the radio stations and record company A&R men of 1981 were concerned, disco was dead. And that was bad news for Chic, a group closely identified with the disco era. Even though a lot of Chic's work had as much to do with funk and soul as it did with the Euro-disco sound, Chic was unable to live down its reputation as a disco group.

But Nile Rodgers and Bernard Edwards gave it a try with 1981's Take It Off, an admirable, if uneven, project that finds the group downplaying the Euro-disco elements. With R&B and funk as the foundation, Chic tries to branch out by incorporating elements of pop-rock on "Your Love Is Canceled," and jazz on "Flash Back" and "So Fine" (which shouldn't be confused with the "So Fine" that Kashif produced for R&B singer Howard Johnson in 1982).
In fact, a few of Rogers' guitar solos give the impression that he'd been listening to a lot of Wes Montgomery. But as likable as the LP is, it didn't contain a major hit -- the single "Stage Fright" only made it to #34 on Billboard's R&B singles chart. And for a group that had enjoyed #1 pop and R&B smashes only two and three years earlier, that was certainly disappointing.


Side A       
A1. Stage Fright  - 3:55 
A2. Burn Hard  - 5:12 
A3. So Fine  - 4:10 
A4. Flash Back  - 4:28 
A5. Telling Lies  - 2:28 

Side B
B1. Your Love Is Cancelled  - 4:12 
B2. Would You Be My Baby  - 3:34 
B3. Take It Off  - 5:12 
B4. Just Out Of Reach  - 3:45 
B5. Baby Doll  - 3:10

Vinyl:  Goed
Cover:  Goed

December 11, 2018

Fleetwood Mac - Live (1980) - 2Lp

















Release:  1980
Genre:  Pop, Rock
Format:  2LP
Label:  Warner Bros. Records
Catalog#  WB 66097
Prijs:  €20,00


Live is a double live album released by British-American rock band Fleetwood Mac in 1980. It was the first live album from the then-current line-up of the band, and the next would be The Dance from 1997. The album was certified gold (500,000 copies sold) by the RIAA in November 1981.

Live consists of recordings taken primarily from the 1979-1980 Tusk Tour, together with a few from the earlier Rumours Tour of 1977.
Two songs were recorded at a Paris soundcheck and three at a performance at Santa Monica Civic Auditorium "for an audience of friends and road crew."
Of particular note are three new songs - Christine McVie's "One More Night", Stevie Nicks' "Fireflies", and a well-harmonized backstage rendition of The Beach Boys' "The Farmer's Daughter".

The latter two were released as singles; "Fireflies" reached the top 60 in the US, while "The Farmer's Daughter" reached the top 10 in Austria. "Fireflies" was Nicks' rumination on the tumultuous recording of the "Tusk" album and her observance that the band stayed intact nevertheless.
Her lyrics referred to band members as the "five fireflies." "Don't Let Me Down Again" is a song from the Buckingham Nicks album.
Also notable are two Lindsey Buckingham guitar showcases.
The first, "I'm So Afraid", was popular as a concert finale during this period. The second was Buckingham's take on former Mac guitarist Peter Green's signature number, "Oh Well" (originally a 1969 single release).


Side A
A1.  Monday Morning - 3:55
A2.  Say You Love Me - 4:18
A3.  Dreams - 4:18
A4.  Oh Well - 3:44
A5.  Over & Over - 4:54

Side B
B1.  Sara - 7:23
B2.  Not That Funny - 9:04
B3.  Never Going Back Again - 4:13
B4.  Landslide - 4:55

Side C
C1.  Fireflies - 4:25
C2.  Over My Head - 3:37
C3.  Rhiannon - 7:43
C4.  Don’t Let Me Down Again - 3:57
C5.  One More Night - 3:43

Side D
D1.  Go Your Own Way - 5:44
D2.  Don’t Stop - 4:05
D3.  I’m So Afraid - 8:28
D4.  The Farmer’s Daughter - 2:25

Vinyl:  Goed
Cover:  Goed

December 09, 2018

Mike Oldfield - Incantations (1978) - 2Lp

















Release: 1978
Genre:  Instrumental, Prog Rock
Format:  2LP
Label:  Virgin Records
Catalog#  300191
Prijs:   €20,00


Incantations is the fourth record album by Mike Oldfield, released in late 1978 on Virgin Records.

Originally released as a double album, it is Oldfield's second longest album after Light + Shade. Despite the length, much of the album can be described as being compositionally minimalist, including melodic lines played by only a few instruments at a time.
The album as a whole is unusual in that it makes extensive use of the circle of fifths as an accompaniment to many of the musical ideas. Since this musical structure requires that each idea be modulated through twelve keys, before the next is introduced, more time is required to develop each idea, so that each section unfolds more slowly than is usual in Oldfield's work. A byproduct of this musical structure is that most of the album is not in any one key, but cycles continuously through them all.

Incantations was recorded at Througham, Mike Oldfield's home after he completed Ommadawn. It was during the creation of Incantations that Mike Oldfield underwent the assertiveness training course Exegesis, and almost immediately thereafter Oldfield went on his first solo live tour around Europe with Incantations.
Along with some other pieces of Oldfield's work, a different version of "Part Four" was used for the soundtrack of Tony Palmer's The Space Movie; the lyrics there are from Kathleen Raine's "A Spell for Creation".

The lyrics in "Part One" simply repeat the names of the goddesses Diana, Luna, and Lucina.

The lyrics in "Part Two" are taken from the beginnings of chapter XXII and XII (in that order) of Longfellow's "The Song of Hiawatha".

The lyrics in "Part Four" are Ben Jonson's "Ode to Cynthia" from Cynthia's Revels, but adjusted again to match the music.

The cover was once again done by Trevor Key. The beach in the cover photograph is Cala Pregonda, in Menorca.


Side A
A1.  Part 1 (19:08)

Side B
B1.  Part 2 (19:36)

Side C
C1.  Part 3 (16:58)

Side D
D1.  Part 4 (17:01)

Vinyl:  Goed
Cover:  Goed

December 06, 2018

Gino Vannelli - A Pauper In Paradise (1977) - Lp

















Release:  1977
Genre:  Art rock, Progressive Rock
Format:  LP
Label:  A&M Records
Catalog#  AMLH 64664
Prijs:  €10,00


A Pauper in Paradise is the fifth studio album by Italian-Canadian singer Gino Vannelli.

Gino Vannelli was surfing on a monster wave, he was one of the most creative heads in Pop music during the mid-seventies. By 1977, he felt the need to adapt his sound a bit to what was going on around him. Stylistically, this album stands between the two or three previous albums and the next album, one of his most acclaimed records, Brother To Brother, anticipating in a way that album's sound.

For instance, Gino has female background vocals now instead of dubbing his own voice; those background vocals make a bigger difference than you'd think. And Valleys Of Valhalla and One Night With You are already influenced by that L.A. studio sound brought to fame and fortune by folks like Jay Graydon, a sound which in itself was an derivation of Earth, Wind & Fire's epic sound.
And in retrospect, this move seems to be a first hint at impending doom, the path Gino would take after Brother To Brother - all on a high level, it should be understood. This and songs, which are not as inspired as similar compositions on the last albums, therefore only two and a half stars for Side One of A Pauper in Paradise.

Side Two is another story.
Hiring a symphony orchestra was one of the fads in Pop music in the seventies. Gino Vannelli jumped on that wagon rather late. His concept was more closely related to film soundtrack than to Rock music.
The opener, Black And Blue, is a fine ballad. The title track is an instrumental suite in four movements and Claus Ogermann comes to mind. That's not really far fetched: both Claus Ogermann and Gino Vannelli love rich and sweeping harmonies, in the way of the French Impressionists and of Hollywood during the fifties.
As the suite carries on, there's a busy part that fuses Vannelli with Keith Emerson and Rick Wakeman. Towards the end, the orchestra walks back in and Gino sings a few lines.


Side A
A1.  Mardi Gras - 3:26
A2.  Valleys of Valhalla - 4:23
A3.  The Surest Things Can Change - 4:35
A4.  One Night with You - 4:18
A5.  A Song and Dance - 3:37

Side B
B1.  Black and Blue - 4:21
B2.  A Pauper in Paradise (In Four Movements) - 15:14

Vinyl: Goed
Cover: Goed

December 05, 2018

The Eagles - Hotel California (1976) - Lp

















Release: 1976
Genre:  Country Rock
Format:  LP
Label:  Asylum Records
Catalog#  AS 53051
Prijs:  €10,00


Hotel California is the fifth studio album by American rock band the Eagles, and is one of the best-selling albums of all time. Three singles were released from the album, each reaching high in the Billboard Hot 100: "New Kid in Town", "Hotel California", and "Life in the Fast Lane".

The Eagles took 18 months between their fourth and fifth albums, reportedly spending eight months in the studio recording Hotel California.
The album was also their first to be made without Bernie Leadon, who had given the band much of its country flavor, and with rock guitarist Joe Walsh. As a result, the album marks a major leap for the Eagles from their earlier work, as well as a stylistic shift toward mainstream rock. An even more important aspect, however, is the emergence of Don Henley as the band's dominant voice, both as a singer and a lyricist.

On the six songs to which he contributes, Henley sketches a thematic statement that begins by using California as a metaphor for a dark, surreal world of dissipation; comments on the ephemeral nature of success and the attraction of excess; branches out into romantic disappointment; and finally sketches a broad, pessimistic history of America that borders on nihilism.
Of course, the lyrics kick in some time after one has appreciated the album's music, which marks a peak in the Eagles' playing. Early on, the group couldn't rock convincingly, but the rhythm section of Henley and Meisner has finally solidified, and the electric guitar work of Don Felder and Joe Walsh has arena-rock heft.

In the early part of their career, the Eagles never seemed to get a sound big enough for their ambitions; after changes in producer and personnel, as well as a noticeable growth in creativity, Hotel California unveiled what seemed almost like a whole new band. It was a band that could be bombastic, but also one that made music worthy of the later tag of "classic rock," music appropriate for the arenas and stadiums the band was playing.
The result was the Eagles' biggest-selling regular album release, and one of the most successful rock albums ever.


Side A
A1. Hotel California - 6:30
A2. New Kid in Town - 5:03
A3. Life in the Fast Lane - 4:46
A4. Wasted Time - 4:55

Side B
B1. Wasted Time (Reprise)” (instrumental) - 1:22
B2. Victim of Love - 4:11
B3. Pretty Maids All in a Row - 3:58
B4. Try and Love Again - 5:10
B5. The Last Resort - 7:28

Album:  Goed
Cover:  zijkant licht beschadigd

November 29, 2018

Frankie Goes To Hollywood - Liverpool (1986) - Lp

















Release: 1986
Genre:  Synth-pop, New Wave
Format:  LP
Label:  Island Records
Catalog#  207896
Prijs:  €10,00


Liverpool is Frankie Goes to Hollywood's second and last studio album, released in October 1986. It would be the band's final album of all-new material, and lead singer Holly Johnson would leave the band following the corresponding world tour, followed by a flurry of lawsuits from ZTT.
The album's production was handled by Trevor Horn's engineer Stephen Lipson, who urged the band to play their own instruments on this album (Horn having replaced many of the band's performances and arrangements with his session musicians or his own performances on Welcome to the Pleasuredome.)
Liverpool therefore features a heavier rock sound than its predecessor.

Their second album offering met with some success, although it is not as well remembered. And yet, on many accounts, Liverpool can be considered as an improvement over its predecessor.
For one thing, the album is shorter, more conventional. While Welcome to the Pleasuredome had some strong material, the length weakened the whole in many places. Here, the band focused on eight tracks and the result is somewhat more convincing.

"Warriors of the Wasteland," "Rage Hard," and "Watching the Wildlife" were all minor hits back in 1986, and the other tracks are, for the most part, of the same quality, with perhaps "For Heaven's Sake" standing out as a favorite. Again, Trevor Horn was involved in the production (the band was signed to his famous Zang Tuum Tumb label, so it's no big surprise) -- thus the production is impeccable, as one would expect from a Horn-produced album.
Worth a listen if you like the band or have an interest for '80s music.


Side A
A1.  Warriors Of The Wasteland - 4:53 
A2.  Rage Hard - 5:01 
A3.  Kill The Pain - 6:38 
A4.  Maximum Joy - 5:54 

Side B
B1.  Watching The Wildlife - 4:05 
B2.  Lunar Bay - 5:45 
B3.  For Heaven’s Sake - 4:37 
B4.  Is Anybody Out There? - 7:36

Vinyl:  Goed
Cover:  Goed

November 26, 2018

The Cult - Love (1985) - Lp

















Release: 1985
Genre:  Alternative Rock, Goth Rock
Format:  LP
Label:  Beggars Banquet Records
Catalog#  BEG A85
Prijs:   €10,00


Love is the second album by British rock band The Cult, released in 1985 on Beggars Banquet Records. The album was the band's commercial breakthrough.

1985's Love displayed a marked improvement over the Cult's early material, and though it remains underappreciated in America (worldwide it was a smash), this exceptional record has actually aged better than the band's more notorious (and equally important) releases: Electric and Sonic Temple.

Equal parts psychedelic hard rock and new wave goth, the songs on Love emanate a bright guitar sheen, tight arrangements, crisp drumming, and a command performance from vocalist Ian Astbury, who as usual says a lot more with less than most singers.
Overall, the album benefits from a wonderful sense of space, thanks in large part to guitarist Billy Duffy (who is much more subdued here than on future releases), whose restraint is especially notable on "Revolution" and the remarkably uncluttered title track.

Duffy also provides compelling melodies ("Hollow Man," "Revolution"), driving riffs ("Nirvana," "The Phoenix"), and even a U2-like intro to "Big Neon Glitter." Also on offer is the near-perfect "She Sells Sanctuary" and the smash hit "Rain," quite possibly the band's most appealing single ever. Considering the musical schizophrenia that would plague each subsequent Cult release, Love just may be the band's purest moment.

 It produced three Top 40 singles in the UK, "She Sells Sanctuary", "Rain" and "Revolution".


Side A
A1.  Nirvana  - 5:24 
A2.  Big Neon Glitter  - 4:56 
A3.  Love  - 5:31 
A4.  Brother Wolf, Sister Moon  - 6:47 
A5.  Rain  - 3:55 

Side B
B1.  The Phoenix  - 5:04 
B2.  Hollow Man  - 4:45 
B3.  Revolution  - 5:25 
B4.  She Sells Sanctuary  - 4:21 
B5.  Black Angel  - 5:25

Vinyl:  Goed
Cover:  Goed

November 19, 2018

Marvin Gaye - Midnight Love (1982) - Lp

















Release:  1982
Genre:  Soul
Format:  LP
Label:  CBS Records
Catalog# 85977
Prijs:   €10,00


Midnight Love is the seventeenth and final studio album (that is not a posthumous one) by Marvin Gaye. He signed with the label Columbia in March 1982 following his exit from Motown. The final album to be released before his death, it ultimately became the most successful album of Gaye's entire career.

Larkin Arnold, former CBS Records (Sony Music) senior executive VP, convinced Marvin Gaye to leave his flat in Belgium and sign with Columbia Records; the result would become the soul singer's last album before his untimely death. Of all his number one songs, this album's first release, "Sexual Healing," became his longest running number one single on the Billboard R&B charts (ten straight weeks).
With the exception of the guitar, the Washington, D.C. native performed every instrument on this classic hit. Gaye concocted a pioneering percussive sound that was balladic in taste but stimulating in feel. As this project may not be an absolute erotic expression or a socially challenging plea from Gaye like on some of his previous albums, nonetheless, Midnight Love is a classic Marvin Gaye effort.
In addition to this project thriving with Gaye's enthusiastic spirit, it has his harmonious background vocals, his stunning vocal arrangements and his creative penmanship, as he wrote all the selections.

Midnight Love contained elements of funk, boogie, Caribbean music, reggae, new wave and synthpop, as well as older genres such as soul, R&B and doo-wop. The reason for these many genres was because, according to Banks, Gaye's music was "progressing" and that it was "changing and it had to change because he didn't want any more ties to Motown". As Larkin Arnold later explained, "Marvin had been living in Europe, and was influenced by both reggae and the synthesizer work of groups like Kraftwerk" and that he "took the rhythm of reggae, the new technology and American soul and came up with something fresh and unique".

"Midnight Lady" started off with assorted percussion, provided by Gaye and other musicians, before having its beat delivered by a drum machine and overdubbed handclaps provided by the singer, before keyboard riffs (also played by Gaye), guitar lines by Banks and a horn section joined in. It was almost two minutes before Gaye began singing the song's first lines.
Musically the song had elements of funk, new wave and synthpop; Gaye's vocals also was influenced by the vocal styling in new wave records.

The demo of this recording was listed as "Clique Games/Rick James", indicating the song might've been influenced by the music of James'. "Sexual Healing" was influenced by Caribbean music and reggae while also including funk elements musically; vocally the song recalled Gaye's gospel background while his background harmonies (which included Fuqua and Banks as co-backing vocalists) took influence from doo-wop. "Rockin' After Midnight" was also influenced by funk as well as boogie music while "'Til Tomorrow", the sole ballad in the album, was strongly influenced by doo-wop.

The original version of "Turn On Some Music", titled as "I've Got My Music", included some spiritual and autobiographical lyrics, that changed to sexually erotic ones. In addition to the original demo, another alternate version mixed both versions. The reggae-inspired "Third World Girl" was a tribute to Bob Marley, though Gaye refused to mention Marley by name on the track, explaining, "I won't exploit a leader to make a commercial song". The gospel-influenced "Joy" was a tribute to his father's ministry and his own religious background.The song also included a rock-influenced guitar solo from Banks. "My Love is Waiting" had elements of funk, synthpop and gospel music, as evident to Gaye's final words in his thank you calls, "we like to thank our Heavenly Father, Jesus!" The entire album's length was under just 40 minutes.


Side A
A1.  Midnight Lady   (5:17)
A2.  Sexual Healing   (3:59)
A3.  Rockin’ After Midnight   (6:04)
A4.  ‘Til Tomorrow   (4:57)

Side B
B1.  Turn On Some Music   (5:08)
B2.  Third World Girl   (4:36)
B3.  Joy   (4:22)
B4.  My Love Is Waiting   (5:07)

Vinyl:  Goed
Cover:  Goed

November 14, 2018

Donald Fagen - The Nightfly (1982) - Lp

















Release:  1982
Genre:  Jazz Pop, Fusion
Format:  LP
Label:  Warner Bros. Records
Catalog#  923696-1
Prijs:   €10,00


The Nightfly is the debut studio album by American singer-songwriter Donald Fagen.
Produced by Gary Katz, it was released October 1, 1982 by Warner Bros. Records. Fagen was previously best known for his work in the group Steely Dan, with whom he enjoyed a successful career in the 1970s. The band separated in 1981, leading Fagen to pursue a solo career.
Although The Nightfly includes a number of production staff and musicians who had played on Steely Dan records, it was Fagen's first release without longtime collaborator Walter Becker.

Unlike most of Fagen's previous work, The Nightfly is almost blatantly autobiographical. Many of the songs relate to the cautiously optimistic mood of his suburban childhood in the late 1950s and early 1960s, and incorporate such topics as late-night jazz disc jockeys, fallout shelters, and tropical vacations.

A portrait of the artist as a young man, The Nightfly is a wonderfully evocative reminiscence of Kennedy-era American life; in the liner notes, Donald Fagen describes the songs as representative of the kinds of fantasies he entertained as an adolescent during the late '50s/early '60s, and he conveys the tenor of the times with some of his most personal and least obtuse material to date.

Continuing in the smooth pop-jazz mode favored on the final Steely Dan records, The Nightfly is lush and shimmering, produced with cinematic flair by Gary Katz; romanticized but never sentimental, the songs are slices of suburbanite soap opera, tales of space-age hopes (the hit "I.G.Y.") and Cold War fears (the wonderful "The New Frontier," a memoir of fallout-shelter love) crafted with impeccable style and sophistication.

Recorded over eight months at various studios between New York City and Los Angeles, the album is an early example of a fully digital recording in popular music. The nascent technology, as well as the perfectionist nature of its engineers and musicians, made the album difficult to record.


Side A
A1. I.G.Y. – 6:03
A2. Green Flower Street – 3:42
A3. Ruby Baby  – 5:39
A4. Maxine – 3:49

Side B
B1. New Frontier – 6:21
B2. The Nightfly – 5:47
B3. The Goodbye Look – 4:50
B4. Walk Between Raindrops – 2:38

Vinyl:  Goed
Cover:  Goed

November 10, 2018

Rush - The Exit...Stage Left (1981) - 2Lp

















Release:  1981
Genre:   Progressive Rock
Format:  2LP
Label:  Mercury Records
Catalog#  6337194
Prijs:   €20,00


Exit...Stage Left is the second live album by the Canadian rock band Rush, released as a double album in October 1981 on Anthem Records.
After touring in support of their eighth studio album Moving Pictures (1981), the band gathered recordings made over the previous two years and constructed a live release from them with producer Terry Brown.
The album features recordings from June 1980 on their Permanent Waves (1980) tour, and from March 1981 on their Moving Pictures tour.

Side two of Exit...Stage Left was recorded from June 10–11, 1980 at The Apollo in Glasgow, Scotland, during the band's supporting tour for their seventh studio album, Permanent Waves. The remaining three sides were recorded on March 27, 1981 at The Forum in Montreal, Canada during the subsequent tour of their eighth album, Moving Pictures.

After the 1981 tour, the band retreated to Le Studio in Morin Heights in Quebec, Canada to edit and mix the recordings they had made on the two tours, which Peart noted totalled over 50 reels of two-inch tape. The band went through the material to find the best performances for inclusion for a live album.
They found a technical fault or a wrong note was enough to affect an otherwise acceptable performance, so they opted to edit the faults using parts from the collection of tapes.
In 1993, Lee revealed the band had to add in new sections in the studio to correct passages with out of tune guitars. Neither member is credited to the album's production, who left the duty to their longtime producer, Terry Brown. During the production, Rush wrote and recorded "Subdivisions", a new song that would be released on their following studio album, Signals.

Upon the album's completion, Peart said the group were happier with Exit...Stage Left than with their first live album All the World's a Stage, noting that the latter suffered from uneven sound quality. In subsequent years however, Lee developed a more critical view of Exit...Stage Left, noting that the group tried to make it sound "too perfect" in part by reducing the levels of audience noise,  while Lifeson for his part thought the album sounded too clean and not as raw as All the World's a Stage, and as a consequence the band aimed to reach a "middle ground" between the two with A Show of Hands, Rush's third live release. 

Rush performs a short rendition of "Ebb Tide" before "Jacob's Ladder". "Broon's Bane" is a short classical guitar arrangement performed by Lifeson as an extended intro to "The Trees." The song is named after Terry Brown, nicknamed "Broon" by the band. The song is not featured on any other live or studio recording by Rush. Also on the album, Lee refers to Brown as "T.C. Broonsie" when introducing "Jacob's Ladder."


Side A
A1.  The Spirit of Radio   (5:11)
A2.  Red Barchetta   (6:46)
A3.  YYZ   (7:43)

Side B
B1.  A Passage to Bangkok   (3:45)
B2.  Closer to the Heart   (3:08)
B3.  Beneath, Between & Behind   (2:34)
B4.  Jacob’s Ladder   (8:46)

Side C
C1.  Broon’s Bane   (1:37)
C2.  The Trees   (4:50)
C3.  Xanadu   (12:09)

Side D
D1.  Freewill   (5:31)
D2.  Tom Sawyer   (4:59)
D3.  La Villa Strangiato   (9:37)

Vinyl:  Goed
Cover:  Goed

November 07, 2018

The Alan Parsons Project - The Turn Of A Friendly Card (1980) - Lp

















Release:  1980
Genre:  Progressive Pop
Format:  LP
Label:   Arista Records
Catalog#   203000
Prijs:  €10,00


The Turn of a Friendly Card is the fifth studio album by the British progressive rock band The Alan Parsons Project, released in 1980 by Arista Records. The title piece, which appears on side 2 of the LP, is a 16-minute suite broken up into five tracks, with the five tracks listed as sub-sections.

With two of the Alan Parsons Project's best songs, the lovely ballad "Time" and the wavy-sounding "Games People Play," The Turn of a Friendly Card remains one of this group's most enjoyable albums. Parsons' idea, the subject of the album's six tracks, centers around the age-old temptation of gambling and its stranglehold on the human psyche. On "Games People Play," vocalist Lenny Zakatek sounds compelling and focused, giving the song a seriousness that aids in realization of the album's concept.

With "Time," it is Eric Woolfson who carries this luxurious-sounding ode to life's passing to a place above and beyond any of this band's other slower material. The breakdown of human willpower and our greedy tendencies are highlighted in the last track, entitled "The Turn of a Friendly Card," which is broken into five separate parts. "Snake Eyes," sung by Chris Rainbow, is the most compelling of the five pieces, and ties together the whole of the recording. As in every Parsons album, an instrumental is included, in this case an interesting number aptly titled "The Gold Bug."

Like most of the band's instrumentals, its flow and rhythm simulate the overall tempo and concept of the album, acting as a welcome interlude. Although short, The Turn of a Friendly Card is to the point and doesn't let down when it comes to carrying out its idea.

The Turn of a Friendly Card spawned the hits "Games People Play" and "Time", the latter of which was Eric Woolfson's first lead vocal appearance.


Side A
A1.  May Be a Price to Pay  (lead vocal Elmer Gantry)   (4:58)
A2.  Games People Play  (lead vocal Lenny Zakatek)   (4:22)
A3.  Time  (lead vocal Eric Woolfson backing vocal Alan Parsons)   (5:04)
A4.  I Don’t Wanna Go Home  (lead vocal Lenny Zakatek)   (5:03)

Side B
B1.  The Gold Bug (Instrumental)   (4:34)
B2.  The Turn of a Friendly Card (Part One)  (lead vocal Chris Rainbow)   (2:44)
B3.  Snake Eyes  (lead vocal Chris Rainbow)   (3:14)
B4.  The Ace of Swords  (Instrumental)   (2:57)
B5.  Nothing Left to Lose  (lead vocal Eric Woolfson)   (4:07)
B6.  The Turn of a Friendly Card (Part Two)  (lead vocal Chris Rainbow)   (3:22)

Vinyl:  Goed
Cover:  Goed

Rose Royce - Strikes Again (1978) - Lp

















Release:  1978
Genre:  Soul, Funk
Format:  LP
Label:  Warner Bros. Records
Catalog#  WB 56527
Prijs:  €10,00


Rose Royce III: Strikes Again! is the third album released by the Funk band Rose Royce on the Whitfield label in August 1978. It was produced by Norman Whitfield.

Rose Royce's third album contains two killer ballads: "I'm in Love (And I Love the Feeling)," and the much recorded "Love Don't Live Here Anymore" which Gwen Dickey works like Mary J. Blige wishes she could. Norman Whitfield's productions often included doses of classical elements and this album is no exception, the sampling and borrowing occur frequently. "Angel in Disguise," another sweet ballad, sounds a bit contrived. As effective on upbeat tunes "That's What's Wrong with Me," "Do It, Do It," and "First Come, First Serve," are first-class movers and shakers. A carnival barker on the intro mars the opening cut "Get Up Off Your Fat."


Side A
A1.  Get Up Off Your Fat - 4:35
A2.  Do It, Do It - 4:09
A3.  I’m In Love (And I Love The Feeling) - 3:41
A4.  First Come, First Serve - 3:19
A5.  Love Don’t Live Here Anymore - 3:55

Side B
B1.  Angel In The Sky --4:56
B2.  Help - 3:53
B3.  Let Me Be The First To Know - 3:52
B4.  That’s What’s Wrong With Me - 6:37

Vinyl:  Goed
Cover: Goed

November 04, 2018

Eric Clapton - Slowhand (1977) - Lp

















Release:  1977
Genre:   Pop Rock
Format:   LP
Label:  RSO Records
Catalog#  2 394196
Prijs:   €10,00


Slowhand is the fifth solo studio album by Eric Clapton. Released on 25 November 1977 by RSO Records, and titled after Clapton's nickname, it is one of his commercially and critically most successful studio albums. Slowhand produced the two hit singles "Lay Down Sally" and "Wonderful Tonight".

After the guest-star-drenched No Reason to Cry failed to make much of an impact commercially, Eric Clapton returned to using his own band for Slowhand. The difference is substantial -- where No Reason to Cry struggled hard to find the right tone, Slowhand opens with the relaxed, bluesy shuffle of J.J. Cale's "Cocaine" and sustains it throughout the course of the album. Alternating between straight blues ("Mean Old Frisco"), country ("Lay Down Sally"), mainstream rock ("Cocaine," "The Core"), and pop ("Wonderful Tonight"), Slowhand doesn't sound schizophrenic because of the band's grasp of the material.

This is laid-back virtuosity -- although Clapton and his band are never flashy, their playing is masterful and assured. That assurance and the album's eclectic material make Slowhand rank with 461 Ocean Boulevard as Eric Clapton's best albums.

The album was titled after Clapton's nickname, which was given to him by Giorgio Gomelsky. In his 2007 autobiography, Clapton recalled that the name "Slowhand" seemed to be hanging on to his real name, because it seemed to be well received by both his American friends and fans who think of the Wild West when hearing the nickname.

The album's artwork was done by Clapton himself with the help of Pattie Boyd and Dave Stewart, credited as "El & Nell Ink". Besides choosing various photos for the inner side of the gramophone record packaging are two pictures, Clapton notes, which have deeper importance to him: one picture, in which he kisses Boyd and another photograph showing a demolished Ferrari 365 GT4 BB, which Clapton bought after seeing George Harrison turning up with the same model at his Hurtwood Edge Estate.
The car, which had been involved with Clapton in a car accident after the British recording artist finished touring in Australia, nearly killed him.


Side A
A1. Cocaine - 3:41
A2. Wonderful Tonight - 3:44
A3. Lay Down Sally - 3:56
A4. Next Time You See Her - 4:01
A5. We’re All the Way - 2:32

Side B
B1. The Core - 8:45
B2. May You Never - 3:01
B3. Mean Old Frisco - 4:42
B4. Peaches and Diesel - 4:46

Vinyl:  Goed
Cover:  Goed

November 03, 2018

Elton John - Blue Moves (1976) - 2Lp
















Release: 1976
Genre:  Pop Rock
Format:  2LP
Label:  The Rocket Record Company
Catalog#  5C 152-98293
Prijs:   €10,00


Blue Moves is the eleventh studio album release by Elton John. It was released in October 1976. It was John's second double album (after Goodbye Yellow Brick Road) and the first to be released by his own label, Rocket Records Ltd. Despite the album's darker tone, it reached no. 3 on the charts.

The immense creativity that had spurred Elton John to realize no less than 11 studio albums in under seven years was beginning to show signs of inevitable fatigue. The same can be said as well of the artist's unfathomable physical stamina, which had included practically nonstop touring around the globe since the early '70s.

Although initially Blue Moves (1976) was summarily dismissed by both critics as well as longtime enthusiasts, the double LP has since gained considerable stature within John's voluminous catalog. While comparisons were inevitable to the landmark two-disc Goodbye Yellow Brick Road (1973) song cycle, most similarities in musical style and content end there.

John's band had expanded to include the talents of James Newton Howard (keyboards/orchestral arrangements), Kenny Passarelli (bass), Roger Pope (drums), and Caleb Quaye (guitar) -- the latter pairing had actually performed with John as far back as his first long-player, Empty Sky (1968) -- as well as Davey Johnstone (guitar) and Ray Cooper (percussion) from the "classic" early-to-mid-'70s lineup.

As the title suggests, Blue Moves is a departure from the heavier Rock of the Westies (1975). Instead, the album purposefully focuses on moodier and more introspective sides -- such as the single "Sorry Seems to Be the Hardest Word" (the effort's sole hit), the achingly poignant "Tonight," and "Cage the Songbird," the latter of which is particularly noteworthy as it recalls the life of Edith Piaf in much the same way that "Candle in the Wind" had immortalized Marilyn Monroe. "One Horse Town," which John briefly revived as a dramatic show opener during late-'80s live performances, is one of Blue Moves' most powerful and straight-ahead rockers.

The lively string arrangement by Howard stands as one of the finest contributions to his short-lived tenure in this band, which for all intents and purposes dismantled after the album was recorded in March of 1976. Other standouts include the full-tilt gospel vibe of "Boogie Pilgrim" -- which features backing vocals from both the Cornerstone Institutional Baptist and the Southern California choirs under the direction of Rev. James Cleveland -- "Crazy Water," the haunting ballad "Idol," as well as the set's closing R&B vamp, "Bite Your Lip (Get Up and Dance!)." While Blue Moves is a far cry from essential entries such as Tumbleweed Connection (1971) or Captain Fantastic and the Brown Dirt Cowboys (1975), the bright moments prove that John could still offer up more than average material.

It is also worth mentioning that this effort marked the end of John's initial collaboration with lyricist Bernie Taupin, who would resurface some three years later, albeit haphazardly on 21 at 33 (1979).


Side A
A1.  Your Starter for…   (1:23)
A2.  Tonight   (7:52)
A3.  One Horse Town   (5:56)
A4.  Chameleon   (5:27)

Side B
B1.  Boogie Pilgrim   (6:05)
B2.  Cage the Songbird   (3:25)
B3.  Crazy Water   (5:42)
B4.  Shoulder Holster   (5:10)

Side C
C1.  Sorry Seems to Be the Hardest Word   (3:48)
C2.  Out of the Blue   (6:14)
C3.  Between Seventeen and Twenty   (5:17)
C4.  The Wide-Eyed and Laughing   (3:27)
C5.  Someone’s Final Song   (4:10)

Side D
D1.  Where’s the Shoorah?   (4:09)
D2.  If There’s a God in Heaven (What’s He Waiting For?)   (4:25)
D3.  Idol   (4:08)
D4.  Theme from a Non-Existent TV Series   (1:19)
D5.  Bite Your Lip (Get Up and Dance!)   (6:43)

Vinyl:  Goed
Cover:  Goed

November 01, 2018

KC & The Sunshine Band - KC & The Sunshine Band (1975) - Lp
















Release:  1975
Genre:  Disco
Format:  LP
Label:  President Records
Catalog#  JSL 9
Prijs:  €10,00


KC and the Sunshine Band is an American disco and funk band, founded in 1973 in Hialeah, Florida.
KC and the Sunshine Band is the second studio album by KC and the Sunshine Band. The record was produced by Harry Wayne Casey and Richard Finch and was released in July 1975 on the TK label.

With the release of the self-titled second album KC and the Sunshine Band in 1975 came the group's first major U.S. hit with "Get Down Tonight". It topped the R&B chart in April and hit number one on the Billboard Hot 100 in August. "That's the Way (I Like It)" also became a number one hit in November 1975 and the group did well at the 1976 Grammy Awards.

This self-titled effort wasn't the Florida band's first album (they'd recorded an underrated album in 1973 titled Do It Good), but it was the first K.C. collection to soar to the top of the charts. Fueled by such addictive funk hits as "That's the Way (I Like It)" and "Get Down Tonight," the album established K.C. as one of the top stars of the disco era. But while K.C. was labeled a disco artist, the truth is that many of these slick yet gritty songs have more in common with the Ohio Players than Silver Convention or Donna Summer.


Side A
A1. Let It Go (Part One) - 2:56 
A2. That’s The Way (I Like It) - 5:07 
A3. Get Down Tonight - 5:14 
A4. Boogie Shoes - 2:15 

Side B
B1. Ain’t Nothin’ Wrong - 3:07 
B2. I’m So Crazy (‘Bout You) - 3:04 
B3. What Makes You Happy - 2:49 
B4. I Get Lifted - 3:04 
B5. Let It Go (Part Two) - 2:01

Vinyl:  Goed
Cover:  Goed

October 26, 2018

A-ha - Scoundrel Days (1986) - Lp

















Release:  1986
Genre:  Synth-pop
Format:  LP
Label:   Warner Bros. Records
Catalog#   925501-1
Prijs:  €10,00

Scoundrel Days is the second studio album by Norwegian new wave band A-ha. It was released on 6 October 1986 by Warner Bros. Records.

Scoundrel Days included the singles "I've Been Losing You", "Cry Wolf", "Maybe, Maybe", and "Manhattan Skyline". All the singles with the exception of "Maybe, Maybe" charted on the UK Singles Chart. "I've Been Losing You" and "Cry Wolf" were the most successful singles from the album.

While not quite as strong as the band's debut, Scoundrel Days is still a-ha succeeding as a marketed "pretty boy" band which can connect musically and lyrically as much as any musical sacred cow. The opening two songs alone make for one of the best one-two opening punches around: the tense edge of the title track, featuring one of Morten Harket's soaring vocals during the chorus and a crisp, pristine punch in the music, and "The Swing of Things," a moody, elegant number with a beautiful synth/guitar arrangement (plus some fine drumming courtesy of studio pro Michael Sturgis) and utterly lovelorn lyrical sentiments that balance on the edge of being overheated without quite going over.

Although the rest of the disc never quite hits as high as the opening, it comes close more often than not. A definite downturn is the band's occasional attempts to try and prove themselves as a "real" band by rocking out, as on "I've Been Losing You" -- there's really no need for it, and as a result they sound much more "fake," ironically enough. Other songs can perhaps only be explained by the need to translate lyrics -- "We're Looking for the Whales" isn't an environmental anthem, and neither is "Cry Wolf," but both also don't really succeed in using nature as romantic metaphor.

When a-ha are on, though, they're on -- "October" snakes along on a cool bass/keyboard arrangement and a whispery vocal from Harket; "Maybe Maybe" is a quirky little pop number that's engagingly goofy; while "Soft Rains of April" captures the band at its most dramatic, with the string synths giving Harket a perfect bed to launch into a lovely vocal, concluding with a sudden, hushed whisper. The '80s may be long gone, but Scoundrel Days makes clear that not everything was bad back then.

The cover photography was taken by Norwegian photographer Knut Bry at the Haleakala volcano on Maui, Hawaii, in 1986.


Side A
A1.  Scoundrel Days   (3:56)
A2.  The Swing of Things   (4:14)
A3.  I’ve Been Losing You   (4:24)
A4.  October   (3:48)
A5.  Manhattan Skyline   (4:52)

Side B
B1.  Cry Wolf   (4:05)
B2.  We’re Looking for the Whales   (3:39)
B3.  The Weight of the Wind   (3:57)
B4.  Maybe, Maybe   (2:34)
B5.  Soft Rains of April   (3:12)

Vinyl:  Goed
Cover:  Goed

October 21, 2018

David Bowie - Tonight (1984) - Lp
















Release:  1984
Genre:  Pop, Dance Rock
Format:  LP
Label:  EMI Records
Catalog#  1C 064-240227-1
Prijs:  €10,00


Tonight is the 16th studio album by David Bowie. It was originally released in September 1984, on the label EMI America. It followed his most commercially successful album, Let's Dance. He described the album, released immediately after his previous album's tour wrapped up, as an effort to "keep my hand in, so to speak, and to retain the new audience that he had recently acquired

David Bowie worked on Tonight after completing his Serious Moonlight Tour in support of his previous album Let's Dance. He did not have much luck writing while on tour, so he described the process of recording the album Tonight this way:
It was rushed. The process wasn't rushed; we actually took our time recording the thing; Let's Dance was done in three weeks, Tonight took five weeks or something, which for me is a really long time. I like to work fast in the studio. There wasn't much of my writing on it 'cause I can't write on tour and I hadn't assembled anything to put out. But I thought it a kind of violent effort at a kind of Pin Ups.
Bowie purposefully sought to keep the sound of the band he had used on the previous album and tour, feeling that the new fans he had accumulated would expect to hear the same thing on the new album that they'd heard before, hence the inclusion of the "Borneo Horns" players on the album.
Like Let's Dance, but unlike most previous Bowie albums, Bowie played no instruments on the record, and in fact he delegated almost all responsibility for the music played to his musicians, only occasionally offering critical input.

Bowie brought in Derek Bramble and Hugh Padgham to produce the record, the former receiving the nod from Bowie due to some of the demos he'd recently produced for English female singer Jaki Graham. As with Let's Dance, Bowie prepared for the album by recording some demos beforehand, this time showing up with 8 of the 9 songs that would appear on the album. This surprised collaborator Carlos Alomar, who said "it was the first time in the eleven years that I've been with the damn man that he's brought in anything."

Iggy Pop spent a good deal of time in the studio with Bowie and the band while the album was being recorded, stating "I worked extensively on that album. There's a lot more work there than is reflected in just the simple co-writing credit for two songs and some of the old stuff." When asked why Bowie included so much Pop-written material on the album, Pop could only guess. "I think he just wanted the songs heard more," a sentiment Bowie would mirror when covering Pop's "Bang Bang" on his next album, Never Let Me Down.

Three songs were covers of older Iggy Pop songs: "Don't Look Down", "Tonight" and "Neighborhood Threat", the latter of which stands out as a track Bowie wished he had not done, with him later calling it "disastrous". "That's one I wish I'd never touched, or at least touched it differently. It went totally wrong. It sounded so tight and compromised, and it was such a gas doing it. It was the wrong band to do it with -- wonderful band, but it wasn't quite right for that song."

"Tumble and Twirl", co-written with Pop, recounts the pair's exploits while vacationing in the Indonesian islands Bali and Java after Bowie's previous tour had ended.
"Don't Look Down", which was one of Bowie's returns to a reggae-style track (after Lodger's "Yassassin"), perplexed Bowie: "I tried it every which way. I tried it jazz-rock, I tried it as a march, and then I just hit on an old ska-sounding beat, and it picked up life. Taking energy away from the musical side reinforced the lyrics and gave them their own energy. I think working with Derek Bramble helped because he played propper reggae bass lines."

Three singles were released from the album: "Tonight", "Blue Jean" and "Loving the Alien". "Blue Jean" in turn spawned several videos, including an "elaborate" 20-minute-long collaboration with Julien Temple which was described as more of a "minifilm" than a video, and represented Bowie's interest in making actual movies.


Side A
A1.  Loving The Alien - 7:07 
A2.  Don’t Look Down - 4:08 
A3.  God Only Knows - 3:04 
A4.  Tonight (feat. Tina Turner) - 3:42

Side B
B1.  Neighborhood Threat - 3:10 
B2.  Blue Jean - 3:09 
B3.  Tumble And Twirl - 4:56 
B4.  I Keep Forgettin’ - 2:32 
B5.  Dancing With The Big Boys (feat. Iggy Pop) - 3:32

Vinyl:  Goed
Cover:  Goed