January 31, 2018

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


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


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


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


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


January 27, 2018

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


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


January 22, 2018

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


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...


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


January 18, 2018

Commodores - Commodores Live! (1977) - 2Lp

Released:  1977
Genre:  Soul, Funk
Format:  LP
Label:  Motown Records
Catalog#  M9-894A2
Prijs:  €20,00

Commodores Live! is a live album by the Commodores, released in 1977. The album reached number 3 on the Billboard 200 chart.

Hot on the heels of their 1977 self-titled LP -- which included studio versions of the classics "Brick House" and "Easy" -- Commodores Live! was issued as a seasonal offering the same year. The band wisely included extended readings of not only its most recent hits, but also a healthy sampling from its previous four studio albums, as well as the track "Too Hot ta Trot," which had been featured in the motion picture Thank God It's Friday.
The six-man original Commodores were a powerful and self-contained unit that could effortlessly alternate between turning over mean and serious funk jams or a slow, sexy power ballad. Heralded as the Black Beatles, the Commodores were able to fuse a more traditional pop music headlong into the funk stylings of their contemporaries: Parliament, the Ohio Players, and Earth, Wind & Fire.
However, instead of being propelled by seemingly endless -- and often aimless -- jams, William King (trumpet), Thomas McClary (guitar), Ronald LaPread (bass), Walter "Clyde" Orange (drums), Lionel Richie (alto saxophone), and Milan Williams (keyboards) were able to tighten up their arrangements and make them more potent in the process.
From right out of the gate, the opening trio of "Won't You Come Dance With Me," "Slippery When Wet," and "Come Inside" pounce and bounce around with undeniably hardcore funk grooves -- replete with distorted and screaming electric lead guitar lines, emphatic accents from the horns, and an authoritative rhythm section that James Brown would have been proud of. The mellower side of the band is equally represented by several key Lionel Richie ballads. "Just to Be Close to You" shimmers and is notable for Richie's extended vocal interlude. "Easy" -- an audible audience favorite -- swings with an urgency and passion conspicuously lacking in the more familiar studio version. Milan Williams' tasty keyboards are also a highlight as they lightly soar above the rest of the band. Without a doubt it is the ten-plus-minute version of "Brick House" that allows the band to reach a funkified critical mass. Ronald LaPread's rubbery basslines adhere themselves around "Clyde" Orange's Latin-tinged percussion inflections.
The searing Richie and William King sound more akin to a full-fledged horn section than the hard-workin' duo behind their wall of solid brass. Commodores Live! is overall one of the finest R&B concert albums of the '70s -- of which there are far too few.

Side A
A1. Won’t You Come Dance With Me  (3:36)
A2. Slippery When Wet  (3:00)
A3. Come Inside  (3:12)
A4. Just To Be Close To You  (7:17)

Side B
B1. Funny Feelings  (5:16)
B2. Fancy Dancer  (4:44)
B3. Sweet Love  (8:39)

Side C
C1. Zoom  (10:00)
C2. Easy  (7:23)

Side D
D1. I Feel Sanctified  (2:58)
D2. Brick House  (11:18)
D3. Too Hot Ta Trot  (5:38)

Album: Goed
Cover: Licht Beschadigd


Neil Young - Trans (1982) - Lp

Released:  1982
Genre:  Synth-pop, Experimental
Format:  LP
Label:  Geffen Records
Catalog#  GEF 25019
Prijs:  €10,00

Trans is the twelfth studio album by Canadian musician and singer-songwriter Neil Young, released on December 29, 1982. Recorded and released during his Geffen era in the 1980s, its electronic sound baffled many Neil Young fans upon its initial release—a Sennheiser vocoder VSM201 features prominently in six of the nine tracks.

When it was released, Trans was Neil Young's most baffling album. He had employed a vocoder to synthesize his voice on five of the album's nine tracks, resulting in disembodied singing, the lyrics nearly impossible to decipher without the lyric sheet. And even when you read the words, "Computer Age," "We R in Control," "Transformer Man," "Computer Cowboy," and "Sample and Hold" seemed like a vague mishmash of high-tech jargon. Later, Young would reveal that some of the songs expressed a theme of attempted communication with his disabled son, and in that context, lines like "I stand by you" and "So many things still left to do/But we haven't made it yet" seemed clearer.
But the vocoder, which robbed Young's voice of its dynamics and phrasing, still kept the songs from being as moving as they were intended to be. And despite the crisp dance beats and synthesizers, the music sounded less like new Kraftwerk than like old Devo.
A few more conventional Young songs (left over from an earlier rejected album) seemed out of place. Trans had a few good songs, notably "Sample and Hold" (which seemed to be about a computer dating service for robots), a remake of "Mr. Soul," and "Like an Inca" (an intended cross between "Like a Hurricane" and "Cortez the Killer"?), but on the whole it was an idea that just didn't work.

Side A
A1.  Little Thing Called Love   (3:13)
A2.  Computer Age   (5:25)
A3.  We R In Control   (3:32)
A4.  Transformer Man   (3:24)
A5.  Computer Cowboy (aka Syscrusher)   (4:14)

Side B
B1.  Hold On To Your Love   (3:28)
B2.  Sample And Hold   (8:04)
B3.  Mr. Soul  (3:19)
B4.  Like An Inca   (9:45)

Vinyl: Goed
Hoes: Goed


Peter Tosh - Bush Doctor (1978) - Lp

Released: 1978
Genre:  Reggae
Format:  LP
Label:  EMI Records
Catalog#  5C 062-61708
Prijs:  €10,00

Peter Tosh, OM (born Winston Hubert McIntosh; 19 October 1944 – 11 September 1987) was a Jamaican reggae musician. Along with Bob Marley and Bunny Wailer, he was one of the core members of the band the Wailers (1963–1976), after which he established himself as a successful solo artist and a promoter of Rastafari. He was murdered in 1987 during a home invasion.

Bush Doctor is the third studio album by Jamaican singer Peter Tosh. It was released in 1978.

As the debut album on the Rolling Stone label in 1978, Bush Doctor benefited immensely from the involvement of Jagger and Richards, as well as the publicity inherent in the high-profile nature of the release. Thankfully, Tosh was up to the challenge, and although there are moments that are less roots than anything he had previously recorded, Bush Doctor is no slick sellout.
It's bolstered by his incredible Word Sound & Power band featuring the legendary Sly & Robbie rhythm section along with lead guitarists Mikey "Mao" Chung and Donald Kinsey (fresh from his stint with Marley).
Although the cover of the Temptations' "(You Gotta Walk) Don't Look Back" single featuring Jagger's duet with Tosh seemed like an obvious ploy at crossover radio play, the rest is more roots conscious, and only slightly less compelling than some of ex-bandmate Bob Marley's work.
The horns on "Moses -- The Prophet" seem like sweetening, but the title track, "I'm the Toughest," "Stand Firm," and a remake of an old Wailers' track "Dem Ha Fe Get a Beatin," complete with I-Threes-style backing vocals, are some of Tosh's best songs.
 Only the original album's closing track, an ambitious but overwrought retelling of Genesis with Handel's "Messiah," is a major misstep. Yet even here, Tosh is pushing boundaries, adding bird and thunder sound effects to his soft guitar strumming accompaniment. It's interesting but few will want to hear it more than once.

Side A
A1. (You Gotta Walk) Don’t Look Back (3:43)
A2. Pick Myself Up (3:55)
A3. I’m the Toughest (3:48)
A4. Soon Come (3:54)
A5. Moses – The Prophet (3:37)

Side B
B1. Bush Doctor (4:04)
B2. Stand Firm (6:10)
B3. Dem Ha Fe Get a Beatin' (4:11)
4B. Creation (6:29)

Vinyl: Goed
Hoes: Goed


January 15, 2018

The Babys - Broken Heart (1978) - Lp

Released:  1977
Genre:  AOR Rock
Format:  LP
Label:  Chrysalis Records
Catalog#  511150
Prijs:  €10,00

Broken Heart is The Babys second album. The album produced The Babys first big hit "Isn't It Time", which reached No. 13 on the Billboard Hot 100 in 1977.

On Broken Heart, the Babys make good on the sense of potential that was only hinted at on their debut release. The band found a sympathetic producer this time out in Ron Nevison, who applied the same basic production strategy he used on Lights Out for UFO: He gives the band a sharp, precise recording that fully brings out their power while balancing out the heavier elements of their sound with sophisticated orchestrations that broaden their sound into a cinematic realm. The Babys live up to this ambitious style of production by stepping up to the plate with a collection of songs that are tight, catchy, and full of rock & roll conviction.
Highlights include "Give Me Your Love," a steamy mid-tempo rocker that shows off Michael Corby's skill at the keyboards, and the title track, which balances its hard-hitting attack with catchy pop hooks to create an effective, guitar-driven slab of power pop. Broken Heart also gave the Babys their first taste of singles chart success with one its few outside contributions: "Isn't It Time" is an effective power ballad that alternates lush, orchestrated verses with a fiery chorus driven by female backup vocals and a punchy horn arrangement.
The end result is an album that is a quantum leap forward from The Babys in every way. Broken Heart is undoubtedly one of the crown jewels in the Babys' catalog and a worthwhile listen for any fan of big-production AOR rock.

Side A
A1. Wrong Or Right  (3:26)
A2. Give Me Your Love  (3:37)
A3. Isn’t It Time  (4:03)
A4. And If You Could See Me Fly  (2:50)
A5. The Golden Mile  (5:01)

Side B
B1. Broken Heart  (3:02)
B2. I’m Falling  (3:55)
B3. Rescue Me  (3:50)
B4. Silver Dreams  (3:00)
B5. A Piece Of The Action  (4:35)

Vinyl: Goed
Hoes: Goed


January 14, 2018

David Bowie - Station To Station (1976) - Lp

Release: 1976
Genre:  Art Rock, Funk rock
Format: LP
Label:  RCA Records
Catalog#  APL 11327

Station to Station is the tenth studio album by English musician David Bowie, released by RCA Records in 1976. Commonly regarded as one of his most significant works, Station to Station was the vehicle for his performance persona, the Thin White Duke. The album was recorded after he completed shooting Nicolas Roeg's The Man Who Fell to Earth, and the cover artwork featured a still from the movie. During the sessions Bowie was heavily dependent on drugs, especially cocaine, and later claimed that he recalled almost nothing of the production.
Musically, Station to Station was a transitional album for Bowie, developing the funk and soul music of his previous release, Young Americans, while presenting a new direction towards synthesisers and motorik rhythms that was influenced by German electronic bands such as Neu! and Kraftwerk. This trend would culminate in some of his most acclaimed work, the so-called "Berlin Trilogy", recorded with Brian Eno in 1977–79. Bowie himself said that Station to Station was "a plea to come back to Europe for me". The album's lyrics reflected his preoccupations with Friedrich Nietzsche, Aleister Crowley, mythology and religion.
Blending funk and krautrock, romantic balladry and occultism, Station to Station has been described as "simultaneously one of Bowie's most accessible albums and his most impenetrable". Preceded by the single "Golden Years", it made the top five in both the UK and US charts. In 2012, the album was ranked No. 324 on Rolling Stone magazine's list of the 500 greatest albums of all time

Side A
A1. Station to Station  (10:14)
A2. Golden Years  (4:00)
A3. Word on a Wing  (6:03)

Side B
B1. TVC 15  (5:33)
B2. Stay  (6:15)
B3. Wild Is the Wind (6:02)

Vinyl: Goed
Hoes: Goed


January 13, 2018

Talking Heads - Remain In Light (1981) - Lp

Released: 1980
Genre:  Post-punk, Art Pop
Format:  LP
Label:  Sire Records
Catalog#  WBN 56867
Prijs:  €10,00

Remain in Light is the fourth studio album by American new wave band Talking Heads, released on October 8, 1980 through Sire Records. It was recorded at Compass Point Studios in the Bahamas and Sigma Sound Studios in Philadelphia between July and August 1980 and was produced by the quartet's long-time collaborator Brian Eno.
Following the release of Fear of Music in 1979, Talking Heads and Eno sought to make an album that would dispel notions of the group as a mere vehicle for frontman and chief lyricist David Byrne. Drawing on the influence of Nigerian musician Fela Kuti, the group experimented with African polyrhythms, funk, and electronics, recording instrumental tracks as a series of sampled and looped grooves, an innovative technique at the time.
Recording sessions also incorporated a variety of side musicians, including guitarist Adrian Belew, singer Nona Hendryx, and trumpet player Jon Hassell.
Byrne initially struggled with writer's block, but soon adopted a scattered stream-of-consciousness lyrical style inspired by early rap and academic literature on Africa. The artwork for Remain in Light was conceived by bassist Tina Weymouth and drummer Chris Frantz, and was crafted with the help of the Massachusetts Institute of Technology's computers and design company M&Co. Talking Heads expanded to nine members for a promotional tour, and following its completion the band went on hiatus for several years, leaving the individual members to pursue a variety of side-projects. The album was the last of the band's collaborations with Eno, though Eno and Byrne's My Life in the Bush of Ghosts would be released the following year.
Remain in Light was widely acclaimed by critics, who praised its sonic experimentation, rhythmic innovations, and cohesive merging of disparate genres. The album peaked at number 19 on the Billboard 200 in the US and at number 21 on the UK Albums Chart. Two singles were released from Remain in Light: "Once in a Lifetime" and "Houses in Motion". The record was certified Gold in the US and in Canada during the 1980s. It has been featured in several publications' lists of the best albums of the 1980s and the best albums of all time, and it is often considered Talking Heads' magnum opus.

Side A
A1.  Born Under Punches (The Heat Goes On)   (5:46)
A2.  Crosseyed And Painless   (4:45)
A3.  The Great Curve   (6:26)

Side B
B1.  Once In A Lifetime   (4:19)
B2.  Houses In Motion  (4:30)
B3.  Seen And Not Seen   (3:20)
B4.  Listening Wind   (4:42)
B5.  The Overload   (6:00)

Vinyl: Goed
Hoes: Goed


Chic - Believer (1984) - Lp

Released: 1983
Genre:  Soul, Funk
Format:  LP
Label:  Atlantic Records
Catalog#  780107-1
Prijs:  €10,00

Believer is the seventh studio album by American band Chic, their last for the Atlantic Records label, and the last featuring the classic line-up of Nile Rodgers, Bernard Edwards, Alfa Anderson, Luci Martin, and Tony Thompson.
The album includes the singles "Give Me The Lovin'" (#57 US R&B), "You Are Beautiful" (issued only in France, the Netherlands, and Scandinavia), and "Party Everybody" (issued only in Canada, Germany, and the Netherlands).
The album failed to make much of an impact and shortly after its release the group disbanded. 1983 had seen Nile Rodgers releasing his first solo album, Adventures in the Land of the Good Groove - also largely overlooked, at least on a strictly commercial level.
The following production assignment for David Bowie's Let's Dance album was to change the future for both Rodgers and his colleague Bernard Edwards completely.

Nile Rodgers and Bernard Edwards hoped that Chic could, which is why 1983's Believer finds the group updating its sound with generally appealing, if uneven, results. Using a lot more keyboards and drum machines and favoring a more high-tech production style, Rogers and Edwards sound like they're trying hard to live down their reputation as a late '70s disco act. Urban contemporary considerations are strong, and some of the songs might have reached pop-rock and new wave audiences with the right promotion.
The infectious "Party Everybody" contains more rapping than singing, and acknowledges hip-hop's popularity, which is appropriate considering how often hip-hoppers have sampled Chic over the years. And even though Believer falls short of being a gem, you have to admire Chic's ability to update its approach while continuing to sound incredibly distinctive. But the LP didn't contain any hit singles, and Believer would be Chic's last album for Atlantic. Chic broke up in 1985, although they reunited for 1992's uneven Chic-ism and 1996's superb Live at the Budokhan (neither of which were big sellers).
The ironic thing is that while Rodgers and Edwards were very much in demand as producers during the '80s (when Rodgers produced such superstars as Duran Duran, Madonna, David Bowie, and the B-52s, and Edwards worked with the Power Station, Rod Stewart, Robert Palmer, and Jody Watley, among others), Chic itself never returned to the top of the charts.

Side A
A1. Believer   (5:06) 
A2. You Are Beautiful   (4:34) 
A3. Take A Closer Look   (4:38) 
A4. Give Me The Lovin’  (4:52) 

Side B
B1. Show Me Your Light   (3:57) 
B2. You Got Some Love For Me   (4:52) 
B3. In Love With Music   (3:52) 
B4. Party Everybody   (4:51)

Vinyl: Goed
Hoes: Goed


January 12, 2018

The Whispers - Love Is Where You Find It (1981) - Lp

Released:  1981
Genre:  Solar Sound, Disco, Soul 
Format: LP
Label:  Solar Records
Catalog#  SOL 52344
Prijs:  €10,00

Love Is Where You Find It is the eleventh studio album by American R&B/Soul group the Whispers. Released on June 7, 1981, by SOLAR Records, this album reached number 1 on the Billboard Soul Albums chart.
Released after This Kind of Lovin', Love Is Where You Find It finds the group continuing its hitmaking style and boasts the production work of Leon F. Sylvers III and the Solar sound. While the group's albums were never necessities, like the Temptations or to a lesser extent the Dramatics, the worth of the ballads and dance tracks often made the Whispers worth seeking out. Love Is Where You Find It is no exception.
The album's biggest hits -- the polished and kinetic "In the Raw" and "Emergency" -- quickly joined the pantheon of Whispers dance classics. The near-brilliant "Turn Me Out" arguably beats them both for sheer sonic value and the witty lyrics. Unlike many of the Whispers' albums of the time, the ballads here diminish the set. The radio staple "Say Yes" may be too smooth and cloying even for Whispers devotees. Love Is Where You Find It isn't an especially strong album, but "Turns Me Out" makes it worth looking for.

Side A
A1.  In the Raw   (5:56)
A2.  Turn Me Out   (5:53)
A3.  Cruisin’ In   (3:12)
A4.  Emergency   (4:19)

Side B
B1.  Say Yes   (5:14)
B2.  Love Is Where You Find It   (5:23)
B3.  Only You  (4:28)
B4.  Small Talkin’   (4:04)

Vinyl: Goed
Hoes: Goed


January 11, 2018

The Honeydrippers - Volume One (1984) - Lp

Release:  1984
Genre:  Rock & roll, jump blues, rhythm & blues
Format:  LP
Label:  Esparanza Records
Catalog#  ST-ES 845546
Prijs:  €10,00

The Honeydrippers: Volume One is an EP released on 24 September 1984, by a band led by rock singer Robert Plant. The project originated when Atlantic Records president Ahmet Ertegün wanted to record an album of his favourite songs from the 1950s. Plant was chosen because Ertegün had seen his pick-up band the Honeydrippers performing 1950s standards. Included in the band were Chic front man Nile Rodgers, and former Yardbirds guitarists Jeff Beck and Jimmy Page—the latter was also Plant's former band mate in Led Zeppelin.
To Plant's horror, "Sea of Love" became his biggest-selling single. According to Plant, the original single was "Rockin' at Midnight," with "Sea of Love" as the "B" side. The single was eventually "flipped" because radio stations were playing "Sea of Love" far more than "Rockin' at Midnight". Plant feared his career would be ruined by this, and that people would think of him now as a "crooner", instead of the rock and roll singer he'd always been. As a result, when he would be asked about The Honeydrippers in years to come, Plant would refer to The Honeydrippers as having been "put to sleep." "Rockin at Midnight" is a remake of the 1949 recording by Roy Brown, the song's author, who wrote it as an answer record to his 1947 composition and recording, "Good Rockin' Tonight".

Side A
A1. I Get a Thrill (2:37)
A2. Sea of Love (3:01)
A3. I Got a Woman (2:55)

Side B 
B1. Young Boy Blues (3:28)
B2. Rockin’ at Midnight (5:55)

Vinyl:  Goed
Hoes: Goed