26/10/2018

Published Friday, October 26, 2018 by with 0 comment

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
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21/10/2018

Published Sunday, October 21, 2018 by with 0 comment

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
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20/10/2018

Published Saturday, October 20, 2018 by with 0 comment

Kiss - Lick It Up (1983) - Lp
















Release:  1983
Genre:  Hardrock
Format:  LP
Label:  Casablanca Records
Catalog#  814297-1
Prijs:  €10,00


Lick It Up is the eleventh studio album by American heavy metal band Kiss. On the day of its 1983 release, the band members appeared on MTV without their trademark make-up. It was the first public appearance without make-up by the band since their very early days, and their first for Mercury Records, where they had been signed with following their departure from Casablanca Records.

Lick It Up built upon the harder sound Kiss had displayed on 1982's Creatures of the Night. It was certified gold on December 22, 1983, the first Kiss album to achieve certification since 1980's Unmasked. This is partially attributable to the increased publicity the band received after their unmasking.

As soon as the Creatures of the Night Tour/10th Anniversary Tour wrapped up in June, the band immediately went back into the studio to begin work on their next album, which was recorded over the next two months. "Lick It Up" and "All Hell's Breakin' Loose" were released as singles from the album. They were accompanied by a pair of similarly themed, tongue-in-cheek videos featuring the band (along with many scantily clad women) in desolate, post-apocalyptic settings.

For the first time, Vinnie Vincent appeared on the cover art for the album, whereas Ace Frehley had appeared on the Creatures of the Night cover, despite having already left the band and not being involved in the recording of the album. Vincent was not legally a member of the band. Due partly to disputes over what his role in the band and his pay would be (some reports indicated that he had asked for, and was flatly denied, a percentage of the band's gross profits), Vincent never signed any contract making his employment official. These disputes, along with a growing attitude by him that he was solely responsible for the resurgence of Kiss, would lead to him leaving the band (or being fired, depending on the source) after the European leg of the Lick It Up tour.

With the band unable to secure a replacement guitarist on such short notice, Vincent was enticed to return for the American leg of the tour; however, his refusal to sign his contract continued to be a sore point. A major rift developed between him and the rest of the band over his guitar solos. What were supposed 5–8 minute solos, timed to finish on a cue so that Paul Stanley could introduce the next song, suddenly expanded in some instances, leaving the rest of the band impatiently waiting on stage for Vincent to finish.

At an LA Forum show in January 1984, Vincent continued playing despite Stanley's cueing him to finish the solo. The two nearly came to blows in the dressing room afterward, with Stanley accusing Vincent of showing him up, and Vincent accusing the other three members of ruining his solo and trying to hold him back as a performer. They were separated by Eric Carr and Gene Simmons and a couple of roadies who tried to keep the peace. At a March show in Quebec, Canada, as the band prepared to close out their set, Vincent broke into an impromptu solo, leaving the other band members standing onstage with nothing to do. Vincent left (or was fired for a second time, depending on the source) shortly after. This time, the break was permanent.

"All Hell's Breakin' Loose" is one of three songs in the history of the band in which all four (current at the time) members share songwriting credit, the others being "Love Theme from Kiss" and "Back to the Stone Age". In an interview for KISSology 2, Stanley made the statement that, "People were now listening with their eyes rather than their ears, mainly because Creatures of the Night was arguably a better album than Lick It Up. He also made the statement that, "The only reason why I think people bought Lick It Up more than Creatures of the Night was because we had no make-up on. That was the only reason."

While Vincent contributed lead guitar to six songs on Creatures of the Night as a session player, by the time Lick it Up was released and for all the public knew, he was officially the guitarist in Kiss and played all the lead guitar on the album. The opening track (co-written by Vincent) features a solo from Rick Derringer.


Side A
A1.  Exciter - 4:10 
A2.  Not For The Innocent - 4:32 
A3.  Lick It Up - 3:59 
A4.  Young And Wasted - 4:04 
A5.  Gimme More - 3:41 

Side B
B1.  All Hell’s Breakin’ Loose - 4:34 
B2.  A Million To One - 4:17 
B3.  Fits Like A Glove - 4:04 
B4.  Dance All Over You Face - 4:13 
B5.  And On The 8th Day - 4:02

Vinyl:  Goed
Cover:  Goed
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17/10/2018

Published Wednesday, October 17, 2018 by with 0 comment

UB40 - UB44 (1982) - Lp
















Release:  1982
Genre:   Reggae
Format:   LP
Label:   DEP International
Catalog#   205039
Prijs:  €10,00

UB44 is the third studio album of original material by UB40, released on the DEP International label in 1982.
It was advertised as their 'fourth album' (hence the title) although Present Arms In Dub had been a remix album.
The album reached No. 4 in the UK album chart and the early release of the packaging had a hologram cover. UB44 was the Department of Employment form letter sent to British unemployment benefit claimants when they missed their 'signing on' appointment.

UB40s third album, not counting The Singles Album, which summed up their short career to date, or the Present Arms in Dub remixed dub version of the second album, was a step away from the brooding soulful reggae that one had come to expect from experiencing Signing Off and Present Arms.
 Despite the fact that by 1982 the 2 Tone sound of the Specials had vanished and other successful ska bands had moved on, notably Madness, UB40 released a mixture of horn-driven pop/ska and reggae songs that, in the main, had two major faults, a lack of melody, which never helps any style of music, and a loss of the sense of political injustice that had dominated the first two albums.

It couldn't have been easy; all their vitriol had been directed against the government of Margaret Thatcher and how, in their opinion, the fabric of the country was systematically being destroyed, but late in 1982, the government was riding a wave of popularity, having won the war in the Falklands, and it was suddenly out of step to disagree with them.

Although UB44 hit number four, the singles released were at a low point, all three of them -- "So Here I Am," "I Won't Close My Eyes," and "Love Is Here Is Alright" -- all failing to hit the higher regions of the singles chart, and without melody, UB40 songs tended to have little to offer. As "The Key" merged into "Don't Do the Crime" into "Folitician," it was difficult to appreciate that one song had ended and a new song had begun.


Side A
A1.  So Here I Am   (3:54)
A2.  I Won’t Close My Eyes [Remix]   (3:46)
A3.  Forget the Cost   (4:22)
A4.  Love Is All Is Alright [Remix]   (4:57)
A5.  The Piper Calls the Tune   (3:50)

Side B
B1.  The Key   (5:05)
B2.  Don’t Do the Crime   (4:12)
B3.  Folitician [Remix]   (4:10)
B4.  The Prisoner   (5:57)

Vinyl:  Goed
Cover:  Goed
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15/10/2018

Published Monday, October 15, 2018 by with 0 comment

Dire Straits - Love Over Gold (1982) - Lp
















Release:  1982
Genre:   Pop, Rock
Format:   LP
Label:  Vertigo Records
Catalog#  6359109
Prijs:  €10,00


Love over Gold is the fourth studio album by the British rock band Dire Straits released on 20 September 1982 by Vertigo Records internationally.

Love over Gold was recorded at the Power Station in New York from 8 March to 11 June 1982. Knopfler produced the album, with Neil Dorfsman as his engineer—the first in a long line of collaborations between the two.
Knopfler used several guitars during the sessions, including four Schecter Stratocasters—two red, one blue, and one sunburst—a black Schecter Telecaster, an Ovation classical guitar on "Private Investigations" and "Love over Gold", a custom Erlewine Automatic on "Industrial Disease", and his 1937 National steel guitar on "Telegraph Road". Knopfler also used Ovation twelve- and six-string acoustic guitars during the recording.

Adding a new rhythm guitarist, Dire Straits expands its sounds and ambitions on the sprawling Love Over Gold.
In a sense, the album is their prog rock effort, containing only five songs, including the 14-minute opener "Telegraph Road." Since Mark Knopfler is a skilled, tasteful guitarist, he can sustain interest even throughout the languid stretches, but the long, atmospheric, instrumental passages aren't as effective as the group's tight blues-rock, leaving Love Over Gold only a fitfully engaging listen

Several songs were written and recorded during the Love over Gold session that were not released on the album. "Private Dancer" was originally planned for the album, with all but the vocal tracks being recorded. Knopfler decided that a female voice would be more appropriate and handed the song to Tina Turner for her comeback album, Private Dancer.

The album produced two singles, "Private Investigations", which reached number 2 on the UK Singles Chart, and "Industrial Disease", which reached number 9 on Billboard's Hot Mainstream Rock Tracks chart in the United States. The fourteen-minute opus, "Telegraph Road" has gone on to become a favourite on FM radio worldwide.


Side A
A1.  Telegraph Road - 14:20 
A2.  Private Investigations - 7:00 

Side B
B1.  Industrial Disease - 5:50 
B2.  Love Over Gold - 6:15 
B3.  It Never Rains - 7:55

Vinyl: Goed
Cover:  Goed
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14/10/2018

Published Sunday, October 14, 2018 by with 0 comment

Saxon - Denim And Leather (1981) - Lp
















Release:  1981
Genre:  Heavy Metal
Format:  LP
Label:  Carrere Records
Catalog#  67811
Prijs:  €10,00


Denim and Leather is the fourth studio album by English heavy metal band Saxon released in 1981. The album was certified Gold status in the U.K. This was the last album with the classic line up of Saxon, as drummer Pete Gill would leave the band due to a hand injury, later joining Motörhead; this was also seen as the last of their triptych of classic albums (the previous two being Wheels of Steel and Strong Arm of the Law).

Saxon's third straight and ultimately last (mostly) universally acclaimed studio album, 1981's Denim and Leather capped off a stunningly prolific 18-month stretch for the New Wave of British Heavy Metal stars. If only Saxon had managed to stagger the amazing triumvirate of Wheels of Steel, Strong Arm of the Law, and Denim and Leather over a longer stretch of years, we might still be talking about the group today in the same hallowed tones reserved for fellow N.W.O.B.H.M. standouts Def Leppard and Iron Maiden.

But perhaps the band's run at the top was simply fated to be short and sweet, and if that's the case, Saxon never concocted a more perfect pair of album bookends than Denim and Leather's infectiously anthemic opening statement, "Princess of the Night" (one of Saxon's biggest American "hits" and arguably the only love song ever written for a train!) and the title track's ode to heavy metal culture (featuring the core metallic philosophy: "Denim and leather; brought us all together; it was you that set the spirit free").

Bridging the distance between these two unqualified classics was another consistently strong to spectacular body of work, including memorable cuts like "Out of Control" and "Rough and Ready" (the strong), as well as (here come the spectacular) the speed metal workout "Fire in the Sky", the Allman Brothers-referencing road tale "Midnight Rider," and the fan favorite "And the Bands Played On," which used a guitar solo lick -- not a riff -- as its main theme and famously immortalized Saxon's appearance at the Donington Monsters of Rock Festival the previous year. In retrospect, neither "Never Surrender" nor "Play It Loud" quite measure up to the rest, but they are far from crap, and they hardly gave notice that Saxon's incredible run was in fact coming to an end.


Side A
A1. Princess of the Night  - 4:01
A2. Never Surrender  - 3:15
A3. Out of Control  - 4:07
A4. Rough and Ready  - 4:51
A5. Play It Loud  - 4:11

Side B
B1. And the Bands Played On  - 2:48
B2. Midnight Rider  - 5:45
B3. Fire in the Sky  - 3:37
B4. Denim and Leather  - 5:25

Vinyl:  Goed
Cover:  Goed
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11/10/2018

Published Thursday, October 11, 2018 by with 0 comment

Bruce Springsteen - The River (1980) - Lp
















Release: 1980
Genre:  Heartland Rock
Format:  2LP
Label:  CBS Records
Catalog#  88510
Prijs:  €20,00


The River is the fifth studio album by Bruce Springsteen. It was released on October 17, 1980, by Columbia Records. Springsteen's only double album, The River was produced by Jon Landau, Springsteen, and bandmate Steven Van Zandt.

The sources of The River go back into earlier parts of Springsteen's recording career. "Independence Day", "Point Blank", "The Ties That Bind", "Ramrod", and "Sherry Darling" were leftovers from his previous album, Darkness on the Edge of Town, and had been featured on the 1978 tour, as had parts of "Drive All Night" as a long interpolation within "Backstreets." "The River" had premiered at the September 1979 Musicians United for Safe Energy concerts, gaining a featured spot in the subsequent documentary No Nukes.

After taking his early urban folk tales of cars and girls as far as he could on Born to Run, Bruce Springsteen took a long, hard look at the lives of those same Jersey street kids a few years down the line, now saddled with adult responsibilities and realizing that the American Dream was increasingly out of their grasp, on 1978's Darkness on the Edge of Town, an album that dramatically broadened Springsteen's musical range and lyrical scope. With 1980's The River, Springsteen sought to expand on those themes while also offering more of the tough, bar-band rock that was his trademark (and often conspicuous in its absence on Darkness), and by the time it was released it had swelled into Springsteen's first two-LP set.

The River was Springsteen's most ambitious work to date, even as the music sounded leaner and more strongly rooted in rock & roll tradition than anything on Darkness or Born to Run, and though the album wasn't the least bit short on good times, the fun in songs like "Two Hearts," "Out in the Street," and "Cadillac Ranch" is rarely without some weightier subtext. As the romantic rush of "Two Hearts" fades into the final break with family on "Independence Day" and the sentimentality of "I Wanna Marry You" is followed by the grim truths of the title tune, nothing is easy or without consequence in Springsteen's world, and the album's themes of youthful ideals buckling under the weight of crushing reality are neatly summed up as Springsteen asks the essential question of his career, "Is a dream a lie if it don't come true?"

Like many double albums, The River doesn't always balance well, and while the first half is consistently strong, part two is full of songs that work individually but don't cohere into a satisfying whole (and "Wreck on the Highway" is beautiful but fails to resolve the album's essential themes). But if the sequencing is somewhat flawed, Springsteen rises to his own challenges as a songwriter, penning a set of tunes that are heartfelt and literate but unpretentious while rocking hard, and the E Street Band were never used to better advantage, capturing the taut, swaggering force of their live shows in the studio with superb accuracy (and if the very '80s snare crack dates this album, Neil Dorfsman's engineering makes this one of Springsteen's best-sounding works). The River wasn't Springsteen's first attempt to make a truly adult rock & roll album, but it's certainly a major step forward from Darkness on the Edge of Town, and he rarely made an album as compelling as this, or one that rewards repeat listening as well.

It was a record where I first started to tackle men and women and families and marriage.
There were certain songs on it that led to complete records later on: 'The River' sort of went to the writing on Nebraska, 'Stolen Car' went to the writing on Tunnel of Love. Originally it was a single record. I handed it in with just one record and I took it back because I didn't feel it was big enough. I wanted to capture the themes I had been writing about on Darkness.
I wanted to keep those characters with me and at the same time added music that made our live shows so much fun and joy for our audience. So in the end, we're gonna take you down to The River tonight."


Side A
A1. The Ties That Bind – 3:34
A2. Sherry Darling – 4:03
A3. Jackson Cage – 3:04
A4. Two Hearts – 2:45
A5. Independence Day – 4:50

Side B
B1. Hungry Heart – 3:19
B2. Out in the Street – 4:17
B3. Crush on You – 3:10
B4. You Can Look (But You Better Not Touch) – 2:37
B5. I Wanna Marry You – 3:30
B6. The River – 5:01

Side C
C1. Point Blank – 6:06
C2. Cadillac Ranch – 3:03
C3. I’m a Rocker – 3:36
C4. Fade Away – 4:46
C5. Stolen Car – 3:54

Side D
D1. Ramrod – 4:05
D2. The Price You Pay – 5:29
D3. Drive All Night – 8:33
D4. Wreck on the Highway – 3:54

Vinyl:  Goed
Cover:  Goed
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Published Thursday, October 11, 2018 by with 0 comment

Michael Jackson - Off The Wall (1979) - Lp
















Release: 1979
Genre:  Soul
Format:  LP
Label:  Epic Records
Catalog#  EPC 83468
Prijs:  €10,00


Off the Wall is the fifth studio album by American singer Michael Jackson, released on August 10, 1979 in the United States by Epic Records and internationally by CBS Records. It was his nineteenth album in total since Diana Ross Presents The Jackson 5 (1969), as well as his first album released through Epic Records, the label he would record on until his death roughly 30 years later. It was released following Jackson's critically well-received film performance in The Wiz. While working on that project, Jackson and Quincy Jones had become friends, and Jones agreed to work with Jackson on his next studio album.

This is certainly due to Jackson's emergence as a blindingly gifted vocalist, equally skilled with overwrought ballads as "She's Out of My Life" as driving dancefloor shakers as "Working Day and Night" and "Get on the Floor," where his asides are as gripping as his delivery on the verses. It's also due to the brilliant songwriting, an intoxicating blend of strong melodies, rhythmic hooks, and indelible construction. Most of all, its success is due to the sound constructed by Jackson and producer Quincy Jones, a dazzling array of disco beats, funk guitars, clean mainstream pop, and unashamed (and therefore affecting) schmaltz that is utterly thrilling in its utter joy.

Recording sessions took place between December 1978 and June 1979 at Allen Zentz Recording, Westlake Recording Studios, and Cherokee Studios in Los Angeles, California. Jackson collaborated with a number of writers and performers, such as Paul McCartney, Stevie Wonder and Rod Temperton. Five singles were released from the album; three of the singles had music videos released. Jackson wrote three of the songs himself, including the number-one Grammy Award-winning single "Don't Stop 'Til You Get Enough".

The record was a departure from Jackson's previous work for Motown Records. Its lyrical themes on the record relate to escapism, liberation, loneliness, hedonism and romance. Several critics observed that Off the Wall was crafted from funk, disco, soft rock, Broadway and pop ballads. Jackson received positive reviews for his vocal performance on the record. The record gained critical acclaim and recognition, and won the singer his first Grammy Award.

With Off the Wall, Jackson became the first solo artist to have four singles from the same album peak inside the top 10 of the Billboard Hot 100. The album was an enormous commercial success; as of 2018, it is certified eight times platinum in the United States and has reportedly sold more than 20 million copies worldwide, making it one of the best selling albums of all time.


Side A
A1. Don’t Stop ‘Til You Get Enough - 6:02 
A2. Rock With You - 3:38 
A3. Working Day And Night - 5:12 
A4. Get On The Floor - 4:44 

Side B
B1. Off The Wall - 4:04 
B2. Girlfriend - 3:04 
B3. She’s Out Of My Life - 3:36 
B4. I Can’t Help It - 4:27 
B5. It’s The Falling In Love - 3:46 
B6. Burn This Disco Out - 3:38

Vinyl:  Goed
Hoes:  Goed
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07/10/2018

Published Sunday, October 07, 2018 by with 0 comment

Neil Young - Comes A Time (1978) - Lp
















Release:  1978
Genre:  Country Rock, Folk Rock
Format:  LP
Label:  Reprise Records
Catalog#  REP 54099
Prijs:  €10,00


The album originally started out as a solo record, but when Young played it for Reprise executives they asked him if he would consider adding rhythm tracks to what he already had. Young agreed, and the end product was Comes a Time. Two songs ("Look Out For My Love" and "Lotta Love") were backed by Crazy Horse.

"Human Highway" was written several years prior to the album's release, and originally presented to Crosby, Stills, Nash & Young in 1974 for a proposed studio album by the group which never came to be. Much of the album features harmony vocals from Nicolette Larson. She also shares lead vocals with Young on "Motorcycle Mama".

Six and a half years later, Comes a Time finally was the Neil Young album for the millions of fans who had loved Harvest, an acoustic-based record with country overtones and romantic, autobiographical lyrics, and many of those fans returned to the fold, enough to make Comes a Time Young's first Top Ten album since Harvest.

He signaled the album's direction with the leadoff track, "Goin' Back," and its retrospective theme augmented with an orchestral backup and the deliberate beat familiar from his number one hit "Heart of Gold." Of course, Young remained sly about this retrenchment. "I feel like goin' back," he sang, but added, "back where there's nowhere to stay."

Doubtless he had no intention of staying with this style, but for the length of the album, melodies, love lyrics, lush arrangements, and steel guitar solos dominated, and Young's vocals were made more accessible by being paired with Nicolette Larson's harmonies. Larson's own version of Young's "Lotta Love," released shortly after the one heard here, became a Top Ten hit single.

Other highlights included the reflective "Already One," which treats the unusual subject of the nature of a divorced family, the ironic "Field of Opportunity," and a cover of Ian Tyson's folk standard "Four Strong Winds" (a country Top Ten hit for Bobby Bare in 1965).


Side A
A1.  Goin’ Back - 4:43 
A2.  Comes A Time - 3:05 
A3.  Look Out For My Love - 4:06 
A4.  Lotta Love - 2:40 
A5.  Peace Of Mind - 4:06 

Side B
B1.  Human Highway - 3:09 
B2.  Already One - 4:53 
B3.  Field Of Opportunity - 3:10 
B4.  Motorcycle Mama - 3:08 
B5.  Four Strong Winds - 4:07

Vinyl:  Goed
Cover:  Goed
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06/10/2018

Published Saturday, October 06, 2018 by with 0 comment

The Rolling Stones - Love You Live (1977) - 2LP
















Release:  1977
Genre:   Rock
Format:  2LP
Label:  Rolling Stones Records
Catalog#  COC 89101
Prijs:  €20,00


Love You Live is a double live album by The Rolling Stones, released in 1977. It is drawn from Tour of the Americas shows in the US in the summer of 1975, Tour of Europe shows in 1976 and performances from the El Mocambo nightclub concert venue in Toronto in 1977. 
It is the band's third official full-length live release and is dedicated to the memory of audio engineer Keith Harwood, who died in a drug-induced car accident shortly before the album's release.

Love You Live was overdubbed and mixed from late May to mid-June 1977. Released in September 1977, the album was well received and managed to reach No. 3 in the UK and No. 5 in the US, where it went gold.
The album artwork was prepared by Andy Warhol. The pencil smears seen across the front were added by Mick Jagger, to Warhol's dismay.
Love You Live was The Rolling Stones' final album whereby Rolling Stones Records would be internationally distributed by Warner Music. The band's next several albums would be distributed through EMI worldwide, while they remained with Warner in North America only.
In addition to the songs recorded during the 1975-1976 tour, the Stones decided to add four tracks taken from performances at Toronto's El Mocambo Club on March 4 and 5, 1977. The intention had been to play a set of the sort of classic blues and R&B covers that sealed the band's reputation when they performed regularly at the Crawdaddy Club in 1963. However, Keith Richards arrived late for scheduled rehearsals as he and his girlfriend, Anita Pallenberg, had been arrested for possession and trafficking of illicit drugs in Richards' Toronto hotel room.

Despite these legal troubles, the shows themselves went well enough, though the versions that appear on album are heavily overdubbed with new guitar tracks and backing vocals by Richards and/or Ronnie Wood. Jagger overdubbed the harmonica of "Mannish Boy" as well. Only "Around and Around" is untouched. April Wine opened for the Stones, who appeared on the bill under the name "The Cockroaches," so the majority in attendance thought they were attending an April Wine concert. April Wine also recorded their live album Live at the El Mocambo at these same concerts.

Jagger and Richards sharply disagreed on the selection of tracks to include on the album. In his autobiography Richards recalled: "Collaboration was giving way to struggle and disagreement. It's a two-disc album, and the result is that one disc is Mick's and the other was mine."


Side A
A1.  Intro: Excerpt From “Fanfare From The Common Man” - 1:23
A2.  Honky Tonk Women - 3:21
A3.  If You Can’t Rock Me / Get Off Of My Cloud - 5:00
A4.  Happy - 2:54
A5.  Hot Stuff - 4:33
A6.  Star Star - 4:09

Side B
B1.  Tumbling Dice - 3:58
B2.  Fingerprint File - 5:20
B3.  You Gotta Move - 4:15
B4.  You Can’t Always Get What You Want - 7:40

Side C
C1.  Mannish Boy - 6:24
C2.  Crackin’ Up - 5:44
C3.  Little Red Rooster - 4:33
C4.  Around And Around - 3:52

Side D
D1.  It’s Only Rock ‘N Roll - 4:29
D2.  Brown Sugar - 3:28
D3.  Jumping Jack Flash - 3:48
D4.  Sympathy For The Devil - 7:47

Vinyl:  Goed
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05/10/2018

Published Friday, October 05, 2018 by with 0 comment

The Ritchie Family - Arabian Nights (1976) - Lp
















Release:  1976
Genre:   Disco
Format:  LP
Label:  Philips Records
Catalog#  6412902
Prijs:  €10,00


The Ritchie Family, an American vocal group based in Philadelphia that achieved several hits during the disco era.

The three original members were not related; the group was a creation of Jacques Morali who also formed the Village People. The group took its name from record producer Richie Rome, who added a T to the name; it originally consisted of three singers: Cassandra Ann Wooten and Gwendolyn Oliver (who eventually married musician Fred Wesley) of the girl group Honey & the Bees, and Cheryl Mason Jacks.
Their manager was Jimmy Bishop, a successful Philadelphia radio personality who also managed Barbara Mason. Morali remembered Wooten and Oliver had done some session work for him, and he called them a few years later when he wanted to form a group and the Ritchie Family was born.

Arabian Nights is the second studio album recorded by American female vocal trio The Ritchie Family, released in 1976 on the Marlin label.
The album features the track, "The Best Disco in Town", which peaked at No. 1 on the Hot Dance/Disco chart.


Side A
A1.  The Best Disco In Town - 6:39 
A2.  Baby I’m On Fire - 5:05 
A3.  Romantic Love - 5:53 

Side B
B1. Arabian Nights (Medley) - 14:26 
      (a)  Istanbul (Not Constantinople) - 4:22 
      (b)  Lawrence Of Arabia (More Than Yesterday, Less Than Tomorrow) - 3:57 
      (c)  In A Persian Market (Show Me How You Dance) - 6:07

Vinyl:  Goed
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01/10/2018

Published Monday, October 01, 2018 by with 0 comment

Rosie Vela - Zazu (1986) - Lp
















Release:  1986
Genre:  Pop, Rock
Format:  LP
Label:  A&M Records
Catalog#  395016-1
Prijs:  €10,00


Roseanne "Rosie" Vela (born December 18, 1952) is an American model and singer-songwriter.

Turning her attention to music, Vela built a home recording studio for herself and signed a recording contract with A&M Records. She released her debut album, Zazu, in 1986. The entire album was written or co-written by Vela, and was produced by Gary Katz. It is also notable for the fact that it included contributions from both Donald Fagen and Walter Becker (two of Vela's musical heroes) - almost 10 years after they had disbanded their group Steely Dan.

Though the album was critically acclaimed it went largely unnoticed in the U.S., it fared better in Europe, and a single from the album, "Magic Smile", was a Top 30 hit in the UK Singles Chart. The album itself peaked at #20 in the UK Albums Chart, and was certified silver by the BPI in March 1987. Further singles, "Interlude" and "Fool's Paradise" met with less success.

When fashion model Rosie Vela branched out into singing and songwriting with her debut album Zazu, skeptics suspected that she was just another pretty face who was trying to get by on her looks. But truth be told, Zazu is a solid pop/rock effort that could be described as an interesting combination of Joni Mitchell and Steely Dan. Vela doesn't have a great voice -- her voice is small and thin, but like jazz great Chet Baker, she demonstrates that you don't have to have a fantastic vocal range to be expressive and deliver a meaningful album.
Favoring a relaxed, cool-toned style of singing, Vela also demonstrates that she's a talented songwriter -- in fact, she wrote most of the songs herself.

Mitchell and Steely Dan are obviously major influences, and the strong Steely Dan influence isn't surprising when you consider that Zazu was produced by Gary Katz (who is best known for his work with that group) and that former Dan members Donald Fagen (keyboards) and Walter Becker (guitar) play on many of the songs. Vela showed a lot of promise on this album, which wasn't the big seller it should have been.


Side A
A1. Fool’s Paradise - 4:00 
A2. Magic Smile - 4:24 
A3. Interlude - 3:55 
A4. Tonto - 5:38 

Side B
B1. Sunday - 4:31 
B2. Taxi - 3:25 
B3. 2nd Emotion - 4:46 
B4. Boxs - 3:52 
B5. Zazu - 4:46

Vinyl: Goed
Cover: Goed
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