29/11/2018

Published Thursday, November 29, 2018 by with 0 comment

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
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26/11/2018

Published Monday, November 26, 2018 by with 0 comment

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
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19/11/2018

Published Monday, November 19, 2018 by with 0 comment

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
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14/11/2018

Published Wednesday, November 14, 2018 by with 0 comment

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
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10/11/2018

Published Saturday, November 10, 2018 by with 0 comment

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
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07/11/2018

Published Wednesday, November 07, 2018 by with 0 comment

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
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Published Wednesday, November 07, 2018 by with 0 comment

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
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04/11/2018

Published Sunday, November 04, 2018 by with 0 comment

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
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03/11/2018

Published Saturday, November 03, 2018 by with 0 comment

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
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01/11/2018

Published Thursday, November 01, 2018 by with 0 comment

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
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