Jim Diamond - Double Crossed (1984) (vinyl Lp) - €10,00

posted by ad-vinylrecords

James Aaron Diamond (28 September 1951 – 8 October 2015) was a Scottish singer-songwriter, best known for his three top 5 hits: "I Won't Let You Down" (1982), as the lead singer of PhD; and his solo performances "I Should Have Known Better", a United Kingdom No. 1 in 1984.

"Double Crossed" is the debut solo album by Jim Diamond, released in 1985. 

The album features Diamond's first three solo singles, "I Should Have Known Better", "I Sleep Alone at Night" and "Remember I Love You". 

The album was dedicated to Diamond's father who had recently died. 

Diamond recorded this after PhD unceremoniously disbanded (they'd reunite over two decades later) and the style on this album is much different than PhD or any band he was in. 

The lead single was "I Should Have Known Better" (not the Beatles song of the same name of course) which was a UK #1 in fall 1984 until he told people to buy Band Aids benefit single instead (I was told this backfired many years later). 

There is another version of the same session with a slightly different guitar solo which may be on The Best of Jim Diamond.  Former Moody Blues producer Pip Williams produced most of the album except "Remember I Love You" (maybe he didn't want too many ballads but Diamond and the label did). 

"Caledonia", a B-side, was an ode to his native Scotland (not the same track as on his more Scottish folk flavoured album Sugarolly Days). On the same token "Rock 'n' Roll" is a different animal to PhDs "Rock 'n Roll Days". 

"I'm Yours" has a bit of mondegreen if you have a listen you'd know what I mean.

Paul "Wix" Wickens plays keyboards on some tracks. I know him more from working with Paul McCartney.

Side one

1.  Double Crossed - 3:51

2.  I Sleep Alone At Night - 4:57

3.  After The Fire - 4:06

4.  I Should Have Known Better - 4:06

5.  Stumblin’ Over - 4:15

Side two

1.  New Generation - 5:04

2.  Co-Operation - 5:58

3.  She Is Woman - 4:32

4.  I’m Yours - 4:50

5.  Impossible Dream - 4:35

Companies, etc.

• Distributed By – CBS Records
• Distributed By – CBS Disques S.A.
• Phonographic Copyright ℗ – A&M Records Ltd.
• Copyright © – A&M Records Ltd.
• Recorded At – Chipping Norton Recording Studios
• Remixed At – Compass Point Studios
• Pressed By – CBS, Haarlem – 19-5029

Credits

• Acoustic Guitar – Graham Lyle (tracks: A4, B4)
• Art Direction [Assistant], Design [Assistant] – Simon Adamczewski
• Art Direction, Design – Michael Ross
• Bass – John McKenzie
• Drums – Simon Kirk
• Electric Organ [Hammond] – Zoot Money (tracks: B4)
• Guitar – Colin Pincott, Earl Slick (tracks: B2, B5)
• Guitar [Additional Guitars], Soloist – Pip Williams (tracks: A5)
• Keyboards – Chris Parren, Wix
• Management – DIamond Brothers Music, L. Diamond
• Percussion – Martin Ditcham
• Photography By – Brian Griffin 
• Photography By [Back Cover Photo] – Tobi Corney
• Photography By [Inner Sleeve Photography] – Paul Cox
• Producer – Pip Williams
• Remix [Re-Mixed By] – Eric (ET) Thorngren
• Saxophone – Dick Morrissey (tracks: A1, A3, B3)
• Vocals – Jim Diamond

Notes

Release: 1984

Format:  LP, Vinyl

Genre:   Synth-pop

Label:  A&M

Catalog#  AMA 5029

Vinyl:  Goed (Excellent)

Cover:  Goed (Excellent)

Prijs: €10,00

Simple Minds - Sparkle In The Rain (1983) (vinyl Lp) - €20,00

posted by ad-vinylrecords

"Sparkle in the Rain" is the sixth studio album by Scottish rock band Simple Minds, released on 6 February 1984 by record label Virgin in the UK.

Sparkle in the Rain is a generally rock-oriented album, a departure from the new wave aesthetic of its critically acclaimed predecessor New Gold Dream (81/82/83/84). 

Kerr, before its release, described the forthcoming Sparkle in the Rain as an "art record—art without tears with masses of muscle". 

The band's new drummer Mel Gaynor, who had contributed for some tracks on the previous record, agreed on the album's aggressiveness: "On this album I'm getting a few of my ideas across, not only in the drumming field but in other fields as well. 

It's a lot different from New Gold Dream, both sound-wise and material-wise. 

The last one was very smooth, very polished. This album's got a bit more dirt in it." 

Regarding the role of producer Steve Lillywhite, Brian Hogg wrote that Sparkle in the Rain "captured the bravura of their in-concert sound" and Lillywhite "introduced a dynamic, often contrasting, perspective quite unlike the panoramic standpoint of its predecessor, but there was no denying the resultant brash excitement." 

Adam Sweeting described how, during the recording process of "Up on the Catwalk", "Forbes and Gaynor had combined to create a steamrolling rhythm track which came hammering out of the opening chorus like a runaway train."

The record was produced by Steve Lillywhite (U2, et al.), and it's a perfect match-up: Simple Minds aspire to music of a trancelike otherworldliness, and Lillywhite has the knack to lead them up that proverbial stairway to heaven.

The sound is Roxy Music-gone-2001, and it works remarkably well (one exception: their unlikely choice of an outside song in Lou Reed's "Street Hassle," which doesn't bear covering by anyone). 

Initially, vocalist Jim Kerr might seem like just another Bryan Ferry clone, but as he stokes his inner fires with some private perception of the emerald beyond – reaching an absolutely feverish pitch on "The Kick inside of Me" – he emerges as an obsessive visionary in his own right. 

The band, meanwhile, weaves a complex web of sound from the unlikeliest parts: churchy, staccato keyboards; lacelike, arpeggiated guitar lines and soaring wisps of feedback; and metallic-sounding drums.

Sparkle in the Rain is filled with potent images that can be read as religious emblems: baptismal immersion or death ("Waterfront"), redemption on the Cross ("East at Easter"), the Word ("Book of Brilliant Things"). 

Simple Minds find religious illumination in the vertigo of their fertile imaginations, and it comes out as psychedelic testifying – all fast movement and kaleidoscopic repetition – that builds to a crescendo of ecstasy and release. 

When Kerr sings, "Someday, some of them say that our hearts will beat like the wheels of a fast train" (from "Book of Brilliant Things"), you know you're in for a wild ride.

Side one
1. Up On The Catwalk - 4:45
2. Book Of Brilliant Things - 4:21
3. Speed Your Love To Me - 4:24
4. Waterfront - 7:26
5. East At Easter - 3:32

Side two
1. Street Hassle - 5:14
2. White Hot Day - 4:32
3. “C” Moon Cry Like A Baby - 4:19
4. The Kick Inside Of Me - 4:48
5. Shake Off The Ghosts - 3:57

Simple Minds

• Jim Kerr – vocals
• Charlie Burchill – acoustic and electric guitars
• Derek Forbes – bass, vocals
• Mel Gaynor – drums, vocals
• Mick MacNeil – keyboards, vocals

Additional personnel

• Kirsty MacColl – voice on "Speed Your Love to Me" and "Street Hassle"

Production

• Producer – Steve Lillywhite
• Engineer – Howard Gray
• Assistant engineers – Paul Cook and Gavin McKillop
• Studio equipment – Matt Dunn and Paul Kerr
• Sleeve production – Assorted Images
• Coordination – Gemma Corfield

Notes
Release: 1983

Format:  LP, Vinyl
Genre:  New Wave
Label:  Virgin Records
Catalog#  205913

Vinyl:  Goed (Excellent)
Cover: Goed (Excellent 

Prijs: €20,00

Eric Clapton - Money And Cigarettes (1983) (vinyl Lp) - €10,00

posted by ad-vinylrecords

"Money and Cigarettes" is the eighth solo studio album by Eric Clapton, recorded after his first rehabilitation from alcoholism. 

Produced by Clapton and Tom Dowd with, apart from Albert Lee, a new backing band of veteran session musicians including Donald "Duck" Dunn, Roger Hawkins, and Ry Cooder. The album was moderately successful commercially, reaching Top 20 chart positions in several countries.

Money and Cigarettes marked several important turning points in Eric Clapton's recording career. It was his debut release on his own Duck imprint within Warner Bros.' Reprise Records subsidiary. 

It was also the first album he made after coming to terms with his drinking problem by giving up alcohol. 

Newly focused and having written a batch of new songs, he became dissatisfied with his longtime band and fired them, with the exception of second guitarist Albert Lee. 

In their place, he hired session pros like Stax Records veteran bassist Donald "Duck" Dunn and Muscle Shoals drummer Roger Hawkins, also bringing in guest guitarist Ry Cooder. His new songs reflected on his changed condition, with "Ain't Going Down," a thinly veiled musical rewrite of the Jimi Hendrix arrangement of "All Along the Watchtower," serving as a statement of purpose that declared, "I've still got something left to say." 

"The Shape You're In" was a criticism of his wife for her alcoholism that concluded, "I'm just telling you baby 'cause I've been there myself," while the lengthy acoustic ballad "Pretty Girl" and "Man in Love" reaffirmed his feelings for her. 

The album's single was the relatively slight pop tune "I've Got a Rock n' Roll Heart," but Clapton's many blues fans must have been most pleased with the covers of Sleepy John Estes' "Everybody Oughta Make a Change" (significantly placed as the album's leadoff track), Albert King's "Crosscut Saw," and Johnny Otis' "Crazy Country Hop." 

For all the changes and the high-powered sidemen, though, Money and Cigarettes ended up being just an average effort from Clapton, which his audience seems to have sensed since, despite the Top 20 placement for the single, it became his first album in more than six years to miss the Top Ten and fail to go gold.

Side one

1.  Everybody Oughta Make A Change - 3:16

2.  The Shape You’re In - 4:08

3.  Ain’t Going Down - 4:01

4.  I’ve Got A Rock N’ Roll Heart - 3:13

5.  Man Overboard - 3:45

Side two

1.  Pretty Girl - 5:29

2.  Man In Love - 2:46

3.  Crosscut Saw - 3:30

4.  Slow Down Linda - 4:14

5.  Crazy Country Hop - 2:46

Personnel

• Eric Clapton – lead vocals, electric guitar, slide guitar
• Albert Lee – acoustic guitar, electric guitar, keyboards, backing vocals
• Ry Cooder – electric guitar, slide guitar
• Peter Solley – Hammond organ
• Donald Dunn – bass guitar
• Roger Hawkins – drums
• Chuck Kirkpatrick – backing vocals
• John Sambataro – backing vocals

Production

• Producers – Tom Dowd and Eric Clapton
• Engineers – Tom Dowd and Michael Carnavale
• Assistant Engineer – Dennis Halliburton
• Mastered by Mike Fuller at Criteria Studios (Miami, FL).
• Art Direction – El & Nel Ink., Graham Hughes
• Photography – Graham Hughes
• Design – El & Nel Ink., Ian Murray
• Model Maker – Laurie Savage
• Typography and Design – Ian Murray Acrobat Design

Companies, etc.

• Produced For – Tom Dowd Productions Inc.
• Recorded At – Compass Point Studios
• Mastered At – Criteria Recording Studios
• Phonographic Copyright ℗ – Warner Bros. Records Inc.
• Copyright © – Warner Bros. Records Inc.
• Published By – Northern Music Co.
• Published By – E.C. Music
• Published By – WB Music Corp.
• Published By – Warner-Tamerlane Publishing Corp.
• Published By – Diamond Mine Music
• Published By – Face The Music (2)
• Published By – East/Memphis Music Corp.
• Published By – Eldorado Music
• Pressed By – Columbia Records Pressing Plant, Carrollton, GA
• Manufactured By – Columbia House

Notes

Release: 1983

Format:  LP, Vinyl

Genre:  Blues rock

Label:  Duck Records

Catalog#  923773-1

Vinyl:  Goed  (Excellent)

Cover:  Goed (Excellent)

Prijs: €10,00

XTC - English Settlement (1982) (vinyl Lp) - €10,00

posted by ad-vinylrecords

"English Settlement" is the fifth studio album and first double album by the English rock band XTC, released 12 February 1982 on Virgin Records. 

It marked a turn towards the more pastoral pop songs that would dominate later XTC releases, with an emphasis on acoustic guitar, 12-string electric guitar and fretless bass. 

The title refers to the Uffington White Horse depicted on the cover, to the "settlement" of viewpoints, and to the Englishness that the band felt they "settled" into the record.

Once again, XTC has managed the difficult feat of sounding accessible even while moving into evermore abstruse and adventuresome territory. 

Driven along by the rolling thunder of Terry Chambers' drumming, the smooth electric glide of Colin Moulding's fretless bass and the angular guitar work of Dave Gregory and Andy Partridge, the ten songs on English Settlement take on the world, by turns, in concretely political and dreamily mythic terms. 

On one side, "Melt the Guns" pleads for global disarmament, singling out the U.S. in particular for fecklessly courting apocalypse. "Jason and the Argonauts," though, is almost the stuff of parable, an imagistic recounting of a modern-day vision quest.

Musically, XTC's new songs attain something of an anthemic grandeur through repetition of a musical theme or fragment, sustained over the course of five or more minutes by a steady rhythmic pulse (African and third-world rhythms figure prominently). 

The result is a program of numbers that resonate across all manner of invigorating wordplay with a jazzy, stoned ambiance.

"Senses Working Overtime," which could be this band's long-overdue hit, sums up the XTC aesthetic perfectly: employing all of their faculties for taking in the world around them, they digest that input and send out some new wisdom of their own. This process is called communication, and to XTC, it's as natural as breathing. 

XTC recorded the album at The Manor Studio in Oxfordshire with producer Hugh Padgham, the engineer of their previous two LPs. Compared to the band's previous releases, English Settlement showcased more complex and intricate arrangements, lengthier songs, lyrics that covered broader social issues, and a wider range of music styles. 

Principal songwriter Andy Partridge was fatigued by the grueling touring regimen imposed by their label and management, and believed that pursuing a sound less suited for live performance would relieve the pressure to tour. 

Three singles were issued from the album: "Senses Working Overtime", "Ball and Chain" and "No Thugs in Our House".

Side one

1.  Runaways - 4:33

2.  Ball And Chain - 4:30

3.  Senses Working Overtime - 4:50

4.  Jason And The Argonauts - 6:05

5.  Snowman - 5:12

Side two

1.  Melt The Guns - 6:31

2.  No Thugs In Our House - 5:09

3.  Yacht Dance - 3:54

4.  English Roundabout - 3:48

5.  All Of A Sudden (It’s Too Late) - 5:19

XTC

• Colin Moulding – lead vocals (tracks 1–2, 12, 14), backing vocals, fretless bass, Fender bass, mini-Korg synthesizer, piano, percussion
• Andy Partridge – lead vocals (3–11, 13, 15), backing vocals, electric guitar, semi-acoustic electric 12-string guitar, semi-acoustic electric guitar, acoustic guitar, mini-Korg synthesizer, Prophet V synthesizer, anklung, alto saxophone, percussion, frog noises
• Dave Gregory – Prophet V synthesizer, electric 12-string guitar, mini-Korg synthesizer, backing vocals, percussion, electric guitar, nylon-string Spanish guitar, fuzz-boxed 12-string guitar, semi-acoustic electric 12-string guitar, piano
• Terry Chambers – drums, electronic drums, percussion, backing vocals

Additional personnel

• Hugh Padgham – backing vocals on "Ball and Chain"
• Hans de Vente – backing vocals on "It's Nearly Africa"

Technical

• Hugh Padgham – producer, engineer, mixing
• XTC – producer, mixing
• Howard Gray – assistant engineer
• Ken Ansell – artwork
• Art Dragon – illustrations
• Allan Ballard – photography

Notes

Release:  1982

Format:  LP, Vinyl

Genre:  New Wave, Pop

Label:  Virgin

Catalog#  204446

Vinyl:  Goed (Excellent)

Cover:  Goed (Excellent)

Prijs: €10,00

J.J. Cale - Shades (1980) (vinyl Lp) - €10,00

posted by ad-vinylrecords

"Shades" is the sixth studio album by J. J. Cale, released in February 1981.

Despite the coterie of musicians used on the sessions, Shades has a remarkably cohesive sound that is immediately recognizable as J.J. Cale. Nine of the ten songs are original compositions, the exception being “Mama Don’t,” which would become Cale’s show opener. 

As can be seen in the 2005 documentary To Tulsa and Back, Cale would take the stage himself and introduce the band members one by one following along to the words of the song (“Mama don’t allow no bass in this place…”) The album opens with “Carry On,” an optimistic call for perseverance in the face of adversity, followed by the chugging prison song “Deep Dark Dungeon.” The relationship songs have a sour tone, as is evident in “Runaround” and the bitter “What Do You Expect” (“What do you expect, caviar and candlelight? Champagne every night?") 

"Love Has Been Gone” is also despairing, with Cale repeating the line “There’s nothing new…” Even the straight love song “Wish I Had Not Said That” has an inherent ambivalence in the title, despite the tenderness found in the lyrics.

“Pack My Jack” recalls earlier Cale songs like “Travelin’ Light” and “I’m a Gypsy Man” and speaks to the freedom of the highway and how “a ramblin’ man keeps ramblin’ on.” 

The album’s closing track, “Cloudy Day” is an instrumental that clocks in at nearly five-and-a-half minutes, making it the longest song to appear on one of Cale’s albums.

Shades' cover features a silhouette of a guitar player, presumably Cale, inspired by the design of French cigarettes brand Gitanes. The notoriously media-shy singer would not use his own image on an LP cover until his 1983 album #8.

Side one

1.  Carry On - 2:19

2.  Deep Dark Dungeon - 2:08

3.  Wish I Had Not Said That - 3:23

4.  Pack My Jack - 5:12

5.  If You Leave Her - 2:45

Side two

1.  Mama Don’t - 3:47

2.  Runaround - 2:42

3.  What Do You Expect - 3:25

4.  Love Has Been Gone - 2:16

5.  Cloudy Day - 5:25

Personnel

• J. J. Cale – gut-string guitar (tr. 3), vocals, rhythm guitar( tr. 1, 2, 6, 10) electric guitar (tr. 1–5, 7–10), drums, arranger, piano (tr. 5), bass (tr. 3), el. guitar solo (second) (tr. 6)
• Christine Lakeland – Moog synthesizer (tr. 3), piano (tr. 3), organ (tr. 1), percussion (tr. 3), vocals, rhythm guitar gut-string guitar (tr. 3), rhythm guitar (tr. 7, 8, 10)
• Tommy Tedesco – rhythm guitar (tr. 1)
• Gordon Shryock – electric guitar (tr. 8)
• Reggie Young – guitar solo (1&3) (tr. 6)
• James Burton – electric guitar (tr. 4)
• Bill Boatman – electric rhythm guitar (tr. 5)
• Johnny Christopher – rhythm guitar (tr. 2, 6)
• Tommy Cogbill – bass (tr. 2, 6, 9)
• Nick Rather – bass (tr. 5, 8, 10)
• Emory Gordy Jr. – bass (tr. 4, 7)
• Carol Kaye – bass (tr. 1)
• Michael Rhodes – bass (tr. 3)
• Jim Keltner – drums (tr. 4)
• Jimmy Karstein drums (tr. 5)
• Gary Allen – drums (tr. 8, 10)
• Hal Blaine – drums (tr. 7)
• Hayward Bishop – drums (tr. 3)
• Kenneth A. Buttrey – drums (tr. 2, 6)
• Karl Himmel – drums (tr. 9)
• Russ Kunkel – drums (tr. 1)
• Larry Bell – electric piano (tr. 5)
• David Briggs – keyboards, piano (tr. 2), electric piano (tr. 6)
• Leon Russell – Electric piano (tr. 8)
• Bill Payne – piano (tr. 7)
• Glen Hardin – piano (tr. 4)
• Bobby Emmons – organ, piano (tr. 6)
• Dennis Solee – saxophone (tr. 10)

Technical

• Vigon Nahas Vigon – art direction, design
• Helmut Werd – photography
• Chad Hailey – engineer
• Les Ladd – engineer
• Audie Ashworth – engineer, producer
• Ron Reynolds – engineer, mixing
• Hugh Davies – engineer, mixing
• Steve Ripley – engineer
• Joe Mills – engineer, mixing

Companies, etc.

• Recorded At – Capitol Studios
• Recorded At – Columbia Recording Studios, Nashville
• Recorded At – The Lakehouse
• Recorded At – Woodland Studios
• Recorded At – Paradise Studios, Hollywood
• Mastered At – Capitol Mastering
• Pressed By – MCA Pressing Plant, Gloversville

Notes

Release: 1980

Format:  LP, Vinyl

Genre:  Blues rock, Tulsa Sound

Label:  Shelter

Catalog#  203276

Vinyl:  Goed (Excellent)

Cover:  Goed (Excellent)

Prijs: €10,00

Gary Wright - Touch And Gone (1977) (vinyl Lp) - €10,00

posted by ad-vinylrecords

"Touch and Gone" is the fifth album by American rock musician Gary Wright. 

It was released in November 1977 on Warner Bros. Records as the follow-up to The Light of Smiles. 

Wright changed his approach to songwriting for the album by collaborating with other writers on six of the nine songs. 

The album was recorded with only keyboard instruments, aside from vocals, drums, and percussion.

Touch and Gone is Gary's frenetic disco song on an album that is thankfully not disco. 

His songwriting has always been very straightforward and keyboard oriented, delivering simple messages with heartfelt earnestness. 

The only songs that rise above the ordinary energy are Something Very Special and Lost In My Emotions which are respectively blue-eyed funky and soulfully chorused; they should have been the singles. 

Starry Eyed and Sky Eyes are both a little too naively precious gospel tunes. Stay Away and Can't Get Above Losing You are irritatingly repetitous, seemingly intentionally so. Night Ride is a pretty forgettable shuffle. 

The Love It Takes merely an inferior Love Is Alive retread. Download the two songs I recommend, you won't miss the rest.

• Musical Style: The album continues Wright's signature keyboard-based sound, blending progressive rock with, at times, funkier, "spacey" synth elements.

• Production & Reception:  Released in 1977, the album failed to achieve the commercial success of its predecessors, with Wikipedia notes stating it was, according to critics at the time, seen as lacking the impact of his previous work.

• Key Tracks:

o "Touch and Gone" (Title Track): A faster-paced track, sometimes criticized for being "bland" or, alternatively, praised for its synth-funk approach.

o "Night Ride": Noted for its use of bass pedals.

o "Starry Eyed".

o "Something Very Special".

• Context: In his autobiography, Wright mentioned that fear influenced the creative direction of this album, leading him to over-collaborate and lose his own creative focus before later working with George Harrison.

• Critical Reception: Opinions are mixed, with some calling it a "criminally neglected" and "killer album", while others, such as Dave Marsh in The Rolling Stone Record Guide, considered it a dip in quality.

Side one

1. Touch And Gone - 3:58

2. Starry Eyed - 4:10

3. Something Very Special - 3:38

4. Stay Away - 3:36

5. Night Ride - 4:10

Side two

1. Sky Eyes - 4:50

2. Lost In My Emotions - 4:04

3. Can’t Get Above Losing You - 4:02

4. The Love It Takes - 4:10

Personnel

• Gary Wright – lead and backing vocals, Clavinet, Moog bass,^[13] Oberheim synthesizer, Polymoog, organ, Fender Rhodes piano on "The Love it Takes", Moog synthesizer on "Night Ride"
• Bobby Lyle – Fender Rhodes piano on "Stay Away" and "Night Ride", Clavinet on "Night Ride"
• Gary Mielke – Oberheim synthesizer on "Sky Eyes"
• Richard Baker – Oberheim synthesizer on "Something Very Special" and "Stay Away"; Fender Rhodes piano on "Starry Eyed", "Sky Eyes", and "Can't Get Above Losing You"; Polymoog on "The Love it Takes"
• Peter Reilich – Oberheim synthesizer on "Starry Eyed"
• Hiroshi Upshur – Clavinet on "Something Very Special" and "The Love it Takes", Oberheim synthesizer on "Sky Eyes" and "Can't Get Above Losing You"
• Art Wood – drums, percussion
• Clydie King, Venetta Fields, Sherlie Matthews – backing vocals on "Stay Away" and "Lost in My Emotions"

Companies, etc.

• Phonographic Copyright ℗ – Warner Bros. Records Inc.
• Copyright © – Warner Bros. Records Inc.
• Recorded At – Sound Labs, Hollywood
• Recorded At – High Wave Studios
• Mixed At – Sound Labs, Hollywood
• Mastered At – The Mastering Lab
• Published By – High Wave Music, Inc.
• Published By – Wb Music Corp.

Credits

• Art Direction – John Cabalka
• Engineer [Assistant] – Linda Tyler
• Engineer, Mixed By – Mathew Hyde
• Photography By – Jamie Odgers
• Producer – Gary Wright

Notes

Release:  1977

Format:  LP, Vinyl

Genre:  Progressive Rock, Synth-rock

Label:  Warner Bros. Records

Catalog#  WB 56435

Vinyl:  Goed (VG)

Cover:  Goed (VG)

Prijs: €10,00

The Big Dish - Swimmer (1986) (vinyl Lp) - €10,00

posted by ad-vinylrecords

"Swimmer" is the debut studio album from Scottish pop band The Big Dish, which was released by Virgin in 1986.

The group sound is of that jingle-jangly type redolent of the Postcard sound of the time although in hindsight the record is hindered somewhat by 80's production values with at times bounce-around drums and occasionally using synths where strings would do.

Lindsay happily conforms to the dictum of trying to start his songs with good opening lines but invariably follows through with lyrics markedly more interesting than was usual for the time. 

Sure, some of them evince the preciousness and pretentiousness of which Morrissey was the high-priest of the day, but the art-lover in me particularly reveres the wraparound world he portrays in bringing Andrew Wyeth's wonderful painting "Christina's World" to life (Lindsay was a student at Glasgow School Of Art), while the Glaswegian in me also gets the reference to the city's fine museum of its own history the People's Palace in, naturally "Another People's Palace".

These are two of the highlights, along with the afore-mentioned debut single and album opener "Prospect Street" a sort-of anthem-for-doled-youth, cheekily borrowing Springsteen's "Born To Run" riff for ironic effect.

Other tracks of note include the acoustic rumination of "Jealous", the optimistic glide of "Slide" and the two-part sound-experimental "Swimmer". 

If the rest trip and occasionally fall into wallowing self-pity like "The Loneliest Man In The World" or too obvious soda-pop derivation like "Back Door Bound", indeed the album could have shorn a track or three to better overall effect, overall it's still a highly listenable and confident debut which really deserved some sort of success at the time and, failing that, retrospective kudos too.

As it was, the likes of Orange Juice, Aztec Camera and Lloyd Cole fared better at getting onto the charts but there really should have been room for one more in my opinion, then as now.

The album contains three singles: "Slide", "Prospect Street" and "Christina's World". 

"Christina's World" reached No. 84 in the UK Singles Chart in January 1987 and "Slide" peaked at No. 86 in May 1987.

Side one

1.  Prospect Street - 3:21

2.  Christina’s World - 4:10

3.  Slide - 5:06

4.  Big New Beginning - 3:21

5.  Another People’s Palace - 4:46

Side two

1.  Swimmer - 5:22

2.  The Loneliest Man In The World - 3:39

3.  Jealous - 4:29

4.  Her Town - 3:56

5.  Beyond The Pale - 3:57

6.  Second Swimmer - 2:43

The Big Dish

• Steven Lindsay – vocals, guitar, keyboards
• Brian McFie – lead guitar, second guitar
• Raymond Docherty – bass

Additional musicians

• Ian Ritchie – programming, saxophone

Production

• Ian Ritchie – producer (tracks 1–3, 6–7, 9–11, 13)
• Chris Sheldon – engineer (tracks 1–3, 6–7, 9–11, 13)
• Paul Hardiman – producer (track 4)
• Glyn Johns – producer (tracks 5, 12)
• The Big Dish – producers (track 8)

Other

• Gary Wathen – art direction
• Red Ranch – design
• Heather Angel – photography

Notes

Release: 1986

Format: LP, Vinyl

Genre: 

Label: Virgin

Catalog# 207 987-630

Vinyl: Goed (VG)

Cover: Goed (VG)

Prijs: €10,00

Phil Carmen - Wise Monkeys (1985) (vinyl Lp) - €5,00

posted by ad-vinylrecords

Phil Carmen (born Herbert Hofmann, 14 February 1953) is a Swiss musician and producer.

Born in Lucerne, Switzerland, Carmen grew up in Frankfurt am Main, Germany and Lucerne. 

In Lucerne, he went to the Conservatory, but later studied bookkeeping. In 1975, he decided to turn to music. With bassist Mike Thompson (born Marcel Caluzzi), he founded the duo Carmen & Thompson, playing especially country music. 

The single "Time Moves On" reached #31 on the Italian charts in 1980, and in 1981 they appeared at the San-Remo-Festival performing the song "Follow Me".

After seven years of stage experience, Carmen founded the Picar Studios in Stein am Rhein, Switzerland in 1982 and recorded two solo albums which attracted little attention until 1985, when he had a hit with the LP Walkin' the Dog, which reached #3 in the Swiss charts. The single "On My Way In LA" was his greatest success and climbed in the summer of 1985 to #18 in Germany and #9 in Switzerland. 

"On My Way In LA" was also used in the television series Wild West in 1988. 

His 1986 album Wise Monkeys hit #1 on the Swiss charts, while the single "Moonshine Still" reached #10. His last successful album as a solo artist was City Walls (1987), which went to #10 in Switzerland. 

The corresponding promotional tour led to the Live in Montreux album with the same band line up of Brian Auger on organ, Pick Withers and Larry E. Van on drums, Dick Morrissey on sax, Steve Dawson on trumpet, Steve Evens on bass, Alexander Leon on bassoon and Sabine van Baaren, backing vocals.

A nice, laid-back album. Best tracks are "Rain", "Fire in the night", Moonshine still"(which was the single in a edited version) and "Anything you like".

Side one

1.  Rain  (3:31)

2.  Fire In The Night  (6:41)

3.  Linda’s Cafe  (3:36)

4.  Seeing’s Believin’  (3:43)

Side two

1.  Moonshine Still  (6:41)

2.  Anything You Like  (5:56)

3.  Cool Girl  (3:36)

4.  Wise Monkeys  (4:49)

Companies, etc.

• Distributed By – Polygram Musik Vertrieb
• Made By – Metronome Musik GmbH
• Phonographic Copyright ℗ – Metronome Musik GmbH
• Mastered At – Tonstudio Rico Sonderegger
• Recorded At – Picar Studio
• Mixed At – Picar Studio

Credits

• Bass – Peter Keiser
• Bongos – Mostafa Kafai Azimi (tracks: A4, B2, B3)
• Design – Michael Behr
• Drums – Walter Keiser
• Engineer – Ajay Mathur, Phil Carmen, Sir Bee
• Lacquer Cut By – Sonderegger
• Lyrics By, Other [Inspiration] – Simon Dale Sanders
• Photography By – Hans Eggermann
• Producer, Keyboards, Guitar, Composed By, Arranged By – Phil Carmen
• Saxophone – Christian Ostermeier (tracks: A1, A2, A4, B1, B3, B4)
• Trumpet – Mostafa Kafai Azimi (tracks: A1, A2, A4, B1, B3, B4)
• Vocals – Phil Carmen, Sanna (tracks: A2, A4, B1, B2, B4), Yvonne (tracks: A2, A4, B1, B2, B4)

Notes

Released:  1985

Format:  LP, Vinyl

Genre:  Synth-pop, Soft Rock

Label:  Mercury Records

Catalog#  829 051-1

Vinyl:  Goed (G)

Cover:  Goed (G)

Prijs: €5,00

The Deele - Eyes Of A Stranger (1987) (vinyl Lp) - €5,00

posted from ad-vinylrecords

"Eyes of a Stranger" is an album released by the R&B band the Deele in 1987.

The Deele (pronounced like "deal") is an American band from Cincinnati, Ohio who achieved success in the 1980s with such hit singles as "Body Talk" and "Two Occasions".

The third album released by the Deele, it became the band's most commercially successful album, on the strength of what is perhaps the group's best-known hit, the R&B top 5 and pop top ten single, "Two Occasions," along with the R&B top ten follow-up, "Shoot 'Em Up Movies." 

It was shortly after the release of this album that primary group songwriters Kenny "Babyface" Edmonds and L.A. Reid left the band to pursue production work.

With group members Kenny "Babyface" Edmonds and Antoine "L.A." Reid's popularity increasing, and their productions skills in demand, it was inevitable that this would be the final album by the urban funk ensemble. 

The LP featured the very credible "Two Occasions"; as Dee gives a depiction of the song through some metaphoric verses, Babyface tenderly intercedes on the pre-hook in support of Dee's lyric. 

This is the only song on the album that features Babyface on lead. 

In spite of its superb arrangement and production, the quiet-storm classic peaked at number four after 24 healthy weeks on the charts even though it was worthy of a number-one ranking. 

The follow-up single, "Shoot 'em Up Movies," has an arrangement that is reminiscent of the golden doo wop era. The creatively composed number peaked at number ten inside of 15 weeks.

Side one

1.  Two Occasions - 4:17

2.  Shoot ‘Em Up Movies - 4:20

3.  Let No One Separate Us - 4:15

4.  Eyes Of A Stranger - 4:52

Side two

1.  Can-U-Dance - 4:34

2.  She Wanted - 4:40

3.  Hip Chic - 4:15

4.  So Many Thangz - 5:16

5.  Eyes Of A Stranger (Reprise) - 1:18

Companies, etc.

• Phonographic Copyright ℗ – Solar Records, Inc.
• Copyright © – Solar Records, Inc.
• Marketed By – Intercord Ton GmbH
• Licensed To – Intercord Ton GmbH

Credits

• Art Direction – Dennis Lewis
• Engineer [Mixing] – Barney Perkins, Jon Gass
• Engineer [Recording] – Dan Marnien, Fred Howard, Jerry Brown, John Payne, Jon Gass, Jon Guggenheim
• Hair – Freddie Clemons 
• Make-Up – Kelli Anderson
• Mastered By – Wally Traugott
• Model – Swad 
• Photography By – Tim Alexander, Von Thomas
• Producer – L.A. & Babyface

Produced for Deelesongz Inc.

Recorded at Galaxy Sound Studios, Silverlake Studios and Studio Masters, Hollywood, CA

Mixed at Galaxy Sound Studios, Hollywood, CA

Mastered at Capitol Records, Hollywood, CA

Notes

Released: 1987

Format:  LP, Vinyl

Genre:  RnB/Swing

Label:  Solar ‎Records

Catalog#  SOLLP 3609

Vinyl:  Goed (VG)

Cover:  Gebruikerssporen (G)

Prijs: €5,00

Emerson, Lake & Palmer - Love Beach (1978) (vinyl Lp) - €10,00

posted by ad-vinylrecords

"Love Beach" is the seventh studio album by English progressive rock band Emerson, Lake & Palmer. 

It was released on 17 November 1978 by Atlantic Records as their final studio album released prior to their split in the following year. 

By the end of their 1977–1978 North American tour internal relations had started to deteriorate, but the group were contractually required to produce one more album. 

They retreated to Nassau, Bahamas as tax exiles to record Love Beach with lyricist Peter Sinfield who is credited as a co-writer of each track. 

After Greg Lake and Carl Palmer had finished recording their parts they left the island, leaving Keith Emerson to finish the album himself.

Lyricist Peter Sinfield, who had worked with Lake in King Crimson and on his collection of songs on Works Volume 1, was asked by band manager Stewart Young to join them in Nassau and assist Lake in writing the lyrics. 

Though frictions had arisen between Sinfield and Lake by this time Sinfield thought a break would be good for him and accepted; however, because of the limited amount of time he had, he requested that he work alone. 

Upon arrival, Sinfield found the group were barely talking to each other and he left the island when he was finished working on the album. 

Lake and Palmer followed suit after they had put down their parts, leaving Emerson who put "the whole album together ... and sent it off"

The first side of the album consists of short, pop-oriented tracks mostly penned by Lake and Sinfield. Record World said that the single "All I Want Is You" "has a powerful bass line, picturesque lyrics and Lake's eerily powerful vocals."

Side two consists of "Memoirs of an Officer and a Gentleman", a 20-minute track in four distinct parts. It is a concept piece that tells a story of a romance between a soldier and his fiancée during World War II, a shift from their previous fantasy-inspired epics such as "Tarkus" and "Karn Evil 9". 

Sinfield wrote all of the lyrics and later felt relieved to find a lyrical theme that worked for the song given the limited amount of time he had to work. Emerson considered the words "a bit gross".

Within the suite, Emerson quotes two classical compositions. He begins "Love at First Sight" by playing the first eight bars of Frédéric Chopin's Étude Op. 10, No. 1, and he uses Chopin's harmonic structure for the song. 

In "Honourable Company", Emerson plays several militaristic signals including "Rule, Britannia!".

Emerson was particularly upset about the album's title, which Atlantic Records had taken from one of the album's tracks by Lake and Sinfield, itself named after a stretch of beach on Nassau. 

The front cover was taken on an island off Salt Cay, depicting the group as biographer Edward Macan described as "bare-chested late-seventies disco stars".

Side one

1.  All I Want Is You - 2:33

2.  Love Beach - 2:44

3.  Taste Of My Love - 3:31

4.  The Gambler - 3:19

5.  For You - 4:25

6.  Canario - 3:57

Side two

1.  Memoirs Of An Officer And A Gentleman – A Suite In Four Themes - 20:12

     (a)  Prologue / The Education Of A Gentleman  5:33

     (b)  Love At First Sight  5:37

     (c)  Letters From The Front  5:18

     (d)  Honourable Company (A March)  3:45

Emerson, Lake & Palmer

• Keith Emerson – keyboards, synthesizers, production, mixing
• Greg Lake – vocals, guitars, guitar synthesizer, bass, harmonica
• Carl Palmer – drums, percussion

Additional personnel

• Peter Sinfield – lyrics

Technicial personnel

• Jack Nuber and Karl Pitterson – engineering

Singles (released)

• "All I Want Is You/Tiger in a Spotlight" (UK release)
• "Canario/All I Want Is You" (German release)

Notes

Release: 1978

Format:  LP, Vinyl

Genre:  Progressive Rock

Label:  Atlantic

Catalog#  SD 19211

Vinyl:  Goed (VG)

Cover: Goed (VG)

Prijs: €10,00