Saga - In Transit (1982) - €10,00

In Transit is a live album by Canadian progressive rock band Saga. The album was recorded at the Rudi-Sedlmayer-Halle in Munich on February 5, 1982 and at the Tivoli Concert Hall in Copenhagen on February 22, 23, & 24, 1982.
In Transit is one of this Canadian band's best albums, which is not often said about a live release. Saga's progressive edge is toned down by Michael Sadler's serious vocal style, which is both highly energetic and pleasantly soft.
Like Marillion, their songs involve short keyboard stints followed by gracious electric guitar work, with intricate themes being unraveled in the lyrics all the while. This album radiates with the band's electrifying fervor, and by not being too progressive or pretentious, each song ends up being immensely entertaining.
"Humble Stance," with the precision of Ian Crichton's guitar playing, is stunning, as is the drumming on "Wind Him Up." The synthesizer is used wisely on "How Long," faintly shimmering in and out amongst the clarity of Sadler's voice.
Ending with the spirited bombast of "On the Loose," the album as a whole has no weak moments, and not a lot of crowd interference either, which can sometimes tarnish a live album. Saga produces a comfortable balance of progressive elements and straight-ahead rock, so that their music can be appreciated by fans of both styles. In Transit is solid evidence of this.


Side A
A1.  Careful Where You Step - 4:20 
A2.  Don’t Be Late - 6:52 
A3.  Humble Stance - 5:50 
A4.  Wind Him Up - 5:48 

Side B
B1.  How Long - 3:52 
B2.  No Regrets - 3:57 
B3.  A Brief Case - 2:19 
B4.  You’re Not Alone - 5:31 
B5.  On The Loose - 4:19

Recorded Live In Munich, West Germany & Copenhagen Denmark


Notes
Release:  1982
Format:  LP
Genre:  Neo-Progressive Rock
Label:  Polydor
Catalog#  2374200

Vinyl:  V+
Cover:  V+

Prijs: €10,00

The Isley Brothers - The Real Deal (1982) - €10,00

The Real Deal is the 21st album released by The Isley Brothers on August 7, 1982. The album is notable for the group's decision to alter their trademark funk rock sound in the 1970s with the then-current early 1980s electro funk scene dominated by Rick James, Prince, Zapp and The Gap Band.
Following the releases of two 1981 albums, the gold-selling Grand Slam and the lesser-successful Inside You, the Isley Brothers were finding themselves in a rut following a successful nine-year run of gold and platinum albums and a succession of hit singles that had made them one of the top-selling R&B/funk bands of the 1970s.
After hearing the sounds of the Gap Band and Rick James, The Isleys (Kelly, Rudy, Ron, Ernie and Marvin) and brother-in-law Chris Jasper, whose role in the Isleys had grown to the point where he was adding background vocals himself alongside longtime lead vocalist Ron Isley and also added in a vocoder co-lead while playing synthesizers, which sometimes was overdubbed atop Marvin Isley's bass guitar riffs
For their next album, 1982's The Real Deal, the group went for a more minimalist funk sound with the title track, which hit the top 20 of the R&B charts, Ron Isley, Ernie Isley and Chris Jasper showcase "Stone Cold Lover", the vocoderized "Are You With Me", the mid-tempo "It's Alright With Me" (with Chris Jasper being the only other vocalist beside Ron Isley singing on the song) with the smoother pop rock ballad "All in My Lover's Eyes", which peaked at number sixty-seven on the R&B chart in 1983, while Ron and Ernie are showcased heavy on the Jimi Hendrix-inspired "Under the Influence", which showcased a more bluesier approach than the group was used to.
Despite hopes that the album will bring the Isleys back to the top of the charts, it stalled at number 87 on the Billboard 200. A year later the group will bounce back with Between the Sheets, which became the last album to feature Chris Jasper.
Though younger brothers Ernie and Marvin would also depart, forming Isley-Jasper-Isley with Jasper, they eventually returned to the Isley Brothers fold in 1992 following the death of eldest brother Kelly Isley and the exit of Rudolph Isley. Ronald Isley has since remained the group's most consistent of the members.


Side A
A1.  The Real Deal (Part I And II)  (7:03)
A2.  Are You With Me?  (4:48)
A3.  Stone Cold Lover  (5:12)

Side B
B1.  It's Alright With Me (5:32)
B2.  All In My Lover's Eyes  (5:13)
B3.  I'll Do It All For You  (4:20)
B4.  Under The Influence  (5:42)


Notes
Release:  1982
Format:  LP
Genre:  Soul / Funk
Label:   Epic Records
Catalog#   85790
Prijs:  €10,00

Vinyl:  VG+
Cover:  VG+

Chaka Khan - Destiny (1986) - €10,00

Destiny is the sixth studio album by American R&B/funk singer Chaka Khan, released on Warner Bros. Records in 1986.
Destiny was Khan's follow-up to the platinum-selling I Feel for You and was as high tech as its predecessor—symptomatically and characteristically for its period with more producers and sound engineers credited in the liner notes than musicians—but was musically more geared towards rock and pop than soul and R&B, most prominently on tracks such as "So Close", the self-penned title track "My Destiny", "Who's It Gonna Be" and "Watching the World" featuring Phil Collins on drums and backing vocals.
The album spun off five single releases, the first being "Love of a Lifetime", co-written, co-produced and featuring backing vocals by Green Gartside of British band Scritti Politti (US Pop #53, US R&B #21, UK #52). The second single "Tight Fit" was a midtempo R&B ballad, just like "Eye to Eye" from I Feel for You produced by Russ Titelman, which reached #28 on the US R&B chart. The satirical "Earth to Mickey" (When are you going to land?), featuring Khan both singing and rapping (and keyboardist Reggie Griffin rapping in the role of 'Mickey'), was released as the third single in early 1987 and only just made the Top 100 of the R&B chart, peaking at #93. The dramatic ballad "The Other Side of the World", written by Mike Rutherford of Genesis and B. A. Robertson and which had first been released as part of the White Nights soundtrack album in late 1985, reached #81. The fifth single "Watching the World" never charted. The album itself fared slightly better, reaching #25 on Billboard's R&B albums chart, but stalling at #67 on Pop and #77 in the UK. Destiny however gave Khan another Grammy nomination in 1987 for Best R&B Vocal Performance, Female. The track "My Destiny" was used as the theme song for Richard Pryor's motion picture Jo Jo Dancer, Your Life Is Calling.
The closing track, the heavily edited one minute thirty-nine seconds "Coltrane Dreams", a tribute to John Coltrane, had a backing track mainly made up of samples of Khan's voice. The actual full-length version of the track (4:54) was only released as the B-side of the 12" single "Love of a Lifetime".
"Love of a Lifetime", "Tight Fit", "Earth to Mickey" and "Watching the World" were all released as 12" singles including extended remixes.
While the success of Khan's own single releases in 1986 was limited to the R&B charts, she appeared as featured vocalist/vocal arranger on two worldwide pop/rock chart hits that same year, Steve Winwood's "Higher Love" and Robert Palmer's "Addicted to Love"; on the latter she was only credited for 'vocal arrangement' in the liner notes. The song was originally recorded with Khan sharing lead vocals with Palmer but due to contractual problems between Warner Bros. Records and Island Records her own vocals were removed from the final mix.


Side A
A1.  Love Of A Lifetime - 4:20
A2.  Earth To Mickey  - 5:37
A3.  Watching The World  - 4:42
A4.  The Other Side Of The World - 3:39
A5.  My Destiny - 4:38

Side B
B1.  I Can’t Be Loved - 4:30
B2.  It’s You - 4:17
B3.  So Close - 4:17
B4.  Tight Fit - 4:37
B5.  Who’s It Gonna Be - 4:35
B6.  Coltrane Dreams - 1:38


Notes
Release:  1986
Format:  LP
Genre:  Soul, Funk
Label:  Warner Bros. Records
Catalog#  925425-1
Prijs:  €10,00

Vinyl:  Good
Cover:  Good

The Cure - 17 Seconds (1980) - €10,00

Seventeen Seconds is the second studio album by English rock band the Cure, released on 22 April 1980 by Fiction Records. The album marked the first time frontman Robert Smith co-produced with Mike Hedges. After the departure of original bassist Michael Dempsey, Simon Gallup became an official member along with keyboardist Matthieu Hartley. The single "A Forest" was the band's first entry in the top 40 of the UK Singles Chart.
Retrospectively, Seventeen Seconds has been considered an early example of gothic rock. Its "gloomscapes" are considered to be "a sonic touchstone" for the forthcoming movement. The track "The Final Sound" is "so positively gothic you could almost be fooled into believing that it was lifted from the soundtrack of some Hammer horror gorefest". The album has also been described as new wave.
It's hard to believe that the Cure could release an album even more sparse than Three Imaginary Boys, but here's the proof. The lineup change that saw funkstery bassist Michael Dempsey squeezed out in favor of the more specific playing of (eventually the longest serving member outside Robert Smith) Simon Gallup, and the addition of keyboardist Mathieu Hartley resulted in the band becoming more rigid in sound, and more disciplined in attitude.
While it is not the study in loss that Faith would become, or the descent into madness of Pornography, it is a perfect precursor to those collections. In a sense, Seventeen Seconds is the beginning of a trilogy of sorts, the emptiness that leads to the questioning and eventual madness of the subsequent work.
Mostly forgotten outside of the unforgettable single "A Forest," Seventeen Seconds is an even, subtle work that grows on the listener over time. Sure, the Cure did better work, but for a new lineup and a newfound sense of independence, Robert Smith already shows that he knows what he's doing.
From short instrumental pieces to robotic pop, Seventeen Seconds is where the Cure shed all the outside input and became their own band.


Side A
A1.  A Reflection - 2:12 
A2.  Play For Today - 3:41 
A3.  Secrets - 3:20 
A4.  In Your House - 4:08 
A5.  Three - 2:36 

Side B
B1.  The Final Sound - 0:52 
B2.  A Forest - 5:55 
B3.  M - 3:04 
B4.  At Night - 5:54 
B5.  Seventeen Seconds - 4:00


Notes
Release:  1980
Format:  LP
Genre:  New Wave
Label:  Polydor Records
Catalog#  2442174

Vinyl:  Good
Cover:  Good

Prijs: €10,00

Eric Clapton - 461 Ocean Boulevard (1974) - €10,00

461 Ocean Boulevard is the second studio album by Eric Clapton that marked his return to recording after recovering from a three-year addiction to heroin. The album was released in late July 1974 for RSO Records, shortly after the record company released the hit single "I Shot the Sheriff" in early July the same year. The album topped various international charts and sold more than two million copies.
The album title refers to the address on Ocean Boulevard in Golden Beach, Florida where Clapton lived while recording the album.
The street address of the house was changed after the album's release due to fans flocking to the property. The house has since been rebuilt and the street address restored.

By opening the first side with 'Motherless Children' and closing it with 'I Shot the Sheriff', Clapton puts the rural repose of his laid-back-with-Leon music into a context of deprivation and conflict, adding bite to soft-spoken professions of need and faith that might otherwise smell faintly of the most rural of laid-back commodities, bullshit. And his honesty has its reward: better sex.
The casual assurance you can hear now in his singing goes with the hip-twitching syncopation he brings to Robert Johnson's 'Steady Rolling Man' and Elmore James's 'I Can't Hold Out', and though the covers are what make this record memorable it's on 'Get Ready', written and sung with Yvonne Elliman, that his voice takes on a mellow, seductive intimacy he's never come close to before.

461 Ocean Boulevard is Eric Clapton's second studio solo album, arriving after his side project of Derek and the Dominos and a long struggle with heroin addiction.
Although there are some new reggae influences, the album doesn't sound all that different from the rock, pop, blues, country, and R&B amalgam of Eric Clapton. However, 461 Ocean Boulevard is a tighter, more focused outing that enables Clapton to stretch out instrumentally.
Furthermore, the pop concessions on the album -- the sleek production, the concise running times -- don't detract from the rootsy origins of the material, whether it's Johnny Otis' "Willie and the Hand Jive," the traditional blues "Motherless Children," Bob Marley's "I Shot the Sheriff," or Clapton's emotional original "Let It Grow."
With its relaxed, friendly atmosphere and strong bluesy roots, 461 Ocean Boulevard set the template for Clapton's '70s albums.


Side A
A1.  Motherless Children  (4:55)
A2.  Give Me Strength  (2:51)
A3.  Willie and the Hand Jive  (3:31)
A4.  Get Ready  (3:50)
A5.  I Shot the Sheriff  (4:30)

Side B
B1.  I Can’t Hold Out  (4:10)
B2.  Please Be With Me  (3:25)
B3.  Let It Grow  (4:57)
B4.  Steady Rollin’ Man  (3:14)
B5.  Mainline Florida  (4:05)


Notes
Release:  1974
Format:  LP (Gatefold)
Genre:  Blues  Rock
Label:  RS0 Records
Catalog#  2394138

Vinyl:  Good
Cover:  Good

Prijs: €10,00

Elkie Brooks - Two Days Away (1977) - €10,00

Elkie Brooks (born Elaine Bookbinder, 25 February 1945 is an English singer.
She was born in the UK in 1945 and spent most of the 1960s doing the cabaret circuit. She also worked with the Beatles, Small Faces and Animals. In 1971 she joined the group Vinegar Joe which included the vocals of Robert Palmer. Her husband Pete Gage was also a member.
When the group disbanded she went solo with A&M Records.
Brooks' breakthrough second album, released in 1977, propelled her into solo stardom in the UK and Europe. Including the top ten hits "Pearl's a Singer" and "Sunshine After the Rain", it had a distinct American sound largely due to the work of the legendary writers and producers Jerry Leiber and Mike Stoller. It remains one of Brooks' finest albums.


Side A
A1.  Love Potion No. 9 - 3:42
A2.  Spiritland - 3:19
A3.  Honey, Can I Put On Your Clothes - 3:22
A4.  Sunshine After The Rain - 3:23
A5.  Pearl’s a Singer - 3:39

Side B
B1.  Mojo Hannah - 3:00
B2.  Do Right Woman, Do Right Man - 3:28
B3.  You Did Something For Me - 2:50
B4.  Nightbird - 3:06
B5.  Saved - 2:40


Notes
Release: 1977
Format: LP
Genre:
Label: A&M Records
Catalog# AMLH 68409

Vinyl: Good
Cover: Good

Prijs: €10,00

Santana - Shango (1982) - €10,00

Shangó is the thirteenth studio album by Santana. The album reached #22 on the Billboard 200 album charts.
Shango is notable for featuring the return, in the role of co-producer and co-songwriter, of original Santana keyboardist Greg Rolie. The main producer, however, was Bill Szymczyk (James Gang, Eagles), who gave Santana an unusually sharp rock sound resulting in two more hit singles, "Hold On", and "Nowhere to Run".

This is an exceptional album from start to finish. Shango also features some of Carlos' tightest guitar work he has ever recorded. The first time I was exposed to Santana was back in 1982 when the video for "Hold On" was world premiered on MTV (when MTV was "MTV" and not "SHITTV" like it's been since the late eighties. I remember being enchanted by the theme of the video, the whole voodoo motif, and of course the song itself. I first bought this album back in 1992 and it has been one of my favourites ever since. 
The opening track is "The Nile" which is my favourite cut on the album and exemplifies the cohesiveness that this particular Santana ensemble demonstrated so consummately. Carlos' solo is one of my all time favs and vocalist Alex Leigertwood just exudes soul on this one. "Hold On"of course is an all time classic and includes a fabulous "stabbing" guitar solo akin to old friend and cohort John McLaughlin. 
"Night Hunting Time" is a solid rock n' soul cut that conjures up images of a night out in Tijuana. "Nowhere to Run" is an amazing track that features another fab guitar bit compliments of Carlos where the rest of the band stops at 3 points in the segment. "Nueva York" is an astoundingly uplifting instrumental where the band is joined by former member Greg Rolie on organ and is reminiscent of Santanas' 1969 debut album. "Oxun" and "Body Surfing" are also replete with stellar instrumentation and vocals. 
The cover of "What Does it Take" is second to none and "Let Me Inside" is a funk cut that flows flawlessly. "Warrior/Shango" are my second favourite cuts on this album. The former is a guitar driven instrumental that is unlike anything they have ever recorded and is impeccable from start to finish. 
The latter is an evocative percussion/chant piece that is the ideal closer for this particular album. "Shango" is the epitome of collective virtuosity and superior musicianship and may be one of most undeservedly overlooked and underrated recordings of all time.

Carlos Santana once likened his penchant for exploring different musical genres to a mountain climber’s obsession with mountains.
So long as part of a mountain range — or the musical equivalent — lies uncharted, there remains a challenge to be met. Over the course of fourteen albums, Santana and the various versions of his band have indeed explored many areas of contemporary music.
The music on Shangó, much like the group’s 1981 smash, Zebop!, ranges from Latino chants and instrumentals to near-jazz — here, with a bit more synthesized polish to it — to rock, including an upbeat cover of Junior Walker’s “What Does It Take (to Win Your Love).” As usual, the percussion section churns impeccably and Santana’s guitar-playing shines.


Side A
A1.  Hold On - 4:54
A2.  Night Hunting Time - 4:42
A3.  Nowhere To Run - 3:58
A4.  Nueva York - 4:57

Side B
B1.  Oxun (Oshun) - 4:12
B2.  Body Surfing - 4:25
B3.  What Does It Take (To Win Your Love) - 3:24
B4.  Let Me Inside - 3:31
B5.  Warrior - 4:21
B6.  Shango - 1:41


Notes
Release:  1982
Format:  LP
Genre:  Latin Rock
Label:  CBS Records
Catalog#  85914
Prijs:  €10,00

Vinyl:  Good
Cover:  Good

Aretha Franklin - Jump To It (1982) - €10,00

Jump to It is the twenty-eighth studio album by American singer Aretha Franklin, produced by Luther Vandross and released in July 26, 1982.
Aretha Franklin scored some hits with this early- '80s album and managed to make concessions to urban contemporary tastes without totally distorting her classic soul sound. While it's certainly not in the class of past recordings, the title cut gave Franklin her first number one of the '80s, and "Love Me Right" was a decent follow-up.
In 1982 Davis approached the then-upcoming Luther Vandross to produce Franklin’s next album. Whilst promoting his debut album Never Too Much, Vandross was quoted in Rolling Stone magazine as wanting to produce Franklin.
Davis had read the article and made Luther an offer.  It was an inspired choice: Vandross, a longtime backing singer for the likes of Chic, Bette Midler and Roberta Flack, was finally finding fame with the release of his debut solo album along with his appearance with the studio group Change on their debut singles ‘The Glow of Love’ and ‘Searching’.
Luther had successfully navigated soul in the post-disco area, and initiated the adult contemporary genre in black music with his super-romantic ballads, in particular his version of ‘A House is not a Home‘, arguably his first real masterpiece.
Vandross’s new found fames and infectious soul grooves made him perhaps the perfect choice to revive the career of the Queen of Soul.
He was a fan of the great female voices in soul, growing up adoring the vocals of Patti LaBelle (he was rumoured to have started her first ever fan club), Dionne Warwick (he once lied about being related to her at college), and Aretha herself.
Vandross began work on the album with bassist Marcus Miller, an equally talented musician and songwriter who would go on to become one of the most respected musicians in jazz and soul. Yet things didn’t get off to a glowing start.
In an interview with David Ritz, who ghost-wrote Aretha’s autobiography, then his own, more revealing biography of the singer, Aretha had called Luther to discuss working together. Luther excitedly grabbed the phone, answering simply “Aretha?” to which the Queen of Soul replied cooly, “Yes, this is Miss Franklin, is this Mr Vandross?”
Eventually, the two got into the studio together, but it wasn’t an easy relationship. Aretha, the Queen of Soul, seemed to resent the approach Luther had in the studio, particularly for telling her how and when to sing. In an interview with David Ritz, quoted in his excellent biography on Franklin, Luther remembered that “There were quite a few disagreements. Aretha doesn’t like her vocals criticised – and understandably. Hey, she’s Aretha Franklin”.
The Queen of Soul was also unsure of the title track at first, claiming that the the introduction was too long and listeners would switch off before they heard her sing. Luther claimed otherwise, claiming the listener would wait, being hooked on the infectious groove he and Miller had devised. In the same interview with David Ritz, Luther said:

“I wanted to establish the groove with a long instrumental intro. Aretha didn’t think the listener would wait that long to hear her voice. I assured her that the listener would be hooked on the groove and would be delighted to wait. She wanted to come in sooner. I said no. “Who’s the one with the most hits here?” she asked. Of course the answer was her. I just had one; she had dozens. “But who’s the one with the latest hit?” I asked. She didn’t answer. She stormed out.”

Eventually Aretha returned to the studio, and the Jump To It album, as well as a friendship between Luther and Aretha (forged partially on their love of junk food) was born.
The title track was a smash: it reached number one on the billboard Hot Soul Singles chart for a month, and helped reinvigorate her career. In an interview quoted by Vandross biographer Craig Seymour, Aretha, no doubt with the benefit of hindsight, claimed that the title song “had all the sugar and spice I required… The groove was extra mellow and the message right on time.”


Side A
A1.  Jump To It  - 6:40 
A2.  Love Me Right  - 4:10 
A3.  If She Don’t Want Your Lovin’  - 5:36 
A4.  This Is For Real  - 4:45 

Side B
B1.  (It’s Just) Your Love  - 4:10 
B2.  I Wanna Make It Up To You  - 6:00 
B3.  It’s Your Thing  - 4:10 
B4.  Just My Daydream  - 5:55


Notes 
Release:  1982
Format:  LP
Genre:  Soul
Label:  Arista Records
Catalog#  204742

Vinyl:  Good
Cover:  Good

Prijs: €10,00

Dire Straits - Dire Straits (1978) - €10,00

Dire Straits is the debut studio album by the British rock band Dire Straits released on 7 October 1978 by Vertigo Records internationally.
Dire Straits' minimalist interpretation of pub rock had already crystallized by the time they released their eponymous debut.
Dire Straits, an English quartet led by singer songwriter Mark Knopfler, plays tight, spare mixtures of rock, folk and country music with a serene spirit and witty irony. It’s almost as if they were aware that their forte has nothing to do with what’s currently happening in the industry, but couldn’t care less.
As a writer, Knopfler pens terse little narratives about the mundane problems of his brethren: women trouble, money trouble, one’s-place-in-the-world trouble. He’s often as clever as he is banal, so a nice line (“I need a little water of love”) can be followed by a silly one (“You know it’s evil when you’re living alone”), or vice versa. If anything, living alone is what Dire Straits is about, and it sounds like a good life.
But Knopfler isn’t interested in writing songs with profound messages. In fact, the only time he tries it (“In the Gallery”), the message turns out to be a petulant attack on avant-gardism — i.e., a real yawn. No, Dire Straits get their effects by precise; well-played contrasts: the way a brisk bit of folk-rock is entitled “Sultans of Swing” and not only boasts an inescapable hook but also a goony, Bob Dylan-like snarl in its vocal. “Setting Me Up” sports a standard mangled-romance theme, but the verbiage is masticated by Knopfler’s growling, annoyed singing, with a giddy country-guitar solo tacked on at the end. It’s a heavenly number, funny and bitter.


Side A
A1.  Down To The Waterline - 4:01 
A2.  Water Of Love - 5:27 
A3.  Setting Me Up - 3:20 
A4.  Six Blade Knife - 4:12 
A5.  Southbound Again - 2:59 

Side B
B1.  Sultans Of Swing - 5:52 
B2.  In The Gallery - 6:19 
B3.  Wild Wild West - 4:43 
B4.  Lions - 5:07


Notes
Release:  1978
Format:  LP
Genre:   Pop
Label:  Vertigo Records
Catalog#  6360162

Vinyl:  Good
Cover:  Good

Prijs: €10,00

The Manhattans - The Manhattans (1976) - €10,00

The Manhattans is the seventh studio album by American vocal group, The Manhattans, released in 1976 through Columbia Records. This album has been Certified Gold by the R.I.A.A.
The six-man R&B vocal combo the Manhattans deliver one of their finest efforts on this eponymously titled release from 1976.
The platter is highlighted by the chart-topping crossover pop hit "Kiss and Say Goodbye," which helped push the album into the Top 20.
Under the direction of Philly groove master Bobby Martin, the group utilizes its streetwise doo wop delivery on a mixed bag of sounds. These include uptempo numbers -- such as the opener "Searching for Love" and "How Can Anything So Good Be So Bad for You?" -- as well as orchestrated sides "We'll Have Forever to Love"and the poignant remake of "Hurt," which was issued as the follow-up to the infidelity anthem "Kiss and Say Goodbye." Although the disco-era rhythms certainly add a bit of nostalgia, at the center of The Manhattans is the sextet's deceptively complex -- and at times understated -- vocal blend. Examples abound, and include the bluesy and soulful "Take It or Leave It" and "La-La-La Wish Upon a Star," which is reminiscent of the Delphonics or any number of other Philadelphia International Records or Gamble & Huff productions.
One of the more distinguishing features of the band is Winfred "Blue" Lovett, whose husky Barry White-esque pipes provide a sensual tether to the lighter vocal harmonies, most notably on "Wonderful World of Love" and the definitive narrative of "Kiss and Say Goodbye."


Side A
A1. Searching For Love - 4:38
A2. We’ll Have Forever To Love - 3:09
A3. Take It Or Leave It - 3:17
A4. Reasons - 3:29
A5. How Can Anything So Good Be So Bad For You? - 3:10

Side B
B1. Hurt - 3:03
B2. Wonderful World Of Love - 2:47
B3. If You’re Ever Gonna Love Me - 3:08
B4. La La La Wish Upon A Star - 3:27
B5. Kiss And Say Goodbye - 4:28


Companies, etc.

• Phonographic Copyright (p) – CBS Inc.
• Copyright (c) – CBS Inc.
• Recorded At – Sigma Sound Studios
• Recorded At – Columbia Recording Studios

Credits

• Arranged By, Conductor – Bert DeCoteaux
• Design – John Berg, Marie de Oro
• Engineer – Don Meehan, Kenny Present
• Photography By – Shig Ikeda
• Producer – Bobby Martin

Notes
Release: 1976
Format: LP
Genre:  Soul
Label: CBS Records
Catalog# 81513

Vinyl:  Goed
Cover:  Goed

Prijs: €10,00

Don Henley - I Can´t Stand Still (1982) - €10,00

I Can't Stand Still is the debut solo studio album by American musician Don Henley, drummer and co-lead vocalist for the Eagles. It was released in 1982 by Asylum Records. Henley, Danny Kortchmar and Greg Ladanyi produced the album.
Don Henley's first solo album may still have had the ghost of the Eagles lingering in the corners, but for the most part it showcases his stalwart partnership with producer and songwriter Danny Kortchmar.
Lyrically, Henley's songs are a tad weak, but for an inaugural album from a man who had spent most of his career surrounded by multi-talented musicians and writers, on the whole it fairs quite well. His material deals with the hardships of love, the fickleness of the media, and the declining state of education, all induced with a friendly pop sound.
The title track, a trouble-in-paradise love song, has Henley pouring his heart out with sugary angst, but is helped along with some avid keyboard work. "Dirty Laundry" is Henley's attack on the shallowness of the network newsperson that peaked at number three on Billboard's Top 40. Its bouncy chorus and contagious organ riffs proved that his role as a musician could conform to any style.
His social commentary comes into fruition with "Johnny Can't Read," loosely based on the increasing amount of high-school dropouts at the time and helped bolster Henley's reputation as a musician with a concern for pressing issues.
Numerous musicians help him out on this album as well, including former Eagles members Timothy B. Schmidt, Joe Walsh, and J.D. Souther; drummer Jeff Porcaro and guitarist Steve Lukather, both from Toto; and even Warren Zevon. Don Henley's adept combination of lyrical wit and thought-provoking staidness begins to materialize on I Can't Stand Still, paving the way for an extremely accomplished solo career.


Side A
A1.  I Can’t Stand Still - 3:33
A2.  You Better Hang Up - 3:21
A3.  Long Way Home - 5:28
A4.  Nobody’s Business - 3:43
A5.  Talking to the Moon - 4:39

Side B
B1.  Dirty Laundry - 5:26
B2.  Johnny Can’t Read - 3:22
B3.  Them and Us - 4:01
B4.  La Eile - 0:52
B5.  Lilah - 4:09
B6.  The Unclouded Day- 3:36


Notes
Release: 1982
Format:  LP
Genre:  Rock
Label:  Asylum Records
Catalog#  AS 52365

Vinyl:  Good
Cover:  Good

Prijs: €10,00

Paul Simon - One Trick Pony (1980) - €7,99

One-Trick Pony, Paul Simon's fifth solo studio album, was released in 1980. It was Simon's first album for Warner Bros. Records, and his first new studio album since 1975's Still Crazy After All These Years. His back catalog from Columbia Records would also move to Warner Bros. as a result of his signing with the label.
Paul Simon's One-Trick Pony was released concurrently with the film of the same name, in which Simon also starred. Despite their similarities, the album and film are musically distinct: each features different versions of the same songs, as well as certain songs that appear exclusively on either the film or the album.
The album is best known for the Grammy-nominated track "Late in the Evening" which was a hit for Simon in 1980, peaking at No. 6 in the United States. The title track was also released as a single and became a U.S. Top 40 hit.
Both songs were also Top 20 hits on the U.S. Adult Contemporary chart. Two of the tracks (the title song and "Ace in the Hole") were recorded live at the Agora Theatre and Ballroom in Cleveland, Ohio in September 1979. The rest are studio cuts.
Though it was released to coincide with the opening of the film One-Trick Pony, which Paul Simon wrote and starred in, the One-Trick Pony album is not a soundtrack, as it is sometimes categorized, at least, not exactly. If it were, it might contain the Paul Simon song "Soft Parachutes" and other non-Simon music featured in the movie.
Instead, this is a studio album containing many of the movie songs, some of them in the same performances (two were cut live at the Agora Club in Cleveland). The record is not billed as a soundtrack, but a sleeve note reads, Anyway, if Simon was in fact writing songs for Jonah, his movie character (as seems true of songs like "Jonah," "God Bless the Absentee," and "Long, Long Day"), he intended that character to take a somewhat less considered lyrical viewpoint than Paul Simon generally does, but to be even more enamored of light jazz fusion than Paul Simon had been on his last album, Still Crazy After All These Years.
Tasty licks abound from the fretwork of Eric Gale, Hiram Bullock, and Hugh McCracken, and the rhythm section of Steve Gadd, Tony Levin, and Richard Tee is equally in the groove. This is the closest thing to a band album Simon ever made, and it contains some of his most rhythmic and energetic singing.
But it is also his most uneven album, simply because the songwriting, with the exception of the title song and the ballads "How the Heart Approaches What It Yearns" and "Nobody," is not up to his usual standard.


Side A
A1.  Late In The Evening - 4:02
A2.  That’s The Way God Made The Movies - 3:38
A3.  One-Trick Pony - 3:54
A4.  How The Heart Approaches What It Yearns - 2:49
A5.  Oh, Marion - 4:00

Side B
B1.  Ace In The Hole - 5:43
B2.  Nobody - 3:33
B3.  Jonah - 3:30
B4.  God Bless The Absentee - 3:15
B5.  Long, Long Day - 3:48


Notes
Release: 1980
Genre:  Pop
Format:  LP
Label:  Warner Bros. Records
Catalog#  WB 56846

Vinyl:  Goed
Cover:  Voorkant Beschadigd

Prijs: €7,99

Grace Jones - Portfolio (1977) - €10,00

Portfolio is the debut studio album by Grace Jones, released in 1977 by Island Records. It spawned her first big hit, "La Vie en rose".
Having enjoyed a successful modelling career in Paris and New York in the early 1970s, Jones released a series of singles throughout 1975–1976. None of them, however, managed to succeed in mainstream charts. Jones secured a record deal with Island Records in 1977 and found wider recognition only with her debut Island album, Portfolio.
The album was recorded and mixed in Sigma Sound Studios in Philadelphia, and released in autumn 1977 as the first of three albums made with the legendary disco record producer Tom Moulton.
Side one of the original vinyl album is a continuous disco medley covering three songs from Broadway musicals, "Send in the Clowns" by Stephen Sondheim from A Little Night Music, "What I Did for Love" from A Chorus Line and "Tomorrow" from Annie.
Side two opens with Jones' very personal re-interpretation of Édith Piaf's "La Vie en rose" and continues with three new recordings, two of which were co-written by Jones herself. The Italian release would omit "Sorry" and "That's the Trouble", adding an extended, over 7-minute-long version of "I Need a Man" instead. The album's artwork was designed by Richard Bernstein, an artist working for Interview, who would later contribute to Jones' two next albums' artworks and with whom the singer would re-team up for the 1986 album Inside Story.

"I Need a Man" was Jones' debut single, originally released in 1975 by the minor French label Orfeus. It failed to make any chart impact until two years later, when it was re-mixed and released via the Beam Junction label, becoming a number-one dance hit in the US and introducing Jones to club audiences, primarily gay.
The second single, "Sorry", was released a year prior to the Portfolio album, and was a modest success on the US singles chart. Its B-side track, "That's the Trouble", also received a separate A-side release. Both songs were Jones' first forays into songwriting.
"La Vie en rose" was released as a single in autumn 1977 and became the biggest hit from Portfolio, having charted in the French and Italian top 5. When re-released in 1983, it reached the top 5 in the Netherlands.
"What I Did for Love" became a top 10 dance hit in the US.


Side A
A1.  Send in the Clowns  (7:33)
A2.  What I Did for Love  (5:15)
A3.  Tomorrow  (5:48)

Side B
B1.  La Vie en rose  (7:27)
B2.  Sorry  (3:58)
B3.  That's the Trouble  (3:36)
B4.  I Need a Man  (3:23)


Notes
Release:  1977
Format:  LP
Genre:  Disco
Label:  Island Records
Catalog#  25579 XOT

Vinyl:  Good
Cover:  Good

Prijs: €10,00

Ray Parker Jr. & Raydio - A Woman Needs Love (1981) - €10,00

“A Woman Needs Love” is the fourth and final album by the group Raydio, led by guitarist/singer/songwriter Ray Parker, Jr.
“A Woman Needs Love “followed “Two Places at the Same Time” as the second of two albums credited to Ray Parker Jr. & Raydio.
It was the first time Parker got the front sleeve to himself a signal that he had become the focal point, even though Raydio was his baby from the beginning. While Arnell Carmichael continued to provide some lead and background vocals, Parker stepped up making the most out of his limited range and performed the entirety of the lead on the album's first single.
"A Woman Needs Love (Just Like You Do)," a clever and efficient slice of adult contemporary bubblegum R&B, addressed men, appealed to women, and threw in a shrewd reference to "Jack and Jill." It topped Billboard's Soul chart and came three spots short of topping the Hot 100.
The album's other two charting singles  "It's Your Night," a soft funk number featuring Cheryl Lynn, and the wistful "That Old Song," where Gene Page-arranged strings play as much of a role as Parker and Carmichael didn't fare nearly as well.
Other notables include the very Heatwave/Rob Temperton-like "All in the Way You Get Down," as well as "Still in the Groove," a sequel to the previous year's instrumental funk hit "For Those Who Like to Groove." As usual, RPJ's likable, sly, and affable nature makes the lesser material go down easy.


Side A
A1.  A Woman Needs Love (Just Like You Do)  (4:01)  
A2.  Its Your Night  (6:36)  
A3.  That Old Song  (4:19)  
A4.  ll In The Way You Get Down  (3:51) 

Side B
B1.  You Can't Fight What You Feel  (5:45)  
B2.  Old Pro  (4:42)  
B3.  Still The Groove  (6:18)  
B4.  So Into You  (4:28)


Notes
Release:  1981
Format:  LP
Genre:  Soul
Label:  Arista Records
Catalog#  203414

Vinyl:  Good
Cover:  Good

Prijs: €10,00

Dillinger - CB 200 (1976) - €10,00

Lester Bullock (born 25 June 1953), better known by the stage name Dillinger, is a Jamaican reggae artist. He was part of the second wave of deejay toasters who rose to prominence during the mid-1970s.
CB 200 is his second studio album. It was released in 1976 via Island Records, making it the musician's first album on the label.
Recording sessions took place at Channel One Recording Studios in Kingston. Production of the album was entirely handled by Joseph "Jo Jo" Hoo Kim.
The album peaked at number 7 in the Netherlands and spawned a hit single "Cokane in My Brain", which became a number-one single in the Netherlands.


Side A
A1.  C.B. 200 - 2:37
A2.  No Chuck It - 2:56
A3.  Cocaine in My Brain - 2:47
A4.  The General - 3:00
A5.  Power Bank - 3:13

Side B
B1.  Plantation Heights - 2:57
B2.  Race Day - 3:58
B3.  Natty Kick Like Lightning - 2:31
B4.  Buckingham Palace - 4:14
B5.  Crankface - 2:42


Notes
Release:  1976
Format:  LP
Genre:  Reggae
Label:  Island Records
Catalog#  ILPS 9385

Vinyl:  Good
Cover:  Good

Prijs: €10,00