Various - The Story Of The Blues (1969) - 2Lp

A documentary history of the blues on record compiled by Paul Oliver

When writer and blues scholar Paul Oliver first came along, the genre he specialized in was something of a mystery to the music audience. Young listeners hearing the Rolling Stones do an old Delta blues number on the group's very first record usually thought this was some kind of original concept, not a tribute to a great Afro-American art form which at that point had been languishing in obscurity. The growing popularity and staying power that has accompanied the blues into the millennium has of course brought with it enormous amounts of additional research and the release of old and new blues material on what can only be considered a massive scale. The work of Oliver has certainly lost much of what used to make it exclusive. Fans no longer have to turn to his productions or books out of desperation. This double-album set may have been one of the best blues compilations available at one point, but that was only because that particular bin was almost completely empty. With so much other material subsequently available, consumers are free to look at this set with a sneer forming on their lips that may rival that of Mick Jagger. Of course there is nothing wrong with any of the 32 tracks that are included; it is all perfectly good music and some of it is downright brilliant.

The rating above, then, is for the music performances. Judged purely as a historical document, this set has severe problems and should be rated much lower. The problem was that Oliver had come to his own conclusions about blues history and used whatever tracks he had access to contractually to try to shore up these points. For the most part, the seasoned blues listener would see this set not as a thorough history but as a collection of country blues tracks, although there are short excursions into the area of classic female blues singers such as Bessie Smith and a slight nod toward the electric urban blues sound. Oliver himself was much less fond of the latter development in blues than he was the work of solo acoustic artists, which, combined with problems licensing material, makes his urban blues section more like a trip to the suburbs. There is no Muddy Waters, for example, just a track with some of his backup players. Trouble starts immediately with the very first piece on the album, an untitled performance recorded in Ghana in 1964. That the blues "came from Africa" was always one of this writer's preoccupations. Nobody will argue that the ancestors of the people that played the blues came from Africa, or that close study of African music will result in finding the occasional track with something of a bluesy sound, especially if one hunts for mystical connections to the one-chord grooves of John Lee Hooker. Yet in terms of really understanding different forms of music, the reality is that the incredibly diverse world of African music and American blues are extremely different things. The aspects the two music worlds have in common are components of musical style and construction that occur with equal regularity in many other kinds of music. There are sections of Mozart that use what can be considered blues chord progressions, any one of which could have replaced this African track as "proof" that the blues came from Austria. No, this track is included just the way it would be in a hack college music course, so it looks like someone has done some research. One track of African music doesn't prove or contribute anything positive to the musical flow of the tracks. Presenting a performance that was recorded in the mid-'60s as evidence of influence over music from the '20s is also ridiculous, unless one is plotting a science fiction film. An unaccompanied field holler would have made more historical sense. As the actual performances of blues begin with a 1928 cut by Mississippi John Hurt, the listener is presented for the next three sides with an extended series of country blues performances, with a dollop of classic jazz and blues in the center. Each side has a different theme. The third side is entitled "The '30s: Urban and Rural Blues," but doesn't have a single track that would be considered urban blues by any stretch of the imagination. Memphis Minnie, performing in duo with guitarist Little Son Joe, is the only thing that even comes close. As is typical with Oliver's sloppy documentation, it wasn't even recorded in the '30s. Most of the tracks on this side would fit just as easily on the first side, which is called "The Origin of the Blues." In fact, many blues fans would put the work of artists such as Bukka White and Robert Johnson, classified here as "urban and rural blues," as much closer to African music than the playing of Mississippi John Hurt, whose fingerpicking tunes sometimes don't even use blues progressions. The tracks on the final side are identified as "World War II and After," but as Walter Mondale said to Ronald Reagan, "Here we go again." Two of these eight tracks were recorded well before World War II and are among the three songs here that once again are country blues and nothing more.

Presenting artists such as Blind Boy Fuller and Sonny Terry as representing some kind of postwar modern blues sound is ludicrous. The Big Joe Williams track -- and Oliver misidentifies him as Joe Williams, creating confusion with the Count Basie ballad singer and defying the unwritten law of using an artist's "Big" nickname at all times -- is an excellent example of country blues developing into urban blues with the addition of a light drum sound. Instead, Oliver chooses it as an example of a modern blues sound, which it is not. The three tracks from the '60s that close out the set are fine music, but add to the confusion. Why nothing from the '50s, a heyday of urban blues recordings? One assumes this was a problem of licenses, but a writer attempting a historical overview could have at least mentioned such hassles. The final track is a late-'60s recording by Johnny Shines, and Oliver completely misses the train in his prediction that this artist, newly rediscovered and back in the studio as a result of the '60' resurgence in blues interest, would wind up mostly playing for the amusement of his friends. Oliver is like a shopkeeper who comes to work in the morning and finds the contents of his business have been turned upside down. He frantically tries to clean up, but the place is still a mess when the doors open. Nonetheless, the material here is fine, some is downright classic, and all will make enjoyable listening no matter what order it is presented in. Unless one wants to reach a state of confusion about blues history, skipping the liner notes and ignoring the subheadings and other so-called "information" is advised. Changing the programming so that it is at least chronological and replacing the African piece with another blues track would be big improvements.



Side A (1927-1964)
A1.  Fra-Fra Tribesmen – Yarum Praise Songs  (2:56)
A2.  Mississippi John Hurt – Stack O’ Lee Blues  (2:45)
A3.  Blind Willie McTell – Travelin’ Blues  (3:18)
A4.  Charley Patton Stone – Pony Blues  (2:49)
A5.  Blind Lemon Jefferson – Black Snake Moan  (3:01)
A6.  Leadbelly – Pig Meat Papa (3:15)
A7.  Texas Alexander – Broken Yo-Yo (3:02)
A8.  Peg Leg Howell – Broke And Hungry Blues  (3:19)

Side B (1926-1936)
B1.  Barbecue Bob And Laughing Charley – It Won’t Be Long Now  (3:28)
B2.  Henry Williams And Eddie Anthony – Georgia Crawl  (3:20)
B3.  Mississippi Juke Band – Dangerous Woman  (2:43)
B4.  Memphis Jug Band – Gator Wobble  (2:39)
B5.  Bessie Smith – In The House Blues  (3:00)
B6.  Lillian Glinn – Shake It Down  (3:12)
B7.  Bertha “Chippie” Hill – Pratt City Blues  (2:53)
B8.  Butterbeans And Susie – What It Takes To Bring You Back  (3:24)

Side C (1931-1941)
C1.  Leroy Carr / Scrapper Blackwell – Midnight Hour Blues (3:04)
C2.  Faber Smith / Jimmy Yancey – East St. Louis Blues  (2:48)
C3.  Peetie Wheatstraw – Good Whiskey Blues  (3:08)
C4.  Casey Bill / Black Bob – W.P.A. Blues  (3:15)
C5.  Bo Carter – Sorry Feeling Blues  (3:08)
C6.  Robert Johnson – Little Queen Of Spades  (2:14)
C7.  Bukka White – Parchman Farm Blues  (2:37)
C8.  Memphis Minnie – Me And My Chauffeur Blues  (2:45)

Side D (1938-1963)
D1.  Blind Boy Fuller / Sonny Terry – I Want Some Of Your Pie  (2:40)
D2.  Brownie McGhee – Million Lonesome Women  (2:34)
D3.  Joe Williams / Sonny Boy Williamson – Wild Cow Moan  (2:51)
D4.  Big Bill Broonzy – All By Myself  (2:26)
D5.  Joe Turner / Pete Johnson – Roll ‘Em Pete  (2:50)
D6.  Otis Spann – Bloody Murder  (3:34)
D7.  Elmore James – Sunnylan (2:20)
D8.  Johnny Shines – I Don’t Know  (3:30)

Companies, etc.

• Phonographic Copyright (p) – CBS Inc.
• Copyright (c) – CBS Schallplatten GmbH

Credits

• Producer, Compiled By, Liner Notes – Paul Oliver

Notes

Release: 1969
Genre: Jazz, Blues
Style: Country Blues, Texas Blues, Chicago Blues, Piedmont Blues, Delta Blues, Piano Blues
Label:  CBS Records
Catalog#  63572
Price: € 15.00

Vinyl: Goed
Cover: Goed

http://www.ad-vinylrecords.com/product/various-the-story-of-the-blues-2lp/

Helmut Zacharias And His Orchestra - Plays The Hits (1969) - Lp

Helmut Zacharias (27 January 1920 – 28 February 2002) was a German violinist and composer who created over 400 works and sold 14 million records. He also appeared in number of films, usually playing musicians.

In 1940, Zacharias was discovered by Lindström-Electrola (then-name of the German branch of EMI) and in 1941 had his first mainstream success with Schönes Wetter Heute.
By the 1950s, he was considered to be one of the best jazz violinists of Europe and was dubbed "The Magic Violinist" and "Germany's Mr. Violin". In 1956 he achieved his greatest success in the United States with the release of "When the White Lilacs Bloom Again" which, on 22 September, reached number 12 on the Billboard Hot 100. On 21 November 1964 he reached number 9 in the UK Singles Chart with Tokyo Melody, following its use as theme music for the BBC's coverage of the 1964 Summer Olympics.

Zacharias moved to Switzerland in the late 1950s and continued playing with many other famous artists, including Yehudi Menuhin. From 1968 to 1973 he appeared in his own television show. In 1985, he was awarded the Order of Merit of the Federal Republic of Germany.

Zacharias had been detected as suffering from Alzheimer's disease in 1995 and retired from public life in 1997 before the fact was publicly acknowledged on World Alzheimer's Day in 2000. He died in 2002 in Brissago, Switzerland and is buried in Ohlsdorf Cemetery in Hamburg.

His album "Zacharias Plays The Hits" was released in 1969, and covers some of the great hits from that time. Europe´s favorite orchestra / Arranged and Conducted by Helmut Zacharias.

Side A
A1.  Brown Eyed Woman  (3:20)  
A2.  Naturally Stoned  (2:30)  
A3.  Reach Out For Me  (2:59)  
A4.  Respect  (2:28)  
A5.  Hurdy Gurdy Man  (2:34)  
A6.  (There’s) Always Something There To Remind Me  (2:37)

Side B
B1.  Light My Fire  (3:28)  
B2.  I Say A Little Prayer  (2:21)  
B3.  Baby Love  (2:32)  
B4.  The House That Jack Built  (2:25)  
B5.  Satisfaction  (3:11)

Notes
Release: 1969
Genre: Jazz
Style: Easy Listening
Label: Columbia
Catalog# 1C 062-28018
Price: € 10.00

vinyl:  goed
Cover:  goed

http://www.ad-vinylrecords.com/product/zacharias-helmut-and-his-orchestra-plays-the-hits-lp/

The New London Chorale - The Young Messiah (1979) - Lp

The New London Chorale founded in 1979, released recordings under the direction of Tom Parker which popularized classical music.
It has collaborated with singers like: Vicki Brown, Madeline Bell and Katie Kissoon.

The Young Messiah is a musical production of a modern adaptation of George Frideric Handel's oratorio Messiah, It was arranged by Tom Parker, in 1982, and featured vocals by Labi Siffre, Madeline Bell and Vicki Brown.
A later version was produced and arranged by Frank McNamara, who also conducted the orchestra and chorus. The cast included Gladys Knight, Chaka Khan, Roger Daltrey, Jeffrey Osborne, the Irish Philharmonic Orchestra & Choir and the Visual Ministry Gospel Choir.
The production included a narration, Beware of False Prophets, which was written by Frank McGuinness and performed by Aidan Quinn. The music integrates gospel, rock and soul sounds.
Recorded at The Nova Suite, London, September 1979.

Side A
A1. Comfort Ye - 2:49
A2. Every Valley - 3:25
A3. Who Shall Abide - 2:58
A4. O Thou That Tellest - 3:51
A5. Unto Us A Child Is Born - 3:17

Side B
B1. He Shall Feed His Flock - 3:00
B2. He Was Dispised - 3:50
B3. How Beautiful Are The Best - 2:36
B4. Hallelujah - 2:37
B5. I Know That My Redeemer Liveth - 2:53
B6. Finale (Hallelujah) - 1:22

Credits

• Bass – Dave Olney
• Concept By [Conceived By], Producer – Tom Parker
• Conductor [Strings Conducted By] – Jim Parker 
• Cor Anglais – Richard Morgan
• Drums – Graham Jarvis
• Engineer [Assistant Engineer] – Tim Wybrow
• Engineer [Cutting Engineer] – Pete Norman
• Engineer [Recording Engineer] – Stephen Allan 
• Featuring – George Chandler, Madeline Bell, Steve Jerome , Vicki Brown
• Flute – Jim Gregory
• Guitar [Guitars] – Kevin Peek, Ray Russell, Ricky Hitchcock
• Harp – David Snell 
• Keyboards – Tom Parker
• Leader [String Leader] – Gavin Wright
• Liner Notes – Tom Parker
• Narrator [Narrated By] – Hywel Bennett
• Percussion – Frank Ricotti
• Performer – The New London Chorale
• Trumpet – Graham Whiting
• Written-By – Händel

Notes

Release: 1979
Genre: Pop, Classical
Style: Ballad
Label: RCA Records
Catalog# PL-25258
Price: € 15.00

Album: Goed
Cover: Goed

http://www.ad-vinylrecords.com/product/new-london-chorale-the-the-young-messiah-lp/

Stevie Wonder - Innervisions (1973) - Lp

Stevland Hardaway Morris (born Stevland Hardaway Judkins, May 13, 1950), known by his stage name Stevie Wonder, is an American musician, singer, songwriter, record producer, and multi-instrumentalist.

A child prodigy, he is considered to be one of the most critically and commercially successful musical performers of the late 20th century.
Wonder signed with Motown's Tamla label at the age of 11, and he continued performing and recording for Motown into the 2010s.
He has been blind since shortly after birth.

In 1961, when aged 11, Wonder sang his own composition, "Lonely Boy", to Ronnie White of the Miracles; White then took Wonder and his mother to an audition at Motown, where CEO Berry Gordy signed Wonder to Motown's Tamla label. Before signing, producer Clarence Paul gave him the name Little Stevie Wonder.

Innervisions is the 16th studio album by American musician Stevie Wonder, released August 3, 1973, on the Tamla label for Motown Records, a landmark recording of his "classic period". The nine tracks of Innervisions encompass a wide range of themes and issues: from drug abuse in "Too High", through inequality and systemic racism in "Living for the City", to love in the ballads "All in Love Is Fair" and "Golden Lady". The album's closer, "He's Misstra Know-It-All", is a scathing attack on then-US President Richard Nixon, similar to Wonder's song a year later, "You Haven't Done Nothin'".

As with many of Stevie Wonder's albums, the lyrics, composition and production are almost entirely his own work, with the ARP synthesizer used prominently throughout the album.
The instrument was a common motif among musicians of the time because of its ability to construct a complete sound environment.

Wonder was the first black artist to experiment with this technology on a mass scale, and Innervisions was hugely influential on the subsequent future of commercial black music.
He also played all or virtually all instruments on six of the album's nine tracks, making most of Innervisions a representative one-man band.

Innervisions has been considered by many fans, critics, and colleagues to be among Stevie Wonder's finest work and one of the great albums in popular music history. The album was revisited countless times in different lists of the greatest albums of all time.


Side A
A1. Too High  (4:37)
A2. Visions  (5:17)
A3. Living For The City (7:26)
A4. Golden Lady  (5:00)

Side B
B1. Higher Ground  (3:54)
B2. Jesus Children Of America  (4:04)
B3. All In Love Is Fair (3:45)
B4. Don’t You Worry ‘Bout A Thing  (4:55)
B5. He’s Misstra Know-It-All  (6:06)

Personnel
Recordist – Dan Barbiero, Austin Godsey
Tape operator – Gary Olazabal
Mastering – George Marino
Recording coordinators – John Harris, Ira Tucker Jr.
Synthesizer programming – Robert Margouleff, Malcolm Cecil
Album art – Efram Wolff

Notes
Release: 1973
Genre: Funk / Soul
Label: Tamla Motown Records
Catalog# 5c 062 94665
Price € 10,00

Vinyl:  Goed
Cover:  Goed

http://www.ad-vinylrecords.com/product/wonder-stevie-inner-visions-lp/

Randy VanWarmer - The Things That You Dream (1983) - Lp

Randy VanWarmer (March 30, 1955 – January 12, 2004) was an American singer-songwriter and guitarist.

The late Randy VanWarmer is mostly remembered as a soft-rock one hit wonder, with the exquisite "Just When I Needed You Most" being the big one. But he recorded four decent albums for Bearsville before settling in for a successful Nashville songwriting career.

He wrote several songs for the group The Oak Ridge Boys including the #1 U.S. Country hit "I Guess It Never Hurts to Hurt Sometimes". The song appeared on his 1981 album Beat of Love, which also included the pop tune "Suzi Found a Weapon", which hit #55 on the Billboard Hot 100.

In 1979, after Randy VanWarmer had struggled in obscurity for a few years, Bearsville Records in New York City released a VanWarmer single, "Gotta Get Out of Here", a mildly catchy pop tune. "Just When I Needed You Most" was the B-side of the single. Somewhere, on a whim, a DJ decided to play the flip side instead, and it slowly rose to the Top 10 in a market saturated with disco.
As VanWarmer told Release, Albert Grossman, the head of Bearsville would not let him do television or tour the United States, a strategy that did not prove successful.

The Things That You Dream, arriving two years after Beat of Love, covers a similar amount of ground but it ditches the cynical snark and the reggae affectations, choosing to double down on the soft pop and the cleanly lit AOR rock.

Randy went back to basics for "The Things That You Dream." A gentle album that sounds more like the James Taylor/Stephen Bishop school of soft pop, it shows the easy skill Randy had for songwriting. He also indulged himself in a few covers, including a jangle-pop varient on "Shadows of the Night" that would later be a hit for Pat Benatar but sounds like a hard-rocking REO Speedwagon tune in VanWarmer's hands. Any lingering new wave influence is apparent in the latter, where the guitars battle with the keyboards.
He dabbles in covers elsewhere, doing a perfectly fine version of the Lovin' Spoonful's "Do You Believe in Magic," and if the album winds up sounding slightly schizophrenic.

VanWarmer continued to write music for others and for his own recordings, which continued to be artistically successful but commercially unsuccessful.
He also helped other younger artists with their own songwriting efforts.








Side A
A1. The Things That You Dream  (3:31)
A2. At Least It’s A Life  (3:30)
A3. What In The World Comes Over You At Night  (4:50)
A4. Gonna Build Me A Rocket  (3:55)
A5. Do You Believe In Magic  (2:33)

Side B
B1. Only What You Steal  (4:19)
B2. Color Me Out  (4:00)
B3. Shadows Of The Night  (3:14)
B4. I’m Still In Love  (3:11)
B5. Hester’s Song  (4:59)

Notes
Release: 1983
Genre: Rock, Pop
Style: Soft Rock
Label: Bearsville Records
Catalog# 205246
Price: € 5.00

Vinyl:  Goed
Cover:  Goed

http://www.ad-vinylrecords.com/product/vanwarmer-randy-the-things-that-you-dream-lp/

Bernie Tormé - Back With The Boys (1985) - Lp

Bernie Tormé (born Bernard Tormey, 18 March 1952, Dublin, Ireland) is a rock guitarist, singer, songwriter, record label and recording studio owner.

Tormé was influenced by Jimi Hendrix, Jeff Beck, Rory Gallagher, and Gary Moore of Thin Lizzy and formed his own band at a young age. His first paid performance came when Don Harris, a 14-year-old drummer he played alongside when he was 17, secured a gig at the local Girl Guides' dance in Kilmainham in Dublin.
Tormé then played in Dublin band 'The Urge' in the early 1970s before relocating to London in 1974, where he initially played with heavy rockers 'Scrapyard' (whose bass player, John McCoy would later be re-united with Tormé in Gillan), before forming the punk 'Bernie Tormé Band' in 1976. The Bernie Tormé Band toured with The Boomtown Rats and Generation X among many others. Tormé has since revealed that he secured the supporting band slot with the Boomtown Rats by agreeing to go around London putting up posters advertising the tour.
In 1977 the band were asked to contribute two tracks to the Live At The Vortex album, "Streetfighter" and "Living for Kicks". This led to them being signed to the Jet Records label, who "...paid us forty quid a week each for the next 18 months... Apart from that they just sat on us pretty much, they were more into ELO."

Frustrated by a lack of commercial success, Tormé accepted the invitation of former Deep Purple vocalist Ian Gillan in 1979 to join his band Gillan, and it was as part of this band that Tormé is best known.
Over the next four years the group enjoyed three Top Ten UK albums (Mr. Universe, Glory Road, and Future Shock), in addition to extensive worldwide tours of Europe, Japan, and the United States.
In 1981 Tormé walked out on Gillan, citing lack of money despite touring the world as his reason. He played as a live session man for Atomic Rooster and then Ozzy Osbourne as the immediate successor of the recently deceased original guitarist Randy Rhoads. Tormé was hired to play on makeup dates resulting from cancelled concerts after Rhoads' death. After only 7 shows in 10 days, Tormé quit to concentrate on his own band Electric Gypsies and was replaced by Brad Gillis.

Since 1982 Tormé has led his own band under various names and lineups (including a version of Torme with singer Phil Lewis, formerly of Girl and later with LA Guns).
In 1985 Torme released the Best Of album "Back With The Boys". On this album are five Previously Unreleased tracks to find.

Side A
A1.  Come Tomorrow
A2.  My Baby Loves A Vampire
A3.  No Easy Way
A4.  Try And Stop Me (Previously Unreleased)
A5.  Don´t Give Up Your Day Job
A6.  Turn Out The Lights

Side B
B1.  Wild West
B2.  What´s Next (Previously Unreleased Version)
B3.  Lies (Previously Unreleased Version)
B4.  Night Lights (Previously Unreleased)
B5.  All Day And All Of The Night
B6.  Back With The Boys ((Previously Unreleased)

Notes
Release: 1985
Genre: Rock
Style: Hard Rock
Label: Raw Power Records
Catalog# EAWLP 010
€10.00

Vinyl: Goed
Cover: Goed

http://www.ad-vinylrecords.com/product/torme-bernie-back-with-the-boys-lp/

Soundtrack - Goldfinger (1964) - Lp

Goldfinger is the soundtrack for the 1964 film of the same name, the third film in the James Bond film series, directed by Guy Hamilton.
The album was composed by John Barry and distributed by EMI. Two versions were released initially, one in the United States and the United Kingdom, which varied in terms of length and which tracks were within the soundtrack.
John Barry had composed the previous two James Bond soundtracks for the eponymous titled Dr. No and From Russia with Love. Due to Barry's increased "compositional depth" as seen through the soundtracks he produced since From Russia with Love, movie producers Albert Broccoli and Harry Saltzman allowed him to write the theme song for Goldfinger in addition to the soundtrack. Barry created the melody for the song before drafting the lyrics with the help of Anthony Newley and Leslie Bricusse. The theme was first sung by Newley at a demo session on May 14, 1964 in. At the behest of Barry, Shirley Bassey was chosen to sing the track. On Bassey, Barry was quoted saying "Nobody could have sung it like her; she had that great dramatic sense." The theme was recorded on August 20, 1964 after an all-night session in the recording studio.
The session was produced by EMI in-house producer George Martin, who also was the Beatles' producer at the time. Guitarist Vic Flick, who played on the track, recalled at a 2012 Academy of Motion Pictures salute to the music of James Bond that Bassey was having difficulty getting a proper take.
Martin spoke to her and then over the recording baffle her brassiere came flying. She nailed it on the next take.
Co-producer Harry Saltzman is said to have hated the song as too old fashioned for 1960s youth culture and only agreed to use it when persuaded by Albert Broccoli
Originally, Newley recorded a version of the theme song, but it was later re-recorded with Bassey's voice for the film and soundtrack album. In 1992, Newley's version was released for the 30th Anniversary of James Bond on film, in the compilation collectors edition The Best of Bond...James Bond.

The score was composed by Barry, making this his second, credited Bond score. The score makes regular use of instrumental arrangements of the title theme, as well as the Bond theme from Dr. No used in the gun barrel sequence .
The score makes heavy use of brass. The distinctive music for Goldfinger's henchman, Oddjob, makes use of repeated strokes on a metallic anvil. Metallic chimes are also heard in many scenes associated with Oddjob or gold, notably that in which the dead golden girl is discovered.
The very effective use of music and various sound effects in the film won it an Academy Award for Best Sound Editing. The album reached No. 1 on the Billboard 200, and spent 70 total weeks on the chart, but for reasons that remain unclear, received no RIAA certification.

Side A
A1.  Main Title / “Goldfinger” (Vocals by: Shirley Bassey) / Into Miami   (3:37)
A2.  Golden Girl  (2:03)
A3.  Alpine Drive – Auric’s Factory  (3:15)
A4.  Death Of Tilley   (1:58)
A5.  Oddjob’s Pressing Engagement  (3:05)
A6.  The Laser Beam  (2:47)

Side B
B1.  Bond Back In Action Again  (2:29)
B2.  Pussy Galore’s Flying Circus   (2:40)
B3.  Teasing The Korean   (2:12)
B4.  Gassing The Gangsters  (1:03)
B5.  Dawn Raid On Fort Knox   (6:43)
B6.  The Arrival Of The Bomb And Count Down  (3:36)
B7.  The Death Of Goldfinger – End Titles  (2:34)

Credits

Project Manager: Herb Agner Creative Director: Michelle Azzopardi Composer, Conductor, Primary Artist: John Barry Primary Artist, Vocals: Shirley Bassey Liner Notes: Jeff Bond Composer, Lyricist: Leslie Bricusse Project Manager: Wendy Brueder Producer, Reissue Producer: Frank Collura Remastering: Bob Fisher Guitar, Soloist: Vic Flick Art Direction, Design: Peter Grant Orchestra Contractor: Sid Margo Lyricist: Anthony Newley A&R: Gregg Ogorzelec Engineer: John Richards Saxophone, Soloist: John Scott Saxophone: Johnny Scott

Notes

Release:  1964
Genre:  Soundtrack, Score
Label:  United Artists Artists
Catalog#  ULP 1076
Price:  € 15.00

Vinyl:  Goed
Cover:  Lichte Gebruikerssporen

http://www.ad-vinylrecords.com/product/soundtrack-goldfinger-lp/

Diana Ross - Eaten Alive (1985) - Lp

Eaten Alive is a 1985 album by Diana Ross. It includes her international hit single "Chain Reaction", which topped the charts in the U.K. and Australia.
Diana Ross and Barry Gibb were teaming up for an album had to have been greeted with excitement by fans and those in the music industry.
Primarily written and produced by Barry Gibb of the Bee Gees.
And on top of those two major music stars teaming up, no less a superstar than Michael Jackson was also involved, co-writing and co-producing the first single. Jackson

The album was primarily conceived by Barry Gibb, who had co-written and co-produced successful albums for Barbra Streisand, Dionne Warwick, and Kenny Rogers earlier that decade.

Most of the tracks were co-written by Gibb and at least one of his other siblings, though some were written by all members of the Bee Gees. The album includes the UK and Australia #1 hit "Chain Reaction", along with the Top 10 R&B title track - written and co-produced with Michael Jackson. "Experience" was also released as a single, reaching #47 on the UK Singles Chart.

Eaten Alive is a really good album…but not necessarily a great Diana Ross album. Had Barry Gibb recorded all the songs and released it himself, it probably could’ve been a smash. Unfortunately, Diana Ross working hard to sound like Barry Gibb isn’t quite as successful.

There are those who say this is Diana’s best RCA album, and they blame a lack of proper single choice, promotion, and negative publicity surrounding Ross are blamed for the album’s lackluster performance.

Those factors are all probably true, but I’d also say another factor is that Diana Ross just doesn’t really sound like Diana Ross here.
The issue, I think, is Diana’s incredible talent for mimicry. Listen to her discography and watch her TV specials; there are some striking examples of Miss Ross imitating another artists to startling effect.

Here, she goes so far adapting her style to Gibb’s that her voice at times becomes high, thin, and raspy (not that Gibb has a weak voice; however, Diana Ross trying to match his high falsetto makes hers sound that way), and the rich, soulful tone of recent hits like “Missing You” and “Swept Away” is sadly absent.

Gibb’s demos for the album have since been released, and it’s clear that Diana stayed very close to his guide vocals in some instances, rather than singing the cuts in her own unique style.

Thus, although Eaten Alive is indeed a cohesive set with some strong tunes, it’s not the vocal showcase that it could have been.


Side A
A1.  Eaten Alive  (3:50)
A2.  Oh Teacher  (3:37)
A3.  Experience  (4:54)
A4.  Chain Reaction  (3:47)
A5.  More and More  (3:05)

Side B
B1.  I’m Watching You  (3:50)
B2.  Love on the Line  (4:19)
B3.  (I Love) Being In Love With You  (4:31)
B4.  Crime of Passion  (3:31)
B5.  Don’t Give Up On Each Other  (3:45)

Credits

• Art Direction, Design – Ria Lewerke
• Backing Vocals – Barry Gibb, Marti McCall, Michael Jackson (tracks: A1), Myrna Matthews
• Engineer – Jack Joseph Puig, Karl Richardson
• Engineer [Assistant] – Dan Garcia, Julie Last, Larry Ferguson, Scott Glasel
• Mastered By – George Marino
• Mixed By – Elliot Scheiner (tracks: A2, B2, B4), Humberto Gatica (tracks: A1, A3), Jack Joseph Puig (tracks: A5, A4, B1, B5), Karl Richardson (tracks: B3)
• Photography By – Moshe Brakha
• Producer – Albhy Galuten, Barry Gibb, Karl Richardson, Michael Jackson (tracks: A1) 

Notes

Release:  24 September, 1985
Genre:  Synth-pop, Funk, Soul
Label:  Capitol Records
Catalog#  1A 064-240408-1
Price:  € 10.00

Vinyl: Goed
Cover: Goed

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Elvis Presley - That´s The Way It Is (1970) - Lp

Elvis: That's the Way It Is is the 40th album by Elvis Presley, released on RCA Records, LSP 4445, in November 1970. It consists of eight studio tracks recorded at RCA Studio B in Nashville, and four live in-concert tracks recorded at The International Hotel in Las Vegas.
It accompanied the theatrical release of the documentary film of the same name (although it is not generally considered a soundtrack album), and peaked at number 21 on the Billboard 200.

That's the Way It Is is arguably where Elvis Presley's discography gets very confusing. Sharing a title with Denis Sanders' 1970 documentary of Elvis' return to the stage, That's the Way It Is in its original 1970 LP incarnation isn't precisely a soundtrack to the film. In fact, only a third of the album captures Presley live on-stage in Vegas, with the remainder of the record derived from sessions he recorded in Nashville just a few months prior to launching his long-standing gig at the International Hotel. Vegas looms large over Elvis' legend in the '70s and many of the clichés -- the jumpsuits, the splashy arrangements of contemporary standards, the snazzy melodies of his old hits -- were born on That's the Way It Is, either on film or on the record.

In its original LP incarnation, this wasn't especially apparent due to the record's reliance on the Nashville sessions, where Elvis recorded a fair share of perfectly pleasant middle-of-the-road material pitched halfway between Hollywood and Music City. These tunes -- "Twenty Days and Twenty Nights," "How the Web Was Woven," "Just Pretend," and "Stranger in the Crowd" -- are easy to spot because they're by songwriters without marquee names (Colonel Tom Parker insisted Elvis take a larger percentage of publishing, which kept away many writers) and, more tellingly.
They may not have been part of Presley's repertoire but they do indicate how he was shifting away from the soulful, funky sound inspired by his 1968 comeback into something that felt showbiz. The live recordings, though, show that he was still performing with passion, figuring out what worked on-stage and what didn't after his long hiatus from performing. Again, this isn't so apparent on the 1970 LP, which was basically a good studio album that essayed Elvis' new persona for the coming decade.
When he retained the power of his 1968 comeback and had yet to succumb to all the glitz of Vegas.

Side A
A1.  I Just Can’t Help Believin’ (4:25)
A2.  Twenty Days And Twenty Nights  (3:15)
A3.  How The Web Was Woven (3:25)
A4.  Patch It Up (3:51)
A5.  Mary In The Morning (4:10)
A6.  You Don’t Have To Say You Love Me  (2:29)

Side B
B1.  You’ve Lost That Lovin’ Feelin’ (4:20)
B2.  I’ve Lost You (3:30)
B3.  Just Pretend  (4:02)
B4.  Stranger In The Crowd  (3:46)
B5.  The Next Step Is Love  (3:30)
B6.  Bridge Over Troubled Water (4:03)

Credits
Arranged By [Horn & Strings] – Cam Mullins, Bergen White, David Briggs, Norbert Putnam, Glen Hardin
Chorus – The Imperials Quartet, The Sweet Inspirations

Notes
Release: 1970
Genre:  Rock & Roll
Label:  RCA Victor Records
Catalog#  LSP-4445
Price: € 5.00

Vinyl:  Goed
Cover:  Gebruikerssporen

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Original New York Cast - Porgy & Bess (1962) - Lp

Porgy and Bess is an English-language opera composed in 1934 by George Gershwin, with a libretto written by DuBose Heyward and Ira Gershwin from Heyward's novel Porgy and later play of the same title.

Porgy and Bess was first performed in New York City on September 30, 1935, and featured an entire cast of classically trained African-American singers—a daring artistic choice at the time.

Gershwin read Porgy in 1926 and proposed that he should collaborate with Heyward on Porgy and Bess. In 1934, Gershwin and Heyward began work on the project by visiting the author's native Charleston. Gershwin explained why he called Porgy and Bess a folk opera in a 1935 New York Times article: "Porgy and Bess is a folk tale. Its people naturally would sing folk music. When I first began work in the music I decided against the use of original folk material because I wanted the music to be all of one piece. Therefore I wrote my own spirituals and folksongs. But they are still folk music – and therefore, being in operatic form, Porgy and Bess becomes a folk opera." The libretto of Porgy and Bess tells the story of Porgy, a disabled street-beggar living in the slums of Charleston, South Carolina. It deals with his attempts to rescue Bess from the clutches of Crown, her violent and possessive lover, and Sportin' Life, her drug dealer. Where the earlier novel and stage-play differ, the opera generally follows the stage-play.

The 1940 album was the first to record selections from George Gershwin's opera Porgy and Bess as sung by members of the original Broadway cast from 1935. The only singers involved were Todd Duncan as Porgy and Anne Brown as Bess. Duncan sang "It Ain't Necessarily So", which is sung in the opera by Sportin' Life. Anne Brown sang "Summertime" (first sung in the opera by Clara) and "My Man's Gone Now" (sung in the opera by Serena).

After Porgy and Bess was revived on Broadway in 1942, Decca brought the cast from the revival together to record more songs not already recorded two years earlier, issuing a new "Volume Two." This recording originally came on 3 ten-inch shellac records,

A few years later, Decca re-released the albums as on LP set entitled Selections from Porgy and Bess in February 1950, (DL 7006), deceptively billing it as "the original cast album" though only selected members of two separate casts participated.


Side A
A1.  Anne Brown – Overture And Summertime
A2.  Edward Matthews Assisted By Harriet Jackson With Eva Jessye Choir – A Woman Is A Sometime Thing
A3.  Anne Brown With Eva Jessye Choir – My Man’s Gone Now
A4.  Edward Matthews – It Take A Long Pull To Get There
A5.  Todd Duncan With Eva Jessye Choir – I Got Plenty O’ Nuttin’
A6.  Todd Duncan With Eva Jessye Choir – Buzzard Song
A7.  Todd Duncan And Anne Brown With Eva Jessye Choir – Bess, You Is My Woman

Side B
B1.  Todd Duncan With Eva Jessye Choir – It Ain’t Necessarily So
B2.  Anne Brown And Todd Duncan – What Do You Want Wid Bess?
B3.  Helen Dowdy Assisted By Gladys Goode – Strawberry Woman’s Call
B4.  William Woolfolk Assisted By Georgette Harvey – Crab Man’s Call
B5.  Todd Duncan And Anne Brown – I Loves You, Porgy
B6.  Eva Jessye Choir – The Reqiuem
B7.  Avon Long And Anne Brown – There’s A Boat Dat’s Leavin’ Soon For New York
B8.  Todd Duncan With Eva Jessye Choir – Porgy’s Lament And Finale

Credits

• Choir – Eva Jessye Choir
• Conductor – Alexander Smallens
• Liner Notes – Louis Untermeyer
• Orchestra – Decca Symphony Orchestra
• Vocals – Anne Brown, Todd Duncan 
• Written-By – Gershwin

Notes

Release: 1962

Genre: Stage & Screen 

Style: Musical

Label: Brunswick Records

Catalog# BDV 173251

Vinyl: Goed

Cover: Goed

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Rob De Nijs - 15 Jaar Rob De Nijs (1977) - 2Lp

Robert (Rob) de Nijs (Amsterdam, 26 december 1942) is een Nederlands zanger en acteur.

Via de directeur Bob Bouber, van de cabaretschool waar De Nijs op zat, leerde hij in mei 1960 de muzikanten Jan de Hont, Hans de Hont, Roel Vredeveld en Henny van Pinxteren kennen die met hun band The Apron Strings op zoek waren naar een zanger.

De band werd omgedoopt tot Robby and The Apron Strings.
Al snel speelde de groep in het voorprogramma van Peter Kraus in de Doelenzaal.
Vervolgens kwam Bert de Nijs, de broer van Rob, als extra gitarist bij de band. Op 15 oktober 1960 behaalden ze de eerste plaats op een talentenjacht van Polydor.
In 1962 ging de samenwerking uit elkaar.
Rob en zijn broer Bert stapten uit de band en begonnen Rob de Nijs en de Lords.

In 1970 deed hij mee aan een musical Salvation, en kwam hij in contact met Lennaert Nijgh. Nijgh besloot een aantal nummers voor De Nijs te schrijven, samen met Boudewijn de Groot, om zo zijn carrière weer op gang te brengen.

In mei 1973 kwam de eerste vrucht van deze samenwerking, Jan Klaassen de trompetter, in de hitparade, in september gevolgd door Dag zuster Ursula.

Er volgden bescheidener successen met Mirella en Hé speelman. Hierna kwam zijn waarschijnlijk bekendste hit uit: Malle Babbe, een nummer dat De Groot ook zelf regelmatig zou gaan spelen tijdens concerten. Na de albums In de uren van de middag en Kijken hoe het morgen wordt, beide eveneens door De Groot geproduceerd, beëindigden de twee hun samenwerking.
Nijgh bleef wel betrokken bij de carrière van De Nijs als tekstschrijver.

In 1976 werd hij door het NIPO uitgeroepen tot populairste zanger van Nederland. In 1977 kreeg hij zijn eigen special bij de VARA.

"15 Jaar Rob de Nijs" bestrijkt de muzikale periode vanaf 1962 waarin hij met de groep The Lords floreert met de rock & roll.

Vanaf zijn comeback begin jaren 70 met het nummer “Dag Zuster Ursula” gaat zijn carriere als een speer. Dit album is een compilatie van hits tot en met 1977, met het nummer “Het Werd Zomer”, dat de nummer 10 positie haalde in de Top-40.

Side A

1.  De Liefste Die Ik Ken (Point Of No Return)  (2:01) (met The Lords)

2.  Ritme Van De Regen (Rhythm Of The Rain)  (2:28)  (met The Lords)

3.  Anna Paulowna (Guantanamera)  (3:24)  (met The Lords)

4.  Loop Naar De Maan (Quando Vedrai La Mia Ragazza)  (2:31)  (met The Lords)

5.  Wit Satijn (White On White)  (2:33)  (met The Lords)

6.  Troela-Troela, Troela-La (La Troola Troola Troola)  (2:25)  (met The Lords & The Fouryo´s))

7.  King Of The Road  (2:38)  (met The Lords)

8.  Fever  (2:32)

Side B

1.  Tutti Frutti  (2:42)

2.  Charms  (2:17)  (met The Lords)

3.  Rozen, Rozen (And Roses And Roses)  (3:20)  (met The Lords)

4.  Blue Velvet  (2:45)  (met The Lords)

5.  Afscheid  (2:16)  (met The Lords)

6.  Jan Klaassen De Trompetter  (3:11)

7.  Meisje In Engeland  (4:39)

Side C

1.  Leonardo  (3:20)

2.  Als Je Niet Meer Verder Kunt  (2:36)

3.  Dag Zuster Ursula  (2:28) 

4.  Onweer (Hotel Room)  (4:00)

5.  Malle Babbe  (4:13)

6.  Zet Een Kaars Voor Je Raam (Can I Get There By Candlelight) (3:22)

7.  Bier Is Bitter  (3:34)

Side D

1.  Ik Laat Je Vrij (Entre Elle Et Moi)  (3:56)

2.  De Meermin  (3:54)

3.  Marijke  (2:44)

4.  Lome Dag (Perfect Day)  (3:58)

5.  Seizoenen  (4:13)

6.  Het Werd Zomer (Und Es War Sommer)  (4:07)

Notes

Release: 1977

Genre: Nederlandstalig, Rock & Roll

Label: Philips Records

Catalog# 9199128

Price: € 15,00

Vinyl: Goed

Cover: Goed

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Milli Vanilli - 2 x 2 (1988) - 2Lp

Milli Vanilli was a German R&B duo from Munich. The group was founded by Frank Farian in 1988 and consisted of Fab Morvan and Rob Pilatus.

The group's debut album Girl You Know It's True achieved international success and earned them a Grammy Award for Best New Artist on 21 February 1990. Milli Vanilli became one of the most popular pop acts in the late 1980s and early 1990s.

Their success quickly turned to infamy when Morvan, Pilatus and their agent Sergio Vendero confessed that Morvan and Pilatus did not actually sing any of the vocals heard on the record. The pair decided to return the Grammy awards and asked they be given to the real vocalists. The group recorded a comeback album in 1998, but Rob Pilatus died before the album was released.

2×2 is a double album by Milli Vanilli which was released in the United Kingdom in 1989.
LP one of the album contains the original European studio album All or Nothing,
LP two contains the All or Nothing remix album.

While in the U.S. Arista Records renamed, remixed and repackaged the first Milli Vanilli album All or Nothing as Girl You Know It's True and broke the act in that market with that method, in the U.K. BMG decided to issue both All or Nothing releases as a double album. This is evident in the cassette version of the release where one cassette has a label (covering the "All or Nothing" title typography) and the other cassette does not.

LP one and LP two also contain exactly the same "NY Subway Version" of "Girl You Know It's True" (lifted from the 12" single) despite the first disc version not being labeled so. Although it was not marketed as a package of two albums in the U.K., another tell-tale sign is the inclusion of two mixes of a non-single track "Dreams to Remember" and only one version of "Blame It on the Rain".

Side A
A1.  Can’t You Feel My Love  (3:32)
A2.  Boy In The Tree  (3:10)
A3.  Money  (4:09)
A4.  Dance With The Devil  (3:12)
A5.  Girl I’m Gonna Miss You  (3:59)
A6.  All Or Nothing  (3:19)

Side B
B1.  Baby Don’t Forget My Number  (4:09)
B2.  Dreams To Remember (3:56)
B3.  Is It Love (3:22)
B4.  Ma Baker (4:24)
B5.  Girl You Know It’s True

Side C
C1.  Blame It On The Rain (Club Mix – Long Version)  (6:38)
C2.  More Than You’ll Ever Know  (3:53)
C3.  Take It As It Comes  (4:12)
C4.  It’s Your Thing  (4:07)
C5.  Dreams To Remember (Remix)  (3:45)

Side D
D1.  All Or Nothing (Club Mix)  (4:30)
D2.  Baby Don’t Forget My Number (Remix)  (4:54)
D3.  Girl I’m Gonna Miss You (Remix)  (5:07)
D4.  Girl You Know It’s True (N.Y. Subway Mix – Long Version)  (6:27)

Credits

• Artwork By [Design By] – Stephen Horse
• Photography – Paul Cox
• Producer – Frank Farian

Notes

Release: 1988

Genre: Electronic, Hip Hop, Pop 

Style: House, Pop Rap 

Label: Cooltempo Records 

Catalog# 1724

Price: € 10,00

Vinyl: Goed

Cover: Goed

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