Richard “Dimples” Fields - Mr. Look So Good (1982) - €10,00

Richard "Dimples" Fields (March 21, 1941 - January 12, 2000) was an American soul singer popular during the 1980s.
Sources differ as to whether he was born in New Orleans, Louisiana or San Francisco, California. However, he began singing professionally in the latter city in the early 1970s, purchasing a San Francisco cabaret, the Cold Duck Music Lounge, where he headlined. He took his nickname "Dimples" from a female admirer who remarked that he was always smiling.

He began recording for his own DRK label, before signing to Boardwalk Records in 1981.
His first minor hit was a cover of The Penguins' "Earth Angel" that year. His first album for Boardwalk also featured the track "She's Got Papers On Me", the lament of a married man wanting his mistress, which was interrupted by his wife, played by Betty Wright, setting out her view of the situation.

His breakthrough single came in 1982 with "If It Ain't One Thing It's Another", which reached # 1 on the U.S. soul chart and # 47 on the Billboard Hot 100.
He had recorded and released an earlier version of the song for DRK in 1975 - in which he muses on the problems in his life, covering everything from an ugly pregnant girlfriend to the need to read the Bible - and was persuaded to re-record and update it by an old friend, including it on his Mr. Look So Good! album before it was issued as a single.

He had several less successful follow-ups before Boardwalk Records folded in 1983. He then signed with RCA Records, but was dropped after several unsuccessful singles and albums.
Renamed simply "Dimples", he continued to record for the Columbia and Life labels.
He also worked as a record producer with 9.9, Pat Benatar and The Ohio Players among others.
Fields died in Novato, California in 2000 as the result of a stroke.


Side A
A1. If It Ain’t One Thing…It’s Another - 6:50 
A2. After I Put My Lovin’ On You - 3:45 
A3. Baby Work Out - 4:19 
A4. Mr. Look So Good - 3:49 

Side B
B1. Taking Applications - 5:30 
B2. (A Woman At Home And) A Freak On The Side - 5:05 
B3. Sincerely - 3:59 
B4. The Lady Is Bad - 5:20


Companies, etc.

• Produced For – DRK Productions
• Manufactured By – Boardwalk Records, Inc.
• Phonographic Copyright (p) – Boardwalk Records, Inc.
• Copyright (c) – Boardwalk Records, Inc.
• Published By – On The Boardwalk Music
• Published By – Dat Richfield Kat
• Published By – Songs Can Sing
• Published By – Ardesea Music
• Published By – Merrimac Music Corp.
• Published By – Arc Music Corp.
• Mastered At – Allen Zentz Recording
• Lacquer Cut At – Allen Zentz Mastering

Credits

• Design – Art Hotel
• Horns, Strings – Hense Powell
• Mastered By – Chris Bellman
• Other [Stylist] – Tara
• Photography By – Bobby Holland
• Producer – Belinda Wilson, Richard "Dimples" Fields
• Remix – Anthony R. Modster, "Dimples"

Notes

Release:  1982

Format:  LP

Genre:  Soul

Label:  The Boardwalk Records

Catalog#  518512

Prijs:  €10,00

Vinyl:  Very Good

Cover:  Very Good

http://www.ad-vinylrecords.com/product/fields-richard-dimples-mr-look-so-good-lp/

Franke & The Knockouts - Franke & The Knockouts (1981) - €10,00

Franke and the Knockouts was a pop rock band, formed in New Jersey, US and fronted by singer/songwriter Franke Previte.

They had released their self-titles debut album in 1981.

Best known for the smash hit “Sweetheart”, the melodic rock group also landed a minor hit with “You’re My Girl”. Other catchy standouts are “She’s a Runner”, “Don’t Stop”, and the Boston-esque “Tonight.

Led by singer Franke Previte, the New Brunswick, NJ, band Franke & the Knockouts scored several pop hits in the early ’80s. Previte, who had played in local bands since his teens, formed the group with guitarist Billy Elworthy in 1981 and they were quickly signed to Millennium Records. Rounding out the original quintet were keyboardist Blake Levinsohn, bassist Leigh Foxx, and drummer Claude LeHenaff. 

Their self-titled debut, which showcased their light pop/rock leanings, was a surprise success. Personnel changes would occur when LeHenaff left in late 1981 (future Bon Jovi drummer Tico Torres would appear on their next couple albums) and keyboard player Tommy Ayers joined early the following year.

This is the self-titled debut from a 1980s New Jersey band that oscillates from slick AOR (on most songs) to sprightly power-pop tunes (the very Raspberries-like 'Tonight', 'You're My Girl' and 'Don't Stop').
Not really memorable but a few songs are quite good, especially  on side two.
Besides the hit single "Sweetheart," songs like "You're My Girl," "Don't Stop," and "Come Back" are all radio-friendly songs that in another universe could have catapulted this band straight into a #1 selling act.


Side A
A1. Come Back - 4:02 
A2. Sweetheart - 4:11 
A3. She’s A Runner - 4:07 
A4. You’re My Girl - 3:05 
A5. One For All - 3:11 

Side B
B1. Tonight - 3:46 
B2. Running Into The Night - 3:44 
B3. Tell Me Why - 3:47 
B4. Annie Goes To Hollywood - 4:09 
B5. Don’t Stop - 3:04


Companies, etc.

• Phonographic Copyright (p) – Millenium Entertainment
• Copyright (c) – Millenium Entertainment
• Recorded At – Mediasound
• Recorded At – The Village Recorder
• Mixed At – Sunset Sound
• Mastered At – Sterling Sound
• Pressed By – RCA Records Pressing Plant, Indianapolis
• Designed At – Gribbitt!
• Record Company – Millennium Records 
• Manufactured By – RCA Records
• Distributed By – RCA Records
• Published By – Big Teeth Music Publishing Corp.
• Published By – Bright Smile Music Pub. Corp

Credits

• Arranged By – Franke & The Knockouts
• Art Direction – George Corsillo, Tim Bryant
• Backing Vocals – Tommy Ayers
• Backing Vocals [Additional] – Charlie Dominici, Franke Previte
• Bass – Leigh Foxx
• Design [Logo] – Dave Fleming
• Drums – Claude LeHenaff
• Engineer [Assistant] – Pete Thea, Richard McKernan
• Engineer [Recording] – Charles Faris
• Keyboards – Blake Levinsohn
• Lead Guitar, Rhythm Guitar – Billy Elworthy
• Lead Vocals – Franke Previte
• Management [Direction] – Michael Klenfner
• Mastered By – George Marino
• Mixed By – Warren Dewey
• Percussion – Jimmy Maelen
• Photography By – Chris Callis
• Producer – Steve Verroca
• Synthesizer, Organ – Tommy Ayers

Notes
Release:  1981
Format:  LP
Genre:  Rock
Label:  Millennium Records
Catalog#  BXL1-7755
Prijs: €10,00

Vinyl:  Very Good
Cover:  Very Good

http://www.ad-vinylrecords.com/product/franke-the-knockouts-franke-the-knockouts-lp/

Roxy Music - The High Road (1983) - €10,00

The High Road is a live EP by the English rock band Roxy Music. Recorded at the Apollo in Glasgow, Scotland on 30 September 1982 during the band's Avalon tour, it features four tracks.
Two of the songs are covers, including Roxy Music's no.1 hit version of John Lennon's "Jealous Guy" and Neil Young's "Like A Hurricane".
A Bryan Ferry solo effort "Can't Let Go" was also included, originally released on his 1978 album The Bride Stripped Bare, with the remaining track being a version of "My Only Love" from Flesh + Blood, with an extended instrumental section.
The EP reached number 26 on the UK Album Charts.

Roxy Music perfected the Avante Garde style of music, which is to say jazzy with more structure, yet still very much improvisational.
 Bryan always pulled in the finest musicians, even though it was a financial burden and less profitable. He had a way of recreating and presenting other's songs: Neal Young's "Like a Hurricane" and John Lennon's "Jealous Guy" just two examples, and yet have his own stellar songs that are hard to replicate.
 Bryan also brought a unique kind of sexuality to the stage. He developed the persona of the jaded European playboy at a disco with the casual attitude, sweat from dancing, squinted eyes, falling greasy hair, full body rhythmic movements, and chic clothing that he would slowly "strip off" during the performance.


Side A
A1. Can’t Let Go - 5:29 
A2. My Only Love - 7:23 

Side B
B1. Like A Hurricane - 7:36 
B2. Jealous Guy - 6:10


Personnel

• Bryan Ferry – vocals, keyboards
• Phil Manzanera – guitars
• Andy Mackay – saxophone, oboe

Additional personnel

• Neil Hubbard – guitar
• Guy Fletcher – keyboards
• Alan Spenner – bass
• Andy Newmark – drums
• Jimmy Maelen – percussion
• Tawatha Agee – backing vocals
• Michelle Cobb – backing vocals
• Fonzi Thornton – backing vocals

Notes

Release:  1983

Format:  LP

Genre:  Art Rock

Label:  Polydor Records

Catalog#  2335269

Prijs:  €10,00

Vinyl:  Very Good

Cover:  Very Good

http://www.ad-vinylrecords.com/product/roxy-music-the-high-road-lp/

Atlantic Starr - Brilliance (1982) - €10,00

Brilliance is the fourth studio album by Atlantic Starr.
This album featured hit singles "Love Me Down" and "Circles". The album also contained the Sam Dees composition "Your Love Finally Ran Out", which was previously recorded by their then labelmate Les McCann under the title "So Your Love Finally Ran Out For Me" on his 1979 album Tall, Dark & Handsome.

Atlantic Starr hit its commercial peak in the late '80s, when the bland, insipid adult contemporary ballad "Always" soared to number one on both the pop and R&B charts.
That song put Atlantic Starr in the Whitney Houston/Lionel Richie realm -- in other words, people who associate Atlantic Starr with "Always" think of them as a crossover act.
But from an R&B standpoint (as opposed to a pop/adult contemporary standpoint), Atlantic Starr provided their best work in the early '80s, when Sharon Bryant was still on board and the East Coast residents were being produced by James Carmichael.

Released in 1982, Brilliance was the second of three albums that Carmichael produced for Atlantic Starr -- and it is also one of the band's finest and most essential releases. There is nothing not to like about this LP.
The soul ballads "Your Love Finally Ran Out" and "Let's Get Closer" are excellent, and so are up-tempo funk/dance numbers like "Sexy Dancer" and "Love Moves" (which features Wayne Lewis on lead vocals and has a Slave/Steve Arrington/Aurra type of appeal).
Brilliance, however, is best known for Bryant's soaring performance on the smash hit "Circles," which is one of those songs that is great on the dancefloor but is equally appealing if you want to simply sit down and listen to it.
Bryant also excels on the single "Love Me Down," which wasn't as big a hit as "Circles" (it reached number 14 on Billboard's R&B singles chart), but is still a fine medium-tempo item.


Side A
A1. Love Me Down - 4:50 
A2. Sexy Dancer - 4:51 
A3. Love Moves - 5:00 
A4. Your Love Finally Ran Out - 4:47 

Side B
B1. Circles - 4:52 
B2. Let’s Get Closer - 5:23 
B3. Perfect Love - 4:39 
B4. You’re The One - 4:12


Personnel

• Clifford Archer – Bass
• Sharon Bryant – Lead & Backing Vocals
• James Anthony Carmichael – Producer
• Porter Carroll, Jr. – Drums, Backing Vocals
• Dave Cochran – Guitar
• Koran Daniels – Saxophone
• Calvin Harris – Engineer
• Albert Jones – Trumpet, Flugelhorn
• David Lewis – Guitar, Lead & Backing Vocals
• John Mancebo Lewis – Trombone
• Wayne Lewis – Keyboards, Lead & Backing Vocals
• Greg Phillinganes – Synthesizer
• Joe Phillips – Percussion
• Damon Rentie – Tenor saxophone
• William Sudderth III – Trumpet

Notes
Release:  1982
Format:  LP
Genre:  Soul / Funk
Label:  A&M Records
Catalog#  AMLH 64883
Prijs:  €10,00

Vinyl:  Very Good
Cover:  Very Good

http://www.ad-vinylrecords.com/product/atlantic-starr-brilliance-lp/

Sue Saad And The Next - Sue Saad And The Next (1980) - €4,99

Sue Saad and the Next was an American new wave band from Los Angeles, California. Its self-titled first album reached No. 131 in the US Billboard 200 in 1980. Although sometimes characterized as one hit wonders, the band achieved a cult following after their breakup in 1986. Sue Saad and the Next also provided part of the soundtracks for several films during the 1980s such as Roadie (1980), Looker (1981) and Radioactive Dreams (1985). Saad performed in Radioactive Dreams and voiced the main theme for Looker.

L.A.’s Sue Saad and the Next offer up polished guitar rock—no synthesizers here—that shoots for the same mainstream space that Pat Benatar, Quarterflash, and Rick Springfield would shortly occupy. The band keeps things rocking and don’t bother with ballads, but there’s nothing punk about this. Its only real new wave moment is the reggae of “Young Girl”. It gets by on Sue Saad’s belting vocal style (a cross between Joan Jett and Patty Smyth) and the fine, car radio-ready choruses of “Gimme Love / Gimme Pain” and “Prisoner”.

Album Review: Sue Saad was one of the first new wave bands to be signed to Planet Records. This album was produced in less than 20 days and only cost $50,000 3x less than most albums at that time. Their second album was self produced, and just came out this year (2016) as a digital purchase. Toward the end of their career, they got involved with soundtracks and Sue Saad was even in the film Radioactive Dreams.  Because of the film, Lance & Riparetti were hired to record more soundtracks on their own. Lance moved on, and Riparetti continued solo, at one point worked with the Beastie Boys, and eventually setting up his company Sound Logic to continue low budget soundtrack production.

“Your Lips-Hands-Kiss-Love” revs up with spoken, echoy female vocals over a pulsing riff, and then a power pop guitar spews its hook, and the song begins to take it’s staggering form. The chorus is a bit call and response, as each word in the title is sung with a bit of follow up. It is pretty fun. The song fades out with the vocals and the power riff playing off each other.
“I Want Him” is another driving, slightly dark melody, with jangley, jittery guitar notes buried under basic power pop chords. Not too special, but it still posesses a nice build and delivery. The vocals are a bit raspy as they gain energy, like a higher pitch Janis or Jefferson Airplane, or even 10 Wheel Drive or Cold Blood.

“Cold Night Rain” starts out quiet and meandering. The slow kick drum comes on about 45 seconds later, and it seems like a power ballad. The vocals are powerful, reminding me a little of the current Philly band Sheer Mag. The song just kind of ends without warning.
“Won’t Give It Up” has a fun, bouncy skiffle beat, and is playful from the get go. The chorus is also just as fun, pushed on with a fun bass line, with a little vocal and guitar call and response. It has a little of the Jam’s Motown inspired feel, like on Town Called Malice (but not nearly as catchy).
“Danger Love” at its base, is dark. There is some renegade guitar work that tries to stick it out on its own, and keeps the song interesting. But the rest of the song bounces along nicely. It is basically trying to be sleazy hard rock.
“Gimme Love / Gimme Pain” carries on with the raspy female vocals that feel very authentically emotional, like they are going to crack at any point, particularly in the chorus. The song is built up nicely, and delivers through a sturdy, building, bridge with a pleasant & catchy chorus.
“It’s Gotcha” starts off with an intense jittery guitar, and never lets up. This nervous, coked up, driving drum and guitar melody never lets up, and only releases a bit of the energy in the chorus. The nice thing about the song is that it could just be two dimensional, but they make efforts to keep the sections different and interesting. After two run throughs, there is a bit of a psychedelic breakdown and mocking melody, but the driving beat remains underneath, it finishes out with final flourishes and ends with some power chords.

“Prisoner” slows things down, with a slow, chugging head banger. The vocals carry lots of emotion, but the music lets her have full range without interference.
“Young Girl” adds a little sly ska rhythmic guitar under the brooding, reflective lyrics…thinking Elvis Costello Watching the Detectives. The chorus reminds me a little of the Fiddler on the Roof song “If I were a Rich Man,” with a very 80’s rock vibe.
“I I Me Me” ends the album on a rocking, near B-52s surf note. The song is straightforward, without any kitchy B-52’s elements, except the short surf hook. It a driving song, and the whole band shares in the chorus. There is an odd breakdown that reminds me a little of Devo, again minus their specific sound, perhaps just in melody progression.


Side A
A1.  Gimme Love/Gimme Pain - 3:18
A2.  It’s Gotcha - 3:05
A3.  Prisoner - 3:40
A4.  Young Girl - 3:57
A5.  I I Me Me - 3:13

Side B
B1.  Your Lips-Hands-Kiss-Love - 4:11
B2.  I Want Him - 3:15
B3.  Cold Night Rain - 2:46
B4.  Won’t Give It Up - 3:33
B5.  Danger Love - 4:10


Companies, etc.

• Manufactured By – WEA Records B.V.
• Distributed By – WEA Records B.V.
• Licensed Through – WEA International Inc.
• Recorded At – Studio 55, Los Angeles
• Mixed At – Studio 55, Los Angeles
• Mastered At – The Mastering Lab
• Marketed By – WEA Records B.V.

Credits

• Art Direction, Design – Johnny Lee, Ron Coro
• Bass – Bobby Manzer
• Coordinator [Production] – Kathleen Nelson, Michael Solomon
• Drums, Vocals – James Lance
• Engineer [Assistant] – Tim Dennen
• Guitar – Billy Anstatt
• Guitar, Vocals – Tony Riparetti
• Mastered By – Doug Sax
• Photography – Aaron Rapoport
• Producer – James Lance, Richard Perry
• Recorded By – Gebriel Veltri
• Remix – Bill Schnee
• Vocals – Sue Saad

Notes 

Release: 1980

Format LP

Genre: Rock

Label: Planet Records

Catalog# 

Prijs: €4,99

Vinyl:  Very Good

Cover:  Very Good

http://www.ad-vinylrecords.com/product/sue-saad-and-the-next-sue-saad-and-the-next-lp/

Shalamar - Heartbreak (1984) - €10,00

Heartbreak is the eighth album by American R&B group Shalamar, released in 1984 on the SOLAR label.
 It features a new line-up of Delisa Davis, Micki Free and Howard Hewett (Davis and Free having replaced Jeffrey Daniel and Jody Watley who had both left the group after the release of the previous album The Look).
This would be Hewett's last album with the group before embarking on a successful solo career.

With Jody Watley and Jeffrey Daniels having left Shalamar and been replaced by singer Delisa Davis and guitarist/Prince admirer Micki Free, Howard Hewett unveiled a new Shalamar lineup on Heart Break.
Although the loss of Watley and Daniels was quite a loss for the group, it wasn't a fatal blow. In fact, Heart Break was good enough to indicate that there might be life after Watley and Daniels for Shalamar, mainly because the trio still had Hewett's talent and charisma to rely on.
Hewett is clearly the one holding down the fort on Heart Break, which finds Shalamar continuing to incorporate new wave elements.

"Heart Break" boasted the wildly infectious, rock-influenced hit from Footloose "Dancing in the Sheets," and the combination of soul-pop and new wave also proved quite appealing on "My Girl Loves Me," "Don't Get Stopped In Beverly Hills" and the George Duke-produced "Amnesia."
Also impressive is Howard and Davis' charming duet on the ballad "Whenever You Need Me."
As it turned out, Heart Break would be Hewett's last album with Shalamar, as well as the last decent Shalamar album.


Side A
A1. Amnesia - 5:38 
A2. Dancin’ In The Sheets - 4:02 
A3. Whenever You Need Me - 5:00 
A4. Heartbreak - 5:30 

Side B
B1. Don’t Get Stopped In Beverly Hills - 4:17 
B2. My Girl Loves Me - 4:41 
B3. Melody (An Erotic Affair) - 7:16 
B4. Deceiver - 4:04


Personnel

• Delissa Davis - Keyboards, Vocals
• George Duke - Keyboards
• Micki Free - Guitar, Guitar (Rhythm), Guitar (Synthesizer), Vocals
• Chuck Gentry - Guitar, Keyboards, Sequencing Programmer, Vocals, Vocals (Background)
• Mitch Gibson - Assistant Engineer
• Hawk - Drum Programming, Guitar, Keyboards, Synthesizer
• Howard Hewett - Vocals, Vocals (Background)
• Joyce "Fenderella" Irby - Vocals, Vocals (Background)
• Paul Jackson, Jr. - Guitar
• John "J.R." Robinson - Percussion
• Barry Sarna - Keyboards
• Ernie Watts - Saxophone
• David Williams - Guitar, Guitar (Rhythm)
• Bill Wolfer - Keyboards, Synthesizer
• William "Dr. Z." Zimmerman - Sequencing Programmer

Companies, etc.

• Phonographic Copyright (p) – Solar Records
• Copyright (c) – Solar Records
• Manufactured By – Elektra/Asylum/Nonesuch Records
• Distributed By – Elektra/Asylum/Nonesuch Records
• Pressed By – Allied Record Company

Credits

• Co-producer – Hawk (tracks: B1 to B4)
• Producer – Howard Hewett (tracks: A3 to B4) 

Notes
Release:  1984
Format: LP
Genre:  Soul, Solarsound
Label:  Solar Records
Catalog#  540112
Prijs:  €10,00

Vinyl:  Very Good
Cover:  Very Good

http://www.ad-vinylrecords.com/product/shalamar-heartbreak-lp/

The Buggles - Adventures In Modern Recording (1981) - €10,00

The Buggles were an English new wave band formed in London in 1977 by singer and bassist Trevor Horn and keyboardist Geoffrey Downes.
They are best known for 1979 debut single "Video Killed the Radio Star", which topped the UK Singles Chart and reached number one in 15 other countries.

Adventures in Modern Recording is their second studio album, released on 11 November 1981 by Carrere Records. Made one year after their stint as members of Yes, the album contains nine tracks, including a stripped-down version of Yes's "Into the Lens", here entitled, "I Am a Camera". The album as released was mostly a Trevor Horn solo effort, Geoffrey Downes having joined Asia before recording began. Bruce Woolley assisted in completing the tracks.

Adventures in Modern Recording was one of the earliest to use the Fairlight CMI, one of the first digital sampling synthesizers.
Although Adventures suffered commercial failure in the United Kingdom, it did get chart performance in the United States, reaching number 161 on the Billboard 200. Like The Age of Plastic it was positively received by critics. Both "We Can Fly from Here" and "Riding a Tide" (appearing as demos on the 2010 reissue) were rerecorded by Yes (with Horn as producer and Downes on keyboards) for their 2011 studio album Fly from Here.

According to Trevor Horn, Adventures in Modern Recording was planned to be more "left-field" than The Age of Plastic: "We had some pretty weird material. Things like ‘Vermillion Sands’ and some weird little things that we’d done. The best we had was ‘I Am A Camera’ which had been one of the things that was a demo we’d done on a Sunday afternoon and was one of the best things Geoffrey [Downes] and I ever did I thought."
As Adventures was about to be recorded, Downes left to form the band Asia, and the Buggles were dropped from Island Records. Jill Sinclair made a deal with French label Carrere Records, with DJ Claude Carrere helping fund the album.

While Adventures in Modern Recording was mostly a Trevor Horn solo project, Downes was still involved in the project. He has writing and production credits on three tracks from Adventures, "Vermillion Sands", "I Am a Camera" and "Lenny", where he also handled the drum programming, as well as being the keyboardist on a song he didn't co-write with Horn, "Beatnik". Australian producer Julian Mendelsohn and Gary Langan, who also handled the mixing and recording for The Age of Plastic were engineers on the album.
Langan, Horn, and Anne Dudley, who is credited as keyboardist on "Beatnik", would later form The Art of Noise. Other note-worthy contributors including percussion on "Beatnik" was from Horn's long-time collaborator Luis Jardim, while Yes bassist Chris Squire was brought on board to provide "sound effects" for the title track.

Horn said, "There were bits of Geoff on it and bits of Simon Darlow. But I finished it off myself with Gary [Langan]. But really by the time I’d finished it off I’d sort of lost interest in it a little, because I didn’t think there was a single there…"

This album also marks the first time in Horn's production career that he had worked with sampling, which the sampling techniques on Adventures would later be used for records Horn produced like Slave To The Rhythm by Grace Jones, Art of Noise's The Seduction of Claude Debussy and Frankie Goes To Hollywood's Welcome to the Pleasuredome. Adventures in Modern Recording was one of the first commercially available albums to feature sounds from the Fairlight CMI, one of the first digital sampling synthesizers.

"Things like ‘Beatnik’ were me just messing around with gear and just having a silly idea,” he said. “I was quite fascinated by Fairlight brass and all of those kind of things that Geoffrey and I had started messing around with before he went off to join Asia. And I thought that was a pretty good direction... So I sort of perfected a load of production tricks on Adventures In Modern Recording. Loads of productions tricks…"


Side A
A1.  Adventures in Modern Recording - 3:46
A2.  Beatnik - 3:38
A3.  Vermillion Sands - 6:48
A4.  I Am a Camera - 4:56

Side B
B1.  On TV - 2:48
B2.  Inner City - 3:22
B3.  Lenny - 3:12
B4.  Rainbow Warrior - 5:22


The Buggles

• Geoff Downes – keyboards, drum programming, production
• Trevor Horn – vocals, bass, guitar, drum programming, production

Additional personnel

• John Sinclair – drum programming, cymbals, guitar, vocals, production 
• Simon Darlow – keyboards and guitar 
• Chris Squire – sound effects 
• Anne Dudley – keyboards 
• Luís Jardim – percussion 
• Bruce Woolley – vocals 
• Danny Schogger, Rod Thompson – keyboards 
• Gary Langan, Julian Mendelsohn – engineering
• Stuart Bruce – assistant engineering
• Rory Kee – illustrator
• Glenn Travis Associates – design

Notes
Release:  1981
Format: LP
Genre:  Synth-pop
Label:  Carrere Records
Catalog#  67828
Prijs:  €10,00

Vinyl:  Very Good
Cover:  Very Good

http://www.ad-vinylrecords.com/product/buggles-the-adventures-in-modern-recording-lp/

Joan Armatrading - The Key (1983) - €10,00

The Key is the eighth studio album by the British singer-songwriter Joan Armatrading, released on 28 February 1983 by A&M Records (AMLX64912).
The album was recorded at Townhouse Studios in Shepherd's Bush, London; Polar Studios in Stockholm and also in New York.
The album spawned the single "Drop the Pilot", which became one of Armatrading's biggest hits, reaching number 11 in the UK Singles Chart over a 10-week stay.
It also quickly became a staple of Armatrading's live performances and has featured on many of her compilation albums.
Armatrading and her backing band also performed the song on Top of the Pops in early 1983.

Steve Lillywhite was commissioned to produce the album; however, A&M Records judged the album to be not commercial enough and asked Armatrading to come up with some additional, more commercial, material.
She went away and wrote the tracks "Drop the Pilot" and "What Do Boys Dream", both of which were produced separately in New York by Val Garay.
These two tracks therefore used a completely different set of musicians, which serves to explain the length of the personnel list on this album. Armatrading described her process of song creation, from writing to final recording, at the time of The Key:

It takes me very little time to write the song. Ten, fifteen minutes at the most. But to arrange the song, I need to take all day. The song is written with whatever rhythm I've come up with, and I put the arrangement on top of that. I can keep it a little more to what I think it should be than if I allowed somebody else to do it. I sit at home with my little Portastudio, and I work up the bass part, record it; work up the guitar part, record that; the string part, whatever. Put it all down. I play the tape to the musicians so they hear what's happening, and we do it like that. Steve [Lillywhite] obviously has his sound, which is why I work with him: I like his drum sound, his guitar sound, all that stuff.

Armatrading draws on a variety of musical styles for this album, from Stax style brass, rhythm and blues and punk, as well as the rock guitar of Adrian Belew, who had played with David Bowie on Lodger.
The album's title refers to the door key which Armatrading habitually wore around her neck at that time and which is featured in the album's photography. She is also pictured playing a Gibson Les Paul electric guitar.
"(I Love It When You) Call Me Names" was written about two men in a band who were always arguing, and features a guitar solo by Adrian Belew.
It was released as a single, though it did not chart. It subsequently became a staple of Armatrading's live performances and has appeared on many of her compilation albums. Armatrading said of the song, "It's come out as a man and a woman, but I was really looking at two guys.

Not two gay guys, just two guys who are friends who tend to treat each other like this, always calling each other names.
There's sort of this love/hate relationship between them, but you get the feeling that they really enjoy this thing that they're going through."
It was during the recording of The Key that Armatrading came to add backing vocals on Queen’s A Kind of Magic album. It happened because Queen and Armatrading were recording in adjacent studios at the time. Armatrading explains:

I was in the Townhouse studio making The Key album and Queen were in the next studio to me, and Roger Taylor came over and asked me if I would just walk over to his studio and say these words on the song, which I did, and then after I'd finished, the next thing I knew was Roger walking in with a MASSIVE bunch of flowers!

Side A
A1.  (I Love It When You) Call Me Names - 4:22 
A2.  Foolish Pride - 3:17 
A3.  Drop The Pilot - 3:42 
A4.  The Key - 4:02 
A5.  Everybody Gotta Know - 3:43 

Side B
B1.  Tell Tale - 2:32 
B2.  What Do Boys Dream - 2:57 
B3.  The Game Of Love - 3:35 
B4.  The Dealer - 3:18 
B5.  Bad Habits - 3:46 
B6.  I Love My Baby - 3:23

Musicians

• Joan Armatrading – vocals, acoustic guitar, electric guitar, piano
• Adrian Belew – electric guitar
• Daryl Stuermer – electric guitar
• Gary Sanford – electric guitar
• Tony Levin – bass guitar
• Larry Fast – synthesiser
• Jerry Marotta – drums
• Stewart Copeland – drums
• Julian Diggle – percussion
• Mel Collins – saxophone
• Annie Whitehead – trombone
• Guy Barker – trumpet
• Dean Klevatt – piano
• Jeremy Meek – bass vocal

Musicians on "Drop the Pilot" & "What Do Boys Dream"

• Joan Armatrading – vocals
• Craig Hull – electric guitar
• Tim Pierce – electric guitar
• Bryan Garofalo – bass guitar
• Craig Krampf – drums
• Steve "Goldie" Goldstein – keyboards
• M. L. Benoit – percussion
• Val Garay – production

Production 

• Producer: Steve Lillywhite
• Engineer: Mark Dearnley
• New York producer & engineer: Val Garay
• New York producer's assistant: Niko Bolas
• Cover painting: Donna Muir
• Photography: Jamie Morgan
• Design & art direction: Michael Ross

Notes
Release: 1983
Format: LP
Genre:  Pop
Label: A&M Records
Catalog# AMLX 64912
Prijs: €10,00

Vinyl:  Very Good
Cover:  Very Good

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The Jam - The Gift (1982) - €10,00

The Gift is the sixth and final studio album by English new wave/mod revival band the Jam.
It was originally released on 12 March 1982 by Polydor as the follow-up to the Jam's critically and commercially successful 1980 album Sound Affects.
The songs were largely recorded during 1981 to 1982, assisted by Peter Wilson, and is generally regarded as the culmination of the smoother sound of the band's later work. It was one of the band's most successful studio albums, reaching No. 1 in the UK Albums Chart.
After the album's release, the Jam disbanded. The song "Carnation" was later covered by Liam Gallagher of Oasis and Steve Cradock of Ocean Colour Scene.

The album moved away from the simple music of In the City and This Is the Modern World, and the more melodic All Mod Cons, Setting Sons and Sound Affects, to demonstrate Weller's love of northern soul.
Funk bass lines and wah-wah guitar effects were often used throughout the album, along with jazz influences such as brass sections and saxophone solos (most notably on the track "Precious") and "Trans-Global Express" which was based on the Northern Soul funk hit "So Is The Sun" by World Column, lifting the chorus and rhythm line in their entirety from that song. Only two songs on the album exceed three and a half minutes.

The biggest hit of the album was "Town Called Malice". The song's title riffs on the novel "A Town Like Alice" whilst its lyrics lament disappearing aspects of stereotypical working class life in Margaret Thatcher's Britain.
The message is not altogether negative though and the song stands as a potent rallying call to roll with the changes.
One of the quintessential "state of the nation" songs in the band's catalogue it is still frequently performed by Weller in concert as a rousing finale to the set. "Just Who Is the 5 O'Clock Hero?", which was released as a 7" vinyl single in the Netherlands only, represents the efforts put in by 9-to-5 working men and women of Britain, who keep society running (and as such, are unsung heroes).
Unlike the earlier song "Mr. Clean" from All Mod Cons, Weller does not mock the character, but rather praises him/her.
However, the character from "Mr. Clean" represents a completely different strata of society, the executive/upper management types who would typically hound and otherwise make the character from "Just Who Is The 5 O'Clock Hero?"'s life difficult.

The riff of the title track was apparently inspired by "Don't Burst My Bubble", a song first recorded by Small Faces in 1968.

Weller's experimentation with several new musical styles on The Gift contributed to a distancing between him and the Jam's other band members, Bruce Foxton and Rick Buckler, who were uneasy with the move away from Rock/Mod Revival style.
Weller himself was also discontented with contractual obligations and had begun feeling as if he were simply writing songs to order.
Nine months after the album's release, the band broke up, despite the LP reaching number one in the UK Album Chart upon release, during the band's 'Trans-Global Express Tour' to promote the album.


Side A
A1.  Happy Together - 2:52
A2.  Ghosts - 2:11
A3.  Precious - 4:14
A4.  Just Who Is The Five O’Clock Hero? - 2:18
A5.  Trans Global Express - 4:02

Side B
B1.  Running On The Spot - 3:07
B2.  Circus - 2:12
B3.  The Planners Dream Goes Wrong - 2:19
B4.  Carnation - 3:27
B5.  Town Called Malice - 2:58
B6.  The Gift - 3:07


The Jam

• Paul Weller – guitar, vocals, keyboards on "Town Called Malice", design, art direction
• Bruce Foxton – bass
• Rick Buckler – drums, percussion

with:

• Pete Wilson – keyboards on "Trans-Global Express" and "The Gift"
• Keith Thomas - saxophone
• Steve Nichol – trumpet
• Russ Henderson - steel drums

Technical

• Brian Robson, David Woolley, Renate Blauel – engineer
• Twink, Kevin Cummins - photography

Notes
Release:  1982
Format:  LP
Genre:  Mod Revival
Label:  Polydor Records
Catalog#  2383636
Prijs:  €10,00

Vinyl:  Very Good
Cover: Very  Good

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