juli 30, 2020

George Duke - From Me To You (1977) - €7,99

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From Me to You is the tenth studio album by American keyboardist and record producer George Duke.
It was released in 1977 through Epic Records, making it his debut release for the label. Recording sessions for the album took place at Paramount Recording Studios in Los Angeles, California.
The album features contributions from several musicians, including vocalist Dianne Reeves, guitarist Michael Sembello, bassist Stanley Clarke, drummer Leon "Ndugu" Chancler, percussionist Emil Richards, saxophonist Ernie Watts, trombonist Glenn Ferris, trumpeter Bobby Bryant, cellist Ray Kelley and others.

George Duke was never a myopic jazz purist -- the keyboardist/singer/producer/composer always had a healthy appreciation of soul, funk, and rock. Nonetheless, instrumental jazz was his main focus prior to 1977.
It was in 1977 that Duke placed jazz on the back burner and made vocal-oriented R&B his top priority. The album that marked this change of direction was From Me to You, which was the first of two R&B-oriented releases that Epic put out for the artist in 1977 -- the second was the superb Reach for It.
This LP contains a few noteworthy fusion instrumentals, including the driving "Up on It" and the contemplative "Seasons." But From Me to You is an R&B album more than anything, and Duke lets the funk prevail on vocal-oriented tracks like "Sing It" and "Carry On" (which he revisited when he produced Flora Purim's Carry On LP in 1979).
Occasionally, this album is excellent, although most of the time, it is merely decent -- on From Me to You, Duke doesn't wear the soul/funk hat as confidently as he did on subsequent R&B-oriented projects like Reach for It, Don't Let Go, and Follow the Rainbow.
This record is a bit uneven, although it has more plusses than minuses and is worth hearing if you're among Duke's hardcore fans.


Side A
A1.  From Me To You - 1:44
A2.  Carry On - 4:35
A3.  What Do They Really Fear? - 4:27
A4.  ‘Scuse Me Miss - 3:34
A5.  You And Me - 3:39
A6.  Broken Dreams - 2:47

Side B
B1.  Up On It - 9:02
B2.  Seasons - 5:45
B3.  Down In It - 1:21
B4.  Sing It - 4:07


Companies, etc.

Personnel
  • George Duke – vocals, keyboards, percussion, arrangements
  • Michael Sembello – acoustic guitar, electric guitar
  • Stanley Clarke – acoustic bass, electric bass 
  • Byron Lee Miller – electric bass 
  • Leon "Ndugu" Chancler – drums
  • Emil Richards – percussion 
  • William Green – flute, piccolo flute , saxophone 
  • Ernie Watts – flute , piccolo flute , saxophone 
  • Glenn Ferris – trombone 
  • Lew McCreary – trombone 
  • Bobby Brant – trumpet 
  • Walt Fowler – trumpet 
  • Murray Adler – strings 
  • Pamela Goldsmith – strings 
  • Allan Harshman – strings 
  • Jacqueline Lustgarten – strings 
  • Raymond Kelley – strings 
  • William Kurasch – strings 
  • Jay Rosen – strings 
  • Polly Sweeney – strings 
  • Lawrence Pecot Robinson – handclaps
  • Debbie Robinson – handclaps
  • Leslie Kearney – handclaps
  • Dennis Moody – handclaps
  • Darrell Cox – handclaps
  • Bruce W. Talamon – handclaps
  • Dianne Reeves – vocals 
  • Jessica Smith – backing vocals
  • Julia Tillman Waters – backing vocals
  • Maxine Willard Waters – backing vocals

Production
  • George Duke – producer
  • Kerry McNabb – engineer
  • John Golden – mastering at Kendun Recorders (Burbank, California).
  • Nancy Donald – design
  • Cynthia Marsh – artwork
  • Bruce W. Talamon – photography

Notes
Release: 1977
Format:  LP
Genre:  Jazz-Soul, Funk
Label:  Epic Records
Catalog#  AL 34469
Prijs:  €7,99

Vinyl:  Good
Cover: ood

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The Brothers Johnson - Winners (1981) - €10,00

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Winners is a studio album by the Brothers Johnson, released in 1981.
From 1975-1980, the Brothers Johnson enjoyed a very lucrative association with producer Quincy Jones -- one that brought them both creative and commercial success.
And when that association ended after their fourth album, Light Up the Night, their popularity faded.

This is the first album of The Brothers Johnson not to be produced by Quincy Jones, and as much as I love the brothers, I do have to admit that it shows. In the absence of Q's perfectionism that brought us such classic soul and R&B albums as Off The Wall, Thriller, Give Me The Night and The Dude - to add to the brothers' four preceding albums of their own - we're left with something that is pleasant and listenable, but that doesn't quite blow your socks off.

All of those things said, you can still see the brothers' talent here, as they instead self-produce in the wake of Q's exit from long-time label A&M to Warner Brothers. The first three or four songs seem to be based quite deliberately on the template of their previous album, Light Up The Night, with The Real Thing and Dancin' Free comparing reasonably well with the corresponding openers on the aforementioned LP, Stomp! and the title track. Sunlight, meanwhile, seems to be the Winners equivalent of the Rod Temperton classic, Treasure. Again, so far, so nice.

Then, things start getting a bit weirder as the influence of the brothers' new collaborators, various members of Toto, takes hold... with the likes of I Want You and Caught Up exhibiting a more arena-friendly rock sound that you just don't really expect from The Brothers Johnson... or necessarily actually want. Do It For Love, meanwhile, is a pleasing return to a more traditionally Brothers Johnson-esque sound. But even with all of the experimentation on view here, the album just lacks those Quincy finishing touches that so often turned potentially average albums into very good or excellent ones.

So, in summary? Still worth picking up if you're a fan of the brothers, or of the more general funk and R&B of this period... 
Side A
A1.  The Real Thing - 3:48 
A2.  Dancin’ Free - 3:45 
A3.  Sunlight - 3:43 
A4.  Teaser - 3:46 
A5.  Caught Up - 4:01 

Side B
B1.  In The Way - 3:27 
B2.  I Want You - 5:13 
B3.  Do It For Love - 3:40 
B4.  Hot Mama - 3:23 
B5.  Daydreamer Dream - 4:00


Credits

George Johnson - vocals, guitar, acoustic guitar, bass, handclaps, backing vocals, string arrangements, producer, writer
Louis Johnson - vocals, bass, guitar, keyboards, bass synth, backing vocals, handclaps, writer
David Paich - piano, keyboards, synthesizer, writer
Steve Porcaro - synthesizer, keyboards, writer
Jeff Porcaro - drums, writer
James Newton Howard - synthesizer, string arrangements
Greg Phillinganes - synthesizer
Jeff Lorber - synthesizer
Steve Ferrone - drums
Gerald Brown - drums
John Robinson - drums
Paulinho da Costa - percussion, cowbell, handclaps
Steve Lukather - guitar
David Williams - guitar
Lynn Davis - vocals, backing vocals
John Schuller - Clavinet
Jim Gilstrap - backing vocals
James Ingram - backing vocals
Augie Johnson - backing vocals
Marian Jones - backing vocals
Wanda Vaughn - backing vocals
Lalomie Washburn - backing vocals

Companies, etc.
Production

Notes
Release:  1981
Format:  LP (Gatefold)
Genre:  Soul / Funk
Label:  A&M Records
Catalog#  AMLK 63724
Prijs:  €10,00

Vinyl:  Good
Cover:  Good


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juli 29, 2020

David Cassidy - Cassidy Live! (1974) - €7,99

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David Bruce Cassidy (April 12, 1950 – November 21, 2017) was an American actor, singer, songwriter, and guitarist.
He was best known for his role as Keith Partridge, the son of Shirley Partridge (played by his stepmother, Shirley Jones), in the 1970s musical-sitcom The Partridge Family.
This role catapulted Cassidy to teen idol status as a superstar pop singer of the 1970s.

Cassidy Live! was David Cassidy's fourth solo album and final album released on Bell Records. It was released in 1974 and was recorded live in Britain. It was produced by Cassidy and Barry Ainsworth on Bell Records. The recording captures some of the mass hysteria that surrounded Cassidy's live performances at that time. The album peaked at #9 on the UK album charts.
"Please Please Me" was released as single from this album in the UK where it reached #16 on the British singles chart. The album failed to have much of an impact in the U.S. partially due to Bell Records' mid-1970s slump and that label's scheduled transition into Arista Records the following year.

Recorded live on his 1974 world tour, at the height (and, though nobody knew it, in the final days) of Cassidy-mania, Cassidy Live is a peculiar document, on the one hand standing as an indication of just how fierce the hysteria around the lad was, but, on the other, living proof of what a sensational showman he was.
The backdrop of frenzied screaming that accompanies every note, every move, and, most of all, every hit is relentless -- even mixed way down behind the music, you cannot miss it and listening to the album one cannot help but wonder precisely what Cassidy was doing on-stage to provoke the sudden outbursts of keening.
A twitch to the left -- shriek! A twitch to the right -- shriek! A quick burst of truly filthy gyration...well, we won't be seeing that roof again. The dozen songs that comprise the album add up to, more or less, a solid survey of the many faces Cassidy had worn since launching his solo career -- a handful of light pop favorites ("Breaking up Is Hard to Do," "How Can I Be Sure"), interspersed with Broadway musical standards ("Bali Hai"), then punched through with some rockers that are all the more convincing for appearing so unexpected. "Mae" serves up a quite scintillating guitar solo, Leon Russell's "Delta Lady" is at least as beguiling as Joe Cocker's hit version, while Lennon/McCartney's "Please Please Me" ranks up there with any Fabs cover you could name.
Indeed, with the screaming now at its peak, it comes as close to recapturing the heady days of the Beatles' own brush with mayhem than anything this side of their own live recordings.
There's another shock in Cassidy's excellent interpretation of Buffalo Springfield's "For What It's Worth" -- evidence way ahead of its time of the direction Cassidy's mid- to late-'70s output would be moving.
But the highlight is the rock & roll medley that closes the show with a verve and panache that defies the star's reputation as mere teeny-bait. The Osmonds, at this time his greatest rival in the media superstar stakes, were airing a similar construct in their live shows of the day, but there really is no comparison -- no polite one, anyway.
Rock history has sidelined Cassidy with a finality that seems almost personal, shovelling him up a teen idol side street from which the only escape was retirement and resignation. Cassidy Live, however, was recorded while he still thought he had a chance of advancing -- and few period live albums come even close to capturing its excitement.


Side A
A1. It’s Preying On My Mind - 3:07
A2. Some Kind Of Summer - 3:15
A3. Breaking Up Is Hard To Do - 2:47
A4. Bali Ha’i / Mae Time - 0:56
A5. I’m A Clown - 3:18
A6. Delta Lady - 3:59

Side B
B1. Please Please Me - 1:50
B2. Daydreamer - 1:57
B3. How Can I Be Sure - 2:49
B4. For What It’s Worth - 5:30
B5. C. C. Rider Blues / Jenny Jenny - 4:35
B6. Rock Medley - 6:19
      (a) Blue Suede Shoes
      (b) (We’re Gonna) Rock Around The Clock
      (c) Jailhouse Rock
      (d) Rock And Roll Music
      (e) Rock Me Baby


 Personnel
  • Michael Been – Bass and Background Vocals
  • Richard Delvy – Percussion
  • Henry Diltz – Harmonica and Background Vocals
  • Gloria Grinel – Background Vocals, Claps, Tambourine
  • Steve Ross – Lead Guitar
  • Trish Turner – Background Vocals, Claps, Tambourine
Production notes
  • Produced by David Cassidy and Barry Ainsworth
  • Engineered by Barry Ainsworth

Notes
Released:  1974
Format:  LP
Genre:   Rock
Label:  Bell Records ‎
Catalog#  BELLS 243
Prijs:  €7,99

Vinyl:  Good
Cover:  Good

http://www.ad-vinylrecords.com/product/cassidy-david-cassidy-live-lp/

juli 28, 2020

Hipsway - Hipsway (1986) - €4,99

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Hipsway are a Scottish pop/new wave band.
The band was formed in Glasgow in 1984 by ex-Altered Images guitarist Johnny McElhone on bass, and featuring Grahame Skinner (vocals), Pim Jones (guitar) and Harry Travers (drums).
Skinner and Travers had been members of the band Kites with Paul McGrath and Ian McGreevy before Hipsway formed.
 Their music was characterized by Skinner's deep vocals and Jones' rhythmic guitar style.
 They were quickly signed up by Mercury Records and by 1985 had released their first, eponymously titled album. The album was a moderate success in the UK Albums Chart; while the single, "The Honeythief", made number 17 in the UK Singles Chart, and also reached the Top 20 in the U.S. Billboard Hot 100 chart. Another song from the album, "Tinder", became well known in Scotland as the soundtrack to a McEwan's Lager commercial.

Hipsway scored -- briefly -- in the U.S. with the 1986 Top 20 hit "The Honeythief," a catchy pop nugget that, unfortunately, solidified the band's status as a one-hit wonder. "The Honeythief" was an A-1 single, however, combining R&B influences with a European sensibility in the same manner as Living in a Box and Go West. Predictably, the rest of the material on Hipsway fails to match the quality of its sole hit tune. There are some pleasant moments on Hipsway -- "Long White Car" and "Ask the Lord" are nice ballads, and "Broken Years" is almost as catchy as "The Honeythief" -- but the album is mostly forgettable pop fluff. Hipsway released one more album (the 1989 flop Scratch the Surface) before disbanding. Member Jon McElhone would later become a member of the decidedly more successful band Texas.


Side A
A1. The Honeythief - 3:09
A2. Ask The Lord - 4:03
A3. Bad Thing Longing - 4:09
A4. Upon A Thread - 4:05
A5. Long White Car - 4:34

Side B
B1. The Broken Years - 3:15
B2. Tinder - 5:12
B3. Forbidden - 4:15
B4. Set This Day Apart - 5:05


Companies, etc.
Credits


Notes
Release: 1986
Format:  LP
Genre:  Pop
Label:  Mercury Records
Catalog#  MERH 85
Prijs:  €4,99

Vinyl:  Lichte Gebruikerssporen
Cover:  Lichte Gebruikerssporen

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juli 27, 2020

Daryl Hall - Three Hearts In The Happy Ending Machine (1986) - €2,99

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Three Hearts in the Happy Ending Machine is a 1986 solo album by Daryl Hall.

Arriving just at the end of Hall & Oates' phenomenal streak of success in the early '80s, 3 Hearts in the Happy Ending Machine, Daryl Hall's second solo album, was viewed as the first overture in a solo career but, in retrospect, its kinship with his first solo effort, 1980's Sacred Songs, is apparent.
There is some indication that Hall had to make, or wanted to make, some concessions to bring it onto the charts -- how could he not, he was one of the most popular musicians of his era -- but that's not particularly evident on the tremendous lead single, "Dreamtime," a swirling slice of arty new wave psychedelia that stands in direct contrast to anything Hall & Oates sent into the Top Ten -- it might have belonged on Sacred Songs or X-Static, but it could only have been cut in the mid-'80s when Hall had the freedom to make a record like this.
And this is a result of an artist who is given the freedom to make close to the record that he wants, with a few commercial concessions, plus a desire to make a modern record.
That does mean 3 Hearts is a bit tied to the time, particularly in its production with its clean synths and cavernous drum machines, but that's not necessarily a bad thing since it's primarily of interest as a portrait of where Hall was in 1986.
He's not as insistently melodic as he is with Oates, nor is he as experimental as he was on Sacred Songs, and that does mean that 3 Hearts falls in a middle ground that's a bit neither here nor there. And that means it's not particularly cohesive, but it does have its moments, the brightest of which is "Dreamtime," one of his greatest achievements.
There are other songs here that aren't quite as good, but it does take a bit of searching to find them, particularly because some of the cuts are either failed experiments or just fall flat.
But those moments that do work illustrate that Hall had ambitions that couldn't fit Hall & Oates, and needed an outlet like this, even if he couldn't quite pull it all together all the time.


Side A
A1. Dreamtime - 4:44
A2. Only A Vision - 4:33
A3. I Wasn’t Born Yesterday - 4:21
A4. Someone Like You - 5:32
A5. Next Step - 4:52

Side B
B1. For You - 5:49
B2. Foolish Pride - 3:56
B3. Right As Rain - 4:22
B4. Let It Out - 3:51
B5. What’s Gonna Happen To Us - 5:38


 Personnel
  • Daryl Hall – lead and backing vocals, guitar, mandolin, keyboards, drum programming
  • Ric Morcombe – guitar
  • G.E. Smith – guitar
  • Jamie West-Oram – guitar
  • David A. Stewart – guitar, guitar solo, drum programming
  • Robbie McIntosh – guitar, guitar solo
  • Robbie Kilgore – keyboards
  • Mike Klvana – keyboards, Synclavier programming
  • Patrick Seymour – keyboards, E-mu Emulator II sampling
  • Stephen Gillifant – E-mu Emulator II sampling
  • Tom "T-Bone" Wolk – bass guitar, guitar, mandolin
  • Tony Beard – drums, additional percussion
  • Michel De La Porte – percussion
  • Steve Ferrone – additional percussion
  • Olle Romo – additional percussion
  • Jimmy Bralower – drum programming
  • Manu Guiot – drum programming
  • Steve Harvey – drum programming
  • Bob Riley – drum programming
  • Lenny Pickett – saxophone
  • Dick Morrissey – sax solo 
  • Michael Kamen – string arrangements and conductor 
  • June Montana – additional backing vocals 
  • Kate St. John – additional backing vocals 
  • Bob Geldof – additional backing vocals 
  • Joni Mitchell – additional backing vocals 

 Production
  • Produced by Daryl Hall, Dave Stewart and T-Bone Wolk; "What's Gonna Happen To Us" produced by Daryl Hall.
  • Recorded between October 1985 and May 1986.
  • Engineer at Studio de la Grande in Armee, Paris, France – Manu Guiot; assisted by Frederick Defaye and Serge Pauchard.
  • Engineer at The Church in Crouch End, London, England – Jon Bavin; assisted by Stephen Gallifent.
  • Engineer at Marcus Studios, London – Manu Guiot; assisted by Dick Beetham and Tim Burrell.
  • Engineers at Right Track Studios, New York City – Frank Filipetti and Manu Guiot; assisted by Noah Baron and Paul Hamingson.
  • Engineer at Electric Lady Studio, New York City – Manu Guiot; assisted by Ken Steiger.
  • Mixed by Bob Clearmountain at Electric Lady Studio, except "For You": mixed by Frank Filipetti at Electric Lady; Filipetti was assisted by Ken Steiger.
  • Mastered by Bob Ludwig at Masterdisk (New York City, NY).
  • Art Direction and Design – Jeb Brien and Joe Stelmach
  • Hand Tinting – Cheryl Winser
  • Photography – Paul Elledge

Notes
Release:  1986
Format:  LP
Genre:  Pop, Rock
Label:  RCA Records
Catalog#  PL87196
Prijs : €2,99

Vinyl:  Users Tracks
Cover:  Goed

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juli 25, 2020

The Rumour - Max (1977) - €7,99

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The Rumour were an English rock band in the late 1970s and early 1980s. They are best known as the backup band for Graham Parker, whose early records (from 1976 to 1980) were credited to Graham Parker & The Rumour.
However, The Rumour were also recording artists in their own right, releasing three albums: Max (1977), Frogs, Sprouts, Clogs and Krauts (1979), and Purity of Essence (1980).
The group broke up at the end of 1980, but reunited as Parker's backing band in 2011, and have performed and recorded with Parker ever since.

Members of The Rumour came from the veteran UK pub rock bands Brinsley Schwarz, Ducks Deluxe and Bontemps Roulez.
Throughout most of their existence (1975–1980), The Rumour consisted of founding members Bob Andrews (keyboards), Brinsley Schwarz (guitar), Martin Belmont (guitar), Andrew Bodnar (bass), and Stephen Goulding (drums).Lead vocals were shared amongst all group members.

The Rumour debuted on disc as Graham Parker's backing band on his 1976 album Howlin' Wind. While continuing to work with Parker (and to receive billing on his albums), the following year The Rumour began to issue their own recordings, starting with the 1977 album Max (a reply to Fleetwood Mac for calling their latest album Rumours).
On their debut, the Rumour play laid-back pub rock in a style (predictably) not too dissimilar from their work with Graham Parker, though it is looser and more in the style of later Brinsley Schwarz. Max is probably most noteworthy for the clear high point, the band's cover of Nick Lowe's "Mess with Love" (a song he wouldn't get around to recording himself until 1982's Abominable Showman), although the album is packed with some terrific music.


Side A
A1. Mess With Love - 3:49
A2. Hard Enough To Show - 4:07
A3. Do Nothing ‘Till You Hear From Me - 3:26
A4. Jet Plane - 4:11
A5. Looking After No. 1 - 2:47

Side B
B1. I’m Gonna Make You Love Me - 3:06
B2. I’m So Glad - 3:15
B3. Face To Face - 3:59
B4. This Town - 2:44
B5. Somethin’s Goin’ On - 3:14


Companies, etc.
Credits

Notes
Released: 1977
Format:  LP
Genre:  Pub Rock
Label:  Vertigo ‎Records
Catalog#  6360 149
Prijs:  €7,99

Vinyl:  Good
Cover:  Good

http://www.ad-vinylrecords.com/product/rumour-the-max-lp/

juli 23, 2020

Urban Heroes - Who Said… Urban Heroes (1980) - €7,99

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Urban Heroes was een newwaveband uit Den Haag, opgericht in 1979.
Jaap de Jonckheere, Martin Zonderop en Ad van Ree speelden samen in een jazzrockformatie genaamd Storm. Vanaf 1979 vormden zij samen met Evert Nieuwstede en Jeroen Ernst de band Urban Heroes.
In 1985 vormden de kernleden van de groep de formatie Boom Boom Mancini. Hoewel er na deze tijd (1985-2005) nog enkele reïncarnaties van Urban Heroes zouden zijn, was de groep officieel ten einde gekomen.

Met Schellekens als producer beginnen de Urban Heroes aan de opnames van het album Who Said...Urban Heroes. De muziek op dit debuutalbum is een mengeling van new wave, ska en funk.
Het album wordt goed ontvangen, zelfs in Amerika schrijven critici lovend over de Urban Heroes. Eerste single Get It en opvolger Not Another World War worden bescheiden hits en bereiken beiden nummer 32 in de Top 40. De band geniet al snel een goede live-reputatie, waarbij Nieuwstede de show steelt.


Side A
A1. Get It - 3:14
A2. Not Another World-War - 3:34
A3. Da Da - 3:03
A4. Headlines - 3:11
A5. Dancin’ Okay - 4:45

Side B
B1. We Are Urban Heroes - 3:20
B2. Into - 1:16
B3. 1980 (Has Just Begun) - 4:28
B4. Lovin’ You, Lovin’ Me - 4:00
B5. Baby Come Back - 2:57
B6. Saturday-nights In Peking - 2:31


Companies, etc.
Credits
Notes
Release:  1980
Format:  LP
Genre:  New Wave, Pop
Label:  Rocktopus Records
Catalog#  202 026-320
Prijs:  €7,99

Vinyl:  Good
Cover:  Good


juli 22, 2020

Smithereens - 1234 (1985) - €7,99

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Smithereens are a musical duo consisting of composer / producer / bass player Peter Smid and singer Wendy Sheridan.

Peter Smid got his first guitar on his 10th birthday. Inspired by musical heroes Elvis Presley, The Everly Brothers and The Shadows, he became musically active himself. In 1975 he formed the house orchestra for Amsterdam’s famous pop temple, Paradiso, a band later integrated into VPRO Radio’s music department. As VPRO’s Houseband they worked with the legendary Dr. John, who was quite impressed by the combo’s virtuosity. The Houseband also recorded the albums Numero Uno, Sympatico and Hot Enuff, featuring the hit songs “Dancing Shoes” and “Don’t Lose Your Love.”
In 1981 Peter Smid once again found himself in the pop charts, this time as leader of Time Bandits, one of the few Dutch groups with success abroad. Time Bandits’ hits include “Live It Up,” “I’m Specialized in You” and “The Man With the Golden Voice.” Because of musical differences, Peter left the group in late 1982.
Wendy Sheridan was born in New York, moving to Ashbury Park, N.J. – Springsteen country – as a teenager. There she started her singing career, accompanying herself on guitar or banjo. In the late seventies Wendy moved to sunny Key West, Florida, where she became a top attraction. She worked in clubs and theatres, teaming up with a host of musicians playing blues, country, rock, soul and even jazz. She appeared in two films about Key West and lent her voice for countless jingles and commercials, some of which are still being played by Florida radio stations today.
In 1983 Wendy took a plane to Europe – someone had promised her a contract with a German record company. In Germany she found this to be an empty promise. Possessing little but a Eurail pass, she ended up in Amsterdam, where she made a living by performing in clubs and even in the street. One lucky day she was discovered by Frank Sutherland, who invited her to sing in in a VPRO radio program about the ‘Sound of New Orleans.’ Sutherland played Wendy’s tapes for Peter Smid – and the rest is history: Smithereens was born.
Smithereens’ first joint project was a six-track mini album for Idiot Records simply called 1234 and featuring the single “Guarantee for Love.” The selections were written by Peter Smid together with either J.P. den Tex or Wendy Sheridan. The album was produced by Peter Smid and Jakob Klaasse.
In 1986 Smithereens were forced to change their name since another group (recording for the American Enigma label) was also active under the name Smithereens. As Wendy and the Sensations the duo recorded the single “He’s a Sucker for a Lady.” Flip van der Enden.


Side A
A1.  (You Is) A Guarantee For Love - 5:55
A2.  Promiscious - 4:46
A3.  Trouble In Mind - 4:30

Side B
B1.  Speed Of Life - 5:30
B2.  Time Ticks Tragedy - 4:15
B3.  Just Enuf - 6:00


Companies, etc.
Credits

Notes
Release:  1985
Format:  LP
Genre:  Synth-pop
Label:  Idiot Records ‎
Catalog#  240762-1
Prijs:  €7,99

Vinyl:  Good
Cover:  Good
 
http://www.ad-vinylrecords.com/product/smithereens-%e2%80%8e-1234-lp/ 

juli 21, 2020

Gary Brooker - No More Fear Of Flying (1979) - €7,99

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Gary Brooker, MBE, (born 29 May 1945) is an English singer, songwriter, pianist and founder and lead singer of the rock band Procol Harum.
Brooker was the clear leader until the band broke up in 1977. Brooker started a solo career and released the album No More Fear of Flying in 1979.

After 10 albums with Procol Harum, lead singer, composer, and keyboard player Gary Brooker launched his solo career with this album. Of course, there were Brooker's familiar characteristics -- the steady piano work, the butterscotch soul voice. But he switched lyric partners for this set (except for the title track), trading longtime Procol wordsmith Keith Reid for Pete Sinfield, who had performed the same function for Procol contemporaries King Crimson and Emerson, Lake and Palmer.
Brooker also tried a couple of tunes by Stiff Records pub-rocker Mickey Jupp (Jupp's versions are better) and Murray Head's "Say It Ain't So, Joe".
The result was a varied set that succeeded in sounding like something other than Procol Harum's 11th album, although it did not demonstrate that Gary Brooker solo was going to be an improvement over the group.

In some ways it was, but it also found Brooker expanding his horizons and doing what he could to break free of how the public expected him to sound. And to a certain extent he succeeded.
Favorite cut by far is the catchy title cut which is full of unrealized commercial potential.
Also like Pilot and Give Me Something To Remember You By which carry Brooker's signature sound on their notes; the delightful Savannah; and the very uncharacteristic Angelina. Those I don't really care for are Say It Ain't So Joe, Let Me In, the awful Get Up and Dance, and the lame Switchboard Susan.


Side A
A1. Savannah - 3:32
A2. Pilot - 4:31
A3. (No More) Fear Of Flying - 5:22
A4. Get Up And Dance - 3:35
A5. Give Me Something To Remember You By - 4:20

Side B
B1. Say It Ain’t So Joe - 3:47
B2. Old Manhattan Melodies - 4:18
B3. Angelina - 4:15
B4. Let Me In - 3:13
B5. Switchboard Susan - 4:29


Companies, etc.
Credits

Notes
Release:  1979
Genre:  Pop
Label:  Chrysalis ‎Records
Catalog#  51.1224
Prijs:  €7,99

Vinyl:  Goed
Cover:  Goed

http://www.ad-vinylrecords.com/product/brooker-gary-no-more-fear-of-flying-lp/

juli 19, 2020

Rene & Angela - Rise (1983) - €10,00

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René & Angela were an American R&B duo consisting of musical artists and producers René Moore and Angela Winbush. They formed in 1979 and disbanded in 1986.

They recorded three albums for Capitol Records: their 1980 self-titled debut René & Angela, the second album Wall to Wall and their final album for the label, 1983's Rise.
They later moved to Mercury Records to release 1985's Street Called Desire. Despite the success of the album, the group disbanded by the end of 1986.
Disagreements and conflicts caused tension within the band. Moore claimed the source of tension was due to Winbush lending her songwriting and production talents to other artists.

Rise is their 1983 album, released on April 29, 1983, this is the third album by the duo and was their last for the Capitol Records label. It includes the R&B Ballad "My First Love".
With this being the last album the duo would record for Capitol, they still couldn't manage to crack the Billboard R&B Top Ten. However, they did come close.
Their first release was the dance single "Bangin' the Boogie." With its rapid rhythm and blaring horns, the twosome managed to carry the song to number 33 on the Billboard R&B charts. Their follow-up single, "My First Love, " had an impressive outing.
With its lush string arrangement, the pair deliver a passionate take on a serenely written number, which peaked at #12 after 18 weeks on the charts.
While most of the album features uptempo songs, "Can't Give You Up" is the only midtempo number, and it, like most of the album, suffers from production overkill.


Side A
A1.  Rise - 3:57 
A2.  Keep Runnin’ - 5:16 
A3.  My First Love - 5:07 
A4.  Bangin’ The Boogie - 5:01 

Side B
B1.  When It Comes To Love - 5:01 
B2.  Wait Until Tonight - 4:20 
B3.  Can’t Give You Up - 4:01 
B4.  Take Me To The Limit - 4:16


Personnel
Credits

Notes
Release: 1983
Format:  LP
Genre:  Soul
Label:  Capitol Records
Catalog#  1A 064-4001821
Prijs:  €10,00

Vinyl:  Good
Cover:  Good