The Horseflies - Human Fly (LP) (1987) - €10,00

The Horse Flies are an American alternative rock/folk band, founded in the late 1970s in Ithaca, NY under the name 'Tompkins County Horseflies' by husband and wife Jeff Claus and Judy Hyman, Richie Stearns and John Hayward.

The four original members of the Horse Flies emerged from the old-time music scene and, in collaboration with percussionist Taki Masuko and keyboardist/accordionist Peter Dodge, would develop their unique sound by twining old-time fiddle tunes with modern art/alt rock influences and world folk music traditions.

Human Fly is an evocative record that turns traditional country inside out. Though it is very apparent that the group has listened and absorbed old-time country and bluegrass, the intent seems to be to win over a modern young audience that is open to the possibilities of adding modern electronic sounds to the mix. Electronic means not electric guitars, but instrumentation such as processed banjo-uke and emulator. 

"I Live Where It's Gray" is possibly the most unusual and eccentric song, and definitely the most hypnotic. Resembling a disco outtake with banjo-uke instrumentation, and complete with a whip-like sounding beat and existential lyrics, the repetitive nature of the music and the rather obscure lyrical content (e.g. "I've got legs as white as priests', I live where it's gray") draws in the listener. 

Also along similar lines with unusual lyrics but without the disco beat are "Human Fly" and "Who Throwed Lye On My Dog." 

The group remains closer to the roots of old old-time country with their interpretations of two traditional songs, "Jenny on the Railroad" and "Cornbread." 

The technical prowess of fiddle player Judy Hyman is particularly impressive and definitely worth noting. The only time the album falters somewhat is on the last number "Blueman's Daughter." The problem is that the song is too close to lifeless country-rock, something unexpected from a group that is so intent on experimentation. 

Mostly, though, the album evokes admiration for the band, for the risks they've taken to evolve a new sound and stake claim in new musical territory, while still respecting their roots. 

 

Side A  (The Spider Ate My Husband)

A1.  Human Fly - 5:33

A2.  Hush Little Baby - 4:32

A3.  Jenny In The Railroad - 2:48

A4.  Rub Alcohol Blues - 4:50

A5.  Cornbread - 1:53

Side B (Legs As White As Priests)

B1.  Who Throwed Lye On My Dog - 5:27

B2.  I Live Where It’s Gray - 7:50

B3.  Link Of Chain - 2:33

B4.  Blueman’s Daughter - 3:48

Companies, etc.

• Recorded By – Airborn Productions
• Phonographic Copyright ℗ – Rounder Records Corp.
• Copyright © – Rounder Records Corp.
• Pressed By – Wakefield Manufacturing – 47317
• Published By – Happy Valley Music
• Recorded At – Sounds Interchange
• Mastered At – Frankford/Wayne Mastering Labs

Credits

• Banjo – Rich Stearns
• Bass – John Hayward 
• Cover – Sandra Stark 
• Cover [Technical Assistance] – Mark Harter
• Design – Joanna Bodenweber
• Engineer [Second] – Michael Carmen Kelly
• Fiddle – Judy Hyman
• Guitar, Banjo [Processed Banjo-uke], Synthesizer – Jeff Claus
• Lacquer Cut By – ¢
• Photography By – Carrie Stearns
• Producer, Percussion – Bill Usher
• Programmed By [MacIntosh] – George Axon, Jamie Sulek
• Recorded By, Mixed By – Kevin Doyle
• Synthesizer, Other [Emulator] – Brent Barkman (tracks: A1,A2,B1,B4)

Notes

Release:  1987

Format:  LP

Genre:  Folk Pop, Contemporary Folk

Label:  Rounder Records

Catalog#  0239

Vinyl:  Excellent

Cover:  Excellent

Prijs: €10,00

I-Level - I-Level (LP) (1983) - €7,99

I-Level were a British post-disco, R&B band, known for their underground UK club tracks "Minefield" and "Give Me" (also released as "Give Me What You Can't Get Back"). Under license to the US label Epic Records, the band had some chart success in the UK and US.

At the height of her pull, Essex group, I-Level, released a wonderfully romantic, uptempo electronic-R&B single called “Minefield” near after England’s ridiculous war with Argentina and promptly got banned from the radio. 

Trying to go for their third, hit single, with a slightly innocent tongue-in-cheek song, who knew that it could have jumpstarted the end to such a trailblazing crew. Before Loose Ends, The System, Soul II Soul, and the Soul Connection crew did their thing, there had to be some groups willing to stuck their necks out to advance a decidedly British-kind of modern soul music. I-Level’s self-titled debut is one of my favorites in doing so, not just for what it sounds like, but how it did it (as mercurial as their short career was).

I-Level’s self-titled debut is fascinating because it gives you an above ground view of the various styles younger Brits were trying to digest and fuse into R&B and to make it decidedly of their own kind. You name it, everything from dancehall, post-disco, electro, new wave, and post-punk were styles keyed in by this trio who seemed more in tune with the music heard on the back streets of England than on in America’s shores. Luckily, as Joe was the owner of his own small recording studio, I-Level were free to explore how to exactly do all this new fusion, far from the label’s hand.

What strikes me about I-Level’s debut is how melancholic it feels. It certainly tries to speak of the unease even casual dalliances must have been for youths back then. Never entirely “adult” I-Level has that in-between feeling of young lads and gals navigating through equal measures of partying, wilding, and loving. Updating “Don’t Stop ‘Til You Get Enough” for the streets of Brixton, to return to the beginning, “Minefield” should have been a proper hit. Boogie binds take songs like “Treacle” into a half-motion mining proto-house ideas, I-Level was unknowingly stumbling too. It’s something you hear in the looseness in its downtempo arrangements — equal parts dub and knotty soul music, meeting nicely askew naivete.

The A-side ends on outstanding dubby uptempo soul that sounds like little else from its time. It’s what made Imagination’s own, other world so interesting…and what makes cut like “Stone Heart” and “Give Me” so special (notwithstanding their “boyish” screeds). America really wasn’t in tune to this, to their own fault. In the end, one can imagine Larry Heard whetting his fingers to get the U.S. Remix of the latter, it was UK House music before such a thing existed. Sam Jones’ leftfield acapella take on “Woman” even nails a bit of future R&B, in a way that’s both decidedly tender and decidedly affecting as soon as that sweeping arrangement fills in and Ray Carless from another pioneering UK jazz funk group, Incognito, swirls in with his pleading sax work. It was epic drama, in a pint-size space (at least for those trying to become “real men”).

As much as I-Level predicted the future of UK soul music, should have been hits never materialized and chart-friendly, leftfield dance cuts like the ones you’d find on the flip side — “No. 4”, “Teacher”, and “Music” — suffered from the lack of radio airplay and scant record sales. I-Level would come back two years later with Shake! But by then all the cats in this band, and Joe especially, had their hearts set on other ventures that’d turn out far more successful. However, for me, there’s just something so nostalgic, inviting, and refreshing about their debut. Must be the kind of heart worn on their sleeves. There are moments that just move you and others full of emotive pause, in a way that still sound fresh and timeless, in a way that warrants someone (finally) taking it out of its never-reissued ghetto.

Over the years "Give Me" has been sampled by Sandy Kerr on "Thug Rock" (1982); AZ featuring Nas on "Gimme Yours" on the 1995 album Doe or Die; Lost Boyz on "So Love" on their 1997 album, Love, Peace & Nappiness; and A Tribe Called Quest on "Give Me" (featuring Noreaga) on their 1998 album, The Love Movement.

In 1985, I-Level disbanded and worked on music projects with other musicians. All three band members continued their music careers as record producers.

Side A

A1.  Minefield - 6:57

A2.  Treacle - 3:23

A3.  Heart Aglow - 3:25

A4.  Stone Heart - 4:40

A5.  Woman - 3:34

Side B

B1.  Give Me - 5:45

B2.  No. 4 - 5:03

B3.  Teacher - 4:27

B4.  Music - 3:02

B5.  Face Again - 4:03

Companies, etc.

• Phonographic Copyright ℗ – Virgin Records Ltd.
• Copyright © – Virgin Records Ltd.
• Distributed By – Ariola Group Of Companies
• Printed By – Mohndruck Graphische Betriebe GmbH
• Recorded At – Music Works
• Mixed At – Music Works

Credits

• Arranged By [Horns] – Hugo Delmirani
• Arranged By [Strings], Leader [Strings] – Graham Preskett
• Backing Vocals – Dorothy & Jennifer (tracks: B3)
• Design [Styling], Art Direction – Karl Adams
• Engineer, Music By – Duncan Bridgeman, Jo Dworniak
• Lyrics By [All Lead And Backing Vocals], Music By – Sam Jones
• Percussion – Danny Cummings (tracks: A1, A3, A4, B5), Mikey Nelson (tracks: B1)
• Photography By – Gered Mankawitz
• Producer – I-Level
• Producer, Arranged By [Strings], Arranged By [Horns] – I-Level
• Saxophone – Ray Carless (tracks: A1, A2, A5, B4)
• Trombone – Nathaniel (Nat) Augustin (tracks: A1, B4), Vin 'Trummie' Gordon (tracks: B5)
• Trumpet – Canute (Ken) Wellington (tracks: A1, B4)
• Trumpet, Trumpet [Solos] – Eddie 'Tan Tan' Thornton (tracks: A1, A4, B3 to B5)

Notes

Release:  1983

Format:  LP

Genre:  Post-disco

Label:  Virgin Records

Catalog#  205 542

Vinyl:  VG+

Cover:  VG / kleine inkeeping linksonder

Prijs: €7,99

Frank Marino & Mahogany Rush ‎- What’s Next (LP) (1980) - €10,00

What's Next is an album by Frank Marino & Mahogany Rush, released in 1980, under Columbia Records.

Frank Marino and Mahogany Rush's 7th studio album is about as great as it can get when talking fast paced and bluesy hard rock guitar. 'You Got Livin'', 'Finish Line', 'Mona', and especially 'Something's Comin' Our Way' are jaw dropping in their execution and intensity, and represent the apex of Marino's original recordings. Not an entirely consistent album, though for hard blues fans, it's also difficult not to love 'Rock Me Baby' and 'Loved By You'. I'm not real fond of the Doors' cover 'Roadhouse Blues', primarily because it doesn't add anything new and lacks Marino's usual unique solo touch.

For What's Next Frank Marino rediscovers his rock and roll roots. In the past his relaxed, laid-back approach had singled him out as a different breed of guitar ace. Harnessing the natural tendency to launch into a ten minute solo for no other reason than that he could, Marino had released a series of thoughtful, adept albums mixing hard rock and jazz blues to tremendous effect. Whether he believed this fusion was alienating the devotees of each camp rather than educating I’ve no idea but by choosing one above another his credibility was lowered in my eyes.

What's Next is an excellent example of a master craftsman at work. The rhythm is tight, the vocal suitably down and dirty and the guitar work blistering. If only there was more variation in pace it could have been a classic. The guitar work on "Something's Comin' Our Way" alone is absolutely unbelievable.

Gone is all pretence at introducing synthesisers and, with the addition of Vince Marino on rhythm guitar, the whole package has been considerably beefed up. "Rock Me Baby", "You Got Livin'" , "Roadhouse Blues" and "Loved By You" are all stunning but, by the time "Mona" brings the album to a close, a sense of relief from the barrage of noise is evident.

All songs by Frank Marino, except "Roadhouse Blues" written by Jim Morrison, Robby Krieger, Ray Manzarek, John Densmore; "Mona" written by Bo Diddley; "Rock Me Baby" written by B.B. King. 

Side A

A1.  You Got Livin’ - 4:36

A2.  Finish Line - 4:07

A3.  Rock Me Baby - 4:46

A4. Something’s Comin’ Our Way - 6:42

Side B

B1.  Roadhouse Blues - 5:27

B2.  Loved By You - 8:40

B3.  Rock ‘N’ Roll Hall Of Fame - 4:06

B4.  Mona - 4:24

Personnel

• Frank Marino - Lead guitar, lead vocals
• Paul Harwood - Bass
• Jimmy Ayoub - Drums
• Vince Marino - Rhythm guitar

Companies, etc.

• Phonographic Copyright ℗ – CBS Inc.
• Copyright © – CBS Inc.
• Published By – Daksel Music Corp.
• Published By – Doors Music Company
• Published By – Arc Music Corp.
• Recorded At – Studio Tempo
• Recorded At – Le Mobile
• Mastered At – Sterling Sound
• Pressed By – CBS, Haarlem – 01-83897

Credits

• Bass Guitar – Paul Harwood
• Drums – Jim Ayoub
• Engineer – Billy Szawlowski
• Guitar, Vocals – Frank Marino
• Harmonica – Jim Zeller (tracks: B1)
• Photography By – Pierre A. Gauthier
• Producer, Arranged By – Frank Marino
• Rhythm Guitar – Vince Marino (tracks: A2, A4, B1)
• Written-By – Frank Marino (tracks: A1, A2, A4, B2, B3)

Notes

Release:  1980

Format:  LP

Genre:  Rock

Label:  Columbia Records

Catalog#  jc 36204

Vinyl:  Excellent

Cover:  Excellent

Prijs: €10,00

I Spy - The Crystal Fire (LP) (1988) - €10,00

Groningse formatie die haar hoogtepunt kent aan het eind van de jaren tachtig en met de single "The International Feel" een bescheiden hitje scoort. 

In 1982 wordt de popformatie I Spy opgericht door toetsenist Peter Duinkerken, bassist Harrie Poelman, zanger Aernout Steegstra, drummer Coos Grevelink en gitarist Erik Westerhof, waarvan de kern al vanaf 1975 met elkaar samen speelt. 

De eerste single "Channels/Flash", die in juli 1982 bij Polydor verschijnt, levert de groep veel airplay op en wordt met name door de VARA via het door Felix Meurders gepresenteerde radio-programma Popkrant ondersteunt

In 1984 haalt I Spy de eindronden van De Grote Prijs Van Nederland, maar ziet de groep Gaga er met de eerste plaats vandoor gaan. 

Met de single "The International Feel" uit 1988 krijgt I Spy landelijke bekendheid. Het nummer haalt de tipparade. Bij Dureco verschijnt het debuutalbum "The Chrystal Fire". De groep is te zien op het hoofdpodium van het Noorderslag festival en is te zien bij Veronica's Countdown TV en te horen bij NCRV's Los Vast. In mei verschijnt nog de single Guide-Line, die het minder doet dan zijn voorganger. De groep doet een Twee Meter-Sessie bij de VARA, waarvoor ze tevens de tune van het programma aanleveren. 

De groep heft zich in 1991 op maar besluit in 1999 de draad weer op te pakken. 

Side A

A1.  The International Feel - 2:35

A2.  Coney Island - 5:22

A3.  Picnic At Hanging Rock - 4:19

A4.  Guide-Line - 6:33

A5.  Private Room - 6:27

Side B

B1.  Last Dance - 4:26

B2.  So-Long - 4:25

B3.  Elisabeth Dane - 5:35

B4.  The Crystal Fire - 5:08

B5.  Solitary Confinement - 2:29

Companies, etc.

• Phonographic Copyright ℗ – Dureco B.V.
• Copyright © – Dureco B.V.
• Published By – Chappell & Co. Holland B.V.
• Produced For – Nova Zembla Records
• Recorded At – Studio Spitsbergen
• Mixed At – Wisseloord Studios
• Mixed At – Soundpush Studios
• Mixed At – Studio Spitsbergen
• Pressed By – Dureco Holland

Credits

• Bass – Harry Poelman
• Design [Cover Design] – Ageeth Huizenga
• Drums – Coos Grevelink
• Engineer – Erik Hendriks, Michiel Hoogenboezem
• Guest [With], Backing Vocals – Annalies Magré, Inez Timmer, Margreet Beins, Sieti Heida
• Guitar [Guitars] – Rudolv Van Wijngaarden
• Keyboards – Peter Duinkerken
• Photography By – Ageeth Huizenga, Robert Wagt
• Producer – I Spy, Michiel Hoogenboezem 
• Vocals – Aernout Steegstra

Notes

Release:  1988

Format:  LP

Genre:  Pop

Label:  Dureco Records

Catalog#  115001

Vinyl:  Excellent

Cover: Excellent

Prijs: €10,00

Godley + Creme - Ismism (LP) (1981) - €10,00

Ismism is the fourth studio album by English duo Godley & Creme, released in October 1981 by Polydor. In the US it was released under the name Snack Attack. It was recorded between April–May 1980 at Lymehouse Studios in Leatherhead, Surrey and engineered and re-mixed at Nigel Gray's Surrey Sound Studios.

Ismism peaked at No. 29 on the UK Albums Chart and at No. 28 on the Dutch Albums Chart, making it their best-selling album. Three singles were released from the album: "Under Your Thumb", "Wedding Bells" and "Snack Attack", with the first two singles charting within the Top 10 on the UK Singles Chart.

Finally, a Godley & Creme album that doesn’t feel like a Q-tip being poked into your brain. After a steady diet of defiant and restless art pop, the pair return to their roots (i.e., 10cc) with clever narratives and throwbacks to ‘50s music. Snack Attack (released in the UK as Ismism) actually generated two UK Top 10 singles: “Wedding Bells” and “Under Your Thumb.” 

Drawing its inspiration from doo-wop, “Wedding Bells” rekindles the pair’s love affair with ’50s music, as does “Sale of the Century.” 

However, they’re the only two tracks that haven’t been rigged with some sort of booby trap. “Under Your Thumb,” “Joey’s Camel” and “Lonnie” are dark narratives, not unlike the old pulp fiction short stories you’d find in the ‘50s and ‘60s. The remaining songs defy easy categorization: “The Problem” is a mock math/logic problem set to music, “The Party” is a rap disguised as party chatter, “Snack Attack” is a libidinous litany of foods delivered from a delirious dieter, “Ready For Ralph” is about absolutely nothing. If it sounds like the pair is up to the usual tricks, they are, the difference being the music. 

The short attention span that sabotaged earlier songs has been sublimated this time, with the lyrics getting the lion’s share of attention and the music pushed to the background, perhaps castrated but awfully catchy. 

It’s almost a light version of art rock/funk (think Robert Fripp’s League of Gentleman on a much milder scale), silly yet somehow thought provoking. 

If that sounds like a description of 10cc, you’re getting warm. It’s more like 10cc distilled to half its essence, but by focusing on what they do well (which wasn’t sprawling art rock), Godley & Creme deliver an album that 10cc fans can finally enjoy. 

No longer running away from their legacy, the pair embraces their past with a perfect match of pop music and smartaleckiness.

The album's cover artwork, designed by Ben Kelly, originally was in white with the title spelt out via holes in the cover which showed a contrasting colour beneath. Later versions used coloured dots instead of holes. An alternative version of the cover featured a black background.

Side A

A1.  Snack Attack - 7:14

A2.  Under Your Thumb - 4:44

A3.  Joey’s Camel - 5:27

A4.  The Problem - 4:06

A5 . Ready For Ralph - 2:20

Side B

B1.  Wedding Bells - 3:25

B2.  Lonnie - 4:48

B3.  Sale Of The Century - 4:23

B4.  The Party - 8:06

Personnel

Credits are adapted from the Ismism liner notes.

• Kevin Godley — vocals, drums, percussion, drum machine
• Lol Creme — vocals, bass, guitar, keyboards, synthesizers
• Bimbo Acock – saxophone

Production and artwork

• Kevin Godley – producer
• Lol Creme – producer; engineer
• Nigel Gray – mixer
• Ben Kelly – artwork

Notes

Release:  1981

Format:  LP

Genre:  Art Rock, Experimental Rock

Label:  Polydor Records

Catalog#  2383.618

Vinyl:  Excellent

Cover:  VG+

Prijs: €10,00

The Jess Roden Band - In Concert (LP) (1977) - €10,00

Jess Roden (born 28 December 1947) is an English rock singer, songwriter and guitarist.

He formed The Jess Roden Band (originally Iguana – based in Southampton). 

The initial album sessions were with Steve Smith (and featured Steve Winwood on Hammond organ), but these were eventually discarded in favour of producer Geoff Haslam, with whom the group's first two studio album were recorded – Keep Your Hat On and Play It Dirty, Play It Class. 

A major touring draw, the band never achieved significant record sales and disbanded in early 1977. 

This was after the release of their live album, Blowin', which was recorded during capacity shows at Birmingham Town Hall and Leicester University in late 1976. 

Their final show was, however, also recorded and later issued as Live at the BBC

Side A

A1.  The Ballad Of Big Sally - 5:43

A2.  In A Circle - 5:43

A3.  Desperado - 7:24

Side B

B1.  Me And Chrystal Eye - 6:53

B2.  Blowin’ - 5:04

B3.  Jump Mama / Bowin’ Reprise- 7:19

Personnel

Jess Roden - Vocals

John Cartwright - Bass

Pete Hunt - Drums

Steve Webb - Guitar & Vocals

Bruce Roberts - Guitar & Vocals

Billy Livsey - Keyboards & Vocals

Chris Gower - Trombone & Percussion

Ronnie Taylor - Saxophones & Percussion

Credits

Engineer: Howard Kilgour, David Jordan

Assistant: Bari Sage, Terry Barham

Album Produced by: Jess Roden

Recorded by: The Island Mobile At Birmingham Town Hall And Leicester University Autumn 1965

Mixed at: Island Studios Hammersmith

Companies, etc.

• Distributed By – Ariola Benelux B.V.

Notes

Release:  1977

Format:  LP

Genre:  Blues Rock

Label:  Island

Catalog#  25005 ET

Vinyl:  VG+

Cover:  VG

Prijs: €10,00