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Kate Bush - Lionheart (1978) (Vinyl, Lp) - €10,00

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"Lionheart" is the second studio album by the English singer-songwriter Kate Bush. 
It was released in November 1978, just nine months after Bush’s successful debut album The Kick Inside. Lionheart reached no. 6 on the UK Albums Chart.
Following the success of her debut album, Kate Bush’s record company EMI were eager to get another out. 
Bush had composed many songs throughout her teens (she was at this time 19 years old) and the majority of the tracks used for Lionheart were compositions from before her debut. 
Bush, however, was unhappy with the short length of time she had in which to produce the album. Recorded entirely at Super Bear Studios in Berre-les-Alpes on the French Riviera, this was to be her only album recorded outside the UK. 
Of the ten tracks, only “Symphony in Blue”, “Fullhouse” and “Coffee Homeground” were newly composed songs, although the other songs had been reworked by Bush in preparation for the recording.
The album was produced, like her first, by Andrew Powell, with Bush feeling that she was at this stage too inexperienced to produce it herself (she would go on to produce all her following albums). 
Since the album’s release, Bush has many times said that she was unhappy with this album because of the restrictions imposed on it. In a 1989 interview she remarked: “Considering how quickly we made it it’s a bloody good album, but I’m not really happy with it”.
Literary references include J. M. Barrie‘s Peter Pan in “In Search of Peter Pan” (a song which also quotes “When You Wish Upon a Star” from the Disney film Pinocchio), as well as a nod towards Arsenic and Old Lace in the song “Coffee Homeground”, which despite being similar in plot to the play, was inspired by a taxi driver who drove Bush once. 
Film references include “Hammer Horror“, while although taking its name from the Hammer Film studios, is actually about a production of The Hunchback of Notre Dame. 
The British television show The Sweeney, a popular police drama from the 1970s, was mentioned in the lyrics of the song “Wow“, which is a song about the music business and show business in general. “Kashka from Baghdad”, inspired by American detective series, is about the inhabitants of a town wondering about a couple living in an old house.
Her fairytale essence wraps itself around tracks like “In Search of Peter Pan,” “Kashka From Baghdad,” and “Oh England My Lionheart,” but unravels before any substance can be heard. “Wow” does the best job at expressing her voice as it waves and flutters through the chorus, with a melody that shimmers in a peculiar but compatible manner.
Some of the tracks, such as “Coffee Homeground” or “In the Warm Room,” bask in their own subtle obscurity, a trait that Bush improved upon later in her career but couldn’t secure on this album. Lionheart acts as a gauge more than a complete album, as Bush is trying to see how many different ways she can sound vocally colorful, even enigmatic, rather than focus on her material’s content and fluidity.


Side one
1.  Symphony in Blue - 3:35
2.  In Search of Peter Pan - 3:46
3.  Wow - 3:58
4.  Don’t Push Your Foot on the Heartbrake - 3:12
5.  Oh England My Lionheart - 3:10
 
Side two
1.  Fullhouse - 3:14
2.  In the Warm Room - 3:35
3.  Kashka From Baghdad - 3:55
4.  Coffee Homeground - 3:38
5.  Hammer Horror - 4:39
 

“In Search of Peter Pan” contains an excerpt of “When You Wish Upon a Star“, written by Leigh Harline and Ned Washington.

 
Personnel
 
Credits
 
Companies, etc.

Notes
Release:  1978
Format:  LP, Vinyl
Genre:  Art Rock, Baroque Pop
Label:  EMI Records
Catalog#  5C 062-06859

Vinyl:  Goed (VG+)
Cover:  Goed (VG+) Gatefold

Prijs: €10,00

Gilbert O´ Sullivan - Back To Front (1972) (Vinyl Lp) - €5,00

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Back to Front is the second studio album by Irish singer-songwriter Gilbert O'Sullivan, released in October 1972 by MAM Records. 
The album follows the success of his 1971 debut album Himself and singles such as "Alone Again (Naturally)". Coinciding with the album, O'Sullivan abandoned his distinctive dress sense, which included a short cap and trousers, and instead presented himself as a more masculine, hairy-chested singer with a perm, wearing sweaters with the letter "G" emblazoned on them, which helped establish him as a sex symbol. 
O'Sullivan wrote the album's songs at home during night-time writing sessions, and recorded the album with his manager and producer Gordon Mills in London. 
As with Himself, the album combines show tune-inspired pop music with string arrangements, but also places an emphasis on piano-based songs. 
O'Sullivan's lyrical style displays his characteristic observational, kitchen sink style, with songs boasting humorous twists and a wide range of musical and lyrical influences, including Fats Domino. Upon release, Back to Front was a critical and commercial success, reaching number 1 on the UK Albums Chart and allowing O'Sullivan to become the era's best-selling British-based artist. The single "Clair" was a UK chart-topper. 
In an interview prior to the release, O'Sullivan explained that, as with its predecessor, Back to Front is "just [...] a collection of songs." 
Similarly to his previous work, the album contains orchestral pop melodies and "quizzical, idiosyncratically-phrased lyrics," though the record also contains more piano-based songs than before. 
In the opinion of AllMusic's Stephen Thomas Erlewine, the album retains the show tune-inspired pop of its predecessor, but is glossier and slicker, with greater care taken to write "sprightly theatric tunes, songs that take great pride in their clever-clever twists, smiling, crowd-pleasing melodies, and [songs which contain] proudly cheeky sentimentality." 
In an interview during the album's recording, O'Sullivan described his lyrics as an observational, "uneducated look at things," and said he would often base songs on situations he read in newspapers because "they are current. They move on every day."
Similarly to Himself, the album is bookended by short intro and outro songs. The intro track invites listeners to "join the hunt," and seamlessly segues into "I Hope You Stay", which concerns romance and unemployment, which is then followed by "In My Hole," an orchestral pop song with a Johnnie Spence-scored trumpet part reminiscent of Hugh Masekela's 1968 jazz hit "Grazing in the Grass" and lyrics concerning an introverted 'hermit' who refuses to engage with the world around him. "Clair", meanwhile, concerns O'Sullivan's babysitting of Mills' daughter Clair, and finds the singer in his "distracted interior monologue" mode. 
He wrote the song to Clair's parents as "almost a thank you to them." 
"That's Love" is a characteristically off-kilter love song with a doo-wop turnaround chord sequence, while "Can I Go with You" is a tribute to the early work of the Beatles, exuding a youthful idealism, themes of young romance and the "chiming romanticism" style of Paul McCartney. 
These songs are followed by "But I'm Not," which features a twelve-bar blues structure in the style of Fats Domino, who O'Sullivan was introduced to by Rick Davies, O'Sullivan's former Rick's Blues bandmate and later a member of Supertramp. The song is suffixed by an "outro" to side one.
Side two opens with the bluesy shuffle of "I'm in Love with You," featuring the distinctive slide guitar of Big Jim Sullivan. 
It is followed by the darkly humorous "Who Was It?", with its narrator "tripping a girl up in order to meet her," and "What Could Be Nicer", which is one of O'Sullivan's 'family songs' with "very English" kitchen sink lyrics that wistfully detail domestic scenarios with "home-spun philosophy," according to writer Chris Ingham. 
"Out of the Question" concerns a lover's mood swings, while "The Golden Rule" is one of O'Sullivan's most musically inventive and lyrically offbeat songs, with its "assonant convolution and linguistic legerdemain." 
As with "But I'm Not", Fats Domino influenced the song "I'm Leaving", which opens with an octave synthesiser and features lyrics of urban claustrophobia that O'Sullivan has described as perhaps chronicling his childhood town Swindon failing to achieve city status. 
The album's outro song follows, where O'Sullivan bids listeners farewell.


Side one
1.  Intro / I Hope You'll Stay - 2:49   
2.  In My Hole - 2:46  
3.  Clair - 3:00  
4.  That's Love - 3:02   
5.  Can I Go With You - 2:46   
6.  But I'm Not / Outtro - 2:34  

Side two
1.  I'm In Love With You - 4:25  
2.  Who Was It - 2:31  
3.  What Could Be Nicer (Mum The Kettle's Boiling) - 3:06   
4.  Out Of The Question - 3:01  
5.  The Golden Rule - 2:37  
6.  I'm Leaving / Outro - 3:07


Companies, etc.
Credits

Notes
Released:  1972 
Format:  Vinyl, LP, Album
Genre:  Pop
Label:  MAM 
Catalog#  MAM 6376 501

Vinyl:  Goed (VG)
Cover:  Goed (VG)

Prijs: €5,00

Loverboy - Get Lucky (1981) (Vinyl Lp) - €10,00

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"Get Lucky" is the second studio album by Canadian hard rock band Loverboy.
It was released on October 7, 1981, by Columbia Records, and reached number 7 on the Billboard 200 album chart.
It featured the singles "Working for the Weekend", "When It's Over", "Lucky Ones", and "Take Me to the Top.”
After making a promising start with their self-titled debut, Loverboy hit the big time in 1981 with Get Lucky.
This canny combination of AOR hooks and new wave production gloss boasts some memorable radio-ready tunes but isn't as solid an album as its success might lead one to believe.
The best tunes on Get Lucky were the songs that became its hit singles: "Working for the Weekend" is a party anthem that blends some gutsy hard-rock guitar riffs with a synthesizer-drenched new wave rhythm arrangement to become a huge hit, while "The Lucky Ones" layers clever lyrics about the jealousy that success inspires in others over a song that mixes pomp rock grandeur with a punchy AOR arrangement full of gutsy yet slick guitar riffs.
Loverboy got additional airplay with "When It's Over," a moody power ballad that boasts a show-stoppingly emotional vocal performance from Mike Reno, and "Take Me to the Top," a sleek mid-tempo piece built on a hypnotic synthesizer arrangement.
The rest of Get Lucky isn't as impressive as these hits because it relies on filler to pad the album out: "Gangs in the Street" is an overwrought song about street tensions whose lyrics are melodramatic to the point of being unintentionally funny, and "Emotional" is a sloppy bar band jam with annoyingly sexist lyrics and an awful vocal from Paul Dean.
Due to this overabundance of less than stellar tracks, Get Lucky fails to be as consistent a listen as Loverboy or Keep It Up, but offers enough solid tracks to please the group's fans and AOR fanatics.


Side one
1.  Working for the Weekend - 3:42
2.  When It’s Over - 5:08
3.  Jump - 3:41
4.  Gangs in the Street - 4:35
5.  Emotional - 4:55

Side two
1.  Lucky Ones - 3:51
2.  It’s Your Life - 4:05
3.  Watch Out - 4:02
4.  Take Me to the Top - 6:13

Loverboy

  • Mike Reno – lead vocals
  • Paul Dean – guitar, backing vocals, lead vocal on “Emotional”
  • Doug Johnson – keyboards
  • Scott Smith – bass
  • Matt Frenette – drums 

Additional musicians
  • Nancy Nash – backing vocals on “When It’s Over”
 
Production
  • Bruce Fairbairn – producer
  • Keith Stein – engineer, recording
  • Rob Porter – engineer, recording
  • John Berg – cover design
  • Bob Rock – mixing, engineer
  • Mike Fraser – mixing, engineer
  • George Marino – mastering
  • David Kennedy – photography

Notes
Release: 1981
Format:  LP, vinyl
Genre:  Arena Rock, Hard rock
Label:  CBS
Catalog#  CBS 85402

Vinyl:  Goed (Excellent)
Cover:  Goed (Excellent)

Prijs: €10,00

Barry Manilow - If I Should Love Again (1981) (Vinyl Lp) - €10,00

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"If I Should Love Again" is the eighth studio album released by singer and songwriter Barry Manilow. 
The album was recorded at United Western Recording Studios in Los Angeles, California. 
The album was released in 1981, and it was certified gold.
Manilow refers to it as "The most romantic album that I ever made", and remarks "I was so caught up in romance that I actually wrote music and lyrics to the title song while playing the piano facing the ocean, in a rented house on the beach in Atlantic City, New Jersey."
Though this came near the end of his pop-chart run, If I Should Love Again is classic Barry Manilow and yielded three Top 40 hits ("The Old Songs," which went to number 15; "Somewhere Down the Road," which hit number 21; and the bright "Let's Hang On," which hit number 32). 
Though those singles aren't often considered classics in his oeuvre, they and most of this album are shamelessly well-crafted adult contemporary ("Break Down the Door" and "I Haven't Changed the Room" being inoffensive exceptions). 
"No Other Love" is a swoony, romantic ballad (with strong lyrics like "There were no violins, there were no soft guitars, time comes and goes like music in a play") that plays out exactly as it should, so that you can't imagine there being another way to produce it. 
Turning "Somewhere Down the Road" from a melancholy piano ballad to an anthem shows that Manilow's in fine form. 
The song becomes so inspirational you almost want to salute the flag. 
It may not be the biggest album of his career, but If I Should Love Again showcases Manilow's greatest skill: making heartbreak sound hopeful.


Side one
1.  The Old Songs - 4:43
2.  Let’s Hang On - 3:12
3.  If I Should Love Again - 5:33
4.  Don’t Fall in Love with Me - 3:39
5.  Break Down the Door - 3:04
 
Side two
1.  Somewhere Down the Road - 4:00
2.  No Other Love - 4:36
3.  Fools Get Lucky - 4:11
4.  I Haven’t Changed the Room - 2:16
5.  Let’s Take All Night (to Say Goodbye) - 3:36


Personnel
  • Barry Manilow – vocals, acoustic piano, rhythm track arrangements, backing vocals, arrangements, orchestrations
  • Robert Marullo – synthesizers, Fender Rhodes, keyboards
  • Victor Vanacore – keyboards, acoustic piano, arrangements, horn and string orchestrations, orchestrations
  • Bill Mays – keyboards
  • John Pondel – guitars
  • Paul Jackson Jr. – guitars
  • Dean Parks – guitars
  • Mitch Holder – guitars
  • Carl Sealove – bass
  • Will Lee – bass
  • Bud Harner – drums
  • Ed Greene – drums
  • Robert Forte – percussion
  • Alan Estes – percussion
  • Bill Page – French horn, flute
  • Tom Scott – sax solo, saxophone
  • Artie Butler – horn and string orchestrations
  • Jimmie Haskell – horn and string orchestrations
  • Shaun Harris – contractor
  • Sid Sharp – concertmaster
  • Bill Champlin – backing vocals
  • Tom Kelly – backing vocals
  • Richard Page – backing vocals
 
Production
  • Barry Manilow – producer
  • Michael DeLugg – associate producer, engineer
  • Gary Boatner – assistant engineer
  • Ira Seigel – assistant engineer
  • Ken Perry – mastering at Capitol Mastering (Hollywood, California)
  • Roger Wall – personal assistant
  • Donn Davenport – art direction
  • Neal Pozner – design
  • Linda Fennimore – illustration
 
Companies, etc.

Notes
Release: 1981
Format: Vinyl, Lp
Genre:  Pop, Easy Listening
Label:  Arista
Catalog#  204050

Vinyl:  Goed (Excellent)
Cover:  Goed (Excellent)

Prijs: €10,00

Luisa Fernandez - Spanish Dancer (1979) (Vinyl Lp) - €10,00

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Luisa Fernández (born 14 August 1961) is a Spanish-born, Mexico-based pop singer. 
She is perhaps best known for her hit single, "Lay Love on You" from 1978.
She was born in Vigo, Spain, but moved to México as a child.
She later married singer/producer Peter Kent, who was also popular during the disco era.
Singer Luisa Fernandez was discovered in 1977 during a talent contest at a German discotheque.
She released a debut album that clearly capitalized on the prevailing disco craze.
The album, titled *Discodarling*, yielded two hits in the Netherlands. 
"Lay Love On You" reached number three on the charts, but its follow-up, "Give Love A Second Chance," peaked at number seventeen.
Fernandez went on to record a second disco album titled *Spanish Dancer*, but when the disco craze faded, her brief career seemed doomed.
Musical Style: The record features upbeat, infectious disco grooves, soaring vocals, and juicy hooks backed by lush strings, horns, and rhythm arrangements.
Vibe: Reviewers note that it captures the classic late-1970s European disco era alongside contemporaries like Donna Summer and Boney M, balancing high-energy dance numbers with softer, emotional melodic tracks.
She disappeared from the public eye for several years, but new material emerged in 1987.
Together with producer and singer Peter Kent, she recorded the single "Solo Por Ti," which reached number one in Austria.
She remained popular there—alongside Kent, with whom she also shared a personal connection—and scored several more top-20 hits in the years that followed.


Side one
1.  Spanish Dancer - 6:00
2.  Sweet Life’s Illusions - 4:12
3.  Light Up Life - 4:04
4.  Funky Dancer - 4:23

Side two
1.  Gotta Keep On Dancin’ - 3:24
2.  Back In The City - 4:05
3.  Children Of The World Unite - 3:35
4.  We All Love You Superman - 3:50
5.  New York Dance - 3:26

Companies, etc.


Credits

Notes
Release: 1979
Format:  LP, Vinyl
Genre:  Disco
Label:  WEA
Catalog#  WEA 58 044

Vinyl:  Goed (Excellent)
Cover:  Goed (Excellent)

Prijs: €10,00

Lou Gramm - Ready Or Not (1987) (Vinyl Lp) - €7,00

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Ready or Not is the solo debut studio album by American rock singer-songwriter Lou Gramm, released on January 29, 1987, through Atlantic.
Eight of the ten songs, which comprise Ready or Not, were written by Gramm in partnership with former Black Sheep bandmate Bruce Turgon.
The album was recorded in November 1986 at Bear Tracks Recording in Suffern, New York and The Hit Factory Recording in New York City.
It was produced by Gramm and Pat Moran, who is known as an engineer on recordings by such performers as Rush and Robert Plant.
All tracks are written by Lou Gramm and Bruce Turgon, except "She's Got to Know" and "Lover Come Back" written by Gramm.
It came at a precarious time for Foreigner, despite coming off the success of 1985's Agent Provocateur and the band's first number one single, "I Want to Know What Love Is." 
Ready or Not is rich with melody and snap, but its sound does vary just enough from Foreigner that Gramm can't really be accused of stealing from himself. 
The production by Gramm and Pat Moran definitely has that bright 1980s style. 
Gramm's main sidemen include guitarist Nils Lofgren, keyboardist Philip Ashley, bassist/guitarist/keyboardist Bruce Turgon, and drummer Ben Gramm. 
Side one absolutely sizzles. "Ready or Not" is a strong, hard-rocking leadoff track and it was a minor hit single. 
The melodic, lyrical, and vocal hooks on "Heartache" are massive and Lofgren's guitar solo adds an edgy bite. 
The Top Five hit "Midnight Blue" is a terrific pop/rock song; despite its hit status, it's one of the decade's truly underappreciated singles. Lofgren's rolling, effective guitar riffing and a captivating chorus make "Time" one of the best cuts. 
Foreigner helped create and master the rock power ballad, and Gramm utilizes that gift on the dark, ethereal "If I Don't Have You." 
Side two is generally a letdown considering the high quality of the first half. Fortunately, there are two exceptions, "Arrow Thru Your Heart" and "Until I Make You Mine." 
The commercial and artistic success of Ready or Not was a turning point for Gramm. 
Foreigner issued the lackluster Inside Information late in 1987, and Gramm followed that troubled project with a second moderately successful solo album, Long Hard Look, in 1989 and then left the band for a few years before returning.


Side one
1.  Ready Or Not - 3:25
2.  Heartache - 4:26
3.  Midnight Blue - 3:45
4.  Time - 3:23
5.  If I Don’t Have You - 4:38

Side two
1.  She’s Got To Know - 3:59
2.  Arrow Thru Your Heart - 3:46
3.  Until I Make You Mine - 3:29
4.  Chain Of Love - 3:58
5.  Lover Come Back - 5:20

Personnel

  • Lou Gramm – vocals, percussion
  • Philip Ashley – keyboards, programming
  • Bruce Turgon – bass guitar, rhythm guitar (track 2), lead guitar (track 10)
  • Nils Lofgren – lead guitar
  • Ben Gramm – drums
 
Additional musicians
  • Richard Grammatico – lead guitar (on “If I Don’t Have You”), additional guitar (on “Time”)
  • Don Mancuso – additional guitar (on “Chain of Love”)
  • Eddie Martinez – additional guitar (tracks 1, 2 and “Chain of Love”)
  • Stanley Sheldon – bass guitar (track 2 and “If I Don’t Have You”)
  • Mark Rivera – soprano saxophone (track 10), tenor saxophone, backing vocals
  • Crispin Cioe – baritone saxophone, tenor saxophone
  • Ben Grammatico Sr. – lead trumpet
  • Ben Grammatico Jr. – trumpet
  • Sherryl Marshall – backing vocals
  • Cookie Watkins – backing vocals
 
Production
  • Lou Gramm – producer
  • Pat Moran – producer, engineer
  • Ted Jensen – mastering at Sterling Sound (New York, NY).
  • Timothy White – cover photography
  • Bob Defrin – art direction, design

Notes
Release: 1987
Format:  LP, Vinyl
Genre:  Rock
Label:  Atlantic
Catalog#  781728-1

Vinyl:  Goed (Excellent)
Cover:  Lichte Gebruikerssporen (VG)

Prijs: €7,00

The Hues Corporation - I Caught Your Act (1977) (Vinyl Lp) – €10,00

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Although the Hues Corporation helped launch disco's earliest strivings with the 1973 smash "Don't Rock the Boat," by the time the end of the decade rolled around, the band was merely playing catch-up with the rest of the pack. 
The band was fully locked into the soft disco sound that flooded the market, and it was a sacrifice. 
By surrendering so completely to what had become a marketable sound, the band relinquished the excellent harmonies and arrangements of their earlier material. 
That change stripped the band of much of their strength. 
This is extremely evident across I Caught Your Act. 
The songs are well paced and make all the right noises, but pale in comparison not only to their peers on the scene, but also to the band's own catalog. That said, however, there are some nuggets here as well. 
The melancholy "I Can't Put My Finger on It" pulls a sweet melody out of its bag, while the title track has energy enough to stand tall on its own. 
"Ali Baba's Got the Blues" must be one of the most underestimated and understated songs in the history of popular music. An ordinary album track on a less known album.
It would, in fact, bring the band back into the charts -- barely -- scraping into the R&B charts at number 61 in May 1977. 
This is not a great album; it's not even necessarily a good album. 
And certainly in light of the cohesion this band had at the beginning of the decade, its flaws are even more pronounced. 
The album is a minor release recommended mostly for dedicated soul completists. It trades the group's distinct early identity for commercial conformity, resulting in a standard, middle-of-the-road 1970s pop record.


Side one
1.  Telegram Of Love - 3:14
2.  Deep Down - 3:35
3.  I Can’t Put My Finger On It - 3:15
4.  What You Need Is Lovin’ - 3:30
5.  Dancing Together Again - 3:24

Side two
1.  I Caught Your Act - 3:34
2.  Natural Find - 4:03
3.  I Love You A Lot - 3:32
4.  Ali Baba’s Got The Blues - 3:01
5.  You Brought The World To My Door - 3:35

Companies, etc.


Credits

Recorded at RCA’s Music Center Of The World, Hollywood, California.
Manufactured and Distributed in Canada by RCA Limited – Record Division.
(C) 1976, RCA Records (P) 1977 RCA Records


Notes
Release:  1977
Format:  LP, Vinyl
Genre:  Soul, Funk, Disco
Label:  Warner Bros.
Catalog#  BS 3043

Vinyl:  Goed (Excellent)
Cover:  Goed (Excellent)

Prijs: €10,00

Udo Jürgens ‎- Udo Live - Meine Lieder Sind Wie Hände (1981) - 2Lp

Udo Live – Meine Lieder sind wie Hände ist ein Doppel-Live album von Udo Jürgens aus dem Jahr 1981. 
Es fängt die stimmungsvolle Konzertatmosphäre des Sängers und Entertainers ein. 
Hörer bewerten das Album (u. a. auf AllMusic) als starkes, authentisches Live-Dokument seiner musikalischen Blütezeit
Eine Joachim-Heider-Produktion im Auftrag der Udo Jürgens Music. Aufgenommen am 12./13.9.1980 in der Sporthalle Köln. Originalaufnahmen der gleichnamigen ZDF-Show.

Stimmung: Udo Jürgens zeigt sich hier alsnahbarer, emotionaler Liedermacher und grandioser Live-Interpret.
Musikalität: Die Arrangements verbinden große Chansons mit ruhigen, nachdenklichen Momenten und Publikumsnähe.
Wertung: Fans und Sammler (vgl. Diskussionen auf Discogs) schätzen die Pressung als analoges Gold der späten 70er/frühen 80er-Jahre-Live-Ära von Jürgens.



Side one
1.  Intro: Wort - 0:56
2.  Meine Lieder Sind Wie Hände - 3:16
3.  Alles Was Ich Bin - 1:51
4.  Wir Singen Für Dich - 2:36
5.  Ich Schrieb Nie Ein Lied Für Karin - 4:07
6.  Tausend Jahre Sind Ein Tag - 7:46

Side two
1.  Soviel Sprachen Hat Die Erde - 3:16
2.  Ist Das Nichts - 4:41
3.  Jamaica Mama - 3:08
4.  Du Allein - 3:48
5.  Es Darf Gelacht Werden - 4:40

Side three
1.  Wort - 8:05
2.  Disco-Stress - 4:38
3.  Medley - 6:19
    (a) Was Wirklich Zählt Auf Dieser Welt
    (b) 17 Jahr, Blondes Haar
    (c) Und Immer Wieder Geht Die Sonne Auf
    (d) Der Teufel Hat Den Schnaps Gemacht
4.  Paris – Einfach So Nur Zum Spaß - 3:55

Side four
1.  Medley - 5:34
     (a) Ich Weiß, Was Ich Will
     (b) Merci Chérie
2.   Nur Ein Lächeln - 6:18
3.   Alles Im Griff (Auf Dem Sinkenden Schiff) - 3:30
4.   Was Wär‘ Diese Welt Ohne Lieder - 3:07


Notes
Released: 1981
Format:  2 × Vinyl, LP, Album
Country:  Germany
Genre:  Duitstalig, Schlager
Label:  Ariola ‎
Catalog#  301.417

Vinyl:  Goed (Excellent) 2LP
Cover:  Linksboven gebruikerssporen (VG)  Gatefold

Prijs: €12.00

Tom Kimmel - 5 To 1 (1987) (Vinyl LP) - €10,00

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Tom Kimmel (born Thomas Eugene Hobbs II in 1953) is an American singer-songwriter and poet.
Born in Memphis, Tennessee, Kimmel grew up largely in small towns in south Alabama. He attended public schools and graduated from the University of Alabama in 1975.
Kimmel is known as a songwriter, and his compositions have been recorded by many popular artists, including Johnny Cash, Waylon Jennings, Linda Ronstadt, Joe Cocker and Randy Travis. 
His songs have also been featured in television series including Miami Vice, Touched by an Angel and Dawson's Creek — and in films including Twins, Runaway Bride and Serendipity.
"That's Freedom", the lead track on his "5 to 1" album, was co-written by Kimmel and reached #64 on the Billboard Hot 100 in July 1987 
The song was later covered by Australian singer John Farnham, reaching #6 in the Australian charts in late 1990 and going Gold there, as well as charting well in parts of Europe.
This is such a terrific album - there really isn't a bad song on this record.  
Then again, there are several songs on this album that simply were overlooked. 
Since Tom was an unknown, Polygram just didn't seem to support this record. Songs like "Shake" just ooze airplay. 
A really well written (if not a tad cheesy) ballad called "A to Z" which - especially in 1987, was as good a ballad as anything else out there at the time and yet another track that begs for airplay. 
It continues - "Tryin' To Dance' was a single and did indeed chart on the Billboard Mainstream Rock charts for a bit, but it was another lost song. 
Overall, a really strong album that got lost in the shuffle in 1987.


Side one
1.  That’s Freedom - 4:15
2.  Shake - 4:15
3.  Tryin’ To Dance - 3:16
4.  A To Z - 4:19
5.  True Love - 4:50

Side two
1.  Heroes - 4:26
2.  On The Defensive - 3:56
3.  Violet Eyes - 3:35
4.  No Tech - 2:32
5.  5 To 1 - 6:13


Companies, etc.

Credits

Notes
Release:  1987
Format:  LP, Vinyl
Genre:  Rock
Label:  Mercury Records
Catalog#  832248-1

Vinyl:  Goed (Excellent)
Cover:  Goed (Excellent)

Prijs: €10,00

Los Lobos - … And A Time To Dance [EP] (1984) (Vinyl EP) – €10,00

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...And a Time to Dance is a 1983 EP by Los Lobos. It was co-produced by T-Bone Burnett and Steve Berlin (not yet a full-time member of the band) and was the band's first release on Slash Records. 
The EP brought the band its first wide acclaim. It was voted best EP of the year in the Village Voice's influential Pazz & Jop critics poll. 
Critic Robert Christgau gave the record an "A−" in his Consumer Guide, calling it "good old rock and roll East L.A. style." 
Trouser Press raved about "a spicy romp (in two languages) back and forth across musical borders few can traverse with such ease," while Rolling Stone called it "an infectious dance record that deserves to be heard by rock fans."
1983's ...And a Time to Dance wasn't Los Lobos' first record, but if you lived outside of East Los Angeles, chances are excellent that you'd never crossed paths with a copy of their self-released debut album (Del Este de Los Angeles (Just Another Band from East L.A.)) before this EP hit the racks. At only seven songs, ...And a Time to Dance didn't give the group the space to present more than a quick once-over of their eclectic musical range, but it did make it clear that this was a really great band, with the kind of chops, intelligence, and maturity that can come from a decade of woodshedding. And on ...And a Time to Dance, not only was the band having a great time playing "spot the genre" with their audience, they were crossbreeding styles and coming up with great sounds all their own: the straight-up rock & roll of "Let's Say Goodnight" is fortified with a strong dose of Tex-Mex fire thanks to David Hidalgo's accordion, the bluesy swing of "Walking Song" gets a spring in its step from a fleet-fingered jazz guitar line, and the two traditional numbers in Spanish both burn with the high spirits and hot tempos of a potent rock & roll band. And it's hard not to love a song like "How Much Can I Do?," in which a guy tries to prove his love to his wife by promising to lay off cheap wine and nights out at the nudie bar. 
If ...And a Time to Dance didn't quite make clear Los Lobos were one of America's truly great bands, it did make clear they were a lot of fun and a force to be reckoned with, and that's quite enough of a message to pass along in seven songs.
The track "Anselma" won the first Grammy Award for Best Mexican-American Performance.


Side one
1. Let’s Say Goodnight - 2:32
2. Walking Song - 2:38
3. Anselma - 3:08

Side two
1. Come On Let’s Go - 2:11
2. How Much Can I Do - 2:21
3. Why Do You Do - 2:38
4. Ay Te Dejo En San Antonio - 2:38


Companies, etc.

Credits

Notes
Release:  1984
Pressed:  Germany
Format:  LP, Vinyl
Label:  Pläne Records
Catalog#  88379

Vinyl:  Goed (Excellent)
Cover:  Goed (Excellent)

Prijs: €10,00