Release: 1980
Genre:  Nederlandstalig, Komedie
Format:  LP
Label:  Simelpee Records
Catalog# SV4
Prijs:  €10,00

Het Simplisties Verbond is een min of meer fictieve organisatie, ontsproten aan het brein van het komieke duo Van Kooten en De Bie, die als directeuren van het verbond heer Koot en heer Bie genoemd werden. Ondanks dat het fictief was, stond er op veel producten van het duo toch aangegeven dat het auteursrecht aan het Simplisties Verbond toebehoorde.
"Op Hun Pik Getrapt" is de titel van het vierde album van het Simplistisch Verbond. De plaat bevat onder meer het lijflied van de Tegenpartij (met medewerking van het Haags Haringkoor).


Side one
1.   Bepaalde Dingetjes – Koot En Bie Palen Af   (14:36)
2.   Doomed To Disco – Koot En Bie Strekken De Beentjes   (4:44)
3.   De Eerste Rond – Men Ruikt Aan De Stelling   (11:12)
4.   Bie’s – Voor Haar   (2:00)

Side two
1.   Tweede Ronde – Men Verschilt Van Mening   (6:36)
2.   Pappa Rookt Niet Meer – Theo Rijnmond En Anne-Marie Zieck   (4:10)
3.   De Voorlopige Aanslag – F. Jacobse En Tedje Van Es Maken Hun Balans Op   (9:44)
4.   De Tegenpartij – Het Lijflied Van Alle Vrije Jongens (Choir: Haags Haringkoor)   (2:48)

Vinyl: Goed
Cover: Goed

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Release: 1986
Genre:  Pop, Rock
Format:  LP
Label:  WEA Records
Catalog#  240976-1
Prijs:  €10,00

Get Close is the fourth album by rock group The Pretenders, released in 1986. The album contains the band's two biggest Mainstream Rock Tracks chart hits, "Don't Get Me Wrong" and "My Baby", both of which reached #1.
Get Close was recorded during a particularly transitional period of the band's career, featuring a variety of sessions and multiple personnel. The first of its recording sessions, produced by Steve Lillywhite, featured the Learning to Crawl lineup put together by Chrissie Hynde and Martin Chambers (following the deaths of fellow founding Pretenders James Honeyman-Scott and Pete Farndon) which featured guitarist Robbie McIntosh and bass guitarist Malcolm Foster (plus the band's touring keyboard player Rupert Black). This resulted in a cover version of Jimi Hendrix's "Room Full of Mirrors". Shortly after the session Hynde decided that Chambers' playing had deteriorated. "Martin was playing crap. Martin just fucking lost it. And to think about it, why shouldn’t he have lost it? He’d just lost his two best friends. I was insane. I was traumatised. But you don’t know it at the time. I was trying to keep my shit together. To be honest Martin was playing crap and I knew musically I was losing my inspiration. But I’d tried too hard and come too far to let it all go, so Martin went instead."^[7]
Having fired Chambers from the band, Hynde was left as the only remaining original member. With Foster's departure shortly afterwards, this left the band without a rhythm section. With Jimmy Iovine and Bob Clearmountain taking over production duties, about half of the album was recorded by Hynde and McIntosh with high-profile session players. Bass guitar was provided by Bruce Thomas (of The Attractions), Chucho Merchán and John McKenzie, and drums by Simon Phillips, Steve Jordan and Mel Gaynor of Simple Minds, with assorted keyboards and synthesizers provided by Tommy Mandel, Patrick Seymour, Funkadelic's Bernie Worrell, Bruce Brody (ex-Patti Smith Band) and Paul Wickens. Carlos Alomar made further contributions on percussion and synthesizer programming.
The later album sessions featured contributions from two further musicians - former James Brown bass guitarist T.M. Stevens and ex-Haircut One Hundred drummer Blair Cunningham. Towards the end of the sessions, Stevens and Cunningham were recruited into the band full-time. On release, Get Close was credited to a formal Pretenders lineup of Hynde, McIntosh, Stevens and Cunningham, despite the latter two members only having played on half of the album. All four musicians appeared on the album cover art, as had been the case with previous Pretenders albums. Unlike previous albums, however, this time Hynde was the only member pictured on the front cover, emphasizing her dominance of the band (as would be the case with all subsequent Pretenders album art).
In comparison to the New Wave stylings of the first three Pretenders albums, Get Close had a strong funk element (partially due to the substantial session contributions from American funk, soul and rhythm and blues players).
The album also featured Pretenders' first power ballad: "Hymn to Her", a paean to femaleness written by Hynde's former schoolfriend Meg Keene. The band also recorded a Carlos Alomar song, "Light of the Moon".


Side one
1. My Baby (4:07)
2. When I Change My Life (3:38)
3. Light of the Moon (3:57)
4. Dance! (6:46)
5. Tradition of Love (5:27)

Side two
1. Don’t Get Me Wrong (3:46)
2. I Remember You (2:38)
3. How Much Did You Get for Your Soul? (3:48)
4. Chill Factor (3:27)
5. Hymn to Her (4:58)
6. Room Full of Mirrors (4:44)

Vinyl: goed
Cover: goed

http://www.ad-vinylrecords.com/product/pretenders-get-close-lp/

Side A
A1. We Will Rock You    (2:01)
A2. We Are the Champions   (2:59)
A3. Sheer Heart Attack”   (3:26)
A4. All Dead, All Dead   (3:10)
A5. Spread Your Wings    (4:34)
A6. Fight from the Inside   (3:03)

Side B
B1. Get Down, Make Love    (3:51)
B2. Sleeping on the Sidewalk   (3:06)
B3. Who Needs You    (3:05)
B4. It’s Late   (6:26)
B5. My Melancholy Blues   (3:29)

Release:  1977
Genre:  Rock
Format:  LP
Label:   EMI Records
Catalog#   5C 062-60033

Vinyl:  Goed
Cover:  Goed

Prijs:  €10,00

Release: 1981
Genre:  Rock
Format:  LP
Label:  CBS Records
Catalog#  CBS 85402
Prijs:  €10,00

Loverboy is a Canadian rock band formed in 1979 in Calgary, Alberta. Loverboy's hit singles, particularly "Turn Me Loose" and "Working for the Weekend", have become arena rock staples and are still heard on many classic rock and classic hits radio stations across Canada. The band is based in Vancouver.
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. Other listeners may want to check out the album's highlights on a compilation before picking it up.


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)

Vinyl: Goed
Cover: Goed

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Release: The Rolling Stones
Genre:  Rock
Format:  LP
Label:  Rolling Stones Records
Catalog#  1A 064-1654361
Prijs:  €10,00

Undercover is the 17th British and 19th American studio album by The Rolling Stones, released in 1983. After their preceding studio album, Tattoo You (1981), which was mostly patched together from a selection of outtakes, Undercover was their first release of all new recordings in the 1980s. With the advent of the MTV generation, the band attempted to re-invent themselves for a new era. It was the last Rolling Stones album to be released in Ian Stewart's lifetime.
As the Rolling Stones' most ambitious album since Some Girls, Undercover is a weird, wild mix of hard rock, new wave pop, reggae, dub, and soul. Even with all the careening musical eclecticism, what distinguishes Undercover is its bleak, nihilistic attitude -- it's teeming with sickness, with violence, kinky sex, and loathing dripping from almost every song.
"Undercover of the Night" slams with echoing guitars and rubbery basslines, as Jagger gives a feverish litany of sex, corruption, and suicide. It set the tone for the rest of the album, whether it's the runaway nymphomaniac of "She Was Hot" or the ridiculous slasher imagery of "Too Much Blood." Only Keith's "Wanna Hold You" offers a reprieve from the carnage, and its relentless bloodletting makes the album a singularly fascinating listen.
For some observers, that mixture was nearly too difficult to stomach, but for others, it's a fascinating record, particularly since much of its nastiness feels as if the Stones, and Jagger and Richards in particular, are running out of patience with each other.


Side one
1. Undercover of the Night   (4:31)
2. She Was Hot   (4:40)
3. Tie You Up (The Pain of Love)   (4:16)
4. Wanna Hold You   (3:52)
5. Feel On Baby   (5:03)

Side two
1. Too Much Blood   (6:14)
2. Pretty Beat Up (4:03)
3. Too Tough   (3:52)
4. All the Way Down   (3:12)
5. It Must Be Hell   (5:03)

Vinyl: goed
Cover: goed

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Release:  Frankie Goes To Hollywood
Genre:  Synth-pop
Format:  2LP
Label:  ZTT Records
Catalog#  302417
Prijs:  €20,00

Welcome to the Pleasuredome is the debut studio album by Frankie Goes to Hollywood, first released by ZTT and Island Records on 29 October 1984. Originally issued as a vinyl double album, it was assured of a UK chart entry at number one due to reported advance sales of over one million.
While commercially successful, the album also drew criticism for containing new versions of all of the songs from the group's (already much-remixed) hit singles from the same year ("Relax" and "Two Tribes", plus B-side "War"), as well as a surfeit of cover versions in lieu of much new original material. It was later revealed that Trevor Horn's production dominated the record so thoroughly that the band's own instrumental performances were often replaced by session musicians or Horn himself.
However, the album's evergreen ballad "The Power of Love" subsequently provided the group with their third consecutive UK number one single.
Strip away all the hype, controversy, and attendant craziness surrounding Frankie -- most of which never reached American shores, though the equally bombastic "Relax" and "Two Tribes" both charted well -- and Welcome to the Pleasuredome holds up as an outrageously over-the-top, bizarre, but fun release. Less well known but worthwhile cuts include by-definition-camp "Krisco Kisses" and "The Only Star in Heaven," while U.K. smash "The Power of Love" is a gloriously insincere but still great hyper-ballad with strings from Anne Dudley.
In truth, the album's more a testament to Trevor Horn's production skills than anything else. To help out, he roped in a slew of Ian Dury's backing musicians to provide the music, along with a guest appearance from his fellow Yes veteran Steve Howe on acoustic guitar that probably had prog rock fanatics collapsing in apoplexy. The end result was catchy, consciously modern -- almost to a fault -- arena-level synth rock of the early '80s that holds up just fine today, as much an endlessly listenable product of its times as the Chinn/Chapman string of glam rock hits from the early '70s.
Certainly the endless series of pronouncements from a Ronald Reagan impersonator throughout automatically date the album while lending it a giddy extra layer of appeal. Even the series of covers on the album at once make no sense and plenty of it all at once. While Edwin Starr's "War" didn't need redoing, Bruce Springsteen's "Born to Run" becomes a ridiculously over-the-top explosion that even outrocks the Boss.
As the only member of the band actually doing anything the whole time (Paul Rutherford pipes up on backing vocals here and there), Holly Johnson needs to make a mark and does so with appropriately leering passion.


Side one
1.   Well…   (0:55)
2.   The World Is My Oyster   (1:02)
3.   Snatch of Fury (Stay)   (0:36)
4.   Welcome to the Pleasuredome   (12:58)

Side two
1.   Relax (Come Fighting)   (3:56)
2.   War (…and Hide)   (6:12)
3.   Two Tribes (For the Victims of Ravishment)   (3:23)
4.   The Last Voice   (0:35)

Side three
1.   Ferry (Go)   (1:49)
2.   Born to Run   (3:56)
3.   San Jose (The Way)   (3:09)
4.   Wish (The Lads Were Here)   (2:48)
5.   The Ballad of 32   (4:47)

Side four
1.   Krisco Kisses   (2:57)
2.   Black Night White Light   (4:05)
3.   The Only Star in Heaven   (4:16)
4.   The Power of Love   (5:28)
5.   Bang   (1:08)

Vinyl: goed
Cover: goed

http://www.ad-vinylrecords.com/product/frankie-goes-to-hollywood-welcome-to-the-pleasure-dome-lp/

Release: 1984
Genre:  Pop, Rock
Format:  LP
Label:  CBS Records
Catalog#  86305
Prijs:  €10,00

Isolation is the Gold-certified fifth studio album by Toto, released on October 18, 1984. This was one of two albums the band made with Fergie Frederiksen as the primary vocalist, the other being their soundtrack to Dune.

Having traded in lead singer Bobby Kimball for Fergie Frederiksen, a smooth tenor wailer in the tradition of Journey's Steve Perry, Toto proceeded to follow its power ballad smash Toto IV with a Journey clone album, minus the aching ballads that had made Journey such a success.
A workout for drummer Jeff Porcaro, keyboardist David Paich, and guitarist Steve Lukather, Isolation was anything but the kind of record those millions who had loved "Rosanna" were waiting for. It seemed intended to restore the bandmembers' heady studio reputations as hard rock technicians, which it did by dispensing with the elements that finally had made the band a big success in 1982.

Frederiksen, singing lead on seven of the ten tracks, replaced original Toto vocalist Bobby Kimball while the band was in the recording process for the album. Kimball had recorded vocals for some of the album's tracks prior to his termination; sources differ on how many - Kimball says most of the album, whereas David Paich and Steve Lukather say around 3 or 4 songs. Some of Kimball's background vocals can be heard on the record, such as in their single "Stranger in Town", and at least one song, "Lion", had a demo recording with Kimball on lead vocals before being re-recorded with Frederiksen


Side A
1.  Carmen   (3:25)
2.  Lion   (4:46)
3.  Stranger in Town   (4:47)
4.  Angel Don’t Cry   (4:21)
5.  How Does It Feel   (3:50)

Side B
1.  Endless   (3:40)
2.  Isolation   (4:04)
3.  Mr. Friendly   (4:22)
4.  Change of Heart   (4:08)
5.  Holyanna   (4:19)

Vinyl:  Goed
Cover:  Goed

Artist:  Orchestral Manouvres In The Dark
Title: Architecture & Morality
Year:  1981
Format:  LP
Label:  Dindisc Records
Catalog#  204016
Price:  €10,00

If there was a clear high point for OMD in terms of balancing relentless experimentation and seemingly unstoppable mainstream success in the U.K., Architecture & Morality is it.
Again combining everything from design and presentation to even the title into an overall artistic effort, this album showed that OMD was arguably the first Liverpool band since the later Beatles to make such a sweeping, all-bases-covered achievement -- more so because OMD owed nothing to the Fab Four. All it takes is a consideration of the three smash singles from the album to see the group in full flower. "Souvenir," featuring Paul Humphreys in a quiet but still warm and beautiful lead role, eases in on haunting semi-vocal sighs before settling into its gentle, sparkling melody. The mid-song instrumental break, with its shifted tempos and further wordless calls, is especially inspired. "Joan of Arc," meanwhile, takes the drama of "Enola Gay" to new heights; again, wordless vocals provide the intro and backing, while an initially quiet melody develops into a towering heartbreaker, with Andy McCluskey and band in full flight.
If that wasn't enough, the scenario was continued and made even more epic with "Maid of Orleans," starting with a quick-cut series of melancholic drones and shades before a punchy, then rolling martial beat kicks in, with Malcolm Holmes and technology in perfect combination. With another bravura McCluskey lead and a mock-bagpipe lead that's easily more entrancing than the real thing, it's a wrenching ballad like no other before it and little since. Any number of other high points can be named, such as the opening, "The New Stone Age," with McCluskey's emotional fear palpable over a rough combination of nervous electronic pulses, piercing keyboard parts, and slightly distorted guitar. "She's Leaving" achieves its own polished pop perfection


Side one
1. The New Stone Age (3:22)
2. She’s Leaving  (3:28)
3. Souvenir (3:39)
4. Sealand  (7:47)

Side two
1. Joan of Arc (3:48)
2. Joan of Arc (Maid of Orleans) (4:12)
3. Architecture and Morality (Instrumental) (3:43)
4. Georgia  (3:24)
5. The Beginning and the End  (3:48)

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Release: The Eagles
Genre:  Live
Format:  2LP
Label:  Asylum Records
Catalog#  AS 62032
Prijs:  €20,00

Eagles Live is the first live album by the American rock band Eagles, a two-LP set released on November 7, 1980. The Eagles was already breaking up after an argument between bandmates Glenn Frey and Don Felder on July 31, 1980, however, the band owed Elektra/Asylum Records one more album, and they fulfilled that obligation with a release of performances from the Hotel California and The Long Run tours.
The album provides a balanced document of the band's musical history, recorded in two phases. Five of the tracks were recorded in October 1976, during three performances at The Forum in Inglewood, California. The other 10 tracks were recorded in July 1980, from three shows at the Santa Monica Civic Auditorium and one at the Long Beach Arena in California. The band had different line-ups in 1976 and 1980 as Timothy B. Schmit only joined later replacing the original bassist Randy Meisner. Five lead singers are featured in the 14 vocal songs on the album (excluding the brief musical interlude of "Doolin Dalton (Reprise II))": Don Henley, Glenn Frey, Joe Walsh, Meisner, and his replacement Schmit. Songs from each Eagles studio album except one (On the Border) are included, as well as two Walsh solo tracks and one cover song: the acoustic harmony-laden "Seven Bridges Road."
However, by July 1980, the band was already in the process of breaking up. During a concert in Long Beach, California that served as a fund-raiser for then-Senator Alan Cranston's campaign, bandmates Glenn Frey and Don Felder nearly came to blows backstage. Frey then refused to join the band to record overdubs or even speak to his former bandmates, the recording was therefore done piecemeal. Frey was in Los Angeles while the rest of the band were in Miami with Don Henley overseeing the post-production sessions, and tapes were sent back and forth between the two locations so that the album may be completed. The producer Bill Szymczyk said: "I had my assistant in Los Angeles with Glenn, and I had the rest of the band fly to Miami. We were fixing three-part harmonies courtesy of Federal Express." Five different lawyers were thanked in the liner notes.
The Eagles also rejected a $2 million offer from the label to record two new songs for the album. The only previously unreleased song in the album is a version of "Seven Bridges Road" The song was a showcase for the band's close harmony singing, as the first and last verses feature a cappella vocals from all five members of the 1980 lineup including Don Felder, the only member of the band not to have a solo vocal on the album.


Side one
1.  Hotel California   (6:55)
2.  Heartache Tonight   (4:35)
3.  I Can’t Tell You Why   (5:24)

Side two
1.  The Long Run   (5:35)
2.  New Kid in Town   (5:45)
3.  Life’s Been Good   (9:38)

Side three
1.  Seven Bridges Road   (3:05)
2.  Wasted Time   (5:40)
3.  Take It to the Limit   (5:20)
4.  Doolin-Dalton (Reprise II)   (0:44)
5.  Desperado   (4:04)

Side four
1.  Saturday Night   (3:55)
2.  All Night Long   (5:40)
3.  Life in the Fast Lane   (5:10)
4.  Take It Easy   (5:20)

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Release:  Howard Jones
Genre:  One To One
Format:  LP
Label:  WEA Records
Catalog#  242009-1
Prijs:  €10,00

One to One is the third album by British pop musician Howard Jones, released in October 1986.
It's fair to say that the 1980s in pop music was all about synthesizers & computers. A song wasn't considered complete unless it had the requisite bloops & bleeps that made it sound like the equivalent of a Pac-Man game. So often, those songs became dated just as soon as their 4 minutes were up & are hard to listen to today with an open mind. But not all synthesized songs were that way. Or the players for that matter. Howard Jones first came to attention with his 1984 album HUMAN'S LIB which had hits in "What Is Love" & "New Song", both of which were actually quite memorable, synthesizers aside. 1985's DREAM INTO ACTION further pushed the electronic envelope with more hits like "Things Can Only Get Better" & "Life In One Day". But by the middle of the decade, artists were realizing the limitations of pursuing a strictly-synthesized sound & Jones was one of them. So for his 1986 album ONE TO ONE, he sought to slowly phase out his synthesizers (which he played wonderfully, by the way) in favor of a more acoustic keyboard sound.
The reason why this album didn't become a huge success like DREAM INTO ACTION was that none of the songs on here became top 10 hits...at first. The wonderful "No One Is To Blame" originally appeared on DREAM INTO ACTION in an acoustic, Elton John-derived ballad that is widely thought to be the superior version. But whether it was Jones' idea or his record label's, the then-hot Phil Collins was brought in to remix the song so that it could be re-released. The song became a top 5 hit in 1986 & originally appeared only on an EP called ACTION REPLAY. Later editions of ONE TO ONE had the remix of "No One Is To Blame" added on, but whether or not that was to help boost the sales of the album is hard to tell. In the end, it didn't really help. The only major hit off here was the opening "You Know I Love You...Don't You?", which isn't exactly a carbon copy of "Things Can Only Get Better", but is just as bright & synthesized-poppy as that song. It's probably understandable why it never reached higher than the top 20.
Most of ONE TO ONE follows the same beat of that song: "Don't Want To Fight Anymore", "Step Into These Shoes" (although the sound effects kind of drag it down), "All I Want" & "Good Luck, Bad Luck" are rather good, just not all-out stunners. It's on slower songs that Howard does a better job on like "Will You Still Be There?" & the reggae-inspired "Give Me Strength". The acoustic "Little Bit Of Snow" is basically just Howard singing with piano & it's a good foreshadowing of the completely non-synthesized territory he has travelled with his music currently. The remix of "No One Is To Blame" may have been the hit, but the original truly is the definitive version, even though the lyrics are still truly a wonder to behold. His lyrics really proved that Elton John was Howard's biggest inspiration. In retrospect, ONE TO ONE wasn't all that different from his much-superior two previous albums.


Side one
1. You Know I Love You… Don’t You?  (4:05)
2. The Balance of Love (Give and Take) (4:29)
3. All I Want (4:37)
4. Where Are We Going? (5:01)
5. Don’t Want to Fight Anymore (4:37)

Side two
1. Step Into These Shoes (4:19)
2. Will You Still Be There? (4:45)
3. Good Luck, Bad Luck (4:14)
4. Give Me Strength (5:01)
5. Little Bit of Snow (4:30)

http://www.ad-vinylrecords.com/product/jones-howard-one-to-one-lp/

Side A
A1.  Valentino  (3:20)
A2.  Rock ‘n Roll Star  (2:58)
A3.  The Air That I Breath  (3:55)
A4.  No Love At All  (2:28)
A5.  Kiss Your Baby  (3:03)
A6.  Ain’t No Fun To Me  (3:18)

Side B
B1.  Oh Me, Oh My, Goodbye  (3:25)
B2.  Music Is My LIving  (4:23)
B3.  It Ain’t No Use  (3:08)
B4.  The Last Song  (2:56)
B5.  She’s As Lovely As A Breeze  (3:32)
B6.  Annabelle  (1:42)

Release:  1977
Format:  LP
Genre:  Pop
Label:   Ariola Records
Catalog#  25555XOT

Vinyl:  Goed
Cover:  Goed

Prijs:  €10,00

Side A
A1.  When I Kissed the Teacher  (2:58)
A2.  Dancing Queen (3:47)
A3.  My Love, My Life (3:49)
A4.  Dum Dum Diddle  (2:50)
A5.  Knowing Me, Knowing You (3:56)

Side B
B1.  Money, Money, Money  (3:02)
B2.  That’s Me (3:14)
B3.  Why Did It Have to Be Me?  (3:19)
B4.  Tiger  (2:54)
B5.  Arrival (Instrumental) (3:00)

Release:  1976
Format:  LP
Genre:  Pop
Label:  Polydor Records
Catalog#  2310483

Vinyl:  Goed
Cover:  Lichte Gebruikerssporen

Prijs:  €7,00

Artist:  Gruppo Sportivo
Title:  Back To ´78
Year:  1978
Format:  LP
Label: Ariola Records
Catalog#  26472 OT
Prijs:  €10,00

Eind jaren zeventig behaalde de band op de eerste golven van de new wave een nationale populariteit. Creatieve kracht is Hans Vandenburg (gitaar en zang). Naast hem bestond de oerbezetting uit Max Mollinger (drums), Peter Calicher (toetsen), Eric Wehrmeyer (bas) en de Gruppettes Josée van Iersel en Meike Touw (zang). De vaste formule van de band bestond uit popsongs, met veel aandacht voor relativering van personen en situaties, humor (knipogen naar), muziek-citaten en slapstick in de performance; vaak gingen de songs over een 'antiheld'.
Alvorens de groep op de Europese zomerfestivals te zien is neemt ze haar tweede elpee op.
Begin november verschijnt de prima elpee "Back To 78", gevolgd door de single Hey Girl. Beiden beklimmen rap de hitlijsten en de band trekt met haar tournee volle zalen. In Britse poppolls wordt Gruppo als derde genoemd in het staatje meest belovende nieuwe bands, direct achter Ian Dury en Dire Straits. "Back To 78" behaalt in mei 1979 de platina status.


Side one
1.  Hey Girl  (2:27) 
2.  Bernadette  (3:07) 
3.  P.S. 78  (3:03) 
4.  Tokyo  (1:13) 
5.  I Said No!  (4:16) 
6.  Real Teeth Are Out  (3:48) 
7.  Are You Ready?  (2:05) 
8.  The Booby-Trap Boogie  (3:31)

Side two
1.  Blah Blah Magazines  (2:02) 
2.  One Way Love (From Me To You)  (3:08) 
3.  I’m A Rocket  (2:32) 
4.  Shave  (2:48) 
5.  The Pogo Never Stops  (3:18) 
6.  Bottom Of The Class  (3:03) 
7.  The Single  (1:12)

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Side A
A1.  Turn to Stone   (3:47)
A2.  It’s Over   (4:08)
A3.  Sweet Talkin’ Woman   (3:47)
A4.  Across the Border   (3:52)

Side B
B1.  Night in the City   (4:02)
B2.  Starlight   (4:30)
B3.  Jungle   (3:51)
B4.  Believe Me Now   (1:21)
B5.  Steppin’ Out   (4:38)

Side C  (Concerto for a Rainy Day)
C1.  Standin’ in the Rain   (4:20)
C2.  Big Wheels   (5:10)
C3.  Summer and Lightning   (4:13)
C4.  Mr. Blue Sky   (5:05)

Side D
D1.  Sweet Is the Night   (3:26)
D2.  The Whale   (5:05)
D3.  Birmingham Blues   (4:21)
D4.  Wild West Hero   (4:40)

Release:  1977
Format:  2LP
Genre:  Symphonic Rock
Label:  Jet Records
Catalog#   JT-LA823-L2

Prijs:  €20,00