Release:  1981
Genre:  Pop, Funk
Format:  LP
Label:  Warner Bros. Records
Catalog#  WB 56950
Prijs:  €10,00


Controversy is the fourth studio album by American recording artist Prince, released on October 14, 1981 by Warner Bros. Records. It was produced by Prince, written (with the exception of one track) by him, and he also performed most of the instruments on its recording.

Controversy continues in the same vein of new wave-tinged funk on Dirty Mind, emphasizing Prince's fascination with synthesizers and synthesizing disparate pop music genres. It is also more ambitious than its predecessor, attempting to tackle social protest ("Controversy," "Ronnie, Talk to Russia," "Annie Christian") along with sex songs ("Jack U Off," "Sexuality"), and it tries hard to bring funk to a rock audience and vice versa. Even with all of Prince's ambitions, the music on Controversy doesn't represent a significant breakthrough from Dirty Mind, and it is often considerably less catchy and memorable.

Controversy opens with the title track, which raises questions that were being asked about Prince at the time, including his race and sexuality. The song "flirts with blasphemy" by including a chant of The Lord's Prayer. "Do Me, Baby" is an "extended bump-n-grind" ballad with explicitly sexual lyrics, and "Ronnie, Talk to Russia" is a politically charged plea to President Ronald Reagan. "Private Joy" is a bouncy bubblegum pop-funk tune, "showing off Prince's lighter side", followed by "Annie Christian", which lists historical events such as the murder of African-American children in Atlanta and the death of John Lennon. The album's final song, "Jack U Off", is a synthesized rockabilly-style track.
This was the first of his albums to associate Prince with the color purple as well as the first to use sensational spelling in his song titles.


Side A
A1. Controversy - 7:15
A2. Sexuality - 4:21
A3. Do Me, Baby - 7:43

Side B
B1. Private Joy - 4:29
B2. Ronnie, Talk to Russia - 1:58
B3. Let’s Work - 3:54
B4. Annie Christian - 4:22
B5. Jack U Off - 3:09

Vinyl:  Goed
Cover:  Goed

Release: 1976
Genre:  Country Rock
Format:  LP
Label:  Asylum Records
Catalog#  AS 53051
Prijs:  €10,00


Hotel California is the fifth studio album by American rock band the Eagles, and is one of the best-selling albums of all time. Three singles were released from the album, each reaching high in the Billboard Hot 100: "New Kid in Town", "Hotel California", and "Life in the Fast Lane".

The Eagles took 18 months between their fourth and fifth albums, reportedly spending eight months in the studio recording Hotel California.
The album was also their first to be made without Bernie Leadon, who had given the band much of its country flavor, and with rock guitarist Joe Walsh. As a result, the album marks a major leap for the Eagles from their earlier work, as well as a stylistic shift toward mainstream rock. An even more important aspect, however, is the emergence of Don Henley as the band's dominant voice, both as a singer and a lyricist.

On the six songs to which he contributes, Henley sketches a thematic statement that begins by using California as a metaphor for a dark, surreal world of dissipation; comments on the ephemeral nature of success and the attraction of excess; branches out into romantic disappointment; and finally sketches a broad, pessimistic history of America that borders on nihilism.
Of course, the lyrics kick in some time after one has appreciated the album's music, which marks a peak in the Eagles' playing. Early on, the group couldn't rock convincingly, but the rhythm section of Henley and Meisner has finally solidified, and the electric guitar work of Don Felder and Joe Walsh has arena-rock heft.

In the early part of their career, the Eagles never seemed to get a sound big enough for their ambitions; after changes in producer and personnel, as well as a noticeable growth in creativity, Hotel California unveiled what seemed almost like a whole new band. It was a band that could be bombastic, but also one that made music worthy of the later tag of "classic rock," music appropriate for the arenas and stadiums the band was playing.
The result was the Eagles' biggest-selling regular album release, and one of the most successful rock albums ever.


Side A
A1. Hotel California - 6:30
A2. New Kid in Town - 5:03
A3. Life in the Fast Lane - 4:46
A4. Wasted Time - 4:55

Side B
B1. Wasted Time (Reprise)” (instrumental) - 1:22
B2. Victim of Love - 4:11
B3. Pretty Maids All in a Row - 3:58
B4. Try and Love Again - 5:10
B5. The Last Resort - 7:28

Album:  Goed
Cover:  zijkant licht beschadigd

Release: 1986
Genre:  Synth-pop, New Wave
Format:  LP
Label:  Island Records
Catalog#  207896
Prijs:  €10,00


Liverpool is Frankie Goes to Hollywood's second and last studio album, released in October 1986. It would be the band's final album of all-new material, and lead singer Holly Johnson would leave the band following the corresponding world tour, followed by a flurry of lawsuits from ZTT.
The album's production was handled by Trevor Horn's engineer Stephen Lipson, who urged the band to play their own instruments on this album (Horn having replaced many of the band's performances and arrangements with his session musicians or his own performances on Welcome to the Pleasuredome.)
Liverpool therefore features a heavier rock sound than its predecessor.

Their second album offering met with some success, although it is not as well remembered. And yet, on many accounts, Liverpool can be considered as an improvement over its predecessor.
For one thing, the album is shorter, more conventional. While Welcome to the Pleasuredome had some strong material, the length weakened the whole in many places. Here, the band focused on eight tracks and the result is somewhat more convincing.

"Warriors of the Wasteland," "Rage Hard," and "Watching the Wildlife" were all minor hits back in 1986, and the other tracks are, for the most part, of the same quality, with perhaps "For Heaven's Sake" standing out as a favorite. Again, Trevor Horn was involved in the production (the band was signed to his famous Zang Tuum Tumb label, so it's no big surprise) -- thus the production is impeccable, as one would expect from a Horn-produced album.
Worth a listen if you like the band or have an interest for '80s music.


Side A
A1.  Warriors Of The Wasteland - 4:53 
A2.  Rage Hard - 5:01 
A3.  Kill The Pain - 6:38 
A4.  Maximum Joy - 5:54 

Side B
B1.  Watching The Wildlife - 4:05 
B2.  Lunar Bay - 5:45 
B3.  For Heaven’s Sake - 4:37 
B4.  Is Anybody Out There? - 7:36

Vinyl:  Goed
Cover:  Goed

Release:  1982
Genre:  Soul
Format:  LP
Label:  CBS Records
Catalog# 85977
Prijs:   €10,00


Midnight Love is the seventeenth and final studio album (that is not a posthumous one) by Marvin Gaye. He signed with the label Columbia in March 1982 following his exit from Motown. The final album to be released before his death, it ultimately became the most successful album of Gaye's entire career.

Larkin Arnold, former CBS Records (Sony Music) senior executive VP, convinced Marvin Gaye to leave his flat in Belgium and sign with Columbia Records; the result would become the soul singer's last album before his untimely death. Of all his number one songs, this album's first release, "Sexual Healing," became his longest running number one single on the Billboard R&B charts (ten straight weeks).
With the exception of the guitar, the Washington, D.C. native performed every instrument on this classic hit. Gaye concocted a pioneering percussive sound that was balladic in taste but stimulating in feel. As this project may not be an absolute erotic expression or a socially challenging plea from Gaye like on some of his previous albums, nonetheless, Midnight Love is a classic Marvin Gaye effort.
In addition to this project thriving with Gaye's enthusiastic spirit, it has his harmonious background vocals, his stunning vocal arrangements and his creative penmanship, as he wrote all the selections.

Midnight Love contained elements of funk, boogie, Caribbean music, reggae, new wave and synthpop, as well as older genres such as soul, R&B and doo-wop. The reason for these many genres was because, according to Banks, Gaye's music was "progressing" and that it was "changing and it had to change because he didn't want any more ties to Motown". As Larkin Arnold later explained, "Marvin had been living in Europe, and was influenced by both reggae and the synthesizer work of groups like Kraftwerk" and that he "took the rhythm of reggae, the new technology and American soul and came up with something fresh and unique".

"Midnight Lady" started off with assorted percussion, provided by Gaye and other musicians, before having its beat delivered by a drum machine and overdubbed handclaps provided by the singer, before keyboard riffs (also played by Gaye), guitar lines by Banks and a horn section joined in. It was almost two minutes before Gaye began singing the song's first lines.
Musically the song had elements of funk, new wave and synthpop; Gaye's vocals also was influenced by the vocal styling in new wave records.

The demo of this recording was listed as "Clique Games/Rick James", indicating the song might've been influenced by the music of James'. "Sexual Healing" was influenced by Caribbean music and reggae while also including funk elements musically; vocally the song recalled Gaye's gospel background while his background harmonies (which included Fuqua and Banks as co-backing vocalists) took influence from doo-wop. "Rockin' After Midnight" was also influenced by funk as well as boogie music while "'Til Tomorrow", the sole ballad in the album, was strongly influenced by doo-wop.

The original version of "Turn On Some Music", titled as "I've Got My Music", included some spiritual and autobiographical lyrics, that changed to sexually erotic ones. In addition to the original demo, another alternate version mixed both versions. The reggae-inspired "Third World Girl" was a tribute to Bob Marley, though Gaye refused to mention Marley by name on the track, explaining, "I won't exploit a leader to make a commercial song". The gospel-influenced "Joy" was a tribute to his father's ministry and his own religious background.The song also included a rock-influenced guitar solo from Banks. "My Love is Waiting" had elements of funk, synthpop and gospel music, as evident to Gaye's final words in his thank you calls, "we like to thank our Heavenly Father, Jesus!" The entire album's length was under just 40 minutes.


Side A
A1.  Midnight Lady   (5:17)
A2.  Sexual Healing   (3:59)
A3.  Rockin’ After Midnight   (6:04)
A4.  ‘Til Tomorrow   (4:57)

Side B
B1.  Turn On Some Music   (5:08)
B2.  Third World Girl   (4:36)
B3.  Joy   (4:22)
B4.  My Love Is Waiting   (5:07)

Vinyl:  Goed
Cover:  Goed

Release:  1982
Genre:  Jazz Pop, Fusion
Format:  LP
Label:  Warner Bros. Records
Catalog#  923696-1
Prijs:   €10,00


The Nightfly is the debut studio album by American singer-songwriter Donald Fagen.
Produced by Gary Katz, it was released October 1, 1982 by Warner Bros. Records. Fagen was previously best known for his work in the group Steely Dan, with whom he enjoyed a successful career in the 1970s. The band separated in 1981, leading Fagen to pursue a solo career.
Although The Nightfly includes a number of production staff and musicians who had played on Steely Dan records, it was Fagen's first release without longtime collaborator Walter Becker.

Unlike most of Fagen's previous work, The Nightfly is almost blatantly autobiographical. Many of the songs relate to the cautiously optimistic mood of his suburban childhood in the late 1950s and early 1960s, and incorporate such topics as late-night jazz disc jockeys, fallout shelters, and tropical vacations.

A portrait of the artist as a young man, The Nightfly is a wonderfully evocative reminiscence of Kennedy-era American life; in the liner notes, Donald Fagen describes the songs as representative of the kinds of fantasies he entertained as an adolescent during the late '50s/early '60s, and he conveys the tenor of the times with some of his most personal and least obtuse material to date.

Continuing in the smooth pop-jazz mode favored on the final Steely Dan records, The Nightfly is lush and shimmering, produced with cinematic flair by Gary Katz; romanticized but never sentimental, the songs are slices of suburbanite soap opera, tales of space-age hopes (the hit "I.G.Y.") and Cold War fears (the wonderful "The New Frontier," a memoir of fallout-shelter love) crafted with impeccable style and sophistication.

Recorded over eight months at various studios between New York City and Los Angeles, the album is an early example of a fully digital recording in popular music. The nascent technology, as well as the perfectionist nature of its engineers and musicians, made the album difficult to record.


Side A
A1. I.G.Y. – 6:03
A2. Green Flower Street – 3:42
A3. Ruby Baby  – 5:39
A4. Maxine – 3:49

Side B
B1. New Frontier – 6:21
B2. The Nightfly – 5:47
B3. The Goodbye Look – 4:50
B4. Walk Between Raindrops – 2:38

Vinyl:  Goed
Cover:  Goed

Release:  1980
Genre:  Progressive Pop
Format:  LP
Label:   Arista Records
Catalog#   203000
Prijs:  €10,00


The Turn of a Friendly Card is the fifth studio album by the British progressive rock band The Alan Parsons Project, released in 1980 by Arista Records. The title piece, which appears on side 2 of the LP, is a 16-minute suite broken up into five tracks, with the five tracks listed as sub-sections.

With two of the Alan Parsons Project's best songs, the lovely ballad "Time" and the wavy-sounding "Games People Play," The Turn of a Friendly Card remains one of this group's most enjoyable albums. Parsons' idea, the subject of the album's six tracks, centers around the age-old temptation of gambling and its stranglehold on the human psyche. On "Games People Play," vocalist Lenny Zakatek sounds compelling and focused, giving the song a seriousness that aids in realization of the album's concept.

With "Time," it is Eric Woolfson who carries this luxurious-sounding ode to life's passing to a place above and beyond any of this band's other slower material. The breakdown of human willpower and our greedy tendencies are highlighted in the last track, entitled "The Turn of a Friendly Card," which is broken into five separate parts. "Snake Eyes," sung by Chris Rainbow, is the most compelling of the five pieces, and ties together the whole of the recording. As in every Parsons album, an instrumental is included, in this case an interesting number aptly titled "The Gold Bug."

Like most of the band's instrumentals, its flow and rhythm simulate the overall tempo and concept of the album, acting as a welcome interlude. Although short, The Turn of a Friendly Card is to the point and doesn't let down when it comes to carrying out its idea.

The Turn of a Friendly Card spawned the hits "Games People Play" and "Time", the latter of which was Eric Woolfson's first lead vocal appearance.


Side A
A1.  May Be a Price to Pay  (lead vocal Elmer Gantry)   (4:58)
A2.  Games People Play  (lead vocal Lenny Zakatek)   (4:22)
A3.  Time  (lead vocal Eric Woolfson backing vocal Alan Parsons)   (5:04)
A4.  I Don’t Wanna Go Home  (lead vocal Lenny Zakatek)   (5:03)

Side B
B1.  The Gold Bug (Instrumental)   (4:34)
B2.  The Turn of a Friendly Card (Part One)  (lead vocal Chris Rainbow)   (2:44)
B3.  Snake Eyes  (lead vocal Chris Rainbow)   (3:14)
B4.  The Ace of Swords  (Instrumental)   (2:57)
B5.  Nothing Left to Lose  (lead vocal Eric Woolfson)   (4:07)
B6.  The Turn of a Friendly Card (Part Two)  (lead vocal Chris Rainbow)   (3:22)

Vinyl:  Goed
Cover:  Goed

Release:  1978
Genre:  Soul, Funk
Format:  LP
Label:  Warner Bros. Records
Catalog#  WB 56527
Prijs:  €10,00

Side A
A1. Cocaine - 3:41
A2. Wonderful Tonight - 3:44
A3. Lay Down Sally - 3:56
A4. Next Time You See Her - 4:01
A5. We’re All the Way - 2:32

Side B
B1. The Core - 8:45
B2. May You Never - 3:01
B3. Mean Old Frisco - 4:42
B4. Peaches and Diesel - 4:46

Release:  1977
Genre:   Pop Rock
Format:   LP
Label:  RSO Records
Catalog#  2 394196

Vinyl:  Goed
Cover:  Goed

Prijs:   €10,00

Side A
A1.  Your Starter for…   (1:23)
A2.  Tonight   (7:52)
A3.  One Horse Town   (5:56)
A4.  Chameleon   (5:27)

Side B
B1.  Boogie Pilgrim   (6:05)
B2.  Cage the Songbird   (3:25)
B3.  Crazy Water   (5:42)
B4.  Shoulder Holster   (5:10)

Side C
C1.  Sorry Seems to Be the Hardest Word   (3:48)
C2.  Out of the Blue   (6:14)
C3.  Between Seventeen and Twenty   (5:17)
C4.  The Wide-Eyed and Laughing   (3:27)
C5.  Someone’s Final Song   (4:10)

Side D
D1.  Where’s the Shoorah?   (4:09)
D2.  If There’s a God in Heaven (What’s He Waiting For?)   (4:25)
D3.  Idol   (4:08)
D4.  Theme from a Non-Existent TV Series   (1:19)
D5.  Bite Your Lip (Get Up and Dance!)   (6:43)

Release: 1976
Genre:  Pop rock
Format:  2LP
Label:  The Rocket Record Company
Catalog#  5C 152-98293

Vinyl:  Goed
Cover:  Goed

Prijs: €20,00

Side A
A1. Let It Go (Part One) - 2:56 
A2. That’s The Way (I Like It) - 5:07 
A3. Get Down Tonight - 5:14 
A4. Boogie Shoes - 2:15

Side B
B1. Ain’t Nothin’ Wrong - 3:07 
B2. I’m So Crazy (‘Bout You) - 3:04 
B3. What Makes You Happy - 2:49 
B4. I Get Lifted - 3:04 
B5. Let It Go (Part Two) - 2:01

Release:  1975
Format:  LP
Genre:  Disco
Label:  President Records
Catalog#  JSL 9

Vinyl:   Goed
Cover:   Goed

Prijs:  €10,00

Release:  1986
Genre:  Synth-pop
Format:  LP
Label:   Warner Bros. Records
Catalog#   925501-1
Prijs:  €10,00

Scoundrel Days is the second studio album by Norwegian new wave band A-ha. It was released on 6 October 1986 by Warner Bros. Records.

Scoundrel Days included the singles "I've Been Losing You", "Cry Wolf", "Maybe, Maybe", and "Manhattan Skyline". All the singles with the exception of "Maybe, Maybe" charted on the UK Singles Chart. "I've Been Losing You" and "Cry Wolf" were the most successful singles from the album.

While not quite as strong as the band's debut, Scoundrel Days is still a-ha succeeding as a marketed "pretty boy" band which can connect musically and lyrically as much as any musical sacred cow. The opening two songs alone make for one of the best one-two opening punches around: the tense edge of the title track, featuring one of Morten Harket's soaring vocals during the chorus and a crisp, pristine punch in the music, and "The Swing of Things," a moody, elegant number with a beautiful synth/guitar arrangement (plus some fine drumming courtesy of studio pro Michael Sturgis) and utterly lovelorn lyrical sentiments that balance on the edge of being overheated without quite going over.

Although the rest of the disc never quite hits as high as the opening, it comes close more often than not. A definite downturn is the band's occasional attempts to try and prove themselves as a "real" band by rocking out, as on "I've Been Losing You" -- there's really no need for it, and as a result they sound much more "fake," ironically enough. Other songs can perhaps only be explained by the need to translate lyrics -- "We're Looking for the Whales" isn't an environmental anthem, and neither is "Cry Wolf," but both also don't really succeed in using nature as romantic metaphor.

When a-ha are on, though, they're on -- "October" snakes along on a cool bass/keyboard arrangement and a whispery vocal from Harket; "Maybe Maybe" is a quirky little pop number that's engagingly goofy; while "Soft Rains of April" captures the band at its most dramatic, with the string synths giving Harket a perfect bed to launch into a lovely vocal, concluding with a sudden, hushed whisper. The '80s may be long gone, but Scoundrel Days makes clear that not everything was bad back then.

The cover photography was taken by Norwegian photographer Knut Bry at the Haleakala volcano on Maui, Hawaii, in 1986.


Side A
A1.  Scoundrel Days   (3:56)
A2.  The Swing of Things   (4:14)
A3.  I’ve Been Losing You   (4:24)
A4.  October   (3:48)
A5.  Manhattan Skyline   (4:52)

Side B
B1.  Cry Wolf   (4:05)
B2.  We’re Looking for the Whales   (3:39)
B3.  The Weight of the Wind   (3:57)
B4.  Maybe, Maybe   (2:34)
B5.  Soft Rains of April   (3:12)

Vinyl:  Goed
Cover:  Goed

Release:  1984
Genre:  Pop, Dance Rock
Format:  LP
Label:  EMI Records
Catalog#  1C 064-240227-1
Prijs:  €10,00


Tonight is the 16th studio album by David Bowie. It was originally released in September 1984, on the label EMI America. It followed his most commercially successful album, Let's Dance. He described the album, released immediately after his previous album's tour wrapped up, as an effort to "keep my hand in, so to speak, and to retain the new audience that he had recently acquired

David Bowie worked on Tonight after completing his Serious Moonlight Tour in support of his previous album Let's Dance. He did not have much luck writing while on tour, so he described the process of recording the album Tonight this way:

It was rushed. The process wasn't rushed; we actually took our time recording the thing; Let's Dance was done in three weeks, Tonight took five weeks or something, which for me is a really long time. I like to work fast in the studio. There wasn't much of my writing on it 'cause I can't write on tour and I hadn't assembled anything to put out. But I thought it a kind of violent effort at a kind of Pin Ups.

Bowie purposefully sought to keep the sound of the band he had used on the previous album and tour, feeling that the new fans he had accumulated would expect to hear the same thing on the new album that they'd heard before, hence the inclusion of the "Borneo Horns" players on the album.
Like Let's Dance, but unlike most previous Bowie albums, Bowie played no instruments on the record, and in fact he delegated almost all responsibility for the music played to his musicians, only occasionally offering critical input.

Bowie brought in Derek Bramble and Hugh Padgham to produce the record, the former receiving the nod from Bowie due to some of the demos he'd recently produced for English female singer Jaki Graham. As with Let's Dance, Bowie prepared for the album by recording some demos beforehand, this time showing up with 8 of the 9 songs that would appear on the album. This surprised collaborator Carlos Alomar, who said "it was the first time in the eleven years that I've been with the damn man that he's brought in anything."

Iggy Pop spent a good deal of time in the studio with Bowie and the band while the album was being recorded, stating "I worked extensively on that album. There's a lot more work there than is reflected in just the simple co-writing credit for two songs and some of the old stuff." When asked why Bowie included so much Pop-written material on the album, Pop could only guess. "I think he just wanted the songs heard more," a sentiment Bowie would mirror when covering Pop's "Bang Bang" on his next album, Never Let Me Down.

Three songs were covers of older Iggy Pop songs: "Don't Look Down", "Tonight" and "Neighborhood Threat", the latter of which stands out as a track Bowie wished he had not done, with him later calling it "disastrous". "That's one I wish I'd never touched, or at least touched it differently. It went totally wrong. It sounded so tight and compromised, and it was such a gas doing it. It was the wrong band to do it with -- wonderful band, but it wasn't quite right for that song."

"Tumble and Twirl", co-written with Pop, recounts the pair's exploits while vacationing in the Indonesian islands Bali and Java after Bowie's previous tour had ended.
"Don't Look Down", which was one of Bowie's returns to a reggae-style track (after Lodger's "Yassassin"), perplexed Bowie: "I tried it every which way. I tried it jazz-rock, I tried it as a march, and then I just hit on an old ska-sounding beat, and it picked up life. Taking energy away from the musical side reinforced the lyrics and gave them their own energy. I think working with Derek Bramble helped because he played propper reggae bass lines."

Three singles were released from the album: "Tonight", "Blue Jean" and "Loving the Alien". "Blue Jean" in turn spawned several videos, including an "elaborate" 20-minute-long collaboration with Julien Temple which was described as more of a "minifilm" than a video, and represented Bowie's interest in making actual movies.


Side A
A1.  Loving The Alien - 7:07 
A2.  Don’t Look Down - 4:08 
A3.  God Only Knows - 3:04 
A4.  Tonight (feat. Tina Turner) - 3:42

Side B
B1.  Neighborhood Threat - 3:10 
B2.  Blue Jean - 3:09 
B3.  Tumble And Twirl - 4:56 
B4.  I Keep Forgettin’ - 2:32 
B5.  Dancing With The Big Boys (feat. Iggy Pop) - 3:32

Vinyl:  Goed
Cover:  Goed

Lick It Up is the eleventh studio album by American heavy metal band Kiss. On the day of its 1983 release, the band members appeared on MTV without their trademark make-up. It was the first public appearance without make-up by the band since their very early days, and their first for Mercury Records, where they had been signed with following their departure from Casablanca Records.

Lick It Up built upon the harder sound Kiss had displayed on 1982's Creatures of the Night. It was certified gold on December 22, 1983, the first Kiss album to achieve certification since 1980's Unmasked. This is partially attributable to the increased publicity the band received after their unmasking.

As soon as the Creatures of the Night Tour/10th Anniversary Tour wrapped up in June, the band immediately went back into the studio to begin work on their next album, which was recorded over the next two months. "Lick It Up" and "All Hell's Breakin' Loose" were released as singles from the album. They were accompanied by a pair of similarly themed, tongue-in-cheek videos featuring the band (along with many scantily clad women) in desolate, post-apocalyptic settings.

For the first time, Vinnie Vincent appeared on the cover art for the album, whereas Ace Frehley had appeared on the Creatures of the Night cover, despite having already left the band and not being involved in the recording of the album. Vincent was not legally a member of the band. Due partly to disputes over what his role in the band and his pay would be (some reports indicated that he had asked for, and was flatly denied, a percentage of the band's gross profits), Vincent never signed any contract making his employment official. These disputes, along with a growing attitude by him that he was solely responsible for the resurgence of Kiss, would lead to him leaving the band (or being fired, depending on the source) after the European leg of the Lick It Up tour.

With the band unable to secure a replacement guitarist on such short notice, Vincent was enticed to return for the American leg of the tour; however, his refusal to sign his contract continued to be a sore point. A major rift developed between him and the rest of the band over his guitar solos. What were supposed 5–8 minute solos, timed to finish on a cue so that Paul Stanley could introduce the next song, suddenly expanded in some instances, leaving the rest of the band impatiently waiting on stage for Vincent to finish.

At an LA Forum show in January 1984, Vincent continued playing despite Stanley's cueing him to finish the solo. The two nearly came to blows in the dressing room afterward, with Stanley accusing Vincent of showing him up, and Vincent accusing the other three members of ruining his solo and trying to hold him back as a performer. They were separated by Eric Carr and Gene Simmons and a couple of roadies who tried to keep the peace. At a March show in Quebec, Canada, as the band prepared to close out their set, Vincent broke into an impromptu solo, leaving the other band members standing onstage with nothing to do. Vincent left (or was fired for a second time, depending on the source) shortly after. This time, the break was permanent.

"All Hell's Breakin' Loose" is one of three songs in the history of the band in which all four (current at the time) members share songwriting credit, the others being "Love Theme from Kiss" and "Back to the Stone Age". In an interview for KISSology 2, Stanley made the statement that, "People were now listening with their eyes rather than their ears, mainly because Creatures of the Night was arguably a better album than Lick It Up. He also made the statement that, "The only reason why I think people bought Lick It Up more than Creatures of the Night was because we had no make-up on. That was the only reason."

While Vincent contributed lead guitar to six songs on Creatures of the Night as a session player, by the time Lick it Up was released and for all the public knew, he was officially the guitarist in Kiss and played all the lead guitar on the album. The opening track (co-written by Vincent) features a solo from Rick Derringer.


Side A
A1.  Exciter - 4:10 
A2.  Not For The Innocent - 4:32 
A3.  Lick It Up - 3:59 
A4.  Young And Wasted - 4:04 
A5.  Gimme More - 3:41 

Side B
B1.  All Hell’s Breakin’ Loose - 4:34 
B2.  A Million To One - 4:17 
B3.  Fits Like A Glove - 4:04 
B4.  Dance All Over You Face - 4:13 
B5.  And On The 8th Day - 4:02

Release:  1982
Genre:   Reggae
Format:   LP
Label:   DEP International
Catalog#   205039
Prijs:  €10,00

UB44 is the third studio album of original material by UB40, released on the DEP International label in 1982.
It was advertised as their 'fourth album' (hence the title) although Present Arms In Dub had been a remix album.
The album reached No. 4 in the UK album chart and the early release of the packaging had a hologram cover. UB44 was the Department of Employment form letter sent to British unemployment benefit claimants when they missed their 'signing on' appointment.

UB40s third album, not counting The Singles Album, which summed up their short career to date, or the Present Arms in Dub remixed dub version of the second album, was a step away from the brooding soulful reggae that one had come to expect from experiencing Signing Off and Present Arms.
 Despite the fact that by 1982 the 2 Tone sound of the Specials had vanished and other successful ska bands had moved on, notably Madness, UB40 released a mixture of horn-driven pop/ska and reggae songs that, in the main, had two major faults, a lack of melody, which never helps any style of music, and a loss of the sense of political injustice that had dominated the first two albums.

It couldn't have been easy; all their vitriol had been directed against the government of Margaret Thatcher and how, in their opinion, the fabric of the country was systematically being destroyed, but late in 1982, the government was riding a wave of popularity, having won the war in the Falklands, and it was suddenly out of step to disagree with them.

Although UB44 hit number four, the singles released were at a low point, all three of them -- "So Here I Am," "I Won't Close My Eyes," and "Love Is Here Is Alright" -- all failing to hit the higher regions of the singles chart, and without melody, UB40 songs tended to have little to offer. As "The Key" merged into "Don't Do the Crime" into "Folitician," it was difficult to appreciate that one song had ended and a new song had begun.


Side A
A1.  So Here I Am   (3:54)
A2.  I Won’t Close My Eyes [Remix]   (3:46)
A3.  Forget the Cost   (4:22)
A4.  Love Is All Is Alright [Remix]   (4:57)
A5.  The Piper Calls the Tune   (3:50)

Side B
B1.  The Key   (5:05)
B2.  Don’t Do the Crime   (4:12)
B3.  Folitician [Remix]   (4:10)
B4.  The Prisoner   (5:57)

Vinyl:  Goed
Cover:  Goed

Release:  1982
Genre:   Pop, Rock
Format:   LP
Label:  Vertigo Records
Catalog#  6359109
Prijs:  €10,00


Love over Gold is the fourth studio album by the British rock band Dire Straits released on 20 September 1982 by Vertigo Records internationally.

Love over Gold was recorded at the Power Station in New York from 8 March to 11 June 1982. Knopfler produced the album, with Neil Dorfsman as his engineer—the first in a long line of collaborations between the two.
Knopfler used several guitars during the sessions, including four Schecter Stratocasters—two red, one blue, and one sunburst—a black Schecter Telecaster, an Ovation classical guitar on "Private Investigations" and "Love over Gold", a custom Erlewine Automatic on "Industrial Disease", and his 1937 National steel guitar on "Telegraph Road". Knopfler also used Ovation twelve- and six-string acoustic guitars during the recording.

Adding a new rhythm guitarist, Dire Straits expands its sounds and ambitions on the sprawling Love Over Gold.
In a sense, the album is their prog rock effort, containing only five songs, including the 14-minute opener "Telegraph Road." Since Mark Knopfler is a skilled, tasteful guitarist, he can sustain interest even throughout the languid stretches, but the long, atmospheric, instrumental passages aren't as effective as the group's tight blues-rock, leaving Love Over Gold only a fitfully engaging listen

Several songs were written and recorded during the Love over Gold session that were not released on the album. "Private Dancer" was originally planned for the album, with all but the vocal tracks being recorded. Knopfler decided that a female voice would be more appropriate and handed the song to Tina Turner for her comeback album, Private Dancer.

The album produced two singles, "Private Investigations", which reached number 2 on the UK Singles Chart, and "Industrial Disease", which reached number 9 on Billboard's Hot Mainstream Rock Tracks chart in the United States. The fourteen-minute opus, "Telegraph Road" has gone on to become a favourite on FM radio worldwide.


Side A
A1.  Telegraph Road - 14:20 
A2.  Private Investigations - 7:00 

Side B
B1.  Industrial Disease - 5:50 
B2.  Love Over Gold - 6:15 
B3.  It Never Rains - 7:55

Vinyl: Goed
Cover:  Goed

Release: 1979
Genre:  Soul
Format:  LP
Label:  Epic Records
Catalog#  EPC 83468
Prijs:  €10,00


Off the Wall is the fifth studio album by American singer Michael Jackson, released on August 10, 1979 in the United States by Epic Records and internationally by CBS Records. It was his nineteenth album in total since Diana Ross Presents The Jackson 5 (1969), as well as his first album released through Epic Records, the label he would record on until his death roughly 30 years later. It was released following Jackson's critically well-received film performance in The Wiz. While working on that project, Jackson and Quincy Jones had become friends, and Jones agreed to work with Jackson on his next studio album.

This is certainly due to Jackson's emergence as a blindingly gifted vocalist, equally skilled with overwrought ballads as "She's Out of My Life" as driving dancefloor shakers as "Working Day and Night" and "Get on the Floor," where his asides are as gripping as his delivery on the verses. It's also due to the brilliant songwriting, an intoxicating blend of strong melodies, rhythmic hooks, and indelible construction. Most of all, its success is due to the sound constructed by Jackson and producer Quincy Jones, a dazzling array of disco beats, funk guitars, clean mainstream pop, and unashamed (and therefore affecting) schmaltz that is utterly thrilling in its utter joy.

Recording sessions took place between December 1978 and June 1979 at Allen Zentz Recording, Westlake Recording Studios, and Cherokee Studios in Los Angeles, California. Jackson collaborated with a number of writers and performers, such as Paul McCartney, Stevie Wonder and Rod Temperton. Five singles were released from the album; three of the singles had music videos released. Jackson wrote three of the songs himself, including the number-one Grammy Award-winning single "Don't Stop 'Til You Get Enough".

The record was a departure from Jackson's previous work for Motown Records. Its lyrical themes on the record relate to escapism, liberation, loneliness, hedonism and romance. Several critics observed that Off the Wall was crafted from funk, disco, soft rock, Broadway and pop ballads. Jackson received positive reviews for his vocal performance on the record. The record gained critical acclaim and recognition, and won the singer his first Grammy Award.

With Off the Wall, Jackson became the first solo artist to have four singles from the same album peak inside the top 10 of the Billboard Hot 100. The album was an enormous commercial success; as of 2018, it is certified eight times platinum in the United States and has reportedly sold more than 20 million copies worldwide, making it one of the best selling albums of all time.


Side A
A1. Don’t Stop ‘Til You Get Enough - 6:02 
A2. Rock With You - 3:38 
A3. Working Day And Night - 5:12 
A4. Get On The Floor - 4:44 

Side B
B1. Off The Wall - 4:04 
B2. Girlfriend - 3:04 
B3. She’s Out Of My Life - 3:36 
B4. I Can’t Help It - 4:27 
B5. It’s The Falling In Love - 3:46 
B6. Burn This Disco Out - 3:38

Vinyl:  Goed
Hoes:  Goed

Release:  1978
Genre:  Country Rock, Folk Rock
Format:  LP
Label:  Reprise Records
Catalog#  REP 54099
Prijs:  €10,00

The album originally started out as a solo record, but when Young played it for Reprise executives they asked him if he would consider adding rhythm tracks to what he already had. Young agreed, and the end product was Comes a Time. Two songs ("Look Out For My Love" and "Lotta Love") were backed by Crazy Horse.

"Human Highway" was written several years prior to the album's release, and originally presented to Crosby, Stills, Nash & Young in 1974 for a proposed studio album by the group which never came to be. Much of the album features harmony vocals from Nicolette Larson. She also shares lead vocals with Young on "Motorcycle Mama".

Six and a half years later, Comes a Time finally was the Neil Young album for the millions of fans who had loved Harvest, an acoustic-based record with country overtones and romantic, autobiographical lyrics, and many of those fans returned to the fold, enough to make Comes a Time Young's first Top Ten album since Harvest.

He signaled the album's direction with the leadoff track, "Goin' Back," and its retrospective theme augmented with an orchestral backup and the deliberate beat familiar from his number one hit "Heart of Gold." Of course, Young remained sly about this retrenchment. "I feel like goin' back," he sang, but added, "back where there's nowhere to stay."

Doubtless he had no intention of staying with this style, but for the length of the album, melodies, love lyrics, lush arrangements, and steel guitar solos dominated, and Young's vocals were made more accessible by being paired with Nicolette Larson's harmonies. Larson's own version of Young's "Lotta Love," released shortly after the one heard here, became a Top Ten hit single.

Other highlights included the reflective "Already One," which treats the unusual subject of the nature of a divorced family, the ironic "Field of Opportunity," and a cover of Ian Tyson's folk standard "Four Strong Winds" (a country Top Ten hit for Bobby Bare in 1965).


Side A
A1.  Goin’ Back - 4:43 
A2.  Comes A Time - 3:05 
A3.  Look Out For My Love - 4:06 
A4.  Lotta Love - 2:40 
A5.  Peace Of Mind - 4:06 

Side B
B1.  Human Highway - 3:09 
B2.  Already One - 4:53 
B3.  Field Of Opportunity - 3:10 
B4.  Motorcycle Mama - 3:08 
B5.  Four Strong Winds - 4:07

Vinyl:  Goed
Cover:  Goed

Release:  1976
Genre:   Disco
Format:  LP
Label:  Philips Records
Catalog#  6412902
Prijs:  €10,00


The Ritchie Family, an American vocal group based in Philadelphia that achieved several hits during the disco era.

The three original members were not related; the group was a creation of Jacques Morali who also formed the Village People. The group took its name from record producer Richie Rome, who added a T to the name; it originally consisted of three singers: Cassandra Ann Wooten and Gwendolyn Oliver (who eventually married musician Fred Wesley) of the girl group Honey & the Bees, and Cheryl Mason Jacks.
Their manager was Jimmy Bishop, a successful Philadelphia radio personality who also managed Barbara Mason. Morali remembered Wooten and Oliver had done some session work for him, and he called them a few years later when he wanted to form a group and the Ritchie Family was born.

Arabian Nights is the second studio album recorded by American female vocal trio The Ritchie Family, released in 1976 on the Marlin label.
The album features the track, "The Best Disco in Town", which peaked at No. 1 on the Hot Dance/Disco chart.


Side A
A1.  The Best Disco In Town - 6:39 
A2.  Baby I’m On Fire - 5:05 
A3.  Romantic Love - 5:53 

Side B
B1. Arabian Nights (Medley) - 14:26 
      (a)  Istanbul (Not Constantinople) - 4:22 
      (b)  Lawrence Of Arabia (More Than Yesterday, Less Than Tomorrow) - 3:57 
      (c)  In A Persian Market (Show Me How You Dance) - 6:07

Vinyl:  Goed
Cover:  Goed