Release: 1981
Genre:  Pop, Rock
Format:  LP
Label:  Mercury Records
Catalog#  6359048
Prijs:  €10,00

After the success of Bloody Tourists, and the artsy excess of Look Hear?, Eric Stewart and Graham Gouldman gave the rest of the band their walking papers, and recorded this album as a duo.
Sounding fresh and energized, this was by far 10cc's best album since 1977's Deceptive Bends.
Maintaining a mild case of the quirkiness of old, Stewart and Gouldman embrace some of their finest melodies on this release, allowing the songs to speak for themselves. "Don't Ask" is one of those great little pop songs that you think you've heard somewhere before, but haven't, and it should have been a massive single, but wasn't. "Memories," "Les Nouveaux Riches," and "Overdraft In Overdrive" all utilize a reggae backbeat, but are even more carefree than their 1978 single "Dreadlock Holiday!" Both members share the spotlight throughout, trading off lead and backing vocals with ease. Gouldman's vocals sound more confident than ever, while Stewart still sings like an angel (he'll melt your heart on "Don't Turn Me Away," and "Lying Here With You").
The only weak track in the bunch is the barroom blues track, "Listen With Your Eyes," which was probably written in their sleep.
The U.K. and U.S. versions of the albums differ by a few tracks (the U.S. version replaces three songs with tracks recorded with Andrew Gold). Quite possibly the last great 10cc album, and certainly the last to sound like a true collaborative effort between Stewart and Gouldman.


Side A
A1. Don’t Ask   (4:02) 
A2. Overdraft In Overdrive   (3:24) 
A3. Don’t Turn Me Away   (5:03) 
A4. Memories   (4:31) 
A5. Notell Hotel   (4:56) 

Side B
B1. Les Nouveaux Riches   (5:11) 
B2. Action Man In Motown Suit   (4:45) 
B3. Listen With Your Eyes   (3:10) 
B4. Lying Here With You   (3:22) 
B5. Survivor   (5:46)

Vinyl: Goed
Hoes: Goed

http://www.ad-vinylrecords.com/product/10cc-ten-out-of-10-lp/

Release:  1975
Genre:  Folk Rock
Format:  LP
Label:  CBS Records
Catalog#   86003
Prijs:  €10,00

If Blood on the Tracks was an unapologetically intimate affair, Desire is unwieldy and messy, the deliberate work of a collective.
And while Bob Dylan directly addresses his crumbling relationship with his wife, Sara, on the final track, Desire is hardly as personal as its predecessor, finding Dylan returning to topical songwriting and folk tales for the core of the record.
It's all over the map, as far as songwriting goes, and so is it musically, capturing Dylan at the beginning of the Rolling Thunder Revue era, which was more notable for its chaos than its music. And, so it's only fitting that Desire fits that description as well, as it careens between surging folk-rock, Mideastern dirges, skipping pop, and epic narratives. It's little surprise that Desire doesn't quite gel, yet it retains its own character -- really, there's no other place where Dylan tried as many different styles, as many weird detours, as he does here. And, there's something to be said for its rambling, sprawling character, which has a charm of its own.
Even so, the record would have been assisted by a more consistent set of songs; there are some masterpieces here, though: "Hurricane" is the best-known, but the effervescent "Mozambique" is Dylan at his breeziest, "Sara" at his most nakedly emotional, and "Isis" is one of his very best songs of the '70s, a hypnotic, contemporized spin on a classic fable.
This may not add up to a masterpiece, but it does result in one of his most fascinating records of the '70s and '80s -- more intriguing, lyrically and musically, than most of his latter-day affairs.


Side A
A1. Hurricane  (8:33)
A2. Isis  (6:58)
A3. Mozambique  (3:00)
A4. One More Cup of Coffee (Valley Below)  (3:43)
A5. Oh, Sister  (4:05)

Side B
B1. Joey  (11:05)
B2. Romance in Durango  (5:50)
B3. Black Diamond Bay  (7:30)
B4. Sara  (5:29)

Vinyl: Goed
Hoes: Goed

http://www.ad-vinylrecords.com/product/dylan-bob-desire-lp/

Release:  1983
Genre:  Soft Rock
Format:  LP
Label:  Warner Bros. Records
Catalog#  923755-1
Prijs:  €10,00

Trouble in Paradise is the seventh album by American composer Randy Newman. It spawned the hit "I Love L.A.", and included a duet with Paul Simon on "The Blues."
Randy Newman began the slow process of transforming himself into a polished L.A. song-crafter on the album Little Criminals, and with Trouble in Paradise the metamorphosis was complete; by this time, Newman could make a record just as ear-pleasing as anything Paul Simon, Don Henley, or Lindsey Buckingham could come up with, and proved it by persuading all three to appear on the sessions.
But no matter how polished the arrangements and smooth the production, Newman's songs don't sound like they're ready for radio, and he's too bright not to understand that songs about apartheid, self-pitying white bluesmen, and arrogant yuppies are poor prospects for the pop charts. Trouble in Paradise marked the high point of Newman's struggle between pop sheen and his satiric impulses, and the album is a significant improvement over Little Criminals and Born Again.
The targets of Newman's satirical gaze are easy to skewer, and his pen is hardly subtle, but the overall tone is more respectful than on Born Again and the results are stronger. The bitter Afrikaner in "Christmas in Capetown" and the egocentric blowhard in "My Life Is Good" have at least earned Newman's disgust, and while many of the character studies ("Mikey," "I'm Different") and vignettes ("Miami," "Take Me Back") take a less than charitable view of their protagonists, like the losers and half-wits that populate Good Old Boys, they're human beings whose flaws reveal a hint of tragedy. And the closing number, "Song for the Dead," is a stunner in which a soldier explains to the bodies he's burying the purpose behind the war that took their lives.
While too slick for Newman's core audience, Trouble in Paradise was his most intelligent and best realized work since Good Old Boys, and his finest album of the 1980s.
Trouble in Paradise was ranked as number 67 on Rolling Stone's 100 Greatest Albums of the 80s list


Side A
A1.  I Love L.A.  (3:29) 
A2.  Christmas In Capetown   (4:21) 
A3.  The Blues (with Paul Simon)  (3:01) 
A4.  Same Girl  (2:53) 
A5.  Mikey’s  (2:10) 
A6.  My Life Is Good  (4:38) 

Side B
B1.  Miami  (4:04) 
B2.  Real Emotional Girl  (2:28) 
B3.  Take Me Back   (4:09) 
B4.  There’s A Party At My House   (2:50) 
B5.  I’m Different   (2:33) 
B6.  Song For The Dead   (3:00)

Vinyl: Goed
Hoes: Goed

http://www.ad-vinylrecords.com/product/newman-randy-trouble-in-paradise-lp/

Release:  1971
Genre:  Rock, Hindustani classical
Format:  3LP Boxset
Label:  Apple Records
Catalog#  STCX 3385
Prijs:  €25,00

The Concert for Bangladesh – originally titled The Concert for Bangla Desh – is a live triple album by George Harrison and celebrity friends, released on Apple Records in December 1971 in America and January 1972 in Britain. The album followed the two concerts of the same name, held on 1 August 1971 at New York's Madison Square Garden, featuring Harrison, Bob Dylan, Ravi Shankar, Ali Akbar Khan, Ringo Starr, Billy Preston, Leon Russell and Eric Clapton. The shows were a pioneering charity event, in aid of the homeless Bengali refugees of the Bangladesh Liberation War, and set the model for future multi-artist rock benefits such as Live Aid (1985) and the Concert for New York City (2001).
Co-produced by Phil Spector and featuring the latter's signature Wall of Sound in a live setting, the fundraiser album was delayed for three months due to protracted negotiations between Harrison and two record companies keen to protect their business interests, Capitol and Columbia/CBS. Besides the main performers, the musicians and singers on the recording include Badfinger, Jim Horn, Klaus Voormann, Alla Rakha, Jim Keltner, Jesse Ed Davis and Claudia Linnear. The box set's original packaging included a 64-page book containing photos from the concerts; the album cover, designed by Tom Wilkes, consisted of an image of a malnourished child sitting beside an empty food bowl.
On release, The Concert for Bangladesh was a major critical and commercial success, topping albums charts around the world, and went on to win the Grammy Award for Album of the Year in March 1973. Together with the 1972 Apple concert film directed by Saul Swimmer, the album gained Indian classical music its largest Western audience up until that time.


Side A
A1. George Harrison/Ravi Shankar - Introduction  (5:19)
A2. Ravi Shankar - Bangla Dhun (16:40)

Side B
B1. George Harrison - Wah-Wah (3:30)
B2. George Harrison - My Sweet Lord (4:36)
B3. George Harrison - Awaiting on You All (3:00)
B4. Billy Preston - That’s the Way God Planned It (4:20)

Side C
C1. Ringo Starr - It Don’t Come Easy (3:01)
C2. George Harrison / Leon Russell - Beware of Darkness (3:36)
C3. George Harrison - Band Introduction (2:39)
C4. George Harrison - While My Guitar Gently Weeps (4:53)

Side D
D1. Leon Russell, Don Preston - Medley: Jumpin’ Jack Flash/Young Blood  (9:27)
D2. George Harrison - Here Comes the Sun” (Acoustic)  (2:59)

Side E
E1. Bob Dylan - A Hard Rain’s A-Gonna Fall (5:44)
E2. Bob Dylan - It Takes a Lot to Laugh, It Takes a Train to Cry (3:07)
E3. Bob Dylan - Blowin’ in the Wind (4:07)
E4. Bob Dylan - Mr. Tambourine Man (4:45)
E5. Bob Dylan - Just Like a Woman (4:49)

Side F
F1. George Harrison - Something (3:42)
F2. George Harrison - Bangla-Desh (4:55)

Album: Goed
Cover:  Gebruikerssporen

http://www.ad-vinylrecords.com/product/various-the-concert-for-bangladesh-3lp/

Release:  1976
Genre:  Hard rock
Format:  LP
Label:  Epic Records
Catalog#  EPC 81611
Prijs:  €10,00

Boston is the debut studio album by American rock band Boston. Produced by Tom Scholz and John Boylan, the album was released on August 25, 1976, in the United States by Epic Records. Scholz had studied classical piano in his childhood and became involved in the Boston music scene in the late 1960s. He subsequently started to concentrate on demos recorded in his apartment basement with singer Brad Delp, and although their previous group, Mother's Milk, had received numerous rejection letters from major record labels in the early 1970s, by 1975, the demo tape had fallen into the hands of CBS-owned Epic Records, who signed the band.
Epic wanted the band to record in Los Angeles with a record producer, but Scholz was unwilling and wanted to record the album in his basement studio, so he hired Boylan to run interference with the label. In an elaborate ruse, Scholz tricked the label into thinking the band was recording on the West Coast, when in reality, the bulk was being tracked solely by Scholz at his Massachusetts home. The album's contents are a complete recreation of the band's demo tape, and contain songs written and composed many years prior. The album's style, often referred to as the "Boston sound", was developed through Scholz's love of classical music, melodic hooks and guitar-heavy rock groups such as the Kinks and the Yardbirds.
The album was released by Epic in August 1976 and sold extremely well, breaking sales records and becoming one of the best-selling debut albums of all time. Boston's style was appropriated by label executives and imitated by bands to create radio-friendly "corporate rock", the creation of which the band was also accused of. The album's singles, most notably "More Than a Feeling" and "Long Time", were both AM and FM hits, and nearly the entire album receives constant rotation on classic rock radio. The album has been referred to as a landmark in 1970s rock and has been included on many lists of essential albums. The album has sold 17 million copies in the United States alone and 25 million worldwide


Side A
A1. More Than a Feeling  (4:44)
A2. Peace of Mind  (5:02)
A3. Foreplay/Long Time  (7:47)

Side B
B1. Rock and Roll Band  (2:59)
B2. Smokin’  (4:22)
B3. Hitch a Ride  (4:12)
B4. Something About You  (3:48)
B5. Let Me Take You Home Tonight  (4:44)

Vinyl: Lichte Gebruikerssporen
Hoes: Zijkant Licht Beschadigd

http://www.ad-vinylrecords.com/product/boston-boston-lp/

Release:  1977
Genre:  Synth-pop, Progressive Rock
Format:  LP
Label:  Warner Bros. Records
Catalog#   WB 56278
Prijs:  €10,00

The Light of Smiles is the fourth album by American rock musician Gary Wright. It was released in January 1977 on Warner Bros. Records as the follow-up to his commercial breakthrough, The Dream Weaver. The album was produced by Wright and recorded in Los Angeles in 1976. Aside from drums and orchestral strings, the music was created entirely on synthesizers and other keyboard instruments. The lyrics reflect Wright's preoccupation with spirituality, particularly the teachings of Indian yogi Paramahansa Yogananda.
Although the album failed to match the commercial impact of its predecessor, The Light of Smiles was moderately successful and received a favorable response from some music critics. In the United States, it peaked at number 23 on Billboard's albums chart, while the single "Phantom Writer" reached number 43 on the Hot 100.

Gary Wright began writing songs for The Light of Smiles while on tour in 1976, having become a popular concert draw with the success of The Dream Weaver. Recording started in Los Angeles during the summer, with Wright using members of his tour band, including keyboardist Peter Reilich and drummer Art Wood, and session musicians David Foster and Jim Keltner, both of whom had contributed to The Dream Weaver. In early June, Chris Charlesworth of Melody Maker reported that the new album would be "a logical development" of its predecessor and focus solely on sounds generated through keyboard instruments, particularly synthesizers. Played mainly by Wright, Foster and Reilich, the range of keyboard instruments includes clavinet, organ, and Moog, Oberheim and ARP synthesizers. Foster also provided arrangements for orchestral strings on some of the songs, such as the title track, "Time Machine", "I Am the Sky" and "Who Am I".
On "I Am the Sky", Wright gave a songwriting credit to the late Indian guru and Kriya Yoga teacher, Paramahansa Yogananda. 
The latter's poem "The Light of Smiles", taken from his book Metaphysical Meditations, appeared on the LP's inner sleeve. During the recording sessions, Wright and Foster also contributed to George Harrison's first album for Warner Bros. Records, Thirty Three & 1/3, with Wright playing synthesizer on "See Yourself", one of the album's two Yogananda-inspired tracks. Having been introduced to Yogananda's book Autobiography of a Yogi by Harrison in the early 1970s, Wright subsequently acknowledged the guru as a lifelong influence. The front cover of The Light of Smiles includes a portrait of Wright painted by John Silletto


Side A
A1. Water Sign   (4:32) 
A2. Time Machine   (3:40) 
A3. I Am The Sky (Paramahansa Yogananda)   (0:40) 
A4. Who I Am   (3:15) 
A5. Silent Fury   (4:20) 
A6. Phantom Writer   (3:29) 

Side B
B1. The Light Of Smiles   (3:26) 
B2. I’m Alright   (3:35) 
B3. Empty Inside   (3:30) 
B4. Are You Weepin’   (4:02) 
B5. Child Of Light   (4:56)

Vinyl: Goed
Hoes: Goed

http://www.ad-vinylrecords.com/product/wright-gary-the-light-of-smiles-lp/

Release:  1983
Genre:  Cabaret / Nederlandstalig
Format:  LP
Label:  Ariola Records
Catalog#  205242
Prijs:  €10,00

Frederik Jan Georg (Freek) de Jonge (Westernieland, 30 augustus 1944) is een Nederlandse cabaretier. Hij werd bekend toen hij samen met Bram Vermeulen optrad als het sociaal geëngageerde Neerlands Hoop. Vanaf 1980 ging hij solo en maakte naam als cabaretier met zijn geconstrueerde conferences, waarbij hij als eerste een rode draad door zijn programma liet lopen.

In 1979 ging Neerlands Hoop uit elkaar en begon De Jonge aan een solocarrière. Hij was de eerste cabaretier die een rode draad in zijn verhaal aanbracht. Typisch voor De Jonge is ook de running gag, een grap waarnaar meerdere malen verwezen wordt. De Jonge bracht vele succesvolle programma's op het toneel, waaronder ook meerdere oudejaarsconferences en nieuwjaarsconferences.

De Openbaring (van Freek de Jonge), zoals de volledige titel luidt, is rechtstreeks op televisie te zien vanuit de kleine zaal (de Globezaal) van de Eindhovense Stadsschouwburg. Het feit dat Freek de Jonge in de traditie van de oudejaarsconference stapt, dwingt hem tot vormelijke en inhoudelijke keuzes. Zijn publiek bestaat deze keer niet alleen uit belangstellende thea-terbezoekers, maar voor het grootste deel uit televisiekijkers en hun familie, vrienden en kennissen die samen zijn gekomen in feestelijke stemming. Bij hen ontbreekt de concentratie voor een voorstelling in de lijn van de theatershows. Daarom kiest hij niet voor een toneelmatig programma in bedrijven (zoals De Komiek en De Tragiek) of een kernverhaal met terzijdes (zoals De Mars), maar voor een aaneenschakeling van losse onderdelen: conferences over de actualiteit, anekdotes, liedjes, sketches, grappen… Terugkerende elementen, zoals terloopse verwijzingen naar de inzamelacties voor Polen, zijn er voor de goede verstaander. Dat geldt ook voor de plaatsing van een blocnote van één bij twee meter met steekwoorden, wat natuurlijk verwijst naar Wim Kans spiekborden.
Freek de Jonge realiseert zich terdege dat zijn publiek niet overwegend bestaat uit progressieve hoogopgeleiden, maar uit alle lagen van de bevolking.
Dat is geen reden de lat laag te leggen...


Tracklist

0. Intro
1. Iets Links
2. Brief Van Mijn Moeder
3. De Zoon Van Visser Kwakman
4. Stekelvarken
5. Eikel
6. Onzin
7. Liegen
8. Fout Geweest
9. Je Vader
10. De Trekhond
11. Kinderen
12. Jeugdjournaal, Weerbericht
13. Suriname
14. Sprookje (Roodkapje)
15. Cavia’s
16. Achterwerk (V.P.R.O. Gids)
17. Flevohof
18. Vervelen
19. De Derde Wereldoorlog (Opstel)
20. De Eerste de Beste
21. Toneelstukje
22. Subsidies
23. Stakingen
24. Persiflage
25. In de Winkel
26. In de Disco (We Want Amor)
27. Oorlog En Vrede
28. Het Kistje

Vinyl: Goed
Hoes: Goed

http://www.ad-vinylrecords.com/product/jonge-freek-de-de-openbaring-oudejaarsavond-1982-lp/

Released:  1977
Genre:  Soul, Funk
Format:  LP
Label:  Motown Records
Catalog#  M9-894A2
Prijs:  €20,00

Commodores Live! is a live album by the Commodores, released in 1977. The album reached number 3 on the Billboard 200 chart.

Hot on the heels of their 1977 self-titled LP -- which included studio versions of the classics "Brick House" and "Easy" -- Commodores Live! was issued as a seasonal offering the same year. The band wisely included extended readings of not only its most recent hits, but also a healthy sampling from its previous four studio albums, as well as the track "Too Hot ta Trot," which had been featured in the motion picture Thank God It's Friday.
The six-man original Commodores were a powerful and self-contained unit that could effortlessly alternate between turning over mean and serious funk jams or a slow, sexy power ballad. Heralded as the Black Beatles, the Commodores were able to fuse a more traditional pop music headlong into the funk stylings of their contemporaries: Parliament, the Ohio Players, and Earth, Wind & Fire.
However, instead of being propelled by seemingly endless -- and often aimless -- jams, William King (trumpet), Thomas McClary (guitar), Ronald LaPread (bass), Walter "Clyde" Orange (drums), Lionel Richie (alto saxophone), and Milan Williams (keyboards) were able to tighten up their arrangements and make them more potent in the process.
From right out of the gate, the opening trio of "Won't You Come Dance With Me," "Slippery When Wet," and "Come Inside" pounce and bounce around with undeniably hardcore funk grooves -- replete with distorted and screaming electric lead guitar lines, emphatic accents from the horns, and an authoritative rhythm section that James Brown would have been proud of. The mellower side of the band is equally represented by several key Lionel Richie ballads. "Just to Be Close to You" shimmers and is notable for Richie's extended vocal interlude. "Easy" -- an audible audience favorite -- swings with an urgency and passion conspicuously lacking in the more familiar studio version. Milan Williams' tasty keyboards are also a highlight as they lightly soar above the rest of the band. Without a doubt it is the ten-plus-minute version of "Brick House" that allows the band to reach a funkified critical mass. Ronald LaPread's rubbery basslines adhere themselves around "Clyde" Orange's Latin-tinged percussion inflections.
The searing Richie and William King sound more akin to a full-fledged horn section than the hard-workin' duo behind their wall of solid brass. Commodores Live! is overall one of the finest R&B concert albums of the '70s -- of which there are far too few.


Side A
A1. Won’t You Come Dance With Me  (3:36)
A2. Slippery When Wet  (3:00)
A3. Come Inside  (3:12)
A4. Just To Be Close To You  (7:17)

Side B
B1. Funny Feelings  (5:16)
B2. Fancy Dancer  (4:44)
B3. Sweet Love  (8:39)

Side C
C1. Zoom  (10:00)
C2. Easy  (7:23)

Side D
D1. I Feel Sanctified  (2:58)
D2. Brick House  (11:18)
D3. Too Hot Ta Trot  (5:38)

Album: Goed
Cover: Licht Beschadigd

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

Released:  1982
Genre:  Synth-pop, Experimental
Format:  LP
Label:  Geffen Records
Catalog#  GEF 25019
Prijs:  €10,00

Trans is the twelfth studio album by Canadian musician and singer-songwriter Neil Young, released on December 29, 1982. Recorded and released during his Geffen era in the 1980s, its electronic sound baffled many Neil Young fans upon its initial release—a Sennheiser vocoder VSM201 features prominently in six of the nine tracks.

When it was released, Trans was Neil Young's most baffling album. He had employed a vocoder to synthesize his voice on five of the album's nine tracks, resulting in disembodied singing, the lyrics nearly impossible to decipher without the lyric sheet. And even when you read the words, "Computer Age," "We R in Control," "Transformer Man," "Computer Cowboy," and "Sample and Hold" seemed like a vague mishmash of high-tech jargon. Later, Young would reveal that some of the songs expressed a theme of attempted communication with his disabled son, and in that context, lines like "I stand by you" and "So many things still left to do/But we haven't made it yet" seemed clearer.
But the vocoder, which robbed Young's voice of its dynamics and phrasing, still kept the songs from being as moving as they were intended to be. And despite the crisp dance beats and synthesizers, the music sounded less like new Kraftwerk than like old Devo.
A few more conventional Young songs (left over from an earlier rejected album) seemed out of place. Trans had a few good songs, notably "Sample and Hold" (which seemed to be about a computer dating service for robots), a remake of "Mr. Soul," and "Like an Inca" (an intended cross between "Like a Hurricane" and "Cortez the Killer"?), but on the whole it was an idea that just didn't work.


Side A
A1.  Little Thing Called Love   (3:13)
A2.  Computer Age   (5:25)
A3.  We R In Control   (3:32)
A4.  Transformer Man   (3:24)
A5.  Computer Cowboy (aka Syscrusher)   (4:14)

Side B
B1.  Hold On To Your Love   (3:28)
B2.  Sample And Hold   (8:04)
B3.  Mr. Soul  (3:19)
B4.  Like An Inca   (9:45)

Vinyl: Goed
Hoes: Goed

http://www.ad-vinylrecords.com/product/young-neil-trans-lp/

Released: 1978
Genre:  Reggae
Format:  LP
Label:  EMI Records
Catalog#  5C 062-61708
Prijs:  €10,00

Peter Tosh, OM (born Winston Hubert McIntosh; 19 October 1944 – 11 September 1987) was a Jamaican reggae musician. Along with Bob Marley and Bunny Wailer, he was one of the core members of the band the Wailers (1963–1976), after which he established himself as a successful solo artist and a promoter of Rastafari. He was murdered in 1987 during a home invasion.

Bush Doctor is the third studio album by Jamaican singer Peter Tosh. It was released in 1978.

As the debut album on the Rolling Stone label in 1978, Bush Doctor benefited immensely from the involvement of Jagger and Richards, as well as the publicity inherent in the high-profile nature of the release. Thankfully, Tosh was up to the challenge, and although there are moments that are less roots than anything he had previously recorded, Bush Doctor is no slick sellout.
It's bolstered by his incredible Word Sound & Power band featuring the legendary Sly & Robbie rhythm section along with lead guitarists Mikey "Mao" Chung and Donald Kinsey (fresh from his stint with Marley).
Although the cover of the Temptations' "(You Gotta Walk) Don't Look Back" single featuring Jagger's duet with Tosh seemed like an obvious ploy at crossover radio play, the rest is more roots conscious, and only slightly less compelling than some of ex-bandmate Bob Marley's work.
The horns on "Moses -- The Prophet" seem like sweetening, but the title track, "I'm the Toughest," "Stand Firm," and a remake of an old Wailers' track "Dem Ha Fe Get a Beatin," complete with I-Threes-style backing vocals, are some of Tosh's best songs.
 Only the original album's closing track, an ambitious but overwrought retelling of Genesis with Handel's "Messiah," is a major misstep. Yet even here, Tosh is pushing boundaries, adding bird and thunder sound effects to his soft guitar strumming accompaniment. It's interesting but few will want to hear it more than once.


Side A
A1. (You Gotta Walk) Don’t Look Back (3:43)
A2. Pick Myself Up (3:55)
A3. I’m the Toughest (3:48)
A4. Soon Come (3:54)
A5. Moses – The Prophet (3:37)

Side B
B1. Bush Doctor (4:04)
B2. Stand Firm (6:10)
B3. Dem Ha Fe Get a Beatin' (4:11)
4B. Creation (6:29)

Vinyl: Goed
Hoes: Goed

http://www.ad-vinylrecords.com/product/tosh-peter-bush-doctor-lp/

Release: 1976
Genre:  Art Rock, Funk rock
Format: LP
Label:  RCA Records
Catalog#  APL 11327

Station to Station is the tenth studio album by English musician David Bowie, released by RCA Records in 1976. Commonly regarded as one of his most significant works, Station to Station was the vehicle for his performance persona, the Thin White Duke. The album was recorded after he completed shooting Nicolas Roeg's The Man Who Fell to Earth, and the cover artwork featured a still from the movie. During the sessions Bowie was heavily dependent on drugs, especially cocaine, and later claimed that he recalled almost nothing of the production.
Musically, Station to Station was a transitional album for Bowie, developing the funk and soul music of his previous release, Young Americans, while presenting a new direction towards synthesisers and motorik rhythms that was influenced by German electronic bands such as Neu! and Kraftwerk. This trend would culminate in some of his most acclaimed work, the so-called "Berlin Trilogy", recorded with Brian Eno in 1977–79. Bowie himself said that Station to Station was "a plea to come back to Europe for me". The album's lyrics reflected his preoccupations with Friedrich Nietzsche, Aleister Crowley, mythology and religion.
Blending funk and krautrock, romantic balladry and occultism, Station to Station has been described as "simultaneously one of Bowie's most accessible albums and his most impenetrable". Preceded by the single "Golden Years", it made the top five in both the UK and US charts. In 2012, the album was ranked No. 324 on Rolling Stone magazine's list of the 500 greatest albums of all time


Side A
A1. Station to Station  (10:14)
A2. Golden Years  (4:00)
A3. Word on a Wing  (6:03)

Side B
B1. TVC 15  (5:33)
B2. Stay  (6:15)
B3. Wild Is the Wind (6:02)

Vinyl: Goed
Hoes: Goed

http://www.ad-vinylrecords.com/product/bowie-david-station-to-station-lp/

Released: 1983
Genre:  Soul, Funk
Format:  LP
Label:  Atlantic Records
Catalog#  780107-1
Prijs:  €10,00

Believer is the seventh studio album by American band Chic, their last for the Atlantic Records label, and the last featuring the classic line-up of Nile Rodgers, Bernard Edwards, Alfa Anderson, Luci Martin, and Tony Thompson.
The album includes the singles "Give Me The Lovin'" (#57 US R&B), "You Are Beautiful" (issued only in France, the Netherlands, and Scandinavia), and "Party Everybody" (issued only in Canada, Germany, and the Netherlands).
The album failed to make much of an impact and shortly after its release the group disbanded. 1983 had seen Nile Rodgers releasing his first solo album, Adventures in the Land of the Good Groove - also largely overlooked, at least on a strictly commercial level.
The following production assignment for David Bowie's Let's Dance album was to change the future for both Rodgers and his colleague Bernard Edwards completely.

Nile Rodgers and Bernard Edwards hoped that Chic could, which is why 1983's Believer finds the group updating its sound with generally appealing, if uneven, results. Using a lot more keyboards and drum machines and favoring a more high-tech production style, Rogers and Edwards sound like they're trying hard to live down their reputation as a late '70s disco act. Urban contemporary considerations are strong, and some of the songs might have reached pop-rock and new wave audiences with the right promotion.
The infectious "Party Everybody" contains more rapping than singing, and acknowledges hip-hop's popularity, which is appropriate considering how often hip-hoppers have sampled Chic over the years. And even though Believer falls short of being a gem, you have to admire Chic's ability to update its approach while continuing to sound incredibly distinctive. But the LP didn't contain any hit singles, and Believer would be Chic's last album for Atlantic. Chic broke up in 1985, although they reunited for 1992's uneven Chic-ism and 1996's superb Live at the Budokhan (neither of which were big sellers).
The ironic thing is that while Rodgers and Edwards were very much in demand as producers during the '80s (when Rodgers produced such superstars as Duran Duran, Madonna, David Bowie, and the B-52s, and Edwards worked with the Power Station, Rod Stewart, Robert Palmer, and Jody Watley, among others), Chic itself never returned to the top of the charts.


Side A
A1. Believer   (5:06) 
A2. You Are Beautiful   (4:34) 
A3. Take A Closer Look   (4:38) 
A4. Give Me The Lovin’  (4:52) 

Side B
B1. Show Me Your Light   (3:57) 
B2. You Got Some Love For Me   (4:52) 
B3. In Love With Music   (3:52) 
B4. Party Everybody   (4:51)

Vinyl: Goed
Hoes: Goed

http://www.ad-vinylrecords.com/product/chic-believer-lp/

Released:  1982
Genre:   Deutschrock
Format:  LP
Label:  Musikant Records
Catalog#  1C 066-46639
Prijs:  €10,00

BAP is a German rock group. With eleven albums reaching the number one in the German record charts, BAP is one of the most successful rock acts in their home country.
Nearly all of BAP's lyrics are written in Kölsch, the dialect of Cologne, or more precisely in a Kölsch-influenced derivation of Eifelplatt, a regional variant of the Ripuarian language spoken in the nearby rural Eifel. Niedecken's most prominent musical influences, especially early in his career, were Bob Dylan, the Kinks, Bruce Springsteen, the Rolling Stones, and Wolfgang Ambros.

Pure German rock combined with ironic, sometimes angry, sometimes melancholic texts.
Powerful political protest songs such as "Kristallnaach" as well as "Zehnter Juni" are followed by romantic or melancholic ballads such as "Do kanns zaubre", one of the best lovesongs ever written in German, or the sad "Ah`ner Leitplank" about a deadly car accident.
For non-German speakers: Never mind the language barrier (Even Germans have sometimes problems with the slang, so that all texts are generally translated in "School German"), the music on its own is worth it a million times.


Side A
A1. Kristallnaach   (4:56)
A2. Wellenreiter   (2:20)
A3. Zehnter Juni   (4:21)
A4. Wie ‘Ne Stein   (4:26)
A5. Do Kanns Zaubere   (4:34)

Side B
B1. Nit Für Kooche (Teil 1)   (1:40)
B2. Nit Für Kooche (Teil 2)   (4:03)
B3. Ahn ‘Ner Leitplank   (4:14)
B4. Wenn Et Bedde Sich Lohne Däät   (4:32)
B5. Eins Für Carmen Un En Insel   (2:53)
B6. Koot Vüür Aach   (3:29)

Vinyl: Goed
Hoes: Goed

http://www.ad-vinylrecords.com/product/bap-vun-drinne-noh-drusse-lp/

Released: 1980 
Genre:  Synth-pop 
Format:  LP
Label:  Island Records
Catalog#  203207
Prijs:  €10,00

Arc of a Diver is the second solo studio album by singer/multi-instrumentalist Steve Winwood, released in 1980. Winwood played all of the instruments on the album.

Winwood recorded his new ''Arc of a Diver'' in a home studio he built on the farm, singing and playing all the instruments - keyboards, guitar, bass, drums, and percussion - and writing all the music. For lyrics, he drew on the talents of three associates. Most of the words are by Will Jennings, who has written for the Crusaders, among others, and whose imagery and turns of phrase are rather facile. But ''Arc of a Diver,'' by Viv Stanshall, and ''Dust,'' by George Fleming, are first-rate lyrics, and Winwood's impressive playing and arranging and utterly distinctive vocals make several of his collaborations with Mr. Jennings, especially the brooding ''Night Train,'' almost as memorable.

The album entered the English best-seller charts earlier this month and has been receiving extensive American air play since its release here last week. As a comeback gambit, it has already proved itself commercially, and Winwood seems healthy, energetic and ready to capitalize on its success.

The album was also included in the book 1001 Albums You Must Hear Before You Die.


Side A
A1.  While You See A Chance  – 5:11
A2.  Arc Of A Diver  – 5:25
A3.  Second-Hand Woman  – 3:41
A4.  Slowdown Sundown  – 5:24

Side B
B1.  Spanish Dancer  – 5:58
B2.  Night Train  – 7:50
B3.  Dust  – 6:20

Vinyl: Goed
Hoes: Goed

http://www.ad-vinylrecords.com/product/winwood-steve-arc-of-a-diver-lp/