Release: 1985
Genre:  Rock, Hip Hop
Format:  LP
Label:  Manhattan Records
Catalog#  1C 064-2404671
Prijs:  €10,00

Artists United Against Apartheid was a 1985 protest group founded by activist and performer Steven Van Zandt and record producer Arthur Baker to protest apartheid in South Africa. The group produced the song "Sun City" and the album Sun City that year, which is considered a notable anti-apartheid song.

Sun City was a place where the South African government allowed entertainment that was banned in most of the country. In protest of Apartheid, an international boycott by performers continued for years, although some, such as Queen, ignored it.

Van Zandt became interested in writing a song about Sun City to make parallels with the plight of Native Americans. Danny Schechter, a journalist who was then working with ABC News' 20/20, suggested turning the song into a different kind of "We Are the World", or as Schechter explains, "a song about change not charity, freedom not famine."
When Van Zandt was finished writing "Sun City", he, Schechter and producer Arthur Baker spent the next several months searching for artists to participate in the project. Van Zandt initially declined to invite Springsteen, not wanting to take advantage of their friendship, but Schechter had no problem asking and Springsteen accepted the invitation. Van Zandt was also shy about calling legendary jazz artist Miles Davis.
Schechter initiated the contact and Davis also accepted. Eventually, Van Zandt, Baker and Schechter would gather an array of artists, described by rock critic Dave Marsh as "the most diverse line up of popular musicians ever assembled for a single session." including Kool DJ Herc, Grandmaster Melle Mel, Ruben Blades, Bob Dylan, Pat Benatar, Herbie Hancock, Ringo Starr and his son Zak Starkey, Lou Reed, Run–D.M.C., Peter Gabriel, Bob Geldof, Clarence Clemons, David Ruffin, Eddie Kendricks, Darlene Love, Bobby Womack, Afrika Bambaataa, Kurtis Blow, The Fat Boys, Jackson Browne, Daryl Hannah, Peter Wolf, Bono, George Clinton, Keith Richards, Ronnie Wood, Bonnie Raitt, Hall & Oates, Jimmy Cliff, Big Youth, Michael Monroe, Stiv Bators, Peter Garrett, Ron Carter, Ray Barretto, Gil Scott-Heron, Nona Hendryx, Kashif, Lotti Golden, Lakshminarayana Shankar and Joey Ramone.


Side A
A1.   Artists United Against Apartheid (feat. Zak Starkey, Ringo Starr) – Sun City  (7:26)
A2.   Peter Gabriel and L. Shankar – No More Apartheid  (7:07)
A3.   Rap Artists From Artists United Against Apartheid – Revolutionary Situation  (6:07)

Side B
B1.   Artists United Against Apartheid – Sun City (Version II)   (5:42)
B2.   Rap and Jazz Artists From Artists United Against Apartheid (feat. Gil Scott-Heron, Miles       
         Davis,
         Grandmaster Melle Mel, Peter Wolf, Sonny Okosuns, Malopoets,  Duke Bootee, Ray Baretto,
         Peter Garrett) – Let Me See Your I.D. (7:29)
B3.   Jazz Artists From Artists United Against Apartheid (feat. Miles Davis, Stanley Jordan, Herbie
         Hancock, Sonny Okosuns, Ron Carter, Tony Williams, Richard Scher) – The Struggle
         Continues (7:01)
B4.   Bono with Keith Richards and Ron Wood – Silver and Gold  (4:41)

Vinyl: Goed
Cover: Goed

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Release: 1975
Genre:  Progressive Rock
Format:  LP
Label:  A&M Records
Catalog#   89651 XOT
Prijs:  €10,00

Crisis? What Crisis? is the fourth album by the English rock band Supertramp, released in 1975. It was recorded in Los Angeles and London – Supertramp's first album to have recording done in the United States of America.

Having achieved commercial success with Crime of the Century (1974), the pressure was on for Supertramp to deliver a followup, and the record company pushed them to begin work as soon as the touring for Crime of the Century was finished. While touring the west coast of North America, Supertramp unintentionally gained extra time: Hodgson injured his hand, forcing the band to cancel the rest of the tour and leaving them with nothing better to do than work on the album. Despite this, the band still had no time to rehearse for the album, and much like Indelibly Stamped (1971), songwriters Rick Davies and Roger Hodgson had no vision for a completed album worked out.Furthermore, the band's busy touring schedule had left no time for writing songs, and so they entered A&M's Los Angeles recording studios with only leftover songs from Crime of the Century (or even earlier) for material. Due to shortage of material, production had to be halted at one point so that Davies and Hodgson could write two new songs, one of which was "Ain't Nobody But Me".
Both the title and the concept of the cover were conceived by Davies, as John Helliwell recounted: "It was Rick that came up with the name Crisis? What Crisis? and one day, when we were sitting around Scorpio Studio, he came in with this sketch of a guy in a deck chair under an umbrella with all this chaos going on around him." "Crisis? What Crisis?" is a line in the film The Day of the Jackal (1973). Artist Paul Wakefield returned after his work in Crime of the Century, photographing the backgrounds at the Welsh mining valleys, which were later composited with a model shot in the studio afterwards.
Hodgson was unhappy with the album, describing it as a rushed job with none of the cohesion of Crime of the Century. Bassist Dougie Thomson concurred: "We thought that the Crisis album was a little bit disjointed and the band as a whole at that time didn't really like the album."
Today, however, Roger Hodgson calls it his favorite album of Supertramp.


Side A
A1.  Easy Does It  (2:18)
A2.  Sister Moonshine  (5:15)
A3.  Ain’t Nobody But Me  (5:07)
A4.  A Soapbox Opera  (4:54)
A5.  Another Man’s Woman  (6:15)

Side B
B1.  Lady  (5:26)
B2.  Poor Boy  (5:07)
B3.  Just a Normal Day’  (4:02)
B4.  The Meaning  (5:23)
B5.  Two of Us  (3:27)

Vinyl: Goed
Hoes: Goed

http://www.ad-vinylrecords.com/product/supertramp-crisis-what-crisis-lp/

Release: 1978
Genre:  Easly Liustening, Soft Pop
Format:  LP
Label:  CBS Records
Catalog#  86077
Prijs:  €10,00

You Don't Bring Me Flowers is Neil Diamond's twelfth studio album. It was released 1978 to capitalize on the success of the title song of the same name, a duet with Barbra Streisand.
Neil Diamond -- the voice, the artist, the entertainer -- is best described through this record as a rhapsody of American pop culture during this period in the late '70s. Directly and appropriately, Diamond sings with sincerity that "the American popular song goes on." Perhaps this record best demonstrates a mission statement of creating an endearing work of music that all Americans can feel happy and satisfied with. Much of the material is uplifting, both in tempo and lyrical expression. Other songs are emotionally gripping and romantically involved.
The work as a whole seems to be vintage Diamond, and does not stand out from any of his other records as unique. However, there is one duet that breaks the mold: his passionate showing with Barbra Streisand on the cover song, "You Don't Bring Me Flowers," a slow, powerful, and troubling ballad for those drifting out of relationships. "Forever in Blue Jeans" is the anthem that caught on with easy pop listeners in the late '70s, and continues to be a staple song for Diamond. "Remember Me" is a gentle song of longing and memories concerning past friendships, past loves, and places traveled. The typical Diamond sound is expressed here to perfection, with the vocals of Diamond backed by a stirring and articulate orchestra.
The record doesn't dive into any deep ocean of creativity, nor does it strive to meet jazzier expectations. The arrangements and the songwriting are written just well enough to appeal to the easy listening audience, and the marching percussions of Diamond's songs fit the grade. Such a well-performed song of percussion and charging tempo is the cover, "You've Got Your Troubles." Sung with passion and grace, this is Neil Diamond during his peak, and merits a listen for all late-'70s enthusiasts.


Side A
A1. The American Popular Song   (5:14) 
A2. Forever In Blue Jeans   (3:37) 
A3. ARemember Me   (5:02) 
A4. You’ve Got Your Troubles   (3:52) 
A5. You Don’t Bring Me Flowers (Duet With Barbra Streisand)   (3:15) 

Side B
B1. The Dancing Bumble / Bee Bumble Boogie   (4:53) 
B2. Mothers And Daughters, Fathers And Sons  (4:08) 
B3. Memphis Flyer   (3:10) 
B4. Say Maybe   (4:06) 
B5. Diamond Girls  (3:32) 

Vinyl: Goed
Hoes: Goed

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Release: 1982
Genre: Soul, Funk 
Format:  LP
Label:  Warner Bros. Records
Catalog#  923729-1
Prijs:  €10,00

Chaka Khan is the eponymous fourth solo album by American R&B/funk singer Chaka Khan, released on the Warner Bros. Records label in 1982.
An excellent album from Chaka Khan, mixing tingling uptempo tunes with her characteristic soaring, glorious vocals. "Got to Be There" reached number five on the R&B charts, but it actually wasn't the album's high point. That was the marvelous "Be Bop Medley," which later led hardcore jazz purist Betty Carter to proclaim Khan the one female singer working outside the jazz arena with legitimate improvising credentials.
Two singles were released from Chaka Khan: the Michael Jackson cover "Got to Be There" and "Tearin' It Up". The album track "Slow Dancin'" was a funky ballad duet with Rick James.


Side A
A1.  Tearin’ It Up   (6:39)
A2.  Slow Dancin’(featuring Rick James)   (5:22)
A3.  Best In The West   (4:00)
A4.  Got to Be There   (4:00)

Side B
B1.  Be Bop Medley: (5:22)
       (a)  Hot House
       (b)  East Of Suez (Come On Sailor)
       (c)  Epistrophy (I Wanna Play)
       (d)  Yardbird Suite / Con Alma
       (e)  Giant Steps
B2.  Twisted (4:12)
B3.  So Not To Worry (4:55)
B4.  Pass It On (A Sure Thing) (Pasa Lo Esta Seguro) (4:32)

Vinyl: Goed
Cover: Goed

http://www.ad-vinylrecords.com/product/khan-chaka-chaka-khan-lp/

Release:  1983
Genre:   Synth-pop
Format:  LP
Label:  EMI Records
Catalog#  1C 064-1654541
Prijs:  €10,00

Despite the fact that Seven and the Ragged Tiger couldn't match the unrestrained pop/rock ebullience of 1982's Rio, Duran Duran put three of the album's singles in the Top Ten, taking it to number one in the U.K. Even though "The Reflex" gave the band their first number one hit, there's an overabundance of fancy glitz and dancefloor flamboyancy running through it, unlike "New Moon on Monday"'s straight-ahead appeal or "Union of the Snake"'s mysterious, almost taboo flair.
It's apparent that Seven and the Ragged Tiger's content has the band moving ever so slightly into a danceclub arena, with the songs leaning more toward their ability to produce a sexier sound through electronics and instrumentation than through a firm lyrical and musical partnership. Even the unreleased tracks trade Duran Duran's handsome edginess for a shinier sound, heard mainly on "I Take the Dice" and "Cracks in the Pavement."
It's here that Lebon and Taylor's personalities begins to get overshadowed by the demand to produce a more synth-snazzy and fashionable style of music.
Although they may have turned their songwriting down a notch in order to succumb to the pabulum of synthesized pop, they didn't relinquish every aspect of their genius, and when they do deliver, it's bright, energetic, and effectual.
Duran Duran's new direction eventually gave Seven and the Ragged Tiger double platinum status.


Side A
A1. The Reflex  (5:29)
A2. New Moon on Monday  (4:16)
A3. (I’m Looking For) Cracks in the Pavement  (3:38)
A4. I Take the Dice  (3:18)
A5. Of Crime and Passion  (3:50)

Side B
B1. Union of the Snake  (4:20)
B2. Shadows on Your Side  (4:03)
B3. Tiger Tiger  (3:20)
B4. The Seventh Stranger  (5:24)

Vinyl: Goed
Cover: Goed

http://www.ad-vinylrecords.com/product/duran-duran-seven-and-the-ragged-tiger-lp/

Release:  1984
Genre:   Disco, Funk
Format:  LP
Label:  Warner Bros. Records
Catalog#  925175-1
Prijs:  €10,00

Motion, released in 1984, is an electronic affair. Deodato fully engaged the keyboard-drenched production of the 1980s and it is in full flower here, with Linn and DMX drums programmed all over the place to further enhance the multiple layers of synthesizers that coat every cut. In fact, the very notion of song takes a back seat to the terrain of sound itself. This is music for the dance club, but it has little to do with disco -- its rhythms are looped and linked but remain utterly uninteresting, and the sonics, while bright and silvery, are paper thin.
The album's single was "Never Knew Love," a characteristic bit of urban pop-funk tossed into the mix for balance. Katreese Barnes' lead vocals are a breath of fresh air after the futuristic funk catastrophe of "S.O.S., Fire in the Sky."
The funky disco fusion of "Bus Stop" is catchy but utterly unimaginative. In fact, most of this record sounds like it could have been cranked out in Deodato's sleep.


Side A
A1. S.O.S. Fire In The Sky   (6:15) 
A2. Never Knew Love   (5:44) 
A3. Bus Stop   (7:02) 

Side B
B1. Motion   (6:10) 
B2. Are You For Real   (5:07) 
B3. Make You Feel Good   (6:07) 
       
Vinyl: Goed
Hoes: Goed

http://www.ad-vinylrecords.com/product/deodato-motion-lp/

Release: 1982
Genre:  Nederpop
Format:  LP
Label:  CNR Records
Catalog#  655163
Prijs:  €10,00

Het Goede Doel is een Nederlandstalige popgroep. De groep was aanvankelijk actief van 1979 tot begin jaren negentig. Enkele hits waren Vriendschap en België.
De Utrechtse band Het Goede Doel bestond ten tijde van het debuutalbum “BELGIË” uit 7 leden, maar de kernleden waren toch wel Henk Temming, Henk Westbroek en Sander van Herk. In 1982 kwam “BELGIË” uit in een periode dat de Nederlandstalige popmuziek erg populair was en Het Goede Doel lifte daarop mee. De eerste single “IN ’T LEVEN” bleef in de tipparade steken en opvolger “GIJZELAAR” was maar een kleine top 40 hit.
Die kleine populariteit veranderde toen het titelnummer “BELGIË (is er leven op Pluto)” uitgebracht werd en een top 5 hit werd. Dat gold ook voor “VRIENDSCHAP” en intussen was het album ook al tot de eerste plaats in de albumhitlijsten doorgestoten. “BELGIË” laat Het Goede Doel horen zoals de band de jaren daarna bleef klinken. Frisse, intelligente popmuziek met schitterende teksten

België is het debuutalbum van de Nederlandse muziekgroep Het Goede Doel. Het album verscheen op elpee bij CNR Records.
De teksten zijn geschreven door Henk Temming en Henk Westbroek. Het album is opgenomen in de Bullet Sound Studio in Nederhorst den Berg, de Soundpush Studio in Blaricum en Studio Bandstand in Hilversum.
Het album kon zo goed scoren omdat er een vernieuwde belangstelling was voor nederpop en omdat de single Gijzelaar enige ophef veroorzaakte. Ook de AVRO pikte de band op en liet hem veelvuldig in Toppop zien, en de singles België (Is Er Leven Op Pluto... ?) en Vriendschap hadden succes.


Side A
A1. Hou Van Mij   (5:53) 
A2. Vriendschap   (4:08) 
A3. In Het Leven   (4:07) 
A4. Anders Dan Iedereen   (3:30) 
A5. Alleen   (3:31)

Side B
B1. Iets Van Gevoel   (5:50) 
B2. Vechten   (4:15) 
B3. Gijzelaar   (4:00) 
B4. België (Is Er Leven Op Pluto)   (6:20)

Vinyl: Goed
Hoes: Goed

http://www.ad-vinylrecords.com/product/het-goede-doel-belgie-lp/

Release: 1981
Genre: Synth-pop 
Format:  LP
Label:  Polydor
Catalog#  2311122
Prijs:  €10,00

The Visitors is the eighth and final studio album by Swedish pop group ABBA, released on 30 November 1981.
With The Visitors, ABBA took several steps away from the "lighter" pop music they had recorded previously and the album is often regarded as a more complex and mature effort. The opening track, "The Visitors", with its ominous synthesizer sounds and the distinctive lead vocal by Frida, announced a change in musical style.
With Benny and Frida going their separate ways, the pain of splitting up was explored yet again in "When All Is Said and Done". The major hit single on the album, "One of Us", also depicted the end of a love story. Elsewhere there were current Cold War themes—highly topical at the time—and further songs of isolation and regret.

ABBA's final album was recorded during a period of major personal shakeups, principally in the decision by Benny Andersson and Frida to follow the same route to divorce that had already been taken by Björn Ulvaeus and Agnetha Faltskog.
Both male members of the group would soon remarry, but at the time, despite all of these changes in their circumstances, The Visitors was never intended as ABBA's swan song -- they were to go on recording together. That may explain why, rather than a threadbare, thrown-together feel, The Visitors is a beautifully made, very sophisticated album, filled with serious but never downbeat songs, all beautifully sung and showing off some of the bold songwriting efforts.
The title track is a topical song about Soviet dissidents that also manages to be very catchy, while "I Let the Music Speak" sounds like a Broadway number (and a very good one, at that) in search of a musical to be part of, and "When All Is Said and Done" is a serious, achingly beautiful ballad with a lot to say about their personal situations -- even
"Two for the Price of One," a lighthearted song sung by Björn Ulvaeus about answering a personal advertisement, offered several catchy hooks and beautiful backup singing. "Like an Angel Passing Through My Room" ended the original album on a hauntingly ethereal note, but not as any kind of larger statement about the quartet's fate.


Side A
A1. The Visitors   (5:49) 
A2. Head Over Heels   (3:45) 
A3. When All Is Said And Done  (3:20) 
A4. Soldiers   (4:38) 

Side B
B1. I Let The Music Speak   (5:20) 
B2. One Of Us   (3:55) 
B3. Two For The Price Of One   (3:36) 
B4. Slipping Through My Fingers   (3:51) 
B5. Like An Angel Passing Through My Room   (3:25)

Vinyl: Goed
Hoes: Goed

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Release: 1982
Genre: Synth-pop, Electronic 
Format:  LP
Label:  Mute Records
Catalog#  540039
Prijs:  €10,00

A Broken Frame is the second studio album by the English electronic band Depeche Mode, released on 27 September 1982 by Mute Records. The album was written entirely by Martin Gore and recorded after the departure of Vince Clarke, who had left the band to form Yazoo with singer Alison Moyet. Alan Wilder was part of a second tour in the United Kingdom occurring prior to the release of this album, but he had not officially joined the band yet, and thus, does not appear on the album.

Martin Gore has famously noted that Depeche Mode stopped worrying about its future when the first post-Vince Clarke-departure single, "See You," placed even higher on the English charts than anything else Clarke had done with them. Such confidence carries through all of A Broken Frame, a notably more ambitious effort than the pure pop/disco of the band's debut.
With arranging genius Alan Wilder still one album away from fully joining the band, Frame became very much Gore's record, writing all the songs and exploring various styles never again touched upon in later years. "Satellite" and "Monument" take distinct dub/reggae turns, while "Shouldn't Have Done That" delivers its slightly precious message about the dangers of adulthood with a spare arrangement and hollow, weirdly sweet vocals.
Much of the album follows in a dark vein, forsaking earlier sprightliness, aside from tracks like "A Photograph of You" and "The Meaning of Love," for more melancholy reflections about love gone wrong as "Leave in Silence" and "My Secret Garden."
 More complex arrangements and juxtaposed sounds, such as the sparkle of breaking glass in "Leave in Silence," help give this underrated album even more of an intriguing, unexpected edge. Gore's lyrics sometimes veer on the facile, but David Gahan's singing comes more clearly to the fore throughout -- things aren't all there yet, but they were definitely starting to get close.

The cover artwork is a photograph, but is intended to resemble a painting. It depicts a woman cutting grain in an East Anglian field, near Duxford in Cambridgeshire. It was taken by Brian Griffin (who had previously done the cover photograph for Speak & Spell and press photos for the band) using a mixture of natural and artificial lighting. Griffin cited as inspirations Ukrainian and Russian art, especially the work of Kazimir Malevich, and German romantic art. Griffin has displayed on his website a gallery of alternative images from the same shoot.
It was featured on the cover of Life Magazine's 1990 edition of "World's Best Photographs 1980–1990".

Side A
A1.   Leave in Silence   (4:51)
A2.   My Secret Garden   (4:46)
A3.   Monument   (3:15)
A4.   Nothing to Fear   (4:18)
A5.   See You   (4:34)

Side B
B1.   Satellite   (4:44)
B2.   The Meaning of Love   (3:06)
B3.   A Photograph of You   (3:04)
B4.   Shouldn’t Have Done That   (3:12)
B5.   The Sun & the Rainfall   (5:02)

Vinyl: Goed
Cover: Goed

http://www.ad-vinylrecords.com/product/depeche-mode-a-broken-frame-lp/

Release: 1980
Genre: Jazz Rock, Fusion 
Format:  LP
Label:  MCA Records
Catalog#  203192
Prijs:  €10,00

Gaucho is the seventh studio album by the American jazz rock band Steely Dan, released on November 21, 1980 by MCA Records. The sessions for Gaucho represent the band's typical penchant for studio perfectionism and obsessive recording technique. To record the album, the band used at least 42 different musicians, spent over a year in the studio, and far exceeded the original monetary advance given by the record label.
During the two-year span in which the album was recorded, the band was plagued by a number of creative, personal and professional problems.^[4] MCA, Warner Bros. and Steely Dan had a three-way legal battle over the rights to release the album. After it was released, jazz musician Keith Jarrett threatened the band with legal action for writing credit on the title song.
Gaucho marked a significant stylistic change for Steely Dan, introducing a more minimal, groove and atmosphere-based format.
The harmonically complex chord changes that were a distinctive mark of earlier Steely Dan songs are less prominent on Gaucho, with the record's songs tending to revolve around a single rhythm or mood. Gaucho proved to be Steely Dan's final studio album before a 20-year absence from the recording industry.

The cover art is based upon a wall plaque entitled "Guardia Vieja – Tango" (Old Guard – Tango), located in a southside Buenos Aires promenade known as Caminito, by Argentine artist Israel Hoffmann.


Side A
A1. Babylon Sisters   (5:51)
A2. Hey Nineteen   (5:04)
A3. Glamour Profession   (7:28)

Side B
B1. Gaucho   (5:32)
B2. Time Out Of Mind   (4:10)
B3. My Rival   (4:30)
B4. Third World Man   (5:14)

Vinyl: Goed
Hoes: Goed

http://www.ad-vinylrecords.com/product/steely-dan-gaucho-lp/

Release: 1977
Genre:  Soundtrack TV Serie / Grieks
Format: LP
Label:  PYE Records
Catalog#  REB 315
Prijs:  € 10,00

Who Pays the Ferryman? is a television series produced by the BBC in 1977. The title of the series refers to the ancient religious belief and mythology of Charon the ferryman to Hades. In ancient times, it was the custom to place coins in or on the mouth of the deceased before cremation so that the deceased could pay the ferryman to go to Hades.
In 1977 he composed the music for the BBC television series Who Pays the Ferryman?


Side A
A1.  Who Pays The Ferryman?  (2:40)
A2.  Shadows Of The Moon  (3:14)
A3.  Annika's Theme  (6:35)
A4.  Fanfare For Charon  (2:40)
A5.  Thalassa (The Sea)  (3:20)

Side B
B1.  Rebel Minds  (3:20)
B2.  The Canyon  (3:55)
B3.  Angel With A Gun  (3:15)
B4.  Minoic Dance  (3:18)
B5.  Erofile  (2:36)
B6.  Matala  (2:47)

Vinyl: Goed
Cover: Goed

http://www.ad-vinylrecords.com/product/markopoulos-yannis-who-pays-the-ferryman-lp/

Release: 1978
Genre:    Pop, Adult Contemporary
Format: LP
Label:  EMI Records
Catalog#  5C 062-61813
Prijs:  € 10,00

Totally Hot is one of the most fun albums from Olivia Newton John. Total abandon is its trademark, the atmosphere lightened up a bit, and from top to bottom it is one of her most satisfying projects. "Please Don't Keep Me Waiting" is a girl group all grown up. Is it Newton-John's voice or Michael Botticker's synthesizer at the end of the first track? A little jarring for her country audience, but she takes care of them on "Dancin' 'Round and 'Round," a wonderful country-pop tune and quick about face. As with the Let Me Be There release, her name is prominently splashed on the cover and the tan background suits her well, with the mysterious look with the kerchief on the inside cover as playful as the music. David Foster, Steve Lukather, and Tom Snow add their talents to the project, but it is Newton-John, with the guidance of John Farrar, who really shines here.
Her own "Talk to Me" is bouncy adult contemporary, but it is the two hit singles which, naturally, stand out. Tom Snow's "Deeper Than the Night" was a nice musical departure for the singer, with its strong piano reflecting the melody. Along with the John Farrar smash "A Little More Love," those involved showed that Olivia Newton-John could move beyond the three huge hits from the film Grease which saturated the airwaves in 1978. "A Little More Love" went Top Three in December of 1978, with "Deeper Than the Night" hovering around the Top Ten in May of 1979.
"Borrowed Time" is more country-pop and is one of the more serious tracks on the album. The cover of Spencer Davis Group's "Gimme Some Lovin'," on the other hand, is as close to a drunken party as one will get on a Newton-John album. Jimmy Miller, producer of the original 1967 hit, would probably approve of the spirit -- it is definitely more fun than the Blues Brothers' version which charted three years after this.
John Farrar actually pens three songs in a row on Totally Hot, including the title track, and with Newton-John's two contributions, the songstress and her producer compose half of this album. That the prolific John Farrar didn't contribute more to these albums shows how careful they were about material, but "Never Enough" is stunning, and maybe Newton-John will take on the Marvin, Welch, & Farrar songbook sometime in the future.
The precision on the verse and chorus make for a beautiful album track, lyrics that flow perfectly on the singer's voice. The title track is funky and the big mistake on this disc is that Dr. John isn't performing a duet with Newton-John on this New Orleans adventure. The cover of Eric Carmen's "Boats Against the Current" is a nice feather in his cap. It's a dramatic reading that shows the other side of this recording.
The Olivia Newton-John catalog runs deep, and Totally Hot is one of the more consistently entertaining albums in the collection.


Side one
1.  Please Don’t Keep Me Waiting  (5:48) 
2.  Dancin’ ‘Round And ‘Round   (3:58)   
3.  Talk To Me  (3:27)
4.  Deeper Than The Night  (3:35)
5.  Borrowed Time  (3:36) 

Side two
1. A Little More Love  (3:27) 
2. Never Enough  (4:10)
3. Totally Hot  (3:11) 
4. Boats Against The Current  (3:56) 
5. Gimme Some Lovin’  (4:11) 

Vinyl: Goed
Hoes: Goed

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Release: 1975
Genre: Disco
Format: LP
Label:  Papillon Records
Catalog#  PAPL 1801

Prijs:  € 10,00

Silver Convention was a West German Euro disco recording act of the 1970s. The group was originally named Silver Bird Convention or Silver Bird.
The group was initiated in Munich by producers and songwriters Sylvester Levay and Michael Kunze. The group was named after Levay, "Silver" being Levay's nickname. Kunze had in the late 1960s been a pop lyricist who wrote protest songs in German; when these tunes went out of style, he began producing pop records and commercials. Levay had developed a taste for American music while growing up in Yugoslavia, eventually becoming a music arranger and lyricist.
Using female session vocalists Gitta Walther, Lucy Neale, Betsy Allen, Roberta Kelly, and Jackie Carter for their first recordings, they scored a successful single in the United Kingdom in 1975 with the song "Save Me", which peaked at #30. They were only a studio group; Levay and Kunze realized then that they would need to find professional entertainers for presentation to the public. Penny McLean, Ramona Wulf and Linda G. Thompson, three tall and slender performers, became the public face of Silver Convention.
Save Me (originally released as: Silver Convention) is the debut studio album by Silver Convention, a German Euro disco group consisting of three female vocalists (Linda G. Thompson, Penny McLean and Jackie Carter).
In 1975, Munich was quickly becoming one of Europe's top cities for disco. It was also in 1975 that the Munich-based Silver Convention hit big with "Fly, Robin, Fly", one of the gems that defined the Euro-disco sound. Some listeners were happy just having the "Fly, Robin, Fly" single, but for serious Euro-disco enthusiasts, the Silver Convention's debut album Save Me is essential. While American radio stuck to "Fly, Robin, Fly," dance-club DJs also found a lot to admire about glossy, strings-laden ear candy like "Tiger Baby," "I Like It," and "Another Girl.


Side one
1. Save Me  (4:18) 
2. Like It  (5:00) 
3. Fly, Robin, Fly  (5:35) 
4. Tiger Baby  (4:16)

Side two
1. Son Of A Gun  (3:55) 
2. Always Another Girl  (4:02) 
3. Chains Of Love  (4:10) 
4. Heart Of Stone  (4:12) 
5. Please Don’t Change The Chords Of This Song  (4:57)

Vinyl: Goed
Cover: Goed

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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

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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