Hermanus “Herman” Brood (5 November 1946 – 11 July 2001) was a Dutch musician and painter. In 1976, Brood started his own group, Herman Brood & His Wild Romance, (and started work with photographer Anton Corbijn) initially with Ferdi Karmelk (guitar), Gerrit Veen (bass), Peter Walrecht (drums), and Ellen Piebes and Ria Ruiters (vocals). They played the club and bar circuit, first in Groningen.
Artist: Herman Brood & His Wild Romance
Title: Go Nutz
Label: Ariola Records
Go Nutz is the third studio album by Dutch rock and roll and blues group Herman Brood & His Wild Romance. Three singles came from the album, “Love You Like I Love Myself,” “Hot Shot,” and “I Don’t Need You,” all of which charted in the Netherlands. On the Dutch album chart, the album reached #6 on 8 March 1980, and stayed on the chart for nine weeks.
In the summer of 1979, Brood tried to enter the American market, with support from Ariola’s US division, which was attempting to expand into rock music. Following on the success of Shpritsz, the band was booked as a support act for The Kinks and The Cars, playing in auditoriums.
Go Nutz, recorded in the United States, was supposed to follow up on the American success of the single “Saturday Night” (from Shpritsz) and a compilation called Herman Brood & His Wild Romance, made specifically for the American market. The Dutch market was ripe for another Brood album, since the single “Never be Clever” had reached #10 in the Dutch singles chart on 16 June 1979. However, the recording sessions were a disaster; the American producers replaced the rest of the band with session musicians, resulting in a disappointing album and the disbanding of the hitherto successful quartet of Brood, Lademacher, Cavalli, and Meerman. The album produced three charting singles in the Netherlands, but failed to chart in the US.
1. Go Nutz (3:05)
2. Love You Like I Love Myself (3:32)
3. I Don’t Need You (3:36)
4. I’ll Be Doggone (3:43)
5. Right On The Money (4:26)
1. Hot Shot (3:30)
2. Born Before My Time (4:28)
3. Beauty Is Only Skin Deep (2:58)
4. Easy Pick Up (4:33)
5. Laurie (4:05)
Tears for Fears are an English pop/rock band formed in Bath, Avon (now in Somerset since 1996) in 1981 by Roland Orzabal and Curt Smith. Founded after the dissolution of their first band, the mod-influenced Graduate, they were initially associated with the new wave synthesizer bands of the early 1980s but later branched out into mainstream rock and pop, which led to international chart success. They were part of the MTV-driven Second British Invasion of the US.
Artist: Tears For Fears
Title: Songs From The Big Chair
Label: Mercury Records
If The Hurting was mental anguish, Songs from the Big Chair marks the progression towards emotional healing, a particularly bold sort of catharsis culled from Roland Orzabal and Curt Smith‘s shared attraction to primal scream therapy. The album also heralded a dramatic maturation in the band’s music, away from the synth-pop brand with which it was (unjustly) seared following the debut, and towards a complex, enveloping pop sophistication. The songwriting of Orzabal, Smith, and keyboardist Ian Stanley took a huge leap forward, drawing on reserves of palpable emotion and lovely, protracted melodies that draw just as much on soul and R&B music as they do on immediate pop hooks. The album could almost be called pseudo-conceptual, as each song holds its place and each is integral to the overall tapestry, a single-minded resolve that is easy to overlook when an album is as commercially successful as Songs from the Big Chair. And commercially successful it was, containing no less than three huge commercial radio hits, including the dramatic and insistent march, “Shout” and the shimmering, cascading “Head Over Heels,” which, tellingly, is actually part of a song suite on the album. Orzabal and Smith‘s penchant for theorizing with steely-eyed austerity was mistaken for harsh bombasticism in some quarters, but separated from its era, the album only seems earnestly passionate and immediate, and each song has the same driven intent and the same glistening remoteness. It is not only a commercial triumph, it is an artistic tour de force. And in the loping, percolating “Everybody Wants to Rule the World,” Tears for Fears perfectly captured the zeitgeist of the mid-’80s while impossibly managing to also create a dreamy, timeless pop classic. Songs from the Big Chair is one of the finest statements of the decade.
1. Shout (6:31)
2. The Working Hour (6:29)
3. Everybody Wants To Rule The World (4:09)
4. Mothers Talk (5:04)
1. I Believe 4:54
2. Broken 2:38
3. Head Over Heels 4:58
4. Broken (Live) 0:50
4. Listen 6:47
Atlantic Starr is an American band, formed in White Plains, New York by three brothers: lead singer/guitarist David Lewis, lead singer/keyboardist Wayne Lewis, and trombonist/percussionist Jonathan Lewis.
Artist: Atlantic Starr
Label: A&M Records
Catalog# AMLH 64883
Atlantic Starr hit its commercial peak in the late ’80s, when the bland, insipid adult contemporary ballad “Always” soared to number one on both the pop and R&B charts. That song put Atlantic Starr in the Whitney Houston/Lionel Richie realm — in other words, people who associate Atlantic Starr with “Always” think of them as a crossover act. But from an R&B standpoint (as opposed to a pop/adult contemporary standpoint), Atlantic Starr provided their best work in the early ’80s, when Sharon Bryant was still on board and the East Coast residents were being produced by James Carmichael. Released in 1982, Brilliance was the second of three albums that Carmichael produced for Atlantic Starr — and it is also one of the band’s finest and most essential releases. There is nothing not to like about this LP. The soul ballads “Your Love Finally Ran Out” and “Let’s Get Closer” are excellent, and so are up-tempo funk/dance numbers like “Sexy Dancer” and “Love Moves” (which features Wayne Lewis on lead vocals and has a Slave/Steve Arrington/Aurra type of appeal). Brilliance, however, is best known for Bryant’s soaring performance on the smash hit “Circles,” which is one of those songs that is great on the dancefloor but is equally appealing if you want to simply sit down and listen to it. Bryant also excels on the single “Love Me Down,” which wasn’t as big a hit as “Circles” (it reached number 14 on Billboard’s R&B singles chart), but is still a fine medium-tempo item. If you have only a casual interest in Atlantic Starr and only want to have a few of its albums in your collection, Brilliance should definitely be among them.
1. Love Me Down (4:50)
2. Sexy Dancer (4:51)
3. Love Moves (5:00)
4. Your Love Finally Ran Out (4:47)
1. Circles (4:52)
2. Let’s Get Closer (5:23)
3. Perfect Love (4:39)
4. You’re The One (4:12)
Artist: Richard ´Dimples Fields´
Title: Mr. Look So Good
Label: The Boardwalk Records
Sources differ as to whether he was born in New Orleans, Louisiana or San Francisco, California. However, he began singing professionally in the latter city in the early 1970s, purchasing a San Francisco cabaret, the Cold Duck Music Lounge, where he headlined. He took his nickname, “Dimples”, from a female admirer who remarked that he was always smiling. He began recording for his own DRK label, before signing to Boardwalk Records in 1981. His first minor hit was a cover of The Penguins’ “Earth Angel” that year. His first album for Boardwalk also featured the track “She’s Got Papers On Me”, the lament of a married man wanting his mistress, which was interrupted by his wife, played by Betty Wright, setting out her view of the situation.
Fields’ breakthrough single came in 1982 with “If It Ain’t One Thing, It’s Another”, which reached number one for three weeks on the US Billboard R&B chart and number 47 on the Billboard Hot 100. He had first recorded and released the song for DRK in 1975, in which he lamented not only the world’s problems, but also those of his own life (from an ugly pregnant girlfriend to the need to read the Bible). Fields was persuaded to re-record and update it by an old friend, including it on his album, Mr. Look So Good!, before it was issued as a single.
1. If It Ain’t One Thing…It’s Another (6:50)
2. After I Put My Lovin’ On You (3:45)
3. Baby Work Out (4:19)
4. Mr. Look So Good (3:49)
1. Taking Applications (5:30)
2. (A Woman At Home And) A Freak On The Side (5:05)
3. Sincerely (3:59)
4. The Lady Is Bad (5:20)
James Edward Ingram (born February 16, 1952) is an American singer, songwriter, record producer, and instrumentalist.
Artist: James Ingram
Title: It´s Your Night
Label: QWEST Records
It’s Your Night is the debut studio album by American singer-songwriter James Ingram, released by Qwest/Warner Bros. Records on July 27, 1983. The album was commercially successful, as it peaked at number 46 on the Billboard 200 album chart and reached number 14 on the Top Black Albums chart. It was later certified Gold by the Recording Industry Association of America (RIAA) in early 1984, making this his highest-charting album and only album to be certified by the RIAA.
Ingram was nominated for four Grammy Awards in 1984 and 1985. The album cut “Party Animal” received a nomination for Best Male R&B Vocal Performance at the 26th Grammy Awards in 1984. It’s Your Night and the album’s second single, “Yah Mo B There” (a duet with Michael McDonald) received nominations for Best Male R&B Vocal Performance, Best R&B Song and Best R&B Performance by a Duo or Group, winning in the latter.
It is also his first on Qwest Records, which was run by Quincy Jones. It features the song “Yah Mo B There“, which is a duet with singer Michael McDonald. It has been certified gold by the RIAA and is his highest-charting album ever.
The song Whatever We Imagine was used as the closing theme for both 1984 NCAA Men’s Basketball Tournament and 1986 NBA Finals for CBS Sports.
1. Party Animal (4:55)
2. Yah Mo Be There (4:40)
3. She Loves Me (The Best That I Can Be) (3:40)
4. Try Your Love Again (4:25)
1. Whatever We Imagine (3:58)
2. One More Rhythm (4:05)
3. There’s No Easy Way (3:51)
4. It’s Your Night (3:37)
5. How Do You Keep The Music Playing? (Theme From Best Friends) (4:16)
Supertramp (known as Daddy in 1969–70) are an English rock band formed in London in 1969. Though their music was initially categorised as progressive rock, they later incorporated a combination of traditional rock, pop and art rock into their music. The band’s work is marked by the songwriting of founders Rick Davies and Roger Hodgson and the prominent use of Wurlitzer electric piano and saxophone.
Title: Breakfast In America
Label: A&M Records
Catalog# AMLK 64747
As with Even in the Quietest Moments…, Rick Davies and Roger Hodgson wrote most of their songs separately but conceived the theme for the album jointly. Their original concept was for an album of songs about the relationship and conflicting ideals between Davies and Hodgson themselves, to be titled Hello Stranger. Hodgson explained: “We realized that a few of the songs really lent themselves to two people talking to each other and at each other. I could be putting down his way of thinking and he could be challenging my way of seeing life […] Our ways of life are so different, but I love him. That contrast is what makes the world go ’round and what makes Supertramp go ’round. His beliefs are a challenge to mine and my beliefs are a challenge to his.”
This idea was eventually scrapped in favour of an album of “fun” songs, and though Davies initially wanted to keep the title Hello Stranger, he was convinced by Hodgson to change it to Breakfast in America. Hodgson commented later: “We chose the title because it was a fun title. It suited the fun feeling of the album.” Due to the title and the explicit satirising of American culture in the cover and three of the songs (“Gone Hollywood”, “Breakfast in America“, and “Child of Vision”), many listeners interpreted the album as a satire of the United States. Supertramp’s members have all insisted that the repeated references to US culture are purely coincidental and that no such thematic satire was intended. Hodgson has described the misconception as a parallel to how Crime of the Century (1974) is often misinterpreted as being a concept album.
“Gone Hollywood” is the opening track of Breakfast in America. Written by Rick Davies, the song tells about a person who moves to Los Angeles in hopes of becoming a movie star, but finds it far more difficult than he imagined—struggling and frustrated, until he ultimately gets his break and becomes “the talk of the Boulevard.” The lyrics were originally more bleak, but under pressure from the other band members, Davies rewrote them to be more optimistic and commercial.
“Child of Vision” is the closing track. Much like “The Logical Song“, it uses a Wurlitzer electric piano as the main instrument. After the lyrical part, the song goes into a long grand piano solo alongside the original Wurlitzer electric piano melody. The track fades out with a short saxophone solo by John Helliwell. Roger Hodgson has said that the song was written to be an equivalent to “Gone Hollywood”, looking at how Americans live, though he confessed that he had only a limited familiarity with US culture at the time of writing. He also said there is a slight possibility that he subconsciously had Rick Davies in mind while writing the lyrics.
Since all of Supertramp’s songs are contractually credited to both Davies and Hodgson, it is difficult to determine who actually wrote each song. Roger Hodgson’s management has described “The Logical Song“, “Breakfast in America“, “Take the Long Way Home“, “Lord Is It Mine” and “Child of Vision” as ‘Roger’s songs’; however, this apparently does not mean he necessarily wrote them by himself, as Hodgson has credited Davies with writing the vocal harmony on “The Logical Song“. Davies has referred to “The five songs that I did on Breakfast”, but does not specify which ones.
1. Gone Hollywood (5:14)
2. The Logical Song (4:08)
3. Goodbye Stranger (5:47)
4. Breakfast In America (2:37)
5. Oh Darling (4:01)
1. Take The Long Way Home (5:02)
2. Lord Is It Mine (4:04)
3. Just Another Nervous Wreck (4:22)
4. Casual Conversations (2:58)
5. Child Of Vision (7:23)
John Winston Ono Lennon, (born John Winston Lennon; 9 October 1940 – 8 December 1980) was an English singer and songwriter who co-founded the Beatles, the most commercially successful band in the history of popular music. He and fellow member Paul McCartney formed a celebrated songwriting partnership.
Artist: John Lennon
Title: Rock ´N´ Roll
Label: Apple Records
Catalog# 1A 062-05834
Rock ‘n’ Roll is the sixth studio album by John Lennon. Released in 1975, it is an album of late 1950s and early 1960s songs as covered by Lennon. Recording the album was problematic and spanned an entire year: Phil Spector produced sessions in October 1973 at A&M Studios, and Lennon produced sessions in October 1974 at Record Plant Studios (East). Lennon was being sued by Morris Levy over copyright infringement of one line in his song “Come Together“. As part of an agreement, Lennon had to include three Levy-owned songs on Rock ‘n’ Roll. Spector ran away with the session recordings, later being involved in a motor accident, which left the album’s tracks unrecoverable until the beginning of the Walls and Bridges sessions. With Walls and Bridges coming out first, featuring one Levy-owned song, Levy sued Lennon expecting to see Lennon’s Rock ‘n’ Roll album.
Although the chaotic sessions that spawned this album have passed into rock & roll legend and the recording’s very genesis (as an out-of-court settlement between John Lennon and an aggrieved publisher) has often caused it to be slighted by many of the singer’s biographers, Rock ‘n’ Roll, in fact, stands as a peak in his post-Imagine catalog: an album that catches him with nothing to prove and no need to try. Lennon could, after all, sing old rock & roll numbers with his mouth closed; he spent his entire career relaxing with off-the-cuff blasts through the music with which he grew up, and Rock ‘n’ Roll emerges the sound of him doing precisely that. Four songs survive from the fractious sessions with producer Phil Spector in late 1973 that ignited the album, and listeners to any of the posthumous compilations that also draw from those archives will know that the best tracks were left on the shelf — “Be My Baby” and “Angel Baby” among them. But a gorgeous run through Lloyd Price‘s “Just Because” wraps up the album in fine style, while a trip through “You Can’t Catch Me” contrarily captures a playful side that Lennon rarely revealed on vinyl. The remainder of the album was cut a year later with Lennon alone at the helm, and the mood remains buoyant. It might not, on first glance, seem essential to hear him running through nuggets like “Be Bop A Lula,” “Peggy Sue,” and “Bring It on Home to Me,” but, again, Lennon has seldom sounded so gleeful as he does on these numbers, while the absence of the Spector trademark Wall-of-Sound production is scarcely noticeable — as the object of one of Lennon‘s own productions, David Peel once pointed out, “John had the Wall of Sound down perfectly himself.”
1. Be-Bop-A-Lula (2:36)
2. Stand By Me (3:29)
3. Rip It Up/Ready Teddy (1:39)
4. You Can’t Catch Me (4:51)
5. Ain’t That A Shame (2:31)
6. Do You Want To Dance (2:51)
7. Sweet Little Sixteen (3:00)
1. Slippin’ And Slidin’ (2:16)
2. Peggy Sue (2:02)
3. Bring It On Home/Send Me Some Lovin’ (3:40)
4. Bony Moronie (3:40)
5. Ya Ya (2:17)
6. Just Because (4:25)
The Alan Parsons Project were a British progressive rock band, active between 1975 and 1990, consisting of Alan Parsons and Eric Woolfson surrounded by a varying number of session musicians and some relatively consistent band members such as guitarist Ian Bairnson, bassist and vocalist David Paton, drummer Stuart Elliott, and vocalist Lenny Zakatek.
Artist: Alan Parsons Project
Title: Vulture Culture
Label: Arista Records
Vulture Culture‘s theme is another in which the fallacy of humankind is front and center. This time Parsons‘ message concerns the fact that everyone lives in a parasitic society, where it’s every man for himself. Those who can’t fend for themselves simply won’t survive in a world where the kindness of the human spirit is rapidly deteriorating. On this album, though, the songs are weaker and are less effective in bringing out the album’s complex idea. As it does have its moments, Vulture Culture lacks in cohesiveness and strength both lyrically and, to a lesser extent, musically. “Let’s Talk About Me” addresses the theme in its words, but the choppy rhythm takes away the attractiveness that could have been. The instrumental “Hawkeye” adds life and contrast to the album at just the right time. The most appealing song, “Days Are Numbers (The Traveller)” with vocalist Chris Rainbow at the helm, combines simplicity with a timeless chorus making for a truly beautiful ballad. Even though Parsons‘ theme is revealed, it’s done so with less clarity and doesn’t quite hit home. Without the usual balance of absorbing lyrics and well-maintained music, Vulture Culture remains one of this band’s less prolific albums.
1. Let’s Talk About Me (4:22)
2. Separate Lives (4:42)
3. Days Are Numbers (The Traveller) (4:26)
4. Sooner Or Later (4:26)
1. Vulture Culture (5:21)
2. Hawkeye (3:48)
3. Somebody Out There (4:56)
4. The Same Old Sun (5:24)
Robert Clark “Bob” Seger (born May 6, 1945) is an American singer-songwriter, guitarist and pianist. As a locally successful Detroit-area artist, he performed and recorded as Bob Seger and the Last Heard and Bob Seger System throughout the 1960s. By the early 1970s, he had dropped the “System” from his recordings and continued to strive for broader success with various other bands. In 1973, he put together the Silver Bullet Band, with a group of Detroit-area musicians, with whom he became most successful on the national level.
Artist: Bob Seger & The Silver Bullet Band
Title: Against The Wind
Label: Capitol Records
Catalog# 1A 062-86097
Though there are still some traces of the confessionals that underpinned Beautiful Loser through Stranger in Town, Against the Wind finds Bob Seger turning toward craft. Perhaps he had to, since Against the Wind arrived after three blockbuster albums and never-ending tours. Even so, this record winds up not feeling as immediate or soulful as its predecessors, especially since it begins with a tossed-off rocker called “The Horizontal Bop,” possibly his most careless tune since “Noah.” It’s fun, but once it’s done, the record really starts to kick into high gear with “You’ll Accomp’ny Me,” a ballad the equal of anything on its two predecessors. Throughout Against the Wind, Seger winds up performing better on the ballads than the rockers, which, while good, tend to sound a little formulaic. Still, Seger‘s formula is good and if “Her Strut” and “Betty Lou’s Gettin’ out Tonight” would have been second stringers on Stranger in Town, they offer a nice balance here, and the rest of the record alternates between similarly well-constructed rockers and introspective ballads like “Against the Wind” and “Fire Lake.” Compared to its predecessors, this does feel a little weak, but compared with its peers, it’s a strong, varied heartland rock album that finds Seger at a near peak.
1. The Horizontal Bop (4:00)
2. You’ll Accomp’ny Me (3:58)
3. Her Strut (3:52)
4. No Man’s Land (3:41)
5. Long Twin Silver Line (4:15)
1. Against The Wind (5:32)
2. Good For Me (4:01)
3. Betty Lou’s Gettin’ Out Tonight (2:53)
4. Fire Lake (3:32)
5. Shinin’ Brightly (4:25)
Artist: Juice Newton
Label: Capitol Records
Catalog# 1A 062-86335
Juice is the multi-Platinum 1981 breakthrough album by American country-rock singer Juice Newton. The album was Newton’s third solo album and her first major international success.
Juice was Juice Newton‘s breakthrough album, sending her into not only into the country Top Ten, but also to the top of the pop charts. The key to her success was how her country-pop not only drew from country roots, but also ’60s AM pop, folk-rock, and roots rock. For instance, the country production on “Angel of the Morning” can’t disguise its soft rock roots. Similarly, “Queen of Hearts” simply replicates Dave Edmunds‘ version from Repeat When Necessary, down to the vocal inflections and guitar breaks. But Newton‘s version is slicker, which appealed both to country and pop radio. Throughout Juice, Newton straddles the line between country and pop, playing to both sides of the market. As it happened, she appealed to both. As an album, Juice has its weak moments, but she sings well throughout the record, and when she has the right material — as on the hit singles — the results are highly entertaining.
The album features two #1 hits “Angel of the Morning” and “The Sweetest Thing (I’ve Ever Known)“. It also contains “Queen of Hearts,” the biggest-selling single of Juice Newton’s career, which peaked at #2 on both Billboard’s Hot 100.
1. Angel Of The Morning (4:12)
2. Shot Full Of Love (3:22)
3. Ride’ Em Cowboy (3:30)
4. Queen Of Hearts (3:29)
5. River Of Love (2:53)
1. All I Have To Do Is Dream (3:10)
2. Headin’ For A Heartache (2:46)
3. Country Comfort (4:17)
4. Texas Heartache (2:59)
5. The Sweetest Thing (I’ve Ever Known) (4:04)