posted by vinyl facts
This release for the Tom Principato Band after the leader Tom Principato launched his solo career. Continuing in the grand tradition of their first album “Smokin'” , the guitarist/vocalist again partners with Steve Wolf on bass and Clark Matthews on drums.
This trio, assisted here and there by organ fills and horn arrangements, is a real threat, and they dish out some fine rock-n-roll that is infused with some jazz and some blues/soul.
Tom Principato contributes 2 originals, the jumping “Try to Reach You” and the searing instrumental “Blue Lights”, which is one of the best songs he ever wrote. “Blue Lights” certainly finds a rival in the title track of Tom’s “In The Clouds” album, it is definitely a composition that should have been considered for a Grammy.
Steve Wolf, who is a remarkable bass player in his own right, contributes 3 originals that bring a greater strength and diversity to the album. With Steve Wolf paired up with Clark Matthews on drums, the rhythm section in this power trio is rock solid and tighter than a bull’s butt.
The band does an excellent job with the covers, really making them their own and delivering a really fun rendition of “Never Make a Move Too Soon” Tom also nails the vocals down to a tee on this great tune.
That being said, Tom does a super job with the vocals throughout.
A1. I Won’t Recover (3:56)
A2. Never Make Your Move Too Soon (5:16)
A3. Rose Marie (3:50)
A4. Blue Lights (6:13)
B1. Congo Square (5:50)
B2. Try To Reach You (Vocals [Harmony Vocals]: Clark Matthews) (3:00)
B3. I Know What You’re Thinkin’ (3:50)
B4. Honeydripper (5:29)
Tom Principato – vocals, guitar, steel guitar, lap steel guitar, electric bass, 6-string bass
Steve Wolf – Bass
Clark Matthews – vocals, drums
Tom Lepson – vocals
Scott Young – tenor saxophone, horns
Pete Barrenbregge – tenor saxophone
Dave Brink – baritone saxophone
Vaughn Nark, Bruce Gates – trumpet
Rick Lillard – trombone
David Palmer – drums, percussion
Cindy Wallman, Margot Kunkel, Mary Chapin Carpenter – background vocals
Enginered by – Bob Dawson
Executive Producer – Tom Grady
Mixed & Mastered from Analog Multi-Track Tapes
Producer – Bob Dawson, Steve Wolf, Tom Principato
Recorded at Bias Recording Studio, Springfield, VA, 1987
Genre: Rock, Blues
Label: Powerhouse Records
posted by vinyl facts
With records charting from the 1950s to the 1980s, he became well known as a practitioner of the Nashville sound (a mixture of older country-style music with elements of popular music).
Known as “Gentleman Jim”, his songs continued to chart for years after his death.
Reeves died in the crash of a private airplane. He is a member of both the Country Music and Texas Country Music Halls of Fame.
One thing the wife of a celebrity learns early is that, she must share her hushband with his public.
“Being the wife of Jim Reeves was like this, with one small exception: Jim´s public were his friends.
Everywhere we went together there seemed to be a host of “Friends” waiting to greet us and remind me that Jim belonged to them, too.
I loved this continuous flow of affection for Jim from his friends, and I often felt a glow from them to him when he would call some aspiring young singer up to the bandstand, announce his conviction that the performer would someday reach great heights and ask the newcomer to sing with him.
From time to time Jim recorded with “Friends” – many times as a group, as well as duets.
Remembering all those exciting years, the multitudes of “Friends” and their excitement, brought such a feeling of nostalgia that I thought perhaps you would like to share a few of these magic moments with me.
Here are ten of them I hope you will enjoy”….Mary Reeves.
A1. Jim Reeves & Dottie West – Love Is No Excuse
A2. Jim Reeves & Leo Jackson & Floyd Robinson – You’ll Never Be Mine Again
A3. Jim Reeves & Gordon Stoker – How Can I Write On Paper (What I Feel In My Heart)
A4. Jim Reeves & Steve Moore – But You Love Me, Daddy
A5. Jim Reeves & Alvadean Coker – Are You The One
B1. Jim Reeves & Dottie West – Look Who’s Talking
B2. Jim Reeves & Carol Johnson – Mother Of A Honky Tonk Girl
B3. Jim Reeves & Leo Jackson – My Hands Are Clean
B4. Jim Reeves & Ginny Wright – I Love You
B5. Jim Reeves & Leo Jackson – Stand At Your Window
Jim Reeves – Guitar, Composer, Vocals
Jim Carroll – Composer
Buddy DeVal – Composer
Pat Twitty – Composer
Don Grashey – Composer
Justin Tubb – Composer
Bob Newman – Composer
Shorty Long – Composer
Buddy Killen – Composer
Producer – Chet Atkins, Danny Davis
Recorded in RCA’s “Nashville Sounds” Studio, Nashville, Tennessee.
Label: RCA Camden Records
Catalog# CDS 1128
posted by vinyl facts
After Eric Dolphy and alongside Herbie Mann, Laws is probably the most recognized and respected jazz flutist. Laws is one of the few classical artists who has also mastered jazz, pop, and rhythm-and-blues genres, moving effortlessly from one repertory to another.
Originally a classical instrument, the flute made its way into jazz in a rather unusual way. In the early days of jazz, it was seldom used. It did not make it to the front row of lead instruments, like the trumpet and the saxophone, for a very simple reason: its comparatively low volume. In the messy and noisy ensembles of the twenties and thirties, a subtle and intimate flute fill stood no chance against the energetic, sweaty and furious leads of Armstrong’s trumpet.
As a consequence, jazz flute did not emerge as a lead instrument until the height of the Bebop era, in the early 1950’s. At this time, jazz musicians were craving for new sounds and musical horizons and, as the use of on-stage microphones became more widespread, the flute began gaining credit as a subtle and delicate alternative to the stronger sound of the trumpet.
In the second half of the fifties, jazz flute was inevitably associated with West Coast virtuosos Buddy Colette (who played with the Buddy Rich Big Band) and Bud Shank, for their audacious and very technical style of playing.
But back then, the flute was not yet ready for the spotlight; it was still widely seen as the saxophonists’ side instrument. It is only thanks to musical masterminds such as Hubert Laws, Yusef Lateef, Rahsaan Roland Kirk or Herbie Mann, that the flute really gained popularity. These genius multi-instrumentalists redefined the place of flute in jazz music throughout the 1960’s and 1970’s, building lifelong careers powered by relentless inspiration and desire for experimentation.
The least we can say about Romeo & Juliet, released in 1976 through Columbia Records is that it is a very ambitious record; ambitious in its harmonies and arrangements.
Harmonically, Romeo & Juliet is indeed a very intricate and subtle piece of art. Every solo, every melody seems to flow through scales and modes with a natural ease, revealing Laws’ deep knowledge of harmony gained through years of classical practice. As a matter of fact, two tracks on the album are classical works arranged by Laws; “Romeo & Juliet” is a jazz-funk adaptation of the “love theme” in Tchaikovsky’s Symphony and “Forlane” is an intimate and amazingly beautiful guitar-flute version of Ravel’s piece from “le Tombeau de Couperin”. This is what makes this album so special; never failing to deliver grooves and body-shaking bass lines, Laws pushes the harmonic research to a yet unknown level of sophistication in funk.
Combining groove with harmonic excellence, Romeo & Juliet has a special place among the albums that forged the jazz flute repertoire. Its kitschy accents and overly enjoyable smooth melodies make it the perfect record for a laid-back summer afternoon, and its groovier tracks have serious dance potential. It is safe to say that Romeo & Juliet is one of these inspiring and incredibly well-thought-out pieces of art that will ravish both your body and soul.
A1. Undecided (6:07)
A2. Tryin’ To Get The Feeling Again (8:07)
A3. Forlane (4:11)
B1. Romeo & Juliet (7:41)
B2. What Are We Gonna Do? (5:309
B3. Guatemala Connection (5:43)
Hubert Laws – Flute
Bob James – Fender Rhodes, Clavinet, Keyboards
Eric Gale, Richie Resnicoff, Barry Finnerty, Steve Khan – Guitar
Gary King – Bass
Andy Newmark, Steve Gadd – Drums
Ralph MacDonald – Percussion
Mark Gray – Clavinet, Keyboards
Alan Rubin, Randy Brecker, Jon Faddis, Marvin Stamm, Bernie Glow – Trumpet, Flugelhorn
Allen Ralph, David Taylor, Wayne Andre – Trombone
George Marge, David Sanborn, Howard Johnson, Phil Bodner, Jerry Dodgion, Harvey Estrin – Woodwinds
David Nadien – Concertmaster
Alan Schulman, Alfred Brown, Barry Sinclair, Charles McCracken, Emanuel Green, Emanuel Vardi, Guy Lumia, Harold Kohon, Harry Cykman, Harry Lookofsky, Matthew Raimondi, Max Ellen, Max Pollikoff, Paul Gershman, Seymour Barab – Strings
Denise Wigfall, Kenneth Coles, Robin Wilson, Shirley Thompson, Stanley Stroman – Vocals
Produced, Arranged and Conducted by Bob James
Co-Produced and Engineered by Bob Clearmountain
Engineered by Joe Jorgensen
Vocal Arrangements by Stanley Stroman
Release (P) 1976
Label: Columbia Records
posted by vinyl facts
The Kinks were an English rock band formed in Muswell Hill, North London, in 1963 by brothers Dave and Ray Davies.
They are regarded as one of the most important and influential rock groups of the era.
The selection is just perfect and I guess I will just have to recreate it on my iPod! I had only heard some of the mid-70’s Kinks (Schoolboys, Sleepwalker, Preservation Act 1) at the time I got this record, and once I heard Golden Hour, I really knew why the Kinks were among the immortal British bands–and why Ray Davies was the songwriting equal of Lennon/McCartney, Townsend, Jagger/Richards, etc. Although you will love EVERY song on Golden Hour.
I encourage you to get the original albums from which these gems are harvested: Face to Face, Something Else, Lola Powerman & Apeman vs. the Money-go-Round, Village Green Preservation Society, Arthur and a few other early ones.
They have all been reissued on terrific great-spounding remastered versions with some incredible extra tracks. But–Golden Hour is a tremendous introduction to the roots of the Kinks, starting with You Really Got Me and going through Days, say 1964-1970, and the selection and sequencing of the songs is truly artful.
A1. Days (2:54)
A2. Wonder Boy (2:49)
A3. Autumn Almanac (3:10)
A4. Waterloo Sunset (3:15)
A5. Dedicated Follower Of Fashion (2:58)
A6. Dead End Street (3:18)
A7. Set Me Free (2:10)
A8. Sunny Afternoon (3:28)
A9. Till The End Of The Day (2:18)
A10. Sittin’ On My Sofa (3:00)
B1. Victoria (3:36)
B2. A Well Respected Man (2:11)
B3. You Really Got Me (2:13)
B4. All Day And All Of The Night (2:20)
B5. Tired Of Waiting For You (2:30)
B6. See My Friends (2:40)
B7. Louie Louie (2:53)
B8. Animal Farm (2:59)
B9. Shangrila (5:16)
B10. Where Have All The Good Times Gone (2:49)
- Mastered By – G (tracks: A1 to A10), MB (tracks: B1 to B10)
- Written-By – R. Berry (tracks: B7)
- Written-By, Composed By – R. D. Davies (tracks: A1 to B6, B8 to B10)
Label: Golden Hour Records
Catalog# GH 501
Prijs: € 10.00
posted by vinyl facts
The duo was once considered “one of the hottest, most durable, and potentially most explosive of all R&B ensembles”.
“Ike & Tina Turner: Live In Paris at the Olympia Theatre 1971” is recorded “live” at the Olympia Theater Paris, January 30, 1971.
This double album set captures, the excitement of the live concert of the duo as they roar through Paris.
The Ikettes sound great as the opening act, and once Tina hits the stage she tears it up! The guitar is gritty, and Tina sings with her whole body, the sound is urgent, cathartic, and when she and the guitar start to talk to each other, something happens that is so graceful, so natural, yet so unpredictable, so fierce… you have to hear it to love it….
While in the studio they were experimenting a new, funky, electric, rock sound, Ike & Tina Turner’s shows hadn’t changed much since the mid 60s; the new hits “Proud Mary”, “Honky Tonk Women”, “Come Together” merge with the old ones “A Love Like Yours” while even the Ikettes’ number is present (3 songs!) and the opening Tina medley is the same one can find in “In Person” (but the instrumental rendition of “Gimme Some Lovin'” is particularly rocking here!).
P.S. be not fooled by the 10 minute version of I Smell Trouble because it’s full of the chat that was part of the Revue’s shows since 1964…
A1. Grumbling (performed by: Ike Turner) (1:07)
A2. You Got Me Hummin’ (performed by: The Ikettes) (4:00)
A3. Everyday People (performed by: The Ikettes) (2:13)
A4. Shake A Tail Feather (performed by: The Ikettes) (2:12)
A5. Medley: Gimme Some Loving / Sweet Soul Music (3:39)
A6. Son Of A Preacher Man (2:45)
B1. Come Together (3:30)
B2. Proud Mary (8:48)
B3. A Love Like Yours Don’t Come Knocking Everyday (3:37)
C1. I Smell Trouble (10:00)
C2. Respect (3:55)
C3. Honky Tonk Women (2:05)
D1. I’ve Been Loving You Too Long (7:15)
D2. I Want To Take You Higher (4:45)
D3. Land Of 1000 Dances (4:57)
Arranged By – Ike Turner
Art Direction – Patrick Sabatier
Engineer [Recording] – Roger Roche
Photography By – Jean-Pierre Leloir
Producer – Eddie Adamis
Recording Supervisor, Sequenced By [Sequencing] – Michel Poulain
Genre: Rhythm & Blues, Soul, Funk
Format: 2 LP
Label: Liberty Records
Catalog# LBS 83468
posted by vinyl facts
Enoch Henry Light (18 August 1905, in Canton, Ohio – 31 July 1978, in Redding, Connecticut) was a classical violinist, bandleader, and recording engineer.
He led a band who recorded as early as March 1927 through at least 1940. In 1928, he led a band in Paris. The remaining band records were recorded in New York. As A&R chief and vice-president of Grand Award Records, he founded Command Records in 1959. Light’s name was prominent on many albums both as musician and producer. In the 1930s Light studied conducting with the French conductor Maurice Frigara in Paris.
He is credited with being one of the first musicians to go to extreme lengths to create high-quality recordings that took full advantage of the technical capabilities of home audio equipment of the late 1950s and early 1960s, particularly stereo effects that bounced the sounds between the right and left channels (often described as “Ping-pong recording”).
Enoch Light released myriad albums in various genres of music under a variety of names during the late 1950s and early 1960s. Some were released under Grand Award Records, a subsidiary label he founded earlier. The music was intended for older audiences, as opposed to most popular music of the time, which was generally intended for teenagers and young adults.
During this time, he pioneered many recording techniques such as the use of 35 mm magnetic film instead of magnetic tape, thereby reducing the effects of “wow” and “flutter”. The recordings were released under the “35MM” series, starting from “Stereo 35-MM” released by Command Records. Musicians who appeared on Light’s albums include The Free Design, The Critters, Rain, Doc Severinsen, Tony Mottola, Dick Hyman, organist Virgil Fox (on the Wanamaker Organ), and arranger Lew Davies.
In 1965, Light sold the Command record label, which had released the Persuasive Percussion series, to ABC Records, which itself was subsequently sold to MCA Records. After the sale, the quality of those records plummeted dramatically.The signature gatefold format (along with Light’s prose) was immediately discontinued, and the covers changed to budget labels pressed on recycled vinyl. In 1975 they were completely discontinued.
Light continued recording after the sale of Command with a new label called Project 3, but did not concentrate so heavily on stereo effects. Light recorded several successful big band albums with his earlier established band in the Command days Enoch Light And The Light Brigade
In 1966 he released the album !Film Fame”. “Here is movie music at an unmatched peak of perfection! Rarely in the entire history of motion pictures have as many brilliant, exciting songs come from films all at one time as there are in the movies that are being shown right now!”
A1. If Ever I Would Leave You (3:15)
A2. To Sir, With Love (2:40)
A3. Tara Theme (3:06)
A4. More Than A Miracle (2:45)
A5. Theme From ‘Valley Of The Dolls’ (3:27)
A6. Bonnie & Clyde (2:03)
B1. For A Few Dollars More (2:22)
B2. When The World Is Ready (2:58)
B3. In The Heat Of The Night (2:27)
B4. Wait Until Dark (3:03)
B5. Live For Life (2:19)
B6. Imagine (2:49)
Artist: Enoch Light & The Light Brigade
Title: Film Fame
Label: Project 3 Total Sound
posted by vinyl facts
The Hindu visionary Michael Cassidy Michael Cassidy [Mangalananda] was born May 16, 1949 in Manchester, New Hampshire.
Michael Cassidy is the common denominator between Golden Avatar and Progress-both on Sudarshan Records. There is a connection to Hansadutta. This record is on Golden Lotus Records(GL-1) Recorded in LA in 1977 falling in between Golden Avatar (1976) and Progress (1978) 10 songs.
In 1971, Michael became an initiated disciple of A. C. Bhaktivedanta Swami, the renowned scholar who translated Bhagavad-gita As It Is, the jewel of India’s spiritual wisdom. The combination of studying the teachings of bhakti-yoga and practicing the disciplines became a continuous source of inspiration and enlightenment for Michael.
Early-on he liked the surfing sounds of Dwayne Eddy, the Ventures, and the Safaris. Later his tastes expanded to the finger-styles of Charlie Byrd, Jose Feliciano, and Carlos Jobim. “My Dad’s record collection was mostly jazz and standards from his own generation. Hearing that music influenced the melodic and harmonic aspects of my composition. Bob Dylan, Joni Mitchell, and Leonard Cohen inspired me to express myself with words.”
The cover photo needs some serious analysis. A man in monk robes sitting peacefully in the woods with a bunny as a doe approaches him. The picture of serenity. Is that Mike in the robes looking like Mr.Spock? Even better their appears to be another pressing with an alternate cover-a painting rather than a photo.
As far as the music goes this may be my favourite of the Michael Cassidy productions. A little less produced than Golden Avatar. Serious keyboard fireworks are busted out on “Spirit of Reason”. “Simple Living” is a nice pastoral ode to the good life that morphs into the Maha Mantra dueling with a guitar. The lyrics are full of Krishna imagery and thoughts.
Once again, this is a record you will see listed as “acid folk” or “xian folk”, and the cover could get you thinking that, but the music is above average west coast country rock, folk rock.
A1. Come Along (2:44)
A2. Golden Avatara (4:10)
A3. Sign Of Surrender (4:36)
A4. Simple Living (3:33)
A5. Spirit Of Reason (2:56)
B1. Hidden Worlds (3:24)
B2. I’ll Never Be Younger Than Today (3:14)
B3. Natures Secret (3:04)
B4. Embodiment Of Bliss (3:16)
B5. Oh Thoughtful Men (4:23)
Vocals – Michael Cassidy
Backing Vocals – Lea Harper, Lyn Harper
Banjo – Terry McNelly
Bass – Bill Breland
Cello – Robertleigh H. Barnhart
Drums – Drew Lawrence
Flute – Gerry Peterson
Flute, Clarinet – Glen Garret
Keyboards – Wayne Cook
Lead Guitar – Steve Bartek
Tabla – Peter Peringer
Engineer – Andy Wallace
Engineer [Assistant] – Ken Krabitz
Written-By – Jeffrey Armstrong, Michael Cassidy
Genre: Folk Rock
Label: Golden Lotus Records
posted by vinyl facts
“Gracias Por La Música” is a 1980 album by Swedish pop group ABBA. “Gracias Por La Música” was originally released due to the unexpected surge in popularity for the group in Latin American countries such as Mexico and Argentina after the release of the Spanish-language versions of “Chiquitita” and “I Have a Dream” in 1979. These tracks were both released as singles and went on to become big hits. Encouraged by this success, the band therefore decided to record another eight tracks in Spanish and release a full-length album especially for the Latin American market. The songs selected were familiar hits, plus tracks that were thought to have a Latin flavour, such as “Move On” and “Hasta Mañana”.
The couple Buddy and Mary McCluskey, both working at RCA Records in Argentina at the time, were again called in to translate the lyrics. During the recording sessions which took place in January 1980 in the Polar Music studios the lead vocalists Agnetha Fältskog and Anni-Frid Lyngstad were helped with the pronunciation by Swedish/Spanish journalist Ana Martinez.
A1. Gracias Por La Musica (Thank You For The Music) (3:48)
A2. Reina Danzante (Dancing Queen) (3:50)
A3. Al Andar (Move On) (4:05)
A4. Dame! Dame! Dame! (Gimme! Gimme! Gimme!) (4:45)
A5. Fernando (4:15)
B1. Estoy Soñando (I Have A Dream) (4:44)
B2. Mamma Mia (3:32)
B3. Hasta Mañana (3:05)
B4. Conociendome, Conociendote (Knowing Me, Knowing You) (4:02)
B5. Chiquitita (5:26)
Composed By [Composición], Arranged By [Arreglos], Producer [Producción] – Benny Andersson & Björn Ulvaeus
Engineer [Técnino De Sonido] – Michael B. Tretow
Lyrics By [Letra] – Stig Anderson
Translated By [Versión En Español] – Buddy , Mary McCluskey
Label: Septima Records
Catalog# SRLM 1
posted by vinyl facts
Shocking Blue was a Dutch rock band, formed in The Hague in 1967.
The band spawned a number of psychedelic rock hits throughout the counterculture movements era during the 1960s and early 1970s, including Never Marry a Railroad Man, Mighty Joe, Love Buzz, Blossom Lady, Inkpot and “Venus“.
Shocking Blue was founded in 1967 by Robbie van Leeuwen. The group had a minor hit in 1968 with “Lucy Brown is Back in Town”. After Fred de Wilde left in 1968, Mariska Veres took over the vocals and the group charted a world-wide hit with the song “Venus“, which peaked at No. 3 in the Netherlands in the fall of 1969.
The song was released in America and Great Britain at the end of the year, and it reached No. 1 on the U.S. Billboard Hot 100 in February 1970. It subsequently sold 350,000 copies in Germany, and topped the U.S. chart for three weeks, the first song from the Netherlands to do so. It sold over one million copies there by January 1970, and received a gold record awarded by the Recording Industry Association of America. Global sales exceeded five million copies. The song was based on “The Banjo Song” (1963) by The Big 3.
Other hits include “Send Me a Postcard” in 1968/69 and “Long and Lonesome Road” (often mistakenly named as “Long Lonesome Road”) in 1969. Shocking Blue’s songs also received quite a large amount of radio airplay on Dutch channels.
“Venus” was followed by “Mighty Joe” (flip-side “Wild Wind”) in 1969 and “Never Marry a Railroad Man” (flip-side “Roll Engine Roll”) in 1970, which both sold over a million records, the latter also become a top ten hit in several countries around the world. Latter songs – including “Hello Darkness” (1970), “Shocking You”, “Blossom Lady” and “Out of Sight, Out of Mind” (1971), “Inkpot”, “Rock in the Sea” and “Eve and the Apple” (1972) and “Oh Lord” (1973) were successful in Europe, Latin America and Asia, but failed to chart in the U.S..
In 1974 both Robbie Van Leeuwen and later Mariska Veres left the group, leading to their split. Veres started a solo career until 1982. Her singles “Take Me High” (1975) and “Lovin’ You” (1976) were mainly popular in the Netherlands, Belgium and Germany.
Other known singles were “Tell It Like It Is” (1975), Dusty Springfield’s “Little By Little” (1976), and “Too Young” (1978). Most of these songs today are rare.
Shocking Blue made a comeback in 1979, and recorded “Louise” as their first single since their breakup back in 1974.
However, the song was never released for unknown reasons. They did however, perform live with their earliest songs such as “Venus” and “Never Marry a Railroad Man” in 1980.
They made another comeback in 1984, and later recorded “Jury and the Judge” with “I Am Hanging on to Love” on B-side, and yet another unreleased song “Time Is a Jetplane” in 1986.
Drummer Cor van der Beek died on April 2, 1998 at the age of 49 in Rotterdam, Netherlands. Mariska Veres died of gallbladder cancer on December 2, 2006 at the age of 59 in The Hague, Netherlands.
All the songs on this Dutch Compilation “With Love From Shocking Blue” are composed by Robbie van Leeuwen.
A1. Follow The Sun (2:44)
A2. Sleepless At Midnight (2:28)
A3. Boll Weevil (2:40)
A4. Poor Boy (4:50)
A5. Velvet Heaven (3:22)
A6. I Am Woman (3:00)
A7. Demon Lover (6:00)
B1. Love Sweet Love (3:12)
B2. Little Cooling Planet (4:55)
B3. Scorpio’s Dance (3:40)
B4. Waterboy (2:30)
B5. The Butterfly And I (3:50)
B6. Don’t See You (2:44)
B7. Moonlight Night (4:55)
Label: Capri Records
Catalog# CA 38-g
Vinyl: Lichte Gebruikerssporen