Fleetwood Mac are a British-American rock band formed in July 1967, in London. The two most successful periods for the band were during the late 1960s British blues boom, when they were led by guitarist Peter Green and from 1975 to 1987, as a more pop-oriented act, featuring Christine McVie, Lindsey Buckingham and Stevie Nicks.
Artist: Fleetwood Mac
Label: Warner Bros. Records
Catalog# WB 66088
Tusk is the twelfth album by the British/American rock band Fleetwood Mac. Released in 1979, it is considered experimental, primarily due to Lindsey Buckingham‘s sparser songwriting arrangements and the influence of punk rock and new wave on his production techniques.
At the time of its release, it was a flop, never reaching the top of the charts and never spawning a true hit single, despite two well-received Top Ten hits. Coming after the monumental Rumours, this was a huge disappointment, but the truth of the matter is that Fleetwood Mac couldn’t top that success no matter how hard they tried, so it was better for them to indulge themselves and come up with something as unique as Tusk. Lindsey Buckingham directed both Fleetwood Mac and Rumours, but he dominates here, composing nearly half the album, and giving Christine McVie‘s and Stevie Nicks‘ songs an ethereal, floating quality that turns them into welcome respites from the seriously twisted immersions into Buckingham‘s id. This is the ultimate cocaine album — it’s mellow for long stretches, and then bursts wide open in manic, frantic explosions, such as the mounting tension on “The Ledge” or the rampaging “That’s Enough for Me,” or the marching band-driven paranoia of the title track, all of which are relieved by smooth, reflective work from all three songwriters. While McVie and Nicks contribute some excellent songs, Buckingham owns this record with his nervous energy and obsessive production, winding up with a fussily detailed yet wildly messy record unlike any other. This is mainstream madness, crazier than Buckingham‘s idol Brian Wilson and weirder than any number of cult classics. Of course, that’s why it bombed upon its original release, but Tusk is a bracing, weirdly affecting work that may not be as universal or immediate as Rumours, but is every bit as classic. As a piece of pop art, it’s peerless. The album polarized critics and the public alike upon its initial release, although the album has since been reevaluated over time and praised for its experimentation. In 2013, NME ranked Tusk at number 445 in their list of The 500 Greatest Albums of All Time.
1. Over & Over (4:36)
2. The Ledge (2:02)
3. Think About Me (2:44)
4. Save Me a Place (2:40)
5. Sara (6:27)
1. What Makes You Think You’re the One (3:32)
2. Storms (5:29)
3. That’s All for Everyone (3:04)
4. Not That Funny (3:13)
5. Sisters of the Moon (4:40)
1. Angel (4:53)
2. That’s Enough for Me (1:48)
3. Brown Eyes (4:30)
4. Never Make Me Cry (2:14)
5. I Know I’m Not Wrong (3:02)
1. Honey Hi (2:43)
2. Beautiful Child (5:23)
3. Walk a Thin Line (3:48)
4. Tusk (3:36)
5. Never Forget (3:44)
UB40 are a British reggae and pop band formed in December 1978 in Birmingham, England. The ethnic make-up of the band’s original line-up was diverse, with musicians of English, Irish, Jamaican, Scottish and Yemeni parentage.
Label: DEP International
UB44 is the third album by UB40, released on the DEP International label in 1982. The album reached No. 4 in the UK album chart and the early release of the packaging had a hologram cover. UB44 was the Department of Employment form letter sent to British unemployment benefit claimants when they missed their ‘signing on’ appointment.
This album was effectively the last one in their early musical style, again mixing heavy, doom-laden reggae soundscapes with politically and socially conscious lyrics. In particular, “I Won’t Close My Eyes” and “Love is All Right” use reverb, echoes, and stereo positioning for a shimmering, three dimensional feel indicated by the 3D cover. Droning rhythms- the 4th dimension of time- induce a trance, evoking reggae’s substance behind the muse. “Love is All Right” is a slow number with close sounding, harmonised vocals. Sax and trumpet echo in a huge hall, sounding like some Caribbean band of long ago. A funky, effected, simple guitar twang adds to the old and new feel. The lyrics challenge the listener that “a little more hate” may be needed in polarised racial and class conflicts.
1. So Here I Am (3:54)
2. I Won’t Close My Eyes [Remix] (3:46)
3. Forget the Cost (4:22)
4. Love Is All Is Alright [Remix] (4:57)
5. The Piper Calls the Tune (3:50)
1. The Key (5:05)
2. Don’t Do the Crime (4:12)
3. Folitician [Remix] (4:10)
4. The Prisoner (5:57)
Barbara Joan “Barbra” Streisand ( born April 24, 1942) is an American singer, songwriter, actress, and filmmaker. During a career spanning six decades, she has become an icon in multiple fields of entertainment, winning numerous awards, and has earned her recognition as Mother of All Contemporary Pop Divas or Queen of The Divas.
Artist: Barbra Streisand
Label: CBS Records
After the success of the Bee Gees in the late 1970s, there was some time to write songs for other artists and Streisand, one of those artists, asked Gibb to write an album for her.
The biggest selling album of Barbra Streisand‘s career is also one of her least characteristic. The album was written and produced by Barry Gibb in association with his brothers and the producers of the Bee Gees, and in essence it sounds like a post-Saturday Night Fever Bee Gees album with vocals by Streisand. Gibb adapted his usual style somewhat, especially in slowing the tempos and leaving more room for the vocal, but his melodic style and the backup vocals, even when they are not sung by the Bee Gees, are typical of them. Still, the record was more hybrid than compromise, and the chart-topping single “Woman in Love” has a sinuous feel that is both right for Streisand and new for her. Other hits were the title song and “What Kind of Fool,” both duets with Gibb. (The song “Guilty” won a Grammy Award for Best Pop Vocal by Duo or Group.)
1. Guilty (Duet With Barry Gibb) (4:24)
2. Woman In Love (3:51)
3. Run Wild (4:06)
4. Promises (4:20)
5. The Love Inside (5:07)
1. What Kind Of Fool (Duet With Barry Gibb) (4:04)
2. Life Story (4:34)
3. Never Give Up (3:41)
4. Make It Like A Memory (7:26)
Dire Straits were a British rock band that formed in Deptford, London, in 1977 by Mark Knopfler, his younger brother David Knopfler, John Illsley, and Pick Withers. Dire Straits’ sound drew from a variety of musical influences, including jazz, folk, and blues, and came closest to beat music within the context of rock and roll.
Artist: Dire Straits
Title: Love Over Gold
Label: Vertigo Records
Love over Gold is the fourth studio album by the British rock band Dire Straits released on 20 September 1982 by Vertigo Records internationally. Following the end of the On Location Tour on 6 July 1981 in Luxembourg, Mark Knopfler began writing the songs for Dire Straits’ next album. Alan Clark (keyboards) and Hal Lindes (guitar), who joined the band for the On Location Tour, would also be involved with the new album.
Adding a new rhythm guitarist, Dire Straits expands its sounds and ambitions on the sprawling Love Over Gold. In a sense, the album is their prog rock effort, containing only five songs, including the 14-minute opener “Telegraph Road.” Since Mark Knopfler is a skilled, tasteful guitarist, he can sustain interest even throughout the languid stretches, but the long, atmospheric, instrumental passages aren’t as effective as the group’s tight blues-rock, leaving Love Over Gold only a fitfully engaging listen.
Love over Gold was recorded at the Power Station in New York from 8 March to 11 June 1982. Knopfler produced the album, with Neil Dorfsman as his engineer—the first in a long line of collaborations between the two.
Knopfler used several guitars during the sessions, including four Schecter Stratocasters—two red, one blue, and one sunburst—a black Schecter Telecaster, an Ovation classical guitar on “Private Investigations” and “Love over Gold”, a custom Erlewine Automatic on “Industrial Disease”, and his 1937 National steel guitar on “Telegraph Road“. Knopfler also used Ovation twelve- and six-string acoustic guitars during the recording.
1. Telegraph Road (14:20)
2. Private Investigations (7:00)
1. Industrial Disease (5:50)
2. Love Over Gold (6:15)
3. It Never Rains (7:55)
Artist: Love Unlimited
Title: Love Is Back
Label: Unlimited Gold Records
Formed in 1969, the group included Barry White’s future wife, Glodean James, her sister, Linda James, and their cousin Diane Taylor (who died of cancer in Pomona, California on November 29, 1985 at age 38).
Love Is Back is the fifth studio album by Love Unlimited. The album starts with the track “I’m So Glad That I’m a Woman”, a R&B song considered by many a hymn to women, written by Barry White (creator of the group) and Paul Politi. Three tracks entered the charts: “I’m So Glad That I’m a Woman”, “High Steppin’, Hip Dressin’ Fella (You Got It Together)” and “If You Want Me, Say It” but unfortunately both three songs didn’t have high position because of promotion problems.
1. I’m So Glad That I’m A Woman (4:01)
2. High Steppin’, Hip Dressin’ Fella (You Got It Together) (5:32)
3. When I’m In Your Arms, Everything’s Okay (4:33)
1. If You Want Me, Say It (5:41)
2. I’m Givin’ You A Love (Every Man Is Searchin’ For) (4:30)
3. Gotta Be Where You Are (4:14)
4. I’m His Woman (5:38)
The Eagles were an American rock band. The band was formed in 1971 by four Los Angeles-based musicians :Glenn Frey, Don Henley, Bernie Leadon, and Randy Meisner, who had migrated to the West Coast from other parts of the country.
Artist: The Eagles
Title: The Long Run
Label: Asylum Records
Catalog# AS 52181
The Long Run is the sixth studio album by the American rock group the Eagles. It was released in 1979, on Asylum in the United States and in the United Kingdom. This was the first Eagles album to feature Timothy B. Schmit, who had replaced founding member Randy Meisner. This was the band’s final studio album for Asylum Records.
Three years in the making (which was considered an eternity in the ’70s), the Eagles‘ follow-up to the massively successful, critically acclaimed Hotel California was a major disappointment, even though it sold several million copies and threw off three hit singles. Those singles, in fact, provide some insight into the record. “Heartache Tonight” was an old-fashioned rock & roll song sung by Glenn Frey, while “I Can’t Tell You Why” was a delicate ballad by Timothy B. Schmit, the band’s newest member. Only “The Long Run,” a conventional pop/rock tune with a Stax Records R&B flavor, bore the stamp and vocal signature of Don Henley, who had largely taken the reins of the band on Hotel California. Henley also dominated The Long Run, getting co-writing credits on nine of the ten songs, singing five lead vocals, and sharing another two with Frey. This time around, however, Henley‘s contributions were for the most part painfully slight. Only “The Long Run” and the regret-filled closing song, “The Sad Café,” showed any of his usual craftsmanship. The album was dominated by second-rank songs like “The Disco Strangler,” “King of Hollywood,” and “Teenage Jail” that sounded like they couldn’t have taken three hours much less three years to come up with. (Joe Walsh‘s “In the City” was up to his usual standard, but it may not even have been an Eagles recording, having appeared months earlier on the soundtrack to The Warriors, where it was credited as a Walsh solo track.) Amazingly, The Long Run reportedly was planned as a double album before being truncated to a single disc. If these were the keepers, what could the rejects have sounded like?
1. The Long Run (3:42)
2. I Can’t Tell You Why (4:56)
3. In The City (3:46)
4. The Disco Strangler (2:46)
5. King Of Hollywood (6:28)
1. Heartache Tonight (4:26)
2. Those Shoes (4:56)
3. Teenage Jail (3:44)
4. The Greeks Don’t Want No Freaks (2:20)
5. The Sad Café (5:25)
The Ritchie Family, an American vocal group based in Philadelphia, achieved several hits during the disco era. The three original members were not related; the group was a creation of Jacques Morali who also formed the Village People.
Artist: The Ritchie Family
Title: Arabian Nights
Label: Philips Records
When The Ritchie Family released their debut album in 1975, the group hadn’t yet settled on a lineup. So, the legendary Philadelphia backing vocals the Sweethearts of Sigma had taken charge of vocal duties. Now a year later, for their 1976 sophomore album Arabian Nights, The Ritchie Family had three new vocalists, including Gwen Oliver and Cassandra Wooten, who had been members of Honey and The Bees. Joining them were Cheryl Jacks. With this new lineup, the first of five different lineups of The Ritchie Family. Now work could begin on their sophomore album Arabian Nights, which was released in 1976,
Many of the same songwriters who worked onThe Ritchie Family’s debut album Brazil, would write tracks for Arabian Nights. The French songwriting and production team of Henri Belolo and Jacques Morali played their part in the three songs on SIde One of Arabian Nights. They cowrote Baby I’m On Fire and cowrote The Best Disco In Town with Richie Rome and Phil Hurtt. The songwriting team of Henri Belolo, Jacques Morali and Richie Rome cowrote Romantic Love with Peter Whitehead. Side Two of Arabian Nights saw The Ritchie Family draw inspiration from Gloria Gaynor’s 1975 album Never Say Goodbye, with the three songs transformed into a disco medley. This included Jimmy Kennedy and Nat Simon’s Istanbul (Not Constantinople), Maurice Jarre’s Lawrence of Arabia (More Than Yesterday, Less Than Tomorrow) and Albert B. Ketelbey’s In A Persian Market (Show Me How You Dance). These six songs became Arabian Nights, which was recorded in Philadelphia at Joe Tarsia’s Sigma Sound Studios.
1. The Best Disco In Town (6:39)
2. Baby I’m On Fire (5:05)
3. Romantic Love (5:53)
(Arabian Nights (Medley) (14:26)
1. Istanbul (Not Constantinople) (4:22)
2. Lawrence Of Arabia (More Than Yesterday, Less Than Tomorrow) (3:57)
3. In A Persian Market (Show Me How You Dance) (6:07)
Artist: Thompson Twins
Title: Here´s To Future Days
Label: Arista Records
Here’s to Future Days is the fifth album by the British pop group Thompson Twins. It was the third and final release for the band as a trio, which was their most successful and recognisable line-up. Released in September 1985, it reached no.5 in the UK, and no.20 in the US.
Following on from the band’s highly successful fourth album, Into the Gap, the writing and recording of Here’s to Future Days began in late 1984. The band recorded the single “Lay Your Hands on Me” with Alex Sadkin acting as producer. Sadkin had produced the last two Thompson Twins albums, which were the band’s biggest commercial successes to date, and the new single climbed to #13 on the UK charts. However, the band then decided to part company with Sadkin and opted to produce the new album by themselves in Paris, France.
In March 1985, with the album nearing completion and the next single “Roll Over” just about to be released in the UK, vocalist/guitarist Tom Bailey suddenly fell ill. After collapsing in his hotel room, he was diagnosed with nervous exhaustion and ordered to rest by doctors. The incident prompted the band to recall all copies of “Roll Over”, despite the fact that some of them had already been shipped to retail outlets. Holding off on the album’s release led the band to reconsider the entire project, and they began work on it again following Bailey’s recovery. This time they enlisted Nile Rodgers to take over production and rework the material they had already recorded. The direction of the new recordings featured a more guitar-oriented side to it.
Before the album’s release, the Thompson Twins performed at Live Aid in July 1985, where they revealed their new material by playing a rock oriented version of The Beatles‘ track “Revolution“. The band were also joined onstage for this number by Rodgers himself, Madonna, and guitarist Steve Stevens.
Although the album was a chart success in the UK and the US, it was considerably less successful than their previous album Into the Gap. Subsequent singles from the album also met with mixed results. The new Nile Rodgers-produced version of “Lay Your Hands on Me” (now with a more distinct gospel sound) reached #6 in the United States, while the next UK single “Don’t Mess With Doctor Dream” reached #15. “King for a Day” followed in both markets, peaking at #8 in the US and becoming their third and final Top 10 hit there, but only reaching #22 in the UK. The aforementioned “Revolution” was also released as a single in the UK, but failed to make the top 40, signifying an end to the Thompson Twins’ commercial viability there.
Some UK copies came with a “free 5-track album of re-mixes”
1. Don’t Mess with Doctor Dream (4:25)
2. Lay Your Hands on Me (4:22)
3. Future Days (3:00)
4. You Killed the Clown (4:54)
5. Revolution (4:06)
1. King for a Day (5:22)
2. Love Is the Law (4:45)
3. Emperor’s Clothes (Part 1) (4:46)
4. Tokyo (3:39)
5. Breakaway (3:34)
Side three (Re-Mixes)
1. Shoot Out (6:23)
2. Alice (4:59)
3. Heavens Above! (3:20)
Side four (Re-Mixes)
1. The Kiss (5:44)
2. Desert Dancers (7:05)
Artist: Time Bandits
Label: CBS Records
Disco-funkformatie rond zanger/componist Alides Hidding die in de jaren ’80 grote hits scoort en zowel nationaal als internationaal doorbreekt. Eind jaren ’80 ontpopt Hidding zich tot succesvol songschrijver voor diverse Amerikaanse artiesten en werkt hij samen met Dan Hartman, Charlie Mitnight en Dwayne Hitchings. Alides Hidding scoort een hit met de solosingle Hollywood Seven. Ondertussen is hij druk bezig Time Bandits van de grond te krijgen. In deze beginfase bestaat de band verder uit bassist Peter Smid (ex-Houseband), sessiedrummer Tommy Bachman en toetsenist Otto Cooymans (ex-Otger Dice, ex-Hollander). Ook Carl Carlton is korte tijd van de partij.
Het tweede album “Tracks” verschijnt in 1983, waarop de zangpartijen van Hidding minder geprononceerd uitkomen. De stijlverandering komt het geluid ten goede en de van deze plaat getrokken single “I’m Only Shooting Love” haalt in oktober de top 10. Ook internationaal breekt de band door. De single doet het goed in Frankrijk, Amerika en Australië. De band vertrekt op tournee naar Australië en Nieuw-Zeeland want ook daar belandt de single bovenaan de hitlijsten. http://www.bing.com/translator
1. I’m Only Shooting Love (4:54)
2. Ushi Girl (Backing Vocals: Brigitte De Boer) (4:10)
3. Right Or Wrong (3:03)
4. Holiday Heartbreaker (3:57)
5. Listen To The Man With The Golden Voice (5:10)
1. Friends (3:589
2. Only Lovers Will Survive (Backing Vocals, Keyboards: Pim Koopman) (3:58)
3. Don’t Let Your Love Go Bad (4:28)
4. How Does It Feel (6:12)
Santana is an American Latin rock band formed in San Francisco, California in 1967 by Mexican-American guitarist Carlos Santana. The band first came to widespread public attention when their performance of “Soul Sacrifice” at Woodstock in 1969 provided a contrast to other acts on the bill.
Title: Inner Secrets
Label: CBS Records
Inner Secrets is the ninth studio album by Santana. It was released in 1978 and marks the start of the phase of Santana’s career where he moved away from the fusion of Latin, jazz, rock and blues that marked his previous records and began to move towards an album-oriented rock direction. As such, the album’s quality is widely disputed among fans.
Since he had joined Santana in 1972, keyboard player Tom Coster had been Carlos Santana‘s right-hand man, playing, co-writing, co-producing, and generally taking the place of founding member Greg Rolie. But Coster left the band in the spring of 1978, to be replaced by keyboardist/guitarist Chris Solberg and keyboardist Chris Rhyme. Despite the change, the band soldiered on, and with Inner Secrets, they scored three chart singles: the disco-ish “One Chain (Don’t Make No Prison)”, “Stormy”, and a cover of Buddy Holly‘s “Well All Right”, done in the Blind Faith arrangement. (There seems to be a Steve Winwood fixation here. The album also featured a cover of Traffic‘s “Dealer.”)
Several of the album’s tracks are covers:
- The “Dealer” portion of “Dealer/Spanish Rose” is a cover of the song “Dealer” by Traffic appearing on their 1967 album, Mr. Fantasy.
- “One Chain (Don’t Make No Prison)” is a cover of a Four Tops song “One Chain Don’t Make No Prison” appearing on their 1974 album Meeting of the Minds, and as a single on the same year.
- “Well All Right” is a cover of the Buddy Holly song “Well… All Right” (appearing as B-side of Holly’s 1958 single “Heartbeat“) and it was covered earlier by Blind Faith on their 1969 self-titled and only studio album Blind Faith.
- “Stormy” is a cover of the Classics IV‘s 1968 top-10 hit and included on their 1968 album Mamas and Papas/Soul Train, and 1970 album Stormy.
1. Dealer/Spanish Rose (5:51)
2. Move On (4:26)
3. One Chain (Don’t Make No Prison) (7:13)
4. Stormy (4:46)
1. Well All Right (4:11)
2. Open Invitation (4:47)
3. Life Is a Lady/Holiday (3:48)
4. The Facts of Love (5:32)
5. Wham! (3:28)