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Rosie Vela – Zazu (1986)

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Roseanne “Rosie” Vela (born December 18, 1952) is an American model and singer-songwriter.

Vela was born in Galveston, Texas. Her family later moved to Arkansas, where she attended the University of Arkansas. While studying art and music, Vela also began modeling. She married the Arkansas born musician, Jimmy Roberts, but he died of cancer shortly after. Following this, Vela moved to New York where her modeling career took off and she graced the covers of magazines including Vogue and Newsweek from 1975 onwards, and appeared in numerous television commercials and films such as Michael Cimino’s ‘Heaven’s Gate’ and Jack Nicholson’s ‘Two Jakes’ and another with Michael Madsen.

Turning her attention to music, Vela built a home recording studio for herself and signed a recording contract with A&M Records. She released her debut album Zazu in 1986. The entire album was written or co-written by Vela and was produced by Gary Katz. It is also notable for the fact that it included contributions from both Donald Fagen and Walter Becker (two of Vela’s musical heroes) – almost 10 years after they had disbanded their group Steely Dan. Though the album was critically acclaimed, it went largely unnoticed in the U.S. It fared better in Europe and a single from the album Magic Smile was a Top 30 hit in the UK Singles Chart. The album itself peaked at #20 in the UK Albums Chart and was certified silver by the BPI in March 1987. Further singles “Interlude” and “Fool’s Paradise” met with less success.

It has been reported that Vela recorded a second album entitled Sun Upon the Altar, but the album remains unreleased.

Following Zazu, Vela did not release any further recordings, but has since become a backing vocalist for other musicians including Electric Light Orchestra on their 2001 album Zoom. Vela also performed a few shows with the band and was (for 7 years) in a relationship with ELO’s lead singer Jeff Lynne. Vela co-wrote “A Woman Like That” with Lynne for a 1998 British movie called Still Crazy.

Vela has also appeared in several films including Heaven’s Gate (as the “beautiful girl” who makes Kris Kristofferson‘s character fall in love during Harvard‘s graduation ceremony scene), The Two Jakes and Inside Edge opposite Michael Madsen.


Side A
A1.  Fool’s Paradise  (4:00)
A2.  Magic Smile  (4:24)
A3.  Interlude  (3:55)
A4.  Tonto  (5:38)

Side B
B1.  Sunday  (4:31)
B2.  Taxi  (3:25)
B3.  2nd Emotion  (4:46)
B4.  Boxs  (3:52)
B5.  Zazu  (4:46)



Rosie Vela – Vocals, Keyboards
Donald Fagen – Keyboards
Walter Becker – Soloist [Guitar]
Jimmy Haslip –  Bass
Jimmy Bralower – Drums
Jim Keltner – Drums
Yogi Horton – Drums
Neil Stubenhaus – Bass
Michael Been – Guitar
Backing Vocals – Joy Askew, Jenny Peters, Joy Askew, Rosie Vela
Rick Derringer – Guitar
Aaron Zigman – Synthesizer
Tony Levin – Percussion
Larry Fast – Synthesizer


Companies, etc.




Release:  1986
Format:  LP
Genre:  Pop
Label:  A&M Records
Catalog#  395016-1

Vinyl:  Excellent
Cover:  Excellent


Meat Loaf – Dead Ringer (1981) – Lp

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Dead Ringer is a 1981 album by Meat Loaf and is the second of his four albums written entirely by Jim Steinman. The album cover was designed by comic book artist and horror illustrator Bernie Wrightson.

Steinman started to work on Bad for Good, the album that was supposed to be the follow-up to 1977’s Bat Out of Hell, in 1978. During that time, a combination of touring, drugs and exhaustion had caused Meat Loaf to lose his voice. Without a singer, and pressured by the record company, Steinman decided that he should sing on Bad for Good himself, and write a new album for Meat Loaf. This album was Dead Ringer, which was later released in 1981, after the release of Bad for Good.

Once again, Steinman wrote extended, operatic songs with hyperbolic lyrics (“I’ll Kill You If You Don’t Come Back” was one title) and organized a backup band anchored by E Street Band members Max Weinberg (drums) and Roy Bittan (keyboards), while Meat Loaf sang with a passion all the more compelling for its hint of the ridiculous. In the U.S., with four years separating Bat and Dead Ringer, nobody cared much. But in the U.K., where Bat was still going strong, Dead Ringer topped the charts, and the title track, featuring a perfectly cast Cher as duet singer, went Top Ten. In retrospect, the missing ingredient in the album is Todd Rundgren‘s pop sensibility as producer; he was the one who knew how long the compositions could go for maximum dramatic impact without becoming exhausting. It was Rundgren who made Bat Out of Hell a fiery listening experience — producing himself, Meat Loaf often sounded only warmed over.

After playing the role of Travis Redfish in the movie Roadie (which had cameos by Debbie Harry, Roy Orbison and Hank Williams, Jr., but was still a box office flop), Meat Loaf got his voice back, got off drugs, played softball, and started to work on his new album in 1980. Steinman had written five new songs which, in addition to the track “More Than You Deserve” (which Meat Loaf had sung in the musical with the same name) and a reworked monologue, formed the album Dead Ringer. The album was produced by Meat Loaf and Stephan Galfas, with backing tracks produced by Jimmy Iovine and Steinman. In 1976, Meat Loaf appeared on the track “Keeper Keep Us” from the Intergalactic Touring Band’s self-titled album, which was produced by Galfas.

Four singles were released from Dead Ringer: “Dead Ringer for Love” (featuring Cher), “I’m Gonna Love Her for Both of Us“, “Read ‘Em and Weep” and “Peel Out“. The album reached number 1 in the UK.

The tour for this album also marked the beginning of his long-running collaboration with pianist Paul Jacobs, as both sideman and songwriter.


Side A
A1.  Peel Out  (6:30)
A2.  I’m Gonna Love Her For Both Of Us  (7:09)
A3.  More Than You Deserve  (7:02)

Side B
B1.  I’ll Kill You If You Don’t Come Back  (6:24)
B2.  Read ‘Em And Weep  (5:25)
B3.  Nocturnal Pleasure  (0:38)
B4.  Dead Ringer For Love  (4:21)
      Backing Vocals – Rhonda Coullet
      Featuring – Cher
B5.  Everything Is Permitted  (4:41)







  • Roy Bittan – co-arranger
  • Tom Malone – horn arrangements
  • Alden Shuman, Roy Straigis – string arrangements


Release: 1981
Format: LP
Genre: Rock
Label: Epic
Catalog# EPC 83645

Vinyl:  EX
Cover:  EX


Lucifer – Margriet (1977) – Lp

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Lucifer was een Nederlandse popgroep uit de jaren 70, bestaande uit zangeres/organiste Margriet Eshuijs, bassist Dick Buijsman, drummer Henny Huisman en zanger/percussionist Julio Wilson. In 1975 scoorden ze een grote hit met House for sale. Later, toen de band minder succes had, ging Margriet Eshuijs verder met een solocarrière. In 1974 kreeg de groep een contract bij EMI.

Voor de eerste elpee werd gekozen voor een combinatie van eigen nummers, aangevuld met enkele covers van andere artiesten en verder nog twee gezamenlijke nummers van Gloria Sklerov en Harry Lloyd. Waaronder House for sale dat Sklerov aan Peter Schoonhoven van EMI had voorgespeeld, toen hij in 1973 een bezoek aan Garrett Music bracht. Eenmaal in Nederland overhandigde hij de demo aan Hans Vermeulen die de arrangeur/producent voor de groep was, met de suggestie het door Lucifer te laten uitvoeren. House for sale werd de eerste single van de groep en ook meteen hun eerste hit.

Begin 1976 werden Huisman, Wilson en Netten vervangen door gitarist Fred Berger en drummer Jan Pijnenburg. De drie ex-leden vormden vervolgens de band Match (= Engels voor lucifer). Een jaar later werd Pijnenburg vervangen door Willem Jongbloed en werd André Versluijs bassist in plaats van Dick Buysman.

Lucifer doet in februari 1976 mee aan het Nationaal Songfestival met het liedje “Someone Is Waiting For You”. De strijkersarrangementen zijn van Dick Bakker. Hans Vermeulen beëindigt de succesvolle samenwerking met Lucifer na een conflict met platenmaatschappij Bovema-Negram.

In 1977 verschijnt het de door Eshuijs geschreven single “Self Pity”, wat in juli van dat jaar een hit wordt. Het album “Margriet” verschijnt, maar gooit in commercieel en artistiek opzicht geen hoge ogen. Bassist Dick Buysman verlaat de groep en de band ondergaat een derde gedaanteverwisseling.

Omdat de kosten om de band in stand te houden te hoog worden, kiest Margriet Eshuijs in 1978 ervoor een solo-carrière te beginnen en ontbindt Lucifer.


Side A
A1.  Sandra  (4:24)
A2.  Ramses  (4:16)
A3.  Someone Is Waiting  (4:58)
A4.  Love (Amsterdam)  (6:17)

Side B
B1.  A Phase In Life  (4:26)
B2.  Take A Jive In Life  (3:53)
B3.  Selfpity  (4:15)
B4.  No More  (4:16)


Companies, etc.




Release:  1977
Format:  LP
Genre:  Nederpop
Label:  EMI Records
Catalog#  5C 064-25655
Prijs: €10,00

Vinyl:  VG
Hoes:  VG


Asia – Alpha (1983) – Lp

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Alpha is the second studio album by British rock band Asia, released on 26 July 1983 in the United States and on 12 August 1983 in the United Kingdom by Geffen Records. Recorded at Le Studio in Morin-Heights, Quebec, and Manta Sound in Toronto from February to May 1983, the album was produced, like its multi-platinum predecessor, by Mike Stone. Guitarist Steve Howe left the band in 1984. Thus, Alpha was the last album to feature the band’s original line-up until Phoenix which was released in 2008. The original line-up re-formed two years earlier in 2006.

The cover artwork was designed by Roger Dean, known for his work with Yes, of which Howe and keyboard player Geoff Downes had previously been members.

In comparison with the enormously successful debut album, Alpha focuses more on mainstream pop rock sounds and is less characterized by progressive rock elements. It failed to meet record company expectations, which was reflected by performance that did not match that of the first recording, angering management. The album did reach number 6 on the Billboard 200 chart.

The eagerly awaited follow-up to the supergroup’s debut, Alpha landed with a resounding thud a year later. The album still managed to be a platinum-selling Top Ten hit, as did the leadoff single “Don’t Cry,” but where Asia managed to make old sounds fresh, Alpha fails miserably. Nothing on Alpha packs the sheer sonic force of the band’s debut. Instead, much of the record is lightweight both lyrically and musically, leaning heavier on keyboard-laden ballads like “The Smile Has Left Your Eyes,” which managed to scrape into the Top 40, and “My Own Time (I’ll Do What I Want).” The only real meat on the record comes during the last cut, “Open Your Eyes” (and only at the end of the song). Rumored creative differences, the album’s lukewarm reception, and flagging ticket sales for the ensuing tour led to lead singer John Wetton leaving the band before the year was out. Alpha is sorely disappointing, especially coming on the heels of a promising debut.


Side A
A1.  Don’t Cry  (3:41)
A2.  The Smile Has Left Your Eyes  (3:13)
A3.  Never in a Million Years  (3:46)
A4.  My Own Time (I’ll Do What I Want)  (4:49)
A5.  The Heat Goes On  (5:00)

Side B
B1.  Eye to Eye  (3:14)
B2.  The Last to Know  (4:40)
B3.  True Colors  (3:56)
B4.  Midnight Sun  (3:48)
B5.  Open Your Eyes  (6:26)

All tracks written by John Wetton and Geoff Downes, except “The Smile Has Left Your Eyes” written by Wetton and “Lying to Yourself” written by Wetton and Steve Howe.



Technical Personnel


Release:  1983
Format:  LP
Genre:  Hardrock
Label:  Geffen Records
Catalog#  GEF 25508
Prijs:  €10,00

Vinyl:  Excellent
Cover:  Excellent


Jellybean – Wotupski (1984) – Lp

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John Benitez (born November 7, 1957), also known as Jellybean, is an American drummer, guitarist, songwriter, DJ, remixer and music producer of Puerto Rican descent. He has produced and remixed artists such as Madonna, Whitney Houston, Michael Jackson and the Pointer Sisters. In December 2016, Billboard magazine ranked him as the 99th most successful dance artist of all-time.

Benitez started to remix singles, such as Jimmy Spicer’s “The Bubble Bunch,” Rocker’s Revenge’s “Walking on Sunshine,” Afrika Bambaataa‘s “Planet Rock” and Stephen Bray of the group Breakfast Club. Benitez met Bray’s bandmate at the time, Madonna. A two-year romance developed. Benitez became involved with remixing Madonna’s self-titled debut album in 1983, including the singles “Everybody“, “Borderline“, and “Lucky Star.” He also produced “Holiday.”

Jellybean Benitez stepped out on his own in 1984 with Wotupski! After spinning at some of New York’s most legendary clubs like Studio 54, Hurrah, Xenon, and Paradise Garage, he turned his attention to the recording studio. Originally released on EMI America, Wotupski!?! included the Top 20 hit “Sidewalk Talk” written by Madonna, as well as “Was Dog a Doughnut,” “Compromise,” “Dancing on the Fire,” and “The Mexican.”


Side A
A1.  Compromise  (6:39)
A2.  Sidewalk Talk   (Vocals – Madonna (6:06)
A3.  Dancing On The Fire  (6:30)

Side B
B1.  Was Dog A Doughnut  (7:59)
B2.  The Mexican  (8:44)


Companies, etc.




Release:  1984
Format:  LP
Genre:  Electronic, Freestyle
Label:  EMI Records
Catalog#  1A K062-2003916

Vinyl:  Excellent
Cover:  Excellent


Al Stewart – 24 Carrots (1980) – Lp

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24 Carrots is the ninth studio album by Al Stewart, released in 1980. This was Stewart’s first album with his new band Shot in the Dark. Tracks 1-4 are co-written with Peter White. The single “Midnight Rocks” reached the top 30 on the Billboard charts in 1980, reaching #24. Two other singles were released from the album: “Mondo Sinistro” and “Paint By Numbers”.

The pun of the title of 24 Carrots — the first overt signal of humor Al Stewart has displayed in years, possibly ever — illustrates that a lot has changed since 1978’s Time Passages. The loosening of his wit is perhaps the most evident, but the most significant is the departure of producer Alan Parsons, who collaborated with Stewart on his mid-’70s triptych of masterpieces. In truth, 24 Carrots isn’t far removed from those high points, because he is indeed still writing at a remarkably consistent pace. No, this record isn’t quite at the high standard of the previous three albums, but it does have a number of brilliant moments, from the opening “Running Man” through the silly but effective “Mondo Sinistro” and the gorgeous “Midnight Rocks.”

Though there are some songs that don’t quite click (something that did not happen on the aforementioned trio), overall the record coheres nicely, thanks not just to the uniform classiness of Stewart‘s songs, but to his production with Chris Desmond. Although the production does hint at the antiseptic cleanliness that sank many of his latter-day recordings, here, it is just a perfect balance of audio precision and elegant studiocraft. Despite its occasional missteps, it still is a fine record, a fitting, wistful coda to Stewart‘s classic period.


Side A
A1.  Running Man  (5:10)
A2.  Midnight Rocks  (4:00)
A3.  Constantinople  (4:50)
A4.  Merlin’s Time  (2:42)
A5.  Mondo Sinistro  (3:04)

Side B
B1.  Murmansk Run / Ellis Island  (7:17)
B2.  Rocks In The Ocean  (5:15)
B3.  Paint By Numbers  (5:30)
B4.  Optical Illusion  (3:27)



  • Al Stewart – Vocals, Acoustic Guitar, Electric Guitar, Synthesizer


Shot in the Dark

  • Peter White – Keyboards, Acoustic Guitar, Electric Guitar
  • Adam Yurman – Electric Guitar, Backing Vocals
  • Robin Lamble – Bass Guitar, Backing Vocals, Acoustic Guitar, Percussion
  • Krysia Kristianne – Backing Vocals
  • Bryan Savage – Alto Saxophone, Flute


Additional Musicians


Release: 1980
Format: LP
Genre: Soft Rock
Label: RCA Records
Catalog# PL-25306
Prijs: €10,00

Vinyl: Excellent
Cover: Excellent


Jermaine Jackson – Let Me Tickle Your Fancy (1982) – Lp

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Let Me Tickle Your Fancy is the ninth studio album by Jermaine Jackson, released in 1982. It was his final album for Motown Records.

‘Let Me Tickle Your Fancy’ is one of Jermaine Jackson’s most consistent sets. There may not be any actual classic songs here but the album does provide a lot of variety in the shape of the, quirky, synth pop/funk opening title track single (featuring Devo – 7″ mix here), the more typical, stretched out disco club track (and single) ‘Very Special Part’, the ‘annoyingly’ catchy, ‘Uh, Uh, I Didn’t Do It’ and the radio friendly pop/soul ballad (and U.K single), ‘You Moved A Mountain’…

All of the above cuts are good but none quite manage to cross the line that says ‘essential’ and I guess thats why neither the singles nor the album did much here in the U.K. at the time of release in 1982. This said, if you like Jermaine’s popular ‘Let’s Get Serious’, ‘Burnin’ Hot’, ‘You Like Me Don’t You’ period this is an album you should add to your collection. I would not quite go as far as to say that its an ‘undiscovered gem’ from the period but there isn’t a single duff track so its well worth a listen.

“Running” was typical of the late ‘70s funk of The Brothers Johnson while the title song was R&B’s take on new wave. While prince had done it years before, Jermaine’s soul wave via Devo was popular enough to create a sonic template for early ‘80s mainstream electrofunk.

There was of course the classic Jacksonesque funk of “There a Better Way” and “This Time”. Adult contemporary, then a popular genre is represented with “You Belong To Me” and “You Moved a Mountain” was a sad as Micheal’s “Ben”.


Side A
A1.  Let Me Tickle Your Fancy  (3:50)
A2.  Very Special Part  (6:32)
A3.  Uh, Uh, I Didn’t Do It  (4:29)
A4.  You Belong To Me  (4:02)
A5.  You Moved A Mountain  (4:22)

Side B
B1.  Running  (4:15)
B2.  Messing Around  (4:27)
B3.  This Time  (4:17)
B4.  There’s A Better Way  (4:11)
B5.  I Like Your Style  (4:59)



  • Jermaine Jackson – vocals, keyboards, bass, synthesizer, percussion, backing vocals
  • Paul M. Jackson, Jr. – guitar, bass
  • Nathan East, Tal Hawkins – bass
  • Ronnie Foster, Denzil Miller – keyboards
  • Arnold Ramsey, James Gadson, Jonathan Moffett, Ollie E. Brown – drums
  • Godfrey Watson, Karen Jackson, Randy Jackson – percussion
  • Adonis Hampton, Gonzales Ozen, Marti McCall, Stephanie Spruill – backing vocals
  • Monica Pege, Spud and Pud Devo – backing vocals on “Let Me Tickle Your Fancy”
  • Denzil Miller, Jermaine Jackson, John McClain, Paul M. Jackson, Jr. – rhythm arrangements
  • Gene Page, George Del Barrio – string arrangements
  • Benjamin Wright, Jermaine Jackson, Jerry Hey, John McClain – horn arrangements




Release: 1982
Format: LP
Genre: Soul
Label: Motown Records
Catalog# 542026
Prijs: €10,00

Vinyl: Excellent
Cover: Excellent


Peter Koelewijn – Het Beste In Mij Is Niet Goed Genoeg Voor Jou (1977) – Lp

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Peter Cornelis Koelewijn (Eindhoven, 29 december 1940) is een Nederlands zanger, producent en radio-dj. Vanaf de jaren zestig heeft hij regelmatig hits gescoord, als uitvoerend artiest en als producent van het uitvoerend werk van andere artiesten.

Naast zanger werkte Koelewijn ook als producent en diskjockey. Ook was hij in de vroege jaren zeventig diskjockey bij de Nederlandstalige programma’s van Radio Luxembourg, samen met Felix Meurders. Hij produceerde voor onder meer Ria Valk, Nico Haak, Willeke Alberti, Bonnie St. Claire, Ciska Peters, Herman van Keeken, Louis Neefs en Ronnie Tober.

In 1977 bracht hij zijn veelgeprezen solo-album Het Beste In Mij Is Niet Goed Genoeg Voor Jou uit, waarop hij voor het eerst sterk persoonlijke liedjes had gezet. Bekende nummers van deze plaat zijn KL 204 (Als ik God was) en Je Wordt Ouder Papa.


Side A
A1.  Dan Een Mooie Huid Alleen  (7:05)
A2.  KL 204 (Als Ik God Was)  (5:04)
A3.  Zie Je  (4:24)
A4.  Je Wordt Ouder Pappa  (4:20)
A5.  Is Dit Alles (5:35)

Side B
B1.  Ik Kan Je Missen  (6:57)
B2.  Hotel Faro (De Eenzame Drinker En De Ijskoude Dame)  (4:25)
B3.  Ik Denk Dat Ik Niet Lang Meer Te Leven Heb  (6:28)
B4.  Het Beste In Mij, Is Niet Goed Genoeg Voor Jou   (7:35)


Companies, etc.




Release:  1977
Format:  LP
Genre:  Nederpop
Label:  Philips Records
Catalog#  641300
Prijs:  €10,00

Vinyl:  Excellent
Cover:  Excellent


Rickie Lee Jones – Pirates (1981) – Lp

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Pirates is the second album by Chicago-born singer, songwriter, and musician Rickie Lee Jones, released in July 1981, two years after her eponymous debut Rickie Lee Jones. The album is partially an account of her break-up with fellow musician Tom Waits after the success of her debut album. The cover is a 1976-copyrighted photo by Brassaï.

Initial recording for Pirates began in January 1980, with the live recordings for “Skeletons” and “The Returns” from January 30 from these sessions kept on the final album. In the same month, Jones picked up a Grammy Award for Best New Artist.

Jones came to album sessions at Warner Bros. Recording Studios in North Hollywood with five songs, which were recorded and arranged in a two-month spurt in early 1980 before Jones was given an extended break for further writing. Album sessions reconvened in November 1980 and concluded in April 1981, three months before the album release.

All songs were copyrighted on June 9, 1980, as well as “Hey Bub”, which was omitted from the album release, except for “Living It Up” and “Traces of the Western Slopes”, copyrighted in July 1981, at the time of the album release.

Jones relocated to New York City after her split from Tom Waits, and soon set up home with a fellow musician, Sal Bernardi from New Jersey, whom she had met in Venice, California in the mid-1970s, writing in their apartment in Greenwich Village. Bernardi, who had been referenced in the lyrics to “Weasel and the White Boys Cool” from her debut, was to become a frequent collaborator with Jones, and they composed the epic eight-minute suite “Traces of the Western Slopes” together.

Jones started writing the first songs from the album – “Hey Bub” (unreleased until 1983), “We Belong Together” and “Pirates” – in the autumn of 1979.

Elsewhere, the music on Pirates is often cinematic, with influences ranging from Leonard Bernstein to Bruce Springsteen and Laura Nyro. The album is more musically ambitious than its predecessor, and explores elements of jazz, R&B, bebop, pop and Broadway, with multiple changes in tempo and mood within most songs.

All songs written and composed by Rickie Lee Jones, except when noted:

“We Belong Together”

“Living It Up”
One of the last songs recorded for Pirates, “Living It Up” details the lives of a succession of bohemian street characters, with Jones introducing Louie, Eddie, and the down-and-out teenage domestic violence victim Zero. Jones’ jaunty piano melody is embellished by sweeps of orchestration, lavish vocal harmonies, and tempo changes.


“Woody and Dutch on the Slow Train to Peking” (Jones, David Kalish)
Co-written with David Kalish, this is a bebop tribute to 1950s R&B icons, with a finger-snapping guitar riff and an in-studio male vocal chorus. It is one of the album’s most upbeat songs and one of the few not to feature significant tempo/rhythm changes. The rhythm of the song is driven by a funk style bass line played by Chuck Rainey and percussion boxes and thighs played by Steve Gadd.

“Pirates (So Long Lonely Avenue)”
Another ode to Waits, this references “rainbow sleeves” in its lyrics; Waits’ song “Rainbow Sleeves” was later to be recorded by Jones on her EP album Girl at Her Volcano. The song begins jauntily with a jazz horn melody before the horns fade out, making a return for the coda.

“A Lucky Guy”

“Traces of the Western Slopes” (Sal Bernardi, Jones)
Co-written with then-boyfriend Sal Bernardi, this is an eight-minute epic again detailing bohemian nightlife and referencing Edgar Allan Poe.

“The Returns”
A soft, simple ending delivered solo on piano with a string arrangement, much like the closer to the previous album, “After Hours”. It is also the album’s shortest composition.


Side A
A1.  We Belong Together  (4:59)
A2.  Living In Up  (6:23)
A3.  Skeletons  (3:37)
A4.  Woody And Dutch On The Slow Train To Peking  (5:15)

Side B
B1.  Pirates (So Long Lonely Avenue)  (3:50)
B2.  A Lucky Guy  (4:14)
B3.  Traces Of The Western Slopes  (8:00)
B4.  The Returns  (2:20)



  • Loyd Clifft, Mark Linett – engineer
  • Mike Salisbury – cover design
  • Brassaï – front cover photography


Release:  1981
Format:  LP
Label:  Warner Bros. Records
Catalog#  WB 56816
Prijs:  €10,00

Vinyl:  Excellent
Cover:  Excellent


Santana – Shango (1982) – Lp

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Shangó is the thirteenth studio album by Santana.

Carlos Santana once likened his penchant for exploring different musical genres to a mountain climber’s obsession with mountains. So long as part of a mountain range — or the musical equivalent — lies uncharted, there remains a challenge to be met. Over the course of fourteen albums, Santana and the various versions of his band have indeed explored many areas of contemporary music. The music on Shangó, much like the group’s 1981 smash, Zebop!, ranges from Latino chants and instrumentals to near-jazz — here, with a bit more synthesized polish to it — to rock, including an upbeat cover of Junior Walker’s “What Does It Take (to Win Your Love).” As usual, the percussion section churns impeccably and Santana’s guitar-playing shines.

There is a cost to Carlos Santana’s eclecticism, however, and it is evident on Shangó. Precisely because he has chosen no distinct stylistic route for his band, the music often lacks distinction altogether. At times, in fact, the playing seems so formulaic Santana could easily be mistaken for one of the faceless bands that now dominate the airwaves. Santana may be winning new fans and airplay with this sort of musical potpourri, but he’s not reaching any new musical peaks.

“The Nile” is a strong,bluesy rocker to open the album. “Hold On” is a well crafted and produced post disco funky pop number-reminiscent of Stanley Clarke’s Let Me Know You album of the same year,on which Carlos himself appeared. “Night Hunting Time” is a stark,electric piano led groove-a perfect example of nighttime funk and one of my personal favorites here. “Nowhere To Run” was the hit here,a shuffling synthesized new wave type song with highly spirited craft about it. “Nuava York” maintains that new wave synthesizer element on a classic style Santana band instrumental. “Oxun (Oshun)” is another favorite of mine-a catchy Afro Pop tune with a wonderfully mystical lyric. “Body Surfing” is probably my favorite here-adapting the cleanly played mainstream pop/new wave sound of the Police with its glassy guitars and spirited dance/rock chorus.

On a version of Jr.Walker & The All Stars “What Does It Take”,Baker’s electric pianos play a counter melody that brings out the Hall & Oates style rock n soul side of Santana wonderfully. “Let Me Inside” is a heavy funk groove-maybe heavier then their late 70’s grooves and very naked and stripped down-slower than his but workable for the Prince audience. “Warrior” goes into the classic Santana mode before ending with the brief African styled title song. Very much in the spirit of jazz greats like Duke Ellington, Carlos Santana showcased an ability to update a basic instrumental framework with contemporary musical elements on this album. And its an approach he never abandoned.


Side A
A1.  Hold On  (4:54)
A2.  Night Hunting Time  (4:42)
A3.  Nowhere To Run  (3:58)
A4.  Nueva York  (4:57)

Side B
B1.  Oxun (Oshun)  (4:12)
B2.  Body Surfing  (4:25)
B3.  What Does It Take (To Win Your Love)  (3:24)
B4.  Let Me Inside  (3:31)
B5.  Warrior  (4:21)
B6.  Shango  (1:41)



  • Bill Szymczyk – arranger, engineer, mixing, producer
  • John Ryan – arranger, producer
  • John Fell Ryan – producer
  • Jim Gaines – engineer
  • Will Herold – engineer
  • Ben King – engineer
  • Maureen Droney – assistant engineer
  • Ray Etzler – director
  • Ted Jensen – mastering
  • Richard Stutting – art direction, design
  • Guido Harari – photography


Release:  1982
Format:  LP
Genre:  Latin Rock
Label:  CBS Records
Catalog#  85914
Prijs:  €10,00

Vinyl:  Excellent
Hoes:  Excellent

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