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Alphaville – Forever Young (1984) – Lp

Alphaville is a German synthpop/new wave band which gained popularity in the 1980s. The band was at first named “Forever Young” before being changed to “Alphaville”.












Artist:  Alphaville
Title:  Forever Young
Year: 1984
Format:  LP
Label:  WEA Records
Catalog# 240481-1
Price:  € 10,00

The founding members were lead singer Marian Gold (real name: Hartwig Schierbaum, born 26 May 1954 in Herford), Bernhard Lloyd (real name: Bernhard Gössling, born 2 June 1960 in Enger), and Frank Mertens (real name: Frank Sorgatz, born 26 October 1961 in Enger).

Alphaville‘s 1984 debut, Forever Young, deserves to be viewed as a classic synth pop album. There’s no doubting that Germans are behind the crystalline Teutonic textures and massive beats that permeate the album, but vocalist Marian Gold‘s impressive ability to handle a Bryan Ferry croon and many impassioned high passages meant the album would have worldwide appeal. Indeed both “Big in Japan” and the touching, sad change-of-pace “Forever Young” raced up the charts in multiple continents. Borrowing inspiration from Roxy Music‘s detached theatricality and Kraftwerk‘s beats and rhythms, Gold and company hit upon a magic formula that produced here an album’s worth of impossibly catchy tunes that could almost serve as pure definitions for the synth pop genre. The hits race straight for one’s cranium and embed themselves upon impact. “Big in Japan” feels like a more serious cousin to Murray Head‘s “One Night in Bangkok,” as a slow-pounding beat spars with Gold‘s desperate voice. “Forever Young,” a stark, epic song that would become essential for every post-1984 high school graduation, drips sadness and never fails to cause a listener to nostalgically reflect on life and loss. Outside of these hits, the remainder of the songs rarely falter, mixing emotion, theater, and of course electronics into a potent, addictive wave of synth euphoria. It’s likely every fan could pick his own favorite of the other should-have-been-hits, but “Fallen Angel” deserves special mention. It begins with spooky, funny warbling and icy keyboards, and then explodes and transforms into a startling, romantic epiphany at the chorus. If its lyrics are a bit goofy or juvenile, it only adds to the heartfelt love the song expresses. Alphaville stick firmly to their synths and sequencers on Forever Young, but they keep things interesting by incorporating motifs from funk, Broadway, Brazilian jazz, and even hip-hop. Even when the band takes itself too seriously, the songs’ catchy drive and consistently smart production cover any thematic holes. Forever Young is a technically perfect and emotionally compelling slice of 1980s electronic pop/rock music. It’s also a wonderfully fun ride from start to finish.


Side one
1. A Victory Of Love   (4:14)
2. Summer In Berlin   (4:42)
3. Big In Japan   (4:43)
4. To Germany With Love  (4:19)
5. Fallen Angel   (3:55)

Side two
1. Forever Young   (3:45)
2. In The Mood   (4:29)
3. Sounds Like A Melody   (4:42)
4. Lies  (3:32)
5. The Jet Set   (4:52)


Survivor – Eye Of The Tiger (1982) – Lp

Survivor is an American rock band formed in Chicago in 1978 by guitarist/songwriter Jim Peterik. The band achieved its greatest success in the 1980s, producing many charting singles, especially in the United States. The band is best known for its double platinum-certified 1982 hit “Eye of the Tiger“, the theme song for the motion picture Rocky III.












Artist:  Survivor
Title:  Eye Of The Tiger
Year:  1982
Format:  LP
Label:  Scotti Brothers
Catalog#  CX 85845
Price:  €10,00

1982 was an interesting year for mainstream rock. Listeners were still a few years away from the chart-topping pop-metal bands, and a few years removed from the oft-indulgent ’70s rock era. As a result, people were left with an era that was mostly populated by bands that wore headbands and largely modeled their sound after Foreigner. In other words — bands that attempted to appeal to both the pop and rock audiences, by combining arena-worthy choruses and tough guitar riffs, topped off with a healthy scoop of melody. A perfect example would be Survivor, and their third release overall, Eye of the Tiger. With the group’s first two releases barely causing a ripple on the charts, it was Tiger that catapulted the band to the top, thanks to the chart-topping title track, which was used as the theme song to the hit movie Rocky III the same year. Despite this, the Eye of the Tiger album is often overlooked, even though it almost topped the charts as well (peaking at number two). The reason for this was that while the group managed to appeal to both aforementioned audiences — as evidenced by the Zeppelin-esque “Hesitation Dance” and the power ballad “I’m Not That Man Anymore” — nothing here really scales the same height as the title track. But as a memento of mainstream rock circa the early ’80s, Eye of the Tiger is a faithful snapshot.


Side one
1. Eye Of The Tiger  (4:05)
2. Feels Like Love  (4:07)
3. Hesitation Dance  (3:51)
4. The One That Really Matters  (3:31)
5. I’m Not That Man Anymore  (4:47)

Side two
1. Children Of The Night  (4:45)
2. Ever Since The World Began  (3:45)
3. American Heartbeat  (4:09)
4. Silver Girl  (4:52)


Santana – Moonflower (1977) – 2Lp

Santana is an American Latin rock band formed in San Francisco, California in 1966 by Mexican-American guitarist Carlos Santana.












Artist:  Santana
Title:  Moonflower
Year:  1977
Format:  2LP
Label:  CBS Records
Catalog#  88272

Moonflower is a studio and live double album by Santana, released in 1977. The recording features both studio and live tracks, which are interspersed with one another throughout the album. It is perhaps the group’s most popular live album, because Lotus did not receive a U.S. domestic release until the early 1990s. It displays a mix between the fusion of Latin and bluesrock styles of the late 1960s and early 1970s, and the much more experimental and spiritual jazz fusion sound that characterized the band’s mid-1970s work. The live material was recorded during the supporting tour for the Festival album, which displayed a similar mix of styles, and many of the album’s songs are featured here – namely, the three song medley which opens Festival.

As a live record, this is a decided retrogression from Lotus: there is no sense of a coherent set here, and the programming all too frequently sounds like it resulted from a greatest-hits mentality. There are a few tremendous moments, but not enough to sustain momentum over the four sides. So the package is masked with several studio tracks stuck at the beginning of each side to take the pressure off the live material. This seems shoddy and deceptive, mere filler saved only by the band’s graceful playing.

Keyboardist Tom Coster continues to be the band’s hidden leader, playing alternately fiery and lyrical solos and fills on ten different instruments. His interplay with Carlos’ gutsier guitar tone is occasionally breathtaking, and he steals the show when he solos over relentless Latin percussion backing. Such moments of transcendence as at the end of “Dance with Me” make me long for the purposefulness and integrity the band achieved on Lotus. The musicians deserve that kind of presentation, but they have to fight for it, not mask their purpose beneath a patchwork like Moonflower.

A cover version of the Zombies‘ mid-1960s hit song “She’s Not There” was released as a single and peaked at #27


Side one
1.  Dawn/Go Within (2:44) (studio)
2.  Carnaval (2:17) (live)
3.  Let the Children Play (2:37) (live)
4.  Jugando (2:09) (live)
5.  I’ll Be Waiting (5:20) (studio)
6.  Zulu (3:25) (studio)

Side two
1.  Bahia (1:37) (studio)
2.  Black Magic Woman/Gypsy Queen (6:32) (live)
3.  Dance Sister Dance (Baila Mi Hermana) (7:45) (live)
4.  Europa (Earth’s Cry Heaven’s Smile) (6:07) (live)

Side three
1.  She’s Not There (4:09) (studio)
2.  Flor d’Luna (Moonflower) (5:01) (studio)
3.  Soul Sacrifice/Head, Hands & Feet (14:01) (live)

Side four
1.  El Morocco (5:05) (studio)
2.  Transcendence (5:13) (studio)
3.  Savor/Toussaint L’Overture (12:56) (live)


Maggie MacNeal – Maggie MacNeal (1976) – Lp

Maggie MacNeal, geboren als Sjoukje Lucie van ’t Spijker, later Sjoukje Smit genaamd (Tilburg, 5 mei 1950) is een Nederlands zangeres. Van 1971 tot en met 1974 vormt ze samen met Willem Duyn het duo Mouth & MacNeal.












Artist:  Maggie MacNeal
Title:  Maggie MacNeal
Year:  1976
Format:  LP
Label:  Warner Bros. Records
Catalog#  56290
Price:  €10,00

Maggie MacNeal start een solo-carrière en bewijst dat ze ook zonder Mouth goed op eigen benen kan staan.
In 1975 begint MacNeal, samen met haar man Frans Smit, een band: de Maggie MacNeal Band. Na de single “Nothing else to do” wordt “When you’re gone” uitgebracht en het nummer bereikt de derde plaats in de Top 40 en de vierde plaats in de Nationale Hitparade. In Brazilië wordt het een nummer 1-hit en wordt de single goud. De bijbehorende titelloze debuutplaat wordt met goud bekroond. De nummers: “When You´re Gone”, “Love Was In Your Eyes”,  “Make The Man Love Me” en Blackbird worden op single uitgebracht.


Side one
1.  Love Was In Your Eyes
2.  The Letter
3.  Dr. Brian
4.  Life Is Going On
5.  When You’re Gone

Side two
1.  Make The Man Love Me
2.  Blackbird
3.  From The Inside
4.  I Always Gave You Everything


Culture Club – Colour My Numbers (1983)

Culture Club are an English band that was formed in 1981. The band comprised Boy George (lead vocals), Roy Hay (guitar and keyboards), Mikey Craig (bass guitar) and Jon Moss (drums and percussion). They are considered one of the most representative and influential groups of the 1980s.












Artist:  Culture Club
Title:  Colour My Numbers
Year:  1983
Format:  LP
Label:  Virgin Records
Catalog# 205730
Price:   € 10,00

Colour by Numbers is the second album by the British new wave band Culture Club, released in October 1983. Preceded by the hit single “Karma Chameleon“, which reached number one in several countries.

Colour by Numbers was Culture Club‘s most successful album, and, undoubtedly, one of the most popular albums from the 1980s. Scoring no less than four U.S. hit singles (and five overseas), this set dominated the charts for a full year, both in the United States and in Europe. The songs were infectious, the videos were all over MTV, and the band was a media magnet. Boy George sounded as warm and soulful as ever, but one of the real stars on this set was backing vocalist Helen Terry, who really brought the house down on the album’s unforgettable first single, “Church of the Poison Mind.” This album also featured the band’s biggest (and only number one) hit, the irresistibly catchy “Karma Chameleon,” its more rock & roll Top Five follow-up “Miss Me Blind,” and the fourth single (and big club hit), “It’s a Miracle” (which also featured Helen Terry‘s unmistakable belting). Also here are “Victims,” a big, dark, deep, and bombastic power ballad that was a huge hit overseas but never released in the U.S., and other soulful favorites such as “Black Money” and “That’s the Way (I’m Only Trying to Help You),” where Boy George truly flexed his vocal muscles. In the 1980s music was, in many cases, flamboyant, fun, sexy, soulful, colorful, androgynous, and carefree, and this album captured that spirit perfectly. A must for any collector of 1980s music, and the artistic and commercial pinnacle of a band that still attracted new fans years later.


Side one
1.  Karma Chameleon  (4:11)
2.  It’s A Miracle  (3:25)
3.  Black Money  (5:19)
4.  Changing Every Day  (3:18)
5.  That’s The Way (I’m Only Trying To Help You)  (2:46)

Side two
1.  Church Of The Poison Mind  (3:29)
2.  Miss Me Blind  (4:31)
3.  Mister Man  (3:36)
4.  Stormkeeper  (2:47)
5.  Victims  (4:56)


Joe Jackson Band – Beat Crazy (1980) – Lp

David Ian “Joe” Jackson (born 11 August 1954) is an English musician and singer-songwriter. In 1978, a record producer heard Jackson’s demo tape and signed him to A&M Records. The next year the newly formed Joe Jackson Band.












Artist:  Joe Jackson Band
Title:  Beat Crazy
Year:  1980
Format:  LP
Label:  A&M Records
Catalog# AMLH 64837
Price:  € 10,00

Beat Crazy is the third album by Joe Jackson, released in October 1980, and credited to the Joe Jackson Band.

Joe Jackson expanded his power pop and punk m.o. with this, his reggae-tinged third album. Jackson sticks with the short songs and punk feel of his first two releases, but strategically adds rocksteady and jazz elements here and there. A direct reggae influence is heard on such dub-style cuts like “In Every Dream Home,” while more of a pastiche approach is evident on tracks like “Mad at You.” Jackson even riffs off of Linton Kwesi Johnson‘s dub poetry sides with the dancefloor politics of “Battleground,” while also laying down some straight ska on “Pretty Boys.” One also gets intimations of the sophisticated jazz-pop songwriting of Night and Day with torching gems like “One to One.” As is the case on most of his albums, Jackson covers a wide array of topics here, including modern relationships, feminism, club life, and the social fringe. A solid effort.


Side one
1. Beat Crazy (4:15)
2. One to One (3:22)
3. In Every Dream Home (A Nightmare) (4:30)
4. The Evil Eye (3:46)
5. Mad at You (6:02)

Side two
1. Crime Don’t Pay (4:25)
2. Someone Up There (3:47)
3. Battleground (2:33)
4. Biology (4:31)
5. Pretty Boys (3:41)
6. Fit (4:43)


Mink Deville – Coupe De Grace (1981) – Lp

Mink DeVille (1974–86) was a rock band known for its association with early punk rock bands at New York’s CBGB nightclub and for being a showcase for the music of Willy DeVille












Artist:  Mink Deville
Title:  Coupe De Grace
Year:  1981
Format:  LP
Label:  Atlantic Records
Catalog# ATL 50833

Coup de Grâce, issued in 1981, is the fourth album by the rock band Mink DeVille. The album represented a departure for the band, as frontman Willy DeVille dismissed the only other remaining original member of the band, guitarist Louis X. Erlanger, and hired Helen Schneider‘s backup band (“The Kick”) to record the album. Moreover, the album was recorded for Atlantic (Mink DeVille had previously recorded with Capitol).

While Willy DeVille was trying to perfect his blend of roots rock, fiery punk energy, and the heart-rending ballad style that established vocalists such as Ben E. King and Clyde McPhatter, he went through a few changes. Mink DeVille‘s previous recording, Le Chat Bleu, had opened the door to DeVille being as fine a ballad singer as any. Along with the Doc Pomus ballads there were a few rockers, and the seeds were sewn for the band to pursue this direction, with Willy DeVille stepping more and more out front as an enigma. The combination of DeVille and Jack Nitzsche brought the early rock and soul vibe deep into the heart of Coup De Grace. Louis Cortelezzi and Kenny Margolis provided the sound of the Jersey Shore and Coney Island on saxophone, keyboard and accordion and swirled around DeVille‘s and Rick Borgia‘s guitars, undercut by Tommy Price‘s drums. The band’s sound combined with Nitzsche‘s timeless production style thatr, combined with his singing voice, created a rock & roll purer than even Bruce Springsteen‘s in 1981. The evidence is on the anthems “Maybe Tomorrow,” the slippery doo wop feel of “Love & Emotion,” and the devastating read of Arthur Alexander‘s “You Better Move On” that includes in its soulful Spanish stroll mix a pair of marimbas and the ever-lamenting accordion, that turns the track into something that is so deadly serious it could have been in West Side Story. This was Mink DeVille near their zenith as a recording unit.


Side one
1.  Just Give Me One Good Reason (3:17)
2.  Help Me Make It (Power of a Woman’s Love) (4:09)
3.  Maybe Tomorrow (2:56)
4.  Teardrops Must Fall (4:12)
5.  You Better Move On (3:00)

Side two
1.  Love & Emotion (3:40)
2.  So in Love Are We (3:42)
3.  Love Me Like You Did Before (3:15)
4.  She Was Made in Heaven (2:59)
5.  End of the Line (2:49)


Jan Akkerman – Jan Akkerman (1977) – Lp

Jan Akkerman (Amsterdam, 24 december 1946) is een Nederlands gitarist en luitist. Hij vormde in de jaren zeventig samen met Thijs van Leer de kern van de Nederlandse progressieve rockgroep Focus en werd in 1973 door lezers van het Engelse muziektijdschrift Melody Maker uitgeroepen tot beste gitarist ter wereld. Sinds zijn vertrek uit Focus heeft Akkerman een solocarrière, met begeleidingsbands in diverse samenstellingen.












Artist:  Jan Akkerman
Title:  Jan Akkerman
Year:  1977
Format:  LP
Label:  Atlantic Records
Catalog#  ATLN 50420
Price:  €10.00

Jan Akkerman is een instrumentaal muziekalbum van Jan Akkerman uit 1977. Het is de opvolger van Eli dat hij een jaar eerder uitbracht met de zanger Kaz Lux.

Een prima plaat van Jan Akkerman. Favorieten: Crackers, Pavane en Skydancer. Maar de rest mag er ook zijn. Mooi gitaarwerk, en een prima aanvulling op de toetsen van Joachim Kuhn.


Side one
1.  Crackers   (4:19)
2.  Angel Watch   (9:50)
3.  Pavane   (5:31)

Side two
1.  Streetwalker   (6:59)
2.  Skydancer   (5:13)
3.  Floatin’   (5:13)
4.  Gate to Europe   (3:02)


Yazoo – Upstairs At Eric´s (1982) – Lp

Yazoo  were a British synthpop duo from Basildon, Essex, England, consisting of former Depeche Mode member Vince Clarke (keyboards) and Alison Moyet (vocals).












Artist:  Yazoo
Title:  Upstairs At Eric´s
Year:  1982
Format:  LP
Label:  MUTE Records
Catalog#  540037
Price:  € 10,00

Upstairs at Eric’s is the debut album by British synthpop duo Yazoo (known in the US and Canada as Yaz), released in the UK on Mute Records on 20 August 1982. It was produced by the band and E.C. Radcliffe, with assistance from Mute label boss Daniel Miller on some of the tracks. Named after producer Radcliffe’s Blackwing Studios where the album was recorded, Upstairs at Eric’s was preceded by two top three UK singles, the ballad “Only You” and the more uptempo “Don’t Go“.

Vince Clarke can claim involvement in two stunning debuts in only two years: Depeche Mode‘s Speak and Spell and Yaz‘s Upstairs at Eric’s. While Speak and Spell is, by far, the more consistent record, Upstairs at Eric’s is wholly more satisfying, beating the Depeche record on substance and ambition, and is light years ahead in emotion. “Don’t Go” and “Situation” are absolutely killer with Clarke‘s bubbling synth and singer Alison Moyet‘s bluesy and powerful delivery. They’re both rightful dance floor staples, and have since undergone numerous remixes, both official and bootleg. “Bring Your Love Down (Didn’t I)” is just as good a thumper, adding a wonderful mumbled bridge that shows how much Clarke enjoyed messing with pop music. The softer “Only You” would have sounded silly and robotic if it had appeared on Speak and Spell, but Moyet‘s vocals makes it bittersweet and engaging. The clumsier experimental tracks make most people head for the hits collection, but to do so would be to miss the album’s great twist. The loony tape loop of “I Before E Except After C,” the skeletal “Winter Kills,” and a disruptive phone call in the middle of the naïve “Bad Connection” offer up more complex and intimate moments. Like its curious cover, Upstairs at Eric’s presents a fractured, well-lit, and paranoid urban landscape.


Side one
1.  Don’t Go  (3:08)
2.  Too Pieces  (3:14)
3.  Bad Connection  (3:20)
4.  I Before E Except After C  (4:36)
5.  Midnight  (4:22)
6.  In My Room  (3:52)

Side two
1.  Only You  (3:14)
2.  Goodbye 70’s  (2:35)
3.  Tuesday  (3:22)
4.  Winter Kills  (4:06)
5.  Bring Your Love Down (Didn’t I)  (4:40)


Ultravox – Rage In Eden (1981) – Lp

Ultravox are a British new wave band, formed in London in 1973 as Tiger Lily. The band has been led by two different frontmen who never played together in the band at the same time. From 1974 until 1979, singer John Foxx was frontman and the main driving force behind Ultravox, Midge Ure took over as lead singer, guitarist and frontman in 1980.












Artist:  Ultravox
Title:  Rage In Eden
Year:  1981
Format:  LP
Label:  Chrysalis Records
Catalog#  203958
Price:  € 10,00

Rage in Eden is the fifth album by Ultravox. It was released in 1981 on Chrysalis.

Following on from the success of Vienna, Ultravox cemented their position as a New Romantic phenomenon with their follow-up, 1981’s Rage in Eden. The martial beats and political undertones of “The Thin Wall” single acted as a potent taster for the album, to be joined in the U.K. Top 20 by the even more powerful message of “The Voice.” The latter song opened the album, but nothing that followed equaled its strength, its sequencing a flaw in an otherwise excellent set. That said, propulsive numbers like “We Stand Alone” and “I Remember (Death in the Afternoon),” the rebellious angst of “Accent on Youth,” the exotic strains of “Stranger Within,” and the haunting “Your Name Has Slipped My Mind Again” all contained their own power. And even if the instrumental “The Ascent” harkened back to “Vienna,” it was obvious that with Eden, Ultravox was climbing to grand new heights.


Side one
1.  The Voice  (6:00)
2.  We Stand Alone  (5:37)
3.  Rage In Eden  (4:11)
4.  I Remember (Death In The Afternoon)  (4:56)

Side two
1.  The Thin Wall  (5:38)
2.  Stranger Within  (7:26)
3.  Accent On Youth  (5:57)
4.  The Ascent  (1:10)
5.  Your Name (Has Slipped My Mind Again)  (4:28)

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