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Amigos is the seventh studio album by Santana. It generated a minor U.S. hit single in “Let It Shine” and was the band’s first album to hit the top ten on the Billboard charts since Caravanserai in 1972 (it ultimately reached gold record status). In Europe, the song “Europa” was released as a single and became a top ten hit in several countries.
By the release of Amigos, the Santana band’s seventh album, only Carlos Santana and David Brown remained from the band that conquered Woodstock, and only Carlos had been in the band continuously since. Meanwhile, the group had made some effort to arrest its commercial slide, hiring an outside producer, David Rubinson, and taking a tighter, more up-tempo, and more vocal approach to its music. The overt jazz influences were replaced by strains of R&B/funk and Mexican folk music. The result was an album more dynamic than any since Santana III in 1971. “Let It Shine” (number 77), an R&B-tinged tune, became the group’s first chart single in four years, and the album returned Santana to Top Ten status.
New vocalist Greg Walker joined the group. It would be the last Santana album to include original bassist David Brown.
A1. Dance Sister Dance (Baila Mi Hermana) (8:20)
A2. Take Me With You (5:25)
A3. Let Me (5:08)
B1. Gitano (6:12)
B2. Tell Me Are You Tired (5:44)
B3. Europa (Earth’s Cry Heaven’s Smile) (5:08)
B4. Let It Shine (6:18)
Genre: Latin Rock
Label: CBS Records
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Women and Children First is the third studio album by American hard rock band Van Halen, released on March 26, 1980 on Warner Bros. Records. Produced by Ted Templeman, it was the first to feature compositions written solely by the band, and is described by critic Stephen Thomas Erlewine as “[the] record where the group started to get heavier, both sonically and, to a lesser extent, thematically.”
After two pure party albums, the inevitable had to happen: it was time for Van Halen to mature, or at least get a little serious. And so, Women and Children First, a record where the group started to get heavier, both sonically and, to a lesser extent, thematically, changing the feel of the band ever so slightly. Where the first two records were nothing but nonstop parties, there’s a bit of a dark heart beating on this record, most evident on the breakneck metal of “Romeo Delight,” but also the pair of opening party anthems, “And the Cradle Will Rock” and “Everybody Wants Some!!,” which don’t fly quite as high as “Dance the Night Away” or “Runnin’ with the Devil” because of the tense, roiling undercurrents in Eddie‘s riffs, especially the thudding, circular keyboard riff propelling “And the Cradle Will Rock.” The very fact that a keyboard drives this song, not a guitar, is a signal of Eddie‘s burgeoning ambition (which would soon become inseparable from his desire for respectability), and there are already some conflicts between this somber musicality and David Lee Roth‘s irrepressible hunger for fun. Where that tension would eventually tear the band apart, here it just makes for compelling music, adding richness and depth to this half-hour blast of rock & roll. This is the first Van Halen album to consist entirely of original material and there’s some significant growth here to the writing, evident in the winding, cynical neo-boogie “Fools” and also in the manic “Loss of Control,” which gallops by with the ferocity of hardcore punk. These, along with all previously mentioned songs, are the heaviest music Van Halen has made (or would ever make), but as the album rushes toward the end Diamond Dave pulls them toward his country-blues jive fixation with “Take Your Whiskey Home” and the all-acoustic “Could This Be Magic?” giving the album a dose of levity that is welcome if not necessarily needed. Then, before the album comes a close, the band unleashes its first stab at a power ballad with “In a Simple Rhyme,” where the group’s attempts at melodic grace are undercut by their compulsion to rock. This may not make for a full-fledged power ballad, but this tension between the two extremes — by their increasing songcraft and their unhinged rock & roll — makes for dynamic music, and captures all the contrasting glories of the album in one song.
1. And The Cradle Will Rock (3:31)
2. Everybody Wants Some!! (5:05)
3. Fools (5:55)
4. Romeo Delight (4:19)
1. Tora! Tora! (0:57)
2. Loss Of Control (2:36)
3. Take Your Whiskey Home (3:09)
4. Could This Be Magic (3:09)
5. In A Simple Rhyme (4:33)
Label: Warner Bros. Records
Catalog# WB 56793
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The Meteors was een Nederlandse rockband die in hoofdzaak actief was van 1977 tot 1982.
De groep werd in het najaar van 1977 opgericht door Ferdinand Bakker (gitaar), Job Tarenskeen (drums), die beiden in Alquin hadden gespeeld, en zanger en songwriter Hugo Sinzheimer (pseudoniem van Hugo Postma; hij gebruikte de naam van zijn moeder als artiestennaam). De eerste line up van de band bestond verder uit de Zweed Åke Danielson (keyboards), John Vee (pseudoniem van Jan Voster, basgitaar) en Erik de Zwaan (gitaar). Tarenskeen, Vee en De Zwaan verlieten in 1979 de groep. De Engelsman Kim Haworth (drums) en Gerrit Veen (bas) namen hun plaats in. Veen werd later vervangen door Freddie Cavalli (pseudoniem van Fred van Kampen) en weer later door Dick Schulte Nordholt.
The Meteors bracht drie langspeelplaten uit. Teenage Heart (Bovema-Negram 1979) werd opgedragen aan Sylvia Kristel. Hierna volgden Hunger (Harvest 1980), en Stormy Seas (CNR 1982). In 2004 werd Teenage Heart Xtra uitgebracht, een heruitgave van het eerste album uit 1979 aangevuld met live-opnamen. In 2005 volgde een heruitgave van Hunger, eveneens aangevuld met live-opnamen. Behalve in Nederland zijn er album releases in onder meer Duitsland, Frankrijk, Japan, Groot-Brittannië en de Verenigde Staten. De muziek van The Meteors is verwant aan David Bowie, Bryan Ferry en Brian Eno. Dit is mede het gevolg van de zang van Hugo Sinzheimer en de bemoeienis van de Duitste producer Conny Plank, producer van onder meer Eno, Devo, Ultravox en Eurythmics. The Meteors speelde niet alleen veel in Nederland, maar ook België, Duitsland en Engeland. Er werd in het totaal ruim 400 keer opgetreden.
The Meteors was succesvol in het Nederlandse clubcircuit en hoorde tot een generatie rockbands die niet tot de punk maar meer tot de Nederlandse versie van de new-wave. Tot deze generatie behoorden onder meer ook Herman Brood & His Wild Romance, Phoney and the Hardcore, Vitesse, White Honey, Urban Heroes, The Spiderz, The Tapes, The Nits en Gruppo Sportivo.
Tussen The Meteors en Herman Brood & The Wild Romance bestonden van oudsher nauwe contacten. Sinzheimer leverde teksten en nummers (samen met Erik Strack van Schijndel) voor de albums Street en Shpritsz. En gitarist Erik de Zwaan en basgitaristen Veen en Cavalli hadden bij Brood gespeeld voor ze naar The Meteors kwamen.
Ondanks de pakkende nummers en het succes in de zalen wist de band nooit echt door te breken. De single It’s You, Only You (1979), kreeg veel aandacht op de radio, maar haalde slechts de Tipparade. Het nummer werd in 1983 opgenomen door Lene Lovich voor haar album No man’s land en werd een hit in de VS. In 2004 en 2005 kwam de band opnieuw bij elkaar ter gelegenheid van de heruitgave op cd van de twee elpees, Teenage Heart en Hunger.
De derde plaat Stormy Seas biedt dezelfde kwaliteit als de voorganger, maar opnieuw blijft brede erkenning uit. Om die reden valt de band eind 1982 dan ook uit elkaar. Schulte-Nordholt en Haworth gaan verder in respectievelijk Gruppo Sportivo en Time Bandits, waarin Åke Danielson reeds speelt na een kortstondig verblijf in Danny Lademacher’s Innersleeve. Ook de andere Meteors komen goed terecht. Jan Voster wordt fotograaf, Job Tarenskeen architect en Hugo Sinzheimer wordt – na het afronden van een studie kunstgeschiedenis – PR-manager van de Rotterdamse concertzaal De Doelen. https://www.bing.com/translator
A1. Stormy Seas (4:45)
A2. Pilot (3:00)
A3. Rockets (3:37)
A4. Baroness (3:10)
A5. Calypso – Link Part 1 (0:30)
A6. Cha No Yu (5:10)
B1. Satisfaction (3:40)
B2. Shoot Or Be Shot (4:19)
B3. Calypso – Link Part 2 (0:30)
B4. Waste Of Soul (4:13)
B5. Lions (4:00)
B6. Stormy Seas (Reprise) (1:35)
Genre: New Wave, Synth-pop
Label: CNR Records
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The Colour of Spring is Talk Talk‘s third album and was released in 1985.
Musically, The Colour of Spring was a major step away from the synthesised pop of early Talk Talk, with a greater focus on guitars, pianos, and organs on such songs as “Life’s What You Make It”, “Living in Another World” and “Give It Up”. It had a sound described by the band as much more organic than their earlier records, with the improvisation that was to dominate on their later works already apparent in the recording process.
With It’s My Life, Talk Talk proved that they could pull off an entire album of strong material. With The Colour of Spring, they took it one step further, moving to a near-concept song cycle, following the emotional ups and downs of relationships and pondering life in general. Musically, they built on the experimental direction of the previous album with interesting rhythms, sweeping orchestration, complex arrangements, and even a children’s chorus to create an evocative, hypnotic groove. Though the songs were catchier on the earlier efforts and the ambient experimentation was more fully achieved later on, The Colour of Spring succeeded in marrying the two ideas into one unique sound for their most thoroughly satisfying album.
The album cover was designed by James Marsh, who also designed the band’s other album covers.
A1. Happiness Is Easy (6:29)
A2. I Don’t Believe In You (5:00)
A3. Life’s What You Make It (4:26)
A4. April 5th (5:49)
B1. Living In Another World (6:54)
B2. Give It Up (5:15)
B3. Chameleon Day (3:19)
B4. Time It’s Time (8:07)
Genre: Post rock, Baroque Pop
Label: EMI Records
Catalog# 1A 062-240491-1
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Dream into Action is the second studio album by the British pop musician Howard Jones. It was released in March 1985 and reached No.2 in the UK Album Charts. The album also reached the top ten in the US. The album went gold and platinum in many countries including the US and UK.
To be sure Howard’s debut album Human’s Lib is among the greatest debut albums to come out of 80’s new wave. But this album changed the game plan for Howard Jones and did a lot for him career wise. Especially with the higher performance and longevity of it’s hits. Which is a little ironic since he spent much of his debut standing up for artistic freedom of expression and other humanistic concerns. Now of course all of that is still there. And in greater measure than before. For one thing it was clear on his heavily electronic flavored debut album Howard was also as influenced by jazz,funk and soul as Thomas Dolby. And if he was going to have commercial success,again as with Dolby it was going to have to be on his own terms. So he got together a backups sings,who are referred to as Afrodiziak and The Effervescents as well as a horn section called the TKO Horns for a more full on pop album that dived right into the soul/funk music that was obviously part of his musical make up from the get go.
“Things Can Get Better”,the opener and big hit actually spells out this new approach extremely well with it’s foot stomping rhythm,chunky bass/guitar riffs and horns. It’s one of the strongest new wave/funk hybrids of the era. And this is also one of those albums without a dud song too. “Life In The Day” extends on the Caribbean flavor,adding a little classic guitar type keyboard sound similar to the type Steve Wonder helped innovate. The more rock sounding “Look Mama” explores parental/child conflicts over independence where “Assault And Battery”,with it’s deep groove and the original version of Howards standard “No One To Blame” as well as the catchy Hall & Oates like “Is There A Difference” again all showcase that funk and soul influence in different ways. “Why Look For The Key” does much the same as does “Like To Get To Know You Well” and the hip-hop inflected “Bounce Right Back”. All are funk based and strong highlights. Other numbers such as the more electronic title song,”Automaton” and slower pieces such as “Elegy”,”Specialty” and “Hunger For The Flesh” all explore musical ideas ranging from orchestral electronic to industrial touches on that title song.
Starting his career as being very consciously not a joiner Howard Jones was now part of the hit parade of 80’s new wavers and didn’t loose a step in his vision. And he remained appreciated and even congratulations for being able to bring his outsider/bohemian sensibility more to the fore. Of course even as soon as half a decade after this,someone who did what Howard Jones did with this album would get the complete opposite reception. A lot of new wavers had the image down pat. But few seemed to analyze human individuality in the so called “me generation” quite the way Howard Jones did. Again it’s a wonder he and Thomas Dolby didn’t form some type of new wave all stars group. I hear so much converging of creative outlooks with those two. Any way one looks at things,this represents Howard Jones at a significant creative and commercial peak. One that is actually unique in his career. While it’s unlikely to the point of ridiculous that at this point he’ll ever made a roaring comeback (even critical acclaim might be stretching it,such as the type Dolby and Duran Duran have achieved recently), this represents the voice of someone doing his music for the love of creation. And not necessarily the love of avarice.
A1. Things Can Only Get Better (3:56)
A2. Life In One Day (3:40)
A3. Dream Into Action (3:46)
A4. No One Is To Blame (3:29)
A5. Look Mama (4:03)
A6. Assault And Battery (4:52)
B1. Automation (4:04)
B2. Is There A Difference? (3:33)
B3. Elegy (4:22)
B4. Specialty (3:58)
B5. Why Look For The Key? (3:23)
B6. Hunger For The Flesh (3:59)
Label: WEA Records
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Spirit of St. Louis is the second studio album by American singer and actress Ellen Foley, released in March 1981. Foley is backed by The Clash on all songs. The album was recorded right after The Clash’s Sandinista! with the same musicians and engineers. Foley was dating Clash guitarist Mick Jones at the time. The album charted at #57 UK.
Ellen Foley evidently yearned to do something with more gristle than the rockist sturm und drang of her solo debut, Night Out. She got her wish, although titles like “The Death of the Psychoanalyst of Salvador Dali” surely puzzled fans who heard her breathless guest vocal on “Paradise by the Dashboard Light.” Ironically, the press focused more on the assistance rendered by Foley‘s steady, Clash guitarist Mick Jones (whose production is credited to “my boyfriend”).
His other Clash-mates also appear, as do members of Ian Dury‘s backing band, the Blockheads; this impressive array of talent gives the album a unity it might otherwise lack. Jones and fellow Clash-mate Joe Strummer co-wrote six songs. The standout is “Torchlight,” a duet with Foley on which Jones drops some characteristically glistening guitar. “The Shuttered Palace” and “Theatre of Cruelty” also work well, logically upholding the Sandinista! era’s dense, intricate wordplay. The other Strummer/Jones efforts are less distinctive. “Salvador Dali” is little more than an impenetrable grocery list of free associations, “In the Killing Hour” is a sketchy throwaway that needed a stronger arrangement, and “M.P.H.”‘s bumptious pub rock is fun listening, but hardly a classic. Strummer‘s old busking mate, Tymon Dogg, contributes three killer tunes himself: his affectionate “Beautiful Waste of Time” is the best one, bolstered by an inspired Payne sax line. (The song originally appeared on Dogg‘s 1976’s self-released Outlaw Number One album.) Foley is less convincing on a stiff remake of “My Legionnaire,” but fares better on her own propulsive original, “Phases of Travel.” The sound is lush and dreamy, although a little more consistent material and less artsiness would have gone a long way.
Clash fans impatient for the old three-chord thunder couldn’t stifle their yawns, so the album bombed — but the rewards are there, if you care to listen.
A1. The Shuttered Palace (5:06)
A2. Torchlight (3:00)
A3. Beautiful Waste Of Time (3:00)
A4. The Death Of The Psychoanalyst Of Salvador Dali (2:42)
A5. M.P.H. (3:30)
A6. My Legionnaire (4:32)
B1. Theatre Of Cruelty (4:04)
B2. How Glad I Am (3:35)
B3. Phases Of Travel (4:13)
B4. Game Of Man (3:55)
B5. Indrestructible (3:47)
B6. In The Killig Hour (2:39)
Genre: Pop, Soft Rock
Label: Epic Records
Catalog# EPC 84809
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She’s the Boss is the solo album debut by The Rolling Stones frontman Mick Jagger released in 1985. When the Stones signed with CBS Records in 1983, one of the options available to them was for individual projects, and Jagger eagerly began working on She’s the Boss.
Following the release of Undercover, Jagger began composing material for his first solo project, sanctioning the help of various musician friends in the studio when recording began in May 1984. Of those involved were Pete Townshend, Jeff Beck, Carlos Alomar, Herbie Hancock and the Compass Point Allstars, while Jagger would share production duties with Bill Laswell and Nile Rodgers.
Keith Richards, Jagger’s longtime musical partner in the Rolling Stones, was not pleased that Jagger was pursuing solo work, feeling that their band should be each other’s first priority; in particular Richards was upset that in 1983 Jagger had piggy-backed a three album solo deal with CBS on the multi-million Stones deal without informing any of the Stones. The growing friction between both musicians would erupt publicly in 1986 before they resolved their differences a couple of years later. In his 2010 memoir Life Richards commented “It’s like Mein Kampf. Everybody had a copy, but nobody listened to it.”
She’s the Boss was released in February 1985 – preceded by its lead song “Just Another Night”. Both the album and its first single became worldwide hits, with “Just Another Night” reaching No. 1 on the US Mainstream Rock chart and No. 12 on the US pop chart, and She’s the Boss going to No. 6 in the UK and No. 13 in the US, where it went platinum. Follow-up single “Lucky in Love” would be a Top 40 US hit.
A1. Lonely at the Top (3:47)
A2. 1/2 a Loaf (4:59)
A3. Running Out of Luck (4:15)
A4. Turn the Girl Loose (3:53)
A5. Hard Woman (4:24)
B1. Just Another Night (5:15)
B2. Lucky in Love (6:13)
B3. Secrets (5:02)
B4. She’s the Boss (5:15)
Genre: Pop Rock
Label: CBS Records
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Firefly is the 10th studio album by British rock band Uriah Heep, released in February 1977 by Bronze Records in the UK and Warner Bros. Records in the US. It was their first album without lead vocalist and founding member David Byron, and the first of three albums with new singer John Lawton.
After losing founding vocalist David Byron in 1976, many hard rock fans thought Uriah Heep had reached the end of the line. However, the group bounced back in 1977 with Firefly, an album that pursued a stripped-down sound harking back to the group’s early-’70s successes. They also boasted a new singer in John Lawton, a vocalist who had made his fame working with artsy German hard rockers Lucifer’s Friend. Although he lacked the multi-octave range of David Byron, Lawton boasted an impressive and emotionally rich hard rock voice that instantly jelled with the Uriah Heep sound. An ideal example of this new synergy was provided by the opening track, “The Hanging Tree,” which featured Lawton dramatically delivering a narrative about an outlaw on the run over a spooky musical track that blended echo-drenched synthesizers with some typically gutsy guitar riffs from Mick Box. Other memorable tracks on Firefly include “Who Needs Me,” a spirited slice of boogie rock with a rousing singalong chorus, and the title track, a miniature prog epic that deftly blends balladry, hard rock, and acoustic-styled folk into one cohesive outing. Nothing on Firefly hits the epic heights of “Gypsy” or “July Morning,” but it contains none of the failed experiments that weighed down High and Mighty and it further benefits from a nice sense of consistency that is built on tight songwriting and inspired performances. In the end, Firefly remains one of the most cohesive albums from Uriah Heep‘s mid- to late-’70s period and is guaranteed to bring a smile to the faces of the group’s fan base.
Bassist Trevor Bolder made his Uriah Heep debut on this album. Barring a break of about 18 months in the early 1980s, he remained with the group until his death in 2013.
The first single from the album was “Wise Man“. The original vinyl album was a gatefold sleeve, with a cardboard lyric liner.
A1. The Hanging Tree (3:42)
A2. Been Away Too Long (5:04)
A3. Who Needs Me (3:39)
A4. Wise Man (4:43)
B1. Do You Know (3:15)
B2. Rollin’ On (6:23)
B3. Sympathy (4:49)
B4. Firefly (6:17)
Genre: Hard Rock
Label: Bronze Records
Catalog# 28520 XOT
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Sylvester James, Jr. (September 6, 1947 – December 16, 1988), who used the stage name of Sylvester, was an American singer-songwriter. Primarily active in the genres of disco, rhythm and blues, and soul, he was known for his flamboyant and androgynous appearance, falsetto singing voice, and hit disco singles in the late 1970s and 1980s.
All I Need is the sixth studio album by the American recording artist Sylvester.
Sylvester was on the downside of his career in the mid-’80s. He still had the glorious tones and booming voice, but was now floundering, with his high-energy brand of disco out of fashion. Sylvester tried to fashion a comeback by mixing in lightweight pop arrangements and production while singing his old fashion. The results were not encouraging, but that wasn’t because the songs lacked style; they were just the wrong things for the time.
A1. All I Need (4:27)
A2. Be With You (6:38)
A3. Do You Wanna Funk (3:31)
A4. Hard Up (4:39)
B1. Don’t Stop (6:51)
B2. Tell Me (4:49)
B3. Won’t You Let Me Love You (6:46)
Genre: Soul, Funk, Disco
Label: Ariola Records
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Red Skies over Paradise is a 1981 album by Fischer-Z. This was the last album released under the classic line-up, despite the departure of keyboardist Steve Skolnik. This album featured many songs about politics and several references to the Cold War, the album title and cover in particular. The album received positive reviews from fans and encouraged band leader John Watts to pursue a solo career, thus ending Fischer-Z until its revival in 1987. Two of these songs were used in Deutschland 83.
With keyboardist Skolnick gone, FZ continued as a trio, recording this wonderfully dark album filled with political intrigue and emotional hang-ups (making personal feelings political and vice versa). Eschewing some of their earlier quirkiness, Watts and Co. were far more direct and serious. Whether he was portraying the crazed fan (“Marliese”), the guilty survivor of a suicide (“Wristcutter’s Lullabye”), or providing social and political commentary (“Berlin,” “Red Skies Over Paradise,” “Cruise Missiles”), Watts’ lyrics were biting, but the melodies didn’t hit home quite as often as the previous album. The overwhelming response that this album received in Europe paved the way for Watts to leave home and go solo. Thus endeth Fischer-Z’s original lineup.
A1. Berlin (4:35)
A2. Marliese (3:52)
A3. Red Skies over Paradise (4:32)
A4. In England (2:43)
A5. You’ll Never Find Brian Here (2:08)
A6. Battalions Of Strangers (5:05)
B1. Song & Dance Brigade (3:03)
B2. The Writer (3:22)
B3. Bathroom Scenario (3:50)
B4. Wristcutter’s Lullaby (2:47)
B5. Cruise Missiles (4:17)
B6. Luton to Lisbon (1:56)
B7. Multinationals Bite (5:38)
Genre: New Wave
Label: Liberty Records