As groundbreaking and it was

CANNONBALL ADDERLEY: CANNONBALL AND EIGHT GIANTS [ESP 1974] LPx2 CANNONBALL ADDERLEY: CANNONBALL AND EIGHT GIANTS [ESP 1974] LPx2 Cannonball Adderley   "Cannonball And Eight Giants"  LPx2 (Milestone)   1974  made in Spain cat. num.  MM.40-068/69 S #jazz previously released as "Portait Of Cannonball" and "Things Are Getting Better" on Riverside label. A Little Taste 4:34 Straight Life 5:30 Minority (Take 2) 7:24 Minority (Take 3) 7:05 Nardis 5:30 Blue Funk 5:30 People Will Say We're In Love 9:38 Blues Oriental 4:55 A Few Previously Unissued Words From Cannonball And Then... 0:47 Things Are Getting Better 7:09 Serves Me Right 4:44 Groovin' High 5:17 The Sidewalks Of New York 6:56 Sounds For Sid 6:24 Just One Of Those Things 6:44   "Portait Of Cannonball"   This fine Riverside debut by  Adderley  was cut just a few months after the alto saxophonist had contributed to  Miles Davis ' stellar  Milestones  release. Joining  Adderley  for the six tracks here are fellow  Davis  alumni  Philly Joe Jones  on drums and  Bill Evans  on piano. These three are augmented by the wonderful and often-underrated  Blue Mitchell  on trumpet and the equally illustrious  Sam Jones  on bass. Everyone is in top form on a varied set that takes in two  Adderley  originals (the fine ballad "Straight Life" and "A Little Taste"), a classic  Gigi Gryce  number ("Minority"), and  Miles ' oft-covered "Nardis." Filling out the program, we have a rare  Sam Jones -penned cut, "Blue Funk," and a lone standard in the  Rogers & Hammerstein  chestnut from Oklahoma, "People Will Say We're in Love." One of the highlights from  Adderley 's hard bop prime. "Things Are Getting Better" This title provides ample evidence why alto  Cannonball Adderley  is considered one of the masters of his craft. Here he joins forces with  Modern Jazz Quartet  co-founder  Milt Jackson  on vibes to create a variety of sonic atmospheres. They are backed by the all-star ensemble of  Wynton Kelly  on piano,  Percy Heath  on bass, and the one and only  Art Blakey  on drums. The moody "Blues Oriental" opens the set with  Jackson  immediately diving in with his trademark fluid runs and shimmering intonation.  Adderley  counters with a light and lively line that weaves between the rhythm section. The optimistic "Things Are Getting Better" is a good-natured romp as the co-leads trade and cajole each other into some downright rollicking exchanges. This directly contrasts with the sultry "Serves Me Right," which allows the combo members to demonstrate their collective musical malleability. The interaction between  Adderley  and  Jackson  sparkles as they entwine their respective playing with an uncanny singularity of spirit. The cover of  Dizzy Gillespie 's "Groovin' High" contains another spirited performance with some thoroughly engaging improvisation, especially during  Adderley 's voracious solos. "Sidewalks of New York" bops freely as  Jackson  unleashes some sublime licks against a hearty and equally boisterous sax.  Adderley 's "Sounds for Sid" demonstrates his uncanny ability to swing with a strong R&B vibe. With drop-dead timing and profound instrumental chops, this cut is undoubtedly one of the best from  Adderley 's earliest canon. The album concludes with a jumping reading of  Cole Porter 's "Just One of Those Things." While  Wynton Kelly  has been uniformly solid, his interjections stand out here as he bridges and undergirds the two as they banter with flair and aplomb. This set can be recommended without hesitation to all manner of jazz enthusiast, as it quite literally offers something for every taste. [Some reissues include two bonus tracks supplementing the original seven-song running order, alternate takes of "Serves Me Right" and "Sidewalks of New York."]

STEVE SILK HURLEY: WORK IT OUT COMPILATION [DEU 1989] LP/COMP STEVE SILK HURLEY: WORK IT OUT COMPILATION [DEU 1989] LP/COMP Steve Silk Hurley   "Work It Out Compilation"  LP (Atlantic)  1989  made in Germany cat. num.  782 003-1 #house   Steve Silk Hurley Work It Out 5:07 – Jamie Principle Cold World 5:30 – Risse Love Baby 4:39 – Jackson & Moore I Can't Let Go 5:00 – Risse Chain Of Fools 4:15 – Jackson & Moore Think! 4:35 – Jamie Principle Drive Me 4:15 – Steve Silk Hurley A Bit Of Jazz 4:35   " Work It Out " is the  Steve "Silk" Hurley 's debut single released on  Atlantic Records  in 1989. The song was the lead single taken from the producer's compilation album  Work It Out Compilation, which featured additional seven tracks recorded in collaboration with such likes as  M-Doc,  Jamie Principle, Jackson & Moore, and Rissewritten. On the  U.S.  Billboard  Hot Dancee Music/Club Play  the title peaked at number three

ZZ TOP / AFTERBURNER 1985 !! ORG USA EDIT, CONTIENE ENCARTE + 1ª LABEL ORIGINAL !! TODO EXC ZZ TOP / AFTERBURNER 1985 !! ORG USA EDIT, CONTIENE ENCARTE + 1ª LABEL ORIGINAL !! TODO EXC BUEN ESTADO, ESTA EDICION CONTIENE EL ENCARTE INTERIOR Y TAMBIEN EL BONITO LABEL CON EXCLUSIVO DISEÑO El productor Bill Ham, que se había encargado de esa tarea con Zz Top desde su primer trabajo fué el elegido también de orientar el sonido del trio tejano hacía derroteros desconocidos para cualquier fan de la banda a comienzos de los ochenta. La unión del Blues- Hard- Rock Sureño añejo con las nuevas tecnologías musicales, parecía utópico tratandose de una banda como esta, pero "Eliminator", publicado en 1983, demostraria lo contrario. Después de semejante éxito la banda y su sequito decidieron dejarse llevar y explotar el filón al máximo, "Afterburner", que salió al mercado el 28 de Octubre de 1985, ahondará aun más en los terrenos electrónicos tan de moda en aquella época y que tan buenos resultados les habian dado. Para ello cuentan nuevamente con temas muy comerciales, en "Sleeping Bag" se covijan guitarras y rítmos sintetizados, baterías electrónicas, los excesos de "Eliminator" elevados al cubo. Un año antes de que saliese este disco, Eddie Van Halen, quizás animado por el resultado satisfatorio del disco de Zz Top, banda por la que sentía una admiración total, graba "Jump". "Stages", tiene bastante en común con el tema estrella de "1984", pero sus melodías son incluso más aoreras. De todas formas, que nadie piense que Billy Gibbons se ha quedado dormido, a lo largo de la canción sus riffs están bien presentes. Como en la siguiente "Woke Up With Wood", entre la inicial "Sleeping Bag" (Otra vez esos sintetizadores) y el sonido global de "Eliminator". En este nuevo trabajo descubrimos algo inédito en Zz Top, las "Power Ballads". Ciertamente, "Rough Boy" es empalagosa y Aor hasta decir basta. El tema, tubo su repercusión mediatica sobre todo en el canal televisivo de moda "Mtv". Pero no debemos encender las alarmas, Dusty Hill recupera el encanto nuevamente con la roquera y efectiva "Can't Stop Rockin'", cargada de topicazos pero con una garra descomunal. "Plantet Of Woman", es uno de los temas a los que mejor le ha sentado el nuevo diseño sonoro de Zz Top. Las poderosas guitarras son las acompañantes ideales de una estrofa y estribillo con muchísimo gancho y comercialidad. Quizás el mejor tema de "Afterburner" con el permiso de "Dipping Low (In The Lap Of Luxuri)", otra canción super "Cool" calcada al mejor repertorio de "Eliminator". El no va más de los rejuvenecios barbudos, para bien o para mal, según se mire las componen "I Got The Message" y "Velcro Fly". En ellas, los sintetizadores ya han tomado el control total. Para los puristas fans de "Fandango" o "Tres Hombres", esto quizás pueda ser la gota que colma el vaso. La despedida con la potente "Delirious", seguro que dejará un buen sabor de boca para todo tipo de seguidores de la banda, los antiguos y los que les descubrimos con este disco. Autor: Caído En Little Big Horn ZZ Top, cariñosamente conocido por sus fans como "The Little Ol' Band from Texas", es un grupo estadounidense de southern rock y hard rock formado en 1969 en Houston, Texas. Los miembros del grupo son Billy Gibbons (voz y guitarra), Dusty Hill (bajo y voz) y Frank Beard (batería). Tienen el mérito de ser uno de los pocos grupos de rock que todavía conserva sus miembros originales después de 40 años, además de haber mantenido al mismo manager y productor, Bill Ham. Alcanzaron la cima de su éxito comercial en los 70 y los 80, pero todavía hoy continúan girando y lanzando discos. ZZ Top entró en el Rock and Roll Hall of Fame el 15 de marzo de 2004. Gibbons y Hill también son famosos por las peculiares guitarras que utilizan, muchas de ellas codiseñadas con el maestro luthier John Bolin. Gibbons y Hill siempre son retratados llevando gafas de sol (un gesto a su canción de 1979 Cheap Sunglasses), ropa parecida (o en ocasiones idéntica), y sus larguísimas barbas. En 1984 la firma Gillette ofreció a Gibbons y a Hill un millón de dólares por afeitarse en un anuncio de televisión. Declinaron la oferta Tracks: -- 1: Sleeping Bag -- 2: Stages -- 3: Woke Up With Wood -- 4: Rough Boy -- 5: Can't Stop Rockin' -- 6: Planet Of Women -- 7: I Got The Message -- 8: Velcro Fly -- 9: Dipping Low (In The Lap Of Luxury) -- 10: Delirious Notes: ZZ Top: Billy Gibbons (vocals, guitar); Dusty Hill (vocals, bass); Frank Beard (drums). After scoring its biggest hit ever with its eighth release, 1983's polished ELIMINATOR, ZZ Top decided to continue in the same mainstream direction for its next release two years later, AFTERBURNER. Another big hit for the band, the album did spawn several hits, yet wasn't as strong overall as its predecessor. It was impossible to avoid the following ZZ hits on either MTV or radio between 1985-'86--the ballad "Rough Boy" (which innovative video was based on AFTERBURNER's space-age cover art), the synth stomper "Velcro Fly," the melodic "Sleeping Bag," or the rocking "Stages." 15 years after the band's debut release, AFTERBURNER found ZZ Top more popular than ever. Engineer: Bob Ludwig; Joe Hardy Producer: Bill Ham

As Mary watched the robin, she noticed an old metal ring half-buried in the earth where the dog had been digging. She reached down and picked the ring up. But it wasn't just a ring. It was an old key, and it looked as if it had been buried for a long time. Mary stood up and looked at it.. Macmillan. UK. Año 2008. 1ª edición

DEPECHE MODE - STRIPPED - CD BONG 10, (7 TRACKS), EDICION MUTE RECORDS LONDON 1991 DEPECHE MODE - STRIPPED - CD BONG 10, (7 TRACKS), EDICION MUTE RECORDS LONDON 1991 Stripped es el décimo quinto disco sencillo del grupo inglés de música electrónica Depeche Mode, el primero desprendido de su álbum Black Celebration, publicado en 7 y en 12 pulgadas sólo en Europa en 1986. La canción " But Not Tonight " fue el lado B estándar. " Stripped " y " But Not Tonight " fueron compuestas por Martin Gore. " But Not Tonight " fue incluida en la edición estadounidense de Black Celebration. Los otros lados B fueron las canciones " Breathing in Fumes " y " Black Day ". " Breathing in Fumes " es una nueva canción utilizando samples de " Stripped " y " Black Day " es una versión acústica cantada por Martin Gore, coescrita por Alan Wilder y Daniel Miller, de la canción " Black Celebration " que dio título al álbum. Una versión extendida de " But Not Tonight " se incluyó también en la edición europea en CD del álbum Black Celebration. Por su parte, la versión larga de " Stripped ", llamada Highland Mix y que fuera durante varios años la reproducida en conciertos, fue realizada por el productor Mark Ellis Flood, quien previamente se encargara de la ingeniería del sencillo "Shake the Disease" y posteriormente trabajara con Depeche Mode produciendo sus álbumes Violator y Songs of Faith and Devotion. Mute CD Bong10,Stripped – Highland Mix 1. «Stripped» 3:51 2. «But Not Tonight» 4:16 3. «Stripped» (Highland Mix) 6:41 4. «But Not Tonight» (Extended Remix) 5:13 5. «Breathing in Fumes» 6:06 6. «Fly on the Windscreen» (Quiet Mix) 4:24 7. «Black Day» 2:37 " Stripped " is Depeche Mode's fifteenth UK single, released on 10 February 1986. It was the first single from the album Black Celebration, and the band's thirteenth overall and sixth consecutive single to hit the UK Top 20, peaking at number 15. " Stripped " is well known for its innovative use of sampling. The underlying beat is a distorted and slowed-down sound of a motorcycle engine running, while the main melody begins with a car's ignition starting, and the end uses sounds of fireworks. The band's U.S. label Sire Records, however, decided to use the B-side " But Not Tonight " on the soundtrack to the movie Modern Girls and included the song on US editions of Black Celebration. As a result, the single was flipped, and released as " But Not Tonight " in the United States to help promote the movie. The band was not happy with this decision, seeing "But Not Tonight" as a useless pop track recorded in less than a day. The single did not chart. Surprisingly, despite previous criticism of the song by the band, an acoustic version of "But Not Tonight" was sometimes performed by Martin Gore on Depeche Mode’s Delta Machine Tour and is included in the 2014 album "Live in Berlin". The other two B-Sides are " Breathing in Fumes " and " Black Day ". " Breathing in Fumes " was a new song using samples from " Stripped ", mixed by the band and Thomas Stiehler. " Black Day " is an acoustic, alternate version of "Black Celebration" sung by Martin Gore, and is co-written by him, Alan Wilder, and producer Daniel Miller – the only Depeche Mode song where Miller receives a writing credit. The " Highland Mix " of " Stripped " was mixed by Mark Ellis (better known as Flood), who in the future would produce Depeche Mode's Violator and Songs of Faith and Devotion records. Some editions of the Black Celebration CD include the extended remix of "But Not Tonight" along with "Black Day" and "Breathing in Fumes" as bonus tracks. The music video for "Stripped" was the last Depeche Mode video to be directed by Peter Care and was filmed outside of Hansa Studios in Berlin. The music video for "But Not Tonight" was directed by Tamra Davis and is available in multiple versions. "Stripped" was featured in the film Say Anything....  

DENIECE WILLIAMS: I'VE GOT THE NEXT DANCE [ESP 1979] 7” DENIECE WILLIAMS: I'VE GOT THE NEXT DANCE [ESP 1979] 7” Deniece Williams  "I've Got The Next Dance"  single 7" (CBS)  1979  made in Spain cat. num.  CBS 7399 #disco  #soul  #funk   a. I've got the next dance b. when love comes calling   One of the most distinctive vocalists who arrived during the soul era,  Deniece Williams  is known for soaring, four-octave soprano voice, late-'70s and early-'80s R&B classics such as "Free" and "Silly," and the 1984 number one pop hit "Let's Hear It for the Boy." Born  June Deniece Chandler  in Gary, Indiana, she grew up singing in a Pentecostal church, which forbid the congregation to listen to anything but gospel music. Outside of wanting a 1959 Thunderbird, she had no serious ambitions but was deeply interested in music. Her favorite singers were  Carmen McRae  (for her diction) and  Nancy Wilson, who, for  Williams, exemplified class and elegance. However, her she also looked up to her parents, both of whom sang. From 1968 through 1970,  Williams  recorded a handful of singles for the Chicago-based Lock and Toddlin' Town labels as  Deniece  (or Denise)  Chandler. None of them charted, but "I'm Walking Away" and "Mama, I Wish I Stayed Home" became Northern soul cult classics.  In need of employment and with college on the back burner, the fledgling singer was introduced to personal hero  Stevie Wonder  by John Harris, her cousin from Detroit, who happened to be on tour as a valet for  Wonder  (and was also his childhood friend). Her cousin arranged for  Williams  to meet  Wonder  backstage at a concert. Six months later,  Williams  was flown into Detroit by  Wonder  for an audition. Among the 26 who auditioned,  Williams, who sang "Teach Me Tonight," was one of three hired by  Wonder. The three became known as  Wonderlove. Her touring with  Wonder lasted for several years, a period in which she recorded background vocals for  Talking Book,  Fulfillingness' First Finale, and  Songs in the Key of Life,  Wonder -produced  Syreeta  and  Minnie Riperton  sessions, and other releases by the likes of  Esther Phillips  and  Roberta Flack.

PABLO CRUISE: PART OF THE GAME [A&M - CAN 1979] LP PABLO CRUISE: PART OF THE GAME [A&M - CAN 1979] LP Pablo Cruise   "Part Of The Game"  LP (A&M)  1979  made in Canada cat. num.  SP-3712 #rock   Part Of The Game 3:36 I Want You Tonight 5:29 When Love Is At Your Door 4:35 Givin' It Away 5:16 Tell Me That You Love Me 4:50 Lonely Nights 5:09 How Many Tears? 6:05 For Another Town 4:25   Pablo Cruise  achieved some measure of success during the latter part of the '70s with their mellow, easygoing California pop. The band was formed in 1973 by former members of  Stoneground  and  It's a Beautiful Day: guitarist  Dave Jenkins, keyboardist  Cory Lerios, bassist  Bud Cockrell, and drummer  Steve Price. The group was praised for its compositional and instrumental skill on the albums  Pablo Cruise  and  Lifeline, and was rewarded with the Top Ten hit "Whatcha Gonna Do?" in 1977 from  A Place in the Sun.  Cockrell  left and was replaced by former  Santana  bassist  Bruce Day.  Worlds Away  went platinum, as did its predecessor, and produced three hit singles, including the Top Ten "Love Will Find a Way." By the time the '80s rolled around, the new wave movement was in full swing on the pop charts, and the group fell out of favor with the record-buying public. Several  Pablo Cruise  songs were used as soundtrack material for sports programs on ABC, CBS, and NBC, and the band's work also appeared in the films Free Ride, An Unmarried Woman, and Dreamer.

CHICAGO: HOT STREETS [CBS - ESP 1990] LP CHICAGO: HOT STREETS [CBS - ESP 1990] LP Chicago   "Hot Streets"  LP (CBS)  1990  made in Spain cat. num.  LSP 982369 1 #pop rock   Alive Again 4:17 The Greatest Love On Earth 3:43 Little Miss Lovin' 4:32 Hot Streets 5:12 Take A Chance 4:35 Gone Long Gone 3:55 Ain't It Time 4:08 Love Was New 3:32 No Tell Lover 4:15 Show Me The Way 3:18   Although  Chicago  tragically marked its decade anniversary with the bitter loss of lead guitarist  Terry Kath,  Hot Streets  (1978) was not only the first release without him, it was also the band's initial offering away from  James William Guercio  -- with whom the group had worked on every one of its previous dozen long-players.  Donnie Dacus  (guitar/vocals) was brought in to fill  Kath 's formidable shoes. His maiden voyage would likewise mark the beginning of a downward spiral in terms of the string of hits that was usually associated with  Chicago  albums. Both the upbeat and pumping opener "Alive Again" and the typical adult contemporary balladry of "No Tell Lover" became their last Top 40 hits for nearly four years.  Phil Ramone 's production gives the material an added and noticeable bite. The  Peter Cetera  (bass/vocals) rocker "Little Miss Lovin" recalls the band's earliest sides by blending an aggressive backbeat with a funky and soulful rhythm. "Gone, Long, Gone," the disc's other  Cetera contribution, also stands out for  Dacus ' spot-on slide guitar intonation, which mimics a similar style used most notably by  George Harrison. Although it failed to chart when extracted as a single, Robert Lamm's (keyboards/vocals) "Love Was New" is one of the more jazz-influenced tunes on  Hot Streets. The laid-back groove effortlessly carries the melody behind a fusion of light rock and contemporary jazz. The rapidly changing pop music landscape, whose horizons would embrace disco and new wave, would all but abandon  Chicago  for the group's next few albums. Although the band attempted to adapt to the trends, it would be four LPs and four years before  Chicago  would re-emerge in full form on its comeback,  Chicago 16  (1982).

JOY DIVISION - SUBSTANCE 1977 - 1980 - VINILO ORIGINAL NUEVOS MEDIOS 1988 JOY DIVISION - SUBSTANCE 1977 - 1980 - VINILO ORIGINAL NUEVOS MEDIOS 1988 Substance 1977-1980 es un álbum recopilatorio de la banda británica de post-punk Joy Division, publicado por Factory Records en 1988. Fue acompañado también de un recopilatorio de New Order titulado Substance. Alcanzó el puesto número 7 en las listas de ventas del Reino Unido1 y el puesto 146 en el Billboard 200. También alcanzó el puesto 15 en Nueva Zelanda y el 53 en Australia en agosto de 1988. Substance compila los cuatro sencillos lanzados por la banda que no aparecían en ningún álbum. Estos son: "Transmission", "Komakino", "Love Will Tear Us Apart" y "Atmosphere", todos con sus respectivos lados B. También recoge las canciones publicadas en los EP, el primer lanzamiento (An Ideal for Living) y dos temas publicados por Factory Records, en A Factory Sample y Earcom 2: Contradiction. El sencillo "Atmosphere" originalmente fue lanzado en Francia con el título "Licht und Blindheit" con "Dead Souls" como lado B. Después de la muerte de Ian Curtis, fue reeditado un sencillo póstumo de "She's Lost Control", el cual es una versión alternativa a la que anteriormente había sido publicada en el álbum de estudio Unknown Pleasures. El disco de vinilo omite el sencillo "Komakino". Lista de canciones: Todas las canciones compuestas por Joy Division. LP (Factory FACT 250) 1."Warsaw" – 2:25 Relanzado en An Ideal for Living 2."Leaders of Men" – 2:35 Relanzado en An Ideal for Living 3."Digital" – 2:50 Relanzado en A Factory Sample 4."Autosuggestion" – 6:08 Relanzado en Earcom 2: Contradiction 5."Transmission" – 3:36 Sencillo FAC 13 6."She's Lost Control" – 4:45 B-side del sencillo FACUS 2 "Atmosphere" 7."Incubation" – 2:52 Lado B instrumental del sencillo FAC 28 "Komakino" 8."Dead Souls" – 4:56 Lado B del single "Atmosphere" in France 9."Atmosphere" – 4:10 Sencillo FACUS 2 10."Love Will Tear Us Apart" – 3:25 sencillo FAC 23 Substance compiles the four singles released by the band that did not appear on albums - "Transmission", "Komakino", "Love Will Tear Us Apart ", and " Atmospher e" - as well as their B-sides. It also collects tracks released on extended play singles, the band's first release An Ideal for Living, and two samplers issued by Factory Records, A Factory Sample and Earcom 2: Contradiction. The single "Atmosphere" had been originally issued in France as "Licht und Blindheit" with "Dead Souls" on the B-side. Following the death of Ian Curtis, it was reissued as a posthumous B-side of the "She's Lost Control" single in an alternate version from the track that had previously appeared on Unknown Pleasures. The vinyl version omits the single "Komakino" and does not include the complete titles from the extended plays. Later CD pressings issued by London Records contain a previously unreleased mix of "She's Lost Control" that is slightly different from the original single release. More guitar is mixed within the song, the synthesizer melody is shortened and starts at a later point, and the ending of the song is extended by 15 seconds and doesn't fade out. Substance was digitally remastered in 2015 containing the alternate mix of "She's Lost Control" and two additional tracks: "As You Said" (the second b-side of Komakino) and the b-side mix of "Love Will Tear Us Apart".

THE CURE - CONCERT (THE CURE LIVE) - ALBUM VINILO ORIGINAL PRIMERA EDICION POLYDOR 1984 THE CURE - CONCERT (THE CURE LIVE) - ALBUM VINILO ORIGINAL PRIMERA EDICION POLYDOR 1984 Concert es el primer álbum en vivo de la banda británica de rock, The Cure. La edición en cassette fue doble, ya que contenía el resto de caras B y se tituló Curiosity (Killing the Cat): Cure Anomalies 1977–1984. El disco es el resultado de las grabaciones de los conciertos que dio la banda en el actual Hammersmith Apollo de Londres y en Oxford en mayo de 1984. La portada fue diseñada por el mismo Robert Smith, bajo el seudónimo de Toberr, con un fotograma de vídeo de una emisión de televisión en directo el 25 de agosto de 1984 durante el concierto que The Cure ofrecieron en el Barrowland Ballroom situado en Glasgow, Escocia y que tenía la intención de que ilustrase un disco pirata de la banda. Algunos de los temas que los Cure tocaron en los conciertos de mayo de 1984 en Oxford y Londres durante la gira promocional del álbum "The Top", se inmortalizarían en el primer directo oficial de la banda de Robert Smith. Así, de lo poco que se podía salvar del mediocre y antes mencionado "The top", se incluyeron " Shake dog shake " y " Give me it ". También, una revisión más acorde con su estilo del hit discotequero " The walk ". Del oscuro y taciturno "Pornography" dejarían patente una intensidad épica con " One hundred years " y " The hanging garden ". Del tétrico y tormentoso "Faith" se incluiría la menos tenebrosa, esa fantástica " Primary ". Además, la inclusión de " Charlotte sometimes " permitió conocer más ampliamente una de las rarezas inéditas publicadas en formato single de The Cure. Del frío y experimental "Seventeen seconds" se recogería " A forest " en una psicodélica versión que se convertiría a posteriori en la joya del siniestro afterpunk. Finalmente, para cerrar este álbum " 10:15 Saturday night " y " Killing an arab ", los dos temas de su primer single con aquel primerizo powerpop característico. En definitiva, en "Concert - The Cure Live" se recogían las mayores virtudes del primer y más interesante período de una de las bandas más exitosas de la década de los 80. Listado de canciones: 1. «Shake Dog Shake» 4:14 2. «Primary» 3:29 3. «Charlotte Sometimes» 4:06 4. «The Hanging Garden» 4:05 5. «Give Me It» 2:49 6. «The Walk» 3:31 7. «One Hundred Years» 6:48 8. «A Forest» 6:46 9. «10:15 Saturday Night» 3:44 10. «Killing an Arab» 2:51 In 1984, the Cure released The Top, a generally psychedelic album on which Smith played all the instruments except the drums—played by Andy Anderson—and the saxophone—played by returnee Porl Thompson. The album was a Top 10 hit in the UK, and was their first studio album to break the Billboard 200 in the US, reaching number 180. Melody Maker praised the album as "psychedelia that can't be dated", while pondering, "I've yet to meet anyone who can tell me why the Cure are having hits now of all times." The Cure then embarked on their worldwide Top Tour with Thompson, Anderson and producer-turned-bassist Phil Thornalley on board. Released in late 1984, The Cure's first live album, Concert consisted of performances from this tour. Near the tour's end, Anderson was fired for destroying a hotel room and was replaced by Boris Williams. Thornalley also left because of the stress of touring. However, the bassist slot was not vacant long, for a Cure roadie named Gary Biddles had brokered a reunion between Smith and former bassist Simon Gallup, who had been playing in the band Fools Dance. Soon after reconciling, Smith asked Gallup to rejoin the band. Concert: The Cure Live is the first live album of English rock band The Cure. It was recorded in 1984 at the Hammersmith Odeon in London and in Oxford. Its cassette tape edition featured on the B-side a twin album of anomalies, titled Curiosity (Killing the Cat): Cure Anomalies 1977–1984.

SIMPLE MINDS - SIMPLE MINDS 4 LIVE TRACKS 1985 - MAXI VINILO ORIGINAL 1987 EDICION USA AM RECORDS SIMPLE MINDS - SIMPLE MINDS 4 LIVE TRACKS 1985 - MAXI VINILO ORIGINAL 1987 EDICION USA AM RECORDS  Después de esperar el éxito de una forma más palpable, el álbum New Gold Dream (81-82-83-84), también del año 1982, con Peter Walsh como productor, logró entrar en las listas comerciales estadounidenses con éxitos como " Promised You A Miracle ", "Someone Somewhere In Summertime" y " Glittering Prize ". Fue una derivación del New Wave al New Romantic. La música es más accesible pero sin perder fuerza ni originalidad. " Promised You A Miracle " is a 1982 song by Simple Minds and was released as the first single from their fifth studio album New Gold Dream (81–82–83–84). It is most notable for being the band's first successful chart hit in the UK, reaching #13 in the UK Singles Chart and charting for 11 weeks.[Their previous nine UK singles yielded no Top 40 hits in that country. It was the only song on the album that included Kenny Hyslop as the studio session drummer. Mike Ogletree and Mel Gaynor contributed for the other eight tracks. The song triggered a prolonged period of commercial success for the band, during which they yielded 21 original UK hit singles in a row, up to and including 1998's "Glitterball" from the album Neapolis. It also enabled them to make their debut on the British music television show Top of the Pops. A live version from the album Live in the City of Light was released in 1987. R ecorded live in Barrowland Ballroom, Glasgow, UK January 5th, 1985   12"   Promised You A Miracle (Live) Virgin SM 2-12  A1.  Promised You A Miracle [Live]  (4:54)  A2.  Book Of Brilliant Things [Live]  (4:53)  B1.  Glittering Prize [Live]  (4:28)  B2.  Celebrate [Live]  (5:43)  

EDWIN STARR: HAPPY RADIO [FRA 1979] LP EDWIN STARR: HAPPY RADIO [FRA 1979] LP (20th Century)  1979  made in France cat. num.  T-591 #funk  #disco     A1 H.A.P.P.Y. Radio 6:45 A2 Rip Me Off 4:13 A3 It's Called The Rock 7:25 B1 I'd Rather Fight Than Switch 4:12 B2 Drown My Heart 3:34 B3 My Friend 3:56 B4 Patiently 4:34   Edwin Starr enjoyed a renaissance in the singles chart at the end of the 70's, moving from the soul that had made him famous to light disco, and scoring a major hit the previous year with “Contact”, a cold slab of electronic funk with the most insistent Moroder styled synth bass line, similar to Donna Summer’s “I Feel Love”. It was a worldwide smash and still appears on many disco hit compilation albums. The follow up, “Happy Radio” follows a similar vein, although there is less electronic rhythm and more horn fills; bearing similarities to the Earth Wind & Fire sound that was very popular at the time.  The single and title track is a nagging disco stomper, with a driving memorable bass line and chattering horn interruptions and would be a sure fire floor filler for a number of years. The rest of the album is pretty lightweight, following exactly the same pattern as the title track, except that the hooks aren’t as strong and songs like “I’d Rather Fight Than Switch”, and “It’s Called The Rock” sound about 5 years out of time. It’s interesting that barring the excellent title track the two traditional soul numbers are worth listening to (“Drown My Heart”, and “My Friend”), which probably come too late in the album for the listener,  who may have already turned off.

TANGERINE DREAM: EXIT [UK 1984] CD/RE TANGERINE DREAM: EXIT [UK 1984] CD/RE (Virgin)  1984  made in UK cat. num.  CDV 2212 #space rock  #progressive rock   1 Kiew Mission 9:18 2 Pilots Of Purple Twilight 4:19 3 Choronzon 4:07 4 Exit 5:33 5 Network 23 4:55 6 Remote Viewing 8:20   Exit marks the beginning of a new phase in Tangerine Dream's music: Gone were the side-long, sequencer-led journeys, replaced by topical pieces that were more self-contained in scope, more contemporary in sound. Johannes Schmoelling's influence is really felt for the first time here; Tangram, for all its crispness and melody, was simply a refinement of Force Majeure's principles, and the soundtrack to Thief not an album proper. On Exit, listeners are introduced to electronic music's next generation, notably on "Choronzon" and "Network 23," which brought the sound of the dancefloor into the mix (it hasn't left since). That's not to suggest that Tangerine Dream has stopped creating eerie, evocative music; both "Pilots of Purple Twilight" and the stately "Exit" will feel familiar to fans, and the opening "Kiew Mission" is a captivating commentary on nuclear war that includes vocals after a sort (a woman's voice reading locations in Russian). Exit ends on a surprisingly dark note, the alien and foreboding "Remote Viewing." It's on this track more than any other that Tangerine Dream returns to its past, invoking Phaedra and the sequencer-driven works that followed, as if to tell fans that Exit's changes weren't the result of a new band, just a new direction. With one foot in the excesses of the past and one clearly on the road to a more concise sound, Exit is a transitional work. As Schmoelling and, later, Paul Haslinger exerted their influence on Tangerine Dream's music, the emphasis shifted from dark and moody commentary to more positive subjects. It's worth noting that Edgar Froese's social conscience fuels much of Exit -- copies of the record were made available to a cross-section of Russian citizens free of charge to promote an open exchange of ideas at a time when nuclear annihilation was taken seriously. Future albums channeled Froese's activism to environmental concerns, which dovetailed with the band's by-then new age sensibilities. Both here and on White Eagle, Tangerine Dream ushers in the promise and the peril of a new world where reality has caught up with science fiction. Perhaps with such a message, the medium needed to be simpler and more direct.

SIMPLE MINDS: CELEBRATION [ESP 1982] LP/COMP SIMPLE MINDS: CELEBRATION [ESP 1982] LP/COMP Simple Minds   "Celebration"  LP (Arista)  1982  made in Spain cat. num.   I-204 521 #new wave  #pop rock  #synth pop   Life In A Day   Chelsea Girl   Premonition   Factory   Calling Your Name   I Travel   Changeling   Celebrate   Thirty Frames A Second   Kaleidoscope   Originally released in 1982 by Arista in the U.K. and reissued on CD by the Dutch Disky imprint in 2001,  Celebration  serviceably culls some of the better moments from  Simple Minds ' first three albums: 1979's  Life in a Day  and  Reel to Real Cacophony  and 1980's  Empires and Dance. Given the sadly neglected status of the band's early catalog -- meaning anything that was released prior to 1982's breakthrough  New Gold Dream (81-82-83-84)  -- through the early 2000s, it is doubly unfortunate that a compilation like this remained out of print for an extended period of time. And though the studio albums remained in print in the U.K.,  Simple Minds ' early years hardly received the red carpet compilation treatment that their later works did. While nothing here came close to approaching the stadium-pleasing popularity of later smashes like "Don't You (Forget About Me)," "Alive and Kicking," or even "Promised You a Miracle,"  Celebration  might provide a little shock to an initiated someone who snaps up a copy. It's a near-definite that plenty of people who own  New Gold Dream  and/or the  Glittering Prize 81/92 compilation remain oblivious to the fact that  Simple Minds  released five albums that ranged from good to spectacular between 1979 and 1981, before  New Gold Dream  came along with its perfect balance of art and pop to connect with a mass audience. Not only was 1979-1981 a prolific period for the band, but it was a period that witnessed them blossoming from a decent guitar-based post-punk band to a far more rhythmic and experimental entity that gradually shed their influences while ambitiously building on them. And as the few brave souls who have remained devout  Simple Minds  fans from day one might tell you,  Celebration  has stood the test of time better than  Glittering Prize  track-for-track.

ART GARFUNKEL: ANGEL CLARE [ESP 1984] LP/RE ART GARFUNKEL: ANGEL CLARE [ESP 1984] LP/RE Art Garfunkel   "Angel Clare"  LP (CBS)  1984  made in Spain cat. num.  S 32076 #folk rock  #soft rock  #simon&garfunkel   A1 Travelling Boy 5:00 A2 Down In The Willow Garden 4:03 A3 I Shall Sing 3:36 A4 Old Man 3:24 A5 Feuilles-Oh / Do Space Men Pass Dead Souls On Their Way To The Moon? 3:09 B1 All I Know 3:46 B2 Mary Was An Only Child 3:28 B3 Woyaya 3:18 B4 Barbara Allen 5:25 B5 Another Lullaby 3:32   Garfunkel  (he was billed without his first name here) had a lot riding on his debut solo album, and  Angel Clare, named after a character in  Thomas Hardy 's novel Tess of the d'Urbervilles, lived up to the heightened expectations for the man who had sung "Bridge Over Troubled Water" and other  Simon & Garfunkel  favorites.  Garfunkel  took no chances, issuing as the first single  Jimmy Webb 's "All I Know," which was arranged in a similar style to "Bridge" and made the Top Ten. Elsewhere on the record,  Garfunkel  took a more spirited approach, notably on a version of  Van Morrison 's "I Shall Sing" that was reminiscent of  Simon & Garfunkel 's "Cecilia" and made the Top 40. Certainly, there was enough firepower on the record, which featured guitarists  Jerry Garcia  and  J.J. Cale. But much of it was filled with stately, orchestra-laden ballads, sung by  Garfunkel  in his naïve, breathy tenor. If  Simon & Garfunkel  had been the thinking man's  Everly Brothers,  Garfunkel  alone turned out to be the thinking man's  Johnny Mathis.