Best singles as from

WHITNEY HOUSTON. If I told you that. I learned from the best. It's no right ok.......(5 cd singles) WHITNEY HOUSTON. If I told you that. I learned from the best. It's no right ok.......(5 cd singles)     5CD SINGLES PROMOCIONALES  WHITNEY HOUSTON  1.If I told you that.    (Ref... 74321 766202) 2000. Feat. GEORGE MICHAEL ----------------------------------- 1.It's not right but it's okay   (Ref...74321 646212) 1998 ------------------------------------ 1.It's not right but it's ok (radio edit). (Ref...74321 654892) 1999 ------------------------------- 1.I learned from the best. (Ref...74321728112) 1999 --------------------------- 1.Could I have this kiss forever. Feat. ENRIQUE IGLESIAS. (Ref...74321 773562) 2000 -----------------------------------       Gastos de envio para:             ESPAÑA EUROPA RESTO DEL MUNDO Hasta 500grs.                            5,95€        11,10€        14,75€

ITALIAN BEST SONGS II / CARRE D'AS / SINGLE 7 PULGADAS ITALIAN BEST SONGS II / CARRE D'AS / SINGLE 7 PULGADAS SE APRECIA CON POCO USO, PROMO A viso importante sobre el estado de los artículos en general: La mayoría de los discos llevan años almacenados y algunas carpetas y fundas pueden oler a viejo, a humedad o presentar señales de moho.  Los lps  suelen proceder de particulares.  Los maxi-singles  de 12 pulgadas casi todos proceden de discotecas. Las fundas de algunos discos suelen estar algo rotas o abiertas y algunos no traen la funda interior. Muchos discos presentan las típicas finas líneas de superficie y la funda suele estar gastada por los cantos y las esquinas o pueden tener pintadas o pegatinas.  Los singles pequeños de 7 pulgadas  suelen tener dobleces en las fundas y estar algo rotas por los cantos y bastante rozadas por los cantos y las esquinas, con pequeñas roturas en los bordes, también es normal que tengan pintadas y alguna pegatina y estén rozadas en superficie por lo que se nota la marca del disco. El disco suele presentar finas líneas de superficie y casi ninguno tiene funda interior. Muchas fundas pueden presentar suciedad del paso del tiempo. Otros singles están muy bien, pues proceden de emisoras de radio. Sobre todos los discos en general, si hay algún defecto considerable que supere las características señaladas ya se detalla en las características del lote.  La expresión 'señales de uso normal', indica que el disco puede estar sucio y presentar finas líneas de superficie y la funda estar gastada por cantos y esquinas y presentar dobleces, escritos y alguna pegatina, aunque la audición del vinilo es buena. Muchos discos están sucios porque llevan mucho  tiempo almacenados y deben ser lavados antes de au audición. Todos los discos se revisan antes de ponerlos a la venta y, además, antes de su envío al comprador. De todas formas, si encuentra algún defecto que no haya sido anunciado, por favor, comuníquenoslo, aceptamos devoluciones siempre que estén debidamente justificadas, aunque no abonamos los gastos de envío, sólo el importe del artículo.

Dr. Feelgood – Singles The U.A. Years+ -2 LP- Dr. Feelgood – Singles The U.A. Years+ -2 LP- Dr. Feelgood  – Singles The U.A. Years+ Label: Parlophone Records Ltd.  – EM 1332,  Warner Music Group  – 0190295156770 Format: 2 x  Vinyl, LP, Compilation, Reissue Country: Europe Released: Jun 11, 2021 Genre: Rock,  Blues Style: Rhythm & Blues Tracklist Hide Credits A1   Roxette Written-By –  Wilko Johnson Written-By –  Wilko Johnson 2:52 A2   She Does It Right Written-By –  Wilko Johnson Written-By –  Wilko Johnson 3:17 A3   Back In The Night Written-By –  Wilko Johnson Written-By –  Wilko Johnson 3:15 A4   Going Back Home Written-By –  Mick Green,  Wilko Johnson Written-By –  Mick Green,  Wilko Johnson 3:59 A5   Riot In Cell Block No. 9 Written-By –  Jerry Leiber / Mike Stoller * Written-By –  Jerry Leiber / Mike Stoller * 3:36 A6   Sneakin' Suspicion Written-By –  Wilko Johnson Written-By –  Wilko Johnson 3:48 B1   She's A Wind Up Written-By –  John Mayo *,  Martin *,  B. Sparks *,  Lee Brilleaux Written-By –  John Mayo *,  Martin *,  B. Sparks *,  Lee Brilleaux 2:00 B2   Baby Jane Written-By –  Reed *,  Nesbitt *,  Wilson *,  Bishop *,  Simmons * Written-By –  Reed *,  Nesbitt *,  Wilson *,  Bishop *,  Simmons * 3:00 B3   Down At The Doctors Written-By –  Mickey Jupp Written-By –  Mickey Jupp 3:15 B4   Milk And Alcohol Written-By –  Mayo *,  Nick Lowe Written-By –  Mayo *,  Nick Lowe 2:46 B5   As Long As The Price Is Right Written-By –  Larry Wallis Written-By –  Larry Wallis 3:15 B6   Put Him Out Of Your Mind Written-By –  Mayo *,  Vernon * Written-By –  Mayo *,  Vernon * 3:47 C1   Hong Kong Money Written-By –  Mayo *,  Martin *,  Sparks *,  Brilleaux *,  Wingfield * Written-By –  Mayo *,  Martin *,  Sparks *,  Brilleaux *,  Wingfield * 4:30 C2   No Mo Do Yakamo Written-By –  Krekel * Written-By –  Krekel * 2:13 C3   Jumping From Love To Love Written-By –  Bat Fasterly,  Mayo *,  Martin *,  Sparks *,  Brilleaux * Written-By –  Bat Fasterly,  Mayo *,  Martin *,  Sparks *,  Brilleaux * 2:48 C4   Violent Love Written-By –  Otis Rush Written-By –  Otis Rush 2:19 C5   Waiting For Saturday Night Written-By –  Dave Tice,  Guitar * Written-By –  Dave Tice,  Guitar * 3:11 C6   Monkey Written-By –  Tilbrook / Difford * Written-By –  Tilbrook / Difford * 2:15 C7   Trying To Live My Life Without You Written-By –  Eugene Williams (3) Written-By –  Eugene Williams (3) 2:59 D1   Crazy About Girls Written-By –  Johnny Guitar (2) Written-By –  Johnny Guitar (2) 3:05 D2   My Way Written-By –  Cochran *,  Capehart * Written-By –  Cochran *,  Capehart * 2:33 D3   Mad Man Blues Written-By –  John Lee Hooker Written-By –  John Lee Hooker 2:21 D4   Don't Wait Up Written-By –  Astles *,  Birch * Written-By –  Astles *,  Birch * 4:00 D5   See You Later Alligator Written-By –  Robert Guidry Written-By –  Robert Guidry 3:42 D6   Hunting Shooting Fishing Written-By –  Russell *,  Birch * Written-By –  Russell *,  Birch * 3:14 D7   Milk And Alcohol (New Recipe) Written-By –  Mayo *,  Nick Lowe Written-By –  Mayo *,  Nick Lowe 3:06   Companies, etc. Phonographic Copyright ℗  –  Parlophone Records Ltd. Phonographic Copyright ℗  –  Grand Records (2) Credits Liner Notes  –  Will Birch Producer  –  Bert De Coteaux *  (tracks: A6),  Dave Edmunds  (tracks: D5, D7),  Dr. Feelgood  (tracks: A4, D3),  Mike Vernon  (tracks: B6, C1, D2),  Nick Lowe  (tracks: B1, B2, C2 to C4),  Pip Williams  (tracks: D6),  Richard Gottehrer  (tracks: B3, B4),  Vic Maile  (tracks: A1 to A3, A5, C5 to C7, D1),  Will Birch  (tracks: D4) Notes Gatefold sleeve. Made in Germany. Barcode and Other Identifiers Barcode: 0 190295 156770  

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".

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."]

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)  

NICK LOWE: LABOUR OF LUST [ESP 1979] LP NICK LOWE: LABOUR OF LUST [ESP 1979] LP Nick Lowe   "Labour Of Lust"  LP (Radar)  1979  made in Spain cat. num.  S 90.150 #rock  #pop rock   Cruel To Be Kind   Cracking Up   Big Kick, Plain Scrap!   Born Fighter   You Make Me   Skin Deep   Switchboard Susan   Endless Grey Ribbon   Without Love   Dose Of You   Love So Fine   Jesus of Cool  was a jukebox, spinning out a series of perfectly crafted -- and decidedly quirky and subversive -- pop singles. In contrast,  Nick Lowe 's second album,  Labour of Lust, is the work of a bar band, in this case  Rockpile, playing the hell out of the same type of songs. Naturally, the result is a more coherent sound that may be a little less freewheelingly eclectic, but it is no less brilliant. Recorded simultaneously with  Dave Edmunds '  Repeat When Necessary,  Labour of Lust  benefits from the muscular support of  Rockpile, who make  Lowe 's songs crackle with vitality. Working primarily in the roots rock vein of  Brinsley Schwarz  but energizing his traditionalist tendencies with strong pop melodies, a sense of humor, and an edgy new wave sensibility,  Lowe  comes up with one of his best sets of songs. Not only is his only hit, the propulsively hook-laden "Cruel to Be Kind," here, but so are the rampaging outsider anthem "Born Fighter," the tongue-in-cheek,  Chuck Berry -style "Love So Fine," the wonderful pure pop of "Dose of You," the haunting "Endless Grey Ribbon," the druggy "Big Kick, Plain Scrap!," and the terrific "Cracking Up," as well as his definitive version of  Mickey Jupp 's "Switchboard Susan." It's an exceptional collection of inventive pop songs, delivered with vigor and energy, making it one of the great records of the new wave.  

THE BYRDS, ROGER MCGUINN 73 !! 1º LP, B DYLAN, D CROSBY, COMPLETA 1ª EDIC USA + inserto !! impecable THE BYRDS, ROGER MCGUINN 73 !! 1º LP, B DYLAN, D CROSBY, COMPLETA 1ª EDIC USA + inserto !! impecable RARA 1ª EDIC. ORIG. CONTIENE EL ENCARTE INTERIOR... todo un musico legendario,,un superviviente, uno de los tipos con mas gusto musical de todos los tiempos..!! lider y fundador de los byrds, aqui lo tienes en solitario,acompañado por musicos increibles que consiguen redondear su lp debut en solitario. TODO EN IMPECABLE CONDICION. !!! NUESTRA MEJOR COPIA HASTA LA FECHA bonito debut en solitario de Roger McGuinn qué me fascina. The Byrds habían echado el cierre de una manera ya más bien lánguida, porque todo acaba estropeándose, y este jefe de operaciones enorme quiso refrendar su apabullante pedigrí haciendo lo que le dio la real gana. Impresiona la facilidad con la que, en aquellos aún iniciales años setenta, este hombre podía tirar de agenda. La armónica que abre la inaugural ‘I’m so restless’, sin ir más lejos, corresponde a un tal Dylan, mientras que el saxofonista que irrumpe para alborotar el canónico folk-rock de ‘My new woman’ es cortesía del mismísimo Charles Lloyd. No se detienen ahí las sorpresas: ‘Draggin’ no es solo un evidente tributo a los Beach Boys, sino que las armonías las aporta Bruce Johnston, uno de los Chicos de la Playa. ‘Time cube’ mira hacia la tradición más pura de estrofa repetida, aunque extrañamente coloreada con un sintetizador Moog. Pero es de autoría propia, a diferencia del epílogo del álbum, la célebre tonada tradicional ‘The water is wide’. El modo más campestre, con ‘slide’ de por medio, le sirve a ‘Bag full of money’ para abrir la cara B, donde a su vez se cuela el desmadre fronterizo de ‘Mi linda’ o el ‘blues’ a la vieja usanza de ‘Hanoi Hannah’. Y es toda esa mezcolanza, su permanente carácter híbrido, las decisiones extrañas (el coro infantil de ‘Stone’), lo que quizá no hiciese de este LP un referente de su década. Y eso, a pesar de que piezas como ‘Lost my drivin’ wheel’ revivieran todo el músculo y la chispa de los mejores Byrds. Aquellos que fueron, y siempre serán, puritita gloria. Bob Dylan - harmonica Gene Clark - vocals David Crosby - guitar,harmony vocals Chris Hillman - bass Leland Sklar - bass David Vaught - bass Chris Ethridge - bass Bruce Johnston - piano, harmony vocals Spanky McFarlane - vocals Mike Wofford - piano Charles Lloyd - sax Hal Blane - percussion John Guerin - drums Jim Gordon - drums Michael Clarke - drums Jerry Cole - guitar Buddy Emmons - steel guitar Spooner Oldham - keyboards Charles Lloyd - saxophone The Jimmy Joyce Children Chorus - vocals     I'm So Restless My New Woman Lost My Drivin' Wheel Draggin' Time Cube Bag Full of Money Hannoi Hannah Stone Heave Away M'Linda The Water Is Wide Roger McGuinn's 1973 self-titled solo debut was in most respects a breath of fresh air after the final days of the Byrds, in which the group was floundering in directionless mediocrity. In a sense, it's a back-to-basics album that emphasizes much of what McGuinn does so well: his forceful reedy vocals, his guitar playing, and his skills at both writing earnest folk-rock material (usually with future Bob Dylan collaborator Jacques Levy here) and interpreting unusual traditional and contemporary songs. Never was it folkier than on the acoustic "I'm So Restless," which benefited from harmonica by Dylan himself (about whom the song was partially about). All four of the other original Byrds play on "My New Woman," which is virtually a reunion of the original quintet, with the addition of saxophone by jazzman Charles Lloyd; David Crosby makes unobtrusive cameos on some other tracks. As likable as it is, however, the album isn't an unqualified triumph. Some of the songs aren't so hot, some of the Moog synthesizer (by McGuinn) is unnecessary, his vocals sometimes seem to have been recorded with too much brittleness, and none of this is as good as the best of the Byrds. Unexpected influences make themselves heard in the Beach Boys harmonies of "Draggin'" (with Bruce Johnston of the Beach Boys on piano and backup harmonies), the Vietnam blues of "Hanoi Hannah," and the gospel-rock of "Stone." The 2004 CD reissue adds two previously unissued bonus tracks: a solo acoustic cover of the traditional folk song "John, John" and a less pleasing cover of Jackson Browne 's "Jamaica, Say You Will." It also has historical liner notes with plenty of quotes on the sessions and songs from McGuinn himself. ~ Richie Unterberger, All Music Guide

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.

TANGERINE DREAM: RUBYCON [UK 1984] CD/RE TANGERINE DREAM: RUBYCON [UK 1984] CD/RE (Virgin)  1984  made in UK cat. num.  CDV 2025 #space rock  #progressive rock   1 Rubycon - Part One 17:18 2 Rubycon - Part Two 17:35   The members of Tangerine Dream continued to hone their craft as pioneers of the early days of electronica, and the mid-'70s proved to be a time of prosperity and musical growth for the trio of Chris Franke, early member Peter Baumann, and permanent frontman Edgar Froese. The three of them had been delivering mysterious space records on a regular basis, and their growing confidence with early synthesizers (the best that money could buy at the time) made them virtuosos of the genre, even as they kept things organic and unpredictable with gongs, prepared piano, and electric guitar. Rubycon has aged gracefully for the most part, making it a solid companion (and follow-up) to their 1974 album, Phaedra. The somewhat dated palette of sounds here never overshadow the mood: eerie psychedelia without the paisleys -- Pink Floyd without the rock. "Rubycon, Pt. 1" ebbs and flows through tense washes of echo and Mellotron choirs, as primitive sequencer lines bubble to the surface. "Pt. 2" opens in a wonderfully haunted way, like air-raid sirens at the lowest possible pitch, joined in unison by several male voices (someone in the band must have heard György Ligeti's work for 2001). Rising out of the murkiness, the synthesizer arpeggios return to drive things along, and Froese weaves his backwards-recorded guitar through the web without really calling too much attention to himself. The piece evolves through varying degrees of tension, takes a pit stop on the shoreline of some faraway beach, then ever so gradually unravels a cluster of free-form strings and flutes. The rest are vapors, your ears are sweating under your headphones, and the smoke has cleared from your bedroom. This is a satisfying ambient record from the pre-ambient era, too dark for meditation, and too good to be forgotten.

MIKE OLDFIELD: THE KILLING FIELDS [ESP 1984] LP/RE MIKE OLDFIELD: THE KILLING FIELDS [ESP 1984] LP/RE Mike Oldfield   "The Killing Fields"  LP (Virgin)   1984   made in Spain cat. num.  E 206 707 #progressive rock  #pop rock  #soundtrack   Pran's Theme 0:45 Requiem For A City 1:45 Evacuation 5:10 Pran's Theme - 2 1:40 Capture 2:01 Execution 4:10 Bad News 1:10 Pran's Departure 2:03 Worksite 1:18 The Year Zero 0:27 Blood Sucking 1:18 The Year Zero - 2 0:36 Pran's Escape / The Killing Fields 3:11 The Trek 1:58 The Boy's Burial / Pran Sees The Red Cross 2:40 Good News 1:44 Etude 4:38   Crack all the jokes you want about  Mike Oldfield  and his Tubular Bells becoming the hit theme song for The Exorcist. While  Oldfield  is an amazing guitarist who could play with the best of them, with a lithe synth touch that became a trademark, the bottom line is that the man is a serious composer. All the proof one needs apart from his own records like  Incantations  and  Hergest Ridge  is this killer movie score. While  Oldfield  used a purely Western and neo-classical formal approach to write the music for  Roland Joffé 's dramatization of true events, his musical mates were among the best in the business at helping him to bring it off:  David Bedford  wrote arrangements and directed the choir, while  Eberhard Schoener  helped to conduct and direct another choir (!) and master percussionist  Morris Pert  lent his talents to the mix as well. While many scores written during the 1980s come off as laughable fluff in the 21st century,  Oldfield 's score for The Killing Fields is in many ways far more memorable than the film itself. The music here is full of drama, dynamic, textures, and unexpected twists and turns even in the smallest of the incidental pieces, and carries within it a certain majesty that lacks pomp and remains graceful throughout.

THE MOODY BLUES: THE PRESENT [UK 1985] LP THE MOODY BLUES: THE PRESENT [UK 1985] LP The Moody Blues   "The Present"  LP (Threshold)  1985  made in UK cat. num.  810 119-1 #rock  #progressive rock   A1 Blue World 5:16 A2 Meet Me Halfway 4:09 A3 Sitting At The Wheel 5:35 A4 Going Nowhere 5:27 B1 Hole In The World 1:55 B2 Under My Feet 4:48 B3 It's Cold Outside Your Heart 4:23 B4 Running Water 3:20 B5 I Am 1:41 B6 Sorry 4:56   ELO  fans who found in  Long Distance Voyager  a new  Discovery  can be excused for thinking there's no  Time  like  The Present. Just as  ELO 's follow-up to the sweeping  Discovery  seemed tame by comparison, so  The Present  failed to match the grandiose arrangements of  the Moodies ' previous record. It's still a solid effort, bolstered by strong songwriting and pleasant melodies, but as good as the opening "Blue World" is, its downbeat message is no substitute for the clarion call of "The Voice."  The Present  seems to make a conscious effort to scale back the arena-size sound of their previous album, returning to the warmly rendered ballads of old.  Patrick Moraz, whose keyboards were a revelation on  Long Distance Voyager, plays a diminished role here, as  Justin Hayward 's guitar takes more of the lead, suggesting a poor man's  Phil Manzanera  or  David Gilmour. While it charted well and provided hit singles in "Blue World" and "Sitting at the Wheel" (again, it's  John Lodge  who provides the most invigorating track),  The Present  is a gift that listeners will need to warm up to over time. Only after several sittings do  Hayward 's lush ballads like "Meet Me Halfway" and "Running Water" sink in. Following the format of their last effort, the closing tracks are given to  Ray Thomas, who once more proves a compelling presence (he's also the only good thing about "Going Nowhere"). "I Am" and "Sorry" amount to little more than love songs, but  Thomas ' sense for dramatic arrangements manages to elevate the musical discussion. Given the now infrequent release of new albums by  the Moody Blues, more could have been expected from  The Present, but less could have been achieved (as the disappointing  Keys of the Kingdom  demonstrated). If it's merely average by  Moodies  standards, at least  The Present  didn't bode ill for the future.  

Enjoy the content without reflections Display Mate Forget reflections, light will no longer be an impediment to enjoy every detail clearly. You will be able to appreciate the details of each painting. It's time to enjoy art and your TV as it should be. Designed to look like a true work of art The minimalist design of The Frame blends with your decoration. Its slimmer profile, multiple frame options, and single nearly invisible cable offer a sophisticated look from any angle. Your frame, your style Customizable Frame With The Frame TV you have the power to decide. Choose the frame color that best suits your space and your tastes. Thanks to its magnetic mounting you can customize your TV in the blink of an eye. Colors available in white, brown and teak. Frame your favorite moments My collection Upload and display your photos or family portraits easily. You just have to send them to The Frame through your phone or via USB. The Frame detects your presence Motion sensor The TV automatically turns on its screen to show your works of art when it detects your entry into the room. Also, when you leave it, it will turn off to save energy. Horizontal or vertical? It's up to you! Rotating studio stand Joining your Studio base together with the Rotating Wallmount will allow you to choose the position of your screen, put it in a horizontal or vertical position in a single turn. So you can enjoy your favorite content your way. Experience more at the same time Multi View Want to catch up on last week's episode while you work out? There is no need to stop seeing one for the other. Set up two channels on the screen so you can watch or even hear both at the same time, and adjust the size to help you focus. The Frame gives you the freedom to see everything your way. TV and sound bar in perfect harmony Q-Symphony Combine the audio from your TV with that from your sound bar, creating an immersive atmosphere around you. Enjoy multi-dimensional sound without the need to connect additional speakers to your TV.

GARY SHEARSTON: DINGO [ESP 1974] LP GARY SHEARSTON: DINGO [ESP 1974] LP Gary Shearston   "Dingo"  LP (Charisma)  1974  made in Spain cat. num.  63 69 958 #folk rock  #pop rock   Dingo   Back Of Beyond   Witnessing   I Get A Kick Out Of You   The Lightkeeper Of America   Seagull And Swan   The Ballad Of Blasted Creek   Lump In The Bed   Aborigine   Without A Song   b. 9 January 1939, Inverell, New South Wales, Australia. This singer-songwriter was also proficient on guitar and harmonica. Shearston moved with his family to Sydney at the age of 12, after his father’s farm was destroyed by drought. By the time Shearston was 19 he was a professional singer performing traditional Australian music in pubs, clubs and on radio and television. In the late 50s he made his first recording, for the Festival label, and this was followed by a number of albums for CBS Records in the early to mid-60s. Two of these albums were described as ‘among the best records of traditional music ever made in Australia’. In 1965, Shearston received an award for the best composition of the year when ‘Sometime Lovin’’ was covered by a number of artists including Peter Paul And Mary. In the mid-60s, together with Martyn Wyndham-Read, he recorded a live album on the Australian Score record label, although CBS would not let Shearston appear on the album. In addition, he had his own folk music television programme.  Shearston then travelled to the USA in 1968 and lived there for the next four years. During the mid-70s Shearston relocated to Britain, where he recorded two albums for Charisma Records. Shearston’s one major hit in the UK came in 1974, when ‘I Get A Kick Out Of You’ made the Top 10. This single made Shearston the first Australian artist to have a simultaneous hit in Britain and Australia. Despite the long gap between albums he carried on and worked the folk clubs of Europe. Returning to Australia from England in 1988, Shearston was made a Deacon of the Anglican Church in December 1991, and has served in the parishes of Narrandera, Deniliquin, Hay, and Bangalow. In 2001, he released his first new studio album in over a decade.

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.