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UK (SN) NIGHT AFTER NIGHT AÑO – 1978 UK (SN) NIGHT AFTER NIGHT AÑO – 1978 UK (SN) NIGHT AFTER NIGHT AÑO – 1978 SE CONTESTARAN TODAS LAS PREGUNTAS Y SE COLGARAN FOTOS COMPLEMENTARIAS EN CASO DE SER SOLICITADAS EL ENVIO SE REALIZARA POR CORREOS CON ENTREGA EN DOMICILIO.    NOTA:  "EL CONTENIDO DISCOGRAFICO DE ESTA PAGINA ESTA EN CONSTRUCCION, PERMANENTEMENTE SE IRAN INCORPORANDO LOS MILES DE TITULOS QUE HAY DISPONIBLES. ".   All questions will be answered and we also upload complementary pictures in case of demands The whole music content is under construction. We are permanently including miles of new avaliable titles.

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.

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.

COLOURBOX: THE OFFICIAL COLOURBOX WORLD CUP THEME [UK 1986] 7' COLOURBOX: THE OFFICIAL COLOURBOX WORLD CUP THEME [UK 1986] 7' Colourbox   "The Official Colourbox World Cup Theme"  single 7" (4AD)  1986  made in UK cat. num.  AD 605 #synth pop   A The Official Colourbox World Cup Theme 3:06 B Philip Glass 3:29   One of the legendary 4AD label's earliest and most under-recognized acts,  Colourbox  were among the first artists outside of the realm of hip-hop to rely heavily on sampling techniques; ultimately, their arty blue-eyed soul -- a fusion of far-ranging influences spanning from classic R&B to dub to industrial -- reached its commercial and creative apotheosis through their work on  M/A/R/R/S ' seminal "Pump Up the Volume" project, a reflection of the group's longstanding interest in the burgeoning underground dance music scene of the 1980s.  Colourbox  were primarily the work of London-based brothers Martyn and  Steven Young, who recruited vocalist  Debbion Currie  to sing on their 1982 4AD debut, "Breakdown."  Curry  was replaced by  Lorita Grahame  in time for the trio's 1983 re-recording of the same track, this time produced by  Mick Glossop.  Colourbox 's self-titled debut EP -- a collection of dub and scratching experiments heralding their first plunge into sampling technology, edited down from three hours of studio sessions -- appeared later that same year, with the single "Say You" following in 1984. After another 12", "Punch," the group issued 1985's "The Moon Is Blue," a teaser for its upcoming full-length LP, also a self-titled affair; "Baby I Love You So" and "The Official Colourbox World Cup Theme" both appeared the following year.  In 1987, at the behest of 4AD chief  Ivo Watts-Russell, the Young brothers teamed with labelmates  A.R. Kane  as  M/A/R/R/S  to record a single fusing the rhythms and beats from classic soul recordings with state of the art electronics and production. Complete with scratches by champion mixer  Chris "C.J." Mackintosh  and London  DJ Dave Dorrell, "Pump Up the Volume" -- a breakthrough effort heralding sampling's gradual absorption from hip-hop into dance music and ultimately the pop mainstream -- soon topped the British charts, the first 4AD release to accomplish that feat. Plans for a follow-up never materialized, however; stranger still, despite  M/A/R/R/S ' success, both the Youngs and  Colourbox seemed to vanish, with no future recordings forthcoming.  

OSCAR PETERSON: Montreux '77 [UK 1977] LP OSCAR PETERSON: Montreux '77 [UK 1977] LP Oscar Peterson Jam   "Montreux '77"   LP (Pablo)   1977 made in UK cat. num.  2308 208 #jazz   Ali And Frazier 9:20 If I Were A Bell 10:39 Things Ain't What They Used To Be 12:42 Just In Time 9:49   One of many Pablo albums taken from the 1977 Montreux Jazz Festival, this outing teams pianist  Oscar Peterson, bassist  Niels Pedersen, and drummer  Bobby Durham  with tenorman  Eddie "Lockjaw" Davis  and trumpeters  Clark Terry  and  Dizzy Gillespie. The talented (and very competitive) players really dig into the opening uptempo blues ("Ali and Frazier") and they continue cooking on "If I Were a Bell,"  "Things Ain't What They Used to Be," and "Just in Time." As often happens in this type of situation, the musicians mutually inspire each other. This is one of  Dizzy Gillespie 's better sessions of the '70s; in fact, there are no losers during these battles.

STANLEY CLARKE: I WANNA PLAY FOR YOU [UK 1979] LPx2/GAT STANLEY CLARKE: I WANNA PLAY FOR YOU [UK 1979] LPx2/GAT (Epic - CBS)  1979  made in UK cat. num.  EPC 22133 #jazz rock  #jazz funk  #fusion   A1 Rock 'N' Roll Jelly 2:35 A2 All About 5:15 A3 Jamaican Boy 3:27 A4 Christopher Ivanhoe 3:22 A5 My Greatest Hits 6:28 B1 Strange Weather 1:45 B2 I Wanna Play For You 6:20 B3 Just A Feeling 6:02 B4 The Streets Of Philadelphia 5:55 C1 School Days 10:43 C2 Quiet Afternoon 9:00 D1 Together Again 5:40 D2 Blues For Mingus 2:18 D3 Off The Planet 3:10 D4 Hot Fun-Closing 7:50   Stanley Clarke  stretches his muscles and comes up with a mostly impressive, polystylistic, star-studded double album (now on one CD) that gravitates ever closer to the R&B mainstream.  Clarke 's writing remains strong and his tastes remain unpredictable, veering into rock, electronic music, acoustic jazz, even reggae in tandem with British rocker  Jeff Beck.  Clarke 's excursion into disco, "Just a Feeling," is surprisingly and infectiously successful, thanks to a good bridge and  George Duke 's galvanizingly funky work on the Yamaha electric grand piano (his finest moment with  Clarke  by far). The brief "Blues for Mingus," a wry salute from one master bassist to another (Mingus  died about six months before this album's release), is a cool acoustic breather for piano trio, and the eloquent  Stan Getz  can be detected, though nearly buried under the garish vocals and rock-style mix, on "The Streets of Philadelphia." Yet even the talented  Clarke  in full creative flower couldn't quite fill a double set with new material, so he has a tendency to reprise some of his old memorable riffs a lot, and there are several energetic snapshots of his live band in action. In its zeal to get this two-LP set onto one disc, Epic deleted three of the original 15 tracks -- including at least one gem, the sizzling hard rocker "All About" -- and scrambled the order of the remaining tunes. Which is dumb, because the missing tracks only take up a bit less than 12 minutes of playing time, not enough to overload a 65-minute disc. Hunt for the double-LP version if you can still play vinyl.

V / A: ACID JAZZ AND OTHER ILLICIT GROOVES [UK 1988] LP/COMP V / A: ACID JAZZ AND OTHER ILLICIT GROOVES [UK 1988] LP/COMP (Urban - Polydor)  1988  made in UK cat. num.  URBLP 16 #acid jazz  #funk  #jazz funk  #downtempo   A1a – Jalal Introduction   A1b – Ace Of Clubs Ace Of Clubs   A2a – Jalal Jalal   A2b – Push  Traffic   A3 – Acid Jazz Alliance Shaft In Action   B1a – Jalal Jalal   B1b – Galliano And The Jazz Renegades Six Sharp Fists   B2a – Night Trains And Now We Have Rhythm   B2b – Night Trains A Refreshing Interlude   B3 – Rhythm Blades Doin' It Naturally

FRANK SINATRA `Sings Jimmy Van Heusen and Sammy Cahn` EP UK. MONO. FRANK SINATRA `Sings Jimmy Van Heusen and Sammy Cahn` EP UK. MONO. FRANK SINATRA `Sings Jimmy Van Heusen and Sammy Cahn` EP UK. MONO. VG++/VG++ A:`All the way`- `Love and marriage` B:`(Love is) the tender trap`-´The last dance` Los gastos del envio corren de cuenta del comprador. Envio una vez recibido el pago por transferencia bancaria o giro postal. Los gastos salen más económicos cuando se piden varios discos. Para cualquier tipo de duda no dudes en contactar conmigo. Si no vas a realizar la compra no pujes, por favor. ESPAÑA, CORREO CERTIFICADO: 1 SINGLE 4€ 6 SINGLES 5€ LP´s hasta 2KG (7-8 lp´s) 7,50€ EUROPA: REGISTERED MAIL 1 SINGLE 7,50€ 6 SINGLES 8,50€ 1 LP 8,50€ 4 LP´s 14,80€

JOHN LENNON 2x Original UK Walls And Bridges LP Single Ads Promo Advert Beatles JOHN LENNON 2x Original UK Walls And Bridges LP Single Ads Promo Advert Beatles   JOHN LENNON 2x Original UK Record Ads: "Walls And Bridges" LP & "Whatever Gets You Thru' The Night" Single    From a Original UK Edition Rolling Stone Newspaper   I will ship them carefully folded (they have been kept like this)   Very Good Condition

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.  

BURT BACHARACH: BSO LOST HORIZON [UK 1973] LP/FOL BURT BACHARACH: BSO LOST HORIZON [UK 1973] LP/FOL Burt Bacharach   "BSO Lost Horizon"  LP (Bell - Columbia)  1973  made in UK cat. num.  SYBEL 8000 #soundtrack  #easy listening   Introduction 0:30 Lost Horizon 1:58 Share The Joy 2:42 The World Is A Circle 3:25 Living Together, Growing Together 3:21 I Might Frighten Her Away 2:38 The Things I Will Not Miss 3:13 If I Could Go Back 4:07 Where Knowledge Ends (Faith Begins) 3:43 Question Me An Answer 5:27 I Come To You 1:29 Reflections 1:50   When the motion picture musical Lost Horizon was unleashed upon the world in 1973, the reviews were unbelievably harsh and much of the criticism was aimed at composer  Burt Bacharach  and lyricist  Hal David. However, even though many of the songs on this soundtrack are not as memorable as their more popular collaborations, this album is not that bad. In fact, many of the songs are quite catchy, including "The World Is a Circle" and "Reflections." Some of the vocals are sung by the actors, including  Sally Kellerman  and the late  Bobby Van.  Burt Bacharach  has a certain knack for production of not-so-great singers (himself included) and, fortunately, it shows here with the actors. Other actors had their singing parts dubbed by more seasoned vocalists.  Shawn Phillips  is the singer on the title track.

Billy J. Kramer. That’s the way I feel/ Trains and boats and planes. Parlophone, UK 1965 single Billy J. Kramer. That’s the way I feel/ Trains and boats and planes. Parlophone, UK 1965 single Billy J. Kramer. That’s the way I feel/ Trains and boats and planes. Parlophone, UK 1965 single + cubierta genérica vinilo usado, con marquitas y algunas manchas, ruiditos, pero sin saltos

Al Hirt And His Band - Al (He's The King) Hirt And His Band (RCA, UK, 1961) Al Hirt And His Band - Al (He's The King) Hirt And His Band (RCA, UK, 1961) Al Hirt And His Band - Al (He's The King) Hirt And His Band (RCA, UK, 1961)

Jerry Colonna And His Dixieland Band - He Swings And He Sings (World Record Club, UK) Jerry Colonna And His Dixieland Band - He Swings And He Sings (World Record Club, UK) Jerry Colonna And His Dixieland Band -  He Swings And He Sings (World Record Club, UK) ***Estoy vendiendo toda mi colección de Vinilos de jazz*** Son Vinilos que he ido coleccionando a través de los años pero que por falta de espacio me veo obligado a vender.  Son ediciones que hoy en día son dificiles de conseguir y el estado general de los vinilos es excelente.

Jack Hylton And His Orchestra - Jack Hylton And His Orchestra (Ace Of Clubs, UK, 1966) Jack Hylton And His Orchestra - Jack Hylton And His Orchestra (Ace Of Clubs, UK, 1966) Jack Hylton And His Orchestra -  Jack Hylton And His Orchestra (Ace Of Clubs, UK, 1966)