Live <img style="float:right" src=";collec=0&amp;img=Golden_Earring_Live.jpg&amp;x=1000&amp;y=120" /> <ul> <li>Artist : Golden Earring</li> <li>Publication date : 1977</li> <li>Duration : 87:07</li> <li>Origin : Meneer Van Ulden</li> <li>Label : Polydor</li> <li>Compositor : -</li> <li>Producer : -</li> <li>Added by : 30/06/2018</li> <li>Comments : Live is the first live album by Dutch rock band Golden Earring, released in 1977, recorded at London's Rainbow Theater</li> </ul> <p>01, Candy's Going Bad, 5:06, 02, She Flies on Strange Wings, 8:10, 03, Mad Love's Comin', 9:53, 04, Eight Miles High, 10:01, 05, Vanilla Queen, 11:45, 06, To the Hilt, 6:55, 07, Fightin' Windmills, 8:26, 08, Con Man, 9:09, 09, Radat Love, 11:17, 10, Just Like Vince Taylor, 6:25</p> Rock True <img style="float:right" src=";collec=0&amp;img=SpandauBallet_True.jpg&amp;x=1000&amp;y=120" /> <ul> <li>Artist : Spandau Ballet</li> <li>Publication date : 1983</li> <li>Duration : 35:58</li> <li>Origin : Markt</li> <li>Label : Chrysalis</li> <li>Compositor : -</li> <li>Producer : -</li> <li>Added by : 27/04/2018</li> <li>Comments : True is the third studio album by British band Spandau Ballet. It was released in March 1983 on Chrysalis Records. While Spandau Ballet's first two albums earned them European popularity, True made them worldwide stars and was heavily influenced by jazz, soul and R&amp;B. It reached number 1 on the UK Albums Chart,[2] the Top 20 on the US Billboard 200,[citation needed] and charted in numerous other countries around the world. The title track spent four weeks at number 1 in the UK Singles Chart and went to number 4 on the US Billboard Hot 100. It was also Spandau Ballet's first album to be recorded outside of London (at Compass Point Studios in the Bahamas).<br /> <br /> Other singles from the album included &quot;Gold&quot; (a no. 2 UK hit and a Top 30 hit in the US), &quot;Lifeline&quot;, &quot;Communication&quot;, and &quot;Pleasure&quot;. Later album releases by the band never equalled the success of True.<br /> <br /> &quot;True&quot; was remastered on CD and stereo SACD in 2003 for its 20th anniversary. In June 2010, a special edition was released on 2 CDs and DVD as part of the 2010 Spandau Ballet reissues series, featuring remastered 12&quot; remixes and B-sides, plus a live concert.<br /> <br /> In 2008, the album was given away free with copies of the Daily Mail newspaper.</li> </ul> <p>1, Pleasure, 3:33, 2, Communication, 3:41, 3, Code of Love, 5:11, 4, Gold, 4:51, 5, Lifeline, 3:36, 6, Heaven Is a Secret, 4:27, 7, Foundation, 4:08, 8, True, 6:29</p> Alternative New Romantic New Wave Pop Close Personal Friend <img style="float:right" src=";collec=0&amp;img=Close_Personal_Friend_0.jpg&amp;x=1000&amp;y=120" /> <ul> <li>Artist : Robert Johnson</li> <li>Publication date : 1978</li> <li>Duration : 39:56</li> <li>Origin : Kringloop</li> <li>Label : Mercury Records</li> <li>Compositor : -</li> <li>Producer : -</li> <li>Added by : 21/01/2019</li> <li>Comments : Timing is everything, but it wasn't Robert Johnson's best friend. Sweeping out of the Rolling Stones' shopping list when they were searching for Mick Taylor's replacement, Johnson (whose very name should have landed him the job) was one of the hottest rock &amp; roll guitarists of the mid-'70s, bluesy and bruising, street smart and sharp, and a gritty songwriter, too. <br /> But one glance at his debut album and you have him pegged for another new waver, just one more in that long line of quirky power poppers who emerged from the post-Costello '70s and were soundly dismissed on the spot. <br /> Which leaves Close Personal Friend in that awkward space somewhere between the classic it is and the bargain-bin regular it became. <br /> Too soulful for the skinny-tie brigade but too confusing for everyone who should have loved it, Close Personal Friend features ten stunning rockers that dance on the brittlest edge of American roots, and if any album of that era demands rediscovery, this is it.</li> </ul> <p>01, I'll Be Waiting, 4:45, 02, Wish Upon a Star, 4:59, 03, Guide My Energy, 4:29, 04, Say Girl, 2:58, 05, Responsibility, 3:50, 06, Kerri, 2:51, 07, Leslie, 4:11, 08, Wreck My Mind, 4:09, 09, Debbie's Theme, 3:59, 10, Tell Me About It, Slim, 3:41</p> Blues Rock Milestone Twofers <img style="float:right" src=";collec=0&amp;img=MilestoneTwofers.jpg&amp;x=1000&amp;y=120" /> <ul> <li>Artist : Various Artists</li> <li>Publication date : 1973</li> <li>Duration : 0</li> <li>Origin : -</li> <li>Label : Dureco Benelux</li> <li>Compositor : -</li> <li>Producer : -</li> <li>Added by : 04/01/2019</li> <li>Comments : &quot;Fantasy/Prestige/Milestone is proud to have been able to acquire rights to the extensive and distinguished Riverside Records catalog. This sampler is designed to introduce to you the first (Spring, 1973) releases in what will be a continuing and comprehensive program on Milestone of jazz reissues of major interest and importance - all prepared under the supervision of the original Riverside recording director.&quot;<br /> <br /> Milestone Records, distributed by the Dutch Record Company (Dureco), wholesale organisation for recordings. Distribution number: SDUT 23.789.<br /> <br /> The vinyl labels display the title: &quot;Twofer&quot; Sampler.</li> </ul> <p>A1, Wes Montgomery - D-Natural Blues, 5:23, A2, Cannonball Adderley - Nardis, 5:30, A3, Bill Evans - Jade Visions, 3:45, A4, Sonny Rollins - Dealy Beloved, 3:00, A5, Milt Jackson - Extraordinary Blues, 3:44, B1, Charlie Byrd - Meditation, 3:10, B2, Thelonious Monk - April In Paris, 3:50, B3, Yusef Lateef - I'm Just A Lucky So And So, 4:35, B4, Art Blakey - Time Off, 4:56, B5, Herbie Mann - Sultry Serenade, 5:00, C1, Sonny Rollins - Will You Still Be Mine?, 2:55, C2, Wes Montgomery - Repetition, 3:51, C3, Bill Evans - My Foolish Heart, 4:50, C4, Herbie Mann - Bo-Do, 5:52, C5, Thelonious Monk - Ruby, My Dear, 4:00, D1, Cannonball Adderley - Groovin' High, 5:17, D2, Yusef Lateef - Jungle Fantasy, 2:42, D3, Art Blakey - Sweet 'N' Sour, 5:20, D4, Charlie Byrd - Chega De Saudade (No More Blues), 3:13, D5, Milt Jackson - If You Could See Me Now, 5:17</p> Jazz The Best Of Emmerson Lake & Palmer <img style="float:right" src=";collec=0&amp;img=EmmersonLakePalmer-BestOf.jpg&amp;x=1000&amp;y=120" /> <ul> <li>Artist : Emmerson Lake &amp; Palmer</li> <li>Publication date : 1980</li> <li>Duration : 38:50</li> <li>Origin : Kringloop</li> <li>Label : Ariola</li> <li>Compositor : -</li> <li>Producer : -</li> <li>Added by : 04/01/2019</li> <li>Comments : 202 933-320</li> </ul> <p>A1, Hoedown, 3:45, A2, Lucky Man, 4:38, A3, Karn Evil 9: 1st Impression, Pt. 2, 4:48, A4, Jerusalem, 2:45, A5, Peter Gunn Theme, 3:37, B1, Fanfare For A Common Man, 2:57, B2, Still...You Turn Me On, 2:45, B3, Tiger In The Spotlight, 4:35, B4, Trilogy, 8:51</p> - Organisation <img style="float:right" src=";collec=0&amp;img=OMD-Organisation.jpg&amp;x=1000&amp;y=120" /> <ul> <li>Artist : Orchestral Manoeuvres in the Dark</li> <li>Publication date : 1980</li> <li>Duration : 51:20</li> <li>Origin : Kringloop</li> <li>Label : DinDisc</li> <li>Compositor : -</li> <li>Producer : -</li> <li>Added by : 04/01/2019</li> <li>Comments : -</li> </ul> <p>A1, Enola Gay, 3:31, A2, 2nd Thought, 4:15, A3, VCL XI, 3:50, A4, Motion and Heart, 3:17, A5, Statues, 4:27, B1, The Misunderstanding, 4:53, B2, The More I See You, 4:12, B3, Promise, 4:49, B4, Stanlow, 6:41</p> New Romantic Synthpop Aguaplano <img style="float:right" src=";collec=0&amp;img=PaoloConte_Aguaplano.jpg&amp;x=1000&amp;y=120" /> <ul> <li>Artist : Paolo Conte</li> <li>Publication date : 1987</li> <li>Duration : 38:44</li> <li>Origin : Kringloop</li> <li>Label : CGD</li> <li>Compositor : -</li> <li>Producer : -</li> <li>Added by : 04/01/2019</li> <li>Comments : Paolo Conte's star was on the rise throughout the '80s, yet at the same time that his ineffable stage persona was triumphing all over Europe, his records from the period -- while always eminently enjoyable -- were becoming slightly less consistent than before. <br /> Benefiting from the break granted by his 1985 live release Concerti, Conte sounds definitely inspired in Aguaplano, his first studio album in three years and a strong contender for his best work ever. <br /> The only double album in Conte's discography, Aguaplano is logically the longest, but paradoxically one of the most focused projects of his entire career. <br /> One of the main reasons for this is Renzo Fantini's production,which wisely maintains a similar instrumental palette for the entire record. <br /> Compared with previous records such as Appunti di Viaggio and Paolo Conte [1994], the sound of Aguaplano seems stripped down to the bare essentials. <br /> Backed up by the familiar rhythm section of Ares Tavolazzi, Ellade Bandini, and Jimmy Villotti, Conte's trademark piano and vocal stylings take center stage in virtually every song. <br /> Impeccable horn arrangements render this already impressive set positively exquisite. Rather than individual efforts, Conte's songs in Aguaplano seem conceived as parts of an organic suite of sketches or miniatures. There may not be any immediately recognizable hits in Aguaplano, but that is a consequence of its uniform quality of mood and content. This is the rare double album worth listening to in its entirety, where the sum is greater than the parts. Which is not to say that, taken individually, the songs are not of the highest Conte standard: &quot;Anni,&quot; &quot;Blu Notte,&quot; &quot;Gratis,&quot; &quot;Ratafià,&quot; &quot;Les Tam-Tam du Paradis...&quot; -- it is almost unfair to look for highlights in such a cohesive collection, one that seems to get better with every listening. If anything, in another rare occurrence for a double album, the second disc is probably superior to the first. Everything feels in the right place in Aguaplano, from the songwriting and arrangements down to the album art and track sequencing: it cannot be a coincidence that the record is bookended by its two greatest moments, &quot;Aguaplano&quot; and &quot;Jimmy Ballando.&quot; The title track functions as a film's opening shot, zooming in from an airplane high in the air to discover the baffling spectacle of a concert piano floating at sea, a fitting welcome to a secret universe where music and sensuality (or rather, the languid sensuality derived from this kind of music) prevail over logic. The last song, &quot;Jimmy Ballando&quot; is a comic masterpiece in which Conte and his buddy Jimmy, two aged playboys drowsy after a pantagruelic meal, attempt for old times' sake a last dancehall seduction. Alas, their failing eyesight impedes them in seeing that the women they invite over are Chinese, killing off any possibility of verbal communication. Resigned, the two men content themselves with dancing with their unexpected partners. A brilliant farewell to the world introduced in Aguaplano, &quot;Jimmy Ballando&quot; represents the slow awakening from the slumber induced by a long journey of alcohol, smoke, and dancing, and the humorous realization that one may not be so young anymore, and certainly no longer in step with the times. Yet, much like the mood created by this album, it was magic while the illusion lasted.</li> </ul> <p>1, Aguaplano, 4:07, 2, Baci senza memoria, 3:15, 3, Languida, 2:15, 4, Paso doble, 2:57, 5, Dopo le sei, 3:24, 6, Max, 3:46, 7, Blu notte, 4:46, 8, La negra, 2:45, 9, Hesitation, 3:48, 10, Ratafià, 2:59, 11, Nessuno mi ama, 4:42</p> - Verve Jazz No. 4 <img style="float:right" src=";collec=0&amp;img=BenWebsterV4.jpg&amp;x=1000&amp;y=120" /> <ul> <li>Artist : Ben Webster</li> <li>Publication date : 1958</li> <li>Duration : 0</li> <li>Origin : Kringloop</li> <li>Label : Metro</li> <li>Compositor : -</li> <li>Producer : -</li> <li>Added by : 04/01/2019</li> <li>Comments : Benjamin Francis Webster (March 27, 1909 – September 20, 1973) was an American jazz tenor saxophonist. Born in Kansas City, Missouri, he is considered one of the three most important &quot;swing tenors&quot; along with Coleman Hawkins and Lester Young. Known affectionately as &quot;The Brute&quot;[1] or &quot;Frog&quot;, he had a tough, raspy, and brutal tone on stomps (with growls), yet on ballads he played with warmth and sentiment. He was indebted to alto saxophonist Johnny Hodges, who, he said, taught him to play his instrument.</li> </ul> <p>A1, Hollering At The Watkins, 3:25, A2, Young Bean, 6:02, A3, Late Date, 7:10, A4, Don't Get Around Much Any More, 3:02, A5, Pennies From Heaven, 2:44, B1, Jive At Six, 4:09, B2, Saph, 2:04, B3, Fajista, 3:38, B4, Ev's Mad, 4:20, B5, Cool Train, 4:08</p> Jazz Brownsville Blues <img style="float:right" src=";collec=0&amp;img=SleepyJohnEstes.jpg&amp;x=1000&amp;y=120" /> <ul> <li>Artist : Sleepy John Estes</li> <li>Publication date : 1992</li> <li>Duration : 48:07</li> <li>Origin : Kringloop</li> <li>Label : Delmark Records</li> <li>Compositor : -</li> <li>Producer : Steve Wagner</li> <li>Added by : 04/01/2019</li> <li>Comments : Estes sang with a distinctive &quot;crying&quot; vocal style. He frequently teamed with more capable musicians, such as Yank Rachell, Hammie Nixon, and the piano player Jab Jones. Estes sounded so much like an old man, even on his early records, that blues revivalists reportedly delayed looking for him because they assumed he would have to be long dead (and because the musician Big Bill Broonzy had written that he was dead). By the time he was tracked down by the blues historians Bob Koester and Samuel Charters in 1962, he was completely blind and living in poverty. He resumed touring with Nixon and recording for Delmark Records.[5] Estes, Nixon and Rachell appeared at the Newport Folk Festival in 1964.[6]<br /> <br /> Many of Estes's original songs were based on events in his life or people he knew in his hometown, Brownsville, such as the local lawyer (&quot;Lawyer Clark Blues&quot;), the local auto mechanic (&quot;Vassie Williams' Blues&quot;), or an amorously inclined teenage girl (&quot;Little Laura Blues&quot;).[5] In &quot;Lawyer Clark Blues&quot;, about the lawyer and later judge and senator Hugh L. Clarke, whose family lived in Brownsville, Estes sang that Clark let him &quot;off the hook&quot; for an offense. He also dispensed advice on agricultural matters (&quot;Working Man Blues&quot;) and chronicled his own attempt to reach a recording studio for a session by hopping a freight train (&quot;Special Agent [Railroad Police Blues]&quot;). His lyrics combined keen observation with an ability to turn an effective phrase.[7][8]</li> </ul> <p>A1, The Girl I Love, 2:58, A2, City Hall Blues, 3:24, A3, Government Money, 2:29, A4, Working Man Blues, 2:24, A5, Mailman Blues, 2:33, A6, Mary Come on Home, 1:46, B1, Pat Mann, 2:25, B2, Vassie Williams, 2:35, B3, Young Lawyer, 3:13, B4, Al Rawls, 2:43, B5, Lawyer Clarck, 2:39, B6, Martha Hardin, 3:42</p> Blues Ekseption <img style="float:right" src=";collec=0&amp;img=Ekseption.jpg&amp;x=1000&amp;y=120" /> <ul> <li>Artist : Ekseption</li> <li>Publication date : 1969</li> <li>Duration : 31:53</li> <li>Origin : Kringloop</li> <li>Label : Philips</li> <li>Compositor : -</li> <li>Producer : -</li> <li>Added by : 04/01/2019</li> <li>Comments : Ekseption ontstond in 1967 uit het Haarlemse schoolbandje The Jokers, dat in 1958 was opgericht door Hans Alta (bas), Rob Alta (gitaar), Rein van den Broek (trompet, flugelhorn, saxofoon), Tim Griek (drums) en Huib van Kampen (gitaar/saxofoon). In het eerste jaar speelden ook Ton Heydenrijk (saxofoon) en Hans Timmer (orgel) mee. De groep speelde voornamelijk covers van rhythm &amp; blues-, jazz- en popnummers. In 1965 veranderden The Jokers hun naam in Incrowd, maar door het succes van een andere gelijknamige Nederlandse groep moesten ze weer iets anders verzinnen. In 1967 werd dat Ekseption. Ton Heydenrijk en Hans Timmer verlieten echter de groep. Rob Kruisman kwam erbij en nam de muzikale leiding op zich.<br /> De succesjaren<br /> Ekseption in het programma Fanclub (1967)<br /> <br /> In april 1967 kwam toetsenist Rick van der Linden de groep versterken. In 1968 won Ekseption de eerste prijs op het Loosdrechtse Jazz Festival en raakte daarmee in één klap tot ver over de Nederlandse grenzen bekend. Ze kregen bij Phonogram een platencontract, wat het volgende jaar zou resulteren in hun eerste grammofoonplaat, getiteld Ekseption. Hiermee begon een succesrijke periode van vijf jaar, waarin de band door heel Europa toerde en onder meer speelde in het Olympia in Parijs, de Philharmonie in Hamburg en het Palladium in Londen.<br /> <br /> In 1968 verlieten Hans Alta en Tim Griek de groep en werden vervangen door respectievelijk Cor Dekker (basgitaar) en Peter de Leeuwe (drums), beiden ex-The Hottletts. Rob Alta was al eerder opgestapt. Tim Griek zou later producer worden van onder anderen Brainbox en André Hazes.<br /> Koersverandering<br /> In 1969 werd Ekseption door de Engelse band The Nice geïnspireerd om klassieke stukken te bewerken en daarmee de muzikale koers te verleggen naar een mix van rock en klassieke muziek. Rick van der Linden had een conservatoriumopleiding klassieke muziek genoten en had ervaring met het spelen in verschillende pop- en jazzgroepen als het Occasional Swingcombo en het Ferdinand Povel Quartet. Met zijn arrangementen van klassieke werken van onder meer Bach, Albinoni, Beethoven, Mozart, Tsjajkovski en Chatsjatoerjan was hij voor een groot deel verantwoordelijk voor het geheel nieuwe, eigen en energieke geluid van de band. <br /> <br /> zie verse wikipedia</li> </ul> <p>A1, The 5th, 3:21, A2, Dharma for One, 3:25, A3, Little X Plus, 2:33, A4, Sabre Dance, 4:35, A5, Air, 2:50, B1, Ritual Fire Dance, 2:15, B2, Rhapsody in Blue, 3:59, B3, This Here, 4:10, B4, Dance Macabre Opus 40, 2:20, B5, Canvas, 2:25</p> Nederbeat Symphonic Rock Songbook <img style="float:right" src=";collec=0&amp;img=TeeSet-Songbook.jpg&amp;x=1000&amp;y=120" /> <ul> <li>Artist : Tee-Set</li> <li>Publication date : 1967</li> <li>Duration : 0</li> <li>Origin : Kringloop</li> <li>Label : Teenbeat</li> <li>Compositor : -</li> <li>Producer : -</li> <li>Added by : 04/01/2019</li> <li>Comments : Tee Set* ‎– Tee Set Songbook<br /> Label: Teenbeat (2) ‎– APLP 103<br /> Format: Vinyl, LP, Compilation<br /> Country: Netherlands<br /> Released: 1967<br /> Genre: Rock, Pop</li> </ul> <p>A1, Early In The Morning, -, A2, Jet Set, -, A3, When I Needed You, -, A4, Can Your Monkey Do The Dog, -, A5, Plat That Record, -, A6, Willy Nilly, -, A7, Don't Leave You, -, B1, Please Call Me, -, B2, I Can't Forget You, -, B3, So I Came Back To You, -, B4, Nothing Can Ever Change This Love, -, B5, Don't Mess With Cupid, -, B6, Believe What I Say, -, B8, Bring A Little Sunshine, -</p> Nederbeat Pop The Diary of a Band, Volumes One & Two <img style="float:right" src=";collec=0&amp;img=The_Diary_of_a_Band__Volumes_One___Two_0.jpg&amp;x=1000&amp;y=120" /> <ul> <li>Artist : John Mayall Blues Breakers</li> <li>Publication date : 2007-09-03</li> <li>Duration : 92:59</li> <li>Origin : Kringloop</li> <li>Label : Decca Records</li> <li>Compositor : -</li> <li>Producer : -</li> <li>Added by : 04/01/2019</li> <li>Comments : Musicbrainz CD code = LK 4918</li> </ul> <p>A1, Blood on the Night, 9:09, A2, Edmonton - Cooks Ferry Inn (Speech Only - Impromptu), 2:59, A3, I Can't Quit You Baby, 10:08, A4, Medley: Keef Hartley Interview (Speech only - impromptu) / Anzio Annie / Keef Hartley Interview (Continued) into John Mayall Interview / Snowy Wood / John Mayall Interview (conclusion) / The Lesson, 9:42, A5, My Own Fault, 11:30, A6, God Save the Queen, 2:50, B1, Gimme Some Lovin' / Spoken Introduction / The Train, 13:27, B2, Crying Shame, 10:57, B3, Local Boy Makes Good (Speech only - Impromptu), 4:03, B4, Help Me, 7:13, B5, Blues in B Flat, 4:49, B6, Soul Of A Short Fat Man, 6:08</p> Blues The World Of Blues Power <img style="float:right" src=";collec=0&amp;img=TheWorldOfBluesPower.jpg&amp;x=1000&amp;y=120" /> <ul> <li>Artist : Various Artists</li> <li>Publication date : 1969</li> <li>Duration : 0</li> <li>Origin : Kringloop</li> <li>Label : Decca</li> <li>Compositor : -</li> <li>Producer : -</li> <li>Added by : 04/01/2019</li> <li>Comments : Various ‎– The World Of Blues Power<br /> Label: Decca ‎– 375 016 XNU<br /> Format: 2 × Vinyl, LP, Compilation Box<br /> Country: Netherlands<br /> Released: 1969<br /> Genre: Blues<br /> Style: Rhythm &amp; Blues, Folk, Country Blues<br /> <br /> A1: with Eric Claptn<br /> A4: with Peter Green<br /> A5: with Nicky &quot;Guitar&quot; Baker<br /> A6: with Van Morrison<br /> B2: with Peter Green<br /> B3: with Nicky &quot;Guitar&quot; Baker<br /> B6: with Eric Clapton<br /> C3: with Big Jim Sullivan<br /> C4: with Ginger Baker<br /> D1: with Jon Hiseman &amp; Dick Heckstall-Smith<br /> D5: With Keef Hartley &amp; Dick Heckstall-Smith</li> </ul> <p>A1, John Mayall's Bluesbreakers - All Your Love, -, A2, Ten Years After - Spoonful, -, A3, Savoy Brown - Taste And Try, Before You Buy, -, A4, John Mayall's Bluesbreakers - Greeny, -, A5, Champion Jack Dupree - Barrel House Woman, -, A6, Them - Stormy Monday, -, A7, Alexis Corner Blues Inc - Blue Mink, -, B1, Eddie Boyd - Blue Coat Man, -, B2, John Mayall's Bluesbreakers - Out Of Reach, -, B3, Champion Jack Dupree - I Feel Like A Millionaire, -, B4, Savoy Brown - Someday People, -, B5, Ten Years After - Feel It For Me, -, B6, John Mayall's Bluesbreakers - Steppin' Out, -, B7, Alex Corners Blues Inc - Preaching The Blues, -, C1, Curtis Jones - Shake It Baby, -, C2, John Mayall's Bluesbrakers - I Need Your Love, -, C3, Mae Mercer - Sweet Little Angel, -, C4, Graham Bond Organization - Wade In The Water, -, C5, Eric Burdon &amp; The Animals - Maudie, -, C6, Rod Stewart - Good Morning (Little Schoolgirl), -, C7, Ronnie Jones &amp; The Nighttimers - I Need Your Lovin', -, D1, Davy Graham - Freight-Train Blues, -, D2, The Keef Hartley Band - Too Much Thinking, -, D3, Errol Dixon - Hot Summer, -, D4, The Alan Price Set - Going Down Slow, -, D5, John Mayall's Bluesbreakers - Sandy, -, D6, Davy Graham - Good Morning Blues, -</p> Blues Motown Special <img style="float:right" src=";collec=0&amp;img=FourTopsSpecial.jpg&amp;x=1000&amp;y=120" /> <ul> <li>Artist : Four Tops</li> <li>Publication date : 1977</li> <li>Duration : 0</li> <li>Origin : Kringloop</li> <li>Label : Motown Records</li> <li>Compositor : -</li> <li>Producer : -</li> <li>Added by : 04/01/2019</li> <li>Comments : Companies, etc.<br /> Manufactured By – EMI-Bovema Holland<br /> Phonographic Copyright (p) – Motown Record Corporation<br /> Pressed By – EMI-Bovema N.V. – 31173<br /> Pressed By – EMI-Bovema N.V. – 31174<br /> Published By – Jobete-Anagon<br /> Credits<br /> Cover, Design – A. Backhausen*<br /> Photography By [Coverphoto] – Motown (3)<br /> Notes<br /> Manufactured by EMI-Bovema Holland ℗ 1977<br /> ℗ Motown Record Corporation<br /> Made in Holland<br /> Barcode and Other Identifiers<br /> Matrix / Runout (Runout Side A): 5C038-98342 A/31173-1-Y<br /> Matrix / Runout (Runout Side B): 5C038-98342 B/31174-1-Y<br /> Rights Society: STEMRA</li> </ul> <p>A1, Reach Out, I'll Be There, -, A2, If I Were A Carpenter, -, A3, Standing In The Shadows Of Love, -, A4, Can't Seem To Get You Out Of My Mind, -, A5, Remember When, -, A6, We've Got A Strong Love (On Our Side), -, B1, Bernadette, -, B2, I'll Turn To Stone, -, B3, I Like Everything About You, -, B4, Since You've Been Gone, -, B5, Stay In My Lonely Arms, -, B6, A Place In The Sun, -</p> Soul Doe Het Niet Alleen <img style="float:right" src=";collec=0&amp;img=Vermeulen-niet+alleen.jpg&amp;x=1000&amp;y=120" /> <ul> <li>Artist : Bram Vermeulen &amp; De Toekomst</li> <li>Publication date : 1981</li> <li>Duration : 40:43</li> <li>Origin : Kringloop</li> <li>Label : RCA</li> <li>Compositor : -</li> <li>Producer : -</li> <li>Added by : 23/12/2018</li> <li>Comments : In 1980 richtte Vermeulen een eigen groep op, Bram Vermeulen en De Toekomst. Op het gelijknamige album rekende hij af met de “scheiding” van De Jonge; de singles Pauline en vooral Politiek zijn tijdloos geworden en staan dikwijls in de speellijsten van de openbare radio's zowel in Nederland als Vlaanderen.<br /> <br /> Voor het tweede album Doe Het Niet Alleen ontving Vermeulen een Edison. Datzelfde jaar maakte hij zijn debuut als acteur in de film Achter Glas. In 1984 bracht hij het album Bram uit, waarvoor hij opnieuw een Edison kreeg. Daarna ging hij zich meer toeleggen op het maken van muziek voor theaterproducties. <br /> <br /></li> </ul> <p>A1, Ik Heb Het Over Liefde, 3:25, A2, Maak Jezelf Wat Wijs, 3:53, A3, Het Is Gedaan (Deel 1), 2:41, A4, (Neem me) Zoals Ik Ben, 2:16, A5, Vreemdeling In Bed, 3:36, A6, De Burokraten, 2:30, A7, Eén Voor Een, 4:17, B1, Marijke, 3:32, B2, Het Gaat Je Niet Aan, 3:45, B3, Verveling, 2:40, B4, Alles Is Voor Niets Geweest, 3:26, B5, Doe Het Niet Alleen, 2:45, B6, Het Is Gedaan (Deel 2), 1:33</p> Nederlands Egypt Station <img style="float:right" src=";collec=0&amp;img=PM-egyptstation.jpg&amp;x=1000&amp;y=120" /> <ul> <li>Artist : Paul McCartney</li> <li>Publication date : 2018</li> <li>Duration : 57:26</li> <li>Origin : New</li> <li>Label : MPL</li> <li>Compositor : Paul McCartney</li> <li>Producer : -</li> <li>Added by : 19/12/2018</li> <li>Comments : Egypt Station is the 17th solo studio album by Paul McCartney. It was released by Capitol Records on September 7, 2018.[1]<br /> <br /> Egypt Station was produced by Greg Kurstin and co-produced by McCartney, with the exception of one track produced by Ryan Tedder.[1] The album is McCartney's first studio release since 2013's New. The album's first (double A-side) single, consisting of the two songs &quot;I Don't Know&quot; and &quot;Come On to Me&quot;, was released on June 20, 2018.[3][4]<br /> <br /> The name &quot;Egypt Station&quot; is shared by one of McCartney's paintings from 1988, from which the cover art is derived.[1][5] It became his first No. 1 album in the United States since 1982's Tug of War and his first to debut atop the Billboard 200. <br /> <br /> Recording<br /> <br /> Egypt Station was recorded in studios in Los Angeles, London, and Sussex.[1] McCartney began working with producer Greg Kurstin some time after the release of his 2013 album New and mentioned their working together several times leading up to the June 20, 2018 announcement of Egypt Station's release.[6]<br /> <br /> McCartney also recorded three songs with Ryan Tedder.[7] Two of the songs, &quot;Fuh You&quot; and &quot;Nothing for Free&quot;, were released on the album.<br /> <br /> The song &quot;Back in Brazil&quot; was recorded at KLB Studios in the city of São Paulo.[8]<br /> Composition<br /> <br /> Egypt Station contains 16 tracks, including opening and penultimate instrumentals entitled &quot;Opening Station&quot; and &quot;Station II&quot;, respectively. Tracks include the singles &quot;I Don't Know&quot; and &quot;Come On to Me&quot;. &quot;Happy with You&quot; is described as &quot;acoustic meditation on present day contentedness,&quot; &quot;People Want Peace,&quot; called a &quot;timeless anthem that would fit on virtually any album of any McCartney era,&quot; and &quot;an epic multi-movement closer&quot; called &quot;Despite Repeated Warnings.&quot;[1]<br /> <br /> On the inspiration for the album's title and theme, McCartney said:<br /> <br /> &quot;I liked the words 'Egypt Station.' It reminded me of the 'album' albums we used to make... 'Egypt Station' starts off at the station on the first song, and then each song is like a different station. So it gave us some idea to base all the songs around that. I think of it as a dream location that the music emanates from.&quot;[1]<br /> <br /> In the promotional event &quot;Casual Conversation,&quot; McCartney further clarified his creative process behind recording Egypt Station and described it as a concept album. <br /> <br /> Critical reception<br /> Professional ratings<br /> Aggregate scores<br /> Source Rating<br /> Metacritic 74/100[14]<br /> Review scores<br /> Source Rating<br /> AllMusic 3.5/5 stars[15]<br /> The Guardian 4/5 stars[16]<br /> NME 4/5 stars[17]<br /> The Observer 4/5 stars[18]<br /> Pitchfork 5.8/10[19]<br /> Rolling Stone 4/5 stars[20]<br /> Slant Magazine 2.5/5 stars[21]<br /> <br /> Egypt Station has been well-received by music critics. On Metacritic, the album has an overall score of 74 out of 100 compiled from the scores of 25 music critics, indicating &quot;generally favorable reviews&quot;.[14]<br /> <br /> In the review for AllMusic, Stephen Thomas Erlewine opined that &quot;all the slower songs are peppered with haunting images of darkness creeping at the edges, while McCartney revives the carnality that marked &quot;Press&quot; – not just on the straight-forward &quot;Fuh You,&quot; but &quot;Come on to Me,&quot; a considerably better song than the Tedder exercise. Such twists are welcome, but what's satisfying about &quot;Egypt Station&quot; is what's always satisfying about a McCartney record: the hooks and imagination that are so rampant they seem effortless.&quot;[15] Dan Stubbs from NME gave the album 4 out of 5 stars, saying, &quot;McCartney’s always been about inclusivity and openness, but this latest glimpse into his life feels like a particularly enlightening one.&quot;[17] Reviewing the album for The Observer, Kitty Empire also gave the album 4 out of 5 stars. In the review she states that &quot;the finest songs here land immediately and hum with urgency.&quot;[18]<br /> <br /> Writing a four star review in Rolling Stone, Rob Sheffield claimed, &quot;Make a list of all the songwriters who were composing great tunes in 1958. Now make an overlapping list of the ones who are still writing brilliant songs in 2018. Your list reads: Paul McCartney.&quot;[20] Chris Willman at Variety stated, &quot;If it doesn't make for McCartney's most coherent collection, it's endearing how enthusiastically he strives, at 76, to avoid doing just one thing when he can do a dozen. Bitch, he's Macca.&quot;[22]<br /> <br /> ClassicRockHistory wrote in their review of the album, &quot;This is great songwriting; it’s pop perfection. If we were living in the era in which radio used to play music other than hip hop and rap, these new Paul McCartney songs would become staples of pop culture like so many of the Beatles classics did. However, times have changed and so sadly these great records can get lost.&quot;[23]</li> </ul> <p>A1, Opening Station, 0:42, A2, I Don't Know, 4:27, A3, Come on to Me, 4:11, A4, Happy With You, 3:34, B1, Who Cares, 3:13, B2, Fuh You, 3:24, B3, Confidante, 3:05, B4, People Want Peace, 2:59, B5, Hand in Hand, 2:35, C1, Dominoes, 5:02, 2, Back in Brazil, 3:21, C3, Do It Now, 3:17, C4, Caesar Rock, 3:29, D1, Despite Repeated Warnings, 6:58, D2, Station II, 0:47, D3, Hunt You Down / Naked / C-Link, 6:23</p> - Live <img style="float:right" src=";collec=0&amp;img=ManhattanTransfer_Live.jpg&amp;x=1000&amp;y=120" /> <ul> <li>Artist : The Manhattan Transfer</li> <li>Publication date : 1978</li> <li>Duration : 0</li> <li>Origin : Markt</li> <li>Label : Atlantic</li> <li>Compositor : -</li> <li>Producer : -</li> <li>Added by : 27/04/2018</li> <li>Comments : The Manhattan Transfer Live was recorded by The Manhattan Transfer live at Manchester on 23 April 1978, Bristol on 28 April 1978, and the Hammersmith Odeon Theatre, London, on 2 May 1978. The album was produced by Tim Hauser and Janis Siegel. This was the final album made with Laurel Massé.<br /> <br /> The album was not originally published in the United States,[1] under the catalogue number SD 19218, belonging to the series of Atlantic Records for the U.S. original publications,[2] was used for some local editions, as in Sweden and in Australia. In the US the album was published as an LP in 1979 by Mobile Fidelity Sound Lab in a collector's edition under the name &quot;Original Master Recording&quot; (discs made from the master original)[3] For many years, ending in 2005, <br /> The Manhattan Transfer Live was the only album of the group that was not reissued in the US on CD. Warner-Pioneer in Japan released a CD version in 1987.<br /> <br /> The cover of the standard editions of Atlantic Records was described by Janis Siegel as &quot;the worst cover in history (perhaps only after Mecca for Moderns and Coming Out, is a drawing in a cartoon style of the four members of the group, and was reused for the re-release on CD of the Wounded Bird Records of 21 June 2005,[4] while that of the edition Mobile Fidelity Sound Lab is a photograph depicting the silhouette of the group at twilight (photography included in the inner envelope of the Atlantic version).<br /> <br /> The Manhattan Transfer is a jazz vocal group founded in 1969 that has explored a capella, vocalese, swing, standards, Brazilian jazz, rhythm and blues, and pop music.<br /> <br /> There have been two editions of the Manhattan Transfer, with Tim Hauser the only person to be part of both. The first group consisted of Hauser, Erin Dickins, Marty Nelson, Pat Rosalia, and Gene Pistilli. <br /> The second version of the group, formed in 1972, consisted of Hauser, Alan Paul, Janis Siegel, and Laurel Massé. <br /> In 1979, Massé left the group after being badly injured in a car accident and was replaced by Cheryl Bentyne. <br /> The group's long-time pianist, Yaron Gershovsky, accompanied the group on tour and served as music director. <br /> Trist Curless from the Los Angeles a cappella group m-pact became a permanent member in October 2014 following Hauser's death.[1]</li> </ul> <p>01, That Cat Is High, 3.15, 02, Snootie Little Cutie, 3.19, 03, Four Brothers, 3.56, 04, On a Little Street in Singapore, 3.36, 05, Java Jive, 2.54, 06, Walk In Love, 3.20, 07, Chanson D'Amour, 2.36, 08, Speak Up Mambo (Cuentame), 3.21, 09, 15 Minute Intermission, 1.36, 10, In the Dark, 4.14, 11, Je Voulais (Te Dire Que Je T'Attends), 4.49, 12, Sunday, 0.41, 13, Candy, 3.35, 14, Well, Well, Well, 1.52, 15, Freddy Morris Monologue, 1.07, 16, Bacon Fat, 3.33, 17, Turn Me Loose, 2.50, 18, Operator, 3.52, 19, Tuxedo Junction, 3.01</p> Jazz Spotlight On <img style="float:right" src=";collec=0&amp;img=Yardbirds_Spotlight.jpg&amp;x=1000&amp;y=120" /> <ul> <li>Artist : Yardbirds</li> <li>Publication date : 1974</li> <li>Duration : 0</li> <li>Origin : Meneer Van Ulden</li> <li>Label : Charly Records</li> <li>Compositor : -</li> <li>Producer : -</li> <li>Added by : 30/06/2018</li> <li>Comments : From their beginnings in 1962–1963 until their breakup in 1968, the Yardbirds released one studio album, one live album, nine singles, and two EPs in their native United Kingdom (a second live album with the Yardbirds serving as a back-up band for Sonny Boy Williamson II and a soundtrack album for which they contributed one song were also released during this period). As was the practice in the UK at the time, the Yardbirds' singles (except one) and their first EP were not released on albums. In the US (where albums included singles), the Yardbirds released an additional two albums, a second studio album, a greatest hits album, and four additional singles. Demos for two songs recorded in 1963 were later released as a single in the Netherlands and Germany[1] and a single recorded for the Italian market was released during this period.[2]<br /> <br /> Since their breakup in 1968, a number of new albums have appeared. Besides numerous compilations, albums featuring additional live recordings and various demos and outtakes from 1963–1968 have been released. Since 1999, several recordings by the reconstituted Yardbirds have been released.[3]</li> </ul> <p>01, For Your Love, 2:27, 02, Evil Hearted You, 2:25, 03, I'm Not Talking, 2:33, 04, Steeled Blues, 2:38, 05, I'm A Man, 2:37, 06, I Wish You Would, 2:17, 07, My Girl Sloopy, 5:37, 08, Heart Full Of Soul, 2:28, 09, Still I'm Sad, 3:00, 10, Shapes Of Things, 2:25, 11, Good Morning Little Schoolgirl, 2:45, 12, New York City Blues, 4:17, 13, Mr. You're A Better Man Than I, 3:18, 14, Got To Hurry, 2:20</p> Blues Blues Rock Back To The Roots <img style="float:right" src=";collec=0&amp;img=Mayall-Back_to_the_Roots.jpg&amp;x=1000&amp;y=120" /> <ul> <li>Artist : John Mayall Blues Breakers</li> <li>Publication date : 1971</li> <li>Duration : 1:32:40</li> <li>Origin : Meneer Van Ulden</li> <li>Label : Polydor</li> <li>Compositor : -</li> <li>Producer : -</li> <li>Added by : 30/06/2018</li> <li>Comments : Back to the Roots is a 1971 double album by John Mayall released on Polydor.[2] Recording sessions took place both in California and London where Mayall invited some former members of his band, notably guitarists Eric Clapton and Mick Taylor. At the end of the 1980s Mayall remixed some tracks and issued them along with some of the older material as Archives to Eighties. An expanded two-CD version of Back to the Roots now includes both the original and later remixed versions of the tracks.<br /> <br /> Besides Mayall, who sang and played piano and guitar, the musicians who recorded the original tracks were:<br /> <br /> Eric Clapton, Mick Taylor, Harvey Mandel and Jerry McGee on guitars;<br /> Larry Taylor and Steven Thompson on bass;<br /> Keef Hartley and Paul Lagos on drums;<br /> Johnny Almond on saxophone and flute.<br /> For Archives to Eighties Mayall recorded new bass and drums tracks played by Bobby Haynes and Joe Yuele.<br /> <br /> For this double-LP recorded in November 1970, John Mayall gathered together prominent musicians who had played in his bands during the past several years, including Sugarcane Harris, Eric Clapton, Johnny Almond, Harvey Mandel, Keef Hartley, and Mick Taylor. Mayall's compositions aren't all that impressive, but the sidemen frequently shine, especially Clapton. Back to the Roots hit number 52 in the U.S. and number 31 in the U.K.<br /> <br /> Aangekocht juni 2018 E 16,00</li> </ul> <p>01, Prisons on the Road, 4:16, 02, My Children, 5:08, 03, Accidental Suicide, 6:15, 04, Groupie Girl, 3:52, 05, Blue Fox, 3:41, 06, Home Again, 4:55, 07, Television Eye, 7:31, 08, Marriage Madness, 3:34, 09, Looking at Tomorrow, 6:53, 10, Dream With Me, 5:19, 11, Full Speed Ahead, 5:20, 12, Mr. Censor Man, 4:42, 13, Force of Nature, 6:32, 14, Boogie Albert, 2:16, 15, Goodbye December, 5:23, 16, Unanswered Questions, 4:40, 17, Devil’s Tricks, 7:45, 18, Travelling, 4:38</p> Blues Deja Vu <img style="float:right" src=";collec=0&amp;img=CSN%26amp%3BY_DejaVu.jpg&amp;x=1000&amp;y=120" /> <ul> <li>Artist : Crosby, Stills, Nash &amp; Young</li> <li>Publication date : 1970</li> <li>Duration : 0</li> <li>Origin : -</li> <li>Label : Atlantic</li> <li>Compositor : -</li> <li>Producer : -</li> <li>Added by : 25/05/2018</li> <li>Comments : Presswell Press, Faux-Leather Gatefold <br /> Déjà Vu is the second album by trio Crosby, Stills &amp; Nash, and their first as a quartet with Neil Young. It was released in March 1970 by Atlantic Records, catalogue SD 7200. It topped the pop album chart for one week and generated three Top 40 singles: &quot;Woodstock&quot;, &quot;Teach Your Children&quot;, and &quot;Our House&quot;. <br /> <br /> It was re-released in 1977 as SD-19188 and the cover was changed from black to brown. <br /> In 2003, the album was ranked #148 on Rolling Stone magazine's list of the 500 greatest albums of all time. <br /> Certified septuple platinum by RIAA, the album's sales currently sit at over 8 million copies. It remains the highest-selling album of each member's career to date.<br /> <br /> History<br /> Déjà Vu was greatly anticipated after the popularity of the first CSN album. Stephen Stills estimates that the album took around 800 hours of studio time to record; this figure may be exaggerated, even though the individual tracks display meticulous attention to detail.[5] The songs, except for &quot;Woodstock&quot;, were recorded as individual sessions by each member, with each contributing whatever was needed that could be agreed upon. Young appears on only half of the tracks, and drummer Dallas Taylor and bassist Greg Reeves are credited on the cover with their names in slightly smaller typeface while Grateful Dead frontman Jerry Garcia plays pedal steel guitar on &quot;Teach Your Children&quot; and former Lovin' Spoonful leader John Sebastian plays harmonica on the title track.<br /> <br /> Four singles were released from the album with all but the last, &quot;Carry On,&quot; charting on the Billboard Hot 100. The song &quot;Country Girl&quot; by Young is a suite put together from three song fragments entitled &quot;Whiskey Boot Hill,&quot; &quot;Down Down Down,&quot; and &quot;Country Girl (I Think You're Pretty),&quot; and is so identified in the credits.<br /> <br /> The popularity of the album contributed to the success of the four albums released by each of the members in the wake of Déjà vu – Neil Young's After the Gold Rush, Stephen Stills' self-titled solo debut, David Crosby's If I Could Only Remember My Name, and Graham Nash's Songs for Beginners. In 2003, the album was placed at number 148 on Rolling Stone magazine's list of the 500 greatest albums of all time.[6] The same year, the TV network VH1 named Déjà vu the 61st greatest album of all time. The album ranked at #14 for the Top 100 Albums of 1970 and #217 overall by Rate Your Music.<br /> <br /> The album was issued on compact disc a second time September 6, 1994 after being remastered from the original tapes at Ocean View Digital by Joe Gastwirt. In 1997 guitarist Fareed Haque covered the entire album in jazz form for the Blue Note Cover Series.</li> </ul> <p>01, Carry On, 4.26, 02, Teach Your Children, 2.53, 03, Almost Cut My Hair, 4.31, 04, Helpless, 3.33, 05, Woodstock, 3.54, 06, Deja Vu, 4.12, 07, Our House, 2.59, 08, 4 + 20, 2.04, 09, Country Girl, 5.11, 10, Everybody I Love You, 2.21</p> -