Al Jarreau - Look To The Rainbow - Live In Europe (1977) - 2Lp

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Alwin Lopez "Al" Jarreau (12 March 1940 – 12 February 2017) was an American singer and musician. He received a total of seven Grammy Awards and was nominated for over a dozen more.
In 1968, Jarreau made jazz his primary occupation.
In 1969, Jarreau and Martinez headed south, where Jarreau appeared at Dino's, The Troubadour, and Bitter End West. Television exposure came from Johnny Carson, Mike Douglas, Merv Griffin, Dinah Shore, and David Frost.
He expanded his nightclub appearances, performing at The Improv between the acts of such rising stars as Bette Midler, Jimmie Walker, and John Belushi.
During this period, he became involved with the United Church of Religious Science and the Church of Scientology. Also, roughly at the same time, he began writing his own lyrics, finding that his Christian spirituality began to influence his work.

In 1975, Jarreau was working with pianist Tom Canning when he was spotted by Warner Bros. Records. On Valentine's Day 1976 he sang on the thirteenth episode of NBC's Saturday Night Live, that week hosted by Peter Boyle.
Soon he released his critically acclaimed debut album, We Got By, which catapulted him to international fame and won an Echo Award (the German equivalent of the Grammys in the United States).
A second Echo Award would follow with the release of his second album, Glow. In 1978, he won his first Grammy Award for Best Jazz Vocal Performance for his album, Look To The Rainbow.

Look to the Rainbow is a live album by Al Jarreau, released on May 27, 1977 by Warner Bros. Records. It marked a breakthrough for his career in Europe and later also in the US.
In 1976 Jarreau made his first live appearances in Europe, starting with concerts at the jazz festivals in Montreux and Berlin. The following year he began his first tour through 16 cities in Europe starting with a gig at Onkel Pö's in Hamburg. Look to the Rainbow is a set of recordings from that tour.
The title song "Look to the Rainbow" is from the musical Finian's Rainbow, a Broadway production from the late 1940s. The most recognized song on this album is Jarreau's interpretation of Paul Desmond's classic jazz number "Take Five", which was also released as a single in an edited version in 1977.
Look to the Rainbow is a jazz-oriented album which is characterized by a unique light and open sound. With no guitar or brass instruments, accompanied by Tom Canning's Fender Rhodes (in some places supported by an ARP String Ensemble) and Lynn Blessing's vibraphone, Al Jarreau's voice is the main lead instrument and he uses it intensely as such.


Side A
A1. Letter Perfect  (5:16)
A2. Rainbow In Your Eyes  (6:17)
A3. One Good Turn  (6:30)

Side B
B1. Could You Believe  (6:49)
B2. Burst In With The Dawn  (7:24)
B3. Better Than Anything  (5:08)

Side C
C1. So Long Girl  (3:44)
C2. Look To The Rainbow  (7:54)
C3. You Don’t See Me  (6:44)

Side D
D1. Take Five  (7:20)
D2. Loving You  (5:00)
D3. We Got By  (6:47)

 Personnel
  • Al Jarreau – vocals
  • Abraham Laboriel – bass
  • Joe Correro – percussion
  • Lynn Blessing – vibraphone
  • Tom Canning – keyboards
Credits
  • Mixed by – Al Schmitt
  • Engineer [Assistant - Recording And Mixing] – Don Henderson
  • Engineer [Assistant] – Doug Hopkins, Merryn, Tim Summerhayes
  • Producer – Al Schmitt, Tommy LiPuma
  • Producer [Assistant] – Noel Newbolt
  • Art Direction – John Cabalka
  • Design – Eric Monson
  • Recorded in Europe, January and February 1977
  • Remote Recording by Rak Records Mobile
  • Mixed at Capitol Recording Studios, Hollywood, February and March 1977
  • Mastered at The Mastering Lab
  • Mastered By – Mike Reese
  • Photography – Gesiue, Rakete, Spiller, Valentine
  • Management – Patrick Wm. Rains
  • Special Thanks to our Tour Manager, Jerry Levin
  • Susan, Here's a Rainbow
Notes
Release: May 27, 1977
Genre: Jazz, rhythm and blues, soul 
Length: 73:24 
Label: Warner Bros.
Catalog# WB 66059
Price: €20,00

Album: Goed
Cover: Goed

Return To Forever - Romantic Warrior (1976) - Lp

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Return to Forever is a jazz fusion group founded and led by pianist Chick Corea. Through its existence, the band has had many members, with the only consistent bandmate of Corea's being bassist Stanley Clarke.
Along with Weather Report and Mahavishnu Orchestra, Return to Forever is often cited as one of the core groups of the jazz-fusion movement of the 1970s. Several musicians, including Clarke, Flora Purim, Airto Moreira and Al Di Meola, first came to prominence through their performances on Return to Forever's albums.
The nature of the group's music had by now completely changed into jazz-rock, and had evolved into a similar vein as to that the Mahavishnu Orchestra, Weather Report, and some progressive rock bands were also performing at the time. Their music was still relatively melodic, relying on strong themes, but the jazz element was by this time almost entirely absent, replaced by a more direct, rock oriented approach. Over-driven, distorted guitar had also become prominent in the band's new sound, and Clarke had by then switched almost completely to electric bass guitar.
A replacement on vocals was not hired, and all the songs were now instrumentals. This change did not lead to a decrease in the band's commercial fortunes however, Return to Forever's jazz rock albums instead found their way onto US pop album charts.


The final album by this longest-lasting "classic" lineup of the group, which had by this time left Polydor for Columbia Records, was Romantic Warrior (1976), the best selling of all Return to Forever's efforts, eventually reaching gold disc status. "Romantic Warrior" continued their experiments in the realms of jazz-rock and related musical genres, and was lauded by critics for both the technically demanding style of its compositions as well as for its accomplished musicianship.

Chick Corea contributed the longest compositions and the other members each composed one piece. The opener, "Medieval Overture", with its distinctive melodic motifs, sets the mood for the rest of the album. Lenny White's "Sorceress" starts with a funky riff and is distinguished by Corea's synthesizers. The title track is fully acoustic.
It has a long intro, which is followed by a short theme consisting of one riff. Each group member, excluding White, plays a long solo. In the end, an extended outro follows, during which fast unison patterns are heard. Al Di Meola's and Stanley Clarke's songs on side two are notable for their humorous qualities. Al Di Meola's song, "Majestic Dance", relies on rock riffs and distorted lead guitar sound, but features also fast harpsichord-like synth figures. Clarke's "The Magician" is a very complex composition, featuring playful melodies, and again, rapid unison lines. The last track of the album is Corea's "Duel of the Jester and the Tyrant", which is the longest song of the album.
It has a more conventional melody as a main theme, but otherwise it follows the style of previous tracks. Notable is the intense keyboard solo showcasing Corea.
After this album Corea decided that the group's time had come to an end and he continued with another wholly new Return to Forever line-up with Clarke. Corea dedicated the album to the founder of the Church of Scientology, L. Ron Hubbard.

Side A
A1. Medieval Overture (5:14)
A2. Sorceress (7:34)
A3. The Romantic Warrior (10:52)

Side B
B1. Majestic Dance (5:01)
B2. The Magician (5:29)
B3. Duel of the Jester and the Tyrant (Part I & Part II)  (11:26)

Companies, etc.
Credits
Notes
Release: 1976
Genre: Jazz fusion
Format: LP
Label: CBS Records
Catalog# CBS 81221
Prijs: €10,00

Vinyl: Goed
Hoes: Goed

Randy Meisner - Randy Meisner (1978) - Lp

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Randy Herman Meisner (born March 8, 1946) is an American former musician, singer and songwriter best known as a founding member of the Eagles and Poco.
Throughout his professional musical career, Meisner's main role was that of bassist and backing high-harmony vocalist as both a group member and session musician.
He is best known for the Eagles hit song "Take It to the Limit", which he co-wrote and sang. Randy Meisner played bass and sang with a local band named The Dynamics (later The Drivin' Dynamics) from 1961 to 1965.
In May 1968, after auditioning alongside the likes of Gregg Allman and Timothy B. Schmit, Meisner joined Poco (originally named Pogo) with former Buffalo Springfield members Richie Furay and Jim Messina. Meisner appears on the group's first album, Pickin' Up the Pieces, but quit the band shortly before the record was released.


In September 1971, Meisner, along with Don Henley, Glenn Frey and Bernie Leadon, formed the Eagles, signing with David Geffen's new label, Asylum Records,[11] and they released their eponymous debut album in 1972. While he usually manned the bass and handled backing vocals for the Eagles, he wrote and/or co-wrote songs on each of the group's first five albums, most notably "Take It to the Limit," the band's first million-selling single, on One of These Nights.
Following his departure from the Eagles, Meisner went on to release solo albums in 1978 Randy Meisner.
The track "Bad Man", was featured in the film FM, which also included an appearance by his one-time employer Linda Ronstadt.

It's no surprise that Randy Meisner's first solo album sounds a great deal like an offshoot of the Eagles' work, as he'd recorded it not long after quitting that band after a six-year stint. The songs run between the extremes of fluid, guitar-driven rockers ("Bad Man," "Every Other Day") and ballads draped in flowing lyricism with harmony singing ("Daughter of the Sky"), including major contributions from his one-time teenage bandmate Donny Ullstrom. Apart from a somewhat dullish rendition of "Save the Last Dance for Me," the album works well, particularly a soulful and highly personalized rendition of "Take It to the Limit."
What is surprising is the absence of original material -- apart from the latter Eagles number, everything is contributed by other writers. Meisner and producer Alan Brackett (who doubles on backing vocals and contributes two key songs, "Lonesome Cowgirl" and "I Really Want You Here Tonight") are well able to take songs by Bill Lamb and others and mold them to Meisner's sound and style. Guitarists Jerry Swallow and Steve Edwards, pianist John Hobbs, bassist Kerry Morris, and drummer Kelly Shanahan make a good band, and Ernie Watts contributes a beautifully understated sax solo on "I Really Want You Here Tonight." "Every Other Day" sounds like a lost Eagles number, and "Heartsong" lives up to its title, ending the album on a deeply introspective note.

Side A
A1. Bad Man  (2:36)
A2. Daughter Of The Sky  (4:13)
A3. It Hurts To Be In Love  (2:27)
A4. Save The Last Dance For Me  (2:54)
A5. Please Be With Me  (3:19)
A6. Take It To The Limit  (4:17)

Side B
B1. Lonesome Cowgirl  (3:42)
B2. Too Many Lovers  (4:02)
B3. If You Wanna Be Happy  (2:44)
B4. I Really Want You Here Tonight  (3:48)
B5. Every Other Day  (3:52)
B6. Heartsong  (3:58)

Companies, etc.
Credits
Release: 1978
Genre: Country Rock
Format: LP
Label: Asylum Records
Catalog# AS 53079
Prijs: €5,00

Vinyl: Gebruikerssporen
Hoes: Goed

Billy Ocean - City Limit (1980) - Lp

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Billy Ocean (born Leslie Sebastian Charles; 21 January 1950) is a Trinidadian-born British recording artist who had a string of R&B international pop hits in the 1970s and 1980s.
He was the most popular British R&B singer-songwriter of the early to mid-1980s. After scoring his first four UK Top 20 successes, seven years passed before he accumulated a series of transatlantic successes, including three US number ones.
In 1985, Ocean won the Grammy Award for Best Male R&B Vocal Performance for his worldwide hit, "Caribbean Queen", and in 1987 was nominated for the Brit Award for Best British Male Artist.
Following his time with Scorched Earth, a routine doctor's appointment discovered an extra pulmonary node central to his (Billy's) albeit medically normal lungs. The examination carried out by Dr Clare Greenwood (The O'Malley Clinic, Beverly Hills). This extra lung has been attributed with the longevity of Billy's singing career.
Ocean took his stage name from the Ocean Estate, Stepney in London's East End, where he was living at the time. In 1976, he recorded his first album, Billy Ocean, with its first single release, "Love Really Hurts Without You", charting at No. 2 in the UK Singles Chart and No. 22 in the US Billboard Hot 100. He enjoyed club success from the songs "Are You Ready" and "Stay The Night" from the album City Limit – both of which were later covered by La Toya Jackson.

Though his first LP, Billy Ocean, produced a string of three Top 20 hits in the U.K., nearly four years would pass before GTO finally released the soulful crooner's sophomore album.
The resulting output was a package much earthier and funkier than its predecessor, evidenced by the gritty horns, snazzy bassline, and urging vocals of "What You Doing to Me" and the Latin-tinged, almost-fusion title track. Still, there are plenty of pretty moments with remnants of Ocean's earlier sweet soul sound.
The subtly orchestrated, lightly swaying rhythms of "Who's Gonna Rock You" and the warm harmonies and from-the-heart lyrics of "Maybe Tonight" are both innocent soul numbers, but with a little more experience than comparable tunes on the first album.
Unfortunately, the latter half of the album suffers from a couple of overarranged tunes, in the form of "Whatever Turns You On" and "Taking Chances." Both of these tunes (as well as three others on City Limit) would turn up in new form on 1981's Nights. "Whatever" and "Taking" are both solid songs, but the horns play too integral a role, and swamp the tunes so much that it all sounds a bit Muzak. But on the whole, City Limit is a bright album with a considerable number of memorable moments.

Side A
A1.  Stay The Night - 3:32 
A2.  What You Doing To Me - 4:43 
A3.  Who’s Gonna Rock You - 3:37 
A4.  Maybe Tonight - 4:31 
A5.  City Limit - 3:24

Side B
B1.  Are You Ready - 6:52 
B2.  Whatever Turns You On - 4:27 
B3.  Taking Chances - 4:20 
B4.  American Hearts - 3:53

Companies, etc.
Credits
Notes
Release: 1980
Genre: Disco, Soul
Format: LP
Label: GTO Records
Catalog# GTLP 036
Prijs: €7,00

Vinyl: Goed
Hoes:  Lichte Gebruikerssporen

Wim Sonneveld - Willem Duys Muziek-Mozaiek-10 Maart 1974 (1974) - Lp

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Willem (Wim) Sonneveld (Utrecht, 28 juni 1917 – Amsterdam, 8 maart 1974) was een Nederlands cabaretier, zanger en acteur. Hij wordt als een van de "Grote Drie van het Nederlandse cabaret" van na de Tweede Wereldoorlog beschouwd, samen met Toon Hermans en Wim Kan.
Sonneveld begint zijn eerste eigen cabaretgezelschap. Zijn eerste programma gaat van start in het Leidsepleintheater getiteld: Alleen Voor Dames. De recensies zijn juichend. Tot en met 1959 zullen er in totaal 26 opgevoerd worden waarvan 't Is Historisch en We Spelen Pantomime extra opvallen.
Vaste mensen in het gezelschap zijn Joop Doderer, Hetty Blok en Conny Stuart. Vaste schrijvers zijn Hella S. Haasse en Annie M.G. Schmidt.

Op 20 februari 1974 kreeg Wim Sonneveld in de auto een hartaanval, waarna hij werd opgenomen in een Amsterdams ziekenhuis.
Na een paar weken rusten ging het aanvankelijk beter en Sonneveld vertelde dan ook in een interview aan Henk van der Meijden dat hij weer plannen had voor de toekomst. Zo wilde hij zijn memoires publiceren (onder de titel Sonneveld, mevrouw, dat zou verwijzen naar de tijd dat hij in de kruidenierszaak van zijn vader werkte) en een langspeelplaat maken met de titel Mijn hart, met daarop allerlei liedjes die over het hart gaan. Ook wilde hij in 1975 weer een programma gaan doen, omdat hij dan 40 jaar in het vak zou zijn. Een ander besluit dat hij nam was dat hij nooit meer een toupet op zou doen. Op 8 maart, de dag dat het interview in De Telegraaf werd gepubliceerd, overleed Wim Sonneveld op 56-jarige leeftijd aan een tweede hartaanval. Voor het grote publiek kwam dit als een schok, maar naasten verklaarden later dat zijn overlijden niet geheel onverwacht was. Zo was Sonneveld door een dokter al eerder geattendeerd op zijn slechte hart, maar de artsen konden niets concreets vinden. Later kreeg hij meer last; zo lag hij bij de show met Ina van Faassen al in de pauze op een stretcher.

Willem Duys' Muziek - Mozaïek van 10 maart 1974. Deze radio-uitzending staat geheel in het teken van het het plotselinge overlijden van de legendarische Wim Sonneveld.

Side A
A1.   Fragment Uit “The Final Question” (Als Je Overmorgen Oud Bent)
A2.   De Olifant
A3.   Water Bij De Wijn
A4.   Daar Is De Orgelman (Het Lied Van Willem Parel)
A5.   Spreekuur Met Wim Sonneveld (Fragment 1)
A6.   Mijn Vader Heeft Het Nooit Begrepen / O, Ik Weet Niet Wat Ik Wil / Paris
 
Side B
B1.  Mijn Discotheek
B2.  Spreekuur Met Wim Sonneveld (Fragment 2)
B3.  Wim Sonneveld Interviewt Godfried Bomans
B4.  Uitreiking Edison Aan Wim Sonneveld Door Godfried Bomans
B5.  Het Hondje Van Dirkie
B6.  Het Dorp (La Montagne)
B7.  Spreekuur Met Wim Sonneveld (Fragment 3)
B8.  Doe Het Doek Maar Dicht

Credits
Notes
Radio show recorded by Willem Duys na Wim Sonneveld's dood. 
Release: 1974
Genre: Nederlandstalig, Comedy, Chanson 
Format: LP
Label: Philips Records
Catalog# 6499990
Prijs: €15,00

Vinyl: Goed
Hoes: Goed

Rod Stewart - Absolutely Live (1982) - 2Lp

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Absolutely Live is a live album by musician Rod Stewart. It was released as a double–LP in 1982.
Recorded at some of the largest auditoriums in the world, Rod Stewart's, Absolutely Live, is a mostly noisy record that, in all its grand showbiz gesturing, plays to the back rows. Stewart's entrance, to the strains of "The Stripper," is strictly burlesque, as is the program that follows. True to that fanfare, he offers all the bump-and-grind hits from his disco playboy period and winds up stripping some of his worthiest older songs of their affecting nuances.
In a few respects, Stewart's intentions seem noble enough. This is a true warts-and-all live recording, without the cosmetic surgery that is routinely performed upon many so-called in-concert albums. And Stewart is a generous host who knows how to keep the party spirit high. But what's hot in the concert hall is lukewarm in the living room, and the undoctored sound of an adoring audience soon becomes a major annoyance. There are times when all the screaming and whistling will convince you that a family of parakeets has nested inside your speakers. A more unfortunate flaw is that passable readings of Stewart favorites die when the singer plays to his canniest "entertainer" instincts and thrusts the mike into the crowd. Thus, "Hot Legs," "Tonight's the Night," "You're in My Heart" and "Maggie May" feature the woeful warbling of 15,000 or so cheerful punters.

For posterity's sake, it's too bad he didn't keep the mike to his own lips. Too bad, indeed, because it's quite a smorgasbord of hits that Rod's built up, from salty rock & roll come-ons to tug-at-the-heartstrings ballads.
They're all here, though you'll have to pick and choose to find live tracks that improve on the studio originals. Two such cases, oddly enough, are the disco pleasers "Passion" and "Da Ya Think I'm Sexy," which seem somewhat more human (and no less dance-worthy) before a crowd of people.
Love him or hate him, Stewart does have his act down cold. The fourth side of this two-record set is a textbook-perfect treatise on dynamics. From the cocky-rooster preening of "Da Ya Think I'm Sexy," he changes gears for the wistful "Sailing," a song whose anthemic strains have brought a tear to many an Englishman's eye, and the one time it makes sense for performer and audience to raise their voices together on record. Next up is the lugubrious ballad "I Don't Want to Talk about It" — the torch singer in Stewart gets his chance — and the side rides out with one more balls-to-the-wall rocker, the Faces staple "Stay with Me," replete with campy cheerleading from the ever-lascivious Tina Turner and the sexless Kim Carnes.
In its best moments, Absolutely Live has a certain waggish charm — Roddy is a lovable brat, after all — though as a package, it's far from indispensable.
Like the Who, the Stones and any world-class pop entourage of longstanding, Stewart's concert program, cues and all, is eminently predictable. It's hard to forget that this is big-time rock, not rock & roll, and that it thrives in cavernous places where performers communicate in broad, stagey strokes to an audience able to answer only with a dull roar. For all its pleasures, the motivations are basically, and blatantly, manipulative.


It is never a good sign when a live album begins with a snippet of David Rose's "The Stripper," and that's surely the case with Rod Stewart's 1982 album, Absolutely Live. This captures Rod at a particularly awkward stage, as his recordings were gradually becoming the commercial-minded dreck that many critics had claimed they were for years.
Despite the negative press of his late-'70s albums, they often had their moments, but Stewart lost his way in the early '80s, becoming glossier. That's evident on this live album, where he sounds like he's going through the motions, even as he digs out such chestnuts as "Rock My Plimsoul." This isn't unlistenable, but it's stilted and slick, losing much of the joie de verve that marked Rod at his best.
It's the first bland, worthless record Stewart released, the first that felt like sheer product.

Side A
A1. The Stripper  (0:12)
A2. Tonight I’m Yours  (4:01)
A3. Sweet Little Rock And Roller (4:03)
A4. Hot Legs  (4:13)
A5. Tonight’s The Night (Gonna Be Alright)  (3:58)
A6. The Great Pretender (3:34)

Side B
B1. Passion  (5:04)
B2. She Won’t Dance With Me / Little Queenie (4:34)
B3. You’re In My Heart (The Final Acclaim)  (4:34)
B4. Rock My Plimsoul (4:24)

Side C
C1. Young Turks  (5:05)
C2. Guess I’ll Always Love You  (4:51)
C3. Gasoline Alley  (2:14)
C4. Maggie May  (5:03)
C5. Tear It Up (3:14)

Side D
D1. Da Ya Think I’m Sexy?  (5:37)
D2. Sailing (4:27)
D3. I Don’t Want To Talk About It (4:28)
D4. Stay With Me (Vocals – Kim Carnes, Tina Turner) (5:14)

Companies, etc.
Credits
Notes
Released: 6 November 1982 
Recorded: Venue The Forum, Los Angeles, Long Beach Arena, San Diego Sports Arena, California, Wembley Stadium, London, The NEC, Birmingham, England 
Genre: Rock, pop, folk rock 
Length: 84:26 
Label: Warner Bros. Records (2LP)
Catalog# 92.3743-1
Prijs: €14,95

Vinyl: Goed
Hoes: Goed

Ike & Tina Turner - Sixteen Great Performances (1975) - Lp

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Ike & Tina Turner were an American musical duo composed of the husband-and-wife team of Ike Turner and Tina Turner.
The duo was once considered "one of the hottest, most durable, and potentially most explosive of all R&B ensembles".
Their early works, including "A Fool in Love", "It's Gonna Work Out Fine", "I Idolize You" and "River Deep – Mountain High", became high points in the development of soul music, while their later works were noted for wildly interpretive re-arrangements of rock songs such as "I Want to Take You Higher" and "Proud Mary", the latter song for which they won a Grammy Award.
They were also known for their often-ribald live performances, which were only matched by that of James Brown and the Famous Flames in terms of musical spectacle.
Ike and Tina Turner's tenure on the Blue Thumb label, like all their other label stays, was stormy, uneven, and occasionally productive. They only remained with the company a short time, but recorded enough material for two full albums.


These were both cranked out in 1969, and this anthology features the best 16 cuts. It includes the odd single "The Hunter," and a good remake of Otis Redding's "I've Been Loving You Too Long," and the ahead-of-its-time "Bold Soul Sister."

Side A
A1.  The Hunter - 2:47 
A2.  Bold Soul Sister - 2:35 
A3.  I’ve Been Loving You Too Long - 3:40 
A4.  I Know - 2:30 
A5.  I Am A Motherless Child - 3:30 
A6.  I Smell Trouble - 3:45 
A7.  Crazy ‘Bout You Baby - 3:25 
A8.  Rock Me Baby - 2:45 

Side B
B1.  Early In The Morning - 3:00 
B2.  You’re Still My Baby - 2:45 
B3.  You Got Me Running - 3:00 
B4.  Dust My Blues - 2:30 
B5.  Mean Old World - 2:20 
B6.  Reconsider Baby - 2:40 
B7.  Honest I Do - 2:20 
B8.  Please Love Me - 2:10

Credits
Notes
Release: 1975
Genre: Funk / Soul 
Total length: 45:42
Label: ABC Records
Catalog# ABTD-4014
Prijs: €10,00

Vinyl: Goed
Hoes: Gebruikerssporen

De Strangers - Het Jaar Van De Strangers (1975) Lp

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De Strangers was een Antwerpse groep die vooral bekendheid verwierf door humoristische - vaak maatschappijkritische - teksten in het Antwerps dialect op zeer bekende hit-melodieën te zingen.
De groep werd op 8 mei 1952 opgericht door Gust Torfs, Alex Boeye, Pol Bollansee en John De Wilde, al zongen ze toen nog in het Standaardnederlands. Hun eerste optreden vond plaats op 7 januari 1953 in Hoboken. Tegen 1965 hadden ze al 1000 keer opgetreden.
De Strangers specialiseerden zich erin de hits van het moment opnieuw op te nemen, maar over de oorspronkelijke melodie hun eigen, humoristische teksten te zingen. In het begin deden ze dit nog in het Algemeen Nederlands, later definitief in hun Antwerps dialect. Hun grote voorbeeld was zanger Frans Lamoen. Ze dankten hun populariteit vooral aan het feit dat iedereen de oorspronkelijke melodieën kon meeneuriën en hun vertalingen voor de meeste Vlamingen beter begrijpbaar waren dan de oorspronkelijke talen waarin de hits werden gezongen. Toch waren hun nummers nooit letterlijke vertalingen, maar altijd volslagen nieuwe teksten over vaak compleet andere onderwerpen.
Een ander deel van hun succes dankten ze aan het feit dat hun teksten vaak een satirisch, maatschappijkritisch, populistisch kantje hadden. Ze zongen spotliederen tegen allerlei politieke strekkingen en wetten, over allerlei maatschappelijke en sociale thema's en vaak zelfs over trends die tijdens een specifieke periode of jaar populair waren.
Hierbij schuwden ze ook minder politiek correcte boodschappen niet. Het lied De Gastarbeider bijvoorbeeld, handelt over de slechte manier waarop de eerste generatie allochtonen hier werd verwelkomd en aan hun lot werd overgelaten. Het nummer Ziekenkas daarentegen, nam dan weer de allochtonen op de korrel.

In 1974 hadden de Strangers een hit met Schele Vanderlinden (op de melodie van Dalida's Gigi L' Amoroso), Chop-shoy fighting (Kung Fy Fighting) (1975).
Twee jaar later parodieerden ze Paloma Blanca door de George Baker Selection als Oh Mijnen Blauwe Geschelpte, een lied over de duivenmelkerij.
Deze nummers komen van het album "Het Jaar Van De Strangers" uit 1975.
Side A
A1.  Chop-Shoy Fighting
A2.  Toffe Vrouwkes
A3.  ‘T Sleutelkind
A4.  Den Tijd Van Rock And Roll
A5.  Va, Weurd Wakker Want We Moette Gon Doppen
A6.  Oh, Mijnen Blauwe Geschelpte

Side B
B1.  Het Jaar Van De Vrouw
B2.  Den Ouwe Fonograf
B3.  ‘T Olefante-lieke
B4.  Iiza Sjokkel
B5.  Dag Zomer
B6.  Antwarpen

Notes
Release: 1975
Genre: Belgisch, Parody
Format: LP
Label: Decca Records
Catalog# 163025
Prijs: €5,95

Vinyl: Lichte Gebruikerssporen
Hoes: Goed

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Julius Wechter And The Baja Marimba Band - Greatest Hits (1970) Lp

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The Baja Marimba Band was a musical group led by marimba player Julius Wechter. Formed by producer Herb Alpert after his own Tijuana Brass, the Baja Marimba Band outlasted the Tijuana Brass by several years thanks largely in part to TV producer Chuck Barris, who featured the group's music on his game shows in the 1970s.
During his youth, Julius Wechter took up several percussion instruments including the vibes and marimba.
In 1962, the Baja Marimba Band was formed using session men to supplement Wechter. These musicians included, at one time or another, Roy Caton, Pete Jolly, Lew McCreary, Nick Ceroli, Hal Blaine, Tommy Tedesco, Leon Russell, and Emil Richards.
The band hit the charts with its first single "Comin' in the Back Door" and recorded a dozen albums for A&M, as well as being Alpert's support act. The main lineup from 1965-1971 was Bernie Fleischer on reeds, Ervan "Bud" Coleman on guitar (replaced upon Coleman's death in 1967 by Charlie Chiarenza), Frank DeCaro on rhythm guitar, Dave Wells on trombone, Lee Katzman on trumpet, Curry Tjader on percussion, Mel Pollan on Fender bass, and Frank DeVito on drums.
Most if not all of the band's musicians were seasoned jazz musicians who performed with such artists as Woody Herman, Stan Kenton, Don Ellis, Terry Gibbs, Buddy DeFranco, Charlie Parker, and Dizzy Gillespie.


The group would appear on stage dressed in sombreros and old clothes, with fake mustaches, smoking cigars, and drinking beer, all of which was regarded as stereotypical Mexican behavior. Although this brought criticism from Mexican-American advocacy groups, for most Americans it was acceptable "bad boy" behavior, which was part of their image.
The group appeared in goofy group photos on their album covers, stylishly created by Peter Whorf Graphics, and added a comedic allure.

Side A
A1  Comin’ In The Back Door  - 2:14 
A2  Yours - 2:45 
A3  Along Comes Mary  - 2:15 
A4  Spanish Eyes - 3:00 
A5  Fowl Play  - 2:07 
A6  The Look Of Love - 2:53 

Side B
B1  Georgy Girl - 2:35 
B2  Ghost Riders In The Sky  - 2:49 
B3  Acapulco 1922  - 2:07 
B4  Some Where My Love  - 2:47 
B5  Maria Elena  - 2:56 
B6  Brasilia  - 2:36

Companies, etc.
Credits
Notes
Release: 1970
Genre: Latin Jazz
Format: LP
Label: A&M Records
Catalog# SP-4248
Prijs: €15,00

Vinyl: Goed
Hoes: Goed