And then were none

Vinilo (Lp) Genesis..And Then There Were Three (ENVÍO DE MÉXICO, PREGUNTA POR EDICIONES MEXICANAS) Vinilo (Lp) Genesis..And Then There Were Three (ENVÍO DE MÉXICO, PREGUNTA POR EDICIONES MEXICANAS) Vinilo (Lp) Nuevo Genesis..And Then There Were Three Vinilo (Lp), Nuevo (El Celofan Está a Punto De Desprenderse De La Parte Baja y Ciertas Esquinas Se Han Gastado Un Poco Por El Movimiento De Exhibicion y Traslafo a Mercados) Polygram, Hecho En México, 1978 Envío por correo certificado (registrado) desde México Incluído. Si ud requiere algún otro artículo desde mi país puedo ser el vinculo para encontrarselo por tanto su pregunta no molesta.   Puedes Pagar Por Paypal o Con Ingreso/Transferencia a Cuenta Bancaria En España.  

THE BAND * 2LP *And Then There Were Four: FM Broadcast, Chicago 1983 * Gatefold * Precintado THE BAND * 2LP *And Then There Were Four: FM Broadcast, Chicago 1983 * Gatefold * Precintado Doble disco de vinilo en una edición de lujo que contiene el histórico concierto en vivo de la reunión de The Band en 1983 que se grabó en Chicago con todos los miembros originales, excepto Robbie Robertson. La carpeta es gatefold (desplegable) y está precintado de fábrica. Edición limitada a pocas copias. DISCO 1 CARA A A1 Up On Cripple Creek A2 The Shape I'm In A3 It Makes No Difference DISCO 1 CARA B B1 Milk Cow Boogie B2 Mystery Train B3 King Harvest (Has Surely Come) B4 Java Blues DISCO 2 CARA C C1 I Shall Be Released C2 Rag Mama Rag C3 Long Black Veil DISCO 2 CARA D D1 (I Don't Want To) Hang Up My Rock And Roll Shoes D2 The Weight D3 Ophelia

GENESIS -... AND THEN THERE WERE THREE GENESIS -... AND THEN THERE WERE THREE Como en todos mis anuncios los detalles de versión están en la foto 2. Como todos mis discos sonido verificado 100%

The world's bestselling mystery, written by the queen of crime... - One of the most ingenious thrillers in many a day! -

LLOYD COLE AND THE COMMOTIONS - MAINSREAM - VINILO ORIGINAL PRIMERA EDICION POLYGRAM 1987 LLOYD COLE AND THE COMMOTIONS - MAINSREAM - VINILO ORIGINAL PRIMERA EDICION POLYGRAM 1987 En 1987 llegó el inesperado canto del cisne: el dolido y agudo Mainstream: tal vez el mejor disco sobre el fin de la adolescencia entendiendo por adolescencia eso que dura hasta los 30 años. Postales y despedidas para el disco del adiós: canciones sobre los papelones de aspirar papeles en discotecas, sobre la vejez de los propios padres y la novedad del propio matrimonio, sobre cumplir los 29 y sentir “que todo lo que hay que hacer es arrastrarse” para entrar en caja y en molde, de sentirse como Sean Penn (circa Madonna) sin serlo, de hacer el amor antes del divorcio, de llamar por teléfono al amigo de la infancia y encontrarlo y que nos cuelgue, de sentirse un insatisfecho en los tiempos de la nueva y gran peste, y de descubrir que para volver a empezar primero hay que sentirse acabado. Todo eso que ya estaba anunciado en Rattlesnakes cuando se nos preguntaba una y otra vez si estábamos listos para que se nos rompa el corazón. Y sangrar. Pocas veces alguien fue más felizmente triste.   Mainstream is the third and final studio album released by Lloyd Cole and the Commotions. It was produced by Ian Stanley and released by Capitol Records in the US and Polydor in the UK on 26 October 1987. It contained the hits " From the Hip ", " My Bag ", and " Jennifer She Said ". Although the album reached number nine in the UK, it failed to chart in America and was not embraced by all critics: Mainstream is the only Lloyd Cole and the Commotions release not to sell at least 100,000 copies in the US. The album took two years to make as finding a producer proved difficult. The band first went with Chris Thomas, when that did not work out they brought in Stewart Copeland. With Copeland they only recorded one track, " Hey Rusty ", then finally found Ian Stanley. Donegan reflected in 2004 that "with the previous LP, Easy Pieces, we had tried to broaden out and make more of a pop record and it hadn't really worked. It sounded rushed and the songs were not all up to standard. So, a year after Easy Pieces, we went into the studio to try and make something more powerful. But the LP that we actually made took so long that we lost our initial vision by the time we finished it. The songs that Lloyd was writing were more introspective, so the stadium rock idea gradually went out the window." Track listing: All tracks written and composed by Lloyd Cole and the Commotions, except where noted. 1."My Bag" – 3:56 2."From the Hip" (Neil Clark, Cole, Blair Cowan, Lawrence Donegan, Stephen Irvine, McKillop) – 3:57 3."29" – 5:28 4."Mainstream" – 3:14 5."Jennifer She Said" – 3:02 6."Mr. Malcontent" – 4:49 7."Sean Penn Blues" – 3:28 8."Big Snake" (lyrics: Cole, music: Ian Stanley) – 5:16 9."Hey Rusty" – 4:30 10."These Days" – 2:27

Gladys Knight And The Pips ‎– Gladys Knight And The Pips Sello: Musidisc ‎– 30 CV 1402 Gladys Knight And The Pips ‎– Gladys Knight And The Pips Sello: Musidisc ‎– 30 CV 1402   Gladys Knight And The Pips ‎– Gladys Knight And The Pips Sello: Musidisc ‎– 30 CV 1402 Serie: Collection Variété – Formato: Vinyl, LP, Compilation, Stereo País: France Publicado: 1977 Género: Funk / Soul Estilo: Soul Lista de Títulos A1 Room In Your Heart 2:01 A2 Heard It Through The Grapevine 3:03 A3 One More Lonely Night 2:24 A4 Queen Of Tears 2:56 A5 I Had A Dream Last Night 2:29 A6 A Love Like Mine 2:47 B1 Morning, Noon & Night 2:43 B2 Bless The One 2:19 B3 If You Were My Woman 2:24 B4 I Want That Kind Of Love 2:33 B5 Stop Running Around 2:10 B6 Before Now, After Then 2:52 Notas Released 1977 according to legal deposit at BNF. Código de Barras y Otros Identificadores Rights Society: SACEM Matrix / Runout (Runout side A): MPO MU 1402 A DTV Matrix / Runout (Runout side B): MPO MU 1402 B DTV Matrix / Runout (Label side A): MU 1402 A Matrix / Runout (Label side B): MU 1402 B Price Code (Circled): R  

PINK FLOYD - ENDLESS RIVER (GATE) (OGV) (DL PINK FLOYD - ENDLESS RIVER (GATE) (OGV) (DL 2-LP SET includes- Heavyweight 180 gram vinyl- Gatefold sleeve, full color inner bags- 16-page 275mmx275mm booklet with unseen photographs from 1993 sessions- Download cardThe Endless River represents a return to the creative principles that informed the writing process that produced Pink Floyd classics like Echoes, Shine On You Crazy Diamond and Animals.In early 1993, David Gilmour, Nick Mason and Richard Wright set up their equipment in their own Britannia Row Studios in Islington and created more than hundred pieces of music by jamming together, interacting with each other's performances and recording the results.They then honed the pieces at David's Astoria floating studio, played them live for 2 days at Olympic Studios in Barnes with an extended lineup (Guy Pratt on bass, Jon Carin on keyboards and Gary Wallis on percussion). After that, the core trio returned to Astoria, and worked further on the compositions, alongside co-producer Bob Ezrin, refining the structure, tempos and arrangements. The result, after lyrics and vocals were added, was the 12 million selling 'Division Bell' album.At the time, there had been talk of a separate ambient album being created from the non-vocal tracks not subsequently issued on 'The Division Bell', but the idea was eventually dropped.In 2014 David Gilmour and Nick Mason re-entered the studio and, starting with unreleased keyboard performances by Richard Wright, who sadly died in 2008, added further instrumentation to the tracks, as well as creating new material. The result is The Endless River, including 60% of recordings other than the 1993 sessions, but based upon them. The title is a further link, '... the endless river…' being part of the closing phrases of High Hopes, the final song of the previous Pink Floyd album. David Gilmour describes the record as follows: The Endless River has as its starting point the music that came from the 1993 Division Bell sessi

WIDESPREAD PANIC - MONTREAL 97 WIDESPREAD PANIC - MONTREAL 97 Discográfica:   Widespread Records First time on vinyl. 6 disc box set. In looking at how this September 1997 tour was structured, this could have been a show to skip - or maybe not. This was the fourth show in a row to open the tour, on a Monday night, involved crossing an international border, at a real small place so it might be real crowded. All of that could keep some from making the trip, but for others, those were exactly the reasons to go...and possibly collect the rewards for doing so. The band just seems to have a knack to know when the fans have gone out of their way and really paid some dues to make it. Or when a local crowd gets it. In either case, and in terms of this Montreal 1997 show, both cases, Widespread Panic gets off on that and then seems to go that extra mile.

EBERHARD SCHOENER (STING / ANDY SUMMERS) - VIDEO MAGIC - VINILO ORIGINAL 1978 HARVEST ALEMANIA EBERHARD SCHOENER (STING / ANDY SUMMERS) - VIDEO MAGIC - VINILO ORIGINAL 1978 HARVEST ALEMANIA A raíz de su colaboración con Jon Lord, más conocido por ser el teclista de los Deep Purple, Andy Summers entró en contacto con Eberhard – quien se encargaba por aquel entonces de orquestar algunos temas del álbum de Lord “Sarabande” (1976) – quien le ofreció la oportunidad de grabar en Munich varias pistas de guitarra para el proyecto que preparaba, “The book” (1977). Schoener quedó tan contento con el resultado que contrató a Andy para “Trance-formation” (1977), en donde tuvo absoluta libertad para grabar en los huecos que le dejaba la banda a la que acababa de vincularse, The Police.El numeroso y bien remunerado trabajo que ofrece Schoener pronto alcanza a los tres miembros de la banda – el conductor alemán no necesitaba un bajista pero cambió de opinión cuando escuchó cantar a Sting, decidiendo incluir también su voz en sus recargados espectáculos -, quienes aprovechan la estancia en Munich – en noviembre del 77 – para grabar un álbum, “Flashback” (1978) y dar alguna comparecencia en vivo. Después de que Police completara la grabación de su disco de debut, “ Outlandos d’amour ” (1978) y probara sus nuevas canciones aún como teloneros de grupos como Spirit o Steel Pulse, son requeridos nuevamente por Schoener para una gira que durante la segunda mitad de mayo del 78 les llevará por Munich, Ofenbach, Köln o Düsseldorf.  La actividad del grupo vuelve a ser interrumpida por los requerimientos de Schoener – quien en esta ocasión ya no cuenta con Stewart debido a que su hermano Miles le convence de que estas escapadas no son lo más adecuado para The Police – que les tiene preparado una gira por toda Alemania en enero del 79 en la que visitaran Berlín, Hamburgo, Bremen, Frankfurt o Hannover. Entre la maratoniana gira se saca tiempo para grabar un nuevo álbum, “ Video magic ” (1978) en la que se incluyen temas tan destacables como “ Speech behind speech ”, “ Natural high ” o “ Codeword Elvis ”. Sería la última vez que Eberhard contara con Sting y Andy como parte de su “Rock group” porque a su vuelta a Londres comprobaron que las reediciones de “ Can’t stand losing you ” y “ So lonely ” les había puesto en boca de todos. Su ascenso a partir de ahí fue imparable y meteórico. STING SOBRE EBERHARD SCHOENER “Él es un hombre con melena gris y con un rostro interesantemente lúgubre. Su rostro parece el de un aristócrata del siglo XVIII que de algún modo ha sido desplazado al siglo XX. Fue Andy Summers, el guitarrista de The Police quien nos presentó a todos hace muchos años. Andy nos llevó a Stewart y a mí a Munich en 1977 para trabajar con este director tan inusual. Eberhard Schoener necesitaba una banda de músicos versátiles para formar parte del show que estaba creando.Nosotros acabábamos de formar The Police y necesitábamos desesperadamente fondos para mantener con vida nuestros sueños de estrellato. tracks: •octogon •speech behind speech •natural high •code-word elvis •video-magic •night bound city •san francisco waitress •koan Featuring Sting (Police), Andy Summers (Police), Evert Fraterman and Olaf Kubler.  Eberhard Schoener is a German composer, conductor, arranger, and keyboard player.   Now let it be known that I am reviewing the original German print of Eberhard Schoener's Video Magic on the Harvest label, rather than a compilation called Video Magic released in 1979 that consisted of material from both Video Magic and Flashback (1978) (often called Video Flashback, especially later on to avoid confusion). Now this has got to be the most unusual thing on the face of the planet: to hear The Police do prog rock. On Schoener's previous album, Flashback, he had all three members, Sting, Andy Summers play on that album. I have to say I hadn't heard that one. With Video Magic, Stewart Copeland sat this one out, with Evert Fraterman in his place. I have to let you know that Schoener had Andy Summers play on many of his albums even way before The Police ever existed. The album opens with " Octagon ", which is an instrumental piece, dominated by Andy Summers guitar playing. Here, I get reminded so much more of Pink Floyd than anything The Police would ever do. Sting here is sticking to bass duty. " Speech Behind Speech " is a real trip: totally drenched with Mellotron, and Sting here is doing the singing. You know right away that Sting's voice is perfect for the usual music you expect the Police to do, but in a prog setting, it sounds really peculiar. " Natural High ", again has Sting doing vocals, it's about as close to The Police sound you're gonna get here, but it's still packed with Mellotron, and is actually an excellent song. All this Mellotron work came from Schoener himself. " Code Word Elvis " is largely an orchestral piece, no surprise, given that Eberhard Schoener had spent his time conducting orchestras. " Night Bound City " is a purely electronic piece that you know none of the dudes from The Police participated in, while " San Francisco Waitress " brings to mind Sting's post-Police solo albums like Dream of the Blue Turtles, especially because of the jazzy feel and sax (although sax here is by Olaf Kübler, who used a tenor sax, unlike Branford Marsalis who tended to soprano sax). The last piece, "Koan" is an instrumental piece that tends to be rather minimalist. Now this isn't going to be the greatest thing you'll ever hear. Police fans might find it a bit unsettling to see their heroes doing prog rock, and neither is it the most cohesive album out there (Schoener couldn't decide whether to do prog rock, electronic, or orchestral music), but if you're a proghead and you wonder what would happen if the Police were a prog rock band, give this album a try (you can also see that The Police would never be anywhere as popular as they were if they were a prog rock band, beside they came during the punk/new wave era and capitalized on that instead, which was to their benefit). But get this album if you can find it for cheap, which is what I did. Don't overspend. File this under: curiosity.  

PEACHES & HERB: FREEWAY [POLYDOR - ESP 1981] 7' PEACHES & HERB: FREEWAY [POLYDOR - ESP 1981] 7' Peaches & Herb   "Freeway"  single 7" (Polydor)  1981  made in Spain cat. num.  20 95 396 #disco  #soul  #funk   A Freeway (Via Libre) 3:09 B Picking Up The Pieces 3:45   Though soul/pop  Peaches and Herb  was billed as a duo, their group member rotation is more similar to a group's. The original  Peaches, Francine Hurd Barker, a Washington, D.C., native, earned the childhood nickname "Peaches" because of her genteel manner. She sang in neighborhood groups and in her teens she became the lead singer for a group named the Keynotes. Starting her own group, the Darlettes, they auditioned for and were signed to D.C.-area label Date Records, where their name was changed to the Sweet Things.  The majority of their Polydor hits were written by  Perren,  Dino Fekaris, Kenny St. Lewis, and Melvin Ragin. Though there were other hits on Polydor, none came close to the success of their early- to mid-'60s Date singles. Though  Herb Fame believes it can happen again and employs a new "Peaches" to keep the name current while he holds down a job in the Washington, D.C. police department.

LED ZEPPELIN - MOTHERSHIP LED ZEPPELIN - MOTHERSHIP Discográfica:   Atlantic Led Zeppelin redefined rock in the Seventies and for all time. They were as influential in that decade as the Beatles were in the prior one. Their impact extends to classic and alternative rockers alike. Then and now, Led Zeppelin looms larger than life on the rock landscape as a band for the ages with an almost mystical power to evoke primal passions. Produced by Page and mixed by Kevin Shirley, MOTHERSHIP's 24 monolithic tracks were selected and sequenced by the band, who also oversaw the painstaking remastering. This compilation will be available on vinyl.  Spanning their epic career, the unprecedented collection pulls immortal songs from all eight of the band s classic studio albums, one of the 20th century's most enduring bodies of musical work. 

YOUNG NEIL & PROMISE OF - VISITOR YOUNG NEIL & PROMISE OF - VISITOR When Neil Young entered Shangri La Studio with the band Promise Of The Real a few months ago, there were a lot of images and feelings careening around his soul. The country was heading in a direction Young had never seen, even though up until then he thought he'd seen it all. But something different was happening, and it had gotten inside his music. I'm a Canadian by the way and I love the USA, he sings on the first song Already Great. The ethos of The Visitor can be summed up in the refrain of Already Great where Young insists, Already great, you're already great. You're the promise land, the helping hand. No wall. No hate. No fascist USA. WHOSE STREET? OUR STREET. From those words, Neil Young was ready to take a musical journey on his new album The Visitor like he had never taken before. It was one where he'd even surprise himself, always the mark of a creative leap. By the end of the recording sessions, he knew he'd made his most diverse album going all the way back to Harvest in 1972, when America was also in the throes of becoming unhinged. Neil Young didn't blink then, and he is not blinking now.

CHEAP TRICK - EPIC ARCHIVE VOL.3 CHEAP TRICK - EPIC ARCHIVE VOL.3 Discográfica:   Real Gone Music Our third-and final-package of Cheap Trick Epic rarities just might be the best yet! At least their legendary drummer Bun E. Carlos thinks so - It really is a nice package! he exclaims in the liner notes. Indeed, The Epic Archive Vol. 3 pulls off the unlikely feat of being simultaneously something of a greatest hits collection and also sonic catnip for deep Cheap Trick collectors. On the hits side, you get the single version of the band's lone #1 hit, The Flame, plus rare single versions of It's Only Love, Tonight It's You, and Don't Be Cruel (labeled as the Big New Mix). Then come the soundtrack-only songs, which have never appeared on a Cheap Trick studio album before and come from some big-time films: Mighty Wings from Top Gun, Money (That's What I Want) from Caddyshack II, You Want It from Say Anything, and I Will Survive from Gladiator. Alternate mixes of Little Sister, She's Got Motion, and Can't Stop Fallin' into Love and alternate versions of How About You and All We Need Is a Dream will quicken the pulse of collectors, as will Big Bang from the Japanese version of the Busted album. The whole thing starts with an a cappella intro to the theme song from the 1984 movie Up the Creek, and we also found room for one of the great lost Beatles covers of all time, the band's version of Magical Mystery Tour that only appeared on their Greatest Hits release! The liner notes feature track-by-track commentary from Bun E. Carlos, Rick Nielsen, and Robin Zander via interviews with longtime band biographer Ken Sharp and Timothy J. Smith, the Epic Archive series compilation producer; once again, band lensman Robert Alford has contributed photos to our beautiful gatefold package. This 2-LP Flame Red vinyl release is exclusive to Record Store Day, and, remember, aside from the soundtrack songs, none of this material has ever been on a fulllength LP. Limited to 2000 copies, don't miss out!

HUMAN LEAGUE - HISTERIA - ALBUM VINILO ORIGINAL 1984 PRIMERA EDICION VIRGIN RECORDS HUMAN LEAGUE - HISTERIA - ALBUM VINILO ORIGINAL 1984 PRIMERA EDICION VIRGIN RECORDS En 1984 sale “ Hysteria ”, el grupo parece que quiere hacer un pop mas organico, menos electrónico y menos energico que el ofrecido anteriormente,  contiene tres singles: la sorprendente “ the lebannon ” tanto por las guitarras muy cercanas al rock como por la letra muy política, esta claro que el publico del grupo, acostumbrado a cosas mas ligeras, quedo impactado con esta cancion como adelanto del nuevo album, en la cara b de este single nos encontramos la instrumental " thirteen " que en mi opinion debio ir en el album pues es un tema muy bueno. El invernal medio tiempo “ life on your own ” es quizas el sonido que hubiese sido ideal para todo el album y para diferenciarse de su anterior etapa, sin embargo se trata de un caso mas bien aislado. Luego tenemos la excelente balada “ louise ”, una bonita cancion que parece la segunda parte de " don't you want me " por la letra y que tiene unos bajos envolventes que son una pura delicia. Quizas podriamos añadir a los tres singles del album el tema " so hurt " una cancion muy bien construida con el dramatismo justo y un uso inteligente de los sintetizadores. El pop esta muy presente en el álbum, por ejemplo " i'm coming back ", cabe preguntarse como habrían sonado estas canciones con la producción de Martin Rushent. Jo Callis, deja la banda en medio de la promocion de " Hysteria " poco despues seria sustituido por el bateria Jim Russel que no iba a durar demasiado en el grupo. En medio de esta epoca problematica Phil Oakey disfruto de un momento dulce al colaborar con uno de sus idolos Giorgio Moroder en el single "together in electric dreams" tema principal de la pelicula "electric dreams", este single inesperadamente tuvo un exito masivo, tanto que se planeo un album completo para desarrollar esta colaboracion. Track listing: Side 1 1."I'm Coming Back" (Oakey, Wright) – 4:07 2."I Love You Too Much" (Burden, Callis, Wright) – 3:26 3."Rock Me Again and Again and Again and Again and Again and Again (Six Times)" (Austin, Brown) – 3:32 4."Louise" (Callis, Oakey, Wright) – 4:55 5."The Lebanon" (Callis, Oakey) – 5:03 Side 2 6."Betrayed" (Oakey, Wright) – 4:02 7."The Sign" (Burden, Callis, Oakey) – 3:46 8."So Hurt" (Burden, Callis) – 3:53 9."Life on Your Own" (Callis, Oakey, Wright) – 4:06 10."Don't You Know I Want You" (Burden, Callis, Oakey) – 3:09 Hysteria is the fourth studio album by the British synthpop band The Human League, released on 8 May 1984. Following the worldwide success of their 1981 album Dare, the band struggled to make a successful follow-up and the sessions for Hysteria were fraught with problems. The album name itself is taken from the problematic recording period. Producers Martin Rushent and Chris Thomas both left the project which would eventually be finished by producer Hugh Padgham. By the time Hysteria was released, three years had passed since Dare and the album met with relatively lacklustre success in comparison to its multi-platinum predecessor. Three singles from the album made the top-twenty of the UK singles chart but none of them reached the top-ten and " The Lebanon " was the only single to chart in the US, stalling at number sixty-four on the Billboard Hot 100. The album peaked at number three in the UK, later being certified Gold by the BPI for sales in excess of 100,000 copies. In 2005, Hysteria was remastered and re-issued with B-sides and extended mixes as bonus tracks. The song "Rock Me Again And Again And Again And Again And Again And Again " is a cover of a 1973 song by Lyn Collins and James Brown. " I Love You Too Much " is a re-recorded version from the Fascination! EP and " Don't You Know I Want You " is a reworked version of the instrumental B-side "Total Panic!" that appeared on the "(Keep Feeling) Fascination" single in 1983.  

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.