WHITESNAKE: Come an Get it LP. Original 1981 YUGOSLAVIAN Croatian. Check videos
Whitesnake – Come An’ Get It
Label: Jugoton – LSLIB 73133, Liberty – LBG 30327
Format: Vinyl, LP, Album
Genre: Rock, Blues
Style: Blues Rock, Hard Rock
“Come an’ Get It” (David Coverdale) 3:58
“Hot Stuff” (Coverdale, Micky Moody) 3:22
“Don’t Break My Heart Again” (Coverdale) 4:01
“Lonely Days, Lonely Nights” (Coverdale) 4:14
“Wine, Women An’ Song” (Coverdale, Moody, Bernie Marsden, Neil Murray, Jon Lord, Ian Paice) 3:43
“Child of Babylon” (Coverdale, Marsden) 4:50
“Would I Lie to You” (Coverdale, Moody, Marsden) 4:30
“Girl” (Coverdale, Marsden, Murray) 3:54
“Hit an’ Run” (Coverdale, Moody, Marsden) 3:21
“Till the Day I Die” (Coverdale) 4:27
David Coverdale vocals [Whitesnake, Deep Purple, Coverdale/Page]
Micky Moody guitar, backing vocals [Whitesnake, Juicy Lucy, The Snakes, Snafu, M3]
Bernie Marsden guitar, backing vocals [Whitesnake, UFO, The Snakes, Babe Ruth, Juicy Lucy, M3, Alaska]
Jon Lord keyboards
Neil Murray bass guitar
Ian Paice drums
Phonographic Copyright (p) – Sunburst Records Ltd.
Recorded At – Startling Studios
Mixed At – Startling Studios
Mastered At – Sterling Sound
Published By – Warner Bros. Music Ltd.
Published By – Dump-Eaton Music Ltd.
Published By – C.C. Songs Ltd.
Printed By – GIP “Beograd”
Recorded and mixed at Startling Studios, Tittenhurst Park, Ascot, England July ’80, Sept. ’80 & Jan. ’81.
℗ 1981 Sunburst Rec. Ltd.
Under licence from EMI.
Inner sleeve contains lyrics.
Barcode and Other Identifiers
Matrix / Runout (Runout Side A): LSLIB 73133 A 101181 MK
Matrix / Runout (Runout Side B): LSLIB 73133 B 111181 SB
Rights Society: SOKOJ
David Coverdale is an English rock vocalist and he was already famous for his work with the English hard rock band Deep Purple. He then formed Whitesnake and during the late seventies and early eighties, with ever changing line-ups, recorded a series of well-received bluesy Hard Rock albums. With ex-Deep Purple founders Jon Lord followed by Ian Paice joining in 1979, Whitesnake worked hard to become international superstars.
Come an’ Get It is the fifth studio album by hard rock band Whitesnake, released in 1981.
It was, at the time, Whitesnakes highest-charting release in the UK, hitting #2 and being kept off the top spot by Adam and the Ants Kings of the Wild Frontier.
“Don’t Break My Heart Again” and “Would I Lie to You” were released as singles, the former making the UK Top Twenty.
Check all samples: www.allmusic.com/album/come-an-get-it-mw0000192762
Whitesnake’s career came to a crossroads with the release of their fourth studio album, Come an’ Get It, in April 1981 – a crossroads that delineated their fortunes on both sides of the Atlantic.
In their U.K. homeland, as well as throughout Europe and even in Japan, singer David Coverdale’s hard-rocking blues sextet (completed by former Deep Purple colleagues Jon Lord on keys and Ian Paice on drums, plus guitarists Bernie Marsden and Micky Moody, and bassist Neil Murray) were established stars by then — as evidenced by Come an’ Get It’s No. 2 showing on the British charts and the Top 20 single “Would I Lie to You.”
But in the U.S., nobody was listening, even though Whitesnake’s previous album, 1980’s Ready an’ Willing, had shown some signs of life, climbing to No. 90. But Come an’ Get It would come nowhere close to that. Even before MTV started introducing music fans to enticing visuals on a mass scale (the game-changing cable network would launch a few months after the record’s release), the States’ musical temperature was rising to unprecedented heights of excess and bombast in line with the ‘80s economic boom.
In light of these fast-changing commercial demands, Come an’ Get It’s blue-collar brand of organ-laced riff-rockers (the title cut, “Hit an’ Run,” the punchy “Hot Stuff”) and more melodic, soulful offerings (“Don’t Break My Heart Again,” “Lonely Days, Lonely Nights,” the somewhat folksy “Till the Day I Die”) recalled the ‘70s and not a new era.
Look no further than the album’s centerpiece, the dramatic “Child of Babylon” (which inhabited a place and time somewhere between Rainbow’s “Gates of Babylon” and Led Zeppelin’s “In My Time of Dying”) for proof. To put it in perspective, 1981 was ruled by polished, forward-looking AOR records like Journey’s Escape, Foreigner’s 4 and REO Speedwagon’s Hi Infidelity.
In other words, Whitesnake’s career prospects, while showing nothing but positive growth back home and elsewhere, were still residing in a strange kind of commercial purgatory in the U.S. This state of affairs prompted a strategic label change (from the low profile Mirage Records to up-and-coming Geffen Records) ahead of the following year’s Saints & Sinners, which, in turn, seemed to ignite Coverdale’s ambitions to juice up Whitesnake’s sound to cater to Stateside audiences. To seal this transition, most of his original Whitesnake bandmates would be replaced by younger members before decade’s end.