View allAll Photos Tagged discogs
Mémoire2cité c est aussi la musique @ Cadeau la REVUE DETAIILLE DES BEST OF 12 INCH GOLD DISCO FUNK COMPILATION 90S www.discogs.com/label/433949-Best-Of-12-Inch-Gold
A1 Booker Newberry III– Love Town
Producer – Bobby Eli
Producer – Bobby Eli
A2 Band AKA– Joy
A3 Aretha Franklin– Get It Right
Producer – Luther Vandross
Producer – Luther Vandross
A4 Jeffrey Osborne– Stay With Me Tonight
Producer – George Duke
Producer – George Duke
B1 Kenny G (2)– Hi, How Ya Doin'
Producer – Wayne Brathwaite
Producer – Wayne Brathwaite
B2 Terri Wells– I'll Be Around
Producer – Nick Martinelli
Producer – Nick Martinelli
B3 The O'Jays– Extraordinary Girl
Producer – Gamble & Huff
Producer – Gamble & Huff
B4 Atlantic Starr– Silver Shadow The Whispers– And The Beat Goes On 6:43
A2 Bobby Thurston– Check Out The Groove 7:29
A3 One Way Featuring Al Hudson– Music 7:14
A4 Linx– You're Lying 6:36
B1 Brothers Johnson– Stomp 6:22
B2 Earth, Wind & Fire– Star 4:26
B3 Herbie Hancock– You Bet Your Love 8:10
B4 Dynasty– I Don't Wanna Be A Freak (But I Can't Help Myself) 7:14 Earth, Wind & Fire– Let's Groove 6:51
A2 Evelyn King– I'm In Love 5:56
A3 Quincy Jones– Ai No Corrida 6:27
A4 Rodney Franklin– The Groove 3:33
B1 Tom Browne– Funkin' For Jamaica (N.Y.) 4:42
B2 Yarbrough & Peoples– Don't Stop The Music 7:53
B3 Frantique– Strut Your Funky Stuff 5:48
B4 Leon Haywood– Don't Push It, Don't Force It
The Whispers– It's A Love Thing
Written-By – D. Meyers*, W. Shelby*
Written-By – D. Meyers*, W. Shelby*
5:06
A2 Aretha Franklin– Jump To It 6:33
A3 Shalamar– I Can Make You Feel Good 4:20
A4 The O'Jays– Put Our Heads Together 7:01
B1 Earth, Wind & Fire– I've Had Enough 4:34
B2 Evelyn King– Love Come Down 6:09
B3 Oliver Cheatham– Get Down Saturday Night 7:33
B4 Manhattans– Crazy
A1 Gwen Guthrie– (They Long To Be) Close To You 7:14
A2 Terri Wells– You Make It Heaven 5:30
A3 Billy Griffin– Serious 5:00
A4 Jeffrey Osborne– On The Wings Of Love 4:01
B1 Earth, Wind & Fire– After The Love Has Gone 4:31
B2 Atlantic Starr– Secret Lovers 5:28
B3 Champaign– How 'Bout Us 4:34
B4 The S.O.S. Band– Weekend Girl
Mai Tai History
–Loose Ends Hanging On A String (Contemplating)
–52nd Street Tell Me (How It Feels)
–Ca$hflow Mine All Mine
–Gwen Guthrie Ain't Nothin' Goin' On But The Rent
–Total Contrast Takes A Little Time
–René & Angela I'll Be Good
–Aurra You And Me Tonight
A1 Band AKA– Grace 6:23
A2 Second Image– Can't Keep Holding On 4:30
A3 Billy Griffin– Hold Me Tighter In The Rain 5:30
A4 Shakatak– Night Birds 6:19
B1 Sharon Brown– I Specialize In Love 7:15
B2 Vicky D*– This Beat Is Mine 5:53
B3 Howard Johnson– So Fine 5:28
B4 The Jones Girls– Nights Over Egypt 4:38
Earth, Wind & Fire With The Emotions– Boogie Wonderland 8:21
A2 G.Q.*– Disco Nights (Rock Freak) 5:51
A3 Al Hudson & The Partners– You Can Do It 7:03
A4 Herbie Hancock– I Thought It Was You 8:56
B1 Crusaders*– Street Life 7:49
B2 Phyllis Hyman– You Know How To Love Me 7:34
B3 Isley Brothers*– It's A Disco Night (Rock Don't Stop) 8:54
B4 Quincy Jones– Stuff Like That
Masquer crédits
A1 Isley Jasper Isley– Caravan Of Love
Written-By – C. Jasper*, E. Isley*, M. Isley*
Written-By – C. Jasper*, E. Isley*, M. Isley*
5:43
A2 Heatwave– Always And Forever
Written-By – R. Temperton*
Written-By – R. Temperton*
6:14
A3 M'tume*– Juicy Fruit
Written-By – M'tume*
Written-By – M'tume*
7:03
A4 Marvin Gaye– (Sexual) Healing
Written-By – D. Ritz*, M. Gaye*, O. Brown*
Written-By – D. Ritz*, M. Gaye*, O. Brown*
4:50
B1 Billy Paul– Let's Make A Baby
Written-By – Gamble/Huff*
Written-By – Gamble/Huff*
7:11
B2 Carl Anderson– Buttercup
Written-By – S. Wonder*
Written-By – S. Wonder*
4:19
B3 Nicole* With Timmy Thomas– New York Eyes
Written-By – Timmy Thomas
Written-By – Timmy Thomas
5:38
B4 S.O.S. Band*– Just Be Good To Me
Written-By – T. Lewis/J. Harris III*
Shannon– Let The Music Play 6:03
A2 Man Parrish– Hip Hop, Be Bop (Don't Stop) 5:36
A3 Full Force– Alice I Want You Just For Me 6:09
A4 Whodini– Haunted House Of Rock 7:42
B1 Hot Streak– Body Work 8:23
B2 Break Machine– Street Dance 6:28
B3 Bar-Kays– Sexomatic 6:24
B4 Herbie Hancock– Rockit
McFadden & Whitehead– Ain't No Stoppin' Us Now 10:45
A2 Anita Ward– Ring My Bell 8:08
A3 Jackie Moore– This Time Baby 7:09
A4 The Real Thing– Can You Feel The Force 7:35
B1 The Jacksons– Shake Your Body (Down To The Ground) 8:40
B2 Light Of The World– Time 10:59
B3 The Players Association– Turn The Music Up 6:25
B4 Positive Force– We Got The Funk
Evelyn Thomas– High Energy 7:49
A2 Eartha Kitt– Where Is My Man 6:25
A3 Divine– You Think You're A Man 7:58
A4 Barbara Pennington– On A Crowded Street 9:52
B1 Amii Stewart– Light My Fire (1985 Remix) 7:36
B2 Miquel Brown– So Many Men, So Little Time 8:12
B3 Boys Town Gang– Can't Take My Eyes Off You 9:48
B4 Village People– Y.M.C.A.
A1 Galaxy (4) Featuring Phil Fearon– Dancing Tight 6:12
A2 Glenn Jones– I Am Somebody 6:22
A3 Evelyn King– Your Personal Touch 5:47
A4 Loose Ends– Emergency (Dial 999) 6:47
B1 Cheryl Lynn– Encore 5:20
B2 Jones Girls*– You Can't Have My Love 4:24
B3 Windjammer– Tossing And Turning 6:40
B4 Alicia Myers– You Get The Best From Me (Say Say Say)
Real To Reel– Love Me Like This 6:41
A2 Marvin Gaye– My Love Is Waiting 5:12
A3 Keni Burke– Risin' To The Top (Give All You Got) 5:14
A4 Astrud Gilberto– Girl From Ipanema 5:20
B1 Gene Chandler– Does She Have A Friend For Me 3:34
B2 Heatwave– Mind Blowing Decisions 4:17
B3 Lowrell*– Mellow, Mellow Right On 10:43
B4 Sylvia*– Pillow Talk
Crown Heights Affair– You Gave Me Love 5:55
A2 Coffe*– Casanova 6:10
A3 Stephanie Mills– I Never Knew Love Like This Before 5:27
A4 Carl Carlton– She's A Bad Mama Jama (She's Built, She's Stacked) 5:48
B1 Gap Band*– Burn Rubber On Me 5:33
B2 Kool & The Gang– Celebration 5:00
B3 Freeez– Southern Freeez 5:40
B4 Central Line– Walking Into Sunshine
Earth, Wind & Fire Featuring The Emotions Boogie Wonderland 8:21
–GQ Disco Nights (Rock Freak) 5:51
–Al Hudson & The Partners You Can Do It 7:03
–Herbie Hancock I Thought It Was You 8:56
–The Crusaders Street Life 7:49
–Phyllis Hyman You Know How To Love Me 7:34
–The Isley Brothers It's A Disco Night (Rock Don't Stop) 8:54
–Quincy Jones Stuff Like That
The Whispers And The Beat Goes On 6:43
–Bobby Thurston Check Out The Groove 7:29
–One Way Featuring Al Hudson Music 7:14
–Linx You're Lying 6:36
–Brothers Johnson Stomp 6:22
–Earth, Wind & Fire Star 4:26
–Herbie Hancock You Bet Your Love 8:10
–Dynasty I Don't Wanna Be A Freak (But I Can't Help Myself)
–Earth, Wind & Fire Let's Groove 6:51
–Evelyn King I'm In Love 5:56
–Quincy Jones Ai No Corrida 6:27
–Rodney Franklin The Groove 3:33
–Tom Browne Funkin' For Jamaica (N.Y.) 4:42
–Yarbrough & Peoples Don't Stop The Music 7:53
–Frantique Strut Your Funky Stuff 5:48
–Leon Haywood Don't Push It, Don't Force It
–The Whispers It's A Love Thing 5:06
–Aretha Franklin Jump To It 6:33
–Shalamar I Can Make You Feel Good 4:20
–The O'Jays Put Our Heads Together 7:01
–Earth, Wind & Fire I've Had Enough 4:34
–Evelyn King Love Come Down 6:09
–Oliver Cheatham Get Down Saturday Night 7:33
–Manhattans Crazy
–Booker Newberry III Love Town
–Band AKA Joy
–Aretha Franklin Get It Right
–Jeffrey Osborne Stay With Me Tonight
–Kenny G (2) Hi, How Ya Doin'
–Terri Wells I'll Be Around
–The O'Jays Extraordinary Girl
–Atlantic Starr Silver Shadow
1 Gwen Guthrie– (They Long To Be) Close To You 7:14
2 Terri Wells– You Make It Heaven 5:30
3 Billy Griffin– Serious 5:00
4 Jeffrey Osborne– On The Wings Of Love 4:01
5 Earth, Wind And Fire*– After The Love Has Gone 4:31
6 Atlantic Starr– Secret Lovers 5:28
7 Champaign– How 'Bout Us 4:34
8 S.O.S. Band*– Weekend Girl
Mai Tai History
–Loose Ends Hanging On A String (Contemplating)
–52nd Street Tell Me (How It Feels)
–Ca$hflow Mine All Mine
–Gwen Guthrie Ain't Nothin' Goin' On But The Rent
–Total Contrast Takes A Little Time
–René & Angela I'll Be Good
–Aurra You And Me Tonight
Band Aka Grace 6:23
–Second Image Can't Keep Holding On 4:30
–Billy Griffin Hold Me Tighter In The Rain 5:30
–Shakatak Night Birds 6:19
–Sharon Brown I Specialize In Love 7:15
–Vicky D* This Beat Is Mine 5:53
–Howard Johnson So Fine 5:28
–The Jones Girls Nights Over Egypt
Isley Jasper Isley Caravan Of Love 5:43
–Heatwave Always And Forever 6:14
–M'tume* Juicy Fruit 7:03
–Marvin Gaye (Sexual) Healing 4:50
–Billy Paul Let's Make A Baby 7:11
–Carl Anderson Buttercup 4:19
–Nicole* With Timmy Thomas New York Eyes 5:38
–S.O.S. Band* Just Be Good To Me 8:56
Primis Player Placeholder
–Shannon Let The Music Play 6:03
–Man Parrish Hip Hop, Be Bop (Don't Stop) 5:36
–Full Force Alice I Want You Just For Me 6:09
–Whodini Haunted House Of Rock 7:42
–Hot Streak Body Work 8:23
–Break Machine Street Dance 6:28
–Bar-Kays Sexomatic 6:24
–Herbie Hancock Rockit
McFadden & Whitehead– Ain't No Stoppin' Us Now (Special Disco Version) 10:45
2 Anita Ward– Ring My Bell (12" Version) 8:08
3 Jackie Moore– This Time Baby (Special Disco Version) 7:09
4 Real Thing*– Can You Feel The Force 7:35
5 Jacksons*– Shake Your Body (Down To The Ground) (Special Disco Remix) 8:40
6 Light Of The World– Time (Remix) 10:59
7 The Players Association– Turn The Music Up! 6:25
8 Positive Force– We Got The Funk
Evelyn Thomas– High Energy
Producer, Written-By – Ian Levine and Fiachra Trench
Producer, Written-By – Ian Levine and Fiachra Trench
7:49
2 Eartha Kitt– Where Is My Man
Engineer – Bill Scheniman
Producer – Jacques Morali
Producer [Executive] – Henri Belolo
Engineer – Bill Scheniman
Producer – Jacques Morali
Producer [Executive] – Henri Belolo
6:25
3 Divine– You Think You're A Man
Directed By – Matt Aitken, Mike Stock, Pete Ware
Producer – Barry Evangeli, Pete Waterman
Directed By – Matt Aitken, Mike Stock, Pete Ware
Producer – Barry Evangeli, Pete Waterman
7:58
4 Barbara Pennington– On A Crowded Street
Engineer [Mix] – Graham Dickson
Mixed By [An M&M Mix] – John Morales & Sergio Munzibai
Producer – Ian Levine and Fiachra Trench
Engineer [Mix] – Graham Dickson
Mixed By [An M&M Mix] – John Morales & Sergio Munzibai
Producer – Ian Levine and Fiachra Trench
9:52
5 Amii Stewart– Light My Fire (1985 Remix)
Producer [Original Productions], Remix – Barry Leng
Remix – Alan Coulthard
Producer [Original Productions], Remix – Barry Leng
Remix – Alan Coulthard
7:36
6 Miquel Brown– So Many Men, So Little Time
Composed By, Producer – Ian Levine
Composed By, Producer – Ian Levine
8:12
7 Boys Town Gang– Can't Take My Eyes Off You
Producer – Bill Motley
Producer [Executive] – Will Smith (4)
Producer – Bill Motley
Producer [Executive] – Will Smith (4)
9:48
8 Village People– Y.M.C.A.
Mixed By – Michael Hutchinson
Producer – Jacques Morali
Galaxy (4) Featuring Phil Fearon Dancing Tight 6:12
–Glenn Jones I Am Somebody 6:22
–Evelyn 'Champagne' King* Your Personal Touch 5:47
–Loose Ends Emergency (Dial 999) 6:47
–Cheryl Lynn Encore 5:20
–Jones Girls* You Can't Have My Love 4:24
–Windjammer Tossing And Turning 6:40
–Alicia Myers You Get The Best From Me (Say Say Say)
Real To Reel– Love Me Like This
Written-By – Dominic Leslie*, Leon F. Sylvers III*, Leroy Hall
Written-By – Dominic Leslie*, Leon F. Sylvers III*, Leroy Hall
6:41
2 Marvin Gaye– My Love Is Waiting
Written-By – Gordon Banks
Written-By – Gordon Banks
5:12
3 Keni Burke– Risin' To The Top (Give It All You Got)
Written-By – A. Felder*, D. Gant*, K. Burke*
Written-By – A. Felder*, D. Gant*, K. Burke*
5:14
4 Astrud Gilberto– Girl From Ipanema
Written-By – Jobim*, De Moraes*
Written-By – Jobim*, De Moraes*
5:20
5 Gene Chandler– Does She Have A Friend For Me
Written-By – Stone*, Gibbons*
Written-By – Stone*, Gibbons*
3:34
6 Heatwave– Mind Blowing Decisions
Written-By – J. Wilder*
Written-By – J. Wilder*
4:17
7 Lowrell*– Mellow, Mellow Right On
Written-By – F. Simon*, G. Redmond*, J. Simon*, L. Brownlee*
Written-By – F. Simon*, G. Redmond*, J. Simon*, L. Brownlee*
10:43
8 Sylvia*– Pillow Talk
Written-By – Robinson*
Crown Heights Affair– You Gave Me Love
Written-By – Ida Reid
Written-By – Ida Reid
5:55
2 Coffee– Casanova
Written-By – J. Armstead*, M. Middlebrook*
Written-By – J. Armstead*, M. Middlebrook*
6:10
3 Stephanie Mills– I Never Knew Love Like This Before
Written-By – Mtumé*, Lucas*
Written-By – Mtumé*, Lucas*
5:27
4 Carl Carlton– She's A Bad Mama Jama (She's Built, She's Stacked)
Written-By – Leon Haywood
Written-By – Leon Haywood
5:48
5 Gap Band*– Burn Rubber On Me
Written-By – C. Wilson*, L. Simmons*, R. Taylor*
Written-By – C. Wilson*, L. Simmons*, R. Taylor*
5:33
6 Kool & The Gang– Celebration
Written-By – Kool & The Gang, Ronald Bell
Written-By – Kool & The Gang, Ronald Bell
5:00
7 Freeez– Southern Freez
Written-By – Stennett*, Rocca*, Maas*
Written-By – Stennett*, Rocca*, Maas*
5:40
8 Central Line– Walking Into Sunshine
Written-By – Linton Beckles, Lipson Francis, Roy Carter
Jocelyn Brown– Somebody Else's Guy 6:28
2 Sister Sledge– Thinking Of You 4:23
3 Change– Change Of Heart 7:02
4 Fonda Rae– Tuch Me 9:09
5 The Intruders– Who Do You Love? 6:10
6 Paul Hardcastle– You're The One For Me / Daybreak / A.M. (Medley) 6:31
7 Steve Arrington– Feel So Real 6:53
8 Princess– Say I'm Your No. 1 6:16
Sister Sledge– He's The Greatest Dancer
Written-By – Bernard Edwards & Nile Rodgers
Written-By – Bernard Edwards & Nile Rodgers
6:01
2 Edwin Starr– Contact
Written-By – Edwin Starr
Written-By – Edwin Starr
7:12
3 Gloria Gaynor– I Will Survive
Written-By – Dino Fekaris, Freddie Perren
Written-By – Dino Fekaris, Freddie Perren
8:00
4 Kool & The Gang– Ladies Night
Written-By – George M. Brown*, Kool & The Gang
Written-By – George M. Brown*, Kool & The Gang
6:22
5 Gene Chandler– Get Down
Written-By – J. Thompson*
Written-By – J. Thompson*
8:16
6 Chic– Good Times
Written-By – Bernard Edwards & Nile Rodgers
Written-By – Bernard Edwards & Nile Rodgers
7:39
7 Narada Michael Walden– I Shoulda Loved Ya
Written-By – Willis*, Walden*, Stevens*
Written-By – Willis*, Walden*, Stevens*
6:31
8 Change– Searching
Written-By – M. Malavasi*, P. Slade*
1 Womack & Womack– Love Wars
Written-By – C. Womack/L. Womack*
Written-By – C. Womack/L. Womack*
8:13
2 Change– You Are My Melody
Written-By – T. Lewis/J. Harris III*
Written-By – T. Lewis/J. Harris III*
6:23
3 Steve Arrington– Dancin' In The Key Of Life
Written-By – I. Arrington*, S. Arrington*
Written-By – I. Arrington*, S. Arrington*
6:04
4 Jocelyn Brown– I Wish You Would
Written-By – J. Brown*, N. Bennett*
Written-By – J. Brown*, N. Bennett*
5:30
5 Patrice Rushen– Forget Me Nots
Written-By – F. Washington*, P. Rushen*, T. McFadden*
Written-By – F. Washington*, P. Rushen*, T. McFadden*
7:13
6 Cool Notes*– In Your Car
Written-By – S. McIntosh*
Written-By – S. McIntosh*
6:03
7 Paul Hardcastle– Rainforest
Written-By – P. Hardcastle*
Written-By – P. Hardcastle*
5:12
8 Princess– After The Love Has Gone (Bad Mix)
Written-By – Stock/Aitken/Waterman*
Harold Melvin & The Blue Notes*– Don't Leave Me This Way
Written-By – Gilbert*, Gamble*, Huff*
Written-By – Gilbert*, Gamble*, Huff*
6:09
2 Odyssey (2)– Native New Yorker
Written-By – D. Randall*, S. Linzer*
Written-By – D. Randall*, S. Linzer*
5:33
3 Real Thing*– You To Me Are Everything (The Decade Re-Mix 76/86)
Written-By – K. Gold*, M. Denne*
Written-By – K. Gold*, M. Denne*
9:51
4 Heatwave– The Groove Line
Written-By – R. Temperton*
Written-By – R. Temperton*
4:18
5 The Ritchie Family– The Best Disco In Town
Written-By – H. Belolo*, J. Morali*, P. Hurtt*, R. Rome*
Written-By – H. Belolo*, J. Morali*, P. Hurtt*, R. Rome*
6:35
6 Shalamar– Take That To The Bank
Written-By – K. Spencer*, L. Sylvers*
Written-By – K. Spencer*, L. Sylvers*
6:52
7 Evelyn 'Champagne' King*– Shame
Written-By – Fitch*, Cross*
Written-By – Fitch*, Cross*
6:31
8 Crown Heights Affair– Galaxy Of Love
Written-By – F. Nerangis*, V. Britton*
Written-By – F. Nerangis*, V. Britton*
5:55
Grandmaster Flash & The Furious Five– The Message
Written-By – Chase*, Fletcher*, Glover*, Robinson*
Written-By – Chase*, Fletcher*, Glover*, Robinson*
7:12
2 Pointer Sisters– Automatic
Written-By – Walsh*, Goldenberg*
Written-By – Walsh*, Goldenberg*
4:46
3 Third World– Try Jah Love
Written-By – A. McCully*, S. Wonder*
Written-By – A. McCully*, S. Wonder*
9:18
4 Shalamar– A Night To Remember
Written-By – C. Sylvers*, D. Myers*, N. Beard*
Written-By – C. Sylvers*, D. Myers*, N. Beard*
5:08
5 Odyssey (2)– Inside Out
Written-By – J. Rae*
Written-By – J. Rae*
6:21
6 Rockers Revenge Featuring Donnie Calvin– Walking On Sunshine
Vocals – Donnie Calvin
Written-By – E. Grant*
Vocals – Donnie Calvin
Written-By – E. Grant*
9:34
7 Imagination– Just An Illusion
Written-By – Ingram*, John*, Jolley*, Swain*
Written-By – Ingram*, John*, Jolley*, Swain*
6:36
8 Kool & The Gang– Get Down On It
Written-By – J. Taylor*, Kool & The Gang, R. Bell*
Cameo– Word Up! 6:00
2 Cool Notes*– Spend The Night 5:55
3 Kool & The Gang– Fresh 4:23
4 Alyson Williams– Sleep Talk 7:56
5 Joyce Sims– All And All (Parts 1&2) 10:23
6 Luther Vandross– Never Too Much 5:44
7 The Pasadenas– Tribute (Right On) (The Q Street Mix) 5:14
8 Midnight Star– Midas Touch 6:35
www.discogs.com/label/433949-Best-Of-12-Inch-Gold Voir moins
☆📝Sources: www.discogs.com/master/81051-The-Beatles-The-Beatles-Ball...
www.discogs.com/artist/1834514-John-Patrick-Byrne?type=Cr...
design.tutsplus.com/ru/articles/50-years-of-typography-in...
Some examples of expressive covers: www.discogs.com/release/391003-Uriah-Heep-Demons-And-Wizards
www.discogs.com/release/6617691-Santana-Abraxas
Today, reviewing the recordings of "The Beatles", I met on the Internet an LP compilation of their songs "The Beatles Ballads. 20 Orginal Tracks", released by Parlofon in October 1980.
The album was popular (re-released until 2014) not least because of the charming image of the Fab Four on the front cover, which I reproduce here.
Image by Scottish illustrator and playwright John Patrick Byrne (Patrick).
Why didn't this extraordinary work find a place on the labels during the existence of the legendary band? The Beatles were familiar with the artist's art, and in 1968 they commissioned him to design a stylized cover for the project that would become the 'White Album'. This work turned out to be unclaimed, but twelve years later it appeared on the front cover of the above-mentioned album.
In those days, the art of album covers for rock music (and not only) on vinyl was given great importance. The covers looked like exquisite paintings of the surrealists and expressionists (yes, in fact, many of them were). The artists who designed the album covers sought to express the aesthetic preferences of the musicians, emphasizing the style and concept of their music. Intricate cover designs became an important part of the music industry in the 1970s and 1980s, both as cultural icons and as a marketing tool to influence audiences through image recognition.
Rus: Сегодня, разбирая записи "Битлз", я встретил в интернете LP-сборник их песен "The Beatles Ballads. 20 Orginal Tracks", выпущенный фирмой "Parlophone" в октябре 1980 года. Альбом был популярным (переиздавался вплоть до 2014 года) не в последнюю очередь из-за очаровательного изображения ливерпульской четверки на лицевой обложке, которую я привожу здесь.
Автор изображения - шотландский иллюстратор и драматург Джон Патрик Бирн (псевдоним Патрик).
Почему-же этой неординарной работе не нашлось места на музыкальных лейблах в годы существования легендарной группы? "Битлз" были знакомы с искусством начинающего тогда художника и в 1968 году поручили ему создать стилизованный макет обложки для проекта, впоследствии ставшего "Белым альбомом". Работа эта оказалась невостребованной, однако двенадцать лет спустя она появилась на фронт-кавере вышеуказанного сборника.
В те времена, художественному оформлению обложек альбомов рок-музыки (и не только) на виниле придавалось большое значение. Каверы выглядели словно изысканные полотна сюрреалистов и экспрессионистов (да, собственно, многие таковыми и являлись). Художники, проектировавшие обложки для пластинок, стремились выразить эстетическое предпочтения музыкантов, подчеркивали стиль и концепцию их музыки. Замысловатый дизайн обложек, как культурных икон, так и инструмента маркетинга, стал неот'емлемой частью музыкальной индустрии 1970-80хх годов, воздействия на аудиторию через узнаваемость образа
www.discogs.com/Michel-Banabila-Sound-Years/release/9418885
NORMAN RECORDS staff review:
These are troubling times, or maybe it’s just because it’s the middle of the week, but fret not for Michel Banabila is here to bring the balm. This lovely guy has a background in producing scores for film, documentaries, theatre and video art. Banabila finds uses for discarded objects and makes tapestries with these along with his electronics, field recordings and shortwave radio bites. The results are greater than the sum of these parts though, of course. The sounds he makes are spectacularly gorgeous and immaculately crafted, so let’s get into it now...
The record opens with the wondrously twilit ‘Close To The Moon’, acoustic oriental instrumentation gently plucked from some mystical faraway place and picking its way through some serene Fripp / Eno type sound bedding. Hints of guitar bubble up amongst the most luscious synth pads and subtle recordings of birdsong, low in the mix. This all segues seamlessly into some Frahm-ish piano and found sounds, Bjorkian vocals flitting in and out. The piano weaves a lovely melody gently around eastern instrumentation, gradually speeding up together with backwards vocals to create a slightly disorienting effect, before warm droning ambience washes back in. It’s as good as having the most relaxing bubble bath. Exotic birdcalls drift back in, soft lulling vocals and heavenly harp all combine to seduce this tired writer. Delicious. Is it time for bed yet? **** (Jamie)
AMBIENTBLOG:
Sound Years is a compilation of previously released tracks (with the exception of the previously unreleased opening track Close To The Moon). All are hand-picked by Michel Banabila himself and mixed into two continuous tracks – one for each side of the vinyl album. The selection is taken from various projects: some of them from theatre works, some of the more recent experimental electronic music, an occasional live recording, and a selection of his collaboration works with Oene van Geel and Rutger Zuydervelt (Machinefabriek). The oldest tracks are taken from 2005’s Hilarious Expedition, the newest are from 2016. They are selected to create a continuous uninterrupted flow. The sound is immediately recognisable as Banabila‘s – especially in his trademark use of ‘alien vocal’ samples (like in E.T. and Vuka Vuka!). The set is a perfect demonstration of Banabila‘s mastership of creating moods and atmospheres. A soft, warm, comfortable selection that is slightly unnerving and ‘outerworldish’ at the same time. Sound Years can perhaps be seen as Banabila‘s companion to KLF’s ‘Chill Out’ album: a slow walk through quiet (yet alien) landscapes. Unknown, full of surprises, yet always vaguely familiar. (Peter van Cooten)
CHAIN D.L.K.:
“Sound Years” is a Michel Banabila sampler, segueing selected tracks from ten previous albums along with one new work into two gentle, chilled-out continuous pieces. This has the diversity and variation of a various artists chillout compilation, but impressively, it’s all the work of one man (and a couple of guest appearances).
Smoothness is the order of the day here. Gentle piano melodies, occasional plaintive guitar strums, and found sounds including the classics such as falling rain ambiences and tropical birds, blend with the mellowest flavours of electronica chill-out such as the deftly twisted and re-pitched vocal samples in “Earth Visitor”. Other sections are more pared-down, simple warm drones, deep vocal sustains and cultured resonance.
The second side opens with a slightly more cinematic bent- a real orchestra warming up alongside a virtual one, broad sci-fi choral pads and robotic noises have us floating outside a spaceship. The ambience gradually gets more down-to-earth, with plaintive violin lines (from guest Oene Van Geel I think) and micro-cut vocal snippets glitching away in “Radio Spelonk”.
While some of the elements are cliché, they are used tastefully in a way that freshens them up. Even the cockerel crowing sound, used to great effect by The Orb, makes an appearance. In fact The Orb is a comparison worth making; if you like either of The Orb’s most recent two albums, then you should absolutely check “Sound Years” out.
To someone unfamiliar with Banabila’s work, this is a seriously impressive and accomplished retrospective. A wide orchestral palette and some absolutely top-notch production, with a beautiful sense of space and an ability to shift subtly between warm and cold atmospheres, makes this an aural joy in its own right. The transitions are seamless and this absolutely stands up as its own work, without any of the unsatisfying incompleteness you sometimes get in compilations.
It’s released on Banabila’s own Tapu Records. Several of the original albums from which these tracks are sourced are legitimately available to download for free online, and this compilation will definitely make you want to peruse things further. (Stuart Bruce)
André Burton, Le Grand Balayeur (Franc'Amour, 1994)
www.discogs.com/Andr%C3%A9-Burton-Le-Grand-Balayeur/relea...
banabila.bandcamp.com/album/sound-years-12-vinyl-lp
www.discogs.com/Michel-Banabila-Sound-Years/release/9418885
open.spotify.com/album/3s4lylT8yFUVif19yRWFQ5?si=e603iGgu...
NORMAN RECORDS staff review:
These are troubling times, or maybe it’s just because it’s the middle of the week, but fret not for Michel Banabila is here to bring the balm. This lovely guy has a background in producing scores for film, documentaries, theatre and video art. Banabila finds uses for discarded objects and makes tapestries with these along with his electronics, field recordings and shortwave radio bites. The results are greater than the sum of these parts though, of course. The sounds he makes are spectacularly gorgeous and immaculately crafted, so let’s get into it now...
The record opens with the wondrously twilit ‘Close To The Moon’, acoustic oriental instrumentation gently plucked from some mystical faraway place and picking its way through some serene Fripp / Eno type sound bedding. Hints of guitar bubble up amongst the most luscious synth pads and subtle recordings of birdsong, low in the mix. This all segues seamlessly into some Frahm-ish piano and found sounds, Bjorkian vocals flitting in and out. The piano weaves a lovely melody gently around eastern instrumentation, gradually speeding up together with backwards vocals to create a slightly disorienting effect, before warm droning ambience washes back in. It’s as good as having the most relaxing bubble bath. Exotic birdcalls drift back in, soft lulling vocals and heavenly harp all combine to seduce this tired writer. Delicious. Is it time for bed yet? **** (Jamie)
AMBIENTBLOG:
Sound Years is a compilation of previously released tracks (with the exception of the previously unreleased opening track Close To The Moon). All are hand-picked by Michel Banabila himself and mixed into two continuous tracks – one for each side of the vinyl album. The selection is taken from various projects: some of them from theatre works, some of the more recent experimental electronic music, an occasional live recording, and a selection of his collaboration works with Oene van Geel and Rutger Zuydervelt (Machinefabriek). The oldest tracks are taken from 2005’s Hilarious Expedition, the newest are from 2016. They are selected to create a continuous uninterrupted flow. The sound is immediately recognisable as Banabila‘s – especially in his trademark use of ‘alien vocal’ samples (like in E.T. and Vuka Vuka!). The set is a perfect demonstration of Banabila‘s mastership of creating moods and atmospheres. A soft, warm, comfortable selection that is slightly unnerving and ‘outerworldish’ at the same time. Sound Years can perhaps be seen as Banabila‘s companion to KLF’s ‘Chill Out’ album: a slow walk through quiet (yet alien) landscapes. Unknown, full of surprises, yet always vaguely familiar. (Peter van Cooten)
CHAIN D.L.K.:
“Sound Years” is a Michel Banabila sampler, segueing selected tracks from ten previous albums along with one new work into two gentle, chilled-out continuous pieces. This has the diversity and variation of a various artists chillout compilation, but impressively, it’s all the work of one man (and a couple of guest appearances).
Smoothness is the order of the day here. Gentle piano melodies, occasional plaintive guitar strums, and found sounds including the classics such as falling rain ambiences and tropical birds, blend with the mellowest flavours of electronica chill-out such as the deftly twisted and re-pitched vocal samples in “Earth Visitor”. Other sections are more pared-down, simple warm drones, deep vocal sustains and cultured resonance.
The second side opens with a slightly more cinematic bent- a real orchestra warming up alongside a virtual one, broad sci-fi choral pads and robotic noises have us floating outside a spaceship. The ambience gradually gets more down-to-earth, with plaintive violin lines (from guest Oene Van Geel I think) and micro-cut vocal snippets glitching away in “Radio Spelonk”.
While some of the elements are cliché, they are used tastefully in a way that freshens them up. Even the cockerel crowing sound, used to great effect by The Orb, makes an appearance. In fact The Orb is a comparison worth making; if you like either of The Orb’s most recent two albums, then you should absolutely check “Sound Years” out.
To someone unfamiliar with Banabila’s work, this is a seriously impressive and accomplished retrospective. A wide orchestral palette and some absolutely top-notch production, with a beautiful sense of space and an ability to shift subtly between warm and cold atmospheres, makes this an aural joy in its own right. The transitions are seamless and this absolutely stands up as its own work, without any of the unsatisfying incompleteness you sometimes get in compilations.
It’s released on Banabila’s own Tapu Records. Several of the original albums from which these tracks are sourced are legitimately available to download for free online, and this compilation will definitely make you want to peruse things further. (Stuart Bruce)
Duet – Doris Day And André Previn With The André Previn Trio
Vinyl LP (1962)
Label: Columbia
Catalog No.: CS 8552
Stereo
out-of-print
▶ Closeup of cover: here.
**************
☞ Side 1
1. Close Your Eyes 3:07
2. Fools Rush In 3:50
3. Yes 3:24
4. Nobody's Heart 3:52
5. Remind Me 3:58
6. Who Are We To Say 2:58
☞ Side 2
1. Daydreaming 3:06
2. Give Me Time 3:27
3. Control Yourself 2:55
4. Wait Till You See Him 3:03
5. My One And Only Love 3:38
6. Falling In Love Again 2:52
*************
Vocals – Doris Day
Piano – André Previn
Bass – Red Mitchell
Drums – Frank Capp
Arrangements – André Previn
*************
▶ Doris Day (3 April 1922 – 13 May 2019) died last week at the age of 97. A very successful girl-next-door film actor, Ms. Day began her career as a big band singer. In the 1940s, she recorded two Top 40 hits with Les Brown and his Band of Renown.
She never discarded her singing career (even starring as a singer in Alfred Hitchcock's "The Man Who Knew Too Much"). In 1962, Ms. Day collaborated with pianist/arranger André Previn for a jazz album, "Duets" (named that despite a trio of piano/bass/drums backing her up).
Previn would soon thereafter become internationally regarded as a classical symphony orchestra conductor, but piano jazz remained a love for him. Here, he provides tasteful, cool accompaniment. As for Ms. Day, she's sweetly on point and closely-miked. Think June Christy but with less nudge-nudge-wink-wink.
An album comprising mostly standards, Duet's only clunker is a hackneyed show-tune-esque "Control Yourself," but one out of twelve ain't bad. Of those, standouts include "Falling in Love Again," "Close Your Eyes," and "Daydreaming" —itself like a distaff but booze-less "One More for the Road": ("Daydreaming, just daydreaming. Well it's kind of fun for one who's out alone").
Previn wrote the music and singer/songwriter Dory Langdon wrote its lyrics (and those of two other songs on the album). At the time, she was married to Previn. He was a cad. A few years later, he would cheat on her with Mia Farrow. Mr. Previn died earlier this year.
Rounding out the musicians are Red Mitchell on (do I have to say "acoustic"?) bass and Frankie Capp on drums. Mitchell was a studio musician and successful 'West-Coast' jazzman in his own right. Capp was a jazz timekeeper, first and foremost, but, to pay the bills, he also was a drummer in a loosely associated coterie of sought-after studio musicians for rock 'n' roll and Top 40 recordings during the 1960s-70s, later referred to as the "Wrecking Crew."
***************
▶ Photo by Yours For Good Fermentables.com.
▶ For a larger image, type 'L' (without the quotation marks).
— Follow on Twitter: @Cizauskas.
— Follow on Facebook: YoursForGoodFermentables.
— Follow on Instagram: @tcizauskas.
▶ Camera: Olympus Pen E-PL1.
▶ Commercial use requires explicit permission, as per Creative Commons.
Purcell - The Suites for Harpsichord - Colin Tilney Clavecin Cembalo, DGG Archiv 2533 415
www.discogs.com/Henry-Purcell-Colin-Tilney-The-Suites-For...
Composer: Gian Carlo Menotti
Vinyl LP (1952)
Label: RCA Victor Red Seal
Catalog No.: LM 1701
Monophonic
out-of-print
Number of Discs: 1
**************
▶ RECORDING
☞ Side 1
1. Part 1 (20:39)
☞ Side 2
1. (2) Part 2 (25:50)
▶ On YouTube: here.
***************
▶ CAST
Amahl – Chet Allen (soprano)
His Mother – Rosemary Kuhlman (mezzo-soprano)
Kaspar – Andrew McKinley (tenor)
Melchior – David Aiken (baritone)
Balthazar – Leon Lishner (baritone)
The Page – Francis Monachino
Conductor – Thomas Schippers
NBC Opera Theatre Orchestra and Chorus
***************
▶ "Amahl and the Night Visitors is an opera in one act by Gian Carlo Menotti with an original English libretto by the composer. It was commissioned by NBC and first performed on December 24, 1951, in New York City, at NBC studio 8H in Radio City Music Hall, where it was broadcast live on television as the debut production of the Hallmark Hall of Fame. It was the first opera specifically composed for television in America."
— Discogs.
***************
▶ MORE IMAGES
☞ Album cover: here.
☞ Vinyl: here.
☞ Inner sleeve: here.
☞ Booklet (front): here.
☞ Cast members: here.
☞ Gian Carlo Menotti (composer): here.
☞ Image from television broadcast (1): here.
☞ Image from television broadcast (2): here.
***************
▶ Uploaded by Yours For Good Fermentables.com.
▶ For a larger image, type 'L' (without the quotation marks).
— Follow on web: YoursForGoodFermentables.com.
— Follow on Twitter: @Cizauskas.
— Follow on Facebook: YoursForGoodFermentables.
— Follow on Instagram: @tcizauskas.
▶ Commercial use requires explicit permission, as per Creative Commons.
Composer: Gian Carlo Menotti
Vinyl LP (1952)
Label: RCA Victor Red Seal
Catalog No.: LM 1701
Monophonic
out-of-print
Number of Discs: 1
▶ On YouTube: here.
**************
▶ RECORDING
☞ Side 1
1. Part 1 (20:39)
☞ Side 2
1. (2) Part 2 (25:50)
***************
▶ CAST
Amahl – Chet Allen (soprano)
His Mother – Rosemary Kuhlman (mezzo-soprano)
Kaspar – Andrew McKinley (tenor)
Melchior – David Aiken (baritone)
Balthazar – Leon Lishner (baritone)
The Page – Francis Monachino
Conductor – Thomas Schippers
NBC Opera Theatre Orchestra and Chorus
***************
▶ "Amahl and the Night Visitors is an opera in one act by Gian Carlo Menotti with an original English libretto by the composer. It was commissioned by NBC and first performed on December 24, 1951, in New York City, at NBC studio 8H in Radio City Music Hall, where it was broadcast live on television as the debut production of the Hallmark Hall of Fame. It was the first opera specifically composed for television in America."
— Discogs.
***************
▶ MORE IMAGES
☞ Album cover: here.
☞ Vinyl: here.
☞ Inner sleeve: here.
☞ Booklet (front): here.
☞ Cast members: here.
☞ Image from television broadcast (1): here.
☞ Image from television broadcast (2): here.
☞ Image from television broadcast (3): here.
***************
▶ Photo by Yours For Good Fermentables.com.
▶ For a larger image, type 'L' (without the quotation marks).
— Follow on Twitter: @Cizauskas.
— Follow on Facebook: YoursForGoodFermentables.
— Follow on Instagram: @tcizauskas.
▶ Camera: Olympus OM-D E-M10 II.
▶ Commercial use requires explicit permission, as per Creative Commons.
Fjieri - Endless
www.discogs.com/release/2290536-Fjieri-Endless
Funk Sessions
www.discogs.com/release/898206-Various-Funk-Sessions
Soul Sessions
www.discogs.com/release/898158-Various-Soul-Sessions
The Vals - Wildflower Way
www.discogs.com/release/7964009-The-Vals-Wildflower-Way
Chopin - Mazurkas - Cor de Groot
www.discogs.com/release/12137779-Chopin-Mazurkas
Tori Amos - Hey Jupiter-Professional Widow
www.discogs.com/release/170090-Tori-Amos-Hey-Jupiter-Prof...
Beethoven - Violin Concerto - Arthur Grumiaux Violin, New Philharmonia Orch., Edo de Waart
www.discogs.com/release/14499182-Beethoven-Arthur-Grumiau...
Bjork - Post
www.discogs.com/release/1073509-Bj%C3%B6rk-Post
Dido - No Angel
www.discogs.com/release/165093-Dido-No-Angel
Vanessa Paradis 1992
www.discogs.com/release/4998537-Vanessa-Paradis-Vanessa-P...
Sony Classical Discovery
www.discogs.com/release/11503633-Various-Sony-Classical-D...
Brahms - Ein deutsches Requiem & Schumann - Requiem (+ pour Mignon) - Jessye Norman & Jorma Hynninen, London Phil. Orch., Klaus Tennstedt
www.discogs.com/release/9371469-Johannes-Brahms-Robert-Sc...
Composer: Gian Carlo Menotti
Vinyl LP (1952)
Label: RCA Victor Red Seal
Catalog No.: LM 1701
Monophonic
out-of-print
Number of Discs: 1
▶ On YouTube: here.
**************
▶ RECORDING
☞ Side 1
1. Part 1 (20:39)
☞ Side 2
1. (2) Part 2 (25:50)
***************
▶ CAST
Amahl – Chet Allen (soprano)
His Mother – Rosemary Kuhlman (mezzo-soprano)
Kaspar – Andrew McKinley (tenor)
Melchior – David Aiken (baritone)
Balthazar – Leon Lishner (baritone)
The Page – Francis Monachino
Conductor – Thomas Schippers
NBC Opera Theatre Orchestra and Chorus
***************
▶ "Amahl and the Night Visitors is an opera in one act by Gian Carlo Menotti with an original English libretto by the composer. It was commissioned by NBC and first performed on December 24, 1951, in New York City, at NBC studio 8H in Radio City Music Hall, where it was broadcast live on television as the debut production of the Hallmark Hall of Fame. It was the first opera specifically composed for television in America."
— Discogs.
***************
▶ MORE IMAGES
☞ Album cover: here.
☞ Vinyl: here.
☞ Inner sleeve: here.
☞ Booklet (front): here.
☞ Cast members: here.
☞ Gian Carlo Menotti (composer): here.
☞ Image from television broadcast (1): here.
☞ Image from television broadcast (3): here.
***************
▶ Uploaded by Yours For Good Fermentables.com.
▶ For a larger image, type 'L' (without the quotation marks).
— Follow on web: YoursForGoodFermentables.com.
— Follow on Twitter: @Cizauskas.
— Follow on Facebook: YoursForGoodFermentables.
— Follow on Instagram: @tcizauskas.
▶ Commercial use requires explicit permission, as per Creative Commons.
André Burton, Pas Le Temps De Ramasser Les Blessés (Pathé Marconi EMI, 1980)
www.discogs.com/Andr%C3%A9-Burton-Pas-Le-Temps-De-Ramasse...
Je Le Vois Encore
(André Burton)
Je le vois encore devant sa Belford
Dans un bar gare du Nord
Crier bien fort à qui veut l'entendre
J'veux plus vivre en France
Il a pris ses deux chaussures André
Son sac et son carnet
Avec une tablature de Dadi
Il a quitté le pays
Je reçois souvent de lui des lettres
À la Place Clichy
Devant les librairies de sexe
Je les ouvre et je les lis
Là-bas y'a des fruits jusque dans le ventre des femmes
Là-bas y'a des femmes qui font mûrir les nuits
Là-bas y'a des fleurs jusque dans le ventre des filles
Là-bas y'a des filles qui font fleurir les jours
Je le vois encore devant le tableau
Noir de l'embauche
Crier bien fort la droite ou la gauche
Ça m'travaille pas trop
Puis il parlait de grains de chicorée
De vanille couleur café
que l'on retrouve sous les tabliers
des serveuses des grands cafés
Je reçois souvent des bas nylons
Des mangues écrites au crayons
Avec le bonjour de Nora et moi
On t'attends là-bas
Là-bas y'a des fruits jusque dans le ventre des femmes
Là-bas y'a des femmes qui font mûrir les nuits
Là-bas y'a des fleurs jusque dans le ventre des filles
Là-bas y'a des filles qui font fleurir les jours
Là-bas y'a des fruits jusque dans le ventre des femmes
Là-bas y'a des femmes qui font mûrir les nuits
Là-bas y'a des fleurs jusque dans le ventre des filles
Là-bas y'a des filles qui font fleurir les jours
Rare Record
1 of 2 copies
www.discogs.com/Rosemary-Brown-Peter-Katin-Muziek-van-Ros...
Peter Katin:
Beethoven - Bagatelle,
Schubert - Moment Musical,
Chopin - Impromptu in f & Es,
Liszt - Jesus walking on the water, Grubelei, Valse Brillante, Debussy - Danse Exotique,
Brahms - Waltz
Rosemary Brown
Liszt - Consolation, Swan at twilight, Reve en bateau, Lament, Jesus in prayer,
Grieg - Shepherd piping,
Schumann - Longing,
Chopin - Ballade
Tori Amos - Winter
www.discogs.com/release/5257626-Tori-Amos-Winter
Coldplay - Viva La Vida, 1 of 2 copies, not identical
www.discogs.com/release/12755492-Coldplay-Viva-La-Vida-Or...
Michael Jackson - Blood on the Dance Floor
www.discogs.com/release/476385-Michael-Jackson-Blood-On-T...
OORgasm 13, 1 of 2 copies
www.discogs.com/release/368278-Various-Oorgasm-13
Sarah Bettens - Go, Solo Debut 2004
www.discogs.com/release/1088374-Sarah-Bettens-Go
NITS - Ting, 1992
Kill Bill Vol.1 - Original Soundtrack
www.discogs.com/release/881718-Various-Kill-Bill-Vol-1-Or...
Pulp Fiction - Original Soundtrack
www.discogs.com/release/7097198-Various-Music-From-The-Mo...
Donal Lunny
www.discogs.com/release/10422035-Donal-Lunny-Donal-Lunny
White Town - Abort, Retry, Fail? & Your Woman
www.discogs.com/release/505344-White-Town-Abort-Retry-Fai...
Madonna - Frozen
www.discogs.com/release/153586-Madonna-Frozen
Scarlett Johansson - Anywhere I lay my head
www.discogs.com/release/1346526-Scarlett-Johansson-Anywhe...
David Gray - White Ladder
www.discogs.com/release/1352987-David-Gray-White-Ladder
Lamb - Remixed
www.discogs.com/release/491620-Lamb-Remixed
The Cranberries - To The Faithful Departed
www.discogs.com/release/838137-The-Cranberries-To-The-Fai...
Wibi Soerjadi Piano - Virtuosities - Chopin, Liszt, Paganini, Schubert, Saint-Saens
www.discogs.com/release/8660097-Wibi-Soerjadi-Virtuosities
Liszt - Jeno Jando Piano, Naxos Vol.10
www.discogs.com/release/18746770-Franz-Liszt-Jen%C5%91-Ja...
Chopin - Piano Concerto No.1 & No.2 - Idil Biret Piano, Slovak State Phil. Orch., Kosice, Robert Stankovsky, Naxos Vol.14
www.discogs.com/release/4540040-Fryderyk-Chopin-Idil-Bire...
Tina Dico - Far
www.discogs.com/release/2776106-Tna-Dco-Far
Alban Berg Quartet ABQ - Hommage, 5CD
www.discogs.com/release/15918339-Alban-Berg-Quartett-MMVI...
Rachmaninov - Piano Concertos Complete, Paganini Rhapsody - Nikolai Lugansky & Jorge Luis Prats Piano
www.discogs.com/release/6313081-Rachmaninov-Nikolai-Lugan...
Beethoven - The Violin Sonatas - Arthur Grumiaux Violin, Clara Haskil Piano, Box
www.discogs.com/release/7500962-Beethoven-Arthur-Grumiaux...
Mozart - Don Giovanni - Arleen Auger, Edith Mathis, Varady, Edda Moser, Alan Titus, Rootering, Panerai, Scholze, Bayerischen RSO, Rafael Kubelik, Box
www.discogs.com/release/11018769-Mozart-Aug%C3%A9r-Mathis...
Miam Monster Miam Et Les Loved Drones : J'Aurai Ta Peau
Promo single, Freaksville Record.
www.discogs.com/Miam-Monster-Miam-Et-Les-Loved-Drones-JAu...
Extract from "Femme Plastique"
Catalog number : FRVM25
Catalog number CD : FRVR25
theloveddrones.bandcamp.com/album/femme-plastique
Miam Monster Miam : chant, harmonica, vocoder
Les Loves Drones :
Brian Carney : Jupiter 5 ★ Christophe Danthinne : batterie ★ Jampur Fraize : guitare ★ Marc Wathieu : guitare ★ Pascal Scalp : basse
Musiciens additionnels :
Philippe Laurent : trompette ★ MFU : SciFi Theremin ★ Marie Ange : choeurs ★ Sophie Galet : choeurs ★ Marie France : cris ★ Daniel Offerman : poésie germanique et rap ★ Marc Moulin (RIP) : piano ★ Pierre Greco : contrebasse
Enregistré à Londres au studio Fortress par Ed Peffers ★ Assistant : Jack Gordon ★ Prises de voix et overdubs enregistrés à Liège au Studio 5 par Raphaël Wynands ★ Mixé et masterisé à Paris au Studio Farside par Gilles Martin ★ Piano sur "Je vois dans le noir" enregistré et joué par Marc Moulin au Studio Royal de Belgique à Bruxelles ★ Theremin enregistré et joué par Man From Uranus à Cambridge ★ Produit par Benjamin Schoos pour 36 Cowboys ★ Composé par Miam Monster Miam et le Loved Drones sauf 5 composé par La Variété, 7 composé et écrit par Christian Bruhn et Georg Bushor, 9 par Marc Moulin, 3, 10, 11 paroles de Jacques Duvall, 4 paroles de Michel Moers, 6 prise de paroles allemandes par Daniel Offerman, 8, 12 écrit par Marc Wathieu
Photographie du groupe : Pascal Shyns ★ Photographie intérieure : Jérôme Danthinne ★ Design www.scalp.be
[FR]
Avec ses Loved Drones, Miam Monster Miam créa la femme ... mais pas n’importe quelle femme, la femme plastique ! Scoop volant(e) et space inventeurs : Miam les a vu de ses x-ray eyes. Son nouvel album étend désormais l’Area 51 jusqu’à Liège. Retour et autopsie de l’affaire rock-well.
L’homme Libellule très remarqué en 2007 pour ses arrangements, et trois albums du projet Phantom en collaborations avec Lio, Jacques Duvall et Marie France, le producteur Miam Monster Miam revient à la charge, nucléaire ! Délaissant le garage rock américain et le noyau liégeois de son label, Freaksville, il prend cette fois la route de l’Angleterre et cela se ressent : délestant ses airs de cowboys dans la Tamise, c’est bien une power pop made in Kings Road qui vous déhanche.
Ici le smog glamour des Stranglers flotte sur les claviers ; là c’est la section rythmique des Only Ones qui tourne comme un pub un soir de match. Ajoutez une gouaille canaille, des nappes radioactives, des licks piquantes comme des darts, ne tournez pas, buvez à chaud.
Les Loved Drones, le nouveau groupe mi-belge mi-britannique qui accompagne Miam Monster Miam puise dans l’écurie Phantom autant que dans la crème de la pop wallonne : feu le producteur Marc Moulin au piano, Marc ‘Morgan’ Wathieu (fondateur des Tricheurs) à la guitare, Daniel Offerman bassiste des Girls In Hawaii et chanteur d’Hallo Kosmo, mais également des guests comme Marie France, le thérémin rétro-futuriste de Man From Uranus, ou la mystérieuse Marie Ange… L’assiette anglaise donc, pinte de stout comprise.
L’esprit Freaksville est toujours à bord, d’abord par cette persistance de la guitare, mais aussi par cet univers comics omniprésent. Outre une reprise de La Variété (J’écoute une K7 de la vedette) et des textes signés Michel Moers de Telex (J’aurais Ta Peau) et Jacques Duvall (Le roi des paranos, Le pseudonyme), les paroles lorgnent vers un futur bizarroïde délirant : un ordinateur à trouver l’amour, une femme parfaite venu d’une autre galaxie, un ventriloque largué par sa poupée, et la cyber-wallonie de 2035.
Tel est l’univers des Loved Drones qui défile sous les manettes d’Ed Peffer au studio Fortress sur Provost Street (jadis arpentés par Primal Scream, Death In Vegas mais aussi Spiritualized et Magazine), puis au mixage de Gilles Martin (Front 242, Polyphonic size, Minimal compact ainsi que Venus, Deus, Girls In Hawaii).
Au final, un rock’n’roll électronisé par des machines pop étranges qui fonce comme un double-decker bus rouge bubble-gum. Play it again, Miam !
[EN]
The Belgian Rock debate is dead and buried. Its Phantom now haunts the dark streets of England… After the solo album L’homme Libellule in 2007, critically acclaimed for its arrangements, and three collaborative albums by the Phantom project; namely Lio, Jacques Duvall and Marie France, producer Miam Monster Miam returns to the fray all engines firing!
Abandoning American Garage Rock and the Liège nucleus of his Freaksville label, this time he heads for England: throwing his cowboy persona in the Thames and replacing it with a power-pop King’s Road swagger. Here the glamourous seedy smog of The Stranglers permeates the keyboards, alongside the rhythm section of The Only Ones, pulsating like an East End pub on match night. Add roguish charm, radioactive layers, licks as sharp as a dart and it’s a potent cocktail, shaken not stirred.
He’s accompanied by The Loved Drones, his Anglo-Belgian backing band as featured in Phantom, as well as the cream of Wallonian pop: producer Marc Moulin on piano, Marc ‘Morgan’ Wathieu (founder of The Tricheurs) on guitar, Girls in Hawaii bassist and singer of Hallo Kosmo, Daniel Offerman but also guests like Marie France, theremin retro-futurist Man From Uranus and the mysterious Marie Ange…so, a real English dish, served up with a pint of stout on the side.
The Freaksville spirit is ever-present, primarily through insistent guitar but also in the comic universe it creates. In addition to cover of La Variété (J'écoute une K7 de la vedette) and lyrics by Michel Moers of Telex (J’aurais Ta Peau) and Jacques Duvall (Le roi des paranos, Le pseudonyme), the words look towards a weird and twisted future, a cyber-wallonia of 2035 where a computer finds love, the perfect woman arrives from another galaxy, and a ventriloquist is dumped by his dummy.
This is the universe that The Love Drones unfolded in the hands of Ed Peffer of Fortress Studios in Provost Street (stomping ground of such groups as Primal Scream, Death In Vegas, Spiritualized et Magazine)and then mixed by Gilles Martin (Front 242, Polyphonic size, Minimal Compact as well as Venus and Girls In Hawaii). The end result is electrified rock ‘n roll played by strange machines that bounds along like a bubble-gum red double-decker bus. Play It Again, Miam!
[Quotes]
"Roulant joyeusement des hanches, sa femme plastique a des allures de Barbarella du troisième millénaire, féroce, fantaisiste et éminement sexy”
Télémoustique
"Un album de rock garage matiné de pop à l'anglaise ou l'on retrouve son gout prononcé pour la série B tendance androide"
Metrotime
"C'est du rock rentre dedans, en français mais réalisé en angleterre, dans l'esprit pop de Taxi Girls, les guitares en plus"
Thierry Coljon, Le Soir
"Un album futuriste ou les guitares cotoient les synthés et autres bidouillages pour un orgasme intersidéral et sensuel”
L'avenir
"MMM a un appétit d'ogre, la preuve avec son album de rock européen en français dans le texte tout à fait jouissif"
Focus-Vif
"Comme toujours l'ensemble est excellemment produit, et c'est peut être ce qui frappe le plus"
Interlignage
"Ce nouveau MMM en étonnera plus d'un. Il est bien différent de ce à quoi Benjamin nous avait habitués sous ce pseudonyme. C'est comme s'il avait fondu en un seul moule ses différents projets de ces dernières années"
Musicinbelgium.net
"MMM et les Loved Drones réussissent leur sortie et signent un très bon album, oeuvre de musiciens aguerris et performants"
Muzzart
"Le touche à tout Benjamin Schoos nous rassasie d’une nouvelle sortie de rock indé comme on les aime"
Free.fr
"Femme plastique n’est pas un bon album, c’est un excellent album ! La science et l’énergie du Monsieur insufflent un vrai renouveau dans le rock chanté en français"
SFRmusique
"Disque intéressant, dans tous les cas, ne serait-ce par la vision iconoclaste qu’il donne du TC MATIC d’Arno 30 ans plus tard."
Coreandco
"C'est avec le groupe Loved Drones qu'est né cet album aux mélodies pop, glamour et élèctrisantes. Piquant et attachant, il fera parler de lui"
Femme d'aujourd'hui
⎯
Catalog number : FRVM25
Catalog number CD : FRVR25
℗ Freaksville Record
© Freaksville Music
Published by Freaksville Publishing
Kurt Weill - Mahagonny Songspiel, Kleine Dreigroschenmusik, Pantomime, Vom Tod im Wald, Berliner Requiem, Violinkonzert, Happy End - London Sinfonietta, David Atherton, Meriel Dickinson, Nona Liddell, Mary Thomas, Philip Langridge, Benjamin Luxon, Ian Partridge, Michael Rippon, DGG 2740 153, 2709 064, Box 3Lp, 1976
www.discogs.com/Kurt-Weill-London-Sinfonietta-David-Ather...
No Backside
1 of 3 copies, not identical.
www.discogs.com/Mahler-Heather-Harper-Norma-Procter-Werne...
Gramophone Review 1974:
Mahler's symphonic ballad, a Gothic tale of fratricide in a forest glade and a singing flute fashioned by a minstrel from a stray bone of the murdered knight, has a special claim on the attention of Mahlerians. Written when Mahler was barely out of his teens, it is a telling prelude to the achievement of the symphonies—the early Wunderhorn symphonies and symphonies as far distant as the Seventh and Eighth. Orchestrally it introduces us, brilliantly and precociously, to the Mahler language (Mahler's revisions of 1899-1901 involved more tidying than re-working). Emotionally and psychologically, too, it is echt Mahlerisch: potent, allusive, and neither redundantly pictorial nor unconsciously naive, Indeed it is difficult to see the relevance of Professor Redlich's stricture that the work suffers from its association with "the threadbare costumes of obsolescent romantic conventions". From the first, Mahler's musical imagination (like Elliot's poetic imagination a decade or two later) was a modifying and transforming one. "The instruments Mahler played", Sir Neville Cardus once observed, in a felicitous aside on Das klagende Lied, "were always revealing to him buried bones".
Haitink, having completed his integral recording of the symphonies, now busies himself adding the coping stones to the edifice (one wonders whether Solti will give us Das klagende Lied too). To have Haitink's Mahler cycle made genuinely complete in this way will obviously please those collectors who have invested in the symphonies; and the new performance, scrupulously judged, poised and beautifully alert certainly doesn't disappoint. Whether it outclasses either of the rival versions, the Morris now on the mid-price Ace of Diamonds label or the Boulez, which has the passing advantage of a recording of Waldmiirchen, the work's discarded first section, on a complementary CBS/Boulez disc (72865, 10/70), is a matter that needs finely weighing.
The first point to stress is that to catch the full bloom of the Philips recording and the special quality of the Concertgebouw acoustic one does need to play the recording at a fairly high level—something that presents no problems with finished pressings as beautifully engineered as these. Played at a generous level the sound, spacious, warm and cleanly focused, mirrors a performance which is similarly spacious and unclaustrophobic. Where with Wyn Morris one is struck by the immediacy of the sound, the rich solid New Philharmonia horn tone and (at fig. 2) the first sinister flurry of fff tremolando strings (shades of the corybantic happenings at the start of the Third Symphony), with Haitink it is the steady tread of the march rhythm which catches the attention; and later the restrained, stylish shaping of the minstrel's wayfaring motif (fig. 6), with Haitink eschewing that touch of roughness in the string tone which Morris uses (most beguilingly, you might argue) to point up the music's ambling, carressive, rustic mood.
By and large Haitink's fine-grained attention to orchestral detail does pay off. Little (apart from a subdued and sinister drum roll just before fig. 17) escapes his notice. As it happens, Morris brings that drum roll up to a distant yet menacingly explicit mp. But it's not individual details which are relevant in making one's comparisons (one could counter the fig. 17 example by pointing to Haitink's uniquely atmospheric balancing of voice and solo trumpet at the flute's eerie "Ach Spielmann, lieber Spielmann mein"). More important is the way that shifts of detail point to major shifts in the dramatic presentation of the work. In the coda to Part 1, for instance, one notices the extreme care with which Haitink terraces the quiet choral entries and the lines of the orchestral texture itself. Where Morris is less obviously sensitive, deliberately urging the music on and drawing on its haunted, phantasmagoric mood, Haitink (the shape of the movement as a whole beautifully perceived) stresses the pathos of the mood. With Morris it is the minstrel's fearfulness which we experience, with Haitink his sense of loss.
To complicate matters further, though, it is Boulez who is most commanding at the start of Part 2—the wedding feast evoked with an irresistible splendour (one would like to hear Boulez in the festive finale of the Seventh Symphony). Haitink is initially a shade disappointing, but the big maestoso climax and the ghostly diminution of the music (shades of Wagner and Der fliegende Hollander) is strongly brought off and the balance between the off-stage band and the on-stage band and solo voices—an extraordinarily sophisticated juggling with spatial perspectives by the 19 year-old Mahler—is both subtler and more coherent in the Philips recording than in either of its rivals. And good as the placing of the off-stage band is on the Decca/Delyse and CBS recordings (the CBS closer than Mahler indicates but compensatingly brilliant and bizarre) the Philips, very distant yet beautifully definite, is arguably the most atmospheric of all.
But increasingly as the tension mounts in Part 2 the contribution of the soloists and the chorus becomes more and more crucial. And it's here that Boulez is rather let down, both by Grace Hoffman and Evelyn Lear. Haitink is better served. When the flute first reveals the murder to the astounded court Norma Procter, who is splendidly in command throughout the recording, handles the cruel leap of a tenth on "wonnig Weib" almost as adeptly as Decca's Anna Reynolds (arguably the finest of the contralto soloists) and Haitink's control of the slow, swirling climax— marked Vorwiirts, and beautifully timed— is equally satisfying. Yet when the flute, now blown by the newly-wed murdered king, repeats the tale two verses later Haitink is oddly restrained and Heather Harper, though she gets the notes, is no match for Morris's gloriously sure-toned Teresa Zylis-Gara.
Ultimately I find it is the choral contributions which fairly unequivocally tip the balance back in Morris's favour. In the brilliant choral description of the king, like Claudius in Hamlet, rising frenzied from his stool (the choral writing itself distantly predicting the surging motion of the Eighth Symphony's first movement) the Dutch choir strains on the high notes in a way that neither Boulez's LSO Chorus nor Morris's Ambrosian Singers do. Then in the description of the destruction of the palace Morris alone does what Mahler asks. Restraint is essential here (the critic, quoted in Kurt Blaukopf's new book on Mahler, who sneered that "compared with the collapse of the castle in this ballad the twilight of the gods is a purely local event" must have been totally innocent of the final pages of Gotterdammerung). Except for a final, towering six-bar crescendo Mahler asks for a long, sustained pianissimo line from the chorus; only the second and third flutes, and a single clarinet, marked if and f respectively, are asked to play louder. On the records, Haitink's choir sing with imperfect tone and on a long crescendo; Boulez also allows the crescendo, though the Arthur Oldham-trained LSO Chorus does sing with exemplary clarity. It is Wyn Morris, though, with the Ambrosian Singers who vividly and movingly reveals the rightness of Mahler's own intentions; and he caps this with an intensely beautiful (and daringly slow) reading of the work's profoundly desolate coda. Andor Kaposy and Teresa Zylis-Gara are tellingly sensitive here too. Kaposy's soaring rise into the words "Die Lichter verlosen" is more memorable even than Stuart Burrows's on CBS, and is richer by far than Werner Hollweg's detached, rather cool and obviously expert encompassing of the phrase on the Haitink.
A long review, then, but as both EG and AB indicated in their miller reviews of the Morris and the Boulez this is an enthralling and rewarding work to write about. All three performances deserve the closest attention, and if in the process of working through my comparisons I am left in little doubt that the bargain-priced Wyn Morris recording is still the one to have, it is equally clear that the Boulez and the Haitink each offers us a distinctive, workmanlike reading—and an exemplary recording—of this important early score.
R.O.
www.discogs.com/release/12410608-London-Symphony-Orchestr... Rare record. STRAVINSKY Petrushka Ballet [notes / score]
Recorded 19 and 24 October 1927, Queen’s Hall, transmitted by phone line to Small Queen’s Hall;; 5 January and 15 February 1928. Kingsway Hall; transmitted by phone line to Small Queen’s Hall.
Issued on HMV D1521-1524.
This set was also issued on Italian and Czech HMV as well as Electrola but never on Victor.
The matrix and date information is as follows:
Side 1. CR-1542-2B (19 October 1927)
Side 2. CR-1543-3A (5 January 1928)
Side 3. CR-1544-1A (19 October 1927)
Side 4. CR-1545-4 (15 February 1928)
Side 5. CR-1546-1A (19 October 1927)
Side 6. CR-1547-2 (15 February 1928)
Side 7. CR-1552-1A (24 October 1927)
Side 8. CR-1553-2 (24 October 1927)
The present transfer was made from mid-1930s Electrola pressings, EJ381-384.
London Symphony Orchestra
Albert Coates, conductor
Review of Petrushka (1930):
"...Of Stravinsky on her programme, " Hmm ! Stravinsky ! Now we're in for something weird ! " What we actually were in for was the Berceuse and Finale of The Fire Bird, which, had the printer of the programme erroneously attributed to the pen of Rimsky-Korsakov, the good lady would assuredly have applauded as vehemently as she did Scheherazacle at the same concert. So much for the average Briton's attitude towards musical progress. Yet why should early Stravinsky still be imagined by so many to be so revolutionary and incomprehensible 7 The Fire Bird was written in 1910— surely nineteen years is sufficient time even for an average British concert-goer to assimilate its idiom. The answer must lie in the fact that ever since Petrouchka Stravinsky has been such an experimentalist, and his idiom has been so elusive, that his reputation is better known than his music, and so our conservative concert-goers get afraid, and refuse to become conversant with any form of music later than Wagner. To these I would say : "Ladies and Gentlemen, go to your gramophone dealer and listen to a few records of contemporary music ; it will cost you nothing, and you will gain the knowledge that there is nothing at all offensive in such works as The Fire Bird, nothing in fact that is incompatible with the traditions of Rimsky-Korsakov, Borodin and others ; then you will go to the concert hall and hear with unprejudiced ears the same works, and will enjoy them."
...
In 1911 appeared Petrouchka, which is still regarded by many as Stravinsky's masterpiece, though none can maintain that he ceased developing at this date. Certainly his later works are more abstruse and objective, but Stravinsky never stands still, he always moves forward, forward, forward, and even though his followers may sometimes be led into somewhat cacophonic by-roads, the discursions are always interesting, and open up new paths of development. Nevertheless Petrouchka is certainly the apex of his genius in multi-coloured orchestral resourcefulness, and it is probably the most musically influential of all his works ; hardly one of the younger generation of Russian Ballet composers has escaped the influence of Petrouchka in some form or another, and probably that is why it is the best known of his works. Stravinsky, as I have said before, changes his style so often that it is almost impossible to say which is the most representative of his works, yet to a grarnophile who knows nothing of this amazing composer's works I would recommend Petrouchka as his first introduction to Stravinsky. Two excellent sets of Petrouchka records are available ; one on six sides of Columbia (L2173-5), conducted by the composer, and the other on eight sides of H.M.V. (D1521-4) by the London Symphony Orchestra under Albert Coates. Both renderings are extremely - good the Columbia version is the noisier, yet I think on the whole the clearer and more supple, but I greatly regret the excision of the trumpet, flute and bassoon trio where the Moor makes love to the ballerina. I personally chose the H.M.V. version for its completeness."
"These Moderns 1.—Russia: Stravinsky and Prokofiev" (excerpts) by A. M. Gordon-Brown, The Gramophone, March 1930
Albert Coates
Biographical notes from Wikipedia
Albert Coates (23 April 1882 –11 December 1953) was an English conductor and composer. Born in Saint Petersburg where his English father was a successful businessman, he studied in Russia, England and Germany, before beginning his career as a conductor in a series of German opera houses. He was a success in England at the Royal Opera House, Covent Garden, and in 1919 was appointed chief conductor of the London Symphony Orchestra.
His strengths as a conductor lay in opera and the Russian repertoire, and he was not thought as impressive in the core Austro-German symphonic repertoire. After 1923 he failed to secure a permanent conductorship in the UK, and for much of the rest of his life he guest conducted in continental Europe and the U.S. In his last years he took orchestral appointments in South Africa, where he died at 71.
As a composer, Coates is little remembered, but he composed seven operas, one of which was performed at Covent Garden. He also wrote some concert works for orchestral forces.
Early years
Coates was born in Saint Petersburg, the youngest of seven sons of a Yorkshire father, Charles Thomas Coates, who managed the Russian branch of an English company, and Mary Ann Gibson, who was born and raised in Russia to British parents. He learned the violin, cello and piano as a child in Russia. From 12, he was raised in England. After attending the Royal Naval College, Dartmouth, he studied science at Liverpool University.
Coates returned to Russia to join his father's company, but he also studied composition with Nikolai Rimsky-Korsakov. In 1902, he entered the Leipzig Conservatory, to study the cello with Julius Klengel and the piano with Robert Teichmüller, but he was drawn to conducting by Arthur Nikisch's conducting classes.
Nikisch appointed Coates répétiteur at the Leipzig opera, and he made his debut as a conductor in 1904 with Offenbach's The Tales of Hoffmann. He was engaged as the conductor of the opera house at Elberfeld in 1906, in succession to Fritz Cassirer. From there he progressed to the post of assistant conductor at the Semperoper, Dresden(1907–8), under Ernst von Schuch and Mannheim in 1909 under Artur Bodanzky. He made his London début in May 1910, conducting the London Symphony Orchestra (LSO) in a programme consisting of a symphony by Maximilian Steinberg, Tchaikovsky's First Piano Concerto and Beethoven's Seventh Symphony. The Times judged him "sound and artistic", though "not particularly inspiring to watch." In the same year he was invited by Eduard Nápravník to conduct at Saint Petersburg's Mariinsky Theatre.
Coates's conducting of Siegfried at the Mariinsky led to his appointment as principal conductor of the Russian Imperial Opera, a post he held for five years, during which he became associated with leading Russian musicians, including Alexander Scriabin, for whose music he became a strong advocate. In July 1910, he married Ella Lizzie Holland.
International career
Coates first appeared at Covent Garden in 1914 in a Wagner season. He won critical praise for his performance of Tristan und Isolde and particularly for his conducting of Die Meistersinger. His conducting of Puccini's Manon Lescaut later in the same season was also well-received, his Parsifal less so.
The Russian Revolution in 1917 did not at first adversely affect Coates. The Soviet government appointed him "President of all Opera Houses in Soviet Russia", based in Moscow. By 1919, however, living conditions in Russia had become desperate. Coates became seriously ill, and with considerable difficulty left Russia with his family by way of Finland in April 1919. After his arrival in England, Coates was appointed chief conductor of the LSO. Reviewing his first performance in the post, The Times praised him warmly, along with the younger Adrian Boult and Geoffrey Toye, in an article on "The Conductor's Art". In September 1919, Coates was appointed to teach a new class for operatic training at the Royal College of Music. Reporting the appointment, The Times wrote, "There can scarcely be a musician in this country with so wide and cosmopolitan an experience of operatic performance."
The following month, there occurred an incident for which Coates's name is remembered in many books and articles. The LSO gave the world premiere of Elgar's Cello Concerto under the baton of the composer, but Coates, who was conducting the rest of the programme, appropriated most of Elgar's allotted rehearsal time. As a result, the orchestra gave a notoriously inadequate performance. Elgar did not complain publicly, but the musical world knew privately of Coates's behaviour. With this exception, Coates served English composers well in the post-war years, giving the first performances of large-scale works including Vaughan Williams's revised A London Symphony (1920),Delius's Requiem (1922), Bax's First Symphony (1922), and Holst's Choral Symphony (1925). He conducted many other early performances of music by contemporary English composers, including the second complete performance of Holst's The Planets in 1920, two years after its premiere. Among works from continental Europe introduced to England by Coates were Prokofiev's Third Piano Concerto and Rachmaninoff's Fourth Piano Concerto, each with its composer as soloist. In 1925 he gave the first stage performance outside Russia of Rimsky-Korsakov's opera The Invisible City of Kitezh.
After his contract with the LSO expired in 1922, Coates held no more permanent conductorships in the UK, although he directed the Leeds music festivals of 1922 and 1925.In 1923 he was appointed joint principal conductor with Eugene Goossens of the Rochester Philharmonic Orchestra in the U.S. He was among the co-founders of Vladimir Rosing's pioneering American Opera Company. Coates left Rochester in 1925 as a result of a disagreement with the orchestra's sponsor, George Eastman over artistic policy. The reason for Coates's failure to secure a permanent position in the UK was, according to one commentator, that although he was a fine conductor of opera and of Russian concert music, "his interpretations of the Viennese classics were less acceptable" and as the latter were more important in British musical life, "Coates failed to win for himself the highest reputation among his own countrymen."
Later years
In 1925, Coates was invited to Paris to conduct at the Opéra. He continued to make regular guest appearances in many of the world's artistic centres until 1939. He conducted opera in Italy (1927 to 1929), and Germany (Berlin State Opera, 1931), and concerts with the Vienna Philharmonic Orchestra (1935) and in the Netherlands, Sweden and the USSR, which he visited three times.
On 13 November 1936 the BBC broadcast the world's first televised opera: scenes from Coates's Pickwick, directed by Rosing, were shown in advance of the work's premiere. Coates and Rosing launched a season of the British Music Drama Opera Company at Covent Garden the following week.
When World War II broke out, Coates moved to the US. There, together with Rosing, he founded the Southern California Opera Association. Productions included Coates's opera Gainsborough's Duchess. He guest conducted the Los Angeles Philharmonic Orchestra and worked briefly in Hollywood, making cameo appearances in two MGMfilms.
In 1946 Coates moved to South Africa. He accepted the conductorships of the Johannesburg Symphony Orchestra and, later, the Cape Town Municipal Orchestra. He settled in Milnerton, Cape Town, with his second wife Vera Joanna Nettlefold (a soprano professionally known as Vera de Villiers). He died there in 1953. The Oxford Dictionary of National Biography says of him "Although he was important to the fortunes of the London Symphony Orchestra immediately after the First World War, his contribution to British musical life was ephemeral. As a composer he has lost his place in the repertory, and as an executant he is remembered generally by collectors with an interest in historic recordings."
Compositions
In its obituary of Coates, The Times wrote that his compositions "fell between the two stools of national character and international sympathy, with a resulting ambiguity of achievement." The Grove Dictionary of Music and Musicians describes them as "technically proficient rather than imaginative". His works include the operas Samuel Pepysand Pickwick; the former was given in German in Munich in 1929, and latter in English at Covent Garden in 1936. His five other operas included "The Myth Beautiful" (1920).His concert works included a piano concerto and a symphonic poem The Eagle, dedicated to the memory of his former teacher Nikisch, which was performed in Leeds in 1925.
Recordings
Coates made important early contributions to the representation of orchestral music on record, beginning in 1920 with Scriabin's The Poem of Ecstasy and afterwards conducting many excerpts from Wagner's Der Ring des Nibelungen and (in 1923 and 1926) two complete recordings of Symphony No. 9 of Beethoven. He was the conductor for the 1930 premiere recording of Rachmaninoff's Piano Concerto No. 3 in D minor, with Vladimir Horowitz as soloist.
From Wikipedia: en.wikipedia.org/wiki/Albert_Coates_(musician)
Plasma Tapes / Viva / Bain Total (1983)
From Discogs:
“This cassette was produced as an part of the Italian VIVA magazine, 'N°10 Primavera 1983' issue, titled "Viva Noir".
The cassette contains tracks from the concerts at "Al's Bar" (24 April 1982 - A2/A6) and "Sala Borromini" (11 December 1982 - A7 and B1/B4) plus one song from the concert at Oddfellows Hall (24 April 1981 - A1). The cover does not list these venues, it does only list the recording dates and cities.
The tracklisting is not correct here and there, there are at least a pair of never heard elsewhere tracks.
The cover is screenprinted in silver on black cardboard. Most copies are a little too big for the snapcases and sometimes the inner flap is too long resulting in misfolds. The print is also not perfect due to the process of printing. Usually black cassettes were used but there are also copies on grey or white cassettes. Some feature photocopied stickers, some a silver dot, some remained unlabeled.
The Viva magazine is actually an oversized (35,5 x 23 cm = 14 x 9 inch) offset printed folder containing in its complete form:
- A postcard with Viva Noir No.10 Primavera '83 contents.
- The C60 cassette
- "From Science To Ritual" booklet (not stapled) with cardboard cover. 12 inner pages with italian text, photos, lyrics and band history timeline 1978 to December 1982.
- "Beyond The Valley Of Ultrasadism" - a folded 4 page 22 x 35 offset printed insert about Come Organisation with a text by Claudio die Giambattista (in italian language) and a list of all the releases of Come Organisation including magazines, badges, VHS, Super-8 films etc., lyrics to a couple of Whitehouse songs, and two Irving Klaw bondage photos (on the front and back - uncredited).
-"Graven Image" - a text about SPK by Sandro Bergamo.
-"Stilleben" - a text about "Evidenza e Morte" by Sandro Bergamo.
- a photocopied folded 4 page insert with english translations of the texts. The original english text of "From Science To Ritual" is found in "Re/Search 6/7 - The Post-Industrial Strategy".
A few copies also contained 3 double-sided horizontal pages of low quality photocopies (25 x 36 cm) with the original texts and photos by SPK used for the booklet "From Science To Ritual". To fit, they are folded in the middle.
Originally it was packaged in a slim plastic bag, sometimes stickered "Contiene C-60 Live/SPK 'From Science To Ritual'".
Tape and magazine were distributed by Bain Total under catalog number K 17
When the magazine was sold out, the tape with the silver on black screenprinted cover was sold on its own (see here).
It was later un-officially re-released with different covers, this is the only official release.”
My copy would be 100% complete, but the Viva Noir postcard is missing sadly.
Seven Mary Three – American Standard
Limited Edition, Reissue, Yellow Vinyl /200
www.discogs.com/Seven-Mary-Three-American-Standard/releas...
Ryuichi Sakamoto (坂本龍一 ) 🇯🇵
January 17, 1952 – March 28, 2023
в январе вспоминали Yukihiro Takahashi из той же компании YMO и вот теперь Рюити
попытался составить список релизов, где Ryuichi отметился сольно, либо как соучастник (YMO) или продюсер, или аранжировщик и клавишник (таких пластинок удивительно много тоже) — получилось 167 альбомов
но это далеко не всё — на discogs он затеган в 2291 (!) издании, правда среди этой массы ~ половина это ремиксы одной песни в каком-нибудь варианте альбома других артистов, не стал их учитывать, не сомневаюсь, что вскоре японцы издадут вообще всё что вышло из под рук маэстро, включая эти многочисленные ремиксы — наследие велико и разнообразно ✨
Yellow Magic Orchestra
open.spotify.com/artist/2JIf5JxI3ypOSfrfNIIMQE
Ryuichi Sakamoto
open.spotify.com/artist/1tcgfoMTT1szjUeaikxRjA
RS в других проектах
open.spotify.com/playlist/37i9dQZF1DX2bsdb13sggk
Yukihiro Takahashi
open.spotify.com/artist/5Rv28BOArteQRhL8YUYgD5
Haruomi Hosono
open.spotify.com/artist/370nbSkMB9kDWyTypwWYak
...
Ryuichi Sakamoto works
2023. R.Sakamoto - 12
2022. R.Sakamoto - Exception [soundtrack]
2021. R.Sakamoto - Beckett [soundtrack]
2021. R.Sakamoto - Garden Of Shadows & Light - Live
2020. R.Sakamoto - The Staggering Girl [soundtrack]
2020. R.Sakamoto - Minamata [soundtrack]
2020. R.Sakamoto - Love After Love
2019. R.Sakamoto - Black Mirror: Smithereens [soundtrack]
2019. R.Sakamoto - Proxima [soundtrack]
2018. R.Sakamoto - Your Face [soundtrack]
2018. R.Sakamoto, Alva Noto [Carsten Nicolai] - Glass
2018. R.Sakamoto - My Tyrano: Together, Forever [soundtrack]
2018. R.Sakamoto - Year Book 1985-1989 [compilation]
2017. R.Sakamoto - async
2017. R.Sakamoto - The Fortress [soundtrack]
2017. R.Sakamoto - Year Book 1980-1984 [compilation]
2016. R.Sakamoto - Rage [soundtrack]
2016. R.Sakamoto - Plankton (music for an installation)
2016. R.Sakamoto - Year Book 1971-1979 [compilation]
2015. R.Sakamoto, Taylor Deupree, Illuha - Perpetual
2015. R.Sakamoto - Living With My Mother [soundtrack]
2015. R.Sakamoto - The Revenant [soundtrack]
2015. R.Sakamoto - Year Book 2005–2014 [compilation]
2013. R.Sakamoto, Taylor Deupree - Disappearance
2012. R.Sakamoto - I Have to Buy New Shoes [soundtrack]
2012. R.Sakamoto - Three
2012. R.Sakamoto, Christopher Willits - Ancient Future
2012. R.Sakamoto - Complete Güt Box [compilation]
2011. R.Sakamoto - Dhobi Ghat [soundtrack]
2011. R.Sakamoto, Fennesz - Flumina
2011. R.Sakamoto, Alva Noto - Summvs
2011. R.Sakamoto - Hara-Kiri: Death of a Samurai [soundtrack]
2010. R.Sakamoto, Taeko Onuki - UTAU
2009. R.Sakamoto - Women Without Men [soundtrack]
2009. R.Sakamoto - Out of Noise
2009. R.Sakamoto - Playing the Piano - Live
2008. R.Sakamoto - Indigo [soundtrack]
2008. R.Sakamoto, Alva Noto, Ensemble Modern - utp_
2008. DJ Spooky - Sound Unbound [Guest musician]
2007. R.Sakamoto - Silk [soundtrack]
2007. R.Sakamoto, Fennesz - Cendre
2007. R.Sakamoto, Christopher Willits - Ocean Fire
2006. R.Sakamoto - Dawn of Mana [soundtrack]
2006. Señor Coconut [Atom™] - Yellow Fever! [Guest musician]
2005. R.Sakamoto - Shining Boy & Little Randy [soundtrack]
2005. R.Sakamoto - Tony Takitani [soundtrack]
2005. R.Sakamoto - /05 [compilation]
2005. R.Sakamoto, Alva Noto - Insen
2005. Nine Horses [David Sylvian, Burnt Friedman, Steve Jansen] - Snow Borne Sorrow [Piano]
2004. R.Sakamoto - Chasm
2004. Rodrigo Leão - Cinema [Guest musician]
2004. M-Flo - Astromantic [Guest musician]
2004. Cyndi Lauper - Shine [co-writer]
2004. R.Sakamoto - /04 [compilation]
2004. R.Sakamoto - Seven Samurai 20XX [soundtrack]
2003. R.Sakamoto, Morelenbaum - A Day in New York
2003. R.Sakamoto - Moto_tronic [compilation]
2003. Hector Zazou - Strong Currents [Piano]
2002. R.Sakamoto - Comica
2002. R.Sakamoto, Alva Noto - Vrioon
2002. R.Sakamoto - Femme Fatale [soundtrack]
2002. R.Sakamoto - Century of Reform [soundtrack]
2002. R.Sakamoto - Derrida [soundtrack]
2002. R.Sakamoto - Alexei and the Spring [soundtrack]
2002. R.Sakamoto - Elephantism
2002. R.Sakamoto - Works I – CM [compilation]
2002. Sketch Show - Audio Sponge [keyboards]
2001. R.Sakamoto - Zero Landmine [mini-album]
2001. R.Sakamoto, Morelenbaum - Casa
2001. R.Sakamoto - In The Lobby: At G.E.H. in London - Live
2000. R.Sakamoto - L.O.L.: Lack of Love [soundtrack]
2000. R.Sakamoto - Audio Life - Live
2000. David Sylvian - Everything and Nothing [arranger][keyboards]
1999. David Sylvian - Dead Bees on a Cake [arranger][keyboards]
1999. R.Sakamoto - Cinemage - Live
1999. R.Sakamoto - Gohatto [soundtrack]
1999. R.Sakamoto - Poppoya [soundtrack]
1998. R.Sakamoto - BTTB
1998. Arto Lindsay - Noon Chill [keyboards]
1998. R.Sakamoto - Snake Eyes [soundtrack]
1998. R.Sakamoto - The Very Best Of Güt Years 1994-1997 [compilation]
1998. R.Sakamoto - Love Is the Devil: Study for a Portrait of Francis Bacon [soundtrack]
1997. R.Sakamoto - Discord - Live
1997. R.Sakamoto - Music for Yohji Yamamoto: Collection, 1995 [mini-album]
1997. R.Sakamoto - The Other Side Of Love [soundtrack]
1996. Red Hot Organization - Red Hot + Rio [keyboards]
1996. Arto Lindsay - O Corpo Sutil [Guest musician]
1996. R.Sakamoto - 1996
1995. Geisha Girls - The Geisha Girls Show [producer]
1995. R.Sakamoto - Smoochy
1994. R.Sakamoto - Sweet Revenge
1994. R.Sakamoto - Little Buddha [soundtrack]
1994. R.Sakamoto - Soundbytes [compilation]
1994. Towa Tei - Future Listening! [arranger][keyboards]
1993. R.Sakamoto - Peachboy [soundtrack]
1993. R.Sakamoto - Wild Palms [soundtrack]
1993. YMO - Technodon
1993. Aztec Camera - Dreamland [Co-producer]
1993. R.Sakamoto, Yōsuke Yamashita, Bill Laswell - Asian Games
1992. Hector Zazou - Sahara Blue [Piano]
1992. Caetano Veloso - Circuladô [Guest musician]
1992. R.Sakamoto - High Heels [soundtrack]
1992. R.Sakamoto - Emily Brontë's Wuthering Heights [soundtrack]
1992. R.Sakamoto - Tokyo Decadence [soundtrack]
1991. Marisa Monte - Mais [keyboards]
1991. Les Nouvelles Polyphonies Corses - Les Nouvelles Polyphonies Corses [Piano, backing vocals]
1991. R.Sakamoto - Heartbeat
1990. R.Sakamoto - The Sheltering Sky [soundtrack]
1990. R.Sakamoto - The Handmaid's Tale [soundtrack]
1989. R.Sakamoto - Beauty
1989. R.Sakamoto - Gruppo Musicale [compilation]
1989. R.Sakamoto - Fantasy of Light and Life [soundtrack]
1989. R.Sakamoto - Tengai Makyou: Ziria [soundtrack]
1989. David van Tieghem - Safety in Numbers [keyboards]
1988. R.Sakamoto - Playing the Orchestra - Live
1987. R.Sakamoto - Neo Geo
1987. David Sylvian - Secrets of the Beehive [arranger][keyboards]
1987. R.Sakamoto - Royal Space Force: The Wings of Honnêamise [soundtrack]
1987. R.Sakamoto - The Last Emperor [soundtrack]
1986. Public Image Ltd - Album [keyboards]
1986. Yukiko Okada - Venus Tanjō [co-writer]
1986. R.Sakamoto - Media Bahn - Live
1986. Virginia Astley - Hope in a Darkened Heart [producer]
1986. R.Sakamoto - The Adventures of Chatran: Original [soundtrack]
1986. R.Sakamoto - Futurista
1985. R.Sakamoto - Esperanto
1985. Ayuo Takahashi - Memory Theatre [Guest musician]
1985. David Sylvian - Alchemy: An Index of Possibilities [Guest piano]
1985. Taeko Onuki - Copine [arranger][keyboards]
1984. R.Sakamoto - Ongaku Zukan
1984. David Sylvian - Brilliant Trees [keyboards]
1983. R.Sakamoto, Danceries - Chanconette Tedesche
1983. YMO - Naughty Boys
1983. YMO - Service
1983. R.Sakamoto - Coda
1983. R.Sakamoto - Daijōbu, My Friend [soundtrack]
1983. R.Sakamoto - Merry Christmas Mr. Lawrence [soundtrack]
1983. R.Sakamoto - Favorite Visions [compilation]
1983. Mari Iijima - Rose [producer]
1982. R.Sakamoto, Robin Scott - The Arrangement
1982. R.Sakamoto, Danceries - The End of Asia
1982. Yukihiro Takahashi - What, Me Worry? [keyboards]
1981. Yukihiro Takahashi - Neuromantic [keyboards]
1981. Taeko Onuki - Aventure [arranger][keyboards]
1981. R.Sakamoto - Left-Handed Dream
1981. Akiko Yano - Tadaima [producer]
1981. YMO - BGM
1981. YMO - Technodelic
1980. Sandii - Eating Pleasure [keyboards]
1980. Japan - Gentlemen Take Polaroids [co-writer]
1980. Taeko Onuki - Romantique [arranger][keyboards]
1980. R.Sakamoto - B-2 Unit
1980. YMO - Multiplies (a.k.a. Zoshoku)
1979. YMO - Solid State Survivor
1979. R.Sakamoto & The Kakutougi Session - Summer Nerves
1979. Kazumi Watanabe - Kylyn [keyboards]
1979. Keizo Inoue - Intimate [keyboards]
1978. R.Sakamoto - Thousand Knives
1978. YMO - Yellow Magic Orchestra
1978. Haruomi Hosono, Shigeru Suzuki, Tatsuro Yamashita - Pacific [keyboards]
1978. Haruomi Hosono & The Yellow Magic Band - Paraiso
1978. R.Sakamoto & Kazumi Watanabe - Tokyo Joe [compilation]
1977. Taeko Onuki - Sunshower [arranger][keyboards]
1976. Taeko Onuki - Grey Skies [arranger][ARP Odyssey]
1976. Maki Asakawa - Hi Tomoshi Goro [Organ]
1976. Lily - Auroila [arranger]
1975. R.Sakamoto, Toshiyuki Tsuchitori - Disappointment-Hateruma
#yellowmagicorchestra #ymo #artpop #kraut #electropop #synthpop #progressive #ambient #takahashi #hosono #sakamoto #akiko #japan
Composer: Gian Carlo Menotti
Vinyl LP (1952)
Label: RCA Victor Red Seal
Catalog No.: LM 1701
Monophonic
out-of-print
Number of Discs: 1
▶ On YouTube: here.
**************
▶ RECORDING
☞ Side 1
1. Part 1 (20:39)
☞ Side 2
1. (2) Part 2 (25:50)
***************
▶ CAST
Amahl – Chet Allen (soprano)
His Mother – Rosemary Kuhlman (mezzo-soprano)
Kaspar – Andrew McKinley (tenor)
Melchior – David Aiken (baritone)
Balthazar – Leon Lishner (baritone)
The Page – Francis Monachino
Conductor – Thomas Schippers
NBC Opera Theatre Orchestra and Chorus
***************
▶ "Amahl and the Night Visitors is an opera in one act by Gian Carlo Menotti with an original English libretto by the composer. It was commissioned by NBC and first performed on December 24, 1951, in New York City, at NBC studio 8H in Radio City Music Hall, where it was broadcast live on television as the debut production of the Hallmark Hall of Fame. It was the first opera specifically composed for television in America."
— Discogs.
***************
▶ MORE IMAGES
☞ Album cover: here.
☞ Vinyl: here.
☞ Inner sleeve: here.
☞ Booklet (front): here.
☞ Cast members: here.
☞ Gian Carlo Menotti (composer): here.
☞ Image from television broadcast (2): here.
☞ Image from television broadcast (3): here.
***************
▶ Uploaded by Yours For Good Fermentables.com.
▶ For a larger image, type 'L' (without the quotation marks).
— Follow on web: YoursForGoodFermentables.com.
— Follow on Twitter: @Cizauskas.
— Follow on Facebook: YoursForGoodFermentables.
— Follow on Instagram: @tcizauskas.
▶ Commercial use requires explicit permission, as per Creative Commons.