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Suchresultate Releases: Treffer bei Acts
Mark Wirtz Orchestra And Chorus [>] [D]: Come Back & Shake Me: Teenage Dancing Made in England [F] 
Assoziierte Acts: Mark Wir
tz
Label und Katalognummer: Decca SLK 16 613-P
Produktion: Mark Wir
tz
Veröffentlicht: 1969
Genretags: Pop - Orchestralpop - Psychedelicpop
Trackliste: Seite A
1. Dizzy -
2. Aquarius -
3. Come Back And Shake Me -
4. Love And Occasional Rain -
5. Ragamuffin Man -
6. Theme From "A Teenage Opera" -
7. Festival Of Kings -
Seite B
1. Snake In The Grass -
2. A Touch Of Velvet - A Sting Of Brass -
3. I Can Hear Music -
4. Farewell To A Broken Doll -
5. Good Times -
6. My Way -
7. Poem -
Label und Katalognummer: Harvest SHSP 4076, Harvest 8 29846
Produktion: Mike Thorne
Veröffentlicht: 1977 11, 1994 07
Genretags: Rock - Punkrock - London-Punk
– zum Buch über dieses Album von Wilson Neate
Trackliste: Seite A
1. Reuters - 3:03
2. Field Day for the Sundays - 0:28
3. Three Girl Rhumba - 1:23
4. Ex Lion Tamer - 2:19
5. Lowdown - 2:26
6. Start to Move - 1:13
7. Brazil - 0:41
8. It's So Obvious - 0:53
9. Surgeon's Girl - 1:17
10. Pink Flag - 3:47
Seite B
1. The Commercial - 0:49
2. Straight Line - 0:44
3. 106 Beats That - 1:12
4. Mr. Suit - 1:25
5. Strange - 3:58
6. Fragile - 1:18
7. Mannequin - 2:37
8. Different to Me (Annette Green) - 0:43
9. Champs - 1:46
10. Feeling Called Love - 1:22
11. 12 X U - 1:55
Bonustracks der CD Ausgabe von 1994
1. Dot Dash - 2:25
2. Options R - 1:36
Alle Tracks: Bruce Gilbert, Robert Gotobed, Graham Lewis und Colin Newman.
Besetzung: Art Direction: Dave Dragon
; Bass: Graham Lewis
; Drums: Robert Gotobed
; Engineer: Paul Hardiman
; Engineer [Assistant]: Ken Thomas
; Guitar: Bruce Gilbert
; Mastering: Chris Blair
; Photography [Colin]: Richard Bray
; Photography [Front Cover, Robert Gotobed, B. C. Gilbert]: Annette Green
; Photography [Lewis]: Lynda House
; Sleeve [Sleeve Concept]: Bruce Gilbert
; Sleeve [Sleeve Concept]: Graham Lewis
; Vocals: Colin Newman
; Copyright (c) Wir
e (3)
; Phonographic Copyright (p) EMI Records Ltd.
; Recorded At Advision Studios
; Manufactured By EMI Records
Wire [>] [D]: Chairs Missing [F] 
Label und Katalognummer: Harvest SHSP 4093, Harvest 8 29858
Produktion: Mike Thorne
Veröffentlicht: 1978 09, 1994 07 18 (Reed.)
Genretags: Rock - Punkrock - London-Punk, Rock - Punkrock - Artpunk
«Chairs Missing» ist das erste progressive Album im Punkrock. Gegenüber dem Vorgänger Pink Flag kommen hier Keyboards und Synths hinzu, die Produzent Mike Thorne spielt, leichte psychedelische Effekte (wie am Ende von «Men 2nd», in «Sand in My Joints», das nach Spacerock einer Punkband klingt oder der Anfang von «Being Sucked in Again»), eine positive Haltung zum Kunstrock. Nicht umsonst war Wire">Wir
e beim Harvest Label unter Vertrag.
Der Albumtitel ist vom Ausdruck «somebody has got a few chairs missing in his front room» abgeleitet und würde wohl mit «Nicht alle Tassen» ins Deutsche übersetzt.
Trackliste: Seite A
1. Practise Makes Perfect (Gilbert, Newman) - 4:11
2. French Film Blurred (Newman, Lewis) - 2:34
3. Another the Letter (Gilbert, Newman) - 1:07
4. Men 2nd (Lewis) - 1:43
5. Marooned (Gilbert, Newman, Lewis) - 2:21
6. Sand in My Joints (Lewis) - 1:50
7. Being Sucked in Again (Newman) - 3:14
8. Heartbeat (Newman) - 3:16
Seite B
1. Mercy (Newman) - 5:46
2. Outdoor Miner (Newman) - 1:44
3. I Am the Fly (Newman) - 3:09
4. I Feel Mysterious Today (Newman) - 1:57
5. From the Nursery (Newman) - 2:58
6. Used To (Gilbert, Lewis) - 2:23
7. Too Late (Gilbert) - 4:14
Bonustracks der CD Ausgabe von 1994
1. Outdoor Miner (Long Version) - 2:54
2. A Question of Degree - 3:09
3. Former Airline - 3:20
Besetzung: Flute [Flutes]: Kate Lukas (A8)
; Artwork By Art Direction: Brian Palmer
; Artwork By Sleeve Concept: Gilbert, Lewis
; Bass, Vocals: Lewis
; Drums: Robert Gotobed
; Engineer: Paul Hardiman
; Engineer Assistant: Ken Thomas
; Guitar Guitars: B.C. Gilbert
; Mastered By Cutting: Chris Blair
; Photography: Annette Green
; Keyboards, Synthesizer: Mike Thorne
; Vocals, Guitar Guitars: Colin Newman
Label und Katalognummer: Harvest SHSP 4105, Harvest 7243 8 29859 2 1
Produktion: Mike Thorne
Veröffentlicht: 1979 09, 1994 07 (Reed.)
Genretags: Rock - Punkrock - London-Punk
Trackliste: Seite A
1. I Should Have Known Better (Graham Lewis) - 3:52
2. Two People in a Room (Colin Newman, Bruce Gilbert) - 2:00
3. The 15th (Newman) - 3:05
4. The Other Window (Lewis, Gilbert) - 2:07
5. Single K.O. (Lewis) - 2:23
6. A Touching Display (Lewis) - 6:55
7. On Returning (Newman) - 2:06
Seite B
1. A Mutual Friend (Lewis, Newman) - 4:28
2. Blessed State (Gilbert) - 3:28
3. Once Is Enough (Newman) - 3:23
4. Map Ref. 41°N 93°W (Lewis, Newman, Gilbert) - 3:40
5. Indirect Enquiries (Lewis, Newman) - 3:36
6. 40 Versions (Gilbert) - 3:28
Seite A der Begleit-Single
1. Song 1 (Robert Gotobed, Newman, Desmond Simmons) - 3:02
2. Get Down (Parts 1 and 2) () - David, Gotobed, Newman, Simmons, TV Smith) - 4:27
Seite B
1. Let's Panic Later (Lewis) - 3:20
2. Small Electric Piece (Gilbert) - 3:33
Bonustrack der CD Ausgabe von 1994
1. Go Ahead (Gilbert, Gotobed, Lewis, Newman) - 4:01
Besetzung: Colin Newman: vocals, guitar
; Graham Lewis: vocals, bass
; Robert Gotobed: drums
; B. C. Gilbert: guitars, vocals
; Hilly Kristal: bass vocals
; Kate Lucas: alto flute
; Tim Souster: electric viola
; Mike Thorne: keyboard, synthesizer
; Joan Whiting: cor anglais
Wire [>] [D]: Document And Eyewitness [F] 
Label und Katalognummer: Rough Trade ROUGH 029, Pinkflag PF 21
Produktion: Wir
e
Veröffentlicht: 1981 07 (Ed.), 2014 08 11 (Reed.), 1980-79 (Rec.)
Genretags: Postpunk
Trackliste: Seite A: Live @ Electric Ballroom
1. 5/10 (M.C.'s request spot) - 5:30
2. 12XU (Fragment) - 2:16
3. Underwater Experiences - 2:39
4. Everythings Going To Be Nice (Woman enters pulling 2 tethered men and an inflatable jet) - 1:05
5. Piano Tuner (Keep Strumming Those Guitars) (Vocalist attacks gas stove) - 5:19
6. We Meet Under Tables (Vocalist wears black knee length veil) - 3:30
Seite B
1. Zegk Hoqp (12 percussionists with newspaper head dresses) - 5:00
2. Eastern Standard (M.C. attempts geographical explanation) - 3:03
3. Instrumental (thrown bottle) - 2:11
4. Eels Sang Lino (Vocalist accompanied and lit by illuminated goose) - 3:05
5. Revealing Trade Secrets - 2:34
6. And Then... (Vocalist eats 2 loaves and then blank scrolls are unrolled), b) Coda - 9:01
Seite C: Live @ Notre Dame Hall
1. Go Ahead - 4:00
2. Ally in Exile - 4:19
3. Relationship - 1:20
4. Underwater Experiences - 2:41
Seite D
1. Witness to the Fact - 2:50
2. 2 People in a Room - 1:52
3. Our Swimmer - 3:00
4. Heartbeat - 3:08
Bonustracks der 2 CD Ausgabe von 2014:
CD 2
1. Our Swimmer -
2. Midnight Bahnhof Cafe -
3. Second Length (Our Swimmer) -
4. Catapult 30 -
5. Ally In Exile (Personal Demo) -
6. Go Ahead -
7. Remove For Improvement -
8. Over My Head -
9. Safe -
10. Relationship -
11. Underwater Experiences -
12. Eels Sang Lino -
13. Cancel Your Order -
14. Part Of Our History (Emerges) -
Besetzung: Compiled By: Geoff Travis and Wir
e
; Lighting: Simon Miles
; Mixing [Live Mixes]: Eddie (8)
; Recorded live at Electric Ballroom 29.02.1980, and Notre Dame Hall 19.07.1979, except D4 at Montreaux 09.03.1979.
Wire [>] [D]: Not About To Die (Studio Demos 1977-1978) [F]
Label und Katalognummer: Pinkflag PF 27
Produktion: Mike Thorne & Wir
e
Veröffentlicht: 1982 (Bootleg), 2022 06 24 (Reed.), 1978-77 (Rec.)
Genretags: Postpunk
Trackliste: 1. Oh No Not So [Save The Bullet] -
2. Culture Vultures -
3. It's the Motive -
4. Love Ain't Polite -
5. French Film [Blurred] -
6. Underwater Experiences -
7. Stalemate -
8. Options R -
9. Indirect Enquiries v1 -
10. Chairs Missing [Used To] -
11. Being Sucked In Again -
12. Ignorance No Plea [I Should Have Known Better] -
13. Once Is Enough -
14. The Other Window -
15. Stepping Off Too Quick [Not About To Die] -
16. On Returning -
17. Former Airline -
18. Two People In A Room -
Besetzung: Bass: Graham Lewis
; Design: Jon Wozencroft
; Drums: Robert Grey
; Engineer: Nick Glennie-Smith
; Guitar: Bruce Gilbert
; Guitar: Colin Newman
; Liner Notes [Inner Sleeve]: Graham Duff
; Mastering: Denis Blackham
; Photography: Annette Green
; Producer [Produced By]: Mike Thorne (A1 to B11)
; Producer [Produced By]: Wir
e (B12 to B18)
; Vocals: Colin Newman (A1 to A11, B13 to B18)
; Vocals: Graham Lewis (B12)
; Phonographic Copyright (p) Pinkflag
; Copyright (c) Pinkflag
; Distributed By Cargo (2)
; Recorded At Riverside Studios, London
; Mixed At Riverside Studios, London
; Mastered At Skye Mastering
; Lacquer Cut At Finyl Tweek
Wire [>] [D]: The Ideal Copy [F]
Label und Katalognummer: Mute STUMM 042
Produktion: Gareth Jones
Veröffentlicht: 1987 04 27
Genretags: Postpunk
Trackliste: 1. Point of Collapse - 3:22
2. Ahead (Bruce Gilbert, Robert Gotobed, Graham Lewis, Colin Newman) - 4:59
3. Madman's Honey (Bruce Gilbert, Robert Gotobed, Graham Lewis, Colin Newman) - 4:29
4. Feed Me - 5:59
5. Ambitious (Bruce Gilbert, Robert Gotobed, Graham Lewis, Colin Newman, Nile Rodgers) - 4:05
6. Cheeking Tongues - 2:08
7. Still Shows - 4:10
8. Over Theirs - 5:23
Bonustracks der CD Ausgabe von 1987: Snakedrill EP und Live Recordings
1. Ahead (II) (Bruce Gilbert, Robert Gotobed, Graham Lewis, Colin Newman) - 3:29
2. A Serious of Snakes (Bruce Gilbert, Robert Gotobed, Graham Lewis, Colin Newman) - 4:42
3. Drill (Bruce Gilbert, Robert Gotobed, Graham Lewis, Colin Newman) - 5:03
4. Advantage in Height (Bruce Gilbert, Robert Gotobed, Graham Lewis, Colin Newman) - 3:02
5. Up to the Sun (Graham Lewis) - 2:42
6. Ambulance Chasers (Bruce Gilbert, Robert Gotobed, Graham Lewis, Colin Newman) - 2:55
7. Feed Me (II) (Elton John, Wir
e) - 4:28
8. Vivid Riot of Red (Graham Lewis) - 2:22
Alle Tracks: Lewis, Newman, Gilbert, Gotobed.
Besetzung: Andre Giere: Engineer
; B.C. Gilbert: Guitar
; Bruce Gilbert: Composer
; Robert Gotobed: Composer, Drums
; Elton John: Composer
; Gareth Jones: Engineer, Producer
; Lewis: Bass, Vocals
; Graham Lewis: Bass, Composer, Unknown Contributor Role, Vocals
; Colin Newman: Composer, Guitar, Vocals
; Nile Rodgers: Composer
Bob Neuwirth [>] [D]: Back To The Front [F]
Label und Katalognummer: Gold Castle Records VGC 5, Koch KOC 8009
Veröffentlicht: 1988
Genretags: Rock - Folkrock
Trackliste: CD Ausgabe von 1988
1. Banjo Introduction
2. Eye on the Road
3. Annabelle Lee (Neuwirth)
4. Private Eye
5. Beauty
6. Heartaches (Hoffman, Klenner)
7. Pretend (Douglas, LaVere, Parman)
8. Turn It Around
9. Venice Beach
10. Lucky (Merino)
11. Akron
12. For P.B.
13. Honky Tonk
14. Great Escape
Seite A der Original Vinyl Ausgabe von 1988
1. Eye On The Road - 4:18
2. Annabelle Lee - 4:58
3. Private Eye - 2:57
4. Beauty - 5:09
5. Heartaches - 2:44
Seite B der Original Vinyl Ausgabe von 1988
1. Pretend - 3:18
2. Turn It Around - 3:29
3. Venice Beach - 4:42
4. Lucky - 3:33
5. Akron - 6:40
6. Blues Outro - 1:12
Alle Tracks: Bob Neuwirth, ausser wo anders vermerkt.
Besetzung: Larry Hirsch, J. Steven Soles: Engineer
; Bob Neuwirth: Vocals
Wire [>] [D]: A Bell Is A Cup Until It Is Struck [F] 
Label und Katalognummer: Mute STUMM 054
Produktion: Gareth Jones
Veröffentlicht: 1988 05 16
Genretags: Alternativerock - Artrock
Trackliste: 1. Silk Skin Paws
2. The Finest Drops
3. The Queen of Ur and the King of Um
4. Free Falling Divisions
5. It's a Boy
6. Boiling Boy
7. Kidney Bingos
8. Come Back In Two Halves
9. Follow the Locust
10. A Public Place
Bonustracks der CD Ausgabe
1. The Queen of Ur and the King of Um (alternative version)
2. Pieta
3. Over Theirs (live)
4. Drill (live)
Besetzung: Bruce Gilbert
; Robert Gotobed
; Lewis
; Colin Newman
Wiregrass Sacred Harp Singers [>] [D]: The Colored Sacred Harp [F]
Label und Katalognummer: New World Records 80433
Produktion: Kathryn King
Veröffentlicht: 1993 (Ed.)
Genretags: Americana - Gospel - Sacred-Harp
Sacred harp Singing wurde traditionell von weissen Gemeinden praktiziert. In dieser Aufnahme singt ein afroamerikanischer Chor.
Trackliste: 1. Prayer / Come To Jesus Now (Lillie M. Jackson) - 3:25
2. Alone (Judge Jackson) - 3:04
3. The Signs Of The Judgment (James E. Pettie) - 3:40
4. Florida Storm (Judge Jackson) - 4:59
5. Shout And Sing (Judge Jackson, Pauline Jackson Driggs) - 4:19
6. Jesus Lives In My Soul (Bishop J. D. Walker) - 1:56
7. My Friend (Thomas Y. Lawrence) - 2:20
8. Call Upon The Lord (Judge Jackson) - 4:40
9. Welcome Address / Jesus Rose (Bishop J. D. Walker) - 6:05
10. My Mother's Gone (Judge Jackson) - 2:34
11. Rejoice And Sing (Oscar G. Griffin) - 2:28
12. Prosperity (H. Webster Wood) - 2:53
13. Am I A Soldier Of The Cross (Judge Jackson) - 3:03
14. It Is Finished (Judge Jackson) - 6:02
Besetzung: A&R [Director of Artists and Repertory, New World Records]: Howard Klein
; Administrator [Administrative Associate, New World Records]: Virginia Hayward
; Administrator [Staff Accountant, New World Records]: Clifford Ziff
; Alto Vocals: Bernice Harvey
; Alto Vocals: Cleona B. Stinson
; Alto Vocals: Janice Jackson Johnson
; Alto Vocals: Leola Whitehurst
; Alto Vocals: Mary Jackson
; Alto Vocals: Pauline Jackson Driggs
; Alto Vocals: Ruth Jackson Johnson
; Bass Vocals: Dewey Williams
; Bass Vocals: Henry Japheth Jackson
; Bass Vocals: John C. Jackson
; Bass Vocals: Shem C. Jackson
; Design: Bob Defrin
; Engineer: Paul Zinman
; Executive-Producer: Paul Marotta
; Liner Notes, Research: Barbara L. Hampton
; Management [Director Of Development, New World Records], Administrator [A&R Administrator]: Alan Margolis
; Management [Managing Director, New World Records]: Paul Marotta
; Management [President, New World Records]: Herman E. Krawitz
; Photography: Lauren Piperno
; Public Relations [Director Of Marketing & Publicity, New World Records]: Tim Moes
; Tenor Vocals: Damascus Crittenden, Sr.
; Tenor Vocals: Dovie Dee Jackson Reese
; Tenor Vocals: Edward Snells
; Treble Vocals: Alice Williams
; Treble Vocals: Emma Mae Jackson McKenzie Ernst
; Treble Vocals: Estella Snells
; Phonographic Copyright (p) Recorded Anthology Of American Music, Inc.
; Copyright (c) Recorded Anthology Of American Music, Inc.
; Copyright (c) Lauren Piperno
; Glass Mastered At DADC
; Recorded At Union Grove Baptist Church, Ozark, Alabama
Swirlies [>] [D]: Blonder Tongue Audio Baton [F]
Label und Katalognummer: Taang! TAANG! 67
Produktion: Swirlies
Veröffentlicht: 1993 03 26
Genretags: Indiepop - Noisepop - Shoegaze
Trackliste: 1. Untitled - 0:12
2. Bell - 4:29
3. Vigilant Always - 5:10
4. His Love Just Washed Away - 5:24
5. His Life Of Academic Freedom - 2:07
6. Pancake - 3:15
7. Jeremy Parker - 4:14
8. Park The Car By The Side Of The Road - 5:04
9. Tree Chopped Down - 3:12
10. Wrong Tube - 5:06
11. Wait Forever - 4:18
Alle Tracks: Swirlies.
Besetzung: Drums: Kevin March (2, 10), Mark Rivers (3, 4, 6)
; Bass, Other [Radio]: Andy Bernick
; Co-producer, Engineer: Rich Costey
; Drums, Other [Configurations]: Ben Drucker
; Guitar, Vocals, Synthesizer [Moog], Mellotron: Damon Tutunjian
; Guitar, Vocals, Synthesizer [Moog], Mellotron: Seana Carmody
; Copyright (c) Taang! Records
; Phonographic Copyright (p) Toonidge Publishing
; Recorded At Squid Hell
; Recorded At Q Division Studios
; Recorded At Fort Apache
; Recorded At Platinum Sound
John Cale [>] [D] & Bob Neuwirth [>] [D]: Last Day On Earth [F]
Label und Katalognummer: MCA MCAD 11037
Produktion: John Cale & Bob Neuwirth
Veröffentlicht: 1994 04 26
Genretags: Alternativerock - Artrock
Trackliste: 1. Overture: A Tourist / A Contact / A Prisoner - 8:06
2. Café Shabu - 5:37
3. Pastoral Angst - 2:29
4. Who's In Charge? - 2:53
5. Short of Time - 3:08
6. Angel of Death - 4:19
7. Paradise Nevada - 5:33
8. Old China - 3:13
9. Ocean Life - 4:48
10. Instrumental - 1:57
11. Modern World - 5:53
12. Streets Come Alive - 3:22
13. Secrets - 4:19
14. Maps of the World - 4:52
15. Broken Hearts - 3:03
16. The High and Mighty Road - 5:03
Alle Tracks: John Cale und Bob Neuwirth.
Besetzung: Arranged [Strings], Strings: David Soldier
; Art Direction: Vartan
; Bass: Erik Sanko
; Cover: Tadanori Yokoo
; Design: Ayako Nagano
; Design: Taki Ono
; Drums: Ben Perowsky
; Guitar: David Tronzo
; Guitar [Infinite]: Michael Brook
; Mastering: Greg Calbi
; Mixing, Engineer: Roger Moutenot
; Percussion, Sampler: Gerry Hemingway
; Photography: Mary Ellen Mark
; Producer [Production Assistance]: Andy Green
; Strings: Alicia Svigals
; Strings: Dawn Buckholz
; Strings: Lisa Gutkin
; Strings: The Soldier String Quartet
; Vocals [Guest Vocalist]: Jenni Muldaur
; Vocals, Banjo, Harmonica, Producer, Alle Tracks: Bob Neuwirth
; Vocals, Keyboards, Viola, Producer, Alle Tracks: John Cale
; Phonographic Copyright (p) MCA Records, Inc.
; Copyright (c) MCA Records, Inc.
; Distributed By Uni Distribution Corp.
; Recorded At Skyline Studios
; Mixed At RPM Studios
; Mastered At Sterling Sound
; Published By John Cale Music, Inc.
; Published By Dry Clam Music
; Manufactured By JVC Musical Industries, Inc.
Olga Neuwirth [>] [D] & Klangforum Wien [>] [D] & Sylvain Cambreling [>] [D]: Vampyrotheone, Instrumental-Inseln aus Bählamms Fest, Hooloomooloo [F]
Label und Katalognummer: Kairos:0012242 KAI
Veröffentlicht: 1995 (Werk), 2000 (Werk), 1998 (Werk), 2001 01 07 (Ed.)
Genretags: Akademica - Moderne-Klassik
Trackliste: 1. Bählamms Fest (1997-2000): Instrumental-Insel I
2. Vampyrotheone (1995)
3. Bählamms Fest (1997-2000): Instrumental-Insel II
4. Hooloomooloo (1996/1997)
5. Bählamms Fest (1997-2000): Instrumental-Insel III
Alle Kompositionen von Olga Neuwirth.
Besetzung: Solisten: Ernesto Molinari, Burkard Stangl, Rico Gubler (2)
Mark Wirtz [>] [D]: A Teenage Opera [F]
Assoziierte Acts: Mark Wir
tz Orchestra & Keith West
Label und Katalognummer: RPM Records RPM 165
Produktion: Phil Smee & Mark Wir
tz
Veröffentlicht: 1996 (Ed.)
Genretags: Pop - Orchestralpop - Psychedelicpop
Trackliste: 1. Mark Wir
tz Orchestra: Theme From A Teenage Opera (Mark Wir
tz) - 2:33
2. Mark Wir
tz Orchestra & Chorus: Festival Of Kings (Mark Wir
tz) - 2:46
3. Keith West: Grocer Jack (Excerpt From A Teenage Opera) (Hopkins, Wir
tz) - 4:40
4. Mark Wir
tz Orchestra: The Paranoiac Woodcutter #1 (Mark Wir
tz) - 1:25
5. Steve Flynn: Mr. Rainbow (Hopkins, Burgess, Wir
tz) - 2:33
6. Mark Wir
tz Orchestra: Glory's Theme (All Aboard!) (Mark Wir
tz) - 4:52
7. Keith West: On A Saturday (Keith West) - 3:11
8. Mark Wir
tz Orchestra: Possum's Dance (Mark Wir
tz) - 2:37
9. Tomorrow & Keith West: Auntie Mary's Dress Shop (Hopkins, Burgess) - 2:46
10. Mark Wir
tz Orchestra & Chorus: Love & Occasional Rain (Mark Wir
tz) - 4:45
11. Mark Wir
tz Orchestra: Grocer Jack (Reprise) (Hopkins, Wir
tz) - 1:09
12. Keith West: Sam (Hopkins, Wir
tz) - 5:12
13. Mark Wir
tz Orchestra & Chorus: Farewell To A Broken Doll (Mark Wir
tz) - 3:22
14. Mark Wir
tz: (He's Our Dear Old) Weatherman (Mark Wir
tz) - 4:01
15. Kippington Lodge: Shy Boy (Hopkins, Burgess) - 2:37
16. Mark Wir
tz Orchestra: Grocer Jack's Dream (Mark Wir
tz) - 3:35
17. The Sweetshop feat. The Band Of The Irish Guards: Barefoot & Tiptoe (Wir
tz, Bigsby) - 2:44
18. Mark Wir
tz: Knickerbocker Glory (Mark Wir
tz) - 2:24
19. Zion De Gallier: Dream, Dream, Dream (Wir
tz, Bigsby) - 2:14
20. Tomorrow: Colonel Brown (Hopkins, Burgess) - 2:52
21. Astronaut Alan & The Planets: Cellophane Mary-Jane (Mills, Wir
tz) - 2:31
22. Mark Wir
tz Orchestra: Paranoiac Woodcutter #2 (Mark Wir
tz) - 1:10
23. Mark Wir
tz Orchestra & Chorus: Theme From A Teenage Opera (End Titles) (Mark Wir
tz) - 2:44
Besetzung: Artwork: Waldo\'s Design
; Compilation Producer [Soundtrack Producer]: Phil Smee
; Executive Producer: Mark Stratford
; Mastering: Nick Watson
; Arranged: Mark Wir
tz
; Transferred By: Phil Farlow (6, 11 & 16)
; Licensed From EMI Special Markets
; Made By Disctronics S
; Mastered At SRT Studios
Swirlies [>] [D]: They Spent Their Wild, Youthful Days In The Glittering World Of The Salons [F]
Label und Katalognummer: Taang! 101
Produktion: Rich Costey & Swirlies
Veröffentlicht: 1996 01 04
Genretags: Indiepop - Noisepop - Shoegaze
Trackliste: 1. French Radio - 0:18
2. In Harmony New Found Freedom - 5:47
3. No Identifier - 1:44
4. Sounds of Sebring - 4:21
5. San Cristobal de las Casas - 4:22
6. You Can't Be Told It, You Must Behold It - 2:22
7. Pony - 3:15
8. Do Any of You Know Anything About Love? - 0:34
9. Two Girls Kissing - 6:03
10. Sterling Moss - 3:44
11. Boys, Protect Yourselves From Aliens - 0:57
12. Sunn - 5:39
13. The Vehicle Is Invisible - 5:12
14. Untitled - 2:41
Alle Tracks: Swirlies.
Besetzung: Andy Bernick: Bass, Guitar, Micro Moog, Mini Moog
; Rich Costey: Engineer, Mixing, Programming
; Anthony De Luca: Art Direction, Design, Drums
; Christina Files: Bass, Guitar, Sampling, Sequencing, Vocals
; Ron Rege: Art Direction
; Karl Trout: Art Direction, Design
Assoziierte Acts: Wir
e
Label und Katalognummer: Touch Tone 08
Produktion: Paul Kendall
Veröffentlicht: 1997 09
Genretags: Rock - Punkrock - Artpunk
Trackliste: 1. The First Letter - 16:21
2. Sexy and Rich (Janet) - 8:34
Alle Tracks: Gilbert, Newman, Lewis, Kendall.
Besetzung: Recorded at Orf Vienna 7>9 Feb 1993
; Artwork By [Cover] - Jon Wozencroft
; Lyrics By - Lewis (2)
V. A. (The Wire) [>] [D]: Tapper 1 [F]
Label und Katalognummer: The Wir
e Issue 170
Produktion: Verschiedene
Veröffentlicht: 1998 04
Genretags: Jazz - Avantgardejazz
Trackliste: 1. Alan Vega, Pan Sonic: Medal - 5:28
2. Mass: Depth - 5:35
3. Mix Master Mike: Can of Ass Kicks - 1:55
4. Si-{cut}.db vs Scanner: Bovine Revolver - 5:04
5. Scala: Remember How to Breathe - 3:53
6. Cornelius: Mic Check - 3:03
7. Hans-Joachim Roedelius: Deep Blue - 3:41
8. Nassim Maalouf: Tarab (Rast) - 7:38
9. Solex: One Louder Solex - 3:28
10. Kreidler: She Woke Up and the World Had Changed - 5:11
11. DJ Food vs David Byrne: Fuzzy Freak (Via Joe) - 6:22
12. Arto Lindsay: Blue Eye Shadow - 3:29
13. Schneider TM: Eiweiß - 4:40
14. Porter Ricks: Redundance (version) - 4:15
15. Midnight Funk Association: When Will it End - 5:34
16. Mimi: Piece of Cake - 4:50
17. 2nd Gen: Malady Made Simple (Pre-Interventionist version) - 4:01
Besetzung: Artwork: Robin Hawes
; Compiled: Anne Hilde Neset, Tony Herrington
V. A. (The Wire) [>] [D]: Tapper 2 [F]
Label und Katalognummer: The Wir
e Issue 177
Produktion: Verschiedene
Veröffentlicht: 1998 11
Genretags: Jazz - Avantgardejazz
Trackliste: 1. Slicker: Prader - 4:03
2. Rhys Chatham: Hard Edge - 3:10
3. Angela Jaeger & David Cunningham: Wood and Glass - 3:27
4. Deutsch Amerikanische Freundschaft: Alles Ist Gut - 3:31
5. Tom Zé: Defect 2: Curiosidade - 4:14
6. Meridiem: Interference - 3:59
7. Jane Dowe, Terre Thaemlitz: 03/Dtd/05:56 - 5:56
8. Tarwater: V-At - 4:01
9. Powerfield: Block - 4:14
10. Sam Prekop: Showrooms - 4:20
11. Puppy: Hot Juice - 5:40
12. Jad Fair & Yo La Tengo: Minnesota Man Claims Monkey Bowled Perfect Game - 1:36
13. The Pastels: Leaving This Island (Jim O'Rourke remix) - 2:36
14. Badawi: Final Warning - 5:52
15. Labradford: V (Harold Budd remix) - 5:46
Besetzung: Artwork: Robin Hawes
; Compiled: Anne Hilde Neset
Olga Neuwirth [>] [D] & Klangforum Wien [>] [D] & Johannes Kalitzke [>] [D]: Bählamms Fest [F]
Label und Katalognummer: Kairos 1234
Veröffentlicht: 1999 (Werk), 2003 11 10 (Ed.)
Genretags: Akademica - Moderne-Klassik
Trackliste: 1. 1. Bild
2. 2. Bild
3. 3. Bild
4. 4. Bild
5. 5. Bild
6. 6. Bild
7. 7. Bild
8. 8. Bild
9. 9. /10. Bild
10. 11. Bild
11. 12. Bild
12. 13. Bild
V. A. (The Wire) [>] [D]: Tapper 3 [F]
Label und Katalognummer: The Wir
e Issue 182
Produktion: Verschiedene
Veröffentlicht: 1999 04
Genretags: Jazz - Avantgardejazz
Trackliste: 1. Supersilent: 4.1 - 6:17
2. High Rise: Sadame - 4:27
3. Rothko: For Danny - 2:37
4. We: Hielo - 4:10
5. Gas: untitled - 6:32
6. To Rococo Rot: She Loves Animals - 4:11
7. Thurston Moore, Evan Parker & Walter Prati: Children - 5:09
8. Model 500: In and Out - 5:44
9. Pandit Shiv Kumar Sharma: Teen Taal [extract] - 5:52
10. Khan: Broken English (How Do You Spell...?) - 4:44
11. Hood: In Iron Light - 3:37
12. Robert Ashley: Your Money My Life Goodbye [extract] - 5:03
13. Paul Panhuysen: Partita for 16 Long Strings Proportionally Tuned (extract) - 6:44
14. Sheila Chandra: Shehnai Song - 2:05
15. VOID: X-Factor - 6:09
16. Rhys Chatham/Gary Smith/Pat Thomas with Apache 61: Live at Now Ninety8 - 6:19
Besetzung: Artwork: Robin Hawes
; Compiled: Anne Hilde Neset
V. A. (The Wire) [>] [D]: Tapper 4 [F]
Label und Katalognummer: The Wir
e Issue 186
Produktion: Verschiedene
Veröffentlicht: 1999 08
Genretags: Jazz - Avantgardejazz, Alternativerock - Postrock, Electronica
Trackliste: 1. F.X. Randomiz: Displatz - 3:29
2. Pierre Bastien: Odovinil - 3:45
3. SND: 02 - 4:45
4. PanAmerican & B.J. Cole: untitled - 5:05
5. Vandermark 5: Vent (for Glenn Spearman) - 6:59
6. SS + D: Elements of - 4:58
7. Alog: Drifting West - 4:48
8. Powerfield: Steady State - 4:09
9. Low Res: Minty - 6:09
10. Chief Baonoko and His Budu Men: Yando - 3:08
11. Clive Graham: One End of the Time Pad - 4:53
12. Do Make Say Think: Dr Hooch [edit] - 6:29
13. Warren DeFever: Train - 2:47
14. Signal: Ondulop - 5:05
15. Klangstabil: Pronto Luigi - 5:06
16. Unit: Ring
Worm - 4:39
17. Daniel Figgis: Alison Creaking - 3:22
Besetzung: Artwork: Robin Hawes
; Compiled: Anne Hilde Neset
; Mastered: Toby Robinson
Paul Wirkus [>] [D]: Mimikry [F]
Label und Katalognummer: Gusstaff GR&M 21
Veröffentlicht: 2000 01
Genretags: Electronica
Trackliste: 1. Himself (10:03)
2. Tulpa (4:22)
3. 566 (11:30)
4. For M (5:51)
5. Geodetta (6:29)
6. Mimikry (7:27)
V. A. (The Wire) [>] [D]: Tapper 5 [F]
Label und Katalognummer: The Wir
e Issue 193
Produktion: Verschiedene
Veröffentlicht: 2000 03
Genretags: Jazz - Avantgardejazz
Trackliste: 1. Labradford: So Remix (Matmos remix) - 5:14
2. Stephen Vitiello: Nine Out of Ten - 6:38
3. VVE: Herz - 4:32
4. Kimmo Pohjonen: Anastaja - 5:04
5. Wir
e: Ping Flag/2 - 3:54
6. Stylus: Last Seaweed Collecting Hut at Freshwater West. Part 1: Angle - 3:20
7. John Wall: Construction 1 Stat/Unt/Dist (extract) - 6:19
8. Curd Duca: Quiet Nights (intro) / Quiet Nights - 2:33
9. Fennesz, O'Rourke & Rehberg: Gürtel Zwei - 4:37
10. I'm Sore vs Noise Camp: The Best Of - 1:06
11. Daniel Givens: Viaduct - 2:45
12. Arne Nordheim: Fonofonier - 3:29
13. Yo La Tengo: Our Way to Fall (live) - 5:02
14. Vert: Part 4 (edit) - 5:14
15. Aesop Quartet: Egyptian Knights - 7:50
16. Mira Calix: Skin With Me - 3:32
17. 不失者: Don't Be Afraid. Even If Your Nerves Snap, You Can Tie Them to a Fragment of the Universe... - 6:07
V. A. (The Wire) [>] [D]: Tapper 6 [F]
Label und Katalognummer: The Wir
e Issue 200
Produktion: Verschiedene
Veröffentlicht: 2000 09
Genretags: Jazz - Avantgardejazz
Trackliste: CD 1
1. The Fall: Dr Buck's Letter - 5:20
2. Flanger: Bosco's Disposable Driver - 5:54
3. Susumu Yokota: Kodomotachi - 4:08
4. Ran Blake: Nica's Dream - 4:20
5. Christian Marclay & Otomo Yoshihide: Hyoushi - 4:13
6. Sensational: Paper Chase - 3:08
7. General Magic: Rechenexe - 3:52
8. Pan Sonic: Kierto - 6:14
9. Jan Jelinek: They, Them - 6:22
10. Poire_z: Hairless_Handle - 5:03
11. HiM: Untitled - 7:29
12. David Grubbs: Stanwell Perpetual - 3:30
13. Trio Hurricane + 1: Initiation (excerpt) - 7:29
14. Angus MacLise: Universal Mutant #3 - 6:17
15. Glass Cage: Box Crushed Flat - 5:02
CD 2
1. Nurse With Wound: PFL (Deambulation mix) - 5:05
2. Faust: So Far (alternative) - 3:58
3. John Fahey: Dream of the Origin of the French Broad River - 2:58
4. Nils Økland: Straum - 3:25
5. Coil: A Cold Cell [demo version] - 6:24
6. Janek Schaefer: Accident Assistant - 4:54
7. Current 93: Red Hawthorn Tree - 4:35
8. Djivan Gasparyan: Nazani - 3:43
9. Peanut Butter Wolf: Run the Line - 4:32
10. I-Sound: Folded - 5:11
11. Bit Tonic & Si-{cut}.db: Recycled 200 - 4:56
12. C-Schulz & Hajsch: 6 - 5:51
13. Tom Recchion: Gentlewomanly Grace (excerpt) - 5:11
14. Pluramon: Self Remix - 4:19
15. Hermann Nitsch: Night Music (String Quintett) Day 5 August 8, 1998 1:30am / Day of Dionysus: Imperative Excess (Day 3) Extract August 5, 1998 3:00pm - 9:05
Besetzung: Compiled: Anne Hilde Neset, Tony Herrington
; Design [Sleeve]: EkhornForss
; Mastered: Lee Bowman, Toby Hrycek-Robinson
V. A. (The Wire) [>] [D] & V. A. (Brainwashed Recordings) [>] [D]: Brain In The Wire [F]
Label und Katalognummer: The Wir
e Issue 201, Brainwashed Recordings 004a
Produktion: Verschiedene
Veröffentlicht: 2000 11
Genretags: Jazz - Avantgardejazz
Trackliste: 1. Legendary Pink Dots: Old Sparky - 5:12
2. V/Vm: Cha-ha Meat Skran-r The 15lb. Turkey - 4:01
3. Greater Than One: Broadcast - 4:50
4. Twilight Circus Dub Soundsystem: Slicer Dubplate (Version 2) - 5:04
5. Fridge: Harmonics - 4:02
6. Ruby Falls: The Brave Ones - 3:33
7. Panacea: Battle Stations (Dub Version) - 5:56
8. m2: L-tuo - 3:11
9. Jessica Bailiff: Shadow - 5:00
10. Cyclobe: Replaced By His Constellation - 7:55
11. Windy & Carl: Trembling - 7:02
12. Christoph Heemann & Andreas Martin: Wir
es - 4:08
13. Little Annie (a.k.a. Annie Anxiety): Lullaby - 3:43
14. Aranos & Nurse With Wound: Mary Jane (Marbles Remix) - 6:36
15. Current Ninety Three & Pantaleimon: The Magical Bird In The Magical Woods - 5:52
Besetzung: Artwork: Daniel McKernan
; Compiled, Mastered: Jon Whitney
V. A. (The Wire) [>] [D] & V. A. (Matador) [>] [D]: Draw Me A Riot [F]
Label und Katalognummer: Matador OLE 508, The Wir
e 206
Produktion: Verschiedene
Veröffentlicht: 2001 03
Genretags: Alternativerock, Electronica
Trackliste: 1. Matmos: Cymbals And Aspirin (A Breakthrough In Pain Relief) (9:03)
2. Sad Rockets: Cascais (7:25)
3. Techno Animal: Intercourse (5:57)
4. Live Human: Lagoona's Bliss (Elephant Mix) (5:09)
5. Mr. Len feat. Jean Grae: The Hurt (Early Years Version) (4:41)
6. Mount Florida: Crack Pipe (5:34)
7. Solex: The Cutter (3:09)
8. Bardo Pond: Syn Dept (6:06)
9. Yo La Tengo: Let's Save Tony Orlando's House (Sonic Boom Remix) (3:59)
10. Wisdom Of Harry: Marsh Blues (3:36)
11. Unwound: Demons Sing Love Songs (3:43)
12. Lesser: Soonerorlaterweallslipup (5:06)
13. Khan: Vaseline (5:11)
Besetzung: Vocals - Kid Congo Powers (13)
V. A. (The Wire) [>] [D]: Tapper 07 [F]
Label und Katalognummer: The Wir
e Issue 207
Produktion: Verschiedene
Veröffentlicht: 2001 04
Genretags: Jazz - Avantgardejazz
Trackliste: 1. Four Tet: Glue of the World - 5:03
2. Pulseprogramming: To the Expert Eye Alone - 3:28
3. Daniel Figgis: Drool's Holdings / Mudder / The Light Again - 2:29
4. Jin Hi Kim: EK for JC (excerpt) - 4:28
5. Kim Hiorthøy: Det blev fel - 5:45
6. Antibalas: Uprising - 7:25
7. Bigg Jus: Gaffeling Whips - 2:59
8. nolte.: 21st Century Schizoid Man or How to Lose Your Head Baby - 5:38
9. Steinbrüchel: Lost Things We Found Borrowed at the End of Last Week - 4:47
10. Mice Parade: Into the Freedom, Part 3 - 6:25
11. Illusion of Safety: Stillpoint - 5:07
12. The Monastery of Gyütö, Tibet: Le Grand Noir (Mahâkâla) (excerpt) - 4:46
13. Eardrum: Untitled - 3:55
14. Lasse Marhaug: Polar - 4:23
15. Max Nagl / Edward Gorey feat. Julie Tippetts: The Disrespectful Summons - 5:32
Besetzung: Compiled: Anne Hilde Neset
; Mastered: Sound Performance
; Sleeve: EkhornForss
V. A. (Rune Grammofon) [>] [D] & V. A. (The Wire) [>] [D]: Runeology - Recent And Forthcoming Releases From Rune Grammofon [F]
Label und Katalognummer: Rune Grammofon RCDW 1
Produktion: Verschiedene
Veröffentlicht: 2001 09
Genretags: Jazz - Avantgardejazz
Trackliste: 1. Arve Henriksen - Untitled (2:32)
2. Luigi Archetti / Bo Wiget - Stück 8 (6:14)
3. Phonophani - Fertilizer (6:29)
4. Svalastog - Feil Remix (5:39)
5. Food - GM Food 3 (3:15)
6. Alog - Duck-Rabbit (3:36)
7. Deathprod - Burntwood (2:19)
8. Supersilent - 5.3 (13:44)
9. Monolight - Stranded In Narrow Air (6:08)
10. Tore Elgarøy - Dim Mask (3:36)
11. Information - Plot Ratio (4:55)
12. Deathprod - Cloud Chamber (11:00)
V. A. (The Wire) [>] [D]: Tapper 08 [F]
Label und Katalognummer: The Wir
e issue 215
Produktion: Verschiedene
Veröffentlicht: 2001 12
Genretags: Jazz - Avantgardejazz
Trackliste: 1. 23 Skidoo: Kundalini - 5:07
2. Jah Wobble & Temple of Sound: Shout at the Devil - 5:03
3. Cornelius: Point of View Point - 3:55
4. Fog: Pneumonia - 5:03
5. Goodheart Allen Powell Trio: Hard Count - 2:39
6. Chas Smith: Gate 5 - 5:31
7. Michael Jon Fink: Echo - 1:58
8. Murcof: Mo - 4:14
9. Electrelane: Gabriel - 4:28
10. The No-Neck Blues Band: The Natural Bridge - 5:47
11. Set Fire to Flames: Omaha... - 6:16
12. Workshop: Für Wen? - 5:55
13. Small Rocks: Clodhopper - 2:52
14. The Rip Off Artist: Stuffing Box - 4:04
15. Noxagt: Powerchild - 2:03
16. [untitled]: Helvitis Symphony No 1 for 13 Guitarists (excerpt) - 5:11
17. Xinlisupreme: Kyoro - 3:12
Besetzung: Compiled: Anne Hilde Neset
; Design [Sleeve]: EkhornForss
; Mastered: Lee Bowman, Toby Hrycek-Robinson
Wire [>] [D]: Read And Burn 01 [F]
Label und Katalognummer: Pinkflag PF 04
Veröffentlicht: 2002 05 27
Genretags: Alternativerock - Artrock
Trackliste: 1. In The Art Of Stopping (3:34)
2. I Don't Understand (3:17)
3. Comet (3:17)
4. Germ Ship (1:51)
5. 1st Fast (1:41)
6. The Agfers Of Kodack (3:13)
Alle Tracks: Wir
e.
Besetzung: Design: David Coppenhall
; Mastered By Denis Blackham
; Mixed By Colin Newman
; Photography/Image: Graham Lewis
; Performer: Wir
e
V. A. (The Wire) [>] [D] & V. A. (ESP-Disk) [>] [D]: Faith & Power. An ESP-Disk Sampler [F]
Label und Katalognummer: ESP-Disk ESPW 1
Produktion: Verschiedene
Veröffentlicht: 2002 07 (Ed.)
Genretags: Jazz - Freejazz
Trackliste: 1. Albert Ayler Trio - Ghosts: First Variation - 5:11
2. Ornette Coleman Trio - Sadness - 4:04
3. Sun Ra & His Solar Arkestra - Cosmic Chaos (edit) - 9:07
4. Bob James Trio - Wolfman - 6:13
5. The Sea Ensemble - Snake Creeps Down - 3:48
6. Sonny Simmons - Interplanetary Travelers (edit) - 4:46
7. Charles Tyler Ensemble - Black Mysticism - 4:17
8. Marzette Watts - Backdrop for Urban Revolution (edit) - 6:25
9. Frank Wright - Your Prayer (edit) - 5:46
10. Frank Lowe - Brother Joseph - 4:32
11. Patty Waters - Black Is the Color of My True Love's Hair - 13:53
12. The Velvet Underground - Noise (edit) - 1:40
Besetzung: Compiled By: Edwin Pouncey
; Compiled By: Tony Herrington
; Cover: Savage Pencil
; Photography: Nick Procaylo
; Photography: Valerie Wilmer
; Distributed By Abraxas (2)
; Pressed By Disctronics Group, United Kingdom
V. A. (The Wire) [>] [D] & V. A. (Klangbad) [>] [D]: Klangbad - First Steps [F]
Label und Katalognummer: Klangbad
Produktion: Hans Joachim Irmler
Veröffentlicht: 2002 08 (Ed.)
Genretags: Alternativerock - Noiserock
Trackliste: 1. Circle: Scotch - 7:39
2. Circle: Northern Sky - 2:29
3. Dälek: Spiritual Healing - 3:36
4. S/T: Der Zwiebelfisch - 5:30
5. Audiac: Everybody Is Sneaking - 4:04
6. Nista Nije Nista: X - 5:38
7. Adriano Lanzi & Omar Sodano: Emanzipazione - 5:12
8. Kangaroo Moon: Love Is - 4:48
9. Hans Joachim Irmler: Museum - 4:43
10. Faust: I Can, U 2? - 7:22
11. Ole Lukkøye: White Stone (Net Doma) - 9:01
Besetzung: Cover: Thomas E. Martin
; Engineer [Klangarbeiter]: Bruno Gebhard
; Photography: Eva Bertram
; Producer: Hans Joachim Irmler
; Copyright (c) Klangbad
; Phonographic Copyright (p) Klangbad
V. A. (The Wire) [>] [D]: Fjord Focus [F]
Label und Katalognummer: Wir
e Magazine FJORDFOCUS 01
Produktion: Verschiedene
Veröffentlicht: 2002 09 19 (Ed.)
Genretags: Jazz - Avantgardejazz, Jazz - Fusion
Trackliste: 1. Food: Freebonky (Arve Henriksen, Iain Ballamy, Mats Eilertsen, Thomas Strønen) - 3:12
2. Xploding Plastix: Sports, Not Heavy Crime (Hallvard Wennersberg Hagen, Jens Petter Nilsen) - 5:10
3. Kim Hiorthøy: Tak (Kim Hiorthøy) - 3:36
4. Jaga Jazzist: Kitty Wú (Lars Horntveth) - 4:40
5. Håkon Berge: Imprint Of The Bacchae (Extract) (Håkon Berge) - 4:47
6. Phonophani: Cook Islands (Espen Sommer Eide) - 2:50
7. Salvatore (2): Easy (Bjarne Larsen, John Birger Wormdahl, Jon Platou Selvig, Karim Sayed, Kjell Olav Jørgensen, Ola Fløttum) - 3:50
8. Close Erase: Dance This Part 1 (Christian Wallumrød, Ingebrigt Håker Flaten, Per Oddvar Johansen) - 6:38
9. Maja S. K. Ratkje: Sinus Seduction (Moods Two) (Extract) - 5:03
10. Wibutee: First There Was Jazz 2 (Wibutee) - 7:57
11. Spunk: Epleslang (Hild Sofie Tafjord, Kristin Andersen, Lene Grenager, Maja S. K. Ratkje) - 3:19
12. No Spaghetti Edition: Live 1 (Frode Haltli, Håkon Kornstad, Ingar Zach, Ivar Grydeland, Pat Thomas, Phil Minton, Tonny Kluften) - 5:57
13. Eivind Aarset: The String Thing (Eivind Aarset) - 5:31
14. Jazkamer: Great Lake Trout (Alexander Rishaug, John Hegre, Lasse Marhaug) - 4:10
15. Noxagt: Det Er Typisk Norsk Å Være Best (Jan Christian L. Kyvik, Kjetil D Brandsdal, Nils Erga) - 2:45
Besetzung: Compiled By: Anne Hilde Neset
; Design: Non-Format
; Phonographic Copyright (p) Feral Records
; Copyright (c) Feral Records
; Distributed By MacTwo
; Phonographic Copyright (p) Beatservice Records
; Copyright (c) Beatservice Records
; Phonographic Copyright (p) Smalltown Supersound
; Copyright (c) Smalltown Supersound
; Published By Copyright Control
; Phonographic Copyright (p) Rune Grammofon
; Copyright (c) Rune Grammofon
; Copyright (c) Racing Junior
; Phonographic Copyright (p) Jazzland Recordings
; Copyright (c) Universal Music Norway
; Copyright (c) Jazzkammer
; Made By Universal M & L, UK
; Mastered At Moat Studio
Wire [>] [D]: Read And Burn 02 [F]
Label und Katalognummer: Pinkflag PF 05
Veröffentlicht: 2002 10 01
Genretags: Alternativerock - Artrock
Trackliste: 1. Read & Burn (2:35)
2. Spent (4:43)
3. Trash/Treasure (5:07)
4. Nice Streets Above (2:50)
5. Raft Ants (2:05)
6. 99.9 (7:38)
Besetzung: Artwork By [Design] - David Coppenhall
; Mastered By - Denis Blackham
; Mixed By - Colin Newman
; Photography [Image] - Graham Lewis
; Written-By, Performer - Wir
e
V. A. (The Wire) [>] [D]: Tapper 09. Special Edition Double CD [F]
Label und Katalognummer: The Wir
e Issue 225
Produktion: Verschiedene
Veröffentlicht: 2002 11
Genretags: Jazz - Avantgardejazz
Trackliste: CD 1
1. Liars: Grown Men Don't Fall in the River Just Like That - 3:01
Themselves: Hat in the Wind - 5:17
3. Tarwater: 70 Rupies to Paradise Road - 2:45
4. múm: We Have a Map of the Piano - 5:22
5. Badawi: Evocation - 4:16
6. Suicide: Swearin' to the Flag - 4:54
7. Supersilent: C-4.1 - 6:38
8. Polwechsel / Fennesz: Framing X (Reconstructed by Patrick Pulsinger) - 5:03
9. Wazahugy: [untitled] - 4:05
10. Asa-Chang & Junray: Tsuginepu To Ittemita - 4:40
11. Deadbeat: Organ in the Attic Sings the Blues - 5:38
12. Vadim: Till Suns in Your Eye - 4:39
13. The Oxes: Horses R OK (Prison and I Were in a 5 Way Mix by Cex) - 4:12
14. Sagan: Jabpunplusone - 3:40
15. Leafcutter John: Mandolin Work (Edit) - 5:02
16. Sun: Reach for the Sky (Pluramon Remix) - 3:39
CD 2
1. Max Tundra: Mastered by Guy at the Exchange - 2:30
2. Wir
e: Spent - 4:47
3. Sonic Youth / ICP / The Ex: III - 3:31
4. Sigur Rós: [untitled] - 7:37
5. John Fahey: Red Cross, Disciple of Christ Today (For Guitar Roberts) - 4:07
6. A Small Good Thing: A Mighty Stillness (Remix) - 4:44
7. The Sea and Cake: Left Side Clouded - 3:17
8. Masha Qrella: I Want You to Know - 4:35
9. Dictaphone: The E. Song - 5:45
10. Pulseprogramming: Blooms Eventually - 5:27
11. Electrelane: This Deed - 3:35
12. Ellery Eskelin With Andrea Parkins & Jim Black: 43 RPM - 4:44
13. Jimmy Lions Trio: Jump Up - 8:08
14. Amon Tobin: El Wraith - 6:03
15. D'Arcangelo: All That J - 4:23
Besetzung: Compiled: Anne Hilde Neset
; Design [Sleeve]: Non-Format
; Mastered: Lee Bowman, Toby Hrycek-Robinson
V. A. (The Wire) [>] [D]: Club Transmediale 03 Festival For Electronic Music [F]
Label und Katalognummer: Wir
e Magazine CTM 001
Produktion: Verschiedene
Veröffentlicht: 2003 02 (Ed.)
Genretags: Electronica
Trackliste: 1. Radboud Mens: Pulse 021.3 (Radboud Mens) - 4:37
2. Pan Sonic: Vaihtovirta (Ilpo Väisänen, Mika Vainio) - 6:40
3. F.S. Blumm: Kurzer Winter (F.S. Blumm) - 3:16
4. Mapstation: Wake Up (Instrumental) (Stefan Schneider) - 3:32
5. Rechenzentrum: Paramount (Christian Conrad, Marcus Weiser) - 3:40
6. Fenin: Woods (D. Meteo Rmx) (Daniel Meteo, Lars Fenin) - 4:50
7. Thomas Fehlmann: Streets Of Blah (Thomas Fehlmann) - 5:09
8. Pole: Black Home (Stefan Betke) - 4:47
9. Jan Jelinek: There Are Other Worlds (They Have Not Told You Of) (Jan Jelinek) - 4:12
10. Ekkehard Ehlers: Plays Cornelius Cardew Pt. 1 (Ekkehard Ehlers) - 4:03
11. Ralph Steinbrüchel: ID 16 (Ralph Steinbrüchel) - 4:19
12. Roger Rotor: Hollow Horizon (Roger Baumer) - 4:02
13. Dimbiman: Dr. Dolly's Gum (Thomas Franzmann) - 3:20
14. Luciano: Clementine (Lucien Nicolet) - 4:13
15. Aredee & Lump: Hardly Can (René Desalmand) - 4:58
16. Thomas Brinkmann: A Good One (Thomas Brinkmann) - 5:22
17. T.Raumschmiere: The Great Rock'n'roll Swindle (Edit) (Marco Haas) - 3:38
18. Otto Von Schirach: Earjuice Synthesis (Otto Von Schirach) - 3:09
Besetzung: Published By Copyright Control
; Published By My Ears! My Ears!
; Published By Mute Song
; Published By Autopilot Music Publishing
; Published By La Chunga Music Publishing
; Published By Arabella Musikverlag
; Published By BMG Ufa
; Published By Flow Publishing
; Published By BMG Publishing
; Published By Scape Publishing
; Published By Freibank
; Published By Random Noize Musick
; Published By Light Of Man
; Manufactured By Handle With Care
; Manufactured By MPO Germany
; Record Company Pro Helvetia
; Record Company Swiss Music Export
; Record Company Die Tageszeitung
; Pressed By MPO
Label und Katalognummer: Pinkflag PF 06
Veröffentlicht: 2003 05 13
Genretags: Alternativerock - Artrock
Trackliste: 1. In the Art of Stopping
2. Mr Marx's Table
3. Being Watched
4. Comet
5. The Agfers of Kodack
6. Nice Streets Above
7. Spent
8. Read & Burn
9. You Can't Leave Now
10. Half Eaten
11. 99.9
Wir sind Helden [>] [D]: Die Reklamation [F]
Label und Katalognummer: Reklamation Records 590869
Produktion: Patrik Majer & Wir
Sind Helden
Veröffentlicht: 2003 07 07
Genretags: Indiepop
Von diesem Album wurden 800'000 Stück verkauft.
Trackliste: 1. Ist Das So? (Judith Holofernes) - 3:03
2. Rüssel An Schwanz (Judith Holofernes, Mark Tavassol) - 4:52
3. Guten Tag (Judith Holofernes, Pola Roy, Jean-Michel Tourette) - 3:35
4. Denkmal (Judith Holofernes, Pola Roy, Jean-Michel Tourette) - 3:14
5. Du Erkennst Mich Nicht Wieder (Judith Holofernes) - 4:54
6. Die Zeit Heilt Alle Wunder (Judith Holofernes, Pola Roy, Mark Tavassol, Jean-Michel Tourette) - 4:10
7. Monster (Judith Holofernes, Pola Roy, Mark Tavassol, Jean-Michel Tourette) - 3:47
8. Heldenzeit (Jean-Michel Tourette) - 4:23
9. Aurélie (Judith Holofernes) - 3:32
10. Müssen Nur Wollen (Judith Holofernes, Jean-Michel Tourette) - 3:34
11. Außer Dir (Judith Holofernes) - 3:39
12. Die Nacht (Judith Holofernes, Mark Tavassol, Jean-Michel Tourette) - 4:19
Besetzung: Artwork: Kasi@Gosub
; Mastering: Michael Schwabe
; Performer: Jean-Michel Tourette
; Performer: Judith Holofernes
; Performer: Mark Tavassol
; Performer: Pola Roy
; Photography: Foto Şahin
; Photography: Gerald Von Foris
; Recording, Mixing: Patrik Majer
; Programmed By [CD-Rom Programming], Other [Homepage]: Katy Matthies
; Technician [Assisted By]: Dirk Heinrich
; Copyright (c) Reklamation Records
; Phonographic Copyright (p) Reklamation Records
; Licensed To Labels Germany
; Phonographic Copyright (p) Labels Germany
; Produced At Tritonus Tonstudio
; Recorded At Tritonus Tonstudio
; Mixed At Tritonus Tonstudio
; Produced At Freudenhaus Studio
; Recorded At Freudenhaus Studio
; Mixed At Freudenhaus Studio
; Produced At Audio Studios, Berlin
; Recorded At Audio Studios, Berlin
; Mixed At Audio Studios, Berlin
; Mastered At Monoposto Mastering
; Published By Freudenhaus Musikverlag
; Published By Wintrup Musikverlag
; Published By Partitur Musikverlag
; Glass Mastered At EMI Uden
; Pressed By EMI Uden
V. A. (The Wire) [>] [D]: Tapper 10 [F]
Label und Katalognummer: The Wir
e issue 236
Produktion: Verschiedene
Veröffentlicht: 2003 09
Genretags: Jazz - Avantgardejazz
Trackliste: 1. Guido Möbius: Nelles - 3:16
2. Alias: Beginagain - 4:32
3. Animal Collective: Bat You'll Fly - 5:02
4. Maher Shalal Hash Baz: Post Office - 1:48
5. Sketch Show: Chronograph - 5:09
6. Kim Hiorthøy: Track 5 - 3:24
7. Mice Parade: Focus On The Roller Coaster - 4:59
8. Colleen: Everyone Alive Wants Answers - 3:30
9. Themselves: Good People Check (Hvratski Remix) - 5:02
10. David Grubbs & Loren Mazzacane Connors: Blossom Time - 4:26
11. Polmo Polpo: Like Hearts Swelling (Edit) - 4:42
12. Faust & Dälek: T-electronique - 4:10
13. Four Tet: Spirit Fingers - 3:22
14. Rob Ellis: Music For The Home No 4; Church Opposite - 2:00
15. David Sylvian: A Fire In The Forest - 4:08
CD 2
1. Heat Sensor Featuring M Sayyid: Gravy - 4:51
2. Günter Müller & Toshimaru Nakamura: .Tint - 4:50
3. Stafrænn Häkon: Tálkn - 5:25
4. Schlammpeitziger: Prä-digitaler Volksstuhlhänger - 6:14
5. Jah Wobble: Just Me And Phil - 4:50
6. Laibach: Wat - 5:23
7. Lumen: Stranded - 5:00
8. Satoru Wono: Overture - 3:32
9. UI: Back Up - 2:27
10. Erik Friedlander: May It Please Heaven - 3:24
11. Susanna And The Magical Orchestra: Believer - 3:17
12. Clogs: Who's Down Now - 5:38
13. Sagor & Swing: Alla Sagor Har Ett Slut - 4:57
14. Satanicpornocultshop: Anorexia Gas Balloon (Reprise) - 5:12
15. David Grubbs: The Name Of Ecstasy - 4:49
Besetzung: Compiled: Anne Hilde Neset
; Design [Sleeve]: Non-Format
; Mastered: Lee Bowman, Toby Hrycek-Robinson
V. A. (Raster-Noton) [>] [D] & V. A. (The Wire) [>] [D]: A1 - Raster-noton.archiv1 [F]
Label und Katalognummer: Raster-Noton 056
Veröffentlicht: 2003 11
Genretags: Electronica - DSP - Digitalminimalism
Trackliste: 1. Ø & Noto: Mikro Makro - 3:45
2. Pixel (2): Scrapple From The Apple - 5:55
3. Senking: Lift - 4:14
4. CoH: Silence Is Golden - 4:38
5. Robert Lippok: Close - 8:40
6. William Basinski: Shortwavemusic - 6:34
7. Liima: Versions - 5:21
8. Signal: Lines - 0:51
9. Cyclo.: C7 - 5:17
10. Ryoji Ikeda: 0'12''32 - 0:12
11. Ryoji Ikeda: 0'12''34 - 0:12
12. Signal: Waves - 0:39
13. Byetone: Oacis - 3:22
14. Mitchell Akiyama: Arteial - 4:31
15. Komet: Band - 4:28
16. Noto: Time Dot - 4:25
17. Signal: Spiral - 5:54
18. Noto: MM - 4:55
Besetzung: Published By Touch Music
; Copyright (c) Raster-Noton
V. A. (The Wire) [>] [D]: Oceanclub Presents Marke B 03 [F]
Label und Katalognummer: Wir
e Magazine 237
Produktion: Verschiedene
Veröffentlicht: 2003 11 07 (Ed.)
Genretags: Electronica
Trackliste: 1. Jahcoozi: Fish - 3:57
2. Dub Tractor: Leaning - 3:31
3. Bus (2): Clappin - 4:12
4. Phantom/Ghost: Nothing Is Written [Part 1] (Dirk von Lowtzow, Thies Mynther) - 3:52
5. Guido Möbius: Pick Nick - 3:46
6. Timtim: Atwater.ca (Timtim) - 3:52
7. Cobra Killer: Heavy Rotation - 2:53
8. Angie Reed: No Pony (Angie Reed) - 1:34
9. Rhythm King And Her Friends: Shock (Linda Wölfel, Pauline Boudry, Sara John) - 2:48
10. Guther: Taglieben - 3:52
11. Monkeytribe: Delaware [Thomas Fehlmann Rmx] - 4:11
12. Five Deez: Funky - 4:03
13. Sami Koivikko: Kampakuta - 3:59
14. Alexander Kowalski: Delicious (Radio Edit) - 3:49
15. Blome & Grummich: Headcleaner - 4:26
16. Monolake: Oceans Of Noise - 4:27
17. Ekkehard Ehlers: Mäander 1 - 3:21
Besetzung: Compiled By: Daniel Meteo
; Compiled By: Gudrun Gut
; Compiled By: Thomas Fehlmann
; Design: Bianca Strauch
; Mastering: Stefan Betke
; Presenter [Presented By]: Ocean Club
; Manufactured By www.handlewithcare.de
; Pressed By Optimal Media Production
; Published By Popagenten
; Published By BMG Ufa
; Copyright (c) WMF Records
; Phonographic Copyright (p) WMF Records
; Published By Copyright Control
; Copyright (c) City Centre Offices
; Phonographic Copyright (p) City Centre Offices
; Published By Flow Publishing
; Published By BMG
; Copyright (c) ~scape
; Phonographic Copyright (p) ~scape
; Published By Gold (17)
; Published By Hanseatic
; Copyright (c) Lado Musik GmbH
; Phonographic Copyright (p) Lado Musik GmbH
; Copyright (c) ladomat
; Phonographic Copyright (p) ladomat
; Licensed To Mute Tonträger
; Licensed To EMI Music Germany GmbH & Co. KG
; Published By Autopilot Music Publishing
; Copyright (c) Klangkrieg Produktionen
; Phonographic Copyright (p) Klangkrieg Produktionen
; Copyright (c) BPitch Control
; Phonographic Copyright (p) BPitch Control
; Published By Maobeat
; Copyright (c) Monika Enterprise
; Phonographic Copyright (p) Monika Enterprise
; Published By Flirt 99
; Copyright (c) Chicks On Speed Records
; Phonographic Copyright (p) Chicks On Speed Records
; Copyright (c) Kitty-Yo
; Phonographic Copyright (p) Kitty-Yo
; Published By Bigpop
; Published By Warner/Chappell
; Copyright (c) Morr Music
; Phonographic Copyright (p) Morr Music
; Copyright (c) Meteosound
; Phonographic Copyright (p) Meteosound
; Produced At Lab Studio, Berlin
; Published By SMV (2)
; Copyright (c) !K7 Records
; Phonographic Copyright (p) !K7 Records
; Recorded At Studio 5, Cincinnati, OH
; Mixed At Berlin Destruct
; Published By Edition Random Noize Musick
; Published By Freibank
; Copyright (c) Shitkatapult
; Phonographic Copyright (p) Shitkatapult
; Published By Moonside Playground
; Published By Biathlon
; Copyright (c) Kanzleramt
; Phonographic Copyright (p) Kanzleramt
; Published By Receiver (2)
; Copyright (c) Sender Records
; Phonographic Copyright (p) Sender Records
; Published By Imbalance Computer Music
; Copyright (c) Monolake
; Phonographic Copyright (p) Monolake
; Copyright (c) Staubgold
; Phonographic Copyright (p) Staubgold
V. A. (The Wire) [>] [D]: Netmage 04 [F]
Label und Katalognummer: Wir
e Magazine TDKNETMA 04
Produktion: Verschiedene
Veröffentlicht: 2003 12 (Ed.)
Genretags: Electronica
Trackliste: 1. Scanner: I Cannot Forget - 4:53
2. Kim Cascone: The Bourbaki Conjecture - 2:58
3. Maikko: Unvoluntrymantra - 4:20
4. Z.E.L.L.E.: Rjctd 11 - 4:31
5. Thomas Köner & Asmus Tietchens: Kontakt Der Jünglinge - 3:30
6. Richard Chartier: How Things Change (Excerpt) - 4:20
7. [The User]: .
.
%
%
% - 6:40
8. Radian: Jet - 5:41
9. Rechenzentrum: Lye - 6:19
10. Teamtendo: Santana Sucks - 6:36
11. Wang Inc.: Chain Worker - 3:45
12. Mou, Lips!: Letter (From Home) - 4:32
13. Saule: Hola - 9:36
Besetzung: Published By Scannerdot Publishing
; Published By Bug Music
; Published By eSpace
; Published By 12k Music
; Copyright (c) [The User]
; Copyright (c) Teamtendo
; Pressed By www.imsspa.it
Paul Wirkus [>] [D]: Inteletto D'Amore [F]
Label und Katalognummer: Quecksilber 04
Veröffentlicht: 2004 01 12
Genretags: Electronica - IDM
Trackliste: 1. Wlot (5:36)
2. Blask (4:11)
3. Physikerin (7:11)
4. Inteletto d'Amore (4:31)
5. Fascism (5:04)
6. Aldrin (4:19)
7. Breakfast Dance (7:03)
8. Wylot (3:49)
V. A. (The Wire) [>] [D]: Domino - A Snapshot From The 2004 Domino Ten-Day [F]
Label und Katalognummer: The Wir
e issue 241
Produktion: Verschiedene
Veröffentlicht: 2004 03
Genretags: Electronica
Trackliste: 1. Esther Venrooy - Module 1
2. Einstürzende Neubauten - Ich Gehe Jetzt
3. Lali Puna - Small Things
4. De Portables - Flash (Foreplay)
5. Tuk - German Holidays
6. Somnabula - I Am Somnabula (Dance With Me Baby)
7. Les Georges Leningrad - Georges Five
8. Man's Best Friend
- Class Action Suit Against Earth
9. Bohren & Der Club Of Gore - Constant Fear
10. Grim (2) - Gnossienne 1
11. Lars Horntveth - Tics
12. Polmo Polpo - Sky Histoire
Firewire [>] [D]: Tribute To The Manzini [F]
Label und Katalognummer: City Centre Offices BLOCK 020
Produktion: Firewire
Veröffentlicht: 2004 04 19
Genretags: Electronica - Poptronica, Electronica - Breakbeat - Triphop
Trackliste: 1. Open Ur Eyes - 4:41
2. No One There - 4:14
3. 4 Ever - 3:47
4. The Driver Is The Soul And The Body Is The Motor - 1:41
5. No Exit - 4:57
6. Every Day (Gil Scott-Heron, Frederic Stader) - 3:52
7. Down (Gil Scott-Heron, Frederic Stader) - 2:58
Alle Tracks: Carl Crack und Frederic Stader.
Besetzung: Composed By, Producer [Uncredited]: Frederic Stader
; Cover: Aesthetic Investments
; Lyrics By [Uncredited]: Carl Crack (1 to 4)
; Lyrics By [Uncredited]: Gil Scott-Heron (5, 6)
; Mastering, Editing [Cut]: Loop-o
; Vocals: Carl Crack (1-6)
V. A. (The Wire) [>] [D]: Tapper 11 [F]
Label und Katalognummer: The Wir
e Issue 244
Produktion: Verschiedene
Veröffentlicht: 2004 05
Genretags: Jazz - Avantgardejazz
Trackliste: 1. To Rococo Rot: Miss You - 4:25
2. Icarus: Antz Nez (Edit) - 5:00
3. Juana Molina: Martin Fierro - 4:56
4. Wibutee: 1-800-Skauen - 4:06
5. Philip Clemo: Depth (Edit) - 6:10
6. Albert Ayler: Untitled Blues - 6:06
7. Chris McGregor's Brotherhood of Breath: The Bride [edit] - 5:33
8. Matthew Dear: Tide - 4:56
9. Jah Wobble: Elevator Music 5 - 5:01
10. Arthur Russell: You Have Did the Right Thing When you Put that Skylight In - 3:59
11. Henrik Rylander: Forced Laugh -
12. Green Milk From the Planet Orange: Sweet 5am [edit] - 5:23
13. Mountains: Mountains [edit] - 5:01
14. Slowblow: Cardboard Box - 3:08
15. Un Caddie Renversé dans l'Herbe: www.nonphilo.org - 5:02
16. Poire_z + Phil Minton: Q Oder Z - 4:38
Besetzung: Compiled: Andy Tait
; Design [Sleeve]: Non-Format
; Mastered: Toby Hrycek-Robinson
V. A. (The Wire) [>] [D]: Exploratory Music From Portugal 04 [F]
Label und Katalognummer: Calouste Gulbenkian Foundation CGFCD 104
Produktion: Verschiedene
Veröffentlicht: 2004 09 (Ed.)
Genretags: Electronica
Trackliste: CD 1: South
1. Rui Júnior & O Ó Que Som Tem?: Nortada + Ó Malhão - 3:33
2. Galandum Galundaina: Passeado - 2:56
3. Danças Ocultas: Alchimie - 4:42
4. Cristina Branco: Green God - 2:54
5. Ana Sofia Varela: Vivendo Sem Mim - 3:32
6. Carla Pires: Fado Das Sardinheiras - 2:46
7. Gift: Question Of Love - 3:58
8. Miguel Graça: Cosmopolis - 7:47
9. Fat Freddy: Frenesim De Canibalismo Ritual - 3:06
CD 1: North
10. Carlos Zíngaro: Outsiders - 7:31
11. Telectu: Kraula Alviazul II - 7:56
12. Autodigest: Karaoke Night In Laptopland - 2:59
13. Maria Castro: Postglacial Rebound - 3:46
CD 1: East
14. Pedro M. Rocha: Quarteto - 5:36
15. Luís Tinoco & Drumming Ensemble & Luís Rodrigues: Imaginary Dancescape, A Melodrumming After Cocteau (Excerpt) - 5:54
CD 1: West
16. Sérgio Carolino & Mário Delgado & Alexandre Frazão: Só - 4:36
Besetzung: Compiled By: Miguel Santos
; Design: Studiotonne
; Mastering: Ian Gager
; Copyright (c) Calouste Gulbenkian Foundation
; Published By Calouste Gulbenkian Foundation
V. A. (The Wire) [>] [D]: Tapper 12 [F]
Label und Katalognummer: The Wir
e Issue 250
Produktion: Verschiedene
Veröffentlicht: 2004 11
Genretags: Jazz - Avantgardejazz
Trackliste: CD 1
1. Daniel Biro / Rob Palmer: The Long Journey Home, Part 2 (extract) - 4:00
Githead: To Have and to Hold - 3:55
3. Bark Psychosis: From What Is Said to When It's Read (edit) - 4:23
4. Ateleia & David Daniell: FTP - 3:22
5. Andy Moor & Yannis Kyriakides: 3 Lobed 1 - 3:42
6. Burnt Friedman & The Nu Dub Players: Fuck Back (3:56 version) - 3:58
7. Aesop Rock: Fast Cars, Danger, Fire and Knives - 4:37
8. Pita: Resog 45 - 4:20
9. Violet: Priznak Aluminium - 3:56
10. Michaela Melián: Brautlied (edit) - 4:04
11. Chas Smith: False Security of Numbers - 3:56
12. Martin Archer: It Don't Bother Me / Where's Mike? - 4:21
13. Henry Grimes Trio: Flowers for Albert - 4:02
14. The Necks: Mosquito (excerpt) - 4:02
15. @c: INT 10/34 - 4:02
16. Ascoltare: Crucible Process - 2:13
17. Matthew Burtner: D2 (edit) - 4:01
18. Stéphane Rives: Ebranlement 2 - 2:53
19. Ergo Phizmiz: Sticky White Glue (extract): Rectify - 4:14
20. The Fall: Blindness - 3:26
CD 2
1. Cul de Sac / Damo Suzuki: Berlin 6 - 3:52
2. Meadow House: Tit for Tat - 4:16
3. Milky Globe: The Warp and the Woof - 3:51
4. Staalplaat Soundsystem: No Time for Space - 4:07
5. Jason Kahn & Günter Müller: Tenth Blink - 3:45
6. Andrew Pekler: Wait - 3:55
7. Carter Tutti: Unreality (edit) - 4:10
8. DJ /rupture feat. Sister Nancy: Little More Oil - 4:17
9. Burnt Sugar vs. The Dominatrix: Dominata (remix by Qasim Naqvi & Keith Witty) - 3:58
10. AM/PM: The Ends (13) - 4:03
11. David Grubbs & Nikos Veliotis: The Harmless Dust (excerpt) - 4:00
12. Gary Lucas & Jozef Van Wissem: A Hawk From a Handsaw - 4:00
13. Bonnie 'Prince' Billy & Matt Sweeney: Bed Is for Sleeping - 2:56
14. Damon & Naomi: Beautiful Close Double - 4:37
15. Fax & Alex Ayuli: Spellbound - 4:02
16. Ana da Silva: The Lighthouse - 3:27
17. Christian Renou: Ex-Voto (Wir
e-FM mix) - 4:04
18. Enigma Device: Reunified - 3:36
19. Shining: Goretex Weather Report - 3:59
20. M. Bentley: Piano Ship (alternative mix) - 3:59
Besetzung: Compiled: Andy Tait, Shane Woolman, Tony Herrington
; Design [Sleeve]: Non-Format
; Mastered: Toby Hrycek-Robinson
V. A. (The Wire) [>] [D]: Domino - A Snapshot From The 2005 Domino Ten-Day [F]
Label und Katalognummer: The Wir
e issue 253
Produktion: Verschiedene
Veröffentlicht: 2005 02
Genretags: Electronica
Trackliste: 1. Franco Saint De Bakker - No One Knows (4:18)
2. Triosk - Tomorrowtoday (Part 2) (3:45)
3. Silur - Ruby Red (4:27)
4. Hood - Any Hopefull Thoughts Arrive (6:57)
5. Subtle - Song Meat (4:36)
6. Prefuse 73 vs. Pedro - Gratis (4:53)
7. Love Substitutes - Hey! Did You See Me Coming? (4:42)
8. Blood Brothers - Peacock Skeleton With Crooked Feathers (4:33)
9. Shining - Aleister Explains Everything (3:18)
10. Sickboy - March Of The Antifa (3:23)
11. Rhythm & Sound w/ Paul St. Hilaire - Free For All (3:49)
12. Boom Bip - Soft And Open (2:18)
13. Joanna Newsom - The Book Of Right-On (4:06)
14. Patrick Wolf - Ghost Song (3:15)
16. Efterklang - Prey & Predator (6:25)
17. aMute - Aux Creux Des Vages, Mon Visage (11:30)
V. A. (The Wire) [>] [D]: Oceanclub Presents Marke B 05 [F]
Label und Katalognummer: Wir
e Magazine 255
Produktion: Verschiedene
Veröffentlicht: 2005 04 (Ed.)
Genretags: Electronica
Trackliste: 1. NSI: David Hassell (Edit) - 3:44
2. Barbara Morgenstern & Robert Lippok: Please Wake Me For Meals - 3:47
3. Jersey: 28 Days (Florian Zimmer, Marion Gerth, Max Punktezahl, Noël Rademacher) - 3:33
4. ISAN: Dinner At Sea (Live Markeb Mix) - 3:44
5. Frivolous: Fredrick Cokanose - 3:18
6. Portable: Thought In Action - 4:11
7. Duran Duran Duran: I Hate The 80s - 2:28
8. Rocket/Freudental: 24 Stunden Im Leben Eines Kunden - 2:49
9. Echo Depth Finders: On The Air - 3:59
10. Fenin & Gorbi: None Of Them (Edit) - 4:18
11. Misc.: Superbrand - 3:43
12. Henrik Schwarz: Leavemyheadalonebrain (Mix 4) - 4:07
13. Johan Skugge & Laura Delicata: Decadence (Edit) (Jay-Jay Johanson, Laura Delicata) - 3:41
14. Frank Bretschneider: Party Of Two Parts - 3:58
15. Dominique: Souvenir (Dominique (7)) - 3:18
16. Jay Haze: Get Your Lovin' On - 3:53
17. Senking: Come In - 3:47
18. Marsen Jules: Fanes D'Automne - 3:50
Besetzung: Compiled By, Curated By: Daniel Meteo
; Compiled By, Curated By: Gudrun Gut
; Compiled By, Curated By: Thomas Fehlmann
; Design: Bianca Strauch
; Mastering: Calyx
; Presenter: Ocean Club
; Manufactured For Yellow Media
; Phonographic Copyright (p) Cadenza Records
; Phonographic Copyright (p) Monika Enterprise
; Phonographic Copyright (p) Lok Musik
; Phonographic Copyright (p) Morr Music
; Phonographic Copyright (p) Karloff Rekordings
; Phonographic Copyright (p) ~scape
; Phonographic Copyright (p) Cock Rock Disco
; Phonographic Copyright (p) Pavlek Records
; Phonographic Copyright (p) Meteosound
; Phonographic Copyright (p) Shitkatapult
; Phonographic Copyright (p) Sender Records
; Phonographic Copyright (p) Sunday Music Records
; Phonographic Copyright (p) Mitek
; Phonographic Copyright (p) Underscan
; Phonographic Copyright (p) Tête-à-Tête
; Phonographic Copyright (p) SueMi
; Phonographic Copyright (p) Kitty-Yo
; Phonographic Copyright (p) Karaoke Kalk
; Phonographic Copyright (p) City Centre Offices
; Copyright (c) Cadenza Records
; Copyright (c) Monika Enterprise
; Copyright (c) Lok Musik
; Copyright (c) Morr Music
; Copyright (c) Karloff Rekordings
; Copyright (c) ~scape
; Copyright (c) Cock Rock Disco
; Copyright (c) Pavlek Records
; Copyright (c) Meteosound
; Copyright (c) Shitkatapult
; Copyright (c) Sender Records
; Copyright (c) Sunday Music Records
; Copyright (c) Mitek
; Copyright (c) Underscan
; Copyright (c) Tête-à-Tête
; Copyright (c) SueMi
; Copyright (c) Kitty-Yo
; Copyright (c) Karaoke Kalk
; Copyright (c) City Centre Offices
; Pressed By DOCdata Germany
; Published By Edition GGMP
; Published By Freibank
; Published By Flow (7)
; Published By BMG
; Published By Maobeat
; Published By La Chunga Music Publishing
; Published By Edition Schotter
; Published By M+S Industries
; Published By Copyright Control
; Published By Scape Publishing
; Published By Lautsprecher
; Published By Pavlek Records
; Published By Daniel Wiest Musikverlag
; Published By Random Noize Musick
; Published By Rückbank
; Published By BMG Ufa
; Published By Creator Music
; Published By Warner/Chappell
Wir sind Helden [>] [D]: Von hier an blind [F]
Label und Katalognummer: Reklamation Records 860853
Produktion: Patrik Majer & Wir
Sind Helden
Veröffentlicht: 2005 04 04
Genretags: Indiepop
Trackliste: 1. Wenn Es Passiert - 3:33
2. Echolot - 4:31
3. Von Hier An Blind - 3:31
4. Zuhälter - 3:30
5. Ein Elefant Für Dich - 4:43
6. Darf Ich Das Behalten - 3:19
7. Wütend Genug - 4:29
8. Geht Auseinander - 3:10
9. Zieh Dir Was An - 3:27
10. Gekommen Um Zu Bleiben - 3:10
11. Nur Ein Wort - 3:56
12. Ich Werde Mein Leben Lang Üben, Dich So Zu Lieben, Wie Ich Dich Lieben Will, Wenn Du Gehst - 2:52
13. Bist Du Nicht Müde - 3:54
Besetzung: Co-producer: Wir
Sind Helden
; Phonographic Copyright (p) Reklamation Records
; Copyright (c) Reklamation Records
; Copyright (c) Labels Germany
; Manufactured By Optimal Media Production
V. A. (The Wire) [>] [D]: Tapper 13 [F]
Label und Katalognummer: The Wir
e Issue 256
Produktion: Verschiedene
Veröffentlicht: 2005 05
Genretags: Jazz - Avantgardejazz
Trackliste: 1. Hanne Hukkelberg: Ease - 4:10
2. Mandarin Movie: The Green Giraffe - 4:59
3. Alexander Hacke: Sonntag - 3:30
4. Matt Elliott: What's Wrong - 4:10
5. Juana Molina: Salvese Quien Pueda: Juana's Epic Re-Version (edit) - 3:32
6. Picastro: Tow-Truck - 1:35
7. Deviationists: Sweetests Charms - 5:19
8. kid606: Phoenix Riddim - 4:39
9. Ariel Pink's Haunted Graffiti: Jule Lost His Jewels - 3:51
10. John Surman: Way Back When, Part 4 - 3:43
11. Nick Castro: Sun Song - 4:09
12. Junkboy: Shadow and Act - 4:05
13. Akinori: Red Field - 3:30
14. Currituck Co: Sleepwalking 1 - 2:40
15. Bombay 1: More Than Everything - 4:02
16. Pajo: War Is Dead - 4:16
17. Crimetime Orchestra: Life Is a Beautiful Monster, Part 1 - 3:54
18. Port-Royal: Flares, Part 3 - 5:55
19. Fovea Hex: Don't These Windows Open? (True Interval Offering) - 3:24
20. Tu M': What You Say? - 3:42
Besetzung: Compiled: Andy Tait, Shane Woolman
; Mastered: Toby Hrycek-Robinson
V. A. (The Wire) [>] [D]: Liquid Architecture - Festival Of Sound Arts [F]
Label und Katalognummer: Wir
e Magazine Issue 257
Produktion: Verschiedene
Veröffentlicht: 2005 07
Genretags: Electronica - Soundart
Trackliste: 1. Bucketrider - Événement 1 L'Spontaneist
2. Thembi Soddell - Discomfort
3. Qua - Output
4. Tim Catlin - Hysterisis
5. E.P.A. - Black Ice ...With Brake Fluid
6. Bruce Mowson - Obsess
7. Oren Ambarchi & Martin Ng - When Love Comes Back To Haunt You
8. Nat - Glass
9. Philip Samartzis - Unheard Spaces
10. Robin Fox (2) & Anthony Pateras - Aphasia
11. Lawrence English & Ai Yamamoto - Gazing Into The Sun
12. Camilla Hannan - Itchy
13. Phillip Pietruschka - The Evidence Of Love
14. Pimmon - Smaller Than You Are
V. A. (The Wire) [>] [D]: Tapper 14 [F]
Label und Katalognummer: The Wir
e Issue 262
Produktion: Verschiedene
Veröffentlicht: 2005 11
Genretags: Jazz - Avantgardejazz
Trackliste: 1. Oren Marshall: 6 (edi) - 4:02
2. Dirty Projectors: I Will Truck (edit) - 3:58
3. Secret Mommy: Dance Studio (edit) - 4:23
4. Cage: Good Morning - 3:50
5. Ray Russell: Goodbye Svengali (edit) - 4:26
6. Kieran Hebden and Steve Reid: Soul Oscillations (excerpt) - 5:02
7. Black to Comm: Laccifer Lacca -
8. Cobra Killer: High is the Pine -
9. Gerry Mitchell & Little Sparta: Feasting on My Heart - 3:59
10. XXL: Paw Paw Paw Paw Paw Paw Paw - 4:26
11. Merz: Warm Cigarette Room - 4:19
12. Hans Fjellestad: Wriggling Call - 4:23
13. Nels Cline, Wally Shoup & Chris Corsano: Lake of Fire Memories - 2:31
14. Andrey Kiritchenko: Scope of My Perception (edit) - 4:03
15. This Heat: 24 Track Loop - 5:56
16. MoHa!: (C5) - 4:16
Besetzung: Compiled: Andy Tait, Shane Woolman
; Mastered: Toby Hrycek-Robinson
V. A. (The Wire) [>] [D]: Domino - A Snapshot From The 2006 Domino Ten-Day [F]
Label und Katalognummer: The Wir
e issue 265
Produktion: Verschiedene
Veröffentlicht: 2006 02
Genretags: Electronica
Trackliste: 1. Battles - IPT-2 + IPT2 (3:22)
2. Midaircondo - Could You Please Stop (3:56)
3. Dictaphone - Rising Minimal (3:40)
4. Coldcut - A Whistle And A Prayer (5:49)
5. Tape Tum - Heart Of Gold (4:37)
6. Akron/Family - Future Myth (8:09)
7. Dijf Sanders - Swamp (4:35)
8. Mi And L'Au - I've Been Watching You (2:58)
9. Ignatz - Echo All Acoustically Correct (5:43)
10. Maxence Cyrin - Windowlicker (3:25)
11. Wixel - I Know I Tried (4:32)
12. Sickoakes - Driftwood (4:03)
13. Black Dice - Motorcycle (6:56)
14. Wiget / Lenski - Dancing Disaster (2:09) - Cello - Bo Wiget, Simon Lenski
15. Sunn O)) - It Took The Night To Believe (5:56)
V. A. (The Wire) [>] [D] & V. A. (Room 40) [>] [D]: Room40 [F]
Label und Katalognummer: Wir
e Magazine 266
Produktion: Verschiedene
Veröffentlicht: 2006 03 20 (Ed.)
Genretags: Electronica - Improvisierte-Elektronische-Musik
Trackliste: 1. Evening At Room40: Untitled -
2. I/O (2): Cityscape (Cast_Back) -
3. Reinhold Friedl & Michael Vorfeld: Torf -
4. Chris Abrahams: Can Of Faces -
5. Oren Ambarchi: Lost Time Not Found Again -
6. Ralph Steinbrüchel & O.Blaat: Duplex -
7. Zane Trow: Arcade -
8. David Toop & Scanner & Lawrence English: Live Excerpt, Sprawl 2004 -
9. Lloyd Barrett: Swarm -
10. Greg Davis: Swell (Brisbane Reversion) -
11. Chris Watson: Runway O2E -
12. Marina Rosenfeld: Arm Dormant -
13. Philip Samartzis & Kozo Inada: H ( ) -
14. John Chantler: Slow Closure -
15. Erik Griswold: Clicks + Pops -
16. Tujiko Noriko: Magpies And Mornings -
17. Toshiya Tsunoda: Untitled (Opaque Version) -
18. Stephen Vitiello: Dorm Ant (GTR) -
19. DJ Olive: Sleep -
20. DJ Olive & I/O3: First Light Sunday -
21. Ubique: Neglect Of Those In-Between -
22. Ami Yoshida & Lawrence English: Live, Syncretism 2003 (Post By Robin Fox) -
23. Haruna Ito: Excavation -
24. Robin Fox (2) & Clayton Thomas: Bird Song -
25. M. Rösner: Blurred Hues -
26. Ben Frost: Deconstructing Michael Gira -
27. Tenniscoats: Aurora Contains (Slow Breeze Mix) -
28. Rod Cooper: Stratum -
29. Keith Fullerton Whitman: 2nd Early Monolith -
Besetzung: Compiled By: Lawrence English
; Design: Rinzen
; Record Company Arts Queensland
; Published By Touch Music
V. A. (The Wire) [>] [D]: Tapper 15 [F]
Label und Katalognummer: The Wir
e Issue 268
Produktion: Verschiedene
Veröffentlicht: 2006 06 18
Genretags: Jazz - Avantgardejazz
Trackliste: 1. Humcrush: Hornswoggle - 4:05
2. Leafcutter John: Let it Begin (edit) - 4:30
3. Machinefabriek: Somerset - 3:58
4. Reverbaphon: Nothing Beyond the Zero - 3:48
5. Yannis Kyriakides & Andy Moor: Vamvakaris (edit) - 3:47
6. Jozef van Wissem: Catoptromancy - 3:13
7. Hwyl Nofio: Broken Again - 4:02
8. Giuseppe Ielasi: Untitled Track 4 - 4:01
9. Gerritt & John Wiese: The Disappearing Act - 3:18
10. Dub Trio: Illegal Dub - 3:18
11. Izu: Get UR Fleece On - 3:30
12. Mekon: GSE - 4:07
13. Lawrence English & Ai Yamamoto: A Silent Kouta (edit) - 4:30
14. Herbert: Movie Star - 4:11
15. Sol Seppy: 1 2 - 3:56
16. Trevor Watts: Solarsonic - 3:53
17. Gricer: Land - 4:09
18. Spooncurve: She Doesn't Know (edit) - 4:07
19. Isnaj Dui: Catoctin (edit) - 3:58
20. Det Gamla Landet: Kiruna - 3:30
Besetzung: Compiled: Andy Tait, Shane Woolman
; Mastered: Toby Hrycek-Robinson
V. A. (The Wire) [>] [D]: Eco E Narciso Presenze Sonore [F]
Assoziierte Acts: John Duncan & Jacob Kirkegaard & Stephan Mathieu & Steve Roden & Valerio Tricoli
Label und Katalognummer: culturo materiale, The Wir
e Issue 270
Produktion: Verschiedene
Veröffentlicht: 2006 07 (Ed.)
Genretags: Electronica - Elektroakustische-Musik
Trackliste: 1. Bruno Dorella, Marco Milanesio, Fabrizio Modonese Palumbo: Canale Cavour - 15:11
2. John Duncan, Valerio Tricoli: The Garden [excerpt] - 9:59
3. Jacob Kirkegaard: Ravine - 11:02
4. Stephan Mathieu: Die Sonne toent nach alter Weise (excerpt from a Shortwave Radio Landscape) - 13:02
5. Steve Roden: 22 letters and the resonance of a three pointed star - 12:58
Besetzung: Artwork: Blend - Torino
; Other [Curated By]: Daniela Cascella
; Other [Curated By]: Rebecca De Marchi
V. A. (The Wire) [>] [D]: Power Shovel Audio [F]
Label und Katalognummer: PowerShovelAudio, The Wir
e Issue 272
Produktion: Verschiedene
Veröffentlicht: 2006 09 (Ed.)
Genretags: Electronica
Trackliste: 1. Sasaki San: To The Town
2. Killer Bong: Behind Mask
3. Sasaki San: Spinach
4. Asuna: Down To The Sea
5. Raphael Sebbag: Besos
6. Mika Sasaki & Alejandra & Aeron: Summer Hammer
7. Kath Bloom: Come Here
8. Sasaki San: Pencil
9. Secret Mommy: Dance Studio
10. Directorsound: Menu / So Where Is Kyoto Tonight? / Mullin The Mog
11. Doddodo: Black Line Make Me MON
12. Sasaki San: Rina
13. Patrik Torsson: The Passage
14. Mika Sasaki & Flim: Mika 1
15. Twoth: Yolk Struggle
16. Flim: Picture1
17. Killer Bong: Tokyodub
18. Sasaki San: In The Taxi
19. Sasaki San: Letter
20. Setopianics: Untitled Demo
21. Ken Takehisa
And Spectacrews: Untitled
22. Raphael Sebbag: His Majesty Remix
23. Sasaki San: Path
24. Asuna: Happy Misunderstanding
V. A. (The Wire) [>] [D]: Atlantic Waves 2006 [F]
Label und Katalognummer: Calouste Gulbenkian Foundation CGFCD 106
Produktion: Verschiedene
Veröffentlicht: 2006 10 16
Genretags: Electronica - Ambient
Trackliste: CD 1
1. Shlomo: Intro - 1:14
2. Carlos Bica: Hank - 2:02
3. Miyeon
& Park Je Chun: Iberian Sunset - 8:28
4. Maria Joao & Mário Laginha: Pés No Chão - 3:10
5. Kang Tae Hwan: A Deep Breath - 6:12
6. Ned Rothenberg: Old Country - 4:08
7. Carlos Zíngaro & Carlos Santos: Czcs_Wave' 06 - 3:59
8. António Pinho Vargas: Monodia - Quasi Un Requiem - 15:11
9. Pedro Carneiro: When The Dusk Was Wet With Dew… (Excerpt) - 4:23
10. Américo Rodrigues: Voltar - 2:46
11. Shlomo: Perfect - 2:59
12. Dokaka: Economy Parcel Post - 2:43
13. Tanya Tagaq: Qimiruluapik - 2:00
14. Sainkho Namtchylak: Northern Ghosts - 3:37
15. Janita Salomé: Paisagem Com Homem - 3:51
CD 2
1. Max Eastley: Two 150 Kilo Blocks Of Melting Ice With Layers Of Stones Embedded Falling Onto A Metal Plate For Climate Change Project Cape Farewell - 4:01
2. Z'EV: The Smoking Key - 4:40
3. Robert Rutman. Live At King Kong Club, 11.2.05 (Excerpt) - 3:29
4. Victor Gama: Jetstream (Wind On Totem Harp) - 3:57
5. Asmus Tietchens: S.4 - 3:33
6. Thomas Köner: Tu, Sempre - 15:22
7. Paulo Raposo: Stanza (For Marta) - 3:57
8. John Duncan: Helix - 3:08
9. Alfredo Costa Monteiro: Umbral - 3:52
10. Akira Rabelais: July_10th_2006 - 3:59
11. Philip Jeck: June - 7:32
12. Oren Ambarchi: Happy Ending - 7:12
13. Margarida Garcia & Manuel Mota: Amiens - 2:28
14. David Maranha: Berceuse Pour Ema - 4:09
15. Arnold Dreyblatt: Brushtones - 2:26
Besetzung: Artwork By: Studiotonne
; Compiled By: Miguel Santos
; Mastered By: Darryl Betts
Paul Wirkus [>] [D]: Déformation Professionnelle [F]
Label und Katalognummer: Staubgold 071
Produktion: Paul Wir
kus
Veröffentlicht: 2006 10 24
Genretags: Electronica
Trackliste: 1. View Finder - 6:16
2. Kocham - 4:47
3. Valore Energetico - 5:55
4. Dogs After Flight - 4:20
5. Nie Kocham - 3:05
6. Exoten - 2:19
7. Déformation Professionnelle - 3:41
8. 1964 - 4:18
9. Erineru - 3:27
10. Terres Fortes - 7:38
Alle Tracks: Paul Wir
kus.
Besetzung: Artwork [Cover Art]: Ola Rek
; Design [Cover]: www.nothmannstyle.de
; Mastering: Joseph Suchy
; Recording: Paul Wir
kus
; Phonographic Copyright (p) Staubgold
; Copyright (c) Edition Staubgold
; Copyright (c) Freibank
; Published By Edition Staubgold
; Published By Freibank
V. A. (The Wire) [>] [D]: Tapper 16 [F]
Label und Katalognummer: The Wir
e Issue 274
Produktion: Verschiedene
Veröffentlicht: 2006 11 22
Genretags: Jazz - Avantgardejazz
Trackliste: 1. Drone: Spiderhead (Green Man) - 4:09
2. Dave Phillips: Justice is an Artefact of Custom [Wir
e edit] - 4:02
3. Alan Vega: 13 Crosses, 16 Blazin' Skulls [edit] - 3:40
4. Phillip Bimstein: EatDrinkGambleSex - 3:06
5. Carter Tutti: So Slow the Knife [excerpt] - 3:54
6. radicalfashion: Shousetsu - 3:48
7. Walter & Sabrina: Rimble Man - 3:17
8. Xela: Drunk on Salt Water - 4:25
9. Kotra & Zavoloka: Cool Eyes - 2:42
10. Pan Sonic: Machininist - 2:49
11. Huntsville: The Appearance of a Wise Child - 4:23
12. Fluorescent Grey: A Peruvian Shaman Sits Down to Make IDM on His Laptop - 3:20
13. Derek Bailey: Play 4 - 3:25
14. Tulipomania: Same Old Song - 4:01
15. Dave Swain: Media Monkey - 3:08
16. aMute: Hit My Country [edit] - 3:59
17. Califone: The Orchids - 2:57
18. Inch-Time: Take Care, O Pilgrim! [edit] - 4:10
19. White Magic: The Light - 3:28
20. The Slits: Earthbeat - 3:50
21. Anthony Kelly & David Stalling: Sometimes You See a Tree - 3:06
Besetzung: Artwork [Distorded Rectangle Pattern]: Richard Rhys
; Compiled: Andy Tait, Shane Woolman
; Mastered: Toby Hrycek-Robinson
V. A. (The Wire) [>] [D]: A Snapshot From Domino 2007 [F]
Label und Katalognummer: The Wir
e issue 277
Produktion: Verschiedene
Veröffentlicht: 2007 03
Genretags: Jazz - Avantgardejazz - Elektroakustische-Improvisation
Trackliste: 1. Cocorosie Rainbowarriors (3:29)
2. Bunny Rabbit Saddle Up (3:23)
3. Deerhoof +81 (3:04)
4. !!! All My Heroes Are Weirdos (3:02)
5. Skream Auto-Dub (2:48)
6. Amon Tobin Kitchen Sink (4:46)
7. Frank Bretschneider Digitron (4:12)
8. Kanding Ray Nine (3:21)
9. Adrian Klumpes Cornered (4:01)
10. Kiss The Anus Of A Black Cat You Will Reap A Whirlwind (9:04)
11. Silvester Anfang De Gal Komt In Mijn Mond (5:10)
12. Bony King Of Nowhere Alas My Love (1:42)
13. Cinematic Orchestra To Build A Home (2:53)
14. Some Tweetlove La Nostalgie Des Hauts-Fourneaux (5:44)
15. R.O.T. Doodeskader (5:15)
V. A. (The Wire) [>] [D]: Tapper 17 [F]
Label und Katalognummer: The Wir
e Issue 279
Produktion: Verschiedene
Veröffentlicht: 2007 04
Genretags: Jazz - Avantgardejazz
Trackliste: 1. Eglantine Gouzy: Cuckoo - 1:53
2. Longstone: Kabuki (edit) - 3:30
3. A Hawk and a Hacksaw and the Hun Hangár Ensemble: Zozobra - 4:01
4. Jonquil: Sudden Sun - 4:02
5. Kammerflimmer Kollektief: Live at the Cactus Tree Motel - 4:11
6. Badun: Fyrtårn - 3:58
7. Von Südenfed: Family Feud - 4:27
8. Pomassl: Tandem Distiller (Wir
e Tapper edit) - 3:59
9. Throbbing Gristle: How Do You Deal? - 3:20
10. Alfred 23 Harth: Pearl - 4:01
11. Fred Anderson & Harrison Bankhead: The Strut - 4:13
12. Fridge: Our Place in This - 4:16
13. Jack Rose & Glenn Jones: Linden Avenue Stomp - 3:27
14. Husky Rescue: My Home Ghost - 3:08
15. Simon Bookish: A Deception (Municipal mix) - 3:43
16. Venus Bogardus: Motorman - 2:25
17. Tonesucker: Splatterstrum - 4:08
18. Stimulus: Pylons (Wir
e version) - 4:00
19. Zelienople: Moss Man (edit) - 4:01
20. Ken Ikeda: Iconography - 3:31
Besetzung: Artwork [Ink And Pen Patterns / Reala]: Samuel Nyholm
; Compiled: Andy Tait, Shane Woolman
; Mastered: Toby Hrycek-Robinson
Wir sind Helden [>] [D]: Endlich ein Grund zur Panik [F]
Label und Katalognummer: Reklamation Records 3923682, Virgin (D) 3923682
Produktion: Patrik 'El Pattino' Majer & Tim Tim
Veröffentlicht: 2007 04 27
Genretags: Newpop
Trackliste: 1. Endlich ein Grund zur Panik - 3:46
2. Endlich ein Grund zur Panik Remix (Tim Tim) - 5:00
3. Popstar (J.-M. Tourette, J. Holofernes, Pola Roy) - 3:41
4. Panique (French Version) - 3:45
Alle Tracks: J.-M. Tourette (Musik), J. Holofernes (Lyrics), ausser wo anders vermerkt.
Besetzung: Mastered By - Michael Schwabe
; Mixed By - Patrik \'El Pattino\' Majer (1, 3, 4)
; Producer - Patrik \'El Pattino\' Majer (1, 3, 4), Tim Tim (2)
; Recorded By - Patrik \'El Pattino\' Majer (1, 3, 4)
; Recorded By [Asistant] - Nils Olejniczak (1, 3, 4)
Wir sind Helden [>] [D]: Soundso [F]
Label und Katalognummer: Labels 3924612
Produktion: Patrik Majer & Wir
Sind Helden
Veröffentlicht: 2007 05 25
Genretags: Indiepop
Trackliste: 1. (Ode) An Die Arbeit - 3:42
2. Die Konkurrenz - 3:44
3. Soundso - 4:14
4. Für Nichts Garantieren - 4:22
5. Kaputt - 3:08
6. Labyrinth - 4:14
7. The Geek (Shall Inherit) - 3:40
8. Endlich Ein Grund Zur Panik - 3:43
9. Der Krieg Kommt Schneller Zurück Als Du Denkst - 2:45
10. Hände Hoch - 4:36
11. Stiller - 4:21
12. Lass Uns Verschwinden - 4:14
Besetzung: Artwork: Alex Ziegler
; Mastering: Michael Schwabe
; Performer [Alle Instrumente Gespielt Von]: Wir
Sind Helden
; Mixing: Patrik Majer
; Recording: Nils Olejniczak
; Recording: Patrik Majer
; Phonographic Copyright (p) Reklamation Records
; Copyright (c) Reklamation Records
; Recorded At Freudenhaus Studio
; Recorded At Gaga Studio
; Recorded At Music-Plant
; Recorded At Sonnenstudio (2)
; Recorded At Press Play!
; Mixed At Freudenhaus Studio
; Mastered At Monoposto Mastering
; Licensed To Labels Germany
; Copyright (c) EMI Music Germany GmbH & Co. KG
; Published By Freudenhaus Musikverlag
; Published By Wintrup Musikverlag
; Pressed By www.mediamotion.com
V. A. (Rune Grammofon) [>] [D] & V. A. (The Wire) [>] [D]: Runeology 3 [F]
Label und Katalognummer: Rune Grammofon RCDS 3 WIRE
Produktion: Verschiedene
Veröffentlicht: 2007 09
Genretags: Jazz - Avantgardejazz
Trackliste: 1. Arve Henriksen - Leaf and Rock - 2:21
2. Susanna - Hangout - 5:40
3. Opsvik & Jennings - The Last Country Village - 4:10
4. Food - Nature's Recipe - 4:39
5. Supersilent - 8.6 -
6. Ultralyd - Pentassonance II - 4:52
7. Shining - Stalemate Longan Runner - 4:19
8. Alog - Son of King - 6:30
9. Scorch Trio - Autio - 4:54
10. Humcrush - Solar Sail - 5:15
11. Ole Henrik Moe - Tre Persefone (excerpt) - 10:13
12. MoHa! - Home Four - 2:52
Besetzung: Artwork By Sleeve - Kim Hiorthøy
; Compiled By - Rune Kristoffersen
; Mastered By - Helge Sten
V. A. (The Wire) [>] [D]: Tapper 18 [F]
Label und Katalognummer: Issue 284
Produktion: Verschiedene
Veröffentlicht: 2007 10
Genretags: Jazz - Avantgardejazz
Trackliste: 1. Automated Acoustics: The Universal Proportion (4:13)
2. Strings Of Consciousness: Asphodel (Edit) (3:59)
3. John Luther Adams: Among Red Mtns (Excerpt) (2:35)
4. hamaYôko: Furies (4:11)
5. Focus Group: Soho St Ives Tangier (4:01)
6. Cath & Phil Tyler: Farewell My Friend (3:33)
7. Ex & Getatchew Mekuria & Guests: Ethiopia Hagere (Edit) (4:37)
8. Modified Toy Orchestra: Black Star (Edit) (4:01)
9. Heribert Friedl: Back (Excerpt) (3:37)
10. Fun Years: Electricity Is A Scarce Commodity (Radio Edit) (4:00)
11. Damon & Naomi: The Turnaround (3:13)
12. Goodiepal: 2004 Igen Med Ralf Christensen Ved Roret (2:29)
13. Icarus (2): Selfautoparent (2:45)
14. Tarentel: A Crystal The Size Of Our Moon In The Heart Of A Pulsating White Dwarf (4:24)
15. Babils: Dent De Sagesse (Extraction) (3:59)
16. Luciano Cilio: Della Conoscenza (Originale Versione Inedita) (3:43)
17. Hulk: The Moon Versus The Sea (2:17)
18. Dimension X (2): The Martian Chronicles (4:42)
19. Mordant Music: Den On VelluMM (Wir
e Taper Exclusive) (3:29)
Besetzung: Compiled By - Andy Tait, Lisa Blanning, Shane Woolman
; Mastered By - Toby Hrycek-Robinson
V. A. (The Wire) [>] [D]: Atlantic Waves 2007 Festival Sampler [F]
Label und Katalognummer: Calouste Gulbenkian Foundation CGFCD 107
Produktion: Verschiedene
Veröffentlicht: 2007 10
Genretags: Akademica - Ambient
Trackliste: CD 1
1. Gert-Jan Prins - Noiseritmhiish&strikeistericoannounce (2:39)
2. eRikm - Batfo Park (4:03)
3. Jason Kahn - Cymbal And Radio (4:27)
4. @c - 70 (4:03)
5. Vitor Joaquim - Fall (3:59)
6. Ran Slavin - Kiosk In Furadis (3:22)
7. Anthony Pateras - Chasms Sketch 3 (2:32)
8. Eric La Casa - Les Pierres Du Seuil Part 9 (5:18)
9. Pedro Carneiro - Manifesto/Utopia (Excerpt) (5:04)
10. Stilb - Optical Two (3:31)
11.Marc Behrens - Immersion (Excerpt) (5:17)
12. Safe & Sound - Anacanthous (4:01)
13. Manuel Mota - Untitled (3:16)
14. Aki Onda - Untitled (5:18)
CD 2
1. Achim Wollscheid - 7 Sentences (1:15)
2. Laurence Rassel & Terre Thaemlitz - Useless Movement (4:05)
3. Gintas K - Lovely Banalities (2:24)
4. Manu Holterbach - Patterns In An Moonshine Soundscape (Over Flight By Airplanes) (4:59)
5. John Grzinich
- Totemic Shore (4:07)
6. O.blaat - Lightning View, Meaford (2:42)
7. Paulo Raposo - Machine Fabriek: Found In Translation (4:28)
8. Tim Hecker - Frames (Static Piano Edit) (4:21)
9. Beautiful Schizophonic - Awake Eternal (3:58)
10. André Gonçalves - I'll Be Sleeping (3:55)
11. Sawako - Another Uta Tane (4:24)
12. Kenneth Kirschner - January 17, 2004 (1:45)
13. Shinjiro Yamaguchi - Sea Black And Red Brick (4:30)
14. Jonas Olesen - {Mirror Weaver} {Pt. 1} (4:29)
15. Richard Chartier - (Sketch For) Deletion.2 (4:30)
Wire [>] [D]: Read And Burn 03 [F]
Label und Katalognummer: Pinkflag PF 16
Veröffentlicht: 2007 10 05
Genretags: Alternativerock - Artrock
Trackliste: 1. 23 Years Too Late (9:46)
2. Our Time (4:33)
3. No Warning Given (5:26)
4. Desert Diving (5:33)
Alle Tracks: Wir
e
Besetzung: Artwork By [Design By] - David Coppenhall
; Mastered By - Denis Blackham
; Mixed By, Recorded By - Colin Newman
; Photography [Image By] - Edvard Graham Lewis
; Recorded By [Additional Recording] - Frank Lievaart
V. A. (The Wire) [>] [D] & V. A. (Häpna) [>] [D]: Whispers From The Forests, Screams From The Mountains: New Suggestions For The Swedish Flora And Fauna [F]
Label und Katalognummer: Häpna, iDEAL, Kning Disk, The Wir
e
Produktion: Verschiedene
Veröffentlicht: 2007 11
Genretags: Alternativerock - Postrock
Trackliste: Teil 1: Häpna
1. Hans Appelqvist - Jag En Gök (3:31)
2. Eric Malmberg - Milda Döden Hämtar Oss Alla Till Slut (3:56)
3. Anders Dahl - Hundloka - Percussion, Guitar, Bouzouki (Excerpt) (2:22)
4. Tape - Augustan Chateau (5:06)
5. Anna Järvinen - Helsinki (4:31)
6. A Taste Of Ra - Morning Of My Life (Excerpt) (5:20)
Teil 2: iDEAL
1. Christine Ödlund - Lightning & Voices (4:44)
2. Nash Kontroll - All Muzzles Look The Same (3:21)
3. Mokira - Skaka Hund Skaka (5:10)
4. Sewer Election - White Golgotha (5:00)
5. Dead Letters Spell Out Dead Words - Heaven Is The Notion That All This Will End (4:00)
6. Skull Defekts - Finding Your Way Through The Forest By Settng It On Fire (5:02)
Teil 3: Kning Disk
1. Erik Enocksson - The State The Sea Left Me In (4:15)
2. Dan Fröberg - We'll Never Be The Same Again (Song) (3:47)
3. Jerry Johansson - Next Door Conversation Part II (Excerpt) (5:48)
4. Folke Rabe - Swinee River (3:14)
5. Library Tapes - Fragment VIII (3:33)
6. Balroynigress - Shampo And Champagne (3:59)
Besetzung: Artwork By Art - Fredrik Söderberg
; Artwork By Layout - Mattias Nilsson
V. A. (The Wire) [>] [D]: Tapper 19 [F]
Label und Katalognummer: The Wir
e issue 290
Produktion: Verschiedene
Veröffentlicht: 2008 03
Genretags: Jazz - Avantgardejazz
Trackliste: 1. Our Sleepless Forest: Nomads - 4:06
2. Snorkel: The Conversation (edit) - 4:02
3. Nico Muhly: Mothertongue - Section 2 - 3:57
4. G.F. Fitz-Gerald & Lol Coxhill: Echoes of Duneden (Wir
e Tapper exclusive edit) - 3:46
5. XA Cute: Survival of the Vinyl (feat. Mike Ladd) (Wir
e Tapper exclusive edit) - 4:32
6. Daniel Figgis: 40 Shades of Figgis - 3:04
7. Fluorescent Grey: Molten Ghost (edit) - 4:02
8. Kaffe Matthews: Men Being Butterflies (extract) - 4:37
9. Alexei Borisov & Anton Nikkilä: Engineer Strepetov's Curve (live excerpt) - 4:01
10. Talvin Singh: Piya Milan (radio edit) - 4:45
11. Illusion of Safety: Wherewithall (For Lauren) (Wir
e Tapper exclusive edit) - 3:58
12. The Master Musicians of Hop-Frog: Song of the South (Wir
e Tapper exclusive edit) - 4:20
13. Phog Masheeen: Survey of Brutality - 3:01
14. Setsubun Bean Unit: Gujo Ondo (Wir
e Tapper exclusive edit) - 4:15
15. Pink Skull: U.G.UO.AAAAHHHHH - 3:29
16. LowDynamicOrchestra & Stefano Scodanibbio: Improvisation 1 (Wir
e Tapper exclusive edit) - 3:38
17. Lars Åkerlund: Volt (extract) - 4:00
18. Tangtype: Blank, Lackluster Eyes... Data Takes Over (Wir
e edit) - 4:08
19. yellow6: You Can't Be Everywhere He Said (edit) - 4:02
20. Never Enough Hope: Des Moines (Wir
e Tapper exclusive edit) - 3:58
Paul Wirkus [>] [D] & Mapstation [>] [D]: Forest Full Of Drums [F]
Label und Katalognummer: Staubgold 085
Produktion: Stefan Schneider
Veröffentlicht: 2008 03 28
Genretags: Electronica - Ambient
Trackliste: 1. being with the birds (1:16)
2. in dialogue (2:59)
3. summer rain and fading plane (1:04)
4. active branches (1:35)
5. cone, crackle, skin (2:01)
6. distant kit (1:36)
7. circulation (1:57)
8. autumn wind (1:04)
9. throwing logs (1:10)
10. cymbal dog (1:38)
11. between the beeches (2:30)
12. the story tellers (0:37)
13. air modulation (3:57)
14. darkness arriving (1:20)
15. animals possible (2:45)
Besetzung: Cover - Detlef Weinrich, Kerstin Nothmann
; Drums, Cymbals, Branches, Leaves, Air ; Improvisations - Paul Wir
kus
; Label Photographs - Adi Woletzky
; Steps, Recording, Editing, Mixing - Stefan Schneider
Label und Katalognummer: Pinkflag PF 17
Produktion: Colin Newman
Veröffentlicht: 2008 07 07
Genretags: Alternativerock - Artrock
Trackliste: 1. One of Us - 3:45
2. Circumspect - 3:13
3. Mekon Headman - 2:58
4. Perspex Icon - 3:16
5. Four Long Years - 3:45
6. Hard Currency - 3:50
7. Patient Flees - 5:23
8. Are You Ready? - 4:43
9. All Fours - 4:05
Alle Tracks: Wir
e.
Besetzung: Artwork By [Art Direction] - Jon Wozencroft
; Bass, Vocals, Other [Various] - Graham Lewis
; Drums - Robert Grey
; Mastered By - Denis Blackham
; Photography - Edvard Graham Lewis
; Recorded By [Additional Recording By] - Frank Lievaart
; Recorded By, Mixed By - Colin Newman
; Vocals, Guitar, Other [Various] - Colin Newman
V. A. (The Wire) [>] [D]: Tapper 20 [F]
Label und Katalognummer: The Wir
e 296
Produktion: Verschiedene
Veröffentlicht: 2008 09
Genretags: Jazz - Avantgardejazz
Trackliste: 1. Zavoloka: Inhale (3:30)
2. Crackle: Heavy Water (3:22)
3. Formication: The Mountains Are Machines (2:32)
4. Paavoharju: Pimeänkarkelo (3:53)
5. oRSo: Warm Up (2:50)
6. A_Dontigny: Tatline (3:34)
7. RJ Valeo: Monday Night (3:21)
8. Rarescale: Apparition And Release (Wir
e Tapper Exclusive Edit) (4:01)
9. Mike Osborne: Pure (Wir
e Tapper Exclusive) (4:00)
10. Random Touch: Tripping So Fancy (2:59)
11. Punck: Piallassa (Red Desert Chronicles) (Wir
e Tapper Edit) (4:02)
12. Grails: Reincarnation Blues (4:08)
13. Micronormous: Rainland (2:29)
14. Pantaleimon: At Dawn (Vogel) (Andrew WK Remix) (4:35)
15. Lothar Ohlmeier / Isambard Khroustaliov: Scratch (Edit) (3:41)
16. Tertium Quid: Early Disturbance (Wir
e Tapper Exclusive Edit) (4:15)
17. MoHa!: Too Smart Enough To Think (3:13)
18. Anthony Kelly und David Stalling: Ghost Signal 2 (Wir
e Remix) (3:47)
19. Wounded Knee: My Wooden Cupboard (Wir
e Tapper Exclusive Edit) (4:00)
Besetzung: Artwork By [Images] - Yokoland
; Compiled By - Andy Tait, Lisa Blanning, Shane Woolman
; Mastered By - Toby Hrycek-Robinson
V. A. (The Wire) [>] [D]: Dirt Beneath The Daydream [F]
Label und Katalognummer: The Wir
e NZAF 001
Produktion: Verschiedene
Veröffentlicht: 2009 01
Genretags: Jazz - Avantgardejazz
Trackliste: 1. Rory Storm: 3'06'' (3:06)
2. Eye: Skeleton Key (3:57)
3. Crude - Blackened, Deadened Keys (3:53)
4. Greg Malcolm - Lost (3:16)
5. Futurians, The - Galaxy Marbles (3:32)
6. Rosy Parlane - Armenia (3:32)
7. Adam Willetts - Bad Milk (3:57)
8. Omit - Dropper (3:53)
9. Alex MacKinnon - Piano Coalescence (2:51)
10. Richard Neave & Lee Noyes - Was Ever Women By This Fashion Woo'd, Was Ever Women By This Fashion Won (3:52)
11. Damian Stewart - Forever Soup (3:32)
12. Kraus: Let Me Eat Cake (3:09)
13. Witcyst - New World (1:42)
14. LA Lakers - Cough Genesis Ramparts For Gulf Eurythmics (3:59)
15. Bruce Russell - The Role Of Minority Tendencies In The Ebbing Period (Edit) (3:16)
16. Sandoz Lab Technicians - Festival Of Vapours (4:37)
17. Rachel Shearer - Pastoral (1:37)
18. Demarnia Lloyd & Stuart Harris (2) - Long Ride (2:32)
19. Sam Hamilton - Blue Tide, Black Water (Pop Edit) (4:02)
20. Stanier Black-Five - Aerial Argot (4:40)
21. Currer Bells - Three Volumes (4:00)
Besetzung: Guitar - Peter Porteous (2)
; Guitar, Recorded By, Mixed By - Nathan Thompson (2)
; Voice - Peter Stapleton (2)
; Recorded By - Matthew Middleton (3)
; Performer - Beth Dawson, Clayton Noone, Jason Aldridge, Sean Norling (5)
; Drums - Lee Noyes (10)
; Guitar - Richard Neaves (10)
; Performer - Kraus (12)
; Recorded By - Max Russell (15)
; Performer - James Kirk, Nathan Thompson, Tim Cornelius (16)
; Piano - Stuart Harris (18)
; Vocals - Demarnia Lloyd (18)
; Performer - Angeline Chirnside, Tim Coster (21)
V. A. (The Wire) [>] [D]: Tapper 21 [F]
Label und Katalognummer: The Wir
e (Issue 302)
Produktion: Verschiedene
Veröffentlicht: 2009 04
Genretags: Jazz - Avantgardejazz
Trackliste: 1. Robert Logan: Accurate Spit Boy (Edit) (3:55)
2. Shogun Kunitoki: Riddarholmen (3:15)
3. Jono El Grande: Neo Dada (4:18)
4. Sweet Billy Pilgrim: Longshore Drift (Wir
e Tapper Exclusive Edit) (4:00)
5. Jim McAuley with Nels Cline: Froggy's Magic Twanger (4:07)
6. Higamos Hogamos: The Illuminoids (Edit) (4:19)
7. Barbara Morgenstern: Morbus Basedow (3:55)
8. Whirling Hall Of Knives: 2-Bar Heater And Smoke (4:00)
9. Animal Hospital: His Belly Burst (Wir
e Tapper Exclusive Edit) (4:00)
10. Violet: Violet Ray Gas (4:01)
11. Andres Lõo: Introvert Dancer (2:26)
12. Felix Kubin: The Rhythm Modulator (Cont'd) (3:15)
13. Sheik Anorak / Weasel Walter Duo: Silver (3:13)
14. Streifenjunko: No Longer Burning (Wir
e Tapper Special Edit) (4:02)
15. Tony Bevan / Chris Corsano / Dominic Lash: I Think That'll Be OK... (2:29)
16. Pekka Airaksinen: Nobody Is Free (4:02)
17. David Åhlén: We Sprout In Thy Soul (2:12)
18. Jez Riley French: ...audible silence - enter (Kettle's Yard Cambridge) (Extract) (4:04)
19. Them Use Them: Able (Wir
e Tapper Exclusive Edit) (3:52)
20. Laura Toxvaerd: Spine Side (1:53)
21. Hitoshi Kojo: Hiruko (Short Edit) (3:38)
Besetzung: Artwork By [Images] - Nicola Pecoraro
; Compiled By - Andy Tait, Lisa Blanning, Shane Woolman
; Mastered By - Toby Hrycek-Robinson
Ekkehard Ehlers [>] [D] & Paul Wirkus [>] [D]: Ballads [F]
Label und Katalognummer: Staubgold digital 01
Veröffentlicht: 2009 04 10
Genretags: Post-Millennial-Music - Digital-Underground - Postelectronica
Trackliste: 1. Kwiaty (3:48)
2. Okno (3:12)
3. Wiem (5:08)
4. Szminka (3:07)
5. Plany (3:04)
6. Ziemia (2:41)
7. Guma (5:47)
8. Atlas (2:39)
9. Skronie (3:40)
10. Bryza (4:25)
11. Ruchy (4:42)
Besetzung: Clarinet - Kai Fagaschinski
; Double Bass - Achim Tang, Werner Dafeldecker
V. A. (AudioTONG) [>] [D] & V. A. (The Wire) [>] [D]: EMFP 01 [F]
Label und Katalognummer: AudioTONG / Wir
e Magazine AT CD01
Produktion: Verschiedene
Veröffentlicht: 2009 05
Genretags: Electronica
Trackliste: 1. Paristetris: Electrodomestics
2. Tomasz Gwincinski: Corruptis Omnibus... (Excerpt)
3. Zdzislaw Piernik / Piotr Zabrodzki: Namanga 7
4. Zooplan: Live At Turning Sounds (Excerpt)
5. Slug Duo: Slinky
6. Ensemble56: Dream Of Wyspianski
7. Trzaska / Zerang / Gasser Trio: Goodbye Sweet Monster
8. Dagna Sadkowska / Mikolaj Palosz: Impro 8
9. Sonus Akrobata: Mandragora Fragment 6
10. Sisters: Wait Till The End
11. Emiter: Microsillon 2
12. Aabzu: Mystery Of Life
13. KOT: Jestem Ksiedzem
14. Marek Choloniewski: Eastern Tracks
15. Robert Piotrowicz: Lincoln Sea: Ice Walk Draft
16. Anna Zaradny: Mauve 2 (Excerpt)
17. Dawid Szczesny: 1.1
V. A. (The Wire) [>] [D]: Tapper 22 [F]
Label und Katalognummer: The Wir
e (issue 308)
Produktion: Verschiedene
Veröffentlicht: 2009 10
Genretags: Jazz - Avantgardejazz
Trackliste: 1. Stearica feat Dälek - Occhio (Edit) - 4:34
2. Arturas Bumšteinas String Quartet - Karlstad (Fragment) - 4:10
3. Shits And Giggles - Ripcord - 4:00
4. Zenlo - The Crab - 3:22
5. Marcus Maeder - Quadrate - 2:24
6. Yoshio Machida - Setagaya Art Museum, Sep 28 2008 (Excerpt) - 4:00
7. Tomoyoshi Date & Corey Fuller with Tadahito Ichinoseki - Seiya (Wir
e Tapper Edit) - 4:01
8. Elodie Lauten - Cat Counterpoint - 2:43
9. Clang Sayne - A Death And A Vision - 2:46
10. Climax Golden Twins - Chinese - 2:46
11. Netherworld - Aurora Borealis (Blu Ice Mix) - 4:05
12. 10-20 - Athens - 2:58
13. Franck Vigroux - New York - 4:03
14. Arrington De Dionyso - Rasa Sentuh (Sense Of Touch) - 2:43
15. Pink Mountain - Ditch Witch - 3:14
16. Jørgen Plaetner - Beta (1962-63) - 3:58
17. Angkorwat - Big/Little Edie - 2:17
18. Abreaktor - Flagg - 3:51
19. Okie Dokie - The Monad - 1:14
20. Keyboard Choir - Tokyo At Night - 2:46
Besetzung: Artwork By [Images] - Rasmus Emanuel Svensson
; Compiled By - Andy Tait, Lisa Blanning, Shane Woolman
; Mastered By - Toby Hrycek-Robinson
V. A. (The Wire) [>] [D] & Cafe Concrete [>] [D]: CCPCP - Cafe Concrete Plymouth City Project [F]
Label und Katalognummer: Cafe Concrete cccd 01
Produktion: Verschiedene
Veröffentlicht: 2010 02
Genretags: Electronica - Soundart
Trackliste: 1. Gavin Huck: North Cross
2. ZX81: Civic Centre
3. Shaun Lewin: Roland Levinsky Building
4. Liono: Central Park Allotments
5. Mesa: Millbay Grain Silo
6. Kizzy Collins / Jason Hirons: Pannier Market
7. Neil Rose: Marsh Mills Flyover
8. Ben Solo: Tinside Lido
9. DJ Contort: Drake Circus Mall
10. Andrew Prior: St Peter's Church
11. Mummy Thinks We're Special: Shaugh Prior Tunnel
V. A. (The Wire) [>] [D]: Tapper 23 [F]
Label und Katalognummer: The Wir
e issue 314
Produktion: Verschiedene
Veröffentlicht: 2010 03
Genretags: Jazz - Avantgardejazz
Trackliste: 1. Elfmilk: The Oracle (Wir
e Tapper Edit)
2. Windup: Sevilla Una Maravilla
3. Nico Teen: Hungry For Love
4. Advanced Sportswear: 300 Seconds
5. Julia Wolfe: LAD: Part 2 (Edit)
6. Aaron Martin: Water Tongue
7. Spyweirdos: e (Edit)
8. De Haan/Spruit: Schoonhoven-1
9. Quiet Club: Free Energy Receiver (Excerpt)
10. Technical Drawings: Marching Band
11. TSIGOTI: The Sickofwar Traine
12. Soom T: Puff That Weed
13. A Band. aaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaa...
1Fluorescent Grey: Mawaributai Shimpan Utazaimon
15. Raymond Dijkstra: L'opus ch (Excerpt)
16. Random Touch: Blue Ice
17. Clogs feat: Shara Worden: On The Edge
18. Anduin: Autumn Looming
19. Han Bennink Trio: Flemische March
20. Rolf Julius: Song From The Past
Besetzung: Artwork By [Images] - Xavier Barrade
; Compiled By - Andy Tait, Lisa Blanning, Shane Woolman
; Mastered By - Toby Hrycek-Robinson
V. A. (Wergo) [>] [D] & V. A. (The Wire) [>] [D]: Wergo 75: Deutscher Musikrat Edition Zeitgenössische Musik [F]
Label und Katalognummer: Wergo WER 6592
Produktion: Verschiedene
Veröffentlicht: 2010 05
Genretags: Akademica - Moderne-Klassik
Trackliste: 1. Jay Schwartz: Music For Orchestra - 13:42
2. Hannes Seidl: The Art Of Home Entertainment - 8:24
3. Markus Hechtle: Blinder Fleck - 6:59
4. Enno Poppe: Knochen I - 9:02
5. Jörg Widmann: Freie Stücke 8-10 - 6:37
6. Moritz Eggert: Außer Atem - 6:42
7. Isabel Mundry: Spiegel Bilder II - 5:21
8. Mathias Spahlinger: 128 Erfüllte Augenblicke (Excerpt) - 4:41
9. Johannes Kalitzke: Labyrinth Der Lieder 1+2 - 4:37
10. Peter Michael Hamel: Diaphainon - 12:45
Besetzung: Liner Notes - Stefan Fricke
; Conductor - Diego Masson (1)
; Orchestra - Hessian Symphony Orchestra (1)
; Ensemble - Intégrales (2)
; Conductor - Jonathan Stockhammer (3)
; Ensemble - NewEars.ensemble (3)
; Conductor - Stefan Asbury (4)
; Orchestra - Klangforum Wien (4)
; Conductor - Dominique My (5)
; Ensemble - Ensemble Modern (5)
; Performer - Julia Whybrow (6)
; Performer - Ernesto MolinariTeodoro Anzellotti (7)
; Performer - Dietburg SpohrUlrich HeinenWalter Seyfarth (8)
; Choir - Collegium Vocale Köln (9)
; Conductor - Johannes Kalitzke (9)
; Orchestra - Saarbrücken Radio Symphony Orchestra (9)
; Conductor - Hans Zender (10)
; Orchestra - Bavarian Radio Symphony Orchestra (10)
V. A. (Wire) [>] [D]: Exploratory Music From Poland, Vol. 2 [F]
Label und Katalognummer: Wir
e 07/2010
Produktion: Verschiedene
Veröffentlicht: 2010 06
Genretags: Jazz - Avantgardejazz
Trackliste: 1. Piotr Zabrodzki / Tatsuya Yoshida - April In Radom
2. Mikrokolektyw - Rocket Street
3. Freeyo - Mamuth
4. eneno 724 - 1/3 x 724
5. Piotr Kurek - Go Up
6. Za Siódma Góra - Adam i Jego Koledzy
7. Horny Trees - Double Tempo Sucks
8. Gadomski/Mirt - Track With Hang
9. Piotrowicz/Stangl/Zaradny - Olive Queen
10. Dziady - Gaseous God
11. LXMP - Suite du Lait
12. Antigama - Ecstasy
13. Maly Szu - Taniec w Gównie do Zucia
14. XV Parówek - Death in a Bathroom Utopia
15. Arszyn/Duda - SE (excerpt)
16. Michal Dymny - Granulate's Dither
17. Cieslak i Ksiezniczki - April/March
18. Mem & Wolfram - Fogi
19. trzewiczek - Live at Eszeweria
20. LeeDVD - Lenajgiwittuju
V. A. (The Wire) [>] [D] & V. A. (Room40) [>] [D]: 10 [F]
Label und Katalognummer: Room40
Produktion: Verschiedene
Veröffentlicht: 2010 08
Genretags: Electronica - Soundart
Trackliste: 1. Mike Cooper: Surf Rise At Ko'olau
2. Chris Abrahams: Black Sand Bay
3. Greg Davis: Radiance Reveal
4. Janek Schaefer: Coda For John Dankworth
5. Tujiko Noriko/Lawrence English/John Chantler: White Film (Live)
6. Erikm: Austral Vrs Electro Parts.11
7. Philip Samartzis: Toe Class 4
8. Reinhold Friedl & Michael Vorfeld: Kehre
9. Matt Rösner: Fallow
10. I8u: Boson
11. Taylor Deupree Live In Brisbane
12. Jeph Jerman: NYC Subways
13. D.N.E: Cycle
14. Zane Trow: Initled
15. Sebastien Roux: More Songs (Excerpt)
16. Leighton Craig: Paths And Footprints
17. Candlesnuffer: Honolulu Gum Music
18. Xiu Xiu: Sashay Away
19. Robin Fox: Impossible Futures
20. Chihei Hatakeyama: Fkpkc002
21. John Chantler: Stockholm Organ
22. Asher: Circling
23. Grouper: A-D (Excerpt)
24. Pimmon: Limited E Country
25. Steinbrüchel: Same
26. James Webb: Autohagiography (Extract)
27. Tim Hecker: Apondalifa (Excerpt)
28. Ulrich Krieger: Cephei
29. Dj Olive: Triage (Redux)
30. Ben Frost: Feeding
31. Rafael Anton: Irisarri Path
32. Tenniscoats: Tasmania: For A Bay
Besetzung: Kuratiert von Lawrence English
Wir sind Helden [>] [D]: Bring Mich Nach Hause [F]
Label und Katalognummer: Reklamation Records COL 88697635382
Produktion: Ian Davenport
Veröffentlicht: 2010 08 27
Genretags: Indiepop
Trackliste: 1. Alles - 4:18
2. Was Uns Beiden Gehört - 3:03
3. Bring Mich Nach Hause - 5:04
4. Flucht In Ketten - 3:59
5. Die Ballade von Wolfgang und Brigitte - 4:44
6. Dramatiker - 3:28
7. 23.55: Alles auf Anfang - 3:12
8. Die Träume Anderer Leute - 4:00
9. Meine Freundin War im Koma und Alles, Was Sie Mir Mitgebracht Hat, War Dieses Lausige T-Shirt - 4:00
10. Kreise - 3:25
11. Im Auge des Sturms - 5:21
12. Nichts, Was Wir
Tun Könnten - 3:22
Alle Tracks: Judith Holofernes, Pola Roy, Mark Tavassol und Jean-Michel Tourette.
Besetzung: Bass, Vocals: Jörg Holdinghausen
; Design: Typeholics
; Instruments: Wir
Sind Helden
; Mastering: Tom Coyne
; Mastering [Assisted By]: Aya Merrill
; Mixing: Blackpete (1 to 4, 6, 7)
; Mixing: Ian Davenport (5, 8 to 12)
; Mixing [Assisted By]: Daniel Bongard (1 to 4, 6, 7)
; Mixing [Assisted By]: Simon Beizai (1 to 4, 6, 7)
; Photography: Billy Und Hells
; Recording: Ian Davenport
; Trumpet: Christoph Van Hal
; Record Company Sony Music Entertainment
; Copyright (c) Reklamation Records
; Phonographic Copyright (p) Reklamation Records
; Licensed To Columbia Berlin
; Distributed By Sony Music Entertainment Germany GmbH
; Published By Wintrup Musikverlag
; Recorded At Tritonus Studio Berlin
; Mixed At Ballsaal-Studios
; Mixed At Courtyard Studio
; Mixed At Tritonus Studio Berlin
; Mastered At Sterling Sound
V. A. (The Wire) [>] [D]: Tapper 24 [F]
Label und Katalognummer: The Wir
e issue 320
Produktion: Verschiedene
Veröffentlicht: 2010 10
Genretags: Jazz - Avantgardejazz
Trackliste: 1. Callers: Dressed In Blue - 4:08
2. Flatline Skyline: Unbound - 4:02
3. Locrian: Elevations And Depths (Excerpt) - 4:02
4. Schurer: Equivalency Of Dissimilarity Denotation - 3:50
5. Ninni Morgia & William Parker: Prism VI - 3:24
6. FaravelliRatti: Raise Your Voice - 3:59
7. Yann Novak & Robert Crouch: Untitled Landscape - 3:59
8. The DSM 1V: Rest In Pieces - 4:11
9. Gentleforce: The Desert Song (Edit) - 4:02
10. Israel Martínez: Xiriah - 4:01
11. Dawn of Midi: A Way With Words - 4:04
12. Ars Nova [ensemble Instrumental] & Franck Vigroux: Broken Circles Live - 4:21
13. Gerritt Wittmer: Vessel (Black Out Edit) - 3:59
14. Fuzzy Lights: Obscura - 3:53
15. Macaw: Five Minutes At The Rainforest Café - 4:01
16. Ketem: #A85400 - 3:17
17. Harmonious Bec: Solitary Bonze Prayer - 3:54
18. Plapla Pinky: Analclaire - 4:06
19. Nicholas Szczepanik & Jenks Miller: Cranberry Sauce - 4:39
20. To Blacken the Pages: Sodium Haze - 3:22
Besetzung: Artwork By [Images] - Chris Johanson
; Compiled By - Andy Tait, Lisa Blanning, Shane Woolman
; Mastered By - Toby Hrycek-Robinson
Moon Wiring Club [>] [D]: A Spare Tabby At The Cat's Wedding [F]
Label und Katalognummer: Gecophonic Audio Systems GEpH 004
Produktion: The Moon Wir
ing Club
Veröffentlicht: 2010 11
Genretags: Electronica - Synthtronica - Analogelectronica, Post-Millennial-Music - Lo-Fi-Underground
Was hier unter dem Hauntology-Banner segelt, ist weit humorvoller als die meisten Releases dieses Stils. Ein verspieltes Album mit einem Augenzwinkern.
Trackliste: 1. Autumn Theatricals - 1:51
2. Feline Ascension Time - 3:28
3. The Queen Speaks - 3:07
4. House Of Tricks - 1:09
5. Woodsmoke & Treacle - 3:27
6. Slumberwick Dreams - 3:29
7. The Victorian Butter Boat - 2:20
8. Creeping Decay - 3:12
9. The Owd Wedding March - 3:32
10. Concealed Playroom - 2:06
11. You Fancy Magician - 4:16
12. Missing Familiar - 1:27
13. The Last Arcadian - 3:40
14. Curious Clairvoyant - 3:10
15. Dancing Against Time - 4:17
16. In Holiday Mood - 3:34
17. Seaside Frolics - 1:46
18. ?And For My Next Trick - 3:14
19. Queen Of Puddings - 3:15
20. Playroom Concealed - 1:34
21. The Garden Was A Picture - 4:18
22. Edwardian Romance - 4:05
Alle Tracks: The Moon Wir
ing Club.
Besetzung: Design [Sleeve] - Kynaston Mass
; Mastered By - Jon Brooks
; Producer [Musical Direction] - Paris Green
; Recorded By [Audio Capture] - Mr Paris Green
; Recorded By [Audio Capture], Performer [Musical Performance] - Dr Lettow-Vorbeck
Wire [>] [D]: Red Barked Tree [F]
Label und Katalognummer: Pinkflag PF 18
Produktion: Colin Newman
Veröffentlicht: 2010 12 20 (Netaudio), 2011 01 10 (CD)
Genretags: Alternativerock - Artrock
Trackliste: 1. Please Take - 3:50
2. Now Was - 2:23
3. Adapt - 2:51
4. Two Minutes - 2:00
5. Clay - 3:12
6. Bad Worn Thing - 3:33
7. Moreover - 4:34
8. A Flat Tent - 2:15
9. Smash - 3:55
10. Down to This - 4:55
11. Red Barked Trees - 5:34
V. A. (The Wire) [>] [D]: Tapper 25 [F]
Label und Katalognummer: The Wir
e (Issue 326)
Produktion: Verschiedene
Veröffentlicht: 2011 03
Genretags: Jazz - Avantgardejazz
Trackliste: 1. Hana: Tate
2. Artifact Shore: Instruments Of The Devil
3. K-Branding: Driller (Excerpt)
4. Nicholas Szczepanik: Please Stop Loving Me (Excerpt)
5. Obsil: Snow Days In March
6. Socrates that practiçes music: Judged By The Left Eye
7. Manekinekod: Toy Factory (Installation Excerpt)
8. Tchicai / Hurley / Sanders / Coxon: Jomajomi Tchucosa (Live @ Midlands Art Centre 26/11/10) (Edit)
9. Melmac: Accident (Edit)
10. Bohm & Cooper-Marquardt Duo: Ruf Der Apostel (Apostles Calling)
11. Sheik Anorak / Weasel Walter / Mario Rechtern: Wotizup?
12. Mark Hanslip & Javier Carmona: Preambolo (Wir
e Tapper Edit)
13. Luciano Maggiore & Francesco fuzz Brasini: Chàsm' Achanès (Huge Abyss) (Wir
e Tapper Edit)
14. Christian Skjødt: Innocent Square (Wir
e Tapper Edit)
15. Stearica: Warp Lag (Wir
e Tapper Edit)
16. Philippe Petit & Friends
: Succumbed To Gravity
17. Nicolas Salomon: Zoom
18. HHY & Macumbas, The: Legba In Dub
19. My Cat Is An Alien: The Antigravitational Sense Of Nothingness (Wir
e Tapper Alternate Edit)
20. Telebossa: Século Do Progresso
Besetzung: Artwork By [Images] - Patrick Ward
; Compiled By - Andy Tait, Lisa Blanning, Shane Woolman
; Mastered By - Toby Hrycek-Robinson
V. A. (The Wire) [>] [D]: Tapper 26 [F]
Label und Katalognummer: The Wir
e Issue 330
Produktion: Verschiedene
Veröffentlicht: 2011 07
Genretags: Jazz - Avantgardejazz
Trackliste: 1. Tirudel Zenebe: Gue (Wir
e Tapper Edit)
2. Joe Morris Wildlife: Display (Excerpt)
3. Aspec(t): Intorno Al Drago
4. DJ Balli: Skatebored Is Not Skateboard (Valpelice Live Mix 2011)
5. Kikuchi Yukinori: Crystal (Wir
e Tapper Edit)
6. Anne James Chaton & Andy Moor: Princess In A Mercedes Class S 280
7. Øystein Kapperud: Leland Wrapped In Plastic
8. Savaging Spires: Bending The Rules Of Time
9. Elektronavn Sacred Songbook: Path Bodhisattva (Wir
e Excerpt Edition)
10. Contemporary Noise Sextet: Is That Revolution Sad?
11. Syd Ewart: The Kursk
12. Sonnamble: Aphelion I
13. Enablers: The Reader
14. Walter Schnaffs: I Am Germany
15. Bob Bellerue: Niagara (Excerpt)
16. Tulipomania: Found Guitar
17. Enrico Coniglio: The Void
18. Aun: Consumed By Flies
19. Wooden Kimono: Hello
20. Angus Carlyle & Rupert Cox: Three Toho Scenes
Besetzung: Compilation Producer ? Andy Tait, Lisa Blanning, Shane Woolman
; Mastered By ? Toby Hrycek-Robinson
; Painting [Cover] ? Ivan Seal
V. A. (The Wire) [>] [D]: Tapper 27 [F]
Label und Katalognummer: The Wir
e Issue 333
Produktion: Verschiedene
Veröffentlicht: 2011 10 (Ed.)
Genretags: Jazz - Avantgardejazz
Trackliste: 1. Blank Disco: Where Are They Now? - 3:14
2. Palmer Eldritch: Up With The Quark - 4:01
3. Praed: 8 Gega - 4:08
4. Gary Smith / Silvia Kastel / Ninni Morgia: Magnetico - 3:49
5. Soema Montenegro: Colibri - 4:48
6. Ekoplekz: Stahlmann Gas - 3:46
7. Artifact Shore: Busted Up - 4:32
8. La La Vasquez: Horror Stories - 3:29
9. Phog Masheeen: Air Lock - 3:38
10. Roberts (6): In A Field, Listening To The Light - 4:04
11. Drift, The (2): Hello From Everywhere - 3:53
12. Dimitris Bakas: Absolute Continuity (Edit) - 4:02
13. Dalglish: 3.9.2004 - 4:19
14. Konntinent: Creep Sxene - 4:02
15. Toddlers: Old Hat - 3:19
16. Action Beat: Hass Yr Idols - 2:34
17. Astroboy, The: Cloud #2 - 4:02
18. Ektoise: Caverns - 4:28
19. Mathon: Herizun - 4:48
20. Ton (9): No Need To Go So Far - 1:32
Besetzung: Artwork [Cover Artwork] - Mark Fell
; Compiled By - Andy Tait, Jennifer Lucy Allan, Shane Woolman
; Mastered By - Toby Hrycek-Robinson
V. A. (The Wire) [>] [D]: Estonian Music Now 2011. Exploratory Music From Estonia [F]
Label und Katalognummer: Estonian Ministry Of Culture EECD 001
Produktion: Verschiedene
Veröffentlicht: 2011 10 (Ed.)
Genretags: Akademica
Trackliste: 1. Galina Grigorjeva: There Is a Time for Autumn, for Six Percussionists (Excerpt) [Kroumata Percussion Ensemble] - 3:52
2. Peeter Vähi: Choreographic Scene 'Whitelight' (Excerpt) [Hele-Riin Uib; Peeter Vähi; Tallinn Chamber Orchestra] - 7:32
3. Taavo Remmel: 12.12.2006 - 8:49
4. UMA: Civitas soli - 6:17
5. Wochtzchée: Sissejuhatus sissejuhatusse / Introduction to Introduction - 5:56
6. LokaalRaadio: 121108 - 6:22
7. Kago: Aigut / Yawny - 1:28
8. Erkki Luuk / Raul Keller: Aia lõpp / The End of Garden (Excerpt) - 5:29
9. Tuule Kann / Jaak Sooäär: Pakane / Frost - 4:22
10. Rainer Jancis: Fragment II nuga, 17.12.08 - 5:23
11. ASK: Tenniselugu - 6:17
12. Deyal: Insert Name - 4:45
13. Weekend Guitar Trio: Linnulaat / Bird Market - 3:54
14. Celia Roose / Tuule Kann / Robert Jürjendal / Arvo Urb: Siili silma - 4:12
15. Kreatiivmootor: Irratsionaalne - 3:32
Besetzung: Compiled By - Miguel Santos, Red Orange Arts Agency
; Design [Cover Design] - Ivar Reimann
; Mastered By - Tanel Klesment
V. A. (The Wire) [>] [D]: Tapper 28 [F]
Label und Katalognummer: The Wir
e Issue 338
Produktion: Verschiedene
Veröffentlicht: 2012 03
Genretags: Jazz - Avantgardejazz
Trackliste: 1. Bader Motor: Bader Sonntag - 4:06
2. Medicine And Duty: Deep Sea Heat Haze - 3:57
3. Rob St John: Your Phantom Limb - 2:37
4. kelvox1: Loof - 4:00
5. Waves On Canvas: Flowers Of The Sea - 3:31
6. JLIAT: Schönberg Sechs Kleine Klavierstücke, Op 19 - 4:50
7. Mark Harris: Angry Child (Edit) - 4:01
8. Teho Teardo: Dance The Sauris - 3:49
9. Nelson Gastaldi: Symphony No 3 (Excerpt) - 3:35
10. Marco Panella: Swannanoah Tunnel - 3:18
11. To Blacken The Pages: Bruise (Edit) - 4:00
12. Tonesucker: Cosmic Avian Variation - 4:03
13. Matteo Uggeri / Luca Mauri / Francesco Giannico: 5:34am: Calaverna - 4:14
14. Bney Hama
: Kampai - 3:33
15. Ed Hamilton (6): Waterlog - 4:00
16. Neil Campbell & Robert Horton (2): Panharmonicon Particle Radio - 3:43
17. Alberto Boccardi: You Told Me That You Were Lying - 3:57
18. Baconhead: Flytrap - 3:15
19. Big Nils: Will - 2:52
20. Elfmilk: Electron Degeneracy Pressure - 3:53
Besetzung: Artwork [Cover Artwork]: Jimmy Turrell
; Compiled By Andy Tait, Shane Woolman
; Mastered By Toby Hrycek-Robinson
V. A. (The Wire) [>] [D]: Tapper 29 [F]
Label und Katalognummer: The Wir
e Issue 341
Produktion: Verschiedene
Veröffentlicht: 2012 06
Genretags: Jazz - Avantgardejazz
Trackliste: 1. Memotone: My Stranger - 3:27
2. Juxtavoices: Guardian Weekend Remix (Excerpt) - 4:05
3. Cédric Stevens: The Siamese Level (Wir
e Tapper Edit) - 4:24
4. Heath Common And Thin Man, The: A New Bohemian - 3:41
5. Lushlife: Big Sur - 3:25
6. Fractal Skulls, The: Good Girl - 3:11
7. LOUP: Ode To S - 2:29
8. K-Conjog: Untitled 155 - 2:32
9. Wolfram Wir
e: Gaze - 3:11
10. Dead Rat Orchestra: The Geshin And The Guga - 4:41
11. Golden Disko Ship: Electrocuting An Elephant (1902) - 3:40
12. Matthew Shaw: Lanreath - 4:03
13. Icarus: Colourfield v500 (Wir
e Tapper Edit) - 4:09
14. Roland Etzin: Portrait 6 (Japan) (Wir
e Tapper Edit) - 4:00
15. Lata: Starlings (Excerpt) - 4:01
16. LAND: Hotel Room - 2:56
17. Momus & John Henriksson: Futura Bold - 3:55
18. Chra: Black Summer Blues vs II - 4:23
19. Gabriel Prokofiev & Peter Gregson: Tuff Strum (Louis D'Heudieres Remix) - 4:02
20. Offthesky: Born Of Shy Sap - 3:07
Besetzung: Cover Artwork: Viktor Timofeev
; Compiled By Andy Tait, Shane Woolman
; Mastered By Toby Hrycek-Robinson
V. A. (The Wire) [>] [D]: Tapper 30 [F]
Label und Katalognummer: The Wir
e Issue 344
Produktion: Verschiedene
Veröffentlicht: 2012 09
Genretags: Jazz - Avantgardejazz
Trackliste: 1. Matthewdavid: Make Your Own 2007 - 3:59
2. Captain Miki: Do Pork (Excerpt) - 1:59
3. After The Rain: Distance III - 2:58
4. Center Of The Universe Featuring Easy: Astral Adjustements - 3:59
5. Andrey Kiritchenko: Fly Above Where Leaves Do Not - 4:22
6. Wir
es Under Tension: Landscape Architecture - 4:34
7. David Coulter & Ralph Carney: Did You? - 3:35
8. Manuella Blackburn: Switched On - 3:43
9. Tudor Acid: The Sound Of Raindrops (Wir
e Tapper Edit) - 3:36
10. Every Hidden Color: I (Excerpt) - 4:04
11. Valgeir Sigursson: Big Reveal - 3:57
12. Rhodri Davies: Questions Of _________ Middle Distance - 4:18
13. Last Days: If - 2:55
14. Merzouga: Fragment #2 - 2:32
15. Food Pyramid: Marsh Bar - 3:59
16. Lind Bohm: Klang Der Zeit - 2:59
17. Ghikas & Walshe: Al Forno Yeah - 4:02
18. Jealousy Mountain Duo: Leaf Kickers - 3:10
19. Lasse-Marc Riek: Sleeping Bull - 3:55
20. Bersarin Quartett: Perlen, Honig Oder Untergang - 4:33
Besetzung: Artwork [Cover Artwork]: Robert Beatty
; Compiled: Andy Tait, Daisy Hyde, Katie Gibbons, Shane Woolman
; Mastered: Toby Hrycek-Robinson
V. A. (The Wire) [>] [D]: Tapper 31 [F]
Label und Katalognummer: The Wir
e issue 350
Produktion: Verschiedene
Veröffentlicht: 2013 03 (Ed.)
Genretags: Jazz - Avantgardejazz
Trackliste: 1. Pink Electric - 3:30
2. 24 Hours Bells Dub - 3:47
3. Black Flute Chant Part 2 - 3:14
4. The Static And The Swerve - 3:14
5. Metropolis Waltz - 4:10
6. Obedience (Wir
e Tapper Edit) - 4:58
7. The Water's Fine - 5:03
8. Supplemental Shale (Wir
e Tapper Edit) - 4:04
9. By The Rails - 2:17
10. Na Binta (Short Version Edit) - 4:02
11. Solarism (Wir
e Tapper Edit) - 4:33
12. Slip On My Skull - 3:32
13. Study Three - 4:23
14. The Owls (Excerpt) - 3:59
15. Prelude To Alone - 3:17
16. MOOROOMOOBOO HDS OFF (The Wir
e ShOrt Edit) - 3:47
17. Jeriquoi Yah Wangettik Mnuutah - 4:04
18. Dele Af Kroppen - 3:30
19. A Million Voices For Nature (Wir
e Tapper Edit) - 4:29
20. BV6 - 4:03
Besetzung: Artwork [Cover Artwork]: Ben Drury
; Compiled By: Andy Tait, Katie Gibbons, Shane Woolman
; Mastering: Toby Hrycek-Robinson
; Copyright (c) The Wir
e
Wire [>] [D]: Change Becomes Us [F]
Label und Katalognummer: Pink Flag PF 20
Produktion: Colin Newman
Veröffentlicht: 2013 03 25
Genretags: Postpunk
Trackliste: 1. Doubles & Trebles - 3:51
2. Keep Exhaling - 1:40
3. Adore Your Island - 2:46
4. Re-Invent Your Second Wheel - 3:46
5. Stealth Of A Stork - 1:54
6. B/W Silence - 4:40
7. Time Lock Frog - 5:46
8. Magic Bullet - 3:42
9. Eels Sang - 2:16
10. Love Bends - 4:02
11. As We Go - 4:36
12. & Much Besides - 6:13
13. Attractive Space - 3:33
Alle Tracks: Wir
e.
Besetzung: Art Direction, Photography: Jon Wozencroft
; Bass, Vocals, Performer [Various]: Graham Lewis
; Drums, Percussion: Robert Grey
; Engineer [Rockfield Studios]: Sean Douglas
; Guitar: Matthew Simms
; Mastering: Denis Blackham
; Mixing: Colin Newman
; Vocals, Guitar, Keyboards: Colin Newman
; Recorded At Rockfield Studios
; Recorded At Swim Studio
; Mixed At Swim Studio
; Mastered At Skye Mastering
V. A. (The Wire) [>] [D]: Tapper 32 [F]
Label und Katalognummer: The Wir
e issue 354
Produktion: Verschiedene
Veröffentlicht: 2013 07 (Ed.)
Genretags: Jazz - Avantgardejazz
Trackliste: 1. Sparkle In Grey: Song For Arch Stanton (Wir
e Tapper Edit) - 4:47
2. Romvelope: Hodmandod - 4:14
3. Mary Ellen Childs: Spirit Duet (DJ James Patrick Remix) - 2:44
4. On Dog: Poplen. 2:55
5. Claudio Chianura: Daniel And Me At Captain Kidd's - 3:39
6. F/LOR
: The Hunt - 3:12
7. Mike Vernusky: Becomes Wing Life (Excerpt) - 4:22
8. Gagmen, The: Live In New York City (Excerpt) - 4:53
9. Ritornell: The Morning Factory - 4:17
10. Greg Haines: The Whole - 4:05
11. k3T3m: Zar@z - 4:00
12. Eero Pulkkinen & Teemu Iltola: Siilo Part IV (Excerpt) - 4:18
13. A. Kostis
: Dertlidikos Horos - 4:11
14. Nils Frahm: For (Luke Abbott Rework) (Wir
e Tapper Edit) - 4:59
15. Bernhard Weiss: Remember - 2:33
16. Sun Foot: Recession Psychonaut - 4:02
17. Matti Bye: Eikern, 1977 - 3:26
18. Phog Masheeen: The Time Between Eruptions (Wir
e Tapper Edit) - 4:02
19. August Rosenbaum: Bloomer (Excerpt) - 3:55
20. Martin Thulin: Pictures Of Woods (Wir
e Tapper Edit) - 4:10
Besetzung: Artwork [Cover Artwork]: Ben Weaver
; Compiled By Andy Tait, Katie Gibbons, Shane Woolman
; Mastering: Toby Hrycek-Robinson
; Copyright (c) The Wir
e
Tripwires [>] [D]: Spacehopper [F]
Label und Katalognummer: Club AC30, Frenchkiss FKR 0692
Produktion: Nicolas Vernhes
Veröffentlicht: 2013 07 17 (UK), 2013 06 18 (US)
Genretags: Alternativerock - Neo-Psychedelicrock
Trackliste: 1. Spacehopper - 3:31
2. Plasticine - 2:57
3. A Feedback Loop of Laughter - 5:13
4. Shimmer - 3:56
5. Love Me Sinister - 4:55
6. Paint - 3:25
7. Under a Gelatine Moon - 3:55
8. Catherine, I Feel Sick - 3:59
9. Wisdom Teeth - 3:54
10. Tin Foil Skin - 7:50
11. Slow Mo - 5:11
Alle Tracks: Tripwires.
Besetzung: Rhys Edwards: Group Member
; Sam Pilsburg: Group Member
; Joseph Stone: Group Member
; Geoff Strasser: Assistant
; Tripwires: Artwork, Photography
; Gabe Wax: Assistant
; Ben White: Group Member
V. A. (The Wire) [>] [D]: Tapper 33 [F]
Label und Katalognummer: The Wir
e 357
Produktion: Verschiedene
Veröffentlicht: 2013 10 (Ed.)
Genretags: Jazz - Avantgardejazz
Trackliste: 1. Tangents: Liars Tired (Wir
e Tapper Edit) - 4:31
2. KNYST!: Pass - 4:06
3. Netherworld: Icepulse - 4:05
4. Botany: Anchor (Single Version) - 3:22
5. Jacqueline Humbert & David Rosenboom: Distant Space - 3:18
6. Nicoffeine: Ando Guerillo - 3:02
7. Sebastiane Hegarty: Four Walks Around a Year: Summer (Excerpt) - 4:01
8. John McGrath: Four Hills - 3:28
9. Counter Silence: When the Clocks Have Stopped (Wir
e Tapper Edit) - 4:01
10. Big Blood: Everything Is Improving - 3:18
11. Gelbart: Meloda - 3:43
12. Daníel Bjarnason: SOLITUDES IV. Selge Ruh - 4:17
13. Arp: Gravity (for Charlemagne Palestine) (Wir
e Tapper Edit) - 4:06
14. Tulipomania: Hold On - 3:35
15. DAWSON-DAVIES: HEN OGLEDD: Up on the Platform at Morpeth Station - 4:14
16. Jim Fox: Colorless Sky Became Fog - 3:04
17. Yann Novak: Snowfall (Excerpt) - 4:02
18. Phantom Love: Crave for Lust (Edit) - 4:13
19. Lophorina: Drums - 3:02
20. Michael Maierhof: Splitting 26 for Voice and Tape (Edit) - 3:58
Besetzung: Artwork [Cover Artwork]: Laura Carlin
; Compiled By: Andy Tait, Katie Gibbons, Shane Woolman
; Mastering: Toby Hrycek-Robinson
; Copyright (c) The Wir
e
Moon Wiring Club [>] [D]: A Fondness For Fancy Hats [F]
Label und Katalognummer: Gecophonic Audio Systems GEpH 007 TC
Veröffentlicht: 2013 12 04
Genretags: Electronica - Synthtronica - Analogelectronica, Post-Millennial-Music - Lo-Fi-Underground
Trackliste: 1. Console Yourself -
2. Midnight Opening -
3. Realm Of Fancy -
4. Select Yourself -
5. Just My Daguerreotype -
6. Horse Malfunction -
7. Climbing Through A Postcard -
8. Bouncy Mind Palace -
9. Dancing Through The Graveyard -
10. Crumpet Structure -
11. Broken Oracle -
12. Art Deco Express -
13. Distant Gazebo -
14. The Regency Room -
15. The Orchard Of Underhill -
16. Knitting Patterns -
17. (Never) Say My Name -
18. Velveteen World -
19. Boutique Spooky -
20. Timekeeper -
21. Forget Yourself -
22. The Last Ghost In England -
Alle Tracls: Moon Wir
ing Club.
Seite A der Cassetten Ausgabe
1. A Fondness For Fancy Hats - Soft Confusion -
Seite B
1. A Fondness For Fancy Hats - Soft Confusion -
Alle Tracls: Moon Wir
ing Club.
Besetzung: Design [Sleeve]: Kynaston Mass
; Mastered By: Jon Brooks
; Producer [Musical Direction]: Paris Green
; Recorded By [Audio Capture], Executive Producer [Musical Direction]: Mr Paris Green
; Recorded By, Performer [Musical Performance] [Audio Capture], Executive Producer [Musical Direction]: Dr Lettow-Vorbeck
; All audio captured in the Curtain Draped Studio by Mr Paris Green and Dr Lettow-Vorbeck 1596-1992
; Recorded At The Blank Workshop
; Mastered At Newyattsounds
; Phonographic Copyright (p): Gecophonic Audio Systems
; Copyright (c): Gecophonic Audio Systems
V. A. (The Wire) [>] [D]: Tapper 34 [F]
Label und Katalognummer: The Wir
e 362
Produktion: Verschiedene
Veröffentlicht: 2014 03 (ed.)
Genretags: Jazz - Avantgardejazz
siehe Track by Track Guide (The Wir
e, 362, p. 4 Wire/362.pdf#page=4" target="_blank">[PDF])
Trackliste: 1. Marsen Jules: Beautyfear II
2. Shoukichi Kina & Pascal Plantinga: Shima Guwa
3. Pas Musique: Inside The Spectrum
4. Jakob Boeskov / Timothy DeWit
/ Matthew Morandi
: Computer Eyes
5. chra: Snowbird
6. Niels Lyhne Løkkegaard: Sikorsky (Extract)
7. Mason Bates: Stereo Is King (Wir
e Tapper Edit)
8. Ernest Gibson: Groupwork
9. Bleeding Peasant Orchestra, The: Pandaemonium (Edit)
10. Rodolphe ALEXIS
: Parabolic Amphibian Mix (Various Tree Frogs)
11. Mesak: Runopoika #1
12. Roj & Wolfram Wir
e: It Chimes
13. Oiseaux-Tempête: Kyrie Eleison
14. Process Rebel: Mutation Portal
15. DEADBEAR: Snow In Tokyo (Excerpt)
16. Islet: Tripping Through The Blue Room (Part II)
17. Offthesky: Scintillate Inside You (Abbreviate)
18. Talvihorros: Objectum (Edit)
19. Joe Davolaz: Piña Colada
20. JLIAT: All The Noise CDs I Have Reviewed For Vital-Mix (Excerpt)
Besetzung: Artwork [Cover]: Will Sweeney
; Compiled By: Andy Tait, Katie Gibbons, Shane Woolman
; Mastering: Toby Hrycek-Robinson
; Copyright (c) The Wir
e
V. A. (The Wire) [>] [D]: Unsound And Culture PL Present: Tunnels [F]
Label und Katalognummer: Wir
e Magazine
Produktion: Verschiedene
Veröffentlicht: 2014 03 (Ed.)
Genretags: Electronica
siehe: The Wir
e, 362, p. 7 Wire/362.pdf#page=7" target="_blank">[PDF]
Trackliste: 1. Robert Piotrowicz: Snakeboy Maximus - 5:25
2. Stara Rzeka: Broń Nas Od Złego - 4:41
3. Oren Ambarchi: Live Knots (Excerpt) - 12:29
4. Hubert Zemler Feat. Miłosz Pękala: Variations On The Theme 'Suaves Figures' – Figure 7 - 3:37
5. Kapital: New Kind Of Shit - 6:31
6. NeoTantrik & Suzanne Ciani: Blue Amiga - 7:11
7. copeland657: copeland657 - 3:21
8. Ben Vida: Damaged Particulates XII (Unsound/SubPac Test) - 4:42
9. Piętnastka: Piętnastka - 4:19
10. Andy Votel And Andrzej Korzyński: Kleksploitation Excerpt 2 - 5:39
11. Wilhelm Bras: Peaceful Penetration (Short Mix) - 5:02
12. Evol: Arid Sphere Perk Horn - 5:00
Besetzung: Compiled By [Curated By]: Mat Schulz
; Coordinator [Production]: Ewelina Jędrasiak
; Design: Piotr Jakubowicz
; Executive-Producer: Małgorzata Płysa
; Mastering: Mikołaj Bugajak
; Presenter: Culture PL
; Presenter: Unsound
V. A. (The Wire) [>] [D]: Tapper 35 [F]
Label und Katalognummer: The Wir
e 366
Produktion: Verschiedene
Veröffentlicht: 2014 07 (Ed.)
Genretags: Jazz - Avantgardejazz
Diese Promo-CD kam mit The Wir
e, 366 (Annotationen zu den Tracks siehe p.4.
Trackliste: 1. Coppe': Figment Of Imagination
2. Cayos: Briefcase Wormholes
3. Delmore fx: Furtivo
4. German Army: Flogged Ritual
5. God In Hackney: Holt, Jarmara
6. Silje Nes: Mirrored
7. John Edwards, Mark Sanders, John Tilbury: Part 1
8. Alan Licht & Brian Chase: Immediate Release
9. Co La: Workplace
10. Dakota Suite & Quentin SirJacq: Nu Dat Deze Dag Voorbij Is
11. Running: Motoman
12. Quttinirpaaq: Malvert
13. Grauton: Scordatura Air Guitar
14. Lars Greve: Marens Mauw (Edit)
15. Genlevel: Light Year (Wir
e Edit)
16. Kim Hiorthøy: The Woods
17. D.A. Terence: Kernow
18. Domotic: Le Demon (Theme)
19. Ensemble Economique: Make-Out In The GDR (Edit)
20. Håkon Stene: Prelude For HS
Besetzung: Artwork [Cover Artwork]: Ryoko Aoki
; Compiled By: Andy Tait
; Compiled By: Katie Gibbons
; Compiled By: Shane Woolman
; Mastering: Toby Hrycek-Robinson
; Copyright (c) The Wir
e
V. A. (The Wire) [>] [D]: The Dream [F]
Label und Katalognummer: The Wir
e 368
Produktion: Verschiedene
Veröffentlicht: 2014 09 20 (Ed.)
Genretags: Electronica
Tracks von Künstler/-innen, die im Unsound Festival in Krakau, Polen, spielen (12.-19. Oktober 2014).
Trackliste: 1. Hildur Guðnadóttir: Heima (feat. Skúli Sverrisson) - 4:25
2. Księżyc: Anioł - 4:21
3. Stine Janvin Motland: Late Breakfast (feat. Receptacles) - 2:21
4. Jenny Hval & Susanna: I Have A Darkness - 4:48
5. Robert Piernikowski: Ogien - 5:31
6. Jed Kurzel: The Vault - 5:14
7. Atom™ & Robin Fox: Double Vision (Excerpt) - 3:06
8. Ben Frost: Venter (feat. Greg Fox, Shahzad Ismaily - 6:45
9. TCF: 8B 2E E5 32 7B 5A 0B 33 73 B7 00 A9 F5 C2 A5 E4 0F D9 E5 17 DC 5F 3D BC 54 98 20 2C 55 F0 E6 87 6B 06 0C 5A 0E 3B EA 9B C1 4F 7C 50 45 E1 31 4D 8F B0 36 F9 89 AD A8 62 D1 96 D9 63 4C C8 40 05 - 5:39
10. We Will Fail: Ogi - 5:15
11. Natalia Martínez Ordóñez: Specialgesamtkunstwerkkunst - 4:52
12. Kucharczyk: Bity Exextechno Another - 4:56
13. Eltron John: L'Homme À La Caméra (Eltron John Version) - 4:51
14. Le Petit Garçon: Cars Passing By Whilst Smoking - 4:52
15. Aabzu: Perfect Zombie - 2:31
Besetzung: Compiled By : Mat Schulz
; Design: Piotr Jakubowicz
; Executive-Producer: Małgorzata Płysa
; Mastering: Mikołaj Bugajak
V. A. (The Wire) [>] [D]: Tapper 36 [F]
Label und Katalognummer: The Wir
e 369
Produktion: Verschiedene
Veröffentlicht: 2014 10 00
Genretags: Jazz - Avantgardejazz
Trackliste: 1. Dead Rat Orchestra: Martinmass
2. Der Plan: Wir
Werden Immer Mehr
3. Travelling Tribes: Tapping On The Door
4. Ancient Random: Cinders Blades Wings (Target Variant)
5. Michael Jon Fink: From A Folio
6. SQ: Didgenstein River (Edit)
7. Rapoon: Je Veux De L'Amour (Edit)
8. Lophorina: Vorfreude
9. Peter Kutin: Burmese Days (Extract)
10. Oiseaux-Tempête: Call John Carcone (Scanner Remix)
11. Jealousy Mountain Duo: Friends Of Sonny Foschino
12. Reverend Beat-Man: Jesus Christ Twist
13. John Callaghan: Once More With Feeling
14. Tomaga: Days Like They Were Before
15. Cultural Apparati: Venom Sorcerer
16. Esa Shields: Woods And Gullies
17. Jochen Arbeit & Huan: I (Short Version)
18. Martin Hoogeboom: The Endless Light
19. hyperContour: Utter Code
20. Susanna: This Place
Besetzung: Artwork [Cover Artwork]: Sam Messenger
; Compiled By: Andy Tait, Katie Gibbons, Shane Woolman
; Mastering: Toby Hrycek-Robinson
; Copyright (c) The Wir
e
V. A. (The Wire) [>] [D]: Tapper 37 [F]
Label und Katalognummer: The Wir
e Issue 374
Produktion: Verschiedene
Veröffentlicht: 2015 03 (Ed.)
Genretags: Jazz - Avantgardejazz
Trackliste: 1. Grubby Mitts: To A Friend's House The Way Is Never Long - 3:51
2. Roger Redgate & Matt Wright: SIN BAT - 4:02
3. Yes Deer: Flensburg - 3:32
4. My Cat Is An Alien: The Dance Of Oneirism #3 (Excerpt) - 3:59
5. Hannes Buder: Requiem For Alexander Litvinenko - 4:16
6. asylumpeace: White Orchid (A Lovescape) (Extract) - 3:59
7. Alphabets Heaven: Everything Stays The Same - 4:03
8. House Of Cosy Cushions: Black Bat Dance - 3:19
9. Marsen Jules: Penstla - 4:09
10. Clocked Out: Time Crystals - 3:44
11. Kevin Hufnagel: Not An Accident - 3:08
12. Longstone: Risaikuru-Onagawa (Soil Machine Edit) - 3:53
13. Mads Emil Nielsen: Glow (Excerpt) - 4:18
14. Padna: Wolhee - 3:45
15. Orchestra Of The Upper Atmosphere: Space Smells Of Strawberries (Wir
e Edit) - 4:12
16. Ricardo Donoso: Gallicinium - 4:06
17. Todd Anderson-Kunert: That's Not How I Remember It - 4:10
18. Riccardo Dillon Wanke: Gallos Blancos - 2:37
19. Smokey Quartz: Philosophical Zombie - 3:30
20. Manuel Zurria: Lachrimae Coactae (By John Dowland) - 3:30
Besetzung: Artwork [Cover Artwork]: Marcus James
; Compiled By: Andy Tait
; Compiled By: Katie Gibbons
; Compiled By: Shane Woolman
; Mastering: Toby Hrycek-Robinson
; Copyright (c) The Wir
e
Label und Katalognummer: Pinkflag PF 22
Veröffentlicht: 2015 04 13
Genretags: Post-Millennial-Music - Postpunk-Revival
Trackliste: 1. Blogging - 3:46
2. Shifting - 3:17
3. Burning Bridges - 3:17
4. In Manchester - 2:41
5. High - 1:53
6. Sleep-Walking (Wir
e, Colin Newman) - 7:30
7. Joust & Jostle - 2:12
8. Swallow - 4:17
9. Split Your Ends - 3:30
10. Octopus (Wir
e, Colin Newman) - 3:16
11. Harpooned - 8:23
Alle Tracks: Wir
e, Graham Lewis, ausser wo anders vermerkt.
Besetzung: Acoustic Guitar: Colin Newman (1, 2, 8)
; Backing Vocals: Graham Lewis (1, 4, 9, 10)
; Baritone Guitar [Electric]: Colin Newman (1, 7, 8, 11)
; Bass Guitar: Graham Lewis
; Bass Guitar [High]: Graham Lewis (3)
; Bass [FX]: Graham Lewis (6)
; Drums [Drum Kit]: Robert Grey
; Effects [FX]: Matthew Simms (11)
; Electric Guitar: Matthew Simms
; Electric Guitar [12 Strings]: Matthew Simms (2, 3, 9)
; Keyboards: Graham Lewis (8)
; Keyboards: Matthew Simms (1, 2, 4, 6)
; Lap Steel Guitar: Matthew Simms (3, 6)
; Loops: Matthew Simms (8)
; Mandola: Colin Newman (6)
; Percussion [Water Tank]: Robert Grey (6)
; Synth [Modular]: Matthew Simms (4-6, 8-10)
; Voice, Electric Guitar, Keyboards, Alle Tracks [Song]: Colin Newman
V. A. (The Wire) [>] [D]: Tapper 38 [F]
Label und Katalognummer: The Wir
e Issue 378
Produktion: Verschiedene
Veröffentlicht: 2015 07 (Ed.)
Genretags: Jazz - Avantgardejazz
Trackliste:
1. HHY & The Macumbas: Gysin Version (Wir
e Tapper Edit):
2. Baconhead Featuring Nongenetic: Foreign Or Domestic:
3. Simon H. Fell & Phil Minton: Knotted Properties (Excerpt):
4. Guapo: Obscure Knowledge (Wir
e Tapper Edit):
5. Center Of The Universe: Kaleidoscopic (Wir
e Tapper Edit):
6. Simon Vincent: Falling Man, Rising Woman For Solo Voice And Electronics:
7. Pas Musique: Cara Has No Clarity:
8. Icepick: Rare Rufescent (Excerpt):
9. August Rosenbaum: Rhizome (Wir
e Tapper Edit):
10. Will Plowman: Rodeo 49.4:
11. Jealousy Party: Follow Your Bliss (Excerpt):
12. Marcus Maeder: Growth:
13. radiokvm: Alpha Apparatus:
14. Die Goldenen Zitronen: If I Were A Sneaker:
15. Malfinia Ensemblo: Malfinia Ondo:
16. KÖök: Imber Dock:
17. Joxfield ProjeX & Cotton Casino: China Syndrome:
18. Rachel Mason: Nightmare:
19. R Schwarz: Drift Following The Seam:
20. Ambrosia(@): Kittens, Puppies, Sunsets, Sex (Wir
e Tapper Edit)
V. A. (The Wire) [>] [D]: Tapper 39 [F]
Label und Katalognummer: Wir
e Magazine Issue 381
Produktion: Verschiedene
Veröffentlicht: 2015 10 (Ed.)
Genretags: Jazz - Avantgardejazz
Trackliste: 1. Mads Emil Nielsen: Unfold
2. Roger Robinson: It Soon Come
3. Zulus (4): Revolver III
4. Big Legs: Spoonfed
5. Steve Beresford & Panos Ghikas: Food Coat
6. Liquidarlo Celuloide: Vértigo Magnético
7. Wojtczak NYConnection: Ogrywka (Kujawiak)
8. The Art Of Schwanengesang: Laisse-moi. Momentum
9. Oneirogen: Vessels
10. TR Kirstein
& Sune TB Nielsen
: I Am So Happy I Could Spit
11. Creature Automatic: Bears Making Bear Trees
12. Dieuf-Dieul De Thiès: Nianky
13. Cavalier Song: Stones For Throwing
14. Gagarin: Wandle
15. Stig Of The Dump Featuring Jehst: Kubrick
16. Quttinirpaaq: Bleed Out
17. Geoff Dugan: Jane's Pond
18. Denzel + Huhn: Wilhelmshöhe
19. Contact (23): 3rds, 4ths & 5ths (Radio Edit)
20. Hannes Buder: Pain
Besetzung: Artwork [Cover Artwork]: Karel Martens
; Compiled By: Andy Tait
; Compiled By: Katie Gibbons
; Compiled By: Shane Woolman
; Mastering: Toby Hrycek-Robinson
; Copyright (c) The Wir
e
Wire [>] [D]: Nocturnal Koreans [F]
Label und Katalognummer: Pinkflag PF 23
Veröffentlicht: 2016 04 22
Genretags: Post-Millennial-Music - Postpunk-Revival, Post-Millennial-Music - Psychedelia
Trackliste: 1. Nocturnal Koreans - 2:58
2. Internal Exile - 3:29
3. Dead Weight - 3:03
4. Forward Position - 4:50
5. Numbered - 2:30
6. Still - 2:54
7. Pilgrim Trade - 3:11
8. Fishes Bones - 3:02
Besetzung: Acoustic Guitar: Colin Newman (2,5,7)
; Acoustic Guitar: Matthew Simms (2)
; Baritone Guitar: Colin Newman (3)
; Bass Guitar: Graham Lewis (1-3, 5-8)
; Drums: Robert Grey (1-3, 5-8)
; Effects: Matthew Simms (4)
; Electric Guitar: Colin Newman (1-8)
; Electric Guitar: Matthew Simms (1-8)
; Human Beatbox: Colin Newman (1)
; Keyboards: Colin Newman (1-8)
; Lap Steel Guitar: Matthew Simms (1,2,4)
; Loops: Graham Lewis (8)
; Mandola: Colin Newman (7)
; Other [Glass]: Robert Grey
; Percussion: Robert Grey (8)
; Piano: Matthew Simms (8)
; Synth: Graham Lewis (3,5)
; Synth: Matthew Simms (5)
; Trumpet: Matthew Simms (2)
; Voice: Colin Newman (1-7)
; Voice: Graham Lewis (3,4,8)
Label und Katalognummer: Pinkflag PF 24
Produktion: Colin Newman
Veröffentlicht: 2017 03 31
Genretags: Post-Millennial-Music - Postpunk-Revival
Trackliste: 1. Playing Harp for the Fishes - 3:44
2. Short Elevated Period - 2:54
3. Diamonds in Cups - 4:08
4. Forever & a Day - 4:06
5. An Alibi - 3:10
6. Sonic Lens - 4:30
7. This Time - 4:16
8. Brio - 3:37
9. Sleep on the Wing - 2:59
10. Silver/Lead - 2:39
Besetzung: Wir
e are: Robert Grey, Graham Lewis, Colin Newman and Matthew Simms
Recorded at Rockfield Studios, Monmouth
Engineers: Tim Lewis & Jelroen Melchers
Production, Mix and additional recording by Colin Newman at swim studio
Mastering at Skye Mastering by Denis Blackham
Cover Image by Graham Lewis
Art Direction by Jon Wozencroft
Published by pinkflag / mutesong
Label und Katalognummer: Pinkflag PF 25
Veröffentlicht: 2020 01 24
Genretags: Post-Millennial-Music - Postpunk-Revival
Trackliste: 1. Be Like Them - 3:52
2. Cactused - 3:35
3. Primed and Ready - 2:44
4. Off the Beach - 2:23
5. Unrepentant - 5:02
6. Shadows - 2:46
7. Oklahoma - 3:08
8. Hung - 7:54
9. Humming - 3:29
Besetzung: Colin Newman: vocals, guitar
; Graham Lewis: bass guitar, vocals
; Robert Grey: drums
; Matthew Simms: guitar
Suchresultate Releases: Treffer bei assoziierten Acts
Mood Mosaic [>] [D]: Mood Mosaic [F]
Assoziierte Acts: Mark Wir
tz
Label und Katalognummer: Columbia (EMI) SX 6153, Columbia TWO 160
Produktion: Mark Wir
tz
Veröffentlicht: 1967
Genretags: Traditionalpop - Orchestralpop - Easylistening
Trackliste: Seite A
1. A Touch Of Velvet - A Sting Of Brass (J. Ferdy) -
2. Sunny (Bobby Hebb) -
3. The Yellow Spotted Capricorn (J. Ferdy) -
4. Dreamin' (Barry De Vorzon, Ted Ellis) -
5. Monday, Monday (John Phillips) -
6. The Real Mr. Smith (J. Ferdy) -
Seite B
1. Chinese Chequers (J. Ferdy) -
2. There's No Business Like Monkey Business (J. Ferdy) -
3. If Illsusion Met Fantasy (J. Ferdy) -
4. A Thimble Full Of Puzzles (J. Ferdy) -
5. You Didn't Have To Be So Nice (John Sebastian, Steve Boone) -
6. Watching A Matchstick-Fight (J. Ferdy) -
Besetzung: The Ladybirds: featured
; Mark Wir
tz: arranger, conductor
; Jim Sullivan: electric guitar, acoustic guitar, sitar
; Brian Daly: rhythm guitar
; Nicky Hopkins: piano, harpsichord
; Dave Perkins: bass guitar
; John Baldwin: bass guitar
; Dougie Wright: drums
; Kenny Clare: drums
; Denis Lopez: percussion
Mark Wirtz Orchestra And Chorus [>] [D]: Come Back & Shake Me: Teenage Dancing Made in England [F]
Assoziierte Acts: Mark Wir
tz
Label und Katalognummer: Decca SLK 16 613-P
Produktion: Mark Wir
tz
Veröffentlicht: 1969
Genretags: Pop - Orchestralpop - Psychedelicpop
Trackliste: Seite A
1. Dizzy -
2. Aquarius -
3. Come Back And Shake Me -
4. Love And Occasional Rain -
5. Ragamuffin Man -
6. Theme From "A Teenage Opera" -
7. Festival Of Kings -
Seite B
1. Snake In The Grass -
2. A Touch Of Velvet - A Sting Of Brass -
3. I Can Hear Music -
4. Farewell To A Broken Doll -
5. Good Times -
6. My Way -
7. Poem -
Mark Wirtz [>] [D]: A Teenage Opera [F]
Assoziierte Acts: Mark Wir
tz Orchestra & Keith West
Label und Katalognummer: RPM Records RPM 165
Produktion: Phil Smee & Mark Wir
tz
Veröffentlicht: 1996 (Ed.)
Genretags: Pop - Orchestralpop - Psychedelicpop
Trackliste: 1. Mark Wir
tz Orchestra: Theme From A Teenage Opera (Mark Wir
tz) - 2:33
2. Mark Wir
tz Orchestra & Chorus: Festival Of Kings (Mark Wir
tz) - 2:46
3. Keith West: Grocer Jack (Excerpt From A Teenage Opera) (Hopkins, Wir
tz) - 4:40
4. Mark Wir
tz Orchestra: The Paranoiac Woodcutter #1 (Mark Wir
tz) - 1:25
5. Steve Flynn: Mr. Rainbow (Hopkins, Burgess, Wir
tz) - 2:33
6. Mark Wir
tz Orchestra: Glory's Theme (All Aboard!) (Mark Wir
tz) - 4:52
7. Keith West: On A Saturday (Keith West) - 3:11
8. Mark Wir
tz Orchestra: Possum's Dance (Mark Wir
tz) - 2:37
9. Tomorrow & Keith West: Auntie Mary's Dress Shop (Hopkins, Burgess) - 2:46
10. Mark Wir
tz Orchestra & Chorus: Love & Occasional Rain (Mark Wir
tz) - 4:45
11. Mark Wir
tz Orchestra: Grocer Jack (Reprise) (Hopkins, Wir
tz) - 1:09
12. Keith West: Sam (Hopkins, Wir
tz) - 5:12
13. Mark Wir
tz Orchestra & Chorus: Farewell To A Broken Doll (Mark Wir
tz) - 3:22
14. Mark Wir
tz: (He's Our Dear Old) Weatherman (Mark Wir
tz) - 4:01
15. Kippington Lodge: Shy Boy (Hopkins, Burgess) - 2:37
16. Mark Wir
tz Orchestra: Grocer Jack's Dream (Mark Wir
tz) - 3:35
17. The Sweetshop feat. The Band Of The Irish Guards: Barefoot & Tiptoe (Wir
tz, Bigsby) - 2:44
18. Mark Wir
tz: Knickerbocker Glory (Mark Wir
tz) - 2:24
19. Zion De Gallier: Dream, Dream, Dream (Wir
tz, Bigsby) - 2:14
20. Tomorrow: Colonel Brown (Hopkins, Burgess) - 2:52
21. Astronaut Alan & The Planets: Cellophane Mary-Jane (Mills, Wir
tz) - 2:31
22. Mark Wir
tz Orchestra: Paranoiac Woodcutter #2 (Mark Wir
tz) - 1:10
23. Mark Wir
tz Orchestra & Chorus: Theme From A Teenage Opera (End Titles) (Mark Wir
tz) - 2:44
Besetzung: Artwork: Waldo\'s Design
; Compilation Producer [Soundtrack Producer]: Phil Smee
; Executive Producer: Mark Stratford
; Mastering: Nick Watson
; Arranged: Mark Wir
tz
; Transferred By: Phil Farlow (6, 11 & 16)
; Licensed From EMI Special Markets
; Made By Disctronics S
; Mastered At SRT Studios
Assoziierte Acts: Wir
e
Label und Katalognummer: Touch Tone 08
Produktion: Paul Kendall
Veröffentlicht: 1997 09
Genretags: Rock - Punkrock - Artpunk
Trackliste: 1. The First Letter - 16:21
2. Sexy and Rich (Janet) - 8:34
Alle Tracks: Gilbert, Newman, Lewis, Kendall.
Besetzung: Recorded at Orf Vienna 7>9 Feb 1993
; Artwork By [Cover] - Jon Wozencroft
; Lyrics By - Lewis (2)
September Collective [>] [D]: September Collective [F]
Assoziierte Acts: Barbara Morgenstern & Stefan Schneider & Paul Wir
kus
Label und Katalognummer: Geographic GEOG 27
Veröffentlicht: 2004 09 06
Genretags: Indiepop - Electronicpop - Indietronica
Trackliste: 1. Welsclub (3:38)
2. Spacer (1:57)
3. Cirkeln (1:53)
4. Some Of These Days (4:36)
5. The Return (5:49)
6. Schneller Urlaub (2:04)
7. San (1:38)
8. Gardna (3:04)
9. Am Viadukt (1:56)
10. Three In One (5:09)
September Collective [>] [D]: All The Birds Were Anarchists [F]
Assoziierte Acts: Barbara Morgenstern & Stefan Schneider & Paul Wir
kus
Label und Katalognummer: Mosz 014
Produktion: Barbara Morgenstern & Stefan Schneider & Paul Wir
kus
Veröffentlicht: 2007 05 18
Genretags: Indiepop - Electronicpop - Indietronica
Trackliste: 1. Out Of Intention (3:37)
2. Meer (6:00)
3. Natura (4:27)
4. Grundgeräusch Der Wohnung (3:18)
5. Light Writing (3:27)
6. Pausenband (2:03)
7. Primaten (3:19)
8. Taking The Trouble (2:54)
9. Our Cat (1:03)
10. Essentially Unchanged (4:07)
11. Substitute Original (4:31)
12. Spätes Licht (3:17)
September Collective [>] [D]: Always Breathing Monster [F]
Assoziierte Acts: Barbara Morgenstern & Stefan Schneider & Paul Wir
kus
Label und Katalognummer: Mosz 021
Produktion: Barbara Morgenstern & Stefan Schneider & Paul Wir
kus
Veröffentlicht: 2009 11 23
Genretags: Electronica - Ambient
Trackliste: 1. Terzian - 5:09
2. Zimbel - 3:30
3. Nasat - 5:33
4. Prinzipal - 2:04
5. Mechanik - 0:49
6. Waldflöte - 5:03
7. Sasqualtera - 1:24
8. Dulzian - 3:33
9. Amorosa - 4:07
10. Nachthorn - 5:16
Besetzung: Mastered By - Martin Siewert
Ekkehard Ehlers [>] [D]: Adikia [F]
Assoziierte Acts: Werner Dafeldecker & Paul Wir
kus
Label und Katalognummer: Staubgold digital 20
Produktion: Ekkehard Ehlers
Veröffentlicht: 2012 10 22
Genretags: Post-Millennial-Music - Digital-Underground - Neoklassik
Trackliste: 1. Adikia - 26:38
Alle Tracks: Ekkehard Ehlers.
Besetzung: Clarinet: Kai Fagaschinski
; Double Bass: Werner Dafeldecker
; Mastered: Rashad Becker
; Percussion: Paul Wir
kus
; Viol, [Subcontrabass] Recorder: Eva Reiter
; Viola: Björn Gottstein
; Vocals: Todosch
Suchresultate Releases: Treffer bei Titeln
Merchandise [>] [D]: A Corpse Wired For Sound [F]
Label und Katalognummer: 4AD CAD 3660
Produktion: Maurizio Baggio & Patrick Brady & Carson Cox & David Vassalotti
Veröffentlicht: 2016 09 23
Genretags: Post-Millennial-Music - Poprock - Dreampop
Trackliste: 1. Flower of Sex - 4:54
2. Crystal Cage - 4:00
3. Right Back to the Start - 4:16
4. End of the Week - 4:12
5. Lonesome Sound - 4:16
6. Shadow of the Truth - 5:12
7. Silence - 5:08
8. I Will Not Sleep Here (Maurizio Baggio, Carson Cox, Merchandise, David Vassalotti) - 6:47
9. My Dream Is Yours - 4:23
Alle Tracks: Maurizio Baggio, Patrick Brady, Carson Cox und David Vassalotti, ausser wo anders vermerkt.
Besetzung: Maurizio Baggio: Engineer, Mastering, Mixing
; Patrick Brady: Group Member
; Carson Cox: Group Member, Illustrations
; Merchandise: Engineer, Mastering, Mixing
; ZZ Ramirez: Cover Painting
; Marco Rapisarda: Design, Layout
; David Vassalotti: Group Member, Unknown Instrument
Jesus And Mary Chain [>] [D]: Barbed Wire Kisses [F]
Label und Katalognummer: Blanco Y Negro 15
Produktion: John Loder & Jim Reid & William Reid
Veröffentlicht: 1988 (Ed.), 1987-84 (Rec.)
Genretags: Alternativerock - Noiserock, Indiepop - Noisepop
Trackliste: 1. Kill Surf City - 3:13
2. Head - 3:52
3. Rider - 2:11
4. Hit - 3:29
5. Don't Ever Change - 3:35
6. Just Out of Reach - 3:06
7. Happy Place - 2:23
8. Psycho Candy - 2:59
9. Sidewalking - 3:34
10. Who Do You Love - 4:04
11. Surfin' USA - 2:58
12. Everything's Alright When You're Down - 2:39
13. Upside Down - 2:59
14. Taste of Cindy (Acoustic) - 2:01
15. Swing - 2:28
16. On the Wall - 4:50
17. Cracked - 3:45
18. Here it Comes Again - 2:33
19. Mushroom (Live 1986) - 3:20
20. Bo Diddley is Jesus - 3:17
Besetzung: Jim Reid: vocals, guitar, production
; William Reid: vocals, guitar, production
; Helen Backhouse: design
; Andrew Catlin: photography
Black Cat Bones [>] [D]: Barbed Wire Sandwich [F]
Label und Katalognummer: Decca SDN 15
Produktion: David Hitchcock
Veröffentlicht: 1970 02 13
Genretags: Rock - Bluesrock - British-Bluesrock
Trackliste: Seite A
1. Chauffeur (Andy Stroud) - 5:15
2. Death Valley Blues (Arthur 'Big Boy' Crudup) - 3:52
3. Feeling Good (Anthony Newley, Leslie Bricusse) - 4:58
4. Please Tell Me Baby (Harrison Nelson) - 3:10
5. Coming Back (Paul Tiller, Rod Price) - 2:32
Seite B
1. Save My Love (Derek Brooks, Phil Lenoir, Rod Price, Stuart Brooks) - 4:50
2. Four Women (Nina Simone) - 5:09
3. Sylvester's Blues (Rod Price) - 3:45
4. Good Lookin' Woman (Rod Price) - 7:16
Besetzung: Bass Guitar: Stuart Brooks
; Design [Sleeve], Artwork [Model]: David Anstey
; Drums: Phil Lenoir
; Engineer [Assistant]: Simon Schofield
; Engineer [Assistant]: Stephen W. Brown
; Engineer [Decca]: Dave Grinsted
; Engineer [Decca]: Peter Rynston
; Engineer [Tangerine Studios]: Robin Sylvester
; Lacquer Cut By: W (12)
; Lead Guitar: Rod Price
; Photography [Back]: Jennifer Edwards
; Photography [Front]: David Wedgbury
; Piano: Robin Sylvester (A4)
; Piano: Steve Milliner (A3)
; Rhythm Guitar: Derek Brooks
; Vocals: Brian Short
; Vocals: Rod Price (B4)
; Phonographic Copyright (p) The Decca Record Company Limited
; Copyright (c) The Decca Record Company Limited
; Made By The Decca Record Company Limited
; Printed By Senol Printing Ltd.
; Published By Essex Music
; Published By Concord Music (2)
; Published By Burlington Music
; Published By Palace Music
; Recorded At Tangerine Studios
; Recorded At Decca Studios
; Lacquer Cut At Decca Studios
; Pressed By Decca Record Co. Ltd., Pressing Plant, UK.
John Mayall's Bluesbreakers [>] [D]: Bare Wires [F]
Assoziierte Acts: John Mayall & Mick Taylor
Label und Katalognummer: Decca SKL 4945, Decca 984 217
Produktion: Mike Vernon
Veröffentlicht: 1968 06 21, 2007 09 03 (Reed.)
Genretags: Rock - Bluesrock - British-Bluesrock
Bare
hat ein psychedelisch anmutendes Cover: die flüssig gewundene Schrift (vergleiche andere psychedelische Schriften) und die Kaleidoskop-artige Bildmontage. Die Musik ist weniger psychedelisch als das Cover es suggeriert, doch die Suite auf der A-Seite der LP ist schon ein anerkennendes Kopfnicken von Mayall gegenüber dem damals progressiven psychedelischen Bluesrock.Wir
es
Trackliste: Seite A
1. a) Bare Wir
es - 1:48, b) Where Did I Belong - 3:10, c) Start Walking - 2:05, d) Open a New Door - 3:07, e) Fire - 3:10, f) Know You - 5:19, g) Look in the Mirror - 3:56
Seite B
1. I'm a Stranger - 5:11
2. No Reply (John Mayall, Mick Taylor) - 3:07
3. Hartly Quits - 2:53
4. Killing Time - 4:45
5. She's Too Young (John Mayall, Mick Taylor) - 2:20
6. Sandy - 3:45
Bonustracks der CD Ausgabe von 2007
1. Picture on the Wall - 3:03
2. Jenny - 4:40
3. Knocker's Step Forward - 3:13
4. Hide and Seek - 2:23
5. Intro - Look at the Girl - 6:46
6. Start Walkin' - 8:23
Alle Tracks: John Mayall
Besetzung: Cornet, Violin: Henry Lowther
; Double Bass [String Bass], Bass Guitar: Tony Reeves
; Drums, Percussion: Jon Hiseman
; Engineer: Derek Varnals
; Guitar, Acoustic Guitar [Hawaiian]: Mick Taylor
; Photography: Pete Smith
; Photography [Inside Color Photo]: Jan Persson
; Tenor Saxophone, Baritone Saxophone: Chris Mercer
; Tenor Saxophone, Soprano Saxophone: Dick Heckstall-Smith
; Vocals, Harmonica, Piano, Harpsichord, Organ, Harmonium, Guitar [Assorted], Producer, Artwork, Design: John Mayall
; Recorded At Decca Studios
Tim Hardin [>] [D]: Bird On A Wire [F]
Label und Katalognummer: Columbia CS 30551
Produktion: Ed Freeman
Veröffentlicht: 1971 07
Genretags: Folk - Urbanfolk - Baroquefolk
Trackliste: Seite A
1. Bird on the Wir
e (Cohen) - 5:28
2. Moonshiner - 3:14
3. Southern Butterfly - 2:49
4. A Satisfied Mind (Hayes, Rhodes) - 2:08
5. Soft Summer Breeze - 3:04
Seite B
1. Hoboin' (Hardin, Hooker, Josea) - 3:25
2. Georgia on My Mind (Carmichael, Gorrell) - 4:31
3. André Johray - 2:47
4. If I Knew - 3:52
5. Love Hymn - 4:37
Alle Tracks: Tim Hardin, ausser wo anders vermerkt.
Besetzung: Tim Hardin: vocals, guitar, keyboards
; Joe Zawinul: keyboards
; Warren Bernhardt: keyboards
; Sam T. Brown: guitar
; Bill Chelf: keyboards
; Ed Freeman: guitar, string and horn arrangements
; Monte Dunn: guitar
; Steve Haas: drums, percussion
; Paul Hornsby: keyboards
; Bill Keith: pedal steel guitar
; Tony Levin: bass
; Glenn Moore: bass
; Richard Bock: cello
; George Ricci: cello
; Margaret Ross: harp
; Ralph MacDonald: drums, percussion
; Natoga: drums, percussion
; Alphonse Mouzon: drums, percussion
; Mike Mainieri: vibraphone, background vocals
; Canby Singers: background vocals
; Robert Popwell: bass
; Rob Rothstein: bass
; Joe Rudd: guitar
; Bill Stewart: drums, percussion
; Ralph Towner: guitar
; Miroslav Vitous: bass
; Collin Walcott: vibraphone, background vocals
; Engineered by Jim Greene, Lacy O\'Neal, Doug Pomeroy
; Mastered by Lous Schlossberg
V. A. (The Wire) [>] [D] & V. A. (Brainwashed Recordings) [>] [D]: Brain In The Wire [F]
Label und Katalognummer: The Wir
e Issue 201, Brainwashed Recordings 004a
Produktion: Verschiedene
Veröffentlicht: 2000 11
Genretags: Jazz - Avantgardejazz
Trackliste: 1. Legendary Pink Dots: Old Sparky - 5:12
2. V/Vm: Cha-ha Meat Skran-r The 15lb. Turkey - 4:01
3. Greater Than One: Broadcast - 4:50
4. Twilight Circus Dub Soundsystem: Slicer Dubplate (Version 2) - 5:04
5. Fridge: Harmonics - 4:02
6. Ruby Falls: The Brave Ones - 3:33
7. Panacea: Battle Stations (Dub Version) - 5:56
8. m2: L-tuo - 3:11
9. Jessica Bailiff: Shadow - 5:00
10. Cyclobe: Replaced By His Constellation - 7:55
11. Windy & Carl: Trembling - 7:02
12. Christoph Heemann & Andreas Martin: Wir
es - 4:08
13. Little Annie (a.k.a. Annie Anxiety): Lullaby - 3:43
14. Aranos & Nurse With Wound: Mary Jane (Marbles Remix) - 6:36
15. Current Ninety Three & Pantaleimon: The Magical Bird In The Magical Woods - 5:52
Besetzung: Artwork: Daniel McKernan
; Compiled, Mastered: Jon Whitney
V. A. (Definitiv) [>] [D] & V. A. (Make Up) [>] [D]: Definitiv 2: Alles Wird Gut - Zürich 1987–1997 [F]
Label und Katalognummer: Make Up make 17
Produktion: Verschiedene
Veröffentlicht: 2003 (Ed.)
Genretags: Caribbeana - Reggae
Trackliste: CD 1
1. Happysad: Ramblin Man - 3:00
2. Midnight To Six: Yearning On A Shoulder - 3:01
3. Hillbilly Headhunters: Sloopy Part II - 3:20
4. Rams & Band: Little Foxes - 3:26
5. Playboys: Licence To Kill - 2:40
6. EKR: Chreis 5 - 5:08
7. Wemean: Goddam My Eyes - 4:23
8. Finger: Dogfood - 4:03
9. Wowowonigä: Wowowonigä - 3:08
10. Primitive Lyrics: Was Seisch - 3:31
11. Mona Lisa Overdrive: The Return - 3:32
12. Fleisch: Running After All - 3:47
13. Flieger Erobern Die Welt: Das Knie - 2:04
14. No Secrets In The Family: Action - 2:12
15. Baby Jail: Sad Movies - 3:28
16. Dangermice: Doggy & Bess - 5:19
17. Female Trouble: Sister - 3:44
18. Coroner: The Lethargic Age - 4:16
19. Run Chicken Run: Jesus Loves You - 4:25
20. Crank: Heavenly Appeal - 3:33
CD 2
1. Jellyfish Kiss: Luna Hotel - 3:00
2. Jean Et Les Peugeot: Dance On - 3:38
3. Taxi Val Mentek: Have You Ever Loved... - 3:03
4. Cyrano: My Fathers Song - 3:42
5. Scuba Divers: Drift Apart - 4:55
6. Gigi Moto: Free Falling - 3:52
7. Stephan Eicher: This City - 2:50
8. Nordland: Keep It Away - 4:48
9. Yello: The Rhythm Divine - 5:48
10. Gabriel Magos: Full Moon Night Dogs - 4:30
11. Die Welttraumforscher: Kleines Mädchen - 4:28
12. Michael Von Der Heide: Laisser Tomber Les Filles - 3:28
13. Sendak: Sendak - 3:48
14. Ganglords: Girls Dem Nice - 3:33
15. UnknownmiX: The Siren - 4:10
16. Radio Osaka: In New Ways - 4:42
17. Skrupel: Reminder - 5:57
18. Swandive: Exit 101 - 6:52
Besetzung: Mastering: Voco Fauxpas
; Phonographic Copyright (p) RecRec Medien AG
; Copyright (c) RecRec Medien AG
; Distributed By EFA
; Pressed By Sony DADC
; Mastered At Artag Studio
V. A. (Bear Family Records) [>] [D]: Der Jazz in Deutschland 3: Ein frischer Wind (= Die Wirtschafts-Wunderjahre und danach) [F]
Label und Katalognummer: Bear Family Records BCD 16911 CP
Produktion: Verschiedene
Veröffentlicht: 2008 (Ed.)
Genretags: Jazz
Trackliste: CD 1: Die Revival-Szene
1. Fritz Weichbrodt & Hugo Strasser & Max Büttermann & Claus Ogerman & Hans Lehmann & Silo Deutsch: Muskrat Ramble - 4:18
2. Two Beat Stompers: Tin Roof Blues - 3:47
3. Magnolia Jazz Band: Sweet Georgia Brown - 3:09
4. Darktown Stompers: Apex Blues - 2:52
5. Helmut Schlitt: Dippermouth Blues - 2:17
6. Oimel Jazz Youngsters: I Wish I Could Shimmy Like My Sister Kate - 2:28
7. Wild Bill Davison & Spree City Stompers: Royal Garden Blues - 3:46
8. Die Bucktown Six: 2:19 Blues - 4:26
9. Riverside Jazz Band: Black Bottom Stomp - 2:42
10. Blue Washboard Five: Weary Blues - 3:38
11. Old Heidetown Ramblers: Pass Out Lightly (There Ain't Nothin' To It) - 3:00
12. Riverboat Seven: New Orleans - 4:30
13. Wild Bill Davison & Feetwarmers: Sweet Sue - Just You - 4:39
14. Old Merry Tale Jazzband: Am Sontag Will Mein Süßer Mit Mir Segelin Gehn - 3:02
15. Hot Dogs: Ja, So Sand's de Oidn Rittersleit' - 3:30
16. Barrelhouse Jazzband: Heebie Jeebies - 5:20
17. Jenaer Oldtimers: High Society - 3:04
18. Dixieland All Stars Berlin: Just A Closer Walk With Thee - 3:34
19. Old-Time-Memory-Jazz-Band: St. James Infirmary - 3:54
20. Papa Binnes Jazzband: China Boy (Go Sleep) - 3:29
21. Jenaer Dixieland Stompers: Bertchen's Blues - 5:37
22. Elb Meadow Ramblers: I've Found A New Baby - 3:35
23. Uni-Jazz-Band Halle: Savoy Blues - 3:22
CD 2: Der Moderne Jazz In Der DDR
1. Werner Pfüller Quintett: En Avant - 2:59
2. Klaus Lenz: Minority - 2:50
3. Manfred-Ludwig Sextett: Take Five - 2:36
4. Klaus Lenz & Modern Jazz Big Band 65: Ein Nachmittag In Berlin - 12:52
5. Berlin-Leipzig-Combo: Blues Gedanken - 7:50
6. Joachim Kühn Trio & Ernst-Ludwig Petrowsky: Django - 9:38
7. Günter Hörig: Hahnentor - 6:15
8. Ensemble Studio 4: Kein Klagelied - 7:51
9. Theo Schumann-Formation: Springs - 4:11
10. Günther Fischer-Quintett: Maschinerie - 8:19
11. Ernst-Ludwig Petrowsky Quartett: Enfant - 3:52
12. Konrad Körner: Hush - 6:44
13. Friwi Sternberg - Quintett: Oh Lord, Don't Let It Drop An Atomic Bomb (Oh Lord, Don't Let Them Drop That Atomic Bomb On Me) - 2:18
14. Vielharmonie Orchestra: From BeBand To BigBop - 3:55
CD 3: Der Moderne Jazz in der BRD
1. Jutta Hipp Quintet: Frankfurt Bridges - 3:03
2. Rolf Kühn Quintett: Frankfurt Blues (Now's The Time) - 3:23
3. Wolfgang Lauth Quartett: Cool March - 2:21
4. Helmut Brandt Combo: Sum - 3:54
5. Michael Naura Quintett: Micha's Dilemma - 2:49
6. Vera Auer Combo: Dot's Groovy - 4:54
7. Hans Koller New Jazz Stars: Short Cut - 3:50
8. Modern Jazz Group Freiburg & Raymond Court: Weekend Vol. III A Night At Tony's - 3:26
9. Ingfried Hoffmann: Soul Twist - 6:12
10. Inge Brandenburg: Out Of Nowhere - 3:11
11. Albert Mangelsdorff & Lee Konitz: Creole Love Call - 4:06
12. Klaus Weiss Quintet & Clifford Jordan: Blue'n Boogie - 6:11
13. Jörg Widmoser & Hajo Hoffmann: Rhythm-a-Ning - 6:07
14. Christopher Dell D.R.A.: Fünfunddreissig - 4:00
15. Der Rote Bereich: Mein Sportheim - 4:46
16. Nils Wogram: My Modem's World - 3:51
17. Martin Sasse Trio: Blue Herring - 5:26
18. Oktoposse: Luftstand - 3:25
19. Trio Elf: Off Minor - 4:33
20. Esther Kaiser: Dream Ghost - 4:55
XTC [>] [D]: Drums And Wires [F]
Label und Katalognummer: Virgin V 2129, Virgin CDVX 2129
Produktion: Steve Lillywhite
Veröffentlicht: 1979 08 17, 2001 06 11 (Reed.)
Genretags: Postpunk, Indiepop
Die Originalplatte kam mit einer Promosingle mit Seite A: «Chain of Command» und Seite B: «Limelight».
Trackliste: Seite A
1. Making Plans for Nigel (Colin Moulding) - 4:12
2. Helicopter - 3:54
3. Day in Day Out (Colin Moulding) - 3:08
4. When You're Near Me I Have Difficulty - 3:21
5. Ten Feet Tall (Colin Moulding) - 3:11
6. Roads Girdle the Globe - 4:52
Seite B
1. Real by Reel - 3:48
2. Millions - 5:35
3. That Is the Way (Colin Moulding) - 2:56
4. Outside World - 2:40
5. Scissor Man - 4:00
6. Complicated Game - 4:47
Bonustracks der CD Ausgabe von 2001
1. Life Begins at the Hop - 3:49
2. Chain of Command - 2:33
3. Limelight (Colin Moulding) - 2:26
Alle Tracks: Andy Partridge, ausser wo anders vermerkt.
Besetzung: Andy Partridge: Vocals, Guitars and Synthesizers
; Colin Moulding: Vocals and Bass
; Dave Gregory: Guitars, Keyboards and Background Vocals
; Terry Chambers: Drums, Percussion and Background Vocals
; Andy Partridge, Colin Moulding, Dave Gregory, Terry Chambers, Steve Warren, Hugh Padgham, Al Clark, Jumbo Van Reinen: Vernon Yard Male Voice Choir (A6)
; Dick Cuthell: trumpet (B3)
; Hugh Padgham: Engineer
Label und Katalognummer: Polydor 1712655, Polydor 1709519
Produktion: Billy Nicholls & Bob Pridden & Pete Townshend
Veröffentlicht: 2006 10 27, 2006 10 30 (DLX)
Genretags: Rock - AOR-Rock - AOR-Poprock
Die Tracks 10-19 sind eine Minioper und heissen Wir
e & Glass.
Trackliste: CD
1. Fragments (Townshend, Lawrence Ball) - 3:58
2. A Man in a Purple Dress - 4:14
3. Mike Post Theme - 4:28
4. In the Ether - 3:35
5. Black Widow's Eyes - 3:07
6. Two Thousand Years - 2:50
7. God Speaks of Marty Robbins - 3:26
8. It's Not Enough (Townshend, Rachel Fuller) - 4:02
9. You Stand by Me - 1:36
CD: Wir
e & Glass - A Mini-Opera
10. Sound Round - 1:21
11. Pick Up the Peace - 1:28
12. Unholy Trinity - 2:07
13. Trilby's Piano - 2:04
14. Endless Wir
e - 1:51
15. Fragments of Fragments (Townshend, Ball) - 2:23
16. We Got a Hit - 1:18
17. They Made My Dream Come True - 1:13
18. Mirror Door - 4:14
19. Tea & Theatre - 3:24
Bonustracks
1. We Got a Hit (extended version) - 3:03
2. Endless Wir
e (extended version) - 3:03
Alle Tracks: Pete Townshend, ausser wo anders vermerkt.
Besetzung: Acoustic Guitar: Jolyon Dixon (08)
; Artwork By [Art & Design]: Andy Engel
; Backing Vocals: Billy Nicholls (10, 11, 14, 20,.21), Simon Townshend (10, 11, 14, 20, 21)
; Banjo: Pete Townshend
; Bass: Pino Palladino (10, 11, 14, 16-18, 21), Stuart Ross (8)
; Cello: Vicky Matthews (13)
; Drums: Peter Huntington (8, 10, 11, 14, 16-18, 20, 21), Zak Starkey (5)
; Electronics: Lawrence Ball (1, 15)
; Engineer: Myles Clarke
; Guitar: Pete Townshend, Simon Townshend
; Keyboards: Rachel Fuller (8)
; Lead Vocals: Roger Daltrey
; Mandolin: Pete Townshend
; Mastered By: Ian Cooper
; Mixed By: Pete Townshend
; Orchestrated By: Pete Townshend (13)
; Organ [Hammond]: John \'Rabbit\' Bundrick (10-11, 18)
; Viola: Ellen Blair (13), Pete Townshend (13)
; Violin: Brian Wright (13), Gill Morley (13), Pete Townshend (13)
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Calexico [>] [D]: Feast Of Wire [F]
Label und Katalognummer: Quarterstick QS 078
Produktion: Joey Burns & John Convertino & Craig Schumacher
Veröffentlicht: 2003 02 18
Genretags: Alternativerock - Alternativecountry - South-East-Americana
Trackliste: 1. Sunken Waltz - 2:27
2. Quattro (World Drifts In) - 4:36
3. Stucco (Joey Burns) - 0:20
4. Black Heart - 4:48
5. Pepita - 2:36
6. Not Even Stevie Nicks... - 2:42
7. Close Behind (Joey Burns) - 2:51
8. Woven Birds - 3:46
9. The Book and the Canal (John Convertino) - 1:45
10. Attack El Robot! Attack! - 3:17
11. Across the Wir
e (Joey Burns) - 3:25
12. Dub Latina - 2:19
13. Güero Canelo (Joey Burns) - 2:57
14. Whipping the Horse's Eyes - 1:24
15. Crumble - 3:54
16. No Doze - 4:21
Alle Tracks: Joey Burns und John Convertino, ausser wo anders vermerkt.
Besetzung: Jim Blackwood. Mixing
; Joey Burns. Accordion, Bass (Upright), Bowed Banjo, Cello, Cuatro, Guitar, Mandolin, Melodica, Orchestra Bells, Percussion, Pump Organ, String Arrangements, Synthesizer, Vibraphone, Vocals
; John Convertino. Drums, Percussion, Piano
; Victor Gastelum. Cover Art
; J.J. Golden. Mastering
; Ed Kay. Flute
; Eddie Lopez. Button Accordion
; Nick Luca. Engineer, Guitar (Electric), Mixing, Piano, String Arrangements, Synthesizer, Vibraphone, Vocals
; Paul Niehaus. Pedal Steel
; Craig Schumacher. Engineer, Mixing, Synthesizer, Timpani, Trumpet, Vocals (Background)
; Fernando Valencia. Violin
; Jacob Valenzuela. Trumpet, Vocals
; Martin Wenk. Accordion, Bowed Vibes, Trumpet
; Volker Zander. Bass (Upright)
Little River Band [>] [D]: First Under The Wire [F]
Label und Katalognummer: Capitol SOO 11954
Produktion: John Boylan & Little River Band
Veröffentlicht: 1979 07 09
Genretags: Rock - AOR-Rock - Yachtrock
Trackliste: Seite A
1. Lonesome Loser (Briggs) - 3:57
2. The Rumor (Shorrock) - 4:17
3. By My Side (Birtles, Goble) - 4:25
4. Cool Change (Shorrock) - 5:13
5. It's Not a Wonder (Goble) - 3:55
Seite B
1. Hard Life (Prelude) (Briggs) - 2:42
2. Hard Life (Goble) - 4:47
3. Middle, Man (Birtles, Goble) - 4:25
4. Man on the Run (Birtles, Goble) - 4:16
5. Mistress of Mine (Goble) - 5:15
Bonustrack
1. When Will I Be Loved? (Everly) - 2:57
Besetzung: Acoustic Guitar: John Boylan (A2)
; Backing Vocals: Glenn Shorrock
; Bass: Clive Harrison (A1, A2, A5, B4, B5)
; Bass: Mike Clarke (A3, A4, B1, B2, B3, B5)
; Drums, Percussion: Derek Pellicci
; Guitar: David Briggs
; Guitar, Backing Vocals: Beeb Birtles
; Guitar, Vocals, Backing Vocals: Graham Goble
; Keyboards: Peter Jones (B3, B5)
; Piano: Peter Jones (A3, A4, B1, B2)
; Piano: Peter Sullivan (A1, A2, A5, B4)
; Saxophone: Bill Harrower (A4, B3)
; Sitar: David Briggs (B5)
; Vibraphone: Barry Quinn (A3)
; Vocals: Beeb Birtles (A3, B3, B4)
; Vocals: Glenn Shorrock (A1, A2, A4, A5, B2, B3, B5)
Metallica [>] [D]: Hardwired...To Self-Destruct [F]
Label und Katalognummer: Blackened Recordings 31
Produktion: Greg Fidelman & James Hetfield & Lars Ulrich
Veröffentlicht: 2016 11 18
Genretags: Metal - Alternativemetal - Thrashmetal
Trackliste: CD 1
1. Hardwired - 3:09
2. Atlas, Rise! - 6:28
3. Now That We're Dead - 6:59
4. Moth Into Flame - 5:50
5. Dream No More - 6:29
6. Halo On Fire - 8:15
CD 2
1. Confusion - 6:43
2. ManUNkind - 6:55
3. Here Comes Revenge - 7:17
4. Am I Savage? - 6:30
5. Murder One - 5:45
6. Spit Out The Bone - 7:09
Besetzung: Bass: Robert Trujillo
; Coordinator [Album Production Coordination]: Lindsay Chase
; Coordinator [HQ Album Production Coordination]: Kent Matcke
; Design [Album Design], Creative Director [Creative Direction]: Turner Duckworth
; Drums: Lars Ulrich
; Editing [Digital Editing By]: Dan Monti
; Editing [Digital Editing By]: Jason Gossman
; Editing [Digital Editing By]: Jim "Bud" Monti
; Engineer [Assistant Engineering]: Kent Matcke
; Engineer [Assistant Engineering]: Sara Killion
; Guitar [Guitars]: Kirk Hammett
; Guitar, Vocals: James Hetfield
; Management: Q Prime Inc.
; Mastering: Dave Collins
; Photography [Brain Scan Photography Sourced From]: Shutterstock
; Photography, Creative Director [Creative Direction]: Herring & Herring
; Producer [Produced By]: Greg Fidelman
; Producer [Produced With]: James Hetfield
; Producer [Produced With]: Lars Ulrich
; Recording [Additional Recording By]: Mike Gillies
; Recording [Additional Recording By]: Sara Killion
; Recording, Mixing: Greg Fidelman
; Alle Tracks: James Hetfield (1-1 to 2-1, 2-3 to 2-6)
; Alle Tracks: Lars Ulrich (1-1 to 2-1, 2-3 to 2-6)
; Copyright (c) Creeping Death Music
; Phonographic Copyright (p) Blackened Recordings
; Copyright (c) Blackened Recordings
; Published By Creeping Death Music
; Manufactured By Blackened Recordings
; Recorded At HQ, San Rafael
; Mixed At HQ, San Rafael
; Mastered At Dave Collins Mastering
Egoexpress [>] [D]: Hot Wire My Heart [F]
Label und Katalognummer: Ladomat 2000 2171
Produktion: Mense Reents & Jimi Siebels
Veröffentlicht: 2005 08 06
Genretags: Electronica - House
Trackliste: 1. Aranda - 3:18
2. I'm In The Army Now - 5:31
3. Knartz IV - 5:32
4. Pay The Beat - 4:11
5. Hot Wir
e My Heart - 5:46
6. Everybody - 6:50
7. Drehwinkel - 4:23
8. Braune Brücke - 6:22
9. Dumkraft - 5:18
10. a) Links Eine Hand - 4:37, b) Springfield - 4:21
Video
1. We Are Here
Alle Tracks: Jimi Siebels, Mense Reents.
Besetzung: Mastered By - Chris von Rautenkranz
; Photography [Page 4] - Katja Ruge
; Photography [Page 7 Taken From A Videostill] - Stefan Lampadius
; Mixed By - DJ Phono, Egoexpress (1)
; Vocals - Bianca Gabriel (1)
; Mixed By - DJ Phono, Egoexpress (3)
; Mixed By - DJ Phono, Egoexpress (4)
Odd Nosdam [>] [D]: Level Live Wires [F]
Label und Katalognummer: Anticon ABR 0074
Produktion: Odd Nosdam
Veröffentlicht: 2007 08 28
Genretags: Hip-Hop - Underground-Hip-Hop - Electronic-Hip-Hop
Trackliste: 1. On - 0:57
2. Kill Tone - 5:10
3. We Dead - 1:20
4. Freakout 3 - 4:04
5. Fat Hooks - 5:46
6. Blast - 1:49
7. The Kill Tone Two - 4:54
8. Burner - 5:49
9. Up in Flames - 4:53
10. Slight Return - 1:57
11. Off - 3:15
CD 2: Bonus CD
1. Lil Tone Kill - 2:17
2. Freakout 3 Sound 1 - 1:44
3. Freakout 3 Sound 2 - 0:21
4. Full On/Off - 4:23
5. Flames On Tape - 0:29
6. Flames Sound - 1:29
7. JB Doug Hook - 2:42
8. Ambient Fat Hooks - 4:59
9. Lil Tone Kill Two - 2:07
10. Again - 1:00
11. Burn - 2:02
Besetzung: Mastering: Antimatter
; Performer [Everything Else]: David Madson
; Voice [Phone], Other [Laundry]: Dee Kesler
Curved Air [>] [D]: Midnight Wire [F]
Assoziierte Acts: Sonja Kristina
Label und Katalognummer: BTM Records BTM 1005
Produktion: Howard Albert & Ron Albert
Veröffentlicht: 1975
Genretags: Rock - Progrock
Trackliste: Seite A
1. Woman On A One Night Stand (Norma Tager, Sonja Kristina) - 5:06
2. Day Breaks My Heart (Darryl Way, Norma Tager) - 4:38
3. The Fool (Darryl Way, Mick Jacques, Norma Tager) - 4:27
4. Pipe Of Dreams (Mick Jacques) - 3:58
Seite B
1. Orange Street Blues (Darryl Way, Norma Tager) - 5:01
2. Dance Of Love (Darryl Way, Mick Jacques, Norma Tager) - 4:36
3. Midnight Wir
e (Darryl Way, Norma Tager) - 7:32
Besetzung: Backing Vocals: Derek Damain (A3)
; Bass: John G. Perry
; Design [Original Sleeve Design]: Liz Gilmore, Bob Searles
; Drums: Stewart Copeland
; Engineer: Will Reid-Dick
; Guitar [Guitars]: Mick Jacques
; Keyboards: Peter Wood
; Other [Thanks To]: Beric Wickens
; Other [Thanks To]: Carolann Nicholls
; Other [Thanks To]: Ian Copeland
; Other [Thanks To]: Miles Copeland
; Other [Thanks To]: Moray McMillin
; Other [Thanks To]: Nick Blackburn
; Photography: Derek Richards
; Photography: Jill Furmanovsky
; Photography: Michael Allard
; Violin: Darryl Way
; Vocals: Sonja Kristina
; Manufactured By RCA Ltd.
; Distributed By RCA Ltd.
; Phonographic Copyright (p) BTM Records Ltd.
; Printed By Robert Stace
; Published By BTM Publishing Ltd.
; Published By Chrysalis Music Ltd.
; Recorded At Ramport Studios
Alvin Lucier [>] [D]: Music On A Long Thin Wire [F]
Label und Katalognummer: Lovely Music VR 1011/12, Lovely Music LCD 1011
Veröffentlicht: 1980, 1992 (Reed.)
Genretags: Akademica - Intermediale-Musik - Soundart
Trackliste: Seite A
1. Music On A Long Thin Wir
e - 20:00
Seite B
1. Music On A Long Thin Wir
e - 20:30
Seite C
1. Music On A Long Thin Wir
e - 20:00
Seite D
1. Music On A Long Thin Wir
e - 19:30
Alle Tracks: Alvin Lucier.
Besetzung: Design: Patrick Vitacco
; Mastering: Howie Weinberg
; Photography: Lon Holmberg
; Mastered At Masterdisk
; Phonographic Copyright (p) Alvin Lucier
; Commissioned in 1977 by Donald Funes for the Live Electronic Music Ensemble of the Crane School of Music, State University College of New York at Potsdam
Solvent [>] [D]: New Ways - Music From The Documentary «I Dream Of Wires» [F]
Label und Katalognummer: Suction Records suction 025
Produktion: Solvent
Veröffentlicht: 2014 02 11
Genretags: Post-Millennial-Music - Digital-Underground - IDM
Trackliste: 1. Themeogene (I Dream Of Wir
es Theme) - 3:35
2. Transfer Function - 3:52
3. Quantimators - 6:03
4. Sender - 3:14
5. Wow - 2:40
6. Elephant Generators - 7:00
7. Burn The Tables - 6:40
8. Pattern Recognition - 4:00
9. King Vincent - 6:00
10. Bucket Brigade - 2:33
11. LPGs Over Hawaii - 3:07
12. Transfer Function (Reprise) - 1:30
Alle Tracks: Jason Amm.
Besetzung: Design [Logo]: Arnold Steiner Designs
; Design, Layout: Heiki Sillaste
; Mastering: Stephanie Villa
; Photography: Robert Fantinatto
; Programmed By, Art Direction: Jason Amm
; Mastered At Marsh Mastering
St. Vincent [>] [D] & Nina Kraviz [>] [D]: Nina Kraviz Presents Masseduction Rewired [F]
Label und Katalognummer: Loma Vista Recordings LVR 00838
Produktion: Verschiedene
Veröffentlicht: 2019 12 13
Genretags: Post-Millennial-Music - Digital-Underground
Trackliste: 1. Hang On Me (Batu Remix) (Annie Clark) - 5:41
2. Pills (Bjarki Remix) (Annie Clark, Jack Antonoff, Mark Spears) - 6:29
3. Pills (Population One Remix) (Annie Clark, Jack Antonoff, Mark Spears) - 6:30
4. Pills (PTU Remix) (Annie Clark, Jack Antonoff, Mark Spears) - 4:11
5. Masseduction (Midland’s Mass Seduction Remix) (Annie Clark, Jack Antonoff) - 7:27
6. Sugarboy (Emika Allegiance Mix) (Annie Clark, Jack Antonoff) - 5:18
7. Sugarboy (ChicagoPhonic Sound System Remix) (Annie Clark, Jack Antonoff) - 7:32
8. Los Ageless (EOD Remix) (Annie Clark) - 3:30
9. Happy Birthday, Johnny (Fred P Remix) (Annie Clark, Jack Antonoff) - 4:29
10. Savior (Buttechno Remix) (Annie Clark) - 4:34
11. New York (Nina Kraviz Vocal Mix) (Annie Clark, Jack Antonoff) - 5:14
12. New York (Nina Kraviz x Lucy Dubbed Out Mix) (Annie Clark, Jack Antonoff) - 5:23
13. New York (Nina Kraviz Dirty Master Mix) (Annie Clark, Jack Antonoff) - 5:14
14. Fear The Future (PTU Remix) (Annie Clark) - 3:07
15. Young Lover (Laurel Halo Remix) (Annie Clark) - 6:04
16. Young Lover (Roma Zuckerman Remix) (Annie Clark) - 5:45
17. Dancing With A Ghost (Pearson Sound Remix) (Annie Clark) - 5:47
18. Slow Disco (EOD Remix) (Annie Clark, Joy Williams (2)) - 2:57
19. Slow Disco (Nina Kraviz Gabber Me Gently Remix) (Annie Clark, Joy Williams (2)) - 5:17
20. Smoking Section (Jlin Remix) (Annie Clark) - 3:28
21. Smoking Section (Mala Remix) (Annie Clark) - 4:06
22. Fast Slow Disco (Steffi Remix) (Annie Clark, Joy Williams (2)) - 6:14
Besetzung: Phonographic Copyright (p) Loma Vista Recordings
; Copyright (c) Loma Vista Recordings
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Deadbeat [>] [D]: Roots And Wire [F]
Label und Katalognummer: Wagon Repair WAG 046
Produktion: Scott Monteith
Veröffentlicht: 2008 10 13
Genretags: Electronica - Techno - Dubtechno
Trackliste: 1. Rise Again (5:10)
2. Roots And Wir
e (5:52)
3. Grounation (Berghain Drum Jack) (6:26)
4. Xberg Ghosts (5:58)
5. Deep Structure (8:19)
6. Night Stepping (5:10)
7. Sun People (Dub Divisionaire) (6:43)
8. Babylon Correction (6:23)
Alle Tracks: Scott Monteith.
Besetzung: Percussion: Guillaume Coutu-Dumont (5)
; Vocals: Paul St. Hilaire (1, 8)
Sun Ra Arkestra [>] [D]: Swirling [F]
Assoziierte Acts: Sun Ra & Sun Ra And His Arkestra
Label und Katalognummer: Strut 153
Veröffentlicht: 2020 10 30 (Ed.)
Genretags: Jazz
Trackliste: 1. Satellites Are Spinning/Lights On A Satellite - 8:00
2. Seductive Fantasy - 11:49
3. Swirling - 7:42
4. Angels And Demons At Play - 7:05
5. Sea Of Darkness/Darkness - 5:16
6. Rocket No. 9 - 5:00
7. Astro Black - 4:51
8. Infinity/I'll Wait For You - 9:18
9. Sunology - 4:25
10. Door Of The Cosmos/Say - 7:27
Bonus
1. Interview und Intro
Besetzung: Record Company K7 Music GmbH
; Phonographic Copyright (p) K7 Music GmbH
; Copyright (c) K7 Music GmbH
Pulse Emitter [>] [D]: Swirlings [F]
Label und Katalognummer: Hausu Mountain HAUSMO 92
Produktion: Pulse Emitter
Veröffentlicht: 2020 01 17
Genretags: Electronica - Progressive-Electronic-Music
Trackliste: Seite A
1. Electron Central - 7:29
2. Fairy Tree - 6:48
3. Space Frost - 6:52
Seite B
1. Ripples - 6:35
2. Cloud Refuge - 6:36
3. Empty Hold - 6:43
Alle Tracks: Daryl Groetsch.
Besetzung: Artwork: Maxwell Allison
; Mastering: Patrick Klem
; Recording, Performer, Synthesizer, Mixing: Daryl Groetsch
; Copyright (c) Pulse Emitter
; Phonographic Copyright (p) Hausu Mountain
Thomas Dolby [>] [D]: The Golden Age Of Wireless [F]
Label und Katalognummer: Venice in Peril VIP 1001, Venice in Peril VIP 1076070
Produktion: Thomas Dolby
Veröffentlicht: 1982 03, 1983 (Reed.)
Genretags: Newpop - Synthpop
Trackliste: Seite A (1982)
1. Flying North - 3:50
2. Commercial Breakup (Thomas Dolby, Tim Kerr) - 4:15
3. Weightless - 3:45
4. Europa and the Pirate Twins - 3:18
5. Windpower - 4:20
Seite B (1982)
1. The Wreck of The Fairchild - 3:30
2. Airwaves - 5:12
3. Radio Silence - 3:43
4. Cloudburst at Shingle St. - 5:45
Alle Tracks: Thomas Dolby, ausser wo anders vermerkt.
Seite A (1983)
1. She Blinded Me with Science (Thomas Dolby, Tim Kerr) - 3:42
2. Radio Silence - 3:43
3. Airwaves - 5:12
4. Flying North - 3:50
5. Weightless - 3:45
Seite B
1. Europa and the Pirate Twins - 3:18
2. Windpower - 4:20
3. Commercial Breakup (Dolby, Kerr) - 4:15
4. One of Our Submarines - 5:11
5. Cloudburst at Shingle Street - 5:45
Besetzung: Backing Vocals: TMDR (A1-A4, B1, B2, B4)
; Bass: Mark Heyward-Chaplin (A2-A4, B1, B2, B4)
; Drums: Justin Hildreth (A2-A4, B1, B2, B4)
; Engineer: Barry Kingston, Chris Birkett, Chris Stone, Graham Carmichael, Martin Levan, Mike Hedges, Peter Woolliscroft, Tim Hunt, Wally Brill
; Guitar: Kevin Armstrong (A1, A2, A4, B1, B2, B4)
; Piano: TMDR (A1, A3, B1-B4)
; Synthesizer: TMDR (A2-A4, B1, B2)
; Synthesizer Wave Computer: TMDR (A1, A3-A5, B3, B4)
Jim Haynes [>] [D]: The Wires Cracked [F]
Label und Katalognummer: Editions Mego eMego 171
Veröffentlicht: 2013 04 02
Genretags: Electronica - Dronetronica
Trackliste: Seite A
1. Oscar - 4:45
2. X-Ray - 13:49
Seite B
1. November - 17:49
Alle Tracks: Jim Haynes.
Besetzung: Artwork: Helen Scardale
; Mastering: Rashad Becker
; Mastered At Dubplates & Mastering
David Crosby [>] [D] & Graham Nash [>] [D]: Whistling Down The Wire [F]
Assoziierte Acts: Crosby And Nash
Label und Katalognummer: ABC Records ABCD 956
Produktion: Stephen Barncard & David Crosby & Graham Nash
Veröffentlicht: 1976 07
Genretags: Rock - Folkrock
Trackliste: Seite A
1. Spotlight (Kortchmar, Nash) - 2:51
2. Broken Bird (Crosby, Nash) - 2:44
3. Time After Time (Crosby) - 2:32
4. Dancer (Crosby) - 4:50
5. Mutiny (Nash) - 4:45
Seite B
1. J.B.'s Blues (Nash) - 2:41
2. Marguerita (Nash) - 4:13
3. Taken at All (Crosby, Nash) - 3:07
4. Foolish Man (Crosby) - 4:29
5. Out of the Darkness (Crosby, Doerge, Nash) - 4:24
Besetzung: David Crosby: vocals, acoustic guitar
; Graham Nash: vocals, acoustic guitar, electric guitar, harmonica
; David Lindley: electric guitar, slide guitar, violin, viola, pedal slide
; Danny Kortchmar: electric guitar, dobro
; Russell Kunkel: drums, percussion
; Craig Doerge: acoustic piano, electric piano, organ, glass harmonica
; Tim Drummond: bass
; Laura Allen: zither
; Lee Holdridge: string arrangements
; Sid Sharp: orchestra leader
Tocotronic [>] [D]: Wie wir leben wollen [F]
Label und Katalognummer: Vertigo Berlin 00602537250141
Produktion: Moses Schneider
Veröffentlicht: 2013 01 25
Genretags: Alternativerock - Diskursrock - Hamburger-Schule, Alternativerock - Punkrock - Poppunk, Alternativerock - Punkrock - Powertrio
Trackliste: 1. Im Keller - 3:17
2. Auf Dem Pfad Der Dämmerung - 4:01
3. Abschaffen - 4:56
4. Ich Will Für Dich Nüchtern Bleiben - 3:11
5. Chloroform - 3:12
6. Neutrum - 4:18
7. Vulgäre Verse - 4:44
8. Warte Auf Mich Auf Dem Grund Des Swimmingpools - 6:39
9. Die Verbesserung Der Erde - 5:43
10. Exil - 3:13
11. Die Revolte Ist In Mir - 3:52
12. Warm Und Grau - 5:11
13. Eine Theorie - 3:24
14. Höllenfahrt Am Nachmittag - 2:26
15. Neue Zonen - 4:45
16. Wie Wir
Leben Wollen - 4:31
17. Unter Dem Sand - 2:22
Alle Tracks: Tocotronic
Bonustracks der Netaudio Ausgabe von 2013
1. Lied Der Jugend - 4:28
2. Monchichi - 2:05
3. How We Aim To Live - 4:42
Besetzung: Recorded at Candy Bomber Studio
; Recorded at Transporterraum
; Recorded at The Upper Room
; Mixed at Hansa Mix Room
; Mastered at Monoposto Mastering
; Published by Gold Musikverlag
; Published by Hanseatic Musikverlag
; Accompanied by Max Möhler
; Additional Vocals : Julia Wilton, Michaela Meise
; Artwork : Jungundwenig, Precious, Tocotronic
; Castanets : Ben Lauber
; Glockenspiel : Ben Lauber
; Instruments : Tocotronic
; Kanun : Ben Lauber
; Management : Stephan Rath
; Mastered by Michael Schwabe
; Mixed by Michael Ilbert
; Photography : Michael Petersohn
; Recorded by Ingo Krauss
; Text by Tocotronic
; Theremin : Dorit Chrysler
; Title Font : Elsa Bablitzka
; Wind : Ebba Durstewitz, Jakobus Siebels
Patrick Wolf [>] [D]: Wind In The Wires [F]
Label und Katalognummer: Tomlab tom 047
Produktion: Patrick Wolf
Veröffentlicht: 2005 02 28
Genretags: Alternativerock - Lo-Fi-Rock, Electronica - Folktronica
Trackliste: 1. The Libertine - 4:23
2. Teignmouth - 4:50
3. The Shadow Sea - 0:37
4. Wind in the Wir
es - 4:18
5. The Railway House - 2:24
6. The Gypsy King - 3:08
7. Apparition - 1:16
8. Ghost Song - 3:13
9. This Weather - 4:35
10. Jacob's Ladder - 1:21
11. Tristan - 2:36
12. Eulogy - 1:44
13. Land's End - 7:06
Alle Tracks: Patrick Wolf.
Besetzung: Written, produced and performed by Patrick Wolf.
; Clarinet on \'Wind In The Wir
es\' played by Derek Apps.
; Female choir on \'Teignmouth\' sung by Jo Apps.
V. A. (L'age d'or) [>] [D]: Wir [F]
Label und Katalognummer: L'Age D'Or LADO 17096-2
Produktion: Verschiedene
Veröffentlicht: 2003 04 (Ed.)
Genretags: Electropop - New-Rave
Trackliste: CD 1
1. Golden Boy & Miss Kittin: 1234 (Lyric Version) - 5:18
2. Beige GT: Knights Of The Jaguar - 5:12
3. Ascii Disko: Einfach - 4:35
4. Tocotronic & Console: Freiburg V3.0 - 3:00
5. Egoexpress: Something To Hide - 4:46
6. Grand Buffet: Things That Go Hump In The Night - 3:13
7. Spillsbury: Das Spiel Ist Aus - 3:33
8. 8 Doogymoto: Ashimoto (No Pink Sky) - 4:29
9. State Of Chaos: Beatnik - 5:17
10. Stella: Bosses Of The Soul - 3:35
11. Plundersonics: Mutants Here I Am - 5:50
12. Turner: My Aeroplane Mania (Album Version) - 3:56
13. My Robot Friend: We're The Pet Shop Boys - 5:04
14. Grom: Love / Rocket (MJ Lan Mix - Final Video Edit) - 3:39
15. Jan Gazarra: Pop Life - 4:41
16. Justus Köhncke: Ich Versteck Mich Vor Der Wir
klichkeit - 4:58
17. Sensorama: It's The Thing - 3:28
CD 2
1. Sensorama: Where The Rabbit Sleeps - 4:36
2. Tocotronic: Hi Freaks (Short Edit Album Version) - 3:48
3. Beige GT: Funghi Pudel (Radio Edit) - 3:45
4. Kandisquer: Foreign Machine - 4:23
5. Lawrence: Titel 3 (Radio Cut) - 3:18
6. Fink: Sieh Mich Nicht An - 4:23
7. Mense Reents: Alles Ist Da - 3:45
8. Tenfold Loadstar: Ice-Ice Baby - 3:11
9. Superpunk: Right Back Where We Started From - 2:44
10. Commercial Breakup: Bizarre Love Triangle (Single Mix) - 3:22
11. Phantom/Ghost: Electronic Alcatraz - 5:40
12. Carsten Jost: Make Pigs Pay - 5:01
13. Suguru Kusumi: La Street (Tommie Sunshine Remix) - 6:25
14. Aeric: Toute Facon (Miss Kittin & The Hacker Showgirls Remix) - 5:02
15. Mignon: Bad, Evil, Wicked And Mean - 3:39
16. Richard: Liebe Am Fluß - 2:05
17. Egoexpress: Music No Music Music - 6:11
18. Andy And Mary: Sony - 6:15
Besetzung: A&R: Carol von Rautenkranz
; A&R: Charlotte Goltermann
; Compiled By, Supervised By: Carol von Rautenkranz
; Compiled By, Supervised By: Markus Fiedler
; Compiled By, Supervised By: Stephan Rath
; Illustration [All Other Illustrations], Design Concept, Design: Dörte Fitschen-Rath
; Illustration [WiR Cover-couple]: Christian Flamm
; Mastering: Peta Devlin
; Mastered At Soundgarden Tonstudio
; Phonographic Copyright (p) L\'Age D\'Or
; Copyright (c) L\'Age D\'Or
; Phonographic Copyright (p) Ladomat 2000
; Copyright (c) Ladomat 2000
; Phonographic Copyright (p) Lado Musik GmbH
; Copyright (c) Lado Musik GmbH
; Published By Angora 2000 Musikverlag
; Published By Hanseatic Musikverlag
; Published By Gold Musikverlag
; Published By Mad Mike Music
; Published By Munchman Music
; Published By Hanseatic Musikverlag GmbH
; Published By Copyright Control
; Published By Out Of Many One
; Published By Budde Musikverlag
; Published By High Technology Publishing Ltd.
; Published By Edition Chicks
; Published By Tape Recorder Music
; Published By Universal Publishing
; Published By MCA Publishing
; Published By Hanseatic
; Published By Warner/Chappell
; Published By Complete Music
; Published By Edition Getwellsoon
; Published By Silver Songs Musikverlag
; Published By United Artists Musikverlag
; Published By Be Music (2)
; Published By Warner Chappell Music Ltd.
; Glass Mastered At Sony DADC
; Glass Mastered At Sony DADC
; Pressed By Sony DADC Austria AG
; Pressed By Sony DADC Austria AG
Holger Hiller [>] [D] & Thomas Fehlmann [>] [D]: Wir bauen eine Stadt [F]
Label und Katalognummer: Ata Tak WC 1, Gagarin Records GR 2017
Veröffentlicht: 1981, 2006 09 (Reed.)
Genretags: Postpunk - Electronic-Postpunk - Minimalsynth
Trackliste: Seite A
1. Wir
bauen eine Stadt (Paul Hindemith) - 1:50
2. Gibst du mir Steine, geb ich dir Sand - 0:45
3. Baumusik - 0:55
4. Erst kommt der Bäcker - 1:27
5. Mit dem Autobus - 1:11
Seite B
1. Besuchermusik - 1:27
2. Ich bin ein Schaffner - 1:07
3. Guten Tag, Frau Bergmann - 1:39
4. Jetzt ist's Nacht, alles schläft - 1:16
5. Bei uns haben die Erwachsenen nichts zu sagen - 1:02
Bonustrack
1. Untitled - 0:54
Kraft Durch Freude [>] [D]: Wir Bleiben Kameraden [F]
Label und Katalognummer: Off Course Records FFC/RDS 7907
Produktion: Rudolph Dietrich
Veröffentlicht: 1979
Genretags: Rock - Punkrock - Swiss-Punk
Trackliste: Seite A
1. What I Like - 2:05
2. You've Done It - 2:30
3. '68-Zombies - 2:45
4. Teenage On Top - 1:55
Seite B
1. I Want Some More - 2:03
2. Berlin-Wall - 2:25
3. If The Women Rules The World I Kill Myself - 2:20
Von mit und dank [>] [D]: Wir erobern für Sie die Welt und legen sie Ihnen zu Füssen [F]
Veröffentlicht: 1996
Genretags: Akademica - Funktionale-Musik - Kunstradio
Black To Comm [>] [D]: Wir können leider nicht etwas mehr zu tun ... [F]
Label und Katalognummer: Dekorder 019
Produktion: Marc Richter
Veröffentlicht: 2007 01
Genretags: Electronica - Dronetronica - Droneambient
Trackliste: Seite A
1. Harmophonie III - 9:26
Seite B
1. The North Tower - 9:43
2. Happy Brown Lego Star - 7:29
Seite C
1. Pill Drop Geisha - 8:23
2. The Male Garden - 3:36
Seite D
1. Weiss White - 17:36
Besetzung: Mastered By: Denis Blackham
; Organ, Organ [Harmphon], Tape [Loops], Bells, Electronics, Turntables, Computer, Voice: Marc Richter
Tocotronic [>] [D]: Wir kommen um uns zu beschweren [F]
Label und Katalognummer: L'Age d'or LADO 17038
Produktion: Carol Von Rautenkranz & Tocotronic
Veröffentlicht: 1996 04 01
Genretags: Alternativerock - Diskursrock - Hamburger-Schule, Alternativerock - Punkrock - Poppunk, Alternativerock - Punkrock - Powertrio
Trackliste: 1. Jetzt geht wieder alles von vorne los - 3:56
2. Die Welt kann mich nicht mehr verstehen - 1:38
3. Ich habe geträumt, ich wäre Pizza essen mit Mark E. Smith - 1:09
4. Schritte auf der Treppe - 3:40
5. Wir
kommen um uns zu beschweren - 2:01
6. So jung kommen wir nicht mehr zusammen - 5:46
7. Der Cousin - 1:02
8. Ich verabscheue euch wegen eurer Kleinkunst zutiefst - 1:20
9. Bitte gebt mir meinen Verstand zurück - 2:22
10. Die Sache mit der Team Dresch Platte - 1:19
11. Ich bin ganz sicher schon einmal hiergewesen - 6:24
12. Ich wünschte, ich würde mich für Tennis interessieren - 2:57
13. Ich werde mich nie verändern - 1:47
14. Ich möchte irgendetwas für dich sein - 7:46
15. Ich mache meinen Frieden mit euch - 1:37
16. Ich heirate eine Familie - 3:38
Alle Tracks: Tocotronic.
Besetzung: Artwork: Bianca Gabriel
; Artwork: Tocotronic
; Bass: Jan Müller
; Drums, Guitar, Vocals, Synthesizer [Casio Pt 20]: Arne Zank
; Guitar, Vocals: Dirk von Lowtzow
; Mastering: Bernd Steinwedel
; Photography: Carol Von Rautenkranz
; Photography: Myriam Brüger
; Recording, Mixing, Co-producer: Christian Mevs
Leichtmetall [>] [D]: Wir sind Blumen [F]
Label und Katalognummer: Karaoke Kalk kalk 36
Veröffentlicht: 2006 07 17
Genretags: Indiepop - Electronicpop - Indietronica
Trackliste: 1. Wir
Sind Blumen - 3:59
2. Ein Platz in der Sonne - 3:41
3. Erkennen im Individuum - 3:12
4. Au Board de la Seine - 2:44
5. Wir
Sind Keine Kabarettisten - 3:27
6. Der Große Tag - 4:38
7. Füchschen 3:43
8. Im Klimawandel - 3:30
9. Spiel Mir ein Lied - 2:09
10. Kein Tanz für 2 - 4:20
März [>] [D]: Wir sind hier [F]
Label und Katalognummer: Karaoke Kalk kalk 29
Produktion: Ekkehard Ehlers & Albrecht Kunze
Veröffentlicht: 2004 10 25
Genretags: Electronica - Folktronica
Trackliste: 1. Forever Never - 4:20
2. März Im Park - 3:31
3. The River - 5:13
4. Tropige Trauben (Jakobus Siebels) - 4:20
5. Blaue Fäden - 6:40
6. Some Things Do Fall - 3:18
7. Biber & Enten (Plattler) - 5:00
8. Welt Am Draht - 3:38
9. Oktober Im Park - 4:44
10. The Pop Song - 4:36
11. Wir
Sind Hier - 4:05
Alle Tracks: Ekkehard Ehlers und Albrecht Kunze, ausser wo anders vermerkt.
Besetzung: Accordion: Bernadette La Hengst
; Artwork: Markus Weisbeck
; Double Bass: Thomas Butteweg
; Guitar [Lapsteel], Trombone, Bass [Framus-longhorn]: Jakobus Siebels
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Label und Katalognummer: Pinkflag PF 22
Veröffentlicht: 2015 04 13
Genretags: Post-Millennial-Music - Postpunk-Revival
Trackliste: 1. Blogging - 3:46
2. Shifting - 3:17
3. Burning Bridges - 3:17
4. In Manchester - 2:41
5. High - 1:53
6. Sleep-Walking (Wir
e, Colin Newman) - 7:30
7. Joust & Jostle - 2:12
8. Swallow - 4:17
9. Split Your Ends - 3:30
10. Octopus (Wir
e, Colin Newman) - 3:16
11. Harpooned - 8:23
Alle Tracks: Wir
e, Graham Lewis, ausser wo anders vermerkt.
Besetzung: Acoustic Guitar: Colin Newman (1, 2, 8)
; Backing Vocals: Graham Lewis (1, 4, 9, 10)
; Baritone Guitar [Electric]: Colin Newman (1, 7, 8, 11)
; Bass Guitar: Graham Lewis
; Bass Guitar [High]: Graham Lewis (3)
; Bass [FX]: Graham Lewis (6)
; Drums [Drum Kit]: Robert Grey
; Effects [FX]: Matthew Simms (11)
; Electric Guitar: Matthew Simms
; Electric Guitar [12 Strings]: Matthew Simms (2, 3, 9)
; Keyboards: Graham Lewis (8)
; Keyboards: Matthew Simms (1, 2, 4, 6)
; Lap Steel Guitar: Matthew Simms (3, 6)
; Loops: Matthew Simms (8)
; Mandola: Colin Newman (6)
; Percussion [Water Tank]: Robert Grey (6)
; Synth [Modular]: Matthew Simms (4-6, 8-10)
; Voice, Electric Guitar, Keyboards, Alle Tracks [Song]: Colin Newman
Robert Hood [>] [D]: Wire To Wire [F]
Label und Katalognummer: Peacefrog PFG 042
Produktion: Robert Hood
Veröffentlicht: 2003 08 11
Genretags: Electronica - Techno - Minimaltechno
Trackliste: 1. Make A Wish (5:30)
2. The Game (5:49)
3. Upon A Millenial Moment (6:02)
4. Interior Suspect (7:39)
5. Slightly (4:20)
6. Fragile Moments (6:19)
7. High Plaines Drifter (5:37)
8. The Age Of Eleven (4:48)
9. The Wir
e (6:31)
10. Aural 512 (7:04)
Label und Katalognummer: Hubro HUBROCD 2514
Produktion: Cakewalk
Veröffentlicht: 2012 03 23
Genretags: Electronica - Jazztronica
Trackliste: 1. Glass - 5:53
2. Descent - 7:51
3. Soil - 3:33
4. Perpetual - 5:05
5. Wir
ed - 3:06
6. Kammer - 5:15
Alle Tracks: Cakewalk.
Besetzung: Recorded and Mixed At Mattiland
; Mastered At Duper Studio
; Design: Yokoland
; Drums: Ivar Loe Bjørnstad
; Guitar, Bass, Noises [Boxes], Edited By [Additional]: Stephan Meidell
; Mastered By Jørgen Træen
; Photography By www.klarasofie.com
; Recorded By, Mixed By: Juhani Silvola
; Synthesizer [Synthesizers]: Øystein Skar
Label und Katalognummer: Epic EPC 86012
Produktion: Jan Hammer & George Martin
Veröffentlicht: 1976 07
Genretags: Rock - Jazzrock
Trackliste: Seite A
1. Led Boots (Max Middleton) - 4:02
2. Come Dancing (Narada Michael Walden) - 5:53
3. Goodbye Pork Pie Hat (Charles Mingus) - 5:29
4. Head for Backstage Pass (Andi Clark, Wilbur Bascomb, Jr.) - 2:43
Seite B
1. Blue Wind (Jan Hammer) - 5:53
2. Sophie (Narada Michael Walden) - 6:29
3. Play with Me (Narada Michael Walden) - 4:09
4. Love Is Green (Narada Michael Walden) - 2:31
Besetzung: Bass: Wilbur Bascomb
; Clarinet, Electric Piano: Max Middleton
; Drums: Ed Greene
; Drums: Richard Bailey
; Engineer [Assistant]: Mark Guercio
; Engineer [Mixing]: Geoff Emerick
; Engineer [Mixing]: John Mills
; Engineer [Recording]: Dennis McKay
; Engineer [Recording]: John Arrias
; Engineer [Recording]: John Mills
; Engineer [Recording]: Pete Henderson
; Guitar: Jeff Beck
; Keyboards [Synthesizers], Drums: Jan Hammer
; Piano, Drums: Narada Michael Walden
; Producer [Assistant]: Chris Bond
Pablo Nouvelle [>] [D]: Wired [F]
Label und Katalognummer: Armada
Veröffentlicht: 2018 03 16
Genretags: Post-Millennial-Music - Lo-Fi-Underground - Electronicpop
Trackliste: 1. Every Time You Go -
2. Sunshine In Stereo -
3. Wir
ed -
4. Careless -
5. Nostalgic Love -
6. Money -
7. I'm Not -
8. I Want For Nothing -
9. Harder Now -
10. Leave Now -
11. Panic -
12. I Still Asleep -
Cliff Richard [>] [D]: Wired for Sound [F]
Label und Katalognummer: EMI EMC 3377
Produktion: Alan Tarney
Veröffentlicht: 1981 09 14, 2001 07 09 (Reed.)
Genretags: Pop - Softrock, Rock - AOR-Rock - AOR-Poprock
1979 brachte Sony den Walkman auf den Markt. Daher der Sinn des Albumstitels. Die inner Plattenhülle mit dem Kopfhörer macht das klar und der Text des Titeltracks. Musik wurde damals mobil, was heute eine Selbstverständlichkeit ist.
Trackliste: Seite A
1. Wir
ed for Sound (Tarney, B. A. Robertson) - 3:36
2. Once in a While - 4:38
3. Better Than I Know Myself (Dave Cooke, Judy MacKenzie) - 3:39
4. Oh No, Don't Let Go - 3:37
5. 'Cos I Love That Rock 'n' Roll - 4:10
Seite B
1. Broken Doll (Eric Goulden, Walter Hacon) - 4:15
2. Lost in a Lonely World (Chris Eaton) - 4:01
3. Summer Rain (Eaton) - 4:15
4. Young Love - 4:03
5. Say You Don't Mind (does not appear on the US release) - 4:01
6. Daddy's Home (live) (James Sheppard, William Miller) - 2:56
Bonustracks der CD Ausgabe von 2001
1. Shakin' All Over (live) (Frederick Heath) (B-side of Daddy's Home) - 2:43
2. Hold On (B-side of Wir
ed for Sound) - 3:43
Besetzung: Cliff Richard: vocals and backing vocals
; John Clark: guitar (B2)
; Nick Glennie-Smith: piano (B4), engineer
; Graham Jarvis: drums A1, A3-B2, B5-B6)
; Trevor Spencer: drums (A2, B3-B4)
; Alan Tarney: all instruments except those listed in credits, backing vocals, arrangements
; Design: Cream
; Engineer: Nick Glennie-Smith
; Engineer [Assistant, Other [Coffee & Table Tennis Coaching]: Ian Little
; Engineer [Mastering]: John Dent
; Lacquer Cut By: John Dent
; Photography: Rebecca Swearingen
; Recorded At Gallery Studios
; Mixed At Gallery Studios
; Mastered At The Sound Clinic
; Record Company EMI Records Ltd.
; Printed By Garrod & Lofthouse
; Phonographic Copyright (p) EMI Records Ltd.
; Phonographic Copyright (p) BBC
; Copyright (c) EMI Records Ltd.
; Copyright (c) Bar Music Ltd
; Copyright (c) ATV Music Ltd.
; Copyright (c) Waif Productions Ltd.
; Copyright (c) Street Music Ltd.
; Copyright (c) Josley
; Copyright (c) Carlin
; Copyright (c) Planetary Nom (London) Ltd.
; Manufactured By EMI Records Ltd.
; Published By Bar Music Ltd
; Published By ATV Music Ltd.
; Published By Waif Productions Ltd.
; Published By Street Music Ltd.
; Published By Josley Music
; Published By Carlin Music Corp.
; Published By Planetary Nom (London) Ltd.
; Pressed By EMI Records
; Lacquer Cut At The Sound Clinic
Luke Slater [>] [D]: Wireless [F]
Label und Katalognummer: Novamute NoMu 070
Produktion: Luke Slater
Veröffentlicht: 1999 10 04
Genretags: Electronica - Techno
Trackliste: 1. In the Pocket - 1:31
2. Sum Ton Tin - 3:30
3. Hard Silence (Pt. 1) - 0:49
4. Sheer Five Five - 3:55
5. Let Eat All Vanbrook - 4:15
6. Body Freefall, Electronic Inform - 4:16
7. You Butterfly - 3:53
8. Hard Knock Rock - 6:25
9. All Exhale - 6:01
10. Bolt Up - 4:38
11. I Thought I Knew You - 5:58
12. Weave Your Web - 7:55
13. Out the Pocket - 1:13
Alle Tracks: Luke Slater.
Besetzung: Art Direction [At Intro], Design [At Intro] - House
; Drums [Additional] - Alan Sage, Luke Slater
; Guitar - Seth Hodder
; Mastered By - Graeme, Nilz
; Photography - Nigel Bennett
; Recorded By, Mixed By, Arranged By: Luke Slater
; Vocals - Speech Recognition
Oren Ambarchi [>] [D] & Günter Müller [>] [D] & Voice Crack [>] [D]: Wireless Within [F]
Label und Katalognummer: For 4 Ears 1655
Veröffentlicht: 2005 08 25
Genretags: Akademica - Elektronische-Musik - Improvisierte-Live-Elektronische-Musik
Aufganommen in Melbourne am 18. Juli 2002 an der Media Arts Rmit University.
Trackliste: 1. Tombac_Toothless (21:36)
2. Bacchus_Marsh (19:29)
3. Bleep_Block (16:13)
Besetzung: Artwork By [Cover] - Alex Hanimann, Norbert Möslang
; Electronics [Cracked Everyday] - Andy Guhl, Norbert Möslang
; Performer [Mds, Ipod], Electronics, Percussion [Selected] - Günter Müller
; Sampler [Environments], Electronics, Recorded By, Mixed By, Mastered By - Philip Samartzis
Biosphere [>] [D]: Wireless: Live At The Arnolfini, Bristol [F]
Label und Katalognummer: Touch Tone 38
Produktion: Geir Jenssen
Veröffentlicht: 2009 05 16
Genretags: Electronica - Techno - Ambienttechno
Trackliste: 1. Pneuma - 2:13
2. Shenzou - 6:22
3. Birds Fly By Flapping Their Wings - 6:45
4. Kobresia - 6:37
5. When I Leave - 6:20
6. Warmed By The Drift - 7:23
7. The Things I Tell You - 9:39
8. Moistened And Dried - 3:07
9. Sherbrooke - 6:11
10. Calais Ferryport - 5:39
11. Pneuma II - 1:56
Alle Tracks: Geir Jenssen.
Besetzung: Cover: Jon Wozencroft
; Mixing, Mastering: BJNilsen
; Recording [Additional Field Recordings]: Jony Easterby
; Recording [Live At Arnolfini, Bristol 27 October 2007]: Chris Watson
; Published By Touch Music
; Phonographic Copyright (p) Touch
; Copyright (c) Touch
; Manufactured By 3BC.co.uk
; Recorded At Arnolfini
Label und Katalognummer: Puremagnetik PM 09
Produktion: Arovane
Veröffentlicht: 2021 01 26
Genretags: Post-Millennial-Music - Digital-Underground - IDM
Trackliste: 1. olopp_eleen - 3:59
2. wirkung - 3:16
3. find - 2:12
4. stat - 4:31
5. sloon - 2:15
6. aer - 2:26
7. noondt - 3:13
8. innerst - 2:36
9. gand - 2:15
10. niin - 7:09
11. elangt - 5:43
12. hymn - 2:08
13. tri i - 1:30
14. nimmer - 5:05
15. wechselwirkung - 2:42
16. 10 dezember 2019 - 3:59
17. komposition no. 1 - 1:30
Alle Tracks: Uwe Zahn.
Besetzung: Artwork: John Whitlock
; Mastering: Taylor Deupree
; Mastered At 12K Mastering
Norman Blake [>] [D]: Wood, Wire & Words [F]
Label und Katalognummer: Plectrafone Records 824761144762
Veröffentlicht: 2015 01 20
Genretags: Country - Bluegrass
Trackliste: 1. Savannah Rag - 3:30
2. The Incident at Condra's Switch - 3:47
3. The Keeper of the Government Light on the River - 4:59
4. The New Dawning Day - 3:23
5. There's a One Way Road To Glory (Nancy Blake, Norman Blake) - 4:08
6. Farewell Francisco Madero - 4:53
7. Blake's Rag - 3:41
8. Joseph Thompson Hare On the Old Natchez Trace - 4:06
9. Grady Forester's Store and Cotton Gin - 5:00
10. Chattanooga Rag - 2:42
11. Black Bart - 4:22
12. Cloverdale Plantation March - 4:30
Alle Tracks: Norman Blake, ausser wo anders vermerkt.
Besetzung: James Barnes: Mastering Assistant
; Nancy Blake: Guitar, Vocal Harmony
; Norman Blake: Guitar
; Kathleen Fox Collins: Design, Layout
; Gary Hamilton: Photography
; David Hammonds: Engineer
; Sylvia Hutson: Design, Layout
; Joel McCormick: Help
; Dave Olsen: Design, Layout
; Scott O\'Malley: Executive Producer
Suchresultate Releases: Treffer in Tracklisten
...And You Will Know Us By The Trail Of Dead [>] [D]: Lost Songs [F]
Label und Katalognummer: Richter Scale Records, Superball Music
Produktion: ...And You Will Know Us by the Trail of Dead
Veröffentlicht: 2012 10 22
Genretags: Alternativerock - Hardcorepunk - Posthardcore, Alternativerock - Neo-Progressiverock
Trackliste: CD 1
1. Open Doors - 5:01
2. Pinhole Cameras - 4:48
3. Up To Infinity - 4:46
4. Opera Obscura - 3:44
5. Lost Songs - 2:04
6. Flower Card Games - 4:53
7. A Place To Rest - 3:14
8. Heart of Wir
es - 2:55
9. Catatonic - 3:35
10. Awestruck - 4:10
11. Bright Young Things - 3:40
12. Time and Again - 2:52
Bonustracks der Special Edition von 2012
1. Skywhaling - 2:24
2. Mountain Battle Song - 4:53
3. Verschollene Songs - 2:06
4. Idols of Perversity - 2:34
CD 2: Special Edition
1. Open Doors [Segued Version] - 4:50
2. Idols of Perversity [Segued Version] - 2:23
3. Pinhole Cameras [Segued Version] - 4:47
4. Up To Infinity [Segued Version] - 4:46
5. Opera Obscura [Segued Version] - 3:42
6. Lost Songs [Segued Version] - 2:00
7. Flower Card Games [Segued Version] - 4:16
8. A Place To Rest [Segued Version] - 3:09
9. Heart of Wir
es [Segued Version] - 2:53
10. Catatonic [Segued Version] - 3:27
11. Awestruck [Segued Version] - 4:12
12. Bright Young Things [Segued Version] - 3:36
13. Mountain Battle Song [Segued Version] - 4:50
14. Time and Again [Segued Version] - 2:49
Alle Tracks: ..And You Will Know Us by the Trail of Dead, Autry Fulbright II, Conrad Keely, Jamie Miller, Jason Reece.
Besetzung: ...And You Will Know Us by the Trail of Dead: Arranger
; Autry Fulbright II: Arranger
; Mirko Hoffman: Engineer
; Dean Hsieh: Design, Illustrations
; Heba Kadry: Mastering
; Conrad Keely: Arranger, Design, Illustrations
; David Kosta: Art Assistant
; Patrick McHugh: Band Photo
; Jamie Miller: Arranger
; Jason Reece: Arranger
; Sean Rolie: Mixing
; Chris \'Frenchie\' Smith: Engineer, Mixing
Label und Katalognummer: Buback BTT 109
Veröffentlicht: 2010 09 03
Genretags: Alternativerock - Diskursrock - Hamburger-Schule
Trackliste: 1. Du Gewinnst - 2:42
2. Wir
Reissen Uns Zusammen - 3:13
3. Glück - 3:42
4. Wir
st Du Interessant - 4:49
5. Geh Nicht Zu Weit - 3:23
6. Er Sagt - 4:44
7. Fahr Weg - 4:58
8. Held Und Macher - 4:52
9. Nicht So Und Nicht So - 3:29
10. a) Alter Mann, b) Untitled - 14:19
Alle Tracks: Jonas Hinnerkort, Sebastian Muxfeldt und Anton Spielmann.
Besetzung: Jessica Broscheit: Artwork
; Maren Frank: Illustrations
; Jonas Hinnerkort: Gesang, Schlagzeug, Sounds, Text
; Sebastian Muxfeldt: Text
; Anton Spielmann: Gesang, Sounds, Text
808 State [>] [D]: Blueprint [F]
Label und Katalognummer: Salvo SALVOCD 051, ZTT Element 20
Produktion: Verschiedene
Veröffentlicht: 2011 09 19 (Ed.), 2003-1988 (Rec.)
Genretags: Electronica - Techno - British-Techno
Trackliste: 1. Flow Coma (AFX Remix By Aphex Twin) (Aphex Twin Remix) (Simpson, Massey, Price) - 5:03
2. Pacific State (Origin) (Simpson, Massey, Price) - 5:52
3. In Yer Face (Revisited) (Barker, Partington, Massey, Price) - 4:07
4. Cübik (Remix By Monkey Mafia) (Monkey MafiaRemix) (Barker, Partington, Massey, Price) - 5:20
5. Timebomb (808 Tape Mix) (Barker, Partington, Massey) - 5:13
6. Cobra Bora (Revisited) (Barker, Partington, Massey, Price) - 3:44
7. Olympic (Word Production Mix) (Barker, Partington, Massey, Price) - 4:48
8. Nimbus (Revisited) (Barker, Partington, Massey) - 4:29
9. Nephatiti (Barker, Partington, Massey, Price) - 4:59
10. Firecracker (Edit) (Barker, Partington, Massey, Price) - 4:02
11. Plan 9 (Radio Edit By Trevor Horn) (Barker, Partington, Massey) - 3:40
12. Lopez (Radio Mix By Brian Eno) (Brian Eno Remix) (Barker, Partington, Massey, Wir
e) - 3:50
13. Lemonsoul (Barker, Partington, Massey, Garvey) - 3:20
14. Qmart (Barker, Guðmundsdóttir, Partington, Massey, Price) - 4:59
15. 606 (Revisited) (Barker, Partington, Massey, Simian) - 5:10
16. Spanish Ice (Barker, Partington, Massey) - 4:02
17. Metaluna/Compulsion (Revisited) (Simpson, Massey, Price)/(Barker, Partington, Massey) - 4:22
Besetzung: Compilation Producer - Ian Peel, Zang Tuum Tumb
; Compiled By - Graham Massey, Ian Peel
; Design - Philip Marshall
; Liner Notes [808 State Interview] - Paul Morley
; Liner Notes [Dougans, Doughty, H., Lord, Moby Interviews] - Ian Peel
; Liner Notes [Foreword] - Paul Hartnoll
; Performer [808 State Are
] - Andrew Barker, Darren Partington, Graham Massey
; Photography By [Photo Credit, Where Known] - Phil Knott
; Edited By - Trevor Horn (11)
; Vocals [Featuring] - James Dean Bradfield (12), Guy Garvey (13), Björk (14), Simian 815)
Aaron Martin [>] [D]: Worried About The Fire [F]
Label und Katalognummer: Experimedia expcd 012
Veröffentlicht: 2010 03 01
Genretags: Electronica - Improvisierte-Elektronische-Musik
Trackliste: 1. Albee - 2:46
2. Ice Melts Onto Fingers - 2:58
3. Open Knife - 3:32
4. New Brighton - 3:22
5. Water Tongue - 3:48
6. Wir
es of Glass - 3:35
7. Reed Tunnel - 3:13
8. Marked In Dust - 2:48
9. Blue Light - 3:18
10. Beaver Falls - 3:12
11. Making Rope Out of Eyelashes - 3:10
12. Sixth - 4:37
Alle Tracks: Aaron Martin.
Label und Katalognummer: Albert Productions APLP 016
Produktion: Harry Vanda & George Young
Veröffentlicht: 1975 12
Genretags: Rock - Hardrock
Trackliste: Seite A
1. It's a Long Way to the Top (If You Wanna Rock 'n' Roll) - 5:15
2. Rock 'n' Roll Singer - 5:04
3. The Jack - 5:52
4. Live Wir
e - 5:49
Seite B
1. T.N.T. - 3:35
2. Rocker - 2:51
3. Can I Sit Next to You Girl (Young, Young) - 4:12
4. High Voltage - 4:22
5. School Days (Chuck Berry) - 5:21
Alle Tracks: Angus Young, Malcolm Young und Bon Scott, ausser wo anders vermerkt.
Besetzung: ; Bon Scott: lead vocals, bagpipes
; Angus Young: lead guitar
; Malcolm Young: rhythm guitar, backing vocals
; Mark Evans: bass, backing vocals
; Phil Rudd: drums, backing vocals
AC/DC [>] [D]: High Voltage [F]
Label und Katalognummer: Atco SD 36142
Produktion: Harry Vanda & George Young
Veröffentlicht: 1976 05 14
Genretags: Rock - Hardrock
Trackliste: Seite A
1. It's a Long Way to the Top (If You Wanna Rock 'n' Roll) - 5:01 (edited version), 5:12 (full-length version)
2. Rock 'n' Roll Singer - 5:03
3. The Jack - 5:52
4. Live Wir
e - 5:49
Seite B
1. T.N.T. - 3:34
2. Can I Sit Next to You Girl (Young, Young) - 4:11
3. Little Lover - 5:39
4. She's Got Balls - 4:51
5. High Voltage - 4:14
Alle Tracks: Angus Young, Malcolm Young und Bon Scott, ausser wo anders vermerkt.
Besetzung: Bon Scott: lead vocals, bagpipes (A1)
; Angus Young: lead guitar
; Malcolm Young: rhythm guitar, backing vocals
; Mark Evans: bass
; George Young: bass (\'She\'s Got Balls\', \'Little Lover\')
; Phil Rudd: drums
; Tony Currenti: drums (\'She\'s Got Balls\', \'Little Lover\')
Label und Katalognummer: Paper Bag PAPER 053
Produktion: Jarrett Bartlett
Veröffentlicht: 2010 06 01
Genretags: Folk - Freakfolk
Trackliste: 1. Cobbled From Dust (Jeff DeButte) - 3:15
2. Restoration - 3:23
3. Misplaced - 3:38
4. I Made the Law - 3:34
5. Crossed Wir
es (Jeff DeButte) - 3:07
6. On the Line - 2:17
7. Bobcat Goldwraith - 4:02
8. No Ghost - 3:20
9. Slippery When Wet - 3:23
10. Almanac - 3:48
11. Kindling to Cremation - 3:10
Alle Tracks: Rolf Klausener, ausser wo anders vermerkt.
Besetzung: Arranged By - Tsui, DeButte, Pat Johnson, Klausener, T. Jeffrey Malecki
; Artwork By [Cover] - Howie Tsui
; Design - Rolf Klausener
; Mastered By - Harris Newman (1)
; Mixed By - Jarrett Bartlett, Jeff DeButte (1), Rolf Klausener (2-11)
; Photography - Rolf Klausener
; Recorded By - Gilles Castilloux (9, 10), Jarrett Bartlett (1-8, 11), Jarrett Bartlett (9, 10), Kees Dekker (9-10)
; Recorded By [Supplementary Recording] - Jeff DeButte, Rolf Klausener
Action Bronson [>] [D]: Saaab Stories [F]
Label und Katalognummer: Atlantic, Vice
Produktion: Harry Fraud
Veröffentlicht: 2013 06 11
Genretags: Hip-Hop - Underground-Hip-Hop - Hardcorehiphop
Trackliste: 1. 72 Virgins (feat. Big Body Bes) (Action Bronson) - 2:49
2. Triple Backflip - 2:51
3. No Time - 4:36
4. The Rockers (feat. Wiz Khalifa) (Action Bronson) - 3:08
5. Strictly 4 My Jeeps - 2:45
6. Alligator - 5:31
7. Seven Series Triplets (feat. Prodigy, Raekwon) (Action Bronson) - 3:31
Bonustracks:
1. Compliments 2 The Chef
2. Jar Of Drugs
3. Bird A A Wir
e (feat. Riff Raff)
4. Strictly 4 My Jeeps (Remix) (feat. Ll Cool J & Lloyd Banks)
5. Mean (feat. French Montana)
6. Muslim Wedding
Africa Express [>] [D]: EGOLI [F]
Label und Katalognummer: Africa Express AFEX 002
Veröffentlicht: 2019 07 12
Genretags: Africana - Afroelectro - Gqom
Trackliste: 1. Welcome (feat. Phuzekhemisi) - 2:22
2. City In Lights (feat. Georgia, Mahotella Queens, Nick Zinner, Otim Alpha) - 4:01
3. The River (feat. BCUC, Mr Jukes, Nonku Phiri) - 2:31
4. Bittersweet Escape (feat. BCUC, Mr Jukes, Nonku Phiri) - 4:42
5. Johannesburg (feat. Gruff Rhys, Morena Leraba, Radio 123, Sibot) - 3:55
6. Become The Tiger (feat. Damon Albarn, Mr Jukes, Sibot) - 3:12
7. Africa To The World (feat. Dominowe, Infamous Boiz, Mahotella Queens, Nick Zinner, Otim Alpha, Radio 123, Remi Kabaka) - 4:29
8. Absolutely Everything Is Pointing Towards The Light (feat. Gruff Rhys, Zolani Mahola) - 3:59
9. Where Will This Lead Us To? (feat. Blue May, Moonchild Sanelly, Radio 123) - 3:49
10. Mama (feat. Georgia, Otim Alpha, Radio 123) - 4:32
11. No Games (feat. Ghetts, Moonchild Sanelly, Muzi, Poté, Radio 123, Sho Madjozi) - 3:16
12. Morals (feat. Mahotella Queens, Moonchild Sanelly, Mr Juke, Muzi) - 3:14
13. Taranau (feat. Gruff Rhys, Otim Alpha) - 4:35
14. The Return Of Bacardi (feat. Dj Spoko, Faka) - 5:17
15. Sizi Freaks (feat. Infamous Boiz, Moonchild Sanelly) - 4:46
16. Twirl (feat. Ghetts, Poté) - 2:58
17. I Can't Move (feat. Blue May, Damon Albarn, Moonchild Sanelly, Mr Jukes, Sibot) - 3:15
18. See The World (feat. Damon Albarn, Gruff Rhys, Mahotella Queens) - 3:02
Besetzung: Artwork, Graphics: Gareth Halliday
; Graphic Design, Layout: Matt Thame
; Mastering: Frank Merritt
; Mixing: Blue May
; Mixing [assistant]: Scott Knapper
; Photography: Denholm Hewlett
; Recording: Africa Express
; Recording: Steve Sedgewick
; Mixed At Konk Studios
; Mastered At The Carvery
; Designed At Studio Auto
Alan Parsons Project [>] [D]: Ammonia Avenue [F]
Label und Katalognummer: Arista 610 105-222
Produktion: Alan Parsons
Veröffentlicht: 1984 02 07
Genretags: Rock - AOR-Rock - AOR-Progrock
Trackliste: 1. Prime Time - 5:03
2. Let Me Go Home - 3:20
3. One Good Reason - 3:36
4. Since The Last Goodbye - 4:34
5. Don't Answer Me - 4:11
6. Dancing On A Highwire - 4:22
7. You Don't Believe - 4:26
8. Pipeline (Instrumental) - 3:56
9. Ammonia Avenue - 6:30
Alle Tracks: Alan Parsons und Eric Woolfson.
Besetzung: Acoustic Guitar, Electric Guitar: Ian Bairnson
; Bass: David Paton
; Conductor [Orchestra Conducted By], Arranged [Orchestra Arranged By]: Andrew Powell
; Drums, Percussion: Stuart Elliott
; Engineer: Alan Parsons
; Executive-Producer: Eric Woolfson
; Keyboards: Eric Woolfson
; Leader [The Philharmonia Orchestra]: Christopher Warren-Green
; Mastering [Mastering Consultant]: Chris Blair
; Orchestra: Philharmonia Orchestra
; Programmed By [Fairlight Programming]: Alan Parsons
; Saxophone: Mel Collins
; Vocals: Chris Rainbow
; Vocals: Colin Blunstone
; Vocals: Eric Woolfson
; Vocals: Lenny Zakatek
; Phonographic Copyright (p) Arista Records, Inc.
; Copyright (c) Arista Records, Inc.
; Published By Woolfsongs Ltd.
; Published By Careers Music, Inc.
; Distributed By Polygram Record Operations Ltd.
; Distributed By Ariola Group Of Companies
; Recorded At Abbey Road Studios
; Mixed At Abbey Road Studios
; Manufactured By Polygram, Hanover, West Germany
Label und Katalognummer: Deutsche Grammophon 463-617-2
Veröffentlicht: 2000 03 01 (Ed.), 1935 (Werk)
Genretags: Akademica - Moderne-Klassik
Diese CD kam 1979 schon als 4 Vinyl LP Box heraus (Deutsche Grammophon 2740 213).
Trackliste: CD 1
1. Prolog: >>Hereinspaziert In Die Menagerie<< (Tierbändiger) - 4:30
2. Akt 1, Szene 1>>Darf Ich Eintreten?--Mein Sohn! (Alwa, Dr. Schon, Lulu) - 5:09
3. Machen Sie Auf! (Medizinairat, Lulu, Maler) - 9:05
4. Szene 2: >>Eva!--Befehlen? (Maler, Lulu) - 3:40
5. 1. Kammermusik (Schigolch, Lulu) - 4:26
6. Was Tut Denn Ihr Vater Da? (Dr. Schon, Lulu) - 7:03
7. Nun?--Du Hast Eine Halbe Million Geheiratet (Maler, Dr. Schon, Lulu) - 5:03
8. Ich Darf Mich Jetzt Hier Nicht Sehen Lassen (Dr. Schon, Lulu, Alwa) - 3:56
9. Verwandlungsmusik - 3:05
10. Szene 3: >>Seite Ich Fur Die Buhne Arbeite (Alwa, Lulu) - 3:53
11. Uber Die Liebe Sich Freilich...(Lulu, Alwa) - 4:31
12. Wie Kannst Du Die Szene Gegen Mich Ausspielen? (Dr. Schon, Lulu) - 7:10
CD 2
1. Akt 2, Szene 1: >>Sie Glauben Nicht, Wie Ich Mich Darauf Freue (Grafin Geschwitz, Dr.Schon, Lulu) - 5:26
2. Gott Sei Dank, Dass Wir
Enlich Zuhause Sind (Schigolch, Rodrigo, Gymnasiast, Lulu) - 5:40
3. Die Matinee Wir
d, Wie Ich Mir Denke, Bei Elektrischen Licht Stattfinden (Alwa, Lulu, Kammerdiener, Dr. Schon) - 6:15
4. Sein Vater! (Lulu, Dr. Schon, Alwa, Rodrigo) - 3:45
5. Wenn Sich Die Menschen Um Meinetwillen Umgebracht Haben (Lulu) - 6:13
6. Verwandlung (Filmmusik) - 2:49
7. Szene 2: >>Er Lasst Auf Sich Warten Wie Ein Kapellmeister (Rodrigo, Grafin Geschwitz, Alwa, Schigolch) - 5:42
8. Sie Wollten Der Verruckten Rakete Noch Geld Geben? (Rodrigo, Alwa) - 5:35
9. Hu, Kleine Lulu (Schigolch, Rodrigo, Lulu, Alwa) - 7:25
10. Wenn Deine Beiden Grossen Kinderaugen Nicht Waren (Alwa, Lulu) - 4:56
Alle Tracks: Alban Berg.
CD 3
1. Akt 3, Szene 1: >>Meine Herrn Und Damen! Gestatten Sie, Dass Ich Trinke (Rodrigo, Bankier) - 9:21
2. Brillant! Es Geht Brillant (Alwa, Journalist, Bankier, Kunstgewerbierin, Mutter, Lulu, Funfzehnjahrige, Rodrigo, Marquis, Groom, Diener) - 2:04
3. Einen Moment! Hast Du Meinen Brief Geiesen? (Rodrigo, Lulu, Groom, Bankier) - 3:15
4. Ich Braiche Namlich Notwendig Geid (Schigolch, Lulu) - 3:33
5. Behandein Sie Mich Doch Wenigstens Anstandig (Rodrigo, Marquis, Lulu) - 2:41
6. Martha! Mein Liebes Herz, Du Kannst Mich Heute Vor Dem Tode Retten (Lulu, Grafin Geschwitz, Rodrigo) - 2:31
7. Wollen Sie Wohl Diese Aktie Akzeptieren (Journalist, Bankier, Mutter, Kunstgewebierin, Alwa, Funfzehnjahrige, Diener) - 2:44
8. Verwandlungsmusik - 2:53
9. Szene 2: >>Der Regen Trommeit Zur Parade (Schigolch, Alwa, Lulu) - 4:35
10. Wenn Ich Ungeiegen Komme (Grafin Geschwitz, Lulu, Schigolch, Alwa) - 6:07
11. Komm Nur Herein, Mein Schatz! (Lulu, Neger, Schigolch) - 4:18
12. Der Herr Doktor Haben Sich Schon Zur Ruhe Begeben (Schigolch, Grafin Geschwitz) - 2:42
13. Wer Ist Das? (Jack, Lulu) - 5:10
14. Das Ist Der Letzte Abend (Grafin Geschwitz, Lulu, Jack) - 4:02
Alle Tracks: Alban Berg.
Besetzung: Alwa: Kenneth Riegel
; Conductor: Pierre Boulez
; Der Bankier: Jules Bastin
; Der Maler, Ein Neger: Robert Tear
; Der Medizinalrat, Schigolch, Der Polizeikommissär: Toni Blankenheim
; Der Prinz, Der Kammerdiener, Der Marquis: Helmut Pampuch
; Der Theaterdirecktor: Jules Bastin
; Dr. Schön, Jack: Franz Mazura
; Ein Diener: Pierre-Yves Le Maigat
; Ein Journalist: Claude Meloni
; Ein Tierbändiger, Rodrigo: Gerd Nienstedt
; Eine Funfzehnjahrige: Jane Manning
; Eine Kunstgewerblerin: Anna Ringart
; Eine Theater-garderobiere, Ein Gymnasiast, Ein Groom: Hanna Schwarz
; Gräfin Geschwitz: Yvonne Minton
; Ihre Mutter: Ursula Boese
; Lulu: Teresa Stratas
; Music: Orchestre National De L\'Opéra De Paris
Alec Empire [>] [D]: Rauschgold: Alec Empire Plays Staubgold [F]
Label und Katalognummer: Staubgold 092
Produktion: Alec Empire
Veröffentlicht: 2009 02 27
Genretags: Electronica - Industrial - Industrialambient
Trackliste: 1. Irmler / Reuber: Kintopp Lifelike (Alec Empire Remix) -(7:36)
2. Groenland Orchester: Haudura (5:05)
3. Kammerflimmer Kollektief: Lichterloh (Nôze Remix) - (3:15)
4. Mapstation: When You Collide (2:43)
5. Schwabinggrad Ballett: ICE Bertolt Brecht (Alec Empire Dub) (2:29)
6. Organ Eye: Tema #2 (2:52)
7. Loop Orchestra: Radiophony (3:56)
8. Autistic Daughters: Hotel Exeter Dining Room (5:38)
9. Faust: Stretch Over All Times (1:59)
10. Faust: A Seventies Event (2:18)
11. Harald Sack Ziegler: Gross Genug (1:41)
12. Die Welttraumforscher: Liebe Lilli (3:55)
13. Heaven And Feat. Alexander Hacke: Scarlet Woman (Alec Empire Dub) (5:45)
14. Klangwart: Zweitoneins (Alec Empire Remix) - (4:22)
15. Beta Erko: Zasplam (Alec Empire Dub) (3:00)
16. Paul Wir
kus: Blask (2:24)
17. Mapstation: More People Than Two (Alec Empire Dub) - (2:30)
18. Alec Empire: Outro (7:06)
Besetzung: Compilation Producer - Markus Detmer
; Compiled By, Mixed By, Edited By - Alec Empire
; Mastered By - Kassian Troyer
Alpha Band [>] [D]: Alpha Band [F]
Label und Katalognummer: Arista AL 4102
Veröffentlicht: 1976
Genretags: Rock - Corporate-Rock - Poprock
Diese Band kam aus der Rolling Thunder Revue. Dylan hat die drei Gitarristen zur Verstärkung seiner eigenen Backing-Band eingeladen.
Trackliste: Seite A
1. Interviews (Bob Neuwirth, Larry Poons, T-Bone Burnett) - 3:52
2. Cheap Perfume (Bob Neuwirth, Steven Soles, T-Bone Burnett) - 2:49
3. Keep It In The Family (Steven Soles) - 4:34
4. Ten Figures (John Fleming, T-Bone Burnett) - 4:09
5. Wouldn't You Know (Steven Soles) - 3:51
Seite B
1. Madman (Steven Soles, T-Bone Burnett) - 4:23
2. The Dogs (John Fleming, Rosanna Taplin, T-Bone Burnett) - 4:20
3. Arizona Telegram (Steven Soles) - 4:25
4. Dark Eyes (John Fleming, T-Bone Burnett) - 3:34
5. Last Chance To Dance (Lee Carson, T-Bone Burnett) - 3:18
Besetzung: Art Direction, Design: Nancy Greenberg
; Bass: David Jackson
; Drums: Matt Betton
; Lacquer Cut By [JG etched in runouts]: John Golden
; Management [Personal Representation]: Jonathan Taplin
; Photography [Cover]: Deborah Turbeville
; Photography [Sleeve]: Camera 5
; Photography [Sleeve]: Ken Regan
; Piano: K.O. Thomas (A3)
; Recording: Larry Hirsch
; Violin, Mandolin, Guitar: David Mansfield
; Vocals: Rosanna Taplin (B2)
; Vocals: Roscoe West (A1)
; Vocals, Guitar: Steven Soles
; Vocals, Guitar, Piano: T-Bone Burnett
; Phonographic Copyright (p) Arista Records, Inc.
; Copyright (c) Arista Records, Inc.
; Recorded At Paramount Recording Studios
; Mastered At Kendun Recorders
; Pressed By PRC Recording Company, Richmond, IN
Alpha Band [>] [D]: Spark In The Dark [F]
Label und Katalognummer: Arista AB 4145
Produktion: Steven Soles
Veröffentlicht: 1977 09 26
Genretags: Rock - Corporate-Rock - Poprock
Trackliste: Seite A
1. East Of East (Bob Neuwirth, Steven Soles, T-Bone Burnett) - 3:10
2. Born In Captivity (Arthur Buster Stahr) - 3:44
3. Blue Lonely Night (Steven Soles) - 3:26
4. Silver Mantis (John Fleming, T-Bone Burnett) - 6:35
5. Honey Run (K.O. Thomas) - 3:11
Seite B
1. Adrenalin (Jim Ganzer, Steven Soles, T-Bone Burnett) - 2:51
2. You Angel You (Bob Dylan) - 2:44
3. Not Everything Has A Price (Steven Soles, T-Bone Burnett) - 2:40
4. Love And Romance (Steven Soles) - 2:50
5. Mystified (T-Bone Burnett) - 2:36
6. Spark In The Dark (On The Moody Existentialist) (T-Bone Burnett) - 4:18
7. Jazz Hymn (W.M. Ham) - 1:52
Besetzung: T-Bone Burnett: vocals, guitar, piano
; David Mansfield: guitar, mandolin, violin, dobro, pedal steel guitar, percussion, cello, viola, violin
; Steven Soles: vocals, guitar, piano
; David Miner: bass
; Matt Betton: drums
; Bill Maxwell: drums
; Joe Correro: drums
; Geoffrey Hales: drums
; Ringo Starr: drums (A2, B2)
; K.O. Thomas: keyboards
; Mike Utley: keyboards
; Osamu Kitajima: koto
; Cindy Bullens: background vocals
Alvin Lucier [>] [D]: Music On A Long Thin Wire [F]
Label und Katalognummer: Lovely Music VR 1011/12, Lovely Music LCD 1011
Veröffentlicht: 1980, 1992 (Reed.)
Genretags: Akademica - Intermediale-Musik - Soundart
Trackliste: Seite A
1. Music On A Long Thin Wir
e - 20:00
Seite B
1. Music On A Long Thin Wir
e - 20:30
Seite C
1. Music On A Long Thin Wir
e - 20:00
Seite D
1. Music On A Long Thin Wir
e - 19:30
Alle Tracks: Alvin Lucier.
Besetzung: Design: Patrick Vitacco
; Mastering: Howie Weinberg
; Photography: Lon Holmberg
; Mastered At Masterdisk
; Phonographic Copyright (p) Alvin Lucier
; Commissioned in 1977 by Donald Funes for the Live Electronic Music Ensemble of the Crane School of Music, State University College of New York at Potsdam
Ammer [>] [D] & Console [>] [D]: Sweet Surrender. Undercover-Hörspiel Pt 2 [F]
Label und Katalognummer: Code 07
Veröffentlicht: 2004 06 01
Genretags: Electronica
Hörspiel produziert für den WDR
Trackliste: 1. So Ein Herrlicher Tag - 3:21
2. Dann Wollen Wir
Mal Sehen, Wie Sich Die Person Entwickelt - 6:28
3. Überall Stehen Leute Einfach Nur Rum - 0:46
4. Ja, Ich Versuche Ihr Zu Folgen - 3:17
5. Sie Hat Dunkelblondes Haar - 1:09
6. Ich Sollte Versuchen, Ihn Zu Beschreiben - 2:29
7. Jetzt Hab Ich Gesehen, Dass Neben Dem Felsblock Ein Rotwein Steht - 0:31
8. Dieser Tag Ist Eigentlich Schon Perfekt - 2:40
9. Auf Der Gegenüberliegenden Seite Bewegt Sich Eine Frau - 1:16
10. Hier Und Da Durchaus Nett Aussehende Mädchen - 2:23
11. Jetzt Ist Sie In Der Anderen Ecke - 3:58
12. Ich Sitze Gerade Zuhause Und Werde Mir Eine Zigarette Drehen - 6:51
13. Ein Bei Der Frauenverfolgung Nicht Unwesentlicher Aspekt - 1:48
14. Unsere Dame Auf Dem Steinblock Hat Wieder Besuch Bekommen - 2:47
15. Ich Folge Meiner Liebe - 3:15
Alle Tracks: Ammer und Console.
Besetzung: Voice: Insa Backe (1, 8, 15), Katja Lange-Müller (4, 6, 11), Markus Grün (3, 5, 7, 9, 14), Moritz Eggert (10, 13), Schorsch Kamerun (2), Tim Staffel (12)
Ammer [>] [D] & Console [>] [D]: Spaceman 85 [F]
Label und Katalognummer: Code 08
Veröffentlicht: 2005 06 16
Genretags: Electronica
Hörspiel über Reinhard Furrer, den deutschen NASA-Astronaut, der 1995 in einem Autounfall ums Leben kam.
Trackliste: 1. Bis Zu dem Moment, Wo Die Rakete Die Erde Verlasst - 5:30
2. Nobody Is There Anymore - 3:38
3. Dass Es Ernst Wir
d, Merkt Man Nur an der Einsamkeit - 7:25
4. Start der Raumfahre "Challenger" STS-61a 30.10. 1985 12: 00 Est - 5:42
5. "Silver Machine" - 3:36
6. Absolut. Weltraumschwarz - 6:55
7. Dann Ist Elektronische Musik an Meinem Ohr - 4:49
8. The Colour of Space - 7:33
9. Noch Einmal Um Die Erde Herum - 6:22
Amute [>] [D]: A Hundred Dry Trees [F]
Label und Katalognummer: Intr_version INTR 012
Produktion: Jérôme Deuson
Veröffentlicht: 2004 03 06
Genretags: Post-Millennial-Music - Digital-Underground - Postelectronica
Trackliste: 1. Trouver Les Mots - 4:31
2. Landslips - 7:07
3. À L’Ombre de 12,000 Médias - 6:13
4. (Lose Nothing But Happiness Cause) From Where I Stand (I Can See They Have Already Won) ! - 5:22
5. Se Laisser Aller En Tournant Or Let It Go Swirling - 7:09
6. Au Creux des Vagues, Mon Visage (Hasn't Stopped To Call For Peace) - 11:41
7. Weight of Time, Relief - 3:47
8. Oublier et Doucement… Repartir - 8:20
Alle Tracks: Jérôme Deuson.
Besetzung: Pressed By Magra Multi Média
André Vida [>] [D]: Brud: Volumes I-III (1995-2011) [F]
Label und Katalognummer: PAN [Berlin] 020
Veröffentlicht: 2011 12 (Ed.), 2011 -1995 (Rec.)
Genretags: Jazz - Avantgardejazz
Trackliste: CD 1: BRUD: Volume I
1. Purris -
2. Child Real Eyes -
3. Cello Solo -
4. Blues Shuffler -
5. New Day -
6. Wir
e In My Heart -
7. Piece Of Chicken -
8. High Enough, That If You Fell, You Would Break Just A Little -
9. Plate, Chicken, Feed -
10. Who Let The Gods Out? -
11. Wu Two -
12. Put It In Your Pocket -
13. Antiscones -
14. Tie Me Up -
15. Brudika -
16. Knoibs -
17. Rising -
18. Gypsy Star -
CD 2: BRUD Volume II
1. Broken Tape -
2. OClaClaVee -
3. AxelRaDre -
4. Kastle 5 -
5. Falling Kastle -
6. Kastle E89 -
7. Shields Kastle -
8. Woodwing -
CD3: BRUD Volume III - XBerg Suite
1. X -
2. Staring Intently -
3. Lady Mandala -
4. A Delicate Situation -
5. Gypsy Star -
6. The Three Two -
7. 39 Flowers -
8. Solution S -
9. Wenn Dein Haar Die Stimme Hätte, Würde Es Singen Oder Flüstern? -
Besetzung: Artwork: Andre Vida
; Artwork: Bill Kouligas
; Composed By: Andre Vida (1-1 to 1-18, 3-1 to 3-9)
; Mastering: Rashad Becker
Andrea Berg [>] [D]: Atlantis [F]
Label und Katalognummer: Ariola 88691 91991
Produktion: DJ BoBo & Dieter Bohlen & Achim Kleist & Wolfgang von Webenau
Veröffentlicht: 2013 09 06
Genretags: Electropop - Vocalpop - Schlager
Trackliste: CD 1
1. Atlantis lebt - 3:38
2. Das Gefühl - 3:10
3. Davon geht die Welt nicht unter - 3:22
4. Der letzte Tag im Paradies - 3:06
5. Wir
können nicht verlieren - 3:36
6. Liebe ist mehr - 3:00
7. Bin ich von allen guten Geistern verlassen - 3:52
8. Ich will nicht länger davon träumen - 3:07
9. Unser bester Moment - 2:57
10. Wir
st du mich lieben - 3:26
11. Lass mich einfach weiter träumen - 3:25
12. Fliegst du immer noch so hoch - 3:04
13. Träumer wie wir - 4:07
CD 2
1. Auf zu neuen Abenteuern - 3:45
2. Vergessen und verzeihen - 3:18
3. Himmel auf Erden - 3:42
4. Vorübergehend nicht zu erreichen - 3:18
5. Im nächsten Leben - 3:53
6. Hallo - 3:47
7. Du bist da - 2:58
8. Weil du ein Zauberer bist - 3:33
9. Morgen werd ich gehn - 3:43
10. Dein Licht am Horizont - 3:38
11. Nicht irgendwann - 3:12
12. Ich geh mit dir - 3:53
Besetzung: Producer: David Brandes (2-2 / 2-8 / 2-9 / 2-12)
; Producer: Dieter Bohlen (All tracks CD 1)
; Producer: Stefan Pössnicker (2-11)
Andy Stott [>] [D]: We Stay Together [F]
Label und Katalognummer: Modern Love LOVE 072
Produktion: Andy Stott
Veröffentlicht: 2011 09
Genretags: Electronica - Techno - Dubtechno
Trackliste: Seite A
1. Submission - 4:50
2. Posers - 5:07
Seite B
1. Bad Wir
es - 7:21
Seite C
1. We Stay Together (Part One) - 6:36
Seite D
1. Cherry Eye - 7:33
2. Cracked - 5:36
Alle Tracks: Andy Stott.
Label und Katalognummer: Editions Mego eMEGO 087
Veröffentlicht: 2008 01 28
Genretags: Electronica - DSP
Trackliste: 1. Bones In The Sand (12:46)
2. Kalmukia - The Discovery, Wir
ing, Invasion (19:35)
3. Effect Of Discovery, Test, Alarm, Catastrophy (13:12)
4. Aftermath: The Mutation (12:58)
Alle Tracks: Ilpo Väisänen.
Besetzung: Artwork By [Design] - Stephen O\'Malley
; Artwork By [Vision & Drawings] - Ilpo Väisänen
; Performer - Dirk Dresselhaus, Hildur Guðnadóttir, Ilpo Väisänen
Anton Webern [>] [D] & Pierre Boulez [>] [D]: Complete Works Op 1 Bis 31 [F]
Label und Katalognummer: Deutsche Grammophon 457 637
Produktion: Helmut Burk & Christian Gansch & Peter Laenger & Sid McLauchlan & Karl-August Naegler & Max Wilcox
Veröffentlicht: 2000 02 21 (Ed.), 1943-08 (Werk)
Genretags: Akademica - Romantik - Spätromantik, Akademica - Moderne-Klassik - Expressionismus, Akademica - Moderne-Klassik - Serialismus
Nicht alle Werke Weberns haben eine Opus-Zahl!
Op. 1, die Passacaglia
oder Sommerwind
sind noch spätromantisch, Werke bis op. 15. sind expressionistisch (atonal). Ab op. 16 (1924) sind Webern Werke dem Serialismus zuzuordnen. Im Kontrast zu Schönberg und Berg schrieb Webern sehr kurze Stücke nach der Zwölftontechnik. In seinen späten Werken wendet er die zwölftontechnik auf weitere musikalische Parameter an, neben der Tonhöhe auch auf Dauer und Dynamik. Die späteren Serialisten (Stockhausen, Boulez) berufen sich auf ihn, aber auch der Minimalist La Monte Young, der in Weberns Werken eine Wiederkehr der Töne in den selben Registern entdeckte und daraus schloss, dass diese Musik von versteckten langen Linien dominiert sei (Drones).
Trackliste: CD 1
1. Passacaglia for Orchestra Op. 1 [Berliner Philharmoniker/Pierre Boulez] - 10:04
2. 5 Movements Op. 5 [Berliner Philharmoniker/Pierre Boulez]: I. Heftig bewegt - 2:53
3. II. Sehr langsam - 2:13
4. III. Sehr lebhaft - 0:43
5. IV. Sehr langsam - 1:28
6. V. In zarter Bewegung - 3:19
7. 6 Pieces for Orchestra Op. 6 [Berliner Philharmoniker/Pierre Boulez]: I. Etwas bewegte Achtel - 1:05
8. II. Bewegt - 1:30
9. III. Zart bewegt - 0:50
10. IV. Langsam. Marcia funebre - 4:20
11. V. Sehr langsam - 2:22
12. VI. Zart bewegt - 1:41
13. J. S. Bach: Fuga (Ricercata) a 6 voci [Berliner Philharmoniker/Pierre Boulez] - 7:11 -
14. Franz Schubert: German Dances Op. post. D 820 [Berliner Philharmoniker/Pierre Boulez]: No. 1 - No. 2 (No. 1) - No. 3 (No. 1) - 4:28
15. No. 4 - No. 5 (No. 4) - No. 6 (No. 4) - 5:57
16. Im Sommerwind [Berliner Philharmoniker/Pierre Boulez] - 16:00
CD 2
1. 5 Pieces for Orchestra [Berliner Philharmoniker/Pierre Boulez]: I. Bewegt - 0:58
2. II. Langsam (Sostenuto) - 1:31
3. III. Sehr bewegte Viertel - 1:09
4. IV. Langsame Viertel - 1:02
5. V. (Alla breve) - 1:14
6. 3 Orchestral Songs [Berliner Philharmoniker/Pierre Boulez; Christiane Oelze, soprano]: I. Leise Düfte: 'Leise Düfte, Blüten so zart' - 1:43
7. II. Kunfttag III: 'Nun wird es wieder Lenz' - 1:39
8. III. 'O sanftes Glühn der Berge' - 1:53
9. Symphony Op. 21 [Berliner Philharmoniker/Pierre Boulez]: I. Ruhig schreitend - 6:30
10. II. Variationen - 3:08
11. Das Augenlicht Op. 26 [Berliner Philharmoniker; BBC Singers/Pierre Boulez; Simon Joly, chorus master] - 5:38
12. Cantata No. 1 Op. 29 [Berliner Philharmoniker; BBC Singers/Pierre Boulez; Christiane Oelze, soprano; Simon Joly, chorus master]: I. 'Zündender lichtblitz des Lebens' - 2:17
13. II. 'Kleiner Flügel Ahornsamen' - 2:19
14. III. 'Tönen die seligen Saiten Apolls' - 4:05
15. Variations for Orchestra Op. 30 [Berliner Philharmoniker/Pierre Boulez] - 7:37
16. Cantata No. 2 Op. 31 [Berliner Philharmoniker; BBC Singers/Pierre Boulez; Christiane Oelze, soprano; Gerald Finley, bass; Simon Joly, chorus master]: I. 'Schweigt auch die Welt' - 2:08
17. II. 'Sehr tief verhalten innerst Leben' - 3:49
18. III. 'Schöpfen aus Brunnen des Himmels' - 2:25
19. IV. 'Leichteste Bürden der Bäume' - 1:12
20. V. 'Freundselig ist das Wort' - 3:41
21. VI. 'Gelockert aus dem Schoße' - 2:12
CD 3
1. Piano Quintet [Ensemble intercontemporain/Pierre Boulez; Pierre-Laurent Aimard, piano] - 13:11
2. 'Entflieht auf leichten Kähnen' Op. 2 [BBC Singers/Pierre Boulez; Malcolm Hicks, chorus master] - 2:43
3. 2 Lieder Op. 8 [Ensemble intercontemporain/Pierre Boulez; Françoise Pollet, soprano]: I. 'Du, der ichs nicht sage' - 1:05
4. II. 'Du machst mich allein' - 1:14
5. 5 Pieces for Orchestra Op. 10 [Ensemble intercontemporain/Pierre Boulez]: I. Sehr ruhig und zart - 0:44
6. II. Lebhaft und zart bewegt - 0:39
7. III. Sehr langsam und äußerst ruhig - 1:48
8. IV. Fließend, äußerst zart - 0:29
9. V. Sehr fließend - 0:56
10. 4 Lieder Op. 13 [Ensemble intercontemporain/Pierre Boulez; Françoise Pollet, soprano]: I. Wiese im Park: 'Wie wird mir zeitlos' - 2:14
11. II. Die Einsame: 'An dunkelblauem Himmel' - 1:30
12. III. In der Fremde: 'In fremdem Lande lag ich' - 1:03
13. IV. Ein Winterabend: 'Wenn der Schnee ans Fenster fällt' - 2:16
14. 6 Lieder Op. 14 [Ensemble intercontemporain/Pierre Boulez; Françoise Pollet, soprano]: I. Die Sonne: 'Täglich kommt die gelbe Sonne' - 1:42
15. II. Abendland I: 'Mond, als träte ein Totes' - 1:27
16. III. Abendland II: 'So leise sind die grünen Wälder' - 1:16
17. IV. Abendland IV: 'Ihr großen Städte steinern aufgebaut' - 1:35
18. V. Nachts: 'Die Bläue meiner Augen' - 0:51
19. VI. Gesang einer gefangenen Amsel: 'Dunkler Odem in grünen Gezweig' - 1:21
20. 5 Sacred Songs Op. 15 [Ensemble intercontemporain/Pierre Boulez; Christiane Oelze, soprano]: I. 'Das Kreuz, das mußt' er tragen' - 0:59
21. II. Morgenlied: 'Steht auf, ihr lieben Kinderlein' - 0:52
22. III. 'In Gottes Namen aufstehn' - 0:59
23. IV. 'Mein Weg geht jetzt vorüber' - 0:59
24. V. 'Fahr hin, o Seel', zu deinem Gott' - 1:36
25. 5 Canons Op. 16 [Ensemble intercontemporain/Pierre Boulez; Christiane Oelze, soprano]: I. 'Christus factus est' - 0:31
26. II. 'Dormi Jesu, mater ridet' - 1:05
27. III. 'Crux fidelis' - 0:50
28. IV. 'Asperges me, Domine' - 0:37
29. V. 'Crucem tuam adoramus, Domine' - 0:29
30. 3 Traditional Rhymes Op. 17 [Ensemble intercontemporain/Pierre Boulez; Christiane Oelze, soprano]: I. 'Armer Sünder, du' - 0:45
31. II. 'Liebste Jungfrau, wir sind dein' - 1:03
32. III. 'Heiland, unsre Missetaten' - 0:49
33. 3 Lieder for Voice, E Flat Clarinet and Guitar Op. 18 [Ensemble intercontemporain/Pierre Boulez; Christiane Oelze, soprano]: I. 'Schatzerl klein' - 0:45
34. II. Erlösung: 'Mein Kind, sieh an' - 1:03
35. III. 'Ave, Regina coelorum' - 0:49
36. 2 Lieder Op. 19 for Mixed Choir [Ensemble intercontemporain; BBC Singers/Pierre Boulez]: I. 'Weiß wie Lilien' - 1:23
37. II. 'Ziehn die Schafe' - 1:01
38. Quartet Op. 22 [Ensemble intercontemporain/Pierre Boulez; Pierre-Laurent Aimard, piano]: I. Sehr mäßig - 3:09
39. II. Sehr schwungvoll - 3:09
40. Concerto Op. 24 [Ensemble intercontemporain/Pierre Boulez; Pierre-Laurent Aimard, piano]: I. Etwas lebhaft - 2:38
41. II. Sehr schwungvoll - 2:35
42. III. Sehr rasch - 1:24
CD 4
1. 3 Poems [Christiane Oelze, soprano; Eric Schneider, piano]: I. Vorfrühling: 'Leise tritt auf...' - 1:21
2. II. Nachtgebet der Braut: 'O mein Geliebter' - 2:40
3. III. Fromm: 'Der Mond scheint auf mein Lager' - 1:55
4. 8 Early Lieder [Christiane Oelze, soprano; Eric Schneider, piano]: I. Tief von fern: 'Aus des Abends weißen Wogen' - 1:15
5. II. Aufblick: 'Über unsre Liebe hängt eine tiefe Trauerweide' - 2:42
6. III. Blumengruß: 'Der Strauß, den ich gepflücket' - 1:29
7. IV. Bild der Liebe: 'Von Wald umgeben' - 1:37
8. V. Sommerabend: 'Du Sommerabend! Heilig, goldnes Licht!' - 2:35
9. VI. Heiter: 'Mein Herz ist wie ein See so weit' - 1:12
10. VII. Der Tod: 'Ach, es ist so dunkel un des Todes Kammer' - 1:08
11. VIII. Heimgang in der Frühe: 'In der Dämmerung' - 3:35
12. 3 Lieder on Poems by Ferdinand Avenarius [Christiane Oelze, soprano; Eric Schneider, piano]: I. Gefunden: 'Nun wir uns lieben, rauscht mein stolzes Glück' - 1:28
13. II. Gebet: 'Ertrage du's, laß schneiden dir den Schmerz' - 1:32
14. III. Freunde: 'Schmerze und Freuden reift jede Stunde' - 1:31
15. 5 Lieder on Poems by Richard Dehmel [Christiane Oelze, soprano; Eric Schneider, piano]: I. Ideale Landschaft: 'Du hattest einen Glanz auf deiner Stirn' - 2:20
16. II. Am Ufer: 'Die Welt verstummt, dein Blut erklingt' - 1:34
17. III. Himmelfahrt: 'Schwebst du nieder aus den Weiten' - 2:57
18. IV. Nächtliche Scheu: 'Zaghaft vom Gewölk ins Land' - 2:37
19. V. Helle Nacht: 'Weich küßt die Zweige der weiße Mond' - 2:52
20. 5 Lieder From 'Der siebente Ring' by Stefan George Op. 3 [Christiane Oelze, soprano; Eric Schneider, piano]: I. 'Dies ist ein lied' - 1:08
21. II. 'Im windes-weben' - 0:41
22. III. 'An baches ranft' - 1:02
23. IV. 'Im morgen-taun' - 1:16
24. V. 'Kahl reckt der baum' - 1:33
25. 5 Lieder on Poems by Stefan George Op. 4 [Christiane Oelze, soprano; Eric Schneider, piano]: I. Eingang: 'Welt der gestalten lang lebewohl!' - 3:13
26. II. 'Noch zwingt mich treue über dir zu wachen' - 1:42
27. III. 'Ja heil und dank dir' - 2:03
28. IV. 'So ich traurig bin' - 0:59
29. V. 'Ihr tratet zu dem herde' - 1:30
30. 4 Lieder on Poems by Stefan George [Christiane Oelze, soprano; Eric Schneider, piano]: I. 'Erwachen aus dem tiefsten traumes-schooße' - 2:44
31. II. Kunfttag I: 'Dem bist du kind, dem freund' - 1:22
32. III. Trauer I: 'So wart bis ich dies dir noch künde' - 1:53
33. 4 Lieder Op. 12 [Christiane Oelze, soprano; Eric Schneider, piano]: IV. 'Das lockere saatgefilde lechzet krank' - 0:57
34. I. 'Der Tag ist Vergangen' - 1:37
35. II. Die geheimnisvolle Flöte: 'An einem Abend, da die Blumen dufteten' - 1:53
36. III. 'Schien mir's, als ich sah die Sonne' - 1:58
37. IV. Gleich und gleich: 'Ein Blumenglöckchen' - 0:52
38. 3 Songs From 'Viae inviae' by Hildegard Jone Op. 23 [Christiane Oelze, soprano; Eric Schneider, piano]: I. 'Das dunkle Herz, das in Sich lauscht' - 3:34
39. II. 'Es stürzt aus höhen Frische' - 2:02
40. III. 'Herr Jesus mein' - 2:48
41. 3 Lieder on Poems by Hildegard Jone Op. 25 [Christiane Oelze, soprano; Eric Schneider, piano]: I. 'Wie bin ich froh!' - 1:05
42. II. 'Des Herzens Purpurvogel fliegt durch Nacht' - 2:05
43. III. 'Sterne, ihr silbernen Bienen der Nacht' - 1:35
CD 5
1. Slow Movement for String Quartet [Emerson String Quartet] - 9:02
2. Five Movements for String Quartet [Emerson String Quartet]: I. Heftig bewegt - 2:22
3. II. Sehr langsam - 2:30
4. III. Sehr bewegt - 0:42
5. IV. Sehr langsam - 1:50
6. V. In zarter Bewegung - 3:32
7. String Quartet [Emerson String Quartet] - 15:22
8. 6 Bagatelles for String Quartet [Emerson String Quartet]: I. Mäßig - 0:34
9. II. Leicht bewegt - 0:27
10. III. Ziemlich fliessend - 0:22
11. IV. Sehr langsam - 0:50
12. V. Äußerst langsam - 1:14
13. VI. Fließend - 0:32
14. Rondo for String Quartet [Emerson String Quartet] - 6:44
15. Movement for String Trio Op. post. [Emerson String Quartet] - 2:02
16. 3 Pieces for String Quartet [Emerson String Quartet; Mary Ann McCormick, mezzo-soprano]: I. Bewegt - 0:36
17. II. Langsam - 1:26
18. III. Nicht zu langsam - 0:30
19. String Trio Op. 20 [Emerson String Quartet]: I. Sehr langsam - 3:27
20. II. Sehr getragen und ausdrucksvoll - 5:22
21. String Quartet Op. 28 [Emerson String Quartet]: I. Mäßig - 3:49
22. II. Gemächlich - Bewegt - 1:45
23. III. Sehr fließend - 2:11
CD 6
1. 2 Pieces for Cello and Piano [Clemens Hagen, cello; Oleg Maisenberg, piano]: I. Langsam - 2:05
2. II. Langsam - 3:00
3. Movement for Piano [Gianluca Cascioli, piano] - 6:02
4. Sonata Movement (Rondo) for Piano [Gianluca Cascioli, piano] - 6:18
5. 4 Pieces for Violin and Piano Op. 7 [Gidon Kremer, violin; Oleg Maisenberg, piano]: I. Sehr langsam - 0:57
6. II. Rasch - 1:31
7. III. Sehr langsam - 0:57
8. IV. Bewegt - 1:02
9. 3 Little Pieces for Cello and Piano Op. 11 [Clemens Hagen, cello; Oleg Maisenberg, piano]: I. Mäßige - 1:10
10. II. Sehr bewegt - 0:22
11. III. Äußest ruhig - 1:02
12. Cello Sonata [Clemens Hagen, cello; Oleg Maisenberg, piano] - 1:43
13. Kinderstück für Klavier [Krystian Zimerman, piano] - 0:48
14. Piano Piece [Krystian Zimerman, piano] - 1:24
15. Variations for Piano Op. 27 [Krystian Zimerman, piano]: I. Sehr mäßig - 2:02
16. II. Sehr schnell - 0:45
17. III. Ruhig fließend - 4:00
Besetzung: Pierre-Laurent Aimard: Piano
; Christopher Alder: Executive Producer
; Alison Ames: Executive Producer
; Ferdinand Avenarius: Text
; Clive Barda: Photography
; Susesch Bayat: Photography
; BBC Singers: Choir/Chorus
; Klaus Behrens: Engineer
; Berlin Philharmonic Orchestra: Orchestra
; Hans Bethge: Text
; Ludger Bockenhoff: Editing
; Pierre Boulez: Conductor, Liner Notes
; Mark Buecker: Editing
; Jügen Bulgrin: Engineer
; Helmut Burk: Balance Engineer
; Gianluca Cascioli: Piano
; Matthias Claudius: Text
; Dennis Collins: Liner Note Translation
; Richard Dehmel: Text
; Lawrence Dutton: Viola
; Jobst Eberhardt: Engineer
; Emerson String Quartet: String Quartet
; Ensemble InterContemporain: Ensemble
; Gustav Falke: Text
; Françoise Ferlan: Lyric Translation, Text Translation
; Daniel Fesquet: Booklet Editor
; David Finckel: Cello
; Gerald Finley: Bass (Vocal)
; Hartmut Fladt: Liner Notes
; Constantin Floros: Liner Notes
; Stefan Georg: Text
; Stefan George: Text
; Johann Wolfgang von Goethe: Text
; Philippe Gontier: Photography
; Martin Greif: Text
; Paul Griffiths: Biographical Notes, Liner Notes
; Ingmar Haas: Editing
; Clemens Hagen: Cello
; Malcolm Hicks: Choir Master
; Dominique Jameux: Liner Notes
; Simon Joly: Choir Master
; Hildegard Jone: Drawing, Text
; Wolf-Dieter Karwatky: Editing, Engineer
; Lucie Kayas: Liner Notes
; Oskar Kokoschka: Drawing
; Karl Kraus: Text
; Gidon Kremer: Violin
; Reinhard Lagemann: Editing
; Stefan Lerche: Liner Notes
; Detlev von Liliencron: Text
; Rainer Maillard: Balance Engineer
; Oleg Maisenberg: Piano
; Mary Ann McCormick: Mezzo-Soprano (Vocal)
; Pål Christian Moe: Associate Producer
; Hans-Rudolf Müller: Engineer
; Fred Munzmaier: Art Direction
; Friedrich Nietzsche: Text
; Christiane Oelze: Soprano (Vocal)
; Max Oppenheimer: Portraits
; Alain Poirier: Liner Notes
; Francoise Pollet: Soprano (Vocal)
; Rainer Maria Rilke: Text
; Oliver Rogalla: Balance Engineer, Engineer
; Klaus Rudolph: Photography
; Lionel Salter: Lyric Translation, Text Translation
; Egon Schiele: Drawing
; Reinhild Schmidt: Engineer
; Eric Schneider: Piano
; Ute Karen Seggelke: Photography
; Philip Setzer: Violin
; Thomas Specht: Photography
; August Strindberg: Text
; Li Tai-Po: Text
; Marion Thiem: Executive Producer
; Georg Trakl: Text
; Jorg Peter Urbach: Liner Note Translation
; Guillaume Villeneuve: Lyric Translation, Text Translation
; Anton Webern: Text
; Andrew Wedman: Balance Engineer
; Wilhelm Weigand: Text
; Max Wilcox: Balance Engineer, Editing
; Andrea Wolter: Liner Notes
; Nelson Wong: Engineer
; Roger Wright: Executive Producer
; Gregor Zielinsky: Balance Engineer
; Krystian Zimerman: Piano
Archers Of Loaf [>] [D]: All The Nations Airports [F]
Label und Katalognummer: Alias A 100
Produktion: Archers Of Loaf & Brian Paulson
Veröffentlicht: 1996 09 24
Genretags: Alternativerock - Poprock - Powerpop
Trackliste: 1. Strangled by the Stereo Wir
e - 1:46
2. All the Nations Airports - 2:52
3. Scenic Pastures - 3:21
4. Worst Defense - 1:48
5. Attack of the Killer Bees - 2:45
6. Rental Sting - 2:51
7. Assassination on X-mas Eve - 3:39
8. Chumming the Ocean - 5:06
9. Vocal Shrapnel - 2:44
10. Bones of Her Hands - 1:59
11. Bumpo - 3:04
12. Form and File - 3:01
13. Acromegaly - 3:52
14. Distance Comes in Droves - 5:30
15. Bombs Away - 2:26
Alle Tracks: Archers Of Loaf.
Besetzung: Eric Bachmann: vocals, guitar
; Matt Gentling: bass
; Eric Johnson: guitar
; Mark Price: drums
; Mastered At Masterdisk NYC
; Mixed At SMART Studios in Madison, WI
; Recorded: Avast! Recording Co.
; Recorded: Ironwood Studios in Seattle, WA
; Engineer: Brian Paulson
; Engineer [Assistant]: Floyd Reitsma, Jay Follette, Marc Haines
; Mastered By Howie Weinberg
Area C [>] [D]: Map Of Circular Thought [F]
Label und Katalognummer: Preservation CIRCA 211
Veröffentlicht: 2011 01 18
Genretags: Electronica - Ambient
Trackliste: 1. Map of Circular Thought - 3:55
2. Felt, Not Seen - 14:07
3. Twos - 2:17
4. In Toward the Wir
es - 13:16
5. Radio Basis - 2:10
6. An After Image - 9:55
7. Ebbs to a Steady Burn - 22:08
Besetzung: Area C: Composer, Engineer
; Erica Carpenter: Quotation Author
; Mark Gowing: Design
; Bhob Rainey: Mastering
Arno Clauss [>] [D]: An Tante Gertie in Zons am Rhein [F]
Label und Katalognummer: Ohr OMM 556.030
Produktion: Frank Oeser
Veröffentlicht: 1972
Genretags: Folk - Urbanfolk - Psychedelicfolk
Trackliste: Seite A
1. Lied Für Arbeitnehmer - 2:24
2. Es War An Einem Sommertag - 3:44
3. Mädchen Warten Nur, Bis Es Herbst Wir
d - 4:50
4. Ein Jahr Ist Vergangen - 5:55
5. Karlchen, Oder: So Kann Das Nicht Weitergehen - 3:50
Seite B
1. Manchen Leuten Möchte Ich Gern In Die Fresse Schlagen - 2:19
2. Weisst Du Schon, Dass Man Dich Betrogen Hat - 3:32
3. Der Graue - 4:02
4. Otto - 5:40
5. Lied An Zons - 6:17
Alle Tracks: Arno Clauss.
Besetzung: Arranged, Directed By: Bernhard Jobski
; Cover: Peter Geitner
; Engineer: Gerd Lemnitz
; Photography: Marcel Fugère
Arno Peeters [>] [D]: AeroSon [F]
Label und Katalognummer: Mille Plateaux MP 038
Produktion: Arno Peeters
Veröffentlicht: 1996
Genretags: Electronica - Soundart
Trackliste: 1. Woeshipping DOT Matrix - 4:15
2. SW Itch - 1:27
3. Duesday - 2:49
4. AM orph - 2:03
5. Aud Entity I - 3:30
6. Uncanny - 2:12
7. Aud Entity II - 6:47
8. AeroSon - 2:32
9. Commercial Menace I - 3:52
10. Try To Be Very Zen About It - 1:42
11. Don't Wait... - 2:10
12. The Desire To Get Wir
ed - 1:02
13. Commercial Menace II - 0:52
14. Meditation - 3:24
15. Coda - 1:36
Bonustracks: Xtra traX
1. AMorph (Alternative Version) - 4:16
2. Neuromatrix V.2.1. - 4:16
3. Acousti Mass - 3:47
4. Aud Entity (Extended Version) - 13:16
Alle Tracks: Arno Peeters
Besetzung: Artwork By, Design - Arno Peeters, DHM graphic design, Amsterdam
; Arranged By - Arno Peeters
Arnold Schönberg [>] [D] & Glenn Gould [>] [D]: Schönberg Lieder [F]
Label und Katalognummer: Sony Classical 52667
Produktion: Thomas Frost & Andrew Kazdin
Veröffentlicht: 1995 06 27 (Ed.)
Genretags: Akademica - Moderne-Klassik - Expressionismus, Akademica - Moderne-Klassik - Zwölftonmusik, Akademica - Moderne-Klassik - Lieder
Trackliste: CD 1
1. Zwei Gesänge, Op. 1: I. Dank
2. Zwei Gesänge, Op. 1: II. Abschied
3. Vier Lieder, Op. 2: I. Erwartung
4. Vier Lieder, Op. 2: II. Schenk mir deinen goldenen Kamm
5. Vier Lieder, Op. 2: III. Erhebung
6. Vier Lieder, Op. 2: IV. Waldsonne
7. 'Das Buch der hängenden Gärten' op. 15: I. Unterm Schutz von dichtem Blättergründen
8. 'Das Buch der hängenden Gärten' op. 15: II. Hain in diesen paradiesen
9. 'Das Buch der hängenden Gärten' op. 15: III. Als neuling trat ich ein in dein gehege
10. 'Das Buch der hängenden Gärten' op. 15: IV. Da meine lippen reglos sind
11. 'Das Buch der hängenden Gärten' op. 15: V. Saget mir, auf welchen pfade
12. 'Das Buch der hängenden Gärten' op. 15: VI. Jedem werke bin ich fürder tot
13. 'Das Buch der hängenden Gärten' op. 15: VII. Angst und hoffen wechselnd mich beklemmen
14. 'Das Buch der hängenden Gärten' op. 15: VIII. Wenn ich heut nicht deinen lieb berühre
15. 'Das Buch der hängenden Gärten' op. 15: IX. Streng ist uns das glück und spröde
16. 'Das Buch der hängenden Gärten' op. 15: X. Das schöne beet betracht ich mir im harren
17. 'Das Buch der hängenden Gärten' op. 15: XI. Als wir hinter dem beblümten tore
18. 'Das Buch der hängenden Gärten' op. 15: XII. Wenn sich bei heilger ruh in tiefen matten
19. 'Das Buch der hängenden Gärten' op. 15: XIII. Du lehnest wider eine silberweide
20. 'Das Buch der hängenden Gärten' op. 15: XIV. Sprich nicht immer
21. 'Das Buch der hängenden Gärten' op. 15: XV. Wir
bevölkerten die abenddüstern lauben
CD 2
1. Sechs Lieder, Op. 3: I. Wie Georg von Frundsberg von sich selber sang
2. Sechs Lieder, Op. 3: II. Die Aufgeregten
3. Sechs Lieder, Op. 3: III. Warnung
4. Sechs Lieder, Op. 3: IV. Hochzeitslied
5. Sechs Lieder, Op. 3: V. Geübtes Herz
6. Sechs Lieder, Op. 3: VI. Freihold
7. Zwei Balladen, Op. 12: I. Jane Grey
8. Zwei Balladen, Op. 12: II. Der verlorene Haufen
9. Drei Lieder, Op. 48: I. Sommermüd
10. Drei Lieder, Op. 48: II. Tot
11. Drei Lieder, Op. 48: III. Mädchenlied
12. Zwei Lieder, Op. 14: I. Ich darf nicht dankend
13. Zwei Lieder, Op. 14: II. In diesen Wintertagen
14. Zwei Lieder, Op. post.: I. Gedenken
15. Zwei Lieder, Op. post.: II. Am Strande
16. Acht Lieder, Op. 6: I. Traumleben
17. Acht Lieder, Op. 6: II. Alles
18. Acht Lieder, Op. 6: III. Mädchenlied
19. Acht Lieder, Op. 6: IV. Verlassen
20. Acht Lieder, Op. 6: V. Ghasel
21. Acht Lieder, Op. 6: VI. Am Wegrand
22. Acht Lieder, Op. 6: VII. Lockung
23. Acht Lieder, Op. 6: VIII. Der Wanderer
Besetzung: Heinrich Amann: Text
; Kurt Aram: Text
; Hermann Conradi: Text
; Richard Dehmel: Text
; Odile Demange: Liner Note Translation
; Ellen Faull: Soprano (Vocal)
; Françoise Ferlan: Translation
; Louise de la Fuente: Mastering, Reissue Producer
; C.C. Garbers: Cover Design
; Stefan George: Text
; Glenn Gould: Piano, Primary Artist
; Donald Gramm: Bass Baritone
; Julius Hart: Text
; Georg Henckel: Text
; Don Hunstein: Cover Photo, Photography
; Jens Peter Jacobsen: Text
; Gottfried Keller: Text
; Richard King: Reissue Engineer
; Viktor Klemperer: Text
; Karl Von Levetzow: Text
; Hermann Lingg: Text
; John Henry Mackay: Text
; Philip Lieson Miller: Translation
; Friedrich Nietzsche: Text
; Cornelis Opthof: Baritone (Vocal)
; Claudio Maria Perselli: Liner Note Translation
; Paul Remer: Text
; Rainer Maria Rilke: Text
; Johannes Schlaf: Text
; Stewart Spencer: Liner Note Translation
; Michael Stegemann: Liner Notes
; Helen Vanni: Mezzo-Soprano (Vocal)
Label und Katalognummer: Puremagnetik PM 09
Produktion: Arovane
Veröffentlicht: 2021 01 26
Genretags: Post-Millennial-Music - Digital-Underground - IDM
Trackliste: 1. olopp_eleen - 3:59
2. wirkung - 3:16
3. find - 2:12
4. stat - 4:31
5. sloon - 2:15
6. aer - 2:26
7. noondt - 3:13
8. innerst - 2:36
9. gand - 2:15
10. niin - 7:09
11. elangt - 5:43
12. hymn - 2:08
13. tri i - 1:30
14. nimmer - 5:05
15. wechselwirkung - 2:42
16. 10 dezember 2019 - 3:59
17. komposition no. 1 - 1:30
Alle Tracks: Uwe Zahn.
Besetzung: Artwork: John Whitlock
; Mastering: Taylor Deupree
; Mastered At 12K Mastering
Atlas Sound [>] [D]: Bedroom Databank Vol. 4 [F]
Label und Katalognummer: Selbstrelease
Veröffentlicht: 2010 11 25
Genretags: Post-Millennial-Music - Psychedelia
Trackliste: 1. Farmland Fantasy - 4:44
2. Terrarium - 2:35
3. Spectre - 2:53
4. Talent Show Audition Tape, Winnepeg 1975 - 3:05
5. Wir
e Brush Stomp - 2:35
6. Ex-Prodigy (For Norbert Wiener) - 2:43
7. Moonlight on Verlaine - 4:44
8. How to Pass the Time - 4:35
Label und Katalognummer: Trikont US 0239
Veröffentlicht: 1997
Genretags: Jazz - Avantgardejazz
Trackliste: 1. Wama liaba (weama song weama seng weama song) - 15:13
2. (Do) Ged wer (do kumt nu ana da is wer) - 15:13
3. (Dau hoda dau) Hoda dau (umanaunda dau) - 15:16
4. Es gibt Wiederholungen - 0:06
5. (Es wird scho wieder) Woam werdn - 6:21
Alle Tracks: Markus Binder & Hans-Peter Falkner.
Besetzung: Diaton, Harmonica, Vocals [Additional]: Hans-Peter Falkner
; Drums, Vocals, Loops, Chomus: Markus Binder
Autistici [>] [D]: Volume Objects [F]
Label und Katalognummer: 12k 1045
Produktion: Autistici
Veröffentlicht: 2008 01 01
Genretags: Electronica - DSP - Digitalminimalism
Trackliste: 1. 9V Tree Battery - 2:19
2. Wir
e Cage For Tiny Birds - 9:09
3. Heated Dust On A Sunlit Window - 4:43
4. Broken Guitar, Discarded Violin - 4:25
5. To Human Form - 3:52
6. Ageless Visitor, Eroded Time - 5:07
7. Attaching Softness To A Shell [C] - 9:00
8. (Before You Go) Curet Must Be Protected - 1:48
9. From A False Memory - 3:36
Besetzung: Design, Photography: Taylor Deupree
; Manufactured By Bellwether Manufacturing
Autistici [>] [D]: Complex Tone Test [F]
Label und Katalognummer: Kesh Recordings KESH:012
Veröffentlicht: 2009 09 28
Genretags: Electronica - Folktronica
Trackliste: 1. Key For A Lockable Cabinet - 2:40
2. Meticule - 5:27
3. Resonating Wir
e - 5:56
4. Closing - 5:20
5. La Spaziale S1 Vivaldi - 6:44
6. Refractory - 6:31
7. Disintegrated Interest - 2:35
8. Annualized Light (2.2) - 8:06
9. Meadow Bed - 5:18
Autodigest [>] [D]: A Compressed History Of Everything Ever Recorded, Vol. 1 [F]
Label und Katalognummer: Crónica 006~2003
Veröffentlicht: 2003 10
Genretags: Electronica - Soundart
Trackliste: 1. Compression 1
2. Compression 2
3. Compression 3
4. Compression 4
5. Compression 5 (Chamber Mix)
6. Compression 6
7. Compression 7 (Oops I Mixed It Again)
8. Expansion
9. Compression 8 (The Almighty Enchillada Mix)
10. Guacamolemix
11. 60 Hours In 1 Second (Live In Stockholm, May 24, 2002).
Video
1. A Possible Antidote (Exercise 1)
Alle Tracks: Wir
itten and Composed by Everyone.
Besetzung: Mastered By Alex FX
; Mixed By, Concept By [Compressed And Expanded By]: Autodigest
Aztec Camera [>] [D]: High Land, Hard Rain [F]
Label und Katalognummer: Rough Trade ROUGH 047, Sire 23899 (US), Edsel EDSA 5011
Produktion: John Brand & Bernie Clarke
Veröffentlicht: 1983 04 19, 2012 09 03 (Reed.)
Genretags: Indiepop - Janglepop, Indiepop - Artpop - Sophistipop
Trackliste: Seite A
1. Oblivious - 3:05
2. The Boy Wonders - 3:10
3. Walk Out To Winter - 3:20
4. The Bugle Sounds Again - 2:50
5. We Could Send Letters - 5:40
Seite B
1. Pillar To Post - 3:55
2. Release - 3:38
3. Lost Outside The Tunnel - 3:35
4. Back On Board - 4:50
5. Down The Dip - 2:10
Bonustracks der CD Ausgabe von 2012
1. Queen's Tattoos - 2:09
2. Haywire - 3:56
3. Orchid Girl - 2:32
4. Set the Killing Free - 3:45
5. Oblivious [12 mix] - 3:49
6. Walk Out To Winter [12 extended version] - 7:46
7. Oblivious [12 extended remix] - 4:36
Alle Tracks: Roddy Frame.
Besetzung: Roddy Frame (vocals, guitar, harmonica)
; Bernie Clark (piano, organ)
; Campbell Owens (bass)
; Dave Ruffy (drums, percussion).
; Phonographic Copyright (p) Rough Trade Records
; Distributed By The Cartel
Aztec Camera [>] [D]: Knife [F]
Label und Katalognummer: WEA WX 8, Edsel Records EDSA 5012
Produktion: Mark Knopfler
Veröffentlicht: 1984 09, 2012 10 01 (Reed.)
Genretags: Indiepop - Janglepop, Indiepop - Artpop - Sophistipop
Trackliste: Seite A
1. Still On Fire - 4:00
2. Just Like The USA - 4:03
3. Head Is Happy (Heart's Insane) - 4:13
4. The Back Door To Heaven - 5:23
Seite B
1. All I Need Is Everything - 5:51
2. Backwards And Forwards - 4:12
3. The Birth Of The True - 2:41
4. Knife - 9:05
Bonustracks der CD Ausgabe von 2012
1. All I Need Is Everything (7'' Edit) - 3:48
2. Jump - 2:54
3. All I Need Is Everything (Remix) - 6:05
4. Jump (Loaded Version) - 5:31
Bonustracks der CD Ausgabe von 2012: Live At The Dominion Theatre 16th October 1984
1. Mattress Of Wir
e - 3:17
2. Walk Out To Winter - 3:17
3. The Bugle Sounds Again - 3:20
4. Backwards And Forwards - 4:17
5. The Birth Of The True - 2:50
Alle Tracks: Roddy Frame.
Besetzung: Bass, Backing Vocals: Campbell Owens
; Drums, Backing Vocals: David Ruffy
; Engineer: Nigel Walker
; Engineer [Assistant]: Matt Butler
; Guitar, Backing Vocals: Malcolm Ross
; Guitar, Vocals: Roddy Frame
; Illustration: Lynda Gray
; Keyboards, Backing Vocals: Guy Fletcher
; Percussion: Frank Ricotti
; Photography: David Levine
; Saxophone: Chris White
; Trumpet: Martin Drover
; Recorded At Air Studios
; Mastered At The Penthouse
; Produced For Straitjacket Songs Ltd.
; Published By Warner Bros. Music Ltd.
; Manufactured By Record Service GmbH
; Phonographic Copyright (p) WEA Records Ltd.
Aztec Camera [>] [D]: Backwards and Forwards. The WEA Recordings [F]
Label und Katalognummer: Cherry Red QCRCDBOX 112
Produktion: Verschiedene
Veröffentlicht: 2021 08 27 (Ed.)
Genretags: Indiepop - Janglepop, Indiepop - Artpop - Sophistipop
Trackliste: CD 1: Knife
1. Still On Fire - 3:59
2. Just Like The USA - 4:01
3. Head Is Happy (Heart’s Insane) - 4:15
4. The Back Door To Heaven - 5:22
5. All I Need Is Everything - 5:49
6. Backwards And Forwards - 4:12
7. The Birth Of The True - 2:43
8. Knife - 9:05
9. All I Need Is Everything (7″ Edit) - 3:47
10. Jump - 2:51
11. ll I Need Is Everything (Latin Mix) - 6:03
12. Jump (Loaded Version) - 5:32
CD 2: In Concert 1984
1. Walk Out To Winter (Live in Glasgow) - 3:50
2. The Bugle Sounds Again (Live in Glasgow) - 3:49
3. We Could Send Letters (Live in Glasgow) - 7:18
4. Backwards And Forwards (Live in Glasgow) - 4:39
5. Oblivious (Live in Glasgow) - 3:50
6. All I Need Is Everything (Live in Glasgow) - 6:03
7. The Boy Wonders (Live in Glasgow) - 3:28
8. Mattress Of Wir
e (Live in London) - 3:16
9. The Bugle Sounds Again (Live in London) - 3:19
10. The Birth Of The True (Live in London) - 2:32
11. Backwards And Forwards (Live in London) - 4:14
12. Walk Out To Winter (Live in London) - 3:17
CD 3: Love
1. Deep & Wide & Tall - 4:07
2. How Men Are - 3:42
3. Everybody Is A Number One - 3:28
4. More Than A Law - 4:41
5. Somewhere In My Heart - 4:01
6. Working In A Goldmine - 5:43
7. One And One - 4:14
8. Paradise - 4:32
9. Killermont Street - 3:19
10. Bad Education - 2:49
11. The Red Flag - 2:52
CD 4: Remixes, B‐Sides & Live 1986–1988
1. Somewhere In My Heart (12″ Remix) - 7:08
2. Somewhere in My Heart (Eric Calvi Remix) - 3:55
3. Somewhere In My Heart (The Alternate Mix) - 6:30
4. Deep & Wide & Tall (Breakdown Mix) - 7:20
5. Deep & Wide & Tall (LP Edit) - 4:47
6. Everybody Is A Number One (Boston ’86 Version) - 3:17
7. Working In A Goldmine (Sax Version) - 5:31
8. Working In A Goldmine (Live At Pinewood) - 5:42
9. Somewhere In My Heart (Live At Pinewood) - 3:56
10. Killermont Street (Live in LA) - 3:11
11. Pillar To Post (Live in LA) - 3:49
12. How Men Are (Night Network Live) - 3:21
13. Down The Dip (Live in Glasgow) - 2:59
14. Jump (Live in Glasgow) - 3:15
15. I Threw It All Away (Live in Bristol) - 2:07
16. Interview - 4:28
CD 5: Stray
1. Stray - 5:36
2. The Crying Scene - 3:37
3. Get Outta London - 3:42
4. Over My Head - 5:55
5. Good Morning Britain - 4:03
6. How It Is - 4:01
7. The Gentle Kind - 5:34
8. Notting Hill Blues - 6:43
9. Song For A Friend - 2:30
10. Salvation - 5:14
11. True Colours - 4:32
CD 6:
1. Do I Love You? - 4:41
2. Good Morning Britain (7″ Mix) - 4:14
3. Good Morning Britain (Laylow Posse Hypno- Mix/Kitsch ‘N’ Sync Mix) - 7:28
4. Good Morning Britain (Laylow Posse Hypnomental/ Instrumental Mix - 4:18
5. Good Morning Britain (Laylow Posse Hypno- Edit/Vocal Remix) - 4:23
6. Good Morning Britain (Mendelsohn Single Mix) - 4:08
7. Good Morning Britain (Morning Acid Mix - Norman Cook) - 3:27
8. Consolation Prize (Live at Glasgow Barrowlands, August 4th, 1990) - 3:05
9. Good Morning Britain (Live at Glasgow Barrowlands, August 4th, 1990) - 4:35
CD 7: Live at Ronnie Scott’s
1. Birth Of The True - 4:39
2. Song For A Friend - 2:36
3. Killermont Street - 4:04
4. Spanish Horses - 5:16
5. Stray - 6:31
6. The Bugle Sounds Again - 3:42
7. Dolphins - 4:35
8. How Men Are - 3:37
9. Sister Ann - 4:46
10. Good Morning Britain - 5:31
11. Let Your Love Decide - 3:42
12. Mattress Of Wir
e - 4:17
13. Orchid Girl - 2:55
CD 8: Dreamland
1. Birds - 4:56
2. Safe In Sorrow - 4:56
3. Black Lucia - 4:02
4. Let Your Love Decide - 5:05
5. Spanish Horses - 4:38
6. Dream Sweet Dreams - 3:30
7. Pianos And Clocks - 4:54
8. Sister Ann - 5:14
9. Vertigo - 4:54
10. Valium Summer - 5:54
11. The Belle Of The Ball - 3:27
12. (If Paradise Is) Half As Nice - 5:20
13. Just Like The USA (Live in Barcelona) - 2:40
14. Let Your Love Decide (Edit) - 3:51
CD 9: Frestonia / Live at the Phoenix Festival
1. Rainy Season - 5:41
2. Sun - 4:28
3. Crazy - 5:19
4. On The Avenue - 3:44
5. Imperfectly - 4:21
6 Debutante - 7:21
7. Beautiful Girl - 4:50
8. Phenomenal World - 4:10
9. Method Of Love - 4:23
10. Sunset - 4:23
11. The Crying Scene (Live At The Phoenix Festival, 1995) - 3:42
12. Black Lucia (Live At The Phoenix Festival, 1995) - 4:06
13. We Could Send Letters (Live At The Phoenix Festival, 1995) - 6:57
14. Rainy Season (Live At The Phoenix Festival, 1995) - 6:05
Ärzte [>] [D]: Die Bestie in Menschengestalt [F]
Label und Katalognummer: Metronome Musik 521 017
Produktion: Ärzte & Uwe Hoffmann
Veröffentlicht: 1993 10 05
Genretags: Alternativerock - Punkrock - Poppunk, Alternativerock - Punkrock - Funpunk, Alternativerock - Punkrock - Deutschpunk
Trackliste: 1. Inntro - 0:06
2. Schrei nach Liebe (Cry for love) (Bela Felsenheimer, Farin Urlaub) - 4:12
3. Schopenhauer (Urlaub) - 3:06
4. Für uns (For us) (Felsenheimer) - 4:42
5. Hey Huh (in Scheiben) (Hey! Huh! (in slices)) (Felsenheimer, Urlaub) - 1:29
6. FaFaFa (Urlaub) - 1:41
7. Deutschrockgirl (German rock girl) (Felsenheimer, Felsenheimer, Urlaub) - 1:53
8. Mach die Augen zu (Close your eyes) (Urlaub) - 4:00
9. Gehirn-Stürm (Brain-störm) (Felsenheimer, Rodrigo González, Felsenheimer) - 4:04
10. Mit dem Schwert nach Polen, warum René? (With a sword to Poland, why René?) (Felsenheimer, Gonzales, Felsenheimer) - 4:28
11. Claudia (Teil 95) (Claudia (Part 95)) (Felsenheimer, Gonzales, Urlaub) - 0:09
12. Die Allerschürfste (The Superhottest (in the Berlin dialect)) (Urlaub) - 3:24
13. Friedenspanzer (Peace tank) (Gonzales, Felsenheimer) - 3:56
14. Quark (Rubbish; lit:Curd) (Urlaub) - 2:45
15. Dos corazones (Two hearts [in Spanish]) (Gonzales) - 3:47
16. Kopfüber in die Hölle (Headfirst into hell) (Urlaub) - 2:54
17. Omaboy (Grandma boy) (Felsenheimer) - 4:45
18. Lieber Tee (Rather tea) (Urlaub) - 4:47
19. Wenn es Abend wird (When evening comes) (Urlaub) - 6:36
Besetzung: Farin Urlaub: guitar, vocals
; Bela Felsenheimer: drums, vocals
; Rodrigo González: bass, vocals
; Heinz Strunk: talk on 9
Barbara Morgenstern [>] [D]: Fjorden [F]
Label und Katalognummer: Monika Enterprise monika 16
Produktion: Stefan Betke & Thomas Fehlmann & Robert Lippok & Barbara Morgenstern
Veröffentlicht: 2000 10 02
Genretags: Indiepop - Electronicpop - Indietronica
Trackliste: 1. Tag Und Nacht - 5:14
2. Fjorden - 4:42
3. Der Augenblick - 4:05
4. Dr.Mr. - 3:22
5. Der Hintergedanke - 4:01
6. Eine Verabredung - 4:00
7. Mjisnjedschaz - 4:24
8. Happy End - 2:58
9. 37° (Robert Lippok) - 4:15
10. Wir
Auf Der Flucht - 4:08
11. Teil Für Teil - 3:31
12. Der Wunsch Teil Drei - 4:43
Alle Tracks: Barbara Morgenstern, ausser wo anders vermerkt.
Besetzung: Artwork By [Cover], Photography: Barbara Morgenstern
; Mastering: Stefan Betke
; Producer: Barbara Morgenstern (2, 4, 6, 7, 9, 12), Stefan Betke (1, 5, 8, 10, 11), Thomas Fehlmann (3), Robert Lippok (9)
; Recorded By, Mixed By: Barbara Morgenstern
; Violin: Christiane Morgenstern (2, 6)
; Guitar: Florian Dietz (6)
; Guitar: Harlem Davidson (7, 11)
; Drums: Ronald Lippok (9)
Barbara Morgenstern [>] [D]: BM [F]
Label und Katalognummer: Monika Enterprise monika 64
Produktion: Barbara Morgenstern
Veröffentlicht: 2008 10 31
Genretags: Indiepop - Electronicpop - Indietronica
Trackliste: 1. Driving My Car (Barbara Morgenstern, Paul Wir
kus) - 5:13
2. Come To Berlin - 4:14
3. Reich & Berühmt - 4:50
4. Deine Geschichte - 4:40
5. Für Luise - 3:24
6. Camouflage (feat. Robert Wyatt) (Barbara Morgenstern, Robert Wyatt) - 3:11
7. Hochhaus - 2:55
8. My Velocity - 1:09
9. Morbus Basedow - 3:55
10. Monokultur - 3:58
11. Jakarta - 3:18
12. Meine Aufgabe - 2:16
13. Hustefuchs - 3:54
Alle Tracks: Barbara Morgenstern, ausser wo anders vermerkt.
Besetzung: Artwork: DieSachbearbeiter
; Cello: Julia Kent
; Choir: Chor Der Kulturen Der Welt
; Drums: Arne Ghosh
; Guitar: Sven Janetzko
; Mastering: Bo Kondren
; Mixing: Bernd Jestram
; Recording: Chris Grontian
; Recorded By: Chris Grontian, Daniel Klingen
; Producer: Robert Wyatt (6)
Barclay James Harvest [>] [D]: Ring Of Changes [F]
Label und Katalognummer: Polydor 811638
Produktion: Pip Williams
Veröffentlicht: 1983 05
Genretags: Rock - AOR-Rock - AOR-Progrock
Trackliste: Seite A
1. Fifties Child (Lees) - 4:20
2. Looking From the Outside (Holroyd) - 5:18
3. Teenage Heart (Lees) - 4:20
4. High Wir
e (Holroyd) - 5:00
5. Midnight Drug (Lees) - 5:05
Seite B
1. Waiting for the Right Time (Holroyd) - 6:10
2. Just a Day Away (Forever Tomorrow) (Lees) - 4:00
3. Paraiso dos cavalos (Lees) - 5:45
4. Ring of Changes (Holroyd) - 7:20
Besetzung: Art Direction [Art Direction & Supervision]: Alwyn Clayden
; Artwork [Retouching]: Wade Wood Associates
; Backing Vocals [Occasional Backing Vocals]: Henry Morris
; Design Concept, Design: Alwyn Clayden
; Design Concept, Design: David Walker (10)
; Design [Creative Assistance], Artwork: Main Titles Associates
; Engineer: Gregg Jackman
; Engineer [Assistant Engineer]: Chris Dickie
; Mastering: Melvyn Abrahams
; Musician [Special Guest Musician]: Bias Boshell
; Performer [Barclay James Harvest Are]: John Lees
; Performer [Barclay James Harvest Are]: Les Holroyd
; Performer [Barclay James Harvest Are]: Mel Pritchard
; Photography: Alwyn Clayden
; Photography: Bob Norris
; Photography: Tony Latham
; Phonographic Copyright (p) Polydor Ltd. (London)
; Copyright (c) Polydor Ltd. (London)
; Produced For Handle Artists
; Published By Barclay James Harvest Music Ltd.
; Published By Handle Music Ltd.
; Recorded At Far Studios
; Mixed At RAK Studios
; Mastered At Strawberry Mastering
; Printed By Neef
; Made By Polygram, Hanover, West Germany
Label und Katalognummer: Ostgut Ton ostgutcd 46
Produktion: Sam Barker
Veröffentlicht: 2019 09 06
Genretags: Post-Millennial-Music - Digital-Underground - Ambienttrance
Trackliste: 1. Paradise Engineering - 4:08
2. Posmean - 3:54
3. Experience Machines - 3:39
4. Gradients of Bliss - 5:28
5. Hedonic Treadmill - 4:09
6. Models of Wellbeing - 6:03
7. Utility - 4:30
8. Wir
eheading - 2:19
9. Die-Hards of the Darwinian Order - 9:07
Alle Tracks: Sam Barker.
Besetzung: Artwork: MF Herzog
; Mastering: Stefan Betke
; Mastered At Scape Mastering
Basia Bulat [>] [D]: Tall Tall Shadow [F]
Label und Katalognummer: Secret City Records SCR 033
Produktion: Basia Bulat & Timothy Kingsbury & Mark Lawson
Veröffentlicht: 2013 10 01
Genretags: Post-Millennial-Music - Poprock - Alternativepoprock
Trackliste: 1. Tall Tall Shadow - 4:03
2. Five, Four - 3:59
3. Promise Not to Think About Love - 2:23
4. It Can't Be You - 3:58
5. Wir
es - 3:31
6. The City with No Rivers - 3:23
7. Someone - 3:15
8. Paris or Amsterdam - 3:05
9. Never Let Me Go - 4:14
10. From Now On - 2:24
Alle Tracks: Basia Bulat.
Besetzung: Howard Bilerman: Engineer, Mixing
; Shaun Brodie: Trumpet, Vocals
; Basia Bulat: Autoharp, Bass, Charango, Engineer, Fender Rhodes, Guitar, Guitar (Acoustic), Guitar (Electric), Omnichord, Organ, Percussion, Pianette, Piano, Synthesizer, Vocals, Wurlitzer
; Bobby Bulat: Drums, Percussion
; Holly Coish: Organ, Vocals
; Stephanie Comilang: Projection
; Eric Démoré: Vocals
; Caroline Desilets: Cover Photo
; Ben Harris: Vocals
; Anissa Hart: Cello
; Jesse Herzog: Inside Photo
; Tim Kingsbury: Guitar (Acoustic), Guitar (Baritone), Guitar (Bass), Guitar (Electric), Percussion, Synthesizer, Vocals
; Mark Lawson: Drum Programming, Engineer, Mixing
; Jeff McMurrich: Engineer
; Harris Newman: Mastering
; Mika Posen: Violin
; Katie Saunoris: Vocals
; Allison Stewart: Viola
; Nik Tjelios: Engineer
; Dena Verdesca: Layout
; Madisyn Whajne: Vocals
; Ben Whiteley: Bass, Bass (Upright), Guitar (Bass), Vocals
; Ken Whiteley: Organ
Beastie Boys [>] [D]: Anthology: The Sounds Of Science [F]
Label und Katalognummer: Grand Royal CDP 7243 5 22940
Produktion: Beastie Boys & Mario Caldato, Jr. & Dust Brothers & Rick Rubin
Veröffentlicht: 1999 11 23
Genretags: Hip-Hop - Newschool
Trackliste: CD 1
1. Beastie Boys - 0:56
2. Slow And Low - 3:38
3. Shake Your Rump - 3:19
4. Gratitude - 2:45
5. Skills To Pay The Bills - 3:13
6. Root Down - 3:33
7. Believe Me - 1:19
8. Sure Shot - 3:20
9. Body Movin' (Fatboy Slim Remix) - 5:31
10. Boomin' Granny - 2:18
11. Fight For Your Right - 3:27
12. Country Mike's Theme - 0:36
13. Pass The Mic - 4:17
14. Something's Got To Give - 3:29
15. Bodhisattva Vow - 3:12
16. Sabrosa - 3:32
17. Song For The Man - 3:12
18. Soba Violence - 1:14
19. Alive - 3:49
20. Jimmy James (Original Version) - 3:06
21. Three MC's And One DJ (Live Video Version) - 2:18
CD 2
1. The Biz Vs. The Nuge - 0:34
2. Sabotage - 3:00
3. Shadrach - 4:10
4. Brass Monkey - 2:38
5. Time For Livin' - 1:49
6. Dub The Mic - 3:01
7. Benny And The Jets - 4:07
8. The Negotiation Limerick File - 2:52
9. I Want Some - 2:00
10. She's On It - 4:18
11. Son Of Neckbone - 3:20
12. Get It Together - 4:06
13. Twenty Questions - 2:28
14. Remote Control - 3:00
15. Railroad Blues - 2:38
16. Live Wir
e - 3:06
17. So What'cha Want - 3:37
18. Netty's Girl - 3:00
19. Egg Raid On Mojo - 1:20
20. Hey Ladies - 3:49
21. Intergalactic - 3:30
Besetzung: Artwork By [Illustration] - Ha C. Ly
; Engineer - Mario Caldato, Jr. (1.01-11, 1.12-18, 1.20, 2.01-21)
; Performer - Eric Bobo (1.16, 2.11, 2.14), Mark Nishita (1.16, 1.17, 2.11, 2.18)
; Performer, Written-By - Amery Smith (1.07, 1.18, 2.09)
; Photography [Back Cover] - Bill McMullen
; Photography [Booklet, Cover] - Spike Jonze
; Photography [Booklet] - Adam Horovitz, Ari Marcopoulis, Arthur Africano, Danny Clinch, Dustin Rabin, Foto Furter Davos, Glen Friedman, Jazz Thompson, Keetja Allard, Nathaniel Hornblower, Patrick Cady, Richard Gere, Ricky Powell, Robin Moore, Ryan Murphy, Sam Fox, Sean Mortensen, Slim Pickens, Vanja Edwards
; Photography [Production] - Dechen Wangdu
; Producer - Beastie Boys, Dust Brothers (1.03, 2.03, 2.20), Mario Caldato, Jr. (1.04-10, 1.12-2.02, 2.05-18, 2.21)
; Producer - Rick Rubin (1.02, 1.11, 2.04, 2.10)
Bedhead [>] [D]: WhatFunLifeWas [F]
Label und Katalognummer: Trance Syndicate Records TR 21
Produktion: Bubba Kadane & Matt Kadane
Veröffentlicht: 1994 04 04
Genretags: Indiepop - Noisepop - Shoegaze
Trackliste: 1. Liferaft - 4:43
2. Haywire - 4:07
3. Bedside Table - 4:45
4. The Unpredictable Landlord - 4:19
5. Crushing - 3:49
6. Unfinished - 4:33
7. Powder - 7:01
8. Foaming Love - 4:11
9. To The Ground - 2:56
10. Living Well - 4:18
11. Wind Down - 3:28
Alle Tracks: Bubba Kadane und Matt Kadane.
Besetzung: Recording, Mixing: Bedhead
; Recording, Mixing: Paul Quigg
; Copyright (c) Bedhead Songs
; Phonographic Copyright (p) Trance Syndicate Records
; Manufactured By Disque Americ
Bedhead [>] [D]: 1992-1998 [F]
Label und Katalognummer: Numero Group NUM 1242
Veröffentlicht: 2014 11 11 (Ed.)
Genretags: Indiepop - Noisepop - Shoegaze
Trackliste: CD 1: WhatFunLifeWas
1. Liferaft - 4:43
2. Haywire - 4:07
3. Bedside Table - 4:45
4. The Unpredictable Landlord - 4:19
5. Crushing - 3:49
6. Unfinished - 4:33
7. Powder - 7:01
8. Foaming Love - 4:11
9. To The Ground - 2:56
10. Living Well - 4:18
11. Wind Down - 3:28
Alle Tracks. Bubba Kadane und Matt Kadane.
CD 2: Beheaded
1. Beheaded - 4:43
2. The Rest Of The Day - 6:19
3. Left Behind - 3:47
4. What's Missing - 3:49
5. Smoke - 2:44
6. Burned Out - 3:57
7. Roman Candle - 4:29
8. Withdraw - 4:23
9. Felo De Se - 3:09
10. Lares And Penates - 3:52
11. Losing Memories - 2:58
Alle Tracks. Bubba Kadane und Matt Kadane.
CD 3: Transaction De Novo
1. Exhume - 4:17
2. More Than Ever - 4:18
3. Parade - 4:48
4. Half-Thought - 3:34
5. Extramundane - 3:02
6. Forgetting - 3:39
7. Lepidoptera - 3:02
8. Psychosomatica - 3:13
9. The Present - 6:57
Alle Tracks. Bubba Kadane und Matt Kadane.
CD 4: Singles
1. Bedside Table (7'' Version) - 4:30
2. Living Well (7'' Version) - 3:56
3. The Rest Of The Day (7'' Version) - 5:07
4. I'm Not Here - 2:51
CD 4: 4-Song EP
5. Heiszahobit - 4:16
6. Dead Language - 5:25
7. What I'm Here For - 4:32
8. Disorder (Bernard Sumner, Ian Kevin Curtis, Peter Hook, Stephen Paul David Morris) - 4:58
CD 4: The Dark Ages EP
9. The Dark Ages - 5:31
10. Inhume - 6:05
11. Any Life - 3:20
CD 4: B-Sides
12. Intents And Purposes - 3:35
13. Golden Brown (Brian Duffy, Hugh Cornwall) - 3:27
14. Leper - 5:13
Alle Tracks. Bubba Kadane und Matt Kadane, ausser wo anders vermerkt. (1-1 to 4-7, 4-9 to 4-12, 4-14)
Besetzung: Art Direction: Henry H. Owings
; Bass: Kris Wheat
; Design [Graphics Assistance]: Frank Goodenough
; Drums: Trini Martinez
; Guitar: Tench Coxe
; Guitar, Vocals: Bubba Kadane
; Guitar, Vocals: Matt Kadane
; Liner Notes [Essay]: Matt Gallaway
; Mastering: Matthew Barnhart
; Mixing: Adam Wiltzie (2-1 to 2-11)
; Mixing: Bedhead (1-1 to 2-11)
; Mixing: Paul Quigg (1-1 to 1-11)
; Photography: Bedhead
; Photography: John Maxwell
; Photography: Josh Robertson
; Photography: Michelle Coral
; Photography: Nick Ruth
; Photography: Patty Rooney
; Photography, Design [Inside Photo Collage, CD4]: Violet Hopkins
; Producer: Bedhead (3-1 to 3-9)
; Post-Production Assistance: Mark Elliott (2-1 to 2-11)
; Recording: Adam Wiltzie (2-1 to 2-11, 4-9, 4-10)
; Recording: Bedhead (1-1 to 2-11, 4-1 to 4-14)
; Recording: Mark Elliott (4-5 to 4-8, 4-11 to 4-14)
; Recording: Paul Quigg (1-1 to 1-11, 4-4)
; Copyright (c) Numero Group
; Mastered At Chicago Mastering Service
; Published By Bedhead Songs
; Manufactured By Numero Group
; Distributed By Numero Group
; Published By EMI Music Publishing Ltd.
; Published By Universal Music Publishing Ltd.
Beige [>] [D]: Ein Königreich für eine Handgranate [F]
Label und Katalognummer: Nonplace NON 07
Veröffentlicht: 2002 02 05
Genretags: Electronica - Funktronica - Glitchfunk
Trackliste: 1. Women & Children First (Als Wäre Das Die Lösung) (3:02)
2. Doesn't Hurt (Even If You Try) (5:26)
3. Whar Hat (Ai-ai-ai-ai'm So Serious) (3:27)
4. I've Got My $ To Keep Me Warm (?) (3:42)
5. Where Else - If Not There?! (Unter Tüten Bin Ich Sicher) (2:50)
6. Dreams (Bad Stuff - Of Course) (2:51)
7. Gosh! 48 Channels (Alle Genau Dieselben) (3:08)
8. Pfennig Inc. (Euro Fear - I Don't Give A Cent Bastard!) (4:46)
9. Foo! Foo! Foo! (0:12)
10. Wonzo's Erster Tag (Recouped Zero - So What?!) (4:03)
11. Irgendwann Wir
ds Wieder Schön (5:16)
12. [Interlude] (2:16)
13. Genua Response (Burn Lira Burn - Boycott Sunshine, Now!) (6:30)
14. Untitled (0:04)
Ben Watt [>] [D]: Storm Damage [F]
Label und Katalognummer: Caroline International (UK), Unmade Road ROAD 015 (US)
Produktion: Ben Watt
Veröffentlicht: 2020 01 31
Genretags: Post-Millennial-Music - Poprock - Alternativepoprock
Trackliste: 1. Balanced on a Wir
e - 3:48
2. Summer Ghosts - 5:00
3. Retreat to Find - 4:36
4. Figures in the Landscape - 4:06
5. Knife in the Drawer - 4:20
6. Irene - 6:32
7. Sunlight Follows the Night - 2:57
8. Hand - 3:36
9. You’ve Changed, I’ve Changed - 3:59
10. Festival Song - 5:38
Alle Tracks: Ben Watt.
Besetzung: Edward Bishop: Photography
; Bruno Ellingham: Engineer, Mixing
; Fish Factory: Assistant Engineer
; Duncan Fuller: Assistant Engineer
; John Gilsenan: Artwork
; Rex Horan: Double Bass, Viola
; Evan Jenkins: Drums, Shaker, Tambourine
; Emma Marks: Assistant Engineer
; Antonio Olmos: Photography
; Ewan Pearson: Engineer, Vocoder
; Fabio Senna: Assistant Engineer
; Miles Showell: Mastering
; Alan Sparhawk: Guitar (Electric), Vocals (Background)
; Jennifer Valone: Spoken Word
; Ben Watt: Arranger, Effects, Fender Rhodes, Found Sounds, Guitar (Acoustic), Guitar (Electric), Juno, Overdub Engineer, Piano (Grand), Piano (Upright), Sample Editing, Synthesizer Programming, Vocals, Wurlitzer
; Phonographic Copyright (p) Unmade Road Limited
; Copyright (c) Unmade Road Limited
; Licensed To Caroline International
Bernadette La Hengst [>] [D]: Der beste Augenblick in deinem Leben [F]
Label und Katalognummer: Trikont US 0299
Produktion: Bernadette La Hengst & Swen Meyer
Veröffentlicht: 2002 04 22
Genretags: Alternativerock - Diskursrock - Hamburger-Schule, Newpop - Electropop
Trackliste: 1. Die Da Oben Machen Ja Doch Was Wir
Wollen - 3:10
2. Der Beste Augenblick - 4:36
3. Weh Tun (Wir
Bleiben In Bewegung) - 3:23
4. Bar Europa - 3:38
5. Immer Noch Ich - 4:34
6. Silverstar - 3:34
7. Wilder Mann - 2:45
8. Am Anfang Des Ozeans - 3:39
9. Love In The Puff (Sergej Jensen, Bernadette La Hengst) - 3:32
10. Juno - 3:07
11. Keine Tränen (Sergej Jensen, Bernadette La Hengst, Tuxedomoon) - 4:10
12. Elephant Man - 4:20
13. Mit Gott Im Etap Hotel - 4:07
14. Ein Abschied Zuviel - 5:07
Alle Tracks: Bernadette La Hengst, ausser wo anders vermerkt.
Besetzung: Backing Vocals: Christine Schulz (1), Knarf Rellöm (1), Patricia Wedler (1), Sergej Jensen (6, 7, 9, 12), Alexandra Walter (10), Julia Vetters (10), Saba Abdalla (10)
; Chorus: Christine Schulz (3, 9), Connie Lösch (3), Sandra Grether (3, 9), Diana Diamond (9), Sergej Jensen (3), Swen Meyer (3), Ted Gaier (3)
; Drums [Drum Roll]: Max Schröder (4, 7), Elmar Günther (6, 10)
; Guitar [Guitar Sample]: Barbara Hass (10)
; Wind: Roger Greipl (11), Roman Bergamin (11)
; Co-producer, Mixing, Recording: Swen Meyer
; Graphics [Covergraphics]: David Kraumendahl
; Mastering: Chris von Rautenkranz
; Synthesizer [Korg MS 20], Guitar [Zupfhansl], Bass, Noises [Silence, Noise]: Sergej Jensen
; Vocals, Keyboards, Guitar, Bass, Accordion, Sounds, Percussion [Rhythms], Sampler [Zoom], Cover, Photography: Bernadette La Hengst
; Distributed By Indigo (2)
; Distributed By Ixthuluh
; Distributed By RecRec
; Pressed By DOCdata Germany
; Mastered At Soundgarden Tonstudio
; Published By Freibank Musikverlage
Bernd Begemann [>] [D]: Die Stadt & Das Mädchen [F]
Assoziierte Acts: Kai Dorenkamp (feat.)
Label und Katalognummer: Popup-Records PR 4118
Veröffentlicht: 2018
Genretags: Akademica
Trackliste: 1. Weg Aus Dem Tal Und Nach München -
2. Die Neuen Mädchen Sind Da -
3. Vielleicht Hatten Deine Eltern Recht -
4. Teil Der Lebendigen Stadtteilkultur -
5. Runter In Den Keller Und Reiß Dich Zusammen -
6. Immer Wieder Überrascht -
7. Ich Frage Mich, Wie Es War -
8. Die Nacht Vor Der Abtreibung -
9. Ich Spiel' Mit Dem Gedanken -
10. Was Macht Miss Juni Im Dezember...? -
11. Du Wir
st Mein Süden Sein -
12. Sie Gehört Den Sternen -
Bernd Witthüser [>] [D]: Lieder von Vampiren, Nonnen und Toten [F]
Assoziierte Acts: Witthüser und Westrupp
Label und Katalognummer: Ohr OMM 56.002
Veröffentlicht: 1970 03, 1999 03 15 (Reed.)
Genretags: Folk - Urbanfolk - Psychedelicfolk
Trackliste: Seite A
1. Dracula - 4:35
2. Das Stille Grab - 2:26
3. Wir
Möchten Dieses Lied Noch Singen - 3:40
4. Kann Die Klage Deuten Wer? - 3:51
5. Ich Bin Dahin - 3:19
6. Welcher Wechsel Doch Im Leben - 2:58
Seite B
1. Leis' Ertönt Die Abendglocke - 3:10
2. Hinüber Wall' Ich - 2:54
3. Wenn Ich Ein Fröhlicher Wär' - 2:52
4. Die Beschwörung - 2:54
5. Liebeslied - 4:10
6. Die Lilie Vom See - 4:04
7. Wer Schwimmt Dort? - 1:58
Besetzung: Guitar, Vocals, Harmonica: Bernd Witthüser
; Trombone, Trumpet, Drums, Cymbal, Ukulele, Xylophone, Flute, Washboard, Harmonica [Chromonica]: Walter Westrupp
Big Black [>] [D]: The Rich Man's Eight Track Tape [F]
Label und Katalognummer: Homestead Records HMS 043, Touch And Go TG 094
Veröffentlicht: 1987 (Ed), 1987-85 (Rec.), 1992 11 27 (Reed.)
Genretags: Postpunk - Electronic-Postpunk - Industrial
Eine CD Compilation von Big Black's Atomizer album, Headache und der Heartbeat
Single. Der Song Strange Things
der Original Atomizer-LP fehlt auf diesem Release.
Trackliste: 1. Jordan, Minnesota (Big Black) - 3:20
2. Passing Complexion (Big Black) - 3:04
3. Big Money (Big Black) - 2:29
4. Kerosene (Big Black) - 6:05
5. Bad Houses (Big Black) - 3:09
6. Fists of Love (Big Black) - 4:21
7. Stinking Drunk (Big Black) - 3:27
8. Bazooka Joe (Big Black) - 4:43
9. Cables [live] (Big Black) - 3:09
10. Heartbeat (Wir
e) - 3:48
11. Things to Do Today (Big Black) - 1:44
12. I Can't Believe (Big Black) - 1:03
13. My Disco (Big Black) - 2:52
14. Grinder (Big Black) - 2:23
15. Ready Men (Big Black) - 3:51
16. Pete, King of the Detectives (Big Black) - 2:42
Big Boi [>] [D]: Vicious Lies and Dangerous Rumors [F]
Label und Katalognummer: Island, Def Jam
Produktion: Big Boi & Bosko & Chris Carmouche & Arthur McArthur & Mr. DJ & Organized Noize & Phantogram & Royal Flush & Nathan Williams
Veröffentlicht: 2012 12 11
Genretags: Hip-Hop - Gangstarap - Southernhiphop
Trackliste: 1. Ascending (Andy Slagle)) - 1:09
2. The Thickets (feat. Sleepy Brown) (Patrick Brown, Chris Carmouche, Donald Degrate, Antwan Patton, Cyshae Strachan) - 2:48
3. Apple of My Eye (Antwan Patton, David Sheats, Jake Troth) - 3:44
4. Objectum Sexuality (feat. Phantogram) (Sarah Barthel, Josh Carter, Antwan Patton) - 4:49
5. In the A (feat. Ludacris, T.I.) (Corey Andrews, Christopher Bridges, Lawrence Butler, Wilbert Ellis, Clifford Joseph Harris Jr., Antwan Patton) - 5:19
6. She Hates Me (feat. Kid Cudi) (Chris Carmouche, Scott Mescudi, Antwan Patton, Treie, Sharif Wilson) - 3:50
7. CPU (feat. Phantogram) (Sarah Barthel, Chris Carmouche, Josh Carter, Shelton Oliver, Antwan Patton, Demond Toney, Jeron Ward) - 4:12
8. Thom Pettie (feat. Little Dragon, Killer Mike) (Erik Bodin, David Brown, Chris Carmouche, LaMarquis Jefferson, Yukimi Nagano, Antwan Patton, Michael Render, Fredrik Wallin, Håkan Wir
enstrand) - 3:25
9. Mama Told Me (feat. Kelly Rowland) (Erik Bodin, Chris Carmouche, Ricardo Lewis, Yukimi Nagano, Shelton Oliver, Antwan Patton, Ricky Walker, Fredrik Wallin, Jeron Ward, Håkan Wir
enstrand) - 3:10
10. Lines (feat. Phantogram, A$AP Rocky) (Sarah Barthel, Chris Carmouche, Josh Carter, Rakim Mayers, Raymond Murray, Antwan Patton, Rico Wade) - 3:24
11. Shoes for Running (feat. B.o.B, Waves) (John Hill, Bobby Ray Simmons Jr., Antwan Patton, Nathan Williams) - 3:50
12. Raspberries (feat. Mouche, Scar) (Chris Carmouche, Jeremy McArthur, Antwan Patton, Terrence Smith) - 3:41
13. Tremendous Damage (feat. Bosko) (Chris Carmouche, Timothy Clayton, LaMarquis Jefferson, Bosko Kante, Kevin Kendrick, Antwan Patton, Terrence Smith) - 5:21
14. Descending (feat. Little Dragon) (Erik Bodin, Chris Carmouche, Gary Fly, Yukimi Nagano, Antwan Patton, Andy Slagle, Fredrik Wallin, Håkan Wir
enstrand) - 5:46
Bonustracks der Deluxe Ausgabe von 2012
1. Higher Res (feat. Jai Paul and Little Dragon) - 2:23
2. Gossip (feat. UGK and Big K.R.I.T.) - 4:09
3. She Said OK (feat. Theophilus London and Tre Luce) - 3:57
Besetzung: Chris Atlas: Marketing
; Big Boi: Executive Producer
; Chris Carmouche: Executive Producer
; Steven Defino: Package Design
; Brian \'Big Bass\' Gardner: Mastering
; Marcus T. Grant: Management
; Bernie Grundman: Mastering
; Justin \'Jus10\' Huff: Cover Illustration, Illustrations
; Tai Linzie: Artwork, Photo Production
; Robert \'The Barber\' Poller: Illustrations
; Sha Money XL: A&R
; Meredith Truax: Photo Production
; Cara Walker: Package Production
; Eric Weissman: Sample Clearance
; Andrew Zaeh: Photography
Bilderbuch [>] [D]: Die Pest im Piemont [F]
Label und Katalognummer: Schoenwetter Schallplatten schoenwetter 033
Veröffentlicht: 2011 09 02
Genretags: Post-Millennial-Music - Lo-Fi-Underground - Indierock
Trackliste: 1. Ein Boot Fuer Uns -
2. Karibische Traeume -
3. Die Kirschen Waren Toll -
4. Pflaumenwein -
5. Geist -
6. Venezianischer Spiegel -
7. Vogel Gegen Glas -
8. La Voce Della Luna -
9. Jesolo -
10. Ein Schreckliches Omen -
11. Lambrusco -
12. Kreide -
13. Es Wir
d Steine Regnen -
14. Schwarzflug -
Alle Tracks: Bilderbuch.
Besetzung: Guest, Musician: Alex Tomann
; Guest, Musician: Zebo Adam
; Guest, Percussion: Max Grösswang (1, 5 to 8, 11, 12)
; Mastering: Martin Scheer
; Performer: Andreas Födinger
; Performer: Maurice Ernst
; Performer: Michael Krammer
; Performer: Peter Horazdovsky
; Photography, Design: Christian Pitschl
; Producer: Zebo Adam
; Recording: Zebo Adam
; Recording, Mixing: Alex Tomann
; Pressed By Additiv Media
; Recorded At Beat4Feet Recording Studios
Bill Laswell [>] [D]: Final Oscillations [F]
Label und Katalognummer: Quatermass QS 137
Produktion: Verschiedene
Veröffentlicht: 2003 05
Genretags: Electronica - Ambient
Trackliste: CD 1
1. Digitaria (feat. Ninj) - 6:21
2. Faktura - 6:11
3. Dislocation - 8:01
4. Extinguisher - 7:48
5. 3rd Stage Navigator - 9:00
6. Wir
d - 8:32
7. Oscillations Remix - 8:23
8. Digital Cut-Up - 5:55
9. Milky Rmx - 4:21
10. Repercussions - 4:50
CD 2
1. Virus - 7:36
2. Autopia - 8:22
3. El Hombre Invisible (For William S. Burroughs) - 16:08
4. Red Night - 16:14
5. Very Optimistic Dog Mix - 7:03
6. Live Pop Mix - 5:56
7. Low Membrane Mix - 5:09
Besetzung: Featuring: Ninj (1-1)
; Producer: Robert Musso (1-4)
; Producer: Nico (4)
; Producer: Atom Heart (1-8)
; Producer: Grazzhoppa (1-9)
; Producer: Spectre (1-10)
; Producer: UI (2-5)
; Producer: Vedic (2-6)
; Producer: Scanner (2-7)
Bill Laswell [>] [D]: Oscillations [F]
Label und Katalognummer: Sub Rosa SR 109
Produktion: Bill Laswell & Robert Musso
Veröffentlicht: 1996 09 16
Genretags: Electronica - Breakbeat - Breakcore
Trackliste: 1. Digitaria (Bill Laswell, Ninj) (feat. Ninj) - 6:21
2. Faktura (Bill Laswell) - 6:11
3. Dislocation (Bill Laswell) - 8:00
4. Extinguisher - 7:49
5. Third Stage Navigator (Bill Laswell) - 9:00
6. Wir
d (Bill Laswell) - 8:30
Besetzung: Design [Design And Treatments]: Peter Maybury
; Engineer: Robert Musso
; Management [Axiom]: Bill Murphy
; Management [Material Inc.]: John Brown
; Photography [Photo], Artwork [Title]: Ira Cohen
; Phonographic Copyright (p) Sub Rosa
; Copyright (c) Sub Rosa
; Recorded At Greenpoint Studios
; Record Company Axiom
; Record Company Material, Inc.
; Pressed By DADC Austria
Blümchen Blau [>] [D]: Wie die Tiere [F]
Label und Katalognummer: Amadeo 523 748
Produktion: Ernie Seuberth
Veröffentlicht: 1994
Genretags: Postpunk - Ska-Revival
Trackliste: 1. Tiere - 2:48
2. Wir
spielen - 3:04
3. Interview - 2:39
4. Frauen sind keine Engel - 2:20
5. Mann im Mond - 3:56
6. Wir
bauen ein Haus - 3:33
7. Eisenbahn - 2:19
8. Im Tanzlokal - 3:37
9. Berlin bei Babylon - 3:46
10. Nachtgespenst - 2:25
11. Weihnachtsmann - 4:11
12. Heimatlos - 3:13
Besetzung: Mixing, Recording: Ernie Seuberth
; Mixing, Recording: Pyrolator
; Musician: Götz Schrage
; Musician: Jakob Mundl
; Musician: Josef Fencs
; Musician: Tschuri
; Musician: Wolfgang La
; Photography: Hubert Schatzl
; Photography: Peter Olar
; Timbales: Michael Jürs
; Translated By: Susa Zaradic
; Phonographic Copyright (p) Amadeo Österreichische Schallplatten Ges.m.b.H.
; Copyright (c) Amadeo Österreichische Schallplatten Ges.m.b.H.
; Made By PMDC, Germany
; Recorded At Gorilla Studio
; Mixed At Gorilla Studio
Label und Katalognummer: RVNG Intl. RVNGNL 21
Produktion: Sam Haar & Zach Steinman
Veröffentlicht: 2013 06 25
Genretags: Electronica - House - Leftfieldhouse, Electronica - Synthtronica
Full Album Stream (Youtube, 25. Juni 2013)
Trackliste: 1. Aeon - 3:56
2. Bora Bora - 8:56
3. Andrew - 9:38
4. Poland - 7:53
5. Clasp - 5:19
6. Swisher - 6:57
7. Rei - 6:39
8. Wir
e - 8:15
9. Elise - 7:38
Alle Tracks: Sam Haar, Zach Steinman.
Besetzung: Group Member: Sam Haar, Zach Steinman
; Engineer: Blondes
; Artwork: Zach Steinman
; Mastering: Joe Lambert
Blues Magoos [>] [D]: Kaleidoscopic Compendium: The Best Of The Blues Ma [F]
Label und Katalognummer: Mercury 314 512 313
Produktion: Art Polhemus & Rick Shorter & Bob Wyld
Veröffentlicht: 1992 05 05 (Ed.); 1968-66 (Rec.)
Genretags: Rock - Psychedelicrock - Psychedelicgaragerock
Trackliste: 1. So I'm Wrong and You Are Right (Lewis, Shorter) - 2:26
2. Tobacco Road (Loudermilk) - 4:41
3. Sometimes I Think About (Blues Magoos, Esposito, Gilbert
) - 4:12
4. (We Ain't Got) Nothin' Yet (Esposito, Gilbert, Scala) - 2:16
5. Love Seems Doomed (Esposito, Gilbert, Scala) - 3:01
6. Gotta Get Away (Adams, Gordon) - 2:43
7. Queen of My Nights (Blues Magoos) - 3:03
8. She's Coming Home (Atkins, Miller) - 2:43
9. Pipe Dream (Gilbert, Scala) - 2:25
10. There's a Chance We Can MakeIt (Gilbert, Scala) - 2:16
11. Life Is Just a Cher O'Bowlies (Blues Magoos, Gilbert, Scala) - 2:36
12. Albert Common Is Dead (Gilbert, Scala) - 1:49
13. Summer Is the Man (Esposito, Gilbert) - 2:59
14. Baby, I Want You (Blues Magoos, Gilbert) - 2:42
15. Rush Hour (Blues Magoos, Daking, Esposito, Scala) - 2:35
16. One by One (Blues Magoos, Gilbert) - 2:45
17. I Wanna Be There (Blues Magoos, Scala) - 2:59
18. There She Goes (Esposito, Gilbert, Scala) - 2:51
19. Sybil Green (Of the in Between) (Blues Magoos, Gilbert, Scala) - 2:41
20. I Can Hear the Grass Grow (Wood) - 2:19
21. Yellow Rose (Blues Magoos, Gilbert) - 2:31
22. I Can Move a Mountain (Blues Magoos, Kelly) - 3:51
23. Chicken Wir
e Lady (Blues Magoos, Gilbert) - 4:07
Besetzung: Geoffrey Daking: Drums
; Mike Esposito: Guitar
; John Finnegan: Drums
; Ron Gilbert: Bass
; Bill Inglot: Compilation Producer, Digital Remastering
; Dennis LaPore: Guitar
; Bill Levenson: Executive Producer
; Michael Ochs: Photography
; Ken Perry: Digital Remastering
; Andrew Sandoval: Liner Notes
; Ralph Scala: Keyboards, Vocals
; Rick Shorter: Arranger
; Lisa Sutton: Art Direction, Design
Blues Magoos [>] [D]: Basic Blues Magoos [F]
Label und Katalognummer: Mercury SR 61167, Repertoire REPUK 1051
Produktion: Blues Magoos & Art Polhemus & Bob Wyld
Veröffentlicht: 1968 05, 2004 (Reed.)
Genretags: Rock - Garagerock
Trackliste: Seite A
1. Sybil Green (Of the in Between) - 2:41
2. I Can Hear the Grass Grow - 2:18
3. All the Better to See You With - 2:19
4. Yellow Rose - 2:30
5. I Wanna Be There - 2:57
6. I Can Move a Mountain - 3:49
Seite B
1. President's Council on Psychedelic Fitness - 2:44
2. Scarecrow's Love Affair - 2. 4:01
3. There She Goes - 2:50
4. Accidental Meditation - 1:41
5. You're Getting Old - 4:14
6. Subliminal Sonic Laxative - 1:05
7. Chicken Wir
e Lady - 4:07
Bonustracks der CD Ausgabe von 2004
1. I Wanna Be There (Mono single version) - 2:57
2. There She Goes (Mono single version) - 2:50
3. I Can Hear the Grass Grow (Mono single version) - 2:18
4. Yellow Rose (Mono single version) - 2:30
5. Let Your Love Ride (Mono single version) - 2:36
6. Who Do You Love (Mono single version) - 3:15
Besetzung: Ralph Scala: lead vocals, keyboards
; Ronnie Gilbert: bass guitar
; Emil \'Peppy\' Thielheim: rhythm guitar
; Mike Esposito: lead guitar
; Geoffrey Daking: drums
; Mixing: Pete Weiss (All)
; Photography [Photos]: Tom Wright
; Producer: Art Polhemus (A2, A5, A6, B3)
; Producer: Bob Wyld (A2, A5, A6, B3)
; Pressed By Mercury Record Manufacturing Company
; Published By Ananga Ranga Music Corp.
; Published By Essex Music
Blumfeld [>] [D]: L'état et moi [F]
Label und Katalognummer: Big Cat ABB 73
Produktion: Blumfeld & Chris Von Rautenkranz
Veröffentlicht: 1994 08 22
Genretags: Alternativerock - Diskursrock - Hamburger-Schule
Trackliste: 1. Draußen Auf Kaution - 5:24
2. Jet Set - 2:13
3. 2 Oder 3 Dinge, Die Ich Von Dir Weiß - 2:55
4. Walkie, Talkie - 3:24
5. Eine Eigene Geschichte - 3:52
6. Verstärker - 4:50
7. Ich-Wie Es Wir
klich War - 2:57
8. L' Etat et Moi (Mein Vorgehen in 4, 5 Sätzen) - 5:25
9. Sing Sing - 5:14
10. Evergreen - 4:05
11. Superstarfighter - 2:44
12. You Make Me - 5:44
Alle Tracks: Eike Bohlken, Jochen Distelmeyer und André Rattay.
Besetzung: Blumfeld: Artwork, Cover Design
; Eike Bohlken: Bass, Guitar, Harmonica, Choir, Chorus
; Jochen Distelmeyer: Guitar, Piano, Text, Gesang
; André Rattay: Percussion, Drums, Schlagzeug
; Chris Von Rautenkranz: Technician
; Choir and chorus members: Svenja Rossa, Rocko Schamoni, Anne Schulte, Katta Schulte, Frank Spilker, Ralf Vidakovicz, Dirk Von Lowtzow, Pascal Fuhlbrügge, Günther Jakob, Schorsch Kamerun, Tobias Levin, Jutta Postel
Blumfeld [>] [D]: Jenseits von jedem [F]
Label und Katalognummer: WEA 5050466-7469, ZickZack 5050466-7469
Produktion: Blumfeld & Chris von Rautenkranz
Veröffentlicht: 2003 03 01
Genretags: Alternativerock - Diskursrock - Hamburger-Schule
Trackliste: 1. Sonntag - 3:35
2. Armer Irrer - 2:51
3. Krankheit als Weg - 3:52
4. In der Wir
klichkeit - 4:27
5. Alles macht weiter - 3:07
6. Neuer Morgen - 4:30
7. Der Sturm - 4:58
8. Jenseits von Jedem - 14:30
9. Jugend von Heute - 3:19
10. Wir
sind frei (Rattay) - 4:17
11. Die Welt ist schön (Michael Mühlhaus) - 5:47
Alle Tracks: Jochen Distelmeyer, ausser wo anders vermerkt.
Besetzung: Artwork [Gestaltung]: Chris Zander
; Bass, Keyboards, Chorus: Michael Mühlhaus
; Drums: Andre Rattay
; Guitar, Vocals, Chorus, Artwork [Coveridee]: Jochen Distelmeyer
; Saxophone, Flute [German Flute]: Lieven Brunckhorst
; Trombone: Sebastian John
; Trumpet, Flugelhorn: Claas Ueberschär
; Guitar [2nd] – Michael Mühlhaus (3), Thomas Wenzel (8)
; Arranged By [Strings] – Michael Mühlhaus (7), Peta Devlin (7, 10), Michael Mühlhaus (11)
; Mixing: Peter Schmidt
; Other [Make Up]: Barbara Schlensag
; Photography: Ellen Rüger
; Photography [Assistant]: Jens \'Kaddi\' Carstensen
; Recording, Mastering: Chris von Rautenkranz
; Recording, Producer [Additional], Chorus: Peta Devlin
Bob Andy And His Surf-Riders [>] [D]: Die Junge Welle 2. Folge [F]
Label und Katalognummer: Pick Pick 10-111
Veröffentlicht: 1969
Genretags: Traditionalpop - Orchestralpop - Easylistening
Nicht zu verwechseln mit Bob Andy aus Kingston oder den Surf Riders aus den USA.
Das Pick Pick Label brachte zwei fast identische EPs von Bob Andy And His Surf-Riders heraus. Folge 1 und 2. Die Cover waren bis auf die Hintergrundfarbe und die Beschriftung identisch. Folge 1 hatte ein gelbes, Folge 2 ein orange-gelbes Cover.
Easy-Listening statt mit Orchester mit einer Beat-Besetzung. Musette und Surfgitarre fungieren als Solo-Instrumente.
Das Cover mit der jungen Frau und dem Tänzer im Frack bringt zum Ausdruck, dass es sich um Tanzmusik für junge Leute handelt. Die Frau auf dem Cover past mit den Blumenstrümpfen, dem Minikleid und den lila Haaren gut in die späten 60er Jahre. Die Nadelstreifen-Stilisierung eines Fred Astaire fällt hingegen etwas aus der Zeit: Die Stilisierung ist ja zeitgemäss, die formale Kleidung so gar nicht.
Easy-Listening in der Beat-Besetzung ist gewissermassen auch ein Vorreiter für die volkstümliche Musik in ähnlicher Formation: z.B. das Duo Walti und Werni spielen ein paar Jahre später Ländler und volkstümlichen Schlager mit Handorgel und Gitarre.
Single bei der Fonoteca
Trackliste: Seite A
1. Melodien im Rhythmus der Zeit I: a) Zigeunerhochzeit (Hans Blum), b) Rot Ist Die Liebe (Joachim Haider, Michael Holm), c) Greensleeves (Trad.)
Seite B
1. Melodien im Rhythmus der Zeit II: a) Oh Lala, Sie Hat Rotes Haar (Joachim Haider, Michael Holm), b) Zu Der Ponderosa Reiten Wir
(Ekkehard Jung, Georg Schatz, Siegfried Mahr), c) My Bonnie (Trad.)
Bob Dylan [>] [D]: The Bootleg Series, Vol. 1-3: Rare And Unreleased [F]
Label und Katalognummer: Columbia C3K-47382
Produktion: John Hammond & Bob Johnston & Tom Wilson
Veröffentlicht: 1991 03 26 (Ed.), 1991-61 (Rec.)
Genretags: Rock - Folkrock
Trackliste: CD 1
1. Hard Times in New York Town - 2:17
2. He Was a Friend of Mine (Trad.) - 4:02
3. Man on the Street - 1:55
4. No More Auction Block (Trad.) - 3:02
5. House Carpenter (Trad.) - 4:07
6. Talkin' Bear Mountain Picnic Massacre Blues - 3:44
7. Let Me Die in My Footsteps - 3:32
8. Rambling, Gambling Willie - 4:12
9. Talkin' Hava Negeilah Blues - 0:51
10. Quit Your Low Down Ways - 2:39
11. Worried Blues (Trad.) - 2:38
12. Kingsport Town (Trad.) - 3:28
13. Walkin' Down the Line - 2:52
14. Walls of Red Wing - 5:03
15. Paths of Victory - 3:17
16. Talkin' John Birch Paranoid Blues - 4:25
17. Who Killed Davey Moore? - 3:08
18. Only a Hobo - 3:28
19. Moonshiner (Trad.) - 5:05
20. When the Ship Comes In - 2:54
21. The Times They Are A-Changin' - 2:58
22. Last Thoughts on Woody Guthrie - 7:08
Alle Tracks: Bob Dylan, ausser wo anders vermerkt.
CD 2
1. Seven Curses - 3:47
2. Eternal Circle - 2:37
3. Suze (The Cough Song) - 1:57
4. Mama, You Been on My Mind - 2:55
5. Farewell, Angelina - 5:26
6. Subterranean Homesick Blues - 2:17
7. If You Gotta Go, Go Now (Or Else You Got to Stay All Night) - 2:54
8. Sitting on a Barbed Wir
e Fence - 3:52
9. Like a Rolling Stone - 1:34
10. It Takes a Lot to Laugh, It Takes a Train to Cry - 3:20
11. I'll Keep It with Mine - 3:38
12. She's Your Lover Now - 6:08
13. I Shall Be Released - 3:54
14. Santa-Fe - 2:08
15. If Not for You - 3:32
16. Wallflower - 2:48
17. Nobody 'Cept You - 2:40
18. Tangled Up in Blue - 6:50
19. Call Letter Blues - 4:27
20. Idiot Wind - 8:52
Alle Tracks: Bob Dylan.
CD 3
1. If You See Her, Say Hello - 3:44
2. Golden Loom - 4:26
3. Catfish - 2:48
4. Seven Days - 3:59
5. Ye Shall Be Changed - 4:07
6. Every Grain of Sand - 3:37
7. You Changed My Life - 5:13
8. Need a Woman - 5:42
9. Angelina - 6:57
10. Someone's Got a Hold of My Heart - 4:32
11. Tell Me - 4:24
12. Lord Protect My Child - 3:57
13. Foot of Pride - 5:56
14. Blind Willie McTell - 5:52
15. When the Night Comes Falling from the Sky - 5:37
16. Series of Dreams - 5:52
Alle Tracks: Bob Dylan.
Besetzung: Adapted By, Arranged: Bob Dylan (1.02, 1.04, 1.05, 1.11, 1.12, 1.19)
; Art Direction: Christopher Austopchuk
; Art Direction: Nicky Lindeman
; Coordinator [A&R]: Don Devito
; Coordinator [A&R]: Mike Gallelli
; Coordinator [A&R]: Rick Chertoff
; Coordinator [Marketing, Production]: Steve Berkowitz
; Guitar, Vocals, Harmonica: Bob Dylan (1.02, 1.03, 1.06, 1.08, 1.09, 1.12 to 1.14, 1.16, 1.18, 1.19, 2.05 to 2.10, 2.15, 3.10, 3.12, 3.13,)
; Liner Notes: John Bauldie
; Mixing [Columbia Outtakes]: Tim Geelan
; Mixing [Columbia Outtakes], Mastering: Mark Wilder
; Mixing [Shot Of Love, Desire, Planet Waves Outtakes]: Jim Ball
; Mixing [Slow Train Coming, Infidels, Empire Burlesque Outtakes]: Josh Abbey
; Photography [Booklet Cover, 1978]: Morgan Renard
; Photography [Front Cover,1965]: Don Hunstein
; Producer: Bob Johnston (2.11, 2.12, 2.15,)
; Producer: John Hammond (1.02, 1.03, 1.04 to 1.12, 1.14)
; Producer: Tom Wilson (1.15, 1.18, 1.19, 2.01 to 2.10,)
; Producer [Box Set], Compiled By: Jeff Rosen
; Phonographic Copyright (p) Sony Music Entertainment Inc.
; Copyright (c) Sony Music Entertainment Inc.
Bob Dylan [>] [D]: The Bootleg Series, Vol. 12: The Cutting Edge 1965-1966 (Deluxe Ausgabe) [F]
Label und Katalognummer: Sony Music 88875124412
Veröffentlicht: 2015 11 06 (Ed.)
Genretags: Rock - Folkrock
Trackliste: CD 1
1. Love Minus Zero / No Limit (Take 1, Breakdown) - 1:34
2. Love Minus Zero / No Limit (Take 2, Acoustic) - 3:11
3. Love Minus Zero / No Limit (Take 3 Remake, Complete) - 3:42
4. Love Minus Zero / No Limit (Take 1 Remake, Complete) - 2:43
5. I'll Keep It with Mine (Take 1, Piano Demo) - 4:12
6. It's All Over Now, Baby Blue (Take 1) - 3:34
7. Bob Dylan's 115th Dream (Take 1, Fragment) - 0:26
8. Bob Dylan's 115th Dream (Take 2, Complete) - 5:50
9. She Belongs to Me (Take 1, Solo Acoustic) - 2:59
10. She Belongs to Me (Take 2 Remake, Complete) - 3:21
11. She Belongs to Me (Take 1 Remake, Complete) - 2:49
12. Subterranean Homesick Blues (Take 1) - 3:07
13. Subterranean Homesick Blues (Take 1, Alternate Take) - 2:39
14. Outlaw Blues (Take 1, Complete) - 2:17
15. Outlaw Blues (Take 2, Alternate Take) - 3:30
16. On the Road Again (Take 1, Complete) - 3:21
17. On the Road Again (Take 4, Alternate Take) - 2:31
18. On the Road Again (Take 1 Remake, Complete) - 2:31
19. On the Road Again (Take 7 Remake, Complete) - 2:48
20. Farewell, Angelina (Take 1, Solo Acoustic) - 5:28
21. If You Gotta Go, Go Now (Take 1, Complete) - 2:54
22. If You Gotta Go, Go Now (Take 2, Alternate Take) - 2:50
23. You Don't Have to Do That (Take 1, Solo Acoustic) - 0:48
CD 2
1. California (Take 1, Solo Acoustic) - 3:06
2. It's Alright, Ma (I'm Only Bleeding) [Take 1, False Start] - 1:10
3. Mr. Tambourine Man (Takes 1-2, False Starts) - 1:52
4. Mr. Tambourine Man (Take 3 with Band, Incomplete) - 3:23
5. It Takes a Lot to Laugh, It Takes a Train to Cry (Take 1, Complete (6/15/65)) - 2:40
6. It Takes a Lot to Laugh, It Takes a Train to Cry (Take 8, Alternate Take) - 3:29
7. It Takes a Lot to Laugh, It Takes a Train to Cry (Take 3, Incomplete) - 3:13
8. It Takes a Lot to Laugh, It Takes a Train to Cry (Take 3 Remake, Complete) - 3:42
9. Sitting on a Barbed Wir
e Fence (Take 2) - 4:00
10. Tombstone Blues (Take 1, Alternate Take) - 7:29
11. Tombstone Blues (Take 9) - 3:37
12. Positively 4th Street (Takes 1-3, False Starts) - 0:56
13. Positively 4th Street (Take 4, Complete) - 4:24
14. Positively 4th Street (Take 5, Alternate Take) - 4:24
15. Desolation Row (Take 1, Alternate Take) - 11:17
16. Desolation Row (Take 2, Piano Demo) - 2:01
17. Desolation Row (Take 5 Remake, Complete) - 10:51
18. From a Buick 6 (Take 1, False Start) - 0:23
19. From a Buick 6 (Take 4) - 3:10
CD 3
1. Like a Rolling Stone (Takes 1-3, Rehearsal) - 5:48
2. Like a Rolling Stone (Take 4, Rehearsal) - 1:39
3. Like a Rolling Stone (Take 5, Rehearsal) - 2:17
4. Like a Rolling Stone (Rehearsal Remake) - 2:33
5. Like a Rolling Stone (Take 1 Remake, Rehearsal) - 1:57
6. Like a Rolling Stone (Takes 2-3 Remake, False Starts) - 0:35
7. Like a Rolling Stone (Take 4 Remake) - 6:28
8. Like a Rolling Stone (Take 5 Remake, Rehearsal) - 1:54
9. Like a Rolling Stone (Take 6 Remake, False Start) - 0:21
10. Like a Rolling Stone (Take 8 Remake, Breakdown) - 4:18
11. Like a Rolling Stone (Takes 9-10 Remake, False Starts) - 0:35
12. Like a Rolling Stone (Take 11, Alternate Take) - 5:57
13. Like a Rolling Stone (Take 12 Remake, False Start) - 0:10
14. Like a Rolling Stone (Take 13 Remake, Breakdown) - 1:36
15. Like a Rolling Stone (Take 14 Remake, False Start) - 0:23
16. Like a Rolling Stone (Take 15 Remake, Breakdown) - 3:08
17. Like a Rolling Stone (Master Take, Guitar) - 6:25
18. Like a Rolling Stone (Master Take, Vocals, Guitar) - 6:25
19. Like a Rolling Stone (Master Take, Piano, Bass) - 6:25
20. Like a Rolling Stone (Master Take, Drums, Organ) - 6:27
CD 4
1. Can You Please Crawl Out Your Window? (Take 1, Alternate Take) - 4:39
2. Can You Please Crawl Out Your Window? (Take 17) - 4:01
3. Highway 61 Revisited (Take 3, Alternate Take) - 3:30
4. Highway 61 Revisited (Take 5, Complete) - 3:40
5. Highway 61 Revisited (Take 7, False Start) - 0:33
6. Just Like Tom Thumb's Blues (Take 1, Breakdown) - 1:09
7. Just Like Tom Thumb's Blues (Take 3, Rehearsal) - 5:39
8. Just Like Tom Thumb's Blues (Take 13, Complete) - 5:29
9. Queen Jane Approximately (Take 2, Complete) - 5:19
10. Queen Jane Approximately (Take 5, Alternate Take) - 6:02
11. Ballad of a Thin Man (Take 2, Breakdown) - 3:53
12. Medicine Sunday (Take 1) - 1:02
13. Jet Pilot (Take 1) - 1:27
14. I Wanna Be Your Lover (Take 1, Fragment) - 1:07
15. I Wanna Be Your Lover (Take 6, Complete) - 3:30
16. Instrumental (Take 2, Complete) - 4:03
17. Can You Please Crawl Out Your Window? (Take 6, Complete) - 3:48
18. Visions of Johanna (Take 1, Rehearsal) - 1:43
19. Visions of Johanna (Take 5, Rehearsal) - 7:38
CD 5
1. Visions of Johanna (Take 7, Complete) - 9:08
2. Visions of Johanna (Take 8) - 7:05
3. Visions of Johanna (Take 14, Complete) - 7:32
4. She's Your Lover Now (Take 1, Breakdown) - 3:02
5. She's Your Lover Now (Take 6, Rehearsal) - 4:59
6. She's Your Lover Now (Take 15) - 6:24
7. She's Your Lover Now (Take 16, Complete) 8:27
8. One of Us Must Know (Sooner or Later) [Take 2, Rehearsal] - 2:16
9. One of Us Must Know (Sooner or Later) [Take 4, Rehearsal] - 1:54
10. One of Us Must Know (Sooner or Later) [Take 19, Alternate Take] - 5:11
11. Lunatic Princess (Take 1) - 1:20
12. Fourth Time Around (Take 11, Complete) - 4:26
13. Leopard-Skin Pill-Box Hat (Take 3, Complete) - 4:27
14. Leopard-Skin Pill-Box Hat (Take 8, Alternate Take) - 3:26
15. Rainy Day Women #12 & 35 (Take 1, Rehearsal and Finished Track) - 6:17
CD 6
1. Stuck Inside of Mobile with the Memphis Blues Again (Take 1, Rehearsal) - 3:23
2. Stuck Inside of Mobile with the Memphis Blues Again (Rehearsal) - 4:54
3. Stuck Inside of Mobile with the Memphis Blues Again (Take 5) - 5:52
4. Stuck Inside of Mobile with the Memphis Blues Again (Take 13, Alternate Take) - 4:09
5. Stuck Inside of Mobile with the Memphis Blues Again (Take 14, Complete) - 7:04
6. Absolutely Sweet Marie (Take 1, Alternate Take) - 5:02
7. Just Like a Woman (Take 1, Complete) - 4:32
8. Just Like a Woman (Take 4, Alternate Take) - 5:20
9. Just Like a Woman (Take 8, Complete) - 5:22
10. Pledging My Time (Take 1, Alternate Take) - 3:26
11. Most Likely You Go Your Way (And I'll Go Mine) [Take 1, Complete] - 3:38
12. Temporary Like Achilles (Take 3, Complete) - 5:43
13. Obviously Five Believers (Take 3, Complete) - 3:47
14. I Want You (Take 4, Alternate Take) - 2:52
15. Sad-Eyed Lady of the Lowlands (Take 1, Complete) - 10:06
Bob Dylan [>] [D]: The Bootleg Series, Vol. 12: The Cutting Edge 1965–1966 (Collector’s Edition) [F]
Label und Katalognummer: Columbia 88875124402I8
Veröffentlicht: 2015 11 06 (Ed.)
Genretags: Rock - Folkrock
Trackliste: CD 1
1. Love Minus Zero/No Limit – Take 1 (1/13/1965) Breakdown. - 1:34
2. Love Minus Zero/No Limit – Take 2 (1/13/1965) Complete. - 3:11
3. I’ll Keep It With Mine – Take 1 (1/13/1965) Released on Biograph, 1985. - 4:11
4. It’s All Over Now, Baby Blue – Take 1 (1/13/1965) Released on The Bootleg Series, Vol. 7, 2005. - 3:34
5. Bob Dylan’s 115th Dream – Take 1 (1/13/1965) Fragment. Released on Bringing It All Back Home, 1965. - 0:26
6. Bob Dylan’s 115th Dream – Take 2 (1/13/1965) Complete. - 5:50
7. She Belongs To Me – Take 1 (1/13/1965) Complete. - 2:58
8. Subterranean Homesick Blues – Take 1 (1/13/1965) Released on The Bootleg Series, Vol. 1-3, 1991. - 3:08
9. Outlaw Blues – Take 1 (1/13/1965) Complete. - 2:16
10. On The Road Again – Take 1 (1/13/1965) Complete. - 3:21
11. Farewell Angelina – Take 1 (1/13/1965) Released on Bootleg Series, Vol. 1-3, 1991. - 5:29
12. If You Gotta Go, Go Now – Take 1 (1/13/1965) Complete. - 2:54
13. You Don’t Have to Do That – Take 1 (1/13/1965) Incomplete. - 0:51
14. California – Take 1 (1/13/1965) Complete. - 3:06
15. Love Minus Zero/No Limit – Take 3 remake (1/13/1965) Complete. - 3:41
16. She Belongs To Me – Take 2 remake (1/13/1965) Complete. - 3:20
17. Outlaw Blues – Take 1 remake (1/13/1965) False start. - 0:28
18. Outlaw Blues – Take 2 remake (1/13/1965) Complete. - 3:29
19. Love Minus Zero/No Limit – Take 1 remake (1/14/1965) Complete. - 2:43
20. Love Minus Zero/No Limit – Take 2 remake (1/14/1965) Released on Bringing It All Back Home, 1965. - 2:57
21. Love Minus Zero/No Limit – (1/14/1965) Insert. - 1:52
22. Subterranean Homesick Blues – Take 1 remake (1/14/1965) Complete. - 2:39
23. Subterranean Homesick Blues – Take 2 remake (1/14/1965) False start. - 0:24
24. Subterranean Homesick Blues – Take 3 remake (1/14/1965) Released on Bringing It All Back Home, 1965. - 2:28
25. Outlaw Blues – Take 1 remake (1/14/1965) False start. - 0:31
26. Outlaw Blues – Take 2 remake (1/14/1965) Fragment/breakdown. - 1:00
27. Outlaw Blues – Take 3 remake (1/14/1965) Released on Bringing It All Back Home, 1965. - 3:10
CD 2
1. She Belongs To Me – Take 1 remake (1/14/1965) Complete. - 2:48
2. She Belongs To Me – Take 2 remake (1/14/1965) Released on Bringing It All Back Home, 1965 - 2:49
3. Bob Dylan’s 115th Dream – Take 1 (1/14/1965) False start. - 0:07
4. Bob Dylan’s 115th Dream – Take 2 (1/14/1965) Released on Bringing It All Back Home, 1965. - 6:08
5. On The Road Again – Take 1 (1/14/1965) False start. - 0:27
6. On The Road Again – Take 2 (1/14/1965) Complete. - 2:54
7. On The Road Again – Take 3 (1/14/1965) False start. - 0:43
8. On The Road Again – Take 4 (1/14/1965) Complete. - 2:32
9. Maggie’s Farm – Take 1 (1/15/1965) Released on Bringing It All Back Home, 1965. - 4:01
10. On The Road Again – Take 1 remake (1/15/1965) Complete. - 2:30
11. On The Road Again – Takes 2-6 remake (1/15/1965) False starts/complete. - 2:47
12. On The Road Again – Take 7 remake (1/15/1965) Complete. - 2:49
13. On The Road Again – Takes 8-9 remake (1/15/1965) False starts. - 0:37
14. On The Road Again – Take 11 remake (1/15/1965) False start. - 0:45
15. On The Road Again – Take 12 remake (1/15/1965) False start. - 0:16
16. On The Road Again – Take 13 remake (1/15/1965) Released on Bringing It All Back Home, 1965. - 2:39
17. It’s Alright, Ma (I’m Only Bleeding) – Take 1 (1/15/1965) False start. - 1:10
18. It’s Alright, Ma (I’m Only Bleeding) – Take 2 (1/15/1965) Released on Bringing It All Back Home, 1965. - 7:32
19. Gates Of Eden – Take 1 (1/15/1965) Released on Bringing It All Back Home, 1965. - 5:44
20. Mr. Tambourine Man – Takes 1-2 (1/15/1965) False starts. - 1:51
21. Mr. Tambourine Man – Take 3 (1/15/1965) Breakdown. - 3:24
22. Mr. Tambourine Man – Takes 4-5 (1/15/1965) Breakdown. - 0:28
23. Mr. Tambourine Man – Take 6 (1/15/1965) Released on Bringing It All Back Home, 1965. - 5:55
24. It’s All Over Now, Baby Blue – Take 1 remake (1/15/1965) Released on Bringing It All Back Home, 1965. - 4:14
CD 3
1. If You Gotta Go, Go Now – Take 1 (1/15/1965) Complete. - 2:50
2. If You Gotta Go, Go Now – Take 2 (1/15/1965) Complete. - 2:50
3. If You Gotta Go, Go Now – Take 3 (1/15/1965) Complete. - 3:12
4. If You Gotta Go, Go Now – Take 4 (1/15/1965) Released on The Bootleg Series, Vol. 1-3, 1991. - 2:55
5. It Takes A Lot To Laugh, It Takes A Train To Cry – Take 1 (6/15/1965) Complete. - 2:40
6. It Takes A Lot To Laugh, It Takes A Train To Cry – Takes 2-3 (6/15/1965) Fragments. - 0:18
7. It Takes A Lot To Laugh, It Takes A Train To Cry – Take 4 (6/15/1965) Breakdown. - 1:53
8. It Takes A Lot To Laugh, It Takes A Train To Cry – Takes 5 (6/15/1965) False start. - 0:17
9. It Takes A Lot To Laugh, It Takes A Train To Cry – Takes 6 (6/15/1965) Breakdown. - 1:46
10. It Takes A Lot To Laugh, It Takes A Train To Cry – Take 7 (6/15/1965) Insert. - 0:56
11. It Takes A Lot To Laugh, It Takes A Train To Cry – Take 8 (6/15/1965) Complete. - 3:29
12. It Takes A Lot To Laugh, It Takes A Train To Cry – Take 9 (6/15/1965) Released on The Bootleg Series, Vol. 7, 2005. - 3:42
13. Sitting On A Barbed-Wir
e Fence – Take 1 (6/15/1965) Rehearsal and breakdown. - 1:25
14. Sitting On A Barbed-Wir
e Fence – Take 2 (6/15/1965) Complete. - 3:59
15. Sitting On A Barbed-Wir
e Fence – Take 3 (6/15/1965) Released on The Bootleg Series, Vol. 1-3, 1991. - 5:29
16. Sitting On A Barbed-Wir
e Fence – Take 2 (6/15/1965) Edited version. Complete. - 3:54
17. It Takes A Lot to Laugh, It Takes A Train To Cry – Take 1 remake (6/15/1965) Released on The Bootleg Series, Vol. 1-3, 1991. - 3:30
18. Sitting On A Barbed-Wir
e Fence – Takes 4-5 (6/15/1965) False starts. - 0:41
19. Sitting On A Barbed-Wir
e Fence – Take 6 (6/15/1965) Complete. - 4:52
20. Like A Rolling Stone – Takes 1-3 (6/15/1965) Rehearsal. - 5:50
21. Like A Rolling Stone – Take 4 (6/15/1965) Rehearsal. Partially released on The Bootleg Series Vol. 1-3, 1991. - 2:56
22. Like A Rolling Stone – Take 5 (6/15/1965) Breakdown. - 2:16
CD 4
1. Like A Rolling Stone – Rehearsal remake (6/16/1965) Rehearsal. - 2:33
2. Like A Rolling Stone – Take 1 remake (6/16/1965) Rehearsal. - 1:57
3. Like A Rolling Stone – Takes 2-3 remake (6/16/1965) False starts. - 0:35
4. Like A Rolling Stone – Take 4 remake (6/16/1965) Released on Highway 61 Revisited, 1965. - 6:28
5. Like A Rolling Stone – Take 5 remake (6/16/1965) Rehearsal. - 1:54
6. Like A Rolling Stone – Take 6 remake (6/16/1965) False start. - 0:21
7. Like A Rolling Stone – Take 8 remake (6/16/1965) Breakdown. - 4:18
8. Like A Rolling Stone – Takes 9-10 remake (6/16/1965) False starts. - 0:35
9. Like A Rolling Stone – Take 11 remake (6/16/1965) Complete. - 5:57
10. Like A Rolling Stone – Take 12 remake (6/16/1965) False start. - 0:10
11. Like A Rolling Stone – Take 13 remake (6/16/1965) Breakdown. - 1:36
12. Like A Rolling Stone – Take 14 remake (6/16/1965) False start. - 0:23
13. Like A Rolling Stone – Take 15 remake (6/16/1965) Breakdown. - 3:08
14. Like A Rolling Stone – (6/16/1965) Master take, guitar. - 6:25
15. Like A Rolling Stone – (6/16/1965) Master take, vocals, guitar (BD). - 6:25
16. Like A Rolling Stone – (6/16/1965) Master take, piano, bass. - 6:25
17. Like A Rolling Stone – (6/16/1965) Master take, drums, organ. - 6:25
CD 5
1. It Takes A Lot To Laugh, It Takes A Train To Cry – Take 1 (7/29/1965) Breakdown. - 1:51
2. It Takes A Lot To Laugh, It Takes A Train To Cry – Take 2 (7/29/1965) False start. - 0:24
3. It Takes A Lot To Laugh, It Takes A Train To Cry – Take 3 (7/29/1965) Incomplete. - 3:12
4. Tombstone Blues – Take 1 (7/29/1965) Complete. - 7:29
5. Tombstone Blues – Takes 2-3 (7/29/1965) False starts. - 1:16
6. Tombstone Blues – Take 4 (7/29/1965) Complete. - 6:59
7. Tombstone Blues – Takes 5-7 (7/29/1965) False starts, rehearsal. - 1:54
8. Tombstone Blues – Take 9 (7/29/1965) Released on The Bootleg Series, Vol. 7, 2005. - 3:36
9. Tombstone Blues – Take 10 (7/29/1965) False start. - 0:24
10. Tombstone Blues – Take 11 (7/29/1965) Breakdown. - 3:14
11. Tombstone Blues – Take 12 (7/29/1965) Released on Highway 61 Revisited, 1965. - 6:12
12. It Takes A Lot To Laugh, It Takes A Train To Cry – Take 1 (7/29/1965) Complete. - 3:51
13. It Takes A Lot To Laugh, It Takes A Train To Cry – Take 2 (7/29/1965) False start. - 0:24
14. It Takes A Lot To Laugh, It Takes A Train To Cry – Take 3 (7/29/1965) Complete. - 3:42
15. It Takes A Lot To Laugh, It Takes A Train To Cry – Take 4 (7/29/1965) Released on Highway 61 Revisited, 1965. - 4:14
16. Positively 4th Street – Takes 1-3 (7/29/1965) False starts. - 0:57
17. Positively 4th Street – Take 4 (7/29/1965) Complete. - 4:23
18. Positively 4th Street – Take 5 (7/29/1965) Complete. - 4:24
19. Positively 4th Street – Take 6 (7/29/1965) Breakdown. - 0:52
20. Positively 4th Street – Take 7 (7/29/1965) Breakdown. - 1:13
21. Positively 4th Street – Take 8 (7/29/1965) Breakdown. - 2:55
22. Positively 4th Street – Take 10 (7/29/1965) Breakdown. - 1:02
23. Positively 4th Street – Take 12 (7/29/1965) Released as a single, 1965. - 4:23
CD 6
1. Desolation Row – Take 1 (7/29/1965) Released on The Bootleg Series Vol. 7, 2005 - 11:47
2. From A Buick 6 – Take 1 (7/30/1965) False start. - 0:23
3. From A Buick 6 – Take 2 (7/30/1965) False start. - 0:16
4. From A Buick 6 – Take 4 (7/30/1965) Accidentally released on the first pressing of Highway 61 Revisited, 1965. - 3:12
5. From A Buick 6 – Take 5 (7/30/1965) Released on Highway 61 Revisited, 1965. - 3:41
6. Can You Please Crawl Out Your Window? – Takes 1-4 (7/30/1965) False starts. - 1:41
7. Can You Please Crawl Out Your Window? – Take 1 (7/30/1965) Complete. - 4:38
8. Can You Please Crawl Out Your Window? – Take 2 (7/30/1965) False start. - 0:35
9. Can You Please Crawl Out Your Window? – Take 3 (7/30/1965) Complete. - 4:10
10. Can You Please Crawl Out Your Window? – Take 4 (7/30/1965) False start. - 0:26
11. Can You Please Crawl Out Your Window? – Take 5 (7/30/1965) Complete. - 4:08
12. Can You Please Crawl Out Your Window? – Take 6 (7/30/1965) Rehearsal/false start. - 1:02
13. Can You Please Crawl Out Your Window? – Take 7 (7/30/1965) False start. - 0:26
14. Can You Please Crawl Out Your Window? – Take 8 (7/30/1965) False start. - 0:42
15. Can You Please Crawl Out Your Window? – Takes 10-11 (7/30/1965) False starts. - 0:49
16. Can You Please Crawl Out Your Window? – Take 12 (7/30/1965) Complete. - 3:48
17. Can You Please Crawl Out Your Window? – Take 14 (7/30/1965) Breakdown. - 1:05
18. Can You Please Crawl Out Your Window? – Take 15 (7/30/1965) Breakdown. - 2:49
19. Can You Please Crawl Out Your Window? – Take 17 (7/30/1965) Accidentally Released as B-side of first pressing of Positively 4th Street single. - 4:00
20. Highway 61 Revisited – Take 1 (8/02/1965) False start. - 0:22
21. Highway 61 Revisited – Take 2 (8/02/1965) False start. - 0:28
22. Highway 61 Revisited – Take 3 (8/02/1965) Complete. - 3:30
23. Highway 61 Revisited – Take 4 (8/02/1965) False start. - 0:08
24. Highway 61 Revisited – Take 5 (8/02/1965) Complete. - 3:40
25. Highway 61 Revisited – Take 5 (mis-slate) (8/02/1965) Complete. - 3:19
26. Highway 61 Revisited – Take 6 (8/02/1965) Released on The Bootleg Series, Vol. 7, 2005. - 3:38
27. Highway 61 Revisited – Take 7 (8/02/1965) False start. - 0:34
28. Highway 61 Revisited – Take 8 (8/02/1965) False start. - 0:27
29. Highway 61 Revisited – Take 9 (8/02/1965) Released on Highway 61 Revisited, 1965. - 3:34
CD 7
1. Just Like Tom Thumb’s Blues – Take 1 (8/02/1965) Breakdown. - 1:09
2. Just Like Tom Thumb’s Blues – Take 3 (8/02/1965) Complete. - 5:39
3. Just Like Tom Thumb’s Blues – Take 4 (8/02/1965) Rehearsal. - 0:20
4. Just Like Tom Thumb’s Blues – Take 5 (8/02/1965) Released on The Bootleg Series Vol. 7, 2005. - 5:45
5. Just Like Tom Thumb’s Blues – Takes 9-10 (8/02/1965) Breakdown. - 1:14
6. Just Like Tom Thumb’s Blues – Takes 11-12 (8/02/1965) False starts. - 0:23
7. Just Like Tom Thumb’s Blues – Take 13 (8/02/1965) Complete. - 5:28
8. Just Like Tom Thumb’s Blues – Takes 14-15 (8/02/1965) False Starts. - 0:42
9. Just Like Tom Thumb’s Blues – Take 16 (8/02/1965) Released on Highway 61 Revisited, 1965. - 5:34
10. Queen Jane Approximately – Take 1 (8/02/1965) Rehearsal. - 0:24
11. Queen Jane Approximately – Take 2 (8/02/1965) Complete. - 5:19
12. Queen Jane Approximately – Take 3 (8/02/1965) False start. - 0:45
13. Queen Jane Approximately – Take 4 (8/02/1965) False start. - 0:08
14. Queen Jane Approximately – Take 5 (8/02/1965) Complete. - 6:02
15. Queen Jane Approximately – Take 6 (8/02/1965) Complete. - 5:28
16. Queen Jane Approximately – Take 7 (8/02/1965) Released on Highway 61 Revisited, 1965. - 5:24
17. Ballad Of A Thin Man – Take 1 (8/02/1965) False start. - 0:42
18. Ballad Of A Thin Man – Take 2 (8/02/1965) Breakdown. - 3:53
19. Ballad Of A Thin Man – Take 3 (8/02/1965) Released on Highway 61 Revisited, 1965. - 5:56
20. Ballad Of A Thin Man – Take 4 (8/02/1965) Insert. - 1:00
CD 8
1. Desolation Row – Takes 1-2 remake (8/02/1965) False start/breakdown. - 0:41
2. Desolation Row – Take 3 remake (8/02/1965) Breakdown. - 1:56
3. Desolation Row – Take 4 remake (8/02/1965) False start. - 0:17
4. Desolation Row – Take 5 remake (8/02/1965) Complete. - 10:51
5. Tombstone Blues – Take 1 (8/03/1965) Complete. Vocal overdub. - 2:47
6. Tombstone Blues – Take 2 (8/03/1965) Complete. Vocal overdub. - 6:06
7. Tombstone Blues – Take 3 (8/03/1965) Complete. Vocal overdub. - 6:06
8. Desolation Row – Take 1 (8/04/1965) Rehearsal. - 1:11
9. Desolation Row – Take 2 (8/04/1965) Rehearsal. - 2:01
10. Desolation Row – Take 1 (8/04/1965) Complete (with insert). - 11:17
11. Desolation Row – Take 5 (8/04/1965) Complete master without acoustic guitar overdub. Released on Highway 61 Revisited, 1965. - 11:18
12. Desolation Row – Take 6 (8/04/1965) Guitar overdub. - 11:18
13. Desolation Row – Take 7 (8/04/1965) Guitar overdub - 0:11
14. Tombstone Blues – Take 1 (8/04/1965) Harmonica overdub. - 1:04
15. Medicine Sunday – Take 1 (10/05/1965) Incomplete. - 1:02
16. Medicine Sunday – Take 2 (10/05/1965) Incomplete. - 0:59
17. Jet Pilot – Take 1 (10/05/1965) Released on Biograph, 1985. - 1:27
18. I Wanna Be Your Lover – (10/05/1965) Rehearsal. - 5:32
19. Can You Please Crawl Out Your Window? – Take 1 (10/05/1965) Fragment. - 0:57
20. Can You Please Crawl Out Your Window? – Take 2 (10/05/1965) Fragment. - 1:21
CD 9
1. I Wanna Be Your Lover – Take 1 (10/05/1965) Fragment. - 1:06
2. I Wanna Be Your Lover – Take 1 Edit 1 (10/05/1965) Complete. - 1:46
3. I Wanna Be Your Lover – Take 1 Edit 2 (10/05/1965) Complete. - 2:10
4. I Wanna Be Your Lover – Take 2 (10/05/1965) Complete. - 2:02
5. I Wanna Be Your Lover – (10/05/1965) Rehearsal. - 1:41
6. I Wanna Be Your Lover – Take 3 10/05/1965) Complete. - 2:46
7. I Wanna Be Your Lover – Take 4 (10/05/1965) Complete. - 2:50
8. I Wanna Be Your Lover – Take 5 (10/05/1965) Complete - 3:37
9. I Wanna Be Your Lover – Take 6 (10/05/1965) Complete. - 3:30
10. I Wanna Be Your Lover – Take 6 (mis-slate) (10/05/1965) Released on Biograph, 1985. - 3:30
11. Instrumental – Take 1 (10/05/1965) Fragment. - 0:07
12. Instrumental – Take 2 (10/05/1965) Complete. - 4:03
13. Visions Of Johanna – Take 1 (11/30/1965) Rehearsal. - 1:43
14. Visions Of Johanna – Take 2 (11/30/1965) Rehearsal. - 1:56
15. Visions Of Johanna – Take 3 (11/30/1965) Rehearsal. - 2:52
16. Visions Of Johanna – Take 4 (11/30/1965) Complete. - 7:43
17. Visions Of Johanna – Take 5 (11/30/1965) Complete. - 7:41
18. Visions Of Johanna – Take 6 (11/30/1965) Rehearsal. - 1:56
19. Visions Of Johanna – Take 7 (11/30/1965) Complete. - 9:10
20. Visions Of Johanna – Take 8 (11/30/1965) Released on The Bootleg Series, Vol.7, 2005. - 7:04
CD 10
1. Visions Of Johanna – Takes 9-12 (11/30/1965) False starts. - 2:17
2. Visions Of Johanna – Take 13 (11/30/1965) Breakdown. - 1:30
3. Visions Of Johanna – Take 14 (11/30/1965) Complete. - 7:31
4. Can You Please Crawl Out Your Window? – Take 1 (11/30/1965) False start. - 0:12
5. Can You Please Crawl Out Your Window? – Take 2 (11/30/1965) False start, rehearsal. - 1:15
6. Can You Please Crawl Out Your Window? – Take 3 (11/30/1965) False start. - 0:14
7. Can You Please Crawl Out Your Window? – Take 4 (11/30/1965) False start, rehearsal. - 1:34
8. Can You Please Crawl Out Your Window? – Take 6 (11/30/1965) Complete. - 3:48
9. Can You Please Crawl Out Your Window? – Take 7 (11/30/1965) Breakdown. - 0:42
10. Can You Please Crawl Out Your Window? – Take 8 (11/30/1965) Complete. - 3:49
11. Can You Please Crawl Out Your Window? – Take 9 (11/30/1965) False start. - 0:14
12. Can You Please Crawl Out Your Window? – Take 10 (11/30/1965) Released as a single in December, 1965. - 3:57
13. She’s Your Lover Now – Take 1 (1/21/1966) Breakdown. - 3:00
14. She’s Your Lover Now – Take 2 (1/21/1966) Rehearsal. - 0:16
15. She’s Your Lover Now – Take 3 (1/21/1966) Breakdown. - 1:00
16. She’s Your Lover Now – Take 4 (1/21/1966) Incomplete. - 4:44
17. She’s Your Lover Now – Take 5 (1/21/1966) Rehearsal. - 1:48
18. She’s Your Lover Now – Take 6 (1/21/1966) Complete. - 4:59
19. She’s Your Lover Now – Take 7 (1/21/1966) False start. - 1:18
20. She’s Your Lover Now – Take 8 (1/21/1966) Rehearsal. - 1:04
21. She’s Your Lover Now – Take 9 (1/21/1966) Rehearsal. - 1:31
22. She’s Your Lover Now – Takes 10-11 (1/21/1966) Rehearsal. - 11:28
23. She’s Your Lover Now – Take 12 (1/21/1966) Rehearsal. - 2:51
24. She’s Your Lover Now – Take 13 (1/21/1966) Rehearsal. - 2:56
CD 11
1. She’s Your Lover Now – Take 14 (1/21/1966) Breakdown. - 3:12
2. She’s Your Lover Now – Take 15 (1/21/1966) Released on The Bootleg Series, Vol. 1-3, 1991. - 6:24
3. She’s Your Lover Now – (1/21/1966) Rehearsal. - 3:55
4. She’s Your Lover Now – Take 16 (1/21/1966) Complete. - 9:04
5. Leopard-Skin Pill-Box Hat – Take 1 (1/25/1966) Released on The Bootleg Series, Vol. 7, 2005. - 6:23
6. Leopard-Skin Pill-Box Hat – Take 2 (1/25/1966) Complete. - 4:15
7. One Of Us Must Know (Sooner Or Later) – Take 1 (1/25/1966) Rehearsal. - 4:11
8. One Of Us Must Know (Sooner Or Later) – Take 2 (1/25/1966) Rehearsal. - 2:17
9. One Of Us Must Know (Sooner Or Later) – Take 3 (1/25/1966) Fragment. - 0:27
10. One Of Us Must Know (Sooner Or Later) – Take 4 (1/25/1966) Rehearsal. - 1:54
11. One Of Us Must Know (Sooner Or Later) – Take 5 (1/25/1966) Rehearsal. - 2:04
12. One Of Us Must Know (Sooner Or Later) – Takes 6-8 (1/25/1966) Rehearsal. - 1:43
13. One Of Us Must Know (Sooner Or Later) – Take 9 (1/25/1966) Rehearsal. - 2:56
14. One Of Us Must Know (Sooner Or Later) – Takes 10-14 (1/25/1966) Rehearsal. - 2:45
15. One Of Us Must Know (Sooner Or Later) – Take 15 (1/25/1966) Complete. - 5:51
16. One Of Us Must Know (Sooner Or Later) – Takes 16-17 (1/25/1966) False starts. - 0:35
17. One Of Us Must Know (Sooner Or Later) – Take 18 (1/25/1966) Complete. - 5:47
18. One Of Us Must Know (Sooner Or Later) – (1/25/1966) Rehearsal. - 1:50
19. One Of Us Must Know (Sooner Or Later) – Take 19 (1/25/1966) Complete. - 5:11
20. One Of Us Must Know (Sooner Or Later) – Takes 21-22 (1/25/1966) Breakdown. - 1:50
CD 12
1. One Of Us Must Know (Sooner Or Later) – Take 23 (1/25/1966) Complete. - 5:10
2. One Of Us Must Know (Sooner Or Later) – Take 24 (1/25/1966) Released on Blonde On Blonde, 1966. - 4:58
3. One Of Us Must Know (Sooner Or Later) – (1/25/1966) Master take, guitar (BD) and organ. - 4:58
4. One Of Us Must Know (Sooner Or Later) – (1/25/1966) Master take, vocal. - 4:58
5. One Of Us Must Know (Sooner Or Later) – (1/25/1966) Master take, piano and drums. - 4:58
6. One Of Us Must Know (Sooner Or Later) – (1/25/1966) Master take, guitar and bass. - 4:57
7. Lunatic Princess – Take 1 (1/27/1966) Incomplete. - 1:20
8. Leopard-Skin Pill-Box Hat – Takes 1-2 (1/27/1966) False start, incomplete. - 3:01
9. Leopard-Skin Pill-Box Hat – (1/27/1966) Insert. - 1:06
10. I’ll Keep It With Mine – (no date listed) Rehearsal. Partially released on The Bootleg Series, Vol.1-3, 1991. - 5:39
11. Fourth Time Around – Take 1 (2/14/1966) Rehearsal. - 0:12
12. Fourth Time Around – Take 2 (2/14/1966) Breakdown. - 4:00
13. Fourth Time Around – Takes 3-4 (2/14/1966) Rehearsal. - 0:46
14. Fourth Time Around – Take 5 (2/14/1966) Complete. - 4:08
15. Fourth Time Around – Takes 6-7 (2/14/1966) Rehearsal. - 3:03
16. Fourth Time Around – Take 8 (2/14/1966) Rehearsal. - 2:02
17. Fourth Time Around – Takes 9-10 (2/14/1966) False starts - 0:33
CD 13
1. Fourth Time Around – Take 11 (2/14/1966) Complete. - 4:27
2. Fourth Time Around – Takes 12-13 (2/14/1966) False starts. - 0:47
3. Fourth Time Around – Takes 14-16 (2/14/1966) False starts. - 0:52
4. Fourth Time Around – Takes 17-18 (2/14/1966) False starts. - 1:16
5. Fourth Time Around – Take 19 (2/14/1966) Breakdown. - 1:50
6. Fourth Time Around – Take 19 again (2/14/1966) Released on Blonde On Blonde, 1966. - 4:36
7. Visions Of Johanna – Take 1 (2/14/1966) False start. - 0:22
8. Visions Of Johanna – Take 2 (2/14/1966) Breakdown. - 2:44
9. Visions Of Johanna – Take 3 (2/14/1966) False start. - 0:34
10. Visions Of Johanna – Take 4 (2/14/1966) Released on Blonde On Blonde, 1966. - 7:33
11. Leopard-Skin Pill-Box Hat – Takes 1-2 (2/14/1966) Rehearsal. - 1:17
12. Leopard-Skin Pill-Box Hat – Take 3 (2/14/1966) Complete. - 4:27
13. Leopard-Skin Pill-Box Hat – Takes 4-5 (2/14/1966) Rehearsal. - 1:13
14. Leopard-Skin Pill-Box Hat – Take 6 (2/14/1966) Breakdown. - 1:20
15. Leopard-Skin Pill-Box Hat – Take 6 again (2/14/1966) Rehearsal. - 0:42
16. Leopard-Skin Pill-Box Hat – Take 8 (2/14/1966) Complete. - 3:26
17. Leopard-Skin Pill-Box Hat – Take 9 (2/14/1966) Breakdown. - 1:56
18. Leopard-Skin Pill-Box Hat – Take 10 (2/14/1966) False start. - 0:59
19. Leopard-Skin Pill-Box Hat – Take 11 (2/14/1966) Breakdown. - 1:46
20. Leopard-Skin Pill-Box Hat – Take 12 (2/14/1966) False start. - 0:14
21. Leopard-Skin Pill-Box Hat – Take 13 (2/14/1966) Complete. - 2:41
22. I’ll Keep It With Mine (instrumental) – Take 1 (2/15/1966) Rehearsal. - 0:31
23. I’ll Keep It With Mine (instrumental) – Take 2 (2/15/1966) Rehearsal. - 1:08
24. I’ll Keep It With Mine (instrumental) – Take 3 (2/15/1966) Rehearsal. - 0:06
25. I’ll Keep It With Mine (instrumental) – Take 4 (2/15/1966) Rehearsal. - 2:01
26. I’ll Keep It With Mine (instrumental) – Take 5 (2/15/1966) Rehearsal. - 1:48
27. I’ll Keep It With Mine (instrumental) – Takes 6-7 (2/15/1966) Rehearsal. - 1:17
28. I’ll Keep It With Mine (instrumental) – Take 8 (2/15/1966) Rehearsal. - 2:06
29. I’ll Keep It With Mine (instrumental) – Take 8 again (2/15/1966) Complete. - 3:13
30. I’ll Keep It With Mine (instrumental) – Take 9 (2/15/1966) Complete. - 3:11
CD 14
1. Sad-Eyed Lady Of The Lowlands – Take 1 (2/16/1966) Complete. - 10:08
2. Sad-Eyed Lady Of The Lowlands – Take 2 (2/16/1966) Rehearsal. - 2:06
3. Sad-Eyed Lady Of The Lowlands – Take 3 (2/16/1966) Complete. - 12:20
4. Sad-Eyed Lady Of The Lowlands – Take 4 (2/16/1966) Released on Blonde On Blonde, 1966. - 11:24
5. Stuck Inside Of Mobile With The Memphis Blues Again – Take 1 (2/17/1966) Rehearsal. - 3:23
6. Stuck Inside Of Mobile With The Memphis Blues Again – (2/17/1966) Rehearsal. - 4:54
7. Stuck Inside Of Mobile With The Memphis Blues Again – Take 1 (2/17/1966) Breakdown. - 1:52
8. Stuck Inside Of Mobile With The Memphis Blues Again – Takes 2-3 (2/17/1966) Rehearsal. - 1:13
9. Stuck Inside Of Mobile With The Memphis Blues Again – Take 4 (2/17/1966) Breakdown. - 2:45
10. Stuck Inside Of Mobile With The Memphis Blues Again – Take 4 (mis-slate) (2/17/1966) False start. - 0:10
11. Stuck Inside Of Mobile With The Memphis Blues Again – Take 5 (2/17/1966) Released on The Bootleg Series, Vol. 7, 2005. - 5:52
12. Stuck Inside Of Mobile With The Memphis Blues Again – Takes 6-8 (2/17/1966) False starts. - 0:40
13. Stuck Inside Of Mobile With The Memphis Blues Again – Take 9 (2/17/1966) Breakdown. - 0:32
14. Stuck Inside Of Mobile With The Memphis Blues Again – Take 10 (2/17/1966) False start. - 0:20
15. Stuck Inside Of Mobile With The Memphis Blues Again – Takes 11-12 (2/17/1966) Breakdown. - 1:44
16. Stuck Inside Of Mobile With The Memphis Blues Again – Take 13 (2/17/1966) Breakdown. - 4:07
CD 15
1. Stuck Inside Of Mobile With The Memphis Blues Again – Take 14 (2/17/1966) Complete. - 7:04
2. Stuck Inside Of Mobile With The Memphis Blues Again – Take 15 (2/17/1966) Released on Blonde On Blonde, 1966. - 7:07
3. Absolutely Sweet Marie – (3/07/1966) Rehearsal. - 3:19
4. Absolutely Sweet Marie – Take 1 (3/07/1966) Complete. - 5:02
5. Absolutely Sweet Marie – Take 2 (3/07/1966) False start. - 0:22
6. Absolutely Sweet Marie – Take 3 (3/07/1966) Released on Blonde On Blonde, 1966. - 4:57
7. Absolutely Sweet Marie – (3/07/1966) Insert. - 1:16
8. Just Like A Woman – Take 1 (3/08/1966) Complete. - 4:32
9. Just Like A Woman – Take 2 (3/08/1966) Complete. - 5:13
10. Just Like A Woman – Take 3 (3/08/1966) Complete. - 5:12
11. Just Like A Woman – Take 4 (3/08/1966) Complete. - 5:19
12. Pledging My Time – Take 1 (3/08/1966) Breakdown. - 3:26
13. Pledging My Time – (3/08/1966) Rehearsal. - 1:11
14. Pledging My Time – Take 2 (3/08/1966) False start. - 0:21
15. Pledging My Time – Take 3 (3/08/1966) Released on Blonde On Blonde, 1966. - 4:04
16. Just Like A Woman – Take 5 (3/08/1966) False start. - 1:15
17. Just Like A Woman – Take 6 (3/08/1966) Breakdown. - 3:25
CD 16
1. Just Like A Woman – Take 8 (3/08/1966) Complete. - 5:21
2. Just Like A Woman – Takes 9-10 (3/08/1966) False start, breakdown. - 3:46
3. Just Like A Woman – Takes 11-12 (3/08/1966) Rehearsal. - 1:20
4. Just Like A Woman – Take 13 (3/08/1966) Breakdown. - 3:54
5. Just Like A Woman – Takes 14-15 (3/08/1966) Rehearsal. - 1:30
6. Just Like A Woman – Take 16 (3/08/1966) Complete. - 5:10
7. Just Like A Woman – Take 17 (3/08/1966) Breakdown. - 0:52
8. Just Like A Woman – Take 18 (3/08/1966) Released on Blonde On Blonde, 1966. - 4:53
9. Most Likely You Go Your Way (And I’ll Go Mine) – Take 1 (3/09/1966) Complete. - 3:38
10. Most Likely You Go Your Way (And I’ll Go Mine) – Take 2 (3/09/1966) Rehearsal. - 1:04
11. Most Likely You Go Your Way (And I’ll Go Mine) – Take 3 (3/09/1966) Rehearsal. - 1:42
12. Most Likely You Go Your Way (And I’ll Go Mine) – Take 4 (3/09/1966) Rehearsal. - 1:34
13. Most Likely You Go Your Way (And I’ll Go Mine) – Take 5 (3/09/1966) Breakdown. - 1:10
14. Most Likely You Go Your Way (And I’ll Go Mine) – Take 6 (3/09/1966) Released on Blonde on Blonde, 1966. - 3:29
15. Temporary Like Achilles – Take 1 (3/09/1966) Complete. - 5:13
16. Temporary Like Achilles – Take 2 (3/09/1966) False start - 0:38
17. Temporary Like Achilles – Take 3 (3/09/1966) Complete. - 5:41
18. Temporary Like Achilles – Take 4 (3/09/1966) Released on Blonde On Blonde, 1966. - 5:19
19. Rainy Day Women #12 & 35 – (3/10/1966) Rehearsal. - 1:35
20. Rainy Day Women #12 & 35 – Take 1 (3/10/1966) Released on Blonde On Blonde, 1966. - 4:41
CD 17
1. Obviously Five Believers – Take 1 (3/10/1966) False start. - 0:58
2. Obviously Five Believers – Take 2 (3/10/1966) Breakdown. - 1:13
3. Obviously Five Believers – Take 3 (3/10/1966) Complete. - 3:46
4. Obviously Five Believers – Take 4 (3/10/1966) Released on Blonde On Blonde, 1966. - 3:37
5. Leopard-Skin Pill-Box Hat – Take 1 (3/10/1966) Released on Blonde On Blonde, 1966. - 3:58
6. I Want You – (3/10/1966) Rehearsal. - 1:58
7. I Want You – Take 1 (3/10/1966) Complete. - 3:00
8. I Want You – Take 2 (3/10/1966) Breakdown. - 3:10
9. I Want You – Take 3 (3/10/1966) Rehearsal, false start. - 0:43
10. I Want You – Take 4 (3/10/1966) Complete. - 2:52
11. I Want You – Take 5 (3/10/1966) Released on Blonde On Blonde, 1966. - 3:09
12. I Want You – Take 5b (3/10/1966) Insert, guitar overdub. - 3:08
CD 18
1. Remember Me – (5/04/1965) Savoy Hotel, London. - 1:11
2. More And More – (5/04/1965) Savoy Hotel, London. - 2:11
3. Blues Stay Away From Me – (5/04/1965) Savoy Hotel, London. - 2:02
4. Weary Blues From Waitin’ – (5/04/1965) Savoy Hotel, London. - 1:31
5. Lost Highway – (5/04/65) Savoy Hotel, London. - 2:15
6. I’m So Lonesome I Could Cry – (5/04/1965) Savoy Hotel, London. - 0:51
7. Young But Daily Growing – (5/04/1965) Savoy Hotel, London. - 2:51
8. Wild Mountain Thyme – (5/04/1965) Savoy Hotel, London. - 4:22
9. I Can’t Leave Her Behind [1] – (5/13/1966) North British Station Hotel, Glasgow, Scotland. - 2:42
10. I Can’t Leave Her Behind [2] – (5/13/1966) North British Station Hotel, Glasgow, Scotland. - 4:56
11. On A Rainy Afternoon – (5/13/1966) North British Station Hotel, Glasgow, Scotland. - 1:38
12. If I Was A King [1] – (5/13/1966) North British Station Hotel, Glasgow, Scotland. - 3:00
13. If I Was A King [2] – (5/13/1966) North British Station Hotel, Glasgow, Scotland. - 2:37
14. What Kind Of Friend Is This – (5/13/1966) North British Station Hotel, Glasgow, Scotland. - 2:44
15. Positively Van Gogh [1] – (3/12/1966) Denver, Colorado Hotel Room. - 0:53
16. Positively Van Gogh [2] – (3/12/1966) Denver, Colorado Hotel Room. - 6:14
17. Positively Van Gogh [3] – (3/12/1966) Denver, Colorado Hotel Room. - 2:18
18. Don’t Tell Him, Tell Me – (3/12/1966) Denver, Colorado Hotel Room. - 1:21
19. If You Want My Love – (3/12/1966) Denver, Colorado Hotel Room. - 3:53
20. Just Like A Woman – (3/12/1966) Denver, Colorado Hotel Room. - 4:29
21. Sad-Eyed Lady Of The Lowlands – (3/12/1966) Denver, Colorado Hotel Room. - 13:17
The Singles
Seite A
1. Subterranean Homesick Blues - 2:17
2. She Belongs To Me - 2:48
Seite B
1. Like a Rolling Stone - 6:00
2. Gates Of Eden - 5:48
Seite C
1. Positively 4th Street - 3:50
2. From A Buick 6 - 3:06
Seite D
1. Can You Please Crawl Out Your Window? - 3:27
2. Highway 61 Revisited - 3:20
Seite E
1. One Of Us Must Know (Sooner Or Later) - 4:49
2. Queen Jane Approximately - 4:55
Seite F
1. Rainy Day Women #12 & 35 - 2:25
2. Pledging My Time - 2:06
Seite G
1. I Want You - 2:57
2. Just Like Tom Thumb's Blues - 5:36
Seite H
1. Just Like a Woman - 2:56
2. Obviously 5 Believers - 3:31
Seite I
1. Leopard-Skin Pill-Box Hat - 2:20
2. Most Likely You Go Your Way and I'll Go Mine - 3:26
Bob Neuwirth [>] [D]: Back To The Front [F]
Label und Katalognummer: Gold Castle Records VGC 5, Koch KOC 8009
Veröffentlicht: 1988
Genretags: Rock - Folkrock
Trackliste: CD Ausgabe von 1988
1. Banjo Introduction
2. Eye on the Road
3. Annabelle Lee (Neuwirth)
4. Private Eye
5. Beauty
6. Heartaches (Hoffman, Klenner)
7. Pretend (Douglas, LaVere, Parman)
8. Turn It Around
9. Venice Beach
10. Lucky (Merino)
11. Akron
12. For P.B.
13. Honky Tonk
14. Great Escape
Seite A der Original Vinyl Ausgabe von 1988
1. Eye On The Road - 4:18
2. Annabelle Lee - 4:58
3. Private Eye - 2:57
4. Beauty - 5:09
5. Heartaches - 2:44
Seite B der Original Vinyl Ausgabe von 1988
1. Pretend - 3:18
2. Turn It Around - 3:29
3. Venice Beach - 4:42
4. Lucky - 3:33
5. Akron - 6:40
6. Blues Outro - 1:12
Alle Tracks: Bob Neuwirth, ausser wo anders vermerkt.
Besetzung: Larry Hirsch, J. Steven Soles: Engineer
; Bob Neuwirth: Vocals
Bone-Box [>] [D]: Death of a Prize Fighter [F]
Label und Katalognummer: Fat Northerner Records FNR-BON 004
Veröffentlicht: 2006 11 06
Genretags: Post-Millennial-Music - Lo-Fi-Underground - Electronicpop
Trackliste: 1. Song for the Wood That Wouldn't - 3:24
2. Dragging Wir
es - 4:13
3. Talking Christ Down from the Cross - 5:18
4. The Devil is in the Detail - 5:25
5. St. Jay's Infirmary - 7:42
6. Return to St. Jay's Infirmary - 1:20
7. Do You Feel You've Been Warned? - 3:10
8. All My Problems are Caused by Other People - 5:36
9. Foul Weather - 3:50
10. Some Spirits Said... - 4:35
11. That Secret War - 2:24
12. Toasting the God of Graceless Living - 2:54
Brian Eno [>] [D]: Music For Films [F]
Label und Katalognummer: Polydor 2310 623, E'G EEGCD 05
Produktion: Brian Eno
Veröffentlicht: 1978 09
Genretags: Akademica - Ambient
1976 wurde hiervon eine limitierte Erstauflage von 500 Stück gepresst, von der Exemplare als Filmmusik-Angebot an Regisseure versendet worden ist.
Trackliste: Seite A
1. M386 - 2:50
2. Aragon - 1:17
3. From the Same Hill - 2:59
4. Inland Sea - 1:24
5. Two Rapid Formations - 3:23
6. Slow Water - 3:16
7. Sparrowfall - 1:10
8. Sparrowfall - 1:43
9. Sparrowfall - 1:23
Seite B
1. Quartz - 2:02
2. Events in Dense Fog - 3:43
3. 'There Is Nobody' - 1:44
4. A Measured Room - 1:03
5. Patrolling Wir
e Borders - 1:43
6. Task Force - 1:22
7. Alternative 3 - 2:50
8. Strange Light - 2:09
9. Final Sunset - 4:10
Originalauflage von 1976
1. Becalmed
2. Deep Waters
3. 'There Is Nobody'
4. Spain
5. Untitled
6. The Last Door
7. Chemin De Fer
8. Dark Waters
9. Sparrowfall (1)
10. Sparrowfall (2)
11. Sparrowfall (3)
12. Evening Star
13. Another Green World
14. In Dark Trees
15. Fuseli
16. Melancholy Waltz
17. Northern Lights
18. From The Coast
19. Shell
20. Little Fishes
21. Empty Landscape
22. Reactor
23. The Secret
24. Don't Look Back
25. Marseilles
26. Final Sunset
27. Juliet
Besetzung: Rhett Davies -- trumpet, assistant producer
; John Cale -- viola
; Phil Collins -- percussion
; Robert Fripp -- electric guitar
; Fred Frith -- electric guitar
; Percy Jones -- bass guitar
; Bill MacCormick -- bass guitar
; Dave Mattacks -- percussion
; Paul Rudolph -- guitar
; Rod Melvin -- electric piano
; Ritva Saarikko -- cover photograph
Brian Eno [>] [D]: The Nerve Net [F]
Label und Katalognummer: Opal 9362-45033
Produktion: Markus Draws & Brian Eno
Veröffentlicht: 1992 09
Genretags: Newpop - Artpop, Alternativerock - Electronicrock
Trackliste: 1. Fractal Zoom - 6:24
2. Wir
e Shock - 5:27
3. What Actually Happened? - 4:41
4. Pierre in Mist - 3:47
5. My Squelchy Life - 4:02
6. Juju Space Jazz - 4:26
7. The Roil, the Choke - 5:00
8. Ali Click - 4:13
9. Distributed Being - 6:10
10. Web - 6:21
11. Web (Lascaux Mix) - 9:44
12. Decentre - 3:26
Alle Tracks: Brian Eno.
Besetzung: Artwork By [Artwork And Design]: Brian Eno, Greg Jakobek
; Engineer [Assistant]: Andy Baker, Andy Pendleton, Charles Steel, Gareth Cousins, Ian Halson, Lee Phillips, Paul Mortimer
; Engineer [Live]: Ben Fenner, Chris Fuhrman
; Engineer [Studio]: Ben Fenner, Markus Draws; , Sid Wells
; Mastered: Arun Chakraverty
; Mixed: Markus Draws (1-3, 5, 6, 8, 10, 11)
; Photography [Back Cover]: Nick White
; Photography [Cover]: Peter Bech Sorensen
; Photography [Inner]: Peter Anderson
; Robert Ahwai: guitar
; Gregg Arreguin: guitar
; Richard Bailey: drums
; Dutchess Nell Catchpole: vocals, voices
; Ian Dench: drum loop
; Markus Draves: drums, drum programming
; Wayne Duchamp: alto saxophone
; Roger Eno: piano
; Robert Fripp: guitar
; John Paul Jones: piano
; John May: voices
; Roderick Melvin: piano
; Sugarfoot Moffett: drums
; John Moorby: voices
; Alice Ngukwe: tenor sax
; Winston Ngukwe: conga
; Isaac Osapanin: conga
; Anita Patel: voices
; Sunita Patel: voices
; Yogish Patel: voices
; Curtis Pelican: trumpet
; Robert Quine: guitar
; Cecil Stamper: drums
; Benmont Tench: percussion
; Christine West-Oram: vocals
; Jamie West-Oram: guitar
; Romeo Williams: bass
Brian Eno [>] [D] & Rick Holland [>] [D]: Drums Between The Bells [F]
Label und Katalognummer: Warp 214
Produktion: Brian Eno
Veröffentlicht: 2011 07 04
Genretags: Akademica - Ambient
Trackliste: 1. Bless This Space - 3:46
2. Glitch - 2:57
3. Dreambirds - 2:24
4. Pour It Out - 3:37
5. Seedpods - 2:49
6. The Real - 6:54
7. The Airman - 3:12
8. Fierce Aisles of Light - 2:37
9. As if Your Eyes Were Partly Closed as If You Honed the Swirl Within The - 1:37
10. A Title - 3:50
11. Sounds Alien - 2:53
12. Dow - 2:41
13. Multimedia - 1:56
14. Cloud 4 - 1:42
15. Silence - 0:57
16. Breath of Crows - 6:46
Alle Tracks: Brian Eno und Rick Holland.
CD 2 der Deluxe Edition
1. Seeded - 2:50
2. Pour - 3:38
3. Bird Dreaming - 2:14
4. Itch - 2:13
5. Fiercer Aisles - 2:37
6. Real - 6:54
7. Spaced - 3:44
8. Dense Air - 3:22
9. Another Title - 3:50
10. Nikkei - 2:39
11. Cloud 5 - 1:48
12. Alienated - 2:12
13. As If Your Eyes - 1:38
14. Monomedia - 1:57
15. Crows - 6:46
Alle Tracks: Brian Eno und Rick Holland.
Besetzung: Voices: Brian Eno, Rick Holland, Grazyna Goworek, Caroline Wildi, Laura Spagnuolo, Elisha Mudly Aylie Cooke, Nick Robertson, Anastasia Afonina.
Burnt Friedman [>] [D] & Jaki Liebezeit [>] [D]: Playing Secret Rhythms [F]
Label und Katalognummer: Nonplace NON 09
Produktion: Bernd Friedmann
Veröffentlicht: 2002 04 26
Genretags: Electronica - Jazztronica
Trackliste: 1. Rhein Rauf - 6:27
2. Rechter Winkl - 4:23
3. Royal Roost - 5:46
4. Shades Of Soddin Orion - 4:18
5. Rastafahndung - 3:40
6. Gulli Verreisen - 4:59
7. Wir
klich - 3:14
8. Obscured By 5 - 3:48
9. Obscured By 5 (Nonplace Rmx) - 4:50
10. Obscured By 5 (Extended) - 13:26
Besetzung: Artwork [Cartoon]: Bernie The Bolt
; Artwork [Sticker]: El Ebno
; Bass [Acoustic Bass Samples]: August Engkilde (1, 3, 7)
; Drums: Jaki Liebezeit (1 to 3, 5 to 9)
; Guitar [Lag Telecaster, Morley Pedals]: Joseph Suchy
; Mastering: Rashad Becker
; Piano [Hohner Kinder], Percussion [Dubbel-u-kay Steeldrum], Kalimba, Synthesizer [Korg Ms 20], Synthesizer [Korg Model 500], Melodica [Hohner], Arranged, Mastering [Premastering]: Bernd Friedmann
; Vibraphone [1965 Deagan Aurora Vibraharp]: Morten Grønvad (1 to 4, 7)
Burnt Friedman [>] [D] & Jaki Liebezeit [>] [D]: Secret Rhythms 3 [F]
Label und Katalognummer: Nonplace NON 25
Veröffentlicht: 2008 06
Genretags: Electronica - IDM - IDM-Dubtronica
Trackliste: 1. Morning Has Broken (183.7) (Friedman, Liebezeit, Motzer) - (9:00)
2. Gegenwart (128.5) (9:42)
3. Trittbrettfahrer (130.16) (Friedman, Liebezeit, Motzer) - (5:45)
4. Die Ehrliche Haut (54.4) (6:30)
5. Entsafter (120.5) (Friedman, Liebezeit, Motzer) - (8:04)
6. Wir
klich Version (73.3) (Chisholm, Friedman) - (4:05)
7. Sandale (182.11) (9:33)
Alle Tracks: Friedman und Liebezeit, ausser wo anders vermerkt.
Besetzung: Acoustic Guitar [1973 Brazilian Giannini Nylon, Takamine 6 String Acoustic, Takamine 12 String Acoustic], Guitar [Epiphone Granada Jazzbox], Electric Guitar [Fender Thinline Telecaster, Danelectro 12 String Electric, Danelectro Baritone Electric] - Tim Motzer (1, 3, 5)
; Clarinet, Saxophone - Hayden Chisholm
; Drums, Cymbal - Jaki Liebezeit
; Electric Guitar [Lag Telecaster], Effects [Pedals Through Distortion Devices] - Joseph Suchy (1, 4-7)
; Mastered By - Rashad Becker
; Mastered By [Premastering On Dubplate] - Rashad Becker (4, 6)
; Mixed By, Arranged By - B. Friedman
; Piano [Hohner Kinder], Steel Drums, Synthesizer [Korg Ms 20], Sampler [Akai], Melodica [Walther], Organ [Elka] - Burnt Friedman
; Recorded By [Clarinet, Saxophone], Engineer [Clarinet, Saxophone] - Burnt Friedman
; Recorded By [Drums], Engineer [Drums] - Bernd Friedmann (B. Friedman), Jaki Liebezeit, Maf Retter
; Recorded By [Fuzz E-guitar], Engineer [Fuzz E-guitar] - B. Friedman (1, 4-7), Joseph Suchy (1, 4-7)
; Recorded By [Guitars], Engineer [Guitars] - Rich Chychota (1, 5), Tim Motzer (1, 3, 5)
; Vibraphone [1965 Deagan Aurora Vibraharp] - Morten Grønvad (6)
Cabaret Voltaire [>] [D]: Micro-Phonies [F]
Label und Katalognummer: Virgin CVCD 2
Produktion: Cabaret Voltaire & Flood
Veröffentlicht: 1984 11
Genretags: Postpunk - Electronic-Postpunk - Industrial-Funk
Das Mikrophon ist die technische Errungenschaft, mit der man Musik qualitativ hochwertig aufnehmen kann, aber es ist auch eine Waffe des kalten Krieges, die in die Privatsphäre eindringt. Selten klang Paranoia so gut.
Trackliste: 1. Do Right - 6:43
2. The Operative - 3:13
3. Digital Rasta - 5:39
4. Spies in the Wir
es - 3:19
5. Theme from Earthshaker - 2:48
6. James Brown - 4:58
7. Slammer - 5:38
8. Blue Heat - 4:02
9. Sensoria - 3:58
Besetzung: Richard H. Kirk: Synthesizers, programming & guitars
; Stephen Mallinder: Vocals, bass
; Roger Quail: Drums
; Mark Tattersall: Percussion
; Eric Random: Tablas
; Voice, Bass: Stephen Mallinder
Cabaret Voltaire [>] [D]: #8385 Collected Works (1983-1985) [F]
Label und Katalognummer: Mute CABS 21
Veröffentlicht: 2013 11 04 (Ed.), 1985-83 (Rec.)
Genretags: Postpunk - Electronic-Postpunk - Industrial
Trackliste: CD 1: The Crackdown
1. 24-24 - 5:55
2. In The Shadows - 4:33
3. Talking Time - 5:21
4. Animation - 5:34
5. Over And Over - 4:25
6. Just Fascination - 4:05
7. Why Kill Time (When You Can Kill Yourself) - 3:51
8. Haiti - 3:18
9. Crackdown - 6:24
10. Diskono - 5:46
11. Double Vision - 4:14
12. Badge Of Evil - 5:28
13. Moscow - 4:52
CD 2: Micro-Phonies
1. Do Right - 6:42
2. The Operative - 3:14
3. Digital Rasta - 5:39
4. Spies In The Wir
es - 3:19
5. Theme From Earthshaker - 2:49
6. James Brown - 5:04
7. Slammer - 5:32
8. Blue Heat - 4:02
9. Sensoria - 6:16
CD 3: Drinking Gasoline
1. Kino - 8:36
2. Sleepwalking - 8:28
3. Big Funk - 8:13
4. Ghostalk - 7:57
CD 4: The Covenant, The Sword And The Arm Of The Lord
1. L21ST - 5:31
2. I Want You - 4:40
3. Hells Home - 5:08
4. Kickback - 5:19
5. The Arm Of The Lord - 2:00
6. Warm - 3:20
7. Golden Halos - 5:10
8. Motion Rotation - 4:01
9. Whip Blow - 4:56
10. The Web - 4:47
CD 5: 83-85 12'' As & Bs
1. Just Fascination (12'' Version) - 8:14
2. Crackdown (12'' Version) - 8:33
3. The Dream Ticket (12'' Version) - 7:49
4. Sensoria (12'' Version) - 7:52
5. James Brown (12'' Version) - 7:39
6. I Want You (12'' Version) - 7:49
7. Safety Zone (12'' Version) - 6:24
8. Cut The Damn Camera (12'' Version) - 3:49
9. Bad Self Pt.1 (12'' Version) - 6:39
10. Drink Your Poison (12'' Version) - 6:10
11. C.O.M.A. (12'' Version) - 8:30
CD 6: Earthshaker (The Lost Soundtrack)
1. Earthshaker 5 - Later Became L21ST On Covenant Album, Unreleased - 6:38
2. Earthshaker 1 - Unreleased - 5:37
3. Theme From Earthshaker (Sheffield Mix) - Micro-Phonies, Unreleased - 3:01
4. Digital Rasta (Dub Version) - Micro-Phonies, Unreleased - 4:57
5. Earthshaker 3 - Later Badself Pt.1, B-Side James Brown 12'', Unreleased - 5:14
6. Whip Blow (Instrumental Dub) - Covenant, Unreleased - 4:24
7. James Brown (Instrumental) - Micro-Phonies, Early Instrumental, Unreleased - 5:10
8. Golden Halos (Instrumental Dub) - Coventant, Unreleased - 5:26
9. Earthshaker 2 - Unreleased - 6:39
10. Cut The Damn Camera (Sheffield Mix) - Sensoria B-Side, Unreleased - 4:47
11. Do Right (Cut-Up Mix) - Micro-Phonies, Unreleased - 3:26
12. Earthshaker 4 - Unreleased - 6:17
Label und Katalognummer: Hubro HUBROCD 2514
Produktion: Cakewalk
Veröffentlicht: 2012 03 23
Genretags: Electronica - Jazztronica
Trackliste: 1. Glass - 5:53
2. Descent - 7:51
3. Soil - 3:33
4. Perpetual - 5:05
5. Wir
ed - 3:06
6. Kammer - 5:15
Alle Tracks: Cakewalk.
Besetzung: Recorded and Mixed At Mattiland
; Mastered At Duper Studio
; Design: Yokoland
; Drums: Ivar Loe Bjørnstad
; Guitar, Bass, Noises [Boxes], Edited By [Additional]: Stephan Meidell
; Mastered By Jørgen Træen
; Photography By www.klarasofie.com
; Recorded By, Mixed By: Juhani Silvola
; Synthesizer [Synthesizers]: Øystein Skar
Calexico [>] [D]: Feast Of Wire [F]
Label und Katalognummer: Quarterstick QS 078
Produktion: Joey Burns & John Convertino & Craig Schumacher
Veröffentlicht: 2003 02 18
Genretags: Alternativerock - Alternativecountry - South-East-Americana
Trackliste: 1. Sunken Waltz - 2:27
2. Quattro (World Drifts In) - 4:36
3. Stucco (Joey Burns) - 0:20
4. Black Heart - 4:48
5. Pepita - 2:36
6. Not Even Stevie Nicks... - 2:42
7. Close Behind (Joey Burns) - 2:51
8. Woven Birds - 3:46
9. The Book and the Canal (John Convertino) - 1:45
10. Attack El Robot! Attack! - 3:17
11. Across the Wir
e (Joey Burns) - 3:25
12. Dub Latina - 2:19
13. Güero Canelo (Joey Burns) - 2:57
14. Whipping the Horse's Eyes - 1:24
15. Crumble - 3:54
16. No Doze - 4:21
Alle Tracks: Joey Burns und John Convertino, ausser wo anders vermerkt.
Besetzung: Jim Blackwood. Mixing
; Joey Burns. Accordion, Bass (Upright), Bowed Banjo, Cello, Cuatro, Guitar, Mandolin, Melodica, Orchestra Bells, Percussion, Pump Organ, String Arrangements, Synthesizer, Vibraphone, Vocals
; John Convertino. Drums, Percussion, Piano
; Victor Gastelum. Cover Art
; J.J. Golden. Mastering
; Ed Kay. Flute
; Eddie Lopez. Button Accordion
; Nick Luca. Engineer, Guitar (Electric), Mixing, Piano, String Arrangements, Synthesizer, Vibraphone, Vocals
; Paul Niehaus. Pedal Steel
; Craig Schumacher. Engineer, Mixing, Synthesizer, Timpani, Trumpet, Vocals (Background)
; Fernando Valencia. Violin
; Jacob Valenzuela. Trumpet, Vocals
; Martin Wenk. Accordion, Bowed Vibes, Trumpet
; Volker Zander. Bass (Upright)
Camping [>] [D]: Suburban Shore [F]
Label und Katalognummer: Plug Research PR 42
Produktion: Ben Bailes & Stephen Gardner
Veröffentlicht: 2004 04 04
Genretags: Electronica - IDM
Trackliste: 1. Hier Wohnen Wir
/ This Is Where We Live - 3:01
2. Aufgeregt / Agitated - 3:12
3. Fotografie / Photograph - 3:31
4. Verbrechen / Crime (Stina Nordenstam) - 6:09
5. Treppenhaus / Stairwell - 3:45
6. Von 7 Bis 8 / From 7 To 8 - 2:29
7. Mit Dir Mit Mir / With Me With You - 4:12
8. Sie Sagt / She Says - 3:09
9. Schneesturm / Snowstorm - 3:26
10. Strassen / Streets - 3:55
Alle Tracks: Ben Bailes, Henning Fritzenwalder und Stephen Gardner, ausser wo anders vermerkt.
Besetzung: Artwork [Cover Art]: Oliver Grajewski
; Artwork [Cover Art]: Sebastian Mayer
; Design [Package Design]: Hans Löffler
; Mastering: Alan Douches
; Mixing: Ben Bailes
; Mixing [With]: Stephen Gardner
; Recording: Ben Bailes
; Phonographic Copyright (p) Plug Research
; Copyright (c) Plug Research
; Recorded At System Studios
; Mixed At System Studios
; Mastered At West West Side Music
Cankun [>] [D]: Culture Of Pink [F]
Label und Katalognummer: Hands In The Dark HITD 15
Veröffentlicht: 2013 03 05
Genretags: Indiepop - Blog-Indie - Chillwave
Trackliste: Seite A
1. Agave Sticks - 5:36
2. Science Can Help You - 5:23
3. Empty Now - 3:57
4. Acinom - 4:35
5. Save My Day - 3:27
Seite B
1. Why Do You Laugh ? - 7:12
2. Soul Brothers - 4:32
3. Swirls, Swirls And Die - 5:25
4. Mechanics - 4:47
Alle Tracks: Vincent Caylet.
Besetzung: Artwork [Cover Design]: Valerian Marguery
; Mastering: Ged Gengras
; Recording: Vincent Caylet
Canned Heat [>] [D]: Living The Blues [F]
Label und Katalognummer: Liberty LST 27200
Produktion: Canned Heat & Skip Taylor
Veröffentlicht: 1968 11 01
Genretags: Rock - Bluesrock
Trackliste: Seite A
1. Pony Blues (Charlie Patton) - 3:48
2. My Mistake (Alan Wilson) - 3:22
3. Sandy's Blues (Bob Hite) - 6:46
4. Going Up the Country (Wilson) - 2:50
5. Walking by Myself (Jimmy Rogers) - 2:29
6. Boogie Music (L.T. Tatman III) - 3:00
Seite B
1. One Kind Favor (Lemon Jefferson) - 4:44
2. Parthenogenesis (Canned Heat) - 19:57 - a) Nebulosity, b) Rollin' and Tumblin', c) Five Owls, d) Bear Wir
es, e) Snooky Flowers, f) Sunflower Power (RMS Is Truth), g) Raga Kafi, h) Icebag, i) Childhood's End
Seite C
1. Refried Boogie (Part I) (Canned Heat) (Recorded Live) - 20:10
Seite D
1. Refried Boogie (Part II) (Canned Heat) (Recorded Live) - 20:50
Besetzung: Bob Hite: vocals
; Alan Wilson: slide guitar, vocals, harmonica, jaw-harp (2.I, 2.II, 2.IX), chromatic harp (2.VIII)
; Henry Vestine: lead guitar
; Larry Taylor: bass, congas (2.V)
; Adolfo de la Parra: drums
; Arranged By [Horns]: Miles Grayson (A3)
; Arranged By [Horns]: Dr. John Creaux (The Night Tripper) (A6)
; Art Direction: Woody Woodward
; Engineer: Richard Moore
; Engineer [Assistant]: Ivan Fisher
; Photography: Peter Bernuth
; Recorded At I.D. Sound
; Recorded At The Kaleidoscope, Hollywood
Casino Versus Japan [>] [D]: Night On Tape [F]
Label und Katalognummer: Attacknine ATT 018
Produktion: Erik Kowalski
Veröffentlicht: 2010 02 22
Genretags: Electronica - Ambient
Trackliste: 1. Hello You - 1:46
2. The Flow of No Go - 4:10
3. In Inky Time - 1:43
4. Ficticious Travel Above Ground - 4:22
5. Swimming Light Cycle - 3:55
6. Lucky Luscious - 3:21
7. The Open Face - 4:37
8. One Small Step - 2:41
9. Sun Bee - 2:48
10. Windy Buggle Break - 4:29
11. Imaginary Short Wave Reception - 2:11
12. Lake - 4:33
13. Paranoid - 4:02
14. Hush Hush - 3:48
15. Love Life - 8:09
16. Nameless Wir
eless - 2:20
17. The Obvious Voices - 1:14
18. Rain Song - 3:30
19. Skit Wise - 4:40
20. Miano: A Pink Night for the Snowmen - 5:32
Bonustracks der Netaudio Ausgabe
1. Pan - 4:42
2. Maybebaby - 4:09
3. Bravo Cadets - 3:36
4. Why We Lie - 5:43
5. Refrain From Nervosa - 7:56
Alle Tracks: Casino Versus Japan (Erik Kowalski).
Besetzung: Artwork By [Cover Art] - Thrill Of Death
; Performer, Recorded By - Erik Kowalski
Caterina Valente [>] [D]: The Complete Polydor Recordings 1954-1958 [F]
Label und Katalognummer: Bear Family Records BCD 16307 HL
Produktion: Verschiedene
Veröffentlicht: 1999 12 14 (Ed.)
Genretags: Europeana - Schlager - Jazzschlager, Europeana - Chanson
Trackliste: CD 1: German/Deutsch
1. O Mama, O Mama, O Mamajo -
2. Ja In Madrid Und Barcelona -
3. Malaguena -
4. Die Damenwelt In Chile -
5. Schwarze Engel -
6. Bambino -
7. Ganz Paris Träumt Von Der Liebe -
8. Wenn Es Nacht Wir
d In Paris -
9. Biao Bongo -
10. Babalou -
11. Chanson D'Amour -
12. Oho Aha -
13. Fiesta Cubana -
14. Casanova -
15. Es Ist So Schön Bei Dir -
16. Nur Ein Zigeuner Hat Soviel Sehnsucht Nach Den Sternen -
17. Eventuell (feat. Peter Alexander) -
18. Sing, Baby Sing (feat. Peter Alexander) -
19. Bim Bam Bim Bam Bina -
20. Gaucho -
21. Bonjour, Kathrin -
22. Eine Frau In Paris -
23. Es Geht Besser, Besser, Besser -
24. Komm Ein Bisschen Mit Nach Italien (feat. Peter Alexander, Silvio Francesco) -
25. Steig In Das Traumboot -
26. Wie Wär's -
27. Bitte Nach Ihnen! (feat. John Paris (4)) -
CD 2: German/Deutsch
1. Gespensterblues (feat. Peter Alexander, Silvio Francesco) -
2. Andalucia -
3. Pietro, Zieg Mir Dein Herz -
4. Mackie Messer -
5. Wir
Kamen In Die Strasse -
6. Die Goldenen Spangen -
7. Ukulele, Du Musst Weinen -
8. Du Bist Musik -
9. Das Hab' Ich Gleich Gewusst -
10. Tschi-Bam, Tschi-Bam-Bo-Bam-Billa (feat. Silvio Francesco) -
11. Daisy, Crazy Daisy (feat. Silvio Francesco) -
12. O Billy Boy -
13. Ja, Dass Sind Die Kleinen Geschichten -
14. Du Wir
st Alles Vergessen -
15. Das Ist Die Hafenmelodie -
16. Ich Wär' So Gern Bei Dir -
17. Adieu, Du Mein Schönes Samoa -
18. Tipitipitipso -
19. Amadeo, Ich Will Warten -
20. Wenn In Zwei Herzen Die Liebe Fällt -
21. Bravo Caterina (feat. Silvio Francesco) -
22. Bravo Caterina (feat. Silvio Francesco) -
23. Dich Werd' Ich Nie Vergessen -
24. Frag Mich Nie, Was Heimweh Ist (Cowboy-Jonny) -
25. Melodia D'Amore -
26. Papa Piccolino -
27. Davon Möchte Ich Mal Träumen -
28. Rot War Der Mohn -
CD 3
1. Wo Meine Sonne Scheint -
2. Romeo -
3. Spiel Noch Einmal Für Mich, Habanero -
4. Eine Nacht Am Rio Grande -
5. Musik Liegt In Der Luft -
6. Bei Dir Ist Alles Anders -
7. Ich Lass Dich Niemals Mehr Allein -
8. Spiel Noch Einmal Für Mich, Habanero -
9. So War's Im Alten Mexico -
10. Diu Du Du Dei (Im Garten, Da Blühen 3 Rosen) -
11. Tambourin (Das Kann Doch Nicht Vorüber Sein) -
12. Auf Ja-Ma-Maika -
13. Am Golf Von Mexiko -
14. Roter Wein Und Musik In Toskanien -
15. Ich Kann So Lang Nicht Warten -
16. Pardon Madame -
17. Ein Bisschen Pompadour -
18. Mal Seh'n Kapitän -
19. Immer Wieder Neu -
20. Haiti Cherie -
21. Der Gondoliere Sang Nie Mehr So Schön -
22. Malaguena (Spanisch/Deutsch) -
CD 3: Swedish/Schwedisch
23. Chanson D'Amour -
24. Det Är Nog Fel -
25. Försök Med Mej -
26. Försök Med Mey (1999) -
CD 4: French/Französisch
1. Chanson D'Amour -
2. Coco-Polka -
3. Casanova -
4. Fiesta Cubana -
5. Donna Ta Main Et Viens -
6. Bouquet Des Reves -
7. Granada -
8. Si Tout Etait Fini -
9. Bonjour, Catherine -
10. Une Femme Dans Paris -
11. Les Filles De Paris -
12. L'Amour Defendu -
13. Dans Ma Vie -
14. La Vi Me Pousse -
15. Si Tout Etait Fini -
16. Complainte De Mackie -
17. Moj, J'Aime T'Aimer -
18. Tschi-Co-Calypso -
19. Amadeo, Mon Boheme -
20. Sait-On Jamais (Mais) -
21. Ma Vallee Descend Du Ciel -
22. Lorsque L'Amour Vient -
23. Bravo Caterina (feat. Silvio Francesco) -
24. Rendezvous -
25. Qu Es-Tu Ma Joie -
26. Melodia D'Amore -
27. La Chanson De Piccolino (feat. Silvio Francesco) -
CD 5: French/Französisch
1. Jeremie, Voici L'Heure -
2. Une Nuit A Rio Grande -
3. Toi Ma Musique -
4. Daisy, Sacree Daisy (feat. Silvio Francesco) -
5. Tschi Bam (feat. Silvio Francesco) -
CD 5: Italian/Italienisch
6. Fiesta Cubana -
7. Chanson D'Amour -
8. Oha Aha -
9. Bonjour Kathrin -
10. Una Donna Di Parigi -
11. Tipitpitipso -
12. Amedeo -
13. E Sempre Bello -
14. Cos' E La Nostalgia -
15. Mai Mai Mai -
16. Brava, Caterina (feat. Silvio Francesco) -
17. Pupa Piccolina (feat. Silvio Francesco) -
18. Melodia D'Amore -
19. Una Notte Al Rio Grande -
20. Calypso Habanero -
21. Sognami, Pensami, Amami -
22. Volevo Un Tango -
23. Tutto E Diverso -
24. Il Sole Mi Fa Cantare -
CD 5: Spanish/Spanisch
25. Malaguena -
26. El Mosquito -
27. Granada -
28. Piel Canela -
CD 6: English/Englisch
1. Istanbul -
2. Just You, Just Me -
3. I'll Remember April -
4. Ev'ry Time We Say Goodbye -
5. The Breeze And I -
6. Jalousie -
7. Siboney -
8. Begin The Beguine -
9. My Lonely Lover (1999) -
10. This Must Be Wrong -
11. My Lonely Lover -
12. Fiesta Cubana -
13. Temptation -
14. If Hearts Could Talk -
15. The Way You Love Me -
16. This Ecstasy -
17. There But For The Grace Of God -
18. Granada -
19. Similau -
20. Look Into My Eyes -
21. The Bim-Bam-Bina -
22. A Sunny Day -
23. Bahia -
24. Take Me To Your Heart -
25. Be Mine Tonight -
26. Mine, Mine, Mine -
CD 7: English/Englisch
1. Poinciana -
2. Take Me In Your Arms -
3. Moonlight In Vermont -
4. In The Still Of The Night -
5. Out Of Nowhere -
6. Someday Sweetheart -
7. Flamingo -
8. I'm In The Market For You -
9. Alone Together -
10. Nocturne For The Blues -
11. Where Or When -
12. When You Walked Out -
13. Secret Love -
14. Kiss Of Fire -
15. All My Love -
16. Tenderly -
17. Stairway To The Stars -
18. Over The Rainbow -
19. Side By Side -
20. C'est Si Bon -
21. Them There Eyes -
22. You Better Go Now -
23. Yes, My Darling Daughter -
24. Golden Earrings -
CD 8: Portugiesisch
1. Maria Christina -
2. El Cumbanchero -
3. Babalu -
CD 8: Spanish/Spanisch
4. Quien Sera (feat. Silvio Francesco) -
5. No Tem Importa Saber -
6. Mucho Mucho Mucho -
7. El Negro Zumbon (Anna) -
8. Por Un Capricho -
9. Ah Si, Ah Si -
10. Aquarelo Do Brasil -
11. Quiereme Mucho -
12. Tres Claveles -
13. La Mucura -
14. Quizas Quizas -
15. Cha Cha Cha Flamenco -
16. Aquellos Ojos Verdes -
17. Una Aventura Mas -
18. Somebody Bad Stole De Wedding Bell -
19. Casa Da Lolo (Scat) -
20. El Manicero (The Peanut Vendor) -
21. Noche De Ronda -
22. Un Poquito De Tu Amor -
23. Dos Cruces -
24. Copacabana -
Besetzung: ; Peter Alexander: Vocals
; R.A. Andreas: Illustrations, Photography
; Chet Baker: Trumpet (Bass)
; Erich Becht: Arranger
; Berlin RIAS-Tanzorchester: Performer
; Jimmy Bond: Bass
; Otto Bredl: Posaunen
; Jürgen Brückner: Reissue Producer, Tape Research
; Francis Coppieters: Synclavier
; Solomon Deutsch: Schlagzeug
; Paul Durand: Arranger, Orchestra
; Kurt Edelhagen: Orchestra
; Achim Elsner: Mastering
; Harald Emmelmann: Arranger
; Asja Esha: Artwork
; Arno Flor: Arranger
; Wolfgang Förster: Arranger
; Silvio Francesco: Gesang, Guitar, Klarnet, Performer
; Milt Gabler: Producer
; Lars Gullin: Sax (Baritone)
; Monaco Ball Orchester: Performer,
; Werner Müller: Arranger, Conductor
; Sy Oliver: Orchestra
; John Paris: Gesang
; Trocadero Tanzorchester: Performer
; Richard Twardzik: Piano
; Caterina Valente: Choir/Chorus, Gesang, Guitar, Multi Instruments
; Richard Weize: Discography
; Eric Werner: Orchestra
Chaka Khan [>] [D] & Freddie Hubbard [>] [D] & Joe Henderson [>] [D] & Chick Corea [>] [D] & Stanley Clarke [>] [D] & Lenny White [>] [D]: Echoes Of An Era [F]
Label und Katalognummer: Elektra Musician E1 60021
Produktion: Lenny White
Veröffentlicht: 1982 01 14
Genretags: Jazz - Vocaljazz - Standard
Trackliste: Seite A
1. Them There Eyes - 3:50
2. All Of Me - 4:31
3. I Mean You - 3:25
4. I Love You Porgy - 6:25
5. Take The A Train - 6:23
Seite B
1. I Hear Music - 4:20
2. High Wir
e - The Aerialist - 6:31
3. All Of Me (Alternate Take) - 4:15
4. Spring Can Really Hang You Up The Most - 8:25
Besetzung: Administrator: Norva Smith
; Art Direction: Ron Coro
; Design: Kristen Kasell Nikosey
; Double Bass [Acoustic Bass]: Stanley Clarke
; Drums: Lenny White
; Engineer [Assistant]: Duncan Aldrich
; Engineer [Recording]: Bernie Kirsh
; Flugelhorn, Trumpet: Freddie Hubbard
; Liner Notes: Chaka Khan
; Liner Notes: Lenny White
; Management: John Smith (11)
; Photography: Diem Jones
; Piano, Arranged: Chick Corea
; Technician [Drm Technician]: Larry Chekofsky
; Tenor Saxophone: Joe Henderson
; Vocals: Chaka Khan
; Manufactured By Elektra/Asylum/Nonesuch Records
; Recorded At Mad Hatter Studios
; Phonographic Copyright (p) Elektra/Asylum Records
; Copyright (c) Elektra/Asylum Records
; Produced For Berry Boo Enterprises, Inc.
Charles Mingus [>] [D]: The Jazz Workshop Concerts 1964-65 [F]
Label und Katalognummer: Mosaic Records MD7 253
Veröffentlicht: 2012 10 30 (Ed.)
Genretags: Jazz - Thirdstream
Trackliste: CD 1: Town Hall Concert April 4, 1964
1. A.T.F.W. (Jaki Byard) - 4:20
2. Sophisticated Lady (Duke Ellington) - 5:49
3. So Long Eric - 17:46
4. Praying With Eric - 27:35
CD 2: Town Hall Concert April 4, 1964
1. Peggy's Blue Skylight - 19:13
2. Parkerania, Part One - 6:38
3. Parkerania, Part Two - 8:57
4. Fables Of Faubus -
Alle Tracks: Charles Mingus, ausser wo anders vermerkt.
CD 3: Concertgebouw, Amsterdam April 10, 1964
1. A.T.F.W. (Jaki Byard) - 4:50
2. Parkerania - 21:20
3. So Long Eric - 22:19
4. Orange Was The Color Of Her Dress, Then Blue Silk - 13:53
CD 4: Concertgebouw, Amsterdam April 10, 1964
1. Sophisticated Lady (Duke Ellington) - 5:34
2. Meditations On A Pair Of Wir
e Cutters - 23:03
3. Fables Of Faubus - 30:40
Alle Tracks: Charles Mingus, ausser wo anders vermerkt.
CD 5: Mingus At Monterey September 20, 1964
1. Duke Ellington Medley: I Got It Bad/In A Sentimental Mood/All Too Soon/Mood Indigo/Sophisticated Lady/Take The A Train (Bigard, Billy Strayhorn, C. Sigman, D. Ellington, Mills, M. Parish, P.F. Webster) - 24:48
2. Orange Was The Color Of Her Dress, Then Blue Silk - 14:47
3. Meditations On Integration - 25:41
CD6: Mingus At Monterey September 18, 1965
1. The Arts Of Tatum And Freddie Webster - 9:33
2. Don't Let It Happen Here - 9:11
3. They Trespass The Land Of The Sacred Sioux - 8:39
4. When The Saints Go Marching In (J.M. Black, K.E. Purvis) - 4:30
CD 6: My Favorite Quintet, Minneapolis May 13, 1965
5. So Long Eric - 18:27
6. Medley: She's Funny That Way/Embraceable You/I Can't Get Started/Ghost Of A Chance With You/Old Portrait (Charles Mingus, G. Gershwin, I. Gershwin, N. Washington, N. Moret, R. Whiting, V. Duke, V. Young) - 16:04
7. Cocktails For Two (A. Johnson, S. Coslow) - 8:14
Alle Tracks: Charles Mingus, ausser wo anders vermerkt.
CD 7: My Favorite Quintet, Minneapolis May 13, 1965
1. Announcement - 1:06
2. Copa City Titty (aka O.P.) - 7:08
3. A Lonely Day In Selma, Alabama/Freedom - 10:46
4. Peggy's Blue Skylight - 12:31
5. Mingus Piano Solo - 1:58
6. Announcement #2 - 0:58
7. Bird Preamble - 17:24
8. Themeless Blues - 15:11
9. Closing Announcement - 0:56
Alle Tracks: Charles Mingus, ausser wo anders vermerkt.
Besetzung: Alto Saxophone: Charles McPherson (5.1-6.7, 7.2-7.4, 7.7-7.8)
; Alto Saxophone, Flute, Bass Clarinet: Eric Dolphy (1.3-2.4, 3.2-4.3)
; Alto Saxophone, Flute, Piccolo Flute: Buddy Collette (5.3)
; Baritone Saxophone, Bass Clarinet: Jack Nimitz (5.3)
; Bass: Charles Mingus (1.2-2.4, 3.2-6.7, 7.2-7.4, 7.7-7.8), Jaki Byard (7.4)
; Drums: Dannie Richmond (1.3-2.4, 3.2-6.7, 7.2-7.4, 7.7-7.8)
; French Horn: Julius Watkins (6.1-6.4)
; Piano: Charles Mingus (6.1-6.4, 7.4, 7.5), Jaki Byard (1.1-5.3, 6.5-6.7, 7.2-7.4, 7.7-7.8)
; Tenor Saxophone: Clifford Jordan (1.3-2.4, 3.2-4.3), John Handy (5.1, 5.3)
; Trombone: Lou Blackburn (5.3)
; Trumpet: Bobby Bryant (5.3), Hobart Dotson (6.1-6.4), Johnny Coles (1.3-2.4, 3.2-4.3), Lonnie Hillyer (5.1-6.7, 7.2-7.4, 7.7-7.8), Melvin Moore (5.3)
; Trumpet, Flugelhorn: Jimmy Owens (6.1-6.4)
; Tuba: Howard Johnson (6.1-6.4), Red Callender (5.3)
Christian Scott aTunde Adjuah [>] [D]: The Centennial Trilogy [F]
Assoziierte Acts: Christian Scott
Label und Katalognummer: Ropeadope RAD-381
Produktion: Chris Dunn & Christian Scott
Veröffentlicht: 2017 10 27
Genretags: Jazz
Trackliste: CD 1: I. Ruler Rebel
1. Ruler Rebel (Allan Cole, Lawrence Fields, Christian Scott) - 5:44
2. New Orleanian Love Song (Allan Cole, Lawrence Fields, Christian Scott) - 2:33
3. New Orleanian Love Song II (X. aTunde Adjuah Remix) (Allan Cole, Christian Scott) - 4:54
4. Phases (Sarah Elizabeth Charles, Allan Cole, Lawrence Fields, Cliff Hines, Christian Scott) - 4:14
5. Rise Again (Allmos Remix) (Allan Cole, Christian Scott) - 3:40
6. Encryption - 5:39
7. The Coronation Of X. aTunde Adjuah (Lawrence Fields, Christian Scott) - 5:35
8. The Reckoning - 3:16
Alle Tracks: Christian Scott, ausser wo anders vermerkt.
CD 2: II. Diaspora
1. Diaspora - 4:57
2. IDK - 4:18
3. Our Lady Of New New Orleans (Herreast Harrison, Christian Scott) - 3:44
4. Bae (Interlude) (feat. Lawrence Fields) - 2:11
5. Desire And The Burning Girl - 5:36
6. Uncrown Her (John Key, Jr.) - 3:53
7. Lawless - 4:00
8. Completely - 6:19
9. New Jack Bounce (Interlude) - 3:00
10. No Love (Erik Bodin, Yukimi Nagano, Fredrik Wallin, Håkan Wir
enstrand) - 6:10
11. The Walk (Sarah Elizabeth Charles, Christian Scott) - 5:19
Alle Tracks: Christian Scott, ausser wo anders vermerkt.
CD 3: III. The Emancipation Procrastination
1. The Emancipation Procrastination - 6:25
2. AvengHer - 5:02
3. Ruler Rebel (X. aTunde Adjuah Remix) - 5:54
4. Ashes Of Our Forever - 4:07
5. In The Beginning (Interlude) (feat. Weedie Braimah) (Weedie Braimah) - 2:24
6. Michele With One L - 3:11
7. The Cypher - 4:46
8. Videotape (Colin Greenwood, Jonny Greenwood, Ed O'Brien, Phil Selway, Thom Yorke) - 4:40
9. Gerrymandering Game (Lawrence Fields, Cliff Hines, Christian Scott) - 2:03
10. Unrigging November - 5:00
11. Cages (Lawrence Fields, Christian Scott) - 9:34
12. New Heroes (Lawrence Fields, Christian Scott) - 10:45
Alle Tracks: Christian Scott, ausser wo anders vermerkt.
Besetzung: Alto Saxophone: Braxton Cook (2-1, 2-2, 2-6, 2-7, 2-10 to 3-1, 3-3, 3-4, 3-7, 3-8, 3-11, 3-12)
; Art Direction: Allan Cole
; Bass: Joshua Crumbly (1-6)
; Bass: Kris Funn (1-7, 1-8 to 2-2, 2-6 to 2-8, 2-10 to 3-1, 3-3, 3-7, 3-8, 3-11, 3-12)
; Bass: Luques Curtis (1-4, 3-4, 3-6, 3-10)
; Creative Director, Art Direction, Design [Package]: Kevin Kedroe
; Creative Director, Photography: Kiel Adrian Scott
; Djembe, Bata, Congas: Weedie Braimah (1-1 to 1-3, 1-5, 1-7, 2-1, 2-9, 3-2, 3-5, 3-10)
; Drums [Dununba, Sangban, Kenkeni]: Chief Shaka Shaka (1-1 to 1-3, 1-5, 1-7, 2-1, 2-9)
; Drums [Pan African Drums], Effects [SPD-SX]: Joe Dyson (1-1 to 1-4, 1-6, 1-8 to 2-5, 2-7 to 2-9, 2-11, 3-1, 3-3, 3-4, 3-7, 3-10)
; Drums, Effects [SPD-SX]: Corey Fonville (1-1 to 1-3, 1-6 to 2-4, 2-6, 2-7, 2-10, 2-11, 3-1, 3-3, 3-6 to 3-12)
; Drums, Effects [SPD-SX]: Marcus Gillmore (3-2)
; Executive-Producer: Christian Scott
; Executive-Producer: Louis Marks
; Flute: Elena Pinderhughes (1-7 to 2-1, 2-3, 2-6 to 2-8, 2-11, 3-1, 3-3, 3-4, 3-7, 3-8, 3-12)
; Guitar: Cliff Hines (1-1, 1-4, 1-6 to 2-3, 2-6, 2-8, 2-10, 3-3, 3-4, 3-9, 3-10)
; Guitar: Dominic Minix (3-8)
; Guitar: Matthew Stevens (3-1, 3-12)
; Mastering: Paul Blakemore
; Piano, Electric Piano [Fender Rhodes]: Lawrence Fields (1-1 to 1-3, 1-5 to 1-8, 2-1 to 2-4, 2-6 to 2-8, 2-10 to 3-1, 3-3, 3-4, 3-6 to 3-12)
; Recording: Matt Grondin
; Recording: Nick Guttmann
; Trumpet, Siren, Flugelhorn [Reverse Flugelhorn], Sampler, Instruments [Sonic Architecture], Effects [SPD-SX]: Christian Scott (1-1 to 3-4, 3-6 to 3-10, 3-12)
; Phonographic Copyright (p) Stretch Music LLC
; Copyright (c) Stretch Music LLC
; Recorded At The Parlor, New Orleans, LA
Cliff Richard [>] [D]: Meine großen Erfolge [F]
Assoziierte Acts: Shadows
Label und Katalognummer: EMI Electrola 7243 8 31235 2 0
Produktion: Verschiedene
Veröffentlicht: 1994 (Ed.)
Genretags: Rock'n'Roll - Mainstream - British-Rock'n'Roll
Trackliste: 1. Cliff Richard & The Shadows: Living Doll - 2:37
2. Cliff Richard & The Shadows: The Young Ones - 3:10
3. Cliff Richard & The Shadows: Do You Wanna Dance - 2:14
4. Cliff Richard & The Shadows: Summer Holiday - 2:16
5. It's All In The Game - 3:11
6. Cliff Richard & The Shadows: Rote Lippen Soll Man Küssen (Lucky Lips) - 2:42
7. Cliff Richard & The Shadows: Das Ist Die Frage Aller Fragen (Spanish Harlem) - 2:58
8. Cliff Richard & The Shadows: Es War Keine So Wunderbar Wie Du (I Could Easily Fall) - 2:54
9. The Minute You're Gone - 2:19
10. The Day I Met Marie - 2:13
11. Congratulations - 2:31
12. Goodbye Sam, Hello Samantha - 2:46
13. Power To All Our Friends - 3:01
14. Miss You Nights - 3:55
15. We Don't Talk Anymore - 4:13
16. Carrie - 3:43
17. Dreamin' - 3:37
18. Wir
ed For Sound - 3:38
19. Some People - 3:50
20. From A Distance (7") - 4:41
Besetzung: Mastering: Ian Cooper
; Photography [Cover Photography]: Paul Cox
Cliff Richard [>] [D]: Wired for Sound [F]
Label und Katalognummer: EMI EMC 3377
Produktion: Alan Tarney
Veröffentlicht: 1981 09 14, 2001 07 09 (Reed.)
Genretags: Pop - Softrock, Rock - AOR-Rock - AOR-Poprock
1979 brachte Sony den Walkman auf den Markt. Daher der Sinn des Albumstitels. Die inner Plattenhülle mit dem Kopfhörer macht das klar und der Text des Titeltracks. Musik wurde damals mobil, was heute eine Selbstverständlichkeit ist.
Trackliste: Seite A
1. Wir
ed for Sound (Tarney, B. A. Robertson) - 3:36
2. Once in a While - 4:38
3. Better Than I Know Myself (Dave Cooke, Judy MacKenzie) - 3:39
4. Oh No, Don't Let Go - 3:37
5. 'Cos I Love That Rock 'n' Roll - 4:10
Seite B
1. Broken Doll (Eric Goulden, Walter Hacon) - 4:15
2. Lost in a Lonely World (Chris Eaton) - 4:01
3. Summer Rain (Eaton) - 4:15
4. Young Love - 4:03
5. Say You Don't Mind (does not appear on the US release) - 4:01
6. Daddy's Home (live) (James Sheppard, William Miller) - 2:56
Bonustracks der CD Ausgabe von 2001
1. Shakin' All Over (live) (Frederick Heath) (B-side of Daddy's Home) - 2:43
2. Hold On (B-side of Wir
ed for Sound) - 3:43
Besetzung: Cliff Richard: vocals and backing vocals
; John Clark: guitar (B2)
; Nick Glennie-Smith: piano (B4), engineer
; Graham Jarvis: drums A1, A3-B2, B5-B6)
; Trevor Spencer: drums (A2, B3-B4)
; Alan Tarney: all instruments except those listed in credits, backing vocals, arrangements
; Design: Cream
; Engineer: Nick Glennie-Smith
; Engineer [Assistant, Other [Coffee & Table Tennis Coaching]: Ian Little
; Engineer [Mastering]: John Dent
; Lacquer Cut By: John Dent
; Photography: Rebecca Swearingen
; Recorded At Gallery Studios
; Mixed At Gallery Studios
; Mastered At The Sound Clinic
; Record Company EMI Records Ltd.
; Printed By Garrod & Lofthouse
; Phonographic Copyright (p) EMI Records Ltd.
; Phonographic Copyright (p) BBC
; Copyright (c) EMI Records Ltd.
; Copyright (c) Bar Music Ltd
; Copyright (c) ATV Music Ltd.
; Copyright (c) Waif Productions Ltd.
; Copyright (c) Street Music Ltd.
; Copyright (c) Josley
; Copyright (c) Carlin
; Copyright (c) Planetary Nom (London) Ltd.
; Manufactured By EMI Records Ltd.
; Published By Bar Music Ltd
; Published By ATV Music Ltd.
; Published By Waif Productions Ltd.
; Published By Street Music Ltd.
; Published By Josley Music
; Published By Carlin Music Corp.
; Published By Planetary Nom (London) Ltd.
; Pressed By EMI Records
; Lacquer Cut At The Sound Clinic
Codeine [>] [D]: The White Birch [F]
Label und Katalognummer: Sub Pop SP 0166 B
Produktion: Codeine & Mike McMackin
Veröffentlicht: 1994 04 04
Genretags: Alternativerock - Postrock
Trackliste: 1. Sea - 7:22
2. Loss Leader - 4:18
3. Vacancy - 3:37
4. Kitchen Light - 3:36
5. Washed Up - 4:40
6. Tom - 5:02
7. Ides - 5:07
8. Wir
d - 6:05
9. Smoking Room - 3:17
Alle Tracks: Codeine.
Besetzung: Mastered At Nimbus
; Bass, Vocals [Singing]: Stephen Immerwahr
; Drums: Doug Scharin
; Guitar: John Engle
; Guitar: David Grubbs (6, 8)
; Layout: Jeff Kleinsmith
; Mastered By Scott Hull
; Mixed By Mike McMackin
; Band Photograph: Laura Larson
; Recorded By Mike McMackin
; Recorded at Idful Music (Chicago, IL), 3-Communications (Middletown, CT) and Mike and Rick\'s (Brooklyn, NY), Aug. and Dec., 1993.
Codeine [>] [D]: When I See The Sun [F]
Label und Katalognummer: Numero Group NUM 201
Produktion: Codeine & Mike McMackin
Veröffentlicht: 2012 05 08 (Ed.)
Genretags: Alternativerock - Sadcore
Die Box enthält die beiden Original Alben, die EP sowie Peel Sessions, Live- und Alternatetracks, Demos, Compilation Tracks, B-Sides.
Trackliste: CD 1: Frigid Stars
1. D - 4:28
2. Gravel Bed - 4:00
3. Pickup Song - 2:44
4. 3 Angels - 4:53
5. New Year's (Mitchell, Park) - 3:35
6. Second Chance - 4:47
7. Cave-In - 3:38
8. Cigarette Machine - 4:45
9. Old Things - 5:01
10. Pea - 3:42
11. Castle (Demo) - 4:29
12. Skeletons (Demo) - 1:48
13. 3 Angels (Demo) - 3:26
14. Coroner Store (Demo) - 5:20
15. Summer Dresses - 1:56
16. Pea (Acoustic) - 3:34
17. Second Chance (Demo) - 4:13
18. Pickup Song (Demo) - 2:37
19. Cave-In (Demo) - 3:06
20. Kitchen - 2:15
CD 2: Barely Real
1. Realize - 5:04
2. Jr - 3:12
3. Barely Real - 3:14
4. Hard To Find - 3:19
5. W. - 4:52
6. Promise Of Love (Ross, Anderson) - 5:17
7. Jr (Demo) - 3:24
8. Tom (Demo) - 4:18
9. Wir
d (Demo) - 4:24
10. I Wonder (Demo) - 4:38
11. Hydroplane (Live) - 5:53
12. A L'Ombre De Nous - 4:27
13. Cracked In Two - 2:53
14. Realize (Demo) - 5:14
15. Broken-Hearted Wine - 3:52
CD 3: The White Birch
1. Sea - 7:22
2. Loss Leader - 4:18
3. Vacancy - 3:37
4. Kitchen Light - 3:34
5. Washed Up - 4:36
6. Tom - 4:59
7. Ides - 5:05
8. Wir
d - 6:04
9. Smoking Room - 3:25
10. Median (Peel Session) - 4:36
11. Loss Leader (Peel Session) - 4:24
12. Sure Looks That Way (Peel Session) (Hannah) - 3:20
13. D (Live) - 5:48
14. Atmosphere (Sumner, Curtis, Hook, Morris) - 4:57
15. Something New - 5:30
16. Ides (Demo) - 4:02
17. Smoking Room (Demo) - 2:43
Alle Tracks: Stephen Immerwahr.
Besetzung: Mastered At Peerless Mastering, Bonati Mastering, United Record Pressing
; Art Direction: Henry H. Owings
; Cover [Original Jacket Frigid Stars Lp], Design [Frigid Stars Lp]: Tammi Colichio
; Cover [Original Jacket The White Birch], Design [The White Birch]: Jeff Kleinsmith
; Design [Package]: Numero Group
; Engineer: Mike McMackin
; Interviewer: Mike McGonigal
; Liner Notes: Judson Picco, Ken Shipley
; Liner Notes [Barely Real]: Alan Light
; Liner Notes [Frigid Stars Lp]: Jonathan Poneman
; Liner Notes [Sticker]: Gerard Cosloy
; Liner Notes [The White Birch]: Mike McGonigal
; Mastered By: Jeff Lipton
; Mastered By [Assistant]: Maria Rice
; Musician [Codeine]: Chris Brokaw (CD 1, CD 2), Doug Scharin (CD 3), John Engle, Stephen Immerwahr
; Photography By: Charles Peterson (4), John Engle, Ken Brown (6), Laura Larson, Lexi Mitchell, Manfred Rahs, Mike Galinsky, Moni Kellermann
; Recorded By: Mike McMackin
; Reissue Producer: Ken Shipley, Rob Sevier
; Research, Compiled By: Ken Shipley
; Guitar [Noisy]: Jon Fine (2.2)
; Arranged By [Arrangement], Piano: David Grubbs (2.5)
; Guitar: David Grubbs (3.6, 3.8)
Label und Katalognummer: Numero Group NUM 900
Produktion: Codeine & Mike McMackin
Veröffentlicht: 2022 09 02 (Ed.), 1992 06 (Rec.)
Genretags: Alternativerock - Postrock
Trackliste: 1. Sea (1992 Session) - 6:46
2. Jr (1992 Session) - 3:26
3. Tom (1992 Session) - 4:14
4. I Wonder (1992 Session) - 4:39
5. Realize (1992 Session) - 5:19
6. Something New (1992 Session) - 5:21
7. Wir
d (1992 Session) - 5:24
8. Smoking Room (1992 Session) - 3:07
Besetzung: Band [Codeine], Bass, Vocals [Singing]: Stephen Immerwahr
; Band [Codeine], Drums, Guitar: Chris Brokaw
; Band [Codeine], Guitar: John Engle
; Cover: Thomas Wilmer Dewing
; Cover [Cover Restoration]: David Yow
; Design: Henry H. Owings
; Mastering: Jeff Lipton
; Mastering: Maria Rice
; Recording: Mike McMackin
; Copyright (c) The Numero Group
; Recorded At Harold Dessau Recording
; Mastered At Peerless Mastering
Common [>] [D]: Electric Circus [F]
Label und Katalognummer: MCA 088 113 114
Produktion: ?uestlove & Jay Dee & Jeff Lee Johnson & The Neptunes & Pino Palladino & James Poyser & Karriem Riggins
Veröffentlicht: 2002 12 10
Genretags: Afroamericana - R'n'B-Renaissance
Trackliste: 1. Ferris Wheel (feat: Marie Daulne, Vinia Mojica) (Marie Daulne, Lonnie Lynn, Vinia Mojica, James Poyser) - 2:48
2. Soul Power (Lonnie Lynn, James Poyser, James Yancey) - 4:38
3. Aquarius (feat: Bilal) (Lonnie Lynn, Pino Palladino, James Poyser, James Yancey) - 4:54
4. Electric Wir
e Hustler Flower (Lonnie Lynn, James Poyser, James Yancey) - 5:54
5. The Hustle (Lonnie Lynn, Karriem Riggins) - 4:20
6. Come Close (feat: Mary J. Blige) (Chad Hugo, Lonnie Lynn, Pharrell Williams) - 4:35
7. New Wave (feat: Laetitia Sadier) (Lonnie Lynn, James Poyser, Laetitia Sadier, James Yancey) - 5:08
8. Star &asterik;69 (PS With Love) (feat: Bilal) (Lonnie Lynn, James Poyser, James Yancey) - 5:30
9. I Got a Right Ta (feat: Pharrell Williams) (Chad Hugo, Lonnie Lynn, Pharrell Williams) - 4:54
10. Between Me, You and Liberation (feat: C-Lo) (Thomas Callaway, Lonnie Lynn, Pino Palladino, James Poyser) - 6:23
11. I Am Music (feat: Jill Scott) (Jef Lee Johnson, Lonnie Lynn, Pino Palladino, James Poyser, Jill Scott, James Yancey) - 5:21
12. Jimi Was a Rock Star (feat: Erykah Badu) (Jef Lee Johnson, Lonnie Lynn, Pino Palladino, James Poyser, James Yancey) - 8:32
13. Heaven Somewhere (feat: Erykah Badu, Bilal, Mary J. Blige, C-Lo, Jill Scott) (Thomas Callaway, Lonnie Lynn, Bilal Oliver, Pino Palladino, James Poyser) - 10:24
Besetzung: Bass: Pino Palladino (2, 10, 12, 13)
; Drums: Ahmir \'?uestlove\' Thompson (1, 3, 10-13)
; Drums, Guitar [Electric], Synthesizer [Moog]: J Dilla (4, 7, 8, 12)
; Guitar: Jef Lee Johnson (1, 3, 10-13)
; Keyboards, Guitar, Piano: James Poyser (1-4, 7, 8, 10-13)
; Producer: Ahmir \'?uestlove\' Thompson (1, 3, 7, 8, 10-13), J Dilla (2-4, 7, 8, 10, 11), James Poyser (1, 3, 4, 7, 8, 10-13), Pino Palladino (3, 10-13)
; Vocals: Bilal (3, 8, 13), Erykah Badu (3, 12, 13)
Console [>] [D]: Reset The Preset [F]
Label und Katalognummer: Virgin (D) 7243 543996
Produktion: Martin Gretschmann & Mario Thaler
Veröffentlicht: 2003 01 13
Genretags: Electronica
Trackliste: CD 1: Reset
1. Your God Eats Me - 7:07
2. Surfin' Atari - 5:20
3. Into The Universe - 5:00
4. Dirt On The Wir
e - 5:14
5. The Times They Are Not A-changin' - 5:14
6.Suck And Run - 4:34
7. Secret Game - 6:34
8. A+A=B - 5:45
CD 2: Preset (Bonus CD)
1. Diagonal - 6:36
2. Para.Lel ('Funicular'-Mix) - 5:54
3. Para.Lel - 3:35
4. Marina (Version 'Mallorca') - 9:44
5. Independencia - 6:05
6. Marina - 6:29
7. Diagonal ('Raton Relax!'-Mix) - 6:52
8. Independencia ('3/4'-Mix) - 3:43
Alle Tracks: Console.
Besetzung: Artwork By - Factor Product Designagentur
; Artwork By [Interactive Parts] - Ralph Ahner
; Mastered By - Nilesh
; Mixed By - Olaf O.P.A.L.
; Photography - Gerald Von Forris
; Producer [Additional] - Robert Di Gioia (1-3, 1-8)
Craft Spells [>] [D]: Nausea [F]
Label und Katalognummer: Captured Tracks CT 200
Produktion: Justin Vallesteros
Veröffentlicht: 2014 06 10
Genretags: Newpop - Artpop
Trackliste: 1. Nausea - 4:29
2. Komorebi - 4:23
3. Changing Faces - 4:22
4. Untitled - 1:42
5. Dwindle - 3:53
6. Twirl - 4:18
7. Laughing for My Life - 3:58
8. First Snow - 3:01
9. If I Could - 3:02
10. Breaking the Angle Against the Tide - 3:49
11. Still Fields (October 10, 1987) - 3:11
Alle Tracks: Justin Vallesteros.
Besetzung: Vocals: Justin Vallesteros (1)
; Arranged: Justin Vallesteros
; Artwork: Vicki Ling
; Mixing: Dylan Wall
; Mixing: Justin Vallesteros
; Recording: Dylan Wall
Cramps [>] [D]: Psychedelic Jungle [F]
Label und Katalognummer: I.R.S. ILP 009
Produktion: Cramps
Veröffentlicht: 1981 05
Genretags: Postpunk - Psychobilly
Trackliste: Seite A
1. Green Fuz (Dale Alvey) - 2:09
2. Goo Goo Muck (Ronnie Cook) - 3:06
3. Rockin' Bones (Don Carter, Dub Nalls, Jack Rhodes) - 2:48
4. Voodoo Idol - 3:39
5. Primitive (Groupies, Steve Venet) - 3:32
6. Caveman - 3:51
7. The Crusher (Bob Nolan) - 1:47
Seite B
1. Don't Eat Stuff off the Sidewalk - 2:04
2. Can't Find My Mind - 3:01
3. Jungle Hop (Kip Tyler) - 2:07
4. Natives Are Restless - 3:00
5. Under the Wir
es - 2:44
6. Beautiful Gardens - 3:59
7. Green Door (Bob Davie, Marvin Moore) - 2:35
Alle Tracks: Lux Interior und Poison Ivy Rorschach, ausser wo anders vermerkt.
Besetzung: Lux Interior: vocals
; Poison Ivy Rorschach: guitar
; Kid Congo Powers: guitar
; Nick Knox: drums
; Engineer: Paul McKenna
; Photography [Back]: Anton Corbijn
; Photography [Front]: Donna Santisi
; Producer: Cramps, The
; Recorded At A&M Studios
Creation Rebel [>] [D] & New Age Steppers [>] [D]: Threat To Creation [F]
Assoziierte Acts: Adrian Sherwood
Label und Katalognummer: Cherry Red BRED 21
Produktion: Adrian Sherwood
Veröffentlicht: 1981
Genretags: Postpunk - Dub
Trackliste: Seite A
1. Chemical Specialist (A. Phillips) - 4:22
2. Threat to Creation (J. Vincent) - 3:40
3. Eugenic Device (L. Sibbles) - 7:03
4. Last Sane Dream (A. Maxwell) - 3:24
Seite B
1. Painstaker (J. Vincent) - 5:23
2. Earthwire Line (J. Byles) - 4:27
3. Ethos Design (Abyssinians) - 4:49
4. Final Frontier (J. Vincent) - 4:59
Besetzung: Bass: Crucial Tony
; Bass: George Oban
; Bass: Lizard
; Drums: Bruce Smith
; Drums: Eskimo Fox
; Drums: Style Scott
; Engineer [Mixing]: Chris Nagle
; Engineer [Mixing]: John Walker
; Engineer [Mixing]: Richard Manwaring
; Engineer [Mixing]: Steve Smith (9)
; Engineer [Recording]: Dave Hunt
; Engineer [Recording]: Howard
; Engineer [Recording]: John Loder
; Engineer [Recording]: John Walker
; Engineer [Recording]: Roger (13)
; Lead Guitar: Crucial Tony
; Lead Guitar: Keith Levene
; Percussion: Veral Rose
; Piano, Organ: Ari-Up
; Other [Disassembled By]: Adrian Sherwood
; Rhythm Guitar: Crucial Tony
; Sleeve, Design, Photography: Kishi Yamamoto
; Copyright (c) Cherry Red Music
; Copyright (c) Taktik Music
; Copyright (c) Island Music Ltd.
; Mastered At Utopia Studios
; Recorded At Berry Street Studio
; Recorded At The Manor
; Recorded At Freerange Studios
; Mixed At Berry Street Studio
; Mixed At The Manor
; Phonographic Copyright (p) Cherry Red Records Ltd.
; Copyright (c) Cherry Red Records Ltd.
; Distributed By Pinnacle (3)
Curd Duca [>] [D]: Elevator 3 [F]
Label und Katalognummer: Mille Plateaux MP 084
Produktion: Curd Duca
Veröffentlicht: 2000 05 09
Genretags: Electronica - Soundart - Collage
Trackliste: 1. Car - 0:09
2. Faith One - 1:55
3. Quiet Nights Intro - 0:44
4. Quiet Nights - 1:46
5. Mid 4 - 0:31
6. Stim - 0:50
7. Fl Peak - 0:39
8. Plasma - 0:28
9. Macintosh Suite - 0:20
10. Digital Basics - 0:10
11. Geister - 0:06
12. Laura - 0:16
13. Rev - 0:17
14. Slip & Slide - 0:38
15. Love 3 - 0:34
16. Lalo - 0:06
17. Scream - 0:31
18. Dark Perc - 0:42
19. Tristan - 2:14
20. Sounds In The Night - 0:30
21. Evie Peak - 0:12
22. Fire - 0:19
23. Earth - 0:16
24. Lo - 0:20
25. Mid - 0:26
26. Hi - 0:35
27. Rec 4 - 0:51
28. Giant Swing - 0:41
29. Japan - 0:27
30. Schweb - 0:28
31. Bliss - 1:34
32. Manc - 1:47
33. Syte - 1:24
34. Gunshot - 1:54
35. Schwirr - 0:41
36. Uranus - 1:09
37. Click & Roll - 1:11
38. Misty - 1:02
39. Metal - 0:44
40. Dorf - 0:34
41. Nave - 0:35
42. Alpine Bells - 0:40
43. Walzer - 1:43
44. Serge B1 - 0:24
45. Tubbies - 0:21
46. Soul - 0:50
47. Midnight - 2:01
48. M2 - 2:15
Alle Tracks: Curd Duca.
Besetzung: Vocals: Carin Feldschmid (2, 4, 19, 43, 47)
Curved Air [>] [D]: Midnight Wire [F]
Assoziierte Acts: Sonja Kristina
Label und Katalognummer: BTM Records BTM 1005
Produktion: Howard Albert & Ron Albert
Veröffentlicht: 1975
Genretags: Rock - Progrock
Trackliste: Seite A
1. Woman On A One Night Stand (Norma Tager, Sonja Kristina) - 5:06
2. Day Breaks My Heart (Darryl Way, Norma Tager) - 4:38
3. The Fool (Darryl Way, Mick Jacques, Norma Tager) - 4:27
4. Pipe Of Dreams (Mick Jacques) - 3:58
Seite B
1. Orange Street Blues (Darryl Way, Norma Tager) - 5:01
2. Dance Of Love (Darryl Way, Mick Jacques, Norma Tager) - 4:36
3. Midnight Wir
e (Darryl Way, Norma Tager) - 7:32
Besetzung: Backing Vocals: Derek Damain (A3)
; Bass: John G. Perry
; Design [Original Sleeve Design]: Liz Gilmore, Bob Searles
; Drums: Stewart Copeland
; Engineer: Will Reid-Dick
; Guitar [Guitars]: Mick Jacques
; Keyboards: Peter Wood
; Other [Thanks To]: Beric Wickens
; Other [Thanks To]: Carolann Nicholls
; Other [Thanks To]: Ian Copeland
; Other [Thanks To]: Miles Copeland
; Other [Thanks To]: Moray McMillin
; Other [Thanks To]: Nick Blackburn
; Photography: Derek Richards
; Photography: Jill Furmanovsky
; Photography: Michael Allard
; Violin: Darryl Way
; Vocals: Sonja Kristina
; Manufactured By RCA Ltd.
; Distributed By RCA Ltd.
; Phonographic Copyright (p) BTM Records Ltd.
; Printed By Robert Stace
; Published By BTM Publishing Ltd.
; Published By Chrysalis Music Ltd.
; Recorded At Ramport Studios
Dagmar Krause [>] [D]: Tank Battles: The Songs Of Hans Eisler [F]
Label und Katalognummer: Antilles AN 8739, Blueprint BP 138
Produktion: Greg Cohen
Veröffentlicht: 1988 (LP), 1995 (CD Reed.)
Genretags: Newpop - Artpop - Avantpop, Europeana
Trackliste: 1. Song of the Whitewash - 2:07
2. (I Read About) Tank Battles - 1:30
3. You Have to Pay - 1:43
4. Chanson Allemande - 1:20
5. Ballad of the Sackslingers - 3:24
6. Mother Beimlein - 1:16
7. Perhaps Song - 1:50
8. Lied von der Belebeden Wir
kung des Geldes (The Song of the Invigo Impact Of Cash) - 4:32
9. Mankind - 0:59
10. Bettelied - 1:27
11. Song of a German Mother - 2:31
12. Change the World - It Needs It - 2:07
13. Bankenlied (Banking Song) - 2:59
14. Legende von der Entstehung des Buches Taoteking (Legend of the Origin of the Book of the Taote King) - 6:43
15. Balad of (Bourgoise) Welfare - 2:53
16. Mother's Hands - 2:02
17. Berlin 1919 - 2:30
18. And I Shall Never See Again - 1:52
19. Genevieve: Ostern ist Ein Ball sur Seine (Genevieve: Easter There is a Ball on the Seine) - 1:05
20. Wise Woman and the Soldier - 3:43
21. Failure in Loving - 1:04
22. Endlich Stirbt - 1:12
23. Rat Men Nightmare - 1:18
24. Homecoming - 1:34
25. Trenches - 3:44
26. To a Little Radio - 1:05
27. Panzerschlacht - 1:33
28. Vielleicht Lied - 1:51
29. Der Mensch - 0:55
30. Lied von der Deutschen Mutter - 2:32
31. Mutterns Hande - 2:03
32. Spartacus 1919 - 2:31
33. Ich Werde Nicht Mehr Sehen - 1:53
34. Die Heimkebr - 1:35
35. Der Graben - 3:43
36. Den Kleinen Radioapparat - 1:06
Alle Tracks: Hans Eisler.
Besetzung: Dagmar Krause - vocals
; Alexander Balanescu - viola
; Steve Berry - double bass
; Michael Blair - percussion
; Lindsay Cooper - bassoon
; Andrew Dodge - keyboards
; Phil Edwards - saxophone
; John Harle - saxophone
; Sarah Homer - clarinet
; John Leonard - bassoon
; Ian Mitchell - clarinet
; Bruce Nockles - trumpet
; Ashley Slater - tuba
; Steve Sterling - horns
; Graeme Taylor - guitar, banjo
; Gertrude Thoma - vocals
; Danny Thompson - double bass
; John Tilbury - keyboards
David Bowie [>] [D]: Tonight [F]
Label und Katalognummer: EMI DB 1
Produktion: David Bowie & Derek Bramble & Hugh Padgham
Veröffentlicht: 1984 09 01
Genretags: Newpop - Artpop
Trackliste: 1. Loving the Alien (David Bowie) - 7:11
2. Don't Look Down (Iggy Pop, James Williamson) - 4:08
3. God Only Knows (Tony Asher, Brian Wilson) - 3:06
4. Tonight (Bowie, Pop) - 3:50
5. Neighborhood Threat (Bowie, Pop) - 3:12
6. Blue Jean (Bowie) - 3:08
7. Tumble and Twirl (Bowie, Pop) - 5:00
8. I Keep Forgettin' (Jerry Leiber, Mike Stoller) - 2:34
9. Dancing With the Big Boys (Carlos Alomar, Bowie, Pop) - 3:52
Besetzung: Carlos Alomar: Guitars
; Derek Bramble: Bass guitar, Guitar, Synthesizer, Background Vocals
; Carmine Rojas: Bass guitar
; Mark King:Bass on Tumble and Twirl
; Sammy Figueroa: Percussion
; Omar Hakim: Drums
; Guy St. Onge: Marimba
; Robin Clark, George Simms, Curtis King: Vocals
; David Bowie, Tina Turner: Vocals (4)
; David Bowie, Iggy Pop: Vocals (9)
; The Borneo Horns: Stanley Harrison: Alto sax, Tenor sax; Steve Elson: Baritone sax; Lenny Pickett: Tenor sax, Clarinet; Arif Mardin: Arrangement of strings, Synthesizers
Dead Boys [>] [D]: Young Loud And Snotty [F]
Label und Katalognummer: Sire SR 6038, Sire 9 26981
Produktion: Genya Ravan
Veröffentlicht: 1977 10, 1992 07 14 (Reed.)
Genretags: Rock - Punkrock - Cleveland-Punk
Trackliste: Seizte A
1. Sonic Reducer (David Thomas, Cheetah Chrome) - 3:05
2. All This and More - 2:49
3. What Love Is - 2:08
4. Not Anymore - 3:38
5. Ain't Nothin' to Do - 2:25
Seite B
1. Caught with the Meat in Your Mouth - 2:06
2. Hey Little Girl (Live at CBGB's) (Bob Gonzales, Don Baskin) - 3:01
3. I Need Lunch - 3:36
4. High Tension Wir
e - 3:05
5. Down in Flames - 2:15
Bonustrack der CD Ausgabe von 1992
1. Medley Not Anymore/Ain't Nothin' to Do - 7:15
Besetzung: Bass: Jeff Magnum
; Lead Guitar: Cheetah Chrome
; Lead Vocals: Stiv Bators
; Drums: Johnny Blitz
; Art Direction, Design: John Gillespie
; Design [Dead Boys Logo]: Ken Sitz
; Engineer [Assistant]: Jim Galante
; Engineer [Mixing]: Harvey Goldberg
; Engineer [Recording]: Dave Wittman
; Management: Hilly Kristal
; Mastering: Ted Jensen
; Photography: Glenn Brown
; Rhythm Guitar: Jimmy Zero
; Pressed By Capitol Records Pressing Plant, Winchester
; Marketed By Warner Bros. Records Inc.
Dead Moon [>] [D]: In the Graveyard [F]
Label und Katalognummer: Tombstone Records T 11
Produktion: Fred Cole
Veröffentlicht: 1988
Genretags: Alternativerock - Punkrock - Garagepunk
Trackliste: Seite A
1. Graveyard -
2. Out On A Wir
e -
3. Can't Help Falling In Love (George David Weiss, Hugo Peretti, Luigi Creatore) -
4. Parchment Farm (Mose Allison) -
5. Dead In The Saddle -
Seite B
1. Hey Joe (Trad.) -
2. Don't Burn The Fires -
3. Where Did I Go Wrong -
4. Remember Me -
5. I Hate The Blues -
Alle Tracks: Fred Cole, ausser wo anders vermerkt.
Besetzung: Bass, Vocals: Toody
; Cover [Back]: Kelly Manahan
; Drums: Andrew Loomis (A2 to B5)
; Engineer: John Lindahl (A1, A2, A4, B1, B3)
; Engineer: Steve Parker (14) (A3, A5, B2, B4, B5)
; Guitar, Vocals: Fred Cole
; Photography: Alexandra Zorn
; Mastering: Fred Cole
; Phonographic Copyright (p) Whizeagle Music
; Copyright (c) Whizeagle Music
; Recorded At Fresh Tracks Studio
; Recorded At River Recordings
; Mastered At Greg Lee Processing
Deadbeat [>] [D]: Roots And Wire [F]
Label und Katalognummer: Wagon Repair WAG 046
Produktion: Scott Monteith
Veröffentlicht: 2008 10 13
Genretags: Electronica - Techno - Dubtechno
Trackliste: 1. Rise Again (5:10)
2. Roots And Wir
e (5:52)
3. Grounation (Berghain Drum Jack) (6:26)
4. Xberg Ghosts (5:58)
5. Deep Structure (8:19)
6. Night Stepping (5:10)
7. Sun People (Dub Divisionaire) (6:43)
8. Babylon Correction (6:23)
Alle Tracks: Scott Monteith.
Besetzung: Percussion: Guillaume Coutu-Dumont (5)
; Vocals: Paul St. Hilaire (1, 8)
Dear Hunter [>] [D]: The Color Spectrum: The Complete Collection [F]
Label und Katalognummer: Triple Crown Records
Veröffentlicht: 2011 06 14
Genretags: Alternativerock - Hardcorepunk - Posthardcore, Newpop - Artpop
Trackliste: Seite A: Black
1. Never Forgive, Never Forget
2. Filth and Squalor
Seite B: Black
1. Take More Than You Need
2. This Body
Seite C: Red
1. I Couldn't Do It Alone
2. A Curse of Cynicism
Seite D: Red
1. Deny It All
2. We've Got a Score to Settle
Seite E: Orange
1. Echo
2. Stuck on a Wir
e, Out on the Fence
Seite F: Orange
1. The Sea Voz
2. But There's Wolves?
Seite G: Yellow
1. She's Always Singing
2. The Dead Dont Starve
Seite H: Yellow
1. A Sua Voz
2. Misplaced Devotion
Seite I: Green
1. Things That Hide Away
2. The Canopy
Seite J: Green
1. Crow and Cackle
2. The Inheritance
Seite K: Blue
1. Tripping in Triplets
2. Trapdoor
Seite L: Blue
1. What You Said
2. The Collapse of the Great Tide Cliffs
Seite M: Indigo
1. What Time Taught Us
2. Mandala
Seite N: Indigo
1. Progress
2. Therma
Seite O: Violet
1. Mr. Malum
2. Lillian
Seite P: Violet
1. Too Late
2. Look Away
Seite Q: White
1. Home
2. Fall and Flee
Seite R: White
1. No God
2. Lost but Not All Gone
Decomposed Subsonic [>] [D]: Gradients [F]
Label und Katalognummer: Ware 06
Produktion: Hartmut Wessling
Veröffentlicht: 2002 04 05
Genretags: Electronica - Techhouse - Minimaltechhouse
Trackliste: 1. Blue Bits (Yeah!) (4:37)
2. Part Of The Machine (5:54)
3. Wir
e Brush (4:24)
4. Étoile Bleue (5:48)
5. Nachtlicht (5:06)
6. Sonic Velocity (6:10)
7. Fast Impact (6:28)
8. Steps (6:12)
9. Digital Voodoo Tapes (8:18)
10. Digital Voodoo Tapes (Part 2) (3:09)
Besetzung: Featuring - Coloma (2)
; Lyrics By, Vocals - Alex Paulick, Rob Taylor (2)
; Featuring - twila.too Lyrics By, Vocals - Olivia Steyaert (4)
Label und Katalognummer: Reprise 550092
Produktion: Deftones & Matt Hyde
Veröffentlicht: 2016 04 08
Genretags: Metal - Undergroundmetal
Trackliste: 1. Prayers/Triangles - 3:37
2. Acid Hologram - 4:05
3. Doomed User - 4:26
4. Geometric Headdress - 3:29
5. Hearts/Wir
es - 5:20
6. Pittura Infamante - 4:03
7. Xenon - 3:17
8. [L]MIRL - 5:02
9. Gore - 4:59
10. Phantom Bride - 4:53
11. Rubicon - 4:57
Alle Tracks: Deftones.
Besetzung: Mixing: Matt Hyde
; Copyright (c) Reprise Records
; Phonographic Copyright (p) Reprise Records
Der Plan [>] [D]: Normalette Surprise [F]
Label und Katalognummer: Ata Tak WR 07, Ata Tak WR 67
Produktion: Mike Ink
Veröffentlicht: 1981, 1996 10 01 (Reed.)
Genretags: Postpunk - Electronic-Postpunk - Minimalsynth
Trackliste: Seite A
1. Leb doch - 2:02
2. Renate - 2:08
3. Meine Freunde - 1:58
4. Sie hat mich verlassen - 1:48
5. Pausen-Sassa - 1:54
6. Wenn der Sonne ist verblüht - 2:05
7. Kleine Schlager-Revue - 2:24
8. Frl. Nicol - 2:00
9. Ich bin ein Komputer - 1:05
10. Robot-Bolero - 1:38
11. Generäle essen gerne Erdbeereis - 2:49
12. Das Insekt - 1:28
Seite B
1. Wat's dat? - 2:02
2. 4 Stapfen im Schnee - 1:08
3. Zurück in die Atmosphäre - 2:15
Bonustracks der CD Ausgabe von 1996
1. Rot Grün Tot - 2:50
2. 81/2 - 2:14
3. Wir
werden immer mehr - 2:50
Besetzung: Artwork By: Milan Kunc, Moritz Rrr
; Artwork By [Design]: Ata Tak
; Mixed By: Mike Ink
; Performer: Frank Fenstermacher, Moritz Rr, Pyrolator
Deutsch Amerikanische Freundschaft [>] [D]: Alles ist gut [F]
Assoziierte Acts: DAF
Label und Katalognummer: Virgin (D) 203 644, Virgin V 2202 (UK)
Produktion: Conny Plank
Veröffentlicht: 1981 03
Genretags: Postpunk - Electronic-Postpunk - EBM
Trackliste: Seite A
1. Sato-Sato - 2:49
2. Der Mussolini - 3:54
3. Rote Lippen - 2:42
4. Mein Herz Macht Bum - 4:28
5. Der Räuber Und Der Prinz - 3:29
Seite B
1. Ich Und Die Wir
klichkeit - 3:05
2. Als Wär's Das Letzte Mal - 3:23
3. Verlier Nicht Den Kopf - 3:17
4. Alle Gegen Alle - 3:56
5. Alles Ist Gut - 3:26
Alle Tracks: Gabi Delgado-Lopez (Lyrics) und Robert Görl (Musik).
Besetzung: Record Company Ariola Eurodisc GmbH
; Phonographic Copyright (p) Virgin Records Ltd.
; Phonographic Copyright (p) Conny\'s Studio GmbH
; Recorded At Conny\'s Studio
Deviants [>] [D]: Disposable [F]
Assoziierte Acts: Mick Farren
Label und Katalognummer: Stable Records SLP 7001
Produktion: Mick Farren & Stephen Sparkes
Veröffentlicht: 1968 10
Genretags: Rock - Psychedelicrock - Freakbeat
Trackliste: Seite A
1. Somewhere To Go - 7:17
2. Sparrows And Wir
es - 0:28
3. Jamies Song - 3:28
4. You've Got To Hold On - 3:47
5. Fire In The City - 2:57
6. Let's Loot The Supermarket - 2:21
Seite B
1. Pappa-Oo-Mao-Mao - 2:20
2. Slum Lord - 2:08
3. Blind Joe McTurks Last Session - 1:17
4. Normality Jam - 4:20
5. Guaranteed To Bleed - 2:35
6. Sidney B. Goode - 0:50
7. Last Man - 5:36
Besetzung: Arranged: The Deviants (A1 to A4, A6 to B7)
; Arranged: Tony Ferguson (A5)
; Arranged, Mixing [Assembled By]: Andy Johns
; Arranged, Mixing [Assembled By]: Mick Farren
; Cover: Mean & Filthy
; Engineer: Andy Johns
; Performer: Andy Johns
; Performer: David Goodman
; Performer: Dennis Hughes
; Performer: Dick Heckstall-Smith
; Performer: Duncan Sanderson
; Performer: George (88)
; Performer: Jennifer Ashworth
; Performer: Jerry (The Man)
; Performer: Karl Dallas
; Performer: M J McDonnell
; Performer: Mick Farren
; Performer: Mick Farren
; Performer: Pete Brown
; Performer: Russell Hunter
; Performer: Sid Bishop
; Performer: Stephen Sparkes
; Performer: Tony Ferguson
; Performer: Tony Wigens
; Printed By Garrod & Lofthouse
; Made By Garrod & Lofthouse
; Recorded At Morgan Studios
; Published By B&C Music Ltd.
; Published By Ardmore & Beechwood
Dictaphone [>] [D]: M. = Addiction [F]
Assoziierte Acts: Oliver Doerell
Label und Katalognummer: City Centre Offices TOWERBLOCK 010
Veröffentlicht: 2002 11 15
Genretags: Electronica - Jazztronica - Glitchjazz
Trackliste: 1. M.=addiction - 3:27
2. Sonne Free - 2:25
3. The E.song - 5:35
4. Tempelhof - 4:10
5. Esc. Meetings - 3:01
6. Dictaphone - 3:24
7. Disconnected - 3:22
8. La Piscine - 3:32
9. Outside (wird geistvoll gefickt) - 0:56
10. Lügen - 4:54
11. Tango Doerell - 4:44
Alle Tracks: Oliver Doerell.
Besetzung: Mastered By Loop-o
; Arranged By Oliver Doerell
; Saxophone, Clarinet: Roger Döring (3, 4, 7, 8)
; Arranged By [Brass], Synthesizer: Klaus Bru (1, 10)
; Vocals: Malka Spigel (4)
; Vocals: Heike Jeschonnek (5)
Die fantastischen Vier [>] [D]: 4 gewinnt [F]
Label und Katalognummer: Columbia COL 472263
Produktion: Andreas Rieke
Veröffentlicht: 1992 08 28
Genretags: Hip-Hop - Goldenage - Poprap, Hip-Hop - Goldenage - Deutscher-Hip-Hop
Trackliste: 1. Vier gewinnt - 1. 3:53
2. Die da!?! - 4:11
3. Hört euch den hier an - 1:32
4. Saft (Guldberg, Stahl) - 4:35
5. Dicker Pulli - 1:41
6. Na gut - 3:02
7. Einen noch - 0:33
8. Es wird Regen geben - 3:36
9. Nenn ihn Präsident - 2:12
10. Plattenspieler - 1:18
11. Hip Hop Musik - 4:38
12. Laß die Sonne rein - 4:09
13. Thomas und die Fraun - 3:14
14. Nonixnarretz - 0:40
15. Jaaa - 3:35
16. Reich - 1:30
17. Individuell aber schnell - 3:52
18. Arschloch - 13:11
Alle Tracks: Michael DJ Beck, Thomas Dürr, Andreas Rieke und Michael B. Schmidt, ausser wo anders vermerkt.
Besetzung: Co-producer: Andreas "DJ Bär" Läsker
; Co-producer: Klaus Scharff
; Executive-Producer: Andreas Rieke
; Performer: And.Ypsilon
; Performer: Hausmarke
; Performer: Smudo
; Performer: Thomas D
; Photography, Artwork: I-D Büro
; Phonographic Copyright (p) Sony Music Entertainment (Germany) GmbH
; Copyright (c) Sony Music Entertainment (Germany) GmbH
; Pressed By DADC Austria
; Published By EMI Music Publishing Germany GmbH
; Published By EMI Music Publishing
Die Heiterkeit [>] [D]: Was passiert ist [F]
Label und Katalognummer: Buback Tonträger BTT 161
Produktion: Moses Schneider
Veröffentlicht: 2019 03 01
Genretags: Post-Millennial-Music - Lo-Fi-Underground - Diskursrock
Trackliste: 1. Was passiert ist -
2. Im Fluss -
3. Dieses Mädchen -
4. Das Wort -
5. Ich sehe dich am liebsten -
6. Wie finden wir uns -
7. Die Linie im Sand -
8. Jeder Tag ist ein kleines Jahrhundert -
9. Ein alter Traum -
10. Alles sieht groß aus -
11. Die Sterne am Himmel -
Alle Tracks: Stella Sommer.
Besetzung: Stella Sommer: vocals, guitar, piano, synthesizer
; Moses Schneider: bass, additional overdubs, guitar
; Philipp Wulf: drums, percussion, field recordings
; Jérôme Bugnon: brass
Die Hula Hawaiians [>] [D]: Hilo March [F]
Label und Katalognummer: Bear Family Records BCD 16169 AH
Veröffentlicht: 1999 06 23 (Ed.)
Genretags: Pop - Orchestralpop - Exotica
Trackliste: 1. Hula's Boogie - 2:41
2. On The Beach Of Waikiki - 2:30
3. The World Is Waiting For The Sunrise - 2:23
4. Wie Wär's - 2:35
5. Kohala Beach - 2:12
6. Aloha Oe - 3:29
7. Chimpanzee Rock - 2:23
8. Ich Hab' Dich So Lieb - 3:10
9. Schwarzer Mustang - 2:20
10. Blue Hawaii - 2:55
11. Maui No Laka Oi - 2:52
12. Minoi Minoi - 2:06
13. Lovely Hula-Hands - 2:37
14. Kaiwahu March - 2:20
15. Sail Along Silvery Moon - 2:15
16. Komm Nach Hawaii - 2:12
17. Beyond The Reef - 2:41
18. Nina Bobo - 2:39
19. Na Moku Eha - 1:57
20. Hula Oeh - 2:38
21. My Little Grass Shack - 2:16
22. Hilo March - 2:27
23. Ein Schiff Wir
d Kommen - 2:23
24. Maua Lua Sunshine - 2:30
25. Hula Moon - 2:11
26. Stern Von Tahiti - 2:16
27. Bill Bronco - 2:15
28. Doch Sie Sagt Immer Morgen - 2:14
29. Hawaiian Bells - 1:48
30. Hula Hula - 2:10
31. Hula March - 2:02
32. Ay Ay Ay - 2:22
Die Lassie Singers [>] [D]: Die Lassie Singers helfen dir [F]
Label und Katalognummer: Columbia COL 468539
Veröffentlicht: 1991
Genretags: Indiepop - Lo-Fi-Pop
Trackliste: 1. Mein Freund Hat Mit Mir Schluss Gemacht - 2:37
2. Falsche Gedanken - 2:39
3. Frauen Am Rande Des Nervenzusammenbruchs - 2:47
4. Warum Nette Mädchen Niemals Glücklich Werden Können - 2:14
5. Chartbreaker - 2:22
6. Die Pärchenlüge - 2:14
7. Du, Du, Du - 2:03
8. Das Letzte Biest Am Himmel - 1:03
9. Lassie Song - 3:25
10. Wir
Wollen Gar Nicht Besser Sein - 2:41
11. Jeder Ist In Seiner Eigenen Welt - 3:40
12. Das Traurige Liebeslied - 1:58
13. Johnny, Jim Und Jack - 2:38
14. Geh In Den Keller - 3:06
15. Die Große Liebe - 4:59
Besetzung: Drums [Schlagzeug], Percussion [Schlagwerk]: Heiner Weiß
; Engineer: Hardy Eix
; Engineer: Micki Meuser
; Guitar, Bass: Herman Herrmann
; Photography: Uwe Ahrens
; Producer: Micki Meuser
; Vocals: Almut Schummel
; Vocals: Christiane Hügelsheim
; Vocals: Kathrin Witzleben
; Record Company Sony Music Entertainment Inc.
; Distributed By Sony Music
; Phonographic Copyright (p) Sony Music Entertainment (Germany) GmbH
; Copyright (c) Sony Music Entertainment (Germany) GmbH
; Published By Dimehart Ltd
; Published By Freibank
; Published By Global (7)
; Published By Manuskript
; Recorded At Spliff Studio
; Mixed At J. M. Studio
; Mastered At DADC Austria
Die Lassie Singers [>] [D]: Best Of Lassie Singers (Time To Say Tschüss) [F]
Label und Katalognummer: Flittchen Records FLIT 2
Produktion: Verschiedene
Veröffentlicht: 1998 (Ed.)
Genretags: Indiepop - Lo-Fi-Pop, Indiepop - Tweepop
Trackliste: 1. Geh In Den Keller - 3:08
2. Das Letzte Biest Am Himmel - 1:05
3. Mein Freund Hat Mit Mir Schluß Gemacht - 2:39
4. Warum Nette Mädchen Niemals Glücklich Sein Können - 2:15
5. Die Pärchenlüge - 2:15
6. Männliche Mitmenschen - 3:18
7. Hamburg - 5:15
8. Ist Das Wieder So Ne Phase - 3:37
9. Leben In Der Bar - 3:33
10. Loswerden - 2:43
11. Mein Zukünftiger Exfreund - 5:01
12. Es Ist So Schade - 2:13
13. Regen - 3:45
14. Liebe Wir
d Oft Überbewertet - 2:22
15. Ich Bin Dir Jetzt Schon Dankbar - 4:38
16. Hotel Daheim - 3:58
17. Freiheit Aus Einem Männermund (Kotzen) - 4:42
18. Misanthropisches Monodrama - 3:38
Besetzung: Layout: Ted Beckster
; Photography [Backcover]: Maria Zinfert
; Photography [Booklet]: Benno Kraehahn
; Photography [Booklet]: Bodo Dretzke
; Photography [Booklet]: Dieter Grube
; Photography [Booklet]: Martin Becker
; Photography [Booklet]: Peter Adamik
; Photography [Booklet]: Uwe Ahrens
; Photography [Frontcover]: Martin Riemer
; Distributed By EFA
; Phonographic Copyright (p) Sony Music Entertainment GmbH
; Copyright (c) Flittchen Records
; Copyright (c) Freibank
; Copyright (c) Gold Musikverlag
; Published By BMG UFA
; Published By Dimehart Ltd
; Published By Freibank
; Glass Mastered At Panteon
Die Toten Hosen [>] [D]: Love Peace & Money [F]
Label und Katalognummer: Totenkopf TOT 61
Produktion: Jon Caffery & Die Toten Hosen
Veröffentlicht: 1994 05 16
Genretags: Alternativerock - Punkrock - Poppunk, Alternativerock - Punkrock - Deutschpunk
Englischsprachiges Album der Band.
Trackliste: 1. The Return Of Alex (Hier Kommt Alex) - 4:28
2. Year 2000 (Alles Wir
d Gut) - 3:36
3. All For The Sake Of Love (Alles Aus Liebe) - 4:31
4. Lovesong (Liebeslied) - 3:41
5. Sexual - 4:27
6. Diary Of A Lover - 4:03
7. Put Your Money Where Your Mouth Is (Buy Me!) (Kauf Mich!) - 3:29
8. Love Is Here (Liebesspieler) - 2:51
9. More & More (Mehr Davon) - 5:13
10. My Land (Willkommen In Deutschland) - 3:55
11. Wasted Years (All Die Ganzen Jahre) - 3:17
12. Perfect Criminal (Musterbeispiel) - 3:58
13. Love Machine - 3:18
14. a) Chaos Bros. (Katastrophenkommando) - 4:28, b) (silence) - 4:00, c) Cunt In The Mirror - 3:28
Besetzung: Design: Die Hosen Cover AG
; Design: Johann Zambryski
; Lyrics By [Special Lyrics]: Andreas Frege (1 to 4, 7 to 14)
; Lyrics By [Special Lyrics]: Honest John Plain (3, 4, 7, 8, 14)
; Lyrics By [Special Lyrics]: Matt Dangerfield (1, 2, 9 to 12)
; Lyrics By [Words]: Andreas Frege (1 to 5, 7 to 14)
; Lyrics By [Words]: Matt Dangerfield (5, 13)
; Music By: Andreas Frege (3, 8, 11)
; Music By: Andreas Meurer (1, 13)
; Music By: Andreas Von Holst (2, 5, 8, 9, 12, 14)
; Music By: Michael Breitkopf (4, 7, 8, 10)
; Photography: Gabo
; Phonographic Copyright (p) Virgin Schallplatten GmbH
; Copyright (c) Virgin Schallplatten GmbH
; Published By Chrome Music
; Published By Edition DTH
; Published By BMG Ufa
; Published By Three Girls Music
Dietmar Roberg [>] [D] & Ton Steine Scherben [>] [D]: Teufel Hast Du Wind [F]
Label und Katalognummer: Rotkehlchen 3, Möbius Records
Veröffentlicht: 1976, 2001 (Reed.)
Genretags: Akademica - Funktionale-Musik - Musik-für-Kinder, Akademica - Funktionale-Musik - Musiktheater, Rock - Poprock - Deutschrock
Trackliste: CD Ausgabe von 2001
1. Intro - 0:36
2. Ich sitz an Land - 2:55
3. Ich fahr' auf einem Kaufmannsschiff - 3:21
4. Teufel hast Du Wind - 4:28
5. Die Pirateninsel Tortuga - 8:54
6. Südostpassat - 3:41
7. Zwischenspiel - 4:20
8. Drei Brüder aus Irland - 10:21
9. Ostindienlied - 7:55
10. Das Schiff sind wir, Matrosen - 3:32
Alle Tracks: Ton Steine Scherben (Musik) und Dietmar Roberg (Lyrics).
Seite A der Vinylausgabe von 1976
1. Ich Sitz Am Land - 1:14
2. Ich Fahr Auf Einem Kaufmannsschiff - 1:38
3. Teufel Hast Du Wind - 0:35
4. Die Pirateninsel Tortuga - 2:40
5. Südostpassat - 3:35
Seite B
1. Drei Brüder Aus Irland - 2:58
2. Ostindienlied - 1:05
3. Das Schiff Sind Wir
, Matrosen - 2:29
Alle Tracks: Ton Steine Scherben (Musik) und Dietmar Roberg (Lyrics).
Besetzung: Engineer [Ton]: Gert Möbius; Voice Actor [Sir Mortimer]: Rio Reiser
; Engineered At Medienzentrum Kreuzberg
Disco Inferno [>] [D]: In Dept [F]
Label und Katalognummer: Ché Trading 4
Produktion: Richard Charlton & Charlie McIntosh
Veröffentlicht: 1992 (Ed.), 1995 03 13 (US Reed.)
Genretags: Postpunk
Trackliste: 1. Entertainment - 4:50
2. Arc In Round - 4:00
3. Broken - 3:54
4. Emigre - 4:41
5. Interference - 4:33
6. Leisuretime - 3:37
7. Set Sail - 5:47
8. Hope To God - 1:43
9. Freethought - 5:31
10. Bleed Clean - 3:27
11. Next In Line - 5:04
12. Incentives - 3:30
13. Waking Up - 5:58
14. Glancing Away - 5:15
15. Fallen Down The Wir
e - 4:38
16. No Edge, No End - 5:06
Alle Tracks: Ian Crause, Paul Wilmott und Rob Whatley.
Besetzung: Artwork By [Insert Design] - Cactus
Disco Inferno [>] [D]: Science [F]
Label und Katalognummer: Ché Trading 3 T
Produktion: Richard Charlton & Charlie McIntosh
Veröffentlicht: 1991
Genretags: Postpunk
Trackliste: Seite A
1. Waking Up - 5:58
2. Glancing Away - 5:15
Seite B
1. Fallen Down The Wir
e - 4:38
2. No Edge, No End - 5:06
Alle Tracks: Ian Crause, Paul Wilmott und Rob Whatley.
Besetzung: Recorded at Cazimi, Leyton.
; Runout-grooves etchings on side A: For Those That Learn, on side B: For Those Who Know.
DJ Koze [>] [D]: Music Is Okay [F]
Label und Katalognummer: Yo Mama's Recording YPS 7032
Produktion: Verschiedene
Veröffentlicht: 2000 08 14
Genretags: Electronica - Techhouse - Minimaltechhouse
Trackliste: 1. Unknown Artist: Intro - 0:27
2. DJ Koze Präsentiert Blumfeld: Tausend Tränen Tief (Steve Bug Loverboy Remix) - 5:59
3. Egoexpress: Telefunken (Adolf Noise Remix) - 4:56
4. Fünf Sterne Deluxe: Happy Hip Hop - 7:32
5. Station 17 feat. DJ Koze: Lila Pause - 5:29
6. RAH Band: Clouds Across The Moon (Moonboots Kick Ass Mix von DJ Koze, Mario von Hacht) - 5:35
7. Der Tobi & Das Bo: Is Mir Egal (Adolf Noise Meditation) - 6:19
8. Jacques Palminger: Auf Meinem Anrufbeantworter - 0:44
9. Die Fantastischen Vier: Le Smou (DJ Koze & Mario von Hacht Instrumental) - 3:00
10. DJ Koze: KISS FM Zapern Funkspot - 0:25
11. Visit Venus: The Big Tilt (DJ Koze Remix) - 4:44
12. Die Goldenen Zitronen: Weil Wir
Einverstanden Sind (Adolf Noise Remix) - 5:02
13. Rocko Schamoni: Discoteer (DJ Koze Remix) 5:29
14. DJ Koze: Kosi In My Mind - 1:33
15. Tocotronic: Jackpot (Fischmob | Erobique Remix von Cosmic DJ, DJ Koze, Erobique) - 2:50
16. DJ Koze: Gespräch unter echten Kerlen (Koze & Das Bo) - 5:10
Besetzung: DJ Mix: DJ Koze
DJ Shadow [>] [D]: The Less You Know, The Better [F]
Label und Katalognummer: Island 2773026, Island B 0016088
Produktion: DJ Shadow
Veröffentlicht: 2011 10 03 (UK), 2011 10 04 (US)
Genretags: Post-Millennial-Music - Underground-Hip-Hop
Trackliste: 1. Back To Front (Circular Logic) - 2:05
2. Border Crossing - 3:36
3. Stay The Course (feat. Posdnuos, Talib Kweli) (Josh Davis, T. Greene, Kelvin Mercer) - 3:38
4. I've Been Trying - 3:13
5. Sad And Lonely - 3:11
6. Warning Call (feat. Tom Vek) - 3:31
7. Tedium - 2:27
8. Enemy Lines (Pagnew M. Charlton, Josh Davis, D. Sweet) - 5:23
9. Going Nowhere - 0:29
10. Redeemed - 4:27
11. Run For Your Life - 3:26
12. Give Me Back The Nights - 3:56
13. I Gotta Rokk - 6:30
14. Scale It Back (feat. Little Dragon) (E. Bodin, Josh Davis, Y. Nagano, Håkan Wir
enstrand) - 4:18
15. Circular Logic (Front To Back) - 4:55
16. (Not So) Sad And Lonely - 4:30
Bonustracks der Deluxe Ausgabe
1. Come On Riding (Through the Cosmos) - 4:48
2. Def Surrounds Us - 7:38
3. Let's Get It (Bass, Bass, Bass) - 3:42
Alle Tracks: Josh Davis ausser wo anders vermerkt.
Besetzung: Drums: Stanton Moore (8, 14)
; Remix, Producer [Additional]: Express Rising (16)
; A&R: Ross Allen
; Artwork: Tony Papesh
; Management: Jamal Chalabi
; Mastering: John Dent (1 to 3, 6 to 9, 11 to 16)
; Mastering: Tim Young (4, 5, 10)
; Mixing: Jim Abbiss (4 to 6, 8, 10, 13 to 16)
; Mixing: Mikael Eldridge (1 to 3, 11)
; Mixing [Assistant]: Brett Lind (6, 8, 14)
; Mixing [Assistant]: Rick Vargas (4 to 6, 10, 13, 16)
; Arranged, Scratches, Mixing: DJ Shadow
; Manufactured By The Verve Music Group
; Phonographic Copyright (p) Universal-Island Records Ltd.
; Copyright (c) Universal-Island Records Ltd.
DJ Shadow [>] [D]: Reconstructed: The Best of DJ Shadow [F]
Label und Katalognummer: Island 3712862
Produktion: Josh Davies & Jan Kurtis Skugstad
Veröffentlicht: 2012 09 03 (Ed.)
Genretags: Electronica - Breakbeat - Turntablism, Electronica - Breakbeat - Downtempo, Hip-Hop - Underground-Hip-Hop - Instrumental-Hip-Hop
Trackliste: CD 1
1. Midnight In A Perfect World (Extended Vision) - 9:48
2. High Noon - 3:58
3. I've Been Trying - 3:12
4. This Time (I'm Gonna Try It My Way) - 3:03
5. DJ Shadow feat. Little Dragon: Scale It Back (Single Edit) (Erik Bodin, Josh Davis, Yukimi Nagano, Fredrik Wallin, Håkan Wir
enstrand) - 3:39
6. DJ Shadow feat. Terry Reid: Listen (Josh Davis, Terence Reid) - 2:59
7. Stem (Single Edit) - 3:26
8. Six Days (Patrick Campbell-Lyons, Josh Davis, Alex Spyropolous) - 5:00
9. Won't You Be - 3:36
10. Organ Donor (Extended Overhaul) - 4:27
11. UNKLE feat. Richard Ashcroft: Lonely Soul (7'' Version) - 4:20
12. Blood On The Motorway (Richard Ashcroft, Josh Davis, Wil Malone) - 8:16
13. DJ Shadow feat. Chris James: You Made It - 2:44
14. Redeemed (Josh Davis, Chris James) - 4:26
Alle Tracks: Josh Davis, ausser wo anders vermerkt.
CD 2
1. Lost And Found (S.F.L.) - 10:06
2. Hindsight - 6:54
3. Building Steam With A Grain Of Salt - 6:40
4. You Can't Go Home Again - 7:03
5. DJ Shadow feat. Heliocentrics, The: Skullfuckery - 4:51
6. Hardcore (Instrumental) Hip-Hop - 4:41
7. DJ Shadow feat. Divine Styler: Divine Intervention - 5:17
8. I Gotta Rokk - 6:29
9. DJ Shadow feat. David Banner: Seein' Thangs - 3:39
10. UNKLE feat. Thom Yorke: Rabbit In Your Headlights - 6:16
11. Dark Days (Main Theme) - 4:30
Besetzung: Jim Abbiss: Engineer, Mixing
; The Automator: Assistant
; Count: Percussion
; John Dent: Mastering Assembly
; DJ Shadow: Arranger, Beats, Engineer, Mixing, Scratching, String Arrangements
; Mikael \'Count\' Eldridge: Engineer, Mixing
; Jesse Gladstone: Assistant
; The Heliocentrics: Musician
; Joe Hirst: Assistant
; Trevor Jackson: Art Direction, Design
; Chris James: Engineer, Featured Artist, Mixing
; Brett Lind: Assistant
; Little Dragon: Featured Artist
; The London Session Orchestra: Strings
; Wil Malone: Conductor, String Arrangements, String Conductor
; Sie Medway-Smith: Vocal Engineer
; Stanton Moore: Drums
; Terry Reid: Featured Artist
; George Renwick: Assistant
; Alex Reverbi: Assistant
; Phil Rose: String Engineer
; Robert Jan Stips: Organ
; Dave Tompkins: Liner Notes
; Neil Tucker: Assistant
; UNKLE: Vocal Engineer
; Rick Vargas: Assistant
; Max Weisenfelt: Arranger
DJ Soul Slinger [>] [D]: Upload: A Continuous Mix [F]
Label und Katalognummer: Jungle Sky JSK 142
Produktion: DJ Soul Slinger
Veröffentlicht: 1998 10 27
Genretags: Electronica - Breakbeat - Illbient
Trackliste: 1. DJ Soul Slinger: It Sounds...
2. DJ Soul Slinger: Jungle Sky Prelude
3. DJ Soul Slinger: We D'Nation
4. Ming & FS: Face Down
5. Tube: There And Then
6. DJ Soul Slinger: Twice My Age Interlude
7. 1.8.7. / Drunken Hoodlumz: Rock The Party / Layin' Low
8. DJ Soul Slinge: StealDaFunkFromDaPunk / Don't Believe
9. DJ Soul Slinger: Go To Go
10. 1.8.7.: Konkrete Jungle
11. DJ Soul Slinger: Keep It Underground Interlude
12. Chico Science & Nacao Zumbi: Eu Tambem Sou Caranguejo Na Cidade (Soul Slinger Remix)
13. DJ Soul Slinger / Suba: M.A.U. #1
14. Swirlies: Protect Yourself From Aliens (Soul Slinger Remix)
Besetzung: DJ Mix - DJ Soul Slinger
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Duo Walti und Werni [>] [D]: Das git Stimmig [F]
Assoziierte Acts: Walti und Werni
Label und Katalognummer: Helvetia H 121
Genretags: Europeana - Schlager - Volkstümlicher-Schlager
Trackliste: Seite A
1. Adieuwohl Frau Stirnimaa -
2. Nach Dr Sachste Bier -
3. Das Git Stimmig -
4. Was Isch Hüt Modarn -
5. Im Leute Z'Sihlbrugg -
6. Appizaller Operette -
Seite B
1. Jetz Wir
d's Luschtig -
2. Walti U Werni Si Im Schuss -
3. Schnyder Ballade -
4. Das Isch Zum Lache -
5. Gepsi-Schottisch -
6. Jupi Jei, Jupi Jei -
Besetzung: Mastering: Franz Sutter
; Pressed By Turicaphon AG
; Mastered At Tonstudio Max Lussi, Basel
Ecstatic Sunshine [>] [D]: Freckle Wars [F]
Label und Katalognummer: Carpark CRPK 033
Veröffentlicht: 2006 09 04
Genretags: Indiepop - Electronicpop - Indietronica
Trackliste: 1. Ramontana - 3:02
2. Beetle - 1:43
3. Tuscan - 3:12
4. Freckle Wars - 1:59
5. Wavechop - 2:05
6. Pocketknife - 1:30
7. Perrier - 2:45
8. Golden Rule - 2:49
9. Swirling Hearts - 2:55
10. Goose - 3:17
11. Power Ring - 2:40
12. Little Big Dipper - 3:19
Besetzung: Artwork By - Nicholas Gottlund
; Guitar - Dustin Wong, Matt Papich
; Mastered By - Rusty Santos
Edgar Broughton Band [>] [D]: Bandages [F]
Assoziierte Acts: Broughtons
Label und Katalognummer: NEMS NEL 6006
Produktion: Edgar Broughton Band
Veröffentlicht: 1976 95
Genretags: Rock - Poprock - Progressivepoprock
Trackliste: Seite A
1. Get A Rise (Edgar Broughton) - 4:58
2. Speak Down The Wir
es (Edgar Broughton) - 3:09
3. John Wayne (Edgar Broughton) - 3:08
4. The Whale (Edgar Broughton) - 5:29
5. Germany (Edgar Broughton) - 4:31
6. Love Gang (Edgar Broughton, Steve Broughton) - 2:53
Seite B
1. One To Seven (Edgar Broughton) - 4:57
2. Lady Life (Edgar Broughton) - 3:03
3. Signal Injector (Edgar Broughton) - 4:00
4. Frühling Flowers (For Claudia) (Steve Broughton) - 5:00
5. I Want To Lie (Arthur Grant, Edgar Broughton) - 4:34
Besetzung: Engineer: Bjørn Lillehagen
; Mastering: George Peckham
; Mixing [Remixed By]: Edgar Broughton
; Mixing [Remixed By]: Mike Oldfield
; Mixing [Remixed By]: Steve Broughton
; Photography: Bertil Christensen
; Photography: Per Nybø
; Phonographic Copyright (p) NEMS
; Published By Weemeenit
; Published By Blackhill Music
; Recorded At Arne Bendiksen Studio
; Remixed At Kington Studio
; Mastered At Master Room
; Printed By Garrod & Lofthouse Ltd.
Egoexpress [>] [D]: Hot Wire My Heart [F]
Label und Katalognummer: Ladomat 2000 2171
Produktion: Mense Reents & Jimi Siebels
Veröffentlicht: 2005 08 06
Genretags: Electronica - House
Trackliste: 1. Aranda - 3:18
2. I'm In The Army Now - 5:31
3. Knartz IV - 5:32
4. Pay The Beat - 4:11
5. Hot Wir
e My Heart - 5:46
6. Everybody - 6:50
7. Drehwinkel - 4:23
8. Braune Brücke - 6:22
9. Dumkraft - 5:18
10. a) Links Eine Hand - 4:37, b) Springfield - 4:21
Video
1. We Are Here
Alle Tracks: Jimi Siebels, Mense Reents.
Besetzung: Mastered By - Chris von Rautenkranz
; Photography [Page 4] - Katja Ruge
; Photography [Page 7 Taken From A Videostill] - Stefan Lampadius
; Mixed By - DJ Phono, Egoexpress (1)
; Vocals - Bianca Gabriel (1)
; Mixed By - DJ Phono, Egoexpress (3)
; Mixed By - DJ Phono, Egoexpress (4)
El Deux [>] [D] & Martin Kraft [>] [D]: Best Of [F]
Label und Katalognummer: HardBeat Records HB 2054
Veröffentlicht: 2002
Genretags: Postpunk - Electronic-Postpunk - NDW
Trackliste: 1. Computer-Mädchen - 4:40
2. Mädchen (Lass Das Sein) - 4:07
3. Mein Ding - 3:42
4. Ich Möcht' Ich Wär' 1 Millionär - 4:00
5. 50 Jahr, Blondes Haar - 3:56
6. Gangster Tscha Tscha - 3:49
7. Gletscher - 6:10
8. Wir
Tanzen - 6:34
9. Spieglein, Spieglein - 4:05
Bonustracks
10. Video King - 3:37
Besetzung: Design, Graphics: United Visions
; Distributed By ZYX Music
; Phonographic Copyright (p) Fresh Music
; Phonographic Copyright (p) HardBeat Records (2)
; Copyright (c) Fresh Music
; Copyright (c) HardBeat Records (2)
Electronic Eye [>] [D]: The Idea Of Justice [F]
Label und Katalognummer: Beyond RBADCD 14
Produktion: Richard H. Kirk
Veröffentlicht: 1995 10 20
Genretags: Electronica - IDM
Trackliste: 1. X Scan - 2:39
2. Interchange - 10:46
3. In The Hearts Of Wildmen - 8:45
4. Red Star Over Qubah - 7:31
5. Silence Of Night - 8:19
6. Hotwire - 9:00
7. Inta-stellar - 7:05
8. Black Star (Crystal Speaks) - 14:02
9. Stretching Zero - 7:38
Alle Tracks: Richard H. Kirk.
Besetzung: Arranged: Electronic Eye
; Artwork [Images]: Richard H. Kirk
; Artwork [Images]: Zero Design
; Phonographic Copyright (p) Beyond Records (5)
; Copyright (c) Beyond Records (5)
; Distributed By Pinnacle (3)
; Distributed By Pias
; Distributed By EFA
; Recorded At Western Works
; Mixed At Western Works
; Glass Mastered At Nimbus
Eleh [>] [D]: Retreat, Return, Repose [F]
Label und Katalognummer: Important Records IMPREC 369
Produktion: Eleh
Veröffentlicht: 2012 12
Genretags: Electronica - Dronetronica
Trackliste: CD 1: Retreat
1. W1SIP/Operating Position -
2. W1SIP In The Sun -
3. Brain Camp -
4. Wir
es In The Woods -
5. Prayer For Departure -
CD 2: Return
1. Indictiva -
2. Music For Jan Wilsgaard -
3. Dawn Fade Dub -
4. Dawn Fade For Serge Modular -
CD 3: Repose
1. Circle Two: Coastal Rotation For Dune Loop -
Alle Tracks: Eleh.
Besetzung: Pressed By GZ Digital Media
Elephant Chateau [>] [D]: Offshore Drilling [F]
Label und Katalognummer: BOY (Because Of You) BOY 010
Veröffentlicht: 1989
Genretags: Newpop - Artpop
Trackliste: 1. She Had Hair - 2:26
2. Semmelweis - 4:24
3. How To Fall In Big City - 2:58
4. Strange Days (Doors) - 3:56
5. J'aime Rien - 4:14
6. La Fin - 1:36
7. 1.03 Cm Above Their Heads - 3:34
8. Not All The Day - 4:44
9. Nebellied - 3:35
10. Wir
Fangen Mit Arbeit An - 4:09
11. Cathedral 1 - 1:02
Elevators [>] [D]: Frontline [F]
Label und Katalognummer: Arista AB 4270
Produktion: Earle Mankey
Veröffentlicht: 1980
Genretags: Alternativerock - Poprock - NewWave
Trackliste: Seite A
1. Frontline (T. Myers) - 3:21
2. Girlfriend's Girlfriend (A. Kennedy) - 2:52
3. Stop The World (A. Kennedy) - 3:03
4. Stickball Kids (A. Kennedy) - 3:37
5. Lie Detector (T. Myers) - 2:32
6. Don't Let Me Die (J. Clark) - 3:29
Seite B
1. Tropical Fish (A. Kennedy) - 3:09
2. Lies (J. Clark) - 3:22
3. Johnny Train Your Mind (T. Myers) - 2:56
4. Friends (A. Kennedy) - 3:16
5. On The Wir
e (T. Myers) - 3:57
Besetzung: Art Direction: Ria Lewerke
; Bass: Jerry Ellis
; Design: Lenning Stern
; Drums, Vocals: William Benjamin
; Engineer: Earle Mankey
; Engineer: Tori Swenson
; Guitar, Vocals: John Clark (27)
; Guitar, Vocals: Z. Kennedy
; Photography: Gary Regester
; Vocals, Keyboards: Tom Myers
Elvis Costello [>] [D] & Roots [>] [D]: Wise Up Ghost And Other Songs [F]
Label und Katalognummer: Blue Note, B 001874802
Produktion: Elvis Costello & Steven Mandel & Ahmir '?uestlove' Thompson
Veröffentlicht: 2013 09 17
Genretags: Alternativerock - Singer-Songwriter
Trackliste: 1. Walk Us Uptown - 3:22
2. Sugar Won't Work - 3:31
3. Refuse to Be Saved - 4:26
4. Wake Me Up - 5:53
5. Tripwire - 4:28
6. Stick Out Your Tongue - 5:27
7. Come the Meantimes - 3:52
8. (She Might Be a) Grenade - 4:35
9. Cinco Minutos Con Vos - 5:01
10. Viceroy's Row - 5:01
11. Wise Up Ghost - 6:26
12. If I Could Believe - 3:58
Alle Tracks: Evis Costello.
Besetzung: Marisol \'La Marisoul\' Hernandez: Featured Artist, Translation, Vocals
; ?uestlove: Drums
; Ray Angry: Bells, Clavinet, Farfisa Organ, Keyboards, Organ, Piano
; Robert Berg: Viola
; Sally Berman: Violin
; Diane Birch: Vocals (Background)
; Damon Bryson: Sousaphone
; Alex Budman: Clarinet (Bass)
; Matt Cappy: Flugelhorn, Horn Arrangements, Trumpet
; Mark Cargill: Violin
; Bob Carr: Bassoon, Contrabassoon
; Mike Cashin: Assistant Engineer
; Danny Clinch: Photography
; Steve Cook: A&R
; Elvis Costello: Ampeg Baby Bass, Guitar (Baritone), Guitar (Distortion), Guitar (Rhythm), Horn Arrangements, Melodica, Organ, Piano, Vocals, Wah Wah Guitar, Wurlitzer Piano
; Drew Dembowski: Bass
; Kirk Douglas: Guitar, Guitar (Acoustic), Guitar (Electric), Guitar (Rhythm), Vocals
; Assa Drori: Concert Master, Contractor
; Eric Eylands: Production Assistant
; Chris Farr: Flute, Horn Arrangements, Saxophone
; Mike Ferrill: Violin
; Brent Fischer: Conductor, Orchestration
; The Brent Fischer Orchestra: Featured Artist
; Sam Fischer: Violin
; Nicole Frantz: Creative Director
; Alex Gorlovsky: Violin
; Ben Greenman: Liner Notes
; Zach Hochkeppel: Product Manager
; Keith Horn: Production Assistant
; Steve Hughes: Euphonium
; Guadalupe Jolicoeur: Translation
; Roland Kato: Viola
; Mark Kelley: Bass
; Anna Kostyuchek: Violin
; Sebastián Krys: Vocal Engineer
; Dave Kutch: Mastering
; Steve Mandel: Engineer, Horn Arrangements, Mixing, Producer
; Miguel Martinez: Cello
; Colin Nairne: Session Coordinator
; Pino Palladino: Bass
; Kazi Pitelka: Viola
; James Poyser: Keyboards, Piano
; Bill Reichenbach: Contrabass Trombone, Euphonium, Tuba
; Korey Riker: Horn Arrangements, Sax (Baritone), Sax (Tenor), Saxophone
; Frank Rodriguez: Production Assistant
; Felix Romero: Production Assistant
; The Roots: Primary Artist
; Claris Sayadian-Dodge: Production Assistant
; Coco Shinomiya: Art Direction
; Brendan Steele: Assistant Engineer
; Richard Stolz: Vocal Engineer
; Ahmir Thompson: Composer, Producer
; Kevan Torfeh: Cello
; Cecilia Tsan: Cello
; Frank "Knuckles" Walker: Bells, Chimes, Percussion, Tambourine
; Don Was: A&R
; Ken Wild: Bass
; Elizabeth Wilson: Violin
; Eli Wolf: A&R
Emptyset [>] [D]: Collapsed [F]
Label und Katalognummer: Raster-Noton RN 116
Veröffentlicht: 2012 10
Genretags: Electronica
Trackliste: 1. Armature - 4:14
2. Core - 3:09
3. Collapse - 3:53
4. Wir
e - 3:16
Alle Tracks: https://musicbrainz.org/release/25834023-aeb5-4f8c-8016-162c77b077e4.
Enduser [>] [D]: Form Without Function [F]
Label und Katalognummer: Hymen 750
Veröffentlicht: 2006 06 20
Genretags: Electronica - Breakbeat - Breakcore
Trackliste: 1. Enduser - Fallen (5:08)
2. Enduser - Hidden Wrath (6:38)
3. Enduser - Bare Knuckles (3:38)
4. Enduser - Wir
es And Pins (4:38)
5. Enduser - Final Judgment (6:44)
6. Enduser - Keep Telling (6:38)
7. Speaker Wrath - The Choke (Enduser Remix) (7:14)
8. Enduser - The Plan (Additional Producer: Submerged) (4:33)
9. Enduser - Faceless (3:10)
10. Enduser - On Point (2:53)
11. Enduser - One Two (Additional Production: Silentkiller, Somatic Responses) (5:27)
12. Enduser - By A Thread (3:49)
Ernst Molden [>] [D] & Der Nino aus Wien [>] [D]: Unser Österreich [F]
Label und Katalognummer: monkey. MONCD 124
Veröffentlicht: 2015 03 13
Genretags: Post-Millennial-Music - Poprock
Trackliste: 1. Jo, da Foi wiad imma glora (Georg Danzer) - 2:40
2. De Spur von dein nokatn Fuass im Saund - 2:54
3. Nachtflug (Harald Kloser, Thomas Schobel, Johann Hölzel) - 4:29
4. Der Zwerg - 6:04
5. Ganz Wien (Falco) - 2:54
6. Und dann bin i ka Liliputaner mehr - 3:03
7. Wie wird des weitergehn (Wolfgang Ambros) - 3:49
8. Vorstadtcasanova (Georg Danzer) - 4:13
9. Espresso (Wolfgang Ambros, Thelonius Anbiss, Hugo Khittl) - 4:54
10. Tschik - 2:53
11. Aum Spülplotz (Schön is des Lebn) - 3:08
12. Im grünen Wald von Mayerling - 3:48
Besetzung: Distributed By Rough Trade
Esta [>] [D]: Mediterranean Crossroads [F]
Label und Katalognummer: Newance 330036
Produktion: Steve Boyer & Esta
Veröffentlicht: 1996
Genretags: Jazz - Fusion - Worldjazzfusion
Trackliste: 1. Go-Go (Shlomo Deshet) - 6:26
2. Turkish Western (Ori Beanstock) - 7:10
3. The Iraqis (Shlomo Deshet) - 8:08
4. Monkey's Paradise (Ori Beanstock) - 5:28
5. Oy Vey (Traditional Hassidic) - 5:25
6. Night Sail (Ori Beanstock, Bentzi Gafni) - 2:10
7. Why-Y (Ori Beanstock) - 5:21
8. Zumzum (Shlomo Deshet, Amir Gwirtzman) - 4:39
9. Deror Yik'ra (Traditional Yemnenite) - 3:40
10. Deep In The Sea (Shlomo Deshet) - 5:42
Besetzung: Arranged: Esta (11) (1, 2, 3, 4, 6, 7, 8, 10)
; Arranged: Shlomo Deshet (5, 9)
; Produced For More Productions B. P. Ltd.
Evan Caminiti [>] [D]: Meridian [F]
Label und Katalognummer: Thrill Jockey THRILL 393
Veröffentlicht: 2015 06 16
Genretags: Electronica - Ambient
Trackliste: 1. Overtaken - 1:25
2. Curtains - 5:30
3. Collapse - 5:28
4. Arc - 5:27
5. Steam - 4:14
6. Wir
e - 4:13
7. Excelsior - 5:53
8. Signal - 4:09
9. Mercury - 5:01
Alle Tracks: Evan Caminiti.
Besetzung: Artwork [Images]: Paul Clipson
; Mastering: Andreas Lubich
; Produced At Fog Border
; Produced At Liminal Sound
; Mixed At Fog Border
; Mixed At Liminal Sound
; Mastered At Calyx Mastering
Ewan Pearson [>] [D]: We Are Proud Of Our Choices [F]
Label und Katalognummer: Kompakt 078
Produktion: Verschiedene
Veröffentlicht: 2010 02 16
Genretags: Electronica - Techhouse - Minimaltechhouse
Trackliste: 1. Lemonade: Bliss Out (Gold Panda Remix) / Pitch & Hold: We Have Come to Bless Dave Smith - 2:26
2. A Ldric: Birds on Tree - 2:50
3. Rmnvn: Uno - 3:59
4. Lusine: Cirrus - 5:58
5. Wah-cHU-kU: T Times Too - 2:42
6. Yukihiro Fukutomi / Foog: Open Our Eyes (12 Inch Version) - 4:28
7. KiNK & Neville Watson: Full Flight - 6:30
8. Taron-Trekka: Shiroi - 4:59
9. Hot Natured: Equilibrium - 2:00
10. DXR: Fader Pushing Sunday - 4:44
11. Yosa: Margaret - 3:58
12. Gregor Tresher: The Life Wir
e (Petar Dundov Variation) - 4:49
13. Xenia Beliayeva: Analog Effekt - 4:43
14. Chris Fortier: Sunday Is a Travel Day (Ink and Needles Skybed Remix) - 4:20
15. Al Usher: Silverhum (John Talabots Wilderness Remix) - 5:34
16. B.D.I.a: City & Industry (World Balloon Dub Mix) - 4:24
17. Little Dragon: Fortune (World of Apples Cosmic Edit) - 3:43
18. Bot'Ox: Blue Steel - 2:51
Besetzung: DJ Mix: Ewan Pearson
; Sleeve: Tristan & Justine
Ex [>] [D]: Joggers & Smoggers [F]
Label und Katalognummer: Ex 040/041 D
Produktion: Dolf Planteijdt
Veröffentlicht: 1989
Genretags: Jazz - Avantgardejazz
Trackliste: CD 1
1. Humm (The Full House Mumble) - 2:48
2. At the Gate - 3:08
3. Pigs & Scales - 2:34
4. Coughing - 2:05
5. Morning Star - 2:22
6. Wall Has Ears - 1:55
7. Invitation to the Dance - 5:03
8. Tightly Stretched - 2:35
9. Ask the Prisoner - 1:12
10. To Be Clear - 2:06
11. Gentlemen - 2:53
12. Make That Call - 1:47
13. The Buzzword Medley - 5:07
14. Shopping Street - 2:12
15. Crackle Engines Vrôp Vrôp - 6:57
16. Greetings From Urbania - 0:52
CD 2
1. Wir
ed - 1:13
2. Got Everything? - 2:10
3. Waarom niet - 1:40
4. Courtyard - 2:14
5. Burst!Crack!Split! - 0:59
6. Brickbat - 2:59
7. Hieronymus - 1:25
8. Nosey Parker - 0:54
9. People Who Venture - 3:54
10. Watch the Driver - 1:52
11. Let's Get Sceptical - 3:50
12. Tin Gods - 2:33
13. The State of Freedom - 5:33
14. Provisionally Untitled - 2:59
15. Kachun-K Pschûh - 3:42
16. The Early Bird's Worm - 3:48
17. Catkin - 1:24
18. Upstairs With Picasso - 3:29
Besetzung: Terrie (guitar)
; G.W. Sok (vocals)
; Luc (bass)
; Katrin (drums, vocals)
; Additional instruments: grill, birdcage, double-bass, fire-extinguisher + hammer, bamboos, piano, electric razor, dobro, spoons, human beatbox, wire, glass, castanets, bow, crackle-box, cowbells, kabassa.
; Wilf Plum (organ tk 2, drums tk 3, 21, 24, birdcage tk 3, voice tk 12, bodhran tk 23, kabassa tk 26, bamboos tk 27, spoons tk 32, backing-vocals tk 31)
; Jeroen (birdcage tk 3, voice tk 12, 23, backing-vocals tk 31, piano-sequenzer tk 12, various soundscapes)
; Dolf (guitar tk 2, acoustic guitar tk 5, voice tk 24, space-stations tk 26)
; Ab Baars (saxophones tk 14, 15, 18, 32, 34)
; Bram (guitar tk 10, 34)
; Doan Gurkensalat (saz tk 9)
; Dorpsoudste de Jong (voice tk 1, 19)
; Ferrie Meurkerrie (trumpets, trombones tk 22)
; Floris van Manen (control-programma orkaterdrum tk 20)
; Gabi Kenderesi (voice, violin tk 16)
; Gerhard Bornefeld (piano tk 33)
; Harry Roberts (bamboos tk 27, backing-vocals tk 31)
; Jeroen de Groot (bagpipes tk 2, 7)
; Lee Ranaldo (guitar tk 8)
; Lena (accordion, voice tk 20)
; Nick Hobbs (voice tk 27, announcement tk 25)
; Thurston Moore (guitar tk 11)
; Thijs Vermeulen (bass tk 6,17,21)
; Wolter Wierbos (trombone tk 14, 15, 18, 32)
; Recorded at ADM\'s Koeienverhuurbedrijf, Amsterdam, Netherlands.
Extrabreit [>] [D]: Zurück aus der Zukunft [F]
Label und Katalognummer: Metronome 843 320
Produktion: Extrabreit & Manfred Neuner & Christian Schneider
Veröffentlicht: 1990 (Ed.)
Genretags: Postpunk - Artpop - NDW
Trackliste: 1. Hurra, Hurra, Die Schule Brennt - 2:35
2. Flieger, Grüß Mir Die Sonne - 2:53
3. Hart Wie Marmelade - 3:01
4. Salome - 2:34
5. 3-D - 2:14
6. Lotto-König - 1:56
7. Extrabreit - 1:46
8. Kokain - 2:46
9. Der Präsident Ist Tot - 6:24
10. Junge, Wir
Können So Heiß Sein - 4:39
11. Polizisten - 5:22
12. Alptraumstadt - 2:42
13. Annemarie - 1:47
14. Glück Und Geld - 3:57
15. Kleptomania - 4:20
16. Der Führer Schenkt Den Klonen Eine Stadt - 3:03
17. Superhelden - 4:03
18. 110 - 4:59
19. Allegro Für Annemarie - 2:02
20. Flieger, Grüß Mir Die Sonne (Remix) - 2:53
Besetzung: Producer: Christian Schneider (11) (1, 2, 3, 6, 7, 10, 12, 13, 14, 18)
; Producer: Extrabreit (4, 5, 8, 9, 11, 15, 16, 17, 19)
; Producer: Manfred Neuner (4, 5, 8, 9, 11, 15, 16, 17, 19)
; Distributed By Polygram Musik Vertrieb
; Record Company Metronome Musik GmbH
Label und Katalognummer: Selbstrelease
Veröffentlicht: 2010 11 02
Genretags: Electronica - Progressive-Electronic-Music - Vaporwave
Trackliste: 1. Computer - 2:18
2. Water + Squid - 2:47
3. Breeze - 1:52
4. Wir
es - 1:39
5. Silky Sheets - 1:00
6. Smoke - 0:38
7. Relax - 1:35
8. Memory - 1:24
9. Eye - 1:08
10. Skin Glow - 2:05
11. Fountain - 2:43
12. Ancient Fish - 1:07
13. Fade - 1:29
14. Clouds - 0:54
15. Yeah - 1:09
16. Tones - 3:08
17. Dont Sleep - 1:22
18. Still Awake - 3:53
F.S.K. [>] [D]: Bei Alfred [F]
Label und Katalognummer: ZickZack ZZ 1995
Produktion: Dale Griffin & Detlef Diederichsen & F.S.K.
Veröffentlicht: 1995 (Ed.)
Genretags: Postpunk - Artpop - NDW
Trackliste: CD 1
1. I Wish I Could 'Sprechen Sie Deutsch'(William Scott) - 4:24
2. Liebe tut weh - 2:08
3. Jodler für Sonny Sharrock - 3:38
4. Eingeschlagene Schaufenster - 2:58
5. Blue Yodel für Herbert Wehner - 3:43
6. Wir
gehen in den Zoo - 2:59
7. Yankee Goes Home - 4:15
8. Fragen der Philosophie (Völkerball) - 4:39
9. Was kostet die Welt - 3:16
10. Drunk (Jimmy Liggins) - 3:16
11. 'M' wie München - 3:39
12. Coda - 2:19
13. Gudrun E - 1:06
14. La Strada - 2:49
15. Striptease Blues - 4:05
16. Otto Hahn in Stahlgewittern - 2:52
17. Viel zu viel - 3:51
18. Moderne Welt - 5:00
19. Hymne - 3:36
20. Bahnsteig Walzer - 3:12
21. Liebe im Hotel - 2:48
22. Walzer für Charles Sealsfield - 2:31
CD 2
1. Batgirl - 3:01
2. In Mogadischu - 1:21
3. Lieber ein Glas zuviel - 3:47
4. Herz aus Stein - 3:25
5. Pennsylfawnisch Schnitzelbank (Trad. arr. F.S.K. 4:07
6. Ein Kind für Helmut - 2:00
7. My Funny Valentine (Lorenz Hart, Richard Rodgers) - 5:31
8. Musikaner 3-4-Go! - 4:02
9. Gesundheit - 2:03
10. Lob der Kybernetik - 3:24
11. Trink wie ein Tier - 3:37
12. Herzschuss Melodie - 6:22
13. Ave Caesar - 3:54
14. Ich habe Migräne - 1:54
15. Bokassa in San Francisco - 2:43
16. Tu den Strand - 0:36
17. Frau mit Stiel - 5:13
18. Kleiner Polizist - 2:29
19. Die Erfindung des Blues - 3:44
20. Move Ahead - 2:43
21. Venus im Pelz #2 - 4:08
22. A Swingin' Safari (Bert Kaempfert) - 3:06
Written By: Justin Hoffmann, Thomas Meinecke, Michaela Melián und Wilfried Petzi, ausser wo anders vermerkt.
Besetzung: Bass, Cello, Violin, Flute [Blockflöte], Melodica, Organ, Synthesizer [Casio], Electronic Drums [Rhythmusbox], Gong [Chinesischer Gong], Vocals [Singen]: Michaela Melián
; Guitar, Banjo, Organ, Piano, Clavinet, Synthesizer [Casio], Xylophone, Accordion, Harmonica, Performer [Basolett], Tambourine, Electronic Drums [Rhythmusbox], Vocals [Singen]: Justin Hoffmann
; Guitar, Guitar [Hawaiigitarre], Mandolin, Cornet, Organ, Percussion, Tambourine, Drums, Tape [Tonbandkasten], Performer [Automobil], Electronic Drums [Rhythmusbox], Vocals [Singen, Jodeln], Whistling [Pfeifen]: Thomas Meinecke
; Guitar, Mandolin, Banjo, Resonator Guitar [Dobro], Trombone, Melodica, Toy [Tiere], Performer [Stimmgerät], Drums, Tambourine, Vocals [Singen, Jodeln], Whistling [Pfeifen]: Wilfried Petzi
; Producer: Dale Griffin (1-10, 2-3, 2-11, 2-22)
; Producer: Detlef Diederichsen (1-7, 1-15, 1-20, 2-13)
; Producer: F.S.K. (1-2 to 1-6, 1-8, 1-9, 1-11 to 1-14, 1-16 to 1-19, 1-21 to 2-2, 2-4 to 2-10, 2-12, 2-14 to 2-21)
; Distributed By Indigo (2)
; Recorded At Klaus Pol-Land Studio
; Recorded At Cool Cat Studio
; Recorded At Heute-Studio
; Recorded At Studio Harderberg
; Recorded At Maida Vale Studios
; Recorded At Offbeat Studios
; Recorded At Ultraschall Studios
Fairmont [>] [D]: Paper Stars [F]
Label und Katalognummer: Traum Schallplatten TRAUM 10
Produktion: Jake Fairley
Veröffentlicht: 2002 11
Genretags: Electronica - Ambient
Trackliste: 1. Paper Stars - 5:29
2. Twirling - 4:04
3. Love Note - 5:30
4. Kinmount - 4:54
5. True North - 6:25
6. Last Words - 4:17
7. Inside - 5:14
8. Ignore Me - 3:18
9. Meddle - 4:39
10. Olive Oil - 3:53
Video
1. Last Words - 3:51
Alle Tracks: Jake Fairley.
Besetzung: A&R: Riley Reinhold
; Cover [Cover Design]: Jacqueline Klein
Fairport Convention [>] [D]: Heyday - BBC Radio Sessions 1968-69 [F]
Assoziierte Acts: Richard Thompson & Sandy Denny
Label und Katalognummer: Hannibal Records HNCD 1329, Island Remasters IMCD 290
Produktion: Bernie Andrews & Johnny Beerling & Keith Stewart
Veröffentlicht: 1987 09 (Ed.), 2002 03 04 (Reed.), 1969-68 (Rec.)
Genretags: Rock - Folkrock - British-Folkrock
Trackliste: 1. Close the Door Lightly When You Go (Eric Andersen) - 2:56
2. I Don't Know Where I Stand (Joni Mitchell) - 3:40
3. Some Sweet Day (Boudleaux Bryant, Felice Bryant) - 2:18
4. Reno, Nevada (Richard Fariña) - 2:18
5. Suzanne (Leonard Cohen) - 5:27
6. If It Feels Good, You Know It Can't Be Wrong (Ashley Hutchings, Richard Thompson) - 3:12
7. I Still Miss Someone (Johnny Cash, Roy Cash) - 2:37
8. Bird on a Wir
e (Leonard Cohen) - 2:36
9. Gone, Gone, Gone (Don Everly, Phil Everly) - 2:10
10. Tried So Hard (Gene Clark) - 2:48
11. Shattering Live Experience (Simon Nicol) - 3:19
12. Percy's Song (Bob Dylan) - 5:34
Bonustracks der Extended Ausgabe von 2002
1. You Never Wanted Me - 3:19
2. Nottamun Town - 3:37
3. Fotheringay - 3:02
4. Si Tu Dois Partir - 2:29
5. Cajun Woman - 2:47
6. Autopsy - 4:27
7. Reynardine - 4:24
8. Tam Lin - 7:49
Besetzung: Bass: Ashley Hutchings
; Compiled By: Ashley Hutchings, Frank Kornelussen, Joe Boyd
; Design: Phil Smee
; Drums: Martin Lamble
; Guitar: Richard Thompson
; Guitar: Simon Nicol
; Liner Notes: Joe Boyd
; Producer: Bernie Andrews (1-3, 5, 6, 9, 12), Johnny Beerling (8) und Keith Stewart (4, 7, 10, 11)
; Post Production: Edward Haber
; Vocals: Iain Matthews
; Vocals: Richard Thompson
; Vocals: Sandy Denny
Fall [>] [D]: Slates / A Part Of America Therein [F]
Label und Katalognummer: Rough Trade RT 071, Dojo LOMA 10
Produktion: Fall & Mark E. Smith & Adrian Sherwood & Grant Showbiz & Geoff Travis
Veröffentlicht: 1981 04 24, 1992 12 (Reed.)
Genretags: Rock - Punkrock - Artpunk
Trackliste: Seite A
1. Middle Mass (Steve Hanley, Marc Riley, Craig Scanlon, Mark E. Smith) - 3:32 ()
2. An Older Lover Etc. (Paul Hanley, S. Hanley, Riley, Scanlon, Smith) - 4:36
3. Prole Art Threat (Riley, Smith) - 1:57
Seite B
1. Fit and Working Again (Riley, P. Hanley, S. Hanley, Smith) - 2:59
2. Slates, Slags, Etc. (The Fall) - 6:34
3. Leave the Capitol (Riley, Scanlon, S. Hanley, Smith) - 4:07
Bonustracks der CD Ausgabe von 1992
1. The N.W.R.A. (live) - 10:57
2. Hip Priest (live) - 7:58
3. Totally Wir
ed (live) - 4:06
4. Lie Dream of a Casino Soul (live) - 2:57
5. Cash 'n' Carry (live) - 6:42
6. An Older Lover (live) - 6:51
7. Deer Park (live) - 4:30
8. Winter (live) - 7:35
Besetzung: Bass, Acoustic Guitar, Vocals: Stephen Hanley
; Clarinet, Vocals: Dave Tucker
; Drums, Percussion: Paul Hanley
; Electric Guitar, Acoustic Guitar, Piano: Craig Scanlon
; Electric Guitar, Electric Piano, Vocals: Marc RIley
; Engineer: Bob Sargeant
; Engineer: Nobby Turner
; Lacquer Cut By: Porky
; Plated By: Arthur Owen
; Producer: Adrian Sherwood (A1)
; Producer: Geoff Travis (A1)
; Producer: Grant Showbiz (A2, A3)
; Producer: Grant Showbiz (B1 to B3)
; Producer: Mark E. Smith (A2)
; Producer: The Fall (A1, A3)
; Producer: The Fall (B1 to B3)
; Vocals, Kazoo: Kay Carroll
; Vocals, Piano, Harmonica: Mark E. Smith
; Published By Fall Music Publishers Ltd.
; Published By Cavalcade Music Ltd.
; Lacquer Cut At Portland Studios
; Pressed By Lyntone Recordings Ltd.
; Pressed By Lyntone Recordings Ltd.
Fall [>] [D]: Grotesque (After the Gramme) [F]
Label und Katalognummer: Rough Trade ROUGH 018, Castle Music CMRCD 883
Produktion: Fall & Grant Showbiz & Mayo Thompson & Geoff Travis
Veröffentlicht: 1980 11, 2004 03 15 (Reed.)
Genretags: Rock - Punkrock - Artpunk
Trackliste: Seite A
1. Pay Your Rates
2. English Scheme
3. New Face In Hell
4. C'n'C-S Mithering
5. The Container Drivers
Seite B
1. Impression Of J. Temperance
2. In The Park
3. W.M.C. - Blob 59
4. Gramme Friday
5. The N.W.R.A.
Alle Tracks: Paul Hanley, Stephen Hanley, Marc Riley, Craig Scanlon und Mark E. Smith.
CD Ausgabe von 2004
1. How I Wrote Elastic Man (Hanley, Scanlon, Smith) - 4:24
2. City Hobgoblins (Hanley, Scanlon, Smith) - 2:24
3. Totally Wir
ed (Riley, Scanlon, Smith) - 3:26
4. Putta Block (Hanley, Hanley, Scanlon, Smith) - 3:48
5. Pay Your Rates (Smith) - 3:03
6. English Scheme (Riley, Scanlon, Smith) - 1:59
7. New Face in Hell (Riley, Scanlon, Smith) - 5:42
8. C'N'C' -S Mithering (Hanley, Scanlon, Smith) - 7:43
9. Container Drivers (Hanley, Hanley, Riley, Scanlon, Smith) - 3:10
10. Impression of J. Temperance (Riley, Scanlon, Smith) - 4:22
11. In the Park (Smith) - 1:46
12. W.M.C. -Blob 59 (Fall) - 1:23
13. Gramme Friday (Riley, Scanlon, Smith) - 3:22
14. The NWRA (Hanley, Scanlon, Smith) - 9:14
Besetzung: Cover: Suzanne Smith
; Engineer: John Brierley
; Management: Kay Carroll
; Mastering: Porky
; Photography [Pics]: Don Montgomery
; Photography [Pics]: Mick Parker
; Photography [Pics]: The Waterfoot Dandy
; Producer: Geoff Travis
; Producer: Grant Showbiz (A1 to A5)
; Producer: Mayo Thompson (A1 to A5)
; Producer: The Fall
; Words By: Mark E. Smith
; Recorded At Cargo Studios
; Recorded At Street Level Studios
Label und Katalognummer: Sonig 70
Veröffentlicht: 2008 01
Genretags: Electronica
Trackliste: Seite A
1. Hure Der Geschichte
2. Zwischen Den Landstrassen
3. Worüber Bist Du Traurig?
4. Die Tage, Nun
5. Große Uhr
Seite B
1. Ich Kenne Sie Nicht
2. Das Ist Morgen - Das Ist Heute
3. Mit Den Hunden
4. In Sie Hinein
5. Wenn Gefragt Wir
d
6. Na, Was Schon?
Fatty George [>] [D] & Silke Schwinger [>] [D]: Trip [F]
Label und Katalognummer: Telefunken SLE 14 678-P
Produktion: Fatty George & Silke Schwinger
Veröffentlicht: 1972
Genretags: Afroamericana - Funk - Jazzfunk, Rock - Funkrock
Trackliste: Seite A
1. Straßenfahrt Durch Wien (Fatty George) - 2:08
2. Ich Habe Tränen - 1:39
3. Tempelmusik (Fatty George) - 2:40
4. Gospelsong - 1:58
5. Wir
Sind Hier Auf Einer Insel - 3:21
6. Weißer Sand - 3:39
7. Ich Kann's Nicht Glauben) - 5:14
8. Jazzwiese (Fatty George) - 6:45
Seite B
1. Ein Körper Sind Wir
- 2:30
2. Song Ohne Worte (Fatty George) - 1:44
3. Sexsong (Fatty George) - 2:37
4. Der Teufel Hole...
5. Wie Ein Kristall In Einer Schale - 6:43
6. Hey Boy, Come On - 2:15
7. Macht Die Augen Auf - 3:31
8. Spiegellied - 4:40
9. Schlußmusik (Fatty George) - 2:25
Alle Tracks: Fatty George und Silke Schwinger, ausser wo anders vermerkt.
Besetzung: Vocals: Ron \'Ronny\' Williams (A2, A4, B1, B4b, B6), Su Kramer (A6, B3), Jürgen Marcus (A7, B4b), Julia Migenes (B2, B7), Franklin \'Frank\' Summers (B4a, B5)
; Produced For ORF
; Pressed By Teldec-Press GmbH
; Record Company TELDEC »Telefunken-Decca« Schallplatten GmbH
Label und Katalognummer: Klangbad FRAV 199
Produktion: Hans Joachim Irmler
Veröffentlicht: 1999 05 11
Genretags: Rock - Progrock - Krautrock, Alternativerock - Noiserock
Trackliste: 1. Ein Neuer Tag - 4:16
2. Carousel II - 2:45
3. Wir
Brauchen Dich #6 - 7:22
4. Four Plus Seven Means Eleven - 7:07
5. Take Care - 4:08
6. Spiel - 0:41
7. Dr' Hansl - 1:30
8. Apokalypse - 4:30
9. D. I. G. - 5:29
10. Du Weißt Schon - 2:43
11. Livin' Tokyo - 8:43
12. T-électronique - 6:51
Besetzung: Artwork By: Thomas E. Martin
; Bass: Michael Stoll
; Drums: Zappi Diermaier;
; Guitar: Steven Wray Lobdell
; Liner Notes: Albert Koch
; Percussion: Lars Paukstat
; Organ, Electronics: Hans Joachim Irmler
; Vocals: Ulrike Helmholtz
Faust [>] [D]: Faust Wakes Nosferatu [F]
Label und Katalognummer: Klangbad fli 4
Produktion: Hans Joachim Irmler & Norman Meiritz
Veröffentlicht: 1997
Genretags: Rock - Progrock - Krautrock, Alternativerock - Noiserock
Trackliste: 1. Aufbruch Nach Rumänien - 21:53
2. Verwirrung - 18:21
3. Telepathia - 6:45
4. Kampf Der Mächte - 5:27
5. Das Unheil Breitet Sich Aus - 12:05
6. Die Entscheidung - 7:33
Alle Tracks: Faust.
Besetzung: Drums, Voice: Werner Diermaier
; Guitar [Alien Landscape Guitar]: Steven Wray Lobdell
; Guitar [Shift Guitar], Drone [Drones], Cover: Thomas E. Martin
; Mixing [Live Mix]: Maggie Thomas
; Organ [Stun Organ], Post Production [Postproduction], Producer [Produced By]: Hans Joachim Irmler
; Post Production [Postproduction Assisted By]: Norman Meiritz
; Zither, Percussion [Labyrinth Percussion], Illustration: Lars Paukstat
; Distributed By EFA
; Copyright (c) Faust
; Phonographic Copyright (p) Klangbad
; Phonographic Copyright (p) Think Progressive
; Produced At Southend Studios
; Glass Mastered At Nimbus
Faust [>] [D]: Momentaufnahme II [F]
Label und Katalognummer: Bureau B BB405
Veröffentlicht: 2023 03 10
Genretags: Rock - Progrock - Krautrock
Trackliste: 1. Danach - 0:43
2. Gegensprechanlage - 2:47
3. Lampe an, Tür zu, Leute rein! - 6:06
4. Purzelbaum mit Anschubsen - 0:41
5. Tête-à-Tête im Schredder - 2:46
6. Dampf - 1:02
7. Testbildhauer - 1:09
8. I am... an Artist - 1:59
9. Wir
wollen mehr Volumen kriegen - 0:07
10. Arrampicarsi Sul Vesuvio - 3:13
11. …und alles durcheinander - 4:35
12. The Fear Of Missing Out - 4:26
13. Ma Trompette - 0:39
14. As-tu Vu Mon Ombre? - 6:37
Besetzung: Phonographic Copyright (p) Bureau B
; Copyright (c) Bureau B
Fehlfarben [>] [D]: Glücksmaschinen [F]
Label und Katalognummer: Tapete Records TR 171
Produktion: Moses Schneider
Veröffentlicht: 2010 02 12
Genretags: Postpunk
Trackliste: 1. Glücksmaschinen - 4:36
2. Stadt Der 1000 Tränen - 4:05
3. Neues Leben - 5:05
4. Ausgeraucht - 3:59
5. Im Sommer - 3:49
6. Vielleicht Leute 5 - 5:08
7. Wir
Warten (Ihr Habt Die Uhr, Wir
Die Zeit) - 2:35
8. Respekt? - 4:54
Alle Tracks: Fehlfarben.
Besetzung: Bass: Michael Kemner
; Computer: Pyrolator
; Design: Martin Brombacher
; Drums: Saskia Von Klitzing
; Guitar: Frank Fenstermacher
; Guitar: Uwe Jahnke
; Keyboards: Frank Fenstermacher
; Mastering: Dog Young
; Mixing: Philipp Hoppen
; Percussion: Frank Fenstermacher
; Photography: Kim Frank
; Piano: Pyrolator
; Recording: Torsten Otto
; Recording [Assistamce]: Rico Spitzner
; Synthesizer: Pyrolator
; Manufactured By Optimal Media Production
; Mastered At Kennel Mastering
; Mixed At Transporterraum
Felice Brothers [>] [D]: Yonder Is the Clock [F]
Label und Katalognummer: Team Love Records TL 39
Produktion: Jeremy Backofen
Veröffentlicht: 2009 04 07
Genretags: Country - Americana-Revival
Der Albumtitel ist Mark Twains Roman The Mysterious Stranger
entnommen. «Sepia-getönte Erzählungen mit Überzeugung und Authentizität [vorgetragen]» (AllMusic) in der Tradition von Music From Big Pink.
Trackliste: 1. The Big Surprise - 4:22
2. Penn Station - 3:58
3. Buried In Ice - 3:11
4. Chicken Wir
e - 2:43
5. Ambulance Man - 5:27
6. Sailor Song - 3:30
7. Katie Dear - 3:59
8. Run Chicken Run - 5:00
9. All When We Were Young - 3:25
10. Boy From Lawrence Country - 5:21
11. Memphis Flu - 3:02
12. Cooperstown - 6:14
13. Rise And Shine - 4:25
Alle Tracks: The Felice Brothers.
Besetzung: Mastering: Richard Morris (13)
; Performer: Christmas Clapton
; Performer: Greg Farley
; Performer: Ian Felice
; Performer: James Felice
; Performer: Simone Felice
; Engineer: Jeremy Backofen
; Phonographic Copyright (p) Team Love
; Copyright (c) Team Love
; Mastered At Masterdisk
; Made By Media Services, Omaha
Firehose [>] [D]: Raging Full On [F]
Label und Katalognummer: SST 079
Produktion: Ethan James
Veröffentlicht: 1986
Genretags: Alternativerock - Hardcorepunk
Trackliste: 1. Brave Captain
2. Under The Influence of Meat Puppets
3. It Matters
4. Chemical Wir
e
5. Another Theory Shot to Shit
6. On Your Knees
7. Locked In
8. The Candle and the Flame
9. Choose Any Memory
10. Perfect Pairs
11. This...
12. Caroms
13. Relatin' Dudes to Jazz
14. Things Could Turn Around
Besetzung: Ed Crawford - guitar and vocals
; Mike Watt - bass and vocals
; George Hurley - drums
Floh de Cologne [>] [D]: Fließbandbabys Beat Show [F]
Label und Katalognummer: Ohr OMM 56.000
Veröffentlicht: 1970 03
Genretags: Rock - Progrock - Krautrock, Rock - Poprock - Deutschrock
Trackliste: Seite A
1. Fließband - 6:32
2. Fließbandbaby, manchmal träum ich - 4:35
3. Komm Mit Mir Ins Wegschmeißwunderland - 4:00
4. Sei ruhig, Fließbandbaby - 1:32
5. Ford Capri - 2:23
Seite B
1. Hey Johnny - 2:35
2. Arbeit macht freitag - 1:53
3. Wenn Springer mal rülpst - 1:12
4. Armer junger Krupp - 2:03
5. Die oberen Zehntausend - 3:33
6. Fließbandbaby, wir sind wieder wer - 3:55
7. Mädchen, mach die Beine breit - 3:08
8. Fließbandbaby, du sitzt im Gefängnis - 1:34
Besetzung: Bass: Dieter Klemm
; Bass, Guitar, Organ: Markus Schmidt
; Drums, Organ: Hansi Frank
; Guitar, Organ: Dick Städtler
Floh de Cologne [>] [D]: Lucky Streik [F]
Label und Katalognummer: Ohr OMM 2/56.029
Produktion: Dieter Dierks
Veröffentlicht: 1972 11
Genretags: Rock - Progrock - Krautrock, Rock - Poprock - Deutschrock
Trackliste: Seite A
1. Countdown - 6:15
2. Schön Ist Ein Jugendtraum - 3:39
3. Sozialpartner-Blues - 1:41
4. Streikposten - 0:45
5. Kalte Wut - 2:43
6. Wenn Ich Einmal Reich Bin - 2:25
Seite B
1. Streikposten - 0:31
2. Gonzales - 3:10
3. Karl Liest Ein Flugblatt - 1:39
4. Die Wir
tschaft Ist Jetzt In Gefahr - 2:11
5. Der Imker - 1:49
6. Streikposten - 0:35
7. Deine Freiheit - 4:27
8. Vergleiche - 3:53
Seite C
1. Der Löwenthaler - 4:43
2. Was Ein Kommunist Trinken Darf - 2:49
3. Streikposten - 0:26
4. Wenn Es Brennt - 7:04
5. Streikposten - 0:44
6. Lüge Zum Abschied - 2:46
Seite D
1. Freie Marktwirtschaft - 3:51
2. Wenn Dich Jemand Fragt - 1:09
3. Für Die Zukunft Sehen Wir
Rot - 1:35
4. Unternehmerrätsel - 1:51
5. Saurier - 3:21
6. Aktionseinheit - 4:17
7. Wir
Sind Millionenmal So Stark - 3:11
Alle Tracks: Floh De Cologne und Gerd Wollschon.
Besetzung: Bass, Guitar, Piano, Vocals: Dick Städtler
; Drums, Vocals: Hansi Frank
; Layout, Typography, Illustration: Peter Geitner
; Percussion, Vocals: Dieter Klemm
; Photography: Marcel Fugère
; Piano, Organ, Guitar, Harmonica, Mandolin, Vocals: Markus Schmidt
; Tenor Saxophone, Clarinet, Flute, Harmonica, Vocals: Theo König
; Recorded At Stadthalle Gummersbach
; Remixed At Dierks Studios
Floh De Cologne [>] [D]: Rockoper Profitgeier [F]
Label und Katalognummer: Ohr OMM 556.010
Produktion: Julius Schittenhelm
Veröffentlicht: 1971 01
Genretags: Rock - Progrock - Krautrock, Rock - Poprock - Deutschrock
Erste deutsche Rockoper. Teilweise live aufgenommen.
Trackliste: Seite A
1. He, Hallo Stift - 1:21
2. Die Einen Kommen Erster Klasse Zur Welt - 2:32
3. Wir
Stehen Am Rande - 4:54
4. Bekenntnis Der Unpolitischen Väter - 1:35
5. Auf Dem Arbeitsmarkt - 5:28
6. Der Kapitalismus Stinkt - 3:13
Seite B
1. Wir
Brauchen Keine Millionäre - 7:37
2. Die Luft Gehört Denen, Die Sie Atmen - 1:46
3. Profitgeier - 7:05
4. Wir
Werden Immer Mehr - 2:24
Besetzung: Bass, Guitar, Vocals: Dick Städtler
; Cover: Gil Funccius
; Drums, Vocals: Hansi Frank
; Guitar, Organ, Harmonica, Vocals: Markus Schmidt
; Percussion, Vocals: Dieter Klemm
; Percussion, Vocals: Gerd Wollschon
; Recorded At Windrose Studios
Floh de Cologne [>] [D] & Dieter Süverkrüp [>] [D]: Vietnam [F]
Label und Katalognummer: Pläne S 33 101
Veröffentlicht: 1968 04
Genretags: Akademica - Funktionale-Musik - Musiktheater
Trackliste: Seite A
1. Einführung - 1:34
2. Ansprache - 1:32
3. Zuerst Kommen ... - 3:18
4. Tango - 3:33
5. Western-Ballade - 1:40
6. Kinderlied I - 0:13
7. McNamara 62 - 1:35
8. Kinderlied II - 0:09
9. Partisanenbekämpfung - 1:05
10. Kinderlied III - 0:09
11. Interview - 0:30
12. Hexenverbrennung - 1:45
13. Vater Unser - 0:30
Seite B
1. Rein Technisches - 0:53
2. Zitat - 0:44
3. Viet-Test - 3:34
4. Führung - 1:16
5. Wir
tschaftsbericht - 0:43
6. Kapitalismus, 1. Teil - 2:17
7. Jack Miller - 3:53
8. Sprüche - 1:08
9. Kapitalismus, Letzter Teil - 3:24
Besetzung: Engineer: Dietmar Liebich
; Performer: Britta Baltruschat
; Performer: Dieter Klemm
; Performer: Dieter Süverkrüp
; Performer: Gerd Wollschon
; Performer: Hansi Frank
; Performer: Markus Schmidt
; Photography [Back], Sleeve Notes: Jens Hagen
; Photography [Title]: Roland Reimann
Florian Ross Trio [>] [D]: Pigs & Fairies [F]
Label und Katalognummer: Toy Piano Records TPR 201702
Produktion: Harald Rehmann & Florian Ross
Veröffentlicht: 2017 05 01
Genretags: Jazz - Fusion - Jazzrockfusion
Trackliste: 1. Spamtrails - 3:53
2. Slow Thinker - 5:10
3. Spinning Kenny - 6:21
4. Triumph of Spectacle - 4:37
5. Trip-wire - 4:28
6. Calm (feat. Paul Heller) - 4:31
7. No pun intended - 4:33
8. Until then - 4:46
9. Miasma (feat. Paul Heller) - 4:40
10. Friction - 3:18
11. Think Slower - 4:06
Alle Tracks: Florian Ross.
Besetzung: Florian Ross: Electric Piano, Grand Piano, Yamaha FM Synthesizer, EFX
; Dietmar Fuhr: Electric Bass, Upright Bass Fabian Arends: Drums
; Paul Heller: (guest) Tenor Saxophone
; Recording: September 7-9,2016 at Kammermusiksaal Deutschlandfunk, Köln by Stephan Schmidt
; Radio producing by Harald Rehmann
; Mixed & Mastered, Feb 2017 by Florian Ross Mixing Assistance by Christian Heck
; Cover Design & Photos by Florian Ross
Flying Lotus [>] [D]: Flamagra [F]
Label und Katalognummer: Warp 291
Produktion: Flying Lotus
Veröffentlicht: 2019 05
Genretags: Electronica - Funktronica - US-Funky
Trackliste: 1. Heroes (Stephen Ellison, Stephen Bruner) - 2:44
2. Post Requisite (Ellison, Bruner) - 2:08
3. Heroes in a Half Shell (Ellison, Bruner, Brandon Coleman) - 1:17
4. More (feat. Anderson .Paak) (Ellison, Anderson Paak, Bruner, Justin Brown, Dennis Hamm) - 4:17
5. Capillaries (Ellison) - 1:54
6. Burning Down the House (feat. George Clinton) (Ellison, George Clinton, Bruner, Coleman) - 3:03
7. Spontaneous (feat. Little Dragon) (Ellison, Yukimi Nagano, Erik Bodin, Fredrik Wallin, Håkan Wir
enstrand, Bruner, Coleman) - 2:08
8. Takashi (Ellison, Syunsuke Ono, Bruner, Coleman) - 5:51
9. Pilgrim Side Eye (Ellison, Herbie Hancock, Bruner, Miguel Atwood-Ferguson) - 1:30
10. All Spies (Ellison) - 1:45
11. Yellow Belly (feat. Tierra Whack) (Ellison, Tierra Whack) - 3:11
12. Black Balloons Reprise (feat. Denzel Curry) (Ellison, Denzel Curry, Bruner) - 2:41
13. Fire Is Coming (feat. David Lynch) (Ellison, David Lynch, Bruner, Atwood-Ferguson, Hamm) - 3:16
14. Inside Your Home (Ellison, Bruner) - 1:26
15. Actually Virtual (feat. Shabazz Palaces) (Ellison, Ishmael Butler, Bruner, Coleman) - 1:58
16. Andromeda (Ellison, Bruner) - 1:28
17. Remind U (Ellison, Coleman) - 2:41
18. Say Something (Ellison, Bruner, Atwood-Ferguson, Hamm) - 1:15
19. Debbie Is Depressed (Ellison, Bruner) - 2:19
20. Find Your Own Way Home (Ellison, Taylor Graves) - 1:40
21. The Climb (feat. Thundercat) (Ellison, Bruner, Atwood-Ferguson, Coleman) - 3:15
22. Pygmy (Ellison, Bruner) - 1:24
23. 9 Carrots (feat. Toro y Moi) (Ellison, Toro y Moi, Atwood-Ferguson) - 3:01
24. FF4 (Ellison, Atwood-Ferguson) - 1:11
25. Land of Honey (feat. Solange) (Ellison, Solange, Robert Glasper, Bruner, Atwood-Ferguson) - 3:27
26. Thank U Malcolm (Ellison, Coleman, Bruner) - 1:32
27. Hot Oct. (Ellison, Bruner) - 4:35
Besetzung: Miguel Atwood-Ferguson: strings (1, 3, 12, 19, 20, 26)
; Ashley Norelle: backing vocals (4)
; Taylor Graves: keyboards (4)
; Ronald Bruner: drums (8, 26), backing vocals (20)
; Deantoni Parks: drums (19, 21)
; Niki Randa: backing vocals (20)
; Stephen Bruner: backing vocals (20)
; Flying Lotus: mixing
; Daddy Kev: mixing, mastering
; Winston Hacking: artwork
; Echelon Color: retouching
; Stephen Serrato: layout
; Guccimaze: typeface design
; Joph (Joong-woo Jo): portrait
Label und Katalognummer: CBS CD PRT 26827
Produktion: FM & Dave King
Veröffentlicht: 1986 09 08
Genretags: Rock - AOR-Rock - Arenarock
Trackliste: 1. That Girl (M. Goldsworthy, P. Jupp, A. Barnett) - 3:54
2. Other Side of Midnight (M. Goldsworthy, P. Jupp) - 4:08
3. Love Lies Dying (M. Goldsworthy, S. Overland, P. Jupp, C. Overland, D. Digital) - 4:46
4. Frozen Heart (M. Goldsworthy, S. Overland, P. Jupp, C. Overland, D. Digital) - 5:07
5. American Girls (S. Overland, C. Overland) - 4:06
6. Hot Wir
ed (M. Goldsworthy) - 4:49
7. Face to Face (S. Overland, C. Overland, P. Jupp) - 4:37
8. I Belong to the Night (S. Overland, C. Overland) - 4:17
9. Heart of the Matter (S. Overland, C. Overland) - 4:26
Besetzung: Bass, Vocals: Merv Goldsworthy
; Drums, Vocals: Pete Jupp
; Guitar [Lead]: Chris Overland
; Keyboards: Didge Digital
; Lead Vocals, Guitar: Steve Overland
; Arranged, Engineer: Dave King
; Arranged, Engineer: FM
; Phonographic Copyright (p) CBS Records
; Recorded At Mediterranean Studios
; Recorded At Comforts Place
; Recorded At Livingston Studios
; Glass Mastered At DADC
Focus Group [>] [D]: Sketches And Spells [F]
Label und Katalognummer: Ghost Box GBX 002
Produktion: Focus Group
Veröffentlicht: 2004
Genretags: Post-Millennial-Music - Lo-Fi-Underground - Analogelectronica
Trackliste: 1. Stringed Winds - 1:19
2. Verberations - 0:16
3. Open The Gate - 1:14
4. Activity And Scales - 2:18
5. Corn Holes - 0:55
6. Verberations Exp. - 1:55
7. Bells Hazes - 0:57
8. Alsh - 0:26
9. Hocusing Fee - 0:36
10. Colouring Toys - 1:12
11. Danse & Atoms - 3:10
12. Free Psych & Mirrors - 0:38
13. Verberation Int. - 1:47
14. Jout Sections - 1:46
15. Geometree Hou - 0:46
16. Sun Groof - 2:05
17. Diagonalam - 0:31
18. Underwater Pries - 2:09
19. Jass Tarp - 1:05
20. Hocusing Loe - 1:29
21. What Are You Seeing? - 1:12
22. Bromiding Place - 1:11
23. Kasratu - 0:34
24. Swirling Paths - 2:26
25. Starry Wisdom - 2:57
Besetzung: Artwork By [Cover Design]: Julian House
; Performer: Focus Group
Foetus Interruptus [>] [D]: Thaw [F]
Assoziierte Acts: Foetus & James G. Thirlwell
Label und Katalognummer: Self Immolation WOMB FIP 5 CD
Produktion: James G. Thirlwell
Veröffentlicht: 1988 09
Genretags: Postpunk - Electronic-Postpunk - Industrial
Trackliste: 1. Don't Hide It Provide It - 4:29
2. Asbestos - 5:01
3. Fin - 0:37
4. English Faggot / Nothin Man - 3:38
5. Hauss-on-Fah - 5:56
6. Fratricide Pastorale - 1:59
7. The Dipsomaniac Kiss - 4:12
8. Barbedwire Tumbleweed - 3:25
9. ¡Chingada! - 3:16 (in Spanish, translation here)
10. A Prayer for My Death - 7:01
Alle Tracks: Clint Ruin (= James George Thirlwell).
Besetzung: Engineer - Martin Bisi
; Written-By, Arranged By, Performer, Producer - Clint Ruin
Foo Fighters [>] [D]: There Is Nothing Left To Loose [F]
Label und Katalognummer: Roswell Records 07863 67892
Produktion: Foo Fighters & Adam Kasper
Veröffentlicht: 1999 11 02
Genretags: Alternativerock - Grunge - Post-Grunge
Trackliste: 1. Stacked Actors - 4:17
2. Breakout - 3:21
3. Learn to Fly - 3:58
4. Gimme Stitches - 3:42
5. Generator - 3:48
6. Aurora - 5:50
7. Live-In Skin - 3:53
8. Next Year - 4:37
9. Headwires - 4:38
10. Ain't It the Life - 4:17
11. M.I.A. - 4:03
Bonustrack
1. Fraternity - 3:16
Alle Tracks: Dave Grohl, Nate Mendel und Taylor Hawkins.
Besetzung: Dave Grohl - vocals, guitar, drums
; Nate Mendel - bass
; Taylor Hawkins - drums, percussion
; Recorded by Adam Kasper at Studio 606, Virginia
; Additional Recording at Conway Studios, Los Angeles
; All Songs Mixed by Adam Kasper at Conway Studios (except Learn to Fly, Aurora and Live-In Skin, mixed by Andy Wallace at Larrabee Studios, Los Angeles)
; Assistant Mixing Engineer at Conway Studios: John Nelson
; Assistant Mixing Engineer at Larrabee Studios: Tod Reiger
; Mastered by Bob Ludwig at Gateway Studios
; Art Direction by Henry Marquez and Foo Fighters
; Photos by Danny Clinch
; Management: G.A.S Entertainment Co.
Frankie Cosmos [>] [D]: Close It Quietly [F]
Label und Katalognummer: Sub Pop SP 1320
Produktion: Greta Kline & Gabe Wax
Veröffentlicht: 2019 09 06
Genretags: Post-Millennial-Music - Lo-Fi-Underground - Lo-Fi-Pop
Trackliste: 1. Moonsea -
2. Cosmic Shop -
3. 41st -
4. So Blue -
5. A Joke -
6. Rings (On A Tree) -
7. Actin' Weird -
8. Windows -
9. Never Would -
10. Self-destruct -
11. Wannago -
12. I'm It -
13. Trunk Of A Tree -
14. Last Season's Textures -
15. ven Though I Knew -
16. UFO -
17. Marbles -
18. Did You Find -
19. A Hit -
20. With Great Purpose -
21. This Swirling -
Alle Tracks: Greta Kline.
Besetzung: Arranged, Performer, Producer: Alex Bailey
; Arranged, Performer, Producer: Luke Pyenson
; Arranged, Performer, Producer, Artwork: Lauren Martin
; Artwork: Eliza Mary Doyle
; Engineer [Assistant]: Nate Mendelsohn
; Harmonica: Phoebe Cates
; Mastering: Josh Bonati
; Piano: Kevin Kline (B10)
; Mixing: Gabe Wax
; Saxophone: Nate Mendelsohn (B5)
; Synth [Modular]: Dominic Coles (A1, A9)
; Arranged, Performer: Greta Kline
Franz Schubert [>] [D] & Thomas Quasthoff [>] [D] & Charles Spencer [>] [D]: Winterreise, Liedzyklus für Stimme und Piano, D. 911 (Op. 89) [F]
Label und Katalognummer: RCA Red Seal 09026 63147
Produktion: Teije van Geest
Veröffentlicht: 1998 10 05 (Ed.), 1827 (Werk)
Genretags: Akademica - Romantik
Trackliste: 1. Book I, Gute Nacht ('Fremd bin ich eingezogen') - 5:59
2. Book I, Die Wetterfahne ('Der Wind spielt mit der Wetterfane') - 1:43
3. Book I, Nicht zu langsam ('Gefror'ne Tropfen fallen') - 2:20
4. Book I, Erstarrung ('Ich such' im Schnee vergebens') - 2:44
5. Book I, Der Lindenbaum ('Am Brunnen vor dem Tore') - 5:00
6. Book I, Wasserflut ('Manche Thran' aus meinen Augen') - 4:35
7. Book I, Auf Dem Flusse ('Der du so lustig rauschtest') - 3:26
8. Book I, Ruckblick ('Es brennt mir unter beiden Sohlen') - 2:09
9. Book I, Irrlicht ('In die tiefsten Felsengrunde') - 2:43
10. Book I, Rast ('Mun merk' ich erst, wie mud' ich bin') - 3:15
11. Book I, Fruhlingstraum ('Ich traumte von bunten Blumen') - 4:28
12. Book I, Einsamkeit ('Wie eine trube Wolke') - 2:35
13. Book II, Die Post ('Von der Strasse her ein Posthorn klingt') - 2:20
14. Book II, Der Greise Kopf ('Der Reif hat einen weissen Schein') - 3:12
15. Book II, Die Krahe ('Eine Drahe war mit mir') - 1:56
16. Book II, Letzte Hoffnung ('Hie und da ist an den Baumen') - 1:59
17. Book II, Im Dorfe ('Es bellen die Hunde, es rasseln die Ketten') - 2:43
18. Book II, Der Strumische Morgen ('Wie hat der Sturm zerrissen') - 0:49
19. Book II, Tauschung ('Ein Licht tanzt freundlich vor mir her') - 1:15
20. Book II, Der Wegweiser ('Was vermeid' ich denn die Wege') - 4:27
21. Book II, Das Wir
tshaus ('Auf einen Totenacker') - 4:54
22. Book II, Mut ('Fliegt der Schnee mir in's Cesicht') - 1:18
23. Book II, Die Nebensonnen ('Drei Sonnen sah ich am Himmel steh'n') - 2:56
24. Book II, Der Leiermann ('Druben hinterm Dorfe steht ein Leitermann') - 3:26
Besetzung: A&R [Direction]: Stefan Mikorey
; Baritone Vocals: Thomas Quasthoff
; Liner Notes: Lisa Feurzeig
; Liner Notes [English Translation of Wilhelm Müller Lyrics]: Philip Lieson Miller
; Liner Notes [French & German Translations]: Byword
; Liner Notes [French Translation of Wilhelm Müller Lyrics]: Byword
; Photography: Ludwig Schirmer
; Piano: Charles Spencer
; Distributed By BMG
; Phonographic Copyright (p) BMG Entertainment
; Copyright (c) BMG Entertainment
Freakwater [>] [D]: Dancing Under Water [F]
Label und Katalognummer: Amoeba CDA 009, Thrill Jockey THRILL 040
Veröffentlicht: 1991, 1997 (Reed.)
Genretags: Alternativerock - Alternativecountry
Trackliste: 1. A Song You Could Cry For - 4:49
2. Great Potential - 2:14
3. Rank Strangers (Brumley) - 4:38
4. Blood and Fire - 2:32
5. Selfishness in Man (Payne) - 2:00
6. Fill My Thermos - 2:11
7. You're Still on My Mind (McDaniel) - 2:24
8. Your Goddamn Mouth - 3:28
9. Little Girl and the Dreadful Snake (Monroe) - 2:36
10. Scratches on the Door (OBannon) - 3:44
11. Wild and Blue (Sherrill) - 3:20
12. Annabelle Lee (Neuwirth) - 5:28
13. Dark As a Dungeon (Travis) - 3:21
Alle Tracks: Catherine Irwin, ausser wo anders vermerkt.
Besetzung: Double Bass: David Gay
; Fiddle, Mandolin, Guitar [Pedal Steel]: John Rice
; Guitar [Dobro, Pedal Steel, Slide], Banjo: John Alexander Spiegel
; Guitar, Vocals: Catherine Ann Irwin
; Guitar, Vocals, Percussion: Janet Beveridge Bean
; Mastered By: Larry Nix
; Mixed By: Bundy K. Brown
; Recorded By: Brad Wood
Freakwater [>] [D]: Springtime [F]
Label und Katalognummer: Thrill Jockey THRILL 047
Produktion: Brendan Burke & Freakwater
Veröffentlicht: 1998 01 20
Genretags: Alternativerock - Alternativecountry
Trackliste: 1. Picture In My Mind - 3:55
2. Louisville Lip - 5:00
3. Twisted Wir
e (Sean Garrison) - 3:14
4. Washed In The Blood - 2:40
5. Binding Twine - 5:07
6. One Big Union - 2:55
7. Harlan - 3:02
8. Jesus Year - 4:48
9. Scamp - 2:48
10. Lorraine - 4:59
11. Slowride - 2:59
12. Heaven - 4:04
13. Flat Hand - 3:43
Alle Tracks: Freakwater, ausser wo anders vermerkt.
Besetzung: Bass: David Wayne Gay
; Drums [Snare]: Brendan Burke
; Fiddle: Joel Batty
; Guitar [Pedal Steel]: Bob Egan
; Guitar, Fiddle, Banjo, Mandolin, Vocals, Guitar [Dobro]: Max Johnston
; Guitar, Vocals: Catherine Irwin
; Guitar, Vocals: Janet Beveridge Bean
; Performer: John Nickels
; Recording, Mixing: Brendan Burke
; Recording, Mixing: Mark Schwartz
; Phonographic Copyright (p) Thrill Jockey
; Copyright (c) Freakwater Publishing
; Copyright (c) Konrad J. Publishing
; Recorded At Über Studio
; Mixed At Über Studio
; Made By Americ Disc
; Published By Konrad J. Publishing.
Freddy Quinn [>] [D]: Tausend Meilen Von Zu Haus ... Film-Songs [F]
Label und Katalognummer: Bear Family Records BCD 16419 DL
Veröffentlicht: 2006 10 26 (Ed.)
Genretags: Europeana - Schlager
Trackliste: CD 1: Die Grosse Chance (1957)
1. Ein armer Mulero - 2:38
2. Einmal in Tampico - 2:22
CD 1: Heimatlos (1958)
3. Heimatlos (1. Vers) - 1:36
4. Heimatlos (1. Vers, Fragment) - 1:01
5. Heimatlos (2. Vers) - 1:28
6. Noch immer allein (Kurzversion) - 1:40
7. Noch immer allein (Verkürzte Normalversion) - 1:59
8. Ich bin bald wieder hier (Film-Version) - 2:15
CD 1: Freddy, Die Gitarre Und Das Meer (1959)
9. Die Gitarre und das Meer (Film-Version 1) - 1:15
10. Die Gitarre und das Meer (Film-Version 2) - 1:56
11. Du brauchst doch immer wieder einen Freund (Film-Version) - 1:30
12. Du brauchst doch immer wieder einen Freund (Aufnahme mit Hintergrundgeräuschen) - 1:17
13. Du brauchst doch immer wieder einen Freund (Fragment) - 0:46
14. Du brauchst doch immer wieder einen Freund - 2:05
15. Vicky Henderson: Ich bin happy mit dir - 2:15
16. Die Nacht vergeht so schnell - 2:30
17. La Paloma - 2:05
CD 1: Freddy Unter Fremden Sternen (1959)
18. Unter fremden Sternen / Du musst alles vergessen - 2:06
19. Unter fremden Sternen (fährt ein weißes Schiff nach Hongkong) (Film-Version 1) - 3:19
20. Unter fremden Sternen (fährt ein weißes Schiff nach Hongkong) (Film-Version mit Hintergrundgeräuschen) - 1:05
21. Du mußt alles vergessen (Film-Version) (Ay ay ay amigo) - 2:50
22. Guitar Playing Joe (englisch) - 2:21
23. Orchester Lotar Olias: Film-Rhythmen (Instrumental) - 2:15
CD 1: Freddy Und Die Melodie Der Nacht (1960)
24. Melodie der Nacht (Kurzversion) - 1:45
25. Melodie der Nacht (Film-Version) - 2:18
26. Melodie der Nacht (Fragment) - 0:39
27. Irgendwann gibt's ein Wiedersehn (Film-Version) - 2:49
28. Irgendwann gibt's ein Wiedersehn - 3:02
29. Orchester Heinz Alisch: Sympathie (Instrumental) - 3:08
30. Orchester Heinz Alisch: Heisser Asphalt (Instrumental) - 4:13
31. Orchester Heinz Alisch: Sympathie (Film-Version 2) (Instrumental) - 2:13
CD 2: Weit Ist Der Weg (1960)
1. Weit ist der Weg (Kurz-Version) - 1:41
2. Weit ist der Weg (Aufnahme mit Hintergrundgeräuschen) - 3:40
3. Weit ist der Weg (Fragment) - 0:20
4. La guitarra brasiliana (Instrumental) - 1:05
5. La guitarra brasiliana (Film-Version) - 3:03
6. La guitarra brasiliana (Kurzversion) - 1:39
7. La guitarra brasiliana (Fragment) - 0:47
8. La botella (spanisch) - 2:23
9. Samba Fieber [Instrumental] - 3:15
CD 2: Nur Der Wind (1961)
10. Einmal oben, einmal unten - 2:04
11. Irish Inn (Instrumental) - 2:47
12. Nur der Wind - 2:32
13. Nur der Wind (Aufnahme mit Hintergrundgeräuschen) - 2:17
14. Nur der Wind (Fragment, Aufnahme mit Hintergrundgeräuschen) - 1:34
15. Nur der Wind (Instrumental) - 3:17
CD 2: Freddy Und Der Millionär (1961)
16. Der Boss ist nicht hier - 3:29
17. Herr Meier - 2:51
18. Herr Meier (Schlussversion) - 0:38
19. Happy Baby - 1:28
20. Wann kommt das Glück auch zu mir - 2:50
21. Orchester Lotar Olias: Globetrotter Dixie - 2:20
22. La Paloma (Aufnahme mit Hintergrundgeräuschen) - 2:51
CD 2: Freddy Und Das Lied Der Südsee (1962)
23. In Hongkong, da hat er 'ne Kleine (Aufnahme mit Hintergrundgeräuschen) - 1:54
24. In Hongkong, da hat er 'ne Kleine (Fragment) - 0:36
25. Ein Schiff voll Whisky (Kurzversion) - 1:37
26. Und das weite Meer (Film-Version) - 3:02
27. Und das weite Meer (Kurzversion) - 1:08
28. Alo-ahé (Film-Version) - 1:24
29. Alo-ahé (Film-Version) - 2:01
30. Keine Bange, Lieselotte (Mono) - 2:16
31. E manu pukarua - 1:38
32. Ein Schiff voll Whisky - 1:52
33. Keine Bange, Lieselotte (Stereo) - 2:16
CD 3: Heimweh Nach St. Pauli (1963)
1. Grosser Seemanns-Chor und das große Film-Orchester: Film-Overtüre (Instrumental) - 2:24
2. Grosser Seemanns-Chor und das große Film-Orchester: Publicity - 2:13
3. The Lonesome Star - 3:56
4. Die Makkaroni-Girls: Makkaroni von Pams - 0:20
5. Jayne Mansfield: Wo ist der Mann - 2:37
6. Das große Film-Orchester: Crazy Evelyne (Instrumental) - 1:05
7. In Hamburg an der Waterkant - 3:58
8. Du bist die Liebe - 3:43
9. Heimweh nach St. Pauli - 2:45
10. Großer Seemanns-Chor und das große Film-Orchester: Fischmarkt von St. Pauli - 3:08
11. Das große Film-Orchester: Fischmarkt-Ballet (Instrumental) - 0:44
12. Jayne Mansfield: Snicksnack-Snuckelchen - 2:59
13. Großer Seemanns-Chor: Seemann, o Seemann - 1:17
14. Das große Film-Orchester: Schlägerei-Walzer (Instrumental) - 1:11
15. Junge, komm' bald wieder - 2:55
16. Tell, Sailor, Tell Me a Story - 3:53
17. Was will das Meer von mir - 3:17
18. Das gibt's nur auf der Reeperbahn - 3:47
19. Junge, komm' bald wieder (Kurzversion) - 1:50
CD 3: Freddy Und Das Lied Der Prärie (1964)
20. Der Wind der Prärie - 2:46
21. Im Wilden Westen - 2:04
22. Gib mir dein Wort - 3:26
23. Irgendwo, irgendwann - 2:18
24. Die Story von Black Bill - 1:58
25. Dear Old Joe - 3:18
26. Ein Himmel voll Sterne - 2:53
27. Orchester Hans Last: Cowboy's Tango - 2:48
28. Wie schön, daß du wieder zuhause bist - 3:02
29. In The Wild, Wild West - 2:26
30. Wo gibt es noch Freunde - 2:36
31. Vergiß das nie (Zwei Herzen) - 2:52
32. Brauchst du Gewalt, wirst du nicht alt - 3:24
CD 4: Freddy, Tiere, Sensationen (1964)
1. Wo unser Zelt steht (Kurzversion) - 1:47
2. Wo unser Zelt steht - 2:06
3. Kleine Welt - 3:05
4. Freddy Quinn & Josef Albrecht: Zirkusluft - 5:27
5. Der Himmel der Pferde (Kurzversion) - 1:24
6. Circus Twist (Junge, verlier nicht den Mut) - 1:40
7. Manege frei (Aufnahme mit Hintergrundgeräuschen) - 2:22
8. Vergangen, vergessen, vorüber (Aufnahme mit Hintergrundgeräuschen) - 2:48
9. Freddy Quinn & Erna Sellmer: Daran muss ich immer denken(Baldoni Duett) - 2:06
10. Vergangen, vergessen, vorüber - 2:53
11. Wo warst du so lange, mein Sohn - 3:39
12. Der Zirkus kommt - 5:46
13. Der Himmel der Pferde - 2:52
14. Wer weiss - 2:37
15. Dich gibt's nie wieder - 2:44
CD 4: Freddy - Die Fahrt Ins Abenteur (Haie An Bord) (1971)
16. Die Fahrt ins Abenteuer (Film-Version) - 3:45
17. Auf einem Seemannsgrab (Film-Version 1) - 0:56
18. Auf einem Seemannsgrab (Film-Version 2) - 0:36
19. La Paloma (Aufnahme mit Hintergrundgeräuschen) - 1:37
CD 4: Freddy Und Das Lied Der Prärie (The Sheriff Was A Lady) (1964)
20. The Story of Black Bill - 1:54
21. Where You Should Wander (This Heart Of Mine) - 2:55
22. Who Knows When, Who Knows Where - 2:16
23. Mamie Van Doren: Let Me Love You (Live) - 1:00
24. The Wind Of The Prairie - 1:57
25. Dear Old Joe (english) - 1:35
26. Give Me Your Word - 3:25
CD 4: Canaris (1954)
27. La feria de las flores (Instrumental) - 0:51
CD 4: Heimweh... Dort Wo Die Blumen Blüh'n (1957)
28. Heimweh (Dort, wo die Blumen blüh'n) (Film-Version) - 1:45
CD 4: Stahlnetz (Episode: "Die Tote Im Hafenbecken") (1958)
29. La feria de las flores (Film-Version) - 1:05
Friedrich Goldmann [>] [D]: Late Works [F]
Label und Katalognummer: Macro M 24, Wir
e Magazine Issue 327
Veröffentlicht: 2011 04
Genretags: Akademica - Moderne-Klassik
Slipcase mit Insert für Liner notes. Der erste Track ist eine Studio Aufnahme von 1994, die restlichen tracks sind Live Aufnahmen von 2007 (2) und 2008 (3, 4)
Trackliste: 1. Haiku À 6 for flute, clarinet, violin, viola, violoncello and piano - 4:29
2. Ensemblekonzert 3. Fantasia on the fundamental notes of an arioso by JS Bach for 16 players - 23:41
3. Sisyphos Zu Zweit for violin and violoncello - 10:57
4. Wege Gewirr Ausblick for orchestra - 17:21
Alle Tracks: Friedrich Goldmann.
Besetzung: Ensemble - Modern Art Sextet (1), musikFabrik (2), DuoKaya (3)
; Producer - Friedrich Goldmann, SFB (1), Deutschlandradio Kultur (2), Deutschlandfunk (3), HfM Dresden (4)
; Conductor - Enno Poppe (2), Ekkehard Klemm (4)
; Violin - Biliana Voutchkova (3)
; Cello - Agnieszka Dziubak (3)
; Orchestra - Orchestra Of Hochschule für Musik \'Carl Maria Von Weber\' Dresden (4)
Funkstörung [>] [D]: Viceversa [F]
Label und Katalognummer: Studio !K7 108
Produktion: Michael Fakesch & Christian de Luca
Veröffentlicht: 2001 10 30
Genretags: Electronica - IDM
Trackliste: 1. Plaid - Eyen (Funkstörung Remiks) - 3:47
2. Jay Jay Johanson - I Want Some Fun - 4:47
3. Nils Petter Molvær - Solid Ether (Funkstörung Miks) - 4:58
4. A Guy Called Gerald - Humanity (Funkstörung Remiks) - 3:53
5. Funkstörung with Beans - Salt - 3:29
6. Speedy J - Something Good for Your Mind (Funkstörung Remiks) - 5:24
7. Ike Yard - N.C.R. (Remiksed by Funkstörung) - 4:55
8. The Notwist - Moron (Twisted by Funkstörung) - 3:35
9. Funckarma - Spatial Convolution (Morphed by Funkstörung) - 4:36
10. Phillip Boa & The Voodooclub - Rome in the Rain (Funkstörung Remiks) - 4:08
11. Tocotronic - Morgen Wir
d Wie Heute Sein (Funkstörung's K.O.K.O.N.U.T.S. Miks) - 3:36
12. Jean Michel Jarre - C'est la Vie (Reordered by Funkstörung) - 4:26
Garbage [>] [D]: Not Your Kind of People [F]
Label und Katalognummer: Stunvolume
Produktion: Garbage
Veröffentlicht: 2012 05 14
Genretags: Alternativerock
Trackliste: 1. Automatic Systematic Habit - 3:18
2. Big Bright World - 3:35
3. Blood for Poppies - 3:38
4. Control - 4:12
5. Not Your Kind of People - 4:57
6. Felt - 3:26
7. I Hate Love - 3:54
8. Sugar - 3:59
9. Battle In Me - 4:14
10. Man On a Wir
e - 3:07
11. Beloved Freak - 4:30
Besetzung: Mixed by Butch Vig & Billy Bush
Gary Numan [>] [D]: Telekon [F]
Label und Katalognummer: Beggars Banquet BEGA 019
Produktion: Gary Numan
Veröffentlicht: 1980 09 05
Genretags: Rock - Artrock - Electronicrock, Postpunk - Electronic-Postpunk
Trackliste: Seite A
1. This Wreckage
2. The Aircrash Bureau
3. Telekon
4. Remind Me to Smile
5. Sleep by Windows
Seite B
1. We Are Glass
2. I'm an Agent
3. I Dream of Wir
es
4. Remember I Was Vapour
5. Please Push No More
Bonustracks der CD-Ausgabe
1. The Joy Circuit
2. I Die: You Die
3. A Game Called 'Echo'
4. Photograph
5. Down in the Park (Piano Version)
6. Trois Gymnopédies (1st Movement) (Eric Satie)
Alle Tracks: Gary Numan, ausser wo anders vermerkt.
Besetzung: Bass - Paul Gardiner
; Drums - Ced Sharpley (A1 - B3, B5)
; Engineer - Graeme Myhre (A3, A5, B2, B3, B5), Steve Smith (A2, A4-B2, B4)
; Guitar - Gary Numan (A5, B1, B5)
; Keyboards - Denis Haines (A2, A4, B1, B2)
; Mastered By - Melvyn Abrahams
; Mixed By - Jess Sutcliffe (A4, B1, B2, B4), Nick Smith (A1 - A3, A5, B3, B5)
; Photography - Geoff Howes
; Piano - Gary Numan (A1, A3, B5)
; Producer, Lyrics By, Composed By, Vocals, ; Keyboards - Gary Numan
; Viola - Chris Payne (A2, B1 - B3)
Gaz Coombes [>] [D]: Matador [F]
Label und Katalognummer: Hot Fruit Recordings HF 007
Produktion: Gaz Coombes
Veröffentlicht: 2015 01 26
Genretags: Alternativerock
Trackliste: 1. Buffalo - 3:21
2. 20/20 - 4:15
3. The English Ruse - 4:43
4. The Girl Who Fell to Earth - 3:35
5. Detroit - 5:41
6. Needle's Eye - 4:04
7. Seven Walls - 3:49
8. Oscillate - 3:12
9. To the Wir
e - 4:06
10. Is It On? - 0:34
11. Matador - 1:25
Besetzung: Backing Vocals: Beverlei Brown (2, 3, 5, 6, 9)
; Backing Vocals: Faith Simpson (2, 3, 5, 6, 9)
; Drums: Loz Colbert (1, 4, 6, 9)
; Engineer: Ian Davenport
; Mastering: Bob Ludwig
; Mixing: Gaz Coombes
; Performer: Gaz Coombes:
; Synthesizer: Charly Coombes (1)
; Written By: Gaz Coombes
; Licensed To Caroline International
; Published By Kobalt Music Group Limited
; Phonographic Copyright (p) Gaz Coombes Ltd.
; Copyright (c) Gaz Coombes Ltd.
; Mastered At Gateway Mastering
Gerhard Gundermann [>] [D] & Seilschaft [>] [D]: Frühstück für immer [F]
Label und Katalognummer: BuschFunk 00932
Veröffentlicht: 1995
Genretags: Rock - AOR-Rock - Heartlandrock
Trackliste: 1. Frühstück für immer (Mario Ferraro, Gerhard Gundermann) - 4:11
2. Krieg (Michael Nass, Gerhard Gundermann) - 4:28
3. Sag wolltest du nicht noch - 3:12
4. Spricht der Teufel (Mario Ferraro, Gerhard Gundermann) - 4:21
5. Wenigstens bis morgen (Mario Ferraro, Gerhard Gundermann) - 4:07
6. Macht ja nischt - 3:05
7. Das wars dann wohl - 3:14
8. Revolution Nr. 10 - 4:17
9. Keine Zeit mehr - 4:33
10. Vögelchen - 3:54
11. So wird es Tag (León Gieco) - 3:57
12. Sonntag in Schwarze Pumpe - 1:33
13. Hier bin ich geboren (Mario Ferraro and Gerhard Gundermann) - 4:51
14. Ist da irgendwer (Gerhard Gundermann, Michael Nass) -
Glitterbug [>] [D]: Privilege [F]
Label und Katalognummer: c.sides 007
Produktion: Till Rohmann
Veröffentlicht: 2010 05 17
Genretags: Electronica - Techno
Trackliste: CD 1
1. Lionheart - 5:36
2. Swirl - 8:47
3. Blue Rifts - 6:27
4. Wide & Near - 6:11
5. Calcutta - 6:51
6. After All - 8:24
7. Blast - 8:34
8. Confront - 6:46
9. Pink Sparks (Cave Edit) - 8:25
10. Vertical Extent - 4:25
Alle Tracks: Till Rohmann.
CD 2
1. Waves - 6:43
2. Float - 7:36
3. Cornered - 8:30
4. Slurred Thinking - 7:11
5. Shake And Tumble - 8:43
6. Parted - 7:03
7. So Could We - 4:09
8. Transitions - 5:42
9. Over Water (Dub Edit) - 8:12
10. Walk Me - 5:59
Alle Tracks: Till Rohmann.
Besetzung: Design [Graphic Design]: Ronni Shendar
; Mastering: Emanuel Geller
; Photography: Ronni Shendar
; Photography [Cover Photo]: Till Rohmann
; Alle Tracks, Recording, Producer: Till Rohmann
; Published By Copyright Control
; Mastered At Salz Mastering
Gordon Lightfoot [>] [D]: Gord's Gold, Vol. 2 [F]
Label und Katalognummer: Warner Bros. 25784
Produktion: Gordon Lightfoot
Veröffentlicht: 1988 10 11 (Ed.)
Genretags: Rock - Folkrock, Rock - Singer-Songwriter
Trackliste: 1. If It Should Please You - 2:50
2. Endless Wir
e - 4:14
3. Hangdog Hotel Room - 2:47
4. I'm Not Supposed To Care - 3:18
5. High and Dry - 2:26
6. The Wreck of the Edmund Fitzgerald - 6:14
7. The Pony Man - 3:33
8. Race Among the Ruins - 3:23
9. Christian Island - 3:12
10. All the Lovely Ladies - 2:48
11. Alberta Bound - 2:58
12. Cherokee Bend - 4:57
13. Triangle - 3:53
14. Shadows - 2:59
15. Make Way (For the Lady) - 3:40
16. Ghosts of Cape Horn - 4:06
17. Baby Step Back - 3:55
18. It's Worth Believin' - 3:25
Alle Tracks: Gordon Lightfoot.
Besetzung: Bass: Rick Haynes
; Drums: Barry Keane
; Electric Guitar: Terry Clements
; Engineer: Ken Friesen
; Engineer [Assistant]: Mike Irvine
; Guitar: Gordon Lightfoot
; Guitar: Terry Clements
; Keyboards: Mike Heffernan
; Vocals: Gordon Lightfoot
; Copyright (c) Warner Bros. Records Inc.
; Phonographic Copyright (p) Warner Bros. Records Inc.
; Distributed By WEA Music Of Canada, Ltd.
Greie Gut Fraktion [>] [D]: Baustelle [F]
Assoziierte Acts: AGF & Antye Greie & Gudrun Gut
Label und Katalognummer: Monika Enterprise monika 69
Produktion: Antye Greie & Gudrun Gut
Veröffentlicht: 2010 07 06
Genretags: Electronica - Breakbeat - Triphop, Electronica - Soundart - Konkrete-Poesie
Trackliste: 1. Cutting Trees - 4:39
2. Wir
Bauen Eine Neue Stadt (Holger Hiller) - 6:31
3. Drilling An Ocean - 4:03
4. Mischmachine - 5:15
5. Make It Work - 3:37
6. Betongiessen - 3:55
7. Grossgrundbesitzer - 5:47
8. Baustein - 3:45
9. China Memories - 4:42
10. White Oak - 4:25
11. We Matter - 3:29
Alle Tracks: Antye Greie & Gudrun Gut, ausser wo anders vermerkt.
Besetzung: Stefan Betke: Mastering
; Antye Greie-Fuchs: Collage, Mixing, Voice
; Gudrun Gut: Collage
Greie Gut Fraktion [>] [D] & Alva Noto [>] [D] & Wolfgang Voigt [>] [D]: Stadt Mixe [F]
Assoziierte Acts: AGF & Antye Greie & Gudrun Gut
Label und Katalognummer: Monika Enterprise monika 67
Veröffentlicht: 2010 05 21
Genretags: Electronica
Trackliste: 1. Wir
Bauen Eine Neue Stadt: Alva Noto - Remodel - 9:28
2. Wir
Bauen Eine Neue Stadt: Shortcut - Radio Mix - 3:36
3. Wir
Bauen Eine Neue Stadt: Wolfgang Voigt - Freiland Klaviermix 1 - 5:41
4. Wir
Bauen Eine Neue Stadt: Wolfgang Voigt - Freiland Klaviermix 2 - 5:38
Alle Tracks: Palais Schaumburg.
Greie-Gut Fraktion [>] [D]: Rekonstruktion [F]
Label und Katalognummer: Monika Enterprise Monika 73
Produktion: Verschiedene
Veröffentlicht: 2011 08 26
Genretags: Electronica
Trackliste: 1. Drilling An Ocean (AGF Drilling Frrrmmm Remix) - 3:31
2. Betongeissen (Rubberboots Mix von Gudrun Gut) - 3:05
3. Wir
Bauen Eine Neue Stadt (Freiland Klaviermix 1 von Wolfgang Voigt) - 5:41
4. Drilling An Ocean (Mix von Mika Vainio) - 5:37
5. We Matter (Natalie Beridze Mix) - 4:36
6. Make It Work (Jennifer Cardini Mix) - 7:48
7. Mischmaschine (Late Dub von Soulphiction) - 5:35
8. Cutting Trees (Barbara Morgenstern Mix) - 3:52
9. Make It Work (Get It Down Mix von Gudrun Gut) - 5:45
10. Baustein He's A Man Mix von Donna Neda) - 4:49
11. Make It Work (Built Up Interlude von AGF) - 0:38
12. Wir
Bauen Eine Neue Stadt (Remodel von Alva Noto (Edit)) - 4:05
13. Cutting Trees (Space Place Mix von AGF) - 4:16
14. White Oak (Sombrero Albo Remix von Chra) - 4:08
15. China Memories (Ambient Remix von Vinilette) - 5:36
Besetzung: Antye Greie-Fuchs: Mastering
; Bass - Heiko Voss (6)
Grobschnitt [>] [D]: Jumbo [F]
Label und Katalognummer: Brain 1076, Repertoire PMS 7094 WP
Produktion: Frank Mille & Grobschnitt
Veröffentlicht: 1975, 1998 (Reed.)
Genretags: Rock - Progrock - Krautrock
Trackliste: Seite A
1. a) Jupp - 0:13, b) The Excursions of Father Smith - 9:37
2. The Clown - 6:42
Seite B
1. Dream and Reality - 5:25
2. Sunny Sunday's Sunset - 11:30
3. Auf Wiedersehn - 0:54
Bonustracks der CD Ausgabe von : German Version
1. Jupp / Vater Schmidt's Wandertag - 9:52
2. Der Clown - 6:49
3. Traum Und Wir
klichkeit - 5:26
4. Sonntag's Sonnabend - 11:27
5. Auf Wiedersehen - 0:53
6. Auf Wiedersehen '98 - 1:17
Alle Tracks: Grobschnitt
Besetzung: Bass Guitar: Wolfgang Jäger
; Arranged: Grobschnitt
; Cover [Design]: Wandrey\'s Studio
; Drums, Percussion, Effects, Voice [Silly Voices And Vexation]: Joachim Ehrig
; Executive-Producer: Eroc
; Executive-Producer, Mixing [Remix]: Eroc
; Guitar: Gerd-Otto Kühn
; Lead Vocals, Backing Vocals [Chorus], Rhythm Guitar, Acoustic Guitar: Stefan Danielak
; Organ, Mellotron, Piano, Synthesizer, Performer [Electric Flat-Board]: Volker Kahrs
; Photography [Cover]: Eroc
; Photography [Cover]: Genius (21)
; Recording [Gags]: Eroc
; Technician [Assistance]: Petrus Wippel
; Technician [Equipment Upsetting]: Ballermann
; Technician [Equipment Upsetting]: El Blindo
; Technician [Stage Lightning]: Toni Moff Mollo
; Recorded At Conny\'s Studio
; Manufactured By Metronome Records GmbH
; Published By Slezak
Guided By Voices [>] [D]: Universal Truths And Cycles [F]
Label und Katalognummer: Matador OLE 547
Produktion: Guided by Voices & Todd Tobias
Veröffentlicht: 2002 06 18
Genretags: Alternativerock - Lo-Fi-Rock
Trackliste: 1. Wir
e Greyhounds - 0:35
2. Skin Parade - 2:57
3. Zap - 1:14
4. Christian Animation Torch Carriers - 3:54
5. Cheyenne - 2:58
6. The Weeping Bogeyman - 1:35
7. Back to the Lake - 2:33
8. Love 1 - 0:54
9. Storm Vibrations - 4:59
10. Factory of Raw Essentials - 1:25
11. Everywhere with Helicopter - 2:36
12. Pretty Bombs - 3:06
13. Eureka Signs - 3:06
14. Wings of Thorn - 2:10
15. Car Language - 4:44
16. From a Voice Plantation - 2:06
17. The Ids Are Alright - 1:10
18. Universal Truths and Cycles - 2:19
19. Father Sgt. Christmas Card - 2:04
Alle Tracks: Robert Pollard.
Besetzung: Artwork By [Design] - Bob Ohe, Mark Ohe, The Ohe Brothers
; Keyboards, Noises, Other [Atmospheres] - Todd Tobias
; Mastered By - Jeff Graham
; Mastered By [Assisted By] - Jason White
; Performer - Doug Gillard, Jon McCann, Nate Farley, Tim Tobias
; Photography - Daniel Coston
; Producer [Assistant], Engineer - John Shough, Scott Bennett
; Engineer - Todd Tobias
; Performer - Robert Pollard
Guided By Voices [>] [D]: Class Clown Spots A UFO [F]
Label und Katalognummer: Guided by Voices Inc. GBVi 22, Fire FIRECD 249
Produktion: Guided by Voices
Veröffentlicht: 2012 06 11
Genretags: Alternativerock - Lo-Fi-Rock
Trackliste: 1. He Rises! Our Union Bellboy - 3:02
2. Blue Babbleships Bay - 1:18
3. Forever Until It Breaks" (Tobin Sprout) 3:16
4. Class Clown Spots a Ufo - 3:17
5. Chain to the Moon" (Greg Demos, Pollard) 1:00
6. Hang Up and Try Again - 2:16
7. Keep It in Motion - 2:07
8. Tyson's High School" (Mitch Mitchell, Pollard) 2:36
9. They and Them" (Sprout) 1:10
10. Fighter Pilot" (Sprout) 1:00
11. Roll of the Dice, Kick in the Head - 0:47
12. Billy Wir
e - 2:04
13. Worm with 7 Broken Hearts - 0:50
14. Starfire" (Sprout) 1:27
15. Jon the Croc - 2:33
16. Fly Baby" (Demos, Pollard) 1:43
17. All of This Will Go" (Sprout) 1:46
18. The Opposite Continues - 1:37
19. Be Impeccable - 2:57
20. Lost in Spaces" (Sprout) 0:51
21. No Transmission - 2:19
Alle Tracks: Robert Pollard, ausser wo anders vermerkt.
Besetzung: Matt Davis, Greg Demos, Kevin Fennell, Mike Lipps, Mitch Mitchell, Kevin Poindexter, Robert Pollard, Tobin Sprout: Band
; David Newgarden: Management
; Joe Patterson: Layout
; Robert Pollard: Cover Art, Layout
; Darryl Robbins: Acoustic Slide Guitar, Engineer, Organ
; Carl Saff: Mastering
; John Shough: Engineer, Piano
; Tobin Sprout: Engineer
; Todd Tobias: Engineer
Haim [>] [D]: Days Are Gone [F]
Label und Katalognummer: Columbia 377097
Produktion: James Ford & Ludwig Goransson & Alana Haim & Danielle Haim & Este Haim & Ariel Rechtshaid
Veröffentlicht: 2013 09 30
Genretags: Post-Millennial-Music - Poprock - Altpop
Trackliste: 1. Falling (Alana Haim, Danielle Haim, Este Haim, Morgan Nagler - Lyrics) - 4:17
2. Forever - 4:05
3. The Wir
e - 4:05
4. If I Could Change Your Mind (James Ford, Alana Haim, Danielle Haim, Este Haim) - 3:50
5. Honey & I - 4:11
6. Don't Save Me - 3:51
7. Days Are Gone (Alana Haim, Danielle Haim, Este Haim, Kid Harpoon, Jessie Ware) - 3:33
8. My Song 5 (Alana Haim, Danielle Haim, Este Haim, Ariel Rechtshaid) - 3:53
9. Go Slow - 4:17
10. Let Me Go - 4:08
11. Running If You Call My Name (Alana Haim, Danielle Haim, Este Haim, Ariel Rechtshaid) - 4:02
Alle Tracks: Alana Haim, Danielle Haim, Este Haim, ausser wo anders vermerkt.
Besetzung: Design: Marek Polewski
; Engineer: Chris Kasych (5)
; Engineer: David Schiffman (1, 3, 5, 7, 8, 10, 11)
; Engineer: Jimmy Robertson (4)
; Engineer: Martin Cooke (5)
; Engineer: Morgan Stratton (6)
; Engineer: Nicolas Fournier (5)
; Engineer [Additional]: Nick Rowe (1, 2, 3, 5, 7, 8, 9, 10, 11)
; Engineer [Assisted By]: Bo Hill (5)
; Lyrics By [Additional]: Morgan Nagler (1)
; Mastering: Emily Lazar
; Mastering [Assisted By]: Rich Morales
; Mixing: Heiko Huebschmann (9)
; Mixing: Manny Marroquin (8)
; Mixing: Mark Stent (2, 3, 4, 7, 10, 11)
; Mixing: Rich Costey (5)
; Mixing: Tom Elmhirst (1, 6)
; Mixing [Assisted By]: Ben Baptie (1, 6)
; Mixing [Assisted By]: Chris Galland (8)
; Mixing [Assisted By]: Dave Emery (2, 3, 4, 7, 10, 11)
; Mixing [Assisted By]: Delbert Bowers (8)
; Mixing [Assisted By]: Geoff Swan (2, 3, 4, 7, 10, 11)
; Photography: Pierre Auroux
; Photography: Tom Beard
; Producer: James Ford (4, 6), Ludwig Goransson (2, 9)
; Producer [Additional], Engineer [Additional]: Ariel Rechtshaid (2, 9)
; Producer, Engineer: Ariel Rechtshaid (1, 3, 5, 7, 8, 10, 11)
; Phonographic Copyright (p) Haim Productions Inc.
; Copyright (c) Haim Productions Inc.
; Licensed To Polydor Records Ltd.
; Published By Haim Productions Inc.
; Published By Goldmeyn Music
; Published By Universal Publishing
; Published By Lion Of God
; Mixed At Mixsuite
; Mixed At Electric Lady Studios
; Mixed At Larrabee Studios Universal City
; Mixed At Eldorado Recording Studios
; Mixed At Stereoblue Studios
; Mastered At The Lodge
; Recorded At Sunset Sound
; Recorded At Heavy Duty Studios
; Recorded At Sear Sound
; Recorded At Downtown Music Studios
; Recorded At Hyperion Sound
; Recorded At Vox Studios
; Recorded At The Bank
; Recorded At The Premises
; Recorded At Box Studios
; Designed At Big Active
Halim El-Dabh [>] [D]: Crossing Into The Electric Magnetic [F]
Label und Katalognummer: Without Fear WFR 003
Produktion: Halim El-Dabh
Veröffentlicht: 2000 (Ed.), 1974-44 (Rec.)
Genretags: Akademica - Elektronische-Musik - Konkrete-Musik
Halim El-Dabh hat die erste bekannte Konkrete Musik geschaffen.
Trackliste: 1. Electronic Fanfare (feat. Otto Luening) - 7:07
2. Alcibiadis' Monologue To Socrates - 2:15
3. Wir
e Recorder Piece - 1:57
4. Michael And The Dragon - 4:58
5. Meditation In White Sound - 6:09
6. Pirouette - 3:15
7. Element, Being, And Primeval - 7:26
8. Electronics And The Word - 2:46
9. Venice - 1:25
10. Leiyla Visitations 1 - 2:26
11. Leiyla Visitations 2 - 3:24
12. Leiyla Visitations 3 - 0:20
13. Leiyla Visitations 4 - 4:04
14. Leiyla Visitations 5 - 1:13
15. Leiyla Visitations 6 - 5:05
16. Leiyla Visitations 7 - 1:34
17. Leiyla Visitations 8 - 3:18
18. Leiyla Visitations 9 - 2:53
19. Leiyla Visitations 10 - 4:19
20. Leiyla Visitations 11 - 1:01
21. Leiyla Visitations 12 - 1:30
22. Leiyla Visitations 13 - 4:35
23. Leiyla Visitations 14 - 0:36
Alle Tracks: Halim El-Dabh.
Besetzung: Liner Notes, Technician [Restored], Remastering, Editing, Artwork [Cover Art], Photography: Mike Hovancsek
; Research [Additional]: David Badagnani
Hanns Dieter Hüsch [>] [D] & Franz Josef Degenhardt [>] [D] & Wolfgang Neuss [>] [D] & Dieter Süverkrüp [>] [D]: Quartett '67 [F]
Label und Katalognummer: Conträr Conträr 004
Veröffentlicht: 1996 11
Genretags: Europeana - Liedermacher
Trackliste: CD 1
1. Für Wen Wir
Singen -
2. Seele Der Apartheid -
3. An Alle Leichtfertig Gutgläubigen SPD-Wähler -
4. So Sind Hier Die Leute -
5. Minnelied '68 -
6. EWG (England Will Geiner) -
7. Das Leben - Ein Supermarkt -
8. Notar Bolamus -
9. Deutsche Zunge -
10. Verkürzte Darstellung Eines Neuerlichen Deutschland-Erwachens -
11. Ich Bin Ein Deutscher Lästerer -
12. Wanderlied '68 -
13. Da Bin Ich -
CD 2
1. Traum Von Der Solidarität -
2. Erschröckliche Moritat Vom Kryptokommunisten -
3. Kirschen Auf Sahne -
4. Hier Sind Die Deutschen Rundfunksender -
5. Horsti Schmandhoff -
6. Der Lachenden Mann Aus Dem Kongo -
7. Viele Sagen... -
8. Wir
tschaftsbericht Bei Der Nirgendwo AG Im Nirgendwoland -
9. Hexenverbrennung Nach Einem Alten Holzschnitt -
10. Rein Technisches -
11. Partisanenbekämpfung -
12. Westernballade -
13. Die Mächtigen -
14. Solange Die UDSSR... -
15. Wenn Der Senator Erzählt -
16. Und Das Deutsche Volk Pflegt Sich -
Besetzung: Distributed By Indigo (2)
Hanns Dieter Hüsch [>] [D]: Das Wort zum Montag [F]
Label und Katalognummer: Polydor 249 262
Veröffentlicht: 1968
Genretags: Europeana - Liedermacher, Nonmusic - Poetry
Trackliste: Seite A
1. Legen Sie Ihren Namen An Der Garderobe Ab -
2. Der Lästerer (Hanns Dieter Hüsch, Karl Heinz Loges) -
3. Wiegenlied -
4. Reihenfolge -
5. Bedenkt -
6. Mein Wanderlied -
7. Sie Haben Alle Recht! (Hanns Dieter Hüsch, Karl Heinz Loges) -
Seite B
1. Nahment Zusammen! -
2. Zum Beispiel Renate -
3. Das Wort Zum Montag (Hanns Dieter Hüsch, Karl Heinz Loges) -
4. Zwiebelschälende Ophelia -
5. Freunde, Wir
Haben Arbeit Bekommen (Heinz Hötter, Hanns Dieter Hüsch) -
6. Peking Am Main (Hanns Dieter Hüsch, Karl Heinz Loges) -
Alle Tracks: Hanns Dieter Hüsch, ausser wo anders vermerkt.
Besetzung: Printed By Gerhard Kaiser GmbH
; Manufactured By Deutsche Grammophon
Assoziierte Acts: BJ Nilsen
Label und Katalognummer: Ash International ASH 4.5
Produktion: Benny Nilsen
Veröffentlicht: 1998 05
Genretags: Electronica - Ambient - Concrete-Ambient
Trackliste: 1. Wir
e Netting - 11:25
2. Tangled Mass - 5:00
3. Grey Speed - 1:38
4. The Vib Room - 6:48
5. Absence Or Presence - 9:52
6. Transport - 6:47
7. Wound/Impact - 9:50
Alle Tracks: Benny Nilsen.
Besetzung: Mastered At Country Masters By Denis Blackham
Heinz Rudolf Kunze [>] [D]: Reine Nervensache [F]
Label und Katalognummer: WEA 58314
Produktion: Mick Franke & Heinz Rudolf Kunze
Veröffentlicht: 1981 05 29
Genretags: Rock - Poprock - Singer-Songwriter
Trackliste: Seite A
1. Wir
leben alle im Erdgeschoss - 4:13
2. Für nichts und wieder nichts - 3:58
3. Traumtänzer - 3:38
4. Mit meinem leeren Glas - 4:18
5. Balkonfrühstück - 5:21
Seite B
1. Romanze - 3:00
2. Noch hab' ich mich an nichts gewöhnt - 6:04
3. Abstinenzler - 3:17
4. Bestandsaufnahme - 8:26
Alle Tracks: Mick Franke & Heinz Rudolf Kunze.
Besetzung: Acoustic Guitar: Heinz Rudolf Kunze (A2, A4, A5, B2)
; Acoustic Guitar: Mick Franke (A2, A5 to B2)
; Bass Guitar: Iosif Kappl (A1, A2, A4, B1, B3)
; Bass Guitar: Klaus Voormann (A2, B2)
; Bouzouki: Mick Franke (A4)
; Choir: Heinz Rudolf Kunze (A3)
; Choir: Mick Franke (A3)
; Design [Covergestaltung]: Klaus Voormann
; Design [Covergestaltung]: Peter Maltz
; Double Bass: Helmut Inhülsen (A5)
; Drums: Joachim Luhrmann (A1, A2, A4, B1 to B3)
; Electric Guitar: Heinz Rudolf Kunze (B3)
; Electric Guitar: Jürgen Wagner (A1, A2, B2, B3)
; Electric Piano [Fender Rhodes]: Heinz Rudolf Kunze (B1)
; Engineer: Gero Von Gerlach
; Engineer: Ingo Haasch
; Engineer: Thomas Kukuck
; Engineer: Ulli Weigel (B4)
; Harmonica: Heinz Rudolf Kunze (B4)
; Liner Notes: Klaus Schneider
; Percussion: Joachim Luhrmann (A1 to A4, B3)
; Percussion: Klaus Voormann (A2)
; Performer [Kuozuob]: Mick Franke (A4)
; Photography: Michael Von Gimbut
; Piano: Heinz Rudolf Kunze (A1, B4)
; Piano: Hendrik Schaper (A3)
; Remix: Thomas Kukuck (B4)
; Saxophone: Herb Geller (A1)
; Sequenced By: Hendrik Schaper (A3)
; Synthesizer [Arp Quadra]: Hendrik Schaper (A2 to A4, B1, B2)
; Synthesizer [Minimoog]: Heinz Rudolf Kunze (A3)
; Synthesizer [Minimoog]: Hendrik Schaper (A3, B1, B2)
; Twelve-String Guitar: Mick Franke (A4)
; Vocals: Heinz Rudolf Kunze
; Vocals: Mick Franke (A2, A5)
; Phonographic Copyright (p) WEA Musik GmbH
; Copyright (c) WEA Musik GmbH
; Made By WEA Musik GmbH
; Recorded At Rüssl Studio
Hematic Sunsets [>] [D]: Aroma Club Paradox [F]
Label und Katalognummer: Dekorder 032
Veröffentlicht: 2009
Genretags: Electronica
Trackliste: Seite A
1. Parade mit Grooms
2. Hoffnung der Frauen (nach O.K.)
3. Schuldige Scheitel
4. Junge Rümpfe
5. Kopf geben
6. Tristesse aromatique
Seite B
1. Kleiner Stein
2. Eskapaden am Tischtelefon
3. Bei der Notdurft zu hören
4. Am Nullpunkt
5. Mayotte
6. Im Bett auf Pepita
7. Wir
tanzten mit Bisley (für O.B.)
Heroin In Tahiti [>] [D]: Sun And Violence [F]
Label und Katalognummer: Boring Machines BM 060
Veröffentlicht: 2015 04 04
Genretags: Post-Millennial-Music - Psychedelia - Italian-Occult-Psychedelia
Trackliste: Seite A
1. Salting Carthago - 7:24
2. 500 Cells - 7:01
3. Absit Omen - 0:43
Seite B
1. Black Market - 5:34
2. Wir
eless Telegraphy Mirage - 2:59
3. Zatlath Aithas - 3:16
4. Spinalonga - 3:58
Seite C
1. Arena 2 - 4:30
2. Continuous Monument - 12:16
Seite D
1. Elba - 4:40
2. Superdavoli - 6:57
3. Costa Concordia - 8:10
Besetzung: Mixing, Flute (A1): Polysick
; Sampler [Other Samples]: Freesound
; Sampler [Vocal Samples Collection]: Alan Lomax
; Sampler [Vocal Samples Collection]: Diego Carpitella
Holger Hiller [>] [D] & Thomas Fehlmann [>] [D]: Wir bauen eine Stadt [F]
Label und Katalognummer: Ata Tak WC 1, Gagarin Records GR 2017
Veröffentlicht: 1981, 2006 09 (Reed.)
Genretags: Postpunk - Electronic-Postpunk - Minimalsynth
Trackliste: Seite A
1. Wir
bauen eine Stadt (Paul Hindemith) - 1:50
2. Gibst du mir Steine, geb ich dir Sand - 0:45
3. Baumusik - 0:55
4. Erst kommt der Bäcker - 1:27
5. Mit dem Autobus - 1:11
Seite B
1. Besuchermusik - 1:27
2. Ich bin ein Schaffner - 1:07
3. Guten Tag, Frau Bergmann - 1:39
4. Jetzt ist's Nacht, alles schläft - 1:16
5. Bei uns haben die Erwachsenen nichts zu sagen - 1:02
Bonustrack
1. Untitled - 0:54
Holy Ghost! [>] [D]: Holy Ghost! [F]
Label und Katalognummer: DFA 2267
Produktion: Diskokaine & Holy Ghost! & James Murphy & Chris Zane
Veröffentlicht: 2011 04 05
Genretags: Electropop - New-Rave
Trackliste: 1. Do It Again - 4:13
2. Wait and See - 3:39
3. Hold My Breath (Wolfram Eckert, Nick Millhiser) - 3:56
4. Say My Name - 6:34
5. Jam for Jerry - 4:44
6. Hold On - 5:56
7. It's Not Over - 4:10
8. Slow Motion (Cerrone, D.Ray, Nick Millhiser) - 3:47
9. Static on the Wir
e - 6:25
10. Some Children - 5:51
Alle Tracks: Nick Millhiser, ausser wo anders vermerkt.
Besetzung: Alex Aldi: Clavinet, Drum Programming, Engineer, Fender Rhodes, Harpsichord, Jupiter 6, Mellotron, Mixing, Piano, Prophet 5, Vocals, Wurlitzer
; Eric Biondo: Trumpet
; Brooklyn Youth Chorus: Vocals
; Eric Broucek: Engineer, Mixing
; Gary Cirimelli: Engineer
; Jon Decola: Photo Assistance
; Jerry Fuchs: Drums, Hi Hat, Trumpet
; Jon Galkin: A&R
; Chris Glover: Bass, Guitar, Vocals (Background)
; Tim Goldsworthy: Programming
; Ben Grubin: Vocals (Background)
; Holy Ghost!: Engineer, Mixing
; Luke Jenner: Vocals (Background)
; The Juan MacLean: Engineer
; John Maclean: Guitar, Soloist
; Chris Maher: Guitar, Vocals (Background)
; Michael McDonald: Vocals
; Harry McNally: Photography
; Nick Millhiser: Bass, Cowbell, Drum Programming, Drums, Guitar, Omnichord, Percussion, Photography, Prophet 5, Prophet 600, Roland 909, Timbales, Toms
; James Murphy: Engineer, Mixing
; Jonathan Powell: Trombone (Valve), Trumpet
; Tama Techstar: Drums
; Michael Vadino: Photography
; Mike Williams: Trombone
; Chris Zane: Congas, Drum Programming, Engineer, Mixing
I Break Horses [>] [D]: Hearts [F]
Label und Katalognummer: Bella Union BELLACD 279
Produktion: Maria Lindén
Veröffentlicht: 2011 08 22
Genretags: Post-Millennial-Music - Poprock - Dreampop
Trackliste: 1. Winter Beats - 4:45
2. Hearts - 3:53
3. Wir
ed - 4:31
4. I Kill Your Love, Baby! - 4:48
5. Pulse - 4:45
6. Cancer - 5:10
7. Load Your Eyes - 4:40
8. Empty Bottles - 3:22
9. No Way Outro - 4:25
Alle Tracks: Fredrik Balck (Lyrics), Maria Lindén (Musik).
Besetzung: Art Direction: Vaughan Oliver
; Co-producer, Producer [Additional Production]: Jukka Rintamäki (1, 3, 5, 7)
; Co-producer, Producer [Additional Production]: Patrick Alvarsson (6, 8)
; Design: Brian Whitehead
; Design: Tom Skipp
; Design: Vaughan Oliver
; Illustration: Marc Atkins
; Illustration: Terry Dowling
; Illustration: Vaughan Oliver
; Mixing: Hans Olsson Brookes
; Phonographic Copyright (p) Bella Union
; Copyright (c) Bella Union
; Made By EDC
Ian Martin [>] [D]: Mechanical Rain [F]
Label und Katalognummer: Further FUR 043
Veröffentlicht: 2012 01 31
Genretags: Electronica - Ambient
100 Exemplare kommen als clear vinyl mit «black swirls».
Trackliste: Seite A
1. Moving Activity - 7:42
2. Drups - 7:17
3. Voice Of Space - 5:49
Seite B
1. Stream - 9:38
2. Wir
es - 6:04
3. Mechanical Rain - 6:09
Alle Tracks: Ian Martin.
Besetzung: Lacquer Cut By Rashad @ D&M
; Mastered By Roberto Auser
; Performer Ian Martin (5)
Ihre Kinder [>] [D]: Leere Hände [F]
Label und Katalognummer: Kuckuck 2375 001
Produktion: Jonas Porst
Veröffentlicht: 1970 03
Genretags: Rock - Poprock - Deutschrock
Dieses Album soll sich, als es herauskam, um die 15'000 Mal verkauft haben. Die Gruppe wurde 1973 von der jährlichen Leser*innen-Umfrage der Zeitschrift Musikexpress zur viertbesten Gruppe Deutschlands gekürt, Leere Hände
zum drittbesten Album (Christoph Wagner: Der Klang der Revolte, S.44).
Trackliste: Seite A
1. Würfelspiel (Sonny Hennig) - 3:43
2. Ich Kann Dir Nichts Geben (Sonny Hennig) - 3:55
3. Südafrika Apartheid Express (Sonny Hennig) - 3:11
4. Straße Ohne Ziel - 4:00
5. Das Paradies Muß Auf Erden Sein (Sonny Hennig) - 3:29
6. Leere Hände - 3:45
Seite B
1. Hilf Mir - 3:49
2. Das Wir
d Ein Tag Sein (Sonny Hennig) - 3:56
3. Nimm Deine Liebe - 2:47
4. Pedro Der Pfau (Sonny Hennig) - 3:30
5. Nie Vergess Ich Wie Es War (Sonny Hennig) - 2:37
Alle Tracks: Sonny Hennig und Ernst Schultz, ausser wo anders vermerkt.
Besetzung: Arranged: Ihre Kinder
; Backing Vocals, Guitar: Muck Groh
; Design [Gestaltung]: Concept Data
; Drums, Bongos, Maracas: Olders Frenzel
; Engineer: Tommy Klemt
; Photography [Cover]: Thomas Müller
; Photography [Poster]: Günter Derleth
; Violin: Alo Schnurrer
; Vocals, Bass, Accordion, Acoustic Guitar [6-string]: Walti Schneider
; Vocals, Flute, Percussion, Acoustic Guitar [6-string, 12-string]: Ernst Schultz
; Vocals, Flute, Violin: Georgie Meyer
; Vocals, Organ, Acoustic Guitar [6-string], Piano: Sonny Hennig
Ihre Kinder [>] [D]: Werdohl [F]
Label und Katalognummer: Kuckuck 2375 013
Produktion: Ihre Kinder
Veröffentlicht: 1971
Genretags: Rock - Poprock - Deutschrock
Trackliste: Seite A
1. Babylon - 2:58
2. Rosa Rot - 3:44
3. Unterwegs / 8 Vor Zwei - 5:23
4. Worte - 4:18
5. Komm, Wir
Fahr'n Auf's Land - 3:48
Seite B
1. Werdohl - 7:20
2. Die Graue Stadt - 3:39
3. Kennst Du Den Mann - 3:21
4. Schlaf-Lied - 3:38
Besetzung: Bass: Ernst Schultz (A1, B1, B2)
; Bass, Piano, Organ, Alto Saxophone, Celesta: Tommi Roeder
; Congas: Olders Frenzel (A4)
; Congas, Flute: George Meyer
; Drums: Olders Frenzel
; Engineer: Wolfgang Löper
; Guitar: Muck Groh
; Guitar: Tommi Roeder (A1, B3)
; Guitar [Konzertgitarre]: Olders Frenzel (B1)
; Organ: George Meyer (A4, A5)
; Piano: George Meyer (A4)
; Arranged: Ihre Kinder
; Trombone: Muck Groh (B2)
; Vocals: George Meyer (A3 to A5)
; Vocals: Tommi Roeder (A5)
; Vocals, Guitar [6-string], Twelve-string Guitar: Ernst Schultz
; Vocals, Organ, Piano: Sonny Hennig (A1, B2)
In Tua Nua [>] [D]: The Long Acre [F]
Label und Katalognummer: Virgin CDV 2526
Produktion: Don Dixon & In Tua Nua
Veröffentlicht: 1988
Genretags: Alternativerock - Poprock - Bigmusic, Alternativerock - Poprock - Celticrock
Trackliste: 1. Woman On Fire - 5:00
2. All I Wanted - 3:30
3. Wheel Of Evil - 4:30
4. Meeting Of The Waters - 1:47
5. The Innocent And The Honest Ones - 5:35
6. World Wir
ed Up - 3:38
7. Some Things Never Change - 3:23
8. Don't Fear Me Now - 3:30
9. Emotional Barrier - 4:15
10. The Long Acre - 5:05
11. Sweet Lost Soul - 3:05
Besetzung: Arranged: Martin Clancy
; Arranged: Paul Byrne
; Producer: Don Dixon (1 to 5, 7 to 11), In Tua Nua (4, 6)
; Phonographic Copyright (p) Virgin Records Ltd.
; Copyright (c) Virgin Records Ltd.
; Recorded At Reflection Sound Studios
; Recorded At Union Studios, Munich
; Published By Copyright Control
Institut für Feinmotorik [>] [D]: Penetrans [F]
Label und Katalognummer: Staubgold 025
Veröffentlicht: 2002 04 04
Genretags: Electronica - Soundart - Turntablism
Trackliste: 1. Problem? - 5:28
2. Behalte du deinen Traum, ich behalte das Geld! - 3:52
3. Ein Versuch ist ja wohl nicht strafbar. - 4:01
4. Rufen sie die Polizei. - 5:50
5. Organismen! - 5:07
6. Wir
d es sehr weh Tun? - 4:07
7. ...Ja das ist Kunst! - 6:20
8. Es ging mir niemals besser! - 4:44
Besetzung: Artwork [Cover]: Alexandra Voegtli
; Mastering: Joseph Suchy
; Recorded in Zürich and Bad Säkingen 1999-2001.
; Used: 8 recordplayers, 4 DJ-mixers, 2 mono compressors, 1 multichannel mixer, 0 records.
Jackie DeShannon [>] [D]: Keep Me In Mind: The Complete Imperial and Liberty Singles, Volume 3 [F]
Label und Katalognummer: Ace CDCHD 1350
Veröffentlicht: 2012 10 29 (Ed.)
Genretags: Pop
Trackliste: 1. Changin' My Mind (Gary Illingworth, Myrna March, Richard Grasso) - 2:16
2. It's All In The Game (Charles Dawes, Jack Nitzsche) - 2:29
3. I Keep Wanting You (Jack Nitzsche, Jackie DeShannon) - 2:35
4. Me About You (Alan Gordon, Garry Bonner) - 2:16
5. Nobody's Home To Go Home To (Carole Bayer, Toni Wine) - 2:05
6. Nicole (Jackie DeShannon) - 2:13
7. Didn't Want To Have To Do It (John Sebastian) - 2:48
8. The Weight (Robbie Robertson) - 3:01
9. Effervescent Blue (Jackie DeShannon) - 2:38
10. Laurel Canyon (Jackie DeShannon) - 3:18
11. Holly Would (Jackie DeShannon) - 3:03
12. Trust Me (Bobby Womack) - 2:54
13. What Is This (Bobby Womack) - 2:29
14. Put A Little Love In Your Heart (Jackie DeShannon, Jimmy Holiday, Randy Myers) - 2:40
15. Always Together (Jackie DeShannon, Jimmy Holiday) - 2:44
16. Love Will Find A Way (Jackie DeShannon, Jimmy Holiday, Randy Myers) - 2:29
17. I Let Go Completely (Jackie DeShannon, Jimmy Holiday) - 2:42
18. Keep Me In Mind (Jackie DeShannon, Jimmy Holiday) - 2:00
19. Do You Know How Christmas Trees Are Grown? (Hal David, John Barry) - 3:33
20. Christmas (Jackie DeShannon, Jimmy Holiday, Randy Myers) - 2:38
21. Brighton Hill (Jackie DeShannon, Jimmy Holiday, Randy Myers) - 2:15
22. You Can Come To Me (Jackie DeShannon, Jimmy Holiday) - 2:14
23. You Keep Me Hangin' On / Hurt So Bad - 3:55
24. What Was Your Day Like (Jackie DeShannon, Jimmy Holiday, Randy Myers) - 2:55
25. It's So Nice (Irvin Hunt, Sam Russell) - 2:31
26. Mediterranean Sky (Jackie DeShannon, Jimmy Holiday, Randy Myers) - 2:38
27. Bird On The Wir
e (Leonard Cohen) - 4:01
Besetzung: Compilation Producer: Mick Patrick
; Compilation Producer: Peter Lerner
; Compilation Producer: Tony Rounce
; Design: Niall McCormack
; Liner Notes: Mick Patrick
; Liner Notes: Peter Lerner
; Liner Notes: Tony Rounce
Jackie DeShannon [>] [D]: To Be Free [F]
Label und Katalognummer: Imperial LP 12453
Produktion: Irvin Hunt & Sam Russell
Veröffentlicht: 1970 03
Genretags: Pop - Popsoul, Rock - Soulrock
Trackliste: Seite A
1. Livin' On The Easy Side - 2:40
2. What Was Your Day Like - 2:54
3. Child Of The Street - 2:32
4. Sooner Or Later - 2:45
5. Mediterranean Sky - 2:37
6. Medley: a) You Keep Me Hangin On (Eddie Holland, Lamont Dozier, Brian Holland), b) Hurt So Bad (Bobby Hart, Bobby Wilding, Teddy Randazzo) - 3:57
Seite B
1. It's So Nice - 2:47
2. Francoise - 3:30
3. When Morning Comes Again - 2:47
4. Brighton Hill - 2:17
5. Bird On The Wir
e (Leonard Cohen) - 3:55
Besetzung: Arranged: Bill Reddie (A6a, A6b)
; Arranged: Joe Guercio (A6a, A6b)
; Arranged: Rene Hall (A1 to A5, B1 to B5)
; Art Direction, Design: Ron Wolin
; Illustration [Inside]: Sharleen Pederson
; Photography: Tommy Tucker
; Copyright (c) Liberty/UA, Inc.
; Recorded At Wally Heider Recording Studio, Los Angeles
; Recorded At Sunset Sound
; Recorded At Liberty Studios
; Pressed By Research Craft
; Record Company Liberty/UA, Inc.
; Published By Unart Music Corp.
; Published By Metric Music Co.
; Published By Jobete Music Co., Inc.
; Published By Vogue Music, Inc.
; Published By Pasa Alta Music
; Published By Stranger Music (2)
James Plotkin [>] [D] & Brent Gutzeit [>] [D]: Mosquito Dream [F]
Label und Katalognummer: Kranky KRANK 036
Produktion: Brent Gutzeit & James Plotkin
Veröffentlicht: 1999 05 18 (Ed.), 1998-1994 (Rec.)
Genretags: Electronica - Dronetronica
Guitar deconstructions 1994-1998. Designed for low-level listening.
Trackliste: 1. Mosquito Dream - 6:41
2. Sand Scroll - 9:27
3. Wir
es - 6:23
4. Cloud Cover - 7:24
5. Halo - 13:12
6. Mosquito Veil - 8:12
Alle Tracks: James Plotkin, Brent Gutzeit.
Besetzung: Photography [Inside Photo]: D Williams
; Photography [Outside Photos]: Elizabeth Plotkin
Janis Joplin [>] [D]: Pearl [F]
Label und Katalognummer: Columbia KC 30322, Legacy C2K 90282
Produktion: Paul A. Rothchild
Veröffentlicht: 1971 01, 2005 06 14 (Reed.)
Genretags: Rock - Psychedelicrock - Psychedelicbluesrock
Trackliste: Seite A
1. Move Over (Janis Joplin) - 3:43
2. Cry Baby (Jerry Ragovoy, Sam Bell) - 3:58
3. A Woman Left Lonely (Dan Penn, Spooner Oldham) - 3:29
4. Half Moon (John Hall, Johanna Hall) - 3:53
5. Buried Alive in the Blues (Nick Gravenites) - 2:29
Seite B
1. My Baby (Jerry Ragovoy, Mort Shuman) - 3:26
2. Me and Bobby McGee (Kris Kristofferson, Fred Foster) - 4:33
3. Mercedes Benz (Janis Joplin, Bob Neuwirth, Michael McClure) - 1:48
4. Trust Me (Bobby Womack) - 3:17
5. Get It While You Can (Jerry Ragovoy, Mort Shuman) - 3:27
Bonustracks der Legacy Ausgabe von 2005
1. Happy Birthday, John (Happy Trails) - 1:12
2. Me and Bobby McGee (Demo Version) - 4:46
3. Move Over (Alternate Version) - 4:27
4. Cry Baby (Alternate Version) - 4:59
5. My Baby (Alternate Version) - 3:59
6. Pearl (Instrumental Tribute to Janis by the Full Tilt Boogie) - 4:29
CD2: Live Festival Express Tour, Canada (Aufgenommen zwischen dem 28. Juni und 4. Juli 1970
1. Tell Mama - 6:49
2. Half Moon - 4:38
3. Move Over - 4:41
4. Maybe - 3:57
5. Summertime - 4:39
6. Little Girl Blue - 5:10
7. That's Rock 'N Roll - 5:03
8. Try (Just a Little Bit Harder) - 9:11
9. Kozmic Blues - 5:29
10. Piece of My Heart - 5:21
11. Cry Baby - 6:31
12. Get It While You Can - 7:20
13. Ball and Chain - 8:15
Besetzung: Bass: Brad Campbell
; Congas, Bongos: Bobbie Hall
; Drums: Clark Pierson
; Guitar: John Till
; Organ: Ken Pearson
; Piano: Richard Bell (4)
; Tambourine: Sandra Crouch
; Vocals: Janis Joplin
; Acoustic Guitar: Pearl (B2)
; Acoustic Guitar: Bobby Womack (B4)
Jason Lanox [>] [D]: Burning Every Bridge [F]
Label und Katalognummer: Henk Recordings HENK 001
Veröffentlicht: 2012
Genretags: Electronica
Trackliste: 1. Tonight Is The Night -
2. Destinator -
3. Blinded By The Numbers -
4. Get Lost -
5. Wir
ed -
6. You Can't Save Anyone From Themselves -
7. Dark Waters -
8. The Seas Of Aesta -
Alle Tracks: Jason Lanox.
Jürgen Paape [>] [D]: Kompilation [F]
Label und Katalognummer: Kompakt Klassiks 2
Produktion: Jürgen Paape
Veröffentlicht: 2010 12 17
Genretags: Electronica
Trackliste: 1. Einklang - 0:59
2. Mit Dir - 4:47
3. We Love - 5:41
4. So Wir
d Die Zeit Gemacht - 7:28
5. Fruity Loops #2 - 6:00
6. Come Into My Life (Radio Edit) - 3:40
7. Nord - 6:02
8. Rheintreue - 5:21
9. How Great Thou Art - 5:28
10. Ofterschwang - 4:33
11. Like That - 4:41
12. So Weit Wie Noch Nie - 5:33
13. Silikron (Jürgen Paape Mix) - 5:22
14. Ausklang - 2:53
Alle Tracks: Jürgen Paape.
Jeff Mills [>] [D]: Medium [F]
Label und Katalognummer: Axis AX 009 E-F
Produktion: Jeff Mills
Veröffentlicht: 2003 03
Genretags: Electronica - Techno - Detroit-Techno
Trackliste: 1. Chapter 1. Medium Gray - 9:33
2. Chapter 2. Resonate: The Seduction Of Decaying Expectations - 12:42
3. Chapter 3. Filters a/b. The Urge To Swirl Alone In A Pool Of Ridicule - 14:14
4. Chapter 4. Simple Degrading Devices Of Reflectivity - 6:42
Besetzung: Conceived By: Jeff Mills
Jeff Parker [>] [D] & New Breed [>] [D]: Suite for Max Brown [F]
Label und Katalognummer: International Anthem Recording Company IARC 0029
Produktion: Paul Bryan & Jeff Parker
Veröffentlicht: 2020 01 24
Genretags: Jazz - Avantgardejazz
Trackliste: 1. Build A Nest -
2. C'mon Now -
3. Fusion Swirl -
4. After The Rain (John Coltrane ) -
5. Metamorphoses -
6. Gnarciss -
7. Lydian, Etc -
8. Del Rio -
9. 3 For L -
10. Go Away -
11. Max Brown -
Besetzung: Arranged: Jeff Parker
; Composed By: Jeff Parker (A1 to A3, A5 to B3)
; Composed By: John Coltrane (A4)
; Design, Layout: Craig Hansen
; Engineer, Editing: Jeff Parker
; Engineer, Editing: Paul Bryan
; Mastering: Dave Cooley
; Mixing: Paul Bryan
; Mastered At Elysian Masters
Jennifer Warnes [>] [D]: Famous Blue Raincoat: The Songs Of Leonard Cohen [F]
Label und Katalognummer: Cypress 661 111, Shout! Factory
Produktion: C. Roscoe Beck & Jennifer Warnes
Veröffentlicht: 1987 01, 2007 08 07 (Reed.)
Genretags: Newpop - Vocalpop
Trackliste: Seite A
1. First We Take Manhattan - 3:47
2. Bird on a Wir
e - 4:42
3. Famous Blue Raincoat - 5:33
4. Joan of Arc - 7:57
Seite B
1. Ain't No Cure for Love - 3:21
2. Coming Back to You - 3:43
3. Song of Bernadette - 3:55 (Jennifer Warnes, Bill Elliott, Cohen)
4. A Singer Must Die - 4:52
5. Came So Far for Beauty - 3:37 (Cohen, John Lissauer)
Bonustracks der 20th Anniversary Ausgabe von 2007
1. Night Comes On
2. Ballad of the Runaway Horse
3. If It Be Your Will
4. Joan of Arc (Live in Belgium)
Alle Tracks: Leonard Cohen, ausser wo anders vermerkt.
Besetzung: Art Direction: Jennifer Warnes
; Art Direction: Leslie Wintner
; Artwork [Cover]: Harry Bowers
; Artwork [Sleeve Sketch]: Leonard Cohen
; Coordinator [Project]: Lori Nafshun
; Design: Leslie Wintner
; Engineer [Assistant]: Clive Taylor
; Engineer [Assistant]: Dan Reed
; Engineer [Assistant]: Duane Seykora
; Engineer [Assistant]: Garth Richardson
; Engineer [Assistant]: Jeff Park
; Engineer [Assistant]: Joel Stoner
; Engineer [Assistant]: Ken Fowler
; Engineer [Assistant]: Nyya Lark
; Engineer [Assistant]: Russell Bracher
; Engineer [Assistant]: Sharon Rice
; Engineer [Assistant]: Steve Ford
; Engineer [Assistant]: Terry Dunavan
; Engineer [Chief]: Billy Youdelman
; Mixing: Frank Wolf
; Mixing: George Massenburg (A2, A3)
; Mixing: Henry Lewy (B3)
; Photography [Back Cover]: Betsy Annas
; Programmed By: Chuck Barth
; Programmed By: Todd Yyega
; Recording: Billy Youdelman (B3)
; Recording: Csaba Petocz (B1)
; Recording: Frank Wolf (B1)
; Recording: Paul Brown (B3)
; Recording: Steven Strassman (B3)
; Recording [Additional]: Frank Wolf
; Recording [Additional]: Larry Brown
; Recording [Additional]: Tim Boyle
; Distributed By Polygram Records
; Pressed By Specialty Records Corporation
; Mastered At Bernie Grundman Mastering
; Phonographic Copyright (p) Cypress Records
; Copyright (c) Cypress Records
; Recorded At The Complex
; Recorded At Amigo Studios
; Recorded At Hollywood Sound
; Recorded At The Enterprise
; Recorded At Mama Jo\'s
; Recorded At Salty Dog Recording
; Recorded At Record Plant
Jens Lekman [>] [D]: Life Will See You Now [F]
Label und Katalognummer: Secretly Canadian SC 339
Produktion: Jens Lekman & Ewan Pearson
Veröffentlicht: 2017 02 17
Genretags: Indiepop - Lo-Fi-Pop
Trackliste: 1. To Know Your Mission - 4:56
2. Evening Prayer (feat. Loulou Lamotte) - 4:15
3. Hotwire the Ferris Wheel (Jens Lekman, Tracey Thorn) - 4:13
4. What's That Perfume That You Wear? - 3:30
5. Our First Fight - 2:40
6. Wedding in Finistère (Jens Lekman, Malin Nordström) - 3:24
7. How We Met, the Long Version - 4:16
8. How Can I Tell Him - 3:56
9. Postcard #17 - 4:21
10. Dandelion Seed - 5:36
Alle Tracks: Jens Lekman, ausser wo anders vermerkt.
Besetzung: Madelene Birgenius: Piano
; Matt Colton: Mastering
; Henri Davies: Assistant
; Alex De Little: Trombone
; Alice Dixon: Strings
; Anna Eichholz: Strings
; Josa Gerhard: Strings
; Ellika Henrikson: Photography
; Ellen Hjalmarsson: Strings
; Emelie Jonazon: Saxophone
; Paul B. Keeves: Bass
; Loulou Lamotte: Vocals, Vocals (Background)
; Jens Lekman: Handclapping, Piano
; Kristin Lidell: Trumpet
; Ralph MacDonald: Sampling
; Jonas Odhner: Horn Engineer
; Ewan Pearson: Engineer, Handclapping, Mixing, Programming, Solina
; Dominik Petzold: Piano
; Sasse Lindblad: Mixing
; Guy Sternberg: Engineer
; Jackie Stoudemire: Sampling
; Tracey Thorn: Vocals
; Nathaniel David Utesch: Layout
; Klara Wiksten: Drawing
; Nicolai Ziel: Drums, Percussion
Joe Cocker [>] [D]: Joe Cocker! [F]
Label und Katalognummer: A&M SP 4224, A&M 069 490 420
Produktion: Denny Cordell & Leon Russell
Veröffentlicht: 1969 11, 1999 (Reed.)
Genretags: Rock - Bluesrock - Rocksinger
Trackliste: Seite A
1. Dear Landlord (Bob Dylan) - 3:26
2. Bird on a Wir
e (Leonard Cohen) - 4:29
3. Lawdy Miss Clawdy (Lloyd Price) - 2:14
4. She Came in Through the Bathroom Window (Lennon-McCartney) - 2:37
5. Hitchcock Railway (Donald "Duck" Dunn, Tony McCashen) - 4:37
Seite B
1. That's Your Business Now (Joe Cocker, Chris Stainton) - 2:57
2. Something (George Russell) - 3:34
3. Delta Lady (Leon Russell) - 2:51
4. Hello, Little Friend (Leon Russell) - 3:51
5. Darling Be Home Soon (John Sebastian) - 4:46
Bonustracks der CD Ausgabe von 1999
1. She's Good to Me - 2:56
2. Let It Be - 5:00
Besetzung: Arranged: Grease Band
; Arranged, Piano, Organ, Guitar: Chris Stainton
; Backing Vocals: Bonnie Bramlett
; Backing Vocals: Merry Clayton
; Backing Vocals: Patrice Holloway
; Backing Vocals: Rita Coolidge
; Backing Vocals: Sherlie Matthews
; Bass: Alan Spenner
; Drums: Bruce Rowland
; Drums: Paul Humphrey
; Engineer: Brian Ingoldsby
; Engineer: Henry Lewy
; Engineer [Remix & Master]: Glyn Johns
; Guitar: Clarence White
; Guitar: Henry McCullough
; Guitar: Sneaky Pete Kleinow
; Liner Notes: John Mendelsohn
; Percussion: Milt Holland
; Photography [Back Cover]: Jim McCrary
; Photography [Front Cover]: Globe Photos, Inc.
; Arranged, Piano, Organ, Guitar: Leon Russell
Joe Cocker [>] [D]: Mad Dogs & Englishmen [F]
Label und Katalognummer: A&M AMLS 6002 (UK), A&M SP 6002
Produktion: Denny Cordell & Leon Russell
Veröffentlicht: 1970 09 (Ed.), 1970 03 (Rec.)
Genretags: Rock - Bluesrock
Trackliste: Seite A
1. Introduction - 0:44
2. Honky Tonk Women (Jagger-Richards) - 3:47
3. Introduction - 0:17
4. Sticks and Stones (Titus Turner, Henry Glover) - 2:37
5. Cry Me a River (Arthur Hamilton) - 4:00
6. Bird on the Wir
e (Leonard Cohen) - 6:37
Seite B
1. Feelin' Alright (Dave Mason) - 5:47
2. Superstar (Leon Russell, Bonnie Bramlett) - 5:02 (lead vocal by Rita Coolidge)
3. Introduction - 0:16
4. Let's Go Get Stoned (Nickolas Ashford, Valerie Simpson, Josephine Armstead) - 7:30
Seite C
1. Blue Medley - 12:46 - a) I'll Drown in My Own Tears (Henry Glover), b) When Something Is Wrong with My Baby (Isaac Hayes, David Porter) (co-lead vocal by Bobby Jones), c) I've Been Loving You Too Long (Otis Redding, Jerry Butler)
2. Introduction - 0:21
3. Girl from the North Country (Bob Dylan) - 2:32 (lead vocals Joe Cocker and Leon Russell)
4. Give Peace a Chance (Russell, Bramlett) - 4:14
Seite D
1. Introduction - 0:41
2. She Came in Through the Bathroom Window (John Lennon, Paul McCartney) - 3:01
3. Space Captain (Matthew Moore) - 5:15
4. The Letter (Wayne Carson Thompson) - 4:46
5. Delta Lady (Russell) - 5:40
Besetzung: Joe Cocker, Don Preston, Leon Russell, Rita Coolidge, Donna Washburn, Claudia Lennear, Denny Cordell, Daniel Moore, Pamela Polland, Matthew Moore, Nicole Barclay, Bobby Jones: vocals
; Don Preston, Leon Russell: guitar
; Carl Radle: bass
; Chris Stainton: Hammond organ
; Jim Gordon, Jim Keltner, Chuck Blackwell: drums
; Chuck Blackwell, Sandy Konikoff, Bobby Torres: percussion
; Leon Russell, Chris Stainton: piano
; Jim Horn, Bobby Keys: saxophone
; Jim Price: trumpet
; Album cover photography: Jim McCrary
; Tour photographers: Andee Cohen, Linda Wolf
Johann Sebastian Bach [>] [D] & Collegium Vocale [>] [D] & La Chapelle Royale [>] [D] & Philippe Herreweghe [>] [D]: Matthäus Passion [1984 Recording] [F]
Label und Katalognummer: Harmonia Mundi HMC 901155.57
Veröffentlicht: 1985 (Ed.), 1727 (Werk)
Genretags: Akademica - Barock
Trackliste: CD 1
1. Part 1. 1. Kommt, ihr Töchter, helft mir klagen - 7:06
2. Part 1. 2. Da Jesus diese Rede vollendet hatte - 0:43
3. Part 1. 3. Herzliebster Jesu, was hast du verbrochen - 0:52
4. Part 1. 4a. Da versammleten sich die Hohenpriester, 4b. Ja nicht auf das Fest, 4c. Da nun Jesus w - 2:58
5. Part 1. 5. Du lieber Heiland du - 1:01
6. Part 1. 6. Buß und Reu - 4:50
7. Part 1. 7. Da ging hin der Zwölfen einer - 0:38
8. Part 1. 8. Blute nur, du liebes Herz - 5:00
9. Part 1. 9a. Aber am ersten Tag der süßen Brot, 9b. Wo willst du, daß wir dir bereiten, 9c. Er spr - 2:12
10. Part 1. 10. Ich bin's, ich sollte büßen - 0:55
11. Part 1. 11. Er antwortete und sprach - 3:03
12. Part 1. 12. Wiewohl mein Herz in Tränen schwimmt - 1:24
13. Part 1. 13. Ich will dir mein Herze schenken - 3:48
14. Part 1. 14. Und da sie den Lobgesang gesprochen hatten - 1:08
15. Part 1. 15. Erkenne mich, mein Hüter - 1:10
16. Part 1. 16. Petrus aber antwortete - 0:58
17. Part 1. 17. Ich will hier bei dir stehen - 1:10
18. Part 1. 18. Da kam Jesus mit ihnen zu einem Hofe - 1:36
19. Part 1. 19. O Schmerz! hier zittert das gequälte Herz - 1:51
20. Part 1. 20. Ich will bei meinem Jesu wachen - 5:21
21. Part 1. 21. Und ging hin ein wenig - 0:44
22. Part 1. 22. Der Heiland fällt vor seinem Vater nieder - 0:59
23. Part 1. 23. Gerne will ich mich bequemen - 4:45
CD 2
1. Part 1. 24. Und er kam zu seinen Jüngern - 1:22
2. Part 1. 25. Was mein Gott will, das g'scheh' allzeit - 1:20
3. Part 1. 26. Und er kam und fand sie aber schlafend - 2:20
4. Part 1. 27a. So ist mein Jesus nun gefangen, 27b. Sind Blitze, sind Donner in Wolken verschwunden - 4:59
5. Part 1. 28. Und siehe, einer aus denen - 2:03
6. Part 1. 29. O Mensch, bewein' dein Sünde groß - 5:23
7. Part 2. 30. Ach! nun ist mein Jesus hin - 4:11
8. Part 2. 31. Die aber Jesum gegriffen hatten - 0:56
9. Part 2. 32. Mir hat die Welt trüglich gericht't - 0:55
10. Part 2. 33. Und wiewohl viel falsche Zeugen herzutraten - 1:12
11. Part 2. 34. Mein Jesus schweigt zu falschen Lügen stille - 1:16
12. Part 2. 35. Geduld, Geduld! - 3:55
13. Part 2. 36a. Und der Hohepriester antwortete, 36b. Er ist des Todes schuldig, 36c. Da speieten si - 2:03
14. Part 2. 37. Wer hat dich so geschlagen - 0:57
15. Part 2. 38a. Petrus aber saß draußen im Palast, 38b. Wahrlich, du bist auch einer von denen - 2:11
16. Part 2. 39. Erbarne dich - 7:11
17. Part 2. 40. Bin ich gleich von dir gewichen - 1:10
18. Part 2. 41a. Des Morgens aber hielten alle Hohenspriester, 41b. Was gehet uns das an, 41c. Und er - 1:48
19. Part 2. 42. Gebt mir meinen Jesum wieder - 3:11
20. Part 2. 43. Sie hielten aber einen Rat - 2:11
21. Part 2. 44. Befiehl du deine Wege - 1:12
22. Part 2. 45a. Auf das Fest aber hatte der Landpfleger, 45b. Laß ihn kreuzigen! - 2:28
23. Part 2. 46. Wie wunderbarlich ist doch diese Strafe - 0:51
24. Part 2. 47. Der Landpfleger sagte - 0:17
CD 3
1. Part 2. 48. Er hat uns allen wohlgetan - 1:12
2. Part 2. 49. Aus Liebe will mein Heiland sterben - 5:23
3. Part 2. 50a. Sie schrieen aber noch mehr, 50b. Laß ihn kreuzigen!, 50c. Da aber Pilatus sahe, 50 - 2:03
4. Part 2. 51. Erbarm es Gott - 0:54
5. Part 2. 52. Können Tränen meiner Wangen - 7:13
6. Part 2. 53a. Da nahmen die Kriegsknechte, 53b. Gegrüßet seist du, Judenkönig, 53c. Und speieten i - 1:06
7. Part 2. 54. O Haupt voll Blut und Wunden - 2:27
8. Part 2. 55. Und da sie ihn verspottet hatten - 0:50
9. Part 2. 56. Ja! freilich will in uns das Fleisch und Blut - 0:41
10. Part 2. 57. Komm, süßes Kreuz - 5:50
11. Part 2. 58a. Und da sie an die Stätte kamen, 58b. Der du den Tempel Gottes zerbrichst, 58c. Desgl - 3:45
12. Part 2. 59. Ach, Golgatha , unsel'ges Golgatha - 1:37
13. Part 2. 60. Sehet, Jesus hat die Hand - 3:27
14. Part 2. 61a. Und von der sechsten Stunde, 61b. Der rufet dem Elias, 61c. Und bald lief einer unte - 2:09
15. Part 2. 62. Wenn ich einmal soll scheiden - 1:23
16. Part 2. 63a. Und siehe da, der Vorhang im Tempel zerriß, 63b. Wahrlich, dieser ist Gottes Sohn gew - 2:23
17. Part 2. 64. Am Abend da es kühle war - 2:00
18. Part 2. 65. Mache dich, mein Herze, rein - 6:21
19. Part 2. 66a. Und Joseph nahm den Leib, 66b. Herr, wir haben gedacht, 66c. Pilatus sprach zu ihnen - 2:31
20. Part 2. 67. Nun ist der Herr zur Ruh gebracht - 2:14
21. Part 2. 68. Wir
setzen uns mit Tränen nieder - 5:29
Besetzung: Alberto Basso: Liner Notes
; Rudolf Bautze: Linguist, Unknown Contributor Role
; Philippe Beaussant: Translation
; F.X. Binnendijk: Engineer
; Hans Peter Blochwitz: Tenor (Vocal)
; La Chapelle Royale: Ensemble, Orchestra
; Ulrik Cold: Bass (Vocal)
; Collegium Vocale: Ensemble
; Howard Crook: Tenor (Vocal)
; Viviane Desbois: Translation
; D. Yeld Escha: Translation
; Harmonia Mundi: Record Label
; Philippe Herreweghe: Director, Liner Notes
; René Jacobs: Alto (Vocals)
; Peter Kooy: Bass (Vocal)
; G. Lohr-Vanoncini: Translation
; Jean-Francois Pontefract: Engineer
; Barbara Schlick: Soprano (Vocal)
; Derek Yeld: Translation
; Aufnahme: September 1984, Église St Gilles, Bruges
Johann Strauß Jr. [>] [D] & Wiener Symphoniker [>] [D] & Willi Boskovsky [>] [D]: Die Fledermaus [F]
Assoziierte Acts: Dietrich Fischer-Dieskau & Anneliese Rothenberger
Label und Katalognummer: Die Stimme Seines Herrn 27 400, EMI Classics 5 66223 2
Produktion: Helmut Storjohann
Veröffentlicht: 1972 (Ed.), 1997 06 19 (Reed.), 1874 (Werk)
Genretags: Pretraditionalpop - Operette
Trackliste: CD 1
1. Ouvertüre - 8:12
CD 1: Erster Akt
2. Täubchen, Das Entflattert Ist - 3:42
3. Dialog: Adele!... Oh, Meine Gnädige! - 1:01
4. Ach, Ich Darf Nicht Hin Zu Dir! - 1:00
5. Dialog: Also, Adele - 1:09
6. Nein, Mit Solchen Advokaten - 4:14
7. Dialog: Und Nun, Mein Herr Advokat - 1:41
8. Komm Mit Mir Zum Souper - 3:37
9. Dialog: So, Da Ist Also Der Alte Anzug - 1:28
10. So Muß Allein Ich Bleiben - 3:56
11. Dialog: So Bin Ich Arme Frau - 1:04
12. Trinke, Liebchen, Trinke Schnell - 5:12
13. Mein Herr, Was Dächten Sie Von Mir - 3:56
14. Mein Schönes, Grosses Vogelhaus - 1:58
CD 2: Zweiter Akt
1. Ein Souper Heut Uns Winkt - 1:28
2. Dialog: Ida! - 1:59
3. Ich Lade Gern Mir Gäste Ein - 2:33
4. Dialog: Das Sind Ja Wir
klich Nationale Eigentümlichkeiten - 0:37
5. Ach, Meine Herr'n Und Damen - 4:34
6. Dialog: Ich Bitte Um Pardon - 2:19
7. Dieser Anstand, So Manierlich - 5:00
8. Dialog: Ich Danke Für Das Reizende Ührchen! - 0:43
9. Die Klänge Meiner Heimat - 4:12
10. Dialog: Bravo, Bravo! - 0:18
11. Die Ganze Nacht Durchschwärmt - 1:50
12. Dialog: Bravo, Bravo! - 1:22
13. Im Feuerstrom Der Reben - 2:23
14. Herr Chevalier, Ich Grüsse Sie! - 5:57
15. Einen Walzer Spielt Uns Auf! - 4:27
CD 2
16. Entreakt - 1:02
CD 2: Dritter Akt
17. Dialog: Täubchen, Das Entflattert Ist - 1:28
18. Melodram: So A Fescher Hut Halt - 3:47
19. Dialog: Herr Direk... Ach - 2:19
20. Spiel' Ich Die Unschuld Vom Lande - 4:31
21. Dialog: Also Bravo, Grossartig - 4:06
22. Ich Steh Voll Zagen - 7:22
23. Dialog: Du Wagst Es, Mir Vorwürfe Zu Machen? - 0:44
24. O Fledermaus, O Fledermaus - 2:53
Alle Tracks: Johann Strauss.
Besetzung: Baritone Vocals [Dr. Falke, Eisensteins Freund]: Dietrich Fischer-Dieskau
; Bass Vocals [Frank, Gefängnisdirektor]: Walter Berry
; Choir: Wiener Staatsopernchor (B, C, D)
; Composed By: Johann Strauss Jr.
; Conductor: Willi Boskovsky
; Engineer [Tonmeister]: Ernst Roth
; Engineer [Tonmeister]: Wolfgang Gülich
; Leader [Chorleitung]: Franz Gerstacker
; Mezzo-soprano Vocals [Prinz Orlofsky, Ein Reicher Junger Russischer Fürst]: Brigitte Fassbaender
; Orchestra: Wiener Symphoniker
; Other [Dialog - Bearbeitung]: Gisela Schunk
; Other [Dialog - Regie]: Otto Schenk
; Recording Supervisor [Aufnahmeleitung]: Christfried Bickenbach
; Soprano Vocals [Adele, Rosalindes Kammermädchen]: Renate Holm
; Soprano Vocals [Rosalinde, Frau Von Eisenstein]: Anneliese Rothenberger
; Tenor Vocals [Alfred, Sänger]: Adolf Dallapozza
; Tenor Vocals [Dr. Blind, Advokat]: Jürgen Förster
; Tenor Vocals [Eisenstein, Rentier]: Nicolai Gedda
; Voice Actor [Frosch, Gerichtsdiener]: Otto Schenk
; Voice Actor [Ida, Adeles Schwester, Tänzerin]: Senta Wengraf
; Voice Actor [Iwan, Orlofskys Kammerdiener]: Gerd W. Dieberitz
; Alle Tracks [Komödie "Le Réveillon"]: Henri Meilhac
; Alle Tracks [Komödie "Le Réveillon"]: Ludovic Halévy
; Alle Tracks [Libretto]: Carl Haffner
; Alle Tracks [Libretto]: Richard Genée
; Phonographic Copyright (p) EMI Electrola GmbH
; Copyright (c) EMI Records Ltd.
Johann Strauss [>] [D] & Willi Boskovsky [>] [D] & Wiener Philharmoniker [>] [D]: Waltzes Polkas Marches [F]
Label und Katalognummer: Decca 455 254
Veröffentlicht: 1997 09 (Ed.)
Genretags: Europeana - Tanzmusik - Wienerwaltzer, Akademica - Moderne-Klassik
Trackliste: CD 1
1. An der schönen, blauen Donau (On the Beautiful, Blue Danube), waltz for orchestra (with chorus ad lib), Op. 314 (RV 314) - 9:21
2. Auf der Jagd (Off to the Hunt), schnellpolka for orchestra, Op. 373 (RV 373) - 2:12
3. Frühlingsstimmen (Voices of Spring), waltz for orchestra (with voice ad lib), Op. 410 (RV 410) - 6:09
4. Pizzicato Polka for orchestra, Op. 234 (Johann Strauss II, Josef Strauss) - 2:42
5. Ägyptischer (Egyptian March), march for orchestra, Op. 335 (RV 335) - 4:06
6. Tritsch-Tratsch-Polka (Chit-Chat Polka), for orchestra, Op. 214 (RV 214) - 2:42
7. Geheime Anziehungskräfte (Dynamiden), waltz, Op. 173 (Josef Strauss) - 8:43
8. Die Schwatzerin, polka mazurka for orchestra, Op. 144 (Josef Strauss) - 3:46
9. Carnevals-Botschafter (Carnival Messages), waltz for orchestra, Op. 270 - 7:38
10. Annen-Polka, for orchestra, Op. 117 (RV 117) - 4:04
11. Fesche Geister Waltz, for orchestra, Op. 75 (Eduard Strauss) - 7:14
12. Jockey Polka, for orchestra, Op. 278 (Josef Strauss) - 2:11
13. Sphären-Klänge (Music of the Spheres), walzer, Op. 235 (Josef Strauss) - 8:32
14. Feuerfest, polka for orchestra, Op. 269 (Josef Strauss) - 3:00
15. Wettrennen-Galopp, for orchestra, Op. 29a (Johann Strauss I) - 1:53
Alle Tracks: Johann Strauss II, ausser wo anders vermerkt.
CD 2
1. Geschichten aus dem Wienerwald (Tales from the Vienna Woods), waltz for orchestra, Op. 325 (RV 325) - 11:16
2. Eingesendet (Letter to the Editor), polka schnell for orchestra, Op. 240 (Josef Strauss) - 1:52
3. Radetzky-Marsch, for orchestra, Op. 228 (Johann Strauss I) - 3:01
4. Demolirer-Polka, polka française for orchestra, Op. 269 (RV 269) - 3:39
5. Du und Du (You and You), waltz for orchestra, Op. 367 (RV 367) - 7:26
6. Brennende Liebe (Ardent Love), polka mazurka for orchestra, Op. 129 (Josef Strauss) - 4:19
7. Spanischer (Spanish), march for orchestra, Op. 433 (RV 433) - 4:48
8. Bahn frei!, polka schnell, Op. 45 (Eduard Strauss) - 2:28
9. Aquarellen (Water Colors), waltz for orchestra, Op. 258 (Josef Strauss) - 7:42
10. Stürmisch in Lieb' und Tanz (Stormy in Love and Dance), polka schnell for orchestra, Op. 393 (RV 393) - 2:09
11. Frauenherz (A Woman's Heart), polka mazurka for orchestra, Op. 166 (Josef Strauss) - 4:08
12. Lagunen-Walzer (Lagoon Waltz), for orchestra, Op. 411 (RV 411) - 7:25
13. Piefke- und Pufke-Polka, for orchestra, Op. 235 (Johann Strauss I) - 1:59
14. Freuet euch des Lebens (Joy of Living), waltz for orchestra, Op. 340 (RV 340) - 8:09
15. Perpetuum Mobile (Perpetual Motion), Ein musikalischer Scherz, for orchestra, Op. 257 (RV 257) - 2:57
Alle Tracks: Johann Strauss II, ausser wo anders vermerkt.
CD 3
1. Wein, Weib und Gesang (Wine, Women and Song), waltz for orchestra (with voice ad lib), Op. 333 (RV 333) - 9:51
2. Im Krapfenwald'l, polka française for orchestra, Op. 336 (RV 336) - 4:09
3. Tausend und eine Nacht (A Thousand and One Nights), waltz for orchestra, Op. 346 (RV 346) - 8:26
4. Napoleon-Marsch, for orchestra, Op. 156 (RV 156) - 2:51
5. Wo die Zitronen Blüh'n! (Where the Lemons Bloom), waltz for orchestra, Op. 364 (RV 364) - 8:29
6. Die Libelle, polka mazurka for orchestra, Op. 204 (Josef Strauss) - 4:26
7. Moulinet Polka, for orchestra, Op. 57 (Josef Strauss) - 3:21
8. Seid umschlungen Millionen (Be United Millions), waltz for orchestra, Op. 443 (RV 443) - 8:58
9. So ängstlich sind wir nicht!, polka schnell for orchestra, Op. 413 (RV 413) - 2:23
10. Lob der Frauen, polka-mazurka for orchestra, Op. 315 (RV 315) - 3:51
11. Explosions-Polka, for orchestra, Op. 43 (RV 43) - 2:14
12. Transaktionen, waltz for orchestra, Op. 184 (Josef Strauss) - 9:02
13. Heiterer Mut, polka française for orchestra, Op. 281 (Josef Strauss) - 3:11
14. Sperl-Galopp, for orchestra ('Neueste Sperl-Galopp'), Op. 42 (Johann Strauss I) - 2:02
Alle Tracks: Johann Strauss II, ausser wo anders vermerkt.
CD 4
1. Wiener Blut (Vienna Blood), waltz for orchestra, Op. 354 (RV 354) - 8:11
2. Champagner-Polka, musical scherzo for orchestra, Op. 211 (RV 211) - 2:10
3. Wiener Bonbons (Vienna Bon-Bons), waltz for orchestra, Op. 307 (RV 307) - 8:37
4. Neue-Pizzicato-Polka (New Pizzicato Polka), for orchestra, Op. 449 (RV 449) - 3:37
5. Liebes-Lieder (Love Songs), waltz for orchestra, Op. 114 (RV 114) - 6:40
6. Éljen a Magyar (Hail to Hungary), polka schnell for orchestra, Op. 332 (RV 332) - 2:41
7. Künstler-Leben (Artists' Life), waltz for orchestra, Op. 316 (RV 316) - 8:27
8. Banditen-Galop (Bandits' Galop), for orchestra, Op. 378 (RV 378) - 2:19
9. Russicher (Russian March), march for orchestra, Op. 426 (RV 426) - 3:28
10. Unter Donner und Blitz (Thunder and Lightning), polka schnell for orchestra, Op. 324 (RV 324) - 3:10
11. Morgenblätter (Morning Papers), waltz for orchestra, Op. 279 (RV 279) - 9:28
12. Auf Ferienreisen ('Off on Holiday'), for orchestra, Op. 133 (Josef Strauss) - 2:37
13. Dorfschwalben Aus Osterreich (Austrian Village Swallows), waltz for orchestra, Op. 164 (Josef Strauss) - 8:05
14. Kaiser Franz Josef I Rettungs-Jubel-Marsch (Jubilee March for the Return of Emperor Franz Josef I), for orchestra, Op. 126 (RV 126) - 3:27
Alle Tracks: Johann Strauss II, ausser wo anders vermerkt.
CD 5
1. Rosen aus dem Süden (Roses from the South), waltz for orchestra, Op. 388 (RV 388) - 8:14
2. Vergnügungszug (Excursion Train), polka schnell for orchestra, Op. 281 (RV 281) - 2:53
3. Kaiser-Walzer (Emperor Waltz), for orchestra, Op. 437 (RV 437) - 10:16
4. Leichtes Blut (Light as a Feather), polka schnell for orchestra, Op. 319 (RV 319) - 2:33
5. Loreley-Rhein-Klänge, waltz for orchestra, Op. 154 (Johann Strauss I) - 8:00
6. 's gibt nur a Kaiserstadt, 's gibt nur a Wien, polka for orchestra, Op. 291 (RV 291) - 4:28
7. Schnee-Glöckchen (Snowdrops), waltz for orchestra, Op. 143 (RV 143) - 8:25
8. Die Emancipierte (Emancipated Woman), polka mazurka for orchestra, Op. 282 (Josef Strauss) - 3:29
9. Mit Extrapost, for orchestra, Op. 259 ('Polka Schnell') (Eduard Strauss) - 2:04
10. Accelerationen, waltz for orchestra, Op. 234 (RV 234) - 7:50
11. Bitte schön! (If You Please!), polka française for orchestra, Op. 372 (RV 372) - 4:08
12. Persischer (Persian March), march for orchestra, Op. 289 (RV 289) - 2:02
13. Delirien Waltz, for orchestra, Op. 212 (Josef Strauss) - 8:17
14. Tik-Tak, polka schnell for orchestra, Op. 365 (RV 365) - 2:44
Alle Tracks: Johann Strauss II, ausser wo anders vermerkt.
CD 6
1. Fledermaus-Quadrille (The Bat Quadrille), for orchestra, Op. 363 (RV 363) - 7:58
2. Ohne Sorgen (Without Sorrows), polka schnell, for orchestra, Op. 271 (Josef Strauss) - 1:42
3. Mein Lebenslauf ist Lieb'und Lust, waltz, Op. 263 (Josef Strauss) - 7:04
4. Orpheus-Quadrille, for orchestra (on themes by Offenbach), Op. 236 (RV 236) - 6:08
5. Im Fluge, for orchestra, Op. 230 (Josef Strauss) - 1:51
6. Bei uns z'Haus (With Us at Home), waltz for orchestra (with chorus ad lib), Op. 361 (RV 361) - 8:54
7. Schützen-Quadrille, for orchestra (Johann Strauss II and Josef and Eduard) - 6:52
8. Extempore, polka for orchestra, Op. 241 (Josef Strauss) - 3:15
9. Nordseebilder (North Sea Pictures), waltz for orchestra, Op. 390 (RV 390) - 8:10
10. Freikugeln (Free-shooting Bullets), polka schnell for orchestra, Op. 326 - 2:52
11. Mephistos Höllenrufe (Mephisto's Cries in Hell), waltz for orchestra, Op. 101 (RV 101) - 7:34
12. Aufs Korn!, march for orchestra (with voice ad lib), Op. 478 (RV 478) - 2:37
13. Erinnerung an Covent-Garden (Covent Garden Memories), waltz for orchestra (based on English folk songs), Op. 329 - 7:08
14. Rudolfsheimer-Polka, Op. 152 (Josef Strauss) - 3:09
Alle Tracks: Johann Strauss II, ausser wo anders vermerkt.
Besetzung: Florence Aubinaud: Liner Note Translation
; Willi Boskovsky: Conductor
; Lucy Gowans: Art Direction
; Edmund Hellmer: Cover Design
; Anton Karas: Zither
; Ludwig Krenn: Publishing
; W. J. Lampa: Liner Note Translation
; Bernd Müller: Liner Note Translation
; John Parry: Liner Notes
; Heinz Sandauer: Publishing
; Vienna Philharmonic Orchestra: Orchestra
John Cale [>] [D] & Bob Neuwirth [>] [D]: Last Day On Earth [F]
Label und Katalognummer: MCA MCAD 11037
Produktion: John Cale & Bob Neuwirth
Veröffentlicht: 1994 04 26
Genretags: Alternativerock - Artrock
Trackliste: 1. Overture: A Tourist / A Contact / A Prisoner - 8:06
2. Café Shabu - 5:37
3. Pastoral Angst - 2:29
4. Who's In Charge? - 2:53
5. Short of Time - 3:08
6. Angel of Death - 4:19
7. Paradise Nevada - 5:33
8. Old China - 3:13
9. Ocean Life - 4:48
10. Instrumental - 1:57
11. Modern World - 5:53
12. Streets Come Alive - 3:22
13. Secrets - 4:19
14. Maps of the World - 4:52
15. Broken Hearts - 3:03
16. The High and Mighty Road - 5:03
Alle Tracks: John Cale und Bob Neuwirth.
Besetzung: Arranged [Strings], Strings: David Soldier
; Art Direction: Vartan
; Bass: Erik Sanko
; Cover: Tadanori Yokoo
; Design: Ayako Nagano
; Design: Taki Ono
; Drums: Ben Perowsky
; Guitar: David Tronzo
; Guitar [Infinite]: Michael Brook
; Mastering: Greg Calbi
; Mixing, Engineer: Roger Moutenot
; Percussion, Sampler: Gerry Hemingway
; Photography: Mary Ellen Mark
; Producer [Production Assistance]: Andy Green
; Strings: Alicia Svigals
; Strings: Dawn Buckholz
; Strings: Lisa Gutkin
; Strings: The Soldier String Quartet
; Vocals [Guest Vocalist]: Jenni Muldaur
; Vocals, Banjo, Harmonica, Producer, Alle Tracks: Bob Neuwirth
; Vocals, Keyboards, Viola, Producer, Alle Tracks: John Cale
; Phonographic Copyright (p) MCA Records, Inc.
; Copyright (c) MCA Records, Inc.
; Distributed By Uni Distribution Corp.
; Recorded At Skyline Studios
; Mixed At RPM Studios
; Mastered At Sterling Sound
; Published By John Cale Music, Inc.
; Published By Dry Clam Music
; Manufactured By JVC Musical Industries, Inc.
John Mayall's Bluesbreakers [>] [D]: Bare Wires [F]
Assoziierte Acts: John Mayall & Mick Taylor
Label und Katalognummer: Decca SKL 4945, Decca 984 217
Produktion: Mike Vernon
Veröffentlicht: 1968 06 21, 2007 09 03 (Reed.)
Genretags: Rock - Bluesrock - British-Bluesrock
Bare
hat ein psychedelisch anmutendes Cover: die flüssig gewundene Schrift (vergleiche andere psychedelische Schriften) und die Kaleidoskop-artige Bildmontage. Die Musik ist weniger psychedelisch als das Cover es suggeriert, doch die Suite auf der A-Seite der LP ist schon ein anerkennendes Kopfnicken von Mayall gegenüber dem damals progressiven psychedelischen Bluesrock.Wir
es
Trackliste: Seite A
1. a) Bare Wir
es - 1:48, b) Where Did I Belong - 3:10, c) Start Walking - 2:05, d) Open a New Door - 3:07, e) Fire - 3:10, f) Know You - 5:19, g) Look in the Mirror - 3:56
Seite B
1. I'm a Stranger - 5:11
2. No Reply (John Mayall, Mick Taylor) - 3:07
3. Hartly Quits - 2:53
4. Killing Time - 4:45
5. She's Too Young (John Mayall, Mick Taylor) - 2:20
6. Sandy - 3:45
Bonustracks der CD Ausgabe von 2007
1. Picture on the Wall - 3:03
2. Jenny - 4:40
3. Knocker's Step Forward - 3:13
4. Hide and Seek - 2:23
5. Intro - Look at the Girl - 6:46
6. Start Walkin' - 8:23
Alle Tracks: John Mayall
Besetzung: Cornet, Violin: Henry Lowther
; Double Bass [String Bass], Bass Guitar: Tony Reeves
; Drums, Percussion: Jon Hiseman
; Engineer: Derek Varnals
; Guitar, Acoustic Guitar [Hawaiian]: Mick Taylor
; Photography: Pete Smith
; Photography [Inside Color Photo]: Jan Persson
; Tenor Saxophone, Baritone Saxophone: Chris Mercer
; Tenor Saxophone, Soprano Saxophone: Dick Heckstall-Smith
; Vocals, Harmonica, Piano, Harpsichord, Organ, Harmonium, Guitar [Assorted], Producer, Artwork, Design: John Mayall
; Recorded At Decca Studios
John Zorn [>] [D]: Filmworks I: 1986-1990 [F]
Label und Katalognummer: Nonesuch 7559-79270, Tzadik TZ 7314
Produktion: John Zorn
Veröffentlicht: 1991, 1997 08 19 (Reed.)
Genretags: Jazz - Avantgardejazz - New-York-Downtown
Trackliste: 1. White and Lazy (Rob Schwebber, 1986): Main Title - 0:55
2. White and Lazy (Rob Schwebber, 1986): Homecoming - 1:15
3. White and Lazy (Rob Schwebber, 1986): The Heist - 3:20
4. White and Lazy (Rob Schwebber, 1986): Meat Dream - 1:50
5. White and Lazy (Rob Schwebber, 1986): Phone Call - 0:50
6. White and Lazy (Rob Schwebber, 1986): End Title - 1:59
7. The Golden Boat (Raul Ruiz, 1990): Fanfare - 0:30
8. The Golden Boat (Raul Ruiz, 1990): Theme - 2:59
9. The Golden Boat (Raul Ruiz, 1990): Jazz 1 - 2:51
10. The Golden Boat (Raul Ruiz, 1990): Horror Organ - 1:06
11. The Golden Boat (Raul Ruiz, 1990): Mexico - 1:56
12. The Golden Boat (Raul Ruiz, 1990): Mood - 3:17
13. The Golden Boat (Raul Ruiz, 1990): Rockabilly - 2:01
14. The Golden Boat (Raul Ruiz, 1990): Slow - 2:47
15. The Golden Boat (Raul Ruiz, 1990): Jazz Oboes - 2:33
16. The Golden Boat (Raul Ruiz, 1990): The Golden Boat (Turntable Mix) - 2:58
17. The Golden Boat (Raul Ruiz, 1990): End Titles - 2:53
18. The Good, The Bad and The Ugly (1987) (Ennio Morricone) - 1:04
19. She Must Be Seeing Things (Sheila McLaughlin, 1986): Main Title - 1:04
20. She Must Be Seeing Things (Sheila McLaughlin, 1986): Swirling Shot - 1:20
21. She Must Be Seeing Things (Sheila McLaughlin, 1986): Homecoming - 3:22
22. She Must Be Seeing Things (Sheila McLaughlin, 1986): Catalina Flash - 0:28
23. She Must Be Seeing Things (Sheila McLaughlin, 1986): Seduction - 4:54
24. She Must Be Seeing Things (Sheila McLaughlin, 1986): Sex Shop Boogaloo - 2:47
25. She Must Be Seeing Things (Sheila McLaughlin, 1986): Catalina Escapes - 1:11
26. She Must Be Seeing Things (Sheila McLaughlin, 1986): Worms - 1:04
27. She Must Be Seeing Things (Sheila McLaughlin, 1986): Death Waltz Fantasy - 1:24
28. She Must Be Seeing Things (Sheila McLaughlin, 1986): Following Sequence - 3:03
29. She Must Be Seeing Things (Sheila McLaughlin, 1986): Movie Set - 1:20
30. She Must Be Seeing Things (Sheila McLaughlin, 1986): Climax - 2:55
31. She Must Be Seeing Things (Sheila McLaughlin, 1986): Going To Dinner - 2:38
32. She Must Be Seeing Things (Sheila McLaughlin, 1986): End Titles - 3:27
Alle Tracks: John Zorn, ausser wo anders vermerkt.
Besetzung: Robert Quine - guitar (1-18)
; Arto Lindsay - guitar, vocals (1-6)
; Melvin Gibbs - bass (1-6)
; Anton Fier - drums (1-6)
; Carol Emanuel - harp (1-17)
; David Weinstein - keyboards, mirage, CZ101 keyboards (1-6, 18-32)
; Ned Rothenberg - bass clarinet (1-6)
; Recorded and mixed June 1986 at Radio City Studios, New York City by Don Hünerberg (1-6)
; Vicki Bodner - oboe (7-17)
; John Zorn - alto sax (7-17, 19-32)
; Anthony Coleman - piano, organ, celeste, harpsichord (7-17, 19-32)
; David Shae - turntable, vocals (7-17)
; Mark Dresser - bass (7-17)
; Ciro Baptista - Brazilian percussion (7-17)
; Robert Previte - drums, marimba, vocal (7-18)
; Recorded May 1990 at Platinum Island Studio, NY by Ricky Belt (7-17)
; Mixed August 1990 at Science Lab, NYC by Jerry Gottus (7-17)
; Bill Frisell - guitar (18-32)
; Fred Frith - bass (18)
; Wayne Horvitz - hammond organ, piano, DX7 (18-32)
; Carol Emanuel - harp (18-32)
; Recorded and mixed April 1987 at Radio City Studios, New York City by Don Hünerberg (18)
; Shelley Hirsch - voice (19-32)
; Marty Ehrlich - tenor sax, clarinet (19-32)
; Tom Varnet - french horn (19-32)
; Jim Staley - trombone (19-32)
; David Hofstra - bass (19-32)
; Nana Vasconcelos - Brazilian percussion (19-32)
; Robert Previte - drums, percussion, vibes, timpani, orchestra bells (19-32)
; Recorded and mixed December 1986 at Radio City Studios, New York City by Don Hünerberg (19-32)
; Arranger - John Zorn
; mixed by David Shae (16)
; published by Theatre of Musical Optics (BMI), except 18. published by Unart Music (BMI).
; Executive Producer: John Zorn, Associate Producer: Kazunori Sugiyama
; Mastered by Bob Ludwig
; Design by Anthony Lee and Tanaka Tomoyo (Karath Razar)
; Notes by John Zorn
; Special thanks to Akashi Masanori, Kaoru, Azuma, Don Hünerberg, Scott MacAulay, Rob Schwebber, Sheila McLaughlin, Raul Ruiz, Bob Hurwitz and David Breskin.
; This recording is made possible in part through funding by Hip\'s Road.
Johnny Cash [>] [D]: American Recordings [F]
Label und Katalognummer: American Recordings 9 45520
Produktion: Rick Rubin
Veröffentlicht: 1994 04 26
Genretags: Country - Autorencountry - Songster
– zum Buch über Pink Moon von Amanda Petrusich
Trackliste: 1. Delia's Gone (Karl Silbersdorf, Dick Toops) - 2:18
2. Let the Train Blow the Whistle (Cash) - 2:15
3. The Beast in Me (Nick Lowe) - 2:45
4. Drive On (Cash) - 2:23
5. Why Me Lord? (Kris Kristofferson) - 2:20
6. Thirteen (Glenn Danzig) - 2:29
7. Oh, Bury Me Not (Introduction: A Cowboy's Prayer) (John Lomax, Alan Lomax, Roy Rogers, Tim Spencer) - 3:52
8. Bird on a Wir
e (Leonard Cohen) - 4:01
9. Tennessee Stud (live) (Jimmy Driftwood) - 2:54
10. Down There by the Train (Tom Waits) - 5:34
11. Redemption (Cash) - 3:03
12. Like a Soldier (Cash) - 2:50
13. The Man Who Couldn't Cry (live) (Loudon Wainwright) - 5:03
Besetzung: Art Direction: Martyn Atkins
; Design: Christine Cano
; Engineer [Mix]: Jim Scott
; Mastering: Stephen Marcussen
; Photography [Cover Photograph, Other Photographs]: Andy Earl
; Photography [Other Photographs]: Martyn Atkins
; Phonographic Copyright (p) American Recordings
; Copyright (c) American Recordings
; Mastered At Precision Mastering
Johnny Cash [>] [D]: Cash Unearthed [F]
Label und Katalognummer: American Recordings 986 133
Produktion: Rick Rubin
Veröffentlicht: 2003 11 25 (Ed.)
Genretags: Country - Autorencountry - Songster
CD 1–3: Outtakes und Alternate Versions aus den American Sessions. Die Songs der CD 2 sind Kollaborationen und mit anderen Musikern zusammen aufgenommen (z.B. mit den Heartbreakers oder den Chili Peppers. CD 4: Hymnen, die seine Mutter ihm beibrachte (siehe auch ), CD 5: Best of aus den American Recordings. Das Box Set wirkt etwas zusammengewürfelt. Es kam zwei Monate nach dem Tod des Sängers heraus. Das extensive Booklet kommt mit den Hintergründen zu den American Sessions (Text von Sylvie Simmons) und mit Annotationen zu jedem Song.
Trackliste: CD 1: Who's Gonna Cry
1. Long Black Veil - 3:15
2. Flesh And Blood - 2:30
3. Just The Other Side Of Nowhere - 3:19
4. If I Give My Soul - 3:02
5. Understand Your Man - 2:06
6. Banks Of The Ohio - 4:08
7. Two Timin' Woman - 2:06
8. The Caretaker - 1:55
9. Old Chunk Of Coal - 1:54
10. I'm Going To Memphis - 2:40
11. Breaking Bread - 2:49
12. Waiting For A Train - 1:47
13. Casey's Last Ride - 3:21
14. No Earthly Good - 2:44
15. The Fourth Man In The Fire - 2:48
16. Dark As A Dungeon - 3:01
17. Book Review - 2:08
18. Down There By The Train (Alternate Take) - 5:49
CD 2: Trouble In Mind
1. Pocahontas - 3:44
2. I'm A Drifter (Version One) - 3:50
3. Trouble In Mind - 3:32
4. Down The Line - 2:38
5. I'm Movin' On - 2:55
6. As Long As The Grass Shall Grow (feat. June Carter Cash) - 4:22
7. Heart Of Gold (feat. Red Hot Chili Peppers) - 3:02
8. The Running Kind (feat. Tom Petty) - 3:12
9. Everybody's Trying To Be My Baby - 2:12
10. Brown-Eyed Handsome Man (feat. Carl Perkins) - 2:21
11. 'T' For Texas - 3:39
12. Devil's Right Hand - 2:33
13. I'm A Drifter (Version 2) - 3:45
14. Like A Soldier (feat. Willie Nelson) - 2:55
15. Drive On (Alternate Lyrics) - 2:24
16. Bird On A Wir
e (Live With Orchestra) - 5:12
CD 3: Redemption Songs
1. A Singer Of Songs - 2:49
2. The L & N Don't Stop Here Anymore - 3:13
3. Redemption Song (feat. Joe Strummer) - 3:28
4. Father And Son (feat. Fiona Apple) - 2:50
5. Chattanooga Sugar Babe - 3:17
6. He Stopped Loving Her Today - 2:37
7. Hard Times - 4:02
8. Wichita Lineman - 3:03
9. Cindy (feat. Nick Cave) - 2:53
10. Big Iron - 3:52
11. Salty Dog - 2:26
12. Gentle On My Mind (feat. Glen Campbell) - 3:25
13. You Are My Sunshine - 3:18
14. You'll Never Walk Alone - 2:59
15. The Man Comes Around (Early Take) - 3:50
CD 4: My Mother's Hymn Book
1. Where We'll Never Grow Old - 3:31
2. I Shall Not Be Moved - 2:41
3. I Am A Pilgrim - 2:28
4. Do Lord - 2:13
5. When The Roll Is Called Up Yonder - 1:36
6. If We Never Meet Again This Side Of Heaven - 2:31
7. I'll Fly Away - 1:54
8. Where The Soul Of Man Never Dies - 2:16
9. Let The Lower Lights Be Burning - 3:14
10. When He Reached Down - 2:14
11. In The Sweet By And By - 2:25
12. I'm Bound For The Promised Land - 2:15
13. In The Garden - 3:18
14. Softly And Tenderly - 3:17
15. Just As I Am - 2:38
CD 5: Best Of Cash On American
1. Delia's Gone - 2:20
2. Bird On A Wir
e - 4:04
3. Thirteen - 3:23
4. Rowboat - 3:45
5. The One Rose - 2:28
6. Rusty Cage - 2:50
7. Southern Accents - 4:43
8. Mercy Seat - 4:36
9. Solitary Man - 2:26
10. Wayfaring Stranger - 3:22
11. One - 3:53
12. Hung My Head - 3:52
13. The Man Comes Around - 4:30
14. We'll Meet Again - 2:58
15. Hurt - 3:37
Besetzung: Executive-Producer: John Carter Cash
; Martyn Atkins: Photography
; Johnny Ray Bartel: Performer
; Bill Bateman: Performer
; Norman Blake: Performer
; Thom Bresh: Performer
; Lester Bulter: Performer
; Mike Campbell: Performer
; Christine Cano: Art Direction, Design, Photography
; John Carter Cash: Adaptation, Arranger, Associate Producer, Engineer, Performer
; John R. Cash: Adaptation, Arranger
; Laura Cash: Performer
; Lindsay Chase: Production Coordination
; Jack Clement: Performer
; Sheryl Crow: Performer
; Richard Dodd: Engineer
; Andy Earl: Photography
; Howie Epstein: Performer
; David Ferguson: Engineer, Mixing, Performer
; Steve Ferrone: Performer
; Greg Fidelman: Mixing, Performer
; Flea: Performer
; John Frusciante: Performer
; Terry Harrington: Performer
; Smokey Hormel: Performer
; Rami Jaffee: Performer
; Steven Kadison: Assistant
; Roger Joseph Manning, Jr.: Performer
; Sylvia Massy: Engineer, Mixing
; Vlado Meller: Mastering
; Tom Morello: Performer
; Carl Perkins: Performer
; Larry Perkins: Performer
; Juliet Prater: Performer
; David Roe: Performer
; Thom Russo: Engineer
; D. Sardy: Engineer, Mixing, Performer
; Andrew Scheps: Engineer
; David Schiffman: Engineer
; Jim Scott: Mixing
; Randy Scruggs: Performer
; Sylvie Simmons: Interviewer, Text
; Paul \'The Kid\' Size: Performer
; Chad Smith: Performer
; Marty Stuart: Performer
; Benmont Tench: Performer
; Jimmy Tittle: Performer
; Chuck Turner: Engineer
Jon Hopkins [>] [D]: Insides [F]
Label und Katalognummer: Domino DS 015, Domino WIGCD 227
Veröffentlicht: 2009 02 22, 2009 05 04
Genretags: Post-Millennial-Music - Digital-Underground - Ambient
Trackliste: 1. The Wider Sun - 2:35
2. Vessel - 4:42
3. Insides - 4:38
4. Wir
e - 4:41
5. Colour Eye - 5:11
6. Light Through The Veins - 9:18
7. The Low Places - 6:35
8. Small Memory - 1:41
9. A Drifting Up - 6:27
10. Autumn Hill - 2:40
Alle Tracks: Jon Hopkins.
Besetzung: Artwork By: Man Vs Magnet
; Electric Guitar, Hurdy Gurdy: Leo Abrahams
; Engineer [Additional]: Cherif Hashizume
; Other [Typography]: Tim Lattimore
; Photography [Portrait]: Steve Gullick
; Viola: Vince Siprell
; Violin: Emma Smith
; Recorded By: Jon Hopkins
; Violin [Electric]: Davide Rossi (2)
; Drums: Lee Muddy Baker (6)
; Humming: King Creosote (9)
; Vocals [Additional]: Lisa Lindley-Jones (9)
Judy Collins [>] [D]: Who Knows Where The Time Goes [F]
Label und Katalognummer: Elektra EKS 74033
Produktion: David Anderle
Veröffentlicht: 1968 11
Genretags: Rock - Folkrock
Trackliste: Seite A
1. Hello, Hooray (Rolf Kempf) - 4:07
2. Story of Isaac (Leonard Cohen) - 3:30
3. My Father (Judy Collins) - 4:55
4. Someday Soon (Ian Tyson) - 3:43
5. Who Knows Where the Time Goes (Sandy Denny) - 4:20
Seite B
1. I Pity the Poor Immigrant (Bob Dylan) - 4:04
2. First Boy I Loved (Robin Williamson) - 6:29
3. Bird on the Wir
e (Leonard Cohen) - 4:37
4. Pretty Polly (Traditional) - 5:47
Besetzung: Judy Collins: vocals, guitar, piano
; Buddy Emmons: pedal steel guitar
; James Burton: Dobro, electric guitar
; Chris Ethridge: bass
; Jim Gordon: drums, percussion
; Michael Melvoin: piano
; Van Dyke Parks: piano, electric piano
; Michael Sahl: organ, piano, harpsichord, keyboards
; Stephen Stills: guitar, bass
; Jac Holzman: production supervisor
; John Haeny: engineer
; William S. Harvey: cover design, art direction
; Len Steckler: photographer
Label und Katalognummer: XL Recordings XL 927
Produktion: Inflo & Jungle & Wes Oakland
Veröffentlicht: 2018 09 14
Genretags: Post-Millennial-Music - Electropop - Synthfunk
Trackliste: 1. Smile (Inflo, Jungle) - 3:07
2. Heavy, California - 3:04
3. Beat 54 (All Good Now) (feat: The Wir
ed Strings) (Inflo, Jungle) - 4:06
4. Cherry - 3:16
5. Happy Man - 3:11
6. Casio (Inflo, Jungle) - 3:54
7. Mama Oh No (Jungle, Rudi Salmon, Andrew Wyatt) - 3:17
8. House in LA (feat: The Wir
ed Strings) - 4:43
9. Give Over (feat: The Wir
ed Strings) (Inflo, Jungle) - 3:33
10. Cosurmyne (Willie Hutch, Jungle) - 3:39
11. Home - 2:12
12. (More and More) It Ain't Easy - 3:12
13. Pray (feat: The Wir
ed Strings) - 4:40
Alle Tracks: Josh Lloyd-Watson und Tom McFarland, ausser wo anders vermerkt.
Besetzung: Imran Ahmed: A&R
; Alex Baranowski: Arranger
; Nick Barr: Viola
; Ben Beardsworth: A&R
; Zara Benyounes: Violin
; Tom Campbell: Assistant Engineer
; Meghan Cassidy: Viola
; Stephanie Cavey: Violin
; Matt Colton: Mastering
; Andro Cowperthwaite: Vocals
; Anna Croad: Violin
; Rosie Danvers: Arranger, Cello
; George Day: Drums
; Charlie Di Placido: Creative Director
; Inflo: Vocals
; Jungle: Arranger, Creative Director, Engineer, Layout, Mixing
; Eleanor Mathieson: Violin
; Melisa Young: Vocals
; Joe Mortimer: Design, Layout
; Wes Oakland: Bass, Guitar, Programming
; Oliver Hadlee Pearch: Photography
; Hayley Pomfrett: Violin
; Rudi Salmon: Vocals
; Holly Taylor: Vocals
; Sam Wheat: Engineer
; David Wrench: Mixing
; Nat Zangi: Vocals
Justus Köhncke [>] [D]: Safe And Sound [F]
Label und Katalognummer: Kompakt 063
Produktion: Justus Köhncke
Veröffentlicht: 2008 01 28
Genretags: Electronica - Ambient
Trackliste: 1. Yacht (8:13)
2. Molybdän (6:23)
3. Love And Dancing (Update) (6:00)
4. Tilda (4:26)
5. Feuerland (Michael Rother) - (7:43)
6. Parage (8:42)
7. (It's Gonna Be) Alright (6:44)
8. $26 (6:44)
9. Spukhafte Fernwirkung (2:03)
10. Safe And Sound (5:34)
Besetzung: Co-producer - Fred Heimermann
; Mastered at Jammin Masters.
Kanye West [>] [D]: The College Dropout [F]
Label und Katalognummer: Roc-A-Fella B 0002035
Produktion: Kanye West
Veröffentlicht: 2004 02 10
Genretags: Afroamericana - R'n'B-Renaissance
Trackliste: 1. Intro - 0:19
2. We Don't Care - 3:59
3. Graduation Day - 1:22
4. All Falls Down (feat. Syleena Johnson) - 3:43
5. I'll Fly Away - 1:09
6. Spaceship (feat. GLC & Consequence) - 5:24
7. Jesus Walks - 3:13
8. Never Let Me Down (feat. Jay-Z & J. Ivy) - 5:24
9. Get Em High (feat. Talib Kweli & Common) - 4:49
10. Workout Plan - 0:46
11. The New Workout Plan - 5:22
12. Slow Jamz (with Twista & Jamie Foxx) - 5:16
13. Breathe in Breathe Out (feat. Ludacris) - 4:06
14. School Spirit Skit 1 - 1:18
15. School Spirit - 3:02
16. School Spirit Skit 2 - 0:43
17. Lil Jimmy Skit - 0:53
18. Two Words (feat. Mos Def, Freeway & The Harlem Boys Choir) - 4:26
19. Through the Wir
e - 3:41
20. Family Business - 4:38
21. Last Call - 12:40
Besetzung: A&R [A&R Direction]: Hip Hop Since 1978
; A&R [A&R Direction]: Patrick Reynolds
; Administrator [Recording Administration]: Tony Vanias
; Art Direction, Design: Eric Duvauchelle
; Art Direction, Design: Jim Morris
; Art Direction, Design: Lauri Rowe
; Art Direction, Design: Mike Godshall
; Art Direction, Design: Native (20)
; Art Direction, Design: Stephanie Reynolds
; Coordinator [A&R Coordinator - Director Of Joint Ventures]: Darcell Lawrence
; Coordinator [A&R Coordinator]: Darrin Chandler
; Coordinator [A&R Coordinator]: Ramses Francois
; Coordinator [A&R Coordinator]: Shalik Berry
; Design [Dropout Bear Logo Design For FJK]: Bobby Naugle
; Design [Dropout Bear Logo Design For FJK]: FJK
; Design [Dropout Bear Logo Design For FJK]: Sam Hansen
; Executive-Producer: Damon Dash
; Executive-Producer: Kareem Burke
; Executive-Producer: Shawn Carter
; Executive-Producer [Co-Executive Producer]: Gee Roberson
; Executive-Producer [Co-Executive Producer]: Kanye West
; Executive-Producer [Co-Executive Producer]: Kyambo Joshua
; Keyboards: Ervin Pope (8, 12, 16, 21)
; Legal [Legal Counsel]: Alison K. Finley
; Legal [Sample Clearance Agent]: Eric Weissman
; Legal [Sample Clearance Agent]: Sample Clearance, Ltd
; Management [Business Affairs]: Antoinette Trotman
; Management [Business Affairs]: Ian Allen (7)
; Management [Business Affairs]: Randy McMillan
; Management [For Handprint Ent.]: Andrei McQuillan
; Management [For Handprint Ent.]: Benny Medina
; Management [For Handprint Ent.]: Handprint Entertainment
; Management [For Hustle]: Don C
; Management [For Hustle]: Hustle
; Management [For Hustle]: John Monopoly
; Management [Marketing For Def Jam]: Shante Bacon
; Management [Marketing For Hip Hop Since 1978]: Al Branch
; Management [Marketing For Rocafella Records]: Girard Hunt
; Management [Marketing For Rocafella Records]: Osayamen Asemota
; Mastering: Eddy Schreyer
; Mixing: Manny Marroquin (1 to 17, 19 to 21)
; Mixing: Mike Dean (18)
; Other [Costumes By]: O Share Stylez & Kanye West
; Photography: Danny Clinch
; Public Relations [Publicity]: Dave Goodson
; Public Relations [Publicity]: Gabriel Jesoriero
; Recording: Andrew Dawson (6, 7, 11, 15)
; Recording: Anthony Kilhoffer (3, 9)
; Recording: Brent Kolatalo (21)
; Recording: Carlisle Young (18)
; Recording: Dave Dar (9)
; Recording: Eugene Toale (2, 3, 7, 11, 13)
; Recording: Franny Graham (19)
; Recording: Gimel "Young Guru" Keaton (8)
; Recording: Jason Rauhoff (13)
; Recording: Keith Slattery (11, 18)
; Recording: Marc Fuller (18)
; Recording: Mike Eleopoulos (9)
; Recording: Rabeka Tunei (1, 4 to 6, 8, 10, 14 to 17, 20, 21)
; Recording: Rich Balmer (2)
; Recording: Tatsuya Sato (4, 6, 7)
; Violin, Producer [Violins], Alle Tracks [Violins], Arranged [Violins], Performer [Violins]: Miri Ben-Ari (2, 3, 7, 11, 13, 17)
; Vocals [Additional]: Deray (1, 5, 14 to 16)
; Vocals [Additional]: John Legend (2, 3, 6, 7, 11, 21)
; Vocals [Additional]: Tony Williams (5, 6, 15, 16, 21)
; Record Company The Heavy Hitters
; Record Company Handprint Entertainment
; Record Company Hustle.
; Phonographic Copyright (p) Atlantic Recording Corporation
; Phonographic Copyright (p) Universal Records
; Phonographic Copyright (p) Roc-A-Fella Records, LLC
; Copyright (c) Roc-A-Fella Records, LLC
; Manufactured By Island Def Jam Music Group
; Marketed By Roc-A-Fella Records
; Marketed By Island Def Jam Music Group
; Distributed By Universal Music & Video Distribution, Corp.
; Licensed From Cotillion Records
; Licensed From Warner Strategic Marketing
; Licensed From Universal Music Enterprises
; Licensed From Atlantic Recording Corporation
; Licensed From Warner Bros. Records Inc.
; Produced For Konman Entertainment, Inc.
; Produced For Gimme My Publishing
; Produced For Hip Hop Since 1978
; Produced For Dilated Junkies
; Pressed By UML
; Published By Ross Vannelli Publishing
; Published By Please Gimme My Publishing, Inc.
; Published By EMI Blackwood
; Published By Sony/ATV Tunes LLC
; Published By Copyright Control
; Published By EMI April Music Inc.
; Published By Jobete Music Co., Inc.
; Published By Publishing Designee
; Published By Robert Bruce Music, Ltd.
; Published By Famous Music Corporation
; Published By Diplomat Music Corporation
; Published By Largo Music
; Published By Springtime Music, Inc.
; Published By Intersong USA, Inc.
; Published By Mandrill Music Publishing, Inc.
; Published By Chappell & Co.
; Published By Warner-Tamerlane Publishing Corp.
; Published By Dyad Music Ltd.
; Published By Neropub Music
; Recorded At Larrabee North
; Recorded At The Enterprise
; Recorded At Light @ The End Of The Tunnel
; Recorded At Record Plant, Los Angeles
; Recorded At Sony Music Studios, New York City
; Recorded At Baseline Studios
; Recorded At Full Time Dreamer Studios
; Recorded At Conway Studios
; Recorded At Quad Recording Studios
; Recorded At Digital Insight Recording Studios
; Recorded At Edie Road Studio
; Mixed At Larrabee North
; Mixed At The Hit Factory
; Mixed At Dean\'s List House Of Hits
; Mastered At Oasis Mastering
Kasabian [>] [D]: Velociraptor! [F]
Label und Katalognummer: RCA 88697933502
Produktion: Dan the Automator & Stephen McLaughlin & Sergio Pizzorno
Veröffentlicht: 2011 09 16
Genretags: Alternativerock - Poprock - Powerpop
Trackliste: 1. Let's Roll Just Like We Used To - 4:49
2. Days Are Forgotten - (Album Version) - 5:02
3. Goodbye Kiss - 4:03
4. La fee verte - 5:47
5. Velociraptor! - 2:51
6. Acid Turkish Bath (Shelter From the Storm) - 6:01
7. I Hear Voices - 3:58
8. Re-Wir
ed - 4:44
9. Man of Simple Pleasures - 3:51
10. Switchblade Smiles - 4:13
11. Neon Noon - 5:20
Besetzung: Tom Meighan - lead vocals
; Sergio Pizzorno - guitars, backing vocals, synthesizer, bass
; Chris Edwards - bass
; Ian Matthews - drums, percussion
; Jason Mehler - additional guitar
; Ben Kealey - additional keyboards
; Tim Carter - additional guitar, additional percussion
; Dan Ralph Martin - additional guitar, additional percussion (4, 9)
; Gary Alesbrook - trumpet
; Mat Coleman - trombone
; Andrew Kinsman - saxophone
; London Metropolitan Orchestra - strings
; Jessica Dannheisser - orchestration
; Andy Brown - conducting
; Joe Kearns - engineering
; Aitor Throup - design and art direction
; Neil Bedford - photography
Kassem Mosse [>] [D]: Disclosure [F]
Label und Katalognummer: Honest Jon's HJRCD 73
Produktion: Kassem Mosse
Veröffentlicht: 2016 10 10
Genretags: Electronica - Techno - Postminimal
Trackliste: 1. Stepping on Salt - 1:23
2. Phoenicia Wir
eless - 6:35
3. Drift Model - 4:04
4. Galaxy Series 7 - 3:16
5. Collapsing Dual Core - 2:02
6. Monomer - 4:35
7. Galaxy Series 5 - 4:02
8. Aluminosilicate Mirrors - 4:31
9. Long Term Evolution - 2:21
10. Molecular Memories - 6:43
11. Purple Graphene - 6:16
Besetzung: Layout: Will Bankhead
; Manufactured By www.HandleWithCare.de
; Pressed By Optimal Media GmbH
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Katja Ebstein [>] [D]: Katja Ebstein singt Heinrich Heine [F]
Label und Katalognummer: Hör Zu 1C 062 29578
Veröffentlicht: 1975
Trackliste: Seite A
1. Es erklingen alle Bäume - 1:35
2. Die schlesischen Weber - 2:58
3. Wir
saßen im Fischerhaus - 2:44
4. Es ist eine alte Geschichte - 2:45
5. Kleines Volk - 2:39
6. Es fällt ein Stern herunter - 2:35
7. Lied der Marketenderin - 2:44
8. Du hast Diamanten und Perlen - 1:16
9. Auf die Berge will ich steigen - 1:48
Seite B
1. Ich weiß nicht was soll es bedeuten - 3:47
2. Panaschierter Leichenwagen - 2:09
3. Eine große Landstraß' ist unsere Erd - 2:14
4. Meeresstille - 2:10
5. Es war ein alter König - 1:55
6. Mein Kind, wir waren Kinder - 2:45
7. Die Liebe begann im Monat März - 2:45
8. Die heil'gen drei Könige - 1:44
9. Das Fräulin stand am Meere - 1:05
Label und Katalognummer: XL Recordings XLCD 765
Produktion: BadBadNotGood & Kaytranada & Karriem Riggins & River Tiber
Veröffentlicht: 2016 05 06
Genretags: Electronica - Funktronica - US-Funky
Trackliste: 1. Track Uno (Louis Kevin Celestin, Michael Denne, Kenneth Gold) - 5:44
2. Bus Ride (feat. Karriem Riggins & River Tiber) (Louis Kevin Celestin, Thomas Paxton-Beesley, Karriem Riggins) - 2:13
3. Got It Good (feat. Craig David) (Louis Kevin Celestin, Craig David, Lauren Faith, Tre Jean-Marie) - 3:48
4. Together (feat. AlunaGeorge & GoldLink) (D'Anthony Carlos, Louis Kevin Celestin, Aluna Francis) - 3:17
5. Drive Me Crazy (feat. Vic Mensa) (Louis Kevin Celestin, Alan Hawkshaw, Victor Mensah) - 4:37
6. Weight Off (feat. BADBADNOTGOOD) (Louis Kevin Celestin, Chester Hansen, Alexander Sowinski, Matthew Tavares, Leland Whitty) - 2:35
7. One Too Many (feat. Phonte) (Louis Kevin Celestin, Phonte Coleman) - 3:38
8. Despite the Weather (Louis Kevin Celestin, Bob Selvin) - 2:01
9. Glowed Up (feat. Anderson .Paak) (Brandon Anderson, Louis Kevin Celestin) - 4:58
10. Breakdance Lesson No.1 (Louis Kevin Celestin, David Frank, Michael Murphy) - 4:28
11. You're the One (feat. Syd) (Sydney Bennett, Louis Kevin Celestin, Nicholas Eaholtz) - 3:47
12. Vivid Dreams (feat. River Tiber) (Louis Kevin Celestin, Thomas Paxton-Beesley) - 4:36
13. Lite Spots (feat: Gal Costa) (Louis Kevin Celestin, Jards Macalé, Waly Salomão) - 3:50
14. Leave Me Alone (feat. Shay Lia) (Louis Kevin Celestin, Shay Lia) - 4:37
15. Bullets (feat. Little Dragon) (Erik Boon, Louis Kevin Celestin, Chester Hansen, Yukmi Nagano, Alexander Sowinski, Matthew Tavares, Fredrik Wallin, Leland Whitty, Håkan Wir
enstrand) - 4:58
Besetzung: BadBadNotGood: Mixing
; Rachel Bungey: Creative Director
; Ricardo Cavolo: Artwork
; Guy Davie: Mastering
; Kaytranada: Mixing
; Leon Kelly: Vocal Mixing
; Karriem Riggins: Mixing, Producer
; River Tiber: Mixing
Kenny Larkin [>] [D]: Azimuth [F]
Label und Katalognummer: Wax Trax! TVT 7219, Warp 020
Produktion: Kenny Larkin
Veröffentlicht: 1994 02 08 (US), 1994 02 28 (UK)
Genretags: Electronica - Techno
Trackliste: 1. Hello - 3:28
2. Azimuth - 4:33
3. Track - 6:46
4. ESP - 7:01
5. Funk In Space - 6:14
6. Harmonics - 7:18
7. Tedra - 5:41
8. Doppler - 3:06
9. Wir
es - 4:11
10. Q - 6:23
11. My Travels - 7:10
Alle Tracks: Kenny Larkin.
Besetzung: Performer: Kenny Larkin
Kevin Gates [>] [D]: By Any Means [F]
Label und Katalognummer: Breadwinners Association
Produktion: Verschiedene
Veröffentlicht: 2014 03 18
Genretags: Hip-Hop - Gangstarap - Southernhiphop
Trackliste: 1. Wish I Had It (Prod.: Allstar) - 3:31
2. Don't Know (Prod.: Go Grizzly, Knucklehead) - 3:05
3. Amnesia (feat. Doe B) (Prod.: Dun Deal) - 3:29
4. Can't Make This Up (Prod.: Dave Cappa) - 3:30
5. Keep Fucking With Me (feat. Plies) (Prod.: V12 The Hitman) - 2:46
6. Homicide (Prod.: Chrishan) - 3:08
7. Movie (Prod.: Beewirks) - 3:21
8. Go Hard (feat. Rico Love) (Prod.: Finatick & Zac, Jim Jonsin) - 3:40
9. Bet I'm On It (feat. 2 Chainz) (Prod.: Honorable C-Note) - 3:30
10. Arm And Hammer (Prod.: Monarch, The Runners) - 3:27
11. Posed To Be In Love (Prod.: Go Grizzly) - 2:44
12. Stop Lyin (Prod.: Dun Deal) - 4:22
13. Wit It (Prod.: Big Soj, Kane Beatz) - 3:28
14. Just Want Some Money (Prod.: DJ Yung Stylez) - 4:05
15. Again (Prod.: Bricks Da Mane) - 3:27
16. Get Up On My Level (Prod.: Yung Carter) - 4:16
Besetzung: Producer: Allstar & KnuckleHead & Go Grizzly & Dun Deal & Dave Cappa & V12 the Hitman & Chrishan & Beewirks & Jim Jonsin & Finatik & Zac & Honorable C.N.O.T.E. & The Runners & The Monarch & Big Soj & Kane Beatz & DJ Yung Stylez & Bricks da Mane & Yung Carter
Kid 606 [>] [D]: PS I Love You [F]
Label und Katalognummer: Mille Plateaux MP 093
Produktion: Miguel De Pedro
Veröffentlicht: 2000 10 17
Genretags: Electronica - IDM - Glitch-IDM
Trackliste: 1. Sing It - 1:57
2. Where We Left Off - 5:27
3. Together - 4:44
4. Twirl - 6:07
5. Sometimes - 6:15
6. Now I Wanna Be a Cowboy - 7:08
7. Songquizzover - 7:14
8. Strum - 8:55
9. Fuck up Everything You Can Before You Plan on Slowing Down - 6:17
Alle Tracks: Kid 606.
Besetzung: Cover: Alorenz
; Distributed By EFA
Kid 606 [>] [D]: PS You Love Me [F]
Label und Katalognummer: Mille Plateaux MP 101
Produktion: Miguel De Pedro
Veröffentlicht: 2001 05 19
Genretags: Electronica - IDM - Glitch-IDM
Trackliste: 1. Act Yr Age (Kid 606) - 7:33
2. Twirl [Photoshoot RMX] (Matmos) - 4:43
3. Where We Left Off [Fortune Cookie RMX] (Atom?) - 4:43
4. Sometimes [The Kabuki-Rock-Mix] (Farben) - 6:14
5. Un-left (Pan-American) - 8:22
6. P.S. I Love You [Autobahn Remix] (Rechenzentrum) - 7:10
7. Together [The Discreet Charm of Kid606 RMX] (Electric Company) - 4:31
8. Where We Left Off [Drool_String_Ukelele RMX] (Twerk) - 5:36
9. Sonqizzon (Kid 606) - 7:08
10. Horseback (Kid 606) - 3:23
11. PS I Dub Ya (Posterboys of the Apocalypse) - 6:49
12. Goodbye (Kid 606) - 4:36
Besetzung: Artwork By [Cover]: Alorenz
; Everything Else By: Kid 606
Klaus Johann Grobe [>] [D]: Im Sinne der Zeit [F]
Label und Katalognummer: Trouble In Mind TIM 069
Produktion: Klaus Johann Grobe
Veröffentlicht: 2014 04 28
Genretags: Post-Millennial-Music - Lo-Fi-Underground - Artpop
Band aus Basel
Trackliste: 1. Between the Buttons - 4:47
2. KOthek - 3:27
3. Wir
Zwei - 5:23
4. Les Grecks - 4:59
5. Koffer - 3:39
6. Schlaufen Der Zukunft - 4:53
7. Aufstand - 5:33
8. Regen Raus - 4:43
9. Vergangenes - 4:09
Alle Tracks: Klaus Johann Grobe.
Besetzung: Bass [Uncredited], Organ [Uncredited], Synthesizer [Uncredited], Vocals [Uncredited]: Sevi Landolt
; Design [Uncredited]: Go! Grafik
; Drums [Uncredited], Vocals [Uncredited]: Daniel Bachmann
; Lacquer Cut By: Jason Ward
; Mastering: Mikey Young
; Mixing, Instruments [Instruments Played]: Klaus Johann Grobe
; Recording, Mixing, Producer, Shaker, Guitar Synthesizer [Roland Synth-Guitar], Backing Vocals [Some Backing Vocals], Other [And More]: David Langhard
; Phonographic Copyright (p) Trouble In Mind Records, LLC
; Copyright (c) Trouble In Mind Records, LLC
; Recorded At Dala Studios
; Lacquer Cut At Chicago Mastering Service
; Pressed By United Record Pressing
Klaus Schulze [>] [D]: La vie electronique 7 [F]
Label und Katalognummer: Made In Germany MIG 00162
Produktion: Klaus D. Mueller
Veröffentlicht: 2010 07 30 (Ed.)
Genretags: Electronica - Electronic-Rock - Berliner-Schule
Trackliste: CD 1
1. Re: People I Know: Eddie - 8:59
2. Re: People I Know: Stomu - 4:05
3. Re: People I Know: Hartmut And Manuel - 8:37
4. Re: People I Know: Michael S. - 6:22
5. Re: People I Know: Arthur - 5:38
6. Re: People I Know: Marian - 6:40
7. Avec Arthur: Another Dark Sound - 4:14
8. Avec Arthur: All Alone - 4:37
9. Avec Arthur: Swifter Than Lightbeams - 13:30
10. Avec Arthur: Empty's The Power - 9:08
11. Avec Arthur: Yet Another Sound Part - 6:03
CD 2
1. Crazy Nietzsche: Der Freie Geist - 3:50
2. Crazy Nietzsche: Die Gebturt Der Tragödie - 8:08
3. Crazy Nietzsche: Wir
Antipoden - 14:37
4. Crazy Nietzsche: Asketische Ideale - 6:50
5. Crazy Nietzsche: Klage Der Ariane - 2:19
6. Crazy Nietzsche: Ecce Homo - 7:30
7. The Future: Things To Come - 7:39
8. The Future: This Island Earth - 8:01
9. The Future: Alphaville - 11:57
10. The Future: Just Imagine - 0:41
11. Interview 1979 - 2:30
CD 3
1. My Virtual Principles: Purpose - 5:55
2. My Virtual Principles: Shape - 5:15
3. My Virtual Principles: Cleaning Event - 2:05
4. My Virtual Principles: Flux Past - 6:47
5. My Virtual Principles: Catch Wave - 9:09
6. My Virtual Principles: Endless Box - 10:41
7. My Virtual Principles: Merzbau - 16:07
8. My Virtual Principles: Tachistic Architecture - 6:50
9. Die Erde Ist Rund - 11:56
Alle Tracks: Klaus Schulze.
Besetzung: Artwork By [Reissue Layout] - Thomas Ewerhard
; Performer, Recorded By - Klaus Schulze
; Mastered By - Tom Dams
; Mastered By [Premaster] - Klaus D. Mueller
; Photography - Klaus D. Mueller
Kris Kristofferson [>] [D]: Spooky Lady's Sideshow [F]
Label und Katalognummer: Monument Records PZ 32914
Produktion: David Anderle
Veröffentlicht: 1974 05
Genretags: Country - Autorencountry - Outlawcountry
Trackliste: Seite A
1. Same Old Song - 3:15
2. Broken Freedom Song - 5:22
3. Shandy (The Perfect Disguise) - 3:38
4. Star-Spangled Bummer (Whores Die Hard) - 3:35
5. Lights of Magdala (Larry Murray) - 3:40
6. I May Smoke Too Much - 3:07
Seite B
1. One for the Money - 3:03
2. Late Again (Gettin' over You) - 3:33
3. Stairway to the Bottom - 3:26
4. Rescue Mission (Kristofferson, Roger McGuinn, Bob Neuwirth, Seymour Cassell) - 5:21
5. Smile at Me Again (Kristofferson, Stephen Bruton) - 3:32
6. Rock and Roll Time (Kristofferson, McGuinn, Neuwirth) - 4:53
Besetzung: Acoustic Guitar, Electric Guitar, Sitar, Harmonica, Resonator Guitar [Dobro]: Jerry McGee
; Backing Vocals: Herb Pedersen
; Backing Vocals: Jerry McGee
; Backing Vocals: John Beland
; Backing Vocals: Larry Murray
; Backing Vocals: Michael Utley
; Backing Vocals: Rita Coolidge
; Backing Vocals: Terry Paul
; Bass: Leland Sklar
; Design Concept [Cover Concept]: Bob Jenkins
; Design Concept [Cover Concept]: Kris Kristofferson
; Design [Album & Poster]: Jimmy Wachtel
; Drums: Sammy Creason
; Engineer: Brian Dall\'Armi
; Engineer: John Haeny
; Engineer: Kent Nebergall
; Engineer: Reed Stanley
; Engineer: Tommy Vicari
; Guitar [5 Strings, 11 Strings]: Kris Kristofferson
; Illustration [Poster Illustration]: Amanda Flick
; Keyboards: Michael Utley
; Mastering: Doug Sax
; Percussion: Bobbye Hall
; Photography: Bob Jenkins
; Remix, Producer: David Anderle
; Saxophone: Jackie Kelso
; Saxophone: Jim Horn
; Trombone: Chuck Findley
; Trombone, Tuba: Dick Hyde
; Distributed By CBS Records Inc.
; Phonographic Copyright (p) Monument Record Corp.
; Pressed By Columbia Records Pressing Plant, Pitman
; Recorded At Sunset Sound
; Recorded At Sound Labs, Hollywood
; Remixed At Sunset Sound
; Mastered At The Mastering Lab
Kurt Vile [>] [D]: (watch my moves) [F]
Label und Katalognummer: Verve
Produktion: Rob Schnapf & Kurt Vile
Veröffentlicht: 2022 04 15
Genretags: Post-Millennial-Music - Poprock
Trackliste: 1. Goin on a Plane Today - 2:29
2. Flyin (Like a Fast Train) - 4:46
3. Palace of OKV in Reverse - 2:53
4. Like Exploding Stones - 7:18
5. Mount Airy Hill (Way Gone) - 5:32
6. Hey Like a Child - 5:46
7. Jesus on a Wir
e - 5:15
8. Fo Sho - 4:52
9. Cool Water - 5:05
10. Chazzy Don’t Mind - 5:33
11. (shiny things) - 0:58
12. Say the Word - 5:48
13. Wages of Sin - 7:34
14. Kurt Runner - 3:16
15. Stuffed Leopard - 6:39
Alle Tracks: Kurt Vile.
Label und Katalognummer: Mute STUMM 082
Veröffentlicht: 1992 04 21
Genretags: Postpunk - Electronic-Postpunk - Industrial, Postpunk - Electronic-Postpunk - Continental-Postpunk
Trackliste: 1. Decade Null - 2:56
2. Everlasting in Union - 4:09
3. Illumination - 3:58
4. Le Privilege des Morts - 5:34
5. Codex Durex - 3:04
6. Hymn to the Black Sun - 5:30
7. Young Europa, Pt. 1-10 - 6:23
8. The Hunter's Funeral Procession - 5:33
9. White Law - 4:22
10. Wir
tschaft ist tot - 7:12
11. Torso - 4:15
12. Entartete Welt (The Discovery of the North Pole) - 8:23
13. Kinderreich [English Version] (Einstein/Laibach) - 4:08
14. Sponsored by Mars - 5:37
15. Regime of Coincidence, State of Gravity - 7:27
Alle Tracks: Laibach, ausser wo anders vermerkt.
Besetzung: Artwork: Designland
; Artwork: Neue Kunsthandlung
; Editing: Holger Hiller
; Editing: Julian Briottet
; Editing: Laibach
; Editing: Paul Kendall
; Editing: Russell Haswell
; Arranged, Producer: Laibach
; Phonographic Copyright (p) Mute Records Ltd.
; Copyright (c) Mute Records Ltd.
; Recorded At Worldwide Studios
; Mixed At Worldwide Studios
; Glass Mastered At Nimbus
Label und Katalognummer: Mute MUTEL 12
Produktion: Verschiedene
Veröffentlicht: 2004 10 04
Genretags: Postpunk - Electronic-Postpunk - Industrial, Postpunk - Electronic-Postpunk - Continental-Postpunk
Trackliste: CD 1 - Bestof
1. Das Spiel ist aus - 3:18
2. Tanz mit Laibach - 4:17
3. Final countdown - 5:39
4. Alle gegen alle - 3:52
5. Wir
tschaft ist tot - 3:45
6. God is god - 3:42
7. In the army now - 4:31
8. Get back - 4:22
9. Sympathy for the devil - 5:34
10. Leben heisst Leben - 5:26
11. Geburt einer Nation - 4:21
12. Opus dei - 5:01
13. Die Liebe - 3:52
14. Panorama - 4:52
15. Država - 4:19
16. Brat moj - 6:02
17. Mama Leone - 4:51
CD 2 - Remixes
1. Das Spiel ist aus - Ouroborots mix - 4:05
2. Liewerk - 3.Oktober Kraftbach mix - 4:21
3. Wir
tanzen Ado Hynkel - Zeta Reticula mix - 5:39
4. Final countdown - Beyond the infinite Juno reactor mix - 7:37
5. God is god - Optikal vocal mix - 5:44
6. War - ultraviolence meets Hitman mix - 6:19
7. God is god - diabolig mix - 3:36
8. Final countdown - Mark Stent alternate mix - 5:48
9. Wir
tschaft ist tot - late night mix - 5:22
10. Jesus Christ superstar -Random logic mix - 6:22
11. Wir
tschaft - R. Hawtin hardcore noise mix - 5:18
12. Brat moj - Randomlogic mix - 5:09
13. Smrt za smrt - Octex mix - 7:02
14. WAT - iTurk mix - 5:29
Besetzung: Design, Layout, Painting: Laibach Kunst
; Liner Notes: Alexei Monroe
; Mastering: Simon Davey
; Copyright (c) Mute Records Ltd.
; Phonographic Copyright (p) Mute Records Ltd.
; Distributed By Vital (2)
; Mastered At The Exchange
; Pressed By Sonopress Arvato
; Pressed By Sonopress Arvato
Lale Andersen [>] [D]: Wie Einst Lili Marleen. Aufnahmen 1935-1953 [F]
Label und Katalognummer: Bear Family Records BCD 16072
Produktion: Verschiedene
Veröffentlicht: 2008 09 19 (Ed.)
Genretags: Europeana - Schlager
Trackliste: CD 1
1. Lied Eines Jungen Wachtpostens (Lili Marleen) - 3:17
2. Drei Rote Rosen (Gedenken) - 2:23
3. Der Feldmohn - 3:18
4. Es Geht Alles Vorüber, Es Geht Alles Vorbei - 3:19
5. Unter Der Roten Laterne von St. Pauli - 3:32
6. Unter Einem Regenschirm Am Abend - 3:14
7. Das Muss Man Alles Verstehen (in Puerto Alegre) - 2:42
8. Und Wiedder Geht Ein Schöner Tag Zu Ende - 2:59
9. Piloten - 3:13
10. Da Draussen Am Hafen - 3:05
11. Denn Du Weisst - 3:12
12. Eine Frau von Heut' - 3:37
13. Um Das Bisschen Liebe - 3:40
14. Einmal Noch Nach Bombay (O Jonny) - 2:57
15. Es Fährt Ein Schiff... - 2:49
16. Der Schwarze Rudolf - 2:46
17. Am Kai - 3:21
18. Heinemann (Der Kleine Seemann) - 3:15
19. Backbord Ist Links (Schiffsjungenlied) - 3:12
20. Liebeslied Am Hafen - 3:01
21. Der Junge An Der Reling - 3:38
22. Lass Mich Gehen - 3:14
23. Das Glück Wir
d Manchmal Wir
klichkeit - 2:45
24. Seemanns Schnadahüpferin - 2:37
25. Zweimal Sehnsucht - 2:21
26. Des Nachts Auf Hoher See (Charlie) - 3:41
27. Madeleine - 3:30
CD 2
1. Schäferlied - 2:37
2. Die Fischer von Langeoog - 3:16
3. Stundenlang - 2:46
4. Die Frau Im Mond - 3:00
5. Regen Im April - 3:01
6. Hoppla George - 2:33
7. Maria von Bahia (mit Ralph Maria Siegel) - 2:27
8. Halt' Dich Fest (mit Ralph Maria Siegel) - 2:19
9. Be-Bop-Hosen Trägt Er Nicht - 2:34
10. Regenfeifer, Sing' Dein Lied - 2:34
11. Goal (Tor) - 1:49
12. Schau Mich Bitte Nicht So An - 2:20
13. In Holland An Der Nordsee - 2:25
14. Brief An Jack - 2:56
15. Der Junge An Der Reling - 2:57
16. He, Hast Du Feuer, Seemann? - 2:32
17. Sehnsucht Nach Der Ferne - 2:32
18. Mit Dem Alten Cowboy - 1:59
19. Theodor Im Fussballtor - 2:16
20. Kleines Märchen - 2:45
21. Bésame Mucho (deutsch) - 3:05
22. Unter Der Roten Laterne von St. Pauli - 3:05
23. Lili Marleen - 3:04
24. Sing', Nachtigall, Sing - 2:59
25. Billy - 2:46
26. Kleines Sommermärchen - 3:00
27. Ich Wünsche Dir Glück, Jonny - 3:05
28. Das Meer (Beyond The Sea) - 3:09
29. Piet Rose, Der Matrose - 2:52
30. Sing, Nightingale, Sing - 3:08
31. Lili Marleen (english/deutsch) - 3:03
CD 3
1. Mein Schiff, Hab' Gute Reise - 2:58
2. Dämmerzeit - 3:12
3. Gol'ner Ohrring - 2:44
4. Vorbei-Passé - 2:56
5. Grüss' Mir Das Meer Und Den Wind - 3:22
6. Eine Bunt Bemalte Wiege - 3:25
7. Fragt Dich Jemand (mit Vico Torriani) - 3:07
8. Und Führ Ich Ein Mädchen Zum Traualtar (mit Vico Torriani) - 2:22
9. Eine Weisse Blütenkette - 3:11
10. In Montana (Weit Ist Das Land) - 3:18
11. Seerosen - 3:32
12. La Seine (deutsch) - 3:02
13. Mademoiselle de Paris (deutsch) - 3:02
14. Oh, Blasses Mondlicht - 2:55
15. Die Hochzeit Der Lili Marleen - 2:48
16. Ich Hab Mich So An Dich Gewöhnt - 3:02
17. Mitten Im Kornfeld - 3:01
18. Welche von [den] Beiden? - 2:42
19. Schwizerdütsch - 2:42
20. Signorina - 2:29
21. Lili Marleen - 2:48
22. Sing, Nightingale, Sing (english) - 2:32
23. Rennfahrerbraut (wenn Der Lange Ferdinand) - 2:10
24. Der Südwind, Der Weht - 2:56
25. Ich Wünsche Dir Glück, Jonny - 3:01
26. Nach Regen Scheint Sonne - 2:48
27. Einmal Noch Nach Bombay (Jonny) - 3:02
28. Denn Du Weisst - 3:17
29. Der Feldmohn -
Laurel Halo [>] [D]: In Situ [F]
Label und Katalognummer: Honest Jon's HJPCD 78
Produktion: Laurel Halo
Veröffentlicht: 2015 09 25
Genretags: Post-Millennial-Music - Digital-Underground
Trackliste: 1. Situation - 4:29
2. Leaves - 3:19
3. Nebenwirkungen - 5:00
4. Drift - 5:02
5. Nah - 3:49
6. Shake - 4:05
7. Nimrud - 1:41
8. Focus I - 8:23
Alle Tracks: Laurel Halo.
Besetzung: Photography: Phillip Aumann
; Manufactured By www.HandleWithCare.de
; Pressed By Optimal Media GmbH
Lawrence [>] [D]: The Night Will Last Forever [F]
Label und Katalognummer: Ladomat 2000 2169, Dial [Hamburg] dialCD 07, Novamute 155
Produktion: Peter M. Kersten
Veröffentlicht: 2005 05 16
Genretags: Electronica - House - Minimalhouse
Trackliste: 1. Lost Images (1:51)
2. The Night Will Last Forever (5:56)
3. Swap (6:29)
4. A Quiet Day (1:17)
5. The Lawn (7:00)
6. Happy Sometimes (6:14)
7. Falling Down A Dam Of Mashed Potatoes (3:41)
8. Attracted By Fire (6:01)
9. Cab Driver (3:55)
10. Crippled Trees (1:34)
11. Along The Wir
e (6:37)
12. Leave Me Tomorrow (3:14)
Video
1. Lost Images (2:06)
Alle Tracks: Peter M. Kersten.
Besetzung: Artwork By [Grafik] - ITF Grafik Design
Artwork By [Lost Images] - Anna Möller, Peter Kersten
; Mastered By - Bernd Steinwedel
; Artwork By - Peter M. Kersten
Label und Katalognummer: Terrible TRCD 046, XL Recordings
Veröffentlicht: 2015 11 13
Genretags: Electropop - Hyperpop
Trackliste: 1. Hi - 1:50
2. Rage - 4:05
3. Grace, Alek or Naomi - 3:16
4. Swirl (feat. Junglepussy & House of LaDosha) - 3:38
5. Koi - 3:48
6. Umami / Water - 5:36
7. Lisa - 5:36
8. Chops - 1:06
9. Cheap - 3:28
10. Tax - 3:41
11. Tell (feat. DonChristian) - 4:19
12. Change (feat. Devonté Hynes & Miss Geri) - 4:53
Leichtmetall [>] [D]: Wir sind Blumen [F]
Label und Katalognummer: Karaoke Kalk kalk 36
Veröffentlicht: 2006 07 17
Genretags: Indiepop - Electronicpop - Indietronica
Trackliste: 1. Wir
Sind Blumen - 3:59
2. Ein Platz in der Sonne - 3:41
3. Erkennen im Individuum - 3:12
4. Au Board de la Seine - 2:44
5. Wir
Sind Keine Kabarettisten - 3:27
6. Der Große Tag - 4:38
7. Füchschen 3:43
8. Im Klimawandel - 3:30
9. Spiel Mir ein Lied - 2:09
10. Kein Tanz für 2 - 4:20
Leonard Cohen [>] [D]: The Best of Leonard Cohen (= Greatest Hits) [F]
Label und Katalognummer: Columbia PC 34077
Produktion: Bob Johnston & John Lissauer & John Simon
Veröffentlicht: 1975 11 (Ed.)
Genretags: Rock - Folkrock, Rock - Singer-Songwriter
Trackliste: Seite A
1. Suzanne - 3:47
2. Sisters Of Mercy - 3:33
3. So Long, Marianne - 5:38
4. Bird On The Wir
e - 3:24
5. Lady Midnight - 2:56
6. The Partisan - 3:23
Seite B
1. Hey, That's No Way To Say Goodbye - 2:54
2. Famous Blue Raincoat - 5:07
3. Last Year's Man - 5:57
4. Chelsea Hotel No. 2 - 3:04
5. Who By Fire - 2:31
6. Take This Longing - 4:05
Alle Tracks: Leonard Cohen.
Leonard Cohen [>] [D]: Songs From A Room [F]
Label und Katalognummer: Columbia CS 9767
Produktion: Bob Johnston
Veröffentlicht: 1969 04
Genretags: Rock - Singer-Songwriter
Sein zweites Album hat Leonard Cohen in Nashville aufgenommen.
Trackliste: Seite A
1. Bird on the Wir
e - 3:26
2. Story of Isaac - 3:35
3. A Bunch of Lonesome Heros - 3:12
4. The Partisan (melody by Anna Marly, lyrics Hy Zaret) 3:26
5. Seems So Long Ago, Nancy - 3:39
Seite B
1. The Old Revolution - 4:46
2. The Butcher - 3:17
3. You Know Who I Am - 3:28
4. Lady Midnight - 2:56
5. Tonight Will Be Fine - 3:47
Alle Tracks: Leonard Cohen, ausser wo anders vermerkt.
Besetzung: Ron Cornelius: acoustic & electric guitar
; Bubba Fowler: banjo, bass, violin, acoustic guitar
; Charlie Daniels: bass, violin, acoustic guitar
; Bob Johnston: keyboards
; Neil Wilburn: engineer
Leonard Cohen [>] [D]: Songs From The Road [F]
Label und Katalognummer: Columbia 8697-75916
Veröffentlicht: 2010 09 14
Genretags: Rock - Singer-Songwriter
Trackliste: 1. Lover, Lover, Lover - 7:42
2. Bird on the Wir
e - 6:07
3. Chelsea Hotel - 3:30
4. Heart With No Companion - 5:05
5. That Don't Make It Junk - 4:21
6. Waiting For The Miracle - 7:59
7. Avalanche - 4:16
8. Suzanne - 3:40
9. The Partisan - 5:17
10. Famous Blue Raincoat - 5:22
11. Hallelujah - 7:30
12. Closing Time - 6:05
Leonard Cohen [>] [D]: Live In Dublin [F]
Label und Katalognummer: Columbia 88875035582
Veröffentlicht: 2014 12 02
Genretags: Alternativerock - Singer-Songwriter
Trackliste: CD 1
1. Dance Me to the End of Love - 5:57
2. The Future - 6:46
3. Bird on the Wir
e - 7:09
4. Everybody Knows (Leonard Cohen, Sharon Robinson) - 5:35
5. Who by Fire - 8:44
6. The Gypsy's Wife - 6:12
7. Darkness - 5:51
8. Amen - 8:02
9. Come Healing (Leonard Cohen, Patrick Leonard) - 3:58
10. Lover Lover Lover - 6:49
11. Anthem - 8:09
Alle Tracks: Leonard Cohen, ausser wo anders vermerkt.
CD 2
1. Tower of Song - 6:31
2. Suzanne - 4:25
3. Chelsea Hotel #2 - 3:23
4. Waiting for the Miracle (Leonard Cohen, Sharon Robinson) - 8:01
5. The Partisan (Leonard Cohen, Anna Marly, Emmanuel D'astier De La Vigerie, Hy Zaret) - 5:26
6. In My Secret Life (Leonard Cohen, Sharon Robinson) - 5:04
7. Alexandra Leaving (Leonard Cohen, Sharon Robinson) - 7:57
8. I'm Your Man - 5:58
9. Recitation (feat: Neil Larsen) (Leonard Cohen, Neil Larsen) - 3:20
10. Hallelujah - 7:25
11. Take This Waltz (Leonard Cohen, Frederico Garcia Lorca) - 6:01
Alle Tracks: Leonard Cohen, ausser wo anders vermerkt.
CD 3
1. So Long, Marianne - 5:34
2. Going Home (Leonard Cohen, Patrick Leonard) - 4:06
3. First We Take Manhattan - 6:40
4. Famous Blue Raincoat - 4:34
5. If It Be Your Will - 4:53
6. Closing Time - 5:34
7. I Tried to Leave You - 7:44
8. Save the Last Dance for Me (Doc Pomus, Mort Shuman) - 4:12
Alle Tracks: Leonard Cohen, ausser wo anders vermerkt.
Besetzung: Renee Adams: Production Assistant
; John \'Hotpants\' Ashton: Camera Operator
; Roscoe Beck: Bass, Unknown Contributor Role, Vocals (Background)
; Georges Bellias: Editing
; Alkexandru Bublitchi: Violin
; Leonard Cohen: Guitar, Vocals
; Lorca Cohen: Photography, Product Manager
; Spencer Ellis: Engineer
; Emmanuel D\'astier De La Vigerie: Composer
; Phil \'Philbilly\' Evans: Director
; Phil Evans, Jr.: Video Director
; Rafael Gayol: Drums, Percussion
; Robert Hadley: Mastering
; Jon Halliwell: Engineer
; Gary Kelly: Package Design
; Brian \'Pants\' Kirk: Engineer
; Robert Kory: Executive Producer
; Neil Larsen: Accordion, Featured Artist, Keyboards
; Alistair Leake: Camera Operator
; John MacKenna: Liner Notes
; Javier Mas: Bandurria, Guitar, Laud
; Peter \'Shaggy\' Mersereau: Camera Operator
; Hank Neuberger: Post Production Supervisor
; Jan Reyntjens: Video Technician
; Michelle Rice: Executive Producer
; Sharon Robinson: Vocals
; Dave Salt: Production Manager
; Ed Sanders: Director, Mixing, Producer
; Doug Sax: Mastering
; Naomi Scully: Mixing
; Mark Vreeken: Engineer
; Kezban Washington: Personal Assistant
; Mitch Watkins: Guitar, Vocals (Background)
; Charley Webb: Clarinet, Guitar, Vocals
; Hattie Webb: Harp, Vocals
; William Butler Yeats: Quotation Author
; Phonographic Copyright (p) Sony Music Entertainment
; Copyright (c) Sony Music Entertainment
; Copyright (c) Old Ideas, LLC
; Distributed By Sony Music Entertainment
Les Reines Prochaines [>] [D]: Lob Ehre Ruhm Dank [F]
Label und Katalognummer: BOY (Because Of You) BOY 017
Veröffentlicht: 1993
Genretags: Indiepop - Artpop - Cabaretpop
Trackliste: 1. Komm Mit Mir - 4:20
2. Oh Mädchen - 2:56
3. Kinder Gebärt Kinder - 0:10
4. You Called Me Jacky (Kevin Coyne) - 3:43
5. Oskava - 1:06
6. Schöner Sonntag - 5:16
7. Der Urwald - 1:36
8. Te Quiero - 3:20
9. Tiere, Tiere - 0:21
10. Evening (Jagger-Richards) - 1:28
11. Ein Kleines Gedicht - 0:08
12. S'isch Äbe Ä Mönsch - 3:10
13. I Love You - 1:19
14. Der Frühling - 0:10
15. Old Flowers - 3:34
16. Das Japanische Moosbett - 0:22
17. Aline, J'ai Crié - 4:07
18. So Blau - 0:30
19. Winterreise - 3:37
20. Meine Schuhe Sind Weiss - 0:13
21. Léve-toi, Ma Soeur Malade - 6:39
22. Wir
Wissen Warum - 0:24
Alle Tracks: Les Reines Prochaines.
Lil Wayne [>] [D]: No Ceilings 2 [F]
Label und Katalognummer: Young Money Entertainment
Veröffentlicht: 2015 11 26
Genretags: Hip-Hop - Traprap
Trackliste: 1. Fresh (feat. Mannie Fresh) - 1:57
2. Back 2 Back (Drake) - 3:11
3. My Name Is (Eminem) - 3:37
4. Where Ya At (Future featuring Drake) - 3:30
5. Cross Me (feat. Future and Yo Gotti) (Original instrumental produced by The Beat Bully) - 3:25
6. I'm Nice (Bryson Tiller) - 3:21
7. Duck (feat. Jae Millz, Gudda Gudda and Shanell) - 5:15
8. Poppin (feat. Curren$y) (Rico Richie) - 3:54
9. Jumpman (Drake & Future) - 4:01
10. Destroyed (feat. Euro) (Original instrumental produced by Beewirks) - 3:48
11. Finessin (feat. Baby E) (Baby E) - 2:47
12. Millyrokk (feat. Lucci Lou and Turk) (2 Milly) - 4:28
13. Live from the Gutter (feat. Hoodybaby and T@) (Drake & Future) - 4:39
14. Big Wings (Drake & Future) - 3:37
15. Too Young (Post Malone) - 4:04
16. Lil Bitch (2 Chainz) - 3:43
17. Get Ya Gat (feat. Lucci Lou & Hoodybaby) (Original Instrumental Produced by Roc & Mayne) - 4:51
18. No Reason (feat. King Los) - 3:54
19. Plastic Bag (feat. Jae Millz) (Drake & Future) - 4:34
20. Hotline Bling (Drake) - 4:20
21. Crystal Ball (feat. Steph) - 4:51
22. Diamonds Dancing (Drake & Future) - 5:06
23. No Days Off (Fetty Wap featuring Monty) - 4:37
24. The Hills (The Weeknd) - 4:18
Linard Bardill [>] [D]: Tanz Auf Den Feldern [F]
Label und Katalognummer: Zytglogge ZYT 4518
Veröffentlicht: 1993
Genretags: Europeana - Liedermacher
Trackliste: CD 1: Tanz Auf Den Feldern
1. Lied Von Ali Dem Zeltmacher (Linard Bardill) - 0:55
2. Hellmuth (Für H.S. Unbehoven) (Linard Bardill) - 4:30
3. Die Wiesen Der Zukunft (Linard Bardill) - 2:53
4. Paris O Parsonz (Linard Bardill) - 5:03
5. Lied (Alexander Xaver Gwerder, Linard Bardill) - 2:23
6. Weise (Linard Bardill) - 1:29
7. Dubrovnik (Für Ajet Und Bali) (Linard Bardill) - 3:23
8. Ulisses (Andri Peer, Linard Bardill) - 2:54
9. Neulich Kurz Vorm Nordpol (John Wolf Brennan, Linard Bardill) - 4:36
10. Intermezzo I (Andreas Schlegel) - 1:06
11. Tagelied (Linard Bardill) - 5:26
12. La Duonna Ch'eu Less (Linard Bardill) - 3:23
13. Intermezzo II (Curdin Janett, Linard Bardill) - 0:24
14. Willst Du Wir
klich Gehn? (Linard Bardill) - 1:42
15. Tanz Auf Den Feldern (Linard Bardill) - 3:28
16. Scarnuz (Linard Bardill) - 3:33
17. Homage À Friedrich D. (Linard Bardill) - 2:10
18. Trilogia (Linard Bardill) - 2:57
19. Verwegen Wie Du (Linard Bardill) - 3:46
CD 2: Steinschlag
1. Steinschlag (Linard Bardill) - 23:00
Besetzung: Accordion: Curdin Janett (1-1 to 1-19)
; Accordion: Roberto Bossart (1-1 to 1-19)
; Alto Saxophone: Hugo Niederberger (1-1 to 1-19)
; Bass: Bänz Oester (1-1 to 1-19)
; Clarinet: Benedikt Iten (1-1 to 1-19)
; Clarinet: Domenic Janett (1-1 to 1-19)
; Clarinet: Peder Rizzi (1-1 to 1-19)
; Clarinet: Thomas Eckert (1-1 to 1-19)
; Design: Agnes Weber
; Directed By: Hans Jedlitschka (2-1)
; Guitar: Orlando Valentini (1-1 to 1-19)
; Guitar, Charango, Vocals: Linard Bardill
; Harmonium: Christoph Stiefel (1-1 to 1-19)
; Monochord: Erika Bringold (1-1 to 1-19)
; Other [Prihiu]: Shefali Bardill (1-1 to 1-19)
; Other [Stone Piano]: Gabi Schildknecht (2-1)
; Photography: Susan Abelin
; Piano: John Wolf Brennan (1-1 to 1-19)
; Producer: Emil Moser (2-1)
; Recording: Patrick Müller (1-1 to 1-19)
; Technician [Outside]: Peter Staub (2-1)
; Technician [Studio]: Walter Hausegger (2-1)
; Theorbo, Baroque Guitar: Andreas Schlegel (1-1 to 1-19)
; Trombone: Egon Rietmann (1-1 to 1-19)
; Trumpet, Flugelhorn: Theodor Jost (1-1 to 1-19)
; Voice: Corin Curschellas (1-1 to 1-19)
; Voice: Pippo Pollina (1-1 to 1-19)
; Phonographic Copyright (p) Zytglogge Verlag
; Copyright (c) Zytglogge Verlag
; Glass Mastered At DADC Austria
; Pressed By DADC Austria
; Recorded At Hardstudios
; Mastered At MSM Studios
Little Simz [>] [D]: Grey Area [F]
Label und Katalognummer: Age 101 Music AGE 101001, Forever Living Originals FLO 0001 (nicht verifiziert)
Produktion: Inflo
Veröffentlicht: 2019 03 01
Genretags: Hip-Hop - Conscious-Resurgence
Discogs listet dieses Album im Katalog des Forever Living Originals Labels. Da dort die Katalognummer fehlt, kann man diesem Release die virtuelle Katalognummer FLO 0001 geben.
Trackliste: 1. Offence (Cleopatra Nikolic, Dean Josiah Cover, Simbiatu Ajikawo) - 2:49
2. Boss (Dean Josiah Cover, Simbiatu Ajikawo) - 3:05
3. Selfish (feat. Cleo Sol) (Cleopatra Nikolic, Dean Josiah Cover, Simbiatu Ajikawo) - 3:46
4. Wounds (feat. Chronixx) (Dean Josiah Cover, Jamar Rolando McNaughton, Miles James, Simbiatu Ajikawo) - 4:40
5. Venom (Charles E. Dickerson, Dean Josiah Cover, Simbiatu Ajikawo, Stephen Lee Bruner) - 2:35
6. 101FM (Dean Josiah Cover, Simbiatu Ajikawo) - 3:11
7. Pressure (feat. Little Dragon) (Dean Josiah Cover, Erik Bodin, Fredrik Wallin, Hakan Wir
enstrand, Sigurd Strumse Lauritzen, Simbiatu Ajikawo, Yukimi Nagano) - 3:28
8. Therapy (Dean Josiah Cover, Simbiatu Ajikawo) - 3:16
9. Sherbert Sunset (Dean Josiah Cover, Simbiatu Ajikawo) - 4:56
10. Flowers (feat. Michael Kiwanuka) (Dean Josiah Cover, Mathieu Sandy Rakotozafy, Michael Kiwanuka, Simbiatu Ajikawo) - 3:45
Besetzung: Producer: Inflo, Sigurd (7), Astronote, Inflo (10)
; Licensed To AWAL Recordings Ltd
; Manufactured By Optimal Media GmbH
Loveliescrushing [>] [D]: Xuvetyn [F]
Label und Katalognummer: Projekt PRO 00064
Veröffentlicht: 1996 04 22
Genretags: Indiepop - Noisepop - Shoegaze
Trackliste: 1. Valerian (Her Voice Honeyed)
2. Aquan 1
3. Mandragora Louvareen
4. Staticburst
5. Xarella Almandyne
6. Milkysoft
7. Blooded and Blossom-Blown
8. Hum Vibralux
9. Virgin Blue-Eyed
10. See Saw
11. Flowered Smother
12. Monar
13. Silver (Fairy Threaded)
14. Luma (Web-Like and Crescent)
15. Golden-Handed
16. Bones of Angels: Bronze Lit Feathers/Her Tongue Pulled Out
17. Ghosts That Swirl
18. Mother of Pearl
Low Anthem [>] [D]: Smart Flesh [F]
Label und Katalognummer: Nonesuch, Bella Union
Produktion: Low Anthem
Veröffentlicht: 2011 02 21
Genretags: Post-Millennial-Music - Indiefolk
Hier steckt so vieles drin: Folkpop wie von den Fleet Foxes, Chamberpop wie von Lambchop, Sadcore wie von Will Oldham, die poppige Seite von Alternativecountry wie von Bright Eyes und klassischer Rock (zum Beispiel im Track Hey, All You Hippies!.
Trackliste: 1. Ghost Woman Blues (George Carter) - 4:18
2. Apothecary Love - 4:22
3. Boeing 737 - 2:40
4. Love and Altar - 3:06
5. Matter of Time - 3:53
6. Wir
e (Jocie Adams) - 3:47
7. Burn - 5:17
8. Hey, All You Hippies! - 4:40
9. I'll Take Out Your Ashes - 3:27
10. Golden Cattle - 3:09
11. Smart Flesh - 7:31
Alle Tracks: Low Anthem, ausser wo anders vermerkt.
Besetzung: Jocie Adams: Instrumentation
; Dan Cardinal: Engineer
; Mat Davidson: Instrumentation
; Jesse Lauter: Engineer, Mixing
; Robert C. Ludwig: Mastering
; Ryan Mastro: Photography
; Ben Knox Miller: Instrumentation
; Mike Mogis: Mixing
; Anton Patzner: Violin
; Louis Patzner: Cello
; Ben Pilgrim: Harmonium
; Jeffrey Prystowsky: Instrumentation
; Alec Thibodeau: Design
; Dan Wood: Design
Luciano Berio [>] [D]: Sequenzas [F]
Label und Katalognummer: Deutsche Grammophon 457 038
Produktion: Helmut Burk
Veröffentlicht: 1998 11 18 (Ed.)
Genretags: Akademica - Moderne-Klassik
Trackliste: CD 1
1. Sequenza I for Flute (1958) [Sophie Cherrier, flute] - 6:02
2. Sequenza II for Harp (1963) [Frédérique Cambreling, harp] - 8:18
3. Sequenza III for Woman's Voice (1965) [Luisa Castellani, soprano] - 8:16
4. Sequenza IV for Piano (1966) [Florent Boffard, piano] - 11:06
5. Sequenza V for Trombone (1965) [בני סלוחין [Benny Sluchin], trombone] - 6:58
6. Sequenza VI for Viola (1967) [Christophe Desjardins, viola] - 12:13
CD 2
1. Sequenza VII for Oboe (1969) [László Hadady, oboe] - 6:54
2. Sequenza VIII for Violin (1976) [Jeanne-Marie Conquer, violin] - 12:57
3. Sequenza IXa for Clarinet (1980) [Alain Damiens, clarinet] - 13:33
4. Sequenza X for Trumpet in C and Piano Resonance (1984) [Gabriele Cassone, trumpet] - 14:03
CD 3
1. Sequenza XI for Guitar (1987-88) [Eliot Fisk, guitar] - 15:19
2. Sequenza XII for Bassoon (1995) [Pascal Gallois, bassoon] - 18:31
3. Sequenza XIII for Accordion 'Chanson' (1995) [Teodoro Anzellotti, accordian] - 8:15
4. Sequenza IXb for Alto Saxophone (1981) [Christian Wir
th, alto saxophone] - 14:19
Alle Tracks: Luciano Berio.
Besetzung: Paola Agosti: Photography
; Teodoro Anzellotti: Accordion
; Klaus Behrens: Engineer
; Luciano Berio: Liner Notes
; Florent Boffard: Piano
; Jügen Bulgrin: Engineer
; Helmut Burk: Editing, Engineer
; Frederique Cambreling: Harp
; Gabriele Cassone: Trumpet
; Luisa Castellani: Soprano (Vocal)
; Sophie Cherrier: Flute
; Jeannne Marie Conquer: Violin
; Alain Damiens: Clarinet
; Christophe Desjardins: Viola
; Eliot Fisk: Guitar
; Pascal Gallois: Bassoon
; Karl Dietrich Grawe: Translation
; Laszlo Hadady: Oboe
; Christian Kuhnt: Translation
; Melina Mulas: Photography
; David Osmond-Smith: Translation
; Hartmut Pfeiffer: Artwork
; Jean-Claude Poyet: Translation
; Edoardo Sanguineti: Unknown Contributor Role
; Benny Sluchin: Trombone
; Stewart Spencer: Translation
; Christian Wir
th: Sax (Alto)
Lucinda Williams [>] [D]: Car Wheels On A Gravel Road [F]
Label und Katalognummer: Mercury 558 338, Lost Highway B 0007378
Produktion: Steve Earle & Ray Kennedy & Lucinda Williams
Veröffentlicht: 1998 06 30, 2006 10 24 (Reed.)
Genretags: Alternativerock - Alternativecountry - Singer-Songwriter
Trackliste: 1. Right in Time - 4:35
2. Car Wheels on a Gravel Road - 4:44
3. 2 Kool 2 Be 4-gotten - 4:42
4. Drunken Angel - 3:20
5. Concrete and Barbed Wir
e - 3:08
6. Lake Charles - 5:27
7. Can't Let Go (Randy Weeks) - 3:28
8. I Lost It - 3:31
9. Metal Firecracker - 3:30
10. Greenville feat. Emmylou Harris - 3:23
11. Still I Long For Your Kiss (Williams, Duane Jarvis) - 4:09
12. Joy - 4:01
13. Jackson - 3:42
Bonustracks der Deluxe Edition von 2006
1. Down the Big Road Blues (Mattie Delaney) - 4:07
2. Out of Touch - 3:50
3. Still I Long For Your Kiss (Alternate version) (Williams, Jarvis) - 5:00
Bonustracks der Deluxe Edition von 2006: Live at Penn's Landing, Philadelphia, PA. am 11 Jui 1998
1. Pineola - 4:18
2. Something About What Happens When We Talk - 3:44
3. Car Wheels on a Gravel Road - 4:42
4. Metal Firecracker - 3:39
5. Right in Time - 4:32
6. Drunken Angel - 3:27
7. Greenville - 3:46
8. Still I Long For Your Kiss (Williams, Jarvis) - 4:39
9. 2 Kool 2 Be 4-gotten - 4:53
10. Can't Let Go (Weeks) - 3:51
11. Hot Blood - 7:38
12. Changed The Locks - 4:19
13. Joy - 6:08
Alle Tracks: Lucinda Williams.
Besetzung: Lucinda Williams: Vocals, acoustic guitar, Dobro guitar
; Gurf Morlix: electric guitar, 12 string electric guitar, electric slide guitar, harmony vocal, acoustic slide guitar
; John Ciambotti: bass guitar, upright bass
; Donald Lindley: drums, percussion
; Buddy Miller: acoustic guitar, mando guitar, harmony vocal, electric guitar
; Ray Kennedy: 12 string electric guitar
; Greg Leisz: 12 string electric guitar, mandolin
; Roy Bittan: Hammond B3 organ, accordion, organ
; Jim Lauderdale: harmony vocal
; Charlie Sexton: electric guitar, Dobro guitar
; Steve Earle: acoustic guitar, harmonica, harmony vocal, resonator guitar
; Johnny Lee Schell: electric guitar, electric slide guitar, Dobro guitar
; Bo Ramsey: electric guitar, slide guitar
; Micheal Smotherman: B-3 organ
; Richard ??Hombre? Price: Dobro guitar
; Emmylou Harris: harmony vocal
Lynn Anderson [>] [D]: Uptown Country Girl [F]
Label und Katalognummer: Chart CHS 1028
Produktion: Slim Williamson
Veröffentlicht: 1970
Genretags: Country - Countrypop - Nashvillesound
Trackliste: Seite A
1. I've Been Everywhere (Geoff Mack) - 2:26
2. He'd Still Love Me (Glenn Sutton, Hugh X. Lewis) - 2:20
3. Wave Bye, Bye To The Man (Joe Gibson, Lawanda Lindsey) - 2:07
4. He Even Woke Me Up To Say Goodbye (Doug Gilmore, Mickey Newbury) - 2:40
5. Morgen Wir
st Du Wieder Bei Mir Sein (Heinz Gietz, Kurt Hertha) - 2:16
Seite B
1. Partly Bill (Steve Allen, Vance Bulla) - 2:37
2. The Ways To Love A Man (Billy Sherrill, Glenn Sutton, Tammy Wynette) - 2:14
3. Okie From Muskogee (Merle Haggard) - 2:35
4. Then Go (Liz Anderson) - 2:26
5. Ich Hab' Einen Boy In Germany (Helmut Flohr, Herbert Falk) - 2:18
Besetzung: Lynn Anderson: lead vocals
; Chuck Moser: liner notes
; Don Quest: cover photo and design
Manic Street Preachers [>] [D]: The Holy Bible [F]
Label und Katalognummer: Epic 477421
Produktion: Steve Brown & Manic Street Preachers
Veröffentlicht: 1994 08 29
Genretags: Alternativerock - Punkrock - Glampunk
Trackliste: 1. Yes - 4:59
2. Ifwhiteamericatoldthetruthforonedayitsworldwouldfallapart [sic] - 3:39
3. Of Walking Abortion - 4:01
4. She Is Suffering - 4:43
5. Archives Of Pain - 5:29
6. Revol - 3:04
7. 4st 7lb - 5:05
8. Mausoleum - 4:12
9. Faster - 3:55
10. This Is Yesterday - 3:58
11. Die In The Summertime - 3:05
12. The Intense Humming Of Evil - 6:12
13. P.C.P. - 3:55
Bonustracks 10th Anniversary Edition
1. The Intense Humming Of Evil - Live
2. 4st 7lb - Live
3. Yes - Live
4. Of Walking Abortion - Live
CD 2: US mix of album/Demos & Radio Sessions
1. Yes
2. Ifwhiteamericatoldthetruthforonedayitsworldwouldfallapart
3. Of Walking Abortion
4. She Is Suffering
5. Archives Of Pain
6. Revol
7. 4st 7lb
8. Mausoleum
9. Faster
10. This Is Yesterday
11. Die In The Summertime
12. The Intense Humming Of Evil
13. P.C.P.
14. Die In The Summertime - Demo
15. Mausoleum - Demo
16. Of Walking Abortion - Radio1 Evening Session
17. She Is Suffering - Radio1 Evening Session
18. Yes - Radio1 Evening Session
DVD
1. Faster - Top Of The Pops
2. Faster - Butt Naked
3. P.C.P. - Butt Naked
4. She Is Suffering - Butt Naked
5. 4st 7lb - MTV Most Wanted
6. She Is Suffering - MTV Most Wanted
7. Faster - Glastonbury '94
8. P.C.P. - Glastonbury '94
9. Yes - Glastonbury '94
10. Revol - Reading '94
11. Faster - US Video
12. Judge Yr'self - Video
13. Yes - New film (made by Patrick Jones)
14. Band Interview (30mins)
Musik von Bradfield/Moore, Lyrics Edwards/Wir
e
Besetzung: Artwork By: Richey James
; Artwork By [Back Sleeve Photo Painting]: Barry Kamen
; Artwork By [Front Cover]: Jenny Saville
; Bass: Nicky Wir
e
; Drums: Sean Moore
; Engineer: Silva
; Guitar: Richey James
; Mixed By: Mark Freegard
; Other [Back Sleeve Text]: Octave Mirbeau (The Torture Garden)
; Photography [Band]: Neil Cooper
; Vocals, Guitar [Lead & Rhythm]: James Dean Bradfield
Manic Street Preachers [>] [D]: Everything Must Go [F]
Label und Katalognummer: Sony Music Entertainment (UK) 483930
Produktion: Mike Hedges
Veröffentlicht: 1996 05 23
Genretags: Alternativerock - Punkrock - Glampunk
Trackliste: 1. Elvis Impersonator: Blackpool Pier (James Dean Bradfield, Richey James, Nicky Wir
e) - 3:28
2. A Design for Life (James Dean Bradfield, Sean Moore, Nicky Wir
e) - 4:16
3. Kevin Carter (James Dean Bradfield, Richey James, Sean Moore, Nicky Wir
e) - 3:24
4. Enola/Alone (James Dean Bradfield, Sean Moore, Nicky Wir
e) - 4:07
5. Everything Must Go (James Dean Bradfield, Sean Moore, Nicky Wir
e) - 3:41
6. Small Black Flowers That Grow in the Sky (James Dean Bradfield, Richey James, Sean Moore, Nicky Wir
e) - 3:02
7. The Girl Who Wanted to Be God (James Dean Bradfield, Richey James, Sean Moore, Nicky Wir
e) - 3:35
8. Removables (James Dean Bradfield, Richey James, Sean Moore, Nicky Wir
e) - 3:31
9. Australia (James Dean Bradfield, Sean Moore, Nicky Wir
e) - 4:04
10. Interiors (Song for Willem de Kooning) (James Dean Bradfield, Sean Moore, Nicky Wir
e) - 4:17
11. Further Away (James Dean Bradfield, Sean Moore, Nicky Wir
e) - 3:38
12. No Surface All Feeling (James Dean Bradfield, Sean Moore, Nicky Wir
e) - 4:13
Besetzung: Arranged [String Arrangements]: Martin Greene
; Bass, Backing Vocals: Nicky Wir
e
; Design, Art Direction [Direction]: Farrow Design
; Drums, Percussion, Backing Vocals, Trumpet [Solo]: Sean Moore
; Electric Guitar, Acoustic Guitar, Lead Vocals, Backing Vocals, Piano: James Dean Bradfield
; Harp: Julie Aliss
; Liner Notes: Jackson Pollock
; Management: Martin Hall
; Mastering [Cut By]: Chris Blair
; Mixing: Ian Grimble (1 to 8, 10, 11)
; Mixing [Assistant]: Guy Massey (2, 7, 10, 11)
; Organ [Hammond], Keyboards: John Green
; Percussion: Martin Ditcham
; Photography: Rankin
; Producer: Mike Hedges (1 to 6, 8 to 11)
; Recording: Ian Grimble (1 to 6, 8 to 11)
; Viola: Chris Pitsillides
; Viola: Claire Orsler
; Violin: Anne Stephenson
; Violin: Gini Ball
; Violin: Sally Herbert
; Phonographic Copyright (p) Sony Music Entertainment (UK) Ltd.
; Copyright (c) Sony Music Entertainment (UK) Ltd.
; Published By Sony Music Publishing
; Distributed By Sony Music
Marcus Wiebusch [>] [D]: Hippiekacke [F]
Label und Katalognummer: Tienbiet Beat 005
Veröffentlicht: 2006
Genretags: Alternativerock - Diskursrock
Trackliste: 1. Anti-Manifest - 1:40
2. Erinnert sich jemand an Kalle ’del Haye - 2:08
3. Was hätten wir denn tun sollen - 2:04
4. Partys gegen Volker Rühe - 2:06
5. Die Front, die sich Leben nennt - 2:54
6. Im Rockstadion trifft sich das schlechte Gewissen - 2:23
Marius Müller-Westernhagen [>] [D]: Geiler is' schon [F]
Label und Katalognummer: Warner Bros. WB 24-0248
Produktion: Lothar Meid
Veröffentlicht: 1983 10 27
Genretags: Rock - Poprock - Deutschrock
Trackliste: Seite A
1. Lilli, Die Mücke - 3:04
2. Take Four, Because Your Birne Is Weich - 3:58
3. Mutter - 3:35
4. Der Schwarze Mann - 5:20
5. Wäre Ich Ein Tier - 2:28
Seite B
1. Jetzt Komm' Wir
- 3:12
2. Gitti Kleinlich - 2:38
3. Neues Von Hilde - 3:07
4. Laß Uns Leben - 4:20
5. Geiler Is' Schon - 2:24
Alle Tracks: Marius Müller-Westernhagen.
Besetzung: Chorus: Bernd Wippich
; Chorus: Freya Wippich
; Cover: Jim Rakete
; Cover: Roman Stolz
; Drums: Dolphin Taylor
; Electric Guitar, Acoustic Guitar: Paul Fox
; Electric Guitar, Acoustic Guitar [6- & 12-saitige], Mandolin: Nick Woodland
; Lacquer Cut By: Studio-Nord-Bremen
; Piano, Keyboards [Yamaha Cp 80], Synthesizer: Ian Parker
; Recording, Mixing: Hans Menzel
; Saxophone: Olaf Kübler
; Synthesizer, Electric Guitar, Bass, Drum Programming [Linn-drumprogramm], Percussion, Arranged [Synthesizer- & Bläser-arrangements]: Lothar Meid
; Trumpet, Performer [Teekanne]: Luke Tunney
; Vocals, Acoustic Guitar, Chorus, Percussion: Marius Müller-Westernhagen
; Phonographic Copyright (p) WEA Musik GmbH
; Copyright (c) WEA Musik GmbH
; Made By WEA Musik GmbH
; Printed By Druckhaus Maack KG
; Pressed By Record Service Alsdorf
; Lacquer Cut At Studio-Nord-Bremen
; Recorded At Musicland Studios
; Mixed At Musicland Studios
; Published By More Music (12)
Marius Müller-Westernhagen [>] [D]: Das erste mal [F]
Label und Katalognummer: Warner Bros. WB 56 095
Produktion: Peter Hesslein
Veröffentlicht: 1974
Genretags: Rock - Poprock - Deutschrock
Trackliste: Seite A
1. Horsti - 4:27
2. Wir
Waren Noch Kinder - 4:21
3. Marion Aus Pinneberg - 2:42
4. Taximann - 5:24
5. Wenn Jemand Stirbt - 3:47
Seite B
1. Sie War Auch Dann Noch Da - 3:51
2. Der Typ Auf Zelle Nummer 10 - 6:00
3. Fasten Seat Belt - 5:10
4. Es Geht Mir Wie Dir - 4:26
5. Epilog - 1:50
Besetzung: Arranged [Streicher-, Bläser- Und Chor Arrangements], Grand Piano [Steinway-flügel], Organ, Synthesizer, Celesta: Peter Hecht
; Bass: Dieter Horns
; Chorus: Brigitte Blank
; Chorus: Rale Oberpichler
; Chorus: Sheila McKinlay
; Design [Cover-design]: Franz Froeb
; Drums, Percussion: Herbert Bornhold
; Engineer: Volker Heintzen
; Lacquer Cut By: G. F. Pfanz
; Photography [Cover-photo]: Amos Schliack
; Acoustic Guitar, Electric Guitar, Slide Guitar [Bottleneck], Percussion: Peter Hesslein
; Record Company Warner Communications
; Record Company Warner Bros.
; Distributed By WEA Musik GmbH
; Phonographic Copyright (p) WEA Musik GmbH
; Copyright (c) WEA Musik GmbH
; Pressed By Teldec-Press GmbH
; Recorded At Studio Maschen
; Lacquer Cut At Tonstudio Pfanz
Mark Wirtz [>] [D]: A Teenage Opera [F]
Assoziierte Acts: Mark Wir
tz Orchestra & Keith West
Label und Katalognummer: RPM Records RPM 165
Produktion: Phil Smee & Mark Wir
tz
Veröffentlicht: 1996 (Ed.)
Genretags: Pop - Orchestralpop - Psychedelicpop
Trackliste: 1. Mark Wir
tz Orchestra: Theme From A Teenage Opera (Mark Wir
tz) - 2:33
2. Mark Wir
tz Orchestra & Chorus: Festival Of Kings (Mark Wir
tz) - 2:46
3. Keith West: Grocer Jack (Excerpt From A Teenage Opera) (Hopkins, Wir
tz) - 4:40
4. Mark Wir
tz Orchestra: The Paranoiac Woodcutter #1 (Mark Wir
tz) - 1:25
5. Steve Flynn: Mr. Rainbow (Hopkins, Burgess, Wir
tz) - 2:33
6. Mark Wir
tz Orchestra: Glory's Theme (All Aboard!) (Mark Wir
tz) - 4:52
7. Keith West: On A Saturday (Keith West) - 3:11
8. Mark Wir
tz Orchestra: Possum's Dance (Mark Wir
tz) - 2:37
9. Tomorrow & Keith West: Auntie Mary's Dress Shop (Hopkins, Burgess) - 2:46
10. Mark Wir
tz Orchestra & Chorus: Love & Occasional Rain (Mark Wir
tz) - 4:45
11. Mark Wir
tz Orchestra: Grocer Jack (Reprise) (Hopkins, Wir
tz) - 1:09
12. Keith West: Sam (Hopkins, Wir
tz) - 5:12
13. Mark Wir
tz Orchestra & Chorus: Farewell To A Broken Doll (Mark Wir
tz) - 3:22
14. Mark Wir
tz: (He's Our Dear Old) Weatherman (Mark Wir
tz) - 4:01
15. Kippington Lodge: Shy Boy (Hopkins, Burgess) - 2:37
16. Mark Wir
tz Orchestra: Grocer Jack's Dream (Mark Wir
tz) - 3:35
17. The Sweetshop feat. The Band Of The Irish Guards: Barefoot & Tiptoe (Wir
tz, Bigsby) - 2:44
18. Mark Wir
tz: Knickerbocker Glory (Mark Wir
tz) - 2:24
19. Zion De Gallier: Dream, Dream, Dream (Wir
tz, Bigsby) - 2:14
20. Tomorrow: Colonel Brown (Hopkins, Burgess) - 2:52
21. Astronaut Alan & The Planets: Cellophane Mary-Jane (Mills, Wir
tz) - 2:31
22. Mark Wir
tz Orchestra: Paranoiac Woodcutter #2 (Mark Wir
tz) - 1:10
23. Mark Wir
tz Orchestra & Chorus: Theme From A Teenage Opera (End Titles) (Mark Wir
tz) - 2:44
Besetzung: Artwork: Waldo\'s Design
; Compilation Producer [Soundtrack Producer]: Phil Smee
; Executive Producer: Mark Stratford
; Mastering: Nick Watson
; Arranged: Mark Wir
tz
; Transferred By: Phil Farlow (6, 11 & 16)
; Licensed From EMI Special Markets
; Made By Disctronics S
; Mastered At SRT Studios
Martha Reeves And The Vandellas [>] [D]: Dancing In The Street... The Greatest Hits [F]
Assoziierte Acts: Martha And The Vandellas
Label und Katalognummer: Motown 530 230
Veröffentlicht: 1992 01 01 (Ed.)
Genretags: Afroamericana - Soul - Motownsoul, Pop - Teenpop - Girlgroups
Trackliste: 1. Dancing In The Street - 2:39
2. Nowhere To Run - 2:46
3. (Love Is Like A) Heat Wave - 2:45
4. I'm Ready For Love - 2:54
5. Third Finger, Left Hand - 2:46
6. Jimmy Mack - 2:51
7. Motoring - 2:44
8. You've Been In Love Too Long - 2:57
9. My Baby Loves Me - 3:01
10. I Gotta Let You Go - 2:25
11. Come And Get These Memories - 2:22
12. A Love Like Yours (Don't Come Knocking Everyday) - 2:27
13. Forget Me Not - 2:36
14. Quicksand - 2:33
15. In My Lonely Room - 2:23
16. Live Wir
e - 2:35
17. Wild One - 2:35
18. Love Bug Leave My Heart Alone - 2:06
19. Honey Chile - 2:56
20. I Promise To Wait My Love - 2:04
21. I Can't Dance To That Music You're Playin' - 2:37
22. Sweet Darlin' - 3:02
23. (We've Got) Honey Love - 2:28
24. Bless You - 3:01
25. In And Out Of My Life - 2:55
Martha Reeves And The Vandellas [>] [D]: The Ultimate Collection [F]
Assoziierte Acts: Martha And The Vandellas
Label und Katalognummer: Motown 314530858
Produktion: Verschiedene
Veröffentlicht: 1998 02 10 (Ed.)
Genretags: Afroamericana - Soul - Motownsoul, Pop - Teenpop - Girlgroups
Trackliste: 1. Come and Get These Memories (Holland-Dozier-Holland) - 2:27
2. (Love Is Like A) Heat Wave (Holland-Dozier-Holland) - 2:45
3. Wild One (Hunter, Stevenson) - 2:42
4. In My Lonely Room (Holland-Dozier-Holland) - 2:30
5. Dancing in the Street (Gaye, Hunter, Stevenson) - 2:40
6. Quicksand (Holland-Dozier-Holland) - 2:38
7. Love (Makes Me Do Foolish Things) (Holland-Dozier-Holland) - 2:56
8. Live Wir
e (Holland-Dozier-Holland) - 2:39
9. I'm Ready for Love) - Holland-Dozier-Holland (2:54
10. A Love Like Yours (Don't Come Knocking Everyday) (Holland-Dozier-Holland) - 2:29
11. Third Finger, Left Hand (Holland-Dozier-Holland) - 2:46
12. Nowhere to Run (Holland-Dozier-Holland) - 2:51
13. I Can't Dance to That Music You're Playin' (Dean, Richards) - 2:38
14. Tear It on Down (Ashford, Simpson) - 3:00
15. Honey Chile (Morris, Moy) - 2:56
16. You've Been in Love Too Long (Hunter, Hunter, Paul, Stevenson) - 2:57
17. Motoring (Hunter, Jones, Stevenson) - 2:45
18. I Promise to Wait My Love (Brown, Gordy, Gordy, Story) - 2:05
19. Forget Me Not (Morris, Moy) - 2:57
20. Jimmy Mack (Holland-Dozier-Holland) - 2:53
21. I Should Be Proud (Cosby, Hinton, Sawyer) - 2:55
22. Love Bug Leave My Heart Alone (Morris, Moy) - 2:10
23. Bless You (Corporation, Gordy, Mizell, Perren?) - 3:04
24. Darling, I Hum Our Song (Holland-Dozier-Holland) - 2:36
25. My Baby Loves Me (Hunter, Moy, Stevenson) - 3:06
Besetzung: Richard \'Pistol\' Allen: Drums
; The Andantes: Vocals (Background)
; Jack Ashford: Percussion, Vibraphone
; Nickolas Ashford: Producer
; Lanny Austin: Saxophone
; Marlene Barrow:
; Marcus Belgrave: Trumpet
; Benny Benjamin: Drums
; George Bohannon: Trombone
; Thomas \'Beans\' Bowles: Saxophone
; Jack Brokensha: Vibraphone
; Billie Jean Brown: Composer, Producer
; Eddie \'Bongo\' Brown: Percussion
; Ted Buckner: Sax (Alto)
; Angelo Carlisi: Saxophone
; Dennis Coffey: Guitar
; Russell Conway: Trumpet
; The Corporation: Arranger, Producer
; Henry Cosby: Arranger, Producer, Saxophone
; Bob Cousar: Trombone
; Maurice Davis: Trumpet
; Debbie Dean: Composer
; Louvain Demps:
; The Detroit Symphony: Strings
; Lamont Dozier: Composer, Producer
; Lefty Edwards: Saxophone
; Eli Fontaine: Saxophone
; The Four Tops: Vocals (Background)
; Marvin Gaye: Drums
; George Gordy: Composer
; Marget Gordy: Composer
; Johnny Griffith: Keyboards
; Stu Hackel: Liner Notes, Producer
; Danya Hartwick: Flute, Piccolo
; Brian Holland: Composer, Producer
; Eddie Holland: Composer
; Billy Horner: Trumpet
; Ivory Joe Hunter: Composer
; Ivy Hunter: Composer, Keyboards, Producer
; David Irvin: Art Direction, Design
; James Jamerson: Bass
; Bill Johnson: Trombone
; Eddie Jones: Trumpet
; Floyd Jones: Trumpet
; Phil Jones: Composer
; Uriel Jones: Drums
; Catherine Ladis: ?, Project Assistant
; Patrick Lanier: Trombone
; Kasuku Mafia: Saxophone
; Joe Messina: Guitar
; Eugene BeeBee Moore: Saxophone
; Richard Morris: Composer, Producer
; Sylvia Moy: Composer
; Larry Nozero: Saxophone
; Clarence Paul: Producer
; Bernie Peacock: Saxophone
; Michelle Piza: Creative Services Coordinator
; Carl Raetz: Trombone
; Melvin \'Wah Wah\' Ragin: Guitar
; Kevin Reeves: ?, Digital Remastering, Remastering
; Martha Reeves: Performer
; Deke Richards: Composer, Producer
; Paul Riser: Arranger, Trombone
; Ernie Rodgers: Saxophone
; Eugene Rodgers: Saxophone
; Valerie Simpson: Producer
; Don Slaughter: Trumpet
; Andrew Smith: Drums
; Gordon Staples: Conductor
; Mickey Stevenson: Producer
; William \'Mickey\' Stevenson: Composer, Producer
; Allen Story: Composer
; Andrew \'Mike\' Terry: Saxophone
; Johnny Trudell: Trumpet
; Danny Turner: Saxophone
; Earl Van Dyke: Keyboards
; Harry Weinger: Compilation, Compilation Producer
; Don White: Trombone
; Robert White: Guitar
; Jimmy Wilkins: Trombone
; Herbie Williams: Trumpet
; Eddie Willis: Guitar
; John Wilson: Trumpet
; Syreeta Wright: Vocals (Background)
Matmos [>] [D]: Quasi-Objects [F]
Label und Katalognummer: Vague Terrain Vague 2
Produktion: Matmos
Veröffentlicht: 1998 06 16
Genretags: Electronica - IDM
Trackliste: 1. Stupid Fambaloo (4:55)
2. Cloth Mother/Wir
e Mother (5:08)
3. Schwitt/Urs (5:05)
4. Always Three Words (5:14)
5. The Banjo's Catergorical Gut (6:07)
6. The Purple Island (6:59)
7. Latex (7:39)
Besetzung: Guitar [Phone Guitar] - Tim Furnish (2)
; Guitar [Slide] - M.C. Schmidt.(2)
März [>] [D]: Wir sind hier [F]
Label und Katalognummer: Karaoke Kalk kalk 29
Produktion: Ekkehard Ehlers & Albrecht Kunze
Veröffentlicht: 2004 10 25
Genretags: Electronica - Folktronica
Trackliste: 1. Forever Never - 4:20
2. März Im Park - 3:31
3. The River - 5:13
4. Tropige Trauben (Jakobus Siebels) - 4:20
5. Blaue Fäden - 6:40
6. Some Things Do Fall - 3:18
7. Biber & Enten (Plattler) - 5:00
8. Welt Am Draht - 3:38
9. Oktober Im Park - 4:44
10. The Pop Song - 4:36
11. Wir
Sind Hier - 4:05
Alle Tracks: Ekkehard Ehlers und Albrecht Kunze, ausser wo anders vermerkt.
Besetzung: Accordion: Bernadette La Hengst
; Artwork: Markus Weisbeck
; Double Bass: Thomas Butteweg
; Guitar [Lapsteel], Trombone, Bass [Framus-longhorn]: Jakobus Siebels
Men At Work [>] [D]: Cargo [F]
Label und Katalognummer: CBS SBP 237833, Columbia CK 38660
Produktion: Peter McIan
Veröffentlicht: 1983 (AUS), 1983 06 28 (US CD)
Genretags: Alternativerock - Poprock - NewWave
Trackliste: Seite A
1. Dr. Heckyll & Mr. Jive (Colin Hay) - 4:38
2. Overkill (Colin Hay) - 3:46
3. Settle Down My Boy (Ron Strykert) - 3:30
4. Upstairs in My House (Colin Hay, Ron Strykert) - 4:02
5. No Sign of Yesterday (Colin Hay) - 6:14
Seite B
1. It's a Mistake (Colin Hay) - 4:34
2. High Wir
e (Colin Hay) - 3:02
3. Blue for You (Colin Hay) - 3:54
4. I Like To (Ron Strykert) - 4:03
5. No Restrictions (Colin Hay) - 4:30
Besetzung: Bass, Vocals: John Rees
; Drums, Vocals: Jerry Speiser
; Engineer [Additional]: Paul Ray
; Engineer [Assistant, Los Angeles]: Chip Orlando
; Engineer [Assistant, Melbourne]: Scott Hemmings
; Engineer [Assistant, Sydney]: David Price
; Mastering: John Golden
; Photography [Inner Sleeve]: Greg Noakes
; Engineer: Peter McIan
; Saxophone, Flute, Keyboards, Vocals: Greg Ham
; Vocals, Guitar: Colin Hay
; Vocals, Guitar, Artwork: Ron Strykert
; Copyright (c) April Music Pty. Ltd.
; Recorded At AAV
; Produced At Troy Music
; Produced At Laser (7)
; Recorded At Paradise Studios (2)
; Recorded At Westlake Audio
; Mastered At K Disc Mastering
; Copyright (c) CBS Productions Pty. Limited
; Phonographic Copyright (p) CBS Productions Pty. Limited
Metallica [>] [D]: Hardwired...To Self-Destruct [F]
Label und Katalognummer: Blackened Recordings 31
Produktion: Greg Fidelman & James Hetfield & Lars Ulrich
Veröffentlicht: 2016 11 18
Genretags: Metal - Alternativemetal - Thrashmetal
Trackliste: CD 1
1. Hardwired - 3:09
2. Atlas, Rise! - 6:28
3. Now That We're Dead - 6:59
4. Moth Into Flame - 5:50
5. Dream No More - 6:29
6. Halo On Fire - 8:15
CD 2
1. Confusion - 6:43
2. ManUNkind - 6:55
3. Here Comes Revenge - 7:17
4. Am I Savage? - 6:30
5. Murder One - 5:45
6. Spit Out The Bone - 7:09
Besetzung: Bass: Robert Trujillo
; Coordinator [Album Production Coordination]: Lindsay Chase
; Coordinator [HQ Album Production Coordination]: Kent Matcke
; Design [Album Design], Creative Director [Creative Direction]: Turner Duckworth
; Drums: Lars Ulrich
; Editing [Digital Editing By]: Dan Monti
; Editing [Digital Editing By]: Jason Gossman
; Editing [Digital Editing By]: Jim "Bud" Monti
; Engineer [Assistant Engineering]: Kent Matcke
; Engineer [Assistant Engineering]: Sara Killion
; Guitar [Guitars]: Kirk Hammett
; Guitar, Vocals: James Hetfield
; Management: Q Prime Inc.
; Mastering: Dave Collins
; Photography [Brain Scan Photography Sourced From]: Shutterstock
; Photography, Creative Director [Creative Direction]: Herring & Herring
; Producer [Produced By]: Greg Fidelman
; Producer [Produced With]: James Hetfield
; Producer [Produced With]: Lars Ulrich
; Recording [Additional Recording By]: Mike Gillies
; Recording [Additional Recording By]: Sara Killion
; Recording, Mixing: Greg Fidelman
; Alle Tracks: James Hetfield (1-1 to 2-1, 2-3 to 2-6)
; Alle Tracks: Lars Ulrich (1-1 to 2-1, 2-3 to 2-6)
; Copyright (c) Creeping Death Music
; Phonographic Copyright (p) Blackened Recordings
; Copyright (c) Blackened Recordings
; Published By Creeping Death Music
; Manufactured By Blackened Recordings
; Recorded At HQ, San Rafael
; Mixed At HQ, San Rafael
; Mastered At Dave Collins Mastering
Meters [>] [D]: The Very Best Of The Meters [F]
Label und Katalognummer: Rhino R2 72642
Produktion: Marshall E. Sehorn & Allen Toussaint
Veröffentlicht: 1997 06 10 (Ed.)
Genretags: Afroamericana - Funk - Bayoufunk
Trackliste: 1. Cissy Strut (Modeliste, Modeliste, Neville, Neville, Nocentelli, Porter) - 3:05
2. Live Wir
e - 2:41
3. Sophisticated Cissy - 2:56
4. Look-Ka Py Py - 3:19
5. Pungee - 3:00
6. Tippi-Toes - 2:28
7. Soul Island - 3:10
8. Cabbage Alley (Neville) - 3:30
9. People Say - 5:16
10. Hey Pocky A-Way (Modeliste, Modeliste, Neville, Neville, Nocentelli, Porter) - 4:04
11. Just Kissed My Baby - 4:44
12. Jungle Man - 3:25
13. Out in the Country - 3:35
14. Fire on the Bayou (Modeliste, Modeliste, Neville, Neville, Neville, Nocentelli, Porter, Porter) - 4:07
15. They All Ask'd for You - 4:10
16. Trick Bag (King) - 3:19
Alle Tracks: Modeliste, Neville, Nocentelli, Porter, ausser wo anders vermerkt.
Besetzung: Bass: George Porter, Jr.
; Compiled By: John Barnes
; Congas: Cyril Neville (13-16)
; Drums: Joseph \'Zig\' Modeliste
; Guitar: Leo Nocentelli
; Keyboards: Arthur \'Art\' Neville
Meters [>] [D]: The Meters [F]
Label und Katalognummer: Josie JOS 4010
Produktion: Marshall E. Sehorn & Allen Toussaint
Veröffentlicht: 1969 05
Genretags: Afroamericana - Funk - Bayoufunk
Trackliste: Seite A
1. Cissy Strut - 3:00
2. Here Comes the Meter Man - 2:49
3. Cardova - 4:30
4. Live Wir
e - :35
5. Art - 2:30
6. Sophisticated Cissy - 2:50
Seite B
1. Ease Back - 2:55
2. 6V6 LA - 2:20
3. Sehorn's Farm - 2:25
4. Ann - 2:40
5. Stormy - 3:32
6. Simple Song - 2:56
Besetzung: Art Neville: organ, keyboards
; Ziggy Modeliste: drums
; Leo Nocentelli: guitar, vocals
; George Porter, Jr.: bass
Mick Jagger [>] [D]: Wandering Spirit [F]
Label und Katalognummer: Atlantic 7 82436
Produktion: Mick Jagger & Rick Rubin
Veröffentlicht: 1993 02 09
Genretags: Rock - AOR-Rock - AOR-Poprock
Trackliste: 1. Wir
ed All Night - 4:05
2. Sweet Thing - 4:34
3. Out of Focus - 4:31
4. Don't Tear Me Up - 4:10
5. Put Me in the Trash (Mick Jagger, Jimmy Rip) - 3:34
6. Use Me (Bill Withers) - 4:25
7. Evening Gown - 3:34
8. Mother of a Man - 4:17
9. Think (Lowman Pauling) - 2:58
10. Wandering Spirit (Mick Jagger, Jimmy Rip) - 4:16
11. Hang on to Me Tonight - 4:34
12. I've Been Lonely for So Long (Peter Knight, Jerry Weaver) - 3:26
13. Angel in My Heart - 3:21
14. Handsome Molly (Traditional) - 2:03
Alle Tracks: Mick Jagger, ausser wo anders vermerkt.
Besetzung: Arranged: Mick Jagger (14)
; Arranged, Music Director: Jimmy Rip
; Art Direction: Melanie Nissen
; Backing Vocals: Jean McClain
; Backing Vocals: Jeff Pescetto
; Backing Vocals: Lynn Davis
; Backing Vocals: Sweet Singing Cava-Leers
; Bass: Doug Wimbish (2)
; Bass: Flea (3, 6, 12)
; Bass: John Pierce (1, 4, 5, 7 to 11, 13, 14)
; Clavinet: Billy Preston
; Clavinet: Mick Jagger
; Coordinator [Album]: Janice Crotch
; Coordinator [Musician & Studio Liaison]: Arnold Dunn
; Design: Richard Bates
; Design [Assistant]: Valerie Wagner
; Drums: Curt Bisquera (1 to 6, 8 to 14)
; Drums: Jim Keltner (7)
; Engineer: David Bianco (1 to 12)
; Engineer: John Brough (14)
; Engineer: Manu Guiot (13)
; Engineer [Assistant]: Andy Bradfield
; Engineer [Assistant]: Jim Champagne
; Engineer [Assistant]: Peter Lewis
; Engineer [Assistant]: Steve Holroyd
; Engineer [Assistant]: Steve Musters
; Fiddle: Robin McKidd
; Guitar: Brendan O\'Brien
; Guitar: Frank Simes
; Guitar: Jimmy Rip
; Guitar: Mick Jagger
; Harmonica: Mick Jagger
; Mastering: Stephen Marcussen
; Mixing: David Bianco
; Organ: Benmont Tench
; Organ: Billy Preston
; Pedal Steel Guitar: Jay Dee Maness
; Percussion: Jimmy Rip
; Percussion: Lenny Castro
; Percussion: Mick Jagger
; Photography: Annie Leibovitz
; Piano: Benmont Tench
; Piano: Billy Preston
; Saxophone: Courtney Pine
; Synthesizer [Moog]: David Bianco
; Technician [Technical Assistant]: Dave Rouze
; Virginal, Harpsichord, Arranged [Strings], Conductor [Strings]: Matt Clifford
; Vocals: Lenny Kravitz
; Vocals: Mick Jagger
; Pressed By Specialty Records Corporation
; Phonographic Copyright (p) Warner Music Netherlands B.V.
; Copyright (c) Promotone B.V.
; Published By Promopub B.V.
; Published By Rip Roaring Music
; Published By Interior Music Corp.
; Published By Fort Knox Music, Inc.
; Published By Trio Music Co., Inc.
; Published By Irving Music, Inc.
; Published By Lowery Music
; Mastered At Precision Mastering
Misc. [>] [D]: Like Morning In Your Eyes [F]
Label und Katalognummer: Sender send 052
Produktion: Christopher Bleckmann & Hannes Wenner
Veröffentlicht: 2005 08
Genretags: Electronica - Techhouse - Minimaltechhouse
Trackliste: 1. Tanz Der Polymere - 6:41
2. Vakuum Audio - 5:36
3. Wir
e Work - 6:19
4. Shadow Hunting - 6:39
5. Metroland - 6:40
6. Restlichtverstaerker - 5:20
7. Frequenztraeger - 5:56
8. Kein Wort Zuviel - 5:25
9. Rather Alive - 5:09
10. Silent Mode - 5:40
11. Unspoiled Monsters - 7:00
Alle Tracks: Christopher Bleckmann und Hannes Wenner
Mittageisen [>] [D]: Mittageisen [F]
Label und Katalognummer: Luna-MB-Musik 8303
Produktion: Bruno Waser
Veröffentlicht: 1983 03
Genretags: Postpunk - Artpop - SwissWave
Trackliste: Seite A
1. Anfang - 3:00
2. Persistance De La Mémoire - 4:04
3. Wir
- 2:55
4. Traum - 4:23
5. Dunkelheit - 5:30
Seite B
1. Erinnerung - 6:08
2. Einer Von Vielen - 4:22
3. 237 Tage - 5:25
4. Danach - 6:34
Besetzung: Mixed By, Technician: Robert Vogel
; Synthesizer, Strings, Drum Programming, Voice: Bruno Waser
Mittageisen [>] [D]: 1981-1986 Remastered [F]
Label und Katalognummer: mital-U U-7C0-A8
Veröffentlicht: 2008 12 01 (Ed.), 1986-81 (Rec.)
Genretags: Postpunk - Artpop - SwissWave
Trackliste: CD 1
1. Anfang - 3:02
2. Persistance De La Mémoire - 4:05
3. Wir
- 2:58
4. Traum - 4:14
5. Dunkelheit - 5:44
6. Erinnerung - 6:03
7. 237 Tage - 5:42
8. Danach - 6:28
9. Unverständnis - 4:00
CD 2
1. Automaten - 6:25
2. Neues China - 5:53
3. Automaten (Radio Edit) - 3:36
4. Neuer Tag - 3:27
5. Unterwegs - 3:33
6. Beständigkeit Der Erinnerung - 3:28
7. Aragon Libertario - 5:34
8. Los Solidarios - 2:47
9. Abschied - 2:54
10. Stand Der Dinge - 4:06
Besetzung: Artwork By [Cover Illustration] - Hjordis Dreschel
; Artwork By [Gestaltung Cover + Booklet], Concept By [Konzept], Compiled By [Zusammenstellung] - Bruno Waser
; Mastered By [Mastering] - Walter Schmid
; Other [Mitarbeit / Unterstützung] - Gaby Haudek
; Performer [Mittageisen 1981-1983], Guitar, Voice - Markus Schulthess
; Performer [Mittageisen 1981-1986], Guitar - Daniel Schnüriger
; Performer [Mittageisen 1981-1986], Synthesizer, Percussion [Rhythmus], Voice - Bruno Waser
; Performer [Mittageisen 1982], Bass - Ursula Sommerhalder
; Performer [Mittageisen 1983, 1985-1986], Bass - Markus Stocker
; Performer [Mittageisen 1983-1986], Synthesizer - Manuela Heer
Mittageisen [>] [D]: ... Alles Ist Anders ... Nichts Hat Sich Geändert ... [F]
Label und Katalognummer: Luna-MB-Musik SPELL 1, Mital-U U-7C0-A2
Veröffentlicht: 1994 (Ed.), 1998 (Reed.)
Genretags: Postpunk - Artpop - SwissWave
Trackliste: 1. Automaten (Radio Version) - 3:59
2. Anfang - 2:43
3. Persistance de la Mémoire - 3:59
4. Wir
- 2:56
5. Traum - 4:12
6. Dunkelheit - 5:34
7. Erinnerung (Alles Ist Anders. 6:01
8. 237 Tage - 5:26
9. Danach - 6:26
10. Unterwegs - 5:47
11. Automaten - 6:23
12. Neues China - 5:51
13. Beständigkeit der Erinnerung - 3:09
14. Ohne Titel - 0:38
Alle Tracks: Mittageisen (Music), Bruno Waser (Lyrics)
Besetzung: Bass: Dan Schnueriger (2-9), Markus Stocker (10, 13)
; Guitar: Daniel Schnüriger (1-11, 13), Markus Schulthess (2-10)
; Mixed By: Bruno Waser (1, 11, 13), Detlev Kühne (1, 11), Robert Vogel (2-9), Tom Dokoupil (1, 11), mittageisen (2-10, 12)
; Synthesizer: Manuela Heer (1, 10, 11, 13)
; Synthesizer, Drum Programming [Rhythm]: Bruno Waser (1-11, 13)
; Voice: Bruno Waser (1-9, 11, 13), Markus Schulthess (2-9)
Moles [>] [D]: Flashbacks And Dream Sequences: The Story Of The Moles [F]
Label und Katalognummer: Fire FIRECD 241
Veröffentlicht: 2014 04 19 (Ed.)
Genretags: Alternativerock
Trackliste: Seite A
1. Wir
es
2. Accidental Saint
3. Rich Man
4. Curdle
Seite B
1. Surf's Up
2. Europe by Car
3. Bury Me Happy
4. Nailing Jesus to the Cross
Seite C
1. Minor Royal March
2. Eros Lunch (1963)
3. Already in Black
4. Instinct
5. Cars for King's Cross
Seite D
1. Cassie Peek
2. Raymond, Did You See the Red Queen?
3. Trouble Metal
4. The Crasher
CD 2: Tendrils And Paracetamol EP
1. Tendrils And Paracetamol
2. This Is A Happy Garden
3. Breathe Me In
4. Lonely Hearts Get What They Deserve
CD 2: The Moles EP
1. What’s The New Mary Jane
2. Going Down
3. Saint Jack
4. Let’s Hook Up And Get Some
CD 2: Propellor Single
1. Propellor
2. With Body Wifes Seven Days
CD 2: Odds And Ends
1. The Crown Souls
2. Rebecca
3. Rich Man (original Mix)
4. Drink Talking
5. Bury Me Happy (early Version)
6. Flex
7. We Need An Electric Guitar
8. Mystery Song
Monoton [>] [D]: Monotonprodukt 02 (= Blau) [F]
Label und Katalognummer: Monoton Monotonprodukt 02
Produktion: Konrad Becker
Veröffentlicht: 1980
Genretags: Postpunk - Electronic-Postpunk - Minimalsynth
Auf blaues Vinyl gepresst.
Trackliste: Seite A: Weiss
1. Ein Wort - 5:53
2. Dubwise - 15:42
Seite B: Rot
1. Wir
klichkeit - 7:29
2. Leben Im Dschungel - 4:38
3. Teil 2 - 3:00
4. Teil 3 - 4:04
Alle Tracks: Konrad Becker.
Besetzung: Electronics, Drum Machine [E. Rythm], Vocals, Saxophone, Violin, Steel Drums: Konrad Becker
Moon Wiring Club [>] [D]: A Spare Tabby At The Cat's Wedding [F]
Label und Katalognummer: Gecophonic Audio Systems GEpH 004
Produktion: The Moon Wir
ing Club
Veröffentlicht: 2010 11
Genretags: Electronica - Synthtronica - Analogelectronica, Post-Millennial-Music - Lo-Fi-Underground
Was hier unter dem Hauntology-Banner segelt, ist weit humorvoller als die meisten Releases dieses Stils. Ein verspieltes Album mit einem Augenzwinkern.
Trackliste: 1. Autumn Theatricals - 1:51
2. Feline Ascension Time - 3:28
3. The Queen Speaks - 3:07
4. House Of Tricks - 1:09
5. Woodsmoke & Treacle - 3:27
6. Slumberwick Dreams - 3:29
7. The Victorian Butter Boat - 2:20
8. Creeping Decay - 3:12
9. The Owd Wedding March - 3:32
10. Concealed Playroom - 2:06
11. You Fancy Magician - 4:16
12. Missing Familiar - 1:27
13. The Last Arcadian - 3:40
14. Curious Clairvoyant - 3:10
15. Dancing Against Time - 4:17
16. In Holiday Mood - 3:34
17. Seaside Frolics - 1:46
18. ?And For My Next Trick - 3:14
19. Queen Of Puddings - 3:15
20. Playroom Concealed - 1:34
21. The Garden Was A Picture - 4:18
22. Edwardian Romance - 4:05
Alle Tracks: The Moon Wir
ing Club.
Besetzung: Design [Sleeve] - Kynaston Mass
; Mastered By - Jon Brooks
; Producer [Musical Direction] - Paris Green
; Recorded By [Audio Capture] - Mr Paris Green
; Recorded By [Audio Capture], Performer [Musical Performance] - Dr Lettow-Vorbeck
Moon Wiring Club [>] [D]: A Fondness For Fancy Hats [F]
Label und Katalognummer: Gecophonic Audio Systems GEpH 007 TC
Veröffentlicht: 2013 12 04
Genretags: Electronica - Synthtronica - Analogelectronica, Post-Millennial-Music - Lo-Fi-Underground
Trackliste: 1. Console Yourself -
2. Midnight Opening -
3. Realm Of Fancy -
4. Select Yourself -
5. Just My Daguerreotype -
6. Horse Malfunction -
7. Climbing Through A Postcard -
8. Bouncy Mind Palace -
9. Dancing Through The Graveyard -
10. Crumpet Structure -
11. Broken Oracle -
12. Art Deco Express -
13. Distant Gazebo -
14. The Regency Room -
15. The Orchard Of Underhill -
16. Knitting Patterns -
17. (Never) Say My Name -
18. Velveteen World -
19. Boutique Spooky -
20. Timekeeper -
21. Forget Yourself -
22. The Last Ghost In England -
Alle Tracls: Moon Wir
ing Club.
Seite A der Cassetten Ausgabe
1. A Fondness For Fancy Hats - Soft Confusion -
Seite B
1. A Fondness For Fancy Hats - Soft Confusion -
Alle Tracls: Moon Wir
ing Club.
Besetzung: Design [Sleeve]: Kynaston Mass
; Mastered By: Jon Brooks
; Producer [Musical Direction]: Paris Green
; Recorded By [Audio Capture], Executive Producer [Musical Direction]: Mr Paris Green
; Recorded By, Performer [Musical Performance] [Audio Capture], Executive Producer [Musical Direction]: Dr Lettow-Vorbeck
; All audio captured in the Curtain Draped Studio by Mr Paris Green and Dr Lettow-Vorbeck 1596-1992
; Recorded At The Blank Workshop
; Mastered At Newyattsounds
; Phonographic Copyright (p): Gecophonic Audio Systems
; Copyright (c): Gecophonic Audio Systems
Moor Mother [>] [D]: Circuit City [F]
Label und Katalognummer: Don Giovanni DG 197
Veröffentlicht: 2020 09 25
Genretags: Jazz - Nujazz - Jazzpoetry
Fängt mit einem Feuerwerk an und verliert dann leider etwas den Fokus.
Trackliste: 1. Act 1: Working Machine - 11:03
2. Act 2: Circuit Break - 8:40
3. Act 3: Time of No Time (feat. Elon Battle) - 9:00
4. Act 4: No More Wir
es - 12:42
Mordant Music [>] [D]: SyMptoMs [F]
Label und Katalognummer: Mordant Music MM 035
Produktion: Mordant Music
Veröffentlicht: 2009 09
Genretags: Electronica - Synthtronica - Analogelectronica, Post-Millennial-Music - Lo-Fi-Underground
Trackliste: 1. Where Can You Scream? - 3:19
2. Pissing In Sinks - 2:28
3. Belgian Blues - 3:29
4. In Truth Is Wine - 3:23
5. (0) CoMMents - 0:56
6. SyMptoMs - 7:04
7. Hey, Volte-Face! - 3:27
8. You Are A Door - 5:32
9. Another Uncompleted Dome - 5:03
10. Seeing Death Thru Eric Gates - 4:03
11. Keep Out - 4:07
12. Sirocco Swirl (Deluded Walker Demo) - 3:03
13. Terms & Conditions - 4:56
Alle Tracks: Baron Mordant.
Besetzung: Photography [Photographic Slur]: Baroness, The
Mouse On Mars [>] [D]: 21 Again [F]
Label und Katalognummer: Monkeytown MONKEYTOWN 052
Produktion: Marit Posch
Veröffentlicht: 2014 10 31
Genretags: Electronica - IDM - Frickel-Techno
Trackliste: CD 1
1. Eli & Mark E. Smith: 21 Again - 0:20
2. Mouse On Mars & Cavern Of Anti-Matter: Fertilized - 2:55
3. Mouse On Mars & Tortoise: Shoe Fly - 4:34
4. A Hawk And A Hacksaw & Balázs Unger: Celebration Song - 2:20
5. Mouse On Mars & Errorsmith: Errormom - 3:20
6. Mouse On Mars & Eric D Clark: Lost And Found - 5:16
7. Mouse On Mars & Modeselektor: Purple Fog (feat. Mr. Maloke) - 4:46
8. Mouse On Mars & Siriusmo: Immer Kurz Davor - 3:08
9. Mouse On Mars & Scratch Pet Land: Splymogym - 4:10
10. Mouse On Mars & Dodo NKishi: Queen Für Erschein - 3:44
11. Mouse On Mars & Atom™: Key My Brain - 3:43
12. AGF/Delay Team: 21 Momstars - 0:40
13. Mouse On Mars & Helado Negro: Carca Jadas - 3:15
14. Mouse On Mars & Laetitia Sadier: My Toe Is On Fire - 5:03
CD 2
1. Ingrid & Oswald Wiener: Wir
Möchten Auch Drauf Sein - 1:02
2. Mouse On Mars & Schlammpeitziger: Ein Leben Wie Heu - 3:56
3. Mouse On Mars & Junior Boys: Putty Tart - 3:26
4. Mouse On Mars & Candie Hank: Metaloona Swamp - 4:37
5. David Michael Digregorio & Sung Huang Kim: We're Glad You Are Born Today, Unless You Weren't Born Today - 0:46
6. Mouse On Mars & Machinedrum: Juice Clr 9 - 3:49
7. Mouse On Mars & Mesak & Claws Costeau: Somiak - 3:41
8. Mouse On Mars & F.X. Randomiz: Fromm - 3:20
9. Prefuse 73: 90's - 0:55
10. Mouse On Mars & Funkstörung: Bon Djerry - 3:57
11. Mouse On Mars & YOSHIMIO: NKANKA - 3:54
12. Mouse On Mars & Matthew Herbert Aka DJ's Collapse: Double Gum - 3:22
13. Mouse On Mars & Olivia Block: Pterion - 5:20
14. Mouse On Mars & Oval: Gitto Ski - 3:45
15. Mouse On Mars & Tyondai Braxton: Off Sea - 3:40
16. DJ Scotch Egg: Mouse On Egg (Happy Birthday) - 0:39
Besetzung: Art Direction: Rupert Smyth
; Coordinator [Editorial]: Chris Sharp
; Mixed At Paraverse 4
; Mixed At Le Chateau Berlin
; Mastered At Calyx Mastering
; Phonographic Copyright (p) Monkeytown Records
; Copyright (c) Monkeytown Records
Music Tapes [>] [D]: Mary's Voice [F]
Label und Katalognummer: Merge MRG 368
Veröffentlicht: 2012 09 04
Genretags: Post-Millennial-Music - Lo-Fi-Underground - Electronicpop
Trackliste: 1. The Dark Is Singing Songs (Sleepy Time Down South) - 4:41
2. Saw and Calliope Organ on Wir
e - 0:57
3. S' Alive, Pt. 1 - 0:57
4. The Big Beautiful Shops (It's Said That It Could Be Anyone) - 5:03
5. Spare the Dark Streets - 4:16
6. To All Who Say Goodnight - 5:24
7. Intermission, Pt. 1 - 0:08
8. Intermission, Pt. 2 - 0:07
9. Kolyada #3 - 1:42
10. Playing 'Evening' - 4:32
11. Go Home Again - 3:29
12. S' Alive to Be Known (May We Starve) - 3:21
13. Untitled - 0:15
14. Takeshi and Elijah - 6:36
Besetzung: The 7-Foot-Tall Metronome: Rhythm
; James Anderson: Engineer
; Jeremy Ayers: Bells
; Laura Carter: Drums
; Robbie Cucchiaro: Euphonium, Trombone (Valve), Trumpet
; John Fernandez: Bass
; Maggie Fost: Design
; Jared Gandy: Bass
; Eric Harris: Drums
; Theodore Hilton: Drums
; Patrick Jennings: Trumpet
; Julian Koster: Banjo, Bass, Chord Organ, Field Recording, Pump Organ, Singing Saw, Vocals
; Jeff Lipton: Mastering
; Ian Ludders: Bells, Singing Saw
; Maria Rice: Assistant Engineer
; The Paragon Carousel Calliope Organ: Featured Artist
; Terry Rowlett: Drawing
; Saw Choir: Choir/Chorus
; Robert Schneider: Engineer
; Scott Spillane: Flugelhorn
; Mercer West: Drums
Neil Young [>] [D]: Decade [F]
Label und Katalognummer: Reprise 3 RS 2257
Produktion: David Briggs & Tim Mulligan & Neil Young
Veröffentlicht: 1977 10 28 (Ed.)
Genretags: Rock - Corporate-Rock - Westcoast
Trackliste: Seite A
1. Buffalo Springfield & Dr. John: Down to the Wir
e - 2:25
2. Buffalo Springfield: Burned - 2:14
3. Buffalo Springfield: Mr. Soul - 2:41
4. Buffalo Springfield: Broken Arrow - 6:13
5. Buffalo Springfield: Expecting to Fly - 3:44
6. Sugar Mountain - 5:43
Seite B
1. Buffalo Springfield: I Am a Child - 2:17
2. The Loner - 3:50
3. The Old Laughing Lady - 5:35
4. Neil Young & Crazy Horse: Cinnamon Girl - 2:59
5. Neil Young & Crazy Horse: Down by the River - 8:58
Alle Tracks: Neil Young.
Seite C
1. Neil Young & Crazy Horse: Cowgirl in the Sand - 10:01
2. I Believe in You - 3:27
3. After the Gold Rush - 3:45
4. Southern Man - 5:31
5. Crosby, Stills, Nash & Young: Helpless - 3:34
Seite D
1. Crosby, Stills, Nash & Young: Ohio - 2:56
2. Soldier - 2:28
3. Old Man - 3:21
4. A Man Needs a Maid - 3:58
5. Harvest - 3:08
6. Heart of Gold - 3:06
7. Star of Bethlehem - 2:46
Alle Tracks: Neil Young.
Seite E
1. The Needle and the Damage Done - 2:02
2. Neil Young & The Santa Monica Flyers: Tonight's the Night, Part 1 - 4:41
3. Neil Young & The Santa Monica Flyers: Tired Eyes - 4:33
4. Walk On - 2:40
5. For the Turnstiles - 3:01
6. Winterlong - 3:05
7. Deep Forbidden Lake - 3:39
Seite F
1. Neil Young & Crazy Horse: Like a Hurricane - 8:16
2. Love is a Rose - 2:16
3. Neil Young & Crazy Horse: Cortez the Killer - 7:29
4. Stills-Young Band: Campaigner - 3:30
5. Crosby, Stills, Nash & Young: Long May You Run - 3:48
Alle Tracks: Neil Young.
Besetzung: Compiled By: David Briggs, Neil Young, Tim Mulligan
Neil Young [>] [D]: Archives, Vol. 1 [F]
Label und Katalognummer: Reprise 524165
Produktion: Verschiedene
Veröffentlicht: 2009 06 02 (Ed.), 1972-63 (Rec.)
Genretags: Rock - Singer-Songwriter, Rock - Folkrock
Neil Young bringt auf Blue-Ray-Disc sein Lebenswerk als audiovisueller Hypertext heraus. Spitzentechnologie zu einem stolzen Preis. In praktischer Hinsicht fragt man sich, ob man je die Zeit findet, sich das alles anzuhören. In technologischer Hinsicht ist das Projekt von Neil Young bahnbrechend. Da wird ein Künstlerleben – die Archives sind eine multimediale Autobiografie. Sie enthalten rare Aufnahmen, Konzertmitschnitte, TV-Auftritte, Fotos, Filme, Texte (Lyrics, Pressetexte), gescannte Arbeitspapiere, ...
Trackliste: Disc 00 - Early Years (1963-1965)
1. Aurora - The Squires - from the 45 RPM single (mono)
2. The Sultan - The Squires - from the 45 RPM single (mono)
3. I Wonder - The Squires - previously unreleased song (mono)
4. Mustang - The Squires - previously unreleased instrumental (mono)
5. I'll Love You Forever - The Squires - previously unreleased song (mono)
6. (I'm A Man And) I Can't Cry - The Squires - previously unreleased song (mono)
7. Hello Lonely Woman - Neil Young & Comrie Smith - previously unreleased song
8. Casting Me Away From You - Neil Young & Comrie Smith - previously unreleased song
9. There Goes My Babe - Neil Young & Comrie Smith - previously unreleased song
10. Sugar Mountain - Neil Young - previously unreleased demo version (mono)
11. Nowadays Clancy Can't Even Sing - Neil Young - previously unreleased demo version (mono)
12. Runaround Babe - Neil Young - previously unreleased song (mono)
13. The Ballad Of Peggy Grover - Neil Young - previously unreleased song (mono)
14. The Rent Is Always Due - Neil Young - previously unreleased song (mono)
15. Extra, Extra - Neil Young - previously unreleased song (mono)
16. I Wonder - The Squires - previously unreleased alternate version (mono) (Hidden track)
17. Nowadays Clancy Can't Even Sing - Buffalo Springfield - from the album Buffalo Springfield (mono) (Hidden track)
18. I Wonder - The Squires - previously unreleased basement rehearsal (mono) (BD-Live download)
Disc 01 - Early Years (1966-1968)
1. Flying On The Ground Is Wrong - Neil Young - from the Buffalo Springfield Box Set (mono)
2. Burned - Buffalo Springfield - from the album Buffalo Springfield (mono)
3. Out Of My Mind - Buffalo Springfield - from the album Buffalo Springfield (mono)
4. Down, Down, Down - Neil Young - previously unreleased version (mono)
5. Kahuna Sunset - Buffalo Springfield - from the Buffalo Springfield Box Set (mono)
6. Mr. Soul - Buffalo Springfield - from the Buffalo Springfield Box Set (mono)
7. Sell Out - Buffalo Springfield - previously unreleased song (mono)
8. Down To The Wir
e - Neil Young - from the album Decade (mono)
9. Expecting To Fly - Buffalo Springfield - from the album Buffalo Springfield
10. Slowly Burning - Neil Young - previously unreleased instrumental
11. One More Sign - Neil Young - from the Buffalo Springfield Box Set
12. Broken Arrow - Buffalo Springfield - from the album Buffalo Springfield Again
13. I Am A Child - Buffalo Springfield - from the album Last Time Around
14. Do I Have To Come Right Out And Say It? - Buffalo Springfield - from the album Buffalo Springfield (mono) [Hidden track]
15. Flying On The Ground Is Wrong - Buffalo Springfield - from the album Buffalo Springfield (mono) [Hidden track]
16. For What It's Worth - Buffalo Springfield - from the album Buffalo Springfield - second version (mono) [Hidden track]
17. This Is It! - Buffalo Springfield - excerpts from their final concert - previously unreleased montage (mono) [Hidden track]
Disc 02 - Topanga 1 (1968-1969)
1. Everybody Knows This Is Nowhere - Neil Young - from the stereo promotional 45 RPM single-second pressing
2. The Loner - Neil Young - from the album Neil Young
3. Birds - Neil Young - previously unreleased version
4. What Did You Do To My Life? - Neil Young - previously unreleased mix
5. The Last Trip To Tulsa - Neil Young - from the album Neil Young
6. Here We Are In The Years - Neil Young - from the album Neil Young-second version
7. I've Been Waiting For You - Neil Young - previously unreleased mix
8. The Old Laughing Lady - Neil Young - from the album Neil Young
9. I've Loved Her So Long - Neil Young - from the album Neil Young
10. Sugar Mountain - Neil Young - previously unreleased stereo master
11. Nowadays Clancy Can't Even Sing - Neil Young - previously unreleased live version
12. Down By The River - Neil Young with Crazy Horse - from the album Everybody Knows This Is Nowhere
13. Cowgirl In The Sand - Neil Young with Crazy Horse - from the album Everybody Knows This Is Nowhere
14. Everybody Knows This Is Nowhere - Neil Young with Crazy Horse - from the album Everybody Knows This Is Nowhere
15. The Emperor Of Wyoming - Neil Young - from the album Neil Young [Hidden track]
Disc 03 - Live At the Riverboat (Toronto 1969)
1. Sugar Mountain - Neil Young - previously unreleased live version
2. The Old Laughing Lady - Neil Young - previously unreleased live version
3. Flying On The Ground Is Wrong - Neil Young - previously unreleased live version
4. On The Way Home - Neil Young - previously unreleased live version
5. I've Loved Her So Long - Neil Young - previously unreleased live version
6. I Am A Child - Neil Young - previously unreleased live version
7. 1956 Bubblegum Disaster - Neil Young - previously unreleased song
8. The Last Trip To Tulsa - Neil Young - previously unreleased live version
9. Broken Arrow - Neil Young - previously unreleased live version
10. Whiskey Boot Hill - Neil Young - previously unreleased live version
11. Expecting To Fly - Neil Young - previously unreleased live version
Disc 04 - Topanga 2 (1969-1970)
1. Cinnamon Girl - Neil Young with Crazy Horse - from the album Everybody Knows This Is Nowhere
2. Running Dry (Requiem For The Rockets) - Neil Young with Crazy Horse - from the album Everybody Knows This Is Nowhere
3. Round And Round (It Won't Be Long) - Neil Young with Crazy Horse - from the album Everybody Knows This Is Nowhere
4. Oh Lonesome Me - Neil Young with Crazy Horse - previously unreleased stereo mix
5. Birds - Neil Young with Crazy Horse - from the 45 RPM single (mono)
6. Everybody's Alone - Neil Young with Crazy Horse - Previously unreleased song
7. I Believe In You - Neil Young with Crazy Horse - from the album After The Gold Rush
8. Sea Of Madness - Crosby, Stills, Nash & Young - from the original soundtrack album Woodstock
9. Dance Dance Dance - Neil Young with Crazy Horse - previously unreleased version
10. Country Girl - Crosby, Stills, Nash & Young - from the album Déjà Vu
11. Helpless - Crosby, Stills, Nash & Young - previously unreleased mix
12. It Might Have Been - Neil Young with Crazy Horse - previously unreleased live version
13. I Believe In You - Neil Young with Crazy Horse - previously unreleased mix [Hidden track]
14. I've Loved Her So Long - Crosby, Stills, Nash & Young - previously unreleased live version (mono) [Hidden track]
Disc 05 - Live At the Fillmore East (New York 1970)
1. Everybody Knows This Is Nowhere
2. Winterlong
3. Down By The River
4. Wonderin'
5. Come On Baby, Let's Go Downtown
6. Cowgirl In The Sand
Disc 06 - Topanga 3 (1970)
1. Tell Me Why - Neil Young - from the album After The Gold Rush
2. After The Gold Rush - Neil Young - from the album After The Gold Rush
3. Only Love Can Break Your Heart - Neil Young - from the album After The Gold Rush
4. Wonderin' - Neil Young - previously unreleased version
5. Don't Let It Bring You Down - Neil Young - from the album After The Gold Rush-first pressing
6. Cripple Creek Ferry - Neil Young - from the album After The Gold Rush
7. Southern Man - Neil Young - from the album After The Gold Rush
8. Till The Morning Comes - Neil Young - from the album After The Gold Rush
9. When You Dance, I Can Really Love - Neil Young with Crazy Horse - from the album After The Gold Rush-first pressing
10. Ohio - Crosby, Stills, Nash & Young - from the stereo 45 RPM single
11. Only Love Can Break Your Heart - Crosby, Stills, Nash & Young - previously unreleased live version
12. Tell Me Why - Crosby, Stills, Nash & Young - previously unreleased live version
13. Music Is Love - David Crosby, Graham Nash & Neil Young - from the album If I Could Only Remember My Name
14. See The Sky About To Rain - Neil Young - previously unreleased live version
15. Don't Let It Bring You Down - Neil Young - from the album After The Gold Rush - second pressing [Hidden track]
16. When You Dance I Can Really Love - Neil Young with Crazy Horse - from the album After The Gold Rush - second pressing [Hidden track]
17. Birds - Neil Young - from the album After The Gold Rush [Hidden track]
Disc 07 - Live at Massey Hall (Toronto 1971)
1. On The Way Home
2. Tell Me Why
3. Old Man
4. Journey Through The Past
5. Helpless
6. Love In Mind
7. A Man Needs A Maid/Heart Of Gold (Suite)
8. Cowgirl In The Sand
9. Don't Let It Bring You Down
10. There's A World
11. Bad Fog Of Loneliness
12. The Needle And The Damage Done
13. Ohio
14. See The Sky About To Rain
15. Down By The River
16. Dance Dance Dance
17. I Am A Child
Disc 08 - North Country (1971-1972)
1. Heart Of Gold - Neil Young - previously unreleased live version
2. The Needle And The Damage Done - Neil Young - from the album Harvest
3. Bad Fog Of Loneliness - Neil Young with The Stray Gators - previously unreleased version
4. Old Man - Neil Young with The Stray Gators - from the album Harvest
5. Heart Of Gold - Neil Young with The Stray Gators - from the album Harvest
6. Dance Dance Dance - Neil Young - previously unreleased version
7. A Man Needs A Maid - Neil Young with the London Symphony Orchestra - previously unreleased mix
8. Harvest - Neil Young with The Stray Gators - from the album Harvest
9. Journey Through The Past - Neil Young with The Stray Gators - previously unreleased version
10. Are You Ready For The Country? - Neil Young with The Stray Gators - from the album Harvest
11. Alabama - Neil Young with The Stray Gators - from the album Harvest
12. Words (Between The Lines Of Age) - Neil Young with The Stray Gators - from the original soundtrack album Journey Through The Past
13. Soldier - Neil Young - previously unreleased mix
14. War Song - Neil Young & Graham Nash with The Stray Gators - from the 45 RPM single (mono)
Disc 09 - Journey Through the Past - A Film By Neil Young
1. Special features include the theatrical trailer, radio spots and archival galleries.
Neko Case [>] [D]: Blacklisted [F]
Label und Katalognummer: Bloodshot Records BS 059, Matador OLE 569
Produktion: Neko Case
Veröffentlicht: 2002 08 20 (US), 2002 10 21 (EU)
Genretags: Alternativerock - Singer-Songwriter - Female-Singer
Trackliste: 1. Things That Scare Me (Case, Tom Ray) - 2:30
2. Deep Red Bells - 4:03
3. Outro with Bees - 1:35
4. Lady Pilot - 2:26
5. Tightly - 2:16
6. Look for Me (I'll Be Around) (Sylvia Dee, Guy Wood) - 3:21
7. Stinging Velvet - 2:55
8. Pretty Girls - 3:25
9. I Missed the Point - 1:52
10. Blacklisted - 2:22
11. I Wish I Was the Moon - 3:34
12. Runnin' Out of Fools (Richard Ahlert, Kay Rogers) - 3:05
13. Ghost Wir
ing - 3:54
14. Outro with Bees (Reprise) - 2:24
Alle Tracks: Neko Case.
Besetzung: Acoustic Guitar: Joey Burns (1, 6, 11, 12)
; Acoustic Guitar [Tenor]: Neko Case (5, 9, 11, 13)
; Acoustic Guitar, Electric Guitar [Tenor]: Neko Case (2, 4, 7, 8, 10)
; Arranged: Neko Case (2, 8, 11)
; Banjo: Jon Rauhouse (1, 8, 13)
; Cello: Joey Burns (3, 8, 13)
; Double Bass [Upright Bass]: Tom Ray (2, 5, 7 to 10, 13)
; Drums: John Convertino (1, 2, 4 to 11, 13)
; Mastering: Peter Moore
; Mixing: Craig Schumacher (4, 6, 12, 14)
; Mixing: Darryl Neudorf (1 to 3, 5, 7 to 11, 13)
; Mixing: Neko Case (1 to 13)
; Mixing [Lots Of Help]: Alf Annibalini (1 to 3, 5, 7 to 11, 13)
; Mixing [Lots Of Help]: Mac McGill (1 to 3, 5, 7 to 11, 13)
; Organ: Howe Gelb (4, 6, 12)
; Piano: Howe Gelb (3, 10, 12)
; Producer [With]: Darryl Neudorf
; Producer [With], Recording: Craig Schumacher
; Recording [Help]: Jim Blackwood
; Recording [Help]: Nick Luca
; Recording [Vocals]: Darryl Neudorf (2, 7, 8, 10)
; Recording [Vocals]: John Anaya (2, 7, 8, 10)
; Steel Guitar [Pedal]: Jon Rauhouse (2, 4, 6, 7, 10 to 13)
; Vocals: Neko Case (1 to 7, 9 to 13)
Nena [>] [D]: Feuer und Flamme [F]
Label und Katalognummer: CBS CBS 26 546
Produktion: Reinhold Heil & Manfred Praeker
Veröffentlicht: 1985 06 24
Genretags: Rock - AOR-Rock - AOR-NewWave
Trackliste: 1. Utopia - 3:41
2. Haus der drei Sonnen - 4:48
3. Jung wie du - 4:22
4. Ein Brief - 4:52
5. Feuer und Flamme - 3:31
6. Gestern Nacht - 5:18
7. Das alte Lied - 4:26
8. Du kennst die Liebe nicht - 4:14
9. Es wird schon weitergeh'n - 3:38
10. Irgendwie, irgendwo, irgendwann - 5:14
Besetzung: Arranged: Nena Kerner
; Design [Cover Design]: Roman Stolz
; Mixing [Digital]: Reinhold Heil
; Mixing [Digital]: Stuart Bruce
; Other [Make Up]: Christa Wagner
; Other [Make Up]: Helen Whiting
; Photography [Cover Photos]: Jim Rakete
; Producer: Manfred Praeker (B5)
; Producer, Recording: Reinhold Heil
; Recording: Heiko Rüsse
; Recording: Nick Ryan
; Recording [Assisted By]: Heff Moraes
; Record Company CBS Schallplatten GmbH
; Phonographic Copyright (p) CBS Schallplatten GmbH
; Copyright (c) CBS Schallplatten GmbH
; Recorded At Spliff Studio
; Recorded At Mediterranean Studios
; Recorded At Heil\'s Tonstudio
; Recorded At Sarm West Studios
; Recorded At SIM Studio, Berlin
; Recorded At Audio Studios, Berlin
; Mixed At Audio Studios, Berlin
; Pressed By CBS, Haarlem
; Published By CBS Songs Musikverlag GmbH
; Published By Edition Hate
Neville Brothers [>] [D]: Brother's Keeper [F]
Label und Katalognummer: A&M 75021 5312
Produktion: Malcolm Burn & Steve Jordan & Neville Brothers & David A. Stewart
Veröffentlicht: 1990 08 07
Genretags: Afroamericana - R'n'B - Bayoufunk
Trackliste: 1. Brother Blood - 4:33
2. Brother Jake - 4:47
3. Steer Me Right - 3:13
4. Fearless - 4:11
5. Sons And Daughters - 5:01
6. Fallin' Rain - 4:00
7. Jah Love - 3:21
8. River Of Life - 5:19
9. Witness - 4:04
10. My Brother's Keeper - 3:33
11. Sons And Daughters (Reprise) - 4:08
12. Mystery Train - 4:28
13. Bird On A Wir
e - 5:02
Besetzung: Acoustic Guitar, Keyboards: Brian Stoltz (4)
; Backing Vocals: Buffy Sainte-Marie (5)
; Backing Vocals: Gaynielle Neville (1)
; Backing Vocals: Linda Ronstadt (4)
; Backing Vocals: Marva Wright (5)
; Baritone Saxophone: Fred Kemp
; Baritone Saxophone: Reggie Houston
; Baritone Saxophone: Roger Lewis
; Baritone Saxophone: Snakebite (8)
; Bass [Additional], Guitar, Keyboards, Backing Vocals: Daryl Johnson
; Bass, Backing Vocals: Tony Hall
; Drums: Willie Green
; Drums [Additional]: Ronald Jones
; Engineer [Assistant]: Charles Brady
; Guitar: Eric Struthers
; Guitar: George Sartin (8)
; Guitar: Leo Nocentelli
; Guitar [Additional]: Bill Dillon (4)
; Guitar [Additional]: Daniel Lanois (4)
; Guitar [Additional]: Eugene Ross (9)
; Keyboards: Wally Wilson (4)
; Mastering: Greg Calbi
; Mixing: Malcolm Burn
; Producer: David A. Stewart (13)
; Producer: Malcolm Burn
; Producer: Steve Jordan (8)
; Producer: The Neville Brothers
; Recording: Charles Brady (4)
; Recording: Don Smith (8)
; Recording: Mark Howard
; Tenor Saxophone: Tim Green
; Trombone, Guitar [Solo]: Renard Poché (2)
; Trumpet, Vocals, Piano: Herman "Hack" Bartholomew (9)
; Vocals: Ivan Neville (2)
; Vocals, Drums, Guitar, Bass: Steve Jordan (8)
; Vocals, Keyboards: Art Neville
; Vocals, Keyboards, Percussion: Aaron Neville
; Vocals, Percussion: Cyril Neville
; Vocals, Saxophone, Percussion: Charles Neville
; Phonographic Copyright (p) A&M Records, Inc.
; Copyright (c) A&M Records, Inc.
; Recorded At Ultrasonic Studios
; Mastered At Sterling Sound
Label und Katalognummer: Columbia COL 460454
Produktion: Verschiedene
Veröffentlicht: 1987
Genretags: Rock - Punkrock
Trackliste: 1. Zarah (Ich Weiß, Es Wir
d Einmal Ein Wunder Geschehn) (Bruno Balz, Nina Hagen) - 5:01
2. Smack Jack (Ferdie Karmelk) - 5:16
3. TV-Glotzer (White Punks on Dope) (Marian Evans, Nina Hagen, Roger Steen) - 5:13
4. Universelles Radio (Roger Dumas) - 3:34
5. My Way (Paul Anka, Claude François, Jacques Revaux, Gilles Thibault) - 4:26
6. New York, New York (Nina Hagen, Karl Rucker, Steve Schiff) - 4:57
7. Spirit in the Sky (Norman Greenbaum) - 5:15
8. Was Es Ist (Nina Hagen, Anthony Kiedis) - 4:19
9. African Reggae (Nina Hagen, R. Heil, Bernhard Potschka) - 6:17
10. World Now (Nina Hagen, Karl Rucker) - 3:58
Besetzung: Copyright (c) Sony Music Entertainment Inc.
; Phonographic Copyright (p) Sony Music Entertainment (Holland) B.V.
Nina Hagen [>] [D] & Automobil [>] [D]: Du hast den Farbfilm vergessen [F]
Label und Katalognummer: Amiga 855 399
Veröffentlicht: 1975
Genretags: Pop, Europeana - Schlager
Trackliste: 1. Du hast den Farbfilm vergessen - 3:05
2. He, wir fahren auf's Land - 3:37
3. Mama - 2:06
4. Ich bin so alt - 2:38
5. Rangehn - 4:28
6. Komm, komm - 3:04
7. Wir
tanzen Tango - 3:02
8. Was denn - 2:83
9. Das, weil ich so schön bin - 3:48
10. Honigmann - 4:35
11. Ich bin da gar nicht pingelig - 3:16
12. Wenn ich an Dich denk - 3:64
13. Hatschi-Waldera - 3:09
Nina Hagen Band [>] [D]: Unbehagen [F]
Assoziierte Acts: Nina Hagen
Label und Katalognummer: CBS 84159
Produktion: Reinhold Heil & Herwig Mitteregger & Tom Müller & Ralph Nowy & Bernhard Potschka & Manne Praeker
Veröffentlicht: 1979 12
Genretags: Rock - Punkrock - Deutsch-Punk
Trackliste: Seite A
1. African Reggae - 6:17
2. Alptraum - 6:10
3. Wir
leben immer...noch (Lucky number) - 4:53
4. Wenn ich ein Junge wär (Live) - 2:14
Seite B
1. Hermann hiess er - 6:34
2. Auf'm Rummel - 4:32
3. Wau Wau - 2:07
4. Fall in Love mit mir - 3:47
5. No Way (Instrumental) - 1:05
Besetzung: Nina Hagen: vocals
; Bernhard Potschka: guitar
; Reinhold Heil: keyboards
; Manfred Praeker: bass
; Herwig Mitteregger: drums, percussion
Nona Hendryx [>] [D]: SkinDiver [F]
Label und Katalognummer: Private Music 2055-2-P
Veröffentlicht: 1989
Genretags: Afroamericana - R'n'B, Newpop - Synthpop, Newpop - Popsoul, Newpop - Artpop
Trackliste: 1. Off The Coast Of Love - 4:29
2. Women Who Fly - 5:06
3. No Emotion - 5:23
4. Love Is Kind - 3:35
5. Tears - 4:31
6. SkinDiver - 5:05
7. 6th Sense - 6:00
8. Through The Wir
e - 4:41
9. Interior Voices - 4:46
10. New Desire - 5:07
Besetzung: Bass: John Pierce
; Flugelhorn: Nolan Smith
; Guitar: Michael Thompson
; Guitar [Additional]: Rusty Anderson
; Percussion [Live]: Kurt Wortman
; Producer: Nona Hendryx
; Producer: Peter Baumann
; Synthesizer: Nona Hendryx
; Manufactured By BMG Distribution
; Distributed By BMG Distribution
; Phonographic Copyright (p) Private, Inc.
; Copyright (c) Private, Inc.
Olga Neuwirth [>] [D] & Klangforum Wien [>] [D] & Sylvain Cambreling [>] [D]: Vampyrotheone, Instrumental-Inseln aus Bählamms Fest, Hooloomooloo [F]
Label und Katalognummer: Kairos:0012242 KAI
Veröffentlicht: 1995 (Werk), 2000 (Werk), 1998 (Werk), 2001 01 07 (Ed.)
Genretags: Akademica - Moderne-Klassik
Trackliste: 1. Bählamms Fest (1997-2000): Instrumental-Insel I
2. Vampyrotheone (1995)
3. Bählamms Fest (1997-2000): Instrumental-Insel II
4. Hooloomooloo (1996/1997)
5. Bählamms Fest (1997-2000): Instrumental-Insel III
Alle Kompositionen von Olga Neuwirth.
Besetzung: Solisten: Ernesto Molinari, Burkard Stangl, Rico Gubler (2)
Oliver Augst [>] [D] & Rüdiger Carl [>] [D]: Oben - Matthias Beltz Remixed [F]
Label und Katalognummer: Badly Organized MPBAD 001
Veröffentlicht: 2011 04 02
Genretags: Nonmusic - Hörspiel
Aus dem pressetext: Matthias Beltz war in Funk und Fernsehen eine präsente Figur als Kabarettist, Diskussionspartner, Autor und Moderator bis er 2002 überraschend starb....
Trackliste: 1. Bleib Hinten
2. Life Is Better
3. Stadtlied
4. Alles Passée
5. Sexualverbrecher
6. Wir
Sind Gut Drauf
7. 7 Knaben
8. Täglich Neue Kraft
9. Und Ich Heul Vor Mich Hin
10. Im Kaninchenstall
11. Ach Ich Wär So Gerne Glücklich
12. Duck And Cover
13. Muselmann
14. Phoenix
oOoOO [>] [D]: Without Your Love [F]
Label und Katalognummer: Nihjht Feelings NIHJGTFEELING S001
Produktion: oOoOO
Veröffentlicht: 2013 06 24
Genretags: Indiepop - Blog-Indie - Witchhouse
Trackliste: 1. Sirens - 4:33
2. Stay Here - 4:05
3. 3; 51 A.M. 1 - 1:46
4. Without Your Love - 3:16
5. On It - 2:50
6. Crossed Wir
es - 2:35
7. Mouchette - 3:22
8. The South - 3:06
9. Misunderstood - 3:35
10. 5:51 A.M. - 1:24
11. Across A Sea - 5:02
Alle Tracks: oOoOO.
Optiv [>] [D] & BTK [>] [D]: Dirty Tricks [F]
Label und Katalognummer: Virus VRS 009
Produktion: BTK & Optiv
Veröffentlicht: 2012 06 11
Genretags: Electronica - Breakbeat - Drum'n'Bass, Electronica - Breakbeat - Techstep
Trackliste: 1. Don't Need You - 5:51
2. No Way Out - 5:40
3. Cantilever - 4:58
4. Let Yourself Go - 5:25
5. Dirty Tricks - 5:19
6. Into The Wild - 5:46
7. Riptide - 6:02
8. Start It Again - 5:41
9. Payback - 4:57
10. Terminal City - 5:18
11. Mind Control - 6:03
12. Infested - 6:00
13. Haywire - 6:02
Alle Tracks: Ed Holmes und Vinicius Honorio.
Besetzung: Artwork, Design: Matt Quinn
; Distributed By SRD
; Phonographic Copyright (p) Virus Recordings
; Copyright (c) Virus Recordings
; Published By S2K Music
; Published By District 6
; Pressed By Sound Performance
Orb [>] [D]: Cow / Chill Out, World! [F]
Label und Katalognummer: Kompakt 134
Produktion: Thomas Fehlmann & Alex Patterson
Veröffentlicht: 2016 10 14
Genretags: Electronica - Ambient
Trackliste: 1. First, Consider the Lillys - 7:00
2. Wir
eless Mk2 - 5:41
3. Siren 33 (Orphee Mirror) - 2:48
4. 4am Exhale (Chill Out, World!) - 6:03
5. 5th Dimensions - 5:15
6. Sex (Panoramic Sex Heal) - 1:39
7. 7 Oaks - 2:19
8. Just Because I Really Really Luv Ya - 4:22
9. 9 Elms Over River Eno (Channel 9) - 4:05
10. The 10 Sultans Of Rudyard (Moo Moo Mix) - 3:58
Alle Tracks: Thomas Fehlmann und Alex Patterson.
Besetzung: Artwork [Chill Art]: The Designers Republic
; Design [Font Designed By]: Andreas Pihlström
; Mastering: Stefan Betke
; Mixing: Alex Paterson
; Mixing: Thomas Fehlmann
; Producer: The Orb (1, 10), Youth (1, 10)
; Recording: Michael Rendall (1, 10)
; Alle Tracks: Alex Paterson
; Alle Tracks: Martin Glover (1, 10)
; Alle Tracks: Roger Eno (1, 10)
; Alle Tracks: Thomas Fehlmann
; Record Company Kompakt Schallplatten
; Phonographic Copyright (p) The Orb
; Copyright (c) The Orb
; Licensed To Kompakt
; Published By Kobalt Music
; Published By Flow Publishing
; Published By Warp Publishing
; Published By Painted Word Publishing
; Recorded At Space Mountain Studio
; Recorded At Meridian Studios
; Produced At Lab Studio, Berlin
; Mixed At Lab Studio, Berlin
; Mastered At Scape Mastering
Otto Muehl [>] [D]: Psycho-Motorik [F]
Label und Katalognummer: Selbstrelease SP 2
Veröffentlicht: 1971
Genretags: Nonmusic
Der Wiener Performancekünstler Otto Muehl (1925–2013) gründete ca. 1970 eine von Psychiater und Sexualforscher Wilhelm Reich inspirierte Kommune und 1973 die Aktionsanalytischen Organisation (AAO), deren Ziel die Abschaffung von Kleinfamilien und Zweierkisten zum Ziel hatte. Muehl verbreitete das Motto: «Ich muss aus mir raus». Er war der Überzeugung, dass jeder Mensch in einem Korsett eingesperrt sei. Sich wirklich zu befreien, gehe nicht über die typischen Rezepte der 68-Genration: politischen Aktivismus, Drogen oder «Innerlichkeit»/Mystik, sondern durch kommunen- und gruppentherapeutische Sitzungen, in denen die Einzelnen sich nakt exponierten und von den anderen (ebenfalls nackt) mit bohrenden Fragen durchlöchtert wurden, bis Tränen und Schreie übrig blieben. In der Kommune gab es systematische Fick-Pläne, wer mit wem nicht länger als 30 Minuten programmatischen Sex zu haben hatte. geilheit sollte Gefühle ersetzen und Muehl war als Anführer «der Geilste».
Vermutlich im Jahr 1971 erschien diese Platte und im Oktober 1977 das autobiografische Buch mit dem Titel «Weg aus dem Sumpf». Die AAO hatte zwischen 400 und 600 Mitglieder, die sich aber nach und nach von Muehl abwandten, weil dieser zunehmend autokratische Züge an den Tag legte.
1991 wurde Otto Muehl in Österreich wegen Kindesmissbrauchs und Verstoßes gegen das Suchtgiftgesetz zu sieben Jahren Haft verurteilt. Nach seiner Freilassung lebte er in der Algarve in Portugal.
Trackliste und Sequenzierung gehen durcheinander. Das Cover erwähnt auf Seite A Tracks 6 und 7, die aber nicht auf der LP sind: «Hygiene» und «Aestheten-Schweinerei». Auf dem Label sind Tracknamen anders geschrieben: «Fliegende Bösendorfer», «Sotchaas» und «Klavierkonzert».
Links
– Academic-accelerator: Otto Muehl
Trackliste: Seite A 16:56
1. Jetzt Wir
d's Geil -
2. Akt Natur -
3. Der Fliegende Bösendorfer -
4. Futschaas -
Seite B
1. Ein Schrecklicher Gedanke -
2. Mein Testament -
3. Jodler -
4. Hygiene -
5. Meine Mutter -
6. Klavierkonzert K -
Besetzung: Sleeve Notes: Der Spiegel
Label und Katalognummer: Ata Tak WR 06
Produktion: Kurt Dahlke & Frank Fenstermacher & Oval
Veröffentlicht: 1993 10 22
Genretags: Indiepop, Newpop - Artpop, Electronica - Soundart - Conceptual-Glitch
Trackliste: 1. Hallodraußen - 4:15
2. Delft - 4:55
3. WoistdieStadt? - 5:27
4. AllesinGedanken - 3:14
5. Babylon - 2:05
6. Boliden - 3:40
7. Alleswirdgrößer - 2:28
8. Nochgestern - 1:20
9. AndereFarbeNeueFarbe - 3:47
10. Kardamom - 1:02
11. Vollertisch - 4:22
12. VonNicht-WollennachNicht-Können - 0:42
13. TheorieBahn - 4:41
14. EineMelodie - 1:23
15. Cosmos - 2:01
16. Buntstift - 3:46
17. AllesinGedanken - 3:34
Besetzung: Artwork By: Wiebke Grösch
; Featuring: Frank Metzger, Markus Popp, Sebastian Oschatz
Label und Katalognummer: Thrill Jockey THRILL 514
Produktion: Oval
Veröffentlicht: 2020 01 17
Genretags: Post-Millennial-Music - Digital-Underground
Trackliste: 1. Twirror - 5:00
2. Robussy - 4:40
3. Fluoresso - 4:48
4. Pushhh - 4:44
5. Impecco - 4:32
6. Cozzmo - 4:40
7. Improg - 4:16
8. Mikk - 3:52
9. Oxagon - 4:08
10. Piqqo - 4:08
Alle Tracks: Markus Popp.
P.G. Six [>] [D]: Music From 'The Sherman Box Series' And Other Works [F]
Label und Katalognummer: Amish AMI 024
Veröffentlicht: 2006 09 26
Genretags: Folk - Freakfolk
Trackliste: 1. For Wir
e-Strung Harp with Echo - 3:24
2. For Prepared Wir
e-Strung Harp with Tremolo Pedal - 3:10
3. For Bray Harp - 3:17
4. For 2 Wir
e-Strung Harps - 2:43
5. For 2 Bray Harps - 3:17
6. For Wir
e-Strung Harp with Slide - 3:24
7. For Bray Harp with Echo and Flanged Reverb - 5:09
8. The Book of Rayguns for 6 Electric Guitars - 12:11
9. Tom Keller: Cartographies for Piano and Electronics - 3:18
Besetzung: Performer - Tom Keller (8)
; Performer, Recorded By - PG Six (1-7, 9)
; Recorded By - Pier (8), Steve Connolly (1-7, 9)
Pablo Nouvelle [>] [D]: Wired [F]
Label und Katalognummer: Armada
Veröffentlicht: 2018 03 16
Genretags: Post-Millennial-Music - Lo-Fi-Underground - Electronicpop
Trackliste: 1. Every Time You Go -
2. Sunshine In Stereo -
3. Wir
ed -
4. Careless -
5. Nostalgic Love -
6. Money -
7. I'm Not -
8. I Want For Nothing -
9. Harder Now -
10. Leave Now -
11. Panic -
12. I Still Asleep -
Palais Schaumburg [>] [D]: Palais Schaumburg [F]
Label und Katalognummer: Phonogram 6435 139
Produktion: David Cunningham & Palais Schaumburg
Veröffentlicht: 1981
Genretags: Postpunk - Artpop - NDW
Trackliste: Seite A
1. Wir
bauen eine neue Stadt (Mainz, Schott) - 3:27
2. Die Freude - 3:36
3. Gute Luft - 2:34
4. Ahoi, nicht traurig sein - 3:47
5. Grünes Winkelkanu - 3:38
Seite B
1. Morgen wird der Wald gefegt - 3:50
2. Deutschland kommt gebräunt zurück - 3:43
3. Hat Leben noch Sinn? - 1:49
4. Eine Geschichte - 3:07
5. Madonna - 5:36
Alle Tracks: Palais Schaumburg, ausser wo anders vermerkt.
Besetzung: Bass, Double Bass: Timo Blunck
; Drums, Percussion: Ralf Hertwig
; Photography: Michael von Gimbut
; Mixed By: David Cunningham
; Saxophone: Wigbert Zelfel
; Synthesizer, Trumpet, Saxophone: Thomas Fehlmann
; Vocals, Guitar, Piano: Holger Hiller
Patrick Richardt [>] [D]: So, wie nach Kriegen [F]
Label und Katalognummer: Grand Hotel van Cleef GHvC 072
Produktion: Benjamin Kronski & Patrick Richardt
Veröffentlicht: 2013 01 25
Genretags: Post-Millennial-Music - Poprock - Indiepop
Trackliste: 1. Wir
segeln - 3:32
2. Ade, ade - 2:43
3. Morgenlicht - 2:57
4. Gleichstrom - 3:43
5. Herz versagt - 3:03
6. Fliegen lernen - 2:44
7. Wie nach Kriegen - 2:10
8. Wie die Meere entstehen - 3:40
9. Planet - 3:47
10. Eisblock - 3:22
11. Vorbei - 3:21
12. Lichterloh - 4:02
13. (La-La-La) Land - 3:08
Alle Tracks: Benjamin Kronski (Musik), Patrick Richardt (Musik, Lyrics).
Besetzung: Cover: Patrick Richardt
; Design, Layout: Stefan Kuhnigk
; Mastering: Thomas Hahn
; Mixing: Benjamin Kronski
; Distributed By Indigo (2)
Patrick Wolf [>] [D]: The Libertine [F]
Label und Katalognummer: Tomlab tom 046
Produktion: Patrick Wolf
Veröffentlicht: 2005 01 31
Genretags: Electronica - Folktronica
Trackliste: 1. The Libertine (Radio Edit) - 3:56
2. Penzance - 5:20
3. Wind In The Wir
es (Clifftop Demo) - 2:26
Alle Tracks: PAtrick Wolf.
Besetzung: Nathaniel Chan: Mixing
; Paul Egan: Engineer
; Patrick Wolf: Artwork, Guitar (Bass), Mixing, Piano (Grand), Viola, Violin, Vocals
; Ingrid Z.: Photography
Patrick Wolf [>] [D]: Wind In The Wires [F]
Label und Katalognummer: Tomlab tom 047
Produktion: Patrick Wolf
Veröffentlicht: 2005 02 28
Genretags: Alternativerock - Lo-Fi-Rock, Electronica - Folktronica
Trackliste: 1. The Libertine - 4:23
2. Teignmouth - 4:50
3. The Shadow Sea - 0:37
4. Wind in the Wir
es - 4:18
5. The Railway House - 2:24
6. The Gypsy King - 3:08
7. Apparition - 1:16
8. Ghost Song - 3:13
9. This Weather - 4:35
10. Jacob's Ladder - 1:21
11. Tristan - 2:36
12. Eulogy - 1:44
13. Land's End - 7:06
Alle Tracks: Patrick Wolf.
Besetzung: Written, produced and performed by Patrick Wolf.
; Clarinet on \'Wind In The Wir
es\' played by Derek Apps.
; Female choir on \'Teignmouth\' sung by Jo Apps.
Patrick Wolf [>] [D]: Sundark And Riverlight [F]
Label und Katalognummer: Essential, Bloody Chamber Music BCM 06
Veröffentlicht: 2012 09 25
Genretags: Post-Millennial-Music - Lo-Fi-Underground - Electronicpop
Trackliste: 1. Wind in the Wir
es
2. Oblivion
3. The Libertine
4. Vulture
5. Hard Times
6. Bitten
7. Overture
8. Paris
CD 2
1. Together
2. The Magic Position
3. Bermondsey Street
4. Bluebells
5. Teignmouth
6. London
7. House
8. Wolf Song
Paul Wirkus [>] [D]: Déformation Professionnelle [F]
Label und Katalognummer: Staubgold 071
Produktion: Paul Wir
kus
Veröffentlicht: 2006 10 24
Genretags: Electronica
Trackliste: 1. View Finder - 6:16
2. Kocham - 4:47
3. Valore Energetico - 5:55
4. Dogs After Flight - 4:20
5. Nie Kocham - 3:05
6. Exoten - 2:19
7. Déformation Professionnelle - 3:41
8. 1964 - 4:18
9. Erineru - 3:27
10. Terres Fortes - 7:38
Alle Tracks: Paul Wir
kus.
Besetzung: Artwork [Cover Art]: Ola Rek
; Design [Cover]: www.nothmannstyle.de
; Mastering: Joseph Suchy
; Recording: Paul Wir
kus
; Phonographic Copyright (p) Staubgold
; Copyright (c) Edition Staubgold
; Copyright (c) Freibank
; Published By Edition Staubgold
; Published By Freibank
Pearls Before Swine [>] [D]: Jewels Were The Stars [F]
Label und Katalognummer: Water Music Records 200
Veröffentlicht: 2003 03 25 (Ed.)
Genretags: Rock - Singer-Songwriter
Trackliste: CD 1: These Things Too
1. Footnote (Rapp / Auden) - 1:18
2. Sail Away - 3:06
3. Look Into Her Eyes - 4:36
4. I Shall Be Released (Bob Dylan) - 3:03
5. Frog In The Window (reprise) - 2:31
6. I'm Going To City - 2:30
7. Man In The Tree - 3:30
8. If You Don't Want To (I Don't Mind) - 3:14
9. Green And Blue (Rapp / Elisabeth) - 0:21
10. Mon Amour (Rapp / Elisabeth) - 2:07
11. Wizard Of Is - 3:35
12. Frog In The Window - 2:42
13. When I Was A Child - 4:46
14. These Things Too - 3:25
CD 2: The Use Of Ashes
1. The Jeweler - 2:48
2. From The Movie Of The Same Name - 2:21
3. Rocket Man (based on a short story by Ray Bradbury) - 3:06
4. God Save The Child (Elizabeth helped) - 3:08
5. Song About A Rose - 2:21
6. Tell Me Why - 3:43
7. Margery - 3:03
8. The Old Man - 3:16
9. Riegal - 3:13
10. When The War Began - 5:07
CD 3: ...Beautiful Lies You Could Live In
1. Snow Queen - 4:00
2. A Life - 2:57
3. Butterflies - 2:46
4. Simple Things - 2:55
5. Everybody's Got Pain - 2:47
6. Bird On A Wir
e (Leonard Cohen) - 3:33
7. Island Lady - 4:01
8. Come To Me - 2:57
9. Freedom [2]- 3:03
10. She's Gone - 2:11
11. Epitaph (Housman / Elisabeth Rapp) - 1:24
CD 4: City Of Gold
1. Sonnet #65 (Shakespeare / Rapp) - 0:41
2. Once Upon A Time - 2:37
3. Raindrops - 2:05
4. City Of Gold - 2:57
5. Nancy (Leonard Cohen) - 4:46
6. Seasons In The Sun (Brel / McKuen) - 2:55
7. My Father (Judy Collins) - 2:08
8. The Man - 2:23
9. Casablanca - 2:23
10. Wedding - 1:37
11. Did You Dream Of - 2:49
Alle Tracks: Tom Rapp, ausser wo anders vermerkt.
Besetzung: Art Direction: Patrick Roques
; Reissue Producer: Pat Thomas
; Remastering: Gary Hobish
; Copyright (c) Runt LLC
; Phonographic Copyright (p) Warner Bros. Records Inc.
; Manufactured By Rhino Entertainment Company
; Licensed From Warner Bros. Records Inc.
Pearls Before Swine [>] [D]: ... Beautiful Lies You Could Live In [F]
Label und Katalognummer: Reprise RS 6467
Produktion: Peter H. Edmiston
Veröffentlicht: 1971
Genretags: Rock - Singer-Songwriter
Trackliste: Seite A
1. Snow Queen - 4:00
2. A Life - 2:57
3. Butterflies - 2:46
4. Simple Things - 2:55
5. Everybody's Got Pain - 2:47
Seite B
1. Bird On A Wir
e (Leonard Cohen) - 3:33
2. Island Lady - 4:01
3. Come To Me - 2:57
4. Freedom [2]- 3:03
5. She's Gone - 2:11
6. Epitaph (Housman / Elisabeth Rapp) - 1:24
Alle Tracks: Tom Rapp, ausser wo anders vermerkt.
Besetzung: Tom Rapp: Vocals, Guitar
; Morrie E. Brown: Bass
; Steve Alan Grable: Piano, Organ
; Jon Tooker: Guitar
; Elisabeth (Rapp): Vocals
; Gordon Hayes: Bass
; Michael Krawitz: Piano
; Billy Mundi: Drums
; Bob Dorough: Piano
; Stu Scharf: Electric Guitar
; Grady Tate: Drums
; Amos Garrett: Electric Guitar
; Herb Lovell: Drums
; Gerry Jermott: Bass
; Executive Producer : Charles R. Rothschild
; Recorded at A&R Studios, New York; Aura Sound, New York; and Bearsville Studios, Woodstock
; Engineered by Mark Harman
Pere Ubu [>] [D]: Cloudland [F]
Label und Katalognummer: Fontana 838 237
Produktion: Stephen Hague & Paul Hamann & Daniel Miller
Veröffentlicht: 1989 05
Genretags: Postpunk
Trackliste: 1. Breath - 3:58
2. Race The Sun - 3:25
3. Cry - 2:33
4. Why Go It Alone? - 2:49
5. Waiting For Mary - 3:29
6. Ice Cream Truck - 2:48
7. Bus Called Happiness - 3:13
8. Monday Night - 2:15
9. Love Love Love (Taylor, Laughner, Krauss, Wright, Herman) - 3:28
10. Lost Nation Road - 2:16
11. Fire - 3:45
12. Nevada! - 3:20
13. The Wir
e - 3:20
14. Flat - 2:23
15. The Waltz - 3:30
16. Pushin' - 2:27
Alle Tracks: Ravenstine, Cutler, Thomas, Jones und Maimone, ausser wo anders vermerkt.
Besetzung: Artwork By [Design] - John Thompson
; Bass, Backing Vocals - Tony Maimone
; Drums - Chris Cutler, Scott Krauss
; Guitar, Backing Vocals - Jim Jones
; Keyboards - Stephen Hague
; Mastered By - Tim Young
; Photography - John Thompson, Kathy Ward
; Synthesizer [Eml] - Allen Ravenstine
; Vocals - David Thomas
Peter Gabriel [>] [D]: Peter Gabriel (= III / Melt) [F]
Label und Katalognummer: Charisma CDS 4019
Produktion: Steve Lillywhite
Veröffentlicht: 1980 06
Genretags: Newpop - Artpop
Trackliste: 1. Intruder (Peter Gabriel) - 4:54
2. No Self-Control (Peter Gabriel) - 3:55
3. Start (Peter Gabriel) - 1:21
4. I Don't Remember - 4:41
5. Family Snapshot (Peter Gabriel) - 4:28
6. And Through the Wir
e (Peter Gabriel) - 5:00
7. Games Without Frontiers - 4:06
8. Not One of Us (Peter Gabriel) - 5:21
9. Lead a Normal Life (Peter Gabriel) - 4:14
10. Biko - 7:32
Alle Tracks: Peter Gabriel.
Besetzung: Artwork: Hipgnosis, Storm Thorgerson
; Backing Vocals: David Rhodes (1, 4, 8), Peter Gabriel (1, 2, 5, 6, 8)
; Bass: John Giblin (2, 5, 6, 8)
; Computer Processing: Larry Fast (2, 4, 8)
; Drums: Jerry Marotta (4-10)
; Engineer: Hugh Padgham
; Guitar: David Rhodes (1, 4-10)
; Mastered By: Ian Cooper
; Percussion: Morris Pert (1, 2, 9)
; Piano: Peter Gabriel (1, 4-10)
; Producer Electronic Production: Larry Fast
; Recorded By Assistant: George Chambers, Marlis Duncklaus, Nick Thomas, Steve Prestage
; Saxophone: Dick Morrissey (2, 3, 5, 9)
; Synthesizer: Larry Fast (1-3, 5-7, 10), Peter Gabriel (3, 4, 7, 8)
; Vocals: Peter Gabriel (1, 2, 4-10)
Peter Gabriel [>] [D]: Ein deutsches Album [F]
Label und Katalognummer: Charisma CDS 4019 (UK), Charisma 9124 054 (D)
Produktion: Peter Gabriel & Steve Lillywhite
Veröffentlicht: 1980 07
Genretags: Newpop - Artpop - Singer-Songwriter
Trackliste: Seite A
1. Eindringling - 5:00
2. Keine Selbstkontrolle - 4:00
3. Frag mich nicht immer - 6:04
4. Schnappschuß (ein Familienfoto) - 4:26
5. Und durch den Draht - 4:28
Seite B
1. Spiel ohne Grenzen - 4:07
2. Du bist nicht wie wir - 5:32
3. Ein normales Leben - 4:21
4. Biko - 8:55
Alle Tracks: Peter Gabriel.
Besetzung: Engineer: Colin Green
PeterLicht [>] [D]: Vierzehn Lieder [F]
Label und Katalognummer: Modul 74321 88143
Produktion: Boris Bontempi & Peter licht & Ekki Maas & Richard Ojijo & Wolfgang Proppe & Andreas Wodraschke
Veröffentlicht: 2001 08 22
Genretags: Post-Millennial-Music - Poprock - Alternativepoprock
Trackliste: 1. Lied Gegen Die Schwerkraft - 1:49
2. Shiva - 4:06
3. Popkultur/Meide - 4:03
4. Fuzzipelz - 1:29
5. Heiterkeit - 5:06
6. Frauen Mit Meerblick - 3:30
7. Mutter Aller Parties - 5:41
8. Ihr Lieben 68er - 3:50
9. Die Transsylvanische Verwandte Ist Da - 4:59
10. Wir
Sind Jung Und Wir
Machen Uns Sorgen Über Unsere Chancen Auf Dem Arbeitsmarkt - 5:53
11. Ich Hatte Einen Parkplatz Am Fuße Der N'Gong-Berge - 2:52
12. Sonnendeck - 5:38
13. Ich War Mal Cowboy - 3:01
14. Elektroreise - 3:14
Alle Tracks: Peter Licht.
Besetzung: Vocals: PeterLicht
; Sleeve: PeterLicht, Philipp Marquardt
PeterLicht [>] [D]: Lieder vom Ende des Kapitalismus [F]
Label und Katalognummer: Motor Music MOT 03052
Produktion: Jochen Naaf
Veröffentlicht: 2006 04 28
Genretags: Post-Millennial-Music - Poprock - Alternativepoprock
Trackliste: 1. Offenes Ende - 0:49
2. Das absolute Glück - 3:28
3. Wettentspannen - 2:09
4. Es bleibt uns der Wind (Du bist richtig hier) - 5:09
5. Gerader Weg - 4:34
6. Benimmunterricht (Der Arbeitgeberpräsident) - 0:43
7. Lied vom Ende des Kapitalismus - 3:45
8. Hallo Hallo (Dies ist der Tag) - 3:58
9. Wir
werden siegen - 3:08
10. Der böse Mann - 3:16
11. Kopf zwischen Sterne - 4:09
12. Unsere Zeit - 6:01
13. Du kommst nicht mehr zurück - 6:49
14. Das absolute Glück (Alberto Hauss Glückskeks RMX) - 3:49
Alle Tracks: Peter Licht.
Besetzung: Bass: Jochen Naaf (2, 4, 5, 7, 9, 10, 12, 13), Peter Licht (3-5, 10, 13)
; Co-producer: Peter Licht (2-5, 7 to 13)
; Composed By, Vocals: Peter Licht
; Guitar: Jochen Naaf (3, 4, 10, 12)
; Guitar, Acoustic Guitar: Peter Licht (1-12)
; Mastered By: Michael Schwabe
; Mixed By: Jochen Naaf
; Piano: Jochen Naaf (2, 5, 8, 10-13), Peter Licht (3, 7, 9, 13)
; Producer: Jochen Naaf (2-5, 7 to 13)
; Programmed By: Jochen Naaf
; Recorded By: Jochen Naaf (1, 2, 4, 6-13), Peter Licht (1, 2, 4, 6-13)
Peterlicht [>] [D]: Das Ende der Beschwerde [F]
Label und Katalognummer: Motor Music MOT 11452
Veröffentlicht: 2011 10 28
Genretags: Post-Millennial-Music - Poprock - Alternativepoprock
Trackliste: 1. Sag mir wie ich beginnen soll - 4:24
2. Wir
sollten uns halten - 4:40
3. Begrabt mein iPhone an der Biegung des Flusses - 4:19
4. Steigen/Fallen - 3:39
5. Neue Idee - 3:47
6. Meine alten Schuhe (Große Sonne verbrennt ganzes Geld) - 4:28
7. Das Ende der Beschwerde - 3:55
8. Fluchtstück - 7:15
9. Schüttel den Barmann - 4:41
10. Wir
/Was/Wir
/Wolln - 4:18
11. Wort von den Worten an den Wänden - 4:03
12. Der neue Mensch - 5:09
Alle Tracks: Peter Licht.
Besetzung: Artwork: Bureau Mirko Borsche
PeterLicht [>] [D]: Beton und Ibuprofen [F]
Label und Katalognummer: Tapete Records TR 470
Veröffentlicht: 2021 03 05
Genretags: Post-Millennial-Music - Indiepop
Trackliste: 1. Wenn du traurig bist - 3:50
2. Die Technik wird uns retten - 4:00
3. Ibuprofen - 4:20
4. Dämonen - 3:24
5. Freunde - 2:51
6. Die Sprache der Augen - 3:44
7. Verloren - 4:40
8. e-scooter deine Liebe - 3:20
9. Beton ist schweres Thema - 2:18
10. Lost Lost Lost World - 7:47
11. Die Sprache der Enden - 3:31
Besetzung: Guitar, Bass, Mellotron, Vocals: PeterLicht
; Guitar, Electric Bass, Keyboards, Mellotron, Choir: Boris Rogowski
; Piano, Synthesizer, Acoustic Guitar, Choir: Benedikt Filleböck
Peverelist [>] [D]: Tessellations [F]
Label und Katalognummer: Livity Sound LIVITY 024
Produktion: Thomas Ford
Veröffentlicht: 2017 05 23
Genretags: Post-Millennial-Music - Digital-Underground - Dubstep
Trackliste: 1. Burning Sea - 3:52
2. Under Clearing Skies - 5:41
3. Still Early - 7:00
4. Sheer Chance Matters - 5:54
5. Wir
eframes - 7:15
6. Slice Of Life - 4:58
7. Further Inland - 5:59
8. Brinks And Limits - 5:08
9. Plateau - 2:29
Alle Tracks: Thomas Ford.
Besetzung: Manufactured By Optimal Media GmbH
Pinkcourtesyphone [>] [D]: Foley Folly Folio [F]
Assoziierte Acts: Richard Chartier
Label und Katalognummer: Line Segments LINE_SEG 001
Produktion: Richard Chartier
Veröffentlicht: 2012 05 15
Genretags: Electronica
Trackliste: 1. Wistful Wishful Wanton - 5:24
2. Here Is Something
That Is Nothing - 22:20
3. A Dark Room Full of Plastic Plants - 22:00
4. Afternoon Theme / Germs Through Wir
es / Evening Theme - 20:30
5. All Made Up - 2:32
Alle Tracks: Richard Chartier.
Assoziierte Acts: Frank Black & Kim Deal
Label und Katalognummer: 4AD CAD 0010
Produktion: Gil Norton
Veröffentlicht: 1990 08 13
Genretags: Alternativerock - Poprock - Powerpop
Trackliste: 1. Cecilia Ann (Surftones) - 2:05
2. Rock Music - 1:52
3. Velouria - 3:40
4. Allison - 1:17
5. Is She Weird - 3:01
6. Ana - 2:09
7. All over the World - 5:27
8. Dig for Fire - 3:02
9. Down to the Well - 2:29
10. The Happening - 4:19
11. Blown Away - 2:20
12. Hang Wir
e - 2:01
13. Stormy Weather - 3:26
14. Havalina - 2:33
Alle Tracks: Black Francis, ausser wo anders vermerkt.
Besetzung: Art Direction, Design: Vaughan Oliver
; Bass, Vocals: Kim Deal
; Design [Design Assistance]: Chris Bigg
; Design [Globe]: Pirate Design
; Design [Velouria\'s Outfit]: Anne Garrigues
; Drums, Vocals: Dave Lovering
; Engineer [Assistant]: Andrew Ballard
; Engineer [Assistant]: Gregg Barrett
; Engineer [Assistant]: Jack Benson
; Engineer [Assistant]: Moses Schneider
; Engineer [Assistant]: Scott Blockland
; Engineer [Mixing]: Steve Haigler
; Engineer [Recording]: Alistair Clay
; Lead Guitar: Joey Santiago
; Mastering: Howie Weinberg
; Photography: Simon Larbalestier
; Photography [Portraits]: Kevin Westenberg
; Vocals, Guitar: Black Francis
; Glass Mastered At Nimbus
PJ Harvey [>] [D]: Let England Shake [F]
Label und Katalognummer: Island 2758997
Produktion: Flood & Mick Harvey & PJ Harvey & John Parish
Veröffentlicht: 2011 02 14
Genretags: Alternativerock - Singer-Songwriter, Alternativerock - Lo-Fi-Rock
Zum jedem Stück des Albums hat Seamus Murphy ein Video gedreht.
Trackliste: 1. Let England Shake - 3:09
2. The Last Living Rose - 2:20
3. The Glorious Land - 3:34
4. The Words That Maketh Murder - 3:45
5. All and Everyone - 5:39
6. On Battleship Hill - 4:07
7. England - 3:09
8. In the Dark Places - 2:58
9. Bitter Branches - 2:29
10. Hanging in the Wir
e - 2:42
11. Written on the Forehead - 3:40
12. The Colour of the Earth - 2:32
Alle Tracks: PJ Harvey.
Besetzung: PJ Harvey
; John Parish
; Mick Harvey
; Jean-Marc Butty
; Mixed & Engineered by Flood
Poesie und Musik [>] [D]: Ich kann nicht mehr die Augen schliessen [F]
Assoziierte Acts: René Bardet's Poesie und Musik & René Bardet & Andreas Vollenweider
Label und Katalognummer: Image U 776-013
Veröffentlicht: 1977
Genretags: Rock - Corporate-Rock - Progfolk
Trackliste: Seite A (21:28)
1. a) Wahrhaftig, b) Ein Neues Lied, Ein Besseres Lied, Warnendes Exempel; c) Nach Den Gütern Dieser Erde, Die Interessen Ihrer Kapitalien, Weltlauf, Sie Essen Gut, Sie Trinken Gut, Arme Armut; d) Augen, Die Längst Vergessen, Ich Hab Im Traum Geweint, In Holden Hindernissen; e) Die Schlesischen Weber, Wir
Aber Leben
Seite B (21:26)
1. a) Henri Heines Talking Blues Über Die Menschliche Bedingtheit Oder Der Dialektische Realitäts-Blues; b) Die Kleine Harfenistin, Im Traum Sah Ich Die Geliebte; c) Nicht Ohne Lebensgenuss, Rückschau; d) Unser Grab, Mein Tag War Heiter, P.S.
Besetzung: Orlando Valentini: Bass, Spanish Guitar, Jazz Guitar, Mandolin, Foot Percussion
; René Bardet: Voice, Classical Guitar, 12-string Guitar, Castanets
; Andreas Vollenweider: Wooden Flute, Old Transverse Flute, Spinet, Harp, Spanish Guitar, Jazz Guitar
Poesie und Musik [>] [D]: Pablo Neruda 1. Ein Mensch kam zur Welt [F]
Assoziierte Acts: René Bardet's Poesie und Musik & René Bardet
Label und Katalognummer: Mood 28 610
Produktion: Poesie Und Musik
Veröffentlicht: 1979
Genretags: Rock - Corporate-Rock - Progfolk
Trackliste: Seite A
1. Ein Mensch Kam Zur Welt - 6:21
2. Nacimiento - 1:12
3. Meister Huerta - 4:37
4. Rosaura - 6:54
Seite B
1. Die Advokaten Des Dollars - 7:36
2. Verkündigung Des Gesetzes Des Stärkeren - 4:23
3. Erklärung Einiger Dinge - 9:10
4. Vielleicht Haben Wir
Zeit - 3:26
Alle Tracks: René Bardet (Musik) und Pablo Neruda (Lyrics).
Besetzung: Arranged: Poesie Und Musik (A1A, A4-B2 ), René Bardet (A1B, B3, B4 )
; Bass, Guitar, Percussion, Performer: Orlando Valentini
; Cello, Performer: Martin Schütz
; Creative Director [Künstlerische Leitung]: August P. Villiger
; Flute [Bambusflöte], Flute [Querflöte], Clarinet, Performer: Ruedi Häusermann
; Graphics, Photography: Frieder Grindler
; Marimba, Percussion, Performer: Tini Hägler
; Concept By [Gesamtkonzeption], Vocals [Sprache], Guitar [6-s-Gitarre], Twelve-String Guitar [12-s-Gitarre], Performer: René Bardet
; Recorded By [Aufnahme], Mixed By [Mischung]: Gibbs Platen, Johannes Wohlleben
; Distributed By Zweitausendeins
Polo Hofer [>] [D]: Ändspurt [F]
Label und Katalognummer: Sound Service SCD 31
Veröffentlicht: 2016 01 08
Genretags: Rock - Poprock - Dialektrock
Trackliste: 1. Bald wird alles anders - 4:20
2. Schön u blond (wie ne Sunneblueme) - 3:17
3. Hesch es ghört? - 3:17
4. Risiko - 4:24
5. Hamme u Härdöpfelsalat - 4:28
6. E gschänkte Tag (Version 2015) - 4:19
7. Jolie Blon - 1:46
8. Dä wo trinkt - 4:06
9. Ballade vom Dällebach Kari (Version 2015) - 3:09
10. Stilli Wasser (Version 2015) - 4:04
11. Jesus het es Handy - 4:34
12. When My Final Hour Has Come - 4:10
13. Sing es Gebät - 3:29
Porcupine Tree [>] [D]: Signify [F]
Label und Katalognummer: Delerium DELEC 045
Produktion: Steven Wilson
Veröffentlicht: 1996 09
Genretags: Alternativerock - Neo-Progressiverock
Trackliste: 1. Bornlivedie (Wilson/Barbieri) - 1:41
2. Signify - 3:26
3. The Sleep of No Dreaming - 5:24
4. Pagan - 1:34
5. Waiting Phase One - 4:24
6. Waiting Phase Two - 6:15
7. Sever - 5:30
8. Idiot Prayer (Wilson/Edwin) - 7:37
9. Every Home Is Wir
ed - 5:08
10. Intermediate Jesus (Wilson/Barbieri/Edwin/Maitland) - 7:29
11. Light Mass Prayers (Maitland) - 4:28
12. Dark Matter - 8:57
Alle Tracks: Steven Wilson, ausser wo anders vermerkt.
Besetzung: Steven Wilson: guitars, piano, organ, mellotron, samples, tapes, banshee guitar, drum programming, chimes, musical boxes, vocals
; Richard Barbieri: synthesisers, Hammond organ, Prophet V/System 700 electronics, piano, tapes, texture, sequencers
; Colin Edwin: electric bass, double bass
; Chris Maitland: drums, cymbals, percussion, vocal harmonies (5-7), drum loops, keyboards and voices (11)
; Terumi: voices (1)
; mixed by Steven Wilson.
; Mastered by Chris Thorpe at Serendipity
; Art & Design by John Blackford.
Psychedelic Furs [>] [D]: Mirror Moves [F]
Label und Katalognummer: CBS 25950, Columbia CK 39278
Produktion: Keith Forsey
Veröffentlicht: 1984 08 21 (UK Vinyl), 1984 (US CD)
Genretags: Indiepop - Noisepop, Indiepop - Janglepop - Psychedelicpop
Trackliste: Seite A
1. The Ghost in You (Richard Butler, Tim Butler) - 4:17
2. Here Come Cowboys (R. Butler, T. Butler) - 3:55
3. Heaven (R. Butler, T. Butler) - 3:27
4. Heartbeat (R. Butler, John Ashton) - 5:17
Seite B
1. My Time (R. Butler, John Ashton) - 4:27
2. Like a Stranger (R. Butler, T. Butler) - 4:00
3. Alice's House (R. Butler, T. Butler, Ashton) - 3:53
4. Only a Game (R. Butler, Ashton) - 4:13
5. Highwire Days (R. Butler, Ashton) - 3:58
Besetzung: Richard Butler: vocals
; John Ashton: guitar
; Tim Butler: bass
; Keith Forsey: drum machine, drums, percussion
; Tommy Price: drums on 2 3
; Mars Williams: saxophone
Psychedelic Furs [>] [D]: All Of This And Nothing [F]
Label und Katalognummer: CBS 461110
Produktion: Keith Forsey & Chris Kimsey & Steve Lillywhite & Todd Rundgren
Veröffentlicht: 1988
Genretags: Postpunk, Indiepop - Janglepop - Psychedelicpop
Trackliste: 1. President Gas - 5:16
2. All That Money Wants (John Ashton, Richard Butler, Tim Butler) - 3:46
3. Imitation of Christ (John Ashton, Richard Butler, Tim Butler, Vince Ely, Duncan Kilburn, Roger Morris) - 5:29
4. Sister Europe (John Ashton, Richard Butler, Tim Butler, Vince Ely, Duncan Kilburn, Roger Morris) - 5:41
5. Love My Way - 3:33
6. No Easy Street - 4:03
7. Highwire Days (John Ashton, Richard Butler) - 4:03
8. She Is Mine (John Ashton, Richard Butler, Tim Butler, Vince Ely, Duncan Kilburn, Roger Morris) - 3:52
9. Dumb Waiters (John Ashton, Richard Butler, Tim Butler, Vince Ely, Duncan Kilburn, Roger Morris) - 5:06
10. Pretty in Pink (John Ashton, Richard Butler, Tim Butler, Vince Ely, Duncan Kilburn, Roger Morris) - 3:59Amazon
11. The Ghost in You (Richard Butler, Tim Butler) - 4:17
12. Heaven (Richard Butler, Tim Butler) - 3:27
13. Heartbreak Beat (John Ashton, Richard Butler, Tim Butler) - 5:11
14. All of This and Nothing (John Ashton, Richard Butler, Tim Butler, Vince Ely, Duncan Kilburn, Roger Morris) - 6:26
Alle Tracks: John Ashton, Richard Butler, Tim Butler und Vince Ely.
Besetzung: Co-producer: Stephen Street (2)
; Producer: Chris Kimsey (13)
; Producer: Keith Forsey (7, 11, 12)
; Producer: Steve Lillywhite (3, 4, 8, 9, 10, 14)
; Producer: Todd Rundgren (1, 5, 6)
Label und Katalognummer: Ata Tak WR 02, Ata Tak WR 79
Veröffentlicht: 1979, 2002 (Reed.)
Genretags: Postpunk - Artpop - NDW
Trackliste: Seite A
1. Minimal Tape 1 / 2.3
2. It Always Rains In Wuppertal
3. Inland 1
4. Minimal Tape 1 / 8
5. Danger Cruising
6. Inland 2
Seite B
1. Inland 3
2. Minimal Tape 3 / 7.2
3. Bärenstrasse
4. Have A Good Ride
5. Inland 4
6. Nord Atlantik
Bonustracks der CD Ausgabe von
1. Der Volksmund Wir
d Beatmet - 4:21
2. Struktur 01 - 2:27
3. November Mühlheim - 2:02
4. OK Margo - 4:21
5. Die Einsamkeit Des Langstreckenläufers - 8:24
6. Struktur 22 - 2:24
Alle Tracks: Kurt Dahlke.
Besetzung: Artwork By [Cover Design] - Art Attack
; Artwork By [Original Design], Photography [Cover] - Frank Fenstermacher
; Artwork By [Redesingn] - Kurt \'Pyrolator\' Dahlke
; Liner Notes - Manuel Falkenberg
; Liner Notes [Translation] - Charles Hering
; Photography [Page 4] - Martin Meskendahl
Quarks [>] [D]: Quarksland [F]
Label und Katalognummer: Home Records HOM 516371
Produktion: Quarks & Transporterraum
Veröffentlicht: 2004 10 04
Genretags: Electronica - Poptronica
Trackliste: 1. Du Entkommst Mir Nicht - 3:28
2. Best When I Am Not - 2:18
3. Wir
Gehen Vorbei - 3:12
4. Wer Weiss - 4:17
5. Weg Vom Fenster - 2:09
6. Blind Date With The Devil - 3:43
7. Wo Geh Ich Hin - 3:42
8. Picture Me - 3:03
9. Nobody - 3:11
10. Bad Luck - 2:22
11. Bleib Hier - 3:07
12. Your Friend - 2:50
13. Not A Good Idea - 2:49
Besetzung: Bass: Niels Lorenz
; Guitar: Jovanka von Willsdorf (1 to 3, 5 to 11, 13)
; Guitar: Niels Lorenz (1, 3, 4, 6, 12)
; Percussion: Peter Schmidt
; Programmed By: Ben Lauber
; Programmed By: Moses Schneider
; Programmed By: Niels Lorenz
; Synthesizer: Ben Lauber
; Synthesizer: Jovanka von Willsdorf
; Synthesizer: Moses Schneider
; Synthesizer: Niels Lorenz
; Vocals: Jovanka von Willsdorf
; Vocals: Niels Lorenz
Label und Katalognummer: Warp 022
Produktion: RAC
Veröffentlicht: 1994 05 02
Genretags: Electronica - IDM
Trackliste: 1. Electro Fish - 6:17
2. High Wir
e - 6:08
3. Hula Loops - 6:51
4. Raindancer - 5:52
5. Mindfield - 6:15
6. Wavelength - 6:32
7. Neo Rio - 6:14
8. Choobes - 5:59
9. Detour - 6:06
Alle Tracks: Richard Benson und Chris Duckenfield.
Besetzung: Design: The Designers Republic
; Engineer: Richard Brown
; Published By Warp Music
; Published By EMI Music
; Phonographic Copyright (p) Warp Records
; Phonographic Copyright (p) Nucleus
; Copyright (c) Warp Records
; Distributed By RTM (2)
; Distributed By Pinnacle (3)
; Made By PDO, UK
Raglani [>] [D]: Real Colors of the Physical World [F]
Assoziierte Acts: Joseph Raglani
Label und Katalognummer: Editions Mego eMEGO 159
Produktion: Joseph Raglani
Veröffentlicht: 2012 11 27
Genretags: Electronica
Trackliste: Seite A
1. Fog Of Inturruption, a) Tongue, b) Men For Wir
e, c) Brutality Of The Eye, d) March
Seite B
1. The Terrain Of Antiquity, a) Ferry Across Marginalia, b) Hollis Albion, c) Mild Power Descending, d) Fireflies Of Arcadia
Seite C: The Exploded View
1. The Exploded View
Seite D: Trampoline Dream
1. Trampoline Dream
Alle Tracks: Joseph Raglani.
Besetzung: Artwork: Jeremy Kanappell
; Lacquer Cut By Rashad Becker
; Mastered: Rashad Becker
; Sounds: Joseph Raglani
René Bardet [>] [D] & Poesie und Musik [>] [D]: «Vielleicht weil ich ein Wilder bin ...». Worte des indianischen Häuptlings Seattle an den amerikanischen Präsidenten im Jahre 1855 [F]
Assoziierte Acts: René Bardet's Poesie und Musik
Label und Katalognummer: Wundertüte TÜT 113
Produktion: René Bardet
Veröffentlicht: 1982
Genretags: Rock - AOR-Rock - AOR-Progfolk
Zur Herkunft von Seattles Rede siehe Wikipedia Artikel zu Seattle.
Trackliste: Seite A
1. Meine Worte Sind Wie Die Sterne (J.P. Siebert, Jo Koinzer) - 5:22
2. Wir
Sind Ein Teil Der Erde - 4:30
3. Bald Werdet Ihr Das Ganze Land Überschwemmen - 4:25
4. Wir
Erfreuen Uns An Diesen Wäldern - 3:50
5. Glänzendes Wasser In Bächen Und Flüssen - 3:50
6. Die Flüsse Sind Unsere Brüder - 3:05
7. Sein Hunger Wir
d Die Erde Verschlingen - 2:35
Seite B
1. Die Erde Weint (Instrumental)/Unsere Art Ist Anders/Wind Über Der Teichfläche/Alle Dinge Teilen Denselben Atem - 5:27
2. Der Wind/Die Tiere - 3:13
3. Was Die Erde Befällt/Seele Im Wind/Aber Mein Volk Fragt/Was Soll Ich Trauern - 13:06
4. Auch Die Weissen Werden Vergehen/Vielleicht Können Wir
Es Verstehen - 4:48
5. Wenn Der Letzte Indianer Verschwunden Ist - 4:06
Alle Tracks: René Bardet und Dedo Weigert.
Besetzung: Design [Cover And Lyrics Sheet]: Jerken Diederich
; Engineer: Johannes Wohlleben
; Engineer, Mixing: Gibbs Platen
; Flute, Saxophone, Percussion, Charango: Büdi Siebert
; Concept By: René Bardet
; Painting [Cover]: Brigitte Bardet
; Percussion: Joe Koinzer
; Photography [Back Cover]: Ernst Wir
z
; Photography [Lyrics Sheet]: Uli Zeller
; Voice, Twelve-String Guitar [With Bass Pedal], Guitar [Concert Guitar With Bass Pedal]: René Bardet
; Phonographic Copyright (p) Wundertüte Musik Produktions GmbH
; Copyright (c) Wundertüte Musik Produktions GmbH
; Recorded At Tonstudio Zuckerfabrik
René Bardet [>] [D] & Poesie und Musik [>] [D]: «Alles ist rund». Worte von Indianern an den weissen Mann [F]
Assoziierte Acts: René Bardet's Poesie und Musik & René Bardet
Label und Katalognummer: Wundertüte TÜT 116
Produktion: René Bardet & Martin Jeremias & Carsten Linde
Veröffentlicht: 1983
Genretags: Rock - AOR-Rock - AOR-Progfolk
Trackliste: Seite A
1. Der Wilde Westen - 3:47
2. a) Alles Ist Rund - 8:56, b) Das Symbol Des Weissen Mannes Ist Das Viereck -
3. a) Wenn Ihr Den Letzten Fluss Verschmutzt Habt - 0:15, b) Hausieren - Bekehren - Propagieren (René Bardet) - 5:09
4. Sohn Der Natur (Joe Koinzer) - 5:37
5. Wenn Ihr Zuhört - 3:30
6. Der Kleine Schatten Der Über Die Prärie Huscht (Joe Koinzer) - 3:07
Seite B
1. Das Denken Der Nicht-Indianer (Joe Koinzer) - 5:48
2. Brüder, Sollen Wir
Uns Unterwerfen - 5:09
3. Indianisches Liebeslied 'Erwache!' (Büdi Siebert) - 5:50
4. Indianisches Sterbelieb 'Laß Es Schön Sein' (René Bardet) - 3:26
5. Die Erde Und Ich - Wir
Sind Eines Sinnes - 2:52
6. Der Erste Friede (Joe Koinzer, Büdi Siebert) - 5:20
Alle Tracks: René Bardet, Joe Koinzer und Büdi Siebert, ausser wo anders vermerkt.
Besetzung: Artwork: Brigitte Bardet
; Mixing: Eric Merz
; Concept By: René Bardet (A1-A3, A5, A6, B1, B2, B4, B5)
; Other [Citrate]: Hehaka Sapa (A2.1)
; Other [Citrate]: Hehaka Sapa (B6)
; Other [Citrate]: In-Mut-Too-Yah-Lat-Lat (B5)
; Other [Citrate]: Oronthyatekla (A6)
; Other [Citrate]: Rolling Thunder (A3.2)
; Other [Citrate]: Standing Bear (A1)
; Other [Citrate]: Standing Bear (A4)
; Other [Citrate]: Tahca Ushte (A2.2)
; Other [Citrate]: Tatanga Mani (A5)
; Other [Citrate]: Tatanka Yotanka (B2)
; Other [Citrate]: Traditional Ojibwa (B3)
; Other [Citrate]: Traditional Payute (B4)
; Other [Citrate]: Vine Deloria (B1)
; Other [Excerpt]: Akwesasne Notes (A3.1)
; Recording: Peter Heuberger
; Recorded At Audiocom Mobil Studio
; Mixed At Sinus Studio
; Produced For Wundertüte Musik Produktions GmbH
Richard H. Kirk [>] [D]: Time High Fiction [F]
Label und Katalognummer: Doublevision DVR 2
Produktion: Richard H. Kirk
Veröffentlicht: 1983
Genretags: Postpunk - Electronic-Postpunk - Industrial
Trackliste: Seite A
1. The Greedy Eye - 5:05
2. Shaking Down the Tower of Babel - 3:15
3. Force of Habit - 7:09
4. Day of Waiting - 4:49
Seite B
1. Black Honeymoon - 5:34
2. Nocturnal Children - 4:20
3. Wir
etrap - 6:31
4. The Power of Autosuggestion - 5:01
Seite C
1. Dead Relatives, Part One - 20:47
Seite D
1. Dead Relatives, Part Two - 18:37
Alle Tracks: Richard H. Kirk.
Besetzung: Cover: Phil Barnes
; Alle Tracks, Recording, Performer, Producer, Vocals: Richard H. Kirk
; Recorded At Western Works
; Manufactured By Rough Trade
; Distributed By Rough Trade
; Phonographic Copyright (p) Rough Trade Music
; Copyright (c) Doublevision
Richard H. Kirk [>] [D]: #7489 [F]
Label und Katalognummer: Mute KIRKBX 1
Produktion: Richard H. Kirk
Veröffentlicht: 2016 12 02 (Ed.)
Genretags: Postpunk - Electronic-Postpunk - Industrial
Trackliste: CD 1: Disposable Half Truths
1. Synesthesia - 8:42
2. Outburst - 11:44
3. Information Therapy - 4:34
4. Magic Words Command - 3:49
5. Thermal Damage - 3:18
6. Plate Glass Replicas - 4:01
7. Insect Friends of Allah - 2:46
8. Scatalist - 8:10
9. False Erotic Love - 3:30
10. L.D. 50 - 1:37
11. L.D. 60 - 5:22
12. Amnesic Disassociation - 5:27
Alle Tracks: Richard H. Kirk.
CD 2: Time High Fiction | Part 1
1. The Greedy Eye - 5:04
2. Shaking Down the Tower of Babel - 3:15
3. Force of Habit - 7:09
4. Day of Waiting - 4:49
5. Black Honeymoon - 5:33
6. Nocturnal Children - 4:20
7. Wir
etrap - 6:31
8. The Power of Autosuggestion - 4:57
CD 3: Time High Fiction | Part 2
1. Dead Relatives (Part One) - 20:46
2. Dead Relatives (Part Two) - 18:34
Alle Tracks: Richard H. Kirk.
CD 4: Black Jesus Voice
1. Streetgang (It Really Hurts) (Richard H. Kirk) - 7:52
2. Hipnotic (Richard H. Kirk) - 5:52
3. Boom Shala (Richard H. Kirk) - 7:10
4. Black Jesus Voice (Richard H. Kirk) - 6:45
5. Martyrs of Palestine (Richard H. Kirk) - 4:13
6. This Is the H-Bomb Sound (Richard H. Kirk) - 5:44
7. Short Wave (Richard H. Kirk) - 4:57
Alle Tracks: Richard H. Kirk.
CD 5: Ugly Spirit
1. The Emperor (Richard H. Kirk) - 2:47
2. Confession (Richard H. Kirk) - 3:44
3. Infantile (Richard H. Kirk) - 2:33
4. Frankie Machine, Pt. 1 (Richard H. Kirk) - 12:50
5. Hollywood Babylon (Richard H. Kirk) - 3:54
6. Thai (Richard H. Kirk) - 3:37
7. Voodoo (Richard H. Kirk) - 4:22
8. Frankie Machine, Pt. 2 (Richard H. Kirk) - 7:17
Alle Tracks: Richard H. Kirk.
CD 6: Earlier / Later (Unreleased Projects Anthology 74-89) | Part 1
1. Never Lose Your Shadow [12” Mix] - 10:00
2. Street Gang [9 mm 12'' Mix] - 6:09
3. I Want More (Can, Holger Czukay, Peter Gilmore, Michael Karoli, Jaki Liebezeit, Irmin Schmidt) - 3:03
4. Numero Uno Baby/Information - 3:42
5. Do as I Do - 3:36
6. On Fire - 5:49
7. Digital Globe - 3:55
8. Narcotics Rap (It Stinks in Here) - 4:21
9. Latin/MYBM - 5:56
10. Martyrs of Palestine [12'' Mix] - 8:11
11. One Three Fourgasm - 5:54
12. Public Fun - 1:19
13. Electron 78 - 4:51
Alle Tracks: Richard H. Kirk.
CD 7: Earlier / Later (Unreleased Projects Anthology 74-89) | Part 2
1. Hell in Here - 5:41
2. Cosmic Override 1 - 1:04
3. International Smashface Detective Theme - 5:13
4. Phantom of Liberty - 0:38
5. Concerto for Damaged Piano [Extract 1] - 1:41
6. Venusian Electrodes - 1:26
7. Immaculate Riot - 4:48
8. Radio Silence - 0:26
9. Entering Creation (Help Me I'm Melting) - 9:05
10. El - 2:02
11. Zyklus 1 - 1:49
12. Photomaton - 2:28
13. Au Service De la Révolution - 3:52
14. Lost Rhythm of Life - 3:41
15. Trabantenstadt - 3:26
16. All Nationalities - 5:40
17. Solar Defiance - 6:36
18. Zukunft - 2:37
19. Kinshasa Express - 3:03
20. Cosmic Override 2 - 4:52
Alle Tracks: Richard H. Kirk.
CD 8: Super Duper Soul
1. Info/Acid - 4:56
2. Hipnotic [12” Mix] - 9:32
3. Chasm - 15:36
4. Street Gang [7” Mix] - 3:13
5. Chasing Shadows - 9:41
6. Identify Your Soul (Identify Your Self) - 8:33
7. Latino No.3 - 5:56
8. More (Can, Holger Czukay, Peter Gilmore, Michael Karoli, Jaki Liebezeit, Irmin Schmidt) - 3:04
9. 90 Second Apocalypse - 2:33
10. Message From Africa - 1:40
11. Afternoon Weather - 0:56
12. War Machine - 2:22
13. Hostile Forces - 2:41
14. Dead Tango - 2:28
15. Narco Siege - 1:35
16. Bebop Da Funk - 1:04
Alle Tracks: Richard H. Kirk.
Besetzung: Denis Blackham: Mastering, Remastering
; Lynne Clark: Clarinet, Guitar, Photography, Voices
; Richard H. Kirk: Arranger, Art Direction, Cover Image, Editing, Engineer, Instrumentation, Photography, Vocals
; Phil Barnes: Original Cover Artwork, Photography
; Phil Wolstenholme: Image Processing, Layout
Richard Strauss [>] [D] & Herbert von Karajan [>] [D]: Salome [F]
Label und Katalognummer: EMI
Veröffentlicht: 1978
Genretags: Akademica - Moderne-Klassik - Oper
Trackliste: CD 1: Salome, opera, Op. 54 (TrV 215)
1. Wie schon ist die Prinzessin Salome heute nacht! (Richard Strauss) - 2:55
2. Nach mir wird einer kommen (Richard Strauss) - 2:48
3. Ich will nicht bleiben (Richard Strauss) - 1:50
4. Siehe, der Herr ist gekommen (Richard Strauss) - 1:39
5. Jauchze nicht, du Land Palastina (Richard Strauss) - 2:29
6. Du wirst das fur mich tun (Richard Strauss) - 4:20
7. Wo ist er, dessen Sundenbecher jetzt voll ist? (Richard Strauss) - 9:38
8. Jochanaan! Ich bin verliebt in deinen Leib (Richard Strauss) - 8:49
9. Wir
d dir nicht bange, Tochter der Herodias? (Richard Strauss) - 8:27
10. Wo ist Salome? Wo ist die Prinzessin? (Richard Strauss) - 2:38
11. Es ist kalt hier (Richard Strauss) - 1:27
12. Salome, komm trink Wein mit mir (Richard Strauss) - 2:49
13. Sieh, die Zeit ist gekommen (Richard Strauss) - 0:54
14. Wahrhaftig, Herr, es ware besser (Richard Strauss) - 2:59
15. Siehe, der Tag ist nahe (Richard Strauss) - 3:02
CD 2: Salome, opera, Op. 54 (TrV 215)
1. ...Eine Menge Menschen wird sich gegen sie sammeln (Richard Strauss) - 2:24
2. Tanz fur mich, Salome (Richard Strauss) - 4:27
3. Dance of the Seven Veils (Richard Strauss) - 9:23
4. Ah! Herrlich! Wundervoll! Wundervoll! (Richard Strauss) - 3:50
5. Still, sprich nicht zu mir! (Richard Strauss) - 3:16
6. Salome, bedenk, was du tun willst (Richard Strauss) - 3:34
7. Wer hat meinen Ring genommen? (Richard Strauss) - 1:41
8. Es ist kein Laut zu vernehmen (Richard Strauss) - 2:08
9. Ah! Du wolltest mich nicht deinen Mund kussen lassen (Richard Strauss) - 12:26
10. Sie ist ein Ungeheuer, deine Tochter (Richard Strauss) - 1:07
11. Ah! Ich habe deinen Mund gekusst, Jochanaan (Richard Strauss) - 4:24
Alle Tracks:
Richard Strauss [>] [D] & Herbert von Karajan [>] [D]: Der Rosenkavalier [F]
Label und Katalognummer: Deutsche Grammophon 413 163
Produktion: Günther Breest & Renate Kupfer
Veröffentlicht: 1984 (Ed.), 1911 (Werk)
Genretags: Akademica - Oper
Trackliste: CD 1: 1. Akt
1. Akt 1. Introduction (Richard Strauss) - 3:39
2. Akt 1. Wie du warst! Wie du bist (Richard Strauss) - 9:24
3. Akt 1. Der Feldmarschall sitzt im krowatischen Wald (Richard Strauss) - 6:28
4. Akt 1. Selbstverständlich empfängt mich Ihro Gnaden (Richard Strauss) - 9:29
5. Akt 1. Macht das einen lahmen Esel aus mir? (Richard Strauss) - 6:27
6. Akt 1. I komm' glei... Drei arme adelige Waisen (Richard Strauss) - 3:13
7. Akt 1. Di rigori armato (Richard Strauss) - 5:36
CD 2: 1. Akt
1. Akt 1. Mein lieber Hippolyte (Richard Strauss) - 3:56
2. Akt 1. Da geht er hin, der aufgelasene schlecht Kerl (Richard Strauss) - 5:38
3. Akt 1. Ach, du bist wieder da! (Richard Strauss) - 6:16
4. Akt 1. Die Zeit, die ist ein sonderbar Ding (Richard Strauss) - 15:28
Alle Tracks: Richard Strauss.
CD 3: 2. Akt
1. Akt 2. Introduction (Richard Strauss) - 0:41
2. Akt 2. Ein ernster Tag, ein großer Tag! (Richard Strauss) - 1:04
3. Akt 2. In dieser feierlichen Stunde der Prüfung (Richard Strauss) - 3:23
4. Akt 2. Überreichung der silbernen (Richard Strauss) - 0:28
5. Akt 2. Mir ist die Ehre widerfahren (Richard Strauss) - 7:12
6. Akt 2. Ich kenn' Ihn schon recht wohl (Richard Strauss) - 4:06
7. Akt 2. Jetzt aber kommt mein Herr Zukünftiger (Richard Strauss) - 9:55
8. Akt 2. Hab' nichts dawider (Richard Strauss) - 4:19
9. Akt 2. Mit Ihren Augen voll Tränen (Richard Strauss) - 3:39
10. Akt 2. Herr Baron von Lerchenau! (Richard Strauss) - 15:28
11. Akt 2. Da lieg' ich (Richard Strauss) - 8:39
Alle Tracks: Richard Strauss.
CD 4: 3. Akt
1. Akt 3. Introduction & Pantomime (Richard Strauss) - 7:11
2. Akt 3. Hab'n euer Gnaden noch weitre Befehle? (Richard Strauss) - 2:44
3. Akt 3. Nein, nein, nein, nein! I trink' kein wein (Richard Strauss) - 8:19
4. Akt 3. Wie die Stund' hingeht (Richard Strauss) - 4:31
5. Akt 3. Halt! Keiner rührt sich! (Richard Strauss) - 7:18
6. Akt 3. Ihre hochfürstliche Gnaden, die Frau Fürstin Feldmarschall! (Richard Strauss) - 10:19
7. Akt 3. Ist halt vorbei (Richard Strauss) - 2:34
8. Akt 3. Mein gott, es war nicht mehr als einie Farce (Richard Strauss) - 2:27
9. Akt 3. Heut oder morgen oder den übernächsten Tag (Richard Strauss) - 5:03
10. Akt 3. Marie Theres'!... Hab' mir's gelobt (Richard Strauss) - 6:22
11. Akt 3. Ist ein Traum, kan nicht wirklich sein (Richard Strauss) - 6:48
Alle Tracks: Richard Strauss.
Besetzung: Art Direction: Lutz Bode
; Booklet Editor: Richard Evidon
; Chorus: Konzertvereinigung Wiener Staatsopernchor
; Chorus Master: Helmuth Froschauer
; Conductor: Herbert von Karajan
; Design: Eckhoff & Partner, Hamburg
; Design: Werner Koberstein
; Editing: Reinhild Schmidt
; Engineer [Recording]: Günter Hermanns
; Libretto By: Hugo von Hofmannsthal
; Liner Notes: Volker Scherliess
; Liner Notes: William Mann
; Orchestra: Wiener Philharmoniker
; Photography: Siegfried Lauterwasser
; Recording Supervisor: Michel Glotz
; Recording Supervisor: Werner Mayer
; Vocals [Annina]: Helga Müller-Molinari
; Vocals [Der Haushofmeister Bei Der Feldmarschallin]: Kurt Equiluz
; Vocals [Der Haushofmeister Bei Fanimal]: Franz Kasemann
; Vocals [Die Feldmarschallin Fürstin Werdenberg]: Anna Tomowa-Sintow
; Vocals [Drei Adelige Waisen]: Brigitte Poschner-Klebel
; Vocals [Drei Adelige Waisen]: Margareta Hintermeier
; Vocals [Drei Adelige Waisen]: Waltraud Winsauer
; Vocals [Ein Modistin]: Gabriele Sima
; Vocals [Ein Notar]: Carlos Feller
; Vocals [Ein Polizeikommissar]: Victor von Halem
; Vocals [Ein Sänger]: Vinson Cole
; Vocals [Ein Tierhändler]: Horst Nitsche
; Vocals [Ein Wir
t]: Karl Terkal
; Vocals [Furstin Werdenberg]: Kurt Moll
; Vocals [Hausknecht]: Johann Reautschnigg
; Vocals [Herr Von Faninal]: Gottfried Hornik
; Vocals [Jungfer Marianne Leimetzerin]: Wilma Lipp
; Vocals [Octavian]: Agnes Baltsa
; Vocals [Sophie]: Janet Perry
; Vocals [Valzacchi]: Heinz Zednik
; Vocals [Vier Kellner]: Hannes Lichtenberger
; Vocals [Vier Kellner]: Ingo Koblitz
; Vocals [Vier Kellner]: Walter Zeh
; Vocals [Vier Kellner]: Wolfgang Holzherr
; Vocals [Vier Lakaien Der Marschallin]: Adolf Tomaschek
; Vocals [Vier Lakaien Der Marschallin]: Gerhard Panzenbock
; Vocals [Vier Lakaien Der Marschallin]: Johann Reinprecht
; Vocals [Vier Lakaien Der Marschallin]: Wolfgang Scheider
; Phonographic Copyright (p) Polydor International GmbH
; Copyright (c) Volker Scherliess
; Copyright (c) William Mann
; Manufactured By Polygram, Hanover, West Germany
; Printed By Schwerdtle & Schantz
; Printed By Neef
Richard Tauber [>] [D]: Dein ist mein ganzes Herz [F]
Label und Katalognummer: Documents 221861
Veröffentlicht: 2004 01 13 (Ed.)
Genretags: Traditionalpop - Vocalpop - Belcanto
Trackliste: CD 1
1. Immer Nur Lächeln (Das Land des Lächelns) - 3:10
2. Von Apfelblüten einen Kranz - 3:05
3. Dein Ist Mein Ganzes Herz - 3:10
4. Once There Lived a Lady Fair - 2:50
5. Indian Summer - 2:53
6. Lover, Come Back to Me - 3:26
7. Freunde, Das Leben Ist Lebenswert - 3:07
8. G'schichten Aus dem Wienerwald - 3:11
9. Es Steht ein Soldat Am Wolgastrand - 3:59
10. Wer Hat Die Liebe Uns Ins Herz Gesenkt - 4:14
11. Grüãÿ Mir Mein Wien - 3:11
12. Long Ago - 3:31
13. The English Rose - 2:44
14. Serenade - 3:06
15. Ich Küsse Ihre Hand, Madame - 2:42
16. Gehn Wir
Ins Chambre Séparée - 3:00
17. Wie Mein Ahnl Zwanzig Jahr - 3:18
18. A Perfect Day - 2:25
19. Dearly Beloved - 3:12
20. One Alone - 2:54
21. Wien, Du Stadt Meiner Träume - 3:13
22. Im Prater Blühn Wieder Die Bäume - 3:52
23. Delight of Love - 3:15
24. Adieu, Mein Kleiner Gardeoffizier - 3:01
25. Es Gibt eine Frau, Die Dich Niemals Vergisst - 3:02
CD 2
1. Leb Wohl, Mignon (Mignon) - 3:06
2. Oh, Wie So Trügerisch Sind Weiberherzen (La Donna é Mobile) - 1:58
3. Wenn der Weiãÿe Flieder Wieder Blüht - 3:51
4. Lippen Schweigen (Die Lustige Witwe) - 3:17
5. One Day When We Were Young (Die Liebe Ist eine Himmelsmacht) - 2:55
6. Mein Leben Weih Ich Dir (De Miei Bollenti Spiriti) - 3:49
7. Es War Einmal Am Hofe von Eisenack - 4:50
8. Pedro the Fisherman - 3:18
9. Du Bist Meine Sonne (Giuditta) - 3:39
10. Rosen Aus dem Süden - 3:15
11. Gern Hab Ich Die Fraun Geküsst - 3:45
12. Lodern zum Himmel (Di Quella Pira) - 2:59
13. Without a Song - 2:47
14. Someday We Shall Meet Again - 3:17
15. First Love Is Best Love - 2:51
16. On the Blue Danube (An der Schönen, Blauen Donau) - 3:32
17. My Moonlight Madonna - 3:12
18. Schön Wie Die Blaue Sommernacht - 3:16
19. O Mädchen, Mein Mädchen - 3:25
20. Schweig, Nagender Schmerz - 4:46
21. Plaisir d'Amour - 3:19
22. Es Leb' eine Vilja - 3:01
23. Deine Mutter Bleibt Immer bei Dir - 3:19
24. Dein Ist Mein Ganzes Herz - 2:03
Richard Thompson [>] [D] & Linda Thompson [>] [D]: Shoot Out The Lights [F]
Label und Katalognummer: Hannibal HNBL 1303
Produktion: Joe Boyd
Veröffentlicht: 1982 04
Genretags: Rock - Folkrock - British-Folkrock
Trackliste: Seite A
1. Don't Renege On Our Love - 4:19
2. Walking on a Wir
e - 5:29
3. Man in Need - 3:36
4. Just the Motion - 6:19
Seite B
1. Shoot Out the Lights - 5:24
2. Back Street Slide - 4:33
3. Did She Jump or Was She Pushed? (Richard und Linda Thompson) - 4:52
4. Wall of Death - 3:43
Bonustrack
1. Living in Luxury - 2:32
Alle Tracks: Richard Thompson, ausser wo anders vermerkt.
Besetzung: Richard Thompson: vocals, lead guitar, accordion, hammered dulcimer
; Linda Thompson: vocals
; Simon Nicol: rhythm guitar
; Dave Pegg: bass on 3 6 7 8
; Pete Zorn: bass on 1 2 4 5, backing vocals
; David Mattacks: drums
; The Watersons (Norma, Mike, Lal, and Martin Carthy): backing vocals
; Clive Gregson: backing vocals
; Stephen Corbett: cornet
; Brian Jones: cornet
; Phil Goodwin: tuba
; Stephen Barnett: trombone
; Mark Cutts: trombone
Richard Thompson [>] [D] & Linda Thompson [>] [D]: Hard Luck Stories (1972-1982) [F]
Label und Katalognummer: UMC 7768997
Veröffentlicht: 2020 09 11 (Ed.)
Genretags: Rock - Folkrock - British-Folkrock
Trackliste: CD 1: Sometimes It Happens (1972-1973)
1. Bunch: Sweet Little Rock 'N' Roller (Alternative Version) - 3:49
2. Bunch: The Locomotion - 3:03
3. Bunch: My Girl In The Month Of May - 2:14
4. Bunch & Sandy Denny: When Will I Be Loved (Demo) - 3:18
5. Richard Thompson: Amazon Queen - 3:59
6. Richard Thompson: Shaky Nancy - 3:29
7. Richard Thompson: The Angels Took My Racehorse Away - 4:02
8. Brian Patten: Embroidered Butterflies - 3:17
9. Brian Patten: After Frost - 1:58
10. Richard & Linda Thompson: Sometimes It Happens (Demo) - 2:07
11. Richard & Linda Thompson: Restless Boy (Demo) - 4:17
12. Richard & Linda Thompson: The World Is A Wonderful Place (Demo) - 3:30
13. Richard & Linda Thompson: Shady Lies (Live At London University College, 25.10.1972) - 2:23
14. Richard & Linda Thompson: Napoleon's Dream (Live At The Memphis Folk Club, Guildford Hotel, Leeds, January 1973) - 2:02
CD 2: I Want To See The Bright Lights Tonight
1. Richard & Linda Thompson: When I Get To The Border - 3:26
2. Richard & Linda Thompson: The Calvary Cross - 3:52
3. Richard & Linda Thompson: Withered And Died - 3:26
4. Richard & Linda Thompson: I Want To See The Bright Lights Tonight - 3:08
5. Richard & Linda Thompson: Down Where The Drunkards Roll - 4:06
6. Richard & Linda Thompson: We Sing Hallelujah - 2:51
7. Richard & Linda Thompson: Has He Got A Friend For Me - 3:33
8. Richard & Linda Thompson: The Little Beggar Girl - 3:25
9. Richard & Linda Thompson: The End Of The Rainbow - 3:56
10. Richard & Linda Thompson: The Great Valerio - 5:23
Bonustracks
11. Richard & Linda Thompson: Mother And Son - 2:21
12. Richard & Linda Thompson: Down Where The Drunkards Roll (Demo) - 4:05
13. Richard & Linda Thompson: The End Of The Rainbow (Linda Vocal Version) - 3:56
14. Richard & Linda Thompson: A Heart Needs A Home (Demo) - 3:58
15. Richard & Linda Thompson: The Great Valerio (Live At The Rainbow, UK, 16.03.1975) - 5:16
CD 3: Hokey Pokey
1. Richard & Linda Thompson: Hokey Pokey - 3:22
2. Richard & Linda Thompson: I'll Regret It All In The Morning - 3:36
3. Richard & Linda Thompson: Smiffy's Glass Eye - 2:53
4. Richard & Linda Thompson: The Egypt Room - 3:53
5. Richard & Linda Thompson: Never Again - 3:08
6. Richard & Linda Thompson: Georgie On A Spree - 3:41
7. Richard & Linda Thompson: Old Man Inside A Young Man - 4:26
8. Richard & Linda Thompson: The Sun Never Shines On The Poor - 3:41
9. Richard & Linda Thompson: A Heart Needs A Home - 3:48
10. Richard & Linda Thompson: Mole In A Hole - 3:26
Bonustracks
11. Richard & Linda Thompson: Hokey Pokey (Live On Marc Time, 1975) - 3:13
12. Richard & Linda Thompson: A Heart Needs A Home (Alternate Version) - 4:04
CD 4: Pour Down Like Silver
1. Richard & Linda Thompson: Streets Of Paradise - 4:18
2. Richard & Linda Thompson: For Shame Of Doing Wrong - 4:43
3. Richard & Linda Thompson: The Poor Boy Is Taken Away - 3:35
4. Richard & Linda Thompson: Night Comes In - 8:12
5. Richard & Linda Thompson: Jet Plane In A Rocking Chair - 2:49
6. Richard & Linda Thompson: Beat The Retreat - 5:53
7. Richard & Linda Thompson: Hard Luck Stories - 3:52
8. Richard & Linda Thompson: Dimming Of The Day / Dargai - 7:21
Bonustracks
9. Richard & Linda Thompson: Wanted Man - 5:35
10. Richard & Linda Thompson: Last Chance - 3:42
11. Richard & Linda Thompson: Dimming Of The Day (Demo) - 3:52
12. Richard & Linda Thompson: Things You Gave Me (Live At Oxford Polytechnic 27.11.1975) - 2:35
13. Richard & Linda Thompson: It'll Be Me (Live At Oxford Polytechnic 27.11.1975) - 4:24
14. Richard & Linda Thompson: Calvary Cross (Live At Oxford Polytechnic 27.11.1975) - 13:25
CD 5: The Madness Of Love (Live 1975 & 1977)
1. Richard & Linda Thompson: Dargai (Live At Queen Elizabeth Hall, London 25.04.1975) - 3:33
2. Richard & Linda Thompson: Never Again (Live At Queen Elizabeth Hall, London 25.04.1975) - 3:07
3. Richard & Linda Thompson: Dark End Of The Street (Live At Queen Elizabeth Hall, London 25.04.1975) - 4:20
4. Richard & Linda Thompson: Beat The Retreat (Live At Queen Elizabeth Hall, London 25.04.1975) - 6:25
5. Richard & Linda Thompson: The Sun Never Shines On The Poor (Live At Queen Elizabeth Hall, London 25.04.1975) - 3:48
6. Richard & Linda Thompson: If I Were A Woman And You Were A Man (Live At Queen Elizabeth Hall, London 25.04.1975) - 2:55
7. Richard & Linda Thompson: The Madness Of Love (Live At The Theatre Royal, London 01.05.1977) - 7:01
8. Richard & Linda Thompson: Night Comes In (Live At The Theatre Royal, London 01.05.1977) - 12:53
9. Richard & Linda Thompson: A Bird In Gods Garden (Live At The Theatre Royal, London 01.05.1977) - 9:34
10. Richard & Linda Thompson: The King Of Love (Live At The Theatre Royal, London 01.05.1977) - 6:55
11. Richard & Linda Thompson: Layla (Live At The Theatre Royal, London 01.05.1977) - 8:48
CD 6: First Light
1. Richard & Linda Thompson: Restless Highways - 3:58
2. Richard & Linda Thompson: Sweet Surrender - 4:53
3. Richard & Linda Thompson: Don't Let A Thief Steal Into Your Heart - 4:43
4. Richard & Linda Thompson: The Choice Wife - 2:07
5. Richard & Linda Thompson: Died For Love - 7:02
6. Richard & Linda Thompson: Strange Affair - 3:09
7. Richard & Linda Thompson: Layla - 4:23
8. Richard & Linda Thompson: Pavanne - 5:07
9. Richard & Linda Thompson: House Of Cards - 3:31
10. Richard & Linda Thompson: First Light - 4:22
Bonustracks
11. Richard & Linda Thompson: Strange Affair (Demo) - 4:10
12. Richard & Linda Thompson: Drunk (Demo) - 2:15
13. Richard & Linda Thompson: The Dust Of Your Road (Demo) - 2:33
14. Richard & Linda Thompson: Layla (Demo) - 4:38
15. Richard & Linda Thompson: Died For Love (Demo) - 4:47
16. Richard & Linda Thompson: First Light (Demo) - 4:04
CD 7: Sunnyvista
1. Richard & Linda Thompson: Civilisation - 5:01
2. Richard & Linda Thompson: Borrowed Time - 5:35
3. Richard & Linda Thompson: Saturday Rolling Around - 3:24
4. Richard & Linda Thompson: You're Going To Need Somebody - 3:48
5. Richard & Linda Thompson: Why Do You Turn Your Back? - 5:09
6. Richard & Linda Thompson: Sunnyvista - 4:24
7. Richard & Linda Thompson: Lonely Hearts - 5:05
8. Richard & Linda Thompson: Sisters - 4:48
9. Richard & Linda Thompson: Justice In The Streets - 4:00
10. Richard & Linda Thompson: Traces Of My Love - 4:06
Bonustracks
11. Richard & Linda Thompson: Georgie On A Spree (B-Side To 'Civilisatio' 7") - 3:29
12. Richard & Linda Thompson: Lucky In Life (Demo) - 2:42
13. Richard & Linda Thompson: Speechless Child (Demo) - 4:18
14. Richard & Linda Thompson: Traces Of My Love (Demo) - 4:33
15. Richard & Linda Thompson: For Shame Of Doing Wrong (Gerry Rafferty Version) - 4:17
16. Richard & Linda Thompson: The Wrong Heartbeat (Gerry Rafferty Version) - 3:10
17. Richard & Linda Thompson: Back Street Slide (Gerry Rafferty Version) - 4:27
CD 8: Shoot Out The Lights
1. Richard & Linda Thompson: Don't Renege On Our Love - 4:18
2. Richard & Linda Thompson: Walking On A Wir
e - 5:27
3. Richard & Linda Thompson: A Man In Need - 3:35
4. Richard & Linda Thompson: Just The Motion - 6:17
5. Richard & Linda Thompson: Shoot Out The Lights - 5:22
6. Richard & Linda Thompson: Back Street Slide - 4:32
7. Richard & Linda Thompson: Did She Jump Or Was She Pushed? - 4:49
8. Richard & Linda Thompson: Wall Of Death - 3:44
Bonustracks
9. Richard & Linda Thompson: Living In Luxury (B-Side To 'Don't Renege On Our Love' 7") - 2:32
10. Richard & Linda Thompson: The Wrong Heartbeat (Shoot Out The Lights Version) - 3:21
11. Richard & Linda Thompson: I'm A Dreamer (Gerry Rafferty Session / 1996 Remix) - 4:10
12. Richard & Linda Thompson: Walking On A Wir
e (Gerry Rafferty Session / 1996 Remix) - 5:13
13. Richard & Linda Thompson: Pavanne (Live At Second Story, Bloomington, Indiana, 29.05.1982) - 5:39
14. Richard & Linda Thompson: High School Confidential (Live At Second Story, Bloomington, Indiana, 29.05.1982) - 4:30
Besetzung: Phonographic Copyright (p) Universal Music
; Copyright (c) Universal Music
Richard Wagner [>] [D] & Wilhelm Furtwängler [>] [D] & Philharmonia Orchestra [>] [D] & Chorus of the Royal Opera House [>] [D] & Dietrich Fischer-Dieskau [>] [D] & Kirsten Flagstad [>] [D] & Ludwig Suthaus [>] [D]: Tristan und Isolde [F]
Label und Katalognummer: EMI CDS 7 47322 8
Produktion: Walter Legge
Veröffentlicht: 1986 03 19 (Ed.), 1952 06 (Rec.)
Genretags: Akademica - Oper, Akademica - Romantik - Spätromantik
Aufgenommen zwischen dem 9. und 23 Juni 1952, Kingsway Hall, London.
Trackliste: CD 1
1. Act 1. Vorspiel - 11:01
2. Act 1. Scene 1. Westwärts schweift der Blick - 1:18
3. Act 1. Scene 1. Brangäne, du? Sag - wo sind wir? - 2:51
4. Act 1. Scene 1. O weh! Ach! Ach, des Übels, das ich geahnt! - 2:17
5. Act 1. Scene 2. Frisch weht der Wind der Heimat zu - 0:49
6. Act 1. Scene 2. Mir erkoren, mir verloren - 3:25
7. Act 1. Scene 2. Hab acht, Tristan! Botschaft von Isolde - 4:08
8. Act 1. Scene 2. Darf ich die Antwort sagen? - 1:41
9. Act 1. Scene 3. Weh, ach wehe! Dies zu dulden! - 2:02
10. Act 1. Scene 3. Wie lachend sie mir Lieder singen - 2:24
11. Act 1. Scene 3. Von seinem Lager blickt' er her - 2:10
12. Act 1. Scene 3. O Wunder! Wo hatt' ich die Augen? - 2:39
13. Act 1. Scene 3. Da Friede, Sühn' und Freundschaft - 2:51
14. Act 1. Scene 3. O Süße, Traute! Teure! Holde! Goldne Herrin! - 3:09
15. Act 1. Scene 3. Ungeminnt den hehrsten Mann - 2:22
16. Act 1. Scene 3. Kennst du der Mutter Künste nicht? - 4:04
17. Act 1. Scene 4. Auf! Auf! Ihr Frauen! - 1:11
18. Act 1. Scene 4. Herrn Tristan bringe meinen Gruß - 2:18
19. Act 1. Scene 4. Nun leb wohl, Brangäne! - 4:48
20. Act 1. Scene 5. Langsam - 2:00
21. Act 1. Scene 5. Begehrt, Herrin, was ihr wünscht - 1:48
22. Act 1. Scene 5. Da, du so sittsam, mein Herr Tristan - 2:17
23. Act 1. Scene 5. Nun will ich des Eides walten - 3:19
CD 2
1. Act 1. Scene 5. War Morold dir so wert - 3:42
2. Act 1. Scene 5. Ho! He! Ha! He! Am Obermast die Segel ein! - 1:26
3. Act 1. Scene 5. Du hörst den Ruf? - 2:36
4. Act 1. Scene 5. Auf das Tau! Anker los! - 3:47
5. Act 1. Scene 5. Tristan!... Isolde! - 2:47
6. Act 1. Scene 5. Was träumte mir von Tristans Ehre? - 1:41
7. Act 1. Scene 5. Schnell, den Königsschmuck! - 2:38
8. Act 2. Vorspiel - 2:00
9. Act 2. Scene 1. Hörst du sie noch? - 3:50
10. Act 2. Scene 1. Der deiner harrt - o hör mein Warnen! - 4:10
11. Act 2. Scene 1. O laß die warnende Zünde - 3:15
12. Act 2. Scene 1. Und mußte der Minne tückischer Trank - 3:13
13. Act 2. Scene 2. Isolde! Geliebte!... Tristan! Geliebter! - 2:34
14. Act 2. Scene 2. Das Licht! Das Licht! - 2:27
15. Act 2. Scene 2. Der Tag! Der Tag - 3:50
16. Act 2. Scene 2. O eitler Tagesknecht! - 2:40
17. Act 2. Scene 2. In deiner Hand den süßen Tod - 3:26
18. Act 2. Scene 2. O nun waren wir Nacht-Gweihter! - 3:36
19. Act 2. Scene 2. O sink hernieder, Nacht der Liebe - 5:41
20. Act 2. Scene 2. Einsam wachend in der Nacht - 3:29
21. Act 2. Scene 2. Lausch, Geliebter! - 2:20
22. Act 2. Scene 2. Unsre Liebe? Tristans Liebe? - 2:55
CD 3
1. Act 2. Scene 2. Doch unsre Liebe - 2:30
2. Act 2. Scene 2. So stürben wir, um ungetrennt - 2:24
3. Act 2. Scene 2. Habet acht! Habet acht! - 2:35
4. Act 2. Scene 2. O ew'ge Nacht, süße Nacht! - 3:58
5. Act 2. Scene 3. Rette dich, Tristan! - 1:59
6. Act 2. Scene 3. Tatest du's wirklich? - 3:57
7. Act 2. Scene 3. Wozu die Dienste ohne Zahl - 3:47
8. Act 2. Scene 3. Dies wunderhehre Weib - 2:13
9. Act 2. Scene 3. Nun, da durch solchen Besitz mein Herz - 3:55
10. Act 2. Scene 3. O König, das kann ich dir nicht sagen - 1:52
11. Act 2. Scene 3. Wohin nun Tristan scheidet, willst du, Isold', ihm folgen? - 3:08
12. Act 2. Scene 3. Als für ein fremdes Land - 2:35
13. Act 2. Scene 3. Verräter! Ha! Zur Rache, König! - 2:23
14. Act 3. Vorspiel - 4:04
15. Act 3. Scene 1. Hirtenreigen auf einer Schalmei - 3:17
16. Act 3. Scene 1. Kurwenal! He! Sag, Kurwenal! - 3:17
17. Act 3. Scene 1. Öd' und leer das Meer!... / Hirtenreigen auf einer Schalmei / Die alte Weise - 3:09
18. Act 3. Scene 1. Wo du bist? In Frieden, sicher und frei! - 4:40
19. Act 3. Scene 1. Dünkt dich das? Ich weiß es anders - 4:01
20. Act 3. Scene 1. Isolde noch im Reich der Sonne! - 4:30
CD 4
1. Act 3. Scene 1. Noch losch das Licht nicht aus - 2:54
2. Act 3. Scene 1. Mein Kurwenal, du trauter Freund! - 2:50
3. Act 3. Scene 1. Hirtenreigen auf einer Schalmei / Noch ist kein Schiff zu sehn! - 4:47
4. Act 3. Scene 1. Nein! Ach nein! So heißt sie nicht! - 3:20
5. Act 3. Scene 1. Der Trank! Der Trank! Der furchtbare Trank! - 3:06
6. Act 3. Scene 1. Mein Herren! Tristan! Schrecklicher Zauber! - 2:28
7. Act 3. Scene 1. Das Schiff? Siehst du's noch nicht? - 2:14
8. Act 3. Scene 1. Wie sie selig, hehr und milde - 3:43
9. Act 3. Scene 1. Hirtenreigen auf einer Schalmei / O Wonne! Freude! Ha! Das Schiff! - 3:27
10. Act 3. Scene 2. O diese Sonne! Ha, dieser Tag! - 3:49
11. Act 3. Scene 2. Ich bin's, ich bin's, süßester Freund! - 2:21
12. Act 3. Scene 2. Die Wunde? Wo? Laß sie mich heilen! - 4:04
13. Act 3. Scene 3. Kurwenal! Hör! Ein zweites Schiff - 4:21
14. Act 3. Scene 3. Tot denn alles! Alles tot! - 1:56
15. Act 3. Scene 3. Sie wacht! Sie lebt! Isolde! - 3:27
16. Act 3. Scene 3. Mild und leise wir er lächelt - 3:43
17. Act 3. Scene 3. Heller schallend, mich umwallend - 3:29
Besetzung: Baritone Vocals, Performer [Kurneval]: Dietrich Fischer-Dieskau
; Baritone Vocals, Performer [Un Matelor, Le Pilote]: Rhoderick Davies
; Bass Vocals, Performer [King Of Cornwall]: Josef Greindl
; Chorus: Chorus Of The Royal Opera House, Covent Garden
; Composed By: Richard Wagner
; Conductor: Wilhelm Furtwängler
; Mezzo-soprano Vocals, Performer [Brangaene]: Blanche Thebom
; Orchestra: Philharmonia Orchestra
; Soprano Vocals, Performer [Isolde]: Kirsten Flagstad
; Tenor Vocals, Performer [Melot]: Edgar Evans
; Tenor Vocals, Performer [Tristan]: Ludwig Suthaus
; Tenor Vocals, Performer [Un Berger]: Rudolf Schock
Label und Katalognummer: Def Jam B 0013827
Produktion: Chase & Chuck Harmony & Brian Kennedy & The-Dream & Ne-Yo & Stargate & Status & C. 'Tricky' Stewart & Ys
Veröffentlicht: 2009 11 23
Genretags: Electropop
Trackliste: 1. Mad House (W. Kennard, S. Milton, M. Riddick, Makeba Riddick, Rihanna) - 1:34
2. Wait Your Turn (Mikkel Storleer Eriksen, T.E. Hermansen, James Fauntleroy II, W. Kennard, S. Milton, Rihanna, T. Tendayi) - 3:46
3. Hard (Jay Jenkins, Terius 'The-Dream' Nash, Rihanna, Christopher 'Tricky' Stewart) - feat. Young Jeezy 4:10
4. Stupid in Love (Mikkel Storleer Eriksen, T.E. Hermansen, Shaffer Smith) - 4:01
5. Rockstar 101 (T. Nash, Terius 'The-Dream' Nash, Rihanna, C. Stewart, The-Dream) - feat. Slash 3:58
6. Russian Roulette (Charles Harmon, Shaffer Smith) - 3:47
7. Fire Bomb (J. Fauntleroy II, Rihanna, B. Kennedy Seals) - 4:17
8. Rude Boy (Esther Dean, Mikkel Storleer Eriksen, Tor Erik Hermansen, Makeba Riddick, Rihanna, Rob Swire) - 3:42
9. Photographs (W. Adams, J. Baptiste, M. McHenry, A. Pineda) - feat. will.i.am 4:46
10. G4L (James Fauntleroy II, W. Kennard, William Kennard, S. Milton, Rihanna) - 3:59
11. Te Amo (Mikkel Storleer Eriksen, Tor Erik Germansen, James Fauntleroy II, Rihanna) - 3:28
12. Cold Case Love (James Fauntleroy II, R. Tadross, Justin Timberlake) - 6:04
13. The Last Song (B. Harrison, James Fauntleroy II, B. Kennedy, Rihanna) - 4:16
Besetzung: Mykael Alexander: Assistant
; Davis Barnett: Viola
; Beardyman: Vocals
; Jessie Bonds: Guitar
; Jay Brown: A&R
; Bobby Campbell: Assistant
; Chase & Status: Musician
; James J. Cooper III: Celli, Soloist
; Cédric Culnaërt: Assistant Engineer
; Tyler Van Dalen: Assistant Engineer
; Kevin \'KD\' Davis: Mixing
; Steven Dennis: Assistant Engineer
; Dylan Dresdow: Mixing
; Mikkel Storleer Eriksen: Engineer, Musician, Vocal Producer
; James Fauntleroy: Vocals (Background)
; Glenn Fischbach: Celli
; Paul Foley: Engineer
; Rick Friedrich: Assistant Engineer
; Future Cut: Keyboards
; Mariel Haenn: Stylist
; Alex Haldi: Design
; Kevin Hanson: Assistant
; Keith Harris: Strings
; Ben Harrison: Additional Production, Guitar
; Karl Heilbron: Vocal Engineer
; Simon Henwood: Art Direction, Design, Photography, Stylist
; Tor Erik Hermansen: Musician
; Jean-Marie Horvat: Mixing
; Ghazi Hourani: Mixing Assistant
; Jaycen Joshua: Mixing
; Mike Johnson: Engineer
; JP Robinson: Art Direction, Design, Photography
; Brian Kennedy: Keyboards, Programming
; Padraic Kerin: Engineer
; Olga Konopelsky: Violin
; Emma Kummrow: Violin
; Giancarlo Lino: Mixing Assistant
; Pater Martinez: Assistant
; Luigi Mazzocchi: Soloist, Violin
; Monte Neuble: Keyboards
; Luis Navarro: Assistant Engineer
; Jared Newcomb: Mixing Assistant
; Peter Nocella: Viola
; Chris \'Tek\' O\'Ryan: Engineer
; Anthony Palazzole: Mixing Assistant
; Paper-Boy: Additional Production
; Ciarra Pardo: Art Direction, Design
; Charles Parker: Violin
; Ross Parkin: Assistant
; Daniel Parry: Assistant
; Kevin Porter: Assistant
; Antonio Reid: Executive Producer
; Antonio Resendiz: Assistant
; Makeba Riddick: Vocal Producer, Vocals (Background)
; Rihanna: Art Direction, Design, Executive Producer
; Montez Roberts: Assistant Engineer
; Evan Rogers: Executive Producer
; Sébastien Salis: Assistant Engineer
; B. Kennedy Seals: Composer
; Jason Sherwood: Assistant Engineer
; Slash: Featured Artist
; Tyran \'Ty Ty\' Smith: A&R
; Caleb Speir: Bass
; Xavier Stephenson: Assistant
; Tim Stewart: Guitar
; Bernt Rune Stray: Guitar
; Carl Styrken: Executive Producer
; R. Swire: Musician
; Igor Szwec: Violin
; Sean Tallman: Engineer
; Marcos Taylor: Engineer
; Gregory Teperman: Violin
; Brian \'B-Luv\' Thomas: Engineer
; Pat Thrall: Engineer
; Marcos Tovar: Engineer
; Neil Tucker: Assistant, Guitar Engineer
; Ellen Von Unwerth: Photography
; Allen White: Guitar (Acoustic)
; will.i.am: Drum Programming, Engineer, Featured Artist, Producer, Synthesizer
; Andrew Wuepper: Engineer
; Young Jeezy: Featured Artist
Rina Sawayama [>] [D]: RINA [F]
Label und Katalognummer: The Vinyl Factory
Veröffentlicht: 2017 10 27
Genretags: Afroamericana - R'n'B-Renaissance
Trackliste: 1. Ordinary Superstar - 3:47
2. Take Me As I Am - 3:25
3. 10-20-40 - 3:15
4. Tunnel Vision (feat. Shamir) (Justin Tailor) - 3:36
5. Time Out - Interlude - 1:00
6. Alterlife - 4:04
7. Through the Wir
e - Interlude (Justin Tailor) - 2:03
8. Cyber Stockholm Syndrome (Clarence Clarity, Rina Sawayama, Justin Tailor) - 3:41
Alle Tracks: Clarence Clarity und Rina Sawayama, ausser wo anders vermerkt.
Besetzung: Copyright (c) Dirty Hit
; Phonographic Copyright (p) Dirty Hit
Robbie Robertson [>] [D]: Sinematic [F]
Label und Katalognummer: UMe B 0030705
Produktion: Robbie Robertson
Veröffentlicht: 2019 09 20
Genretags: Post-Millennial-Music - Poprock - Classicrock
Trackliste: 1. I Hear You Paint Houses (feat. Van Morrison) - 5:03
2. Once Were Brothers - 4:25
3. Dead End Kid - 3:58
4. Hardwired - 3:59
5. Walk In Beauty Way - 5:38
6. Let Love Reign - 5:12
7. Shanghai Blues - 3:51
8. Wandering Souls - 2:34
9. Street Serenade - 5:06
10. The Shadow - 4:26
11. Beautiful Madness - 4:30
12. Praying For Rain - 4:11
13. Remembrance [Bonus Track] - 5:29
Alle Tracks: Robbie Robertson.
Besetzung: A&R: Matt D\'Amico
; Art Direction: Vartan
; Artwork, Photography: Robbie Robertson
; Design [Design Production]: Josh Graham
; Engineer: Eric Liljestrand
; Engineer: Gabe Burch
; Engineer: Howie Bernstein
; Engineer: Jeff Gartenbaum
; Engineer: Jim Wilson
; Executive-Producer: Jared Levine
; Mastering: Gavin Lurssen
; Mixing: Martin Pradler
; Producer [Additional Production - Backing Vocals]: Afie Jurvanen
; Producer [Additional Production - Backing Vocals]: Robbie Lackritz
; Production Manager: Beth Stempel
; Technician [Technical Support]: David Andersen
; Record Company UMG Recordings, Inc.
; Phonographic Copyright (p) Macrobiotic Records
; Copyright (c) Macrobiotic Records
; Recorded At The Village
; Licensed To UMG Recordings, Inc.
; Produced For Pieces Of 8 Music
; Distributed By Universal Music Enterprises
; Glass Mastered At Technicolor, Guadalajara, Mexico
; Pressed By Technicolor, Guadalajara, Mexico
Robert Görl [>] [D]: Night Full Of Tension [F]
Label und Katalognummer: Mute STUMM 016
Produktion: Robert Görl & Mike Hedges
Veröffentlicht: 1984 03 01, 1993 (Reed.)
Genretags: Postpunk - Electronic-Postpunk - Industrial, Postpunk - Electronic-Postpunk - Continental-Postpunk
Trackliste: Seite A
1. Playtime - 3:54
2. I Love Me - 5:31
3. Charlie Cat (feat. Annie Lenox) - 3:40
4. Gewinnen Wir
Die Beste Der Frauen - 4:49
Seite B
1. Queen King - 4:54
2. Love In Mind - 4:45
3. Darling Don't Leave Me (feat. Annie Lenox) - 3:39
4. Wind In Hair - 4:19
Bonustracks der CD Ausgabe von
1. Mit Dir (Extended) - 5:54
2. Berührt Verführt (Remix) - 3:46
3. Darling Don't Leave Me (Extended) - 6:59
4. A Ist Wieder Da - 3:36
5. Eckhardt's Party - 4:22
Alle Tracks: Robert Görl.
Besetzung: Robert Görl: Drums, Keyboards, Primary Artist, Vocals
; Annie Lennox: Vocals (A3, B3)
; Recorded At Jacobs Studios
; Design: Martyn Atkins
; Photography By Sabine Raef
Robert Hood [>] [D]: Wire To Wire [F]
Label und Katalognummer: Peacefrog PFG 042
Produktion: Robert Hood
Veröffentlicht: 2003 08 11
Genretags: Electronica - Techno - Minimaltechno
Trackliste: 1. Make A Wish (5:30)
2. The Game (5:49)
3. Upon A Millenial Moment (6:02)
4. Interior Suspect (7:39)
5. Slightly (4:20)
6. Fragile Moments (6:19)
7. High Plaines Drifter (5:37)
8. The Age Of Eleven (4:48)
9. The Wir
e (6:31)
10. Aural 512 (7:04)
Robert Palmer [>] [D]: Clues [F]
Label und Katalognummer: Island ILPS 9595
Produktion: Robert Palmer
Veröffentlicht: 1980 08
Genretags: Newpop - Popsoul
Trackliste: Seite A
1. Looking for Clues - 4:52
2. Sulky Girl - 4:07
3. Johnny and Mary - 3:59
4. What Do You Care - 2:44
Seite B
1. I Dream of Wir
es (Gary Numan) - 4:34
2. Woke up Laughing - 3:36
3. Not a Second Time (Lennon-McCartney) - 2:48
4. Found You Now (Gary Numan, Robert Palmer) - 4:37
Alle Tracks: Robert Palmer, ausser wo anders vermerkt.
Besetzung: Artwork By [Cover]: Graham Hughes
; Drums: Dony Wynn
; Engineer, Mixed By: Alex Sadkin
; Executive Producer: David Harper
; Keyboards: Jack Waldman
; Mastered By: Ted Jensen
; Technician [Tape Operator]: Cass Rigby, Sly Roker
; Vocals, Guitar, Bass, Percussion: Robert Palmer
Roger McGuinn [>] [D]: Cardiff Rose [F]
Label und Katalognummer: Columbia PC 34154
Produktion: Mick Ronson
Veröffentlicht: 1976
Genretags: Rock - Folkrock
Trackliste: Seite A
1. Take Me Away (Levy, McGuinn) - 3:01
2. Jolly Roger (Levy, McGuinn) - 4:58
3. Rock and Roll Time (Kristofferson, McGuinn, Neuwirth) - 2:46
4. Friend (McGuinn) - 2:08
5. Partners in Crime (Levy, McGuinn) - 4:51
Seite B
1. Up to Me (Dylan) - 5:38
2. Round Table (Levy, McGuinn) - 4:07
3. Pretty Polly (Traditional) - 3:17
4. Dreamland (Mitchell) - 5:20
Rolling Stones [>] [D]: Rarities 1971-2003 [F]
Label und Katalognummer: EMI 094634709224
Produktion: Glimmer Twins & Chris Kimsey & Jimmy Miller & Don Was
Veröffentlicht: 2005 11 22 (Ed.), 2003-1971 (Rec.)
Genretags: Rock - AOR-Rock - AOR-Bluesrock
Trackliste: 1. Fancy Man Blues - 4:48 - B-side to Mixed Emotions in 1989
2. Tumbling Dice (Live) - 4:02 - Live track originally intended to be included on Stripped in 1995
3. Wild Horses (Live Stripped Version) - 5:10 - Originally appeared on Stripped
4. Beast of Burden - 5:04 - Live version that originally appeared as the B-side to Going to a Go-Go in 1982; recorded live at the Rosemont Horizon, Chicago, 25 November 1981
5. Anyway You Look at It - 4:20 - B-side to Saint of Me in 1998
6. If I Was a Dancer (Dance Pt. 2) (Mick Jagger/Keith Richards/Ronnie Wood) - 5:50 - An Emotional Rescue outtake that originally appeared on 1981's Sucking in the Seventies
7. Miss You (Dance Version) - 7:32
8. Wish I'd Never Met You - 4:39 - B-side to Terrifying in 1990
9. I Just Wanna Make Love to You (Live) (Willie Dixon) - 3:55 - Originally appeared as one of the tracks of the B-side of the Maxi-Single Highwire in 1991, recorded live at the Wembley Stadium on 6 July 1990
10. Mixed Emotions (12 Version) - 6:12
11. Through the Lonely Nights - 4:12 - B-side to It's Only Rock 'n Roll (But I Like It) in 1974
12. Live with Me (Live) - 3:47 - B-side of Wild Horses single from 1996
13. Let It Rock (Live) (Chuck Berry) - 2:46 - Originally released as an additional track on the B-side of Brown Sugar from 1971 in the UK only, recorded live at the University of Leeds, 13 March 1971
14. Harlem Shuffle (NY Mix) (Bob Relf, Ernest Nelson) - 5:48 - Extended Remix. This version has been edited; the original 12 release ran 6:35.
15. Mannish Boy (Live) (McKinley Morganfield/Ellas McDaniel/Mel London) - 4:28 - Live recording from Love You Live / edit from Sucking in the Seventies
16. Thru and Thru (Live) - 6:39 - Recorded live January 2003 at a Madison Square Garden performance featured on the DVD set Four Flicks
Alle Tracks: Mick Jagger und Keith Richards, ausser wo anders vermerkt.
Besetzung: Mick Jagger: vocals
; Keith Richards: guitars and vocals
; Mick Taylor: guitars (11, 13)
; Charlie Watts: drums
; Ronnie Wood: guitar, bass guitar, drums, and vocals (1-10, 12, 14-16))
; Bill Wyman: bass guitar
; Ian Stewart: piano (11, 15)
; Billy Preston: electric piano and vocals (15)
Roy Clark [>] [D]: The Lightning Fingers of Roy Clark [F]
Label und Katalognummer: Capitol ST 01780
Produktion: Ken Nelson
Veröffentlicht: 1963
Genretags: Rock'n'Roll - Instrumental, Country
Roy Linwood Clark (1933–2018) startete als Gitarrist und Banjo Spieler. Ab 1969 hatte er die langjährige TV-Show «Hee Haw», die bis 1997 ausgestrahlt wurde und wesentlich zur nationalen Verbreitung der County Music beitrug.
Hier spielt er zwölf Instrumentals in einem atemberaubenden Tempo.
Trackliste: Seite A
1. Twelfth Street Rag (Euday L. Bowman) - 2:45
2. Texas Twist (Roy Clark) - 2:09
3. Golden Slippers (James A. Bland) - 2:28
4. Weepin' Willow Twist (Roy Clark) - 2:21
5. Pink Velvet Swing (Hank Penny) - 2:14
6. In the Mood (Joe Garland, Andy Razaf) - 3:10
Seite B
1. Drifter's Polka (Al Alexander) - 2:33
2. Wildwood Twist (Roy Clark) - 2:15
3. A Maiden's Prayer (Bob Wills) - 2:35
4. Dented Fender (Hank Penny) - 2:34
5. Over the Waves (Roy Clark) - 2:47
6. Chicken Wir
e (Roy Clark) - 2:14
Besetzung: Roy Clark: Arranger, Banjo, Guitar, Vocals
; Elliott Federman: Mastering
; Kevin Flaherty: Coordination
; Margaret Goldfarb: Coordination
; George Jerman: Cover Photo, Photography
; Tammy Kizer: Coordination
; Dan Levine: Redesign
; Terence P. Minogue: Coordination
; Cheryl Pawelski: Coordination
; Mike Ragogna: Development
; David Richman: Director
Scala [>] [D]: To You In Alpha [F]
Label und Katalognummer: Too Pure PURE 077
Produktion: Mads Bjerke & Sarah Peacock & Daren Seymour & Mark Von Hoen
Veröffentlicht: 1998 10 05
Genretags: Electronica - Ambient
Trackliste: 1. Slide (Fletcher, Peacock, Seymour, Van Hoen) - 3:02
2. Remember How to Breathe (McLean, Peacock, Seymour, Van Hoen) - 3:48
3. 17765744G (Hector, Patterson, Seymour) - 1:12
4. Colt - 3:37
5. Wir
es (Bjerke, McLean, Peacock, Seymour) - 6:21
6. Blank Narrow Shut - 5:32
7. Eyes Alpha - 2:05
8. Be Together - 4:52
9. Breaking Point - 2:00
10. Still - 5:50
11. Palace - 5:33
12. 17765744J - 2:08
Alle Tracks: McLean, Peacock, Seymour, ausser wo anders vermerkt.
Besetzung: Mads Bjerke: Assistant Producer, Digital Editing, Engineer, Mixing
; Sean Magee: Mastering
; Mark Van Hoen: Digital Editing, Engineer, Mixing
School Of Seven Bells [>] [D]: Alpinisms [F]
Label und Katalognummer: Ghostly Internationa GI 081
Veröffentlicht: 2008 10 28
Genretags: Post-Millennial-Music - Indiepop - Nugaze
siehe: Feature von 78's zum Cover
Trackliste: 1. Iamundernodisguise - 3:48
2. Face to Face on High Places - 4:41
3. Half Asleep - 4:21
4. Wir
ed for Light - 4:57
5. For Kalaja Mari - 4:18
6. White Elephant Coat - 4:18
7. Connjur - 4:40
8. Sempiternal/Amaranth - 11:26
9. Chain - 4:22
10. Prince of Peace - 3:06
11. My Cabal - 5:09
Alle Tracks: School Of Seven Bells.
Besetzung: Design [Cover]: Bryan Collins
; Mastering: Joe Lambert
; Performer [Sviib Is]: Alejandra Deheza
; Performer [Sviib Is]: Benjamin Curtis
; Performer [Sviib Is]: Claudia Deheza
; Recording, Mixing, Songwriter [All Songs By]: School Of Seven Bells
; Phonographic Copyright (p) Ghostly International
; Copyright (c) Ghostly Songs
Label und Katalognummer: Ed Banger, Because Music BEC 5772848
Produktion: Sebastian Akchoté
Veröffentlicht: 2011 05 30 (F), 2011 06 21 (US)
Genretags: Electropop - New-Rave - Electrohouse
Trackliste: 1. Hudson River - 0:50
2. Love in Motion (feat. Mayer Hawthorne) - 3:06
3. Tough Games - 0:41
4. Embody - 3:46
5. Ross Ross Ross - 3:40
6. Fried - 4:04
7. Kindercut - 4:07
8. Water Games - 0:38
9. Total - 1:22
10. Jack Wir
e - 2:45
11. C.T.F.O (feat. M.I.A.) . 2:55
12. Cartoon - 0:34
13. Arabest - 3:16
14. Prime - 3:07
15. Mean Games - 0:53
16. Tetra (produced by Gaspard Auge of Justice) - 2:55
17. Motor - 4:03
18. Night - 0:46
19. Yes - 3:43
20. Bird Game - 0:38
21. Doggg - 3:12
22. Frustra - 0:26
23. Organia (Bonus Track) - 2:36
Alle Tracks: Sebastian Akchoté.
Besetzung: Art Direction: So Me
; Cover: Jean Baptiste Mondino
; Producer: Gaspard Augé (16)
; Vocals [Additional]: Cocoa Rigal (8, 12, 15)
; Vocals: Mayer Hawthorne, M.I.A. (UK) (11)
Setting Sun [>] [D]: Fantasurreal [F]
Label und Katalognummer: Young Love 08
Produktion: Gary Levitt
Veröffentlicht: 2010 03
Genretags: Indiepop, Alternativerock - Neo-Psychedelicrock
Trackliste: 1. Driving - 2:32
2. Make You Feel (Levitt, Roper) - 2:51
3. Sacrifice - 3:53
4. Don't Grow Up - 6:06
5. Into the Wir
e (Levitt, Turner) - 2:47
6. One Time Around - 3:19
7. I Love Mellotrons - 2:23
8. The Tree (Levitt, Quitzow) - 3:34
9. Handsome Bride (Levitt, Roper) - 3:03
10. The Sympathetic CEO - 5:06
Alle Tracks: Gary Levitt, ausser wo anders vermerkt.
Besetzung: John Burdick: Guitar (Electric)
; Alex Harrison: Cover Painting
; \'Big Comfy\' Couch Kolding: Drums
; Jamie Krauss: Trumpet
; Gary Levitt: Engineer, Instrumentation, Mixing, Vocals
; Kevin McMahon: Mastering
; Jonny Pancake: Drums
; Lee Petruzzeli: Trumpet
; Erica Quitzow: Bass, Cello, Violin, Vocals
Lawrence Roper: Vocals
; Hannah Segrave: Vocals
; Jennifer Turner: Bass, Vocals
Sheryl Crow [>] [D]: Threads [F]
Label und Katalognummer: The Valory Music Co. VMCSHC 100 A
Produktion: Sheryl Crow & Steve Jordan & Jeff Trott
Veröffentlicht: 2019 08 30
Genretags: Post-Millennial-Music - Poprock - Singer-Songwriter
Trackliste: 1. Sheryl Crow & Stevie Nicks & Maren Morris: Prove You Wrong - 3:56
2. Sheryl Crow & Bonnie Raitt & Mavis Staples: Live Wir
e - 5:09
3. Sheryl Crow & Chris Stapleton: Tell Me When It's Over - 4:58
4. Sheryl Crow & Chuck D & Andra Day & Gary Clark Jr.: Story Of Everything - 6:25
5. Sheryl Crow & Eric Clapton & Sting & Brandi Carlile: Beware Of Darkness - 3:39
6. Sheryl Crow & Johnny Cash: Redemption Day - 4:48
7. Sheryl Crow & Lukas Nelson & Neil Young: Cross Creek Road - 4:48
8. Sheryl Crow & Jason Isbell: Everything Is Broken - 4:35
9. Sheryl Crow & Keith Richards: The Worst - 2:41
10. Sheryl Crow & Willie Nelson: Lonely Alone - 4:40
11. Sheryl Crow & Kris Kristofferson: Border Lord - 4:47
12. Sheryl Crow & Joe Walsh: Still The Good Old Days - 5:20
13. Sheryl Crow & St. Vincent: Wouldn't Want To Be Like You - 3:37
14. Sheryl Crow & Lucius: Don't - 4:08
15. Sheryl Crow & Emmylou Harris: Nobody's Perfect - 4:47
16. Sheryl Crow & James Taylor: Flying Blind - 3:43
17. Sheryl Crow & Vince Gill: For The Sake Of Love - 3:35
Besetzung: Executive-Producer: Sheryl Crow
; Executive-Producer: Stephen Weintraub
; Liner Notes: Sheryl Crow
; Producer: Jeff Trott (12, 15), Sheryl Crow (15), Steve Jordan (1 to 11, 13, 14, 16, 17)
; Distributed By Universal Music Distribution
; Phonographic Copyright (p) Big Machine Label Group LLC
; Copyright (c) Big Machine Label Group LLC
Shit Robot [>] [D]: What Follows [F]
Label und Katalognummer: DFA Records DFA 2484 dig1
Veröffentlicht: 2016 05 06
Genretags: Electropop - New-Rave
Trackliste: 1. In Love - 6:39
2. What Follows - 5:26
3. Ten Miles High - 7:13
4. Lose Control - 6:57
5. End Of The Trail - 6:35
6. Phase Out - 7:16
7. Wir
Warten - 6:22
8. Is There No End - 5:49
9. OB-8 (Winter Mix) - 7:40
Sisters Of Mercy [>] [D]: First And Last And Always [F]
Label und Katalognummer: Merciful Release MR 337 L
Produktion: David M. Allen
Veröffentlicht: 1985 03 11, 2006 10 (Reed.)
Genretags: Postpunk - Darkwave, Alternativerock - Gothrock
Trackliste: Seite A
1. Black Planet (Andrew Eldritch, Wayne Hussey) - 4:35
2. Walk Away (Andrew Eldritch, Wayne Hussey) - 3:23
3. No Time to Cry (Craig Adams, Andrew Eldritch, Wayne Hussey, Gary Marx) - 3:53
4. A Rock and a Hard Place (Andrew Eldritch, Wayne Hussey) - 3:30
5. Marian (Andrew Eldritch, Wayne Hussey) - 5:41
Seite B
1. First and Last and Always (Andrew Eldritch, Gary Marx) - 4:11
2. Possession (Craig Adams, Andrew Eldritch, Wayne Hussey) - 4:36
3. Nine While Nine (Andrew Eldritch, Gary Marx) - 4:06
4. Logic (Andrew Eldritch, Gary Marx) - 4:48
5. Some Kind of Stranger (Andrew Eldritch, Gary Marx) - 7:17
Bonustracks: Additional Tracks
1. Poison Door - 3:41
2. On The Wir
e - 4:21
3. Blood Money - 3:13
4. Bury Me Deep - 4:44
5. Long Train - 7:30
6. Some Kind Of Stranger (Early) - 8:38
Besetzung: Bass: Craig Adams
; Design [Sleeve Designs]: Andrew Eldritch
; Drums: Doktor Avalanche
; Guitar: Gary Marx
; Guitar: Wayne Hussey
; Layout [Layouts]: Mick Lowe
; Mixing: Andrew Eldritch
; Mixing: David M. Allen
; Photography: Jill Furmanovsky
; Photography: Ruth Polsky
; Voice: Andrew Eldritch
; Manufactured By Record Service GmbH
; Phonographic Copyright (p) WEA Records Ltd.
; Copyright (c) WEA Records Ltd.
; Published By RCA Music Ltd.
; Published By Candelmaesse Ltd.
Skepta [>] [D]: Been There Done That [F]
Label und Katalognummer: Boy Better Know SKEPTA 1
Produktion: Skepta
Veröffentlicht: 2010 02 01
Genretags: Hip-Hop - Grime
Trackliste: 1. Two Plus Two -
2. Over The Top 2 (feat. Bloodline) -
3. Knock Yourself Out -
4. Blow My Own Trumpet -
5. All Over The House (feat. Majestic, Shorty) -
6. Spit Big Bars (feat. Blacks, P Money) -
7. English Breakfast -
8. B O Double S (feat. Fem Fel, Jewels) -
9. Freeze (Skit) -
10. Solo's Back (feat. Frisco, Solo 45) -
11. Nokia Charger Wir
e -
12. No Love For The Other Side (feat. JME, KJ, B Live) -
13. Stupid (feat. Wiley) -
CD 1: Instrumentals
14. Private Caller 2 -
15. UFO -
16. Red Bull Academy -
Besetzung: Mixing, Engineer: Michalis \'MsM\' Michael
; Photography: Matt Benson
; Recording [Uncredited]: Michalis \'MsM\' Michael
Slayer [>] [D]: Repentless [F]
Label und Katalognummer: Nuclear Blast NB 3359
Produktion: Terry Date
Veröffentlicht: 2015 09 11
Genretags: Metal - Undergroundmetal - Thrashmetal
Trackliste: 1. Delusions Of Saviour - 1:55
2. Repentless - 3:20
3. Take Control - 3:14
4. Vices - 3:32
5. Cast The First Stone - 3:43
6. When The Stillness Comes - 4:21
7. Chasing Death - 3:45
8. Implode - 3:49
9. Piano Wir
e - 2:49
10. Atrocity Vendor - 2:55
11. You Against You - 4:21
12. Pride In Prejudice - 4:14
Besetzung: Bass [Studio], Technician [Guitar]: John Araya
; Booking [North America]: John Dittmar
; Booking [North America]: Scott Sokol
; Booking [Worldwide]: John Jackson (18)
; Cover, Artwork: Marcelo Vasco
; Drums: Paul Bostaph
; Engineer [Additional]: Peter Mack
; Engineer [Assistant]: Derrick Stockwell
; Guitar: Gary Holt
; Guitar: Kerry King
; Layout: Marcelo Vasco
; Layout: Rob Kimura
; Legal: Scott D. Harrington
; Management: Ernie H. Gonzalez
; Management: Kristen Mulderig
; Management: Rick Sales
; Management [Business]: Angela DeSimone
; Management [Business]: Bill Vuylsteke
; Management [Business]: Shelley Venemann
; Mastering: Howie Weinberg
; Photography: Andrew Stuart
; Engineer, Mixing: Terry Date
; Technician [Studio Drum]: Gene Provenico
; Technician [Studio Drum]: John Gross
; Vocals, Bass: Tom Araya
; Alle Tracks: Jeff Hanneman (9)
; Alle Tracks: Kerry King (1 to 8, 10 to 12)
; Phonographic Copyright (p) Nuclear Blast Records
; Copyright (c) Nuclear Blast Records
; Recorded At Henson Recording Studios
; Mixed At Henson Recording Studios
; Mastered At Howie Weinberg Mastering
Sleigh Bells [>] [D]: Bitter Rivals [F]
Label und Katalognummer: Mom + Pop MP 118
Produktion: Derek E. Miller
Veröffentlicht: 2013 10 08
Genretags: Post-Millennial-Music - Lo-Fi-Underground - Noisepop
Trackliste: 1. Bitter Rivals - 3:19
2. Sugarcane - 2:47
3. Minnie - 3:01
4. Sing Like A Wir
e - 2:35
5. Young Legends - 2:50
6. Tiger Kit - 2:55
7. You Don't Get Me Twice - 2:42
8. To Hell With You - 3:09
9. 24 - 2:58
10. Love Sick - 3:09
Alle Tracks: Alexis Krauss und Derek E. Miller.
Besetzung: Alexis Krauss: vocals
; Derek E. Miller: all instruments
; Licensed To Mom and Pop Music Co.
Small Black [>] [D]: Small Black [F]
Label und Katalognummer: Cass Club CC 01, Jagjaguwar JAG 173
Produktion: Small Black
Veröffentlicht: 2009 10 13, 2010 04 27 (Reed.)
Genretags: Indiepop - Blog-Indie - Chillwave
Trackliste: Seite A
1. Despicable Dogs - 3:53
2. Weird Machines - 3:57
Seite B
1. Bad Lover - 3:37
2. Pleasant Experience - 3:33
3. Lady in the Wir
es - 4:38
Bonustracks der CD Ausgabe von 2010
1. Kings of Animals - 3:15
2. Baby Bird, Pt. 2 - 4:28
Alle Tracks: Small Black.
Besetzung: Artwork By: Morgan Blair
; Mastered By: Joe Lambert
; Producer [Additional Production]: Juan Pieczanski
; Vocals [Additional]: Erin Williams, Kate Maples
; Mixed By: Small Black
Solvent [>] [D]: New Ways - Music From The Documentary «I Dream Of Wires» [F]
Label und Katalognummer: Suction Records suction 025
Produktion: Solvent
Veröffentlicht: 2014 02 11
Genretags: Post-Millennial-Music - Digital-Underground - IDM
Trackliste: 1. Themeogene (I Dream Of Wir
es Theme) - 3:35
2. Transfer Function - 3:52
3. Quantimators - 6:03
4. Sender - 3:14
5. Wow - 2:40
6. Elephant Generators - 7:00
7. Burn The Tables - 6:40
8. Pattern Recognition - 4:00
9. King Vincent - 6:00
10. Bucket Brigade - 2:33
11. LPGs Over Hawaii - 3:07
12. Transfer Function (Reprise) - 1:30
Alle Tracks: Jason Amm.
Besetzung: Design [Logo]: Arnold Steiner Designs
; Design, Layout: Heiki Sillaste
; Mastering: Stephanie Villa
; Photography: Robert Fantinatto
; Programmed By, Art Direction: Jason Amm
; Mastered At Marsh Mastering
Son Volt [>] [D]: American Central Dust [F]
Label und Katalognummer: Rounder 11661-3274
Veröffentlicht: 2009 07 07
Genretags: Alternativerock - Alternativecountry
Trackliste: 1. Dynamite - 2:49
2. Down to the Wir
e - 4:19
3. Roll On - 3:10
4. Cocaine and Ashes - 4:31
5. Dust of Daylight - 3:07
6. When the Wheels Don't Move - 3:21
7. No Turning Back - 3:35
8. Pushed Too Far - 4:25
9. Exiles - 4:22
10. Sultana - 3:48
11. Strength and Doubt - 3:35
12. Jukebox of Steel - 2:56
Alle Tracks: Jay Farrar, ausser wo anders vermerkt.
Besetzung: Bass, Backing Vocals: Andrew Duplantis
; Drums, Percussion: Dave Bryson
; Guitar [Electric], Steel Guitar [Lap], Acoustic Guitar, Backing Vocals: Chris Masterson
; Keyboards, Steel Guitar [Pedal, Lap, Acoustic Lap], Backing Vocals: Mark Spencer
; Mastering: Gavin Lurssen
; Mixing: Joe Henry
; Mixing: Ryan Freeland
; Recording: Chris Masterson
; Recording: Jason Hutto
; Recording: John Agnello
; Recording: Mark Spencer
; Violin, Viola: Eleanor Whitmore
; Vocals, Acoustic Guitar, Piano, Steel Guitar [Acoustic Lap]: Jay Farrar
Sonic Youth [>] [D]: Sister [F]
Label und Katalognummer: SST 134
Produktion: Sonic Youth
Veröffentlicht: 1987 06
Genretags: Alternativerock - Noiserock, Indiepop - Noisepop
Trackliste: 1. Schizophrenia - 4:37
2. Catholic Block - 2:25
3. Beauty Lies In The Eye - 2:15
4. Stereo Sanctity - 3:47
5. Pipeline / Kill Time - 4:32
6. Tuff Gnarl - 3:13
7. Pacific Coast Highway - 4:16
8. Hot Wir
e My Heart (Johnny Strike) - 3:21
9. Cotton Crown - 5:05
10. White Cross - 2:48
11. Master-Dik - 5:08
Alle Tracks: Sonic Youth, ausser wo anders vermerkt.
Besetzung: Thurston Moore: guitar (1, 2, 4–10), vocals, Moog synthesizer (5), bass guitar (3)
; Kim Gordon: bass guitar (1, 2, 4–10), vocals
; Lee Ranaldo: guitar, vocals
; Steve Shelley: drums
; Engineer: Bill Titus
; Other [Crime Decipher]: Byron Coley
; Programmed By [Moog]: Walter Sear
; Recorded At Sear Sound
; Phonographic Copyright (p) SST Records
; Copyright (c) Cesstone Music
; Copyright (c) Crime Music
; Manufactured By JVC
Sophie Hunger [>] [D] & Faber [>] [D] & Dino Brandão [>] [D]: Ich liebe dich [F]
Label und Katalognummer: Two Gentlemen Records TWOGTL 082
Veröffentlicht: 2020 12 11
Genretags: Post-Millennial-Music - Indiepop
Trackliste: 1. Ouverture - 0:52
2. Ich liebe Dich, Faber - 3:47
3. Putsch - 3:09
4. Wäge dem - 3:32
5. Mega Happy - 3:39
6. Ich liebe Dich, Sophie - 3:02
7. Euse Rosegarte - 4:15
8. Hoffnigslos Hoffnigslos - 5:48
9. Dr Hunger wird schlimmer - 3:49
10. Ich liebe Dich, Dino - 5:15
11. E Nacht a de Langstrass - 3:41
12. Eis hämmer immer no gno - 3:07
13. Derfi di hebe - 4:16
Besetzung: Licensed To Two Gentlemen
; Pressed By www.adon.ch
Soulwax [>] [D]: FROM DEEWEE [F]
Label und Katalognummer: Play It Again Sam [PIAS] PIASR 950 CDX
Produktion: David Dewaele & Stephen Dewaele
Veröffentlicht: 2017 03 22
Genretags: Electropop - New-Rave
Trackliste: 1. Preset Tense - 3:34
2. Masterplanned - 3:13
3. Missing Wir
es - 2:21
4. Conditions of a Shared Belief - 3:47
5. Is It Always Binary - 3:29
6. Do You Want to Get Into Trouble? - 4:25
7. My Tired Eyes - 4:17
8. Transient Program for Drums and Machinery - 6:23
9. Trespassers - 4:04
10. The Singer Has Become a DJ - 3:21
11. Here Come the Men in Suits - 5:09
12. Goodnight Transmission - 4:07
Alle Tracks: David Dewaele und Stephen Dewaele.
Besetzung: Younés Klouche: Photography
; Mike Marsh: Mastering
; Soulwax: Engineer, Mixing
Speedy J [>] [D]: Public Energy No. 1 [F]
Label und Katalognummer: Novamute NoMu 054
Produktion: Jochem Paap
Veröffentlicht: 1997 04 21
Genretags: Electronica - Breakbeat - Industrialbreaks
Trackliste: 1. Tuning In - 2:42
2. Patterns - 8:34
3. Melanor - 2:37
4. In-formation - 8:09
5. Pure Energy - 5:20
6. Haywire - 4:33
7. Hayfever - 5:36
8. Tesla - 2:20
9. Drainpipe - 7:48
10. Canola - 8:39
11. a) As The Bubble Expands - 5:28, b) (silence) - 1:06, c) Untitled - 2:30
Alle Tracks: Jochem Paap.
Besetzung: Art Direction, Design: Ron Goos
; Artwork [Evidence On Cover Severely Altered By, "The Truth Is Out There"]: Ben Liebrand
; Photography [Photo]: Benelux Press
; Phonographic Copyright (p) Mute Records Ltd.
; Copyright (c) Mute Records Ltd.
; Published By Speedy J Music
; Published By Les Editions Confidentielles
; Designed At Urban Design Front
; Distributed By RTM (2)
; Distributed By DISC (3)
; Glass Mastered At Nimbus
Springfields [80s, pre Velvet Crush] [>] [D]: Singles 1986-1991 [F]
Label und Katalognummer: Slumberland Records SLR 250
Produktion: Ric Menck
Veröffentlicht: 2019 11 15 (Ed.)
Genretags: Indiepop - Janglepop
Trackliste: 1. This Perfect Day (Ric Menck) -
2. Bicycle Song (Ric Menck) -
3. Sunflower (Ric Menck) -
4. Clown (Allan Clarke, Graham Nash, Tony Hicks (2)) -
5. Are We Gonna Be Alright? (Matthew Sweet) -
6. Wonder (Ric Menck) -
7. Tomorrow Ends Today (Bobby Gillespie, Jim Beattie) -
8. She Swirls Around Me (Ric Menck) -
9. Million Tears (Brian Taylor (4), Stephen McRobbie) -
10. Reachin' For The Stars (Ric Menck) -
11. Tranquil (Bill Charnley, John Charnley) -
12. Scatter Good Friends (Ric Menck) -
Besetzung: Artwork: Corey Cunningham
; Artwork: Matt Haynes
; Bass: Wes Lachot
; Bass, Guitar, Backing Vocals: Paul Chastain
; Drums: Michael Hausman
; Engineer: Michael Hausman
; Engineer: Teddy Vosnos
; Engineer: Wes Lachot
; Engineer: Willie Wells
; Guitar: Buddy Judge
; Guitar: Eric Peterson
; Guitar: Jeffrey Underhill
; Guitar, Drums, Tambourine, Lead Vocals: Ric Menck
Steppenblüte [>] [D]: Chum ine! [F]
Label und Katalognummer: AE 02
Produktion: Steppenblüte
Veröffentlicht: 1981
Genretags: Rock - AOR-Rock - AOR-Progfolk
Trackliste: Seite A
1. Chum Ine! -
2. Come With Me -
3. Nachts -
4. Wiesenlied -
5. Es Wuchs Der Mensch (1973) -
6. Life For Eternity -
Seite B
1. Ds Läbe Vom Läbigschte -
2. Der Vogel Auf Dem Felde (Trad.) -
3. Ir Wintersunnewändi -
4. E Ma - So Ne Mönsch -
5. Vision -
Bonustrack
1. Wir
sind erwacht -
Alle Tracks: Steppenblüte, ausser wo anders vermerkt.
Besetzung: Engineer: Peter MacTaggart
; Design: Steppenblüte
; Written-by [Weise Aus Paraguay]: Traditional (B2)
Stereo Luchs [>] [D]: Stepp usem Reservat [F]
Label und Katalognummer: Pegel Pegel! PP 001
Veröffentlicht: 2013 05 03
Genretags: Hip-Hop - Traprap
Trackliste: 1. Bleich für oi - 3:04
2. Under mim Guinness - 3:21
3. Dame - 3:21
4. Was isch los - 3:40
5. De Vibe (feat. Phenomden & Ronny Trettmann) - 3:53
6. Promoter - 4:31
7. Artist Linkup (Stereo Luchs, Mono Dachs & Mad Iltis) - 3:02
8. Hässigi Gschichte - 3:43
9. Du wirsch gseh - 3:51
10. Nöd easy - 2:56
11. Wüsch de Zwingli use (& EKI) - 4:36
12. Klarsicht - 4:00
13. Schlafe - 3:00
14. Chum tanz - 3:11
15. Mached wiiter - 3:50
Besetzung: Phonographic Copyright (p) Pegel Pegel Musig
; Copyright (c) Pegel Pegel Musig
Stiff Little Fingers [>] [D]: Inflammable Material [F]
Label und Katalognummer: Rough Trade ROUGH 001
Produktion: Doug Bennett & Mayo Thompson & Geoff Travis
Veröffentlicht: 1979 02
Genretags: Rock - Punkrock
Dieses Album kann mit der Katalognummer 1 von Rough Trade als erstes Indie-Album bezeichnet werden. Es verkauft über 100 000 Exemplare und kam auf Platz 14 der UK-Charts.
Trackliste: Seite A
1. Suspect Device (Burns/Ogilvie) - 2:29
2. State of Emergency (Burns) - 2:23
3. Here We Are Nowhere (Cluney) - 0:56
4. Wasted Life (Burns) - 3:03
5. No More of That (Cluney) - 2:03
6. Barbed Wir
e Love (Burns/Ogilvie) - 2:29
7. White Noise (Burns/Ogilvie) - 1:42
8. Breakout (Burns) - 3:02
Seite B
1. Law and Order (Burns/Ogilvie) - 3:10
2. Rough Trade (Burns/Ogilvie) - 2:29
3. Johnny Was (Marley) - 8:06
4. Alternative Ulster (Burns/Ogilvie) - 2:41
5. Closed Groove (Burns/Ogilvie) - 4:04
Bonustracks der CD Wiederaulage von 2001 (EMI):
1. Suspect Device (single version) (Burns/Ogilvie)
2. 78 RPM (Burns/Ogilvie) - 2:38
3. Interview of Jake Burns by Alan Parker
Stina Nordenstam [>] [D]: People Are Strange [F]
Label und Katalognummer: EastWest Records America 3984-24506
Produktion: Ian Caple & Stina Nordenstam
Veröffentlicht: 1998 01
Genretags: Alternativerock - Singer-Songwriter
Trackliste: 1. Sailing - 3:14
2. I Dream Of Jeannie - 3:56
3. Love Hurts - 0:32
4. Lonesome Road - 2:04
5. Bird On A Wir
e - 3:41
6. Purple Rain - 3:48
7. Swallow Strings - 1:08
8. Like A Swallow - 2:44
9. Reason To Believe - 4:10
10. I Came So Far For Beauty - 4:01
11. Come To Me - 3:28
12. People Are Strange - 3:35
Besetzung: Arranged: Stina Nordenstam
; Artwork: Stina Nordenstam
; Bass Clarinet: Mikael Thun
; Cello: Thommy Svanström
; Clarinet: Lena Jonhäll
; Cor Anglais: Lotta Myrlund
; Drums: John Tonks
; Engineer: Ian Caple
; Engineer: Rasmus Winther
; Flute: Magnus Lindgren
; French Horn: Elnar Öhman
; French Horn: Magnus Petterson
; Guitar, Bass: Robin Key
; Keyboards: Ian Caple
; Trombone: Jonas Larsson
; Trombone: Pelle Larsson
; Viola: Monika Carlén
; Violin: Berit Matsson
; Violin: Ylva Larsson
; Vocals, Guitar, Piano: Stina Nordenstam
; Phonographic Copyright (p) Warner Music UK Ltd.
; Copyright (c) Warner Music UK Ltd.
; Made By Warner Music Manufacturing Europe
Label und Katalognummer: Cooking Vinyl COOK 618
Veröffentlicht: 2015 04 13
Genretags: Alternativerock - Poprock - Folkpoprock, Post-Millennial-Music - Indiefolk
Trackliste: 1. Between the Saltmarsh and the Sea - 4:30
2. Get Low - 3:39
3. Man on Wir
e - 3:58
4. The Road You Didn't Take - 4:19
5. Lost Youth - 3:56
6. Sing With Our Senses - 3:57
7. We Were Giants - 4:19
8. When You're Feeling Gentle - 4:14
9. Heart of the Great Alone - 4:09
10. Josephine - 3:04
11. Love Song of the Beta Male - 4:44
Sue Schell [>] [D]: Manchmal [F]
Label und Katalognummer: Mercury 832 072
Veröffentlicht: 1987
Genretags: Europeana - Schlager - TV-Schlager
Trackliste: 1. Manchmal -
2. Hast Du Dir Nicht Mal Überlegt (Liebeslied) -
3. Wer Sie Wir
klich Ist (Oder Nicht?) -
4. Egotrip -
5. Ein Kleines Lied -
6. Auf Einmal Bin Ich Stark -
7. Ich Hab's Getan -
8. Nur Noch Ja (Ein Liebeslied) -
9. Jetzt Bin Ich Der Boss -
10. Hey Du Oder Die Sache Mit Der Muse -
Besetzung: Record Company PolyGram
; Phonographic Copyright (p) PolyGram Records AG
; Copyright (c) PolyGram Records AG
; Made By PDO, Germany
Sun Ra Arkestra [>] [D]: Swirling [F]
Assoziierte Acts: Sun Ra & Sun Ra And His Arkestra
Label und Katalognummer: Strut 153
Veröffentlicht: 2020 10 30 (Ed.)
Genretags: Jazz
Trackliste: 1. Satellites Are Spinning/Lights On A Satellite - 8:00
2. Seductive Fantasy - 11:49
3. Swirling - 7:42
4. Angels And Demons At Play - 7:05
5. Sea Of Darkness/Darkness - 5:16
6. Rocket No. 9 - 5:00
7. Astro Black - 4:51
8. Infinity/I'll Wait For You - 9:18
9. Sunology - 4:25
10. Door Of The Cosmos/Say - 7:27
Bonus
1. Interview und Intro
Besetzung: Record Company K7 Music GmbH
; Phonographic Copyright (p) K7 Music GmbH
; Copyright (c) K7 Music GmbH
Superchunk [>] [D]: Majesty Shredding [F]
Label und Katalognummer: Merge MRG 380
Produktion: Scott Solter & Superchunk
Veröffentlicht: 2010 09 14
Genretags: Alternativerock - Punkrock - Poppunk
Trackliste: 1. Digging for Something - 3:32
2. My Gap Feels Weird - 3:14
3. Rosemarie - 4:15
4. Crossed Wir
es - 3:47
5. Slow Drip - 2:51
6. Fractures in Plaster - 5:22
7. Learned to Surf - 3:53
8. Winter Games - 4:13
9. Rope Light - 2:36
10. Hot Tubes - 3:49
11. Everything at Once - 4:18
Alle Tracks: Superchunk.
Besetzung: Design: Maggie Fost
; Engineer: John Plymale
; Mastering: Jeff Lipton
; Mastering [Assistant Mastering Engineer]: Maria Rice
; Mixing: Scott Solter
; Recording: Scott Solter
; Recording [Additional Recording At Glendale Drive]: Mac McCaughan
; Phonographic Copyright (p) Merge Records
; Copyright (c) Merge Records
; Recorded At Overdub Lane
; Recorded At Glendale Drive
; Mixed At Baucom Road
; Mastered At Peerless Mastering
Svalastog [>] [D]: Woodwork [F]
Label und Katalognummer: Rune Grammofon RCD 2056
Produktion: Per Henrik Svalastog
Veröffentlicht: 2006 08 07
Genretags: Jazz, Electronica - Folktronica
Trackliste: 1. The Wood Metal Friction - 5:13
2. Snow Tracer - 6:24
3. Reconnecting Joints - 4:52
4. Mouse Tracking - 5:58
5. Centerline Reminder - 4:18
6. Reforestation - 4:27
7. Cow Goat Goat - 3:17
8. Slow Blowing Wir
eless - 3:59
9. White Oak White Pine - 3:47
10. Rework And Out - 3:10
Alle Tracks: Per Henrik Svalastog.
Besetzung: Design: Kim Hiorthøy
; Mastering: Ingar Hunskaar
Swag [>] [D]: No Such Thing [F]
Label und Katalognummer: Version VERSIONCD 02
Produktion: Richard Brown & Chris Duckenfield
Veröffentlicht: 2003 04
Genretags: Electronica - Techhouse
Trackliste: 1. Fat Chance - 4:19
2. Partido Alto - 4:22
3. Wir
e Me Up - 4:45
4. Where I Belong - 4:46
5. The Party's Over - 5:46
6. 2+2=5 (No Such Remix) - 5:36
7. Giddy Kipper - 3:35
8. I Need A Freak - 6:24
9. Them Drums - 5:34
10. One Eyed Daruma - 4:19
11. Minidisco 2 - 4:07
12. So Close - 3:58
13. Buttons - 4:27
14. Lovestruck - 5:33
15. Just One More Thing - 8:45
Alle Tracks: Richard Brown und Chris Duckenfield.
Besetzung: Artwork: The Designers Republic
; Marketed By World\'s Best
; Distributed By EFA Medien GmbH
; Manufactured By EFA Medien GmbH
; Pressed By Sony DADC
Swirlies [>] [D]: They Spent Their Wild, Youthful Days In The Glittering World Of The Salons [F]
Label und Katalognummer: Taang! 101
Produktion: Rich Costey & Swirlies
Veröffentlicht: 1996 01 04
Genretags: Indiepop - Noisepop - Shoegaze
Trackliste: 1. French Radio - 0:18
2. In Harmony New Found Freedom - 5:47
3. No Identifier - 1:44
4. Sounds of Sebring - 4:21
5. San Cristobal de las Casas - 4:22
6. You Can't Be Told It, You Must Behold It - 2:22
7. Pony - 3:15
8. Do Any of You Know Anything About Love? - 0:34
9. Two Girls Kissing - 6:03
10. Sterling Moss - 3:44
11. Boys, Protect Yourselves From Aliens - 0:57
12. Sunn - 5:39
13. The Vehicle Is Invisible - 5:12
14. Untitled - 2:41
Alle Tracks: Swirlies.
Besetzung: Andy Bernick: Bass, Guitar, Micro Moog, Mini Moog
; Rich Costey: Engineer, Mixing, Programming
; Anthony De Luca: Art Direction, Design, Drums
; Christina Files: Bass, Guitar, Sampling, Sequencing, Vocals
; Ron Rege: Art Direction
; Karl Trout: Art Direction, Design
Swirlies [>] [D]: Blonder Tongue Audio Baton [F]
Label und Katalognummer: Taang! TAANG! 67
Produktion: Swirlies
Veröffentlicht: 1993 03 26
Genretags: Indiepop - Noisepop - Shoegaze
Trackliste: 1. Untitled - 0:12
2. Bell - 4:29
3. Vigilant Always - 5:10
4. His Love Just Washed Away - 5:24
5. His Life Of Academic Freedom - 2:07
6. Pancake - 3:15
7. Jeremy Parker - 4:14
8. Park The Car By The Side Of The Road - 5:04
9. Tree Chopped Down - 3:12
10. Wrong Tube - 5:06
11. Wait Forever - 4:18
Alle Tracks: Swirlies.
Besetzung: Drums: Kevin March (2, 10), Mark Rivers (3, 4, 6)
; Bass, Other [Radio]: Andy Bernick
; Co-producer, Engineer: Rich Costey
; Drums, Other [Configurations]: Ben Drucker
; Guitar, Vocals, Synthesizer [Moog], Mellotron: Damon Tutunjian
; Guitar, Vocals, Synthesizer [Moog], Mellotron: Seana Carmody
; Copyright (c) Taang! Records
; Phonographic Copyright (p) Toonidge Publishing
; Recorded At Squid Hell
; Recorded At Q Division Studios
; Recorded At Fort Apache
; Recorded At Platinum Sound
Sylvester [>] [D]: Living Proof [F]
Label und Katalognummer: Fantasy F 79010, Fantasy CDSEWD 107
Produktion: Harvey Fuqua & Sylvester
Veröffentlicht: 1979 02, 1990 (Reed.)
Genretags: Disco - Popdisco - Hi-NRG, Afroamericana - Soul
Trackliste: CD Ausgabe von 1990
1. Overture (Michael Finden, Eric Robinson, Sylvester, Tip Wir
rick) - 3:25, a) Grateful, b) You Make Me Feel (Mighty Real), c) Dance (Disco Heat)
2. Body Strong (Michael Finden, Sylvester) - 3:21
3. Blackbird (Lennon-McCartney) - 4:52
4. Medley (Leon Russell) - 5:58, a) Could It Be Magic, b) A Song for You
5. Happiness (Bill Anderson, Allen Toussaint) - 5:59
6. Lover Man (Oh Where Can You Be) (Jimmie Davis, Jimmy Davis, Roger 'Ram' Ramirez, Jimmy Sherman) - 6:10
7. Sharing Something Perfect Between Ourselves - 6:57
8. You Are My Friend (Armstead Edwards, James R. Budd Ellison, Patti LaBelle) - 8:16
9. Dance (Disco Heat) (Eric Robinson) - 11:09
10. You Make Me Feel (Mighty Real) (Sylvester, James Wir
rick) - 10:38
Seite A der Original 2 x 12'' Vinyl Ausgabe
1. Overture (Michael Finden, Eric Robinson, Sylvester, Tip Wir
rick) - 3:25, a) Grateful, b) You Make Me Feel (Mighty Real), c) Dance (Disco Heat)
2. Body Strong (Michael Finden, Sylvester) - 3:21
3. Blackbird (Lennon-McCartney) - 4:52
4. Medley (Leon Russell) - 5:58, a) Could It Be Magic, b) A Song for You
5. Happiness (Bill Anderson, Allen Toussaint) - 5:59
Seite B
1. Lover Man (Oh Where Can You Be) (Jimmie Davis, Jimmy Davis, Roger 'Ram' Ramirez, Jimmy Sherman) - 6:10
2. Sharing Something Perfect Between Ourselves - 6:57
3. You Are My Friend (Armstead Edwards, James R. Budd Ellison, Patti LaBelle) - 8:16
Seite C
1. Dance (Disco Heat) (Eric Robinson) - 11:09
2. You Make Me Feel (Mighty Real) (Sylvester, James Wir
rick) - 10:38
Seite D
1. Can't Stop Dancing - 6:22
2. In My Fantasy (I Want You, I Need You) - 6:30
3. Can't Stop Dancing (Reprise) - 2:56
Besetzung: Terry Adams: Strings
; Patrice Anderson: Strings
; Marc Baum: Flute, Saxophone
; Frederick Berry: Trumpet
; Adrienne Blackshere: Strings
; Edward Bogas: Strings
; Dean Boysen: Trumpet
; Phil Bray: Photography
; India Cooke: Strings
; Richard Corsello: Engineer, Mixing
; Patrick Cowley: Synthesizer
; Greg Crockett: Bass
; Ellen Dessier: Strings
; Kelvin Dixon: Drums
; Leslie Drayton: Arranger, Horn, Horn Arrangements, String Arrangements, Strings
; Julianne Feldman: Strings
; Michael Finden: Keyboards
; Gus Anthony Flores: Percussion
; David Frazier: Percussion
; Dennis Gassner: Design
; Stephen Gehl: Strings
; Kenneth Harrison: Strings
; Sharon Hymes: Vocals (Background)
; Bob Kingson: Bass
; Bob Kingston: Bass
; Danny Kopelson: Mixing Assistant
; Rick Kvistad: Timpani
; Mel Martin: Sax (Baritone)
; Mary Anne Meredith: Strings
; Carl Pedersen: Strings
; Randall Pratt: Harp
; Marjorie Prescott: Strings
; Julian Priester: Trombone
; William Pyncron: Strings
; Dan Reagan: Trombone
; Izora Rhodes: Vocals (Background)
; Barbara Riccardi: Strings
; Eric Robinson: Keyboards, Synthesizer, Vocals, Vocals (Background)
; Melinda Ross: Strings
; Nathan Rubin: Strings
; Serban Rusu: Strings
; Allen Smith: Trumpet
; David Sprunk: French Horn
; Jay Stolmac: Flute, Saxophone
; Sylvester: Arranger, Keyboards, Primary Artist, Producer, Synthesizer, Vocals
; John Tenney: Concert Master, Strings
; Jeanie Tracy: Vocals (Background)
; Emily VanValkenburgh: Strings
; Melinda Wagner: Strings
; Wayne Wallace: Trombone
; Kathy Walters: Strings
; Martha Wash: Vocals (Background)
; Ralph Wash: Guitar
; Ross Wilson: Trombone, Trumpet
; Tip Wir
rick: Guitar
Sylvester [>] [D]: Step II [F]
Assoziierte Acts: Patrick Cowley
Label und Katalognummer: Fantasy F 9556
Produktion: Harvey Fuqua & Sylvester
Veröffentlicht: 1978
Genretags: Disco - Popdisco - Hi-NRG
Trackliste: Seite A
1. You Make Me Feel (Mighty Real) (James Wir
rick, Sylvester) - 6:30
2. Dance (Disco Heat) (Eric Robinson, Victor Orsborn) - 5:50
3. You Make Me Feel (Mighty Real) (Epilogue) - 3:19
Seite B
1. Grateful (Michael Finden, Sylvester) - 3:27
2. I Took My Strength From You (Bacharach And David) - 7:16
3. Was It Something That I Said (Harvey Fuqua, Sylvester) - 4:15
4. Just You And Me Forever (Eric Robinson, Victor Orsborn) - 4:31
Besetzung: Arranged [Strings And Horns]: Leslie Drayton
; Art Direction: Phil Carroll
; Backing Vocals: Izora Armstead
; Backing Vocals: Martha Wash
; Bass: Bob Kingson (A1 to B3)
; Concertmaster, Contractor [String Contractor]: Charles Veal Jr.
; Contractor [Horn Contractor]: George Bohanon
; Design: Dennis Gassner
; Drums: Randy Merritt (A1 to B3)
; Engineer [Assistant]: Wally Buck
; Engineer [Recording]: Buddy Bruno
; Engineer [Recording]: Eddie Bill Harris
; Guitar: James Wir
rick
; Lead Vocals, Piano [Acoustic]: Sylvester
; Mastering [Mastering]: George Horn
; Organ, Electric Piano, Clavinet: Michael Finden
; Percussion: David Frazier
; Photography: Phil Bray
; Producer [Associate]: Nancy C. Pitts
; Remix: Eddie Bill Harris
; Synthesizer [String, Electro-comp 101 And 200 Models, Oberheim Ds-2 Sequencer], Effects [Special Effects]: Patrick Cowley
; Phonographic Copyright (p) Fantasy Records
; Copyright (c) Fantasy Records
; Recorded At Fantasy Studios
; Recorded At Conway Studios
; Recorded At Clark-Brown Audio
; Mixed At Fantasy Studios
; Mastered At Kendun Recorders
; Pressed By Columbia Records Pressing Plant, Terre Haute
; Produced For Honey Records Productions
T. Raumschmiere [>] [D]: Radio Blackout [F]
Label und Katalognummer: NovaMute NoMu 108
Produktion: Marco Haas
Veröffentlicht: 2003 09 22
Genretags: Electronica - Techno - Wonkytechno
Trackliste: 1. I'm Not Deaf, I'm Ignoring You - 1:56
2. Monstertruckdriver - 3:31
3. Someday - 4:30
4. The Game Is Not Over (feat. Caroline Hervé) (Marco Haas, Caroline Hervé) - 3:43
5. Drown In The Sea While Watching The Stars - 4:05
6. Rabaukendisko - 3:31
7. Wir
Kinder vom Bahnhof Strom - 4:50
8. A Million Brothers - Blah Blah Blah (feat. MC Soom-T) (Marco Haas, MC Soom-T, Sumati Bhardwaj) - 3:50
9. Querstromzerspaner - 5:43
10. Radio Blackout - 4:13
11. Musick Boy - 3:10
Alle Tracks: Marco Haas, ausser wo anders vermerkt.
Besetzung: Stefan Betke: Engineer, Mastering
; Renate Dirix: Vocals
; MC Soom T Composer, Featured Artist, Guest Artist, Primary Artist
; Miss Kittin: Vocals (4)
; Recorded [Vocals]: Cook (8)
; Vocals: MC Soom-T (8)
Label und Katalognummer: Sub Pop SP 0089b, Sub Pop SP 1179
Produktion: Butch Vig
Veröffentlicht: 1991 02 15, 2016 11 04 (Reed.)
Genretags: Alternativerock - Grunge
Trackliste: 1. Jinx - 3:03
2. Giant Killer - 3:03
3. Wir
ed God - 3:03
4. Delinquent - 2:57
5. Hedge Hog - 0:39
6. Flame Tavern - 3:19
7. Trash Truck - 3:25
8. Stumblin' Man - 3:35
9. Jack Pepsi - 3:10
10. Candi - 4:29
11. 3-D Witch Hunt - 3:34
12. Crane's Cafe - 2:47
13. Plague Years - 2:30
Bonustracks der CD Ausgabe von 2016
14. Pig Iron - 3:10
15. Nuts 'N' Bolts - 2:38
16. Delinquent - 3:03
17. Giant Killer - 3:07
18. Wir
ed God - 2:58
19. 3-D Witch Hunt - 3:37
20. Eddie Hook - 2:58
Besetzung: Bass, Vocals: Kurt Danielson
; CGI Artist [Computer Effects]: Jean-Pierre D\'Zahr
; Design: Jane Higgins
; Drums: Steve Wied
; Engineer: Doug Olson
; Guitar: Gary Thorstensen
; Photography: Charles Peterson
; Engineer: Butch Vig
; Vocals, Guitar: Tad Doyle
; Distributed By Caroline Records
; Distributed By Sub Pop
; Copyright (c) Woodgoblin Music
; Phonographic Copyright (p) Sub Pop
; Recorded At Smart Studios
; Manufactured By American Helix
Taylor Deupree [>] [D]: Harbor [F]
Label und Katalognummer: LAAPS laaps 020
Produktion: Mathias Van Eecloo
Veröffentlicht: 2022 05 30
Genretags: Post-Millennial-Music - Digital-Underground - Ambient
Trackliste: 1. Harbor - 4:43
2. Mihto - 5:10
3. Rythn - 3:33
4. Swann - 5:54
5. Ester - 5:02
6. Twirl - 2:45
7. Llown - 5:34
8. Desaturation - 9:10
Alle Tracks: Taylor Deupree.
Besetzung: Arranged: Taylor Deupree
; Artwork: Herbert Pföstl
; Design: Sprflxgrfzm
; Mastering: 12k
; Mixing: 12k
; Sounds: Taylor Deupree
; Published By 12k Music
Ted Leo And The Pharmacists [>] [D]: The Brutalist Bricks [F]
Label und Katalognummer: Matador OLE 909
Produktion: Phil Palazzolo & Christina Picciano
Veröffentlicht: 2010 03 09
Genretags: Post-Millennial-Music - Poprock - Powerpop
Trackliste: 1. The Mighty Sparrow - 2:37
2. Mourning in America - 2:59
3. Ativan Eyes - 4:22
4. Even Heroes Have to Die - 3:46
5. The Stick - 1:57
6. Bottled in Cork - 3:18
7. Woke Up Near Chelsea - 3:51
8. One Polaroid a Day - 4:10
9. Where Was My Brain? - 2:19
10. Bartolomeo and the Buzzing of Bees - 3:21
11. Tuberculoids Arrive in Hop - 2:26
12. Gimme the Wir
e - 2:55
13. Last Days - 3:47
Alle Tracks: Ted Leo.
Besetzung: Bass: Marty Key
; Drums: Chris Wilson (26)
; Guitar: James Canty
; Guitar, Vocals: Ted Leo
The Bionaut [>] [D]: Friends [F]
Label und Katalognummer: Harvest 7243 5 22118
Produktion: The Bionaut
Veröffentlicht: 1999 08 20
Genretags: Electronica - Techhouse
Trackliste: 1. Rickenbacker Elektro - 5:34
2. Wunschmaschinenpark - 3:51
3. Der Kurze Weg - 5:00
4. Interlude w/Brian - 0:50
5. Sparring Partner - 4:36
6. Aquamarine Reprise - 0:43
7. Un Buon Domani Fratello - 5:33
8. Wild Horse Annie As Herself - 4:03
9. Weird Wir
ed World - 6:24
10. Good-Bye-Onaut - 4:36
11. (I Wish I Was) Tied To Bertha - 4:31
Bonustracks
1. Wild Horse Annie (Res. Edit von Marcus Schmickler) - 5:00
2. Student Bashing On Mars (Mouse On Mars Remix) - 5:46
3. Wild Horse Annie Im Paragleiterfluchflug (Schlammpeitziger Remix) - 5:35
4. The Novotones: Electric Campfire (In A Real Ackermann Style) - 3:28
Alle Tracks: Jörg Burger.
Besetzung: Artwork By Granit
; Photography: Daniel Kaufmann
The National [>] [D]: I Am Easy To Find [F]
Label und Katalognummer: 4AD 0154
Produktion: Mike Mills & The National
Veröffentlicht: 2019 05 17
Genretags: Post-Millennial-Music - Poprock
Trackliste: 1. You Had Your Soul With You (feat. Gail Ann Dorsey) - 3:26
2. Quiet Light - 4:15
3. Roman Holiday (feat. Gail Ann Dorsey) - 3:35
4. Oblivions (feat. Mina Tindle) - 4:14
5. The Pull Of You (feat. Lisa Hannigan, Sharon Van Etten) - 3:59
6. Hey Rosey (feat. Gail Ann Dorsey) - 4:14
7. I Am Easy To Find (feat. Kate Stables) - 4:31
8. Her Father In The Pool (feat. Brooklyn Youth Chorus) - 1:03
9. Where Is Her Head (feat. Eve Owen) - 4:42
10. Not In Kansas (feat. Gail Ann Dorsey, Kate Stables, Lisa Hannigan) - 6:45
11. So Far So Fast (feat. Lisa Hannigan) - 6:37
12. Dust Swirls In Strange Light (feat. Brooklyn Youth Chorus) - 3:19
13. Hairpin Turns (feat. Gail Ann Dorsey, Lisa Hannigan) - 4:28
14. Rylan (feat. Kate Stables) - 3:44
15. Underwater (feat. Brooklyn Youth Chorus) - 1:21
16. Light Years - 3:33
Alle Tracks: Matt Berninger, Carin Besser, Aaron Dessner, Bryce Dessner und Mike Mills.
Besetzung: Arranged, Performer: The National
; Band [The National]: Aaron Dessner
; Band [The National]: Bryan Devendorf
; Band [The National]: Bryce Dessner
; Band [The National]: Matt Berninger
; Band [The National]: Scott Devendorf
; Band [Touring Members]: Ben Lanz
; Band [Touring Members]: Kyle Resnick
; Bass [Paris]: Grégoire Dubruel
; Bass [Paris]: Thomas Garoche
; Cello [New York]: Alan Richardson
; Cello [New York]: Andrea Lee
; Cello [New York]: Wolfram Koessel
; Cello [Paris]: Barbara Le Liepvre
; Cello [Paris]: Ella Jarrige
; Cello [Paris]: Juliette Salmona
; Chorus Master [Brooklyn Youth Chorus, Artistic Director]: Dianne Berkun
; Chorus [Brooklyn Youth Chorus]: Abigail Lienhard
; Chorus [Brooklyn Youth Chorus]: Aliyah Weiss
; Chorus [Brooklyn Youth Chorus]: Amayah Hutchinson
; Chorus [Brooklyn Youth Chorus]: Anna Vartsaba
; Chorus [Brooklyn Youth Chorus]: Avery Soto
; Chorus [Brooklyn Youth Chorus]: Clara Rosarius
; Chorus [Brooklyn Youth Chorus]: Clementine Vonnegut
; Chorus [Brooklyn Youth Chorus]: Cora Clum
; Chorus [Brooklyn Youth Chorus]: Fannie Feynberg
; Chorus [Brooklyn Youth Chorus]: Jeanne Bransbourg
; Chorus [Brooklyn Youth Chorus]: Joseph Brooks
; Chorus [Brooklyn Youth Chorus]: Katy Urda
; Chorus [Brooklyn Youth Chorus]: Lila Hasenstab
; Chorus [Brooklyn Youth Chorus]: Mariana Weaver
; Chorus [Brooklyn Youth Chorus]: Maya Baijal
; Chorus [Brooklyn Youth Chorus]: Maya Renaud-Levine
; Chorus [Brooklyn Youth Chorus]: Maya Sequira
; Chorus [Brooklyn Youth Chorus]: Morgan Colton
; Chorus [Brooklyn Youth Chorus]: Natalie Hawkins
; Chorus [Brooklyn Youth Chorus]: Raquel Klein
; Chorus [Brooklyn Youth Chorus]: Sarah Sotomayor
; Chorus [Brooklyn Youth Chorus]: Tatyana Sgaraglino
; Chorus [Brooklyn Youth Chorus]: Thalia Glyptis
; Cinematographer [Cinematography By]: Daniel Voldheim
; Creative Director [Creative Direction By]: Mike Mills
; Design [Album Design By]: OSK Design
; Double Bass [New York]: Logan Coale
; Drum Programming: Andrew Broder
; Drums: Ben Sloan
; Drums, Percussion, Dulcimer [Chord Stick]: Jason Treuting
; Engineer [Assistant Engineer Recording]: Bella Blasko
; Keyboards, Piano: Thomas Bartlett
; Legal [For Carroll Guido Groffman Cohen Bar & Karalian, LLP]: Gillian Bar
; Management [Additional Management For Lemon House Productions]: Jamie Heaslip
; Management [Business Management For Phil Sarna Business Management]: Gloria Lee
; Management [Business Management For Phil Sarna Business Management]: Hyun-Joo Park
; Management [Business Management For Phil Sarna Business Management]: Tara Beaudine
; Management [For Straight & Narrow Artist Management]: Alison D\'Arrigo
; Management [For Straight & Narrow Artist Management]: Brandon Reid
; Management [For Straight & Narrow Artist Management]: Grant Manship
; Management [For Straight & Narrow Artist Management]: Julia Willinger
; Management [For Straight & Narrow Artist Management]: Shaun Gibson
; Management [For Straight & Narrow Artist Management]: Wayne Petti
; Mastering: Greg Calbi
; Mastering [Mastered With]: Steve Fallone
; Mixing: Peter Katis
; Mixing [Additional Mixing By]: Jonathan Low
; Music By: Aaron Dessner
; Music By: Bryce Dessner
; Orchestrated By [Orchestration By]: Bryce Dessner
; Percussion, Dulcimer [Chord Stick]: Eric Beach
; Producer: Mike Mills
; Producer: The National
; Producer [Additional Production In Berlin And Paris]: Aaron Dessner
; Producer [Additional Production In Berlin And Paris]: Bryce Dessner
; Producer [Additional Production In Cincinnati]: Curt Kiser (6, 13)
; Producer [Additional Production In Los Angeles]: Matt Berninger
; Programmed By: Andi Toma
; Programmed By: Jan St. Werner
; Promotion [For Fifth Avenue PR (UK)]: Sarah Lowe
; Promotion [International]: Annette Lee
; Promotion [Publicity For Grandstand Media (US)]: Dana Erickson
; Promotion [Publicity For Grandstand Media (US)]: Kate Jackson
; Recording: Jonathan Low
; Recording [Additional Recording By, Earthstar]: Sean O\'Brien (7)
; Recording [Additional Recording By]: Aaron Dessner
; Recording [Additional Recording By]: Andi Toma
; Recording [Additional Recording By]: Ber Quinn
; Recording [Additional Recording By]: Elijah Walker II
; Recording [Additional Recording By]: Isaac Karns
; Recording [Additional Recording By]: Jan St. Werner
; Recording [Additional Recording By]: Steph Marziano
; Recording [Additional Recording By]: Thomas Bunio
; Strings: Padma Newsome
; Synthesizer: Alexander Ridha
; Synthesizer: Isaac Karns
; Synthesizer [OP-1]: Justin Vernon
; Synthesizer, Trombone: Ben Lanz
; Viola [New York]: Caitlin Lynch
; Viola [New York]: Caleb Burhans
; Viola [New York]: Miranda Sielaff
; Viola [Paris]: Benachir Boukhatem
; Viola [Paris]: Marine Gandon
; Viola [Paris]: Sarah Chenaf
; Violin [First Violin, New York]: Ben Russell
; Violin [First Violin, New York]: Johnny Gandelsman
; Violin [First Violin, New York]: Katie Hyun
; Violin [First Violin, New York]: Monica Davis
; Violin [First Violin, Paris]: Ariadna Teyssier
; Violin [First Violin, Paris]: Charlotte Juillard
; Violin [First Violin, Paris]: Domitille Gilon
; Violin [First Violin, Paris]: Marc Desjardins
; Violin [First Violin, Paris]: Nikolai Spassov
; Violin [Second Violin, New York]: Emily Daggett Smith
; Violin [Second Violin, New York]: Guillaume Pirard
; Violin [Second Violin, New York]: Rachel Shapiro
; Violin [Second Violin, New York]: Sarah Whitney
; Violin [Second Violin, Paris]: Emilie Duch-Sauzeau
; Violin [Second Violin, Paris]: Leslie Boulin-Raulet
; Violin [Second Violin, Paris]: Matthias Piccin
; Violin [Second Violin, Paris]: Pauline Hauswirth
; Vocals: Dian Sorel
; Vocals: Eve Owen
; Vocals: Gail Ann Dorsey
; Vocals: Kate Stables
; Vocals: Kyle Resnick
; Vocals: Lisa Hannigan
; Vocals: Mina Tindle
; Vocals: Mélissa Laveaux
; Vocals: Sharon Van Etten
; Licensed From The National
; Phonographic Copyright (p) 4AD Ltd.
; Copyright (c) 4AD Ltd.
; Published By BMG Rights Management (US) LLC
; Produced At Long Pond
; Recorded At Long Pond
; Recorded At Earthstar Creation Center
; Recorded At Aaron\'s Garage
; Recorded At Alina Chapel
; Recorded At Delta, Paris
; Recorded At Dreamland Recording Studios
; Recorded At Future-Past Studios
; Recorded At Funkhaus-Studio
; Recorded At Marble Garden
; Recorded At Overlook Studio (2)
; Recorded At Public Hi-Fi
; Recorded At Reservoir Studios, Nyc
; Recorded At Sonic Studios, Dublin
; Recorded At Studio G, Brooklyn, NY
; Recorded At Studio Saint Germain
; Mixed At Long Pond
; Mastered At Sterling Sound
The Range [>] [D]: Potential [F]
Label und Katalognummer: Domino WIGCD 358
Produktion: James Hinton
Veröffentlicht: 2016 03 25
Genretags: Post-Millennial-Music - Digital-Underground - Footwork
Trackliste: 1. Regular - 3:20
2. Copper Wir
e - 3:45
3. Florida - 3:26
4. Superimpose - 2:45
5. Five Four - 3:53
6. Falling Out of Phase - 3:15
7. No Loss - 4:14
8. Skeptical - 3:45
9. Retune - 3:46
10. So - 3:33
11. 1804 - 4:32
Alle Tracks: James Hinton.
Thin White Rope [>] [D]: Moonhead (= Moonhead ...Plus) [F]
Label und Katalognummer: Demon Records ZONG 017, Diabolo Records DIAB 825
Produktion: Paul McKenna & Thin White Rope
Veröffentlicht: 1987 02, 1997 (Reed. UK)
Genretags: Indiepop - Janglepop - Paisleyunderground
Trackliste: 1. Not Your Fault (Jozef Becker, Guy Kyser) - 3:48
2. Wir
e Animals - 4:03
3. Take It Home - 6:19
4. Thing - 2:56
5. Moonhead (Jozef Becker, Roger Kunkel, Guy Kyser, Stephen Tesluk) - 4:48
6. Wet Heart - 4:36
7. Mother (Roger Kunkel, Guy Kyser) - 4:30
8. Come Around - 2:21
9. If Those Tears - 3:21
10. Crawl Piss Freeze (Guy Kyser, Stephen Tesluk) - 5:36
Alle Tracks: Guy Kyser, ausser wo anders vermerkt.
CD Ausgabe von 1997 Moonhead ...Plus (UK)
1. Not Your Fault - 3:47
2. Wir
e Animals - 4:01
3. Take It Home - 4:36
4. Thing - 2:56
5. Moonhead - 4:47
6. Wet Heart - 4:35
7. Mother - 4:28
8. Come Around - 2:21
9. If Those Tears - 3:19
10. Crawl Piss Freeze - 5:37
11. Tina And Glen (Demo) - 2:57
12. Munich Eunuch (Demo) - 6:23
13. God Rest Ye Merry Gentlemen (Live) - 0:42
14. Here She Comes Now (Demo) - 4:04
Besetzung: Jozef Becker: Composer, Drums
; Ross Garfield: Drum Technician
; Greg Gavin: Cover Painting, Paintings
; John Golden: Mastering
; Merril Greene: Photography
; Robin K.: Photography
; Roger Kunkel: Guitar, Vocals
; Guy Kyser: Guitar, Vocals
; Paul McKenna: Engineer
; Wendy Sherman: Design
; Stephen Tesluk: Bass, Vocals
; John VanFeldt: Bass
Third Eye Foundation [>] [D]: I Poopoo On Your Juju [F]
Label und Katalognummer: Domino WIGCD 091, Merge MRG 499
Produktion: Matt Elliott
Veröffentlicht: 2001 02 26 (UK), 2001 05 22 (US)
Genretags: Indiepop - Noisepop - Shoegaze
Trackliste: 1. Yann Tiersen: La Dispute (3rd Eye Foundation Remix) (Yann Tiersen) - 6:30
2. Tarwater: To Describe You (3rd Eye Foundation Remix) (Bernd Jestram, Ronald Lippok) - 4:46
3. Urchin: Snuffed Candles (3rd Eye Foundation Remix) - 7:57
4. Remote Viewer: All Of The WCKW Want To Be Abstract (3ef Version) (Andrew Johnson (3), Craig Tattersall) - 5:43
5. Matt Elliott & Chris Morris: Push Off My Wir
e (Matt Elliott) - 5:42
6. Blonde Redhead: Four Damaged Lemons (Blonde Redhead) - 5:08
7. Faultline: Mute (3rd Eye Foundation Remix) (David Kosten, Keith Bayley) - 6:25
8. Glänta & Third Eye Foundation: When I Dance (Jonathan Richman) - 7:55
Besetzung: Artwork, Photography: Uncle Vania
; Other [Model]: Oren Ben Yosef
; Other [Model]: Rachel Van Asch
; Other [Model]: Saxy MF
; Other [Model]: Yaron Allouche
; Phonographic Copyright (p) Domino Recording Co. Ltd.
; Copyright (c) Domino Recording Co. Ltd.
; Published By BMG Music Publishing
; Published By City Slang Musikverlag
Tim Hardin [>] [D]: Bird On A Wire [F]
Label und Katalognummer: Columbia CS 30551
Produktion: Ed Freeman
Veröffentlicht: 1971 07
Genretags: Folk - Urbanfolk - Baroquefolk
Trackliste: Seite A
1. Bird on the Wir
e (Cohen) - 5:28
2. Moonshiner - 3:14
3. Southern Butterfly - 2:49
4. A Satisfied Mind (Hayes, Rhodes) - 2:08
5. Soft Summer Breeze - 3:04
Seite B
1. Hoboin' (Hardin, Hooker, Josea) - 3:25
2. Georgia on My Mind (Carmichael, Gorrell) - 4:31
3. André Johray - 2:47
4. If I Knew - 3:52
5. Love Hymn - 4:37
Alle Tracks: Tim Hardin, ausser wo anders vermerkt.
Besetzung: Tim Hardin: vocals, guitar, keyboards
; Joe Zawinul: keyboards
; Warren Bernhardt: keyboards
; Sam T. Brown: guitar
; Bill Chelf: keyboards
; Ed Freeman: guitar, string and horn arrangements
; Monte Dunn: guitar
; Steve Haas: drums, percussion
; Paul Hornsby: keyboards
; Bill Keith: pedal steel guitar
; Tony Levin: bass
; Glenn Moore: bass
; Richard Bock: cello
; George Ricci: cello
; Margaret Ross: harp
; Ralph MacDonald: drums, percussion
; Natoga: drums, percussion
; Alphonse Mouzon: drums, percussion
; Mike Mainieri: vibraphone, background vocals
; Canby Singers: background vocals
; Robert Popwell: bass
; Rob Rothstein: bass
; Joe Rudd: guitar
; Bill Stewart: drums, percussion
; Ralph Towner: guitar
; Miroslav Vitous: bass
; Collin Walcott: vibraphone, background vocals
; Engineered by Jim Greene, Lacy O\'Neal, Doug Pomeroy
; Mastered by Lous Schlossberg
Tim Hecker [>] [D]: Radio Amor [F]
Label und Katalognummer: Mille Plateaux MP 119
Produktion: Tim Hecker
Veröffentlicht: 2003 03 25
Genretags: Electronica - Ambient - Glitchambient
Trackliste: 1. Song Of The Highwire Shrimper - 7:24
2. (They Call Me) Jimmy - 4:52
3. Spectral - 8:09
4. I'm Transmitting Tonight - 5:16
5. 7000 Miles - 5:43
6. Shipyards Of La Ceiba - 1:56
7. Careless Whispers - 5:11
8. The Star Compass - 4:49
9. Azure Azure - 10:34
10. Trade Winds, White Heat - 4:22
Besetzung: Design: Aaron McConomy
; Photography: Tim Hecker
Times New Viking [>] [D]: Over & Over [F]
Label und Katalognummer: Siltbreeze SB 145
Veröffentlicht: 2012 10 16
Genretags: Post-Millennial-Music - Lo-Fi-Underground - Shitgaze
Trackliste: Seite A
1. Sleep-in - 2:52
2. Telephone Wir
es - 2:36
3. Y2K2 - 2:13
Seite B
1. Future with Girls - 2:10
2. Middle Class Drags - 2:33
3. At The Bars - 1:31
Tocotronic [>] [D]: Wir kommen um uns zu beschweren [F]
Label und Katalognummer: L'Age d'or LADO 17038
Produktion: Carol Von Rautenkranz & Tocotronic
Veröffentlicht: 1996 04 01
Genretags: Alternativerock - Diskursrock - Hamburger-Schule, Alternativerock - Punkrock - Poppunk, Alternativerock - Punkrock - Powertrio
Trackliste: 1. Jetzt geht wieder alles von vorne los - 3:56
2. Die Welt kann mich nicht mehr verstehen - 1:38
3. Ich habe geträumt, ich wäre Pizza essen mit Mark E. Smith - 1:09
4. Schritte auf der Treppe - 3:40
5. Wir
kommen um uns zu beschweren - 2:01
6. So jung kommen wir nicht mehr zusammen - 5:46
7. Der Cousin - 1:02
8. Ich verabscheue euch wegen eurer Kleinkunst zutiefst - 1:20
9. Bitte gebt mir meinen Verstand zurück - 2:22
10. Die Sache mit der Team Dresch Platte - 1:19
11. Ich bin ganz sicher schon einmal hiergewesen - 6:24
12. Ich wünschte, ich würde mich für Tennis interessieren - 2:57
13. Ich werde mich nie verändern - 1:47
14. Ich möchte irgendetwas für dich sein - 7:46
15. Ich mache meinen Frieden mit euch - 1:37
16. Ich heirate eine Familie - 3:38
Alle Tracks: Tocotronic.
Besetzung: Artwork: Bianca Gabriel
; Artwork: Tocotronic
; Bass: Jan Müller
; Drums, Guitar, Vocals, Synthesizer [Casio Pt 20]: Arne Zank
; Guitar, Vocals: Dirk von Lowtzow
; Mastering: Bernd Steinwedel
; Photography: Carol Von Rautenkranz
; Photography: Myriam Brüger
; Recording, Mixing, Co-producer: Christian Mevs
Tocotronic [>] [D]: Digital ist besser [F]
Label und Katalognummer: L'age d'or LADO 17031
Produktion: Christian Mevs & Carol Von Rautenkranz
Veröffentlicht: 1995
Genretags: Alternativerock - Diskursrock - Hamburger-Schule, Alternativerock - Punkrock - Poppunk, Alternativerock - Punkrock - Powertrio
Trackliste: 1. Freiburg - 2:31
2. Meine Freundin und ihr Freund - 2:23
3. Ich glaube ich habe meine Unschuld verloren - 1:37
4. Samstag ist Selbstmord - 4:09
5. Drüben auf dem Hügel - 2:13
6. Wir
sind hier nicht in Seattle, Dirk - 3:13
7. An einem Dienstag im April - 1:58
8. Die Idee ist gut, Doch die Welt noch nicht bereit - 4:19
9. Drei Schritte vom Abgrund entfernt - 1:31
10. Digital ist besser - 1:51
11. Wie wir beide nebeneinander auf dem Teppichboden sitzen - 2:24
12. Letztes Jahr im Sommer - 2:59
13. Jungs, hier kommt der Masterplan - 2:16
14. Hamburg rockt - 2:58
15. Ich bitte dich - 2:42
16. Ich weiß es nicht - 1:57
17. Ich möchte Teil einer Jugendbewegung sein - 5:13
18. Über Sex kann man nur auf Englisch singen - 3:48
Alle Tracks: Tocotronic.
Besetzung: Artwork By: Bianca Gabriel, Tocotronic
; Bass: Jan Müller
; Mastered: Christian Mevs
; Vocals, Drums, Guitar, Keyboards [Casio]: Arne Zank
; Vocals, Guitar, Keyboards [Casio]: Dirk von Lowtzow
Tocotronic [>] [D]: K.O.O.K. [F]
Label und Katalognummer: L'Age d'or LADO 17066
Produktion: Tocotronic & Carol von Rautenkranz
Veröffentlicht: 1999 07 26
Genretags: Alternativerock - Diskursrock - Hamburger-Schule, Alternativerock - Punkrock - Poppunk, Alternativerock - Punkrock - Powertrio
Trackliste: 1. Kook - 2:26
2. Das Unglück Muss Zurückgeschlagen Werden - 4:20
3. Jackpot - 3:15
4. Die Grenzen des Guten Geschmacks - 3:38
5. Let There Be Rock - 3:58
6. Unter Der Schnellstrasse - 2:34
7. Tag Ohne Schatten - 2:40
8. Das Geschenk - 6:56
9. Das Sind Keine Ratsel - 4:47
10. Jenseits des Kanals - 4:11
11. Der Gute Rat - 2:21
12. Um Die Ecke (Gedacht) - 3:02
13. Die Neuen Seltsamkeit - 4:46
14. Morgen Wir
d Wie Heute Sein - 4:23
15. Die Grenzen Guten Geschmacks 2 - 2:36
16. Rock Pop in Concert - 3:51
17. 17 - 11:07
Alle Tracks: Tocotronic.
Besetzung: Bass: Jan Müller
; Co-producer, Recorded By: Peter Deimel
; Drums: Arne Zank
; Edited By [Digital], Mixed By [Assistance]: Chris von Rautenkranz, Christian Mevs
; Mastered By: Christian Mevs
; Mixed By: Carol von Rautenkranz, Peter Deimel
; Recorded By: Peter Deimel
; Recorded By [Additional]: Chris von Rautenkranz, Christian Mevs
; Recorded By [Strings & Horns]: Mario Thaler
; Vocals, Guitar: Dirk von Lowtzow
Tocotronic [>] [D]: Tocotronic [F]
Label und Katalognummer: L'age d'or LADO 17086
Produktion: Tobias Levin
Veröffentlicht: 2002 06 10
Genretags: Alternativerock - Diskursrock - Hamburger-Schule, Alternativerock - Punkrock - Poppunk, Alternativerock - Punkrock - Powertrio
Trackliste: 1. This Boy Is Tocotronic - 4:05
2. Alles wird in Flammen stehen - 5:50
3. Hier ist der Beweis - 4:22
4. Hi Freaks - 6:15
5. Führe mich sanft - 4:18
6. Free Hospital - 6:55
7. Das böse Buch - 4:31
8. Näher zu dir - 3:57
9. Schatten werfen keine Schatten - 7:28
10. Dringlichkeit besteht immer - 4:46
11. Wolke der Unwissenheit - 4:33
12. Drama - 4:01
13. Neues vom Trickser - 4:47
Alle Tracks: Tocotronic.
Besetzung: Artwork: Tocotronic
; Mastered By: Kai Blankenberg
; Mixed By: Christian Mevs (3, 7), Michael Ilbert (1, 2, 4-6, 8-11, 13), Tobias Levin (12)
; Performer: Arne Zank, Dirk von Lowtzow, Jan Müller (2), Tobias Levin
; Photography By [Band]: Annette Kelm
; Photography By [Portrait]: Gianni Occhipinti
; Producer [Assistant], Mixed By [Assistant]: Thomas Maringer
; Recorded By: Arne Zank (12), Thomas Maringer (1-11, 13), Tobias Levin (1-11, 13)
Tocotronic [>] [D]: Kapitulation [F]
Label und Katalognummer: Vertigo 1735086
Produktion: Moses Schneider
Veröffentlicht: 2007 07 06
Genretags: Alternativerock - Diskursrock - Hamburger-Schule, Alternativerock - Punkrock - Poppunk, Alternativerock - Punkrock - Powertrio
Trackliste: 1. Mein Ruin - 5:45
2. Kapitulation - 4:15
3. Aus Meiner Festung - 5:18
4. Verschwör Dich Gegen Dich - 4:11
5. Wir
Sind Viele - 6:54
6. Harmonie Ist Eine Strategie - 4:35
7. Imitationen - 4:17
8. Wehrlos - 3:49
9. Dein Geheimer Name - 4:00
10. Sag Alles Ab - 2:02
11. Luft - 5:13
12. Explosion - 3:46
Alle Tracks: Tocotronic.
Besetzung: Artwork By: Henrik Olesen
; Choir: Barbara Wagner, Julia Wilton, Michaela Meise, Sila Davulcu, Virginia Rösinger
; Edited By: Arne Denneler, Ben Lauber
; Mastered By: Michael Schwabe
; Mixed By: Michael Ilbert
; Photography: Jan Timme
Tocotronic [>] [D]: Wie wir leben wollen [F]
Label und Katalognummer: Vertigo Berlin 00602537250141
Produktion: Moses Schneider
Veröffentlicht: 2013 01 25
Genretags: Alternativerock - Diskursrock - Hamburger-Schule, Alternativerock - Punkrock - Poppunk, Alternativerock - Punkrock - Powertrio
Trackliste: 1. Im Keller - 3:17
2. Auf Dem Pfad Der Dämmerung - 4:01
3. Abschaffen - 4:56
4. Ich Will Für Dich Nüchtern Bleiben - 3:11
5. Chloroform - 3:12
6. Neutrum - 4:18
7. Vulgäre Verse - 4:44
8. Warte Auf Mich Auf Dem Grund Des Swimmingpools - 6:39
9. Die Verbesserung Der Erde - 5:43
10. Exil - 3:13
11. Die Revolte Ist In Mir - 3:52
12. Warm Und Grau - 5:11
13. Eine Theorie - 3:24
14. Höllenfahrt Am Nachmittag - 2:26
15. Neue Zonen - 4:45
16. Wie Wir
Leben Wollen - 4:31
17. Unter Dem Sand - 2:22
Alle Tracks: Tocotronic
Bonustracks der Netaudio Ausgabe von 2013
1. Lied Der Jugend - 4:28
2. Monchichi - 2:05
3. How We Aim To Live - 4:42
Besetzung: Recorded at Candy Bomber Studio
; Recorded at Transporterraum
; Recorded at The Upper Room
; Mixed at Hansa Mix Room
; Mastered at Monoposto Mastering
; Published by Gold Musikverlag
; Published by Hanseatic Musikverlag
; Accompanied by Max Möhler
; Additional Vocals : Julia Wilton, Michaela Meise
; Artwork : Jungundwenig, Precious, Tocotronic
; Castanets : Ben Lauber
; Glockenspiel : Ben Lauber
; Instruments : Tocotronic
; Kanun : Ben Lauber
; Management : Stephan Rath
; Mastered by Michael Schwabe
; Mixed by Michael Ilbert
; Photography : Michael Petersohn
; Recorded by Ingo Krauss
; Text by Tocotronic
; Theremin : Dorit Chrysler
; Title Font : Elsa Bablitzka
; Wind : Ebba Durstewitz, Jakobus Siebels
Tocotronic [>] [D]: Die Unendlichkeit [F]
Label und Katalognummer: Vertigo Berlin
Produktion: Moses Schneider
Veröffentlicht: 2018 01 26
Genretags: Alternativerock - Diskursrock - Hamburger-Schule
Trackliste: 1. Die Unendlichkeit - 5:29
2. Tapfer und grausam - 3:43
3. Electric Guitar - 4:04
4. Hey Du - 2:02
5. Ich lebe in einem wilden Wir
bel - 2:41
6. 1993 - 2:44
7. Unwiederbringlich - 4:16
8. Bis uns das Licht vertreibt - 4:10
9. Ausgerechnet du hast mich gerettet - 3:18
10. Ich würd's dir sagen - 3:27
11. Mein Morgen - 5:54
12. Alles was ich immer wollte war alles - 3:40
13. Schlittenflug (Grant Hart) - 2:41
14. Die Verdammten - 2:34
15. Nineteen Hundred Ninety Three AD - 2:33
16. Über mich - 2:29
Alle Tracks: Tocotronic, ausser wo anders vermerkt.
Besetzung: Synthesizer [Strings]: Vredeber Albrecht (3)
; Arranged By [Orchestra], Recorded By: Paul Gallister (7, 11, 12)
; Cello: Lukas Lauermann (7, 11, 12)
; Clarinet: Paul Schreiner (7, 11, 12)
; Mastering: Joe LaPorta
; Mixing: Michael Ilbert
; Ondes Martenot, Synthesizer, Piano, Cello, Violin, Viola, Electric Organ, Mellotron: Friedrich Paravicini (1-4, 8, 9, 11)
; Performer: Arne Zank
; Performer: Dirk von Lowtzow
; Performer: Jan Müller
; Performer: Rick McPhail
; Recording: Moses Schneider
; Phonographic Copyright (p) Tocotronic Neu GbR
; Copyright (c) Tocotronic Neu GbR
Tod Dockstader [>] [D]: Aerial #2 [F]
Label und Katalognummer: Sub Rosa SR 228
Produktion: Tod Dockstader
Veröffentlicht: 2005 11 22
Genretags: Akademica - Elektronische-Musik - Tapemusic
Trackliste: 1. Approach - 1:52
2. Omaggio A Fellini - 1:50
3. Pipes - 4:04
4. Orgal - 3:37
5. Babbel - 3:53
6. Yaya - 4:21
7. Ba Loon - 3:16
8. Clocking - 3:37
9. Wail - 8:33
10. Bottom - 3:34
11. Feeder - 1:36
12. Spindrift - 3:35
13. Surfer - 4:59
14. Low Roller - 3:23
15. Still - 4:56
16. Beating - 3:51
17. Piccolo - 5:40
18. Wir
e - 2:07
19. Knock - 6:20
20. Wah - 3:02
21. Aah - 1:40
Alle Tracks: Tod Dockstader.
Besetzung: Peter Maybury: Design
Tomte [>] [D]: Buchstaben über der Stadt [F]
Label und Katalognummer: Grand Hotel Van Cleef GHvC 027
Produktion: Swen Meyer & Tomte
Veröffentlicht: 2006 02 03
Genretags: Alternativerock - Diskursrock - Hamburger-Schule
Trackliste: 1. Ich sang die ganze Zeit von dir - 4:23
2. So soll es sein - 3:33
3. Was den Himmel erhellt - 4:32
4. New York (feat. Sven Regener) - 4:47
5. Walter & Gail - 4:58
6. Norden der Welt - 4:18
7. Warum ich hier stehe - 4:21
8. Auf meinen Schultern - 3:24
9. Sie lachen zu Recht und wir lachen auch - 4:14
10. Geigen bei Wonderful World (feat. Sven Regener) - 4:15
Alle Tracks: Thees Uhlmann und Tomte.
DVD
1. Das War Ich (Hemmoor Mit Den Augen Von Thees Uhlmann)
2. Videoclip - Ich Sang Die Ganze Zeit Von Dir
3. Making Of - Ich Sang Die Ganze Zeit Von Dir
4. Diashow - Kommentierte Tourgalerie
5. Interview Von Ingo Neumayer
Besetzung: Ingo Pertramer: Photography
; Timo Bodenstein: Schlagzeug
; Oliver Koch: Bass
; Hagen Kuhr: Celli
; Sven Regener: Trumpet
; Antje Schröder: Artwork
; Michael Schwabe: Mastering
; Thees Uhlmann: Gesang, Guitar
; Trumpet: Sven Regener (4, 10)
; Cello: Hagen Kuhr, Hanno Kuhns (7, 10)
; Violin: Bruno Merse, Juliane Merse (7, 10)
; Vocals: Alex Matthes (10)
; Distributed By Indigo
Ton Steine Scherben [>] [D]: Keine Macht für niemand [F]
Label und Katalognummer: David Volksmund Produktion TSS 17
Produktion: Ton Steine Scherben
Veröffentlicht: 1972 11 17
Genretags: Rock - Poprock - Deutschrock
Trackliste: Seite A
1. Wir
müssen hier raus! (Ralph Möbius, Ralph Steitz) - 5:21
2. Feierabend (Möbius, Steitz) - 4:41
3. Die letzte Schlacht gewinnen wir (Möbius, Steitz) - 4:18
Seite B
1. Paul Panzers Blues (Nikel Pallat, Möbius) - 6:41
2. Menschenjäger (Möbius, Steitz) - 4:18
3. Allein machen sie Dich ein (Möbius, Steitz) - 4:41
Seite C
1. Schritt für Schritt ins Paradies (Möbius, Steitz) - 6:52
2. Der Traum ist aus (Möbius) - 9:24
Seite D
1. Mensch Meier (Möbius, Steitz) - 3:43
2. Rauch-Haus-Song (Möbius) - 3:59
3. Keine Macht für Niemand (Möbius, Steitz) - 4:08
4. Komm schlaf bei mir (Möbius) - 4:02
Besetzung: Ralph Möbius: Vocals, Guitar, Keyboard
; Ralph Steitz: Guitar, Drums, backup vocals
; Kai Sichtermann: Bass guitar, Banjo, backup vocals
; Nikel Pallat: vocals, backup vocals
; Jörg Schlotterer: Flute, backup vocals
; Angie Olbrich: Backup vocals
; Anna Schimany: Backup vocals
; Olaf Lietzau: Drums
; Jochen Petersen: Saxophone
; Klaus Schulz: Cowbell
; Gaby Borowski & Rauch-Haus-Chor: Backup vocals
; Klaus Freudigmann: Sound
; Gert Möbius: Cover
Ton Steine Scherben [>] [D]: Wenn die Nacht am tiefsten ... [F]
Label und Katalognummer: David Volksmund Produktion DVP 002
Produktion: Ton Steine Scherben
Veröffentlicht: 1975 06 13
Genretags: Rock - Poprock - Deutschrock
Trackliste: Seite A
1. Heut Nacht (Ralph Möbius, R.P.S. Lanrue) - 6:15
2. Samstag Nachmittag (Möbius, Lanrue) - 5:01
3. Guten Morgen (Nikel Pallat, Möbius) - 4:16
4. Durch die Wüste (Möbius, Lanrue) - 4:59
Seite B
1. Nimm den Hammer (Möbius, Lanrue) - 5:22
2. Ich geh weg (Möbius, Lanrue) - 3:23
3. Halt dich an deiner Liebe fest (Möbius, Lanrue) - 6:58
4. Wir
sind im Licht (Pallat, Lanrue) - 5:31
Seite C
1. Wenn die Nacht am tiefsten... (Möbius, Lanrue) - 3:31
2. Land in Sicht (Möbius, Lanrue) - 7:11
3. Komm an Bord (Möbius, Lanrue) - 9:14
Seite D
1. Steig ein (Möbius, Lanrue) - 20:50
Besetzung: Ralph Möbius: Vocals, Guitar, Keyboards
; R.P.S. Lanrue: Guitar, Backup vocals
; Werner \'Gino\' Götz: Bass, saxophone
; Nikel Pallat: Vocals
; Funky K. Götzner: Drums
; Jörg Schlotterer: Flute
; Jako Benz: Guitar
; Vegas von Trantor: Percussion
; Angie Olbrich: Backup vocals
; Britta Neander: Backup vocals
; Gaby Borowski: Backup vocals
; Richard Borowski: Sound
; Gert Möbius: Cover design
Tony Osborne [>] [D]: Piano In The Night (The Pianos Of Tony Osborne) [F]
Label und Katalognummer: Deram SML 705
Produktion: Michael Barclay & Hugh Mendl
Veröffentlicht: 1967
Genretags: Traditionalpop - Orchestralpop - Easylistening
Trackliste: Seite A
1. Play A Simple Melody (Irving Berlin) -
2. Pink Elephants (Harry Woods (2), Mort Dixon) -
3. Sentimental Journey (Ben Homer, Bud Green, Les Brown) -
4. El Soñador (Tony Osborne) -
5. Elmer's Tune (Dick Jurgens, Elmer Albrecht, Sammy Gallop) -
6. Exodus Main Theme (Ernest Gold) -
Seite B
1. Johnny Peddler (I Got) (Laurindo Almeida, Lew Brown, Wir
ajara Nesdan) -
2. Ferryboat Serenade (Eldo di Lazzaro, Harold Adamson, Mario Panzeri) -
3. My Guy's Come Back (Mel Powell, Ray McKinley) -
4. I Love A Piano (Irving Berlin) -
6. Sunshine Holiday (Day (4)) -
6. Volare (Domenico Modugno, Franco Migliacci, Mitchell Parish) -
Besetzung: Engineer [Assistant Engineer]: Derek Varnals
; Engineer [Recording Engineer]: Terry Johnson
; Lacquer Cut By: W (12)
; Music Director: Tony Osborne
; Photography, Cover [Cover Photograph By]: Captain Hooper
; Piano: Tony Osborne
; Copyright (c) The Decca Record Company Limited
; Made By The Decca Record Company Limited
; Published By France Mélodie
; Published By Irving Berlin
; Published By Francis, Day & Hunter
; Published By E. H. Morris
; Published By Mason Music
; Published By Chappell
; Published By Sun Music (2)
; Published By Peter Maurice
; Published By Mozart Edition
; Published By Robbins Music
; Pressed By Decca Record Co. Ltd., Pressing Plant, UK.
; Printed By Clout & Baker Ltd.
; Lacquer Cut At Decca Studios
Tori Amos [>] [D]: From The Choirgirl Hotel [F]
Label und Katalognummer: Atlantic 83095
Produktion: Tori Amos
Veröffentlicht: 1998 05 05
Genretags: Rock - AOR-Rock - AOR-Poprock
Trackliste: 1. Spark - 4:14
2. Cruel - 4:07
3. Black-Dove (January) - 4:38
4. Raspberry Swirl - 3:58
5. Jackie's Strength - 4:26
6. i i e e e - 4:07
7. Liquid Diamonds - 6:21
8. She's Your Cocaine - 3:42
9. Northern Lad - 4:19
10. Hotel - 5:19
11. Playboy Mommy - 4:08
12. Pandora's Aquarium - 4:46
Alle Tracks: Tori Amos.
Besetzung: Bass: George Porter, Jr. (7-9, 11, 12), Justin Meldal-Johnsen (1-6, 10)
; Drums: Matt Chamberlain
; Guitar: Steve Caton (1-6, 8, 10)
; Mastered By: Jon Astley
; Mixed By: Marcel van Limbeek
; Programmed By: Andy Gray (2, 4, 6, 7, 10)
; Recorded By: Mark Hawley
; Recorded By [Assistant], Mixed By [Assistant]: Rob van Tuin
; Percussion, Marimba: Matt Chamberlain (2)
; Mandolin: Steve Caton (3)
; Orchestra: Sinfonia Of London Orchestra (5)
; Conductor: David Firman (5)
; Arranged By [Strings]: John Philip Shenale (5)
; Guitar: Stewart Boyle (9), Willy Porter (11)
; Steel Guitar [Pedal Steel]: Al Perkins (11)
Tripwires [>] [D]: Spacehopper [F]
Label und Katalognummer: Club AC30, Frenchkiss FKR 0692
Produktion: Nicolas Vernhes
Veröffentlicht: 2013 07 17 (UK), 2013 06 18 (US)
Genretags: Alternativerock - Neo-Psychedelicrock
Trackliste: 1. Spacehopper - 3:31
2. Plasticine - 2:57
3. A Feedback Loop of Laughter - 5:13
4. Shimmer - 3:56
5. Love Me Sinister - 4:55
6. Paint - 3:25
7. Under a Gelatine Moon - 3:55
8. Catherine, I Feel Sick - 3:59
9. Wisdom Teeth - 3:54
10. Tin Foil Skin - 7:50
11. Slow Mo - 5:11
Alle Tracks: Tripwires.
Besetzung: Rhys Edwards: Group Member
; Sam Pilsburg: Group Member
; Joseph Stone: Group Member
; Geoff Strasser: Assistant
; Tripwires: Artwork, Photography
; Gabe Wax: Assistant
; Ben White: Group Member
Tujiko Noriko [>] [D]: Hard Ni Sasete (= Make Me Hard) [F]
Label und Katalognummer: MEGO 062
Produktion: Tujiko Noriko
Veröffentlicht: 2002 10
Genretags: Post-Millennial-Music - Digital-Underground - Electronicpop
Trackliste: 1. Shore Angel (5:58)
2. Give Face (7:12)
3. Fly (7:39)
4. Wir
e (6:30)
5. Karappo (5:25)
6. Penguin (8:02)
7. Mugen Ressha (6:12)
8. Bikini (3:03)
9. Sea (10:55)
Alle Tracks: Tujiko Noriko.
Besetzung: Artwork By [Cover] - SideLab
; Mixed By - Hironobu Sasaki
; Rap - Moyunijumo (2)
; Vocals - Yoshihto Tsujimura (4)
; Drums - Yuichiro Takashima (9)
; Guitar - Yoshiharu Akubayashi (9)
; Vocals - Yoshiharu Akubayashi (9)
U2 [>] [D]: The Joshua Tree [F]
Label und Katalognummer: Island U2 6, Island 00602557482577
Produktion: Brian Eno & Daniel Lanois
Veröffentlicht: 1987 03 09, 2017 06 02 (Reed.)
Genretags: Alternativerock - Poprock - Bigmusic
Der Arbeitstitel des Albums lautete: «The Two Americas». Es ging um Mythos und Realität, Hoffnung und Verzweiflung, den Kontrast zwischen dem Amerika John F. Kennedys und demjenigen Ronald Reagans. U2 aus Irland, die als Postpunk-Band startete und Schritt um Schritt zur Stadionrock-Band heranwuchs, war nun ambitioniert, den amerikanischen Musikmarkt zu erobern, we es die Beatles etwas mehr als 20 Jahre zuvor gemacht haben.
In die Produktion dieses Albums waren ein paar der wichtigsten Künstler der 1980er Jahre involviert: U2, der Alternative-Mainstream-Crossover Act, der zu weltweitem Erfolg ansetzte, Brian Eno und Daniel Lanois, die visionärsten Produzenten zu jener Zeit sowie Anton Corbijn, der für die Visuals zuständig war. So wurde «The Joshua Tree» ein Top-Hit in vielen Ländern, zumal in den USA und ultimativ ein Klassiker.
Trackliste: 1. Where the Streets Have No Name - 5:37
2. I Still Haven't Found What I'm Looking For - 4:37
3. With or Without You - 4:56
4. Bullet the Blue Sky - 4:32
5. Running to Stand Still - 4:18
6. Red Hill Mining Town - 4:52
7. In God's Country - 2:57
8. Trip Through Your Wir
es - 3:32
9. One Tree Hill - 5:23
10. Exit - 4:13
11. Mothers of the Disappeared - 5:14
Alle Tracks: U2 (Musik), Bono (Lyrics).
CD 2 der 30th Anniversary Reissue, Super Deluxe Edition: The Joshua Tree Live at Madison Square Garden: 28th September 1987
1. Where The Streets Have No Name - 6:30
2. I Will Follow - 3:58
3. Trip Through Your Wir
es - 3:45
4. I Still Haven't Found What I'm Looking For - 5:51
5. MLK - 2:02
6. Bullet The Blue Sky - 5:47
7. Running To Stand Still - 4:45
8. In God’s Country - 2:49
9. Sunday Bloody Sunday - 4:13
10. Exit - 4:39
11. October - 2:05
12. New Year’s Day - 4:44
13. Pride (In The Name Of Love) - 4:53
14. With Or Without You - 5:28
15. Party Girl - 3:23
16. I Still Haven’t Found What I’m Looking For - 5:53
17. '40' - 5:51
CD 3: der 30th Anniversary Reissue, Super Deluxe Edition: Remixes
1. One Tree Hill (St Francis Hotel Remix) - 4:17
2. Bullet The Blue Sky (Jacknife Lee Remix) - 6:03
3. Running To Stand Still (Daniel Lanois Remix) - 4:41
4. Red Hill Mining Town (Steve Lillywhite 2017 Mix) - 4:53
5. With Or Without You (Daniel Lanois Remix) - 5:04
6. Where The Streets Have No Name (Flood Remix) - 6:45
CD 4: der 30th Anniversary Reissue, Super Deluxe Edition: B-sides & Outtakes
1. Luminous Times (Hold On To Love) - 4:34
2. Walk To The Water - 4:49
3. Spanish Eyes - 3:16
4. Deep In The Heart - 4:31
5. Silver And Gold - 4:37
6. Sweetest Thing - 3:04
7. Race Against Time - 4:03
8. I Still Haven’t Found What I’m Looking For (Lillywhite Alternative Mix ’87) - 4:15
9. One Tree Hill Reprise (Brian Eno 2017 Mix) - 2:10
10. Bono: Silver And Gold (Sun City) - 4:42
11. Beautiful Ghost/Introduction To Songs Of Experience - 3:56
12. Wave Of Sorrow (Birdland) - 4:06
13. Desert Of Our Love - 4:58
14. Rise Up - 4:08
15. Drunk Chicken/America - 1:31
Besetzung: Artwork : The Creative Department
; Backing Vocals: Brian Eno
; Backing Vocals: Daniel Lanois
; Backing Vocals: The Edge
; Design, Layout: Steve Averill
; Engineer [Additional]: Dave Meegan
; Engineer [Additional]: Pat McCarthy
; Engineer [Assistant Mix Engineer]: Mary Kettle (1, 3, 4, 6)
; Engineer [Mix]: Mark Wallis (1, 3, 4, 6)
; Harmonica: Bono
; Keyboards, Programmed By [Dx7]: Brian Eno
; Management: Paul McGuinness
; Management [Principle Management - Dublin]: Anne-Louise Kelly
; Management [Principle Management - New York]: Ellen Darst
; Mixing: Steve Lillywhite (1, 3, 4, 6)
; Performer: Adam Clayton
; Performer: Bono
; Performer: The Edge
; Performer: Larry Mullen
; Photography: Anton Corbijn
; Recording: Flood
; Tambourine, Omnichord, Guitar [Additional]: Daniel Lanois
; Technician [Studio Crew]: Des Broadbery
; Technician [Studio Crew]: Joe O\'Herlihy
; Technician [Studio Crew]: Marc Coleman
; Technician [Studio Crew]: Marion Smyth
; Technician [Studio Crew]: Mary Gough
; Technician [Studio Crew]: Tim Buckley
; Technician [Studio Crew]: Tom Mullally
; Phonographic Copyright (p) Island Records Ltd.
; Published By Blue Mountain Music Ltd.
; Glass Mastered At Disctec
; Recorded At Windmill Lane Studios
; Mixed At Windmill Lane Studios
U2 [>] [D]: The Unforgettable Fire [F]
Label und Katalognummer: Island 822 898, Island CID 102
Produktion: Brian Eno & Daniel Lanois
Veröffentlicht: 1984 10 01
Genretags: Alternativerock - Poprock - Bigmusic
Trackliste: 1. A Sort of Homecoming - 5:28
2. Pride (In the Name of Love) - 3:48
3. Wir
e - 4:19
4. The Unforgettable Fire - 4:55
5. Promenade - 2:35
6. 4th of July - 2:12
7. Bad - 6:09
8. Indian Summer Sky - 4:17
9. Elvis Presley and America - 6:23
10. MLK - 2:31
Alle Tracks: U2 (Musik) und Bono (Lyrics).
Besetzung: Arranged By [Strings]: Noel Kelehan
; Bass: Adam Clayton
; Drums: Larry Mullen Junior
; Engineer [Additional]: Kevin Killen
; Engineer [Assistant]: Randy Ezratty
; Guitar, Keyboards: The Edge
; Keyboards [Fairlight]: Paul Barrett
; Vocals: Bono
; Vocals [Additional], Performer [Additional Instruments And Treatments]: Brian Eno; Daniel Lanois
; Sleeve design: Steve Averill
; Sleeve design, photography: Anton Corbijn
Udo Jürgens [>] [D]: 40 x Udo [F]
Label und Katalognummer: Delta Music U 100/1
Produktion: Verschiedene
Veröffentlicht: 1976 (Ed.)
Genretags: Europeana - Schlager
Trackliste: Seite A
1. Merci Cherie - 3:14
2. Bleib Bei Mir - 3:04
3. Jenny - 3:24
4. Sag Ihr, Ich Lass Sie Grüssen - 3:05
5. Ich Versteh - 2:38
6. Einer Wir
d gehen - 2:44
7. Stay In My World - 2:23
8. Du Sollst Die Welt Für Mich Sein - 2:20
9. Sag Mir Wie - 2:52
10. Warum Nur, Warum - 2:39
Seite B
1. Siebzehn Jahr, Blondes Haar - 2:22
2. Es Ist Noch Nicht Zu Spät - 3:00
3. Du Darfst Nicht Gehen - 2:23
4. Frag Nie - 4:04
5. Geh Vorbei - 2:43
6. Gina - 3:08
7. Maintenant Je Peux Sourire - 2:54
8. Nobody Knows - 2:19
9. Wo Ist Der Sommer Geblieben - 2:51
10. Ich Träume Noch Von Jenny - 2:28
Seite C
1. Weil Erstens Alles Ganz Anders Kommt - 2:21
2. Und Dann Sagt Man Sich Good-Bye - 3:01
3. Lieben, Das Heisst Glauben - 3:27
4. Old Man River - 2:54
5. Finito L'Amore/Die Liebe Ist Aus - 2:47
6. Capri Cest Fini - 3:47
7. Tausend Träume - 2:53
8. Beautiful Dreamgirl - 2:20
9. Mais Tu T'en Vas - 2:44
10. Bleib Bei Mir - 3:11
Seite D
1. Das Ist Nicht Gut Für Mich - 2:44
2. Reach For The Stars - 3:27
3. So Wie Eine Rose - 2:45
4. Si - 2:22
5. Kiss Me Quick - 2:35
6. Abbraciami Forte - 3:00
7. Schreib Mir Keinen Brief - 2:25
8. Tell Me Why - 2:38
9. Caminando Per Roma - 3:00
10. Wenn Du Diesen Brief Erhältst - 3:35
Udo Jürgens [>] [D]: Aber bitte mit Sahne [F]
Label und Katalognummer: Ariola 74321 21553
Produktion: Verschiedene
Veröffentlicht: 1994 08 (Ed.)
Genretags: Europeana - Schlager
Trackliste: 1. Warum Nur, Warum (Udo Jürgens) - 3:00
2. Was Ich Dir Sagen Will (Joachim Fuchsberger, Udo Jürgens) - 3:32
3. Griechischer Wein (Udo Jürgens, Michael Kunze) - 4:06
4. Ein Ein Ehrenwertes Haus (Udo Jürgens, Michael Kunze) - 3:30
5. Aber Bitte Mit Sahne (Eckhart Hachfeld, Udo Jürgens, Wolfgang Spahr) - 3:38
6. Mit 66 Jahren (Wolfgang Höfer, Udo Jürgens) - 3:39
7. Immer Wieder Geht Die Sonne Auf (Thomas Hörbiger, Udo Jürgens) - 3:06
8. Buenos Dias Argentina (Wolfgang Höfer, Udo Jürgens) - 3:27
9. Ihr von Morgen (Hymne an Die Zukunft) (Udo Jürgens, Michael Kunze) - 4:49
10. Ich Weiss, Was Ich Will (Fred Jay, Udo Jürgens) - 4:24
11. Siebzehn Jahr, Blondes Haar (Thomas Hörbiger, Udo Jürgens) - 2:33
12. Merci, Chérie (Thomas Hörbiger, Udo Jürgens) - 2:45
13. Ich War Noch Niemals In New York (Udo Jürgens, Michael Kunze) - 4:44
14. 5 Minuten Vor 12 (Udo Jürgens, Michael Kunze) - 9:24
15. Hautnah (Udo Jürgens, Michael Kunze) - 4:25
16. Na Und...?! (Udo Jürgens, Thomas Spitzer) - 4:06
17. Mathilda/Es Wir
d Nacht Señorita/Cottonfields (Udo Jürgens, H. Thomas, Traditional) - 3:12
18. Der Teufel Hat Den Schnas Gemacht/Anuschka/Tante Emma (E. Hachfeld, Udo Jürgens, Michael Kunze) - 3:59
19. Das Das Ist Dein Tag (Udo Jürgens, Michael Kunze) - 4:13
Besetzung: Art Direction: Thomas Sassenbach
; Design: Ariola-Studios
; Design: Christina Krutz
; Design: Martin Scharf
; Management: Freddy Burger
; Copyright (c) BMG Ariola Media GmbH
; Pressed By Sonopress
Udo Lindenberg und das Panikorchester [>] [D]: Alles klar auf der Andrea Doria [F]
Assoziierte Acts: Udo Lindenberg
Label und Katalognummer: Telefunken 6.21138
Produktion: Thomas Kukuck & Udo Lindenberg
Veröffentlicht: 1973 12 15
Genretags: Rock - Poprock - Deutschrock
Trackliste: Seite A
1. Alles klar auf der Andrea Doria - 3:42
2. Boogie Woogie-Mädchen - 3:30
3. Nichts haut einen Seemann um - 5:05
4. Ganz egal - 4:17
Seite b
1. Du heißt jetzt Jeremias - 2:50
2. Wir
wollen doch einfach nur zusammen sein (Mädchen aus Ostberlin) - 3:05
3. Dr. Chicago - 2:58
4. Cello - 3:00
5. Er wollte nach London - 3:55
6. Die größte Liebe - 0:48
Besetzung: Acoustic Guitar: Peter Hesslein
; Bass: Steffi Stephan
; Engineer: Thomas Kukuck
; Guitar: Karl Allaut, Thomas Kretschmer
; Piano, Bells, Celesta: Gottfried Böttger
; Piano, Organ: Jean-Jacques Kravetz
; Strings: Streichquartett Lorenz Westphal
; Voice, Drums: Udo Lindenberg
Ute Lemper [>] [D]: Berlin Cabaret Songs [F]
Label und Katalognummer: Decca 452 601
Veröffentlicht: 1996 10
Genretags: Europeana - Schlager - Kabarett-Schlager
Trackliste: 1. Alles Schwindel (Mischa Spoliansky) - 4:14
2. Sex‐Appeal (Friedrich Hollaender) - 6:08
3. Peter, Peter, komm zu mir zurück! (Rudolf Nelson) - 4:41
4. Das Gesellschaftslied (Mischa Spoliansky) - 4:21
5. Wenn die beste Freundin (Mischa Spoliansky) - 2:41
6. Ich bin ein Vamp! (Mischa Spoliansky) - 3:57
7. L’heure bleue (Mischa Spoliansky) - 3:48
8. Zieh dich aus, Petronella! (Friedrich Hollaender) - 2:22
9. Raus mit den Männern! (Friedrich Hollaender) - 2:38
10. Der Verflossene (Berthold Goldschmidt) - 4:01
11. Gesetzt den Fall (Friedrich Hollaender) - 4:21
12. Ich weiß nicht, zu wem ich gehöre (Friedrich Hollaender) - 4:14
13. Das lila Lied (Arno Billing) - 3:04
14. Maskulinum — Femininum (Mischa Spoliansky) - 1:48
15. Mir ist heut so nach Tamerlan! (Rudolf Nelson) - 4:58
16. Eine kleine Sehnsucht (Friedrich Hollaender) - 4:07
17. Wir
wollen alle wieder Kinder sein! (Friedrich Hollaender) - 3:52
18. Münchhausen (Friedrich Hollaender) - 8:07
Besetzung: Arranged: Robert Ziegler
; Art Direction: David Smart
; Art Direction: Lucy Gowans
; Booklet Editor: Anne Schneider
; Consultant [Project Consultant]: Albrecht Dümling
; Editing: Jenni Whiteside
; Engineer: Martin Atkinson
; Ensemble: Matrix Ensemble
; Executive-Producer, Producer: Michael Haas
; Liner Notes: Michael Haas
; Liner Notes: Peter Jelavich
; Liner Notes [German Translation]: Andreas Klatt
; Liner Notes [German Translation]: Anne Schneider
; Photography: Mike Owen
; Piano: Jeff Cohen
; Score [Performing Material Provided By]: Thomas Gayda
; Vocals: Ute Lemper
; Phonographic Copyright (p) The Decca Record Company Limited
; Copyright (c) The Decca Record Company Limited
; Made By PMDC, Germany
; Recorded At CTS Studios
V. A. (Ace Records) [>] [D]: Jon Savage's 1977-1979: Symbols Clashing Everywhere [F]
Label und Katalognummer: Ace Records CDTOP2 1610
Produktion: Verschiedene
Veröffentlicht: 2022 01 28 (Ed.)
Genretags: Postpunk, Caribbeana - Reggae, Alternativerock, Disco
Wilder Genre Mix: die Welt von 1977-79 durch die Augen/Ohren von Kurator Jon Savage.
Trackliste: CD 1
1. Mr. Bojangles: Prophesy Reveal - 3:38
2. Damned: Neat Neat Neat - 2:40
3. Prince Far I: Heavy Manners - 3:12
4. Boys: Soda Pressing - 2:47
5. Adverts: Quick Step - 3:16
6. Ultravox: Young Savage - 2:57
7. Space: Magic Fly - 4:16
8. Pere Ubu: The Modern Dance - 3:28
9. Generation X (4): Day By Day - 2:03
10. Giorgio Moroder: Uptopia - Me Giorgio - 3:23
11. Iggy Pop: The Passenger - 4:41
12. John Cooper Clarke: Suspended Sentence - 2:49
13. Revolutionaries: Bamba In Dub - 3:43
14. Joe Gibbs & The Professionals: No Bones For The Dogs - 3:49
15. 999: Emergency - 2:42
16. Brian Eno: King's Lead Hat - 3:54
17. Subway Sect: Dontsplitit - 4:33
18. B-52's: 52 Girls - 3:23
19. Buzzcocks: Moving Away From The Pulsebeat - 5:39
20. Penetration: Neverr - 2:14
21. Normal: Warm Leatherette - 3:22
22. Suicide: I Remember - 3:09
23. Undertones: True Confessions - 1:52
CD 2
1. Human League: Being Boiled - 3:49
2. Lines: White Night - 3:24
3. Devo: Come Back Jonee - 3:22
4. Diodes: Tired of Waking Up Tired - 2:53
5. Siouxsie & The Banshees: Voices - 5:26
6. Scritti Politti: 28/8/78 - 2:37
7. Cabaret Voltaire: The Set Up - 4:46
8. Cramps: Human Fly - 2:13
9. Talking Heads: Found A Job - 4:49
10. Middle Class: Situations - 1:45
11. Nigel Simpkins: Times Encounter - 1:53
12. Members: Handling The Big Jets - 4:02
13. Suzannes: Hippie - 1:48
14. Pop Group: 3.38 - 3:38
15. X-Ray Spex: Warrior In Woolworths - 3:04
16. Tubeway Army: Are 'Friends' Electric? - 5:21
17. A Certain Ratio: All Night Party - 3:14
18. Telex: Pakmoväst - 3:37
19. Monochrome Set: Eine Symphonie Des Grauens - 2:20
20. Wir
e: A Question Of Degree - 3:09
21. Slits: I Heard It Through The Grapevine - 3:58
22. Lipstick Killers: Hindu Gods (Of Love) - 3:19
23. Sheila & B. Devotion: Spacer - 3:29
Besetzung: Compiled By: Jon Savage
; Coordinator: Liz Buckley
; Coordinator: Mick Patrick
; Design: Neil Dell
; Liner Notes: Jon Savage
; Mastering: Nick Robbins
; Phonographic Copyright (p) Ace Records Ltd.
; Copyright (c) Ace Records Ltd.
V. A. (Areal) [>] [D]: 2Rabimmel 2Rabammel 2Rabum 2Bum Bum [F]
Label und Katalognummer: Areal cd 04
Produktion: Verschiedene
Veröffentlicht: 2005 07 11 (Ed.)
Genretags: Electronica - Techhouse - Minimaltechhouse
Trackliste: 1. Basteroid: Hammel - 6:33
2. Roan: Der Storch Und Seine Folgen - 5:29
3. Metope: 2Raboum - Die Fete Geht Weiter - 5:48
4. Imogen: Grüner Wir
ds Nicht - 6:11
5. Ada: 2 Bum Bum - 7:06
6. Konfekt: Nur Unter Dieser Bedingung - 3:09
7. Remute: Mit Freundlichen Füßen - 5:28
8. Ha.te: Kein Anschluss Mit Dieser Nummer - 6:33
9. Basteroid: Rabimmel - 6:53
10. Konfekt: Ra(bammel) - 4:39
11. Metope: Rabum - 6:41
12. Ada: Bum Bum - 6:24
V. A. (Asa Wa Kuru) [>] [D]: We Are The Works In Progress [F]
Label und Katalognummer: Asa Wa Kuru
Produktion: Verschiedene
Veröffentlicht: 2012 02 07
Genretags: Alternativerock, Newpop, Electronica
Diese Compilation unterstützt den Wiederaufbau in Japan
Trackliste: Seite A
1. Four Tet: Momma - 4:42 -
2. Karin Dreijer Andersson
: No Face - 7:47 -
3. Terry Riley: G Song - 8:58 -
Seite B
1. Nosaj Thing: Nightcrawler - 3:50 -
2. John Roberts: Berceuse - 3:23 -
3. Blonde Redhead: Penny Sparkle - 5:07 -
4. Pantha Du Prince: Bird On A Wir
e - 8:08 -
Seite C
1. Broadcast: In Here The World Begins - 3:28 -
2. Liars / Blonde Redhead: Drip - 2:05 -
3. Deerhunter: Curve - 6:35 -
4. Stalactite: Stalagmite - 4:39 -
Seite D
1. John Maus: Castles In The Grave - 2:27 -
2. David Sylvain & Ryuichi Sakamoto
: Bamboo Houses - 5:20 -
3. Interpol: Song Seven - 9:30 -
4. Blonde Redhead: 23 (Demo Version)
Besetzung: Artwork - Adriana Deléo
; Compiled By - Kazu Makino
; Executive Producer - Kari Dexter
; Photography By [Back Cover] - Wind Power Co., Ltd.
; Photography By [Cover Photo] - Andreas Seibert
V. A. (Ata Tak) [>] [D]: Verschwende deine Jugend [F]
Label und Katalognummer: Ata Tak 583 075
Produktion: Verschiedene
Veröffentlicht: 2002 04 22 (Ed.), 1983-77 (Rec.)
Genretags: Rock - Punkrock
Trackliste: CD 1
1. Mittagspause: Testbild - 2:40
2. Mittagspause: Innenstadtfront - 1:09
3. Male: Risikofaktor 1:X - 1:29
4. Male: Zensur, Zensur - 2:35
5. S.Y.P.H.: Zurück zum Beton - 1:56
6. S.Y.P.H.: Industriemädchen - 1:22
7. S.Y.P.H.: Lachleute & Nettmenschen - 2:13
8. Neonbabies: Eisenleer (Depressiv) - 0:47
9. Neonbabies: Blaue Augen - 3:17
10. Hans-a-plast: Man of Stone - 2:21
11. Der KFC: Stumpf ist Trumpf - 1:37
12. Mittagspause: Herrenreiter - 3:25
13. Fehlfarben: Abenteuer & Freiheit - 2:47
14. Östro 430: Sei lieb - 2:55
15. Ede und Die Zimmermänner: So Froh - 1:48
16. Der Plan: Wir
werden immer mehr - 2:53
17. Deutsch-Amerikanische Freundschaft: Ich und die Wir
klichkeit - 4:09
18. Deutsch-Amerikanische Freundschaft: Kebapträume - 3:28
19. The Wir
tschaftswunder: Ich Liebe Metall - 2:54
20. Pyrolator: It Always Rains In Wuppertal - 3:15
21. Frieder Butzmann: Waschsalon Berlin - 3:52
22. Mania D: Herzschlag - 2:52
23. Einstürzende Neubauten: Zuckendes Fleisch - 3:22
24. Abwärts: Computerstaat - 3:10
25. Horst Herold: Wir
kriegen sie alle - 3:08
CD 2
1. Der Plan: Da vorne steht 'ne Ampel - 2:28
2. Andreas Dorau: Sehnsucht nach dem Osten - 0:37
3. The Wir
tschaftswunder: Der Kommissar - 2:56
4. Die Radierer: Angriff auf's Schlaraffenland - 3:38
5. Fehlfarben: Apokalypse (Ernstfall) - 3:09
6. Fehlfarben: Gott sei Dank nicht in England - 2:42
7. Der KFC: Wie lange noch - 3:35
8. ZK: Dosenbier - 2:36
9. ZK: In der Ecke stehen - 1:35
10. ...: Was kostet die Welt - 3:15
11. Palais Schaumburg: Telephon - 2:20
12. Andreas Dorau & Die Marinas: Tulpen und Narzissen - 2:08
13. Andreas Dorau & Die Marinas: Fred vom Jupiter - 2:37
14. Die Krupps: Wahre Arbeit, wahrer Lohn - 5:32
15. Palais Schaumburg: Wir
bauen eine neue Stadt - 3:27
16. Einstürzende Neubauten: Kalte Sterne - 4:12
17. Die Tödliche Doris: Sieben tödliche Unfälle im Haushalt - 3:46
18. Malaria!: Your Turn to Run - 4:07
19. Tommi Stumpff: Ich will gewinnen - 2:58
20. Pyrolator: 180° - 2:53
21. Liaisons Dangereuses: Etre Assis Ou Danser - 3:23
22. Deutsch-Amerikanische Freundschaft: Verschwende deine Jugend - 3:47
23. Xao Seffcheque: Happy New Wave - 2:11
24. Die Toten Hosen: Jürgen Engler gibt 'ne Party - 1:25
V. A. (BCM) [>] [D]: The History Of The House Sound Of Chicago [F]
Label und Katalognummer: BCM 57020
Produktion: Verschiedene
Veröffentlicht: 1989 (Ed.)
Genretags: Electronica - House - Chicago-House
Trackliste: CD 1: The Tracks That Built The House .
1. Colonel Abrams: Trapped (Dance Version) - 6:32
2. Shirley Lites: Heat You Up (Melt You Down) - 6:54
3. Candido: Jingo - 5:44
4. Positive Force: We Got The Funk - 5:41
5. First Choice: Let No Man Put Asunder (A 'Shep Pettibone Mix') - 5:16
6. Jimmy 'Bo' Horne: Spank - 5:13
7. Two Man Sound: Que Tal America (Midnight Mix) - 5:51
8. Sharon Redd: Can You Handle It - 5:07
9. Geraldine Hunt: Can't Fake The Feeling - 5:15
10. Sparque: Let's Go Dancing (Club Dancing) - 8:11
CD 2: The Tracks That Built The House .
1. D-Train: You're The One For Me (Vocal Version) - 6:36
2. Raw Silk: Do It To The Music (Vocal Mix) - 6:34
3. Ripple: Beat Goes On - 4:50
4. Klein & M.B.O.: Dirty Talk - 5:36
5. Martin Circus: Disco Circus - 6:37
6. Fat Larry's Band: Act Like You Know - 6:37
7. T-Connection: At Midnight - 5:12
8. D-Train: Keep On - 6:44
9. Telex: Moskow Diskow (Original Version) - 4:34
10. Instant Funk: I Got My Mind Made Up (Larry Levan Remix) - 6:36
CD 3: D.J. International: The Early Years .
1. J.M. Silk: Music Is The Key (House Key) - 7:26
2. Arrogance: Crazy (Club Mix) - 5:31
3. It: Donnie (Club Mix) - 3:48
4. Shawn Christopher: People Of All Nations (Club Mix) - 7:26
5. Chip E. & K. Joy: Like This (Extended Mix) - 5:47
6. Farm Boy: Move (Club Mix) - 5:44
7. J.M. Silk: Shadows Of Your Love (House Mix) - 6:33
8. Mark Imperial: J' Adore Danser (Club Mix) - 6:25
9. White Knight: Never Give Up (Club Mix) - 5:29
10. Fingers Inc.: A Path (Club Mix) - 5:18
CD 4: The D.J. Underground Tracks .
1. Liz Torres: What You Make Me Feel (Fierce Mix) - 7:42
2. House Rockers: Everybody Do It! (Hollywood Mix) - 6:11
3. House People: Godfather Of House (Club Version) - 4:57
4. E.S.P.: It's You (Vocal) - 4:15
5. Tyree: I Fear The Night (Subterranean Mix) - 6:47
6. Fingers Inc.: It's Over (Dub) - 6:13
7. Raz: Amour Puerto Riqueno (Puerto Rican Lover) (Spanish Club Mix) - 4:52
8. Fingers Inc.: Mystery Of Love (Club Mix) - 6:40
9. Steve 'Silk' Hurley: Jack Your Body (Club Mix) - 6:53
10. Professor Funk & The House Brothers: Work Your Body Rap - 5:13
CD 5: D.J. International Classics .
1. Mario Reyes: What Ever Turns You On (Club Mix) - 6:15
2. Farley 'Jackmaster' Funk: It's You (House Mix) - 7:16
3. Chip E.: Time To Jack - 4:30
4. Femme Fion: Jack The House - 5:52
5. MK II: Used By DJ (Vocal Mix) - 5:55
6. Kenny 'Jammin' Jason & 'Fast' Eddie Smith: Can U Dance - 6:54
7. Fingers Inc.: It's Over (Club Mix) - 4:43
8. Dymond: Wild About Your Love (Club Mix) - 6:14
9. Chip E.: If You Only Knew (Radio Edit) - 4:25
10. Julian 'Jumpin' Perez: Jack Me 'Til I Scream (Jumpin' Mix) - 5:22
CD 6: Trax Classix .
1. Adonis: No Way Back - 4:58
2. On The House: Ride the Rhythm - 6:31
3. Farley 'Jackmaster' Funk: Funking With The Drums Again (Farley Farley) - 5:05
4. Farm Boy: Jackin' Me Around (Farm Mix) - 6:56
5. Boris Badenough: Hey Rocky (Extended Mix) - 6:38
6. Marshall Jefferson: Move Your Body (The House Music Anthem) - 7:46
7. Sampson 'Butch' Moore: House Beat Box (Instrumental Mix) - 5:27
8. Sweet D: Thank Ya - 5:35
9. Kevin Irving: Children Of The Night (Dub) - 6:50
10. Phuture: Your Only Friend - 4:33
CD 7: The Chicago Independents .
1. Farley 'Jackmaster' Funk & Jesse Saunders: Love Can't Turn Around - 5:39
2. Denise Motto: Imnxtc - 5:19
3. Ralphi Rosario: You Used To Hold Me (Kenny 'Jammin' Jason & Fast Eddie Smith Mix) - 6:56
4. Libra Libra: I Like It - 6:30
5. Liz Torres: Can't Get Enough (Club Mix) - 5:21
6. House Master Boyz And The Rude Boy Of House: House Nation - 8:12
7. On The House: Pleasure Control (Radio Version) - 4:28
8. Force: It's O.K., It's O.K. - 5:33
9. Hercules: 7 Ways (Vocal Mix) - 6:50
10. Ramos: The Jackin' National Anthem - 4:04
CD 8: The Anglo-American House .
1. Blaze: Whatcha Gonna Do (Vocal Mix) - 5:45
2. Mel & Kim: Showing Out (Get Fresh At The Weekend) (The Mortgage Mix) - 6:30
3. Cleavage: Barah (The House Mix) - 5:17
4. Phil Fearon: Ain't Nothing But A House Party - 6:43
5. Harlequin Four's: Set It Off - 5:50
6. Jack 'N' Chill: The Jack That House Built - 5:45
7. Raze: Jack The Groove - 4:15
8. Kissing The Pink: Certain Things Are Likely (Garage) - 6:18
9. Cultural Vibe: Ma Foom Bey (Love Chant Version) - 5:34
10. Mirage: Jack Mix #2 (including Jack Your Body, Respectable, Showing Out, Male Stripper, Axel F., Jackin', Underwater) - 7:40
CD 9: The Anglo-American House .
1. Nitro Deluxe: This Brutal House (US Version) - 5:24
2. Jack E Makossa: The Opera House - 6:02
3. Mel & Kim: Respectable (Tabloid Mix) - 5:20
4. Gary L.: Time (Time To Party) - 8:05
5. Wir
ed: To The Beat Of The Drum (On The Burn Mix) - 5:20
6. 2 Puerto Ricans, A Blackman And A Dominican: Do It Properly (Def Mix) - 6:14
7. Lenny Dee & Tommy Musto: Everything Bamboo (Club Version) - 5:19
8. Wally Jump Jr & The Criminal Element: Turn Me Loose - 7:13
9. Movement: The Movement - 4:59
10. Home Wreckers: Jackin' (EMU Style) - 6:04
CD 10: The Lost Tracks .
1. Risqué Rhythm Team: 122 House - 5:11
2. Matt Warren: Way To My Heart (Chicago House Mix) - 7:37
3. Mink: What Does It Take (Fashion Mix) - 5:30
4. Rhythim Is Rhythim: Nude Photo - 5:36
5. Philly Cream: Love Can't Turn Around (Vocal Club Version) - 5:26
6. Quest: Mind Games (Underground Mix) - 6:43
7. Kreem: Triangle Of Love (Vocal Mix) - 5:29
8. Master Plan: Electric Baile (Commercial Mix) - 5:07
9. Billie: Nobody's Business (Radio Mix) - 6:27
10. Thompson & Lenoir: Can't Stop The House - 6:21
CD 11: The House Remixes .
1. Chic: Jack Le Freak - 6:33
2. Loleatta Holloway: Hit And Run '88 Gotta Be Number One - 6:02
3. Dalis: Rock Steady (Instrumental) - 4:29
4. Cerrone: Supernature '88 - 6:47
5. Patrick Adams: Jack In The Bush - 6:23
6. Freeez: I. O. U. (Megamix) - 6:02
7. Paris Grey: Don't Make Me Jack (Tonite I Want To House You) (Club Mix) - 5:45
8. John Rocca: I Want It To Be Real (Farley's Hot House Piano Mix) - 7:06
9. Turntable Terror Trax: Let's Begin - 5:25
10. Farley 'Jackmaster' Funk & Shy Boyz: U Ain't Really House (Club Mix) - 5:25
CD 12: International House: The Future .
1. Criminal Element Orchestra: Put The Needle To The Record - 6:07
2. Jellybean: The Real Thing (West 26th Street Mix) - 7:46
3. Kelly Charles: You're No Good For Me (Club Mix) - 5:59
4. L.A. Mix: Don't Stop Jammin' (The Brutal Remix) - 5:12
5. Rhythim Is Rhythim: Strings (Flam-Boy-Ant Mix) - 4:59
6. MARRS: Pump Up The Volume (Original Version) - 5:09
7. Full House: Communicate (Club Mix) - 6:26
8. Secret Secret: We Came To Jack - 5:07
9. T-Coy: Carino - 6:30
10. Beatmasters: Rock Da House (Remix) - 6:39
CD 13: Pop Goes The House .
1. Bomb The Bass: Beat Dis (Extended Dis) - 6:00
2. S'Express: Theme From S-Express - 6:01
3. Coldcut: Doctorin' The House - 5:44
4. Krush: House Arrest (The Beat Is The Law) - 6:37
5. Yazz And The Plastic Population: The Only Way Is Up - 5:47
6. Was (Not Was): Spy In The House Of Love (Jeffrey B. Young & Dangerous Mix) - 6:34
7. 2 Men A Drum Machine And A Trumpet: I'm Tired Of Getting Pushed Around (The Mayhem Rhythm Mix) - 3:53
8. Penthouse 4: Bust This House Down (The Turnaround Mix) - 6:15
9. Cut To Shock: Put That Record Back On - 6:33
10. Pop Stars: Pop Goes The House - 6:16
CD 14: The Acieed Trax .
1. D Mob: We Call It Acieed (The Matey Mix) - 5:46
2. Fast Eddie: Acid Thunder - 4:34
3. Night Writers: Let The Music (Use You) - 7:57
4. Swan Lake: In The Name Of Love (Club Mix) - 5:23
5. Tyree: Acid Over (Tyree's Mix) - 6:31
6. Jolly Roger: Acid Man (Original Mix) - 5:04
7. Baby Ford: Oochy Koochy (F.U. Baby Yeh Yeh) (Konrad Cadet Mix) - 5:49
8. Royal House: Can You Party (Todd Terry's B-Boy Remix) - 6:08
9. Bam Bam: Give It To Me (Club Mix) - 6:12
10. Endless Poker's: The Poke - 5:56
CD 15: The Future: Deep House And More .
1. Inner City: Big Fun (Les Adams Remix) - 7:20
2. Phase II: Reachin' (Latin Workout Mix) - 5:57
3. Bighouse: Get Off That Wall (Vocal) - 5:52
4. Jungle Brothers: I'll House You - 4:58
5. Paul Rutherford: Get Real (Happy House Mix) - 5:55
6. Kraze: The Party - 6:13
7. Fingers Inc.: Can You Feel It - 5:32
8. Jamie Principle: Baby Wants To Ride (Club Mix) - 6:28
9. Bam Bam: Where Is Your Child - 5:39
10. Todd Terry Project: Just Wanna Dance - 5:48
Besetzung: Art Direction: Thomas Luckau
; Compiled: Stuart Cosgrove
; Design Concept, Artwork: Luckau & Waack
; Colour Illustrations: Gero
; Liner Notes: Brian Carter
; Remastered: Thomas Gesell, Willi Grossmann
V. A. (Bear Family Records) [>] [D]: Blowing The Fuse 1959 [F]
Label und Katalognummer: Bear Family BCD 16714 AS
Produktion: Verschiedene
Veröffentlicht: 2006 03 20 (Ed.), 1959 (Rec.)
Genretags: Afroamericana - Rhythm'n'Blues
Trackliste: 1. James Brown & The Famous Flames: Try Me (James Brown) - 2:30
2. Fiestas: So Fine (Johnny Otis) - 2:19
3. Eugene Church & Fellows: Pretty Girls Everywhere (Eugene Church, Thomas Williams) - 2:54
4. LaVern Baker: I Cried A Tear (Al Julia, Fred Jay) - 2:34
5. Lloyd Price & Don Costa Orchestra: Stagger Lee (Harold Logan, Lloyd Price) - 2:20
6. Impalas & LeRoy Holmes Orchestra: Sorry (I Ran All The Way Home) (Arthur Zwirn, Harry Giosasi) - 2:32
7. Brook Benton: It's Just A Matter Of Time (Belford Hendricks, Brook Benton, Clyde Otis) - 2:26
8. Wilbert Harrison: Kansas City (Leiber & Stoller) - 2:24
9. Hank Ballard & The Midnighters: The Twist (Hank Ballard) - 2:34
10. Crests: 16 Candles (Allyson R. Khent, Luther Dixon) - 2:50
11. Don And Dewey And Their Band: Farmer John (Dewey Terry, Don 'Sugarcane' Harris) - 2:28
12. Dave 'Baby' Cortez: The Happy Organ (David Clowney, James J. Kriegsmann, Ken Wood) - 1:58
13. Big Jay McNeely & Band & Little Sonny Warner: There Is Something On Your Mind (Big Jay McNeely) - 3:31
14. Falcons: You're So Fine (Lance Finney, Willie Schofield) - 2:23
15. Chuck Berry: Almost Grown (Chuck Berry) - 2:19
16. Dinah Washington: What A Diff'rence A Day Makes (Maria Grever, Stanley Adams) - 2:28
17. Drifters: There Goes My Baby (Benjamin Nelson, George Treadwell, Lover Patterson) - 2:08
18. Ray Charles And His Orchestra: What'd I Say, Parts 1&2 (Ray Charles) - 6:28
19. Phil Phillips With The Twilights: Sea Of Love (George Khoury, John Phillip Baptiste) - 2:23
20. Clovers: Love Potion, No. 9 (Leiber & Stoller) - 1:51
21. Dee Clark: Hey Little Girl (Bobby Stevenson, Otis Blackwell) - 2:16
22. Isley Brothers: Shout, Parts 1&2 (O'Kelly Isley, Ronald Isley, Rudolph Isley) - 4:33
23. Flamingos: I Only Have Eyes For You (Al Dubin, Harry Warren (2)) - 3:18
24. Spacemen: The Clouds (Julius Dixon) - 2:45
25. Marv Johnson: You Got What It Takes (Berry Gordy, Gwen Gordy Fuqua, Roquel Davis) - 2:49
26. Fats Domino: I Want To Walk You Home (Fats Domino) - 2:18
27. Bo Diddley: Say Man (Ellas McDaniel) - 3:10
28. Coasters: Poison Ivy (Leiber & Stoller) - 2:42
29. Jackie Wilson: You Better Know It (Jackie Wilson, Norman Henry) - 1:58
Besetzung: Artwork: Tanja Hastedt
; Liner Notes: Colin Escott
; Mastering: Jürgen Crasser
; Photography: Showtime Music Archives
; Photography [Photo Restoration], Restoration [Photo Restoration]: Erich Hülsenbeck
; Photography [Photo Restoration], Restoration [Photo Restoration]: Tanja Hastedt
; Photography [Photo Scans]: Andreas Merck
; Photography [Photo Scans]: Erich Hülsenbeck
; Reissue Producer: David Booth
; Research [Tape]: David Booth
; Research [Tape]: Richard Weize
; Phonographic Copyright (p) Bear Family Records
; Copyright (c) Bear Family Records
; Licensed From Warner Music Group Germany Holding GmbH
V. A. (Bear Family Records) [>] [D]: NDW. Aus grauer Städte Mauern. Die Neue Deutsche Welle 1977-85. Teil 1: Halt mich fest ich werd verrückt [F]
Label und Katalognummer: Bear Family Records BCD 17371 BS
Produktion: Verschiedene
Veröffentlicht: 2015 04 24 (Ed.), 1985-77 (Rec.)
Genretags: Postpunk - Artpop - NDW
Trackliste: CD 1
1. Nina Hagen Band: TV-Glotzer - 5:16
2. 1. Futurologischer Congress: Heimatlied - 3:11
3. ZK: Tip Von Twinky (Originalversion) - 4:17
4. Malaria!: Laufen - 4:28
5. Deutsch Amerikanische Freundschaft: Der Räuber Und Der Prinz - 3:31
6. Rheingold: Dreiklangs-Dimensionen - 3:42
7. Frieder Butzmann & Sanja: Waschsalon Berlin - 3:56
8. Abwärts: Computerstaat - 3:16
9. Der Plan: Da Vorne Steht 'Ne Ampel - 2:33
10. F.S.K.: Herz Aus Stein - 3:28
11. Andreas Dorau: Der Lachende Papst - 1:54
12. Nichts: Radio - 2:25
13. Morgenrot: Johnny's Traum - 3:35
14. Spider Murphy Gang: Skandal Im Sperrbezirk - 3:39
15. Ideal: Blaue Augen - 3:30
16. Tempo: In My Room - 3:24
17. Stripes: Tell Me Your Name - 3:14
18. Trio: Halt Mich Fest Ich Werd Verrückt - 2:06
19. Cosa Rosa: Millionenmal - 4:55
20. Extrabreit: Flieger Grüss Mir Die Sonne - 2:54
21. Neonbabies: Tanz Mit Mir - 2:38
22. Interzone: Kinderlied - 3:38
23. Fee: Schweine Im Weltraum - 3:56
24. Fehlfarben: Das Wort Ist Draussen - 4:04
25. Joachim Witt: Goldener Reiter - 4:26
CD 2
1. PVC: Berlin By Night - 3:13
2. Der KFC: Kriminalpogo - 2:58
3. Mythen In Tüten: Liebe Im Funkhaus - 3:00
4. Zatopek: Dispofunk - 4:29
5. Foyer Des Arts: Wissenswertes Über Erlangen - 4:44
6. Die Zimmermänner: Erwin, Das Tanzende Messer - 3:07
7. Palais Schaumburg: Rote Lichter - 2:38
8. Alexander Von Borsig: Hiroshima - 4:06
9. Die X-Agenten: Unter Palmen - 3:57
10. Die Crackers: Klassenfahrt Zum Titisee - 2:08
11. Relax: Weil I Di Mog - 3:23
12. EAV (Erste Allgemeine Verunsicherung): Ba-Ba-Banküberfall - 3:38
13. Markus: Schön Sind Wir
Sowieso - 3:02
14. Ivanhoe!: I! Trifft Die Grapellis - 2:53
15. Die Conditors: Kalt Wie Eis - 3:04
16. Neue Heimat: Ich Bau' Dir Ein Schloss - 2:39
17. Die Atlantikschwimmer: Komm Mit Mir - 3:24
18. Die Mimmi's: Up'n Land - 3:05
19. Felix De Luxe: Taxi Nach Paris - 3:13
20. Nena: Nur Geträumt - 3:38
21. Hubert Kah: Rosemarie - 3:47
22. Spliff: Heut' Nacht - 4:26
23. Die Krupps: Wahre Arbeit, Wahrer Lohn (Maxi-Version) - 5:36
24. ZeitGeist: Es Lebe Die Lebendigkeit! - 3:29
25. DÖF: Codo (...Düse Im Sauseschritt) - 4:26
Besetzung: Artwork: Mychael Gerstenberger
; Mastering: Christian Zwarg
V. A. (Bear Family Records) [>] [D]: NDW. Aus grauer Städte Mauern. Die Neue Deutsche Welle 1977-85. Teil 2: Es geht voran [F]
Label und Katalognummer: Bear Family Records BCD 17372
Produktion: Verschiedene
Veröffentlicht: 2015 07 24 (Ed.), 1985-77 (Rec.)
Genretags: Postpunk - Artpop - NDW
Trackliste: CD 1
1. Fehlfarben: Ein Jahr (Es Geht Voran) - 2:52
2. Ixi: Detlev - 3:51
3. Joachim Witt: Tri Tra Trullala (Herbergsvater) - 4:44
4. Interzone: BLNW - 2:50
5. Caprifischer: Wir
Flieh'n Für Einen Tag - 5:00
6. Mekanik Destruektiw Komandoe: Rohe Gewalt - 1:23
7. Minus Delta T: Meine Kleine Weine Nicht - 3:15
8. Seen Links - Schlösser Rechts: Wŏmen Shì Hăopéngyou - 3:42
9. Rheingold: Fan-Fan-Fanatisch - 3:54
10. Morgenrot: Ça Va! - 3:54
11. Hongkong Syndikat: Berlin Bleibt Doch Berlin - 4:16
12. Ideal: Wir
Steh'n Auf Berlin - 3:10
13. Hubert Kah: Sternenhimmel - 3:07
14. Ace Cats: Linda - 3:05
15. Foyer Des Arts: Eine Königin Mit Rädern Untendran - 5:32
16. Die Ärzte: Teenagerliebe - 3:00
17. United Balls: Pogo In Togo - 3:15
18. Der KFC: Knülle Im Politbüro - 1:51
19. Die Suurbiers: Kein Mann Für Eine Nacht - 3:49
20. 39 Clocks: DNS - 2:52
21. X Mal Deutschland: Incubus Succubus - 5:21
22. Bernward Büker Bande: Körperkontakt - 2:39
23. Trio: Herz Ist Trumpf (Dann Rufst Du An...) - 3:33
CD 2
1. Extrabreit: Hurra, Hurra, Die Schule Brennt - 2:35
2. Frl. Menke: Hohe Berge - 2:50
3. Nena: ? (Fragezeichen) - 4:29
4. Nina Hagen Band: Unbeschreiblich Weiblich - 3:31
5. Saal 2: Angst Vorm Tanzen - 2:51
6. Aus Lauter Liebe: Pingelig - 3:02
7. Markus: Ich Will Spaß - 2:59
8. Peter Schilling: Die Wüste Lebt - 4:54
9. Jawoll: Taxi - 3:51
10. Spliff: Carbonara - 4:17
11. Cats TV: Koxhafen - 4:48
12. Niko: Am Weißen Strand Von Helgoland - 3:06
13. Flucht Nach Vorn: Daneben - 5:35
14. Acapulco Gold: Ich Törn Lieber An - 3:02
15. Profil: Berühren - 3:28
16. Die Krupps: Goldfinger - 3:24
17. Paso Doble: Computerliebe (Die Module Spielen Verrückt) - 3:39
18. UKW: Bleib Doch Bei Mir - 3:32
19. Die Radierer: Anfgriff Auf's Schlaraffenland - 3:40
20. Neue Heimat: Wenn Die Welt Zusammenbricht - 3:55
21. Duo Enzian: Zwei Schwestern - 3:25
22. Scala 3: Schizo-Kid City - 3:42
23. O.R.A.V.s (Liedermachos): Paul Ist Tot - 3:01
Besetzung: Liner Notes [Begleittext]: Burghard Rausch
; Mastering [Mastering]: Christian Zwarg
; Phonographic Copyright (p) Bear Family Productions Ltd.
; Copyright (c) Bear Family Productions Ltd.
; Glass Mastered At Optimal Media GmbH
; Glass Mastered At Optimal Media GmbH
V. A. (Bear Family Records) [>] [D]: NDW. Aus grauer Städte Mauern. Die Neue Deutsche Welle 1977-85. Teil 4: Eiszeit [F]
Label und Katalognummer: Bear Family Records BCD 17374 (29385x)
Produktion: Verschiedene
Veröffentlicht: 2016 03 04 (Ed.)
Genretags: Postpunk, Europeana - Schlager - NDW
Im Booklet zu diesem vierten Teil der Compilation befindet sich ein Verzeichnis der Songs aus allen 8 CDs, sortiert nach Bandnamen, mit einem Verweis zur Seite in den Booklets, wo das Stück und die Band behandelt wird.
Trackliste: CD 1
1. Deutsch Amerikanische Freundschaft: Kebab Träume - 3:33
2. Geier Sturzflug: Besuchen Sie Europa (Solange Es Noch Steht) - 2:51
3. Palais Schaumburg: Beat Of 2 - 3:43
4. Die Unbekannten: Radio War - 2:28
5. Cosa Rosa: In Meinen Armen - 3:32
6. Siluetes 61: Wo Ist Der Dom - 3:38
7. Nichts: Tango 2000 - 3:37
8. Lüül: Morgens In Der U-Bahn - 3:23
9. Relax: Marie - 3:31
10. Frl. Menke: Tretboot In Seenot - 3:07
11. Bärchen Und Die Milchbubis: Jung Kaputt Spart Altersheim - 3:07
12. Front: Polaroid - 3:04
13. Male: Clever & Smart - 2:34
14. Bel Ami: Berlin Bei Nacht - 4:25
15. Nina Hagen Band: Auf'm Bahnhof Zoo - 5:24
16. ZaZa: Zauberstab - 4:35
17. Ixi: Der Knutschfleck - 4:03
18. Spider Murphy Gang: Wo Bist Du? - 3:17
19. Markus: Kleine Taschenlampe Brenn' - 3:32
20. UKW: Sommersprossen - 3:38
21. Trio: Anna - Lassmichrein Lasmichraus (Maxi Version) - 4:41
22. Grauzone: Eisbär - 4:47
CD 2
1. Nena: Irgendwie, Irgendwo, Irgendwann - 4:11
2. Purple Schulz & Neue Heimat: Sehnsucht - 3:52
3. Ideal: Eiszeit - 2:54
4. Extrabreit: Polizisten - 5:00
5. Morgenrot: Strom - 2:59
6. Steinwolke: Katharine - 3:20
7. Korpus Kristi: Ausgesetzt - 4:11
8. Fehlfarben: Dollars Und Deutschmarks - 5:29
9. Deutsch Amerikanische Freundschaft: Der Mussolini - 3:53
10. Die Radierer: Eisbär Disco (Erste Version) - 2:22
11. Kastrierte Philosophen: Endzeitliebe - 3:37
12. Erste Allgemeine Verunsicherung: Afrika (Ist Der Massa Gut Bei Kassa) - 3:45
13. Rheingold: Das Steht Dir Gut - 4:36
14. Die Zimmermänner: Ich Werde In Der Sonne Immer Dicker - 3:04
15. Krischan: Mein Saxophon - 3:23
16. Joachim Witt: Märchenblau - 4:34
17. Front: Alternativ - 2:21
18. The Wir
tschaftswunder: Television - 2:56
19. Münchener Freiheit: Ohne Dich (Schlaf' Ich Heut Nacht Nicht Ein) - 4:04
20. Spliff: Herzlichen Glückwunsch - 4:38
21. Mittagspause: Militürk - 3:53
Besetzung: Artwork: Mychael Gerstenberger
; Mastering: Christian Zwarg
V. A. (Bear Family Records) [>] [D]: 1000 Nadelstiche: Amerikaner & Briten singen deutsch [F]
Label und Katalognummer: Bear Family Records BCD 16366 AH
Produktion: Verschiedene
Veröffentlicht: 2000 12 06 (Ed.)
Genretags: Europeana - Schlager
Trackliste: 1. Toni Cavanaugh: Hummeltwist - 1:46
2. Searchers: Tausend Nadelstiche (Nitzsche, Bono, Montague) - 2:11
3. Brenda Lee: Kansas City (Leiber, Stoller, Oldörp) - 2:18
4. Swinging Blue Jeans: Das Ist Prima (Braid, Kuhlke, Ellis, Ennis, Relin) - 2:06
5. Supremes: Baby, Baby, Wo Ist Unsere Liebe (Holland-Dozier-Holland, Puma) - 2:26
6. Manfred Mann: Sie (Jones, Lüth) - 2:08
7. Gene Pitney: Bleibe Bei Mir (Tiomkin, Washington, Zieboltz) - 2:50
8. Dave Colman: Alaska Quinn (feat. Mark Wir
tz Orchestra) (Dylan, Bradtke) - 2:50
9. Petula Clark: Downtown (Hatch, Blecher, Yaskiel) - 2:57
10. Brian Hyland: Schön War Die Zeit (Geld, Udell, Jahn) - 2:39
11. Sorrows: Nimm Mein Herz (Dallon, Montague) - 3:12
12. Marvin Gaye: Wie Schön Das Ist (Holland-Dozier-Holland, Busch) - 3:00
13. Cliff Richard: Wenn Du Lachst, Lacht Das Glück (Shadows Version) (Stephens, Reed, Werner) - 3:10
14. Beach Boys: Ganz Allein (Brian Wilson, Gary Usher) - 2:16
15. Benny: Michael, Marc Und Christian (Baden, Murphy) - 2:57
16. Wanda Jackson: Santo Domingo (Olden, Relin) - 3:03
17. Flamingos: Mein Beatle Baby (Berry, Montague) - 2:16
18. Johnny Cash: Wer Kennt Den Weg (Cash, Loose) - 2:00
19. Dusty Springfield: Warten Und Hoffen (Bacharach, David, Lüth) - 2:54
20. Roy Orbison: Mama (Melson, Orbison, Siegel) - 2:44
21. Helen Shapiro: Ich Such Mir Meinen Bräutigam Alleine Aus (Werion, Kluth) - 2:41
22. Paul Anka: Sinnlose Tränen (Buchholz, Loose) - 2:17
23. Spencer Davis Group: Det War In Schöneberg (Kollo) - 2:39
24. Temptations: Mein Girl (White, Robinson, Loose) - 2:47
25. Merseybeats: Nur Unsere Liebe Zählt (Bacharach, David, Tack) - 1:58
26. Connie Francis: Schöner Fremder Mann (Hosey, Gordon, Nicolas) - 2:39
27. Liverpool Beats: Memphis Tennessee (Berry, Montague) - 2:41
28. Everly Brothers: Am Abend Auf Der Heide (Di Lazzaro, Richter) - 2:23
29. Sandie Shaw: Wiedehopf Im Mai (Martin, Coulter, Bader) - 2:21
30. Pat Boone: Baby Sonnenschein (Mayer, Hertha) - 2:18
31. Honeycombs: Hab Ich Das Recht (Howard Blaikley, Montague) - 2:26
Besetzung: Artwork: Sabine Ziegler
; Liner Notes: Bernd Matheja
; Mastering: Achim Elsner
; Phonographic Copyright (p) Bear Family Records
; Copyright (c) Bear Family Records
V. A. (Bear Family Records) [>] [D]: BLACK EUROPE The Sounds And Images Of Black People In Europe pre 1927 [F]
Label und Katalognummer: Bear Family Records BCD 16095
Veröffentlicht: 2013 10 29 (Ed.)
Genretags: Europeana, Africana, Americana, Jazz, Pretraditionalpop - Minstrelsy
Die Box kommt mit einem 300-seitigen gebundenen, grossformatigen (12'' x 12'') Booklet in zwei Bänden. Sie enthält ausserdem eine CD mit verschiedenen PDFs:
1. Index Names.pdf
2 Index Titles.pdf
3 Index Locations.pdf
4 Index Sheet Music.pdf
5 Index Sheet Music Names.pdf
6 Index Shows etc.pdf
7 Index Ships.pdf
8 Discography Update.pdf
Im archivierten PDF sind sie dem Booklet angehängt.
Trackliste: CD 1
1. Poet And Peasant (5943): Silas Seth Weeks -
2. Concert Polka: Silas Seth Weeks -
3. Handicap March: Silas Seth Weeks -
4. Georgia Camp Meeting: Silas Seth Weeks -
5. Hungarian Dance: Silas Seth Weeks -
6. Poet And Peasant (2025a): Silas Seth Weeks -
7. Soldiers In The Park: Silas Seth Weeks -
8. The Honeysuckle And The Bee (1337b): Belle Davis -
9. The Honeysuckle And The Bee (5696a): Belle Davis -
10. Just Because She Made Dem Goo-Goo Eyes: Belle Davis -
11. If The Man In The Moon Were A Coon: The Four Black Diamonds -
12. Why Adam Sinned: The Four Black Diamonds -
13. That Dixie Rag: The Four Black Diamonds -
14. On The Mississippi: The Four Black Diamonds -
15. Laughing Song: The Black Troubadours -
16. Cat's Serenade: The Black Troubadours -
17. Onaway! Awake, Beloved!: Samuel Coleridge-Taylor (1875-1912) -
18. Very Boastful Was I-a-Goo: Samuel Coleridge-Taylor (1875-1912) -
19. So Among The Guests Assembled: Samuel Coleridge-Taylor (1875-1912) -
20. Eleanore: Samuel Coleridge-Taylor (1875-1912) -
21. Under A Panama: Gipsy Woolf -
22. My Old Kentucky Home: Arabella Fields -
23. Because I Love You: Arabella Fields -
24. Farewell Marguerite!: Arabella Fields -
25. Down On The Farm: Arabella Fields -
26. The Song That Reached My Heart: Arabella Fields -
27. Old Folks At Home: Arabella Fields -
28. Who's There?: Pete Zabriskie
CD 2
1.
2. Stay In Your Own Back Yard. Hampton, Pete & Bowman, Laura -
3. Go Away And Let Me Sleep. Hampton, Pete & Bowman, Laura -
4. Bill Bailey Won't You Please Come Home (6230-6). Hampton, Pete & Bowman, Laura -
5. Mouth-Organ Coon. Hampton, Pete & Bowman, Laura -
6. Bill Bailey Won't You Please Come Home (6230-alt). Hampton, Pete & Bowman, Laura -
7. Oh! Dem Golden Slippers. Hampton, Pete & Bowman, Laura -
8. Ain't I No Use, Mr=Jackson? (6494). Hampton, Pete & Bowman, Laura -
9. Ain't I No Use, Mr=Jackson? (6494-alt). Hampton, Pete & Bowman, Laura -
10. The Shrimp And Winkle Man. Hampton, Pete & Bowman, Laura -
11. Ain't Yer Gwine To Say 'How-Do'?. Hampton, Pete & Bowman, Laura -
12. Moving Day. Hampton, Pete & Bowman, Laura -
13. Minstrels No=4 / Old Folks At Home. Hampton, Pete & Bowman, Laura -
14. I'm Goin', I'm Goin', I'm Gone. Hampton, Pete & Bowman, Laura -
15. Ev'ry Little Bit Helps. Hampton, Pete & Bowman, Laura -
16. Hannah! Won't You Open That Door?. Hampton, Pete & Bowman, Laura -
17. Put A Little Bit Away For A Rainy Day. Hampton, Pete & Bowman, Laura -
18. I'm Leaving Home. Hampton, Pete & Bowman, Laura -
19. Swanee River. Hampton, Pete & Bowman, Laura -
20. Any Rags?. Hampton, Pete & Bowman, Laura -
21. Listen To The Big Brass Band. Hampton, Pete & Bowman, Laura -
22. The Shrimp And Winkle Man (1164). Hampton, Pete & Bowman, Laura -
23. Who Says A Coon Can't Love?. Hampton, Pete & Bowman, Laura -
24. My Bunch Of Sweetness. Hampton, Pete & Bowman, Laura -
25. I Can't Keep From Laughing. Hampton, Pete & Bowman, Laura -
26. Put A Little Bit Away For A Rainy Day. Hampton, Pete & Bowman, Laura -
27. Ain't Yer Gwine To Say 'How-Do'? (13495). Hampton, Pete & Bowman, Laura -
28. Hannah! Won't You Open That Door? (422). Hampton, Pete & Bowman, Laura -
29. A Cotton Field Episode. Hampton, Pete & Bowman, Laura -
30. Ain't I No Use Mr=Jackson? (10315). Hampton, Pete & Bowman, Laura -
31. Ev'ry Little Bit Helps (16493). Hampton, Pete & Bowman, Laura -
32. What You Goin' To Do When The Rent Comes 'round?. Hampton, Pete & Bowman, Laura -
33. Ain't Yer Gwine To Say 'How-Do'? (16526). Hampton, Pete & Bowman, Laura -
34. Hannah! Won't You Open That Door? (16527). Hampton, Pete & Bowman, Laura -
35. Who's There (Knocking At My Door). Hampton, Pete & Bowman, Laura -
CD 3
1. You're All Right, Jasper. Hampton, Pete & Bowman, Laura -
2. I'm Goin' To Live Anyhow Till I Die. Hampton, Pete & Bowman, Laura -
3. I'm A Jonah Man. Hampton, Pete & Bowman, Laura -
4. I'm Goin' To Live Anyhow Till I Die (1067-1). Hampton, Pete & Bowman, Laura -
5. The Mouth-Organ Coon (1072-1). Hampton, Pete & Bowman, Laura -
6. The Mouth-Organ Coon (1073-1). Hampton, Pete & Bowman, Laura -
7. Any Rags? (1677). Hampton, Pete & Bowman, Laura -
8. Bill Bailey Won't You Please Come Home (1678). Hampton, Pete & Bowman, Laura -
9. Bill Bailey Won't You Please Come Home (1679). Hampton, Pete & Bowman, Laura -
10. Oh! Dem Golden Slippers. Hampton, Pete & Bowman, Laura -
11. Bill Bailey Won't You Please Come Home (1682). Hampton, Pete & Bowman, Laura -
12. Bill Bailey Won't You Please Come Home (1683). Hampton, Pete & Bowman, Laura -
13. Any Rags? (1685). Hampton, Pete & Bowman, Laura -
14. Ain't I No Use Mr=Jackson? (2331). Hampton, Pete & Bowman, Laura -
15. Teasing. Hampton, Pete & Bowman, Laura -
16. Stay In Your Own Back Yard. Hampton, Pete & Bowman, Laura -
17. Mammy's Only Child. Hampton, Pete & Bowman, Laura -
18. When Sousa Comes To Coon-Town. Hampton, Pete & Bowman, Laura -
19. Hannah! Won't You Open That Door? (2027-0). Hampton, Pete & Bowman, Laura -
20. Tell Me Dusky Maiden. Hampton, Pete & Bowman, Laura -
21. Stay In Your Own Back Yard. Hampton, Pete & Bowman, Laura -
22. Ev'ry Little Bit Helps. Hampton, Pete & Bowman, Laura -
23. Hannah! Won't You Open That Door? (60943). Hampton, Pete & Bowman, Laura -
24. Mister Your Room Rent's Due. Hampton, Pete & Bowman, Laura -
25. I Guess That Will Hold You For A While. Hampton, Pete & Bowman, Laura -
26. All I Want's My Health And Strength. Hampton, Pete & Bowman, Laura -
27. Down In Georgia On Camp Meeting Day. Hampton, Pete & Bowman, Laura -
28. If You Don't Change Your Living / That's The Way You Die. Hampton, Pete & Bowman, Laura -
29. If That Ain't Winning A Home / Well I Don't Know. Hampton, Pete & Bowman, Laura -
30. The Phrenologist Coon. Hampton, Pete & Bowman, Laura -
31. Bill Bailey Won't You Please Come Home (5053). Hampton, Pete & Bowman, Laura -
CD 4
1. I'm A Jonah Man. Hampton, Pete & Bowman, Laura -
2. Massa's In The Cold Cold Ground. Hampton, Pete & Bowman, Laura -
3. When Sousa Comes To Coon-Town. Hampton, Pete & Bowman, Laura -
4. Since Rastus Went To Gay Paree. Hampton, Pete & Bowman, Laura -
5. Mandy Won't You Let Me Be. Hampton, Pete & Bowman, Laura -
6. Dat Mouth-Organ Coon. Hampton, Pete & Bowman, Laura -
7. Please Let Me Sleep. Hampton, Pete & Bowman, Laura -
8. Ain't I No Use Mr=Jackson?. Hampton, Pete & Bowman, Laura -
9. Ain't You Gwine To Say 'How-Do'?. Hampton, Pete & Bowman, Laura -
10. Hannah Won't You Open That Door?. Hampton, Pete & Bowman, Laura -
11. Coontown's Ragtime Dance. The Georgia Pickaninnies -
12. The Black Warblers. The Georgia Pickaninnies -
13. Chip-Chip. Carlisle & Wellmon -
14. Lucia Sextette In Ragtime. Carlisle & Wellmon -
15. A Prescription For Love. Carlisle & Wellmon -
16. Why Do You Wait For Tomorrow?. Carlisle & Wellmon -
17. Physical Culture. Jack Johnson -
18. International Rag. Bob Roberts -
19. All Night Long. Bob Roberts -
20. I Can Dance With Everybody Except My Wife. Ciro's Club Coon Orchestra -
21. Babes In The Wood. Ciro's Club Coon Orchestra -
22. The Ladder Of Roses. Ciro's Club Coon Orchestra -
23. Hip-Hip-Hooray / Chin-Chin. Ciro's Club Coon Orchestra -
24. Some Sort Of Somebody. Ciro's Club Coon Orchestra -
25. On The Shore At Le-Lei-Wi. Ciro's Club Coon Orchestra -
CD 5
1. And They Called It Dixieland. Ciro's Club Coon Orchestra -
2. Yaaka Hula Dickey Dula. Ciro's Club Coon Orchestra -
3. Something Seems Tingle-Ingleing. Ciro's Club Coon Orchestra -
4. My Mother's Rosary. Ciro's Club Coon Orchestra -
5. Hello, Hawaii, How Are You?. Ciro's Club Coon Orchestra -
6. My Foxtrot Wedding Day. Ciro's Club Coon Orchestra -
7. Never Let Your Right Hand Know What Your Left Hand's Going To Do. Ciro's Club Coon Orchestra -
8. Fancy You Fancying Me & Walkin' The Dog. Ciro's Club Coon Orchestra -
9. Loading Up The 'Mandy Lee'. Ciro's Club Coon Orchestra -
10. Poor Butterfly. Ciro's Club Coon Orchestra -
11. Hello Frisco! & Tanko. Ciro's Club Coon Orchestra -
12. Oh! How She Could Yacki Hacki, Wicky, Wacki, Woo / Saturday Night. Ciro's Club Coon Orchestra -
13. Boy Of Mine. Ciro's Club Coon Orchestra -
14. Where Did Robinson Crusoe Go With Friday On Saturday Night?. Ciro's Club Coon Orchestra -
15. Let The Great Big World Keep & Monkey Parade. Ciro's Club Coon Orchestra -
16. Clef Club March. Ciro's Club Coon Orchestra -
17. What Do You Want To Make Those Eyes At Me For & Hawaiian Butterfly. Ciro's Club Coon Orchestra -
18. Down Where The Swanee River Flows. Ciro's Club Coon Orchestra -
19. Don't Blame Me & Goodbye Madame Fashion. Ciro's Club Coon Orchestra -
20. She'd A Hole In Your Stocking & Keep On Loving Little Girlies. Ciro's Club Coon Orchestra -
21. St=Louis Blues. Ciro's Club Coon Orchestra -
22. The Chinese Blues. Ciro's Club Coon Orchestra -
CD 6
1. Where Did Robinson Crusoe Go With Friday On Saturday Night?. The Savoy Quartet -
2. Down Home In Tennessee. The Savoy Quartet -
3. You've Got To Do It. The Savoy Quartet -
4. Since Chumley Came Back From London Town. The Savoy Quartet -
5. If You Were The Only Girl In The World. The Savoy Quartet -
6. The Kipling Walk. The Savoy Quartet -
7. Fancy You Fancying Me!. The Savoy Quartet -
8. Hello, Hawaii, How Are You?. The Savoy Quartet -
9. They're Wearin' Them Higher In Hawaii. The Savoy Quartet -
10. Oh! How She Could Yacki, Hacki, Wicki, Wacki Woo. The Savoy Quartet -
11. Welcome, Honey, To The Old Plantation Home. The Savoy Quartet -
12. Mammy's Little Coal-Black Rose. The Savoy Quartet -
13. Beware Of Chu Chin Chow!. The Savoy Quartet -
14. Where The Black-Eyed Susans Grow. The Savoy Quartet -
15. He May Be Old, But He's Got Young Ideas. The Savoy Quartet -
16. Hullo, My Dearie. The Savoy Quartet -
17. What Do You Want To Make Those Eyes At Me For?. The Savoy Quartet -
18. How's Every Little Thing In Dixie?. The Savoy Quartet -
19. Over There!. The Savoy Quartet -
20. Down Texas Way. The Savoy Quartet -
21. Oh Boy! When You're Home On Leave. The Savoy Quartet -
22. Honey, Will You Miss Me. The Savoy Quartet -
23. For Me And My Gal. The Savoy Quartet -
24. You Oughtn't To Do It. The Savoy Quartet -
CD 7
1. Indian Rag. The Savoy Quartet -
2. Hello! New York. The Savoy Quartet -
3. The Wild Wild Women Are Making A Wild Man Of Me. The Savoy Quartet -
4. I Don't Want To Get Well. The Savoy Quartet -
5. Widows Are Wonderful. The Savoy Quartet -
6. Some Sunday Morning. The Savoy Quartet -
7. I'm All Bound 'Round With The Mason Dixie Line. The Savoy Quartet -
8. The Darktown Strutters' Ball. The Savoy Quartet -
9. The Siren's Song. The Savoy Quartet -
10. Kissable Child. The Savoy Quartet -
11. I've Got The Sweetest Girl In Maryland. The Savoy Quartet -
12. Someday Somebody's Going To Tell. The Savoy Quartet -
13. The Jazz Band. The Savoy Quartet -
14. Oh! Frenchy. The Savoy Quartet -
15. Smiles. The Savoy Quartet -
16. Helen Of Troy. The Savoy Quartet -
17. Everything Is Peaches Down In Georgia. The Savoy Quartet -
18. Till The Clouds Roll By. The Savoy Quartet -
19. Tackin' 'Em Down. The Savoy Quartet -
20. Everrybody Shimmies Now. The Savoy Quartet -
21. Kisses. The Savoy Quartet -
22. On The Level You're A Little Devil. The Savoy Quartet -
23. K-K-K-Katy. The Savoy Quartet -
24. Ja-Da. The Savoy Quartet -
25. What Do You Mean By Loving Somebody Else?. The Savoy Quartet -
26. After You've Gone. The Savoy Quartet -
CD 8
1. I Hate To Lose You. The Savoy Quartet -
2. Listen To That Moaning Melody. The Savoy Quartet -
3. How 'Ya Gonna Keep 'Em Down On The Farm (After They've Seen Paree). The Savoy Quartet -
4. Hindustan. The Savoy Quartet -
5. Mammy O'Mine. The Savoy Quartet -
6. When You See Another Sweetie Hanging Around. The Savoy Quartet -
7. Oh Helen!. The Savoy Quartet -
8. A Good Man Is Hard To Find. The Savoy Quartet -
9. The Vamp. The Savoy Quartet -
10. Ming Toy. The Savoy Quartet -
11. Arabian Nights. The Savoy Quartet -
12. The Older They Get, The Harder They Fall. The Savoy Quartet -
13. Chong. The Savoy Quartet -
14. Nobody Knows And Nobody Seems To Care. The Savoy Quartet -
15. Everybody Wants A Key To My Cellar. The Savoy Quartet -
16. At The High Brown Babies' Ball. The Savoy Quartet -
17. Head Over Heels. The Savoy Quartet -
18. I've Got My Captain Working For Me Now. The Savoy Quartet -
19. You're Wonderful When You Smile. The Savoy Quartet -
20. Swanee. The Savoy Quartet -
21. I'm Getting Tired Of Playing Second Fiddle. The Savoy Quartet -
22. Slow And Easy. The Savoy Quartet -
23. Oh!. The Savoy Quartet -
CD 9
1. I Gave Her That. The Savoy Quartet -
2. The Crocodile. The Savoy Quartet -
3. When It Comes To Loving The Girls. The Savoy Quartet -
4. I Never Knew. The Savoy Quartet -
5. Bells. The Savoy Quartet -
6. The Syncopated Vamp. The Savoy Quartet -
7. So Long! Oo-Long (How Long You Gonna Be Gone?). The Savoy Quartet -
8. Who Wants A Baby?. The Savoy Quartet -
9. Blue Nights. The Savoy Quartet -
10. At The Moving Picture Ball. The Savoy Quartet -
11. Venetian Moon. The Savoy Quartet -
12. Sweet Kisses. The Savoy Quartet -
13. Circus Day In Dixie. The Versatile Four -
14. Araby. The Versatile Four -
15. Down Home Rag. The Versatile Four -
16. Winter Nights. The Versatile Four -
17. Memories. The Versatile Four -
18. I'm Sorry I Made You Cry. The Versatile Four -
19. Smiles. The Versatile Four -
20. I Want A Doll. The Versatile Four -
21. Back To The Land Of Golden Dreams. The Versatile Four -
22. Mammy O' Mine. The Versatile Four -
23. After You've Gone. The Versatile Four -
24. What Do You Mean By Loving Somebody Else When Your Love Belongs To Me?. The Versatile Four -
CD 10
1. Oh! What A Pal Was Mary. The Versatile Four -
2. And He'd Say 'Oo-La-La! Wee-Wee'!. The Versatile Four -
3. You Know What I Mean. The Versatile Four -
4. I've Got My Captain Working For Me Now. The Versatile Four -
5. Patches. The Versatile Four -
6. Mystery!. The Versatile Four -
7. Bo-Bo-Beedle-Um-Bo. The Versatile Four -
8. Castle Of Dreams. The Versatile Four -
9. El Relicario. The Versatile Four -
10. El Relicario (alternate). The Versatile Four -
11. The Japanese Sandman. The Versatile Four -
12. Whispering. The Versatile Four -
13. The Love Nest. The Versatile Four -
14. Cuban Moon. The Versatile Four -
15. Venetian Moon. The Versatile Four -
16. Avalon. The Versatile Four -
17. Secrets Of Love. The Versatile Four -
18. Bo-La-Bo. The Versatile Four -
19. The Yodel Dodel Doh. The Versatile Four -
20. What Happens After The Ball?. The Versatile Four -
21. The Dear Little Garden I Love. The Versatile Four -
22. Oogie, Oogie, Wa, Wa. The Versatile Four -
23. Away Down East In Maine. The Versatile Four -
24. Alice-Blue Gown. Joseph Boyd -
25. I'm Sorry I Made You Cry. Joseph Boyd -
26. Oh! How I Hate To Get Up In The Morning!. Joseph Boyd -
27. Cairo. Joseph Boyd -
CD 11
1. Darkies' Jubilee. Will Garland -
2. I Got A Robe. Will Garland -
3. The Missouri Waltz. Dan And Harvey's Jazz Band -
4. Allah's Holiday. Dan And Harvey's Jazz Band -
5. The Siren's Song. Dan And Harvey's Jazz Band -
6. If You Look In Her Eyes. Dan And Harvey's Jazz Band -
7. Smiles. Dan And Harvey's Jazz Band -
8. Till The Clouds Roll By. Dan And Harvey's Jazz Band -
9. Hindustan. Dan And Harvey's Jazz Band -
10. Idol Mine. Edmund Jenkins -
11. Turque. Edmund Jenkins -
12. The Wind In The Trees. Edmund Jenkins -
13. I'm Wondering If It's Love. Edmund Jenkins -
14. The Love Nest. Edmund Jenkins -
15. Billy. Edmund Jenkins -
16. Mon homme. Edmund Jenkins -
17. Wang Wang Blues. Edmund Jenkins -
18. Ilo (A Voice From Mummyland). Edmund Jenkins -
19. So Now You Know. Edmund Jenkins -
20. Salomé. Edmund Jenkins -
21. Campanas. Edmund Jenkins -
22. Coal Black Mammy. Edmund Jenkins -
23. Mooning. Edmund Jenkins -
24. A Trombone Cocktail. Edmund Jenkins -
CD 12
1. Coal Black Mammy. Edmund Jenkins -
2. Mooning. Edmund Jenkins -
3. Counting The Days. Edmund Jenkins -
4. So Now You Know. Edmund Jenkins -
5. T'sing. Edmund Jenkins -
6. Laughing Waltz. Edmund Jenkins -
7. My Mammy. Edmund Jenkins -
8. Circulation. Edmund Jenkins -
9. Gossipping. Edmund Jenkins -
10. Silver Star. Edmund Jenkins -
11. Sweet And Low. Edmund Jenkins -
12. Beautiful Faces. Edmund Jenkins -
13. Why?. Edmund Jenkins -
14. Come Along. Edmund Jenkins -
15. The Bull-Frog Patrol. Edmund Jenkins -
16. Drifting Along With The Tide. Edmund Jenkins -
17. J'en ai marre. Edmund Jenkins -
18. Palais de danse. Edmund Jenkins -
19. True Love. Edmund Jenkins -
20. Arabian Love. Edmund Jenkins -
21. The Lady Of The Rose. Edmund Jenkins -
22. Do It Again!. Edmund Jenkins -
23. Little Miss Springtime. Edmund Jenkins -
24. And Her Mother Came Too. Edmund Jenkins -
25. Hallelu'. Herbert Eugene Parker -
CD 13
1. Ain't We Got Fun. Louis Mitchell -
2. Oh Me! Oh My!. Louis Mitchell -
3. Une femme qui passe. Louis Mitchell -
4. J'en ai marre. Louis Mitchell -
5. Hep!. Louis Mitchell -
6. Sally Won't You Come Back. Louis Mitchell -
7. The Sheik Of Araby. Louis Mitchell -
8. Now And Then. Louis Mitchell -
9. Spooning. Louis Mitchell -
10. When Happiness Reigns. Louis Mitchell -
11. Ça, c'est une chose. Louis Mitchell -
12. Machinalement. Louis Mitchell -
13. Si j'avais su. Louis Mitchell -
14. Camomille. Louis Mitchell -
15. Je m' donne. Louis Mitchell -
16. Dans la vie faut pas s'en faire. Louis Mitchell -
17. Indécision. Louis Mitchell -
18. Hooch. Louis Mitchell -
19. Non, non, jamais les hommes. Louis Mitchell -
20. Ten Little Fingers And Ten Little Toes (Down In Tennessee). Louis Mitchell -
21. Cutie. Louis Mitchell -
22. Lovable Eyes. Louis Mitchell -
23. I'm Just Wild About Harry. Louis Mitchell -
24. Oh Gee! Oh Gosh!. Louis Mitchell -
25. The Montmartre Rag. Louis Mitchell -
26. Wabash Blues. Louis Mitchell -
27. Ty-Tée. Louis Mitchell -
28. Jimmy. Louis Mitchell -
CD 14
1. Everybody Step. Louis Mitchell -
2. Say It With Music. Louis Mitchell -
3. Some Sunny Day. Louis Mitchell -
4. Stumbling. Louis Mitchell -
5. All That I Need Is You. Louis Mitchell -
6. Bimini Bay. Louis Mitchell -
7. Send Back My Honeyman. Louis Mitchell -
8. Angel Child. Louis Mitchell -
9. Dancing Fool. Louis Mitchell -
10. Do It Again. Louis Mitchell -
11. My Turkish Ideals. Louis Mitchell -
12. April Showers. Louis Mitchell -
13. Japanese Lanterns Blues. Louis Mitchell -
14. Chicago. Louis Mitchell -
15. Ji-Ji-Boo. Louis Mitchell -
16. By The Sapphire Sea. Louis Mitchell -
17. Who Cares?. Louis Mitchell -
18. Sing 'Em Blues. Louis Mitchell -
19. Si vous n'aimez pas ça. Louis Mitchell -
20. C'est Paris. Louis Mitchell -
21. Carolina In The Morning. Louis Mitchell -
22. Toot-Toot-Tootsie. Louis Mitchell -
23. Tomorrow. Louis Mitchell -
24. Blue. Louis Mitchell -
25. Pourquoi j'ai regretté. Louis Mitchell -
26. Holiday. Louis Mitchell -
CD 15
1. Yoo-Hoo. The Broadway Band -
2. Sally. The Broadway Band -
3. Tell Her At Twilight. The Broadway Band -
4. Roaming. The Broadway Band -
5. Dapper Dan. The Broadway Band -
6. Stumbling. The Broadway Band -
7. Always Charming. The Broadway Band -
8. Cutting The Cake. The Broadway Band -
9. You Can't Sting A Nigger In The Same Place Twice. The Broadway Band -
10. Vamping Rose. The Broadway Band -
11. I'm Getting Better Every Day. The Broadway Band -
12. I Want Some Money. The Broadway Band -
13. Goodbye Shanghai. The Broadway Band -
14. Ty-Tee. The Broadway Band -
15. Hiawatha's Melody Of Love. The Broadway Band -
16. Caravan. The Broadway Band -
17. My Sweet Hortense. The Broadway Band -
18. When The Leaves Come Tumbling Down. The Broadway Band -
19. Shufflin' Along. The Broadway Band -
20. Carolina In The Morning (C 5437-1). The Broadway Band -
21. Carolina In The Morning (C 5437-2). The Broadway Band -
22. Swanee Bluebird. The Broadway Band -
23. Hot Lips. The Broadway Band -
24. Kitten On The Keys. The Broadway Band -
25. Main Street. The Broadway Band -
26. I Ain't Nobody's Darling. The Broadway Band -
27. Away Down East In Maine. The Broadway Band -
CD 16
1. The Sneak!. The Broadway Band -
2. Deedle Deedle Dum. The Broadway Band -
3. Wana. The Broadway Band -
4. Where The Bamboo Babies Grow. The Broadway Band -
5. Oogie, Oogie, Wa-Wa. The Broadway Band -
6. All Muddled Up (C 5569). The Broadway Band -
7. Oh! Star Of Eve (C 5570). The Broadway Band -
8. Little Rover. The Broadway Band -
9. Hot Lips. The Broadway Band -
10. Oh! Star Of Eve (C 5574). The Broadway Band -
11. All Muddled Up (L 0436). The Broadway Band -
12. Rose Of The Rio Grande. The Broadway Band -
13. When The Leaves Come Tumbling Down (You'll Hear Me Calling). The Broadway Band -
14. Yoo-Hoo. The Broadway Band -
15. Fate. The Broadway Band -
16. Canadian Capers. The Broadway Band -
17. Chicago. The Broadway Band -
18. Susanna's Squeaking Shoes. The Broadway Band -
19. Yes! We Have No Bananas. The Broadway Band -
20. Cut Yourself A Piece Of Cake. The Broadway Band -
21. My Sweetie Went Away. The Broadway Band -
22. When You Walked Out (Somebody Else Walked Right In). The Broadway Band -
23. Stella. The Broadway Band -
24. Annie. The Broadway Band -
25. Moon Love. The Broadway Band -
26. I've Got The 'Yes! We Have No Bananas' Blues. The Broadway Band -
27. Who Threw The Water On The Tom Cat's Back?. The Broadway Band -
28. The Cat's Whiskers. The Broadway Band -
CD 17
1. You've Got The See Mamma Every Night. The Broadway Band -
2. The Broadway Blues. The Broadway Band -
3. Romany Rose. The Broadway Band -
4. I Love You. The Broadway Band -
5. Stealin' To Virginia. The Broadway Band -
6. The Oom-Pah Trot. The Broadway Band -
7. When It's Night-Time In Italy (it's Wednesday Over Here). The Broadway Band -
8. Love Tales. The Broadway Band -
9. Twelve O'Clock At Night. The Broadway Band -
10. Mean Mean Mama. The Broadway Band -
11. Everything Is O.K=In K.Y=. The Broadway Band -
12. Maggie! ('Yes, Ma?'). The Broadway Band -
13. Gigolette. The Broadway Band -
14. Arabianna (An Oriental Fantasy). The Broadway Band -
15. If I Can't Get The Sweetie I Want (I Pity The Sweetie I Get). The Broadway Band -
16. Linger Awhile. The Broadway Band -
17. When Will I Know?. Rudolph Dixon -
18. China Boy Go Sleep. Rudolph Dixon -
19. My Buddy. Rudolph Dixon -
20. When All Your Castles Come Tumbling. Rudolph Dixon -
21. Innocent Lonesome Blue Baby. Rudolph Dixon -
22. Rose Of The Rio Grande. Rudolph Dixon -
23. Dearest. Rudolph Dixon -
24. Dumbell. Rudolph Dixon -
25. Couldn't Hear Nobody Pray. Evelyn Dove -
26. Every Time I Feel De Spirit. Evelyn Dove -
27. Night. Russell Jones -
28. When Buddha Smiles. Russell Jones -
CD 18
1. Falling. Russell Jones -
2. Just Because You're You. Russell Jones -
3. In A Boat. Russell Jones -
4. Can You Forget?. Russell Jones -
5. Blod och sand. Russell Jones -
6. Old Fashioned Girl. Russell Jones -
7. Why, Dear?. Russell Jones -
8. When I Will Know?. Russell Jones -
9. Yes, Sir, Till Tennessee. Russell Jones -
10. Linger Awhile. Russell Jones -
11. Rosen. Russell Jones -
12. Only You. Russell Jones -
13. Din er jeg med krop og själ. Russell Jones -
14. Nya bonnjazzen (Nw 587-1). Russell Jones -
15. Nya bonnjazzen (Nw 587-2). Russell Jones -
16. I korkträkkeren. Russell Jones -
17. Balalaikasången. Russell Jones -
18. Go Down, Moses (Let My People Go). John Payne -
19. Water Boy (Convict Song). John Payne -
20. Standin' In De Need O' Prayer. John Payne -
21. My Lord, What A Morning. John Payne -
22. My Way Is Cloudy. John Payne -
23. Go Down Moses. Roland Hayes -
24. By An' By. Roland Hayes -
25. Steal Away To Jesus. Roland Hayes -
26. Sit Down. Roland Hayes -
27. Swing Low, Sweet Chariot. Roland Hayes -
CD 19
1. Hard-Hearted Hannah. Layton & Johnstone -
2. It Ain't Gonna Rain No Mo'. Layton & Johnstone -
3. What'll I Do. Layton & Johnstone -
4. It Had To Be You. Layton & Johnstone -
5. Dear Old Southland. Layton & Johnstone -
6. Lazy. Layton & Johnstone -
7. Josephine. Layton & Johnstone -
8. From One Till Two (I Always Dream Of You). Layton & Johnstone -
9. When You Look In The Eyes Of A Mule. Layton & Johnstone -
10. The Argentines, The Portuguese, And The Greeks. Layton & Johnstone -
11. A New Kind Of Girl With A New Kind Of Love For Me. Layton & Johnstone -
12. I Want To Be Happy. Layton & Johnstone -
13. Tea For Two. Layton & Johnstone -
14. All Alone. Layton & Johnstone -
15. Marcheta. Layton & Johnstone -
16. Anyway The Wind Blows (My Sweetie Goes). Layton & Johnstone -
17. Who?. Layton & Johnstone -
18. Don't Put The Blame On Me. Layton & Johnstone -
19. Everybody Loves My Baby. Layton & Johnstone -
20. Listening. Layton & Johnstone -
21. Hot Miss Molly. Layton & Johnstone -
22. Mighty Lak' A Rose. Layton & Johnstone -
23. Alabamy Bound. Layton & Johnstone -
24. My Girl's Mother. Layton & Johnstone -
25. I'll See You In My Dreams. Layton & Johnstone -
26. Why Do I Love You?. Layton & Johnstone -
27. Li'l Gal. Layton & Johnstone -
CD 20
1. Hello 'Tucky. Layton & Johnstone -
2. Hay! Hay! Farmer Gray. Layton & Johnstone -
3. Paddlin' Madelin' Home. Layton & Johnstone -
4. Little Black Buddy Of Mine. Layton & Johnstone -
5. When You And I Were Seventeen. Layton & Johnstone -
6. Tell Me More. Layton & Johnstone -
7. Way Down Yonder In New Orleans. Gordon Stretton -
8. C'est Paris!. Gordon Stretton -
9. ...Tu verras Montmartre!. Gordon Stretton -
10. Lovin' Sam. Gordon Stretton -
11. Fate. Gordon Stretton -
12. La-Haut. Gordon Stretton -
13. It Had To Be You. James Boucher -
14. Symphobia. James Boucher -
15. The Savoy American Medley. James Boucher -
16. How Can I Believe You?. James Boucher -
17. Wohnst du denn bei deiner Alten?. James Boucher -
18. Zur Liebe gehört doch auch ein bißchen Musik. James Boucher -
19. Copenhagen. Earl Granstaff -
20. Florida. Earl Granstaff -
21. By The Waters Of Minne Tonka (Am Minetonkasee). Earl Granstaff -
22. Molly. Earl Granstaff -
23. He's The Hottest Man In Town (Hahn im Korbe). Earl Granstaff -
24. Hong Kong Dream Girl (Chinesischer Liebestraum). Earl Granstaff -
25. Craving (Voll Sehnsucht). Earl Granstaff -
26. Tessie (Stop Teasing Me). Earl Granstaff -
27. Ukulele Lady (Honolulu Mädel). Earl Granstaff -
28. Seminola (Na, was tut sich?). Earl Granstaff -
CD 21
1. Want A Little Lovin'. Hatch & Carpenter -
2. What Did I Tell Ya?. Hatch & Carpenter -
3. Carolina!. Hatch & Carpenter -
4. Ukulele Avenue. Hatch & Carpenter -
5. If I Like It. Hatch & Carpenter -
6. Ukulele Lullaby. Hatch & Carpenter -
7. Dinah. Hatch & Carpenter -
8. That's All There Is (There Ain't No More). Hatch & Carpenter -
9. Why?. Sissle & Blake -
10. Oh! Boy, What A Girl. Sissle & Blake -
11. Ukulele Baby. Sissle & Blake -
12. Ukulele Lullaby. Sissle & Blake -
13. I Wonder Where My Sweetie Can Be?. Sissle & Blake -
14. There's One Lane That Has No Turning. Sissle & Blake -
15. Pickaninny Shoes (9935-1). Sissle & Blake -
16. Pickaninny Shoes (9935-2). Sissle & Blake -
17. Dinah. Sissle & Blake -
18. O Katharina! (2357 A). Sam Wooding -
19. Shanghai Shuffle (2358 A). Sam Wooding -
20. Alabamy Bound (2359 A). Sam Wooding -
21. By The Waters Of Minnetonka (2360 A). Sam Wooding -
22. O Katharina! (2755 B). Sam Wooding -
23. Shanghai Shuffle (2456 B). Sam Wooding -
24. Alabamy Bound (2757 B). Sam Wooding -
25. By The Waters Of Minnetonka (2758 B). Sam Wooding -
CD 22
1. Paris (Ça c'est Paris!). Arthur Briggs -
2. Black Bottom. Arthur Briggs -
3. Brawo! Bis!. Arthur Briggs -
4. Was macht der Maier am Himalaya?. Arthur Briggs -
5. Funny Girls. Arthur Briggs -
6. Up And At 'em. Arthur Briggs -
7. Ja kocham cie. Arthur Briggs -
8. Syrena-Blues. Arthur Briggs -
9. Zula. Arthur Briggs -
10. Makkaroni. Arthur Briggs -
11. Liebe Katharina, komm zu mir nach China!. Arthur Briggs -
12. Mammy (Für mich bist du die schönste Frau der Welt). Arthur Briggs -
13. Sehnsucht!. Arthur Briggs -
14. Turandot. Arthur Briggs -
15. Dulcinea. Arthur Briggs -
16. Darum trinken wir noch eins. Arthur Briggs -
17. Forget. Arthur Briggs -
18. Sei nicht traurig, kleines Mädel. Arthur Briggs -
19. Komm mit nach Kopenhagen. Arthur Briggs -
20. Hallelujah!. Arthur Briggs -
21. Du, nur Du!. Arthur Briggs -
22. Meine Herren!. Arthur Briggs -
23. Du bist mein stiller Kompagnon. Arthur Briggs -
24. Heut' ist die Käte ete-petete!. Arthur Briggs -
25. Chinese Memories. Pierre De Caillaux -
26. Gigolette. Pierre De Caillaux -
27. I'm Just Wild About Harry. Hughes Pollard -
28. You've Got To See Mamma Every Night. Hughes Pollard -
CD 23
1. Who?. Josephine Baker -
2. That Certain Feeling. Josephine Baker -
3. Dinah. Josephine Baker -
4. Sleepy Time Gal. Josephine Baker -
5. I Wonder Where My Baby Is Tonight. Josephine Baker -
6. Bam Bam Bamy Shore. Josephine Baker -
7. I Want To Yodel. Josephine Baker -
8. You Are The Only One For Me. Josephine Baker -
9. Feeling Kind Of Blue. Josephine Baker -
10. Brown Eyes, Why Are You Blue. Josephine Baker -
11. Always. Josephine Baker -
12. I Love My Baby. Josephine Baker -
13. I've Found A New Baby. Josephine Baker -
14. Skeedle-Um. Josephine Baker -
15. Jesus Moves In De Middle Ob De Air. The Four Harmony Kings -
16. Little David, Play On Your Harp. The Four Harmony Kings -
17. Long Ago Lullaby. The Four Harmony Kings -
18. Ain't It A Shame. The Four Harmony Kings -
19. De Gospel Train. The Four Harmony Kings -
20. A Kalliope Yodel. The Four Harmony Kings -
21. Heabben. The Four Harmony Kings -
22. Dis Wicked Race. The Four Harmony Kings -
23. Rolling And Rocker Dem In His Arms. The Four Harmony Kings -
24. Joshua Fought The Battle Of Jericho. The Four Harmony Kings -
25. He's The Hottest Man In Town!. Harry Hednoff -
26. The Crystal Potpourri. Harry Hednoff -
CD 24
1. Chant d'amour (306). Wolof -
2. Chant d'amour (307). Wolof -
3. 3 chants (308). Wolof -
4. Chant de guerre (309). Wolof -
5. 2 contes (310). Wolof -
6. 2 contes en français (311). Wolof -
7. 3 chants (312) -
8. 4 chants (313). Serère -
9. Chant de guerre (314). Serère -
10. 3 chants (315). Serère -
11. Chant de guerre (316). Toucouleur -
12. 2 chants de guerre (317). Toucouleur-Bambara -
13. 4 chants (318) -
14. Chant de danse (319) -
15. Musique de Cora (320) = -
16. Musique de Cora (321) -
17. Récit (322). Dahoméen -
18. Chant populaire (323). Dahoméen -
19. Chant d'amour (324). Dahoméen -
20. Chant religieux (325)=. Dahoméen -
21. Chant de danse (329). Dahoméen -
22. Chant de danse (328). Dahoméen -
23. Chant d'amour (326). Yoruba -
24. Chant de guerre (327. Yoruba -
25. Chant populaire (330). Yoruba -
26. Conversation (331) -
27. Une querelle de ménage (333) -
28. Une querelle de ménage (334) -
29. Récit pour enfants (336) . -
CD 25
1. Parabole d'enfant prodigue (346) -
2. Parabole d'enfant prodigue (347) -
3. Chant d'amour (348) -
4. Air populaire ancien (351). Valiha -
5. Concert de deux Valihas et un Sifflet (352) -
6. Air de danse ancien (353) -
7. Conversation (355) -
8. Chant populaire de danse (384) -
9. Chant populaire de danse (385) -
10. Conte pour enfant (356) -
11. Chant de réjouissance (357) -
12. Chanson d'amour (358) -
13. Chanson d'amour (386) -
14. Chant de circoncision (360) -
15. Chant de réjouissance (359) -
16. Chant de guerre (361) -
17. Chant de danse (362) -
18. Conte pour enfants (363) -
19. Chant de guerre (364) -
20. Conte pour enfants (366) -
21. Chanson de piroguier (369) -
22. Chant populaire (388) -
23. Une querelle de ménage (337) -
24. Une querelle de ménage (338) -
25. Chant d'amour (339) -
26. Chant de réjouissance (340) -
27. Chant de réjouissance (344) -
CD 26
1. Conte (342) -
2. Conte (341) -
3. Conte (343) -
4. Chant populaire de danse (345) -
5. Chant populaire de danse (387) -
6. L'enfant prodigue (374). Français Créole (Guyane) -
7. Conte populaire (375). Français Créole (Guyane) -
8. Vieille chanson comique (376). Français Créole (Guyane) -
9. Folk Songs Of The Pygmies (2516 e). The Pygmies -
10. Folk Songs Of The Pygmies (2517 e). The Pygmies -
11. Pygmy Language. The Pygmies -
12. Conversation Between Bokani The Chief. The Pygmies -
13. Conversation Between Two Pygmy Ladies. The Pygmies -
14. Medina. Tessema Eshete -
15. Tikas. Tessema Eshete -
16. Meusgana. Tessema Eshete -
17. Zalasinja. Tessema Eshete -
18. Yedjanhoy misgana. Tessema Eshete -
19. Yé Ras Wolde Guigorguis. Tessema Eshete -
20. Yé Ras Mekonen. Tessema Eshete -
21. Yé Ligaba. Tessema Eshete -
22. Yé Etegué. Tessema Eshete -
23. Yéalem masgana. Tessema Eshete -
24. Ye mote Mastawocha. Tessema Eshete -
25. Yé Negradas. Tessema Eshete -
26. Yé Zeuwditou. Tessema Eshete -
27. Ato Yosef. Tessema Eshete -
28. Dejatch Baltcha. Tessema Eshete -
29. Yétekasé. Tessema Eshete -
CD 27
1. Yé Ras Mikaël. Tessema Eshete -
2. Dedjatch Abate. Tessema Eshete -
3. Yenegadras. Tessema Eshete -
4. Dedjatch Woube. Tessema Eshete -
5. Lenoch Hameru. Tessema Eshete -
6. Addo Wosheba. Tessema Eshete -
7. Yé fekeur. Tessema Eshete -
8. Aaya woshebaé. Tessema Eshete -
9. Albojasilmaslec. Tessema Eshete -
10. Melkiadom. Tessema Eshete -
11. Demma demma. Tessema Eshete -
12. Meukoneuné. Tessema Eshete -
13. Yetekassé. Tessema Eshete -
14. Sema. Tessema Eshete -
15. Eussey na na. Tessema Eshete -
16. Boualt. Tessema Eshete -
17. Langue Cumbi (A.P.221) -
18. Langue Kimbundu (A.P.222) -
19. Langue Kimbundu (A.P.223). Conversation -
20. Hymnes éthiopiens no=1 (A.P.275) -
21. Hymnes éthiopiens no=2 (A.P.276) -
22. Hymnes éthiopiens no=3 (A.P.277) -
23. Hymnes éthiopiens nos=4 et 5 (A.P.278) -
24. Hymnes éthiopiens nos=6 et 7 (A.P.289) -
25. Hymnes éthiopiens no=8 (A.P.290) -
26. Hymnes éthiopiens no=9 (A.P.291) -
27. Hymnes éthiopiens nos=10 et 11 (A.P.292) -
28. Hymnes éthiopiens nos=12 et 13 (A.P.293) -
29. Chant populaire abyssin (A.P.294) -
30. Chant populaire abyssin (A.P.295) -
CD 28
1. Chant abyssin (amharique) (A.P.298) -
2. Chant abyssin (A.P.299) -
3. Chanson amharique (A.P.365) -
4. Deux chansons Gallas (A.P.366) -
5. Chant en l'honneur du Dedjazmatch Tafari Makonnen (A.P.367) -
6. Chant et suite des couplets amhariques (A.P.368) -
7. Antiennes éthiopiennes (A.P.369) -
8. Recitation in Wolof (A.P.414) -
9. Recitation in Agni (A.P.415) -
10. Recitation in Baule (A.P.416) -
11. Recitation (A.P.417) -
12. Recitation in Bambara (A.P.419) -
13. Recitation in Creole (A.P.497) -
14. Chanson populaire créole (A.P.498) -
15. Recitation in Amharic (A.P.554) -
16. Vocal in Ge'ez (A.P.555) -
17. Récit improvisé (A.P.589) -
18. Recitation (A.P.590) -
19. Recitation (A.P.591) -
20. Recitation (A.P.592) -
21. Recitation (A.P.593) -
22. Mohammed l'Anväd (PK 261) -
23. 3 Bornu-Lieder (PK 272) -
24. Haussa/Ful/Wandala (PK 273). 4 Lieder -
25. Geschichte in Bornu (PK 274). Zahlen -
26. Erzählung in Mandala (PK 275). Zahlen -
27. 3 Bambara-Lieder und -Zahlen (PK 286) -
28. 2 Dahomey-Lieder (PK 287) -
CD 29
1. 2 Gesänge in Joruba-Sprache (PK 289) -
2. Aufforderung zum Tanz durch den König (PK 794) -
3. gesprochen) (PK 795). Wasser (getrommelt -
4. gesprochen) (PK 796). Krieg (getrommelt -
5. Gesprochen / Gepfiffen) (PK 798). Die Leute haben meinen Freund unschuldig geschlagen (Getrommelt -
6. Gesprochen / Gepfiffen) (PK 799). Ich werde den Leuten 20 Ziegen als Entschädigung geben (Getrommelt -
7. Trommelsprache (PK 800) -
8. Gesprochen / Gepfiffen) (PK 801). Ende des Telefonierens (Getrommelt -
9. Ruderlied, etc=(PK 802) -
10. 3 Geschichten in Kibera-Sprache (PK 803) -
11. Tanzlied, Unterhaltung und Zahlen (PK 857) -
12. 3 Lieder in Suaheli-Sprache (PK 858) -
13. gesprochen) (PK 860). 2 Lieder (gesungen -
14. 2 Unterhaltungen (PK 861) -
15. Synonyma und Erzählung (PK 862) -
16. Gruß, 2 Lieder und Zahlen (PK 863) -
17. Pfeifen, Trommellied, Erzählung und Zahlen (PK 864) -
18. Mädchentanz und Männertanz (PK 865) -
19. 2 Lieder und Zahlen (PK 866) -
20. Jagdgeschichte und Wörter (PK 867) -
21. 2 Gesänge (PK 869) -
22. Erzählung aus meinem Leben (Anfang) (PK 1108) -
23. Erzählung aus meinem Leben (Schluß) (PK 1109) -
24. Zahlen, Wörter und Phrasen (PK 1110) -
CD 30
1. 3 Lieder (PK 1111) -
2. Lied in Ful-Sprache (PK 1113) -
3. Zahlen und 2 Erzählungen (PK 1114) -
4. Lieder mit Händeklatschen (PK 1115) -
5. Zahlen und Erzählung (PK 1116) -
6. 3 Lieder (PK 1117) -
7. 2 Lieder mit Felltrommel (PK 1118) -
8. 2 Lieder mit Trommel (PK 1119) -
9. Keine Titelinformation (PK 1218) -
10. Lied und Erzählung (PK 1485) -
11. Liebeslied und Kamellied (PK 1486) -
12. Märchen vom Löwen und Hasen (PK 1487) -
13. Hochzeitslied (PK 1488) -
14. Erzählung, Zahlen, Wochentage, etc=(PK 1489) -
15. 2 Tanzlieder und Zahlen (PK 1490) -
16. Wortliste und Zahlen (PK 1499) -
17. 2 Tanzlieder und Erzählung [Teil 1] (PK 1500) -
18. 2 Tanzlieder und Erzählung [Teil 2] (PK 1501) -
19. 2 Tanzlieder und Erzählung [Teil 3] (PK 1502) -
20. 2 Tanzlieder und Erzählung [Teil 4] (PK 1503) -
21. Ruderlied (PK 1504) -
22. Begrüßungswechselrede (PK 1505) -
23. Wortliste und Zahlen (PK 1508) -
24. Erzählung [Teil 1] (PK 1509) -
25. Erzählung [Teil 2] (PK 1510) -
CD 31
1. Ngazidia-Lied [Teil 1] (PK 1511) -
2. Ngazidia-Lied [Teil 2] (PK 1512) -
3. Ngazidia-Lied [Teil 3] (PK 1513) -
4. Religiöse Tanzlieder, Zahlen (PK 1515) -
5. Wiegenlied (PK 1516) -
6. Wiegenlied und Erzählung [Teil 1] (PK 1517) -
7. Erzählung [Teil 2] (PK 1518) -
8. Erzählung [Teil 1] (PK 1519) -
9. Erzählung [Teil 2] (PK 1520) -
10. Wortliste und Zahlen (PK 1522) -
11. Wortliste und Zahlen (PK 1523) -
12. Wortliste und Zahlen in Bambara-Sprache (PK 1524) -
13. Wortliste und Zahlen in Wolof-Sprache (PK 1525) -
14. Wortliste und Zahlen in Wolof-Sprache (PK 1526) -
15. Wortliste und Zahlen in Wolof-Sprache (PK 1527) -
16. Wortliste und Zahlen in Bambara-Sprache (PK 1528) -
17. Wortliste und Zahlen in Maninka-Sprache (PK 1529) -
18. Wortliste und Zahlen in Toma-Sprache (PK 1530) -
19. Wortliste und Zahlen in Mienga-Sprache (PK 1531) -
20. Wortliste und Zahlen in Kado-Sprache (PK 1532) -
21. Wortliste und Zahlen in Goro-Sprache (PK 1533) -
22. Madagassisches Lied (PK 1534) -
23. Madagassisches Lied (4 Sänger) (PK 1535) -
CD 32
1. 2 Lieder aus Madagaskar (PK 1536) -
2. 2 Lieder (PK 1537) -
3. Das Lied vom Rabe (PK 1538) -
4. Scherzlied (PK 1539) -
5. Gesprochen) (PK 1540). Marschlied (Gesungen -
6. Abschiedslied (PK 1541) -
7. Lied der Königin von Madagaskar [Teil 1] (PK 1542) -
8. Lied der Königin von Madagaskar [Teil 2] (PK 1543) -
9. Wortliste und Zahlen (PK 1544) -
10. Erzählung vom Krokodil (PK 1545) -
11. Wettlauf zwischen Eber und Chamäleon (PK 1546) -
12. 2 Lieder (PK 1547) -
13. Redensarten (PK 1549) -
14. Wörter zur Phonetik der Madagassischen Sprache (PK 1550) -
15. Liebeslied (PK 1551) -
16. Wortliste und Zahlen (PK 1552) -
17. Zahlen (PK 1553) -
18. Wortliste (PK 1554) -
19. Wortliste und Zahlen (PK 1555) -
20. Wortliste und Zahlen (PK 1556) -
21. Wortliste (PK 1557) -
22. Wortliste (PK 1558) -
23. Wortliste (PK 1559) -
24. Wortliste und Zahlen (PK 1560) -
25. Wortliste und Zahlen (PK 1561) -
CD 33
1. Wortliste und Zahlen (PK 1562) -
2. Wortliste (PK 1563) -
3. Gespräch Nr=1 (PK 1564) -
4. Gespräch Nr=2 (PK 1565) -
5. Wortliste und Zahlen (PK 1566) -
6. Wortliste und Zahlen (PK 1567) -
7. Wortliste und Zahlen (PK 1568) -
8. Wortliste und Zahlen (PK 1569) -
9. Wortliste und Zahlen (PK 1570) -
10. Wortliste und Zahlen (PK 1571) -
11. Wortliste und Zahlen (PK 1572) -
12. Wortliste und Zahlen (PK 1574) -
13. Redensarten (PK 1575) -
14. Erzählung [Teil 1] (PK 1576) -
15. Erzählung [Teil 2] (PK 1577) -
16. Erzählung [Teil 3] (PK 1578) -
17. 3 Erzählungen (PK 1579) -
18. 2 Erzählungen (PK 1580) -
19. Chor (PK 1581) -
20. La chanson d'amour de Pivadé (PK 1582) -
21. Wortliste und Zahlen (PK 1583) -
22. Wortliste und Zahlen (PK 1584) -
23. Wortliste und Zahlen (PK 1585) -
CD 34
1. Wortliste und Zahlen (PK 1586) -
2. Wortliste und Zahlen (PK 1587) -
3. Wortliste und Zahlen (PK 1588) -
4. Wortliste und Zahlen (PK 1589) -
5. Wortliste und Zahlen (PK 1590) -
6. Wortliste und Zahlen (PK 1591) -
7. Wortliste und Zahlen (PK 1593) -
8. Wortliste und Zahlen (PK 1594) -
9. Wortliste und Zahlen (PK 1595) -
10. 2 Flöten-Solos (PK 1596) -
11. Wortliste und Zahlen (PK 1597) -
12. 2 Gesänge (PK 1598) -
13. 2 Gesänge (PK 1599) -
14. Wortliste und Zahlen (PK 1600) -
15. Wortliste und Zahlen (PK 1601) -
16. Wortliste und Zahlen (PK 1603) -
17. Wortliste (PK 1604) -
18. Wortliste und Zahlen (PK 1605) -
19. Wortliste und Zahlen (PK 1606) -
20. Wortliste und Zahlen (PK 1607) -
21. Erzählung (PK 1608) -
22. Wortliste (PK 1609) -
23. Erzählung (PK 1610) -
CD 35
1. Wortliste (PK 1611) -
2. Wörter (PK 1612) -
3. Wörter (PK 1613) -
4. Wörter und Zahlen, abgekürzt (PK 1614) -
5. Wörter und Zahlen (PK 1615) -
6. Wortliste (PK 1616) -
7. Wörter (PK 1617) -
8. Wörter (PK 1618) -
9. Wörter (PK 1619) -
10. Wörter (PK 1620) -
11. Wörter (PK 1621) -
12. Wortliste in Zerma-Sprache (PK 1622) -
13. Wortliste in Bele-Sprache (PK 1623) -
14. Wortliste und Zahlen (PK 1624) -
15. Wörter und Zahlen ( (PK 1625) -
16. Erzählung [Teil 1] (PK 1626) -
17. Erzählung [Teil 2] (PK 1627) -
18. Erzählung (Frei Vorgetragen) (PK 1628) -
19. Gespräch Nr=3 (PK 1629) -
20. Gespräch Nr=4 (PK 1630) -
21. Gespräch Nr=5 (PK 1631) -
22. Redensarten (PK 1632) -
CD 36
1. 3 Madagassische Tanzlieder (PK 1633) -
2. 3 Madagassische Tanzlieder (PK 1634) -
3. Wortliste in Kwa-Sprache (PK 1635) -
4. Wortliste in Gulu-Sprache (PK 1636) -
5. Gespräche (Teil 1) (PK 1637) -
6. Gespräche (Teil 2) (PK 1638) -
7. 2 Erzählungen (PK 1641) -
8. Lied eines Schafhirten (PK 1642) -
9. Erzählung (PK 1643) -
10. Kinderlied und Lied eines Schafhirten (PK 1644) -
11. 2 Erzählungen (PK 1645) -
12. Erzählung [Teil 1] (PK 1646) -
13. Erzählung [Teil 2] (PK 1647) -
14. Erzählung [Teil 1] (PK 1648) -
15. Erzählung [Teil 2] (PK 1649) -
16. Erzählung [Teil 4] (PK 1650) -
17. Sprachstudie und 2 Lieder (LA 128) -
18. Duala-Märchen Nr=32 (LA 624) -
19. Duala-Märchen Nr=48 (LA 625) -
20. Duala-Tanzlied, Ruderlied, etc=(LA 626) -
21. Duala-Sätze aus der Umgangsprache (LA 627) -
CD 37
1. Tale Of The 40 Girls (Part 1) (LA 632) -
2. Tale Of The 40 Girls (Part 2) (LA 633) -
3. Einzelne Signale (LA 836) -
4. Einzelne Signale (LA 837) -
5. Duala-Trommelsprache (LA 850) -
6. Rezitation und Heldengesang (LA 1180) -
7. Tierfabel und Sonntagsgespräch (LA 1181) -
8. Galla-Lieder (LA 1182) -
9. Ewe-Sprachbeispiele (LA 1183) -
10. Erzählung aus meiner Kindheit (LA 1184) -
11. Kriegsbericht und Sprachbeispiele (LA 1185) -
12. Yoruba-Sprachbeispiele (LA 1188) -
13. Erzählungen, Sprichwörter und Lied (LA 1189) -
14. Märchen und Reisebeschreibungen (LA 1190) -
15. Gbà wa, Olorun. Josiah Ransome-Kuti -
16. E je ka t'onà Rere. Josiah Ransome-Kuti -
17. Jesu Oba Alañu. Josiah Ransome-Kuti -
18. Agbelebu-lgi oró. Josiah Ransome-Kuti -
19. Jesu Olugbaba ni mo f'ori fun. Josiah Ransome-Kuti -
20. Obangiji Iwo lo to sìn. Josiah Ransome-Kuti -
21. Mo sa di Jesu. Josiah Ransome-Kuti -
22. Gbà wa o Jehovah. Josiah Ransome-Kuti -
23. Keferi E wa wo Oba wa o / E wa gba ihìn rere. Josiah Ransome-Kuti -
24. Oba Olugbala, gbà mi. Josiah Ransome-Kuti -
25. Isokan Onigbagbo. Josiah Ransome-Kuti -
CD 38
1. Odun Jubilee. Josiah Ransome-Kuti -
2. Gbogbo Aiye e ma Se kò'pè. Josiah Ransome-Kuti -
3. Oná yà lojo Idajo. Josiah Ransome-Kuti -
4. Onigbagbo a yò. Josiah Ransome-Kuti -
5. Jesu nsehìn bò. Josiah Ransome-Kuti -
6. O ye ka f'ope f'olorun. Josiah Ransome-Kuti -
7. Iku Jesu / Igbàlà Onigbagbo. Josiah Ransome-Kuti -
8. Oba a ba ke awa o ke. Josiah Ransome-Kuti -
9. Olugbala la f'ori fun. Josiah Ransome-Kuti -
10. Ipè. Josiah Ransome-Kuti -
11. E je ka júmò gbàgbó. Josiah Ransome-Kuti -
12. Orisà sú mi. Josiah Ransome-Kuti -
13. A mi re'le. Josiah Ransome-Kuti -
14. Ojo Idajo mbò. Josiah Ransome-Kuti -
15. Olorun f'ona hàn wa. Josiah Ransome-Kuti -
16. Esu sare tete, Jesu dé. Josiah Ransome-Kuti -
17. Araiye 'ba mo Olorun, a dùn. Josiah Ransome-Kuti -
18. Oluwa lo rán wa Oba wa. Josiah Ransome-Kuti -
19. Igbàlà. Josiah Ransome-Kuti -
20. E! T'Olorun l'awa o se o. Josiah Ransome-Kuti -
21. Ki a f'ori balè fun Olorun. Josiah Ransome-Kuti -
22. Oyígiyigì Olorun wa. Josiah Ransome-Kuti -
23. K'Olorun so wa ka tun pàdé. Josiah Ransome-Kuti -
24. Isun ka wà tó kún fun eje. Josiah Ransome-Kuti -
25. Egbé Awon Angeli. Josiah Ransome-Kuti -
26. Oro ayo na dé. Josiah Ransome-Kuti -
27. Ofin mewa ati Idahùn. Josiah Ransome-Kuti -
CD 39
1. Ogo ni fun o Olorun. Josiah Ransome-Kuti -
2. K'Olorun da oba si. Josiah Ransome-Kuti -
3. Bi E o le E le. Josiah Ransome-Kuti -
4. Lead Kindly Light. Sol T=Plaatje -
5. Hark, 'Tis The Watchman's Cry. Sol T=Plaatje -
6. Pesheya ko Tukela. Sol T=Plaatje -
7. Nkosi Sikelel i'Afrika. Sol T=Plaatje -
8. Singa Mawele. Sol T=Plaatje -
9. A Band Of Hard-Pressed Men Are We. Sol T=Plaatje -
10. The Kaffir Wedding Song. Sol T=Plaatje -
11. No No Nino. Cole, M=& Martin, E. -
12. Otopo Logido. Cole, M=& Martin, E. -
13. Egun. Cole, M=& Martin, E. -
14. Tufele, Tufele. Cole, M=& Martin, E. -
15. West African Dance Tunes [Part 1]. Roland C=Nathaniels -
16. West African Dance Tunes [Part 2]. Roland C=Nathaniels -
17. West African Dance Tunes [Part 3]. Roland C=Nathaniels -
18. West African Dance Tunes [Part 4]. Roland C=Nathaniels -
19. Fide meli miayio. Roland C=Nathaniels -
20. Miade nyonuvio. Roland C=Nathaniels -
21. Gbodji Ko Afeno. Roland C=Nathaniels -
22. Dole mafo kple Kueli. Roland C=Nathaniels -
23. Sovide wo ne so / Aletso agbo. Roland C=Nathaniels -
24. Okpozo o Hewo. Roland C=Nathaniels -
25. Enu o yibo Mmadu Nwuna. Roland C=Nathaniels -
26. Tantum Ergo Sacramentum. Roland C=Nathaniels -
27. O Salutaris Hostia. Roland C=Nathaniels -
28. Ecce panis angelorum. Roland C=Nathaniels -
29. Mawu Ga Mie Kapuwo. Roland C=Nathaniels -
CD 40
1. O lolo fe Sakramento. Roland C=Nathaniels -
2. Maria ho Gbe sio Dom Miele. Roland C=Nathaniels -
3. Amewo Ken Aku. Roland C=Nathaniels -
4. Dsidso ga Kasanku fola tro vafe. Roland C=Nathaniels -
5. Tangled Melodies of E'we [Part 1]. Roland C=Nathaniels -
6. Tangled Melodies of E'we [Part 2]. Roland C=Nathaniels -
7. E'we Battle Hymn. Roland C=Nathaniels -
8. Anlo Patriotic Song. Roland C=Nathaniels -
9. Melo mia Dela Yesu. Roland C=Nathaniels -
10. O nye Hola fe Dai. Roland C=Nathaniels -
11. Anyigba Kpakple Dsifo. Roland C=Nathaniels -
12. Orin Tituba f'awon [Part 1]. Ladipo Solanke -
13. Orin Tituba f'awon [Part 2]. Ladipo Solanke -
14. Orin Tituba f'awon [Part 3]. Ladipo Solanke -
15. Orin ljeba Egba. Ladipo Solanke -
16. Oríkì Egé. Ladipo Solanke -
17. Orin Oloti. Ladipo Solanke -
18. Owe ile wa [Part 1]. Ladipo Solanke -
19. Owe ile wa [Part 2]. Ladipo Solanke -
20. Yoruba Philosophy [Part 1 /Oriki ilara]. Ladipo Solanke -
21. Yoruba Philosophy [Part 2 /Oriki Erin]. Ladipo Solanke -
22. Yoruba Diplomacy In A Comic Air. Ladipo Solanke -
23. Yoruba Lesson Of Obedience To Parents. Ladipo Solanke -
24. Orin ofo. Ladipo Solanke -
25. Orin Imokanie. Ladipo Solanke -
26. Yoruba Moral Code In Aphorisms [Part 1]. Ladipo Solanke -
27. Yoruba Moral Code In Aphorisms [Part 2]. Ladipo Solanke -
CD 41
1. Ladipo Solanke -Yoruba Customs & Laws In Proverbs [Part 1] -
2. Ladipo Solanke -Yoruba Customs & Laws In Proverbs [Part 2] -
3. Tanzlied (Ewhe I-1-3) -
4. Tanzlied (Freudenlied) (Ewhe I-1-3) -
5. Lied der Kobero-Trommel (Ewhe I-1-3) -
6. Kinder-Spiellied (Ewhe I-4-6) -
7. Ein anderes Kinderspiellied (Ewhe I-4-6) -
8. Religiöser Gesang (Ewhe I-4-6) -
9. Religiöser Gesang, gesprochen-gesungen (Ewhe I-7-10) -
10. Tanzlied zur Bembe-Trommel (Ewhe I-7-10) -
11. Spottlied (Ewhe I-7-10) -
12. Kinder-Spiellied (Ewhe I-7-10) -
13. Religiöses Lied (Ewhe I-11) -
14. Tanzlied (Ewhe I-11) -
15. Trommelrhythmen (Ewhe I-12) -
16. Lied aus einer Fabel (Ewhe I-13-14) -
17. Tanzchorlied zur Totoeme-Trommel (Ewhe I-13-14) -
18. Lied zur Sebia-Trommel (Ewhe I-15-16) -
19. Kinder-Spiellied (Ewhe I-15-16) -
20. Improvisiertes Lied (Ewhe I-17-18) -
21. Improvisiertes Lied 2 (Ewhe I-17-18) -
22. Tanzrhythmus (Ewhe I-19-20) -
23. Ein anderer Tanzrhythmus (Ewhe I-19-20) -
24. Tanzrhythmus (Ewhe I-21-22) -
25. Reigentanzrhythmus (Ewhe I-21-22) -
26. Sprichwort, gesprochen-getrommelt (Ewhe I-23-25) -
27. Noch ein Sprichwort, gesprochen-getrommelt (Ewhe I-23-25) -
28. Tanztrommelrhythmus (Ewhe I-23-25) -
29. Ewhe-Tanzrhythmus (Ewhe I-26-29) -
30. Tanzrhythmus (Ewhe I-26-29) -
31. Tanzrhythmus (Ewhe I-30-31a) -
32. Tschi Sprichwort (Ewhe I-30-31a) -
33. Zweites Tschi-Sprichwort (Ewhe I-30-31a) -
34. Zweites Tschi-Sprichwort (Wiederholung) (Ewhe I-31b-32) -
35. Gesellschaftstanzrhythmus (Ewhe I-31b-32) -
36. Worttext zum Sprichwort (Ewhe I-33) -
37. Wörter und Texte (Ful 1) -
38. Reisebericht und 2 Gebete (Ful 2) -
39. Bauchtanzmusik (Tunesien 13) -
40. Erstes Loango-Lied (Loango 1) -
41. Zweites Loango-Lied (Loango 2) -
42. Drittes Loango-Lied (Loango 3) -
43. Drittes Loango-Lied (Wiederholung) (Loango 4) -
44. Fünftes Loango-Lied (Loango 5) -
45. Sechstes Loango-Lied (Loango 6) -
46. Gemischter Chorgesang (Loango 7) -
47. Gemischter Chorgesang (Wiederholung) (Loango 8) -
48. Festgesang (Loango 9) -
49. Festgesang (Wiederholung) (Loango 10) -
50. Gesang der Verwandten (Loango 11) -
51. Gesang der Freunde [Teil 1] (Loango 12) -
52. Gesang der Freunde [Teil 2] (Loango 13) -
53. Tanzlied (Loango 16) -
54. Loango-Lied (Loango 17) -
55. Erotisches Lied (Loango 18) -
56. Tanzlied (Loango 19) -
57. Lied zur Krankenheilung (Loango 20) -
58. Trommelrhythmus (Loango 21) -
CD 42
1. Trommelrhythmus (Loango 22) -
2. Lied eines Mädchens (Loango 24) -
3. Mädchentanzlied (Loango 25) -
4. Lied 'für den Draht' [Teil 1] (Loango 26) -
5. Lied 'für den Draht' [Teil 2] (Loango 27) -
6. Liebeslied (Loango 28) -
7. Trauerlied (Loango 29) -
8. Lied vom faulen Fischer (Loango 30) -
9. Lied vom Mamangombi [Teil 1] (Loango 31) -
10. Lied vom Mamangombi [Teil 1] (Loango 32) -
11. Keine Titelinformation [Teil 1] (Loango 38) -
12. Keine Titelinformation [Teil 2] (Loango 39) -
13. Lied beim Pubertätsfest der Jungfrauen (Loango 41) -
14. Trommelrhythmus (Loango 33) -
15. Trommelrhythmus (Loango 34) -
16. Trommelrhythmus (Loango 35) -
17. Trommelrhythmus, gesprochen (Loango 36) -
18. gesprochen (Loango 37). Trommelrhythmus, getrommelt -
19. Sprachprobe (Loango 38) -
20. Sackpfeifensolo (Sudan 1) -
21. Arabisches Gesangssolo (Sudan 2) -
22. Gesangssolo (Sudan 3) -
23. Gesangssolo (Sudan 4) -
24. Gesangssolo (Sudan 5) -
25. Sackpfeife, Chorgesang und Händeklatschen (Sudan 6) -
26. Gesangssolo und Hochzeitslied (Sudan 7) -
27. Wange an Wange (Duett) (Sudan 8) -
28. Duett und Zwischenrufe (Sudan 9) -
29. Gesangssolo und Weibertriller(Sudan 10) -
30. Tunesisches Lied (Sudan 12) -
31. Gumbri, Gesang und Skassak (Sudan 13) -
32. Gumbri, Gesang und Skassak (Sudan 14) -
33. Gumbrisolo (Sudan 15) -
34. Männertanz (Kamerun 1) -
35. Tanzgesang (Kamerun 2) -
36. Männertanzlied (Kamerun 3) -
37. Gemischter Chor (Kamerun 4) -
38. Gemischter Chor (Wiederholung) (Kamerun 5) -
39. Weibertanzlied (Kamerun 6) -
40. Kriegslied (Kamerun 7) -
41. Tanzlied (Kamerun 8) -
42. Lied (Solo) (Kamerun 9) -
43. Lied (Duett) (Kamerun 10) -
44. Männergesang (Kamerun 11) -
45. Weibergesang (Kamerun 12) -
46. Lied beim Fischfang (Duett) (Kamerun 13) -
47. Lied beim Fischfang (Solo) (Kamerun 14) -
48. Lied beim Fischfang (Andere Stimme) (Kamerun 15) -
CD 43
1. Lied beim Fischfang, gepfiffen (Kamerun 16) -
2. Lied des glücklichen Manatusjägers (Kamerun 17) -
3. Männertanzgesang (Duett) (Kamerun 18) -
4. Männertanzgesang (Große Stimme) (Kamerun 19) -
5. Männertanzgesang (Kleine Stimme) (Kamerun 20) -
6. Männergesang (Kamerun 21) -
7. Trommellied (Kamerun 22) -
8. Trommellied (Große Stimme) (Kamerun 23) -
9. Trommellied (Kleine Stimme) (Kamerun 24) -
10. Trommellied, gesprochen (Kamerun 25) -
11. Gesang mit Trommel (Kamerun 26) -
12. Gesang mit Trommel (Kamerun 27) -
13. Mabea-Gesang (Kamerun 28) -
14. Gesang mit improvisiertem Text (Kamerun 30) -
15. Duett mit 2 Trommeln (Kamerun 32) -
16. Gesang mit Trommel (Kamerun 33) -
17. Lied auf die europäischen Weiber (Kamerun 34) -
18. Tanz (Kamerun 35) -
19. Kanu-Gesang (Kamerun 37) -
20. Keine Titelinformation (Kamerun 39) -
21. Elefantenlied (Kamerun 40) -
22. Mabea-Lied (Kamerun 41) -
23. Wiegenlied (Jaunde 1) -
24. Trommelsprache (Jaunde 2) -
25. Trommelsprache (Jaunde 3) -
26. Tanzrhythmus auf der Sprechtrommel (Jaunde 4) -
27. Totenklage auf der Sprechtrommel (Jaunde 5) -
28. Märchen mit eingestreutem Lied (Jaunde 6) -
29. Trink- oder Tanzlied (Jaunde 7) -
30. Xylophon-Aufnahme (Jaunde 9) -
31. Xylophon-Aufnahme (Jaunde 10) -
32. Xylophon-Aufnahme (Jaunde 11) -
33. Xylophon-Aufnahme (Wiederholung auf anderer Tonhöhe) (Jaunde 12) -
34. Glockensprachprobe (Jaunde 13) -
35. Trommelsprache (Jaunde 14) -
36. Schulgesang (Senegambien 3) -
37. Gebet (Senegambien 4) -
38. Gebet (Senegambien 5) -
39. Kriegslied (Senegambien 6) -
40. Sudanesisches Kriegslied (Senegambien 7) -
41. Sudanesisches Kriegslied (Senegambien 8) -
42. Trommelbegleitung zum sudanesischen Kriegslied (Senegambien 10) -
43. Hochzeitslied (Senegambien 11) -
44. Trommelbegleitung zum Hochzeitslied (Senegambien 13) -
45. Kriegsgesang (Senegambien 14) -
46. Kriegsgesang (Senegambien 15) -
CD 44
1. Trommelbegleitung zum Kriegstanz (Senegambien 17) -
2. Hochzeitslied (Senegambien 18) -
3. Mohammedanischer Tanzgesang (Senegambien 20) -
4. Mohammedanischer Tanzgesang (Senegambien 21) -
5. Kriegs- und Hochzeitslied (Senegambien 22) -
6. Kriegs- und Hochzeitslied [Take 1] (Senegambien 23 a) -
7. Kriegs- und Hochzeitslied [Take 2] (Senegambien 23 b) -
8. Trommelbegleitung zum Kriegs- undHochzeitslied (Senegambien 24) -
9. Gespräch zwischen Junge und Mädchen (Senegambien 26) -
10. Kriegserzählung (Senegambien 27) -
11. Mohammedanischer Gesang (Senegambien 28) -
12. Tanzlied (Senegambien 29) -
13. Tanzlied (Senegambien 30) -
14. Tanz- und Liebeslied (Senegambien 31) -
15. Lied (Senegambien 32) -
16. Liebeslied (Senegambien 33) -
17. Balafon-Tonleiter (Senegambien 35) -
18. Balafon-Improvisation (Senegambien 36) -
19. Balafon-Improvisation (Senegambien 37) -
20. Komisches Lied (Somali 1) -
21. Kriegslied (Somali 2) -
22. Keine Titelinformation (Somali 3) -
23. Tanzlied (Somali 4) -
24. Arabisches Liebeslied (Somali 6) -
25. Abessinisches Lied (Somali 7) -
26. Duett und Solo (Somali 8) -
27. Kriegslied (Somali 9) -
28. Drum Duet (Somali 10) -
29. Drum Duet (Somali 11) -
30. Clarinet (Somali 12) -
31. Argul (Somali 14) -
32. Oboe (Somali 15) -
33. Weibergesang (Somali 16) -
34. Dancing Song (Somali 17) -
35. Somali Dance (Somali 18) -
36. Song (Somali 19) -
37. Reimgedicht (Somali 20) -
38. 2 Songs (Somali 21) -
39. Song (Somali 22) -
40. Song (Somali 23) -
41. Song (Somali 24) -
42. Unbekannter Titel -
V. A. (Bear Family Records) [>] [D]: Pop in Germany [F]
Label und Katalognummer: Bear Family Records BCD 16553 AH
Produktion: Verschiedene
Veröffentlicht: 2001 07 16 (Ed.)
Genretags: Europeana - Schlager - TV-Schlager
Die Compilations enthält Coverversionen von bekannten englischsprachigen Hits.
Trackliste: 1. Cindy & Bert: Der Hund Von Baskerville - 2:49
2. Die Jacob Sisters: Was Hab Ich Dir Getan? - 2:41
3. Buddy Caine: Diese Träume - 3:49
4. Mary Roos: Die Liebe Kommt Leis' - 2:42
5. Helmut Schmidt: Mrs. Applebee - 2:10
6. Bernd Spier: Flowertime In San Francisco - 2:39
7. Christopher & Michael: Wir
Sind Am Ende - 3:16
8. Nina & Mike: Was Wir
d Sein In Sieben Jahren? - 3:48
9. Anita Traversi: Es Ist So Schön, Verliebt Zu Sein - 2:36
10. Holger Stern: Nächte Im Schatten - 4:01
11. Boris Brown: Es Steht Ein Haus Im Westen - 3:01
12. Black Stars: Ich Frag Dich Noch Einmal - 3:04
13. Ingo Blankenbourg: Träume Sind Golden - 2:39
14. Curd Borgmann: Großer Jack - 4:08
15. Die Rattenfänger: Hart Wie Ein Stein - 2:45
16. Four Kings: Brötchen Und Milch - 2:27
17. Olaf King: Stell Dein Bett Auf Die Straße - 2:25
18. Heinz Harden: Pretty Flamingo - 2:42
19. Drafi Deutscher: Weil Ich Dich Liebe - 3:56
20. Jack White: Das Mädchen Zu Haus - 2:34
21. Henner Hoier: Tränen Der Liebe - 3:43
22. Manuela: Etwas In Mir Wurde Traurig - 5:01
23. Boy Berger: Wulle Wulle - 2:22
24. Bernd Spier: Fremde Augen - 2:43
25. Helmut Schmidt: Jeder Braucht Einen Freund - 2:35
Besetzung: Artwork: Sabine Ziegler
; Artwork [Illustrationen], Photography: Günter Lotz
; Artwork [Illustrationen], Photography: Horst Swierczynski
; Artwork [Illustrationen], Photography: R. A. Andreas
; Mastering: Jürgen Crasser
; Reissue Producer [Wiederveröffentlichung], Liner Notes: Bernd Matheja
V. A. (Bear Family Records) [>] [D]: The Mess Is Here!!! Songs und Zeitdokumente der Blockadejahre [F]
Label und Katalognummer: Bear Family Records BCD 16298 AH
Produktion: Verschiedene
Veröffentlicht: 1998 (Ed.)
Genretags: Traditionalpop - Vocalpop
Trackliste: 1. Glenn Miller: Moonlight Serenade - 2:41
2. Goetz Kronburger: Nachkriegszeit / Zurechtfinden in neuer Situation / Leben zwischen Trümmern / Die «Neue Welt», die neue Menschen empfanden / Das Tauziehen von Ost und West um die politische Macht - 1:48
3. Ted Weems: Heartaches - 2:39
4. Danny Kaye & Andrews Sisters: Civilization - 3:01
5. Mills Brothers: Across The Alley From The Alamo - 2:29
6. Goetz Kronburger: Zurechtfinden in neuer Situation / Notfahrplan der BVG durch Stromabsperrungen / Ansprache Ernst Reuter «Ihr Völker der Welt» / Probebohrungen in Berlin nach Braunkohle - 7:24
7. Glenn Miller: In The Mood - 3:32
8. Tex Williams: Smoke, Smoke, Smoke That Cigarette - 2:53
9. Dinah Shore: Buttons And Bows - 2:01
10. Goetz Kronburger: Alltag im blockierten Berlin / Zahnarzt bohrt mit Tretantrieb / Lautsprecherwagen des RIAS verlesen Nachrichten an Straßenecken / Holzeinschlag im Grunewald für die Hausbrandversorgung - 5:43
11. Tommy Dorsey: Until - 3:07
12. Perry Como: Chi Baba Chi Baba - 2:59
13. Glenn Miller: Chattanooga Choo Choo - 3:25
14. Goetz Kronburger: Nun haben wir es geschafft / Ansprache Reuters zur Blockadeaufhebung/Straßenbefragung zur bevorstehenden Blockadeaufhebung / Grenzübergang Dreilinden im Moment der Blockadeaufhebung und der Wiederaufnahme des Durchgangsverkehrs - 6:17
15. Lionel Hampton: The Mess Is Here - 3:28
16. Vaughn Monroe: Dance, Ballerina, Dance - 3:25
17. Hoagy Carmichael: Huggin' And Chalkin' - 2:37
18. Johnny Mercer: Zip-A-Dee-Doo-Daa - 2:51
19. Frankie Laine: That's My Desire - 2:46
20. Dorothy Shay: Feudin' And Fightin' - 3:17
21. Art Lund: Mam'selle - 3:15
22. Francis Craig: Near You - 2:50
23. Eddy Howard: I Wonder, I Wonder, I Wonder - 3:00
V. A. (Bear Family Records) [>] [D]: Wenn ich mir was wünschen dürfte [F]
Label und Katalognummer: Bear Family Records BCD 16052
Produktion: Verschiedene
Veröffentlicht: 1996 10 18 (Ed.)
Genretags: Europeana - Schlager - Kabarett-Schlager
Trackliste: CD 1
1. Marek Weber Und Sein Orchester: Jonny -
2. Paul Graetz: Wenn Der Alte Motor Wieder Tackt, Teil 1&2 -
3. Blandine Ebinger: Der Groschen -
4. Blandine Ebinger: Wenn Ick Mal Tot Bin -
5. Paul Graetz: Das Ist Der Herzschlag, Der Zusammenhält, 1&2 -
6. Marek Weber Und Sein Orchester: Liliput -
7. Claire Waldoff: Jonny -
8. Claire Waldoff: Dornröschen Aus'm Wedding -
9. Charlie's Jazz Orchester: Ich Tanz' Charleston -
10. Blandine Ebinger: Das Currendemädchen -
11. Blandine Ebinger: O Mond -
12. Blandine Ebinger: Die Hungerkünstlerin -
13. Blandine Ebinger: Das Wunderkind -
14. Giusto Jazz Symphoniker: Ich Spiel So Gern Mit Dir Klavier -
15. Claire Waldoff: Raus Mit Den Männern! -
16. Claire Waldoff: O wie praktisch -
17. Blandine Ebinger: Die Hysterische Ziege -
18. Blandine Ebinger: Der Schiesshund -
19. Paul Graetz: Mit Der Hand Über'n Alexanderplatz -
20. Trude Hesterberg: Die Herren Männer -
21. Kate Kühl: Lene Levi -
22. Paul Graetz: Das Ist Bei Mir So -
23. Blandine Ebinger: Der Taler -
24. Blandine Ebinger: Die Trommlerin Als Schiessbudenfigur -
CD 2
1. Revue Ensemble: Bei Uns Um Die Gedächtniskirche Rum, Teil 1&2 -
2. Friedrich Hollaender & Weintraubs Syncopators: Zwei Dunkle Augen -
3. Carl Fröhlich & T. Wellisch: Und Immer Noch Spiel'n Se Blues -
4. Revue Ensemble: Das Spricht Bände, Teil 1&2 -
5. Paul Godwin Mit Seinen Jazz-Symphonikern: Nass Oder Trocken -
6. Leo Monosson: Ich Tanze Um Die Welt Mit Dir -
7. Kurt Gerron: Das Nachtgespenst -
8. Revue Ensemble: Der Rote Faden, Teil 1&2 -
9. Kurt Gerron: Die Grosstadt-Infanterie -
10. Greta Keller: Keiner Weiss, Wie Ich Bin - Nur Du -
11. Curt Bois: Kitsch Tango -
12. Grete Mosheim: Eine Kleine Sehnsucht -
13. Curt Bois: Guck Doch Nicht Immer Nach Dem Tangogeiger... -
14. Grete Mosheim: In St. Pauli Bei Altona -
15. Curt Bois: Ich Mache Alles Mit Den Beinen -
16. Marlene Dietrich: Peter -
17. Kurt Gerron: Herr Doktor, Herr Doktor -
18. Curt Bois: Reizend! -
19. Marlene Dietrich: Jonny -
20. Curt Bois: Solang' Wir
Jung Sind, Madame -
CD 3
1. Marlene Dietrich & Rosa Valetti: Der blaue Engel -
2. Weintraubs Syncopators: Ich Bin von Kopf Bis Fuss Auf Liebe Eingestellt -
3. Marlene Dietrich: Ich Bin Die Fesche Lola -
4. Marlene Dietrich: Nimm Dich In Acht Vor Blonden Frau'n -
5. Marlene Dietrich: Kinder, Heut' Abend Such Ich Mir Was Aus -
6. Marlene Dietrich: Ich Bin von Kopf Bis Fuss Auf Liebe Eingestellt -
7. Weintraubs Syncopators: Nimm Dich In Acht Vor Blonden Frau'n -
8. Marlene Dietrich: Wenn Ich Mir Was Wünschen Dürfte -
9. Greta Keller: Wenn Ich Mir Was Wünschen Dürfte -
10. Heinrich George & Käthe von Nagy: Du Hast Ja Eine Träne Im Knopfloch -
11. Willi Kollo: Du Hast Ja Eine Träne Im Knopfloch -
12. Camilla Horn: Ich Wünsch Mir Was -
13. Heinz Rühmann & Joe Sargent: Einbrecher -
14. Lilian Harvey & Willy Fritsch: Eine Liebelei, So Nebenbei -
15. Lilian Harvey: Lass Mich Einmal Deine Carmen Sein -
16. Willy Fritsch: Ich Lass Mir Meinen Körper Schwarz Bepinseln -
17. Greta Keller & Joe Sargent: Kind, Dein Mund Ist Musik -
18. Mady Christians: Also, Das Ist Die Liebe -
19. Mady Christians: Cocktail-Lied -
20. Comedian Harmonists: Baby! (Wo Ist Mein Baby?) -
21. Anna Sten: Ich Weiss Nicht, Zu Wem Ich Gehöre -
22. Lilian Harvey: Wie Hab' Ich Nur Leben Können Ohne Dich -
CD 4
1. Marlene Dietrich: Jonny (english) -
2. Dick Robertson: St. Moritz Waltz -
3. Dick Robertson: Eski-O-Lay-Li-Mo -
4. Marlene Dietrich: Awake In A Dream -
5. Carmen Lombardo: Desire -
6. Bing Crosby: My Heart And I -
7. Gladys Swarthout: Paradise In Waltztime -
8. Bing Crosby: The House Jack Built For Jill -
9. Dorothy Lamour: Moonlight And Shadows -
10. Bing Crosby: Moonlight And Shadows -
11. Bing Crosby: Whispers In The Dark -
12. Connie Boswell: Whispers In The Dark -
13. Billy Leach: Thrill Of A Lifetime -
14. Louis Armstrong: True Confession -
15. Bea Wain: True Confession -
16. Deanna Durbin: It's Raining Sunbeams -
17. Paramount Studio Orchestra: Angel -
18. Jack Leonard: You Leave Me Breathless -
19. Greta Keller: You Leave Me Breathless -
20. Billie Holiday: Hello, My Darling -
21. Dorothy Lamour: Lovelight In The Starlight -
22. Judy Starr: You And Me -
23. Bea Wain: Stolen Heaven -
24. Marlene Dietrich: You've Got That Look -
25. Marlene Dietrich: The Boys In The Backroom -
26. Marlene Dietrich: Little Joe, The Wrangler -
27. Marlene Dietrich: You've Got That Look -
CD 5
1. Benny Carter And His Orchestra: Midnight -
2. Dorothy Lamour: Strange Enchantment -
3. Dorothy Lamour: That Sentimental Sandwich -
4. Ambrose & His Orchestra: Man About Town -
5. Marlene Dietrich: The Man's In The Navy -
6. Marlene Dietrich: I've Been In Love Before -
7. Billie Holiday: Falling In Love Again -
8. Dorothy Lamour: Palms Of Paradise -
9. Henry King And His Orchestra: Palms Of Paradise -
10. Dolores O'Neill: Li'l Boy Love -
11. Dorothy Lamour: Moon Over Burma -
12. Dolores O'Neill: Arise, My Love -
13. Jo Stafford: This Is The Moment -
14. Marlene Dietrich: Illusions -
15. Marlene Dietrich: Black Market -
16. Marlene Dietrich: Ruins Of Berlin -
17. Columbia Pictures Orchestra: The 5000 Fingers Of Dr. T -
18. Tommy Rettig: Ten Happy Fingers -
19. Tommy Rettig & Peter Lind Hayes: Dream Stuff -
20. Hans Conried & Peter Lind Hayes & Mary Healy: Get Together Weather -
21. Tommy Rettig: Because We're Kids -
22. Columbia Pictures Orchestra: Dungeon Ballet -
23. Hans Conried & Peter Lind Hayes: Dressing Song And End Credit -
24. Carole Simpson: Because We're Kids -
25. Charles Gerhardt Orchestra: Sabrina -
26. May Britt (2): Falling In Love Again -
27. Charlotte Rampling: Wenn Ich Mir Was Wünschen Dürfte -
CD 6
1. Friedrich Hollaender: Prolog -
2. Friedrich Hollaender: Das Spukschloss Im Spessart -
3. Friedrich Hollaender: Der Traum Auf Dem Baum -
4. Friedrich Hollaender: Für Sie Tun Wir
Alles -
5. Friedrich Hollaender: Kleiner Rutsch In Die Vergangenheit -
6. Friedrich Hollaender: Giftmischer Rumba -
7. Friedrich Hollaender: Suleika -
8. Friedrich Hollaender: Kleider Machen Leute -
9. Friedrich Hollaender: Schiffs-Blues -
10. Friedrich Hollaender: Dazu Gehören Zwei -
11. Friedrich Hollaender: Das Wollen Wir
Doch Mal Sehn' -
12. Friedrich Hollaender: Empfangsgesang -
13. Friedrich Hollaender: Giftmischer Rumba (instrumental/reprise) -
14. Ensemble Berlin: Hoppla Auf's Sofa -
15. Harry Wüstenhagen & Rainer Bertram & Harald Sielaff: Der Song Vom Stottern -
16. Christiane Maybach: Etikette A La Pappritz -
17. Harry Wüstenhagen & Rainer Bertram: Ich Ruf Sie An -
18. Barbara Eff: Das Wunderkind -
19. Harry Wüstenhagen: Das Berg- und Talbahn-Gefühl -
20. Christiane Maybach & Harry Wüstenhagen & Rainer Bertram: Totale Verfremdung -
21. Harry Wüstenhagen: Stroganoff -
22. Rainer Bertram & Harald Sielaff: Der Kopf Unterm Arm -
23. Barbara Eff: Der Rummelplatz-Blues -
24. Christiane Maybach & Harry Wüstenhagen: Die Neu-Neurose -
25. Ensemble Berlin: Festival Der Goldenen Zwanziger -
26. Helen Vita & Edith Hancke: Mainzer Spezialitäten -
27. Helen Vita & Edith Hancke: Gesang Der Wassernixen -
28. Helen Vita & Edith Hancke: Prinzesschen -
CD 7
1. Kate Kühl: Rote Melodie -
2. Trude Hesterberg: Dressur -
3. Victor de Kowa: Zieh Dich Aus, Petronella -
4. Ursula Sieg & Lore Calvies: Duett Im Romanischen Cafe -
5. Ursula Herking: Die Kleptomanin -
6. Ruth Stephan: Die kleine Internationale -
7. Hanne Wieder: Die Notbremse -
8. Victor de Kowa: Meine Schwester Liebt Den Buster -
9. Kate Kühl: Die Zersägte Dame -
10. Margo Lion: Sex Appeal -
11. Christa Bernhardt: Das Tauentzienmädel -
12. Trude Hesterberg: Ach, Lehne Deine Wange -
13. Victor de Kowa: Seit Wann Bläst Deine Grossmama Posaune -
14. Helen Vita: Wiener Schmarrn -
15. Karl Schönböck: Chanson Vom Falschen Zug -
16. Christiane Pauli: Der Spuk Persönlich -
17. Irmhild Wagner & B. Stephan: An Allem Sind Die Juden Schuld -
18. Achim Strietzel: Höchste Eisenbahn -
19. Angelika Thomas: Münchhausen -
20. Hanne Wieder: Circe -
21. Helen Vita: Stroganoff -
CD 8
1. Blandine Ebinger: Jonny, Wenn Du Geburtstag Hast -
2. Blandine Ebinger: Die Schnapstrine -
3. Blandine Ebinger: Ick Baumle Mit de Beene -
4. Blandine Ebinger: Ilse -
5. Blandine Ebinger: Drei Wünsche -
6. Blandine Ebinger: Das Mädchen Mit Den Schwefelhölzern -
7. Blandine Ebinger: Chinsesisches Märchen -
8. Blandine Ebinger: Die Hysterische Ziege -
9. Blandine Ebinger: Die Roten Schuhe -
10. Blandine Ebinger: Die Trommlerin -
11. Blandine Ebinger: Ein Volkslied -
12. Blandine Ebinger: In Den Abendwind Geflüstert -
13. Blandine Ebinger: Das Wunderkind -
14. Blandine Ebinger: Currende -
15. Blandine Ebinger: Groschenlied (Jroschenlied) -
16. Blandine Ebinger: Nachtgebet -
17. Blandine Ebinger: O Mond -
18. Blandine Ebinger: Wenn Ick Mal Tot Bin -
19. Blandine Ebinger: Giftmariechen -
20. Blandine Ebinger: Wiegenlied An Eine Mutter -
21. Blandine Ebinger: Kinderlied Oder Der Fliegende Jakob -
22. Blandine Ebinger: Kitsch -
23. Blandine Ebinger: Starker Tobak -
24. Friedrich Hollaender: Das Berg- Und Talbahngefühl -
25. Friedrich Hollaender: Spötterdämmerung -
V. A. (Bear Family Records) [>] [D]: Der Jazz in Deutschland 2: Die Swing-Jahre [F]
Label und Katalognummer: Bear Family BCD 16910
Produktion: Verschiedene
Veröffentlicht: 2008 (Ed.)
Genretags: Jazz - Orchestraljazz - Bigbandjazz, Jazz - Swing
Trackliste: CD 1: Jazz Unterm Hakenkreuz - Die Vorkriegsjahre
1. Hans Bund Und Sein Tanzorchester: Tanzfieber - 1:52
2. Mike Danzi Mit Begleitorchester: Go! Go! - 2:50
3. Erich Börschel Und Sein Orchester: Wabash Blues - 2:19
4. Heinz Wehner Und Sein Tanzorchester: White Jazz - 3:09
5. James Kok's Jazz Virtuosen: Jazz No Crazy - 2:35
6. Kurt Engel Mit Seinen Tanzrhythmikern: The Music Goes 'Round And Around - 2:47
7. Adelaide Hall: Intro/ Truckin/ Solitude/ I Can't Give You Anything But Love/ I Must Have That Man/ Diga Diga Doo/ Truckin' - 2:37
8. Aage Juhl Thomsens Orkester: Showboat Shuffle - 2:45
9. Swing-Tanzorchester Paul Kley: Goody, Goody - 2:19
10. Original Teddies: Christopher Columbus - 3:41
11. Erhard Bauschke Und Sein Orchester: Seefischball - 2:57
12. Eugen Wolff Und Sein Tanzorchester: Hofkonzert Im Hinterhaus - 2:39
13. Ludwig Rüth Und Sein Orchester: Schöne Geschichten - 2:44
14. Tanzorchester Hans Georg Schütz: Dinah - 2:56
15. Die Goldene Sieben Und Ihr Orchester: Crazy Jacob - 2:45
16. Greta Keller: I'm Not Giving Up My Heart - 2:20
17. Orchester Kurt Hohenberger: Jammin' - 2:51
18. Nanni Dal Dello Mit Seinem Tanzorchester: Le Suzi-Clou (Doin' The Suzy Q.) - 2:35
19. Will Glahé Und Sein Orchester: Some Of These Days - 2:42
20. Heinz Bätjer Mit Seinen Solisten: China Boy - 2:07
21. Tanzkapelle Des Reichssenders Hamburg: Evelyn - 2:30
22. Pat Bonen Und Sein Orchester: Frasquita - 2:51
23. Erwin Steinbacher Und Sein Orchester: Finden Sie Es Nicht Gefährlich? - 2:41
24. Das Bar Trio: Says My Heart - 2:43
25. Heinz Munsonius Und Seine Solisten: Everybody Jam - 2:40
26. Günther Herzog Und Sein Orchester: Limehouse Blues - 2:36
27. John Abriani And His Orchestra: Schwingende Rhythmen - 2:42
28. Håkan Von Eichwalds Orkester: Shades Of Hades - 2:52
29. Kurt Widmann Und Sein Orchester: Tiger Rag - 2:59
30. Tanzorchester Max Rumpf: Hick Stomp - 2:51
31. Franz Thon Und Seine Tanzrhythmiker: Golfstrom - 2:32
CD 2: Jazz Unterm Hakenkreuz - Bombenstimmung
1. Die Goldene Sieben: Limehouse Blues - 3:01
2. Benny De Weille Mit Seinem Orchester: Ich Hab' Eine Schwäche Für Blonde Frau'n - 2:47
3. Kary Barnet & Orchester Michael Jary: Warum Ist Die Banane Gelb? - 2:36
4. Hans Rehmstedt Und Sein Orchester: Komm In Den Kleinen Pavillon - 2:54
5. Charlie & His Orchestra: St. Louis Blues - 3:06
6. Theo Reuter Mit Großem Tanzorchester: Eskapaden - 2:50
7. Eugen Jahn Mit Seinem Orchester: Hallo Benny - 2:23
8. Ernst Van 't Hoff En Zijn Orkest: In The Mood - 3:14
9. Willy Berking Und Seine Solisten: Pampas - 3:19
10. Meg Tevelian Kleines Tanz-Orchester: Lieselott - 2:31
11. Horst Winter Mit Seinem Orchester: Sie Will Nicht Blumen Und Nicht Schokolade - 2:52
12. Erhard Bauschke Und Sein Orchester: Amazonas - 2:53
13. Helmut Zacharias Und Seine Solisten: Schönes Wetter (Heute Und So Nette Leute) - 2:25
14. Tullio Mobiglia Mit Seinem Bar-Orchester: Lieber Sonnenschein (Pippo Non Lo Sa) - 2:41
15. Albert Vossen Mit Seinen Solisten: Amazonas - 3:05
16. Orchester Willi Stech: Heiße Tage - 2:23
17. Fud Candrix Et Son Orchestre: U-Bahn Fox - 3:05
18. Orchester Franz Teddy Kleindin: Heut Abend Woll'n Wir
Bummeln Geh'n - 2:48
19. Jean Omer Und Sein Orchester: Rendez-Vous In Lausanne - 3:20
20. Corny Ostermann Mit Seinem Tanzorchester: Er Heißt Waldemar - 2:23
21. Hot Club Frankfurt Combo: Margie - 2:45
22. Harry Van Dyk Mit Seinen Solisten: Tanz Der Pinguinen - 2:15
23. Fred Dömpke Und Seine Solisten: Hallo Benny - 2:23
24. Orchester Willi Stech: Sand-Dünen - 3:05
25. Ernst "Bimbo" Weiland: Trommelei - 3:29
26. Charlie & His Orchestra: I Got Rhythm - 2:55
27. Hans Brändle & Deutsches Tanz- Und Unterhaltungsorchester: Rhythmus In Indien (Indian Boogie Woogie) - 3:25
28. Brocksieper-Jazz-Ensemble: Cymbal-Promenade - 3:09
29. Willi Stanke Und Sein Großes Tanzorchester: Grand Hotel - 2:26
30. Werner Schwarz Mit Seinen Solisten: Mit Musik Geht Alles Besser - 2:44
31. Tanzorchester Hans Georg Schütz: Heiße Tage - 1:46
CD 3: Trümmerjazz
1. Maskeraders: Starlight Avenue - 3:06
2. Begleitorchester Kurt Widmann: That's My Rhythm - 1:57
3. Kurt Drabek Und Sein Sextett: Boogie Woogie In Berlin - 2:42
4. RBT Orchester: Skyliner - 2:22
5. Walter Dobschinski & Rundfunk-Tanzorchester Berlin: Boogie Woogie (Dob's Boogie) - 2:28
6. Die Melodias: Fan It - 2:58
7. Lubo D'Orio und sein Orchester: Apple Honey - 2:59
8. Willi Stanke Und Sein Großes Tanzorchester: Nobody's Sweetheart - 2:46
9. Freddy Brocksieper Und Sein Quartett: Hodge Podge - 2:56
10. Joe Wick Mit Seinen Solisten: Creole Love Call - 2:58
11. Helmut Zacharias Quartett: Be-Bop? (Helmy's Be-Bop Nr. 1) - 2:00
12. Rex Stewart's "Hot Club Berlin" Session: Air Lift Stomp (Amiga Stomp) - 3:16
13. Radio-Star-Band: Wer Mich Liebt Lacht Doch - 2:48
14. Heinz Kretzschmar Mit Seinen Solisten: Beschwingte Kleinigkeiten (Crazy Rhythm) - 2:08
15. Max Greger Und Sein Enzian-Sextett: Honey-Dripper - 2:46
16. Werner Müller & RIAS Tanzorchester: How High The Moon - 2:20
17. Fred Bunge Und Sein Orchester: Cocktail-Swing (Crew Cut) - 2:49
18. Werner Deinert Mit Seinem Orchester: You Rascal You - 2:34
19. Die Deutsche All-Star Band 1953: Festival Riff - 2:39
20. Erwin Lehn Und Sein Südfunk Tanzorchester: Opus In Scat - 3:24
21. Willy Berking Und Sein Orchester: Derby Boogie - 2:52
22. Caterina Valente & Orchester Kurt Edelhagen: Is You Or Is You Ain't My Baby - 2:49
23. Johannes Rediske Quintett: Re-Disc Bounce - 4:39
24. Harald Banter Ensemble: Tabu Jump - 2:43
25. Kurt Henkels & Rundfunk-Tanzorchester Leipzig: Auf Der Messe (The Mess Is Here) - 3:07
26. George Maycock: That's Right - What's Wrong - 3:17
27. Günter Hörig: Fragen - 2:52
28. Alo Koll Und Sein Tanzorchester: Moderne Harlekinade - 2:48
29. Toby Fichelscher Blues Combo: Blues On Amiga - 3:00
30. Orchester Fips Fleischer: Fips' Blues - 3:07
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V. A. (Bear Family Records) [>] [D]: Der Jazz in Deutschland 4: Vom Jazz In Deutschland Zum Deutschen Jazz [F]
Label und Katalognummer: Bear Family Records BCD 16912 CP
Veröffentlicht: 2008 (Ed.)
Trackliste: CD 1: Der Jazz spielt sich frei
1. Attila Zoller: Hedwigs Lied / Ich Hatte Einst Ein Schönes Vaterland - 2:23
2. Gunter Hampel Quintet: Heartplants - 6:31
3. Wolfgang Dauner: Free Action Shot - 6:08
4. New Jazz Trio: Snaro (Take 3) - 4:19
5. Peter Kowald Quintet: Wenn Wir
Kehlkopfoperierte Uns Unterhalten - 7:02
6. Christmann - Schönenberg - Duo: Fighting Cats - 3:06
7. Synopsis (2): Auf Der Elbe Schwimmt Ein Rosa Krokodil - 5:48
8. FEZ (4): Walzer Für John - 4:49
9. Peter Kowald: Ein Stück Über Dem Boden - 3:51
10. Petrowsky Oktett: Fast Neun Uhr Saal IV (Aus 'Sax Shop') - 6:58
11. Doppelmoppel: Reflection 4 - 7:00
12. Peter Brötzmann & Bill Laswell: Death Rattle - 4:27
13. Zentralquartett: Sitz- Und Aufstehstück - 5:21
14. COWWS' Quintett: Relativ Ewiges Lied - 3:08
15. Hans Reichel: Bad Teeth In Marlboro Country - 3:10
16. Christof Lauer: Werther - 5:36
CD 2: Jazz Meets Rock Meets Jazz
1. Volker Kriegel & Spectrum (20): Zoom - 6:57
2. SOK (3): SOK-Rock - 4:55
3. Peter Trunk: Fresh Air, Where? - 6:53
4. Passport (2): Rock Me Baby - 4:54
5. Modern Soul Band: Irrtum - 3:57
6. Klaus Lenz Modern Soul Big Band: Reverrend Lee - 4:57
7. Torsten De Winkel: Pyromanic - 6:16
8. Bajazzo: A Night In Tunesia (The Melody Still Lingers On) - 6:51
9. Joe Sachse: Well, You Needn't - 4:16
10. Contact Trio: The Quick Brown Fox - 3:49
11. United Jazz+Rock Ensemble: Plum Island - 7:26
12. Klaus König (3): You Bet - 6:35
13. Hannes Beckmann: The Cab Driver - 4:23
14. Wolfgang Schmid: Hoos In The House - 5:44
15. Silvia Droste: Armando's Rhumba - 3:14
CD 3: Neobob, Acid Jazz, Ethno-Jazz, Jazz Metal, NuJazz And All That Jazz
1. Albert Mangelsdorff Quintet: Burungkaka - 3:25
2. Bayon: Bayon-Suite - 12:41
3. L'Art De Passage: Groovin' Too - Für R.K. - 4:42
4. Fun Horns & Grupo Baticun: Kanon III - 4:54
5. Universal Supersession: Jakabro (Das Heißt 'Musik') - 3:38
6. Lotz Of Music In Havanna: Blues For Yemayá - 8:45
7. Michael Schiefel: Shut Up - 3:38
8. Batoru: Time For The Tupan - 5:12
9. Jazzanova: The One-Tet - 3:52
10. Underkarl: Party Pigs - 3:55
11. Elbtonal Percussion: Jazzit - 4:35
12. Micatone: Plastic Bags & Magazines - 4:58
13. Norbert Stein: Code Carnival - 9:57
14. Wolfgang Haffner: Blue Bar - 4:29
V. A. (Bear Family Records) [>] [D]: Schlager Im Spiegel Der Zeit: 1930 [F]
Label und Katalognummer: Bear Family Records BCD 17160
Produktion: Verschiedene
Veröffentlicht: 2010 10 04 (Ed.)
Genretags: Europeana - Schlager - Chanson-Schlager
Trackliste: 1. Marlene Dietrich: Ich Bin Von Kopf Bis Fuss Auf Liebe Eingestellt - 3:03
2. Comedian Harmonists: Ich Hab' Für Dich 'Nen Blumentopf Bestellt - 2:43
3. Lilian Harvey & Willy Fritsch: Liebling, Mein Herz Lässt Dich Grüssen - 2:52
4. Liane Haid: Adieu, Mein Kleiner Gerdeoffizier - 4:25
5. Austin Egen: Du Bist Das Süsseste Mädel Der Welt - 2:46
6. Paul O'Montis: Mein Bruder Macht Im Tonfilm Die Geräusche - 2:43
7. Richard Tauber: Darf Ich Um Den Nächsten Tango Bitten - 2:48
8. Max Schmeling & Hugo Fischer-Köppe & Kurt Gerron & Orchester Clemens Schmalstich: Boxerlied (Das Herz Eines Boxers) - 3:18
9. Willi Ostermann: Einmal Am Rhein... - 3:13
10. Jacques Rotter: Oh Donna Clara! - 3:27
11. Oskar Karlweis & Lewis Ruth Band: Ein Freund, Ein Guter Freund - 2:29
12. Comedian Harmonists: Wochenend' Und Sonnenschein - 3:08
13. Greta Keller: Auch Du Wir
st Mich Einmal Betrügen - 2:56
14. Walter Jurmann & Orchester Alfred Beres: Mein Fräulein, Kennen Sie Schon Meinen Rhythm - 2:10
15. Marlene Dietrich & Orchester Friedrich Hollaender: Ich Bin Die Fesche Lola - 2:36
16. Max Hansen & Paul Godwin Tanz Orchester: Ich Hab' Kein Auto, Ich Hab' Kein Rittergut! - 3:09
17. Curt Bois & Theo Mackeben Und Sein Orchester: Guck Doch Nicht Immer Nach Dem Tangogeiger Hin - 2:57
18. Comedian Harmonists: Veronika, Der Lenz Ist Dal - 2:37
19. Orchester Otto Dobrindt & Willi Kollo: Eine Freundin, So Goldig Wie Du - 2:58
20. Two Jazzers: Herr Ober, Zwei Mokka! - 3:05
21. Ernst Busch & Orchester Hanns Eisler: Lied Der Arbeitslosen (Stempellied) - 3:03
22. Liane Haid & Oskar Karlweis: Ich Lade Sie Ein, Fräulein - 2:47
23. Marcel Wittrisch: Frag Nicht, Warum Ich Gehe - 4:17
24. Max Hansen & Paul Godwin Tanz Orchester: Mein Kleiner Bruder Träumt Von Ihnen Tag Und Nacht - 3:09
25. Grete Mosheim: Eine Kleine Sehnsucht - 3:17
26. Lizzi Waldmüller & Oscar Denes: Mausi, Süss Warst Du Heute Nacht - 3:05
27. Oskar Karlweis: Wenn Die Elisabeth Nicht So Schöne Beine Hätt - 2:50
28. Marlene Dietrich: Wenn Ich Mir Was Wünschen Dürfte - 1:57
Besetzung: Liner Notes: Volker Kühn
; Mastering: Christian Zwarg
V. A. (Bear Family Records) [>] [D]: Schlager Im Spiegel Der Zeit: 1932 [F]
Label und Katalognummer: Bear Family Records BCD 17162
Produktion: Verschiedene
Veröffentlicht: 2010 10 04 (Ed.)
Genretags: Europeana - Schlager
Trackliste: 1. Käthe von Nagy: Wenn Ich Sonntags In Mein Kino Geh'n -
2. Curt Bois: Ein Heisser Kuss, Ein Süsser Blick -
3. Lee Parry (2): Ein Bisschen Liebe Für Mich -
4. Orchester Otto Dobrindt: Eine Nacht In Monte Carlo -
5. Fritzi Massary: Ich Bin Eine Frau, Die Weiss, Was Sie Will -
6. Max Hansen: Einmal Möcht' Ich Keine Sorgen Haben -
7. Willi Forst: Einmal Schafft's Jeder -
8. Comedian Harmonists: Es Führt Kein Andrer Weg Zur Seligkeit -
9. Hilde Hildebrand: Die Dame Von Der Alten Schule -
10. Jan Kiepura: Heute Nacht Oder Nie! -
11. Claire Waldoff: Es Wir
d In Hundert Jahren Wieder So Ein Frühling Sein -
12. Hans Albers: Hoppla, Jetzt Komm' Ich! (Erfolgssong) -
13. Max Hansen: Ich Bin Von Rockefeller G'rad Das Gegenteil -
14. Anna Sten: Ich Weiss Nicht, Zum Wem Ich Gehöre -
15. Hans Albers: Komm Auf Die Schaukel, Luise (Schaukellied) -
16. Lilian Harvey: Irgendwo Auf Der Welt -
17. Kurt Mühlhardt: Meier-Foxtrot -
18. Fritzi Massary: Warum Soll Eine Frau Kein Verhältnis Haben -
19. Orchester Fred Bird: Liebe War Es Nie (Blonde Natascha) -
20. Gustaf Gründgens: O Gott, Wie Sind Wir
Vornehm! -
21. Eugen Rex: Oh Monah! (Ein Bänkellied) -
22. Hans Albers: Seemanns-Choral (In Hamburg An Der Elbe) -
23. Ernst Busch: Solidaritätslied -
24. Paul O'Montis: Tanzt Du Auch So Gern Wie Ich -
25. Comedian Harmonists: Der Onkel Bumba Aus Kalumba Tanzt Nur Rumba -
26. Lilian Harvey: Wir
Zahlen Keine Miete Mehr -
27. Orchester Hermann Von Stachow: Zigeuner, Du Hast Mein Herz Gestohlen -
28. Hans Albers: Ich Kam Von Alabama -
V. A. (Bear Family Records) [>] [D]: Schlager Im Spiegel Der Zeit: 1933 [F]
Label und Katalognummer: Bear Family Records BCD 17163 AR
Produktion: Verschiedene
Veröffentlicht: 2010 10 04 (Ed.)
Genretags: Europeana - Schlager
Trackliste: 1. Joseph Schmidt: Ein Lied Geht Um Die Welt - 2:41
2. Tibor Von Halmay: Mein Gorilla Hat Ne Villa Im Zoo - 2:58
3. Eva Busch: Ein Kuß, Der Muß Aus Spanien Sein - 3:19
4. Curt Bois: Solang Wir
Jung Sind, Madame - 2:45
5. Marlene Dietrich: Allein In Einer Großen Stadt - 3:48
6. Max Hansen: Ach, Luise! - 3:21
7. Weintraubs Syncopators & Max Mensing Und Die Five Songs: Ich Kauf‘ Mir Ne Rakete - 2:54
8. Franciska Gaal: Gruß Und Kuß, Veronika - 2:53
9. Hans Albers: Immer Wenn Ich Glücklich Bin - 2:54
10. Paul O'Montis: Es War Einmal Ein Musikus - 3:08
11. Die Vier Nachrichter: Sie Müßten Mal Zum Doktor Geh‘n, Herr Doktor - 2:44
12. Rosy Barsony & Oscar Denes: Es Ist So Schön, Am Abend Bummeln Zu Geh‘n - 2:41
13. Paul Godwin Tanz Orchester & Leo Monosson: Du Schwarzer Zigeuner - 3:00
14. Comedian Harmonists: Ein Neuer Frühling Wir
d In Die Heimat Kommen - 3:09
15. Alexander Flessburg: Denkste Denn, Du Berliner Pflanze - 2:46
16. Lilian Harvey: Wie Hab Ich Nur Leben Können Ohne Dich? - 3:14
17. Marcel Wittrisch: Schön Ist Jeder Tag, Den Du Mir Schenkst, Marie-Luise - 2:31
18. Die Vier Wedding-Boys: Tante Anna! - 3:04
19. Max Hansen: Was Hast Du Schon Davon, Wenn Ich Dich Liebe? - 3:23
20. Renate Müller: An Der Donau, Wenn Der Wein Blüht - 3:17
21. Die "Fidelios": Bei Der Blonden Kathrein - 2:48
22. Harry Steier: Adolf Hitlers Lieblingsblume Ist Das Schlichte Edelweiß - 2:50
23. Die Vier Richters Gesangs-Gitarristen: Als Die Goldne Abensonne - 2:45
24. Musikkorps Des 2. Bataillon Infanterie-Regiment No 17 Göttingen Und Soldatenchor Der 7. Kompanie & Adalbert Muhs: Lore, Lore - 3:25
25. Marlene Dietrich: Wo Ist Der Mann? - 3:10
26. Hans Albers: Flieger, Grüß Mir Die Sonne (Fliegermarsch) - 3:03
27. Harry Steier: Ein Kleines Haus Steht In Braunau Am Inn - 2:57
28. Comedian Harmonists: Wenn Am Sonntagabend Die Dorfmusik Spielt - 2:55
V. A. (Bear Family Records) [>] [D]: Schlager Im Spiegel Der Zeit: 1954 [F]
Label und Katalognummer: Bear Family Records BCD 17184 AR
Produktion: Verschiedene
Veröffentlicht: 2010 10 04 (Ed.), 1954 (Rec.)
Genretags: Europeana - Schlager
Diese Compilationsreihe versammelt die Hits der Jukebox-Charts des Branchenblatts «Automaten-Markt», das ab Januar 1954 eine Hitparade publizierte. Die Zeitschrift versorgte die Automatenaufsteller mit Postkarten, auf denen sie zehn Titel angeben konnten. Die Hitparade wurde nach Bundesland erhoben, da die Unterschiede noch erheblich waren. Aus allen diesen regionalen Hitparaden wurde eine nationale errechnet, die «Spitzenreiter des Monats».
Ab März 1957 sendete der NDR eine Schlagerübersicht, die auf dieser Automaten-Hitparade beruhte.
Trackliste: 1. Will Höhne: Nimm Mich Mit, Kapitän - 3:23
2. Friedel Hensch Und Die Cyprys: Die Mädchen Mit Dem Treuen Blick - 3:06
3. Der Schräge Otto & Fritz Schulz-Reichel: Die Beschwipste Drahtkommode 2 - 3:02
4. Gerhard Wendland: Jambalaya - 2:28
5. Hula Hawaiian Quartett: Jim, Jonny Und Jonas - 3:08
6. Vico Torriani: Du Schwarzer Zigeuner - 3:08
7. Hula Hawaiian Quartett & Valentinos Hawaiian-Band: Vaya Con Dios - 3:14
8. Helmut Zacharias: O' Cangaceiro - 3:26
9. Mona Baptiste & Bully Buhlan: Es Liegt Was In Der Luft - 3:24
10. Renée Franke: Schuster, Bleib Bei Deinem Leisten - 2:39
11. Bibi Johns: Bella Bimba - 3:08
12. Vico Torriani: Bonsoir, Bonsoir - 2:31
13. Lys Assia: Schwedenmädel - 2:45
14. Peter Alexander: Die Frau Kommt Direkt Aus Spanien - 2:46
15. Friedel Hensch Und Die Cyprys: Der Fremdenlegionär - 3:11
16. Cissy Kraner: Aber Der Nowak Läßt Mich Nicht Verkommen - 3:49
17. Die Peheiros: Es Hängt Ein Autoreifen An Der Wand - 3:32
18. Wolfgang Sauer: Tränen In Den Augen - 3:04
19. René Carol: Deinen Namen, Den Hab' Ich Vergessen - 3:36
20. Wolfgang Sauer: Glaube Mir - 3:12
21. Friedel Hensch Und Die Cyprys: Das Alte Försterhaus - 3:10
22. Friedel Hensch Und Die Cyprys: Die Försterliesel - 3:27
23. Friedel Hensch Und Die Cyprys: Heideröslein - 3:08
24. Zehn Whiskys Und Ein Soda: Wir
, Wir
, Wir
, Haben Ein Klavier - 3:07
25. Heinz Schachtner: Verdammt In Alle Ewigkeit - 3:32
26. Lonny Kellner: So Ein Tag, So Wunderschön Wie Heute - 3:23
27. Hans Arno Simon: Gib Mir Den Wodka, Anuschka (Wodka-Fox) - 2:49
28. Kurt-Adolf Thelen: Am 30. Mai Ist Der Weltuntergang - 2:56
V. A. (Bear Family Records) [>] [D]: Schlager Im Spiegel Der Zeit: 1957 [F]
Label und Katalognummer: Bear Family Records BCD 17187
Produktion: Verschiedene
Veröffentlicht: 2010 10 04 (Ed.)
Genretags: Europeana - Schlager
Trackliste: 1. Lys Assia: Was Kann Schöner Sein -
2. Lys Assia: Deine Liebe -
3. Margot Eskens & Johnny Dane: Cindy, Oh Cindy -
4. Caterina Valente: Wo Meine Sonne Scheint -
5. Wolfgang Sauer: Warum Strahlen Heut' Nacht Die Sterne So Hell -
6. Inge Brück: Peter, Komm Heut Abend Zum Hafen -
7. Peter Kraus & Die Rockies: Susi-Rock -
8. Evelyn Künneke: Boogie Im Dreivierteltakt (Rock Und Roll Waltz) -
9. Rock And Rollers: Das Ist Rock And Roll -
10. Erni Bieler: Mauerblümchen -
11. Ralf Bendix: Wir
Fahr'n Nach San Fernando -
12. Freddy Quinn: Heimatlos -
13. Rodgers-Duo: Sei Zufrieden Mit Dem Heute -
14. Friedel Hensch Und Die Cyprys: Solang Die Sterne Glühn -
15. Freddy Quinn: Wer Das Vergisst -
16. Die Geschwister Fahrnberger: Das Edelweiss Vom Wendelstein -
17. Erich Storz Und Die Lustigen Volksmusikanten: Köhlerliesel -
18. Geschwister Hofmann (2): Das Alphorn -
19. Freddy Quinn: Einmal In Tampico -
20. Jimmy Makulis: Auf Cuba Sind Die Mädchen Braun -
21. Udo Jürgens: Hejo, Hejo, Gin Und Rum -
22. Hula Hawaiian Quartett: Drei Braune Mädchen -
23. Manolita: Mein Geliebter Ist Ein Gaucho -
24. Lolita: Der Weisse Mond Von Maratonga -
25. Caterina Valente: Tipitipitipso -
26. Leo Leandros: Komm Mister Tallimann -
27. Die Blauen Jungs: Zuhause, Zuhause -
28. Die Ponny-Boys: So Wie Es Früher War -
29. Ditta Zusa: Sieben Berge, Sieben Täler -
30. Vico Torriani: Siebenmal In Der Woche -
31. Peter Alexander: Ich Weiss, Was Dir Fehlt -
V. A. (Bear Family Records) [>] [D]: Schlager Im Spiegel Der Zeit: 1958 [F]
Label und Katalognummer: Bear Family Records BCD 17188
Produktion: Verschiedene
Veröffentlicht: 2010 10 04 (Ed.), 1958 (Rec.)
Genretags: Europeana - Schlager
Trackliste: 1. Ted Herold: Ich Brauch Keinen Ring -
2. Dietmar Schönherr: Du Wir
st Geliebt -
3. Peter Kraus & Die Rockies: Mach Dich Schön -
4. Conny Froboess & Die Hansen Boys & Girls: Blue Jean Boy -
5. Ralf Bendix & Die Hansen Boys & Girls: At The Hop -
6. Peter Kraus: Sugar Baby -
7. Conny Froboess & Das Hansen-Quartett: Diana -
8. Peter Kraus: Hula Baby -
9. Conny Froboess & Die Hansen Boys & Girls: Auch Du Hast Dein Schicksal In Der Hand -
10. Ralf Bendix: Sputnik-Rock -
11. Peter Kraus: I Love You, Baby -
12. Peter Kraus: Mit Siebzehn -
13. Werner von Overheidt: Die Story Von Uns Zwei'n -
14. Ralf Bendix & Die Texas-Singers: Buona Sera -
15. Ralf Bendix & Die Texas-Singers: Come Prima -
16. Billy Mo: Mitternachts-Blues -
17. Wolfgang Neuss: Ach Das Könnte Schön Sein -
18. Fred Bertelmann: Der Lachende Vagabund -
19. Chris Howland: Fräulein -
20. Ria Solar: In Der Mitte Von Samoa -
21. Paul Kuhn: Die Farbe Der Liebe -
22. Nana Gualdi: Junge Leute Brauchen Liebe -
23. Angèle Durand: Melodie D'Amour -
24. Peter Alexander: Wunderbares Mädchen -
25. Erni Bieler: Eine Reise Ins Glück -
26. Willy Hagara: Casetta In Canada -
27. Freddy Quinn & Die Cyprys: Ich Bin Bald Wieder Hier -
28. Vico Torriani: Ananas Aus Caracas -
29. Jean Thomé: Armer Gigolo -
30. Christa Williams & Jo Roland: Oh, Das Wär' Schön -
31. Vico Torriani: Schön Und Kaffeebraun -
32. Caterina Valente: Spiel Noch Einmal Für Mich Habanero -
33. Die Peheiros: Im Winter, Da Schneit Es (Karneval) -
34. Freddy Quinn & Die Cyprys: Der Legionär -
V. A. (Bine Music) [>] [D]: BineMusic Presents Various Artists 2010 [F]
Label und Katalognummer: BineMusic BINE 023
Produktion: Verschiedene
Veröffentlicht: 2010 04
Genretags: Electronica - IDM - Glitch-IDM
Trackliste: Seite A
1. Lars Leonhard: Citylights - 4:20
2. Ando: Film (Taylor Deupree) - 4:09
3. Severence: Dark Heat (Moss Mix) (Elliot Denmark) - 6:35
Seite B
1. Fold: Insect (Thomas Touzimsky) - 6:45
2. Scanner: Coming Into Focus (Robin Rimbaud) - 3:41
3. Electrocity 2000 (Tilo Seidel) - 4:48
Seite C
1. Move D: Skoda (2010 Edit) (David Moufang) - 8:29
2. Ben Swire: And There (Ben Swire) - 4:56
Seite D
1. Benjamin Brunn: Lotta G - 9:05
2. Marconi Union: Ancoats 111 - 5:55
Besetzung: Artwork By [Design] - Ordner
; Double Bass - Aaron Keane (C2)
V. A. (Bureau B) [>] [D]: Funky Fräuleins 2: Female Beat, Groove, Funk in Germany 1968-1981 [F]
Label und Katalognummer: Bureau B BB 061
Produktion: Verschiedene
Veröffentlicht: 2011 01 07 (Ed.), 1981-68 (Rec.)
Genretags: Pop, Rock, Europeana - Schlager
Trackliste: 1. Uschi Moser: Sunny Honey - 2:22
2. Veronika Fischer: He, Wir
Fahr'n Mit Dem Zug - 4:13
3. Fasia: Arbeitslosen-Blues - 3:28
4. Joy Fleming: Fieber - 3:18
5. Uschi Glas: Mein Wochenende - 3:20
6. Uschi Brüning: Hochzeitsnacht - 4:10
7. Heidelinde Weis: Der Supermann - 3:28
8. Caterina Valente: I Dig Rock And Roll Music - 2:42
9. Hildegard Knef: Gern Bereit - 3:19
10. Su Kramer: Weißer Sand - 3:39
11. Inga Rumpf & Peter Herbolzheimer: Superstition - 5:22
12. Peggy March: Die Entdeckung Des Jahrhunderts - 3:10
13. Lill Lindfors: Harper Valley - 3:24
14. Angelika Mann: Kutte - 4:15
15. Li Monty: Funky Bone - 3:43
16. Anne Haigis: Fingernails - 5:15
17. Donna Gaines: Can't Understand - 3:48
V. A. (Caroline True Records) [>] [D]: Do You Have The Force? Jon Savage's Alternate History Of Electronica 1978-82 [F]
Label und Katalognummer: Caroline True Records CTRUE 24
Produktion: Verschiedene
Veröffentlicht: 2021 02 05 (Ed.)
Genretags: Rock - Progrock - Electronicprog, Electronica
Trackliste: Seite A
1. Droids: Do You Have The Force (7" Version ) - 3:25
2. Sylvia Love: Extraterrestrial Lover (Mike Brayn) - 6:59
3. Transvolta: Disco Computer - 6:50
4. Rayon Laser: Funky Meteor - 2:40
Seite B
1. Harry Thumann: Underwater (12" Version) - 6:05
2. Slick: Space Bass (12" Version) - 7:06
3. Suicide: Mr Ray (Alan Vega, Martin Rev) - 5:14
4. Flying Lizards: Steam Away - 4:48
Seite C
1. BGM: A4/And - 4:36
2. Monoton: Shortwavetransmission - 3:03
3. Sea Of Wir
es: Seascape - 12:10
Seite D
1. Cabaret Voltaire: Invocation (Chris Watson, Richard H. Kirk, Stephen Mallinder) - 6:24
2. A Number Of Names: Sharevari - 5:30
3. Patrick Cowley: Homenaje A Patrick Cowley (Part 1) - 10:07
Besetzung: Artwork [Front & Back Cover]: Matt Sewell
; Compilation Producer: Jon Savage
; Compiled By: Jon Savage
; Design: Will Stacey
; Design [Adapted For CD]: Dave Twist
; Liner Notes [September 2020]: Jon Savage
; Copyright (c) Caroline True Records
; Phonographic Copyright (p) Caroline True Records
; Manufactured By www.keyproduction.co.uk
V. A. (Cherry Red) [>] [D]: Still In A Dream: A Story Of Shoegaze 1988-1995 [F]
Label und Katalognummer: Cherry Red CRCDBOX 25
Produktion: Verschiedene
Veröffentlicht: 2016 01 29 (Ed.)
Genretags: Indiepop - Noisepop - Shoegaze
Trackliste: CD 1
1. Jesus And Mary Chain: Rollercoaster - 3:47
2. Cocteau Twins: Cherry-Coloured Funk - 3:12
3. House Of Love: Christine - 3:25
4. A.R. Kane: Baby Milk Snatcher (12" Version) - 6:01
5. Ultra Vivid Scene: Mercy Seat (12" Version) - 6:31
6. Spacemen 3: Hypnotized - 5:56
7. Loop: Arc-Lite (Sonar) - 4:28
8. 14 Iced Bears: Surfacer - 6:43
9. Galaxie 500: Tugboat - 3:55
10. Prayers: Puppet Clouds - 2:57
11. Kitchens Of Distinction: The 3rd Time We Opened The Capsule - 3:20
12. A.C. Marias: One Of Our Girls Has Gone Missing - 4:40
13. Telescopes: Precious Little - 3:13
14. Pale Saints: Sight Of You - 5:49
15. Jane From Occupied Europe: Ocean Run Dry - 6:39
16. Sonic Boom: Angel - 7:52
CD 2
1. Ride: Drive Blind - 4:47
2. Lush: De-Luxe - 3:28
3. See See Rider: Slip So Slow - 2:29
4. Nightblooms: Crystal Eyes - 2:24
5. Darkside: Waiting For The Angels - 5:12
6. Velocity Girl: I Don't Care If You Go - 3:05
7. Cranes: Inescapable - 2:46
8. Chapterhouse: Falling Down - 3:57
9. Whipping Boy: Switchblade Smile - 2:59
10. Boo Radleys: Kaleidoscope - 5:40
11. Swervedriver: Rave Down - 5:08
12. Slowdive: Slowdive - 5:15
13. Charlottes: Liar - 4:20
14. Dr. Phibes & The House Of Wax Equations: Sugarblast - 6:17
15. Bleach: Decadence - 4:23
16. Catherine Wheel: She's My Friend (Wilde Club Version) - 4:29
17. Blow Up: Somersault Sunrise - 3:36
18. Bark Psychosis: All Different Things - 8:11
CD 3
1. Curve: Ten Little Girls - 4:28
2. Dylans: Godlike - 4:35
3. Th' Faith Healers: Gorgeous Blue Flower In My Garden - 6:17
4. Lilys: February Fourteenth - 3:51
5. Honey Smugglers: Good Afternoon - 3:30
6. Spirea X: Chlorine Dream - 4:21
7. Moonshake: Gravity - 4:29
8. Spitfire: Translucent - 3:40
9. Moose: Suzanne - 3:26
10. Spiritualized: Run - 3:12
11. Revolver Heaven Sent An Angel - 4:48
12. Lowlife: June Wilson - 3:10
13. Ecstasy Of Saint Theresa: Square Wave - 3:41
14. Black Tambourine: By Tomorrow - 3:05
15. Whipped Cream: Explosion - 4:34
16. Smashing Orange: My Deranged Heart - 5:23
17. Hinnies: Gong - 3:48
18. Bang Bang Machine: Geek Love (Original 12" Version) - 9:26
CD 4
1. Sunflowers: Closer - 4:02
2. Drop: Mirrored - 4:47
3. Belltower: In Hollow - 4:07
4. Sweet Jesus: Phonefreak Honey - 2:30
5. Adorable: Sunshine Smile - 5:03
6. Sun Dial: I Don't Mind - 3:35
7. Swallow: Sugar Your Mind - 4:03
8. Drop Nineteens: Winona - 3:29
9. Flaming Lips: Talkin' 'Bout The Smiling Deathporn Immortality Blues (Everyone Wants To Live Forever) - 3:51
10. Medicine: Aruca - 4:50
11. Coaltar Of The Deepers: Charming Sister Kiss Me Dead!! - 5:10
12. Honey Buzzards: Starhappy - 4:01
13. lovesliescrushing: Babysbreath - 3:52
14. Majesty Crush: No.1 Fan - 3:47
15. Swirlies: Park The Car By The Side Of The Road - 5:06
16. Submarine (3): Chemical Tester - 3:30
17. Bailter Space: Shine - 3:55
18. Spectrum (4): True Love Will Find You In The End - 3:32
19. Blind Mr. Jones: Spooky Vibes - 6:13
CD 5
1. An April March: Memory - 4:24
2. Flying Saucer Attack: Soaring High - 4:19
3. Drugstore: Alive - 2:30
4. Secret Shine: Loveblind - 4:32
5. Mercury Rev: Bronx Cheer - 2:48
6. Curtain Society: Chelsea - 4:10
7. Seefeel: Plainsong - 7:42
8. Spindrift: Surround Sound - 4:48
9. Rollerskate Skinny: Miss Leader - 4:15
10. Bardo Pond: Die Easy - 6:52
11. Alison's Halo: Dozen - 5:25
12. Swirl: The Last Unicorn - 4:33
13. Bowery Electric: Next To Nothing - 6:30
14. Bethany Curve: Me Voy - 4:23
15. astrobrite: Orange Creamsickle - 5:23
16. Luna: 23 Minutes In Brussels - 6:40
Besetzung: Concept By, Compiled By: John Reed
; Design: Lora Findlay
; Promotion: Matt Ingham
; Remastering: Simon Murphy
; Sleeve Notes: Jack Rabid
; Sleeve Notes: Neil Taylor
; Phonographic Copyright (p) Cherry Red
; Copyright (c) Cherry Red
; Marketed By Cherry Red Records Ltd.
; Distributed By Cherry Red Records Ltd.
; Remastered At Another Planet Music
; Glass Mastered At www.keyproduction.co.uk
V. A. (Cherry Red) [>] [D]: Close To the Noise Floor. Formative UK Electronica 1975 - 1984 [F]
Label und Katalognummer: Cherry Red CRCDBOX 24
Produktion: Verschiedene
Veröffentlicht: 2016 04 29 (Ed.)
Genretags: Postpunk - Electronic-Postpunk - Industrial
Trackliste: CD 1
1. Five Times Of Dust: Computer Bank -
2. The Klingons: R.A.M. -
3. Chris & Cosey: Re-Education Through Labour -
4. Malcolm Brown: Sedation Strokes -
5. Storm Bugs: Little Bob Minor -
6. Thomas Leer: Tight as a Drum -
7. Blancmange: Holiday Camp -
8. Inner City Static: Fractured Smile -
9. We Be Echo: Sexuality -
10. Bourbonese Qualk: God with Us -
11. Nagamatzu: Faith -
12. O Yuki Conjugate: Disco Song -
13. B.E.F.: Optimum Chant -
14. Kevin Harrison: All Night Long -
15. Voice of Authority: Stopping and Starting -
CD 2
1. Colin Potter: I Am Your Shadow -
2. British Standard Unit: D’Ya Think I’m Sexy? -
3. Five Times Of Dust: The Single Off the Album -
4. Spöön Fazer: Back to the Beginning -
5. Gerry & The Holograms: Gerry and the Holograms -
6. The Passage: Drugface -
7. John Foxx: A New Kind of Man -
8. 100% Manmade Fibre: Green for Go -
9. Those Little Aliens: Sentimental -
10. Final Program: Protect and Survive -
11. The Human League: Being Boiled -
12. The Instant Automatons: New Muzak -
13. Cultural Amnesia: Materialistic Man -
14. World Backwards: (Leaving Me) Now -
15. Alan Burnham: Music to Save the World By -
16. Orchestral Manoeuvres in the Dark: Almost -
17. Eyeless in Gaza: Kodak Ghosts Run Amok -
18. Schleimer K: Broken Vein -
19. Native Europe: The Distance from Köln -
CD 3
1. Zorch: Adrenalin (Return of the Elohim, Pt. 1) -
2. The Sea of Wir
es: Robot Dance -
3. Ron Berry: Sea of Tranquility -
4. MFH: Mistral -
5. Adrian Smith: Joe Goes to New York -
6. Mark Shreeve: Embryo (Extract) -
7. E.g Oblique Graph: Triptych -
8. Carl Matthews: Encounter -
9. Paul Nagle: Ynys Scaith -
10. O Yuki Conjugate: Sedation -
11. Konstruktivist: Western Vein -
12. Attrition: Dead of Night (Excerpt) -
CD 4
1. Throbbing Gristle: What a Day -
2. A Tent: No Way of Knowing -
3. Portion Control: Go for the Throat -
4. DC3: Eco Beat -
5. Renaldo & The Loaf: Dying Inside -
6. Blah Blah Blah: In the Army -
7. The Legendary Pink Dots: God Speed -
8. Muslimgauze: Muslin Gauze Muslim Prayer -
9. Les Suisse: Live at Longborne -
10. Alien Brains: Menial Disorders, Extract B2 -
11. Storm Bugs: Himeal (And She Blew) -
12. Third Door from the Left: In the Room -
13. Al Robertson: Dignity of Labour -
14. bcGilbert, gLewis, russellMills: Mzui (Extract) -
Besetzung: Compiled By, Concept By [Conceived By]: Richard Anderson
; Design, Graphics [Reprographics]: Lora Findlay
; Liner Notes: Dave Henderson
; Mastering: Nick Watson
; Phonographic Copyright (p) Cherry Red Records Ltd.
; Copyright (c) Cherry Red Records Ltd.
; Marketed By Cherry Red Records Ltd.
; Distributed By Cherry Red Records Ltd.
; Mastered At Fluid Mastering
V. A. (Cherry Red) [>] [D]: To the Outside of Everything: A Story of UK Post Punk 1977–1981 [F]
Label und Katalognummer: Cherry Red
Produktion: Verschiedene
Veröffentlicht: 2017 12 08 (Ed.), 1981-77 (Rec.)
Genretags: Postpunk
Trackliste: CD 1
1. Young Savage: Ultravox!
2. Shot By Both Sides: Magazine
3. I Am the Fly: Wir
e
4. East Sheen: 'O' Level
5. United: Throbbing Gristle
6. T.V.O.D.: the Normal
7. Puppet Life: Punishment of Luxury
8. Bombers: Tubeway Army
9. Repetition: the Fall
10. Private Plane: Thomas Leer
11. China's Eternal: the Tights
12. Wax Dolls: Fischer-Z
13. Skank Bloc Bologna: Scritti Politti
14. Damaged Goods (LP Version): Gang of Four
15. Summertime Blues: the Flying Lizards
16. Suicide a Go Go: Big in Japan
17. Steady Eddie Steady: Fashion
18. Hearts in Exile -The Homosexuals
19. This Is Your Life: Glaxo Babies
20. Sleeping Gas (Zoo 7" Version): the Teardrop Explodes
21. Needles and Pills: the Passions
22. Fairytale in the Supermarket: the Raincoats
CD 2
1. The Dignity of Labour Pt. 1: Human League
2. Lost in Room: Alternative T.V
3. The Pictures on My Wall: Echo and the Bunnymen
4. Death Disco: Pil
5. Eine Symphonie Des Grauens: the Monochrome Set
6. Courts or Wars: Second Layer
7. Ideologically Unsound: Poison Girls
8. Typical Girls: the Slits
9. Soldier Soldier: Spizzenergi
10. You: Au Pairs
11. Transmission: Joy Division
12. Back to Nature -Fad Gadget
13. 16 Hours: the Passage
14. We Are All Prostitutes: the Pop Group
15. Spirit of Youth: the Last Gang
16. This Week: the Adicts
17. Turn to Red: Killing Joke
18. Second Still: Modern Eon
19. We Love You: the Psychedelic Furs
20. White Mice: Mo-Dettes
21. Emile Zola: the Deep Freeze Mice
22. From the Cradle to the Grave: Crispy Ambulance
23. Sketch for Summer: the Durutti Column
CD 3
1. Let's Build a Car: Swell Maps
2. Warm: Family Fodder
3. Cartrouble: Adam and the Ants
4. Brigade: Clock Dva
5. Warm Girls -Girls at Our Best!
6. Ice Age: the Membranes
7. Boots for Dancing: Boots for Dancing
8. Lullaby Cheat: Ludus
9. Swans on Glass: Modern English
10. Squares and Triangles: Thompson Twins
11. Mary Millington: the Disco Zombies
12. Fire: Occult Chemistry
13. Final Achievement -In Camera
14. Girls Don't Count: Section 25
15. Hard Objects: Art Objects
16. Radio Drill Time: Josef K
17. Controversial Subject: the the
18. My Mother Was a Friend of An Enemy of the People: Blurt
19. The Affectionate Punch: the Associates
20. There Goes Concorde Again: and the Native Hipsters
CD 4
1. The Friend Catcher: the Birthday Party
2. Precinct: the Cravats
3. It's So Difficult: Dislocation Dance
4. Do Different Dances: SPÖÖN Fazer
5. B.: Colin Newman
6. Disney Boys: Blue Orchids
7. Cabbage: Mass
8. Get Up and Use Me: Fire Engines
9. Anonymity: Dance Chapter
10. Overspreading Art Genius: Blancmange
11. We Are All Animals: the Diagram Bros
12. A Still Reflex: Repetition
13. Ceremony: New Order
14. Hungry, So Angry: Medium Medium
15. 50 Years of Comparative Wealth: Steve Diggle
16. Another Reason: Five or Six
17. Clock: the Danse Society
18. Sometimes I Wish: the Laughing Apple
19. Raindance: the Past Seven Days
20. Invisibility: Eyeless in Gaza
21. Idiot Strength: the Nightingales
22. Nothing: My Captains
CD 5
1. Rebel Without a Brain: Theatre of Hate
2. I Am the Bishop: Notsensibles
3. Central Proposition: New Asia
4. Life in Reverse: Marine
5. Watching the Hydroplanes: Tunnel Vision
6. Fading: Jah Wobble
7. Snakes and Ladders: TV21
8. Happy Feeling: the Sinatra's
9. Tribes: Soul
10. Storage Case: the Drowning Craze
11. Imagination: Sad Lovers and Giants
12. Hu: Dif Juz
13. Animals: Spider King
14. Vegas: Nico
15. I Don't Want to Live with Monkeys: the Higsons
16. I'd Like to Shoot You Down: Apb
17. Nothing: René Halkett David Jay
18. Stretch (7" Version): Maximum Joy
19. Afterwards: Artery
20. Last Words (7" Version): 23 Skidoo
21. Everybody Thinks Everybody Else Is Dead Bad: the Skodas
22. Heart Disease: Biting Tongues
23. 4 Countries: the Reflections
24. Radio Prague: This Heat
V. A. (Cherry Red) [>] [D]: Electrical Language. British Independent Synth Pop 78-84 [F]
Label und Katalognummer: Cherry Red CRCDBOX 77
Produktion: Verschiedene
Veröffentlicht: 2019 05 31 (Ed.)
Genretags: Newpop - Synthpop
Trackliste: CD 1
1. Thomas Dolby: Windpower (Thomas Dolby) - 4:21
2. Alan Burnham: Science Fiction (Alan Burnham) - 3:49
3. Normal: Warm Leatherette (Daniel Miller) - 3:23
4. Alex Fergusson: Stay With Me Tonight (Alan Gruner, Alex Fergusson) - 3:48
5. Colourbox: Tarantula (Ian Robbins, Martyn Young) - 3:47
6. 100% Manmade Fibre: Fantasy (Alistair Robertson) - 5:34
7. Testcard F: Bandwagon Tango (Testcard F) - 3:47
8. Be Bop Deluxe: Electrical Language (Bill Nelson) - 4:49
9. Dalek I: The World (Alan Gill, David Hughes (7)) - 2:29
10. Chain Of Command: Honour Among Thieves (Dave Taylor, Matt Adams, Neil Whitehead) - 3:40
11. Orchestral Manoeuvres In The Dark: Red Frame / White Light (Andy McCluskey, Ian Humphreys) - 3:09
12. Legendary Pink Dots: Red Castles (Edward Ka-Spel, Michael Marshall, Roland Callaway) - 3:29
13. Ice The Falling Rain: Lifes Illusion (John Marchington, Louise King, Sean Stiles) - 2:53
14. Music For Pleasure: The Human Factor (Alan Peace, David Whitaker, Martin King) - 2:43
15. Poeme Electronique: She's An Image (David Hewson, Sharon Abbott) - 5:25
16. Box Of Toys: I'm Thinking Of You Now (Brian Atherton) - 3:39
17. New Musik: The Planet Doesn't Mind (Tony Mansfield) - 3:34
18. Schleimer K: Hope Deep Inside (Dominique Brethes, Michael Wolfen) - 2:56
19. Native Europe: The Distance From Köln (Kevin Donoghue) - 2:28
20. Voice Of Authority: Technical Miracle (Adrian Sherwood) - 5:10
CD 2
1. Human League: Circus Of Death (Ian Craig Marsh, Martyn Ware, Philip Oakey) - 3:52
2. Passage: XOYO (Dick Witts) - 3:54
3. A Popular History Of Signs: Crowds (Andrew Jarman, Peter Scammell) - 4:09
4. Chris & Cosey: October (Love Song) (Chris Carter, Cosey Fanni Tutti) - 3:52
5. Laugh Clown Laugh: Feel So Young (Dominic O'Brien, Sam Findlay) - 3:55
6. Basking Sharks: Croatia (Adrian Todd, Ged McPhail, Martyn Eames) - 3:22
7. Thomas Leer: Mr Nobody (Thomas Leer) - 5:22
8. Fad Gadget: Ricky's Hand (Daniel Miller, Frank Tovey) - 4:06
9. Local Boy Makes Good: Hypnotic Rhythm (Jeff Allen) - 3:15
10. Mobiles: Drowning In Berlin (Chris Downton, David Blundell, Eddie Smithson, Russell Madge) - 3:27
11. Edward Ka-Spel: Even Now (Edward Ka-Spel) - 3:57
12. Passion Polka: Lying Next To You (Keith Leary, Steve Cottier) - 5:04
13. Naked Lunch: Rabies (Naked Lunch) - 4:53
14. Limit: Do It (P.K. Edgley) - 3:51
15. Robert Calvert: Work Song (Robert Calvert) - 3:55
16. Quadrascope: Baby Won't Phone (Willie Logan) - 3:16
17. Electronic Ensemble: It Happened Then (Pete Baker) - 3:14
18. Jeanette: In The Morning (J. Dwyer) - 2:52
19. Those Attractive Magnets: Nightlife (Those Attractive Magnets) - 2:50
20. Beasts In Cages: My Coo Ca Choo (Peter Shelley) - 3:15
CD 3
1. Bodhi Beat Poets: Your Love Is Like A Slug (Craig Runyon, David Harrow) - 4:13
2. Eyeless In Gaza: Veil Like Calm (Martyn Bates, Peter Becker) - 1:52
3. Camera Obscura: Destitution (Nigel James, Peter Oldroyd) - 5:29
4. Drinking Electricity: Good Times (David Rome) - 3:34
5. Zoo Boutique: Happy Families (Duncan Jowitt) - 3:11
6. Fiat Lux: Feels Like Winter Again (David P. Crickmore, Steve Wright) - 4:45
7. Colin Potter: Falling Downstairs (Colin Potter) - 4:09
8. David Harrow: Our Little Girl (David Harrow) - 4:08
9. Futurhythm: It Never Rains In Outer Space (Martin O'Cuthbert, P. Hackett) - 3:31
10. Goat: Zennor (Phil Pickering, Sean Purcell) - 3:45
11. Final Program: Videomatic (Kennie J. Young, Richie Program) - 4:05
12. Pink Industry: Taddy Up (Ambrose Reynolds, Jayne Casey) - 3:37
13. Play: You Don't Look The Same (Wayne Kennedy) - 5:27
14. Fast Set: Children Of The Revolution (Marc Bolan) - 3:54
15. Two: Trace Of Red (Benn, Saunders) - 2:26
16. Shox: Lying Here (Jacqui Brookes, John Pethers, Mike Atkinson) - 3:04
17. Builders: Daytime Assassins (Ambrose Reynolds) - 4:24
18. Section 25: Beating Heart (12" Version) (Angela Cassidy, Bethany Cassidy, Lee Shallcross) - 5:04
19. Joe Crow: Absent Friends (Joe Crow) - 4:03
20. Faction: Jamaica Day (Nicky Hillon) - 3:15
CD 4
1. Tim Blake: Generator (Laserbeam) (Tim Blake) - 3:34
2. Lori & The Chameleons: Touch (Bill Drummond, David Balfe) - 4:19
3. Jupiter Red: The Secret Affair (Willie Logan) - 3:36
4. Blue Zoo: I'm Your Man (Andy O) - 3:52
5. Jesus Couldn't Drum: Even Roses Have Thorns (Jonathan Staines) - 4:31
6. Techno Pop: Paint It Black (Jagger-Richards) - 3:39
7. Kevin Harrison: Chase The Dragon (Kevin Harrison) - 4:07
8. Thirteen At Midnight: Other Passengers (Dean Brannigan, Neil Howes) - 3:10
9. Freeze Frame: Your Voice (Ronnie Stone, Steve Byrne (7)) - 4:07
10. Time In Motion: Stay With You (Kevin Donoghue) - 3:52
11. Toy Shop: Live Wir
es Kill - 2:07
12. Analysis: Surface Tension (David Rome, Martin Lloyd) - 3:15
13. Paul Haig: Time (Paul Haig) - 5:53
14. Solid Space: Contemplation (Dan Goldstein, Jonathan Weinreich, Matthew Vosburgh) - 3:17
15. Martin O'Cuthbert: Committed To Vinyl (Martin O'Cuthbert) - 2:58
16. Science: Look Don’t Touch (Billy McIsaac, Kenny Hyslop) - 4:08
17. Charlie's Brother: The Wishing Tree (Megatree Mix) (James Harry) - 4:56
18. Quarks: Working Model (Martin Ansell) - 3:16
19. Eddie & Sunshine: There’s Someone Following Me (Eddie Maelov, Sunshine Patteson) - 3:34
20. Hybrid Kids: Happy Xmas (War Is Over) (John Lennon & Yoko Ono) - 3:42
Besetzung: Copyright (c) Cherry Red Records
; Marketed By Cherry Red Records
; Distributed By Cherry Red Records
; Pressed By MPO
V. A. (Cherry Red) [>] [D]: Manchester North Of England: A Story Of Independent Music Greater Manchester 1977 - 1993 [F]
Label und Katalognummer: Cherry Red CRCDBOX 38
Produktion: Verschiedene
Veröffentlicht: 2017 07 28 (Ed.)
Genretags: Rock - Punkrock - Manchester-Punk, Postpunk
2023 kam eine zweite Box als Nachfolge-Veröffentlichung heraus: Keeping Control
Trackliste: CD 1: Cranked Up Really High
1. Buzzcocks: Breakdown (Demo) (Howard Devoto, Pete Shelley) - 2:10
2. Slaughter And The Dogs: Cranked Up Really High (Mick Rossi, Wayne Barrett) - 2:52
3. Nosebleeds: Ain't Bin To No Music School (Edmund Garrity, Vini Reilly) - 2:56
4. Drones: Just Want To Be Myself (LP Version) (Mike Howells, Steve Cundall) - 2:45
5. John Cooper Clarke: Psycle Sluts Pts. 1 & 2 (John Cooper Clarke, John Scott) - 5:47
6. Jilted John: Going Steady (Graham Fellows) - 3:50
7. John The Postman: Louie Louie (Edit) (Richard Berry) - 3:29
8. Alberto Y Lost Trios Paranoias: Heads Down, No Nonsense, Mindless Boogie (Bob Harding, Bruce Mitchell, C.P.Lee, Jimmy Hibbert, Les Prior, Simon White, Tony Bowers) - 2:42
9. Magazine: The Light Pours Out Of Me (Howard Devoto, John McGeoch, Pete Shelley) - 4:38
10. Spherical Objects: The Kill (Steve Solamar) - 3:29
11. Steve Miro: Up And About (Steve Miro) - 2:40
12. V2 (5): Man In The Box (V2) - 4:14
13. Distractions: Maybe It's Love (Mike Finney, Steve Perrin) - 3:04
14. Grow-Up: Stay Awake (John Bisset-Smith) - 1:09
15. Frantic Elevators: Voice In The Dark (Mick Hucknall, Neil Moss) - 2:01
16. Joy Division: She's Lost Control (Bernard Sumner, Ian Curtis, Peter Hook, Stephen Morris) - 3:52
17. Chris Sievey: Baiser (Chris Sievey) - 2:30
18. Smirks: To You (Simon Milner) - 3:08
19. Salford Jets: Manchester Boys (Dave Morris (11), Diccon Hubbard, Geoff Kerry, Mike Sweeney (4), Rod Gerrard) - 3:07
20. 48 Chairs: Snap It Around (John Scott (9)) - 3:35
21. Foreign Press: Downpour (Dave Midwood, John Midwood, Ralph Bowe, Stuart Bowe) - 3:59
22. She Cracked: Warren Row (She Cracked) - 3:26
23. X-O-Dus: English Black Boys (Edit) (Wesley 'Honey' Ricketts) - 4:45
24. Harlem Spirit: Dem A Sus (In The Moss) (Trevor Orr) - 3:39
CD 2: Big Noise In The Jungle
1. Fall: Rowche Rumble (Craig Scanlon, Marc Riley, Mark E. Smith) - 4:02
2. Fast Cars: The Kids Just Wanna Dance (Steven Murray) - 3:29
3. Mothmen: Does It Matter Irene? (Bob Harding, Chris Joyce, David Rowbotham, Tony Bowers) - 4:14
4. Any Trouble: Yesterday's Love (Clive Gregson) - 2:50
5. Tiller Boys: Big Noise In The Jungle (Eric Random, Francis Cookson, Pete Shelley) - 5:55
6. Manchester Mekon: No Forgetting (Chris Alford) - 2:56
7. Manicured Noise: Faith (Steve Walsh (4)) - 3:30
8. Smack (9): Edward Fox (Ged McNulty, Geoff Crane, John Harrison (8), Steve Spicer) - 4:08
9. Bet Lynch's Legs: Some Like It Hot (John Scott (9)) - 4:30
10. Durutti Column: Lips That Would Kiss (Vini Reilly) - 3:47
11. Blue Orchids: The Flood (Joe Kin, Martin Bramah, Rick Goldstraw, Steve Toyne, Una Baines) - 4:19
12. Freshies: I'm In Love With The Girl On The Manchester Virgin Megastore Checkout Desk (Chris Sievey) - 2:50
13. Hamsters: Cloud Of Flies (The Hamsters) - 4:03
14. Suns Of Arqa: Acid Tabla Dub (Michael Wadada) - 3:01
15. A Certain Ratio: The Fox (Donald Johnson, Jez Kerr, Martin Moscrop, Peter Terrell, Simon Topping) - 3:05
16. Crispy Ambulance: Deaf (Alan Hempsall, Gary Madeley, Keith Darbyshire, Robert Davenport) - 3:58
17. Ludus: My Cherry Is In Sherry (Ian Devine, Linder Sterling) - 2:40
18. Diagram Brothers: Bricks (Fraser Reich, Jason Pitchers, Lawrence Fitzgerald, Simon Pitchers) - 2:44
19. Eric Random: Subliminal (Eric Ramsden, Eric Random) - 4:41
20. Bee Vamp: Valium Girls (Jim Paris, Martin King (10), Paul Ablette) - 4:35
21. Chameleons: In Shreds (Dave Fielding, John Lever, Mark Burgess, Reg Smithies) - 4:08
CD 3: Love at The Hacienda
1. New Order: Temptation (7" Version) (Bernard Sumner, Gillian Gilbert, Peter Hook, Stephen Morris) - 5:24
2. Syncopation: Marking Time (Syncopation) - 3:49
3. Dislocation Dance: Rosemary (Ian Runacres, Paul Emmerson, Richard Harrison) - 2:48
4. Carmel: Sugar Daddy (Carmel McCourt, Gerry Darby, Jim Paris) - 3:09
5. Swamp Children: You've Got Me Beat (Ann Quigley, Ceri Evans, Cliff Saffer, John Kirkham, Martin Moscrop, Tony Quigley) - 4:56
6. Gods Gift: Discipline (Gods Gift) - 4:26
7. Nico & Invisible Girls: Procession (Christa Päffgen, Martin Hannett) - 4:50
8. 52nd Street: Cool As Ice (U.S. 7" Edit) (Beverly McDonald, Derek Johnson, John Dennison, Tony Henry, Tony Thompson) - 4:01
9. Passage: Sharp Tongue (Dick Witts) - 3:04
10. Biting Tongues: Aair Care (Colin Seddon, Eddie Sherwood, Graham Massey, Howard Walmsley, Ken Hollings) - 5:00
11. Jane: Of All - Leaves Were Falling (Edward Barton) - 1:22
12. Tools You Can Trust: Working And Shopping (Ben Steadman, Rob Ward) - 3:20
13. Quando Quango: Love Tempo (Benelux Edit) (Gonnie Rietveld, Mike Pickering) - 3:35
14. Inca Babies: Grunt Cadillac Hotel (Bill Bonney, Harry Stafford) - 2:38
15. Marcel King: Reach For Love (Marcel King) - 5:28
16. Section 25: Looking From A Hilltop (Angela Cassidy, Jenny Cassidy, Larry Cassidy, Lee Shallcross, Vin Cassidy) - 4:33
17. Life: Tell Me (Life) - 3:11
18. Stockholm Monsters: All At Once (John Rhodes, Karl France, Lindsay Anderson, Shan Hira, Tony France) - 2:56
19. Membranes: Spike Milligan's Tape Recorder (Andrew Coulthart, John Robb, Mark Tilton) - 4:12
20. A Witness: Kitchen Sink Drama (Keith Curtis, Rick Aitken, Vince Hunt) - 4:17
21. Graham Fellows: Love At The Hacienda (Graham Fellows) - 2:35
CD 4: Garage Full Of Flowers
1. James: Chain Mail (Gavan Whelan, Jim Glennie, Larry Gott, Tim Booth) - 3:26
2. Miaow: Belle Vue (Cath Carroll, Chris Fenner, Fell, Jonathan Bedford, Steve Maguire) - 4:10
3. Easterhouse: Whistling In The Dark (Andy Perry, Ivor Perry) - 3:42
4. Bodines: Scar Tissue (Michael Ryan) - 3:39
5. Big Flame: Why Popstars Can't Dance (Alan Brown, David 'Dil' Green, Greg O'Keeffe) - 1:59
6. Weeds (4): China Doll (Andrew Berry, Nick Arrojo) - 2:36
7. Yargo: Get High (Anthony Burnside, Basil Clarke, Phil Kirby) - 5:21
8. Twang: Sharp - 3:18
9. Edward Barton: Me And My Mini (Edward Barton) - 2:31
10. Big Ed And His Rocking Rattlesnakes: D'You Think I Look Like Elvis Presley? - 3:06
11. Inspiral Carpets: Garage Full Of Flowers (Flexi Version) (Clint Boon, Craig Gill, Martyn Walsh, Tom Hingley) - 3:45
12. Danny Boys: Days Of The Week (Craig Ferguson) - 3:11
13. Thirst: Let Go (Carrie Lawson, Karl Burns, Lee Pickering, Martin Bramah) - 3:27
14. Man From Delmonte: Drive Drive Drive (Twnty Two And Still In Love With You) (Howard Goody, Martin Vincent, Mike West, Sheila Seal) - 2:30
15. Monkey Run: Falling Upstairs (Jim Stringer, Mark Hodkinson) - 4:18
16. Metro-Trinity: Spend My Whole Life Loving You (Johnny Male) - 3:44
17. Mirrors Over Kiev: Take Me Down (Ben Jackson, Phil Abram) - 3:14
18. Paperboys: This Is How I Feel (Paul Rawling, Steve Brown) - 3:46
19. Great Leap Forward: A Peck On The Cheek À La Politiqué (Alan Brown) - 3:23
20. TOT: Kill All The Boys (Tony Martin) - 3:31
21. Meat Mouth: Meat Mouth Is Murder (Greg O'Keeffe, Mark Whittam, Nicholas Blincoe) - 4:40
22. T-Coy: Cariño (Mike Pickering, Ritchie Close, Simon Topping) - 5:16
CD 5: 24 Hour Party People
1. Happy Mondays: 24 Hour Party People (Mark Day, Paul Davis (4), Paul Ryder, Shaun Ryder) - 4:39
2. Ambitious Beggars: Man In A Suit (Bob Kemp, Chris Perry, Doug Harrod, Mike Irwin) - 3:17
3. Bradford: Skin Storm (Ian Michael Hodgson) - 3:15
4. Laugh: Time To Lose It (John Peel Radio Session Version) (Ian Bendelow, Martin Mittler, Martin Wright, Spencer Birtwistle) - 3:13
5. Too Much Texas: Hurry On Down (When Will I See You Again) (Tom Hingley) - 2:43
6. Fallover 24: Pessimistic Man (Arthur Magee, Paul Dawson, Vic Rea) - 3:30
7. Waltones: The Deepest (Andy Lee (5)) - 4:12
8. Raintree County: Nice Time At The Disco (Craig Ferguson) - 4:46
9. Johnny Dangerously: Subway Life (John Harold Arnold Bramwell) - 2:26
10. Jean Go Solo: In Salford The Sun Doesn't Shine - 2:43
11. Desert Wolves: Passion In The Afternoon (David Platten, Martin King (10), Nick Platten) - 3:37
12. Morrissey: The Last Of The Famous International Playboys (Morrissey, Stephen Street) - 3:38
13. King Of The Slums: Fanciable Headcase (Charley Keigher, Sarah C) - 4:58
14. Sun And The Moon: C'Est La Vie (Andy Clegg, Andy Whitaker, John Lever, Mark Burgess) - 4:34
15. Reegs: Chorus Of The Lost (Dave Fielding, Gary Lavery, Reg Smithies) - 5:24
16. Barry Adamson: The Man With The Golden Arm (Elmer Bernstein) - 4:05
17. Jazz Defektors: Ooh! This Feeling (The Jazz Defektors) - 4:20
18. Chapter And The Verse: All This And Heaven Too (Radio Edit) (Colin Thorpe) - 4:42
19. A Guy Called Gerald: Voodoo Ray (Gerald Simpson) - 4:27
20. Us: Born In The North (Aniff Cousins, Colin Thorpe, Edward Barton, Gerald Simpson, Steven Gibbs) - 5:15
CD 6: What The World Is Waiting For
1. Stone Roses: What The World Is Waiting For (Ian Brown, John Squire) - 3:53
2. What? Noise: Vein (Chris Nagle, Julia Adamson, Tim Harris) - 4:35
3. Dub Sex: Swerve (Dub Sex) - 2:59
4. Train Set: Hold On - 3:21
5. Jerks: Waterskin (The Jerks (9)) - 3:56
6. Mock Turtles: And Then She Smiles (Martin Coogan) - 3:17
7. Revenge: 7 Reasons (Demo) (Chris Jones, Dave Hicks, Peter Hook) - 3:59
8. Electronic: Getting Away With It (Bernard Sumner, Johnny Marr, Neil Tennant) - 4:17
9. MC Buzz B: How Sleep The Brave (Jazz Mix Vocal Edit) (Carl Adesile, Shorn Braithwaite) - 5:53
10. MC Tunes & 808 State: The Only Rhyme That Bites (Andy Barker, Darren Partington, Graham Massey, Jerome Moross, Martin Price, Nicky Lockett) - 4:31
11. New Fast Automatic Daffodils: Big (Edit) (Andy Spearpoint, Dolan Hewison, Justin Crawford, Perry Saunders) - 4:07
12. Northside: Shall We Take A Trip (Cliff Ogier, Paul Walsh, Timothy Walsh, Warren Dermody) - 4:23
13. Rainkings: Get Ready (David Swift) - 2:35
14. Paris Angels: Perfume (Jayne Gill, Mark Adj, Paul Wagstaff, Rikki Turner, Scott Carey, Simon Worrall, Steven Tajti) - 4:12
15. High: Box Set Go (Andy Couzens, Chris Goodwin, John Matthews, Simon Davies) - 4:03
16. Cygnet Ring: 18 Daze (Rus Harrison) - 3:23
17. Asia Fields: Dazed (David Jones (26), David Keane, Eamonn Sheehy, Graham Maley, Mark Finch, Paul Hewitt) - 4:08
18. Ruthless Rap Assassins: And It Wasn't A Dream (Anderson McConley Hinds, Carson Hinds, Paul Leveridge) - 3:01
19. Krispy 3: Coming Through Clear (George Guye, Michael Finlayson, Richard Finlayson) - 4:34
20. Kiss AMC & Ruthless Rap Assassins: Let Off (7" Mix) (Anderson McConley Hinds, Paul Leveridge) - 3:37
CD 7: Sons Of The Stage
1. Charlatans: Sproston Green (John Baker (5), Mark Collins, Martin Blunt, Tim Burgess) - 5:13
2. Swirl: Giant Sea (Janet Wolstenholme, Tracey Godding) - 4:22
3. World Of Twist: Sons Of The Stage (Gordon King, Tony Ogden) - 5:10
4. Hypnotone: Dream Beam (7" Edit) (Martin Mittler, Tony Martin) - 4:06
5. 808 State: Cubik (Original Mix) (Andy Barker, Darren Partington, Graham Massey, Martin Price) - 3:22
6. Sub Sub: Space Face (Andy Williams (4), Jez Williams, Jimi Goodwin) - 6:47
7. Adventure Babies: Camper Van (Dave Atherton, Jez Bramwell, Matt Tedstone) - 4:45
8. Days: Fly (The Days) - 3:15
9. Kill Laura: Murder (Jane Weaver, Jonathan Copley, Russ Taylor) - 1:51
10. Wonky Alice: Caterpillars (Andrew James Costa, Karen Leatham, Steven Crowther, Yves Altana) - 5:03
11. Robinson: Soup (Mano McLaughlin) - 3:19
12. Lionrock: Lionrock (Justin Robertson) - 5:12
13. Chemical Brothers: Song To The Siren (Ed Simons, Tom Rowlands) - 4:32
14. Intastella & Shaun Ryder: Can You Fly Like You Mean It (Gungadin) (Martin Mittler, Martin Wright, Shaun Ryder, Spencer Birtwistle, Stella Grundy) - 4:20
15. Puressence: Offshore (James Mudriczki, Kevin Mathews, Neil McDonald, Tony Szuminski) - 3:25
16. Bandit Queen: Dirt And Soul (David Eric Galley, Janet Wolstenholme, Tracy Godding) - 3:25
17. Molly Half Head: Barny (Andy Pickering, Graham Atkinson, Paul Bardsley, Phil Murphy (4)) - 3:18
18. Oasis: Columbia (Demo) (Noel Gallagher) - 5:28
Besetzung: Photography: Kevin Cummins
; Photography: Paul Slattery
; Manufactured By www.keyproduction.co.uk
; Glass Mastered At TAKT
; Glass Mastered At TAKT
; Glass Mastered At TAKT
; Glass Mastered At TAKT
; Glass Mastered At TAKT
; Glass Mastered At TAKT
; Glass Mastered At TAKT
V. A. (Cherry Red) [>] [D]: Blank Generation. A Story of U.S/Canadian Punk & Its Aftershocks 1975-1981 [F]
Label und Katalognummer: Cherry Red CRCDBOX 147
Produktion: Verschiedene
Veröffentlicht: 2023 11 17 (Ed.), 1981-75 (Rec.)
Genretags: Rock - Punkrock, Alternativerock - Punkrock
Trackliste: CD 1
1. Richard Hell & The Voidoids: Blank Generation -
2. Ramones: Rockaway Beach -
3. Television: Friction -
4. Modern Lovers: Someone I Care About -
5. Heartbreakers: Chinese Rocks -
6. Dictators: Cars and Girls -
7. Dead Boys: Sonic Reducer -
8. Dogs: John Rock -
9. Brats: Be a Man -
10. Poly Styrene: Drano In Your Veins -
11. Pere Ubu: Final Solution -
12. Killer Kane Band: Mr. Cool -
13. Marbles: Red Lights -
14. Sneakers: Condition Red -
15. Blondie: Rip Her to Shreds -
16. Suicide: Rocket USA -
17. Suicide Commandos: Match/ Mismatch -
18. Patti Smith Group: Pissing In a River -
19. Mirrors: Shirley -
20. John Berenzy: Vice Verses -
21. Residents: Satisfaction -
CD 2
1. Devo: Come Back Jonee -
2. Destroy All Monsters: Bored -
3. Crime: Hot Wir
e My Heart -
4. Avengers: We Are the One -
5. Twinkeyz: Aliens In Our Midst -
6. Mumps: Crocodile Tears -
7. Scruffs: My Mind -
8. Tommy Hoehn: Blow Yourself Up -
9. Randoms: Let’s Get Rid of New York -
10. Dils: Mr. Big -
11. Chris Stamey & dB's: (I Thought) You Wanted To Know -
12. Quick: Pretty Please -
13. Cigarettes: Gimme Cigarette -
14. Electric Eels: Cyclotron -
15. Mars: 3E -
16. Howard Werth: Obsolete -
17. Pointed Sticks: What Do You Want Me To Do? -
18. Shock: This Generation’s On Vacation -
19. Deadbeats: Let’s Shoot Maria -
20. Bags: Survive -
21. Human Switchboard: No -
22. Curtiss A: I Don’t Wanna Be President -
23. Alda Reserve: Cure Me -
24. Young Canadians: Hawaii -
25. Weirdos: We Got the Neutron Bomb -
26. Last: She Don’t Know Why I’m Here -
27. Tom Verlaine: Breakin’ In My Heart -
28. Pagans: Street Where Nobody Lives -
CD 3
1. Dickies: Fan Mail -
2. DMZ: Bad Attitude -
3. Germs: Lexicon Devil -
4. Cramps: TV Set -
5. Really Red: Corporate Setting -
6. Swimming Pool Q's: Rat Bait -
7. Blow-Up: Tell It to the Judge -
8. Nervus Rex: Don’t Look -
9. Eyes: Topological Lies -
10. Pylon: Cool -
11. Zero Boys: I’m Bored -
12. Bizarros: Quiana Girls -
13. Smart Alex: Chitter Chat -
14. Hits: All the Girls (Wanna Be In Gangs) -
15. Dishrags: I Don’t Love You -
16. Black Randy & The Metrosquad: I Slept In an Arcade -
17. Rhino 39: Prolixin Stomp -
18. Count Vertigo: I’m a Mutant -
19. Testors: Time Is Mine -
20. Girls: Jeffrey I Hear You -
21. Urinals: I’m a Bug -
22. Richard Lloyd: Blue and Grey -
23. Sleepers: Seventh World -
24. Stimulators: Loud Fast Rules -
25. Next: Cheap Rewards -
26. Mission Of Burma: Academy Fight Song -
27. Flyboys: Theme Song -
CD 4
1. Dow Jones And The Industrials: Can’t Stand the Midwest -
2. Haskels: Taking the City By Storm -
3. Pure Hell: Noise Addiction -
4. Suburban Lawns: Janitor -
5. Non Compos Mentis: Ultimate Orgasm -
6. Method Actors: Do the Method -
7. Modernettes: Barbra -
8. Bureaucrats: Feel the Pain -
9. Bush Tetras: Snakes Crawl -
10. Chrome: New Age -
11. Cosmopolitans: How To Keep Your Husband Happy -
12. Customs: Long Gone -
13. Epicycle: You’re Not Gonna Get It -
14. Colors: Rave It Up -
15. Gizmos: Bible Belt Baby -
16. Demics: New York City -
17. Units: Work -
18. Suburbs: World War III -
19. Chandra: Kate -
20. Suspects: Talking Loud -
21. Feelies: Raised Eyebrows -
22. Bongos: Telephoto Lens -
23. Martin Rev: Mari -
24. Embarrassment: Sex Drive -
25. Necessaries: Detroit Tonight -
26. MX-80 Sound: Someday You’ll Be King -
CD 5
1. Polyrock: Romantic Me -
2. Unknowns: Dream Sequence -
3. Pell Mell: Spy Vs. Spy -
4. Lyres: Buried Alive -
5. Justin Trouble: Ponytail -
6. Speedies: Time -
7. Anemic Boyfriends: Fake I.D. -
8. Gun Club: She’s Like Heroin To Me -
9. Slickee Boys: Here To Stay -
10. Salvation Army: Mind Gardens -
11. New Math: They Walk Among You -
12. Jetsons: Genetically Stupid -
13. Dream Syndicate: When You Smile (EP Version) -
14. Oil Tasters: That’s When the Brick Goes Through the Window -
15. Redd Kross: Clorox Girls -
16. Middle Class: Last Touch -
17. Wall Of Voodoo: Call Box 1-2-3 -
18. Cheifs: Blues -
19. X: White Girl -
20. Crash Course In Science: Cardboard Lamb -
21. Adolescents: Amoeba -
22. Flesh Eaters: Version Nation -
23. Replacements: I’m In Trouble -
24. Sport Of Kings: This City In Darkness -
25. Get Smart!: This Is Style -
26. Dead Kennedys: Holiday In Cambodia -
27. Romeo Void: Not Safe -
28. Minor Threat: Minor Threat -
Besetzung: Mastering: Alec Palao
; Project Manager: John Reed
; Project Manager: Jon Harrison
V. A. (Cherry Red) [>] [D] & V. A. (Captain Oi!) [>] [D]: 1980. Brand New Rage [F]
Label und Katalognummer: Captain Oi! AHOYBX 387, Cherry Red AHOYBX 387
Produktion: Verschiedene
Veröffentlicht: 2022 10 21 (Ed.)
Genretags: Alternativerock - Punkrock
Die anderen Releases aus dieser Reihe:
– 1977: The Year Punk Broke
– 1978: The Year the UK Turned Day-Glo
– 1979. Revolt into Style
– 1981. All Out Attack!
Trackliste: CD 1
1. UK Subs: Brand New Age -
2. Anti Establishment: 1980 -
3. Satellites: Urban Gorilla -
4. Theatre Of Hate: Legion -
5. Adam And The Ants: Cartrouble -
6. Rivals: Here Comes The Night -
7. Victim: The Teen Age -
8. Chelsea: No One's Coming Outside -
9. Charlie Harper: Barmy London Army -
10. Damned: Wait For The Blackout -
11. Acme Attractions: Anyway -
12. UXB: Crazy Today -
13. Carpettes: Nothing Ever Changes -
14. Wall: Ghetto -
15. Newtown Neurotics: When The Oil Runs Out -
16. Salford Jets: Don't Start Trouble -
17. Discharge: Fight Back -
18. Red Rage: Total Control -
19. Straps: Just Can't Take Anymore -
20. Angelic Upstarts: Last Night Another Soldier -
21. Professionals: One Two Three -
22. Hoax: Oh Darling -
23. Thrust: Society -
24. Sham 69: Unite And Win -
25. Richard And The Taxmen: Now We're Through -
CD 2
1. Stiff Little Fingers: Nobody's Hero -
2. Knox: Gigolo Aunt -
3. Anti-Pasti: No Government -
4. Crime: Johnny Come Home -
5. Fall: Totally Wir
ed -
6. Athletico Spizz 80: No Room -
7. Drones: Can't See -
8. Elevators: Your I's Are Too Close Together -
9. Wild Boys: We're Only Monsters -
10. Members: Flying Again -
11. Knife Edge: Say You Will -
12. Murder Inc.: Sounds So False -
13. Homicide: Armageddon -
14. Crabs & Gary Holton: We're All Crazy -
15. Dickies: Gigantor -
16. Squad: Flasher -
17. Manufactured Romance: Time Of My Life -
18. Quads: UFO -
19. Auntie Pus: Halfway To Venezuela -
20. Stranglers: Who Wants The World? -
21. Girls At Our Best: Getting Nowhere Fast -
22. Exclusives: Sinking Gondola -
23. Tenpole Tudor: 3 Bells In A Row -
24. Bad Weeks: City Life -
25. 999: Boys In The Gang -
CD 3
1. Ruts: West One (Shine On Me) -
2. Stiffs: Volume Control -
3. Embryo: I'm Different -
4. Boys: Terminal Love -
5. Cockney Rejects: War On The Terraces -
6. Form: London Underground -
7. D.S.: My Toy -
8. Disco Zombies: Here Come The Buts -
9. UK Decay: Disco Romance -
10. Skids: Animation -
11. Cravats: Precinct -
12. Apartment: The Car -
13. Cuddly Toys: Astral Joe -
14. Discharge: Anytown -
15. Splodgenessabounds: Two Little Boys -
16. Innocent Vicars: Anti Matter -
17. Solid Action: Message From A Loner -
18. Jerks: Come Back Bogart (I Wish You Would) -
19. Dark: Hawaii Five-0 -
20. Vibrators: Disco in Mosco -
21. Xpress: Stop Start (And Go Back Again) -
22. Menace: Live For Today -
23. Piranhas: Yap Yap Yap -
24. Exploited: Army Life -
25. Intestines: Life In A Cardboard Box -
V. A. (Cherry Red) [>] [D] & V. A. (Captain Oi!) [>] [D]: 1981. All Out Attack! [F]
Label und Katalognummer: Captain Oi! AHOYBX 390, Cherry Red
Produktion: Verschiedene
Veröffentlicht: 2023 01 20 (Ed.)
Genretags: Alternativerock - Punkrock, Postpunk, Indiepop - C81
Die anderen Releases aus dieser Reihe:
– 1977: The Year Punk Broke
– 1978: The Year the UK Turned Day-Glo
– 1979. Revolt into Style
– 1980. Brand New Rage
– 1981. All Out Attack!
Trackliste: CD 1
1. Blitz: Attack -
2. Exploited: Punks Not Dead -
3. Infa Riot: Kids Of The 80's -
4. Chelsea: Evacuate -
5. Killing Joke: Tension -
6. Theatre Of Hate: Rebel Without A Brain -
7. Action Pact: London Bouncers -
8. Dead Man's Shadow: Neighbours -
9. Nips: Happy Song -
10. Wanderers: Ready To Snap -
11. Rudi: When I Was Dead -
12. Chron Gen: Reality -
13. Angelic Upstarts: Action Man -
14. Charge: Kings Cross -
15. Zounds: Demystification -
16. T.V. Smith's Explorers: The Servant -
17. Abrasive Wheels: Army Song -
18. Varukers: Soldier Boy -
19. Drongos For Europe: Peace -
20. Anti-Nowhere League: So What -
21. Product: Style Wars -
22. Quality Drivel: Sale Of The Century -
23. Stiffs: Magic Roundabout -
24. Business: Suburban Rebels -
25. Professionals: (Join The) Professionals -
CD 2
1. Damned: Disco Man -
2. Peter And The Test Tube Babies: Maniac -
3. Demob: No Room For You -
4. Special Duties: Violent Society -
5. Ramones: The KKK Took My Baby Away -
6. Salford Jets: Soldiers Of Fortune -
7. Partisans: Killing Machine -
8. Steve Diggle: Shut Out The Light -
9. Dark: On The Wir
es -
10. Cockney Rejects: On The Streets Again -
11. Discharge: Never Again -
12. Xtraverts: Speed -
13. Flux Of Pink Indians: Tube Disaster -
14. Bonnie Parker & Acme Attractions: Eve Of Destruction -
15. UK Subs: Countdown -
16. Defects: Brutality -
17. Reporters: Office Staff -
18. Breakout: Get Out-Fight Back -
19. Aces: One Way Street -
20. Revillos: She's Fallen In Love With A Monster Man -
21. J.C.'s Mainmen: Casual Trousers -
22. Disorder: Complete Disorder -
23. Shove: Raise The Roof Tonite -
24. Erazerhead: Apeman -
25. Tarts: Tie Me Kangaroo Down -
CD 3
1. Stiff Little Fingers: Silver Lining -
2. Straw Dogs: We Ain't Dead (Yet) -
3. Vice Squad: Young Blood -
4. Subhumans: Parasites -
5. Tenpole Tudor: The Swords Of A Thousand Men -
6. Jump Squad: Lord Of The Dance -
7. Boys: Lucy -
8. G.B.H.: Generals -
9. Outcasts: Gangland Warfare -
10. Toy Dolls: Tommy Kowey's Car -
11. Membranes: Muscles -
12. Knox: She's So Good Looking -
13. Skodas: Everybody Thinks Everybody Else Is Dead Bad -
14. Anti-Pasti: Another Dead Soldier -
15. Xpozez: Systems Kill -
16. Cravats: You're Driving Me -
17. Epileptics: Two Years Too Late -
18. Enemy: 50,000 Dead -
19. Splodgenessabounds: Cowpunk Medlum -
20. Fits: Listen To Me -
21. Nuclear Socketts: Play Loud -
22. Insane: Politics -
23. Fenzyx: Soldiers -
24. Strike: Gang Warfare -
25. Friendly Hopeful's: Tribute To The Punks Of 76 -
V. A. (Compost) [>] [D]: Elaste, Volume 03: Super Motion Disco [F]
Label und Katalognummer: Compost COMPOST 347
Produktion: Verschiedene
Veröffentlicht: 2010 04 09 (Ed.)
Genretags: Disco - Popdisco - Italodisco
Trackliste: 1. Queen Samantha: Take A Chance (Dompteur Mooner Edit) (H. Chalkitis, M. Swirid, M. Chalkitis) - 5:48
2. Eddy Trauba & M.M. Greco: Maccaroni Radio (Long Version) (S. Head) - 6:47
3. Moebius: Urth (Bryce Robbley) - 6:27
4. Riccardo Cioni & D.J. F.T. Band: Fog (Extended Mix) (S. Head) - 5:38
5. Nacht Und Nebel: Beats Of Love (Patrick Marina Nebel) - 3:19
6. Tabu (5): Allein (New Mix) (Master E.) - 4:21
7. Conrad Schnitzler Und Gregor Schnitzler: The Shark Eats Ice (Conrad Schnitzler, Gregor Schnitzler) - 2:58
8. Mythos: Powerslide (Dieter Dierks) - 4:59
9. Pollyester: Beuys Boys (Pollyester, Yossarian) - 4:50
10. The Deep Fix: Time Centre (Michael Moorcock, Pete Pavli) - 2:58
11. Die Gesunden: Galaxy (Engelbert Rehm, Mabel Aschenneller) - 3:31
12. Phantom Band: Neon Man (Dompteur Mooner) (Phantom Band9 - 4:48
13. The Pool: Jamaica Resting (Patrick Keel) - 3:27
14. Key Of Dreams: Africa (Dub Mix) (D. Paich, J. Porcaro) - 6:47
Besetzung: Art Direction: Thomas Elsner Studio
; Compiled By, Liner Notes: Mooner
; Design: Mooner
; Photography: Daniella Hehmann
V. A. (Decca) [>] [D] & V. A. (Deram) [>] [D]: The Mod Scene. Volume 2 [F]
Label und Katalognummer: Decca 844 924
Produktion: Verschiedene
Veröffentlicht: 2000 03 28 (Ed.)
Genretags: Rock - Poprock - Powerpop
Trackliste: 1. Small Faces: Own Up Time (McLagan, Jones, Lane, Marriot): 1:48
2. Birds: Leaving Here (Holland/Dozier/Holland): 2:44
3. Timebox: Beggin' (Gaudio, Farina) - 2:51
4. Davie Jones & The King Bees: Liza Jane (Conn) - 2:15
5. Alan Dean & His Problems: The Time It Takes (Holmes) - 2:34
6. John Mayall: Looking Back (Watson) - 2:39
7. Zoot Money: Zoot's Suit (Meaden) - 3:29
8. Graham Bond Organisation: Long Legged Baby (Bond) - 2:18
9. Bread & Beer Band: Breakdown Blues (Calvert, Quaye, Jackson, Dwight) - 5:29
10. Them: I Can Only Give You Everything (Coulter, Scott) - 2:41
11. Jimmy Powell: Sugar Baby Part I / Part II (Robinson) - 4:48
12. Questions: We Got Love (Parkinson) - 2:33
13. Cryin' Shames: What's News [sic] Pussycat (Robinson, Kneen) - 2:33
14. Presidents: Candy Man (Ross, Neil) - 2:10
15. Quik: I Can't Sleep (Williams) - 2:21
16. Powerhouse: Can You Hear Me (Toussaint) - 2:31
17. Knack: She Ain't No Good (Rowbottom) - 2:16
18. Pete Kelly's Soulution: Midnight Confessions (Josie) - 2:52
19. Unit 4 + 2: Baby Never Say Goodbye (Parker, Moeller) - 1:59
20. Lulu: Lies (Charles, Randell) - 2:27
21. Robb & Dean Douglas: Phone Me (Douglas) - 2:03
22. Societie: Breaking Down (Frame, Dougall, Struthers, Burns) - 2:22
23. Double Feature: Baby Get Your Head Screwed On (Stevens) - 2:44
24. Toby Twirl: Movin' In (Dinunzio, Lewis, Sauter) - 2:56
25. Attack: Try It (Levine, Bellack) - 2:06
Besetzung: Design: Whole Hog Design Co. Ltd
; Liner Notes [June 1999]: John Reed
V. A. (Demon Records) [>] [D] & V. A. (Edsel) [>] [D]: Eddie Piller Presents: British Mod Sounds Volume 2: The Freakbeat & Psych Years [F]
Label und Katalognummer: Edsel EDSL 0121, Demon Records EDSL 0121
Produktion: Verschiedene
Veröffentlicht: 2023 02 17 (Ed.)
Genretags: Rock - Psychedelicrock - Freakbeat
Trackliste: CD 1
1. Fairies: Get Yourself Home - 2:28
2. Birds: No Good Without You Baby - 2:39
3. Poets: Call Again - 2:24
4. Sorrows: You’ve Got What I Want - 2:00
5. Eyes: When the Night Falls - 2:33
6. New Breed: Unto Us - 2:31
7. Riot Squad: I Take It We’re Through - 2:51
8. Jan Panter: Scratch My Back - 2:37
9. Wimple Winch: Save My Soul - 3:07
10. Loose Ends: Taxman - 2:30
11. Ivy League: My World Fell Down - 2:52
12. Yardbirds: Happenings Ten Years Time Ago - 2:57
13. Les Fleur de Lys: Mud in Your Eye - 3:01
14. Truth: Hey Gyp (Dig the Slowness) - 2:04
15. Scots of St. James: Tic Toc - 2:24
16. Flies: I’m Not Your Stepping Stone - 2:39
17. Move: Disturbance - 2:51
18. Craig: I Must Be Mad - 2:48
19. Drag Set: Day and Night - 2:16
20. Apostolic Intervention: Tell Me (Have You Ever Seen Me) - 2:01
21. David Bowie: The Gospel According to Tony Day - 2:51
22. Tomorrow: My White Bicycle - 3:17
23. John's Children: Midsummer Night’s Scene - 2:35
24. Caleb: Baby Your Phrasing Is Bad - 3:17
25. Attack: Created by Clive - 2:40
26. Gods: Come on Down to My Boat Baby - 2:45
27. Alex Harvey: The Sunday Song - 2:27
28. Keith West: Excerpt From a Teenage Opera - 4:31
CD 2
1. Our Plastic Dream: Encapsulated Marigold - 2:20
2. Action: In My Dream - 3:22
3. Dantalian’s Chariot: Madman Running Through the Fields - 4:12
4. Kaleidoscope: Flight From Ashiya - 2:40
5. Sands: Listen to the Sky - 3:46
6. Scott Walker: Montagu Terrace (in Blue) - 3:28
7. 23rd Turnoff: Michael Angelo - 2:25
8. Fairytale: Listen to Mary Cry - 2:04
9. Felius Andromeda: Meditations - 4:09
10. Ice: Anniversary of Love - 3:11
11. Rupert’s People: Dream on My Mind - 3:24
12. Accent: Red Sky at Night - 3:14
13. Creation: Life Is Just Beginning - 2:59
14. Who: I Can See for Miles - 4:08
15. Fleetwood Mac: Rambling Pony - 2:41
16. Cymbaline: Marimonial Fears - 3:47
17. Tintern Abbey: Vacuum Cleaner - 3:06
18. Traffic: Coloured Rain - 2:43
19. Andy Ellison: It’s Been a Long Time - 3:20
20. Mickey Finn: Garden of My Mind - 2:31
21. Warm Sounds: Nite‐Is‐A‐Comin’ - 3:00
22. Mike Stuart Span: Children of Tomorrow - 3:18
23. Nirvana: Rainbow Chaser - 2:37
24. Mark Wir
tz: (He’s Our Dear Old) Weatherman - 3:59
CD 3
1. Spencer Davis Group: Moonshine - 2:41
2. End: Shades of Orange - 2:41
3. Fire: Father’s Name Is Dad - 2:31
4. Turquoise: Tales of Flossie Fillett - 3:04
5. Billy Nicholls: London Social Degree - 2:22
6. Aquarian Age: 10,000 Words in a Cardboard Box - 3:27
7. Status Quo: Pictures of Matchstick Men - 3:11
8. Idle Race: The Morning Sunshine - 1:49
9. Montanas: A Step in the Right Direction - 3:14
10. July: Dandelion Seeds - 3:20
11. Family: See Through Windows - 3:47
12. Icarus: The Devil Rides Out - 2:32
13. Plastic Penny: Your Way to Tell Me Go - 2:49
14. Elastic Band: 8.5 Hours of Paradise - 3:56
15. Vamp: Floatin’ - 2:34
16. Paul West and Compass: Hey You - 2:23
17. Sam Gopal: Escalator - 2:52
18. Sound Barrier: Groovin’ Slow - 2:57
19. Apple: Buffalo Billycan - 3:07
20. Timebox: Gone Is the Sad Man - 3:45
21. Locomotive: Mr Armageddon - 4:27
22. Ossie Layne: Rock My Plimsoll - 3:24
23. Californians: The Cooks of Cake and Kindness - 2:39
CD 4
1. Koobas: Barricades - 5:04
2. Troggs: Evil Woman - 2:56
3. Graham Bond: Love Is the Law - 4:39
4. Misunderstood: Children of the Sun - 2:53
5. Small Faces: Me, You and Us Too - 3:32
6. Fruit Machine: I’m Alone Today - 3:10
7. Julie Driscoll, Brian Auger & the Trinity: Flesh Failures (Let the Sunshine in) - 3:05
8. Terry Reid: Superlungs My Supergirl - 2:43
9. Jason Crest: Black Mass - 4:49
10. Open Mind: Magic Potion - 3:32
11. Quiet Melon: Diamond Joe - 2:28
12. Humble Pie: Wrist Job - 4:17
13. Mighty Baby: Same Way From the Sun - 5:41
14. Colosseum: Elegy - 3:13
15. Blonde on Blonde: Castles in the Sky - 3:28
16. Peter Wyngarde: Neville Thumbcatch - 4:30
17. Kinks: This Time Tomorrow - 3:23
18. Satisfaction: My Fixation (edit) - 3:51
19. Nucleus: Sone for the Bearded Lady - 7:24
20. Graham Dee: Car Chase - 3:06
Besetzung: Compiled By: Eddie Piller
; Design: Jaffa
; Liner Notes: Eddie Piller
; Liner Notes: Richard Norris
; Phonographic Copyright (p) Demon Music Group Ltd.
; Copyright (c) Demon Music Group Ltd.
; Marketed By Edsel (2)
; Pressed By GZ Media
V. A. (Dischord) [>] [D]: 20 Years Of Dischord [F]
Label und Katalognummer: Dischord DIS 125
Produktion: Verschiedene
Veröffentlicht: 2002 10 01 (Ed.), 2000-1980 (Rec.)
Genretags: Alternativerock - Hardcorepunk - DC-Punk, Alternativerock - Hardcorepunk - Posthardcore
CD 1 und 2 sind eine klassische label-Compilation, CD 3 bringt rares und unveröffentlichtes Material. Mit CD 3 kommen fünf Live Video Clips (Enhanced Content):
1. Deadline: Outside the Law (Live) - 2:03
2. Faith: You're X'd (Live) - 1:15
3. State of Alert: Draw Blank (Live) - 0:42
4. The Teen Idles: [untitled] (Live) - 1:48
5. Untouchables: If the Kids Are United (Live) - 3:09
6. Void: Who Are You - 2:20
Trackliste: CD 1: Fifty Bands [part 1]
1. The Teen Idles: Get Up and Go
2. The Untouchables: Nic Fit
3. State of Alert: Public Defender
4. Minor Threat: Screaming at a Wall
5. Void: Dehumanized
6. Youth Brigade: Barbed Wir
e
7. Government Issue: Rock & Roll Bullshit
8. Scream: Fight / American Justice
9. Iron Cross: Live for Now
10. Red C: Pressure's On
11. Deadline: Stolen Youth
12. Artificial Peace: Suburban Wasteland
13. Faith: Subject to Change
14. Skewbald: Sorry / Change for the Same
15. Marginal Man: Missing Rungs
16. Gray Matter: Oscar's Eye
17. Rites of Spring: Drink Deep
18. Beefeater: Just Things
19. The Snakes: Snake Rap
20. Dag Nasty: Circles
21. Embrace: Money
22. Soulside: Punch the Geek
23. Egg Hunt: We All Fall Down
24. One Last Wish: This Time
25. Fire Party: Cake
26. Ignition: Rebuilding
27. Three: Domino Days
28. Shudder to Think: Red House
29. Happy Go Licky: Twist and Shout
CD 2: Fifty Bands [part 2]
1. Fugazi: Blueprint
2. Lungfish: Friend to Friend in Endtime
3. Fidelity Jones: Destructor
4. The Nation of Ulysses: Spectra Sonic Sound
5. Holy Rollers: Perfect Sleeper
6. Jawbox: Motorist
7. Severin: People Are Wrong
8. The High-Back Chairs: Summer
9. Autoclave: I'll Take You Down
10. Circus Lupus: Pop Man
11. Branch Manager: Mr. Weekend
12. Slant 6: What Kind of Monster Are You?
13.Hoover: Cable
14. Trusty: Goodbye, Dr. Fate
15. Smart Went Crazy: A Good Day
16. The Crownhate Ruin: Piss Alley
17. The Warmers: Poked It With a Stick
18. The Make-Up: They Live by Night
19. Bluetip: Castanet
20. Faraquet: Cut Self Not
21. Q and Not U: Hooray for Humans
CD 3: Unreleased & Rare
1. The Teen Idles: Get Up and Go
2. The Teen Idles: Deadhead
3. The Untouchables: Stepping Stone
4. State of Alert: Draw Blank
5. Minor Threat: Straight Edge (Live)
6. Minor Threat: Understand
7. Government Issue: Snubbing
8. Government Issue: Asshole (with Ian)
9. Minor Threat: Asshole Dub
10. Youth Brigade: I Object
11. Rozzlyn Rangers: Rozzlyn Rangers
12. Void: Black, Jewish and Poor
13. Void: Authority (Takes 1 and 2)
14. Scream: Search for Employment
15. Deadline: No Revolution
16. Faith: No Choice
17. Marginal Man: Manipulator
18. Dag Nasty: All Ages Show (Rare)
19. Fugazi: The Word
20. Fugazi: Burning (Live)
21. Shudder to Think: Drop Dead Don't Blink
22. Circus Lupus: We Are the One (Rare)
23. Slant 6: Are You Human?
24. Ian MacKaye: Interview
Besetzung: Artwork [Graphic Production]: Michaele Fussell
; Design, Text By: Ian MacKaye
; Design, Text By: Jeff Nelson
; Editing [At Inner Ear Studios]: Don Zientara (1-1 to 3-24)
; Editing [At Inner Ear Studios]: Ian MacKaye (1-1 to 3-24)
; Editing [Enhanced Cd, At Rhed Studios]: Chris Mills (3-Video1 to 3-Video6)
; Editing [Enhanced Cd, At Rhed Studios]: Guillaume Bernardeau (3-Video1 to 3-Video6)
; Graphics: Jeff Nelson
; Liner Notes [Pages 6 & 7]: Henry Rollins
; Mastering [At Silver Sonya]: Chad Clark
; Photography: Aaron Hawkins
; Photography: Amy Pickering
; Photography: Athena Angelos
; Photography: Autoclave
; Photography: Bert Queiroz
; Photography: Brian Kemler
; Photography: Charles Steck
; Photography: Cynthia Connolly
; Photography: Dave McDuff
; Photography: Dave Stern
; Photography: David Holloway
; Photography: Dot Steck
; Photography: Dudley M Brooks
; Photography: Glen E. Friedman
; Photography: Ilisa Katz
; Photography: Jason Farrell
; Photography: Jeff Nelson
; Photography: Jeke Huffman
; Photography: Jill Heath
; Photography: Jim Saah
; Photography: Jimmy Gill
; Photography: John Dwyler
; Photography: John Falls
; Photography: Leslie Clague
; Photography: Liz Goodman
; Photography: Lucian Perkins
; Photography: Lydia Ely
; Photography: Lyle Preslar
; Photography: Mark Walston
; Photography: Michael Fellows
; Photography: Michael Salkind
; Photography: Mike Bassi
; Photography: Monica Gesue
; Photography: Naomi Petersen
; Photography: Natasha Rubin
; Photography: Neil Alexander
; Photography: Pat Graham
; Photography: Paul Nee
; Photography: Rebecca Hammel
; Photography: Shawn Brackbill
; Photography: Shawn Scallen
; Photography: Simon Jacobsen
; Photography: Susie Josephson
; Photography: Tiffany Pruitt
; Photography: Tomas Squip
; Proofreader [Fact-checking & Proofreading]: Amy Pickering
; Proofreader [Fact-checking & Proofreading]: Cynthia Connolly
; Proofreader [Scan Corrections]: Jason Farrell
; Copyright (c) Dischord Records
; Edited At Inner Ear Studios
; Edited At Rhed Studios
; Mastered At Silver Sonya
; Pressed By Failsafe Media
V. A. (Dust-To-Digital) [>] [D]: Folksongs Of Another America: Field Recordings From The Upper Midwest, 1937-46 [F]
Label und Katalognummer: Dust-To-Digital DTD 43
Produktion: Verschiedene
Veröffentlicht: 2015 08 (Ed.), 1937-46 (Rec.)
Genretags: Americana - Folk, Europeana - Folklore
Trackliste: CD 1: Pigtown Fling: The Sidney Robertson Recordings
1. Leizime Brusoe: Fisher's Hornpipe
2. Leizime Brusoe: Pigtown Fling
3. Leizime Brusoe: Lancer's in Five Parts
4. Robert Walker: Lost Jimmie Whalen
5. Warde Ford: Little Brown Bulls
6. Warde Ford: Crandon
7. Warde Ford and Art Ford: I'd Rather be a Nigger Than a Poor White Man
8. Charles Spencer: Mighty Adley-ca-budley-fatley-ca-ham-shaw
9. Charles Spencer: Locks and Bolts
10. Clyde Spencer and Harry Fannin: The Sinking of the Titanic
11. John H. Matheson: A Mhàiri bhàn òg / O Fair Mary
12. John H. Matheson: Stocainnean daoimean / Diamond-Patterned Socks
13. John H. Matheson: Eilean Leòdhais / Isle of Lewis
14. John H. Matheson: Gabhaidh sinn a’ rathad mòr / We Will Take the High Road
15. The Balkan Troubadours: Alaj Gigi
16. The Balkan Troubadours: Angelina vodu lije / Angelina Is Pouring Water
17. Cecilia Kuitunen: Charm for Hiccups
18. Anna Leino: Charm for Toothache
19. Olga Simi and Sue Simi: Pium, paum
20. Matti Simi and Sue Simi: Vilho ja Pertta / Vilho and Bertta
21. Matti Perala: Heramäen pukki / Old Man’s Goat
22. Josefiina Perala: Kataja / The Juniper
23. Otto Sarkipato: Lähtetään pojat nyt soutelemaan / Boys, Let’s Go Rowing
24. Otto Sarkipato: Keskellä lahtea / In the Middle of the Bay
25. Maria Heino: Laurilan Aleksin harmoonipeli / Laurila Aleksi’s Accordion
26. Maria Heino: Ei kukaan puhu puolestani / No One Speaks on My Behalf
27. Maria Heino: Eikä ne haavan lehdet lakkaa / Never Cease the Aspen Leaves
28. Maria Heino: Istuta, tyttö / Plant, O Girl
CD 2: The River in the Pines: The Wisconsin Lumberjacks Recordings
1. Earl Schwartztrauber and Ray Calkins: Fred Sargent's Shanty Song
2. Otto Rindlisbacher: Hounds in the Woods
3. Ray Calkins and unknown percussion player: Shantyboy Tune (Kväsarvalsen)
4. Iva Kundert Rindlisbacher: The River in the Pines
5. Sven 'Shantyman' Svenson (Otto Rindlisbacher): Dinner Horn Solo
6. Otto Rindlisbacher and Ray Calkins: Soldier's Joy
7. Frank Uchytil with Otto Rindlisbacher and Iva Kundert Rindlisbacher: The River in the Pines
8. Otto Rindlisbacher and John Giezendanner: Woods Holler; Hoot Owl Holler
9. Otto Rindlisbacher, Iva Kundert Rindlisbacher, Ray Calkins, Frank Uchytil, Earl Schwartztrauber, and John Giezendanner: Medley: Die lustigen Holzhackerbuab’n / The Jolly Lumberjack; Fred Sargent’s Shanty Song; Schuhplattler
10. Sven 'Shantyman' Svenson (Otto Rindlisbacher): Cow Horn Solo
11. Sven 'Shantyman' Svenson (Otto Rindlisbacher): Lumberjack Story; Swedish Dialect Story
12. Sven 'Shantyman' Svenson (Otto Rindlisbacher), Iva Kundert Rindlisbacher, Ray Calkins, and Frank Uchytil: Kväsarvalsen / Swagger Waltz
13. Otto Rindlisbacher: Rippling Brook
14. Iva Kundert Rindlisbacher, Otto Rindlisbacher, and unknown pianist: Saeterjenten’s sontag / Herdsgirl’s Sunday
15. Ray Calkins: Styrmans vals / Pilot’s Waltz
16. Peter H. Plante: Rolling the Logs; French Dialect Story
17. Frank Uchytil: Marie Patin
18. Otto Rindlisbacher and Ray Calkins: Turkey in the Hay
19. Otto Rindlisbacher and Ray Calkins: Woodchopper's Jig
20. Otto Rindlisbacher: Gamle reinlander / Old Reinlander
21. Otto Rindlisbacher and John Giezendanner: Yodeling
22. Otto Rindlisbacher: Sørland springar’n
CD 3: Harps and Accordions: The Alan Lomax Recordings
1. Alan Lomax: Introduction to Joe Cloud
2. Joe Cloud: Red River Jig
3. Joe Cloud: Squaw Dance
4. Joe Cloud and Clarence Cloud: White River Two-Step
5. Edward King: Le Jour de l’an / New Year’s Day
6. Edward King: Ida Goyette, no. 1
7. John Cadeau with Ed Cadeau, Adelore Vizina, and probably Joe Miron, Mose Bellaire, and Edward King: Non que j’aime donc que la boisson / No, So I Don’t Love Anything but the Drink
8. Fred Carrière: La fille du roi/ The King’s Daughter; Le mariage anglaise / The English Marriage
9. Exilia Carriere: I Went to Marquette
10. Fred Carrière: Pretty Polly; Those Western Shores
11. Bill McBride: No Sir
12. Bert Graham: Joe Williams
13. Unidentified man: Torch Lake
14. Lester Wells: Traverse City
15. Nils Larsen: Yulia and Olaf
16. Lester Wells: Long Barney
17. Adolphus Delmas: Hayfoot, Strawfoot
18. Ed Thrasher: Shoot the Cat
19. Charles Ketvirtis: Russian Gigue
20. Charles Ketvirtis: Buffalo Gals
21. Charles Ketvirtis: Mother Song
22. Herman Meyers: Was war an diesem Baum? / What’s on This Tree?
23. Edwina Lewandowski and Stephanie Lewandowski: Chodźcie gąski moje / Come My Little Geese
24. Felix Kania: Wedding March
25. Tony Strzelecki and possibly Tony Wasylk: Irish Washerwoman
26. Tony Strzelecki: Polish Polka
27. Adolph Romel and Sylvester Romel: W żelaznej fabryce / In the Steel Mill
28. Tony Strzelecki and possibly Tony Wasylk: Turkey in the Straw
29. Felix Kania: Czerwono posiadło, a zielono zniszło / Red When It Was Planted, Green When It Bloomed
30. Edwina Lewandowski and Stephanie Lewandowski: Goldmine in the Sky
31. Yalmer Forster: Kulkurin valssi / Vagabond Waltz
32. Amanda Härkönen: Kaurapellon pientareella kasvoi kaunis kukka / On the Side of an Oat Field Grew a Beautiful Flower
33. Aapo Juhani: Juliana
34. Henry Mahoski: Kauhavan Polka
35. Selma Elona Halinen: Pikkulintu erämaassa lauleleepi suruissana / A Little Bird in the Desert Sings Sadly
36. Frank Maki: Meripojan laulu / Sailor’s Song
37. Amanda Härkönen: Oli mulla ennen punaset posket / I Used to Have Red Cheeks
38. Kalle Kallio: Kuule sinä Hiltu kun laulelen / Listen Hiltu When I Am Singing
39. Wäinö Hirvelä: Kylläpä kai / I Guess So
40. Kusti Similä: Yli kymmenen vuotta Korpiinissa oli jo asuttu / Ten Years We’ve Lived in Corbin
41. Lillian Aho: Oi Herra, jos mä matkamies maan / Oh Lord, if I, a Wanderer of the Earth
42. Mun kanteleeni kauniimmin / My Kantele Will Sound More Beautiful
43. Emil Maki: Suun kloorin kloorin halleluuja! / Oh Glory, Glory Hallelujah!
CD 4: When the Dance Is Over: The Helene Stratman-Thomas Recordings, Part One
1. Stella Stacy and Henry Thunder: Flute Song
2. Winslow White Eagle: War Dance
3. Wallace Smith and Albert Webster: Tsyatkatho
4. Margaret 'Laughing Eyes' Edaakie (Eagle) and Phyllis Lewis: 49 Song
5. Leizime Brusoe, Robert McClain, Walter Wyss, and Emery Olsen: Good for the Tongue
6. Ernest Joseph Belisle: Je ne veux pas d’un avocat / I Do Not Want a Lawyer
7. Charles Cardinal: How They Sang the Marseillaise in Chippytown Falls
8. Mary Agnes Starr: Michaud
9. Marie Donalda Lagrandeur: Bonsoir, mes amis / Good Night, My Friends
10. Alfred Vandertie: I Went to Market
11. Alfred Vandertie: C’est l’café / It’s the Coffee [the Kermiss Song]
12. Emile Boulanger: Dance Tune
13. John Persons: Cornish Story
14. William Reese and Selena Phillips: Cawn esgyn o'r / Paradise
15. Dr. Daniel W. Wickham: My Welsh Relation
16. Hugh P. Jones: Y mochyn du / The Black Pig
17. John Williams and chorus: Siani bach / Dearest Sian
18. Little Greene Richmond: Hide Thou Me
19. Little Greene Richmond: Little Old Log Cabin in the Lane
20. Little Greene Richmond: One More River
21. Preston Willis: Chase the Buffalo
22. Hamilton Lobdell: Barker's Call
23. Pearl Jacobs Borusky: My Old Hen's a Good Old Hen
24. Pearl Jacobs Borusky: Last Saturday Night I Entered a House
25. Charles Dietz: Did You Ever See the Devil?
26. Charles Dietz: Three Dishes and Six Questions
27. Emery DeNoyer: Snow Deer
28. Emery DeNoyer: Shantyman's Life
29. Emery DeNoyer: Irish Jubilee
30. John Muench with Ralph Weide: Irish Washerwoman
31. Noble Brown: Oh, It's Nine Years Ago I Was Diggin' in the Land
32. Robert Walker: McNamar' From County Clare
33. Charles Robinson: Fond du Lac Jail
34. Lewis Winfield Moody: Alphabet Song
35. Bill Neupert: Red Light Saloon
36. John Christian: Red Light Saloon
37. Bessie Gordon: Gambler's Blues
CD 5: My Father Was a Dutchman: The Helene Stratman-Thomas Recordings, Part Two
1. Noble Brown: My Father Was a Dutchman
2. Richard Taschek with Laura Zenz and Louis Taschek: Die Deutschmeister / The German Master [Regiment]
3. Hans Huber: Wiener Fiakerlied / Viennese Coachman's Song
4. Ella Mittelstadt Fischer: Wir
sitzen so fröhlich beisamen / We Sit So Merrily Together
5. Charles Robinson: Sockery's Cat
6. Martha Steinbach: An einem Fluss daraus an Schuss / By a Rapidly Flowing River
7. Albert Mueller: Landjäger / Gamekeeper
8. John Giezendanner with Albert Giezendanner: Echo Yodel
9. Otto Rindlisbacher: Ländler
10. Jacob C. Becker: Onse gescht fu Chicago / Our Guests from Chicago
11. Rika Tuinstra Enhoff: Schaarensliep! / Knife Grinder!
12. Marvin Fennema: Bokkie / Billy Goat
13. Anna C. Gysbers Scholten: Moeder, moeder de beer ist los / Mother, Mother, the Bear is Loose
14. Mary Tillema Smedema: Epitaph
15. Dick Kok: Wiene Wederslweh bloed volksrang / Blood of Netherland Flows; Vlaggelied / Flag Song
16. Henry Kempers: Daisy, Daisy
17. Thomas St. Angelo, Mr. and Mrs. Ambrose DeGidio, and Michael Ranallo: L’America è tanto bella / America Is Most Beautiful
18. Irene Ruffolo: Sona la mezzanote / It Is Midnight
19. Joseph Accardi: Tiki-ti, Tiki-ta!
20. Charles Elias Jr.: Introduction to Tamburitza Instruments
21. The Elias Tamburitzans: Medley: Da nije ljubavi nebi svjeta bilo / If Not for Lovers There Would Be No World; Vinca ca / Wine, Wine
22. Charles Pelnar, John Pelnar, Bill Slatky, and Louis Kasal: Švestková alej / Prune Song
23. The Yuba Bohemian Band: Popelka polka / Cinderella Polka
24. Emily Bauer McClure and Mayme Bauer Doser: Pod našima okny / Underneath Our Windows
25. Emily Bauer McClure and Mayme Bauer Doser: Když jsem šel cestičkou úzkou / As I Walked That Narrow Path
26. Albert Wachuta: Voják od Prairie du Chien / Soldier from Prairie du Chien
27. John Ciezczak: Zbojniki / Bandits’ Dance
28. John Ciezczak: In the Style of Sabala
29. Bernice Bartosz: Matuś moja, matuś / Mommy, My Mommy
30. Bernice Bartosz: Miałeś czapkę / Hat with Peacock Feathers
31. Adam Bartosz: Zajumiały bory / The Forests Roared
32. Stasia Pokora: A witajże / Oh Hello
33. The Lithuanian Group From the Church of the Immaculate Conception: Subatos vakarėli / Saturday Night I Saddled My Black Horse
34. Jalmar Nukala and Mamie Wir
tanen Nukala: Tula tullallaa, posket pullalla / Cheeks Full of Pulla
35. Abel Jotblad: Flickan på Bellmansro / The Girl at Bellmansro
36. Charles O. Lindberg: Luffarevisa / Hobo Song
37. Ruth Johnson Olson and Alice Johnson Olson: Julen är inne / Christmas Is Here
38. Kamma Grumstrup: Fra fjerne lande kom hun dronning Dagmar / From Far Lands Came Queen Dagmar
39. Otto Rindlisbacher: Fannitullen / Devil on the Wine Keg
40. Alice Everson: Kom kjyra / Come Cows
41. Britha Lothe and Hannah Haug: Her er det land / This Is the Land
42. Hans Waag: Gamle mor / Old Mother
43. The Psalmodikon Quartet: Yderst mod norden / Far in the North
44. Sigurline Bjarnarson and Christine Gudmundsen: Ólafur reið með björgum fram / Olafur Rode Beneath the Cliffs
Besetzung: Art Direction, Design: Debbie Berne
; Coordinator [Production Coordination]: Adam Mehring
; Coordinator [Production Coordination]: April G. Ledbetter
; Coordinator [Production Coordination]: Nathan Salsburg
; Coordinator [Production Coordination]: Sheila Leary
; Coordinator [Production Coordination]: Terry Emmrich
; Liner Notes [Annotated By], Compiled By: James P. Leary
; Mastering [And Audio Restoration]: Michael Graves
; Mastering [DVD Mastering]: Brandon Duerst
; Producer: James P. Leary
; Producer: Steven Lance Ledbetter
; Transferred By [Audio Transfers]: Brad McCoy
V. A. (Dust-to-Digital) [>] [D]: Victrola Favorites. Artifacts From Bygone Days [F]
Label und Katalognummer: Dust-To-Digital DTD 11
Produktion: Verschiedene
Veröffentlicht: 2007 12 (Ed.)
Genretags: Traditionalpop
Victrola Schellack-Platten aus den Sammlungen von Robert Millis und Jeffery Taylor. Diese Platten wurden zwischen ca. 1910 und 1929 produziert. Sie waren auf den Victrola Grammophonen der Victor Talking Machine Company abspielbar.
Dieser Grammophon stand mit dem 
Victrola (links) und Diamond Disk (rechts) Geräte (Details)
Der Schellack-Standard von 10'' Durchmesser, 78rpm Drehzahl und Vertikalschnitt) wurde erst 1925 geschaffen.
Trackliste: CD 1
1. Groupo De Totoko François: Bololo O Kolilo - 2:51
2. Guangzhou Cantonese Opera Troupe: The Crow Flies Back To The Forest - 2:56
3. Stella Haskil: Mes Tis Polis Ta Stena (Alleyways Of Istanbul) - 3:11
4. Dr. Edmundo Bettencourt: Balada Do Encantamento (Ballad Of Enchantment) - 2:55
5. Bismillah Khan And Party: Shenai Instrumental - 3:11
6. Noble Sissle & His Orchestra: The Basement Blues - 3:12
7. Blind Boy Fuller: Step It Up And Go - 2:52
8. Yukie Kubo: Shin Shin Tankoubushi (Coalminer's Tale) - 3:14
9. Kelly Harrell: O! Molly Dear Go Ask Your Mother - 2:46
10. He Zemin & Huang Peiying: Big Idiot Buys A Pig - 3:07
11. Roy Smeck: Laughing Rag - 3:00
12. Seven Gallon Jug Band: Wipe Em Off - 2:37
13. Mozmar Caire Orchestra: Raks Baladi Hag Ibrahim (Country Dance) - 2:54
14. Yiorgos Papasideris & Yiorgos Anestopoulos: Tora To Vrady Vrady (Now That Evening Has Come) - 3:15
15. No Artist: Fireworks Music - 1:11
16. Goebbel Reeves - The Texas Drifter: The Cowboy's Dizzy Sweetheart - 2:50
17. Don Redman & His Orchestra: Watching The Knife And Fork Spoon - 2:54
18. Sri Ma Keow & Chai Wat: Courting The Woman From Chiang Mai - 3:07
19. Badia Massabni And Her Orchestra: Badia's Dance - 2:47
20. The Tennessee Ramblers: The Preacher Got Drunk And Laid Down His Bible - 2:47
21. Zeki Duygulu: Karciar Taksim - 2:56
22. Kim Seong-Jin: Daegeum Solo (Peaceful Times) - 3:15
CD 2
1. Unknown Artist: Impressions Of London (Excerpt) - 0:53
2. Jessie May Hill: The Crucifixion Of Christ - 2:53
3. Carlos Ramos: Torre De Belem (The Tower Of Belem) - 2:55
4. Frank Ferera: The Farmer's Dream - 3:04
5. Kachikuri Mimasuya: Shiokumi Kasatsukashi (Collecting Water) - 1:48
6. Po Sein & Maung Sein Maita: Mahawin Maita Zad (Royal Love) - 3:04
7. St. Gun Khin May: Shan Village (Part One) - 3:22
8. Haffouz Jachar Bey: Mahour Gazel-Adjir Idin Beni (Ghazel In Mahour Dastag) - 3:28
9. The Hall Brothers (2): Little Mo-Hee - 3:07
10. Cook & Flemming: Two Liquorice Drops In Jail (Excerpt) - 0:07
11. The Barton Brothers: Cockeyed Jenny - 1:35
12. Shelton Brooks & Co.: Darktown Court Room (Excerpt) - 0:07
13. Sa Ma Nang Noi & Ut Sa Win: Story Of Tang On (Part Two) - 3:04
14. Slim Lamar's Orchestra: Memphis Kick Up - 2:52
15. John Henry & Blossom: My Wir
eless Set (Excerpt) - 0:10
16. Jed Tompkins: Yield Not To Temptation - 3:07
17. Unknown Artist: Chanting The Ten Vows - 2:56
18. Kane's Hawaiians: Mokihana - 2:45
19. Maria Smyrnea: The Grass Widow - 3:29
20. Unknown Artist: Persian Popular Song - 3:35
21. Harold Boyce & The Harlem Indians: Willie Willie Don't Go From Me - 2:21
22. Golden & Marlowe: The Insect Powder Agent (Excerpt) - 0:40
23. Johnnie Lee Wills & His Boys: The Thingamajig - 2:09
24. Komachiyo Okada: Yasukibushi (Tale Of Yasuki) - 2:45
25. Mameyigudi & His Dancers: Hamba Na Lo Isoko La Yo - 3:06
26. Vishnudass Shirali: Tabla-Taranga (Raga Adana) - 4:15
Besetzung: Compilation Producer: Jeffery Taylor
; Compilation Producer: Robert Millis
; Design, Layout: Uncle John Hubbard And His Boys
; Mastering [Audio Restoration]: Michael Graves
; Mastering [Digital Transfer], Research [General Wrangling], Liner Notes: Robert Millis
; Photography: Jeffery Taylor
; Photography: John Hubbard
; Photography: Linda Peschong
; Photography: Mark Sullo
V. A. (Edsel) [>] [D]: Steven Wilson Presents Intrigue: Progressive Sounds in UK Alternative Music 1979–89 [F]
Label und Katalognummer: Edsel EDSL 0133
Produktion: Verschiedene
Veröffentlicht: 2023 02 10 (Ed.)
Genretags: Postpunk, Alternativerock - Neo-Progressiverock
Trackliste: CD 1
1. Wir
e: I Should Have Known Better - 3:52
2. Red Noise: A Better Home In The Phantom Zone - 4:28
3. Magazine: Back To Nature - 6:42
4. XTC: Complicated Game (Steven Wilson 2014 Stereo Mix) - 4:59
5. Public Image Limited: Careering - 4:34
6. Stranglers: The Raven - 5:10
7. Punishment Of Luxury: Puppet Life - 3:04
8. Ultravox: Astradyne (Steven Wilson Stereo Mix) - 7:12
9. Gang Of Four: Contract - 2:41
10. Simple Minds: I Travel (Extended Version) - 6:14
11. Durutti Column: Sketch For Summer - 2:58
12. This Heat: Health And Efficiency - 8:01
13. John Foxx: Burning Car - 3:15
14. League Of Gentlemen: Cognitive Dissonance (Steven Wilson 2022 Mix) - 3:32
15. In Camera: The Fatal Day - 11:26
CD 2
1. Sound: I Can't Escape Myself - 3:54
2. Joy Division: The Eternal - 6:06
3. Swell Maps: Big Empty Field - 3:44
4. Art Nouveau: Enemies - 3:18
5. Gary Numan: The Joy Circuit - 5:11
6. 23 Skidoo: The Gospel Comes To New Guinea - 10:09
7. Echo & The Bunnymen: All My Colours - 4:04
8. Specials: Ghost Town (Extended Version) - 5:59
9. New Musik: They All Run After The Carving Knife - 5:53
10. New Order: The Him - 5:30
11. Associates: White Car In Germany (Single Edit) - 4:53
12. Section 25: Hit - 2:53
13. Orchestral Manoeuvres In The Dark: Sealand - 7:44
14. Japan: Talking Drum - 3:33
15. Cure: Faith - 6:42
CD 3
1. Twelfth Night: Three Dancers (Steven Wilson 2021 Mix) - 2:55
2. Thomas Dolby: Airwaves - 5:21
3. Crispy Ambulance: Are You Ready? - 5:47
4. Rupert Hine: The Outsider - 5:31
5. A Certain Ratio: Knife Slits Water - 7:34
6. Tears For Fears: Memories Fade - 5:07
7. Peter Hammill: Patient - 6:14
8. Cocteau Twins: Donimo - 6:18
9. Mr & Mrs Smith And Mr Drake: In A Waiting Room - 1:30
10. Art Of Noise: Close (To The Edit) - 5:28
11. Dalis Car: Dalis Car - 5:13
12. Scott Walker: Rawhide - 3:49
13. David Sylvian: Brilliant Trees - 8:37
14. Propaganda: Dream Within A Dream - 9:08
CD 4
1. Kate Bush: Waking The Witch - 4:19
2. This Mortal Coil: Ivy And Neet - 4:51
3. Perennial Divide: Beehead (7” Version) - 4:13
4. Sisters Of Mercy: This Corrosion - 9:31
5. O Yuki Conjugate: Ascension - 5:57
6. Dif Juz: No Motion - 4:51
7. Slab!: Gutter Busting - 3:17
8. Momus: Murderers, The Hope Of Women - 5:18
9. Dead Can Dance: The Host Of Seraphim - 6:18
10. Cardiacs: R.E.S. - 5:15
11. The: Good Morning Beautiful - 7:29
12. Shamen: Omega Amigo - 4:47
13. No-Man: Night Sky, Sweet Earth - 6:39
14. Kitchens Of Distinction: The 3rd Time We Opened The Capsule - 3:18
Besetzung: Compiled By: Steven Wilson
; Liner Notes: James Nice
; Mastering: Phil Kinrade
; Record Company Demon Music Group Ltd.
; Record Company BBC Studios
; Marketed By Edsel Records
; Phonographic Copyright (p) Demon Music Group
; Copyright (c) Demon Music Group
; Mastered At Air Mastering
V. A. (Eglo) [>] [D]: Eglo Records Vol. 1 [F]
Label und Katalognummer: Eglo 26
Produktion: Verschiedene
Veröffentlicht: 2013 04 29 (Ed.)
Genretags: Electronica - Breakbeat - Downtempo, Electronica - House
Trackliste: CD 1
1. Floating Points: Radiality
2. Floating Points: Vacuum Boogie
3. Funkineven: Kleer (feat. Fatima)
4. Shuanise: Catch
5. Fatima: Soul Glo
6. Funkineven: She's Acid
7. Floating Points: Shark Chase
8. Arp 101: Dead Leaf
9. Funkineven: Heart Pound
10. Arp 101: Flush
11. Mizz Beats: Sanctuary
CD 2
1. Fatima: Innervisions
2. Floating Points: Sais Dub
3. Floating Points: Marylin
4. Funkineven: Rolands Jam
5. Floating Points: Danger
6. Arp 101: U
7. Mizz Beats: Scientific Brainpriest
8. Floating Points: Myrtle Avenue
9. Fatima: Visit You
10. Floating Points: Wir
es
11. Shuanise: Mercy
12. GB : Abstract Eye: Reflexes
Besetzung: Distributed By Kudos
; Manufactured By Key Production
; Phonographic Copyright (p) Eglo Records
V. A. (Elektrolux) [>] [D]: Ambient Diary. Three [F]
Label und Katalognummer: Elektrolux e 1000000
Produktion: Verschiedene
Veröffentlicht: 2000 04 25 (Ed.)
Genretags: Electronica - Ambient
Trackliste: CD 1
1. JFC: Rotating Minds - 6:24
2. Fresh Moods: Delite Electronic - 8:36
3. Quantum Leap: As If In A Dream (M.O. Kempers) - 6:25
4. Syncromatic Dubsters: Blossom - 4:42
5. Index ID: Federflug (R. Uhrlandt) - 5:08
6. Drøn: Flor (C. Abert, F. Dahlke, I. Zobel) - 5:48
7. Full Moon Fashions: Fishtrippin' - 4:33
8. Ruxpin: Watch The Packard (J.Th. Gudmundsson) - 5:53
9. Syncromatic Dubsters: Terremoto - 4:05
10. Fresh Moods: Big On (P. Haubfleisch) - 8:32
11. The Sushi Club: Ichi Ko Dojo (T. Tremmel) - 5:48
CD 2
1. Soehngenetic: Schwimmschleifer (C. Söhngen) - 4:53
2. Drøn: Pheon (C. Abert, F. Dahlke, I. Zobel) - 11:14
3. Ruxpin: Flying (J.Th. Gudmundsson) - 6:05
4. Quantum Leap: Scope (M.O. Kempers) - 5:07
5. Index ID: Spektral (R. Uhrlandt) - 3:45
6. Azure Taint: Still Wir
ed (K. R. Michel) - 5:19
7. Autopilot: Wall Of Dope (Froyd) - 5:15
8. Outernational Spacelords: Shunt (Gene Rush, Marcus Darius) - 7:00
9. The Sushi Club: Nichi-Yobi (T. Tremmel) - 4:55
10. üNN: Blue Sky - 6:16
11. JFC: Once Upon A Time - 5:00
Besetzung: Design [Cover], Photography - think design
V. A. (Ellipsis Arts) [>] [D]: OHM - The Early Gurus Of Electronic Music [F]
Label und Katalognummer: Ellipsis Arts CD 3670
Produktion: Verschiedene
Veröffentlicht: 2000 04 25
Genretags: Akademica - Elektronische-Musik
Trackliste: CD 1
1. Clara Rockmore - Tchaikovsky: Valse Sentimentale (2:08)
2. Olivier Messiaen - Oraison (7:42) - Performer - Ensemble D'Ondes De Montreal
3. Pierre Schaeffer - Etude Aux Chemins De Fer (2:50)
4. John Cage - Williams Mix (5:42)
5. Herbert Eimert & Robert Beyer - Klangstudie II (4:27)
6. Otto Luening - Low Speed (3:40)
7. Hugh Le Caine - Dripsody (1:26)
8. Louis And Bebe Barron - Main Title From Forbidden Planet (2:19)
8. Oskar Sala - Concertando Rubato From Electronische Tanzsuite (3:07)
10. Edgard Varèse - Poeme Electronique (8:00)
11. Richard Maxfield - Sine Music (A Swarm Of Butterflies Encountered Over The Ocean) (6:00)
12. Tod Dockstader - Apocalypse - Part 2 (2:01)
13. Karlheinz Stockhausen - Kontakte (Edit) (6:20) - Performer - James Tenney, William Winant
14. Vladimir Ussachevsky - Wir
eless Fantasy (4:35)
15. Milton Babbitt - Philomel (Edit) (4:57)
16. MEV - Spacecraft (Edit) (6:06) - Performer - Allan Bryant, Alvin Curran, Frederic Rzewski, Jon Phetteplace, Richard Teitelbaum
CD 2
1. Raymond Scott - Cindy Electronium (1:55)
2. Steve Reich - Pendulum Music (5:52) - Performer - Sonic Youth
3. Pauline Oliveros - Bye Bye Butterfly (8:02)
4. Joji Yuasa - Projection Esemplastic For White Noise (7:36)
5. Morton Subotnick - Silver Apples Of The Moon, Part 1 (Edit) (4:20)
6. David Tudor - Rainforest Version 1 (Edit) (5:09)
7. Terry Riley - Poppy Nogood (Edit) (7:55)
8. Holger Czukay - Boat-Woman-Song (Edit) (5:01)
9. Luc Ferrari - Music Promenade (Edit) (7:00)
10. François Bayle - Rosace 3 From Vibrations Composées (3:19)
11. Jean-Claude Risset - Mutations (Edit) (4:55)
12.Iannis Xenakis - Hibiki-Hana-Ma (Edit) (4:39)
13. La Monte Young - Excerpt 31|69 C. 12:17:22-12:25:33 PM NYC From: Drift Study 31|69 C. 12:17:33-12:24:33 PM NYC From: Map Of 49's Dream The Two Systems Of Eleven Sets Of Galactic Intervals (Edit) (7:00)
CD 3
1. Charles Dodge - He Destroyed Her Image (1:59)
2. Paul Lansky - Six Fantasies On A Poem By Thomas Campion: Her Song (3:04)
3. Laurie Spiegel - Appalachian Grove I (5:20)
4. Bernard Parmegiani - En Phase/Hors Phase (2:29)
5. David Behrman - On The Other Ocean (Edit) (6:48)
6. John Chowning - Stria (Edit) (5:11)
7. Maryanne Amacher - Living Sound, Patent Pending Music For Sound-Joined Rooms Series (Edit) (7:02)
8. Robert Ashley - Automatic Writing (Edit) (7:07)
9. Alvin Curran - Canti Illuminati (Edit) (7:25)
10. Alvin Lucier - Music On A Long Thin Wir
e (Edit) (6:43)
11. Klaus Schulze - Melange (6:52)
12. Jon Hassell - Before And After Charm (La Notte) (7:59)
13. Brian Eno - Unfamiliar Wind (Leeks Hills) (5:21)
Besetzung: Graphic Design - Soltze Design
; Edited By - Priscilla Stuckey
; Executive Producer - Jeffrey Charno
; Project Coordinator - Jennifer Beal
; Project Director - Ruseel, Charno
; Text, Interviews - Jason Gross
; Producer - Jason Gross, Thomas Ziegler
V. A. (EMI) [>] [D]: Psychedelia at Abbey Road 1965 to 1969 [F]
Label und Katalognummer: EMI 7243 496912 2 3
Produktion: Verschiedene
Veröffentlicht: 1998 08 25 (Ed.), 1969-65 (Rec.)
Genretags: Pop - Progressivepop - Psychedelicpop, Rock - Psychedelicrock
Trackliste: 1. Donovan: Sunshine Superman (full version) - 4:39
2. Tomorrow: My White Bicycle - 3:18
3. N' Betweens: Delighted to See You - 2:16
4. Donovan: Sunny South Kensington - 3:58
5. Fingers: Circus With a Female Clown - 2:28
6. Tomorrow: Why - 3:59
7. Hollies: King Midas in Reverse - 3:10
8. Focus Three: 10,000 Years Behind My Mind - 2:19
9. Tales of Justine: Monday Morning - 3:23
10. Hollies: Maker - 2:53
11. Simon Dupree & The Big Sound: Kites - 3:45
12. Pretty Things: Talkin' About the Good Times - 3:42
13. Pretty Things: Walking Through My Dreams - 3:40
14. Mark Wir
tz: (He's Our Dear Old) Weatherman - 4:01
15. Aquarian Age: 10,000 Words in a Cardboard Box - 3:30
16. Nocturnes [GBR]: Carpet Man - 2:41
17. Koobas: Barricades - 5:04
18. Moles: We Are the Moles (Part 1) - 4:35
19. Locomotive: Mr. Armageddon - 4:40
20. Gods: Hey Bulldog - 3:15
21. Mandrake Paddle Steamer: Strange Walking Man - 3:14
22. Syd Barrett: Golden Hair - 1:56
Besetzung: Compiled By [Series Compiler], Compilation Producer: Tim Chacksfield
; Design [Package], Compiled By [Compilation Assistance]: Phil Smee
; Liner Notes [Abbey Road Studios]: Chris Buchanan
; Remastering [Digital Remastering], Editing [Digital Editing]: Peter Mew
; Research [Photo Research]: Janet Lord
; Research [Photo Research]: Kate Calloway
; Research [Tape Research]: Cary Anning
; Sleeve Notes: Brian Hogg
; Technician [Digital Transfers]: Terry Burch
; Licensed To EMI Records Ltd.
; Licensed To Snapper Music Ltd.
; Marketed By EMI
; Distributed By EMI
; Phonographic Copyright (p) EMI Records Ltd.
; Copyright (c) EMI Records Ltd.
; Made By EMI Swindon
V. A. (Festival Records) [>] [D]: Closed Circuits. Australian Alternative Electronic Music of the 70s & 80s [F]
Label und Katalognummer: Festival Records FEST 601051
Produktion: Verschiedene
Veröffentlicht: 2017 06 09 (Ed.)
Genretags: Postpunk - Electronic-Postpunk
Trackliste: 1. Metronomes: A Circuit Like Me -
2. Reels: Shout And Deliver -
3. Informatics: Great X-1 -
4. Jules: Rock Rock Daddy -
5. Bring Philip: Fire Truck -
6. Anne Cessna, Essendon Airport: Talking To Cleopatra -
7. German Humour: A Young Man's Old Girlfriend -
8. Models: On (Original 7” Mix) -
9. And An A: Affirmation -
10. Voigt/465: Imprint -
11. Whirlywirld: Window To The World -
12. Ya Ya Choral: Waiting Time -
13. Dugites: Waiting -
14. Karen Marks: Cold Cafe -
15. Limp: Outer Space Moth -
16. Asphixiation: L'Acrostique D'Amour -
17. Machinations: Average Inadequacy (Original Version) -
18. Scattered Order: A Few Little Shocks -
19. Primitive Calculators: Pumping Ugly Muscle (1987 Sydney Disco Mix) -
20. Distant Locust: I Feel Love
Besetzung: Artwork, Design: Michael Trudgeon
; Compiled By: David Nichols
; Management [Project Managed For Festival Records By]: David Laing
; Mastering [Audio Assembly/Mastering]: Warren Barnett
; Other [Finished Package]: Chris McGregor
; Photography: Phil Turnbull
; Phonographic Copyright (p) Warner Music Australia Pty. Limited
; Copyright (c) Warner Music Australia Pty. Limited
; Marketed By Warner Music Australia Pty. Limited
; Manufactured By Warner Music Australia
; Distributed By Warner Music Australia
; Mastered At Mountain Moss Mastering
; Pressed By DW (2)
V. A. (Gorilla vs. Bear) [>] [D]: Gorilla vs. Bear April 2012 Mix [F]
Label und Katalognummer: Gorilla vs. Bear (Blog)
Produktion: Verschiedene
Veröffentlicht: 2012 04 30 (Ed.)
Genretags: Electronica, Alternativerock
Trackliste: 1. Suzanne Ciani :: eighth wave 00:00 - 02 Laurel Halo :: light + space 03:29 - 03 Purity Ring :: obedear 07:54 - 04 jj :: beautiful life 11:14 - 05 Harry Fraud :: bird on a wire (instrumental) 14:24 - 06 Dean Blunt & Inga Copeland :: the narcissist 17:33 - 07 Beams :: she’s deep seated 21:06 - 08 Airbird :: goodnight 23:24 - 09 CFCF :: exercise #6 (december) 26:36 - 10 Sam Flax :: child of glass 29:25 - 11 Sand Circles :: white sand 33:47 - 12 Jessie Ware :: 110% 37:09 - 13 LA Vampires By Octa Octa :: wherever, boy 40:27 - 14 Major Lazer :: get free (feat. amber coffman) 45:20 - 15 Prinzhorn Dance School :: i want you 50:03
V. A. (Grapefruit Records) [>] [D]: Climb Aboard My Roundabout. The British Toytown Sound 1967-1974 [F]
Label und Katalognummer: Grapefruit Records CRSEGBOX 119
Produktion: Verschiedene
Veröffentlicht: 2022 10 28 (Ed.), 1974-67 (Rec.)
Genretags: Pop - Progressivepop - Psychedelicpop
Trackliste: CD 1
1. Idle Race: The Skeleton and the Roundabout [mono single mix] - 2:22
2. Kaleidoscope: Jenny Artichoke - 2:35
3. Fruit Machine: Cuddly Toy - 2:30
4. Kinks: Phenomenal Cat - 2:36
5. Alan Bown: Little Lesley - 2:10
6. Picadilly Line: Emily Small (The Huge World Thereof) - 2:30
7. Fire: Man in the Teapot - 2:22
8. John Carter & Mickey Keen: Mr Light - 2:31
9. Clifford T. Ward: The Dubious Circus Company - 3:16
10. Kidrock: Ice Cream Man [alternative version] - 2:41
11. Wimple Winch: Lollipop Minds - 3:08
12. World of Oz: Peter's Birthday (Black and White Rainbows) - 2:54
13. Tony Hazzard: Ha! Ha! Said the Clown - 2:18
14. Tim Andrews: Sad Simon Lives Again - 2:42
15. Mindbenders: Uncle Joe, the Ice Cream Man - 2:22
16. Cortinas: Phoebe's Flower Shop - 2:43
17. Persimmon's Peculiar Shades: Coplington - 2:33
18. West Coast Consortium: Colour Sergeant Lillywhite - 3:06
19. Herd: Our Fairy Tale - 2:38
20. Hetherington: Teenage Love Song - 3:11
21. Mirage: Ebaneezer Beaver [demo] - 2:00
22. Next Collection: Fairy Tale [demo] - 2:11
23. Barry Wigley: Brother Jack - 3:00
24. Good Time Losers: Trafalgar Square - 2:54
25. A New Generation: Sadie and Her Magic Mr. Galahad - 2:51
26. Morning Glory: Marjory Daw - 3:05
27. Syn: The Last Performance of the Royal Regimental Very Victorious and Valiant Band - 3:23
28. Majority One: Rainbow Rocking Chair - 2:24
29. Keith West: Excerpt From "A Teenage Opera" - 4:31
CD 2
1. Scrugg: Lavender Popcorn - 2:19
2. Ambrose Slade: Knocking Nails Into My House - 2:25
3. Jigsaw: Mr Job - 2:16
4. David Bowie: Uncle Arthur - 2:09
5. Timon: The Bitter Thoughts of Little Jane - 2:19
6. Astronaut Alan and the Planets: Cellophane Mary Jane - 2:31
7. Tuesday's Children: Mr Kipling - 2:24
8. Frabjoy & the Runcible Spoon: It's the Best Seaside in the World - 2:45
9. Kenny Everett: And Now for a Little Train Number - 2:02
10. Fairfield Parlour: Glorious House of Arthur - 2:46
11. Simon Dupree & the Big Sound: Laughing Boy From Nowhere - 2:50
12. Tomorrow: Auntie Mary's Dress Shop - 2:44
13. Bonzo Dog Doo Dah Band: The Equestrian Statue - 2:43
14. Denis Couldry: James in the Basement - 2:48
15. Turquoise: Tales of Flossie Fillett - 3:04
16. Picadilly Line: My Best Friend - 2:33
17. Harmony Grass: Happiness Is Toy-Shaped - 2:26
18. Bullring: Birmingham Brass Band - 2:27
19. Persimmon's Peculiar Shades: Watchmaker - 2:17
20. Timothy Blue: Room at the Top of the Stairs - 3:08
21. Spencer Davis Group: After Tea - 3:19
22. Kidrock: Dream Dream Dream - 2:26
23. Complex: Lemon Pie Fair - 3:16
24. David Matthews: Uncle Henry's Magic Garden - 2:19
25. Bill Niles: Bric-A-Brac Man - 2:32
26. Chas Mills & Mark Wir
tz: What's Good for the Goose [Full version] - 2:44
27. Nirvana: Everybody Loves the Clown - 1:59
28. Christopher: Sharkey - 2:01
29. Secrets: Poor Johnny - 1:27
30. Pure Gold: Fairground - 2:35
31. Riot Squad: Toy Soldier - 3:10
CD 3
1. Mark Wir
tz: (He's Our Dear Old) Weatherman - 4:01
2. Cardboard Orchestra: Zebedy Zak - 2:39
3. Tapestry: Florence - 2:17
4. Gilbert O'Sullivan: Mr Moody's Garden - 3:01
5. Alan Bown: Mutiny - 3:05
6. Magic Valley: Uptight Basil - 2:29
7. Kidrock: Bang Bang - 2:50
8. Wild Silk: Toymaker - 3:00
9. Peter & the Wolves: Lanternlight - 2:46
10. Dave Christie: Love and the Big Brass Band - 2:36
11. Friends: Piccolo Man - 2:18
12. Hi-Fi's: Uwe Aus Duisberg - 2:01
13. Tony Rivers & The Castaways: Einer Kleiner Miser Musik - 2:43
14. Music Box: The Happy King - 4:58
15. Tintern Abbey: Mrs Daisy - 2:34
16. Blossom Toes: Mrs Murphy's Budgerigar - 2:40
17. Gene Latter: Annie's Place - 3:01
18. John Pantry: Glasshouse Green, Splinter Red - 2:36
19. Timothy Blue: Henry Everyday - 2:25
20. Shadows: Dear Old Mrs Bell - 2:32
21. Dragonmilk: Mr Nice Guy - 2:27
22. Ayshea: Mister White's White Flying Machine - 5:11
23. Fire: Magic Shoes [demo] - 3:56
24. Jason Crest: King of the Castle - 2:57
25. Marty Wilde: Through My Telescope - 2:16
26. Tots: Time to Go Home - 2:22
27. Mark Wir
tz: The Sad Story of Simon and His Bugle [Correct version] - 3:18
Besetzung: Concept By [Conceived By], Compiled By, Liner Notes [Annotated By]: David Wells
; Graphic Design, Artwork: Andy Morten
; Graphic Design, Artwork: Pepperbox
; Mastering: Simon Murphy
; Project Manager [Project Management]: David Wells
V. A. (Grapefruit Records) [>] [D]: What A Groovy Day. The British Sunshine Pop Sound 1967-1972 [F]
Label und Katalognummer: Grapefruit Records CRSEGBOX 122
Produktion: Verschiedene
Veröffentlicht: 2023 01 27 (Ed.), 1972-67 (Rec.)
Genretags: Pop - Progressivepop - Baroquepop
Trackliste: CD 1
1. Harmony Grass: What A Groovy Day (Tony Rivers) - 3:31
2. Episode Six: Gentlemen Of The Park (Barry Mason, Les Reed) - 3:10
3. Force West: Like The Tide, Like The Ocean (Brian Trusler) - 2:27
4. Picadilly Line: At The Third Stroke (Rod Edwards, Roger Hand) - 2:58
5. Alexander Bell: Alexander Bell Believes (Murray-Callander) - 3:03
6. Chuckles: Painting The Day (Billy Barberis, Bob Ronga) - 1:59
7. John Carter: She Won’t Show Up Tonight (John Carter, Ken Lewis) - 2:45
8. Tremeloes: Sunshine Games (Eric Woolfson) - 1:54
9. Dorian Gray: I’ve Got You On My Mind (Cook-Greenaway) - 2:22
10. Barbara Moore: Fly Paradise (Barbara Moore) - 2:18
11. Weavers Green: Mr. Pseudo-Fabulous (Jane Hugg) - 2:13
12. Orange Bicycle: Dropping Out (Des Cox, Wil Malone) - 2:43
13. Ken Smart: The Company I Keep (Brindley D. Spender) - 3:31
14. Philwit & Pegasus: Yoyo Thoughts (Pegasus (29), Philwit) - 2:55
15. Bystanders: Make Up Your Mind (Los Brincos) - 2:54
16. Spectrum: Saturday’s Child (David Gates) - 2:29
17. Seekers: Georgy Girl (Jim Dale, Tom Springfield) - 2:19
18. Agincourt: Going Home (John Ferdinando, Peter Howell) - 2:31
19. Wilson Malone Voiceband: Loonin' (Wil Malone) - 2:44
20. Tony Rivers And The Castaways: Summer Dreaming (Tony Rivers) - 1:49
21. Pinkerton's Assorted Colours: Mum And Dad (Murray-Callander) - 2:07
22. Warm Sounds: Birds And Bees (Barry Husband, Denny Gerrard) - 2:30
23. Marty Wilde: When Jezamine Goes (Demo Version) (Frere Manston, Jack Gellar) - 2:58
24. West Coast Consortium: Some Other Someday (Tony Macaulay) - 2:56
25. Chocolate Watch Band: The Sound Of The Summer (Gary Osborne, Jack Oliver) - 2:07
26. Flies: Gently As You Feel (Peter Dunton) - 2:37
27. Petula Clark: Colour My World (Jackie Trent, Tony Hatch) - 2:48
28. Californians: Early Morning Sun (Adrian Ingram) - 2:38
29. Jason Cord: Why Shouldn't I? (Gary Montgomery, Jack Dalton) - 2:19
30. Symbols: Bye Bye Baby (Bob Crewe & Bob Gaudio) - 2:23
CD 2
1. Episode Six: Little One (Michelle Grainger, Steve Wadey) - 2:42
2. Design: Coloured Mile (Tony Smith) - 2:57
3. Mirage: My Door No. 4 (aka Lonely Highway (Ray Mynott) - 2:43
4. Majority One: Looks Like Rain (Barry Wigley, Robert Long) - 2:48
5. Robbie: Listen To The Man (Geoff Simpson) - 3:07
6. Dawn Chorus: A Night To Be Remembered (John Carter, Ken Lewis, Russell Alquist) - 4:02
7. Butterscotch: All On A Summer’s Day (Chris Arnold, David Martin, Geoff Morrow) - 2:43
8. Flying Machine: Smile A Little Smile For Me (US Single Version) (Geoff Stephens, Tony Macaulay) - 2:59
9. Jefferson: Montage (Jimmy Webb) - 2:51
10. Tinkerbells Fairydust: In My Magic Garden (Vic Coppersmith-Heaven) - 2:34
11. David & Jonathan: Softly Whispering I Love You (Cook-Greenaway) - 3:08
12. Sparrow (9): I'm Coming Back (Elaine Paige, Jonathan Bergman, Michael Willshire) - 2:35
13. White Plains: Every Little Move She Makes (Roger Cook, Roger Greenaway, Tony Macaulay) - 2:50
14. Zombies: Friends Of Mine (Chris White) - 2:16
15. Simon Dupree And The Big Sound: Stained Glass Window (Don Grady, Gary Zekley) - 2:05
16. Alan Bown Set: We Can Help You (Patrick Campbell-Lyons) - 2:25
17. Grapefruit: ’mon Marianne (Alternative Version) (L. Russell Brown, Raymond Bloodworth) - 2:36
18. Knack: (The Man From The) Marriage Guidance And Advice Bureau (Brian Morris) - 3:46
19. Hollies: Everything Is Sunshine (Allan Clarke, Graham Nash, Tony Hicks) - 1:57
20. New Seekers: Night In The City (Joni Mitchell) - 2:47
21. Settlers: The Lightning Tree (Stephen Francis) - 2:40
22. Paul Ryan: Hellow Hellow (Paul Ryan) - 2:22
23. Normie Rowe: But I Know (Paul Korda) - 2:28
24. Roger Webb Sound: Heavy Lace (Roger Webb) - 1:31
25. Herman's Hermits: Sleepy Joe (John Carter, Russell Alquist) - 3:08
26. Homer's Knods: Mr. Rainbow (Keith Hopkins, Ken Burgess, Mark Wir
tz) - 2:17
27. Flower Pot Men: Am I Losing You (John Carter) - 2:00
28. Mellow Yellow: Cried Enough For You - 2:09
29. Infinity: I've Got You Under My Skin (Cole Porter) - 3:41
CD 3
1. Harmony Grass: Move In A Little Closer Baby (Arnold Capitanelli, Robert O'Connor) - 2:41
2. Design: Take A Boat (John Mulcahy-Morgan) - 2:43
3. Barbara Moore: Fly Away (Barbara Moore) - 2:46
4. Paper Bubble: Being Human Being (Brian Crane, Terry Brake) - 3:12
5. Cliff Richard: Mr. Nice (Terry Britten) - 2:16
6. Friends (20): Mythological Sunday (John Carter, Russell Alquist) - 5:10
7. Washington DC's: Any Time (Barry Fitzgerald, Brian Hillman, Roger Saunders, Walt Monaghan) - 3:49
8. Colors Of Love: I'm A Train (Hammond-Hazlewood) - 2:34
9. Montanas: Let’s Get A Little Sentimental (Eddie Seago, Mike Leander) - 2:50
10. Deep Feeling: Do You Wanna Dance (Bobby Freeman) - 3:03
11. Pussyfoot: Dark Star (Jerry Martin, Lanny Williamson, Robert M. Jordan) - 2:05
12. Tapestry: Like The Sun (Mike Hutson, Pete Gage) - 2:53
13. Rainbow People: The Walk Will Do You Good (Fletcher & Flett) - 2:16
14. Katch 22: Don't Listen (Martin Wayne, Mike Eastman, Paul Bonner) - 1:48
15. Edwards Hand: Close My Eyes (Rod Edwards, Roger Hand) - 3:15
16. Genesis: Try A Little Sadness (Anthony Phillips, Mike Rutherford, Peter Gabriel, Tony Banks) - 3:18
17. Jonathan King: Cherry, Cherry (Neil Diamond) - 2:49
18. Fluff: Holly Golightly (Gordon Gray) - 2:25
19. Pennsylvania Sixpence: Midweek Excursion (Rod Clark) - 2:20
20. Sun Dragon: Look At The Sun (Bob Freeman, Ian McLintock) - 2:54
21. Oscar Bicycle: On A Quiet Night (P.F. Sloan) - 2:47
22. Warm Sounds: Forgive And Forget (Barry Husband, Denny Gerrard) - 2:08
23. March Hare: With My Eyes Closed (Paul Styvar) - 2:48
24. Tandem: Shapes And Shadows (Alan Bohling, Ray Redway) - 2:29
25. Sweet: Millions Of Millions (Robin Gibb, Barry Gibb & Maurice Gibb) - 2:14
26. Bullring: Lady of The Morning Sun (Peter John Barnfather, Russell Alquist) - 2:10
27. Jason Crest: California Dreamin' (John Phillips, Michelle Phillips) - 2:50
28. Summer Wine: Sound Of Summer's Over (Mike Hurst, Ray Fenwick) - 3:28
Besetzung: Compiled By, Liner Notes, Project Manager: David Wells
; Design: Andy Morten
; Mastering: Simon Murphy
; Copyright (c) Grapefruit Records
; Marketed By Cherry Red Records Ltd.
; Distributed By Cherry Red Records Ltd.
V. A. (Grapefruit Records) [>] [D]: We're an American Band: A Journey Through the USA Hard Rock Scene 1967-1973 [F]
Label und Katalognummer: Grapefruit Records CRSEGBOX 130
Produktion: Verschiedene
Veröffentlicht: 2023 06 23 (Ed.), 1973-67 (Rec.)
Genretags: Rock - Hardrock
Trackliste: CD 1: Born To Be Wild
1. Vanilla Fudge: Ticket To Ride - 5:56
2. Iron Butterfly: Iron Butterfly Theme - 4:37
3. Blue Cheer: Summertime Blues - 3:47
4. Steppenwolf: The Ostrich (Album Version) - 5:44
5. Savage Resurrection: Remlap's Cave Part II - 2:56
6. Fever Tree: Man Who Paints The Pictures - 2:37
7. Sound Barrier: Why Should I Care - 3:33
8. Quicksilver Messenger Service: Pride Of Man - 4:06
9. Easy Chair: My Own Life - 4:04
10. Blues Magoos: Chicken Wir
e Lady - 4:09
11. Human Beinz: April 15th - 6:57
12. Wildwood: Plastic People - 3:16
13. Mass Confusion Rock Band: The War Rages On - 3:22
14. SRC: Black Sheep - 4:42
15. Muddy Waters: Let's Spend The Night Together - 3:10
16. Dragonfly: Crazy Woman - 2:45
17. Bubble Puppy: Hot Smoke And Sasafrass - 2:37
18. Omnibus: Good Morning Day - 2:38
19. Society's Children: Mister Genie Man - 2:35
20. Darius: Blow My Mind - 2:34
21. Kim Fowley: Nightrider - 2:23
CD 2: Kick Out The Jams
1. MC5: Kick Out The Jams - 2:55
2. Stack: Time Seller - 5:07
3. Nazz: Under The Ice - 5:49
4. Alice Cooper: Fields Of Regret - 5:44
5. Stone Garden: Oceans Inside Me - 2:36
6. Stooges: I Wanna Be Your Dog - 3:10
7. Spirit: Dark-Eyed Woman - 3:08
8. Litter: Journeys - 2:12
9. Love: Robert Montgomery - 3:39
10. Stalk-Forrest Group: Donovan's Monkey - 3:45
11. Coven: Wicked Woman - 2:59
12. Morgen: Welcome To The Void - 4:47
13. Conception: Babylon - 2:57
14. Frijid Pink: House Of The Rising Sun - 4:45
15. FUSE: Sad Day - 5:49
16. Mountain: Mississippi Queen - 2:32
17. Gold: No Parking (Live) - 6:21
18. Christopher: Dark Road - 2:54
19. Brigade: Self-Made God - 4:06
20. Damnation Of Adam Blessing: Death Of A Virgin - 3:42
CD 3: We're Coming To Your Town
1. ZZ Top: Neighbor, Neighbor - 2:21
2. Cold Sun: Twisted Flower - 3:00
3. Wildfire: Stars In The Sky - 5:45
4. Sir Lord Baltimore: Helium Head (I Got A Love) - 4:01
5. B.F. Trike: Time And Changes - 2:41
6. Demian: Face The Crowd - 2:59
7. Head Over Heels: Road Runner - 3:22
8. Boomerang: Montreal Jail - 3:04
9. Cactus: Evil - 3:17
10. Bolder Damn: B.R.T.C.D. - 2:56
11. Estes Brothers: Never Coming Down - 3:35
12. Blue Öyster Cult: Transmaniacon MC - 3:23
13. Earthen Vessel: You Can - 4:41
14. Bang: The Queen - 5:25
15. Sudden Death: My Time Is Over - 4:38
16. Flow: It Swallowed The Sun - 4:54
17. Dust: Suicide - 4:36
18. Arthur Lee: Love Jumped Through My Window - 2:58
19. Todd Rundgren: Is It My Name - 4:03
20. Stray Dog: You Know - 3:46
21. Grand Funk Railroad: We're An American Band - 3:27
Besetzung: Compiled By, Liner Notes [Annotated By]: David Wells
; Design, Artwork: Andy Morten
; Mastering: Simon Murphy
; Copyright (c) Grapefruit Records
; Licensed From Warner Music UK Ltd.
; Licensed From Universal Music Operations Ltd.
; Licensed From Guerssen Records
; Licensed From Jeff Simmons
; Licensed From Doug Smart
; Licensed From Gear Fab Records
; Licensed From Licensemusic.com ApS
; Licensed From Al Raimondi
; Licensed From Joseph Polt
; Licensed From Pat Sassone
; Licensed From World In Sound
; Licensed From Cleopatra Records
; Licensed From Sony Music Entertainment UK Limited
; Licensed From Now-Again Records
; Licensed From Repertoire Records
; Licensed From Ed Scott
; Licensed From Ed Wallo
; Licensed From Wildfire (9)
; Licensed From Cherry Red Records Ltd.
; Licensed From John Estes (5)
; Licensed From John Binkley
; Licensed From Ancient Grease Records
; Published By Sony/ATV Music Publishing (UK) Ltd.
; Published By Warner/Chappell North America Ltd.
; Published By Cinephonic Music Co., Ltd.
; Published By Universal/MCA Music Ltd.
; Published By Copyright Control
; Published By Bucks Music Group Ltd.
; Published By Carpenter Music
; Published By Azevedo Music
; Published By EMI Music Publishing Ltd.
; Published By Onward Music Ltd.
; Published By Westminster Music Ltd.
; Published By ABKCO Music Ltd.
; Published By Nanada Music B.V.
; Published By Kim Fowley
; Published By Screen Gems-EMI Music Ltd.
; Published By BMG Rights Management (UK) Limited
; Published By Universal Music Publishing Ltd.
; Published By Carlin Music Corp.
; Published By Wixen Music UK Ltd.
; Published By MCA Music Ltd.
; Published By Warner Bros. Music Ltd.
; Published By Self Taut Music
; Published By Universal Music Publishing MGB Ltd.
; Published By Downtown Music UK Ltd
; Published By Kama Sutra Music, Inc.
; Published By Churkendoose Music
; Marketed By Cherry Red Records Ltd.
; Distributed By Cherry Red Records Ltd.
; Designed At Pepperbox
; Mastered At Another Planet Music
; Glass Mastered At www.keyproduction.co.uk
V. A. (Grapefruit Records) [>] [D] & V. A. (Cherry Red) [>] [D]: Try A Little Sunshine. The British Psychedelic Sounds Of 1969 [F]
Label und Katalognummer: Grapefruit Records CRSEGBOX 047
Produktion: Verschiedene
Veröffentlicht: 2018 08 31 (Ed.), 1969 (Rec.)
Genretags: Pop - Progressivepop - Psychedelicpop
Trackliste: CD 1
1. The Factory: Tr: Little Sunshine (John Pantry) - 3:43
2. Shy Limbs: Reputation (John Dickenson) - 3:34
3. Beatstalkers: Little Boy (Carole King, Clive Westlake) - 3:11
4. The Spencer Davis Group: Letters From Edith (Ray Fenwick) - 3:30
5. The Montanas: Roundabout (John Elcock, Terry Rowley) - 2:46
6. Cliff Wade: Sister (Cliff Wade) - 2:32
7. Barclay James Harvest: Brother Thrush (Les Holroyd, Mel Pritchard, Woolly Wolstenholme) - 3:04
8. Wild Silk: (Vision in A) Plaster Sky (Hans Bradtke, Henry Mayer, Len Moseley) - 2:28
9. Consortium: The Day the Train Never Came (Geoff Simpson) - 2:46
10. The Bliss: Lifetime (Martin Berry, Roger Hurn, Andy Pegg) - 2:47
11. Strawberry Jam: This Is t: Girl (Steve Dale, Bill Girling, David Legood, Tony Philips, Terry Sando) - 2:54
12. Audience: River Boat Queen (Howard Werth, Trevor Williams) - 2:58
13. Gentle Influence: Captain Reale (Simon Needler, Marc Pawley) - 3:00
14. Procol Harum: Salty Dog (Gary Brooker, Keith Reid) - 4:38
15. Angel Pavement: Green Mello Hill (Danny Beckerman) - 2:36
16. John Ferdinando, Peter Howell: The Walrus and the Carpenter (John Ferdinando, Peter Howell) - 3:21
17. The Move: This Time Tomorrow (Dave Morgan) - 3:42
18. Jason Paul: Shin: Little Light Into My Room (Al Gorgoni, Bobby Weinstein) - 2:47
19. The New Formula: Stay Indoors (Bruce Carey, Ricky Dodd) - 4:15
20. Fresh Air: Running Wild (Ian Holding) - 3:51
21. The Sorrows: Dogs and Cats (Dave Davies) - 3:15
22. Pussy: We Built the Sun (Danny Beckerman, Barry Clark) - 4:59
23. The Hammers: Baby and Me (Carl Holmes, Terry Holmes) - 2:21
24. Paper Bubble: Being Human Being [Altnative Version] (Terry Brake, Brian Crane) - 4:32
CD 2
1. Writing on the Wall: Child o: Crossing (Robert 'Smiggy' Smith) - 3:34
2. Orange Machine: Dr. Crippen's Waiting Room (Robin Crowley, Jimmy Greeley) - 3:04
3. Les Fleur de Lys: Liar (Bryn Haworth, Brian Potter) - 3:19
4. The Mooche: Seen Throug: Light (Brian Tatum) - 4:38
5. Sam Gopal: It's Only Love (Ian Willis) - 4:18
6. Grapefruit: Deep Water (George Alexander) - 2:12
7. Pan Pipers: Stop (Terry Mooney) - 2:31
8. Fortes Mentum: Marrakesh (Danny Beckerman) - 2:30
9. Marc Brierley: Flaxen Hair (Marc Brierley) - 2:58
10. Colin Giffin: Changes in Our Time (Colin Griffin, Kenny Lynch) - 3:19
11. Dave Davies: Creeping Jean (Dave Davies) - 3:17
12. Tapestry: Who Wants Happiness (Dave Moses) - 2:29
13. Grand Union: She Said, She Said (John Lennon, Paul McCartney) - 3:05
14. Scrugg: Only George (John Kongos) - 2:51
15. Ralph McTell: Summer Come Along (Ralph McTell) - 2:45
16. Nirvana: It Happened Two Sundays Ago (Patrick Campbell-Lyons, Alex Spyropoulos) - 3:10
17. Tuesday's Children: Doubtful Nellie - 3:07
18. Ewan Stephens: Mindless Child of Motherhood (Dave Davies) - 3:35
19. Woody Kern: Biography (Steve Harris, Rik Kenton, John Sanderson, Mike Wheat) - 4:21
20. Balloon Busters: Alcock and Brown (Alan Blaikley, Ken Howard, Barry Mason) - 2:38
21. Edwards Hand: Magic Car (Rod Edwards, Roger Hand) - 3:17
22. Good Ship Lollipop: How Does It Feel (Norman Bellis, Dave Stephenson) - 2:46
23. Shere Khan: No Reason - 2:54
24. Trader Horne: Morning Way - 4:28
CD 3
1. Jason Crest: Black Mass (Barry Clark, Terry Dobson) - 4:46
2. Orange Bicycle: Last Cloud Home (John Dove) - 3:07
3. The Explosive: (Who Planted Thorns In) Miss Alice's Garden (Tom Northcott) - 2:41
4. The Spectrum: Just Wha: Was Looking for Today (Gerry Goffin, Carole King) - 2:57
5. Status Quo: The Price of Love (Don Everly, Phil Everly) - 3:42
6. 1984: This Little Boy (Colin Rickards) - 2:43
7. The Deviants: Death o: Dream Machine (Paul Rudolph) - 2:49
8. Andromeda: Day of the Change (John Du Cann) - 5:04
9. Homer's Knods: Mr. Rainbow (Ken Burgess, Keith Hopkins, Mark Wir
tz) - 2:19
10. The Pretty Things: You Might Even Say (Phil May, Wally Waller) - 4:02
11. Freedom: Cry Baby Cry (John Lennon, Paul McCartney) - 3:43
12. Humblebums: Saturday Roundabout Sunday (Billy Connolly) - 3:10
13. Bill Fay: We Want You to Stay [Demo Version] (Bill Fay) - 3:39
14. Harmony Grass: Wha: Groovy Day (Tony Rivers) - 3:33
15. The Freshmen: Mr. Beverly's Heavy Days (Peter Lee Stirling) - 2:10
16. Eyes of Blue: Little Bird (Ritchie Francis) - 2:35
17. The Onyx: Tamaris Khan (Guy Fletcher, Doug Flett) - 2:52
18. Five's Company: The School Boy (Edward Broadbridge) - 2:42
19. Davey Payn: the Medium Wave: Looking Towards the Sky (Davey Payne, Syril Sutton, Norman Swan, Pete Taylor - 2:08
20. Pure Gold: Fairground - 2:36
21. Fat Mattress: Petrol Pump Assistant (Neil Landon, Noel Redding) - 3:04
22. Second Hand: Good Old '59 (We Are Slowly Gettin' Older) (Ken Elliott) - 2:19
23. Taxi: Counting Time My Way (Trevor Erwin) - 2:57
24. Mike Bobak, Jons, Wil Malone: Burning the Weed (Mike Bobak, Andy Johns, Wil Malone) - 3:23
25. Cape Kennedy Construction Company: Armageddon (Dave Baker) - 4:31
Besetzung: Compiled By, Liner Notes: David Wells
; Design, Artwork: Andy Morten
; Mastering: Simon Murphy
; Copyright (c) Grapefruit Records
; Marketed By Cherry Red Records Ltd.
; Distributed By Cherry Red Records Ltd.
; Pressed By GZ Media
; Pressed By GZ Media
; Pressed By GZ Media
; Designed At Pepperbox
V. A. (Grönland) [>] [D]: Electri_City. Elektronische Musik aus Düsseldorf [F]
Label und Katalognummer: Grönland CDGRON 141
Produktion: Verschiedene
Veröffentlicht: 2014 10 (Ed.)
Genretags: Electronica - Electronic-Rock - Düsseldorfer-Schule
Sampler zum gleichnamigen Buch von Rüdiger Esch.
Trackliste: 1. La Düsseldorf: Düsseldorf - 13:17
2. Wolfgang Riechmann: Wunderbar - 5:42
3. Harmonia & Eno: Luneburg Heath - 4:55
4. Der Plan: Wir
Werden Immer Mehr - 2:54
5. DAF: Der Mussolini - 3:52
6. Neu!: Hero - 7:11
7. Teja: Säuren Ätzen Und Zersetzen - 4:11
8. Die Krupps: Wahre Arbeit Wahrer Lohn - 5:26
9. Liaisons Dangereuses: Los Niños Del Parque - 5:02
10. Wolfgang Flür: I Was A Robot - 5:47
11. Rheingold: 3Klangsdimensionen 2010 - 6:34
12. Michael Rother: Flammende Herzen - 7:04
13. MakroSoft: Electricity - 3:48
Besetzung: Compiled By, Liner Notes: Rüdiger Esch
; Pressed By Arvato
V. A. (Grey Area) [>] [D]: Tyranny Of The Beat: Original Soundtracks From The Grey Area [F]
Label und Katalognummer: Grey Area A GREY 1
Produktion: Verschiedene
Veröffentlicht: 1990 (Ed.)
Genretags: Postpunk - Electronic-Postpunk - Industrial
Trackliste: 1 SPK: In Flagrante Delicto (Graeme Revell) - 5:03
2. Throbbing Gristle: See You Are (Live At The Factory, Manchester, 19 May 1979) - 7:12
3. Cabaret Voltaire: Automotivation (Kirk, Mallinder) - 6:01
4. Chris Carter: Solidit (Edit) - 3:31.
5. Die Krupps: Wahre Arbeit, Wahrer Lohn (Malaka, Engler, Doerper) - 5:32
6. DAF: Co Co Pina - 3:23
7. Einstürzende Neubauten: Tanz Debil - 3:20
8. NON: Cruenta Voluptas (Boyd Rice) - 1:58
9. Can: Oh Yeah - 7:19
10. Wir
e: Our Swimmer (Live At Notre Dame Hall, July 1979) (Gilbert, Newman, Lewis, Gotobed) - 2:57
11. Swell Maps: Midget Submarines (Sudden) - 4:38
12. Boys Next Door: Shivers (Rowland S. Howard) - 4:30
13. Dome: Cruel When Complete (A.M.C., Gilbert) - 3:13
14. Monte Cazazza: Candy Man - 2:34
15. Hafler Trio, The: A Thirsty Fish / The Dirty Fire - 6:15
16. Loop: Collision (Loop, Josh Hampson Aka Robert) - 3:28
17. Fad Gadget: Collapsing New People (Frost, Rogers, Simmonds, Tovey, Cash) - 4:21
Besetzung: Design [Packaging] MacDesignLand, McGrey
; Liner Notes Biba Kopf, Nada
; Photography By [Still Image] Pat Thomas
; Vocals Jan Thornton (1)
; Producer Graeme Revell (1)
; Producer Krupps, Lambertz (5)
; Engineer C. Plank (6)
; Mixed By Eddie (10)
; Producer B.C. Gilbert, G. Lewis (13)
; Voice A.M.C. (13)
; Producer Sinclair/Brooks (14)
; Producer Daniel Miller, Frank Tovey, Gareth Jones (17)
V. A. (Happy People Music) [>] [D] & DJ Stromi [>] [D]: Zoom 2001 - Psychedelic Trance Compilation [F]
Label und Katalognummer: Happy People Music HP 336967
Produktion: Verschiedene
Veröffentlicht: 2001 (Ed.)
Genretags: Electronica - Trance - Goatrance
Trackliste: 1. Organic Noise: The Vacuum (Ben Wir
zoch) - 8:45
2. Haldolium: One Of These Days (Gilmour, Mason, Wright, Waters, Barrett) - 7:28
3. SBK: Morgenlatte (Sebastian Krüger) - 7:25
4. Element: Rocket Exciter (Dirk Draeger, Marc Engemann) - 7:03
5. Viva-O-Ma: Jajibu - 8:24
6. Planet B.E.N.: Schleiffer (Ben Wir
zoch) - 7:16
7. Noosphere: Vektor (Eberhard Schulz, Nils Paschen) - 6:09
8. Pharao: Brainfuck (Christof Grünig) - 6:48
9. S-Range: 2001 (Anthony Sillpors) - 6:57
10. Shakta: Out Of Sight (Seb Taylor) - 6:14
Besetzung: Compiled By: DJ Stromi und Jurki
; Cover, Artwork: Chemicalhead
; Photography: Pit Rudge
; Photography [Front Cover]: DJ Stromi
; Distributed By K-Tel International (Switzerland) AG
; Mastered At Jedi Recording Studios
; Mixed At Jedi Recording Studios
; Copyright (c) Happy People Music
; Phonographic Copyright (p) Happy People Music
V. A. (Harvest) [>] [D]: True Detective: Music From The HBO Series [F]
Label und Katalognummer: Harvest 2547432889
Produktion: Verschiedene
Veröffentlicht: 2015 08 14
Genretags: Alternativerock - Gothrock - Southerngoth, Alternativerock - Alternativecountry
Trackliste: 1. Leonard Cohen: Nevermind (Leonard Cohen, Patrick Leonard) - 4:39
2. Lera Lynn: The Only Thing Worth Fighting For (Henry Burnett, Rosanne Cash, Lera Lynn) - 3:16
3. Nick Cave & Warren Ellis: All the Gold in California (Larry Gatlin) - 2:26
4. Lera Lynn: Lately (Henry Burnett, Bob Neuwirth) - 3:57
5. John Paul White. What a Way to Go (John Paul White) - 3:06
6. Lera Lynn: My Least Favorite Life (Henry Burnett, Rosanne Cash, Lera Lynn) - 3:29
7. Handsome Family: Far from Any Road (Brett Sparks, Rennie Sparks) - 2:48
8. Alexandra Savior: Risk [Demo] (Alexandra Savior, Alex Turner) - 4:00
9. Cassandra Wilson: Sign of the Judgment (Henry Burnett, Cassandra Wilson) - 4:01
10. Bob Dylan: Rocks and Gravel (Bob Dylan) - 2:26
11. Lera Lynn: A Church in Ruins (Henry Burnett, Lera Lynn) - 2:51
12. Bonnie 'Prince' Billy: Intentional Injury (Bonnie 'Prince' Billy, Will Oldham) - 2:24
13. Lera Lynn: It Only Takes One Shot (Henry Burnett, Rosanne Cash, Lera Lynn) - 2:53
14. Henry Burnett & Rhiannon Giddens & Gabe Witcher: The Angry River (S.I. Istwa, Father John Misty) - 2:55
Besetzung: Luis Almau: Engineer
; George Barnes: Guitar
; Jay Bellerose: Drums, Percussion
; Bonnie \'Prince\' Billy: Guitar (Acoustic)
; Bill Bottrell: Mixing
; T-Bone Burnett: Bass, Drum Sequencing, Guitar, Guitar (Electric), Keyboards
; Charlean Carmon: Vocals (Background)
; Nick Cave: Piano, Vocals
; Keefus Ciancia: Keyboards
; Zachary Dawes: Bass
; Donna De Lory: Vocals (Background)
; Bob Dylan: Guitar, Harmonica
; Caleb Elliott: Cello
; Warren Ellis: Guitar (Tenor), Vocals (Background)
; David Ferguson: Bass
; Tom Freitag: Second Engineer
; Jeff Gartenbaum: Second Engineer
; Rouble Kapoor: Second Engineer
; Nicci Kasper: Keyboards
; Evyen Klean: Music Coordinator
; Paul Kowert: Double Bass
; Bruce Langhorne: Guitar
; Darrell Leonard: Horn
; Patrick Leonard: Engineer
; Owen Lewis: Second Engineer
; Herb Lovelle: Drums
; Gavin Lurssen: Mastering
; Lera Lynn: Guitar, Guitar (Acoustic)
; Kenny Malone: Percussion
; Deantoni Parks: Drums, Keyboards
; Michael Piersante: Engineer, Mixing
; Gene Ramey: Bass
; Michael Rhodes: Bass
; Kimi Samson: Violin
; Ivy Skoff: Production Coordination
; Brett Sparks: Mixing
; Jesse E. String: Engineer, Mixing
; Ben Tanner: Engineer, Keyboards, Producer
; Alex Turner: Drums, Engineer, Guitar, Keyboards
; Tata Vega: Vocals (Background)
; Patrick Warren: Keyboards
; Dick Wellstood: Piano
; John Paul White: Guitar (Acoustic), Percussion, Primary Artist, Producer
; Alex Williams: Second Engineer
; Gabe Witcher: Bass, Fiddle, Primary Artist, Violin
; Jean Witherspoon: Vocals (Background)
; Jason Wormer: Engineer, Mixing
V. A. (Harvest) [>] [D]: Harvest Festival [F]
Label und Katalognummer: EMI 7243 5 21198 2 0
Produktion: Verschiedene
Veröffentlicht: 1999 10 04 (Ed.)
Genretags: Rock - Progrock
Trackliste: CD 1
1. Edgar Broughton Band: Evil - 2:34
2. Michael Chapman: It Didn't Work Out - 3:41
3. Deep Purple: Wring That Neck - 5:10
4. Pete Brown And His Battered Ornaments: Morning Call - 2:49
5. Roy Harper: Tom Tiddler's Ground - 6:10
6. Third Ear Band: Stone Circle - 3:25
7. Greatest Show On Earth: Real Cool World - 4:48
8. Syd Barrett: Octopus - 3:44
9. Panama Limited Jug Band: Round And Round - 3:15
10. Barclay James Harvest: Mother Dear - 3:16
11. Tea & Symphony: Maybe My Mind (With Egg) - 3:43
12. Michael Chapman: Postcards Of Scarborough - 4:04
13. Forest: A Glade Somewhere - 3:03
14. Edgar Broughton Band: Out Demon's Out - 4:48
15. Pete Brown & Piblokto!: Living Life Backwards - 2:02
16. Quatermass: Black Sheep Of The Family - 3:10
17. Bakerloo: Big Bear Folly - 3:55
18. Pretty Things: The Good Mr Square - 3:00
19. Kevin Ayers: The Lady Rachel - 5:17
20. Shirley & Dolly Collins: A Foresaking-Our Captain Cried - 2:53
CD 2
1. Deep Purple: Speed King - 5:49
2. Pete Brown & Piblokto!: Things May Come And Things May Go But The Art School Dance Goes On Forever - 5:02
3. Edgar Broughton Band: Apace Drop Out (Apache Intro Dropout Boogie) - 3:10
4. Climax Blues Band: Everyday - 2:24
5. Kevin Ayers: Butterfly Dance - 3:44
6. Barclay James Harvest: Mocking Bird - 6:35
7. Michael Chapman: Kodak Ghosts - 3:19
8. Move: The Words Of Aaron - 5:26
9. Deep Purple: Fireball - 3:22
10. Electric Light Orchestra: 10538 Overdrive - 5:29
11. Ron Geesin & Roger Waters: Breathe - 2:54
12. Barclay James Harvest: Medicine Man - 3:52
13. Kevin Ayers And The Whole World: Stranger In Blue Suede Shoes - 3:23
14. Michael Chapman: Fennario - 7:02
15. Roy Harper: The Same Old Rock - 4:46
16. Edgar Broughton Band: Hotel Room - 4:04
17. Syd Barrett: Evervescing Elephant - 1:51
18. Kevin Ayers: Song From The Bottom Of A Well - 3:36
CD 3
1. Pink Floyd: Money - 6:45
2. Roy Harper: South Africa - 4:02
3. Kevin Ayers: Interview/International Anthem - 5:25
4. Babe Ruth: The Mexican - 5:45
5. Move: Do Ya - 4:03
6. Southern Comfort: Something Said - 4:32
7. Be Bop Deluxe: Adventures In A Yorkshire Landscape - 3:50
8. Roy Wood: Dear Elaine - 4:08
9. Kevin Ayers: Take Me To Tahiti - 3:35
10. Edgar Broughton Band: Things On My Mind - 3:39
11. Babe Ruth: Hombre De La Guitarre - 4:42
12. Roy Harper: Another Day (Live) - 3:57
13. Electric Light Orchestra: Roll Over Beethoven - 4:33
14. Be Bop Deluxe: Maid In Heaven - 2:26
15. Climax Blues Band: You Make Me Sick - 3:49
16. Wizzard: Ball Park Incident - 3:38
17. Electric Light Orchestra: Showdown - 4:09
18. Roy Harper: I'll See You Again - 4:58
CD 4
1. Albion Band: Poor Old House - 6:15
2. Martin Carthy: Old Hog Or None - 1:14
3. Albion Dance Band: Hopping Down In Kent - 2:44
4. Albion Dance Band: Postmans Knock - 2:36
5. Gryphon: Spring Song - 3:38
6. Unicorn: Have You Ever Seen The Rain - 3:10
7. Be Bop Deluxe: Fair Exchange - 4:48
8. Kevin Ayers: Ballad Of A Salesman Who Sold Himself - 4:47
9. Be Bop Deluxe: Electrical Language - 3:31
10. David Gilmour: Short And Sweet - 5:30
11. Roy Harper: When An Old Cricketer Leaves The Crease - 7:11
12. Saints: Erotic Neurotic - 4:08
13. Wir
e: Reuters - 3:02
14. Saints: (This) Perfect Day - 2:10
15. Shirts: Lonely Android - 3:53
16. Banned: Little Girl - 2:20
17. Wir
e: I Am The Fly - 3:06
18. Saints: Swing For The Crime - 3:38
19. Red Noise: Revolt Into Style - 3:23
20. Wir
e: A Touching Display - 6:55
CD 5: Pot-Pourri
1. Deep Purple: Black Night - 3:26
2. Pete Brown & Piblokto!: Flying Hero Sandwich - 3:18
3. Move: California Man - 5:11
4. Greatest Show On Earth: Magic Woman Touch - 5:11
5. Kevin Ayers: Caribbean Moon - 3:01
6. Trinidad Oil Company: The Calendar Song - 2:51
7. Matumbi: Rock (Part 1) - 3:37
8. Wir
e: I Should Have Known Better - 3:51
9. Ivor Cutler: Life In A Scotch Sitting Room Vol 2 (Excerpt) - 3:59
10. Vivian Stanshall & Kilgaron: The Young Ones - 3:14
11. Spontaneous Combustion: Sabre Dance - 2:58
12. Be Bop Deluxe: Ships In The Night - 4:07
13. Bombadil: Breathless - 3:05
14. Marshall Hain: Dancing In The City - 3:48
15. Red Noise: Radar In My Heart - 1:37
16. Strapps: Child Of The City - 3:44
17. Deep Purple: Hallelujah - 3:42
18. Babe Ruth: Wells Fargo - 6:14
19. Professor Longhair: Mess Around - 3:53
20. Syd Barrett: Golden Hair - 1:56
21. Edgar Broughton Band: Up Yours - 3:00
Besetzung: Coordinator [Package]: Steve Davis
; Design, Artwork, Photography: Phil Smee
; Liner Notes [Harvest Article]: Brian Hogg
; Painting [Cover]: Geoff Ulph
; Remastering: Peter Mew
; Research [Additional]: Greg Burge
; Research [Additional]: Ruth Edge
; Research, Compiled By, Liner Notes, Producer: Tim Chacksfield
; Transferred By [Tape From Analogue]: Ron Hill
; Remastered At Abbey Road Studios
; Pressed By EMI Uden
V. A. (Headphone) [>] [D]: Output 04 [F]
Label und Katalognummer: Headphone H 003
Produktion: Verschiedene
Veröffentlicht: 2001 09 (Ed.)
Genretags: Electronica - Ambient
Trackliste: 1. Hem: Taken From The Serial - 5:14
2. System Error: Playback - 4:57
3. Freeform: Vavoom - 6:19
4. Hem: Wir
ed To A Machine - 5:40
5. Muslimgauze: From The Edge (Higher Intelligence Agency Remix) - 4:25
6. Freeform: Petit Pois - 2:56
7. Higher Intelligence Agency: Noon Moon - 6:11
8. System Error: 700 - 3:27
9. Hem: Roll Stop - 5:10
10. Higher Intelligence Agency: Airglow - 5:37
V. A. (Hightone Records) [>] [D]: American Music: The Hightone Records Story [F]
Label und Katalognummer: Hightone Records 8195
Produktion: Verschiedene
Veröffentlicht: 2006 09 12 (Ed.)
Genretags: Rock - Folkrock
Trackliste: CD 1
1. Robert Cray Band: Phone Booth (Richard Cousins, Robert Cray, Mike Vannice, Dennis Walker) - 3:30
2. Frankie Lee: Stoned, Cold, & Blue - 2:47
3. Otis Rush: Tore Up (Ralph Bass, Ike Turner) - 3:21
4. Robert Cray Band: Smoking Gun (Richard Cousins, Robert Cray) - 4:06
5. Joe Louis Walker: 747 (Haskell Robert Sadler) - 4:03
6. Phillip Walker: Don't Be Afraid of the Dark (Dennis Walker) - 4:36
7. King Cotton and the Swamp Coolers: I Want To (Do Everything for You) (Joe Tex) - 2:54
8. Joe Louis Walker: I'll Get to Heaven on My Own (Joe Louis Walker) - 3:05
9. Johnny Shines: Moaning and Groaning (Johnny Shines) - 3:23
10. Lonesome Sundown: They Call Me Sundown (Cornelius Green) - 3:53
11. Chris Gaffney: Sugar Bee (Eddie Shuler) - 4:05
12. James Armstrong: The Devil's Livin' There (James Armstrong, Robert Lily, Scott Mathews) - 4:45
13. R.L. Burnside: Going Down South (R.L. Burnside) - 3:22
14. Redd Volkaert: It's a Minor Thing (Redd Volkaert) - 4:47
15. Clarence Brewer: Fast Food Slow Death (Clarence Brewer) - 2:25
16. Kim Wilson: Eyesight to the Blind (Rice Miller) - 4:33
17. Pinetop Perkins: Miss Ida B. - 4:24
18. Henry Gray: How Could You Do It (Henry Gray) - 2:34
19. Louisiana Red: September 11th Blues - 4:12
CD 2
1. The Blasters: American Music - 2:11
2. Joe Ely: Lord of the Highway (Butch Hancock) - 3:52
3. Dave Alvin, Sonny Burgess: Flattop Joint - 2:38
4. Billy Lee Riley: Blue Collar Blues (G. Nicholson) - 4:34
5. The Loved Ones: Lickin' Stick - 2:48
6. Dick Dale: California Sun (Henry Glover) - 3:18
7. Ted Roddy: Sparkling City (Ted Roddy) - 3:21
8. Skeletons: I Ain't Lyin' (Lou Whitney) - 4:33
9. Big Sandy: Lonely Guy - 2:07
10. Redd Volkaert: Telewacker (Redd Volkaert) - 2:44
11. Teddy Morgan: Bullet from a Gun (Teddy Morgan) - 3:57
12. Little Willie G.: Open the Door to Your Heart (Darrell Banks) - 2:53
13. Carl Leyland: The Honky Tonk Wine (Carl Leyland) - 3:23
14. Kim Lenz & the Jaguars: Saturday Jump (Kim Lenz) - 2:35
15. Deke Dickerson & The Ecco-Fonics: Hot Rodder's Lament (Deke Dickerson) - 3:11
16. Bill Kirchen, The Twangbangers: Rockabilly Funeral - 4:21
17. Dave Alvin & the Guilty Men: Fourth of July - 5:37
18. The Blasters: Hollywood Bed - 4:15
19. Buddy Miller: Little Bitty Kiss (Buddy Miller, Julie Miller) - 2:49
20. Seth Kauffman: Jug Hustler Blues (Seth Kauffman) - 2:18
21. Frank Black, Buddy Miller, P.F. Sloan: Eye of Destruction - 4:28
CD 3
1. Bobby Durham: Let's Start a Rumor Today (Wayne Durham) - 3:24
2. Gary Stewart: Rainin' Rainin' Rainin' (Don Smith, Mary Lou Stewart) - 4:19
3. Lonesome Strangers: Goodbye Lonesome, Hello Baby Doll (Lee Emerson, Johnny Horton, Franks Tillman) - 2:35
4. Buddy Miller: The Garage Sale (Buddy Miller) - 4:07
5. Heather Myles: Stay out of My Arms (Jim Lauderdale) - 2:21
6. Billy C. Wir
tz: Room 309 (Fred Koller) - 4:26
7. Big Sandy & His Fly-Rite Boys: Honky Tonk Queen - 3:07
8. Billy Joe Shaver: Ramblin' Fever (Merle Haggard) - 3:56
9. Buddy Miller: I'm Pretending (Buddy Miller, Julie Miller) - 3:20
10. Johnny Rodriguez: Corpus Christi Bay (Robert Earl Keen, Jr.) - 4:00
11. Dale Watson: Wine Don't Lie (Dale Watson) - 2:23
12. Big Sandy & His Fly-Rite Boys: The Greatest Story Ever Told - 3:08
13. Johnny Dilks & His Visitacion Valley Boys: Comin' on Thru (Johnny Dilks) - 2:14
14. The Hollisters: Little Ole You (Mel Tillis, Wayne Walker) - 3:05
15. Hank Thompson: Sting in This Ole Bee (Joe Nelson, Hank Thompson) - 2:33
16. Dallas Wayne: Here I Am in Dallas (Ronny Hughes, Lamar Morris) - 2:56
17. The Twangbangers: Truck Drivin' Man (Terry Fell) - 3:42
18. The Hot Club of Cowtown: It Stops with Me (Whit Smith) - 4:21
19. Clarence 'Gatemouth' Brown: Dark End of the Hallway (Hoyt Garrick) - 6:05
20. The Domino Kings: Walk Away If You Want To - 2:33
21. Whit Smith's Hot Jazz Caravan: Birth of the Blues (Lew Brown, Buddy DeSylva, Ray Henderson) - 2:51
CD 4
1. Jimmie Dale Gilmore: Dallas (Jimmie Dale Gilmore) - 3:29
2. Dave Alvin: Blue Blvd (Michael Woody) - 4:53
3. Rosie Flores: West Texas Plains (Rosie Flores) - 3:42
4. Chris Smither: Link of Chain (Chris Smither) - 3:49
5. Tom Russell: Gallo de Cielo (Tom Russell) - 6:30
6. Julie Miller: By Way of Sorrow (Julie Miller) - 2:51
7. Ramblin' Jack Elliott, Tom Waits: Louise (Kathleen Brennan, Tom Waits) - 4:44
8. Geoff Muldaur: The Wild Ox Moan (Vera Hall, Ruby Pickens Tartt) - 4:42
9. Chris Smither: No Love Today (Chris Smither) - 4:56
10. Ramblin' Jack Elliott, John Prine: The Walls of Red Wing (Bob Dylan) - 4:30
11. Jimmie Dale Gilmore, Tom Russell: Beyond the Blues (Peter Case, Bob Neuwirth, Tom Russell) - 3:50
12. Julie Miller: All My Tears (Julie Miller) - 3:34
13. Aztex: Padre Prays for Rain (Joel Jose Guzman) - 4:08
14. Buddy Miller: Midnight and Lonesome (Julie Miller) - 3:55
15. Po' Girl: Gone in Pawn (Elizabeth Cotten, Allison Russell) - 3:27
16. Laurie Lewis, Tom Rozum: Since You Went Away (Laurie Lewis) - 3:23
17. Los Reales del Rancho: En La Central de Colima - 3:43
18. Tom Russell: Tonight We Ride - 3:22
DVD 1
1. Joe Ely: My Baby Thinks She's French (Joe Ely) -
2. Gary Stewart: Rainin' Rainin' Rainin' (Don Smith, Mary Lou Stewart) -
3. Lonesome Strangers: Just Can't Cry No More (Jeff Rymes) -
4. Dave Alvin: Why Did She Stay with Him -
5. Rosie Flores: Blue Highway (Rosie Flores, Patrick Gallagher) -
6. Dave Alvin: King of California -
7. Heather Myles: Rum and Rodeo (Heather Myles) -
8. Dale Watson: South of Round Rock, Texas (Dave Biller, Dale Watson) -
9. Big Sandy & His Fly-Rite Boys: My Sinful Days Are Over -
10. Tom Russell: The Rose of the San Joaquin (Tom Russell, Ian Tyson) -
11. Marty Brown: You Can't Wrap Your Arms Around a Memory (Marty Brown, Bobby Cyrus) -
12. Johnny Rodriguez: You Can Say That Again (Sam Gray, Lance Strode) -
13. Heather Myles: Lovin' the Bottle (Gary Brandin) -
14. Gary Stewart: An Empty Glass (Dean Dillon) -
15. Rosie Flores: Honky Tonk Moon (Rosie Flores, Patrick Gallagher) -
16. Dave Alvin: Barn Burning -
V. A. (Italians Do It Better) [>] [D]: After Dark 2 [F]
Label und Katalognummer: Italians Do It Better
Veröffentlicht: 2012 10 15, 2013 05 17
Genretags: Indiepop - Blog-Indie - Chillwave
Trackliste: 1. Glass Candy: Warm In The Winter - 6:44
2. Desire: Tears From Heaven - 5:11
3. Mirage: Let's Kiss - 9:05
4. Appaloosa: Fill The Blanks - 3:52
5. Chromatics: Looking For Love - 5:29
6. Symmetry: Heart Of Darkness - 3:55
7. Chromatics: Camera - 4:30
8. Twisted Wir
es: Half Lives - 4:37
9. Glass Candy: The Possessed - 5:49
10. Chromatics: Cherry - 4:31
11. Glass Candy: Beautiful Object - 5:03
12. Farah: Into Eternity - 5:22
13. Appaloosa: Intimate - 5:02
14. Mike Simonetti: The Magician - 3:59
15. Glass Candy: Redheads Feel More Pain - 5:07
V. A. (Karaoke Kalk) [>] [D]: Kalk Seeds [F]
Label und Katalognummer: Karaoke Kalk kalk 30
Veröffentlicht: 2005 08
Genretags: Electronica, Indiepop
Trackliste: 1. Roman - Saving Juno (3:13)
2. Hausmeister - Pumer (3:51)
3. Sora & Wechsel Garland - Spring (2:25)
4. Hauschka - Two Stones (2:51)
5. Takagi Masakatsu - Mio Pianto (4:45)- Vocals - Haruka Taguchi
6. Kandis - Letter (3:50)
7. Le Rok - Directors Cut (4:17)
8. Toog - Ugly Ducklings (4:54)
9. Pascal Schäfer - Tic Tic (6:20)
10. Donna Regina - Slow Killer (3:51)
1. Kuchen Meets Mapstation - Kmm (1:41)
12. Takeo Toyama Trio - Der Meteor (4:38)
13. Leichtmetall - Wir
Sind Blumen (3:59)
14. Kan Daisuke - Xi-Huan (2:54) - Vocals - Tamaki Chiharu
15. Poto And Cabengo - Suevian Rhapsody (3:45)
16. März - Welt am Draht (3:45)
V. A. (Kitty-Yo) [>] [D]: Team Kitty-Yo [F]
Label und Katalognummer: Kitty-Yo KY 04093
Produktion: Verschiedene
Veröffentlicht: 2004 11 15 (Ed.)
Genretags: Indiepop - Electronicpop - Indietronica
Trackliste: CD 1
1. Sex In Dallas And Biladoll: Wir
Sind Nicht Romantiques (David Ducaruge, Mia VonMatt, Adrien Walter) - 3:56
2. Richard Davis: Unrealistic or the Truth () - 6:37
3. Taylor Savvy: Treat Him Like a Lady (Sometimes) (Merrill Nisker) - 3:09
4. Spyritual: Offtune Soulseeds (Juha Tuukkanen) - 4:33
5. Raz Ohara: Hymn (Patrick Rasmussen) - 4:33
6. Tarwater: Her Body Is Alive (Bernd Jestram, Ronald Lippok) - 4:05
7. Maximilian Hecker: Help Me (Maximilian Hecker) - 4:23
8. Jimi Tenor: Going for the Gold (Maurice Fulton, Ilkka Mattila, Tuomo Puranen, Jimi Tenor) - 3:37
9. Litwinenko: Funk Limiter (Franz Pratsch) - 1:57
10. Rhythm King And Her Friends: Fifteen (Pauline Boudry, Sara John) - 4:03
11. Rechenzentrum: Der See (Marc Weiser) - 4:55
12. Gold Chains & Sue Cie: Crowd Control (Topher LaFata) - 4:17
13. Jay Haze: Appreciate (Jay Haze) - 6:13
14. Kante: Baron Samedi (Tobias Levin, Peter Thiessen) - 6:11
CD 2
1. Laub: Wake Up (Gonzales Remix) (Antye Greie-Fuchs, Jason Beck, Jotka Kühn) - 5:21
2. Kante: Im Ersten Licht (Mr. Bird & Partner Version) (Felix Müller, Sebastian Vogel) - 4:51
3. Rhythm King And Her Friends: Get Paid (RKAHF Remix) (Linda Wölfel, Pauline Boudry, Sara John) - 3:40
4. Peaches And Gonzales: Hot Pink Hot Sex (Jason Beck, Merrill Nisker) - 2:58
5. Preed: Brooka Toira Noi (Kurt Martini Jun., Litwinenko) - 4:11
6. Gonzales: Gonna Get Off Right Away II (Jason Beck) - 4:52
7. Louie Austen feat. Shake: Danger (Mario Neugebauer, Louie Austen) - 5:16
8. Raz Ohara: Where Is My Mind (Charles Thompson) - 3:12
9. Tarwater: Doppelgänger (Bernd Jestram, Ronald Lippok) - 4:51
10. Sex In Dallas: Lost In La Paya (Adrien Walter, Juste F., Mohini Geisweiller) - 5:15
11. Rechenzentrum: Planet Janet (Christian Nikolaus Conrad) - 6:17
12. To Rococo Rot: Testfeld (Robert Lippok, Ronald Lippok, Stefan Schneider) - 4:25
Besetzung: Mastering: Stefan Betke
V. A. (Kompakt) [>] [D]: Pop Ambient 2019 [F]
Label und Katalognummer: Kompakt 150
Produktion: Verschiedene
Veröffentlicht: 2018 11 30 (Ed.)
Genretags: Post-Millennial-Music - Digital-Underground - Ambient
Trackliste: 1. Thore Pfeiffer: Alles Wir
d Gut - 6:08
2. Coupler: A Plain Of Reeds - 5:35
3. The Black Frame: The Uncertainty Principle (feat. Amelia Fais Harnas) - 4:45
4. Kenneth James Gibson: Gone Too Soon (feat. Maria Estrella Aggabao) - 4:26
5. Morgen Wurde: Schien Immer (feat. Maria Estrella) - 9:58
6. Gregor Schwellenbach: Rot 2 - 6:07
7. Last Train To Brooklyn: Bluebird - 5:26
8. Max Würden: Zweitens (feat. Luis Reichard) - 5:42
9. Thomas Fehlmann: Karenina - 5:05
10. Leandro Fresco: Araña De Vidrio - 4:37
11. Yui Onodera: Cromo 3 - 2:55
12. Triola: Adren - 4:59
13. Max Würden: Core - 6:57
Besetzung: Compiled By [Selektion]: Wolfgang Voigt
; Cover: Veronika Unland
; Mastering: Jörg Burger
; Record Company Kompakt Schallplatten
V. A. (Kulør) [>] [D]: Kulør 006 [F]
Label und Katalognummer: Kulør Kulør 006
Produktion: Verschiedene
Veröffentlicht: 2020 02 21 (Ed.)
Genretags: Post-Millennial-Music - Digital-Underground
Trackliste: 1. Schacke: The End of Ecstacy - 4:16
2. SØS Gunver Ryberg: Shapeshifter - 4:05
3. Sofie Birch: Look - 4:55
4. Gel: Scented - 4:14
5. Astrid Sonne: Swirl - 4:39
6. Varnrable: Cold Bright Hard Light - 2:31
7. Minais B: To Levende Væsener - 3:37
8. Lyra Valenza: Never Rest - 5:57
9. X & Yde: Dares Soar - 3:28
10. Ibon: Sorgpad - 5:18
11. Splash Pattern: Os - 2:31
V. A. (L'age d'or) [>] [D]: Wir [F]
Label und Katalognummer: L'Age D'Or LADO 17096-2
Produktion: Verschiedene
Veröffentlicht: 2003 04 (Ed.)
Genretags: Electropop - New-Rave
Trackliste: CD 1
1. Golden Boy & Miss Kittin: 1234 (Lyric Version) - 5:18
2. Beige GT: Knights Of The Jaguar - 5:12
3. Ascii Disko: Einfach - 4:35
4. Tocotronic & Console: Freiburg V3.0 - 3:00
5. Egoexpress: Something To Hide - 4:46
6. Grand Buffet: Things That Go Hump In The Night - 3:13
7. Spillsbury: Das Spiel Ist Aus - 3:33
8. 8 Doogymoto: Ashimoto (No Pink Sky) - 4:29
9. State Of Chaos: Beatnik - 5:17
10. Stella: Bosses Of The Soul - 3:35
11. Plundersonics: Mutants Here I Am - 5:50
12. Turner: My Aeroplane Mania (Album Version) - 3:56
13. My Robot Friend: We're The Pet Shop Boys - 5:04
14. Grom: Love / Rocket (MJ Lan Mix - Final Video Edit) - 3:39
15. Jan Gazarra: Pop Life - 4:41
16. Justus Köhncke: Ich Versteck Mich Vor Der Wir
klichkeit - 4:58
17. Sensorama: It's The Thing - 3:28
CD 2
1. Sensorama: Where The Rabbit Sleeps - 4:36
2. Tocotronic: Hi Freaks (Short Edit Album Version) - 3:48
3. Beige GT: Funghi Pudel (Radio Edit) - 3:45
4. Kandisquer: Foreign Machine - 4:23
5. Lawrence: Titel 3 (Radio Cut) - 3:18
6. Fink: Sieh Mich Nicht An - 4:23
7. Mense Reents: Alles Ist Da - 3:45
8. Tenfold Loadstar: Ice-Ice Baby - 3:11
9. Superpunk: Right Back Where We Started From - 2:44
10. Commercial Breakup: Bizarre Love Triangle (Single Mix) - 3:22
11. Phantom/Ghost: Electronic Alcatraz - 5:40
12. Carsten Jost: Make Pigs Pay - 5:01
13. Suguru Kusumi: La Street (Tommie Sunshine Remix) - 6:25
14. Aeric: Toute Facon (Miss Kittin & The Hacker Showgirls Remix) - 5:02
15. Mignon: Bad, Evil, Wicked And Mean - 3:39
16. Richard: Liebe Am Fluß - 2:05
17. Egoexpress: Music No Music Music - 6:11
18. Andy And Mary: Sony - 6:15
Besetzung: A&R: Carol von Rautenkranz
; A&R: Charlotte Goltermann
; Compiled By, Supervised By: Carol von Rautenkranz
; Compiled By, Supervised By: Markus Fiedler
; Compiled By, Supervised By: Stephan Rath
; Illustration [All Other Illustrations], Design Concept, Design: Dörte Fitschen-Rath
; Illustration [WiR Cover-couple]: Christian Flamm
; Mastering: Peta Devlin
; Mastered At Soundgarden Tonstudio
; Phonographic Copyright (p) L\'Age D\'Or
; Copyright (c) L\'Age D\'Or
; Phonographic Copyright (p) Ladomat 2000
; Copyright (c) Ladomat 2000
; Phonographic Copyright (p) Lado Musik GmbH
; Copyright (c) Lado Musik GmbH
; Published By Angora 2000 Musikverlag
; Published By Hanseatic Musikverlag
; Published By Gold Musikverlag
; Published By Mad Mike Music
; Published By Munchman Music
; Published By Hanseatic Musikverlag GmbH
; Published By Copyright Control
; Published By Out Of Many One
; Published By Budde Musikverlag
; Published By High Technology Publishing Ltd.
; Published By Edition Chicks
; Published By Tape Recorder Music
; Published By Universal Publishing
; Published By MCA Publishing
; Published By Hanseatic
; Published By Warner/Chappell
; Published By Complete Music
; Published By Edition Getwellsoon
; Published By Silver Songs Musikverlag
; Published By United Artists Musikverlag
; Published By Be Music (2)
; Published By Warner Chappell Music Ltd.
; Glass Mastered At Sony DADC
; Glass Mastered At Sony DADC
; Pressed By Sony DADC Austria AG
; Pressed By Sony DADC Austria AG
V. A. (Legacy International) [>] [D]: German Drinking Songs [F]
Label und Katalognummer: Legacy International CD 304
Veröffentlicht: 1993 09 11 (Ed.)
Genretags: Europeana - Lieder - Trinklieder
Trackliste: 1. Aber heut' sind wir fidel / Ein Prosit der Gemütlichkeit - 3:41
2. In Mainz am schönen Rhein / O du wunderschöner Rhein - 2:12
3. Warum ist es am Rhein so schön / Kleine Winzerin vom Rhein - 2:02
4. In Rüdesheim in der Drosselgasse / Von Rüdesheim nach Assmanshausen - 1:59
5. Gib acht auf den Jahrgang / Kornblumenblau - 2:12
6. Solang der alte Peter / Grobe Gaudi im Münchner Hofbräuhaus - 3:07
7. In München steht ein Hofbräuhaus / Durst wird durch Bier erst schön - 2:34
8. O alte Burschenherrlichkeit - 1:38
9. Tausend Fässer Bier - 0:36
10. Komm an mein Herz - 2:09
11. In deinen Augen - 3:03
12. Silberhochzeit - 3:41
13. Wo der alte Brunnen steht - 2:29
14. Wenn ich mit dir - 3:08
15. Schön wars zu Haus - 2:52
16. Hinum herum - 1:25
17. Bozener Bergsteigerlied - 1:47
18. Kranzerl Polka - 1:50
19. Arzmoser Walzer - 1:51
V. A. (Legacy Recrdings) [>] [D]: Dylan, Cash, and the Nashville Cats: A New Music City [F]
Label und Katalognummer: Legacy Recrdings 88875066552
Produktion: Verschiedene
Veröffentlicht: 2015 06 12 (Ed.)
Genretags: Rock - Folkrock
Trackliste: CD 1
1. Bob Dylan: Asolutely Sweet Marie -
2. Charlie McCoy And The Escorts: Harpoon Man -
3. Johnny Cash: It Ain't Me, Babe -
4. Flatt & Scruggs: Down In The Flood -
5. Gordon Lightfoot: The Way I Feel -
6. Bob Dylan: I'll Be Your Baby Tonight -
7. Byrds: You Ain't Going Nowhere -
8. Ian & Sylvia: This Wheel's On Fire -
9. John Hartford: Gentle On My Mind -
10. Monkees: Some Of Shelly's Blues -
11. Beau Brummels: Turn Around -
12. Tracy Nelson: I'm So Lonesome I Could Cry -
13. Kris Kristofferson: If You Don't Like Hank Williams (1968 Demo) -
14. Leonard Cohen: Bird On The Wir
e -
15. Byrds: Hickory Wind -
16. Country Joe McDonald: Blowing Down That Dusty Road -
17. Simon & Garfunkel: The Boxer -
18. Area Code 615: Stone Fox Chase -
19. Byrds: Radio Ad For The Byrds Sweetheart Of The Rodeo -
CD 2
1. Bob Dylan With Johnny Cash: Girl From The North Country -
2. Jerry Jeff Walker: Driftin' Way Of Life -
3. George Harrison: Behind That Locked Door -
4. Ringo Starr: Beaucoup Of Blues -
5. Steve Miller Band: Going To The Country -
6. Joan Baez: The Night They Drove Old Dixie Down -
7. Steve Goodman: City Of New Orleans -
8. Eric Andersen: Blue River -
9. Neil Young: Heart Of Gold -
10. Bob Dylan: If Not For You (Previously Unreleased) -
11. J.J. Cale: Crazy Mama -
12. Steve Young: Seven Bridges Road -
13. Nitty Gritty Dirt Band: Will The Circle Be Unbroken -
14. Earl Scruggs With Linda Ronstadt: Silver Wings -
15. Leon Russell As Hank Wilson: A Six Pack To Go -
16. Paul McCartney & Wings: Sally G -
17. Derek & The Dominos With Johnny Cash And Carl Perkins: Matchbox (Live On The Johnny Cash Show) -
Besetzung: Design: Jeff Samper, Ether Workshop, Nashville
; Liner Notes: Michael Gray
; Liner Notes: Pete Finney
; Liner Notes: Tracy Nelson
; Mastering: Mark Wilder (2-10)
; Mastering: Vic Anesini
; Mixing: Steve Addabbo (2-10)
; Mixing: Steve Berkowitz (2-10)
; Painting: Jon Langford
; Producer: Staff Of The Country Music Hall Of Fame And Music, Pete Finney & Michael Gray & Rob Santos
; Phonographic Copyright (p) Sony Music Entertainment
; Copyright (c) Sony Music Entertainment
; Mastered At Battery Studios, New York
V. A. (Membran Music) [>] [D]: Schlager Medaillons: Folge 12: Neue Töne nach dem Krieg [F]
Label und Katalognummer: Membran Music 222312-306
Produktion: Verschiedene
Veröffentlicht: 2004 (Ed.), 1950-45 (Rec.)
Genretags: Europeana - Schlager
Trackliste: CD 1
1. Karl Berbuer: Wir
Sind Die Eingeborenen von Trizonesien - 3:07
2. Bully Buhlan: Wir
Tanzen Wieder Polka - 3:04
3. Die Lustigen Jungs: Am 30. Mai Ist der Weltuntergang - 3:17
4. Willy Schneider: Schütt Die Sorgen in ein Glässchen Wein - 3:01
5. Dorle Rath: Barbara, Barbara, Komm mit Mir Nach Afrika - 2:51
6. Bully Buhlan: Hinter Ihnen Steht Einer - 3:17
7. Schöneberger Sängerknaben: Lieber Gott, Lass Die Sonne Wieder Scheinen - 3:02
8. Comedian Quartett: Balduin - 3:08
9. Die Lustigen Jungs: Solang Uns Noch das Bier Schmeckt - 3:18
10. Bully Buhlan, Rita Paul: Das Ist Nichts für Kleine Mädchen - 3:08
11. Will Höhne: Auf Regen Folgt Sonne - 2:57
12. Lieselotte Malkowsky: Ausgerechnet Du - 2:43
13. Dietmar Kivel: Nur Am Rhein Möchte Ich Sein, Wenn der Wein Blüht - 3:14
14. Comedian Quartett: Wenn das Man Gut Geht - 2:10
15. Sylvia Dahl: Auf Jamaica - 2:42
16. Hans Werner Jürgens: Was Kann Ich Denn Dafür, Dass Ich Berliner Bin - 3:10
17. Schöneberger Sängerknaben: Pack Die Badehose Ein - 2:47
18. Maria Mucke & Das Comedian Quartett: Mein Herz Geht auf Die Reise - 2:52
19. Willy Schneider: Kornblumenblau - 2:48
20. Evelyn Künneke: Allerdings, Sprach Die Sphinx - 2:46
CD 2
1. Jupp Schmitz: Wer Soll das Bezahlen - 2:53
2. Evelyn Künneke: Ich Freu Mich Schon auf Donnerstag - 2:35
3. Peter René Körner: Wenn der Hein in Rio Ist - 3:15
4. Goldy & Peter de Vries: Von Den Blauen Bergen Kommen Wir
- 2:27
5. Heinz Woezel: Komm mit Nach Riobamba - 2:53
6. Evelyn Künneke: Oh Susanna - 3:24
7. Inge Noll, Rudi Schuricke: Sag's Heute, Sag's Morgen - 3:48
8. Johannes Heesters: Ich Könnte Mich in Dich Verlieben - 1:09
9. Irene Ziedek: Träume Kann Man Nicht Verbieten - 2:23
10. Zarah Leander: Mein Leben, Dein Leben - 2:34
11. Hans Bardeleben: Vielleicht ein Andermal - 2:01
12. Rita Paul: Meine Freundin Barbara - 3:11
13. Heinz Both: Alabama Song - 2:54
14. Theo Lingen: Der Theodor im Fußballtor - 2:57
15. Maria Andergast, Hans Lang: Mariandl - 2:58
16. Detlev Lais: Der Laternenzünder - 3:02
17. Helga Wille: Tut Mir Leid - 2:18
18. Hilde Hildebrand: Ich Lebe für Die Liebe - 2:50
19. Doddy Delissen: Es Wär So Schön, Bei Dir Zu Bleiben - 2:50
20. René Carol, Danielle Mac, Willy Schneider: Am Zuckerhut, Am Zuckerhut - 3:05
V. A. (Membran Music) [>] [D]: Schlager Medaillons: Folge 13: Gassenhauer der 40er und 50er Jahre [F]
Label und Katalognummer: Membran Music 222312-306
Produktion: Verschiedene
Veröffentlicht: 2004 (Ed.)
Genretags: Europeana - Schlager
Trackliste: CD 1
1. Sylvia Dahl: Bella Bimba - 2:56
2. Ruth Bruck: Frech Musst du Sein - 3:20
3. Die Lustigen Jungs: Am 30. Mai Ist der Weltuntergang - 3:17
4. Renée Franke: Gehn Sie Weg - 3:03
5. Siegfried Arno, Olly Gebauer: Du Bist für Mich das Pünktchen auf dem I - 2:02
6. Georg Alexander: Mein Herz Ist ein Salon für Schöne Frauen - 2:50
7. Dolly Haas: Es Wir
Schon Wieder Besser - 2:27
8. Paul Hörbiger: Das Muss ein Stück Vom Himmel Sein - 3:26
9. Marika Rökk: Ach, Ich Habe Ja So Viel Rhythmus - 4:01
10. Die Goldenen Sieben: Mein Herz Ist Noch Frei - 3:05
11. Kary Barnet: Warum Ist Die Banane Gelb? - 2:34
12. Lizzi Waldmüller: Amanda, Komm - 2:51
13. Marika Rökk: In der Nacht Ist der Mensch Nicht Gern Alleine - 1:44
14. Heli Finkenzeller: Hallo, Hallo, Hallo, Sie Haben Ihre Frau Vergessen - 2:29
15. Vera Molnar: Wenn Ich Will, Stiehlt der Bill für Mich Pferde - 2:57
16. Metropol-Vokalisten: Die Juliska Aus Budapest - 2:54
17. Clara Tabody: Ja, Das Temperament - 2:31
18. Gretl Schorg: Dodo Ist eine Frau, Die Jeder Kennt - 2:34
19. Eva Busch: Ein Kuss, Der Muss Aus Spanien Sein - 3:18
20. Tullio Mobiglia: Sie Will Nicht Blumen und Nicht Schokolade - 2:41
CD 2
1. Dietmar Kivel: Wenn du von Mir Nichts Wissen Willst - 2:30
2. Hans-Arno Simon: Ach, Sag Doch Nicht Immer Wieder Dicker Zu Mir - 2:59
3. Willy Schneider: Wenn das Wasser im Rhein Goldner Wein Wär - 2:46
4. Friedel Hensch & Die Cyprys: Die Paula Muss Beim Tango Immer Weinen - 3:03
5. Dietmar Kivel: Du Darfst Mich Lieben für Drei Tolle Tage - 3:17
6. Bobby E. Schmitz: Stimmung 1951, Potpourri 1 - 2:50
7. Hans-Arno Simon: Anneliese - 2:51
8. René Carol: Deinen Namen, Den Hab Ich Vergessen - 3:34
9. Heinz Woezel: Ja, Ja, In Spanien - 3:06
10. Fred Rauch, Joszy Trojan-Regar: Herz-Schmerz-Polka - 3:02
11. Friedel Hensch & Die Cyprys: Mein Kaugummi - 2:51
12. Ruth Bruck: Du, Du, Du, Lass Mein Kleines Herz in Ruh - 2:53
13. Hans Werner Jürgens: Man Müsste Noch Mal Zwanzig Sein - 3:15
14. Bobby E. Schmitz: Stimmung 1951, Potpourri 2 - 2:34
15. Hans-Arno Simon: Gib Mir Den Wodka Anuschka - 2:50
16. Vico Torriani: Bravo, Bravo, Beinah Wie Caruso - 3:17
17. Wolfgang Sauer: Ach, Man Braucht Ja So Wenig, Um Glücklich Zu Sein - 3:01
18. Heinz Woezel: Du Hast So Wunderschöne Blaue Augen - 2:58
19. Friedel Hensch & Die Cyprys: Egon - 3:17
20. Die Kleine Cornelia: Ro-Ro-Ro-Ro Robinson - 2:54
V. A. (Membran Music) [>] [D]: Schlager Medaillons: Folge 11: Der Krieg und seine Schlager 1940-1944 [F]
Label und Katalognummer: Membran Music
Produktion: Verschiedene
Veröffentlicht: 2004 07 01 (Ed.)
Genretags: Europeana - Schlager
Trackliste: CD 1
1. Lale Andersen: Lili Marleen - 3:10
2. Rudi Schuricke: Für eine Nacht Voller Seligkeit - 2:38
3. Herbert Ernst Groh: Hörst du Mein Heimliches Rufen? - 3:14
4. Lizzi Waldmüller: Du Gehst Durch All Meine Träume - 3:27
5. Rudi Schuricke: Einmal Wir
st du Wieder bei Mir Sein - 3:05
6. Heinz Müller: So Schön Wie Heut - 3:11
7. Wilhelm Strienz: Heimat, Deine Sterne - 3:20
8. Johannes Heesters: Liebling, Was Wir
d Nun Aus Uns Beiden? - 2:09
9. Orchester Michael Jary: So Wir
d's Nie Wieder Sein - 3:03
10. Heinz-Maria Lins: Im Leben Geht Alles Vorüber - 2:15
11. Bruno Saenger: Schenk Mir Dein Lächeln, Maria - 3:02
12. Ilse Werner: Wir
Machen Musik - 2:35
13. Zarah Leander: Ich Weiß, Es Wir
d Einmal ein Wunder Geschehn - 3:29
14. Herbert Ernst Groh: Wer Die Heimat Liebt - 2:57
15. Ilse Werner: Wann Wir
st du Wieder bei Mir Sein? - 2:36
16. Orchester Corny Ostermann: Mit Musik Geht Alles Besser - 2:25
17. Lale Andersen: Es Geht Alles Vorüber, Es Geht Alles Vorbei - 3:20
18. Magda Hain: Möwe, Du Fliegst in Die Heimat - 3:17
19. Hans Albers: Beim Ersten Mal, Da Tut's Noch Weh - 2:46
20. Zarah Leander: Davon Geht Die Welt Nicht Unter - 2:30
CD 2
1. Horst Winter: Lass Dein Herz bei Mir Zurück - 3:05
2. Willy Fritsch: Ich Freue Mich, Wenn Wieder Sonntag Ist - 2:59
3. Marika Rökk: In der Nacht Ist der Mensch Nicht Gern Alleine - 2:37
4. Kary Barnet: Ich Lass Meinen Peter Nie Allein - 2:57
5. Lizzi Waldmüller: Ich Will Dein Schatten Sein - 3:33
6. Orchester Willy Berking: Kauf Dir einen Bunten Luftballon - 3:20
7. Walter Müller / Marika Rökk: Mach Dir Nichts Daraus - 3:48
8. Ilse Werner: Schön War Es Doch - 2:54
9. Kary Barnet: Zum Abschied Reich Ich Dir Die Hände - 2:39
10. Helga Wille: Wovon Kann ein Landser Denn Schon Träumen? - 2:50
11. Hans Albers: Flieger, Grüß Mir Die Sonne - 3:05
12. Willy Schneider: Tapfere Kleine Soldatenfrau - 3:24
13. Musikkorps Der Luftwaffe: Ich Bin ein Deutscher Matrose - 2:46
14. Kinderchor: Söhne für Die Soldaten - 1:13
15. Herms Niel: Erika - 3:12
16. Kary Barnet: Bitte Schreib ein Paar Worte - 3:03
17. Musikkorps Der Luftwaffe: Fliegerkuss - 3:46
18. Suzy Solidor: Lili Marlene - 3:22
19. Marlene Dietrich: Lili Marlen - 3:03
20. Lucie Mannheim: Lili Marleen - 3:47
V. A. (Membran Music) [>] [D]: Schlager Medaillons: Folge 15: Seemannsromantik und Lagerfeuerträume [F]
Label und Katalognummer: Membran Music
Produktion: Verschiedene
Veröffentlicht: 2004 (Ed.)
Genretags: Europeana - Schlager
Trackliste: CD 1
1. Dominos: Auf der Reeperbahn - 2:16
2. Die Monacos: Das Ist Die Liebe der Matrosen - 2:08
3. Orchester Egon Kaiser: Fahr Mich in Die Ferne, Du Blonder Matrose - 2:13
4. Ein Seemannschör: Das Kann Doch einen Seemann Nicht Erschüttern - 2:55
5. Andreas Werner: Unter der Roten Laterne von St. Pauli - 2:53
6. Peter René Körner: Wenn der Hein in Rio Ist - 3:15
7. Gorgowsky Quartett: Das Schmeisst Doch einen Seemann Nicht Gleich Um - 2:39
8. Hein Timm: Blaue Nacht Am Hafen - 3:00
9. Bruce Low: So Viel Wind und Keine Segel - 3:09
10. Erwin Bolt: Am Sonntag Will Mein Süßer mit Mir Segeln Gehn - 2:36
11. Liselotte Malkowsky: Warum Zählen Die Matrosen Nachts Die Sterne? - 3:38
12. Richard Germer: Nimm Mich mit, Kapitän, Auf Die Reise - 3:12
13. Sampler: Schön Ist Die Liebe im Hafen - 2:53
14. Liselotte Malkowsky: Das Rote Licht an Backbord - 3:27
15. Lale Andersen: Hafen und Mädchen - 2:56
16. Hans Albers: La Paloma - 3:20
17. Liselotte Malkowsky: Es Geht ein Schiff in See - 3:45
18. Bibi Johns: Auf Jamaica Schenken Abends Die Matrosen - 2:47
19. Lale Andersen: Am Kai bei der Alten Laterne - 2:48
20. Liselotte Malkowsky: Der Alte Seemann Kann Nachts Nicht Schlafen - 3:27
CD 2
1. Medium-Terzett: Tom Dooley - 2:34
2. Kilima Hawaiians: Cowboy's Traum - 2:53
3. Ralf Paulsen: Bonanza - 2:11
4. Tennessee: Ein Bier, Ein Bier - 3:04
5. Lys Assia / Vico Torriani: Der Cowboy Hat Immer ein Mädel - 2:55
6. Medium-Terzett: San Antonio Rose - 2:22
7. Kilima Hawaiians: Es Hängt ein Pferdehalfter an der Wand - 3:24
8. Bruce Low: Tabak und Rum - 3:45
9. Tennessee: Wir
Spielen Cowboy und Wildwest - 2:27
10. Medium-Terzett: Von Den Blauen Bergen Kommen Wir
- 2:57
11. Kilima Hawaiians: Ein Pferd Kehrt Heim - 3:24
12. Gunter Gabriel: Hey Boss, Ich Brauch Mehr Geld - 3:10
13. Ilja Glusgal: Mein Roter Bruder Wohnt in Arizona - 2:53
14. Medium-Terzett: Wenn Es Nacht Wir
d in Montana - 2:29
15. Kilima Hawaiians: Lagerfeuer - 2:47
16. Tennessee: Nevada - 3:04
17. Gerhard Wendland: Geisterreiter - 2:36
18. Kilima Hawaiians: Cowboy's Heimweh - 2:46
19. Tennessee: Wir
Sind 'ne Kleine Countryband - 3:16
20. Gerhard Wendland: Bei Uns in Laramie - 2:23
V. A. (Membran Music) [>] [D]: Schlager Medaillons: Folge 01: Die Schlager-Steinzeit 1905-1919 [F]
Label und Katalognummer: Membran Music 4011222223012
Produktion: Verschiedene
Veröffentlicht: 2004 (Ed.)
Genretags: Europeana - Schlager
Quelle für Covers und Tracklisten: Samplerinfos
Trackliste: CD 1
1. Otto Reutter: Das find ich reizend von der Frau - 2:56
2. Willi Rose: Komm in meine Liebeslaube - 2:29
3. Claire Waldoff: Wenn der Tambour - 3:00
4. Ludwig Arno: Paula, mach die Bluse zu - 2:52
5. Die Monacos: Es war einmal ein treuer Husar - 2:30
6. Otto Reutter: Wie die kleinen Kinder - 2:20
7. Paul Bendix: Fräulein Backhaus - 2:59
8. Claire Waldoff: Mir ist so trübe - 2:59
9. Willi Rose: Puppchen, du bist mein Augenstern - 2:39
10. Margarete Wiedecke: Max hat 'n Knax - 2:12
11. Brigitte Mira: Die Männer sind alle Verbrecher - 2:06
12. Gustav Schönwald & Elsa Güde: Im Berliner Zoo - 2:44
13. Otto Reutter: Das ist mir ganz egal - 2:56
14. Claire Waldoff: Wer wird denn weinen, wenn man auseinander geht - 2:57
15. Herbert Prikopa: Ganz ohne Weiber geht die Chose nicht - 2:07
16. Rudolf Christ: Rose von Stambul - 3:38
17. Otto Reutter: Ja, die Natur lässt sich nichts befehlen - 3:12
18. Die Colombinos: Auf der Reeperbahn nachts um halb eins - 2:14
19. Claire Waldoff: Piefke in Paris - 3:03
20. Otto Reutter: Nicht so laut - 5:55
CD 2
1. Egon Kaiser & sein Orchster: Alexander's Ragtime Band - 2:56
2. Fritzi Brandeis: Der Klopfgeist - 3:29
3. Otto Reuter: Nun grade nicht - 2:53
4. Josma Selim: Wiener Wiegenlied - 3:04
5. Claire Waldoff: ne dufte Stadt ist mein Berlin - 2:50
6. Erika Mechera & Rudolf Christ: Erklingen zum Tanze die Geigen - 3:18
7. Otto Reutter: Aber keiner fängt an - 2:35
8. Wilfried Krüger & sein Orchester: Whispering - 2:32
9. Orchester Josef Leo Gruber: Leuchtkäfers Stelldichein - 3:11
10. Claire Waldoff: Das Lied von der grünen Wiese - 3:11
11. Josma Selim: Anette - 3:00
12. Fritzi Brandeis: Die Hosen der Jungfrau von Orleans - 4:10
13. Otto Reutter: Des Bürgermeisters Töchterlein - 5:22
14. Erika Mechera: Du sollst der Kaiser meiner Seele sein - 3:08
15. Claire Waldoff: Der Soldate - 2:38
16. Rudolf Christ: Im Prater blühn wieder die Bäume - 3:29
17. Otto Reutter: Vergänglichkeit - 2:39
18. Arnold Rieck & Rosi Loibner: Im Lustgarten ist Frühkonzert - 2:38
19. Claire Waldoff: Auf der Banke an der Panke - 3:29
20. Otto Reutter: Sehn Sie, darum ist es schade, dass der Krieg zu Ende ist - 2:17
V. A. (Membran Music) [>] [D]: Schlager Medaillons: Folge 02: Der Schlager lernt das Laufen 1920-1927 [F]
Label und Katalognummer: Membran Music 4011222223029
Produktion: Verschiedene
Veröffentlicht: 2004 (Ed.)
Genretags: Europeana - Schlager
Trackliste: CD 1
1. Heinz Maria Lins: Salome - 2:45
2. Brigitte Mira & Willi Rose: Der Bummelpetrus - 2:52
3. Rudolf Scherfling: Komm Mein Schatz, Wir
Trinken - 2:15
4. Die Colombinos: Ja Der Sonnenschein - 2:04
5. Ina Brosow & Rudolf Scherfling: Warte, Warte Nur Ein Weilchen - 2:52
6. Jean Löhe: Valencia - 2:27
7. Heinz Maria Lins: Ich Hab Mein Herz In Heidelberg Verloren - 1:44
8. Erwin Hartung: Ich Hab Das Fräulein Helen Baden Sehn - 2:36
9. Die Monacos: Trink, Trink, Brüderlein Trink - 2:35
10. Willi Prager: Wohnungsamt - 2:30
11. Fritzi Frou: Was Ist Mit Deiner Nase Los, Süßer Emil - 2:15
12. Paul Graetz: Das Ist Der Herzschlag - 6:04
13. Willy Rosen: Die Sparsame Brigitte - 2:53
14. Joseph Plaut: Als Die Römer Frech Geworden - 4:02
15. Guido Gialdini: Tamerlan - 1:47
16. Willy Rosen: Das Find Ich Reizend Von Lulu - 2:50
17. Max Pallenberg: Scharfrichter Couplet - 2:12
18. Carl de Vogt: Trude, Trudelchen - 3:25
19. Alfred Strauss: Gott Sei Dank - Ich Bin Ledig - 2:35
20. Max Kuttner: Die Oma Trägt Jetzt Einen Bubikopf - 2:03
CD 2
1. Max Hansen: Ich Kenn Zwei Süße Schwestern - 3:20
2. Iwan Frank: Die Schöne Josephine In Der Badekabine - 3:38
3. Fritz Berger: Komm In Mein Paddelboot - 3:16
4. Alfred Strauss: Komm Ins Grüne, Karoline - 2:51
5. Leo Monosson: Wenn Die Elisabeth - 2:59
6. Marek Weber & Sein Orchester: Oh Donna Clara - 3:09
7. Kurt Mühlhardt: Wenn Ich Die Blonde Inge - 3:04
8. Leo Monosson: Guck Doch Nicht Immer Nach Dem Tangogeiger Hin - 2:51
9. Willy Rosen: Das Ist Berlin Auf Der Tauentzien - 3:08
10. Paul O'Montis: Was Hast Du Für Gefühle Moritz - 2:29
11. Max Kuttner: Mein Süßer Heißgeliebter Ivan - 2:52
12. Willy Weiss: Wenn Du Meine Tante Siehst - 3:12
13. Robert Koppel: Mein Süßer Schatz Dein Saxophon - 2:50
14. Max Kuttner: Mein Fritz Macht Winke-Winke - 2:51
15. Dajos Béla Orchester: Sei Meine Frau Auf 24 Stunden - 3:55
16. Iwan Frank: Das Lied Vom Angeln - 3:38
17. Fritz Imhoff: Für Dich - 3:08
18. Efim Schachmeister & Sein Tanzorchester: Ausgerechnet Bananen - 3:21
19. Claire Waldoff: Groschenlied - 3:14
20. Wenskat Orchester: Wo Sind Deine Haare, August - 3:24
V. A. (Membran Music) [>] [D]: Schlager Medaillons: Folge 03: Die Goldenen Zwanziger [F]
Label und Katalognummer: Membran Music 4011222223036
Produktion: Verschiedene
Veröffentlicht: 2004 (Ed.)
Genretags: Europeana - Schlager
Trackliste: CD 1
1. Karkoff-Orchester: Ich bin verrückt nach Hilde - 2:37
2. Max Kuttner: Wenn man ein Mädel küssen will - 2:28
3. Odeon-Orchester: Unberufen! Toi, toi, toi - 2:49
4. Max Steinert: Sag nicht Du zu mir - 2:57
5. Hans Richter: Ich hab nichts; du hast nichts - 2:42
6. Max Kuttner: Jede Gnädige, jede Ledige - 2:47
7. Odeon Orchester: Lene Lehmann ging mal spazieren - 2:49
8. Heinz Maria Lins: In einer kleinen Konditorei - 2:57
9. Erwin Hartung: Oh Donna Clara - 3:14
10. Max Kuttner: Was machst du, lieber Schatz - 2:14
11. Max Steinert: Ich will von der Lilly nichts wissen - 3:06
12. Alfred Strauss: Ich hab kein Auto - 2:41
13. Odeon Orchester: Sag Du, sag Du zu mir - 2:46
14. Harry Steier: Kling-klang, Brüder, stoßt an - 2:33
15. Boheme Orchester: Titine - 2:21
16. Luigi Bernauer: Ich brauch für Sonntag eine neue Braut - 3:26
17. Trio Sorrento: Ich brauche keine Millionen - 2:59
18. Margot Friedländer: Das Karussell - 2:49
19. Trude Lieske: Sie küssen mir die Hand, mein Herr - 2:36
20. Liane Haid: Adieu, mein kleiner Gardeoffizier - 4:17
CD 2
1. Robert Koppel: Der Onkel Eduard - 3:29
2. Käthe Dorsch: Zu jeder Liebe gehört ein Gläschen Wein - 3:11
3. Heinz Rühmann & Willy Fritsch: Lieber, guter Herr Gerichtsvollzieher - 3:18
4. Charlotte Susa: Kannst du mir sagen, wie spät es ist? - 3:12
5. Lilian Harvey & Willy Fritsch: Eine Liebelei so nebenbei - 3:12
6. Franz Baumann: Ich war nie mit Lilly allein - 2:26
7. Richard Tauber: Wenn der weiße Flieder wieder blüht - 3:50
8. Lizzi Waldmüller: Meine Mama ist aus Yokohama - 2:27
9. Max Hansen: Gehst du mit nach Honululu, geh ich auch nach Honululu - 2:09
10. Claire Waldoff: Lieber Leierkastenmann - 2:54
11. Tino Pattiera: Ich hab kein Geld, bin vogelfrei - 1:47
12. Leo Schützendorf: Schwamm drüber - 2:39
13. Comedian Harmonists: Ich hab für dich 'nen Blumentopf bestellt - 2:43
14. Paul Godwin & seine Jazz-Symphoniker: Es liegt in der Luft - 2:47
15. Robert Koppel: Heut gehen wir morgen erst ins Bett - 2:37
16. Fritz Berger: Wenn die liebe Tante mit dem guten Onkel - 2:58
17. Alfred Strauss: Gott sei Dank, ich bin ledig - 2:34
18. Max Kuttner: Die Oma trägt jetzt einen Bubikopf - 2:04
19. Julian Fuhs & Orchester: Hast du nicht 'ne abgelegte Braut für mich? - 2:57
20. Kurt Mühlhardt: Mein Hund beißt jede hübsche Frau ins Bein - 3:03
V. A. (Membran Music) [>] [D]: Schlager Medaillons: Folge 04: Das Grammophon erobert die Wohnzimmer [F]
Label und Katalognummer: Membran Music 4011222223043
Produktion: Verschiedene
Veröffentlicht: 2004 (Ed.)
Genretags: Europeana - Schlager
Trackliste: CD 1
1. Richard Tauber; Oh Mädchen, Mein Mädchen - 3:27
2. Jarmila Novotná; Meine Lippen, Sie Küssen So Heiß - 3:25
3. Michael Bohnen; Ständchen Des Casanova - 2:52
4. Leo Slezak; Das Waren Zeiten - 3:07
5. Fritzi Massary / Max Pallenberg; Josef, Ach Josef - 2:57
6. Charles Kullmann; Ich Träume mit Offenen Augen - 3:04
7. Helge Rosvaenge; Immerzu Singt Mein Herz - 3:22
8. Marta Eggerth; Kann Nicht Küssen Ohne Liebe - 2:52
9. Anton Dermota; Du Bist Meine Sonne - 3:07
10. Gitta Alpar / Herbert Ernst Groh; Es Träumt Venezia - 2:44
11. Marcel Wittrisch; Ich Bin Nur ein Armer Wandergesell - 3:00
12. Greta Keller; Das Lied Vom Schwachen Stündchen - 2:54
13. Willy Prager; Ich Weiß, Das Ist Nicht So - 3:11
14. Peter Anders / Erna Berger; Mir Hat ein Märchen Heut Geträumt - 2:58
15. Singing Babies; Auf Wiedersehen, Baby, Ich Vergeß Dich Nie - 2:24
16. Melody Gents; Ich Möchte Heiraten - 2:48
17. Oskar Dénes; Do, Do, Do - 2:40
18. Marianne Alfermann; Träume, Liebling, Von Mir - 2:54
19. Ruth Arden; Komm in das Land der Liebe mit Mir - 3:16
20. Lea Seidl; Ich Bin Die Marie von der Haller-Revue - 2:31
CD 2
1. Max Kuttner; Ich Hab Zu Haus ein Grammophon - 2:26
2. Richard Tauber; Das Alte Lied - 2:32
3. Alexander Flessburg; Schön und Schick - 2:49
4. Kurt von Ruffin; Komm, Fahr mit Mir - 2:45
5. Orchester Marek Weber; One Step to Heaven - 2:41
6. Robert Koppel; Man Schenkt Sich Rosen, Wenn Man Verliebt Ist - 2:47
7. Kurt Hardt; Die Süsse Minna Wir
d Immer Dünner - 2:40
8. Otto Reutter; Der Gewissenhafte Maurer - 3:17
9. Willy Rosen; Der Filmstar - 3:58
10. Vera Schwarz / Richard Tauber; Bei Einem Tee en Deux - 3:12
11. Käthe Dorsch; Ein Liebesbrief, Ein Rosenstrauss - 3:41
12. Erik Wir
l; Marietta, Holdes Frauenbild - 2:53
13. Lillie Claus; Ich Bin Verliebt - 3:20
14. Friedel Schuster; Wovon Träumen Alle Frauen - 3:04
15. Claire Waldoff; Das Lied Vom Vater Zille - 2:49
16. Hans Albers; Kind, Du Brauchst Nicht Weinen - 2:54
17. Lilian Harvey; Lass Mich Einmal Deine Carmen Sein - 3:02
18. Leo Slezak; Wenn Ich Vergnügt Bin - 2:53
19. Franz Baumann; Kokolores - 2:55
20. Paul O'Montis; Die Zerbrochene Schallplatte - 2:29
V. A. (Membran Music) [>] [D]: Schlager Medaillons: Folge 05: Die frühe Zeit des Radios [F]
Label und Katalognummer: Membran Music 4011222223050
Produktion: Verschiedene
Veröffentlicht: 2004 (Ed.)
Genretags: Europeana - Schlager
Trackliste: CD 1
1. Luigi Bernauer: Hallo, hier ist Berlin - 3:10
2. Max Hansen: Einmal möchte ich sie küssen, gnädige Frau - 2:49
3. Fritz Immhoff: Für Dich - 3:08
4. Richard Tauber: Tausend rote Rosen - 4:10
5. Harald Paulsen: Deinetwegen fahr ich nicht mehr U-Bahn - 2:30
6. Wenskat Orchester: Wo sind deine Haare, August? - 3:25
7. Willy Rosen: Frau Meier tanzt Tango - 2:58
8. Max Hansen: Mein Herz ist butterweich - 2:57
9. Die Abels: Sellerie - 2:57
10. Max Hansen: Rote Rosen - 4:34
11. Marcel Wittrisch: Ihre Augen, Madame - 3:19
12. Siegfried Arno: Was kann der Sigismund dafür? - 2:59
13. Walter Jurmann: Wenn die Elisabeth - 3:01
14. Greta Keller: Zwischen heute und morgen - 2:09
15. Alexa von Engström: Die Sprache der Liebe ist international - 2:59
16. Leo Moll: Wer weiß, wer weiß - 3:14
17. John Hendrik: Wann wirst du mir gehören? - 2:50
18. Comedian Harmonists: Blume von Hawaii - 2:55
19. Leo Moll: Ein letztes Mal möchte ich mit dir noch tanzen - 3:24
20. Rosi Barsoni: Gibt's im Radio Tanzmusik? - 2:59
CD 2
1. Rundfunkorchester mit Gesang: Die schöne Adrienne - 3:16
2. Max Hansen: Jetzt geht's der Dolly richtig gut - 2:38
3. Hans Söhnker: Man sieht ein Mädel an - 3:06
4. Louise Gordan: Dir möchte ich mich gerne anvertrauen - 3:04
5. Anita Wall: Ach, Willy - 2:24
6. Eric Helgar & Partnerin: Jeder macht mal eine Dummheit - 3:11
7. Marlene Dietrich: Allein in einer großen Stadt - 3:43
8. Max Mensing: Hör mal zu, wir sagen Du - 3:14
9. Brigitte Horney: Geständnis - 3:26
10. Alfred Strauss: Wenn der Frühling kommt ins Land - 2:52
11. Käthe von Nagy: Wenn ich sonntags in mein Kino geh' - 3:07
12. Leo Monosson: Für alle - 3:31
13. Siegfried Arno: Ihr reizenden Frauen - 2:50
14. Rudi Godden: Ein Mädel wie du - 3:00
15. Leo Monosson: Um das bisschen Liebe - 3:11
16. Erwin Hartung: So ein Kuss kommt von allein - 3:11
17. Eric Helgar: Beim 5 Uhr-Tee am Strandcafé - 3:25
18. Theodor Scheidl: Ich muss wieder einmal in Grinzing sein - 3:40
19. Trude Lieske & Partner: Schau nie zu tief in schöne Augen - 3:19
20. Hans Albers & Irene Ambrus: Ich will Sie küssen, wenn Sie es verlangen - 2:59
V. A. (Membran Music) [>] [D]: Schlager Medaillons: Folge 06: Der Tonfilm macht die ersten Schlager 1928-1933 [F]
Label und Katalognummer: Membran Music 4011222223067
Produktion: Verschiedene
Veröffentlicht: 2004 (Ed.)
Genretags: Europeana - Schlager
Trackliste: CD 1
1. Marlene Dietrich: Ich bin von Kopf bis Fuß auf Liebe eingestellt (Der blaue Engel) - 3:03
2. Lilian Harvey: Das gibt's nur einmal (Der Kongress tanzt) - 3:07
3. Renate Müller: An einem Tag im Frühling (Viktor und Viktoria) - 3:16
4. Lilian Harvey & Willy Fritsch: Liebling, mein Herz lässt dich grüßen (Die drei von der Tankstelle) - 2:52
5. Jan Kiepura: Ninon, lach mir einmal zu (Ein Lied für dich) - 2:25
6. Marlene Dietrich: Nimm dich in acht vor blonden Fraun (Der blaue Engel) - 3:13
7. Heinz Rühmann, Otto Karlweis & Willi Fritsch: Ein Freund, ein guter Freund (Die drei von der Tankstelle) - 193) - 2:28
8. Hans Albers: Das ist die Liebe der Matrosen (Bomben auf Monte Carlo) - 0:59
9. Hans Moser: Die Reblaus (Der Kongress tanzt) - 3:05
10. Lilian Harvey: Chanson der flotten Liese (Zwei Herzen und ein Schlag) - 2:40
11. Liane Haidt: Adieu, mein kleiner Gardeoffizier (Das Lied ist aus) - 4:20
12. Comedian Harmonists: Wenn der Wind weht (Bomben auf Monte Carlo) - 3:01
13. Jan Kiepura: Heute Nacht oder nie (Das Lied einer Nacht) - 3:28
14. Willi Forst: Die Liebe ist wie ein Tonfilm (Das Lied ist aus) - 2:03
15. Joseph Schmidt: Ein Lied geht um die Welt - 2:40
16. Magda Schneider: Was lachst du, was weinst du (Ein Mädel wirbelt um die Welt) - 2:52
17. Willi Forst: Das ist die Sonne von Arkadien (Der Prinz von Arkadien) - 3:10
18. Jan Kiepura: Oh Madonna (Ein Lied für dich) - 2:19
19. Willi Forst: Ich hab ein großes Heimweh (Der Prinz von Arkadien) - 3:01
20. Harald Paulsen: Wenn du wüsstest, wie ich dich verehre (Ein Mädel wirbelt um die Welt) - 2:56
CD 2
1. Hans Albers: Flieger, grüß mir die Sonne (FP 1 antwortet nicht) - 3:03
2. Marlene Dietrich: Kinder, heut Abend such ich mir was aus (Der blaue Engel) - 2:40
3. Max Ehrlich: Das klingt, als wenn's ein Märchen wär (Jettchen gebert) - 3:21
4. Lillian Harvey: Irgendwo auf der Welt gibt's ein kleines bisschen Glück (Ein blonder Traum) - 3:08
5. Willy Fritsch: Bin kein Hauptmann, bin kein großes Tier (Melodie des Herzens) - 2:40
6. Hans Albers: Hoppla, jetzt komm ich (Der Sieger) - 2:49
7. Marlene Dietrich: Ich bin die fesche Lola (Der blaue Engel) - 2:36
8. Willy Fritsch: Ich lass mir meinen Körper schwarz bepinseln (Einbrecher) - 2:35
9. Orchester Marek Weber: Auch du wirst mich einmal betrügen (Zwei Herzen im 3/4-Takt) - 3:07
10. Lillian Harvey: Das macht Baby (Zwei Herzen und ein Schlag) - 2:32
11. Leo Moll: Zwei Herzen im 3/4-Takt - 2:47
12. Marlene Dietrich: Wenn ich mir was wünschen dürfte (Der Mann der seinen Mörder sucht) - 1:55
13. Leo Monosson: Du bist nicht die Erste (Ihre Majestät die Liebe) - 2:57
14. Max Hansen: Mein Herz ist butterweich (Die drei Musketiere) - 2:57
15. Marlene Dietrich: Leben ohne Liebe (Nie wieder Liebe) - 3:03
16. Lillian Harvey: Wie hab ich nur leben können ohne dich (Ich und die Kaiserin) - 3:08
17. Heinz Egon: Eine Nacht in Monte Carlo (Bomben auf Monte Carlo) - 3:02
18. Oskar Karlweis & Margo Lion: Es liegt in der Luft - 3:07
19. Hans Albers: Ganz dahinten, wo der Leuchtturm steht (FP 1 antwortet nicht) - 3:19
20. Willi Forst, Willy Fritsch & Lillian Harvey: Wir
zahlen keine Miete mehr (Ein blonder Traum) - 3:09
V. A. (Membran Music) [>] [D]: Schlager Medaillons: Folge 07: Der Tonfilm-Schlager macht Karriere 1934-1939 [F]
Label und Katalognummer: Membran Music 4011222223074
Produktion: Verschiedene
Veröffentlicht: 2004 (Ed.)
Genretags: Europeana - Schlager
Trackliste: CD 1
1. Pola Negri: Siehst Du die Sterne? (Die Nacht der Entscheidung) - 2:50
2. Karl Raddatz: Einmal wirst du wieder bei mir sein (Wir
tanzen um die Welt) - 2:43
3. Johannes Heesters: Jede Frau hat ein süßes Geheimnis (Das Abenteuer geht weiter) - 3:17
4. Lizzi Waldmüller: Du hast Glück bei den Frau'n, Bel Ami (Bel Ami) - 3:06
5. Victor de Kowa: Man muss auch mal 'nen Hupfer tun (Mit versiegelter Order) - 2:34
6. Paul Hörbiger: Das tu ich alles nur für Ursula (Männer müssen so sein) - 2:27
7. Zarah Leander: Heut Abend lad ich mir die Liebe ein (Das Lied der Wüste) - 2:14
8. Gustaf Gründgens: Die Nacht ist nicht allein zum Schlafen da (Tanz auf dem Vulkan) - 2:42
9. Willy Fritsch: Warum hat die Adelheid keinen Abend für mich Zeit? (Frau am Steuer) - 2:42
10. Hans Söhnker: Unter den Pinien von Argentinien (Truxa) - 1:25
11. Zarah Leander: Kann denn Liebe Sünde sein? (Der Blaufuchs) - 3:00
12. Marika Rökk: Von meiner Heimat hab ich geträumt (Leichte Kavallerie) - 3:12
13. Hilde Hildebrand: Ja, die Männer sind meine schwache Seite (Menschen ohne Vaterland) - 3:16
14. Dorit Kreysler: Beim Walzer mach' ich die Augen zu (Freut Euch des Lebens) - 2:39
15. Zarah Leander: Der Wind hat mir ein Lied erzählt (La Habanera) - 3:51
16. Johannes Heesters & Edith Schollwer: Ich werde jede Nacht von Ihnen träumen (Gasparone) - 1:35
17. Lilian Harvey & Willy Fritsch: Ich tanze mit dir in den Himmel hinein (Die sieben Ohrfeigen) - 2:55
18. Hilde Hildebrand: Liebe ist ein Geheimnis (Die englische Heirat) - 3:07
19. Jan Kiepura: Ob blond, ob braun, ich liebe alle Frau'n - 2:21
20. Max Schmeling, Kurt Gerron & Hugo Fischer-Köppe: Das Herz eines Boxers (Liebe im Ring) - 3:17
CD 2
1. Willi Forst: Komm, spiel mit mir Blindekuh (Allotria) - 2:57
2. Zarah Leander: Ich steh im Regen (Zu neuen Ufern) - 3:37
3. Marika Rökk: In einer Nacht im Mai (Eine Nacht im Mai) - 3:00
4. Heinz Rühmann: Wozu ist die Straße da? (Lumpacivagabundus) - 2:42
5. Johannes Heesters & Rudi Godden: Ich brauche keine Millionen (Hallo Janine) - 2:06
6. Zarah Leander: So bin ich und so bleibe ich - Yes, Sir (Zu neuen Ufern) - 2:43
7. Marika Rökk: Eine Insel, aus Träumen geboren (Eine Nacht im Mai) - 3:01
8. Heinz Rühmann: So ein Regenwurm hat's gut (Der Mann von dem man spricht) - 2:33
9. Hans Albers: Good Bye, Johnny (Wasser für Canitoga) - 4:55
10. Oskar Sima, Willy Fritsch & Paul Kemp: Ich wollt, ich wär ein Huhn (Glückskinder) - 4:16
11. Heinz Rühmann: Ich brech' die Herzen der stolzesten Frau'n (Fünf Millionen suchen einen Erben) - 2:26
12. Evelyn Künneke: Warum (Der Student von Prag) - 3:21
13. Jan Kiepura: Mein Herz ruft immer nur nach dir, o Martha (Mein Herz ruft immer nach dir) - 3:04
14. Hilde Körber: So oder so ist das Leben (Liebe, Tod und Teufel) - 2:52
15. Herbert Ernst Groh: Auf der Heide blühn die letzten Rosen (Herbstmanöver) - 2:43
16. Joseph Schmidt: Heut' ist der schönste Tag in meinem Leben - 3:15
17. Willi Forst: Sag beim Abschied leise Servus (Burgtheater) - 3:09
18. Zarah Leander: Nur nicht aus Liebe weinen (Es war eine rauschende Ballnacht) - 3:20
19. Rosita Serrano: Roter Mohn (Schwarzfahrt ins Glück) - 1:08
20. Grete Weiser: Die ganz besonders feinen Leute (Lady Windermeres Fächer) - 3:03
V. A. (Membran Music) [>] [D]: Schlager Medaillons: Folge 08: Gassenhauer der 20er und 30er Jahre [F]
Label und Katalognummer: Membran Music
Produktion: Verschiedene
Veröffentlicht: 2004 (Ed.)
Genretags: Europeana - Schlager
Trackliste: CD 1
1. Carlos Cantieni: Ach du kleiner Schieber - 3:00
2. Kalliope Orchester: Katinka hat ein Höschen an - 2:37
3. Odeon Orchester: Der Neger hat sein Kind gebissen - 3:10
4. Die Chiemgauer: Wenn am Sonntagabend die Dorfmusik spielt - 2:21
5. Odeon Orchester: Solang nicht die Hose am Kronleuchter hängt - 2:46
6. Geschwister Haas: Es war einmal ein Musikus - 2:38
7. Odeon Orchester: Eulalia du hast 'nen Schwips - 3:16
8. Harry Steier: Der Soldat hat einen Säbel - 2:58
9. Karkoff Orchester: Die Isabelle huppt in die Welle - 2:33
10. Max Kuttner: Die Polizei, die regelt den Verkehr - 2:45
11. Carlos Cantieni: Was macht der Meier am Himalaja - 3:10
12. Brigitte Mira: Was machst du mit dem Knie, lieber Hans? - 2:49
13. Hans Richter: Ich bin ganz Wigel Wigel Wagel - 3:04
14. Odeon Tanz Orchester: Mein Vetter Nick - 2:58
15. Heinz Maria Lins: Schöner Gigolo - 2:31
16. Die Dominos: Du kannst nicht treu sein - 2:31
17. Die Fröhlichen Polkamusikanten: Rosamunde - 2:45
18. Rudolf Scherfling: Es geht alles vorüber - 2:30
19. Die Dominos: Kornblumenblau - 3:07
20. Comedian Harmonists: Veronika, der Lenz ist da - 2:38
CD 2
1. Homocord Orchester: Wer hat bloß den Käse zum Bahnhof gerollt - 2:44
2. Austin Egen: Heut war ich bei der Frieda - 3:01
3. Berliner Orchester: Onkel Müller hat' nen Triller - 2:53
4. Erwin Bolt: Meine Oma fährt Motorad - 3:00
5. Orchester Efim Schachmeister: Ja bei den Hottentotten - 3:11
6. Eric Helgar: Mit dem Peng und dem Radi Radi Bum Bum Bum - 2:32
7. Orchester Dobri: Auf der grünen Wiese - 2:54
8. Hermann Feiner: Großmama, lass dir die Haare schneiden - 2:46
9. Die Melody Gents: Der Onkel Bumba aus Calumba - 3:15
10. Comedian Harmonists: Das Wir
tshaus an der Lahn - 3:03
11. Robert Koppel: Heinrich, wo greifst du denn hin - 2:46
12. Max Kuttner: Benjamin, ich hab nichts anzuziehn - 3:19
13. Kurt Mühlhardt: Ferdinand, du bist so ungalant - 2:53
14. Alexander Flessburg: Josef, Josef, lass los - 3:05
15. Fritz Berger: Mein Papagei frisst keine harten Eier - 3:01
16. Comedian Harmonists: Mein kleiner grüner Kaktus - 2:17
17. Max Kuttner: Ich reiß mir eine Wimper aus - 2:28
18. Irene Ambrus: Die Susi bläst das Saxophon - 2:25
19. Engelbert Milde: Herr Lehmann hat die Lu gezwickt - 2:55
20. Die Abels: Ich steh mit Ruth gut - 2:15
V. A. (Membran Music) [>] [D]: Schlager Medaillons: Folge 09: Die Stars von Kleinkunst und Kabarett [F]
Label und Katalognummer: Membran Music 4011222223098
Produktion: Verschiedene
Veröffentlicht: 2004 (Ed.)
Genretags: Traditionalpop - Varieteepop - Cabaret
Trackliste: CD 1
1. Otto Reutter: Es geht vorwärts - 3:27
2. Claire Waldoff: Warum soll er nicht mit ihr - 3:17
3. Hilde Hildebrand: Die Zeitfurie - 2:50
4. Curt Bois: Reizend - 2:44
5. Willy Rosen: Miese Zeiten - 3:12
6. Paul O'Montis: Weißt du was, du kannst mich mal - 3:02
7. Claire Waldoff: Das Lied vom Zille - 2:50
8. Blandine Ebinger: Das Mädchen mit den Schwefelhölzchen - 5:39
9. Willy Rosen: Warum hat bloß das Zebra so viele Streifen - 2:46
10. Otto Reutter: Karussell - 3:27
11. Oskar Denes: Mausi - 3:28
12. Paul O'Montis: Ghetto - 2:52
13. Claire Waldoff: Sabinchen war ein Frauenzimmer - 3:03
14. Otto Reutter: Wir
fangen nochmal von vorne an - 3:42
15. Lizzi Waldmüller: Ich bin die Frau, von der man spricht - 5:16
16. Max Hansen: Ach, Luise - 3:26
17. Karl Valentin & Liesl Karlstadt: Hasenbraten - 3:28
18. Blandine Ebinger: In den Abendwind geflüstert - 2:33
19. Willy Rosen: Pfui, schäme dich - 3:02
20. Eugen Rex: Prominente in Pantoffeln - 3:11
CD 2
1. Trude Hesterberg: Ich bin nicht die fromme Helene - 3:08
2. Theo Lingen: Der Schallplattenverkäufer - 3:16
3. Oskar Karlweis: Finden Sie, dass sich Constanze richtig verhält? - 2:29
4. Loni Heuser: Die Nervensäge - 3:13
5. Fredy Sieg: Ach, die schöne Angelei - 3:13
6. Max Hansen: Familienleben - 2:55
7. Iska Geri: Die Ballade vom ungetreuen Gustav - 6:37
8. Curt Bois: Lucindy - 2:33
9. Lizzi Waldmüller: Frauen brauchen Liebe - 2:53
10. Irene Ambrus: Heinrich, wo greifst du denn hin? - 2:56
11. Carl de Vogt: Trude Trudelchen - 3:23
12. Kurt Mühlhardt: Nur wenn du willst - 3:23
13. Willy Rosen: Was hast du mit der Adelheid bloß vorgehabt - 2:42
14. Blandine Ebinger: Drei Wünsche - 2:44
15. Trude Hesterberg: Was zieh ich heute an - 2:53
16. Rotraud Richter: Von der ewigen Treue - 3:19
17. Renate Müller: Wie sag ich's meinem Mann? - 3:01
18. Vicky Werkmeister: Ach, lieber, guter Paul - 2:57
19. Die Vier Nachrichter: Sie müssten mal zum Doktor gehen - 2:44
20. Loni Heuser: Jüterbog - 3:10
V. A. (Membran Music) [>] [D]: Schlager Medaillons: Folge 10: Swing tanzen verboten [F]
Label und Katalognummer: Membran Music 4011222223104
Produktion: Verschiedene
Veröffentlicht: 2004 (Ed.)
Genretags: Traditionalpop - Orchestralpop - Vocalist, Traditionalpop - Orchestralpop - Swing, Europeana - Schlager
Trackliste: CD 1
1. Hans Bund: Tanzfieber - 2:27
2. Benny de Weille: Mitternacht am Kongo - 2:56
3. Joe Bund: Marianne, Marianne, Marianne - 3:02
4. Hans Weigelschmidt: Evelyn - 2:24
5. Hans Georg Schütz: Oui, Madame - 2:45
6. Gerd Gerald: Wenn es draußen dunkel ist - 3:18
7. Heinz Wehner: Eskapaden - 2:57
8. Willy Stanke: Seit tausend Tagen - 2:58
9. Corny Ostermann: Wer ist hier jung, wer hat hier Schwung - 2:36
10. Hans Rehmstedt: Foxtrott - 2:26
11. Helmut Zacharias: Schönes Wetter heute - 2:25
12. Kurt Widmann: Heiße Tage - 2:19
13. Stan Brenders: Opus 13 - 2:52
14. Willy Berking: Heut abend woll'n wir bummeln gehn - 2:36
15. Albert Vossen: Amazonas - 3:00
16. Fud Candrix: Côte d'Azur - 3:02
17. Hans Georg Schütz: Tempo, Herr Lehrer, Tempo - 2:35
18. Corny Ostermann: Er heißt Waldemar - 2:23
19. Die Goldene Sieben: Granada - 2:26
20. Will Glahe: Jeder weiß es besser - 2:29
CD 2
1. Adalbert Lutter: Fifi (1935) - 3:18
2. Ludwig Rüth: Liebst du mich - 3:02
3. Michael Jary: Karo Sieben - 2:50
4. Willy Berking: Hexentanz - 2:30
5. Franz Thon: Golfstrom - 2:33
6. Oskar Joost: Mädels, jetzt ist Damenwahl - 3:01
7. Wlli Stech: Wir
machen Musik - 2:38
8. Stan Brenders: Ja und nein - 2:56
9. Fud Candrix: Mit einer kleinen Melodie - 2:58
10. Julian Fuhs: Liebesrausch - 2:49
11. Will Glahe: Eskapaden - 2:45
12. Hans Bund: Mein Kaktus tanzt - 2:33
13. Heinz Wehner: Delphi-Fox - 3:13
14. Teddy Stauffer: Christopher Columbus - 3:43
15. Heinz Wehner: Meine Adelheid - 2:17
16. Fritz Weber: Zehn Uhr Zehn - 2:50
17. Arne Hülphers: Ich bin wie ich bin - 2:57
18. Will Glahe: Fräulein Mathilde - 3:00
19. Barnabas von Geczy: Tango Bolero - 3:12
20. Kurt Widmann: Denn ich bin zum Tanzen geboren - 2:43
V. A. (Mille Plateaux Media) [>] [D]: Clicks & Cuts 4 [F]
Label und Katalognummer: Mille Plateaux Media 004
Produktion: Verschiedene
Veröffentlicht: 2004 09 20 (Ed.)
Genretags: Electronica - IDM - Glitch-IDM
Trackliste: 1. Frank Elting: Spoken Word - 6:21
2. MicroNost: Got Mad Love - 3:54
3. Starch Boy: Rangoon - 5:16
4. Eight Frozen Modules: Dogsbark People Grow - 5:55
5. Ran Slavin: Below - 5:08
6. Ido Govrin: Breaking Through The Frequencies - 4:57
7. Electric Birds: When I See The Sun - 5:16
8. Tilman Ehrhorn: Clear - 6:34
9. Jay Haze: Too Good - 5:20
10. Twerk: Haiiro - 3:05
11. Thomas Brinkmann: Decoupe - 4:27
12. TBA (2): TREPA N - 2:18
13. @c: Int. 6/29 - 4:50
14. Ultra-Red: Neue Wir
tschaft (Freedom Of Movement) - 6:00
15. Bizz Circuits: Ghetto Ambient - 2:55
16. Håkan Lidbo: Lebensformen - 5:57
Besetzung: Phonographic Copyright (p) MillePlateauxMedia
; Phonographic Copyright (p) CCCP (3)
; Phonographic Copyright (p) Force Inc. Music Works
; Copyright (c) MillePlateauxMedia
; Copyright (c) CCCP (3)
; Copyright (c) Force Inc. Music Works
V. A. (Ministry of Sound) [>] [D]: Trance Nation [F]
Label und Katalognummer: Ministry Of Sound MOSCD 530
Produktion: Verschiedene
Veröffentlicht: 2018 11 30 (Ed.)
Genretags: Electronica - Trance - Progressivetrance
Trackliste: CD 1
1. Faithless: Insomnia (Monster Mix) -
2. Underworld: Born Slippy (NUXX) -
3. Darude: Sandstorm -
4. DJ Tiësto: Adagio For Strings -
5. York: On The Beach (CRW Edit) -
6. Robert Miles: Children -
7. Lange & Skye: Drifting Away -
8. Olive: You're Not Alone -
9. Sasha: Xpander -
10. Delerium & Sarah McLachlan: Silence (DJ Tiesto's In Search Of Sunrise Edit) -
11. Grace: Not Over Yet (Perfecto Edit) -
12. 4 Strings: Take Me Away (Into The Night) -
13. Planet Perfecto: Bullet In The Gun -
14. DJ Quicksilver: Belissima -
15. Cygnus X: Superstring (Rank 1's Edit) -
16. Thrillseekers & Sheryl Deane: Synaesthesia (Fly Away) (En-Motion Remix) -
17. Binary Finary: 1998 (Paul van Dyk Edit) -
18. Storm: Time To Burn -
19. Mario Più: The Vision (Vision 1 On Air Mix) -
20. Age Of Love: The Age Of Love (Jam & Spoon Watch Out For Stella Edit) -
CD 2
1. ATB: 9PM (Till I Come) -
2. Energy 52: Café Del Mar (Three N One Mix) -
3. Chicane & Maire Brennan: Saltwater -
4. Ian Van Dahl & Marsha: Castles In The Sky -
5. Rui Da Silva & Cassandra Fox: Touch Me -
6. Fragma: Toca Me -
7. Three Drives: Greece 2000 -
8. B.B.E.: Seven Days And One Week -
9. Faithless: God Is A DJ -
10. Southside Spinners: Luvstruck -
11. Sash!: Encore Une Fois (Future Breeze Edit) -
12. DJ Sammy & Yanou & Do: Heaven -
13. Brainbug: Nightmare (Sinister Strings Edit) -
14. Da Hool: Meet Her At The Love Parade (Nalin & Kane Mix) -
15. DJ Jean: The Launch -
16. Barthezz: On The Move -
17. Safri Duo: Played-A-Live (The Bongo Song) -
18. Tomcraft: Loneliness -
19. Zombie Nation: Kernkraft 400 -
20. N-Trance: Set You Free -
CD 3
1. Jurgen Vries: The Theme -
2. Public Domain: Operation Blade (Bass In The Place) -
3. PPK: Resurection -
4. Mauro Picotto: Lizard (Gonna Get You) (Claxixx Edit) -
5. Motorcycle: As The Rush Comes -
6. Nalin & Kane: Beachball -
7. Lasgo: Something -
8. Gouryella: Gouryella -
9. Veracocha: Carte Blanche -
10. Rank 1: Airwave -
11. System F: Out Of The Blue -
12. Warrior: Warrior -
13. Ferry Corsten: Punk -
14. Armin van Buuren: Communication -
15. Cosmic Gate: Fire Wir
e -
16. Agnelli & Nelson: El Nino -
17. Above & Beyond & Richard Bedford: Sun & Moon -
18. Ayla: Ayla (DJ Taucher Edit) -
19. CRW: I Feel Love (R.A.F. Zone Mix) -
20. Art Of Trance: Madagascar (Ferry Corsten Edit) -
Besetzung: Phonographic Copyright (p) Ministry Of Sound Recordings Ltd.
; Copyright (c) Ministry Of Sound Recordings Ltd.
; Distributed By Sony Music Entertainment
V. A. (Monika Enterprise) [>] [D]: Santa Monika: 24 Winter- und Weihnachtslieder in Zimmer-Lautstärke [F]
Label und Katalognummer: Monika Enterprise monika 12
Veröffentlicht: 1999 11 01
Genretags: Indiepop - Electronicpop - Wohnzimmer-Musik
Trackliste: 1. Komëit: Atomized
2. Paula: Engelein 3000
3. Die Welttraumforscher: Weihnachtsflocken
4. Barbara Morgenstern: White Christmas
5. Bodo Elsel: Marie
6. Buschmusik: Friedenmarch
7. Contriva: Shure Enough (Edit)
8. Daniel Johnston: Some People Don't Even Know If It's Christmastime
9. Thomas Fehlmann: Goldhaar
10. Surf: Wonderful Christmas Time
11. Rank: Shell Luck
12. Klaus Beyer: 2000 Jahre Weihnachten
13. Felix Kubin: I Lost My Heart In Reykjavik
14. Quarks: Christmas Whish
15. Hausmeister: Kenter
16. Wachtel Optimal: Schneeflocken
17. La La Vox Box: Prowling
18. SpVgg. Breitbarth: Und Was Machen Wir
Jetzt?
19. F.S. Blumm + Harald Sack Ziegler: Seesicht
20. Nova Huta: Soft End
21. Folke Rabe: Manic Christmas
22. Leif: Giona
23. Gudrun Gut: Steamstory
24. Unknown Artist: Becherung
V. A. (Mute) [>] [D]: International Compilation Mute [F]
Label und Katalognummer: Mute STUMM 040
Produktion: Verschiedene
Veröffentlicht: 1991 02 04 (Ed.)
Genretags: Postpunk - Electronic-Postpunk - Industrial
Trackliste: 1. Crime & the City Solution: I Have the Gun (Woodie Guthrie Mix) - 3:33
2. Depeche Mode: Enjoy the Silence (Extract from The Quad: Final Mix) - 3:47
3. Fortran 5: Crazy Earth (L'Edit De Syd) - 4:09
4. Mark Stewart: Fatal Attraction (Extended Version by Holger Hiller) - 5:34
5. Inspiral Carpets: Sackville - 4:57
6. Easy: Between John and Yoko - 3:43
7. Laibach: 10.5.1941 - 2:44
8. Erasure: Push Me, Shove Me (Live at Milton Keynes Bowl, 1 September 1990) - 4:30
9. Wir
e: Drill (Turn Your Coat) - 4:50
10. Renegade Soundwave: Pocket Porn (Dub Mix) - 2:35
11. Nitzer Ebb: Out of Mind (Spoken Mix) - 4:29
12. A.C. Marias: Give Me - 4:07
13. Nick Cave & The Bad Seeds: The Train Song - 4:45
14. Ohi Ho Bang Bang: The Three - 3:53
Besetzung: Design [Sleeve]: Area (10)
; Photography: Richard Burbridge
; Phonographic Copyright (p) Mute Records Ltd.
; Copyright (c) Mute Records Ltd.
; Published By Mute Song
; Published By Grabbing Hands
; Published By Sonet Publishing Ltd.
; Published By Serious Bass Music
; Published By Rap Beat Music
; Published By Another Note Music
; Published By Chrysalis Music
; Published By My Ears! My Ears!
; Published By Musical Moments
; Glass Mastered At DADC Austria
V. A. (Mutek_Rec) [>] [D]: Mutek 05 [F]
Label und Katalognummer: Mutek_Rec MTK 05
Produktion: Verschiedene
Veröffentlicht: 2005 06
Genretags: Electronica - IDM
Trackliste: CD 1
1. Danieto - Amanecer Zencillo (4:37)
2. Luci - November Pain (7:47)
3. Social System - Decasia (5:54)
4. Si-{cut}.db - Gameplan 2 (7:17)
5. Monolake - CCTV (5:46)
6. Bruno Pronsato - Bernhard & Moritz (6:35)
7. Stephen Beaupré - Shinemoon.I (4:03)
8. Pier Bucci - Minimel Subconcius (9:25)
9. Meek - Fleeting A (6:39)
10. Apparat - Bolz (3:46)
11. Simon Guibord - Maniqui (3:46)
12. Emisor - Mojada (4:05)
13. Galerie Stratique - Désorienté (court) (3:36)
14. Mendoza - Luz Divina (4:10)
CD 2
1. Radian - Entoderm (3:33)
2. Akumu - Evolute (0:32)
3. Günter Müller - Saturday_Snow (6:40)
4. Fm3 - Ruan (6:16)
5. Taylor Deupree - Torn (6:28)
6. Klimek - Sonnenreste (6:48)
7. Direwires - Documented Glance (3:54)
8. Richard Chartier - Tempt (8:11)
9. Martux_M - X-Scape (4:56)
10. Pablo Reche - Buscado (4:58)
11. Pomassl - Tandem Distiller (4:46)
12. Skoltz_Kolgen - asKaa 28.03.05 (5:38)
13. Kapital Band I: Maroun (3:33)
V. A. (Muzik Magazine) [>] [D] & Miss Kittin [>] [D]: Electroclash: Massive 19 Track Mix From Miss Kittin [F]
Label und Katalognummer: Muzik Magazine MUZIKMAG 87 / AUG 02
Veröffentlicht: 2002 08
Genretags: Electropop - New-Rave - Electroclash
Trackliste: 1. Miss Kittin - Who Am I (Vocal Intro)
2. Arpanet - Wir
eless Internet
3. System 01 - Drugs Work
4. TGV - Fools Gold - Vocals - Miss Kittin
5. a) M. Mayer - Love Is Stronger Than Pride, b) David Carretta - Vicious Game
6. DHS - House Of God - 2000 DHS Remix)
7. Dot Allison - Substance - Felix Da Housecat Remix)
8. T.Raumschmiere - Energiekriese
9. Audible - Estress Audio
10. Panasonic
- Teurastamo
11. Golden Boy With Miss Kittin - Rippin Kittin (Ellen Allien Remix)
12. A Number Of Names - Shari Vari (Ectomorph Remix)
13. Miss Kittin & The Hacker - Frank Sinatra 2001
14. Carsten Jost - A Certain Kind
15. Ellen Allien - Stadtkind (Barbara Morgenstern Remix)
16. Ultra-Red - A16
17. Zoot Woman - Living In A Magazine (Paper Faces Remix)
18. Thomas Brinkmann - Klicks
19. Miss Kittin - Berlin Is Burning (Vocal Outro)
V. A. (Nonplace) [>] [D]: Nonplace: 10th Anniversary Edition [F]
Label und Katalognummer: Nonplace NON 28
Produktion: Verschiedene
Veröffentlicht: 2010 04 23
Genretags: Electronica - IDM - IDM-Dubtronica
Trackliste: 1. Friedman & Liebezeit: The Librarian (Friedman Remix) - 4:25
2. Prof. Psygrooves: Flow (Friedman Remix) (Sygroves) - 5:28
3. Embassadors: Iboga Dreamtime (Medium) (Chisholm) - 5:30
4. Embassadors: Makena (Mark Ernestus Remix) (Friedman, Chisholm, Ernestus) - 3:44
5. Burnt Friedman: Where Should I Go? Instrumental Remix - 3:46
6. Burnt Friedman: Roots Automation - 5:15
7. Flanger: Funeral March (Remix) (Atomâ?¢, Friedman) - 2:38
8. Root 70 Plays Flanger: Nightbeat (Flanger Remix) (Atomâ?¢, Friedman) - 2:54
9. Flanger: Crime In The Pale Moonlight (Remix) (Atomâ?¢, Friedman) - 3:42
10. Flanger: Crime In The Pale Moonlight (Rashad Becker Remix) (Atomâ?¢, Friedman) - 4:10
11. Flanger: Peninsula (2010 License Version) (Atomâ?¢, Friedman, Chisholm) - 1:32
12. Liebezeit & Friedman: The Sticks (Rashad Becker Mix) (Friedman, Liebezeit) - 6:12
13. Burnt Friedman: Dream Sequence (Soundtrack) - 2:33
14. Root 70 Plays B. Friedman: Gruppenreise (Rashad Becker Remix) (Friedman, Becker) - 4:50
15. Liebezeit & Friedman: Wir
klich (Friedman Remix) (Friedman) - 3:24
Besetzung: Compiled By - B. Friedmann
; Mastered By - Rashad Becker
; Bass Guitar - Daniel Schroeter (1)
; Clarinet - Hayden Chisholm (1)
; Electric Guitar - Joseph Suchy, Tim Motzer (1)
; Remix, Percussion, Cymbal [Cymbals], Organ, Synthesizer, Sampler - Burnt Friedman (1)
; Vibraphone - Morten Grønvad (1)
; Remix, Performer [Pan], Percussion, Cymbal [Cymbals], Organ, Synthesizer - Burnt Friedman (2)
; Arranged By, Mixed By - B. Friedman (3)
; Double Bass - Matt Penman (3)
; Drums - Jochen Rueckert (3)
; Electric Guitar - Bruno Mueller (3)
; Producer - Friedman, Chisholm (3)
; Saxophone - Hayden Chisholm (3)
; Synthesizer - Burnt Friedman (3)
; Double Bass - Matt Penman (4)
; Drums - Jochen Rueckert (4)
; Electric Guitar - Bruno Mueller, Robert Nacken (4)
; Remix, Producer [Additional Production] - Mark Ernestus (4)
; Saxophone, Organ [Hammond] - Hayden Chisholm (4)
; Bass, Electric Guitar - Manjao Fati (5)
; Cello - Claudio Bohórquez (5)
; Clarinet - Hayden Chisholm (5)
; Electric Guitar - Richard Pike (5)
; Programmed By [Programmings], Synthesizer, Sampler [Sampled Slap Bass], Sampler - Burnt Friedman (5)
; Electric Guitar - Manjao Fati (6)
; Programmed By [Programming], Synthesizer, Sampler - Burnt Friedman (6)
; Acoustic Guitar - Richard Pike (7)
; Drums - Lawrence Pike (7)
; Remix - Burnt Friedman (7)
; Sampler [Additional Sampled Drums], Directed By - Atomâ?¢ (7)
; Saxophone - Thomas Hass (7)
; Saxophone [Tenor], Clarinet [Bass], - Hayden Chisholm (7)
; Synthesizer, Directed By - Burnt Friedman (7)
; Trumpet - Lars Vissing (7)
; Arranged By [Re-arranged], Remix - B. Friedman (8)
; Cello - Claudio Bohórquez (8)
; Clarinet - Hayden Chisholm (8)
; Double Bass - Matt Penman (8)
; Drums - Jochen Rueckert (8)
; Piano, Electric Piano [Rhodes], Drums [Additional], Synthesizer, Instruments [Additional Instrument Tracks] - Atomâ?¢ (8)
; Remix - Flanger (8)
; Trombone - Nils Wogram (8)
; Acoustic Guitar, Electric Guitar - Richard Pike (9)
; Bass, Synthesizer - Burnt Friedman (9)
; Clarinet - Hayden Chisholm (9)
; Drums - Lawrence Pike (9)
; Remix - B. Friedman (9)
; Saxophone - Thomas Hass (9)
; Acoustic Guitar, Electric Guitar - Richard Pike (10)
; Arranged By, Remix - Rashad Becker (10)
; Bass, Synthesizer - Burnt Friedman (10)
; Clarinet - Hayden Chisholm (10)
; Drums - Lawrence Pike (10)
; Saxophone - Thomas Hass (10)
; Acoustic Guitar - Richard Pike (11)
; Clarinet - Hayden Chisholm (11)
; Drums - Lawrence Pike (11)
; Piano, Programmed By [Programming] - Atomâ?¢ (11)
; Synthesizer, Programmed By [Programming], Arranged By [Re-arranged], Mixed By, Edited By - Burnt Friedman (11)
; Acoustic Guitar, Electric Guitar - Tim Motzer (12)
; Bass - Daniel Schroeter (12)
; Clarinet - Hayden Chisholm (12)
; Drums - Jaki Liebezeit (12)
; Programmed By [Programming], Synthesizer - Burnt Friedman (12)
; Remix - Rashad Becker (12)
; Vibraphone - Morten Grønvad (12)
; Arranged By, Mixed By - B. Friedman (13)
; Bass - Daniel Schroeter (13)
; Cello - Claudio Bohórquez (13)
; Clarinet - Hayden Chisholm (13)
; Performer [Source Sequence] - Audio Werner (13)
; Programmed By [Programming] - Christoph Ebner (13)
; Synthesizer, Percussion - Burnt Friedman (13)
; Arranged By, Remix - Rashad Becker (14)
; Double Bass [Original Track] - Matt Penman (14)
; Drums [Original Track] - Jochen Rueckert (14)
; Programmed By [Programming - Original Track] - Burnt Friedman (14)
; Drums - Jaki Liebezeit (15)
; Electric Guitar - Joseph Suchy (15)
; Remix - Flanger (15)
; Saxophone - Hayden Chisholm (15)
; Synthesizer, Programmed By [Programming], Sampler - Burnt Friedman (15)
; Vibraphone - Morten Grønvad (15)
V. A. (Ohr) [>] [D]: Mitten ins Ohr. Eine Reise durch die neue deutsche Popszene (= Eine Reise durch die «Krautrock-Szene» [F]
Label und Katalognummer: Ohr OMM 2/56.018, ZYX OHR 69003
Produktion: Verschiedene
Veröffentlicht: 1971 (Ed.), 1999 (Reed.)
Genretags: Rock - Progrock - Spacerock, Rock - Progrock - Krautrock
Trackliste: CD Ausgabe
1. Witthüser & Westrupp: Orienta - 3:50
2. Jerry Berkers: Es Wir
d Morgen Vorbei Sein - 4:10
3. Hölderlin: Requiem Für Einen Wicht - 6:34
4. Limbus - 4: Dhyana - 4:06
5. Gila: Aggression - 3:52
6. Wallenstein: Relics Of Past - 3:48
7. Floh de Cologne: Hey Hallo Stift - 1:21
8. Guru Guru: Electric Junk - 3:51
9. Limbus - 4: Heiku - 2:09
10. Popol Vuh: Aquirre 1 - 3:45
11. Mythos: Oriental Journey - 3:51
12. Bröselmaschine: Lassie - 4:26
13. Emtidi: Träume - 3:19
14. Witthüser & Westrupp: Die Schlüsselblume - 6:45
15. Floh de Cologne: Wir
Werden Immer Mehr - 2:25
16. Annexus Quam: Titel Noch Nicht Bestimmt!!! - 3:07
17. Anima: How to Dream - 3:55
18. Guru Guru: Der LSD-Marsch - 3:50
Seite A der Original Vinyl Ausgabe von 1971
1. Birth Control: Stop Little Lady - 7:16
2. Floh De Cologne: He, Hallo Stift - 1:21
3. Floh De Cologne: Die Luft Gehört Denen, Die Sie Atmen - 1:46
4. Floh De Cologne: Wir
Werden Immer Mehr - 2:24
5. Embryo: You Don't Know What's Happening - 4:43
Seite B
1. Witthüser & Westrupp: Orienta - 7:35
2. Amon Düül: Love Is Peace (Ausschnitt) - 7:10
3. Paul & Limpe Fuchs Anima-Sound: How To Dream - You (Ausschnitt) - 4:00
Seite C
1. Annexus Quam: Seite 1A - 4:10
2. Ash Ra tempel: Amboss (Ausschnitt) - 8:50
3. Tangerine Dream: Fly And Collision Of Comas Sola (Ausschnitt) - 7:15
Seite D
1. Guru Guru: Electric Junk - 10:58
2. Xhol: Breit (Ausschnitt) - 7:15
3. Limbus: Heiku - 2:00
Besetzung: Cover: Helmut Friz
V. A. (Past and Present Records) [>] [D]: The Rubble Collection, Vol. 1–10 [F]
Label und Katalognummer: Past and Present Records PAPRBOX 6
Produktion: Verschiedene
Veröffentlicht: 2003 03 31 (Ed.)
Genretags: Rock - Poprock - Powerpop
Trackliste: CD - 1: Volume One: The Psychedelic Snarl
1. Wimple Winch: Atmospheres - 4:21
2. Mirror: Faster Than Light - 2:08
3. Caleb: Woman of Distinction - 2:33
4. Peeps: It's All Over You - 2:39
5. Living Daylights: Always With Him - 2:39
6. Misunderstood: Never Had a Girl Like You Before - 3:04
7. Open Mind: Cast a Spell - 2:10
8. Dakotas: The Spider and the Fly - 3:11
9. Wimple Winch: Rumble on Mersey Square South - 4:27
10. Open Mind: Magic Potion - 3:31
11. Living Daylights: Let's Live for Today - 2:49
12. Craig: I Must Be Mad - 2:44
13. Unit 4 + 2: I Will - 2:38
14. Hush: Grey - 2:28
15. Wimple Winch: Save My Soul - 3:02
16. Mindbenders: The Morning After - 2:08
CD 2: Volume Two: Pop-Sike Pipe-Dreams
1. Mode: Eastern Music - 2:21
2. Wimple Winch: Marmalade Hair - 2:54
3. Parking Lot: World Spinning Sadly - 2:58
4. Pretty Things: Defecting Grey - 4:21
5. Keith West: Kid Was a Killer - 2:26
6. Shotgun Express: Indian Thing - 2:57
7. Executives: Tracy Took a Trip - 2:46
8. Wimple Winch: Lollipop Minds - 3:06
9. Talismen: You Break My Heart - 2:04
10. Pretty Things: Walking Through My Dreams - 3:30
11. Bo Street Runners: Love - 2:54
12. Sons of Fred: Sweet Love - 2:51
13. Wimple Winch: Bluebell Wood - 3:27
14. Idle Race: Knocking Nails Into My House - 2:21
15. Spencer Davis Group: After Tea - 3:13
16. Gordon Waller: Rosecrans Blvd - 2:44
CD 3: Volume Three: Nightmares in Wonderland
1. Brain: Nightmares in Red - 2:17
2. Focus Three: 10,000 Years Behind My Mind - 2:14
3. Pretty Things: Talkin' About the Good Times - 3:37
4. Bamboo Shoot: The Fox Has Gone to Ground - 2:49
5. Wild Silk: Visions in a Plaster Sky - 2:25
6. Mark Wir
tz: He's Our Dear Old Weatherman - 3:54
7. Lemon Tree: William Chalker's Time Machine - 2:31
8. Koobas: Barricades - 4:59
9. Aquarian Age: 10,000 Words in a Cardboard Box - 3:41
10. Pretty Things: Mr. Evasion - 3:20
11. Executive: Gardena Dreamer - 3:07
12. Chances Are: Fragile Child - 2:25
13. Ipsissimus: Hold On - 3:31
14. Edwick Rumbold: Shades of Grey - 2:31
15. Penny Peeps: Model Village - 2:49
16. Tomorrow: Revolution - 3:43
CD 4: Volume Four: The 49 Minute Technicolour Dream
1. Jason Crest: Black Mass - 4:50
2. Mirage: The Wedding of Ramona Blair - 2:17
3. Caleb: Baby Your Phrasing Is Bad - 3:18
4. Kaleidoscope: Flight From Ashiya - 2:41
5. Cymbaline: Matramonial Fears - 3:46
6. Finders Keepers: On the Beach - 2:49
7. Californians: The Cooks of Cake & Kindness - 2:41
8. Rings and Things: Strange Things Are Happening - 2:32
9. Fox: Butterfly - 3:29
10. Unit 4 + 2: - 3:30 A.M. - 3:09
11. Kaleidoscope: A Dream for Julie - 2:48
12. Tempus Fugit: Come Alive - 2:43
13. Misunderstood: Golden Glass 7:43
14. Magic Mixture: Moonbeams - 3:58
CD 5: Volume Five: The Electric Crayon Set
1. Poets: That's the Way It's Got to Be - 2:38
2. Attack: Anymore Than I Do - 2:05
3. Flies: I'm Not Your Stepping Stone - 2:41
4. Game: Gotta Wait - 2:19
5. Score: Please Please Me - 2:45
6. Mark Four: I'm Leaving - 3:36
7. Fire: Father's Name Is Dad - 2:35
8. Gene Latter: Mother's Little Helper - 2:43
9. Game: Gonna Get Me Someone - 2:46
10. Flies: House of Love - 2:17
11. Keith Shields: Hey Gyp (Dig the Slowness) - 2:15
12. Flies: Try It - 2:07
13. Poets: I Love Her Still - 1:47
14. Dream Police: Living Is Easy - 3:37
15. Fairytale: Run and Hide - 2:33
16. Mark Four: Hurt Me If You Will - 2:57
CD 6: Volume Six: The Clouds Have Groovy Faces
1. Fairytale: Lovely People - 3:38
2. Kinsmen: Glasshouse Green Splinter Red - 3:18
3. Poets: I Am So Blue - 2:45
4. Ice: Anniversary of Love - 3:12
5. End: Shades of Orange - 2:38
6. Turquoise: Tales of Flossie Fillet - 3:08
7. Pudding: The Magic Bus - 2:27
8. Attack: Neville Thumbcatch - 3:02
9. Accent: Red Sky at Night - 3:16
10. Elastic Band: 8½ Hours to Paradise - 3:59
11. Attack: Created by Clive - 2:36
12. Two & a Half: Suburban Early Morning Station - 3:25
13. Life 'n' Soul: Peacefully Asleep - 3:49
14. Poets: I'll Cry With the Moon - 2:56
15. Falling Leaves: Beggars Parade - 2:54
16. Tinkerbells Fairydust: 20-10 - 2:44
CD 7: Volume Seven: Pictures in the Sky
1. Orange Seaweed: Pictures in the Sky - 3:00
2. Glass Menagerie: You Didn't Have to Be So Nice - 2:26
3. Orange Machine: Real Life Permanent Dream - 3:17
4. Carnaby: Jump and Dance - 2:39
5. New Formula: Harekrishna - 4:14
6. Onyx: So Sad Inside - 2:35
7. Flying Machine: The Flying Machine - 2:38
8. Primitives: You Said - 2:22
9. Onyx: You Gotta Be With Me - 2:35
10. Ivy League: My World Fell Down - 2:51
11. Epics: Blue Turns to Grey - 2:54
12. Factotums: Cloudy - 1:55
13. Koobas: Better Make Up Your Mind - 2:30
14. Erkey Grant and The Eerwigs: I'm a Hog for You - 2:08
15. Primitives: Help Me - 3:40
16. Velvett Fogg: Within the Night - 4:46
CD 8: Volume Eight: All the Colours of Darkness
1. Yellow: Living a Lie - 3:54
2. Sharon Tandy & Les Fleur de Lys: Hold On - 3:09
3. Eyes of Blue: Prodigal Son - 5:26
4. Jason Crest: (Here We Go Round The) Lemon Tree - 3:00
5. Rick Price & Sheridan: Lamp Lighter Man - 2:52
6. Jigsaw: Tumblin' - 3:33
7. Skip Bifferty: On Love - 2:38
8. Methuselah: High in the Tower of Coombe - 3:18
9. Norman Conquest: Upside Down - 2:40
10. Jason Crest: A Place in the Sun - 3:22
11. Dantalian's Chariot: The Madman Running Through the Fields - 4:08
12. Sharon Tandy & Les Fleur de Lys: Daughter of the Moon - 3:48
13. Mashmakhan: Days When We Are Free - 3:05
14. Mike Stuart Span: Children of Tomorrow - 3:14
15. Serendipity: I'm Flying - 2:24
16. Second Hand: The World Will End Yesterday - 3:47
CD 9: Volume Nine: Plastic Wilderness
1. Dragonfly: Celestial Empire - 2:35
2. Peter & The Blizzards: You Know That I'll Be There - 1:57
3. Group 1850: Mother No-Head - 3:25
4. Tower: Slow Motion Mind - 2:20
5. Outsiders: Do You Feel Alright - 3:27
6. Sharks and Me: Buses - 2:24
7. Short '66: Good Weekend - 3:04
8. Motions: Wedding of 100 Brides - 2:35
9. Sandy Coast: Back to the City - 2:52
10. Zipps: Lotus Love - 2:52
11. Bumble Bees: Girl of My Kind - 1:51
12. Young Ones: Mini Minnie - 1:58
13. St. Giles System: Swedish Tears - 3:50
14. Q65: So High I've Been, So Down I Must Fall - 3:07
15. Supersister: A Girl Named You - 3:16
16. Les Baroques: Such a Cad - 2:29
17. Golden Ear-Rings (aka Golden Earring): That Day - 2:27
18. Golden Ear-Rings (aka Golden Earring): Things Go Better - 2:37
CD 10: Volume Ten: Professor Jordan's Magic Sound Show
1. Onyx: Tamaras Khan - 2:48
2. Glass Menagerie: Fredrick Jordan - 3:14
3. Clique: We Didn't Kiss, We Didn't Love, But Now We Do - 2:31
4. Montanas: A Step in the Right Direction - 3:14
5. Floribunda Rose: Linda Loves Linda - 3:36
6. Velvett Fogg: Lady Caroline - 3:22
7. Turnstyle: Riding on a Wave - 2:45
8. Kytes: Frosted Panes - 2:10
9. Fresh Air: Running Wild - 3:47
10. Orange Seaweed: Stay Awhile - 2:23
11. 5 A.M. Event: Hungry - 2:25
12. Game: Gotta Keep Moving - 2:40
13. Glass Menagerie: She's a Rainbow - 2:19
14. New Formula: Stay Indoors - 4:10
15. Writing on the Wall: Buffalo - 3:14
16. Orange Machine: You Can All Join In - 3:31
Besetzung: Compiled By, Design [Sleeves & Boxset], Liner Notes [Original], Artwork: Phil Smee
; Layout [Original Booklet]: Lorna Tiefholz
; Layout [Updated]: BigKick! Creations
; Liner Notes [Updated]: Richard Morton Jack
; Phonographic Copyright (p) Past & Present Records
; Copyright (c) Past & Present Records
V. A. (Raster-Noton) [>] [D]: Frequencies [Hz] [F]
Label und Katalognummer: Raster-Noton ltd 008
Veröffentlicht: 2003
Genretags: Electronica - DSP - Digitalminimalism
Trackliste: 1. Achim Wollscheid & Marc Behrens: Untitled - 2:01
2. Alva Noto: Obi 2 Min. - 2:00
3. Christophe Charles: Undirected / Frequencies - 2:00
4. CoH: Novotel Suite Op. 113 - 2:00
5. Carl Michael Von Hausswolff: Making Babies In A Spring Bed - 2:07
6. Cyclo.: .. (Edit) - 2:00
7. Ekkehard Ehlers: Neulich - 2:01
8. Errorsmith: Sylvester - 2:01
9. Farmers Manual: Stat = Conjecture Pirayune Snart - 2:00
10. Frank Bretschneider: Track - 2:00
11. Hecker: Hyperbolic Cosine Yea III [P-pasted Mix] - 1:57
12. Mainpal Inv.: Urban Flatsam - 2:00
13. Marcus Schmickler: Im Gebiet Des Grahls, Ein Schloss - 2:00
14. Merzbow: Untitled - 2:01
15. Monolake: Binary - 2:01
16. Opiate: Soothe - 2:01
17. Pan Sonic: Over Puilo - 1:53
18. Pita: Smirnum 0602 - 1:39
19. Pomassl: Dmm - 2:00
20. Random Industries: Mx1602 Vs. A25v3m.sys - 2:00
21. Richard Chartier: Tracing (Sketch For Andreas) - 2:01
22. Ryoji Ikeda: Spectra II Edit - 2:00
23. Senking: Tar - 2:00
24. Snd: Don't Touch My Shed - 2:07
25. Ralph Steinbrüchel: Weiss Var.01 - 2:00
26. Stephan Mathieu: Frequenzen - 1:59
27. Thomas Köner: Recul - 2:00
28. Ultra-Red: Neue Wir
tschaft - 2:00
V. A. (Rhino) [>] [D]: No Thanks! The '70s Punk Rebellion [F]
Label und Katalognummer: Rhino R2 73926
Produktion: Verschiedene
Veröffentlicht: 2003 10 21 (Ed.), 1980-72 (Rec.)
Genretags: Rock - Punkrock
Trackliste: CD 1
1. Ramones: Blitzkrieg Bop (2:12)
2. Clash: White Riot (1:59)
3. Nick Lowe: Heart Of The City (2:03)
4. Buzzcocks: Boredom (2:53)
5. Saints: (I'm) Stranded (3:33)
6. Damned: Neat Neat Neat (2:42)
7. Jam: In The City (2:19)
8. Pere Ubu: Final Solution (5:00)
9. Modern Lovers: Roadrunner (4:06)
10. Television: Little Johnny Jewel (7:06)
11. Adverts: One Chord Wonders (2:36)
12. Heartbreakers: Born To Lose (3:02)
13. Stooges: Search And Destroy (3:29)
14. Mink DeVille: Let Me Dream If I Want To (Amphetamine Blues) (2:54)
15. X-Ray Spex: Oh Bondage Up Yours! (2:50)
16. Wir
e: 1 2 X U (1:57)
17. Richard Hell & The Voidoids: Blank Generation (2:44)
18. Stranglers: (Get A) Grip (On Yourself) (4:03)
19. Runaways: Cherry Bomb (2:19)
20. New York Dolls: Personality Crisis (3:42)
21. Eddie And The Hot Rods: Teenage Depression (2:58)
22. Dictators: Two Tub Man (3:33)
23. Patti Smith: Hey Joe (Version) (5:08)
24. Generation X: Your Generation (3:17)
CD 2
1. Iggy Pop: Lust For Life (5:13)
2. Adverts: Gary Gilmore's Eyes (2:14)
3. Ultravox: Saturday Night In The City Of The Dead (2:34)
4. Buzzcocks: What Do I Get? (2:55)
5. Blondie: X Offender (3:12)
6. Boomtown Rats: Lookin' After No. 1 (3:10)
7. Penetration: Don't Dictate (2:55)
8. Fall: Bingo Master (2:24)
9. Patti Smith: Free Money (3:51)
10. Jam: The Modern World (2:32)
11. Heartbreakers: Chinese Rocks (2:55)
12. Damned: New Rose (2:43)
13. Subway Sect: Ambition (3:04)
14. Television: See No Evil (4:04)
15. Stiff Little Fingers: Suspect Device (2:43)
16. Wir
e: Mannequin (2:37)
17. Vibrators: Baby Baby (3:42)
18. Richard Hell & The Voidoids: Love Comes In Spurts (2:01)
19. Boys: First Time (2:22)
20. Dead Boys: Sonic Reducer (3:06)
21. Magazine: Shot By Both Sides (4:01)
22. Elvis Costello: Mystery Dance (1:37)
23. New York Dolls: Trash (3:09)
24. X-Ray Spex: The Day The World Turned Day-glo (2:51)
25. Eddie And The Hot Rods: Do Anything You Wanna Do (4:04)
CD 3
1. Generation X: Ready Steady Go (2:58)
2. Undertones: Teenage Kicks (2:26)
3. Ian Dury: Sex & Drugs & Rock & Roll (3:04)
4. Buzzcocks: Ever Fallen In Love (With Someone You Shouldn't've?) (2:42)
5. Suicide: Rocket U.S.A. (4:17)
6. Devo: Mongoloid (3:34)
7. 999: Homicide (3:42)
8. Dils: Mr. Big (1:43)
9. Joy Division: Warsaw (2:26)
10. Mekons: Where Were You? (2:43)
11. Germs: Lexicon Devil (2:05)
12. Rezillos: (My Baby Does) Good Sculptures (2:53)
13. Pretenders: The Wait (3:11)
14. Weirdos: We Got Neutron Bomb (3:00)
15. Modern Lovers: Pablo Picasso (4:22)
16. Alternative TV: Action Time Vision (2:31)
17. Tom Robinson Band: 2-4-6-8 Motorway (3:18)
18. Avengers: We Are The One (2:41)
19. Sham 69: Borstal Breakout (2:06)
20. Black Flag: Wasted (0:51)
21. Ramones: Sheena Is A Punk Rocker (2:48)
22. Fear: I Love Livin In The City (2:11)
23. Boomtown Rats: She's So Modern (2:58)
24. Rich Kids: Ghosts Of Princes In Towers (3:34)
25. X: We're Desperate (2:01)
26. Dickies: You Drive Me Ape (You Big Gorilla) (1:53)
27. Motors: Dancing The Night Away (3:14)
CD 4
1. Siouxsie & The Banshees: Hong Kong Garden (2:56)
2. Blondie: Hanging On The Telephone (2:21)
3. Rezillos: Top Of The Pops (3:22)
4. X: Adult Books (3:15)
5. Members: The Sound Of The Suburbs (3:55)
6. Dead Kennedys: California Über Alles (3:28)
7. Only Ones: Another Girl, Another Planet (3:03)
8. Soft Boys: (I Want To Be An) Anglepoise Lamp (3:00)
9. Elvis Costello & The Attractions: Radio, Radio (3:07)
10. Slits: Typical Girls (3:55)
11. Cramps: Human Fly (2:15)
12. Talking Heads: Psycho Killer (4:20)
13. Ruts: Babylon's Burning (2:32)
14. Sham 69: If The Kids Are United (3:48)
15. Stiff Little Fingers: Alternative Ulster (2:44)
16. Cure: Boys Don't Cry (2:41)
17. Pop Group: She Is Beyond Good And Evil (3:23)
18. Joe Jackson: Is She Really Going Out With Him? (3:36)
19. Undertones: Get Over You (2:43)
20. Gang Of Four: Love Like Anthrax (3:19)
21. Stranglers: Peaches (4:07)
22. Skids: Into The Valley (3:17)
23. Johnny Thunders: You Can't Put Your Arms Round A Memory (3:04)
24. Joy Division: Love Will Tear Us Apart (3:25)
Besetzung: Co-producer [Associate Producer]: Alec Palao
; Compilation Producer [Box Set Produced By]: Gary Stewart
; Liner Notes [Discographical Annotations]: Reggie Collins
; Management [Product]: Emily Cagan
; Management [Product]: Marc Salata
; Other [Licensing]: John Austin
; Producer [Sound Produced By]: Bill Inglot
; Remastering: Bill Inglot
; Remastering: Dan Hersch
; Remastering: Dave Schultz
; Research [Editorial]: Steven Chean
; Research [Photo]: Steven P. Gorman
; Supervised By [Editorial Supervision]: Sheryl Farber
; Supervised By [Project Supervision]: Patrick Milligan
V. A. (Rhino) [>] [D]: Children Of Nuggets: Original Artifacts From The Second Psychedelic Era [F]
Label und Katalognummer: Rhino R2 74639
Produktion: Gary Stewart
Veröffentlicht: 2005 08 30 (Ed.), 1995-1976 (Rec.)
Genretags: Indiepop - Janglepop - Paisleyunderground
Trackliste: CD 1
1. Dukes of Stratosphear: Vanishing Girl - 2:30
2. Lyres: Help You Ann - 2:31
3. Bangles: The Real World - 2:35
4. Barracudas: We're Living in Violent Times - 2:47
5. Nashville Ramblers: The Trains - 3:08
6. Watermelon Men: Seven Years - 2:48
7. Smithereens: Strangers When We Meet - 3:47
8. Soft Boys: Wading Through a Ventilator - 3:21
9. Flamin' Groovies: I Can't Hide - 3:14
10. Fleshtones: The Girl From Baltimore - 2:31
11. That Petrol Emotion: It's a Good Thing - 2:35
12. Stems: She's Fine - 2:35
13. Point: All My Life - 2:05
14. Creeps: Down at the Nightclub - 3:18
15. Spongetones: (My Girl) Maryanne - 2:43
16. Salvation Army: She Turns to Flowers - 2:33
17. Rain Parade: You Are My Friend - 3:06
18. Inmates: Mr. Unreliable - 2:52
19. Chris Stamey & The dB's: (I Thought) You Wanted to Know - 3:19
20. Last: She Don't Know Why I'm Here [single version] - 3:26
21. Biff Bang Pow!: There Must Be a Better Life - 3:06
22. Lime Spiders: Slave Girl - 2:52
23. Posies: I May Hate You Sometimes - 3:24
24. Times: I Helped Patrick McGoohan Escape - 3:05
25. Pandoras: It's About Time - 2:22
26. Swingin' Neckbreakers: I Live for Buzz - 2:26
27. Hoodoo Gurus: I Want You Back - 3:10
CD 2
1. Godfathers: This Damn Nation - 2:46
2. Dream Syndicate: Tell Me When It's Over - 3:33
3. Prisoners: Whenever I'm Gone - 2:47
4. Cramps: New Kind of Kick - 3:29
5. Long Ryders: And She Rides - 4:31
6. Revillos: Motorbike Beat - 2:23
7. Vipers: Tears (Only Dry) - 2:57
8. Dukes of Stratosphear: 25 O'Clock - 5:05
9. Lyres: Don't Give It Up Now - 3:37
10. Chris Stamey & The dB's: If and When - 2:40
11. Untamed Youth: Pabst Blue Ribbon - 2:42
12. La’s: There She Goes - 2:43
13. Vibrasonic: Kingsley J. - 4:33
14. Crawdaddys: I Can Never Tell - 2:45
15. Green Telescope: Make Me Stay - 3:06
16. Plimsouls: Everyday Things - 2:29
17. Soft Boys: I Wanna Destroy You - 2:53
18. Mickey & The Milkshakes: It's You - 2:18
19. Posies: Apology - 5:15
20. Bevis Frond: Lights Are Changing - 4:57
21. Droogs: Ahead of My Time - 2:41
22. Funseekers: Welcome to My Love - 2:48
23. Revolving Paint Dream: Flowers in the Sky - 2:25
24. Teenage Fanclub: Metal Baby - 3:39
CD 3
1. Church: The Unguarded Moment - 3:11
2. Barracudas: I Can't Pretend - 2:32
3. Died Pretty: Out of the Unknown - 4:08
4. Last: L.A. Explosion - 2:28
5. Flamin' Groovies: I'll Cry Alone - 2:14
6. Julian Cope: Sunspots (single remix) - 3:32
7. Lipstick Killers: Hindu Gods of Love - 3:23
8. Green on Red: Death and Angels - 2:16
9. Sinners: Barbed Wir
e Heart - 4:00
10. Chills: Pink Frost - 3:59
11. Chesterfield Kings: She Told Me Lies - 2:18
12. Smithereens: Beauty and Sadness - 3:25
13. Mummies: Test Drive - 1:30
14. DMZ: Busy Man (EP version) - 3:23
15. Stems: Love Will Grow - 3:15
16. Spongetones: She Goes Out With Everybody - 2:27
17. Plimsouls: Hypnotized - 2:56
18. Unclaimed: No Apology - 2:06
19. Teenage Fanclub: God Knows It's True - 4:56
20. Hoods: You Keep on Lyin' - 2:33
21. Sting-Rays: Don't Break Down - 2:50
22. Fleshtones: The World Has Changed - 3:11
23. Cynics: Baby What's Wrong - 2:28
24. Laika & The Cosmonauts: Psycko (Themes from Psycho and Vertigo) - 2:24
25. Jigsaw Seen: My Name Is Tom - 4:25
CD 4
1. Primal Scream: Gentle Tuesday - 3:47
2. Three O'Clock: With a Cantaloupe Girlfriend - 2:53
3. Hoodoo Gurus: Like Wow - Wipeout! - 3:13
4. Fuzztones: Bad News Travels Fast - 2:42
5. Sun Dial: Plains of Nazca (single version) - 3:46
6. Bangs: Getting Out of Hand - 2:16
7. Mickey & The Milkshakes: Please Don't Tell Me Why - 1:44
8. Rain Parade: One Half Hour Ago - 4:13
9. Aardvarks: You're My Loving Way - 2:45
10. Screaming Trees: Transfiguration - 3:56
11. United States of Existence: A Scandal in Bohemia - 2:33
12. Nomads: Where the Wolf Bane Blooms - 2:16
13. Vipers: Cheated and Lied - 2:26
14. Dentists: Strawberries Are Growing in My Garden (And It's Wintertime) - 3:20
15. Tell-Tale Hearts: Won't Need Yours - 2:46
16. Inspiral Carpets: Weakness - 4:18
17. Miracle Workers: You'll Know Why - 3:08
18. Unknowns: Not My Memory - 2:23
19. Prisoners: Far Away - 5:23
20. Optic Nerve: Ain't That a Man - 2:37
21. Plasticland: Mink Dress - 2:51
22. Raybeats: Tight Turn (album version) - 3:55
23. Nerves: One Way Ticket - 2:11
24. Wondermints: Tracy Hide (cover version) - 4:49
Besetzung: Compilation Producer: Alec Palao, Gary Stewart
; Liner Notes [Discographical Annotations], Research [Discographical]: Ted Myers
; Management [Product Manager]: Matt Abels, Tanya Welsch
; Other [Godfather]: Lenny Kaye
; Other [Licensing]: David Ponak
; Remastered By: Bill Inglot, Dave Schultz
; Research [Editorial]: Steven Chean
; Research [Photo]: Steven P. Gorman
; Supervised By [Editorial Supervision]. Sheryl Farber
V. A. (Rhino) [>] [D]: Street Jams: Electric Funk, Part 3 [F]
Label und Katalognummer: Rhino R2 71557
Produktion: Verschiedene
Veröffentlicht: 1994 02 22 (Ed.)
Genretags: Afroamericana - Funk - Electrofunk
Trackliste: 1. Juice 'The Electric Wir
e' and Steve Yano: Skanless Electric Funk Megamix (Phase 2) - (4:27)
2. Grandmaster Flash and Melle Mel: White Lines (Don't Do It) (7:26)
3. Nuance feat. Vikki Love: Take A Chance (6:15)
4. Afrika Bambaataa and Soulsonic Force: Looking For The Perfect Beat (6:56)
5. Pretty Tony: Jam The Box (6:12)
6. File 13: Taste So Good (4:44)
7. Uncle Jamm's Army feat. Miss N.Y.S.A., Mr. Prince: Naughty Boy (6:41)
8. Trinere: All Night (4:03)
9. Freestyle: The Party Has Begun (6:30)
10. L.A. Dream Team: Calling On The Dream Team (5:23)
11. MC G.L.O.B.E. & Pow Wow: Celebrate! (Everybody) (6:46)
12. World Class Wreckin' Cru feat. Dr. Dre: Surgery (7:08)
13. Egyptian Lover: Dubb Girls (The Ultimate Mix) - (6:24)
Besetzung: Art Direction: Geoff Gans
; Compilation Producer: Juice "The Electric Wir
e"
; Compilation Producer: Steve Yano
; Coordinator [Project Coordination]: Ted Myers
; Design: Coco Shinomiya
; Design: Sevie Bates
; Illustration [Front Cover Art]: Jesse Rothbeind
; Other [Project Assistance]: Bob Fisher
; Other [Project Assistance]: Chris Clarke
; Other [Project Assistance]: Craig Kamins
; Other [Project Assistance]: Edward Kip Hannan
; Other [Project Assistance]: Mark Pinkus
; Other [Project Assistance]: Rodger Clayton
; Other [Project Assistance]: Sean Ross
; Photography: Michael Ochs Archives
; Remastering: Steve Yano
; Research: Gary Peterson
; Supervised By [Project Supervision]: David McLees
; Supervised By [Project Supervision]: Richard Foos
; Phonographic Copyright (p) Rhino Records (2)
; Copyright (c) Rhino Records (2)
V. A. (Rhino) [>] [D]: DIY: Anarchy in the UK - UK Punk I (1976-1977) [F]
Label und Katalognummer: Rhino R2 71171
Produktion: Verschiedene
Veröffentlicht: 1993 01 19 (Ed.)
Genretags: Rock - Punk
Trackliste: 1. Sex Pistols: Anarchy In The UK (Demo) (Glen Matlock, Johnny Rotten, Paul Cook, Steve Jones) - 4:05
2. Damned: New Rose (Brian James) - 2:45
3. Saints: (I'm) Stranded (Chris Bailey, Ed Kuepper) - 3:33
4. Eddie And The Hot Rods: Teenage Depression (Dave Higgs) - 2:59
5. Sex Pistols: God Save The Queen (Demo) (Glen Matlock, Johnny Rotten, Paul Cook, Steve Jones) - 3:35
6. Stranglers: (Get A) Grip (On Yourself) (Dave Greenfield, Hugh Cornwell, J.J. Burnel, Jet Black) - 4:04
7. Damned: Neat Neat Neat (Brian James) - 2:44
8. Jam: In The City (Paul Weller) - 2:19
9. Adverts: One Chord Wonders (TV Smith) - 2:37
10. Vibrators: Baby, Baby (Ian Carnochan) - 3:43
11. Only Ones: Lovers Of Today (Peter Perrett) - 3:14
12. Boomtown Rats: Lookin' After No. 1 (Bob Geldof) - 3:11
13. Adverts: Gary Gilmore's Eyes (TV Smith) - 2:24
14. Generation X (4): Your Generation (Billy Idol, Tony James) - 3:21
15. Stranglers: No More Heroes (Dave Greenfield, Hugh Cornwell, J.J. Burnel, Jet Black) - 3:30
16. X-Ray Spex: Oh Bondage Up Yours! (Poly Styrene) - 2:51
17. Buzzcocks: Orgasm Addict (Howard Devoto, Pete Shelley) - 2:03
18. Penetration: Don't Dictate (Gary Chaplin, Pauline Murray) - 2:56
19. Wir
e: 12XU (Bruce Gilbert, Colin Newman, Graham Lewis, Robert Gotobed) - 1:57
Besetzung: Art Direction: Geoff Gans
; Design: Monster X
; Illustration: Charles Burns
; Liner Notes: Jon Savage
; Photography: B.C. Kagan
; Photography: Bomp
; Photography: Donna Santisi
; Photography: Jenny Lens
; Photography: Michael Ochs Archives
; Photography: Peter Kodick
; Producer [For Release], Compiled By: Gary Stewart
; Producer [Sound]: Bill Inglot
; Project Manager [Project Assistance]: Austin Powell
; Project Manager [Project Assistance]: Bob Emmer
; Project Manager [Project Assistance]: Danny Benair
; Project Manager [Project Assistance]: Mark Pinkus
; Project Manager [Project Assistance]: Michelle Eagle-Wolfe
; Remastering: Bill Inglot
; Remastering: Ken Perry
; Research: Chris Clarke
; Research: Gary Peterson
; Research: Jeff Wolfe
; Research: Reggie Collins
; Research [Editorial Assistance]: Darcy Sullivan
; Research [Editorial Assistance]: Jamie Davis (8)
; Research [Editorial Assistance]: Norma Edwards
; Research [Editorial Assistance]: Russell Briggs
; Research [Editorial Assistance]: Stephen K. Peeples
; Research [Tape And Photo]: Andrew Sandoval
; Supervised By [Project Supervision]: David McLees
; Pressed By Specialty Records Corporation
; Phonographic Copyright (p) Rhino Records Inc.
; Copyright (c) Rhino Records Inc.
; Phonographic Copyright (p) Dave Goodman
; Phonographic Copyright (p) Stiff Records
; Phonographic Copyright (p) Sire Records, Inc.
; Phonographic Copyright (p) Island Records Ltd.
; Phonographic Copyright (p) A&M Records
; Phonographic Copyright (p) PolyGram Records, Inc.
; Phonographic Copyright (p) Sony Music Entertainment Inc.
; Phonographic Copyright (p) Vengeance Records (2)
; Phonographic Copyright (p) Bright Records
; Phonographic Copyright (p) Chrysalis Records
; Phonographic Copyright (p) Virgin Records Ltd.
; Phonographic Copyright (p) EMI Records Ltd.
; Licensed From Restless Records
; Licensed From Demon Records Ltd.
; Licensed From Warner Bros. Records Inc.
; Licensed From Island Records
; Licensed From A&M Records
; Licensed From PolyGram Special Products
; Licensed From Allen Cowderoy
; Licensed From Sony Music Special Products
; Licensed From John Perry
; Licensed From Bright Records
; Licensed From CEMA Special Markets
; Licensed From Virgin Records USA
V. A. (Rhino) [>] [D]: DIY: The Modern World - UK Punk II (1977-78) [F]
Label und Katalognummer: Rhino R2 71172
Produktion: Verschiedene
Veröffentlicht: 1993 01 19 (Ed.), 1978-77 (Rec.)
Genretags: Rock - Punkrock
Trackliste: 1. Jam: The Modern World (Paul Weller) - 2:33
2. Generation X: Wild Youth (Billy Idol, Tony James) - 2:53
3. Rezillos: (My Baby Does) Good Sculptures (Luke Warm (2)) - 2:52
4. 999: Emergency (Guy Days, Nick Cash (2)) - 2:45
5. Sham 69: (There's Gonna Be A) Borstal Breakout (Dave Parsons, Jimmy Pursey) - 2:07
6. Magazine: Shot By Both Sides (Howard Devoto, Pete Shelley) - 4:04
7. Buzzcocks: What Do I Get? (Pete Shelley) - 2:05
8. Wir
e: I Am The Fly (Colin Newman, Graham Lewis) - 3:08
9. X-Ray Spex: The Day The World Turned Day-Glo (Poly Styrene) - 2:51
10. Stiff Little Fingers: Suspect Device (Gordon Ogilvie, Stiff Little Fingers) - 2:43
11. Lurkers: Ain't Got A Clue (Pete Stride) - 2:11
12. Soft Boys: (I Want To Be An) Anglepoise Lamp (Robyn Hitchcock) - 3:02
13. Sham 69: If The Kids Are United (Dave Parsons, Jimmy Pursey) - 3:49
14. Alternative TV: Action Time Vision (Alex Fergusson, Mark Perry) - 2:32
15. Fall: Bingo Master (Mark E. Smith, Una Baines) - 2:24
16. Stiff Little Fingers: Alternative Ulster (Gordon Ogilvie, Stiff Little Fingers) - 2:46
17. Siouxsie & The Banshees: Hong Kong Garden (John McKay, Kenny Morris, Siouxsie Sioux, Steven Severin) - 2:56
18. 999: Homicide (Guy Days, Nick Cash (2)) - 3:44
19. Subway Sect: Ambition (Vic Godard) - 3:03
Besetzung: Art Direction: Geoff Gans
; Design: Monster X
; Illustration: Jaime Hernandez
; Liner Notes: Jon Savage
; Photography: B.C. Kagan
; Photography: Bomp
; Photography: Jenny Lens
; Photography: Michael Ochs Archives
; Photography: Peter Kodick
; Photography: Roberta Bayley
; Producer [For Release], Compiled By: Gary Stewart
; Producer [Sound]: Bill Inglot
; Project Manager [Project Assistance]: Austin Powell
; Project Manager [Project Assistance]: Bob Emmer
; Project Manager [Project Assistance]: Danny Benair
; Project Manager [Project Assistance]: Mark Pinkus
; Project Manager [Project Assistance]: Michelle Eagle-Wolfe
; Remastering: Bill Inglot
; Remastering: Ken Perry
; Research: Chris Clarke
; Research: Gary Peterson
; Research: Jeff Wolfe
; Research: Reggie Collins
; Research [Editorial Assistance]: Darcy Sullivan
; Research [Editorial Assistance]: Jamie Davis (8)
; Research [Editorial Assistance]: Norma Edwards
; Research [Editorial Assistance]: Russell Briggs
; Research [Editorial Assistance]: Stephen K. Peeples
; Research [Tape And Photo]: Andrew Sandoval
; Supervised By [Project Supervision]: David McLees
; Pressed By Specialty Records Corporation
; Phonographic Copyright (p) Rhino Records Inc.
; Copyright (c) Rhino Records Inc.
; Phonographic Copyright (p) PolyGram Records, Inc.
; Phonographic Copyright (p) Chrysalis Records
; Phonographic Copyright (p) Sire Records, Inc.
; Phonographic Copyright (p) EMI Records Ltd.
; Phonographic Copyright (p) Virgin Records Ltd.
; Phonographic Copyright (p) Awesome Records Ltd.
; Phonographic Copyright (p) Beggars Banquet Records
; Phonographic Copyright (p) Cladhurst Ltd.
; Phonographic Copyright (p) I.R.S. Records
; Phonographic Copyright (p) Step-Forward Records
; Phonographic Copyright (p) Geffen Records
; Phonographic Copyright (p) Rough Trade Records
; Licensed From PolyGram Special Products
; Licensed From CEMA Special Markets
; Licensed From Warner Bros. Records Inc.
; Licensed From Virgin Records USA
; Licensed From Beggars Banquet Records
; Licensed From I.R.S. Records
; Licensed From Geffen Records
; Licensed Through MCA Records, Inc.
; Licensed From Geoff Travis
V. A. (Richard Weize Archives) [>] [D]: talking on the telephone [F]
Label und Katalognummer: RWA (Richard Weize Archives) ACD 12524
Produktion: Verschiedene
Veröffentlicht: 2017 (Ed.)
Genretags: Afroamericana - Rhythm'n'Blues
Trackliste: 1. Johnny Otis & Marci Lee: Telephone Baby - 2:09
2. Lloyd Price: Operator - 2:22
3. Lightnin' Hopkins: Give Me Central 209 - 2:58
4. Jimmy McCracklin: What's Your Phone Number? - 2:42
5. Rev. Sister Mary Nelson: Royal Telephone - 2:42
6. Slim Harpo: Buzz Me Babe - 2:17
7. Eddie "Cleanhead" Vinson: The People On My Party Line - 2:40
8. Cecil Gant: Long Distance Call - 2:28
9. Big Walter And His Thunderbirds: Calling Margie - 2:37
10. Verna Williams: Wrong Number, Right Girl - 2:17
11. Tampa Red & Georgia Tom: Dead Cat On The Line - 2:44
12. Muddy Waters: Long Distance Call - 2:40
13. Spirit Of Memphis: Atomic Telephone - 2:37
14. Mary Wells: Operator - 2:45
15. J. D. Short: Telephone Arguing Blues - 3:13
16. Pee Wee Crayton: The Telephone Is Ringing - 3:08
17. John Lee Hooker: Just Me And My Telephone - 3:22
18. Slim Gaillard: Communications - 2:28
19. Treniers: Long Distance Blues - 3:10
20. Effie Smith: Dial That Telephone - 2:46
21. Big Maybelle: Rockhouse - 2:17
22. Joe Pullum: Telephone Blues - 3:31
23. Selah Jubilee Singers: Royal Telephone - 3:16
24. Floyd Dixon: Call Operator 210 - 2:58
25. Pigmeat Markham: Your Wir
e's Been Tapped - 2:23
26. T-Bone Walker: Long Distance Blues - 3:02
27. Aaron Neville: Wrong Number - 2:47
28. Elmore James: I Can't Hold Out (Talk To Me) - 2:16
Besetzung: Artwork, Restoration [Photo]: Sven T. Uhrmann
; Liner Notes: Hank Davis
; Liner Notes: Ron Forbes
; Mastering, Research [Tape Research]: Christian Zwarg
; Reissue Producer: Hank Davis
; Reissue Producer: Ron Forbes
; Research [Discographical Data]: Richard Weize
; Phonographic Copyright (p) Richard Weize Archives
; Copyright (c) Richard Weize Archives
; Record Company RockStar Records (2)
; Designed At Retrograph
V. A. (Rough Trade) [>] [D]: Rough Trade Shops - Post Punk 01 [F]
Label und Katalognummer: Mute STUMM 224
Produktion: Verschiedene
Veröffentlicht: 2003 07 07 (Ed.)
Genretags: Postpunk
Trackliste: CD 1
1. Gang of Four - I Found That Essence Rare - 3:14
2. Les Georges Leningrad - Georges Five - 4:08
3. The Pop Group - We Are All Prostitutes - 3:12
4. LiliPUT - Die Matrosen - 3:47
5. Rapture - Out of the Races and Onto the Tracks - 3:57
6. Delta 5 - Mind Your Own Business - 3:11
7. Slits - Shoplifting - 1:35
8. Rogers Sisters - Delayed Reaction - 2:59
9. Pigbag - Sunny Day - 2:52
10. ESG - You're No Good - 3:09
11. Swell Maps - Another Song - 1:43
12. Au Pairs - You - 2:50
13. New Age Steppers - Fade Away - 5:33
14. Public Image Limited - Careering - 4:32
15. DNA - You and You - 2:05
16. Life Without Buildings - The Leanover - 5:22
17. UK Decay - For My Country - 2:21
18. Scritti Politti - Skank Bloc Bologna - 5:50
19. Flying Lizards - Sex Machine - 3:25
20. Prats - Disco Pope - 2:42
21. Liquid Liquid - Groupmegroup - 3:17
22. Wir
e - Ex Lion Tamer - 2:20
CD 2
1. Bush Tetras - Too Many Creeps - 4:00
2. The Futureheads - Robot - 2:11
3. James White and the Blacks - Contort Yourself (Original Version) - 3:01
4. World Domination Enterprises - Asbestos Lead Asbestos - 2:45
5. Blurt - The Fish Needs a Bike - 2:40
6. Family Fodder - Debbie Harry - 3:11
7. Gramme - Like You - 4:09
8. Magazine - Definitive Gaze - 4:26
9. Raincoats - Lola -
10. bIG fLAME - Sink - 2:39
11. 23 Skidoo - Last Words - 3:38
12. Chicks on Speed - Yes I Do - 2:35
13. Erase Errata - Tongue Tied - 1:39
14. Shock Headed Peters - I Bloodbrother Be (
4,000 Love Letter) - 6:41
15. Fall - Industrial Estate - 1:56
16. Young Marble Giants - Searching For Mr. Right - 2:51
17. Crispy Ambulance - Deaf - 3:55
18. XTC - This Is Pop? - 2:38
19. Mo-Dettes - White Mice - 3:37
20. Fats Comet and the Big Sound - Bop Bop - 4:05
21. Essential Logic - Aerosol Burns - 1:59
22. Maximum Joy - Stretch (Disco/Rap Mix) - 6:12
Besetzung: Artwork By [Design] - Angela Haywood
; Mastered By - Tony Dixon
; Mastered By [Premastered By] - Kevin Paul, Mathieu Gendreau
; Other [Liner Notes] - Colin Newman
V. A. (Rough Trade) [>] [D]: Requiem By Rough Trade [F]
Label und Katalognummer: Tokuma 35JC 104
Produktion: Verschiedene
Veröffentlicht: 1984 (Ed.)
Genretags: Postpunk, Newpop
Licenced through Rough Trade.
Trackliste: 1. Robert Wyatt: Red Flag
2. Cabaret Voltaire: Voice of America / Damage is Done
3. This Heat: Makeshift Swahili
4. Dome: Red Tent 2
5. Weekend: Red Plains
6. Weekend: Nostalgia
7. Robert Wyatt: Biko
8. Virgin Prunes: Sweethome Under White Clouds (Miscredited as Decline and Fall)
9. The Pop Group: Justice
10. Wir
e: Go Ahead
11. The Raincoats: Dreaming in the Past
12. The Smiths: Please Please Please Let Me Get What I Want
V. A. (Rounder) [>] [D]: The Rounder Records Story [F]
Label und Katalognummer: Rounder
Produktion: Verschiedene
Veröffentlicht: 2010 10 19 (Ed.)
Genretags: Folk - Urbanfolk - American-Folkmusic-Revival
Trackliste: CD 1
1. Old Home Place - Crowe - 2:48
2. Take Me Back to Happy Valley - Bailey Brothers - 2:41
3. Armadillo Breakdown - Country Cooking - 2:14
4. High on a Mountain - Reed - 2:36
5. Killing the Blues - Woodstock Mountains Revue - 3:53
6. Johnson's Old Gray Mule - Pegram - 2:15
7. Cherry River Rag - Haley - 2:53
8. Sweet Lucy - Hurley - 4:04
9. Parlez-Nous à Boire - Balfa Freres - 3:44
10. Mrs. Scott Skinner/The Smith's a Gallant Fireman/The Earl of Seafield's - Cormier - 3:39
11. Tom and Jerry - O'Connor - 2:15
12. Down Home Summertime Blues - Blake - 3:40
13. Memory of Your Smile - Boone Creek - 2:33
14. Things in Life - Stover - 3:06
15. Kitty Puss - Thomas - 2:23
16. Who Broke the Lock? - Highwoods Stringband - 2:53
17. Don't Put Her Down You Helped Put Her There - Hazel & Alice - 3:46
18. Jula Jekere - Konte - 5:04
19. The Only Way - Trischka - 4:17
20. Fluxology - Douglas - 3:08
21. La Porte Dans Arriere - D.L. Menard & The Louisiana Aces - 3:26
22. I Ain't Broke But I'm Badly Bent - Grisman - 1:59
23. Sparkling Brown Eyes - Val - 3:06
24. Who Do You Love - Thorogood - 4:19
CD 2
1. Frosty - Brown - 3:45
2. Watch Your Step - Hawkins - 2:14
3. New Kind of Neighborhood - Richman - 2:44
4. I Never Go Around Mirrors - Whitley - 3:17
5. Cold on the Shoulder - Rice - 2:34
6. Mama's Hand - Dickens - 4:30
7. A Freylekhe Nakht in Gan Eydn - Klezmer Conservatory Band - 1:49
8. Babylon's Big Dog - Culture - 3:58
9. Ya Ya - Buckwheat Zydeco - 3:35
10. Tipitina - Professor Longhair - 4:23
11. Zydeco Gris-Gris - Beausoleil - 3:39
12. Cowboy Jubilee - Riders in the Sky - 1:44
13. Let the Whole World Talk - Johnson Mountain Boys - 2:42
14. Happy Wanderer - Brave Combo - 2:30
15. Classified - Booker - 3:15
16. Got to Have You Be My Man - Block - 2:22
17. Electricity - LaBeef - 2:20
18. Everybody Wants a Piece of Me - Copeland - 2:57
19. Whitewater - Fleck - 3:10
20. Once in a Very Blue Moon - Griffith - 2:35
21. My Blue Ridge Cabin Home - Bluegrass Album Band - 3:10
22. Howjadoo - McCutcheon - 2:42
23. Viva Seguin - Jimenez - 2:18
24. Me and the Boys - NRBQ, Whole Wheat Horns - 3:25
CD 3
1. Birches - Morrissey - 3:20
2. Baby, Now That I've Found You - Krauss - 3:49
3. One Endless Night - Gilmore - 3:47
4. Sing It - Ball, Nelson, Thomas - 4:19
5. Do Whatcha Wanna, Pt. 3 - Rebirth Brass Band - 4:30
6. A Virus Called the Blues - Brown - 6:50
7. Only One Shoe - Newcomer - 3:14
8. There Is Always One More Time - Adams - 3:42
9. Something in the Rain - Hinojosa - 5:02
10. Bed by the Window - King - 4:57
11. Give Him Cornbread - Jocque - 4:55
12. Valse de Kaplan - LeJeune, Menard, Smith - 3:18
13. High Lonesome - Longview - 4:04
14. In the Palm of Your Hand - Cox Family, Krauss - 3:25
15. False Friend Blues - Brown, Brown - 4:26
16. Carnival Time - Dollis - 2:42
17. Standing Here at the Cross Roads - Roomful of Blues - 4:17
18. It's Harder Now - Pickett - 3:42
CD 4
1. Don't Wait Too Long - Peyroux - 3:10
2. Down to the Wir
e - Son Volt - 4:19
3. More Than a Name on a Wall - Dailey & Vincent - 2:57
4. Roll in My Sweet Baby's Arms - Scruggs, Skaggs, Three Pickers - Traditional) - 3:08
5. Man with the Blues - Nelson - 2:18
6. Rebel Rouser - Sturr - 1:54
7. Versatile Heart - Downtown Silver Band, Thompson - 3:24
8. In the Middle of It All - Thomas - 4:47
9. Please Read the Letter - Krauss, Plant - 5:53
10. Through the Window of a Train - Blue Highway - 3:09
11. Resist - Rush - 4:27
12. Small Swift Birds - Cowboy Junkies - 3:40
13. Basement Apt. - Harmer - 4:09
14. I Have a Need of Solitude - Carpenter - 3:43
15. Lonesome Wind Blues - Vincent - 3:04
16. Me and John and Paul - Grascals - 3:14
17. The Crow - Martin - 3:23
18. The Only Sound That Matters - Plant - 3:44
19. Trashcan - Delta Sprit - 3:37
20. Fibber Island - They Might Be Giants - 2:11
21. Back to Me - Edwards - 3:29
V. A. (Rounder) [>] [D]: The Rounder Record Story [F]
Label und Katalognummer: Rounder CDROU 3295
Produktion: Verschiedene
Veröffentlicht: 2010 10 19 (Ed.)
Genretags: Country - Bluegrass - Newgrass, Alternativerock - Alternativecountry
Trackliste: CD 1
1. Old Home Place (Mitch Jayne, Dean Webb) - 2:48
2. Take Me Back to Happy Valley (Charles Bailey, Dan Bailey) - 2:41
3. Armadillo Breakdown (Peter Wernick) - 2:14
4. High on a Mountain (Ola Belle Reed) - 2:36
5. Killing the Blues (Rowland Salley) - 3:53
6. Johnson's Old Gray Mule (Public Domain) - 2:15
7. Cherry River Rag (Ed Haley) - 2:53
8. Sweet Lucy (Michael Hurley) - 4:04
9. Parlez-Nous à Boire (Dewey Balfa) - 3:44
10. Mrs. Scott Skinner/The Smith's a Gallant Fireman/The Earl of Seafield's Real (Donald Grant, J.S. Skinner, Traditional) - 3:39
11. Tom and Jerry (Traditional) - 2:15
12. Down Home Summertime Blues (Norman Blake) - 3:40
13. Memory of Your Smile (Ruby Rakes) - 2:33
14. Things in Life (Don Stover) - 3:06
15. Kitty Puss (Buddy Thomas) - 2:23
16. Who Broke the Lock? (Public Domain) - 2:53
17. Don't Put Her Down You Helped Put Her There (Hazel Dickens) - 3:46
18. Jula Jekere (Public Domain) - 5:04
19. The Only Way (Tony Trischka) - 4:17
20. Fluxology (Jerry Douglas) - 3:08
21. La Porte Dans Arriere (D.L. Menard) - 3:26
22. I Ain't Broke But I'm Badly Bent (Martha Ellis) - 1:59
23. Sparkling Brown Eyes (Billy Cox) - 3:06
24. Who Do You Love (Ellas McDaniel) - 4:19
CD 2
1. Frosty (Albert Collins) - 3:45
2. Watch Your Step (Theodore Hawkins, Jr.) - 2:14
3. New Kind of Neighborhood (Jonathan Richman) - 2:44
4. I Never Go Around Mirrors (Lefty Frizzell, Sanger Shaffer) - 3:17
5. Cold on the Shoulder (Gordon Lightfoot) - 2:34
6. Mama's Hand (Hazel Dickens) - 4:30
7. A Freylekhe Nakht in Gan Eydn (Public Domain) - 1:49
8. Babylon's Big Dog (Joseph Hill) - 3:58
9. Ya Ya () - 3:35
10. Tipitina (Roy Byrd) - 4:23
11. Zydeco Gris-Gris (Michael Doucet) - 3:39
12. Cowboy Jubilee (Fred Labour, Woody Paul) - 1:44
13. Let the Whole World Talk (J.D. Miller) - 2:42
14. Happy Wanderer (A. Ridge) - 2:30
15. Classified (James Booker) - 3:15
16. Got to Have You Be My Man (Rory Block) - 2:22
17. Electricity (Jimmy Murphy) - 2:20
18. Everybody Wants a Piece of Me (Johnny Copeland) - 2:57
19. Whitewater (Béla Fleck) - 3:10
20. Once in a Very Blue Moon (Patrick Alger, Eugene Levine) - 2:35
21. My Blue Ridge Cabin Home (Louise Certain, Gladys Stacey) - 3:10
22. Howjadoo (Woody Guthrie) - 2:42
23. Viva Seguin () - 2:18
24. Me and the Boys (Terry Adams) - 3:25
CD 3
1. Birches (Bill Morrissey) - 3:20
2. Baby, Now That I've Found You (John MacLeod, Tony Macaulay) - 3:49
3. One Endless Night (Jimmie Dale Gilmore, David Hammond) - 3:47
4. Sing It (David Egan) - 4:19
5. Do Whatcha Wanna, Pt. 3 (Keith Frazier, Philip Frazier, Kermit Ruffins) - 4:30
6. A Virus Called the Blues (Charles Brown, Homer Brown) - 6:50
7. Only One Shoe (Carrie Newcomer) - 3:14
8. There Is Always One More Time (Ken Hirsch, Doc Pomus) - 3:42
9. Something in the Rain (Tish Hinojosa) - 5:02
10. Bed by the Window (Rob Crosby, Marnie Wilson) - 4:57
11. Give Him Cornbread (Andrus Espre) - 4:55
12. Valse de Kaplan (Traditional) - 3:18
13. High Lonesome (Gretchen Peters) - 4:04
14. In the Palm of Your Hand (Ron Block) - 3:25
15. False Friend Blues (Ivory Joe Hunter) - 4:26
16. Carnival Time () - 2:42
17. Standing Here at the Cross Roads (W.C. Clark) - 4:17
18. It's Harder Now (Jon Tiven, Sally Tiven) - 3:42
CD 4
1. Don't Wait Too Long (Jesse Harris, Larry Klein, Madeleine Peyroux) - 3:10
2. Down to the Wir
e (Jay Farrar) - 4:19
3. More Than a Name on a Wall (Jimmy Fortune, John Rimel) - 2:57
4. Roll in My Sweet Baby's Arms (Traditional) - 3:08
5. Man with the Blues (Willie Nelson) - 2:18
6. Rebel Rouser (Duane Eddy, Lee Hazelwood) - 1:54
7. Versatile Heart (Linda Thompson, Teddy Thompson) - 3:24
8. In the Middle of It All (Arthur Alexander) - 4:47
9. Please Read the Letter (Charlie Jones, Michael Lee, Jimmy Page, Robert Plant) - 5:53
10. Through the Window of a Train (Steve Gulley, Tim Stafford) - 3:09
11. Resist (Geddy Lee, Alex Lifeson, Neil Peart) - 4:27
12. Small Swift Birds (Michael Timmins) - 3:40
13. Basement Apt. (Sarah Harmer) - 4:09
14. I Have a Need of Solitude (Mary Chapin Carpenter) - 3:43
15. Lonesome Wind Blues (Wayne Raney) - 3:04
16. Me and John and Paul (Harley Allen) - 3:14
17. The Crow (Steve Martin) - 3:23
18. The Only Sound That Matters (Greg Vanderpool) - 3:44
19. Trashcan () - 3:37
20. Fibber Island (John Flansburgh, John Linnell) - 2:11
21. Back to Me (Colin Cripps, Kathleen Edwards) - 3:29
Besetzung: Donn Adams: Trombone
; George Adams: Saxophone
; Johnny Adams: Vocals
; Terry Adams: Keyboards, Vocals
; John Agnello: Engineer
; Chuck Ainlay: Engineer, Mixing
; Tommy Alesi: Drums
; Pat Alger: Guitar, Guitar (Acoustic), Hi String Guitar
; Al Anderson: Guitar, Vocals
; Joel Anderson: Drums
; Wessell Anderson: Sax (Alto)
; Glen Andrews: Trumpet
; Darol Anger: Violin
; Alan Anton: Bass
; Herb Applin: Guitar, Vocals
; Tom Ardolino: Drums
; Joe Arlotta: Engineer, Mixing
; Kenneth Austin: Drums (Snare)
; Johnny Avila: Drums, Vocals
; Elias Badeaux: Accordion
; Charles Bailey: Mandolin, Vocals
; Danny Bailey: Guitar, Vocals
; Barry Bales: Bass (Acoustic)
; Dewey Balfa: Fiddle, Vocals
; Harry Balfa: Triangle
; Rodney Balfa: Fiddle
; Will Balfa: Fiddle
; Marcia Ball: Piano, Vocals
; Michael Barackman: Executive Producer
; Russ Barenberg: Guitar
; Craig Barker: Executive Producer
; Jeffrey Barnes: Woodwind
; Ray Barno: Sax (Alto)
; Milton Batiste: Trumpet
; Riley Baugus: Banjo
; Bob Bell: Executive Producer
; Peter Bell: Executive Producer
; Jay Bellerose: Drums, Percussion
; Mac Benford: Banjo, Vocals
; Dae Bennett: Engineer
; Lee Berg: Vocals
; Karen Bergquist: Vocals (Background)
; Rob Bernstein: Mixing
; Steven Bernstein: Brass Arrangement, Flugelhorn, Horn (Alto)
; Melanie Berson: Engineer
; Scott Billington: Cowbell, Mixing
; Jeff Bird: Percussion
; Norman Blake: Guitar, Vocals
; Bob Blank: Engineer, Mixing
; Ron Block: Banjo, Guitar
; Rory Block: Guitar, Vocals
; Billy Blough: Bass
; Arthur Blythe: Saxophone
; Mark Bogart: Engineer
; James Booker: Piano, Vocals
; Edmond Boudreau: Guitar
; Monk Boudreaux: Associate Tambourine, Vocals (Background)
; Charlie Bragg: Engineer
; Judy Bressler: Tambourine, Vocals
; Paul Brewster: Guitar (Acoustic)
; David Brody: Mandolin, Violin
; Charles Brown: Piano, Vocals
; Clarence \'Gatemouth\' Brown: Guitar, Vocals
; Ruth Brown: Vocals
; Jack Bryant: Guitar
; Steve Bryant: Bass (Electric)
; Dave Bryson: Drums
; Jason Burleson: Banjo
; T-Bone Burnett: Guitar (Acoustic)
; Chuck Bush: Bass, Vocals (Background)
; Sam Bush: Mandolin
; Don Byron: Clarinet
; Andrew Caiati: Engineer, Mixing
; Neal Cappellino: Mixing
; Mark Capps: Engineer
; Danny Caron: Guitar
; Mary Chapin Carpenter: Guitar (Acoustic), Vocals, Vocals (Background)
; Keith Carper: Bass, Vocals (Background)
; John Catchings: Cello
; Todd Cerney: Engineer
; Steve Chandler: Engineer, Mixing
; Ricky Chao: Assistant Engineer
; Steve Charlot: Drums, Vocals (Background)
; Richard Chycki: Mixing
; Dane Clark: Drums
; Rob Clark: Overdub Engineer
; Jenny Cleland: Bass, Vocals
; Vassar Clements: Fiddle, Violin
; Fred Cockerham: Fiddle
; Charlie Collins: Guitar
; Tommy Comeaux: Guitar (Rhythm), Mandolin
; Dudley Connell: Guitar, Tenor (Vocal), Vocals
; Jim Cooley: Assistant Engineer
; Johnny Copeland: Guitar, Vocals
; Keith Copeland: Drums
; Mike Costello: Assistant
; Suzanne Cox: Baritone (Vocal)
; Dennis Coyman: Drums
; Colin Cripps: Guitar (Electric)
; Dennis Crouch: Bass, Bass (Acoustic)
; J.D. Crowe: Banjo, Baritone (Vocal), Guitar (Rhythm), Mixing
; Elijah Cudges: Rubboard
; Wally Czerniawski: Accordion
; Jamie Dailey: Guitar, Vocals
; Christopher Daley: Engineer
; Lewis Daley: Drums
; Eric Darken: Percussion
; Michael Daves: Guitar
; Brad Davis: Guitar (Acoustic)
; George Davis: Bass
; Stanton Davis, Jr.: Trumpet
; Joel DeGregorio: Piano
; Delta Spirit: Engineer
; Bob DeMuth: Assistant Engineer
; Linford Detweiler: Keyboards
; Nick Devito: Sax (Alto)
; Hazel Dickens: Guitar (Bass), Vocals
; Dave Dillon: Guitar
; Chris Ditson: Drums
; Joe Diviney: Bass
; Bill Dobrow: Shaker
; Phillip Donnelly: Guitar (Electric)
; Doug Dorschug: Engineer, Guitar, Vocals
; Stephen Doster: Guitar (Acoustic), Guitar (Electric)
; David Doucet: Guitar
; Michael Doucet: Fiddle, Mandolin, Vocals
; Jerry Douglas: Dobro
; Myron Dove: Bass
; Brian Dozoretz: Assistant Engineer
; Dr. John: Hammond B3, Vocals
; Lorraine Duisit: Guitar
; Glen Duncan: Fiddle
; Stuart Duncan: Fiddle
; Andrew Duplantis: Guitar (Bass), Vocals (Background)
; Suzanne Dyer: Engineer, Mixing
; Marvin Denton Dykhuis: Guitar, Guitar (Rhythm), Vocals (Background)
; John Dymond: Bass
; Snooks Eaglin: Guitar
; Duane Eddy: Guest Artist, Guitar (Electric)
; Kathleen Edwards: Guitar (Acoustic)
; Terry Eldredge: Guitar (Acoustic), Vocals
; Paul Emery: Engineer
; Bob Enos: Trumpet
; Jay Farrar: Guitar (Acoustic), Vocals
; David Farrell: Engineer, Mixing
; Freddie Fatstring: Guitar
; Charlie Faurot: Engineer
; Rob Feaster: Assistant
; John Ferrell: Assistant Engineer
; Ed Ferris: Bass
; Carl Finch: Accordion, Guitar
; John Flansburgh: Guitar, Vocals
; Béla Fleck: Banjo
; Carl Fleischauer: Photography
; Matt Flinner: Mandolin
; Barney Floyd: Trumpet
; Thom Foley: Assistant Engineer
; Hadley Fontenot: Accordion
; Kyle Ford: Assistant Engineer, Engineer
; Bobby Forrester: Piano
; Eugene Foster: Assistant
; Nicolas Fournier: Assistant Engineer
; Denice Franke: Vocal Harmony
; Keith Frazier: Drums (Bass)
; Philip Frazier: Tuba
; Ronnie Freeland: Engineer, Mixing
; Ryan Freeland: Mixing
; Bob French: Banjo, Vocals
; Brian Fulk: Engineer
; Jay Gallagher: Engineer
; Richard Gates: Bass
; Gator June: Tambourine, Vocals (Background)
; Evrol Gayle: Trombone
; Geechee: Drums (Bass), Vocals (Background)
; Geenie: Congas, Vocals (Background)
; Alice Gerrard: Guitar, Vocal Harmony
; Harry Gilmore: Mandolin
; Jimmie Dale Gilmore: Vocals
; Marco Giovino: Drums, Percussion
; Nancy Given: Design
; Rob Gjersoe: Guitar (Electric)
; Paul Glasse: Mandolin
; Victor Goines: Horn Arrangements, Sax (Baritone)
; Merryl Goldberg: Sax (Baritone)
; Wes Golding: Guitar
; Larry Goldings: Organ (Hammond), Wurlitzer Piano
; Tommy Goldsmith: Guitar, Guitar (Acoustic), Guitar (Electric)
; Ed Goodreau: Assistant
; Ralph Gordon: Bass
; Yohei Goto: Assistant Engineer
; Ken \'Doc\' Grace: Bass
; Michael Graham: Engineer
; Dave Greco: Bass
; Lloyd Green: Guitar (Steel)
; Phil Greene: Engineer
; Paul Griffin: Organ
; Nanci Griffith: Guitar (Acoustic), Vocal Harmony, Vocals
; Earl Grigsby: Bass
; David Grisman: Arranger, Mandolin, Mixing
; Jack Grochmal: Engineer
; James Guttmann: Bass
; Sarah H.: Mixing Assistant
; Edward Haber: Engineer
; Helik Hadar: Engineer, Mixing
; Ed Haley: Fiddle
; Ella Haley: Mandolin
; Ralph Haley: Guitar
; John Hall: Fiddle
; Mark Hallman: Mixing
; Mark Hamilton: Trombone
; Steve Hamm: Engineer
; David Fender \'Fingers\' Hammond: Organ (Hammond), Piano
; Gordon Hammond: Assistant Engineer
; Dave Haney: Photography
; Kenny Harbus: Trumpet
; Evan Harlan: Accordion, Piano
; Sarah Harmer: Guitar (Acoustic), Vocals
; Bill Harris: Engineer
; Emmylou Harris: Vocals
; Ted Hawkins: Guitar, Vocals
; Don Heffington: Drums
; James Heidebrecht: Assistant Engineer
; Cosmo Heidtman: Engineer
; Jesse Henderson: Engineer, Mixing
; Bubba Hernandez: Bass
; Lloyd Herrman: Drums
; Eric Heywood: Pedal Steel
; Dan Hickey: Drums
; Gary Hickinbotham: Engineer
; Bobby Hicks: Bass (Vocal), Fiddle
; Claude J. Hill: Mixing
; Jeff Hill: Bass (Electric)
; Joseph Hill: Percussion, Vocals, Vocals (Background)
; Geoffrey Himes: Liner Notes
; Karl Himmel: Drums, Percussion
; Steve Hindalong: Percussion
; Tish Hinojosa: Guitar (Rhythm), Vocal Harmony, Vocals
; Jim Hochanadel: Sax (Baritone), Sax (Tenor)
; John Holbrook: Engineer
; Byron House: Bass, Bass (Upright)
; Mark Howard: Guitar (Rhythm), Hi String Guitar
; Ross Humphrey: Assistant Engineer
; Michael Hurley: Guitar (Rhythm), Vocals
; Roy Huskey: Bass
; Roy Huskey Jr.: Bass (Upright)
; Jason Hutto: Engineer
; Rob Ickes: Dobro, Guitar (Resonator)
; The Golden Eagles Mardi Gras Indians: Tambourine, Vocals, Vocals (Background)
; Edward Irwin: Piano
; Ken Irwin: Engineer, Mixing
; Clyde Isaacs: Mandolin
; Wax Iwaskiewicz: Guitar
; Rob Jaczko: Assistant, Mixing Assistant
; Jah Privie: Guitar (Rhythm), Vocals (Background)
; Doug James: Sax (Baritone)
; George Javori: Drums, Dumbek, Tambourine
; Doug Jernigan: Dobro, Guitar (Steel)
; Flaco Jiménez: Accordion
; Beau Jocque: Accordion, Vocals
; Joey Crawford: Assistant Engineer
; Jamie Johnson: Vocal Harmony
; Ray Johnson: Guitar, Vocals (Background)
; Nathaniel Jolivette: Drums
; The Jordanaires: Accompaniment, Vocals
; John Jorgenson: Mandolin
; Johnny Karas: Sax (Tenor)
; Bill Keith: Banjo
; Emile Kelman: Assistant Engineer, Engineer
; Fred Kemp: Sax (Tenor)
; Bobby Keyes: Guitar
; Russell Keyes: Bass
; Cody Kilby: Guitar (Acoustic)
; Harry King: Piano
; James King: Guitar, Vocals
; Kaori Kinoshita: Assistant Engineer
; Walt Koken: Fiddle, Vocals
; Paul Q. Kolderie: Mixing
; Alhaji Bai Konte: Kora
; Kenny Kosek: Fiddle
; Marcus Kötter: Engineer
; Alison Krauss: Arranger, Fiddle, Guest Artist, Viola, Vocals
; Russ Kunkel: Drums, Percussion, Shaker
; Sleepy LaBeef: Guitar (Acoustic), Guitar (Electric), Mixing, Soloist, Vocals
; Byard Lancaster: Saxophone
; Sonny Landreth: Slide Guitar
; Calvin Landry: Trumpet
; Red Lane: Guitar (Rhythm)
; Shawn Lane: Mandolin, Vocal Harmony
; Rich Lataille: Sax (Alto), Sax (Tenor)
; Michael Latterell: Engineer
; Jim Lauderdale: Vocal Harmony
; Doyle Lawson: Mandolin, Tenor (Vocal)
; Geddy Lee: Guitar (Acoustic), Vocals
; Andy Leftwich: Fiddle, Mandolin
; Jason Lehning: Assistant, Assistant Engineer
; John Leibman: Guitar
; Marian Leighton: Photography
; Eddie LeJeune: Accordion, Arranger, Vocals
; Dan Levine: Euphonium, Tuba
; Duke Levine: Guitar (Electric), National Steel Guitar
; Ron Levy: Organ, Percussion, Piano, Vocals (Background)
; Adrian Lifeson: Assistant
; Alex Lifeson: Guitar (Acoustic), Mixing
; Ronny Light: Engineer, Mixing
; Lil\' Crip: Cowbell, Vocals (Background)
; John Linnell: Keyboards, Vocals
; Garrett List: Trombone
; Frank London: Cornet, Horn (Alto)
; Louis Brown: Horn
; Lyle Lovett: Vocal Harmony
; Gregg Lunsford: Engineer, Mixing
; Doug MacLean: Engineer
; Alan Maggard: Assistant Engineer
; Joe Magnuszewski: Sax (Alto)
; Kenny Malone: Congas, Drums, Percussion
; David Mansfield: Mandolin
; Dan Marcus: Guitar
; Mitch Marine: Drums
; Thomas Mark: Engineer
; Delfeayo Marsalis: Trombone
; Steve Martin: Banjo
; Roger Mason: Bass
; Chris Masterson: Engineer, Lap Steel Guitar, Vocals (Background)
; Larry Mathis: Banjo
; Jimmy Mattingly: Fiddle, Mandolin
; Earl May: Bass (Acoustic)
; Matt McCabe: Piano
; Ronnie McCoury: Mandolin
; John McCutcheon: Banjo, Mixing, Vocals
; Candy McDonald: Drums
; Bill McElroy: Engineer, Mixing
; David McLaughlin: Fiddle, Mandolin, Vocals
; Pat McMakin: Overdub Engineer
; Jim McMillen: Trombone
; Guthrie T. Meade: Engineer
; Mike Melford: Executive Producer
; Randy Melson: Bass
; D.L. Menard: Arranger, Guitar, Vocals
; Buddy Miller: Engineer, Guitar (Electric), Mastering, Mixing
; Charlie Miller: Trumpet
; Dan Miller: Guitar
; John Miller: Bass, Fiddle
; Mark Miller: Engineer
; Robin Miller: Flute, Piccolo
; Wayne R. Miller: Executive Producer
; Wendy Miller: Mandolin, Tenor (Vocal)
; Jim Mills: Banjo
; Joseph \'Zigaboo\' Modeliste: Drums
; Ingrid Monson: Cornet
; Jason Moore: Bass
; Peter Moore: Mixing
; Stanton Moore: Drums
; Vin Morgan: Keyboards, Vocals (Background)
; Bill Morrissey: Arranger, Guitar, Vocals
; Paul Mufson: Engineer, Mixing
; Jenni Muldaur: Vocal Harmony
; Joe Mullins: Banjo
; Patrick Murphy: Engineer, Mixing
; John Nagy: Engineer, Mixing
; Dana Nelson: Engineer
; Rick Nelson: Drums
; Tracy Nelson: Vocals
; Willie Nelson: Gut String Guitar, Vocals
; Steve Netksy: Tenor Banjo
; Hankus Netsky: Director, Piano, Sax (Alto)
; Carrie Newcomer: Guitar (Acoustic), Vocals
; Jay Newland: Mixing
; Robert Nickson: Drums
; Al Noble: Trumpet
; Sugar Ray Norcia: Harmonica, Vocals
; Mark O\'Connor: Arranger, Fiddle, Mandola, Mandolin, Piccolo Mandolin
; Bill Ohashi: Trombone
; Ted Osbourne: Engineer
; Joe Overholt: Engineer
; Gary Paczosa: Engineer, Mixing
; Jeff Parker: Vocal Harmony
; Dean Parks: Guitar
; Eric Parks: Trumpet
; Vanessa Parr: Engineer
; Stacy Parrish: Engineer
; Russell Paul: Pedal Steel
; Woody Paul: Accordion, Fiddle, Gut String Guitar, Harmonica, Tenor (Vocal), Vocals
; Roderick Paulin: Sax (Tenor)
; Alex Pavlides: Engineer
; Paul Pearcy: Drums, Percussion
; George Pegram: Banjo, Vocals
; Rob Pemberton: Assistant Engineer
; Uncle Meat Pennington: Maracas, Tambourine
; Ed Petersen: Sax (Tenor)
; Madeleine Peyroux: Guitar (Acoustic), Vocals
; Todd Phillips: Bass
; Al Piatkowski: Accordion
; Tom Pick: Engineer
; Wilson Pickett: Vocals
; Wilfred Pierre: Rubboard, Vocals (Background)
; Mike Piersante: Engineer, Mixing
; David Pilitch: Bass
; Robert Plant: Vocals
; Adam Poindexter: Guitar
; Mike Poole: Editing, Engineer, Mixing, Reconstruction
; George Porter: Associate Producer
; George Porter, Jr.: Bass, Percussion, Vocals (Background)
; Bob Potts: Fiddle, Vocals
; Dirk Powell: Guitar (Electric)
; Kevin Prater: Guitar
; John Pratt: Trumpet
; Paul Presti: Slide Guitar
; Pretty Queen: Tambourine, Vocals (Background)
; Jim Price: Engineer, Mixing
; Pete Prilesnik: Engineer, Mixing
; Gary Primich: Harmonica
; John Probst: Piano
; Professor Longhair: Piano, Vocals
; Marc Pruett: Banjo
; Carl Querfurth: Executive Trombone
; Miriam Rabson: Violin
; Ranger Doug: Baritone (Vocal), Guitar (Rhythm), Vocals
; Mickey Raphael: Harmonica
; Eric Ratz: Mixing Assistant
; Mac Rebennack: Hammond B3, Piano
; Alan Reed: Banjo, Guitar
; Bud Reed: Banjo, Guitar
; David Reed: Banjo, Guitar
; Jimmy Reed: Guitar
; Ola Belle Reed: Banjo, Guitar, Vocals
; Jamey Reid: Percussion
; Dave Reisch: Bass
; Paul Reisler: Mixing
; Rudy Rempel: Assistant Engineer
; Steve Reynolds: Assistant Engineer, Engineer, Second Engineer
; Tom Rhody: Percussion
; Marc Ribot: Guitar (Acoustic), Guitar (Electric)
; Tony Rice: Guitar, Vocals
; Jonathan Richman: Guitar, Vocals
; Joe Rigby: Saxophone
; Don Rigsby: Mandolin
; Herlin Riley: Drums
; Ralph Rinzler: Engineer
; Barbara Roberds: Photography
; Danny Roberts: Mandolin
; Kayton Roberts: Guitar (Steel)
; Jim Robeson: Engineer, Production Assistant
; Duke Robillard: Guitar, Guitar (Electric)
; Matt Rollings: Hammond B3
; Jim Rooney: Guitar
; Steve Rosenthal: Engineer, Mixing
; John Rossi: Drums
; Kermit Ruffins: Trumpet
; Roly Salley: Guitar, Vocals
; Bill \'Foots\' Samuel: Sax (Alto)
; Moshe Savitsky: Dobro
; Mark Schatz: Bass
; Bill Scheniman: Engineer
; Brandon Schexnayder: Assistant Engineer
; Tracy Schwarz: Fiddle
; Darrell Scott: Guitar (Acoustic), Pedal Steel Guitar, Vocals (Background)
; Jim Scott: Mixing
; Earl Scruggs: Banjo, Vocals
; Gary Scruggs: Bass (Electric)
; Hartley Severns: Engineer
; Chris Sharp: Guitar (Acoustic)
; Jerry Shook: Engineer
; Bob Shumaker: Engineer
; Larry Sieberth: Piano
; Shep Siegel: Engineer
; Jeff Simon: Drums
; Ed Simonton: Assistant, Assistant Engineer
; James Singleton: Bass, Bass (Acoustic)
; James Sinyard: Assistant Engineer
; Ricky Skaggs: Baritone (Vocal), Guitar, Mandolin, Tenor (Vocal), Vocals
; Muzz Skillings: Bass
; Keith Slattery: Piano
; Bobby Slone: Bass, Fiddle
; Daryl Smith: Engineer
; Gary W. Smith: Piano
; Grant Smith: Drums, Percussion
; Ken Smith: Arranger, Fiddle
; Terry Smith: Bass
; Tony Smith: Vocal Engineer
; Todd Snare: Drums, Percussion
; Joey Spampinato: Bass, Vocals
; Mark Spencer: Engineer, Keyboards, Vocals (Background)
; Jason Spittle: Engineer
; Dick Spottswood: Engineer
; Blaine Sprouse: Fiddle
; Tim Stafford: Guitar, Vocal Harmony
; Susan Denton Staley: Vocal Harmony
; Leona Stamm: Guitar
; Peter Stampfel: Fiddle
; Stanley \'Buckwheat\' Dural: Accordion, Keyboards, Piano, Vocals
; Andy Statman: Mandolin
; Adam Steffey: Mandola, Mandolin
; Travis Stefl: Engineer
; Ron Stewart: Fiddle
; Bill Storm: Engineer
; Don Stover: Banjo, Vocals
; Oliver Straus: Engineer, Mixing
; Reginald Stuart: Trombone
; Eddie Stubbs: Fiddle, Vocals
; John Suire: Drums
; Joe Sunseri: Horn Arrangements, Sax (Baritone)
; Bryan Sutton: Guitar
; David Talbot: Banjo, Guitar (Acoustic)
; Mark Tanzer: Assistant
; Clarence \'Tater\' Tate: Fiddle
; Andy Taub: Engineer
; Adam Taylor: Mixing
; Tut Taylor: Dobro
; Wayne Taylor: Bass, Vocals
; Chris Testa: Assistant
; Buddy Thomas: Fiddle
; Dana Thomas: Engineer, Mixing
; Irma Thomas: Vocals
; Elijah Thompson: Engineer, Mixing
; Linda Thompson: Vocals
; Teddy Thompson: Guitar (Acoustic)
; George Thorogood: Guitar, Vocals
; Bob Tidwell: Bass
; Margo Timmins: Vocals
; Michael Timmins: Guitar
; Peter Timmins: Drums
; Jon Tiven: Guitar, Mixing
; Michael Toles: Guitar
; Jim Tolles: Guitar
; Too Slim: Accordion, Guitar (Rhythm), String Bass, Vocals
; David Torkanowsky: Piano (Electric)
; Brennan Totten: Guitar, Vocals
; Arconge Touchet: Guitar (Steel)
; Denis Tougas: Engineer
; Gord Tough: Guitar (Electric)
; Artie Traum: Bass
; Happy Traum: Banjo
; Tony Trischka: Banjo
; Johnnie Truesdale: Engineer
; Tuff Gong: Engineer
; Jake Tullock: Bass
; George Tutko: Overdub Engineer
; Alvin \'Red\' Tyler: Sax (Tenor)
; Dan Tyminski: Baritone (Vocal)
; Richard Underwood: Banjo, Vocals
; Frank Urbanovitch: Fiddle
; Chris Vachon: Associate Guitar
; Joe Val: Mandolin, Vocals
; Ken Vangel: Arranger, Piano
; Errol Verret: Accordion
; Johnny Vidacovich: Drums
; Darrin Vincent: Bass, Guitar (Acoustic), Harmony, Vocal Harmony
; Rhonda Vincent: Mandolin, Mixing, Vocals
; Ralph Vitello: Piano
; Peter Von Althen: Shaker, Tambourine
; Bil VornDick: Engineer
; Pete Wade: Guitar (Electric)
; Colin Walker: Engineer
; Sezz Walker: Bass
; Skip Ward: Bass
; Billy Ware: Percussion
; Doc Watson: Guitar (Acoustic), Vocals
; Richard Watson: Guitar (Acoustic)
; Raymond Weber: Drums, Percussion
; Danny Weinkauf: Bass
; Kent Wells: Guitar (Acoustic)
; Ted Wheeler: Mixing Assistant
; Don Whitcomb: Bass
; Cheryl White: Tenor (Vocal)
; Jenny Whiteley: Vocal Harmony
; Keith Whitley: Guitar (Rhythm), Vocals
; Marshall Wilborn: Bass
; The Wild Magnolias: Tambourine, Vocals, Vocals (Background)
; Sandy Williams: Guitar (Electric)
; Donna Wilson: Photography
; Mark Wilson: Engineer
; Craig Winselberg: Mixing Assistant
; Brad Winters: Assistant Engineer
; Bill Wolf: Engineer, Mixing
; Fred Wooten: Guitar
; Glenn Worf: Double Bass
; Jason Wormer: Editing, Engineer, Second Engineer
; Stan Wright: Engineer
; Jonathan Wyner: Remastering
; Yusef Yancey: Trumpet
; Phil York: Engineer
; Preston Young: Arranger
; Gei Zantzinger: Engineer
; Lee Allen Zeno: Bass, Guitar
V. A. (RPM Records) [>] [D]: Boobs: The Junkshop Glam Discotheque [F]
Label und Katalognummer: RPM Records RPM 298
Produktion: Verschiedene
Veröffentlicht: 2005 07 12 (Ed.)
Genretags: Rock - Artrock - Glamrock, Rock - Artrock - Junkshop-Glam
Trackliste: 1. Rats: Turtle Dove - 2:29
2. Hector: Wir
ed Up - 2:46
3. Screemer: Interplanetary Twist - 3:52
4. Chunky: Albatross - 3:30
5. Jimmy Jukebox: Motorboat - 2:11
6. Shelby: (Dance with the) Guitar Man - 3:15
7. Erasmus Chorum: Jungle - 2:38
8. Hot Rod: Love Is Alright (Hey) - 3:17
9. Sensation: Black Eyed Woman - 2:35
10. Paul Ryan: Natural Gas - 2:53
11. Iron Cross: Little Bit o' Soul - 2:31
12. Light Fantastic: Don't Let Go - 3:27
13. Catapult: Let Your Hair Hang Down - 2:42
14. Angel: Good Time Fanny - 2:59
15. Barry Blood: Poor Annie - 3:45$
16. Ice Cream: Shout It Out - 2:52
17. Boston Boppers: Did You Get What You Wanted - 3:03
18. Sensation: Baby - 3:06
19. Hobnail: She's Just a Friend of Mine - 3:28
20. Rock Rebellion: Let's Go - 3:06
Besetzung: Keith Allen: Producer
; Bob \'Derwood\' Andrews: Producer
; Roger Easterby: Producer
; John Edward: Producer
; Jaap Eggermont: Producer
; Lora Findlay: Design
; Kim Fowley: Producer
; David \'Wavy\' Green: Producer
; David Humphries: Producer
; Martin Jenner: Producer
; David Kassner: Producer
; Philip King: Liner Notes, Memorabilia, Photography, Producer
; Ken Knight: Producer
; Ken Lewis: Producer
; Michael Lloyd: Producer
; The John Schroeder Orchestra: Producer
; Andy Scott: Producer
; Eddie Seago: Producer
; John Springate: Producer
; Mark Stratford: Producer
; Paul Taussig: Producer
; Mick Tucker: Producer
; Phil Wainman: Producer
V. A. (RPM Records) [>] [D]: How Is the Air Up There: 80 Mod, Soul, Rnb & Freakbeat Nuggets From Down Under [F]
Label und Katalognummer: RPM Records RPMBX 539
Produktion: Verschiedene
Veröffentlicht: 2018 01 26 (Ed.)
Genretags: Rock'n'Roll - Rhythm'n'Blues - Australian-Rhythm'n'Blues
Trackliste: CD 1
1. La De Das: How Is The Air Up There (Artie Kornfeld, Steve Duboff) - 2:37
2. Larry's Rebels: Painter Man (Eddie Phillips, Kenny Pickett) - 2:57
3. Chants R&B: I'm Your Witch Doctor (John Mayall) - 2:05
4. Rayders: A Working Man (Owen Campbell) - 1:52
5. Four Fours: Go Go (Bill Ward, Dave Hartstone) - 2:16
6. Blue Stars: Social End Product (John Harris) - 2:33
7. Peter Nelson & The Castaways: Down In The Mine (Peter Hindmarsh) - 2:58
8. Tom Thumb: I Need You (Graeme Thompson, Rick White) - 2:10
9. Bari & The Breakaways: Woman (George Young, Stevie Wright) - 2:19
10. Smoke: No More Now (Brett Tauri) - 2:12
11. La De Das: Don't Stand In My Way (Bruce Howard, Trevor Wilson) - 2:21
12. Pleazers: Hurtin All Over (Eddie Reeves, Neil Levenson) - 2:43
13. Bitter End: Single Man (Alan Bateup, Dave Longmore, Peter Hall) - 1:42
14. Sandy Edmonds: Come And See Me (J.J. Jackson, Pierre Tubbs, Sidney Barnes) - 2:33
15. Spectres: Anything You Like (Peter Riseborough) - 2:10
16. Deep Set: Living It Down (Dick Roberts, Len Whittle) - 2:18
17. Roadrunners (6): Get Out Of My Life, Woman (Allen Toussaint) - 3:02
18. Crescendos: Now She's Mine (Ian Irvine) - 2:49
19. Blue Stars: I Can Take It (John Harris) - 2:07
20. Principals: I Can't Stop (Gary Frazer, Ray Morgan) - 2:46
21. Larry's Rebels: I Feel Good (Naomi Neville) - 2:51
22. Hubb Kapp & The Wheels: I'm Happy Too (Kerry Wright) - 1:43
23. Clevedonaires: He's Ready (Billy Sherrill, Glenn Sutton) - 2:30
24. Pleazers: Is It Over Baby? (Virginia Fitting) - 2:32
25. Action: I Can't Make A Friend (Jeremy Storch, Trade Martin) - 2:30
26. Smoke: Control Your Love (Brett Tauri) - 3:30
27. Gremlins: Listen To Me (Ces Good) - 2:21
CD 2
1. La De Das: On Top Of The World (John Mayall) - 2:28
2. Tom Thumb: Got Love (James Moore) - 1:47
3. Deep Set: The Devil Is A Woman (Dick Roberts, Len Whittle) - 2:28
4. Action: Day By Day (The Action) - 2:50
5. Selected Few: Get The Picture (Dick Taylor, Phil May) - 2:00
6. Four Fours: She's Gonna Get Me (Bill Ward, Dave Hartstone) - 2:25
7. Grimm Ltd.: Baby Doll (Chuck Berry) - 2:10
8. Principals: I'll Be Around (Ray Morgan) - 2:44
9. Cossacks: Ugly Thing (Chris Parfitt, Johnny Ellis, Ken Williams) - 3:08
10. Roadrunners (6): A House In The Country (Ray Davies) - 2:28
11. Bari & The Breakaways: I Can't Explain (Pete Townshend) - 1:59
12. Ray Columbus & The Invaders: Now You Shake (David Russell, Ray Columbus) - 3:51
13. Sebastian's Floral Array: Hey Joe (Billy Roberts) - 2:01
14. Judge Wayne & The Convicts: Little Miss Rhythm & Blues (Barry Gibb) - 2:43
15. Clevedonaires: Lost Woman (Chris Dreja, Jeff Beck, Jim McCarty, Keith Relf, Paul Samwell-Smith) - 1:54
16. Smoke: Never Trust Another Woman (Brett Tauri) - 2:43
17. Grimm Ltd.: Milk Cow Blues (Sleepy John Estes) - 3:42
18. Identity: Just Out Of Reach (Unknown Artist) - 2:22
19. Blue Stars: Don't Wanna Be Lonely Anymore (Murray Savidan) - 3:00
20. La De Das: What'cha Gonna Do (Brian Potter, Ian Samwell) - 3:10
21. Bari & The Breakaways: All For One (Dave Orams) - 1:45
22. Larry's Rebels: She's Mine (Unknown Artist) - 3:01
23. Secrets (21): It's You (Paul Muggleston) - 1:38
24. Principals: Women (Gary Frazer, Ray Morgan) - 2:29
25. Librettos: I'm Gonna Say Yeah (Brian Peacock, Rod Stone) - 1:49
26. Tommy Adderley: Mr. Jinx (Madara-White) - 2:25
27. Terry Dean And The Nitebeats: Bus Ride (Terry Dean And The Nitebeats) - 2:10
CD 3
1. Newsounds: All Night Worker (Rufus Thomas) - 2:55
2. Quincy Conserve: Hallelujah (Les Emmerson) - 2:28
3. Troubled Mind: I'm Good For You (Ray Columbus) - 2:26
4. Gene Pierson: Love Love Love (Jerry Ross, Joe Renzetti) - 3:12
5. Peter Nelson & The Castaways: A Little Lovin' Somethin' (Barry Mason, Les Reed) - 1:57
6. Action: Somethin' Fresh (Jerry Riopelle) - 2:28
7. Underdogs: See-Saw (Don Covay, Steve Cropper) - 2:38
8. La De Das: Jump Back (Rufus Thomas) - 2:18
9. Soundells: I'm In Love With A Stranger (Warren Potter) - 3:02
10. Librettos: Rescue Me (Carl Smith, Raynard Miner) - 2:43
11. Lee Grant: Love (Art Christopher, Jr., Bob Bernard, Larry Nix) - 2:06
12. Johnny Devlin: Hurtin' (Richard Bowden) - 2:40
13. Gene Pierson: You Got To Me (Neil Diamond) - 2:42
14. Challenge: Things Get Better (Eddie Floyd, Steve Cropper, Wayne Jackson) - 2:24
15. Newsounds: Over You (Allen Orange, Allen Toussaint) - 2:27
16. Concrete Lamb: Turn To Stone (Holland-Dozier-Holland, R. Dean Taylor) - 2:36
17. Quincy Conserve: Lovin' Look (Les Emmerson) - 2:35
18. Peter Nelson & The Castaways: At A Time Like This (Bill Martin & Phil Coulter) - 2:33
19. Chants R&B: Neighbour, Neighbour (Huey P. Meaux) - 2:31
20. Le Frame: Get Ready (William Robinson, Jr.) - 2:37
21. Wir
emu Karaitiana: Pains Of Love (J.R. Bailey) - 2:16
22. Spectres: So Badly Baby (Peter Riseborough) - 3:14
23. Pleazers: Security (Otis Redding) - 2:15
24. Action: Never Ever (Alan King, Mike Evans, Reg King, Roger Powell) - 2:48
25. Lee Grant: As Long As I Have You (Bob Elgin, Jerry Ragovoy) - 2:40
26. Jay Epae: The Creep (Jay Epae) - 1:59
Besetzung: Artwork: Andrew Aguilar
; Artwork: Grant Gillanders
; Executive-Producer [For CD]: Grant Gillanders
; Mastering: Simon Lynch
; Transferred By: Steve McGough
; Phonographic Copyright (p) RPM Records (2)
; Copyright (c) RPM Records (2)
; Marketed By Cherry Red Records Ltd.
; Distributed By Cherry Red Records Ltd.
V. A. (RPM Records) [>] [D]: Night Comes Down. 60s British Mod, R&B, Freakbeat & Swinging London Nuggets [F]
Label und Katalognummer: RPM Records RPMBX 535
Produktion: Verschiedene
Veröffentlicht: 2017 06 02 (Ed.)
Genretags: Rock'n'Roll - Rhythm'n'Blues - British-Rhythm'n'Blues
Trackliste: CD 1
1. Lita Roza: Mama (He Treats Your Daughter Mean) -
2. Ronnie Jones & Nightimers: I Need Your Loving -
3. Laurel Aitken: Baby Don't Do It -
4. Blues Incorporated: Taboo Man -
5. Mickey Finn And The Blue Men: Pills -
6. James Royal: Work Song -
7. Second Thoughts: Seventh Son -
8. Mark Wir
tz Orchestra: Comin' Home Baby -
9. Phillip Goodhand-Tait & Stormsville Shakers: It's A Lie -
10. Bo Street Runners: And I Do Just What I Want -
11. Moody Blues: And My Baby's Gone -
12. Mike Cotton Sound: Like That -
13. A Band Of Angels: Gonna Make A Woman Of You -
14. Attraction: She's A Girl -
15. Rocking Vickers: It's Alright -
16. Clockwork Oranges: Ready, Steady -
17. Cymbaline: Can You Hear Me -
18. Tomcats: A Tu Vera -
19. Five's Company: I Ain't Got You -
20. Kevin Lear: The Snake -
21. Oliver Bone: Jugger Tea -
22. Just Five: Don't That Beat Them All -
23. Chad & Jeremy: No Other Baby -
24. Eden Kane: Gotta Get Through To You -
25. Heinz And The Wild Boys: Big Fat Spider -
26. Glenda Collins: You're Gonna Get Your Way -
27. Twinkle: What Am I Doing Here With You -
28. Norma Lee: Rolling On -
29. Caravelles: The Other Side Of Love -
30. Four + One: Time Is On My Side -
CD 2
1. Mickey Finn: Night Comes Down -
2. Spencer Davis Group: Short Change -
3. British Lion Orchestra: Big Bare Beat -
4. Robb And Dean Douglas: Phone Me -
5. Ronnie Jones: My Love -
6. Stormsville Shakers: The Society For the Protection Of Love -
7. Guy Darrell: What's Her Name -
8. Kevin Lear: Count Me Out -
9. Mike Patto: Can't Stop Talkin' About My Baby -
10. Mike Cotton Sound: Soul Serenade -
11. Oliver Bone: Knock On Wood -
12. Outer Limits: Just One More Chance -
13. Dominic Grant: Don't Stop Girl -
14. Twiggy: When I Think Of You -
15. Mark Wir
tz Orchestra: Yeh, Yeh -
16. Favourite Sons: That Driving Beat -
17. In Crowd: Blow Up -
18. Attraction: Party Line -
19. Andy Ellison: Arthur Green -
20. Truth: Cypress (Hey Gyp - instrumental) -
21. Circus: Sink Or Swim -
22. Doc Thomas Group: She Was Really Saying Something -
23. Rusty Harness: Take Me For A Little While -
24. Hammers: Baby And Me -
25. Mike Hurst & Mike D'Abo: Going Going Gone -
26. Shadrocks: There Is -
27. Web: Afrodisiac -
28. Reaction: Falling In Love With You -
29. Al Saxon: East Side 628 -
30. Brothers Grimm (3): A Man Needs Love -
CD 3
1. British Lion Orchestra: Girl On A Motorcycle -
2. Exception: The Eagle Flies On Friday -
3. Spectrum: London Bridge Is Coming Down -
4. Grapefruit: Elevator -
5. Sun Dragon: Peacock Dress -
6. Davey Payne & Medium Wave: Looking Towards The Sky -
7. Alan Bown Set: Violin Shop -
8. Mike Stuart Span: Remember The Times -
9. Rupert's People: Hold On -
10. Lomax Alliance: Give What You Take (Demo) -
11. Gnomes Of Zurich: Second Fiddle -
12. Crazy World Of Arthur Brown: I've Got Money -
13. John's Children: Come And Play With Me In The Garden -
14. Deviants: Fire In The City -
15. Big Jim Sullivan: Sunshine Superman -
16. Mirage: Tomorrow Never Knows -
17. 23rd Turnoff: Flowers Are Flowering (Demo) -
18. Episode Six: Mr. Universe -
19. Fat Mattress: I Don't Mind -
20. Sounds Incorporated: How Do You Feel -
21. Secrets: Infatuation -
22. Good Vibrations: Call Me Lightning -
23. Ken Moule's London Jazz Chamber Group: Mae West -
24. Katch 22 : Pumpkin Mini -
25. Tony Rivers And The Castaways: Einer Kleiner Miser Musik -
26. Matchmakers: Thank You Baby For Coming -
27. Putney Bridge: The Meaning Of Love -
Besetzung: Phonographic Copyright (p) RPM Records (2)
; Copyright (c) RPM Records (2)
; Marketed By Cherry Red Records Ltd.
; Distributed By Cherry Red Records Ltd.
V. A. (Süddeutsche Zeitung) [>] [D]: Diskothek 1996: Ein Jahr und seine 20 Songs [F]
Label und Katalognummer: Süddeutsche Zeitung und Magazin
Produktion: Verschiedene
Veröffentlicht: 2006 01 (Ed.)
Genretags: Pop, Rock, Afroamericana
Trackliste: 1. Nuyorican Soul feat. Jocelyn Brown: I Am The Black Gold Of The Sun - 5:19
2. 2 Pac feat. Dr. Dre & Roger Troutman: California Love - 4:01
3. Backstreet Boys: Quit Playing Games (With My Heart) - 3:52
4. Mark Morrison: Return Of The Mack - 4:34
5. Baddiel & Skinner & Lightning Seeds: Three Lions - 3:41
6. Die Lassie Singers: Liebe wird oft überbewertet - 2:20
7. Belle And Sebastian: Judy And The Dream Of Horses - 3:40
8. Bim Sherman: Solid As A Rock - 4:52
9. Khaled: Aïcha - 4:17
10. Trans Am: Firepoker - 3:10
11. Fun Lovin' Criminals: Scooby Snacks - 3:03
12. Busta Rhymes feat. Rampage The Last Boy Scout: Woo-Hah!! Got You All in Check - 4:33
13. Nick Cave & The Bad Seeds + Kylie Minogue: Where The Wild Roses Grow - 3:56
14. Nusrat Fateh Ali Khan: Lament - 5:08
15. Superdiscount: Prix choc - 4:01
16. Ash: Girl From Mars - 3:25
17. Auteurs: Light Aircraft On Fire - 2:17
18. Lush: Single Girl - 2:34
19. Beck: Where It's At - 5:31
20. Tortoise: Djed (Edit) - 3:46
V. A. (Süddeutsche Zeitung) [>] [D]: Diskothek 2000: Ein Jahr und seine 20 Songs [F]
Label und Katalognummer: Süddeutsche Zeitung und Magazin
Produktion: Verschiedene
Veröffentlicht: 2005 06 10 (Ed.)
Genretags: Pop, Rock, Afroamericana
Trackliste: 1. Phoenix: If I Ever Feel Better - 3:41
2. Aaliyah: Try Again - 4:44
3. Señor Coconut y su conjunto: The Robots (Cha-Cha-Cha) - 3:41
4. Das Bo: Türlich, türlich (sicher, Dicker) - 3:56
5. Hives: Hate To Say I Told You So - 3:20
6. Etienne de Crécy: Scratched - 3:46
7. Thievery Corporation: The Mirror Conspiracy - 3:40
8. Kings Of Convenience: Winning A Battle, Losing The War - 3:50
9. Modjo: Lady (Hear Me Tonight) (Acoustic Version) - 3:14
10. All Saints: Pure Shores - 4:27
11. 2raumwohnung: Wir
trafen uns in einem Garten - 3:39
12. Peaches: Fuck The Pain Away - 4:09
13. N.E.R.D. feat. Lee Harvey and Vita: Lapdance - 3:32
14. Swati Natekar: Kabhi unke milan ke asha ne - 6:01
15. OutKast: Ms. Jackson - 3:59
16. Calexico: Ballad Of Cable Hogue - 3:28
17. Grandaddy: The Crystal Lake - 5:01
18. Tocotronic vs. Console: Freiburg V3.0 - 3:01
19. Torch: Blauer Samt - 3:45
20. Eels: Packing Blankets - 2:10
V. A. (Süddeutsche Zeitung) [>] [D]: Diskothek 1981: Ein Jahr und seine 20 Songs [F]
Label und Katalognummer: Süddeutsche Zeitung und Magazin
Produktion: Verschiedene
Veröffentlicht: 2006 04 (Ed.)
Genretags: Pop, Rock, Afroamericana
Trackliste: 1. Lounge Lizards: Harlem Nocturne - 2:03
2. Stray Cats: Stray Cat Strut - 3:15
3. Squeeze: Is That Love - 2:30
4. Paolo Conte: Via con me - 2:45
5. Specials: Ghost Town - 5:52
6. Grace Jones: I've Seen That Face Before (Libertango) - 4:29
7. Stranglers: Golden Brown - 3:27
8. Bob Dylan: Every Grain Of Sand - 6:11
9. Heinz Rudolf Kunze: Wir
leben alle im Erdgeschoss - 4:08
10. Funky 4 + 1: That's The Joint - 3:34
11. Luther Vandross: Never Too Much - 3:51
12. Die Doraus & die Marinas: Fred vom Jupiter - 2:38
13. Rick James: Super Freak - 3:26
14. Iggy Pop: Pumpin' For Jill - 4:30
15. Psychedelic Furs: Pretty In Pink - 3:58
16. Duran Duran: Girls On Film - 3:25
17. Ideal: Erschießen - 3:39
18. Siouxsie & The Banshees: Arabian Knights - 3:07
19. Madness: It Must Be Love - 3:20
20. Japan: Ghosts - 4:32
V. A. (Süddeutsche Zeitung) [>] [D]: Diskothek 2003: Ein Jahr und seine 20 Songs [F]
Label und Katalognummer: Süddeutsche Zeitung und Magazin
Produktion: Verschiedene
Veröffentlicht: 2006 03 (Ed.)
Genretags: Pop, Rock, Afroamericana
Trackliste: 1. Liz Phair: Rock Me - 3:19
2. OutKast: Hey Ya! - 3:55
3. Franz Ferdinand: Darts Of Pleasure - 3:00
4. Queens Of The Stone Age: Go With The Flow - 3:07
5. Robert Wyatt: Insensatez - 4:21
6. Steely Dan: Things I Miss The Most - 3:57
7. Stephen Duffy & The Lilac Time: Bank Holiday Monday - 3:03
8. Rufus Wainwright: I Don't Know What It Is - 4:51
9. Jet: Are You Gonna Be My Girl - 3:34
10. Darkness: I Believe In A Thing Called Love - 3:36
11. Adam Green: Jessica - 2:34
12. Macy Gray: When I See You - 3:43
13. Timbaland & Magoo feat. Sebastian & Raje Shwari: Indian Flute - 3:22
14. Toranja: Carta - 4:18
15. Libertines: Don't Look Back Into The Sun - 2:58
16. Rapture: I Need Your Love - 4:40
17. Wir
sind Helden: Denkmal - 3:14
18. P!nk: Trouble - 3:12
19. Death Cab For Cutie: The New Year - 4:06
20. Cat Power: I Don't Blame You - 3:04
V. A. (Süddeutsche Zeitung) [>] [D]: Diskothek 1978: Ein Jahr und seine 20 Songs [F]
Label und Katalognummer: Süddeutsche Zeitung und Magazin
Produktion: Verschiedene
Veröffentlicht: 2005 06 (Ed.)
Genretags: Pop, Rock, Afroamericana
Trackliste: 1. Wir
e: Outdoor Miner - 2:50
2. Chic: I Want Your Love - 3:24
3. Jam: Down In The Tube Station At Midnight - 4:43
4. Blondie: Denis - 2:17
5. Gloria Gaynor: This Love Affair - 2:40
6. Only Ones: Another Girl, Another Planet - 3:01
7. Normal: Warm Leatherette - 3:23
8. Max Berlin: Elle et moi - 6:09
9. Rose Royce: Love Don't Live Here Anymore - 4:18
10. Alcione: Sufôco - 4:02
11. Nina Hagen Band: Unbeschreiblich weiblich - 3:31
12. Ramones: I Wanna Be Sedated - 2:29
13. Lew Kirton: Heaven In The Afternoon - 5:35
14. Linda Clifford: You Are, You Are - 5:11
15. Sweet Talks: Angelina - 5:31
16. X-Ray Spex: Identity - 2:22
17. Buzzcocks: Ever Fallen In Love... (With Someone You Shouldn't've)? - 2:42
18. Patti Smith Group: Because The Night - 3:22
19. Warren Zevon: Accidentally Like A Martyr - 3:36
20. Marvin Gaye: Everybody Needs Love - 5:51
V. A. (See For Miles Records) [>] [D] & V. A. (Decca) [>] [D] & V. A. (Deram) [>] [D]: The Great British Psychedelic Trip, Vol. 1 [F]
Label und Katalognummer: See For Miles Records SEE 225
Produktion: Verschiedene
Veröffentlicht: 1986 10 29 (Ed.), 1969-66 (Rec.)
Genretags: Rock - Psychedelicrock, Pop - Progressivepop - Psychedelicpop
Diese Compilation enthält Tracks aus dem Archiv von Decca und Deram.
Trackliste: 1. Turquoise: Tales Of Flossie Fillett (Ewan Primrose, Jeff Peters) - 3:09
2. Timebox: Baked Jam Roll In Your Eye (Mike Patto, Ollie Halsall) - 3:22
3. Poets: In Your Tower (Andy Mulvey, Fraser Watson) - 2:33
4. 23rd Turnoff: Leave Me Here (Jimmy Campbell) - 2:55
5. World Of Oz: The Muffin Man (The World Of Oz) - 2:32
6. Ice: So Many Times (Chris Simpson, Steve Turner) - 2:08
7. End: Shades Of Orange (Bill Wyman, Peter Gosling) - 2:39
8. Ice: Ice Man (Chris Simpson, Glyn James, Steve Turner) - 2:56
9. Paul And Ritchie And The Crying Shames: Come On Back (Paul Crane, Richard Routledge) - 2:36
10. Tintern Abbey: Vacuum Cleaner (Dave McTavish) - 3:07
11. Virgin Sleep: Love (Tony Rees) - 2:27
12. Turquoise: Saynia (Ewan Stephens, Jeff Peters) - 2:56
13. Toby Twirl: Romeo And Juliet (Tony Waddington, Wayne Bickerton) - 2:56
14. Amazing Friendly Apple: Magician (Barry Mills, Peter Waddington) - 3:25
15. Tintern Abbey: Beeside (Dave McTavish) - 3:25
16. Flies: I'm Not Your Stepping Stone (Boyce & Hart) - 2:39
17. Accent: Red Sky At Night (Alan Davies, John Hebron, Pete Beetham, Rick Birkett) - 3:15
18. Human Instinct: Renaissance Fair (David Crosby, Roger McGuinn) - 2:24
19. Cuppa T: Miss Pinkerton (Terry Widlake, Viv Lythgoe) - 2:37
20. Toby Twirl: Toffee Apple Sunday (John Graham Reed, Nick Thorburn) - 2:09
21. Cherry Smash: Green Plant (Margo, Margo, Medress & Siegel) - 3:10
22. Californians: Follow Me (Warren Zevon) - 3:00
23. Outer Limits: Just One More Chance (Jeff Christie) - 3:02
24. Les Sauterelles: Heavenly Club (Rolf Antener, Toni Vescoli) - 2:31
25. Keith Shields: Deep Inside Your Mind (Tappy Wright) - 2:10
26. Al Stewart: The Elf (Al Stewart) - 2:29
Besetzung: Design: The Raven Design Group
; Liner Notes: Dinnes Cruickshank
; Phonographic Copyright (p) See For Miles Records Ltd.
; Copyright (c) See For Miles Records Ltd.
; Made By Disctronics S
V. A. (See For Miles Records) [>] [D] & V. A. (Decca) [>] [D] & V. A. (Deram) [>] [D]: The Great British Psychedelic Trip, Vol. 2 [F]
Label und Katalognummer: See for Miles Records SEE 226
Produktion: Verschiedene
Veröffentlicht: 1986 10 29 (Ed.), 1970-65 (Rec.)
Genretags: Rock - Psychedelicrock
Auch die zweite Compilation der Reihe enthält Tracks aus den Archiven von Decca und Deram.
Trackliste: 1. Poets: That's The Way It's Got To Be (George Gallacher, Hume Paton, Tony Myles) -
2. Neat Change: I Lied To Auntie May (Andy Bown, Peter Frampton) -
3. Toby Twirl: Movin' In (Joe Sauter, Mike Lewis (39), Sonny DiNunzio) -
4. Four Kinsmen: Glass House Green, Splinter Red (John Pantry) -
5. Tinkerbells Fairydust: Lazy Day (Vic Coppersmith-Heaven) -
6. Pacific Drift: Water Woman (Jay Ferguson) -
7. Love Children: Paper Chase -
8. Ice: Whisper Her Name (Maria Laine) (Chris Simpson, Glyn James, Steve Turner) -
9. Life 'N' Soul: Peacefully Asleep (Colin Brock, Jon Brennan) -
10. Al Stewart: Turn To Earth (Paul Samwell-Smith, Rosemary Simon) -
11. Double Feature: Baby Get Your Head Screwed On (Cat Stevens) -
12. Elastic Band: 8 1/2 Hours Of Paradise (Andy Scott, Ted Yeadon) -
13. Cherry Smash: Fade Away Maureen (Tony Hazzard) -
14. Game: Gotta Wait (Ray Charsley, Terry Spencer) -
15. Peter Lee Stirling: 8.35 On The Dot (Peter Lee Stirling, Phil Peters) -
16. Majority: All Our Christmases (Robin Gibb, Barry Gibb & Maurice Gibb) -
17. Chocolate Watch Band: Requiem (Gary Osborne, Jack Oliver) -
18. Amazing Friendly Apple: Water Woman (Jay Ferguson) -
19. Dream Police: I'll Be Home (In A Day Or So) (Peter Williams) -
20. Timebox: Walking Through The Streets Of My Mind (David Hess, Vic Millrose) -
21. Crocheted Doughnut Ring: Happy Castle (Crocheted Doughnut Ring, Leopold) -
22. Human Instinct: Death At The Seaside (Cliff Hall, Dave Christie) -
23. Virgin Sleep: Secret (Tony Rees) -
24. Tinkerbells Fairydust: In My Magic Garden (Vic Coppersmith-Heaven) -
25. Turquoise: Woodstock (Ewan Stephens, Jeff Peters) -
Besetzung: Compiled By: Colin Miles
; Design: The Raven Design Group
; Liner Notes: Dinnes Cruickshank
; Phonographic Copyright (p) See For Miles Records Ltd.
; Copyright (c) See For Miles Records Ltd.
V. A. (Smithsonian Folkways Recordings) [>] [D]: Cowboy Songs From Folkways [F]
Label und Katalognummer: Smithsonian Folkways Recordings CD-SF 40043
Produktion: Verschiedene
Veröffentlicht: 1993 09 14 (Ed.)
Genretags: Country - Singing-Cowboys
Trackliste: 1. Morning Grub Holler - Harry Jackson - 0:18
2. Round-Up Cook - Harry Jackson - 0:48
3. Chisholm Trail - The Tex-I-An Boys - 3:00
4. Whoopie Ti-Yi-Yo, Get Along Little Dogies - Woody Guthrie and Cisco Houston - 3:01
5. Little Joe, the Wrangler - Cisco Houston - 2:39
6. Little Joe, the Wrangler's Sister Nell - Harry Jackson - 3:28
7. Utah Carl - Harry 'Haywire Mac' McClintock - 1:30
8. Put Your Little Foot - The Tex-I-An Boys - 1:25
9. Trail to Mexico - Peter La Farge - 2:27
10. Las Chapparreras - Peter Hurd - 1:21
11. Buffalo Skinners - Woody Guthrie - 3:15
12. Zebra Dun - Ray Reed - 3:51
13. Some Cowboy Brag Talk - Harry Jackson - 1:34
14. Horse Wrangler - Roger Welsch - 3:07
15. Strawberry Roan - Harry Jackson - 4:55
16. The Tex-I-An Boys - John A. Lomax, Jr. - 1:52
17. Out on the Western Plains (Cow-Cow Yicky Yicky Yea) - Lead Belly - 1:33
18. Jesse James - Woody Guthrie - 3:00
19. Home on the Range - Pete Seeger - 1:51
20. Empty Cot in the Bunkhouse Tonight - Rosalie Sorrels - 2:12
21. Springtime in the Rockies - Lead Belly - 3:04
22. Lone Star Trail - Dave Fredrickson - 2:54
23. Rodeo Hand - Peter La Farge - 1:47
24. Philadelphia Lawyer (Reno Blues) - Woody Guthrie and Cisco Houston - 2:31
25. The Dying Cowboy - Cisco Houston - 3:01
26. Devil Made Texas - Hermes Nye - 2:08
Besetzung: Produced by Guy William Logsdon
; Compiled by Guy Logsdon
; Design by Joan Wolbier
; Cover photo by Luis Alfonso Jimenez
V. A. (Soma Quality) [>] [D] & Alex Smoke [>] [D]: Sci.Fi.Hi.Fi. Volume 3 [F]
Label und Katalognummer: Soma Quality SOMA 52
Veröffentlicht: 2006 10 30
Genretags: Electronica - Techhouse - Minimaltechhouse
Trackliste: 1. Porn Sword Tobacco Najat Library Card (Dub Mix) (0:36)
2. Burial Gutted (3:45)
3. Radiance I (1:51)
4. Model 500 M 69 Starlight (5:17)
5. Rhythm & Sound See Mi Version (Basic Reshape) (5:12)
6. Troy Pierce 25 Bitches (Gaiser Remix) (2:03)
7. Theorem vs. Stewart Walker Minor Explosions (4:37)
8. Add Noise Loose Wir
e (AC Version) (2:28)
9. Aril Brikha Aqua (8:02)
10. Vision Detroit: One Circle (3:29)
11. Thomas Brinkmann Xenia (3:25)
12. Claro Intelecto Peace of Mind (5:04)
13. Musica Charlista Juan Y Alex (4:16)
14. EPY Faktum (2:55)
15. Alex Smoke Pingu (4:03)
16. Quixote Squat (6:05)
17. Alex Smoke Always & Forever (Vapid Mix) (5:43)
18. 2000 & One Fokuz (6:04)
V. A. (Soul Jazz Records) [>] [D]: Soul Jazz Records Presents: Punk 45 Sick On You! One Way Spit! After The Love & Before The Revolution Vol.3: Proto-Punk 1969-77 [F]
Label und Katalognummer: Soul Jazz Records SJR 279
Produktion: Verschiedene
Veröffentlicht: 2014 05 05 (Ed.), 1977-69 (Rec.)
Genretags: Rock - Poprock - Powerpop
Trackliste: 1. Debris: One Way Spit
2. George Brigman: Jungle Rot
3. Death: Politicians In My Eyes
4. Hammersmith Gorillas: You Really Got Me
5. Crime: Hot Wir
e My Heart
6. Mirrors: She Smiled Wild
7. Hollywood Brats: Sick On You
8. Pastiche: Derilect Boulevard
9. Cabaret Voltaire: Makes Your Mouth Go Funny
10. Jack Ruby: Hit And Run
11. Victoria Vein And The Thunderpunks: Rear Guard Action
12. Electric Eels: Cyclotron
13. Count Bishops: Ain't Got You
14. Rob Jo Star Band: Acid Revolution
15. 101ers: Keys To Your Heart
16. Killer Kane Band: Mr Cool
17. Simply Saucer: Here Come The Cyborgs, Pt. 2
18. Zolar X: Space Age Love
19. Hector: Wir
ed Up
20. Stavely Makepeace: (I Wanna Love You Like A) Mad Dog
21. Radio Pete: (Just A) Patsy
Besetzung: Copyright (c): Soul Jazz Records
; Phonographic Copyright (p): Soul Jazz Records
V. A. (Staubgold) [>] [D]: Tempo Technik Teamwork [F]
Label und Katalognummer: Staubgold 055
Produktion: Verschiedene
Veröffentlicht: 2004 10 19
Genretags: Alternativerock - Postrock
Trackliste: CD 1
1. Minit: Now Right Here (Edit) - 4:21
2. Kat Cosm: My Letter Of Fate I Write For You Tonight - 2:32
3. Mapstation: Be True (feat. Ras Donovan) - 4:39
4. Thilges 3 + Asim Al Chalabi: Izdiucz - 4:15
5. Sun: Help Yourself - 6:30
6. Wechsel Garland & World Standard: Donde Lion Wine - 2:17
7. Die Welttraumforscher: Sommer Unter Sternen - 3:36
8. Rand & Holland: Run Faye Run - 5:11
9. Klangwart: I/O (Edit) - 5:11
10. Faust Vs. Dälek: T-Electronique - 5:30
11. Ekkehard Ehlers & John Fruiscante: Grisaisse 1 - 5:02
12. Kammerflimmer Kollektief: There's A Weight On You, But You Can't Feel It - 1:29
CD 2
1. Kammerflimmer Kollektief: Vigilia - 7:21
2. Joseph Suchy: Calabi.Yau (Edit) - 5:16
3. Paul Wir
kus: Blask - 4:01
4. Dean Roberts: The Face And Detached - 4:31
5. Loop Orchestra, The: Radiophony (Edit) - 4:14
6. Reuber: Foreverof - 1:32
7. Michael J Schumacher: Room Piece (Edit) - 4:52
8. #/Tau: Makrobe-Nepasouvrir - 3:14
9. Scott Horscroft: Sprinter - 5:12
10. Sack & Blumm: To Go To - 3:37
11. AGF: Burning Fraquencies - 2:30
12. Hans Joachim Irmler: Kleine Welt - 3:13
13. Oren Ambarchi & Keith Rowe: Flypaper III (Edit) - 2:49
14. Ekkehard Ehlers / Joseph Suchy / Franz Hautzinger: Soundchambers 1 - 7:44
Besetzung: Compiled By - Markus Detmer
; Edited By - Joseph Suchy
; Tina Frank: Logo
V. A. (Staubgold) [>] [D]: Below The Radar Special Edition [F]
Label und Katalognummer: Staubgold
Produktion: Verschiedene
Veröffentlicht: 2010 05 (Ed.)
Genretags: Electronica
Trackliste: 1. Pedal: Sump
2. Ekkehard Ehlers & Paul Wir
kus: Kwiaty
3. Heaven And: When The Roll Is Called
4. Armchair Traveller: Walking Tracks (Edit)
5. Sack & Blumm: Toe Naruto
6. Hassle Hound: Metropolitan Tower
7. Kammerflimmer Kollektief: Spookin' The Horse
8. Reuber: Altweiber
9. Klangwart: Moloch
10. David Last vs MC Zulu: Necessary Evils
11. Curse Ov Dialect: Missionaries
12. Norscq: Il Est Etrange De Voir A Quel Point Les Gens Sont
Disposes A Se Laisser Abuser Par Les Apparences
Magiques De L'Art
13. Rafael Toral: II.III
14. Projekt Transmit: Follow You
15. Jasmina Maschina: Slow Walker
V. A. (Strawberry Recordings) [>] [D]: Halcyon Days: 60s Mod, R&B, Brit Soul & Freakbeat Nuggets [F]
Label und Katalognummer: Strawberry Recordings CRJAMBOX 001
Produktion: Verschiedene
Veröffentlicht: 2020 12 04 (Ed.)
Genretags: Rock'n'Roll - Rhythm'n'Blues
CD 1 enthält R&B und Popsoul, der von Horn Sections geprägt ist, CD 2 Rock-R&B-Hybriden, CD 3 psychedelischer Freakbeat. Diese prima vista verschiedenen Arten von Musik wurde von einem Publikum geschätzt, das man zu den Mods gezählt hat.
Trackliste: CD 1
1. Chris Farlowe & The Thunderbirds: Buzz With the Fuzz - 2:33
2. Duffy Power with The Graham Bond Quartet: What'd I Say - 4:56
3. Zoot Money's Big Roll Band: Big Time Operator - 2:42
4. Animals: Don't Bring Me Down - 3:18
5. Rod Stewart: Shake - 2:52
6. Ronnie Jones: Little Bitty Pretty One - 2:47
7. Jimmy James & the Vagabonds: I Feel Alright - 2:37
8. Richard Kent Style: Just a Little Misunderstanding - 2:26
9. Stormsville Shakers: Number One - 2:27
10. Union: See Saw - 3:37
11. Mike Cotton Sound: Harlem Shuffle - 2:39
12. Athenians: I Can't Stand It - 2:22
13. Geno Washington & The Ram Jam Band: All I Need - 2:55
14. Laurel Aitken: I've Been Weeping and Crying - 2:41
15. Laris McLennon: Try Me - 3:06
16. Candy Dates: Well I Do - 2:55
17. SW4: Shame, Shame, Shame - 2:20
18. Tony Rivers & The Castaways: I Love the Way You Walk - 2:05
19. Fingers: Look Away - 2:06
20. Mickey Finn & The Blue Men: Hush Your Mouth - 2:38
21. Rupert & The Red Devils: Everytime I Do - 2:11
22. Laurel Aitken: Looking for My Baby (Ska Beat version) - 2:44
23. Barney J. Barnes & The Intro: Can't Stand the Pain - 2:21
24. Mark Wir
tz Orchestra & Chorus: Watermelon Man - 3:27
25. Bo Street Runners: Baby Never Say Goodbye - 2:38
26. Kevin 'King' Lear: (You Got) The Power of Love - 2:39
27. Chantelles: Gonna Get Burned - 2:36
28. Barry St. John: Gotta Brand New Man - 2:23
29. Trendbender Band: Stupidity - 2:47
CD 2
1. Creation: Biff, Bang, Pow - 2:28
2. Kinks: She's Got Everything (mono single mix) - 3:10
3. David Bowie: Do Anything You Say - 2:31
4. Artwoods: I Take What I Want - 2:55
5. Pretty Things: Buzz the Jerk - 1:56
6. Bo Street Runners: Bo Street Runner (single version) - 2:13
7. Yardbirds: Stroll On - 2:43
8. Graham Bond Organisation (a.k.a. Who Orchestra): Waltz for a Pig - 2:28
9. Brian Auger & the Trinity: Tiger - 2:31
10. Kevin 'King' Lear: Mr. Pearly - 2:40
11. Dorian Gray: Get Goin' Baby - 2:52
12. Favourite Sons: Leavin' Here - 3:29
13. Force Four: Come on Go (demo) - 2:09
14. Belfast Gypsies: Gloria's Dream (single mix) - 2:15
15. John’s Children: Remember Thomas À Becket - 2:21
16. End: Why - 2:44
17. Rainbow Ffolly: Gimme Little Sign - 2:42
18. Phillip Goodhand-Tait & The Stormsville Shakers: No Problem - 2:24
19. Katch 22: Makin' My Mind Up - 2:34
20. Double Feature: Come on Baby - 2:30
21. Moody Blues: He Can Win - 2:27
22. In Crowd: Am I Glad to See You - 4:29
23. David John & The Mood: Diggin' for Gold - 2:40
24. Heinz: I'm Not a Bad Guy - 2:16
25. Worrying Kynde: Got the Blame - 1:52
26. Paul's Troubles: You've Got Something - 2:31
27. Dorian Gray: Walking Down a Backstreet - 2:49
28. Ray French: Gun Me Down - 2:08
29. Secrets: She's Dangerous - 2:20
30. Wynder K. Frog: Green Door (mono single mix) - 2:31
CD 3
1. Tages: Halcyon Days - 2:19
2. Action: Look at the View - 4:02
3. Les Fleur de Lys: One Girl City - 2:46
4. Web: I'm a Man - 3:31
5. Spencer Davis Group: Moonshine (stereo) - 2:41
6. Sleepy: Mrs. Bailey's Barbecue and Grill - 3:35
7. Jason Crest: Hold On - 3:32
8. Double Feature: Baby Get Your Head Screwed On - 2:44
9. Oscar Bicycle: The Room Revolves Around Me - 2:32
10. Shame: Dreams Don't Bother Me - 2:12
11. Alan Bown!: Technicolour Dream (mono single mix) - 2:54
12. Truly Smith: This Is the First Time - 3:12
13. Paul & Barry Ryan: Keep It Out of Sight - 2:50
14. Plastic Penny: Your Way to Tell Me - 2:49
15. July: The Stamping Machine (demo) - 1:42
16. Australian Playboys: Sad - 2:56
17. Human Instinct: Pink Dawn - 1:59
18. Plastic Penny: Baby You're Not to Blame - 2:53
19. Andy Ellison: Fool From Upper Eden - 2:54
20. Turquoise: 53 Summer Street - 2:53
21. Grapefruit: Yes - 2:19
22. Dantalian’s Chariot: Fourpenny Bus Ride - 3:43
23. Apple: Doctor Rock (single mix) - 3:14
24. Freaks of Nature (alias Belfast Gypsies): People! Let's Freak Out (single mix) - 2:36
25. Quiet Melon: Engine 4444 - 3:06
26. Spencer Davis Group: Picture of Her - 3:00
27. Kris Ife: I'm Coming 'round (To Her Way of Thinking) - 2:01
28. Crazy World of Arthur Brown: Rest Cure - 2:46
Besetzung: Jon Harrigton: Liner Notes, Photography, Project Manager
; John Reed: Project Manager
V. A. (Studio !K7) [>] [D] & Motor City Drum Ensemble [>] [D]: DJ-Kicks [F]
Label und Katalognummer: Studio !K7 !K7 285
Produktion: Verschiedene
Veröffentlicht: 2011 07 02 (Ed.)
Genretags: Electropop - New-Rave - Frenchhouse
Motor City Drum Ensemble (bürgerlich Danilo Plessow ist ein DJ aus Stuttgart.
Trackliste: 1. Sun Ra: Door To The Cosmos
2. Electric Wir
e Hustle: Again (Scratch 22 Remix)
3. Rhythm & Sound: Mango Drive
4. Tony Allen: Ariya
5. Peven Everett: Stuck (original)
6. Bad Jazz Troupe: Breakdown Treat
7. Mr. Fingers: The Juice
8. Rick 'Poppa' Howard: Can Your Love Find Its Way (Club Vocal)
9. Stone: I Like The Way That You Move
10. Fred P: On This VIbe
11. Creative Swing Alliance: Don't Forget Your Keys
12. Geraldo Pino & The Heartbeats: Black Woman Experience
13. Philippe Sarde: Le Cortege Et Course
14. Robert Hood: The Pace
15. Loose Joints: Pop Your Funk (Vocal Version)
16. Arts & Crafts: I've Been Searching (Walter Gibbons 12' Mix)
17. Motor City Drum Ensemble: L.O.V.E. (DJ Kicks)
18. Aphex Twin: Actium
19. Recloose: Cardiology (Isolee Mix)
20. Latecomer: Cosmic Cart
21. Timo Lassy: African Rumble
22. James Mason: Sweet Power, Your Embraced
Besetzung: DJ Mix: Motor City Drum Ensemble
; Design: Jan Steinbach
; Photography: Stefan Braunbarth
; Phonographic Copyright (p) !K7 Records
; Copyright (c) !K7 Records
; Glass Mastered At Arvato Digital Services
V. A. (Sub Rosa) [>] [D]: An Anthology Of Noise And Electronic Music, 4th Chronology 1937-2005 [F]
Label und Katalognummer: Sub Rosa SR 250
Produktion: Verschiedene
Veröffentlicht: 2006 03 21 (Ed.), 2005-1937 (Rec.)
Genretags: Akademica - Elektronische-Musik, Electronica
Trackliste: CD 1
1. Halim El-Dabh: Wir
e Recorder Piece - 2:01
2. György Ligeti: Pièce Électronique #3 - 2:15
3. Jean-Claude Risset: Mutations - 10:32
4. Beatriz Ferreyra: Demeures Aquatiques - 7:20
5. Maja S. K. Ratkje: Vox - 13:23
6. Laurie Spiegel: Sediment - 9:16
7. Steve Reich: Pendulum Music - 7:27
8. Stephen Vitiello: Marfa Mix - 4:15
9. eRikm: Ressac - 4:41
10. Wang Changcun: Sea-Food - 4:49
11. Chlorgeschlecht: Unyoga - 2:40
12. Gottfried Michael Koenig: Funktion Grau - 10:15
CD 2
1. Milan Knížák: Broken Music Composition - 3:28
2. Les Rallizes Denudes: Fucked Up And Naked - 8:33
3. Vibracathedral Orchestra: Weaving The Magic - 4:45
4. Andy Hawkins: River Blindness - 10:11
5. Alvin Lucier: Still And Moving Lines Of Silence In Families Of Hyperbolas: Voice - 11:39
6. Loop Orchestra: Circa 1901 - 8:00
7. John Watermann: Still Warm - 3:00
8. François Bayle & Robert Wyatt & Kevin Ayers: It - 3:40
9. William S. Burroughs: Present Time Excercises - 2:23
10. James Whitehead: Air Attack Over Kabul Airfield - 4:14
11. Vivenza: Simultanéité Aérienne - 8:52
12. Olivier Messiaen: Oraison - 7:42
Besetzung: Curated By: Guy Marc Hinant
; Design: Peter Maybury
; Liner Notes: Guy Marc Hinant
; Liner Notes [Translated From The French By]: François Couture
; Photography: Dominique Goblet
; Mastered At Daniel Léon Studios
; Glass Mastered At Sony DADC
; Glass Mastered At Sony DADC
V. A. (The Wire) [>] [D]: Tapper 09. Special Edition Double CD [F]
Label und Katalognummer: The Wir
e Issue 225
Produktion: Verschiedene
Veröffentlicht: 2002 11
Genretags: Jazz - Avantgardejazz
Trackliste: CD 1
1. Liars: Grown Men Don't Fall in the River Just Like That - 3:01
Themselves: Hat in the Wind - 5:17
3. Tarwater: 70 Rupies to Paradise Road - 2:45
4. múm: We Have a Map of the Piano - 5:22
5. Badawi: Evocation - 4:16
6. Suicide: Swearin' to the Flag - 4:54
7. Supersilent: C-4.1 - 6:38
8. Polwechsel / Fennesz: Framing X (Reconstructed by Patrick Pulsinger) - 5:03
9. Wazahugy: [untitled] - 4:05
10. Asa-Chang & Junray: Tsuginepu To Ittemita - 4:40
11. Deadbeat: Organ in the Attic Sings the Blues - 5:38
12. Vadim: Till Suns in Your Eye - 4:39
13. The Oxes: Horses R OK (Prison and I Were in a 5 Way Mix by Cex) - 4:12
14. Sagan: Jabpunplusone - 3:40
15. Leafcutter John: Mandolin Work (Edit) - 5:02
16. Sun: Reach for the Sky (Pluramon Remix) - 3:39
CD 2
1. Max Tundra: Mastered by Guy at the Exchange - 2:30
2. Wir
e: Spent - 4:47
3. Sonic Youth / ICP / The Ex: III - 3:31
4. Sigur Rós: [untitled] - 7:37
5. John Fahey: Red Cross, Disciple of Christ Today (For Guitar Roberts) - 4:07
6. A Small Good Thing: A Mighty Stillness (Remix) - 4:44
7. The Sea and Cake: Left Side Clouded - 3:17
8. Masha Qrella: I Want You to Know - 4:35
9. Dictaphone: The E. Song - 5:45
10. Pulseprogramming: Blooms Eventually - 5:27
11. Electrelane: This Deed - 3:35
12. Ellery Eskelin With Andrea Parkins & Jim Black: 43 RPM - 4:44
13. Jimmy Lions Trio: Jump Up - 8:08
14. Amon Tobin: El Wraith - 6:03
15. D'Arcangelo: All That J - 4:23
Besetzung: Compiled: Anne Hilde Neset
; Design [Sleeve]: Non-Format
; Mastered: Lee Bowman, Toby Hrycek-Robinson
V. A. (The Wire) [>] [D]: Tapper 5 [F]
Label und Katalognummer: The Wir
e Issue 193
Produktion: Verschiedene
Veröffentlicht: 2000 03
Genretags: Jazz - Avantgardejazz
Trackliste: 1. Labradford: So Remix (Matmos remix) - 5:14
2. Stephen Vitiello: Nine Out of Ten - 6:38
3. VVE: Herz - 4:32
4. Kimmo Pohjonen: Anastaja - 5:04
5. Wir
e: Ping Flag/2 - 3:54
6. Stylus: Last Seaweed Collecting Hut at Freshwater West. Part 1: Angle - 3:20
7. John Wall: Construction 1 Stat/Unt/Dist (extract) - 6:19
8. Curd Duca: Quiet Nights (intro) / Quiet Nights - 2:33
9. Fennesz, O'Rourke & Rehberg: Gürtel Zwei - 4:37
10. I'm Sore vs Noise Camp: The Best Of - 1:06
11. Daniel Givens: Viaduct - 2:45
12. Arne Nordheim: Fonofonier - 3:29
13. Yo La Tengo: Our Way to Fall (live) - 5:02
14. Vert: Part 4 (edit) - 5:14
15. Aesop Quartet: Egyptian Knights - 7:50
16. Mira Calix: Skin With Me - 3:32
17. 不失者: Don't Be Afraid. Even If Your Nerves Snap, You Can Tie Them to a Fragment of the Universe... - 6:07
V. A. (The Wire) [>] [D]: Tapper 12 [F]
Label und Katalognummer: The Wir
e Issue 250
Produktion: Verschiedene
Veröffentlicht: 2004 11
Genretags: Jazz - Avantgardejazz
Trackliste: CD 1
1. Daniel Biro / Rob Palmer: The Long Journey Home, Part 2 (extract) - 4:00
Githead: To Have and to Hold - 3:55
3. Bark Psychosis: From What Is Said to When It's Read (edit) - 4:23
4. Ateleia & David Daniell: FTP - 3:22
5. Andy Moor & Yannis Kyriakides: 3 Lobed 1 - 3:42
6. Burnt Friedman & The Nu Dub Players: Fuck Back (3:56 version) - 3:58
7. Aesop Rock: Fast Cars, Danger, Fire and Knives - 4:37
8. Pita: Resog 45 - 4:20
9. Violet: Priznak Aluminium - 3:56
10. Michaela Melián: Brautlied (edit) - 4:04
11. Chas Smith: False Security of Numbers - 3:56
12. Martin Archer: It Don't Bother Me / Where's Mike? - 4:21
13. Henry Grimes Trio: Flowers for Albert - 4:02
14. The Necks: Mosquito (excerpt) - 4:02
15. @c: INT 10/34 - 4:02
16. Ascoltare: Crucible Process - 2:13
17. Matthew Burtner: D2 (edit) - 4:01
18. Stéphane Rives: Ebranlement 2 - 2:53
19. Ergo Phizmiz: Sticky White Glue (extract): Rectify - 4:14
20. The Fall: Blindness - 3:26
CD 2
1. Cul de Sac / Damo Suzuki: Berlin 6 - 3:52
2. Meadow House: Tit for Tat - 4:16
3. Milky Globe: The Warp and the Woof - 3:51
4. Staalplaat Soundsystem: No Time for Space - 4:07
5. Jason Kahn & Günter Müller: Tenth Blink - 3:45
6. Andrew Pekler: Wait - 3:55
7. Carter Tutti: Unreality (edit) - 4:10
8. DJ /rupture feat. Sister Nancy: Little More Oil - 4:17
9. Burnt Sugar vs. The Dominatrix: Dominata (remix by Qasim Naqvi & Keith Witty) - 3:58
10. AM/PM: The Ends (13) - 4:03
11. David Grubbs & Nikos Veliotis: The Harmless Dust (excerpt) - 4:00
12. Gary Lucas & Jozef Van Wissem: A Hawk From a Handsaw - 4:00
13. Bonnie 'Prince' Billy & Matt Sweeney: Bed Is for Sleeping - 2:56
14. Damon & Naomi: Beautiful Close Double - 4:37
15. Fax & Alex Ayuli: Spellbound - 4:02
16. Ana da Silva: The Lighthouse - 3:27
17. Christian Renou: Ex-Voto (Wir
e-FM mix) - 4:04
18. Enigma Device: Reunified - 3:36
19. Shining: Goretex Weather Report - 3:59
20. M. Bentley: Piano Ship (alternative mix) - 3:59
Besetzung: Compiled: Andy Tait, Shane Woolman, Tony Herrington
; Design [Sleeve]: Non-Format
; Mastered: Toby Hrycek-Robinson
V. A. (The Wire) [>] [D]: Tapper 16 [F]
Label und Katalognummer: The Wir
e Issue 274
Produktion: Verschiedene
Veröffentlicht: 2006 11 22
Genretags: Jazz - Avantgardejazz
Trackliste: 1. Drone: Spiderhead (Green Man) - 4:09
2. Dave Phillips: Justice is an Artefact of Custom [Wir
e edit] - 4:02
3. Alan Vega: 13 Crosses, 16 Blazin' Skulls [edit] - 3:40
4. Phillip Bimstein: EatDrinkGambleSex - 3:06
5. Carter Tutti: So Slow the Knife [excerpt] - 3:54
6. radicalfashion: Shousetsu - 3:48
7. Walter & Sabrina: Rimble Man - 3:17
8. Xela: Drunk on Salt Water - 4:25
9. Kotra & Zavoloka: Cool Eyes - 2:42
10. Pan Sonic: Machininist - 2:49
11. Huntsville: The Appearance of a Wise Child - 4:23
12. Fluorescent Grey: A Peruvian Shaman Sits Down to Make IDM on His Laptop - 3:20
13. Derek Bailey: Play 4 - 3:25
14. Tulipomania: Same Old Song - 4:01
15. Dave Swain: Media Monkey - 3:08
16. aMute: Hit My Country [edit] - 3:59
17. Califone: The Orchids - 2:57
18. Inch-Time: Take Care, O Pilgrim! [edit] - 4:10
19. White Magic: The Light - 3:28
20. The Slits: Earthbeat - 3:50
21. Anthony Kelly & David Stalling: Sometimes You See a Tree - 3:06
Besetzung: Artwork [Distorded Rectangle Pattern]: Richard Rhys
; Compiled: Andy Tait, Shane Woolman
; Mastered: Toby Hrycek-Robinson
V. A. (The Wire) [>] [D]: Tapper 17 [F]
Label und Katalognummer: The Wir
e Issue 279
Produktion: Verschiedene
Veröffentlicht: 2007 04
Genretags: Jazz - Avantgardejazz
Trackliste: 1. Eglantine Gouzy: Cuckoo - 1:53
2. Longstone: Kabuki (edit) - 3:30
3. A Hawk and a Hacksaw and the Hun Hangár Ensemble: Zozobra - 4:01
4. Jonquil: Sudden Sun - 4:02
5. Kammerflimmer Kollektief: Live at the Cactus Tree Motel - 4:11
6. Badun: Fyrtårn - 3:58
7. Von Südenfed: Family Feud - 4:27
8. Pomassl: Tandem Distiller (Wir
e Tapper edit) - 3:59
9. Throbbing Gristle: How Do You Deal? - 3:20
10. Alfred 23 Harth: Pearl - 4:01
11. Fred Anderson & Harrison Bankhead: The Strut - 4:13
12. Fridge: Our Place in This - 4:16
13. Jack Rose & Glenn Jones: Linden Avenue Stomp - 3:27
14. Husky Rescue: My Home Ghost - 3:08
15. Simon Bookish: A Deception (Municipal mix) - 3:43
16. Venus Bogardus: Motorman - 2:25
17. Tonesucker: Splatterstrum - 4:08
18. Stimulus: Pylons (Wir
e version) - 4:00
19. Zelienople: Moss Man (edit) - 4:01
20. Ken Ikeda: Iconography - 3:31
Besetzung: Artwork [Ink And Pen Patterns / Reala]: Samuel Nyholm
; Compiled: Andy Tait, Shane Woolman
; Mastered: Toby Hrycek-Robinson
V. A. (The Wire) [>] [D]: Tapper 18 [F]
Label und Katalognummer: Issue 284
Produktion: Verschiedene
Veröffentlicht: 2007 10
Genretags: Jazz - Avantgardejazz
Trackliste: 1. Automated Acoustics: The Universal Proportion (4:13)
2. Strings Of Consciousness: Asphodel (Edit) (3:59)
3. John Luther Adams: Among Red Mtns (Excerpt) (2:35)
4. hamaYôko: Furies (4:11)
5. Focus Group: Soho St Ives Tangier (4:01)
6. Cath & Phil Tyler: Farewell My Friend (3:33)
7. Ex & Getatchew Mekuria & Guests: Ethiopia Hagere (Edit) (4:37)
8. Modified Toy Orchestra: Black Star (Edit) (4:01)
9. Heribert Friedl: Back (Excerpt) (3:37)
10. Fun Years: Electricity Is A Scarce Commodity (Radio Edit) (4:00)
11. Damon & Naomi: The Turnaround (3:13)
12. Goodiepal: 2004 Igen Med Ralf Christensen Ved Roret (2:29)
13. Icarus (2): Selfautoparent (2:45)
14. Tarentel: A Crystal The Size Of Our Moon In The Heart Of A Pulsating White Dwarf (4:24)
15. Babils: Dent De Sagesse (Extraction) (3:59)
16. Luciano Cilio: Della Conoscenza (Originale Versione Inedita) (3:43)
17. Hulk: The Moon Versus The Sea (2:17)
18. Dimension X (2): The Martian Chronicles (4:42)
19. Mordant Music: Den On VelluMM (Wir
e Taper Exclusive) (3:29)
Besetzung: Compiled By - Andy Tait, Lisa Blanning, Shane Woolman
; Mastered By - Toby Hrycek-Robinson
V. A. (The Wire) [>] [D]: Tapper 19 [F]
Label und Katalognummer: The Wir
e issue 290
Produktion: Verschiedene
Veröffentlicht: 2008 03
Genretags: Jazz - Avantgardejazz
Trackliste: 1. Our Sleepless Forest: Nomads - 4:06
2. Snorkel: The Conversation (edit) - 4:02
3. Nico Muhly: Mothertongue - Section 2 - 3:57
4. G.F. Fitz-Gerald & Lol Coxhill: Echoes of Duneden (Wir
e Tapper exclusive edit) - 3:46
5. XA Cute: Survival of the Vinyl (feat. Mike Ladd) (Wir
e Tapper exclusive edit) - 4:32
6. Daniel Figgis: 40 Shades of Figgis - 3:04
7. Fluorescent Grey: Molten Ghost (edit) - 4:02
8. Kaffe Matthews: Men Being Butterflies (extract) - 4:37
9. Alexei Borisov & Anton Nikkilä: Engineer Strepetov's Curve (live excerpt) - 4:01
10. Talvin Singh: Piya Milan (radio edit) - 4:45
11. Illusion of Safety: Wherewithall (For Lauren) (Wir
e Tapper exclusive edit) - 3:58
12. The Master Musicians of Hop-Frog: Song of the South (Wir
e Tapper exclusive edit) - 4:20
13. Phog Masheeen: Survey of Brutality - 3:01
14. Setsubun Bean Unit: Gujo Ondo (Wir
e Tapper exclusive edit) - 4:15
15. Pink Skull: U.G.UO.AAAAHHHHH - 3:29
16. LowDynamicOrchestra & Stefano Scodanibbio: Improvisation 1 (Wir
e Tapper exclusive edit) - 3:38
17. Lars Åkerlund: Volt (extract) - 4:00
18. Tangtype: Blank, Lackluster Eyes... Data Takes Over (Wir
e edit) - 4:08
19. yellow6: You Can't Be Everywhere He Said (edit) - 4:02
20. Never Enough Hope: Des Moines (Wir
e Tapper exclusive edit) - 3:58
V. A. (The Wire) [>] [D]: Tapper 20 [F]
Label und Katalognummer: The Wir
e 296
Produktion: Verschiedene
Veröffentlicht: 2008 09
Genretags: Jazz - Avantgardejazz
Trackliste: 1. Zavoloka: Inhale (3:30)
2. Crackle: Heavy Water (3:22)
3. Formication: The Mountains Are Machines (2:32)
4. Paavoharju: Pimeänkarkelo (3:53)
5. oRSo: Warm Up (2:50)
6. A_Dontigny: Tatline (3:34)
7. RJ Valeo: Monday Night (3:21)
8. Rarescale: Apparition And Release (Wir
e Tapper Exclusive Edit) (4:01)
9. Mike Osborne: Pure (Wir
e Tapper Exclusive) (4:00)
10. Random Touch: Tripping So Fancy (2:59)
11. Punck: Piallassa (Red Desert Chronicles) (Wir
e Tapper Edit) (4:02)
12. Grails: Reincarnation Blues (4:08)
13. Micronormous: Rainland (2:29)
14. Pantaleimon: At Dawn (Vogel) (Andrew WK Remix) (4:35)
15. Lothar Ohlmeier / Isambard Khroustaliov: Scratch (Edit) (3:41)
16. Tertium Quid: Early Disturbance (Wir
e Tapper Exclusive Edit) (4:15)
17. MoHa!: Too Smart Enough To Think (3:13)
18. Anthony Kelly und David Stalling: Ghost Signal 2 (Wir
e Remix) (3:47)
19. Wounded Knee: My Wooden Cupboard (Wir
e Tapper Exclusive Edit) (4:00)
Besetzung: Artwork By [Images] - Yokoland
; Compiled By - Andy Tait, Lisa Blanning, Shane Woolman
; Mastered By - Toby Hrycek-Robinson
V. A. (The Wire) [>] [D]: Tapper 21 [F]
Label und Katalognummer: The Wir
e (Issue 302)
Produktion: Verschiedene
Veröffentlicht: 2009 04
Genretags: Jazz - Avantgardejazz
Trackliste: 1. Robert Logan: Accurate Spit Boy (Edit) (3:55)
2. Shogun Kunitoki: Riddarholmen (3:15)
3. Jono El Grande: Neo Dada (4:18)
4. Sweet Billy Pilgrim: Longshore Drift (Wir
e Tapper Exclusive Edit) (4:00)
5. Jim McAuley with Nels Cline: Froggy's Magic Twanger (4:07)
6. Higamos Hogamos: The Illuminoids (Edit) (4:19)
7. Barbara Morgenstern: Morbus Basedow (3:55)
8. Whirling Hall Of Knives: 2-Bar Heater And Smoke (4:00)
9. Animal Hospital: His Belly Burst (Wir
e Tapper Exclusive Edit) (4:00)
10. Violet: Violet Ray Gas (4:01)
11. Andres Lõo: Introvert Dancer (2:26)
12. Felix Kubin: The Rhythm Modulator (Cont'd) (3:15)
13. Sheik Anorak / Weasel Walter Duo: Silver (3:13)
14. Streifenjunko: No Longer Burning (Wir
e Tapper Special Edit) (4:02)
15. Tony Bevan / Chris Corsano / Dominic Lash: I Think That'll Be OK... (2:29)
16. Pekka Airaksinen: Nobody Is Free (4:02)
17. David Åhlén: We Sprout In Thy Soul (2:12)
18. Jez Riley French: ...audible silence - enter (Kettle's Yard Cambridge) (Extract) (4:04)
19. Them Use Them: Able (Wir
e Tapper Exclusive Edit) (3:52)
20. Laura Toxvaerd: Spine Side (1:53)
21. Hitoshi Kojo: Hiruko (Short Edit) (3:38)
Besetzung: Artwork By [Images] - Nicola Pecoraro
; Compiled By - Andy Tait, Lisa Blanning, Shane Woolman
; Mastered By - Toby Hrycek-Robinson
V. A. (The Wire) [>] [D]: Tapper 22 [F]
Label und Katalognummer: The Wir
e (issue 308)
Produktion: Verschiedene
Veröffentlicht: 2009 10
Genretags: Jazz - Avantgardejazz
Trackliste: 1. Stearica feat Dälek - Occhio (Edit) - 4:34
2. Arturas Bumšteinas String Quartet - Karlstad (Fragment) - 4:10
3. Shits And Giggles - Ripcord - 4:00
4. Zenlo - The Crab - 3:22
5. Marcus Maeder - Quadrate - 2:24
6. Yoshio Machida - Setagaya Art Museum, Sep 28 2008 (Excerpt) - 4:00
7. Tomoyoshi Date & Corey Fuller with Tadahito Ichinoseki - Seiya (Wir
e Tapper Edit) - 4:01
8. Elodie Lauten - Cat Counterpoint - 2:43
9. Clang Sayne - A Death And A Vision - 2:46
10. Climax Golden Twins - Chinese - 2:46
11. Netherworld - Aurora Borealis (Blu Ice Mix) - 4:05
12. 10-20 - Athens - 2:58
13. Franck Vigroux - New York - 4:03
14. Arrington De Dionyso - Rasa Sentuh (Sense Of Touch) - 2:43
15. Pink Mountain - Ditch Witch - 3:14
16. Jørgen Plaetner - Beta (1962-63) - 3:58
17. Angkorwat - Big/Little Edie - 2:17
18. Abreaktor - Flagg - 3:51
19. Okie Dokie - The Monad - 1:14
20. Keyboard Choir - Tokyo At Night - 2:46
Besetzung: Artwork By [Images] - Rasmus Emanuel Svensson
; Compiled By - Andy Tait, Lisa Blanning, Shane Woolman
; Mastered By - Toby Hrycek-Robinson
V. A. (The Wire) [>] [D]: Tapper 23 [F]
Label und Katalognummer: The Wir
e issue 314
Produktion: Verschiedene
Veröffentlicht: 2010 03
Genretags: Jazz - Avantgardejazz
Trackliste: 1. Elfmilk: The Oracle (Wir
e Tapper Edit)
2. Windup: Sevilla Una Maravilla
3. Nico Teen: Hungry For Love
4. Advanced Sportswear: 300 Seconds
5. Julia Wolfe: LAD: Part 2 (Edit)
6. Aaron Martin: Water Tongue
7. Spyweirdos: e (Edit)
8. De Haan/Spruit: Schoonhoven-1
9. Quiet Club: Free Energy Receiver (Excerpt)
10. Technical Drawings: Marching Band
11. TSIGOTI: The Sickofwar Traine
12. Soom T: Puff That Weed
13. A Band. aaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaa...
1Fluorescent Grey: Mawaributai Shimpan Utazaimon
15. Raymond Dijkstra: L'opus ch (Excerpt)
16. Random Touch: Blue Ice
17. Clogs feat: Shara Worden: On The Edge
18. Anduin: Autumn Looming
19. Han Bennink Trio: Flemische March
20. Rolf Julius: Song From The Past
Besetzung: Artwork By [Images] - Xavier Barrade
; Compiled By - Andy Tait, Lisa Blanning, Shane Woolman
; Mastered By - Toby Hrycek-Robinson
V. A. (The Wire) [>] [D]: Tapper 25 [F]
Label und Katalognummer: The Wir
e (Issue 326)
Produktion: Verschiedene
Veröffentlicht: 2011 03
Genretags: Jazz - Avantgardejazz
Trackliste: 1. Hana: Tate
2. Artifact Shore: Instruments Of The Devil
3. K-Branding: Driller (Excerpt)
4. Nicholas Szczepanik: Please Stop Loving Me (Excerpt)
5. Obsil: Snow Days In March
6. Socrates that practiçes music: Judged By The Left Eye
7. Manekinekod: Toy Factory (Installation Excerpt)
8. Tchicai / Hurley / Sanders / Coxon: Jomajomi Tchucosa (Live @ Midlands Art Centre 26/11/10) (Edit)
9. Melmac: Accident (Edit)
10. Bohm & Cooper-Marquardt Duo: Ruf Der Apostel (Apostles Calling)
11. Sheik Anorak / Weasel Walter / Mario Rechtern: Wotizup?
12. Mark Hanslip & Javier Carmona: Preambolo (Wir
e Tapper Edit)
13. Luciano Maggiore & Francesco fuzz Brasini: Chàsm' Achanès (Huge Abyss) (Wir
e Tapper Edit)
14. Christian Skjødt: Innocent Square (Wir
e Tapper Edit)
15. Stearica: Warp Lag (Wir
e Tapper Edit)
16. Philippe Petit & Friends
: Succumbed To Gravity
17. Nicolas Salomon: Zoom
18. HHY & Macumbas, The: Legba In Dub
19. My Cat Is An Alien: The Antigravitational Sense Of Nothingness (Wir
e Tapper Alternate Edit)
20. Telebossa: Século Do Progresso
Besetzung: Artwork By [Images] - Patrick Ward
; Compiled By - Andy Tait, Lisa Blanning, Shane Woolman
; Mastered By - Toby Hrycek-Robinson
V. A. (The Wire) [>] [D]: Tapper 26 [F]
Label und Katalognummer: The Wir
e Issue 330
Produktion: Verschiedene
Veröffentlicht: 2011 07
Genretags: Jazz - Avantgardejazz
Trackliste: 1. Tirudel Zenebe: Gue (Wir
e Tapper Edit)
2. Joe Morris Wildlife: Display (Excerpt)
3. Aspec(t): Intorno Al Drago
4. DJ Balli: Skatebored Is Not Skateboard (Valpelice Live Mix 2011)
5. Kikuchi Yukinori: Crystal (Wir
e Tapper Edit)
6. Anne James Chaton & Andy Moor: Princess In A Mercedes Class S 280
7. Øystein Kapperud: Leland Wrapped In Plastic
8. Savaging Spires: Bending The Rules Of Time
9. Elektronavn Sacred Songbook: Path Bodhisattva (Wir
e Excerpt Edition)
10. Contemporary Noise Sextet: Is That Revolution Sad?
11. Syd Ewart: The Kursk
12. Sonnamble: Aphelion I
13. Enablers: The Reader
14. Walter Schnaffs: I Am Germany
15. Bob Bellerue: Niagara (Excerpt)
16. Tulipomania: Found Guitar
17. Enrico Coniglio: The Void
18. Aun: Consumed By Flies
19. Wooden Kimono: Hello
20. Angus Carlyle & Rupert Cox: Three Toho Scenes
Besetzung: Compilation Producer ? Andy Tait, Lisa Blanning, Shane Woolman
; Mastered By ? Toby Hrycek-Robinson
; Painting [Cover] ? Ivan Seal
V. A. (The Wire) [>] [D]: Tapper 29 [F]
Label und Katalognummer: The Wir
e Issue 341
Produktion: Verschiedene
Veröffentlicht: 2012 06
Genretags: Jazz - Avantgardejazz
Trackliste: 1. Memotone: My Stranger - 3:27
2. Juxtavoices: Guardian Weekend Remix (Excerpt) - 4:05
3. Cédric Stevens: The Siamese Level (Wir
e Tapper Edit) - 4:24
4. Heath Common And Thin Man, The: A New Bohemian - 3:41
5. Lushlife: Big Sur - 3:25
6. Fractal Skulls, The: Good Girl - 3:11
7. LOUP: Ode To S - 2:29
8. K-Conjog: Untitled 155 - 2:32
9. Wolfram Wir
e: Gaze - 3:11
10. Dead Rat Orchestra: The Geshin And The Guga - 4:41
11. Golden Disko Ship: Electrocuting An Elephant (1902) - 3:40
12. Matthew Shaw: Lanreath - 4:03
13. Icarus: Colourfield v500 (Wir
e Tapper Edit) - 4:09
14. Roland Etzin: Portrait 6 (Japan) (Wir
e Tapper Edit) - 4:00
15. Lata: Starlings (Excerpt) - 4:01
16. LAND: Hotel Room - 2:56
17. Momus & John Henriksson: Futura Bold - 3:55
18. Chra: Black Summer Blues vs II - 4:23
19. Gabriel Prokofiev & Peter Gregson: Tuff Strum (Louis D'Heudieres Remix) - 4:02
20. Offthesky: Born Of Shy Sap - 3:07
Besetzung: Cover Artwork: Viktor Timofeev
; Compiled By Andy Tait, Shane Woolman
; Mastered By Toby Hrycek-Robinson
V. A. (The Wire) [>] [D]: Tapper 30 [F]
Label und Katalognummer: The Wir
e Issue 344
Produktion: Verschiedene
Veröffentlicht: 2012 09
Genretags: Jazz - Avantgardejazz
Trackliste: 1. Matthewdavid: Make Your Own 2007 - 3:59
2. Captain Miki: Do Pork (Excerpt) - 1:59
3. After The Rain: Distance III - 2:58
4. Center Of The Universe Featuring Easy: Astral Adjustements - 3:59
5. Andrey Kiritchenko: Fly Above Where Leaves Do Not - 4:22
6. Wir
es Under Tension: Landscape Architecture - 4:34
7. David Coulter & Ralph Carney: Did You? - 3:35
8. Manuella Blackburn: Switched On - 3:43
9. Tudor Acid: The Sound Of Raindrops (Wir
e Tapper Edit) - 3:36
10. Every Hidden Color: I (Excerpt) - 4:04
11. Valgeir Sigursson: Big Reveal - 3:57
12. Rhodri Davies: Questions Of _________ Middle Distance - 4:18
13. Last Days: If - 2:55
14. Merzouga: Fragment #2 - 2:32
15. Food Pyramid: Marsh Bar - 3:59
16. Lind Bohm: Klang Der Zeit - 2:59
17. Ghikas & Walshe: Al Forno Yeah - 4:02
18. Jealousy Mountain Duo: Leaf Kickers - 3:10
19. Lasse-Marc Riek: Sleeping Bull - 3:55
20. Bersarin Quartett: Perlen, Honig Oder Untergang - 4:33
Besetzung: Artwork [Cover Artwork]: Robert Beatty
; Compiled: Andy Tait, Daisy Hyde, Katie Gibbons, Shane Woolman
; Mastered: Toby Hrycek-Robinson
V. A. (The Wire) [>] [D]: Tapper 31 [F]
Label und Katalognummer: The Wir
e issue 350
Produktion: Verschiedene
Veröffentlicht: 2013 03 (Ed.)
Genretags: Jazz - Avantgardejazz
Trackliste: 1. Pink Electric - 3:30
2. 24 Hours Bells Dub - 3:47
3. Black Flute Chant Part 2 - 3:14
4. The Static And The Swerve - 3:14
5. Metropolis Waltz - 4:10
6. Obedience (Wir
e Tapper Edit) - 4:58
7. The Water's Fine - 5:03
8. Supplemental Shale (Wir
e Tapper Edit) - 4:04
9. By The Rails - 2:17
10. Na Binta (Short Version Edit) - 4:02
11. Solarism (Wir
e Tapper Edit) - 4:33
12. Slip On My Skull - 3:32
13. Study Three - 4:23
14. The Owls (Excerpt) - 3:59
15. Prelude To Alone - 3:17
16. MOOROOMOOBOO HDS OFF (The Wir
e ShOrt Edit) - 3:47
17. Jeriquoi Yah Wangettik Mnuutah - 4:04
18. Dele Af Kroppen - 3:30
19. A Million Voices For Nature (Wir
e Tapper Edit) - 4:29
20. BV6 - 4:03
Besetzung: Artwork [Cover Artwork]: Ben Drury
; Compiled By: Andy Tait, Katie Gibbons, Shane Woolman
; Mastering: Toby Hrycek-Robinson
; Copyright (c) The Wir
e
V. A. (The Wire) [>] [D]: Tapper 32 [F]
Label und Katalognummer: The Wir
e issue 354
Produktion: Verschiedene
Veröffentlicht: 2013 07 (Ed.)
Genretags: Jazz - Avantgardejazz
Trackliste: 1. Sparkle In Grey: Song For Arch Stanton (Wir
e Tapper Edit) - 4:47
2. Romvelope: Hodmandod - 4:14
3. Mary Ellen Childs: Spirit Duet (DJ James Patrick Remix) - 2:44
4. On Dog: Poplen. 2:55
5. Claudio Chianura: Daniel And Me At Captain Kidd's - 3:39
6. F/LOR
: The Hunt - 3:12
7. Mike Vernusky: Becomes Wing Life (Excerpt) - 4:22
8. Gagmen, The: Live In New York City (Excerpt) - 4:53
9. Ritornell: The Morning Factory - 4:17
10. Greg Haines: The Whole - 4:05
11. k3T3m: Zar@z - 4:00
12. Eero Pulkkinen & Teemu Iltola: Siilo Part IV (Excerpt) - 4:18
13. A. Kostis
: Dertlidikos Horos - 4:11
14. Nils Frahm: For (Luke Abbott Rework) (Wir
e Tapper Edit) - 4:59
15. Bernhard Weiss: Remember - 2:33
16. Sun Foot: Recession Psychonaut - 4:02
17. Matti Bye: Eikern, 1977 - 3:26
18. Phog Masheeen: The Time Between Eruptions (Wir
e Tapper Edit) - 4:02
19. August Rosenbaum: Bloomer (Excerpt) - 3:55
20. Martin Thulin: Pictures Of Woods (Wir
e Tapper Edit) - 4:10
Besetzung: Artwork [Cover Artwork]: Ben Weaver
; Compiled By Andy Tait, Katie Gibbons, Shane Woolman
; Mastering: Toby Hrycek-Robinson
; Copyright (c) The Wir
e
V. A. (The Wire) [>] [D]: Tapper 33 [F]
Label und Katalognummer: The Wir
e 357
Produktion: Verschiedene
Veröffentlicht: 2013 10 (Ed.)
Genretags: Jazz - Avantgardejazz
Trackliste: 1. Tangents: Liars Tired (Wir
e Tapper Edit) - 4:31
2. KNYST!: Pass - 4:06
3. Netherworld: Icepulse - 4:05
4. Botany: Anchor (Single Version) - 3:22
5. Jacqueline Humbert & David Rosenboom: Distant Space - 3:18
6. Nicoffeine: Ando Guerillo - 3:02
7. Sebastiane Hegarty: Four Walks Around a Year: Summer (Excerpt) - 4:01
8. John McGrath: Four Hills - 3:28
9. Counter Silence: When the Clocks Have Stopped (Wir
e Tapper Edit) - 4:01
10. Big Blood: Everything Is Improving - 3:18
11. Gelbart: Meloda - 3:43
12. Daníel Bjarnason: SOLITUDES IV. Selge Ruh - 4:17
13. Arp: Gravity (for Charlemagne Palestine) (Wir
e Tapper Edit) - 4:06
14. Tulipomania: Hold On - 3:35
15. DAWSON-DAVIES: HEN OGLEDD: Up on the Platform at Morpeth Station - 4:14
16. Jim Fox: Colorless Sky Became Fog - 3:04
17. Yann Novak: Snowfall (Excerpt) - 4:02
18. Phantom Love: Crave for Lust (Edit) - 4:13
19. Lophorina: Drums - 3:02
20. Michael Maierhof: Splitting 26 for Voice and Tape (Edit) - 3:58
Besetzung: Artwork [Cover Artwork]: Laura Carlin
; Compiled By: Andy Tait, Katie Gibbons, Shane Woolman
; Mastering: Toby Hrycek-Robinson
; Copyright (c) The Wir
e
V. A. (The Wire) [>] [D]: Tapper 34 [F]
Label und Katalognummer: The Wir
e 362
Produktion: Verschiedene
Veröffentlicht: 2014 03 (ed.)
Genretags: Jazz - Avantgardejazz
siehe Track by Track Guide (The Wir
e, 362, p. 4 Wire/362.pdf#page=4" target="_blank">[PDF])
Trackliste: 1. Marsen Jules: Beautyfear II
2. Shoukichi Kina & Pascal Plantinga: Shima Guwa
3. Pas Musique: Inside The Spectrum
4. Jakob Boeskov / Timothy DeWit
/ Matthew Morandi
: Computer Eyes
5. chra: Snowbird
6. Niels Lyhne Løkkegaard: Sikorsky (Extract)
7. Mason Bates: Stereo Is King (Wir
e Tapper Edit)
8. Ernest Gibson: Groupwork
9. Bleeding Peasant Orchestra, The: Pandaemonium (Edit)
10. Rodolphe ALEXIS
: Parabolic Amphibian Mix (Various Tree Frogs)
11. Mesak: Runopoika #1
12. Roj & Wolfram Wir
e: It Chimes
13. Oiseaux-Tempête: Kyrie Eleison
14. Process Rebel: Mutation Portal
15. DEADBEAR: Snow In Tokyo (Excerpt)
16. Islet: Tripping Through The Blue Room (Part II)
17. Offthesky: Scintillate Inside You (Abbreviate)
18. Talvihorros: Objectum (Edit)
19. Joe Davolaz: Piña Colada
20. JLIAT: All The Noise CDs I Have Reviewed For Vital-Mix (Excerpt)
Besetzung: Artwork [Cover]: Will Sweeney
; Compiled By: Andy Tait, Katie Gibbons, Shane Woolman
; Mastering: Toby Hrycek-Robinson
; Copyright (c) The Wir
e
V. A. (The Wire) [>] [D]: Tapper 35 [F]
Label und Katalognummer: The Wir
e 366
Produktion: Verschiedene
Veröffentlicht: 2014 07 (Ed.)
Genretags: Jazz - Avantgardejazz
Diese Promo-CD kam mit The Wir
e, 366 (Annotationen zu den Tracks siehe p.4.
Trackliste: 1. Coppe': Figment Of Imagination
2. Cayos: Briefcase Wormholes
3. Delmore fx: Furtivo
4. German Army: Flogged Ritual
5. God In Hackney: Holt, Jarmara
6. Silje Nes: Mirrored
7. John Edwards, Mark Sanders, John Tilbury: Part 1
8. Alan Licht & Brian Chase: Immediate Release
9. Co La: Workplace
10. Dakota Suite & Quentin SirJacq: Nu Dat Deze Dag Voorbij Is
11. Running: Motoman
12. Quttinirpaaq: Malvert
13. Grauton: Scordatura Air Guitar
14. Lars Greve: Marens Mauw (Edit)
15. Genlevel: Light Year (Wir
e Edit)
16. Kim Hiorthøy: The Woods
17. D.A. Terence: Kernow
18. Domotic: Le Demon (Theme)
19. Ensemble Economique: Make-Out In The GDR (Edit)
20. Håkon Stene: Prelude For HS
Besetzung: Artwork [Cover Artwork]: Ryoko Aoki
; Compiled By: Andy Tait
; Compiled By: Katie Gibbons
; Compiled By: Shane Woolman
; Mastering: Toby Hrycek-Robinson
; Copyright (c) The Wir
e
V. A. (The Wire) [>] [D]: Tapper 36 [F]
Label und Katalognummer: The Wir
e 369
Produktion: Verschiedene
Veröffentlicht: 2014 10 00
Genretags: Jazz - Avantgardejazz
Trackliste: 1. Dead Rat Orchestra: Martinmass
2. Der Plan: Wir
Werden Immer Mehr
3. Travelling Tribes: Tapping On The Door
4. Ancient Random: Cinders Blades Wings (Target Variant)
5. Michael Jon Fink: From A Folio
6. SQ: Didgenstein River (Edit)
7. Rapoon: Je Veux De L'Amour (Edit)
8. Lophorina: Vorfreude
9. Peter Kutin: Burmese Days (Extract)
10. Oiseaux-Tempête: Call John Carcone (Scanner Remix)
11. Jealousy Mountain Duo: Friends Of Sonny Foschino
12. Reverend Beat-Man: Jesus Christ Twist
13. John Callaghan: Once More With Feeling
14. Tomaga: Days Like They Were Before
15. Cultural Apparati: Venom Sorcerer
16. Esa Shields: Woods And Gullies
17. Jochen Arbeit & Huan: I (Short Version)
18. Martin Hoogeboom: The Endless Light
19. hyperContour: Utter Code
20. Susanna: This Place
Besetzung: Artwork [Cover Artwork]: Sam Messenger
; Compiled By: Andy Tait, Katie Gibbons, Shane Woolman
; Mastering: Toby Hrycek-Robinson
; Copyright (c) The Wir
e
V. A. (The Wire) [>] [D]: Tapper 37 [F]
Label und Katalognummer: The Wir
e Issue 374
Produktion: Verschiedene
Veröffentlicht: 2015 03 (Ed.)
Genretags: Jazz - Avantgardejazz
Trackliste: 1. Grubby Mitts: To A Friend's House The Way Is Never Long - 3:51
2. Roger Redgate & Matt Wright: SIN BAT - 4:02
3. Yes Deer: Flensburg - 3:32
4. My Cat Is An Alien: The Dance Of Oneirism #3 (Excerpt) - 3:59
5. Hannes Buder: Requiem For Alexander Litvinenko - 4:16
6. asylumpeace: White Orchid (A Lovescape) (Extract) - 3:59
7. Alphabets Heaven: Everything Stays The Same - 4:03
8. House Of Cosy Cushions: Black Bat Dance - 3:19
9. Marsen Jules: Penstla - 4:09
10. Clocked Out: Time Crystals - 3:44
11. Kevin Hufnagel: Not An Accident - 3:08
12. Longstone: Risaikuru-Onagawa (Soil Machine Edit) - 3:53
13. Mads Emil Nielsen: Glow (Excerpt) - 4:18
14. Padna: Wolhee - 3:45
15. Orchestra Of The Upper Atmosphere: Space Smells Of Strawberries (Wir
e Edit) - 4:12
16. Ricardo Donoso: Gallicinium - 4:06
17. Todd Anderson-Kunert: That's Not How I Remember It - 4:10
18. Riccardo Dillon Wanke: Gallos Blancos - 2:37
19. Smokey Quartz: Philosophical Zombie - 3:30
20. Manuel Zurria: Lachrimae Coactae (By John Dowland) - 3:30
Besetzung: Artwork [Cover Artwork]: Marcus James
; Compiled By: Andy Tait
; Compiled By: Katie Gibbons
; Compiled By: Shane Woolman
; Mastering: Toby Hrycek-Robinson
; Copyright (c) The Wir
e
V. A. (The Wire) [>] [D]: Tapper 38 [F]
Label und Katalognummer: The Wir
e Issue 378
Produktion: Verschiedene
Veröffentlicht: 2015 07 (Ed.)
Genretags: Jazz - Avantgardejazz
Trackliste:
1. HHY & The Macumbas: Gysin Version (Wir
e Tapper Edit):
2. Baconhead Featuring Nongenetic: Foreign Or Domestic:
3. Simon H. Fell & Phil Minton: Knotted Properties (Excerpt):
4. Guapo: Obscure Knowledge (Wir
e Tapper Edit):
5. Center Of The Universe: Kaleidoscopic (Wir
e Tapper Edit):
6. Simon Vincent: Falling Man, Rising Woman For Solo Voice And Electronics:
7. Pas Musique: Cara Has No Clarity:
8. Icepick: Rare Rufescent (Excerpt):
9. August Rosenbaum: Rhizome (Wir
e Tapper Edit):
10. Will Plowman: Rodeo 49.4:
11. Jealousy Party: Follow Your Bliss (Excerpt):
12. Marcus Maeder: Growth:
13. radiokvm: Alpha Apparatus:
14. Die Goldenen Zitronen: If I Were A Sneaker:
15. Malfinia Ensemblo: Malfinia Ondo:
16. KÖök: Imber Dock:
17. Joxfield ProjeX & Cotton Casino: China Syndrome:
18. Rachel Mason: Nightmare:
19. R Schwarz: Drift Following The Seam:
20. Ambrosia(@): Kittens, Puppies, Sunsets, Sex (Wir
e Tapper Edit)
V. A. (The Wire) [>] [D] & V. A. (Brainwashed Recordings) [>] [D]: Brain In The Wire [F]
Label und Katalognummer: The Wir
e Issue 201, Brainwashed Recordings 004a
Produktion: Verschiedene
Veröffentlicht: 2000 11
Genretags: Jazz - Avantgardejazz
Trackliste: 1. Legendary Pink Dots: Old Sparky - 5:12
2. V/Vm: Cha-ha Meat Skran-r The 15lb. Turkey - 4:01
3. Greater Than One: Broadcast - 4:50
4. Twilight Circus Dub Soundsystem: Slicer Dubplate (Version 2) - 5:04
5. Fridge: Harmonics - 4:02
6. Ruby Falls: The Brave Ones - 3:33
7. Panacea: Battle Stations (Dub Version) - 5:56
8. m2: L-tuo - 3:11
9. Jessica Bailiff: Shadow - 5:00
10. Cyclobe: Replaced By His Constellation - 7:55
11. Windy & Carl: Trembling - 7:02
12. Christoph Heemann & Andreas Martin: Wir
es - 4:08
13. Little Annie (a.k.a. Annie Anxiety): Lullaby - 3:43
14. Aranos & Nurse With Wound: Mary Jane (Marbles Remix) - 6:36
15. Current Ninety Three & Pantaleimon: The Magical Bird In The Magical Woods - 5:52
Besetzung: Artwork: Daniel McKernan
; Compiled, Mastered: Jon Whitney
V. A. (Thursday Club Recordings) [>] [D] & Ellis Dee [>] [D]: Hedonizm [F]
Label und Katalognummer: Thursday Club Recordings (TCR) RENNCD 009
Produktion: Verschiedene
Veröffentlicht: 2003
Genretags: Electronica - Breakbeat
Trackliste: 1. Club Riders: Set Free (Ellis Dee & Rennie Pilgrem Mix)
2. McMillan & Tab: Lost World (Remix)
3. Vigi & Zero feat. Nectarios: Ultra-Funk (Latina Remix)
4. London Funk Society: Now That We Found Dub (Rennie Pilgrem & Chris Carter Mix)
5. Boundarie Hunters: Self Destruct
6. Koma & Bones: Powercut (Rewired Mix)
7. Autobots: Chickers
8. Autobots: Blogger
9. Breakneck: Uplink
10. Ellis Dee & Syrus: The Chase
11. Zero: Emit / Collect
12. Chris Carter: Random Factors (Randy Remix)
Besetzung: DJ Mix - Ellis Dee
V. A. (Tomlab) [>] [D]: Puppy Love. 10 Years Of Tomlab [F]
Label und Katalognummer: Tomlab tom 105
Produktion: Verschiedene
Veröffentlicht: 2007 09 21
Genretags: Electronica
Trackliste: 1. Blow: Parentheses (3:36)
2. Hey Willpower: Hundredaire (3:37)
3. No Kids: Old Iron Gate (3:36)
4. Misha: Scars (2:58)
5. Khan: Favour After Favour (3:46)
6. Ninja High School: Catholic Fashion (3:21)
7. Simon Bookish: Prince Of Wales (3:38)
8. Casiotone For The Painfully Alone: It Wasn't The Same Somehow (2:24)
9. Munch Munch: Wedding (Pt. 2) (4:14)
10. Dog Day: Night Group (2:32)
11. Les Georges Leningrad: Skulls In The Closet (3:01)
12. Erase Errata: Pass The Crimson (2:43)
13. Urlaub In Polen: A Case Of Getting From B To C (2:38)
14. Books, The: Smells Like Content (3:42)
15. Final Fantasy (2): Hey, Dad! (4:00)
16. Deerhoof: Matchbook Seeks Maniac (Remix) (3:25)
17. Christopher Francis
: One (2:58)
18. Mantler: Togethernest (5:32)
19. Patrick Wolf: Wind In The Wir
es (4:20)
20. Niobe: In The Sun (2:20)
21. Xiu Xiu: Suha (4:57)
V. A. (Trikont) [>] [D]: England's Dreaming [F]
Label und Katalognummer: Trikont (US) 0325
Produktion: Verschiedene
Veröffentlicht: 2004 09 15 (UK), 2004 10 01 (D)
Genretags: Rock - Punkrock
Trackliste: 1. Iggy And The Stooges: Search And Destroy - 3:28
2. Electric Eels: Accident - 3:21
3. Patti Smith: My Generation - 3:16
4. Ramones: Gimme Gimme Shock Treatment - 1:40
5. Saints: This Perfect Day - 2:09
6. Penetration: Never Never - 2:32
7. Devo: Gut Feeling / Sloppy (Live) - 8:20
8. Buzzcocks: Orgasm Addict - 2:00
9. Wir
e: Mr. Suit - 1:23
10. Residents: Beyond The Valley Of A Day In The Life - 3:51
11. Germs: Forming - 3:03 -
12. Dils, The: I Hate The Rich - 1:39
13. Avengers: Car Crash - 4:18
14. Diodes, The: Time Damage - 2:18
15. Weirdos, The: We Got The Neutron Bomb - 2:58
16. Zeros, The: Wild Weekend - 1:29
17. Brian Eno & Snatch (3): R.A.F. - 3:00
18. Normal, The: T.V.O.D. - 2:51
19. Cabaret Voltaire: The Set Up - 4:46
20. Urinals: I'm A Bug - 1:12
21. Bizarros: Young Girls At Market - 2:53
22. Metal Urbain
: Hysterie Connective - 3:05
23. X-Ray Spex: Identity - 2:22
24. Siouxsie & The Banshees: Nicotine Stain - 2:56
25. Adverts: The Great British Mistake - 3:48
Besetzung: Compiled: Jon Savage
; Bass - John Cale (3)
V. A. (Trojan) [>] [D]: Trojan 'Tighten Up' Box Set [F]
Label und Katalognummer: Trojan TRBCD 018
Produktion: Verschiedene
Veröffentlicht: 2000 05 23 (Ed.)
Genretags: Caribbeana - Reggae, Caribbeana - Dub
Trackliste: CD 1
1. The Untouchables: Tighten Up - 2:40
2. Joya Landis: Kansas City - 3:05
3. David Isaacs: A Place in the Sun - 2:48
4. George A. Penny: Win Your Love for Me - 2:52
5. Derrick Morgan: Fat Man - 3:17
6. The Kingstonians: Mix It Up - 2:57
7. The Uniques: Watch This Sound (For What It's Worth) - 2:36
8. Rudy Mills: John Jones - 3:24
9. Soul Sisters: Wreck a Buddy - 2:33
10. Clancy Eccles: Fattie Fattie - 2:40
11. The Bleechers: Come Into My Parlour - 3:10
12. The Soulmates: Them a Laugh and a Kiki - 2:43
13. The Upsetters: Live Injection - 3:19
14. Dave Barker & The Upsetters: Shocks of Mighty - 2:50
15. The G.G. All-Stars: Man From Carolina - 3:00
16. The Kingstonians: Singer Man - 3:06
17. Ken Boothe: Freedom Street - 2:53
CD 2
1. Nora Dean: Barbwire - 2:25
2. Niney: Blood and Fire - 3:08
3. The Slickers: Johnny Too Bad - 3:12
4. The Ethiopians: The Selah - 3:04
5. Toots & The Maytals: One Eye Enos - 2:49
6. Judy Mowatt: I Shall Sing - 3:39
7. The Pioneers: Starvation - 2:44
8. Delroy Wilson: Better Must Come - 2:47
9. The Dynamites: Hello Mother - 2:26
10. Clancy Eccles: Rod of Correction - 2:26
11. Bongo Herman & Bingy Bunny: Know Far I - 2:39
12. The Chosen Few: Shaft - 3:40
13. Bob Marley: Duppy Conqueror - 3:19
14. Ernie Smith: Pitta Patta - 3:21
15. Mickie Chung: Breezin' - 3:51
16. Shorty: President Mash Up the President - 2:50
CD 3
1. Harry J All Stars: Down Side Up - 3:06
2. U-Roy: Wet Vision - 2:53
3. Slim Smith: The Time Has Come - 4:14
4. Geoffrey Chung & Harry J All Stars: U.F.O - 3:07
5. Clancy Eccles: Be Faithful Darling - 3:34
6. Johnny 'Dizzy' Moore: Riot - 3:06
7. The Maytones: I Am Feeling Lonely - 2:49
8. Hubert Lee: Something on Your Mind - 3:04
9. The Mello-Tones: Haile Selassie - 3:11
10. Ken Boothe: Silver Words - 2:37
11. Bob Andy: You Don't Know - 3:19
12. Zap Pow: Nice Nice Time - 2:57
13. Tito Simon: You Can't Be Serious - 3:26
14. Paulette Williams: My Island - 3:07
15. Jimmy London: I'll Be Standing By - 3:17
16. The Heptones: Meaning of Life - 3:21
17. The Messengers [JAM]: Crowded City - 3:05
V. A. (Trojan) [>] [D]: History Of Trojan Records, Vol. 1 1968-1971 [F]
Label und Katalognummer: Trojan CDTAL 700
Produktion: Verschiedene
Veröffentlicht: 1995 (Ed.)
Genretags: Caribbeana - Rocksteady, Caribbeana - Ska, Caribbeana - Reggae, Caribbeana - Dub
Trackliste: CD 1
1. Owen Gray: Jezebel (Wayne Shanklin) - 2:40
2. Jimmy Cliff: Miss Jamaica (Jimmy Cliff) - 2:24
3. Tommy McCook & the Skatalites: Silver Dollar (Tommy McCook) - 2:57
4. Slim Smith: The New Boss (Slim Smith) - 2:32
5. Ethiopians: Train to Skaville (Dillon, Leonard Dillon) - 2:43
6. Paragons: The Tide Is High (John Holt) - 2:39
7. Gaylads: ABC Rock Steady (B.B. Seaton) - 2:07
8. Desmond Dekker & the Aces: The Israelites (Desmond Dekker, Leslie Kong) - 2:32
9. Say I'm Back (Eric 'Monty' Morris) - 2:27
10. Demond Dekker & The Aces: It Mek (Desmond Dacres, Desmond Dekker, Leslie Kong) - 2:19
11. Conquerors: If You Can't Beat Them Join Them (Conquerors) - 2:06
12. Tony Tribe: Red Red Wine (Neil Diamond) - 2:56
13. Clancy Eccles, King Stitt: Fire Corner (Clancy Eccles, King Stitt) - 2:47
14. Pioneers: Long Shot Kick de Bucket (Dawn Agard, Sydney Crooks, Earl Robinson) - 2:44
15. Prince of Darkness: Burial of Long Shot (Prince of Darkness) - 2:51
16. Dandy Livingstone: Reggae in Your Jeggae (Dandy Livingstone) - 2:57
17. Dave Barker And The Upsetters: Build My Whole World Around You (Lee 'Scratch' Perry) - 2:14
18. Bob Andy: Weep (Keith Anderson) - 2:15
19. Bob Marley: Sun Is Shining (Bob Marley) - 2:13
20. Upsetters: Return of Django (Lee 'Scratch' Perry, Perry) - 2:21
21. Jimmy Cliff: Wonderful World, Beautiful People (Jimmy Cliff) - 3:12
22. Gregory Isaacs: Each Day (Gregory Isaacs) - 2:01
23. Bruce Ruffin: Rain (Hilda Feliciano, José Feliciano) - 2:26
24. Greyhound: Black and White (Arkin, David Arkin, Earl Robinson) - 2:30
25. Dave Barker And The Upsetters: Shocks of Mighty (Lee 'Scratch' Perry) - 2:48
26. Freddie Notes And The Rudies: Montego Bay (Jeff Barry, Bobby Bloom) - 2:25
27. Dave & Ansel Collins: Monkey Spanner (Winston Riley) - 2:25
28. Pioneers: Let Your Yeah Be Yeah (Jimmy Cliff) - 2:56
29. Johnny Osbourne And The Sensations: Foolish Plan - 2:04
30. Melodians: Rivers of Babylon (Brenton Dowe, S. McNaughton, Trevor McNaughton) - 3:24
CD 2
1. Harry J All-Stars: Liquidator (Harry Johnson) - 2:49
2. El Dandy: Everybodys Loves a Winner - 2:43
3. Desmond Dekker: Pickney Girl (Desmond Dacres, Desmond Dekker, Leslie Kong) - 2:52
4. Nora Dean: Barbwire (Nora Dean) - 2:22
5. Bob Marley: Kaya (Bob Marley) - 2:41
6. Ken Parker: I Can't Hide (Ken Parker) - 2:23
7. Symarip: Skinhead Girl (Ney Smith) - 2:24
8. Desmond Dekker: You Can Get It If You Really Want (Jimmy Cliff) - 2:28
9. Jimmy London. A Little Love (Todd David Wagnild) - 2:30
10. Bob & Marcia: Young Gifted and Black (Weldon Irvine, Weldon Irving Jr., Nina Simone) - 3:05
11. Lloydie And The Lowbites: Birth Control (Lloyd Chalmers, Tyrell) - 2:47
12. Bob Marley: African Herbsman (Bob Marley) - 2:24
13. Tennors: Ride Your Donkey (Norman Davis) - 2:06
14. Tennors: Copy Me Donkey - 2:15
15. Dave & Ansel Collins: Double Barrel (Winston Riley) - 2:30
16. Andy Capp: Pop a Top (Clancy Eccles) - 2:19
17. Enforcers: Musical Fever - 1:55
18. Horace Faith: Black Pearl (Irwin Levine, Phil Spector, Toni Wine) - 2:35
19. Freddie Notes & The Rudies: My Sweet Lord (George Harrison) - 3:05
20. Stranger Cole: Crying Every Night (Stranger Cole) - 2:32
21. U-Roy: Tom Drunk (Ewart Beckford) - 2:12
22. Kingstonians: Singer Man (Derrick Harriott) - 3:05
23. Uniques: My Woman's Love (Curtis Mayfield) - 2:14
24. Nicky Thomas: Love of the Common People (John Hurley, Ronnie Wilkins) - 2:19
25. Hopeton Lewis: Boom Shacka Lacka (Hopeton Lewis) - 2:43
26. Rico: Niyah Man (Winston Riley) - 2:01
27. Bob & Marcia: Pied Piper (Steve Duboff, Jack Kornfield) - 2:43
28. Johnny Osbourne And The Sensations: The Warrior (Johnny Osbourne) - 2:29
29. Pioneers: Give and Take - 2:26
30. Greyhound: Moon River (Henry Mancini, Johnny Mercer) - 3:07
V. A. (Vinyl-on-Demand) [>] [D]: German Punk And Wave 1978-1984 Vol. 1 [F]
Assoziierte Acts: Didaktische Einheit & Die Gesunden & Din A Testbild & FunTastiKlons & MDK & No More & Off Band & Poison Dwarfs & PVC & Werkpiloten & White Russia
Label und Katalognummer: Vinyl-on-Demand VOD 82
Produktion: Verschiedene
Veröffentlicht: 2011 02 (Ed.)
Genretags: Postpunk - Electronic-Postpunk - Minimalwave
Trackliste: Seite A
1. PVC: Wall City Rock - 1:51
2. PVC: Without You - 3:03
3. PVC: Concrete Jungle - 2:43
4. PVC: Ice Cold Eyes - 3:20
5. PVC: Deathline - 2:08
6. PVC: No Escape - 2:35
7. PVC: Punk Idiots - 2:39
8. PVC: I'm Alive - 2:38
9. PVC: In Your Face - 3:06
10. PVC: Spotlight Kid - 2:29
11. PVC: Rockin Till the Wall Breaks Down - 2:51
Seite B
1. White Russia: Victim - 1:48
2. White Russia: Emotions Had Slipped - 2:31
3. White Russia: North Sibirian Madness - 2:23
4. White Russia: Well Do You - 2:16
5. White Russia: Three Crosses in the Sunshine - 3:08
6. White Russia: That's Alright By Me - 3:09
7. White Russia: Lost in Ulan Bator - 2:44
8. White Russia: Da Da Competition - 1:30
9. White Russia: Emotions Had Slipped - 2:26
10. White Russia: Well Do You - 2:55
11. White Russia: Thats Alright By Me (Demo 2.Studio?Session) - 2:54
12. White Russia: North Sibirian Madness - 2:58
Seite C
1. MDK: Spass muss sein (von der Weg zum Frieden) - 3:21
2. MDK: Der Tag schlägt zu - 3:37
3. MDK: Berlin - 5:34
4. MDK: Das Tier in mir - 3:52
5. MDK: What Music Needs - 2:50
6. MDK: Alles was ich geben kann - 4:06
7. MDK: Mir wird heiss - 5:47
Seite D
1. Din-A-Testbild: She's So Nice (from Programm 1) - 5:08
2. Din-A-Testbild: Horseman (unreleased) - 5:10
3. Din-A-Testbild: Revolution (unreleased) - 5:23
4. Din-A-Testbild: Rock N Roll Circuit (unreleased) - 6:03
5. Din-A-Testbild: Summer of the Bourgoise / Tötet die Bourgeosie (unreleased, live 1980) - 7:47
Seite E
1. Poison Dwarfs: Untitled 4 (from first Tape, 1980/81) - 0:50
2. Poison Dwarfs: Untitled 5 (from first Tape, 1980/81) - 1:15
3. Poison Dwarfs: Untitled 6 (from first Tape, 1980/81) - 1:26
4. Poison Dwarfs: Untitled 7 (from first Tape, 1980/81) - 1:51
5. Poison Dwarfs: Sturzflug (from Angst und Ekstase, 1981) - 2:31
6. Poison Dwarfs: Frequenz 7 (from Angst und Ekstase, 1981) - 5:42
7. Poison Dwarfs: Ätherpest (from Angst und Ekstase, 1981) - 1:35
8. Poison Dwarfs: Schwitzen (from Angst und Ekstase, 1981) - 3:10
9. Poison Dwarfs: Die Rückkehr Des Schwarzen Abtes (from Wechselbad, 1983/84) - 2:52
10. Poison Dwarfs: Im Klostergarten Der Geistigen Melissen (from Wechselbad) - 1:50
11. Poison Dwarfs: Nachtmahl (from Wechselbad, 1983/84) - 1:45
12. Poison Dwarfs: I.C.I. (from Wechselbad, 1983/84) - 2:59
13. Poison Dwarfs: Der Fluch Der Götter (from Wechselbad, 1983/84) - 1:37
14. Poison Dwarfs: Liespenckolg (from Wechselbad, 1983/84) - 2:07
Seite F
1. FunTastiKlons: Hit Namba Wann? - 3:37
2. FunTastiKlons: Zwielichtiges Stück - 4:10
3. FunTastiKlons: Heftiger Walzer - 3:37
4. FunTastiKlons: Zwischenspiel - 1:08
5. FunTastiKlons: Mystery Way - 2:32
6. FunTastiKlons: Western Space Walze - 3:50
7. FunTastiKlons: Alan Parsons Lebt - 6:24
8. FunTastiKlons: Brutales Lied - 3:40
Seite G
1. Die Werkpiloten: Fanfare - 1:11
2. Die Werkpiloten: New Arrangements - 7:34
3. Die Werkpiloten: 'New Life' - 2:21
4. Die Werkpiloten: Take Off - 3:37
5. Die Werkpiloten: War Pilots 1 - 2:56
6. Die Werkpiloten: Something Must Break - 2:45
7. Die Werkpiloten: The Big Bed - 4:38
8. Die Werkpiloten: 'Exercise' - 4:25
Seite H
1. No More: Curfew - 0:32
2. No More: Love & Kisses - 2:44
3. No More: Fog - 2:44
4. No More: Days of Mercy - 4:44
5. No More: Suicide Commando - 3:07
6. No More: Hypnotized - 1:36
7. No More: Nothing Ever Changes - 3:13
8. No More: Blood and Flowers I - 0:41
9. No More: Blood and Flowers II - 1:28
10. No More: Blood and Flowers IV - 0:42
11. No More: Blood and Flowers V - 0:45
12. No More: Blood and Flowers VI - 0:56
13. No More: Blood and Flowers VII - 1:01
14. No More: Blood and Flowers IX - 1:22
Seite I
1. Didaktische Einheit: Lebewesen - 4:28
2. Didaktische Einheit: Frömmigkeit - 7:24
3. Didaktische Einheit: Mutterleib - 3:05
4. Didaktische Einheit: Stammheim - 4:30
5. Didaktische Einheit: Danach (Teil 2+3) - 8:00
6. Didaktische Einheit: Vorsorgepaket - 2:43
Seite J
1. Off Band: Wake Up Her Majesty - 4:08
2. Off Band: Blut im Pentagon - 2:08
3. Off Band: Wide Open - 5:00
4. Off Band: Hummelflug - 5:00
5. Off Band: Damit der Strom besser leitet - 5:33
6. Off Band: Escape - 6:54
Alle Tracks: Tina Velte und Karl von Hösten.
Seite K
1. Die Gesunden: Die Gesunden Kommen - 4:28
2. Die Gesunden: Leutnant Miller - 3:54
3. Die Gesunden: Der Weg zum Erfolg - 3:38
4. Die Gesunden: Baby Love - 4:00
5. Die Gesunden: Galaxy - 3:24
Seite L
1. Die Gesunden: Atmen - 2:40
2. Die Gesunden: Waiting for my Man - 5:00
3. Die Gesunden: Krieg und Frieden - 3:26
4. Die Gesunden: Film Musik - 1:38
5. Die Gesunden: Sometimes/Manchmal - 3:46
6. Die Gesunden: Instrumental - 2:18
Besetzung: Backing Vocals: Nina Hagen (C1-C7)
; Bass: Edgar Domin (C1-C7), Frank Osterland (C1-C7)
; Drums: Liane (C1-C7)
; Guitar: Alexander Hacke (C1-C7)
Lyrics By: Volker Hauptvogel (C1-C7)
; Performer: Eschi Rehm (K1-L5), Exo Neutrino (F1-F8), Mabel Aschenneller (K1-L5)
; Producer: Joachim Reinbold (J1 to J6)
; Programmed By [Drums]: Prinz Eisenhart (G1-G8)
; Remastered By: Anders Peterson
; Technician: Angelo Plate (C1-C7)
; Vocals: Krischi (G1-G8), Volker Hauptvogel (C1-C7)
V. A. (Virus) [>] [D]: Ed Rush And Optical Presents Virus Vaults [F]
Label und Katalognummer: Virus VRSCD 005
Produktion: Ed Rush & Optical & Verschiedene
Veröffentlicht: 2005 10 31 (Ed.)
Genretags: Electronica - Breakbeat - Drum'n'Bass
Trackliste: CD 1
1. Ed Rush & Optical: Vendetta - 7:08
2. Optical & Ryme Tyme: Headhunters - 6:40
3. Optical: Can U? - 7:00
4. Ed Rush & Optical: K-Wir
e - 7:42
5. Optical: Hitek Dreams - 6:53
6. Ed Rush & Optical: Flute - 7:44
7. Ed Rush & Optical: Gro-Bag - 7:22
8. Optical & Fierce: Side Effect - 8:01
9. Optical: Zoner - 7:15
10. Ed Rush & Optical: Big Slick - 5:48
CD 2: Mix
1. Optical: Void - 4:05
2. Ed Rush & Optical: Satellites - 4:17
3. Ed Rush & Optical: Razorback - 3:52
4. Ed Rush & Optical: Cannibal Run - 2:47
5. Ed Rush & Optical: Funktion V.I.P. - 2:57
6. Ed Rush & Optical & Fierce: Cutslo - 4:47
7. Ed Rush & Optical & Fierce: Pod - 2:13
8. Optical: Fibre-Optic - 4:28
9. Ed Rush & Optical: Slip Thru Rmx - 4:25
10. Drum Kru: Rigmasher - 2:37
11. Ed Rush & Optical: Bacteria - 1:49
12. Optical & Ryme Tyme: Space Cake - 3:19
13. Ryme Tyme: Payback - 3:41
14. Optical & Fresh: The Watcher - 3:08
15. Ed Rush & Optical: K-Wir
e - 2:46
16. DJ Trace & Ed Rush & Optical: Sonar V.I.P. - 2:47
17. Ed Rush & Optical: Bleep Bleep - 2:22
18. Ed Rush & Optical: Codek - 3:09
19. Ed Rush & Optical: Alien Girl - 4:49
Besetzung: DJ Mix: Ed Rush & Optical (2-01 to 2-19)
; Presenter: Ed Rush & Optical
; Copyright (c) Virus Recordings
; Phonographic Copyright (p) Virus Recordings
; Distributed By Devilfish Distribution
; Distributed By Pinnacle (3)
; Published By Virus Music Publishing
V. A. (Voxpop) [>] [D]: 7. Folkfestival auf der Lenzburg / 2. Folkfestival auf dem Gurten-Bern [F]
Label und Katalognummer: Voxpop 4009/10
Produktion: Verschiedene
Veröffentlicht: 1978 10 (Ed.)
Genretags: Folk - Urbanfolk
Trackliste: Seite A
1. Albion Band: Hopping Down In Kent - 2:45
2. Tonschusser: Eine Serie Von Bärentänzen - 4:00
3. Oberbaselbieter Ländlerkapelle: Titterter Schottisch - 2:20
4. Teatrogruppo Di Salerno: Tarantella Dell'Incoronata - 1:40
5. Echo Vom Locherguet: Chüereie Walzer - 2:35
6. Teatrogruppo Di Salerno: Aggio Saputo Ca Doie Sore Site / A Settimana - 5:40
7. Luc Mentha, Ocean: A Trip To Galway - 1:15
Seite B
1. Pan Ra: Attila - 3:15
2. Fraunhofer Stub'nMusi: Bauernmenuett - 1:40
3. Mandala: Al Dente - 5:55
4. Anna-Liisa Arakangas: Valamon Iuostarin Kirkonkellot - 2:25
5. Amanite: Jeder Ruft Mich Ziamele - 1:30
6. Jeff Cohan + Stephen Stubbs: Watkin's Ale - 2:45
7. John Kirkpatrick + Sue Kirkpatrick: Mill Field / Saturday Night And Sunday Mornin' - 3:10
Seite C
1. Amerindios: Mi General - 3:40
2. Ina Deter: Warum Starb Elvira Card? - 4:35
3. Linnenzworch: Falschheit / Warum - 5:10
4. Martin Heiniger: Festival-Song - 4:35
5. Ofragetten: Ein Mann Wir
d Kommen - 4:25
Seite D
1. Adrian Naef: Riite Rössli - 2:25
2. Men Steiner + Aita Biert: Giodim In Quella Val - 1:15
3. Tetralyre: Dainse, Dainse Tiu Gayou - 2:00
4. Jacky Lagger: Elle Est Belle La Forêt - 3:05
5. Duo Diethelm-Brandenberger
: Vive La Marie - 2:30
6. De Snaar: Twee Vrienden - 1:40
7. Tanto Pressanto: S'Plöfferliedli - 0:50
8. De Snaar: Het Maske En De Lindenboom - 2:10
9. Bracaillon: Le Geai - 3:05
10. Happy Traum: Mississippi John - 2:50
V. A. (Wohnstadt Stuttgart) [>] [D]: Von Heimat Kann Man Hier Nicht Sprechen [F]
Label und Katalognummer: Wohnstadt Stuttgart
Produktion: Verschiedene
Veröffentlicht: 2013 12 20
Genretags: Post-Millennial-Music - Indiepop
Trackliste: 1. Human Abfall: Wir
müssen über Tibet sprechen... - 2:50
2. Levin Goes Lightly: Ego-Shooter - 3:08
3. Die Nerven: Deine Augen/Die Nacht - 2:05
4. Karies: Misere - 3:29
5. Blunt Knives: Blunt Knife - 1:42
6. Melvin Raclette: Come Up With Something - 1:00
7. All diese Gewalt!: Stolpern - 3:38
8. JFR Moon: Modern Ships - 3:03
9. Wolf Mountains: Sunshine Detective - 2:55
10. Mosquito Ego: Fistfight - 3:13
11. Jamhed: Klebo No Luv - 4:10
12. Peter Muffin: Schlechtes Wetter - 1:46
V. A. (Zickzack) [>] [D]: Geniale Dilletanten. Brilliant Dilletantes [F]
Label und Katalognummer: Zickzack ZZ 2040
Produktion: Verschiedene
Veröffentlicht: 2015 (Ed.)
Genretags: Postpunk - Continental-Postpunk - Geniale-Dilletanten
Trackliste: CD 1
1. Palais Schaumburg: Telefon -20
2. Die Tödliche Doris: Tanz Im Quadrat - 3:42
3. Die Tödliche Doris: Wie Still Es Im Wald Ist -17
4. Ornament & Verbrechen: Der Lachende Chinese -28
5. Ornament & Verbrechen: Pablo Picasso - 5:56
6. Der Plan: Ich Bin Ein Komputer - 1:10
7. Der Plan: Alle Sieben Jahre - 3:19
8. F.S.K.: Viel Zu Viel - 3:52
9. F.S.K.: Blue Yodel Für Herbert Wehner - 3:43
10. Deutsch Amerikanische Freundschaft: Verschwende Deine Jugend - 3:47
11. Deutsch Amerikanische Freundschaft: Der Räuber Und Der Prinz - 3:32
CD 2
1. AG Geige: Yachtclub & Buchteln - 5:09
2. Ivanhoe!: I! Trifft Die Grapellis -54
3. Frieder Butzmann: Waschsalon Berlin - 3:55
4. Kosmonautentraum: Stolze Menschen - 3:46
5. Die Egozentrischen The Germans - 3:33
6. Lustige Mutanten: Missgeburten - 3:35
7. Andy Giorbino: Lied An Die Freude - 3:17
8. Andreas Dorau: Der Lachende Papst - 1:55
9. Nachdenkliche Wehrpflichtige: Schwierigkeiten / Gerittene Manifeste - 1:51
10. Männer In Nassen Kleidern: Eine Frau, Die Karate Kann, Hat Keine Chance Gegen Einen Mann Mit Einem Wagenheber Von Einem Toyota -31
11. Materialschlacht: BKA - 3:49
12. Mekanik Destruektiw Komandoe: Rohe Gewalt -23
13. Die Radierer: Angriff Auf's Schlaraffenland - 3:22
14. Sprung Aus Den Wolken: Komm Her Sing Mit - 1:56
15. 39 Clocks: DNS - 3:22
16. P1/E: 49 Seconds Romance -54
17. Wir
tschaftswunder: Analphabet - 3:03
18. Xao Seffcheque Und Der Rest: Du Und Ich - 4:48
Besetzung: Manufactured By Optimal Media GmbH
; Phonographic Copyright (p) Zickzack
; Copyright (c) Zickzack
; Phonographic Copyright (p) Goethe-Institut
; Copyright (c) Goethe-Institut
Label und Katalognummer: Warner Bros. 9 25732
Produktion: Donn Landee & Van Halen
Veröffentlicht: 1988 05 24
Genretags: Rock - AOR-Rock - AOR-Hardrock, Metal - Popmetal
Trackliste: 1. Mine All Mine - 5:11
2. When It's Love - 5:36
3. A.F.U. (Naturally Wir
ed) - 4:28
4. Cabo Wabo - 7:03
5. Source Of Infection - 3:58
6. Feels So Good - 4:27
7. Finish What Ya Started - 4:20
8. Black And Blue - 5:24
9. Sucker In A 3 Piece - 5:52
10. A Apolitical Blues (Lowell George) - 3:50
Alle Tracks: Michael Anthony, Sammy Hagar, Alex Van Halen und Eddie Van Halen, ausser wo anders vermerkt.
Besetzung: Art Direction: Jeri Heiden
; Art Direction: Maura P. McLaughlin
; Engineer [Assistant]: Ken Deane
; Mastering: Bobby Hata
; Performer: Alex Van Halen
; Performer: Eddie Van Halen
; Performer: Michael Anthony
; Performer: Sammy Hagar
; Photography [Back Cover & Dust Sleeve]: Stuart Watson
; Photography [Front Cover]: Eika Aoshima
; Recording: Donn Landee
; Phonographic Copyright (p) Warner Bros. Records Inc.
; Copyright (c) Warner Bros. Records Inc.
; Glass Mastered At Specialty Records Corporation
; Pressed By Specialty Records Corporation
; Manufactured By WEA Manufacturing
; Published By Yessup Music Company
Vatican Shadow [>] [D]: Ornamented Walls [F]
Assoziierte Acts: Prurient
Label und Katalognummer: Modern Love LOVE 080
Produktion: Dominick Fernow
Veröffentlicht: 2012 10 08
Genretags: Post-Millennial-Music - Digital-Underground - Industrialtechno
Trackliste: Seite A
1. Operation Neptune Spear Part 1 (Live Mix Rehearsal) -
2. Operation Neptune Spear Part 2 (Live Mix Rehearsal) -
3. Operation Neptune Spear Part 3 (Live Mix Rehearsal) -
Seite B
1. Cairo is a Haunted City (Mythic Chords) -
2. Nightforce Scopes -
3. Yemeni Telephone Number -
4. India Has Just Tested a Nuclear Device -
5. Church of All Images (Church of the NSA) -
6. Boxes Were Wir
ed to Batteries Then Loaded Into a Brown Toyota Cargo Truck -
Alle Tracks: Dominick Fernow.
Besetzung: Lacquer Cut By Matt Colton
Velocity Girl [>] [D]: ¡Simpatico! [F]
Label und Katalognummer: Sub Pop SP 0247
Produktion: John Porter
Veröffentlicht: 1994 06 07
Genretags: Indiepop - Noisepop - Shoegaze
Trackliste: 1. Sorry Again - 2:49
2. There's Only One Thing Left to Say - 2:18
3. Tripping Wir
es - 2:47
4. I Can't Stop Smiling - 3:16
5. The All-Consumer - 3:11
6. Drug Girls - 3:36
7. Rubble - 4:40
8. Labrador - 3:23
9. Hey You, Get Off My Moon - 2:49
10. Medio Core - 1:54
11. What You Left Behind - 2:38
12. Wake Up, I'm Leaving - 1:18
Alle Tracks: Velocity Girl.
Besetzung: Joe McGrath: Engineer
; Archie Moore: Guitar, Vocals
; Brian Nelson: Guitar
; Kelly Riles: Bass
; Sarah Shannon: Vocals
; Jim Spellman: Drums
Venetian Snares [>] [D]: Cavalcade Of Glee And Dadaist Happy Hardcore Pom Poms [F]
Label und Katalognummer: Planet Mu ZIQ 150
Produktion: Aaron Funk
Veröffentlicht: 2006 05 29
Genretags: Electronica - IDM
Trackliste: 1. Donut - 4:38
2. Swindon - 5:26
3. Pwntendo - 4:19
4. XIII's Dub - 3:47
5. Vache - 5:03
6. Plunging Hornets - 5:09
7. Twirl - 4:28
8. Tache - 6:27
9. P - 2:10
10. Cancel - 6:54
Alle Tracks: Aaron Funk.
Besetzung: Pressed By: Bellwether Manufacturing
; Pressed By: Key Production
; Illustration [Digital Illustration], Design: AS1
; Performer: Aaron Funk
Vijay Iyer Sextet [>] [D]: Far From Over [F]
Assoziierte Acts: Vijay Iyer
Label und Katalognummer: ECM 2581
Veröffentlicht: 2017 08 25
Genretags: Jazz - Bebop - Postbop
Trackliste: 1. Poles - 7:49
2. Far From Over - 6:16
3. Nope - 5:42
4. End Of The Tunnel - 2:17
5. Down To The Wir
e - 7:43
6. For Amiri Baraka - 3:23
7. Into Action - 5:01
8. Wake - 4:46
9. Good On The Ground - 6:32
10. Threnody - 8:25
Besetzung: Alto Saxophone: Steve Lehman
; Cornet, Flugelhorn, Electronics: Graham Haynes
; Double Bass: Stephan Crump
; Drums: Tyshawn Sorey
; Piano, Electric Piano: Vijay Iyer
; Tenor Saxophone: Mark Shim
; Recorded At Avatar Studios
Wallenstein [>] [D]: Cosmic Century [F]
Label und Katalognummer: Kosmische Musik KM 58.006
Produktion: Dieter Dierks & Jürgen Dollase
Veröffentlicht: 1973
Genretags: Rock - Progrock - Symphonicprog, Rock - Progrock - Krautrock
Trackliste: Seite A
1. Rory Blanchford - 9:25
2. Grand Piano - 2:11
3. Silver Arms - 9:40
Seite B
1. The Marvellous Child - 6:10
2. Song of Wir
e - 7:46
3. The Cosmic Couriers Meet South Philly Willy - 7:24
Alle Tracks: Jürgen Dollase.
Besetzung: Bass: Dieter Meier
; Drums, Percussion, Other [Phased Hi-hat]: Harald Großkopf
; Guitar: Bill Barone
; Piano [Grand], Mellotron, Synthesizer, Vibraphone, Lead Vocals: Jürgen Dollase
; Violin: Joachim Reiser
Wechsel Garland [>] [D]: Wechsel Garland [F]
Label und Katalognummer: Morr Music MM 016
Produktion: Jörg Follert
Veröffentlicht: 2000 12 04
Genretags: Electronica - Ambient
Trackliste: 1. Falter - 7:42
2. Komm - 3:45
3. Der Vorwand - 4:50
4. Grosse Erwartungen - 4:07
5. Wie Insekten - 2:44
6. Staub im Licht - 4:33
7. Wir
klicher - 3:24
8. Wie Also? - 2:45
9. Ohne Stern - 2:23
10. Viertel des Wegs - 2:09
Alle Tracks: Jörg Follert.
Weltraumforscher [>] [D]: 21 Weltraum: Standards [F]
Label und Katalognummer: Staubgold 057
Veröffentlicht: 2005 02 28
Genretags: Electronica - Synthtronica
Trackliste: CD 1
1. In der Stadt - 0:55
2. Gravity - 2:21
3. Weit bei den Sternen - 0:54
4. Deine allerschönsten Dinge - 4:29
5. Hier spricht Ihr Kapitän - 1:37
6. Sweet Bird - 2:53
7. Die Wir
klichkeit ist die schönste Sprache - 2:01
8. Liebe Lilli - 1:36
9. Sie sagt - 2:00
10. Die andere Seite der Nacht - 3:45
11. Telefontanz - 0:38
12. Datscha - 1:06
13. Unser erstes Jahr - 2:32
14. Katakina - 2:43
15. Sommer unter Sternen - 3:35
16. Anker gelichtet - 2:06
17. Kleines Mädchen - 4:31
18. Fee der Insekten - 1:24
19. This Is Neil Armstrong - 2:14
20. Mira II - 3:31
21. Unter Wasser 2 - 1:34
CD 2
1. Deine allerschönsten Dinge (Barbara Morgenstern) - 4:15
2. Toter Mann (Neoangin) - 2:50
3. Klasicka Mandelsplatter Chut (Mouse on Mars) - 4:10
4. Die Liebe liebt dich selbst (Schlammpeitziger) - 3:25
5. Flying Through the Door (Minitchev) - 2:41
6. Die rote Triade (Kiss Kiss Bang Bang) - 5:00
7. Reiseerinnerungen (Harald 'Sack' Ziegler) - 1:01
8. Katakina-Schwer-Untight-Boogie-Woogie-Joe-Tabu-Remix (Joe Tabu) - 2:33
9. Lovetown + Mindgarden (Nova huta) - 4:17
10. Radio Pangäa (Felix Kubin) - 4:08
11. Werde elf (F. X. Randomiz) - 3:15
12. Ein Feuer aus Licht und Liebe (Klangwart) - 5:11
13. Geschichte vom brüchigen Rand (2 Forscher in der Nacht Version '99) - 3:46
Besetzung: Compiled By: Tim Tetzner
Label und Katalognummer: Polydor 1712655, Polydor 1709519
Produktion: Billy Nicholls & Bob Pridden & Pete Townshend
Veröffentlicht: 2006 10 27, 2006 10 30 (DLX)
Genretags: Rock - AOR-Rock - AOR-Poprock
Die Tracks 10-19 sind eine Minioper und heissen Wir
e & Glass.
Trackliste: CD
1. Fragments (Townshend, Lawrence Ball) - 3:58
2. A Man in a Purple Dress - 4:14
3. Mike Post Theme - 4:28
4. In the Ether - 3:35
5. Black Widow's Eyes - 3:07
6. Two Thousand Years - 2:50
7. God Speaks of Marty Robbins - 3:26
8. It's Not Enough (Townshend, Rachel Fuller) - 4:02
9. You Stand by Me - 1:36
CD: Wir
e & Glass - A Mini-Opera
10. Sound Round - 1:21
11. Pick Up the Peace - 1:28
12. Unholy Trinity - 2:07
13. Trilby's Piano - 2:04
14. Endless Wir
e - 1:51
15. Fragments of Fragments (Townshend, Ball) - 2:23
16. We Got a Hit - 1:18
17. They Made My Dream Come True - 1:13
18. Mirror Door - 4:14
19. Tea & Theatre - 3:24
Bonustracks
1. We Got a Hit (extended version) - 3:03
2. Endless Wir
e (extended version) - 3:03
Alle Tracks: Pete Townshend, ausser wo anders vermerkt.
Besetzung: Acoustic Guitar: Jolyon Dixon (08)
; Artwork By [Art & Design]: Andy Engel
; Backing Vocals: Billy Nicholls (10, 11, 14, 20,.21), Simon Townshend (10, 11, 14, 20, 21)
; Banjo: Pete Townshend
; Bass: Pino Palladino (10, 11, 14, 16-18, 21), Stuart Ross (8)
; Cello: Vicky Matthews (13)
; Drums: Peter Huntington (8, 10, 11, 14, 16-18, 20, 21), Zak Starkey (5)
; Electronics: Lawrence Ball (1, 15)
; Engineer: Myles Clarke
; Guitar: Pete Townshend, Simon Townshend
; Keyboards: Rachel Fuller (8)
; Lead Vocals: Roger Daltrey
; Mandolin: Pete Townshend
; Mastered By: Ian Cooper
; Mixed By: Pete Townshend
; Orchestrated By: Pete Townshend (13)
; Organ [Hammond]: John \'Rabbit\' Bundrick (10-11, 18)
; Viola: Ellen Blair (13), Pete Townshend (13)
; Violin: Brian Wright (13), Gill Morley (13), Pete Townshend (13)
William Basinski [>] [D]: Shortwavemusic [F]
Label und Katalognummer: Raster-Noton 012, Raster-Noton vyr 012, 2062 2062.0701
Produktion: William Basinski
Veröffentlicht: 1998 03, 2007 03 26 (Reed.), 1982 (Rec.)
Genretags: Electronica - Ambient
Trackliste: Seite A
1. On a Frontier of Wir
es
Seite B
1. Evening Scars
2. Cobalt Pools
3. Fringe Area
CD Ausgabe von 2007
1. Evening Scars - 8:35
2. Cobalt Pools - 5:30
3. Fringe Area - 7:15
4. On a Frontier of Wir
es - 23:40
Bonustrack der CD Ausgabe von 2007
1. Particle Showers - 14:13
Alle Tracks: William Basinski.
Besetzung: Recorded By, Tape [Loops], Electronics [Shortwave Radio]: William Basinski
; Copyright (c): William Basinski, Musex International
; Phonographic Copyright (p): Musex International
; Pressed By: Sony DADC: DIDX-132482 (2007)
; Recorded At: Music Laboratories, New York
; Composed and recorded live in 1982 at Music Laboratories in New York using tape loops and shortwave radio
; Originally released on LP by Noton [now Raster-Noton], Germany, 1997 (1-4).
Wilt [>] [D]: As Giants Watch Over Us [F]
Label und Katalognummer: Ad Noiseam Adn. 35
Produktion: Wilt
Veröffentlicht: 2004 04 15
Genretags: Electronica - Ambient - Darkambient
Trackliste: 1. Empire Of The Snake - 6:43
2. As Giants Watch Over Us - 3:49
3. The Mystery Of Iniquity - 5:11
4. The Disappearance Of Man - 4:52
5. The Fiddler And The Fool - 6:31
6. The Coming Plague - 6:03
7. Blindfold - 6:03
8. Media Labyrinth - 4:26
9. Engineering Eternity - 4:42
10. Reversing Magnetism - 5:30
11. Tangled In Briars - 5:03
12. Wir
es For Nerves - 7:55
13. Tapestry - 5:18
Alle Tracks: James P. Keeler.
Besetzung: Artwork [Art], Design: Keeler Designs
; Executive-Producer: Nicolas Chevreux
; Mastering: C-drík
; Engineer: James P. Keeler
; Sounds [Additional Sound Sources Contributed By]: Miles Tilmann
; Sounds [Additional Sound Sources Contributed By]: Steve Brand
; Recorded At The Institute For Organic Conversations
; Mastered At Syrphe (2)
Wir sind Helden [>] [D]: Bring Mich Nach Hause [F]
Label und Katalognummer: Reklamation Records COL 88697635382
Produktion: Ian Davenport
Veröffentlicht: 2010 08 27
Genretags: Indiepop
Trackliste: 1. Alles - 4:18
2. Was Uns Beiden Gehört - 3:03
3. Bring Mich Nach Hause - 5:04
4. Flucht In Ketten - 3:59
5. Die Ballade von Wolfgang und Brigitte - 4:44
6. Dramatiker - 3:28
7. 23.55: Alles auf Anfang - 3:12
8. Die Träume Anderer Leute - 4:00
9. Meine Freundin War im Koma und Alles, Was Sie Mir Mitgebracht Hat, War Dieses Lausige T-Shirt - 4:00
10. Kreise - 3:25
11. Im Auge des Sturms - 5:21
12. Nichts, Was Wir
Tun Könnten - 3:22
Alle Tracks: Judith Holofernes, Pola Roy, Mark Tavassol und Jean-Michel Tourette.
Besetzung: Bass, Vocals: Jörg Holdinghausen
; Design: Typeholics
; Instruments: Wir
Sind Helden
; Mastering: Tom Coyne
; Mastering [Assisted By]: Aya Merrill
; Mixing: Blackpete (1 to 4, 6, 7)
; Mixing: Ian Davenport (5, 8 to 12)
; Mixing [Assisted By]: Daniel Bongard (1 to 4, 6, 7)
; Mixing [Assisted By]: Simon Beizai (1 to 4, 6, 7)
; Photography: Billy Und Hells
; Recording: Ian Davenport
; Trumpet: Christoph Van Hal
; Record Company Sony Music Entertainment
; Copyright (c) Reklamation Records
; Phonographic Copyright (p) Reklamation Records
; Licensed To Columbia Berlin
; Distributed By Sony Music Entertainment Germany GmbH
; Published By Wintrup Musikverlag
; Recorded At Tritonus Studio Berlin
; Mixed At Ballsaal-Studios
; Mixed At Courtyard Studio
; Mixed At Tritonus Studio Berlin
; Mastered At Sterling Sound
Wire [>] [D]: Read And Burn 01 [F]
Label und Katalognummer: Pinkflag PF 04
Veröffentlicht: 2002 05 27
Genretags: Alternativerock - Artrock
Trackliste: 1. In The Art Of Stopping (3:34)
2. I Don't Understand (3:17)
3. Comet (3:17)
4. Germ Ship (1:51)
5. 1st Fast (1:41)
6. The Agfers Of Kodack (3:13)
Alle Tracks: Wir
e.
Besetzung: Design: David Coppenhall
; Mastered By Denis Blackham
; Mixed By Colin Newman
; Photography/Image: Graham Lewis
; Performer: Wir
e
Wire [>] [D]: Read And Burn 03 [F]
Label und Katalognummer: Pinkflag PF 16
Veröffentlicht: 2007 10 05
Genretags: Alternativerock - Artrock
Trackliste: 1. 23 Years Too Late (9:46)
2. Our Time (4:33)
3. No Warning Given (5:26)
4. Desert Diving (5:33)
Alle Tracks: Wir
e
Besetzung: Artwork By [Design By] - David Coppenhall
; Mastered By - Denis Blackham
; Mixed By, Recorded By - Colin Newman
; Photography [Image By] - Edvard Graham Lewis
; Recorded By [Additional Recording] - Frank Lievaart
Label und Katalognummer: Pinkflag PF 17
Produktion: Colin Newman
Veröffentlicht: 2008 07 07
Genretags: Alternativerock - Artrock
Trackliste: 1. One of Us - 3:45
2. Circumspect - 3:13
3. Mekon Headman - 2:58
4. Perspex Icon - 3:16
5. Four Long Years - 3:45
6. Hard Currency - 3:50
7. Patient Flees - 5:23
8. Are You Ready? - 4:43
9. All Fours - 4:05
Alle Tracks: Wir
e.
Besetzung: Artwork By [Art Direction] - Jon Wozencroft
; Bass, Vocals, Other [Various] - Graham Lewis
; Drums - Robert Grey
; Mastered By - Denis Blackham
; Photography - Edvard Graham Lewis
; Recorded By [Additional Recording By] - Frank Lievaart
; Recorded By, Mixed By - Colin Newman
; Vocals, Guitar, Other [Various] - Colin Newman
Wire [>] [D]: The Ideal Copy [F]
Label und Katalognummer: Mute STUMM 042
Produktion: Gareth Jones
Veröffentlicht: 1987 04 27
Genretags: Postpunk
Trackliste: 1. Point of Collapse - 3:22
2. Ahead (Bruce Gilbert, Robert Gotobed, Graham Lewis, Colin Newman) - 4:59
3. Madman's Honey (Bruce Gilbert, Robert Gotobed, Graham Lewis, Colin Newman) - 4:29
4. Feed Me - 5:59
5. Ambitious (Bruce Gilbert, Robert Gotobed, Graham Lewis, Colin Newman, Nile Rodgers) - 4:05
6. Cheeking Tongues - 2:08
7. Still Shows - 4:10
8. Over Theirs - 5:23
Bonustracks der CD Ausgabe von 1987: Snakedrill EP und Live Recordings
1. Ahead (II) (Bruce Gilbert, Robert Gotobed, Graham Lewis, Colin Newman) - 3:29
2. A Serious of Snakes (Bruce Gilbert, Robert Gotobed, Graham Lewis, Colin Newman) - 4:42
3. Drill (Bruce Gilbert, Robert Gotobed, Graham Lewis, Colin Newman) - 5:03
4. Advantage in Height (Bruce Gilbert, Robert Gotobed, Graham Lewis, Colin Newman) - 3:02
5. Up to the Sun (Graham Lewis) - 2:42
6. Ambulance Chasers (Bruce Gilbert, Robert Gotobed, Graham Lewis, Colin Newman) - 2:55
7. Feed Me (II) (Elton John, Wir
e) - 4:28
8. Vivid Riot of Red (Graham Lewis) - 2:22
Alle Tracks: Lewis, Newman, Gilbert, Gotobed.
Besetzung: Andre Giere: Engineer
; B.C. Gilbert: Guitar
; Bruce Gilbert: Composer
; Robert Gotobed: Composer, Drums
; Elton John: Composer
; Gareth Jones: Engineer, Producer
; Lewis: Bass, Vocals
; Graham Lewis: Bass, Composer, Unknown Contributor Role, Vocals
; Colin Newman: Composer, Guitar, Vocals
; Nile Rodgers: Composer
Wire [>] [D]: Change Becomes Us [F]
Label und Katalognummer: Pink Flag PF 20
Produktion: Colin Newman
Veröffentlicht: 2013 03 25
Genretags: Postpunk
Trackliste: 1. Doubles & Trebles - 3:51
2. Keep Exhaling - 1:40
3. Adore Your Island - 2:46
4. Re-Invent Your Second Wheel - 3:46
5. Stealth Of A Stork - 1:54
6. B/W Silence - 4:40
7. Time Lock Frog - 5:46
8. Magic Bullet - 3:42
9. Eels Sang - 2:16
10. Love Bends - 4:02
11. As We Go - 4:36
12. & Much Besides - 6:13
13. Attractive Space - 3:33
Alle Tracks: Wir
e.
Besetzung: Art Direction, Photography: Jon Wozencroft
; Bass, Vocals, Performer [Various]: Graham Lewis
; Drums, Percussion: Robert Grey
; Engineer [Rockfield Studios]: Sean Douglas
; Guitar: Matthew Simms
; Mastering: Denis Blackham
; Mixing: Colin Newman
; Vocals, Guitar, Keyboards: Colin Newman
; Recorded At Rockfield Studios
; Recorded At Swim Studio
; Mixed At Swim Studio
; Mastered At Skye Mastering
Label und Katalognummer: Pinkflag PF 22
Veröffentlicht: 2015 04 13
Genretags: Post-Millennial-Music - Postpunk-Revival
Trackliste: 1. Blogging - 3:46
2. Shifting - 3:17
3. Burning Bridges - 3:17
4. In Manchester - 2:41
5. High - 1:53
6. Sleep-Walking (Wir
e, Colin Newman) - 7:30
7. Joust & Jostle - 2:12
8. Swallow - 4:17
9. Split Your Ends - 3:30
10. Octopus (Wir
e, Colin Newman) - 3:16
11. Harpooned - 8:23
Alle Tracks: Wir
e, Graham Lewis, ausser wo anders vermerkt.
Besetzung: Acoustic Guitar: Colin Newman (1, 2, 8)
; Backing Vocals: Graham Lewis (1, 4, 9, 10)
; Baritone Guitar [Electric]: Colin Newman (1, 7, 8, 11)
; Bass Guitar: Graham Lewis
; Bass Guitar [High]: Graham Lewis (3)
; Bass [FX]: Graham Lewis (6)
; Drums [Drum Kit]: Robert Grey
; Effects [FX]: Matthew Simms (11)
; Electric Guitar: Matthew Simms
; Electric Guitar [12 Strings]: Matthew Simms (2, 3, 9)
; Keyboards: Graham Lewis (8)
; Keyboards: Matthew Simms (1, 2, 4, 6)
; Lap Steel Guitar: Matthew Simms (3, 6)
; Loops: Matthew Simms (8)
; Mandola: Colin Newman (6)
; Percussion [Water Tank]: Robert Grey (6)
; Synth [Modular]: Matthew Simms (4-6, 8-10)
; Voice, Electric Guitar, Keyboards, Alle Tracks [Song]: Colin Newman
XTC [>] [D]: Coat Of Many Cupboards [F]
Label und Katalognummer: Virgin XTCBOX 1
Produktion: Verschiedene
Veröffentlicht: 2002 05 25
Genretags: Indiepop
Trackliste: CD 1
1. Science Friction [CBS Demo] - 3:32
2. Spinning Top [Live] - 3:00
3. Traffic Light Rock [Live] - 2:06
4. Radios in Motion [White Music Version] - 2:54
5. Let's Have Fun [White Music Outtake] (Colin Moulding) - 1:19
6. Fireball X15/Fireball Dub [White Music Outtake] (Barry Gray) - 3:24
7. Heatwave Mark 2 Deluxe [White Music Outtake] (Moulding) - 1:47
8. This is Pop? [Single Version] - 2:42
9. Are You Receiving Me? [Go 2 Outtake] - 3:23
10. Things Fall to Bits [Go 2 Outtake] (Barry Andrews) - 2:26
11. Us Being Us [Go 2 Outtake] - 2:55 (Barry Andrews)
12. Life Begins at the Hop [First Rehearsal Extract] (Moulding) - 1:09
13. Life Begins at the Hop [First Recording, Unused] (Moulding) - 3:58
14. Making Plans for Nigel [Demo Version] (Moulding) - 4:15
15. Ten Feet Tall [Drums and Wir
es Version] (Moulding) - 3:14
16. Sleepyheads [Drums and Wir
es Outtake] (Moulding) - 4:52
CD 2
1. Meccanic Dancin (Oh We Go) [Live] - 2:34
2. Atom Medley: Into the Atom Age/Hang on to the Night/Neon Shuffle [Live] - 6:52
3. Life Begins at the Hop [Unused U.S. Single Recording] (Moulding) - 2:57
4. Real by Reel [Unused Single Recording] - 3:44
5. When You're Near Me I Have Difficulty [Unused Single Recording] - 3:21
6. Helicopter [Unused Single Recording] - 3:30
7. Towers of London [Rejected Single Recording] - 6:07
8. Generals and Majors [Rehearsal Tape, Demo Version] (Moulding) - 5:02
9. No Language in Our Lungs [Black Sea Version] - 4:51
10. Sgt. Rock (Is Going to Help Me) [Black Sea Version] - 3:37
11. Paper and Iron (Notes and Coins) [Live] - 4:08
12. Crowded Room [Live] (Moulding) - 4:03
13. Senses Working Overtime [Early Work Tape, Demo Version] - 3:31
14. Snowman [Live] - 5:06
15. Ball and Chain [Unused Single Recording] (Moulding) - 4:21
CD 3
1. Punch and Judy [Unused Single Recording] - 2:35
2. Fly on the Wall [English Settlement Version] (Moulding) - 3:17
3. Yacht Dance [Live on the Old Grey Whistle Test, BBC TV] - 4:31
4. Jason and the Argonauts [English Settlement version] - 5:59
5. Love on a Farmboy's Wages [Home Demo] - 3:47
6. Wonderland [Home Demo] (Moulding) - 4:23
7. Ladybird [Mummer Version] - 4:36
8. All You Pretty Girls [Home Demo] - 4:13
9. Wake Up [Home Demo] (Moulding) - 4:12
10. The Everyday Story of Smalltown [The Big Express Version] - 4:13
11. Grass [Home Demo] (Moulding) - 2:55
12. Let's Make a Den [Home Demo] - 2:25
13. The Meeting Place [Home Demo] (Moulding) - 3:51
14. Dear God [Band Demo] - 4:10
CD 4
1. Brainiac's Daughter [Psonic Psunspot Version] - 4:03
2. Vanishing Girl [Psonic Psunspot Version] (Moulding) - 2:44
3. Terrorism [Home Demo] - 3:20
4. Find the Fox [Home Demo] (Moulding) - 2:37
5. Season Cycle [Skylarking Version] - 3:21
6. The Troubles [Home Demo] - 3:17
7. Mayor of Simpleton [Early Work Tape, Demo] - 2:47
8. King for a Day [Home Demo] (Moulding) - 3:14
9. Chalkhills and Children [Oranges and Lemons Version] - 5:06
10. The Ballad of Peter Pumpkinhead [Home Demo] - 5:34
11. Omnibus [Nonsuch Version] - 3:20
12. The Disappointed [Home Demo] - 3:20
13. Bungalow [Nonsuch Version] (Moulding) - 2:49
14. Didn't Hurt a Bit [Nonsuch Outtake] (Moulding) - 3:54
15. Books are Burning [Live on The Late Show, BBC TV] - 4:48
Alle Tracks: Andy Partridge, ausser wo anders vermerkt.
Besetzung: Acoustic Guitar, Vocals - Andy Partridge (2.13, 3.14)
; Artwork By - Andrew Swainson
; Bass - Colin Moulding (3.14)
; Bass, Guitar, Vocals - Colin Moulding (4.1, 4.2)
; Bass, Keyboards, Vocals - Colin Moulding (4.11, 4.13, 4.15)
; Bass, Vocals - Colin Moulding (1.1-16, 2.1-15, 3.1-4, 3.7, 3.10, 4.5, 4.9)
; Drums - Dave Mattacks (4.11, 4.13, 4.14, 4.15), Ian Gregory (4.1, 4.2), Pat Mastelotto (4.9), Pete Phipps (3.7, 3.10), Prairie Prince (4.5), Terry Chambers (1.1-16, 2.1-15, 3.1-4)
; Guitar [Solo], Percussion, Vocals - Andy Partridge (4.14)
; Guitar, Bass, Keyboards, Vocals - Colin Moulding (4.14)
; Guitar, Bass, Vocals - Andy Partridge (4.1, 4.2)
; Guitar, Keyboards, Vocals - Andy Partridge (1.12-16, 2.1-15, 3.1-4, 3.7, 3.10), Dave Gregory (3.1-4, 3.7, 3.10, 4.1, 4.2, 4.11, 4.13, 4.15)
; Guitar, Mellotron, Drum Programming - Dave Gregory (3.14)
; Guitar, Percussion, Vocals - Andy Partridge (4.11, 4.13, 4.15)
; Guitar, Piano, Vocals - Dave Gregory (1.12-16, 2.1-15)
; Guitar, Vocals - Andy Partridge (1.1-11, 4.5)
; Keyboards, Vocals - Barry Andrews (1.1-11), Dave Gregory (4.5, 4.9)
; Mastered By - Ian Cooper
; Other [Essay] - Harrison Sherwood
; Performer, Vocals - Andy Partridge (3.5, 3.8, 3.12, 4.3, 4.6, 4.7, 4.10, 4.12), Colin Moulding (3.6, 3.9, 3.11, 3.13, 4.4, 4.8)
; Trumpet - Guy Barker (4.11)
; Vocals, Percussion - Andy Partridge (4.9)
Label und Katalognummer: Virgin V 2095, Virgin CDVX 2095 724385069123
Produktion: John Leckie
Veröffentlicht: 1978 01 20, 2001 06 11 (Reed.)
Genretags: Rock - AOR-Rock - Zolo
Trackliste: Seite A
1. Radios in Motion - 2:54
2. X Wir
es (Colin Moulding) - 2:06
3. This Is Pop? - 2:41
4. Do What You Do (Colin Moulding) - 1:16
5. Statue of Liberty - 2:55
6. All Along the Watchtower (Bob Dylan) - 5:43
Seite B
1. Into the Atom Age - 2:32
2. I'll Set Myself on Fire (Colin Moulding) - 3:04
3. I'm Bugged - 3:59
4. New Town Animal in a Furnished Cage - 1:53
5. Spinning Top - 2:40
6. Neon Shuffle - 4:37
Bonustracks der CD Ausgabe von 2001
1. Science Friction - 3:13
2. She's So Square - 3:06
3. Dance Band (Colin Moulding) - 2:41
4. Hang on to the Night - 2:09
5. Heatwave (Colin Moulding) - 2:12
6. Traffic Light Rock - 1:40
7. Instant Tunes (Colin Moulding) - 2:34
Alle Tracks: Andy Partridge, ausser wo anders vermerkt.
Besetzung: Andy Partridge: guitar, vocals
; Colin Moulding: bass, vocals
; Barry Andrews: steam piano, clapped out organs
; Terry Chambers: drums
Yamaneko [>] [D]: Pixel Wave Embrace [F]
Label und Katalognummer: Local Action LOCLP 005
Veröffentlicht: 2014 11 14
Genretags: Hip-Hop - Grime
Trackliste: 1. Fragrance Transmission -
2. Greeen Hillz -
3. Slew Wave -
4. Tropics -
5. Yonkoma -
6. Accela Rush -
7. Primrose Island -
8. Seabrooke Rise -
9. Tugboat -
10. Calotype Process -
11. ~ -
12. Noises In The Wave Wir
es Like The Kissing Of The Sea (feat. Rimplton) -
13. Adrift -
Young Fathers [>] [D]: Cocoa Sugar [F]
Label und Katalognummer: Ninja Tune ZENCD 248
Produktion: Young Fathers
Veröffentlicht: 2018 03 09
Genretags: Hip-Hop - Underground-Hip-Hop - Electronic-Hip-Hop
Trackliste: 1. See How - 2:01
2. Fee Fi - 2:42
3. In My View - 3:15
4. Turn (Kayus Bankole, Graham Hastings, Alloysious Massaquoi, Dave Sitek) - 3:37
5. Lord - 3:37
6. Tremolo - 3:09
7. Wow - 4:00
8. Border Girl - 4:01
9. Holy Ghost - 2:33
10. Wir
e - 1:40
11. Toy - 3:14
12. Picking You (Kayus Bankole, Graham Hastings, Alloysious Massaquoi, Dave Sitek) - 3:05
Alle Tracks: Kayus Bankole, Graham Hastings, Timothy London und Alloysious Massaquoi, ausser wo anders vermerkt.
Besetzung: Ben Baptie: Mixing
; David Cousins: Vocals
; Graham Hastings: Mixing
; Vlado Meller: Mastering
; Julia Noni: Photography
; Laurie Ross: Mixing
Zarah Leander [>] [D]: Ein Mythos lebt ... [F]
Label und Katalognummer: EMI Music Distribution 1563662
Produktion: Verschiedene
Veröffentlicht: 1998 11 30 (Ed.)
Genretags: Europeana - Schlager - Kabarett-Schlager
Trackliste: 1. Ich Weiss, Es Wir
d Einmal Ein Wunder Gescheh'n - 3:26
2. Wenn Der Herrgott Will - 3:14
3. Merci, Mon Ami, Es War Wunderschön - 3:09
4. Du darfst mir nie mehr rote Rosen schenken - 2:55
5. Kann Denn Liebe Sünde Sein? - 2:59
6. Eine Frau Wir
d Erst Schön Durch Die Liebe - 2:44
7. Er Heisst Waldemar - 2:06
8. Irgendwo, Irgendwann Fängt Ein Kleines Märchen An - 3:00
9. Reite, kleiner Reiter - 2:45
10. Jede Nacht ein neues Glück - 2:23
11. Der Wind Hat Mir Ein Lied Erzählt - 2:52
12. Ein Kleiner Akkord Auf Meinem Klavier - 2:50
13. Ich Steh' Im Regen - 2:54
14. Mein Leben für die Liebe - 3:01
15. Yes, Sir! - 2:53
16. Davon geht die Welt nicht unter (aus dem Film 'Die grosse Liebe') - 2:31
17. Sag' Mir Nicht Adieu - 2:42
Zarah Leander [>] [D]: Das Beste von Zarah Leander [F]
Label und Katalognummer: EMI Music Distribution
Produktion: Verschiedene
Veröffentlicht: 1996 07 04 (Ed.)
Genretags: Europeana - Schlager - Kabarett-Schlager
Trackliste: 1. Es gibt keine Frau, die nicht lügt
2. Irgendwo, irgendwann fängt ein kleines Mädchen an
3. Ich hab' vielleicht noch nie geliebt
4. Sagt dir eine schöne Frau 'vielleicht'
5. Blaue Husaren
6. Du bist genau wie die anderen
7. ... und dann tanz' ich einen Czardas
8. Schlafe, mein Geliebter
9. So glücklich wie du und so selig wie ich
10. Schiff Ahoi
11. Drei Sterne sah ich scheinen
12. Ich will nicht vergessen
13. Wen ich liebe
14. Wann wirst du mich fragen
15. Fatme, erzähl' mir ein Märchen
16. Ich hab' Angst vor dir und der Liebe
17. Cherie ... du bist heut' so anders
18. Wo ist dein Herz
19. Schlummerlied
20. Die lustige Witwe
Zeena Parkins [>] [D]: Between The Whiles [F]
Label und Katalognummer: Table of the Elements TOE 110
Produktion: David Kean & Zeena Parkins
Veröffentlicht: 2010 04
Genretags: Jazz - Avantgardejazz - New-York-Downtown
Trackliste: 1. Glass - 6:18
2. Vibratory - 9:29
3. Inyoufrom - 5:29
4. Gold - 5:47
5. Wir
e - 11:49
6. Jumping Juggling - 6:31
7. Bubble - 13:01
Alle Tracks: Zeena Parkins.
Besetzung: Bagpipes: David Watson (6)
; Bagpipes: Matthew Welch (6)
; Harp [Acoustic, Electric], Synthesizer [Memory Moog], Glass Harmonica, Melodica: Zeena Parkins
; Liner Notes: Terry De Castro
; Mastering: James Plotkin
; Mixing: David Kean
; Percussion [Bbs, Cymbals, Metal Bowls, Pots And Pans]: Jim Pugliese (6)
; Recording: Jamie Saft (1, 2, 4 to 7)
; Recording: Zeena Parkins (3)
; Sounds [Breath]: Eleanor Hullihan (4)
; Sounds [Breath]: Levi Gonzalez (4)
; Sounds [Breath]: Luciana Achugar (4)
; Sounds [Fingertips And Jumping]: EH (6)
; Sounds [Fingertips And Jumping]: Kavyon (6)
; Sounds [Fingertips And Jumping]: LG (9) (6)
; Sounds [Fingertips And Jumping]: Michellle Boule (6)
; Sounds [Fingertips And Jumping]: Pouvazar (6)
; Violin: Sara Parkins (4, 7)
; Alle Tracks: Zeena Parkins
; Copyright (c) Table Of The Elements
; Phonographic Copyright (p) Table Of The Elements
; Mixed At Audities Studio
; Recorded At Frank Booth
; Recorded At Audities Studio
Assoziierte Acts: Justin Broadrick & Kevin Martin
Label und Katalognummer: Relapse Records RR 7439
Produktion: JK Flesh & The Bug
Veröffentlicht: 2019 10 25
Genretags: Post-Millennial-Music - Digital-Underground - Illbient
Trackliste: 1. Body Of Wir
e (feat. Moor Mother) (Camae, Justin K Broadrick, Kevin Martin) -
2. In A Cage (feat. Moor Mother) (Camae, Justin K Broadrick, Kevin Martin) -
3. System Error (feat. Moor Mother) (Camaev) -
4. Medulla (feat. Moor Mother) (Camaev) -
5. Catalyst (feat. Moor Mother) (Camaev) -
6. No Investigation (feat. Moor Mother) (Camaev) -
7. Wrecked -
8. Debris -
9. Black Hole Orbit -
10. S.O.S. -
11. Alien Within -
12. Stargazer -
Alle Tracks: Justin K Broadrick und Kevin Martin, ausser wo anders vermerkt.
Besetzung: Artwork, Design: Simon Fowler
; Mastering: Stefan Betke
; Mastered At Scape Mastering
; Published By Just Isn\'t Music
; Published By Mute Song Ltd.
; Published By Copyright Control
; Phonographic Copyright (p) Relapse Records, Inc.
; Copyright (c) Relapse Records, Inc.
; Pressed By GZ Media
Label und Katalognummer: RCA 07863 66317, RCA 74321182602
Produktion: Billy Gibbons & Bill Ham
Veröffentlicht: 1994 01 18
Genretags: Rock - Bluesrock
Trackliste: 1. Pincushion - 4:33
2. Breakaway (Gibbons) - 4:58
3. World of Swirl (Gibbons) - 4:08
4. Fuzzbox Voodoo - 4:42
5. Girl in a T-Shirt (Gibbons) - 4:10
6. Antenna Head - 4:43
7. PCH - 3:57
8. Cherry Red (Gibbons) - 4:38
9. Cover Your Rig - 5:50
10. Lizard Life - 5:09
11. Deal Goin' Down - 4:06
Bonustracks der CD Ausgabe (EU)
1. Everything - 3:54
Alle Tracks: Billy Gibbons, Dusty Hill und Frank Beard, ausser wo anders vermerkt.
Besetzung: Billy Gibbons - guitar, lead vocals
; Dusty Hill - bass, keyboards, backing vocals, lead vocals (3, 6, 11)
; Frank Beard - drums, percussion
; Engineers - Joe Hardy, Tom Harding
; Mixing - Joe Hardy
; Mastering - Bob Ludwig
; Photography - Bill Bernstein, Barbara LaBarge
; Text - Jim Bessman
Suchresultate Releases: Treffer bei Labeln
V. A. (AudioTONG) [>] [D] & V. A. (The Wire) [>] [D]: EMFP 01 [F]
Label und Katalognummer: AudioTONG / Wir
e Magazine AT CD01
Produktion: Verschiedene
Veröffentlicht: 2009 05
Genretags: Electronica
Trackliste: 1. Paristetris: Electrodomestics
2. Tomasz Gwincinski: Corruptis Omnibus... (Excerpt)
3. Zdzislaw Piernik / Piotr Zabrodzki: Namanga 7
4. Zooplan: Live At Turning Sounds (Excerpt)
5. Slug Duo: Slinky
6. Ensemble56: Dream Of Wyspianski
7. Trzaska / Zerang / Gasser Trio: Goodbye Sweet Monster
8. Dagna Sadkowska / Mikolaj Palosz: Impro 8
9. Sonus Akrobata: Mandragora Fragment 6
10. Sisters: Wait Till The End
11. Emiter: Microsillon 2
12. Aabzu: Mystery Of Life
13. KOT: Jestem Ksiedzem
14. Marek Choloniewski: Eastern Tracks
15. Robert Piotrowicz: Lincoln Sea: Ice Walk Draft
16. Anna Zaradny: Mauve 2 (Excerpt)
17. Dawid Szczesny: 1.1
V. A. (The Wire) [>] [D]: Eco E Narciso Presenze Sonore [F]
Assoziierte Acts: John Duncan & Jacob Kirkegaard & Stephan Mathieu & Steve Roden & Valerio Tricoli
Label und Katalognummer: culturo materiale, The Wir
e Issue 270
Produktion: Verschiedene
Veröffentlicht: 2006 07 (Ed.)
Genretags: Electronica - Elektroakustische-Musik
Trackliste: 1. Bruno Dorella, Marco Milanesio, Fabrizio Modonese Palumbo: Canale Cavour - 15:11
2. John Duncan, Valerio Tricoli: The Garden [excerpt] - 9:59
3. Jacob Kirkegaard: Ravine - 11:02
4. Stephan Mathieu: Die Sonne toent nach alter Weise (excerpt from a Shortwave Radio Landscape) - 13:02
5. Steve Roden: 22 letters and the resonance of a three pointed star - 12:58
Besetzung: Artwork: Blend - Torino
; Other [Curated By]: Daniela Cascella
; Other [Curated By]: Rebecca De Marchi
V. A. (The Wire) [>] [D] & V. A. (Häpna) [>] [D]: Whispers From The Forests, Screams From The Mountains: New Suggestions For The Swedish Flora And Fauna [F]
Label und Katalognummer: Häpna, iDEAL, Kning Disk, The Wir
e
Produktion: Verschiedene
Veröffentlicht: 2007 11
Genretags: Alternativerock - Postrock
Trackliste: Teil 1: Häpna
1. Hans Appelqvist - Jag En Gök (3:31)
2. Eric Malmberg - Milda Döden Hämtar Oss Alla Till Slut (3:56)
3. Anders Dahl - Hundloka - Percussion, Guitar, Bouzouki (Excerpt) (2:22)
4. Tape - Augustan Chateau (5:06)
5. Anna Järvinen - Helsinki (4:31)
6. A Taste Of Ra - Morning Of My Life (Excerpt) (5:20)
Teil 2: iDEAL
1. Christine Ödlund - Lightning & Voices (4:44)
2. Nash Kontroll - All Muzzles Look The Same (3:21)
3. Mokira - Skaka Hund Skaka (5:10)
4. Sewer Election - White Golgotha (5:00)
5. Dead Letters Spell Out Dead Words - Heaven Is The Notion That All This Will End (4:00)
6. Skull Defekts - Finding Your Way Through The Forest By Settng It On Fire (5:02)
Teil 3: Kning Disk
1. Erik Enocksson - The State The Sea Left Me In (4:15)
2. Dan Fröberg - We'll Never Be The Same Again (Song) (3:47)
3. Jerry Johansson - Next Door Conversation Part II (Excerpt) (5:48)
4. Folke Rabe - Swinee River (3:14)
5. Library Tapes - Fragment VIII (3:33)
6. Balroynigress - Shampo And Champagne (3:59)
Besetzung: Artwork By Art - Fredrik Söderberg
; Artwork By Layout - Mattias Nilsson
Assoziierte Acts: Hudson Mohawke
Label und Katalognummer: LuckyMe LMWB001, Wir
eblock LMWB001
Produktion: Hudson Mohawke
Veröffentlicht: 2008 04 07
Genretags: Electronica - Progressive-Electronic-Music - Wonky
Hud Mo ist Hudson Mohawke, einer der angesagtesten jungen Hip-Hop-Produzenten. Er kommt aus Glasgow.
Trackliste: Seite A
1. Ooops!
2. Come Get It
Seite B
1. Jelly N Jam
2. Still On It
Friedrich Goldmann [>] [D]: Late Works [F]
Label und Katalognummer: Macro M 24, Wir
e Magazine Issue 327
Veröffentlicht: 2011 04
Genretags: Akademica - Moderne-Klassik
Slipcase mit Insert für Liner notes. Der erste Track ist eine Studio Aufnahme von 1994, die restlichen tracks sind Live Aufnahmen von 2007 (2) und 2008 (3, 4)
Trackliste: 1. Haiku À 6 for flute, clarinet, violin, viola, violoncello and piano - 4:29
2. Ensemblekonzert 3. Fantasia on the fundamental notes of an arioso by JS Bach for 16 players - 23:41
3. Sisyphos Zu Zweit for violin and violoncello - 10:57
4. Wege Gewirr Ausblick for orchestra - 17:21
Alle Tracks: Friedrich Goldmann.
Besetzung: Ensemble - Modern Art Sextet (1), musikFabrik (2), DuoKaya (3)
; Producer - Friedrich Goldmann, SFB (1), Deutschlandradio Kultur (2), Deutschlandfunk (3), HfM Dresden (4)
; Conductor - Enno Poppe (2), Ekkehard Klemm (4)
; Violin - Biliana Voutchkova (3)
; Cello - Agnieszka Dziubak (3)
; Orchestra - Orchestra Of Hochschule für Musik \'Carl Maria Von Weber\' Dresden (4)
Lone [>] [D]: Emerald Fantasy Tracks [F]
Label und Katalognummer: Magic Wir
e Recordings MAGIC 02
Veröffentlicht: 2010 11 29
Genretags: Electronica - House - Deephouse
Trackliste: 1. Cloud 909 - 5:31
2. Aquamarine - 5:12
3. Moon Beam Harp - 4:14
4. Ultramarine - 6:14
5. Re-Schooling - 3:34
6. Rissotowe_4 - 5:23
7. Petrcane Beach Track - 5:22
8. The Birds Don't Fly This High - 5:04
Besetzung: Artwork: Thefreshprints
; Mastered [On Matrix]: Sony DADC
; Photography By Charlee Rose Everett
V. A. (The Wire) [>] [D] & V. A. (Matador) [>] [D]: Draw Me A Riot [F]
Label und Katalognummer: Matador OLE 508, The Wir
e 206
Produktion: Verschiedene
Veröffentlicht: 2001 03
Genretags: Alternativerock, Electronica
Trackliste: 1. Matmos: Cymbals And Aspirin (A Breakthrough In Pain Relief) (9:03)
2. Sad Rockets: Cascais (7:25)
3. Techno Animal: Intercourse (5:57)
4. Live Human: Lagoona's Bliss (Elephant Mix) (5:09)
5. Mr. Len feat. Jean Grae: The Hurt (Early Years Version) (4:41)
6. Mount Florida: Crack Pipe (5:34)
7. Solex: The Cutter (3:09)
8. Bardo Pond: Syn Dept (6:06)
9. Yo La Tengo: Let's Save Tony Orlando's House (Sonic Boom Remix) (3:59)
10. Wisdom Of Harry: Marsh Blues (3:36)
11. Unwound: Demons Sing Love Songs (3:43)
12. Lesser: Soonerorlaterweallslipup (5:06)
13. Khan: Vaseline (5:11)
Besetzung: Vocals - Kid Congo Powers (13)
V. A. (The Wire) [>] [D]: Power Shovel Audio [F]
Label und Katalognummer: PowerShovelAudio, The Wir
e Issue 272
Produktion: Verschiedene
Veröffentlicht: 2006 09 (Ed.)
Genretags: Electronica
Trackliste: 1. Sasaki San: To The Town
2. Killer Bong: Behind Mask
3. Sasaki San: Spinach
4. Asuna: Down To The Sea
5. Raphael Sebbag: Besos
6. Mika Sasaki & Alejandra & Aeron: Summer Hammer
7. Kath Bloom: Come Here
8. Sasaki San: Pencil
9. Secret Mommy: Dance Studio
10. Directorsound: Menu / So Where Is Kyoto Tonight? / Mullin The Mog
11. Doddodo: Black Line Make Me MON
12. Sasaki San: Rina
13. Patrik Torsson: The Passage
14. Mika Sasaki & Flim: Mika 1
15. Twoth: Yolk Struggle
16. Flim: Picture1
17. Killer Bong: Tokyodub
18. Sasaki San: In The Taxi
19. Sasaki San: Letter
20. Setopianics: Untitled Demo
21. Ken Takehisa
And Spectacrews: Untitled
22. Raphael Sebbag: His Majesty Remix
23. Sasaki San: Path
24. Asuna: Happy Misunderstanding
V. A. (Rune Grammofon) [>] [D] & V. A. (The Wire) [>] [D]: Runeology 3 [F]
Label und Katalognummer: Rune Grammofon RCDS 3 WIRE
Produktion: Verschiedene
Veröffentlicht: 2007 09
Genretags: Jazz - Avantgardejazz
Trackliste: 1. Arve Henriksen - Leaf and Rock - 2:21
2. Susanna - Hangout - 5:40
3. Opsvik & Jennings - The Last Country Village - 4:10
4. Food - Nature's Recipe - 4:39
5. Supersilent - 8.6 -
6. Ultralyd - Pentassonance II - 4:52
7. Shining - Stalemate Longan Runner - 4:19
8. Alog - Son of King - 6:30
9. Scorch Trio - Autio - 4:54
10. Humcrush - Solar Sail - 5:15
11. Ole Henrik Moe - Tre Persefone (excerpt) - 10:13
12. MoHa! - Home Four - 2:52
Besetzung: Artwork By Sleeve - Kim Hiorthøy
; Compiled By - Rune Kristoffersen
; Mastered By - Helge Sten
V. A. (The Wire) [>] [D] & V. A. (Brainwashed Recordings) [>] [D]: Brain In The Wire [F]
Label und Katalognummer: The Wir
e Issue 201, Brainwashed Recordings 004a
Produktion: Verschiedene
Veröffentlicht: 2000 11
Genretags: Jazz - Avantgardejazz
Trackliste: 1. Legendary Pink Dots: Old Sparky - 5:12
2. V/Vm: Cha-ha Meat Skran-r The 15lb. Turkey - 4:01
3. Greater Than One: Broadcast - 4:50
4. Twilight Circus Dub Soundsystem: Slicer Dubplate (Version 2) - 5:04
5. Fridge: Harmonics - 4:02
6. Ruby Falls: The Brave Ones - 3:33
7. Panacea: Battle Stations (Dub Version) - 5:56
8. m2: L-tuo - 3:11
9. Jessica Bailiff: Shadow - 5:00
10. Cyclobe: Replaced By His Constellation - 7:55
11. Windy & Carl: Trembling - 7:02
12. Christoph Heemann & Andreas Martin: Wir
es - 4:08
13. Little Annie (a.k.a. Annie Anxiety): Lullaby - 3:43
14. Aranos & Nurse With Wound: Mary Jane (Marbles Remix) - 6:36
15. Current Ninety Three & Pantaleimon: The Magical Bird In The Magical Woods - 5:52
Besetzung: Artwork: Daniel McKernan
; Compiled, Mastered: Jon Whitney
V. A. (The Wire) [>] [D]: Tapper 21 [F]
Label und Katalognummer: The Wir
e (Issue 302)
Produktion: Verschiedene
Veröffentlicht: 2009 04
Genretags: Jazz - Avantgardejazz
Trackliste: 1. Robert Logan: Accurate Spit Boy (Edit) (3:55)
2. Shogun Kunitoki: Riddarholmen (3:15)
3. Jono El Grande: Neo Dada (4:18)
4. Sweet Billy Pilgrim: Longshore Drift (Wir
e Tapper Exclusive Edit) (4:00)
5. Jim McAuley with Nels Cline: Froggy's Magic Twanger (4:07)
6. Higamos Hogamos: The Illuminoids (Edit) (4:19)
7. Barbara Morgenstern: Morbus Basedow (3:55)
8. Whirling Hall Of Knives: 2-Bar Heater And Smoke (4:00)
9. Animal Hospital: His Belly Burst (Wir
e Tapper Exclusive Edit) (4:00)
10. Violet: Violet Ray Gas (4:01)
11. Andres Lõo: Introvert Dancer (2:26)
12. Felix Kubin: The Rhythm Modulator (Cont'd) (3:15)
13. Sheik Anorak / Weasel Walter Duo: Silver (3:13)
14. Streifenjunko: No Longer Burning (Wir
e Tapper Special Edit) (4:02)
15. Tony Bevan / Chris Corsano / Dominic Lash: I Think That'll Be OK... (2:29)
16. Pekka Airaksinen: Nobody Is Free (4:02)
17. David Åhlén: We Sprout In Thy Soul (2:12)
18. Jez Riley French: ...audible silence - enter (Kettle's Yard Cambridge) (Extract) (4:04)
19. Them Use Them: Able (Wir
e Tapper Exclusive Edit) (3:52)
20. Laura Toxvaerd: Spine Side (1:53)
21. Hitoshi Kojo: Hiruko (Short Edit) (3:38)
Besetzung: Artwork By [Images] - Nicola Pecoraro
; Compiled By - Andy Tait, Lisa Blanning, Shane Woolman
; Mastered By - Toby Hrycek-Robinson
V. A. (The Wire) [>] [D]: Tapper 22 [F]
Label und Katalognummer: The Wir
e (issue 308)
Produktion: Verschiedene
Veröffentlicht: 2009 10
Genretags: Jazz - Avantgardejazz
Trackliste: 1. Stearica feat Dälek - Occhio (Edit) - 4:34
2. Arturas Bumšteinas String Quartet - Karlstad (Fragment) - 4:10
3. Shits And Giggles - Ripcord - 4:00
4. Zenlo - The Crab - 3:22
5. Marcus Maeder - Quadrate - 2:24
6. Yoshio Machida - Setagaya Art Museum, Sep 28 2008 (Excerpt) - 4:00
7. Tomoyoshi Date & Corey Fuller with Tadahito Ichinoseki - Seiya (Wir
e Tapper Edit) - 4:01
8. Elodie Lauten - Cat Counterpoint - 2:43
9. Clang Sayne - A Death And A Vision - 2:46
10. Climax Golden Twins - Chinese - 2:46
11. Netherworld - Aurora Borealis (Blu Ice Mix) - 4:05
12. 10-20 - Athens - 2:58
13. Franck Vigroux - New York - 4:03
14. Arrington De Dionyso - Rasa Sentuh (Sense Of Touch) - 2:43
15. Pink Mountain - Ditch Witch - 3:14
16. Jørgen Plaetner - Beta (1962-63) - 3:58
17. Angkorwat - Big/Little Edie - 2:17
18. Abreaktor - Flagg - 3:51
19. Okie Dokie - The Monad - 1:14
20. Keyboard Choir - Tokyo At Night - 2:46
Besetzung: Artwork By [Images] - Rasmus Emanuel Svensson
; Compiled By - Andy Tait, Lisa Blanning, Shane Woolman
; Mastered By - Toby Hrycek-Robinson
V. A. (The Wire) [>] [D]: Tapper 25 [F]
Label und Katalognummer: The Wir
e (Issue 326)
Produktion: Verschiedene
Veröffentlicht: 2011 03
Genretags: Jazz - Avantgardejazz
Trackliste: 1. Hana: Tate
2. Artifact Shore: Instruments Of The Devil
3. K-Branding: Driller (Excerpt)
4. Nicholas Szczepanik: Please Stop Loving Me (Excerpt)
5. Obsil: Snow Days In March
6. Socrates that practiçes music: Judged By The Left Eye
7. Manekinekod: Toy Factory (Installation Excerpt)
8. Tchicai / Hurley / Sanders / Coxon: Jomajomi Tchucosa (Live @ Midlands Art Centre 26/11/10) (Edit)
9. Melmac: Accident (Edit)
10. Bohm & Cooper-Marquardt Duo: Ruf Der Apostel (Apostles Calling)
11. Sheik Anorak / Weasel Walter / Mario Rechtern: Wotizup?
12. Mark Hanslip & Javier Carmona: Preambolo (Wir
e Tapper Edit)
13. Luciano Maggiore & Francesco fuzz Brasini: Chàsm' Achanès (Huge Abyss) (Wir
e Tapper Edit)
14. Christian Skjødt: Innocent Square (Wir
e Tapper Edit)
15. Stearica: Warp Lag (Wir
e Tapper Edit)
16. Philippe Petit & Friends
: Succumbed To Gravity
17. Nicolas Salomon: Zoom
18. HHY & Macumbas, The: Legba In Dub
19. My Cat Is An Alien: The Antigravitational Sense Of Nothingness (Wir
e Tapper Alternate Edit)
20. Telebossa: Século Do Progresso
Besetzung: Artwork By [Images] - Patrick Ward
; Compiled By - Andy Tait, Lisa Blanning, Shane Woolman
; Mastered By - Toby Hrycek-Robinson
V. A. (The Wire) [>] [D]: Tapper 20 [F]
Label und Katalognummer: The Wir
e 296
Produktion: Verschiedene
Veröffentlicht: 2008 09
Genretags: Jazz - Avantgardejazz
Trackliste: 1. Zavoloka: Inhale (3:30)
2. Crackle: Heavy Water (3:22)
3. Formication: The Mountains Are Machines (2:32)
4. Paavoharju: Pimeänkarkelo (3:53)
5. oRSo: Warm Up (2:50)
6. A_Dontigny: Tatline (3:34)
7. RJ Valeo: Monday Night (3:21)
8. Rarescale: Apparition And Release (Wir
e Tapper Exclusive Edit) (4:01)
9. Mike Osborne: Pure (Wir
e Tapper Exclusive) (4:00)
10. Random Touch: Tripping So Fancy (2:59)
11. Punck: Piallassa (Red Desert Chronicles) (Wir
e Tapper Edit) (4:02)
12. Grails: Reincarnation Blues (4:08)
13. Micronormous: Rainland (2:29)
14. Pantaleimon: At Dawn (Vogel) (Andrew WK Remix) (4:35)
15. Lothar Ohlmeier / Isambard Khroustaliov: Scratch (Edit) (3:41)
16. Tertium Quid: Early Disturbance (Wir
e Tapper Exclusive Edit) (4:15)
17. MoHa!: Too Smart Enough To Think (3:13)
18. Anthony Kelly und David Stalling: Ghost Signal 2 (Wir
e Remix) (3:47)
19. Wounded Knee: My Wooden Cupboard (Wir
e Tapper Exclusive Edit) (4:00)
Besetzung: Artwork By [Images] - Yokoland
; Compiled By - Andy Tait, Lisa Blanning, Shane Woolman
; Mastered By - Toby Hrycek-Robinson
V. A. (The Wire) [>] [D]: Tapper 33 [F]
Label und Katalognummer: The Wir
e 357
Produktion: Verschiedene
Veröffentlicht: 2013 10 (Ed.)
Genretags: Jazz - Avantgardejazz
Trackliste: 1. Tangents: Liars Tired (Wir
e Tapper Edit) - 4:31
2. KNYST!: Pass - 4:06
3. Netherworld: Icepulse - 4:05
4. Botany: Anchor (Single Version) - 3:22
5. Jacqueline Humbert & David Rosenboom: Distant Space - 3:18
6. Nicoffeine: Ando Guerillo - 3:02
7. Sebastiane Hegarty: Four Walks Around a Year: Summer (Excerpt) - 4:01
8. John McGrath: Four Hills - 3:28
9. Counter Silence: When the Clocks Have Stopped (Wir
e Tapper Edit) - 4:01
10. Big Blood: Everything Is Improving - 3:18
11. Gelbart: Meloda - 3:43
12. Daníel Bjarnason: SOLITUDES IV. Selge Ruh - 4:17
13. Arp: Gravity (for Charlemagne Palestine) (Wir
e Tapper Edit) - 4:06
14. Tulipomania: Hold On - 3:35
15. DAWSON-DAVIES: HEN OGLEDD: Up on the Platform at Morpeth Station - 4:14
16. Jim Fox: Colorless Sky Became Fog - 3:04
17. Yann Novak: Snowfall (Excerpt) - 4:02
18. Phantom Love: Crave for Lust (Edit) - 4:13
19. Lophorina: Drums - 3:02
20. Michael Maierhof: Splitting 26 for Voice and Tape (Edit) - 3:58
Besetzung: Artwork [Cover Artwork]: Laura Carlin
; Compiled By: Andy Tait, Katie Gibbons, Shane Woolman
; Mastering: Toby Hrycek-Robinson
; Copyright (c) The Wir
e
V. A. (The Wire) [>] [D]: Tapper 34 [F]
Label und Katalognummer: The Wir
e 362
Produktion: Verschiedene
Veröffentlicht: 2014 03 (ed.)
Genretags: Jazz - Avantgardejazz
siehe Track by Track Guide (The Wir
e, 362, p. 4 Wire/362.pdf#page=4" target="_blank">[PDF])
Trackliste: 1. Marsen Jules: Beautyfear II
2. Shoukichi Kina & Pascal Plantinga: Shima Guwa
3. Pas Musique: Inside The Spectrum
4. Jakob Boeskov / Timothy DeWit
/ Matthew Morandi
: Computer Eyes
5. chra: Snowbird
6. Niels Lyhne Løkkegaard: Sikorsky (Extract)
7. Mason Bates: Stereo Is King (Wir
e Tapper Edit)
8. Ernest Gibson: Groupwork
9. Bleeding Peasant Orchestra, The: Pandaemonium (Edit)
10. Rodolphe ALEXIS
: Parabolic Amphibian Mix (Various Tree Frogs)
11. Mesak: Runopoika #1
12. Roj & Wolfram Wir
e: It Chimes
13. Oiseaux-Tempête: Kyrie Eleison
14. Process Rebel: Mutation Portal
15. DEADBEAR: Snow In Tokyo (Excerpt)
16. Islet: Tripping Through The Blue Room (Part II)
17. Offthesky: Scintillate Inside You (Abbreviate)
18. Talvihorros: Objectum (Edit)
19. Joe Davolaz: Piña Colada
20. JLIAT: All The Noise CDs I Have Reviewed For Vital-Mix (Excerpt)
Besetzung: Artwork [Cover]: Will Sweeney
; Compiled By: Andy Tait, Katie Gibbons, Shane Woolman
; Mastering: Toby Hrycek-Robinson
; Copyright (c) The Wir
e
V. A. (The Wire) [>] [D]: Tapper 35 [F]
Label und Katalognummer: The Wir
e 366
Produktion: Verschiedene
Veröffentlicht: 2014 07 (Ed.)
Genretags: Jazz - Avantgardejazz
Diese Promo-CD kam mit The Wir
e, 366 (Annotationen zu den Tracks siehe p.4.
Trackliste: 1. Coppe': Figment Of Imagination
2. Cayos: Briefcase Wormholes
3. Delmore fx: Furtivo
4. German Army: Flogged Ritual
5. God In Hackney: Holt, Jarmara
6. Silje Nes: Mirrored
7. John Edwards, Mark Sanders, John Tilbury: Part 1
8. Alan Licht & Brian Chase: Immediate Release
9. Co La: Workplace
10. Dakota Suite & Quentin SirJacq: Nu Dat Deze Dag Voorbij Is
11. Running: Motoman
12. Quttinirpaaq: Malvert
13. Grauton: Scordatura Air Guitar
14. Lars Greve: Marens Mauw (Edit)
15. Genlevel: Light Year (Wir
e Edit)
16. Kim Hiorthøy: The Woods
17. D.A. Terence: Kernow
18. Domotic: Le Demon (Theme)
19. Ensemble Economique: Make-Out In The GDR (Edit)
20. Håkon Stene: Prelude For HS
Besetzung: Artwork [Cover Artwork]: Ryoko Aoki
; Compiled By: Andy Tait
; Compiled By: Katie Gibbons
; Compiled By: Shane Woolman
; Mastering: Toby Hrycek-Robinson
; Copyright (c) The Wir
e
V. A. (The Wire) [>] [D]: The Dream [F]
Label und Katalognummer: The Wir
e 368
Produktion: Verschiedene
Veröffentlicht: 2014 09 20 (Ed.)
Genretags: Electronica
Tracks von Künstler/-innen, die im Unsound Festival in Krakau, Polen, spielen (12.-19. Oktober 2014).
Trackliste: 1. Hildur Guðnadóttir: Heima (feat. Skúli Sverrisson) - 4:25
2. Księżyc: Anioł - 4:21
3. Stine Janvin Motland: Late Breakfast (feat. Receptacles) - 2:21
4. Jenny Hval & Susanna: I Have A Darkness - 4:48
5. Robert Piernikowski: Ogien - 5:31
6. Jed Kurzel: The Vault - 5:14
7. Atom™ & Robin Fox: Double Vision (Excerpt) - 3:06
8. Ben Frost: Venter (feat. Greg Fox, Shahzad Ismaily - 6:45
9. TCF: 8B 2E E5 32 7B 5A 0B 33 73 B7 00 A9 F5 C2 A5 E4 0F D9 E5 17 DC 5F 3D BC 54 98 20 2C 55 F0 E6 87 6B 06 0C 5A 0E 3B EA 9B C1 4F 7C 50 45 E1 31 4D 8F B0 36 F9 89 AD A8 62 D1 96 D9 63 4C C8 40 05 - 5:39
10. We Will Fail: Ogi - 5:15
11. Natalia Martínez Ordóñez: Specialgesamtkunstwerkkunst - 4:52
12. Kucharczyk: Bity Exextechno Another - 4:56
13. Eltron John: L'Homme À La Caméra (Eltron John Version) - 4:51
14. Le Petit Garçon: Cars Passing By Whilst Smoking - 4:52
15. Aabzu: Perfect Zombie - 2:31
Besetzung: Compiled By : Mat Schulz
; Design: Piotr Jakubowicz
; Executive-Producer: Małgorzata Płysa
; Mastering: Mikołaj Bugajak
V. A. (The Wire) [>] [D]: Tapper 36 [F]
Label und Katalognummer: The Wir
e 369
Produktion: Verschiedene
Veröffentlicht: 2014 10 00
Genretags: Jazz - Avantgardejazz
Trackliste: 1. Dead Rat Orchestra: Martinmass
2. Der Plan: Wir
Werden Immer Mehr
3. Travelling Tribes: Tapping On The Door
4. Ancient Random: Cinders Blades Wings (Target Variant)
5. Michael Jon Fink: From A Folio
6. SQ: Didgenstein River (Edit)
7. Rapoon: Je Veux De L'Amour (Edit)
8. Lophorina: Vorfreude
9. Peter Kutin: Burmese Days (Extract)
10. Oiseaux-Tempête: Call John Carcone (Scanner Remix)
11. Jealousy Mountain Duo: Friends Of Sonny Foschino
12. Reverend Beat-Man: Jesus Christ Twist
13. John Callaghan: Once More With Feeling
14. Tomaga: Days Like They Were Before
15. Cultural Apparati: Venom Sorcerer
16. Esa Shields: Woods And Gullies
17. Jochen Arbeit & Huan: I (Short Version)
18. Martin Hoogeboom: The Endless Light
19. hyperContour: Utter Code
20. Susanna: This Place
Besetzung: Artwork [Cover Artwork]: Sam Messenger
; Compiled By: Andy Tait, Katie Gibbons, Shane Woolman
; Mastering: Toby Hrycek-Robinson
; Copyright (c) The Wir
e
V. A. (The Wire) [>] [D]: Tapper 1 [F]
Label und Katalognummer: The Wir
e Issue 170
Produktion: Verschiedene
Veröffentlicht: 1998 04
Genretags: Jazz - Avantgardejazz
Trackliste: 1. Alan Vega, Pan Sonic: Medal - 5:28
2. Mass: Depth - 5:35
3. Mix Master Mike: Can of Ass Kicks - 1:55
4. Si-{cut}.db vs Scanner: Bovine Revolver - 5:04
5. Scala: Remember How to Breathe - 3:53
6. Cornelius: Mic Check - 3:03
7. Hans-Joachim Roedelius: Deep Blue - 3:41
8. Nassim Maalouf: Tarab (Rast) - 7:38
9. Solex: One Louder Solex - 3:28
10. Kreidler: She Woke Up and the World Had Changed - 5:11
11. DJ Food vs David Byrne: Fuzzy Freak (Via Joe) - 6:22
12. Arto Lindsay: Blue Eye Shadow - 3:29
13. Schneider TM: Eiweiß - 4:40
14. Porter Ricks: Redundance (version) - 4:15
15. Midnight Funk Association: When Will it End - 5:34
16. Mimi: Piece of Cake - 4:50
17. 2nd Gen: Malady Made Simple (Pre-Interventionist version) - 4:01
Besetzung: Artwork: Robin Hawes
; Compiled: Anne Hilde Neset, Tony Herrington
V. A. (The Wire) [>] [D]: Tapper 2 [F]
Label und Katalognummer: The Wir
e Issue 177
Produktion: Verschiedene
Veröffentlicht: 1998 11
Genretags: Jazz - Avantgardejazz
Trackliste: 1. Slicker: Prader - 4:03
2. Rhys Chatham: Hard Edge - 3:10
3. Angela Jaeger & David Cunningham: Wood and Glass - 3:27
4. Deutsch Amerikanische Freundschaft: Alles Ist Gut - 3:31
5. Tom Zé: Defect 2: Curiosidade - 4:14
6. Meridiem: Interference - 3:59
7. Jane Dowe, Terre Thaemlitz: 03/Dtd/05:56 - 5:56
8. Tarwater: V-At - 4:01
9. Powerfield: Block - 4:14
10. Sam Prekop: Showrooms - 4:20
11. Puppy: Hot Juice - 5:40
12. Jad Fair & Yo La Tengo: Minnesota Man Claims Monkey Bowled Perfect Game - 1:36
13. The Pastels: Leaving This Island (Jim O'Rourke remix) - 2:36
14. Badawi: Final Warning - 5:52
15. Labradford: V (Harold Budd remix) - 5:46
Besetzung: Artwork: Robin Hawes
; Compiled: Anne Hilde Neset
V. A. (The Wire) [>] [D]: Tapper 3 [F]
Label und Katalognummer: The Wir
e Issue 182
Produktion: Verschiedene
Veröffentlicht: 1999 04
Genretags: Jazz - Avantgardejazz
Trackliste: 1. Supersilent: 4.1 - 6:17
2. High Rise: Sadame - 4:27
3. Rothko: For Danny - 2:37
4. We: Hielo - 4:10
5. Gas: untitled - 6:32
6. To Rococo Rot: She Loves Animals - 4:11
7. Thurston Moore, Evan Parker & Walter Prati: Children - 5:09
8. Model 500: In and Out - 5:44
9. Pandit Shiv Kumar Sharma: Teen Taal [extract] - 5:52
10. Khan: Broken English (How Do You Spell...?) - 4:44
11. Hood: In Iron Light - 3:37
12. Robert Ashley: Your Money My Life Goodbye [extract] - 5:03
13. Paul Panhuysen: Partita for 16 Long Strings Proportionally Tuned (extract) - 6:44
14. Sheila Chandra: Shehnai Song - 2:05
15. VOID: X-Factor - 6:09
16. Rhys Chatham/Gary Smith/Pat Thomas with Apache 61: Live at Now Ninety8 - 6:19
Besetzung: Artwork: Robin Hawes
; Compiled: Anne Hilde Neset
V. A. (The Wire) [>] [D]: Tapper 4 [F]
Label und Katalognummer: The Wir
e Issue 186
Produktion: Verschiedene
Veröffentlicht: 1999 08
Genretags: Jazz - Avantgardejazz, Alternativerock - Postrock, Electronica
Trackliste: 1. F.X. Randomiz: Displatz - 3:29
2. Pierre Bastien: Odovinil - 3:45
3. SND: 02 - 4:45
4. PanAmerican & B.J. Cole: untitled - 5:05
5. Vandermark 5: Vent (for Glenn Spearman) - 6:59
6. SS + D: Elements of - 4:58
7. Alog: Drifting West - 4:48
8. Powerfield: Steady State - 4:09
9. Low Res: Minty - 6:09
10. Chief Baonoko and His Budu Men: Yando - 3:08
11. Clive Graham: One End of the Time Pad - 4:53
12. Do Make Say Think: Dr Hooch [edit] - 6:29
13. Warren DeFever: Train - 2:47
14. Signal: Ondulop - 5:05
15. Klangstabil: Pronto Luigi - 5:06
16. Unit: Ring
Worm - 4:39
17. Daniel Figgis: Alison Creaking - 3:22
Besetzung: Artwork: Robin Hawes
; Compiled: Anne Hilde Neset
; Mastered: Toby Robinson
V. A. (The Wire) [>] [D]: Tapper 5 [F]
Label und Katalognummer: The Wir
e Issue 193
Produktion: Verschiedene
Veröffentlicht: 2000 03
Genretags: Jazz - Avantgardejazz
Trackliste: 1. Labradford: So Remix (Matmos remix) - 5:14
2. Stephen Vitiello: Nine Out of Ten - 6:38
3. VVE: Herz - 4:32
4. Kimmo Pohjonen: Anastaja - 5:04
5. Wir
e: Ping Flag/2 - 3:54
6. Stylus: Last Seaweed Collecting Hut at Freshwater West. Part 1: Angle - 3:20
7. John Wall: Construction 1 Stat/Unt/Dist (extract) - 6:19
8. Curd Duca: Quiet Nights (intro) / Quiet Nights - 2:33
9. Fennesz, O'Rourke & Rehberg: Gürtel Zwei - 4:37
10. I'm Sore vs Noise Camp: The Best Of - 1:06
11. Daniel Givens: Viaduct - 2:45
12. Arne Nordheim: Fonofonier - 3:29
13. Yo La Tengo: Our Way to Fall (live) - 5:02
14. Vert: Part 4 (edit) - 5:14
15. Aesop Quartet: Egyptian Knights - 7:50
16. Mira Calix: Skin With Me - 3:32
17. 不失者: Don't Be Afraid. Even If Your Nerves Snap, You Can Tie Them to a Fragment of the Universe... - 6:07
V. A. (The Wire) [>] [D]: Tapper 6 [F]
Label und Katalognummer: The Wir
e Issue 200
Produktion: Verschiedene
Veröffentlicht: 2000 09
Genretags: Jazz - Avantgardejazz
Trackliste: CD 1
1. The Fall: Dr Buck's Letter - 5:20
2. Flanger: Bosco's Disposable Driver - 5:54
3. Susumu Yokota: Kodomotachi - 4:08
4. Ran Blake: Nica's Dream - 4:20
5. Christian Marclay & Otomo Yoshihide: Hyoushi - 4:13
6. Sensational: Paper Chase - 3:08
7. General Magic: Rechenexe - 3:52
8. Pan Sonic: Kierto - 6:14
9. Jan Jelinek: They, Them - 6:22
10. Poire_z: Hairless_Handle - 5:03
11. HiM: Untitled - 7:29
12. David Grubbs: Stanwell Perpetual - 3:30
13. Trio Hurricane + 1: Initiation (excerpt) - 7:29
14. Angus MacLise: Universal Mutant #3 - 6:17
15. Glass Cage: Box Crushed Flat - 5:02
CD 2
1. Nurse With Wound: PFL (Deambulation mix) - 5:05
2. Faust: So Far (alternative) - 3:58
3. John Fahey: Dream of the Origin of the French Broad River - 2:58
4. Nils Økland: Straum - 3:25
5. Coil: A Cold Cell [demo version] - 6:24
6. Janek Schaefer: Accident Assistant - 4:54
7. Current 93: Red Hawthorn Tree - 4:35
8. Djivan Gasparyan: Nazani - 3:43
9. Peanut Butter Wolf: Run the Line - 4:32
10. I-Sound: Folded - 5:11
11. Bit Tonic & Si-{cut}.db: Recycled 200 - 4:56
12. C-Schulz & Hajsch: 6 - 5:51
13. Tom Recchion: Gentlewomanly Grace (excerpt) - 5:11
14. Pluramon: Self Remix - 4:19
15. Hermann Nitsch: Night Music (String Quintett) Day 5 August 8, 1998 1:30am / Day of Dionysus: Imperative Excess (Day 3) Extract August 5, 1998 3:00pm - 9:05
Besetzung: Compiled: Anne Hilde Neset, Tony Herrington
; Design [Sleeve]: EkhornForss
; Mastered: Lee Bowman, Toby Hrycek-Robinson
V. A. (The Wire) [>] [D]: Tapper 07 [F]
Label und Katalognummer: The Wir
e Issue 207
Produktion: Verschiedene
Veröffentlicht: 2001 04
Genretags: Jazz - Avantgardejazz
Trackliste: 1. Four Tet: Glue of the World - 5:03
2. Pulseprogramming: To the Expert Eye Alone - 3:28
3. Daniel Figgis: Drool's Holdings / Mudder / The Light Again - 2:29
4. Jin Hi Kim: EK for JC (excerpt) - 4:28
5. Kim Hiorthøy: Det blev fel - 5:45
6. Antibalas: Uprising - 7:25
7. Bigg Jus: Gaffeling Whips - 2:59
8. nolte.: 21st Century Schizoid Man or How to Lose Your Head Baby - 5:38
9. Steinbrüchel: Lost Things We Found Borrowed at the End of Last Week - 4:47
10. Mice Parade: Into the Freedom, Part 3 - 6:25
11. Illusion of Safety: Stillpoint - 5:07
12. The Monastery of Gyütö, Tibet: Le Grand Noir (Mahâkâla) (excerpt) - 4:46
13. Eardrum: Untitled - 3:55
14. Lasse Marhaug: Polar - 4:23
15. Max Nagl / Edward Gorey feat. Julie Tippetts: The Disrespectful Summons - 5:32
Besetzung: Compiled: Anne Hilde Neset
; Mastered: Sound Performance
; Sleeve: EkhornForss
V. A. (The Wire) [>] [D]: Tapper 08 [F]
Label und Katalognummer: The Wir
e issue 215
Produktion: Verschiedene
Veröffentlicht: 2001 12
Genretags: Jazz - Avantgardejazz
Trackliste: 1. 23 Skidoo: Kundalini - 5:07
2. Jah Wobble & Temple of Sound: Shout at the Devil - 5:03
3. Cornelius: Point of View Point - 3:55
4. Fog: Pneumonia - 5:03
5. Goodheart Allen Powell Trio: Hard Count - 2:39
6. Chas Smith: Gate 5 - 5:31
7. Michael Jon Fink: Echo - 1:58
8. Murcof: Mo - 4:14
9. Electrelane: Gabriel - 4:28
10. The No-Neck Blues Band: The Natural Bridge - 5:47
11. Set Fire to Flames: Omaha... - 6:16
12. Workshop: Für Wen? - 5:55
13. Small Rocks: Clodhopper - 2:52
14. The Rip Off Artist: Stuffing Box - 4:04
15. Noxagt: Powerchild - 2:03
16. [untitled]: Helvitis Symphony No 1 for 13 Guitarists (excerpt) - 5:11
17. Xinlisupreme: Kyoro - 3:12
Besetzung: Compiled: Anne Hilde Neset
; Design [Sleeve]: EkhornForss
; Mastered: Lee Bowman, Toby Hrycek-Robinson
V. A. (The Wire) [>] [D]: Tapper 09. Special Edition Double CD [F]
Label und Katalognummer: The Wir
e Issue 225
Produktion: Verschiedene
Veröffentlicht: 2002 11
Genretags: Jazz - Avantgardejazz
Trackliste: CD 1
1. Liars: Grown Men Don't Fall in the River Just Like That - 3:01
Themselves: Hat in the Wind - 5:17
3. Tarwater: 70 Rupies to Paradise Road - 2:45
4. múm: We Have a Map of the Piano - 5:22
5. Badawi: Evocation - 4:16
6. Suicide: Swearin' to the Flag - 4:54
7. Supersilent: C-4.1 - 6:38
8. Polwechsel / Fennesz: Framing X (Reconstructed by Patrick Pulsinger) - 5:03
9. Wazahugy: [untitled] - 4:05
10. Asa-Chang & Junray: Tsuginepu To Ittemita - 4:40
11. Deadbeat: Organ in the Attic Sings the Blues - 5:38
12. Vadim: Till Suns in Your Eye - 4:39
13. The Oxes: Horses R OK (Prison and I Were in a 5 Way Mix by Cex) - 4:12
14. Sagan: Jabpunplusone - 3:40
15. Leafcutter John: Mandolin Work (Edit) - 5:02
16. Sun: Reach for the Sky (Pluramon Remix) - 3:39
CD 2
1. Max Tundra: Mastered by Guy at the Exchange - 2:30
2. Wir
e: Spent - 4:47
3. Sonic Youth / ICP / The Ex: III - 3:31
4. Sigur Rós: [untitled] - 7:37
5. John Fahey: Red Cross, Disciple of Christ Today (For Guitar Roberts) - 4:07
6. A Small Good Thing: A Mighty Stillness (Remix) - 4:44
7. The Sea and Cake: Left Side Clouded - 3:17
8. Masha Qrella: I Want You to Know - 4:35
9. Dictaphone: The E. Song - 5:45
10. Pulseprogramming: Blooms Eventually - 5:27
11. Electrelane: This Deed - 3:35
12. Ellery Eskelin With Andrea Parkins & Jim Black: 43 RPM - 4:44
13. Jimmy Lions Trio: Jump Up - 8:08
14. Amon Tobin: El Wraith - 6:03
15. D'Arcangelo: All That J - 4:23
Besetzung: Compiled: Anne Hilde Neset
; Design [Sleeve]: Non-Format
; Mastered: Lee Bowman, Toby Hrycek-Robinson
V. A. (The Wire) [>] [D]: Tapper 10 [F]
Label und Katalognummer: The Wir
e issue 236
Produktion: Verschiedene
Veröffentlicht: 2003 09
Genretags: Jazz - Avantgardejazz
Trackliste: 1. Guido Möbius: Nelles - 3:16
2. Alias: Beginagain - 4:32
3. Animal Collective: Bat You'll Fly - 5:02
4. Maher Shalal Hash Baz: Post Office - 1:48
5. Sketch Show: Chronograph - 5:09
6. Kim Hiorthøy: Track 5 - 3:24
7. Mice Parade: Focus On The Roller Coaster - 4:59
8. Colleen: Everyone Alive Wants Answers - 3:30
9. Themselves: Good People Check (Hvratski Remix) - 5:02
10. David Grubbs & Loren Mazzacane Connors: Blossom Time - 4:26
11. Polmo Polpo: Like Hearts Swelling (Edit) - 4:42
12. Faust & Dälek: T-electronique - 4:10
13. Four Tet: Spirit Fingers - 3:22
14. Rob Ellis: Music For The Home No 4; Church Opposite - 2:00
15. David Sylvian: A Fire In The Forest - 4:08
CD 2
1. Heat Sensor Featuring M Sayyid: Gravy - 4:51
2. Günter Müller & Toshimaru Nakamura: .Tint - 4:50
3. Stafrænn Häkon: Tálkn - 5:25
4. Schlammpeitziger: Prä-digitaler Volksstuhlhänger - 6:14
5. Jah Wobble: Just Me And Phil - 4:50
6. Laibach: Wat - 5:23
7. Lumen: Stranded - 5:00
8. Satoru Wono: Overture - 3:32
9. UI: Back Up - 2:27
10. Erik Friedlander: May It Please Heaven - 3:24
11. Susanna And The Magical Orchestra: Believer - 3:17
12. Clogs: Who's Down Now - 5:38
13. Sagor & Swing: Alla Sagor Har Ett Slut - 4:57
14. Satanicpornocultshop: Anorexia Gas Balloon (Reprise) - 5:12
15. David Grubbs: The Name Of Ecstasy - 4:49
Besetzung: Compiled: Anne Hilde Neset
; Design [Sleeve]: Non-Format
; Mastered: Lee Bowman, Toby Hrycek-Robinson
V. A. (The Wire) [>] [D]: Domino - A Snapshot From The 2004 Domino Ten-Day [F]
Label und Katalognummer: The Wir
e issue 241
Produktion: Verschiedene
Veröffentlicht: 2004 03
Genretags: Electronica
Trackliste: 1. Esther Venrooy - Module 1
2. Einstürzende Neubauten - Ich Gehe Jetzt
3. Lali Puna - Small Things
4. De Portables - Flash (Foreplay)
5. Tuk - German Holidays
6. Somnabula - I Am Somnabula (Dance With Me Baby)
7. Les Georges Leningrad - Georges Five
8. Man's Best Friend
- Class Action Suit Against Earth
9. Bohren & Der Club Of Gore - Constant Fear
10. Grim (2) - Gnossienne 1
11. Lars Horntveth - Tics
12. Polmo Polpo - Sky Histoire
V. A. (The Wire) [>] [D]: Tapper 11 [F]
Label und Katalognummer: The Wir
e Issue 244
Produktion: Verschiedene
Veröffentlicht: 2004 05
Genretags: Jazz - Avantgardejazz
Trackliste: 1. To Rococo Rot: Miss You - 4:25
2. Icarus: Antz Nez (Edit) - 5:00
3. Juana Molina: Martin Fierro - 4:56
4. Wibutee: 1-800-Skauen - 4:06
5. Philip Clemo: Depth (Edit) - 6:10
6. Albert Ayler: Untitled Blues - 6:06
7. Chris McGregor's Brotherhood of Breath: The Bride [edit] - 5:33
8. Matthew Dear: Tide - 4:56
9. Jah Wobble: Elevator Music 5 - 5:01
10. Arthur Russell: You Have Did the Right Thing When you Put that Skylight In - 3:59
11. Henrik Rylander: Forced Laugh -
12. Green Milk From the Planet Orange: Sweet 5am [edit] - 5:23
13. Mountains: Mountains [edit] - 5:01
14. Slowblow: Cardboard Box - 3:08
15. Un Caddie Renversé dans l'Herbe: www.nonphilo.org - 5:02
16. Poire_z + Phil Minton: Q Oder Z - 4:38
Besetzung: Compiled: Andy Tait
; Design [Sleeve]: Non-Format
; Mastered: Toby Hrycek-Robinson
V. A. (The Wire) [>] [D]: Tapper 12 [F]
Label und Katalognummer: The Wir
e Issue 250
Produktion: Verschiedene
Veröffentlicht: 2004 11
Genretags: Jazz - Avantgardejazz
Trackliste: CD 1
1. Daniel Biro / Rob Palmer: The Long Journey Home, Part 2 (extract) - 4:00
Githead: To Have and to Hold - 3:55
3. Bark Psychosis: From What Is Said to When It's Read (edit) - 4:23
4. Ateleia & David Daniell: FTP - 3:22
5. Andy Moor & Yannis Kyriakides: 3 Lobed 1 - 3:42
6. Burnt Friedman & The Nu Dub Players: Fuck Back (3:56 version) - 3:58
7. Aesop Rock: Fast Cars, Danger, Fire and Knives - 4:37
8. Pita: Resog 45 - 4:20
9. Violet: Priznak Aluminium - 3:56
10. Michaela Melián: Brautlied (edit) - 4:04
11. Chas Smith: False Security of Numbers - 3:56
12. Martin Archer: It Don't Bother Me / Where's Mike? - 4:21
13. Henry Grimes Trio: Flowers for Albert - 4:02
14. The Necks: Mosquito (excerpt) - 4:02
15. @c: INT 10/34 - 4:02
16. Ascoltare: Crucible Process - 2:13
17. Matthew Burtner: D2 (edit) - 4:01
18. Stéphane Rives: Ebranlement 2 - 2:53
19. Ergo Phizmiz: Sticky White Glue (extract): Rectify - 4:14
20. The Fall: Blindness - 3:26
CD 2
1. Cul de Sac / Damo Suzuki: Berlin 6 - 3:52
2. Meadow House: Tit for Tat - 4:16
3. Milky Globe: The Warp and the Woof - 3:51
4. Staalplaat Soundsystem: No Time for Space - 4:07
5. Jason Kahn & Günter Müller: Tenth Blink - 3:45
6. Andrew Pekler: Wait - 3:55
7. Carter Tutti: Unreality (edit) - 4:10
8. DJ /rupture feat. Sister Nancy: Little More Oil - 4:17
9. Burnt Sugar vs. The Dominatrix: Dominata (remix by Qasim Naqvi & Keith Witty) - 3:58
10. AM/PM: The Ends (13) - 4:03
11. David Grubbs & Nikos Veliotis: The Harmless Dust (excerpt) - 4:00
12. Gary Lucas & Jozef Van Wissem: A Hawk From a Handsaw - 4:00
13. Bonnie 'Prince' Billy & Matt Sweeney: Bed Is for Sleeping - 2:56
14. Damon & Naomi: Beautiful Close Double - 4:37
15. Fax & Alex Ayuli: Spellbound - 4:02
16. Ana da Silva: The Lighthouse - 3:27
17. Christian Renou: Ex-Voto (Wir
e-FM mix) - 4:04
18. Enigma Device: Reunified - 3:36
19. Shining: Goretex Weather Report - 3:59
20. M. Bentley: Piano Ship (alternative mix) - 3:59
Besetzung: Compiled: Andy Tait, Shane Woolman, Tony Herrington
; Design [Sleeve]: Non-Format
; Mastered: Toby Hrycek-Robinson
V. A. (The Wire) [>] [D]: Domino - A Snapshot From The 2005 Domino Ten-Day [F]
Label und Katalognummer: The Wir
e issue 253
Produktion: Verschiedene
Veröffentlicht: 2005 02
Genretags: Electronica
Trackliste: 1. Franco Saint De Bakker - No One Knows (4:18)
2. Triosk - Tomorrowtoday (Part 2) (3:45)
3. Silur - Ruby Red (4:27)
4. Hood - Any Hopefull Thoughts Arrive (6:57)
5. Subtle - Song Meat (4:36)
6. Prefuse 73 vs. Pedro - Gratis (4:53)
7. Love Substitutes - Hey! Did You See Me Coming? (4:42)
8. Blood Brothers - Peacock Skeleton With Crooked Feathers (4:33)
9. Shining - Aleister Explains Everything (3:18)
10. Sickboy - March Of The Antifa (3:23)
11. Rhythm & Sound w/ Paul St. Hilaire - Free For All (3:49)
12. Boom Bip - Soft And Open (2:18)
13. Joanna Newsom - The Book Of Right-On (4:06)
14. Patrick Wolf - Ghost Song (3:15)
16. Efterklang - Prey & Predator (6:25)
17. aMute - Aux Creux Des Vages, Mon Visage (11:30)
V. A. (The Wire) [>] [D]: Tapper 13 [F]
Label und Katalognummer: The Wir
e Issue 256
Produktion: Verschiedene
Veröffentlicht: 2005 05
Genretags: Jazz - Avantgardejazz
Trackliste: 1. Hanne Hukkelberg: Ease - 4:10
2. Mandarin Movie: The Green Giraffe - 4:59
3. Alexander Hacke: Sonntag - 3:30
4. Matt Elliott: What's Wrong - 4:10
5. Juana Molina: Salvese Quien Pueda: Juana's Epic Re-Version (edit) - 3:32
6. Picastro: Tow-Truck - 1:35
7. Deviationists: Sweetests Charms - 5:19
8. kid606: Phoenix Riddim - 4:39
9. Ariel Pink's Haunted Graffiti: Jule Lost His Jewels - 3:51
10. John Surman: Way Back When, Part 4 - 3:43
11. Nick Castro: Sun Song - 4:09
12. Junkboy: Shadow and Act - 4:05
13. Akinori: Red Field - 3:30
14. Currituck Co: Sleepwalking 1 - 2:40
15. Bombay 1: More Than Everything - 4:02
16. Pajo: War Is Dead - 4:16
17. Crimetime Orchestra: Life Is a Beautiful Monster, Part 1 - 3:54
18. Port-Royal: Flares, Part 3 - 5:55
19. Fovea Hex: Don't These Windows Open? (True Interval Offering) - 3:24
20. Tu M': What You Say? - 3:42
Besetzung: Compiled: Andy Tait, Shane Woolman
; Mastered: Toby Hrycek-Robinson
V. A. (The Wire) [>] [D]: Tapper 14 [F]
Label und Katalognummer: The Wir
e Issue 262
Produktion: Verschiedene
Veröffentlicht: 2005 11
Genretags: Jazz - Avantgardejazz
Trackliste: 1. Oren Marshall: 6 (edi) - 4:02
2. Dirty Projectors: I Will Truck (edit) - 3:58
3. Secret Mommy: Dance Studio (edit) - 4:23
4. Cage: Good Morning - 3:50
5. Ray Russell: Goodbye Svengali (edit) - 4:26
6. Kieran Hebden and Steve Reid: Soul Oscillations (excerpt) - 5:02
7. Black to Comm: Laccifer Lacca -
8. Cobra Killer: High is the Pine -
9. Gerry Mitchell & Little Sparta: Feasting on My Heart - 3:59
10. XXL: Paw Paw Paw Paw Paw Paw Paw - 4:26
11. Merz: Warm Cigarette Room - 4:19
12. Hans Fjellestad: Wriggling Call - 4:23
13. Nels Cline, Wally Shoup & Chris Corsano: Lake of Fire Memories - 2:31
14. Andrey Kiritchenko: Scope of My Perception (edit) - 4:03
15. This Heat: 24 Track Loop - 5:56
16. MoHa!: (C5) - 4:16
Besetzung: Compiled: Andy Tait, Shane Woolman
; Mastered: Toby Hrycek-Robinson
V. A. (The Wire) [>] [D]: Domino - A Snapshot From The 2006 Domino Ten-Day [F]
Label und Katalognummer: The Wir
e issue 265
Produktion: Verschiedene
Veröffentlicht: 2006 02
Genretags: Electronica
Trackliste: 1. Battles - IPT-2 + IPT2 (3:22)
2. Midaircondo - Could You Please Stop (3:56)
3. Dictaphone - Rising Minimal (3:40)
4. Coldcut - A Whistle And A Prayer (5:49)
5. Tape Tum - Heart Of Gold (4:37)
6. Akron/Family - Future Myth (8:09)
7. Dijf Sanders - Swamp (4:35)
8. Mi And L'Au - I've Been Watching You (2:58)
9. Ignatz - Echo All Acoustically Correct (5:43)
10. Maxence Cyrin - Windowlicker (3:25)
11. Wixel - I Know I Tried (4:32)
12. Sickoakes - Driftwood (4:03)
13. Black Dice - Motorcycle (6:56)
14. Wiget / Lenski - Dancing Disaster (2:09) - Cello - Bo Wiget, Simon Lenski
15. Sunn O)) - It Took The Night To Believe (5:56)
V. A. (The Wire) [>] [D]: Tapper 15 [F]
Label und Katalognummer: The Wir
e Issue 268
Produktion: Verschiedene
Veröffentlicht: 2006 06 18
Genretags: Jazz - Avantgardejazz
Trackliste: 1. Humcrush: Hornswoggle - 4:05
2. Leafcutter John: Let it Begin (edit) - 4:30
3. Machinefabriek: Somerset - 3:58
4. Reverbaphon: Nothing Beyond the Zero - 3:48
5. Yannis Kyriakides & Andy Moor: Vamvakaris (edit) - 3:47
6. Jozef van Wissem: Catoptromancy - 3:13
7. Hwyl Nofio: Broken Again - 4:02
8. Giuseppe Ielasi: Untitled Track 4 - 4:01
9. Gerritt & John Wiese: The Disappearing Act - 3:18
10. Dub Trio: Illegal Dub - 3:18
11. Izu: Get UR Fleece On - 3:30
12. Mekon: GSE - 4:07
13. Lawrence English & Ai Yamamoto: A Silent Kouta (edit) - 4:30
14. Herbert: Movie Star - 4:11
15. Sol Seppy: 1 2 - 3:56
16. Trevor Watts: Solarsonic - 3:53
17. Gricer: Land - 4:09
18. Spooncurve: She Doesn't Know (edit) - 4:07
19. Isnaj Dui: Catoctin (edit) - 3:58
20. Det Gamla Landet: Kiruna - 3:30
Besetzung: Compiled: Andy Tait, Shane Woolman
; Mastered: Toby Hrycek-Robinson
V. A. (The Wire) [>] [D]: Tapper 16 [F]
Label und Katalognummer: The Wir
e Issue 274
Produktion: Verschiedene
Veröffentlicht: 2006 11 22
Genretags: Jazz - Avantgardejazz
Trackliste: 1. Drone: Spiderhead (Green Man) - 4:09
2. Dave Phillips: Justice is an Artefact of Custom [Wir
e edit] - 4:02
3. Alan Vega: 13 Crosses, 16 Blazin' Skulls [edit] - 3:40
4. Phillip Bimstein: EatDrinkGambleSex - 3:06
5. Carter Tutti: So Slow the Knife [excerpt] - 3:54
6. radicalfashion: Shousetsu - 3:48
7. Walter & Sabrina: Rimble Man - 3:17
8. Xela: Drunk on Salt Water - 4:25
9. Kotra & Zavoloka: Cool Eyes - 2:42
10. Pan Sonic: Machininist - 2:49
11. Huntsville: The Appearance of a Wise Child - 4:23
12. Fluorescent Grey: A Peruvian Shaman Sits Down to Make IDM on His Laptop - 3:20
13. Derek Bailey: Play 4 - 3:25
14. Tulipomania: Same Old Song - 4:01
15. Dave Swain: Media Monkey - 3:08
16. aMute: Hit My Country [edit] - 3:59
17. Califone: The Orchids - 2:57
18. Inch-Time: Take Care, O Pilgrim! [edit] - 4:10
19. White Magic: The Light - 3:28
20. The Slits: Earthbeat - 3:50
21. Anthony Kelly & David Stalling: Sometimes You See a Tree - 3:06
Besetzung: Artwork [Distorded Rectangle Pattern]: Richard Rhys
; Compiled: Andy Tait, Shane Woolman
; Mastered: Toby Hrycek-Robinson
V. A. (The Wire) [>] [D]: A Snapshot From Domino 2007 [F]
Label und Katalognummer: The Wir
e issue 277
Produktion: Verschiedene
Veröffentlicht: 2007 03
Genretags: Jazz - Avantgardejazz - Elektroakustische-Improvisation
Trackliste: 1. Cocorosie Rainbowarriors (3:29)
2. Bunny Rabbit Saddle Up (3:23)
3. Deerhoof +81 (3:04)
4. !!! All My Heroes Are Weirdos (3:02)
5. Skream Auto-Dub (2:48)
6. Amon Tobin Kitchen Sink (4:46)
7. Frank Bretschneider Digitron (4:12)
8. Kanding Ray Nine (3:21)
9. Adrian Klumpes Cornered (4:01)
10. Kiss The Anus Of A Black Cat You Will Reap A Whirlwind (9:04)
11. Silvester Anfang De Gal Komt In Mijn Mond (5:10)
12. Bony King Of Nowhere Alas My Love (1:42)
13. Cinematic Orchestra To Build A Home (2:53)
14. Some Tweetlove La Nostalgie Des Hauts-Fourneaux (5:44)
15. R.O.T. Doodeskader (5:15)
V. A. (The Wire) [>] [D]: Tapper 17 [F]
Label und Katalognummer: The Wir
e Issue 279
Produktion: Verschiedene
Veröffentlicht: 2007 04
Genretags: Jazz - Avantgardejazz
Trackliste: 1. Eglantine Gouzy: Cuckoo - 1:53
2. Longstone: Kabuki (edit) - 3:30
3. A Hawk and a Hacksaw and the Hun Hangár Ensemble: Zozobra - 4:01
4. Jonquil: Sudden Sun - 4:02
5. Kammerflimmer Kollektief: Live at the Cactus Tree Motel - 4:11
6. Badun: Fyrtårn - 3:58
7. Von Südenfed: Family Feud - 4:27
8. Pomassl: Tandem Distiller (Wir
e Tapper edit) - 3:59
9. Throbbing Gristle: How Do You Deal? - 3:20
10. Alfred 23 Harth: Pearl - 4:01
11. Fred Anderson & Harrison Bankhead: The Strut - 4:13
12. Fridge: Our Place in This - 4:16
13. Jack Rose & Glenn Jones: Linden Avenue Stomp - 3:27
14. Husky Rescue: My Home Ghost - 3:08
15. Simon Bookish: A Deception (Municipal mix) - 3:43
16. Venus Bogardus: Motorman - 2:25
17. Tonesucker: Splatterstrum - 4:08
18. Stimulus: Pylons (Wir
e version) - 4:00
19. Zelienople: Moss Man (edit) - 4:01
20. Ken Ikeda: Iconography - 3:31
Besetzung: Artwork [Ink And Pen Patterns / Reala]: Samuel Nyholm
; Compiled: Andy Tait, Shane Woolman
; Mastered: Toby Hrycek-Robinson
V. A. (The Wire) [>] [D]: Tapper 19 [F]
Label und Katalognummer: The Wir
e issue 290
Produktion: Verschiedene
Veröffentlicht: 2008 03
Genretags: Jazz - Avantgardejazz
Trackliste: 1. Our Sleepless Forest: Nomads - 4:06
2. Snorkel: The Conversation (edit) - 4:02
3. Nico Muhly: Mothertongue - Section 2 - 3:57
4. G.F. Fitz-Gerald & Lol Coxhill: Echoes of Duneden (Wir
e Tapper exclusive edit) - 3:46
5. XA Cute: Survival of the Vinyl (feat. Mike Ladd) (Wir
e Tapper exclusive edit) - 4:32
6. Daniel Figgis: 40 Shades of Figgis - 3:04
7. Fluorescent Grey: Molten Ghost (edit) - 4:02
8. Kaffe Matthews: Men Being Butterflies (extract) - 4:37
9. Alexei Borisov & Anton Nikkilä: Engineer Strepetov's Curve (live excerpt) - 4:01
10. Talvin Singh: Piya Milan (radio edit) - 4:45
11. Illusion of Safety: Wherewithall (For Lauren) (Wir
e Tapper exclusive edit) - 3:58
12. The Master Musicians of Hop-Frog: Song of the South (Wir
e Tapper exclusive edit) - 4:20
13. Phog Masheeen: Survey of Brutality - 3:01
14. Setsubun Bean Unit: Gujo Ondo (Wir
e Tapper exclusive edit) - 4:15
15. Pink Skull: U.G.UO.AAAAHHHHH - 3:29
16. LowDynamicOrchestra & Stefano Scodanibbio: Improvisation 1 (Wir
e Tapper exclusive edit) - 3:38
17. Lars Åkerlund: Volt (extract) - 4:00
18. Tangtype: Blank, Lackluster Eyes... Data Takes Over (Wir
e edit) - 4:08
19. yellow6: You Can't Be Everywhere He Said (edit) - 4:02
20. Never Enough Hope: Des Moines (Wir
e Tapper exclusive edit) - 3:58
V. A. (The Wire) [>] [D]: Tapper 23 [F]
Label und Katalognummer: The Wir
e issue 314
Produktion: Verschiedene
Veröffentlicht: 2010 03
Genretags: Jazz - Avantgardejazz
Trackliste: 1. Elfmilk: The Oracle (Wir
e Tapper Edit)
2. Windup: Sevilla Una Maravilla
3. Nico Teen: Hungry For Love
4. Advanced Sportswear: 300 Seconds
5. Julia Wolfe: LAD: Part 2 (Edit)
6. Aaron Martin: Water Tongue
7. Spyweirdos: e (Edit)
8. De Haan/Spruit: Schoonhoven-1
9. Quiet Club: Free Energy Receiver (Excerpt)
10. Technical Drawings: Marching Band
11. TSIGOTI: The Sickofwar Traine
12. Soom T: Puff That Weed
13. A Band. aaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaa...
1Fluorescent Grey: Mawaributai Shimpan Utazaimon
15. Raymond Dijkstra: L'opus ch (Excerpt)
16. Random Touch: Blue Ice
17. Clogs feat: Shara Worden: On The Edge
18. Anduin: Autumn Looming
19. Han Bennink Trio: Flemische March
20. Rolf Julius: Song From The Past
Besetzung: Artwork By [Images] - Xavier Barrade
; Compiled By - Andy Tait, Lisa Blanning, Shane Woolman
; Mastered By - Toby Hrycek-Robinson
V. A. (The Wire) [>] [D]: Tapper 24 [F]
Label und Katalognummer: The Wir
e issue 320
Produktion: Verschiedene
Veröffentlicht: 2010 10
Genretags: Jazz - Avantgardejazz
Trackliste: 1. Callers: Dressed In Blue - 4:08
2. Flatline Skyline: Unbound - 4:02
3. Locrian: Elevations And Depths (Excerpt) - 4:02
4. Schurer: Equivalency Of Dissimilarity Denotation - 3:50
5. Ninni Morgia & William Parker: Prism VI - 3:24
6. FaravelliRatti: Raise Your Voice - 3:59
7. Yann Novak & Robert Crouch: Untitled Landscape - 3:59
8. The DSM 1V: Rest In Pieces - 4:11
9. Gentleforce: The Desert Song (Edit) - 4:02
10. Israel Martínez: Xiriah - 4:01
11. Dawn of Midi: A Way With Words - 4:04
12. Ars Nova [ensemble Instrumental] & Franck Vigroux: Broken Circles Live - 4:21
13. Gerritt Wittmer: Vessel (Black Out Edit) - 3:59
14. Fuzzy Lights: Obscura - 3:53
15. Macaw: Five Minutes At The Rainforest Café - 4:01
16. Ketem: #A85400 - 3:17
17. Harmonious Bec: Solitary Bonze Prayer - 3:54
18. Plapla Pinky: Analclaire - 4:06
19. Nicholas Szczepanik & Jenks Miller: Cranberry Sauce - 4:39
20. To Blacken the Pages: Sodium Haze - 3:22
Besetzung: Artwork By [Images] - Chris Johanson
; Compiled By - Andy Tait, Lisa Blanning, Shane Woolman
; Mastered By - Toby Hrycek-Robinson
V. A. (The Wire) [>] [D]: Tapper 26 [F]
Label und Katalognummer: The Wir
e Issue 330
Produktion: Verschiedene
Veröffentlicht: 2011 07
Genretags: Jazz - Avantgardejazz
Trackliste: 1. Tirudel Zenebe: Gue (Wir
e Tapper Edit)
2. Joe Morris Wildlife: Display (Excerpt)
3. Aspec(t): Intorno Al Drago
4. DJ Balli: Skatebored Is Not Skateboard (Valpelice Live Mix 2011)
5. Kikuchi Yukinori: Crystal (Wir
e Tapper Edit)
6. Anne James Chaton & Andy Moor: Princess In A Mercedes Class S 280
7. Øystein Kapperud: Leland Wrapped In Plastic
8. Savaging Spires: Bending The Rules Of Time
9. Elektronavn Sacred Songbook: Path Bodhisattva (Wir
e Excerpt Edition)
10. Contemporary Noise Sextet: Is That Revolution Sad?
11. Syd Ewart: The Kursk
12. Sonnamble: Aphelion I
13. Enablers: The Reader
14. Walter Schnaffs: I Am Germany
15. Bob Bellerue: Niagara (Excerpt)
16. Tulipomania: Found Guitar
17. Enrico Coniglio: The Void
18. Aun: Consumed By Flies
19. Wooden Kimono: Hello
20. Angus Carlyle & Rupert Cox: Three Toho Scenes
Besetzung: Compilation Producer ? Andy Tait, Lisa Blanning, Shane Woolman
; Mastered By ? Toby Hrycek-Robinson
; Painting [Cover] ? Ivan Seal
V. A. (The Wire) [>] [D]: Tapper 27 [F]
Label und Katalognummer: The Wir
e Issue 333
Produktion: Verschiedene
Veröffentlicht: 2011 10 (Ed.)
Genretags: Jazz - Avantgardejazz
Trackliste: 1. Blank Disco: Where Are They Now? - 3:14
2. Palmer Eldritch: Up With The Quark - 4:01
3. Praed: 8 Gega - 4:08
4. Gary Smith / Silvia Kastel / Ninni Morgia: Magnetico - 3:49
5. Soema Montenegro: Colibri - 4:48
6. Ekoplekz: Stahlmann Gas - 3:46
7. Artifact Shore: Busted Up - 4:32
8. La La Vasquez: Horror Stories - 3:29
9. Phog Masheeen: Air Lock - 3:38
10. Roberts (6): In A Field, Listening To The Light - 4:04
11. Drift, The (2): Hello From Everywhere - 3:53
12. Dimitris Bakas: Absolute Continuity (Edit) - 4:02
13. Dalglish: 3.9.2004 - 4:19
14. Konntinent: Creep Sxene - 4:02
15. Toddlers: Old Hat - 3:19
16. Action Beat: Hass Yr Idols - 2:34
17. Astroboy, The: Cloud #2 - 4:02
18. Ektoise: Caverns - 4:28
19. Mathon: Herizun - 4:48
20. Ton (9): No Need To Go So Far - 1:32
Besetzung: Artwork [Cover Artwork] - Mark Fell
; Compiled By - Andy Tait, Jennifer Lucy Allan, Shane Woolman
; Mastered By - Toby Hrycek-Robinson
V. A. (The Wire) [>] [D]: Tapper 28 [F]
Label und Katalognummer: The Wir
e Issue 338
Produktion: Verschiedene
Veröffentlicht: 2012 03
Genretags: Jazz - Avantgardejazz
Trackliste: 1. Bader Motor: Bader Sonntag - 4:06
2. Medicine And Duty: Deep Sea Heat Haze - 3:57
3. Rob St John: Your Phantom Limb - 2:37
4. kelvox1: Loof - 4:00
5. Waves On Canvas: Flowers Of The Sea - 3:31
6. JLIAT: Schönberg Sechs Kleine Klavierstücke, Op 19 - 4:50
7. Mark Harris: Angry Child (Edit) - 4:01
8. Teho Teardo: Dance The Sauris - 3:49
9. Nelson Gastaldi: Symphony No 3 (Excerpt) - 3:35
10. Marco Panella: Swannanoah Tunnel - 3:18
11. To Blacken The Pages: Bruise (Edit) - 4:00
12. Tonesucker: Cosmic Avian Variation - 4:03
13. Matteo Uggeri / Luca Mauri / Francesco Giannico: 5:34am: Calaverna - 4:14
14. Bney Hama
: Kampai - 3:33
15. Ed Hamilton (6): Waterlog - 4:00
16. Neil Campbell & Robert Horton (2): Panharmonicon Particle Radio - 3:43
17. Alberto Boccardi: You Told Me That You Were Lying - 3:57
18. Baconhead: Flytrap - 3:15
19. Big Nils: Will - 2:52
20. Elfmilk: Electron Degeneracy Pressure - 3:53
Besetzung: Artwork [Cover Artwork]: Jimmy Turrell
; Compiled By Andy Tait, Shane Woolman
; Mastered By Toby Hrycek-Robinson
V. A. (The Wire) [>] [D]: Tapper 29 [F]
Label und Katalognummer: The Wir
e Issue 341
Produktion: Verschiedene
Veröffentlicht: 2012 06
Genretags: Jazz - Avantgardejazz
Trackliste: 1. Memotone: My Stranger - 3:27
2. Juxtavoices: Guardian Weekend Remix (Excerpt) - 4:05
3. Cédric Stevens: The Siamese Level (Wir
e Tapper Edit) - 4:24
4. Heath Common And Thin Man, The: A New Bohemian - 3:41
5. Lushlife: Big Sur - 3:25
6. Fractal Skulls, The: Good Girl - 3:11
7. LOUP: Ode To S - 2:29
8. K-Conjog: Untitled 155 - 2:32
9. Wolfram Wir
e: Gaze - 3:11
10. Dead Rat Orchestra: The Geshin And The Guga - 4:41
11. Golden Disko Ship: Electrocuting An Elephant (1902) - 3:40
12. Matthew Shaw: Lanreath - 4:03
13. Icarus: Colourfield v500 (Wir
e Tapper Edit) - 4:09
14. Roland Etzin: Portrait 6 (Japan) (Wir
e Tapper Edit) - 4:00
15. Lata: Starlings (Excerpt) - 4:01
16. LAND: Hotel Room - 2:56
17. Momus & John Henriksson: Futura Bold - 3:55
18. Chra: Black Summer Blues vs II - 4:23
19. Gabriel Prokofiev & Peter Gregson: Tuff Strum (Louis D'Heudieres Remix) - 4:02
20. Offthesky: Born Of Shy Sap - 3:07
Besetzung: Cover Artwork: Viktor Timofeev
; Compiled By Andy Tait, Shane Woolman
; Mastered By Toby Hrycek-Robinson
V. A. (The Wire) [>] [D]: Tapper 30 [F]
Label und Katalognummer: The Wir
e Issue 344
Produktion: Verschiedene
Veröffentlicht: 2012 09
Genretags: Jazz - Avantgardejazz
Trackliste: 1. Matthewdavid: Make Your Own 2007 - 3:59
2. Captain Miki: Do Pork (Excerpt) - 1:59
3. After The Rain: Distance III - 2:58
4. Center Of The Universe Featuring Easy: Astral Adjustements - 3:59
5. Andrey Kiritchenko: Fly Above Where Leaves Do Not - 4:22
6. Wir
es Under Tension: Landscape Architecture - 4:34
7. David Coulter & Ralph Carney: Did You? - 3:35
8. Manuella Blackburn: Switched On - 3:43
9. Tudor Acid: The Sound Of Raindrops (Wir
e Tapper Edit) - 3:36
10. Every Hidden Color: I (Excerpt) - 4:04
11. Valgeir Sigursson: Big Reveal - 3:57
12. Rhodri Davies: Questions Of _________ Middle Distance - 4:18
13. Last Days: If - 2:55
14. Merzouga: Fragment #2 - 2:32
15. Food Pyramid: Marsh Bar - 3:59
16. Lind Bohm: Klang Der Zeit - 2:59
17. Ghikas & Walshe: Al Forno Yeah - 4:02
18. Jealousy Mountain Duo: Leaf Kickers - 3:10
19. Lasse-Marc Riek: Sleeping Bull - 3:55
20. Bersarin Quartett: Perlen, Honig Oder Untergang - 4:33
Besetzung: Artwork [Cover Artwork]: Robert Beatty
; Compiled: Andy Tait, Daisy Hyde, Katie Gibbons, Shane Woolman
; Mastered: Toby Hrycek-Robinson
V. A. (The Wire) [>] [D]: Tapper 31 [F]
Label und Katalognummer: The Wir
e issue 350
Produktion: Verschiedene
Veröffentlicht: 2013 03 (Ed.)
Genretags: Jazz - Avantgardejazz
Trackliste: 1. Pink Electric - 3:30
2. 24 Hours Bells Dub - 3:47
3. Black Flute Chant Part 2 - 3:14
4. The Static And The Swerve - 3:14
5. Metropolis Waltz - 4:10
6. Obedience (Wir
e Tapper Edit) - 4:58
7. The Water's Fine - 5:03
8. Supplemental Shale (Wir
e Tapper Edit) - 4:04
9. By The Rails - 2:17
10. Na Binta (Short Version Edit) - 4:02
11. Solarism (Wir
e Tapper Edit) - 4:33
12. Slip On My Skull - 3:32
13. Study Three - 4:23
14. The Owls (Excerpt) - 3:59
15. Prelude To Alone - 3:17
16. MOOROOMOOBOO HDS OFF (The Wir
e ShOrt Edit) - 3:47
17. Jeriquoi Yah Wangettik Mnuutah - 4:04
18. Dele Af Kroppen - 3:30
19. A Million Voices For Nature (Wir
e Tapper Edit) - 4:29
20. BV6 - 4:03
Besetzung: Artwork [Cover Artwork]: Ben Drury
; Compiled By: Andy Tait, Katie Gibbons, Shane Woolman
; Mastering: Toby Hrycek-Robinson
; Copyright (c) The Wir
e
V. A. (The Wire) [>] [D]: Tapper 32 [F]
Label und Katalognummer: The Wir
e issue 354
Produktion: Verschiedene
Veröffentlicht: 2013 07 (Ed.)
Genretags: Jazz - Avantgardejazz
Trackliste: 1. Sparkle In Grey: Song For Arch Stanton (Wir
e Tapper Edit) - 4:47
2. Romvelope: Hodmandod - 4:14
3. Mary Ellen Childs: Spirit Duet (DJ James Patrick Remix) - 2:44
4. On Dog: Poplen. 2:55
5. Claudio Chianura: Daniel And Me At Captain Kidd's - 3:39
6. F/LOR
: The Hunt - 3:12
7. Mike Vernusky: Becomes Wing Life (Excerpt) - 4:22
8. Gagmen, The: Live In New York City (Excerpt) - 4:53
9. Ritornell: The Morning Factory - 4:17
10. Greg Haines: The Whole - 4:05
11. k3T3m: Zar@z - 4:00
12. Eero Pulkkinen & Teemu Iltola: Siilo Part IV (Excerpt) - 4:18
13. A. Kostis
: Dertlidikos Horos - 4:11
14. Nils Frahm: For (Luke Abbott Rework) (Wir
e Tapper Edit) - 4:59
15. Bernhard Weiss: Remember - 2:33
16. Sun Foot: Recession Psychonaut - 4:02
17. Matti Bye: Eikern, 1977 - 3:26
18. Phog Masheeen: The Time Between Eruptions (Wir
e Tapper Edit) - 4:02
19. August Rosenbaum: Bloomer (Excerpt) - 3:55
20. Martin Thulin: Pictures Of Woods (Wir
e Tapper Edit) - 4:10
Besetzung: Artwork [Cover Artwork]: Ben Weaver
; Compiled By Andy Tait, Katie Gibbons, Shane Woolman
; Mastering: Toby Hrycek-Robinson
; Copyright (c) The Wir
e
V. A. (The Wire) [>] [D]: Tapper 37 [F]
Label und Katalognummer: The Wir
e Issue 374
Produktion: Verschiedene
Veröffentlicht: 2015 03 (Ed.)
Genretags: Jazz - Avantgardejazz
Trackliste: 1. Grubby Mitts: To A Friend's House The Way Is Never Long - 3:51
2. Roger Redgate & Matt Wright: SIN BAT - 4:02
3. Yes Deer: Flensburg - 3:32
4. My Cat Is An Alien: The Dance Of Oneirism #3 (Excerpt) - 3:59
5. Hannes Buder: Requiem For Alexander Litvinenko - 4:16
6. asylumpeace: White Orchid (A Lovescape) (Extract) - 3:59
7. Alphabets Heaven: Everything Stays The Same - 4:03
8. House Of Cosy Cushions: Black Bat Dance - 3:19
9. Marsen Jules: Penstla - 4:09
10. Clocked Out: Time Crystals - 3:44
11. Kevin Hufnagel: Not An Accident - 3:08
12. Longstone: Risaikuru-Onagawa (Soil Machine Edit) - 3:53
13. Mads Emil Nielsen: Glow (Excerpt) - 4:18
14. Padna: Wolhee - 3:45
15. Orchestra Of The Upper Atmosphere: Space Smells Of Strawberries (Wir
e Edit) - 4:12
16. Ricardo Donoso: Gallicinium - 4:06
17. Todd Anderson-Kunert: That's Not How I Remember It - 4:10
18. Riccardo Dillon Wanke: Gallos Blancos - 2:37
19. Smokey Quartz: Philosophical Zombie - 3:30
20. Manuel Zurria: Lachrimae Coactae (By John Dowland) - 3:30
Besetzung: Artwork [Cover Artwork]: Marcus James
; Compiled By: Andy Tait
; Compiled By: Katie Gibbons
; Compiled By: Shane Woolman
; Mastering: Toby Hrycek-Robinson
; Copyright (c) The Wir
e
V. A. (The Wire) [>] [D]: Tapper 38 [F]
Label und Katalognummer: The Wir
e Issue 378
Produktion: Verschiedene
Veröffentlicht: 2015 07 (Ed.)
Genretags: Jazz - Avantgardejazz
Trackliste:
1. HHY & The Macumbas: Gysin Version (Wir
e Tapper Edit):
2. Baconhead Featuring Nongenetic: Foreign Or Domestic:
3. Simon H. Fell & Phil Minton: Knotted Properties (Excerpt):
4. Guapo: Obscure Knowledge (Wir
e Tapper Edit):
5. Center Of The Universe: Kaleidoscopic (Wir
e Tapper Edit):
6. Simon Vincent: Falling Man, Rising Woman For Solo Voice And Electronics:
7. Pas Musique: Cara Has No Clarity:
8. Icepick: Rare Rufescent (Excerpt):
9. August Rosenbaum: Rhizome (Wir
e Tapper Edit):
10. Will Plowman: Rodeo 49.4:
11. Jealousy Party: Follow Your Bliss (Excerpt):
12. Marcus Maeder: Growth:
13. radiokvm: Alpha Apparatus:
14. Die Goldenen Zitronen: If I Were A Sneaker:
15. Malfinia Ensemblo: Malfinia Ondo:
16. KÖök: Imber Dock:
17. Joxfield ProjeX & Cotton Casino: China Syndrome:
18. Rachel Mason: Nightmare:
19. R Schwarz: Drift Following The Seam:
20. Ambrosia(@): Kittens, Puppies, Sunsets, Sex (Wir
e Tapper Edit)
Phonorama [>] [D]: Phonorama [F]
Label und Katalognummer: The Wir
e Magazine U 72537
Veröffentlicht: 2008 09
Genretags: Electronica - Elektroakustische-Musik - Elektroakustische-Improvisation
20 italienische Musiker, die improvisierte elektronische Musik machen, zu einem kollektiven Soundtrack verarbeitet.
Trackliste: 1. Untitled - 26:15
Besetzung: Editing [Re-shaped And Re-composed]: Riccardo Benassi
; Editing [Re-shaped And Re-composed]: Valerio Tricoli
; Mastering: Giuseppe Ielasi
; Performer: Alessandro Bocci
; Performer: Claudio Rocchetti
; Performer: Dafne Boggeri
; Performer: Domenico Vaccaro
; Performer: Fantasmagramma
; Performer: Francesco Cavaliere
; Performer: Invernomuto
; Performer: Luciano Maggiore
; Performer: Manuele Giannini
; Performer: Marco Lampis
; Performer: Massimo Carozzi
; Performer: Ootchio
; Performer: Riccardo Benassi
; Performer: Roberto Bertacchini
; Performer: Stefano Pilia
; Performer: Valerio Tricoli
; Performer: Vittoria Burattini
; Pressed By GZ Digital Media
V. A. (The Wire) [>] [D]: Dirt Beneath The Daydream [F]
Label und Katalognummer: The Wir
e NZAF 001
Produktion: Verschiedene
Veröffentlicht: 2009 01
Genretags: Jazz - Avantgardejazz
Trackliste: 1. Rory Storm: 3'06'' (3:06)
2. Eye: Skeleton Key (3:57)
3. Crude - Blackened, Deadened Keys (3:53)
4. Greg Malcolm - Lost (3:16)
5. Futurians, The - Galaxy Marbles (3:32)
6. Rosy Parlane - Armenia (3:32)
7. Adam Willetts - Bad Milk (3:57)
8. Omit - Dropper (3:53)
9. Alex MacKinnon - Piano Coalescence (2:51)
10. Richard Neave & Lee Noyes - Was Ever Women By This Fashion Woo'd, Was Ever Women By This Fashion Won (3:52)
11. Damian Stewart - Forever Soup (3:32)
12. Kraus: Let Me Eat Cake (3:09)
13. Witcyst - New World (1:42)
14. LA Lakers - Cough Genesis Ramparts For Gulf Eurythmics (3:59)
15. Bruce Russell - The Role Of Minority Tendencies In The Ebbing Period (Edit) (3:16)
16. Sandoz Lab Technicians - Festival Of Vapours (4:37)
17. Rachel Shearer - Pastoral (1:37)
18. Demarnia Lloyd & Stuart Harris (2) - Long Ride (2:32)
19. Sam Hamilton - Blue Tide, Black Water (Pop Edit) (4:02)
20. Stanier Black-Five - Aerial Argot (4:40)
21. Currer Bells - Three Volumes (4:00)
Besetzung: Guitar - Peter Porteous (2)
; Guitar, Recorded By, Mixed By - Nathan Thompson (2)
; Voice - Peter Stapleton (2)
; Recorded By - Matthew Middleton (3)
; Performer - Beth Dawson, Clayton Noone, Jason Aldridge, Sean Norling (5)
; Drums - Lee Noyes (10)
; Guitar - Richard Neaves (10)
; Performer - Kraus (12)
; Recorded By - Max Russell (15)
; Performer - James Kirk, Nathan Thompson, Tim Cornelius (16)
; Piano - Stuart Harris (18)
; Vocals - Demarnia Lloyd (18)
; Performer - Angeline Chirnside, Tim Coster (21)
V. A. (~Scape) [>] [D]: Showcase [F]
Label und Katalognummer: The Wir
e WIRECD 01
Produktion: Verschiedene
Veröffentlicht: 2003 04 (Ed.)
Genretags: Electronica - IDM
Trackliste: 1. Deadbeat: Organ In The Attic Sings The Blues - 7:22
2. Burnt Friedman & The Nu Dub Players: Just Landed - 3:28
3. Thomas Fehlmann: Fellmaus - 6:05
4. Jan Jelinek: Do Dekor - 5:34
5. Headset: Dustmite - 4:53
6. Andrew Pekler: Manchild - 6:20
7. Jan Jelinek: If's And's And But's - 6:16
8. Bus: Westen (Edit) - 4:36
9. Pole: Raum 3 - 6:16
10. Cappablack: Components & Variables - 4:31
11. Kit Clayton: Etymon, No! - 3:40
12. System: Spy - 4:06
V. A. (Wire) [>] [D]: Exploratory Music From Poland, Vol. 2 [F]
Label und Katalognummer: Wir
e 07/2010
Produktion: Verschiedene
Veröffentlicht: 2010 06
Genretags: Jazz - Avantgardejazz
Trackliste: 1. Piotr Zabrodzki / Tatsuya Yoshida - April In Radom
2. Mikrokolektyw - Rocket Street
3. Freeyo - Mamuth
4. eneno 724 - 1/3 x 724
5. Piotr Kurek - Go Up
6. Za Siódma Góra - Adam i Jego Koledzy
7. Horny Trees - Double Tempo Sucks
8. Gadomski/Mirt - Track With Hang
9. Piotrowicz/Stangl/Zaradny - Olive Queen
10. Dziady - Gaseous God
11. LXMP - Suite du Lait
12. Antigama - Ecstasy
13. Maly Szu - Taniec w Gównie do Zucia
14. XV Parówek - Death in a Bathroom Utopia
15. Arszyn/Duda - SE (excerpt)
16. Michal Dymny - Granulate's Dither
17. Cieslak i Ksiezniczki - April/March
18. Mem & Wolfram - Fogi
19. trzewiczek - Live at Eszeweria
20. LeeDVD - Lenajgiwittuju
V. A. (The Wire) [>] [D]: Unsound And Culture PL Present: Tunnels [F]
Label und Katalognummer: Wir
e Magazine
Produktion: Verschiedene
Veröffentlicht: 2014 03 (Ed.)
Genretags: Electronica
siehe: The Wir
e, 362, p. 7 Wire/362.pdf#page=7" target="_blank">[PDF]
Trackliste: 1. Robert Piotrowicz: Snakeboy Maximus - 5:25
2. Stara Rzeka: Broń Nas Od Złego - 4:41
3. Oren Ambarchi: Live Knots (Excerpt) - 12:29
4. Hubert Zemler Feat. Miłosz Pękala: Variations On The Theme 'Suaves Figures' – Figure 7 - 3:37
5. Kapital: New Kind Of Shit - 6:31
6. NeoTantrik & Suzanne Ciani: Blue Amiga - 7:11
7. copeland657: copeland657 - 3:21
8. Ben Vida: Damaged Particulates XII (Unsound/SubPac Test) - 4:42
9. Piętnastka: Piętnastka - 4:19
10. Andy Votel And Andrzej Korzyński: Kleksploitation Excerpt 2 - 5:39
11. Wilhelm Bras: Peaceful Penetration (Short Mix) - 5:02
12. Evol: Arid Sphere Perk Horn - 5:00
Besetzung: Compiled By [Curated By]: Mat Schulz
; Coordinator [Production]: Ewelina Jędrasiak
; Design: Piotr Jakubowicz
; Executive-Producer: Małgorzata Płysa
; Mastering: Mikołaj Bugajak
; Presenter: Culture PL
; Presenter: Unsound
V. A. (The Wire) [>] [D]: Oceanclub Presents Marke B 03 [F]
Label und Katalognummer: Wir
e Magazine 237
Produktion: Verschiedene
Veröffentlicht: 2003 11 07 (Ed.)
Genretags: Electronica
Trackliste: 1. Jahcoozi: Fish - 3:57
2. Dub Tractor: Leaning - 3:31
3. Bus (2): Clappin - 4:12
4. Phantom/Ghost: Nothing Is Written [Part 1] (Dirk von Lowtzow, Thies Mynther) - 3:52
5. Guido Möbius: Pick Nick - 3:46
6. Timtim: Atwater.ca (Timtim) - 3:52
7. Cobra Killer: Heavy Rotation - 2:53
8. Angie Reed: No Pony (Angie Reed) - 1:34
9. Rhythm King And Her Friends: Shock (Linda Wölfel, Pauline Boudry, Sara John) - 2:48
10. Guther: Taglieben - 3:52
11. Monkeytribe: Delaware [Thomas Fehlmann Rmx] - 4:11
12. Five Deez: Funky - 4:03
13. Sami Koivikko: Kampakuta - 3:59
14. Alexander Kowalski: Delicious (Radio Edit) - 3:49
15. Blome & Grummich: Headcleaner - 4:26
16. Monolake: Oceans Of Noise - 4:27
17. Ekkehard Ehlers: Mäander 1 - 3:21
Besetzung: Compiled By: Daniel Meteo
; Compiled By: Gudrun Gut
; Compiled By: Thomas Fehlmann
; Design: Bianca Strauch
; Mastering: Stefan Betke
; Presenter [Presented By]: Ocean Club
; Manufactured By www.handlewithcare.de
; Pressed By Optimal Media Production
; Published By Popagenten
; Published By BMG Ufa
; Copyright (c) WMF Records
; Phonographic Copyright (p) WMF Records
; Published By Copyright Control
; Copyright (c) City Centre Offices
; Phonographic Copyright (p) City Centre Offices
; Published By Flow Publishing
; Published By BMG
; Copyright (c) ~scape
; Phonographic Copyright (p) ~scape
; Published By Gold (17)
; Published By Hanseatic
; Copyright (c) Lado Musik GmbH
; Phonographic Copyright (p) Lado Musik GmbH
; Copyright (c) ladomat
; Phonographic Copyright (p) ladomat
; Licensed To Mute Tonträger
; Licensed To EMI Music Germany GmbH & Co. KG
; Published By Autopilot Music Publishing
; Copyright (c) Klangkrieg Produktionen
; Phonographic Copyright (p) Klangkrieg Produktionen
; Copyright (c) BPitch Control
; Phonographic Copyright (p) BPitch Control
; Published By Maobeat
; Copyright (c) Monika Enterprise
; Phonographic Copyright (p) Monika Enterprise
; Published By Flirt 99
; Copyright (c) Chicks On Speed Records
; Phonographic Copyright (p) Chicks On Speed Records
; Copyright (c) Kitty-Yo
; Phonographic Copyright (p) Kitty-Yo
; Published By Bigpop
; Published By Warner/Chappell
; Copyright (c) Morr Music
; Phonographic Copyright (p) Morr Music
; Copyright (c) Meteosound
; Phonographic Copyright (p) Meteosound
; Produced At Lab Studio, Berlin
; Published By SMV (2)
; Copyright (c) !K7 Records
; Phonographic Copyright (p) !K7 Records
; Recorded At Studio 5, Cincinnati, OH
; Mixed At Berlin Destruct
; Published By Edition Random Noize Musick
; Published By Freibank
; Copyright (c) Shitkatapult
; Phonographic Copyright (p) Shitkatapult
; Published By Moonside Playground
; Published By Biathlon
; Copyright (c) Kanzleramt
; Phonographic Copyright (p) Kanzleramt
; Published By Receiver (2)
; Copyright (c) Sender Records
; Phonographic Copyright (p) Sender Records
; Published By Imbalance Computer Music
; Copyright (c) Monolake
; Phonographic Copyright (p) Monolake
; Copyright (c) Staubgold
; Phonographic Copyright (p) Staubgold
V. A. (The Wire) [>] [D]: Oceanclub Presents Marke B 05 [F]
Label und Katalognummer: Wir
e Magazine 255
Produktion: Verschiedene
Veröffentlicht: 2005 04 (Ed.)
Genretags: Electronica
Trackliste: 1. NSI: David Hassell (Edit) - 3:44
2. Barbara Morgenstern & Robert Lippok: Please Wake Me For Meals - 3:47
3. Jersey: 28 Days (Florian Zimmer, Marion Gerth, Max Punktezahl, Noël Rademacher) - 3:33
4. ISAN: Dinner At Sea (Live Markeb Mix) - 3:44
5. Frivolous: Fredrick Cokanose - 3:18
6. Portable: Thought In Action - 4:11
7. Duran Duran Duran: I Hate The 80s - 2:28
8. Rocket/Freudental: 24 Stunden Im Leben Eines Kunden - 2:49
9. Echo Depth Finders: On The Air - 3:59
10. Fenin & Gorbi: None Of Them (Edit) - 4:18
11. Misc.: Superbrand - 3:43
12. Henrik Schwarz: Leavemyheadalonebrain (Mix 4) - 4:07
13. Johan Skugge & Laura Delicata: Decadence (Edit) (Jay-Jay Johanson, Laura Delicata) - 3:41
14. Frank Bretschneider: Party Of Two Parts - 3:58
15. Dominique: Souvenir (Dominique (7)) - 3:18
16. Jay Haze: Get Your Lovin' On - 3:53
17. Senking: Come In - 3:47
18. Marsen Jules: Fanes D'Automne - 3:50
Besetzung: Compiled By, Curated By: Daniel Meteo
; Compiled By, Curated By: Gudrun Gut
; Compiled By, Curated By: Thomas Fehlmann
; Design: Bianca Strauch
; Mastering: Calyx
; Presenter: Ocean Club
; Manufactured For Yellow Media
; Phonographic Copyright (p) Cadenza Records
; Phonographic Copyright (p) Monika Enterprise
; Phonographic Copyright (p) Lok Musik
; Phonographic Copyright (p) Morr Music
; Phonographic Copyright (p) Karloff Rekordings
; Phonographic Copyright (p) ~scape
; Phonographic Copyright (p) Cock Rock Disco
; Phonographic Copyright (p) Pavlek Records
; Phonographic Copyright (p) Meteosound
; Phonographic Copyright (p) Shitkatapult
; Phonographic Copyright (p) Sender Records
; Phonographic Copyright (p) Sunday Music Records
; Phonographic Copyright (p) Mitek
; Phonographic Copyright (p) Underscan
; Phonographic Copyright (p) Tête-à-Tête
; Phonographic Copyright (p) SueMi
; Phonographic Copyright (p) Kitty-Yo
; Phonographic Copyright (p) Karaoke Kalk
; Phonographic Copyright (p) City Centre Offices
; Copyright (c) Cadenza Records
; Copyright (c) Monika Enterprise
; Copyright (c) Lok Musik
; Copyright (c) Morr Music
; Copyright (c) Karloff Rekordings
; Copyright (c) ~scape
; Copyright (c) Cock Rock Disco
; Copyright (c) Pavlek Records
; Copyright (c) Meteosound
; Copyright (c) Shitkatapult
; Copyright (c) Sender Records
; Copyright (c) Sunday Music Records
; Copyright (c) Mitek
; Copyright (c) Underscan
; Copyright (c) Tête-à-Tête
; Copyright (c) SueMi
; Copyright (c) Kitty-Yo
; Copyright (c) Karaoke Kalk
; Copyright (c) City Centre Offices
; Pressed By DOCdata Germany
; Published By Edition GGMP
; Published By Freibank
; Published By Flow (7)
; Published By BMG
; Published By Maobeat
; Published By La Chunga Music Publishing
; Published By Edition Schotter
; Published By M+S Industries
; Published By Copyright Control
; Published By Scape Publishing
; Published By Lautsprecher
; Published By Pavlek Records
; Published By Daniel Wiest Musikverlag
; Published By Random Noize Musick
; Published By Rückbank
; Published By BMG Ufa
; Published By Creator Music
; Published By Warner/Chappell
V. A. (The Wire) [>] [D] & V. A. (Room 40) [>] [D]: Room40 [F]
Label und Katalognummer: Wir
e Magazine 266
Produktion: Verschiedene
Veröffentlicht: 2006 03 20 (Ed.)
Genretags: Electronica - Improvisierte-Elektronische-Musik
Trackliste: 1. Evening At Room40: Untitled -
2. I/O (2): Cityscape (Cast_Back) -
3. Reinhold Friedl & Michael Vorfeld: Torf -
4. Chris Abrahams: Can Of Faces -
5. Oren Ambarchi: Lost Time Not Found Again -
6. Ralph Steinbrüchel & O.Blaat: Duplex -
7. Zane Trow: Arcade -
8. David Toop & Scanner & Lawrence English: Live Excerpt, Sprawl 2004 -
9. Lloyd Barrett: Swarm -
10. Greg Davis: Swell (Brisbane Reversion) -
11. Chris Watson: Runway O2E -
12. Marina Rosenfeld: Arm Dormant -
13. Philip Samartzis & Kozo Inada: H ( ) -
14. John Chantler: Slow Closure -
15. Erik Griswold: Clicks + Pops -
16. Tujiko Noriko: Magpies And Mornings -
17. Toshiya Tsunoda: Untitled (Opaque Version) -
18. Stephen Vitiello: Dorm Ant (GTR) -
19. DJ Olive: Sleep -
20. DJ Olive & I/O3: First Light Sunday -
21. Ubique: Neglect Of Those In-Between -
22. Ami Yoshida & Lawrence English: Live, Syncretism 2003 (Post By Robin Fox) -
23. Haruna Ito: Excavation -
24. Robin Fox (2) & Clayton Thomas: Bird Song -
25. M. Rösner: Blurred Hues -
26. Ben Frost: Deconstructing Michael Gira -
27. Tenniscoats: Aurora Contains (Slow Breeze Mix) -
28. Rod Cooper: Stratum -
29. Keith Fullerton Whitman: 2nd Early Monolith -
Besetzung: Compiled By: Lawrence English
; Design: Rinzen
; Record Company Arts Queensland
; Published By Touch Music
V. A. (The Wire) [>] [D]: Club Transmediale 03 Festival For Electronic Music [F]
Label und Katalognummer: Wir
e Magazine CTM 001
Produktion: Verschiedene
Veröffentlicht: 2003 02 (Ed.)
Genretags: Electronica
Trackliste: 1. Radboud Mens: Pulse 021.3 (Radboud Mens) - 4:37
2. Pan Sonic: Vaihtovirta (Ilpo Väisänen, Mika Vainio) - 6:40
3. F.S. Blumm: Kurzer Winter (F.S. Blumm) - 3:16
4. Mapstation: Wake Up (Instrumental) (Stefan Schneider) - 3:32
5. Rechenzentrum: Paramount (Christian Conrad, Marcus Weiser) - 3:40
6. Fenin: Woods (D. Meteo Rmx) (Daniel Meteo, Lars Fenin) - 4:50
7. Thomas Fehlmann: Streets Of Blah (Thomas Fehlmann) - 5:09
8. Pole: Black Home (Stefan Betke) - 4:47
9. Jan Jelinek: There Are Other Worlds (They Have Not Told You Of) (Jan Jelinek) - 4:12
10. Ekkehard Ehlers: Plays Cornelius Cardew Pt. 1 (Ekkehard Ehlers) - 4:03
11. Ralph Steinbrüchel: ID 16 (Ralph Steinbrüchel) - 4:19
12. Roger Rotor: Hollow Horizon (Roger Baumer) - 4:02
13. Dimbiman: Dr. Dolly's Gum (Thomas Franzmann) - 3:20
14. Luciano: Clementine (Lucien Nicolet) - 4:13
15. Aredee & Lump: Hardly Can (René Desalmand) - 4:58
16. Thomas Brinkmann: A Good One (Thomas Brinkmann) - 5:22
17. T.Raumschmiere: The Great Rock'n'roll Swindle (Edit) (Marco Haas) - 3:38
18. Otto Von Schirach: Earjuice Synthesis (Otto Von Schirach) - 3:09
Besetzung: Published By Copyright Control
; Published By My Ears! My Ears!
; Published By Mute Song
; Published By Autopilot Music Publishing
; Published By La Chunga Music Publishing
; Published By Arabella Musikverlag
; Published By BMG Ufa
; Published By Flow Publishing
; Published By BMG Publishing
; Published By Scape Publishing
; Published By Freibank
; Published By Random Noize Musick
; Published By Light Of Man
; Manufactured By Handle With Care
; Manufactured By MPO Germany
; Record Company Pro Helvetia
; Record Company Swiss Music Export
; Record Company Die Tageszeitung
; Pressed By MPO
V. A. (The Wire) [>] [D]: Fjord Focus [F]
Label und Katalognummer: Wir
e Magazine FJORDFOCUS 01
Produktion: Verschiedene
Veröffentlicht: 2002 09 19 (Ed.)
Genretags: Jazz - Avantgardejazz, Jazz - Fusion
Trackliste: 1. Food: Freebonky (Arve Henriksen, Iain Ballamy, Mats Eilertsen, Thomas Strønen) - 3:12
2. Xploding Plastix: Sports, Not Heavy Crime (Hallvard Wennersberg Hagen, Jens Petter Nilsen) - 5:10
3. Kim Hiorthøy: Tak (Kim Hiorthøy) - 3:36
4. Jaga Jazzist: Kitty Wú (Lars Horntveth) - 4:40
5. Håkon Berge: Imprint Of The Bacchae (Extract) (Håkon Berge) - 4:47
6. Phonophani: Cook Islands (Espen Sommer Eide) - 2:50
7. Salvatore (2): Easy (Bjarne Larsen, John Birger Wormdahl, Jon Platou Selvig, Karim Sayed, Kjell Olav Jørgensen, Ola Fløttum) - 3:50
8. Close Erase: Dance This Part 1 (Christian Wallumrød, Ingebrigt Håker Flaten, Per Oddvar Johansen) - 6:38
9. Maja S. K. Ratkje: Sinus Seduction (Moods Two) (Extract) - 5:03
10. Wibutee: First There Was Jazz 2 (Wibutee) - 7:57
11. Spunk: Epleslang (Hild Sofie Tafjord, Kristin Andersen, Lene Grenager, Maja S. K. Ratkje) - 3:19
12. No Spaghetti Edition: Live 1 (Frode Haltli, Håkon Kornstad, Ingar Zach, Ivar Grydeland, Pat Thomas, Phil Minton, Tonny Kluften) - 5:57
13. Eivind Aarset: The String Thing (Eivind Aarset) - 5:31
14. Jazkamer: Great Lake Trout (Alexander Rishaug, John Hegre, Lasse Marhaug) - 4:10
15. Noxagt: Det Er Typisk Norsk Å Være Best (Jan Christian L. Kyvik, Kjetil D Brandsdal, Nils Erga) - 2:45
Besetzung: Compiled By: Anne Hilde Neset
; Design: Non-Format
; Phonographic Copyright (p) Feral Records
; Copyright (c) Feral Records
; Distributed By MacTwo
; Phonographic Copyright (p) Beatservice Records
; Copyright (c) Beatservice Records
; Phonographic Copyright (p) Smalltown Supersound
; Copyright (c) Smalltown Supersound
; Published By Copyright Control
; Phonographic Copyright (p) Rune Grammofon
; Copyright (c) Rune Grammofon
; Copyright (c) Racing Junior
; Phonographic Copyright (p) Jazzland Recordings
; Copyright (c) Universal Music Norway
; Copyright (c) Jazzkammer
; Made By Universal M & L, UK
; Mastered At Moat Studio
V. A. (The Wire) [>] [D]: Netmage 04 [F]
Label und Katalognummer: Wir
e Magazine TDKNETMA 04
Produktion: Verschiedene
Veröffentlicht: 2003 12 (Ed.)
Genretags: Electronica
Trackliste: 1. Scanner: I Cannot Forget - 4:53
2. Kim Cascone: The Bourbaki Conjecture - 2:58
3. Maikko: Unvoluntrymantra - 4:20
4. Z.E.L.L.E.: Rjctd 11 - 4:31
5. Thomas Köner & Asmus Tietchens: Kontakt Der Jünglinge - 3:30
6. Richard Chartier: How Things Change (Excerpt) - 4:20
7. [The User]: .
.
%
%
% - 6:40
8. Radian: Jet - 5:41
9. Rechenzentrum: Lye - 6:19
10. Teamtendo: Santana Sucks - 6:36
11. Wang Inc.: Chain Worker - 3:45
12. Mou, Lips!: Letter (From Home) - 4:32
13. Saule: Hola - 9:36
Besetzung: Published By Scannerdot Publishing
; Published By Bug Music
; Published By eSpace
; Published By 12k Music
; Copyright (c) [The User]
; Copyright (c) Teamtendo
; Pressed By www.imsspa.it
V. A. (The Wire) [>] [D]: Liquid Architecture - Festival Of Sound Arts [F]
Label und Katalognummer: Wir
e Magazine Issue 257
Produktion: Verschiedene
Veröffentlicht: 2005 07
Genretags: Electronica - Soundart
Trackliste: 1. Bucketrider - Événement 1 L'Spontaneist
2. Thembi Soddell - Discomfort
3. Qua - Output
4. Tim Catlin - Hysterisis
5. E.P.A. - Black Ice ...With Brake Fluid
6. Bruce Mowson - Obsess
7. Oren Ambarchi & Martin Ng - When Love Comes Back To Haunt You
8. Nat - Glass
9. Philip Samartzis - Unheard Spaces
10. Robin Fox (2) & Anthony Pateras - Aphasia
11. Lawrence English & Ai Yamamoto - Gazing Into The Sun
12. Camilla Hannan - Itchy
13. Phillip Pietruschka - The Evidence Of Love
14. Pimmon - Smaller Than You Are
V. A. (The Wire) [>] [D]: Tapper 39 [F]
Label und Katalognummer: Wir
e Magazine Issue 381
Produktion: Verschiedene
Veröffentlicht: 2015 10 (Ed.)
Genretags: Jazz - Avantgardejazz
Trackliste: 1. Mads Emil Nielsen: Unfold
2. Roger Robinson: It Soon Come
3. Zulus (4): Revolver III
4. Big Legs: Spoonfed
5. Steve Beresford & Panos Ghikas: Food Coat
6. Liquidarlo Celuloide: Vértigo Magnético
7. Wojtczak NYConnection: Ogrywka (Kujawiak)
8. The Art Of Schwanengesang: Laisse-moi. Momentum
9. Oneirogen: Vessels
10. TR Kirstein
& Sune TB Nielsen
: I Am So Happy I Could Spit
11. Creature Automatic: Bears Making Bear Trees
12. Dieuf-Dieul De Thiès: Nianky
13. Cavalier Song: Stones For Throwing
14. Gagarin: Wandle
15. Stig Of The Dump Featuring Jehst: Kubrick
16. Quttinirpaaq: Bleed Out
17. Geoff Dugan: Jane's Pond
18. Denzel + Huhn: Wilhelmshöhe
19. Contact (23): 3rds, 4ths & 5ths (Radio Edit)
20. Hannes Buder: Pain
Besetzung: Artwork [Cover Artwork]: Karel Martens
; Compiled By: Andy Tait
; Compiled By: Katie Gibbons
; Compiled By: Shane Woolman
; Mastering: Toby Hrycek-Robinson
; Copyright (c) The Wir
e
Suchresultate Releases: Treffer bei Produzenten
Mood Mosaic [>] [D]: Mood Mosaic [F]
Assoziierte Acts: Mark Wir
tz
Label und Katalognummer: Columbia (EMI) SX 6153, Columbia TWO 160
Produktion: Mark Wir
tz
Veröffentlicht: 1967
Genretags: Traditionalpop - Orchestralpop - Easylistening
Trackliste: Seite A
1. A Touch Of Velvet - A Sting Of Brass (J. Ferdy) -
2. Sunny (Bobby Hebb) -
3. The Yellow Spotted Capricorn (J. Ferdy) -
4. Dreamin' (Barry De Vorzon, Ted Ellis) -
5. Monday, Monday (John Phillips) -
6. The Real Mr. Smith (J. Ferdy) -
Seite B
1. Chinese Chequers (J. Ferdy) -
2. There's No Business Like Monkey Business (J. Ferdy) -
3. If Illsusion Met Fantasy (J. Ferdy) -
4. A Thimble Full Of Puzzles (J. Ferdy) -
5. You Didn't Have To Be So Nice (John Sebastian, Steve Boone) -
6. Watching A Matchstick-Fight (J. Ferdy) -
Besetzung: The Ladybirds: featured
; Mark Wir
tz: arranger, conductor
; Jim Sullivan: electric guitar, acoustic guitar, sitar
; Brian Daly: rhythm guitar
; Nicky Hopkins: piano, harpsichord
; Dave Perkins: bass guitar
; John Baldwin: bass guitar
; Dougie Wright: drums
; Kenny Clare: drums
; Denis Lopez: percussion
Tomorrow [>] [D]: Tomorrow [F]
Label und Katalognummer: Parlophone PCS 7042, EMI 7243 498819
Produktion: Mark P. Wir
tz
Veröffentlicht: 1968 02, 1999 (Reed.)
Genretags: Pop - Progressivepop - Psychedelicpop
Die kurzlebigen Tomorrow waren 1967 als Hausband des wöchentlichen UFO-Clubs in London die Nachfolger von Pink Floyd. Joe Boyd, einer der Betreiber des UFO-Clubs und spätere Produzent für wichtige Folkrock-Acts, bezeichnet in seinen Memoiren (White Bicycles) ein Konzert der Gruppe als Höhepunkt der Sixties (p. 1). Tomorrows einzige reguläre LP ist eines der interesantesten Tondokumente vom psychedelischen Swinging London.
Steve Howe wechselt nach Tomorrow zu Yes und Keith West hatte einen Hit mit Excerpt From A Teenage Opera (= Grocer Jack). Twink schloss sich den Pretty Things in der Zeit um S.F. Sorrow an, gründete dann die Pink Fairies.
Trackliste: Seite A
1. My White Bicycle (Hopkins, Burgess) - 3:17
2. Colonel Brown (Hopkins, Burgess)- 2:51
3. Real Life Permanent Dream (Hopkins) - 3:15
4. Shy Boy (Hopkins, Burgess) - 2:26
5. Revolution (Hopkins, Howe) - 3:48
Seite B
1. The Incredible Journey of Timothy Chase (Hopkins) - 3:17
2. Auntie Mary's Dress Shop (Hopkins, Burgess) - 2:44
3. Strawberry Fields Forever (Lennon, McCartney) - 3:58
4. Three Jolly Little Dwarfs (Hopkins, Burgess) - 2:26
5. Now Your Time Has Come (Hopkins) - 4:51
6. Hallucinations (Hopkins, Burgess) - 2:37
Bonustracks der CD Ausgabe von 1999
1. Claramount Lake - 3:02
2. Real Life Permanent Dream (Alternative Early Mono Version - Previously Unreleased) - 2:24
3. Why - 3:59
4. Revolution (Phased Mono Version) - 3:50
5. Now Your Time Has Come - 3:05
Bonustracks der CD Ausgabe von 1999: The Aquarian Age
1. 10,000 Words In A Cardboard Box - 3:27
2. Good Wizard Meets Naughty Wizard - 4:42
3. Me (Previously Unreleased) - 3:12
Bonustracks der CD Ausgabe von 1999: Keith West
1. On A Saturday - 3:13
2. The Kid Was A Killer - 2:31
3. She - 2:30
4. The Visit - 4:05
Alle Tracks: Keith West (alias Keith Hopkins), Ken Burgess und Steve Howe.
Besetzung: Keith West: vocals
; Steve Howe: guitar
; John \'Junior\' Wood: bass
; John \'Twink\' Alder: percussion
; Mark P. Wir
tz: keyboard
; Engineers: Geoff Emerick, Peter Bown
Mark Wirtz Orchestra And Chorus [>] [D]: Come Back & Shake Me: Teenage Dancing Made in England [F]
Assoziierte Acts: Mark Wir
tz
Label und Katalognummer: Decca SLK 16 613-P
Produktion: Mark Wir
tz
Veröffentlicht: 1969
Genretags: Pop - Orchestralpop - Psychedelicpop
Trackliste: Seite A
1. Dizzy -
2. Aquarius -
3. Come Back And Shake Me -
4. Love And Occasional Rain -
5. Ragamuffin Man -
6. Theme From "A Teenage Opera" -
7. Festival Of Kings -
Seite B
1. Snake In The Grass -
2. A Touch Of Velvet - A Sting Of Brass -
3. I Can Hear Music -
4. Farewell To A Broken Doll -
5. Good Times -
6. My Way -
7. Poem -
Wire [>] [D]: Document And Eyewitness [F]
Label und Katalognummer: Rough Trade ROUGH 029, Pinkflag PF 21
Produktion: Wir
e
Veröffentlicht: 1981 07 (Ed.), 2014 08 11 (Reed.), 1980-79 (Rec.)
Genretags: Postpunk
Trackliste: Seite A: Live @ Electric Ballroom
1. 5/10 (M.C.'s request spot) - 5:30
2. 12XU (Fragment) - 2:16
3. Underwater Experiences - 2:39
4. Everythings Going To Be Nice (Woman enters pulling 2 tethered men and an inflatable jet) - 1:05
5. Piano Tuner (Keep Strumming Those Guitars) (Vocalist attacks gas stove) - 5:19
6. We Meet Under Tables (Vocalist wears black knee length veil) - 3:30
Seite B
1. Zegk Hoqp (12 percussionists with newspaper head dresses) - 5:00
2. Eastern Standard (M.C. attempts geographical explanation) - 3:03
3. Instrumental (thrown bottle) - 2:11
4. Eels Sang Lino (Vocalist accompanied and lit by illuminated goose) - 3:05
5. Revealing Trade Secrets - 2:34
6. And Then... (Vocalist eats 2 loaves and then blank scrolls are unrolled), b) Coda - 9:01
Seite C: Live @ Notre Dame Hall
1. Go Ahead - 4:00
2. Ally in Exile - 4:19
3. Relationship - 1:20
4. Underwater Experiences - 2:41
Seite D
1. Witness to the Fact - 2:50
2. 2 People in a Room - 1:52
3. Our Swimmer - 3:00
4. Heartbeat - 3:08
Bonustracks der 2 CD Ausgabe von 2014:
CD 2
1. Our Swimmer -
2. Midnight Bahnhof Cafe -
3. Second Length (Our Swimmer) -
4. Catapult 30 -
5. Ally In Exile (Personal Demo) -
6. Go Ahead -
7. Remove For Improvement -
8. Over My Head -
9. Safe -
10. Relationship -
11. Underwater Experiences -
12. Eels Sang Lino -
13. Cancel Your Order -
14. Part Of Our History (Emerges) -
Besetzung: Compiled By: Geoff Travis and Wir
e
; Lighting: Simon Miles
; Mixing [Live Mixes]: Eddie (8)
; Recorded live at Electric Ballroom 29.02.1980, and Notre Dame Hall 19.07.1979, except D4 at Montreaux 09.03.1979.
Wire [>] [D]: Not About To Die (Studio Demos 1977-1978) [F]
Label und Katalognummer: Pinkflag PF 27
Produktion: Mike Thorne & Wir
e
Veröffentlicht: 1982 (Bootleg), 2022 06 24 (Reed.), 1978-77 (Rec.)
Genretags: Postpunk
Trackliste: 1. Oh No Not So [Save The Bullet] -
2. Culture Vultures -
3. It's the Motive -
4. Love Ain't Polite -
5. French Film [Blurred] -
6. Underwater Experiences -
7. Stalemate -
8. Options R -
9. Indirect Enquiries v1 -
10. Chairs Missing [Used To] -
11. Being Sucked In Again -
12. Ignorance No Plea [I Should Have Known Better] -
13. Once Is Enough -
14. The Other Window -
15. Stepping Off Too Quick [Not About To Die] -
16. On Returning -
17. Former Airline -
18. Two People In A Room -
Besetzung: Bass: Graham Lewis
; Design: Jon Wozencroft
; Drums: Robert Grey
; Engineer: Nick Glennie-Smith
; Guitar: Bruce Gilbert
; Guitar: Colin Newman
; Liner Notes [Inner Sleeve]: Graham Duff
; Mastering: Denis Blackham
; Photography: Annette Green
; Producer [Produced By]: Mike Thorne (A1 to B11)
; Producer [Produced By]: Wir
e (B12 to B18)
; Vocals: Colin Newman (A1 to A11, B13 to B18)
; Vocals: Graham Lewis (B12)
; Phonographic Copyright (p) Pinkflag
; Copyright (c) Pinkflag
; Distributed By Cargo (2)
; Recorded At Riverside Studios, London
; Mixed At Riverside Studios, London
; Mastered At Skye Mastering
; Lacquer Cut At Finyl Tweek
Swirlies [>] [D]: Blonder Tongue Audio Baton [F]
Label und Katalognummer: Taang! TAANG! 67
Produktion: Swirlies
Veröffentlicht: 1993 03 26
Genretags: Indiepop - Noisepop - Shoegaze
Trackliste: 1. Untitled - 0:12
2. Bell - 4:29
3. Vigilant Always - 5:10
4. His Love Just Washed Away - 5:24
5. His Life Of Academic Freedom - 2:07
6. Pancake - 3:15
7. Jeremy Parker - 4:14
8. Park The Car By The Side Of The Road - 5:04
9. Tree Chopped Down - 3:12
10. Wrong Tube - 5:06
11. Wait Forever - 4:18
Alle Tracks: Swirlies.
Besetzung: Drums: Kevin March (2, 10), Mark Rivers (3, 4, 6)
; Bass, Other [Radio]: Andy Bernick
; Co-producer, Engineer: Rich Costey
; Drums, Other [Configurations]: Ben Drucker
; Guitar, Vocals, Synthesizer [Moog], Mellotron: Damon Tutunjian
; Guitar, Vocals, Synthesizer [Moog], Mellotron: Seana Carmody
; Copyright (c) Taang! Records
; Phonographic Copyright (p) Toonidge Publishing
; Recorded At Squid Hell
; Recorded At Q Division Studios
; Recorded At Fort Apache
; Recorded At Platinum Sound
John Cale [>] [D] & Bob Neuwirth [>] [D]: Last Day On Earth [F]
Label und Katalognummer: MCA MCAD 11037
Produktion: John Cale & Bob Neuwirth
Veröffentlicht: 1994 04 26
Genretags: Alternativerock - Artrock
Trackliste: 1. Overture: A Tourist / A Contact / A Prisoner - 8:06
2. Café Shabu - 5:37
3. Pastoral Angst - 2:29
4. Who's In Charge? - 2:53
5. Short of Time - 3:08
6. Angel of Death - 4:19
7. Paradise Nevada - 5:33
8. Old China - 3:13
9. Ocean Life - 4:48
10. Instrumental - 1:57
11. Modern World - 5:53
12. Streets Come Alive - 3:22
13. Secrets - 4:19
14. Maps of the World - 4:52
15. Broken Hearts - 3:03
16. The High and Mighty Road - 5:03
Alle Tracks: John Cale und Bob Neuwirth.
Besetzung: Arranged [Strings], Strings: David Soldier
; Art Direction: Vartan
; Bass: Erik Sanko
; Cover: Tadanori Yokoo
; Design: Ayako Nagano
; Design: Taki Ono
; Drums: Ben Perowsky
; Guitar: David Tronzo
; Guitar [Infinite]: Michael Brook
; Mastering: Greg Calbi
; Mixing, Engineer: Roger Moutenot
; Percussion, Sampler: Gerry Hemingway
; Photography: Mary Ellen Mark
; Producer [Production Assistance]: Andy Green
; Strings: Alicia Svigals
; Strings: Dawn Buckholz
; Strings: Lisa Gutkin
; Strings: The Soldier String Quartet
; Vocals [Guest Vocalist]: Jenni Muldaur
; Vocals, Banjo, Harmonica, Producer, Alle Tracks: Bob Neuwirth
; Vocals, Keyboards, Viola, Producer, Alle Tracks: John Cale
; Phonographic Copyright (p) MCA Records, Inc.
; Copyright (c) MCA Records, Inc.
; Distributed By Uni Distribution Corp.
; Recorded At Skyline Studios
; Mixed At RPM Studios
; Mastered At Sterling Sound
; Published By John Cale Music, Inc.
; Published By Dry Clam Music
; Manufactured By JVC Musical Industries, Inc.
Mark Wirtz [>] [D]: A Teenage Opera [F]
Assoziierte Acts: Mark Wir
tz Orchestra & Keith West
Label und Katalognummer: RPM Records RPM 165
Produktion: Phil Smee & Mark Wir
tz
Veröffentlicht: 1996 (Ed.)
Genretags: Pop - Orchestralpop - Psychedelicpop
Trackliste: 1. Mark Wir
tz Orchestra: Theme From A Teenage Opera (Mark Wir
tz) - 2:33
2. Mark Wir
tz Orchestra & Chorus: Festival Of Kings (Mark Wir
tz) - 2:46
3. Keith West: Grocer Jack (Excerpt From A Teenage Opera) (Hopkins, Wir
tz) - 4:40
4. Mark Wir
tz Orchestra: The Paranoiac Woodcutter #1 (Mark Wir
tz) - 1:25
5. Steve Flynn: Mr. Rainbow (Hopkins, Burgess, Wir
tz) - 2:33
6. Mark Wir
tz Orchestra: Glory's Theme (All Aboard!) (Mark Wir
tz) - 4:52
7. Keith West: On A Saturday (Keith West) - 3:11
8. Mark Wir
tz Orchestra: Possum's Dance (Mark Wir
tz) - 2:37
9. Tomorrow & Keith West: Auntie Mary's Dress Shop (Hopkins, Burgess) - 2:46
10. Mark Wir
tz Orchestra & Chorus: Love & Occasional Rain (Mark Wir
tz) - 4:45
11. Mark Wir
tz Orchestra: Grocer Jack (Reprise) (Hopkins, Wir
tz) - 1:09
12. Keith West: Sam (Hopkins, Wir
tz) - 5:12
13. Mark Wir
tz Orchestra & Chorus: Farewell To A Broken Doll (Mark Wir
tz) - 3:22
14. Mark Wir
tz: (He's Our Dear Old) Weatherman (Mark Wir
tz) - 4:01
15. Kippington Lodge: Shy Boy (Hopkins, Burgess) - 2:37
16. Mark Wir
tz Orchestra: Grocer Jack's Dream (Mark Wir
tz) - 3:35
17. The Sweetshop feat. The Band Of The Irish Guards: Barefoot & Tiptoe (Wir
tz, Bigsby) - 2:44
18. Mark Wir
tz: Knickerbocker Glory (Mark Wir
tz) - 2:24
19. Zion De Gallier: Dream, Dream, Dream (Wir
tz, Bigsby) - 2:14
20. Tomorrow: Colonel Brown (Hopkins, Burgess) - 2:52
21. Astronaut Alan & The Planets: Cellophane Mary-Jane (Mills, Wir
tz) - 2:31
22. Mark Wir
tz Orchestra: Paranoiac Woodcutter #2 (Mark Wir
tz) - 1:10
23. Mark Wir
tz Orchestra & Chorus: Theme From A Teenage Opera (End Titles) (Mark Wir
tz) - 2:44
Besetzung: Artwork: Waldo\'s Design
; Compilation Producer [Soundtrack Producer]: Phil Smee
; Executive Producer: Mark Stratford
; Mastering: Nick Watson
; Arranged: Mark Wir
tz
; Transferred By: Phil Farlow (6, 11 & 16)
; Licensed From EMI Special Markets
; Made By Disctronics S
; Mastered At SRT Studios
Swirlies [>] [D]: They Spent Their Wild, Youthful Days In The Glittering World Of The Salons [F]
Label und Katalognummer: Taang! 101
Produktion: Rich Costey & Swirlies
Veröffentlicht: 1996 01 04
Genretags: Indiepop - Noisepop - Shoegaze
Trackliste: 1. French Radio - 0:18
2. In Harmony New Found Freedom - 5:47
3. No Identifier - 1:44
4. Sounds of Sebring - 4:21
5. San Cristobal de las Casas - 4:22
6. You Can't Be Told It, You Must Behold It - 2:22
7. Pony - 3:15
8. Do Any of You Know Anything About Love? - 0:34
9. Two Girls Kissing - 6:03
10. Sterling Moss - 3:44
11. Boys, Protect Yourselves From Aliens - 0:57
12. Sunn - 5:39
13. The Vehicle Is Invisible - 5:12
14. Untitled - 2:41
Alle Tracks: Swirlies.
Besetzung: Andy Bernick: Bass, Guitar, Micro Moog, Mini Moog
; Rich Costey: Engineer, Mixing, Programming
; Anthony De Luca: Art Direction, Design, Drums
; Christina Files: Bass, Guitar, Sampling, Sequencing, Vocals
; Ron Rege: Art Direction
; Karl Trout: Art Direction, Design
Wir sind Helden [>] [D]: Die Reklamation [F]
Label und Katalognummer: Reklamation Records 590869
Produktion: Patrik Majer & Wir
Sind Helden
Veröffentlicht: 2003 07 07
Genretags: Indiepop
Von diesem Album wurden 800'000 Stück verkauft.
Trackliste: 1. Ist Das So? (Judith Holofernes) - 3:03
2. Rüssel An Schwanz (Judith Holofernes, Mark Tavassol) - 4:52
3. Guten Tag (Judith Holofernes, Pola Roy, Jean-Michel Tourette) - 3:35
4. Denkmal (Judith Holofernes, Pola Roy, Jean-Michel Tourette) - 3:14
5. Du Erkennst Mich Nicht Wieder (Judith Holofernes) - 4:54
6. Die Zeit Heilt Alle Wunder (Judith Holofernes, Pola Roy, Mark Tavassol, Jean-Michel Tourette) - 4:10
7. Monster (Judith Holofernes, Pola Roy, Mark Tavassol, Jean-Michel Tourette) - 3:47
8. Heldenzeit (Jean-Michel Tourette) - 4:23
9. Aurélie (Judith Holofernes) - 3:32
10. Müssen Nur Wollen (Judith Holofernes, Jean-Michel Tourette) - 3:34
11. Außer Dir (Judith Holofernes) - 3:39
12. Die Nacht (Judith Holofernes, Mark Tavassol, Jean-Michel Tourette) - 4:19
Besetzung: Artwork: Kasi@Gosub
; Mastering: Michael Schwabe
; Performer: Jean-Michel Tourette
; Performer: Judith Holofernes
; Performer: Mark Tavassol
; Performer: Pola Roy
; Photography: Foto Şahin
; Photography: Gerald Von Foris
; Recording, Mixing: Patrik Majer
; Programmed By [CD-Rom Programming], Other [Homepage]: Katy Matthies
; Technician [Assisted By]: Dirk Heinrich
; Copyright (c) Reklamation Records
; Phonographic Copyright (p) Reklamation Records
; Licensed To Labels Germany
; Phonographic Copyright (p) Labels Germany
; Produced At Tritonus Tonstudio
; Recorded At Tritonus Tonstudio
; Mixed At Tritonus Tonstudio
; Produced At Freudenhaus Studio
; Recorded At Freudenhaus Studio
; Mixed At Freudenhaus Studio
; Produced At Audio Studios, Berlin
; Recorded At Audio Studios, Berlin
; Mixed At Audio Studios, Berlin
; Mastered At Monoposto Mastering
; Published By Freudenhaus Musikverlag
; Published By Wintrup Musikverlag
; Published By Partitur Musikverlag
; Glass Mastered At EMI Uden
; Pressed By EMI Uden
Firewire [>] [D]: Tribute To The Manzini [F]
Label und Katalognummer: City Centre Offices BLOCK 020
Produktion: Firewire
Veröffentlicht: 2004 04 19
Genretags: Electronica - Poptronica, Electronica - Breakbeat - Triphop
Trackliste: 1. Open Ur Eyes - 4:41
2. No One There - 4:14
3. 4 Ever - 3:47
4. The Driver Is The Soul And The Body Is The Motor - 1:41
5. No Exit - 4:57
6. Every Day (Gil Scott-Heron, Frederic Stader) - 3:52
7. Down (Gil Scott-Heron, Frederic Stader) - 2:58
Alle Tracks: Carl Crack und Frederic Stader.
Besetzung: Composed By, Producer [Uncredited]: Frederic Stader
; Cover: Aesthetic Investments
; Lyrics By [Uncredited]: Carl Crack (1 to 4)
; Lyrics By [Uncredited]: Gil Scott-Heron (5, 6)
; Mastering, Editing [Cut]: Loop-o
; Vocals: Carl Crack (1-6)
Wir sind Helden [>] [D]: Von hier an blind [F]
Label und Katalognummer: Reklamation Records 860853
Produktion: Patrik Majer & Wir
Sind Helden
Veröffentlicht: 2005 04 04
Genretags: Indiepop
Trackliste: 1. Wenn Es Passiert - 3:33
2. Echolot - 4:31
3. Von Hier An Blind - 3:31
4. Zuhälter - 3:30
5. Ein Elefant Für Dich - 4:43
6. Darf Ich Das Behalten - 3:19
7. Wütend Genug - 4:29
8. Geht Auseinander - 3:10
9. Zieh Dir Was An - 3:27
10. Gekommen Um Zu Bleiben - 3:10
11. Nur Ein Wort - 3:56
12. Ich Werde Mein Leben Lang Üben, Dich So Zu Lieben, Wie Ich Dich Lieben Will, Wenn Du Gehst - 2:52
13. Bist Du Nicht Müde - 3:54
Besetzung: Co-producer: Wir
Sind Helden
; Phonographic Copyright (p) Reklamation Records
; Copyright (c) Reklamation Records
; Copyright (c) Labels Germany
; Manufactured By Optimal Media Production
Paul Wirkus [>] [D]: Déformation Professionnelle [F]
Label und Katalognummer: Staubgold 071
Produktion: Paul Wir
kus
Veröffentlicht: 2006 10 24
Genretags: Electronica
Trackliste: 1. View Finder - 6:16
2. Kocham - 4:47
3. Valore Energetico - 5:55
4. Dogs After Flight - 4:20
5. Nie Kocham - 3:05
6. Exoten - 2:19
7. Déformation Professionnelle - 3:41
8. 1964 - 4:18
9. Erineru - 3:27
10. Terres Fortes - 7:38
Alle Tracks: Paul Wir
kus.
Besetzung: Artwork [Cover Art]: Ola Rek
; Design [Cover]: www.nothmannstyle.de
; Mastering: Joseph Suchy
; Recording: Paul Wir
kus
; Phonographic Copyright (p) Staubgold
; Copyright (c) Edition Staubgold
; Copyright (c) Freibank
; Published By Edition Staubgold
; Published By Freibank
September Collective [>] [D]: All The Birds Were Anarchists [F]
Assoziierte Acts: Barbara Morgenstern & Stefan Schneider & Paul Wir
kus
Label und Katalognummer: Mosz 014
Produktion: Barbara Morgenstern & Stefan Schneider & Paul Wir
kus
Veröffentlicht: 2007 05 18
Genretags: Indiepop - Electronicpop - Indietronica
Trackliste: 1. Out Of Intention (3:37)
2. Meer (6:00)
3. Natura (4:27)
4. Grundgeräusch Der Wohnung (3:18)
5. Light Writing (3:27)
6. Pausenband (2:03)
7. Primaten (3:19)
8. Taking The Trouble (2:54)
9. Our Cat (1:03)
10. Essentially Unchanged (4:07)
11. Substitute Original (4:31)
12. Spätes Licht (3:17)
Wir sind Helden [>] [D]: Soundso [F]
Label und Katalognummer: Labels 3924612
Produktion: Patrik Majer & Wir
Sind Helden
Veröffentlicht: 2007 05 25
Genretags: Indiepop
Trackliste: 1. (Ode) An Die Arbeit - 3:42
2. Die Konkurrenz - 3:44
3. Soundso - 4:14
4. Für Nichts Garantieren - 4:22
5. Kaputt - 3:08
6. Labyrinth - 4:14
7. The Geek (Shall Inherit) - 3:40
8. Endlich Ein Grund Zur Panik - 3:43
9. Der Krieg Kommt Schneller Zurück Als Du Denkst - 2:45
10. Hände Hoch - 4:36
11. Stiller - 4:21
12. Lass Uns Verschwinden - 4:14
Besetzung: Artwork: Alex Ziegler
; Mastering: Michael Schwabe
; Performer [Alle Instrumente Gespielt Von]: Wir
Sind Helden
; Mixing: Patrik Majer
; Recording: Nils Olejniczak
; Recording: Patrik Majer
; Phonographic Copyright (p) Reklamation Records
; Copyright (c) Reklamation Records
; Recorded At Freudenhaus Studio
; Recorded At Gaga Studio
; Recorded At Music-Plant
; Recorded At Sonnenstudio (2)
; Recorded At Press Play!
; Mixed At Freudenhaus Studio
; Mastered At Monoposto Mastering
; Licensed To Labels Germany
; Copyright (c) EMI Music Germany GmbH & Co. KG
; Published By Freudenhaus Musikverlag
; Published By Wintrup Musikverlag
; Pressed By www.mediamotion.com
September Collective [>] [D]: Always Breathing Monster [F]
Assoziierte Acts: Barbara Morgenstern & Stefan Schneider & Paul Wir
kus
Label und Katalognummer: Mosz 021
Produktion: Barbara Morgenstern & Stefan Schneider & Paul Wir
kus
Veröffentlicht: 2009 11 23
Genretags: Electronica - Ambient
Trackliste: 1. Terzian - 5:09
2. Zimbel - 3:30
3. Nasat - 5:33
4. Prinzipal - 2:04
5. Mechanik - 0:49
6. Waldflöte - 5:03
7. Sasqualtera - 1:24
8. Dulzian - 3:33
9. Amorosa - 4:07
10. Nachthorn - 5:16
Besetzung: Mastered By - Martin Siewert
Moon Wiring Club [>] [D]: A Spare Tabby At The Cat's Wedding [F]
Label und Katalognummer: Gecophonic Audio Systems GEpH 004
Produktion: The Moon Wir
ing Club
Veröffentlicht: 2010 11
Genretags: Electronica - Synthtronica - Analogelectronica, Post-Millennial-Music - Lo-Fi-Underground
Was hier unter dem Hauntology-Banner segelt, ist weit humorvoller als die meisten Releases dieses Stils. Ein verspieltes Album mit einem Augenzwinkern.
Trackliste: 1. Autumn Theatricals - 1:51
2. Feline Ascension Time - 3:28
3. The Queen Speaks - 3:07
4. House Of Tricks - 1:09
5. Woodsmoke & Treacle - 3:27
6. Slumberwick Dreams - 3:29
7. The Victorian Butter Boat - 2:20
8. Creeping Decay - 3:12
9. The Owd Wedding March - 3:32
10. Concealed Playroom - 2:06
11. You Fancy Magician - 4:16
12. Missing Familiar - 1:27
13. The Last Arcadian - 3:40
14. Curious Clairvoyant - 3:10
15. Dancing Against Time - 4:17
16. In Holiday Mood - 3:34
17. Seaside Frolics - 1:46
18. ?And For My Next Trick - 3:14
19. Queen Of Puddings - 3:15
20. Playroom Concealed - 1:34
21. The Garden Was A Picture - 4:18
22. Edwardian Romance - 4:05
Alle Tracks: The Moon Wir
ing Club.
Besetzung: Design [Sleeve] - Kynaston Mass
; Mastered By - Jon Brooks
; Producer [Musical Direction] - Paris Green
; Recorded By [Audio Capture] - Mr Paris Green
; Recorded By [Audio Capture], Performer [Musical Performance] - Dr Lettow-Vorbeck
Rihanna [>] [D]: Talk That Talk [F]
Label und Katalognummer: Def Jam B 0016313
Produktion: Alex da Kid & Mr. Bangladesh & Calvin Harris & Chase And Status & Cirkut & Da Internz & Dr. Luke & Ester Dean & Gareth McGrillen & Hit-Boy & No I.D. & Priscilla Renea & Rob Swire & StarGate & The-Dream
Veröffentlicht: 2011 11 21
Genretags: Afroamericana - R'n'B-Renaissance
Trackliste: 1. You Da One (Esther Dean, Lukasz 'Dr. Luke' Gottwald, Rihanna, H. Walter) - 3:20
2. Where Have You Been (Esther Dean, Lukasz 'Dr. Luke' Gottwald, H. Walter) - 4:03
3. We Found Love (feat: Calvin Harris) (Calvin Harris) - 3:35
4. Talk That Talk (feat: Jay-Z) (Sean Combs, Esther Dean, M.S. Eriksen, T.E. Hermansen) - 3:30
5. Cockiness (Love It) (S. Crawford, Candice Pillay, Rihanna) - 2:58
6. Birthday Cake (Terius Nash, Rihanna) - 1:18
7. We All Want Love (Esther Dean, K. Randolph) - 3:57
8. Drunk on Love (Esther Dean, M.S. Eriksen, T.E. Hermansen) - 3:32
9. Roc Me Out (Esther Dean, M.S. Eriksen, T.E. Hermansen) - 3:29
10. Watch N' Learn (A. Jackson, Priscilla Renea, Rihanna) - 3:31
11. Farewell (Esther Dean, A. Grant) - 4:17
Besetzung: Alex da Kid: producer (11)
; Mike Anderson: engineer (4, is 8, 9)
; Calvin Bailiff: assistant mix engineer (6, 12)
; Alejandro Barajas: assistant vocal engineer (1, 3, 8)
; Nuno Bettencourt: guitar (14)
; Tim Blacksmith: executive producer (4, 8, 9)
; Jay Brown: A&R
; Chase: producer (12)
; Cirkut: producer, instrumentation, and programming (1, 2, 14)
; Ernest Tuo Clark — producer (6)
; Carol Corless: package production
; Shondrae "Mr. Bangladesh" Crawford: producer, instrumentation, and programming (5)
; Danny D.: executive producer (4, 8, 9)
; Kevin "KD" Davis: mixing (6, 12)
; Ester Dean: producer (14)
; Aubry "Big Juice" Delaine: engineer (1, 2, 14)
; Mikkel S. Eriksen: producer, engineer, and instrumentation (4, 8, 9)
; Robyn Rihanna Fenty: vocals, executive producer
; Chris Galland: mixing assistant (7, 11, 13)
; Chris Gehringer: mastering
; Serban Ghenea: mixing (1, 2, 14)
; Clint Gibbs: engineer (1, 2, 14)
; Omar Grant: A&R
; John Hanes: mixing engineer (1, 2, 14)
; Kuk Harrell: vocal producer and vocal engineer (all tracks), engineer (12)
; Calvin Harris: producer, engineer, and instruments (2, 3); programming (2); mixing (3)
; Tor Erik Hermansen: producer and instrumentation (4, 8, 9)
; John Hill: instrumentation and programming (1)
; Hit-Boy: producer (10)
; Sam Holland: additional engineering (13)
; Ghazi Hourani: assistant mix engineer (5)
; Jay-Z: rap (4)
; Terese Joseph: A&R
; Rob Kinelski: music engineer (7)
; Damien Lewis: mixing assistant (3)
; Omar Loya: assistant music engineer (7)
; Dr. Luke: producer, programming, and instrumentation (1, 2, 14)
; Tyron Machhausen: makeup
; Erik Madrid: mixing assistant (7, 11, 13)
; Deborah Mannis-Gardner: sample clearance
; Scott Marcus: A&R
; Manny Marroquin: mixing (7, 11, 13)
; Fabian Marasciullo: mixing (5)
; Katie Mitzell: production coordination (1, 2, 14)
; Skylar Mones: music engineer (10)
; Terius "The-Dream" Nash: producer (13), co-producer (6)
; No I.D.: producer (7)
; Mel Ottenberg: wardrobe
; Marcos "Kosine" Palacios — producer (6)
; Ciarra Pardo: art direction, creative director
; Kevin Randolph: keyboards (7)
; Irene Richter: production coordination (1, 2, 14)
; Daniella Rivera: additional and assistant engineer (4, 8, 9)
; JP Robinson: art direction
; Evan Rogers: executive producer
; Jennifer Rosales: assistant vocal engineer (1, 2, 4-14)
; Gabriela Schwartz: marketing
; Chris Sclafani: assistant engineer (1, 2, 14)
; Phil Seaford: assistant mixing engineer (1, 2, 14)
; Jonathan Sher: assistant engineer (1, 2, 14)
; Status: producer (12)
; Ursula Stephens: hair stylist
; Yusef Stephens: hair stylist
; Carl Sturken: executive producer
; Phil Tan: mixing (3, 4, 8, 9)
; Ludovick Tartavel: assistant engineer (13)
; Dan Tobiason: assistant vocal engineer for Jay-Z (4)
; Abou Thiam: A&R
; Pat Thrall: engineer (13)
; Marcos Tovar: vocal engineer (all tracks), mixing (10), engineer (12)
; TT: assistant vocal engineer (10)
; Ellen von Unwerth: photography
; Miles Walker: engineer (4, 8, 9)
; Eric Wong: marketing
; Steve Wyreman: guitar and bass (7)
; The xx: instrumentation (8)
; Jordan "DJ Swivel" Young: vocal engineer for Jay-Z (4)
; Executive-Producer: Roc Nation
; Executive-Producer [Co-Executive Producer]: Carl Sturken
; Executive-Producer [Co-Executive Producer]: Evan Rogers
; Executive-Producer, Creative Director: Robyn Fenty
; Phonographic Copyright (p) Island Def Jam Music Group
; Copyright (c) Island Def Jam Music Group
; Distributed By Universal Music Corp.
Pusha T [>] [D]: My Name Is My Name [F]
Label und Katalognummer: G.O.O.D. Music B 001870402
Produktion: 88-Keys & Beewirks & DJ Mano & Don Cannon & Glass John & Hudson Mohawke & No I.D. & Nottz & Rico Beats & Sebastian Sartor & Swizz Beatz & The-Dream & Twilite Tone & Kanye West & Pharrell Williams
Veröffentlicht: 2013 10 07
Genretags: Hip-Hop - Traprap
Trackliste: 1. King Push (Brent Kolatalo, Ken Lewis, Sebastian Sartor, Terrence Thornton, Kanye West) - 2:52
2. Numbers on the Boards (Don Cannon, Charles Njapa, Bunny Sigler, Terrence Thornton, Kanye West) - 2:43
3. Sweet Serenade (feat: Chris Brown) (Chris Brown, Terrence Thornton, Kanye West) - 3:39
4. Hold On (feat: Rick Ross) (Terrence Thornton, Kanye West) - 4:45
5. Suicide (feat: Ab-Liva) (Rennard East, Terrence Thornton) - 3:42
6. 40 Acres (feat: The-Dream) (Terrence Thornton) - 4:42
7. No Regrets (feat: Kevin Cossom, Jeezy) (Terrence Thornton, Bobby Yewah) - 4:48
8. Let Me Love You (feat: Kelly Rowland) (Terrence Thornton) - 3:43
9. Who I Am (feat: 2 Chainz, Big Sean) (Terrence Thornton, Kanye West) - 3:41
10. Nosetalgia (feat: Kendrick Lamar) (Malcolm McLaren, Terrence Thornton, Kanye West) - 3:36
11. Pain (feat: Future) (Terrence Thornton, Kanye West) - 4:10
12. S.N.I.T.C.H. (feat: Pharrell Williams) (Terrence Thornton, Pharrell Williams) - 4:03
Besetzung: A&R: Terius "Dream" Nash
; A&R [For G.O.O.D. Music]: Che Pope
; Art Direction [Donda]: Justin Saunders
; Creative Director [Donda]: Virgil Abloh
; Creative Director [For Pusha T]: Capricorn Clark
; Creative Director [GOOD Music]: Matthew Williams (7)
; Creative Director [Project], Design: Joe Perez
; Design Concept [Cover]: Jesse Kanda
; Design [Assistant]: Geo (22)
; Executive-Producer: Kanye West
; Executive-Producer: Steven Victor
; Executive-Producer: Terrence Thornton
; Management: Steven Victor
; Mastering: Vlado Meller
; Photography: Fabien Montique
; Phonographic Copyright (p) Getting Out Our Dreams, Inc.
; Phonographic Copyright (p) Island Def Jam Music Group
; Copyright (c) Getting Out Our Dreams, Inc.
; Copyright (c) Island Def Jam Music Group
; Manufactured By Universal Music Canada Inc.
; Distributed By Universal Music Canada Inc.
; Recorded At Circle House Studios
; Recorded At Deuce Station
; Recorded At Easy Love Studios
; Recorded At Island Sound Studios, Hawaii
; Recorded At Jungle City Studios
; Recorded At Mean Street Studios
; Recorded At Setai Recording Studios
; Recorded At Silent Sound Studios
; Recorded At Stratosphere Studios
; Recorded At Studio De La Seine
; Recorded At The Spot Studios
; Recorded At Thomas Crown Studio
; Mixed At Deuce Station
; Mixed At No Name Hotel, Paris
; Mixed At No Name Studio, NYC
; Mixed At Setai Recording Studios
; Mixed At Studio De La Seine
; Mixed At The Spot Studios
; Mastered At Masterdisk
; Produced For Cannon Music, LLC
; Produced For Radiokillarecords.com Since 1977
; Produced For Swizz Beatz Productions Inc.
; Produced For Monster Music Group
; Produced For Starlife Ent.
; Produced For Treated Crew
; Produced For Very Good Beats
; Produced For William Victor Management
; Published By Colgems-EMI Music Inc.
; Published By Downtown Music Publishing
; Published By Dust Index
; Published By EMI April Music Inc.
; Published By EMI Blackwood Music Inc.
; Published By Fire Publishing
; Published By Gifted Pearl Music Inc.
; Published By Irving Music, Inc.
; Published By Jeppe Thybo Publishing Designee
; Published By Lil Lulu Publishing
; Published By Nick Marcus Publishing Designee
; Published By Sebastian Sartor Publishing Designee
; Published By Songs Of Peer, Ltd.
; Published By Universal - Polygram International Publishing, Inc.
; Published By Universal Music - Z Tunes LLC
; Published By Universal Music Publishing Ltd.
; Published By Warner-Tamerlane Publishing Corp.
Pop Smoke [>] [D]: Meet the Woo 2 [F]
Label und Katalognummer: Republic Records
Produktion: 08Melo & Axl & CashMoneyAP & CZR Beats & Dez Wright & FalconiJuju on da Beat & Jurij & Othello Beats & Rico Beats & Swirving & WondaGurl & Yamaica & Yoz Beatz
Veröffentlicht: 2020 02 07
Genretags: Hip-Hop - Drill
Trackliste: 1. Invincible - 2:07
2. Shake The Room (feat. Quavo) - 2:45
3. Get Back - 1:48
4. Christopher Walking - 3:10
5. Foreigner (feat. A Boogie Wit Da Hoodie) - 2:41
6. Sweetheart (feat. Fivio Foreign) - 2:36
7. Element - 2:15
8. Armed N Dangerous (Charlie Sloth Freestyle) - 2:26
9. Mannequin (feat. Lil TJay) - 2:40
10. Dreaming - 2:54
11. She Got A Thing - 2:05
12. Dior (Bonus) - 3:36
13. War (Bonus) (feat. Lil TJay) - 3:41
Suchresultate Releases: Treffer bei Besetzung
John Cage [>] [D]: Indeterminacy: New Aspects Of Form In Instrumental And Electronic Music [F]
Assoziierte Acts: David Tudor
Label und Katalognummer: Folkways FT 3704, Smithsonian Folkways 40804
Produktion: Moses Asch & John Cage
Veröffentlicht: 1959, 1992 (Red.)
Genretags: Akademica - Moderne-Klassik - Aleatorik
Trackliste: CD 1
1. John Cage: Indeterminacy, for reader & tapes (collaboration with David Tudor): Part 1 - 23:06
2. Part 2 - 23:02
CD 2
1. Part 3 - 22:14
2. Part 4 - 22:02
Alle Tracks: John Cage.
Besetzung: John Cage: Liner Notes, Producer, Readings
; David Gahr: Photography
; Joe Gastwirt: Remastering
; Carol Hardy: Design
; Mel Kaiser: Engineer
; Anthony Seeger: Reissue Producer
; Leslie Spitz-Edson: Production Coordination
; David Tudor: Performer
; Matt Walters: Production Coordination, Reissue Producer
Les Sauterelles [>] [D]: Les Sauterelles [F]
Assoziierte Acts: Düde Dürst & Toni Vescoli
Label und Katalognummer: Columbia ZPX 10-108
Produktion: Teddy Meier
Veröffentlicht: 1966 11, 1966 09 (Rec.)
Genretags: Rock'n'Roll - Beat - Swiss-Beat
Ambitionierte Platte der «Schweizer Beatles», die nicht aus Repertoire-Stücken bestand, sondern vor allem aus neu eingespielten Coverversionen und aus (nur!) zwei Eigenkompositionen. Das Ziel war nun ein Album wie Revolver einzuspielen. Es stand aber nur ein Studio mit Zweispuraufnahmetechnik zur Verfügung. Die musikalischen Ambitionen machten viele Überspielungen nötig, was man der Platte anhört.
Die LP wurde 2004 als The Complete Columbia Recordings wiederaufgelegt, ergänzt mit Singles und weiteren Aufnahmen der Band.
Trackliste: Seite A
1. Routine (Rolf Antener, Toni Vescoli) - 2:30
2. I'll Feel A Whole Lot Better (Gene Clark) - 2:41
3. Neon City (Bon Scott) - 3:09
4. Cheryl's Goin' Home (Bob Lind) - 2:12
5. Four Strong Winds (Ian Tyson) - 3:09
6. No No No No (Don Fardon, Pip Whitcher) - 2:53
7. I Love How You Love Me (Barry Mann & Larry Kolber) - 2:31
Seite B
1. Desolation Row (Bob Dylan) - 3:23
2. Every Little Thing (Lennon-McCartney) - 2:19
3. Springtime (Toni Vescoli) - 2:08
4. Much Too Much (Pete Townshend) - 2:40
5. Chains Of Love (Jimmy Bishop, Kenneth Gamble) - 2:44
6. She Belongs To Me (Bob Dylan) - 2:42
7. Hey Girl (John Phillips, Michelle Phillips) - 2:07
Besetzung: Drums, Vocals: Düde Dürst
; Guitar [Bass], Vocals: Heinz Ernst
; Guitar [Lead], Vocals: Rolf Antener
; Guitar [Rhythm], Vocals: Toni Vescoli
; Cvergestaltung: Ernst Wir
z
; Marketed By EMI Records (Switzerland) AG
Savages [CH] [>] [D]: The Rolling Cadets Present Opel Kadett 1966 [F]
Label und Katalognummer: General Motors Suisse SA 17-118
Veröffentlicht: 1966, 1965 08 30 (Rec.)
Genretags: Rock'n'Roll - Beat - Swiss-Beat
Trackliste: Seite A
1. Rolling Kadet -
Seite B
1. I Want A Kadett Too -
Alle Tracks: Bruno Spoerri.
Besetzung: Arranged By: Bruno Spoerri
; Hugo Wir
th
; Herbert Zehnder
; Erich Graf
; Ruedi Scheurmann
; Mario Saccani
; Rec.: Schlieren, Studio Wettler at Hotel Salmen
Mood Mosaic [>] [D]: Mood Mosaic [F]
Assoziierte Acts: Mark Wir
tz
Label und Katalognummer: Columbia (EMI) SX 6153, Columbia TWO 160
Produktion: Mark Wir
tz
Veröffentlicht: 1967
Genretags: Traditionalpop - Orchestralpop - Easylistening
Trackliste: Seite A
1. A Touch Of Velvet - A Sting Of Brass (J. Ferdy) -
2. Sunny (Bobby Hebb) -
3. The Yellow Spotted Capricorn (J. Ferdy) -
4. Dreamin' (Barry De Vorzon, Ted Ellis) -
5. Monday, Monday (John Phillips) -
6. The Real Mr. Smith (J. Ferdy) -
Seite B
1. Chinese Chequers (J. Ferdy) -
2. There's No Business Like Monkey Business (J. Ferdy) -
3. If Illsusion Met Fantasy (J. Ferdy) -
4. A Thimble Full Of Puzzles (J. Ferdy) -
5. You Didn't Have To Be So Nice (John Sebastian, Steve Boone) -
6. Watching A Matchstick-Fight (J. Ferdy) -
Besetzung: The Ladybirds: featured
; Mark Wir
tz: arranger, conductor
; Jim Sullivan: electric guitar, acoustic guitar, sitar
; Brian Daly: rhythm guitar
; Nicky Hopkins: piano, harpsichord
; Dave Perkins: bass guitar
; John Baldwin: bass guitar
; Dougie Wright: drums
; Kenny Clare: drums
; Denis Lopez: percussion
Tomorrow [>] [D]: Tomorrow [F]
Label und Katalognummer: Parlophone PCS 7042, EMI 7243 498819
Produktion: Mark P. Wir
tz
Veröffentlicht: 1968 02, 1999 (Reed.)
Genretags: Pop - Progressivepop - Psychedelicpop
Die kurzlebigen Tomorrow waren 1967 als Hausband des wöchentlichen UFO-Clubs in London die Nachfolger von Pink Floyd. Joe Boyd, einer der Betreiber des UFO-Clubs und spätere Produzent für wichtige Folkrock-Acts, bezeichnet in seinen Memoiren (White Bicycles) ein Konzert der Gruppe als Höhepunkt der Sixties (p. 1). Tomorrows einzige reguläre LP ist eines der interesantesten Tondokumente vom psychedelischen Swinging London.
Steve Howe wechselt nach Tomorrow zu Yes und Keith West hatte einen Hit mit Excerpt From A Teenage Opera (= Grocer Jack). Twink schloss sich den Pretty Things in der Zeit um S.F. Sorrow an, gründete dann die Pink Fairies.
Trackliste: Seite A
1. My White Bicycle (Hopkins, Burgess) - 3:17
2. Colonel Brown (Hopkins, Burgess)- 2:51
3. Real Life Permanent Dream (Hopkins) - 3:15
4. Shy Boy (Hopkins, Burgess) - 2:26
5. Revolution (Hopkins, Howe) - 3:48
Seite B
1. The Incredible Journey of Timothy Chase (Hopkins) - 3:17
2. Auntie Mary's Dress Shop (Hopkins, Burgess) - 2:44
3. Strawberry Fields Forever (Lennon, McCartney) - 3:58
4. Three Jolly Little Dwarfs (Hopkins, Burgess) - 2:26
5. Now Your Time Has Come (Hopkins) - 4:51
6. Hallucinations (Hopkins, Burgess) - 2:37
Bonustracks der CD Ausgabe von 1999
1. Claramount Lake - 3:02
2. Real Life Permanent Dream (Alternative Early Mono Version - Previously Unreleased) - 2:24
3. Why - 3:59
4. Revolution (Phased Mono Version) - 3:50
5. Now Your Time Has Come - 3:05
Bonustracks der CD Ausgabe von 1999: The Aquarian Age
1. 10,000 Words In A Cardboard Box - 3:27
2. Good Wizard Meets Naughty Wizard - 4:42
3. Me (Previously Unreleased) - 3:12
Bonustracks der CD Ausgabe von 1999: Keith West
1. On A Saturday - 3:13
2. The Kid Was A Killer - 2:31
3. She - 2:30
4. The Visit - 4:05
Alle Tracks: Keith West (alias Keith Hopkins), Ken Burgess und Steve Howe.
Besetzung: Keith West: vocals
; Steve Howe: guitar
; John \'Junior\' Wood: bass
; John \'Twink\' Alder: percussion
; Mark P. Wir
tz: keyboard
; Engineers: Geoff Emerick, Peter Bown
Grateful Dead [>] [D]: Anthem Of The Sun [F]
Label und Katalognummer: Warner Bros. WS 1749
Produktion: Grateful Dead & David Hassinger
Veröffentlicht: 1968 07 18, 2018 07 13 (Reed.)
Genretags: Rock - Psychedelicrock - Psychedelicfolkrock
Das zweite Album der Band wird dem Live-Erlebnis, das die Gruppe war, eher gerecht. Das Album wurde aus Studio-Aufnahmen und aus Live-Tapes zusammen gemischt.
Trackliste: Seite A
1. That's It For The Other One - 7:40 - a) Cryptical Envelopment (Garcia), b) Quadlibet For Tender Feet (Jerry Garcia, Bill Kreutzmann, Phil Lesh, Ron McKernan, Bob Weir), c) The Faster We Go, The Rounder We Get (Bill Kreutzmann, Bob Weir), d) We Leave The Castle (Tom Constanten)
2. New Potato Caboose (Phil Lesh, Robert Peterson) - 8:26
3. Born Cross-Eyed (Bob Weir) - 2:04
Seite B
1. Alligator (Phil Lesh, Ron McKernan, Hunter) - 11:20
2. Caution (Do Not Stop On Tracks) (Jerry Garcia, Kreutzmann, Phil Lesh, McKernan, Bob Weir) - 9:37
Bonustracks der Wiederauflage von 2018: 1971 Mix
1. That's It For The Other One - 7:40 - a) Cryptical Envelopment (Garcia), b) Quadlibet For Tender Feet (Jerry Garcia, Bill Kreutzmann, Phil Lesh, Ron McKernan, Bob Weir), c) The Faster We Go, The Rounder We Get (Bill Kreutzmann, Bob Weir), d) We Leave The Castle (Tom Constanten)
2. New Potato Caboose (Phil Lesh, Robert Petersen) - 8:27
3. Born Cross-Eyed (Bob Weir) - 2:26
4. Alligator (Phil Lesh, Robert Hunter, Ron 'Pigpen' McKernan) - 11:24
5. Caution (Do Not Stop On Tracks) (Bill Kreutzmann, Mickey Hart, Ron 'Pigpen' McKernan) - 8:57
CD 2: Live At Winterland San Francisco, CA 10/22/67
1. Morning Dew (Bonnie Dobson, Tim Rose) - 7:38
2. New Potato Caboose (Phil Lesh, Robert Petersen) - 9:49
3. It Hurts Me Too (Elmore James, Marshall E. Sehorn) - 4:16
4. Cold Rain And Snow (Traditional) - 3:16
5. Turn On Your Lovelight (Deadric Malone, Joseph Scott) - 12:16
6. Beat It On Down The Line (Jesse Fuller) - 2:58
7. That's It For The Other One a) Cryptical Envelopment (Garcia), b) The Other One (Weir, Kreutzmann), c) Cryptical Envelopment (Garcia) - 14:47
Besetzung: Dave Collins: Pre-Mastering Assistant
; Tom Constanten: Electronic Tape, Piano, Prepared Piano
; Jerry Garcia: Guitar, Guitar (Acoustic), Kazoo, Vibraslap, Vocals
; Joe Gastwirt: Pre-Mastering
; Grateful Dead: Arranger
; Mickey Hart: Bells, Chimes, Crotale, Cymbals, Drums, Finger Cymbals, Gong, Orchestra Bells, Piano, Prepared Piano
; Dan Healy: Executive Engineer
; Bill Kreutzmann: Bells, Chimes, Crotale, Cymbals, Drums, Finger Cymbals, Gong, Orchestra Bells, Piano, Prepared Piano
; Phil Lesh: Bass, Guiro, Harpsichord, Kazoo, Piano, Timbales, Timpani, Trumpet, Vocals
; Bob Matthews: Assistant Engineer
; Ron \'Pigpen\' McKernan: Celeste, Claves, Keyboards, Organ, Vocals
; Ed Thrasher: Art Direction
; Bill Walker: Cover Art, Illustrations
; Bob Weir: Guitar, Guitar (12 String), Guitar (Acoustic), Guitar (Rhythm), Kazoo
; Tom Weir: Photography
Carole King [>] [D]: Writer [F]
Label und Katalognummer: Ode SP 77006
Produktion: John Fischbach
Veröffentlicht: 1970 05
Genretags: Rock - Singer-Songwriter
Trackliste: Seite A
1. Spaceship Races - 3:09
2. No Easy Way Down - 4:36
3. Child of Mine - 4:05
4. Goin' Back - 3:19
5. To Love - 3:39
6. What Have You Got to Lose (Gerry Goffin, Carole King, Toni Stern) - 3:33
Seite B
1. Eventually - 5:00
2. Raspberry Jam (Carole King, Toni Stern) - 4:35
3. Can't You Be Real - 2:59
4. I Can't Hear You No More - 2:45
5. Sweet Sweetheart - 2:46
6. Up on the Roof - 3:37
Alle Tracks: Gerry Goffin und Carole King, ausser wo anders vermerkt.
Besetzung: Carole King: Piano, Vocals, Backing Vocals, & Arrangements
; Ralph Schuckett: Organ
; John Fischbach: Moog Synthesizer
; James Taylor: Acoustic Guitar & Backing Vocals
; Daniel Kortchmar: Acoustic Guitar, Electric Guitar, Conga
; Charles Larkey: Fender Bass
; Joel O\'Brien: Drums, Percussion, Vibes
; Abigale Haness and Delores Hall: Backing Vocals
; John Fischbach: Session Producer
; Andrew Berliner: Engineer
; Gerry Goffin: Mixing
; Guy Webster: Cover Photograph
; Tom Neuwirth: Liner Photographs
; Rod Dyer, Paul Bruhwiler: Layout & Design
V. A. (Warner Bros.) [>] [D]: Whole Burbank Catalog [F]
Label und Katalognummer: Warner Bros. PRO 512
Produktion: Verschiedene
Veröffentlicht: 1972 (Ed.)
Genretags: Rock
Die Covergestaltung spielt mit dem Whole Earth Catalogue von Stewart Brand.
Trackliste: Seite A: Funky Fruit
1. No Artist: Sgt. Preston - 1:00
2. Jerry Garcia: The Wheel (Bill Kreutzmann, Jerry Garcia, Robert Hunter) - 4:05
3. Arthur Alexander: It Hurts To Want It So Bad (Charles Feldman, Steve Smith, Tim Smith) - 2:17
4. Allen Toussaint: Fingers And Toes - 4:05
5. Jackie Lomax: Lavender Dream (Jackie Lomax) - 4:08
6. Daddy Cool (5): Eagle Rock (Ross Wilson) - 4:07
Seite B: Heavy Herbs
1. No Artist: Manhattan Merry-Go-Round - 0:55
2. Faces: Memphis (Chuck Berry) - 5:29
3. Malo: Nena (Abel Zarate, Arcelio Garcia, Pablo Tellez) - 6:28
4. Fleetwood Mac: Show Me A Smile (Christine McVie) - 3:19
5. Jethro Tull: Sweet Dream (Terry Ellis) - 4:04
6. Alice Cooper: Be My Lover (Michael Bruce) - 3:15
Seite C: Wondrous Weeds
1. No Artist: Inner Sanctum (Slightly Abridged) - 0:50
2. T. Rex: Bang A Gong (Marc Bolan) - 4:24
3. Captain Beefheart: Click Clack - 3:31
4. Halfnelson: Biology 2 (Earle Mankey) - 3:00
5. Seals & Crofts: Sudan Village (Seals & Crofts) - 4:08
6. Todd Rundgren: A Long TIme, A Long Way To Go - 2:12
7. America: Sandman - 5:03
Seite D: Hardy Perennials
1. No Artist: The Lone Ranger (Abridged) - 1:39
2. Walter Carlos: William Tell Overture - 1:17
3. Little Jerry And The Monotones: Mad! (Jeffrey Moss) - 2:23
4. Ry Cooder: Money Honey (Jesse Stone) - 3:28
5. Bonnie Raitt: Big Road (Tommy Johnson) - 3:31
6. William Truckaway: Bluegreens - 2:42
7. Ramblin' Jack Elliott: How Do Ya Do (Woody Guthrie) - 4:25
8. Kenny Young: Simple Joys (Kenny Young) - 3:12
9. a) Arlo Guthrie: Ukelele Lady (Gus Kahn, Richard Whiting) - 3:30, b) Unknown Artist: Untitled -
Besetzung: Compiled By: Barry Hansen
; Liner Notes [Annotation]: Alison Wickwire
; Liner Notes [Annotation]: Carol Powers
; Liner Notes [Annotation]: John Mendelsohn
; Liner Notes [Annotation]: Pete Johnson (12)
; Phonographic Copyright (p) Warner Bros. Records Inc.
; Copyright (c) Warner Bros. Records Inc.
; Pressed By Columbia Records Pressing Plant, Santa Maria
Judy Collins [>] [D]: Colors Of The Day: The Best Of Judy Collins [F]
Label und Katalognummer: Elektra EKS 75030
Produktion: Mark Abramson & David Anderle
Veröffentlicht: 1972 (Ed.), 1970-66 (Rec.)
Genretags: Folk - Urbanfolk - American-Folkmusic-Revival
Trackliste: Seite A
1. Someday Soon (Ian Tyson) - 3:44
2. Since You Asked (Judy Collins) - 2:33
3. Both Sides Now (Joni Mitchell) - 3:14
4. Sons Of (Eric Blau, Jacques Brel, Gerard Jouannest, Mort Shuman) - 2:26
5. Suzanne (Leonard Cohen) - 4:24
6. Farewell to Tarwathie (Traditional) - 5:31
Seite B
1. Who Knows Where the Time Goes (Sandy Denny) - 4:40
2. Sunny Goodge Street (Donovan) - 2:56
3. My Father (Judy Collins) - 5:02
4. Albatross (Judy Collins) - 4:50
5. In My Life (Lennon/McCartney) - 2:53
6. Amazing Grace (Traditional) - 4:06
Besetzung: Judy Collins: vocals, guitar, piano, keyboards, liner notes
; Joshua Rifkin: arranger, conductor
; Mastered by Joe Gastwirt, Steve Hoffman, Andy Paley
; Engineered by John Haeny
; Photography by Bettey Beaird
; Jac Holzman: production supervisor
Gerry Goffin [>] [D]: It Ain't Exactly Entertainment [F]
Label und Katalognummer: Adelphi Records Inc. AD 4102
Produktion: Gerry Goffin & Barry Goldberg & Gene Rosenthal
Veröffentlicht: 1973
Genretags: Rock - Corporate-Rock - Westcoast
Gerry Goffin macht hier einen auf Dylan, aber nicht schlecht!
Trackliste: Seite A
1. Down On The Street (Barry Goldberg, Charles Larkey, Gerry Goffin) - 2:28
2. Reverend Bottom's Tojo Saloon (Barry Goldberg, Gerry Goffin) - 5:16
3. Cherokee Medicine (Barry Goldberg, Gerry Goffin) - 5:29
4. Chicago (You) (Barry Goldberg, George Lopez, Gerry Goffin) - 8:10
5. Sail Away Ladies (Traditional) - 1:21
Seite B
1. Maryland Again (Barry Goldberg, Gerry Goffin) - 4:10
2. Last Cha Cha On Jackson Highway (Barry Goldberg, Gerry Goffin, Russ Titelman) - 3:20
3. It's Not The Spotlight (Barry Goldberg, Gerry Goffin) - 4:23
4. It's Alright To Be Alive (Barry Goldberg, Gerry Goffin) - 4:25
5. Everything And Nothing (Barbara Behling, Barry Goldberg, Gerry Goffin) - 3:59
Seite C
1. Set Job (Barry Goldberg, Gerry Goffin, Pete Carr) - 12:31
2. What Am I Doin' Here (Barry Goldberg, Gerry Goffin) - 4:44
3. Sister Henry (Barry Goldberg, Gerry Goffin, Russ Titelman) - 4:40
Seite D
1. Your Precious Ears (Barry Goldberg, Gerry Goffin) - 2:50
2. Honorable Peace (Barry Goldberg, Gerry Goffin) - 4:59
3. Rainy Day Flying (Barry Goldberg, Gerry Goffin) - 4:16
4. Zebulon Pike (Barry Goldberg, Gerry Goffin) - 4:54
Besetzung: Acoustic Guitar: Eddie Hinton
; Acoustic Guitar: Pete Carr
; Backing Vocals: Barry Goldberg
; Backing Vocals: George Soule
; Backing Vocals: Jack McMahon
; Backing Vocals: Jeanie Greene
; Backing Vocals: Laura Struzick
; Backing Vocals: Ronald Eades
; Backing Vocals: Suzie Storm
; Banjo: Max Palmer
; Banjo: Pete Carr
; Baritone Saxophone: Ronald Eades
; Bass: Jerry Masters
; Clarinet: Sonny Royal
; Design [Album]: G.L. Moore
; Design [Help]: Gerry Goffin
; Drums: Jimmie Evans
; Electric Guitar: Clayton Ivey
; Electric Guitar: Eddie Hinton
; Electric Guitar: Pete Carr
; Engineer [Remixing]: Bernie Kirsh
; Engineer [Remixing]: Dick Shapiro
; Engineer [Remixing]: George Lopez
; Engineer [Remixing]: Harry Maslin
; Engineer [Remixing]: Steve Weinberg
; Engineer [Remixing]: Tom Hummer
; Fiddle: Al Lester
; Flugelhorn: Stacy Goss
; Flute: Sonny Royal
; Flute: Stacy Goss
; Harmonica: Eddie Hinton
; Keyboards: Barry Goldberg
; Keyboards: Clayton Ivey
; Keyboards: Paul Hornsby
; Mastering: Joe Gastwirt
; Mastering: José Rodriguez
; Percussion: Jimmie Evans
; Photography: G.L. Moore
; Photography: Gene Rosenthal
; Photography [Liner]: Gerry Goffin
; Recording: Jerry Masters
; Recording: Mickey Buckins
; Recording: Rick Rushing
; Recording: Steve Melton
; Tenor Saxophone: Harvey Thompson
; Tenor Saxophone: Sonny Royal
; Trumpet: Stacy Goss
; Vocals: Gerry Goffin
; Recorded At Muscle Shoals Sound Studios
; Recorded At Fame Recording Studios
; Mixed At Electric Lady Studios
; Mixed At The Hit Factory
; Published By Screen Gems-Columbia Music, Inc.
; Mastered At Mediasound
Barbra Streisand [>] [D]: And Other Musical Instruments [F]
Label und Katalognummer: Columbia PC 32655
Produktion: Dwight Hemion & Gary Smith
Veröffentlicht: 1973 11 02 (Rec.)
Genretags: Pop - Vocalpop
Website der TV-Show
Trackliste: Seite A
1. Piano Practicing (Lan O'Kun) - 2:27
2. I Got Rhythm (George Gershwin, Ira Gershwin) - 1:24
3. Johnny One Note/One Note Samba (Lorenz Hart, Jon Hendricks, Antonio Carlos Jobim, Newton Mendonça, Richard Rodgers) - 3:40
4. Glad to Be Unhappy (Lorenz Hart, Richard Rodgers) - 2:43
5. People (Bob Merrill, Jule Styne) - 1:51
6. Second Hand Rose (Grant Clarke, James F. Hanley) - 0:16
7. Don't Rain on My Parade (Robert Merrill, Jule Styne) - 3:41
Seite B
1. Don't Ever Leave Me (Paul Anka, Jeff Barry, Lillian Clarborne, James Crawford, Ellie Greenwich, Virginia Hensley, Jerome Kern) - 0:41
2. Monologue [Dialogue] - 0:46
3. By Myself (Howard Dietz, Arthur Schwartz) - 1:54
4. Come Back to Me (Burton Lane, Alan Jay Lerner) - 1:38
5. I Never Has Seen Snow (Harold Arlen) - 5:07
6. Lied: Auf Dem Wasser Zu Singen (Franz Schubert) - 1:32
7. The World Is a Concerto/Make Your Own Kind of Music (Barry Mann, Cynthia Weil) - 4:02
8. The Sweetest Sounds (Richard Rodgers) - 2:55
Besetzung: Joe Gastwirt: Digital Remastering, Unknown Contributor Role
; Mort Goode: Liner Notes
; Joe Layton: Associate Producer
; Bill Nuttall: Engineer, Sound Director
; Jack Parnell: Musical Director
; Paul Perlow: Cover Design
; Bill Schnee: Mixing
; Barbra Streisand: Vocals
; Ken Welch: Arranger
; Mitzie Welch: Arranger
; Baron Wolman: Photography
Hardy Hepp [>] [D]: Hardly Healed [F]
Label und Katalognummer: Warner Bros. WB 46 226, Hardy Hepp HH 01-2014
Produktion: Siegfried E. Loch
Veröffentlicht: 1973, 2014 (Reed.)
Genretags: Rock - Poprock
– zum Feature von SRF 3 über die Wiederausgabe des Albums auf CD
Trackliste: Seite A
1. Tatanky Yotanka (Hardy Hepp, Sitting Bull) - 6:00
2. Take Care Of My Lady - 3:18
3. Feel Like A Stranger - 3:30
4. Good Day Old Friend - 5:00
5. It's A Nickel For The Fiddler And A Nickel For The Tune - 5:44
6. Lady Of The Evening (CD Bonustrack)
7. High Tide - 4:38
Seite B
1. Blue Mountain - 3:50
2. Another Night Of Boozy Thoughts - 3:42
3. Bound For Switzerland - 4:44
4. Hardly Healed (Hardy Hepp, Don Van Vliet) - 3:08
5. Everyone Deserves A Place In The Sun (CD Bonustrack)
Alle Tracks: Hardy Hepp, ausser wo anders vermerkt.
Besetzung: Arrangements & Orchestrations By George Gruntz, Hardy Hepp
; Hardy Hepp: Vocals, 12-String Guitar, Piano, Violin (pizzicato), Arrangements
; George Gruntz: Electric Piano, Conductor, Arrangements
; David Spinozza: Guitar
; Ron Carter: Bass
; Ralph McDonald: Percussion
; Bernard Purdie: Drums
; John Blair: Violin
; Joe Farrell: Soprano Sax, Flute
; Eddy Daniels: Flute, Soprano Sax, Piccolo Flute, Clarinet
; Seldon Powell: Flute, Tenor Sax, Soprano Sax
; Lew Hahn: Engineer
; Recorded in New York at Atlantic Studios 3. und 4. Januar 1973
; Finnished: 5., 6. und 15. Februar 1973 at Hansa Studios Hamburg & Studio 70 München
; Distributed by WEA Musik GmbH/A Warner Communications Company/ Made in Germany
; Remixed: René Tinner & Düde Dürst at Can Studios Köln 1996
; Cover Art: Ernst Wir
z
; CD Booklet: Lea Hepp
Rumpelstilz [>] [D]: Vogelfuetter [F]
Assoziierte Acts: Polo Hofer
Label und Katalognummer: Schnoutz Records L 750
Produktion: Rumpelstilz
Veröffentlicht: 1975
Genretags: Rock - Progrock
Trackliste: Seite A
1. Muschle (Hofer, Schafer) - 4:00
2. El trabajador (Teil 1) (Güdel) - 6:37
3. El trabajador (Teil 2) (Güdel, Hofer) - 5:54
4. Vogelfuetter Song (Hofer, Schafer) - 3:20
Seite B
1. Potburri (Güdel, Hofer, Schafer) - 12:30
2. a) Parabel (Hofer, Schafer) - 5:10, b) Hab oft im Kreise... (Trad.) - 1:20
Besetzung: Bass: Christian \'Süggu\' Ramseyer
; Chorus: Rumpelsingers
; Congas: Marc Hellmann
; Drums, Percussion, Vocals: Kurt Güdel
; Electric Piano [Fender], Piano [Flügel], Clavinet: Urs Wir
th
; Guitar, Bulbul Tarang, Baglama [Saz], Vocals: René \'Schifer\' Schafer
; Other [Vile ♡ Dank]: Christina Messerli, Christoph Heidelberger, Hans Knecht, Rico Sonderegger
; Arranged By Rumpelstilz
; Recorded By, Effects Peter McTaggart;
; Recorded By, Other [Vile ♡ Dank] Eric Merz
; Synthesizer Haneri Ammann
; Trumpet Johnny Werren
; Vocals, Percussion, Lyrics By, Artwork By [Umschlagzeichnig]: Polo Hofer
; Voice [Ängelstimm] Guillaume Schnoutz
Udo Lindenberg und das Panikorchester [>] [D]: Votan Wahnwitz [F]
Assoziierte Acts: Udo Lindenberg
Label und Katalognummer: Telefunken 6.22223 AS
Produktion: Thomas Kukuck & Udo Lindenberg
Veröffentlicht: 1975 04 15
Genretags: Rock - Poprock - Deutschrock
Trackliste: Seite A
1. Der Dirigent - 1:27
2. Votan Wahnwitz (Peter Herbolzheimer) - 3:45
3. Daniel's Zeitmaschine - 4:30
4. Da war so viel los - 4:26
5. Der Malocher - 3:51
6. Guten Tag, Herr Filmproduzent - 2:05
Seite B
1. O-Rhesus-Negativ - 3:36
2. Elli Pyrelli - 3:50
3. Alles im Lot auf dem Riverboat (Werner Burkhardt) - 3:53
4. Das kann man ja auch mal so sehen (Steffi Stephan, Thomas Kretschmer) - 4:23
5. Jack (Jean-Jacques Kravetz) - 4:12
Alle Tracks: Udo Lindenberg, ausser wo anders vermerkt.
Besetzung: Arranged [Strings, Wind]: Peter Herbolzheimer
; Bass [Basso Fantastico]: Steffi Stephan
; Choir [Der Kinderchor]: Ur-Schrei
; Conductor [Kinderchor Ur-Schrei]: Samuel Stimmbruch
; Drums [Schlagzeugo Bombastico]: Dieter Ahrendt
; Drums [Schlagzeugo Bombastico]: Keith Forsey
; Drums [Schlagzeugo Bombastico]: Udo Lindenberg
; Featuring [Ferner Wir
ken Mit, Coloratursopran]: Rale Oberpichler
; Featuring [Ferner Wir
ken Mit]: Dieter Horns
; Featuring [Ferner Wir
ken Mit]: Ede Wolf
; Featuring [Ferner Wir
ken Mit]: Elli Pyrelli
; Featuring [Ferner Wir
ken Mit]: Inga Rumpf
; Featuring [Ferner Wir
ken Mit]: Jean-Jacques Kravetz
; Featuring [Ferner Wir
ken Mit]: Peter Hesslein
; Featuring [Ferner Wir
ken Mit]: Rainer Rubink
; Guitar [Gitarra Forte]: Helmuth Franke
; Guitar [Gitarra Forte]: Thomas Kretschmer
; Mastering: Gerhard Schulze
; Photography: Michael von Gimbut
; Piano [Piano Forte]: Gottfried Böttger
; Sounds [Unterwasser-Sounds]: Bernie Flottmann
; Sounds [Unterwasser-Sounds]: Norbert Nautikus
; Strings [Die Streicher Des Kölner Gürzenich-Orchesters]: Gürzenich-Orchester Kölner Philharmoniker
; Synthesizer: Albert Alptraum
; Synthesizer: Gerhard Gösebrecht
; Vocals: Udo Lindenberg
; Wind [Das Dixieland Gebläse Von]: Bruno\'s Salon Band
; Wind [Die Abhebe-Bläsercrew Von Peter Herbolzheimer]: Peter Herbolzheimer Rhythm Combination & Brass
; Record Company TELDEC »Telefunken-Decca« Schallplatten GmbH
; Manufactured By TELDEC »Telefunken-Decca« Schallplatten GmbH
; Pressed By Teldec-Press GmbH
; Recorded At TELDEC-Studio, Hamburg
; Recorded At Rüssl Studio
; Recorded At Dierks Studios
; Recorded At Windrose Studios
; Mastered At TELDEC-Studio, Hamburg
Label und Katalognummer: CTI Records CTI 5002
Produktion: Harvey Mason
Veröffentlicht: 1976
Genretags: Rock - Jazzrock
Trackliste: Seite A
1. We Got A Way - 3:35
2. You Gotta Be Willin' To Lose (Part II) - 3:41
3. He Loves You - 4:57
4. The Devil Is A Liar - 4:35
5. A Love Song / Seawind - 5:45
Seite B
1. Make Up Your Mind - 4:14
2. Praise (Part I) - 6:08
3. Roadways (Parts I & II) - 9:01
Besetzung: Congas, Percussion: Paulinho Da Costa
; Congas, Percussion: Ralph MacDonald
; Design [Album]: Rene Schumacher
; Drums, Percussion, Tom Tom [Remo Roto-toms]: Bob Wilson
; Electric Bass [Fender], Acoustic Bass, Vocals: Ken Wild
; Electric Guitar, Guitar [Steel-string Acoustic], Guitar [Nashville], Vocals: Bud Nuanez
; Engineer [("he Loves You")]: Joan DeCola
; Engineer [("he Loves You")]: Phil Schier
; Engineer [Assistant - Chateau Recorders]: Frank Fisher
; Engineer [Assistant - Record Plant]: Mike Beiriger
; Engineer [Assistant - Record Plant]: Rick Smith
; Mixing: Phil Schier
; Photography [Cover]: White Gate
; Photography [Liner]: Douglas Kirkland
; Piano [Yamaha Grand], Electric Piano [Fender Rhodes], Synthesizer [Arp String Ensemble], Synthesizer [Arp Odyssey], Synthesizer [Arp 2600], Synthesizer [Oberheim Polyphonic], Synthesizer [Hohner Clavinet], Saxophone [Alto], Saxophone [Tenor], Flute [Alto], Vocals: Larry Williams
; Producer [Associate]: Bob Wir
tz
; Soprano Saxophone [Yamaha], Alto Saxophone, Tenor Saxophone, Baritone Saxophone, Recorder [Yamaha Soprano], Vocals: Kim Hutchcroft
; Synthesizer [Programming]: Ian Underwood
; Timpani [Tympani], Congas, Percussion, Backing Vocals [Background Vocals], Arranged [Creative Sweeting Arrangements]: Harvey Mason
; Trumpet, Flugelhorn, French Horn [Yamaha], Vocals: Jerry Hey
; Vocals, Percussion: Pauline Wilson
; Recorded At Record Plant
; Recorded At Chateau Recorders
; Mixed At Record Plant
; Mastered At A&M Studios
; Phonographic Copyright (p) Creed Taylor, Inc.
; Copyright (c) Creed Taylor, Inc.
; Published By Seawind Music Inc.
; Published By Sojourn Music
; Published By Beaner Music
; Published By Masong Music
Skibbereen [>] [D]: Skibbereen [F]
Assoziierte Acts: Kathryn Gurewitsch & Max Lässer
Label und Katalognummer: Image U 764-001
Produktion: Bruno Spoerri & August P. Villiger
Veröffentlicht: 1976
Genretags: Rock - Folkrock
Skibbereen ist ein irisches Städtchen im Südwesten der Insel. Die Gegend wurde während dem Kalten Krieg einmal als der sicherste Ort Europas im Fall eines Nuklearkriegs erklärt. Sogar der schweizerische Geheimdienst kaufte in Skibbereen ein Anwesen (siehe: NZZ-Artikel. Dieses Anwesen ging in den Besitz des Galleristen in der Mühle Tiefenbrunnen Veith Turske. Dieser vermietete das Anwesen an viele bekannte Popmusiker/-innen. z.B. Bono oder Patti Smith haben dort residiert.
Trackliste: Seite A
1. Ye Mariners All - 3:10
2. Go From My Window - 2:40
3. Muddle - 3:00
4. The Beggar - 2:40
5. Long-A-Growing - 4:30
6. Benjamin Bowmaneer - 4:50
Seite B
1. High Barbaree - 5:25
2. The Humors Of Donny Brook - 3:30
3. Lord Of The Dance - 3:05
4. Kerry Slide Jig - 3:40
5. Old Changing Way - 5:10
Besetzung: Cover, Photography: Ernst Wir
z
; Electric Guitar, Acoustic Guitar, Bass Guitar, Cello, Vocals: Ruedi Hoppler
; Electric Guitar, Acoustic Guitar, Bass, Vocals: Max Lässer
; Fiddle, Mandolin, Concertina, Flute, Spoons, Bass, Vocals: Roland Ambühl
; Recording: Bruno Spoerri
; Vocals, Guitar, Mandolin, Fiddle, Bodhrán: Erwin Bucher
; Vocals, Harmonium, Bodhrán, Bells: Kathryn Gurewitsch
; Drums: Drums – Düde Dürst (A1, A5, B1, B4, B5)
Townes Van Zandt [>] [D]: Live At The Old Quarter, Houston, Texas [F]
Label und Katalognummer: Tomato TOM 7001
Produktion: Earl Willis
Veröffentlicht: 1977 (Ed.), 1973 07 (Rec.)
Genretags: Rock - Folkrock
Trackliste: Seite A
1. Announcement (Travis) - 0:45
2. Pancho & Lefty - 4:07
3. Mr. Mudd & Mr. Gold - 3:40
4. Don't You Take It Too Bad - 2:57
5. Two Girls - 3:52
6. Fraternity Blues - 3:07
7. If I Needed You - 3:18
Seite B
1. Brand New Companion - 4:20
2. White Freight Liner Blues - 3:26
3. To Live Is to Fly - 3:20
4. She Came and She Touched Me - 4:09
5. Talking Thunderbird Blues - 2:33
6. Rex's Blues - 3:05
7. Nine Pound Hammer (Travis) - 3:05
Seite C
1. For the Sake of the Song - 4:48
2. Chauffeur's Blues (Hopkins) - 4:33
3. No Place to Fall - 3:08
4. Loretta - 2:26
5. Kathleen - 2:54
6. Why She's Acting This Way - 5:43
Seitre D
1. Cocaine Blues (Traditional) - 3:20
2. Who Do You Love? (McDaniel) - 3:44
3. Tower Song - 3:47
4. Waiting 'Round to Die - 2:35
5. Tecumseh Valley - 4:29
6. Lungs - 2:34
7. Only Him or Me - 2:42
Alle Tracks: Townes Van Zandt, ausser wo anders vermerkt.
Besetzung: Acoustic Guitar, Vocals: Townes Van Zandt
; Design: Milton Glaser
; Engineer: Benny Young
; Engineer: Earl Willis
; Lacquer Cut By: Joe Gastwirt
; Liner Notes: Earl Willis
; Photography: Steve Salmieri
; Copyright (c) Tomato
; Record Company The Tomato Music Company, Ltd.
; Recorded At The Old Quarter
; Mixed At Northwestern Sound Studios
; Edited At Northwestern Sound Studios
; Mastered At Mediasound
; Lacquer Cut At Masterdisk
; Published By Columbine Music Inc.
; Published By United Artists Music Co., Inc.
; Published By Silver Dollar Music, Inc.
Crosby, Stills And Nash [>] [D]: CSN [F]
Assoziierte Acts: David Crosby & Graham Nash & Stephen Stills
Label und Katalognummer: Atlantic SD 19104
Produktion: Howard Albert & Ron Albert & David Crosby & Graham Nash & Stephen Stills
Veröffentlicht: 1977 06 17
Genretags: Rock - Corporate-Rock - Westcoast
Trackliste: Seite A
1. Shadow Captain (Crosby, Craig Doerge) - 4:32
2. See the Changes (Stills) - 2:56
3. Carried Away (Nash) - 2:29
4. Fair Game (Stills) - 3:30
5. Anything at All (Crosby) - 3:01
6. Cathedral (Nash) - 5:15
Seite B
1. Dark Star (Stills) - 4:43
2. Just a Song Before I Go (Nash) - 2:12
3. Run from Tears (Stills) - 4:09
4. Cold Rain (Nash) - 2:32
5. In My Dreams (Crosby) - 5:10
6. I Give You Give Blind (Stills) - 3:21
Besetzung: vocals, guitars, string arrangements
; Stephen Stills: vocals, guitars, bass, piano, keyboards, timbales, slide guitar, string arrangements
; Graham Nash: vocals, guitar, harmonica, keyboards, string arrangements
; Ray Barretto: percussion, congas
; Mike Finnigan: organ, keyboards
; Joe Vitale: synthesizer, flute, percussion, drums, keyboards, tympani, vibraphone
; Jimmy Haslip: bass
; Craig Doerge: piano, keyboards, electric piano, vocals
; Tim Drummond: bass
; Gerald Johnson: bass
; George Perry: bass
; Russ Kunkel: percussion, conga, drums
; Mike Lewis: arranger, string arrangements
; Howard Albert: producer, engineer
; Ron Albert: producer, engineer
; Steve Gursky: assistant engineer
; Joel Bernstein: string arrangements, photography
; Gary Burden: art direction, design
; Joe Gastwirt: digital remastering
Talking Heads [>] [D]: Talking Heads: 77 [F]
Assoziierte Acts: David Byrne
Label und Katalognummer: Sire SR 6036, Rhino R2 76449
Produktion: Tony Bongiovi & Lance Quinn & Talking Heads
Veröffentlicht: 1977 09 16, 2006 01 16 (Reed.)
Genretags: Rock - Punkrock - Artpunk
David Byrne spricht von der Produktion dieses ersten Albums der Band als einer unglücklichen Erfahrung. Das Hauptproblem bestand darin, dass das kompakte Zusammenspiel zwischen den Musikern durch die herrschenden Produktionsstandards der Zeit (Mehrspur-Aufnahmeverfahren) auseinandergerissen wurde. Die Band klang völlig anders als auf der Bühne (siehe: David Byrne: How Music Works, p. 141 ff.). Stellenweise scheint das Album näher beim AOR-Sound seiner Zeit zu liegen als bei der New Wave. Das Markenzeichen der Talking Heads, der motorisch-funkige Rhythmus, spielt noch ganz verhalten und gehemmt.
Trackliste: 1. Uh-Oh, Love Comes to Town - 2:48
2. New Feeling - 3:09
3. Tentative Decisions - 3:04
4. Happy Day - 3:55
5. Who Is It? - 1:41
6. No Compassion - 4:47
7. The Book I Read - 4:06
8. Don't Worry About the Government - 3:00
9. First Week/Last Week ... Carefree - 3:19
10. Psycho Killer (Byrne, Chris Frantz, Tina Weymouth) - 4:19
11. Pulled Up - 4:29
Bonustracks der CD Ausgabe von 2006
1. Love ➞ Building on Fire - 2:57
2. I Wish You Wouldn't Say That - 2:36
3. Psycho Killer (Acoustic) - 4:30
4. I Feel It in My Heart - 3:19
5. Sugar on My Tongue - 2:36
Alle Tracks: David Byrne, ausser wo anders vermerkt.
Besetzung: David Byrne: guitar player, singer, bells (Bonus 1)
; Jerry Harrison: guitar and keyboard player, 2nd singer (does not appear on Bonus 1 und 5)
; Martina Weymouth: bass player
; Chris Frantz: drummer; tambourine (Bonus 1)
; Brad Baker, Lance Quinn: horn arrangement (Bonus 1)
; Arthur Russell: cello (Bonus 3)
; Ed Stasium: engineer
; Joe Gastwirt: mastering
; T. Erdelyi: associate producer (Bonus 1)
; Mark Spector: producer (Bonus 5)
Label und Katalognummer: Harvest SHSP 4076, Harvest 8 29846
Produktion: Mike Thorne
Veröffentlicht: 1977 11, 1994 07
Genretags: Rock - Punkrock - London-Punk
– zum Buch über dieses Album von Wilson Neate
Trackliste: Seite A
1. Reuters - 3:03
2. Field Day for the Sundays - 0:28
3. Three Girl Rhumba - 1:23
4. Ex Lion Tamer - 2:19
5. Lowdown - 2:26
6. Start to Move - 1:13
7. Brazil - 0:41
8. It's So Obvious - 0:53
9. Surgeon's Girl - 1:17
10. Pink Flag - 3:47
Seite B
1. The Commercial - 0:49
2. Straight Line - 0:44
3. 106 Beats That - 1:12
4. Mr. Suit - 1:25
5. Strange - 3:58
6. Fragile - 1:18
7. Mannequin - 2:37
8. Different to Me (Annette Green) - 0:43
9. Champs - 1:46
10. Feeling Called Love - 1:22
11. 12 X U - 1:55
Bonustracks der CD Ausgabe von 1994
1. Dot Dash - 2:25
2. Options R - 1:36
Alle Tracks: Bruce Gilbert, Robert Gotobed, Graham Lewis und Colin Newman.
Besetzung: Art Direction: Dave Dragon
; Bass: Graham Lewis
; Drums: Robert Gotobed
; Engineer: Paul Hardiman
; Engineer [Assistant]: Ken Thomas
; Guitar: Bruce Gilbert
; Mastering: Chris Blair
; Photography [Colin]: Richard Bray
; Photography [Front Cover, Robert Gotobed, B. C. Gilbert]: Annette Green
; Photography [Lewis]: Lynda House
; Sleeve [Sleeve Concept]: Bruce Gilbert
; Sleeve [Sleeve Concept]: Graham Lewis
; Vocals: Colin Newman
; Copyright (c) Wir
e (3)
; Phonographic Copyright (p) EMI Records Ltd.
; Recorded At Advision Studios
; Manufactured By EMI Records
Don Downing [>] [D]: Doctor Boogie [F]
Label und Katalognummer: RS International RSIL 100 A
Produktion: Tony Bongiovi
Veröffentlicht: 1978
Genretags: Disco - Popdisco
Trackliste: Seite A
1. Dream World (Casey Spencer, Douglas Bright) - 5:35
2. Lonely Days, Lonely Nights (Don Downing) - 4:25
3. Doctor Boogie (Gary Knight, Gene Allan) - 5:23
Seite B
1. I Don't Love You Like I Used To (Moe Daniel, Preston Fisher, Robert Lance Quinn) - 3:38
2. Playtime (Al Downing, Michael Lee, Moe Daniel, Preston Fisher, Robert Lance Quinn) - 4:17
3. Sugar & Spice (Moe Daniel, Preston Fisher, Robert Lance Quinn) - 3:21
4. Love Doctor (Michael Lee, Moe Daniel, Preston Fisher, Robert Lance Quinn) - 3:35
5. Half Past Love (Gene Hall, Gary Knight) - 3:23
Besetzung: Recorded At Power Station
; Mastered At Masterdisk
; Arranged By Brad Baker (B2, B3, B4), Dave Vanderpitte (A3, B1, B4), Meco Monardo (A1, A2), Moe Daniel (B2)
; Art Direction: Sid Maurer
; Bass: Babbitt, Wilbur Bascomb
; Design: Jim O\'Connell, Michael Mendel
; Drums: Alan Schwartzberg, Jimmy Young
; Engineer: Bob Clearmountain, Don Berman, Neil Dorfsman
; Engineer [Mastering]: Joe Gastwirt
; Guitar: Jeff Miranov, Jerry Friedman, Lance Quinn
; Percussion: Jimmy Maelen
; Photography By Hal Wilson
; Piano: Pat Rebillot
Sylvester [>] [D]: Step II [F]
Assoziierte Acts: Patrick Cowley
Label und Katalognummer: Fantasy F 9556
Produktion: Harvey Fuqua & Sylvester
Veröffentlicht: 1978
Genretags: Disco - Popdisco - Hi-NRG
Trackliste: Seite A
1. You Make Me Feel (Mighty Real) (James Wir
rick, Sylvester) - 6:30
2. Dance (Disco Heat) (Eric Robinson, Victor Orsborn) - 5:50
3. You Make Me Feel (Mighty Real) (Epilogue) - 3:19
Seite B
1. Grateful (Michael Finden, Sylvester) - 3:27
2. I Took My Strength From You (Bacharach And David) - 7:16
3. Was It Something That I Said (Harvey Fuqua, Sylvester) - 4:15
4. Just You And Me Forever (Eric Robinson, Victor Orsborn) - 4:31
Besetzung: Arranged [Strings And Horns]: Leslie Drayton
; Art Direction: Phil Carroll
; Backing Vocals: Izora Armstead
; Backing Vocals: Martha Wash
; Bass: Bob Kingson (A1 to B3)
; Concertmaster, Contractor [String Contractor]: Charles Veal Jr.
; Contractor [Horn Contractor]: George Bohanon
; Design: Dennis Gassner
; Drums: Randy Merritt (A1 to B3)
; Engineer [Assistant]: Wally Buck
; Engineer [Recording]: Buddy Bruno
; Engineer [Recording]: Eddie Bill Harris
; Guitar: James Wir
rick
; Lead Vocals, Piano [Acoustic]: Sylvester
; Mastering [Mastering]: George Horn
; Organ, Electric Piano, Clavinet: Michael Finden
; Percussion: David Frazier
; Photography: Phil Bray
; Producer [Associate]: Nancy C. Pitts
; Remix: Eddie Bill Harris
; Synthesizer [String, Electro-comp 101 And 200 Models, Oberheim Ds-2 Sequencer], Effects [Special Effects]: Patrick Cowley
; Phonographic Copyright (p) Fantasy Records
; Copyright (c) Fantasy Records
; Recorded At Fantasy Studios
; Recorded At Conway Studios
; Recorded At Clark-Brown Audio
; Mixed At Fantasy Studios
; Mastered At Kendun Recorders
; Pressed By Columbia Records Pressing Plant, Terre Haute
; Produced For Honey Records Productions
Cissy Houston [>] [D]: Think It Over [F]
Label und Katalognummer: Private Stock PS 7015
Produktion: Michael Zager
Veröffentlicht: 1978 06
Genretags: Afroamericana - Soul
Trackliste: Seite A
1. Think It Over (Alvin Fields, Cissy Houston, Michael Zager) - 6:00
2. Love Don't Hurt People (Ronald Netsky, Steve Netsky) - 3:01
3. Somebody Should Have Told Me (Cissy Houston, Doug Frank, Doug James) - 4:30
4. After You (Doug Frank, Doug James) - 4:38
Seite B
1. Warning - Danger (Alvin Fields, Cissy Houston, Michael Zager) - 5:56
2. I Just Want To Be With You (Alvin Fields, Michael Zager) - 5:08
3. An Umbrella Song (Alvin Fields, Michael Zager) - 2:58
4. Sometimes (Alvin Fields, Cissy Houston, Michael Zager) - 3:33
5. I Won't Be The One (Alvin Fields, Cissy Houston, Doug Frank) - 3:00
Besetzung: Alto Saxophone: Lenny Hambro
; Arranged [Backing Vocals]: Cissy Houston
; Arranged [Backing Vocals]: Michael Zager (A1 to B1, B3 to B5)
; Arranged, Conductor: Michael Zager
; Art Direction: Abie Sussman
; Backing Vocals: Alvin Fields (A1 to B2, B4, B5)
; Backing Vocals: Beverly Ingram (A3, A4, B2, B4, B5)
; Backing Vocals: Cissy Houston (A1 to B2, B4, B5)
; Backing Vocals: Donny Harper (B2, B5)
; Backing Vocals: Lani Groves (A1, A2, B1)
; Backing Vocals: Whitney Houston (A1 to B2, B4, B5)
; Baritone Saxophone: Ronnie Cuber
; Bass: Francisco Centeno
; Bass Trombone: Jack Jeffers
; Drums: Allan Schwartzberg
; Electric Piano: Michael Zager (B2)
; Engineer [Assistant]: Darroll Gustamachio
; Engineer [Recording, Mixing]: Rick Rowe
; Executive-Producer: Jerry Love
; Guitar: Jeff Mironov
; Harmonica: Michael Chimes (B3)
; Illustration [Cover]: Patrick Nagel
; Keyboards, Synthesizer, Synthesizer [Moog]: Rob Mounsey
; Mastering: Joe Gastwirt
; Percussion: Rubens Bassini
; Photography [Liner]: Claud Van Heuye
; Photography [Sleeve]: Jim Houghton
; Strings: The Alfred Brown String Section
; Trombone: Gerald Chamberlain
; Trumpet, Flugelhorn: Alan Rubin
; Trumpet, Flugelhorn: Burt Collins
; Trumpet, Flugelhorn: John Gatchell
; Trumpet, Flugelhorn: Robert Millikan
; Vibraphone [Vibes]: David Carey
; Voice [Siren]: Jerry Love (B1)
; Recorded At Secret Sound
; Mastered At Masterdisk
; Phonographic Copyright (p) Private Stock Records, Ltd.
; Copyright (c) Private Stock Records, Ltd.
; Pressed By Specialty Records Corporation
Talking Heads [>] [D]: More Songs About Buildings And Food [F]
Assoziierte Acts: David Byrne
Label und Katalognummer: Sire SRK 6058
Produktion: Brian Eno & Talking Heads
Veröffentlicht: 1978 07 14
Genretags: Rock - Punkrock - Artpunk
Dieses Album mit Brian Eno als Produzenten stellt einen grossen Schritt vorwärts dar. Es wurde live im Studio eingespielt, um das Band-Zusammenspiel nun einzufangen. David Byrne schrieb, dass dieses Album nun mehr nach Talking Heads klang, wie sich die Bandmitglieder auf der Bühne selbst hörten. Die Musik klänge dadurch inspirierter (David Byrne: How Music Works, p. 145 f).
Trackliste: Seite A
1. Thank You for Sending Me an Angel - 2:11
2. With Our Love - 3:30
3. The Good Thing - 3:03
4. Warning Sign - 3:55
5. The Girls Want to Be With the Girls - 2:37
6. Found a Job - 5:00
Seite B
1. Artists Only (Byrne, Wayne Zieve) - 3:34
2. I'm Not in Love - 4:33
3. Stay Hungry (Byrne, Chris Frantz) - 2:39
4. Take Me to the River (Al Green, Teenie Hodges) - 5:00
5. The Big Country - 5:30
Alle Tracks: David Byrne, ausser wo anders vermerkt.
Besetzung: David Byrne: singing, guitars, synthesized percussion
; Chris Frantz: drums and percussion
; Jerry Harrison: piano, organ, synthesizer, guitar, background singing
; Tina Weymouth: bass guitar
; Brian Eno: synthesizers, piano, guitar, percussion, background singing
; Tina & the Typing Pool: background singing on \'The Good Thing\'
; ; edit Recording personnel
; Rhett Davies: engineer, mixing
; Benji Armbrister: assistant engineer
; Ed Stasium: mixing on \'Found a Job\'
; Joe Gastwirt: mastering
Andreas Vollenweider [>] [D]: Eine Art Suite in XIII Teilen [F]
Label und Katalognummer: Tages-Anzeiger TLP 8001
Produktion: Andreas Vollenweider
Veröffentlicht: 1979
Genretags: Rock - Corporate-Rock - Progfolk
Trackliste: Seite A
1. I - 3:59
2. II - 3:42
3. III - 2:53
4. IV - 2:36
5. V - 1:59
6. VI - 3:01
Seite B
1. VII - 4:04
2. VIII - 6:44
3. IX - 2:14
4. X - 1:01
5. XI - 2:36
6. XII - 1:28
7. XIII - 2:22
Alle Tracks: Andreas Vollenweider.
Besetzung: Acoustic Guitar, Electric Guitar, Guitar [Pedal Steel]: Max Lässer
; Artwork [Cover Design]: Düde Dürst
; Artwork [Picture Frontcover]: Art Ringger
; Bass: Peter Keiser
; Arranged: Andreas Vollenweider
; Coordinator [Coordination]: Andreas Vollenweider
; Coordinator [Coordination]: Hugo Faas
; Drums, Percussion: Walter Keiser
; Harp, Other [Okarina], Flute [Wooden], Flute [Alto- And Soprano], Saxophone [Soprano], Acoustic Guitar, Synthesizer: Andreas Vollenweider
; Keyboards [Grand Piano]: Philippe Kienholz
; Mastering: Rico Sonderegger
; Mixing: Andreas Vollenweider
; Mixing: Eric Merz
; Photography: Ernst Wir
z
; Photography: Hanna Hepp
; Photography: Steff Wyss
; Recorded At Sinus Studio
Sylvester [>] [D]: Living Proof [F]
Label und Katalognummer: Fantasy F 79010, Fantasy CDSEWD 107
Produktion: Harvey Fuqua & Sylvester
Veröffentlicht: 1979 02, 1990 (Reed.)
Genretags: Disco - Popdisco - Hi-NRG, Afroamericana - Soul
Trackliste: CD Ausgabe von 1990
1. Overture (Michael Finden, Eric Robinson, Sylvester, Tip Wir
rick) - 3:25, a) Grateful, b) You Make Me Feel (Mighty Real), c) Dance (Disco Heat)
2. Body Strong (Michael Finden, Sylvester) - 3:21
3. Blackbird (Lennon-McCartney) - 4:52
4. Medley (Leon Russell) - 5:58, a) Could It Be Magic, b) A Song for You
5. Happiness (Bill Anderson, Allen Toussaint) - 5:59
6. Lover Man (Oh Where Can You Be) (Jimmie Davis, Jimmy Davis, Roger 'Ram' Ramirez, Jimmy Sherman) - 6:10
7. Sharing Something Perfect Between Ourselves - 6:57
8. You Are My Friend (Armstead Edwards, James R. Budd Ellison, Patti LaBelle) - 8:16
9. Dance (Disco Heat) (Eric Robinson) - 11:09
10. You Make Me Feel (Mighty Real) (Sylvester, James Wir
rick) - 10:38
Seite A der Original 2 x 12'' Vinyl Ausgabe
1. Overture (Michael Finden, Eric Robinson, Sylvester, Tip Wir
rick) - 3:25, a) Grateful, b) You Make Me Feel (Mighty Real), c) Dance (Disco Heat)
2. Body Strong (Michael Finden, Sylvester) - 3:21
3. Blackbird (Lennon-McCartney) - 4:52
4. Medley (Leon Russell) - 5:58, a) Could It Be Magic, b) A Song for You
5. Happiness (Bill Anderson, Allen Toussaint) - 5:59
Seite B
1. Lover Man (Oh Where Can You Be) (Jimmie Davis, Jimmy Davis, Roger 'Ram' Ramirez, Jimmy Sherman) - 6:10
2. Sharing Something Perfect Between Ourselves - 6:57
3. You Are My Friend (Armstead Edwards, James R. Budd Ellison, Patti LaBelle) - 8:16
Seite C
1. Dance (Disco Heat) (Eric Robinson) - 11:09
2. You Make Me Feel (Mighty Real) (Sylvester, James Wir
rick) - 10:38
Seite D
1. Can't Stop Dancing - 6:22
2. In My Fantasy (I Want You, I Need You) - 6:30
3. Can't Stop Dancing (Reprise) - 2:56
Besetzung: Terry Adams: Strings
; Patrice Anderson: Strings
; Marc Baum: Flute, Saxophone
; Frederick Berry: Trumpet
; Adrienne Blackshere: Strings
; Edward Bogas: Strings
; Dean Boysen: Trumpet
; Phil Bray: Photography
; India Cooke: Strings
; Richard Corsello: Engineer, Mixing
; Patrick Cowley: Synthesizer
; Greg Crockett: Bass
; Ellen Dessier: Strings
; Kelvin Dixon: Drums
; Leslie Drayton: Arranger, Horn, Horn Arrangements, String Arrangements, Strings
; Julianne Feldman: Strings
; Michael Finden: Keyboards
; Gus Anthony Flores: Percussion
; David Frazier: Percussion
; Dennis Gassner: Design
; Stephen Gehl: Strings
; Kenneth Harrison: Strings
; Sharon Hymes: Vocals (Background)
; Bob Kingson: Bass
; Bob Kingston: Bass
; Danny Kopelson: Mixing Assistant
; Rick Kvistad: Timpani
; Mel Martin: Sax (Baritone)
; Mary Anne Meredith: Strings
; Carl Pedersen: Strings
; Randall Pratt: Harp
; Marjorie Prescott: Strings
; Julian Priester: Trombone
; William Pyncron: Strings
; Dan Reagan: Trombone
; Izora Rhodes: Vocals (Background)
; Barbara Riccardi: Strings
; Eric Robinson: Keyboards, Synthesizer, Vocals, Vocals (Background)
; Melinda Ross: Strings
; Nathan Rubin: Strings
; Serban Rusu: Strings
; Allen Smith: Trumpet
; David Sprunk: French Horn
; Jay Stolmac: Flute, Saxophone
; Sylvester: Arranger, Keyboards, Primary Artist, Producer, Synthesizer, Vocals
; John Tenney: Concert Master, Strings
; Jeanie Tracy: Vocals (Background)
; Emily VanValkenburgh: Strings
; Melinda Wagner: Strings
; Wayne Wallace: Trombone
; Kathy Walters: Strings
; Martha Wash: Vocals (Background)
; Ralph Wash: Guitar
; Ross Wilson: Trombone, Trumpet
; Tip Wir
rick: Guitar
Bob Marley [>] [D] & Wailers [>] [D]: Survival [F]
Label und Katalognummer: Island ILPS 9542, Island 548 901
Produktion: Bob Marley & Alex Sadkin & Wailers
Veröffentlicht: 1979 10 02, 2001 07 31 (Reed.)
Genretags: Caribbeana - Reggae
Trackliste: Seite A
1. So Much Trouble in the World - 4:00
2. Zimbabwe - 3:51
3. Top Rankin' - 3:11
4. Babylon System - 4:21
5. Survival - 3:54
Seite B
1. Africa Unite - 2:55
2. One Drop - 3:51
3. Ride Natty Ride - 3:51
4. Ambush in the Night - 3:14
5. Wake Up and Live (Marley/Davis) - 5:00
Bonustracks der CD Ausgabe von 2001
1. Ride Natty Ride (12'' Mix) – 6:23
Alle Tracks: Bob Marley, ausser wo anders vermerkt.
Besetzung: Bob Marley: lead vocals, rhythm guitar, acoustic guitar, percussion
; Aston \'Family Man\' Barrett: bass, rhythm guitar, percussion
; Carlton Barrett: drums, percussion
; Tyrone \'Organ D\' Downie: keyboards, percussion, backing vocal
; Alvin \'Seeco\' Patterson: percussion
; Junior Marvin: lead guitar, backing vocal
; Earl \'Wir
e\' Lindo: keyboards
; Al Anderson: lead guitar
; Rita Marley: backing vocals
; Marcia Griffiths: backing vocals
; Judy Mowatt: backing vocals
Label und Katalognummer: Chrysalis CDL 1301
Produktion: Ian Anderson & Robin Black
Veröffentlicht: 1980 08 29
Genretags: Rock - AOR-Rock - AOR-Progrock
Trackliste: Seite A
1. Crossfire - 3:51
2. Fylingdale Flyer - 4:27
3. Working John, Working Joe - 5:01
4. Black Sunday - 6:33
Seite B
1. Protect And Survive - 3:22
2. Batteries Not Included - 3:47
3. Uniform - 3:30
4. 4.W.D. (Low Ratio) - 3:37
5. The Pine Marten's Jig - 3:23
6. And Further On - 4:19
Alle Tracks: Ian Anderson.
Besetzung: Arranged: Jethro Tull
; Art Direction: Peter Wagg
; Bass: Dave Pegg
; Concept By [Cover]: Ian Anderson
; Drums: Mark Craney
; Engineer [Second]: Leigh Mantle
; Guitar: Martin Barre
; Keyboards, Electric Violin, Music By [Additional Musical Material]: Eddie Jobson
; Lacquer Cut By: Joe Gastwirt
; Photography: John Shaw
; Photography [Insert]: Martyn Goddard
; Engineer: Robin Black
; Vocals, Flute: Ian Anderson
; Pressed By PRS Ltd.
; Lacquer Cut At JVC Cutting Center
; Phonographic Copyright (p) Chrysalis Records Ltd.
; Copyright (c) Chrysalis Records Ltd.
; Published By Salamander & Son Music Ltd.
; Published By Chrysalis Music Ltd.
; Recorded At Maison Rouge
; Recorded By Maison Rouge Mobile Studio
Andreas Vollenweider [>] [D]: Behind The Gardens - Behind The Wall - Under The Tree [F]
Label und Katalognummer: veraBra Records veraBra No. 3
Produktion: Vera Brandes & Hugo Faas
Veröffentlicht: 1981
Genretags: Folk - Progfolk - Newage
Trackliste: Seite A
1. Behind The Gardens - Behind The Wall - Under The Tree (Including: Res - Dark Blue - Yellow) - 7:15
2. Pyramid - In The Wood - In The Bright Light - 8:46
Seite B
1. Micro - Macro - 3:47
2. Skin And Skin - 3:25
3. Moonlight, Wrapped Around Us - 1:03
4. Lion And Sheep - 3:56
5. Sunday - 2:00
6. Afternoon - 0:43
7. Hands And Clouds - 2:19
Alle Tracks: Andreas Vollenweider.
Besetzung: Art Direction, Photography: Ernst Wir
z
; Arranged: Andreas Vollenweider
; Design: Hans Inauen
; Drums: Walter Keiser
; Harp, Soprano Saxophone, Woodwind, Vocals, Electric Guitar, Acoustic Guitar, Accordion, Synthesizer [Prophet-5, Oberheim OBXa]: Andreas Vollenweider
; Mastering: Rico Sonderegger
; Percussion: Jon Otis
; Percussion: Pedro Haldemann
; Coordinator: Hugo Faas
; Coordinator: Vera Brandes
; Recording, Mixing: Eric Merz
; Published By veraBra Music
; Recorded At Sinus Studio
; Mixed At Sinus Studio
; Recorded At Mac Heubi Mobile Studio
Rosanne Cash [>] [D]: Seven Year Ache [F]
Label und Katalognummer: Columbia JC 36965
Produktion: Rodney Crowell
Veröffentlicht: 1981 02
Genretags: Country - Countrypop - Urban-Cowboy, Rock - AOR-Rock - AOR-Countryrock
Mit ihrem zweiten Album ist Rosanne Cash durchgebrochen. Aus «Seven Year Ache» wurden drei Singles ausgekoppelt: «Seven Year Ache», «My Baby Thinks He's a Train» und «Blue Moon with Heartache». Alle drei waren Top-Hits der Country Hitparade. Auch das Album war ein Top-Hit der Country Charts und ein bescheidenes Country-Crossover, ein Platz 26 in den Billboard 200.
Trackliste: Seite A
1. Rainin' (Keith Sykes) - 2:54
2. Seven Year Ache (Rosanne Cash) - 3:19
3. Blue Moon with Heartache (Rosanne Cash) - 4:29
4. What Kinda Girl? (Steve Forbert) - 2:49
5. You Don't Have Very Far to Go (Merle Haggard, Red Simpson) - 2:36
Seite B
1. My Baby Thinks He's a Train (Leroy Preston) - 3:15
2. Only Human (Keith Sykes) - 4:02
3. Where Will the Words Come From? (Sonny Curtis, Glen D. Hardin) - 2:46
4. Hometown Blues (Tom Petty) - 2:58
5. I Can't Resist (Rodney Crowell, Hank DeVito) - 3:30
Besetzung: Arranged [String Arrangements]: Emory Gordy, Jr. (A2, A3, B3, B5)
; Bass: Emory Gordy, Jr.
; Design: Virginia Team
; Drums: Larrie Londin
; Electric Guitar: Jerry McGee (A1 to A3, A5, B2, B4)
; Electric Guitar [Electric Rhythm Guitar]: Hank DeVito (A1, A2, A4)
; Electric Piano: Tony Brown (A3, B3, B5)
; Engineer: Bradley Hartman
; Engineer: Donivan Cowart
; Harmony Vocals: Emmylou Harris (B1, B3 to B5)
; Harmony Vocals: Rosemary Butler (A1 to A3, A5, B1, B5)
; Management: The Michael Gardner Company
; Organ: Booker T. Jones (A1, A4, B2, B4)
; Photography: Beverly Parker
; Piano: Tony Brown (A4, A5, B2, B4)
; Producer [Production Assistance]: Arlene Katz
; Producer [Production Assistance]: Emory Gordy, Jr.
; Producer [Production Assistance]: Hank DeVito
; Rhythm Guitar: Hank DeVito (A5 to B2)
; Steel Guitar: Hank DeVito (A2, A3, A5, B3)
; Phonographic Copyright (p) CBS Inc.
; Copyright (c) CBS Inc.
; Recorded At Davlen Sound Studios
; Recorded At Magnolia Sound Studios
; Mastered At The Mastering Lab
; Pressed By Columbia Records Pressing Plant, Terre Haute
; Manufactured By Columbia Records
; Published By Hotwire Music
; Published By Atlantic Music Corp.
Patrick Cowley [>] [D]: Megatron Man [F]
Label und Katalognummer: Megatone Records M 1001, Unidisc SPLK 7052
Produktion: Patrick Cowley
Veröffentlicht: 1981 04, 1987 (Reed.)
Genretags: Disco - Popdisco - Hi-NRG
Trackliste: Seite A
1. Megatron Man (Cowley) - 9:08
2. Thank God for Music (Cowley) - 5:26
3. Menergy (Blecman, Cowley) - 8:50
Seite B
1. Get a Little (Block, Carter, Cowley) - 6:07
2. Lift-Off (Cowley) - 8:17
3. I Wanna Take You Home (Cowley) - 7:40
Bonustracks der CD Ausgabe von 1997
1. Sea Hunt (LaSalle, Llewellyn) - 7:58
2. Teen Planet (Cowley) - 3:24
2. If You Feel It (Cowley) - 7:24
3. Megatron Man '87 (Cowley) - 6:49
4. Megatron Man [Radio Edit] (Cowley) - 3:59
Besetzung: Marty Blecman: Associate Producer
; Jo-Carol Block: Arranger, Synthesizer, Vocal Arrangement, Vocals
; Lauren Carter: Arranger, Vocal Arrangement, Vocals
; Patrick Cowley: Arranger, Associate Producer, Multi Instruments, Performer, Vocals
; Ken Kessie: Engineer
; Carol McMackin: Arranger, Vocal Arrangement, Vocals
; Paul Parker: Vocals
; Jim Saunders: Artwork, Label Design
; Maurice Tani: Bass, Guitar (Bass)
; Tip Wir
rick: Guitar (Electric)
Wire [>] [D]: Document And Eyewitness [F]
Label und Katalognummer: Rough Trade ROUGH 029, Pinkflag PF 21
Produktion: Wir
e
Veröffentlicht: 1981 07 (Ed.), 2014 08 11 (Reed.), 1980-79 (Rec.)
Genretags: Postpunk
Trackliste: Seite A: Live @ Electric Ballroom
1. 5/10 (M.C.'s request spot) - 5:30
2. 12XU (Fragment) - 2:16
3. Underwater Experiences - 2:39
4. Everythings Going To Be Nice (Woman enters pulling 2 tethered men and an inflatable jet) - 1:05
5. Piano Tuner (Keep Strumming Those Guitars) (Vocalist attacks gas stove) - 5:19
6. We Meet Under Tables (Vocalist wears black knee length veil) - 3:30
Seite B
1. Zegk Hoqp (12 percussionists with newspaper head dresses) - 5:00
2. Eastern Standard (M.C. attempts geographical explanation) - 3:03
3. Instrumental (thrown bottle) - 2:11
4. Eels Sang Lino (Vocalist accompanied and lit by illuminated goose) - 3:05
5. Revealing Trade Secrets - 2:34
6. And Then... (Vocalist eats 2 loaves and then blank scrolls are unrolled), b) Coda - 9:01
Seite C: Live @ Notre Dame Hall
1. Go Ahead - 4:00
2. Ally in Exile - 4:19
3. Relationship - 1:20
4. Underwater Experiences - 2:41
Seite D
1. Witness to the Fact - 2:50
2. 2 People in a Room - 1:52
3. Our Swimmer - 3:00
4. Heartbeat - 3:08
Bonustracks der 2 CD Ausgabe von 2014:
CD 2
1. Our Swimmer -
2. Midnight Bahnhof Cafe -
3. Second Length (Our Swimmer) -
4. Catapult 30 -
5. Ally In Exile (Personal Demo) -
6. Go Ahead -
7. Remove For Improvement -
8. Over My Head -
9. Safe -
10. Relationship -
11. Underwater Experiences -
12. Eels Sang Lino -
13. Cancel Your Order -
14. Part Of Our History (Emerges) -
Besetzung: Compiled By: Geoff Travis and Wir
e
; Lighting: Simon Miles
; Mixing [Live Mixes]: Eddie (8)
; Recorded live at Electric Ballroom 29.02.1980, and Notre Dame Hall 19.07.1979, except D4 at Montreaux 09.03.1979.
Miles Davis [>] [D]: The Man With The Horn [F]
Label und Katalognummer: Columbia PC 36790, CBS-Sony 35DP 16
Produktion: Teo Macero
Veröffentlicht: 1981 07, 1982 10 01 (CD)
Genretags: Jazz - Fusion - Jazzrockfusion
Trackliste: Seite A
1. Fat Time - 9:53
2. Back Seat Betty - 11:15
3. Shout (Glenn Burris, Randy Hall, Robert Irving III) - 5:52
Seite B
1. Aida - 8:10
2. The Man With The Horn (Randy Hall, Robert Irving III) - 6:32
3. Ursula - 10:50
Besetzung: Bass [Fender]: Marcus Miller (A1, A2, B1, B3)
; Drums: Al Foster (A1, A2, B1, B3)
; Engineer: Stan Tonkel
; Engineer [Remix]: Don Puluse
; Engineer [Second]: Nancy Byers
; Engineer [Second]: Ted Brosnan
; Executive-Producer: George Butler
; Guitar: Barry Finnerty (A2, A3, B1, B3)
; Guitar: Mike Stern (A1)
; Mastering: Joe Gastwirt
; Percussion: Sammy Figueroa (A1 to A3, B1, B3)
; Soprano Saxophone: Bill Evans (A1, A2, B1 to B3)
; Technician [Adviser]: Harold Tarowsky
; Trumpet: Miles Davis
; Manufactured By Columbia Records
; Manufactured By CBS Inc.
; Phonographic Copyright (p) CBS Inc.
; Copyright (c) CBS Inc.
; Pressed By Columbia Records Pressing Plant, Carrollton, GA
; Recorded At CBS Studios, New York
; Mixed At CBS Studios, New York
; Mastered At CBS Studios, New York
René Bardet [>] [D] & Poesie und Musik [>] [D]: «Vielleicht weil ich ein Wilder bin ...». Worte des indianischen Häuptlings Seattle an den amerikanischen Präsidenten im Jahre 1855 [F]
Assoziierte Acts: René Bardet's Poesie und Musik
Label und Katalognummer: Wundertüte TÜT 113
Produktion: René Bardet
Veröffentlicht: 1982
Genretags: Rock - AOR-Rock - AOR-Progfolk
Zur Herkunft von Seattles Rede siehe Wikipedia Artikel zu Seattle.
Trackliste: Seite A
1. Meine Worte Sind Wie Die Sterne (J.P. Siebert, Jo Koinzer) - 5:22
2. Wir
Sind Ein Teil Der Erde - 4:30
3. Bald Werdet Ihr Das Ganze Land Überschwemmen - 4:25
4. Wir
Erfreuen Uns An Diesen Wäldern - 3:50
5. Glänzendes Wasser In Bächen Und Flüssen - 3:50
6. Die Flüsse Sind Unsere Brüder - 3:05
7. Sein Hunger Wir
d Die Erde Verschlingen - 2:35
Seite B
1. Die Erde Weint (Instrumental)/Unsere Art Ist Anders/Wind Über Der Teichfläche/Alle Dinge Teilen Denselben Atem - 5:27
2. Der Wind/Die Tiere - 3:13
3. Was Die Erde Befällt/Seele Im Wind/Aber Mein Volk Fragt/Was Soll Ich Trauern - 13:06
4. Auch Die Weissen Werden Vergehen/Vielleicht Können Wir
Es Verstehen - 4:48
5. Wenn Der Letzte Indianer Verschwunden Ist - 4:06
Alle Tracks: René Bardet und Dedo Weigert.
Besetzung: Design [Cover And Lyrics Sheet]: Jerken Diederich
; Engineer: Johannes Wohlleben
; Engineer, Mixing: Gibbs Platen
; Flute, Saxophone, Percussion, Charango: Büdi Siebert
; Concept By: René Bardet
; Painting [Cover]: Brigitte Bardet
; Percussion: Joe Koinzer
; Photography [Back Cover]: Ernst Wir
z
; Photography [Lyrics Sheet]: Uli Zeller
; Voice, Twelve-String Guitar [With Bass Pedal], Guitar [Concert Guitar With Bass Pedal]: René Bardet
; Phonographic Copyright (p) Wundertüte Musik Produktions GmbH
; Copyright (c) Wundertüte Musik Produktions GmbH
; Recorded At Tonstudio Zuckerfabrik
Wire [>] [D]: Not About To Die (Studio Demos 1977-1978) [F]
Label und Katalognummer: Pinkflag PF 27
Produktion: Mike Thorne & Wir
e
Veröffentlicht: 1982 (Bootleg), 2022 06 24 (Reed.), 1978-77 (Rec.)
Genretags: Postpunk
Trackliste: 1. Oh No Not So [Save The Bullet] -
2. Culture Vultures -
3. It's the Motive -
4. Love Ain't Polite -
5. French Film [Blurred] -
6. Underwater Experiences -
7. Stalemate -
8. Options R -
9. Indirect Enquiries v1 -
10. Chairs Missing [Used To] -
11. Being Sucked In Again -
12. Ignorance No Plea [I Should Have Known Better] -
13. Once Is Enough -
14. The Other Window -
15. Stepping Off Too Quick [Not About To Die] -
16. On Returning -
17. Former Airline -
18. Two People In A Room -
Besetzung: Bass: Graham Lewis
; Design: Jon Wozencroft
; Drums: Robert Grey
; Engineer: Nick Glennie-Smith
; Guitar: Bruce Gilbert
; Guitar: Colin Newman
; Liner Notes [Inner Sleeve]: Graham Duff
; Mastering: Denis Blackham
; Photography: Annette Green
; Producer [Produced By]: Mike Thorne (A1 to B11)
; Producer [Produced By]: Wir
e (B12 to B18)
; Vocals: Colin Newman (A1 to A11, B13 to B18)
; Vocals: Graham Lewis (B12)
; Phonographic Copyright (p) Pinkflag
; Copyright (c) Pinkflag
; Distributed By Cargo (2)
; Recorded At Riverside Studios, London
; Mixed At Riverside Studios, London
; Mastered At Skye Mastering
; Lacquer Cut At Finyl Tweek
Wynton Marsalis [>] [D]: Wynton Marsalis [F]
Assoziierte Acts: Ron Carter & Herbie Hancock & Kenny Kirkland & Branford Marsalis & Anthony Williams
Label und Katalognummer: Columbia FC 37574, CBS-Sony 35DP 33
Produktion: Herbie Hancock
Veröffentlicht: 1982 01 08, 1982 10 01 (J CD)
Genretags: Jazz - Hardbop, Jazz - Bebop - Postbop
Trackliste: Seite A
1. Father Time (Wynton Marsalis) - 8:10
2. I'll Be There When The Time Is Right (Herbie Hancock) - 2:30
3. RJ (Ron Carter) - 3:45
4. Hesitation (Wynton Marsalis) - 5:40
Seite B
1. Sister Cheryl (Anthony Williams) - 7:21
2. Who Can I Turn To (When Nobody Needs Me) (Anthony Newley, Leslie Bricusse) - 4:36
3. Twilight (Wynton Marsalis) - 8:37
Besetzung: Bass: Charles Fambrough (B3)
; Bass: Clarence Seay (A1, A2)
; Bass: Ron Carter (A3, A4, B1, B2)
; Coordinator [Production]: Tony Meilandt
; Design: John Berg
; Drums: Anthony Williams (A3, A4, B1, B2)
; Drums: Jeff \'Tain\' Watts (A1, A2, B3)
; Engineer [2nd, New York]: Nancy Byers (A1, A2, B3)
; Engineer [2nd, Tokyo]: Kunihiko Ohno
; Engineer [2nd, Tokyo]: Shigemi Watanabe (A3 to B2)
; Engineer [2nd, Tokyo]: Tetsuro Tomita (A3 to B2)
; Engineer [New York]: Tim Geelan (A1, A2, B3)
; Engineer [Tokyo]: Tomoo Suzuki (A3 to B2)
; Executive-Producer: George Butler
; Liner Notes: Stanley Crouch
; Mastering: Joe Gastwirt
; Photography: William Coupon
; Piano: Herbie Hancock (A3, B1, B2)
; Piano: Kenny Kirkland (A1, A2, B3)
; Saxophone: Branford Marsalis (A1 to B1, B3)
; Trumpet: Wynton Marsalis
; Recorded At CBS Studios, New York
; Recorded At CBS/Sony Roppongi Studio
; Mastered At CBS Studios, New York
; Copyright (c) CBS Inc.
; Phonographic Copyright (p) CBS Inc.
; Manufactured By Columbia Records
; Manufactured By CBS Inc.
; Mastered At Customatrix
; Pressed By Columbia Records Pressing Plant, Pitman
Crosby, Stills And Nash [>] [D]: Daylight Again [F]
Assoziierte Acts: David Crosby & Stephen Stills & Graham Nash
Label und Katalognummer: Atlantic SD 19360, Rhino R2 73295
Produktion: David Crosby & Steve Gursky & Stanley Johnston & Graham Nash & Stephen Stills
Veröffentlicht: 1982 06 21, 2006 01 24 (Reed.)
Genretags: Rock - Folkrock
Trackliste: Seite A
1. Turn Your Back On Love (Stills, Nash, Michael Stergis) - 4:51
2. Wasted On The Way (Nash) - 2:52
3. Southern Cross (Stills, Richard Curtis, Michael Curtis) - 4:41
4. Into The Darkness (Nash) - 3:23
5. Delta (Crosby) - 4:15
Seite B
1. Since I Met You (Stills, Stergis) - 3:12
2. Too Much Love To Hide (Stills, Gerry Tolman) - 3:58
3. Song For Susan (Nash) - 3:08
4. You Are Alive (Stills, Stergis) - 3:04
5. Might As Well Have A Good Time (Lyrics by Judy Henske, Music by Craig Doerge) - 4:28
6. Daylight Again: (a) Daylight Again (b) Find The Cost Of Freedom (Stills) - 2:36
Bonustracks der Remaster Ausgabe von 2006
1. Raise A Voice (Nash, Stills) - 2:34 (originally released on Allies)
2. Feel Your Love (Stills, Nash) - 4:28
3. Tomorrow Is Another Day (Stills) - 4:05
4. Might As Well Have A Good Time (Henske, Doerge) - 4:15 (David Crosby demo)
Besetzung: David Crosby: Vocals
; Stephen Stills: Vocals, Rhodes (1,6), Electric Guitar (1,3,4,6,7,9,12,13,14), Acoustic Guitar (2,3,11a), CP-30 (6), Percussion (7), Banjo (11a), Keyboards (12), Piano (13)
; Graham Nash: Vocals, Electric Guitar (1,4), Organ (4), Percussion (7), Piano (8), Harmonica (9,12)
; Joe Vitale: drums (1,3,4,7,9,13,14)
; George Perry: bass (1,3,4,6,7,9,12,13,14)
; Michael Finnigan: keyboards (1,9), additional vocal (1,3,6,7,9), CP-30 (3), electric piano (4), piano (7), organ (7,10,13,14)
; Craig Doerge: synthesizer (1,5,8), keyboards (2,5,12), Rhodes (8), piano (10,14,15), electric piano (13), synth strings (14)
; Michael Stergis: electric guitar (1,4,7,8), acoustic guitar (2,3,6,8,9,13,14)
; Timothy B. Schmit: additional vocal (1,2,3,8,9,14), bass (8)
; Russ Kunkel: drums (2,5,8)
; Bob Glaub: bass (2)
; Joe Lala: percussion (2,3,4,6,7,9,13), congas (12)
; Joel Bernstein: acoustic guitar (2,8)
; Wayne Goodwin: fiddle (2), celli arrangement (8)
; Richard T. Bear: piano (3), synthesizer (3)
; Leland Sklar: bass (5)
; Dean Parks: electric guitar (5)
; Jeff Porcaro: drums (6,12)
; Gerry Tolman: electric guitar (6)
; Jay Ferguson: organ (8)
; Roberleigh Barnhart: cello (8)
; Miguel Martinez: cello (8)
; Ernie Ehrhardt: cello (8)
; Art Garfunkel: additional vocal (11)
; James Newton Howard: keyboards (12)
; Danny Kortchmar: electric guitar (12)
; Steve Gursky: engineer
; Stanley Johnston: engineer
; Stephen Barncard: engineer
; Jay Parti: assistant engineer
; Gerry Lentz: assistant engineer
; Russell Schmitt: assistant engineer
; Gordon Rowley: assistant engineer
; Jerry Hudgins: assistant engineer
; Jimmy Wachtel: art direction
; Mac James: design
; Gilbert Williams: paintings
; Mark Hanauer: photography
; Henry Diltz: photography
; Joe Gastwirt: digital remastering
Patrick Cowley [>] [D]: Mind Warp [F]
Label und Katalognummer: Megatone Records M 1004, Unidisc SPLK 7053
Produktion: Patrick Cowley
Veröffentlicht: 1982, 1992 11 16 (Reed.)
Genretags: Disco - Popdisco - Hi-NRG
Trackliste: Seite A
1. Tech-No-Logical World - 7:29
2. Invasion - 6:45
3. They Came At Night - 6:11
Seite B
1. Mind Warp - 6:35
2. Primitive World - 2:57
3. Mutant Man - 5:01
4. Goin' Home - 5:46
Bonustracks der CD Ausgabe von 1992
1. Invasion [Remix] - 6:21
2. Mind Warp [Remix] - 7:57
3. Goin' Home [Remix] - 8:38
4. Tech-No-Logical World - 7:29
5. Tech-No-Logical World [Radio Edit] - 3:36
Alle Tracks: Patrick Cowley.
Besetzung: Artwork By [Cover, Label, And Sleeve] - Jim Saunders
; Artwork By [Lithography] - David Wellers
; Engineer - Leslie Ann Jones, Maureen Droney
; Engineer [Mixing] - Ken Kessie
; Engineer [Recording] - Robert L. Missbach
; Engineer [Second] - Gordon Lyon
; Guitar - Tip Wir
rick
; Mastered By - José Rodriguez
; Percussion [Additional] - David Frazier
; Photography [Moon Photos] - Leland Dale Saunders
; Producer [Associate] - Marty Blecman
; Performer [All Instruments], Arranged By - Patrick Cowley
; Vocals - Jo-Carol Block, Lauren Carter, Paul Parker
; Vocals [Vocal Chants] - Erica Buffett, J. Forrest Knight, Jeff Mehl, Jim Saunders, Jo-Carol Block, John Hedges, Lauren Carter, Mary Buffett, Michael Bailey, Nicole Buffett, Peter Buffett, Stacey Sudduth (B2)
Glenn Branca [>] [D]: Symphony No. 1. Tonal Plexus [F]
Label und Katalognummer: ROIR (Reachout International Records) A 125
Veröffentlicht: 1983 (Ed.), 1981 07 (Rec.)
Genretags: Akademica - Minimalismus - Totalismus
Trackliste: Seite A
1. Movement 1 - 11:45
2. Movement 2 - 15:45
Seite B
1. Movement 3 - 17:29
2. Movement 4 - 10:09
Alle Tracks: Glenn Branca.
Besetzung: Artwork [Cover Design]: Jo Bonny
; Artwork [Lighting Design]: Stan Pressner
; Artwork [Stage Design]: Bradley Wester
; Co-producer: David Linton
; Drums, Percussion: Stephan Wischerth
; French Horn: Margot Zvaleko
; Guitar [Baritone], Bass, Percussion: Barbara Ess
; Guitar [Baritone], Guitar [Steel-wire]: David Rosenbloom
; Guitar [Soprano], Guitar [Steel-wire], Mastering [Digitally Remastering]: Glenn Branca
; Guitar [Soprano], Guitar [Steel-wire], Producer: Lee Ranaldo
; Guitar [Soprano], Guitar [Tenor], Guitar [Bowed]: Robert Harrison
; Guitar [Soprano], Guitar [Tenor], Guitar [Steel-wire], Technician [Guitar Tuning]: Ned Sublette
; Guitar [Tenor], Guitar [Soprano], Guitar [Bowed]: Thurston Moore
; Guitar [Tenor], Guitar [Soprano], Guitar [Bowed], Guitar [Octave]: Craig Bromberg
; Keyboards: Gail Vachon
; Keyboards, Guitar [Soprano], Guitar [Steel-wire], Percussion, Co-producer, Mastering [Digitally Remastering]: Wharton Tiers
; Keyboards, Percussion, Co-producer: Anne DeMarinis
; Other [Cassette Post-production Coordinator]: Peter Wright
; Other [Liner Notes]: Jon Pareles
; Other [Live Production Coordinator]: Tim Carr
; Photography: Joachim Riedl
; Saxophone [Tenor]: Fritz Van Orden
; Technician [Live Sound Mix]: Chuck Hultquist
; Trumpet: Richard Edson
; Trumpet, Horns [Baritone Horn]: Dave Buk
Andreas Vollenweider [>] [D]: White Winds (Seeker's Journey) [F]
Label und Katalognummer: Colomba CD 884
Produktion: Andreas Vollenweider
Veröffentlicht: 1984
Genretags: Folk - Progfolk - Newage
Trackliste: 1. a) The White Winds, b) The White Boat (First View) - 1:49
2. a) Hall Of The Stairs, b) Hall Of The Mosaics (Meeting You) - 5:06
3. a) The Glass Hall (Choose The Crystal), b) The Play Of The Five Balls, c) The Five Planets, d) Canopy Choir - 7:38
4. The Woman And The Stone - 4:25
5. The Stone (Close-Up) - 3:01
6. Phases Of The Three Moons - 2:46
7. Flight Feet & Root Hands - 3:39
8. Brothership - 3:22
9. Sisterseed - 1:33
10. a) Trilogy (At The White Magic Gardens), b) The White Winds - 3:24
Alle Tracks: Andreas Vollenweider.
Besetzung: Artwork [Front Cover Special Effects Assistant]: Thomas Müller (9)
; Artwork [Front Cover Special Effects]: Cornelius De Fries
; Cello [Violoncello]: Patrick Demenga
; Choir: The Stars Of Faith
; Design [Graphical Design]: Düde Dürst
; Drums: Walter Keiser
; Engineer: Eric Merz
; Performer [Rhythmanatomic Acousticolours, Taebrat, Dajang, Drone Tubes, Drone Boards, Tajiah, So-na, Makamas, Tadji-ben, Serpent, Naii, P’ai-kou, Ta-kou], Lute [Moon], Strings [San-h\'sien, Ehr-hu], Harp [Gothic, Wind], Flute [Fish, Moon, Snare, Pan], Timbales [Timbal], Surdo, Gong [Glass], Bells [Glass, Water, Carillon], Percussion [Metal Anklong, Bamboo Anklong], Drums [Water], Wind Chimes: Pedro Haldemann
; Performer [Wind Instruments]: Büdi Siebert
; Photography [Back Cover]: Ernst Wir
z
; Photography [Front Cover]: Michael Müller (10)
; Arranged, Recording [Natural Sounds], Artwork [Front Cover], Performer [Electracoustic, Taebrat, Dajang, Drone Tubes, Drone Boards, Tajiah, So-na, Makamas, Tadji-ben, Serpent, Naii, P’ai-kou, Ta-kou], Lute [Moon], Strings [Cheng, San-h\'sien, Ehr-hu], Harp [Modified Pedal, Gothic, Wind], Flute [Fish, Moon, Snare, Pan], Timbales [Timbal], Surdo, Gong [Glass], Bells [Glass, Water, Carillon], Percussion [Metal Anklong, Bamboo Anklong], Drums [Water], Wind Chimes: Andreas Vollenweider
; Recording [Natural Sounds]: Beata Vollenweider
; Voice: Elena Ledda
; Copyright (c) Andreas Vollenweider & Friends AG
; Recorded At Sinus Studio
; Mixed At Sinus Studio
Richard Strauss [>] [D] & Herbert von Karajan [>] [D]: Der Rosenkavalier [F]
Label und Katalognummer: Deutsche Grammophon 413 163
Produktion: Günther Breest & Renate Kupfer
Veröffentlicht: 1984 (Ed.), 1911 (Werk)
Genretags: Akademica - Oper
Trackliste: CD 1: 1. Akt
1. Akt 1. Introduction (Richard Strauss) - 3:39
2. Akt 1. Wie du warst! Wie du bist (Richard Strauss) - 9:24
3. Akt 1. Der Feldmarschall sitzt im krowatischen Wald (Richard Strauss) - 6:28
4. Akt 1. Selbstverständlich empfängt mich Ihro Gnaden (Richard Strauss) - 9:29
5. Akt 1. Macht das einen lahmen Esel aus mir? (Richard Strauss) - 6:27
6. Akt 1. I komm' glei... Drei arme adelige Waisen (Richard Strauss) - 3:13
7. Akt 1. Di rigori armato (Richard Strauss) - 5:36
CD 2: 1. Akt
1. Akt 1. Mein lieber Hippolyte (Richard Strauss) - 3:56
2. Akt 1. Da geht er hin, der aufgelasene schlecht Kerl (Richard Strauss) - 5:38
3. Akt 1. Ach, du bist wieder da! (Richard Strauss) - 6:16
4. Akt 1. Die Zeit, die ist ein sonderbar Ding (Richard Strauss) - 15:28
Alle Tracks: Richard Strauss.
CD 3: 2. Akt
1. Akt 2. Introduction (Richard Strauss) - 0:41
2. Akt 2. Ein ernster Tag, ein großer Tag! (Richard Strauss) - 1:04
3. Akt 2. In dieser feierlichen Stunde der Prüfung (Richard Strauss) - 3:23
4. Akt 2. Überreichung der silbernen (Richard Strauss) - 0:28
5. Akt 2. Mir ist die Ehre widerfahren (Richard Strauss) - 7:12
6. Akt 2. Ich kenn' Ihn schon recht wohl (Richard Strauss) - 4:06
7. Akt 2. Jetzt aber kommt mein Herr Zukünftiger (Richard Strauss) - 9:55
8. Akt 2. Hab' nichts dawider (Richard Strauss) - 4:19
9. Akt 2. Mit Ihren Augen voll Tränen (Richard Strauss) - 3:39
10. Akt 2. Herr Baron von Lerchenau! (Richard Strauss) - 15:28
11. Akt 2. Da lieg' ich (Richard Strauss) - 8:39
Alle Tracks: Richard Strauss.
CD 4: 3. Akt
1. Akt 3. Introduction & Pantomime (Richard Strauss) - 7:11
2. Akt 3. Hab'n euer Gnaden noch weitre Befehle? (Richard Strauss) - 2:44
3. Akt 3. Nein, nein, nein, nein! I trink' kein wein (Richard Strauss) - 8:19
4. Akt 3. Wie die Stund' hingeht (Richard Strauss) - 4:31
5. Akt 3. Halt! Keiner rührt sich! (Richard Strauss) - 7:18
6. Akt 3. Ihre hochfürstliche Gnaden, die Frau Fürstin Feldmarschall! (Richard Strauss) - 10:19
7. Akt 3. Ist halt vorbei (Richard Strauss) - 2:34
8. Akt 3. Mein gott, es war nicht mehr als einie Farce (Richard Strauss) - 2:27
9. Akt 3. Heut oder morgen oder den übernächsten Tag (Richard Strauss) - 5:03
10. Akt 3. Marie Theres'!... Hab' mir's gelobt (Richard Strauss) - 6:22
11. Akt 3. Ist ein Traum, kan nicht wirklich sein (Richard Strauss) - 6:48
Alle Tracks: Richard Strauss.
Besetzung: Art Direction: Lutz Bode
; Booklet Editor: Richard Evidon
; Chorus: Konzertvereinigung Wiener Staatsopernchor
; Chorus Master: Helmuth Froschauer
; Conductor: Herbert von Karajan
; Design: Eckhoff & Partner, Hamburg
; Design: Werner Koberstein
; Editing: Reinhild Schmidt
; Engineer [Recording]: Günter Hermanns
; Libretto By: Hugo von Hofmannsthal
; Liner Notes: Volker Scherliess
; Liner Notes: William Mann
; Orchestra: Wiener Philharmoniker
; Photography: Siegfried Lauterwasser
; Recording Supervisor: Michel Glotz
; Recording Supervisor: Werner Mayer
; Vocals [Annina]: Helga Müller-Molinari
; Vocals [Der Haushofmeister Bei Der Feldmarschallin]: Kurt Equiluz
; Vocals [Der Haushofmeister Bei Fanimal]: Franz Kasemann
; Vocals [Die Feldmarschallin Fürstin Werdenberg]: Anna Tomowa-Sintow
; Vocals [Drei Adelige Waisen]: Brigitte Poschner-Klebel
; Vocals [Drei Adelige Waisen]: Margareta Hintermeier
; Vocals [Drei Adelige Waisen]: Waltraud Winsauer
; Vocals [Ein Modistin]: Gabriele Sima
; Vocals [Ein Notar]: Carlos Feller
; Vocals [Ein Polizeikommissar]: Victor von Halem
; Vocals [Ein Sänger]: Vinson Cole
; Vocals [Ein Tierhändler]: Horst Nitsche
; Vocals [Ein Wir
t]: Karl Terkal
; Vocals [Furstin Werdenberg]: Kurt Moll
; Vocals [Hausknecht]: Johann Reautschnigg
; Vocals [Herr Von Faninal]: Gottfried Hornik
; Vocals [Jungfer Marianne Leimetzerin]: Wilma Lipp
; Vocals [Octavian]: Agnes Baltsa
; Vocals [Sophie]: Janet Perry
; Vocals [Valzacchi]: Heinz Zednik
; Vocals [Vier Kellner]: Hannes Lichtenberger
; Vocals [Vier Kellner]: Ingo Koblitz
; Vocals [Vier Kellner]: Walter Zeh
; Vocals [Vier Kellner]: Wolfgang Holzherr
; Vocals [Vier Lakaien Der Marschallin]: Adolf Tomaschek
; Vocals [Vier Lakaien Der Marschallin]: Gerhard Panzenbock
; Vocals [Vier Lakaien Der Marschallin]: Johann Reinprecht
; Vocals [Vier Lakaien Der Marschallin]: Wolfgang Scheider
; Phonographic Copyright (p) Polydor International GmbH
; Copyright (c) Volker Scherliess
; Copyright (c) William Mann
; Manufactured By Polygram, Hanover, West Germany
; Printed By Schwerdtle & Schantz
; Printed By Neef
David Bowie [>] [D]: Tonight [F]
Label und Katalognummer: EMI DB 1
Produktion: David Bowie & Derek Bramble & Hugh Padgham
Veröffentlicht: 1984 09 01
Genretags: Newpop - Artpop
Trackliste: 1. Loving the Alien (David Bowie) - 7:11
2. Don't Look Down (Iggy Pop, James Williamson) - 4:08
3. God Only Knows (Tony Asher, Brian Wilson) - 3:06
4. Tonight (Bowie, Pop) - 3:50
5. Neighborhood Threat (Bowie, Pop) - 3:12
6. Blue Jean (Bowie) - 3:08
7. Tumble and Twirl (Bowie, Pop) - 5:00
8. I Keep Forgettin' (Jerry Leiber, Mike Stoller) - 2:34
9. Dancing With the Big Boys (Carlos Alomar, Bowie, Pop) - 3:52
Besetzung: Carlos Alomar: Guitars
; Derek Bramble: Bass guitar, Guitar, Synthesizer, Background Vocals
; Carmine Rojas: Bass guitar
; Mark King:Bass on Tumble and Twirl
; Sammy Figueroa: Percussion
; Omar Hakim: Drums
; Guy St. Onge: Marimba
; Robin Clark, George Simms, Curtis King: Vocals
; David Bowie, Tina Turner: Vocals (4)
; David Bowie, Iggy Pop: Vocals (9)
; The Borneo Horns: Stanley Harrison: Alto sax, Tenor sax; Steve Elson: Baritone sax; Lenny Pickett: Tenor sax, Clarinet; Arif Mardin: Arrangement of strings, Synthesizers
Phillip Boa And The Voodooclub [>] [D]: Philister [F]
Label und Katalognummer: JA! Music JA! 0006, Polydor 841 123
Produktion: Phillip Boa
Veröffentlicht: 1985 05 03, 1989 08 14 (Reed.)
Genretags: Indiepop - Artpop, Newpop - Artpop
Trackliste: Seite A
1. Only on Sunday - 4:03
2. Skull - 3:22
3. Black-Crosser - 3:00
4. Diana - 3:48
5. Soul on Ice - 4:36
Seite B
1. Ostrich (Love Is Not the Same) - 3:43
2. Rise & Fall of Piggly Wiggly - 3:44
3. Moon - 5:30
4. Hell - 3:36
Bonustracks der CD Ausgabe von 1989: Most Boring World EP
1. Dishwashers - 2:40
2. Heroes - 3:45
3. Dance the Candican - 3:23
4. Lovers - 4:32
5. Constricted - 1:49
Besetzung: Acoustic Guitar: Martin "Han Prolo" Clox (A2)
; Bass: Mef Komorek (A2, A3, B1)
; Bass [Fretless Bass]: Mef Komorek (A1, A5)
; Cello: Cornelius Buchholz
; Co-producer: Thomas Hermann (A3, B1)
; Drums: Der Rabe
; Drums [Drums Insertions / Guest]: Heinz Weber (A1)
; Drums [Voodoo - Drums], Percussion, Drums, Vocals: The Voodoo
; Electric Guitar: Dirk Draeger (A1, A2, A4, B1)
; Electric Guitar: Martin \'Han Prolo\' Clox (B4)
; Engineer, Mixing, Co-producer: Wolfgang Scheideler
; Guitar [Chet - Atkins - Guitar]: Dirk Draeger (A5)
; Marimba [Guest]: Pete Podlasly (A2, B3)
; Painting [Cover]: Ilse Lippek
; Photography: Roland Blume
; Saxophone: Andreas Tölle
; Sitar: Dirk Draeger (B3)
; Synthesizer: Uli Biermann (A4, B2)
; Violin: Cordula Wir
kner
; Violin: Ralf Wir
kner
; Vocals, Electric Guitar, Guitar [Chet - Atkins - Guitar], Viola, Bass, Producer: Phillip Boa
; Vocals, Piano, Bass: Pia Lund
; Distributed By EFA
; Phonographic Copyright (p) JA! Music
; Copyright (c) Jalousie Musikverlag
; Recorded At DB Tonstudio, Haltern
; Mixed At DB Tonstudio, Haltern
; Mastered At Studio-Nord-Bremen
Jimi Hendrix Experience [>] [D]: Jimi Plays Monterey. Original Motion Picture Sound Track [F]
Label und Katalognummer: Reprise 9 25358
Produktion: Alan Douglas
Veröffentlicht: 1986 02 (Ed.), 1967 06 18 (Rec.)
Genretags: Rock - Psychedelicrock - Psychedelicbluesrock
Mit diesem Auftritt wurde Jimi Hendrix in seiner amerikanischen Heimat bekannt.
Trackliste: 1. Killing Floor (Chester Burnett) - 5:55
2. Foxey Lady (Jimi Hendrix) - 3:34
3. Like A Rolling Stone (Bob Dylan) - 6:51
4. Rock Me Baby (B.B. King, Joe Josea) - 3:45
5. Hey Joe (Billy Roberts) - 4:48
6. Can You See Me (Jimi Hendrix) - 3:11
7. The Wind Cries Mary (Jimi Hendrix) - 3:40
8. Purple Haze (Jimi Hendrix) - 4:20
9. Wild Thing (Chip Taylor) - 9:46
Besetzung: Art Direction: Jeffrey Kent Ayeroff
; Art Direction: Norman Moore
; Consultant [Digital Consultant], Engineer: Joe Gastwirt
; Design: Norman Moore
; Engineer [Mixing Engineer]: Mark Linett
; Liner Notes: Paul Diamond
; Photography: Jim Marshall
; Photography: Philip Saltonstall
; Producer: Alan Douglas
; Producer [Associate Producer]: Chip Branton
; Producer [Produced By ... For Auteursrechtenmattschappij (A.R.M.) B.V.]: Are You Experienced? Ltd.
; Recording [Original Recording By]: Wally Heider
; Remastering [Assisted By]: David Mitson
; Remastering [Digital Re-mastering By]: Joe Gastwirt
; Supervised By [Digital Re-mastering, Under The Supervision Of]: Are You Experienced? Ltd.
; Record Company Warner Communications
; Produced For Auteursrechtenmattschappij (A.R.M.) BV
; Copyright (c) Warner Bros. Records Inc.
; Phonographic Copyright (p) Warner Bros. Records Inc.
; Manufactured By WEA Manufacturing
; Published By Burnett Music
; Published By Arc Music (2)
; Published By Bella Godiva Music
; Published By Warner Bros. Inc.
; Published By Sounds Of Lucille, Inc.
; Published By Powerforce Music
; Published By Third Story Music Co.
; Published By Blackwood Music Inc.
; Recorded At Monterey Pop Festival
; Mixed At Sunset Sound
; Pressed By Specialty Records Corporation
V. A. (Columbia) [>] [D]: Top Gun [F]
Label und Katalognummer: Columbia CK 40323, Legacy CK 65554
Produktion: Steve Cropper & Paul Dean & John R. Dexter & Emilio Estefan, Jr. & Harold Faltermeyer & Giorgio Moroder & Sam Phillips & Phil Spector & Peter Wolf
Veröffentlicht: 1986 07 31, 1999 08 31 (Reed.)
Genretags: Newpop - Synthpop, Rock - AOR-Rock - AOR-Poprock
Trackliste: 1. Kenny Loggins: Danger Zone (Giorgio Moroder, Tom Whitlock) - 3:35
2. Cheap Trick: Mighty Wings - 3:51
3. Kenny Loggins: Playing With the Boys - 3:57
4. Teena Marie: Lead Me On - 3:46
5. Take My Breath Away (Love Theme from «Top Gun») (Giorgio Moroder, Tom Whitlock) - 4:13
6. Miami Sound Machine: Hot Summer Nights - 3:38
7. Loverboy: Heaven in Your Eyes - 4:04
8. Larry Greene: Through the Fire - 3:44
9. Marietta: Destination Unknown - 3:47
10. Harold Faltermeyer & Steve Stevens: Top Gun Anthem - 4:10
Bonustracks der Special Expanded Edition von 1999
1. Otis Redding: (Sittin' on) The Dock of the Bay - 2:43
2. Harold Faltermeyer: Memories - 2:56
3. Jerry Lee Lewis: Great Balls of Fire - 1:53
4. The Righteous Brothers: You've Lost That Lovin' Feeling - 3:45
5. Kenny Loggins: Playing With the Boys (Dance Mix) - 6:41
Besetzung: Vic Anesini: Mastering
; Steve Bates: Engineer
; Steven Berkowitz: A&R
; Jerry Bruckheimer: Executive Producer
; Ron Capone: Engineer
; Dave Concors: Engineer, Mixing
; Michael Dilbeck: Consultant, Executive Producer, Music Consultant
; Gordon Fordyce: Engineer
; Brian Gardner: Mastering
; Joe Gastwirt: Digital Remastering
; John Haag: Engineer
; Michael Hutchinson: Remixing
; Jellybean: Remixing
; Brian Malouf: Engineer, Mixing
; Giorgio Moroder: Mixing
; Keith Olsen: Remixing
; Gene Page: Arranger
; Al Quaglieri: Reissue Producer
; Otis Redding: Performer
; Brian Reeves: Engineer, Mixing
; The Righteous Brothers: Performer
; Michael Rosen: Engineer
; Darren Salmieri: A&R
; Don Simpson: Executive Producer
; Jessica Sowin: Product Manager
; Lisa Sparagano: Reissue Design
; Steve Stevens: Performer, Unknown Contributor Role
; Tom Whitlock: Engineer
; Dave Whitman: Engineer
; David Wild: Liner Notes
; Richie Zito: Executive Producer, Mixing
Jo Geilo Heartbreakers [>] [D]: What's Success? [F]
Assoziierte Acts: Düde Dürst & Philippe Kienholz
Label und Katalognummer: Whomp LP 22-87
Veröffentlicht: 1987
Genretags: Afroamericana - Funk - Popfunk
Trackliste: Seite A
1. Brother Jack - 3:36
2. All This Bad Luck - 5:03
3. What's Success? - 3:51
4. Rainbow - 3:15
Seite B
1. Part Of My Heart - 3:49
2. Terrible Lady - 4:41
3. Loose Cabuse - 4:43
4. Crash Blues - 2:44
Besetzung: Gaby Gyr: Vocals
; Abraham Dennis: Vocals
; Christian Ostermeier: Sax
; Jürg grau: Trumpet, Fluegelhorn, Guitar
; Kaspar Galli: Guitar
; Philippe Kienholz: Keyboards
; Billy Wir
z: Bass
; Düde Dürst: Drums
Bob Neuwirth [>] [D]: Back To The Front [F]
Label und Katalognummer: Gold Castle Records VGC 5, Koch KOC 8009
Veröffentlicht: 1988
Genretags: Rock - Folkrock
Trackliste: CD Ausgabe von 1988
1. Banjo Introduction
2. Eye on the Road
3. Annabelle Lee (Neuwirth)
4. Private Eye
5. Beauty
6. Heartaches (Hoffman, Klenner)
7. Pretend (Douglas, LaVere, Parman)
8. Turn It Around
9. Venice Beach
10. Lucky (Merino)
11. Akron
12. For P.B.
13. Honky Tonk
14. Great Escape
Seite A der Original Vinyl Ausgabe von 1988
1. Eye On The Road - 4:18
2. Annabelle Lee - 4:58
3. Private Eye - 2:57
4. Beauty - 5:09
5. Heartaches - 2:44
Seite B der Original Vinyl Ausgabe von 1988
1. Pretend - 3:18
2. Turn It Around - 3:29
3. Venice Beach - 4:42
4. Lucky - 3:33
5. Akron - 6:40
6. Blues Outro - 1:12
Alle Tracks: Bob Neuwirth, ausser wo anders vermerkt.
Besetzung: Larry Hirsch, J. Steven Soles: Engineer
; Bob Neuwirth: Vocals
Jimi Hendrix Experience [>] [D]: Radio One [F]
Label und Katalognummer: Rykodisc RCD 20078
Produktion: Bill Bebb & Jeff Griffin & Bev Phillips
Veröffentlicht: 1988 11 (Ed.), 1967 (Rec.)
Genretags: Rock - Psychedelicrock - Psychedelicbluesrock
Aufnahmen der Experience, die im ersten Jahr des Bestehens von BBC Radio 1 entstanden sind.
Trackliste: 1. Stone Free (Jimi Hendrix) - 3:23
2. Radio One Theme (Jimi Hendrix) - 1:27
3. Day Tripper (Lennon-McCartney) - 3:18
4. Killing Floor (Howlin' Wolf) - 2:27
5. Love Or Confusion (Jimi Hendrix) - 2:52
6. Drivin' South (Curtis Knight) - 4:49
7. Catfish Blues (Muddy Waters) - 5:28
8. Wait Until Tomorrow (Jimi Hendrix) - 2:55
9. Hear My Train A Comin' (Jimi Hendrix) - 4:52
10. Hound Dog (Leiber & Stoller) - 2:44
11. Fire (Jimi Hendrix) - 2:39
12. Hoochie Koochie Man (Willie Dixon) - 5:30
13. Purple Haze (Jimi Hendrix) - 3:02
14. Spanish Castle Magic (Jimi Hendrix) - 3:06
15. Hey Joe (Billy Roberts) - 4:01
16. Foxy Lady (Jimi Hendrix) - 2:57
17. Burning Of The Midnight Lamp (Jimi Hendrix) - 3:42
Besetzung: Bass: Noel Redding
; Design: Art Hotel
; Design: William Kent
; Drums: Mitch Mitchell
; Guitar: Jimi Hendrix
; Liner Notes: Leland Stein
; Mastering: Joe Gastwirt
; Photography: Mike Polillo
; Vocals: Jimi Hendrix (1, 2, 4 to 17)
; Copyright (c) Rykodisc
; Phonographic Copyright (p) BBC
; Manufactured By Rykodisc
; Marketed By Rykodisc
Ex [>] [D]: Joggers & Smoggers [F]
Label und Katalognummer: Ex 040/041 D
Produktion: Dolf Planteijdt
Veröffentlicht: 1989
Genretags: Jazz - Avantgardejazz
Trackliste: CD 1
1. Humm (The Full House Mumble) - 2:48
2. At the Gate - 3:08
3. Pigs & Scales - 2:34
4. Coughing - 2:05
5. Morning Star - 2:22
6. Wall Has Ears - 1:55
7. Invitation to the Dance - 5:03
8. Tightly Stretched - 2:35
9. Ask the Prisoner - 1:12
10. To Be Clear - 2:06
11. Gentlemen - 2:53
12. Make That Call - 1:47
13. The Buzzword Medley - 5:07
14. Shopping Street - 2:12
15. Crackle Engines Vrôp Vrôp - 6:57
16. Greetings From Urbania - 0:52
CD 2
1. Wir
ed - 1:13
2. Got Everything? - 2:10
3. Waarom niet - 1:40
4. Courtyard - 2:14
5. Burst!Crack!Split! - 0:59
6. Brickbat - 2:59
7. Hieronymus - 1:25
8. Nosey Parker - 0:54
9. People Who Venture - 3:54
10. Watch the Driver - 1:52
11. Let's Get Sceptical - 3:50
12. Tin Gods - 2:33
13. The State of Freedom - 5:33
14. Provisionally Untitled - 2:59
15. Kachun-K Pschûh - 3:42
16. The Early Bird's Worm - 3:48
17. Catkin - 1:24
18. Upstairs With Picasso - 3:29
Besetzung: Terrie (guitar)
; G.W. Sok (vocals)
; Luc (bass)
; Katrin (drums, vocals)
; Additional instruments: grill, birdcage, double-bass, fire-extinguisher + hammer, bamboos, piano, electric razor, dobro, spoons, human beatbox, wire, glass, castanets, bow, crackle-box, cowbells, kabassa.
; Wilf Plum (organ tk 2, drums tk 3, 21, 24, birdcage tk 3, voice tk 12, bodhran tk 23, kabassa tk 26, bamboos tk 27, spoons tk 32, backing-vocals tk 31)
; Jeroen (birdcage tk 3, voice tk 12, 23, backing-vocals tk 31, piano-sequenzer tk 12, various soundscapes)
; Dolf (guitar tk 2, acoustic guitar tk 5, voice tk 24, space-stations tk 26)
; Ab Baars (saxophones tk 14, 15, 18, 32, 34)
; Bram (guitar tk 10, 34)
; Doan Gurkensalat (saz tk 9)
; Dorpsoudste de Jong (voice tk 1, 19)
; Ferrie Meurkerrie (trumpets, trombones tk 22)
; Floris van Manen (control-programma orkaterdrum tk 20)
; Gabi Kenderesi (voice, violin tk 16)
; Gerhard Bornefeld (piano tk 33)
; Harry Roberts (bamboos tk 27, backing-vocals tk 31)
; Jeroen de Groot (bagpipes tk 2, 7)
; Lee Ranaldo (guitar tk 8)
; Lena (accordion, voice tk 20)
; Nick Hobbs (voice tk 27, announcement tk 25)
; Thurston Moore (guitar tk 11)
; Thijs Vermeulen (bass tk 6,17,21)
; Wolter Wierbos (trombone tk 14, 15, 18, 32)
; Recorded at ADM\'s Koeienverhuurbedrijf, Amsterdam, Netherlands.
Bob Dylan [>] [D] & Grateful Dead [>] [D]: Dylan And The Dead [F]
Label und Katalognummer: Columbia CK 45056
Produktion: John Cutler & Jerry Garcia
Veröffentlicht: 1989 01 30 (Ed.), 1987 07 (Rec.)
Genretags: Rock - AOR-Rock - AOR-Folkrock
Trackliste: 1. Slow Train - 4:54
2. I Want You - 3:59
3. Gotta Serve Somebody - 5:42
4. Queen Jane Approximately - 6:30
5. Joey (Dylan, Levy) - 9:10
6. All Along the Watchtower - 6:17
7. Knockin' on Heaven's Door - 6:35
Alle Tracks: Bob Dylan, ausser wo anders vermerkt.
Besetzung: Bob Dylan: guitar, vocals
; Jerry Garcia: guitar, vocals
; Bob Weir: guitar, vocals
; Brent Mydland: keyboards, vocals
; Phil Lesh: bass guitar
; Bill Kreutzmann: drums
; Mickey Hart: drums
; Guy Charbonneau: Engineer
; ohn Cutler: Producer, Engineer
; Joe Gastwirt: Mastering
; Rick Griffin: Art Direction
; Gary Hedden: Engineer
; Peter Miller: Engineer
; David Roberts: Engineer
; Billy Rothschild: Engineer
; Chris Wiskes: Engineer
; Herb Greene: Photography
V. A. (Elektra) [>] [D]: Rubáiyát: Elektra’s 40th Anniversary [F]
Label und Katalognummer: Elektra Entertainment 9 60940
Produktion: Lenny Kaye
Veröffentlicht: 1990 03 24 (Ed.)
Genretags: Rock - Hardrock
Trackliste: CD 1
1. Cure: Hello I Love You - 3:35
2. Tracy Chapman: House of the Rising Sun - 2:00
3. Billy Bragg: Seven and Seven Is - 2:11
4. Jevetta Steele: I'd Like to Teach the World to Sing - 4:10
5. Gipsy Kings: Hotel California - 5:45
6. Black Velvet Band: Werewolves of London - 3:38
7. Sugarcubes: Motorcycle Mama - 3:44
8. Shinehead: One Meatball - 4:37
9. Havalinas: Bottle of Wine - 3:25
10. Pixies: Born in Chicago - 2:12
11. Faster Pussycat: You're So Vain - 4:08
12. Kronos Quartet: Marquee Moon - 4:12
13. Phoebe Snow: Get Ourselves Together - 4:16
14. Happy Mondays: Tokoloshe Man - 4:16
15. Ernie Isley: Let's Go - 4:31
16. Lynch Mob: Going Down - 3:36
17. Ambitious Lovers: A Little Bit of Rain - 3:16
18. Anita Baker: You Belong to Me - 4:40
19. Howard Jones: Road to Cairo - 5:33
CD 2
1. Big F: Kick Out the Jams - 4:02
2. Georgia Satellites: Almost Saturday Night / Rockin' All Over the World - 4:03
3. Sara Hickman: Hello, I Am Your Heart - 2:45
4. Teddy Pendergrass: Make It With You - 5:28
5. Linda Ronstadt: The Blacksmith - 2:42
6. Bill Frisell / Robin Holcomb / Wayne Horvitz: Going Going Gone - 5:57
7. Jackson Browne: First Girl I Loved - 3:44
8. 10,000 Maniacs: These Days - 3:21
9. Metallica: Stone Cold Crazy - 2:12
10. Danny Gatton: Apricot Brandy - 3:25
11. Shaking Family: Union Man - 3:57
12. Howard Hewett: One More Parade - 2:20
13. Howard Hewett: I Can't Tell You Why - 3:50
14. Leaders of the New School: Mt. Airy Groove - 4:39
15. Shirley Murdock: You Brought the Sunshine - 4:15
16. John Eddie: Inbetween Days - 3:56
17. Beautiful South: Love Wars - 4:33
18. Michael Feinstein: Both Sides Now - 5:10
19. John Zorn: T.V. Eye - 2:23
20. Cure: Hello, I Love You (Slight Return) - 0:10
CD 3 der 4 CD Promo Box (Originals)
1. Doors : Hello I Love You (1968) - 2:22
2. Glenn Yarbrough: House Of The Rising Sun (1957) - 3:25
3. Love: Seven & Seven Is (1966) - 2:14
4. New Seekers: I'd Like To Teach The World To Sing (1971) - 2:23
5. Eagles: Hotel California (1976) - 6:30
6. Warren Zevon: Werewolves Of London (1978) - 3:27
7. Sailcat: Motorcycle Mama (1972) - 2:06
8. Josh White: One Meatball (1956) - 3:34
9. Tom Paxton: Bottle Of Wine (1965) - 2:21
10. Paul Butterfield Blues Band: Born In Chicago (1965) - 2:55
11. Carly Simon: You're So Vain (1972) - 4:17
12. Television: Marquee Moon (1977) - 9:58
13. Delaney & Bonnie: Get Ourselves Together (1968) - 2:33
14. John Kongos: Tokoloshe Man (1972) - 5:20
15. Cars: Let's Go (1979) - 3:32
16. Don Nix and the Alabama State Troupers: Going Down (1972) - 3:59
17. Fred Neil: A Little Bit Of Rain (1965) - 2:21
18. Carly Simon: You Belong To Me (1978) - 3:52
19. David Ackles: Road To Cairo (1968) - 5:11
CD 4 der 4 CD Promo Box (Originals)
1. MC5: Kick Out The Jams (1969) - 2:37
2. John Fogerty: Almost Saturday Night (1975) - 2:27
3. Dennis Linde: Hello, I Am Your Heart (1973) - 2:57
4. Bread: Make It With You (1970) - 3:15
5. Kathy & Carol: The Blacksmith (1965) - 3:51
6. Bob Dylan: Going Going Gone (1974) - 3:25
7. Incredible String BandFirst Girl I Loved (1967) - 4:50
8. Jackson Browne: These Days (1973) - 4:41
9.Queen: Stone Cold Crazy (1974) - 2:14
10. Rhinoceros. Apricot Brandy (1968) - 1:57
11. Cate Brothers: Union Man (1975) - 4:48
12. Phil Ochs: One More Parade (1964) - 3:00
13. Eagles: I Can't Tell You Why (1979) - 4:56
14. Pieces of a Dream: Mt. Airy Groove (1982) - 3:28
15. Clark Sisters: You Brought The Sunshine (1983) - 3:34
16. Cure: Inbetween Days (1985) - 2:55
17. Womack & Womack: Love Wars (1983) - 5:58
18. Joni Mitchell: Both Sides Now (1967) - 3:14
19. Stooges: T.V. Eye (1970) - 4:17
Besetzung: A&R [Administration]: Victor Chirel
; Artwork [Cover]: Doug Starn
; Artwork [Cover]: Mike Starn
; Concept By: Bob Krasnow
; Coordinator [Production]: Michelle Piza
; Coordinator [Production]: Tom Finch
; Creative Director: David Bither
; Design: Frank Olinsky
; Design: Pat Gorman
; Engineer [Mastering]: Greg Calbi
; Executive-Producer, Liner Notes: Lenny Kaye
; Copyright (c) Elektra Entertainment
; Phonographic Copyright (p) Elektra Entertainment
; Made By WEA Manufacturing Inc.
; Pressed By Specialty Records Corporation
; Recorded At The Live House
; Recorded At Hearst Greek Theatre
; Recorded At A&M Studios
; Recorded At Cathouse Studios
; Recorded At Paisley Park Studios
; Recorded At Serious Sound
; Mixed At Serious Sound
; Recorded At Power Station
; Mixed At The Hit Factory
; Recorded At Great Linford Manor
; Mixed At CBS Roof Top Studios
; Recorded At Studio Sýrland
; Recorded At Ian London Studios
; Recorded At Cherokee Studios
; Recorded At Fox Run Studios
; Recorded At Chicago Recording Company
; Recorded At Sunset Sound Factory
; Mixed At House Of Music (3)
; Recorded At Technisonic Studios
; Recorded At Skyline Studios
; Recorded At Eden Studios
; Recorded At The Nut Ranch
; Mixed At Ground Control Studios
; Recorded At Vintage Studio, Phoenix
; Recorded At Creative Audio
; Mixed At Skyline Studios
; Recorded At Greene St. Recording
; Recorded At Unique Recording
; Mixed At Unique Recording
; Recorded At Ambience Recordings
; Recorded At The Shed
; Recorded At Amigo Studios
; Recorded At Soundscape Studios
; Mixed At Ardent Studios
; Mixed At Powertrax Studio
; Recorded At Ultrasonic Studios
; Recorded At Kajem Studios
; Recorded At Victory Studios
; Recorded At The Complex
; Mixed At The Complex
; Recorded At Ironwood Studios
; Recorded At Groove Masters
; Mixed At Bill Schnee Studios
; Recorded At Dreamland Recording Studios
; Mixed At Electric Lady Studios
; Recorded At Fantasy Studios
; Recorded At Bearsville Studios
; Mixed At Bearsville Studios
; Recorded At Belmont Mall
; Mixed At Belmont Mall
; Recorded At Studio 55, Los Angeles
; Mixed At Studio 55, Los Angeles
; Recorded At Chung King Studios
; Recorded At Troutman Sound Labs
; Recorded At Newbury Sound
; Recorded At Group IV Recording Studios
; Recorded At BC Studio
; Published By Doors Music Co.
; Published By Grass Roots Productions
; Published By Shada Music
; Published By Fingers Music
; Published By Cass County Music
; Published By Red Cloud Music
; Published By Zevon Music
; Published By Singing Wir
e Music
; Published By United Artists Music
; Published By Warner-Tamerlane Publishing Corp.
; Published By Quackenbush Music, Ltd.
; Published By Double Exposure Music
; Published By Irving Music, Inc.
; Published By Essex Music International, Inc.
; Published By Lido Music, Inc.
; Published By Third Story Music
; Published By Snug Music
; Published By C\'est Music
; Published By Whenaha Music Co.
; Published By Greasy King Music
; Published By Dennis Linde Music
; Published By EMI Blackwood Music Inc.
; Published By Colgems-EMI Music Inc.
; Published By Ram\'s Horn Music
; Published By Companion Music
; Published By Open Window Music
; Published By Glenwood Music Corp.
; Published By Alley Music
; Published By Trio Music
; Published By Warner Bros. Inc.
; Published By Jeddrah Music
; Published By G.W. Jr. Music Inc.
; Published By Outernational Publishing Inc.
; Published By Bridgeport Music, Inc.
; Published By Fiction Songs Ltd.
; Published By Next Flight Music
; Published By Siquomb Publishing Corp.
; Mastered At Sterling Sound
Beach Boys [>] [D]: Surfin' Safari / Surfin' USA [F]
Label und Katalognummer: Capitol CDP 7 93691
Produktion: Nick Venet & Brian Wilson
Veröffentlicht: 1990 05 (Ed.)
Genretags: Rock'n'Roll - Beat - Surfbeat
Trackliste: 1. Surfin' Safari (2:07)
2. County Fair (2:17)
3. Ten Little Indians (1:29)
4. Chug-A-Lug (2:01)
5. Little Miss America (2:07)
6. 409 (2:01)
7. Surfin' (2:12)
8. Heads You Win - Tails I Lose (2:20)
9. Summertime Blues (2:11)
10. Cuckoo Clock (2:11)
11. Moon Dawg (2:03)
12. The Shift (1:56)
13. Surfin' U.S.A. (2:29)
15. Farmer's Daughter (1:51)
15. Misirlou (2:06)
16. Stoked (2:01)
17. Lonely Sea (2:24)
18. Shut Down (1:51)
19. Noble Surfer (1:54)
20. Honky Tonk (2:04)
21. Lana (1:42)
22. Surf Jam (2:13)
23. Let's Go Trippin' (2:00)
24. Finders Keepers (1:42)
Bonustracks
1. Cindy, Oh Cindy (2:10)
2. The Baker Man (2:36)
3. Land Ahoy (1:39)
Besetzung: Artwork By [Art Direction]: Tommy Steele
; Artwork By [Design]: Chuck Ames
; Mastered By [24-bit Digital Remastering]: Joe Gastwirt
; Other [Exclusive Commentary]: Brian Wilson
; Other [Liner Notes]: David Leaf
; Photography [Photo Research]: Brad Benedict
; Producer: Nick Venet (1-25)
; Reissue Producer, Other [Re-issue Coordinated By], Engineer [Mastering Supervisor]: Mark Linett
Beach Boys [>] [D]: Little Deuce Coup / All Summer Long [F]
Label und Katalognummer: Capitol CDP 7 93693
Veröffentlicht: 1990 06 (Ed.)
Genretags: Rock
Trackliste: 1. Little Deuce Coupe (1:37)
2. Ballad Of Ole' Betsy (2:14)
3. Be True To Your School (2:06)
4. Car Crazy Cutie (2:47)
5. Cherry, Cherry Coupe (1:47)
6. 409 (1:57)
7. Shut Down (1:49)
8. Spirit Of America (2:22)
9. Our Car Club (2:20)
10. No-Go Showboat (1:53)
11. A Young Man Is Gone (2:10)
12. Custom Machine (1:38)
13. I Get Around (2:12)
14. All Summer Long (2:06)
15. Hushabye (2:39)
16. Little Honda (1:51)
17. We'll Run Away (1:59)
18. Carl's Big Chance (2:24)
19. Wendy (2:14)
20. Do You Remember? (1:37)
21. Girls On The Beach (2:23)
22. Drive-In (1:50)
23. Our Favourite Recording Sessions (1:59)
24. Don't Back Down (1:43)
Bonustracks
1. Be True To Your School (Single Version) (2:07)
2. All Dressed Up For School (2:20)
3. Little Honda (Alternative Take) (2:10)
4. Don't Back Down (1:38)
Besetzung: Artwork By [Art Direction] - Tommy Steele
; Artwork By [Design] - Chuck Ames
; Engineer - Chuck Britz
; Mastered By [Digital Remastering] - Joe Gastwirt
; Other [Chart Information] - Joel Whitburn
; Other [Liner Notes] - David Leaf
; Other [Photo Research] - Brad Benedict
; Arranged By - Brian Wilson
; Reissue Producer, Other [Coordinated By] - Mark Linett
Jerry Garcia Band [>] [D]: Jerry Garcia Band [F]
Label und Katalognummer: Arista 18690
Produktion: John Cutler & Jerry Garcia & John Kahn
Veröffentlicht: 1991 08 27
Genretags: Rock
Trackliste: CD 1
1. The Way You Do the Things You Do (William Smokey Robinson/Bobby Rogers) - 8:08
2. Waiting for a Miracle (Bruce Cockburn) - 5:54
3. Simple Twist of Fate (Bob Dylan) - 11:54
4. Get Out of My Life (Allen Toussaint) - 8:53
5. My Sisters and Brothers (Charles Johnson) - 4:17
6. I Shall Be Released (Bob Dylan) - 9:26
7. Dear Prudence (John Lennon/Paul McCartney) - 11:41
8. Deal (Jerry Garcia/Robert Hunter) - 8:38
CD 2
1. Stop That Train (Peter Tosh) - 8:51
2. Señor (Tales of Yankee Power) (Bob Dylan) - 7:43
3. Evangeline (David Hidalgo/Louie Perez) - 4:47
4. The Night They Drove Old Dixie Down (Robbie Robertson) - 9:36
5. Don't Let Go (Jesse Stone) - 17:16
6. That Lucky Old Sun (Haven Gillespie/Beasley Smith) - 11:32
7. Tangled up in Blue (Bob Dylan) - 12:16
Besetzung: Jerry Garcia - guitar, vocals
; Gloria Jones - vocals
; John Kahn - bass
; David Kemper - drums
; Jackie LaBranch - vocals
; Melvin Seals - organ, keyboards
; Live recording - John Cutler
; Additional engineers - David Roberts, Andrew Warwick, Peter Miller & Justin Kreutzman
; Digital mastering & editing - Joe Gastwirt
; Cover art - John Kahn
; Photography - Ken Friedman
; Design - Carolyn Quan
; Art coordination - Amy Finkle
Crosby, Stills And Nash [>] [D]: CSN (= Box Set) [F]
Assoziierte Acts: David Crosby & Graham Nash & Stephen Stills & Neil Young
Label und Katalognummer: Atlantic 7 82319
Produktion: Verschiedene
Veröffentlicht: 1991 10 01 (Ed.)
Genretags: Rock - Corporate-Rock - Westcoast
Trackliste: CD 1
1. Suite: Judy Blue Eyes (Alternate Mix) - 7:28
2. Crosby, Stills, Nash & Young: Helplessly Hoping (Unreleased Live Studio Version) - 2:31
3. You Don't Have To Cry - 2:40
4. Crosby, Stills & Nash: Wooden Ships - 5:26
5. David Crosby: Guinevere (Early Demo) - 4:45
6. Marrakesh Express - 2:36
7. Long Time Gone - 4:17
8. Blackbird (Unreleased Live Studio Version) - 2:33
9. Lady Of The Island - 2:36
10. Song With No Words (Tree With No Leaves) - 3:14
11. Crosby, Stills, Nash & Young: Almost Cut My Hair (Unreleased Unedited Original Version) - 8:49
12. Crosby, Stills, Nash & Young: Teach Your Children - 2:52
13. Crosby, Stills, Nash & Young: Horses Through A Rainstorm - 3:40
14. Crosby, Stills, Nash & Young: Deja Vu - 4:10
15. Crosby, Stills, Nash & Young: Helpless - 3:36
16. Crosby, Stills, Nash & Young: 4 + 20 - 2:10
17. David Crosby: Laughing - 5:24
18. Crosby, Stills, Nash & Young: Carry On / Questions - 4:25
CD 2
1. Crosby, Stills, Nash & Young: Woodstock (Alternate Mix) - 3:50
2. Crosby, Stills, Nash & Young: Ohio - 3:00
3. Stephen Stills: Love The One You're With - 3:03
4. Crosby, Stills, Nash & Young: Our House - 2:58
5. Stephen Stills: Old Times Good Times - 3:38
6. Crosby, Stills, Nash & Young: The Lee Shore - 5:28
7. David Crosby: Music Is Love - 3:18
8. David Crosby: I'd Swear There Was Somebody Here - 1:19
9. Crosby, Stills, Nash & Young: Man In The Mirror - 2:52
10. Crosby, Stills, Nash & Young: Black Queen (Live) - 6:50
11. Graham Nash: Military Madness - 2:55
12. David Crosby & Graham Nash: Urge For Going - 3:46
13. Graham Nash: I Used To Be A King - 4:48
14. Graham Nash: Simple Man (Alternate Mix) - 2:19
15. David Crosby & Graham Nash: Southbound Train - 3:54
16. Stephen Stills: Change Partners - 3:13
17. Stephen Stills: My Love Is A Gentle Thing - 1:23
18. Stephen Stills: Word Game - 4:10
19. Manassas: Johnny's Garden - 2:46
20. Manassas: So Begins The Task - 4:00
21. Stephen Stills: Turn Back The Pages - 4:05
CD 3
1. Crosby, Stills, Nash & Young: See The Changes - 2:44
2. Manassas: It Doesn't Matter - 2:31
3. David Crosby & Graham Nash: Immigration Man - 2:58
4. Graham Nash: Chicago / We Can Change The World - 3:58
5. Crosby, Stills, Nash & Young: Homeward Through The Haze - 4:20
6. David Crosby & Graham Nash: Where Will I Be? - 3:22
7. David Crosby & Graham Nash: Page 43 - 2:55
8. David Crosby & Graham Nash: Carry Me - 3:33
9. David Crosby & Graham Nash: Cowboy Of Dreams - 3:27
10. David Crosby & Graham Nash: Bittersweet - 2:37
11. David Crosby & Graham Nash: a) To The Last Whale, b) Critical Mass, c) Wind On The Water - 5:30
12. Graham Nash: Prison Song - 3:11
13. Graham Nash: Another Sleep Song - 4:42
14. Crosby, Stills, Nash & Young: Taken At All - 2:54
15. In My Dreams - 5:11
16. Just A Song Before I Go - 2:12
17. Shadow Captain - 4:31
18. Dark Star - 4:57
19. Cathedral - 5:16
CD 4
1. Wasted On The Way - 2:46
2. Graham Nash: Barrel Of Pain (Half-Life) - 4:44
3. Southern Cross - 4:39
4. Daylight Again / Find The Cost Of Freedom - 2:28
5. Stephen Stills: Thoroughfare Gap - 3:33
6. Graham Nash: Wild Tales (Live) - 3:09
7. Stephen Stills & Graham Nash: Dear Mr. Fantasy - 7:04
8. Cold Rain - 2:33
9. Got It Made (Live At The U.N. 4:33
10. David Crosby: Tracks In The Dust - 4:48
11. As I Come Of Age - 2:48
12. Stephen Stills: 50/50 - 4:20
13. David Crosby: Drive My Car - 3:50
14. Delta - 4:11
15. Crosby, Stills, Nash & Young: Soldiers Of Peace - 4:20
16. Yours And Mine - 4:28
17. Haven't We Lost Enough? - 3:06
18. After The Dolphin - 4:55
19. Crosby, Stills, Nash & Young: Find The Cost Of Freedom - 1:59
Besetzung: Dana Africa: flute
; Howard Albert: producer, engineer
; Ron Albert: producer, engineer
; Patrick Arnold: vocals (bckgr)
; John Barbata: drums, tambourine
; Stephen Barncard: engineer, remixing, mixing
; Richard T. Bear: keyboards, Fender Rhodes
; Tony Beard: drum programming
; Joel Bernstein: guitar (acoustic), piano, vocals, photography, quotes researched & compiled, tape restoration
; Niko Bolas: engineer
; Ellen Burke: assistant engineer
; Jack Casady: bass guitar
; Gloria Coleman: vocals (bckgr)
; Tony Concepcion: trumpet
; Rita Coolidge: vocals (bckgr), vibraphone
; Larry Cox: engineer
; George Cricker: trombone
; Crosby & Nash: performer
; David Crosby: guitar, guitar (electric), guitar (rhythm), keyboards, vocals, vocals (bckgr), guitar (12 String), producer, harmonica (glass), performer, string arrangements
; Donnie Dacus: guitar (rhythm), vocals (bckgr)
; Bob Defrin: art direction
; Al Degooyer: trumpet
; Lawrence Dermer: keyboards
; Henry Diltz: vocals (bckgr), photography
; Craig Doerge: synthesizer, piano, keyboards, piano (electric), producer
; Tim Drummond: bass guitar
; Brenda Lee Eager: vocals (bckgr)
; Chris Ethridge: bass guitar
; Cyrus Faryar: bouzouki
; Venetta Fields: vocals (bckgr)
; Mike Finnigan: keyboards, organ (Hammond), vocals
; Michael Fisher: percussion
; Chet Flippo: liner notes
; Raymond Foye: quotes researched & compiled
; Joe Galdo: percussion, drums
; Jerry Garcia: pedal steel guitar
; Art Garfunkel: vocals
; Russ Gary: engineer, mixing
; Joe Gastwirt: remastering, analog transfer, tape restoration
; Bob Glaub: bass guitar
; Don Gooch: engineer, mixing
; Wayne Goodwin: fiddle
; Jim Gordon: drums
;
; Al Gould: fiddle
; Steve Gursky: engineer, assistant engineer
; Bill Halverson: producer, engineer
; Harry Harris: photography
; Paul Harris: organ, piano, keyboards
; Jimmie Haskell: conductor, string arrangements
; David Hassinger: engineer
; Michael Hedges: guitar, vocals (bckgr)
; Jimi Hendrix: guitar
; Chris Hillman: guitar, vocals (bckgr), producer
; James Newton Howard: keyboards
; Conrad Isadore: drums
; Andy Johns: engineer
; Glyn Johns: mixing
; Stanley Johnston: producer, engineer, assistant engineer
; Priscilla Jones: vocals (bckgr)
; Simon Jones: radio
; Ben Keith: lap steel guitar
; Gary Kellgren: engineer
; Cleo Kennedy: vocals (bckgr)
; Carole King: keyboards
; Clydie King: vocals (bckgr)
; Danny Kortchmar: guitar
; Lynn Kowalewski: design
; Bill Kreutzmann: drums
; Russ Kunkel: percussion, conga, drums, timpani
; Joe Lala: percussion, conga, timbales, vocals
; Michael Landau: guitar
; Paul Lee: drums
; Phil Lesh: bass guitar
; Marcy Levy: vocals (bckgr)
; Mike Lewis: conductor, string arrangements
; Henry Lewy: engineer
; David Lindley: fiddle, guitar, mandolin, guitar (electric)
; Manassas: performer
; Branford Marsalis: sax (soprano)
; Dave Mason: guitar
; Sherlie Matthews: vocals (bckgr)
; Elliot Mazer: engineer
; Jim Mitchell: assistant engineer
; Joni Mitchell: vocals
; John Modell: digital remastering assistant
; Dorothy Morrison: vocals (bckgr)
; Tim Mulligan: assistant engineer
; Graham Nash: organ, guitar (acoustic), harmonica, piano, conga, guitar (electric), guitar (rhythm), tambourine, vocals, vocals (bckgr), producer, harmonica (glass), performer, Fender Rhodes, string arrangements, photography, logo
; Fred Neil: vocals (bckgr)
; John Nowland: analog transfer, tape restoration
; Jimmy Page: guitar
; Bruce Palmer: bass
; Dean Parks: guitar (electric)
; Al Perkins: guitar, pedal steel, vocals (bckgr)
; George \'Chocolate\' Perry: bass guitar
; Miguel Pous: tape archivist
; Neal Preston: photography
; Greg Reeves: bass guitar
; Paul Rothchild: producer, engineer
; Dorian Rudnytsky: celli
; John Sambataro: vocals (bckgr)
; Calvin Samuels: bass guitar
; Timothy B. Schmit: vocals
; John Sebastian: harmonica, vocals (bckgr)
; Sid Sharp: leader
; Leland Sklar: bass guitar
; Michael Stergis: guitar (acoustic)
; John M. Stevens: logo
; Stephen Stills: organ, guitar (acoustic), banjo, bass guitar, guitar, percussion, piano, conga, drums, guitar (electric), keyboards, piano (electric), vocals, drums (steel), producer, slide guitar, vibraphone, performer, photography, logo
; Chip Stone: photography
; Doc Storch: assistant engineer
; Dallas Taylor: drums, producer
; James Taylor: guitar (acoustic), vocals
; Gerry Tolman: producer, mixing
; Efrain Toro: percussion
; Joe Vitale: organ, flute, percussion, drums, keyboards, guitar synthesizer, producer, vibraphone, bass synthesizer
; Jeff Whittaker: conga
; Neil Young: guitar (acoustic), bass, guitar, harmonica, piano, guitar (electric), vocals, producer, vibraphone
; Tubby Ziegler: drums
Manic Street Preachers [>] [D]: Generation Terrorists [F]
Label und Katalognummer: Columbia 471060
Produktion: Steve Brown
Veröffentlicht: 1992 02 10
Genretags: Alternativerock - Punkrock - Glampunk
Trackliste: 1. Slash 'N' Burn (March 16 1992 - sleeve features a quotation from E. E. Cummings - 3:59
2. Nat Wes - Barclay - Midland - Lloyd - sleeve features a quotation from Philip Larkin - 4:32
3. Born To En - sleeve features a quotation from Arthur Rimbaud - 3:55
4. Motorcycle Emptiness (June 1 1992 - sleeve features a quotation from Sylvia Plath - 6:08
5. You Love Us (January 16 1992 - sleeve features a quotation from the Manifesto of the Futurists - 4:18
6. Love's Sweet Exile (October 29 1991 - sleeve features a quotation from Attila Kotanyi and Raoul Vaneigem (IS no.6, 1961) - 3:29
7. Little Baby Nothing (November 15 1992 - sleeve features a quotation from Valerie Solanas - 4:59
8. Repeat (Stars And Stripes - sleeve features a quotation from Chuck D - 4:09
9. Tennesse - sleeve features a quotation from Chief Ten Bears of the Comanche at the Council of Medicine Lodge Creek, 1867 - 3:06
10. Another Invented Diseas - sleeve features a quotation from Albert Camus - 3:24
11. Stay Beautiful (July 29 1991 - sleeve features a quotation from Confucius - 3:10
12. So Dea - sleeve features a quotation from Henrik Ibsen - 4:28
13. Repeat (UK - sleeve features a quotation from George Orwell - 3:09
14. Spectators Of Suicide - sleeve features a quotation from Henry Miller - 4:40
15. Damn Do - sleeve features a quotation from the Sleez Sisters (misspelled (sic) as Sleaze Sisters, a different artist altogether - 1:52
16. Crucifix Kis - sleeve features a quotation from Friedrich Nietzsche - 3:39
17. Methadone Prett - sleeve features a quotation from William Burroughs - 3:57
18. Condemned To Rock 'N' Rol - sleeve features a quotation from Nik Cohn - 6:06
Besetzung: James Dean Bradfield: lead vocals, lead, rhythm and acoustic guitars
; Richey Edwards (credited as Richey James): rhythm guitar
; Sean Moore: drum programming, drums, percussion, backing vocals
; Nicky Wir
e: bass guitar
; May McKenna: backing vocals (10)
; Jackie Challenor: backing vocals (10)
; Lorenza Johnson: backing vocals (10)
; Dave Eringa: piano, organ (2, 5, 14, 16)
; Traci Lords: vocals (7)
; Spike Edney: keyboards (7)
; Richard Cottle: keyboards (4)
; Steve Brown: production, engineering, mixing
; Matt Ollivier: engineering
; Owen Davies: mixing
; Marc Williams: mixing assistance
; Nicholas Sansano: remixing on "Repeat (Stars and Stripes)"
; Frank Rivaleau: remixing on "Repeat (Stars and Stripes)"
; Dan Wood: remixing on "Repeat (Stars and Stripes)"
; Tom Sheehan: photography
; Valerie Phillips: photography
; Paul Slattery: photography
; Steve Guillick: photography
; Ed Sirrs: photography
; Paul Cox: photography
V. A. (Rhino) [>] [D]: Street Jams: Electric Funk, Part 1 [F]
Label und Katalognummer: Rhino R2 70575
Produktion: Verschiedene
Veröffentlicht: 1992 02 11 (Ed.)
Genretags: Afroamericana - Funk - Electrofunk
Trackliste: 1. Steve Yano and Brian Foxworthy: Skanless Electric Funk Mega-Mix (4:33)
2. Afrika Bambaataa and Soulsonic Force: Planet Rock (5:18)
3. Twilight 22: Electric Kingdom (6:49)
4. Planet Patrol: Play At Your Own Risk (4:23)
5. Reggie Griffin amd Technofunk: Mirda Rock (7:19)
6. Guru: Who You Stealin' From (7:23)
7. Hashim: Al-Naafiysh (The Soul) (5:30)
8. Cybotron: Clear (4:52)
9. Aleem: Release Yourself (4:31)
10. Herbie Hancock feat. Bill Lasswell: Rockit (5:21)
11. Grandmixer D. ST.: Megamix II: Why Is It Fresh? (5:24)
12. Newcleus: Jam On Revenge (The Wikki-Wikki Song) (5:44)
13. Grandmixer D. ST.: Crazy Cuts (5:03)
Besetzung: Art Direction: Geoff Gans
; Artwork [Front Cover Art], Illustration [Illustrations]: Jesse Rothbeind
; Compilation Producer: Brian Foxworthy
; Compilation Producer: Steve Yano
; Compilation Producer [Co-producer]: Juice "The Electric Wir
e"
; Coordinator [Project Assistance]: Bob Emmer
; Coordinator [Project Assistance]: Bob Fisher
; Coordinator [Project Assistance]: Brady Benton
; Coordinator [Project Assistance]: Craig Kamins
; Coordinator [Project Assistance]: Edward Kip Hannan
; Coordinator [Project Assistance]: Joan Haley
; Coordinator [Project Assistance]: Michelle Eagle
; Coordinator [Project Assistance]: Reggie Collins
; Design: Coco Shinomiya
; Design: Sevie Bates
; Liner Notes: Sean Ross
; Liner Notes: Steve Yano
; Mastering: Bob Fisher
; Mastering: Brian Gardner
; Photography [Photos]: Michael Ochs Archives
; Research: Gary Peterson
; Supervised By [Project Supervision]: David McLees
; Supervised By [Project Supervision]: Richard Foos
; Phonographic Copyright (p) Rhino Records Inc.
; Copyright (c) Rhino Records Inc.
; Mastered At Bernie Grundman Mastering
Walkabouts [>] [D]: New West Motel [F]
Label und Katalognummer: Creativeman CMD 028
Produktion: Ed Brooks & Walkabouts
Veröffentlicht: 1993
Genretags: Alternativerock - Poprock - Powerpop
Alternativecountry mit Powerpop-Gitarren.
Trackliste: 1. Jack Candy - 4:41
2. Sundowner - 3:38
3. Grand Theft Auto - 5:41
4. Break It Down Gently - 3:36
5. Your Hope Shines - 4:14
6. Murdering Stone - 3:18
7. Sweet Revenge - 5:44
8. Glad Nation's Death Song - 4:21
9. Long Time Here - 4:19
10. Wondertown, Pt. 1 - 1:23
11. Drag This River - 4:02
12. Snake Mountain Blues (VanZandt) - 5:47
13. Findlay's Motel - 6:36
14. Unholy Dreams - 5:21
Alle Tracks: Eckman, Walkabouts, ausser wo anders vermerkt.
Besetzung: Bass, Harmonica: Michael Wells
; Drums, Percussion, Vocals [Backup]: Terri Moeller
; Piano, Organ, Noises, Accordion: Glenn Slater
; Violin, Lap Steel, Mandolin, Vibes: Bruce Wir
th
; Vocals, Acoustic & Electric Guitars, Percussion: Carla Torgerson
; Vocals, Electric & Acoustic Guitars: Chris Eckman
Grant Lee Buffalo [>] [D]: Fuzzy [F]
Label und Katalognummer: Slash 9 45217
Produktion: Paul Kimble
Veröffentlicht: 1993 02 23
Genretags: Alternativerock - Alternativecountry
Trackliste: 1. The Shining Hour - 3:53
2. Jupiter And Teardrop - 5:57
3. Fuzzy - 4:59
4. Wish You Well - 3:30
5. The Hook - 4:13
6. Soft Wolf Tread - 2:52
7. Stars 'N' Stripes - 4:43
8. Dixie Drug Store - 5:07
9. America Snoring - 3:39
10. Grace - 6:15
11. You Just Have To Be Crazy - 3:35
Alle Tracks: Grant Lee Phillips.
Besetzung: Artwork By [Design]: Liz Hale
; Bass, Piano, Vocals: Paul Kimble
; Drums, Percussion: Joey Peters
; Engineer: Bryan Zee (1, 2, 4-6, 9-11), Paul Kimble (3, 7, 8)
; Engineer [Assistant]: Mighty Joe Moon (1, 2, 4-6, 9-11)
; Engineer [Mixing: 2nd]: Richard Orstein (2, 9)
; Engineer [Mixing]: Martin Brumbach (2, 9), Paul Kimble (2, 9)
; Mastered By: Joe Gastwirt
; Mastered By [Assistant]: Jeffrey Norman
; Mixed By: Paul Kimble
; Photography: Patricia S. De La Rosa
; Vocals, Acoustic Guitar, Electric Guitar: Grant Lee Phillips
Manic Street Preachers [>] [D]: Gold Against The Soul [F]
Label und Katalognummer: Columbia CK 57386
Produktion: Dave Eringa
Veröffentlicht: 1993 06 21
Genretags: Alternativerock - Punkrock - Glampunk
Trackliste: 1. Sleepflower - 4:51
2. From Despair To Where (June 7 1993) - 3:34
3. La Tristesse Durera (Scream to a Sigh) (July 26 1993) - 4:13
4. Yourself - 4:11
5. Life Becoming A Landslide (February 7, 1994) - 4:14
6. Drug Drug Druggy - 3:26
7. Roses in the Hospital (September 20 1993) - 5:02
8. Nostalgic Pushead - 4:14
9. Symphony Of Tourette - 3:31
10. Gold Against The Soul - 5:34
Besetzung: James Dean Bradfield - lead vocals, guitar
; Sean Moore - drums, percussion, trumpet
; Nicky Wir
e - bass, lead vocals (The Future Has Been Here 4 Ever), backing vocals
; Ian McCulloch - second lead vocals (Some Kind of Nothingness)
; John Cale - keyboards and noise (Auto-Intoxication)
; Duff McKagan - bass (A Billion Balconies Facing the Sun)
; Loz Williams - piano, Hammond organ, Mellotron
; Nick Naysmith - piano, Hammond organ
; Caitrin Wyn Southall - Vocal Arrangement and backing vocals
; Melissa Henry - backing vocals
; Osian Rowlands - backing vocals
; Gareth Treseder - backing vocals
; Fflur Rowlands - backing vocals
; Roland George - backing vocals
; Aled Powys Williams - backing vocals
; Andy Walters - String Arrangment and string player
; Joanna Walters - string player
; Carly Worsford - string player
; Bernard Kane - string player
; Simon Howes - string player
; Richard Phillips - string player
; Claudine Liddington - string player
Idaho [>] [D]: Year After Year [F]
Label und Katalognummer: Caroline CAROL 1736
Produktion: Martin Brumbach & Idaho
Veröffentlicht: 1993 10 01
Genretags: Alternativerock - Sadcore
Trackliste: 1. God's Green Earth (3:44)
2. Skyscrape (4:11)
3. Gone (5:21)
4. Here To Go (4:56)
5. Sundown (4:33)
6. Memorial Day (4:25)
7. One Sunday (2:12)
8. The Only Road (4:00)
9. Let's Cheat Death (1:36)
10. Save (3:46)
11. Year After Year (5:48)
12. End Game (10:18)
Besetzung: Bass, Vocals, Guitar [4 String] - Jeff Martin
; Guitar - John Berry
; Mastered By - Joe Gastwirt
; Drums - John Berry (1-3, 8, 12)
; Drums - Vince Signorelli (4, 10)
; Drums - Jeff Martin (5, 6, 11)
; Drums - Mark Lewis (7)
Alejandro Escovedo [>] [D]: Thirteen Years [F]
Label und Katalognummer: Watermelon Records 1017
Produktion: Turner Stephen Bruton
Veröffentlicht: 1994 01 14
Genretags: Newpop - Artpop - Chamberpop
Trackliste: 1. Thirteen Years Theme - 0:49
2. Ballad of the Sun and the Moon - 4:33
3. Try, Try, Try - 4:35
4. Way It Goes - 4:54
5. Losing Your Touch - 3:56
6. Thirteen Years - 4:03
7. Thirteen Years Theme - 1:10
8. Helpless - 4:37
9. Mountain of Mud - 3:48
10. Tell Me Why - 3:47
11. Thirteen Years Theme - 1:25
12. She Towers Above - 4:50
13. Baby's Got New Plans - 4:51
14. The End (Stephen Bruton, Alejandro Escovedo) - 3:41
15. Thirteen Years Theme - 1:03
Alle Tracks: Alejandro Escovedo, ausser wo anders vermerkt.
Besetzung: Alejandro Escovedo: guitar, vocals
; Dave McNair: guitar, percussion
; Turner Stephen Bruton: electric guitar
; Charlie Sexton: electric guitar
; Cid Sanchez: electric guitar
; Marty Muse: pedal steel guitar
; Terry Wilson: bass
; Barry \'Frosty\' Smith: drums, percussion
; David Bender: drums
; Megan Levin: harp
; Susan Voelz: violin
; Danny Levin: violin
; David Perales: violin
; Frank Kammerdiener: cello
; Tom Canning: piano, keyboards
; Jon Blondell: trombone section
; Mickey Raphael: harmonica
; Malford Milligan: vocal extraordinaire, harmony vocal
; Bobby Neuwirth: harmony vocal
Beck [>] [D]: Stereopathetic Soul Manure [F]
Label und Katalognummer: Flipside Records FLIP 60
Produktion: Tom Grimley & Beck Hansen & Gus Hudson
Veröffentlicht: 1994 02 22
Genretags: Alternativerock - Lo-Fi-Rock, Alternativerock - Alternativecountry - Neo-Americana
Trackliste: 1. Pink Noise (Rock Me Amadeus) - 2:57
2. Rowboat - 3:45
3. Thunder Peel - 1:48
4. Waitin' for a Train - 1:08
5. The Spirit Moves Me - 2:10
6. Crystal Clear (Beer) - 2:29
7. No Money No Honey - 2:13
8. '8.6.82' - 0:37
9. Total Soul Future (Eat It) - 1:48
10. One Foot in the Grave - 2:14
11. Aphid Manure Heist - 1:29
12. Today Has Been a Fucked Up Day - 2:34
13. Rollins Power Sauce - 1:54
14. Puttin It Down - 2:23
15. '11.6.45' - 0:30
16. Cut 1/2 Blues - 2:37
17. Jagermeister Pie - 1:07
18. Ozzy - 2:05
19. Dead Wild Cat - 0:25
20. Satan Gave Me a Taco - 3:46
21. '8.4.82' - 0:26
22. Tasergun - 3:51
23. Modesto - 3:27
24. Ken (unlisted) - 0:12
25. Bonus Noise (unlisted) - 16:40
Alle Tracks: Beck Hansen
Besetzung: Design: Gibran Evans
; Design: T.A.Z.
; Executive-Producer: Gus Hudson
; Painting [Drawing]: Bob Gundermen
; Recording: Rusty Cusick (2, 3, 5, 6, 9, 16, 20, 22, 23)
; Recording: Tom Grimley (1, 4, 7, 8, 10 to 15, 17 to 19, 21)
; Copyright (c) Cyanide Breathmint Music
; Phonographic Copyright (p) Cyanide Breathmint Music
; Record Company Gusto Productions
; Recorded At Poop Alley Studio
; Recorded At Wir
eworks
; Glass Mastered At Technidisc
V. A. (Rhino) [>] [D]: Street Jams. Hip-Hop From The Top Part 3 [F]
Label und Katalognummer: R2 71555
Produktion: Verschiedene
Veröffentlicht: 1994 02 22 (Ed.)
Genretags: Hip-Hop - Oldschool
Trackliste: 1. Doug E. Fresh And The Get Fresh Crew: The Show - 6:39
2. Howie Tee With Real Roxanne: Romeo (Part I) - 5:12
3. Furious Five: Step Off (feat. Cowboy, Melle Mel, Scorpio) - 7:17
4. Fat Boys: Jail House Rap - 8:31
5. Whodini: Freaks Come Out At Night - 4:40
6. Boogie Boys: You Ain't Fresh (High Noon Mix) - 7:51
7. Run-DMC: Here We Go (Live At The Funhouse) - 4:04
8. UTFO: Leader Of The Pack - 4:55
9. Kurtis Blow: AJ Scratch - 5:48
10. Roxanne Shanté: Runaway - 4:31
11. Marley Marl: Marley Marl Scratch (feat. MC Shan) - 4:26
12. Bad Boys: Bad Boys (feat. K Love) - 5:53
Besetzung: Compilation Producer: Juice \'The Electric Wir
e\'
; Compilation Producer: Steve Yano
; Remastering: Steve Yano
V. A. (Rhino) [>] [D]: Street Jams. Hip-Hop From The Top Part 4 [F]
Label und Katalognummer: Rhino R2 71556
Produktion: Verschiedene
Veröffentlicht: 1994 02 22 (Ed.)
Genretags: Hip-Hop - Oldschool
Trackliste: 1. Dana Dane: Nightmares - 5:49
2. Doug E. Fresh & M.C. Ricky D: La-Di-Da-Di - 4:28
3. Super Nature: The Show Stoppa (Is Stupid Fresh) - 5:30
4. Fat Boys: The Fat Boys Are Back - 6:07
5. Run-DMC: Together Forever (Krush Groove 4) (Live At Hollis Park '84): 3:32
6. Full Force: Alice, I Want You Just For Me - 6:12
7. Symbolic Three: No Show (feat. DJ Dr. Shock) - 6:00
8. Fat Boys: All You Can Eat - 5:20
9. Fresh Gordon: Gordy's Groove (Mayberry Mix) - 4:20
10. Spyder-D: Buckwheat's Beat: 3:54
11. Word Of Mouth: King Kut (feat. DJ Cheese) - 7:09
12. Roxanne Shanté: Bite This - 5:54
Besetzung: Sevie Bates: Design
; Richard Foos: Supervisor
; Geoff Gans: Art Direction
; Juice the Electric Wir
e: Compilation Producer
; MC Ricky D: Performer
; David McLees: Supervisor
; Ted Myers: Project Coordinator
; Michael Ochs: Photography
; Gary Peterson: Research
; Sean Ross: Liner Notes
; Jes Rothbeind: Cover Design, Illustrations
; Coco Shinomiya: Design
; Steve Yano: Compilation Producer, Remastering
V. A. (Rhino) [>] [D]: Street Jams: Electric Funk, Part 3 [F]
Label und Katalognummer: Rhino R2 71557
Produktion: Verschiedene
Veröffentlicht: 1994 02 22 (Ed.)
Genretags: Afroamericana - Funk - Electrofunk
Trackliste: 1. Juice 'The Electric Wir
e' and Steve Yano: Skanless Electric Funk Megamix (Phase 2) - (4:27)
2. Grandmaster Flash and Melle Mel: White Lines (Don't Do It) (7:26)
3. Nuance feat. Vikki Love: Take A Chance (6:15)
4. Afrika Bambaataa and Soulsonic Force: Looking For The Perfect Beat (6:56)
5. Pretty Tony: Jam The Box (6:12)
6. File 13: Taste So Good (4:44)
7. Uncle Jamm's Army feat. Miss N.Y.S.A., Mr. Prince: Naughty Boy (6:41)
8. Trinere: All Night (4:03)
9. Freestyle: The Party Has Begun (6:30)
10. L.A. Dream Team: Calling On The Dream Team (5:23)
11. MC G.L.O.B.E. & Pow Wow: Celebrate! (Everybody) (6:46)
12. World Class Wreckin' Cru feat. Dr. Dre: Surgery (7:08)
13. Egyptian Lover: Dubb Girls (The Ultimate Mix) - (6:24)
Besetzung: Art Direction: Geoff Gans
; Compilation Producer: Juice "The Electric Wir
e"
; Compilation Producer: Steve Yano
; Coordinator [Project Coordination]: Ted Myers
; Design: Coco Shinomiya
; Design: Sevie Bates
; Illustration [Front Cover Art]: Jesse Rothbeind
; Other [Project Assistance]: Bob Fisher
; Other [Project Assistance]: Chris Clarke
; Other [Project Assistance]: Craig Kamins
; Other [Project Assistance]: Edward Kip Hannan
; Other [Project Assistance]: Mark Pinkus
; Other [Project Assistance]: Rodger Clayton
; Other [Project Assistance]: Sean Ross
; Photography: Michael Ochs Archives
; Remastering: Steve Yano
; Research: Gary Peterson
; Supervised By [Project Supervision]: David McLees
; Supervised By [Project Supervision]: Richard Foos
; Phonographic Copyright (p) Rhino Records (2)
; Copyright (c) Rhino Records (2)
V. A. (Rhino) [>] [D]: Street Jams: Electric Funk, Part 4 [F]
Label und Katalognummer: Rhino R2 71558
Produktion: Verschiedene
Veröffentlicht: 1994 03 15
Genretags: Afroamericana - Funk - Electrofunk
Trackliste: 1. Freestyle: Don't Stop The Rock (Nealy, Butler) - (5:29)
2. Lisa Lisa and Cult Jam with Full Force: I Wonder If I Take You Home (Extended Version) (George, Bedeau, Charles, Clarke, George, George) - (6:40)
3. Laid Back: White Horse (Guldberg, Stahl) - (5:43)
4. Connie: Rock Me (Larkins, Stone) - (5:23)
5. Megatrons: Rock The Planet (Larkins, Black, Latimore) - (6:21)
6. Jamie Jupitor: Computer Power (Broussard) - (6:57)
7. Channel One: Technicolor (Long Mix) (Craig, Atkins) - (6:48)
8. ABC: How To Be A Zillionaire (Wall Street Mix) (White, Fry) - (7:32)
9. Egyptian Lover: Dance (Broussard) - (5:31)
10. Freestyle: It's Automatic (Smith, Baker, Butler) - (5:51)
11. World Class Wreckin' Cru: Juice (Young, Carrby, Williams, Hawkins) - (6:39)
12. L.A. Dream Team: Rockberry Jam (Wilson, Pardee) - (5:14)
Besetzung: Artwork By [Art Direction]: Geoff Gans
; Artwork By [Design]: Coco Shinomiya, Sevie Bates
; Artwork By [Front Cover Art & Illustrations]: Jes Rothbeind
; Compilation Producer: Juice \'The Electric Wir
e\', Steve Yano
; Mastered By [Remastered By]: Steve Yano
; Other [Project Assistance]: Bob Fisher, Chris Clarke, Craig Kamins, Edward Kip Hannan, Mark Pinkus, Rodger Clayton, Sean Ross
; Other [Project Coordination]: Ted Myers
; Other [Project Supervision]: David McLees, Richard Foos
; Other [Research]: Gary Peterson
; Photography [Photos]: Michael Ochs Archives
John Cale [>] [D] & Bob Neuwirth [>] [D]: Last Day On Earth [F]
Label und Katalognummer: MCA MCAD 11037
Produktion: John Cale & Bob Neuwirth
Veröffentlicht: 1994 04 26
Genretags: Alternativerock - Artrock
Trackliste: 1. Overture: A Tourist / A Contact / A Prisoner - 8:06
2. Café Shabu - 5:37
3. Pastoral Angst - 2:29
4. Who's In Charge? - 2:53
5. Short of Time - 3:08
6. Angel of Death - 4:19
7. Paradise Nevada - 5:33
8. Old China - 3:13
9. Ocean Life - 4:48
10. Instrumental - 1:57
11. Modern World - 5:53
12. Streets Come Alive - 3:22
13. Secrets - 4:19
14. Maps of the World - 4:52
15. Broken Hearts - 3:03
16. The High and Mighty Road - 5:03
Alle Tracks: John Cale und Bob Neuwirth.
Besetzung: Arranged [Strings], Strings: David Soldier
; Art Direction: Vartan
; Bass: Erik Sanko
; Cover: Tadanori Yokoo
; Design: Ayako Nagano
; Design: Taki Ono
; Drums: Ben Perowsky
; Guitar: David Tronzo
; Guitar [Infinite]: Michael Brook
; Mastering: Greg Calbi
; Mixing, Engineer: Roger Moutenot
; Percussion, Sampler: Gerry Hemingway
; Photography: Mary Ellen Mark
; Producer [Production Assistance]: Andy Green
; Strings: Alicia Svigals
; Strings: Dawn Buckholz
; Strings: Lisa Gutkin
; Strings: The Soldier String Quartet
; Vocals [Guest Vocalist]: Jenni Muldaur
; Vocals, Banjo, Harmonica, Producer, Alle Tracks: Bob Neuwirth
; Vocals, Keyboards, Viola, Producer, Alle Tracks: John Cale
; Phonographic Copyright (p) MCA Records, Inc.
; Copyright (c) MCA Records, Inc.
; Distributed By Uni Distribution Corp.
; Recorded At Skyline Studios
; Mixed At RPM Studios
; Mastered At Sterling Sound
; Published By John Cale Music, Inc.
; Published By Dry Clam Music
; Manufactured By JVC Musical Industries, Inc.
Neil Young [>] [D] & Crazy Horse [>] [D]: Sleeps With Angels [F]
Label und Katalognummer: Reprise 9 45749
Produktion: David Briggs & Neil Young
Veröffentlicht: 1994 08 06
Genretags: Alternativerock - Grunge
Dieses Album evoziert die Stimmung von After the Gold Rush und dreht sich müde und schwer um den Tod von Kurt Cobain, der Young in seinem Abschiedsbrief erwähnt hat.
Trackliste: 1. My Heart - 2:44
2. Prime of Life - 4:02
3. Driveby - 4:43
4. Sleeps With Angels - 2:44
5. Western Hero - 4:00
6. Change Your Mind - 14:39
7. Blue Eden (Molina/Sampedro/Talbot/Young) - 6:22
8. Safeway Cart - 6:29
9. Train of Love - 3:57
10. Trans Am - 4:07
11. Piece of Crap - 3:15
12. A Dream That Can Last - 5:27
Alle Tracks: Neil Young, ausser wo anders vermerkt.
Besetzung: Bass: Talbot (2-11)
; Drums: Molina
; Edited By Additional Digital: Tim Mulligan
; Edited By Digital, Mastered By: Joe Gastwirt
; Engineer: John Hanlon
; Engineer Assistant: Chad Blinman, Roland Alvarez
; Guitar: Sampedro (2, 4, 6, 7, 10, 11), Young (2-11)
; Mixed By: David Briggs, John Hanlon, Neil Young
V. A. (Atlantic) [>] [D]: Woodstock: Three Days Of Peace And Music (25th Anniversary Box Set) [F]
Label und Katalognummer: Atlantic 7567-82636
Veröffentlicht: 1994 08 09 (Ed.), 1969 08 17-15 (Rec.)
Genretags: Rock - Folkrock
Eine Doku zum Mythos von Woodstock ist auf Youtube (ARD, 1989) zu sehen.
zum Dokumentarfilm
Trackliste: CD 1
1. Richie Havens - Handsome Johnny - 5:47
2. Richie Havens - Freedom - 6:23
3. Country Joe McDonald - The Fish Cheer/I'm-Fixin'-to-Die-Rag - 4:53
4. John Sebastian - Rainbows All Over Your Blues - 3:11
5. John Sebastian - I Had a Dream - 2:36
6. Tim Hardin - If I Were a Carpenter - 2:52
7. Melanie - Beautiful People - 4:05
8. Arlo Guthrie - Coming Into Los Angeles - 2:24
9. Arlo Guthrie - Walking Down the Line - 5:10
10. Joan Baez - Joe Hill - 3:42
11. Joan Baez - Sweet Sir Galahad - 4:08
12. Joan Baez - Drug Store Truck Drivin' Man - 3:38
13. Santana - Soul Sacrifice - 11:47
14. Mountain - Blood of the Sun - 3:30
15. Mountain - Theme for an Imaginary Western - 5:26
CD 2
1. Canned Heat - Leaving This Town - 7:56
2. Canned Heat - Going Up the Country - 4:14
3. Creedence Clearwater Revival - Commotion - 2:50
4. Creedence Clearwater Revival - Green River - 3:06
5. Creedence Clearwater Revival - Ninety-Nine and a Half (Won't Do) - 3:40
6. Creedence Clearwater Revival - I Put a Spell on You - 4:34
7. Janis Joplin - Try - 4:27
8. Janis Joplin - Work Me Lord - 7:52
9. Janis Joplin - Ball & Chain - 5:39
10. Sly and the Family Stone - Medley: Dance to the Music/Music Lover/I Want to Take You Higher - 12:28
11. Who - We're Not Gonna Take It - 6:02
CD 3
1. Jefferson Airplane - Volunteers - 3:07
2. Jefferson Airplane - Somebody to Love - 4:36
3. Jefferson Airplane - Saturday Afternoon, Won't You Try - 5:05
4. Jefferson Airplane - Uncle Sam Blues - 6:08
5. Jefferson Airplane - White Rabbit - 2:53
6. Joe Cocker - Let's Go Get Stoned - 5:41
7. Joe Cocker - With a Little Help from My Friends - 7:56
8. Country Joe & The Fish - Rock & Soul Music - 2:41
9. Ten Years After - I'm Going Home - 12:02
10. Band - Long Black Veil - 3:11
11. Band - Loving You Is Sweeter Than Ever - 5:04
12. Band - The Weight - 4:47
13. Johnny Winter - Mean Town Blues - 4:56
CD 4
1. Crosby, Stills & Nash - Suite: Judy Blue Eyes - 9:00
2. Crosby, Stills, Nash & Young - Guinnevere - 5:29
3. Crosby, Stills, Nash & Young - Marrakesh Express - 2:33
4. Crosby, Stills, Nash & Young - 4 + 20 - 2:42
5. Crosby, Stills, Nash & Young - Sea of Madness - 3:33
6. Crosby, Stills & Nash - Find the Cost of Freedom - 3:11
7. Paul Butterfield Blues Band - Love March - 9:43
8. Sha Na Na - At the Hop - 3:12
9. Jimi Hendrix - Voodoo Chile (Slight Return)/Stepping Stone - 12:19
10. Jimi Hendrix - Star Spangled Banner - 3:43
11. Jimi Hendrix - Purple Haze - 3:50
Besetzung: Acts: Joan Baez & Band & Paul Butterfield Blues Band & Canned Heat & Joe Cocker & Country Joe And The Fish & Creedence Clearwater Revival & Crosby, Stills, Nash And Young & Arlo Guthrie & Tim Hardin & Richie Havens & Jimi Hendrix & Jefferson Airplane & Janis Joplin & Country Joe McDonald & Melanie & Mountain & Santana & John Sebastian & Sha Na Na & Sly and the Family Stone & Ten Years After & Who & Johnny Winter
; Remastering: Joe Gastwirt
; Recorded At Woodstock Festival
Manic Street Preachers [>] [D]: The Holy Bible [F]
Label und Katalognummer: Epic 477421
Produktion: Steve Brown & Manic Street Preachers
Veröffentlicht: 1994 08 29
Genretags: Alternativerock - Punkrock - Glampunk
Trackliste: 1. Yes - 4:59
2. Ifwhiteamericatoldthetruthforonedayitsworldwouldfallapart [sic] - 3:39
3. Of Walking Abortion - 4:01
4. She Is Suffering - 4:43
5. Archives Of Pain - 5:29
6. Revol - 3:04
7. 4st 7lb - 5:05
8. Mausoleum - 4:12
9. Faster - 3:55
10. This Is Yesterday - 3:58
11. Die In The Summertime - 3:05
12. The Intense Humming Of Evil - 6:12
13. P.C.P. - 3:55
Bonustracks 10th Anniversary Edition
1. The Intense Humming Of Evil - Live
2. 4st 7lb - Live
3. Yes - Live
4. Of Walking Abortion - Live
CD 2: US mix of album/Demos & Radio Sessions
1. Yes
2. Ifwhiteamericatoldthetruthforonedayitsworldwouldfallapart
3. Of Walking Abortion
4. She Is Suffering
5. Archives Of Pain
6. Revol
7. 4st 7lb
8. Mausoleum
9. Faster
10. This Is Yesterday
11. Die In The Summertime
12. The Intense Humming Of Evil
13. P.C.P.
14. Die In The Summertime - Demo
15. Mausoleum - Demo
16. Of Walking Abortion - Radio1 Evening Session
17. She Is Suffering - Radio1 Evening Session
18. Yes - Radio1 Evening Session
DVD
1. Faster - Top Of The Pops
2. Faster - Butt Naked
3. P.C.P. - Butt Naked
4. She Is Suffering - Butt Naked
5. 4st 7lb - MTV Most Wanted
6. She Is Suffering - MTV Most Wanted
7. Faster - Glastonbury '94
8. P.C.P. - Glastonbury '94
9. Yes - Glastonbury '94
10. Revol - Reading '94
11. Faster - US Video
12. Judge Yr'self - Video
13. Yes - New film (made by Patrick Jones)
14. Band Interview (30mins)
Musik von Bradfield/Moore, Lyrics Edwards/Wir
e
Besetzung: Artwork By: Richey James
; Artwork By [Back Sleeve Photo Painting]: Barry Kamen
; Artwork By [Front Cover]: Jenny Saville
; Bass: Nicky Wir
e
; Drums: Sean Moore
; Engineer: Silva
; Guitar: Richey James
; Mixed By: Mark Freegard
; Other [Back Sleeve Text]: Octave Mirbeau (The Torture Garden)
; Photography [Band]: Neil Cooper
; Vocals, Guitar [Lead & Rhythm]: James Dean Bradfield
Emerson, Lake And Palmer [>] [D]: In the Hot Seat [F]
Assoziierte Acts: Keith Emerson & Greg Lake & Carl Palmer
Label und Katalognummer: Victory 828 554
Produktion: Keith Olsen
Veröffentlicht: 1994 09 27
Genretags: Rock - AOR-Rock - AOR-Progrock
«In the Hot Seat» ist das neunte und letzte Album von Emerson, Lake And Palmer.
Trackliste: 1. Hand Of Truth (Greg Lake, Keith Emerson) - 5:22
2. Daddy (Greg Lake) - 4:42
3. One By One (Greg Lake, Keith Emerson, Keith Olsen) - 5:07
4. Heart On Ice (Greg Lake, Keith Olsen) - 4:19
5. Thin Line (Bill Wray, Keith Emerson, Keith Olsen) - 4:45
6. Man In The Long Black Coat (Bob Dylan) - 4:12
7. Change (Bill Wray, Keith Emerson, Keith Olsen) - 4:44
8. Give Me A Reason To Stay (Sam Lorber, Steve Diamond) - 4:14
9. Gone Too Soon (Bill Wray, Greg Lake, Keith Wechsler) - 4:11
10. Street War (Greg Lake, Keith Emerson) - 4:23
Bonustracks: Pictures At An Exhibition - 14:48
11. a) Promenade (Modest Mussorgsky) - 1:46
12. b) The Gnome (Palmer, Modest Mussorgsky) - 2:07
13. c) Promenade (Lake, Modest Mussorgsky) - 1:45
14. d) The Sage (Lake) - 3:10
15. e) The Hut Of Baba Yaga (Modest Mussorgsky) - 1:16
16. f) The Great Gates Of Kiev (Lake, Modest Mussorgsky) - 5:24
Besetzung: Backing Vocals: Bill Wray
; Backing Vocals: Paula Mattioli
; Bass: Greg Lake
; Choir: Fred White
; Choir: Linda McCrary
; Choir: Lynn Davis
; Choir: Rick Nelson
; Drums: Carl Palmer
; Drums [Additional Programming]: Keith Wechsler
; Engineer: Brian Foraker
; Engineer: Keith Olsen
; Mastering engineer (at Ocean View Digital Mastering, Los Angeles): Joe Gastwirt
; Guitar: Greg Lake
; Keyboards: Keith Emerson
; Keyboards [Programming]: Brian Foraker
; Keyboards [Programming]: Keith Emerson
; Keyboards [Programming]: Keith Wechsler
; Keyboards [Programming]: Richard Baker
; Mastering: Joe Gastwirt
; Vocals: Greg Lake
; Vocals [Additional]: Kristen Olsen
; Cover Photography: Hans Neleman
; Package Design: Karl Kristkeitz
; Band Photography: Brian Aris
; Phonographic Copyright (p) Victory Music, Inc.
; Copyright (c) Victory Music, Inc.
; Distributed By Metronome Musik GmbH
; Manufactured By PMDC, Germany
; Marketed By Metronome Musik GmbH
; Marketed By Barclay S.A.
TLC [>] [D]: CrazySexyCool [F]
Label und Katalognummer: LaFace 73008 26009
Produktion: Dallas Austin & Babyface & Sean 'Puffy' Combs & Organized Noise & Antonio L.A. Reid & Chucky Thompson
Veröffentlicht: 1994 11 15
Genretags: Afroamericana - R'n'B - New-Jack-Swing
Trackliste: 1. Intro-lude (Jermaine Dupri, Phife Dawg) (feat. Phife Dawg) - 1:01
2. Creep (Dallas Austin) - 4:29
3. Kick Your Game (Jermaine Dupri, Lisa 'Left Eye' Lopes, Manuel Seal) - 4:13
4. Diggin' On You (Babyface) - 4:14
5. Case Of The Fake People (Dallas Austin) - 4:03
6. CrazySexyCool - Interlude (Carl Thompson, Sean Combs, Tionne Watkins) - 1:42
7. Red Light Special (Babyface) - 5:02
8. Waterfalls (Lisa 'Left Eye' Lopes, Marqueze Ethridge, Organized Noize) - 4:39
9. Intermission-lude (Jermaine Dupri) - 0:42
10. Let's Do It Again (Babyface, Jon-John) - 4:17
11. If I Was Your Girlfriend (Prince) - 4:43
12. Sexy - Interlude (Rozonda Thomas, Sean Combs) - 1:35
13. Take Our Time (Arnold Hennings, Debra Killings) - 4:33
14. Can I Get A Witness - Interlude (Busta Rhymes, Carl Thompson, Sean Combs) (feat. Busta Rhymes) - 2:57
15. Switch (Jermaine Dupri, Lisa 'Left Eye' Lopes, Manuel Seal) - 3:30
16. Sumthin' Wicked This Way Comes (Andre Benjamin, Lisa 'Left Eye' Lopes, Marqueze Ethridge, Organized Noize) (feat. Andre Benjamin) - 4:30
Besetzung: Art Direction: Christopher Stern
; Coordinator [Project Coordinator]: Ivy Skoff (4, 7, 10)
; Coordinator [Project Coordinator]: Sharliss Asbury
; Creative Director: Davett Singletary
; Executive-Producer: Dallas Austin
; Executive-Producer: Kenneth Edmonds
; Executive-Producer: L.A. Reid
; Management: Hiriam Management
; Mastering: Herb Powers Jr.
; Performer [TLC]: Lisa "Left Eye" Lopes
; Performer [TLC]: Rozonda Thomas
; Performer [TLC]: Tionne Watkins
; Photography: Dah Len
; Phonographic Copyright (p) LaFace Records
; Copyright (c) LaFace Records
; Manufactured By Arista Records
; Distributed By Arista Records
; Recorded At KrossWir
e Studio
; Recorded At DARP Studios
; Recorded At Music Grinder Studios
; Recorded At The Hit Factory
; Recorded At Doppler Studios
; Recorded At Bosstown Recording Studios
; Recorded At Daddy\'s House Recording Studio
; Recorded At Curtom Recording Studio
; Mixed At Studio LaCoCo
; Mixed At DARP Studios
; Mixed At Larrabee Sound Studios
; Mixed At The Hit Factory
; Mixed At Bosstown Recording Studios
; Mastered At The Hit Factory
; Published By So So Def Music
; Published By EMI April Music Inc.
; Published By Zomba Enterprises, Inc.
; Published By Jazz Merchant Music
; Published By Darp Music
; Published By Def American Songs, Inc.
; Published By Full Keel Music
; Published By Air Control Music
; Published By \'TizBiz Music
; Published By Pebbitone Music
; Published By Justin Combs Publishing
; Published By Ninth Street Tunnel Music
; Published By Red Light & Incense Music
; Published By Organized Noize Music
; Published By Stiff Shirt Music, Inc.
; Published By Yab Yum Music
; Published By Browntown Sound Publishing
; Published By Controversy Music
; Published By WB Music Corp.
; Published By Arn Music
; Published By Beane Tribe Music
; Published By Hard Hands Music
; Published By T\'Ziah\'s Music
; Published By Malaco Music
; Published By Gnat Booty Music
; Published By Chrysalis Music
; Pressed By Disc Manufacturing, Inc., Huntsville
Jimi Hendrix [>] [D]: Voodoo Soup [F]
Label und Katalognummer: MCA MCAD 11236
Produktion: Alan Douglas
Veröffentlicht: 1995 04 11
Genretags: Rock - Bluesrock
Trackliste: 1. The New Rising Sun - 3:21
2. Belly Button Window - 3:35
3. Stepping Stone - 4:08
4. Freedom - 3:26
5. Angel - 4:20
6. Room Full Of Mirrors - 3:10
7. Midnight - 6:02
8. Night Bird Flying - 3:47
9. Drifting - 3:52
10. Ezy Ryder - 4:09
11. Pali Gap - 4:43
12. Message To Love - 3:34
13. Peace In Mississippi - 5:26
14. In From The Storm - 3:41
Alle Tracks: Jimi Hendrix.
Besetzung: Artwork [Cover Art], Cover: Moebius
; Design: John O\'Brien
; Design: Ross Bacon
; Liner Notes [Cd Booklet Text]: Michael Fairchild
; Mastering: Joe Gastwirt
; Mixing: Mark Linett
; Supervised By [Produced Under The Supervision Of]: Alan Douglas
; Alle Tracks: Jimi Hendrix
; Phonographic Copyright (p) MCA Records, Inc.
; Copyright (c) MCA Records, Inc.
; Published By Bella Godiva Music
; Distributed By Uni Distribution Corp.
; Manufactured By UNI (8)
Neil Young [>] [D]: Mirror Ball [F]
Assoziierte Acts: Pearl Jam (feat.)
Label und Katalognummer: Reprise 9 45934
Produktion: Brendan O'Brien
Veröffentlicht: 1995 06 27
Genretags: Alternativerock - Grunge
Trackliste: 1. Song X - 4:41
2. Act Of Love - 4:55
3. I'm The Ocean - 7:06
4. Big Green Country - 5:08
5. Truth Be Known - 4:39
6. Downtown - 5:11
7. What Happened Yesterday - 0:46
8. Peace And Love (Neil Young, Eddie Vedder) - 7:02
9. Throw Your Hatred Down - 5:46
10. Scenery - 8:50
11. Fallen Angel - 1:15
Alle Tracks: Neil Young, ausser wo anders vermerkt.
Besetzung: Art Direction, Design: Gary Burden
; Artwork [Cd Label Computer Graphics]: Rhonda Burns
; Backing Vocals: Eddie Vedder
; Bass: Jeff Ament
; Drums: Jack Irons
; Editing [Digital], Mastering: Joe Gastwirt
; Editing [Digital], Mastering: Tim Mulligan
; Engineer: Brett Eliason
; Engineer [Assistant]: Chad Munsey
; Engineer [Assistant]: John Aguto
; Engineer [Assistant]: Nick Didia (7 ,11)
; Engineer [Assistant]: Sam Hofstedt
; Guitar: Mike McCready
; Guitar: Stone Gossard
; Management [For Neil Young]: Elliot Roberts
; Management [For Neil Young]: Frank Gironda
; Management [For Neil Young]: Karen Schneider
; Management [For Neil Young]: Lookout Management
; Management [For Neil Young]: Mary Frohman
; Management [For The Band]: Curtis Management
; Management [For The Band]: Kelly Curtis
; Photography [Back Cover And Inside]: Henry Diltz
; Mixing, Guitar, Piano, Backing Vocals: Brendan O\'Brien
; Production Manager [Band Crew]: Dick Adams
; Production Manager [Neil Young Crew]: Tim Foster
; Technician [Amplifier Tech]: Sal Trentino
; Typography [Logo Lettering]: Emek
; Typography, Artwork [Mosaic Portrait Of Neil Young]: Joel Bernstein
; Vocals, Guitar, Acoustic Guitar, Organ [Pump Organ]: Neil Young
Andreas Ammer [>] [D] & F.M. Einheit [>] [D] & Ulrike Haage [>] [D]: Apocalypse Live [F]
Label und Katalognummer: Reihe EGO EGO 402
Veröffentlicht: 1995, 1994 10 14 (Rec.)
Genretags: Akademica - Funktionale-Musik - Hörspiel
Trackliste: 1. Himmelspforte (Sinfonia) - 1:57
2. I WiIl Survive (Rezitativ & Introitus) (Gloria Gaynor) - 4:08
3. John Meets His Angel (Duett) - 2:58
4. Das Buch Der Bucher (Commercial #1) - 1:00
5. Das Siebenhornige Schaf (Kadenz) - 1:50
6. Passt Auf, Das End Ist Nah (Arie) - 1:25
7. Die Apokalyptischen Reiter (Rezitativ & Marsch - 5:14
8. Das Siebente Siegel, Part I (Rezitativ & Trio) - 3:37
9. Der Recorder (Commercial #2) - 0:47
10. Das Siebente Siegel, Part II (Duett) - 4:08
11. Es Erhub Sich Streit (Rezitativ & Arie) (Johann Sebastian Bach) - 2:25
12. Das Apokalyptische Weib Und Der Drache (Trio) - 3:30
13. 666 (Choir) - 3:29
14. Der Zorn Gottes (Rezitativ & Duett) - 3:18
15. Der Letzte Telemann (Arie & Reprise) - 5:39
16. Die Hure Babylon (Rezitativ & Duett) - 5:52
17. Why We Love The World (Commercial #3) - 0:39
18. Von Den Letzten Dingen (Arie & Blues) - 3:40
19. Das Gross Halleuja (Choir) - 2:15
20. Das Letzte Gericht (Rezitativ & Marsch) - 2:27
21. Das Ist Das Ende (Rezitativ & Quartet) - 2:52
22. The Angel Of Death (Arie) (Hank Williams, Sr) - 2:45
Alle Tracks: Andreas Ammer, F.M. Einheit und Ulrike Haage.
Besetzung: Cello - Sebastian Hess
; Composed By - Ulrike Haage
; Effects [Sound Effects], Percussion, Performer [Mamor, Wir
e] - F.M. Einheit
; Effects [Sound Effects], Lyrics By - Andreas Ammer
; Vocals - David Greiner, Hanns-Joachim Friedrichs, Pater Karl Kleiner, Phil Minton
; Vocals, Guitar - Alexander Hacke
Mark Wirtz [>] [D]: A Teenage Opera [F]
Assoziierte Acts: Mark Wir
tz Orchestra & Keith West
Label und Katalognummer: RPM Records RPM 165
Produktion: Phil Smee & Mark Wir
tz
Veröffentlicht: 1996 (Ed.)
Genretags: Pop - Orchestralpop - Psychedelicpop
Trackliste: 1. Mark Wir
tz Orchestra: Theme From A Teenage Opera (Mark Wir
tz) - 2:33
2. Mark Wir
tz Orchestra & Chorus: Festival Of Kings (Mark Wir
tz) - 2:46
3. Keith West: Grocer Jack (Excerpt From A Teenage Opera) (Hopkins, Wir
tz) - 4:40
4. Mark Wir
tz Orchestra: The Paranoiac Woodcutter #1 (Mark Wir
tz) - 1:25
5. Steve Flynn: Mr. Rainbow (Hopkins, Burgess, Wir
tz) - 2:33
6. Mark Wir
tz Orchestra: Glory's Theme (All Aboard!) (Mark Wir
tz) - 4:52
7. Keith West: On A Saturday (Keith West) - 3:11
8. Mark Wir
tz Orchestra: Possum's Dance (Mark Wir
tz) - 2:37
9. Tomorrow & Keith West: Auntie Mary's Dress Shop (Hopkins, Burgess) - 2:46
10. Mark Wir
tz Orchestra & Chorus: Love & Occasional Rain (Mark Wir
tz) - 4:45
11. Mark Wir
tz Orchestra: Grocer Jack (Reprise) (Hopkins, Wir
tz) - 1:09
12. Keith West: Sam (Hopkins, Wir
tz) - 5:12
13. Mark Wir
tz Orchestra & Chorus: Farewell To A Broken Doll (Mark Wir
tz) - 3:22
14. Mark Wir
tz: (He's Our Dear Old) Weatherman (Mark Wir
tz) - 4:01
15. Kippington Lodge: Shy Boy (Hopkins, Burgess) - 2:37
16. Mark Wir
tz Orchestra: Grocer Jack's Dream (Mark Wir
tz) - 3:35
17. The Sweetshop feat. The Band Of The Irish Guards: Barefoot & Tiptoe (Wir
tz, Bigsby) - 2:44
18. Mark Wir
tz: Knickerbocker Glory (Mark Wir
tz) - 2:24
19. Zion De Gallier: Dream, Dream, Dream (Wir
tz, Bigsby) - 2:14
20. Tomorrow: Colonel Brown (Hopkins, Burgess) - 2:52
21. Astronaut Alan & The Planets: Cellophane Mary-Jane (Mills, Wir
tz) - 2:31
22. Mark Wir
tz Orchestra: Paranoiac Woodcutter #2 (Mark Wir
tz) - 1:10
23. Mark Wir
tz Orchestra & Chorus: Theme From A Teenage Opera (End Titles) (Mark Wir
tz) - 2:44
Besetzung: Artwork: Waldo\'s Design
; Compilation Producer [Soundtrack Producer]: Phil Smee
; Executive Producer: Mark Stratford
; Mastering: Nick Watson
; Arranged: Mark Wir
tz
; Transferred By: Phil Farlow (6, 11 & 16)
; Licensed From EMI Special Markets
; Made By Disctronics S
; Mastered At SRT Studios
Manic Street Preachers [>] [D]: Everything Must Go [F]
Label und Katalognummer: Sony Music Entertainment (UK) 483930
Produktion: Mike Hedges
Veröffentlicht: 1996 05 23
Genretags: Alternativerock - Punkrock - Glampunk
Trackliste: 1. Elvis Impersonator: Blackpool Pier (James Dean Bradfield, Richey James, Nicky Wir
e) - 3:28
2. A Design for Life (James Dean Bradfield, Sean Moore, Nicky Wir
e) - 4:16
3. Kevin Carter (James Dean Bradfield, Richey James, Sean Moore, Nicky Wir
e) - 3:24
4. Enola/Alone (James Dean Bradfield, Sean Moore, Nicky Wir
e) - 4:07
5. Everything Must Go (James Dean Bradfield, Sean Moore, Nicky Wir
e) - 3:41
6. Small Black Flowers That Grow in the Sky (James Dean Bradfield, Richey James, Sean Moore, Nicky Wir
e) - 3:02
7. The Girl Who Wanted to Be God (James Dean Bradfield, Richey James, Sean Moore, Nicky Wir
e) - 3:35
8. Removables (James Dean Bradfield, Richey James, Sean Moore, Nicky Wir
e) - 3:31
9. Australia (James Dean Bradfield, Sean Moore, Nicky Wir
e) - 4:04
10. Interiors (Song for Willem de Kooning) (James Dean Bradfield, Sean Moore, Nicky Wir
e) - 4:17
11. Further Away (James Dean Bradfield, Sean Moore, Nicky Wir
e) - 3:38
12. No Surface All Feeling (James Dean Bradfield, Sean Moore, Nicky Wir
e) - 4:13
Besetzung: Arranged [String Arrangements]: Martin Greene
; Bass, Backing Vocals: Nicky Wir
e
; Design, Art Direction [Direction]: Farrow Design
; Drums, Percussion, Backing Vocals, Trumpet [Solo]: Sean Moore
; Electric Guitar, Acoustic Guitar, Lead Vocals, Backing Vocals, Piano: James Dean Bradfield
; Harp: Julie Aliss
; Liner Notes: Jackson Pollock
; Management: Martin Hall
; Mastering [Cut By]: Chris Blair
; Mixing: Ian Grimble (1 to 8, 10, 11)
; Mixing [Assistant]: Guy Massey (2, 7, 10, 11)
; Organ [Hammond], Keyboards: John Green
; Percussion: Martin Ditcham
; Photography: Rankin
; Producer: Mike Hedges (1 to 6, 8 to 11)
; Recording: Ian Grimble (1 to 6, 8 to 11)
; Viola: Chris Pitsillides
; Viola: Claire Orsler
; Violin: Anne Stephenson
; Violin: Gini Ball
; Violin: Sally Herbert
; Phonographic Copyright (p) Sony Music Entertainment (UK) Ltd.
; Copyright (c) Sony Music Entertainment (UK) Ltd.
; Published By Sony Music Publishing
; Distributed By Sony Music
Cowboy Mouth [>] [D]: Are You With Me? [F]
Label und Katalognummer: MCA MCAD 11447
Produktion: Mike Wanchic
Veröffentlicht: 1996 07 02
Genretags: Alternativerock - Alternativecountry
Trackliste: 1. Jenny Says (Fred LeBlanc) - 3:18
2. How Do You Tell Someone? (Fred LeBlanc) - 3:42
3. God Makes the Rain (Fred LeBlanc) - 4:46
4. Take It Out on Me (Fred LeBlanc) - 4:07
5. Light It on Fire (Paul Sanchez) - 3:19
6. Laughable (Paul Sanchez) - 3:43
7. Love of My Life (Fred LeBlanc) - 3:08
8. So Sad About Me (Fred LeBlanc) - 3:31
9. Man on the Run (John Thomas Griffith, Paul Sanchez) - 3:48
10. Louisiana Lowdown (Paul Sanchez) - 3:41
11. New Orleans (Fred LeBlanc) - 3:13
12. Peacemaker (John Thomas Griffith, Paul Sanchez) - 4:25
Besetzung: Bass, Vocals: Rob Savoy
; Drums, Vocals, Percussion, Guitar: Fred LeBlanc
; Lead Guitar, Vocals: John Thomas Griffith
; Mastering: Joe Gastwirt
; Organ, Piano, Accordion, Mandolin, Guitar: Peter Holsapple
; Recording: David Leonard
; Rhythm Guitar, Vocals, Acoustic Guitar: Paul Sanchez
; Washboard: John Maloney
; Phonographic Copyright (p) MCA Records, Inc.
; Copyright (c) MCA Records, Inc.
; Distributed By Uni Distribution Corp.
Fiona Apple [>] [D]: Tidal [F]
Label und Katalognummer: Epic/Work OK 67439
Produktion: Andrew Slater
Veröffentlicht: 1996 07 23
Genretags: Alternativerock - Poprock - Post-Riot-Girl, Alternativerock - Poprock - Female-Singer-Songwriter
Trackliste: 1. Sleep to Dream - 4:08
2. Sullen Girl - 3:53
3. Shadowboxer - 5:24
4. Criminal - 5:41
5. Slow Like Honey - 5:56
6. The First Taste - 4:46
7. Never Is a Promise - 5:54
8. The Child Is Gone - 4:14
9. Pale September - 5:50
10. Carrion - 5:43
Data track
1. Ohne Titel - 8:15
Alle Tracks: Fiona Apple.
Besetzung: Claude \'Swifty\' Achille: Engineer
; Fiona Apple: Optigan, Piano, Vocals
; Tom Banghart: Mixing Assistant
; George Black: Drum Programming, Drums
; Niko Bolas: Engineer
; Jon Brion: Chamberlin, Dulcitone, Guitar, Harp, Marimba, Optigan, Piano, Tack Piano, Vibraphone
; Matt Chamberlain: Drums, Percussion
; Larry Corbett: Cello
; Mark Endert: Engineer, Mixing
; Danny Frankel: Drums
; Nathaniel Goldberg: Photography
; Troy Gonzalez: Assistant Engineer
; Ted Jensen: Mastering
; Rob Laufer: Guitar
; Sara Lee: Bass
; Greg Leisz: Guitar (Steel), Pedal Steel
; Amber Maggart: Vocal Harmony, Vocals
; Ralph Morrison: Violin
; Valerie Pack: Production Coordination
; Claudia Parducci: Violin
; Van Dyke Parks: String Arrangements
; Greg Richling: Bass
; Dan Rothchild: Bass
; Al Sanderson: Assistant Engineer
; Brian Scheuble: Engineer
; Andrew Slater: Optigan
; Patrick Warren: Chamberlin, Piano
; Evan Wilson: ?, String Arrangements, Viola
; Jim Wir
t: Engineer
; Fred Woodward: Art Direction
V. A. (Sequel) [>] [D]: Freakbeat Freak Out [F]
Label und Katalognummer: Sequel NEMCD 952
Produktion: Verschiedene
Veröffentlicht: 1997 (Ed.)
Genretags: Rock - Psychedelicrock - Freakbeat
Trackliste: 1. Troggs: Feels Like A Woman (Reg Presley) -
2. Blue Rondos: Baby I Go For You (Davis, Meek) -
3. Sorrows: Let Me In (Dallon) -
4. Spectres (2): (We Ain't Got) Nothin' Yet (Esposito, Scala, Gilbert) -
5. First Gear: Leave My Kitten Alone (McDougal, John, Turner) -
6. Brand: I'm A Lover Not A Fighter (Miller) -
7. 5 A.M. Event: Hungry (Mann/Weil) -
8. Tony Jackson And The Vibrations: Fortune Teller (Neville) -
9. Simon Raven: I Wonder If She Remembers Me (Berns) -
10. Sheffields: It Must Be Love (Allison) -
11. Clique: We Didn't Kiss, We Didn't Love, But Now We Do (Kitchen, Rowe, Rowbottom) -
12. Primitives: You Said (Tindell) -
13. Jimmy Powell And The 5 Dimensions: That's Alright (Powell) -
14. MeddyEVILS: It's All For You (Leese) -
15. Jan Panter: Scratch My Back (Vandyke) -
16. Worrying Kynde: Got The Blame (Robertshaw) -
17. Montanas: That's When Happiness Began (Addrisi/Addrisi) -
18. Carnaby: Jump And Dance (Andrews) -
19. Sorrows: You've Got What I Want (Dallon) -
20. Don Craine's New Downliners Sect: Roses (Grant) -
21. Truth (5): Baby You've Got It (Cooper, Daniels) -
22. Movement: Tell Her (Russell) -
23. Primitives: Help Me (Bass, Williamson) -
24. MeddyEVILS: Ma's Place (Barbour, Roberts) -
25. Clique: She Ain't No Good (Rowbottom) -
26. Sheffields: Plenty Of Love (Alexander) -
27. Tony Dangerfield And The Thrills: She's Too Way Out (O'Neil) -
28. Johnny Neal And The Starliners: Walk, Baby Walk (Rich) -
Besetzung: Guitar: Roger Hall (2)
; Vocals: Don Maughn (3)
; Producer: Shel Talmy (5)
; Bass, Vocals: Tony Jackson (8)
; Producer: Larry Page (11)
; Guitar: James Patrick Page (12)
; Organ: Don Shinn (14)
; Producer: Mark Wir
tz (15)
; Performer: Steve James (21)
; Guitar: Jimmy Page (22)
; Guitar: James Patrick Page (23)
; Guitar: Johnny Bedder
; Producer: Meek (27)
; Artwork [Package Design]: Phil Smee
; Compiled By, Other [Annotated By], Sleeve Notes: Roger Dopson
; Pressed By CD Systems
; Phonographic Copyright (p) Sequel Records
; Copyright (c) Sequel Records
; Licensed From Castle Copyrights Ltd.
; Designed At Waldo\'s Design & Dream Emporium
Royal Trux [>] [D]: Sweet Sixteen [F]
Label und Katalognummer: Virgin [America] 7243 8 42752 2 8
Veröffentlicht: 1997 02 11
Genretags: Post-Millennial-Music - Garagerock-Revival
Trackliste: 1. Don't Try Too Hard - 4:09
2. Morphic Resident - 4:56
3. Pickup - 5:18
4. Cold Joint - 4:59
5. Golden Rules - 4:13
6. You'll Be Staying in Room 323 - 4:16
7. Can't Have It Both Ways - 4:40
8. 10 Days 12 Nights - 4:22
9. Microwave Made - 4:54
10. Sweet Sixteen - 4:37
11. I'm Looking Through You - 4:16
12. Roswell Seeds and Stems - 4:04
13. Pol Pot Pie - 4:16
Alle Tracks: Neil Hagerty und Jennifer Herrema.
Besetzung: Greg Archilla: Mixing
; Dan Brown: Bass (Acoustic), Bass (Electric), Guitar (Acoustic), Guitar (Electric)
; Patric Caird: Saxophone
; Elephant Man: Vocals (Background)
; Joe Gastwirt: Mastering
; Nina Gouveia: Photography
; Neil Michael Hagerty: Guitar, Multi Instruments, Vocals
; Jennifer Herrema: Vocals
; Ken Nasta: Drums, Percussion
; Paul Oldham: Electro-Acoustic Engineer, Engineer, Guitar (Electroacoustic), Unknown Contributor Role
; Royal Trux: Arranger, Conductor
Jerry Garcia Band [>] [D]: How Sweet It Is [F]
Label und Katalognummer: Grateful Dead Records GDCD 4051
Produktion: John Cutler & Steve Parish
Veröffentlicht: 1997 04 15
Genretags: Rock - Countryrock
Trackliste: 1. How Sweet It Is (To Be Loved by You) (Holland-Dozier-Holland) - 6:20
2. Tough Mama (Bob Dylan) - 5:41
3. That's What Love Will Make You do (James Banks, Eddie Marion, Henderson Thigpen) - 8:03
4. Someday Baby (Lightnin' Hopkins) - 8:54
5. Cats under the Stars (Robert Hunter, Jerry Garcia) - 8:59
6. Tears of Rage (Dylan, Richard Manuel) - 7:54
7. Think (Jimmy McKracklin, Deadric Malone) - 7:18
8. Gomorrah (Hunter, Garcia) - 6:38
9. Tore up over You (Hank Ballard) - 7:19
10. Like a Road Leading Home (Don Nix, Dan Penn) - 10:12
Besetzung: Jerry Garcia: guitar, vocals
; Gloria Jones: vocals
; John Kahn: bass
; David Kemper: drums
; Jackie LaBranch: vocals
; Melvin Seals: keyboards, organ
; Recording & editing: John Cutler
; Engineers: Jeffrey Norman, Dave Roberts
; Mastering: Joe Gastwirt
; Sound: Mike Brady, Uwe Willenbacher
; Sleeve notes: Steve Silberman
; Photography: Ken Friedman, Mike Conway
; Design: Gecko Graphics
Paul Weller [>] [D]: Heavy Soul [F]
Label und Katalognummer: Island CID 8058
Produktion: Brendan Lynch & Paul Weller
Veröffentlicht: 1997 06 23
Genretags: Alternativerock - Singer-Songwriter
Trackliste: 1. Heavy Soul (Pt 1) - 3:56
2. Peacock Suit - 3:12
3. Up In Suzes' Room - 4:24
4. Brushed (Mark Nelson, Paul Weller, Steve White) - 3:27
5. Driving Nowhere - 2:58
6. I Should Have Been There To Inspire You - 5:14
7. Heavy Soul (Pt 2) - 3:10
8. Friday Street - 2:20
9. Science (Mark Nelson, Paul Weller, Steve White) - 3:32
10. Golden Sands - 2:55
11. As You Lean Into The Light - 2:46
12. Mermaids - 3:02
Alle Tracks: Paul Weller, ausser wo anders vermerkt.
Besetzung: Arranged By [All String Arrangements By]: Rosie Wetters
; Artwork By [Sleeve Designed By]: Paul Weller, Simon Halfon
; Artwork By [Sleeve Painted By]: Perry
; Engineer: Martin \'Max\' Heyes (1-11)
; Engineer [Assistant]: Charles Rees, Jamie Johnson (1-11), Matthew Lawrence (1-11), Richard Bottom (1-11)
; Mastered By [Cut By]: Tim Young
; Other [Solid Bond Management]: John Weller
; Other [Tour Manager & P.a.]: Kenny Wheeler
; Performer [Played By]: Mark Nelson, Paul Weller, Steve White
; Photography [All Inner Photography]: Lawrence Watson
; Photography [Sleeve Photographed By]: Simon Marsh
; Strings: Wir
ed Strings
Bob Dylan [>] [D]: Time Out Of Mind [F]
Label und Katalognummer: Columbia CK 68556
Produktion: Daniel Lanois
Veröffentlicht: 1997 09 30
Genretags: Rock - Folkrock
Trackliste: 1. Love Sick - 5:21
2. Dirt Road Blues - 3:36
3. Standing in the Doorway - 7:43
4. Million Miles - 5:52
5. Tryin' to Get to Heaven - 5:21
6. 'Til I Fell in Love with You - 5:17
7. Not Dark Yet - 6:29
8. Cold Irons Bound - 7:15
9. Make You Feel My Love - 3:32
10. Can't Wait - 5:47
11. Highlands - 16:31
Alle Tracks: Bob Dylan.
Besetzung: \'Bucky\' Baxter: Acoustic Guitar, Pedal Steel (3,5,7,8)
; Brian Blade: Drums (1,3,4,6,7,10)
; Robert Britt: Martin Acoustic & Fender Stratocaster (3,6,7,8)
; Chris Carrol: Assistant Engineer
; Cindy Cashdollar: Slide Guitar (3,5,7)
; Jim Dickensen: Keyboards, Wurlitzer Electric Piano & Pump Organ (1,2,4,5,6,7,10,11)
; Bob Dylan: Guitar, Acoustic and Electric Rhythm Lead, Harmonica, Piano, Vocals (all songs), Producer
; Geoff Gans: Art Direction
; Tony Garnier: Electric Bass & Acoustic Upright Bass (all songs)
; Joe Gastwirt: Mastering Engineer
; Mark Howard: Engineer
; Jim Keltner: Drums (1,3,4,5,6,7,10)
; David Kemper: Drums (8)
; Jeff Kramer: Manager
; Daniel Lanois: Guitar, Mando-Guitar, Firebird, Martin 0018, Gretch Gold Top, Rhythm & Lead (all songs), Producer, Photography
; Tony Mangurian: Percussion (3,4,10,11)
; Augie Meyers: Vox Organ Combo, Hammond B3 Organ & Accordion (all songs)
; Susie Q.: Photography
; Duke Robillard: Guitar, Electric L5 Gibson (4,5,10)
; Mark Seliger: Photography
; Winston Watson: Drums (2)
Plimsouls [>] [D]: Kool Trash [F]
Label und Katalognummer: Fuel 2000 FLD 1022
Veröffentlicht: 1998
Genretags: Alternativerock - Poprock - Powerpop
Trackliste: 1. Playing With Jack - 3:10
2. Feeling Strange - 3:12
3. Down - 4:23
4. Falling Awake - 4:24
5. Pile Up - 3:26
6. 12 O'Clock Midnight - 5:30
7. Kool Trash - 3:48
8. Lost - 4:09
9. Dangerous Book - 3:29
10. Not Of This World - 3:41
Besetzung: Bass: David Pahoa
; Drums: Clem Burke
; Engineer: Barry Cowley, CJ Eiriksson, Ethan Johns, Sally Browder, Travis Dickerson
; Engineer [Assistant]: Donat Kazarinoff, Doug Boehm
; Guitar: Eddie Muñoz
; Mastered By: Gavin Lurssen
; Mixed By: Jim Wir
t
; Vocals, Guitar, Harmonica, Piano: Peter Chase
; Producer: Andrew Williams, Ethan Johns (1)
; Organ: Jon Brion (4)
; Mixed By: Sally Browder (5)
; Vocals [Harmony]: Bret Gurewitz (5)
; Piano, Organ;: Jon Brion (9)
Aretha Franklin [>] [D]: A Rose Is Still a Rose [F]
Label und Katalognummer: Arista 07822-18987
Produktion: Dallas Austin & Louis Biancaniello & Sean Combs & Jermaine Dupri & James Fischer & Erik 'E-Smooth' Hicks & Lauryn Hill & Michael J. Powell & Cory Rooney & Manuel Seal, Jr. & Daryl Simmons & Narada Michael Walden
Veröffentlicht: 1998 03 10
Genretags: Afroamericana - R'n'B
Trackliste: 1. A Rose Is Still a Rose (Lauryn Hill) - 4:27
2. Never Leave You Again (Sean Combs, Corey Rooney) - 4:36
3. In Case You Forgot (Bill Dickens, Tim Gant, Michael Gray) - 4:49
4. Here We Go Again (Troy Lee Broussard, Jermaine Dupri, Wayne Garfield, Trey Lorenz, Mauro Malavasi, David Romani) - 3:30
5. Every Little Bit Hurts (Sam Cooke, Jermaine Dupri, Manuel Seal, Jr.) - 4:07
6. In the Morning (Daryl Simmons) - 4:56
7. I'll Dip (Dallas Austin) - 4:06
8. How Many Times (Greg Charley, David Foster, John Winston) - 4:21
9. Watch My Back (N. West, Norman West) - 4:45
10. Love Pang (Mira Waters, Nancy Wilson) - 4:20
11. The Woman (Aretha Franklin) - 7:41
Besetzung: Executive Producer: Clive Davis
; Art Direction: Sheri Lee
; Executive-Producer: Clive Davis
; Illustration: Artis Lane
; Management [Representation]: Dick Allen
; Management [Representation]: William Morris Agency
; Mastering: Herb Powers Jr.
; Photography: Michael Wong
; Phonographic Copyright (p) Arista Records, Inc.
; Copyright (c) Arista Records, Inc.
; Manufactured By Arista Records, Inc.
; Distributed By Arista Records, Inc.
; Manufactured For BMG Direct Marketing, Inc.
; Record Company BMG Entertainment
; Pressed By Allied DT
; Recorded At Chung King Studios
; Recorded At Vanguard Recording Complex
; Recorded At Silent Sound Studios
; Recorded At Doppler Studios
; Recorded At Bosstown Recording Studios
; Recorded At Southern Tracks
; Recorded At Studio LaCoco
; Recorded At Krosswire Studio
; Recorded At Woodland Studios
; Recorded At Tarpan Studios
; Recorded At Homesite 13
; Mixed At Silent Sound Studios
; Mixed At Studio LaCoco
; Mixed At Darp Studios
; Mixed At Tarpan Studios
; Mixed At Vanguard Recording Complex
; Mastered At Powers House Of Sound
; Published By Sony/ATV Tunes LLC
; Published By Obverse Creation Music, Inc.
; Published By MCA Music Publishing
; Published By Geffen Music
; Published By Withrow Publishing
; Published By Enlightened Kitty
; Published By Strange Mind Productions
; Published By Edie Brickell Songs
; Published By Cori Tiffani Publishing
; Published By Sony/ATV Songs LLC
; Published By Justin Combs Publishing
; Published By EMI April Music Inc.
; Published By Price Is Right Music
; Published By Music Corporation Of America, Inc.
; Published By Touch Of Gray Music
; Published By T.A. Gant Music
; Published By So So Def Music
; Published By Croon Tunes
; Published By Smitty Son
; Published By Arapesh
; Published By Little Macho Music
; Published By WB Music Corp.
; Published By Slack A.D.
; Published By Stedigy Music
; Published By 1028 1/2 Benton St. Music
; Published By Full Keel Music Co.
; Published By Warner-Tamerlane Publishing Corp.
; Published By Boobie Loo Music
; Published By Darp Music
; Published By Irving Music, Inc.
; Published By Kiara\'s Tuff Music
; Published By One Four Three Music
; Published By Peermusic Ltd.
; Published By Springtime Music, Inc.
; Published By Copyright Control
Billy Bragg [>] [D] & Wilco [>] [D]: Mermaid Avenue [F]
Label und Katalognummer: Elektra 7559-62204
Produktion: Billy Bragg & Grant Showbiz & Wilco
Veröffentlicht: 1998 06 23
Genretags: Alternativerock - Alternativecountry, Folk - Newfolk - Singer-Songwriter
Trackliste: 1. Walt Whitman's Niece - 3:53
2. California Stars (Guthrie, Jay Bennett/Jeff Tweedy) - 4:57
3. Way Over Yonder in the Minor Key - 4:06
4. Birds and Ships - 2:13
5. Hoodoo Voodoo (Guthrie, Wilco/Bragg/Corey Harris) - 3:12
6. She Came Along to Me (Guthrie, Bragg/Tweedy/Bennet) - 3:26
7. At My Window Sad and Lonely (Guthrie, Tweedy - 3:27
8. Ingrid Bergman - 1:50
9. Christ for President (Guthrie, Tweedy/Bennett) - 2:39
10. I Guess I Planted (Guthrie, Tweedy) - 3:32
11. One by One - 3:22
12. Eisler on the Go - 2:56
13. Hesitating Beauty (Guthrie, Tweedy) - 3:04
14. Another Man's Done Gone - 1:34
15. The Unwelcome Guest - 5:09
Alle Tracks: Woody Guthrie und Billy Bragg, ausser wo anders vermerkt.
Besetzung: Art Direction: Alli Truch
; Art Direction: Billy Bragg
; Art Direction: Nora Guthrie
; Design: Alli Truch
; Engineer: Dave Trumfio
; Engineer: Jerry Boys
; Engineer: Matthew Ellard
; Engineer: Mike Hagler
; Engineer: Scott Eisenberg
; Engineer [Assistant]: Ciarán Cahill
; Engineer [Assistant]: Gordon Jensen
; Engineer [Assistant]: Ivan O\'Shea
; Engineer [Assistant]: Keith McDonnell
; Engineer [Assistant]: Tom Skerritt
; Executive Producer: Nora Guthrie
; Liner Notes: Billy Bragg
; Lyrics By: Woody Guthrie
; Photography: Ken Schles
; Photography [Wilco Photos: Ken Coomer], Photography By [Billy Bragg Photos]: Pennie Smith
; Photography [Wilco Photos: Stirratt, Bennett, Tweedy]: Tony Margherita
; Technician [Technical Assistance]: Jonathan Parker
; Phonographic Copyright (p) Elektra Entertainment Group
; Copyright (c) Elektra Entertainment Group
; Phonographic Copyright (p) WEA International Inc.
; Copyright (c) WEA International Inc.
; Made By WEA Manufacturing Inc.
; Recorded At Totally Wir
ed Studios
; Recorded At Windmill Lane Studios
; Recorded At King Size Sound Laboratories
; Recorded At Fort Apache
; Mixed At Totally Wir
ed Studios
; Mixed At Windmill Lane Studios
; Mixed At King Size Sound Laboratories
; Mixed At Private Studios
; Mastered At Gateway Mastering
; Published By Woody Guthrie Publications, Inc.
; Published By BMG Songs
; Published By Warner-Tamerlane Publishing Corp.
; Published By Words Ampersand Music
; Published By Titanic Majesties Music
; Published By Poeyfarre Songs
; Published By 500 Ft. Toe Music
; Published By Koolhot Muzik
; Glass Mastered At WEA Mfg. Olyphant
; Pressed By WEA Mfg. Commerce
Unkle [>] [D]: Psyence Fiction [F]
Assoziierte Acts: James Lavelle & DJ Shadow
Label und Katalognummer: Mo' Wax MW 085
Produktion: Josh Davis & James Lavelle
Veröffentlicht: 1998 08 24
Genretags: Electronica - Breakbeat - Turntablism, Hip-Hop - Underground-Hip-Hop - Instrumental-Hip-Hop, Electronica - Downtempo
Trackliste: 1. Guns Blazing (Drums of Death, Pt. 1) (feat. Kool G Rap) (Josh Davis, Kool G Rap) - 5:01
2. Unkle (Main Title Theme) - 3:24
3. Bloodstain (feat. Alice Temple) (Josh Davis, Alice Temple) - 5:57
4. Unreal (Josh Davis, Jules Blattner Group) - 5:10
5. Lonely Soul (feat. Richard Ashcroft) (Richard Ashcroft, Josh Davis, Will Malone) - 8:56
6. Getting Ahead in the Lucrative Field of Artist Management - 0:54
7. Nursery Rhyme/Breather (feat. Badly Drawn Boy) - 4:45
8. Celestial Annihilation - 4:45
9. The Knock (Drums of Death, Pt. 2) (feat. Jason Newsted, Mike D) - 3:57
10. Chaos (feat. Mark Hollis: piano, Atlantique Khan: vocals) - 4:42
11. Rabbit In Your Headlights (feat. Thom Yorke) (Josh Davis, Thom Yorke) - 6:10
12. Outro (Mandatory) - 1:06
Alle Tracks: Josh Davis, ausser wo anders vermerkt.
Besetzung: Artwork [Assistant - Character Wir
e-Frames]: David Murray
; Artwork [Character Wir
e-Frames]: Derek Waters
; Artwork [Cover Image], Painting [& All Characters]: Futura 2000
; Design Concept [Custom Grids]: Tim Drury
; Design [Assistant - Sleeve]: Andy Holmes
; Design [Sleeve]: Ben Drury
; Mixing: Jim Abbiss
; Performer [UNKLE is]: DJ Shadow
; Performer [UNKLE is]: James Lavelle
; Photography: Will Bankhead
; Photography [Assistant]: Ali Peck
; Photography [Mike D photo]: Ryan Murphy
; Phonographic Copyright (p) Mo Wax Recordings
; Phonographic Copyright (p) A&M Records Ltd.
; Copyright (c) Mo Wax Recordings
; Copyright (c) A&M Records Ltd.
; Glass Mastered At Sonopress
Two Lone Swordsmen [>] [D]: A Bag Of Blue Sparks [F]
Assoziierte Acts: Andrew Weatherall
Label und Katalognummer: Warp wap 106
Produktion: Keith Tenniswood & Andrew Weatherall
Veröffentlicht: 1998 09 26
Genretags: Electronica - Techno - Leftfieldtechno, Electronica - Breakbeat - Downtempo
Trackliste: 1. Sticky (Akure Wall, Andrew Weatherall, Keith Tenniswood, Michael Kwesi Graves) - 6:17
2. Gay Spunk - 6:53
3. Last Of The Fumes - 8:31
4. Electric 4 Bird - 6:09
5. Black Commandments - 3:37
6. Black Commandments 2 - 3:33
Alle Tracks: Keith Tenniswood und Andrew Weatherall, ausser wo anders vermerkt.
Besetzung: Sleeve, Design: Haywire
; Sleeve, Design: James Woodbourne
; Phonographic Copyright (p) Warp Records Limited
; Copyright (c) Warp Records Limited
; Recorded At Rotters Golf Club Studios
; Published By MCA Music
; Published By Warner/Chappell Music Ltd.
; Glass Mastered At Docdata
Two Lone Swordsmen [>] [D]: Stay Down [F]
Assoziierte Acts: Andrew Weatherall
Label und Katalognummer: Warp 058
Produktion: Keith Tenniswood & Andrew Weatherall
Veröffentlicht: 1998 10 19
Genretags: Electronica - Techno - Leftfieldtechno, Electronica - Breakbeat - Downtempo
Trackliste: 1. Hope We Never Surface - 2:23
2. Ink Cloud - 3:54
3. The Big Clapper - 3:16
4. Ivy And Lead - 2:48
5. We Change The Frequency - 4:06
6. No Red Stopping - 6:02
7. Spine Bubbles - 4:40
8. Mr. Paris's Monsters - 3:47
9. Light The Last Flare - 3:46
10. We Discordians (Must Stick Apart) - 2:01
11. Alpha School - 3:30
12. As Worldly Pleasures Wave Goodbye... - 5:37
Alle Tracks: Two Lone Swordsmen
Besetzung: Design [Sleeve Design]: Haywire
; Design [Sleeve Design]: James Woodbourne
; Mastering [Amidst Very Unprofessional Behaviour]: Frank Arkwright
; Recorded At Rotters Golf Club Studios
; Phonographic Copyright (p) Warp Records Limited
; Copyright (c) Warp Records Limited
; Published By MCA Music Ltd.
; Glass Mastered At DOCdata
Luciano Berio [>] [D]: Sequenzas [F]
Label und Katalognummer: Deutsche Grammophon 457 038
Produktion: Helmut Burk
Veröffentlicht: 1998 11 18 (Ed.)
Genretags: Akademica - Moderne-Klassik
Trackliste: CD 1
1. Sequenza I for Flute (1958) [Sophie Cherrier, flute] - 6:02
2. Sequenza II for Harp (1963) [Frédérique Cambreling, harp] - 8:18
3. Sequenza III for Woman's Voice (1965) [Luisa Castellani, soprano] - 8:16
4. Sequenza IV for Piano (1966) [Florent Boffard, piano] - 11:06
5. Sequenza V for Trombone (1965) [בני סלוחין [Benny Sluchin], trombone] - 6:58
6. Sequenza VI for Viola (1967) [Christophe Desjardins, viola] - 12:13
CD 2
1. Sequenza VII for Oboe (1969) [László Hadady, oboe] - 6:54
2. Sequenza VIII for Violin (1976) [Jeanne-Marie Conquer, violin] - 12:57
3. Sequenza IXa for Clarinet (1980) [Alain Damiens, clarinet] - 13:33
4. Sequenza X for Trumpet in C and Piano Resonance (1984) [Gabriele Cassone, trumpet] - 14:03
CD 3
1. Sequenza XI for Guitar (1987-88) [Eliot Fisk, guitar] - 15:19
2. Sequenza XII for Bassoon (1995) [Pascal Gallois, bassoon] - 18:31
3. Sequenza XIII for Accordion 'Chanson' (1995) [Teodoro Anzellotti, accordian] - 8:15
4. Sequenza IXb for Alto Saxophone (1981) [Christian Wir
th, alto saxophone] - 14:19
Alle Tracks: Luciano Berio.
Besetzung: Paola Agosti: Photography
; Teodoro Anzellotti: Accordion
; Klaus Behrens: Engineer
; Luciano Berio: Liner Notes
; Florent Boffard: Piano
; Jügen Bulgrin: Engineer
; Helmut Burk: Editing, Engineer
; Frederique Cambreling: Harp
; Gabriele Cassone: Trumpet
; Luisa Castellani: Soprano (Vocal)
; Sophie Cherrier: Flute
; Jeannne Marie Conquer: Violin
; Alain Damiens: Clarinet
; Christophe Desjardins: Viola
; Eliot Fisk: Guitar
; Pascal Gallois: Bassoon
; Karl Dietrich Grawe: Translation
; Laszlo Hadady: Oboe
; Christian Kuhnt: Translation
; Melina Mulas: Photography
; David Osmond-Smith: Translation
; Hartmut Pfeiffer: Artwork
; Jean-Claude Poyet: Translation
; Edoardo Sanguineti: Unknown Contributor Role
; Benny Sluchin: Trombone
; Stewart Spencer: Translation
; Christian Wir
th: Sax (Alto)
Marianne Faithfull [>] [D]: Vagabond Ways [F]
Label und Katalognummer: it Records ITRCD 1, BMG BMGCAT 445
Produktion: Mark Howard & Daniel Lanois
Veröffentlicht: 1999 04 14, 2022 03 04 (Reed.)
Genretags: Rock - AOR-Rock - Darkcabaret
Trackliste: 1. Vagabond Ways (David Courts, Marianne Faithfull) - 3:14
2. Incarceration Of A Flower Child (Roger Waters) - 5:32
3. File It Under Fun From The Past (Barry Reynolds, Marianne Faithfull) - 4:51
4. Electra (Barry Reynolds, Frank McGuinness, Marianne Faithfull) - 3:25
5. Wilder Shores Of Love (Barry Reynolds, Guy Pratt, Marianne Faithfull) - 5:40
6. Marathon Kiss (Daniel Lanois) - 3:59
7. For Wanting You (Bernie Taupin, Elton John) - 3:57
8. Great Expectations (Daniel Lanois, Marianne Faithfull) - 3:13
9. Tower Of Song (Leonard Cohen) - 4:36
10. After The Ceasefire (Daniel Lanois, Frank McGuinness) - 4:22
Bonustracks der Expanded Edition von 2022
11. Blood In My Eyes (Bob Dylan, Traditional) - 4:10
12. Drifting (Daniel Lanois, Marianne Faithfull) - 5:08
13. Vagabond Ways (Demo) (David Courts, Marianne Faithfull) - 3:08
14. Incarceration Of A Flower Child (Demo) (Roger Waters) - 4:53
15. Electra (Demo) (Barry Reynolds, Frank McGuinness, Marianne Faithfull) - 3:31
16. Tower Of Song (Demo) (Leonard Cohen) - 3:32
Besetzung: Engineer [Second]: Simon Francis
; Engineer [Second]: Zack Allentuck
; Mastering: Joe Gastwirt
; Mixing: Mark Howard
; Photography: Ellen Von Unwerth
; Phonographic Copyright (p) it Records (7)
; Copyright (c) it Records (7)
; Licensed To Virgin Records Ltd.
; Recorded At The Teatro, Oxnard, California
; Mixed At Metropolis Mastering
; Mastered At Oceanview Digital Mastering
; Pressed By EMI Uden
; Glass Mastered At EMI Uden
Kristin Hersh [>] [D]: Sky Motel [F]
Label und Katalognummer: 4AD CAD 9008
Produktion: Kristin Hersh & Trina Shoemaker
Veröffentlicht: 1999 06 26
Genretags: Alternativerock, Indiepop
Trackliste: 1. Echo - 3:42
2. White Trash Moon - 4:29
3. Fog - 1:36
4. Costa Rica - 3:23
5. A Cleaner Light - 4:07
6. San Francisco - 2:58
7. Cathedral Heat - 5:06
8. Husk - 4:28
9. Caffeine - 4:25
10. Spring - 3:07
11. Clay Feet - 5:13
12. Faith - 2:27
13. Outro - 0:56
Besetzung: Design: V23
; Drums: Carlo Nuccio (1, 5, 7)
; Engineer [Assistant]: Joe Hollier
; Engineer [Assistant]: Phillip Broussard
; Mastering: Joe Gastwirt
; Mastering [Assistant]: Ramón Bretón
; Mixing: Ethan Allen (6, 8, 9)
; Mixing: Trina Shoemaker (1 to 5, 7, 10 to 12)
; Photography: Jim Friedman
; Photography [Portraits]: Andrew Catlin
; Performer: Kristin Hersh
; Recording: Ethan Allen
; Recording: Trina Shoemaker
; Recorded At Kingsway Studios, New Orleans
; Mastered At Oceanview Digital Mastering
; Phonographic Copyright (p) 4AD Ltd.
; Copyright (c) 4AD Ltd.
; Glass Mastered At Nimbus
Two Lone Swordsmen [>] [D]: A Virus With Shoes [F]
Assoziierte Acts: Andrew Weatherall
Label und Katalognummer: Warp wap 126
Produktion: Keith Tenniswood & Andrew Weatherall
Veröffentlicht: 1999 10 15
Genretags: Electronica - Techno - Leftfieldtechno, Electronica - Breakbeat - Downtempo
Trackliste: 1. Brother Foster Through The Phones - 4:23
2. Confessions Of A Justified Sinner - 3:00
3. Kist - 3:43
4. It Hits - 4:04
5. Cloned Christ On A Hover Donkey (Be Thankful) - 4:14
6. Celcus Speaks The Truth - 5:25
7. Palais Munich - 4:53
8. Our Kid's Berwick - 2:16
Alle Tracks: Keith Tenniswood und Andrew Weatherall.
Besetzung: Artwork [Art - At Haywire]: Fraser Brydson
; Artwork [Art - At Haywire]: James Woodbourne
; Editing [Additional]: Gary Burns
; Mastering: Frank Arkwright
; Photography [From An Original Photograph By]: Tony Alfred
; Mixing: Two Lone Swordsmen
; Distributed By Zomba Records
; Glass Mastered At DOCData
; Produced At Rotters Golf Club Studios
; Mixed At Rotters Golf Club Studios
; Phonographic Copyright (p) Warp Records Limited
; Copyright (c) Warp Records Limited
; Published By MCA Music
; Published By Warner/Chappell
; Published By PolyGram Music
Two Lone Swordsmen [>] [D]: Receive Tactical Support [F]
Assoziierte Acts: Andrew Weatherall
Label und Katalognummer: Warp WAP 127
Produktion: Keith Tenniswood & Andrew Weatherall
Veröffentlicht: 1999 10 15
Genretags: Electronica - Techno - British-Techno
Trackliste: Seite A
1. Black Commandments (Remix By Silicon Scally)
Seite B
1. Big Clapper (Remix By C-PIJ)
2. Hope We Never Surface (Remix By Kenny Hawkes)
Besetzung: Design: Haywire
; Phonographic Copyright (p) Warp Records Limited
; Copyright (c) Warp Records Limited
Bob Dylan [>] [D] & Donn Alan Pennebaker [>] [D]: Don't Look Back (65 Tour Deluxe Edition) [F]
Label und Katalognummer: New Video Group NVG 9447
Produktion: Donn Alan Pennebaker
Veröffentlicht: 2000 01 04, 1967 (Rec.)
Genretags: Folk - Urbanfolk - Electricfolk
Die England-Tournee Dylans 1965 mit einer damals neuen mobilen Schwarz-Weiss-Handkamera gedreht. In der Entourage Alan Price, vormals von den Animals, Joan Baez, Bob Neuwirth, Albert Grossmann und Sally Grossmann (der Manager Dylans und dessen Frau) und zu Besuch Allen Ginsberg, Donovan und Nico (nur im Zusatzfilm).
Trackliste: CD 1: Dont Look Back
1. Subterranean Homesick Blues -
2. London Arrival -
3. Who's This Donovan? -
4. The Times They Are A-Changin' -
5. I Just Go There And Sing 'Em -
6. Turn, Turn, Turn -
7. Denmark Street -
8. Newcastle -
9. The Science Student -
10. The High Sheriff's Lady -
11. I Don't Feel Like Singing -
12. Who Threw The Glass? -
13. Donovan -
14. Royal Albert Hall -
15. The Interview -
16. The Last Concert -
Bonustracks
1. To Ramona - 4:28
2. The Lonesome Death Of Hattie Carroll - 6:49
3. Love Minus Zero / No Limit - 5:21
4. It Ain't Me Babe - 4:03
5. It's All Over Now, Baby Blue - 7:44
CD 2: Extras
1. Film Trailer - 2:13
2. 'Subterranean Homesick Blues' Alternate Take - 2:20
3. Profiles -
Besetzung: Cameraman [Assistant Camera]: Howard Alk
; Cameraman [Camera]: D.A. Pennebaker
; Engineer [Concert Sound]: Robert John van Dyke
; Engineer [Sound]: Jones Alk
; Film Director: D.A. Pennebaker
; Film Editor [Editing]: D.A. Pennebaker
; Film Producer: Albert B. Grossman
; Film Producer: John Court
; Performer: Alan Price
; Performer: Albert B. Grossman
; Performer: Bob Dylan
; Performer: Bob Neuwirth
; Performer: Donovan
; Performer: Joan Baez
; Photography [Cover Photograph]: Daniel Kramer
; Copyright (c) Pennebaker Hegedus Films, Inc.
; Copyright (c) Ashes & Sand, Inc.
Hecker [>] [D]: [r*] Iso | Chall [F]
Assoziierte Acts: Florian Hecker
Label und Katalognummer: MEGO 024
Produktion: Verschiedene
Veröffentlicht: 2000 02
Genretags: Electronica - DSP
Trackliste: 1. Midi Slide Guitar Mix (Bruce Gilbert Remix) - (03:26:53)
2. Untitled #85 (Francisco López Remix) - (10:02:53)
3. See Anything (Holger Hiller Remix) - (04:27:35)
4. A/S Toned Hecker's (Yasunao Tone Remix) - (05:23:24)
5. Set Iso To Lithops Mix (03:18:35)
6. My Solaris Is Down (CD_slopper Remix) - (02:32:00)
7. Ts Baby (Jim O'Rourke Remix) - (04:53:60)
8. Version Iuv (Ilpo Väisänen) - (04:16:60)
9. Heckwind Digirun (Marcus Schmickler) - (03:58:44)
10. Isoo (Otomo Yoshihide Remix) - (06:05:09)
11. Itiso161/ae (Gescom Remix) - (06:27:47)
12. Psyac - 'psycho-acoustic Correction' (Zbigniew Karkowski Remix) - (02:52:58)
Alle Tracks: Florian Hecker.
Besetzung: A&R [International A&R]: Peter Rehberg
; A&R [International A&R]: Russell Haswell
; Artwork: Dextro
; Artwork: Inwirements
; Mastering: Edwin van der Heide
; Mastering: Zbigniew Karkowski
; Published By Copyright Control
; Published By Mute Song
; Published By Rough Trade Publishing
; Pressed By DADC
Billy Bragg [>] [D] & Wilco [>] [D]: Mermaid Avenue Vol. 2 [F]
Label und Katalognummer: Elektra 62522
Produktion: Billy Bragg & Wilco
Veröffentlicht: 2000 05 30
Genretags: Alternativerock - Alternativecountry, Folk - Newfolk - Singer-Songwriter
Trackliste: 1. Airline to Heaven (Guthrie, Bennett/Tweedy) - 4:50
2. My Flying Saucer - 1:45
3. Feed of Man (Guthrie, Tweedy) - 4:08
4. Hot Rod Hotel - 3:17
5. I Was Born - 1:50
6. Secrets of the Sea (Guthrie, Bennett/Tweedy) - 2:42
7. Stetson Kennedy - 2:39
8. Remember the Mountain Bed (Guthrie, Bennett/Tweedy) - 6:26
9. Blood of the Lamb (Guthrie, Bennett/Tweedy) - 4:16
10. Aginst th' Law - 3:03
11. All You Fascists - 2:43
12. Joe DiMaggio Done It Again - 2:31
13. Meanest Man - 3:46
14. Black Wind Blowing - 3:00
15. Someday Some Morning Sometime (Guthrie, Tweedy) - 2:53
Alle Tracks: Woody Guthrie und Billy Bragg, ausser wo anders vermerkt.
Besetzung: Art Direction: Alli Truch
; Art Direction: Gregory Burke
; Design: Gregory Burke
; Engineer: Jerry Boys
; Engineer [Additional At Fort Apache Studio]: Matthew Ellard
; Engineer [Additional At Fort Apache Studio]: Scott Eisenberg
; Engineer [Additional At King Size Sound Laboratories]: Dave Trumfio
; Engineer [Additional At King Size Sound Laboratories]: Mike Hagler
; Engineer [Additional At The Loft]: Jay Bennett
; Engineer [Additional At The Loft]: Jonathan Pines
; Engineer [Additional At The Loft]: Tim Harrington
; Executive-Producer: Nora Guthrie
; Lyrics By: Woody Guthrie
; Management [Billy Bragg Management]: Peter Jenner
; Management [Wilco Management]: Tony Margherita
; Other [Grooming]: Hart Monteblano
; Other [Styling]: Malcom Beckfoord
; Photography: Ken Schles
; Photography [Cover]: Woody Guthrie
; Recording [Assistant At Windmill Lane]: Ciarán Cahill
; Recording [Assistant At Windmill Lane]: Gordon Jensen
; Recording [Assistant At Wir
ed Studio]: Ivan O\'Shea
; Recording [Assistant At Wir
ed Studio]: Keith McDonnell
; Recording [Assistant At Wir
ed Studio]: Tom Skerritt
; Technician [Techincal Assistant]: Jonathan Parker
; Phonographic Copyright (p) Elektra Entertainment Group Inc.
; Copyright (c) Elektra Entertainment Group Inc.
; Phonographic Copyright (p) WEA International Inc.
; Copyright (c) WEA International Inc.
; Published By Woody Guthrie Publications, Inc.
; Published By Warner-Tamerlane Publishing Corp.
; Published By Words Ampersand Music
; Published By You Want A Piece Of This Music
; Published By Bug Music
; Published By BMG Songs
; Recorded At Totally Wir
ed Studios
; Recorded At Windmill Lane Studios
; Engineered At King Size Sound Laboratories
; Engineered At Fort Apache
; Engineered At The Loft
; Mixed At Totally Wir
ed Studios
; Mixed At King Size Sound Laboratories
; Mixed At Private Studios
; Mastered At Sterling Sound
; Manufactured By WEA Manufacturing Inc.
; Glass Mastered At WEA Mfg. Olyphant
; Pressed By WEA Mfg. Olyphant
Emmylou Harris [>] [D]: Red Dirt Girl [F]
Label und Katalognummer: Nonesuch 79616
Produktion: Malcolm Burn
Veröffentlicht: 2000 09 12
Genretags: Country - Americana-Revival
Trackliste: 1. The Pearl - 5:02
2. Michelangelo - 5:14
3. I Don't Wanna Talk About It Now - 4:47
4. Tragedy [with Patti Scialfa - duet vocals & Bruce Springsteen - harmony vocals] (Harris, Rodney Crowell) - 4:24
5. Red Dirt Girl - 4:19
6. My Baby Needs a Shepherd - 4:39
7. Bang the Drum Slowly (Harris, Guy Clark) - 4:51
8. J'ai Fait Tout (Harris, Jill Cunniff, Daryl Johnson) - 5:31
9. One Big Love (Patty Griffin, Angelo) - 4:33
10. Hour of Gold - 5:00
11. My Antonia [with Dave Matthews] - 3:43
12. Boy from Tupelo - 3:48
Alle Tracks: Emmylou Harris, ausser wo anders vermerkt.
Besetzung: Accordion: Kate McGarrigle (8)
; Backing Vocals: Bruce Springsteen (4), Daryl Johnson (1, 3, 7, 8), Jill Cunniff (3, 8, 9), Julie Miller (3, 9, 12), Kate McGarrigle (12), Malcolm Burn (9), Patty Griffin (6, 10)
; Bass: Daryl Johnson (1, 3, 4, 7, 8, 10, 11), Jill Cunniff (3, 8), Malcolm Burn (1, 2, 4, 5, 9, 12), Renee Coman (6)
; Bass [Pedal]: Daryl Johnson (5)
; Drum Programming: Malcolm Burn (2, 4, 5, 6, 9)
; Drums: Carlo Nuccio (9), Daryl Johnson (1), Ethan Johns (3, 8, 9)
; Dulcimer: Malcolm Burn (6, 12)
; Electric Piano [Fender Rhodes]: Jim Watts (8), John Deaderick (9), Malcolm Burn (4, 10)
; Guitar: Buddy Miller (1, 5, 9, 11), Ethan Johns (1, 2, 4, 9), Jill Cunniff (3), Jill Cunniff (8), Malcolm Burn (3, 5, 6, 7, 8, 12)
; Guitar [12 String]: Malcolm Burn (4, 9)
; Guitar [Acoustic]: Emmylou Harris (1, 2, 3, 5, 6, 7, 10, 12), Ethan Johns (11, 12), Malcolm Burn (8, 11)
; Guitar [Baritone Acoustic]: Daryl Johnson (6)
; Guitar [Baritone Electric]: Emmylou Harris (4, 7, 11), Ethan Johns (6)
; Guitar [Ebow]: Ethan Johns (7, 12)
; Guitar [Mando Guitar]: Buddy Miller (9)
; Guitar [Pedal Steel]: Buddy Miller (4, 11)
; Harmonica: Malcolm Burn (11)
; Mandolin [Mandocello]: Ethan Johns (10, 11)
; Mastered By: Joe Gastwirt
; Mixed By: Jim Watts, Malcolm Burn
; Omnichord: Ethan Johns (5), Malcolm Burn (11)
; Percussion: Daryl Johnson (5, 6, 7, 11), Ethan Johns (6), Malcolm Burn (6, 12)
; Piano: Kate McGarrigle (12), Malcolm Burn (3, 4, 7, 12)
; Recorded By: Jim Watts
; Synthesizer: Malcolm Burn (10)
; Synthesizer [Bass]: Malcolm Burn (7, 11)
; Tambourine: Malcolm Burn (3)
; Vocals: Dave Matthews (11), Emmylou Harris, Patti Scialfa (4)
Add N To (X) [>] [D]: Add Insult To Injury [F]
Label und Katalognummer: Mute STUMM 187
Produktion: Steven Claydon & Dean Honer & Ann Shenton
Veröffentlicht: 2000 10 16
Genretags: Electropop - New-Rave - Electroclash
Trackliste: 1. Adding N to X (Claydon, Shenton) - 2:39
2. Brothel Charge (Allum, Claydon, Shenton) - 3:02
3. You Must Create (Allum, Claydon, Shenton) - 4:05
4. Kingdom of Shades (Allum, Claydon, Shenton) - 3:47
5. Monster Bobby (Barry, Honer, Smith) - 4:03
6. Poke 'er 'ole (Allum, Claydon, Shenton) - 4:25
7. Plug Me In (Barry, Honer, Smith) - 5:31
8. Hit for Cheese (Allum, Claydon, Shenton) - 3:05
9. MDMH (Miami Dust Mite Harvest) (Allum, Claydon, Shenton) - 4:24
10. B.P. Perino (Allum, Claydon, Honer, Shenton) - 6:51
11. Incinerator No. 1 (Barry, Smith) - 5:33
12. The Regent Is Dead (Barry, Honer, Smith) - 15:56
Bonustrack
1. Violent Breath Violent Breath
Besetzung: Engineer: Andrew Jones
; Engineer: Barry 7
; Arranged, Mixing: Ann Shenton
; Arranged, Mixing: Dean Honer
; Arranged, Mixing: Steven Claydon
; Phonographic Copyright (p) Mute Corporation
; Copyright (c) Mute Corporation
; Recorded At Villa Noailles, Hyres, France
; Recorded At Loon Wir
e Studios
; Mixed At A.S.I., Sheffield
; Pressed By WEA Mfg. Olyphant
Kristin Hersh [>] [D]: Sunny Border Blue [F]
Label und Katalognummer: 4AD CAD 2102
Produktion: Kristin Hersh
Veröffentlicht: 2001 03 06
Genretags: Indiepop - Noisepop
Trackliste: 1. Your Dirty Answer - 5:24
2. Spain - 3:55
3. 37 Hours - 3:27
4. Silica - 4:23
5. William's Cut - 4:03
6. Summer Salt - 4:07
7. Trouble (Cat Stevens) - 3:25
8. Candyland - 4:02
9. Measure - 1:10
10. White Suckers - 4:25
11. Ruby - 4:06
12. Flipside - 3:58
13. Listerine - 4:47
Alle Tracks: Kristin Hersh, ausser wo anders vermerkt.
Besetzung: Drums [Drunken] - Steve Rizzo
Engineer, Mixing: Steve Rizzo
; Mastering: Joe Gastwirt
; Mastering [Assistant]: Ramón Bretón
; Mixing, Performer: Kristin Hersh
; Mastered At Oceanview Digital Mastering
; Recorded At Stable Sound
; Phonographic Copyright (p) 4AD Ltd.
; Copyright (c) 4AD Ltd.
; Published By Yes Dear Music
; Made By Sonopress
White Stripes [>] [D]: White Blood Cells [F]
Label und Katalognummer: Sympathy For The Record Industry SFTRI 660
Produktion: Jack White
Veröffentlicht: 2001 07 03
Genretags: Post-Millennial-Music - Garagerock-Revival - Garageblues
Trackliste: 1. Dead Leaves And The Dirty Ground - 3:04
2. Hotel Yorba - 2:10
3. I'm Finding It Harder To Be A Gentleman - 2:54
4. Fell In Love With A Girl - 1:50
5. Expecting - 2:03
6. Little Room - 0:50
7. The Union Forever - 3:26
8. The Same Boy You've Always Known - 3:09
9. We're Going To Be Friends - 2:22
10. Offend In Every Way - 3:06
11. I Think I Smell A Rat - 2:04
12. Aluminum - 2:19
13. I Can't Wait - 3:38
14. Now Mary - 1:47
15. I Can Learn - 3:31
16. This Protector - 2:12
Alle Tracks: White Stripes.
Besetzung: Design, Layout: Third Man, The
; Design, Layout: Twirly Red
; Drums, Backing Vocals: Meg White
; Engineer: Stuart Sikes
; Mastering: Fred Kevorkian
; Mixing: Jack White
; Mixing: Stuart Sikes
; Photography: Patrick Pantano
; Vocals, Guitar, Piano: Jack White
; Performer: The White Stripes
; Phonographic Copyright (p) XL Recordings Ltd.
; Licensed From Third Man Records, LLC
; Copyright (c) XL Recordings Ltd.
; Licensed From Third Man Records, LLC
; Glass Mastered At Sonopress
; Recorded At Easley McCain Recording
; Mastered At Absolute Audio
Sparklehorse [>] [D]: It's A Wonderful Life [F]
Label und Katalognummer: Columbia CDP 7243 5 25616
Produktion: Dave Fridmann & Mark Linkous & John Parish
Veröffentlicht: 2001 08 28
Genretags: Alternativerock - Lo-Fi-Rock - Singer-Songwriter
Trackliste: 1. It's a Wonderful Life - 2:59
2. Gold Day - 4:14
3. Piano Fire - 2:43
4. Sea of Teeth - 4:29
5. Apple Bed - 4:54
6. King of Nails - 4:18
7. Eyepennies - 5:27
8. Dog Door (Brennan/Linkous/Waits) - 2:46
9. More Yellow Birds - 4:53
10. Little Fat Baby (Chesnutt/Linkous) - 3:40
11. Devil's New - 3:32 - Excluded from European release.
12. Comfort Me - 5:01
13. a) Babies on the Sun - 4:37, b) Morning Hollow [hidden track] - 7:26
Alle Tracks: Mark Linkous, ausser wo anders vermerkt.
Besetzung: ; Mark Linkous?Voice (1-7, 9, 10, 12-14), optigan (1, 2, 6, 8, 12, 13), chamberlin (1, 2), sampler (1, 4, 5, 8), guitar (2, 4, 5, 6, 8, 10, 12), Wurlitzer piano (2), percussion (2), acoustic guitar (3), Casio keyboard (3), mellotron (4, 13), drum machine (5, 12), Prophet 5 synthesizer (6, 12), drums (8), backwards midget voice (8), Magic Genie organ (9), Moog synthesizer (12, 13), wire recorder (13), baritone guitar (14), e-bow guitar (14)
; Dave Fridmann?bass (2, 4, 12), Wurlitzer piano (2, 14), mellotron (2), piano (4, 12), chamberlin (12, 13), glockenspiel (13), vibraphone (14)
; Joel Hamilton?Engineer
; Polly Jean Harvey?voice (3, 7), electric guitar (3), piano (3), guitar (7)
; Sophie Michalitsianos?Voice (6, 10, 12-14), bass (6)
; Scott Minor?Drums (2-4, 6, 7, 10, 12, 14), orchestron (2), electronic birds (2), electronics (3, 5, 12, 13), Russian satellite (4), chamberlin (4), filtered drums (5), percussion (6, 12), Korg MS-20 keyboard (12), harmonium (14)
; John Parish?bass (3), Casio keyboard (3), piano (7)
; Nina Persson?voice (2, 5)
; Miguel Rodriguez?drums (9)
; Bob Rupe?bass (5, 10)
; Jane Scarpantoni?cello (5, 10, 14)
; Adrian Utley?Dictaphone (2), bass (7), Kitty-Cat guitar (8), fuzzy-ending bass (8)
; Tom Waits?voice (8), big seed pod (8), metal things (8), train (8), piano (14)
; Joan Wasser?violin (5, 10, 14), Wurlitzer piano (10)
; Alan Weatherhead?orchestron (9), mellotron (9), chamberlin (9), lap steel guitar (9)
; Margaret White?bass (9), violin (9)
; Rex L. White?pedal-steel guitar (12)
Wire [>] [D]: Read And Burn 01 [F]
Label und Katalognummer: Pinkflag PF 04
Veröffentlicht: 2002 05 27
Genretags: Alternativerock - Artrock
Trackliste: 1. In The Art Of Stopping (3:34)
2. I Don't Understand (3:17)
3. Comet (3:17)
4. Germ Ship (1:51)
5. 1st Fast (1:41)
6. The Agfers Of Kodack (3:13)
Alle Tracks: Wir
e.
Besetzung: Design: David Coppenhall
; Mastered By Denis Blackham
; Mixed By Colin Newman
; Photography/Image: Graham Lewis
; Performer: Wir
e
Wire [>] [D]: Read And Burn 02 [F]
Label und Katalognummer: Pinkflag PF 05
Veröffentlicht: 2002 10 01
Genretags: Alternativerock - Artrock
Trackliste: 1. Read & Burn (2:35)
2. Spent (4:43)
3. Trash/Treasure (5:07)
4. Nice Streets Above (2:50)
5. Raft Ants (2:05)
6. 99.9 (7:38)
Besetzung: Artwork By [Design] - David Coppenhall
; Mastered By - Denis Blackham
; Mixed By - Colin Newman
; Photography [Image] - Graham Lewis
; Written-By, Performer - Wir
e
Bob Dylan [>] [D]: The Bootleg Series, Vol. 5: Bob Dylan Live 1975 - The Rolling Thunder Revue [F]
Assoziierte Acts: Joan Baez (feat.) & Roger McGuinn (feat.)
Label und Katalognummer: Columbia 87047
Produktion: Steve Berkowitz & Jeff Rosen
Veröffentlicht: 2002 11 26 (Ed.), 1975 12-11 (Rec.)
Genretags: Rock - Rootsrock, Rock - Singer-Songwriter
Trackliste: CD 1
1. Tonight I'll Be Staying Here With You (Forum de Montreal, Canada 12/4/75) - 3:55
2. It Ain't Me Babe (Harvard Square Theatre, Cambridge, MA 11/20/75) - 5:25
3. A Hard Rain's A-Gonna Fall (Forum de Montreal, Canada 12/4/75) - 5:16
4. The Lonesome Death of Hattie Carroll (Boston Music Hall, 11/21/75 - Second Show) - 5:25
5. Romance in Durango (Harvard Square Theatre, Cambridge, MA 11/20/75)(Dylan/Levy) - 5:22
6. Isis (Boston Music Hall, 11/21/75 - Second Show) (Dylan/Levy) - 5:11
7. Mr. Tambourine Man (Boston Music Hall, 11/21/75 - First Show) - 5:39
8. Simple Twist of Fate (Harvard Square Theatre, Cambridge, MA 11/20/75) - 4:17
9. Blowin' in the Wind (feat. Joan Baez) (Harvard Square Theatre, Cambridge, MA 11/20/75) - 2:43
10. Mama, You Been on My Mind (feat. Joan Baez) (Boston Music Hall, 11/21/75 - Second Show) - 3:11
11. I Shall Be Released (feat. Joan Baez) (Boston Music Hall, 11/21/75 - First Show) - 4:33
CD 2
1. It's All over Now, Baby Blue (Forum de Montreal, Canada 12/4/75) - 4:34
2. Love Minus Zero/No Limit (Forum de Montreal, Canada 12/4/75) - 3:13
3. Tangled Up in Blue (Boston Music Hall, 11/21/75 - Second Show) - 4:41
4. The Water is Wide (feat. Joan Baez) (Traditional) (Boston Music Hall, 11/21/75 - Second Show)- 5:16
5. It Takes a Lot to Laugh, It Takes a Train to Cry (Boston Music Hall, 11/21/75 - Second Show) - 3:12
6. Oh, Sister (Boston Music Hall, 11/21/75 - Second Show) (Dylan/Levy) - 4:04
7. Hurricane (Memorial Auditorium, Worcester, MA 11/19/75) (Dylan/Levy) - 8:15
8. One More Cup of Coffee (Valley Below) (Boston Music Hall, 11/21/75 - Second Show) - 4:14
9. Sara (Boston Music Hall, 11/21/75 - Second Show) - 4:29
10. Just Like a Woman (Boston Music Hall, 11/21/75 - Second Show) - 4:31
11. Knockin' on Heaven's Door (feat. Roger McGuinn) (Harvard Square Theatre, Cambridge, MA 11/20/75) - 4:22
Besetzung: Joan Baez: Guitar, Vocals
; Michael Brauer: Mixing
; Lisa Buckler: Production Coordination
; Greg Calbi: Mastering
; Ricardo Chavarria: Mixing Assistant
; Don DeVito: Recording Supervision
; Triana Dorazio: Package Manager
; Bob Dylan: Guitar, Vocals
; Geoff Gans: Art Direction, Design
; James L. Hunter: Graphic Design
; David Mansfield: Dobro, Mandolin, Violin, Guitar (Steel)
; Roger McGuinn: Guitar, Vocals
; Bob Neuwirth: Guitar, Vocals
; Ken Regan: Photography
; Scarlet Rivera: Violin
; Luther Rix: Percussion, Conga, Drums
; Mick Ronson: Guitar
; Darren Salmieri: Artist Coordination
; Charlie Sarrica: Production Coordination
; Steven Soles: Guitar, Vocals
; Rob Stoner: Bass
; Howie Wyeth: Piano, Drums
Califone [>] [D]: Quicksand/Cradlesnakes [F]
Label und Katalognummer: Tril Jockey thrill 122
Veröffentlicht: 2003 03 18
Genretags: Folk - Freakfolk - Noisefolk
Trackliste: 1. One (0:54)
2. Horoscopic.Amputation.Honey (7:14)
3. Michigan Girls (4:01)
4. Cat Eats Coyote (Ben Massarella, Jim Becker, Joe Adamik) - (1:33)
5. Your Golden Ass (Ben Massarella, Jim Becker, Joe Adamik, Tim Rutili) - (5:05)
6. (Red) (5:50)
7. Million Dollar Funeral (2:19)
8. When Leon Spinx Moved Into Town (5:32)
9. Mean Little Seed (4:00)
10. Vampiring Again (5:04)
11. Slower Twin (4:42)
12. Stepdaughter (3:19)
Video
1. Francis (5:08)
Alle Tracks: Tim Rutili, ausser wo anders vermerkt.
Besetzung: Accordion [Cajun], Acoustic Guitar, Banjo, Banjo [Fretless], Bass, Effects [Delay, Reverb Tank], Electronics, Fiddle, Guitar, Mandolin, Triangle, Bells, Piano, Strings, Violin, Vocals, Voice [Whispers Through Amp]: Jim Becker (1-11)
; Acoustic Guitar, Bass, Guitar, Keyboards, Loop Manipulation, Organ, Steel Drums, Piano, Electric Piano, Piano [Treated], Vocals: Tim Rutili (1-3, 5-12)
; Arranged By [Horn]: Nate Wolcott (5)
; Artwork By: Sheila Sachs, Tim Rutili
; Bass, Vocals: Matt Fields (10)
; Cello: Fredrick Lonberg-Holm (1, 3, 11)
; Drums: Graeme Gibson (11), Rebecca Gates (5)
; Drums, Electronics, Noises, Organ, Percussion, Drums [Hand], Gong [Slit]: Ben Massarella (2-6, 8, 10-12)
; Drums, Horns, Organ, Drums [Wir
e], Saxophone, Loops [Tape], Kalimba: Joe Adamik (2-6, 8, 10, 11)
; Other [Video Director]: Brent Green
; Piano [Duct Tape Coin]: Seth Cohen (3)
; Recorded By [Additional]: Joe Ferguson, Mikael Jorgensen
; Recorded By, Mixed By: Graeme Gibson
; Vocals: Gina McLaughlin (6)
Vic Chesnutt [>] [D]: Silver Lake [F]
Label und Katalognummer: New West NW 6044
Produktion: Mark Howard
Veröffentlicht: 2003 03 25
Genretags: Alternativerock - Sadcore
Trackliste: 1. I'm Through (6:39)
2. Stay Inside (4:43)
3. Band Camp (4:31)
4. Girl's Say (3:22)
5. 2nd Floor (6:14)
6. Styrofoam (4:54)
7. Zippy Morocco (4:01)
8. Sultan, So Mighty (8:15)
9. Wren's Nest (5:11)
10. Fa-la-La (5:14)
11. In My Way, Yes (5:17)
Alle Tracks: Vic Chesnutt.
Besetzung: A&R: Peter Jesperson
; Arranged: Daryl Johnson
; Arranged: Don Heffington
; Arranged: Doug Pettibone
; Arranged: Mike Stinson
; Arranged: Patrick Warren
; Arranged [Help From]: Peter Jesperson
; Arranged [Help From]: Tina Chesnutt
; Arranged, Alle Tracks: Vic Chesnutt
; Art Direction: Chuck Hermes
; Mastering: Joe Gastwirt
; Photography: Johnny Buzzerio
; Recording, Mixing, Arranged: Mark Howard
; Phonographic Copyright (p) New West Records, LLC
; Copyright (c) New West Records, LLC
; Published By Ghetto Bells Music
; Published By Bug Music
V. A. (L'age d'or) [>] [D]: Wir [F]
Label und Katalognummer: L'Age D'Or LADO 17096-2
Produktion: Verschiedene
Veröffentlicht: 2003 04 (Ed.)
Genretags: Electropop - New-Rave
Trackliste: CD 1
1. Golden Boy & Miss Kittin: 1234 (Lyric Version) - 5:18
2. Beige GT: Knights Of The Jaguar - 5:12
3. Ascii Disko: Einfach - 4:35
4. Tocotronic & Console: Freiburg V3.0 - 3:00
5. Egoexpress: Something To Hide - 4:46
6. Grand Buffet: Things That Go Hump In The Night - 3:13
7. Spillsbury: Das Spiel Ist Aus - 3:33
8. 8 Doogymoto: Ashimoto (No Pink Sky) - 4:29
9. State Of Chaos: Beatnik - 5:17
10. Stella: Bosses Of The Soul - 3:35
11. Plundersonics: Mutants Here I Am - 5:50
12. Turner: My Aeroplane Mania (Album Version) - 3:56
13. My Robot Friend: We're The Pet Shop Boys - 5:04
14. Grom: Love / Rocket (MJ Lan Mix - Final Video Edit) - 3:39
15. Jan Gazarra: Pop Life - 4:41
16. Justus Köhncke: Ich Versteck Mich Vor Der Wir
klichkeit - 4:58
17. Sensorama: It's The Thing - 3:28
CD 2
1. Sensorama: Where The Rabbit Sleeps - 4:36
2. Tocotronic: Hi Freaks (Short Edit Album Version) - 3:48
3. Beige GT: Funghi Pudel (Radio Edit) - 3:45
4. Kandisquer: Foreign Machine - 4:23
5. Lawrence: Titel 3 (Radio Cut) - 3:18
6. Fink: Sieh Mich Nicht An - 4:23
7. Mense Reents: Alles Ist Da - 3:45
8. Tenfold Loadstar: Ice-Ice Baby - 3:11
9. Superpunk: Right Back Where We Started From - 2:44
10. Commercial Breakup: Bizarre Love Triangle (Single Mix) - 3:22
11. Phantom/Ghost: Electronic Alcatraz - 5:40
12. Carsten Jost: Make Pigs Pay - 5:01
13. Suguru Kusumi: La Street (Tommie Sunshine Remix) - 6:25
14. Aeric: Toute Facon (Miss Kittin & The Hacker Showgirls Remix) - 5:02
15. Mignon: Bad, Evil, Wicked And Mean - 3:39
16. Richard: Liebe Am Fluß - 2:05
17. Egoexpress: Music No Music Music - 6:11
18. Andy And Mary: Sony - 6:15
Besetzung: A&R: Carol von Rautenkranz
; A&R: Charlotte Goltermann
; Compiled By, Supervised By: Carol von Rautenkranz
; Compiled By, Supervised By: Markus Fiedler
; Compiled By, Supervised By: Stephan Rath
; Illustration [All Other Illustrations], Design Concept, Design: Dörte Fitschen-Rath
; Illustration [WiR Cover-couple]: Christian Flamm
; Mastering: Peta Devlin
; Mastered At Soundgarden Tonstudio
; Phonographic Copyright (p) L\'Age D\'Or
; Copyright (c) L\'Age D\'Or
; Phonographic Copyright (p) Ladomat 2000
; Copyright (c) Ladomat 2000
; Phonographic Copyright (p) Lado Musik GmbH
; Copyright (c) Lado Musik GmbH
; Published By Angora 2000 Musikverlag
; Published By Hanseatic Musikverlag
; Published By Gold Musikverlag
; Published By Mad Mike Music
; Published By Munchman Music
; Published By Hanseatic Musikverlag GmbH
; Published By Copyright Control
; Published By Out Of Many One
; Published By Budde Musikverlag
; Published By High Technology Publishing Ltd.
; Published By Edition Chicks
; Published By Tape Recorder Music
; Published By Universal Publishing
; Published By MCA Publishing
; Published By Hanseatic
; Published By Warner/Chappell
; Published By Complete Music
; Published By Edition Getwellsoon
; Published By Silver Songs Musikverlag
; Published By United Artists Musikverlag
; Published By Be Music (2)
; Published By Warner Chappell Music Ltd.
; Glass Mastered At Sony DADC
; Glass Mastered At Sony DADC
; Pressed By Sony DADC Austria AG
; Pressed By Sony DADC Austria AG
Lucinda Williams [>] [D]: World Without Tears [F]
Label und Katalognummer: Lost Highway 088 170 355
Produktion: Mark Howard & Lucinda Williams
Veröffentlicht: 2003 04 08
Genretags: Alternativerock - Alternativecountry - Singer-Songwriter
Trackliste: 1. Fruits Of My Labor - 4:41
2. Righteously - 4:36
3. Ventura - 4:37
4. Real Live Bleeding Fingers And Broken Guitar Strings - 4:40
5. Overtime - 3:52
6. Those Three Days - 4:53
7. Atonement - 5:47
8. Sweet Side - 3:34
9. Minneapolis - 4:03
10. People Talkin' - 5:05
11. American Dream - 4:30
12. World Without Tears - 4:11
13. Words Fell - 4:11
Alle Tracks: Lucinda Williams.
Besetzung: A&R: Frank Callari
; Acoustic Guitar, Electric Guitar, Vocals, Alle Tracks: Lucinda Williams
; Art Direction: Jim Kemp
; Art Direction: Lucinda Williams
; Bass, Harmony Vocals [Harmonies]: Taras Prodaniuk
; Coordinator [Production Coordinator]: Cindi Peters
; Design: Craig Allen
; Drums: Jim Christie
; Electric Guitar [Electric Guitars], Harmony Vocals [Harmonies]: Doug Pettibone
; Executive-Producer: Gary Briggs
; Mastering: Joe Gastwirt
; Organ [Vox Organ]: Jim Christie (3, 9)
; Photography: Danny Clinch
; Engineer, Mixing: Mark Howard
; Engineered At Real Music Studios, L.A.
; Mixed At Real Music Studios, L.A.
; Mastered At Oceanview Digital Mastering
; Phonographic Copyright (p) UMG Recordings, Inc.
; Copyright (c) UMG Recordings, Inc.
; Distributed By Universal Music & Video Distribution, Corp.
; Made By UML
P.G. Six [>] [D]: The Well Of Memory [F]
Label und Katalognummer: Amish AMI 019
Veröffentlicht: 2004 04 20
Genretags: Folk - Freakfolk
Trackliste: 1. Well Of Memory Part I - 6:30
2. Come In/The Winter It Is Past - 5:42
3. Old Man On The Mountain - 4:47
4. A Little Harp Tune - 1:27
5. Evening Comes - 0:40
6. Crooked Way - 5:38
7. Considering The Lateness Of The Hour - 1:41
8. Three Stages Of A Band - 4:04
9. Well Of Memory Part II - 3:41
10. The Weeping Willow - 2:57
Alle Tracks: P.G. Six, ausser wo anders vermerkt.
Besetzung: Mastered By: Greg Vaughn
; Mixed By: Steve Connolly (3), Tim Barnes (1, 2, 4-10)
; Vocals, Acoustic Guitar, Guitar [Electric], Banjo [Tenor], Harp [Wir
e-strung], Harp [Wind], Psaltery [Ukelin], Piano, Organ, Organ [Wurlitzer], Electric Piano, Synthesizer [Prophet 600], Synthesizer [Korg Polysix], Whistle [Tin Whistle], Recorder, Harmonica, Recorded By: PG Six
; Vocals: Helen Rush (2, 6, 10)
; Drums: Scott Freyer (8)
Agnetha Fältskog [>] [D]: My Colouring Book [F]
Label und Katalognummer: WEA 5050467-3122-2-7
Produktion: Agnetha Fältskog & Anders Neglin
Veröffentlicht: 2004 04 21
Genretags: Newpop - Vocalpop
Ein Album mit Songs aus der Jugend der Sängerin.
Trackliste: 1. My Colouring Book (Fred Ebb, John Kander) - 3:27
2. When You Walk In The Room (Jackie DeShannon) - 3:36
3. If I Thought You'd Ever Change Your Mind (John Cameron) - 3:15
4. Sealed With A Kiss (Gary Geld, Peter Udell) - 2:34
5. Love Me With All Your Heart (Carlos Rodríguez Rigual, Mario Rodríguez Rigual, Carlos Alberto Martinoli, Michael Vaughn) - 3:11
6. Fly Me To The Moon (Bart Howard) - 2:49
7. Past, Present And Future (Arthur Butler, Jerry Leiber, George Francis Morton) - 3:12
8. A Fool Am I (Flavio Carraresi, Alberto Testa, Peter Callander) (originally Dimmelo parlami by Fabrizio Ferretti) - 3:32
9. I Can't Reach Your Heart (Ted Murry, Benny Davis) - 2:39
10. Sometimes When I'm Dreaming (Michael Batt) - 3:15
11. The End Of The World (Arthur Kent, Sylvia Dee) - 2:35
12. Remember Me (Chris Andrews) - 3:05
13. What Now My Love (Gilbert Bécaud, Pierre Delanoë, Carl Sigman) - 4:49
Besetzung: Cello [Svea Strings]: Anna Wallgren (1 to 10, 13)
; Cello [Svea Strings]: Christina Wir
degren-Alin (1 to 10, 13)
; Cello [Svea Strings]: Daniel Holst (1 to 10, 13)
; Cello [Svea Strings]: Malin Sandell (1 to 10, 13)
; Cello [Svea Strings]: Maria Böhm (1 to 10, 13)
; Cello [Svea Strings]: Monica Jönsson (1 to 10, 13)
; Concept By [Idea]: Agnetha Fältskog
; Conductor: Anders Neglin
; Conductor: Andreas Hansson
; Contractor [String Orchestra]: Christina Wir
degren-Alin
; Copyist [Music]: Karl-Johan Ankarblom
; Engineer [Recording]: Dan Strömkvist
; Engineer [Recording]: Janne Hansson
; Graphic Design: Destrito
; Liner Notes: Agnetha Fältskog
; Mastering: Christofer Stannow
; Mixing: Alar Suurna
; Photography: Jimmy Backius
; Arranged: Agnetha Fältskog
; Arranged: Anders Neglin
; Arranged: Dan Strömkvist
; Strings: Svea Strings (1 to 10, 13)
; Viola [Svea Strings]: Anna Weibust (1 to 10, 13)
; Viola [Svea Strings]: Arne Stenlund (1 to 10, 13)
; Viola [Svea Strings]: Erika Södersten (1 to 10, 13)
; Viola [Svea Strings]: Hanna Nisonen (1 to 10, 13)
; Viola [Svea Strings]: Karin Dungel (1 to 10, 13)
; Viola [Svea Strings]: Mikael Marin (1 to 10, 13)
; Viola [Svea Strings]: Mikael Sjögren (1 to 10, 13)
; Viola [Svea Strings]: Petter Axelsson (1 to 10, 13)
; Viola [Svea Strings]: Åsa Stove Paulsson (1 to 10, 13)
; Violin [Svea Strings]: Anders Lagerqvist (1 to 10, 13)
; Violin [Svea Strings]: Anna Rodell (1 to 10, 13)
; Violin [Svea Strings]: Anna Sjönnemo (1 to 10, 13)
; Violin [Svea Strings]: Annika Schönning (1 to 10, 13)
; Violin [Svea Strings]: Christian Bergqvist (1 to 10, 13)
; Violin [Svea Strings]: Christian Svarfvar (1 to 10, 13)
; Violin [Svea Strings]: Dag Alin (1 to 10, 13)
; Violin [Svea Strings]: Erika Lundmark (1 to 10, 13)
; Violin [Svea Strings]: Eva Lindal (1 to 10, 13)
; Violin [Svea Strings]: Joakim Wendel (1 to 10, 13)
; Violin [Svea Strings]: Josef Cabrales-Alin (1 to 10, 13)
; Violin [Svea Strings]: Karin Ohlsson (1 to 10, 13)
; Violin [Svea Strings]: Katarina Edvardsson (1 to 10, 13)
; Violin [Svea Strings]: Kerstin Nedler (1 to 10, 13)
; Violin [Svea Strings]: Klara Hellgren (1 to 10, 13)
; Violin [Svea Strings]: Kristina Ebbersten (1 to 10, 13)
; Violin [Svea Strings]: Liselott Andered-Wangendahl (1 to 10, 13)
; Violin [Svea Strings]: Maria Streijffert (1 to 10, 13)
; Violin [Svea Strings]: Minna Alén (1 to 10, 13)
; Violin [Svea Strings]: Mira Malik (1 to 10, 13)
; Violin [Svea Strings]: Monika Stanikowska (1 to 10, 13)
; Phonographic Copyright (p) Warner Music Sweden AB
; Copyright (c) Warner Music Sweden AB
; Engineered At Atlantis Studio
; Engineered At Unit 7, Stockholm
; Engineered At Hammarby Studio
; Recorded At Atlantis Studio
; Recorded At Unit 7, Stockholm
; Recorded At Hammarby Studio
; Mixed At Shortlist Analogue
; Mastered At Cosmos Mastering
; Published By Trio Music Co., Inc.
; Published By Alley Music Corp.
; Published By Warner/Chappell Music Scandinavia AB
; Published By EMI Unart Catalog Inc.
; Published By EMI Catalogue Partner
; Published By Keith Prowse Music Pub. Co. Ltd.
; Published By Thore Ehrling Musik AB
; Published By Chappell Music Ltd.
; Published By Peer International Corp.
; Published By Peermusic AB
; Published By Hampshire House Publishing
; Published By Musikförlaget Essex AB
; Published By Copyright Control
; Published By Cobra Edizioni Musicale
; Published By Universal Music Publishing Scandinavia
; Published By Windswept Music
; Published By EMI Music Publishing Scandinavia AB
; Published By Embassy Music Corp.
; Published By Edward Proffitt Music
; Published By Scandinavian Songs
; Published By Edition Wilhelm Hansen
; Published By Glissando Music Ltd.
; Published By Major Songs Co.
; Published By Rideau Rouge
; Published By BMG Music
; Published By Air Chrysalis Scandinavia
; Pressed By Cinram GmbH
Patrick Wolf [>] [D]: Wind In The Wires [F]
Label und Katalognummer: Tomlab tom 047
Produktion: Patrick Wolf
Veröffentlicht: 2005 02 28
Genretags: Alternativerock - Lo-Fi-Rock, Electronica - Folktronica
Trackliste: 1. The Libertine - 4:23
2. Teignmouth - 4:50
3. The Shadow Sea - 0:37
4. Wind in the Wir
es - 4:18
5. The Railway House - 2:24
6. The Gypsy King - 3:08
7. Apparition - 1:16
8. Ghost Song - 3:13
9. This Weather - 4:35
10. Jacob's Ladder - 1:21
11. Tristan - 2:36
12. Eulogy - 1:44
13. Land's End - 7:06
Alle Tracks: Patrick Wolf.
Besetzung: Written, produced and performed by Patrick Wolf.
; Clarinet on \'Wind In The Wir
es\' played by Derek Apps.
; Female choir on \'Teignmouth\' sung by Jo Apps.
50 Foot Wave [>] [D]: Golden Ocean [F]
Assoziierte Acts: Kristin Hersh
Label und Katalognummer: Throwing Music FFW 002, 4AD CAD 2504
Produktion: Ethan Allen
Veröffentlicht: 2005 03 08 (US), 2005 03 08 (EU)
Genretags: Indiepop - Noisepop
Trackliste: 1. Long Painting - 2:57
2. Bone China - 2:29
3. Pneuma - 3:45
4. Clara Bow - 3:10
5. Petal - 4:18
6. Dog Days - 3:52
7. Sally Is A Girl - 4:03
8. El Dorado - 3:15
9. Ginger Park - 2:53
10. Diving - 3:03
11. Golden Ocean - 3:53
Alle Tracks: Rob Ahlers, Bernard Georges und Kristin Hersh.
Besetzung: Bass, Vocals: Bernard Georges
; Design: Lakuna, Inc.
; Drums, Vocals: Rob Ahlers
; Guitar, Vocals: Kristin Hersh
; Management: Billy O\'Connell
; Management: Geoff Trump
; Mastering: Joe Gastwirt
; Photography [Band]: Lisa Fletcher
; Photography [Cover]: David Narcizo
; Producer, Mixing, Recording: Ethan Allen
; Recording: James Adam Watts
; Distributed By BMG Music
; Manufactured By BMG Music
; Phonographic Copyright (p) Throwing Music
; Copyright (c) Throwing Music
; Published By Lowest F Music
; Recorded At Stagg Street Studio
; Recorded At The Head Room
; Mastered At Joe\'s Mastering Joint
; Pressed By Cinram, Richmond, IN
Wir sind Helden [>] [D]: Von hier an blind [F]
Label und Katalognummer: Reklamation Records 860853
Produktion: Patrik Majer & Wir
Sind Helden
Veröffentlicht: 2005 04 04
Genretags: Indiepop
Trackliste: 1. Wenn Es Passiert - 3:33
2. Echolot - 4:31
3. Von Hier An Blind - 3:31
4. Zuhälter - 3:30
5. Ein Elefant Für Dich - 4:43
6. Darf Ich Das Behalten - 3:19
7. Wütend Genug - 4:29
8. Geht Auseinander - 3:10
9. Zieh Dir Was An - 3:27
10. Gekommen Um Zu Bleiben - 3:10
11. Nur Ein Wort - 3:56
12. Ich Werde Mein Leben Lang Üben, Dich So Zu Lieben, Wie Ich Dich Lieben Will, Wenn Du Gehst - 2:52
13. Bist Du Nicht Müde - 3:54
Besetzung: Co-producer: Wir
Sind Helden
; Phonographic Copyright (p) Reklamation Records
; Copyright (c) Reklamation Records
; Copyright (c) Labels Germany
; Manufactured By Optimal Media Production
Josephine Foster [>] [D]: Hazel Eyes, I Will Lead You [F]
Label und Katalognummer: Locust Music LOCUST 68
Produktion: Josephine Foster
Veröffentlicht: 2005 04 19
Genretags: Folk - Freakfolk
Trackliste: 1. The Siren's Admonition - 4:24
2. Hazel Eyes, I Will Lead You - 3:26
3. By the Shape of Your Pearls - 1:22
4. Stones Throw from Heaven - 3:18
5. Where There Are Trees - 1:22
6. The Golden Wooden Tone - 3:01
7. There Are Eyes Above - 3:50
8. Celebrant's Song - 3:41
9. Good News - 3:07
10. Trees Lay By - 2:59
11. The Pruner's Pair - 3:10
12. Crackerjack Fool - 2:40
13. The Way Is Sweetly Mown - 4:44
14. Hominy Grits - 2:21
Alle Tracks: Josephine Foster.
Besetzung: Artwork [Cover Art, Design]: Josephine Foster
; Artwork [Cover Art, Design]: Plastic Crimewave
; Artwork [Layout]: Brock Manke
; Engineer: Clay Ruby
; Engineer: Jeff Mann
; Mastering: Ernst Karel
; Mixing: Jeff Mann
; Photography: Michael Flack
; Vocals, Guitar, Harp, Bells, Castanets, Kazoo, Tin Whistle, Tambourine, Ukulele, Sitar, Flute [Melody Flute], Other [Cittarina, Sandblocks, Wooden Spoons, Black Cat, A Box Of Wir
e Ties]: Josephine Foster
; Manufactured By Bellwether Manufacturing
David Gilmour [>] [D]: On An Island [F]
Label und Katalognummer: EMI 0946 3 55695 2 0, Columbia 8-2876-80280
Produktion: David Gilmour & Phil Manzanera & Chris Thomas
Veröffentlicht: 2006 03 06 (EU), 2006 03 07 (US)
Genretags: Post-Millennial-Music - Poprock - Classicrock
Trackliste: 1. Castellorizon (David Gilmour) - 3:54
2. On An Island - 6:47
3. The Blue - 5:26
4. Take A Breath - 5:45
5. Red Sky At Night (David Gilmour) - 2:51
6. This Heaven - 4:24
7. Then I Close My Eyes (David Gilmour) - 5:27
8. Smile - 4:03
9. A Pocketful Of Stones - 6:17
10. Where We Start (David Gilmour) - 6:45
Alle Tracks: David Gilmour und Polly Samson.
Besetzung: Arranged [Orchestra]: Zbigniew Preisner
; Artwork [Wir
e Sculpture]: David MacIlwaine
; Conductor: Robert Ziegler
; Contractor: Hilary Skewes
; Design, Artwork: Blade Design Ltd.
; Leader [Orchestra]: David Juritz
; Management: Paul Loasby
; Mastering: Doug Sax
; Mastering: James Guthrie
; Photography: David Gilmour
; Photography: Harry Borden
; Photography: Jeremy Young
; Photography: Sandra Kamen
; Recording: Andy Jackson
; Recording: David Gilmour
; Recording [Assistant]: Damon Iddins
; Recording [Assistant]: Devin Workman
; Recording [Assistant]: Jamie Johnson
; Recording [Orchestra]: Simon Rhodes
; Technician [Technical Support]: Phil Taylor
; Phonographic Copyright (p) David Gilmour Music Ltd.
; Copyright (c) David Gilmour Music Ltd.
; Licensed To EMI Records Ltd.
; Recorded At Abbey Road Studios
; Recorded At Astoria (2)
; Recorded At British Grove
; Recorded At Gallery Studios
; Mastered At The Mastering Lab
; Published By Pink Floyd Music Publishers Ltd.
; Duplicated By Mediamotion
Shearwater [>] [D]: Palo Santo [F]
Label und Katalognummer: Misra MSR 40, Matador OLE 757
Veröffentlicht: 2006 05 02, 2007 04 10 (Reed.)
Genretags: Post-Millennial-Music - Indiefolk
Erstes Album von Shearwater, dessen Songs alle von Jonathan Melburg geschrieben sind.
Trackliste: 1. La Dame Et La Licorne - 5:20
2. Red Sea, Black Sea - 2:58
3. White Waves - 4:21
4. Palo Santo - 3:49
5. Seventy-Four, Seventy-Five - 3:21
6. Nobody - 3:02
7. Sing, Little Birdie - 3:11
8. Johnny Viola - 2:30
9. Failed Queen - 5:52
10. Hail, Mary - 5:12
11. Going Is Song - 3:42
Alle Tracks: Jonathan Meiburg.
CD 2 der 2 CD Ausgabe von 2007
1. My Only Boy - 4:39
2. Every Hook, Every Eye - 2:20
3. Special Rider Blues (Skip James Cover) - 5:21
4. Sing, Little Birdie (Demo) - 3:05
5. Palo Santo (Demo) - 3:45
6. Discontinuities - 3:41
7. Red Sea, Black Sea (Demo) - 3:10
8. Failed Queen (Demo) - 6:27
Besetzung: Scott Brackett: Trumpet
; Kim Burke: Banjo, Bass (Upright), Drums, Glockenspiel, Guitar, Organ, Piano, Vibraphone, Violin, Vocals
; Howard Draper: Banjo, Bass (Upright), Drums, Glockenspiel, Guitar, Organ, Piano, Vibraphone, Violin, Vocals
; Joe Gastwirt: Mastering
; Thor Harris: Banjo, Bass (Upright), Drums, Glockenspiel, Guitar, Organ, Piano, Vibraphone, Violin, Vocals
; Jonathan Meiburg: Banjo, Bass (Upright), Drums, Glockenspiel, Guitar, Organ, Piano, Vibraphone, Violin, Vocals
; Ryan Nole: Design
; Will Sheff: Banjo, Bass (Upright), Drums, Glockenspiel, Guitar, Organ, Piano, Vibraphone, Violin, Vocals
; Chris Williams: Cover Image
Christina Aguilera [>] [D]: Back To Basics [F]
Label und Katalognummer: RCA 82876-82639
Produktion: Christina Aguilera & Big Tank & Rich Harrison & Kwamé & Linda Perry & DJ Premier & Mark Ronson
Veröffentlicht: 2006 08 14
Genretags: Afroamericana - R'n'B - Latin-R'n'B
Das Bonusvideo der CD 2 ist auf Youtube verfügbar.
Trackliste: CD 1
1. Intro (Back to Basics) (Christina Aguilera, Martin, DioGuardi, Hawkins, Darnell) - 1:47
2. Makes Me Wanna Pray (feat. Steve Winwood) (Aguilera, DioGuardi, Harrison, Winwood) - 4:10
3. Back in the Day (Aguilera, Martin, DioGuardi, Costa, Castor, Fridie, Gibson, Jensen, Manigault, Thomas) - 4:13
4. Ain't No Other Man (Aguilera, Charles Roane, Chris E. Martin, Harold Beatty, Kara DioGuardi) - 3:48
5. Understand (Aguilera, DioGuardi, Holland, Toussaint) - 3:46
6. Slow Down Baby (Aguilera, Ronson, DioGuardi, Angry, Guest, Knight, Patton, Knight, Bernard, Harper) - 3:29
7. Oh Mother (Aguilera, Thorton, Rankin, Thorton, DioGuardi, Colais, Barratier) - 3:46
8. F.U.S.S. (Interlude) (Aguilera, Roane, DioGuardi) - 2:21
9. On Our Way (Aguilera, Thornton, Rankin, Thornton, DioGuardi) - 3:36
10. Without You (Aguilera, DioGuardi, Ronson, Lewis) - 3:56
11. Still Dirrty (Aguilera, Martin, DioGuardi) - 3:46
12. Here to Stay (Aguilera, Holley, Reyes, Allen, Jackson) - 3:19
13. Thank You (Dedication to Fans...) (Aguilera, Martin, DioGuardi, Sheyne, Frank, Kipner) - 4:59
CD 2
1. Enter the Circus (Christina Aguilera, Linda Perry) - 1:42
2. Welcome (Aguilera, Perry, Mark Ronson, Paul III) - 2:42
3. Candyman (Aguilera, Perry, DioGuardi) - 3:14
4. Nasty Naughty Boy (Aguilera, Perry, DioGuardi) - 4:45
5. I Got Trouble (Aguilera, Perry) - 3:42
6. Hurt (Aguilera, Perry, Ronson, DioGuardi) - 4:03
7. Mercy on Me (Aguilera, Perry) - 4:33
8. Save Me from Myself (Aguilera, Perry, Bill Bottrell) - 3:13
9. The Right Man (Aguilera, Perry) - 3:51
Video
1. Back to Basics (Behind The Scenes Footage) Bonus Video - 10:07
Besetzung: A&R: Ron Fair
; Arranged [Horns]: Linda Perry (2.1, 2.3, 2.4)
; Arranged [Strings]: Eric Gorfain (2.1, 2.2, 2.6, 2.7, 2.9)
; Art Direction, Design [For Smog Design, Inc.]: Glen Nakasako
; Art Direction, Design [For Smog Design, Inc.]: Jeri Heiden
; Bass: Paul Ill (2.2, 2.4, 2.5 to 2.7)
; Cello: Diego Miralles (2.2, 2.6, 2.7, 2.9)
; Cello: John Krovoza (2.2, 2.6, 2.7, 2.9)
; Cello: Matthew Cooker (2.2, 2.6, 2.7, 2.9)
; Cello: Victor Lawrence (2.2, 2.6, 2.7, 2.9)
; Cello [The Section Quartet]: Richard Dodd (2.1, 2.2, 2.6 to 2.9)
; Concertmistress: Daphne Chen (2.2, 2.6, 2.7, 2.9)
; Conductor [Strings]: Christopher Anderson-Bazzoli (2.2, 2.6, 2.7, 2.9)
; Contrabass: Frances Senger (2.2, 2.6, 2.7, 2.9)
; Contrabass: Jason Torreano (2.2, 2.6, 2.7, 2.9)
; Drums: Nathan Wetherington (2.2, 2.3, 2.5 to 2.7)
; Engineer: Linda Perry (2.1 to 2.9)
; Engineer [Assisted By]: Chris Wonzer (2.1, 2.3 to 2.5, 2.7 to 2.9)
; Engineer [Assisted By]: Kristofer Kaufman (2.1 to 2.6, 2.8, 2.9)
; Engineer [Pro Tools]: Andrew Chavez (2.1 to 2.9)
; Executive-Producer: Christina Aguilera
; Guitar: Eric Schermerhorn (2.2, 2.4 to 2.6)
; Management: Azoffmusic Management
; Management [Dave "hard Drive" Pensado & The Pensado Mix Squad Are Represented By, Essential Arts Management, Burbank, California]: Jac Colman
; Management [Linda Perry Represented Exclusively By, For Rebel Management]: Katrina Sirdofsky
; Mastering: Brian Gardner
; Mixing: Charles Roane (1.1, 1.3, 1.4, 1.8, 1.11, 1.13)
; Mixing: DJ Premier (1.1, 1.3, 1.11, 1.13)
; Mixing: Dave Pensado (1.5, 1.6, 1.9)
; Mixing: Linda Perry (2.3 to 2.5, 2.8)
; Mixing: Peter Mokran (1.2, 1.7, 1.10, 1.12, 2.1, 2.2, 2.6, 2.7, 2.9)
; Mixing [Assisted By]: The Blitzburg Group (1.5, 1.6, 1.9)
; Mixing [Assisted By]: Jordan Laws (1.4, 1.11, 1.13)
; Mixing [Assisted By]: Sam Holland (1.2, 1.7, 1.10, 1.12, 2.1, 2.2, 2.6, 2.7, 2.9)
; Mixing [Assisted By]: Seth Waldmann (1.2, 1.7, 1.10, 1.12, 2.1, 2.2, 2.6, 2.7, 2.9)
; Other [Sample Clearance]: David Schmidt
; Other [Sample Clearance]: Jonathan Price
; Other [Sample Clearance]: Kobie "The Quarterback" Brown
; Photography ["the Right Man" Photograph Courtesy Of, Wir
eimage.com]: Joe Buissink
; Photography [Except "the Right Man" Photograph]: Ellen Von Unwerth
; Piano: Linda Perry (2.2, 2.3, 2.5 to 2.7)
; Producer [Additional Production By]: Christina Aguilera (1.1 to 1.4, 1.6 to 1.13)
; Recording: DJ Premier (1.1, 1.3, 1.4, 1.11, 1.13)
; Recording: Oscar Ramirez (1.1 to 1.4, 1.6 to 1.11, 1.13)
; Recording [Assisted By]: Alan Mason (1.1, 1.3, 1.8, 1.11 to 1.13)
; Strings: The Section Quartet (2.1, 2.8)
; Strings: The Section Quartet (2.2, 2.6, 2.7, 2.9)
; Viola: Caroline Buckman (2.2, 2.6)
; Viola: Darrin McCann (2.2, 2.6, 2.7, 2.9)
; Viola: David Sage (2.2, 2.6, 2.7, 2.9)
; Viola: Marda Todd (2.2, 2.6, 2.7, 2.9)
; Viola: Tom Tally (2.7, 2.9)
; Viola [The Section Quartet]: Leah Katz (2.1, 2.2, 2.6 to 2.9)
; Violin: Alwyn Wright (2.7, 2.9)
; Violin: Alyssa Park (2.2, 2.6, 2.7, 2.9)
; Violin: Ami Levy (2.2, 2.6, 2.7, 2.9)
; Violin: Amy Wickman (2.2, 2.6, 2.7, 2.9)
; Violin: Anna Stafford (2.2, 2.6, 2.7, 2.9)
; Violin: Audrey Solomon (2.7, 2.9)
; Violin: Cameron Patrick (2.2, 2.6, 2.7, 2.9)
; Violin: Isabelle Senger (2.2, 2.6, 2.7, 2.9)
; Violin: Josefina Vergara (2.2, 2.6, 2.7, 2.9)
; Violin: Julian Hallmark (2.2, 2.6)
; Violin: Julie Rogers (2.2, 2.6)
; Violin: Marcy Dicterow Vaj (2.2, 2.6, 2.7, 2.9)
; Violin: Marisa Kuney (2.2, 2.6, 2.7, 2.9)
; Violin: Melissa Reiner (2.2, 2.6, 2.7, 2.9)
; Violin: Radu Pieptea (2.7, 2.9)
; Violin: Susan Chatman (2.2, 2.6, 2.7, 2.9)
; Violin: Terry Glenny (2.2, 2.6, 2.7, 2.9)
; Violin: Victoria Lanier (2.2, 2.6)
; Violin [The Section Quartet]: Daphne Chen (2.1, 2.2, 2.6 to 2.9)
; Violin [The Section Quartet]: Eric Gorfain (2.1, 2.8)
; Phonographic Copyright (p) RCA Records
; Copyright (c) RCA Records
; Manufactured By Sony BMG Music Entertainment
; Distributed By Sony BMG Music Entertainment
Paul Wirkus [>] [D]: Déformation Professionnelle [F]
Label und Katalognummer: Staubgold 071
Produktion: Paul Wir
kus
Veröffentlicht: 2006 10 24
Genretags: Electronica
Trackliste: 1. View Finder - 6:16
2. Kocham - 4:47
3. Valore Energetico - 5:55
4. Dogs After Flight - 4:20
5. Nie Kocham - 3:05
6. Exoten - 2:19
7. Déformation Professionnelle - 3:41
8. 1964 - 4:18
9. Erineru - 3:27
10. Terres Fortes - 7:38
Alle Tracks: Paul Wir
kus.
Besetzung: Artwork [Cover Art]: Ola Rek
; Design [Cover]: www.nothmannstyle.de
; Mastering: Joseph Suchy
; Recording: Paul Wir
kus
; Phonographic Copyright (p) Staubgold
; Copyright (c) Edition Staubgold
; Copyright (c) Freibank
; Published By Edition Staubgold
; Published By Freibank
Kristin Hersh [>] [D]: Learn To Sing Like A Star [F]
Label und Katalognummer: Yep Roc YEP 2142, 4AD CAD 2702
Produktion: Kristin Hersh
Veröffentlicht: 2007 01 23 (US), 2007 01 29 (UK)
Genretags: Indiepop - Noisepop
Trackliste: 1. In Shock - 4:12
2. Nerve Endings - 3:35
3. Day Glo - 3:56
4. Christian Hearse - 0:29
5. Ice - 3:16
6. Under The Gun - 3:10
7. Piano 1 - 1:43
8. Sugarbaby - 3:10
9. Peggy Lee - 3:15
10. Piano 2 - 0:47
11. Vertigo - 3:59
12. Winter - 2:33
13. Wild Vanilla - 2:58
14. The Thin Man - 4:17
Alle Tracks: Kristin Hersh.
Besetzung: Arranged [Cello], Cello: Martin McCarrick
; Arranged [Violin], Violin: Kimberlee McCarrick
; Mixed By: Steve Rizzo (12, 14)
; Design [Package Design]: Lakuna
; Drums: David Narcizo
; Mastering: Joe Gastwirt
; Mixing: Trina Shoemaker (1 to 11, 13)
; Mixing [Second Mix Engineer]: Mike Paragone
; Mixing [Second Mix Engineer]: William Sender
; Photography: Andrena Photography
; Photography: Dina Douglass
; Recording: Steve Rizzo
; Performer: Kristin Hersh
; Recorded At Stable Sound
; Mixed At East Iris Studios
; Mixed At Stable Sound
; Mastered At Gastwirt Mastering
; Pressed By Sonopress Arvato
Manic Street Preachers [>] [D]: Send Away The Tigers [F]
Label und Katalognummer: Columbia 88697075632
Produktion: Dave Eringa & Greg Haver & Loz Williams
Veröffentlicht: 2007 05 07
Genretags: Alternativerock - Punkrock - Glampunk
Trackliste: 1. Send Away the Tigers - 3:36
2. Underdogs - 2:49
3. Your Love Alone Is Not Enough - 3:55
4. Indian Summer - 3:54
5. The Second Great Depression - 4:09
6. Rendition - 2:59
7. Autumnsong - 3:40
8. I'm Just a Patsy - 3:11
9. Imperial Bodybags - 3:30
10. Winterlovers - 3:03, b) Working Class Hero (John Lennon)
Alle Tracks: Manic Street Preachers, ausser wo anders vermerkt.
Besetzung: Artwork, Design: Steve Stacey
; Bass, Backing Vocals, Artwork [Concept]: Nicky Wir
e
; Drums, Percussion: Sean Moore
; Engineer: Guy Massey (1-3, 8, 10a)
; Engineer: Loz Williams (4-7, 9, 10c)
; Management: Martin Hall
; Photography: Valerie Phillips
; Producer: Dave Eringa (1-4, 7-10a)
; Vocals, Backing Vocals, Guitar: James Dean Bradfield
Wir sind Helden [>] [D]: Soundso [F]
Label und Katalognummer: Labels 3924612
Produktion: Patrik Majer & Wir
Sind Helden
Veröffentlicht: 2007 05 25
Genretags: Indiepop
Trackliste: 1. (Ode) An Die Arbeit - 3:42
2. Die Konkurrenz - 3:44
3. Soundso - 4:14
4. Für Nichts Garantieren - 4:22
5. Kaputt - 3:08
6. Labyrinth - 4:14
7. The Geek (Shall Inherit) - 3:40
8. Endlich Ein Grund Zur Panik - 3:43
9. Der Krieg Kommt Schneller Zurück Als Du Denkst - 2:45
10. Hände Hoch - 4:36
11. Stiller - 4:21
12. Lass Uns Verschwinden - 4:14
Besetzung: Artwork: Alex Ziegler
; Mastering: Michael Schwabe
; Performer [Alle Instrumente Gespielt Von]: Wir
Sind Helden
; Mixing: Patrik Majer
; Recording: Nils Olejniczak
; Recording: Patrik Majer
; Phonographic Copyright (p) Reklamation Records
; Copyright (c) Reklamation Records
; Recorded At Freudenhaus Studio
; Recorded At Gaga Studio
; Recorded At Music-Plant
; Recorded At Sonnenstudio (2)
; Recorded At Press Play!
; Mixed At Freudenhaus Studio
; Mastered At Monoposto Mastering
; Licensed To Labels Germany
; Copyright (c) EMI Music Germany GmbH & Co. KG
; Published By Freudenhaus Musikverlag
; Published By Wintrup Musikverlag
; Pressed By www.mediamotion.com
Label und Katalognummer: XL Recordings XLCD 313, XL HN 579
Produktion: Jim Abbiss & Eg White
Veröffentlicht: 2008 01 28, 2008 09 12 (Reed.)
Genretags: Post-Millennial-Music - Popsoul-Revival - New-UK-Soul
Trackliste: 1. Daydreamer - 3:40
2. Best for Last - 4:18
3. Chasing Pavements (Adele Adkins, Eg White) - 3:30
4. Cold Shoulder - 3:11
5. Crazy for You - 3:28
6. Melt My Heart to Stone (Adele Adkins, Eg White) - 3:23
7. First Love - 3:10
8. Right as Rain (Adkins, Truth & Soul Productions) - 3:17
9. Make You Feel My Love (Bob Dylan) - 3:32
10. My Same - 3:15
11. Tired (Adele Adkins, Eg White) - 4:18
12. Hometown Glory - 4:31
CD 2 der Expanded Ausgabe von 2008: Acoustic Set Live from Hotel Café, Los Angeles
1. Chasing Pavements
2. Melt My Heart to Stone
3. That's It, I Quit, I'm Movin' On (Sam Cooke cover)
4. Crazy for You
5. Right as Rain
6. My Same
7. Make You Feel My Love
8. Daydreamer
9. Hometown Glory
10 Adele & Raconteurs: Many Shades of Black
Alle Tracks: Adele Adkins, ausser wo aders vermerkt.
Besetzung: Art Direction, Design, Artwork By [Montage By]: Adele
; Art Direction, Design, Photography [Page 5]: Phil Lee
; Bass: Adele (2, 9), Tom Driessler (8, 10)
; Guitar: Adele (1, 5), Ben Thomas (8, 10)
; Mixed By: Jim Abbiss (1, 2, 5, 7, 8, 10, 12), Richard Wilkinson (1, 2, 7, 8, 10, 12), Tom Elmhirst (3, 4, 6)
; Mixed By [Assistant]: Alex Mackenzie (5, 9), Dan Parry (3, 4, 6), Ferg Peterkin (2, 7, 10, 12), Serge Krebs (1)
; Photography [Cover]: Hege Saebjornsen
; Photography [Page 13]: John Carey
; Photography [Page 17]: David Emery
; Photography [Page 9]: Joshua Burton
; Piano: Neil Cowley (9, 11)
; Producer: Jim Abbiss (1, 2, 5, 7-10, 12)
; Recorded By: Richard Wilkinson (1, 2, 5, 7, 8, 10, 12)
; Recorded By [Assistant]: Helen Atkinson (1, 2, 7, 12)
; Recorded By [Strings]: Steve Price (3, 6, 11, 12)
Strings: London Studio Orchestra (3, 6, 11, 12), Perry Montague-Mason (3, 6, 11, 12), Wir
ed Strings (5, 9)
; Strings [Arranged By]: Rosie Danvers (5, 9)
; Vocals: Adele (3)
; Performer, Arranged By [Strings]: Eg White (3, 6, 11)
Paul Wirkus [>] [D] & Mapstation [>] [D]: Forest Full Of Drums [F]
Label und Katalognummer: Staubgold 085
Produktion: Stefan Schneider
Veröffentlicht: 2008 03 28
Genretags: Electronica - Ambient
Trackliste: 1. being with the birds (1:16)
2. in dialogue (2:59)
3. summer rain and fading plane (1:04)
4. active branches (1:35)
5. cone, crackle, skin (2:01)
6. distant kit (1:36)
7. circulation (1:57)
8. autumn wind (1:04)
9. throwing logs (1:10)
10. cymbal dog (1:38)
11. between the beeches (2:30)
12. the story tellers (0:37)
13. air modulation (3:57)
14. darkness arriving (1:20)
15. animals possible (2:45)
Besetzung: Cover - Detlef Weinrich, Kerstin Nothmann
; Drums, Cymbals, Branches, Leaves, Air ; Improvisations - Paul Wir
kus
; Label Photographs - Adi Woletzky
; Steps, Recording, Editing, Mixing - Stefan Schneider
Meat Beat Manifesto [>] [D]: Autoimmune [F]
Label und Katalognummer: Planet Mu ZIQ 202
Produktion: Jack Dangers
Veröffentlicht: 2008 04 07
Genretags: Post-Millennial-Music - Digital-Underground - Dubstep
Trackliste: 1. I Hold The Mic! (4:53)
2. Children Of Earth (4:06)
3. House Of Unique Stink (Kenneth James Gibson) - (5:00)
4. (Live) And Direct (Live) (4:00)
5. Less (7:11)
6. Lonely Soldier (5:27)
7. Spanish Vocoder (4:40)
8. Return To Bass (3:58)
9. Guns 'N' Lovers (5:52)
10. Hellfire (Remix) (5:20)
Alle Tracks: Jack Dangers.
Besetzung: Drums - Lynn Farmer
; Mastered By - Matt
; Other [Management] - Viruallabel.com
; Other [Video] - Ben Stokes
; Performer [Wir
es] - Mark Pistel
; Written-by, Producer, Performer [Things] - Jack Dangers
; Toasting - Daddy Sandy (1)
Manic Street Preachers [>] [D]: Journal For Plague Lovers [F]
Label und Katalognummer: Sony 7520582
Produktion: Steve Albini & Dave Eringa
Veröffentlicht: 2009 05 18
Genretags: Alternativerock - Punkrock - Glampunk
Trackliste: 1. Peeled Apples - 3:32
2. Jackie Collins Existential Question Time - 2:24
3. Me And Stephen Hawking - 2:46
4. The Joke Sport Severed - 3:03
5. Journal For Plague Lovers - 3:45
6. She Bathed Herself In A Bath Of Bleach - 2:17
7. Facing Page: Top Left - 2:40
8. Marlon J.D. - 2:50
9. Doors Closing Slowly - 2:51
10. All Is Vanity - 3:34
11. Pretension/Repulsion - 2:04
12. Virginal State Epileptic Colony - 3:24
13. William's Last Words - 4:15, b) Bag Lady (Hidden Track) - 10:47
Besetzung: James Dean Bradfield: lead vocals, lead and rhythm guitar
; Sean Moore: drums, percussion
; Nicky Wir
e: bass guitar, backing vocals, lead vocals on "William\'s Last Words", piano on "Virginia State Epileptic Colony"
; Andy Walters: string arrangement, strings
; Katherine Thomas: harp
; Joanna Parkhurst: strings
; Bernard Kane: strings
; Nathan Stone: strings
; Steve Albini: recording (tracks 1–3, 6, 7, 9–11 and 13), mixing ("William\'s Last Words")
; Dave Eringa: mixing (all tracks except "William\'s Last Words"), recording (tracks 4, 5 and 8), production (tracks 2, 4, 5, 8 and 12)
; Loz Williams: recording (tracks 1, 5, 6 and 11–13), recording and engineering of original demos
; Steve Davis: recording ("Marlon J.D.")
; Greg Norman: engineering
; Ben Cunningham: engineering assistance
; Jenny Saville: front cover artwork
; Steve Stacey: sleeve design
; Mitch Ikeda: sleeve photography
Kasabian [>] [D]: West Ryder Pauper Lunatic Asylum [F]
Label und Katalognummer: Paradise PARADISE 58
Produktion: Dan the Automator & Sergio Pizzorno
Veröffentlicht: 2009 06 05
Genretags: Post-Millennial-Music - Poprock - Britpop
Trackliste: 1. Underdog - 4:37
2. Where Did All the Love Go? - 4:17
3. Swarfiga - 2:18
4. Fast Fuse - 4:10
5. Take Aim - 5:23
6. Thick as Thieves - 3:06
7. West Ryder Silver Bullet (feat. Rosario Dawson) - 5:15
8. Vlad the Impaler - 4:44
9. Ladies and Gentlemen, Roll the Dice - 3:33
10. Secret Alphabets (Sergio Pizzorno, Helmut Zacharias) - 5:07
11. Fire - 4:13
12. Happiness - 5:16
Alle Tracks: Sergio Pizzorno, ausser wo anders vermerkt.
Besetzung: Tom Meighan: lead vocals (all tracks except 3, 5, 10, 12), scream (3)
; Sergio Pizzorno: lead and rhythm guitar, synths, programming, backing vocals, lead vocals (5, 10, 12)
; Chris Edwards: bass guitar
; Ian Matthews: drums
; Dan the Automator: additional programming
; Jay Mehler: additional guitar (1, 9, 12)
; Tim Carter: additional guitar, keyboards and percussion
; Daniel Ralph Martin: additional guitar (4), piano (12)
; Rosario Dawson: co-lead vocals (7)
; Ben Kealey: additional keyboards (9)
; Rosie Danvers: strings direction
; Wir
ed Strings: strings (2, 5, 7, 10)
; Distributed By Sony Music Entertainment
; Phonographic Copyright (p) Sony Music Entertainment (UK) Ltd.
; Copyright (c) Sony Music Entertainment (UK) Ltd.
; Made By Sony DADC
Roj [>] [D]: The Transactional Dharma Of Roj [F]
Label und Katalognummer: Ghost Box GBX 012
Produktion: Roj
Veröffentlicht: 2009 09 28
Genretags: Post-Millennial-Music - Lo-Fi-Underground - Analogelectronica
Trackliste: 1. Meditation on Nothingness - 3:04
2. Yellow Peel - 2:04
3. Your Turn - 0:42
4. Transcommunication - 1:17
5. Morning Break - 0:48
6. Bongo Workout - 1:34
7. The Process Revealed - 1:06
8. Clear Channels - 0:42
9. A Beginning Word - 2:14
10. Sighting in Corridor 12 - 1:21
11. Go Without Me - 1:27
12. Mountain Tone - 0:22
13. They Are in the Room With Us Right Now. - 2:09
14. Inhale. Exhale. Love! - 3:16
15. Intermission Exercise - 1:22
16. Attaining the Third State - 1:25
17. Brain Sync - 3:54
18. The Gamelan Threshold - 2:35
19. Trance and Bilocation - 0:48
20. Modified Apparatus Test - 3:34
21. "Now You're Chanelling the Real Thing" - 0:20
22. Rejoice! He Is Here - 1:51
23. Attainment of the Final Key - 4:31
24. What I Saw - 4:03
Besetzung: Artwork By [Cover Design]: Julian House
; Mastered By: Jon Brooks
; Voice: Daniel (Wolfram Wir
e) (1, 4, 9, 22)
; Voice: Raluca Sava (8)
Label und Katalognummer: Def Jam B 0013827
Produktion: Chase & Chuck Harmony & Brian Kennedy & The-Dream & Ne-Yo & Stargate & Status & C. 'Tricky' Stewart & Ys
Veröffentlicht: 2009 11 23
Genretags: Electropop
Trackliste: 1. Mad House (W. Kennard, S. Milton, M. Riddick, Makeba Riddick, Rihanna) - 1:34
2. Wait Your Turn (Mikkel Storleer Eriksen, T.E. Hermansen, James Fauntleroy II, W. Kennard, S. Milton, Rihanna, T. Tendayi) - 3:46
3. Hard (Jay Jenkins, Terius 'The-Dream' Nash, Rihanna, Christopher 'Tricky' Stewart) - feat. Young Jeezy 4:10
4. Stupid in Love (Mikkel Storleer Eriksen, T.E. Hermansen, Shaffer Smith) - 4:01
5. Rockstar 101 (T. Nash, Terius 'The-Dream' Nash, Rihanna, C. Stewart, The-Dream) - feat. Slash 3:58
6. Russian Roulette (Charles Harmon, Shaffer Smith) - 3:47
7. Fire Bomb (J. Fauntleroy II, Rihanna, B. Kennedy Seals) - 4:17
8. Rude Boy (Esther Dean, Mikkel Storleer Eriksen, Tor Erik Hermansen, Makeba Riddick, Rihanna, Rob Swire) - 3:42
9. Photographs (W. Adams, J. Baptiste, M. McHenry, A. Pineda) - feat. will.i.am 4:46
10. G4L (James Fauntleroy II, W. Kennard, William Kennard, S. Milton, Rihanna) - 3:59
11. Te Amo (Mikkel Storleer Eriksen, Tor Erik Germansen, James Fauntleroy II, Rihanna) - 3:28
12. Cold Case Love (James Fauntleroy II, R. Tadross, Justin Timberlake) - 6:04
13. The Last Song (B. Harrison, James Fauntleroy II, B. Kennedy, Rihanna) - 4:16
Besetzung: Mykael Alexander: Assistant
; Davis Barnett: Viola
; Beardyman: Vocals
; Jessie Bonds: Guitar
; Jay Brown: A&R
; Bobby Campbell: Assistant
; Chase & Status: Musician
; James J. Cooper III: Celli, Soloist
; Cédric Culnaërt: Assistant Engineer
; Tyler Van Dalen: Assistant Engineer
; Kevin \'KD\' Davis: Mixing
; Steven Dennis: Assistant Engineer
; Dylan Dresdow: Mixing
; Mikkel Storleer Eriksen: Engineer, Musician, Vocal Producer
; James Fauntleroy: Vocals (Background)
; Glenn Fischbach: Celli
; Paul Foley: Engineer
; Rick Friedrich: Assistant Engineer
; Future Cut: Keyboards
; Mariel Haenn: Stylist
; Alex Haldi: Design
; Kevin Hanson: Assistant
; Keith Harris: Strings
; Ben Harrison: Additional Production, Guitar
; Karl Heilbron: Vocal Engineer
; Simon Henwood: Art Direction, Design, Photography, Stylist
; Tor Erik Hermansen: Musician
; Jean-Marie Horvat: Mixing
; Ghazi Hourani: Mixing Assistant
; Jaycen Joshua: Mixing
; Mike Johnson: Engineer
; JP Robinson: Art Direction, Design, Photography
; Brian Kennedy: Keyboards, Programming
; Padraic Kerin: Engineer
; Olga Konopelsky: Violin
; Emma Kummrow: Violin
; Giancarlo Lino: Mixing Assistant
; Pater Martinez: Assistant
; Luigi Mazzocchi: Soloist, Violin
; Monte Neuble: Keyboards
; Luis Navarro: Assistant Engineer
; Jared Newcomb: Mixing Assistant
; Peter Nocella: Viola
; Chris \'Tek\' O\'Ryan: Engineer
; Anthony Palazzole: Mixing Assistant
; Paper-Boy: Additional Production
; Ciarra Pardo: Art Direction, Design
; Charles Parker: Violin
; Ross Parkin: Assistant
; Daniel Parry: Assistant
; Kevin Porter: Assistant
; Antonio Reid: Executive Producer
; Antonio Resendiz: Assistant
; Makeba Riddick: Vocal Producer, Vocals (Background)
; Rihanna: Art Direction, Design, Executive Producer
; Montez Roberts: Assistant Engineer
; Evan Rogers: Executive Producer
; Sébastien Salis: Assistant Engineer
; B. Kennedy Seals: Composer
; Jason Sherwood: Assistant Engineer
; Slash: Featured Artist
; Tyran \'Ty Ty\' Smith: A&R
; Caleb Speir: Bass
; Xavier Stephenson: Assistant
; Tim Stewart: Guitar
; Bernt Rune Stray: Guitar
; Carl Styrken: Executive Producer
; R. Swire: Musician
; Igor Szwec: Violin
; Sean Tallman: Engineer
; Marcos Taylor: Engineer
; Gregory Teperman: Violin
; Brian \'B-Luv\' Thomas: Engineer
; Pat Thrall: Engineer
; Marcos Tovar: Engineer
; Neil Tucker: Assistant, Guitar Engineer
; Ellen Von Unwerth: Photography
; Allen White: Guitar (Acoustic)
; will.i.am: Drum Programming, Engineer, Featured Artist, Producer, Synthesizer
; Andrew Wuepper: Engineer
; Young Jeezy: Featured Artist
Paul Weller [>] [D]: Wake Up The Nation [F]
Label und Katalognummer: Island 2733522
Produktion: Simon Dine
Veröffentlicht: 2010 04 12
Genretags: Alternativerock - Singer-Songwriter
Trackliste: CD 1: Wake Up The Nation
1. Moonshine - 2:09
2. Wake Up The Nation - 2:19
3. No Tears To Cry - 2:25
4. Fast Car / Slow Traffic - 1:58
5. Andromeda - 1:53
6. In Amsterdam - 1:28
7. She Speaks - 2:15
8. Find The Torch, Burn The Plans - 3:09
9. Aim High - 3:08
10. Trees - 4:19
11. Grasp & Still Connect - 2:16
12. Whatever Next - 1:38
13. 7&3 Is The Strikers Name - 3:24
14. Up The Dosage - 2:40
15. Pieces Of A Dream - 2:26
16. Two Fat Ladies - 2:39
CD 2: Change Up The Nation (Remixes)
1. Wake Up The Nation (Zinc's The Crackhouse Remix) - 5:10
2. Fast Car / Slow Traffic (Erland & The Carnival Carnivalization) - 2:50
3. Grasp & Still Connect (The Bees Version) - 2:47
4. She Speaks (Tunng Remix) - 3:57
5. Andromeda (Richard Hawley Remix) - 3:51
6. In Amsterdam (Noonday Underground Remix) - 2:00
7. No Tears To Cry (Leo Zero Remix) - 8:03
8. Find The Torch, Burn The Plans (Prawns In The Sun Remix By Little Vampire) - 5:18
9. Aim High (Aim Higher) - 5:57
10. Pieces Of A Dream (A Dream In Pieces) - 5:27
11. Aim High (The Higher Aim) - 4:57
12. Aim High (Like Water Needs A Flower) - 5:05
Bonustracks
1. Pieces Of A Dream (Original Version) - 2:56
2. Grasp & Still Connect (Original Version) - 2:22
Alle-Tracks: Paul Weller und Simon Dine.
Besetzung: Artwork By [Sleeve Design] - Simon Halfon & Paul Weller
; Engineer - Charles Rees (1-1 to 1-16), Jamie Johnson (1.1-1.16)
; Liner Notes [On Paul Weller] - Irvine Welsh
; Liner Notes [Wake Up The Nation Sleeve Notes] - Paul Moody
; Mastered By - John Davis
; Mixed By - Charles Rees (1.1-1.8, 1.10-1.16), Jamie Johnson (1.1-1.8, 1-10-1.16)
; Photography [Booklet, Pages 1 (inside Front Cover)-2, 4, 39-40] - Dean Chalkey
; Photography [Booklet, Pages 3-7, 13-16, 19-24, 29-30, 35-36] - Simon Dine
; Photography [Booklet, Pages 8, 27-28] - Simon Halfon
; Photography [Booklet, Pages 9-12, 17-18, 25-26, 31-32] - Lawrence Watson
; Photography [Original Cover Photo] - Simon Dine
; Bass - Andy Crofts (1). Bruce Foxton (4, 7), Andy Lewis (10), Steve Cradock (14), Jamie Johnson (15), Barry Cadogan (16)
; Drums - Bev Bevan (1, 2), Clem Cattini (3), Charles Rees (5, 8, 12), Steve Pilgrim (10, 11), Steve Cradock (14)
; Percussion - Steve Cradock (2)
; Guitar - Barry Cadogan (1, 16), Steve Cradock (4, 5, 8, 14), Kevin Shields (7, 13), Andy Crofts (11), Charles Rees (15)
; Guitar [Synth] - Roger Nowell (5)
; Keyboards [Stylophone] - Andy Crofts (8)
; Strings - Wir
ed Strings (3, 10, 15)
; Saxophone - Terry Edwards (2)
; Horns - Terry Edwards (11)
; Autoharp - Charles Rees (12)
; Backing Vocals - Hannah Andrews (3, 5, 10, 13, 14), Laura Rees (3, 13, 14), Steve Cradock (3), Bruce Foxton (4), Woking Gay Community Choir (8), Andy Crofts (15), Andy Lewis (15), Steve Pilgrim (15)
; Mixed By - Tom Knott (9)
Nels Cline Singers [>] [D]: Initiate [F]
Label und Katalognummer: Cryptogramophone cg 143
Produktion: David Breskin
Veröffentlicht: 2010 04 13
Genretags: Jazz - Fusion - Jazzrockfusion
Trackliste: CD 1: Studio
1. Into It - 2:51
2. Floored - 5:04
3. Divining - 7:37
4. You Noticed - 2:53
5. Red Line To Greenland (Scott Amendola, Devin Hoff) - 8:57
6. Mercy (Supplication) - 2:25
7. Grow Closer - 6:45
8. Scissor / Saw (Scott Amendola, Devin Hoff) - 3:41
9. B86 (Inkblot Nebula) - 2:10
10. King Queen - 7:15
11. Zingiber - 3:51
12. Mercy (Procession) - 7:00
13. Into It (You Turn) - 2:55
Alle Tracks: Nels Cline, ausser wo anders vermerkt.
CD 2: Live
1. Forge - 8:20
2. Fly Fly - 11:25
3. Raze - 8:08
4. And Now The Queen - 5:35
5. Blues, Too (Carla Bley) - 7:13
6. Thurston County - 9:14
7. Sunken Song - 7:05
8. Boogie Woogie Waltz (Joe Zawinul) - 14:25
Alle Tracks: Nels Cline, ausser wo anders vermerkt.
Besetzung: Guest [Special Guest], Electric Piano – David Witham (1.4, 1.9, 1.10)
Guest [Special Guest], Synth – Yuka Honda (1.13)
Guest [Special Guest], Percussion – Greg Saunier, John Dieterich, Satomi Matsuzaki (2.8)
; Contrabass, Bass Guitar: Devin Hoff
; Design: Spottswood Erving
; Drums [Drumset], Percussion, Mbira, Electronics [Live Electronics], Loops, Effects [Treatments]: Scott Amendola
; Electric Guitar, Acoustic Guitar, Effects, Voice, Performer [Megamouth], Performer [Thingamagoop]: Nels Cline
; Engineer [Assistant Engineer @ Du Nord]: David Denny
; Engineer [Assistant Engineer @ Fantasy]: Jesse Nichols
; Engineer [Assistant Engineer @ Saint\'s Place]: Pete deBoer
; Executive-Producer: Jeff Gauthier
; Layout: Gareth Jiffeau
; Management: Benjamin Levin
; Management: Tony Margherita Management
; Mastering: Joe Gastwirt
; Mixing: David Breskin
; Mixing: Nels Cline
; Mixing: Ron St. Germain
; Photography [Color Photography Of The Large Hadron Collider @ Cern]: Simon Norfolk
; Photography [Live Singers Photos]: Alan Peak
; Producer [Produced By]: David Breskin
; Recording: Ron St. Germain
; Typography [OCR-B Font By, 1968]: Adrian Frutiger
; Phonographic Copyright (p) Cryptogramophone
; Copyright (c) Cryptogramophone
; Published By Nebsonic Music
; Published By Bug Music
; Published By Alrac Music
; Published By Mulatto Music
; Recorded At Fantasy Studios
; Recorded At Cafe Du Nord
; Mixed At Saint\'s Place Studio
; Mastered At Gastwirt Mastering
; Manufactured By Crest Digital
; Manufactured By Crest Digital
Kristin Hersh [>] [D]: Crooked [F]
Label und Katalognummer: Throwing Music
Produktion: Kristin Hersh
Veröffentlicht: 2010 06
Genretags: Alternativerock - Singer-Songwriter
Trackliste: 1. Mississippi Kite - 3:36
2. Moan - 4:58
3. Sand - 3:06
4. Glass - 3:33
5. Fortune - 4:18
6. Coals - 5:20
7. Crooked - 3:11
8. Krait - 5:40
9. Flooding - 4:00
10. Rubidoux - 3:39
Alle Tracks: Kristin Hersh.
Besetzung: Recorded At Stable Sound
; Design: Jesse von Doom
; Executive Producer: Sir Francis Dutton
; Mastered By Joe Gastwirt
; Performer [All Instruments]: Kristin Hersh
; Photography: Lisa Fletcher
; Recorded By, Mixed By Steve Rizzo
Wir sind Helden [>] [D]: Bring Mich Nach Hause [F]
Label und Katalognummer: Reklamation Records COL 88697635382
Produktion: Ian Davenport
Veröffentlicht: 2010 08 27
Genretags: Indiepop
Trackliste: 1. Alles - 4:18
2. Was Uns Beiden Gehört - 3:03
3. Bring Mich Nach Hause - 5:04
4. Flucht In Ketten - 3:59
5. Die Ballade von Wolfgang und Brigitte - 4:44
6. Dramatiker - 3:28
7. 23.55: Alles auf Anfang - 3:12
8. Die Träume Anderer Leute - 4:00
9. Meine Freundin War im Koma und Alles, Was Sie Mir Mitgebracht Hat, War Dieses Lausige T-Shirt - 4:00
10. Kreise - 3:25
11. Im Auge des Sturms - 5:21
12. Nichts, Was Wir
Tun Könnten - 3:22
Alle Tracks: Judith Holofernes, Pola Roy, Mark Tavassol und Jean-Michel Tourette.
Besetzung: Bass, Vocals: Jörg Holdinghausen
; Design: Typeholics
; Instruments: Wir
Sind Helden
; Mastering: Tom Coyne
; Mastering [Assisted By]: Aya Merrill
; Mixing: Blackpete (1 to 4, 6, 7)
; Mixing: Ian Davenport (5, 8 to 12)
; Mixing [Assisted By]: Daniel Bongard (1 to 4, 6, 7)
; Mixing [Assisted By]: Simon Beizai (1 to 4, 6, 7)
; Photography: Billy Und Hells
; Recording: Ian Davenport
; Trumpet: Christoph Van Hal
; Record Company Sony Music Entertainment
; Copyright (c) Reklamation Records
; Phonographic Copyright (p) Reklamation Records
; Licensed To Columbia Berlin
; Distributed By Sony Music Entertainment Germany GmbH
; Published By Wintrup Musikverlag
; Recorded At Tritonus Studio Berlin
; Mixed At Ballsaal-Studios
; Mixed At Courtyard Studio
; Mixed At Tritonus Studio Berlin
; Mastered At Sterling Sound
Manic Street Preachers [>] [D]: Postcards From A Young Man [F]
Label und Katalognummer: Columbia 8 8697741882
Produktion: Dave Eringa
Veröffentlicht: 2010 09 20
Genretags: Alternativerock - Punkrock - Glampunk
Trackliste: 1. (It's Not War) Just the End of Love - 3:32
2. Postcards from a Young Man - 3:39
3. Some Kind of Nothingness - 3:52 (feat. Ian McCulloch)
4. The Descent - (Pages 1 & 2) - 3:30
5. Hazelton Avenue - 3:27
6. Auto-Intoxication - 3:52
7. Golden Platitudes - 4:28
8. I Think I Found It - 3:10 (Lyrics by Bradfield)
9. A Billion Balconies Facing the Sun - 3:43
10. All We Make Is Entertainment - 4:18
11. The Future Has Been Here 4 Ever - 3:42
12. Don't Be Evil - 3:18
Besetzung: James Dean Bradfield - lead vocals, guitar
; Sean Moore - drums, percussion, trumpet
; Nicky Wir
e - bass, lead vocals (The Future Has Been Here 4 Ever), backing vocals
; Ian McCulloch - second lead vocals (Some Kind of Nothingness)
; John Cale - keyboards and noise (Auto-Intoxication)
; Duff McKagan - bass o(A Billion Balconies Facing the Sun)
; Loz Williams - piano, Hammond organ, Mellotron
; Nick Naysmith - piano, Hammond organ
; Caitrin Wyn Southall - vocal arrangement and backing vocals
; Melissa Henry - backing vocals
; Osian Rowlands - backing vocals
; Gareth Treseder - backing vocals
; Fflur Rowlands - backing vocals
; Roland George - backing vocals
; Aled Powys Williams - backing vocals
; Andy Walters - string arrangement and string player
; Joanna Walters - string player
; Carly Worsford - string player
; Bernard Kane - string player
; Simon Howes - string player
; Nathan Stone - string player
; Richard Phillips - string player
; Claudine Liddington - string player
Assoziierte Acts: Adele Adkins
Label und Katalognummer: XL Recordings XLCD 520
Produktion: Jim Abbiss & Adele Adkins & Paul Epworth & Rick Rubin & Fraser T Smith & Ryan Tedder & Dan Wilson
Veröffentlicht: 2011 01 20
Genretags: Post-Millennial-Music - Popsoul-Revival - New-UK-Soul
Kein anderes Album einer Frau war so lange in den Billboard Top 200 Charts (der amerikanischen Alben Hitparade).
Trackliste: 1. Rolling in the Deep (Adele Adkins, Epworth) - 3:48
2. Rumour Has It (Adkins, Tedder) - 3:43
3. Turning Tables (Adkins, Tedder) - 4:10
4. Don't You Remember (Adkins, Wilson) - 4:03
5. Set Fire to the Rain (Adkins, Fraser T. Smith) - 4:01
6. He Won't Go (Adkins, Epworth) - 4:37
7. Take It All (Adkins, White) - 3:48
8. I'll Be Waiting (Adkins, Epworth) - 4:01
9. One and Only (Adkins, Wells, Wilson) - 5:48
10. Lovesong (Gallup, O'Donnell, Smith, Thompson, Tolhurst, Williams) - 5:16
11. Someone Like You (Adkins, Wilson) - 4:45
Bonustracks der Deluxe Edition
1. If It Hadn't Been for Love (Rodaidh McDonald) - 3:08
2. Hiding My Heart (Rodaidh McDonald) - 3:28
Besetzung: Jim Abbiss: Mixing
; Adele: Design, Vocals
; Jo Allen: Violin
; Philip Allen: Engineer
; Beatriz Artola: Engineer
; Stephanie Bennett: Harp
; Jerrod Bettis: Drums, Guitar (Acoustic)
; Rachel Stephanie Bolt: Strings
; Natalie Bonner: Violin
; Phillip Broussard Jr.: Assistant
; Harry Brown: Horn Arrangements, Trombone
; David Campbell: String Arrangements
; Ray Carless: Sax (Tenor)
; Carmen Carter: Choir/Chorus
; Lenny Castro: Percussion
; Stephanie Cavey: Violin
; Lindsay Chase: Production Coordination
; AJ Clark: Assistant
; Neil Cowley: Piano
; Tom Coyne: Mastering
; Caroline Dale: Strings
; David Daniels: Strings
; Rosie Danvers: Additional Personnel, String Arrangements
; Chris Dave: Drums
; Ian Dowling: Mixing
; Lauren Dukoff: Photography
; Chris Elliot: String Arrangements
; Tom Elmhirst: Mixing
; Paul Epworth: Bass, Guitar (Acoustic), Guitar (Electric), Percussion, Vocals (Background)
; Greg Fidelman: Engineer
; Fraser T. Smith: Guitar (Bass), Mixing, Piano
; Jim Gilstrap: Choir/Chorus
; David Hidalgo: Accordion, Banjo
; Smokey Hormel: Guitar
; Patrick Kiernan: Strings
; Sara Lyn Killion: Assistant
; Boguslaw Kostecki: Strings
; Peter Lale: Strings
; Noel Langley: Trumpet
; Chris Laurence: Strings
; Julian Leaper: Strings
; Phil Lee: Design
; Rita Manning: Strings
; Eleanor Mathieson: Violin
; Stephen Morris: Strings
; Dana Nielsen: Editing, Pro-Tools
; Jane Oliver: Additional Personnel
; Emma Owens: Additional Personnel
; Pino Palladino: Bass
; Dan Parry: Assistant, Vocal Engineer
; Tom Pigott-Smith: Strings
; Ruston Pomeroy: Violin
; Hayley Pomfrett: Violin
; Josef Powell: Choir/Chorus
; James Poyser: Piano
; Steve Price: String Engineer
; Mark Rankin: Engineer
; Jenny Sacha: Violin
; Kotono Sato: Violin
; Andrew Scheps: Mixing
; Isabel Seeliger-Morley: Assistant
; Jackie Shave: Strings
; Lucy Shaw: Additional Personnel
; Emlyn Singleton: Strings
; Ash Soan: Drums
; Amy Stanford: Additional Personnel
; Matt Sweeney: Guitar
; Leo Taylor: Drums
; Ryan Tedder: Arranger, Bass, Drums, Engineer, Guitar (Electric), Hammond B3, Piano, Programming, String Arrangements
; Ben Thomas: Guitar (Acoustic), Guitar (Electric)
; Cathy Thompson: Strings
; Julia Tillman Waters: Choir/Chorus
; Carmen Twillie: Choir/Chorus
; Lorna Maxine Waters: Choir/Chorus
; Oren Waters: Choir Director
; Bruce White: Strings
; Dan Wilson: Piano
; The Wir
ed Strings: Strings
; Chris Worsey: Strings
; Terry Young: Choir/Chorus
; Warren Zielinski: Strings
New York Dolls [>] [D]: Dancing Backward In High Heels [F]
Label und Katalognummer: 429 Records
Produktion: Jason Hill
Veröffentlicht: 2011 03 14
Genretags: Rock - Punkrock - Artpunk
Trackliste: 1. Fool for You Baby (Dom Dom Dippy) - 2:37
2. Streetcake - 3:18
3. Fabulous Rant - 0:25
4. I'm so Fabulous - 2:26
5. Talk to Me Baby - 3:03
6. Kids Like You - 3:51
7. Round and Round She Goes - 3:46
8. You Don't Have to Cry (Jason Hill, Johansen, Sylvain) - 3:03
9. I Sold My Heart to the Junkman (Leon René, Otis Rene) - 2:24
10. Baby, Tell Me What I'm On - 3:57
11. Funky But Chic - 4:01
12. End of the Summer - 4:17
Alle Tracks: Johansen, Sylvain, ausser wo anders vermerkt.
Besetzung: Anna Victoria Best: Photography
; Nubiya Brandon: Vocals (Background)
; Bramwell Bronte: Second Engineer
; Christopher Carroll: Art Direction, Package Design
; Stephanie Clift: Vocals (Background)
; Brian Delaney: Drums, Group Member, Percussion
; William DeVos: Studio Assistant
; Hanna Duff: Viola, Violin
; Joe Gastwirt: Mastering
; Mara Hennessey: Vocals (Background)
; Jason Hill: Bass, Group Member, Guitar (Acoustic), Mixing, Piano, String Arrangements, Vocals (Background)
; Tess Hirst: Vocals (Background)
; Frank Infante: Bass, Group Member, Guitar, Slide Guitar
; David Johansen: Group Member, Harmonica, Vocals
; Matthew Kibble: Cello
; Alex Leathard: Trombone
; Alastair Lord: Trumpet
; Peter Manning: Cover Illustration
; Adam Sinclair: Engineer, Percussion
; Sylvain Sylvain: Farfisa Organ, Group Member, Guitar, Guitar (Acoustic), Organ, Vocals, Vocals (Background), Vox Organ, Whistle
; Jamie Toms: Saxophone
; Jimmy Vivino: Horn Arrangements
; Hanna Want: Violin, Viola
Yellowcard [>] [D]: When You're Through Thinking, Say Yes [F]
Label und Katalognummer: Hopeless Records HR 725
Produktion: Neal Avron
Veröffentlicht: 2011 03 22
Genretags: Alternativerock - Punkrock - Poppunk
Trackliste: 1. The Sound of You and Me - 4:36
2. For You, And Your Denial - 3:33
3. With You Around - 3:01
4. Hang You Up - 4:02
5. Life of Leaving Home - 3:24
6. Hide - 3:12
7. Soundtrack - 3:35
8. Sing for Me - 3:54
9. See Me Smiling - 3:50
10. Be the Young - 3:56
Alle Tracks: Yellowcard.
Besetzung: Brian Abell: Guitar Technician
; Neal Avron: Engineer, Mixing, Programming, Synthesizer
; Mike Fasano: Drum Technician
; Nicolas Fournier: Mixing Assistant
; Ira Glansbeek: Cello
; Ted Jensen: Mastering
; Ryan Key: Group Member
; Sean Mackin: Group Member
; Brian Manley: Cover Photo, Design
; Ryan Mendez: Group Member
; Sean O\'Donnell: Group Member
; Longineu Parsons III: Group Member
; Morgan Stratton: Assistant Engineer
; Erich Talaba: Engineer, Pro-Tools
; Rodney Wir
tz: Viola
Raphael Saadiq [>] [D]: Stone Rollin' [F]
Label und Katalognummer: Columbia 88697605602
Produktion: Raphael Saadiq
Veröffentlicht: 2011 03 25
Genretags: Afroamericana - R'n'B
Trackliste: 1. Heart Attack - 3:03
2. Go to Hell (Saadiq, Stinson) - 4:20
3. Radio - 3:22
4. Over You - 2:31
5. Stone Rollin' - 3:37
6. Day Dreams - 3:20
7. Movin' Down the Line - 4:25
8. Just Don't (Saadiq, Stinson) - 5:17
9. Good Man (Saadiq, Stinson) - 3:46
10. The Answer - 9:30
Alle Tracks: Raphael Saadiq.
Besetzung: Mark Adams: horn (track 10)
; Sarah Bach: horn (tracks 2, 7, 8)
; Rob Bacon: guitar (track 2)
; Brian Benning: violin (tracks 2, 7, 8)
; Robert Brosseau: violin (track 10)
; Alex Budman: woodwind (track 10)
; Mark Cargill: violin (tracks 2, 7, 8, 10)
; Carl Lemar Carter: drums (tracks 2, 7), additional drums (track 1), snare drums (track 10)
; Giovanna Clayton: cello (tracks 2, 7, 8)
; Dan Foreno: trumpet (tracks 2, 7, 8)
; Jeff Driskill: saxophone (tracks 2, 7, 8), woodwind (track 10)
; Assa Drori: violin (track 10)
; Erika Duke: cello (track 10)
; Larry Dunn: piano (tracks 7, 8), Minimoog (track 8)
; Karen Elaine: viola (tracks 2, 7, 8)
; Garrett Ellis: alto saxophone (track 7)
; Charles Evertt: violin (track 10)
; Amp Fiddler: Mellotron (track 2)
; Samuel Formicola: viola (track 10)
; Todd French: cello (track 10)
; Miguel Gandelman: tenor saxophone (track 7)
; Alex Gorlovsky: violin (track 10)
; Maurice Grants: cello (track 10)
; Dan Higgins: saxophone (tracks 2, 7, 8)
; Johannes Joergensen: guitar (track 10)
; Charles Jones: piano (track 6)
; Vahe Karykian: cello (tracks 2, 7, 8)
; B.J. Kemp: snare drums (track 10)
; Harry Kim: trumpet (tracks 2, 7, 8)
; Paul Klintworth: horn (track 10)
; Johanna Krejci: violin (tracks 2, 7, 8, 10)
; Gina Kronstadt: violin (tracks 2, 7, 8)
; Gayle Levant: harp (tracks 2, 7, 8)
; Jon Lewis: trumpet (track 10)
; Darrell Mansfield: harmonica (track 5)
; Jean Marinelli: horn (tracks 2, 7, 8)
; Miguel Martinez: cello (tracks 2, 7, 8)
; Joe Meyer: horn (track 10)
; Dennis Molchan: violin (track 10)
; Raymond Monteiro: trumpet (track 7)
; Jorge Moraga: viola (tracks 2, 7, 8)
; Yukimi Nagano: vocals (track 8)
; Karolina Naziemiec: viola (track 10)
; Stephanie O\'Keefe: horn (tracks 2, 7, 8)
; Mone\'t Owens: background vocals (tracks 3, 6, 8)
; Robert Randolph: steel guitar (track 6)
; Paul Riser: conductor (track 10), horn arrangement (track 2), orchestral arrangement (track 10), string arrangements (tracks 2, 7, 8, 10)
; Kathleen Robertson: violin (tracks 2, 7, 8)
; Anatoly Rosinsky: violin (tracks 2, 7, 8, 10)
; Robin Ross: viola (tracks 2, 7, 8)
; Raphael Saadiq: bass (tracks 1, 3, 5, 6, 8–10), Clavinet (track 9), drums (tracks 1, 3–5, 8–10), guitar (tracks 5–7), guitars (tracks 1, 3, 4, 8, 9), horn arrangement (track 9), Mellotron (tracks 1, 4, 5, 7–10), producer, percussion (track 1), tambourine (track 9), vocals
; Rob Schaer: trumpet (track 10)
; Harry Shirinian: viola (tracks 2, 7, 8, 10)
; Haim Shtrum: violin (tracks 2, 7, 8)
; Garret Smith: trombone (track 7)
; Taura Stinson: vocals (track 9)
; Lesa Terry: violin (tracks 2, 7, 8, 10)
; JoAnn Tominaga: concert master (tracks 2, 7, 8)
; Calvin Turner: bass (tracks 2 and 7), snare drums (track 10), horn arrangement (track 7)
; Wa Wa Watson: additional guitar (track 7)
; Elizabeth Wilson: violin (tracks 2, 7, 8, 10)
; Rodney Wir
tz: viola (track 10)
; John Wittenberg: violin (tracks 2, 7, 8)
; Jorge Wittenberg: viola (tracks 2, 7, 8)
; Shari Zippert: violin (tracks 2, 7, 8)
; Lauren Barford: production coordination
; Mathieu Bitton: art direction, package design
; Gerry "The Gov" Brown: engineer
; Charles Brungardt: engineer, mixing, co-producer
; Bernie Grundman: mastering
; Michelle Holme: art direction
; Marlon Marcel: assistant engineer, engineer
; Alex Prager: photography
; Ricardo Ribeiro: assistant engineer
; Wesley Seidman: assistant engineer
Duke Spirit [>] [D]: Bruiser [F]
Label und Katalognummer: Fiction VVR 779489
Produktion: Duke Spirit & Rich File & Andrew Scheps
Veröffentlicht: 2011 09 19
Genretags: Post-Millennial-Music - Garagerock-Revival
Trackliste: 1. Cherry Tree (Liela Moss, Toby Butler) - 3:32
2. Procession (Liela Moss, Toby Butler, Oliver Betts) - 3:12
3. Villain (Liela Moss) - 4:44
4. Don't Wait (Liela Moss, Luke Ford) - 4:00
5. Surrender (Liela Moss, Toby Butler) - 3:17
6. Bodies (Liela Moss, Toby Butler) - 4:35
7. De Lux (Liela Moss, Oliver Betts) - 4:35
8. Sweet Bitter Sweet (Liela Moss, Toby Butler) - 4:24
9. Running Fire (Liela Moss, Luke Ford) - 3:20
10. Everybody's Under Your Spell (Liela Moss, Luke Ford) - 3:22
11. Northbound (Liela Moss, Luke Ford) - 4:41
12. Homecoming (Liela Moss, Luke Ford) - 4:35
Besetzung: Mastered At: Wir
ed Masters
; Produced At: Punkerpad West
; Produced At: Rockfield Studios
; Produced At: Miloco Studios
; Produced At: The Crow´s Nest Studio
; Artwork: Josie Willey
; Bass: Marc Sallis
; Drums, Percussion, Piano, Organ, Glockenspiel, Guitar: Oliver Betts
; Engineer [Oxford]: Ian Davenport
; Guitar, Bass, Organ, Piano: Toby Butler
; Guitar, Piano, Organ: Luke Ford
; Mastered By: Simon Francis
; Mixed By: Alan Moulder (2), Andrew Scheps (1, 3 to 5, 7 to 12), Catherine Marks (6)
; Photography By: Steve Gullick
; Producer: Andrew Scheps (1, 3, 4, 6, 8, 10 to 12), Duke Spirit (2, 5, 6, 7, 9), Rich File (2, 5, 7, 9)
; Vocals, Piano, Harmonica, Percussion: Liela Moss
;
Label und Katalognummer: Fueled By Ramen 528048
Produktion: Jeff Bhasker & Emile Haynie & Jake One
Veröffentlicht: 2012 02 14
Genretags: Post-Millennial-Music - Poprock - Altpop
Das Crossover-Album der Indieband. Die Indieblogs reagieren indigniert und geben betont tiefe Wertungen.
Trackliste: 1. Some Nights (Intro) - 2:18
2. Some Nights - 4:37
3. We Are Young (feat. Janelle Monáe) - 4:10
4. Carry On - 4:38
5. It Gets Better - 3:36
6. Why Am I the One - 4:47
7. All Alone - 3:04
8. All Alright (Ruess/Dost/Antonoff/Bhasker/Jake One/Emile Haynie) - 3:57
9. One Foot (Ruess/Dost/Antonoff/Haynie) - 3:32
10. Stars (co-produced by N.C.) - 6:53
Bonustrack
1. Out On The Town - 4:22
Alle Tracks: Nate Ruess, Andrew Dost, Jack Antonoff und Jeff Bhasker, ausser wo anders vermerkt.
Besetzung: Jack Antonoff: guitars, vocals, drums, percussion, programming, arrangement
Andrew Dost: keyboards, piano, celeste, synthesizer, glockenspiel, guitar, bass guitar, accordion, drums, percussion, programming, trumpet, flugelhorn, vocals, design, arrangement
; Nate Ruess: lead vocals, arrangement
; Jeff Bhasker: arrangement, orchestration
; Rosie Danvers: orchestration
; Larry Gold: string arrangements, string conductor
; Richard Ashton: French horn
; Corrine Bailey: French horn
; Davis Bartnett: viola
; Jeff Bhasker: keyboards, background vocals, bass guitar, piano, synthesizer
; Michelle Bishop: violin
; Richard Bissell: French horn
; Natalia Bonner: violin
; Natalie Cavey: viola
; Stephanie Cavey: violin
; Eliza Cho: violin
; James Cooper: cello
; Rosey Danvers: cello
; Mark Frost: trombone
; Nate Harold: bass
; Pat Hartley: trombone
; Emily Haynie: drums, keyboards, piano
; Sally Jackson: violin
; Jake One: drums, keyboard
; Kieran Kiely: Accordion, Bodhran, Whistles
; Jonathan Kin: viola
; Olga Konoplesky: violin
; Tom Kraines: cello
; Emma Kummrow: violin
; Luigi Mazzocchi: violin
; Trevor Mires: trombone
; Will Noon: drums
; Jane Oliver: cello
; Emma Owens: viola
; Charles Parker: violin
; Lucy Shaw: double bass
; Chloe Vincent: flute
; The Wir
ed Strings: strings
; Sofia Bagdade: choir
; Jeff Bhasker: background vocals
; Samantha Buten: choir
; Aude Cardona: vocals
; Anabela Chaiola: choir
; Nara Cowing: choir
; Denise Di Pasca: choir
; Claire DiLorenzo: choir
; Friends After Three: background vocals
; Sofia Garcia-Penâ: choir
; Antonia Gialamas: choir
; Sydney Goldstein: choir
; Elise Lichtman: choir
; Alexandra Lilly: choir
; Janelle Monáe: featured artist
; Vanessa Pasquarelli: choir
; Lola Rockwell: choir
; Joi Starr: background vocals
; Kathleen Stepan-Jackson: choir
; Olivia Vreelan: choir
; Miranda Wollen: choir
; Jeff Bhasker: drum programming, engineer
; Pete Bischoff: engineer
; Jeff Chestek: engineer
; Richard Costey: mixing
; Andrew Dawson: engineer
; Chris Galland: assistant, mixing assistant
; Chris Gehringer: mastering
; Noah Goldstein: engineer
; Emile Haynie: drum programming, engineer
; John Janick: executive producer
; Tyler Johnson: sampling
; Erik Madrid: assistant, mixing assistant
; Jeneen Mangel: choir coordinator
; Manny Marroquin: mixing
; Joanna Pickett: choir director
; Sonny Pinnar: engineer
; Montez Roberts: assistant engineer
; Pawel Sek: engineer
; TommyD: orchestra production
; Stuart White: engineer, mixing assistant
; Nacho Alegre: cover photo
; Lindsey Byrnes: photography
; David J. Harrigan III: art direction, design
Pond [>] [D]: Beard, Wives, Denim [F]
Label und Katalognummer: Modular Recordings MODCD 148
Produktion: Kevin Parker
Veröffentlicht: 2012 03 02
Genretags: Post-Millennial-Music - Garagerock-Revival
Trackliste: 1. Fantastic Explosion of Time - 4:26
2. When It Explodes - 5:25
3. Elegant Design - 4:09
4. Sorry I Was Under the Sky - 2:48
5. Sun and Sea and You - 4:01
6. Allergies - 4:27
7. You Broke My Cool - 3:49
8. Moth Wings - 3:22
9. Leisure Pony - 3:29
10. Mystery - 4:06
11. Dig Brother - 4:38
12. Eye Pattern Blindness - 5:58
13. Moreno's Blend - 4:15
Alle Tracks: Pond.
Besetzung: Nick \'Paisley Adams\' Allbrook: vocals, flute, keys, guitar, slide guitar & occasional drums
; Jay \'Wesley Goldtouch/Wir
ey B. Buddah\' Watson: vocals, guitar, keys, synth, bass, backing vocals & occasional drums
; Joseph \'Shoseph Orion McJam\' Ryan: vocals, guitar, 12-string guitar, slide guitar, bass & backing vocals
; Jamie Terry: keys, organ & bass
; Kevin \'Kaykay Sorbet\' Parker: drums
; Kevin Parker: producer and mastering
; Rob Grant: mixer and mastering
; Sam Ford: engineer
Jakob Ullmann [>] [D]: Fremde Zeit - Addendum [F]
Label und Katalognummer: Edition RZ RZ 1026 28
Veröffentlicht: 2012 04 20
Genretags: Akademica - Moderne-Klassik - Aleatorik
Trackliste: CD 1
1. Disappearing musics, for six players (more or less) - 34:44
2. Solo 1 + 2 + 3 - 40:42
CD 2
1. Komposition für streichquartett 2 - 47:25
CD 3
1. Praha: Celetná - Karlova - Maiselova - 55:29
Alle Tracks: Jakob Ullmann.
Besetzung: Martha Agostini: Editing
; Leonardo Idrobo Arce: Electronics
; Christine Berkenhoff: Design
; Christoph Bösch: Flute
; Éva Csizmadia: Violin
; Ellen Fallowfield: Cello
; Benjamin Federer: Realization, Recording
; Jardena Flückiger: Spoken Word, Vocals
; Clara Gervais: Contrabass
; Simon Hauswirth: Realization, Recording
; Jurg Henneberger: Choir Master
; Astrid Karger: Photography
; Timour Klouche: Mastering
; Philipp Kusin: Organ Assistant
; Bernd Leukert: Liner Notes
; Hans Lorenzen: Mastering, Mixing, Recording
; Oliver Margulies: Viola
; Lucie Martin: Piano
; Molly McDolan: Oboe da caccia
; Nicolaus Ott: Design
; Pellegrini-Quartett: String Quartet
; Markus Putzke: Organ Assistant
; Stephan Schmidt: Speech/Speaker/Speaking Part
; Hans-Peter Schulz: Organ, Piano
; Laurie Schwartz: Liner Note Translation
; Orsolya Sepsi: Violin
; Pavlos Serassis: Clarinet
; Patrick Stadler: Saxophone
; Maruta Staravoitava: Flute
; Bernard Stein: Design
; Dafne Vicente-Sandoval: Bassoon
; Helena Winkelman: Violin
Yellowcard [>] [D]: Southern Air [F]
Label und Katalognummer: Hopeless Records HR 758
Produktion: Neal Avron
Veröffentlicht: 2012 08 13
Genretags: Alternativerock - Hardcorepunk - Emocore
Trackliste: 1. Awakening - 4:23
2. Surface of the Sun - 3:43
3. Always Summer - 3:10
4. Here I Am Alive (Ryan Key, Patrick Stump, Yellowcard) - 3:33
5. Sleep in the Snow - 4:02
6. A Vicious Kind - 3:53
7. Telescope - 3:52
8. Rivertown Blues - 3:34
9. Ten - 4:47
10. Southern Air - 4:22
Alle Tracks: Ryan Key, Yellowcard, ausser wo anders vermerkt.
Besetzung: Neal Avron: Engineer, Mixing, Programming
; Brendan Dekora: Assistant Engineer
; Georg Egloff: Piano
; Nicolas Fournier: Mixing Assistant
; Alex Gaskarth: Vocals
; David Immerglück: Mandolin, Pedal Steel
; Tay Jardine: Vocals
; Ted Jensen: Mastering
; Ryan Key: Group Member, Lyricist
; Christine Lightner: Cello
; Sean Mackin: Group Member, String Arrangements
; Brian Manley: Design, Photography
; Ryan Mendez: Group Member
; Longineu Parsons III: Group Member
; Cassadee Pope: Vocals
; Josh Portman: Group Member
; Patrick Stump: Lyricist
; Erich Talaba: Engineer
; Rodney Wir
tz: Viola
Label und Katalognummer: Big Machine Records BMR 310400 A
Produktion: Jeff Bhasker & Nathan Chapman & Jacknife Lee & Max Martin & Shellback & Taylor Swift & Butch Walker & Dan Wilson
Veröffentlicht: 2012 10 22
Genretags: Country - Countrypop - Post-Millennial-Countrypop
Taylor Swift hat dieses Album 2021 neu aufgenommen und als Red (Taylor's Version) veröffentlicht. Streamen Sie die Musik dort. Es geht um die Rechte der Autorin an ihren Songs!
Trackliste: 1. State of Grace - 4:55
2. Red - 3:43
3. Treacherous (Taylor Swift, Don Wilson) - 4:02
4. I Knew You Were Trouble (Max Martin, Shellback, Taylor Swift) - 3:39
5. All Too Well (Liz Rose, Taylor Swift) - 5:29
6. 22 (Max Martin, Shellback, Taylor Swift) - 3:52
7. I Almost Do - 4:04
8. We Are Never Ever Getting Back Together (Max Martin, Shellback, Taylor Swift) - 3:13
9. Stay Stay Stay - 3:25
10. The Last Time (Jacknife Lee, Gary Lightbody, Taylor Swift) - 4:59
11. Holy Ground - 3:22
12. Sad Beautiful Tragic - 4:44
13. The Lucky One - 4:00
14. Everything Has Changed (Ed Sheeran, Taylor Swift, Patrick Warren) - 4:05
15. Starlight - 3:40
16. Begin Again - 3:57
Besetzung: Peggy Baldwin: Cello
; Brett Banducci: Viola
; Sarah Barlow: Photography
; Sam Bell: Engineer
; Leann Bennett: Production Coordination
; Jeff Bhasker: Bass, Keyboards, Piano, Programming, Vocals (Background)
; Matt Bishop: Editing, Engineer
; Drew Bollman: Assistant
; J. Bonilla: Drums, Percussion, Programming
; Scott Borchetta: Executive Producer
; Delbert Bowers: Assistant
; Nick Buda: Drums
; Tom Bukovac: Guitar (Electric)
; Jason Campbell: Production Coordination
; Chad Carlson: Engineer
; Nathan Chapman: Bass, Drums, Engineer, Guitar (Acoustic), Guitar (Electric), Keyboards, Mandolin, Percussion, Piano, Soloist, Synthesizer, Vocals (Background)
; Daphne Chen: Violin
; Lauren Chipman: Viola
; Tom Coyne: Mastering
; Eric Darken: Percussion
; Marcia Dickstein: Harp
; Richard Dodd: Cello
; Leland Elliott: Assistant
; Caitlin Evanson: Vocals (Background)
; Eric Eylands: Assistant
; Paul Franklin: Guitar (Steel)
; Greg Fuess: Assistant
; Chris Galland: Assistant
; Serban Ghenea: Mixing
; Eric Gorfain: Concert Master, Violin
; Matty Green: Assistant
; Mike "Frog" Griffith: Production Coordination
; Austin Hale: Design
; John Hanes: Mixing Engineer
; Sam Holland: Engineer
; Dann Huff: Bouzouki, Guitar (Electric), Hi String Guitar, Producer
; David Huff: Digital Editing
; Michael Ilbert: Engineer
; Tyler Johnson: Guitar Engineer, Vocals (Background)
; Charlie Judge: Accordion, Hammond B3, Piano, Piano (Upright), Strings, Synthaxe, Synthesizer
; Gina Kronstadt: Violin
; John Krovoza: Cello
; Marisa Kuney: Violin
; Jacknife Lee: Bass, Engineer, Guitar, Keyboards, Programming
; Gary Lightbody: Featured Artist, Vocals (Background)
; Steve Marcantonio: Engineer
; Manny Marroquin: Mixing
; Max Martin: Keyboards
; Seth Morton: Assistant
; Anders Mouridsen: Guitar
; Jamie Muhoberac: Piano
; Jemma Muradian: Hair Stylist
; Bethany Newman: Art Direction
; Josh Newman: Art Direction
; Justin Niebank: Mixing
; Neli Nikolaeva: Violin
; Chris Owens: Assistant
; Owen Pallett: Conductor, Orchestration
; Radu Pieptea: Violin
; Simeon Pillich: Contrabass
; Wes Precourt: Violin
; John Rausch: Engineer
; Matt Rausch: Engineer
; Bill Rieflin: Drums
; Tim Roberts: Assistant
; Eric Robinson: Engineer
; Pawel Sek: Engineer
; Ed Sheeran: Featured Artist
; Shellback: Bass, Guitar, Guitar (Acoustic), Guitar (Electric), Keyboards, Programming
; Jake Sinclair: Bass, Engineer, Vocals (Background)
; Jimmie Sloas: Bass
; Mark "Spike" Stent: Mixing
; Aaron Sterling: Drums
; Taylor Swift: Creative Director, Guitar (Acoustic), Vocals (Background)
; Jeff Takiguchi: Contrabass
; Andy Thompson: Engineer, Guitar, Piano (Electric)
; JoAnn Tominaga: Production Coordination
; Ilya Toshinskiy: Mandolin
; Lorrie Turk: Make-Up
; Butch Walker: Drums, Guitar, Keyboards, Percussion, Vocals (Background)
; Patrick Warren: String Arrangements
; Amy Wickman: Violin
; Hank Williams: Mastering
; Brian David Willis: Engineer
; Dan Wilson: Bass, Guitar (Electric), Piano, Vocals (Background)
; Rodney Wir
tz: Viola
; Jonathan Yudkin: Fiddle, Violin
Ekkehard Ehlers [>] [D]: Adikia [F]
Assoziierte Acts: Werner Dafeldecker & Paul Wir
kus
Label und Katalognummer: Staubgold digital 20
Produktion: Ekkehard Ehlers
Veröffentlicht: 2012 10 22
Genretags: Post-Millennial-Music - Digital-Underground - Neoklassik
Trackliste: 1. Adikia - 26:38
Alle Tracks: Ekkehard Ehlers.
Besetzung: Clarinet: Kai Fagaschinski
; Double Bass: Werner Dafeldecker
; Mastered: Rashad Becker
; Percussion: Paul Wir
kus
; Viol, [Subcontrabass] Recorder: Eva Reiter
; Viola: Björn Gottstein
; Vocals: Todosch
Cee-Lo Green [>] [D]: Cee-Lo's Magic Moment [F]
Label und Katalognummer: Elektra 075678762833
Produktion: Cee Lo Green & Smeezingtons & Fraser T Smith
Veröffentlicht: 2012 10 29
Genretags: Afroamericana - Funky
Trackliste: 1. What Christmas Means to Me (Anna Gordy Gaye, George Gordy, Allen Story) - 3:17
2. Baby, It's Cold Outside" (featuring Christina Aguilera)) - Frank Loesser) - 4:03
3. This Christmas (Nadine McKinnor, Donny Hathaway) - 3:21
4. The Christmas Song (Mel Tormé, Bob Wells) - 3:50
5. White Christmas (Irving Berlin) - 3:10
6. All I Need Is Love" (featuring The Muppets)) - Cee Lo Green, Piero Umiliani) - 3:47
7. You're a Mean One, Mr. Grinch" (featuring Straight No Chaser)) - Theodor "Dr. Seuss" Geisel) - 3:17
8. Please Come Home for Christmas (Charles Brown, Gene Redd) - 3:10
9. Run Rudolph Run (Johnny Marks, Marvin Brodie) - 3:27
10. All I Want for Christmas (Mariah Carey, Walter Afanasieff) - 4:11
11. Mary, Did You Know? (Buddy Greene, Mark Lowry) - 3:54
12. River (Joni Mitchell) - 4:01
13. Merry Christmas, Baby" (featuring Rod Stewart & Trombone Shorty)) - Lou Baxter, Johnny Moore) - 3:51
14. Silent Night (Traditional) - 4:35
Besetzung: Christina Aguilera: Featured Artist, Vocals
; Adam Anders: Composer, Executive Producer, Remix Vocals Arranger, Vocal Arrangement, Vocals (Background)
; Alex Anders: Engineer, Vocal Producer
; Nikki Anders: Vocals (Background)
; Troy "Trombone Shorty" Andrews: Featured Artist, Trombone, Trumpet
; Erik Arvinder: Strings, Violin
; Peer Astrom: Bass, Drums, Engineer, Fender Rhodes, Horn Arrangements, Keyboards, Mixing, Musician, Percussion, Producer, Programming, String Arrangements
; Kala Balch: Vocals (Background)
; Emily Benford: Vocals (Background)
; Emma Beskow: Cello
; Josh Blanchard: Assistant Engineer
; Willem Bleeker: String Engineer
; Claudia Bonfiglioli: Violin
; Daniela Bonfiglioli: Violin
; Simona Bonfiglioli: Violin
; Delbert Bowers: Assistant
; Ravaughn Brown: Vocals (Background)
; Lars Bryngelsson: Viola
; Bridget Cady: Vocals (Background)
; Terrell Carter: Vocals (Background)
; Deyder Cintron: Assistant Engineer
; Samuel Coppin: Cello
; Tim Davis: Vocal Arrangement, Vocal Contractor, Vocals (Background)
; Kristina Ebbersten: Violin
; Henrik Edenhed: Mixing
; Anthony Evans: Vocals (Background)
; Staffan Findin: Trombone
; David Foster: Horn Arrangements, Keyboards
; Göran Frost: Viola
; Chris Galland: Assistant
; Dwayne Garrett: Art Direction, Design
; Rob Gold: Art Manager
; Wojtek Goral: Sax (Alto), Sax (Baritone), Sax (Tenor)
; Sigrid Granit: Double Bass
; Cee Lo Green: Executive Producer, Vocals
; Peter Gunnarsson: Bass
; Missi Hale: Vocals (Background)
; Hanna Helgegren: Violin
; Gudmund Ingvall: Cello
; Fredrik Jansson: Assistant Engineer
; Kimberly Johnson: Vocals (Background)
; Jonas Wall: Tuba
; Craig Kallman: A&R, Executive Producer
; Keri Larson: Vocals (Background)
; Nikki Leonti: Vocals (Background)
; Conny Lindgren: Violin
; Katharina Lindgren: Double Bass
; Pär Lindqvist: Viola
; Tomas Lundström: Cello
; Peter Lysell: Double Bass
; Stephen Marcussen: Mastering
; Manny Marroquin: Mixing
; Tim McFatter: Sax (Tenor)
; Larry Mestel: Management
; Ed Mitchell: Vocal Consultant
; The Muppets: Featured Artist, Vocals
; Eric Nicolau: Vocals (Background)
; Anders Norén: Viola
; Eriikka Nylund: Viola
; Matt O\'Connor: Percussion
; Dan Oestreicher: Sax (Baritone)
; Christopher Öhman: Viola
; Karl Olandersson: Trumpet
; Jeanette Olsson: Vocal Arrangement, Vocals (Background)
; Stefan Olsson: Guitar, Trumpet
; Tiffany Palmer: Vocals (Background)
; Dean Parks: Guitar
; Martin Persson: Bass, Guitar, Horn Arrangements, Keyboards, Piano, Programming, String Arrangements, Wurlitzer
; Stefan Persson: Trumpet
; Andrej Power: Violin
; Public Domain: Composer
; Kati Raitinen: Cello
; Oscar Ramirez: Vocal Engineer
; Nicole Ray: Production Coordination
; Gene Redd: Composer
; Dieyelle Reed: Vocals (Background)
; Sean Ross: A&R
; Chrys Ryan: Vocals (Background)
; Viktor Sand: Sax (Alto), Sax (Baritone), Sax (Tenor)
; Sigrid Selén: Double Bass
; Onitsha Shaw: Vocals (Background)
; Mikael Sjögren: Viola
; Joshua Skubel: Package Production
; Martin Stensson: Violin
; Rod Stewart: Featured Artist
; Allen Story: Composer
; Straight No Chaser: Featured Artist, Vocals (Background)
; Åsa Strid: Cello
; Christian Svarfvar: Violin
; Patrik Swedrup: Violin
; Fredrik Syberg: Violin
; Kerstin Thorn Session Strings: Strings
; Mel Tormé: Composer
; James Treadwell: Vocals (Background)
; Piero Umiliani: Composer
; Carin Wallgren: Viola
; Paul Waltman: Violin
; Robert Wells: Composer
; Mikael Wenhov: Violin
; Steve Whitmire: Primary Artist
; Magnus Wiklund: Trombone, Trombone (Bass)
; Malin William-Olsson: Violin
; Brandon Winbush: Vocals (Background)
; Anna Wir
denfeldt: Violin
Christina Aguilera [>] [D]: Lotus [F]
Label und Katalognummer: RCA 88765 40423
Produktion: Alex da Kid & Chris Braide & Busbee & Mike Del Rio & Jayson DeZuzio & Dem Jointz & Jason Gilbert & Jamie Hartman & Aeon
Veröffentlicht: 2012 11 13
Genretags: Electropop
Trackliste: 1. Lotus Intro (Dwayne Abernathy, Christina Aguilera, Alexander Grant, Candice Pillay) - 3:17
2. Army of Me (Christina Aguilera, Phil Bentley, David Glass, Jamie Hartman) - 3:26
3. Red Hot Kinda Love (Christina Aguilera, Lucas Secon, Olivia Waithe) - 3:06
4. Make the World Move (feat. Cee Lo Green) (Dwayne Abernathy, Jayson DeZuzio, Alexander Grant, Candice Pillay, Mike Del Rio, Armando Trovajoli) - 2:59
5. Your Body (Tiffany Amber, Savan Kotecha, Max Martin, Shellback) - 3:59
6. Let There Be Love (Jakke Erixson, Oliver Goldstein, Oscar Holter, Savan Kotecha, Max Martin, Bonnie McKee, Shellback) - 3:21
7. Sing For Me (Christina Aguilera, Virginia Blackmore, Aeon 'Step' Manahan) - 4:00
8. Blank Page (Christina Aguilera, Chris Braide, Sia Furler) - 4:06
9. Cease Fire (Christina Aguilera, Alexander Grant, Candice Pillay) - 4:07
10. Around the World (Christina Aguilera, Jason Gilbert, Dwayne 'Supa Dups' Chin Quee, Ali Tamposi) - 3:25
11. Circles (Dwayne Abernathy, Christina Aguilera, Alexander Grant, Candice Pillay) - 3:25
12. Best of Me (Christina Aguilera, Jayson DeZuzio, Alexander Grant, Candice Pillay) - 4:08
13. Just a Fool (feat. Blake Shelton) (Wayne Hector, Claude Kelly, Steve Robson) - 4:13
Bonustracks der Deluxe Ausgabe von 2012
1. Light Up the Sky (Aguilera, Grant, Pillay) - 3:31
2. Empty Words (Aguilera, Busbee, Nikki Flores, Tamposi) - 3:47
3. Shut Up (Aguilera, Grant, Pillay, Del Rio, Abernathy, Nate Campany Alex da Kid) - 2:53
4. Your Body (Martin Garrix Remix) (Martin, Shellback, Kotecha, Amber) - 5:12
Besetzung: Christina Aguilera: A&R, Creative Director, Executive Producer, Vocal Vocals (Background)
; Irving Azoff: Management
; Enrique Badulescu: Photography
; Alisha Bauer: Strings
; Jeff Bobko: Piano
; Chris Braide: Keyboards, Piano, Programming, String Arrangements
; Sarah Brandwood-Spencer: Violin
; Karl Brazil: Drums
; J Browz: Bass, Guitar, Strings
; Tyler Chester: Bass
; JulieAnn Cole: Violin
; Thomas Cullison: Assistant
; Steve Daly: Bass, Drum Programming, Keyboards, Synthesizer
; Mike Del Rio: Vocals
; John Garrison: Bass
; Serban Ghenea: Mixing
; Cee Lo Green: Featured Artist
; John Hanes: Engineer
; Jamie Hartman: Engineer, Guitar (Acoustic), Piano, String Arrangements, Synthesizer Piano, Synthesizer Strings
; Jeri Heiden: Design
; Scott Hendricks: Vocal Engineer
; Pete Hofmann: Editing, Engineer, Pro-Tools
; Sam Holland: Engineer, Vocal Engineer
; Josh Mosser: Engineer
; Jon Keep: Drum Programming, Keyboards, Synthesizer
; Claude Kelly: Vocal Producer
; Tina Kennedy: Management
; Zivi Krieger: Assistant
; Marisa Kuney: Strings
; Songa Lee: Strings
; Aeon \'Step\' Manahan: Instrumentation, Programming
; Manny Marroquin: Mixing
; Max Martin: Keyboards, Vocals (Background)
; Sam Miller: Engineer
; Keith Naftaly: A&R
; Tre Nagella: Assistant
; Ruth Owens: Celli
; Candice Pillay: Vocal Producer, Vocals (Background)
; Luke Potashnick: Guitars
; Aimée Proal: Vocals (Background)
; The Professor: Synthesizer Piano, Synthesizer Strings
; Oscar Ramirez: Engineer, Vocal Engineer
; Todd Robinson: Assistant
; Steve Robson: Guitars, Keyboards, Programming, String Arrangements
; Phil Seaford: Assistant Engineer
; Lucas Secon: Arranger, Engineer, Instrumentation, Programming
; Shellback: Engineer, Guitar, Keyboards, Programming, Vocals (Background)
; Blake Shelton: Featured Artist
; Justin Stanley: Engineer
; Nick Steinhardt: Design
; Alex Stemp: Violin
; Simon Turner: Celli
; Pete Whitfield: String Arrangements, Violin
; Brian Willis: Pro-Tools
; Rodney Wir
tz: Strings
V. A. (The Wire) [>] [D]: Tapper 31 [F]
Label und Katalognummer: The Wir
e issue 350
Produktion: Verschiedene
Veröffentlicht: 2013 03 (Ed.)
Genretags: Jazz - Avantgardejazz
Trackliste: 1. Pink Electric - 3:30
2. 24 Hours Bells Dub - 3:47
3. Black Flute Chant Part 2 - 3:14
4. The Static And The Swerve - 3:14
5. Metropolis Waltz - 4:10
6. Obedience (Wir
e Tapper Edit) - 4:58
7. The Water's Fine - 5:03
8. Supplemental Shale (Wir
e Tapper Edit) - 4:04
9. By The Rails - 2:17
10. Na Binta (Short Version Edit) - 4:02
11. Solarism (Wir
e Tapper Edit) - 4:33
12. Slip On My Skull - 3:32
13. Study Three - 4:23
14. The Owls (Excerpt) - 3:59
15. Prelude To Alone - 3:17
16. MOOROOMOOBOO HDS OFF (The Wir
e ShOrt Edit) - 3:47
17. Jeriquoi Yah Wangettik Mnuutah - 4:04
18. Dele Af Kroppen - 3:30
19. A Million Voices For Nature (Wir
e Tapper Edit) - 4:29
20. BV6 - 4:03
Besetzung: Artwork [Cover Artwork]: Ben Drury
; Compiled By: Andy Tait, Katie Gibbons, Shane Woolman
; Mastering: Toby Hrycek-Robinson
; Copyright (c) The Wir
e
Michael Bublé [>] [D]: To Be Loved [F]
Label und Katalognummer: Reprise Records 534922
Produktion: Bob Rock
Veröffentlicht: 2013 04 23
Genretags: Newpop - Vocalpop
Trackliste: 1. You Make Me Feel So Young (Mack Gordon, Josef Myrow) - 3:05
2. It's a Beautiful Day (Michael Bublé, Alan Chang, Amy S. Foster) - 3:19
3. To Love Somebody (Barry Gibb, Robin Gibb) - 3:15
4. Who's Lovin' You (Smokey Robinson) - 2:56
5. Something Stupid (feat: Reese Witherspoon) (C. Carson Parks) - 2:57
6. Come Dance with Me (Sammy Cahn, James Van Heusen) - 2:46
7. Close Your Eyes (Michael Bublé, Alan Chang, Jann Arden Richards) - 3:33
8. After All (Michael Bublé, Alan Chang, Steven Sater, Jim Vallance) - 3:37
9. Have I Told You Lately That I Love You (feat: Naturally 7) (Scott Wiseman) - 3:26
10. To Be Loved (Tyran Carlo, Gwen Gordy Fuqua, Berry Gordy, Jr.) - 3:41
11. You've Got a Friend in Me (Randy Newman) - 3:25
12. Nevertheless (I'm in Love with You) (feat: The Puppini Sisters) (Bert Kalmar, Harry Ruby) - 2:55
13. I Got It Easy (Michael Bublé, Alan Chang, Tom Jackson) - 3:39
14. Young at Heart (Carolyn Leigh, Johnny Richards) - 3:42
Besetzung: Art Direction [Package], Design [Package]: Julian Peploe Studio
; Backing Vocals: Angela Fisher
; Backing Vocals: Monique Donnelly
; Backing Vocals: Naturally 7
; Backing Vocals: Nikisha Grier
; Backing Vocals: Ruby Freeman
; Cello: Andrew Shulman
; Cello: Antony Cooke
; Cello: Cameron Stone
; Cello: Cecilia Tsan
; Cello: Christine Ermacoff
; Cello: Giovanna Moraga Clayton
; Cello: Kim Scholes
; Cello: László Mezö
; Cello: Maurice Grants
; Cello: Miguel Martinez
; Cello: Nika Ross
; Cello: Paul Cohen
; Cello: Peggy Baldwin
; Cello: Steve Erdody
; Cello: Steve Richards
; Cello: Tim Landauer
; Cello: Timothy Loo
; Cello: Vanessa Freebairn-Smith
; Cello: Victor Lawrence
; Contractor: Gina Zimmitti
; Contractor: JoAnn Tominaga
; Coordinator [Production]: Sandee Bathgate
; Copyist: Josef Zimmerman
; Double Bass [Upright Bass]: Chuck Berghofer
; Double Bass [Upright Bass]: Dan Lutz
; Double Bass [Upright Bass]: René Camacho
; Drums: Abraham Laboriel Jr.
; Drums: Gregg Field
; Drums: Homer Steinweiss
; Drums: Jim Keltner
; Drums: Josh Freese
; Drums: Kat Hendrikse
; Electric Bass: Hugh McDonald
; Electric Bass: Paul Bushnell
; Electric Bass, Guitar: Bosco Mann
; Engineer [Assistant]: Adam Greenholtz
; Engineer [Assistant]: Jeremy Miller
; Engineer [Assistant]: Keith Munson
; Engineer [Assistant]: Matt Harvey
; Engineer [Assistant]: Ryan Enockson
; Flamenco Guitar: Ramon Stagnaro
; French Horn: Amy Sanchez
; French Horn: Daniel P. Kelley
; French Horn: Danielle Ondarza
; French Horn: James Thatcher
; French Horn: Jennie Kim
; French Horn: Jonathan Johnson
; French Horn: Lisa McCormick
; French Horn: Mark Adams (10)
; French Horn: Nathan Campbell
; French Horn: Steve Becknell
; Guitar: Andrew Synowiec
; Guitar: Binky Griptite
; Guitar: Graham Dechter
; Guitar: Joe Crispiano
; Guitar: Joel Shearer
; Guitar: Keith Scott
; Guitar: Lyle Workman
; Guitar: Michael Landau
; Guitar: Rusty Anderson
; Harp: Gayle Levant
; Harp: Katie Kirkpatrick
; Keyboards: Lou Pomanti
; Mastering: Ted Jensen
; Mixing: Chris Lord-Alge (2, 7, 8)
; Mixing: Randy Staub (15)
; Mixing: Tom Elmhirst (3, 4, 10)
; Mixing, Guitar: Bob Rock (1, 5, 6, 9, 11 to 14, 16, 17)
; Percussion: Fernando Velez
; Percussion: Lenny Castro
; Percussion: Rafael Padilla
; Percussion: Tiki Pasillas
; Photography: Warwick Saint
; Piano: Otmaro Ruiz
; Piano, Keyboards: Leon Michels
; Piano, Keyboards, Guitar: Alan Chang
; Piano, Keyboards, Guitar: Jamie Edwards
; Recording: Eric Helmkamp
; Recording [Dap-King]: Eric Helmkamp
; Recording [Dap-Kings]: Gabriel Roth
; Recording [Orchestra]: Roger Monk
; Reeds: Brandon Fields
; Reeds: Dan Higgins
; Reeds: Gene Cipriano
; Reeds: Greg Huckins
; Reeds: Heather Clark
; Reeds: Jeff Driskill
; Reeds: Jenni Olson
; Reeds: Joel Peskin
; Reeds: John Mitchell
; Reeds: Larry Kaplan
; Reeds: Larry Williams
; Reeds: Pete Christlieb
; Reeds: Rusty Higgins
; Reeds: Stuart Clark
; Reeds: Tom Scott
; Tape Op, Engineer [Assistant]: Wayne Gordon
; Trombone: Andy Martin
; Trombone: Charles Loper
; Trombone: Craig Gosnell
; Trombone: Nick Lane
; Trombone: Reggie Young
; Trombone, Tuba: Bill Reichenbach
; Trumpet, Flugelhorn: Bryan Lipps
; Trumpet, Flugelhorn: Chuck Findley
; Trumpet, Flugelhorn: Dan Fornero
; Trumpet, Flugelhorn: Gary Grant
; Trumpet, Flugelhorn: Gilbert Castellanos
; Trumpet, Flugelhorn: Jumaane Smith
; Trumpet, Flugelhorn: Wayne Bergeron
; Trumpet, Flugelhorn: Willie Murillo
; Tuba: Doug Tornquist
; Viola: Alma Fernandez
; Viola: Andrew Duckles
; Viola: Brian Dembow
; Viola: Cameron Patrick
; Viola: Caroline Buckman
; Viola: Carolyn Riley
; Viola: Darrin McCann
; Viola: David Walther
; Viola: Erik Rynearson
; Viola: Karen Elaine
; Viola: Kari Prescott
; Viola: Kate Reddish
; Viola: Luke Maurer
; Viola: Marlow Fisher
; Viola: Matt Funes
; Viola: Robert Brophy
; Viola: Rodney Wir
tz
; Viola: Shawn Mann
; Viola: Thomas Diener
; Violin: Ana Landauer
; Violin: Armen Anassian
; Violin: Assa Drori
; Violin: Belinda Broughton
; Violin: Bob Peterson
; Violin: Bruce Dukov
; Violin: Carol Pool
; Violin: Caroline Campbell
; Violin: Charlie Bisharat
; Violin: Christian Hebel
; Violin: Daphne Chen
; Violin: Darius Campo
; Violin: David Ewart
; Violin: Gerardo Hilera
; Violin: Gina Kronstadt
; Violin: Grace Oh
; Violin: Helen Nightengale
; Violin: Ina Veli
; Violin: Irina Voloshina
; Violin: Jackie Brand
; Violin: Jenny Takamatsu
; Violin: Joel Derouin
; Violin: Joel Pargman
; Violin: John Wittenberg
; Violin: Josefina Vergara
; Violin: Julie Gigante
; Violin: Julie Rogers
; Violin: Kathleen Robertson
; Violin: Kathleen Sloan
; Violin: Katia Popov
; Violin: Kevin Connolly
; Violin: Lily Ho Chen
; Violin: Lorand Lokuszta
; Violin: Marc Sazer
; Violin: Mario DeLeon
; Violin: Marisa Kuney
; Violin: Marisa McLeod
; Violin: Mark Cargill
; Violin: Michele Richards
; Violin: Natalie Leggett
; Violin: Neel Hammond
; Violin: Nina Evtuhov
; Violin: Pam Gates
; Violin: Phillip Levy
; Violin: Radu Pieptea
; Violin: Richard Adkins
; Violin: Sara Parkins
; Violin: Shari Zippert
; Violin: Sid Page
; Violin: Songa Lee-Kitto
; Violin: Susan Chatman
; Violin: Tamara Hatwan
; Violin: Tereza Stanislav
; Violin: Yelena Yegoryan
; Violin: Yvette Devereaux
; Copyright (c) Reprise Records
; Phonographic Copyright (p) Reprise Records
; Mastered At Sterling Sound
; Recorded At The Warehouse Studio
; Recorded At EastWest Studios
; Recorded At Penrose Recorders
; Mixed At The Warehouse Studio
; Mixed At Mix LA
; Mixed At Electric Lady Studios
Patty Griffin [>] [D]: American Kid [F]
Label und Katalognummer: New West Records NW 6278
Produktion: Craig Ross & Patty Griffin
Veröffentlicht: 2013 05 07
Genretags: Rock - Folkrock
Trackliste: 1. Go Wherever You Wanna Go - 3:46
2. Don't Let Me Die in Florida - 3:46
3. Ohio - 5:12
4. Wild Old Dog - 4:47
5. Mom & Dad’s Waltz (Lefty Frizzell) - 2:55
6. Faithful Son - 4:54
7. Highway Song (Patty Griffin, Robert Plant) - 3:13
8. That Kind of Lonely - 4:22
9. Irish Boy - 2:47
10. Get Ready Marie - 3:00
11. Not a Bad Man - 3:48
12. Gonna Miss You When You're Gone - 4:05
Alle Tracks: Patty Griffin, ausser wo anders vermerkt.
Besetzung: Arranged [Additional]: Robert Plant (3)
; Backing Vocals: Craig Ross (6)
; Backing Vocals: Robert Plant (6)
; Baritone Guitar: Craig Ross (2 to 4, 7)
; Baritone Guitar: Doug Lancio (11)
; Bass: Craig Ross (2, 10)
; Bass [Bowed]: Byron House (7, 8)
; Choir [Drunken]: Cody Dickinson (10)
; Choir [Drunken]: Doug Lancio (10)
; Choir [Drunken]: Luther Dickinson (10)
; Choir [Drunken]: Patty Griffin (10)
; Choir [Drunken]: Roy Taylor (10)
; Design: Mishka Westell
; Drums: Cody Dickinson (1-4, 10)
; Engineer: Roy Taylor
; Engineer [Additional Engineering]: Kevin Houston
; Engineer [Additional Engineering]: Leslie Richter
; Engineer [Assistant]: Nick Newberry
; Guitar: Craig Ross (1, 3, 7, 8)
; Guitar: Doug Lancio (2, 3, 5, 6)
; Guitar: Luther Dickinson (3 to 6, 10)
; Guitar: Patty Griffin (1 to 8, 10 to 12)
; Instruments [Canjo]: Luther Dickinson (2)
; Jug: Cody Dickinson (10)
; Mandolin: Doug Lancio (1, 4, 5, 10)
; Mastering: Joe Gastwirt
; Mixing: Mike Poole
; Omnichord: Craig Ross (12)
; Organ: Craig Ross (6, 7)
; Organ: John Deaderick (10, 12)
; Percussion: Cody Dickinson (1, 3, 4, 6)
; Percussion: Craig Ross (3)
; Photography: Cambria Harkey
; Piano: Craig Ross (11)
; Piano: John Deaderick (10)
; Piano: Patty Griffin (9)
; Slide Guitar: Luther Dickinson (1)
; Vocals: Patty Griffin
; Vocals: Robert Plant (3, 7)
; Phonographic Copyright (p) New West Records, LLC
; Copyright (c) New West Records, LLC
; Recorded At Zebra Ranch
; Recorded At Studio G!
Daft Punk [>] [D]: Random Access Memories [F]
Label und Katalognummer: Columbia 88883716862
Produktion: Daft Punk
Veröffentlicht: 2013 05 17
Genretags: Electropop - New-Rave - Electrohouse
Trackliste: 1. Give Life Back to Music (Thomas Bangalter, Guy-Manuel de Homem-Christo, Nile Rodgers, Paul Jackson, Jr.) - 4:34
2. The Game of Love (Bangalter, de Homem-Christo) - 5:21
3. Giorgio by Moroder (Bangalter, de Homem-Christo, Giorgio Moroder) - 9:04
4. Within (Bangalter, de Homem-Christo, Jason Beck) - 3:48
5. Instant Crush (feat. Julian Casablancas) (Bangalter, de Homem-Christo, Julian Casablancas) - 5:37
6. Lose Yourself to Dance (feat. Pharrell Williams) (Bangalter, de Homem-Christo, Pharrell Williams, Rodgers) - 5:53
7. Touch (feat. Paul Williams) (Bangalter, de Homem-Christo, Paul Williams, Chris Caswell) - 8:18
8. Get Lucky (feat. Pharrell Williams) (Bangalter, de Homem-Christo, Pharrell Williams, Rodgers) - 6:07
9. Beyond (Bangalter, de Homem-Christo, Paul Williams, Caswell) - 4:50
10. Motherboard (Bangalter, de Homem-Christo) - 5:41
11. Fragments of Time (feat. Todd Edwards) (Bangalter, de Homem-Christo, Todd Edwards) - 4:39
12. Doin' It Right (feat. Panda Bear) (Bangalter, de Homem-Christo, Noah Lennox) - 4:11
13. Contact (Bangalter, de Homem-Christo, Stéphane Quême, Garth Porter, Tony Mitchell, Daryl Braithwaite) - 6:21
Besetzung: Arranged [Arrangements]: Chris Caswell
; Arranged [Arrangements]: Guy-Manuel de Homem-Christo
; Arranged [Arrangements]: Thomas Bangalter
; Bass [Orchestra]: Chuck Berghofer (3, 7, 9, 10)
; Bass [Orchestra]: Donald V. Ferrone (3, 7, 9, 10)
; Bass [Orchestra]: Drew Dembowski (3, 7, 9, 10)
; Bassoon [Orchestra]: Judy Farmer (3, 7, 9, 10)
; Cello [Orchestra]: Armen Ksajikian (3, 7, 9, 10)
; Cello [Orchestra]: Christina Soule (3, 7, 9, 10)
; Cello [Orchestra]: Paula Hochhalter (3, 7, 9, 10)
; Cello [Orchestra]: Timothy Loo (3, 7, 9, 10)
; Cello [Orchestra]: Vanessa Freebairn-Smith (3, 7, 9, 10)
; Clarinet [Orchestra]: Marty Krystall (3, 7, 9, 10)
; Clarinet [Orchestra], Bass Clarinet [B. Clarinet (Orchestra)]: Gene Cipriano (3, 7, 9, 10)
; Conductor [Orchestra]: Doug Walter (3, 7, 9, 10)
; Contractor [Orchestra]: Joseph Solido (3, 7, 9, 10)
; Cover [Cover Art]: Cedric Hervet
; Cover [Cover Art]: Warren Fu
; Creative Director: Cedric Hervet
; Design Concept [Concept By], Art Direction: Cedric Hervet
; Design Concept [Concept By], Art Direction: Guy-Manuel de Homem-Christo
; Design Concept [Concept By], Art Direction: Paul Hahn
; Design Concept [Concept By], Art Direction: Thomas Bangalter
; Design Concept [Concept By], Art Direction: Warren Fu
; Engineer [Digital Audio Engineer]: Daniel Lerner
; English Horn [E. Horn (Orchestra)]: David Kossoff (3, 7, 9, 10)
; Flute [Orchestra]: Greg Huckins (3, 7, 9, 10)
; Flute [Orchestra]: Sara Andon (3, 7, 9, 10)
; Flute [Orchestra]: Steve Kajala (3, 7, 9, 10)
; French Horn [Orchestra]: Danielle Ondarza (3, 7, 9, 10)
; French Horn [Orchestra]: James Atkinson (3, 7, 9, 10)
; French Horn [Orchestra]: Justin Hageman (3, 7, 9, 10)
; French Horn [Orchestra]: Nathan Campbell (3, 7, 9, 10)
; French Horn [Orchestra]: Stephanie O\'Keefe (3, 7, 9, 10)
; Illustration: Warren Fu
; Management: Paul Hahn
; Mastering: Bob Ludwig
; Mastering: Chab
; Mixing: Mick Guzauski
; Mixing [Assistant Mixing Engineer]: Peter Franco
; Mixing [Assistant Mixing Engineer]: Seth Waldmann
; Oboe [Orchestra]: Earl Dumler (3, 7, 9, 10)
; Orchestrated By [Orchestration]: David Channing (3, 7, 9, 10)
; Other [Booth (Orchestra)]: Chris Caswell (3, 7, 9, 10)
; Other [Legal]: Peter Button, Clintons UK
; Other [Media Director]: Kathryn Frazier, Biz 3
; Percussion [Orchestra]: Brian Kilgore (3, 7, 9, 10)
; Percussion [Orchestra]: Mark Converse (3, 7, 9, 10)
; Production Manager [Production Coordinator]: Jackie O\'Brien
; Production Manager [Production Coordinator]: Sam Cooper
; Recording: Florian Lagatta
; Recording: Mick Guzauski
; Recording: Peter Franco
; Recording [Additional Recording Engineer]: Alana Da Fonseca
; Recording [Additional Recording Engineer]: Phil Joly
; Recording [Assistant Recording Engineer]: Bill Rahko
; Recording [Assistant Recording Engineer]: Charlie Paakkari
; Recording [Assistant Recording Engineer]: Cory Brice
; Recording [Assistant Recording Engineer]: Derek Karlquist
; Recording [Assistant Recording Engineer]: Doug Tyo
; Recording [Assistant Recording Engineer]: Eric Eylands
; Recording [Assistant Recording Engineer]: Eric Weaver
; Recording [Assistant Recording Engineer]: Kevin Mills
; Recording [Assistant Recording Engineer]: Kyle Stevens
; Recording [Assistant Recording Engineer]: Miguel Lara
; Recording [Assistant Recording Engineer]: Mike Larson
; Recording [Assistant Recording Engineer]: Nicolas Essig
; Recording [Assistant Recording Engineer]: Seth Waldmann
; Sound Designer: Gus Koven
; Technician [Audio Consultant]: Jean-Pierre Janiaud
; Trombone [Bass Trombone (Orchestra)]: Craig Gosnell (3, 7, 9, 10)
; Trombone [Orchestra]: Andy Martin (3, 7, 9, 10)
; Trombone [Orchestra]: Bob McChesney (3, 7, 9, 10)
; Trombone [Orchestra]: Charles Loper (3, 7, 9, 10)
; Trombone [Orchestra]: Charlie Morillas (3, 7, 9, 10)
; Trumpet [Orchestra]: Chuck Findley (3, 7, 9, 10)
; Trumpet [Orchestra]: Gary Grant (3, 7, 9, 10)
; Trumpet [Orchestra]: Larry McGuire (3, 7, 9, 10)
; Trumpet [Orchestra]: Warren Luening (3, 7, 9, 10)
; Viola [Orchestra]: Alma Fernandez (3, 7, 9, 10)
; Viola [Orchestra]: Andrew Picken (3, 7, 9, 10)
; Viola [Orchestra]: Carolyn Riley (3, 7, 9, 10)
; Viola [Orchestra]: Harry Shirinian (3, 7, 9, 10)
; Viola [Orchestra]: Jody Rubin (3, 7, 9, 10)
; Viola [Orchestra]: Ray Tischer (3, 7, 9, 10)
; Viola [Orchestra]: Rodney Wir
tz (3, 7, 9, 10)
; Viola [Orchestra]: Roland Kato (3, 7, 9, 10)
; Violin [Orchestra]: Audrey Solomon (3, 7, 9, 10)
; Violin [Orchestra]: Calabria McChesney (3, 7, 9, 10)
; Violin [Orchestra]: Carrie Kennedy (3, 7, 9, 10)
; Violin [Orchestra]: Cindy Moussas (3, 7, 9, 10)
; Violin [Orchestra]: Irina Voloshina (3, 7, 9, 10)
; Violin [Orchestra]: Joel Pargman (3, 7, 9, 10)
; Violin [Orchestra]: Johana Krejci (3, 7, 9, 10)
; Violin [Orchestra]: Kevin Connolly (3, 7, 9, 10)
; Violin [Orchestra]: Lisa Dondlinger (3, 7, 9, 10)
; Violin [Orchestra]: Lisa Sutton (3, 7, 9, 10)
; Violin [Orchestra]: Margaret Wooten (3, 7, 9, 10)
; Violin [Orchestra]: Mary Sloan (3, 7, 9, 10)
; Violin [Orchestra]: Miwako Watanabe (3, 7, 9, 10)
; Violin [Orchestra]: Neel Hammond (3, 7, 9, 10)
; Violin [Orchestra]: Nina Evtuhov (3, 7, 9, 10)
; Violin [Orchestra]: Olivia Tsui (3, 7, 9, 10)
; Violin [Orchestra]: Rafael Rishik (3, 7, 9, 10)
; Violin [Orchestra]: Rita Weber (3, 7, 9, 10)
; Violin [Orchestra]: Samuel Fischer (3, 7, 9, 10)
; Violin [Orchestra]: Sara Parkins (3, 7, 9, 10)
; Violin [Orchestra]: Songa Lee (3, 7, 9, 10)
; Violin [Orchestra], Concertmaster [Orchestra]: Assa Drori (3, 7, 9, 10)
; Copyright (c) Daft Life Ltd.
; Phonographic Copyright (p) Daft Life Ltd.
; Licensed To Columbia Records
; Distributed By Sony Music Entertainment
; Distributed By Sony Music Entertainment Poland Sp. z o.o.
; Pressed By Sony DADC
; Published By Imagem Music
; Published By Daft Music
; Published By Because Music
; Published By XLC Music
; Published By Miss Mittie Music
; Published By Giorgio Moroder Publishing Co.
; Published By EMI Music Publishing
; Published By Julian Casablancas Publishing
; Published By Warner/Chappell Music Publishing Ltd.
; Published By EMI April Music Inc.
; Published By More Water From Nazareth
; Published By Sunset Squid Music
; Published By Kazz Song, Inc.
; Published By Todd Imperatrice
; Published By Chrysalis
; Published By Stéphane Quême
; Published By Perfect Pitch Publishing
; Recorded At Studio Gang
; Recorded At Henson Recording Studios
; Recorded At Conway Studios
; Recorded At Electric Lady Studios
; Recorded At Capitol Studios
; Mixed At Conway Studios
; Mastered At Gateway Mastering
; Mastered At Translab
V. A. (The Wire) [>] [D]: Tapper 32 [F]
Label und Katalognummer: The Wir
e issue 354
Produktion: Verschiedene
Veröffentlicht: 2013 07 (Ed.)
Genretags: Jazz - Avantgardejazz
Trackliste: 1. Sparkle In Grey: Song For Arch Stanton (Wir
e Tapper Edit) - 4:47
2. Romvelope: Hodmandod - 4:14
3. Mary Ellen Childs: Spirit Duet (DJ James Patrick Remix) - 2:44
4. On Dog: Poplen. 2:55
5. Claudio Chianura: Daniel And Me At Captain Kidd's - 3:39
6. F/LOR
: The Hunt - 3:12
7. Mike Vernusky: Becomes Wing Life (Excerpt) - 4:22
8. Gagmen, The: Live In New York City (Excerpt) - 4:53
9. Ritornell: The Morning Factory - 4:17
10. Greg Haines: The Whole - 4:05
11. k3T3m: Zar@z - 4:00
12. Eero Pulkkinen & Teemu Iltola: Siilo Part IV (Excerpt) - 4:18
13. A. Kostis
: Dertlidikos Horos - 4:11
14. Nils Frahm: For (Luke Abbott Rework) (Wir
e Tapper Edit) - 4:59
15. Bernhard Weiss: Remember - 2:33
16. Sun Foot: Recession Psychonaut - 4:02
17. Matti Bye: Eikern, 1977 - 3:26
18. Phog Masheeen: The Time Between Eruptions (Wir
e Tapper Edit) - 4:02
19. August Rosenbaum: Bloomer (Excerpt) - 3:55
20. Martin Thulin: Pictures Of Woods (Wir
e Tapper Edit) - 4:10
Besetzung: Artwork [Cover Artwork]: Ben Weaver
; Compiled By Andy Tait, Katie Gibbons, Shane Woolman
; Mastering: Toby Hrycek-Robinson
; Copyright (c) The Wir
e
Tripwires [>] [D]: Spacehopper [F]
Label und Katalognummer: Club AC30, Frenchkiss FKR 0692
Produktion: Nicolas Vernhes
Veröffentlicht: 2013 07 17 (UK), 2013 06 18 (US)
Genretags: Alternativerock - Neo-Psychedelicrock
Trackliste: 1. Spacehopper - 3:31
2. Plasticine - 2:57
3. A Feedback Loop of Laughter - 5:13
4. Shimmer - 3:56
5. Love Me Sinister - 4:55
6. Paint - 3:25
7. Under a Gelatine Moon - 3:55
8. Catherine, I Feel Sick - 3:59
9. Wisdom Teeth - 3:54
10. Tin Foil Skin - 7:50
11. Slow Mo - 5:11
Alle Tracks: Tripwires.
Besetzung: Rhys Edwards: Group Member
; Sam Pilsburg: Group Member
; Joseph Stone: Group Member
; Geoff Strasser: Assistant
; Tripwires: Artwork, Photography
; Gabe Wax: Assistant
; Ben White: Group Member
Tinie Tempah [>] [D]: Demonstration [F]
Label und Katalognummer: Disturbing London Records 825646404353
Produktion: Balistiq & Crada & Diplo & Eshraque 'iSHi' Mughal & Labrinth
Veröffentlicht: 2013 09 (UK), 2013 11 04 (US)
Genretags: Hip-Hop - Grime
Trackliste: 1. Someday (A Place in the Sun) (feat. Ella Eyre) (Patrick Okogwu, Ella Eyre, Eshraque Mughal) - 4:21
2. Trampoline (feat. 2 Chainz) (Okogwu, Tauheed Epps) - 3:45
3. Don't Sell Out (Okogwu, Ryan Nile Sutherland, Andrew Stewart-Jones, Candice Pillay) - 3:11
4. It's OK (feat. Labrinth) (Okogwu, Timothy McKenzie) - 4:29
5. Mosh Pit (feat. Dizzee Rascal and Ty Dolla Sign) - 4:11
6. Looking Down the Barrel - 3:29
7. Children of the Sun (feat. John Martin) (Okogwu, Martin, Mughal) - 3:51
8. Witch Doctor (feat. Candice Pillay) (Okogwu, Pillay, Alexander Grant) - 3:07
9. Shape (feat. Big Sean) - 4:05
10. Lover Not a Fighter (feat. Labrinth) (Okogwu, McKenzie) - 3:28
11. A Heart Can Save the World (feat. Emeli Sandé) (Okogwu, Shahid Khan, Emeli Sandé) - 3:41
12. Tears Run Dry (feat. Sway Clarke II) (Okogwu, Crada, Sway Clarke II) - 5:03
13. Lost Ones (feat. Paloma Faith) Okowgu, Paloma Faith, Khan) - 4:38
14. Heroes (feat. Laura Mvula) (Okogwu, Khan, Sandé, Laura Mvula) - 3:44
15. 5 Minutes - 5:14
Bonustrack der Netaudio Ausgabe
1. Do Till I - 4:12
Besetzung: Arranged [Additional Strings]: Erik Arvinder (7)
; Arranged [Strings]: Naughty Boy (11)
; Arranged [Strings]: Rosie Danvers (7, 12, 13)
; Art Direction, Design: Richard Welland
; Directed By [Additional Strings]: Erik Arvinder (7)
; Drum Programming: Diplo (9)
; Drum Programming [Additional]: Andrew Swanson (9)
; Engineer: Nick Taylor (7) (7)
; Engineer [Additional]: Daniela Rivera (4, 10)
; Management: BLAST! Music Management
; Mastering: Stuart Hawkes (1, 2, 4 to 6, 8 to 15)
; Mastering: Tom Coyne (3, 7)
; Mixing: Aryan Marzban (1, 7)
; Mixing: Chris Carmouche (2, 3, 9)
; Mixing: Manny Marroquin (8, 12)
; Mixing: Phil Tan (4, 10)
; Mixing: Rob Swire (15)
; Mixing: Saul Milton (5)
; Mixing: Steve Dub (6)
; Mixing: Wez Clarke (11, 13, 14)
; Mixing: iSHi (1, 7)
; Mixing [Assisted By]: Chris Galland (8, 12)
; Mixing [Assisted By]: Delbert Bowers (8, 12)
; Mixing [Assisted By]: Gary Fly (2, 3, 9)
; Mixing [John Martin Vocals]: Michel Zitron (7)
; Mixing [Tinie Tempah Vocals]: Richard Hoey (1, 2, 7)
; Mixing [Tinie Tempah Vocals]: Richie Montana (1, 2, 7)
; Photography: David Slijper
; Programmed By [Additional]: C. Bernardo Kågell (7)
; Programmed By [Additional]: Da Diggler (4, 10)
; Programmed By [Additional]: Wez Clarke (11, 13, 14)
; Recording: Dem Jointz (8)
; Recording: Naughty Boy (13)
; Recording: Sunny Productions (13)
; Recording [Grand Piano]: Aryan Marzban (1)
; Recording [Grand Piano]: Aryan Marzban (7)
; Recording [Tinie Tempah Vocals]: Richard Hoey (3 to 5, 8 to 15)
; Recording [Tinie Tempah Vocals]: Richie Montana (3 to 5, 8 to 15)
; Recording [Violin]: iSHi (1)
; Vocals: Patrick Okogwu
; Phonographic Copyright (p) Disturbing London Records Ltd.
; Copyright (c) Disturbing London Records Ltd.
; Licensed To Parlophone Records Ltd.
; Mastered At Metropolis Mastering
; Mastered At Sterling Sound
Manic Street Preachers [>] [D]: Rewind The Film [F]
Label und Katalognummer: Sony Music 88883745292
Produktion: Manic Street Preachers & Alex Silva
Veröffentlicht: 2013 09 16
Genretags: Alternativerock - Punkrock - Glampunk
Trackliste: 1. This Sullen Welsh Heart (feat: Lucy Rose) - 4:13
2. Show Me the Wonder - 3:18
3. Rewind the Film (feat: Richard Hawley) (David Axelrod, James Dean Bradfield, Nick Jones, Sean Moore) - 6:36
4. Builder of Routines - 2:28
5. 4 Lonely Roads (feat: Cate Le Bon) - 2:54
6. (I Miss The) Tokyo Skyline - 3:46
7. Anthem for a Lost Cause - 3:51
8. As Holy as the Soil (That Buries Your Skin) - 3:20
9. 3 Ways to See Despair - 3:16
10. Running Out of Fantasy - 4:09
11. Manorbier - 4:31
12. 30 Year War - 5:07
Alle Tracks: James Dean Bradfield, Nick Jones, Sean Moore, ausser wo anders vermerkt.
Besetzung: Dave Eringa: Mixing
; Gavin Fitzjohn: Horn Arrangements, Sax (Baritone), Sax (Tenor), Trumpet
; Richard Hawley: Hawaiian Guitar, Vocals
; Bernard Kane: Viola
; Alex Lake: Band Photo
; Cate Le Bon: Featured Artist, Vocals
; Loz Williams: Engineer, Keyboards, Mixing, Producer
; Manic Street Preachers: Additional Production
; Guy Massey: Mixing
; Nick Nasmyth: Keyboards
; Sean Read: Horn Arrangements, Saxophone, Trumpet
; John Rey: Piano
; Lucy Rose: Vocals
; Alex Silva: Additional Production
; Nathan Stone: Cello
; Tim Tautorat: Celeste, Keyboards, String Arrangements, Violin
; The Vulcan String Quartet: String Quartet
; Andy Walters: String Arrangements, Violin
; Joanna Walters: Violin
; Nicky Wir
e: Images
; Tim Young: Mastering
V. A. (The Wire) [>] [D]: Tapper 33 [F]
Label und Katalognummer: The Wir
e 357
Produktion: Verschiedene
Veröffentlicht: 2013 10 (Ed.)
Genretags: Jazz - Avantgardejazz
Trackliste: 1. Tangents: Liars Tired (Wir
e Tapper Edit) - 4:31
2. KNYST!: Pass - 4:06
3. Netherworld: Icepulse - 4:05
4. Botany: Anchor (Single Version) - 3:22
5. Jacqueline Humbert & David Rosenboom: Distant Space - 3:18
6. Nicoffeine: Ando Guerillo - 3:02
7. Sebastiane Hegarty: Four Walks Around a Year: Summer (Excerpt) - 4:01
8. John McGrath: Four Hills - 3:28
9. Counter Silence: When the Clocks Have Stopped (Wir
e Tapper Edit) - 4:01
10. Big Blood: Everything Is Improving - 3:18
11. Gelbart: Meloda - 3:43
12. Daníel Bjarnason: SOLITUDES IV. Selge Ruh - 4:17
13. Arp: Gravity (for Charlemagne Palestine) (Wir
e Tapper Edit) - 4:06
14. Tulipomania: Hold On - 3:35
15. DAWSON-DAVIES: HEN OGLEDD: Up on the Platform at Morpeth Station - 4:14
16. Jim Fox: Colorless Sky Became Fog - 3:04
17. Yann Novak: Snowfall (Excerpt) - 4:02
18. Phantom Love: Crave for Lust (Edit) - 4:13
19. Lophorina: Drums - 3:02
20. Michael Maierhof: Splitting 26 for Voice and Tape (Edit) - 3:58
Besetzung: Artwork [Cover Artwork]: Laura Carlin
; Compiled By: Andy Tait, Katie Gibbons, Shane Woolman
; Mastering: Toby Hrycek-Robinson
; Copyright (c) The Wir
e
Throwing Muses [>] [D]: Purgatory/Paradise [F]
Assoziierte Acts: Kristin Hersh
Label und Katalognummer: The Friday Project
Produktion: Throwing Muses
Veröffentlicht: 2013 10 29
Genretags: Alternativerock - Poprock - Powerpop
Trackliste: 1. Smoky Hands - 1:09
2. Morning Birds - 3:27
3. Sleepwalking - 1:06
4. Sunray Venus - 3:35
5. Cherry Candy - 1:04
6. Film - 1:49
7. Opiates - 3:55
8. Cherry Candy - 0:55
9. Freesia - 2:42
10. Curtains - 1:07
11. Triangle Quantico - 1:15
12. Morning Birds - 2:00
13. Lazy Eye - 3:20
14. Blurry - 2:25
15. Folding Fire - 0:35
16. Slippershell - 4:47
17. Bluff - 1:01
18. Blurry - 1:32
19. Terra Nova - 2:37
20. Walking Talking - 1:03
21. Milan - 4:26
22. Curtains - 0:44
23. Folding Fire - 2:21
24. Static - 2:41
25. Clark's Nutcracker - 2:45
26. Dripping Trees - 1:48
27. Sleepwalking - 2:24
28. Smoky Hands - 0:28
29. Speedbath - 2:08
30. Quick - 2:34
31. Dripping Trees - 1:25
32. Glass Cats - 2:23
Alle Tracks: Kristin Hersh.
Besetzung: Art Direction, Design, Typography [Typeset]: David Narcizo
; Bass Guitar: Bernard Georges
; Drums, Percussion: David Narcizo
; Executive-Producer: AJ Pym
; Executive-Producer: Francois Wolmarans
; Guitar, Vocals, Piano: Kristin Hersh
; Mastering: Joe Gastwirt
; Mixing: Bhob Rainey
; Recording: Steve Rizzo
; Recorded At Stable Sound
; Published By Yes Dear Music
Howe Gelb [>] [D]: The Coincidentalist [F]
Label und Katalognummer: New West NW 6289
Produktion: Howe Gelb
Veröffentlicht: 2013 11 04
Genretags: Alternativerock - Alternativecountry - Singer-Songwriter
Trackliste: 1. Vortexas - 4:18
2. Left of Center - 2:06
3. Running Behind - 2:24
4. The 3 Deaths of Lucky - 4:34
5. Unforgivable - 2:17
6. The Coincidentalist - 2:50
7. Triangulate - 3:20
8. Picacho Peak - 4:22
9. An Extended Plane of Existence - 4:42
10. Looking That Way - 2:11
11. Instigated Chimes - 2:54
Alle Tracks: Howe Gelb.
Besetzung: Bonnie \'Prince\' Billy: Vocals
; Andrew Bird: Violin
; Luke Bullen: Drums
; Oswaldo Terrones Campos: Engineer, Mixing
; Ali Chant: Mixing
; Lin Cortés: Spanish Guitar
; Añil Fernandez: Cajon
; Alvaro Gallego: Assistant
; Joe Gastwirt: Mastering
; Howe Gelb: Chimes, Engineer, Guitar, Instrumentation, Mixing, Piano, Rhythm, Vocals
; Caroline Isaacs: Vocals (Background)
; Laura Kepner-Adney: Vocals (Background)
; Thøger Tetens Lund: Bass
; Paul Moore: Design
; Juan Fernandez Panki: Spanish Guitar
; John Parish: Mixing
; Gabrielle Pietrangelo: Vocals (Background)
; Jon Rauhouse: Pedal Steel
; Chris Schultz: Engineer, Mixing
; Steve Shelley: Drums
; Silver Thread Trio: Vocals (Background)
; KT Tunstall: Vocals
; Fernando Vacas: Engineer
; Frederik Van Den Broeck: Assistant
; Erwin Verstappen: Photography
; M. Ward: Guitar
; Rik Welters: Assistant
; Eric Westfall: Engineer
V. A. (The Wire) [>] [D]: Tapper 34 [F]
Label und Katalognummer: The Wir
e 362
Produktion: Verschiedene
Veröffentlicht: 2014 03 (ed.)
Genretags: Jazz - Avantgardejazz
siehe Track by Track Guide (The Wir
e, 362, p. 4 Wire/362.pdf#page=4" target="_blank">[PDF])
Trackliste: 1. Marsen Jules: Beautyfear II
2. Shoukichi Kina & Pascal Plantinga: Shima Guwa
3. Pas Musique: Inside The Spectrum
4. Jakob Boeskov / Timothy DeWit
/ Matthew Morandi
: Computer Eyes
5. chra: Snowbird
6. Niels Lyhne Løkkegaard: Sikorsky (Extract)
7. Mason Bates: Stereo Is King (Wir
e Tapper Edit)
8. Ernest Gibson: Groupwork
9. Bleeding Peasant Orchestra, The: Pandaemonium (Edit)
10. Rodolphe ALEXIS
: Parabolic Amphibian Mix (Various Tree Frogs)
11. Mesak: Runopoika #1
12. Roj & Wolfram Wir
e: It Chimes
13. Oiseaux-Tempête: Kyrie Eleison
14. Process Rebel: Mutation Portal
15. DEADBEAR: Snow In Tokyo (Excerpt)
16. Islet: Tripping Through The Blue Room (Part II)
17. Offthesky: Scintillate Inside You (Abbreviate)
18. Talvihorros: Objectum (Edit)
19. Joe Davolaz: Piña Colada
20. JLIAT: All The Noise CDs I Have Reviewed For Vital-Mix (Excerpt)
Besetzung: Artwork [Cover]: Will Sweeney
; Compiled By: Andy Tait, Katie Gibbons, Shane Woolman
; Mastering: Toby Hrycek-Robinson
; Copyright (c) The Wir
e
Kevin Gates [>] [D]: By Any Means [F]
Label und Katalognummer: Breadwinners Association
Produktion: Verschiedene
Veröffentlicht: 2014 03 18
Genretags: Hip-Hop - Gangstarap - Southernhiphop
Trackliste: 1. Wish I Had It (Prod.: Allstar) - 3:31
2. Don't Know (Prod.: Go Grizzly, Knucklehead) - 3:05
3. Amnesia (feat. Doe B) (Prod.: Dun Deal) - 3:29
4. Can't Make This Up (Prod.: Dave Cappa) - 3:30
5. Keep Fucking With Me (feat. Plies) (Prod.: V12 The Hitman) - 2:46
6. Homicide (Prod.: Chrishan) - 3:08
7. Movie (Prod.: Beewirks) - 3:21
8. Go Hard (feat. Rico Love) (Prod.: Finatick & Zac, Jim Jonsin) - 3:40
9. Bet I'm On It (feat. 2 Chainz) (Prod.: Honorable C-Note) - 3:30
10. Arm And Hammer (Prod.: Monarch, The Runners) - 3:27
11. Posed To Be In Love (Prod.: Go Grizzly) - 2:44
12. Stop Lyin (Prod.: Dun Deal) - 4:22
13. Wit It (Prod.: Big Soj, Kane Beatz) - 3:28
14. Just Want Some Money (Prod.: DJ Yung Stylez) - 4:05
15. Again (Prod.: Bricks Da Mane) - 3:27
16. Get Up On My Level (Prod.: Yung Carter) - 4:16
Besetzung: Producer: Allstar & KnuckleHead & Go Grizzly & Dun Deal & Dave Cappa & V12 the Hitman & Chrishan & Beewirks & Jim Jonsin & Finatik & Zac & Honorable C.N.O.T.E. & The Runners & The Monarch & Big Soj & Kane Beatz & DJ Yung Stylez & Bricks da Mane & Yung Carter
V. A. (The Wire) [>] [D]: Tapper 35 [F]
Label und Katalognummer: The Wir
e 366
Produktion: Verschiedene
Veröffentlicht: 2014 07 (Ed.)
Genretags: Jazz - Avantgardejazz
Diese Promo-CD kam mit The Wir
e, 366 (Annotationen zu den Tracks siehe p.4.
Trackliste: 1. Coppe': Figment Of Imagination
2. Cayos: Briefcase Wormholes
3. Delmore fx: Furtivo
4. German Army: Flogged Ritual
5. God In Hackney: Holt, Jarmara
6. Silje Nes: Mirrored
7. John Edwards, Mark Sanders, John Tilbury: Part 1
8. Alan Licht & Brian Chase: Immediate Release
9. Co La: Workplace
10. Dakota Suite & Quentin SirJacq: Nu Dat Deze Dag Voorbij Is
11. Running: Motoman
12. Quttinirpaaq: Malvert
13. Grauton: Scordatura Air Guitar
14. Lars Greve: Marens Mauw (Edit)
15. Genlevel: Light Year (Wir
e Edit)
16. Kim Hiorthøy: The Woods
17. D.A. Terence: Kernow
18. Domotic: Le Demon (Theme)
19. Ensemble Economique: Make-Out In The GDR (Edit)
20. Håkon Stene: Prelude For HS
Besetzung: Artwork [Cover Artwork]: Ryoko Aoki
; Compiled By: Andy Tait
; Compiled By: Katie Gibbons
; Compiled By: Shane Woolman
; Mastering: Toby Hrycek-Robinson
; Copyright (c) The Wir
e
Manic Street Preachers [>] [D]: Futurology [F]
Label und Katalognummer: Columbia 88843049622, Columbia 88843056612 (Deluxe)
Produktion: Manic Street Preachers & Alex Silva & Loz Williams
Veröffentlicht: 2014 07 04
Genretags: Alternativerock
Trackliste: CD 1
1. Futurology - 3:05
2. Walk Me to the Bridge - 3:14
3. Let’s Go to War - 2:58
4. The Next Jet to Leave Moscow - 3:23
5. Europa geht durch mich - 3:24
6. Divine Youth - 3:22
7. Sex, Power, Love and Money - 3:13
8. Dreaming a City (Hughesovka) - 4:39
9. Black Square - 4:07
10. Between the Clock and the Bed - 3:35
11. Misguided Missile - 4:19
12. The View From Stow Hill - 4:08
13. Mayakovsky - 3:38
Alle Tracks: James Dean Bradfield.
CD 2: Deluxe Ausgabe: Demos
1. Futurology (demo) - 3:04
2. Walk Me to the Bridge (demo) - 3:16
3. Let’s Go to War (demo) - 1:52
4. The Next Jet to Leave Moscow (demo) - 3:05
5. Europa geht durch mich (demo) - 3:23
6. Divine Youth (demo) - 3:10
7. Sex, Power, Love and Money (demo) - 3:15
8. Dreaming a City (Hugheskova) (demo) - 4:20
9. Black Square (demo) - 3:42
10. Between the Clock and the Bed (demo) - 3:30
11. Misguided Missile (demo) - 4:11
12. The View From Stow Hill (demo) - 4:09
13. Mayakovsky (demo) - 3:05
14. Blistered Mirrors - 2:52
15. Empty Motorcade - 3:58
16. The Last Time I Saw Paris - 4:06
Alle Tracks: James Dean Bradfield.
Besetzung: Bass, Baritone Guitar, Electric Guitar, Acoustic Guitar, Omnichord, Vocals, Drum Programming, Percussion, Noises, Alle Tracks: Nicky Wir
e
; Cover: Catrine Val
; Design: Farrow
; Drums, Guitar, Sequenced By, Percussion, Alle Tracks: Sean Moore
; Lead Vocals, Lead Guitar, Acoustic Guitar, Drums, Bass, Keyboards, Percussion: James Dean Bradfield
; Mastering: Tim Young
; Photography: Alex Lake
; Phonographic Copyright (p) Sony Music Entertainment UK Limited
; Copyright (c) Sony Music Entertainment UK Limited
; Distributed By Sony Music Entertainment
; Distributed By Sony Music Entertainment Poland Sp. z o.o.
; Recorded At Faster Studios
; Recorded At Hansa Tonstudios
; Mastered At Metropolis Studios
V. A. (The Wire) [>] [D]: Tapper 36 [F]
Label und Katalognummer: The Wir
e 369
Produktion: Verschiedene
Veröffentlicht: 2014 10 00
Genretags: Jazz - Avantgardejazz
Trackliste: 1. Dead Rat Orchestra: Martinmass
2. Der Plan: Wir
Werden Immer Mehr
3. Travelling Tribes: Tapping On The Door
4. Ancient Random: Cinders Blades Wings (Target Variant)
5. Michael Jon Fink: From A Folio
6. SQ: Didgenstein River (Edit)
7. Rapoon: Je Veux De L'Amour (Edit)
8. Lophorina: Vorfreude
9. Peter Kutin: Burmese Days (Extract)
10. Oiseaux-Tempête: Call John Carcone (Scanner Remix)
11. Jealousy Mountain Duo: Friends Of Sonny Foschino
12. Reverend Beat-Man: Jesus Christ Twist
13. John Callaghan: Once More With Feeling
14. Tomaga: Days Like They Were Before
15. Cultural Apparati: Venom Sorcerer
16. Esa Shields: Woods And Gullies
17. Jochen Arbeit & Huan: I (Short Version)
18. Martin Hoogeboom: The Endless Light
19. hyperContour: Utter Code
20. Susanna: This Place
Besetzung: Artwork [Cover Artwork]: Sam Messenger
; Compiled By: Andy Tait, Katie Gibbons, Shane Woolman
; Mastering: Toby Hrycek-Robinson
; Copyright (c) The Wir
e
V. A. (The Wire) [>] [D]: Tapper 37 [F]
Label und Katalognummer: The Wir
e Issue 374
Produktion: Verschiedene
Veröffentlicht: 2015 03 (Ed.)
Genretags: Jazz - Avantgardejazz
Trackliste: 1. Grubby Mitts: To A Friend's House The Way Is Never Long - 3:51
2. Roger Redgate & Matt Wright: SIN BAT - 4:02
3. Yes Deer: Flensburg - 3:32
4. My Cat Is An Alien: The Dance Of Oneirism #3 (Excerpt) - 3:59
5. Hannes Buder: Requiem For Alexander Litvinenko - 4:16
6. asylumpeace: White Orchid (A Lovescape) (Extract) - 3:59
7. Alphabets Heaven: Everything Stays The Same - 4:03
8. House Of Cosy Cushions: Black Bat Dance - 3:19
9. Marsen Jules: Penstla - 4:09
10. Clocked Out: Time Crystals - 3:44
11. Kevin Hufnagel: Not An Accident - 3:08
12. Longstone: Risaikuru-Onagawa (Soil Machine Edit) - 3:53
13. Mads Emil Nielsen: Glow (Excerpt) - 4:18
14. Padna: Wolhee - 3:45
15. Orchestra Of The Upper Atmosphere: Space Smells Of Strawberries (Wir
e Edit) - 4:12
16. Ricardo Donoso: Gallicinium - 4:06
17. Todd Anderson-Kunert: That's Not How I Remember It - 4:10
18. Riccardo Dillon Wanke: Gallos Blancos - 2:37
19. Smokey Quartz: Philosophical Zombie - 3:30
20. Manuel Zurria: Lachrimae Coactae (By John Dowland) - 3:30
Besetzung: Artwork [Cover Artwork]: Marcus James
; Compiled By: Andy Tait
; Compiled By: Katie Gibbons
; Compiled By: Shane Woolman
; Mastering: Toby Hrycek-Robinson
; Copyright (c) The Wir
e
Patty Griffin [>] [D]: Servant Of Love [F]
Label und Katalognummer: Thirty Tigers PGM 001
Produktion: Patty Griffin & Craig Ross
Veröffentlicht: 2015 09 11
Genretags: Country - Countryrock - Post-Millennial-Countryrock
Trackliste: 1. Servant Of Love - 5:06
2. Gunpowder - 4:22
3. Good And Gone - 3:11
4. Hurt A Little While - 4:06
5. 250,000 Miles - 4:32
6. Made Of The Sun - 3:55
7. Everything's Changed - 3:42
8. Rider Of Days - 3:31
9. There Isn't One Way - 4:03
10. Noble Ground - 4:05
11. Snake Charmer - 2:32
12. You Never Asked Me - 3:38
13. Shine A Different Way - 5:17
Alle Tracks: Patty Griffin.
Besetzung: Gina Binkley: Design
; David Boyle: Engineer
; Conrad Choucroun: Drums
; Shawn Colvin: Vocals, Vocals (Background)
; John Deaderick: Accordion, Piano
; Joe Gastwirt: Mastering
; Patty Griffin: Mandolin, Piano, Vocals
; Jerry Holmes: Technical Support
; David McClister: Photography
; Beth Middleworth: Design
; Scrappy Jud Newcombe: Guitar (Electric)
; Ephraim Owens: Trumpet
; Cindi Peters: Production Service
; Mike Poole: Mixing
; David Pulkingham: Guitar (Acoustic), Guitar (Electric)
; Craig Ross: Bass, Drones, Drums, Engineer, Guitar (Acoustic), Guitar (Baritone), Organ
; Lindsey Verrill: Bowed Bass
; Mishka Westell: Cover Illustration
; Ralph White: Kalimba
V. A. (The Wire) [>] [D]: Tapper 39 [F]
Label und Katalognummer: Wir
e Magazine Issue 381
Produktion: Verschiedene
Veröffentlicht: 2015 10 (Ed.)
Genretags: Jazz - Avantgardejazz
Trackliste: 1. Mads Emil Nielsen: Unfold
2. Roger Robinson: It Soon Come
3. Zulus (4): Revolver III
4. Big Legs: Spoonfed
5. Steve Beresford & Panos Ghikas: Food Coat
6. Liquidarlo Celuloide: Vértigo Magnético
7. Wojtczak NYConnection: Ogrywka (Kujawiak)
8. The Art Of Schwanengesang: Laisse-moi. Momentum
9. Oneirogen: Vessels
10. TR Kirstein
& Sune TB Nielsen
: I Am So Happy I Could Spit
11. Creature Automatic: Bears Making Bear Trees
12. Dieuf-Dieul De Thiès: Nianky
13. Cavalier Song: Stones For Throwing
14. Gagarin: Wandle
15. Stig Of The Dump Featuring Jehst: Kubrick
16. Quttinirpaaq: Bleed Out
17. Geoff Dugan: Jane's Pond
18. Denzel + Huhn: Wilhelmshöhe
19. Contact (23): 3rds, 4ths & 5ths (Radio Edit)
20. Hannes Buder: Pain
Besetzung: Artwork [Cover Artwork]: Karel Martens
; Compiled By: Andy Tait
; Compiled By: Katie Gibbons
; Compiled By: Shane Woolman
; Mastering: Toby Hrycek-Robinson
; Copyright (c) The Wir
e
Ms. John Soda [>] [D]: Loom [F]
Label und Katalognummer: Morr Music MM 132
Produktion: Micha Acher & Cico Beck & Stefanie Böhm & Thomas Geltinger
Veröffentlicht: 2015 10 02
Genretags: Indiepop - Electronicpop - Indietronica
Trackliste: 1. In my arms - 3:08
2. Hero whales - 3:26
3. Millions - 4:23
4. The Light - 3:27
5. Sodawaltz - 2:45
6. Hi fool - 4:27
7. Sirens - 3:10
8. Name it - 3:20
9. Oh seven - 3:53
10. Fall away - 2:59
Alle Tracks: Micha Acher (Musik) und Stefanie Böhm (Musik, Lyrics).
Besetzung: Artwork: Damien Tran
; Guest: Jeffrey Logan
; Guest: Karl Ivar Refseth
; Guest: Matthias Götz
; Mastering: Geoff Pesche
; Mixing, Producer: Oliver Zülch
; Performer: Cico Beck
; Performer: Thomas Geltinger
; Performer: Micha Acher
; Performe: Stefanie Böhm
; Mixed At Alien Research Center
; Recorded At Alien Research Center
; Recorded At Wir
tstudios
; Mastered At Abbey Road Studios
Nels Cline [>] [D]: Lovers [F]
Label und Katalognummer: Blue Note 00602547899392
Produktion: David Breskin
Veröffentlicht: 2016 08 05
Genretags: Jazz
Solo-Album des Wilco-Gitarristen.
Trackliste: 1. Introduction/Diaphanous (Nels Cline) - 4:21
2. Glad to Be Unhappy (Lorenz Hart, Richard Rodgers) - 4:08
3. Beautiful Love (Haven Gillespie, Wayne King, Egbert VanAlstyne, Victor Young) - 3:59
4. Hairpin & Amp; Hatbox (Nels Cline) - 3:32
5. Cry, Want (Jimmy Giuffre) - 6:54
6. Lady Gabor (Gabor Szabo) - 8:27
7. The Bed We Made (Nels Cline) - 3:25
8. You Noticed (Nels Cline) - 4:01
9. Secret Love (Sammy Fain, Paul Francis Webster) - 4:30
10. I Have Dreamed (Oscar Hammerstein II, Richard Rodgers) - 2:39
11. Why Was I Born? (Oscar Hammerstein II, Jerome Kern) - 5:02
12. Invitation (Bronislaw Kaper, Paul Francis Webster) - 2:26
13. It Only Has to Happen Once (Arto Lindsay, Peter Scherer, Naná Vasconcelos) - 5:45
14. The Night Porter/Max, Mon Amour (Daniele Paris, Michel Portal) - 8:14
15. Snare, Girl (Sonic Youth) - 6:35
16. So Hard It Hurts/Touching (Annette Peacock) - 6:54
17. The Search for Cat (Henry Mancini) - 2:34
18. The Bond (Nels Cline) - 5:49
Besetzung: Acoustic Guitar, Electric Guitar: Julian Lage
; Alto Flute, Flute [Bass Flute], Clarinet [Bb Clarinet], Alto Clarinet, Baritone Saxophone, Bass Saxophone: J.D.Parran
; Arranged, Conductor [Conducted By]: Michael Leonhart
; Artwork [Cover Drawing By]: Angela DeCristofaro
; Bass Clarinet, Clarinet [Bb Clarinet], Tenor Saxophone: Doug Wieselman
; Bassoon: Sara Schoenbeck
; Celesta [Celeste], Synthesizer [Juno 60]: Yuka Honda
; Cello: Erik Friedlander
; Cello: Margaret Parkins
; Clarinet [Bb Clarinet], Alto Saxophone: Gavin Templeton
; Contra-Alto Clarinet, Clarinet [Bb Clarinet]: Ben Goldberg
; Contrabass, Bass Guitar: Devin Hoff
; Design [Album Design By]: David Breskin
; Design [Album Design By]: Nels Cline
; Drums [Drumset], Percussion: Alex Cline
; Electric Guitar, Acoustic Guitar, Lap Steel Guitar [Lap Steel], Effects: Nels Cline
; Flute [C Flute], Alto Flute, Flute [Bass Flute], Oboe, English Horn, Alto Saxophone, Clarinet [Bb Clarinet]: Charles Pillow
; Harp: Zeena Parkins
; Layout: Lawrence Azerrad
; Layout: www.laddesign.net
; Liner Notes [English]: Nels Cline
; Management: Benjamin Levin
; Management: Ryan Marian
; Management: Tony Margherita Management
; Mastering: Joe Gastwirt
; Producer [Produced By]: David Breskin
; Recording [Additional Recording By]: Patrick Dillett
; Recording, Mixing: Ron St. Germain
; Trombone, Bass Trombone: Alan Ferber
; Trumpet, Flugelhorn, Cimbalom [Cymbalon], Celesta [Celeste]: Michael Leonhart
; Trumpet, Flugelhorn, Valve Trombone: Taylor Haskins
; Trumpet, Trumpet [Slide Trumpet], Flugelhorn, Alto Horn: Steven Bernstein
; Vibraphone, Marimba, Percussion: Kenny Wollesen
; Viola: Stephanie Griffin
; Violin: Antoine Silverman
; Violin: Jeff Gauthier
; Violin, Viola: Amy Kimball
; Recorded At Water Music (2)
; Recorded At Sear Sound
; Recorded At Pat Dillett\'s Studio
; Mixed At Saint\'s Place Studio
; Mastered At Gastwirt Mastering
Frank Ocean [>] [D]: Blonde [F]
Label und Katalognummer: Boys Don't Cry
Produktion: 88-Keys & Rostam Batmanglij & Mike Dean & Quill Hudson & Jamie xx & Yung Lean & Malay & Frank Ocean & Mohawke Rick & Sebastian & Rubin Stwo & Tyler, the Creator & Michael Uzowuru & Kanye West & Pharrell Williams
Veröffentlicht: 2016 08 20
Genretags: Afroamericana - R'n'B-Renaissance
Im Unterschied zu Endless gehört dieses Album nicht dem Def-Jam-Label.
siehe: NYT Popcast
Trackliste: 1. Nikes - 5:14
2. Ivy - 4:09
3. Pink + White (feat. Beyoncé) - 3:04
4. Be Yourself - 1:27
5. Solo - 4:17
6. Skyline To (feat. Kendrick Lamar) - 3:04
7. Self Control (feat. Austin Feinstein, Yung Lean) - 4:09
8. Good Guy - 1:06
9. Nights - 5:07
10. Solo (Reprise) (feat. Andre 3000) - 1:18
11. Pretty Sweet - 2:38
12. Facebook Story (feat. SebastiAn) - 1:08
13. Close To You - 1:25
14. White Ferrari (feat. James Blake) - 4:08
15. Seigfried - 5:34
16. Godspeed (feat. Kim Burrell) - 2:58
17. Futura Free - 9:24
Besetzung: Frank Ocean: production (1–3, 5–17), arrangement (1, 5, 6, 9, 13, 14, 16), executive production
; Malay Ho: production (1, 6, 7, 11, 15–17), arrangement (1, 6, 11)
; Om\'Mas Keith: production (1, 2, 6, 11, 14, 16, 17), arrangement (1, 11, 17)
; James Blake: production (5, 10, 16), arrangement (5, 10, 16)
; Jon Brion: production (7, 10, 14), arrangement (7, 9–11, 14), string arrangement (3, 7, 11)
; Buddy Ross: production (9, 13), arrangement (9, 13, 14)
; Rostam Batmanglij: production (2), arrangement (2)
; Pharrell Williams: production (3)
; Joe Thornalley: production (9), arrangement (9)
; Michael Uzowuru: production (9)
; Francis Starlite: production (13), arrangement (13)
; Alex Giannascoli: arrangement (7, 14)
; Christophe Chassol: arrangement (6)
; Austin Feinstein: arrangement (7)
; Sebastian Akchotè: arrangement (16), string arrangement (16)
; Benjamin Wright: string arrangement (3)
; Jonny Greenwood: string arrangement (15)
; Frank Ocean: lead vocals, keyboards (8, 17), programming (7), sample programming (14), drum programming (17), additional programming (1, 5, 16), guitars (9), choir (16)
; Kim Burrell: featured vocals (16)
; Yung Lean: featured vocals (16)
; Amber Coffman: additional vocals (1)
; Jazmine Sullivan: additional vocals (6)
; Beyoncé Knowles-Carter: additional vocals (3)
; Malay Ho: keyboards (14–17), guitars (6, 7, 11, 15), drum programming (1, 11), mellotron (1), bass (15)
; Buddy Ross: keyboards (9, 13, 14, 17), bass (11), additional programming (13)
; Jon Brion: keyboards (7, 9, 10, 14), drum programming (10)
; Pharrell Williams: keyboards (3), drum programming (3), bass (3)
; Joe Thornalley: keyboards (9), drum programming (9, 13)
; James Blake: keyboards (5, 6, 10, 16)
; Mars 1500: keyboards (5, 16)
; Christophe Chassol: keyboards (6), Moog solo (6)
; Rostam Batmanglij: keyboards (15)
; Om\'Mas Keith: drum programming (1, 11, 17), bass (17)
; Sebastian Akchotè: drum programming (14), sample programming (14), strings (16)
; Tyler Okonma: drum programming (6)
; Michael Uzowuru: drum programming (9)
; Francis Starlite: vocoder (13)
; Alex Giannascoli: guitars (7, 14)
; Fish: guitars (2)
; Austin Feinstein: guitars (7)
; Spaceman: guitars (9)
; Eric Gorfain: violin concertmaster (3, 7, 11)
; Daphne Chen: violin (3, 7, 11)
; Marisa Kuney: violin (3, 7, 11)
; Charlie Bisharat: violin (3, 7, 11)
; Katie Sloan: violin (3, 7, 11)
; Songa Lee: violin (3, 7, 11)
; Gina Kronstadt: violin (3, 7, 11)
; Lisa Dondlinger: violin (3, 7, 11)
; Terry Glenny: violin (3, 7, 11)
; Chris Woods: violin (3, 7, 11)
; Neel Hammond: violin (3, 7, 11)
; Marcy Vaj: violin (3, 7, 11)
; Crystal Alforque: violin (3, 7, 11)
; Leah Katz: viola (3, 7, 11)
; Rodney Wir
tz: viola (3, 7, 11)
; Stefan Smith: viola (3, 7, 11)
; Adriana Zoppo: viola (3, 7, 11)
; John Krovoza: cello (3, 7, 11)
; Simon Huber: cello (3, 7, 11)
; Ginger Murphy: cello (3, 7, 11)
; Alisha Bauer: cello (3, 7, 11)
; Stefanie Fife: cello (3, 7, 11)
; London Contemporary Orchestra: strings (15)
; Caleb Laven: recording
; Jeff Ellis: recording
; Jason Lader: recording
; Matt Mysko: recording
; Sam Petts-Davies: recording
; Tom Elmhirst: mixing
; Noah Goldstein: mixing
; David Wrench: mixing
; Mike Dean: mastering
; Greg Keller: strings recording (3, 7, 11)
; Eric Caudieux: strings recording (3, 7, 11)
; Frank Ocean: creative direction, photography
; Thomas Mastorakos: creative direction
; Viviane Sassen: photography
; Wolfgang Tillmans: photography
; Jessica Haye: photography
Emeli Sandé [>] [D]: Long Live The Angels [F]
Label und Katalognummer: Virgin EMI Records CDV 3163, Virgin EMI Records CDVY 3163
Produktion: Jonny Coffer & Chris Loco & Mac And Phil & Mojam & Naughty Boy & ProducerWez & Emeli Sandé & Rachet Shakaveli & TMS
Veröffentlicht: 2016 11 11, 2016 11 11 (Deluxe)
Genretags: Post-Millennial-Music - Popsoul-Revival - New-UK-Soul
Trackliste: 1. Selah (Emeli Sandé) - 2:30
2. Breathing Underwater (Chris Loco, Emeli Sandé) - 4:22
3. Happen (Jonny Coffer, Matthew Holmes, Shahid Khan, Philip Leigh, Emeli Sandé) - 3:35
4. Hurts (Matthew Holmes, Philip Leigh, James Murray, Mustafa Omar, Emeli Sandé) - 3:58
5. Give Me Something (Matthew Holmes, Philip Leigh, Chris Loco, Emeli Sandé) - 3:52
6. Right Now (Matthew Holmes, Shahid Khan, Philip Leigh, Emeli Sandé) - 2:14
7. Shakes (Jonny Coffer, Shahid Khan, Emeli Sandé) - 2:49
8. Garden (Jay Electronica, Chris Loco, Emeli Sandé, Áine Zion) - 4:02
9. I'd Rather Not (Shakil Ashraf, Jonny Coffer, Shahid Khan, Emeli Sandé) - 3:49
10. Lonely (Matthew Holmes, Philip Leigh, James Murray, Mustafa Omar, Emeli Sandé) - 3:33
11. Sweet Architect (Jonny Coffer, James Murray, Mustafa Omar, Emeli Sandé) - 3:19
12. Tenderly (Matthew Holmes, Philip Leigh, Joel Sande, Emeli Sandé) - 3:22
13. Every Single Little Piece (Matthew Holmes, Philip Leigh, Emeli Sandé) - 4:03
14. Highs & Lows (Tom Barnes, Wayne Hector, Peter Kelleher, Ben Kohn, Emeli Sandé) - 3:14
15. Babe (Matthew Holmes, Philip Leigh, Emeli Sandé) - 3:17
Bonsutracks der Deluxe Ausgabe von 2016
1. Kung Fu
2. Somebody
3. This Much Is True
Besetzung: Arranged [Choir]: Toby Oyerinde (1, 2, 4, 11)
; Arranged [Strings]: Cliff Masterson (10, 13)
; Arranged [Strings]: Rosie Danvers (2, 4)
; Art Direction: Dan Sanders
; Art Direction: Emeli Sande
; Cello: David Daniels (10, 13)
; Cello: Jane Oliver (2, 4)
; Cello: Jonathan Williams (10, 13)
; Cello: Rosie Danvers (2, 4)
; Cello: Vicky Matthews (10, 13)
; Cello: William Schofield (10, 13)
; Choir: The MajorTonesMusic Gospel Choir (1, 2, 4, 11)
; Contractor: Isobel Griffiths (10, 13)
; Contractor [Assistant]: Amy Stewart (10, 13)
; Design: Alex Cowper
; Double Bass: Chris Laurence (10, 13)
; Double Bass: Richard Pryce (2, 4)
; Double Bass: Stacey Watton (10, 13)
; Leader: Tom Pigott-Smith (10, 13)
; Mastering: Stuart Hawkes
; Performer [The MajorTonesMusic Gospel Choir], Alto Vocals: "Connie" Dawn Morton-Young (1, 2, 4, 11)
; Performer [The MajorTonesMusic Gospel Choir], Alto Vocals: Aleysha Gordon (1, 2, 4, 11)
; Performer [The MajorTonesMusic Gospel Choir], Alto Vocals: Angel Silviera (1, 2, 4, 11)
; Performer [The MajorTonesMusic Gospel Choir], Alto Vocals: Becky Thomas (1, 2, 4, 11)
; Performer [The MajorTonesMusic Gospel Choir], Alto Vocals: Hannah Khemoh (1, 2, 4, 11)
; Performer [The MajorTonesMusic Gospel Choir], Alto Vocals: Keisha Smith (1, 2, 4, 11)
; Performer [The MajorTonesMusic Gospel Choir], Alto Vocals: Rachel McKenzie (1, 2, 4, 11)
; Performer [The MajorTonesMusic Gospel Choir], Alto Vocals: Sherelle McKenzie (1, 2, 4, 11)
; Performer [The MajorTonesMusic Gospel Choir], Soprano Vocals: Christina Matova (1, 2, 4, 11)
; Performer [The MajorTonesMusic Gospel Choir], Soprano Vocals: Emily Holligan (1, 2, 4, 11)
; Performer [The MajorTonesMusic Gospel Choir], Soprano Vocals: Jayanda Balfour (1, 2, 4, 11)
; Performer [The MajorTonesMusic Gospel Choir], Soprano Vocals: Josie Nugent (1, 2, 4, 11)
; Performer [The MajorTonesMusic Gospel Choir], Soprano Vocals: Ladonna Harley-Peters (1, 2, 4, 11)
; Performer [The MajorTonesMusic Gospel Choir], Soprano Vocals: Tentola Abasede (1, 2, 4, 11)
; Performer [The MajorTonesMusic Gospel Choir], Soprano Vocals: Victoria Akintola (1, 2, 4, 11)
; Performer [The MajorTonesMusic Gospel Choir], Tenor Vocals: Jason Nicholson-Porter (1, 2, 4, 11)
; Performer [The MajorTonesMusic Gospel Choir], Tenor Vocals: Matthew Allen (7) (1, 2, 4, 11)
; Performer [The MajorTonesMusic Gospel Choir], Tenor Vocals: Paul Boldeau (1, 2, 4, 11)
; Performer [The MajorTonesMusic Gospel Choir], Tenor Vocals: Porter Shield (1, 2, 4, 11)
; Performer [The MajorTonesMusic Gospel Choir], Tenor Vocals: Ricardo Mitchell (1, 2, 4, 11)
; Performer [The MajorTonesMusic Gospel Choir], Tenor Vocals: Riccardo Williams (1, 2, 4, 11)
; Performer [The MajorTonesMusic Gospel Choir], Tenor Vocals: Ryan Carty (1, 2, 4, 11)
; Performer [The MajorTonesMusic Gospel Choir], Tenor Vocals: Toby Oyerinde (1, 2, 4, 11)
; Performer [The MajorTonesMusic Gospel Choir], Tenor Vocals: Wesley Muoria-Chaves (1, 2, 4, 11)
; Recording [Choir]: Joe Kearns (1, 2, 4, 11)
; Recording [Strings]: Jake Jackson (2, 4)
; Recording [Strings]: Jeremy Murphy (10, 13)
; Strings: Wir
ed Strings (2, 4)
; Viola: Bryony Mycroft (2, 4)
; Viola: Emma Owens (2, 4)
; Viola: Gillianne Haddow (10, 13)
; Viola: Kate Musker (10, 13)
; Viola: Martin Humbey (10, 13)
; Viola: Nozomi Cohen (2, 4)
; Viola: Peter Lale (10, 13)
; Viola: Rachel Bolt (10, 13)
; Violin: Alison Dods (10, 13)
; Violin: David O\'Leary (10, 13)
; Violin: Eleanor Mathieson (2, 4)
; Violin: Elizabeth Ball (10, 13)
; Violin: Ellie Stanford (2, 4)
; Violin: Emma Parker (2, 4)
; Violin: Jenny Sacha (2, 4)
; Violin: Kate Robinson (10, 13)
; Violin: Laura Melhuish (10, 13)
; Violin: Marianne Haynes (10, 13)
; Violin: Mark Berrow (10, 13)
; Violin: Matthew Ward (10, 13)
; Violin: Natalia Bonner (2, 4)
; Violin: Nicky Sweeney (10, 13)
; Violin: Oliver Langford (10, 13)
; Violin: Patrick Kiernan (2, 4)
; Violin: Rebekah Allen (2, 4)
; Violin: Sally Jackson (2, 4)
; Violin: Sonia Slany (10, 13)
; Violin: Steve Morris (2, 4, 10, 13)
; Violin: Tom Pigott-Smith (10, 13)
; Violin: Zara Benyounes (2, 4)
; Phonographic Copyright (p) Virgin Records Ltd.
; Copyright (c) Virgin Records Ltd.
Label und Katalognummer: Pinkflag PF 24
Produktion: Colin Newman
Veröffentlicht: 2017 03 31
Genretags: Post-Millennial-Music - Postpunk-Revival
Trackliste: 1. Playing Harp for the Fishes - 3:44
2. Short Elevated Period - 2:54
3. Diamonds in Cups - 4:08
4. Forever & a Day - 4:06
5. An Alibi - 3:10
6. Sonic Lens - 4:30
7. This Time - 4:16
8. Brio - 3:37
9. Sleep on the Wing - 2:59
10. Silver/Lead - 2:39
Besetzung: Wir
e are: Robert Grey, Graham Lewis, Colin Newman and Matthew Simms
Recorded at Rockfield Studios, Monmouth
Engineers: Tim Lewis & Jelroen Melchers
Production, Mix and additional recording by Colin Newman at swim studio
Mastering at Skye Mastering by Denis Blackham
Cover Image by Graham Lewis
Art Direction by Jon Wozencroft
Published by pinkflag / mutesong
Colter Wall [>] [D]: Colter Wall [F]
Label und Katalognummer: Thirty Tigers YMRC 001
Produktion: Dave Cobb
Veröffentlicht: 2017 05 12
Genretags: Country - Neo-Traditional-Country
Trackliste: 1. Thirteen Silver Dollars - 2:30
2. Codeine Dream - 3:37
3. Me and Big Dave - 4:04
4. Motorcycle - 2:17
5. Kate McCannon - 4:34
6. W.B.'s Talkin - 2:29
7. Snake Mountain Blues (Townes Van Zandt) - 3:06
8. You Look To Yours - 4:32
9. Transendental Ramblin' Railroad Blues - 5:00
10. Fraulein (Trad.) - 2:23
11. Bald Butte - 5:50
Alle Tracks: Colter Wall, ausser wo anders vermerkt.
Besetzung: Travis Blankenship: Back Cover Photo
; Tyler Childers: Guitar (Acoustic), Vocals
; Kyler Clark: Inside Photo
; Dave Cobb: Guitar (Acoustic)
; Connie Collingsworth: Artwork, Layout
; Jeff Dyck: Back Cover Photo
; Gena Johnson: Engineer
; Pete Lyman: Mastering
; Chris Powell: Drums
; Jason Simpson: Bass
; Young Mary Sparr: Back Cover Photo
; Melissa Stilwell: Back Cover Photo, Poster Design
; Robbie Turner: Dobro, Pedal Steel, Piano
; Colter Wall: Back Cover Photo, Composer, Guitar (Acoustic), Primary Artist, Quotation Author, Vocals
; Mike Webb: Piano
; Richie Wir
eman: Cover Photo
; Pressed By The ADS Group
The National [>] [D]: Sleep Well Beast [F]
Label und Katalognummer: 4AD 4AD 0020
Produktion: Matt Berninger & Aaron Dessner & Bryce Dessner & Peter Katis
Veröffentlicht: 2017 09 08
Genretags: Post-Millennial-Music - Poprock
Trackliste: 1. Nobody Else Will Be There - 4:39
2. Day I Die (Matthew Berninger, Carin Besser, The National) - 4:31
3. Walk It Back - 5:59
4. The System Only Dreams in Total Darkness - 3:56
5. Born to Beg - 4:22
6. Turtleneck - 3:00
7. Empire Strikes Back - 5:23
8. I'll Still Destroy You - 5:15
9. Guilty Party - 5:38
10. Carin at the Liquor Store - 3:33
11. Dark Side of the Gym - 4:50
12. Sleep Well Beast - 6:31
Alle Tracks: Matthew Berninger, Carin Besser, Aaron Dessner und Bryce Dessner, ausser wo anders vermerkt.
Besetzung: Thomas Bartlett: Keyboards
; Eric Beach: Drums, Percussion
; Matthew Berninger: Group Member
; Romain Bly: Horn
; Cédric Bonnet: Horn
; Benachir Boukhatem: Viola
; Greg Calbi: Mastering
; Andrea Trabucco Campos: Design
; Erwan Castex: Electronic Percussion, Keyboards
; David Chalmin: Drums, Engineer
; Sarah Chenaf: Viola
; Marc Desjardins: Violin
; Aaron Dessner: Drum Programming, Engineer, Group Member
; Bryce Dessner: Drum Programming, Group Member, Orchestration
; Bryan Devendorf: Drum Programming, Group Member
; Scott Devendorf: Group Member
; Grégoire Dubruel: Basse
; Emilie Duch-Sauzeau: Violin
; Arone Dyer: Vocals
; Steve Fallone: Mastering
; Marine Gandon: Viola
; Thomas Garoche: Basse
; Domitille Gilon: Violin
; Elyanna Blaser Gould: Design
; Lisa Hannigan: Vocals
; Pauline Hauswirth: Violin
; Luke Hayman: Design
; Ella Jarrige: Cello
; Charlotte Juillard: Violin
; Peter Katis: Mixing
; Josh Kaufman: Guitar
; Katia Labèque: Piano
; Emma Landarrabilco: Flute
; Benjamin Lanz: Synthesizer, Trombone
; Louise Lapierre: Bassoon
; Barbara Le Liepvre: Cello
; Nick Lloyd: Organ
; Jonathan Low: Engineer, Mixing
; Graham Macindoe: Photography
; Walter Martin: Vox Continental
; James McAlister: Drum Programming
; The National: Arranger
; Erlend Neumann: Design
; Bastien Nouri: Oboe
; Sean O\'Brien: Vocal Engineer
; Ryan Olson: Processing
; Matthias Piccin: Violin
; Leslie Boulin Raulet: Violin
; Kyle Resnick: Flugelhorn, Trumpet, Vocals
; Renaud Guy Rousseau: Clarinet
; Juliette Salmona: Cello
; Nikolai Spassov: Violin
; Ariadna Teyssier: Violin
; Andi Toma: Engineer, Keyboards, Processing
; Jason Treuting: Drums, Percussion
; Maaike Van Der Linde: Flute, Flute (Bass), Orchestration
; Justin Vernon: Synthesizer, Vocals
; Jan St. Werner: Engineer, Keyboards, Processing
Daniele Luppi [>] [D] & Parquet Courts [>] [D]: MILANO [F]
Label und Katalognummer: 30th Century Records 889854886325
Produktion: Daniele Luppi
Veröffentlicht: 2017 10 27
Genretags: Post-Millennial-Music - Postpunk-Revival
Trackliste: 1. Soul and Cigarette - 3:28
2. Talisa (feat. Karen O) - 2:20
3. Mount Napoleon - 3:26
4. Flush (feat. Karen O) - 4:27
5. Memphis Blues Again - 3:16
6. Pretty Prizes (feat. Karen O) - 3:06
7. The Golden Ones (feat. Karen O) - 2:07
8. Lanza - 2:47
9. Café Flesh - 5:05
Besetzung: Art Direction, Design: David Bett
; Art Direction, Design: Maria Paula Marulanda
; Bass: Sean Yeaton
; Drums, Percussion: Max Savage
; Editing: Anton Riehl
; Guitar: Austin Brown
; Guitar, Vocals: Andrew Savage
; Mastering: Joe Gastwirt
; Mixing: Kennie Takahashi
; Photography: Alex Prager
; Photography: Peter Shire
; Synthesizer, Celesta, Violin, Electric Harpsichord, Editing, Mixing, Art Direction, Design: Daniele Luppi
; Recording: Jeff Peters
; Recording: Mike Kutchman
; Recording: Todd Monfalcone
; Saxophone: Hornet Köhlmann
; Trumpet: Lorenzo Luppi
; Copyright (c) Monitor Pop, Inc.
; Manufactured By Columbia
; Distributed By Columbia
Alva Noto [>] [D] & Ryuichi Sakamoto [>] [D]: Glass [F]
Label und Katalognummer: NOTON N 044
Produktion: Alva Noto & Ryuichi Sakamoto
Veröffentlicht: 2018 02 16
Genretags: Post-Millennial-Music - Digital-Underground - Postelectronica
Trackliste: 1. Glass - 36:58
Alle Tracks: Alva Noto und Ryuichi Sakamoto.
Besetzung: Editing [Editing]: Carsten Nicolai
; Mixing [Mixing]: Ryuichi Sakamoto
; Performer [Glass Performance]: Alva Noto + Ryuichi Sakamoto
; Photography: Derrick Belcham
; Photography: JJ Jimenez
; Photography: Matthu Placek
; Photography [Inner Sleeve]: Matthu Placek
; Photography [Philip Johnson Glass House]: Yayoi Kusama
; Recording [Recording], Engineer [Sound Engineering]: Rafael Anton Irisarri
; Sleeve Notes, Curated By: Irene Shum
; Technician [Technical Support]: Alec Fellman
; Manufactured By www.handlewithcare.de
; Copyright (c) Yayoi Kusama Studio
; Copyright (c) Ota Fine Arts
; Copyright (c) David Zwirner
; Pressed By Optimal Media GmbH
; Recorded At Philip Johnson Glass House
Patty Griffin [>] [D]: Patty Griffin [F]
Label und Katalognummer: Thirty Tigers PGM 002
Produktion: Patty Griffin & Craig Ross
Veröffentlicht: 2019 03 08
Genretags: Country - Countryrock - Post-Millennial-Countryrock
Trackliste: 1. Mama's Worried (Patty Griffin, David Pulkingham) - 3:22
2. River - 5:23
3. Where I Come From - 4:44
4. Hourglass - 3:23
5. Had a Good Reason - 3:20
6. Bluebeard - 5:06
7. What Now - 4:52
8. Luminous Places - 4:51
9. Coins - 3:46
10. Boys From Tralee - 3:49
11. The Wheel - 6:14
12. What I Remember (Patty Griffin, David Pulkingham) - 3:25
13. Just the Same - 3:45
Alle Tracks: Patty Griffin, ausser wo anders vermerkt.
Besetzung: Artwork: Mishka Westell
; Coordinator [Production Coordination]: Cindi Peters
; Mastering: Joe Gastwirt
; Mixing: Mike Poole
; Photography: Emma Watts
; Photography: Michael Wilson (8)
; Recording: Craig Ross (1 to 6, 8 to 12)
; Recording: David Boyle (7)
; Recording: Mike Poole (1 to 6, 8 to 12)
; Marketed By Thirty Tigers
; Marketed By The Orchard
; Distributed By Thirty Tigers
; Distributed By The Orchard
; Manufactured By The ADS Group
; Phonographic Copyright (p) PGM (5)
; Copyright (c) PGM (5)
; Recorded At Church House Studios
; Published By One Big Love
; Published By Almo Music Corp.
Label und Katalognummer: Touch TO:115
Produktion: Christian Fennesz
Veröffentlicht: 2019 03 29
Genretags: Post-Millennial-Music - Digital-Underground - Electroacoustic-Music
Pitchfork Rezensent Mark Richardson macht einen aufschlussreichen Vergleich von vier DJ/Producern, die mit der Listening Techno Welle (IDM) in den 90er Jahren grosse Bekanntheit erlangten: Autechre, Aphex Twin, Tim Hecker und Fennesz. Er führt die Musik dieser vier wichtigen Electronica Produzenten auf Klangbilder von Pop- und Rock Stilrichtungen zurück, die in den 80er Jahren prägend auf sie gewirkt haben. Das ist so einleuchtend, dass man selber hätte drauf kommen müssen, aber zuweilen brauchen die Einsichten die Hilfe versierter und reflektierter Rezensent/-innen sowie ihren gut geschriebenen und aufschlussreichen Rezensionen.
Also: Autechre mit ihrem metallischen Rhythmen kämen vom frühen amerikanischen Electrosound her, vom Streetfunk, Electricboogie oder Oldshool-Hip-Hop (wie immer man dies nennen möchte). Diese Musik war von den damals neuen synthetisch klingenden Rhythmusmaschinen (der Roland TR-808) aus Japan geprägt (hörbar zum Beispiel auf dem hervorragenden Sugar Hill Hip-Hop Box Set).
Aphex Twin habe seine Klänge auf dem kalten und maschinenhaften Techno Sound (und dem «squelching» der Roland TB-303, das Acid geprägt hat) aufgebaut (hörbar z.B. auf dem Detroit Techno Sampler Techno! The New Dance Sound Of Detroit).
Tim Heckers Musik steht mit beiden Füssen im Shoegaze der 80er Jahre (hier kommt mir Loveless von My Bloody Valentine in den Sinn).
Fennesz schliesslich sei durch und durch von der New Romantic Musik der frühen 80er Jahre geprägt, von allem, was auf Roxy Music gefolgt sei. Diese Musik sei aufwändig produziert und in grosse akustische Räume gestellt worden, so dass man den Unterschied von Synthesizern und Gitarren kaum mehr ausmachen konnte. Mit einem der Heroen aus dieser Zeit, mit David Sylvian, dem Sänger von Japan hat Fennesz ja wiederholt zusammen gearbeitet (höre das herausragende Blemish). Eine wirklich empfehlenswerte New-Romantic-Compilation kenne ich nicht, aber die Genre-Seite des Musikzimmers hat einige essentielle Tracks verzeichnet und Youtube hat eine Playlist mit raren New Romantic Tracks).
So jetzt brauchen Sie ein Wochenende, um das alles anzuhören. Wenn ich Sie auf meinem Marktplatz von musikalischen Bezügen dazu verführen kann, zeitgenössische elektronische Musik zu hören, dann hat es sich gelohnt, die Bezüge sichtbar gemacht zu haben. Wenn ich sie nicht verführen kann, so bleibt zumindest die Nostalgie für die Musik der 80er Jahre.
Mit dem neuen Album Agora
hat Christian Fennesz ein weiteres ausgezeichnetes Album abgeliefert. Fenneszs Musik muss man sich als übereinander geschichtete New Romantic Klänge vorstellen. Das was im klassischen 80er-Jahre Pop Song im Nacheinander von Songstrukturen geschah, wird hier in Schichten angeordnet – Sounds kommen dazu und gehen wieder weg. Die Musik funktioniert ähnlich wie die von Tim Hecker, der so viel Schichten übereinander baut, dass er eine möglichst hohe Dichte erreicht (muss man live gehört haben, bläst einen weg, ohne dass man das Ohrenpfeifen kriegt!). Fennesz dagegen geht mit dem Anhäufen von Sounds viel sparsamer um. Seine Klänge kommen und gehen in Wellenbewegungen und das ist sein Bezug zu den Beach Boys und dem Surf-Sound.
Trackliste: 1. In My Room - 12:28
2. Rainfall - 11:58
3. Agora - 12:09
4. We Trigger the Sun - 10:29
Alle Tracks: Christian Fennesz.
Besetzung: Fennesz: guitar, computer
; Jon Wozencroft: photography, design
; Denis Blackham: mastering
; Katharina Caecilia Fennesz: vocals
; Manfred Neuwirth: field recordings
; Mira Waldmann: vocals
The National [>] [D]: I Am Easy To Find [F]
Label und Katalognummer: 4AD 0154
Produktion: Mike Mills & The National
Veröffentlicht: 2019 05 17
Genretags: Post-Millennial-Music - Poprock
Trackliste: 1. You Had Your Soul With You (feat. Gail Ann Dorsey) - 3:26
2. Quiet Light - 4:15
3. Roman Holiday (feat. Gail Ann Dorsey) - 3:35
4. Oblivions (feat. Mina Tindle) - 4:14
5. The Pull Of You (feat. Lisa Hannigan, Sharon Van Etten) - 3:59
6. Hey Rosey (feat. Gail Ann Dorsey) - 4:14
7. I Am Easy To Find (feat. Kate Stables) - 4:31
8. Her Father In The Pool (feat. Brooklyn Youth Chorus) - 1:03
9. Where Is Her Head (feat. Eve Owen) - 4:42
10. Not In Kansas (feat. Gail Ann Dorsey, Kate Stables, Lisa Hannigan) - 6:45
11. So Far So Fast (feat. Lisa Hannigan) - 6:37
12. Dust Swirls In Strange Light (feat. Brooklyn Youth Chorus) - 3:19
13. Hairpin Turns (feat. Gail Ann Dorsey, Lisa Hannigan) - 4:28
14. Rylan (feat. Kate Stables) - 3:44
15. Underwater (feat. Brooklyn Youth Chorus) - 1:21
16. Light Years - 3:33
Alle Tracks: Matt Berninger, Carin Besser, Aaron Dessner, Bryce Dessner und Mike Mills.
Besetzung: Arranged, Performer: The National
; Band [The National]: Aaron Dessner
; Band [The National]: Bryan Devendorf
; Band [The National]: Bryce Dessner
; Band [The National]: Matt Berninger
; Band [The National]: Scott Devendorf
; Band [Touring Members]: Ben Lanz
; Band [Touring Members]: Kyle Resnick
; Bass [Paris]: Grégoire Dubruel
; Bass [Paris]: Thomas Garoche
; Cello [New York]: Alan Richardson
; Cello [New York]: Andrea Lee
; Cello [New York]: Wolfram Koessel
; Cello [Paris]: Barbara Le Liepvre
; Cello [Paris]: Ella Jarrige
; Cello [Paris]: Juliette Salmona
; Chorus Master [Brooklyn Youth Chorus, Artistic Director]: Dianne Berkun
; Chorus [Brooklyn Youth Chorus]: Abigail Lienhard
; Chorus [Brooklyn Youth Chorus]: Aliyah Weiss
; Chorus [Brooklyn Youth Chorus]: Amayah Hutchinson
; Chorus [Brooklyn Youth Chorus]: Anna Vartsaba
; Chorus [Brooklyn Youth Chorus]: Avery Soto
; Chorus [Brooklyn Youth Chorus]: Clara Rosarius
; Chorus [Brooklyn Youth Chorus]: Clementine Vonnegut
; Chorus [Brooklyn Youth Chorus]: Cora Clum
; Chorus [Brooklyn Youth Chorus]: Fannie Feynberg
; Chorus [Brooklyn Youth Chorus]: Jeanne Bransbourg
; Chorus [Brooklyn Youth Chorus]: Joseph Brooks
; Chorus [Brooklyn Youth Chorus]: Katy Urda
; Chorus [Brooklyn Youth Chorus]: Lila Hasenstab
; Chorus [Brooklyn Youth Chorus]: Mariana Weaver
; Chorus [Brooklyn Youth Chorus]: Maya Baijal
; Chorus [Brooklyn Youth Chorus]: Maya Renaud-Levine
; Chorus [Brooklyn Youth Chorus]: Maya Sequira
; Chorus [Brooklyn Youth Chorus]: Morgan Colton
; Chorus [Brooklyn Youth Chorus]: Natalie Hawkins
; Chorus [Brooklyn Youth Chorus]: Raquel Klein
; Chorus [Brooklyn Youth Chorus]: Sarah Sotomayor
; Chorus [Brooklyn Youth Chorus]: Tatyana Sgaraglino
; Chorus [Brooklyn Youth Chorus]: Thalia Glyptis
; Cinematographer [Cinematography By]: Daniel Voldheim
; Creative Director [Creative Direction By]: Mike Mills
; Design [Album Design By]: OSK Design
; Double Bass [New York]: Logan Coale
; Drum Programming: Andrew Broder
; Drums: Ben Sloan
; Drums, Percussion, Dulcimer [Chord Stick]: Jason Treuting
; Engineer [Assistant Engineer Recording]: Bella Blasko
; Keyboards, Piano: Thomas Bartlett
; Legal [For Carroll Guido Groffman Cohen Bar & Karalian, LLP]: Gillian Bar
; Management [Additional Management For Lemon House Productions]: Jamie Heaslip
; Management [Business Management For Phil Sarna Business Management]: Gloria Lee
; Management [Business Management For Phil Sarna Business Management]: Hyun-Joo Park
; Management [Business Management For Phil Sarna Business Management]: Tara Beaudine
; Management [For Straight & Narrow Artist Management]: Alison D\'Arrigo
; Management [For Straight & Narrow Artist Management]: Brandon Reid
; Management [For Straight & Narrow Artist Management]: Grant Manship
; Management [For Straight & Narrow Artist Management]: Julia Willinger
; Management [For Straight & Narrow Artist Management]: Shaun Gibson
; Management [For Straight & Narrow Artist Management]: Wayne Petti
; Mastering: Greg Calbi
; Mastering [Mastered With]: Steve Fallone
; Mixing: Peter Katis
; Mixing [Additional Mixing By]: Jonathan Low
; Music By: Aaron Dessner
; Music By: Bryce Dessner
; Orchestrated By [Orchestration By]: Bryce Dessner
; Percussion, Dulcimer [Chord Stick]: Eric Beach
; Producer: Mike Mills
; Producer: The National
; Producer [Additional Production In Berlin And Paris]: Aaron Dessner
; Producer [Additional Production In Berlin And Paris]: Bryce Dessner
; Producer [Additional Production In Cincinnati]: Curt Kiser (6, 13)
; Producer [Additional Production In Los Angeles]: Matt Berninger
; Programmed By: Andi Toma
; Programmed By: Jan St. Werner
; Promotion [For Fifth Avenue PR (UK)]: Sarah Lowe
; Promotion [International]: Annette Lee
; Promotion [Publicity For Grandstand Media (US)]: Dana Erickson
; Promotion [Publicity For Grandstand Media (US)]: Kate Jackson
; Recording: Jonathan Low
; Recording [Additional Recording By, Earthstar]: Sean O\'Brien (7)
; Recording [Additional Recording By]: Aaron Dessner
; Recording [Additional Recording By]: Andi Toma
; Recording [Additional Recording By]: Ber Quinn
; Recording [Additional Recording By]: Elijah Walker II
; Recording [Additional Recording By]: Isaac Karns
; Recording [Additional Recording By]: Jan St. Werner
; Recording [Additional Recording By]: Steph Marziano
; Recording [Additional Recording By]: Thomas Bunio
; Strings: Padma Newsome
; Synthesizer: Alexander Ridha
; Synthesizer: Isaac Karns
; Synthesizer [OP-1]: Justin Vernon
; Synthesizer, Trombone: Ben Lanz
; Viola [New York]: Caitlin Lynch
; Viola [New York]: Caleb Burhans
; Viola [New York]: Miranda Sielaff
; Viola [Paris]: Benachir Boukhatem
; Viola [Paris]: Marine Gandon
; Viola [Paris]: Sarah Chenaf
; Violin [First Violin, New York]: Ben Russell
; Violin [First Violin, New York]: Johnny Gandelsman
; Violin [First Violin, New York]: Katie Hyun
; Violin [First Violin, New York]: Monica Davis
; Violin [First Violin, Paris]: Ariadna Teyssier
; Violin [First Violin, Paris]: Charlotte Juillard
; Violin [First Violin, Paris]: Domitille Gilon
; Violin [First Violin, Paris]: Marc Desjardins
; Violin [First Violin, Paris]: Nikolai Spassov
; Violin [Second Violin, New York]: Emily Daggett Smith
; Violin [Second Violin, New York]: Guillaume Pirard
; Violin [Second Violin, New York]: Rachel Shapiro
; Violin [Second Violin, New York]: Sarah Whitney
; Violin [Second Violin, Paris]: Emilie Duch-Sauzeau
; Violin [Second Violin, Paris]: Leslie Boulin-Raulet
; Violin [Second Violin, Paris]: Matthias Piccin
; Violin [Second Violin, Paris]: Pauline Hauswirth
; Vocals: Dian Sorel
; Vocals: Eve Owen
; Vocals: Gail Ann Dorsey
; Vocals: Kate Stables
; Vocals: Kyle Resnick
; Vocals: Lisa Hannigan
; Vocals: Mina Tindle
; Vocals: Mélissa Laveaux
; Vocals: Sharon Van Etten
; Licensed From The National
; Phonographic Copyright (p) 4AD Ltd.
; Copyright (c) 4AD Ltd.
; Published By BMG Rights Management (US) LLC
; Produced At Long Pond
; Recorded At Long Pond
; Recorded At Earthstar Creation Center
; Recorded At Aaron\'s Garage
; Recorded At Alina Chapel
; Recorded At Delta, Paris
; Recorded At Dreamland Recording Studios
; Recorded At Future-Past Studios
; Recorded At Funkhaus-Studio
; Recorded At Marble Garden
; Recorded At Overlook Studio (2)
; Recorded At Public Hi-Fi
; Recorded At Reservoir Studios, Nyc
; Recorded At Sonic Studios, Dublin
; Recorded At Studio G, Brooklyn, NY
; Recorded At Studio Saint Germain
; Mixed At Long Pond
; Mastered At Sterling Sound
Bob Dylan [>] [D]: The Rolling Thunder Revue: The 1975 Live Recordings [F]
Assoziierte Acts: Patti Smith & Joan Baez & T-Bone Burnett & Roger McGuinn & Ramblin' Jack Elliott & Ronnie Hawkins & Joni Mitchell & Mick Ronson & Gordon Lightfoot
Label und Katalognummer: Columbia Legacy 19075928282
Produktion: Lauren Belfer & Steve Berkowitz & Margaret Bodde & Jeff Rosen
Veröffentlicht: 2019 06 07 (Ed.)
Genretags: Rock - Rootsrock, Rock - Singer-Songwriter
Trackliste: CD 1: S.I.R. Rehearsals, New York, NY – October 19, 1975
1. Rake and Ramblin' Boy [incomplete] (Bob Dylan) - 1:50
2. Romance in Durango [incomplete] (Bob Dylan) - 5:24
3. Rita May (Bob Dylan, Jacques Levy) - 3:22
4. I Want You [incomplete] (Bob Dylan) - 2:18
5. Love Minus Zero/No Limit [incomplete] (Bob Dylan) - 1:12
6. She Belongs to Me [incomplete] (Bob Dylan) - 2:41
7. Joey [incomplete] (Bob Dylan) - 5:13
8. Isis (Bob Dylan, Jacques Levy) - 7:45
9. Hollywood Angel [incomplete] (Bob Dylan) - 2:51
10. People Get Ready (Bob Dylan, Curtis Mayfield) - 2:42
11. What Will You Do When Jesus Comes? (Bob Dylan) - 1:37
12. Spanish Is the Loving Tongue (Bob Dylan) - 4:05
13. The Ballad of Ira Hayes (Bob Dylan) - 2:55
14. One More Cup of Coffee (Valley Below) (Bob Dylan) - 3:40
15. Tonight I'll be Staying Here With You (Bob Dylan) - 2:58
16. This Land is Your Land (Bob Dylan) - 2:32
17. Dark as a Dungeon (Bob Dylan, Merle Travis) - 3:42
CD 2: S.I.R. Rehearsals, New York, NY – October 21, 1975
1. She Belongs to Me (Bob Dylan) - 2:39
2. A Hard Rain's a-Gonna Fall (Bob Dylan) - 4:02
3. Isis (Bob Dylan, Jacques Levy) - 3:57
4. This Wheel's on Fire/Hurricane/All Along the Watchtower (Rick Danko, Bob Dylan) - 13:28
5. One More Cup of Coffee (Valley Below) (Bob Dylan) - 3:15
6. If You See Her, Say Hello (Bob Dylan) - 2:56
7. One Too Many Mornings (Bob Dylan) - 2:31
8. Gwenevere [incomplete] (Bob Dylan) - 2:20
9. Lily, Rosemary and the Jack of Hearts [incomplete] (Bob Dylan) - 2:21
10. Patty's Gone to Laredo (Bob Dylan) - 2:47
11. It's Alright Ma (I'm Only Bleeding) (Bob Dylan) - :52
CD 3: Seacrest Motel Rehearsals, Falmouth, MA – October 29, 1975
1. Tears of Rage (Bob Dylan, Richard Manuel) - 3:32
2. I Shall Be Released (Bob Dylan) - 4:11
3. Easy and Slow (Bob Dylan) - 5:22
4. Ballad of a Thin Man (Bob Dylan) - 5:42
5. Hurricane (Bob Dylan, Jacques Levy) - 8:22
6. One More Cup of Coffee (Valley Below) (Bob Dylan) - 4:16
7. Just Like a Woman (Bob Dylan) - 5:14
8. Knockin' on Heaven's Door (Bob Dylan) - 4:30
CD 4: Memorial Auditorium, Worcester, MA – November 19, 1975
1. When I Paint My Masterpiece (Bob Dylan) - 4:38
2. It Ain't Me, Babe (Bob Dylan) - 5:27
3. The Lonesome Death of Hattie Carroll (Bob Dylan) - 5:13
4. It Takes a Lot to Laugh, It Takes a Train to Cry (Bob Dylan) - 3:19
5. Romance in Durango (Bob Dylan, Jacques Levy) - 5:26
6. Isis (Bob Dylan, Jacques Levy) - 5:29
7. Blowin' in the Wind (Bob Dylan) - 2:51
8. Wild Mountain Thyme (Bob Dylan) - 3:58
9. Mama, You Been on My Mind (Bob Dylan) - 2:43
10. Dark as a Dungeon (Bob Dylan, Merle Travis) - 3:32
11. I Shall Be Released (Bob Dylan) - 4:23
CD 5: Memorial Auditorium, Worcester, MA – November 19, 1975
1. Tangled Up in Blue (Bob Dylan) - 4:48
2. Oh, Sister (Bob Dylan, Jacques Levy) - 3:59
3. Hurricane (Bob Dylan, Jacques Levy) - 8:20.
4. One More Cup of Coffee (Valley Below) (Bob Dylan) - 3:50
5. Sara (Bob Dylan) - 4:44
6. Just Like a Woman (Bob Dylan) - 4:17
7. Knockin' on Heaven's Door (Bob Dylan) - 4:51
8. This Land Is Your Land (Bob Dylan) - 4:00
CD 6: Harvard Square Theater, Cambridge, MA – November 20, 1975
1. When I Paint My Masterpiece (Bob Dylan) - 4:23
2. It Ain't Me, Babe (Bob Dylan) - 5:20
3. The Lonesome Death of Hattie Carroll (Bob Dylan) - 5:23
4. It Takes a Lot to Laugh, It Takes a Train to Cry (Bob Dylan) - 3:26
5. Romance in Durango (Bob Dylan, Jacques Levy) - 5:15
6. Isis (Bob Dylan, Jacques Levy) - 5:27
7. Blowin' in the Wind (Bob Dylan) - 2:37
8. Wild Mountain Thyme (Bob Dylan) - 4:06
9. Mama, You Been on My Mind (Bob Dylan) - 3:02
10. Dark as a Dungeon (Bob Dylan, Merle Travis) - 3:30
11. I Shall Be Released (Bob Dylan) - 4:15
CD 7: Harvard Square Theater, Cambridge, MA – November 20, 1975
1. Simple Twist of Fate (Bob Dylan) - 4:39
2. Oh, Sister (Bob Dylan) - 3:41
3. Hurricane (Bob Dylan, Jacques Levy) - 8:19
4. One More Cup of Coffee (Valley Below) (Bob Dylan) - 3:55
5. Sara (Bob Dylan) - 5:09
6. Just Like a Woman (Bob Dylan) - 4:12
7. Knockin' on Heaven's Door (Bob Dylan) - 4:03
8. This Land is Your Land (Bob Dylan) - 4:05
CD 8: Boston Music Hall, Boston, MA – November 21, 1975 (Afternoon)
1. When I Paint My Masterpiece (Bob Dylan) - 4:16
2. It Ain't Me, Babe (Bob Dylan) - 5:14
3. The Lonesome Death of Hattie Carroll (Bob Dylan) - 5:17
4. A Hard Rain's a-Gonna Fall (Bob Dylan) - 5:25
5. Romance in Durango (Bob Dylan, Jacques Levy) - 4:36
6. Isis (Bob Dylan, Jacques Levy) - 5:50
7. The Times They Are a-Changin' (Bob Dylan) - 2:45
8. I Dreamed I Saw St. Augustine (Bob Dylan) - 3:03
9. Mama, You Been on My Mind (Bob Dylan) - 2:50
10. Never Let Me Go (Bob Dylan, Joseph Scott) - 2:37
11. I Shall Be Released (Bob Dylan) - 4:36
CD 9: Boston Music Hall, Boston, MA – November 21, 1975 (Afternoon)
1. Mr. Tambourine Man (Bob Dylan) - 5:47
2. Oh, Sister (Bob Dylan, Jacques Levy) - 4:15
3. Hurricane (Bob Dylan, Jacques Levy) - 8:03
4. One More Cup of Coffee (Valley Below) (Bob Dylan) - 4:02
5. Sara (Bob Dylan) - 4:42
6. Just Like a Woman (Bob Dylan) - 4:20
7. Knockin' on Heaven's Door (Bob Dylan) - 3:59
8. This Land is Your Land (Bob Dylan, Woody Guthrie) - 3:42
CD 10: Boston Music Hall, Boston, MA – November 21, 1975 (Evening)
1. When I Paint My Masterpiece (Bob Dylan) - 4:27
2. It Ain't Me, Babe (Bob Dylan) - 5:13
3. The Lonesome Death of Hattie Carroll (Bob Dylan) - 5:30
4. It Takes a Lot to Laugh, It Takes a Train to Cry (Bob Dylan) - 3:28
5. Romance in Durango (Bob Dylan, Jacques Levy) - 4:52
6. Isis (Bob Dylan, Jacques Levy) - 5:21
7. Blowin' in the Wind (Bob Dylan) - 2:52
8. The Water Is Wide (Bob Dylan) - 5:15
9. Mama, You Been on My Mind (Bob Dylan) - 2:54
10. Dark as a Dungeon (Bob Dylan, Merle Travis) - 3:48
11. I Shall Be Released (Bob Dylan) - 4:28
CD 11: Boston Music Hall, Boston, MA – November 21, 1975 (Evening)
1. I Don't Believe You (She Acts Like We Never Have Met) (Bob Dylan) - 3:13
2. Tangled Up in Blue (Bob Dylan) - 5:14
3. Oh, Sister (Bob Dylan) - 4:18
4. Hurricane (Bob Dylan) - 8:07
5. One More Cup of Coffee (Valley Below) (Bob Dylan) - 4:27
6. Sara (Bob Dylan) - 5:03
7. Just Like a Woman (Bob Dylan) - 4:12
8. Knockin' on Heaven's Door (Bob Dylan) - 4:10
9. This Land is Your Land (Bob Dylan) - 3:50
CD 12: Forum de Montreal, Quebec, Canada – December 4, 1975
1. When I Paint My Masterpiece (Bob Dylan) - 4:22
2. It Ain't Me, Babe (Bob Dylan) - 5:16
3. The Lonesome Death of Hattie Carroll (Bob Dylan) - 5:24
4. Tonight I'll Be Staying Here with You (Bob Dylan) - 3:55
5. A Hard Rain's a-Gonna Fall (Bob Dylan) - 5:19
6. Romance in Durango (Bob Dylan, Jacques Levy) - 5:16
7. Isis (Bob Dylan, Jacques Levy) - 5:17
8. Blowin' in the Wind (Bob Dylan) - 2:37
9. Dark as a Dungeon (Bob Dylan) - 3:37
10. Mama, You Been on My Mind (Bob Dylan) - 2:49
11. Never Let Me Go (Bob Dylan) - 2:57
12. I Dreamed I Saw St. Augustine (Bob Dylan) - 3:05
13. I Shall Be Released (Bob Dylan) - 4:24
CD 13: Forum de Montreal, Quebec, Canada – December 4, 1975
1. It's All over Now, Baby Blue (Bob Dylan) - 4:24
2. Love Minus Zero/No Limit (Bob Dylan) - 3:34
3. Tangled Up in Blue (Bob Dylan) - 6:32
4. Oh, Sister (Bob Dylan, Jacques Levy) - 3:40
5. Hurricane (Bob Dylan, Jacques Levy) - 7:55
6. One More Cup of Coffee (Valley Below) (Bob Dylan) - 4:12
7. Sara (Bob Dylan) - 4:44
8. Just Like a Woman (Bob Dylan) - 4:49
9. Knockin' on Heaven's Door (Bob Dylan) - 4:05
10. This Land is Your Land (Bob Dylan) - 3:45
CD 14: Rare Performances
1. One Too Many Mornings (Bob Dylan) - 3:45
2. Simple Twist of Fate (Bob Dylan) - 5:53
3. Isis (Bob Dylan, Jacques Levy) - 7:16
4. With God on Our Side (Bob Dylan) - 5:36
5. It's Alright Ma (I'm Only Bleeding) (Bob Dylan) - 5:44
6. Radio Advertisement for Niagara Falls shows (Bob Dylan) - :59
7. The Ballad of Ira Hayes (Bob Dylan, Peter La Farge) - 2:53
8. Your Cheatin' Heart (Bob Dylan, Hank Williams) - 1:51
9. Fourth Time Around (Bob Dylan) - 3:07
10. The Tracks of My Tears (Bob Dylan, Pete Moore, William Robinson, William Tarplin) - 2:03
11. Jesse James (Bob Dylan) - 1:51
12. It Takes a Lot to Laugh, It Takes a Train to Cry (Bob Dylan) - 3:32
Besetzung: Steve Addabbo: Mastering, Mixing
; Howard Alk: Photography Director
; Eric Andersen: Guitar
; Joan Baez: Guitar, Vocals
; Ronee Blakley: Vocals
; Sean Brennan: Additional Production, Digital Transfers
; T-Bone Burnett: Guitar, Vocals
; Matt Cavaluzzo: Digital Transfers
; Don DeVito: Supervisor
; Bob Dylan: Arranger, Guitar, Harmonica, Piano, Primary Artist, Vocals
; Ramblin\' Jack Elliott: Guitar, Vocals
; Parker Fishel: Production Coordination
; Jeff Friedman: Research
; Geoff Gans: Art Direction, Design
; Allen Ginsberg: Finger Cymbals, Vocals
; Paul Goldsmith: Photography Director
; Guam: Ensemble
; April Hayes: Producer
; Wolfgang Held: Camera Operator
; Petur Hliddal: Engineer, Scoring Recordist
; L.A. Johnson: Engineer, Scoring Recordist
; Larry Keegan: Vocals
; Ellen Kuras: Photography Director
; Michael Levine: Photography Director
; Ellen Lewis: Casting
; David Mansfield: Dobro, Guitar (Steel), Mandolin, Violin
; Roger McGuinn: Guitar, Vocals
; Joni Mitchell: Vocals
; David Myers: Photography Director
; Bob Neuwirth: Guitar, Quotation Author, Vocals
; Mike Piacentini: Additional Production
; Ken Regan: Photography
; Lisa Rinzler: Camera Operator
; Scarlet Rivera: Violin
; Luther Rix: Congas, Drums, Percussion
; Robbie Robertson: Guitar
; Damian Rodriguez: Additional Production, Editing
; Mick Ronson: Guitar
; Arlen Roth: Guitar
; Paul Ryan: Camera Operator
; Martin Scorsese: Director
; Steven Soles: Guitar, Vocals
; Wesley Stace: Liner Notes
; Rob Stoner: Bass, Vocals
; David Tedeschi: Editing, Executive Producer
; Maria Triana: Additional Production
; Jeroen Van Der Meer: Product Manager
; Mark Wilder: Mastering
; Howie Wyeth: Drums, Piano
; Rick Yorn: Executive Producer
; Phonographic Copyright (p) Columbia Records
; Copyright (c) Columbia Records
; Distributed By Sony Music Entertainment
; Pressed By Sony DADC
; Recorded At S.I.R. Studios, New York
; Recorded At Seacrest Motel, Falmouth, MA
; Recorded At Memorial Auditorium, Worcester
; Recorded At Harvard Square Theatre, Cambridge
; Recorded At Boston Music Hall
; Recorded At Forum de Montréal
Bright Eyes [>] [D]: Down In The Weeds, Where The World Once Was [F]
Assoziierte Acts: MIke Mogis & Conor Oberst
Label und Katalognummer: Dead Oceans DOC 210
Produktion: Bright Eyes
Veröffentlicht: 2020 08 21
Genretags: Post-Millennial-Music - Poprock
Trackliste: 1. Pageturner’s Rag - 3:57
2. Dance and Sing - 4:30
3. Just Once in the World - 3:28
4. Mariana Trench - 3:41
5. One and Done - 4:53
6. Pan and Broom - 2:52
7. Stairwell Song - 3:40
8. Persona Non Grata - 3:32
9. Tilt‐A‐Whirl - 2:20
10. Hot Car in the Sun - 2:27
11. Forced Convalescence - 4:08
12. To Death’s Heart (In Three Parts) - 5:25
13. Calais to Dover - 4:17
14. Comet Song - 5:35
Alle Tracks: Bright Eyes (Musik) und Conor Oberst (Lyrics).
Besetzung: Conor Oberst: vocals, acoustic guitar, piano
; Mike Mogis: electric guitar, pedal steel, banjo, Marxophone, synth bass, percussion, programming, hammer dulcimer, bajo sexto
; Nathaniel Walcott: piano, trumpet, flugelhorn, orchestral and choir arrangements, Hammond organ, electric pianos, synthesizers, vibraphone, Omnichord, Mellotron, harpsichord
; Corina Figueroa Escamilla: vocals (1)
; Nancy Oberst: vocals (1)
; Miwi La Lupa: vocals (3, 4, 5, 14)
; Andy LeMaster: vocals (9, 13)
; Susan Sanchez: vocals (6, 8)
; Jesca Hoop: vocals (4, 12)
; Dan McCarthy: piano (1)
; Flea: bass (2, 4, 5, 7, 11, 12, 14)
; Macey Taylor: bass (3, 8, 9, 10, 13)
; Jenny Lee Lindberg: bass (6)
; Jon Theodore: drums (2–14), percussion (2–14), timpani (2–14)
; Kip Skitter: percussion (2, 4, 11)
; Joe Fuchs: bagpipes (8)
; Joe Todero: bagpipes (8)
; Malcolm Wilbur: bagpipes (8)
; Suzie Katayama: orchestra conductor (2, 5, 7, 14)
; Jason McGee: choir conductor (2, 11)
; James Connor: choir vocals (2, 11)
; Quishima Dixon: choir vocals (2, 11)
; Natalie Ganther: choir vocals (2, 11)
; Anthony Johnston: choir vocals (2, 11)
; Edward Lawson: choir vocals (2, 11)
; Jennifer Lee: choir vocals (2, 11)
; Sharetta Morgan-Harmon: choir vocals (2, 11)
; Marquee Perkins: choir vocals (2, 11)
; Jessica Guideri: violin (2, 5, 7, 14)
; Tammy Hatwan: violin (2, 5, 7, 14)
; Jackie Brand: violin (2, 5, 7, 14)
; Roberto Cani: violin (2, 5, 7, 14)
; Paul Cartwright: violin (2, 5, 7, 14)
; Nina Evtuhov: violin (2, 5, 7, 14)
; Gerry Hilera: violin (2, 5, 7, 14)
; Ana Landauer: violin (2, 5, 7, 14)
; Natalie Leggett: violin (2, 5, 7, 14)
; Michele Richards: violin (2, 5, 7, 14)
; Jenny Takamatsu: violin (2, 5, 7, 14)
; John Wittenberg: violin (2, 5, 7, 14)
; Rob Brophy: viola (2, 5, 7, 14)
; Tom Lea: viola (2, 5, 7, 14)
; Luke Maurer: viola (2, 5, 7, 14)
; Rodney Wir
tz: viola (2, 5, 7, 14)
; Vanessa Freebairn-Smith: cello (2, 5, 7, 14)
; Erika Duka: cello (2, 5, 7, 14)
; Dane Little: cello (2, 5, 7, 14)
; Charlie Tyler: cello (2, 5, 7, 14)
; Johanna Borenstein: flute (2, 7, 14)
; Lara Wickes: oboe (2, 7, 14), English horn (2, 7, 14)
; Don Foster: clarinet (2, 7, 14)
; John Mitchell: baritone saxophone (4, 5)
; Jon Lewis: trumpet (2, 4, 5, 7, 14)
; Daniel Rosenboom: trumpet (2, 4, 5, 7, 14)
; Alex Iles: trombone (2, 4, 5, 7, 14)
; Steve Holtman: trombone (2, 4, 5, 7, 14)
; Mike Mogis: mixing (all tracks), engineering (1, 3, 8, 9, 10, 13)
; Michael Harris: engineering (2, 4, 5, 6, 7, 11, 12, 14)
; Steve Churchyard: engineering (2, 4, 5, 7, 11, 14)
; Adam Roberts: assistant engineer (1, 3, 8, 9, 10, 13)
; Nik Fackler: assistant engineer (1)
; Aaron Gum: assistant engineer (1)
; Chris Cerullo: assistant engineer (2, 4, 5, 6, 7, 11, 12, 14)
; Chandler Harrod: assistant engineer (2, 4, 5, 7, 11, 14)
; Andy LeMaster: assistant engineer (9, 13)
; Tim Thomas: assistant engineer (4, 12)
; Bob Ludwig: mastering (all tracks)
; Zack Nipper: artwork, layout
; Rob Walters: diorama photography
; Copyright (c) Dead Oceans, Inc.
; Phonographic Copyright (p) Dead Oceans, Inc.
Lil Nas X [>] [D]: Montero [F]
Label und Katalognummer: Columbia
Produktion: Take a Daytrip & Omer Fedi & Roy Lenzo & Jasper Harris & Tom Levesque & Kanye West & Nick Lee & Blake Slatkin & Ryan Tedder & KBeaZy & Jasper Sheff & John Cunningham & Carter Lang & Nick Mira & DT
Veröffentlicht: 2021 09 17
Genretags: Post-Millennial-Music - Hip-Hop - Poprap
Trackliste: 1. Montero (Call Me By Your Name) - 2:17
2. Dead Right Now - 3:41
3. Lil Nas X & Jack Harlow: Industry Baby - 3:32
4. That's What I Want - 2:23
5. The Art Of Realization - 0:24
6. Scoop (feat. Doja Cat) - 2:54
7. One Of Me (feat. Elton John) - 2:41
8. Lost In The Citadel - 2:50
9. Dolla Sign Slime (feat. Megan Thee Stallion) - 2:25
10. Tales Of Dominica - 2:26
11. Sun Goes Down - 2:48
12. Void - 4:08
13. Don't Want It - 2:10
14. Life After Salem - 3:30
15. Am I Dreaming (feat. Miley Cyrus) - 3:03
Besetzung: Montero Hill: lead vocals (all tracks), background vocals (1–3, 6, 8–11, 15), whistles (14)
; Denzel Baptiste: bass, keyboards, programming (1–3, 6, 9–11, 13, 15); vocals (1–3, 6 9–11, 15), guitar (2), background vocals (3, 13)
; David Biral: bass, keyboards, programming, (1–3, 6, 9–11, 13, 15); vocals (1–3, 6 9–11, 15), background vocals (13)
; Omer Fedi: guitar (1, 4, 10, 11, 13, 15), vocals (1, 10, 11, 15), bass (4, 15); background vocals, drums, keyboards (4)
; Roy Lenzo: programming (1, 6, 10), vocals (1, 6, 10, 11)
; James Connor: background vocals (2)
; Quishima S. Dixon: background vocals (2)
; Cassandra R. Chism: background vocals (2)
; Jason McGee and The Choir: choir (2)
; Thomas James Levesque: horn, keyboards (2)
; Jasper Harris: keyboards, strings (2)
; Noel Goring: organ (2)
; Jack Harlow: lead vocals, background vocals (3)
; Nick Lee: horn (3, 9)
; Raul Cubina: programming (3)
; Ryan Svendsen: trumpet (3)
; Maclean Porter: vocals (3, 6, 9)
; KBeazy: background vocals, keyboards, programming (4)
; Blake Slatkin: background vocals, keyboards, programming (4)
; Ryan Tedder: background vocals, keyboards, programming (4)
; Doja Cat: featured vocals, background vocals (6)
; John Cunningham: bass, drums (7, 8, 12); guitar (7, 8, 12, 14), keyboards (8); piano, strings (12)
; Jack Ward: cello (7, 8, 14, 15)
; Ben Ward: double bass (7, 8, 10, 14)
; Jasper Sheff: drum machine, piano (7); guitar (14)
; Elton John: piano (7)
; William K. Ward: strings (7, 8, 10–12, 14, 15)
; 18yoman: strings (7, 8, 10–12, 14, 15)
; Glenn Hopper: strings (7, 12, 14)
; Megan Thee Stallion: featured vocals, background vocals (9)
; Natalie Mavridis: violin (10)
; Lydia Sawires: violin (10)
; Harry Ward: violin (10, 11)
; Freya Schack-Arnott: cello (11)
; Nick Seeley: drums (11)
; Carter Lang: bass, drums, guitar, keyboards (12, 14)
; Drew Sliger: background vocals (13)
; Jacques Morel: background vocals (13)
; Hannah Storm: background vocals (13)
; Mervin Hernandez: background vocals (13)
; Delisa Shannon: background vocals (13)
; Nick Mira: bass, keyboards, programming (13)
; Jaden Wiggins: bass (13)
; Martin Rodrigues: drums (13)
; Dylan Wiggins: guitar (13)
; Hello Yello: keyboards (13)
; DT: keyboards (13)
; Miley Cyrus: featured vocals, background vocals (15)
; Ben Adler: violin (15)
; Chris Gehringer: mastering engineer (1, 2, 5–10, 12–15)
; Eric Lagg: mastering engineer (3, 11)
; Randy Merrill: mastering engineer (4)
; Serban Ghenea: mixing engineer (1, 4, 7, 11)
; Patrizio "Teezio" Pigliapoco: mixing engineer (2, 3)
; Nickie Jon Pabón: mixing engineer (3), recording engineer (3)
; Denzel Baptiste: mixing engineer (5), recording engineer (1–3, 5–7, 9, 11, 13, 15)
; David Biral: mixing engineer (5), recording engineer (6), assistant engineer (2, 3, 5–15)
; Manny Marroquin: mixing engineer (6, 9, 10, 13)
; Jon Castelli: mixing engineer (8)
; Joe Visciano: mixing engineer (12, 14)
; Roy Lenzo: recording engineer (1, 3, 6, 7, 11, 15)
; Drew Sliger: recording engineer (2, 5, 8, 9, 12, 14), assistant engineer (1–3, 5, 7–15)
; Blake Slatkin: recording engineer (4)
; Ryan Tedder: recording engineer (4)
; John Cunningham: recording engineer (7, 8, 12, 14)
; Kuk Harrell: recording engineer (7, 11, 12, 15), vocal engineer (11)
; Josh Deguzman: engineer (8)
; John Hanes: engineer (11)
; Jelli Dorman: vocal engineer (11), assistant engineer (7, 10, 11, 15)
; Mervin Hernandez: assistant engineer (1–3, 5–12, 14, 15)
; David Dickenson: assistant engineer (1–3, 5–12, 14, 15)
; Ashley Jackson: assistant engineer (2, 3)
; Phonographic Copyright (p) Columbia Records
; Record Company Sony Music Entertainment
Taj Mahal [>] [D] & Ry Cooder [>] [D]: Get On Board: The Songs of Sonny Terry & Brownie McGhee [F]
Label und Katalognummer: Nonesuch 075597913392
Produktion: Ry Cooder
Veröffentlicht: 2022 04 22
Genretags: Blues - Countryblues, Blues - Acousticblues
Trackliste: 1. My Baby Done Changed The Lock On The Door - 4:16
2. The Midnight Special - 3:26
3. Hooray Hooray - 4:20
4. Deep Sea Diver - 5:18
5. Pick A Bale Of Cotton - 3:03
6. Drinkin' Wine Spo-Dee-O-Dee - 3:16
7. What A Beautiful City - 4:11
8. Pawn Shop Blues - 5:52
9. Cornbread, Peas, Black Molasses - 3:44
10. Packing Up Getting Ready To Go - 2:50
11. I Shall Not Be Moved - 4:19
Besetzung: Drums, Bass: Joachim Cooder
; Liner Notes: Ry Cooder
; Liner Notes: Taj Mahal
; Mastering: Ryan Smith
; Producer: Ry Cooder
; Recording, Mixing, Mastering: Martin Pradler
; Vocals, Guitar, Mandolin, Banjo: Ry Cooder
; Vocals, Harmonica, Guitar, Piano: Taj Mahal
; Licensed To Nonesuch Records Inc.
; Phonographic Copyright (p) Perro Verde Records LLC
; Copyright (c) Perro Verde Records LLC
; Recorded At Temple Of Leaves
; Recorded At Wir
eland Studios
; Mixed At Temple Of Leaves
; Mixed At Wir
eland Studios
; Mastered At Temple Of Leaves
; Mastered At Wir
eland Studios
; Mastered At Sterling Sound
V. A. (Strawberry Recordings) [>] [D]: Gotta Get A Good Thing Goin'. The Music Of Black Britain In The Sixties [F]
Label und Katalognummer: Strawberry Recordings CRJAMBOX 009
Produktion: Verschiedene
Veröffentlicht: 2022 09 16 (Ed.)
Genretags: Blues, Afroamericana - Rhythm'n'Blues, Caribbeana - Ska
Trackliste: CD 1
1. Soul Brothers: Gotta Get A Good Thing Goin' - 2:26
2. Flirtations: Nothing But A Heartache - 2:44
3. Carl Douglas: Serving A Sentence Of Life - 2:25
4. Jimmy Thomas: Springtime - 2:40
5. Jimmy James & The Vagabonds: This Heart Of Mine - 2:32
6. Jackie Edwards: Come On Home - 2:38
7. Chris Rayburn: One Way Ticket - 2:36
8. Herbie Goins & Nightimers: Coming Home To You - 2:40
9. Jimmy Cliff: Waterfall - 2:29
10. Ferris Wheel: I Can't Break The Habit - 2:14
11. Geno Washington & The Ram Jam Band: Michael - 2:26
12. Cleo Laine: Don't You Pass Me By - 2:48
13. Danny Williams: Whose Little Girl Are You - 2:08
14. Madeline Bell: Picture Me Gone - 2:57
15. Watson T. Browne & Explosive: Some Lovin' - 2:43
16. Ebony Keyes: If You Knew - 2:47
17. Sugar Simone: Take It Easy - 3:07
18. Kim D: The Real Thing - 2:07
19. Brothers Grimm: Looky, Looky - 2:23
20. Lucas And The Mike Cotton Sound: Ain't Love Good, Ain't Love Proud - 2:39
21. Fantastics: Ask The Lonely - 2:49
22. Oliver Norman: Drowning in My Own Despair - 3:07
23. Owen Gray: Gonna Work Out Fine - 2:37
24. John L. Watson & The Hummelflugs: Lookin' For Love - 2:53
25. Kenny Lynch: Movin' Away - 3:28
26. Root Jackson & Jenny Jackson: Let's Go Somewhere - 2:53
27. Kenny Bernard: What Love Brings - 2:26
28. Ram John Holder: Yes I Do - 3:04
29. Hoagy Benson & Pat Daniels Band: Turn Me On - 4:40
CD 2
1. Chants: A Man Without A Face - 2:32
2. Marsha Hunt: Walk On Gilded Splinters - 3:31
3. Foundations: New Directions - 3:01
4. Caleb Quaye: Baby You're Phrasing Is Bad - 3:17
5. John Fitch & Associates: Stoned Out Of It - 2:25
6. Simon K & The Meantimers: Bring Back Your Love (To Me) - 2:23
7. Sugarlumps: Can't We Be Friends - 2:37
8. Flamma Sherman: Move Me - 2:42
9. Jack Hammer: What Greater Love - 2:22
10. Shadrocks & Little John: There Is - 3:02
11. Clyde McPhatter: Only A Fool - 2:36
12. Ronnie Jones: I'm So Clean - 2:42
13. This 'n' That: Get Down With It/I Can't Get No Satisfaction - 2:55
14. J.J. Jackson: But It's Alright - 2:54
15. Ernest Ranglin & Graham Bond Organization: Swing A Ling Pt.1 - 2:06
16. Norma Lee: Hurt - 2:52
17. Corduroys: Too Much Of A Woman - 1:44
18. Errol Dixon: I Don't Want - 2:44
19. Sonny Childe: Giving Up On Love - 2:36
20. Ray Gates: Have You Ever Had The Blues (Alternative Take) - 2:27
21. Paula And The Jetliners: I Know Some Day - 2:34
22. Maynell Wilson: Motown Feeling - 3:32
23. B.B. James & Derv Gordon: Kiss Me, Kiss Me - 2:55
24. Blue Rivers & The Maroons: Take It Or Leave It - 2:11
25. McFarthing Kissoon: I'm Living Good - 2:43
26. Laris Mc Lennon & Pat Daniels Band: Confusion - 2:43
27. Freddie Mack: Sock It To 'Em, J.B. (Live) - 5:16
28. Reaction: That Man - 3:11
CD 3
1. Black Velvet: African Velvet - 3:37
2. Rico's Combo: London Here I Come - 2:56
3. Millie: My Love And I - 3:06
4. Laurel Aitken & Blue Beats: Bar Tender - 2:37
5. Winston Groovy: Work It Up - 2:18
6. Pat Rhoden: Jezebel - 2:17
7. King Horror: Cutting Blade - 2:04
8. Beresford Ricketts & Blue Beats: You Better Be Gone - 3:17
9. Classics: Worried Over Me - 2:36
10. Sonny And The Daffodils: That Girl She Done Me Wrong - 2:45
11. Brixton Market: Children Get Ready - 3:22
12. Tony Washington & The D.C.S: Show Me How (To Milk A Cow) - 1:57
13. Joe's All Stars: Musical Feet - 2:51
14. Fabulous Blue Beats: One More Try - 2:10
15. Rudies: Boss Sound - 2:47
16. Bobby Johnson And The Atoms: Another Man - 1:39
17. Laurel Aitken & Girlie: Scandal In Brixton Market - 3:33
18. Ambrose Campbell: Hey Jude - 2:18
19. Sugar 'N' Dandy: Girl Come See - 2:25
20. Groovy Beats: Kent People - 2:49
21. Bluebeaters: There I Go - 2:18
22. Winston and Pat: Pony Ride - 2:26
23. Top-Grant: Coronation Street - 3:31
24. Seven Letters: Call Collect - 2:21
25. Dimples & Eddie & Rico's Combo: Fleet Street - 2:37
26. Cab Kaye: Everything Is Go - 3:17
27. Cy Grant: King Cricket - 3:05
28. Barnaby Rudge Hip Band: Run Thru The Park - 2:05
29. Rupert & The Red Devils: Please Think Of Me - 2:49
CD 4
1. Shirley Bassey: Sunshine - 2:51
2. Maxine Nightingale: Spinning Wheel - 2:26
3. Peter Straker: Breakfast In Bed - 2:23
4. Peanut: i'm Waiting For The Day - 2:23
5. Mel Turner: They Killed The King - 2:25
6. Joy Marshall: Heartache Hurry On By - 2:28
7. Eldridge Devlin: You're My Girl - 2:38
8. Cleo: To Know Him Is To Love Him - 3:09
9. Lorraine Child: You - 2:45
10. Dorris Henderson & John Renbourn: Watch The Stars - 2:15
11. Mable Hillery: Rock Me Daddy - 4:05
12. Champion Jack Dupree & Tony McPhee: Get Your Head Happy - 2:20
13. Otis Spann: Keep Your Hand Out Of My Pocket - 3:25
14. Screamin' Jay Hawkins: All Night - 1:37
15. Joe Harriott Quintet: Liggin' - 5:46
16. Flash Domincii & Supersonics: Rora Rora Majo Omo Pupa - 3:55
17. Shake Keane: Green Onions - 3:25
18. New Orleans Knights: Enjoy Yourself - 2:42
19. Chariots: Problem Girl - 2:11
20. Southlanders: Imitation Of Love - 2:58
21. Winifred Atwell: Bossa Nova Boogie - 2:07
22. Emile Ford & Big Six: Hold Me, Thrill Me, Kiss Me - 2:06
23. Howie Casey & The Seniors: I Ain't Mad At You - 2:41
24. Ricky Wayne & Flee-Rekkers: Chicka'roo - 1:51
25. Ray Ellington: The Rhythm Of The World - 2:08
26. Ray King Soul Band: Soon You'll Be Gone - 2:36
27. Fitzroy Coleman: Lucilla - 2:40
28. Davy Jones: Love Bug - 2:59
29. Geoff Love & His Orchestra: Coronation Street - 2:17
Besetzung: Compiled By: John Reed
; Coordinator [Overseen for Cherry Red by]: John Reed
; Coordinator [Overseen for Cherry Red by]: Michael Mulligan
; Design: Lora Findlay
; Legal [Licensing]: Eddy Ball
; Mastering: Simon Murphy
; Sleeve Notes: Fitzroy Facey
; Sleeve Notes: Michael Mulligan
; Copyright (c) Cherry Red Records Ltd.
; Mastered At Another Planet Music
; Phonographic Copyright (p) Mark Wir
tz
; Phonographic Copyright (p) Decca Music Group Limited
; Licensed From Universal Music Operations Ltd.
; Phonographic Copyright (p) Parlophone Records Ltd.
; Licensed From Warner Music UK Ltd.
; Phonographic Copyright (p) Peermusic Ltd.
; Phonographic Copyright (p) Sanctuary Records Group Ltd.
; Licensed From BMG Rights Management (UK) Limited
; Phonographic Copyright (p) Mike Hurst
; Phonographic Copyright (p) Island Records
; Phonographic Copyright (p) Mercury Records Ltd.
; Phonographic Copyright (p) President Records Ltd.
; Phonographic Copyright (p) Cherry Red Records Ltd.
; Phonographic Copyright (p) Mike Cotton
; Phonographic Copyright (p) Shel Talmy
; Phonographic Copyright (p) The Chants
; Phonographic Copyright (p) Polydor Records
; Phonographic Copyright (p) B & C Records
; Phonographic Copyright (p) Sony Music Entertainment UK Limited
; Phonographic Copyright (p) UMG Recordings, Inc.
; Phonographic Copyright (p) Ronnie Jones
; Licensed From Repertoire Records Ltd.
; Phonographic Copyright (p) Acid Jazz Acquisitions Ltd
; Phonographic Copyright (p) Blue Beat Records Ltd
; Phonographic Copyright (p) Melodisc Records Ltd.
; Phonographic Copyright (p) Planetone Records Ltd.
; Phonographic Copyright (p) Polydor Ltd.
; Phonographic Copyright (p) Universal Music Operations Ltd.
; Licensed From Fledg\'ling Records
; Phonographic Copyright (p) Ace Copyrights Ltd.
; Licensed From Ace Copyrights Ltd.
; Phonographic Copyright (p) Top Rank Records Ltd.
; Phonographic Copyright (p) Fontana Records Ltd.
; Phonographic Copyright (p) Starlite Records Ltd.
Bill Callahan [>] [D]: YTILAER [F]
Label und Katalognummer: Drag City DC 859 CD
Veröffentlicht: 2022 10 14
Genretags: Post-Millennial-Music - Lo-Fi-Underground - Sadcore
Trackliste: 1. First Bird - 5:01
2. Everyway - 5:32
3. Bowevil (Traditional) - 3:59
4. Partition - 6:03
5. Lily - 5:14
6. Naked Souls - 6:26
7. Coyotes - 6:27
8. Drainface - 4:07
9. Natural Information - 5:33
10. The Horse - 3:32
11. Planets - 6:11
12. Last One At The Party - 4:02
Alle Tracks: Bill Callahan.
Besetzung: Artwork [Evolution Cartoon By]: Bill Callahan
; Engineer [Assistant]: Drew Potter
; Engineer [Assistant]: Joseph Holguin
; Management [Talent Scout]: Nate Cross
; Mastering: JJ Golden
; Mixing, Mixed By [Re-Mixing By], Recording: Mark Nevers
; Painting: Paul Ryan (12)
; Recording: Cooper Crain (8)
; Manufactured By The ADS Group
; Recorded At Arlyn Studios
; Recorded At Estuary Recording Facility
; Mixed At Wir
e Recording
; Remixed At Beech House Recording, Pawleys Island
; Copyright (c) Your/My Music
; Copyright (c) Drag City Inc.
; Phonographic Copyright (p) Drag City Inc.
Dave Matthews Band [>] [D]: Walk Around the Moon [F]
Label und Katalognummer: Bama Rags Records 19658-79540
Produktion: Mark Batson & Rob Evans
Veröffentlicht: 2023 05 19
Genretags: Post-Millennial-Music - Poprock - Alternativepoprock
Trackliste: 1. Walk Around the Moon (Dave Matthews, Carter Beauford, Stefan Lessard, Tim Reynolds, Rashawn Ross, Jeff Coffin, Buddy Strong, Rob Evans) - 4:49
2. Madman's Eyes (Matthews, Beauford, Lessard, Reynolds, Ross, Coffin, Strong) - 4:48
3. Looking for a Vein (Matthews, Evans) - 2:44
4. The Ocean and the Butterfly (Matthews, Beauford, Lessard, Reynolds, Ross, Coffin, Strong) - 3:05
5. It Could Happen (Matthews, Beauford, Lessard, Reynolds, Strong, Ross) - 2:46
6. Something to Tell My Baby" Matthews 2:32
7. After Everything (Matthews, Beauford, Lessard, Reynolds, Ross, Coffin, Strong) - 2:47
8. All You Wanted Was Tomorrow (Matthews, Beauford, Lessard, Reynolds, Ross, Coffin, Strong) - 3:50
9. The Only Thing (Matthews, Beauford, Lessard, Reynolds, Ross, Coffin, Strong, John Alagía) - 4:42
10. Break Free (MatthewsMark BatsonBeauford, Lessard, LeRoi Moore, Boyd Tinsley) - 4:08
11. Monsters (Matthews, Beauford, Reynolds, Alagía) - 3:33
12. Singing from the Windows (Matthews) - 2:58
Besetzung: Carter Beauford: drums (1–2, 4–5, 7–11), background vocals (1–2, 7–9), cabasa (1), tambourine (9)
; Jeff Coffin: tenor and baritone saxophone (1–2, 7–10), tárogató (2), soprano saxophone (4)
; Stefan Lessard: bass (1–2, 5, 7–10), Moog Taurus pedals (2), upright bass (4)
; Dave Matthews: vocals, acoustic guitar (2–6, 8–9, 11–12), electric guitar (1–3, 5, 7, 9), background vocals (1–2, 5, 7, 9, 11), Wurlitzer (1, 3, 5), synthesizer (1, 3), piano (1, 5), Mellotron and nylon string guitar (1), tambourine and electric sitar (2), bass and loops (3), organ (6), baritone guitar (10)
; Tim Reynolds: electric guitar (1–2, 4–5, 7–11), 12-string acoustic guitar and backwards guitar (2), nylon string guitar (5), dobro (8), acoustic guitar (9)
; Rashawn Ross: trumpet (1–2, 4, 7–10), bass trumpet and background vocals (1–2, 7–9), flugelhorn (1, 5, 9)
; Buddy Strong: Hammond B3 organ (1–2, 5, 7–10), background vocals (1–2, 7–9), piano (1, 5, 8), Wurlitzer (2, 4, 7, 9), Moog One (5, 7, 9), vocals (7), Rhodes (8), clavinet (9)
; John Alagía: arpeggio guitar (5, 10), background vocals (10–11), electric 12-string guitar and synthesizer (5), drum programming, ebow, slide, electric guitar, and Hammond B3 organ (11)
; Mark Batson: Hammond B3 organ, piano, and Rhodes (10), Moog bass (11)
; Charlie Bisharat: violin (2)
; Jacob Braun: cello (2)
; David Campbell: conductor and string arrangement (2)
; Susan Chatman: violin (2)
; Giovanna Clayton: cello (2)
; Mario De Leon: violin (2)
; Amie Doherty: string arrangement (6)
; Andrew Duckles: viola (2)
; Thomas Evans: trombone (2)
; Alma Fernandez: viola (2)
; Joe Fotheringham: trumpet (5)
; Maria Grigoryeva: viola (6), violin (6)
; Thomas Harte, Jr.: double bass (2)
; Paula Hochhalter: cello (2)
; Nick Hodges: ambient guitar (5)
; Julie Jung: cello (2)
; Suzie Katayama: violin (2)
; Oliver Kraus: cello, string arrangement, viola, and violin (5)
; Marisa Kuney: violin (2)
; Ana Landauer: violin (2)
; Luke Maurer: viola (2)
; Natalia Nazarova: cello (6)
; Alyssa Park: violin (2)
; Sara Parkins: violin (2)
; Kerenza Peacock: violin (2)
; Michele Richards: violin (2)
; Teresa Stanislav: violin (2)
; Jennifer Takamatsu: violin (2)
; Josefina Vergara: violin (2)
; Rodney Wir
tz: viola (2)
; John Alagía: engineer (5, 10–11), producer (7, 9, 11), co-producer (10)
; Justin Armstrong: engineer (7, 9)
; Mark Batson: producer (10)
; Ethan Bovey: assistant engineer (6, 9)
; Mayk Brambilla: cover art
; Billy Centenaro: engineer (10)
; Steve Churchyard: engineer (2)
; Rob Evans: engineer (2–12), producer (3–9, 12)
; Peter Hanaman: engineer (2)
; Oliver Kraus: engineer (5)
; Chris Kress: engineer (10)
; Alisse Laymac: engineer (10)
; JC LeResche: assistant engineer (2, 11)
; Steve Miller: engineer (10)
; Jeff Moxley: engineer (11)
; Phonographic Copyright (p) Bama Rags Recordings, LLC
; Copyright (c) Bama Rags Recordings, LLC
; Manufactured By RCA Records
; Distributed By RCA Records
; Record Company Sony Music Entertainment
; Glass Mastered At Sonopress
Noel Gallagher's High Flying Birds [>] [D]: Council Skies [F]
Assoziierte Acts: Noel Gallagher
Label und Katalognummer: Sour Mash Records Ltd.
Produktion: Noel Gallagher & Paul Stacey
Veröffentlicht: 2023 06 02
Genretags: Post-Millennial-Music - Poprock - Classicrock
Trackliste: 1. I’m Not Giving Up Tonight - 4:06
2. Pretty Boy - 4:55
3. Dead to the World - 4:14
4. Open the Door, See What You Find - 4:08
5. Trying to Find a World That’s Been and Gone Pt. 1 - 3:27
6. Easy Now - 3:53
7. Council Skies - 4:42
8. There She Blows! - 4:01
9. Love Is a Rich Man - 4:30
10. Think of a Number - 5:47
11. We’re Gonna Get There in the End - 4:14
Besetzung: Noel Gallagher: vocals, backing vocals, acoustic guitar (all tracks), electric guitar (tracks 1, 2, 4, 6, 7, 8, 9, 10, 11, 12, 13), bass guitar (tracks 2, 5, 10, 11), baritone guitar (tracks 9, 11, 13), piano (tracks 3, 12) mellotron (tracks 1, 2, 3, 4, 9, 12), percussion (tracks 22, 23, 24)
; Gem Archer: acoustic guitar (tracks 1), electric guitar (tracks 1, 12), baritone guitar (tracks 1, 12), mouth organ (tracks 23)
; Russ Pritchard: bass guitar (tracks 1, 3, 4, 7, 8, 12, 22, 23)
; Chris Sharrock: drums (tracks 1, 4, 8, 10, 12, 13)
; Mikey Rowe: keyboards (tracks 1, 2, 3, 4, 6, 7, 8, 9, 10, 11, 12, 22, 23, 24)
; Jess Greenfield: backing vocals (tracks 1, 2, 3, 4, 5, 7, 8, 9, 10, 11)
; Charlotte Marionneau: percussion (tracks 1, 4, 8)
; Additional musicians
;
; Johnny Marr: electric guitar (tracks 2, 4, 7)
; Paul \'Strangeboy\' Stacey: electric guitar (tracks 1, 4, 6, 8, 9, 11, 13), baritone guitar (tracks 1, 9, ), mellotron (tracks 1, 8), piano (tracks 4, ), bass guitar (tracks 6, 8, 9, 11, 13)
; Jeremy Stacey: drums (tracks 2, 6, 7, 9, 11), percussion (tracks 6, 7)
; Callum Marinho: the tube (tracks 1, 3, 4, 8, 11, 24), keyboards (tracks 2, 3, 5, 6, 9, 13), drum machines (tracks 2), glockenspiel (tracks 3), mellotron (tracks 5, 8, 9), percussion (tracks 7), piano (tracks 12)
; Clement St. Leonard: percussion (tracks 1, 2, 3, 4, 5, 6, 7, 8, 9, 10, 11, 12, 13), the funk box (tracks 2), tubular bells (tracks 3, 4), sound effects (tracks 5, 6, 8, 9, 11), keyboards (tracks 6)
; Alistair White: trombone (tracks 1, 9)
; Graeme Blevins: saxophone (tracks 1, 7)
; Steve Hamilton: saxophone (tracks 1, 7, 12)
; Tom Walsh: trumpet (tracks 1, 7, 9)
; Joe Auckland: trumpet (tracks 1, 7)
; Ben Edwards: trumpet (tracks 12)
; Mark Frost: bass trombone (tracks 1, 7, 9)
; Geraint Watkins: accordion (tracks 3)
; Phillip Woods, Ruth O\'Reilly, Franciso Gomez, Derryck Nasib: french horn (tracks 5)
; Daniel Higham, Thomas Dunnett, Pete North: trombone (tracks 5)
; Jody Linscott, Peter Eckford, Gary Hammond: percussion (tracks 7)
; The Wir
ed Strings: strings (tracks 1, 3, 4, 5, 7, 11)
; Emre Ramazanoglu: drums (tracks 18)
; Keefus Ciancia: keyboards (tracks 18)
; Jason Faulkner: bass guitar (tracks 18)
; Pet Shop Boys: additional vocals (tracks 19)
; Robert Smith: guitar and piano (tracks 20)
; Jason Cooper: drums (tracks 20)
; Johnny Copland: live bass (tracks 21)
; Roxys (Piney Gir, Amy Ashworth, Emma Brammer)
; Louise Clare Marshall
; Andrea Grant
; Lucita Jules
; Callum Marinho: mixing and engineering
; Beau Blaise: additional engineering
; Matt Cotton: mastering
; Rosie Danvers, assisted by Tommy Danvers: string arrangements
; Alistair White: brass arrangements
; Noel Gallagher: artwork design and concept
; Matthew Cooper: layout
; Kevin Cummins: artwork photography
Suchresultate Releases: Treffer in Bemerkungen
...And You Will Know Us By The Trail Of Dead [>] [D]: Source Tags & Codes [F]
Label und Katalognummer: Interscope 069493236
Produktion: ...And You Will Know Us by the Trail of Dead & Mike McCarthy
Veröffentlicht: 2002 02 26
Genretags: Alternativerock - Hardcorepunk - Posthardcore
Major-Debut von ...And You Will Know Us By The Trail Of Dead aus Austin. Eines der Alben, die in der Blogosphäre der frühen 00er-Jahren viel Aufmerksamkeit erhielt (wie auch Funeral). Der Erfolg war aber nicht wirklich nachhaltig. Pitchfork, die mit 10er-Bewertungen geizen, gaben dem Release diese Bestnote In der Bestenliste der Dekade war «Source Tags & Codes» dann aber doch nur auf Platz 100 von 200. Der Grund könnte sein, dass sich in diesen Jahren die Wert gerade stark verschoben und Rockmusik stark an Bedeutung verlor. Falls diese Einschätzung richtig ist, kann man «Source Tags & Codes» als eines der letzten bedeutenden Indierockalben in Erinnerung behalten.
Der Release zeigt, wie schnell eine Indieband in den 00er-Jahren zu einem Plattenvertrag mit einem Majorlabel kommt. Zwei erfolgreiche Alben und Zack!
Trackliste: 1. It Was There That I Saw You - 4:02
2. Another Morning Stoner - 4:33
3. Baudelaire - 4:16
4. Homage - 3:29
5. How Near How Far - 4:00
6. Heart In The Hand Of The Matter - 4:48
7. Monsoon - 5:53
8. Days Of Being Wild (Trail of Dead, James Olsen) - 3:27
9. Relative Ways - 4:03
10. After The Laughter - 1:15
11. Source Tags & Codes - 6:08
Alle Tracks: ...And You Will Know Us By The Trail Of Dead, ausser wo anders vermerkt.
Besetzung: Arranged By [Strings]: Conrad Keely, John Painter
; Art Direction: Conrad Keely, Traci Goudie
; Artwork: Conrad Keely, James Olsen, Jason Reece
; Backing Vocals: James Olsen (3, 8, 10)
; Cello: Anthony Lamarchina, John Catchings
; Engineer: Michael McCarthy
; Flugelhorn: John Painter
; Guitar: David Grissom, Larry Cragg
; Layout: Traci Goudie
; Percussion [Additional], Bells [Hammered], Timpani: Eric Darken
; Tenor Saxophone, Baritone Saxophone, Bass Harmonica: Jim Hoke
; Trumpet: John Painter
; Viola: Kristen Wilkinson
; Violin: Carl Gorodetsky, Connie Ellisore, David Angel, David Davidson, Pam Sixfen
; Vocals: Conrad Keely (1, 2, 5, 9, 11), Jason Reece (4, 6, 8), Neil Busch (3, 7)
A Number Of Names [>] [D]: Sharevari [F]
Label und Katalognummer: Capriccio Records P 928
Produktion: Sterling Jones & Paul Lesley & Roderick Simpson
Veröffentlicht: 1981
Genretags: Disco - Popdisco - Italodisco
Diese Italo-Disco-Single aus Detroit erscheint vier bis fünf Jahre bevor es mit Techno richtig los geht. Ein Pre-Echo, eine Verkündung von dem, was kommen wird.
Trackliste: Seite A
1. Sharevari (Vocal) - 5:45
Seite B
1. Sharevari (Instrumental) - 6:10
Alle Tracks: Paul Lesley, Roderick Simpson, Sterling Jones.
Besetzung: Arranged: Judson Powell, Robert Taylor
; Vocals: Ira Cash, Sheila Wheaton
Abba [>] [D]: Super Trouper [F]
Assoziierte Acts: Benny Andersson & Agnetha Fältskog & Anni-Frid Lyngstad & Björn Ulvaeus
Label und Katalognummer: Polar POLS 322, Polydor 533 979
Produktion: Benny Andersson & Björn Ulvaeus
Veröffentlicht: 1980 11 03, 1997 03 24 (Reed.)
Genretags: Rock - Poprock - Pianorock, Disco - Popdisco - Eurodisco
«Super Trouper» markiert den Beginn des reifen Abba-Werks. Das Album ist das erste mit einem wirklich flächendeckenden Klangdesign, was vor allem Benny Anderssons Yamaha GX-1 Synthesizer zuzurechnen ist. Die exzessive Verwendung des GX-1 hier und im kommenden Album (The Visitors) macht Abba zu Vorreitern des Synthpops, der die 1980er Jahre mitbestimmen wird.
Das Coverbild des Albums zeigt das Quartett hell von Scheinwerfern beschienen und in weiss gekleidet im Zentrum von einer grossen Gruppe Zuschauer*innen und von Zirkusartisten. Ursprünglich sollte das Album «Picadilly Circus» heissen, aber das Coverbild konnte in London nicht aufgenommen werden, weil man von der Stadt, die ein Verkehrschaos befürchtete, die Erlaubnis nicht erhielt. Vorbild für die Covergestaltung waren die exklusiven und luxuriösen Covers von Rock-Alben von Hipgnosis.
Die Songs auf «Super Trouper» füllen das ganze Spektrum von Abba vom teiftrurigen Melodrama bis zur ausgelassenen Euphorie. Der Humor der Texte von Björn Ulvaeus, der bisher nie ganz frei von Biederkeit und schierem Trash war, scheint in Tracks wie «On And On And On» oder «Me And I» hell.
«Super Trouper» war das erste Album von Abba, das von einem Teil der Kritik ernsthaft rezensiert wurde.
Trackliste: Seite A
1. Super Trouper - 4:11
2. The Winner Takes It All - 4:55
3. On and On and On - 3:40
4. Andante, Andante - 4:39
5. Me And I - 4:54
Seite B
1. Happy New Year - 4:23
2. Our Last Summer - 4:19
3. The Piper - 3:26
4. Lay All Your Love On Me - 4:33
5. The Way Old Friends Do [live] - 2:57
Bonustracks der CD Ausgabe von 1997
1. Gimme! Gimme! Gimme! (A Man After Midnight) - 4:46
2. Elaine - 3:44
2. Put On Your White Sombrero - 4:34
Alle Tracks: Andersson und Ulvaeus, ausser wo anders vermerkt.
Besetzung: Benny Andersson: Arranger, Keyboards, Synthesizer, Vocals
; Ola Brunkert: Drums
; Lars Carlsson: Horn
; Agnetha Fältskog: Vocals
; Frida: Vocals
; Anders Glenmark: Guitar
; Rutger Gunnarsson: Arranger, Bass, Guitar
; Janne Kling: Flute, Saxophone, Wind
; Per Lindvall: Drums
; Anni-Frid Lyngstad: Vocals
; Janne Schaffer: Guitar
; Rune Soderqvist: Design
; Ake Sundqvist: Percussion
; Michael B. Tretow: Engineer
; Björn Ulvaeus: Arranger, Guitar, Guitar (Acoustic), Vocals
; Mike Watson: Bass
; Lasse Wellander: Guitar
; Kajtek Wojciechowski: Saxophone
Alice Cooper [Band] [>] [D]: Pretties For You [F]
Assoziierte Acts: Alice Cooper
Label und Katalognummer: Straight STS 1051
Produktion: Alice Cooper & Herb Cohen & Ian Underwood
Veröffentlicht: 1969 06 30
Genretags: Rock - Progrock - Hard'n'Heavy, Rock - Psychedelicrock
Ein Album, das sich nur schwer mit anderen vergleichen lässt. Man hört die Hardrock- und Psychedelic-Wurzeln und vermutet stellenweise, dass es sich hier um eine britische Band handelt. Doch diese Platte erschien bei Frank Zappas Straight-Label, die fünfköpfige Band kam aus Phoenix, Arizona und ging aus einer Garagerock-Band hervor, den Spiders. Als die Musiker nach Los Angeles zogen, wurden sie und ihre Musik so verlacht, dass Zappa ein Interesse an ihnen bekam. Zappa liebte alles, was schräg war und was gegen die Regeln der etablierten Musikszene verstiess.
Titanic Overture
ist ein kurzes Intro, das nach psychedelischem Jahrmarkt klingt. Es wird ausgeblendet, was ihm eine Jam-Qualität verleiht. 10 Minutes Before The Worm
ist der erste Track der stellenweise Britisch klingt. Ein seltsamer Track voller Gitarrenspielereien, die mit ihrer formlos-narrativen Qualität sehr eigen klingen. Sing Low, Sweet Cheerio
ist der erste ausformulierte Song des Albums. Living ist ein Beatle-esker Song.
Trackliste: Seite A
1. Titanic Overture - 1:09
2. 10 Minutes Before The Worm - 1:27
3. Sing Low, Sweet Cheerio - 5:33
4. Today Mueller - 1:38
5. Living - 3:02
6. Fields Of Regret - 5:36
Seite B
1. No Longer Umpire - 1:54
2. Levity Ball (Live At The Cheetah) - 4:23
3. B.B. On Mars - 1:09
4. Reflected - 3:10
5. Apple Bush - 2:57
6. Earwigs To Eternity - 1:14
7. Changing Arranging - 2:58
Alle Tracks: Alice Cooper, Glen Buxton, Michael Bruce, Dennis Dunaway und Neal Smith.
Besetzung: Bass, Vocals: Dennis Dunaway
; Design: John Williams
; Drums, Vocals: Neal Smith
; Engineer: Dick Kunc
; Lead Guitar: Glen Buxton
; Painting [Cover]: Ed Beardsley
; Photography: Ed Caraeff
; Rhythm Guitar, Vocals, Piano, Organ: Michael Bruce
; Vocals, Harmonica: Alice Cooper
; Record Company Bizarre Inc.
; Published By Bizarre Music Inc.
Arcade Fire [>] [D]: Reflektor [F]
Label und Katalognummer: Merge MRG 485
Produktion: Arcade Fire & Markus Dravs & James Murphy
Veröffentlicht: 2013 10 28 (EU), 2013 10 29 (US)
Genretags: Post-Millennial-Music - Poprock - Bigmusic
Das erste Album der Band mit einer Major-Distribution. Die Musik wird von Pitchfork-Rezensent Sam Sodomsky «vibrant dance-rock» bezeichnet (Song-Rezension zu I Give You Power, 20. Januar 2017).
Trackliste: CD 1
1. Hidden Track
2. Reflektor (Arcade Fire) - 7:33
3. We Exist (Arcade Fire) - 5:43
4. Flashbulb Eyes (Arcade Fire) - 2:42
5. Here Comes the Night Time (Arcade Fire) - 6:30
6. Normal Person (Arcade Fire) - 4:22
7. You Already Know (Arcade Fire) - 3:59
8. Joan of Arc (Arcade Fire) - 5:26
CD 2
1. Here Comes the Night Time, Pt. 2 (Arcade Fire) - 2:52
2. Awful Sound (Oh Eurydice) (Arcade Fire) - 6:13
3. It's Never Over (Oh Orpheus) (Arcade Fire) - 6:42
4. Porno (Arcade Fire) - 6:02
5. Afterlife (Arcade Fire) - 5:52
6. Supersymmetry (Arcade Fire) - 11:16
Alle Tracks: Arcade Fire.
Besetzung: Arranged [Horns]: Arcade Fire
; Arranged [Horns]: Colin Stetson
; Arranged [Orchestral Arrangements]: Owen Pallett
; Artwork: Caroline Robert
; Mastering: Ted Jensen
; Mixing: Arcade Fire (1-3, 2-1)
; Mixing: Craig Silvey (1-2, 1-5, 1-6, 2-4)
; Mixing: James Murphy (2-2, 2-6)
; Mixing: Mark Lawson (1-3, 2-1)
; Mixing: Tom Elmhirst (1-1, 1-2, 1-4, 1-7, 2-3, 2-5)
; Mixing [Assisted By]: Ben Baptie
; Mixing [Assisted By]: Eduardo de la Paz
; Mixing [Assisted By]: Joe Visciano
; Mixing [Assisted By]: Korey Richey
; Mixing [Assisted By]: Matt Shaw
; Orchestra: FILMharmonic Orchestra
; Percussion [Additional]: Baptiste Jean Nazaire
; Percussion [Additional]: Dieuveut Marc Thelus
; Percussion [Additional]: Verrieux Zile
; Percussion [Additional]: Wichemond Thelus
; Percussion [Additional]: Wilkenson Magloire
; Percussion [Additional]: Willinson Duprate
; Photography: Caroline Robert
; Photography: Korey Richey
; Producer: Arcade Fire
; Producer: James Murphy (1.1, 1.2, 1.4-1.7, 2.2-2.6)
; Producer: Markus Dravs (1.1, 1.2, 1.4-1.7, 2.2, 2.5)
; Producer [Additional]: Mark Lawson (1.1, 1.3, 1.4)
; Recording: Korey Richey
; Recording: Mark Lawson
; Recording [Additional]: Damian Taylor
; Recording [Additional]: James Murphy
; Recording [Additional]: Markus Dravs
; Recording [Additional]: Pascal Shefteshy
; Recording [Additional]: Tom Elmhirst
; Recording [Assisted By]: David Farrell
; Recording [Assisted By]: Eric Heigle
; Saxophone: Colin Stetson
; Saxophone: Stuart Bogie
; Strings: Marika Anthony-Shaw
; Strings: Owen Pallett
; Strings: Richard Reed Parry
; Strings: Sarah Neufeld
; Alle Tracks: Arcade Fire
; Phonographic Copyright (p) Arcade Fire Music Inc.
; Copyright (c) Arcade Fire Music Inc.
; Published By EMI Music Publishing Ltd.
; Recorded At Sonovox Studios
; Recorded At Trident Castle
; Recorded At Dockside Studio
; Recorded At Breakglass Studios
; Recorded At Golden Ratio
; Recorded At Studio Pierre Marchand
; Mixed At Electric Lady Studios
; Mixed At Toast Studios
; Mixed At DFA Studios
; Mixed At Sonovox Studios
; Mastered At Sterling Sound
Arcade Fire [>] [D]: Everything Now [F]
Label und Katalognummer: Sonovox Records 88985447852
Produktion: Arcade Fire & Thomas Bangalter & Geoff Barrow & Markus Dravs & Steve Mackey
Veröffentlicht: 2017 07 28
Genretags: Post-Millennial-Music - Poprock - Artpop
Der Rollout dieses Albums warf Wellen: Chris DeVille von Stereogum veröffentlichte einen Artikel Remember When Arcade Fire Were Good?, worauf die Band mit einer humorlosen Mock-Seite Stereyum reagierte. Beide Artikel sind unter Remember When Arcade Fire Were Good? archiviert.
Am 11. August ging es damit weiter, als die Band über twitter eine Entschuldigung veröffentlichte, die selbst wiederum im Stil von Fake News verfasst war. DiVerantwortung für die bisherigen Fake news wird einem fiktionalen Marketing-Mann, Tannis Wright, zugeschrieben, der die Linie zwischen Werbung und Fiktion verschiedene male überschritten habe. Die Band hätte sich nun von ihm getrennt. Das ist ein ziemlich verwirrendes Spiel einer Band, die bisher eher als authentisch und ernst wahrgenommen wurde.
Trackliste: 1. Everything_Now (Continued) - 0:46
2. Everything Now (Francis Bebey, Arcade Fire) - 5:03
3. Signs of Life - 4:36
4. Creature Comfort - 4:43
5. Peter Pan - 2:48
6. Chemistry - 3:37
7. Infinite Content - 1:37
8. Infinite_Content - 1:41
9. Electric Blue - 4:02
10. Good God Damn - 3:34
11. Put Your Money On Me - 5:53
12. We Don't Deserve Love - 6:29
13. Everything Now (Continued) - 2:22
Alle Tracks: Arcade Fire, ausser wo anders vermerkt.
Besetzung: Arranged [String Arrangements With]: Sarah Neufeld (3, 10)
; Arranged [String Arrangements]: Arcade Fire
; Arranged [String Arrangements]: Owen Pallett
; Artwork: JR (43)
; Artwork [Assisted By]: Camille Pajot
; Artwork [Assisted By]: Guillaume Cagniard
; Artwork [Assisted By]: Marc Azoulay
; Band [The Arcade Fire]: Jeremy Gara
; Band [The Arcade Fire]: Richard Reed Parry
; Band [The Arcade Fire]: Régine Chassagne
; Band [The Arcade Fire]: Timothy Kingsbury
; Band [The Arcade Fire]: William Butler
; Band [The Arcade Fire]: Win Butler
; Choir: Harmonistic Praise Crusade (2)
; Co-producer: Markus Dravs (5, 9)
; Congas: Jean Edmond (3, 5, 6, 10)
; Congas: Willonson Duprate (3, 5, 6, 10)
; Design [Graphic Design]: Ping Pong Ping
; Drum Machine: Korey Richey (3)
; Flute: Stuart Bogie (5)
; Flute [Pygmy/Mbuti Flute]: Patrick Bebey (2)
; Mastering: Greg Calbi
; Mixing: Craig Silvey
; Mixing [Assisted By]: Max Prior
; Pedal Steel Guitar: Daniel Lanois (11, 12)
; Photography [Band Portrait]: Anton Corbijn
; Piano: Owen Pallett (3)
; Producer [Additional Production]: Eric Heigle (11)
; Producer [Additional Production]: Geoff Barrow (4)
; Producer [Additional Production]: Markus Dravs (6)
; Programmed By: Thomas Bangalter (11)
; Recording: Eric Heigle
; Recording [Additional Recording By]: Florian Lagatta
; Recording [Additional Recording By]: Iain Berryman
; Recording [Additional Recording By]: Korey Richey
; Recording [Additional Recording By]: Mark Lawson
; Sampler [Music Production Controller (MPC)]: Mark Lawson (6)
; Saxophone: Charlie Gabriel (5)
; Saxophone: Matt Bauder (6)
; Saxophone: Stuart Bogie (3, 5, 6)
; Strings: Owen Pallett (6, 8, 11)
; Strings: Sarah Neufeld (6, 8, 11)
; Strings [With]: Helen Gillet (1-3, 10, 13)
; Strings [With]: Rebecca Crenshaw (1-3, 10, 13)
; Synthesizer: Geoff Barrow (4)
; Synthesizer: Thomas Bangalter (2)
; Vocals [Choir Vocals]: Akia Nevills (4, 6)
; Vocals [Choir Vocals]: Jelly Joseph (4, 6)
; Vocals [Choir Vocals]: Kayla Jasmine (4, 6)
; Vocals [Choir Vocals]: Tracci Lee (4, 6)
; Alle Tracks: Arcade Fire
; Copyright (c) Arcade Fire Music
; Phonographic Copyright (p) Arcade Fire Music
; Recorded At Boombox Studios, New Orleans, LA
; Recorded At Sonovox Studios
; Recorded At Studio Gang
; Mixed At Parlor Studios
; Mixed At Boombox Studios, New Orleans, LA
; Mixed At Toast (4)
; Mastered At Sterling Sound
; Pressed By Sony DADC
Ariel Pink's Haunted Graffiti [>] [D]: Before Today [F]
Assoziierte Acts: Ariel Pink
Label und Katalognummer: 4AD CAD 3X15
Produktion: Sunny Levine & Rik Pekkonen & Michael Wagener
Veröffentlicht: 2010 06 08
Genretags: Indiepop - Blog-Indie - Hypnagogicpop
«Es ist eine seltsame Musik, die Ariel Pink mit seiner Band Haunted Graffiti auf seinem ersten regulären Album aufführt», schreibt der Rolling Stone (189, S. 24), «Lo-Fi-Glam-Disco, 70s-TV-Serienmusik, 60's L.A.-Funk, eingetaucht in ein seltsam unwirkliches, fast surreales Licht».
Trackliste: 1. Hot Body Rub - 2:26
2. Bright Lit Blue Skies - 2:24
3. L' Estat - 4:26
4. Fright Night - 3:35
5. Round and Round - 5:08
6. Beverly Kills - 3:56
7. Butt House Blondes - 3:27
8. Little Wig - 5:46
9. Can't Hear My Eyes - 3:19
10. Reminiscenes - 2:33
11. Menopause Man - 4:00
12. Revolution's a Lie - 3:44
Besetzung: Chris Cohen: Vocals (Background)
; Cole M.G.N.: Group Member
; Kenny Gilmore: Group Member
; John Golden: Mastering (1-4, 6-12)
; Aaron Gonzalez: Guitar (Bass)
; Dennis Gonzalez: Trumpet
; Stefan González: Drums
; Max \'Sax\' Kaplan: Saxophone
; Tim Koh: Group Member
; Douglas Lee: Artwork
; Jim Lehnert: Sax (Alto), Sax (Baritone)
; Sunny Levine: Engineer (2-12)
; Eric Lumbleau: Vocals
; Rik Pekkonen: Engineer (2-12)
; Ariel Pink: Farfisa Organ, Group Member, Guitar
; Ariel Pink\'s Haunted Graffiti: Engineer (2-12), Mixing
; Aaron Sperske: Group Member
; Tamara Cauble: Violin
; Nedelle Torrisi: Vocals (Background)
; Christian Wright: Mastering
; Producer - Haunted Graffiti (2-12), Sunny Levine (2-12)
Assoziierte Acts: Geoffrey Downes & Steve Howe & Carl Palmer & John Wetton
Label und Katalognummer: Geffen GHS 2008, CBS-Sony 35DP 25
Produktion: Mike Stone
Veröffentlicht: 1982 03, 1982 10 01 (CD)
Genretags: Rock - AOR-Rock - AOR-Progrock
Asia war die Supergruppe von Buggle Geoffrey Downes mit Alumnis aus der crème de la crème des britischen Progrocks: Carl Palmer von Emerson, Lake and Palmer, Steve Howe von Yes sowie John Wetton von King Crimson und Wishbone Ash. Asia spielte perfekten Progressiverock für Leute mit Heimweh nach den 1970er Jahren. Vieles, was früher Progrock ausgezeichnet hat, z.B. rhapsodische Songstrukturen, beeindruckende Solos, Konzeptalben, fehlt hier. und wird durch Bombast ersetzt. Die Songs von Asia sind melodische Poprock-Stücke, die gespielt werden wie Arenarock, also reduziert auf maximalen Effekt (z.B. Foreigner). Gitarren und Keyboard schreien ihre Hooks und Riffs in die Welt hinaus, dass man den Eindruck hatte, die Nadel springt nächstens aus der engen Rille. Dicker Sirup. So unverdünnt ein «guilty pleasure».
Trackliste: Seite A
1. Heat of the Moment (Geoffrey Downes, John Wetton) - 3:54
2. Only Time Will Tell (Geoffrey Downes, John Wetton) - 4:48
3. Sole Survivor (Geoffrey Downes, John Wetton) - 4:51
4. One Step Closer (Steve Howe, John Wetton) - 4:18
5. Time Again (Geoffrey Downes, Steve Howe, Carl Palmer, John Wetton) - 4:48
Seite B
1. Wildest Dreams (Geoffrey Downes, John Wetton) - 5:11
2. Without You (Steve Howe, Jonathan Larson, John Wetton) - 5:07
3. Cutting It Fine (Geoffrey Downes, Steve Howe, John Wetton) - 5:40
4. Here Comes the Feeling (Steve Howe, John Wetton) - 5:41
Besetzung: Cover [Design]: Roger Dean
; Drums, Percussion: Carl Palmer
; Guitar, Vocals: Steve Howe
; Keyboards, Vocals: Geoff Downes
; Lead Vocals, Bass Guitar: John Wetton
; Photography [Inner Sleeve Photo]: Brian Griffin
; Engineer: Mike Stone
; Produced For Mike Stone Enterprises, Ltd.
; Published By WB Music Corp.
; Published By Almond Legg Music Corp.
; Published By Ackee Music, Inc.
; Published By Topographic Music Ltd.
; Manufactured By Warner Bros. Records Inc.
; Record Company Warner Communications
; Phonographic Copyright (p) The David Geffen Company
; Copyright (c) The David Geffen Company
; Copyright (c) Roger Dean (4)
; Recorded At The Town House
; Mastered At Sheffield Lab Matrix
; Lacquer Cut At Sterling Sound
; Pressed By Allied Record Company
Astrid Sonne [>] [D]: Ephemeral Camera Feed [F]
Label und Katalognummer: Escho
Veröffentlicht: 2022 03 18, 2018 08 (Rec.)
Genretags: Post-Millennial-Music - Digital-Underground - Ambient, Post-Millennial-Music - Digital-Underground - Electroacoustic-Music
Der Auftritt der dänischen Komponistin Astrid Sonne am Atonal Festival im Berliner Kraftwerk von 2018 wurde mit zwei Kameras aufgezeichnet, eine statisch, die andere mobil, wie mit den beiden Bildern auf dem Cover der EP gezeigt. Die Tonaufnahmen der Kameras hat Astrid Sonne für diese Veröffentlichung neu zusammengeschnitten. Man hört das Konzert nicht aus dem Ohr der Künstlerin, sondern erlebt es aus der Perspektive des Publikums.
Ein Live-Release wie dieser inszeniert sowohl die Musik der Künstlerin als auch den Raum, in dem sie stattfindet. Die Musik besteht aus überwiegend warmen Klängen aus dem Spektrum von analog und digital, akordeonhafte Sounds, Kirchenorgel-Akkorde und synthetische Standardklänge, manchmal reibend, manchmal Akzente setzend, stets «moody». Viele Arpeggios. Alle diese Klänge füllen den Raum und der Raum wird von den Kameramikrofonen eingefangen. Das ist etwas, was man nicht erhält, wenn ein Konzertmitschnitt am Mixerausgang abgegriffen wird. Man erlebt die Physikalität des Kraftwerks, man hört die Luftpartikel tanzen, die Arpeggios werden ausgesandt, stehen eine Zeit lang zwischen den nebelverhangenen Säulen des Konzertspaces, wo sie – zusammen mit dem beiläufigen Gerede der Besucher*innen – wie jeder Schall im Nichts verhallen.
Trackliste: 1. Ephemeral I - 3:49
2. Ephemeral II - 6:51
3. Ephemeral III - 6:16
4. Ephemeral IV - 3:10
5. Ephemeral V - 6:51
Alle Tracks: Astrid Sonne.
Baby Dee [>] [D]: Safe Inside The Day [F]
Label und Katalognummer: Drag City DC 351
Produktion: Will Oldham & Matt Sweeney
Veröffentlicht: 2008 01 22
Genretags: Newpop - Artpop - Cabaretpop
Baby Dee
ist Sänger(in) The
schreibt von einem Wir
eCeltic-infusedhigh tenor croon
, Pianist(in), Harfist(in) und Akordeonist(in). Er (sie) entstammt dem Umfeld von Antony And The Johnsons. Die Songs handeln vom turbulenten Leben in der Transgender-Unterwelt.
Trackliste: 1. Safe Inside the Day - 6:22
2. The Earlie King - 5:27
3. A Compass of the Light - 3:34
4. The Only Bones That Show - 5:19
5. Fresh Out of Candles - 6:04
6. Big Titty Bee Girl (From Dino Town) - 3:02
7. A Christmas Jig for a Three-Legged Cat - 1:15
8. Flowers on the Tracks - 4:02
9. The Dance of Diminishing Possibilities - 4:12
10. Bad Kidneys - 4:36
11. You'll Find Your Footing - 4:54
Alle Tracks: Baby Dee.
Besetzung: Bass: Andrew WK (1, 2, 4, 5, 10, 11)
; Cello: John Contreras (1-5, 7-11)
; Piano, Vocals: Baby Dee
; Recorded By [Assistance], Mixed By [Assistance]: Erik Shmall, Samara Lubelski
; Recorded, Mixed: Nicolas Vernhes
; Viola: Bill Breeze (1-5, 9, 11)
; Violin: Max Moston (1-5, 7-9, 11)
Barclay James Harvest [>] [D]: Time Honoured Ghosts [F]
Label und Katalognummer: Polydor 2442 140
Produktion: Elliot Mazer
Veröffentlicht: 1975 10
Genretags: Rock - Corporate-Rock - Progressiverock, Rock - Corporate-Rock - Softprog
«Time Honoured Ghosts» (= «Altehrwürdige Geister») wurde in Elliot Mazers His Masters Wheels Studios in San Francisco aufgenommen. Das Album hat eine rurale, herbstliche und melancholische Stimmung. Der Plan war wohl, ein Album im Westcoast-Stil zu produzieren (höre «One Night») und so den Übergang in ihre Corporate-Rock-Phase zu machen. Herausgekommen ist ein Softprog-Album, die arm an Spannung ist, was der Nachfolger Octoberon wett macht und Gone To Earth fortsetzt. Zu dominant sind die Stücke von Les Holroyd, die nach Crosby, Stills and Nash klingen und nichts als irritierender Jesusrock sind. Sie sind letztlich alle nach dem selben Strickmuster gefertigt, das BJHs Musik im Lauf der Zeit unerträglich machen wird.
Trackliste: Seite A
1. In My Life (John Lees) - 4:41
2. Sweet Jesus (Les Holroyd) - 3:29
3. Titles (traditional, arranged by John Lees) - 3:49
4. Jonathan (Holroyd) - 4:47
5. Beyond The Grave (Woolly Wolstenholme) - 4:10
Seite B
1. Song For You (Holroyd) - 5:20
2. Hymn For The Children (Lees) - 3:39
3. Moongirl (Holroyd) - 4:50
4. One Night (Lees) - 5:21
Besetzung: Art Direction: Paul Welch
; Bass Guitar, Acoustic Guitar, Vocals: Les Holroyd
; Design [Label Logo]: Geoff Halpin
; Design, Illustration: Bill Dare
; Electric Guitar, Acoustic Guitar, Vocals: John Lees
; Engineer [Mastering, U.S.A.]: Phil Brown
; Engineer [Mastering]: George Horn
; Engineer [Recording]: Elliot Mazer
; Engineer [Recording]: Jeremy Zatkin
; Keyboards, Vocals: Woolly Wolstenholme
; Percussion: Mel Pritchard
; Photography [Liner]: Alexander Agor
; Phonographic Copyright (p) Polydor International
; Recorded By His Master\'s Wheels
; Lacquer Cut At CBS Studios, London
; Made By MacNeill Press Ltd.
; Printed By MacNeill Press Ltd.
; Published By Rak Music
; Published By Rak Publishing Ltd.
; Designed At Bloomsbury Group
; Pressed By Phonodisc Ltd.
Beach Boys [>] [D]: Surfin' U.S.A. [F]
Label und Katalognummer: Capitol T 1890, Capitol ST 01890
Produktion: Nick Venet
Veröffentlicht: 1963 03 25 (Mono), 1963 03 25 (Stereo)
Genretags: Rock'n'Roll - Beat - Surfbeat
«Surfin'n U.S.A.», ein Thema-Album übers Surfen, etablierte das Markenzeichen der Beach-Boys: der vielstimmige Gesang, der mit Doubletracking noch reicher und gehaltvoller gemacht wurde als er ohnehin war. Solche komplexen Stimmen hörte man zuletzt bei den Four Freshmen, einer Jazz-Vocal-Gruppe, die den Barbershop-Gesang weiterentwickelte. In der jungen Popmusik der frühen 1960er Jahren war ein solcher vielschichtiger Gesang einzigartig.
Das Album hat die typischen Stärken und Schwächen der Zeit vor den Rock Alben: Es ist (nur) 24 Minuten lang, besteht als Thema-Album hauptsächlich aus Songs, die vom Surfen handeln, dabei sind einige Songs Füller («Misirlou» oder «Let's Go Trippin'») oder Übungen auf dem Weg zur Meisterschaft (z.B.: «Stocked», «Noble Surfer» oder «Honky Tonk»).
Es ist wichtig zu betonen, dass hier nicht die Wrecking Crew spielt, sondern die Band selbst. Studiomusiker übernahmen die ständig tourenden Beach Boys im Studio zwei Jahre später beim Album Today. Das blieb so bis zu Pet Sounds 1966.
«Surfin U.S.A.» ging auf Platz 2 der Charts und entfaltete eine mächtige Wir
kung: Surfen wurde eine Jugend-Mode im ganzen Land.
Trackliste: Seite A
1. Surfin' USA (Brian Wilson, Chuck Berry) - 2:27
2. Farmer's Daughter (Brian Wilson, Mike Love) - 1:49
3. Misirlou (Roubanis, Wise, Leeds, Russell) - 2:03
4. Stoked (Brian Wilson) - 1:59
5. Lonely Sea (Brian Wilson, Gary Usher) - 2:21
6. Shut Down (Brian Wilson, Roger Christian) - 1:49
Seite B
1. Noble Surfer (Brian Wilson, Mike Love) - 1:51
2. Honky Tonk (Doggett, Scott, Butler, Sheper, Glover) - 2:01
3. Lana (Brian Wilson) - 1:39
4. Surf Jam (Carl Wilson) - 2:10
5. Let's Go Trippin' (Dick Dale) - 1:57
6. Finders Keepers (Brian Wilson, Mike Love) - 1:38
Besetzung: Lead Guitar: Carl Wilson
; Lead Vocals: Mike Love
; Leader: Brian Wilson
; Photography [Cover Photo]: John Severson
; Rhythm Guitar: David Marks
; Vocals, Drums: Dennis Wilson
; Mastered At Capitol Mastering
; Pressed By Capitol Records Pressing Plant, Los Angeles
; Manufactured By Capitol Records, Inc.
; Record Company Capitol Industries-EMI, Inc.
Beach Boys [>] [D]: Holland / Mount Vernon And Fairway [F]
Label und Katalognummer: Brother Records MS 2118
Produktion: Blondie Chaplin & Ricky Fataar & Al Jardine & Mike Love & Brian Wilson & Carl Wilson & Dennis Wilson
Veröffentlicht: 1973 01 08
Genretags: Rock - Poprock
Dieses Album wurde in Holland aufgenommen. In Los Angeles kamen noch zwei Tracks von Brian Wilson hinzu, der nicht bei den Holland-Sessions dabei war. Diese Tracks waren ein Hörspiel mit dem Titel Mount Vernon And Fairway
- ein Märchen über ein magisches Radio. Die Gruppe wies diesen Brian-Wilson-Beitrag zunächst zurück, bis Carl Wilson mit der Idee kam, das Märchen als Bonus-EP zu veröffentlichen. Brian Wilson war über der Ablehnung so frustriert, dass er sich für ein Jahr von der Band zurückzog. Hinzu kam der Tod seines Vaters im Juni. Diese Rückzugsphase im leben von Wilson wird als Reclusive Period bezeichnet.
Trackliste: Seite A
1. Sail On Sailor (Carl Wilson, Jack Rieley) - (3:15)
2. Steamboat (Carl Wilson, Jack Rieley) - (4:29)
3. California Saga / Big Sur (Mike Love) - (3:55)
4. California Saga / The Beaks Of Eagles (Mike Love) - (2:48)
5. California Saga / California (Mike Love) - (3:59)
Seite B
1. The Trader (Carl Wilson, Jack Rieley) - (5:01)
2. Leaving This Town (Carl Wilson, Mike Love) - (5:36)
3. Only With You (Carl Wilson, Mike Love) - (2:56)
4. Funky Pretty (Carl Wilson, Jack Rieley, Mike Love) - (4:07)
Seite C: Mount Vernon And Fairway (7'' EP)
1. Mt. Vernon And Fairway (Theme) (Brian Wilson) - 1:34
2. I'm the Pied Piper (Instrumental) (Brian Wilson, Carl Wilson) - 2:20
3. Better Get Back in Bed (Brian Wilson) - 1:39
4. Magic Transistor Radio (Brian Wilson) - 1:43
Seite D
1. I'm the Pied Piper (Brian Wilson, Carl Wilson) - 2:09
2. Radio King Dom (Brian Wilson, Jack Rieley) - 2:38
Besetzung: Blondie Chaplin: lead, backing and harmony vocals; bass guitar
; Ricky Fataar: lead, backing and harmony vocals; drums
; Al Jardine: lead, backing and harmony vocals; banjo
; Mike Love: lead, backing and harmony vocals
; Brian Wilson: lead, backing and harmony vocals; piano; synthesiser; drums
; Carl Wilson: lead, backing and harmony vocals; lead guitar
; Dennis Wilson: lead, backing and harmony vocals; piano
; Daryl Dragon: Hammond B3
; Tony Martin Jr.: steel guitar
; Bruce Johnston: backing and harmony vocals (A5)
; Stephen Moffitt: Engineer
Beady Eye [>] [D]: Different Gear, Still Speeding [F]
Label und Katalognummer: Beady Eye Records BEADYCD 2
Produktion: Steve Lillywhite
Veröffentlicht: 2011 02 28
Genretags: Alternativerock - Poprock - Britpop
Weiss nicht so recht, wer auf das hier gewartet hat – nicht, dass es deswegen schlecht wäre, aber ich höre lieber die guten alten Alben von Oasis als Beady Eye. Der erstling ist unnötig, sollte die Band in diesem Stil weiter machen, wird sie peinlich.
Trackliste: 1. Four Letter Word - 4:17
2. Millionaire - 3:19
3. The Roller - 3:34
4. Beatles and Stones - 2:56
5. Wind Up Dream - 3:27
6. Bring the Light - 3:39
7. For Anyone - 2:15
8. Kill for a Dream - 4:39
9. Standing on the Edge of the Noise - 2:52
10. Wigwam - 6:39
11. Three Ring Circus - 3:09
12. The Beat Goes On - 4:45
13. The Morning Son - 6:03
Alle Tracks: Gem Archer, Andy Bell, Liam Gallagher.
Besetzung: Liam Gallagher - vocals
; Gem Archer - guitar, backing vocals, piano, bass
; Andy Bell - guitar, bass, backing vocals
; Chris Sharrock - drums
Beatles [>] [D]: Sgt. Pepper's Lonely Hearts Club Band [F]
Assoziierte Acts: George Harrison & John Lennon & Paul McCartney & Ringo Starr
Label und Katalognummer: Parlophone PCS 7027, Parlophone PCS 7027
Produktion: George Martin
Veröffentlicht: 1967 05 26 (UK), 1967 06 02 (US), 2017 05 26 (Reed.)
Genretags: Rock - Progrock
Sgt. Pepper
war das achte Album der Beatles, das neun Monate nach ihrem Abschiedskonzert im Candlestick Park Stadion von San Francisco am 29. August 1966 und und fast zehn Monate nach dem letzten Album Revolver heraus kam. Das einzige, aber wichtige Lebenszeichen der Gruppe war die Doppel-A-Single Strawberry Fields Forever / Penny Lane, die im Februar herauskam und einen Vorgeschmack auf das Album bot. Die Presse fing an, Gerüchte über die Beatles zu verbreiten. «News Of the World» schrieb anfangs 1967, dass die Gruppe in einer kreativen Krise stecke. der NME schrieb, dass die Beatles nun reiche Herren seien, die nicht mehr zu arbeiten bräuchten (siehe: Patrick Glen: Youth and Permissive Social Change in British Music Papers, 1967–1983). In der Tat nahm dieses Album eine längere Produktionszeit in Anspruch als alle ihre vorigen. 700 Studio-Stunden sollen es gewesen sein. Seine Veröffentlichung strafte aber alle Gerüchte Lügen: Das Album ist bis heute das zweifellos wichtigste Rock-Album seiner Zeit. Es brachte eine ganze Reihe von Errungenschaften und Innovationen mit sich. Es war als Produkt der Populären Musik spürbar von der zeitgenössischen Avantgarde, der Popart sowie der gerade entstehenden Gegenkultur beeinflusst bzw. reflektierte diese. Klangtechnisch war Sgt. Pepper
damals unvergleichlich. Man hörte Dinge, die man nie zuvor gehört hatte. Andere Musiker und Fans hörten es quasi als spirituelle Offenbarung. Zum Beispiel David Crosby, der das Album in der Lobby seines Hotels in Seattle die ganze Nacht lang durchspielte. Hundert junge Leute seien andächtig dabei gesessen und liessen sich von der Musik als von einer Offenbarung verzücken. Das Album gewann vier Grammys und war das erste Rock-Album, das in der Kategorie «Album of the Year» ausgezeichnet wurde.
Sgt. Pepper
war das erste Album mit aufklappbarem Cover (Gatefold-Sleeve), das erste Album mit abgedruckten Songtexten. Es gilt vielfach als Konzeptalbum, obwohl die Songs weder thematisch noch narrativ kohärent sind. Das Konzept kommt zu Stande, weil der Titelsong das Setting eines Konzerts der fiktiven Sgt. Pepper's Band schafft, einer Millitärband aus dem Zeitalter Eduards VII (1900–1914). Daher die Uniformen der Bandmitglieder. Die Anregung, mit der Fiktion ausgerechnet in die Anfänge des Jahrhunderts zurück zu gehen, mag von den Hippies in San Francisco gekommen sein. Deren Bands hatten so altmodische Namen: Quicksilver Messenger Service, Big Brother And The Holding Company oder Jefferson Airplane. Die Hippies kleideten sich auch in Kostüme aus dieser Zeit. Mit der Sgt. Pepper Military Band erfanden die Beatles die britische Version der Retrofaszination der Hippies.
Für die Beatles war diese fiktive Sgt. Pepper Band ein Trick, um das gescheiterte Konzept mit den Liverpool-Songs zu vertuschen. Aber für die damaligen Hörerinnen und Hörer war in diesem fiktiven Raum zwischen Beatles und Pepper Platz für die eskapistischen Fantasien der Hippie-Generation.
Sgt. Pepper
, das war allen – sogar der konservativen London Times – klar, war ein Kunstwerk und kein Konsumprodukt. Diese Tatsache brachte eine Wertverschiebung in die Welt. Vor Sgt. Pepper
gab es Klassische Musk, die wertvoll war, und Populäre Musik, die Kitsch, Schund oder «Trash» war. Jetzt musste man einsehen, dass jede musikalische Gattung wertvoll sein kann, sogar die Popmusik.
Das fiktive Setting erlaubte den Komponisten und der Band Freiheiten, die sie als Beatles vielleicht nicht gehabt hätten. Es macht das Album ausserdem zum Kunstwerk (zu einer Art musikalischem Hörspiel) und spricht im Rahmen der Populären Musik zum ersten Mal deutlich aus, dass man mit der Kunst und der Musik die Welt verändern kann. Victoria Broackes machte darauf aufmerksam, wie diese Botschaft den Slogan: «Phantasie an die Macht» vom Pariser Mai 68 vorwegnimmt (You Say You Want A Revolution?, p. 205). Allerdings stand McCartneys Idee auch im Widerspruch zur Avantgarde der Zeit, die künstlerische Strategien dazu einsetzten das Leben und Zusammenleben im Hier und Jetzt mit direkten Aktionen zu verändern. Die Fiktion McCartneys hätte auch aus Hollywood kommen können und so konterte Frank Zappa nur sieben Monate später mit einer Parodie auf Sgt. Pepper, die er We're Only in It For The Money nannte. Die Ambition, die in Pepper steckt, wird dem Album auch regelmässig zum Verhängnis, wenn man es überambitioniert und einfach zu viel des Guten findet. Die Rock-Generation, die in den 80er Jahren auf die Beatles zurückschauten, zogen in der Regel Rubber Soul oder Revolver als das beste der Beatles-Alben vor.
Peter Dogett weist darauf hin, dass bei der Produktion von Sgt. Pepper
die Songwriter-Partnerschaft von
Lennon-McCartney
zum ersten Mal von freundlicher, einander fördernder Rivalierie umschlug in Frustration. John Lennon nutzte die Zeit ohne Konzert-Verpflichtungen, um im Film How I Won The War
mitzuspielen. Als er vom Set zurückkam, um am nächsten Beatles Album zu arbeiten, verfiel er in eine tiefe Depression und Schaffenskrise. Später wird er sagen, dass McCartneys Ambitionen ihn zu einem Auftragsschreiber haben zurückfallen lassen und dass er darauf keine Lust hatte. Das war eben die Kehrseite der Konzepte: Man muss Musik für sie schreiben und das konnte McCartney hervorragend, während Lennon ein flatterhaftes Temperament hatte und am besten arbeitete, wenn er spontan Impulse aus der Umwelt auffangen und verarbeiten konnte. Das Resultat war, dass die meisten Songs auf Pepper
von McCartney stammten und Lennon nur vier beisteuerte (siehe 25 Albums That Rocked The World).
Spätestens von Sgt. Pepper
an, hat sich Paul McCartney innerhalb der Band als der Mann für das Konzeptionelle entwickelt. Von ihm stammt die Idee der fiktiven Sgt. Pepper Band, er wird die Beatles auf die Magical Mystery Tour mit nehmen, die Get Back Sessions leiten, woraus das Album Let It Be entstanden ist, und er wird auf Abbey Road für das Meddley auf der zweiten Seite verantwortlich sein. Als die Band mit den Arbeiten zu Sgt. Pepper
begann, war das erste Konzept, einen Songzyklus über die Jugend in Liverpool zu produzieren. Die Single Strawberry Fields Forever / Penny Lane war der direkte Ausdruck dieses Konzepts. Mit der Idee einer fiktiven Band, gewannen die Beatles indes grössere Freiheitsgrade, was John Lennon besser entsprach und vermutlich viel Druck wegnahm.
Das Cover
Das Frontcover wurde von Peter Blake and Jann Haworth gestaltet, beides Vertreter der Popart. Auf ihm sind berühmte Persönlichkeiten aus Kultur, Sport, Politik und Wissenschaft abgebildet. Sie stehen als Pappfiguren arrangiert beisammen wie für eine Klassenfoto. Die Sgt. Pepper Band in der vordersten Reihe im Zentrum.
Auf der Rückseite waren die gesamten Songlyrics abgedruckt, was dem Publikum klar machte, dass es bei dieser Musik um Botschaften ging, um etwas, das man verstehen soll wie ein literarisches Werk.
Das Innenteil des Covers («centerfold») zeigt die vier Bandmitglieder in der Pepper-Band-Uniform. McCartney sitzt mit angezogenen Knien, die anderen sitzen vermutlich aufrecht. Man sieht nur die Oberkörper und die vier Gesichter, die dreinschauen als würden sie «I Love You» sagen, aus tiefem Herzen. Die Foto wurde von Michael Cooper geschossen.
Dieses Cover kostete rund 35 Mal so viel wie ein damaliges Standard-Plattencover.
Erfolg
Das Album gewann vier Grammys, es setzte in der ersten Woche 250'000 Stück und in den ersten drei Monaten 2,5 Millionen Stück ab.
Drei Tage nach seiner Veröffentlichung spielte die Jimi Hendrix Experience im Saville Theatre den Titelsong – Paul McCartney und George Harrison sassen im Publikum.
2017 Remix
Für die Jubiläumsausgaben des Albums zum 50-jährigen Geburtstag wurden die Originalbänder mit Artificial Intelligence Technologie aufgemischt («upmixing»).
Querverweise
– zum Buch über das Album von Clinton Heylin: The Act You've Known for All These Years: A Year in the Life of Sgt. Pepper and Friends
– zum Buch von Steve Lambley: And The Band Begins To Play. Part 08: The Definitive Guide To The Beatles Sgt. Pepper's Lonely Hearts Club Band
Links
– Allan F. Moore: The Beatles: Sgt. Pepper's Lonely Hearts Club Band (Cambridge, 1997)
– Martin Chilton: The Influence Of ‘Sgt Pepper’s Lonely Hearts Club Band’ (uDiscoverMusic, 7. Juni 2019)
– Jason Draper: Who’s Who auf dem Cover (uDiscoverMusic, 23. Mai 2019, uDiscoverMusic)
– Richard Havers: With A Little Help From Their Friends: The Beatles’ ‘Sgt Pepper’ In Cover Versions (uDiscoverMusic, 19. Mai 2020)
Trackliste: Seite A
1. Sgt. Pepper's Lonely Hearts Club Band - 2:02
2. With A Little Help From My Friends - 2:44
3. Lucy In The Sky With Diamonds - 3:28
4. Getting Better - 2:47
5. Fixing A Hole - 2:36
6. She's Leaving Home - 3:35
7. Being For The Benefit Of Mr. Kite! - 2:37
Seite B
1. Within You Without You (Harrison) - 5:05
2. When I'm Sixty-Four - 2:37
3. Lovely Rita - 2:42
4. Good Morning Good Morning - 2:41
5. Sgt. Pepper's Lonely Hearts Club Band (Reprise) - 1:18
6. A Day In The Life - 5:33
Alle Tracks: Lennon-McCartney ausser wo anders vermerkt.
CD 1: New Stereo Mix
1. Sgt. Pepper's Lonely Hearts Club Band - 2:02
2. With A Little Help From My Friends - 2:45
3. Lucy In The Sky With Diamonds - 3:27
4. Getting Better - 2:47
5. Fixing A Hole - 2:37
6. She's Leaving Home - 3:25
7. Being For The Benefit Of Mr. Kite! - 2:39
8. Within You Without You (Harrison) - 5:07
9. When I'm Sixty-Four - 2:40
10. Lovely Rita - 2:45
11. Good Morning Good Morning - 2:34
12. Sgt. Pepper's Lonely Hearts Club Band (Reprise) - 1:20
13. A Day In The Life - 5:33
CD 2: Sgt. Pepper Sessions
1. Strawberry Fields Forever (Take 1) - 2:39
2. Strawberry Fields Forever (Take 4) - 3:00
3. Strawberry Fields Forever (Take 7) - 3:16
4. Strawberry Fields Forever (Take 26) - 3:18
5. Strawberry Fields Forever (Stereo Mix - 2015) - 4:09
6. When I'm Sixty-Four (Take 2) - 3:01
7. Penny Lane (Take 6 - Instrumental) - 2:55
8. Penny Lane (Vocal Overdubs And Speech) - 1:47
9. Penny Lane (Stereo Mix - 2017) - 3:00
10. A Day In The Life (Take 1) - 4:41
11. A Day In The Life (Take 2) - 4:49
12. A Day In The Life (Orchestra Overdub). 0:55
13. A Day In The Life (Hummed Last Chord) (Takes 8, 9, 10 & 11) - 1:54
14. A Day In The Life (The Last Chord) - 2:53
15. Sgt. Pepper's Lonely Hearts Club Band (Take 1 - Instrumental) - 2:34
16. Sgt. Pepper's Lonely Hearts Club Band (Take 9 And Speech) - 2:36
17. Good Morning Good Morning (Take 1 - Instrumental, Breakdown) - 1:04
18. Good Morning Good Morning (Take 8) - 2:47
CD 3: Sgt. Pepper Sessions
1. Fixing A Hole (Take 1) - 2:59
2. Fixing A Hole (Speech And Take 3) - 3:28
3. Being For The Benefit Of Mr. Kite! (Speech From Before Take 1; Take 4 And Speech At The End) - 3:08
4. Being For The Benefit Of Mr. Kite! (Take 7) - 2:35
5. Lovely Rita (Speech And Take 9) - 3:05
6. Lucy In The Sky With Diamonds (Take 1) - 3:40
7. Lucy In The Sky With Diamonds (Speech, False Start And Take 5) - 4:08
8. Getting Better (Take 1 And Speech At The End) - 2:19
9. Getting Better (Take 12) - 2:45
10. Within You Without You (Take 1 - Indian Instruments) (Harrison) - 5:32
11. Within You Without You (George Coaching The Musicians) (Harrison) - 3:55
12. She's Leaving Home (Take 1 - Instrumental) - 3:49
13. She's Leaving Home (Take 6 - Instrumental) - 3:48
14. With A Little Help From My Friends (Take 1 - False Start And Take 2 - Instrumental) - 3:14
15. Sgt. Pepper's Lonely Hearts Club Band (Reprise) (Speech And Take 8) - 1:59
CD 4: Mono Album (1967 Mix) And Bonus Tracks
1. Sgt. Pepper's Lonely Hearts Club Band - 2:02
2. With A Little Help From My Friends - 2:45
3. Lucy In The Sky With Diamonds - 3:27
4. Getting Better - 2:47
5. Fixing A Hole - 2:37
6. She's Leaving Home - 3:25
7. Being For The Benefit Of Mr. Kite! - 2:40
8. Within You Without You (Harrison) - 5:07
9. When I'm Sixty-Four - 2:40
10. Lovely Rita - 2:45
11. Good Morning Good Morning - 2:34
12. Sgt. Pepper's Lonely Hearts Club Band (Reprise) - 1:18
13. A Day In The Life - 5:23
14. Strawberry Fields Forever (Original Mono Mix) - 4:08
15. Penny Lane (Original Mono Mix) - 3:02
16. A Day In The Life (First Mono Mix) - 4:43
17. Lucy In The Sky With Diamonds (Original Mono Mix -No. 11) - 3:49
18. She's Leaving Home (First Mono Mix) - 3:42
19. Penny Lane (Capitol Records Mono US Promo Mix) - 3:01
Besetzung: John Lennon: acoustic guitar, electric guitar, harmonica, organ, piano, percussion, vocals
; Paul McCartney: electric bass, electric guitar, piano, organ, percussion, vocals
; George Harrison: acoustic guitar, electric guitar, sitar, tamboura, percussion, harmonica, Wurlitzer organ, vocals
; Ringo Starr: drums, percussion, piano, harmonica, vocals
; George Martin: harpsichord, organ, piano, harmonium
; Geoff Emerick: recording engineer
Beatles [>] [D]: A Hard Day's Night [F]
Assoziierte Acts: George Harrison & John Lennon & Paul McCartney & Ringo Starr
Label und Katalognummer: Parlophone PMC 1230 (Mono), Parlophone PCS 3058 (Stereo)
Produktion: George Martin
Veröffentlicht: 1964 07 10
Genretags: Rock - Poprock
Bob Stanley schrieb über dieses Album: «Wenn Sie einem Fremden den Erfolg der Beatles erklären müssten, Sie würden ihm diesen Soundtrack vorspielen. Die Songs wurden in einem Hotelzimmer geschrieben, im Zeitfenster zwischen dem Angriff auf das britische Klassensystem und der Eroberung Amerikas, und sie waren voller Biss und Schnelligkeit. Die Musik bot Abenteuer, Klugheit, Liebe und eine grosse Menge Charme.
Beatle John's Album
Von den 13 Songs auf dem Album wurde die überwigende Mehrzahl, zehn, von John Lennon geschrieben. Paul McCartney trug drei Songs bei: And I Love Her, Can't Buy Me Love und Things We Said Today.
Wir
kung
Die 12-saitige Rickenbacker-Gitarre, die George Harrison auf diesem Album spielt, ist die Blaupause für den Folkrock, der kurz darauf in den USA entsteht. Der Sound beeinflusst viele Bands, z.B. die Byrds, Beau Brummels, Buffalo Springfield oder Lovin' Spoonful. George Harrison entdeckte das Instrument durch Tom Springfield von der Folkpop-Band Springfields.
Querverweise
– zum Buch von Steve Lambley: And The Band Begins To Play. Part 03: The Definitive Guide To The Beatles A Hard Day's Night
Trackliste: Seite A
1. A Hard Day's Night - 2:31
2. I Should Have Known Better - 2:42
3. If I Fell - 2:17
4. I'm Happy Just To Dance With You - 1:54
5. And I Love Her - 2:27
6. Tell Me Why - 2:07
7. Can't Buy Me Love - 2:10
Seite B
1. Any Time At All - 2:09
2. I'll Cry Instead - 1:43
3. Things We Said Today - 2:34
4. When I Get Home - 2:20
5. You Can't Do That - 2:33
6. I'll Be Back - 2:21
Alle Tracks: Lennon-McCartney.
Besetzung: George Harrison: lead guitar (six- and 12-string), acoustic and Spanish guitars, backing vocals, lead vocals (A4), claves (A5)
; John Lennon: lead, harmony and backing vocals, rhythm and acoustic guitars, tambourine, harmonica; lead guitar (B5), piano (B3)
; Paul McCartney: lead, harmony, and backing vocals, bass guitar, piano, acoustic guitar (B6)
; Ringo Starr: drums, cowbell, maracas, tambourine
; George Martin: piano
; Record Company The Parlophone Co. Ltd.
; Record Company E.M.I. Records Limited
; Published By Northern Songs Ltd.
; Printed By Garrod & Lofthouse Ltd.
; Made By Garrod & Lofthouse Ltd.
Beatles [>] [D]: Beatles For Sale [F]
Assoziierte Acts: George Harrison & John Lennon & Paul McCartney & Ringo Starr
Label und Katalognummer: Parlophone PMC 1240 (Mono), Parlophone PCS 3062 (Stereo)
Produktion: George Martin
Veröffentlicht: 1964 12 04
Genretags: Rock - Folkrock, Rock - Poprock
Diese LP wurde nur 21 Wochen nach A Hard Day's Night eingespielt. Das war nicht genug Zeit, um die gesamte LP mit Eigenkompositionen zu füllen.
Einige der eigenen Songs dieses Album sind Songs über die Schattenseite der Liebe («No Reply» und «Baby's in Black») und über Selbstzweifel («I'm A Loser» und «I Don't Want to Spoil the Party»).
Die Covergestaltung verzichtet mutig auf deskriptive Typografie. Nur ganz klein neben dem Label-Logo steht mit kleinen Buchstaben der Albumtitel. Der Name der Band wird nicht genannt.
Querverweise
– zum Buch von Steve Lambley: And The Band Begins To Play. Part 04: The Definitive Guide To The Beatles Beatles For Sale
Trackliste: Seite A
1. No Reply - 2:15
2. I'm a Loser - 2:31
3. Baby's in Black - 2:02
4. Rock and Roll Music (Chuck Berry) - 2:32
5. I'll Follow the Sun - 1:46
6. Mr. Moonlight (Roy Lee Johnson) - 2:33
7. Medley: Kansas City (Jerry Leiber and Mike Stoller) and Hey, Hey, Hey, Hey (Richard Penniman) - 2:33
Seite B
1. Eight Days a Week - 2:44
2. Words of Love (Buddy Holly) - 2:12
3. Honey Don't (Carl Perkins) - 2:55
4. Every Little Thing - 2:01
5. I Don't Want to Spoil the Party - 2:33
6. What You're Doing - 2:30
7. Everybody's Trying to Be My Baby (Carl Perkins) - 2:23
Alle Tracks: Lennon-McCartney, ausser wo anders vermerkt.
Besetzung: John Lennon: lead, harmony and background vocals, rhythm and acoustic guitars, harmonica, piano, tambourine, handclaps
; Paul McCartney: lead, harmony, and background vocals, acoustic guitar, bass, piano, Hammond organ, handclaps
; George Harrison: harmony and background vocals, lead and acoustic guitars, African drum, handclaps, lead vocal (B7)
; Ringo Starr: drums, tambourine, timpani, cowbell, packing case, bongos, lead vocal (B3)
; George Martin: piano (A4)
Beatles [>] [D]: Rubber Soul [F]
Assoziierte Acts: George Harrison & John Lennon & Paul McCartney & Ringo Starr
Label und Katalognummer: Parlophone PCS 3075, Capitol ST 02442
Produktion: George Martin
Veröffentlicht: 1965 12 03 (UK), 1965 12 06 (US)
Genretags: Pop - Progressivepop - Baroquepop
Rubber Soul
ist das sechste Album der Band und das erste, das als Gesamtkunstwerk konzipiert wurde. Bisher bestanden Alben in der Populären Musik vor allem aus Füllmaterial, das zusammen mit zwei oder drei Singles plus B-Seiten auf eine LP gepackt wurden – als Zusatzprodukt zu den Singles, auf die der Erfolg einer Band alleine fusste. Mit diesem Album stiessen die Beatles die Tür zu Studioexperimenten und zu Alben als eigenständiger Ausdrucks- und Kunstform weit auf. Hier findet man zum zweiten Mal nach A Hard Day's Night ein Album, das voll auf selbst geschriebene Songs setzt und auf Coverversionen verzichtet. Damit war Rubber Soul
einer der Anstösse für den psychedelischen und progressiven Rock, der in den nächsten zwei Jahren entstand.
Am selben Tag wie Rubber Soul
kam die Single-Veröffentlichung Day Tripper / We Can Work It Out heraus.
Der Albumtitel Rubber Soul
ist eine Variation des Begriffs «Plastic Soul», der in den Sechzigern als Bezeichnung für Soul Musik verwendet wurde, wenn sie von weissen Musikern gespielt und gesungen wurde (vergleiche auch den positiveren Begriff Blueeyedsoul). Offenbar schrieben amerikanische Musikkritiker von den Rolling Stones, ihre Musik sei «Plastic Soul». Die Verballhornung von «Plastic Soul» arbeitet als Wortspiel mit der Gummisohle («rubber sole»).
Grossartig ist auch die visuelle Umsetzung des Albumtitels mit der Covergestaltung. Sowohl die Typografie von Charles Front als auch die Foto von Robert Freeman sind verzogen wie durch einen gekrümmten Spiegel. Im Ganzen bringt das Cover zum Ausdruck, dass die Musik ziemlich ungewöhnlich ist, nicht nur weil weisse Musiker sie spielen! – Völlig ungewöhnlich ist, dass die Band auf dem Cover nicht genannt wird.
Rubber Soul
wurde zwischen dem 12. Oktober und dem 15. November 1965 in den EMI Studios an der Abbey Road aufgenommen und abgemischt. Die Sessions wurden nicht von Konzerten oder anderen Auftritten unterbrochen. Das war bei den vorigen Alben anders (abgesehen von Please Please Me, das an einem Tag aufgenommen wurde).
Querverweise
– zum Buch von Steve Lambley: And The Band Begins To Play. Part 07: The Definitive Guide To The Beatles Rubber Soul
Trackliste: Seite A
1. Drive My Car - 2:30
2. Norwegian Wood (This Bird Has Flown) - 2:05
3. You Won't See Me - 3:22
4. Nowhere Man - 2:44
5. Think for Yourself (Harrison) - 2:19
6. The Word - 2:43
7. Michelle - 2:42
Seite B
1. What Goes On (Lennon, McCartney, Ringo Starr) - 2:50
2. Girl - 2:33
3. I'm Looking Through You - 2:27
4. In My Life - 2:27
5. Wait - 2:16
6. If I Needed Someone (Harrison) - 2:23
7. Run for Your Life - 2:18
Alle Tracks: Lennon-McCartney, ausser wo anders vermerkt.
Seite A der US Ausgabe
1. I've Just Seen a Face - 2:04
2. Norwegian Wood (This Bird Has Flown) - 2:00
3. You Won't See Me - 3:19
4. Think for Yourself (George Harrison) - 2:16
5. The Word - 2:42
6. Michelle - 2:42
Seite B der US Ausgabe
1. It's Only Love - 1:53
2. Girl - 2:26
3. I'm Looking Through You - 2:20
4. In My Life - 2:23
5. Wait - 2:13
6. Run for Your Life - 2:21
Alle Tracks: Lennon-McCartney, ausser wo anders vermerkt.
Besetzung: George Harrison: g, Sitar
; John Lennon, g, voc
; Paul McCartney: Piano, bg, voc
; Ringo Starr: dr
; Mal Evans: Hammond organ (A3)
; George Martin: Harmonium (A6, B6), Piano (B4)
; Norman Smith: Engineer
; Photography: Robert Freeman
; Typography: Charles Front
; Guy Massey. Paul Hicks, Sean Magee, Sam Okell, Steve Rooke: Remastering
; Mike Heatley, Kevin Howlett: Liner Notes
Beatles [>] [D]: Let It Be [F]
Assoziierte Acts: George Harrison & John Lennon & Paul McCartney & Billy Preston & Ringo Starr
Label und Katalognummer: Apple PCS 7096, Apple 0602507138691
Produktion: George Martin & Phil Spector
Veröffentlicht: 1970 05 18 (Ed.), 2021 10 15 (Reed.), 1970-69 (Rec.)
Genretags: Pop - Progressivepop - Baroquepop
Das letzte, posthume Album der Band. Es wurde zusammengestellt mit Aufnahmen aus den misslungenen Get-Back-Sessions und aus späteren Sessions in den bandeigenen Apple-Studios. Einige der entstandenen Aufnahmen wurden zudem vor der Veröffentlichung überarbeitet. Es hätte eine Art Roots-Rock-Album entstehen sollen: Die Beatles wollten zurück zu ihren musikalischen Wurzeln. Das Album sollte aus Tracks bestehen, die aus ihrer Frühzeit stammten oder die die junge Band beeinflusst hatten. Das Konzept sah vor, ein quasi Live Album im Studio einzuspielen, ohne Overdubs. Die Sessions wurden von einem Filmteam mitgeschnitten, das die Magie der Zusammenarbeit der vier Musiker hätte einfangen sollen. Stattdessen zeigten die Filmaufnahmen die Spannungen zwischen den Bandmitgliedern.
John Lennon trug nicht viel zu den Sessions bei. Je mehr er sich zurückzog, desto mehr fühlte sich Paul McCartney in die Rolle des musikalischen Direktors gedrängt, was wiederum George Harrison verärgerte. Harrison verliess Sessions und Band. Zurück kam er nur unter der Bedingung, dass man das Studio wechselte und man Billy Preston als Gastmusiker in die Band holte.
Am Ende war «Let It Be» eine Collage aus völlig verschiedenen Arbeitsstadien, an der sich verschiedene Produzenten versuchten, zuerst Glyn Johns, dann Phil Spector. Veröffentlicht wurde «Let it Be» nicht zuletzt wegen erheblicher finanzieller Probleme, die durch die Misswirtschaft des von den Beatles selbst geführten Apple Konzerns entstanden sind.
Querverweise
– zum Buch über dieses Album von Steve Matteo
– zum Buch von Steve Lambley: And The Band Begins To Play. Part 11: The Definitive Guide To The Beatles Let it Be
Trackliste: Seite A
1. Two of Us - 3:33
2. Dig a Pony - 3:52
3. Across the Universe - 3:47
4. I Me Mine (Harrison) - 2:25
5. Dig It (Lennon/McCartney/Starkey/Harrison) - 0:49
6. Let It Be - 4:01
7. Maggie Mae (Traditional arr. Lennon, McCartney, Harrison, Starkey) - 0:41
Seite B
1. I've Got a Feeling - 3:37
2. One After 909 - 2:52
3. The Long and Winding Road - 3:37
4. For You Blue (Harrison) - 2:32
5. Get Back - 3:07
Alle Tracks: Lennon-McCartney, ausser wo anders vermerkt.
CD 1: New Mix Of Original Album
1. Two Of Us - 3:36
2. Dig A Pony - 3:54
3. Across The Universe - 3:48
4. I Me Mine - 2:25
5. Dig It - 0:50
6. Let It Be - 4:03
7. Maggie Mae - 0:40
8. I've Got A Feeling - 3:37
9. One After 909 - 2:54
10. The Long And Winding Road - 3:37
11. For You Blue - 2:32
12. Get Back - 3:08
CD 2: Get Back - Apple Sessions
1. Morning Camera (Speech - Mono) / Two Of Us (Take 4) - 3:42
2. Maggie Mae / Fancy My Chances With You (Mono) - 0:58
3. Can You Dig It? - 2:02
4. Don’t Know Why I’m Moaning (Speech – Mono) - 1:22
5. For You Blue (Take 4) - 2:52
6. Let It Be / Please Please Me / Let It Be (Take 10) - 4:32
7. I've Got A Feeling (Take 10) - 3:37
8. Dig A Pony (Take 14) - 4:01
9. Get Back (Take 19) - 3:57
10. Like Making An Album? (Speech) - 0:42
11. One After 909 (Take 3) - 3:27
12. Don't Let Me Down (First Rooftop Performance) - 3:29
13. The Long And Winding Road (Take 19) - 3:47
14. Wake Up Little Suzie / I Me Mine (Take 11) - 2:15
CD 3: Get Back - Rehearsals And Apple Jams
1. On The Day Shift Now (Speech – Mono) / All Things Must Pass (Rehearsals – Mono) - 4:22
2. Concentrate On The Sound (Mono) - 1:07
3. Gimme Some Truth (Rehearsal – Mono) - 1:19
4. I Me Mine (Rehearsal – Mono) - 1:35
5. She Came In Through The Bathroom Window (Rehearsal) - 2:50
6. Polythene Pam (Rehearsal – Mono) - 1:19
7. Octopus’s Garden (Rehearsal – Mono) - 1:50
8. Oh! Darling (Jam) - 5:19
9. Get Back (Take 8) - 3:52
10. The Walk (Jam) - 0:55
11. Without A Song (Jam) – Billy Preston With John And Ringo - 2:00
12. Something (Rehearsal – Mono) - 1:24
13. Let It Be (Take 28) - 4:42
CD 4: Get Back LP - 1969 Glyn Johns Mix
1. One After 909 - 3:06
2. I’m Ready (aka Rocker) / Save The Last Dance For Me / Don’t Let Me Down - 1:56
3. Don’t Let Me Down - 4:05
4. Dig A Pony - 4:13
5. I’ve Got A Feeling - 2:53
6. Get Back - 3:13
7. For You Blue - 2:54
8. Teddy Boy - 3:41
9. Two Of Us - 3:29
10. Maggie Mae - 0:38
11. Dig It - 4:09
12. Let It Be - 4:09
13. The Long And Winding Road - 3:39
14. Get Back (Reprise) - 0:40
CD 5: Let It Be EP
1. Across The Universe (Unreleased Glyn Johns 1970 Mix) - 3:31
2. I Me Mine (Unreleased Glyn Johns 1970 Mix) - 1:45
3. Don’t Let Me Down (New Mix Of Original Single Version) - 4:08
4. Let It Be (New Mix Of Original Single Version) - 3:52
Blueray: Dolby Atmos 48kHz/24bit, DTS-HD Master Audio 5.1 96kHz/24bit, PCM Stereo 96kHz/24bit)
1. Two Of Us - 3:37
2. Dig A Pony - 3:54
3. Across The Universe - 3:48
4. I Me Mine - 2:26
5. Dig It - 0:50
6. Let It Be - 4:03
7. Maggie Mae - 0:39
8. I've Got A Feeling - 3:39
9. One After 909 - 2:53
10. The Long And Winding Road - 3:39
11. For You Blue - 2:33
12. Get Back - 3:08
Besetzung: John Lennon: lead and backing vocals, rhythm guitar, lead guitar (B5), lap steel guitar (B4) acoustic guitar (A1, A3, A7), six-string bass guitar (A5, A6, B3), whistling (A1)
; Paul McCartney: lead and backing vocals, bass guitar, acoustic guitar (A1, A7), piano (A5, A3, A6, B3, B4), Hammond organ and electric piano (A4), maracas (A6)
; George Harrison: lead and rhythm guitars, acoustic guitar (B4, A4), tambura (A3), tuned-down six-string electric guitar (A1, A7), lead vocals (A4, B4), backing vocals.
; Ringo Starr: drums, percussion (A3)
; Richard Anthony Hewson: string and brass arrangements (A4, B3)
; John Barham: choral arrangements (A3, A4, B3)
; George Martin: shaker (A5), string and brass arrangements (A6)
; Linda McCartney: backing vocals (A6)
; Billy Preston: electric piano (A2, B1, B2, B3, B5), Hammond organ (A5, A6)
; Brian Rogers: string and brass arrangements (A3)
; Glyn Johns: audio engineering, mixing
; Alan Parsons: assistant engineer
; George Martin: original mixing (uncredited)
; Phil Spector: "re-producer" (final overdubs), final mixing
; Design: John Kosh
; Photography: Ethan Russell
; Phonographic Copyright (p) Apple Records
; Printed By Garrod & Lofthouse
; Published By Northern Songs
; Published By Harrisongs
Beck, Bogert And Appice [>] [D]: Beck, Bogert & Appice [F]
Assoziierte Acts: Jeff Beck & Tim Bogert & Carmine Appice
Label und Katalognummer: Essential ESS LP 011
Produktion: Don Nix
Veröffentlicht: 1973 04, 2006 02 07 (Reed.)
Genretags: Rock - Bluesrock - British-Bluesrock
Beck, Bogert & Appice waren eine Supergruppe. Carmine Appice und Tim Bogert kamen von Vanilla Fudge, einer Pionier-Formation des Heavy-Rocks, und von Cactus. Jeff Beck kam nach den Yardbirds aus verschiedenen Inkarnationen seiner eigenen Gruppe, der Jeff Beck Group. Das Tro spielt meist als Powertrio ausser bei «Oh to Love You», wo es durch Duane Hitchings und bei «Sweet Sweet Surrender», wo es durch Jimmy Greenspoon ergänzt wird. Als Sänger fungieren alle drei Musiker: Jeff Beck singt «Black Cat Moan». Der Track zeugt davon, dass der Mann zwar virtuos Gitarre spielen, aber einfach nicht singen konnte.
Trackliste: Seite A
1. Black Cat Moan (Don Nix) - 3:44
2. Lady (Appice, Beck, Bogert, J. Bogert, French, Duane Hitchings) - 5:33
3. Oh to Love You (Appice, Beck, T. Bogert, J. Bogert, French, Hitchings) - 4:04
4. Superstition (Stevie Wonder) - 4:15
Site B
1. Sweet Sweet Surrender (Nix) - 3:59
2. Why Should I Care (R. Kennedy) - 3:31
3. Lose Myself with You (Appice, Beck, T. Bogert, J. Bogert, French) - 3:16
4. Livin' Alone (Appice, Beck, T. Bogert, J. Bogert) - 4:11
5. Im So Proud (Curtis Mayfield) - 4:12
Bonustracks der CD Ausgabe von 2006
1. I'm So Proud (Mayfield) - 3:25
2. Lady (Appice, Beck, Bogert, French, Hitchings) - 3:50
Besetzung: Jeff Beck: guitar and vocals
; Tim Bogert: bass and vocals
; Carmine Appice: drums and vocals
; Jimmy Greenspoon: piano (B1)
; Duane Hitchings: piano, mellotron (A3)
; Danny Hutton: background vocals (B1)
; Artwork By [Cover Design]: Ed Lee
; Engineer: Baker Bigsby, Gary Starr, Mike Colchamiro
; Engineer [Remix]: John Fry
; Photography: Fred Lombardi
Bet Grey's Trio [>] [D]: Hüt isch Samstig z'Obe / Wenn i z'Nacht träume tue [F]
Label und Katalognummer: Decca D 19842
Veröffentlicht: 1967 (?)
Genretags: Europeana - Schlager
Ein weibliches Vokaltrio aus Basel. Rebellionsfreie Musik mit jungen Themen: Unter der Woche wird gearbeitet und am Samstag geht frau feiern. Wenn i z'Nacht träume tue
handelt vom aktiven Träumen im Bett. Im Traum wird alles das wahr, was in der Gesellschaft verboten ist. Musikalisch hört man noch die Geschwister Schmid in diesen Songs, bei Hüt isch Samstig z'Obe
aber auch eine Reminiszenz an die bal musette aus Frankreich.
Trackliste: Seite A
1. Hüt isch Samstig z'Obe -
Seite B
1. Wenn i z'Nacht träume tue -
Beyoncé [>] [D]: Cowboy Carter [F]
Label und Katalognummer: Parkwood Entertainment
Produktion: Atia Boggs & DIXSON & D.A. Got That Dope & Nathan Ferraro & Dave Hamelin & Killa B & Beyoncé Knowles & Nick KobeR & Mamiiyan Tedder & Pharrell Williams
Veröffentlicht: 2024 03 29
Genretags: Country - Countrypop, Afroamericana - Countrysoul
Das ist keine Rezension, sondern eine Meinung:
Es wird diskutiert, ob weisse Kids, die mit Dreadlocks herumlaufen, kulturelle Aneignung betreiben und Beyoncé, eine der reichsten Frauen in der Musikwelt macht dieses Album? In dieser Zeit, in der die politischen Fronten in den USA sich erneut verhärten und wir auf die unangenehmsten Wahlen in der Geschichte zu steuern? Ist das nicht dumm, ungeschickt und ein unschönes Spiel mit der kulturellen Aneignung?
Es ist schon klar, dass Beyoncé in Texas aufgewachsen ist und in einer Welt lebt, in der Country und afroamerikanische Musik gleichermassen zuhause sind. Ich ärgere mich nicht darüber, dass Beyoncé ein Country-Album macht (wenn es denn eines ist, vielleicht nennt man es besser ein «Crossover» Album). Daddy Lessons war ein grossartiger Song, den ich bis heute gerne höre. Ich ärgere mich über den Zeitpunkt von «Cowboy Carter», der unnötig provozierend wirkt.
Warum muss eine Spitzenkünstlerin andere Spitzenkünstlerinnen und Künstler covern («Blackbird» und «Joleene»)? Fördert das nicht die populistische Erzählung von der Elite, die sich selber begünstigt? Die USA würden andere Zeichen als dieses brauchen!
Trackliste: 1. AMERIICAN REQUIEM - 5:25
2. Beyoncé & Tanner Adell & Brittney Spencer & Tiera Kennedy & Reyna Roberts: BLACKBIIRD - 2:11
3. 16 CARRIAGES - 3:47
4. Beyoncé & Rumi Carter: PROTECTOR - 3:04
5. MY ROSE - 0:53
6. Willie Nelson: SMOKE HOUR ★ WILLIE NELSON - 0:50
7. TEXAS HOLD 'EM - 3:53
8. BODYGUARD - 4:00
9. Dolly Parton: DOLLY P - 0:22
10. JOLENE - 3:09
11. DAUGHTER - 3:23
12. Beyoncé & Linda Martell & Shaboozey: SPAGHETII - 2:38
13. ALLIIGATOR TEARS - 2:59
14. Willie Nelson: SMOKE HOUR II - 0:29
15. Beyoncé & Willie Jones: JUST FOR FUN - 3:24
16. Beyoncé & Miley Cyrus: II MOST WANTED - 3:28
17. Beyoncé & Post Malone: LEVII'S JEANS - 4:17
18. FLAMENCO - 1:40
19. Linda Martell: THE LINDA MARTELL SHOW - 0:28
20. YA YA - 4:34
21. OH LOUISIANA - 0:52
22. DESERT EAGLE - 1:12
23. RIIVERDANCE - 4:11
24. II HANDS II HEAVEN - 5:41
25. TYRANT - 4:10
26. SWEET ★ HONEY ★ BUCKIIN' - 4:56
27. AMEN - 2:25
Besetzung: Beyoncé: lead vocals (all tracks), clapping (track 10), percussion (23)
; Khirye Tyler: bass (tracks 1, 2, 7, 20), percussion (1, 20–23), drums (1, 15, 20), synthesizer (1), strings (2, 18), violin (2), piano (7), guitar (15), horns (20), programming (26)
; Ink: vocals (track 1), guitar (2)
; Tanner Adell: vocals (tracks 1, 2)
; Raphael Saadiq: drums (tracks 1, 7); bass, piano (7, 8); organ (7), guitar (8, 20), keyboards (8)
; LaMarcus Eldridge: choir (tracks 1, 10, 11, 15, 27)
; Steve Epting: choir (tracks 1, 10, 11, 15, 27)
; Brooke Brewer: choir (tracks 1, 11, 15, 27)
; Camille Grigsby: choir (tracks 1, 11, 15, 27)
; Cedrit Leonard: choir (tracks 1, 11, 15, 27)
; Chelsea Miller: choir (tracks 1, 11, 15, 27)
; Donald Paige: choir (tracks 1, 11, 15, 27)
; Dwanna Orange: choir (tracks 1, 11, 15, 27)
; George Young: choir (tracks 1, 11, 15, 27)
; Jason Morales: choir (tracks 1, 11, 15, 27)
; Jenelle Dunkley: choir (tracks 1, 11, 15, 27)
; Jerome Wayne: choir (tracks 1, 11, 15, 27)
; Kiandra Richardson: choir (tracks 1, 11, 15, 27)
; Lakeisha Lewis: choir (tracks 1, 11, 15, 27)
; Mabvuto Carpenter: choir (tracks 1, 11, 15, 27)
; Naarai Jacobs: choir (tracks 1, 11, 15, 27)
; Nava Morris: choir (tracks 1, 11, 15, 27)
; Phylicia Hill: choir (tracks 1, 11, 15, 27)
; Princess Fortier: choir (tracks 1, 11, 15, 27)
; Storm Chapman: choir (tracks 1, 11, 15, 27)
; No I.D.: guitar, keyboards, sitar (track 1); drums (15)
; Dixson: drums, vocals (track 1)
; Jon Batiste: guitar, keyboards, sitar (track 1)
; Camaron Ochs: vocals (track 1)
; Lemar Carter: drums (tracks 2, 7, 8, 20)
; Brittney Spencer: vocals (track 2), background vocals (25)
; Reyna Roberts: vocals (track 2), background vocals (25)
; Tiera Kennedy: vocals (track 2), background vocals (25)
; Dave Hamelin: organ, synthesizer (tracks 2, 27); drums, guitar, piano (2); bass (15)
; Paul McCartney: guitar (track 2)
; Robert Randolph: steel guitar (track 3), pedal steel guitar (20)
; Justus West: guitar (track 3)
; Gavin Williams: organ (track 3)
; Justin Schipper: steel guitar (track 3)
; Ryan Svendsen: trumpet (track 3)
; Ryan Beatty: background vocals (tracks 4, 8, 15)
; Jack Rochon: guitar (tracks 4, 9, 10), bass (24)
; Gary Clark Jr.: guitar (tracks 4, 11, 22, 24)
; Rumi Carter: vocals (track 4)
; Willie Nelson: vocals (track 6)
; Rhiannon Giddens: banjo, viola (track 7)
; Killah B: drums (track 7)
; Elizabeth Lowell Boland: piano (track 7), background vocals (8)
; Nate Ferraro: guitar (tracks 7, 11), piano (7)
; Hit-Boy: synthesizer (track 7)
; The-Dream: drums (track 8), clapping (10), background vocals (20, 24, 25); bass, guitar, vocals (23); drum machine, percussion (24)
; Ross Garren: harmonica (tracks 8, 14, 15)
; Dolly Parton: spoken word (track 9), vocals (25)
; Denisia Andrews: vocals (track 9)
; Jack Siegal: guitar (tracks 10, 12–14)
; Caleb Curry: choir (track 10)
; Jaden Gray: choir (track 10)
; Jamal Moore: choir (track 10)
; Jerel Duren: choir (track 10)
; Kadeem Nichols: choir (track 10)
; Michael Shorts: choir (track 10)
; Dora Melissa Vargas: clapping (track 10)
; Jay-Z: clapping (track 10)
; Stevie Wonder: harmonica (track 10)
; Willie Jones: vocals (track 10)
; Simon Mårtensson: bass, drums, guitar (track 11)
; Rod Castro: guitar (track 11)
; Jeff Gitelman: harmonica (tracks 14, 15)
; Harv: drums (track 15)
; Derek Dixie: conductor (track 15), synthesizer (27)
; Adrienne Woods: strings (track 15)
; Bianca McClure: strings (track 15)
; Chelsea Gwizdala: strings (track 15)
; Crystal Alforque: strings (track 15)
; Marta Honer: strings (track 15)
; Rhea Hosanny: strings (track 15)
; Stephanie Matthews: strings (track 15)
; Stephanie Yu: strings (track 15)
; Adam Granduciel: acoustic guitar, electric guitar (track 16)
; Justin Brown: acoustic guitar, drums (track 16)
; Sean Watkins: acoustic guitar (track 16)
; Pino Palladino: bass (track 16)
; Sara Watkins: fiddle (track 16)
; Jonathan Rado: organ, piano, synthesizer (track 16)
; Michael Pollack: organ (track 16)
; Matt Pynn: pedal steel guitar (track 16)
; Miley Cyrus: vocals (track 16)
; Post Malone: vocals (track 17)
; Nile Rodgers: guitar (track 17)
; Mamii: guitar (track 18)
; Johnny May: violin (track 18)
; Harry Edwards: guitar (track 20)
; Marcus Reddick: bass (track 22)
; Bah Christ: guitar (track 22)
; Péter Kovács: violin (track 25)
; Pharrell: vocals (track 26)
; Arnetta Johnson: brass (track 27)
; Christopher Gray: brass (track 27)
; Christopher Johnson: brass (track 27)
; Crystal Torres: brass (track 27)
; Gabrielle Garo: brass (track 27)
; Jesse McGinty: brass (track 27)
; Lemar Guillary: brass (track 27)
; Omar Edwards: organ (track 27)
; Tyler Johnson: organ (track 27)
; Ian Fitchuk: piano (track 27)
; Technical
;
; Colin Leonard: mastering
; Stuart White: mixing (tracks 1–3, 5–16, 18–22, 27), recording (1–18, 20, 22, 24, 25)
; Tony Maserati: mixing (tracks 4, 18)
; Shawn Everett: mixing, recording (track 16)
; Jaycen Joshua: mixing (tracks 17, 23)
; Mike Seaberg: mixing (tracks 17, 23)
; Chris Godbey: mixing (track 25)
; Leslie Brathwaite: mixing (track 26)
; Andrea Roberts: engineering (all tracks), recording (1, 4)
; John Cranfield: engineering (tracks 1, 2, 4–6, 8, 10–17, 19–27), recording (26, 27)
; Henrique Andrade: engineering (track 2), recording (1, 8, 12, 26
; Kuk Harrell: engineering (track 25)
; Angelica "Jeli" Dorman: engineering (track 25), recording (1, 2)
; Dani Pampuri: recording (tracks 1, 4, 10, 11, 15, 18, 19, 22, 24, 27), engineering assistance (17)
; Lester Mendoza: recording (tracks 1, 15, 27)
; Hotae Alexander Jang: recording (tracks 3, 7, 8, 13, 15, 20)
; Dave Hamelin: recording (tracks 3, 14, 15, 24, 27)
; Jack Rochon: recording (track 4)
; Mamii: recording (tracks 5, 18)
; Alex Nibley: recording (track 7)
; Brandon Harding: recording (tracks 10, 17, 20–22, 25)
; Camaron Ochs: recording (track 11)
; Kyle Huffman: recording (tracks 11, 15, 27)
; Matheus Braz: recording (tracks 11, 12, 20, 24), editing (19), engineering assistance (all tracks)
; Nick Lobel: recording (tracks 11, 25)
; Steve Chadie: recording (track 14)
; Ian Gold: recording (track 16)
; Ivan Wayman: recording (track 16)
; Piéce Eatah: recording (track 16)
; Willie Linton: recording (track 17)
; Kristen Hilkert: recording (track 25)
; Mike Larson: recording (track 26)
; Konrad Snyder: recording (track 27)
; Tyler Johnson: recording (track 27)
; Khirye Tyler: editing (tracks 4, 11)
; Patrick Gardner: engineering assistance (tracks 1, 2, 4–6, 8–27)
; Conner McFarland: engineering assistance (tracks 1, 2, 4–6, 8, 10–27)
; Danforth Webster: engineering assistance (tracks 1, 2, 4–6, 8, 10–27)
; Garrett Duncan: engineering assistance (tracks 1, 2, 4–6, 8, 10–27)
; Jonathan Lopez Garcia: engineering assistance (tracks 1, 2, 4–6, 8, 10–27)
; Nick Sutton: engineering assistance (tracks 1, 2, 4–6, 8, 10–27)
; Terena Dawn: engineering assistance (tracks 1, 2, 4–6, 8, 10–27)
; Gabriella Wayne: engineering assistance (track 4)
; Julia Norelli: engineering assistance (track 4)
; Najeeb Jones: engineering assistance (track 4)
; Cameron Hogan: engineering assistance (track 11)
; Chris Bhikoo: engineering assistance (tracks 17, 23)
; Jacob Richards: engineering assistance (tracks 17, 23)
; Executive-Producer: Beyoncé Knowles Carter
; Phonographic Copyright (p) Parkwood Entertainment LLC
; Copyright (c) Parkwood Entertainment LLC
; Licensed To Columbia Records
; Manufactured By The ADS Group
Label und Katalognummer: Warp 209
Produktion: Stephen Wilkinson
Veröffentlicht: 2011 03 29
Genretags: Electronica - Folktronica
Wir
kt stilistisch orientierungslos.
Trackliste: 1. Excuses - 5:58
2. Pretentious - 6:02
3. Anything New - 4:07
4. Wake Up! - 3:25
5. Light Seep - 3:53
6. Take Off Your Shirt - 4:04
7. Artists' Valley - 6:00
8. K is for Kelson - 3:28
9. Mind Bokeh - 2:33
10. More Excuses - 4:27
11. Feminine Eye - 1:50
12. Saint Christopher - 6:34
Alle Tarcks: Stephen Wilkinson.
Besetzung: Alto Saxophone, Bells [Sleigh], Berimbau, Cowbell, Design, Drum [Chinese Silk Fan], Electric Bass [Solid Body], Electric Guitar [Arch-top Jazz], Electric Guitar [Solid Body], Electric Piano [Rhodes], Handclaps, Other [Brandy Glass, Filing Cabinet Drawer, Milk Bottle, Tea Cup, Whiskey Bottle, Wine Bottle], Performer, Photography, Producer, Sampler [Mpc], Shaker, Shaker [Plastic Bottle Of Water], Synthesizer [Analogue Monophonic], Talkbox, Tambourine, Triangle, Written-by: Stephen James Wilkinson
; Artwork [Silhouette Mirror]: Holly Fuller
; Mastering: Noel Summerville
; Phonographic Copyright (p) Warp Records Limited
; Copyright (c) Warp Records Limited
Big Brother And The Holding Company [>] [D]: Cheap Thrills [F]
Assoziierte Acts: Janis Joplin
Label und Katalognummer: Columbia KCS 9700
Produktion: John Simon
Veröffentlicht: 1968 08 17
Genretags: Rock - Psychedelicrock - Psychedelicbluesrock
Das Cartoon Titelbild auf dem Gatefold-Cover stammt vom Gegenkultur-Zeichner Robert Crumb, der für Fritz the Cat
und Mr. Natural
bekannt ist.
Cheap Thrills
gehörte 1968 zu den bestverkauften Alben (8 Wochen lang auf Platz 1). Es erhielt zwei Platinum-Auszeichnungen für 2 Millionen zertifizierte Verkäufe.
Nur Ball And Chain
wurde Live im Fillmore Auditorium aufgenommen. Die anderen Live Sounds wurden zu den Studioaufnahmen zugemischt.
Artikel zum Cover in The Wir
e 374.
Trackliste: Seite A
1. Combination of the Two (Sam Andrew) - 5:47
2. I Need a Man to Love (Andrew, Joplin) - 4:54
3. Summertime (George Gershwin, Ira Gershwin, DuBose Heyward) - 4:00
4. Piece of My Heart (Bert Berns, Jerry Ragovoy) - 4:15
Seite B
1. Turtle Blues (Joplin) - 4:22
2. Oh, Sweet Mary (Peter Albin, Andrew, David Getz, James Gurley, Joplin) - 4:16
3. Ball and Chain (Big Mama Thornton) - 9:37
Bonustracks der CD Ausgabe von 1999
1. Roadblock (studio outtake) - 5:31
2. Flower in the Sun (studio outtake) - 3:04
3. Catch Me Daddy (live) - 5:32
4. Magic of Love (live) - 3:58
Besetzung: Artwork [Art]: Robert Crumb
; Drums: Dave Getz
; Engineer: Fred Catero
; Engineer: James Gurley
; Engineer: Janis Joplin
; Engineer: Jerry Hochman
; Engineer: Roy Segal
; Guitar: James Gurley
; Guitar, Bass: Peter Albin
; Guitar, Bass: Sam Andrew
; Photography [Jacket Interior]: Elliott Landy
; Photography [Rear Cover]: Thomas Weir
; Vocals: Janis Joplin
; Manufactured By Columbia Records
; Manufactured By CBS Inc.
; Recorded At Fillmore Auditorium
Billy Fury [>] [D]: The Sound Of Fury [F]
Label und Katalognummer: Decca LF 1329, Decca 844 990
Produktion: Jack Good
Veröffentlicht: 1960 05, 2000 (Reed.)
Genretags: Rock'n'Roll - Mainstream - British-Rock'n'Roll
Zu seiner Zeit war das Album nicht sonderlich erfolgreich. Heute wird es hingegen als das vielleicht wichtigste Zeugnis vom frühen britischen Rock 'n' Roll betrachtet. Das Songwriting stammt von Billy Fury selbst, der auch als Wilbur Wilberforce schrieb. Bob Stanley weist in Yeah! Yeah! Yeah!: The Story Of Pop Music From Bill Haley To Beyoncé darauf hin, dass erst The Piper At The Gates Of Dawn das nächste und zweite britische Debutalbum war, dessen Songs alle selbstkomponiert waren.
Trackliste: Seite A
1. That's Love (Fury) - 1:53
2. My Advice (Wilberforce) - 2:08
3. Phone Call (Wilberforce) - 2:46
4. You Don't Know (Wilberforce) - 2:30
5. Turn My Back on You (Wilberforce) - 2:26
Seite B
1. Don't Say It's Over (Fury) - 1:56
2. Since You've Been Gone (Wilberforce) - 2:26
3. It's You I Need (Fury) - 1:49
4. Alright ,Goodbye (Wilberforce) - 2:08
5. Don't Leave Me This Way (Fury) - 2:44
CD 2 der 2 CD Ausgabe von 2000 (Tracks 1-10 Album in Stereo)
1. That´s Love (Alternative Take)
2. My Advice
3. Phone Call
4. You Don´t Know
5. Don´t Say It´s Over
6. Since You´ve Been Gone
7. It´s You I Need
8. Alright, Goodbye
9. Don´t Leave Me This Way
10. Maybe Tomorrow (Alternative Take)
11. My Christmas Prayer
12. I Got Someone
13. Open Your Arms
14. Don't Jump
15. Magic Eyes
16. Sleepless Nights
17. Please Don't Go
18. If I Lose You
19. I Love How You Love Me
Besetzung: Joe Brown: Guitar
; Reg Guest: Piano
; Bill Stark, Alan Weighell: Bass
; Andy White: Drums
Blues Brothers [>] [D]: Briefcase Full of Blues [F]
Label und Katalognummer: Atlantic SD 19217
Produktion: Bob Tischler
Veröffentlicht: 1978 11 28, 1978 09 09 (Rec.)
Genretags: Rock - AOR-Rock - AOR-Bluesrock
Das Debut-Album der Blues Brothers. Mehr als ein halbes Jahr vor der Disco Demolition Night wird diese Blues-Revival LP mit den Worten eingeleitet: «Y'know so much of the music we hear today is pre-programmed electronic disco, we never get a chance to hear master blues men practicing their craft anymore».
Trackliste: Seite A
1. Opening: I Can't Turn You Loose (Otis Redding) - 1:17
2. Hey Bartender (Floyd Dixon) - 2:46
3. Messin' With The Kid (Mel London) - 2:46
4. (I Got Everything I Need) Almost (Don Walsh) - 2:36
5. Rubber Biscuit (Charles Johnson (3)) - 2:41
6. Shot Gun Blues (Don Walsh, Richard Walsh) - 5:13
Seite B
1. Groove Me (King Floyd) - 3:32
2. I Don't Know (Willie Mabon) - 4:07
3. Soul Man (David Porter, Isaac Hayes) - 2:54
4. "B" Movie Box Car Blues (Delbert McClinton) - 3:57
5. Flip, Flop & Fly (Charles Calhoun, Lou Willie Turner) - 3:35
6. Closing: I Can't Turn You Loose (Otis Redding) - 0:28
Besetzung: Artwork: Judith Jacklin
; Bass: Donald \'Duck\' Dunn
; Drums, Backing Vocals: Steve Jordan
; Engineer: Warren Dewey
; Guitar: Matt Murphy
; Guitar: Steve Cropper
; Harmonica, Backing Vocals: Elwood Blues
; Lacquer Cut By: Cookie (46)
; Lead Vocals: Joliet Jake Blues
; Organ [Hammond], Electric Piano [Wurlitzer], Piano, Backing Vocals: Paul Shaffer
; Photography: David Alexander
; Tenor Saxophone, Backing Vocals: Lou Marini
; Tenor Saxophone, Backing Vocals: Tom Scott
; Tenor Saxophone, Baritone Saxophone, Trombone, Trumpet, Arranged [Horns], Backing Vocals: Tom Malone
; Trumpet, Backing Vocals: Alan Rubin
; Recorded At Universal Amphitheatre, Los Angeles
; Recorded By Record Plant Mobile, Los Angeles
; Mixed At Record Plant, N.Y.C.
; Mastered At Sterling Sound
; Pressed By Monarch Record Mfg. Co.
Bob Dylan [>] [D]: Street Legal [F]
Label und Katalognummer: Columbia JC 35453
Produktion: Don DeVito
Veröffentlicht: 1978 06 15
Genretags: Rock - Corporate-Rock - Poprock, Rock - Corporate-Rock - Soulrock
«Street legal» heisst «für die Strasse, für den Verkehr zugelassen». Das Cover zeigt Bob Dylan, wie er von einer Treppe auf eine Strasse herunter kommt und vorsichtig links und rechts schaut, als ob er unsicher ist, ob er heraustreten soll oder nicht. Tatsächlich stellt die Msuik auf «Street Legal» einen Stilwechsel dar, wenn man sie mit derjenigen auf seinen Vorgängeralben vergleicht, auf dem Doppelgestirn von Blood On The Tracks und Desire, sowie mit der Musik, die er auf Rolling Thunder Revue dargeboten hat.
Dylan spielt auf «Street Legal» mit einer Horn-Section und wird von Gospel-Backing-Sängerinnen begleitet. Dieses hier noch vage Interesse am Gospel wird sich auf den folgenden Alben angefangen mit Slow Train Coming ausprägen. «Street Legal» ist daher der Vorbote von Dylans christlicher Phase.
Trackliste: Seite A
1. Changing of the Guards - 6:36
2. New Pony - 4:28
3. No Time to Think - 8:19
4. Baby, Stop Crying - 5:17
Seite B
1. Is Your Love in Vain? - 4:30
2. Señor (Tales of Yankee Power) - 5:42
3. True Love Tends to Forget - 4:14
4. We Better Talk This Over - 4:04
5. Where Are You Tonight? (Journey Through Dark Heat) - 6:16
Alle Tracks: Bob Dylan.
Besetzung: Art Direction: Tim Bryant
; Backing Vocals: Carolyn Dennis
; Backing Vocals: Helena Springs
; Backing Vocals: Jo Ann Harris
; Backing Vocals: Steven Soles
; Bass: Jerry Scheff
; Design [Album]: George Corsillo
; Drums: Ian Wallace
; Engineer: Biff Dawes
; Engineer [Assistant]: Billy Youdelman
; Engineer [Assistant]: Dennis Mays
; Engineer [Assistant]: Doug Field
; Engineer [Assistant]: Jim Seiter
; Engineer [Assistant]: Les Cooper
; Engineer [Assistant]: Paul Sandweiss
; Keyboards: Alan Pasqua
; Lead Guitar: Billy Cross
; Lead Vocals, Guitar [Electric Rhythm]: Bob Dylan
; Management: Jerry Weintraub
; Mastering: Stan Kalina
; Percussion: Bobbye Hall
; Photography [Cover & Liner]: Howard Alk
; Photography [Inside]: Joel Bernstein
; Rhythm Guitar: Steven Soles
; Tenor Saxophone, Soprano Saxophone: Steve Douglas
; Violin, Mandolin: David Mansfield
; Recorded At Rundown Studios
; Recorded By Filmways/Heider Recording
; Mastered At CBS Studios, New York
; Mixed At CBS Studios, New York
; Manufactured By Columbia Records
; Phonographic Copyright (p) CBS Inc.
; Copyright (c) CBS Inc.
Bob Dylan [>] [D]: Another Side Of Bob Dylan [F]
Label und Katalognummer: Columbia CL 2193, Columbia CS 8993
Produktion: Tom Wilson
Veröffentlicht: 1964 08 08
Genretags: Folk - Urbanfolk - American-Folkmusic-Revival
Dieses Dylan-Album macht eine auffällige thematische Wende hin zu persönlichen Songs. Dylan thematisiert mit den Songs auf «Another Side Of Bob Dylan» vorwiegend Beziehungen und sein Verhältnis zum Erfolg und der Rolle in der Gesellschaft, die er nun einnahm, statt weiter Hymnen für die Bürgerrechtsbewegung zu schreiben. Der Albumtitel ist erstaunlich – wer hat ihn nur verschuldet: Muss die Stimme seiner Generation sich für diese Songs wirklich entschuldigenden?
Trackliste: Seite A
1. All I Really Want to Do - 4:04
2. Black Crow Blues - 3:14
3. Spanish Harlem Incident - 2:24
4. Chimes of Freedom - 7:10
5. I Shall Be Free No. 10 - 4:47
6. To Ramona - 3:52
Seite B
1. Motorpsycho Nightmare - 4:33
2. My Back Pages - 4:22
3. I Don't Believe You (She Acts Like We Never Have Met) - 4:22
4. Ballad in Plain D - 8:16
5. It Ain't Me Babe - 3:33
Alle Tracks: Bob Dylan.
Besetzung: Bob Dylan: vocals, acoustic guitar, piano, harmonica, trumpet
; Photography [Cover]: Sandy Speiser
Bob Dylan [>] [D] & Donn Alan Pennebaker [>] [D]: Don't Look Back (65 Tour Deluxe Edition) [F]
Label und Katalognummer: New Video Group NVG 9447
Produktion: Donn Alan Pennebaker
Veröffentlicht: 2000 01 04, 1967 (Rec.)
Genretags: Folk - Urbanfolk - Electricfolk
Die England-Tournee Dylans 1965 mit einer damals neuen mobilen Schwarz-Weiss-Handkamera gedreht. In der Entourage Alan Price, vormals von den Animals, Joan Baez, Bob Neuwirth, Albert Grossmann und Sally Grossmann (der Manager Dylans und dessen Frau) und zu Besuch Allen Ginsberg, Donovan und Nico (nur im Zusatzfilm).
Trackliste: CD 1: Dont Look Back
1. Subterranean Homesick Blues -
2. London Arrival -
3. Who's This Donovan? -
4. The Times They Are A-Changin' -
5. I Just Go There And Sing 'Em -
6. Turn, Turn, Turn -
7. Denmark Street -
8. Newcastle -
9. The Science Student -
10. The High Sheriff's Lady -
11. I Don't Feel Like Singing -
12. Who Threw The Glass? -
13. Donovan -
14. Royal Albert Hall -
15. The Interview -
16. The Last Concert -
Bonustracks
1. To Ramona - 4:28
2. The Lonesome Death Of Hattie Carroll - 6:49
3. Love Minus Zero / No Limit - 5:21
4. It Ain't Me Babe - 4:03
5. It's All Over Now, Baby Blue - 7:44
CD 2: Extras
1. Film Trailer - 2:13
2. 'Subterranean Homesick Blues' Alternate Take - 2:20
3. Profiles -
Besetzung: Cameraman [Assistant Camera]: Howard Alk
; Cameraman [Camera]: D.A. Pennebaker
; Engineer [Concert Sound]: Robert John van Dyke
; Engineer [Sound]: Jones Alk
; Film Director: D.A. Pennebaker
; Film Editor [Editing]: D.A. Pennebaker
; Film Producer: Albert B. Grossman
; Film Producer: John Court
; Performer: Alan Price
; Performer: Albert B. Grossman
; Performer: Bob Dylan
; Performer: Bob Neuwirth
; Performer: Donovan
; Performer: Joan Baez
; Photography [Cover Photograph]: Daniel Kramer
; Copyright (c) Pennebaker Hegedus Films, Inc.
; Copyright (c) Ashes & Sand, Inc.
Broadcast [>] [D]: Microtronics Volume 1: Stereo Recorded Music For Links And Bridges [F]
Label und Katalognummer: Warp wap 169
Produktion: Broadcast
Veröffentlicht: 2004
Genretags: Indiepop - Electronicpop - Indietronica
3'' CD, limitierte Auflage von 2000 Kopien in einem Plastic-Jewel-Case. Erhältlich war dieser Releas nur auf der Tournee der Band und danach über den Warpmart. Die Nummerierung in der Trackliste wird beim Release Microtronics, Vol. 2 fortgesetzt.
Trackliste: 1. - 1:25
2. - 1:31
3. - 1:43
4. - 1:04
5. - 1:46
6. - 1:50
7. - 2:00
8. - 1:52
9. - 2:09
10. - 1:18
11. - 2:07
Bryan MacLean [>] [D]: Ifyoubelievein [F]
Label und Katalognummer: Sundazed SC 11051
Veröffentlicht: 1997 09 (Ed.)
Genretags: Rock - Psychedelicrock - Psychedelicfolkrock
Unveröffentlichte Demo-Aufnahmen von einem der Songwriter von Love aus den Jahren 1966 (2 to 5, 7, 8, 10, 15, 16), 1967 (1), 1972 (6) & 1982 (9, 11-14). Bryan MacLean spielte Rhythmusgitarre auf den ersten drei Alben der Gruppe.
Die Demo-Bänder (Monoaufnahmen) wurden von Macleans Mutter in einer Garage gefunden. Das Album von Sundazed kam noch rechtzeitig vor dem Tod des Songwriteres heraus, der am Weihnachtstag 1998 verstarb.
Bryan MacLean war wie David Crosby ein Kind von Hollywood-Persönlichkeiten. Seine Mutter war bildende Künstlerin und Tänzerin, sein Vater ein Architekt, der Häuser für Berühmtheiten baute. Die Familie lebte in der Nachbarschaft vom emigrierten deutschen Komponisten Frederick Loewe, der im jungen Bryan ein Kind mit melodischem Genius erkannte. MacLeans Halbschwester war die Singer-Songwriterin Maria McKee.
Wie die Musiker der Byrds liess MacLean nachdem er A Hard Day's Night sah, sein Haar wachsen und begann im West Hollywood Club (dem späteren Troubadour Folkrock statt Folk und Bluegrass zu spielen – genau wie Roger McGuinn und Gene Clark. MacLean wurde der Equipment Manager der Byrds, sprach für eine Rolle bei den Monkees vor. Er wurde nicht ausgewählt. Stattdessen stiess er zur Band Love, der Band von Arthur Lee und war der Freund von Jackie De Shannon. Nach dem dritten Album von Love wurde MacLean von Lee entlassen. Ein Gewinn für Lees Ego, ein Verlust für die Band. Diese Demos zeigen, was für ein grossartiger Songwriter mit eigener musikalischer Sprache Bryan MacLean war. Sein Vermächtnis ist das Forever Changes Album, zu dem er einen substantiellen Beitrag geleistet hat.
Musikalisch hört man in Bryan MacLeans Songs die Hybridisierung von Folk und Beat. Die Musik wird mit Sologitarre gespielt, aber verwendet im Unterschied zu traditionellen Folk- und Bluegrass-Songs eine virtuosen harmonische Tonsprache aus Sus-Akkorden, geborgten Akkorden und Tonartenwechseln. Sie hat eine gewisse Verwandtschaft zur Musik von Joni Mitchell.
Trackliste: 1. Barber John - 4:03
2. Fresh Hope - 4:13
3. Kathleen - 2:03
4. Orange Skies - 4:19
5. Strong Commitment - 3:22
6. Alone Again Or - 3:32
7. Tired Of Sitting - 2:33
8. Blues Singer - 3:23
9. Friday's Party - 2:56
10. People - 2:49
11. Claudia - 3:01
12. If You Believe In - 3:06
13. Orange Skies (Second Version) - 4:34
14. Alone Again Or (Second Version) - 3:46
15. She Looks Good - 3:59
16. Old Man - 3:05
Alle Tracks: Bryan MacLean.
Besetzung: Compilation Producer [Produced For Compact Disc By]: Bob Irwin
; Liner Notes: David Fricke
; Liner Notes [Los Angeles, April 1997]: Bryan MacLean
; Remastering: Bob Irwin
; Phonographic Copyright (p) Sundazed Music, Inc.
; Copyright (c) Sundazed Music, Inc.
; Mastered At Sundazed Studios
; Glass Mastered At Nimbus
Burial [>] [D]: Tunes 2011 to 2019 [F]
Label und Katalognummer: Hyperdub HBCD 048 D
Produktion: Burial
Veröffentlicht: 2019 12 06 (Ed.)
Genretags: Electronica - Garage - Futuregarage
Tunes 2011 to 2019
von Burial ist eine Compilation mit Tracks von den zahlreichen Single- und EP-Releases des Südlondoner Produzenten aus den 2010er Jahren. Burial hat seit seinen ersten beiden stilprägenden Alben Burial (2006) und Untrue (2007) nur noch sporadisch Musik veröffentlicht. Statt Alben kamen von ihm nur noch EPs und Singles. Das Kleinformat seiner Veröffentlichungen entspricht dem Trend unserer Zeit, in der einzelne Tracks und kurze Formate beliebter und wichtiger geworden sind als Alben. Auch sonst hat diese Musik viel mit dem Sound der 2010er Jahre zu tun.
Burial arbeitet in der Zurückgezogenheit. In den Medien ist er wenig präsent, abgesehen von den blitzschnell verbreiteten Ankündigungen von neuen Tracks. Interviews gab er nur ein paar handverlesene, unter anderem mit dem viel zu früh von uns gegangenen Kulturtheoretiker Mark Fisher (siehe Webseite von The Wir
e und im Musikzimmer ). Mit dem Wir
e-Artikel kam auch das ikonische und enigmatische Foto von Georgina Cook (siehe Webseite von Cook). Das Bild zeigt ein schwarz-weisses Spiegelbild des Musikers in einer Wasserlache. Eine mit Herbstlaub besetzte Unpräsenz. Burial ist das Gegenteil der auf Social Media aktiven Popstars. Er ist gewissermassen ein neuer Typ Untergrundmusiker – ein Untergrund-Musiker, der sich unter der Oberfläche sozialer Medien bewegt. Burial spiegelt in seiner Künstlerpersona seine Musik. Beide sind nicht ganz leicht fassbar. Nur wenig Menschen sollen 2007 überhaupt gewusst haben, dass der Mensch hinter dem Künstlernamen neben dem, was er sonst tut, auch Musik macht. Dieser Mensch outete sich ein Jahr später als William Bevan und stellte in der Folge weniger als eine handvoll Fotos online, vermutlich um die seltsamen Mutmassungen über seine Identität ein Ende zu bereiten. Es kursierten hilflose Vermutungen, wonach Burial eine Frau sei, ein Moniker von Four Tet oder gar Aphex Twin.
Über Burials Musik wurde seit seinem ersten Album viel geschrieben. Sie wird als hauntologisch und hypnagogisch charakterisiert, d.h. sie kommt aus dem Zustand zwischen Schlafen und Wachsein bzw. aus einem Zwischenreich, in dem die Vergangenheit respektive die Erinnerung an sie scheinbar gegenwärtig ist. Offenbar war Burial als Teenager von Jungle und UK-Garage obsessiv fasziniert. Er wurde angeregt durch seinen älteren Bruder, der diese Parties erlebte und zu Hause davon erzählte. Burial sammelte diese Musik und stellte mit seinen Platten Mixtapes her. Dann fing er an, eigene Tracks zu produzieren, in denen man seine Obsession für Jungle und vor allem UK-Garage hörte. UK-Garage war der letzte Stil in einer Reihe von stilistischen Entwicklungen der Untergrund-Clubmusik in London während der 90er Jahren. Verschiedene Breakbeat-Stile lösten einander ab aber bildeten ein Hardcore Kontinuum (der Begriff stammt von Simon Reynolds). Da es Mitte der 00er Jahre, als Burial begann, eigene Tracks zu produzieren, bereits etwas ruhig um das Hardcore Kontinuum geworden ist, klangen Burials Tracks nostalgisch. Aber sie klangen nicht einfach altmodisch, sondern alt und neu zugleich. Sie wurde schnell mit der Genrebezeichnung Futuregarage belegt. Hauntologisch war und ist Burials Musik, weil in ihr UK-Garage herumgeistert, hypnagogisch weil seine Tracks wie der Wachtraum einer nur über den Bruder vermittelten Erfahrung klingen – na ja, eigentlich verkörpern Burials Tracks den Mangel einer ursprünglichen Club- und Szene-Erfahrung!
Compilation – warum?
Als Online-Hörer/-in weiss man zunächst nicht so recht, was dieser Release überhaupt soll: Wurde er für die CD-Käuferinnen und -Käufer herausgegeben? Beim Durchhören wird im Lauf der Zeit klar, dass die Tracks in eine Drama-geladene Reihenfolge gebracht worden sind. Sie bilden eine perfekte Burial-Playliste. Die ersten Tracks sind weitgehend frei von Rhythmen und Hooks. Man hört zunächst einmal dreissig Minuten lang elektronische Ambientmusik. Stellenweise klingt diese wie die frühmorgendliche Heimfahrt nach einer Party in der U- oder S-Bahn. Die akustische Wahrnehmung mutet an als erreiche sie uns durch Ohren, die vorher von lauter Musik zugedröhnt wurden. Die Realität ist verzerrt, die Eindrücke werden durch Müdigkeit und Drogen gefiltert. Die Klänge, die durch diese akustische Lupe hereinkommen, sind die Hydraulik der Bahn, mit der die Türen geöffnet und geschlossen werden. Sprechen mag um diese Zeit niemand ausser die automatische Stimme der Stations-Ansage. Alle Heimkehrer/-innen hängen halb liegend in den Sitzen, die Kapuzen ihrer Hoodies knapp über die Augen geschlagen. Paare aneinander angelehnt. In ihrem Halbschlaf mischen sich die Eindrücke aus der Fahrkabine mit eigenen Traumbildern, den Echos einer Clubnacht.
Wenn dann die ersten Hooks und Melodien kommen, stellt sich schnell Euphorie ein. Mit Come Down To Us
knallt früh einer der besten Musikstücke des Jahrzehnts ins Gehör. Hier nimmt die Klangreise einen sakrale Wendung. Ich kenne keine emotionalere Musik, die sich in ihren grössten Momenten zum Weinen und zum Freuen eignet. Sie ist wie der Blick in den Sternenhimmel auf dem Land, wo man die Sterne hell leuchten sieht. Angesichts des Himmels fühlt man sich unendlich klein und erhaben zugleich. Burials Tracks liefen im Dezember 2019 bei mir «heavy rotation». Die Tracks klingen wie die introvertiert-psychedelische Version der R&B-Musik von The Weeknd, einem anderen prägenden Musiker der vergangenen Dekade. Burial verblieb aber kompromisslos der Untergrund-Musiker, der er von Anfang an war, während The Weeknd die Charts eroberte.
Trackliste: CD 1
1. State Forest - 8:03
2. Beachfires - 9:54
3. Subtemple - 7:23
4. Young Death - 5:49
5. Nightmarket - 7:25
6. Hiders - 4:42
7. Come Down to Us - 13:06
8. Claustro - 5:41
9. Rival Dealer - 10:45
CD 2
1. Kindred - 11:26
2. Loner - 7:28
3. Ashtray Wasp - 11:44
4. Rough Sleeper - 13:47
5. Truant - 11:45
6. Street Halo - 6:44
7. Stolen Dog - 6:20
8. NYC - 7:37
Alle Tracks: William Bevan.
Byrds [>] [D]: Sweetheart Of The Rodeo [F]
Assoziierte Acts: Chris Hillman & Gram Parsons
Label und Katalognummer: Columbia CS 9670, Legacy C2K 87189
Produktion: Gary Usher
Veröffentlicht: 1968 07 22, 2003 09 01 (Reed.)
Genretags: Rock - Countryrock
Das ByrdsAlbum mit Gram Parsons, der auf Empfehlung von Chris Hillman als Keyboarder in die Band geholt wird und gleich die Regie übernimmt. Nach wenigen Wochen verlässt Parsons die Band allerdings wieder und nimmt Hillman mit, um die Flying Burrito Brothers zu gründen.
Trackliste: Seite A
1. You Ain't Going Nowhere (Bob Dylan) - 2:38
2. I Am a Pilgrim (trad. arr. Roger McGuinn & Chris Hillman) - 3:42
3. The Christian Life (Charles Louvin, Ira Louvin) - 2:33
4. You Don't Miss Your Water (William Bell) - 3:51
5. You're Still on My Mind (Luke McDaniel) - 2:26
6. Pretty Boy Floyd (Woody Guthrie) - 2:37
Seite B
1. Hickory Wind (Gram Parsons, Bob Buchanan) - 3:34
2. One Hundred Years from Now (Parsons) - 2:43
3. Blue Canadian Rockies (Cindy Walker) - 2:05
4. Life in Prison (Merle Haggard, J. Sanders) - 2:47
5. Nothing Was Delivered (Bob Dylan) - 3:34
Bonustracks der Legacy Ausgabe von 2003
1. All I Have Are Memories (Kevin Kelley Vocal) (Kevin Kelley) - 2:48
2. You Got a Reputation (Tim Hardin) - 3:09
3. Pretty Polly (trad, arr. Roger McGuinn, Chris Hillman) - 2:55
4. Lazy Days (Gram Parsons) - 3:28
5. The Christian Life (Gram Parsons Vocal) (Charles Louvin, Ira Louvin) - 2:29
6. You Don't Miss Your Water (Gram Parsons Vocal) (William Bell) - 3:49
7. One Hundred Years from Now (Gram Parsons Vocal) (Gram Parsons) - 3:01
8. Radio Spot: Sweetheart of the Radio Album - 0:58
CD 2 der Legacy Ausgabe von 2003
1. Sum Up Broke (Gram Parsons, John Nuese) - 2:13
2. One Day Week (Gram Parsons) - 2:16
3. Truck Drivin' Man (Terry Fell) - 2:34
4. Blue Eyes (Gram Parsons) - 2:47
5. Luxury Liner (Gram Parsons) - 2:53
6. Strong Boy (Gram Parsons) - 2:01
7. Lazy Days (Alternate Version) (Gram Parsons) - 3:18
8. Pretty Polly (Alternate Version) (trad, arr. Roger McGuinn, Chris Hillman) - 3:37
9. Hickory Wind (Alternate 'Nashville' Version, Take #8) (Gram Parsons, Bob Buchanan) - 3:40
10. The Christian Life (Rehearsal Version, Take #7, Gram Parsons Vocal) (Charles Louvin, Ira Louvin) - 3:26
11. The Christian Life (Rehearsal Version, Take #8, Gram Parsons Vocal) (Charles Louvin, Ira Louvin) - 3:05
12. Life in Prison (Rehearsal Version, Takes #1 & #2, Gram Parsons Vocal) (Merle Haggard, Jelly Sanders) - 3:16
13. Life in Prison (Rehearsal Version, Takes #3 & #4, Gram Parsons Vocal) (Merle Haggard, Jelly Sanders) - 3:16
14. One Hundred Years from Now (Rehearsal Version, Takes #12 & #13, Gram Parsons Vocal) (Gram Parsons) - 3:58
15. One Hundred Years from Now (Rehearsal Version, Takes #14 & #15, Gram Parsons Vocal) (Gram Parsons) - 3:59
16. You're Still on My Mind (Rehearsal Version, Take #13, Gram Parsons Vocal) (Luke McDaniel) - 2:53
17. You're Still on My Mind (Rehearsal Version, Take #48, Gram Parsons Vocal) (Luke McDaniel) - 2:38
18. All I Have Are Memories (Alternate Instrumental, Take #17) (Kevin Kelley) - 3:13
19. All I Have Are Memories (Alternate Instrumental, Take #21) (Kevin Kelley) - 3:07
20. Blue Canadian Rockies (Rehearsal Version, Take #14) (Cindy Walker) - 2:59
Besetzung: Clarence White: guitar, vocals
; John Hartford: banjo, guitar
; Chris Hillman: bass, mandolin, guitar (bass), vocals
; Gram Parsons: guitar, vocals
; Lloyd Green: guitar (steel)
; Earl Ball: piano
; Adam Block: project director
; Charlie Bragg: engineer
; Jon Corneal: drums
; Roy Halee: engineer
; Roy M. \'Junior\' Husky: bass
; Kevin Kelley: drums, vocals (1.12)
; Jay Dee Maness: guitar (steel)
; Roger McGuinn: banjo, guitar, vocals
Cabaret Voltaire [>] [D]: The Outer Limits [F]
Label und Katalognummer: Selbstrelease
Produktion: Cabaret Voltaire
Veröffentlicht: 1976
Genretags: Postpunk - Electronic-Postpunk - Industrial
Eine frühe Demokassette der Band. Einige der Tracks erscheinen später auf offiziellen Releases oder Compilations. Is That Me (Finding Someone At The Door Again?)
wird die B-Seite zu Nag Nag Nag.
Falls das Erscheinungsjahr stimmt, ist Industrial ein zeitgleiches Ereignis von Punk und keine Folge davon!
Trackliste: Seite A
1. Capsules - 7:29
2. Is That Me (Finding Someone At The Door Again?) - 4:48
3. The Single - 3:30
4. Ooraseal - 4:22
5. Loves In Vein - 4:30
6. Dream Sequence 1 - 2:56
Seite B
1. Dream Sequence 2 - 3:42
2. Do The Snake - 5:59
3. A Sunday Night In Biot - 3:26
4. She Loves You - 8:44
5. Stolen From Spectra - 4:09
6. Bedtime Stories - 6:33
Cabaret Voltaire [>] [D]: Shadow of Fear [F]
Label und Katalognummer: Mute CABS 30
Produktion: Richard H. Kirk
Veröffentlicht: 2020 11 20
Genretags: Electronica - IDM
Eigentlich ein Solo-Release von Richard H. Kirk, der am Ende der fast zwanzig Jahre langen Band-Karriere von Cabaret Voltaire als einziges Mitglied des ursprünglichen Trios übrig blieb. Als Stephen Mallinder die Band verliess, wurde Cabaret Voltaire de facto ein Solo-Act von Kirk und klang wie ein IDM-Projekt. Das war bereits 1992 der Fall, obwohl Mallinder damals offiziell noch zur Gruppe gehörte.
Nun macht Kirk also solo weiter und schliesst an die späte Phase von Cabaret Voltaire an. Er hätte freilich auf eines seiner zahlreichen Pseudonyme ausweichen können, aber wenn man die Musik von Shadow of Fear
hört, ist die Wahl von Cabaret Voltaire als Name schon stimmig. Der Band-Sound stand für alle Akzente der Paranoia in der Zeit des Kalten Kriegs: Angst vor dem atomaren Unfall, Angst vor der elektronischen Überwachung usw. In der Gegenwart mit ihrer anhaltenden Coronakrise und dem hässlichen Begleitkonzert von Verschwörungstheorien, Vertrauensschwund, sozialen Ängsten hat Kirks Musik wieder ein Substrat gefunden, in dem sie keimen kann. Allerdings wirklich neue Aspekte höre ich in den Tracks auf Shadow of Fear
nicht heraus. Das Album funktioniert besser als zeitmaschineller Trip zurück in die 1980er Jahre denn als Auseinandersetzung mit der brisanten Gegenwart. Schade: Chance verpasst, Richard!
Trackliste: 1. Be Free - 6:25
2. The Power (Of Their Knowledge) - 6:30
3. Night Of The Jackal - 6:38
4. Microscopic Flesh Fragment - 6:03
5. Papa Nine Zero Delta United - 7:43
6. Universal Energy - 10:58
7. Vasto - 7:40
8. What's Goin' On - 6:24
Alle Tracks: Richard H. Kirk.
Besetzung: Artwork [Images]: Phil Barnes
; Layout: Phil Wolstenholme
; Mastering: Denis Blackham
; Arranged, Producer: Richard H. Kirk
; Produced For Intone Productions
; Recorded At Western Works
; Published By Mute Song Ltd.
; Mastered At Skye Mastering
; Phonographic Copyright (p) Intone Productions
; Copyright (c) Intone Productions
; Licensed To Mute Artists Ltd.
; Manufactured By www.keyproduction.co.uk
Cake [>] [D]: Fashion Nugget [F]
Label und Katalognummer: Capricorn 532 867
Produktion: Cake
Veröffentlicht: 1996 09 17
Genretags: Alternativerock - Poprock
«Fashion Nugget» war mit seinem Stilmix aus Poprock, Rap, Country, Mariachi, Tango und Disco ein Album, auf das sich 1996 und 97 viele haben einigen können. Clevere Songs von einer Band mit wunderbarer Rhythmsection. Die Songs klangen wie Parodien von allem und jedem: War das cool oder so uncool, dass es wieder gut ist? Die Musik jedenfalls zeigt eine der Stärken von Pop oder Poprock: Pop kann stilistisch alles absorbieren.
Zum Spass von «Fashion Nugget» gehörte, die Überheblichkeit gegenüber den normalen Leuten, die arbeiten und sich durch Geld und Konsum definieren. John McCrea gab den Vorurteilen der 1990er College Kids gegenüber dem Erwachsenenleben eine ästhetische Form. Wer nicht den Komfort eies Colleges genoss, konnte mit den Songs vermutlich wenig anfangen. Wer wird denn schon gern ausgelacht und verhöhnt? Cake blieben eine College-Band und kamen nicht in die vorderen Ränge der Hitparade.
Trackliste: 1. Frank Sinatra - 4:01
2. The Distance (Greg Brown) - 3:00
3. Friend Is a Four Letter Word - 3:22
4. Open Book - 3:44
5. Daria - 3:44
6. Race Car Ya-Yas (Victor Damiani, John McCrea, Todd Roper) - 1:21
7. I Will Survive (Freddie Perren, Dino Fekaris) - 5:10
8. Stickshifts and Safetybelts - 2:09
9. Perhaps, Perhaps, Perhaps (Joe Davis, Osvaldo Farrés) - 2:24
10. It's Coming Down - 3:44
11. Nugget (Victor Damiani, John McCrea, Todd Roper) - 3:58
12. She'll Come Back to Me - 2:24
13. Italian Leather Sofa - 5:52
14. Sad Songs and Waltzes (Willie Nelson) - 3:15
Alle Tracks: John McCrea, ausser wo anders vermerkt.
Besetzung: Greg Brown: Guitar (Electric), Organ
; Cake: Arranger
; Victor Damiani: Guitar (Bass)
; Vince Di Fiore: Percussion, Trumpet
; Larry Hulst: Photography
; Joe Johnston: Engineer
; Mark Kornweibel: Design
; Craig Long: Engineer
; Audrey Marie: Design
; John McCrea: Design, Guitar (Acoustic), Organ, Vocals
; Scott Reams: Assistant Engineer
; Todd Roper: Drums, Percussion
; Kirt Shearer: Engineer
; Don C. Tyler: Mastering
; Greg Vincent: Pedal Steel
Captain Beefheart And His Magic Band [>] [D]: Trout Mask Replica [F]
Assoziierte Acts: Captain Beefheart
Label und Katalognummer: Straight Records STS 1053
Produktion: Frank Zappa
Veröffentlicht: 1969 11
Genretags: Rock - Psychedelicrock - Psychedelicbluesrock
Dieses Album inszeniert den Blues der Südstaaten als surreales Delirium. Mark Sinker, von The Wir
e bezeichnete die Musik als «delirious surrealistic delta-porn».
Das gleichermassen eindrucksvolle wie auch schräge Cover verwendet einen Karpfen statt einer Forelle («Trout»).
Links
– zum Buch über dieses Album von Kevin Courrier
Trackliste: Seite A
1. Frownland (1:40)
2. The Dust Blows Forward 'n' The Dust Blows Back (1:53)
3. Dachau Blues (2:22)
4. Ella Guru (2:27)
5. Hair Pie: Bake 1 (4:59)
6. Moonlight On Vermont (3:59)
Seite B
1. Pachuco Cadaver (4:40)
2. Bill's Corpse (1:49)
3. Sweet Sweet Bulbs (2:21)
4. Neon Meate Dream Of A Octafish (2:26)
5. China Pig (4:03)
6. My Human Gets Me Blues (2:47)
7. Dali's Car (1:27)
Seite C
1. Hair Pie: Bake 2 (2:23)
2. Pena (2:34)
3. Well (2:08)
4. When Big Joan Sets Up (5:18)
5. Fallin' Ditch (2:08)
6. Sugar 'n' Spikes (2:30)
7. Ant Man Bee (3:57)
Seite D
1. Orange Claw Hammer (3:35)
2. Wild Life (3:10)
3. She's Too Much For My Mirror (1:41)
4. Hobo Chang Ba (2:02)
5. The Blimp (Mousetrapreplica) (2:05)
6. Steal Softly Thru Snow (2:19)
7. Old Fart At Play (1:51)
8. Veteran's Day Poppy (4:32)
Besetzung: Don Van Vliet (Captain Beefheart): vocals, tenor saxophone, soprano saxophone, bass clarinet, musette, simran horn, hunting horn, jingle bells
; Bill Harkleroad (Zoot Horn Rollo): Glass Finger Guitar (= slide guitar using a glass slide), flute
; Jeff Cotton (Antennae Jimmy Semens): Steel Appendage Guitar (= slide guitar using a metal slide), vocals (C2, D5)
; Victor Hayden (The Mascara Snake): bass clarinet, additional vocals
; Mark Boston (Rockette Morton): bass guitar
; John French (Drumbo): drums, percussion (uncredited on the original release)
; Doug Moon: guitar (B5)
; Gary \'Magic\' Marker: bass guitar (A6, D8) (uncredited)
; Frank Zappa: voice (not vocals) (A4, D5)
; Roy Estrada: bass guitar (D5) (uncredited)
; Arthur Tripp III: drums & percussion (D5) (uncredited)
; Don Preston: piano (D5) (uncredited)
; Ian Underwood and Bunk Gardner: alto and tenor saxophones (D5) (uncredited)
; Buzz Gardner: trumpet (D5) (uncredited)
Caroline Polachek [>] [D]: PANG [F]
Label und Katalognummer: Perpetual Novice
Produktion: Dan Carey & A.G. Cook & Danny L Harle & Daniel Nigro & Caroline Polachek & Jim-E Stack & Valley Girl & Andrew Wyatt
Veröffentlicht: 2019 10 18
Genretags: Post-Millennial-Music - Poprock - Altpop
Das zweite Solo-Album der ehemaligen Chairlift Sängerin. Musikalisch geprägt ist das Album von den Bubblegumbass-Produzenten A.G. Cook und Danny L Harle, doch deren exaltierte Ästhetik wird hier von Caroline Polachek geerdet und die Musik klingt ernsthaft und melancholisch. Eine wichtige Bereicherung des Bubblegumbass-Katalogs.
Trackliste: 1. The Gate (Caroline Polachek) - 1:44
2. Pang (Danny L. Harle, Caroline Polachek) - 3:36
3. New Normal (Danny L. Harle, Caroline Polachek) - 2:36
4. Hit Me Where It Hurts (Caroline Polachek, Andrew Wyatt) - 3:06
5. I Give Up (Daniel Nigro, Caroline Polachek, Jim-E Stack) - 3:09
6. Look at Me Now (Danny L. Harle, Daniel Nigro, Caroline Polachek) - 3:06
7. Insomnia (Danny L. Harle, Caroline Polachek) - 3:16
8. Ocean of Tears (Nate Company, Caroline Polachek, Kyle Shearer) - 3:27
9. Hey Big Eyes (Caroline Polachek) - 3:56
10. Go as a Dream (Robin Hannibal, Danny L. Harle, Caroline Polachek) - 3:29
11. Caroline Shut Up (Danny L. Harle, Caroline Polachek) - 3:34
12. So Hot You're Hurting My Feelings (Teddy Geiger, Daniel Nigro, Caroline Polachek) - 3:05
13. Door (Danny L. Harle, Daniel Nigro, Caroline Polachek, Jim-E Stack) - 5:24
14. Parachute (Danny L. Harle, Caroline Polachek) - 3:32
Besetzung: Niko Battistini: Assistant
; Mike Bozzi: Mastering
; Paul Cartwright: Strings
; Hugo Comte: Photography
; A.G. Cook: Additional Production
; Eartheater: Guitar
; Nico Grossfeld: Engineer
; Danny L. Harle: Executive Producer
; Simon Haupt: Engineer
; Timothy Luke: Design
; Barry McCready: Engineer
; Max Morin: Engineer
; Jake Mun: Engineer
; Caroline Polachek: Executive Producer
; Alexis Smith: Engineer
; Kiri Stensby: Engineer
; Geoff Swan: Mixing
; Chris Tabron: Engineer
; Jeffrey Zeigler: Cello
Carpenters [>] [D]: Passage [F]
Label und Katalognummer: A&M SP 4703
Produktion: Karen Carpenter & Richard Carpenter
Veröffentlicht: 1977 09 23
Genretags: Pop - Softrock
Ironie der Geschichte: Die Carpenters passten ihren Sound auf diesem achten Album deutlich an die neue Zeit an: B'wana She No Home
klingt funky, All You Get from Love Is a Love Song
ist eingängiger Yachtrock, On the Balcony of the Casa Rosada/Don't Cry for Me Argentina
ein kurzes und opulentes Musical-Drama, eingespielt mit dem Los Angeles Philharmonic Orchestra, das in den Linernotes als «Overbudget Philharmonic» bezeichnet wird (ein Hauch einer Punk-Geste?), Man Smart (Women Smarter)
, ein Gender-Statement und Gumbo-Popsong sowie Calling Occupants ...
ist ein Softprog Juweil, das in s kulturelle Gedächtnis einging. Doch die Zeit und die Geschichte liess das Duo und ihr multistilistisches Album stehen und lief ohne die Carpenters weiter.
Passage
brachte drei Singles mit sich, die mittelmässig erfolgreich waren. Sweet, Sweet Smile
wurde ein bescheidenes Country-Crossover – ein wahrer Ohrwurm.
Insgesamt fällt das Album stilistisch und konzeptuell aus jedem Rahmen. Aber einzelne Tracks daraus sind wunderbar.
Trackliste: Seite A
1. B'wana She No Home (Michael Franks) - 5:29
2. All You Get from Love Is a Love Song (Steve Eaton) - 3:46
3. I Just Fall in Love Again (Steve Dorff, Larry Herbstritt, Harry Lloyd, Gloria Sklerov) - 4:02
4. On the Balcony of the Casa Rosada/Don't Cry for Me Argentina (Tim Rice, Andrew Lloyd Webber) - 7:57
Seite B
1. Sweet, Sweet Smile (Juice Newton, Otha Young) - 3:00
2. Two Sides - 3:27
3. Man Smart (Woman Smarter) (Norman Span) - 4:21
4. Calling Occupants of Interplanetary Craft (Terry Draper, John Woloschuk) - 7:07
Besetzung: Arranged: Richard Carpenter
; Art Direction: Roland Young
; Backing Vocals: Gregg Smith Singers (A3, A4, B4)
; Bass: Joe Osborn (A1 to A3, B1 to B4)
; Conductor [Gregg Smith Singers]: Gregg Smith
; Conductor [Overbudget Philharmonic]: Peter Knight
; Cover [Cover Art]: Lou Beach
; Design: Junie Osaki
; Drums: Ed Greene (A2, B2, B3)
; Drums: Ron Tutt (A1, A3, B1, B4)
; Electric Guitar: Tony Peluso (A1 to A3, B1 to B4)
; Electric Piano: Richard Carpenter (A2, A3, B2, B4)
; Engineer: David Iveland
; Engineer: Ray Gerhardt
; Engineer: Roger Young
; Liner Notes: Digby Diehl
; Liner Notes: Tom Nolan
; Management [Personal Management]: Jerry Weintraub
; Mastering: Bernie Grundman
; Orchestra: Overbudget Philharmonic (A3, A4, B4)
; Orchestrated By: Peter Knight (A3, A4, B4)
; Orchestrated By: Richard Carpenter (A1, A2, B1 to B3)
; Piano: Richard Carpenter (A2, A3, B4)
; Producer [Associate]: Karen Carpenter
; Vocals: Karen Carpenter, Richard Carpenter
Cécile McLorin Salvant [>] [D]: Mélusine [F]
Label und Katalognummer: Nonesuch 075597906400
Produktion: Cécile McLorin Salvant
Veröffentlicht: 2023 03 24
Genretags: Europeana - Chanson, Jazz - Vocaljazz
Melusine ist eine Figur aus der eurpäischen Folklore (Frankreich, Benelux), ein weiblicher Wassergeist, der als Fisch oder Schlange dargestellt wird, zuweilen mit Flügeln oder geteiltem Schwanz.
Trackliste: 1. Est-Ce Ainsi Que Les Hommes Vivent ? - 5:27
2. La Route Enchantée - 5:58
3. Il M'a Vue Nue - 2:48
4. Dites Moi Que Je Suis Belle - 2:41
5. Doudou - 5:34
6. Petite Musique Terrienne - 2:21
7. Aida - 1:04
8. Mélusine - 3:14
9. Wedo - 0:59
10. D'un Feu Secret - 3:45
11. Le Temps Est Assassin - 3:50
12. Fenestra - 5:18
13. Domna N'almucs - 0:44
14. Dame Iseut - 1:34
Besetzung: Alto Saxophone: Godwin Louis
; Alto Saxophone, Whistle: Godwin Louis
; Arranged: Godwin Louis
; Bass: Luques Curtis
; Bass: Paul Sikivie
; Celesta: Sullivan Fortner
; Co-producer: Tom Korkidis
; Design: Ben Tousley
; Djembe: Weedie Braimah
; Drums: Kyle Poole
; Drums: Lawrence Leathers
; Drums: Obed Calvaire
; Engineer: Andy Taub
; Engineer: Cécile McLorin Salvant
; Engineer: John Davis
; Engineer: Samuel Wahl
; Engineer: Todd Whitelock
; Guitar: Daniel Swenberg
; Kalimba, Vocals: Sullivan Fortner
; Mastering: Alex DeTurk
; Mixing: John Davis
; Percussion: Weedie Braimah
; Photography: Karolis Kaminskas
; Piano: Aaron Diehl
; Piano: Sullivan Fortner
; Design, Creative Director, Vocals: Cécile McLorin Salvant
; Synth: Cécile McLorin Salvant
; Synth: Sullivan Fortner
; Vocals: Godwin Louis
; Recorded At The Bunker Studio
; Mixed At The Bunker Studio
; Mastered At The Bunker Studio
Charalambides [>] [D]: Our Bed Is Green [F]
Label und Katalognummer: Kranky KRANK 080
Veröffentlicht: 2005 04 04
Genretags: Folk - Freakfolk - Spacefolk
Dieser Release kommt zuerst 1992 als Kassette heraus, wird dann als CD auf dem eigenen Wholly Other Label, dann auf Time Lag, bevor Kranky es als Doppel-CD 2005 auf breiter Basis verfügbar macht.
Trackliste: CD 1
1. Tea (4:35)
2. The Treadmill (1:52)
3. Take The Pointing Finger For The Moon (6:39)
4. Pas El Agoa (5:10)
5. Black Pope (2:36)
6. Bid You Goodnite (1:50)
7. I Don't Know You (3:49)
8. Stuttgart (4:19)
9. Silver Reeds (3:24)
10. Our Bed Is Green (4:12)
11. Faze Her (3:57)
12. Dead Bee (3:28)
CD 2
1. Regret (3:35)
2. Neutron Decay (2:40)
3. C.G. (3:16)
4. The Core (3:21)
5. Coming Out (3:48)
6. Strange Matter (3:52)
7. 20 Hours (2:06)
8. Cosmic String (6:04)
9. Dorothy (1:10)
10. I Don't Know What To Sing (1:04)
11. The Bottle (2:04)
12. The Hair On My Head (Is Brown) (1:26)
13. Same Old Routine (8:00)
14. Final (2:53)
Chocolate Watch Band [>] [D]: The Inner Mystique [F]
Label und Katalognummer: Tower ST 5106, Sundazed SC 6024
Produktion: Ed Cobb
Veröffentlicht: 1968 02, 1994 07 15 (Reed.)
Genretags: Rock - Psychedelicrock - Psychedelicgaragerock
Das zweite Album der Band. Die Musik der ersten Seite wird von Studiomusikern, die zweite von der Band selbst gespielt.
Trackliste: Seite A
1. Voyage Of The Trieste (Ed Cobb) - 3:39
2. In The Past (Wayne Proctor) - 3:08
3. Inner Mystique (Ed Cobb) - 5:34
Seite B
1. I'm Not Like Everybody Else (Ray Davies) - 3:43
2. Medication (Ben DiTosti, Minette Alton) - 2:04
3. Let's Go, Let's Go, Let's Go (Hank Ballard) - 2:16
4. Baby Blue (Bob Dylan) - 3:14
5. I Ain't No Miracle Worker (Annette Tucker, Nancy Mantz) - 2:51
Bonustracks von 1994
1. She Weaves a Tender Trap - 2:39
2. Misty Lane - 3:19
3. Baby Blue - 3:16
4. Sweet Young Thing - 2:59
Besetzung: Arranged By: Bennett, McElroy
; Bass: Bill Flores
; Drums, Vocals: Gary Andrijasevich
; Engineer: Podolor
; Guitar: Sean Tolby
; Guitar, Vocals: Mark Loomis
; Other [Coordinator]: Ray Harris
; Vocals, Harmonica, Percussion: David Aguilar
Chris Stapleton [>] [D]: Traveller [F]
Label und Katalognummer: Mercury Nashville B 0019405
Produktion: Dave Cobb & Chris Stapleton
Veröffentlicht: 2015 05 05
Genretags: Country - Neo-Traditional-Country - Outlawcountry
Das erste Solo-Album des Nashville-Songwriters gewann 2016 Grammies in den Kategorien «Best Country Solo Performance» und «Best Country Album». Die ersten Stücke des Albums sind eher radiofreundlich und unspektakulär. Gegen Ende wird das Album aber sehr gut.
Trackliste: 1. Traveller (Chris Stapleton) - 3:42
2. Fire Away (Danny Green, Chris Stapleton) - 4:04
3. Tennessee Whiskey (Dean Dillon, Linda Hargrove) - 4:53
4. Parachute (Jim Beavers, Chris Stapleton) - 4:13
5. Whiskey and You (Lee Thomas Miller, Chris Stapleton) - 3:56
6. Nobody to Blame (Barry Bales, Ronnie Bowman, Chris Stapleton) - 4:04
7. More of You (Ronnie Bowman, Chris Stapleton) - 4:37
8. When the Stars Come Out (Chris Stapleton, Dan Wilson) - 4:16
9. Daddy Doesn't Pray Anymore (Chris Stapleton) - 4:09
10. Might as Well Get Stoned (Chris Stapleton, Jimmy Stewart) - 4:37
11. Was It 26 (Don Sampson) - 4:49
12. The Devil Named Music (Chris Stapleton) - 6:07
13. Outlaw State of Mind (Ronnie Bowman, Jerry Salley, Chris Stapleton) - 5:37
14. Sometimes I Cry (Clint Ingersoll, Chris Stapleton) - 4:00
Besetzung: Acoustic Guitar, Percussion: Dave Cobb
; Backing Vocals: Morgane Stapleton
; Bass: J.T. Cure
; Drums, Percussion: Derek Mixon
; Harmonica: Mickey Raphael
; Pedal Steel Guitar: Robby Turner
; Piano, Organ, Mellotron: Mike Webb
; Vocals, Guitar, Mandolin: Chris Stapleton
Label und Katalognummer: Gold Records 10 062
Produktion: Sonny Appleday
Veröffentlicht: 1982
Genretags: Postpunk - Artpop - SwissWave
Metamusik: Musik, mit Texten, die sich mit der Musik auseinandersetzen. Nüt
, «Nichts», mit Discomusik, in der auch nichts passiere und deshalb sei das Stück ein wahrer Hit, rappt Claude Aubert, der diese Stücke selbst aufgenommen hat. Schubidua
ist eine prototypische Vokalphrase, die aus dem Doo-Wop stammt und hunderte von frühen Pop-Hits verziert hat (die langsame Version von Revolution
der Beatles zum Beispiel). Wer wie Claude das «Schubidua» vermisst (heute singe man «Ahhhh» (Rock) oder «Oi» (Punk) oder «Dü-Dü-Dü-Dü-Dü»), der wünscht sich eine bestimmte Zeit zurück: die Zeit vor der Rockmusik. Diese Sehnsucht nach den frühen 60er Jahren teilt Claude mit vielen Punk- und Postpunk-Acts.
AM Ende von Schubidua
insistieren Claudes fingierte Background-Sänger auf dem «Dü-Dü-Dü-Dü-Dü», während Claudes Lead-Stimme mit vergeblicher Emphase das «Schubidua» herbei singt. Ein ironisches Drama.
Die Tracks sind auf eine funky Basslinie (Nüt
) und auf ein einfache Blues-Schema im Rockabilly-Stil (Schubidua
) reduziert. Das wirkt selber gemacht wie das Cover, das mit Filzschreiber auskommt, etwas Packpapier und drei Polaroid-Photos, zwei davon unterbelichtet.
Trackliste: Seite A
1. Nüt - 3:05
Seite B
1. Schubidua - 3:55
Alle Tracks: Claude Aubert.
Besetzung: Arrangements: Frische Farbe
; Technician: Jim Duncombe
; Published By Edition Music Club
Cocteau Twins [>] [D]: Lullabies To Violaine [F]
Label und Katalognummer: 4AD CT BOX 2
Produktion: Cocteau Twins & Alan Rankine & Ivo Watts-Russell
Veröffentlicht: 2005 11 21 (Ed.)
Genretags: Indiepop - Noisepop - Etherealwave
Diese Box wirft ein ergänzendes Licht auf Cocteau Twins als eine Band, die das Format der EP als eigene Kunstform meisterte. Überhaupt wurde die EP im Postpunk zu einem wichtigen Format, möglicherweise aus der Not heraus, dass Bands zwar Zugang zu Aufnahmestudios und Indie-Plattenlabels hatten, aber das Material nicht aufbrachten, um eine LP zu füllen. Cocteu Twins hatten dieses Problem offensichtlich nicht, denn sie bediente geflissentliche beide langen Formate: EP und LP mit künstlerischen Statements, musikalisch und grafisch. «Lullabies to Violane» versammelt alle EPs von der ersten «Lullabies» bis zur letzten «Violane».
Trackliste: CD 1: Lullabies
1. Feathers-Oar-Blades - 4:26
2. Alas Dies Laughing - 3:38
3. It's All But An Ark Lark - 8:04
CD 1: Peppermint Pig
4. Peppermint Pig (7" Version) - 3:24
5. Laughlines - 3:19
6. Hazel - 2:49
CD 1: Sunburst & Snowblind
7. Sugar Hiccup (12" Version) - 3:37
8. From The Flagstones - 3:38
9. Hitherto - 3:52
10. Because Of Whirl-Jack - 3:26
CD 1: The Spangle Maker
11. The Spangle Maker - 4:40
12. Pearly-Dewdrops' Drops (Alternate Version) - 4:47
13. Pepper-Tree - 3:58
CD 1: Aikea-Guinea
14. Aikea-Guinea (Alternate Version) - 3:57
15. Kookaburra - 3:18
16. Quisquose - 4:10
17. Rococo - 3:05
CD 2: Tiny Dynamine
1. Pink Orange Red - 4:37
2. Ribbed And Veined - 3:55
3. Plain Tiger - 4:01
4. Sultitan Itan - 3:49
CD 2: Echoes In A Shallow Bay
5. Great Spangled Fritillary - 4:02
6. Melonella - 4:01
7. Pale Clouded White - 4:59
8. Eggs And Their Shells - 3:04
CD 2: Love's Easy Tears
9. Love's Easy Tears - 3:35
10. Those Eyes, That Mouth - 3:38
11. Sigh's Smell Of Farewell - 3:34
12. Orange Appled - 2:49
CD 2: Iceblink Luck
13. Iceblink Luck - 3:15
14. Mizake The Mizan - 3:00
15. Watchlar - 3:16
CD 3: Evangeline
1. Evangeline - 4:29
2. Mud And Dark - 3:40
3. Summer-Blink - 3:10
CD 3: Snow
4. Winter Wonderland (Dick Smith (3), Felix Bernard) - 2:51
5. Frosty The Snowman (Jack Rollins, Steve Nelson (4)) - 2:55
CD 3: Bluebeard
6. Bluebeard - 3:54
7. Three-Swept - 3:37
8. Ice-Pulse - 3:46
9. Bluebeard (Acoustic Version) - 3:05
CD 3: Twinlights
10. Rilkean Heart (Acoustic Version) - 2:21
11. Golden-Vein (Acoustic Version) - 2:50
12. Pink Orange Red (Acoustic Version) - 4:30
13. Half-Gifts (Acoustic Version) - 4:14
CD 4: Otherness
1. Feet-Like Fins - 5:31
2. Seekers Who Are Lovers - 5:40
3. Violaine - 5:07
4. Cherry-Coloured Funk - 5:46
CD 4: Tishbite
5. Tishbite - 3:12
6. Primitive Heart - 4:07
7. Flock Of Soul - 3:36
8. Round - 3:36
9. An Elan - 4:36
CD 4: Violaine
10. Violaine - 3:47
11. Smile - 4:27
12. Tranquil Eye - 3:53
13. Circling Girl - 3:33
14. Alice - 4:27
Besetzung: Art Direction, Design: Vaughan Oliver
; Artwork [Assistant]: Chris Bigg
; Artwork [Images]: Roger Newbrook
; Engineer: Drostan Madden (1-11 to 1-13)
; Engineer: John Fryer (1-1 to 1-6)
; Engineer: John Turner (1-1 to 1-3, 1-11, 1-13)
; Engineer: Ken Thomas (1-14 to 1-17)
; Engineer [Additional]: Des Ward (4-5 to 4-9)
; Engineer [Additional]: Lincoln Fong (3-1 to 3-9, 4-5 to 4-9)
; Engineer [Additional]: Mitsuo Tate (4-5 to 4-14)
; Mastering: Robin Guthrie
; Mastering: Walter Coelho
; Performer: Elizabeth Fraser
; Performer: Robin Guthrie
; Performer: Simon Raymonde (1-11 to 4-14)
; Performer: Will Heggie (1-1 to 1-6)
; Producer: Alan Rankine (1-4 to 1-6)
; Producer: Cocteau Twins (1-7 to 4-14)
; Producer: Ivo Watts-Russell (1-1 to 1-3)
; Technician [Analog Tape Transfers]: John Dent
Conor Oberst [>] [D]: Water [F]
Label und Katalognummer: Lumberjack Records LBJ 01
Produktion: Conor Oberst & Justin Oberst
Veröffentlicht: 1993
Genretags: Alternativerock - Lo-Fi-Rock - Singer-Songwriter
Die ersten Aufnahmen vom 12-jährigen Conor Oberst auf einem 4-Track-Tape. Dass Oberst so früh beginnt, Songs zu schreiben und aufzunehmen, bringt ihm das Attribut «Wunderkind» ein. Dieses wird ihm auch noch 15 Jahre später angehängt.
Die Stimme ist noch kindlich (kein Wunder!). Der Autor hat noch wenig Kontrolle über sie. Diese Tatsache macht das Album etwas sperrig zum anhören. Die Songs aber tragen bereits Züge der späteren Dringlichkeit von Conor Oberst oder Bright Eyes Songs.
Trackliste: Seite A
1. You Should Be in Sweden - 4:41
2. Hubcap - 4:48
3. Over It - 5:16
4. College - 2:36
5. Blue - 2:38
Seite B
1. Get Into It - 5:01
2. Ouija - 4:36
3. Half a Minute Away - 7:39
4. Purple Chin - 3:23
Alle Tracks: Conor Oberst.
Besetzung: Drums, Bass, Mandolin, Engineer: Ted Stevens
; Guitar, Vocals: Conor Oberst
Cooly G [>] [D]: Playin' Me [F]
Label und Katalognummer: Hyperdub HDBCD 008
Produktion: Cooly G
Veröffentlicht: 2012 07 24
Genretags: Electronica - Funktronica - UK-Funky
Bemerkenswert an diesem Album, das Colly G zuhause produziert hat, ist, dass es das labile Gleichgewicht zwischen einem Dancealbum und einem Songwiriter-Album spielerisch meistert. Auch wenn die Exclaim-Rezension nicht unrecht hat, dass die Songwriting-Skills der jungen Künstlerin nicht an ihre Producer-Skills herankommen. Diese Rezension spricht von: Familiar ingredients: humid, dub-y refractions, vacant stare, lovers rock vocals, syncopated snares and deep, round bass.
Trackliste: 1. He Said I Said - 3:01
2. What This World Needs Now - 3:42
3. Come Into My Room - 2:47
4. Landscapes (feat. Simbad) - 4:40
5. Good Times - 2:46
6. Sunshine - 4:47
7. Trying - 3:04
8. Playin' Me - 4:42
9. Trouble - 4:40
10. What Airtime - 5:33
11. It's Serious (feat. Karizma) - 3:47
12. Is It Gone - 4:35
13. Up In My Head - 3:33
Alle Tracks: Merrisa Campbell.
Cream [>] [D]: Disraeli Gears [F]
Assoziierte Acts: Ginger Baker & Jack Bruce & Eric Clapton
Label und Katalognummer: Reaction 593003 und 594003 (UK), Atco SD 33232 (US)
Produktion: Felix Pappalardi
Veröffentlicht: 1967 11 02
Genretags: Rock - Psychedelicrock - Psychedelicbluesrock
Das Album wird am Ende von Creams Amerika Tournee in den Atlantic Studios aufgenommen. Es markiert den Beginn der Songwriter-Partnerschaft zwischen Jack Bruce und Peter Brown. Die Band fand den kongenialen Produzenten Felix Pappalardi, mit dem sie auch Wheels Of Fire aufnehmen wird. Heraus kam ein Klassiker des psychedelischen Bluesrocks.
Trackliste: Seite A
1. Strange Brew (Clapton, Collins, Pappalardi) - 2:46
2. Sunshine of Your Love (Bruce, Brown, Clapton) - 4:10
3. World of Pain (Collins, Pappalardi) - 3:03
4. Dance the Night Away (Bruce, Brown) - 3:34
5. Blue Condition (Baker) - 3:29
Seite B
1. Tales of Brave Ulysses (Clapton, Sharp) - 2:46
2. SWLABR (Bruce, Brown) - 2:32
3. We're Going Wrong (Bruce) - 3:26
4. Outside Woman Blues (Reynolds, arr. Clapton) - 2:24
5. Take It Back (Bruce, Brown) - 3:05
6. Mother's Lament (Traditional, arr. Bruce, Baker, Clapton) - 1:47
Besetzung: Bass Guitar, Lead Vocals [Uncredited]: Jack Bruce
; Design [Concept Assistance], Photography [Uncredited, Cover Montage Images]: Robert Whitaker
; Design, Artwork [Uncredited]: Martin Sharp
; Drums, Percussion, Vocals [Uncredited]: Ginger Baker
; Engineer: Tom Dowd
; Guitar, Vocals [Uncredited]: Eric Clapton
; Producer [By Arrangement With Robert Stigwood]: Felix Pappalardi
; Published By Dratleaf
; Published By Windfall Music
; Published By Apple Publishing Ltd.
; Pressed By Philips Records Ltd.
; Manufactured By Polydor Records Ltd.
; Printed By E.J. Day Group
Label und Katalognummer: Capella PELL 0012, Strange Attractors Audio House SAAH, 043
Produktion: Cul de Sac & Jon Williams
Veröffentlicht: 1991, 2006 10 24 (Reed.)
Genretags: Alternativerock - Postrock
Erstes Album der Gruppe aus Boston. Das Quartett spielt vorwiegend instrumentalen Krautrock, flächigen Ambientrock und exotisch anmutende Folk-Texturen. Hallo, John Fahey, hallo, Lee Underwood! Das Album ist eine der Blaupausen des Postrocks.
Der Titel wird wohl «Mice» ausgesprochen. Er ist mit gespiegelter Typografie abgedruckt. In die japanisch anmutende Landschaft auf dem Cover sind viel zu grosse Mäuse montiert.
Trackliste: 1. Death Kit Train - 6:51
2. The Moon Scolds the Morning Star (Jones) - 4:42
3. Stranger at Coney Island (Jones) - 1:54
4. Homunculus - 7:52
5. Portland Cement Factory at Monolith, California (John Fahey) - 4:11
6. Nico's Dream (Jones) - 5:45
7. The Invisible Worm (Amos, Jones) - 4:15
8. Song to the Siren (Tim Buckley) - 3:37
9. Electar (Jones) - 4:57
10. Lauren's Blues (Jones) - 5:13
Bonustracks der CD Ausgabe von 2006
1. Cul de Sade - 3:02
2. The Bee Who Would Not Work - 3:35
3. Negligee - 0:38
Alle Tracks: Cul de Sac, ausser wo anders vermerkt.
Besetzung: Arranged [All Songs Arranged By]: Cul de Sac
; Artwork [Cover Art By]: Daved Hild
; Bass: Chris Fujiwara
; Design [Package Design By]: David Greenberger
; Drums, Percussion: Chris Guttmacher
; Guitar, Performer [Contraption]: Glenn Jones
; Photography [Photo By]: Jennifer Engel
; Recording: Sean Slade
; Synthesizer: Robin Amos
; Record Company Rough Trade Recordings
; Distributed By RTM (2)
; Distributed By Pinnacle (3)
; Copyright (c) Cul de Sac (2)
; Copyright (c) Capella Records
; Recorded At Fort Apache
; Mixed At The Sound Cellar (2)
; Glass Mastered At Nimbus
Assoziierte Acts: Elkie Brooks
Label und Katalognummer: Atco 2400030
Produktion: Paul Clay & Pete Gage
Veröffentlicht: 1970
Genretags: Rock - Progrock
Ambitionierte Band, die viele Stile spielt. Sie klingt vielversprechend, die stilistische Vielfalt führt aber zu einem diffusen Resultat. Aus Dada wird einige Monate später Vinegar Joe.
Trackliste: Seite A
1. Big Dipper (Pete Gage, Paul Korda) - 4:09
2. The Last Time (Mick Jagger, Keith Richards) - 3:37
3. This Is My Song (Pete Gage, Paul Korda) - 4:33
4. Seed Of Peace (Paul Korda, Don Shinn) - 3:26
5. Organ Interlude (Don Shinn) - 0:54
6. Tonite Is (Paul Korda, Don Shinn) - 0:54
Seite B
1. She Walks Away (Pete Gage) - 3:22
2. Aspen, Colorado (Tony Joe White) - 4:58
3. Eyes Of The Warren (Don Shinn) - 4:08
4. Jasamin (Paul Korda) - 2:36
5. Dada (Paul Korda) - 3:48
Besetzung: Design: Dave Williams
; Drums, Percussion: Martyn Harryman
; Engineer: Keith Howard
; Engineer: Mike Bobak
; Engineer [Assistant]: Andy Johns
; Engineer [Assistant]: Ken Scott
; Engineer [Assistant]: Paul Clay
; Guitar, Bass: Pete Gage
; Keyboards, Organ, Bass, Vibraphone: Don Shinn
; Trumpet, Flugelhorn: Ernie Luchlan
; Vocals: Elkie Brooks
; Vocals: Paul Korda
; Vocals, Percussion: Jimmy Chambers
; Record Company Polydor Records Ltd.
; Published By Warner Bros.
; Published By Combine Music
; Published By Mirage Music
; Licensed From Atlantic Recording Corporation
; Manufactured By Polydor Records Ltd.
; Printed By MacNeill Press Ltd.
; Recorded At Olympic Studios
Daft Punk [>] [D]: Homework [F]
Label und Katalognummer: Virgin CDV 2821
Produktion: Thomas Bangalter & Guy-Manuel de Homem-Christo
Veröffentlicht: 1997 01 20 (UK), 1997 03 25 (US)
Genretags: Electropop - New-Rave - Frenchhouse
Homework
war eine Heim- bzw. Schlafzimmerproduktion – ganz im Gegensatz zu den späteren Alben der Gruppe.
Das Cover zeigt, wenn es aufgeklappt ist, einen TeenagerSchreibtisch aus den 70ern – Schulheft und darunter Playboy, Musikzeitschrift, MusicCassetten, Schallplatten (z. B. von Chic), Handplattenspieler, Kofferradio, ein Tischglobus, ein Kiss-Konzertplakat, Badges, Fotos... Das ganze Arrangement wird links und rechts von einer offenen Lederjacke wie von einem Bühnenvorhang umrahmt, befindet sich also an der Stelle des von der Lederjacke gekleideten Körpers (Bauch-, Brust-, Herz-Bereich). Das Frontcover ist demnach das Rückenteil der Jacke, die diesen Daft-Punk-Sticker aufgenäht hat.
Dieses Album verband House mit Disco, aber auch - und das war sein noch grösserer Erfolg - Elektronische oder Club-Musik mit Rock.
Trackliste: 1. Daftendirekt - 2:44
2. Wdpk 83.7 Fm - 0:28
3. Revolution 909 - 5:26
4. Da Funk - 5:28
5. Phœnix - 4:55
6. Fresh - 4:03
7. Around The World - 7:07
8. Rollin' & Scratchin' - 7:26
9. Teachers - 2:52
10. High Fidelity - 6:00
11. Rock'n Roll - 7:32
12. DJ Crabbe, DJ Deelat: Oh Yeah - 2:00
13. Burnin' - 6:53
14. Indo Silver Club - 4:32
15. Alive - 5:15
16. Funk Ad - 0:50
Alle Tracks: Thomas Bangalter und Guy-Manuel de Homem-Christo.
Besetzung: Thomas Bangalter: Art Direction, Concept
; Guy-Manuel de Homem-Christo: Art Direction, Concept, Design
; Nicolas Hidiroglou: Photography
; Phillipe Levy: Photography
; Serge Nicolas: Artwork
; Nilesh \'Nilz\' Patel: Mastering
Daphne Oram [>] [D]: Oramics [F]
Label und Katalognummer: Paradigm Discs PD 21
Veröffentlicht: 2007 01 (Ed.), 1977-58 (Werk)
Genretags: Akademica - Elektronische-Musik
Oramics heisst eine Produktionstechnik, durch die Musik entsteht, indem auf 35 mm Filmstreifen gezeichnet wird (siehe 120 Years of Electronic Music Website).
Trackliste: CD 1
1. Introduction
2. Power Tools
3. Bird Of Parallax
4. In A Jazz Style
5. Purring Interlude
6. Contrasts Essconic
7. Lego Builds It
8. Pompie Ballet (Excerpt)
9. Intertel
10. Adwick High School No.1
11. Look At Oramics
12. Rotolock
13. Purple Dust
14. High Speed Flight
15. Studio Experiment No.1
16. Four Aspects
17. Kia Ora
18. Dr. Faustus Suite
19. Adwick High School No.2
20. Tumblewash
21. Studio Experiment No.2
22. Snow
CD 2
1. Rockets In Ursa Major (Excerpt 1)
2. Food Preservation
3. Studio Experiment No.3
4. Bala
5. Episode Metallic
6. Studio Experiment No.4
7. Adwick High School No.3
8. Fanfare Of Graphs
9. Studio Experiment No.5
10. Brocilliande
11. Mary Had A Little Lamb
12. Incidental Music For Invasion (Excerpts)
13. Costain Suite
14. Rockets In Ursa Major (Excerpt 2)
15. Passacaglia
16. Missile Away
17. Pulse Persephone
18. Adwick High School No.4
19. Nestea
20. Rockets In Ursa Major (Excerpt 3)
21. Conclusion
22. Studio Jinks
Besetzung: Artwork By - Clive Graham
; Music By - Daphne Oram
Dave Clark [>] [D]: Dave Clark's Time The Album [F]
Label und Katalognummer: EMI AMPM 1
Veröffentlicht: 1986 04
Genretags: Rock - AOR-Rock - AOR-Poprock
Die Doppel-LP kam mit einem 20-seitigen Booklet.
Das Album wurde nie auf CD veröffentlicht, ist aber seit 2012 auf iTunes digital und geremastert erhältlich.
«Time» war zur Zeit das bühnentechnisch fortschrittlichste Musical, das im West End von London aufgeführt wurde. Die (etwas missionarische) Geschichte, die erzählt wird, ist die des grössten Rockstars, der während einem Konzert vor das hohe Gericht des Universums teleportiert wird. Dort wird er zur Frage des Weltfriedens angehört. Er wird dazu verurteilt, für den Weltfrieden zu kämpfen.
Das Musical war mit grossen Namen besetzt, z.B.: Cliff Richard, Freddie Mercury, Ashford And Simpson, Julian Lennon, Leo Sayer, Dionne Warwick, Murray Head und natürlich Dave Clark. Als Erzähler fungierte der Schauspieler Laurence Olivier, dessen Stimme auch auf dem Album als Erzähler zu hören ist.
Trackliste: Seite A
1. Born To Rock 'N' Roll (Dave Clark, David Soames, Jeff Daniels) -
2. Time Talkin' (Hans Poulsen) -
3. Time (Dave Clark, John Christie) -
4. a) Music Of The Spheres (Dave Clark, John Christie) - , b) Law Of The Universe (Dave Clark, David Soames, Jeff Daniels) -
5. The Time Lord Theme (Dave Clark, David Soames, Jeff Daniels) -
6. The Charge (Dave Clark, David Soames, Jeff Daniels) -
7. One Human Family (David Pomeranz) -
Seite B
1. What On Earth (Dave Clark, David Soames, Jeff Daniels) -
2. I Know, I Know (Hans Poulsen, John Christie) -
3. Your Brother In Soul (Dave Clark, David Soames, Jeff Daniels) -
4. Case For The Prosecution (Dave Clark, David Soames, Jeff Daniels) -
5. Starmaker (Hans Poulsen) -
6. Time Will Teach Us All (Hans Poulsen, John Christie) -
7. I Object (Dave Clark, David Soames, Jeff Daniels) -
8. In My Defence (Dave Clark, David Soames, Jeff Daniels) -
Seite C
1. Within My World (Hans Poulsen) -
2. Because (Dave Clark) -
3. Move The Judge (Dave Clark, David Soames, Jeff Daniels) -
4. She's So Beautiful (Hans Poulsen) -
5. Beauty, Truth, Love, Freedom, Peace (Dave Clark, Hans Poulsen, Jessica St. John) -
6. If You Only Knew (Hans Poulsen) -
Seite D
1. We're The U.F.O. (Dave Clark, David Soames, Jeff Daniels) -
2. The Theme From 'Time' (Dave Clark, Jessica St. John, John Christie) -
3. Harmony (Dave Clark, David Soames, Jeff Daniels) -
4. a) The Return (Dave Clark, John Christie) - , b) Time (Reprise) (Dave Clark, John Christie) -
6. It's In Every One Of Us (David Pomeranz) -
Besetzung: Artwork, Design: Dewynters
; Pressed By EMI Records
; Phonographic Copyright (p) Dave Clark Productions
; Copyright (c) Dave Clark Productions
; Licensed To EMI Records Ltd.
Dave Cohen [>] [D] & Richard Fariña [>] [D] & Bruce Murdoch [>] [D] & Patrick Sky [>] [D]: Singer Songwriter Project [F]
Assoziierte Acts: David Blue
Label und Katalognummer: Elektra EKS 7299
Produktion: Paul A. Rothchild
Veröffentlicht: 1965
Genretags: Folk - Urbanfolk - American-Folkmusic-Revival
Hier taucht der Begriff «Singer-Songwriter» zum ersten Mal als Albumtitel auf. Elektra veröffentlichte diese Label-Compilation mit vier jungen Folkies, die eigene Songs schrieben. Gewissermassen machte Singer Songwriter Project
aus der Blaupause Bob Dylan einen neuen Trend, der sich fünf Jahre später weitgehend durchsetzen wird.
Historisch gelten Bob Dylan und die Beatles als Wegbereiter für den Singer-Songwriter als Musiker Typ. Dieses Album hat keinen bleibenden Eindruck hinterlassen
Trackliste: Seite A
1. Richard Farina: House Un-American Blues Activity - 3:24
2. Richard Farina: Birmingham Sunday - 3:57
3. Richard Farina: Bold Marauder - 4:44
4. Patrick Sky: Too Many Times - 2:34
5. Patrick Sky: Talking Socialized Anti-Undertaker Blues - 2:06
6. Patrick Sky: Many A Mile - 3:44
Seite B
1. Bruce Murdoch: Rompin' Rovin' Days - 2:15
2. Bruce Murdoch: Down In Mississippi - 1:37
3. Bruce Murdoch: Farewell My Friend - 2:45
4. Bruce Murdoch: Try 'N' Ask - 1:55
5. S. David Cohen: I Like To Sleep Late In The Morning - 2:20
6. S. David Cohen: It's Alright With Me - 1:58
7. S. David Cohen: Don't Get Caught In A Storm - 2:07
Besetzung: Design [Cover]: William S. Harvey
; Directed By [Recording]: Paul A. Rothchild
; Liner Notes: Josh Dunson, Richard Fariña
; Photography By [Cover]: David Gahr
; Recording Supervisor: Jac Holzman
David Guetta [>] [D]: Nothing But The Beat [F]
Label und Katalognummer: Virgin 5099908389428
Produktion: Afrojack & Avicii & Mike Caren & Silvio Ecomo & Daddy's Groove & David Guetta & Fabian Lenseen & Frédéric Riesterer & Giorgio Tuinfort & Sandy Vee
Veröffentlicht: 2011 08 24
Genretags: Electropop - New-Rave - Electrohouse
Der Release ist bei der Kritik durchgefallen: Der Rolling Stone, der wenigstens drei von fünf Sternen gibt, höhnt: «Guetta and Will.i.am jell so well because they share a vision: dancefloor cheese as the glue of humanity.»
Diese Musik ist mit grossen Tönen angerichtet. Mehr berühmte Gastsänger*innen kann man kaum haben. Etwas mach David Guetta offenbar richtig. Dass die meisten Kritiker*innen keine Clubmusik mögen, ist nicht das Problem der Musik, sondern das der Kritik.
CD 1 ist EDM und CD 2 Electrohouse. Die zweite CD ist Musik auf der Höhe vo Justice. Wo diese gute Rezensionen kriegen, wird Guetta gedisst. Bemerkenswert!
Trackliste: CD 1: Vocal Album
1. David Guetta & Flo Rida & Nicki Minaj: Where Them Girls At (David Guetta, Giorgio Tuinfort, Jared Cotter, Juan Salinas, Mike Caren, Nicki Minaj, Oscar Salinas (2), Sandy Vee, Tramar Dillard) - 3:30
2. David Guetta & Taio Cruz & Ludacris: Little Bad Girl (Christopher Bridges, David Guetta, Frédéric Riesterer, Giorgio Tuinfort, Taio Cruz) - 3:12
3. David Guetta & Nicki Minaj: Turn Me On (David Guetta, Ester Dean, Giorgio Tuinfort) - 3:19
4. Snoop Dogg & David Guetta: Sweat (Calvin Broadus, Cassio Ware, Cheri Williams, David Guetta, David Singer-Vine, Derek A. Jenkins, Dwayne 'Spen' Richardson, Francis Wright, Frédéric Riesterer, Giorgio Tuinfort, Niles Hollowell-Dhar) - 3:16
5. David Guetta & Usher: Without You (David Guetta, Frédéric Riesterer, Giorgio Tuinfort, Rico Love, Taio Cruz, Usher Raymond IV) - 3:28
6. David Guetta & Will I Am: Nothing Really Matters (David Guetta, Frédéric Riesterer, Giorgio Tuinfort, Pierre-Luc Rioux, Will Adams) - 3:39
7. David Guetta & Chris Brown & Lil Wayne: I Can Only Imagine (Chris Brown, David Guetta, Dwayne Carter, Frédéric Riesterer, Giorgio Tuinfort, Jacob Luttrell, Nasri Atweh) - 3:39
8. David Guetta & Akon: Crank It Up (Aliaune 'Akon' Thiam, David Guetta, Frédéric Riesterer, Giorgio Tuinfort) - 3:12
9. David Guetta & Afrojack & Timbaland & Dev: I Just Wanna F. (Amy Kaup, David Guetta, David Singer-Vine, Jacob Luttrell, Jessica Sarangay, Nick van de Wall, Niles Hollowell-Dhar) - 3:32
10. David Guetta & Jennifer Hudson: Night Of Your Life (Anthony Preston, Crystal Johnson, David Guetta, Giorgio Tuinfort, Miriam Nervo, Olivia Nervo) - 3:41
11. David Guetta & Jessie J: Repeat (Alistair Tennant, David Guetta, Frédéric Riesterer, Giorgio Tuinfort, Jessica Cornish, The Invisible Men) - 3:32
12. David Guetta & Sia: Titanium (David Guetta, Giorgio Tuinfort, Nick van de Wall, Sia Furler) - 4:05
CD 2: Electronic Album
1. David Guetta: The Alphabeat - 4:29
2. David Guetta & Afrojack: Lunar (David Guetta, Giorgio Tuinfort, Nick van de Wall) - 5:16
3. David Guetta & Avicii: Sunshine - 6:00
4. David Guetta: Little Bad Girl (Instrumental Edit) (Christopher Bridges, David Guetta, Frédéric Riesterer, Giorgio Tuinfort, Taio Cruz) - 4:02
5. David Guetta: Metro Music - 4:13
6. David Guetta: Toy Story - 3:45
7. David Guetta & Afrojack: The Future (David Guetta, Nick van de Wall) - 4:16
8. David Guetta: Dreams - 4:48
9. David Guetta: Paris - 4:40
10. David Guetta: Glasgow - 5:13
Besetzung: Art Direction, Design: Youbold
; Management: Caroline Prothero
; Management [Business]: Jean-Charles Carre
; Photography: Rick Guest
; Phonographic Copyright (p) What A Music Ltd.
; Phonographic Copyright (p) Capitol Records
; Copyright (c) What A Music Ltd.
; Licensed To EMI Music France
; Licensed From Capitol Records
; Produced For What A Music
; Produced For Iron Men Productions
; Engineered At Gum Prod Studio
; Engineered At Piano Music Studio
; Engineered At Can Rocas Studio
; Engineered At Catfield Studio
; Engineered At Rister Studio
; Engineered At Iron Men Studios
; Produced At Gum Prod Studio
; Produced At Piano Music Studio
; Produced At Can Rocas Studio
; Produced At Catfield Studio
; Produced At Test Pressing Studio
; Produced At Rister Studio
; Produced At Iron Men Studios
; Mixed At Test Pressing Studio
; Mixed At Cruise Control Studios
; Mixed At Rister Studio
; Mixed At Iron Men Studios
; Mixed At The Mix Room
; Mixed At Color Sound Studio
; Mastered At Test Pressing Studio
; Mastered At Color Sound Studio
; Recorded At K1 Studio
; Recorded At Soho Recording Studios
; Published By E Class Publishing
; Published By Mail On Sunday Music
; Published By Sony ATV
; Published By Harajuku Barbie Music
; Published By Money Mack Music
; Published By Universal
; Published By Play-N-Skillz Music
; Published By EMI
; Published By Cotter Boy Music LLC
; Published By Serious Scriptures
; Published By What A Publishing
; Published By Piano Songs
; Published By Talpa Music
; Published By Dipiù Music
; Published By EMI April Music Inc.
; Published By Ludacris Worldwide Publishing
; Published By Rister Editions
; Published By Dat Damn Dean Music
; Published By Peermusic III, Ltd.
; Published By My Own Chit Publishing
; Published By EMI Blackwood Music Inc.
; Published By WB Music Corp.
; Published By CRK Music
; Published By Viceroy Music
; Published By Sony/ATV Tunes LLC
; Published By Indie-Pop Music
; Published By Sony/ATV Songs LLC
; Published By UR IV Music
; Published By Rico Love Is Still A Rapper
; Published By Foray Music, Inc.
; Published By Culture Beyond Ur Experience Publishing
; Published By Universal Music Publishing
; Published By Young Money Publishing, Inc.
; Published By Artist Publishing Group East
; Published By Tre Ball Music
; Published By Sony/ATV Harmony
; Published By Byefall Productions, Inc.
; Published By Pieceof A
; Published By Mouthpiece (2)
; Published By Afrojack Music
; Published By C Style Ink
; Published By Sillyboy Publishing
; Published By EMI Music Publishing Ltd.
; Manufactured By Optimal Media Production
Dead C [>] [D]: Hell is Now Love / Bone [F]
Label und Katalognummer: Stiltbreeze SB 1991
Veröffentlicht: 1991
Genretags: Alternativerock - Noiserock
Auseinandersetzung mit dem Cover: Grouper: Wire/364.pdf#page=72" target="_blank">The Inner Sleeve; in: The Wir
e, 364, p. 72)
Trackliste: Seite A
1. Hell Is Now Love -
Seite B
1. Bone -
Besetzung: Phonographic Copyright (p) The Dead C
; Copyright (c) The Dead C
Dean Blunt [>] [D] & Inga Copeland [>] [D]: Black Is Beautiful [F]
Assoziierte Acts: Hype Williams
Label und Katalognummer: Hyperdub HDBCD 012
Veröffentlicht: 2012 04 16
Genretags: Post-Millennial-Music - Lo-Fi-Underground
Die Trackliste wird auf dem CD-Release nicht angegeben
Trackliste: 1. 1 (Venice Dreamway) - 2:32
2. 2 - 2:14
3. 3 - 0:48
4. 4 - 2:26
5. 5 - 2:42
6. 6 - 0:35
7. 7 - 0:50
8. 8 - 2:39
9. 9 - 5:17
10. 10 - 9:24
11. 11 - 1:50
12. 12 - 2:38
13. 13 - 1:04
14. 14 - 1:13
15. 15 - 3:16
Alle Tracks: Dean Blunt und Inga Copeland.
Besetzung: Manufactured By Key Production
Depeche Mode [>] [D]: A Broken Frame [F]
Label und Katalognummer: Mute STUMM 009
Produktion: Depeche Mode & Daniel Miller
Veröffentlicht: 1982 09 27
Genretags: Newpop - Synthpop
Nach dem Weggang von Vince Clark übernimmt Martin L. Gore das Songwriting. Was für andere Gruppen das Aus gewesen wäre, machte Depeche Mode zur Stadionband. Noch aber dauert es, bis die Gruppe die Arenen füllen wird. Die LP enthielt noch allerlei Postpunk-Experimente: zum Beispiel Dub in Satellite
and Monument
oder der dunkle Ton im Mol-Territorium (Leave in Silence
), auf den sich die Band später festlegen wird.
Trackliste: Seite A
1. Leave In Silence - 4:51
2. My Secret Garden - 4:46
3. Monument - 3:15
4. Nothing to Fear - 4:18
5. See You - 4:34
Seite B
1. Satellite - 4:44
2. The Meaning of Love - 3:06
3. A Photograph Of You - 3:04
4. Shouldn't Have Done That - 3:12
5. The Sun & The Rainfall - 5:02
Alle Tracks: Martin L. Gore.
Besetzung: David Gahan
; Martin Gore
; Andrew Fletcher
; Engineered by John Fryer, Eric Radcliffe
; Recorded at Blackwing Studios, London
; CDD Pre-Mastering by WCI Record Group
; Photography by Brian Griffin
; Design: Martyn Atkins
; Calligraphy: Ching Ching Lee
; Clothes Stylist: Jacqui Frye
Die Hula Hawaiians [>] [D]: Hawaiian Music [F]
Label und Katalognummer: Mastertone ML 1553
Veröffentlicht: 1956
Genretags: Pop - Orchestralpop - Exotica
Der Grammo Club Ex Libris veröffentlichte in der ML-Reihe «gehobene Unterhaltungsmusik», vor allem Operetten und Walzer spielende Wiener Tanzorchester, zuweilen Chansons oder Exotica, die damalige Weltmusik. Die Veröffentlichungspolitik des Clubs war, was junge Musik anging, sehr zurückhaltend.
Der Rock 'n' Roll Rhythmus war zum ersten mal von der Basler Südsee-Band Hula Hawaiians zu hören, einer Band um Walter Roost, der die charakteristische Hawaii-Gitarre spielte. Es war der Chimpanzee Rock dieser Formation, der im ersten Teil der Swiss Pop & Rock Anthology als der frühste schweizerische Rock 'n' Roll erscheint. Auf Hawaiian Music
sucht man vergebens nach Rock 'n' Roll, aber es wurden mit dieser Musik wohl bei Jung und Alt das Fernweh nach der Südsee geweckt. Es ist interessant, dass ein Genre, das heute als kitschig empfunden wird, als Trägermedium für den ersten Rock 'n' Roll fungierte. Die Hula Hwaiians spielten Rock 'n' Roll nicht als rebellische Musik für junge Leute, sondern als ein beschwingter Stil der Country und Western Musik, die auch die Basis ihres Hawaii Sounds bildete.
Hawaiian Music
war halb Single. halb EP. Es gab wie bei einer Single einen Track pro Seite, aber hier besteht jeder dieser Tracks aus einem Medley von vier bis fünf Hawaii Standards, was dem EP-Format entspricht – alles Instrumentals.
Das Cover der Platte wurde wie viele Covers des Grammoclubs von Heinz Stieger gestaltet. Sein Stil hat den Ex Libris Platten ein unverwechselbares Gesicht gegeben.
Trackliste: Seite A
1. Song Of The Islands / On The Beach Of Soreabaya / Pagan Love Song / Hawaiian Love Song
Seite B
1. Dreams of Hawaii / Aloah Oe / Waikiki Girl / Isles of Dream / Isles of Hawaii
Dire Straits [>] [D]: Communiqué [F]
Assoziierte Acts: Mark Knopfler
Label und Katalognummer: Vertigo 9102 031
Produktion: Barry Beckett & Jerry Wexler
Veröffentlicht: 1979 06
Genretags: Rock - AOR-Rock - AOR-Poprock
Communiqué
wird oft als ein schnelles Sequel der ersten LP der Band gesehen. Doch das Songwriting von Mark Knopfler ist reifer hier und die Produktion ist schnörkellos durchsichtig, so dass der Sound der Gruppe seine maximale Wir
kung erzielt. Dire Straits
war mehr ein Gruppen- oder Band-Album, wo Communiqué
Knopfler als den Singer-Songwriter der Gruppe, der auch eine äusserst markante und charakteristische Gitarre spielt, deutlicher ins Zentrum stellt.
Trackliste: Seite A
1. Once Upon a Time in the West - 5:25
2. News - 4:14
3. Where Do You Think You're Going? - 3:49
4. Communiqué - 5:49
Seite B
1. Lady Writer - 3:45
2. Angel of Mercy - 4:36
3. Portobello Belle - 4:29
4. Single-Handed Sailor - 4:42
5. Follow Me Home - 5:50
Alle Tracks: Mark Knopfler.
Besetzung: Mark Knopfler: vocals, lead and rhythm guitars
; David Knopfler: rhythm guitar, backing vocals
; John Illsley: bass guitar, backing vocals
; Pick Withers: drums
; Barry Beckett (credited as B. Bear): keyboards
; Geoff Halpin: illustrations
; Gregg Hamm: mix engineer
; Bobby Hata: mastering
; Bob Ludwig: remastering
; Jack Nuber: engineer
; Thelbert Rigby: tape operator
; Alan Schmidt: art direction
; Paul Wexler: mastering supervisor
Label und Katalognummer: Pampa Records PAMPA 007
Produktion: Stefan Kozalla
Veröffentlicht: 2013 03 22
Genretags: Indiepop - Electronicpop - Indietronica
Das Cover verrät viel über die Musik: Electronica mit psychedelischer Farbigkeit. Die von deutschen Produktionen gewohnte Perfektion wird in vielen Tracks stilsicher durch eine gehörige Portion Kitsch unterlaufen.
Trackliste: 1. Track ID Anyone? (feat. Caribou) - 5:03
2. Nices Wölkchen (feat. Apparat) - 5:30
3. Royal Asscher Cut - 7:20
4. Magical Boy (feat. Matthew Dear) - 7:16
5. Das Wort (feat. Dirk Von Lowtzow) - 6:32
6. Homesick (Erik Boee, DJ Koze) - 4:11
7. La Duquesa - 9:56
8. My Plans (feat. Matthew Dear) (Matthew Dear, DJ Koze) - 7:11
9. Don't Lose My Mind - 4:18
10. Marilyn Whirlwind - 4:35
11. Amygdala (feat. Milosh) - 5:16
12. Ich Schreib Dir Ein Buch 2013 (feat. Hildegard Knef) (Richard Rodgers, Lorenz Hart) - 5:28
13. NooOoo (feat. Maiko) - 5:05
Alle Tracks: Stefan Kozalla, ausser wo anders vermerkt.
Besetzung: Artwork: Marcnesium
; Bass [Additional]: Arne Diedrichson (1, 4, 5, 9)
; Bass [Additional], Steel Guitar [Additional]: Die Vögel (1)
; Instruments [Additional Strange Instrument]: Mense Reents (9)
; Vocals: Dan Smith (1), Sascha Ring (2), Matthew Dear (4), Dirk von Lowtzow (5), Ada (6), Erlend Oye (6), Matthew Dear (8), Mike Milosh (11), Maiko (13), Tomerle (13)
; Vocals [Cut-Up Snippets]: Dani Siciliano (4)
; Producer [Additional], Remix: Stefan Kozalla (12)
; Translated By: Gerhard Bronner (12)
DJ Sprinkles [>] [D]: Midtown 120 Blues [F]
Label und Katalognummer: Mule Musiq MMD 09
Produktion: Terre Thaemlitz
Veröffentlicht: 2009 01 26
Genretags: Electronica - House - Leftfieldhouse
DJ Sprinkles ist Terre Thaemlitz. Sein Mix steht ungefähr in der Mitte zwischen House und Ambient. Teilweise könnte man zu dieser Musik tanzen, beispielsweise zum deephousigen Titeltrack. Dann wieder bilden die Sounds verträumte Rhizome und betten dich in weiche Samtkissen. Da mit diesem Release kein Format so richtig erfüllt wird, was bei Terre Thaemlitz natürlich Programm ist, muss man wissen, worauf man sich einlässt: Dann aber liebt man diesen Mix.
Trackliste: 1. Midtown 120 Intro - 2:46
2. Midtown 120 Blues - 8:06
3. Ball'r (Madonna-Free Zone) - 8:18
4. Brenda's $20 Dilemma - 7:46
5. House Music Is Uncontrollable Desire You Can Own - 7:09
6. Sisters, I Don't Know What This World Is Coming to - 10:46
7. Reverse Rotation - 7:19
8. Grand Central, Pt. I (Deep Into the Bowel of House) - 12:08
9. Grand Central, Pt. II (72 Hrs. by Rail From Missouri) - 8:48
10. The Occasional Feel-Good - 6:40
Alle Tracks: Terre Thaemlitz.
Besetzung: Design, Liner Notes [Text]: Terre Thaemlitz
; Painting [Paintings]: Laurence Rassel
; Distributed By Wordandsound
; Licensed From Comatonse Recordings
Dr. Dre [>] [D]: The Chronic [F]
Assoziierte Acts: Snoop Dogg (feat.)
Label und Katalognummer: Priority Records P1 50611, Interscope P2 50611
Produktion: Dr. Dre
Veröffentlicht: 1992 12 15
Genretags: Hip-Hop - Gangstarap - Westcoast
Ein Album mit dem cineastischen Sound von Hollywood und doch meilenweit von dem Hip-Hop entfernt, der mit intelligenten Rhymes glänzte und ein weisses Publikum für Rap und Hip-Hop gewann. The Chronic
klang roh, komplex und wirklich wie das Leben (Chris Smith). Der sehr vom Funk inspirierte musikalische Stil des Albums erhielt das Stil-Etikett G-Funk, was kurz für Ghetto-Funk stand und eine Begriffs-Anlehnung an George Clintons P-Funk war. The Chronic
exponiert auch eine Reihe von Rappern zum ersten Mal, die Dr. Dre später produzieren und zu teils enormem Erfolg führen wird, darunter Snoop Dogg.
Trackliste: 1. The Chronic (Intro) (feat. Snoop Dogg) 1:57
2. Fuck Wit Dre Day (And Everybody's Celebratin') (feat. Snoop Dogg, RBX & Jewell) 4:52
3. Let Me Ride (feat. Ruben & Jewell) 4:21
4. The Day the Niggaz Took Over (feat. RBX, Snoop Dogg & Daz Dillinger) 4:33
5. Nuthin' but a G Thang (feat. Snoop Dogg) 3:58
6. Deeez Nuuuts (feat. Daz Dillinger, Snoop Dogg, Nate Dogg & Warren G) 5:06
7. Lil' Ghetto Boy (feat. Snoop Dogg & Daz Dillinger) 5:29
8. A Nigga Witta Gun 3:52
9. Rat-Tat-Tat-Tat (feat. RBX, BJ & Snoop Dogg) 3:48
10. The $20 Sack Pyramid (feat. Big Tittie Nickie, The D.O.C., Samara & Snoop Dogg) 2:53
11. Lyrical Gangbang (feat. Lady of Rage, Kurupt & RBX) 4:04
12. High Powered (feat. RBX, Daz Dillinger, & Lady of Rage) 2:44
13. The Doctor's Office (feat. Lady of Rage & Jewell) 1:04
14. Stranded on Death Row (feat. Bushwick Bill, Kurupt, RBX, Lady of Rage & Snoop Dogg) 4:47
15. The Roach (Chronic Outro) (feat. RBX, Daz Dillinger, Lady of Rage, Emmage, Ruben & Jewell) 4:36
16. Bitches Ain't Shit [unlisted] (feat. Snoop Dogg, Daz Dillinger, Kurupt & Jewell) 4:47
Besetzung: Big Tittie Nickie: Performer
; BJ \'Tha Mocking Bird\': Performer
; Eric Borders: Guitar
; Kimberly Brown: Project Coordinator
; Bernie Brundman: Mastering
; Katisse Buckingham: Flute, Saxophone
; Bushwick Bill: Guest Artist, Primary Artist, Vocals
; Chris Clairmont: Guitar
; The D.O.C.: Guest Artist
; Dr. Dre: Drum Programming, Keyboards, Mixing
; Nate Dogg: Vocals
; Emmage: Vocals
; Warren G: Vocals
; Bernie Grundman: Mastering
; Kimberly Holt: Art Direction, Artwork, Design
; Jewell: Primary Artist
; Daniel Jordon: Photography
; Suge Knight: Executive Producer
; Kurupt: Vocals
; Cheron Moore: Drums
; Rage: Vocals
; RBX: Vocals
; Justin Reinhardt: Keyboards
; Greg Royal: Mixing
; Samara: Performer
; Snoop Dogg: Guest Artist, Performer
; Chris \'The Glove\' Taylor: Mixing, Mixing Assistant
; Willie Will: Mixing, Mixing Assistant
; Colin Wolfe: Composer, Guitar (Bass), Keyboard Bass, Keyboards
Label und Katalognummer: Philips 6305.089
Produktion: Conny Plank & Peter M. Freiherr Von Lepel
Veröffentlicht: 1971
Genretags: Rock - Progrock - Krautrock, Rock - Progrock - Hard'n'Heavy
Debutalbum der Gruppe von Frank Bornemann aus Hannover, die mehrere Male in der langen Karriere umbesetzt werden wird.
Der Name «Eloy», betont auf der zweiten Silbe, ist eine Anlehnung an die Eloi aus dem Roman von H.G. Wells: «The Time Machine» (1895). Die Eloi sind im Roman die dekadente Eliten, die zunehmend unter politischen Druck von den Morlocks geraten. Letztere steigen Nachts aus ihren Löchern und fressen die Eloi auf.
Die Band klingt in ihrer ersten Inkarnation stark nach Uriah Heep.
Trackliste: Seite A
1. Today (Bornemann, Schriever, Wieczorke) - 5:56
2. Something Yellow (Schriever, Wieczorke) - 8:15
3. Eloy (Bornemann, Draht, Schriever, Wieczorke) - 6:15
Seite B
1. Song of a Paranoid Soldier (Schriever, Wieczorke) - 4:50
2. Voice of Revolution (Schriever, Wieczorke) - 3:07
3. Isle of Sun (Schriever) - 6:03
4. Dillus Roady (Bornemann, Schriever, Wieczorke) - 6:32
Besetzung: Frank Bornemann: Guitar, Harmonica, Percussion
; Erich Schriever: Lead Vocals, Keyboards
; Manfred Wieczorke: Guitar, Bass, Vocals
; Helmuth Draht: Drums
; Wolfgang Stocker: Bass guitar
Emmylou Harris [>] [D]: Wrecking Ball [F]
Label und Katalognummer: Elektra 61854
Produktion: Daniel Lanois
Veröffentlicht: 1995 09 26
Genretags: Rock - Countryrock, Alternativerock - Alternativecountry
Dieses Album steht im reichen Katalog von Emmylou Harris heraus. Die Aufnahme entstand in Nashville und New Orleans unter der Leitung von Produzent Daniel Lanois. Der grösste Teil des Albums besteht aus Coverversionen von Songs, die Countryrock-Peers von Harris geschrieben haben. Aufgenommen hat Lanois live im Studio mit einer Begleitband, die aus Daniel Lanois (Gitarre), Steve Earle (Gitarre), Malcolm Burn (Tasten), Larry Mullen Jr. von U2 (Drums) und Tony Hall von den Neville Brothers (Bass) bestand.
Wir
kung
«Wrecking Ball» war kein Chart-Topper, aber das Album hatte einen enormen Einfluss auf das Americana-Revival. Selber stand es in der Tradition von Alben, die Lanois aufgenommen hat, zuvorderst Dylans Oh Mercy.
Trackliste: 1. Where Will I Be? [with Daniel Lanois] (Daniel Lanois) - 4:15
2. Goodbye (Steve Earle) - 4:53
3. All My Tears (Julie Miller) - 3:42
4. Wrecking Ball (Neil Young) - 4:49
5. Goin' Back to Harlan (Anna McGarrigle) - 4:51
6. Deeper Well (David Olney, Lanois, Emmylou Harris) - 4:19
7. Every Grain of Sand (Bob Dylan) - 3:56
8. Sweet Old World (Lucinda Williams) - 5:06
9. May This Be Love [with Daniel Lanois] (Jimi Hendrix) - 4:45
10. Orphan Girl (Gillian Welch) - 3:15
11. Blackhawk (Daniel Lanois) - 4:28
12. Waltz Across Texas Tonight (Rodney Crowell, Emmylou Harris) - 4:46
Besetzung: Emmylou Harris: vocals, acoustic guitar (3, 5, 7, 10, 11, 12), harmony vocals (10)
; Daniel Lanois: mandolin (1, 2, 3, 5, 8, 10, 11, 12), electric guitar (1, 2, 3, 4, 6, 8, 9, 11, 12), acoustic guitar (2, 7, 11), bass (1, 3), dulcimer (10), duet vocals (1, 9), chant vocals (3), percussion (4), bass pedals (8)
; Malcolm Burn: piano (2, 4, 8, 11, 12), tambourine (4, 10, 11), vibes (4), organ (5, 7), synthesizer (5), keyboards (6), slide guitar (8, 12), bass (11), drums (11), harmony vocals (11)
; Larry Mullen Jr.: drums (2, 4, 6, 7, 8, 9, 12), cymbal (4), hand drum (10)
; Tony Hall: percussion, bass (2, 4, 6, 7, 12), stick drum (10)
; Daryl Johnson: high harmony vocals (1), tom tom (1), drum kit bass pedals (5), backing vocals (5), harmonic bass (6), harmony vocals (10)
; Brian Blade: drums (1), Indian hand drum (5)
; Steve Earle: acoustic guitar (2, 7, 8)
; Sam O\'Sullivan: roto wheel (4)
; Neil Young: harmony vocals (4 8, harmonica (8)
; Kufaru Mouton: extro percussion (5)
; Lucinda Williams: acoustic guitar (8)
; Richard Bennett: tremolo guitar (8)
; Anna McGarrigle: harmony vocals (12)
; Kate McGarrigle: harmony vocals (12)
Label und Katalognummer: Touch TO:115
Produktion: Christian Fennesz
Veröffentlicht: 2019 03 29
Genretags: Post-Millennial-Music - Digital-Underground - Electroacoustic-Music
Pitchfork Rezensent Mark Richardson macht einen aufschlussreichen Vergleich von vier DJ/Producern, die mit der Listening Techno Welle (IDM) in den 90er Jahren grosse Bekanntheit erlangten: Autechre, Aphex Twin, Tim Hecker und Fennesz. Er führt die Musik dieser vier wichtigen Electronica Produzenten auf Klangbilder von Pop- und Rock Stilrichtungen zurück, die in den 80er Jahren prägend auf sie gewirkt haben. Das ist so einleuchtend, dass man selber hätte drauf kommen müssen, aber zuweilen brauchen die Einsichten die Hilfe versierter und reflektierter Rezensent/-innen sowie ihren gut geschriebenen und aufschlussreichen Rezensionen.
Also: Autechre mit ihrem metallischen Rhythmen kämen vom frühen amerikanischen Electrosound her, vom Streetfunk, Electricboogie oder Oldshool-Hip-Hop (wie immer man dies nennen möchte). Diese Musik war von den damals neuen synthetisch klingenden Rhythmusmaschinen (der Roland TR-808) aus Japan geprägt (hörbar zum Beispiel auf dem hervorragenden Sugar Hill Hip-Hop Box Set).
Aphex Twin habe seine Klänge auf dem kalten und maschinenhaften Techno Sound (und dem «squelching» der Roland TB-303, das Acid geprägt hat) aufgebaut (hörbar z.B. auf dem Detroit Techno Sampler Techno! The New Dance Sound Of Detroit).
Tim Heckers Musik steht mit beiden Füssen im Shoegaze der 80er Jahre (hier kommt mir Loveless von My Bloody Valentine in den Sinn).
Fennesz schliesslich sei durch und durch von der New Romantic Musik der frühen 80er Jahre geprägt, von allem, was auf Roxy Music gefolgt sei. Diese Musik sei aufwändig produziert und in grosse akustische Räume gestellt worden, so dass man den Unterschied von Synthesizern und Gitarren kaum mehr ausmachen konnte. Mit einem der Heroen aus dieser Zeit, mit David Sylvian, dem Sänger von Japan hat Fennesz ja wiederholt zusammen gearbeitet (höre das herausragende Blemish). Eine wirklich empfehlenswerte New-Romantic-Compilation kenne ich nicht, aber die Genre-Seite des Musikzimmers hat einige essentielle Tracks verzeichnet und Youtube hat eine Playlist mit raren New Romantic Tracks).
So jetzt brauchen Sie ein Wochenende, um das alles anzuhören. Wenn ich Sie auf meinem Marktplatz von musikalischen Bezügen dazu verführen kann, zeitgenössische elektronische Musik zu hören, dann hat es sich gelohnt, die Bezüge sichtbar gemacht zu haben. Wenn ich sie nicht verführen kann, so bleibt zumindest die Nostalgie für die Musik der 80er Jahre.
Mit dem neuen Album Agora
hat Christian Fennesz ein weiteres ausgezeichnetes Album abgeliefert. Fenneszs Musik muss man sich als übereinander geschichtete New Romantic Klänge vorstellen. Das was im klassischen 80er-Jahre Pop Song im Nacheinander von Songstrukturen geschah, wird hier in Schichten angeordnet – Sounds kommen dazu und gehen wieder weg. Die Musik funktioniert ähnlich wie die von Tim Hecker, der so viel Schichten übereinander baut, dass er eine möglichst hohe Dichte erreicht (muss man live gehört haben, bläst einen weg, ohne dass man das Ohrenpfeifen kriegt!). Fennesz dagegen geht mit dem Anhäufen von Sounds viel sparsamer um. Seine Klänge kommen und gehen in Wellenbewegungen und das ist sein Bezug zu den Beach Boys und dem Surf-Sound.
Trackliste: 1. In My Room - 12:28
2. Rainfall - 11:58
3. Agora - 12:09
4. We Trigger the Sun - 10:29
Alle Tracks: Christian Fennesz.
Besetzung: Fennesz: guitar, computer
; Jon Wozencroft: photography, design
; Denis Blackham: mastering
; Katharina Caecilia Fennesz: vocals
; Manfred Neuwirth: field recordings
; Mira Waldmann: vocals
Freddie And The Dreamers [>] [D]: You Were Mad for Me [F]
Label und Katalognummer: Columbia (EMI) 33SX 1663
Veröffentlicht: 1964 10
Genretags: Rock'n'Roll - Beat - Manchesterbeat
Diese LP ist nach der gleichnamigen Single der Gruppe benannt, aber die Release-Politik in England war so, dass die Singles in der Regel nicht auf den LPs erschienen. Es ist etwas verwirrend, dass eine LP nach einem Top-Hit benannt ist und dieser nicht auf ihr zu finden ist.
Trackliste: Seite A
1. Jailer Bring Me Water (Darin)
2. It Doesn't Matter Anymore (Anka)
3. Tell Me When (Reed, Stephens)
4. Cut Across Shorty (Walker, Wilkin)
5. I'll Never Dance Again (Anthony, Mann)
6. What'd I Say (Charles)
7. See You Later, Alligator (Guidry)
Seite B
1. Early in the Morning (Darin, Harris)
2. I Think of You (Stirling)
3. Only You (Ram, Rand)
4. Johnny B. Goode (Berry, Diddley)
5. I Don't Love You Anymore (Carter, Lewis, Stevens)
6. Say It Isn't True (Alquist, Stuart)
7. Write Me a Letter (Stirling)
Besetzung: Photography: Dezo Hoffmann
; Printed By Garrod & Lofthouse
; Record Company E.M.I. Records Limited
Freddie Mercury [>] [D]: Mr. Bad Guy [F]
Label und Katalognummer: Columbia CK 40071
Produktion: Reinhold Mack & Freddie Mercury
Veröffentlicht: 1985 04 29
Genretags: Rock - Poprock - Discorock, Newpop - Synthpop
Das erste Soloalbum von Freddie Mercury. Es brachte Queen nicht zum Stillstand. Worin unterscheidet sich «Mr. Bad Guy» von den Releases mit Queen? Man erlebt hier die ungebremste Campness von Mercury. Dass Gitarren weitgehend fehlen, ist nach einem Release wie Hot Space jedenfalls kein Alleinstellungsmerkmal. Das Album ist exemplarisch für schwulen Rock (was es nicht gerade häufig gibt), der mit Tanzmusik flirtet, aber den Schritt nicht wirklich macht (und das ist ziemlich einzigartig).
«Mr. Bad Guy» schaffte die Top-10 nur im UK (Platz 6). Es «unterperformte» alle Queen-Alben seit mindestens A Night At The Opera. Das war für den erfolgsverwöhnten Mercury sicher einer der Gründe, um zu Queen zurückzukehren. Den Anlass dazu bot das Live Aid Konzert.
Trackliste: 1. Let's Turn It On - 3:39
2. Made In Heaven - 4:02
3. I Was Born To Love You - 3:36
4. Foolin' Around - 3:26
5. Your Kind Of Lover - 3:31
6. Mr. Bad Guy - 4:10
7. Man Made Paradise - 4:07
8. There Must Be More To Life Than This - 2:56
9. Living On My Own - 3:21
10. My Love Is Dangerous - 3:38
11. Love Me Like There's No Tomorrow - 3:44
Bonustracks der CD Ausgabe von 1985
1. Let's Turn It On (12'' Version) - 5:06
2. I Was Born To Love You (12'' Version) - 7:03
3. Living On My Own (12'' Version) - 6:40
Alle Tracks: Freddie Mercury.
Besetzung: Artwork: The Artful Dodgers
; Bass Guitar: Stefan Wissnet
; Drum Programming, Sampler [Fairlight], Synthesizer [Kurzweil]: Mack
; Drum Programming, Sampler [Fairlight], Synthesizer [Kurzweil]: Stefan Wissnet
; Drums: Curt Cress
; Editing [Digital Editing]: Wolfgang Meyscheider
; Engineer: Mack
; Engineer [Assisted By]: Stefan Wissnet
; Lead Guitar: Paul Vincent
; Vocals [All], Piano, Synthesizer: Freddie Mercury
; Mastering: George Marino
; Photography: A. Sawa
; Piano [Additional], Synthesizer [Additional], Guitar [Additional]: Fred Mandel
; Phonographic Copyright (p) CBS Inc.
; Copyright (c) CBS Inc.
; Distributed By CBS Records
; Distributed By CBS Disques S.A.
; Made By MPO
; Published By Queen Music Ltd.
; Published By Beechwood Music Corp.
; Published By Editions Marouani
; Published By Natanabe Music
; Mastered At Sterling Sound
Genesis [>] [D]: The Lamb Lies Down On Broadway [F]
Assoziierte Acts: Phil Collins & Peter Gabriel & Steve Hackett
Label und Katalognummer: Charisma CGS 101
Produktion: John Burns & Genesis
Veröffentlicht: 1974 11 18
Genretags: Rock - Progrock
Konzeptuelles Doppelalbum, das sechste der Band und das letzte mit Peter Gabriel. Zusammen mit Tales From Topographic Oceans gehört es zu den verschwenderischen Königen der Konzeptalben der 1970er Jahre. Es war eine ganz andere Story as auf den Genesis-Alben zuvor, die von England in der Barockzeit dufteten und auch so aussahen. Hier liegt eine Doppel-LP vor mit modernistischen Art-Deco-Cover und mit einer Geschichte, die in der Gegenwart spielt, dern Hauptfigur nicht unenglischer sein könnte, nämlich Rael, ein aus Puerto Rico stammender New Yorker, der eine Halluzination erlebt. Ob es ein Drogenrausch, ist oder der Film über das eigene Leben, der im Nahtod abläuft, wissen wir nicht, ist auch nicht wichtig. Gabriel reiht Szenen aneinander, die aus einem Traumtagebuch stammen könnten. Die Texte strotzen vor christilichen, literaturgeschichtlichen und surrealen Symbolen.
So beeindruckend «The Lamb Lies Down On Broadway» ist, das Album hat seine Schwächen. Die Band war nicht auf ihrem Höhepunkt. Gabriel war während den Aufnahmen weitgehend abwesend. Hacket sagte von sich, er sei während der Produktion Zuschauer statt Akteur gewesen. Dafür fällt Phil Collins positiv auf, rhythmisch und gesanglich. Die Musik ist nicht so dicht wie auf den früheren Alben, es gibt hier viele Passagen, in denen Genesis Atmosphäre statt Musik liefern, aber auch Hits im Songformat: Counting Out Time und The Carpet Crawlers. Nun, «The Lamb Lies Down On Broadway» ist ein Album, mit dessen Beurteilung man nicht an ein Ende kommt. Im rechten Moment kann es unterhalten, im falschen eine diffuse Anmassung von Überambition sein.
Querverweise
– Artikel zum Cover: The Wir
e: Inner Sleeve
Trackliste: Seite A
1. The Lamb Lies Down On Broadway - 4:55
2. Fly On A Windshield - 2:47
3. Broadway Melody Of 1974 - 1:58
4. Cuckoo Cocoon - 2:14
5. In The Cage - 8:15
6. The Grand Parade Of Lifeless Packaging - 2:45
Seite B
1. Back In N.Y.C. - 5:49
2. Hairless Heart - 2:25
3. Counting Out Time - 3:45
4. The Carpet Crawlers - 5:16
5. The Chamber Of 32 Doors - 5:40
Alle Tracks: Tony Banks, Phil Collins, Peter Gabriel, Steve Hackett und Mike Rutherford.
Seite C
1. Lilywhite Lilith - 2:40
2. The Waiting Room - 5:28
3. Anyway - 3:18
4. Here Comes The Supernatural Anaesthetist - 2:50
5. The Lamia - 6:57
6. Silent Sorrow In Empty Boats - 3:06
Seite D
1. The Colony Of Slippermen: a) The Arrival, b) Visit To The Doktor, c) The Raven - 8:14
2. Ravine - 2:04
3. The Light Dies Down On Broadway - 3:32
4. Riding The Scree - 3:55
5. In The Rapids - 2:28
6. It - 4:15
Alle Tracks: Tony Banks, Phil Collins, Peter Gabriel, Steve Hackett und Mike Rutherford.
Besetzung: Tony Banks: Keyboards, Unknown Contributor Role, Vocals
; Phil Collins: Drums, Percussion, Unknown Contributor Role, Vibraphone, Vocals, Voices
; Brian Eno: Guest Artist, Performer
; Peter Gabriel: Flute, Liner Notes, Percussion, Unknown Contributor Role, Vocals, Voices
; Genesis: Arranger
; Steve Hackett: Bass, Guitar, Unknown Contributor Role
; George Hardie: Illustrations
; Hipgnosis, Storm Thorgerson: Design, Photography
; Dave Hutchins: Engineer
; Mike Rutherford: Bass, Guitar, Unknown Contributor Role
Genesis [>] [D]: ... And Then There Were Three ... [F]
Assoziierte Acts: Phil Collins
Label und Katalognummer: Charisma CDS 4010
Produktion: Genesis & David Hentschel
Veröffentlicht: 1978 04 07
Genretags: Rock - Corporate-Rock - Progressiverock
Genesis war nach dem Abgang von Steve Hackett auf ein progressives Power-Trio geschrumpft: Keys und Rhythmussektion – wie die damals totgelaufenen Emerson, Lake And Palmer. Die Band zeigt sich mit ... And Then There Were Three ...
(zu deutsch «da waren's nur noch drei») noch unbeeindruckt von Punk und schafft eines der letzten guten klassischen Prog-Alben. Stimmungsvolle, melodische Songs mit Tendenz zur Überlänge, schwerbeladen mit Synth-Sounds, die meilenweit entfernt sind von dem, was bald als Synthpop heran wächst. Follow You, Follow Me
war ein Radiohit bei kontinentalen Radiostationen wie SWF 3. Im UK kam der Titel auf Platz 7 der Charts und war die erste Top 10 Single der Band!
Das Cover von Storm Thorgerson und Aubrey Powell (Hipgnosis) zeigt die Band in einer Zeitraffer-Aufnahme, die den Übergang von einem Zeit-Moment zum anderen repräsentiert und die Bewegung mit der die Besetzung von Genesis sich änderte. Die Abendstimmung wirkt bedrohlich als wüsste die Band nicht, ob oder wie es mit ihr weitergeht.
Trackliste: Seite A
1. Down and Out (Tony Banks, Phil Collins, Mike Rutherford) - 5:26
2. Undertow (Tony Banks) - 4:46
3. Ballad of Big (Tony Banks, Phil Collins, Mike Rutherford) - 4:50
4. Snowbound (Mike Rutherford) - 4:31
5. Burning Rope (Tony Banks) - 7:10
Seite B
1. Deep in the Motherlode (Mike Rutherford) - 5:15
2. Many Too Many (Tony Banks) - 3:31
3. Scenes from a Night's Dream (Music: Tony Banks, Lyrics: Phil Collins) - 3:30
4. Say It's Alright Joe (Mike Rutherford) - 4:21
5. The Lady Lies (Tony Banks) - 6:08
6. Follow You, Follow Me (Tony Banks, Phil Collins, Mike Rutherford)(lyrics:Mike Rutherford) - 3:59
Besetzung: Design [Sleeve Design], Photography: Hipgnosis, Storm Thorgerson
; Drums, Voice: Philip Collins
; Guitar, Bass: Mike Rutherford
; Keyboards: Tony Banks
; Mixed By [Assisted By]: Steve Short
; Producer [Assisted By]: Pierre Geofroy Chateau
; Technician [Equipment]: Andy Mackrill, Dale Newman, Geoff Banks
Assoziierte Acts: Phil Collins
Label und Katalognummer: Charisma CBR 101
Produktion: Genesis & David Hentschel
Veröffentlicht: 1980 03 28
Genretags: Rock - AOR-Rock - AOR-Progrock
Die Band geht ihren Weg weiter. teilweise verliert sich die melodiöse Schwere – vor allem bei der Single Turn It On Again
– und deutet an, was mit den nächsten Alben kommen wird: ein auf Rhythmen und Riffs reduzierter Sound, «Drive» statt Romantik.
Heathaze
klingt wie eine unreife, frühe Version von Home By The Sea.
Trackliste: Seite A
1. Behind The Lines - 5:31
2. Duchess - 6:40
3. Guide Vocal (Tony Banks)- 1:18
4. Man Of Our Times (Mike Rutherford) - 5:35
5. Misunderstanding (Phil Collins) - 3:11
6. Heathaze (Tony Banks) - 5:00
Seite B
1. Turn It On Again - 3:50
2. Alone Tonight (Mike Rutherford) - 3:54
3. Cul-De-Sac (Tony Banks) - 5:02
4. Please Don't Ask (Phil Collins) - 4:00
5. Duke's Travels - 8:41
6. Duke's End - 2:04
Alle Tracks: Tony Banks, Phil Collins und Mike Rutherford, ausser wo anders vermerkt.
Besetzung: Mike Rutherford: Bass, Guitar, Backing Vocals
; Phil Collins: Drums, Vocals, Electronic Drums, Whistle [Duck]
; Tony Banks: Keyboards, Backing Vocals, Guitar [12 String], Whistle [Duck]
; David Hentschel: backing vocals, production, audio engineering
; Dave Bascombe: assistant engineering
; Ray Staff: mastering
; Lionel Koechlin: cover
; Bill Smith: art direction
; Recorded at Polar Studios, Sweden
; Mixed at Maison Rouge, London
; Mastered at Trident Studios, London
Genya Ravan [>] [D]: Urban Desire [F]
Label und Katalognummer: 20th Century Fox Records T 562
Produktion: Genya Ravan
Veröffentlicht: 1978
Genretags: Rock - Bluesrock - Boogierock
Das Cover gleicht demjenigen von Easter, dem Album von Patti Smith aus dem selben Jahr. Allerdings wirkt Patti Smith erotisch und provoziert Männerträume, wo man das Cover von Genya Ravan als Fotoserie lesen muss: Auf der Rückseite wird sie von einem Mann geküsst, während sie mit zweideutiger Körperhaltung in die Kamera schaut. Der Mann ist weiss geschminkt und trägt Leder. Die Foto auf dem Backcover inszeniert den Mann als Typ (Schminke) und als Tier (Leder). Die Frau ist halb angewidert halb angezogen. Da das Album Urban Desire
heisst, thematisiert es wohl den schnellen Sex, der auf Instinkt und temporärer Attraktion beruht. Die Frage bleibt, warum sich eine Rocksängerin so furchtlos und unbarmherzig mit sich selbst inszeniert? Ist es eine Rebellions-Geste? Ist es Emanzipation («ich als Frau darf genau so draufgängerisch sein wie ein Mann») oder selbstbestimmt («das kostet mich etwas Mut, aber dieses Bild macht mich autonomer, selbstsicherer»).
Die Musik ist dringlicher und kraftvoller Rhythm'n'Blues. Kein Punk, nicht wirklich Powerpop. Die Stimme von Genya Ravan hat viel mit den Rocksängerinnen der 1970er Jahre gemeinsam. Aye Co'lorado
ist ein Duett mit Lou Reed.
Trackliste: Seite A
1. Jerry's Pigeons (Charlie Giordano, Genya Ravan, Joey Cola) - 4:15
2. The Knight Ain't Long Enough (Joe Droukas) - 3:46
3. Do It Just For Me (Wally Liberty) - 3:53
4. Shot In The Heart (Stu Daye) - 2:46
5. Aye Co'lorado (feat. Lou Reed) (Charlie Giordano, Genya Ravan) - 3:00
6. Back In My Arms Again (Holland-Dozier-Holland) - 4:06
Seite B
1. Cornered - 4:10
2. The Sweetest One (Joe Droukas) - 2:57
3. Darling, I Need You (John Cale) - 3:33
4. Messin Around - 3:33
5. Shadowboxing (Joe Droukas) - 7:15
Besetzung: Art Direction [Creative Director]: Joey Reynolds
; Artwork [Art Prepared By]: John Georgopoulos
; Backing Vocals: Joey Cola (A1, A2, B5)
; Bass: Donnie Nossov
; Bass: Paul Opalach (A3, A5, B2)
; Cover, Photography: Stu Chernoff
; Drums, Percussion: Bobby Chen
; Electric Guitar, Rhythm Guitar, Acoustic Guitar: Conrad Taylor
; Engineer: Ed Stasium (A1, A2, A5, B5)
; Engineer: Harvey Goldberg
; Engineer [Assistant]: Carl Casella
; Engineer [Assistant]: Liz Saron
; Engineer [Assistant]: Michael H. Brauer
; Engineer [Assistant]: Phil Shrago
; Engineer [Assistant]: Ramona Janquitto
; Keyboards: Charlie Giordano
; Lead Vocals, Percussion, Harmonica: Genya Ravan
; Management [Management & Direction]: Gerald Delet
; Management [Management & Direction]: Michael D. Hektoen
; Management [Management & Direction]: Twm Management
; Mastering: Ted Jensen
; Mixing: Ed Stasium
; Mixing: Genya Ravan
; Rhythm Guitar, Lead Guitar, Acoustic Guitar, Slide Guitar, Mandolin: Ritchie Fliegler
; Typography [Lettering]: Leslie Rutledge
; Phonographic Copyright (p) 20th Century-Fox Record Corporation
; Copyright (c) 20th Century-Fox Record Corporation
; Pressed By Columbia Records Pressing Plant, Santa Maria
; Published By Fox Fanfare Music, Inc.
; Published By 14th Floor Music, Inc.
; Published By Baklava Music
; Published By Jeanome Publishing, Inc.
; Published By Jobete Music Co., Inc.
; Published By Ringling Brothers And Barnum & Bailey Publishing
; Recorded At Mediasound
; Mastered At Sterling Sound
Georges Bizet [>] [D] & Maria Callas [>] [D] & Georges Prêtre [>] [D]: Carmen [F]
Label und Katalognummer: La Voix de son Maître AN 140-142, Angel Records SCLX 3650, EMI Music Distribution 54368
Produktion: Michel Glotz
Veröffentlicht: 1964 (F), 1964 (UK), 1992 04 04 (Reed.), 1964 07 (Rec.), 1875 (Werk)
Genretags: Akademica - Oper
Carmen
ist ein Eifersuchtsdrama: Der Soldat Don José, der für die Zigeunerin Carmen seine bürgerliche Existenz aufgibt, Schmuggler wird, Opfer der Wankelmut der Schönen wird und sie im dramatischen Höhepunkt des Stücks ersticht.Carmen
ist als «Opéra comique» überschrieben und wurde in der Pariser Opéra comique uraufgeführt. Die Opéra comique ist eine französische Institution zwischen Oper und Vaudeville Theater – etwas zwischen Klassischer und Populärer Musik.
Als Genre ist die Opéra comique eine Oper, die viele Sprechteile hat - etwas zwischen Oper und Theater.
«Opéra comique» suggeriert, dass die Stücke lustig sind. Das ist oft so, bei Carmen
aber nicht. Carmen
ist eine Tragödie.
Das Pariser Publikum war bei der Uraufführung irritiert, nicht weil die Oper traurig ausgehet, sondern weil sie das Millieu (Gypsies, Arbeiter, Schmuggler/Räuber und Soldaten), realistisch dargestellt hat. Bald danach avancierte Carmen
zu einer der beliebtesten Opern und blieb es bis heute.
Trackliste: CD 1
1. No. 1, Prelude (Georges Bizet) - 2:14
2. Act I, No. 2, 'Sur la place, chacun passe' (Soldats) (Georges Bizet) - 7:22
3. Act I, No. 3, 'Avec la garde montante' (Chorus des Gamins) (Georges Bizet) - 3:53
4. Act I, No. 4a, 'La Cloche a sonne, nous des ouvrieres' (Jeunes Gens) (Georges Bizet) - 1:13
5. Act I, No. 4b, 'La voila! Voila la Carmencita!' (Tous) (Georges Bizet) - 4:33
6. Act I, No. 5, 'L'amour est un oiseau rebelle' (Habanera) (Carmen w/Chorus) (Georges Bizet) - 4:17
7. Act I, No. 6, 'Carmen! sur tes pas' (Les Jeunes Gens) (Georges Bizet) - 1:27
8. Act I, No. 7, 'Parle-moi de ma mere!' (Don Jose) (Georges Bizet) - 0:55
9. Act I, No. 8, 'Au secours!' (Chorus) (Georges Bizet) - 8:56
10. Act I, No. 9, 'Voyons, brigadier' (Georges Bizet) - 1:31
11. Act I, No. 10a, 'Pres des remparts de Seville' (Seguidilla) (Carmen) (Georges Bizet) - 3:00
12. Act I, No. 10b, 'Voice l'orde' (Zuniga) (Georges Bizet) - 3:44
13. Act II, No. 11a, 'Entr'acte' (Georges Bizet) - 4:31
14. Act II, No. 11b, 'Les tringles des sistres tintaient' (Gypsy Song) (Carmen) (Georges Bizet) - 1:59
15. Act II, No. 11c, 'Dans bohemienne' (Georges Bizet) - 1:40
16. Act II, No. 11d, 'Vous avez quelque chose' (Georges Bizet) - 4:17
17. Act II, No. 12a, 'Vivat, vivat le torero!' (Chorus) (Georges Bizet) - 0:57
18. Act II, No. 12b, 'Votre toast... je peux vous le rendre' (Toreador's Song) (Escamillo) (Georges Bizet) - 1:09
19. Act II, No. 13, 'Nous avons en tete une affaire!' (Dancaire) (Georges Bizet) - 4:48
20. Act II, No. 14, 'Halte-la! Qui va la?' (Don Jose) (Georges Bizet) - 1:33
21. Act II, No. 15a, 'Je vais danser en votre honneur' (Carmen) (Georges Bizet) - 4:47
CD 2
1. Act II, No. 15b, 'Au quartier! pour l'appel' (Carmen) (Georges Bizet) - X:XX
2. Act II, No. 15c, 'La fleur que tu ma'vais jetee' (Flower Song) (Don Jose) (Georges Bizet) - 1:32
3. Act II, No. 15d, 'Non! tu ne ma'aimes pas!' (Carmen) (Georges Bizet) - 5:51
4. Act II, No. 16, 'Hola! Carmen!' (Zuniga) (Georges Bizet) - 7:48
5. Act III, No. 17a, 'Entr'acte' (Georges Bizet) - 4:56
6. Act III, No. 17b, 'Ecoute, compagnon, ecoute' (Les Contrebandiers) (Georges Bizet) - 2:59
7. Act III, No. 17c, 'Notre metier est bon' (Les Six) (Georges Bizet) - 4:01
8. Act III, No. 18a, 'Melons! Coupons!' (Card Scene) (Mercedes, Frasquita) (Georges Bizet) - 2:15
9. Act III, No. 18b, 'Voyons, que f'essaie a mon tour' (Georges Bizet) - 6:50
10. Act III, No. 18c, 'En vain, pour eviter les reponses ameres' (Carmen) (Georges Bizet) - 0:37
11. Act III, No. 19, 'Quant au douanier c'est notre affaire' (Carmen, Mercedes, Frasquita et Femmes) (Georges Bizet) - 2:48
12. Act III, No. 20, 'Je dis que rien ne m'epouvante' (Micaela's Aria) (Georges Bizet) - 5:49
13. Act III, No. 21, 'Je suis Escamillo' (Escamillo) (Georges Bizet) - X:XX
14. Act IV, No. 22a, 'Entr'acte' (Georges Bizet) - 11:29
15. Act IV, No. 22b, 'A deux cuartos!' (Chorus) (Georges Bizet) - 2:01
16. Act IV, No. 23, 'Les voici, noici la quandrille' (Chorus) (Georges Bizet) - 1:55
17. Act IV, No. 24, 'Si tu m'aimes, Carmen' (Escamillo) (Georges Bizet) - 6:52
18. Act IV, No. 25, 'C'est toi!', Final Duet (Carmen, Don Jose) (Georges Bizet) - 8:44
Besetzung: Jane Berbié: Vocals
; Claude Cales: Baritone (Vocal)
; Maria Callas: Primary Artist, Soprano (Vocal)
; Children\'s Choir: Choir/Chorus
; R. Devaux: Photography
; René Duclos Choir: Choir/Chorus
; Nicolai Gedda: Tenor (Vocal)
; Hugh Graham: Translation
; Alan Gregory: Translation
; Andrea Guiot: Soprano (Vocal)
; Ludovic Halévy: Librettist
; Roger Hauert: Photography
; Jean Laforge: Choir Master
; Maurice Maievski: Vocals
; Jacques Mars: Bass (Vocal)
; Robert Massard: Baritone (Vocal)
; Angus McBean: Photography
; Henri Meilhac: Librettist
; Paris National Opera Orchestra: Orchestra
; Michel Parouty: Liner Notes
; Erio Piccagliani: Photography
; Claude Poirier: Photography
; Georges Prêtre: Conductor
; Jacques Pruvost: Vocals
; Allan Ramsay: Digital Remastering
; Nadine Sautereau: Vocals
; John B. Steane: Liner Notes
; Jean-Paul Vauquelin: Vocals
; Paul Vavasseur: Engineer
; Georgina Ward: Cover Design
; Sabine Weiss: Photography
; Recorded: Salle Wagram, Paris, 6-20 July 1964
Glass Candy [>] [D]: Feeling Without Touching [F]
Label und Katalognummer: Italians Do It Better IDIB 023 (Vinyl), Italians Do It Better IDIB 025 (CD)
Produktion: Johnny Jewel
Veröffentlicht: 2010 02
Genretags: Electropop - New-Rave
Tracks 5 / 6 sind verkehrt gelistet und 7 wird ausgelassen.
Trackliste: 1. Feeling Without Touching - 2:49
2. Sugar & Whitebread - 3:56
3. Covered in Bugs - 4:47
4. Shine Like Gold & Diamonds (Reprise) - 2:50
5. Sugar & Whitebread (Instrument) - 3:56
6. Without Touching (Instrument) - 2:50
7. Stars & Houses - 3:50
Alle Tracks: Ida No.
Besetzung: Saxophone Nat Walker (2)
Glen Campbell [>] [D]: Adiós [F]
Label und Katalognummer: Universal Music Enterprises B 0026502
Produktion: Carl Jackson
Veröffentlicht: 2017 06 09, 2012 (Rec.)
Genretags: Country - Countrypop
Das letzte Album von Glen Campbell vor seinem Tod. Es besteht aus lauter Songs, die er mochte, aber nie selbt eingespielt hatte. Das Album wurde zu einer Zeit aufgenommen, zu der seine Alzheimer Erkrankung bereits so weit fortgeschritten war, dass er nicht mehr selbst Gitarre spielen konnte. Zuweilen wird er auch gesanglich von Freunden unterstützt.
Trackliste: 1. Everybody's Talkin' (Fred Neil) - 2:56
2. Just Like Always (Jimmy Webb) - 3:48
3. Funny How Time Slips Away (feat. Willie Nelson) (Willie Nelson) - 3:32
4. Arkansas Farmboy (Carl Jackson) - 3:31
5. Am I All Alone (Or Is It Only Me) (Intro) (feat: Roger Miller) (Roger Miller) - 0:45
6. Am I All Alone (Or Is It Only Me) (feat. Vince Gill) (Roger Miller) - 2:44
7. It Won't Bring Her Back (Jimmy Webb) - 3:31
8. Don't Think Twice, It's All Right (Bob Dylan) - 2:34
9. She Thinks I Still Care (Dickey Lee) - 3:56
10. Postcard from Paris (Jimmy Webb) - 4:32
11. A Thing Called Love (Jerry Reed Hubbard) - 2:19
12. Adiós (Jimmy Webb) - 3:05
Besetzung: John \'Hip-Hop\' Caldwell: Engineer
; Ashley Campbell: Banjo, Baritone (Vocal), Vocals (Background)
; Cal Campbell: Vocals (Background)
; Glen Campbell: Vocals
; Kim Campbell: Liner Notes
; Shannon Campbell: Vocals (Background)
; Tony Creasman: Drums
; Ashley Eliot: Product Manager
; Vince Gill: Vocal Harmony
; Kevin Grantt: Bass
; Aubrey Haynie: Fiddle, Mandolin
; Jeri Heiden: Design
; John Heiden: Design
; Carl Jackson: Guitar (Acoustic), Liner Notes, String Instrument, Tenor (Vocal), Vocal Harmony, Vocals (Background)
; Mike Johnson: Guitar (Steel)
; Dax Kimbrough: Photography
; Catherine Marx: Piano
; Roger Miller: Guitar (Acoustic), Introduction, Vocals
; Willie Nelson: String Instrument, Vocals
; Michael Ruthig: A&R
; Steve Silvas: Portraits
; Beth Stempel: Production Manager
; Vartan: Art Direction
; Luke Wooten: Engineer, Mastering
; See Top Trending Food & Fun
Grateful Dead [>] [D]: Anthem Of The Sun [F]
Label und Katalognummer: Warner Bros. WS 1749
Produktion: Grateful Dead & David Hassinger
Veröffentlicht: 1968 07 18, 2018 07 13 (Reed.)
Genretags: Rock - Psychedelicrock - Psychedelicfolkrock
Das zweite Album der Band wird dem Live-Erlebnis, das die Gruppe war, eher gerecht. Das Album wurde aus Studio-Aufnahmen und aus Live-Tapes zusammen gemischt.
Trackliste: Seite A
1. That's It For The Other One - 7:40 - a) Cryptical Envelopment (Garcia), b) Quadlibet For Tender Feet (Jerry Garcia, Bill Kreutzmann, Phil Lesh, Ron McKernan, Bob Weir), c) The Faster We Go, The Rounder We Get (Bill Kreutzmann, Bob Weir), d) We Leave The Castle (Tom Constanten)
2. New Potato Caboose (Phil Lesh, Robert Peterson) - 8:26
3. Born Cross-Eyed (Bob Weir) - 2:04
Seite B
1. Alligator (Phil Lesh, Ron McKernan, Hunter) - 11:20
2. Caution (Do Not Stop On Tracks) (Jerry Garcia, Kreutzmann, Phil Lesh, McKernan, Bob Weir) - 9:37
Bonustracks der Wiederauflage von 2018: 1971 Mix
1. That's It For The Other One - 7:40 - a) Cryptical Envelopment (Garcia), b) Quadlibet For Tender Feet (Jerry Garcia, Bill Kreutzmann, Phil Lesh, Ron McKernan, Bob Weir), c) The Faster We Go, The Rounder We Get (Bill Kreutzmann, Bob Weir), d) We Leave The Castle (Tom Constanten)
2. New Potato Caboose (Phil Lesh, Robert Petersen) - 8:27
3. Born Cross-Eyed (Bob Weir) - 2:26
4. Alligator (Phil Lesh, Robert Hunter, Ron 'Pigpen' McKernan) - 11:24
5. Caution (Do Not Stop On Tracks) (Bill Kreutzmann, Mickey Hart, Ron 'Pigpen' McKernan) - 8:57
CD 2: Live At Winterland San Francisco, CA 10/22/67
1. Morning Dew (Bonnie Dobson, Tim Rose) - 7:38
2. New Potato Caboose (Phil Lesh, Robert Petersen) - 9:49
3. It Hurts Me Too (Elmore James, Marshall E. Sehorn) - 4:16
4. Cold Rain And Snow (Traditional) - 3:16
5. Turn On Your Lovelight (Deadric Malone, Joseph Scott) - 12:16
6. Beat It On Down The Line (Jesse Fuller) - 2:58
7. That's It For The Other One a) Cryptical Envelopment (Garcia), b) The Other One (Weir, Kreutzmann), c) Cryptical Envelopment (Garcia) - 14:47
Besetzung: Dave Collins: Pre-Mastering Assistant
; Tom Constanten: Electronic Tape, Piano, Prepared Piano
; Jerry Garcia: Guitar, Guitar (Acoustic), Kazoo, Vibraslap, Vocals
; Joe Gastwirt: Pre-Mastering
; Grateful Dead: Arranger
; Mickey Hart: Bells, Chimes, Crotale, Cymbals, Drums, Finger Cymbals, Gong, Orchestra Bells, Piano, Prepared Piano
; Dan Healy: Executive Engineer
; Bill Kreutzmann: Bells, Chimes, Crotale, Cymbals, Drums, Finger Cymbals, Gong, Orchestra Bells, Piano, Prepared Piano
; Phil Lesh: Bass, Guiro, Harpsichord, Kazoo, Piano, Timbales, Timpani, Trumpet, Vocals
; Bob Matthews: Assistant Engineer
; Ron \'Pigpen\' McKernan: Celeste, Claves, Keyboards, Organ, Vocals
; Ed Thrasher: Art Direction
; Bill Walker: Cover Art, Illustrations
; Bob Weir: Guitar, Guitar (12 String), Guitar (Acoustic), Guitar (Rhythm), Kazoo
; Tom Weir: Photography
Grauzone [>] [D]: Eisbær (= Eisbär) [F]
Label und Katalognummer: Off Course Records ASL 24
Produktion: Grauzone & Urs Steiger
Veröffentlicht: 1981
Genretags: Postpunk - Artpop - SwissWave
Das Cover inszeniert den Eisbären grafisch auf einem knallig blauen Hintergrund. Das betont den Kontext mehr als den Text. Die Platte sagt: «Es ist wichtig, dass wir Musik machen» und nicht: «Es ist wichtig, dass wir Musik machen».
Trackliste: Seite A
1. Eisbär - 4:17
Seite B
1. Ich lieb Sie - 3:18
Alle Tracks: Grauzone (Musik) und Martin Eicher (Lyrics).
Besetzung: Copyright (c) Off Course Music
; Phonographic Copyright (p) Off Course Records
; Manufactured By EMI Electrola GmbH
Grimes [>] [D]: Miss Anthropocene [F]
Label und Katalognummer: 4AD 0211, 4AD 0236 DAX
Produktion: Chris Greatti & Grimes & Hanai_o
Veröffentlicht: 2020 02 21, 2020 02 21 (DLX)
Genretags: Indiepop - Blog-Indie - Chillwave
Das Album wurde zumindest in Nordamerika mit Plakaten beworben, die verkündeten: «GLOBAL WARMING IS GOOD» (siehe: pedestrian.tv). Grimes veröffentlichte zudem das folgende Gedicht:
I, Poet of destruction, hereby declare that Global Warming is good.
So, you humans have carved your existence into the earth,
lest you be forgotten.
Why lament?
Be who you are, embrace your demise,
For you are the architect of it.
How smart you are, to eradicate a species as resilient as your own.
Why deny your power?
It's the greatest show in the universe.
Celebrate with me, the most momentous of deaths.
Now is the time to burn twice as bright and half as long
Sincerely,
Miss Anthropocene
Diese Marketingidee arbeitete damit, dass viele mit dem Widerspruch leben, der kognitiven Dissonanz: wir wissen, was passiert und können, auch wenn wir wollen, nichts dagegen ausrichten. Statt sich zu grämen bietet Grimes hier einen anderen Weg an, den Widerspruch aufzulösen, einen zynischen
und kontroversen.
Neues Cover
Nach neuen Monaten wechselte Grimes das Cover für ihr Album aus (siehe Fader-Artikel).
Trackliste: 1. So Heavy I Fell Through the Earth (Art Mix) - 6:08
2. Darkseid (with 潘PAN) - 3:44
3. Delete Forever - 3:57
4. Violence (with i_o; writers: Boucher, Garrett Lockhart) - 3:40
5. 4ÆM (writers: Boucher, Ganesh Chandanshive, Siddharth-Garima, Sanjal Bhandari, Nasir Faraaz) - 4:30
6. New Gods - 3:15
7. My Name Is Dark (Art Mix). 5:56
8. You'll Miss Me When I'm Not Around - 2:41
9. Before the Fever - 3:37
10. Idoru (Art Mix). 7:12
Bonustracks der Deluxe Ausgabe von 2020
1. We Appreciate Power (feat. Hana Pestle) - 5:35
2. So Heavy I Fell Through The Earth (Algorithm Mix) - 3:52
3. Violence (Club Mix) - 4:12
4. My Name Is Dark (Algorithm Mix) - 4:03
5. IDORU (Algorithm Mix) - 4:46
Besetzung: Grimes: vocals, production, engineering
; i_o: production (4)
; Chris Greatti: production (11
; Hana: vocals, additional production (11)
; Carlo \'Illangelo\' Montagnese: mixing (1)
; Tom Norris: mixing (4, 5)
; Andy Wallace: mixing (7)
; Zakk Cervini: mixing (11)
Harry Belafonte [>] [D]: Calypso [F]
Label und Katalognummer: RCA Victor LSP 1248
Produktion: Herman Diaz & Henri Rene
Veröffentlicht: 1956
Genretags: Pop - Vocalpop
Erstes Album, das als Millionseller ausgezeichnet worden ist. 1956 war dieses Album nicht weniger als 31 Wochen auf Platz eins der amerikanischen Hitparade. Es löste einen Calypso-Craze aus, der sich nicht nur in Verkaufszahlen, sondern auch in den Namensgebungen von Folk-Gruppen auswirkte: Ein Beispiel davon ist das Kingston Trio.
Trackliste: Seite A
1. Day-O (Banana Boat Song) (William Attaway, Belafonte) - 3:02
2. I Do Adore Her (Lord Burgess) - 2:48
3. Jamaica Farewell (Lord Burgess) - 3:02
4. Will His Love Be Like His Rum? (Attaway, Belafonte) - 2:33
5. Dolly Dawn (Lord Burgess) - 3:13
Seite B
1. Star-O (Attaway, Belafonte) - 2:02
2. The Jack-Ass Song (Attaway, Lord Burgess) - 2:52
3. Hosanna (Attaway, Lord Burgess) - 2:34
4. Come Back Liza (Attaway, Lord Burgess) - 3:03
5. Brown Skin Girl (Spann) - 2:43
6. Man Smart (Woman Smarter) (Span) - 3:31
Besetzung: Harry Belafonte - vocals
; Millard J. Thomas - guitar (1, 4, 6 ,7)
; Frantz Casseus - guitar
; Tony Scott and His Orchestra (2 ,3 ,5 ,8 ,9 ,10 ,11)
; The Norman Luboff Choir (8, 9, 10)
; Ed Welker - producer
; Herman Diaz Jr. - producer
; Henri René - producer (B6)
; Tony Scott - conductor
; Broc Peters - chorus leader
; Roy Stevens - cover photo
; William Attaway - liner notes
Harry Belafonte [>] [D]: Mark Twain (and other folk favorites) [F]
Label und Katalognummer: RCA Victor LPM 1022
Veröffentlicht: 1954
Genretags: Folk - Urbanfolk - American-Folkmusic-Revival
Paul Campbell wird als Komponisten-Name verwendet, wo ein Track in die Public Domain gehört.
Trackliste: Seite A
1. Mark Twain (Traditional, Harry Belafonte) - 3:42
2. Man Piaba (Belafonte, Jack K. Rollins) - 3:30
3. John Henry (Traditional) - 3:27
4. Tol' My Captain (Paul Campbell) - 2:45
5. Kalenda Rock (Mourning Song) (Traditional) - 3:2
6. The Drummer and the Cook (Traditional, Paul Campbell) - 2:04
Seite B
1. The Fox (Traditional, Campbell) - 2:43
2. Soldier, Soldier (Traditional, Campbell) - 1:37
3. The Next Big River (Traditional, Campbell) - 0:20
4. Delia (Fred Brooks, Lester Judson) - 2:58
5. Mo Mary (Richard Dyer-Bennett) - 2:15
6. Lord Randall (Traditional, Campbell) - 4:07
Besetzung: Accompanied By [Guitar]: Millard Thomas
; Liner Notes: Leonard Feather
; Vocals: Harry Belafonte
Holger Czukay [>] [D] & Dr. Walker [>] [D]: Clash [F]
Label und Katalognummer: Sideburn Recordings 12339
Produktion: Holger Czukay & Dr. Walker
Veröffentlicht: 1998 04 07
Genretags: Electronica - Techno - Leftfieldtechno
Eine die Musiker-Generationen übergreifende Kollaboration von Ex-Can Holger Czukay und Dr. Walker (Ingmar Koch), der dem Kölner Techno-Kuchen entstammte und zuvor mit Mike Ink (= Wolfgang Voigt) oder Biochip C. (Martin Damm) zusammen gearbeitet hat und in Zukunft mit Jammin' Unit Air Liquide gründen wird. Das Resultat dieser Zusammenarbeit klingt inspiriert und lebendig. Beide Musiker lassen sich auf zehn- bis zwanzig-minütige Live-Jams ein. Dr. Walker spielt Beats und Loops und Czukay bereichert sie mit Radioaufnahmen und Weltmusik-Samples. Die beiden lassen einander viel Raum. Das Bild auf dem Cover muss man ironisch lesen: Es ist nicht so, dass der junge Musiker den alten «wegputzt». Der Clash
der Generationen bringt hier eines der besten Listening-Techno Alben der 1990er Jahre hervor. Es ist genauso zugänglich für Electronica- als auch Rock-Hörer/-innen – letztlich für alle, die sich gern von der Kombination aus rollenden Beats und aus einer radikalen und untergründigen Freiheit des Geistes reizen lassen.
Trackliste: CD 1: June 96 Cologne, Liquid Sky Cologne
1. Silent Planes - 19:36
2. Liquid Skies - 13:34
3. The Wonderful World Of Screeches, Racing Cars, And Crybats - 12:36
CD 1: San Francisco, Great American Music Hall, First Part
4. Twilight - 21:15
5. Backup Dream - 7:48
CD 2: San Francisco, Great American Music Hall, Second Part
1. Monks, Whales And Moonbeams (over California) - 11:40
2. Anything But The Jungle - 20:21
CD 2: January 97 Minneapolis
3. Dawn Across The Street - 24:44
4. Full Circle - 12:48
Alle Tracks: Holger Czukay und Dr. Walker.
Besetzung: Holger Czukay: Dictaphone, Editing, Ensoniq ASR 10, Mastering
; Dr. Walker: Mixing, Performer
; Ursula Kloss: Artwork, Design, Illustrations
; Matthias Mineur: Liner Notes
Label und Katalognummer: Polydor 2383 144, EMI 0946 3 947 12 2 5
Produktion: Hollies
Veröffentlicht: 1972 11, 2007 08 14 (Reed.)
Genretags: Rock - Poprock
Ein Hollies Album ohne Leadsänger Allan Clarke, der aif Solopfaden vom Schweden Mikael Rickfors ersetzt wird.
Trackliste: Seite A
1. Won't You Feel Good That Morning - 3:23
2. Touch - 5:13
3. Words Don't Come Easy - 3:46
4. Magic Woman Touch - 3:20
5. Lizzy and the Rainman - 3:19
6. Down River - 4:09
Seite B
1. Slow Down - 2:57
2. Delaware Taggett and the Outlaw Boys - 3:11
3. Jesus Was a Crossmaker - 3:46
4. Romany - 5:28
5. Blue in the Morning - 3:22
6. Courage of Your Convictions - 3:38
Bonustracks der CD Ausgabe von 2007
1. The Baby - 3:55
2. Magic Woman Touch (acoustic version) - 4:03
3. Indian Girl - 3:19
4. If It Wasn't for the Reason That I Love You - 3:19
5. Papa Rain - 4:09
6. Witchy Woman - 3:38
7. Oh Granny (Terry Sylvester version) - 2:43
8. I Had a Dream - 3:32
Besetzung: Engineer [Recording Engineer]: Alan Parsons
; Engineer [Recording Engineer]: Peter Bown
; Illustration [Outer Illustration]: Colin Elgie
; Illustration [Outer Illustration]: Hipgnosis
; Recorded At Abbey Road Studios
Label und Katalognummer: N&J Blueberries NJB 001
Produktion: Jonnine Standish & Nigel Yang
Veröffentlicht: 2021 09 17
Genretags: Indiepop - Blog-Indie - Alternative-R'n'B
«HTRK» wird «Hate Rock» ausgesprochen.
Trackliste: 1. Kiss Kiss And Rhinestones - 2:05
2. Valentina - 3:22
3. Sunlight Feels Like Bee Stings - 4:10
4. Siren Song - 0:49
5. Fast Friend - 3:07
6. Real Headfuck - 3:26
7. Reverse Déjà Vu - 3:14
8. Straight To Hell - 2:20
9. Gilbert And George - 4:06
Alle Tracks: Jonnine Standish und Nigel Yang.
Besetzung: Photography [Cover Photo]: Josh Hourigan
; Distributed By Boomkat
; Phonographic Copyright (p) HTRK
; Copyright (c) HTRK
; Manufactured By www.HandleWithCare.de
; Pressed By Optimal Media GmbH
Ian Martin [>] [D]: Mechanical Rain [F]
Label und Katalognummer: Further FUR 043
Veröffentlicht: 2012 01 31
Genretags: Electronica - Ambient
100 Exemplare kommen als clear vinyl mit «black swirls».
Trackliste: Seite A
1. Moving Activity - 7:42
2. Drups - 7:17
3. Voice Of Space - 5:49
Seite B
1. Stream - 9:38
2. Wir
es - 6:04
3. Mechanical Rain - 6:09
Alle Tracks: Ian Martin.
Besetzung: Lacquer Cut By Rashad @ D&M
; Mastered By Roberto Auser
; Performer Ian Martin (5)
Iannis Xenakis [>] [D]: La Legende D'Eer [F]
Label und Katalognummer: Montaigne MO 782058
Produktion: Wolfgang Becker
Veröffentlicht: 1995, 1977 (Werk)
Genretags: Akademica - Elektronische-Musik
Elektroakustische Komposition für 8-Spur-Magnetband, produziert im Kölner Studio des WDR. Komponiert für die Eröffnung des Centre George Pompidou in Paris (1978). Zur Musik hinzu kam ein Beleuchtungskonzept für 1680 Blitzlichter und vier Laser, dessen Lichtstrahlen durch 400 Spiegel reflektiert wird. Eine der ersten Arbeiten mit dem UPIC (ein computerbasiertes grafisches Kompositionswerkzeug). Der Titel des Werks bezieht sich auf den Mythos am Ende von Platons Staat (614). Eer fiel in einer Schlacht. Und als man die Gefallenen nach zehn Tagen bestatten wollte, sah sein Körper noch wohlerhalten und unverwest aus. Man brachte ihn nach Hause und wartete noch zwei Tage, bevor man beschloss, ihn wie die andern Gefallenen zu verbrennen. Auf dem Scheiterhaufen erwachte er aus seinem bewusstlosen Zustand und berichtete, was er im Reich der Toten gesehen hatte.
Trackliste: 1. La Légende D'Eer (Diatope) (46:00)
Besetzung: Artwork By [Original Drawing] - Iannis Xenakis
; Engineer [Sound] - Benedikt Bitzenhofer
; Other [Liner Notes] - Dominique Druhen, Iannis Xenakis, Richard Toop
; Photography - Guy Vivien
; Technician [Assistance] - Thomas Becker
; Technician [Technique] - Mechthild Austermann
; Production Electronic Studio Westdeutscher Rundfunk Köln (WDR).
Ihre Kinder [>] [D]: ... ihre kinder [F]
Label und Katalognummer: Philips 844.393 PY
Produktion: Jonas Porst
Veröffentlicht: 1969
Genretags: Rock - Poprock - Deutschrock
Ihre Kinder waren Pioniere der deutschsprachigen Rockmusik, kamen aus Nürnberg und haben zwischen 1969 und 1972 fünf Alben aufgenommen. Die Deutschsprachigkeit stand ihnen anfangs eher im Weg. Als 1973 der erste Dialektrock in der Schweiz herauskam (Rumpelstilz: Warehuus Blues), hatten sich Ihre Kinder bereits aufgelöst.
«... ihre kinder» dürfte das erste deutschsprachige Rockalbum sein. Christoph Wagner schreibt darüber: «Das erste Album von Ihre Kinder wirkte noch etwas orientierungslos: musikalisch zickig und hausbacken, textlich harmlos und pathetisch. Diese Lieder hörten sich wie anspruchsvolle Schlager an» (Der Klang der Revolte, S. 43).
Trackliste: Seite A
1. Mädchen (Sonny Hennig) - 5:35
2. Kinderspiel - 2:40
3. Madame - 3:04
4. Hallo, Sie! (Sonny Hennig) - 2:14
5. Der Clown (Sonny Hennig) - 2:25
6. Vergißmeinnicht - 4:45
Seite B
1. Schwarzer Engel - 3:32
2. Was Kann Ich Denn Dafür - 2:55
3. Der Kleine König - 4:10
4. Schwarzer Peter - 3:06
5. Wenn Liebe Das Ist - 2:45
6. Plastiki Und Plastika (Sonny Hennig) - 5:45
Alle Tracks: Sonny Hennig und Walti Schneider, ausser wo anders vermerkt.
Besetzung: Arranged: Ihre Kinder
; Design: Gernot Hofmann
; Design: Walti Schneider
; Design, Photography: Caspar Klebusch
; Drums, Bongos, Shaker [Rumbanüsse], Maracas: Oldham Frenzel
; Guitar, Chorus: Muck Groh
; Photography: Günter Derleth
; Vocals, Bass, Acoustic Guitar [6 And 12-String], Rainstick [Schüttelrohr]: Walti Schneider
; Vocals, Flute: Georgie Meyer
; Vocals, Maracas, Tambourine: Judith Brigger
; Vocals, Organ, Piano, Spinet [Electric], Xylophone: Sonny Hennig
; Recorded At Dierks Studios
Jack White [>] [D]: Lazaretto [F]
Label und Katalognummer: Third Man Records TMR 280, Third Man Records TMR 271
Produktion: Jack White
Veröffentlicht: 2014 06 10 (CD), 2014 06 06 (Vinyl)
Genretags: Alternativerock - Neo-Bluesrock
Interessant in technischer Hinsicht ist der Ultra-Vinyl-Release dieses Albums. Er wartet mit allerlei Gimmicks auf: mit Engeln als drehende Hologramme, mit versetzen Rillen, die zusammenlaufen und je nach dem, wo man die Nadel hinsetzt entweder die akustische oder die elektrische Version gespielt wird, eine Seite wird von innen nach aussen abgespielt, es gibt allerlei Auslauf- und Leerlaufrillen und Tracks sind in drei Abspielgeschwindigkeiten (33, 45, 78) eingeprägt.
Dieses Album gewann 2015 den grammy in der Kategorie «Best Rock Performance».
Trackliste: 1. Three Women - 3:58
2. Lazaretto - 3:39
3. Temporary Ground - 3:14
4. Would You Fight For My Love? - 4:09
5. High Ball Stepper - 3:53
6. Just One Drink - 2:56
7. Alone In My Home - 3:27
8. Entitlement - 4:07
9. That Black Bat Licorice - 3:50
10. I Think I Found The Culprit - 3:49
11. Want And Able - 2:36
Seite A der Ultra Vinyl Ausgabe
1. Three Women (Blind Willie McTell) - 3:55
2. Lazaretto - 3:40
3. Temporary Ground - 3:14
4. Would You Fight For My Love? - 4:09
5. High Ball Stepper - 3:48
6. Untitled - 0:39
Seite B der Ultra Vinyl Ausgabe
1. Just One Drink (Electric Intro) - 2:36
2. Alone In My Home - 3:29
3. That Black Bat Licorice - 3:52
4. Entitlement - 4:06
5. I Think I Found The Culprit - 3:49
6. Want And Able - 2:41
7. Untitled - 0:52
8. Just One Drink (Acoustic Intro) - 2:39
9. Untitled (Under Label Groove Side A) -
10. Untitled (Under Label Groove Side B) -
Besetzung: Ruby Amanfu: Shaker, Tambourine, Vocals (Background)
; Carla Azar: Drums, Timpani
; Maggie Björklund: Guitar (Acoustic), Pedal Steel
; Ben Blackwell: Drums
; Timbre Cierpke: Harp
; Bryn Davies: Bass (Upright)
; Dominic Davis: Bass, Bass (Electric), Bass (Upright)
; Dean Fertita: Guitar (Electric)
; Lars Fox: Editing
; F.C. Gundlach: Back Cover Photo
; Lewis Hine: Back Cover, Images
; Olivia Jean: African Drums, Vocals (Background)
; Daru Jones: Drums
; Fats Kaplin: Fiddle, Mandolin, Pedal Steel
; Patrick Keeler: Drums
; Bob Ludwig: Mastering
; Mary Ellen Matthews: Photography
; Jo McCaughey: Photography
; Ian Montone: Management
; Ryon Nishimori: Design, Layout
; Ikey Owens: Fender Rhodes, Hammond B3, Keyboards, Moog Synthesizer, Piano
; Catherine Popper: Bass
; Vance Powell: Engineer
; Lillie Mae Rische: Fiddle, Mandolin, Vocals (Background)
; Joshua V. Smith: Assistant, Engineer, Mixing, Vocals (Background)
; Nathanio Strimpopulos: Design, Layout
; Trent Thibodeaux: Design, Layout
; Elfred Tseng: Images
; Brooke Waggoner: Clavinet, Hammond B3, Moog Synthesizer, Piano
; Mindy Watts: Assistant
; Jack White: Design, Guitar (Acoustic), Guitar (Electric), Layout, Maracas, Mixing, Percussion, Piano, Shaker, Vocals
; Cory Younts: Harmonica, Korg Synthesizer, Mandolin, Piano, Shaker, Vocals (Background)
James Ferraro [>] [D]: Far Side Virtual [F]
Label und Katalognummer: Hippos In Tanks HIT 013
Produktion: James Ferraro
Veröffentlicht: 2011 10 25
Genretags: Electronica - Progressive-Electronic-Music - Utopian-Virtual, Indiepop - Blog-Indie - Hypnagogicpop
Mit Far Side Virtual
wollte James Ferraro Musik komponieren, die aus einem bestimmten musikalischen Vokabular zusammengebaut ist: aus Klingeltönen, Computertönen, die die Maschine von sich gibt, wenn sie angeworfen wird, sowie aus kurzen TV-Jingles. James Ferraro und Oneohtrix Point Never waren zwei Autoren elektronischer Listening-Musik der 2010er Jahre, die mit funktionaler Musik arbeiteten, mit den billigen Wegwerfklängen, die in der Regel von Profi-Komponisten mit MIDI-Synths produziert wurden. Dabei etablierten James Ferraro und Daniel Lopatin, wie Oneohtrix bürgerlich heisst, eiin Sampling Vokabular, das nicht aus den coolen Sounds von ehedem, sondern aus dem Zivilisationsschrott der Vergangenheit zusammen gezimmert wurde.
Trackliste: Seite A
1. Linden Dollars - 1:57
2. Global Lunch - 2:13
3. Dubai Dream Tone - 1:49
4. Sim - 2:53
5. Bags - 3:25
6. PIXARnia And The Future Of Norman Rockwell - 1:44
7. Palm Trees, Wi-Fi And Dream Sushi - 2:39
8. Fro Yo And Cellular Bits - 2:19
9. Google Poeises - 3:51
Seite B
1. Starbucks, Dr. Seussism, And While Your Mac Is Sleeping - 2:25
2. Adventures In Green Foot Printing - 3:28
3. Dream On - 3:07
4. Earth Minutes - 4:17
5. Tomorrow's Baby Of The Year - 1:49
6. Condo Pets - 3:31
7. Solar Panel Smile - 4:08
Alle Tracks: James Ferraro.
Besetzung: Performer: James Ferraro
; Copyright (c) Hippos In Tanks
; Phonographic Copyright (p) Hippos In Tanks
; Mastered At Dubplates & Mastering
; Pressed By GZ Digital Media
Jandek [>] [D]: Ready For The House [F]
Assoziierte Acts: The Units
Label und Katalognummer: Corwood Industries Corwood 0739
Produktion: Jandek
Veröffentlicht: 1978 (LP), 1999 (CD)
Genretags: Folk - Newfolk
Jandek benutzte für seinen ersten Release den Moniker The Units. Die Songs werden mit einer dissonant gestimmten Gitarre gespielt, wobei immer der selbe Akkord verwendet wird. Strategie: Reduktion auf ein Maximum an Ausdruckskraft. Historischer Bezugspunkt: Velvet Underground.
Trackliste: Seite A
1. Naked in the Afternoon - 4:51
2. First You Think Your Fortune's Lovely - 8:10
3. What Can I Say, What Can I Sing - 4:51
4. Show Me the Way, O Lord - 4:18
Seite B
1. Know Thy Self - 2:38
2. They Told Me About You - 4:33
3. Cave In on You - 4:26
4. They Told Me I Was A Fool - 5:08
5. European Jewel (Incomplete)- 4:56
Besetzung: Copyright (c) Corwood Industries
; Phonographic Copyright (p) Corwood Industries
Jóhann Jóhannsson [>] [D]: Fordlandia [F]
Label und Katalognummer: 4AD CAD 2812
Produktion: Jóhann Jóhannsson
Veröffentlicht: 2008 11 03
Genretags: Post-Millennial-Music - Digital-Underground - Neoklassik
Fordlândia
war ein Projekt des Autoproduzenten Henry Ford im brasilianischen Amazonas Gebiet. Weil Gummi für Autoreifen zu teuer in der Anschaffung war, denn die Briten hatten eine de facto Monopolstellung auf dem Weltmarkt, errichtete er mit Fordlândia eine eigene Kautschukplantage. Es war das Schulbeispiel für die vertikale Integration eines vorgelagerten Prozesses in der Wertschöpfungskette. 1928 wurde mitten im Amazonas eine Kleinstadt nach US-amerikanischem Vorbild gebaut, in der rund 8000 Arbeiter und ihre Familien leben konnten. Kautschuk wurde indes kaum produziert. Die amerikanischen Manager waren unfähig, mit den örtlichen Bedingungen zu wirtschaften. Die Arbeiter waren mit den Lebensbedingungen so unzufrieden, dass sie 1930 einen Aufstand machten, der von der brasilianischen Regierung niedergeschlagen wurde. Das Projekt ging als gescheiterter Modernismus in die Geschichte ein. Ab 1945 wurde synthetisierter Kautschuk für Autoreifen verwendet. Damals wurde Fordlândia von der Konzernleitung fallen gelassen und für $250'000 an Brasilien zurück verkauft. Investiert hatte das Unternehmen 25 Millionen Dollar!
Walt Disney drehte 1944 einen Film über die Plantage: The Amazon Awakens.
Die Musik von Jóhann Jóhannsson thematisiert diese Geschichte verfehlter Ambition und gescheiterter Utopie. Sie klingt mitfühlend, bringt eine gegenüber jenem modernen Projekt geradezu antithetische Bedachtsamkeit auf, arbeitet verwirrenderweise aber mit einem grossen Orchesterapparat – dem auf Filmmusik spezialisierten Prager Philharmonie Orchester und Chor (Filharmonici města Prahy) –, der als musikalisches Ausdrucksmittel selbst etwas wie ein Fordlândia erscheint.
Hier lassen sich vielleicht Parallelen ausmachen zu Fitzcarraldo, dem Film von Werner Herzog, der ebenfalls die Hybris eines Kautschukfabrikanten portraitiert, dessen Traum es ist, inmitten des Amazonas ein Opernhaus zu bauen, in dem der grosse Tenor Enrico Caruso auftreten soll. Auch dieser Film führt das Scheitern moderner, utopischer Pläne an der widerspenstigen vorgefundenen Realität und Natur vor. Auch dieser Film arbeitet dabei nicht mit bescheidenen Mitteln.
Als Zwischenspiele eingelagert sind ausserdem Stücke, welche die Geschichte von John 'Jack' Whiteside Parsons erzählen, einem Raketen-Ingenieur, der auch Okkultist, ein Schüler von Alesiter Crowley war. Als solcher trug er den Namen Frater Jopan 210. Er starb 1952 in seinem Labor als er sich selbst in die Luft sprengte. Die Tracks über Jopan oder Pan (die griechische Hirtengottheit, das Sinnbild der Natur) sind mit dem Streichquartett eingespielt, mit dem Jóhann Jóhannsson üblicherweise arbeitet.
Eine dritte Geschichte, die auf diesem Album in Musik umgesetzt wurde, ist diejenige von Burkhard Heim, der an einer «Theory of Everything» arbeitete und bei einem Labor-Unfall beide Hände verlor, Augen und Gehör.
Wie bei jedem Werk des isländischen Komponisten lassen sich Orchester, Soloinstrumente und Elektronik kaum unterscheiden. Alle instrumentellen Zutaten sind perfekt zu einem runden Klangbild integriert.
Fordlandia
gehört in eine Trilogie von Johannssons Werken, die sich mit der Hybris technoutopischer Projekte auseinandersetzt, zusammen mit IBM 1401, A User’s Manual und The Miners’ Hymns. Das Werk und diese Trilogie stellt sich in eine Tradition von (post-)minimalistischen Auseinandersetzungen mit der Moderne, zu der ausserdem The Sinking Of the Titanic von Gavin Bryars aus dem Jahr 1969 sowie die Kompositionen von Arvo Pärt gehören. Es sind Werke, die mit grüblerisch melancholischem Blick auf die moderne Vergangenheit zurück blicken.
Trackliste: 1. Fordlandia - 13:43
2. Melodia (i) - 1:56
3. The Rocket Builder (Io Pan!) - 6:25
4. Melodia (ii) - 1:49
5. Fordlandia - Aerial View - 4:33
6. Melodia (iii) - 3:12
7. Chimaerica - 3:23
8. Melodia (iv) - 2:45
9. The Great God Pan Is Dead - 4:56
10. Melodia (Guidelines For A Propulsion Device Based On Heim's Quantum Theory) - 9:04
11. How We Left Fordlandia - 15:25
Alle Tracks: Jóhann Jóhannsson.
Besetzung: Artwork By [Art Direction And Design]: Vaughan Oliver at v23
; Artwork By [Artwork Concept]: Jóhann Jóhannsson
; Artwork By [Design Assistance]: Chris Bigg, Stuart Munro
; Artwork By [Rocket Image Manipulation]: Marc Atkins
; Clarinet: Guðni Franzson (2, 4, 8)
; Concertmaster: Bohumil Kotmel (1, 9-11)
; Conductor: Miriam Nemcova (1, 9-11)
; Mastered By: Steve Rooke
; Mixed By: Finnur Hákonarsson, Jóhann Jóhannsson
; Orchestra, Choir: City Of Prague Philharmonic Orchestra And Chorus (1, 9-11)
; Orchestrated By: Jóhann Jóhannsson
; Other [Orchestra Contractor]: James Fitzpatrick
; Percussion, Electronics: Matthias M.D. Hemstock (3, 5, 10, 11)
; Piano, Organ [Pipe Organ, Electric Organ], Guitar, Electronics: Jóhann Jóhannsson
; Recorded By [Orchestra: Prague]: Jan Holzner
; Recorded By [Pipe Organ: Drammen]: Thomas Wolden
; Recorded By [Pipe Organ: Reykjavik]: Finnur Hákonarsson
; Recorded By [String Quartet: Reykjavik]: Finnur Hákonarsson
; Arranged By: Jóhann Jóhannsson
; Strings: Greta Guðmundsdóttir, Guðmundur Kristmundsson, Hrafnkell Orri Egilsson, Una Sveinbjarnardóttir (2, 5)
; Organ [Pipe Organ]: Guðmundur Sigurðsson (7)
; Recorded By [Storm Recordings]: BJ Nilsen (9)
; Orchestrated By: Arnar Bjarnason (10, 11)
Jean Michel Jarre [>] [D]: Oxygène I-VI [F]
Label und Katalognummer: Polydor 2933 207
Produktion: Jean Michel Jarre
Veröffentlicht: 1976 12 05
Genretags: Rock - Progrock - Electronicprog
Philip Sherburne schreibt in einer Pitchfork-Rezension zu Electronica 1: The Time Machine
(2015): «Von Oxygène
wird gesagt, dass es das bestverkaufte Album aller Zeiten aus Frankreich sei - es besteht aus musikalischen Fantasien, die mit Arpeggios den Weltraum evozieren, angesiedelt in der Mitte zwischen den kosmischen Synthtronica von Tangerine Dream und dem Technopop von Kraftwerk, immer gefährlich nahe am Kitsch» (frei übersetzt, CS).
Trackliste: Seite A
1. Oxygène (Part I) - 7:40
2. Oxygène (Part II) - 8:04
3. Oxygène (Part III) - 2:58
Seite B
1. Oxygène (Part IV) - 4:07
2. Oxygène (Part V) - 10:31
3. Oxygène (Part VI) - 6:19
Alle Tracks: Jean Michel Jarre.
Besetzung: Artwork By: Michel Granger
; Engineer [Assistant Mix]: Patrick Foulon
; Engineer [Mix]: Jean-Pierre Janiaud
; Photography: Davis Bailey
Jean Shepard [>] [D]: Songs Of A Love Affair [F]
Label und Katalognummer: Capital T 728
Produktion: Ken Nelson
Veröffentlicht: 1956
Genretags: Country - Honkytonk
«Songs of a Love Affair» wird oft als «erstes Konzeptalbum der Countrymusic« bezeichnet. Genau genommen handelt es sich um ein Thema-Album, das Songs über das Ende einer Ehe wegen einer Affaire des Mannes enthält.
Trackliste: Seite A
1. Passing Love Affair (Jack Rhodes, Jack Rollins)
2. Shadows on the Wall (Ronnie Badger, Tommy Reiff)
3. Girls in Disgrace (Mary McDaniel, Dan Welch)
4. Over and Over (McDaniel, Welch)
5. Hello Old Broken Heart (Audrey Allison, Joe Allison)
6. Tell Me What I Want to Hear (Gertrude Cox, Rhodes)
Seite B
1. The Mysteries of Life (Virgil F. Stewart)
2. I'll Thank You All My Life (Lucille Dean, Dick Reynolds)
3. Sad Singin' and Slow Ridin' (Curly Fox, Texas Ruby)
4. Did I Turn Down a Better Deal (Tommy Collins)
5. I Married You for Love (Rhodes)
6. It's Hard to Tell the Married from the Free (Don Helms, Gene Jackson)
Besetzung: Tommy Collins: guitar
; John Cuivello: drums
; Clarence Lee: bass
; Red Murrell: bass
; Fuzzy Owen: guitar
; Buck Owens: guitar
; Jelly Sanders: fiddle
; Jean Shepard: lead vocals
; Lewis Talley: guitar
; Bill Woods: leader, piano
Jeff Buckley [>] [D]: Sketches For My Sweetheart The Drunk [F]
Label und Katalognummer: Columbia C2K 67228
Produktion: Nicholas Hill & Tom Verlaine
Veröffentlicht: 1998 05 26
Genretags: Alternativerock - Lo-Fi-Rock - Singer-Songwriter
Compilation aus Demo-Aufnahmen, die für das zweite Album Jeff Buckleys entstanden sind. Wegen dem Unfalltod des jungen Musikers hören wir nur meist toll aufgenommene Demo-Tracks, mit denen er allerdings nicht zufrieden war. Unmittelbar bevor er mit seiner Band ins Studio wollte, um das Album einzuspielen, ertrank Jeff Buckleys im Wolf River. Diese Songs etablieren Buckleys im Feld von Alternativerock als neben Curt Cobain von Nirvana wichtigsten Songwriter seiner Zeit.
Trackliste: CD 1
1. The Sky Is a Landfill (Jeff Buckley, Michael Tighe) - 5:09
2. Everybody Here Wants You (Jeff Buckley) - 4:46
3. Opened Once (Jeff Buckley) - 3:29
4. Nightmares by the Sea (Jeff Buckley) - 3:53
5. Yard of Blonde Girls (Audrey Clark, Lori Kramer, Inger Lorre) - 4:07
6. Witches' Rave (Jeff Buckley)- 4:40
7. New Year's Prayer (Jeff Buckley) - 4:40
8. Morning Theft (Jeff Buckley)- 3:39
9. Vancouver (Jeff Buckley, Mick Grondahl, Michael Tighe) - 3:12
10. You and I (Jeff Buckley) - 5:39
CD 2
1. Nightmares by the Sea (Unmixed) - 3:49
2. New Year's Prayer (Unmixed) - 4:10
3. Haven't You Heard (Jeff Buckley) - 4:07
4. I Know We Could Be So Happy Baby (If We Wanted to Be) (Jeff Buckley) - 4:27
5. Murder Suicide Meteor Slave (Jeff Buckley) - 5:55
6. Back in N.Y.C. (Tony Banks, Phil Collins, Peter Gabriel, Steve Hackett, Mike Rutherford) - 7:37
7. Demon John (Jeff Buckley, Michael Tighe) - 5:13
8. Your Flesh Is So Nice (Jeff Buckley) - 3:37
9. Jewel Box (Jeff Buckley) - 3:37
10. Satisfied Mind (Red Hayes, Jack Rhodes) - 6:00
Bonustrack
1. Gunshot Glitter - 5:36
Besetzung: Bass: Mick Grondahl
; Drums: Eric Edel (1-1, 1-8, 1-9)
; Drums: Parker Kindred (1-2 to 1-7, 1-10 to 2-10)
; Guitar: Michael Tighe
; Mixing: Andy Wallace (1-1 to 1-9, 2-1 to 2-10)
; Mixing: Tom Verlaine (1-10)
; Voice, Guitar: Jeff Buckley
; Phonographic Copyright (p) Sony Music Entertainment Inc.
; Copyright (c) Sony Music Entertainment Inc.
; Manufactured By Columbia Records
Jeremy Dutcher [>] [D]: Wolastoqiyik Lintuwakonawa [F]
Label und Katalognummer: Jeremy Dutcher JD 003
Produktion: Bufflo
Veröffentlicht: 2018 04 06
Genretags: Akademica - Crossover - Folklore-Crossover
Jeremy Dutcher kommt aus der Welt der klassischen Musik, ist ausgebildeter Tenor und Pianist. Er spricht die indigene Sprache Wolastoq, oder Maliseet, die von einer nativen Gemeinschaft von etwa 600 Personen in Kanada gesprochen wird. Das Album besteht aus Bearbeitungen von Archivaufnahmen der Musik dieses Volkes, das lange Zeit diskrimieniert wurde.
Trackliste: 1. Mehcinut - 4:47
2. Essuwonike - 5:43
3. Eqpahak - 3:05
4. Ultestakon - 3:41
5. 'kotuwossomikhal - 1:59
6. Sakomawit - 3:32
7. Oqiton - 3:51
8. Nipuwoltin - 2:10
9. Pomok naka Poktoinskwes - 6:10
10. Qonute - 3:34
11. Koselwintuwakon - 2:48
Alle Tracks: Jeremy Dutcher.
Besetzung: Art Direction [Cover]: Kent Monkman
; Cello: Ian Gibbons
; Cello: Justin Wright
; Double Bass: Alex K.S.
; Electronics: Devon Bate
; Fiddle: Sierra Noble
; Layout: Chris Hadzipetros
; Mastering: Jonathan Kaspy
; Mixing: Pascal Shefteshy
; Percussion: Brandon Valdivia
; Photography: Matt Barnes
; Piano, Vocals, Producer, Art Direction [Cover]: Jeremy Dutcher
; Soprano Vocals: Teiya Kasahara
; Viola: Lucas Blekeberg
; Violin: Kate Maloney
; Violin: Taylor Miltz
Jethro Tull [>] [D]: Stand Up [F]
Label und Katalognummer: Island ILPS 9103
Produktion: Ian Anderson & Terry Ellis
Veröffentlicht: 1969 08 01
Genretags: Rock - Progrock
«We Used to Know» muss wohl inspirierend auf die Eagles gewirkt haben, als sie den Song Hotel California
schrieben (selbe Akkordfolgen). Die beiden Bands tourten damals zusammen.
Trackliste: Seite A
1. A New Day Yesterday - 4:10
2. Jeffrey Goes To Leicester Square - 2:12
3. Bourée (J. S. Bach arr. Jethro Tull) - 3:46
4. Back To The Family - 3:48
5. Look Into The Sun - 4:20
Seite B
1. Nothing Is Easy - 4:25
2. Fat Man - 2:52
3. We Used To Know - 3:59
4. Reasons For Waiting - 4:05
5. For A Thousand Mothers - 4:13
Bonustracks auf der Remaster Ausgabe:
1..Living In The Past - 3:23
2. Driving Song - 2:44
3. Sweet Dream - 4:05 4. 17 (Bonus) - 3:07
Alle Tracks: Ian Anderson, ausser wo anders vermerkt.
Besetzung: Arranged [Strings], Conductor [Strings]: David Palmer (B4)
; Artwork: Jimmy Grashow
; Artwork [Woodcuts]: Jimmy Grashow
; Bass Guitar: Glenn Cornick
; Cover [Based On Ideas From]: John Williams
; Cover [Based On Ideas From]: Terry Ellis
; Drums, Percussion [All Manner Of]: Clive Bunker
; Electric Guitar: Martin Barre
; Engineer: Andy Johns
; Flute: Martin Barre (A2, B4)
; Flute, Acoustic Guitar, Organ [Hammond], Piano, Mandolin, Balalaika, Harmonica [Mouth Organ], Vocals: Ian Anderson
; Printed By E.J. Day Group
; Made By E.J. Day Group
; Published By Chrysalis Music
; Recorded At Morgan Studios
Jethro Tull [>] [D]: Too Old To Rock'n'Roll: Too Young To Die! [F]
Label und Katalognummer: Chrysalis CHR 1111
Produktion: Ian Anderson
Veröffentlicht: 1976 04 23 (UK), 1976 05 17 (US)
Genretags: Rock - Progrock
Konzeptalbum, das die Geschichte eines alten Rock 'n' Rollers erzählt, der nach einem Motorradunfall feststellen darf, dass seine Musik wieder populär geworden ist. Diese Storyline wird auch mittels Comix im Cover ins Bild gesetzt.
Dieses Album verkaufte sich vergleichsweise zum restlichen Katalog der Band sehr schlecht. Es läutet die eher folkige Phase der Band ein.
Trackliste: Seite A
1. Quizz Kid - 5:09
2. Crazed Institution - 4:48
3. Salamander - 2:51
4. Taxi Grab - 3:54
5. From A Dead Beat To An Old Greaser - 4:09
Seite B
1. Bad-Eyed 'N' Loveless - 2:12
2. Big Dipper - 3:35
3. Too Old to Rock And Roll, Too Young to Die - 5:44
4. Pied Piper - 4:32
5. The Chequered Flag (Dead Or Alive) - 5:32
Alle Tracks: Ian Anderson.
Besetzung: Artwork By [Sleeve Design & Illustration]: David Gibbons, Michael Farrell
; Bass, Vocals: John Glascock
; Drums, Percussion: Barriemore Barlow
; Engineer: Robin Black
; Engineer [Assistant]: Peter Smith, Trevor White
; Guitar: Martin Barre
; Piano: John Evan
; Vocals, Acoustic Guitar, Flute, Guitar, Harmonica, Percussion: Ian Anderson
; Vocals [Who Sang On]: Angela Allen (A2)
; Orchestra [Additional Conducting & Arranging], Keyboards [Vako Orchestron], Saxophone [The Late Night Solo]: David Palmer (A5)
; Vocals: Maddy Prior (B3)
; Vocals: Angela Allen (B4)
John Cale [>] [D] & Terry Riley [>] [D]: Church Of Anthrax [F]
Label und Katalognummer: Columbia CS 30131
Produktion: John Cale & John McClure
Veröffentlicht: 1971 02 10
Genretags: Rock - Artrock, Akademica - Minimalismus
Diese LP ist eine der seltenen Kollaborationen zwischen Vertretern der Rock- und der Minimalmusic. Die fünf Stücke dieses Albums wurden mehr als ein Jahr vor dem Veröffentlichungsdatum aufgenommen, zu einer Zeit, als es von John Cale ausser den Alben mit Velvet Underground noch keine Solo-Arbeiten gab. Differenzen waren wohl der Grund für die Verzögerung mit der Veröffentlichung von Church Of Anthrax
. Die beiden Musiker gerieten sich in die Haare, als es um die Abmischung der Tracks ging. Riley soll am Ende erzürnt das Studio verlassen haben.
Das Cover zeigt dann folgerichtig John Cale, der im Puppenhaus wohnt, und zwar in drei Räumen, während Terry Riley lediglich als Popart-Print in zwei Räumen an der Wand hängt.
Das Titelstück Church Of Anthrax
besteht aus dicht ineinander verwobenen Ton-Mustern («patterns») und wird von einem Rockbeat vorwärts getrieben. Wüsste man nicht, wer hier musiziert, man würde denken, es sei eine Krautrock-Band. The Soul Of Patrick Lee
ist eine Song-Komposition, die mit den besten Stücken des frühen John Cale mithalten kann. Ides Of March
und The Protege
klingen eher nach Terry Riley als nach John Cale. The Hall Of Mirrors In The Palace At Versailles
fällt gegenüber den anderen Stücken etwas ab. Der Track mutet an, als wäre er beiläufig als Jamsession eingespielt, ein Filler-Track.
Die LP als Ganzes wirkt uneinheitlich und unausgegoren, wobei aber einzelne Stücke durchaus grossen Charme haben. So wird man als Hörer/-in eher auf diese einzelnen Höhepunkte zugreifen wollen als die gesamte Platte durchzuhören. Vor allem die ersten neun Minuten des Albums sind fantastisch!
Trackliste: Seite A
1. Church Of Anthrax - 9:00
2. The Hall Of Mirrors In The Palace At Versailles - 7:55
Seite B
1. The Soul Of Patrick Lee (John Cale) - 2:47
2. Ides Of March - 11:03
3. The Protege - 2:47
Alle Tracks: John Cale und Terry Riley, ausser wo anders vermerkt.
Besetzung: Bass, Harpsichord, Piano, Keyboards, Guitar, Viola, Organ, Liner Notes: John Cale
; Piano, Organ, Soprano Saxophone: Terry Riley
; Drums [Uncredited]: Bobby Colomby, Bobby Gregg, David Rosenboom
; Vocals: Adam Miller (B1)
; Engineer: Don Meehan
; Design [Cover]: John Berg, Richard Mantel
; Artwork [Cover Art]: Kim Whitesides
; Photography: Don Hunstein
; Copyright (c) Warner Bros. Music Ltd.
; Published By Warner Bros. Music Ltd.
; Printed By Shorewood Packaging Co. Ltd.
John Mayall [>] [D]: Blues From Laurel Canyon [F]
Assoziierte Acts: Mick Taylor
Label und Katalognummer: Decca SKL 4972, Decca 984 083-9
Produktion: John Mayall & Mike Vernon
Veröffentlicht: 1968 12, 2007 (Reed.)
Genretags: Blues - Urbanblues, Rock - Bluesrock
Blues From Laurel Canyon
ist nach Bare
ein weiteres psychedelisches Album von John Mayall, der nach Los Angeles in den Laurel Canyon zieht. Bevor er sich dort ein eigenes Haus kaufte, genoss er die Gastfreundschaft von Frank Zappa. John Mayall wird bis Mitte 90er Jahre im Canyon leben.Wir
es
Trackliste: Seite A
1. Vacation - 2:47
2. Walking On Sunset - 2:50
3. Laurel Canyon Home - 4:33
4. 2401 - 3:42
5. Ready To Ride - 3:32
6. Medicine Man - 2:43
7. Somebody's Acting Like A Child - 3:27
Seite B
1. The Bear - 4:40
2. Miss James - 2:30
3. First Time Alone - 4:49
4. Long Gone Midnight - 3:27
5. Fly Tomorrow - 8:59
Bonustracks der CD Ausgabe von 2007
1. 2401 {Single Version} - 3:56
2. Wish You Where Here {Live in Schweden} - 8:36
Alle Tracks: John Mayall.
Besetzung: Bass: Stephen Thompson
; Drums: Colin Allen
; Engineer: Derek Varnals
; Guitar: Mick Taylor, Peter Green (B3)
; Vocals, Harmonica, Organ, Guitar: John Mayall
John Mayall And The Bluesbreakers [>] [D] & Eric Clapton [>] [D]: Blues Breakers With Eric Clapton [F]
Assoziierte Acts: John Mayall
Label und Katalognummer: Decca LK 4804
Produktion: Mike Vernon
Veröffentlicht: 1966 07 22
Genretags: Rock - Bluesrock - British-Bluesrock
Blues Breakers with Eric Clapton
ist die einzige Studio-Platte der Band mit Eric Clapton und eine äusserst wichtige Veröffentlichung, das Gründungsdokument des britischen weissen Blues; eine der ersten Bluesrock-Platten überhaupt und damit auch eine der ersten Rock-Platten überhaupt.
«Britischer Blues» ist der bessere Begriff als «weisser Blues», weil es weissen Blues auch in den USA gegeben hat, z.B. die Paul Butterfield Blues Band oder The Blues Project.
Als Produzent fungiert Mike Vernon, der dutzende Britische Bluesplatten produzieren wird.
Trackliste: Seite A
1. All Your Love (Willie Dixon, Otis Rush) - 3:36
2. Hideaway (Freddie King, Sonny Thompson) - 3:17
3. Little Girl - 2:37
4. Another Man - 1:45
5. Double Crossing Time (Clapton, Mayall) - 3:04
6. What'd I Say - (Ray Charles) - 4:29
Seite B
1. Key To Love - 2:09
2. Parchman Farm (Mose Allison) - 2:24
3. Have You Heard - 5:56
4. Ramblin' On My Mind (Robert Johnson, Traditional) - 3:10
5. Steppin' Out (James Bracken) - 2:30
6. It Ain't Right (Little Walter) - 2:42
Alle Tracks: John Mayall, ausser wo anders vermerkt.
Besetzung: Bass: John McVie
; Drums: Hughie Flint (A1-3, A6, B6)
; Engineer: Gus Dudgeon
; Guitar: Eric Clapton
; Harmonica, Organ, Piano, Vocals: John Mayall
; Saxophone Baritone: Johnny Almond (A5, B1, B3, B5)
; Saxophone Tenor: Alan Skidmore (B1, B3, B5)
; Trumpet: Dennis Healey (B1, B3, B5)
John Mayall's Bluesbreakers [>] [D]: Bare Wires [F]
Assoziierte Acts: John Mayall & Mick Taylor
Label und Katalognummer: Decca SKL 4945, Decca 984 217
Produktion: Mike Vernon
Veröffentlicht: 1968 06 21, 2007 09 03 (Reed.)
Genretags: Rock - Bluesrock - British-Bluesrock
Bare
hat ein psychedelisch anmutendes Cover: die flüssig gewundene Schrift (vergleiche andere psychedelische Schriften) und die Kaleidoskop-artige Bildmontage. Die Musik ist weniger psychedelisch als das Cover es suggeriert, doch die Suite auf der A-Seite der LP ist schon ein anerkennendes Kopfnicken von Mayall gegenüber dem damals progressiven psychedelischen Bluesrock.Wir
es
Trackliste: Seite A
1. a) Bare Wir
es - 1:48, b) Where Did I Belong - 3:10, c) Start Walking - 2:05, d) Open a New Door - 3:07, e) Fire - 3:10, f) Know You - 5:19, g) Look in the Mirror - 3:56
Seite B
1. I'm a Stranger - 5:11
2. No Reply (John Mayall, Mick Taylor) - 3:07
3. Hartly Quits - 2:53
4. Killing Time - 4:45
5. She's Too Young (John Mayall, Mick Taylor) - 2:20
6. Sandy - 3:45
Bonustracks der CD Ausgabe von 2007
1. Picture on the Wall - 3:03
2. Jenny - 4:40
3. Knocker's Step Forward - 3:13
4. Hide and Seek - 2:23
5. Intro - Look at the Girl - 6:46
6. Start Walkin' - 8:23
Alle Tracks: John Mayall
Besetzung: Cornet, Violin: Henry Lowther
; Double Bass [String Bass], Bass Guitar: Tony Reeves
; Drums, Percussion: Jon Hiseman
; Engineer: Derek Varnals
; Guitar, Acoustic Guitar [Hawaiian]: Mick Taylor
; Photography: Pete Smith
; Photography [Inside Color Photo]: Jan Persson
; Tenor Saxophone, Baritone Saxophone: Chris Mercer
; Tenor Saxophone, Soprano Saxophone: Dick Heckstall-Smith
; Vocals, Harmonica, Piano, Harpsichord, Organ, Harmonium, Guitar [Assorted], Producer, Artwork, Design: John Mayall
; Recorded At Decca Studios
Johnny Cash [>] [D]: At Folsom Prison [F]
Label und Katalognummer: Columbia CS 9639
Produktion: Bob Johnston
Veröffentlicht: 1968 05 (Ed.), 1968 01 13 (Rec.)
Genretags: Country - Autorencountry - Songster, Country - Autorencountry - Outlawcountry
Das erste von Johnny Cashs weltberühmt gewordenen Gefängnis Konzerten. (Das zweite wird 1969 in St. Quentin aufgezeichnet.) Dieses Album ist das Gründungsdokument der Outlaw Country Music. Man hört Cash zu, wie er diese vertraute Beziehung zu den 2000 Häftlingen herzustellen vermag. Der Mann und die Songs, die er für dieses Konzert ausgesucht hat, sind wie aus dem Leben der Beteiligten geschnitten oder umgekehrt.
Michael Streissguth hat ein Buch zum Album geschrieben: Johnny Cash At Folsom Prison. Die Geschichte eines Meisterwerks.
Man kann einen Zusammenhang sehen zwischen diesem Album und dem Comeback Album von Elvis Presley, From Elvis In Memphis, das ein Jahr später herauskam. Beide markieren einen Karriere-Neustart. für die ursprünglichen Labelkollegen bei Sun Records. Das neu angezündete Feuer hielt bei Cash länger an als bei Presley.
Das Album kann als das Gründungsdokument der Outlaw Country Bewegung gesehen werden. Johnny Cash schafft (in den handgeschriebenen Linernotes) die Legende, dass er selbst im Gefängnis gesessen habe und folglich einer von seinem Publikum sei. Wahr davon ist nur, dass er ein paar Mal die Nacht in einer Ausnüchterungszelle verbracht hat. Bei David Allan Coe ging die Identifikation so weit, dass er von sich behauptete, er sei für einen Mord gesessen.
Trackliste: Seite A
1. Folsom Prison Blues (J. Cash) - 1:42
2. Dark as a Dungeon (M. Travis) - 3:04
3. I Still Miss Someone (J. Cash - R. Cash, Jr.) - 1:38
4. Cocaine Blues (T. J. Arnall) - 3:01
5. 25 Minutes to Go (S. Silverstein) - 3:31
6. Orange Blossom Special (E. T. Rouse) - 3:06
7. The Long Black Veil (Wilkin, D. Dill) - 3:58
Seite B
1. Send a Picture of Mother (J. Cash) - 2:05
2. The Wall (H. Howard) - 1:36
3. Dirty Old Egg-Suckin' Dog (J. H. Clement) - 1:30
4. Flushed From the Bathroom of Your Heart (J. H. Clement) - 2:05
5. Jackson (with June Carter Cash) (B. Wheeler - J. Lieber) - 3:12
6. Give My Love to Rose (with June Carter Cash) (J. Cash) - 2:43
7. I Got Stripes (duet with June Carter) (J. Cash, C. Williams) - 1:52
8. Green, Green Grass of Home (C. Putman) - 2:13
9. Greystone Chapel (Glen Sherley) - 6:02
CD Ausgabe
1. Folsom Prison Blues (J. Cash) - 1:42
2. Busted (H. Howard) - 1:25
3. Dark as a Dungeon (M. Travis) - 3:04
4. I Still Miss Someone (J. Cash - R. Cash, Jr.) - 1:38
5. Cocaine Blues (T. J. Arnall) - 3:01
6. 25 Minutes to Go (S. Silverstein) - 3:31
7. Orange Blossom Special (E. T. Rouse) - 3:06
8. The Long Black Veil (Wilkin - D. Dill) - 3:58
9. Send a Picture of Mother (J. Cash) - 2:05
10. The Wall (H. Howard) - 1:36
11. Dirty Old Egg-Suckin' Dog (J. H. Clement) - 1:30
12. Flushed From the Bathroom of Your Heart (J. H. Clement) - 2:05
13. Joe Bean (B. Freeman - L. Pober) - 3:05
14. Jackson (duet with June Carter) (B. Wheeler - J. Lieber) - 3:12
15. Give My Love to Rose (J. Cash) - 2:43
16. I Got Stripes (duet with June Carter) (J. Cash - C. Williams) - 1:52
17. The Legend of John Henry's Hammer (J. Cash - J. Carter) - 7:08
18. Green, Green Grass of Home (C. Putman) - 2:13
19. Greystone Chapel (Glen Sherley) - 6:02
Besetzung: Johnny Cash: vocal, guitar, harmonica
; June Carter: vocal
; Carter Family: vocals
; Marshall Grant: bass guitar
; W.S. Holland: drums
; Carl Perkins: electric guitar
; Luther Perkins: electric guitar
; The Statler Brothers: vocals
; Producer: Bob Johnston (Orig.), Bob Irwin (Reed.)
Johnny Cash [>] [D]: Songs Of Our Soil [F]
Label und Katalognummer: Columbia CS 8148, Columbia/Legacy 509412
Produktion: Don Law & Al Quaglieri
Veröffentlicht: 1959 09, 2002 08 27 (Reed.)
Genretags: Country - Countrypop, Country - Autorencountry - Songster
Das Album-Format wird hier für eine Sammlung von zwölf Liedern benutzt, die man dem amerikanischen Süden zuordnen kann. Pure Americana! Ein Teil davon sind Eigenkompositionen, ein Teil Covers oder Traditionals. Es ist kein Single-Hit enthalten. Das Album wird damit zu eigenständigen Kunstform. Die Lieder sind hervorragende kleine Song-Dramen. Ein Lied über eine Uhr, die stehen bleibt, wenn ihr Besitzer stirbt. Rosen, die gepflanzt werden, um das karge Leben zu verschönern, das Wasser des Missisippi, das mit jeder Strophe einen Fuss steigt, bis die Familie ihre Farm verlassen muss. Aus solchen Stoffen ist das Album gestrickt. Auch ein kleines Lehrstück über das Mitgefühl ist enthalten. Der Tod als Motiv oder Thema ist omnipräsent und drückend. Er macht das Album zu einem frühen Stück Southern Goth, allerdings frei von jeder postmodernen Ironie.
Trackliste: Seite A
1. Drink to Me - 1:54
2. Five Feet High and Rising - 1:46
3. The Man on the Hill - 2:09
4. Hank and Joe and Me - 2:13
5. Clementine (Billy Mize, Buddy Mize) - 2:30
6. Great Speckled Bird (Traditional) - 2:09
Seite B
1. I Want to Go Home - 1:58
2. The Caretaker - 2:06
3. Old Apache Squaw - 1:46
4. Don't Step on Mother's Roses - 2:34
5. My Grandfather's Clock (Traditional) - 2:45
6. It Could Be You (Instead of Him) (Vic McAlpin) - 1:50
Bonustrack der CD Ausgabe von 2002
1. I Got Stripes (Cash, Charlie Williams) - 2:05
2. You Dreamer You - 1:49
Alle Tracks: Johnny Cash, ausser wo anders vermerkt.
Besetzung: Johnny Cash: Arranger, Guitar, Vocals, Main Performer
; Al Casey: Guitar
; Luther Perkins: Electric Guitar
; Marshall Grant: Bass guitar
; Marvin Hughes: Piano
; Morris Palmer: Drums
; Don Law: Original Recording Producer
; Al Quaglieri: Reissue Producer
; Seth Foster: Engineer
; Mark Wilder: Mastering, Mixing
; Billy Altman: Liner Notes
; Don Hunstein: Photography
; Steven Berkowitz: A&R
; Howard Fritzson: Art Direction
; Randall Martin: Design
; John Christiana: Packaging Manager
Johnny Cash [>] [D]: Orange Blossom Special [F]
Label und Katalognummer: Columbia CS 9109
Produktion: Frank Jones & Don Law
Veröffentlicht: 1965 02, 2002 03 19 (Reed.)
Genretags: Country - Countryfolk
Songsammlung ohne erkennbares Thema. Nicht weniger als drei Lieder stammen aus Bob Dylans Feder. An dieser Präferenz zeigt sich, was in vier Jahren virulent werden wird: Johnny Cash macht sich im Rahmen der Country Musik zum Anwalt der neuen Generation von Rock Singer-Songwritern, die der Gegenkultur der 60er Jahre zugerechnet werden.
Trackliste: Seite A
1. Orange Blossom Special (Ervin T. Rouse) - 3:06
2. Long Black Veil (Marijohn Wilkin, Danny Dill) - 3:06
3. It Ain't Me Babe (Bob Dylan) - 3:03
4. The Wall (Harlan Howard) - 2:09
5. Don't Think Twice, It's All Right (Dylan) - 2:56
6. You Wild Colorado (Cash) - 1:45
Seite B
1. Mama, You've Been on My Mind (Dylan) - 3:02
2. When It's Springtime in Alaska (Tillman Franks) - 2:36
3. All of God's Children Ain't Free (Cash) - 2:11
4. Danny Boy (Frederick Weatherly) - 5:08
5. Wildwood Flower (A.P. Carter) - 2:10
6. Amen (Jester Hairston) - 2:05
Bonustracks der CD Ausgabe von 2002
1. Engine 143 (unknown/A.P. Carter) - 3:31
2. (I'm Proud) The Baby is Mine (Cash) - 2:30
3. Mama, You've Been on My Mind (Dylan) - 2:54
Besetzung: Johnny Cash: Vocals, Guitar
; June Carter: Vocals
; Luther Perkins, Norman Blake, Ray Edenton: Guitar
; Marshall Grant: Bass
; W.S. Holland: Drums
; Bill Pursell: Piano
; Charlie McCoy: Harmonica
; Bill McElhiney, Karl Garvin: Trumpet
; Boots Randolph: Saxophone
Johnny Cash [>] [D]: Ride This Train. A Stirring Travelogue of America in Song and Story [F]
Label und Katalognummer: Columbia CS 8255
Produktion: Don Law
Veröffentlicht: 1960 09
Genretags: Country - Autorencountry - Songster
Hier nimmt Johnny Cash die Machart des 1947er Albums von Merle Travis auf, Folk Songs from The Hills, und leitet die Songs ein oder erzählt zwischen den einzelnen Liedern Geschichten. Das Thema-Album bildet so den Bericht einer imaginierten Reise durch Amerika. Natürlich ist das Eröffnungsstück ein Cover von Merle Travis.
Die Zwischenstücke sind unterlegt mit den Fahrgeräuschen eines Zugs. Auf diese Weise entsteht der Eindruck als würden Geschichten und Lieder von einem Hobo erzählt und gesungen. Der Hobo-Erzähler ist identisch mit dem Erzähler in den Songs. Er wechselt also die Gestalt von Song zu Song. Jede Geschichte ist mit einem bestimmten Ort assoziiert. Hier fährt der Zug hin, hier wird aus dem Leben der Figuren erzählt, die, die amerikanische Geschichte lebten: Die Einwanderer, die Pioniere, die Deportierten, die Outlaws, die Chaingangs, die Lumberjacks, Farmer und Miner. Wie von einem indianischen Geist, der über den Orten mit seltsam klingenden Namen schwebt, sind diese Figuren an ihren Ort und an ihr Schicksal gebunden.
Trackliste: Seite A
1. Loading Coal (Merle Travis) - 4:58
2. Slow Rider - 4:12
3. Lumberjack (Leon Payne) - 3:02
4. Dorraine of Ponchartrain - 4:47
Seite B
1. Going to Memphis (Cash, Hollie Dew, Alan Lomax) - 4:26
2. When Papa Played the Dobro - 2:55
3. Boss Jack (Tex Ritter) - 3:50
4. Old Doc Brown (Red Foley) - 4:10
Bonustracks der CD Ausgabe von
1. The Fable of Willie Brown - 1:57
2. Second Honeymoon (Autry Inman) - 1:57
3. Ballad of the Harp Weaver (Thelma Moore, Edna Millay) - 3:50
4. Smiling Bill McCall - 2:06
Alle Tracks: Johnny Cash, ausser wo anders vermerkt.
Besetzung: Johnny Cash: Guitar, Liner Notes, Vocals
; Luther Perkins: Guitar
; Johnny Western: Guitar
; Shot Jackson: Dobro, Guitar (Steel)
; Marshall Grant: Bass
; Gordon Terry: Fiddle
; Floyd Cramer: Piano
; Buddy Harman: Drums
; Al Quaglieri: Reissue Producer
; Seth Foster: Mastering
; Mark Wilder: Mastering, Mixing
; Stacey Boyle: Tape Research
; Matt Kelly: Tape Research
; Kay Smith: Tape Research
; Arthur Levy: Liner Notes
; Darren Salmieri: A&R
; Steven Berkowitz: A&R
; Patti Matheny: A&R
; Howard Fritzson: Art Direction
; Alan Lomax: Adaptation, Arranger
; Randall Martin: Design
; Don Hunstein: Photography
; Nick Shaffran: Series Consultant
; Dick Miller: CD Art Adaptation
Johnny Cash [>] [D]: Cash Unearthed [F]
Label und Katalognummer: American Recordings 986 133
Produktion: Rick Rubin
Veröffentlicht: 2003 11 25 (Ed.)
Genretags: Country - Autorencountry - Songster
CD 1–3: Outtakes und Alternate Versions aus den American Sessions. Die Songs der CD 2 sind Kollaborationen und mit anderen Musikern zusammen aufgenommen (z.B. mit den Heartbreakers oder den Chili Peppers. CD 4: Hymnen, die seine Mutter ihm beibrachte (siehe auch ), CD 5: Best of aus den American Recordings. Das Box Set wirkt etwas zusammengewürfelt. Es kam zwei Monate nach dem Tod des Sängers heraus. Das extensive Booklet kommt mit den Hintergründen zu den American Sessions (Text von Sylvie Simmons) und mit Annotationen zu jedem Song.
Trackliste: CD 1: Who's Gonna Cry
1. Long Black Veil - 3:15
2. Flesh And Blood - 2:30
3. Just The Other Side Of Nowhere - 3:19
4. If I Give My Soul - 3:02
5. Understand Your Man - 2:06
6. Banks Of The Ohio - 4:08
7. Two Timin' Woman - 2:06
8. The Caretaker - 1:55
9. Old Chunk Of Coal - 1:54
10. I'm Going To Memphis - 2:40
11. Breaking Bread - 2:49
12. Waiting For A Train - 1:47
13. Casey's Last Ride - 3:21
14. No Earthly Good - 2:44
15. The Fourth Man In The Fire - 2:48
16. Dark As A Dungeon - 3:01
17. Book Review - 2:08
18. Down There By The Train (Alternate Take) - 5:49
CD 2: Trouble In Mind
1. Pocahontas - 3:44
2. I'm A Drifter (Version One) - 3:50
3. Trouble In Mind - 3:32
4. Down The Line - 2:38
5. I'm Movin' On - 2:55
6. As Long As The Grass Shall Grow (feat. June Carter Cash) - 4:22
7. Heart Of Gold (feat. Red Hot Chili Peppers) - 3:02
8. The Running Kind (feat. Tom Petty) - 3:12
9. Everybody's Trying To Be My Baby - 2:12
10. Brown-Eyed Handsome Man (feat. Carl Perkins) - 2:21
11. 'T' For Texas - 3:39
12. Devil's Right Hand - 2:33
13. I'm A Drifter (Version 2) - 3:45
14. Like A Soldier (feat. Willie Nelson) - 2:55
15. Drive On (Alternate Lyrics) - 2:24
16. Bird On A Wir
e (Live With Orchestra) - 5:12
CD 3: Redemption Songs
1. A Singer Of Songs - 2:49
2. The L & N Don't Stop Here Anymore - 3:13
3. Redemption Song (feat. Joe Strummer) - 3:28
4. Father And Son (feat. Fiona Apple) - 2:50
5. Chattanooga Sugar Babe - 3:17
6. He Stopped Loving Her Today - 2:37
7. Hard Times - 4:02
8. Wichita Lineman - 3:03
9. Cindy (feat. Nick Cave) - 2:53
10. Big Iron - 3:52
11. Salty Dog - 2:26
12. Gentle On My Mind (feat. Glen Campbell) - 3:25
13. You Are My Sunshine - 3:18
14. You'll Never Walk Alone - 2:59
15. The Man Comes Around (Early Take) - 3:50
CD 4: My Mother's Hymn Book
1. Where We'll Never Grow Old - 3:31
2. I Shall Not Be Moved - 2:41
3. I Am A Pilgrim - 2:28
4. Do Lord - 2:13
5. When The Roll Is Called Up Yonder - 1:36
6. If We Never Meet Again This Side Of Heaven - 2:31
7. I'll Fly Away - 1:54
8. Where The Soul Of Man Never Dies - 2:16
9. Let The Lower Lights Be Burning - 3:14
10. When He Reached Down - 2:14
11. In The Sweet By And By - 2:25
12. I'm Bound For The Promised Land - 2:15
13. In The Garden - 3:18
14. Softly And Tenderly - 3:17
15. Just As I Am - 2:38
CD 5: Best Of Cash On American
1. Delia's Gone - 2:20
2. Bird On A Wir
e - 4:04
3. Thirteen - 3:23
4. Rowboat - 3:45
5. The One Rose - 2:28
6. Rusty Cage - 2:50
7. Southern Accents - 4:43
8. Mercy Seat - 4:36
9. Solitary Man - 2:26
10. Wayfaring Stranger - 3:22
11. One - 3:53
12. Hung My Head - 3:52
13. The Man Comes Around - 4:30
14. We'll Meet Again - 2:58
15. Hurt - 3:37
Besetzung: Executive-Producer: John Carter Cash
; Martyn Atkins: Photography
; Johnny Ray Bartel: Performer
; Bill Bateman: Performer
; Norman Blake: Performer
; Thom Bresh: Performer
; Lester Bulter: Performer
; Mike Campbell: Performer
; Christine Cano: Art Direction, Design, Photography
; John Carter Cash: Adaptation, Arranger, Associate Producer, Engineer, Performer
; John R. Cash: Adaptation, Arranger
; Laura Cash: Performer
; Lindsay Chase: Production Coordination
; Jack Clement: Performer
; Sheryl Crow: Performer
; Richard Dodd: Engineer
; Andy Earl: Photography
; Howie Epstein: Performer
; David Ferguson: Engineer, Mixing, Performer
; Steve Ferrone: Performer
; Greg Fidelman: Mixing, Performer
; Flea: Performer
; John Frusciante: Performer
; Terry Harrington: Performer
; Smokey Hormel: Performer
; Rami Jaffee: Performer
; Steven Kadison: Assistant
; Roger Joseph Manning, Jr.: Performer
; Sylvia Massy: Engineer, Mixing
; Vlado Meller: Mastering
; Tom Morello: Performer
; Carl Perkins: Performer
; Larry Perkins: Performer
; Juliet Prater: Performer
; David Roe: Performer
; Thom Russo: Engineer
; D. Sardy: Engineer, Mixing, Performer
; Andrew Scheps: Engineer
; David Schiffman: Engineer
; Jim Scott: Mixing
; Randy Scruggs: Performer
; Sylvie Simmons: Interviewer, Text
; Paul \'The Kid\' Size: Performer
; Chad Smith: Performer
; Marty Stuart: Performer
; Benmont Tench: Performer
; Jimmy Tittle: Performer
; Chuck Turner: Engineer
Johnny Cash [>] [D]: Bitter Tears: Ballads of The American Indian [F]
Label und Katalognummer: Columbia CS 9048
Produktion: Frank Jones & Don Law
Veröffentlicht: 1964 10 01
Genretags: Americana - Nativemusic, Country - Countryfolk
Eines der wichtigsten und besten Thema-Alben von Johnny Cash in seiner frühen Columbia-Phase war Bitter Tears: Ballads of The American Indian
. Auf diesem Album macht sich der Sänger zur Stimme der Nordamerikanischen Ureinwohnerinnen und Ureinwohner. Das festigt seinen Ruf als glaubwürdiger Künstler. Die Songs trägt er teilweise mit wütender, anklagender und besonders tiefer Stimme vor. Die amerikanische Regierung bezichtigt er des Diebstahls und des Vertragsbruchs. Musikalisch hält Cash zu seiner Begleitband Tennessee Three und der Carter Family als Begleit-Chor, aber die Musik klingt eher nach Folk als nach Country. Teilweise wird sie mit indianischen Instrumenten eingespielt, Trommeln vor allem. Auch der Gesangsstil, z.B. vom traurigen «The Vanishing Race» klingt indianisch.
Das Album fiel in eine Zeit, in der die US-amerikanischen Indianerbewegung aufkam.
Fünf der acht Songs wurden von Peter LaFarge geschrieben, einem Folk-Singer-Songwriter aus der Szene im Greenwich Village New Yorks.
Das Album wurde über 100'000 Mal verkauft und schaffte es auf Platz 2 der Country Album Charts (#47 Pop Charts).
Trackliste: Seite A
1. As Long As The Grass Shall Grow - 6:10
2. Apache Tears (Johnny Cash) - 2:34
3. Custer - 2:20
4. The Talking Leaves (Johnny Cash) - 3:55
Seite B
1. The Ballad Of Ira Hayes - 4:07
2. Drums - 5:04
3. White Girl - 3:01
4. The Vanishing Race (Johnny Horton) - 4:02
Alle Tracks: Peter LaFarge, ausser wo anders vermerkt.
Besetzung: Liner Notes: Hugh Cherry
; Photography [Cover]: Bob Cato
; Published By United International Copyright Representatives, Ltd.
; Published By Johnny Cash Music, Inc.
; Published By Edward B. Marks Music Corporation
; Published By Lazy L. F. Pub. Co.
; Published By Alborn Music Co.
Johnny Cash [>] [D]: Johnny Cash Sings The Ballads Of The True West [F]
Label und Katalognummer: Columbia C2S 838
Produktion: Frank Jones & Don Law
Veröffentlicht: 1965 09
Genretags: Country - Autorencountry - Songster
Erster Teil der Ballads Of The True West
. Der zweite wird Mean As Hell! sein, das sechs Monate später erscheint.
Trackliste: Seite A
1. Hiawatha's Vision (Johnny Cash) - 2:24
2. The Road To Kaintuck (June Carter) - 2:42
3. The Shifting Whispering Sands - Part 1 (Mary Margaret Hadler, Jack V.C. Gilbert) - 2:53
4. Narration - 1:16
5. The Ballad Of Boot Hill (Carl Perkins) - 2:33
6. I Ride An Old Paint (Trad. Arr.: Johnny Cash) - 2:56
Seite B
1. Narration. 0:32
2. Hardin Wouldn't Run (J. Cash) - 3:46
3. Narration. 0:51
4. Mister Garfield (Ramblin' Jack Elliott, Arr.: Johnny Cash) - 3:46
5. The Streets Of Laredo (Trad. Arr.: Johnny Cash) - 3:38
6. Narration. 0:25
7. Johnny Reb (Merle Kilgore) - 2:46
8. A Letter From Home (Maybelle Carter, Dearest Dean) - 2:32
Seite C
1. Bury Me Not On The Lone Prairie (Arr.: Johnny Cash) - 2:27
2. Mean As Hell (Johnny Cash) - 3:07
3. Sam Hall (Trad. Arr.: Tex Ritter) - 3:15
4. 25 Minutes To Go (Shel Silverstein) - 3:11
5. The Blizzard (Harlan Howard) - 3:50
Seite D
1. Narration - 0:40
2. Sweet Betsy From Pike (Jimmie Driftwood, Arr.: Johnny Cash) - 3:14
3. Green Grow The Lilacs (Trad. Arr.: Johnny Cash) - 2:45
4. Stampede (Peter La Farge) - 4:01
5. Narration. 0:55
6. The Shifting, Whispering Sands - Part II (Mary Hadler, Jack V.C. Gilbert) - 2:28
7. Reflections (Johnny Cash) - 2:45
Besetzung: Liner Notes: Johnny Cash
; Photography [Cover Photo]: Frank Bez
; Manufactured By Columbia Records
; Manufactured By CBS Inc.
; Published By Bayou State
; Published By Cajun Pub. Co.
; Published By Coppercreek Pub. Co.
; Published By Gallatin Music Corp.
; Published By Hill & Range Songs, Inc.
; Published By Hollis Music, Inc.
; Published By Piedmont Music Co, Inc.
; Published By Red River Songs, Inc.
; Published By Southwind Music, Inc.
; Published By Tuckahoe Music, Inc.
; Published By Vidor Music Pub. Co.
; Pressed By Columbia Records Pressing Plant, Santa Maria
Joni Mitchell [>] [D]: Travelogue [F]
Label und Katalognummer: Nonesuch 79817
Produktion: Larry Klein & Joni Mitchell
Veröffentlicht: 2002 11 19
Genretags: Rock - AOR-Rock - AOR-Singer-Songwriter
Diese CD ist ein aussergewöhnlich gutes Beispiel eines Klassik-Crossovers. Die Orchester-Arrangements von Vince Mendoza stellen die Songs nicht mit der Kraft des Orchesters schachmatt – auch nicht in den lauten Momenten. Instrumente, die nicht zum klassischen Orchester-Körper gehören, wie Schlagzeug, E-Bass oder Saxofon, wirken hier nicht fremd, sondern ganz natürlich in den Orchestersound eingearbeitet.
Trackliste: CD 1
1. Otis and Marlena - 3:54
2. Amelia - 6:48
3. You Dream Flat Ties - 3:48
4. Love - 5:40
5. Woodstock - 5:56
6. Slouching Toward Bethlehem - 7:11
7. Judgement of the Moon and Stars (Ludwig's Tune) - 5:22
8. The Sire of Sorrow (Job's Sad Song) - 7:09
9. For the Roses - 7:28
10. Trouble Child - 5:02
11. God Must Be a Boogie Man - 3:56
CD 2
1. Be Cool - 5:09
2. Just Like This Train - 5:04
3. Sex Kills - 3:57
4. Refuge of the Roads - 7:56
5. Hejira - 6:47
6. Chinese Cafe/Unchained Melody (Hy Zaret & Alex North) - 5:41
7. Cherokee Louise - 6:00
8. The Dawntreader - 5:38
9. The Last Time I Saw Richard - 4:58
10. Borderline - 6:23
11. The Circle Game - 6:50
Alle Tracks von Joni Mitchell; ausser wo anders vermerkt.
Besetzung: Joni Mitchell: vocals
; Larry Klein: bass, musical direction
; Herbie Hancock: piano
; Billy Preston: Hammond B3 organ
; Chuck Berghofer: double bass
; Paulinho Da Costa: percussion
; Brian Blade: drums
; Wayne Shorter: soprano saxophone
; Plas Johnson: tenor saxophone
; Kenny Wheeler: flugelhorn
; Gavyn Wright: orchestra leader
; Vince Mendoza: conductor, arrangement
; W. B. Yeats: Gedicht als Einfluss (6)
Joshua Rifkin [>] [D]: The Baroque Beatles Book [F]
Assoziierte Acts: Baroque Ensemble of the Merseyside Kammermusikgesellschaft
Label und Katalognummer: Elektra EKS 7306
Produktion: Mark Abramson
Veröffentlicht: 1965 11
Genretags: Akademica - Barock
Diese LP wurde für den Weihnachtsmarkt 1965 produziert. Das Elektra-Label wollte seinen Teil des Kuchens am Erfolg der Beatles. Von Joshua Rifkin barock arrangierte Beatles-Songs, gespielt von Studiomusikern aus New York unter dem Namen «Baroque Ensemble of the Merseyside Kammermusikgesellschaft». Viele der Arrangements setzen bei ein paar Takten bekannten Barock-Kompositionen an und landen unversehens bei einer Melodie von Lennon-McCartney. Parodie oder Bearbeitung? Man weiss es nicht so recht. Für das Label von Jac Holzman wird sich diese Veröffentlichung ausgezahlt haben. Die Musik der Beatles wurde durch diese Platte geadelt und schaffte es auf den Plattenteller eines erwachsenen Publikums.
Auf dem deutschen Markt war die Platte vermutlich nur über spezielle Kanäle erhältlich. Erst 1975 erschien sie bei Odeon. In Frankreich hingegen kam sie schon 1965 bei Disques Vogue heraus.
Trackliste: Seite A: The Royale Beatleworks Musicke, MBE 1963
1. a) I Want To Hold Your Hand, b) You're Going To Lose That Girl - 6:03
2. Réjouissance: I'll Cry Instead - 1:50
3. La Paix: Things We Said Today - 2:02
4. a) You've Got To Hide You're Love Away, b) Les Plaisirs: Ticket To Ride - 2:06
Seite A: Epstein Variations, MBE 69A
5. Hold Me Tight - 4:15
Seite B: 'Last Night I Said,' Cantata for the Third saturday After Shea Stadium, MBE 58,000
1. Chorus: 'Last Night I Said' Please Please Me - 5:52
2. Recitative: 'In They Came Jorking' - 1:52
3. Aria : 'When I Was Younger' Help! - 3:43
4. Chorale: 'You Know If You Break My Heart' I'll Be Back - 1:40
Seite B: Trio Sonata: Das Käferlein, MBE 004 1/4
5. a) Grave-Allegro-Grave: Eight Days A Week - 2:27
6. a) She Loves You, b) ThankYou Girl, c) Hard Day's Night - 1:12
Alle Tracks: Lennon-McCartney, arrangiert: Joshua Rifkin.
Besetzung: Conductor, Editing, Liner Notes: Joshua Rifkin
; Cover [Art]: Roger Hane
; Design [Cover Design]: William S. Harvey
; Orchestra: "The Baroque Beatles Book" Orchestra
; Producer [Assistant]: Paul A. Rothchild
; Supervised By: Jac Holzman
; Published By Duchess Music
; Published By Maclen Music, Inc.
; Published By Gil Music
; Published By Conrad Publ. Co.
Julie Andrews [>] [D] & Richard Rogers [>] [D] & Oscar Hammerstein II [>] [D]: The Sound Of Music [F]
Label und Katalognummer: RCA Victor LSOD 2005
Veröffentlicht: 1965 03 01
Genretags: Akademica - Funktionale-Musik - Filmmusik
Maria (gespielt von Julie Andrews) ist unsicher, ob sie für das vorgesehene Leben im Kloster geeignet ist. Sie erhält von der Oberin eine weltliche Stelle als Erzieherin bei einem hohen Offizier vermittelt. Hier prallen Disziplin und Lebensfreude aufeinander. Der Film führt vor, wie das sonnige Gemüt über den autoritären Charakter siegt, der «American Way of Life» über die preussische und habsburgische Disziplin. Maria gewinnt das Herz der Kinder und schliesslich auch das von Kapitän von Trapp, dessen Kinder erfolgreich als Musikantenfamilie auftreten. Am Ende wird der Plot politisch: Es kommt der Anschluss von Österreich an den deutschen Nazi-Staat. Familie Trapp gelingt es am Ende, in die Schweiz zu flüchten.
Der Film war Ende 1966 fünf Jahre lang der erfolgreichste Film. Er überholte Gone with the Wind.
Querverweis
– zum Film
Trackliste: Seite A
1. Julie Andrews - Prelude and The Sound of Music - 2:33
2. Orchestra and Nuns Chorus - Overture and Preludium (Dixit Dominus) - 3:12
3. Nuns Chorus - Morning Hymn and Alleluia - 2:00
4. Nuns Chorus - Maria - 3:15
5. Julie Andrews - I Have Confidence - 3:21
6. Dan Truhitte and Charmian Carr - Sixteen Going on Seventeen - 3:13
7. Julie Andrews - My Favorite Things - 2:16
8. Peggy Wood - Climb Ev'ry Mountain - 2:13
Seite B
1. Julie Andrews and The Children - The Lonely Goatherd - 3:08
2. The Children and Bill Lee [Dubbing for Christopher Plummer] - The Sound of Music - 2:09
3. Julie Andrews and The Children - Do-Re-Mi - 5:30
4. Julie Andrews and Bill Lee [Dubbing for Christopher Plummer] - Something Good - 3:15
5. Orchestra and Nuns Chorus - Processional and Maria - 2:25
6. Bill Lee [Dubbing for Christopher Plummer], Julie Andrews, The Children and Chorus - Edelweiss - 1:48
7. The Children - So Long, Farewell - 2:52
8. Orchestra and Chorus - Climb Ev'ry Mountain (Reprise) - 1:18
Alle Tracks: Richard Rogers (Music) und Oscar Hammerstein II (Lyrics).
Besetzung: Arranged By, Conductor [Conducted By]: Irwin Kostal
; Engineer [Film Music Editor]: Robert Mayer
; Engineer [Film Recording Engineer]: Douglas Williams, Murray Spivak
; Engineer [Rca Victor Recording Engineer]: John Norman
; Music By, Lyrics By [Additional Words By], Music By [Additional Music By]: Richard Rodgers
; Photography [Photo]: Frank Bez
; Producer [Associate]: Saul Chaplin
; Producer [Produced For Records By]: Neely Plumb
; Vocals [Vocal Supervision]: Robert Tucker
Justin Bieber [>] [D]: My World 2.0 [F]
Label und Katalognummer: Island B 0014063
Produktion: Verschiedene
Veröffentlicht: 2010 03 23
Genretags: Newpop
Hier die Marketing-Geschichte zum Erfolg von Justin Bieber. Langsam kommt das Efolgsmodell der Zukunft in den Köpfen an, es heisst: Direct-To-Fan Distribution.
Zur Musik: Kitsch auf höchstem Niveau. Man weiss nur nie, wann aus einem Kinderstar ein Michael Jackson wird.
Trackliste: 1. Baby (Bieber, Bridges, Dream, Nash, Stewart) - 3:34
2. Somebody to Love (Bieber, Reeves, Yip) - 3:41
3. Stuck in the Moment (Bieber, Reeves, Yip) - 3:43
4. U Smile (Bieber, Duplessis, Duplessis) - 3:17
5. Runaway Love (Bieber, Hough, Hough, Wouter) - 3:33
6. Never Let You Go (Austin, Austin, Bieber) - 4:24
7. Overboard (Bieber, Nugent, Nugent, Risto, Shropshire, Torimiro) - 4:11
8. Eenie Meenie (Anderson, Battey, Battey, Bieber, Blanco) - 3:23
9. Up (Atweh, Atweh, Bieber) - 3:55
10. That Should Be Me (Atweh, Atweh, Bieber) - 3:53
Justin Bieber [>] [D]: Justice [F]
Label und Katalognummer: Def Jam
Produktion: Louis Bell & Jon Bellion & Benny Blanco & Tommy Brown & Finneas & Steven Franks & Skrillex & TroyBoi & Jorgen Odegard & The Monsters And Strangerz & Andrew Watt
Veröffentlicht: 2021 03 19
Genretags: Post-Millennial-Music - Electropop - Popsoul
Der Titel ist einer Rede von Martin Luther King übernommen: «You die when you refuse to fight for Justice!» (Track7). Ob die Worte von King auf ein Bieber Album passen, wurde diskutiert, zum Beispiel von Rawiya Kameir (Pitchfork Rezensentin). Sie schreibt: «Ich finde es nicht besonders beunruhigend, Kings Ermahnung zu radikalen Opfern zu hören, neben einem Lied darüber, dass man so geil ist, dass man durch das Feuer geht. Auf Instagram sehe ich diesen Stil der kognitiven Dissonanz oder des vorsätzlichen Zynismus, der fast täglich von Medienunternehmen, Influencern und Prominenten eingesetzt wird laufend, auch von Leuten, die ich im College kannte [...]. So kommunizieren wir halt heutzutage.» Es sei Bieber überlassen, ob er damit – bewusst oder nicht – einer Kultur, die sich selbst nicht sehen will, einen Spiegel vorhält oder nicht.
Hey, aber ansonsten strotzt dieses Album von Tracks, die die Tugenden der Stimme von Justin Bieber ausweisen. Ja doch, es gibt den Grund, weshalb er als Kind vor Jahren der Superstar wurde, der er heute ist.
Trackliste: 1. 2 Much - 2:32
2. Deserve You - 3:07
3. As I Am (feat. Khalid) - 2:54
4. Off My Face - 2:36
5. Holy (feat. Chance The Rapper) - 3:32
6. Unstable (feat. The Kid Laroi) - 2:38
7. MLK Interlude - 1:44
8. Die For You (feat. Dominic Fike) - 3:18
9. Hold On - 2:50
10. Somebody - 2:59
11. Ghost - 2:33
12. Peaches (feat. Daniel Caesar, Giveon) - 3:18
13. Love You Different (feat. Beam) - 3:06
14. Loved By You (feat. Burna Boy) - 2:39
15. Anyone - 3:10
16. Justin Bieber & Benny Blanco: Lonely - 2:29
Kablam [>] [D]: A Large Hole In The Sky [F]
Label und Katalognummer: Beastonleash.BIZ
Produktion: Verschiedene
Veröffentlicht: 2014 03 18
Genretags: Post-Millennial-Music - Digital-Underground
Die Muchness wird mit einem Sample auf den Punkt gebracht: «You remember: 'Less is More' [...] How can less be more? It's impossible. More is more!» (bei 11.40).
Trackliste: 1. a) Intro - Contact, b) 0996 (Garbage Man Remix), c) The Worst (M.E.S.H. Edit), d) Get Lowered (Total Freedom Remix), e) 2/1, f) The Confession, g) Happy Trance Bubbling Remix Izmir Club, h) World Tour X Albyy (M.E.S.H. Edit), i) Took The Night Is Gone (Kablam Mess-up), j) Stresses, k) Outro - Contact
Besetzung: DJ Mix: Kablam
Kara Jackson [>] [D]: Why Does The Earth Give Us People To Love? [F]
Label und Katalognummer: September Recordings SEP 009
Produktion: Kaina Castillo & Kara Jackson & Sen Morimoto & Nnamdi Ogbonnaya
Veröffentlicht: 2023 03 14
Genretags: Post-Millennial-Music - Indiefolk - Artfolk
Kara Jackson aus Chicago ist eine bemerkenswerte Lyrikerin mit einem unglaublichen Stimmumfang. Die Sängerin wurde 2019 im National Youth Poet Laureate Program ausgezeichnet. Die Trägerin des Programms, Urban Word, schreibt auf der Webseite: «Words are power. – Urban Word champions youth voice by providing platforms for literacy, self-expression, civic engagement, and leadership through free creative writing, college prep workshops, and performance opportunities.». Die Gesellschaft zeichnet junge Leute an der Schittstelle von Kunst und sozialem Engagement aus.
Kara Jacksons Songs über die Unmöglichkeit einer gesunden Beziehung (die Männer, die sie anzieht, sind «Dickheads») schleppen sich dahin, dass das Zuhören stellenweise eine Zumutung ist, aber konzentriertes Hören wird mit delikaten musikalischen Texturen belohnt. «Words are Power.» Die Kraft, die Kara Jacksons mit ihrer Kunst bewirkt ist geschickt auf Musik und Wort verteilt. Beides ist konzentriert, selbstbewusst und insistent.
Trackliste: 1. Recognized - 1:02
2. No Fun / Party - 5:06
3. Dickhead Blues - 5:25
4. Therapy - 1:17
5. Pawnshop - 2:38
6. Brain - 3:39
7. Free - 7:02
8. Lily - 2:57
9. Rat - 7:53
10. Why Does The Earth Give Us People To Love? - 6:15
11. Curtains - 5:55
12. Recognize (Reprise) - 0:49
13. Liquor - 1:13
Alle Tracks: Kaina Castillo, Kara Jackson, Sen Morimoto und Nnamdi Ogbonnaya.
Besetzung: Kara Jackson: vocals (all tracks), backing vocals (2, 4-12), piano (1, 12), banjo (2), guitar (2-11, 13)
; Kaina Castillo: backing vocals (8-12); synths (7), programming (7, 12)
; Sen Morimoto: backing vocals (4, 7-12); additional piano (1, 12), piano (2, 3, 5-11), bass (2, 4), electric guitar (2, 4, 6, 9), Wurlitzer (3), strings (3, 8, 10), percussion (4, 7, 9), organ (5, 6, 9, 11, 13), soprano saxophone (7), synths (7), programming (7, 9, 12), saxophone (8), horns (10)
; Nnamdi Ogbonnaya: backing vocals (2, 4, 8-12); xylophone (3), strings (3, 8), drums (3, 10), bells (3, 11), 12 string guitar (4), percussion (4-6), synths/programming (8)
; Macie Stewart: violin (2, 7, 9)
; Nick Levine: slide guitar (5, 6)
; Forrest Jackson: vocal interlude (3), trombone (8)
; Elsz: harp (7)
; Jason Agel: mixing
; Heba Kadry: mastering
Kraftwerk [>] [D]: Die Mensch-Maschine [F]
Label und Katalognummer: EMI 38 124-4
Produktion: Ralf Hütter & Florian Schneider
Veröffentlicht: 1978 05
Genretags: Electronica - Electronic-Rock - Düsseldorfer-Schule
Es hat nichts mehr mit Rockmusik zu tun, wenn statt den üblichen Instrumenten Gitarre, Bass, Schlagzeug vor allem Instrumente wie das hier verwendet wird: 2 ''Synthorama'' 16-step custom analogue sequencers von Matten & Wiechers, Farfisa electric piano, Custom-built electronic drum pads, Moog Minimoog, Moog Micromoog, Moog Polymoog, Korg PS-3100, ARP Odyssey, Vako Orchestron. Damit wird eine neue Art von Popmusik gespielt
Trackliste: Seite A
1. Die Roboter - 6:11
2. Spacelab (Karl Bartos, Ralf Hütter) - 5:51
3. Metropolis - 5:59
Seite B
1. Das Modell - 3:38
2. Neonlicht - 9:03
3. Die Mensch-Maschine (Karl Bartos, Ralf Hütter) - 5:28
Alle Tracks: Karl Bartos, Ralf Hütter und Florian Schneider, ausser wo anders vermerkt.
Besetzung: Ralf Hütter: electronics, voice.
; Florian Schneider: electronics, voice.
; Karl Bartos: electronic percussion.
; Wolfgang Flür: electronic percussion.
; Leanard Jackson: sound engineer.
; Joschko Rudas: sound engineer.
; Karl Klefisch: graphic design.
; Günther Fröhling: photography.
Krokodil [>] [D]: Krokodil [F]
Assoziierte Acts: Walty Anselmo & Düde Dürst & Hardy Hepp
Label und Katalognummer: Liberty LBS 83 306 I, Second Battle SB 052
Produktion: Siegfried E. Loch
Veröffentlicht: 1969, 1999 (Reed.)
Genretags: Rock - Psychedelicrock - Psychedelicbluesrock
Krokodil war die erste Schweizer Rockband überhaupt. Gegründet wurde sie von Walty Anselmo, einem Gitarristen, der als Schweizer Jimi Hendrix gilt, seinem Freund Hardy Hepp, der in Zürich als der Johannes der Täufer der Rockmusik fungierte und zum Beispiel der Repertoire-Berater für die Sauterelles war. Die beiden gründeten eine WG am Zürcher Hechtplatz, die bald zur Musiker-Kommune anwuchs. Düde Dürst war als Schlagzeuger mit dabei, nachdem er die Sauterelles verliess. Das Quintett ergänzten Terry Stevens am Bass und Mojo Weideli an der Mundharmonika. Krokodil spielten psychedelischen Bluesrock und spielten in Clubs und auf Festivals, teils sogar im Vorprogramm von Bands wie Pink Floyd oder Uriah Heep.
Das Cover der ersten Langspielplatte der Band gestaltete der Schlagzeuger Düde Dürst. Es karikiert das Logo des Liberty-Labels, bei dem dieses Album erschien und das die amerikanische Freiheitsstatue stilisiert. Die Liberty wird unter der Hand von Dürst zum bekifft dreinschauenden Krokodil mit allerlei Schweizer Motiven von der Fünfliber Münze bis zur Milchkuh. Eine amerikanische Musik, der Bluesrock, wird schweizerisch! Verwechseln Sie das Krokodil nicht mit einem Punk, der oder die eine Irokesenfrisur trägt! Das Krokodil lebte von 1969 bis 1973.
Im selben Jahr, 1969, erschien ein Album aus Amerika, das mit dem Logo des Columbia Labels spielte: It's A Beautiful Day (eine psychedelische Folkrock-Band aus San Francisco).
Trackliste: Seite A
1. Morning Dew (Tim Rose) - 4:34
2. Your Still A Part Of Me (W. Anselmo) - 6:20
3. All Alone (H. Hepp) - 3:50
4. Mis Blues (T. Stevens) - 3:15
Seite B
1. Prayer (H. Hepp) - 4:09
2. Watchin' Chain (Krokodil, Trad.) - 6:49
3. Dabble In Om (T. Stevens) - 9:24
Bonustrachs der CD Ausgabe von 1999
1. Don't Make Promises (Tim Hardin) - 3:58
2. Hurra! Alive (W. Anselmo) - 3:04
3. Camel Is Top (Krokodil) - 2:30
Besetzung: Arranged: Krokodil
; Bass, Vocals: Terry Stevens
; Design [Album Designer]: Düde Dürst
; Drums: Düde Dürst
; Harmonica [Mouth Organ]: Mojo Weideli
; Lead Guitar, Sitar, Vocals: Walty Anselmo
; Photography [Cover]: Focus
; Piano, Violin, Vocals: Hardy Hepp
; Printed By Carl v. d. Linnepe
; Record Company Liberty/UA GmbH
Krokus [>] [D]: Metal Rendez-vous [F]
Label und Katalognummer: Ariola 201 199
Produktion: Tommy Kiefer & Jürg Naegeli & Martin Pearson & Freddy Steady & Marc Storace & Fernando Von Arb & Chris Von Rohr
Veröffentlicht: 1980 06 30
Genretags: Rock - Hardrock
Schweizer Rockbands hatten in der Regel ein Problem, das sie nicht lösten und daran sie zerbrachen: In der Heimat gab es nur wenige Auftrittsmöglichkeiten; ein Konzert in jeder grösseren Stadt. Also tourte man auch im nahe gelegenen Ausland. Doch hatten alle Länder, in denen man zu Gast war, ihre eigenen Formationen. Da musste eine Band schon sehr gut sein, um aufzufallen und um konstant über Jahre Konzerte und Platten verkaufen zu können. Aber wie konnte man gut werden, wenn man nur eine Hand voll Konzerte pro Jahr spielen kann? Zur Qualität einer Rock Band gehörte eben nicht nur, geübt zu haben und technisch gut zu spielen, sondern das Publikum mit Bühnenpräsenz und Show begeistern zu können. Das Problem jeder Rockband auf dem europäischen Kontinent war: Wie und wo kann sie regelmässig spielen, um die Qualitäten von Professionals entwickeln zu können? Die kleinen Clubs, die es in den 60er Jahren in allen grösseren Städten zuhauf gab und die der Nährboden der Beat-Explosion waren, existierten zwar noch, wurden aber mittlerweile zu Diskotheken umfunktioniert, in denen Platten abgespielt wurden. Die Eintritts-Hürde in den professionellen Rockzirkus war hoch.
Krokus aus Solothurn war die erste Schweizer Band, die dieses Problem gelöst hat. Als die Schweizer Bühnen abgegrast waren, spielten sie für Urlauber/-innen an der Costa Brava in Diskotheken, Bars und Clubs. Zwischen 1976 und 78 brachte die Band um Chris Von Rohr (Bass) und Fernando Von Arb (Gitarre) drei Alben heraus, in denen sie sukzessive ihren Sound entwickelten. Für ihr viertes Album rekrutierten sie den Ex-Sänger der Zürcher Hardrock-Formation Tea, Marc Storace. In der Besetzung mit Marc Storace feierte Krokus weltweite Erfolge. Die Band schaffte es in Nordengland, einem europäischen Mekka des Hardrocks, wo Black Sabbath, die Erfinder von Heavy Metal herkamen. Dann schaffte sie es auch in Amerika wahrgenommen zu werden, wo die Band ein paar Jahre lang hintere Hitparadenplätze belegen konnte. Von den vielen kontinentalen Hardrock Bands wurden sie nur von den deutschen Scorpions geschlagen. Wegen ihrer Wir
kung auf dem internationalen Markt kann man Krokus als die Ambassadoren der Schweizer Rock Musik bezeichnen.
Welch grossartiger Sänger Marc Storace war, hört man in der langsamen Nummer Steamer
: Auch und gerade in den Nuancen bleibt die Stimme präsent und vermag viel Emotionalität zu transportieren.
Das Plattencover von Metal Rendez-vous
ist das Beispiel eines in den 70er Jahren geläufigen Bildgebungsverfahrens: Mit dem Cover gibt man dem Albumtitel einen surrealen Dreh. Das Rendez-vous mit dem Metal Sound von Krokus wird zum Frontalzusammenstoss zweier Sportcoupés. Knall und Rauch, die dabei entstehen, repräsentieren symbolhaft die Bühnenshow von Hardrock- und Metal-Bands der Zeit, die die standardmässige Lichtshow mit pompösem Mitteln (Feuer, Rauch und Trockennebel-Einsatz) ergänzten. Das Moto: «Fire, fire is what you need» (Track B3).
In der Schweiz wurde Metal Rendez-vous
150'000 Mal verkauft, d.h. dreifach mit Platin zertifiziert.
Trackliste: Seite A
1. Heatstrokes - 4:00
2. Bedside Radio (Jürg Naegeli, Fernando von Arb, Chris von Rohr) - 3:18
3. Come On - 4:23
4. Streamer - 6:38
5. Shy Kid - 2:30
Seite B
1. Tokyo Nights - 5:51
2. Lady Double Dealer - 3:12
3. Fire - 6:02
4. No Way - 4:00
5. Back-Seat Rock 'N' Roll (Jürg Naegeli, Fernando von Arb, Chris von Rohr) - 3:12
Alle Tracks: Chris Von Rohr und Fernando Von Arb, ausser wo anders vermerkt.
Besetzung: Arranged: Krokus
; Bass, Vocals: Chris Von Rohr
; Cover: Paul Grau
; Drums, Vocals: Freddy Steady
; Engineer: Martin Pearson
; Engineer [Assistant]: Jürg Naegeli
; Engineer [Assistant]: Ursli Weber
; Guitar, Vocals: Fernando Von Arb
; Guitar, Vocals: Tommy Kiefer
; Keyboards, Baritone Vocals: Jürg Naegeli
; Lead Vocals: Marc Storace
; Phonographic Copyright (p) Ariola Switzerland
; Recorded At Platinum One Studio
; Printed By Druck AG
; Pressed By Turicaphon AG
Kurt Weill [>] [D] & Lotte Lenya [>] [D] & Wilhelm Brückner-Rüggeberg [>] [D]: Die Dreigroschenoper / The Threepenny Opera / L'opéra de quat'sous [F]
Label und Katalognummer: CBS MK 42637
Veröffentlicht: 1990 10 25 (Ed.), 1928 (Werk), 1958 11 11 (Rec.)
Genretags: Europeana - Schlager - Kabarett-Schlager
In Deutschland hatte das Genre noch keinen Namen: Das Stück war lediglich ein «Theaterstück mit Musik». «Die Dreigroschenoper» kommt praktisch zeitgleich mit Show Boat, dem ersten amerikanischen Musical heraus. Man kann es, trotz vieler europäischer Elemente, durchaus dem Musical zurechnen. Es war auch am Brodway sehr erfolgreich. Vielleicht wäre es eine Alternative, es als expressionistische Operette mit Elementen des Weimarer Kabaretts zu bezeichnen.
Eine Liebesgeschichte, die im Falschen spielt, da, wo es laut dem Philosophen Theodor W. Adorno kein richtiges Leben geben kann (siehe Minima Moralia
). Die Welt steht Kopf: Das Drama zeigt nicht den Aufstieg und Fall von Königen, sondern den Fall des Bettlers Mackie Messer, der aber kurz vor seiner Hinrichtung vom Polizeichef wundersam absurd gerettet und in den Adelsstand erhoben wird. Das Drama schwankt zwischen sozialistischem Lehrstück und Schmierenkomödie. Das Lehrstück zeigt, dass auch die Aussenseiter der Gesellschaft sich rational verhalten. Jonathan Peachum, zum Beispiel, das Oberhaupt der Bettlermafia, wird als ein Unternehmer gezeigt, der mit allen Mitteln arbeitet, um die Herzen der Menschen zu rühren und seine Bettler funktional zu optimieren. Die Schmierenkomödie zeigt sich beispielsweise an den billigen Fantasien am Ende oder in der Ballade der Seeräuber Jenny
, sowie an der omnipräsenten Verspottung von Stilelementen der Oper, im Eifersuchtsduett
oder in der Moritat von Mackie Messer
, in der die Silben aufs Hässlichste verzogen werden.
Die Geschichte spielt im viktorianischen London, in Soho. Die literarische Vorlage ist die 1728 uraufgeführte «The Beggar’s Opera» von John Gay, einem Autor im Umfeld von Jonathan Swift.
Entstehungsgeschichte
Neben Brecht und Weill war Elisabeth Hauptmann für die Dreigroschenoper lebenswichtig: Sie hat Brecht den Stoff vorgeschlagen und sie hat das Stück übertragen. Bei der Uraufführung 200 Jahre nach der Premiere von Gays Original am 31. August 1928 im Theater am Schiffbauerdamm (später das Berliner Ensemble) wurde Hauptmann noch als Mitautorin genannt. Später ging sie verloren. In neuerer Zeit muss sie wieder als Autorin mitgenant werden.
Trackliste: 1. Ouvertüre (Kurt Weill) - 2:01
2. Akt I. Die Moritat von Mackie Messer - 3:11
3. Akt I. Der Morgenchoral des Peachum - 1:14
4. Akt I. Anstatt-Dass Song - 1:51
5. Akt I. Hochzeitslied für ärmere Leute - 1:26
6. Akt I. Kanonensong - 2:20
7. Akt I. Liebeslied - 1:55
8. Akt I. Der Song von Nein und Ja (Barbara-Song) - 4:46
9. Akt I. Die Unsicherheit menschlicher Verhältnisse - 4:02
10. Akt II. Der Pferdestall - 0:57
11. Akt II. Pollys Abschiedslied - 1:52
12. Akt II. Zwischenspiel (Kurt Weill) - 0:29
13. Akt II. Die Ballade von der sexuellen Hörigkeit - 3:43
14. Akt II. Die Seeräuber-Jenny oder Träume eines Küchenmädchens - 4:23
15. Akt II. Die Zuhälterballade - 4:38
16. Akt II. Die Ballade vom angenehmen Leben - 2:32
17. Akt II. Das Eifersuchtsduett - 2:31
18. Akt II. Kampf um das Eigentum - 2:07
19. Akt II. Ballade über die Frage: "Wovon lebt der Mensch?" - 4:03
20. Akt III. Das Lied von der Unzulänglichkeit - 2:15
21. Akt III. Salomon-Song - 3:37
22. Akt III. Ruf aus der Gruft - 0:53
23. Akt III. Ballade in der Macheath jedermann Abbitte leistet - 4:06
24. Akt III. Der reitende Bote - 5:02
25. Akt III. Dreigroschen-Finale - 1:07
26. Akt III. Die Schluss-Strophen der Moritat - 1:24
Alle Tracks: Kurt Weill (Musik) und Bertold Brecht (Lyrics).
Besetzung: Artwork [Cover]: Seymour Chwast
; Chorus Master: Günther Arndt
; Conductor: Wilhelm Brückner-Rüggeberg
; Design [Cover And Booklet]: Peter Nutter
; Liner Notes [French Traduction- 1982]: Pierre Malbos
; Liner Notes [New English Traduction]: Guy Stern (2)
; Orchestra: Sender Freies Berlin
; Supervised By: Lotte Lenya
; Vocals [Frau Peachum]: Trude Hesterburg
; Vocals [Gangster 1]: Kurt Hellwig
; Vocals [Gangster 2]: Paul Otto Kuster
; Vocals [Gangster 3]: Joseph Hausmann
; Vocals [Gangster 4]: Martin Hoepper
; Vocals [Herr Peachum]: Willy Trenk-Trebitsch
; Vocals [Jenny]: Lotte Lenya
; Vocals [Lucy]: Inge Wolffberg
; Vocals [Macheath]: Erich Schellow
; Vocals [Moritatensänger]: Wolfgang Neuss
; Vocals [Polly Peachum]: Johanna Von Kóczian
; Vocals [Tiger Brown]: Wolfgang Grunert
; Recorded at Afifo Studio, Tempelhof Berlin
Lara Sarkissian [>] [D]: DISRUPTION [F]
Label und Katalognummer: Club Chai
Produktion: Lara Sarkissian
Veröffentlicht: 2018 12 17
Genretags: Post-Millennial-Music - Digital-Underground
Elektronischer Soundtrack für einen imaginierten Film überarmenische Mythen. Geschichten über Götter, Anbetung und Familiengeister. Gespielt wird die Musik neben der verwendeten Elektronik von traditionellen Instrumenten aus dem armenischen Hochland.
Trackliste: 1. A Ceremony (For Arax) - 4:24
2. Greeted by Tir (Տիր) - 4:24
3. Gnum Գնում (Going) ( ft. Margenrot) - 5:00
4. The Wave's Recountal - 3:13
5. Tell Me, Where Do the Butterflies Live - 5:55
Alle Tracks: Lara Sarkissian.
Larry Gréco [>] [D]: Oui, c'est pour toi [F]
Label und Katalognummer: Decca 460.827
Veröffentlicht: 1964 03
Genretags: Rock'n'Roll - Beat - Yé-Yé
Larry Gréco aus Genf, bürgerlich Roger-Claude Degallier, war vermutlich der erste Schweizer, YéYé-Sänger, der mit einem Rock 'n' Roll Stück auch im Ausland bescheidenen Erfolg hatte, in seinem Fall in Frankreich. Vor ihm war noch Gabriel Dalar, der leider kaum wahrgenommen wurde.
Gréco hatte seine eigen Band, Les Mousquetaires, mit Jean-Claude Tschannen (Bass), Jean-Jacques Egli (Gitarre) und Bernard Gugelman (Schlagzeug – er taucht später bei den Wild Gentlemen wieder auf). Nach seinen ersten Erfolgen ging er nach Paris, der musikalischen Hauptstadt für frankophonen Pop, wo er zeitweilig in der Band von Eddy Vartan, dem Bruder der Sängerin und Schauspielerin Sylvie Vartan spielte und bald auch Stücke für Johnny Hallyday und andere schrieb. Seine eigene Karriere aber kam nicht zum fliegen.
Diese EP stammt bereits aus der Pariser Zeit Larry Grécos. Eddy Vartan fungiert als Komponist zweier Stücke und als Dirigent des Orchesters.
Das fotografische Cover zeigt den «Youngster» in der Pose eines freundlichen Rebellen, der an eine Mauer angelehnt, Hände in den Hosentaschen vergraben, etwas kritisch in die Welt schaut. Fotografisch wird die Pose dank grossem Schärfekontrast und mit farblicher Reduktion sehr effektvoll dargestellt.
Trackliste: Seite A
1. Oui, C'est Pour Toi (Bossa Nova, Baby) (G. Aber, Leiber/Stoller) - 1:55
2. Toc Et Toc (Hooka Tooka) (E. Mazer, E. Evans, R. Bernet) - 2:00
Seite B
1. Toi, Devant Moi (E. Francis, E. Vartan) - 2:10
2. Retenez-Moi (E. Vartan, J. Hallyday, R. Bernet) - 2:25
Besetzung: Orchestre direction: Eddy Vartan
; Photography: Benjamin
; Printed By A.C.E.M.
Led Zeppelin [>] [D]: Led Zeppelin [F]
Label und Katalognummer: Atlantic SD 8216, Atlantic 588171, Atlantic 8122796457
Produktion: Jimmy Page
Veröffentlicht: 1969 01 12 (US), 1969 03 28 (UK), 2014 05 30 (Reed.)
Genretags: Rock - Bluesrock - British-Bluesrock
Robert Plant wird wegen Vertragsbindungen nicht als Mitautor der Stücke angegeben.
Trackliste: Seite A
1. Good Times Bad Times (John Bonham, John Paul Jones, Jimmy Page) - 2:46
2. Babe I'm Gonna Leave You (Anne Bredon, Page, Robert Plant) - 6:41
3. You Shook Me (Willie Dixon, J.B. Lenoir) - 6:28
4. Dazed and Confused (Jake Holmes) - 6:26
Seite B
1. Your Time Is Gonna Come (Jones, Page) - 4:34
2. Black Mountain Side (Page) - 2:14
3. Communication Breakdown (Bonham, Jones, Page) - 2:27
4. I Can't Quit You Baby (Dixon) - 4:42
5. How Many More Times (Bonham, Jones, Page) - 8:28
CD 2 der Deluxe Ausgabe von 2014: Live – Olympia, Paris, 10 October 1969
1. Good Times Bad Times/Communication Breakdown (Bonham, Jones, Page) - 3:52
2. I Can't Quit You Baby (Dixon) - 6:41
3. Heartbreaker (Bonham, Jones, Page, Plant) - 3:50
4. Dazed and Confused (Page) - 15:01
5. White Summer/Black Mountain Side (Page) - 9:19
6. You Shook Me (Dixon, Lenoir) - 11:56
7. Moby Dick (Bonham, Jones (Page) - 9:51
8. How Many More Times (Bonham, Jones, Page) - 10:43
Besetzung: Bass, Organ, Backing Vocals: John Paul Jones
; Design [Cover Design]: George Hardie
; Drums, Timpani, Backing Vocals: John Bonham
; Engineer [Director Of Engineering]: Glyn Johns
; Executive-Producer: Peter Grant
; Lead Vocals, Harmonica: Robert Plant
; Photography [Back Liner Photo]: Chris Dreja
; Electric Guitar, Acoustic Guitar, Pedal Steel Guitar, Backing Vocals: Jimmy Page
; Pressed By Philips Recording Company, Inc.
Lemonheads [>] [D]: The Hotel Sessions [F]
Label und Katalognummer: Hall Of Records HOR 113
Veröffentlicht: 2011 11 28, 2012 02 07
Genretags: Alternativerock - Poprock - Powerpop
Demotracks, die NACH der Aufnahme von Come On Feel the Lemonheads eingespielt wurden. Aufgenommen auf einen Walkman. Jeder Track wird mit einer kleinen Geschichte eingeführt.
Trackliste: 1. Big Gay Heart - 4:53
2. Great Big No - 2:42
3. Paid To Smile - 2:38
4. It's About Time - 2:38
5. Style - 1:54
6. I'll Do It Anyway - 3:39
7. Rest Assured - 2:00
8. You Can Take It With You (Prt.2) - 0:48
9. Down About It - 3:12
10. Into Your Arms - 1:37
11. Superhero - 2:32
12. And So The Story Goes - 3:06
13. Being Around - 2:11
14. You Can Take It With You (Prt.1) - 2:18
Les Faux-Frères [>] [D]: Oh! Oui [F]
Label und Katalognummer: Disques Vogue EPL 8069
Veröffentlicht: 1963
Genretags: Rock'n'Roll - Beat - Swiss-Beat
Les Faux-Frères aus Lausanne heissen so, weil sie nicht wie ihre Vorbilder, die Everly Brothers, «richtige» Brüder, ein richtiger «Brother Act» sind. Gaston Schaefer und Johnny Roulet musizierten seit 1958 miteinander. Roulet stieg aus und Jean-Pierre 'Ska' Skavronski sprang in die Lücke. Aus dem Duo wurde ein Beat-Quintett. Dies ist ihre erste Platte, die 1963 erschien. Die EP enthält auf Seite A zwei Cover Versionen und auf der Rückseite zwei Eigenkompositionen. Die Covers stammen von Travis And Scott: Oh! Oui bzw. von Gene Vincent: Be Bop A Lula.
Schaefer und Skavronski singen Close Harmony, was in der Populären Musik des 20. Jahrhunderts vielen (falschen und richtigen) Brüdern und Schwestern zugeschrieben wird: den Mills Brothers, Boswell Sisters, Andrew Sisters, Louvin Brothers, Delmore Brothers, Everly Brothers usw.
Trackliste: Seite A
1. Oh! Oui (Gaston Schaefer, Jean-Pierre Skawronski, Travis Pritchett) - 2:06
2. Be Bop A Lula (Sheriff Tex Davis, Gene Vincent) - 2:03
Seite B
1. Romance D'un Prisonnier (Jean-Pierre Skawronski) - 3:53
2. Vous, Vous! (Gaston Schaefer, Jean-Pierre Skawronski) - 2:10
Besetzung: Liner Notes: Raymond Colbert
; Photography: Philippe Holder
; Printed By Dillard et Cie. Imp. Paris
Magma [>] [D]: Mekanïk Destruktïw Kommandöh (= MDK) [F]
Label und Katalognummer: Vertigo 6499 729
Produktion: Giorgio Gomelsky
Veröffentlicht: 1973 12
Genretags: Rock - Progrock
Für diese Prog-Platte hat Mastermind Christian Vander eine eigene (teutonisch oder slavisch anmutende) Sprache erfunden: Kobaïan. Die Musik wird vom AMG-Rezensent Couture als neue Form von progressiver Devotionalmusik bezeichnet.
Trackliste: Seite A
1. Hortz Fur Dëhn Stekëhn West - 9:36
2. Ïma Sürï Dondaï - 4:30
3. Kobaïa Is de Hündïn - 3:34
Seite B
1. Da Zeuhl Wortz Mekanïk - 7:48
2. Nebëhr Gudahtt - 6:02
3. Mekanïk Kommandöh - 4:10
4. Kreühn Köhrmahn Iss de Hündïn - 3:13
Alle Tracks: Christian Vander.
Besetzung: Christian Vander: Drums, Vocals, Organ, Percussion
; Jannick Top: Bass
; Klaus Blasquiz: Vocals, Percussion
; Jean-Luc Manderlier: Piano, Organ
; Benoit Widemann: Keyboards
; René Garber: Bass Clarinet, Vocals
; Claude Olmos: Guitar
; Stella Vander: Vocals
; Muriel Streisfield: Vocals
; Evelyne Razymovski: Vocals
; Michele Saulnier: Vocals
; Doris Reinhardt: Vocals
; Teddy Lasry: Brass, Flute
; Eddie Sprigg: Engineer
; Gilbert: Engineer
; Gilles Sallé: Engineer
; Simon Heyworth: Engineer
; Steve Michell: Engineer
; Tom Rabstener: Engineer
; Loulou Sarkissian: Stage Manager
Margaret Lewis [>] [D]: Reconsider Me. The RAM Singles & More Southern Gems [F]
Label und Katalognummer: Ace Records CDCHD 1557
Veröffentlicht: 2019 12 06 (Ed.)
Genretags: Rock'n'Roll - Rockabilly
Der Archivrelease «Reconsider Me. The RAM Singles & More Southern Gems» von Ace Records enthält die Musik von Margaret Lewis (1939–2019), einer Rock 'n' Roll Lady aus Texas, die zuweilen solo, zuweilen mit ihrer Schwester Rose Lewis auftrat. 1956 gewann sie einen Talentwettbewerb in einer Radiosendung von Johnny Horton. Horton brachte sie mit der Labelbetreiberin von RAM, der Gitarristin und Songwriterin Mira Smith zusammen, die ihre Managerin wurde.
Beeinflusst war Margaret Lewis von Rhythm & Blues Sängerinnen wie LaVern Baker und Ruth Brown. Ihr stimmlicher Ausdruck ist mehr an Patsy Clines Country-Croon angelehnt als an die Rhythm & Blues Shouterinnen..
Sie wirkte als Backgroundsängerin bei Aufnahmen von Dale Hawkins mit, trat am Louisiana Hayride auf.
Trackliste: 1. Reconsider Me -
2. No No Never -
3. Cheaters Can't Win -
4. Shake A Leg -
5. One Today, Another Tomorrow -
6. Goin' To St. Louie -
7. From The Cradle To The Blues -
8. Bow Wow Puppy Love -
9. Lovers Land -
10. John DeLee -
11. Somethin's Wrong Baby -
12. That's Why I Cry -
13. Look What You're Doing To Me -
14. Hold Me -
15. What's Happened To You -
16. Birmingham Valley Blues -
17. You Can't Ever Break My Heart No More -
18. Yea Yea Baby -
19. Can't Stand To See You Go -
20. Teardrop Valley -
21. You Oughta See My Baby -
22. It's Alright (You Can Go) -
23. And There Was No You -
24. John DeLee -
25. Bring Back My Blue-Eyed Boy To Me -
26. You Said You Love Me -
27. Goin' To St. Louie -
28. I Want To Walk Through This Life With You -
Marianne Faithfull [>] [D]: Come My Way [F]
Label und Katalognummer: Decca LK 4688
Produktion: Tony Calder & Jon Mark
Veröffentlicht: 1965 04 15
Genretags: Pop - Vocalpop
siehe: The Wir
e 371: «The Inner Sleeve», p. 81 Wire/371.pdf#page=81" target="_blank" class="playerlink">[PDF]
Trackliste: Seite A
1. Come My Way - 2:05
2. Jaberwoc - 2:34
3. Portland Town - 3:00
4. House of the Rising Sun - 2:28
5. Spanish Is a Loving Tongue - 2:43
6. Fare Thee Well - 2:52
7. Lonesome Travellers - 2:03
Seite B
1. Down in the Salley Garden - 2:05
2. Mary Ann - 1:45
3. Full Fathom Five - 1:26
4. Four Strong Winds - 2:59
5. Black Girl - 2:29
6. Once I Had a Sweetheart - 2:08
7. Bells of Freedom - 2:03
Bonustracks
1. Blowin' in the Wind - 3:08
2. Et Maintenant (What Now My Love?) - 3:28
3. That's Right Baby - 2:49
4. Sister Morphine - 5:30
Besetzung: Arranged: Jon Mark
; Design: Chris O\'Dell
; Engineer: Martin Haines
; Liner Notes: Andy Wickham
; Photography: Gered Mankowitz
; Producer [Session]: Jon Mark
; Recorded At I.B.C. Studios
Marina Herlop [>] [D]: Pripyat [F]
Label und Katalognummer: PAN [Berlin] PAN 128
Produktion: Marina Herlop
Veröffentlicht: 2022 05 20
Genretags: Post-Millennial-Music - Digital-Underground - Neoklassik
Marina Herlop (bürgerlich Marina Hernández López) schichtet ihre Stimme mit digital prozessierten Samples ihrer Stimme und luftiger Instrumentierung zu einem wohlinszenierten Ganzen. Artpop, Ambientpop, Industrial-Grime vermengen sich zu einer sehr persönlichen Musik, die zuweilen etwas penetrant «artsy» wirkt.
Links
– Philip Sherburne: Marina Herlop Is Classically Trained and Totally Chaotic—Her Music Thrives on Both (Pitchfork, 13. Juli 2022).
Trackliste: 1. abans abans - 4:04
2. shaolin mantis - 4:10
3. lyssof - 4:11
4. miu - 3:59
5. ubuntu - 4:19
6. Kaddisch - 5:02
7. miu (Choir Version) - 3:45
Alle Tracks: Marina Herlop.
Besetzung: Performed by Marina Herlop.
; Mix: James Ginzburg
; Mastering: Joker
; Mix and mastering of \'miu (choir version)\': Borja Ruiz
; Ukulele and ending synth (2): Adri González
; Electric guitar (3): Òscar Garrobé
; Electric bass (5, 7): Òscar Garrobé
Mattie [>] [D]: Jupiter's Purse [F]
Label und Katalognummer: Leaving LR 187
Produktion: Black Taffy
Veröffentlicht: 2022 02 22
Genretags: Indiepop - Blog-Indie - Alternative-R'n'B
Der Debut-Release von HATTIE aus Dallas. Hattie singt zu schleppenden Triphop-Beats und farbenfrohen, spielerischen Klangschwaden. Produzuiert hat die «Jupiter’s Purse» EP Black Taffy – beide Hattie und Black Taffy sind Namen, auf deren künftiges Schaffen ich gespannt bin. Eric Torres von Pitchfork schreibt (frei übersetzt): «Betörend und bedrohlich zugleich stellt ‹Jupiter’s Purse› eine*n Künstler*in vor, deren bzw. dessen Musik von unaufgelöster Spannung zusammengehalten wird. Diese Spannung hält auch die Hörer*in am Rand vulkanischer Emotionen in einem labilen Gleichgewicht.»
Trackliste: 1. Cellfish - 2:37
2. Human Thing - 5:59
3. Cloudts - 5:11
4. Out This Bitch - 4:26
5. Sanctify Me - 3:49
Alle Tracks: MATTIE.
Besetzung: Tramaine Townsend. art direction
; Matthewdavid: mixing engineer, mastering engineer
; Alex Bhore: recording engineer
Microstoria [>] [D]: Init Ding [F]
Label und Katalognummer: Mille Plateaux MP 017
Produktion: Jan St. Werner & Markus Popp
Veröffentlicht: 1995 10
Genretags: Electronica - IDM - Glitch-IDM
Der Projektname «microstoria» stammt aus der postmarxistischen Geschichtswissenschaft, wo der Begriff für eine Geschichtsschreibung steht, die die individuellen Existenzen, die kleinen und alltäglichen Dinge in den Blick nimmt. Michel Foucault hat die Idee in «La vie des hommes infâmes»formuliert, italienische Historiker*innen wie Carlo Ginzburg, Giovanni Levi, Edoardo Grendi, Simona Cerutti oder Carlo Ponider haben die Idee ausgefüllt. Als Begriff ist «microhistory» zum ersten Mal 1959 im Buch «Pickett’s Charge: A Microhistory of the Final Attack on Gettysburg» von George R. Stewart aufgetaucht. Es ging dabei um die Erzählung vom letzten Tag der Schlacht von Gettysburg. Mikrogeschichte(n), so das Programm, sollen Geschichten von jenseits der Diskurse erzählen, aus einer Gegend, in die die Macht nur zufälligerweise je hinkommt, zum Beispiel in den seltenen Momenten, in denen jemand von Mitmenschen angeklagt wurde, weil sie oder er eine Gefahr wurde, so dass die Polizei diese Person in Gewahrsam genommen hatte, was protokolliert wurde. Damit ist das unbedeutende Leben überhaupt in die Quellen geraten.
Die Musik von Markus Popp und Jan St. Werner verzichtet dementsprechend auf Struktur und setzt auf radikal auf Prozess. Die Klänge dieser Tracks plätschern frisch dahin wie ein Bergbach, prinzipiell ohne Anfang, Ende oder markanten Veränderungen. Es ist Ambientmusik aus Glitches, die eine gewisse Wärme ausstrahlen. Wer sich solcher Musik nicht prinzipiell verschliesst, wird in ihr viel Gefälligkeit finden.
Trackliste: 1. 16 : 9 - 4:43
2. Slap Top - 4:00
3. File Care - 4:40
4. Ecclectrig - 4:38
5. Fund - 2:57
6. Zuhause - 4:25
7. Edu - 4:24
8. Pokus - 6:01
9. Communerism - 5:28
10. Dokumint - 3:53
Alle Tracks: Jan St. Werner und Markus Popp.
Besetzung: Design [Cover]: Heike Sperling
; Design [Cover]: Jörg Follert
; Photography: Frank Dommert
; Distributed By EFA
; Copyright (c) Jan St. Werner
; Copyright (c) Markus Popp
; Pressed By BOD Berlin Optical Disc
Miley Cyrus [>] [D]: Plastic Hearts [F]
Label und Katalognummer: RCA 19439-83866, RCA
Produktion: Louis Bell & The Monsters And Strangerz & Happy Perez & Mark Ronson & Watt & Andrew Wyatt
Veröffentlicht: 2020 11 27, 2020 11 27 (DLX)
Genretags: Post-Millennial-Music - Poprock - Powerpop
Miley Cyrus meldet sich mit einem Rock-Album zurück. Ihre Stimme – so versatil sie ist, das hat sie durch eine Serie stilistisch diverser Alben hindurch bewiesen – ist wie gemacht für den zeitgemäss produzierten AOR-Powerpop auf Plastic Hearts
. Diese Stimme! Spencer Kornhaber, Musikredakteur von «The Atlantic» fand die treffenden Worte: Sie sei eine
Rockstimme, die sich immer von einem Murmeln mit Puddingmund in einen Drachenfeuer-Geysir verwandle. Kornhaber fügt an, dass es auch eine Miley Cyrus-Haltung gebe, die Frechheit, Ernsthaftigkeit und [Selbstbewusstsein] verbindet, das den Blick der Kamera mit hundertfacher Intensität zu erwidern vermag. («... Rock voice, which is always molting from a pudding-mouthed mumble into a dragon-fire geyser. There is also a Miley Cyrus attitude, which blends cheekiness, earnestness, and a feeling that she’s returning the camera’s gaze with hundredfold intensity.»)
Wie es sich für ein Rock Album gehört, hat Plastic Hearts
ein Konzept. Es verarbeitet Miley Cyrus' Trennung und Scheidung von Liam Hemsworth. Es ist geprägt von der Einsicht, dass die Erzählerin nicht für eine monogame Beziehung geschaffen ist und es ihr nicht gelingt, Gefühle zu erwidern.
Golden G String
ist der Höhepunkt des Albums: Der Song stellt eine der interessantesten und aufrichtigsten Selbstbeschreibungen dar von einem Star, die man gehört haben mag: Die Erzählerin spricht von ihrem halbnackten Körper, der auf der Abrissglocke schaukelte und dafür Kritik erntete: «There are layers to this body / Primal sex and primal shame / They told me I should cover it / So I went the other way». Als Star tut sie genau das Gegenteil von dem, was man ihr rät. Dann wird der Song politisch und spricht von der Welt, in der wir leben: «We all focus on the winners / And get blinded by their shine / Maybe caring for each other's just too 1969». Die im Chorus dargelegte Konklusion aus dem Leben als Star lautet: «But oh, that's just the world that we're livin' in | The old boys hold all the cards and they ain't playin' gin / And you dare to call me crazy, have you looked around this place? / I should walk away / Oh, I should walk away / But I think I'll stay». Die Erzählerin müsste eigentlich fortlaufen, alles aufgeben, aber sie tut das Gegenteil, das gibt den Journalist/-innen etwas zu schreiben und sie geht offenbar nicht daran kaputt. Also macht sie weiter.
Trackliste: 1. Wtf Do I Know (Miley Cyrus, Ryan Tedder, Ali Tamposi, Andrew Wotman, Louis Bell) - 2:51
2. Plastic Hearts (Cyrus, Tedder, Tamposi, Wotman, Bell) - 3:25
3. Angels Like You (Cyrus, Tedder, Tamposi, Wotman, Bell) - 3:16
4. Prisoner (feat. Dua Lipa) (Cyrus, Dua Lipa, Tamposi, Michael Pollack, Wotman, Stefan Johnson, Jordan K. Johnson, Marcus Lomax, Jonathan Bellion) - 2:49
5. Gimme What I Want (Cyrus, Majid Al-Maskati, Tamposi, Wotman, Bell) - 2:31
6. Night Crawling (feat. Billy Idol) (Cyrus, Billy Idol, Tedder, Pollack, Tamposi, Wotman, Nathan Perez, Taylor Hawkins) - 3:09
7. Midnight Sky (Cyrus, Ilsey Juber, Bellion, Tamposi, Wotman, Bell) - 3:43
8. High (Cyrus, Jennifer Decilveo, Caitlyn Smith) - 3:16
9. Hate Me (Cyrus, Tamposi, Wotman, Bell) - 2:37
10. Bad Karma (feat. Joan Jett) (Cyrus, Juber) - 3:08
11. Never Be Me (Cyrus, Juber, Ronson) - 3:35
12. Golden G String (Cyrus, Wyatt) - 3:55
Bonustracks der Deluxe Ausgabe von 2020
1. Edge of Midnight (Midnight Sky remix) (feat. Stevie Nicks) (Cyrus, Stevie Nicks, Tamposi, Juber, Bellion, Wotman, Bell) - 3:40
2. Heart of Glass (live from the iHeart Festival) (Debbie Harry, Chris Stein) - 3:33
3. Zombie (live from the NIVA Save Our Stages Festival) (Dolores O'Riordan) - 4:50
Besetzung: Miley Cyrus: vocals, background vocals
; Andrew Watt: background vocals (1, 2, 4, 6, 7, 9), bass guitar (1–7, 9), drums (1, 3–5, 7, 9), guitar (1–7, 9, 15), percussion (1, 3, 9), keyboards (2, 4–7), piano (3, 6, 9), programming (7)
; Louis Bell: keyboards (1–3, 5, 7, 9), programming (1, 3, 5, 9), piano (2)
; Chad Smith: drums and percussion (2)
; Will Malone: strings (3)
; Dua Lipa: vocals and background vocals (4)
; Jon Bellion: background vocals (4)
; Michael Pollack: background vocals (4), keyboards (6)
; The Monsters & Strangerz: background vocals and keyboards (4)
; Majid Jordan: background vocals (5)
; Paul Lamalfa: programming (5)
; Ali Tamposi: background vocals (6, 7)
; Billy Idol: vocals and background vocals (6)
; Taylor Hawkins: drums (6)
; Happy Perez: keyboards and programming (6)
; Ilsey Juber: background vocals (7)
; Jennifer Decilveo: acoustic guitar (8)
; Leo Abrahams: acoustic and electric guitar (8)
; Mark Ronson: keyboards (8), percussion (8), programming (8), synthesizer (10, 11), guitar (11)
; Take a Daytrip: keyboards and programming (8)
; Riccardo Damian: programming (8)
; Andrew Wyatt: keyboards (8), strings (12)
; Ben Lester: steel guitar (8)
; Homer Steinweiss: drums (10, 11)
; Angel Olsen: guitar (10)
; The Picard Brothers: programming (10), synthesizer (10)
; John Carroll Kirby: synthesizer (10, 11)
; Brandon Bost: keyboards (11), programming (11)
; Teo Halm: keyboards (11)
; Justin Cantor: cello (12)
; Emile Haynie: programming (12)
; Mario Gotoh: viola (12)
; Christina Liberis: violin (12)
; Marc Szammer: violin (12)
; Joe Ayoub: bass guitar (14)
; Stacy Jones: drums (14, 15)
; Jamie Arentzen: guitar (14, 15)
; Max Bernstein: guitar (14)
; Mike Schmid: keyboards (14, 15)
; Josh Moreau: bass guitar (15)
; Jaco Caraco: guitar (15)
; Mark \'Spike\' Stent: mixing engineer (1–3, 5, 6, 9)
; Serban Ghenea: mixing engineer (4, 7, 8, 12, 13)
; Tom Elmhirst: mixing engineer (10, 11)
; Brandon Bost: mixing engineer (11), engineer (10)
; Paul David Hager: mixing engineer (14, 15)
; Randy Merrill: mastering engineer (1–12, 14, 15)
; Paul Lamalfa: mastering engineer (13), engineer (1–6, 9), recording engineer (7, 13), vocal engineer (10)
; Geoff Swan: engineer (1–3, 5, 6, 9)
; Louis Bell: engineer (1–3, 5, 9)
; Michael Freeman: engineer (1–3, 5, 6, 9)
; Andrew Dudman: engineer (3)
; Ryan Carline: engineer (3)
; John Hanes: engineer (4, 7, 12, 13), assistant engineer (8)
; Jacob Munk: engineer (10–12)
; Todd Monfalcone: engineer (10), assistant engineer (11)
; Andrew Wyatt: engineer (12), recording engineer (8)
; Riccardo Damian: recording engineer (8), engineer (10, 11)
; Lizzie Arnold: assistant engineer (8)
; Tileyard: assistant engineer (8)
; Matthew Scatchell: assistant engineer (10)
; Tyler Beans: assistant engineer (11)
; Marketed By Sony Music Entertainment
; Distributed By Sony Music Entertainment
; Phonographic Copyright (p) RCA Records
; Copyright (c) RCA Records
Moody Blues [>] [D] & London Festival Orchestra [>] [D]: Days Of Future Passed [F]
Label und Katalognummer: Deram SML 707
Produktion: Tony Clarke & Michael Dacre-Barclay
Veröffentlicht: 1967 11 10
Genretags: Rock - Psychedelicrock - Psychedelicpoprock
Das erste Album der Moody Blues mit Justin Hayward und John Lodge als Ersatz für Denny Lane (später bei den Wings).
Decca wollte die Rockversion von Antonin Dvoraks New World Symphony als Showcase des damals neuen Deramic Sound System, seinem Stereo-Aufnahme-Verfahren. Die Band handelte mit Decca aus, dass sie an einem Tag ihre damalige Bühnenshow über den Alltag eines gewöhnlichen Menschen aufnehmen durfte. Die entstandene Mischung aus Rock und Orchestermusik war absolut neu und liess die Schallplattenfirma an der Vermarktbarkeit dieser Musik zweifeln. Der Erfolg des Albums und der beiden Singles «Tuesday Afternoon» und «Nights In White Satin» gab der Vision der Band indes recht.
Das Album war wegweisend für Symphonicprog-Rock. Die Integration der Orchester- und der psychedelischen Rockmusik findet nicht wirklich statt. Das machen später Barclay James Harvest besser. Die Moodies selbst arbeiten bei ihren späteren Alben mehr mit Mellotron als mit Orchester und erreichen damit einen organischeren Sound als auf diesem Album. Das Mellotron wurde von Mike Pinder gespielt. Er arbeitete bei der Herstellerfirma und erwarb ein Secondhandmodell für einen Zehntel des Verkaufspreises von £30'000.
Trackliste: Seite A
1. The Day Begins - 5:51 - a) The Day Begins (Peter Knight) - 4:08, b) Morning Glory (Graeme Edge) - 1:42
2. Dawn: Dawn is a Feeling (Mike Pinder) - 3:49
3. The Morning: Another Morning (Ray Thomas) - 3:56
4. Lunch Break - 5:29 - a) Lunch Break (Peter Knight) - 1:53, b) Peak Hour (John Lodge) - 3:40
Seite B
1. The Afternoon - 8:23 - a) Forever Afternoon (Tuesday?) (Justin Hayward) - 4:48, b) Time To Get Away (Lodge) - 3:35
2. Evening - 6:40 - a) The Sun Set (Pinder) - 3:17, b) Twilight Time (Thomas) - 3:23
3. The Night - 7:26 - a) Nights In White Satin (Hayward) - 5:37, b) Late Lament (Edge) - 1:46
Besetzung: Conductor: Peter Knight
; Justin Hayward: Guitars, piano, keyboards, vocals.
; John Lodge: Bass guitar, electric guitar, vocals.
; Mike Pinder: Keyboards, Mellotron, Piano, vocals.
; Ray Thomas: Flutes, Horns, percussion, keyboards, vocals.
; Graeme Edge: Drums, percussion.
; Engineer: Derek Varnals
; Executive-Producer, Liner Notes: Hugh Mendl
; Orchestra: The London Festival Orchestra
; Painting: David Anstey
; Realization: Michael Barclay
; Realization: Tony Clarke
; Printed By Clout & Baker Ltd.
; Published By Essex Music International
Label und Katalognummer: Transatlantic Records TRA 226
Produktion: Bill Leader
Veröffentlicht: 1970 10
Genretags: Rock - Folkrock - British-Folkrock
Die Gruppe wird bei Rob Young in Electric Eden. Unearthing Britain's Visionary Music» behandelt (2010, p. 421 ff.).
Trackliste: Seite A
1. Join Us In Our Game (Bob Pegg, Carole Pegg) - 2:56
2. The Hanged Man - 4:18
3. The Gay Goshawk (Carole Pegg) - 3:17
4. Rip Van Winkle - 4:28
5. Mr. Trills Song (Ashley Hutchings, Bob Pegg) - 2:56
Seite B
1. Little Woman (Dave Mason) - 2:37
2. Salisbury Plain (Ashley Hutchings, Bob Pegg) - 5:22
3. The Ballad Of Neddy Dick - 2:50
4. Leaving The Dales - 3:36
5. Mr. Fox - 5:45
Alle Tracks: Bob Pegg, ausser wo anders vermerkt.
Besetzung: Cello: Andrew Massey
; Drums: Alan Eden
; Electric Bass: Barry Lyons
; Engineer: Nic Kinsey
; Flute, Clarinet, Bass Clarinet, Bassoon: John Myatt
; Vocals, Fiddle: Carole Pegg
; Vocals, Organ, Melodeon, Tin Whistle, Synthesizer [Terrapin], Cover [Cover Picture]: Bob Pegg
; Printed By MacNeill Press Ltd.
Murcof [>] [D]: The Alias Sessions [F]
Label und Katalognummer: Leaf BAY 121 E
Produktion: Murcof
Veröffentlicht: 2021 05 21
Genretags: Post-Millennial-Music - Digital-Underground - Darkambient, Akademica - Funktionale-Musik - Tanztheater
Diese Doppel-CD versammelt Arbeiten von Murcof für die Genfer Alias dance company und ihren Choreogrfen Guilherme Botelho. Musik wie von unter einer akustischen Lupe. Hochaufgelöste Details von synthetischen Klängen und gesampelten Instrumenten. Voran geht es zumeist mit langsamem Schritt. Wer sich auf das Tempo einlässt und die Lautstörke etwas aufdreht, wird belohnt. Das ist keine Hintergrundmusik!
Trackliste:
CD1: Contre Mondes
1. Inner Hunt - 3:54
2. Dandelion Heart - 5:33
3. Unboxing Utopia - 9:39
4. Nocturnal Sunrise - 4:35
5. Underwater Lament - 5:20
6. Inevitable Truth - 4:26
7. Between Thoughts - 3:41
8. Dropped Soul - 1:18
9. Shadow Surfing - 8:30
CD2: Normal.
1. Surface Wear - 3:50
2. Ideology Storm - 5:50
3. Dividing Space - 4:42
4. Fire Thief - 4:58
5. Systemic Amnesia - 9:18
6. Unread Letter - 5:08
7. Void Glance - 7:33
Alle Tracks: Fernando Corona.
Besetzung: Artwork: Split
; Artwork [Album Artwork]: Oli Bentley
; Mixing: Fernando Corona
; Mastering: Alex Gámez
; Mastering: Fran Rico
; Photography: Jean-Yves Genoud
Nathan Salsburg [>] [D]: Landwerk [F]
Label und Katalognummer: No Quarter NOQ 066
Veröffentlicht: 2020 05 01
Genretags: Folk - Urbanfolk - Guitarfolk, Folk - Urbanfolk - American-Primitivism
Wunderschön gemachter Tonträger. Die Musik ein Understatement, dieses Gitarren Virtuosen (Nathan Salsburg ist der Kurator der Association for Cultural Equity, der alterwürdigen Folklore-Stiftung, die von Alan Lomax gegründet wurde). Das Spezielle am Album: Salsburg spielt im Duett mit Samples von alten Schellackplatten, die den Tracks von Landwerk
eine Stimmung geben. Ein interessantes Konzept innerhalb der amerikanischen Primitivismus Genres, das aber noch unausgereift wirkt.
Trackliste: Seite A
1. I - 9:48
2. II - 8:16
Seite B
1. III - 7:01
2. IV - 10:52
Alle Tracks: Nathan Salsburg.
Besetzung: Layout: Mark Ohe
; Mastering: Shelley Anderson
; Sampler [Phonographic Samples], Electric Guitar, Resonator Guitar, Lap Steel Guitar, Percussion: Nathan Salsburg
; Mastered At Black Lab Mastering
; Pressed By GZ Media
Ned Lagin [>] [D] & Phil Lesh [>] [D]: Seastones [F]
Label und Katalognummer: Round RX 106, Rykodisc RCD 40193
Produktion: Ned Lagin
Veröffentlicht: 1975 04, 1990 (Reed.), 1975 02 (Rec.)
Genretags: Rock - Progrock - Electronicprog
Ned Lagin spielte zuweilen bei Grateful Dead die Keyboards. Als Solomusiker hat er nur ein einziges Album veröffentlicht, ursprünglich zusammen mit Phil Lesh, dem Dead-Bassisten: Seastones
von 1975. Heute fungiert das Album allein unter Ned Lagins Namen.
Dieses Seastones
ist relativ frühe elektronische Musik, die aber nicht wie andere frühe Electronica jener Zeit klingt. Man erwartet vergeblich die grossen futuristischen Gesten der Musik von Jean Michel Jarre, die technoiden Klangkonstrukte von Kraftwerk oder gar das virtuose Keyboardspiel progressiver Tastenleute. Stattdessen blubbert diese Platte unspektakulär vor sich hin. Die Bedeutung der Musik erschliesst sich definitiv nicht durch das Hörerlebnis, sondern durch das Kennen des historischen Hintergrunds ihrer Produktion. Lagin macht hier nämlich «kybernetische» oder «Biomusik», das ist Musik, die aus einem lebendigen Körper bestehend aus elektronischen Instrumenten kommt. Wir
hören hier durch einen Mikrocomputer verschaltete elektronsiche Synthis (z.B. den ersten digitalen und polyphonen Buchla Synthesizer). Diese Verschaltung programmierte Lagin auf einem Altair 8800 Rechner, dem ersten Mikrocomputer überhaupt. Das machte er sieben Jahre bevor Synthesizer mit MIDI-Schnittstellen ausgerüstet wurden.
Zur selben Zeit produzierte auch Brian Eno Musik, die das unvorhergesehene Resultat eines generativen Prozesses von miteinander kybernetisch verschalteten Geräte war. Er, nie um eine interessante Theorie verlegen, nannte seine Art zu musizieren «Generative Musik». Der Witz Generativer Musik liegt darin, dass durch die Verschaltung etwas Überraschendes entsteht, das nicht von einer Komponistin oder einem Komponisten, einer Instrumentalistin oder einem Instrumentalisten vorgesehen war. Wenn es nicht despektierlich klänge, könnte man auch sagen «Zufallsmusik». Die Generative Musik veränderte radikal die Rolle der Musiker/-innen: Sie waren hier die Arrangeure technischer Setups und nicht die Meister von Rhythmus, Melodie und Harmonie.
Das Album kam 1975 als quadrophonische Platte heraus und war entsprechend aufgenommen. Auf einer Stereoanlage klang dieses avantgardistische Biest nie ganz so, wie es hätte klingen sollen. Die CD Version von 1990 enthielt zwei Versionen des Werks, eine Live-Version (Dezember 1975) und die LP-Version. Letztere war hier zum ersten Mal ungeschnitten zu hören (ohne, dass man die Schallplatte umdrehen musste), aber immer noch in der Pseudo-Quadrophonie von 1975. Erst vor drei Monaten kam ein richtiger Stereo-Mix heraus, den Pitchfork rezensierte und dabei noch einmal auf den historischen Stellenwert dieser Musik hinwies.
Der Stream stammt noch nicht von diesem neuen Mix, aber vermittelt dennoch eine Idee von Ned Lagins Musik!
zur Wiederausgabe auf 2 CDs (2018)
Trackliste: CD Ausgabe von 1990
1. Seastones: December 1975 Version - 31:06
2. Seastones: Original February 1975 Version - 42:34
Alle Tracks: Ned Lagin.
Seite A der Vinyl Ausgabe von 1975
1. I - 3:30, II - 4:02, III a - 4:38, III b - 5:36, IV a - 0:18, IV b - 2:08, V a - 0:3
Seite B
1. V b - 4:40, VI - 5:36, VII - 13:34
Alle Tracks: Ned Lagin.
Besetzung: Artwork: Ruth Poland
; Cymbal: Spencer Dryden
; Electric Bass: Phil Lesh
; Electric Guitar, Vocals: Jerry Garcia
; Engineer: Betty Cantor
; Engineer: Bill Wolf
; Engineer: Bob Matthews
; Gong: Mickey Hart
; Piano [And Prepared Piano], Percussion, Computer [Interdata 7/16 Computer With High Speed Arithmetic Logic Unit, Programmable Bioelectronic I/o Microprocessor Intel 8080], Synthesizer [Emu Modular, Arp 2500, Arp Odyssey, Electro-comp, Buchla Modular], Keyboards, Clavichord, Organ: Ned Lagin
; Twelve-String Guitar [Alembic Electric], Vocals: David Crosby
; Vocals: David Freiberg
; Vocals: Grace Slick
; Phonographic Copyright (p) Round Records (3)
; Copyright (c) Round Records (3)
; Pressed By Columbia Records Pressing Plant, Santa Maria
; Published By Ice Nine Publishing Company, Inc.
; Recorded At Rolling Thunder Studio
; Recorded At Massachusetts Institute of Technology
; Recorded At Brandeis University
; Mixed At His Master\'s Wheels
; Mastered At Artisan Sound Recorders
Label und Katalognummer: SST 272
Produktion: Negativland
Veröffentlicht: 1991 08
Genretags: Postpunk - Electronic-Postpunk - Industrial
Diese Maxi musste aus rechtlichen Gründen zurückgezogen werden. Das Label der Band U2 verklagte Negativland erfolgreich wegen der Verwendung des Namens, was die Käufer verwirren und täuschen könne.
Trackliste: 1. I Still Haven't Found What I'm Looking For (1991 A Cappella Mix) - 7:17
2. I Still Haven't Found What I'm Looking For (Special Edit Radio Mix) - 5:48
Besetzung: Mark Hosler: tapes, electronics, rhythms, Booper, clarinet, organ, viola, loops, guitar, etc.
; Richard Lyons: tapes, electronics, rhythms, Booper, clarinet, organ, viola, loops, guitar, etc.
; David Wills: synthesizer, voice, tape
; Peter Dayton: guitars, viola
; W. M. Kennedy: guitar
; U2: Sound samples
; Casey Kasem: Sound samples
Neil Sedaka [>] [D]: Solitaire [F]
Label und Katalognummer: Kirshner KES 117, RCA Victor SF 8324
Produktion: Neil Sedaka & Eric Stewart
Veröffentlicht: 1972 (US), 1972 (UK)
Genretags: Pop - Softrock
Aus der englischen Studioband von Neil Sedaka wird nach diesem Album 10CC.
Sedakas Musik klingt stark von Carole King beeinflusst, jedenfalls die Pianorocker. Zuweilen meint man gar Carole King zu hören, da Sedaka diese hello und hohe Stimme hat, die Gender-neutral klingt.
Die Aufnahme ist sehr transparent. Sie stellt Sedaka ins Zentrum. Die Rock-Instrumente machen den Klang reich, ohne aufdringlich zu sein.
Trackliste: Seite A
1. That's When the Music Takes Me - 3:35
2. Beautiful You (Sedaka, Phil Cody) - 3:35
3. Express Yourself (Sedaka, Cody) - 3:21
4. Anywhere You're Gonna Be (Leba's Song) - 3:30
5. Home (Sedaka, Cody) - 3:10
6. Adventures of a Boy Child Wonder (Sedaka, Cody) - 3:10
Seite B
1. Better Days Are Coming - 4:17
2. Dimbo Man (Sedaka, Roger Atkins) - 3:58
3. Trying to Say Goodbye (Sedaka, Cody) - 3:20
4. Solitaire (Sedaka, Cody) - 5:02
5. Don't Let It Mess Your Mind (Sedaka, Cody) - 4:24
Alle Tracks: Neil Sedaka, ausser wo anders vermerkt.
Besetzung: Bass, Guitar, Vocals: Graham Gouldman
; Drums, Vocals: Kevin Godley
; Electric Piano, Organ, Piano, Vocals: Neil Sedaka
; Engineer: Eric Stewart
; Guitar, Vocals: Lol Creme
Neil Young [>] [D]: Archives, Vol. 1 [F]
Label und Katalognummer: Reprise 524165
Produktion: Verschiedene
Veröffentlicht: 2009 06 02 (Ed.), 1972-63 (Rec.)
Genretags: Rock - Singer-Songwriter, Rock - Folkrock
Neil Young bringt auf Blue-Ray-Disc sein Lebenswerk als audiovisueller Hypertext heraus. Spitzentechnologie zu einem stolzen Preis. In praktischer Hinsicht fragt man sich, ob man je die Zeit findet, sich das alles anzuhören. In technologischer Hinsicht ist das Projekt von Neil Young bahnbrechend. Da wird ein Künstlerleben – die Archives sind eine multimediale Autobiografie. Sie enthalten rare Aufnahmen, Konzertmitschnitte, TV-Auftritte, Fotos, Filme, Texte (Lyrics, Pressetexte), gescannte Arbeitspapiere, ...
Trackliste: Disc 00 - Early Years (1963-1965)
1. Aurora - The Squires - from the 45 RPM single (mono)
2. The Sultan - The Squires - from the 45 RPM single (mono)
3. I Wonder - The Squires - previously unreleased song (mono)
4. Mustang - The Squires - previously unreleased instrumental (mono)
5. I'll Love You Forever - The Squires - previously unreleased song (mono)
6. (I'm A Man And) I Can't Cry - The Squires - previously unreleased song (mono)
7. Hello Lonely Woman - Neil Young & Comrie Smith - previously unreleased song
8. Casting Me Away From You - Neil Young & Comrie Smith - previously unreleased song
9. There Goes My Babe - Neil Young & Comrie Smith - previously unreleased song
10. Sugar Mountain - Neil Young - previously unreleased demo version (mono)
11. Nowadays Clancy Can't Even Sing - Neil Young - previously unreleased demo version (mono)
12. Runaround Babe - Neil Young - previously unreleased song (mono)
13. The Ballad Of Peggy Grover - Neil Young - previously unreleased song (mono)
14. The Rent Is Always Due - Neil Young - previously unreleased song (mono)
15. Extra, Extra - Neil Young - previously unreleased song (mono)
16. I Wonder - The Squires - previously unreleased alternate version (mono) (Hidden track)
17. Nowadays Clancy Can't Even Sing - Buffalo Springfield - from the album Buffalo Springfield (mono) (Hidden track)
18. I Wonder - The Squires - previously unreleased basement rehearsal (mono) (BD-Live download)
Disc 01 - Early Years (1966-1968)
1. Flying On The Ground Is Wrong - Neil Young - from the Buffalo Springfield Box Set (mono)
2. Burned - Buffalo Springfield - from the album Buffalo Springfield (mono)
3. Out Of My Mind - Buffalo Springfield - from the album Buffalo Springfield (mono)
4. Down, Down, Down - Neil Young - previously unreleased version (mono)
5. Kahuna Sunset - Buffalo Springfield - from the Buffalo Springfield Box Set (mono)
6. Mr. Soul - Buffalo Springfield - from the Buffalo Springfield Box Set (mono)
7. Sell Out - Buffalo Springfield - previously unreleased song (mono)
8. Down To The Wir
e - Neil Young - from the album Decade (mono)
9. Expecting To Fly - Buffalo Springfield - from the album Buffalo Springfield
10. Slowly Burning - Neil Young - previously unreleased instrumental
11. One More Sign - Neil Young - from the Buffalo Springfield Box Set
12. Broken Arrow - Buffalo Springfield - from the album Buffalo Springfield Again
13. I Am A Child - Buffalo Springfield - from the album Last Time Around
14. Do I Have To Come Right Out And Say It? - Buffalo Springfield - from the album Buffalo Springfield (mono) [Hidden track]
15. Flying On The Ground Is Wrong - Buffalo Springfield - from the album Buffalo Springfield (mono) [Hidden track]
16. For What It's Worth - Buffalo Springfield - from the album Buffalo Springfield - second version (mono) [Hidden track]
17. This Is It! - Buffalo Springfield - excerpts from their final concert - previously unreleased montage (mono) [Hidden track]
Disc 02 - Topanga 1 (1968-1969)
1. Everybody Knows This Is Nowhere - Neil Young - from the stereo promotional 45 RPM single-second pressing
2. The Loner - Neil Young - from the album Neil Young
3. Birds - Neil Young - previously unreleased version
4. What Did You Do To My Life? - Neil Young - previously unreleased mix
5. The Last Trip To Tulsa - Neil Young - from the album Neil Young
6. Here We Are In The Years - Neil Young - from the album Neil Young-second version
7. I've Been Waiting For You - Neil Young - previously unreleased mix
8. The Old Laughing Lady - Neil Young - from the album Neil Young
9. I've Loved Her So Long - Neil Young - from the album Neil Young
10. Sugar Mountain - Neil Young - previously unreleased stereo master
11. Nowadays Clancy Can't Even Sing - Neil Young - previously unreleased live version
12. Down By The River - Neil Young with Crazy Horse - from the album Everybody Knows This Is Nowhere
13. Cowgirl In The Sand - Neil Young with Crazy Horse - from the album Everybody Knows This Is Nowhere
14. Everybody Knows This Is Nowhere - Neil Young with Crazy Horse - from the album Everybody Knows This Is Nowhere
15. The Emperor Of Wyoming - Neil Young - from the album Neil Young [Hidden track]
Disc 03 - Live At the Riverboat (Toronto 1969)
1. Sugar Mountain - Neil Young - previously unreleased live version
2. The Old Laughing Lady - Neil Young - previously unreleased live version
3. Flying On The Ground Is Wrong - Neil Young - previously unreleased live version
4. On The Way Home - Neil Young - previously unreleased live version
5. I've Loved Her So Long - Neil Young - previously unreleased live version
6. I Am A Child - Neil Young - previously unreleased live version
7. 1956 Bubblegum Disaster - Neil Young - previously unreleased song
8. The Last Trip To Tulsa - Neil Young - previously unreleased live version
9. Broken Arrow - Neil Young - previously unreleased live version
10. Whiskey Boot Hill - Neil Young - previously unreleased live version
11. Expecting To Fly - Neil Young - previously unreleased live version
Disc 04 - Topanga 2 (1969-1970)
1. Cinnamon Girl - Neil Young with Crazy Horse - from the album Everybody Knows This Is Nowhere
2. Running Dry (Requiem For The Rockets) - Neil Young with Crazy Horse - from the album Everybody Knows This Is Nowhere
3. Round And Round (It Won't Be Long) - Neil Young with Crazy Horse - from the album Everybody Knows This Is Nowhere
4. Oh Lonesome Me - Neil Young with Crazy Horse - previously unreleased stereo mix
5. Birds - Neil Young with Crazy Horse - from the 45 RPM single (mono)
6. Everybody's Alone - Neil Young with Crazy Horse - Previously unreleased song
7. I Believe In You - Neil Young with Crazy Horse - from the album After The Gold Rush
8. Sea Of Madness - Crosby, Stills, Nash & Young - from the original soundtrack album Woodstock
9. Dance Dance Dance - Neil Young with Crazy Horse - previously unreleased version
10. Country Girl - Crosby, Stills, Nash & Young - from the album Déjà Vu
11. Helpless - Crosby, Stills, Nash & Young - previously unreleased mix
12. It Might Have Been - Neil Young with Crazy Horse - previously unreleased live version
13. I Believe In You - Neil Young with Crazy Horse - previously unreleased mix [Hidden track]
14. I've Loved Her So Long - Crosby, Stills, Nash & Young - previously unreleased live version (mono) [Hidden track]
Disc 05 - Live At the Fillmore East (New York 1970)
1. Everybody Knows This Is Nowhere
2. Winterlong
3. Down By The River
4. Wonderin'
5. Come On Baby, Let's Go Downtown
6. Cowgirl In The Sand
Disc 06 - Topanga 3 (1970)
1. Tell Me Why - Neil Young - from the album After The Gold Rush
2. After The Gold Rush - Neil Young - from the album After The Gold Rush
3. Only Love Can Break Your Heart - Neil Young - from the album After The Gold Rush
4. Wonderin' - Neil Young - previously unreleased version
5. Don't Let It Bring You Down - Neil Young - from the album After The Gold Rush-first pressing
6. Cripple Creek Ferry - Neil Young - from the album After The Gold Rush
7. Southern Man - Neil Young - from the album After The Gold Rush
8. Till The Morning Comes - Neil Young - from the album After The Gold Rush
9. When You Dance, I Can Really Love - Neil Young with Crazy Horse - from the album After The Gold Rush-first pressing
10. Ohio - Crosby, Stills, Nash & Young - from the stereo 45 RPM single
11. Only Love Can Break Your Heart - Crosby, Stills, Nash & Young - previously unreleased live version
12. Tell Me Why - Crosby, Stills, Nash & Young - previously unreleased live version
13. Music Is Love - David Crosby, Graham Nash & Neil Young - from the album If I Could Only Remember My Name
14. See The Sky About To Rain - Neil Young - previously unreleased live version
15. Don't Let It Bring You Down - Neil Young - from the album After The Gold Rush - second pressing [Hidden track]
16. When You Dance I Can Really Love - Neil Young with Crazy Horse - from the album After The Gold Rush - second pressing [Hidden track]
17. Birds - Neil Young - from the album After The Gold Rush [Hidden track]
Disc 07 - Live at Massey Hall (Toronto 1971)
1. On The Way Home
2. Tell Me Why
3. Old Man
4. Journey Through The Past
5. Helpless
6. Love In Mind
7. A Man Needs A Maid/Heart Of Gold (Suite)
8. Cowgirl In The Sand
9. Don't Let It Bring You Down
10. There's A World
11. Bad Fog Of Loneliness
12. The Needle And The Damage Done
13. Ohio
14. See The Sky About To Rain
15. Down By The River
16. Dance Dance Dance
17. I Am A Child
Disc 08 - North Country (1971-1972)
1. Heart Of Gold - Neil Young - previously unreleased live version
2. The Needle And The Damage Done - Neil Young - from the album Harvest
3. Bad Fog Of Loneliness - Neil Young with The Stray Gators - previously unreleased version
4. Old Man - Neil Young with The Stray Gators - from the album Harvest
5. Heart Of Gold - Neil Young with The Stray Gators - from the album Harvest
6. Dance Dance Dance - Neil Young - previously unreleased version
7. A Man Needs A Maid - Neil Young with the London Symphony Orchestra - previously unreleased mix
8. Harvest - Neil Young with The Stray Gators - from the album Harvest
9. Journey Through The Past - Neil Young with The Stray Gators - previously unreleased version
10. Are You Ready For The Country? - Neil Young with The Stray Gators - from the album Harvest
11. Alabama - Neil Young with The Stray Gators - from the album Harvest
12. Words (Between The Lines Of Age) - Neil Young with The Stray Gators - from the original soundtrack album Journey Through The Past
13. Soldier - Neil Young - previously unreleased mix
14. War Song - Neil Young & Graham Nash with The Stray Gators - from the 45 RPM single (mono)
Disc 09 - Journey Through the Past - A Film By Neil Young
1. Special features include the theatrical trailer, radio spots and archival galleries.
Neon Neon [>] [D]: Praxis Makes Perfect [F]
Label und Katalognummer: Lex LEX 091, Lex LEX 091CDX
Produktion: Bryan Hollon & Gruff Rhys
Veröffentlicht: 2013 04 29, 2013 04 29 (DLX)
Genretags: Post-Millennial-Music - Postpunk-Revival - Synthpop
Das Album erzählt die Lebensgeschichte des italienischen Verlegers Giangiacomo Feltrinelli. Feltrinelli war der Abkömmling einer reichen norditalienischen Industriellen- und Banker-Familie. Er wurde als junger Mann Partisan im Kampf gegen Mussolini und 1969 Terrorist.Dazwischen war er erfolgreicher linker Verleger in Mailand. Er hatte die Rechte von «Dr. Schiwago» von Boris Pasternak, der «Wendekreise» von Henry Miller oder von «Il gattopardo» von Giuseppe di Lampedusa. Ausserdem war er der Verbreiter der ikonischen Foto von Che Guevarra. 1972 starb er bei einem Attentat auf eine Hochspannungsleitung als der Sprengsatz zu früh explodierte. Bis heute wird gemutmasst, dass er vom Geheimdienst ermordet wurde.
Trackliste: 1. Praxis Makes Perfect - 2:54
2. The Jaguar - 3:02
3. Dr. Zhivago - 3:51
4. Hoops With Fidel - 2:54
5. Hammer & Sickle - 2:52
6. Shopping (I Like To) - 3:07
7. Mid Century Modern Nightmare - 1:59
8. The Leopard - 3:16
9. Listen To The Rainbow - 3:25
10. Ciao Feltrinelli - 4:02
CD 2 der Deluxe Ausgabe von 2013: Years Of Lead EP
1. Years Of Lead - 3:32
2. Non Aligned States - 3:42
3. Socialism At Sea (Take In The Sails, Head Into The Wind) - 2:31
4. Fuga In Avanti - 2:48
Alle Tracks: Bryan Hollon und Gruff Rhys.
Besetzung: Design Concept: Milly Wright
; Engineer: Andre Valfré
; Engineer: Hugo Nicolson
; Engineer: Jason Burkhart
; Engineer: Kris Jenkins
; Engineer: Sir Doufus Styles
; Layout: DLT
; Mastering: John Dent
; Mixing: Chris Shaw
; Musician: Bryan Hollon
; Musician: Gruff Rhys
; Vocals: Gruff Rhys
Assoziierte Acts: Klaus Dinger & Michael Rother
Label und Katalognummer: Brain 1004
Produktion: Klaus Dinger & Conny Plank & Michael Rother
Veröffentlicht: 1972 10
Genretags: Electronica - Electronic-Rock - Düsseldorfer-Schule
Auf diesem Album wird von Klaus Dinger der motorische Beat erfunden, das Markenzeichen des Krautrock-Genres bis heute. Obwohl das Neu!
meist als Synthpop- oder Electronica-Album klassiert wird, verwendet es (wie die frühen Kraftwerk-Releases) noch weitgehend konventionelle (elektro-)akustische Instrumente.
Trackliste: Seite A
1. Hallogallo - 10:07
2. Sonderangebot - 4:50
3. Weissensee - 6:42
Seite B: Jahresüberblick
1. Im Glück - 6:52
2. Negativland - 9:46
3. Lieber Honig - 7:15
Alle Tracks: Klaus Dinger und Michael Rother.
Besetzung: Conny Plank: engineer
; Michael Rother: guitar, bass guitar
; Klaus Dinger: drums, Japanese banjo, guitar
Label und Katalognummer: Captain Trip CTCD 020
Produktion: Klaus Dinger & Michael Rother
Veröffentlicht: 1996 (Ed.), 1986-85 (Rec.)
Genretags: Electronica - Electronic-Rock - Düsseldorfer-Schule
Track 1 und 14 sind die deutsche Nationalhymne völlig verlangsamt und vehallt, einmal vorwärts und einmal rückwärts gespielt. Dazwischen sind acht Tracks, die auf der selben Akkord-Progression basieren, eigentlich acht Varianten des selben Stücks. Diese tragen alle die deutliche Handschrift von Neu!, sie wären ganz anders, wenn es es sich um ein Remix-Album handelte. Alle acht Varianten sind so etwas wie ein Showcase für elektronischen Krautrock und für Synthpop. Das Abum mag stellenweise etwas unfertig wirken. Aber die erwähnte Akkord-Progression hört sich mehr als zwanzig Jahre nach der Einspielung absolut grossartig an sie ist unverwüstlich wie die Harmoniefolge in Pachelbels Kanon. Sodann weisen die beiden Rahmentracks weit nach vorne zu Voigts Gas-Releases.
Die Editionsgeschichte dieses Albums ist leider eine unerfreuliche: Zuerst stand Michael Rother der Veröffentlichung im Weg, dann Klaus Dinger, was zu einem Rechtsstreit führte und erst nach Dingers Tod eine offizielle Wiederveröffentlichung ermöglichte.
Trackliste: 1. Nazionale - 3:11
2. Crazy - 3:15
3. Flying Dutchman - 3:56
4. Schöne Welle (Nice Wave) - 4:30
5. Wave Naturelle - 5:37
6. Good Life (Random-Rough) - 3:51
7. '86 Commercial Trash - 3:18
8. Fly Dutch II - 5:06
9. Dänzing - 5:08
10. Quick Wave Machinelle - 3:46
11. Bush-Drum - 3:10
12. La Bomba (Stop Apartheid World-Wide!) - 5:59
13. Good Life - 3:42
14. Elanoizan - 3:24
Alle Tracks: Klaus Dinger und Michael Rother.
Besetzung: Michael Rother: Fairlight, synthesizer, guitar, bass, voice, programs
; Klaus Dinger: voice, guitar, OB8, mix, drums, percussion, programs
; Gigi: drums (6, 8)
; Konrad: bass (6, 8)
; Jochen: voice (12)
; Brigit: voice (12)
; Michael Crund: engineer
Nirvana [UK] [>] [D]: The Story Of Simon Simopath [F]
Label und Katalognummer: Island ILPS 9059, Universal International 301
Produktion: Chris Blackwell
Veröffentlicht: 1967 10, 2003 12 02 (Reed.)
Genretags: Pop - Progressivepop - Baroquepop
Erster Release des Island Labels. Die englischen Nirvana sind Patrick Campbell-Lyons und Alex Spyropolous. Ihr Album «The Story Of Simon Simopath» ist das erste vollständige Konzeptalbum der Rockgeschichte. Es handelt von einen jungen Mann, einem Aussenseiter und Träumer. Die Story spielt etwa 20 Jahre in der Zukunft. In 1999 arbeitet er entfremdet in einem Büro und erleidet einen Nervenzusammenbruch. Die Psychiatrie kann ihm nicht helfen. Simon wird Raumfahrer und steigt in eine Rakete. Unterwegs trifft er einen Zentaur der sein Freund wird und die Göttin Magdalena, die im «Pentecost Hotel» arbeitet. Simon und Magdalena heiraten und machen ein Fest.
Trackliste: Seite A
1. Wings of Love - 3:20
2. Lonely Boy - 2:31
3. We Can Help You - 1:57
4. Satellite Jockey - 2:35
5. In the Courtyard of the Stars - 2:36
Seite B
1. You're Just the One - 2:07
2. Pentecost Hotel - 3:06
3. I Never Found a Love Like This - 2:50
4. Take This Hand - 2:17
5. 1999 - 2:09
Bonustracks der 2003 Wiederauflage
1. I Believe In Magic - 3:22
2. Life Ain't Easy - 3:15
3. Feelin' Shattered - 2:20
4. Requiem To John Coltrane - 4:54
Alle Tracks: Patrick Campbell-Lyons und Alex Spyropoulos.
Besetzung: Patrick Campbell-Lyons: Guitar & Vocals
; Ray Singer: Guitar
; Alex Spyropoulos: Piano, Keyboards & Vocals
; Michael Coe: French Horn & Viola
; Brian Henderson: Bass
; Peter Kester, David Preston, Patrick Shanahan: Drums
; Sylvia A. Schuster: Cello
; Conductor, Arranged: Syd Dale
; Design [Cover]: David Browning
; Engineer: Brian Humphries
Nonlocal Forecast [>] [D]: Bubble Universe! [F]
Label und Katalognummer: Hausu Mountain Records HAUSMO 84
Produktion: Angel Marcloid
Veröffentlicht: 2019 03 01
Genretags: Electronica - Progressive-Electronic-Music - Vaporwave
Bubble Universe!
von Nonlocal Forecast (ehemals auch als Fire-Toolz unterwegs) ist Vaporwave mit Bezügen zu Jazzrock-Fusion aus den 70er Jahren.
Seit gut zwei Jahren hat die Dichte von Vaporwave Releases erkennbar abgenommen. Wohin sich die Musik entwickelt, falls sie sich nicht einfach im eigenen Nebel auflöst, ist mir noch unklar. Bubble Universe!
nimmt Richtung auf Hybridisierung ist aber auch wiederum rückwärtsgewandt, wenn Fusion-Elemente darin aufscheinen. Vaporwave zeichnete sich gerade dadurch aus, kein Retro-Genre zu sein. Geblieben ist der billige Hochglanz, aber zuweilen klingt die Musik gespielt (hören Sie auf die sehr organisch wirkende Perkussion). Ich kann den Nonlocal Forecast Release noch nicht recht einordnen, aber es ist packend gute Musik.
Trackliste: Seite A
1. Celestial Nervous System - 5:53
2. Planck Lengths - 4:05
3. Cloud-Hidden - 2:10
4. The Direct Path - 4:02
5. Triangular Format (feat. feat. Fire-Toolz) - 2:50
Seite B
1. The Evolutionary Game - 4:20
2. Classical Information - 2:19
3. Foam, Vacuum, Om - 4:59
4. Conscious Agent Combos - 4:30
5. Wave Nature - 4:02
Alle Tracks: Angel Marcloid.
Besetzung: Artwork: Maxwell Allison
; Keyboards, Guitar, Recording: Angel Marcloid
; Mastering: Patrick Klem
Oneohtrix Point Never [>] [D] & Rene Hell [>] [D]: Split LP (= Music For Reliquary House / In 1980 I Was A Blue Square) [F]
Label und Katalognummer: NNA Tapes 655035 025117
Produktion: Oneohtrix Point Never & Rene Hell
Veröffentlicht: 2012 09 18
Genretags: Electronica - Progressive-Electronic-Music
Der Track-Zyklus von Oneohtrix Point Never steht unter dem Titel Music For Reliquary House
. Diese Tracks sind überarbeitetes Material aus einer Installation von letztem Jahr. Lopatins Tracks sind algorithmisch verkleinerte elektronische Sounds. Sie wirken wie ein Blick durch ein Kaleidoskop aus Klängen: farbig und unergründlich. Die Tracks von Rene Hell sind mit In 1980 I Was A Blue Square
überschrieben. Neoklassische Piano-Stücke werden im Laptop prozessiert, so dass aus dem an sich schon unerschöpflichen Klangerzeuger die Unerschöpflichkeit im Quadrat entsteht. Insgesamt ist diese Split-LP ein Meisterwerk der zeitgenössischen impressionistischen elektronischen Musik.
Trackliste: Seite A: Music For Reliquary House
1. Oneohtrix Point Never: Stone of Spiritual Understanding - 5:07
2. Oneohtrix Point Never: Midday - 3:16
3. Oneohtrix Point Never: Free Ride - 6:53
4. Oneohtrix Point Never: Cubi X - 2:58
5. Oneohtrix Point Never: The Letter - 4:01
Seite B: In 1980 I Was A Blue Square
1. Rene Hell: Meta Concrete - 4:11
2. Rene Hell: Untitled Solo 4 - 2:29
3. Rene Hell: The Bridge - 3:22
4. Rene Hell: Qi - 6:39
5. Rene Hell: Quick Folding Motion - 2:07
Opus III [>] [D]: Opus III & Friends [F]
Assoziierte Acts: Janne Schaffer
Label und Katalognummer: Sonet SLP 2508
Produktion: Claes af Geijerstam
Veröffentlicht: 1970
Genretags: Rock - Jazzrock
Am Schlagzeug Ola Brunkert, der später als Backingmusiker von Abba spielen wird. Auch Janne Schaffer wird einige Male für Abba spielen.
Trackliste: Seite A
1. 6.30 A Sunday Morning -
2. General Mojo's Well Laid Plan -
3. I See The World From My Window -
4. Natural Talking Boy -
Seite B
1. Movements Of 8.08 Time-series -
2. Juice Of Joy -
3. Deserted Child -
4. Evening Dream -
Besetzung: Bass: Björn Stolt
; Design: Leif Illernäs
; Drums: Ola Brunkert
; Engineer: Åke Eldsäter
; Guest, Choir: Claes af Geijerstam
; Guest, Choir: Herbert Reberstack
; Guest, Choir: Simon Hair
; Guest, Piano: Johannes Olsson
; Guest, Piano, Flute: Björn J:Son Lindh
; Guest, Vocals: Björn Skifs
; Guest, Vocals: Richard Camembert
; Guitar, Vocals: Janne Schaffer
; Photography: Bengt af Geijerstam
; Published By John\'s Music
; Published By E. H. Morris Nordiska AB
Orson Wells [>] [D]: The War Of The Worlds [F]
Label und Katalognummer: Longines Symphonette Society 4001
Veröffentlicht: 1968 (Ed.), 1938 10 31 (Radio)
Genretags: Akademica - Funktionale-Musik - Hörspiel
Hörspiel aus em jahr 1936 produziert für CBS: Der Stoff von H.G. Wells wurde von Orson Wells dramatisiert.
Die Ausstrahlung soll einige Hörerinnen und Hörer verunsichert oder in Panik versetzt haben. Der Anfang des Hörspiels ist sehr realistisch als Radiosendung produziert, in die aktuelle Meldungen über die Landung eines Raumschiffs in New Jersey einbrechen. Die Eindringlinge vom Mars (Aliens) bekämpfen die Menschen mit einem schwarzen Giftgas. Das Militär ist chancenlos. Etwa in der Halbzeit wird das Hörspiel zum Monolog eines überlebenden Menschen, der dann auf der Suche nach weiterem Leben eine andere Person findet. Am Ende stellt sich heraus, dass die Eindringlinge von Mikroben vernichtet wurden.
Trackliste: Seite A
1. War Of The Worlds (Part 1 & 2) -
Seite B
1. War Of The Worlds (Part 3 & 4) -
Besetzung: Script By: Howard Koch
Otto Muehl [>] [D]: Psycho-Motorik [F]
Label und Katalognummer: Selbstrelease SP 2
Veröffentlicht: 1971
Genretags: Nonmusic
Der Wiener Performancekünstler Otto Muehl (1925–2013) gründete ca. 1970 eine von Psychiater und Sexualforscher Wilhelm Reich inspirierte Kommune und 1973 die Aktionsanalytischen Organisation (AAO), deren Ziel die Abschaffung von Kleinfamilien und Zweierkisten zum Ziel hatte. Muehl verbreitete das Motto: «Ich muss aus mir raus». Er war der Überzeugung, dass jeder Mensch in einem Korsett eingesperrt sei. Sich wirklich zu befreien, gehe nicht über die typischen Rezepte der 68-Genration: politischen Aktivismus, Drogen oder «Innerlichkeit»/Mystik, sondern durch kommunen- und gruppentherapeutische Sitzungen, in denen die Einzelnen sich nakt exponierten und von den anderen (ebenfalls nackt) mit bohrenden Fragen durchlöchtert wurden, bis Tränen und Schreie übrig blieben. In der Kommune gab es systematische Fick-Pläne, wer mit wem nicht länger als 30 Minuten programmatischen Sex zu haben hatte. geilheit sollte Gefühle ersetzen und Muehl war als Anführer «der Geilste».
Vermutlich im Jahr 1971 erschien diese Platte und im Oktober 1977 das autobiografische Buch mit dem Titel «Weg aus dem Sumpf». Die AAO hatte zwischen 400 und 600 Mitglieder, die sich aber nach und nach von Muehl abwandten, weil dieser zunehmend autokratische Züge an den Tag legte.
1991 wurde Otto Muehl in Österreich wegen Kindesmissbrauchs und Verstoßes gegen das Suchtgiftgesetz zu sieben Jahren Haft verurteilt. Nach seiner Freilassung lebte er in der Algarve in Portugal.
Trackliste und Sequenzierung gehen durcheinander. Das Cover erwähnt auf Seite A Tracks 6 und 7, die aber nicht auf der LP sind: «Hygiene» und «Aestheten-Schweinerei». Auf dem Label sind Tracknamen anders geschrieben: «Fliegende Bösendorfer», «Sotchaas» und «Klavierkonzert».
Links
– Academic-accelerator: Otto Muehl
Trackliste: Seite A 16:56
1. Jetzt Wir
d's Geil -
2. Akt Natur -
3. Der Fliegende Bösendorfer -
4. Futschaas -
Seite B
1. Ein Schrecklicher Gedanke -
2. Mein Testament -
3. Jodler -
4. Hygiene -
5. Meine Mutter -
6. Klavierkonzert K -
Besetzung: Sleeve Notes: Der Spiegel
Patti Smith Group [>] [D]: Easter [F]
Label und Katalognummer: Arista AB 4171, Arista 07822-18826
Produktion: Jimmy Iovine
Veröffentlicht: 1978 03 03, 1996 06 18 (Reed.)
Genretags: Rock - Punkrock - New-York-Punk
Die Gruppe war zur Zeit der Aufnahme ohne Richard Sohl, der wegen gesundheitlichen Problemen in den Ausstand trat. Ihn ersetzte Bruce Brody.
Das Album Cover spielt mit dem «Sex sells» Faktor. Es wurde von Lynn Goldsmith, einer der ersten Rock-Fotografinnen aufgenommen. Patti Smith wird mit unrasierten Achselhaaren gezeigt. Das Label wollte diese anfänglich wegretouchieren. Dem Rolling Stone Magazine sagte Smith, dass sie das Coverbild als Masturbations-Vorlage genommen hätte. Sie hätte gedacht, dass wenn es bei ihr funktionierte, dann auch bei 15-jährigen Jungs und diese Tatsache mache sie glücklich.
Trackliste: Seite A
1. Till Victory (Patti Smith, Lenny Kaye) - 2:45
2. Space Monkey (Smith, Ivan Kral, Tom Verlaine) - 4:04
3. Because the Night (Smith, Bruce Springsteen) - 3:32
4. Ghost Dance (Smith, Kaye) - 4:40
5. Babelogue (Smith) - 1:25
Seite B
1. Rock and roll nigger (Smith, Kaye) - 3:13
2. Privilege (Set Me Free) (Mark London, Paul Jones, Mike Leander) - 3:27
3. We Three (Smith) - 4:19
4. 25th Floor (Smith, Kral) - 4:01
5. High on Rebellion (Smith) - 2:37
6. Easter (Smith, Jay Dee Daugherty) - 6:15
Bonustrack der CD Ausgabe von 1996
1. Godspeed - 6:09
Besetzung: Patti Smith: vocals, guitar
; Lenny Kaye: guitar, bass guitar, vocals
; Jay Dee Daugherty: drums, percussion
; Ivan Král: bass guitar, vocals, guitar
; Bruce Brody: keyboards, synthesizer
; Richard Sohl: keyboards (A2)
; Allen Lanier: keyboards (A2)
; John Paul Fetta: bass guitar (A1, B2)
; Andi Ostrowe: percussion, Pclp (A4)
; Jim Maxwell: bagpipes (B6)
; Tom Verlaine: arrangement (in 1974) (B3)
; Todd Smith: head of crew
; Jimmy Iovine: mixing
; Shelly Yakus: mixing
; Greg Calbi: mastering
; Thom Panunzio: engineering
; Gray Russell: engineering
; Charlie Conrad: engineering
; Joe Intile: engineering
; Lynn Goldsmith: cover photography
; Robert Mapplethorpe: insert photography
; Cindy Black: insert photography
; John Roberts: insert photography
; Maude Gilman: insert design
Paul McCartney [>] [D]: McCartney [F]
Label und Katalognummer: Apple PCS 7102, MPL HRM 32144
Produktion: Paul McCartney
Veröffentlicht: 1970 04 17, 2011 06 10 (Reed.)
Genretags: Rock - Poprock - Powerpop
Das erste Solo-Album von Paul McCartney. Auf ihm erfindet er sich neu oder versucht es zumindest. Das Album wirkt unausgereift, kommt wie als Notizbuch voller Song-Entwürfe daher. Das Zen-artige Coverbild unterstützt diesen Eindruck und die Unsicherheit in McCartneys Stimme. Es fehlt die Band, die diese Rohdiamanten schleift. Nur wenige Tracks funktionieren tadellos, darunter Every Night
, Junk
, Maybe I'm Amazed
und Teddy Boy
. Im Rückblick rettet das Album, dass McCartney hier Lo-Fi-Rock erfindet, fast zwanzig Jahre bevor Lo-Fi eine Strömung des Alternativerock wird.
Mit dem Pressetext zu McCartney
kam ein fiktives Interview, das Paul McCartney mit dem Pressesprecher Peter Brown schrieb, in dem er das Ende der Beatles deutlich machte. Was die Öffentlichkeit schon ahnte, wurde jetzt klar: Die erfolgreichste gruppe der 60er Jahre hat sich aufgelöst. Die anderen drei Ex-Beatles empfanden das Vorgehen von Paul McCartney als weiteren Egotrip. McCartney selbst hat das Interview verfasst, um keine Presseintervies geben zu müssen, an denen er natürlich zum Status der Beatles befragt worden wäre.
McCartney
kam in einem aufklappbaren Gatefold Cover ohne Aufschrift und zeigte auf der aufgeklappten Innenseite Fotos von ihm und seiner Familie: Ehefrau, Kinder, Katze, Hund. Frau mit Pferd. Bilder wie aus einem privaten Fotoalbum. Die Fotos wurden von Linda McCartney und Paul geschossen. Die Rückseite zeigt gross den McCartney mit Tochter Mary im Innern seiner Jacke. Der Rockstar als stolzer Vater – das hat man bisher auf Schallplattencovern nicht gesehen. Aus der Familienidylle heraus fällt das Titelbild auf der Vorderseite der Langspielplatte: Es wirkt künstlerisch und arrangiert. Ein Hauch von Zen-Buddhismus umweht es. Auf einer weissen Mauer steht eine Schale mit einer roten Flüssigkeit. Hellrote Kirschen (sind sie kandiert?) liegen ausserhalb der Schale zerstreut auf dem Mauerfirst. Das Bild wird als Anspielung auf die britische Redensart: «Life is just a Bowl of Cherries» gelesen. Da die Kirschen ausserhalb der Schale herumliegen, scheint etwas mit diesem Leben doch nicht so ganz zu stimmen.
Trackliste: Seite A
1. The Lovely Linda - 0:44
2. That Would Be Something - 2:39
3. Valentine Day - 1:40
4. Every Night - 2:32
5. Hot as Sun/Glasses - 2:07
6. Junk - 1:55
7. Man We Was Lonely - 2:57
Seite B
1. Oo You - 2:49
2. Momma Miss America - 4:05
3. Teddy Boy - 2:23
4. Singalong Junk - 2:35
5. Maybe I'm Amazed - 3:51
6. Kreen-Akrore - 4:15
Alle Tracks: Paul McCartney.
CD 2: Bonus Audio Tracks (previously unreleased) 2011
1. Suicide (Outtake) - 2:48
2. Maybe I'm Amazed [From the One Hand Clapping Video - 1974] - 4:53
3. Every Night [Live At Glasgow, 17 December 1979] - 4:30
4. Hot As Sun [Live At Glasgow, 17 December 1979] - 2:27
5. Maybe I'm Amazed [Live At Glasgow, 17 December 1979] - 5:11
6. Don't Cry Baby - Instrumental version of Oo You - 3:07
7. Women Kind (Demo) [Mono] - 2:09
Alle Tracks: Paul McCartney.
Besetzung: Harmony Vocals [Harmonies]: Linda McCartney
; Instruments, Voice [Voices]: Paul McCartney
; Photography: Linda McCartney
; Record Company Apple Records
; Record Company The Gramophone Co. Ltd.
; Published By Northern Songs Ltd.
; Pressed By The Gramophone Co. Ltd.
Paul Simon [>] [D]: The Rhythm Of The Saints [F]
Label und Katalognummer: Warner Bros. 9 26098
Produktion: Paul Simon
Veröffentlicht: 1990 10 16
Genretags: Rock - AOR-Rock - AOR-Folkrock, Rock - AOR-Rock - AOR-Singer-Songwriter
Oft wird dieses Album als Sequel zu Graceland gesehen. Ist selbst mir passiert. Aber eigentlich kann man es nicht genug für das texturierte Spiel loben. Das ist so 90er wie Graceland 80er war. Es geht um den heiligen Rhythmus: Du hörst Simon hinter dem Rhythmus-Vorhang kaum singen. Wie war das auf der Höhe der Zeit!
Trackliste: 1. The Obvious Child - 4:09
2. Can't Run But - 3:36
3. The Coast - 5:03
4. Proof - 4:39
5. Further to Fly - 5:39
6. She Moves On - 5:02
7. Born at the Right Time - 3:47
8. Cool, Cool River - 4:32
9. Spirit Voices - 3:56
10. Rhythm of the Saints - 4:10
Bonustracks der 2004 Remaster Ausgabe
1. Born at the Right Time [acoustic demo]
2. Thelma [outtake]
3. The Coast [work-in-progress version]
4. Spirit Voices [work-in-progress version]
Besetzung: Francisco Aguabella: Conga
; Clifton Anderson: Trombone
; Artur Andres:
; Mingo Araújo: African Bells, Casinette, Castanets, Conga, Cymbals, Drums, Go Go Bell, Percussion, Shaker, Triangle
; Armandinho: Guitar
; Asante: Drums
; Isaak Asante: Percussion
; Martin Atangana: Guitar (Electric)
; Bruno Barbey: Photography
; Dave Bargeron: Euphonium, Horn
; Adrian Belew: Synthesizer
; Beloba: Percussion
; Karen Bernod: Vocals (Background)
; Jude Bethel: Sax (Tenor)
; Jacques Bolognesi: Trombone
; Miguel Rio Branco: Photography
; Lizzie Bravo: Translation
; Michael Brecker: Percussion, Saxophone, Synthesizer
; Randy Brecker: Piccolo Trumpet, Synthesizer, Trumpet
; Briz: Vocals (Background)
; Greg Calbi: Mastering
; J.J. Cale: Guitar, Percussion
; Canegal: Percussion
; Anthony Carrillo: Bongos
; Elolongue Mbango Catherine: Vocals (Background)
; Don Chacal: Bata, Bongos, Conga, Gourd
; C.J. Chenier: Accordion
; Clifton Chenier: Accordion
; Yolanda Cuomo: Art Direction, Design
; Jorge Ferreira da Silva: Percussion
; Wilson DasNeves: Cowbell, Percussion
; Yo Yo De La Nelson: Chakeire
; Antonio Luis Alves de Souza: Director
; Djana\'d: Vocals (Background)
; Charles Doherty: Sax (Alto), Sax (Tenor)
; Kofi Electrik: Guitar, Guitar Arrangements
; Steve Gadd: Drums
; Florence Gnimagnon: Vocals (Background)
; Myrna Lynn Gomila: Vocals (Background)
; Gordinho: ?, Sordu
; Grupo Cultural: Drums
; Roy Halee: Audio Engineer, Engineer
; Danny Harrison: Coordination
; Alain Hatot: Saxophone
; Giovanni Hidalgo: Conga
; Errol Ince: Trumpet
; Kia Jeffries: Vocals (Background)
; Remi Kabaka: Percussion
; Remy Kabocka: Drums
; Bruce Keen: Engineer
; Bakithi Kumalo: Bass
; Ladysmith Black Mambazo: Vocals (Background)
; Charlotte M\'bango: Vocals (Background)
; Andre Manga: Bass
; Marçalzinho: Percussion
; Hugh Masekela: Flugelhorn
; Mazzola: Arranger, Chicote, Percussion
; Jimmy McDonald: Accordion
; Mequinho: Engineer
; Clyde Mitchell: Trumpet
; Sidinho Moreira: ?, Bongos, Bottle, Conga, Drums, Water Bowl
; Milton Nascimento: Vocals
; Madeleine Yayodele Nelson: ?, Chekere
; Vincent Nguini: Bass, Clavinet, Guitar, Guitar Arrangements, Horn Arrangements
; Greg Phillinganes: Keyboards, Synthesizer
; Ray Phiri: Guitar, Guitar Arrangements
; Sylvia Plachy: Photography
; Raphael Rabello: Guitar
; Décio Ramos:
; Armand Sabal-Lecco: Bass
; Felix Sabal-Lecco: Drums
; Paul Santos: Percussion
; Paulinho Santos: Chicote
; George Seba: Guitar (Electric)
; Marc Silag: Coordination
; Paul Simon: Guitar, Guitar Arrangements, Horn Arrangements, Producer, Vocals, Vocals (Background)
; Phillipe Slominski: Trumpet
; Pedro Sorongo: Percussion, Scraper
; Ringo Starr: Guitar
; Justin Tchounou: Synthesizer
; Richard Travali: Assistant Engineer, Engineer
; Naná Vasconcelos: Berimbau, Conga, Gourd, Percussion, Triangle, Vocals
; Kim Wilson: Harmonica
Paul Weston [>] [D]: Music For Dreaming [F]
Label und Katalognummer: Capitol BD 9, Capitol H 222
Veröffentlicht: 1945 07, 1950 (10' Vinyl LP)
Genretags: Traditionalpop - Orchestralpop - Easylistening
«Music For Dreaming» gilt als das erste Mood-Music-Album. Im Unterschied zu den früheren Swing-Orchestern spielen Easy-Listening-Orchester keine Tanzmusik. Ihre Musik dient der Hintergrundbeschallung im Wohnzimmer oder einem individuellen Hörerlebnis. Das individuelle Hörerlebnis war zur Zeit ein revolutionäres Konzept, denn Unterhaltungsmusik war bisher stets ein soziales Erlebnis. Eine Aufführung auf einer Bühne im Kontext einer Show, Tanzmusik, Gesellschaftsmusik, ... Mit dem Konzept einer Musik zum Träumen wird sozusagen das moderne Individuum geboren sowie das individuelle Musikhören. Das Individuum, das zuhause mit Plattenspieler sich selbst beschallt und in Stimmung bringt. Es ist natürlich nicht ausgeschlossen, dass diese Musik nach wie vor in einer sozialen Situation gehört wird, im Wohnzimmer einer Familie, möglicherweise bei einer Einladung. Wenn man den Titel ernst nimmt, dann zielt das Album nicht auf solche Situationen, denn man träumt nicht, wenn andere zugegen sind. Oder träumt ein Ehepaar jeder für sich von Romanzen mit einem anderen Partner? Umgekehrt mag man denken, Schallplatten wurden schon vor 1945 gekauft und möglicherweise individuell angehört. Doch 3/4 aller Platten wurden für Jukeboxen produziert und wurden in sozialen Situationen gehört. Das verbleibende Viertel Heimgebrauch war dann vielleicht doch grösstenteils gesellschaftliches Musikhören, zum Beispiel der Gastgeber, der sein Grammophon andreht, um die Gäste zu unterhalten – mit Musik («Was für eine Stimme!») und Technologie («Klingt das Gerät nicht wunderbar?»).
Der Traum wird im 20. Jahrhundert massiv aufgewertet. Zuerst kommt Sigmund Freud und erkennt in den Träumen der Analysand*innen deren teils irrationalen Wunschvorstellungen. Der Traum wurde zum Königsweg zum Unbewussten und damit auch ein Weg zur Heilung (die bei Freud immer damit zu tun hatte, rational zu werden). Das Träumen im Kontext der eigenen vier Wände und unter Zuhilfenahme eines Plattenspielers diente nicht mehr der seelischen Gesundung, sondern der Imagination. Nun wurden Wünsche und Begierden angekurbelt. Ohne die ärztliche Lenkung wurden Träume nun zu Wunschvorstellungen in einer neuen Konsumwelt: der Wunsch nach einem passenden romantischen Parner oder einer Partnerin, der Wunsch nach dem Eigenheim, nach dem Auto und schliesslich nach dem komfortablen Leben.
Das Konzept der «mood music» (mit Jazz/Swing assoziertes Blas-Orchester mit Klassik assoziierten Streichern und Chören statt Vokalist*innen) zog 1945 bei der Erstveröffentlichung dieses Albums noch nicht richtig. Physisch musste man nach jedem Stück die Seite oder die Platte wechseln. Diese Situation verbesserte sich 1950 massiv, als diese Stücke auf einer Vinylplatte greifbar wurden, die nur einmal nach vier Stücken gedreht werden musste.
Trackliste: Seite A
1. I Only Have Eyes For You (Al Dubin, Harry Warren (2)) -
Seite B
1. So Beats My Heart (Fred Waring, Horace Henderson, Pat Ballard) -
Seite C
1. If I Love Again (Ben Oakland, John Murray) -
Seite D
1. Rain (Eugene Ford) -
Seite E
1. You Came Along From Out Of Nowhere (Edward Heyman, Johnny Green) -
Seite F
1. Don't Blame Me (Jimmy McHugh & Dorothy Fields) -
Seite G
1. My Blue Heaven (George Whiting, Walter Donaldson) -
Seite H
1. I’m In The Mood For Love (Jimmy McHugh & Dorothy Fields) -
Besetzung: Cover: George Booth
; Manufactured By Capitol Records, Inc.
; Pressed By Capitol Records Pressing Plant, Scranton
Peter Gabriel [>] [D]: Peter Gabriel (= I / Car) [F]
Label und Katalognummer: Charisma CDS 4006
Produktion: Bob Ezrin
Veröffentlicht: 1977 02 18
Genretags: Rock - Artrock
Ein orientierungsloses Debutalbum, das sich zwischen allen Stühlen niedersetzt. Progfolk ( «Solsbury Hill»), Orchestral Pomp mit NewWave-Einschlag («Down the Dolce Vita»), eine Randy Newman Parodie («Waiting for the Big On»), Vaudeville-Pop («Excuse Me») usw. Offenbar musste Gabriel einen neuen Weg suchen. Dieses Debut ist nur Suche. Fündig wird er im dritten ...
Trackliste: Seite A
1. Moribund the Burgermeister - 4:20
2. Solsbury Hill - 4:21
3. Modern Love - 3:38
4. Excuse Me (Peter Gabriel, Martin Hall) - 3:20
5. Humdrum - 3:25
Seite B
1. Slowburn - 4:36
2. Waiting for the Big One - 7:15
3. Down the Dolce Vita - 5:05
4. Here Comes the Flood - 5:38
Alle Tracks: Peter Gabriel, ausser wo anders vermerkt.
Besetzung: Backing Vocals, Guitar [Solo]: Dick Wagner (B1, B4)
; Bass, Tuba, Leader [Barbershop Quartet]: Tony Levin
; Cover: Storm Thorgerson
; Drums, Directed By: Allan Schwartzberg
; Electric Guitar, Guitar [Classical], Banjo: Robert Fripp
; Guitar [Full Frontal], Electric Guitar [Rhythm], Acoustic Guitar [Rhythm], Steel Guitar [Pedal]: Steve Hunter
; Keyboards [Frontal], Performer [Barbershop Quartet]: Jozef Chirowski
; Mastering: George Graves
; Orchestra: London Symphony Orchestra, The
; Percussion, Performer [Synthibam], Percussion [Bones], Performer [Barbershop Quartet]: Jimmy Maelen
; Recording: Brian Christian
; Recording [With]: Dave Harris
; Recording [With]: Jim Frank
; Recording [With]: Keith Grant
; Recording [With]: Robert Hrycyna
; Recording [With]: Robert Stasiak
; Recording [With]: Rod O\'Brien
; Synthesizer, Programmed By: Larry Fast
; Voice, Keyboards, Flute, Recorder: Peter Gabriel
; Printed By Team-Trykk A.S.
Pink Floyd [>] [D]: Meddle [F]
Label und Katalognummer: Harvest SHVL 795
Produktion: Pink Floyd
Veröffentlicht: 1971 10 30
Genretags: Rock - Progrock
«Meddle» ist ein wichtiges Übergangswerk im Katalog von Pink Floyd. Das Album zeigt die Band vor ihren Mega-Erfolgen mit Konzeptalben. Der Track «Echoes» weist auf das, was kommen wird, voraus, während die Band sich noch von ihrer exquisiten Seite der Anfangsjahre zeigt: als psychedelische Jam-Band.
Entstehungsgeschichte
Im Januar 1971 gingen die vier Musiker in die Abbey Road Studios, um am kommenden Album zu arbeiten. Zuerst spielte jedes Bandmtglied auf einer Bandspur eine musikalische Idee ein, ohne die anderen zu hören. Es hätte einen collagierten Track ergeben sollen, doch das Resultat war unbefriedigend. Die Idee wurde aufgegeben und die 36 besten musikalischen Motive als «Nothings 1–36» zur Seite gelegt. Zu diesen Sounds gehörten das «sonarische Ping» von Rick Wrights Orgel, die durch die Leslie Box geschlauft wurde, sowie David Gilmours Pedal-Gitarre, die falsch verdahtet war und kreischte wie eine Seemöve.
Diese Nothings wurden zuerst in einer langen Komposition namens «The Son of Nothing» verwendet. EIn weiterer Anlauf war nötig, bei dem der neue Track «The Return of the Son of Nothing» hiess. Die Musik wurde zig Mal live gespielt, bevor sie die Band im Studio aufnimmt. Dieses Verfahren wendet sie an, bis sie mit dem regelmässigen Touren aufhört. Auch Tracks von Animals («Sheep» und «Dogs») werden bereits 1974 live aufgeführt, mehr als zwei Jahre vor dem Erscheinen der LP.
Querverweise
– zur Doku: Classic Album Under Review: Pink Floyd: «Meddle»
– Pink Floyd: Live At Pompeji (Konzertfilm mit «One of These Days» und «Echoes».
Trackliste: Seite A
1. One of These Days - 5:57
2. A Pillow of Winds (David Gilmour, Roger Waters) - 5:10
3. Fearless (David Gilmour, Roger Waters) - 6:08
4. San Tropez (Roger Waters) - 3:43
5. Seamus - 2:15
Seite B
1. Echoes - 23:31
Alle Tracks: David Gilmour, Nick Mason, Roger Waters und Richard Wright, ausser wo anders vermerkt.
Besetzung: Artwork By [Album Cover]: Pink Floyd
; Bass, Vocals: Roger Waters
; Engineer: John Leckie, Peter Bown, Rob Black, Roger Quested
; Guitar, Vocals: David Gilmour
; Keyboards, Vocals: Richard Wright
; Percussion: Nick Mason
; Photography [Inner Sleeve]: Hipgnosis
; Photography [Outer Sleeve]: Bob Dowling
Pink Floyd [>] [D]: Ummagumma [F]
Label und Katalognummer: Harvest SHDW 1 und 2
Produktion: Pink Floyd & Norman Smith
Veröffentlicht: 1969 10 25
Genretags: Rock - Progrock
Die erste LP von «Ummagumma» ist ein Live-Album mit den athmosphärischen Spacreock-Jams, um die herum Pink Floyds Live-Konzerte 1969 aufgebaut waren. Die zweite LP gibt jedem Mitglied der Band den Raum für Eigenkompositionen, die sie ausgenommen von Roger Waters als Suiten realisieren. Ein Live und Studio Album vereinigte Kür und Pflicht. Floyd war auf der Bühnen eine der besten Jambands überhaupt. Diese Tugend zeigt die erste Platte und die zweite erfüllte die Pflicht, neue Songs aufzunehmen. Nick Mason meinte, die individuell komponierten Stücke zu produzieren, hätte sich angefühlt wie das Schreiben von Aufsätzen in der Schule (Mark Blake: How Pink Floyd reinvented themselves and journeyed towards The Dark Side, Loudersound, 20.9.22). «Ummagumma» zeigt letztlich, wie schwer sich die Band damals damit tat, ihre Kompetenz auf der Bühne im Studio umzusetzen.
Titel
Der Titel «Ummagumma» war ein Wortspiel, das Roadie Iain 'Imo' Moore gesagt haben soll, der Tourette-Syndrom-mässig Fluchen konnte: «Ummagumma» wie «I'm-a-gonna home and shag my girlfriend» (Mark Blake: How Pink Floyd reinvented themselves and journeyed towards The Dark Side, Loudersound, 20.9.22).
Die fehlenden Suiten
Ein weiterer Teil der Live-Shows der Band war hier auf dem Doppelalbum nicht repräsentiert: die Suiten «The Man» und «The Journey» (auf CD 5 von The Early Years 1965-1972). Nur ein paar Stücke wie «Grantchester Meadows» waren Teil dieser Suiten. Das ist wichtig, weil die Band dabei die ersten Ausflüge ins Konzeptionelle macht und live Quadrophonische Effekte, sowie Performance-Elemente einsetzt.
Cover
Das letzte Cover, auf dem die Bandmitglieder zu sehen sind. Hipgnosis arbeitet mit dem «Droste Effekt»: Das Bild enthält eine Variante des Bildes, wobei dieser Prozess wiederholt wird, wodurch eine Tiefendimension entsteht, die so die Grafiker, den innengerichteten Sound der Band reflektiert.
Trackliste: Seite A - Live Album (Produziert von Pink Floyd)
1. Astronomy Domine (Syd Barrett) - 8:29
2. Careful with That Axe, Eugene (David Gilmour/Roger Waters/Rick Wright/Nick Mason) - 8:50
Seite B - Live Album (Produziert von Pink Floyd)
1. Set the Controls for the Heart of the Sun (Waters) - 9:12
2. A Saucerful of Secrets (Gilmour/Waters/Wright/Mason) - 12:48]
Seite C - Studio Album (Produziert von Norman Smith)
1. Sysyphus Part 1 (Wright) - 1:03 (CD) 4:29 (LP)
2. Sysyphus Part 2 (Wright) - 3:30 (CD) 1:49 (LP)
3. Sysyphus Part 3 (Wright) - 1:49 (CD) 3:07 (LP)
4. Sysyphus Part 4 (Wright) - 6:59 (CD) 3:38 (LP)
5. Grantchester Meadows (Waters) - 7:26
6. Several Species of Small Furry Animals Gathered Together in a Cave and Grooving with a Pict (Waters) - 4:59
Seite D - Studio Album (Produziert von Norman Smith)
1. The Narrow Way Part 1 (Gilmour) - 3:27
2. The Narrow Way Part 2 (Gilmour) - 2:53
3. The Narrow Way Part 3 (Gilmour) - 5:57
4. The Grand Vizier's Garden Party Part 1: Entrance (Mason) - 1:00
5. The Grand Vizier's Garden Party Part 2: Entertainment (Mason) - 7:06
6. The Grand Vizier's Garden Party Part 3: Exit (Mason) - 0:38
Besetzung: Artwork By [Sleeve Design], Photography: Hipgnosis, Storm Thorgerson
; Engineer: Brian Humphries (A1-B2), Peter Mew (C1-D2)
; Guitar [Bass], Vocals: Roger Waters
; Guitar [Lead], Vocals: David Gilmour
; Organ, Keyboards, Vocals: Richard Wright
; Percussion: Nick Mason
; Producer: Norman Smith (C1-D2), Pink Floyd (A1-B2)
Pink Floyd [>] [D]: Atom Heart Mother [F]
Label und Katalognummer: Harvest SHVL 781
Produktion: Pink Floyd
Veröffentlicht: 1970 10 10
Genretags: Rock - Progrock - Symphonicprog
«Atom Heart Mother» ist das erste Album der Band, das Platz 1 der britischen Charts erobert. Dennoch ist es im Katalog von Pink Floyd eine Sackgasse. Mit einem Orchester aufzutreten, war weder wirtschaftlich noch praktisch. Das Orchester indes kommt bei Pink Floyd neun Jahre später zurück (The Wall).
Trackliste: Seite A
1. Atom Heart Mother, a) Father's Shout, b) Breast Milky, c) Mother Fore, d) Funky Dung, e) Mind Your Throats Please, f) Remergence (David Gilmour, Roger Waters, Rick Wright, Nick Mason, Ron Geesin) - 23:44
Seite B
1. If (Roger Waters) - 4:31
2. Summer '68 (Rick Wright) - 5:29
3. Fat Old Sun (David Gilmour) - 5:24
4. Alan's Psychedelic Breakfast, a) Rise and Shine, b) Sunny Side Up, c) Morning Glory (David Gilmour, Roger Waters, Rick Wright, Nick Mason) - 13:00
Besetzung: David Gilmour: vocals, guitars, bass guitar, drums on \'Fat Old Sun\'
; Roger Waters: bass guitar, acoustic guitar on \'If\', tape effects, tape collage, vocals on \'If\'
; Richard Wright: keyboards, piano, orchestration, vocals on \'Summer \'68\'
; Nick Mason: drums, percussion, tape editing, tape collage, additional engineering on \'Alan\'s Psychedelic Breakfast\'
; John Aldiss Choir: vocals
; Alan Parsons: engineer
; Peter Bown: engineer
; Ron Geesin: orchestration and co-composition (A), cello
; Alan Stiles: voice on \'Alan\'s Psychedelic Breakfast\'
; Philip Jones Brass Ensemble
; Abbey Road Session Pops Orchestra: brass and orchestral sections
; Cover: Storm Thorgerson
; James Guthrie: 1994 remastering
Pink Floyd [>] [D]: A Saucerful Of Secrets [F]
Label und Katalognummer: Columbia SCX 6258, Tower ST 5131
Produktion: Norman Smith
Veröffentlicht: 1968 06 29 (UK), 1968 07 27 (US)
Genretags: Rock - Progrock - Spacerock
Das Album, bei dem sich Syd Barrett mit seinem Jugband Blues verabschiedet:
It's awfully considerate of you to think of me here And I'm much obliged to you for making it clear That I'm not here.«A Saucerful Of Secrets» ist ein Übergangsalbum. Syd war bereits ein halbes Jahr weg und die Band bewies, dass es weiter gehen wird. Als Songwriter sprangen Roger Waters und Richard Wright in die klaffende Lücke.
Das Cover ist ein Kompromiss zwischen dem Willen der Band, nicht abgebildet zu werden und demjenigen des Labels, das eine Bandfoto auf dem Cover haben wollte. Powell nahm ein Infrarot-Bild der Band in Hampstead Heath auf, dem Park im Norden von London. Das Cover zeigt sie schliesslich klein, so dass man sie suchen muss und kaum erkennt. Das Cover ist geprägt von Schichten aus kosmischen Symbolen und Planeten, aus einer hippiesken Landschaft mit Fluss, einem Zauberer, einer Serie von Flaschen, die man in einem Chemielabor verorten würde, und ein Himmel, dassen Sterne und Nebel mit der Welt zusammenfällt, was nicht nur ein wenig bedrohlich wirkt.
Trackliste: Seite A 1. Let There Be More Light (Roger Waters) - 5:38 2. Remember a Day (Richard Wright) - 4:33 3. Set the Controls for the Heart of the Sun (Roger Waters) - 5:27 4. Corporal Clegg (Roger Waters) - 4:12
Seite B 1. A Saucerful of Secrets (Roger Waters, Richard Wright, David Gilmour, Nick Mason) - 11:59 2. See Saw (Richard Wright) - 4:36 3. Jugband Blues (Syd Barrett) - 3:01
Besetzung: Syd Barrett: Guitar, Lyricist, Vocals ; Peter Curzon: Photography ; David Gilmour: Guitar, Vocals ; James Guthrie: Remastering Supervisor ; Nick Mason: Drums ; Doug Sax: Digital Remastering ; Storm Thorgerson: Photography ; Roger Waters: Bass, Guitar, Lyricist, Vocals ; Richard Wright: Keyboards, Vocals
Pink Floyd [>] [D]: More (= Soundtrack From The Film More) [F]
Label und Katalognummer: EMI Columbia SCX 6346, Tower Records ST 5169
Produktion: Pink Floyd
Veröffentlicht: 1969 06 13 (UK), 1969 08 09 (US)
Genretags: Rock - Psychedelicrock - Psychedelicfolkrock
Drittes Album von Pink Floyd, der Soundtrack zum gleichnamigen Film von Barbet Schroeder. Dieser Film ist einer der ultimativen europäischen Hippie-Filme, auch wenn er in der Filmgeschichte nur eine untergeordnete Rolle spielt. Schroeder ist vor allem bekannt als Produzent von Filmen Éric Rohmers, als Assistent von Jean-Luc Godard und für seinen viel späteren Film «Single White Female». «More» ist ein für heutige Augen extrem langsam, aber auch genau erzählter Roadmovie und Aussteigerfilm. Ein deutscher Student reist per Autostopp nach Spanien, lernt einen Frau kennen, landet mit ihr auf Ibiza und sie verfallen einem Hippielifestyle mit zunehmend härteren Drogen. Der Filmtitel bringt die Logik der Sucht zum Ausdruck: Man braucht immer mehr davon.
Die Musik von Pink Floyd ist hervorragend. Aber am Album lässt sich kritisieren, dass es auseinanderfällt bzw. wenig kohärent sei, Stimmungsmusik für einen Film halt. Das ist nicht ganz falsch. Möglicherweise hätte eine andere Sequenzierung das Album besser gemacht. Offenbar präsentiert Seite A die eher folkigen Songs, wobei der Fuzz-getränkte The Nile Song nicht in die Sequenz hinein passt. Seite B enthält die psychedelische Soundscapes, für die Pink Floyd bekannt waren.
Im Katalog der Band wird das Album meist als ein Übergangswerk beschrieben, ein Dokument der langsamen Verwandlung der Syd Barrett Band zur Band der epischen Konzeptalben, die sich von Dark Side of the Moon an millionenfach verkauften. Diese teleologische Interpretation wertet die frühe Musik der Band mit Gitarrist David Gilmour als eine lange Übergangsphase ab, in der Floyd nach etwas suchten, das sie erst 1972 finden. Dave Swanson von Ultmate Classic Rock schreibt: «At this point, the group was still trying to find a new path following the departure of Syd Barrett. Pink Floyd's second album, A Saucerful of Secrets, had featured a hybrid five-man lineup that still included their erratic founding frontman. With Barrett officially gone, certain tracks on More made their path more clear.» Diese Leseweise unterschlägt, dass Pink Floyd bereits vor «Dark Side of the Moon» eine der führenden progressiven Bands in Europa und in den USA war. Pink Floyd suchen in den Jahren zwischen 1969 und 1972 nicht nach einem neuen Stil, sondern sind im Einklang mit der Musik der Zeit, die stilistisch sehr offen, nicht festgelegt war. Led Zeppelin, Deep Purple und die meisten anderen erfolgrecihen und weniger erfolgreichen Bands der Zeit spielten stilistisch ambivalente oder polyvalente Musik. Genau wie hier auf «More»auf: Wir
hören Folk Rock, Psychedelic Rock und Hard Rock. Sowohl die Alben als auch einzelne Stücke zeigen diese Polyvalenz, die ein wesentlicher Trend der Zeit war.
Cover
Das Cover von «More» zeigt eine Windmühle auf Formentera. Das Foto wurde von Aubrey Powell aufgenommen und von Hipgnosis solarisiert.
Querverweise
zum Film
Trackliste: Seite A
1. Cirrus Minor (Roger Waters) - 5:05
2. The Nile Song (Roger Waters) - 3:43
3. Crying Song (Roger Waters) - 3:20
4. Up the Khyber (Dave Mason, Richard Wright) - 2:12
5. Green is the Colour (Roger Waters) - 2:58
6. Cymbaline (Roger Waters) - 4:50
7. Party Sequence - 1:12
Seite B
1. Main Theme - 5:25
2. Ibiza Bar - 3:18
3. More Blues - 2:51
4. Quicksilver - 6:35
5. A Spanish Piece (David Gilmour) - 1:04
6. Dramatic Theme - 2:11
Alle Tracks: David Gilmour, Dave Mason, Richard Wright und Roger Waters, ausser wo anders vermerkt.
Besetzung: David Gilmour: Guitar, Vocals
; James Guthrie: Mastering
; Nick Mason: Drums
; Joel Plante: Mastering
; Roger Waters: Guitar (Bass), Vocals
; Richard Wright: Keyboards
; Foto: Aubrey Powell
; Artwork By: Hipgnosis
Pink Floyd [>] [D]: The Piper At The Gates Of Dawn [F]
Assoziierte Acts: Syd Barrett
Label und Katalognummer: Columbia SX 6157, Columbia ScX 6157, Tower ST 5093, EMI 50999-503919-2-9
Produktion: Norman Smith
Veröffentlicht: 1967 08 05 (UK Mono), 1967 08 05 (UK Stereo), 1967 10 (US), 2007 09 03
Genretags: Rock - Psychedelicrock, Rock - Progrock
Der Albumtitel stammt als Motiv aus dem klassischen britischen Kinderbuch aus dem Jahr 1908 The Wind in the Willows («Der Wind in den Weiden») von Kenneth Grahame. Neben der Hauperzählung gibt es im Buch abgeschlossene Nebengeschichten mit Ratte und Maulwurf als Protagonisten. In einer dieser Erzählungen suchen Ratte und Maulwurf nach einem vermissten Otterkind, das sie beim Hirtengott Pan finden, der den jungen Otter in seine Obhut genommen hat. Sie bringen das Otterkind zum Vater zurück, werden aber von Pan mit Vergessenheit geschlagen. Sie vergessen Pan und Pan's süsse Musik. Mit der Erinnerung könnten sie nicht mehr glücklich leben. Durch das Vergessen hingegen haben sie nur noch eine sanfte Wehmut nach der schöneren Welt, die sie gesehen und erlebt haben. Wenn Pink Floyd ihr Album «The Piper At The Gates Of Dawn» nennen, dann wird damit die Musik gemeint sein, die bloss noch ein schwaches Abbild der göttlichen Musik ist, die man während einem Acid-Trip hört bzw. fantasiert.
Grosse Teile der Musik, die man auf «Piper» hört, waren bei den Konzerten im UK-Underground entstanden, speziell dem UFO Club, wo Pink Floyd die Hausband war. Diese psychedelischen Rock-Konzerte waren genauso psychedelisch wie diejeinigen in San Francisco (Fillmore Auditorium, Avalon Ballroom). Sie wurden mit psychedelischen Rock Postern angekündigt und von einer psychedelischen Lightshow begleitet. Einer der Auftritte der Gruppe ist in mehreren Szenen des Films Tonite Let's All Make Love In London festgehalten.
Trackliste: Seite A
1. Astronomy Domine - 4:12
2. Lucifer Sam - 3:07
3. Matilda Mother - 3:08
4. Flaming - 2:46
5. Pow R. Toc H. (Syd Barrett, Roger Waters, Rick Wright, Nick Mason) - 4:26
6. Take Up Thy Stethoscope and Walk (Roger Waters) - 3:05
Seite B
1. Interstellar Overdrive (Syd Barrett, Roger Waters, Rick Wright, Nick Mason) - 9:41
2. The Gnome - 2:13
3. Chapter 24 - 3:42
4. Scarecrow - 2:11
5. Bike - 3:21.
Alle Tracks: Syd Barrett, ausser wo anders vermerkt.
CD 2 der 40th Anniversary Ausgabe von 2007
1. Astronomy Domine - 4:12
2. Lucifer Sam - 3:07
3. Matilda Mother - 3:09
4. Flaming - 2:46
5. Pow R. Toc H. - 4:26
6. Take Up Thy Stethoscope and Walk - 3:06
7. Interstellar Overdrive - 9:40
8. The Gnome - 2:14
9. Chapter 24 - 3:42
10. Scarecrow - 2:11
11. Bike - 3:24
CD 3 der 40th Anniversary Ausgabe von 2007
1. Arnold Layne - 2:56
2. Candy and a Currant Bun - 2:45
3. See Emily Play - 2:54
4. Apples and Oranges - 3:06
5. Paintbox - 3:46
6. Interstellar Overdrive (French Edit) - 5:16
7. Apples and Oranges (Stereo Version) - 3:11
8. Matilda Mother (Alternative Version) - 3:09
9. Interstellar Overdrive (Take 6) - 5:04
Besetzung: Syd Barrett: Lead guitar, Rhythm guitar, lead vocals
; Roger Waters: bass guitar, vocals
; Rick Wright: Farfisa Compact Duo, Hammond Organ, Piano, synthesizer, Vibraphone, vocals
; Nick Mason: Drums, Percussion
; Peter Brown: Engineer
; Vic Singh: Cover photography
PinkPantheress [>] [D]: to hell with it [F]
Label und Katalognummer: Parlophone
Produktion: Adam F & Dill Aitchison & Izco & Jkarri & Kairos Laferme & Mura Masa & Zach Nahome & PinkPantheress & Oscar Scheller
Veröffentlicht: 2021 10 15
Genretags: Electronica - Bassmusic - UK-Bass
Zehn Miniatur-Tracks, Songs mit einer Länge zwischen einer und zweieinhalb Minuten. Die Musik von PinkPantheress steht in der Tradition von Breakbeat und UK-Bass: Drum 'n' Bass, UK-Garage. Aber auch Bubblegumbass/Hyperpop kann man hören (ihre Mickey-Mouse-Stimme). Die Macherin nennt ihren Sound «new nostalgic». Sie findet eine Schönheit in den nicht polierten musikalischen und visuellen Produkten, die zur Zeit des Millenniums-Wechsel entstanden sind (wem sagt sie das?). Die Leichtigkeit jener Zeit sei der heutigen jungen Generation abhanden gekommen. PinkPantheress kam zum Musikmachen über das TikTok-Videoportal, auf dem User*innen zu Videoclips lipsynchen. Sie hat innerhalb kurzer Zeit eine gigantische Zahl von einer Million Follower*innen erreicht.
Ihr Minialbum «to hell with it» demonstriert das enorme Potential dieser jungen Produzentin. Einerseits ist es schade, dass ihr Album so kurz ausgefallen ist (es entspricht dem Tik-Tok-Format), andererseits hören wir den männlichen Vorgänger der jungen Frau sagen: «Heute ist nicht alle Tage, ich komm wieder, keine Frage!».
Trackliste: 1. Pain (Martin Green, Pinkpantheress, Mike Powell) - 1:38
2. I Must Apologise (Neal Conway, Pinkpantheress, Oscar Scheller, Crystal Waters) - 1:48
3. Last Valentines (Chester Bennington, Robert Bourdon, Brad Delson, David Farrell, Joseph Hahn, Pinkpantheress, Mike Shinoda, Mark Wakefield) - 1:13
4. Passion (Izco, Jkarri, Pinkpantheress) - 2:18
5. Just for Me (Alexander Crossan, Pinkpantheress) - 1:56
6. Noticed I Cried (Franz Buchholtz, Pinkpantheress, Oscar Scheller) - 1:22
7. Reason (Pinkpantheress) - 2:11
8. All My Friends Know (Pinkpantheress, Sven Torstenson) - 1:58
9. Nineteen (Dill Aitchison, Tomaz Di Cunto, Pinkpantheress) - 2:33
10. Break It Off (Adam Fenton, Pinkpantheress) - 1:36
Besetzung: Licensed To Parlophone Records Ltd.
; Phonographic Copyright (p) PinkPantheress
PlanningToRock [>] [D]: All Love’s Legal [F]
Label und Katalognummer: Human Level Recordings HL 004
Produktion: PlanningToRock
Veröffentlicht: 2014 02 16
Genretags: Electronica - Electronic-Pop - Queerpop
Hier wird Auto-Tune zum herunterpitchen einer weiblichen Stimme in den Bereich einer männlichen gebraucht.
siehe: It’s about creating a space. Interview mit Jam Rostron (Dummy, 11. Februar 2014)
Trackliste: 1. Welcome - 2:00
2. All Love’s Legal - 3:30
3. Human Drama (Paula Temple und Perera Elsewhere remix) - 4:05
4. Answerland - 2:49
5. Let’s Talk About Gender Baby - 4:21
6. Words Are Glass - 1:14
7. Misogyny Drop Dead - 4:47
8. Beyond Binary Binds - 1:23
9. Steps - 4:55
10. Public Love - 6:57
11. Purple Love - 1:37
12. Patriarchy Over & Out - 4:47
Alle Tracks: PlanningToRock.
Besetzung: Mastering: Guy Davie
; Mixing: Lexxx
; Mixing: PlanningToRock
Label und Katalognummer: Warner Bros. 9 45700
Produktion: Prince
Veröffentlicht: 1994 08 16
Genretags: Afroamericana - Funk - Synthfunk, Afroamericana - R'n'B - New-Jack-Swing
Das Cover inszeniert den Tod des Stagenamens Prince
. Der Inhalt des Albums ist purer Sex. Oft wird das Album als reine Vertragserfūllung gegenūber Warner Bros. verstanden. Dafūr sind die stilistisch vielfältigen Songs aber erstaunlich gut.
Trackliste: 1. Come - 11:13
2. Space - 4:28
3. Pheromone - 5:08
4. Loose! - 3:26
5. Papa - 2:48
6. Race - 4:28
7. Dark - 6:10
8. Solo (Prince, David Henry Hwang) - 3:48
9. Letitgo - 5:32
10. Orgasm - 1:39
Alle Tracks: Prince, ausser wo anders vermerkt.
Besetzung: Airiq Anest: programming
; Michael Bland (as Michael B.): drums
; Tommy Barbarella: performer
; Jearlyn Steele Battle: sampling
; Kathleen Bradford: background vocals
; Chronic Freeze: engineer, mastering, mixing
; Brian Gallagher: horn
; Tom Garneau: assistant
; Ray Hahnfeldt: engineer, mixing
; Kimm James: assistant
; Dave Jensen: horn
; Kathy Jensen: horn
; Eric Leeds: flute
; Mayte: background vocals
; Micah Nelson: horn
; Ricky Peterson: keyboards
; Prince: arranger, vocals, background vocals, engineer, mixing
; Steve Strand: horn
; Sonny T.: performer
; Tom Tucker: engineer, mixing
Q. R. Ghazala [>] [D]: Requiem For A Radio [F]
Assoziierte Acts: Qubais Reed Ghazala
Label und Katalognummer: Realization RZD 012
Produktion: Qubais Reed Ghazala
Veröffentlicht: 1995
Genretags: Akademica - Elektronische-Musik - Konkrete-Musik
Die Klänge auf diesem Album wurden erzeugt, indem ein kleines Radiogerät manipuliert und letztlich zerstört wurde. Im ersten Stück wird das Radio aufgebrochen, im zweiten durch eine Zerkleinerungsmaschine gelassen, im dritten zu einer Platte geschmolzen und im vierten schliesslich in 40 Stücke zersägt.
Trackliste: 1. Valkyries of Asgard (Kyrie) - 14:52
2. Hymn for the Faces of Belmes (Dies Irae) - 14:59
3. Song of the Sea Bishop (Sanctus) - 14:53
4. Ashes on the Altar of the Sun (Agnus Dei) - 14:34
Alle Tracks: Qubais Reed Ghazala.
Besetzung: Recorded By, Photography: Q. R. Ghazala
Queen [>] [D]: A Night At The Opera [F]
Label und Katalognummer: EMI EMTC 103, Elektra 7E 1053, Hollywood Records HR 61065, Parlophone 00946 3 38457 2 5, Island 276 442 4
Produktion: Roy Thomas Baker & Queen
Veröffentlicht: 1975 11 21 (UK), 1975 12 02 (US), 1991 09 03 (Reed.), 2005 11 18 (Reed.), 2011 03 14 (Reed.), 2005 11 18 (Reed.)
Genretags: Rock - Corporate-Rock - Poprock
Das Meisterwerk von Queen. Eine stilistische Berg-und-Tal-Fahrt zwischen Hardrock, Poprock, Progrock und Vaudeville. Alle vier Bandmitglieder schrieben Songs, Brian May und Roger Taylor übernehmen die Leadvocals auf drei von ihren Kompositionen. Dennoch wird dieser wilde Stilmix zusammen gehalten von der herausragenden Spieltechnik der Band und der Produktion von Roy Thomas Baker (zusammen mit der Band). Viele Chorus-Effekte auf der Gitarre von Brian May und dem Gesang von Freddie Mercury und den anderen Bandmitgliedern verleihen dem Album eine Grandeur, die dem Titel A Night At The Opera
gerecht wird. Gitarre und Gesang werden übereinander geschichtet («gelayert») und «gepant», d.h. sie erklingen aus der Mitte, von links und von rechts oder sie schwirren im stereophonen Raum umher.
A Night At The Opera
ist als Titel vom gleichnamigen Marx-Brothers Film übernommen – genauso wie das Nachfolge-Album A Day At The Races.
Dies ist das erste Queen Album, das mit einem 24-Spur-Tonbandgerät aufgenommen wurde. Die Produktion soll $35'000 gekostet haben, das damals teuerste Rock Album der Geschichte.
Trackliste: Seite A
1. Death on Two Legs (Dedicated to.......) (Mercury) - 3:43
2. Lazing On A Sunday Afternoon (Mercury) - 1:07
3. I'm in Love with My Car (Taylor) - 3:07
4. You're My Best Friend (Deacon) - 2:50
5. '39 (May) - 3:31
6. Sweet Lady (May) - 4:03
7. Seaside Rendezvous (Mercury) - 2:15
Seite B
1. The Prophet's Song (May) - 8:21
2. Love of My Life (Mercury) - 3:39
3. Good Company (May) - 3:23
4. Bohemian Rhapsody (Mercury) - 5:55
5. God Save the Queen (trad.; Arr. May) - 1:18
Bonustracks der CD Ausgabe von 1991
1. I'm in Love with My Car (1991, Remix by Mike Shipley) - 3:28
2. You're My Best Friend (1991, Remix by Matt Wallace) - 2:52
Bonus-EP der CD Ausgabe von 2011
1. Keep Yourself Alive (Long-Lost Retake, June 1975) - 4:03
2. Bohemian Rhapsody (Operatic Section A Cappella Mix 2011) - 1:03
3. You're My Best Friend (Backing Track Mix 2011) - 2:57
4. I'm In Love With My Car (Guitar & Vocal Mix 2011) - 3:18
5. '39 (Live At Earl's Court, June 1977) - 2:46
6. Love Of My Life (South American Live Single, June 1979) - 3:44
DVD der CD + DVD Ausgabe von 2005
1. Death on Two Legs (Dedicated To…) - 3:43
2. Lazing on a Sunday Afternoon - 1:07
3. I’m in Love With My Car - 3:05
4. You’re My Best Friend - 2:52
5. ’39 (Brian May) - 3:31
6. Sweet Lady - 4:04
7. Seaside Rendezvous - 2:15
8. The Prophet’s Song - 8:21
9. Love of My Life - 3:39
10. Good Company - 3:23
11. Bohemian Rhapsody - 5:54
12. God Save the Queen - 1:13
13. Bohemian Rhapsody (original video) - ?:??
14. You’re My Best Friend (original video) - ?:??
15. 10 New Videos, All With Archive Audio Commentary by Queen - ?:??
Besetzung: Freddie Mercury: Vocals and Piano
; Brian May: Guitars, Harp, Ukulele, Vocals and Orchestral Backdrops
; Roger Taylor: Percussion and Vocals
; John Deacon: Bass Guitar, Double bass and Electric piano
; Mike Stone: Executive engineer
; Gary Lyons: Additional engineering
; John Harris: Equipment supervision
; David Costa: Art Direction
Label und Katalognummer: EMI EMA 788, Elektra 6E 166
Produktion: Roy Thomas Baker & Queen
Veröffentlicht: 1978 11 10 (UK), 1978 11 14 (US)
Genretags: Rock - Corporate-Rock - Arenarock, Rock - AOR-Rock - Arenarock
Das siebente Studioalbum von Queen. Dave Marsh schrieb einen Verriss in der Rolling Stone Rezension und bezeichnete die Band als faschistisch.
Ein Kritikpunkt lautete: «There’s no Jazz on Queen’s new record» – es gäbe gar keinen Jazz auf dieser Platte. Queen seien nicht fähig Jazz zu spielen, sowenig wie sie fähig seinen, Rock zu spielen, höhnte Marsh. Er übersah dabei, dass der Titel «Jazz» wohl die verkürzte Formel für den von Roger Taylor komponierten Schlusstrack «More of that Jazz» ist. Mit «Jazz» ist hier nicht das Musik-Genre gemeint, sondern die Redewendung: «All that Jazz», was etwa heisst: «All dieses Zeugs». Das Zeug verweist auf die stilistische Vielfalt der Songs auf dem Album, die man nur unter einen sehr allgemeinen Begriff bringen kann. Ein ironisches Augenzwinkern ist dabei, wenn eine Band ihre Musik «Jazz» in diesem Sinn des Wortes nennt. Tatsächlich ist der Albumtitel das erste Zeichen einer spielerischen Lockerheit, die die Band in den 1980er Jahren auszeichnen wird. Bisher war Queen nicht gerade für Humor bekannt.
Trackliste: Seite A
1. Mustapha (Freddie Mercury) - 3:01
2. Fat Bottomed Girls (Brian May) - 4:16
3. Jealousy (Mercury) - 3:13
4. Bicycle Race (Mercury) - 3:01
5. If You Can't Beat Them (John Deacon) - 4:15
6. Let Me Entertain You (Mercury) - 3:01
Seite B
1. Dead On Time (May) - 3:23
2. In Only Seven Days (Deacon) - 2:30
3. Dreamer's Ball (May) - 3:30
4. Fun It (Roger Taylor) - 3:29
5. Leaving Home Ain't Easy (May) - 3:15
6. Don't Stop Me Now (Mercury) - 3:29
7. More of that Jazz (Taylor) - 4:16
Bonustracks der CD Ausgabe von 1991
1. Fat Bottomed Girls (1991, Remix by Brian Malouf) - 4:22
2. Bicycle Race (1991, Remix by Junior Vasquez) - 4:59
Bonus EP der CD Ausgabe von 2011
1. Fat Bottomed Girls (Single Version) - 3:25
2. Bicycle Race (Instrumental) - 3:10
3. Don't Stop Me Now (With Long-Lost Guitars) - 3:35
4. Let Me Entertain You (Live In Montreal, November 1981) - 2:50
5. Dreamers Ball (Early Acoustic Take, August 1978) - 3:40
Besetzung: Arranged: Queen
; Bass: John Deacon
; Design [Sleeve]: Cream
; Engineer: Geoff Workman
; Guitar, Vocals: Brian May
; Mastering: George Marino
; Percussion, Vocals: Roger Taylor
; Photography: Chris Hopper
; Photography: David Finch
; Photography: Peter Hince
; Sleeve [Sleeve Concept]: Queen
; Vocals, Piano: Freddie Mercury
Queen [>] [D]: A Kind Of Magic [F]
Label und Katalognummer: EMI CDP 7 46267, Capitol SMAS 12476, Hollywood Records HR 61152, Island 277 997 4
Produktion: Reinhold Mack & Queen
Veröffentlicht: 1986 06 02 (UK), 1986 06 03 (US), 1991 06 18 (Reed.), 2011 09 05 (Reed.)
Genretags: Rock - AOR-Rock - AOR-Poprock
Ein unkonzentriertes Album von Queen, von Schlock bis Hardrock, Gitarren bis Synths als Leadistrumente, da wird alles in die Suppe geworfen und herauskommt ein Wochenrückblick, nahrhaft aber kein Genuss.
Die meisten der Tracks wurden für den Soundtrack des Films «Highlander» geschrieben.
Im UK ging das Album trotzdem auf #1. In den USA nur noch auf #46.
Die Tournee, die auf dieses Album folgte, war die letzte der Band.
Trackliste: Seite A
1. One Vision (Queen) - 5:10
2. A Kind of Magic (Taylor) - 4:24
3. One Year of Love (Deacon) - 4:26
4. Pain Is So Close to Pleasure (Deacon, Mercury) - 4:21
5. Friends Will Be Friends (Mercury, Deacon) - 4:07
Seite B
1. Who Wants to Live Forever (May) - 5:15
2. Gimme the Prize (Kurgan's Theme) (May) - 4:34
3. Don't Lose Your Head (Taylor) - 4:38
4. Princes of the Universe (Mercury) - 3:32
Bonustracks der CD-Ausgabe von 1986: Extra Magical Ingredients
1. A Kind Of 'A Kind of Magic' (Taylor)
2. Friends Will Be Friends Will Be Friends... (Mercury, Deacon)
3. Forever (May) - 3:20 - piano version of 'Who Wants to Live Forever'
Bonustracks der CD-Ausgabe 1991
1. Forever (May) - 3:20
2. One Vision (1991, Extended Version) - 6:23
Bonus EP der CD Ausgabe von 2011
1. A Kind Of Magic (Highlander Version) (Roger Taylor) - 4:23
2. One Vision (Single Version) (Queen) - 4:01
3. Pain Is So Close To Pleasure (Single Remix) (Freddie Mercury, John Deacon) - 3:59
4. Forever (Piano Version) (Brian May) - 3:21
5. A Kind Of Vision (Demo, August 1985) (Roger Taylor) - 3:24
6. One Vision (Live At Wembley Stadium, July 11th 1986) (Queen) - 5:14
7. Friends Will Be Friends Will Be Friends... (Freddie Mercury, John Deacon) - 5:59
Besetzung: Artwork [Color]: Jenny Robinson
; Artwork [Front Cover Original Illustration]: Roger Chiasson
; Artwork [Other Original Illustration]: Chuck Gamage
; Artwork [Other Original Illustration]: Mike Smith
; Artwork [Other Original Illustration]: Roger Chiasson
; Artwork [Sleeve Design]: Richard Gray
; Bass, Keyboards, Guitar [Occasional]: Brian May
; Consultant [Management Consultant]: Jim Beach
; Drums, Vocals [Occasional], Keyboards: Roger Taylor
; Engineer: David Richards (2, 6 to 8, 10, 12)
; Engineer: Mack (1, 3 to 5, 9, 11)
; Engineer [Assistant]: Croydon
; Guitar, Vocals [Occasional], Keyboards: John Deacon
; Keyboards [Computer]: BBC B
; Keyboards [Computer]: UMI
; Keyboards [Extra]: Spike Edney
; Mastering: Kevin Metcalfe
; Other [Studio Equipment By]: Brian Zellis
; Other [Studio Equipment By]: Chris Taylor
; Photography: Peter Hince
; Producer: David Richards (2, 6 to 8, 10, 12)
; Producer: Mack (1, 3 to 5, 9, 11)
; Producer: Queen
; Vocals, Keyboards: Freddie Mercury
Queen [>] [D]: Live Killers [F]
Label und Katalognummer: EMI EMSP 330
Produktion: Queen
Veröffentlicht: 1979 06 26 (Ed.)
Genretags: Rock - Corporate-Rock - Arenarock
Erstes Live Album von Queen. Das Doppelalbum «Live Killers» wurde auf der Jazz-Tournee in Europäischen Spielstätten aufgenommen – zwischen dem 26. Januar und 1. März 1979. Abgemischt wurde es in den nun eigenen Mountain Studios in Montreux. Ausserhalb von Europa und Nordamerika veröffentlichte Elektra ein einfaches Album unter dem Titel «Queen Live».
In den USA wurde «Live Killers» mit doppeltem Platin ausgezeichnet, kam auf Platz 16 der Album Charts, in England gar auf Platz 3.
Die Rezensionen zum Album waren fast durchwegs negativ, was niemanden erstaunt, der oder die das gespannte Verhältnis zwischen der Rockjournalistinnen-Gilde und Queen kennt.
«Live Killers» ist zweifellos ein wichtiges Dokument, um die Live Performance der Arena-Rock-Band zu studieren. Die Band war damals als Live Act auf dem Höhepunkt ihres Schaffens. Noch war Queen in Nordamerika und Europa ungebrochen erfolgreich – was sich in Grossbritannien nun rasch und in den USA nach dem Video von I Want To Break Free schlagartig ändern wird.
Ein Anspieltipp ist die über 8-minütige Version von Now I’m Here, der Brian May Komposition aus dem Album Sheer Heart Attack, in der Freddie Mercury einen ausgedehnten Wechselgesang mit dem Publikum austrägt.
Trackliste: Seite A
1. We Will Rock You (Brian May) - 3:29
2. Let Me Entertain You (Freddie Mercury, Jule Styne) - 3:04
3. Death on Two Legs (Dedicated to...) (Freddie Mercury, Queen) - 3:32
4. Killer Queen (Freddie Mercury) - 1:59
5. Bicycle Race (Freddie Mercury) - 1:28
6. I'm in Love with My Car (Queen, Roger Taylor) - 2:01
7. Get Down, Make Love (Freddie Mercury) - 4:31
8. You're My Best Friend (John Deacon) - 2:07
Seite B
1. Now I'm Here (Brian May) - 8:42
2. Dreamer's Ball (Brian May) - 3:42
3. Love of My Life (Freddie Mercury) - 4:59
4. '39 (Brian May, Queen) - 3:26
5. Keep Yourself Alive (Brian May) - 4:02
Seite C
1. Don't Stop Me Now (Freddie Mercury) - 4:28
2. Spread Your Wings (John Deacon) - 5:15
3. Brighton Rock (Brian May, Queen) - 12:13
Seite D
1. Bohemian Rhapsody (Freddie Mercury, Queen) - 5:52
2. Tie Your Mother Down (Brian May) - 3:41
3. Sheer Heart Attack (Roger Taylor) - 3:35
4. We Will Rock You (Brian May) - 2:48
5. We Are the Champions (Freddie Mercury) - 3:27
6. God Save the Queen (Queen, Traditional) - 1:32
Besetzung: Freddie Mercury: lead vocals, piano
; Brian May: guitars, keyboards, backing vocals
; Roger Taylor: drums, tambourine, timpani, backing vocals, lead vocals (A6)
; John Deacon: bass guitars, backing vocals
; Crew [Driver]: Bob Collins (9)
; Crew [On Tour Chefs]: Dave Kebble
; Crew [On Tour Chefs]: Dennis Days
; Crew [Riggers]: Charlie Boxhall
; Crew [Riggers]: Robin Elias
; Crew [Stage]: Brian Spencer
; Crew [Stage]: Brian Zellis
; Crew [Stage]: Chris Taylor
; Crew [Stage]: Peter Hince
; Crew [Truckers]: Dave Connor
; Crew [Truckers]: Henry Crallan
; Crew [Truckers]: John Collins (25)
; Crew [Truckers]: Mick Conafray
; Crew [Truckers]: Ted Winfield
; Design [Sleeve]: Foster & Knowles
; Design [Sleeve]: Ichikudo Printing Co., Ltd.
; Engineer: Ken Capper
; Engineer: Peter Greenslade
; Engineer: Steve Cater
; Engineer [Assistance]: Aline Jaccottet
; Engineer [Assistance]: André Jauchat
; Engineer [Assistant]: David Richards
; Lighting [TFA Lighting Men]: Alan Maddams
; Lighting [TFA Lighting Men]: Dick Ollett
; Lighting [TFA Lighting Men]: Gerry Mott
; Lighting [TFA Lighting Men]: Maurice Mulligan
; Lighting [TFA Lighting Men]: Rick O\'Brien
; Lighting [TFA Lighting Men], Lighting Director: Joe Travato
; Mastering: George Marino
; Photography [Cover Photo] By: Koh Hasabe
; Production Manager [Tour]: Gerry Stickells
; Recording: John Etchells
; Sleeve [Concept]: Queen
; Stage Manager: Jimmy Barnett
; Technician [Clair Brothers Sound Men]: Jim Devenney
; Technician [Clair Brothers Sound Men]: Jim Ober
; Technician [Clair Brothers Sound Men], Mixing [Live Sound Mixer]: James \'Trip\' Khalaf
; Record Company EMI Records Ltd.
; Phonographic Copyright (p) Raincloud Productions Ltd.
; Recorded By Manor Mobile
; Published By Queen Music Ltd.
; Published By EMI Music Publishing Ltd.
; Mastered At Sterling Sound
; Printed By Garrod & Lofthouse
; Mixed At Mountain Studios
Radiohead [>] [D]: In Rainbows [F]
Label und Katalognummer: _Xurbia_Xendless Limited CD_X_X001, XL Recordings XLCD 324
Produktion: Nigel Godrich & Graeme Stewart
Veröffentlicht: 2007 10 10 (Netaudio), 2007 12 03 (CD Box)
Genretags: Alternativerock - Poprock - Post-Britpop
Der Release wird zwei Monate vor dem offiziellen Release ins Internet gestellt. Die Fans sollen bezahlen, was sie möchten.
Trackliste: 1. 15 Step - 3:57
2. Bodysnatchers - 4:02
3. Nude - 4:15
4. Weird Fishes/Arpeggi - 5:18
5. All I Need - 3:49
6. Faust Arp - 2:10
7. Reckoner - 4:50
8. House Of Cards - 5:28
9. Jigsaw Falling Into Place - 4:09
10. Videotape - 4:40
Alle Tracks: Radiohead.
Besetzung: Band: Colin Greenwood, Jonny Greenwood, Ed O\'Brien, Philip Selway, Thom Yorke
Artwork By: Dr Tchock
; Artwork By Recordbox Designed By: Mel Maxwell, Xiaan Munro
; Artwork By, Artwork By Recordbox Designed By: Stanley Donwood
; Concertmaster Strings Led By: Everton Nelson
; Conductor Strings: Sally Herbert
; Engineer: Dan Grech-Marguerat, Hugo Nicolson, Richard Woodcraft
; Performer: Ed O\'Brien, Philip Selway; , Thom Yorke
; Performer, Photography: Colin Greenwood, Jonny Greenwood
; Photography: Steve Keros
; Producer Preproduction By: Graeme Stewart
; Mixed By, Engineer: Nigel Godrich
; Strings Performed By: Millennia Ensemble
; Backing Vocals [Uncredited]: Matrix Music School (1)
Rage Against The Machine [>] [D]: Renegades [F]
Label und Katalognummer: Epic EK 85289
Produktion: Brendan O'Brien & Rage Against the Machine & Rick Rubin
Veröffentlicht: 2000 12 05
Genretags: Alternativerock - Crossover - Rapcore, Alternativerock - Crossover - Funkmetal
Das Album-Cover spielt mit dem ikonischen Popart-Kunstwerk von Robert Indiana, Love
, das zu «Rage» wird.
Trackliste: 1. Microphone Fiend (B., Rakim) - 5:01
2. Pistol Grip Pump (Volume Ten) - 3:18
3. Kick Out the Jams (Davis, Kramer, Smith, Thompson, Tyner) - 3:11
4. Renegades of Funk (Baker, Bambaataa, Miller, Robie) - 4:35
5. Beautiful World (Casale, Mothersbaugh) - 2:35
6. I'm Housin' (EPMD) - 4:56
7. In My Eyes (MacKaye, Minor Threat) - 2:54
8. How I Could Just Kill a Man (Freese, Muggerud, Reyes) - 4:04
9. The Ghost of Tom Joad (Springsteen) - 5:38
10. Down on the Street (Stooges) - 3:39
11. Street Fighting Man (Jagger-Richards) - 4:42
12. Maggie's Farm (Dylan) - 6:54
Bonustracks
1. Kick Out the Jams (Live) (MC5) - 4:31
2. How I Could Just Kill a Man (Live) (Cypress Hill) - 4:30
Besetzung: Co-producer: Rage Against The Machine
; Editing [Digital Editing]: Greg Fidelman
; Editing [Digital Editing]: Mark Moreau
; Engineer: David Schiffman
; Engineer: Jim Scott
; Engineer [Assistant]: Darren Mora
; Engineer [Assistant]: Geoff Walcha
; Engineer [Assistant]: Katy Teasdale
; Engineer [Assistant]: Matt Marin
; Engineer [Assistant]: Mike Scotella
; Engineer [Assistant]: Rich Veltrop
; Mastering: Vlado Meller
; Mixing: Dave Sardy (9, 11)
; Mixing: Rich Costey (1 to 8, 10, 12)
; Phonographic Copyright (p) Sony Music Entertainment Inc.
; Copyright (c) Sony Music Entertainment Inc.
; Recorded At Cello Studios
; Recorded At The Village Recorder
; Mixed At Sunset Sound Recorders
; Mixed At Larrabee Sound Studios
; Mastered At Sony Music Studios, New York City
; Distributed By Sony Music
Ray Conniff And His Orchestra [>] [D]: 'S Wonderful [F]
Label und Katalognummer: Columbia CL 925
Produktion: Ray Conniff & Mitch Miller
Veröffentlicht: 1956 12
Genretags: Traditionalpop - Orchestralpop - Easylistening
Der Sound dieses Albums adaptiert die Bigband-Ästhetik für die 50er Jahre. Hauptmerkmal die wortlosen gemischten Chöre. La-La-La im Hallraum als Streicher- oder Bläserersatz. Kühl, modern, niemand wird durch Lyrics und deren Emotion abgelenkt. Die perfekte Hintergrundmusik im modernen mit Plattenspieler und Hi-Fi ausgestatteten Haushalt. Der Titel spricht Bände: Das, was wundervoll ist (das Leben, die Liebe), bleibt ungenannt, bleibt versteckt und verdrängt. Das sind die prüden 50er.
Trackliste: Seite A
1. 'S Wonderful (Gershwin, Gershwin) - 2:29
2. Dancing in the Dark (Dietz, Schwartz) - 2:48
3. Speak Low (Brunner, Nash, Tate, Weill, Wilton) - 3:57
4. Wagon Wheels (DeRose, DeRose, Hill) - 3:17
5. Sentimental Journey (Brown, Green, Homer) - 2:44
6. Begin the Beguine (Porter) - 2:48
Seite B
1. September Song (Anderson, Weill) - 3:16
2. I Get a Kick Out of You (Porter) - 2:20
3. Stardust (Carmichael, Parish) - 2:57
4. I'm an Old Cowhand (From the Rio Grande) - 3:02
5. Sometimes I'm Happy (Youmans)
6. That Old Black Magic (Arlen, Mercer) - 2:47
Besetzung: Performer: Ray Conniff\'s Orchestra
; Alfred Gescheidt: Photography
Ray Price [>] [D]: Night Life [F]
Label und Katalognummer: Columbia CS 8771
Produktion: Frank Jones & Don Law
Veröffentlicht: 1963 04
Genretags: Country - Countrypop - Nashvillesound
Honkytonk Musiker Ray Price kündigt im Intro einen Richtungswechsel an: Wir
machen ein Bisschen was anders als sonst («a little different from what we normally do»). Produzent Don Law poliert den ungehobelten Honkytonk-Sound, den Price und seine Cherokee Cowboys in Kneipen («at dances») spielen. Das funktioniert unerwartet gut: Es ist vor allem die versatile Stimme von Ray Price, die das vielfältige Material mit Bravour bewältigt. Sie macht, dass das Experiment vollumfänglich gelingt.
Man hat Night Life
das erste Country-Konzeptalbum genannt – Themenalbum wäre vermutlich angemessener: Viele der Songs erzählen Geschichten vom Leben unterwegs: die Bars und Kneipen, ihre Abitués und Klienten, die einsamen und von falschen Gespenstern getriebenen Herzen.
Trackliste: Seite A
1. Introduction and Theme / Night Life (Walt Breeland, Paul Buskirk, Willie Nelson) - 2:05 / 4:41
2. Lonely Street (Carl Belew, Kenny Sowder, W.S. Stevenson) - 3:01
3. The Wild Side of Life (Arlie Carter, William Warren) - 2:59
4. Sittin' and Thinkin' (Charlie Rich) - 2:47
5. The Twenty-Fourth Hour (Ray Price) - 2:53
6. A Girl in the Night (Hank Thompson) - 2:49
Seite B
1. Pride (Wayne P. Walker/Irene Stanton) - 2:39
2. There's No Fool Like a Young Fool (Bette Thomasson) - 2:58
3. If She Could See Me Now (Hank Cochran) - 2:42
4. Bright Lights and Blonde Haired Women (Eddie Kirkland) - 2:26
5. Are You Sure (Buddy Emmons, Willie Nelson) - 2:23
6. Let Me Talk to You (Don Stewart Davis, Danny Dill)- 3:05
Besetzung: Byron Bach: Violin
; Brendon B. Banks: Violin
; Brenton Banks: Violin
; George Binkley III: Violin
; Harold Bradley: Bass
; Cecil Brower: Violin
; Howard Carpenter: Violin
; Floyd Cramer: Guest Artist, Piano
; James Day: Guitar (Steel)
; Jimmy Day: Guitar (Steel)
; Ray Edenton: Guitar, Guitar (Rhythm)
; Buddy Emmons: Guest Artist, Guitar (Steel)
; Hound: Liner Notes
; Lillian Hunt: Violin
; Thomas Lee Jackson Jr.: Fiddle
; Grover Lavender: Guitar
; Grady Martin: Guitar
; Darrell McCall: Guitar, Guitar (Rhythm)
; Willie Nelson: Guest Artist
; Johnny Paycheck: Guest Artist, Guitar
; Ray Price: Guitar, Leader, Liner Notes, Vocals
; Vernal E. Richardson: Violin
; Lillian Vannhunt: Violin
; Herman Wade: Guitar
; Leigh Wiener: Photography
; Joe Zinkan: Bass (Acoustic)
Renick Bell [>] [D]: Turning Points [F]
Label und Katalognummer: Seagrave SR 064
Produktion: Renick Bell
Veröffentlicht: 2018 08 03
Genretags: Post-Millennial-Music - Digital-Underground
Diese Musik wird live in der Konzert- bzw. Party-Situation gecodet.
Trackliste: 1. Full Circle - 3:24
2. Through Others' Senses - 3:50
3. Acquiring Discipline - 4:33
4. Origin of All Phenomena - 2:35
5. Improvise in a Pinch - 5:59
6. Buds - 3:28
7. Mutual Influence - 5:16
8. Differentiation - 3:10
9. Without Words - 3:47
10. Learning Through Mistakes - 2:18
11. Splitting - 4:41
12. From the Edge to the Source - 3:08
Alle Tracks: Renick Bell.
Besetzung: Artwork: George Tourlas
; Mastering: Philippe Vandal
Rian Treanor [>] [D]: ATAXIA [F]
Label und Katalognummer: Planet Mu ZIQ 405
Produktion: Rian Treanor
Veröffentlicht: 2019 03 15
Genretags: Post-Millennial-Music - Digital-Underground - Footwork
Albummässig der Erstling des Nordengländers Rian Treanor, der früher für Andreas 'Loop-O' Lubichs Dubplates & Mastering in Berlin Kreuzberg gearbeitet hat. Dubplates & Mastering ist eine der prominentesten Mastering- und Herstellfirmen für Platten-Rohlinge im Feld der elektronischen Musik (siehe auch de.bug Artikel zu Dubplates & Mastering von 2006).
Bei der Musik auf ATAXIA
handelt es sich im weitesten Sinn um Footwork, um Tanzmusik für Körper und Kopf, die aus staksig rhythmisierten Samples zusammengebaut ist. ATAXIA
ist der griechische Name für eine Krankheit des Bewegungssystems, bei der Patienten die motorische Koordination und das Feingefühl verlieren. Als DJ interessiert sich Rian Treanor für die Momente, in denen Tänzer/-innen ataxische Bewegungen produzieren.
Minimale Sounds und Vokal-Samples werden asymmetrisch geloopt. Das klingt frisch und stets überraschend. Der auffallende erste Track mit seiner synthetischen Stimme verwendet übrigens die Stimmen aus einer Video Installation von Bruce Nauman mit dem Titel Good Boy Bad Boy
. Der Track hört sich an wie wenn wir einer Maschine beim Lernen zuhören würden. Er ist aber für das Album nicht ganz repräsentativ. Die meisten der anderen Tracks sind instrumental und insistieren auf asymmetrischen Breaks.
ATAXIA
ist vermutlich das Album, dass ich dieses Jahr bisher am meisten angehört habe. Solide Musik, die auf vielen Ebenen funktioniert. Auch und gerade als Listening-Album.
Trackliste: 1. ATAXIA_A1 - 3:57
2. ATAXIA_A2 - 4:54
3. ATAXIA_B1 - 4:28
4. ATAXIA_B2 - 3:26
5. ATAXIA_C1 - 5:56
6. ATAXIA_C2 - 3:29
7. ATAXIA_D1 - 4:33
8. ATAXIA_D2 - 3:57
9. ATAXIA_D3 - 4:06
Alle Tracks: Rian Treanor.
Richard Skelton [>] [D]: Landings [F]
Label und Katalognummer: Sustain-Release SRL 14, Type TYPE 055
Produktion: Richard Skelton
Veröffentlicht: 2009 06 28 10 (CDr), 2010 01 15 (CD)
Genretags: Post-Millennial-Music - Digital-Underground - Neoklassik
Richard Skelton
fü,hrtâ?¬ einen Blog, der die Arbeit zu Landings
begleitete. Skeltons Musik entsteht in der Auseinandersetzung mit der Landschaft und ihrer Geschichte. Landschaft wird in Text (Blog) und Musik (diese CD) übersetzt. Es entstehen neoklassische Sounds, die reich an Emotion und Dichte sind.
Trackliste: 1. Noon Hill Wood - 8:26
2. Scar Tissue - 1:56
3. Threads Across The River - 8:19
4. Green Withins Brook - 4:27
5. Of The Last Generation - 7:07
6. Undertow - 6:26
7. Voice Of The Book - 7:26
8. Rapture - 2:00
9. Pariah - 4:43
10. River Song - 6:38
11. Remaindered - 5:34
12. The Shape Leaves - 7:01
Alle Tracks: Richard Skelton.
Besetzung: Photography: Richard Skelton
Richard Thompson [>] [D] & Linda Thompson [>] [D]: I Want To See The Bright Lights Tonight [F]
Label und Katalognummer: Island ILPS 9266, Hannibal 4407
Produktion: Richard Thompson & John Wood
Veröffentlicht: 1974 04
Genretags: Rock - Folkrock - British-Folkrock
Das erste Album des Ehepaars Thompson. Nach dem Misserfolg von Richard Thompsons erstem Solo-Album Henry The Human Fly
spielt er dieses düstere aber wunderschöne Werk über Sehnsucht und Schmerz mit einem minimalen Budget ein. Das Label schiebt den Release acht Monate lang auf. Als I Want To See The Bright Lights Tonight
erscheint, wird es sofort als Meisterleistung des englischen Folkrock akzeptiert.
Trackliste: Seite A
1. When I Get To The Border - 3:23
2. The Calvary Cross - 3:50
3. Withered And Died - 3:24
4. I Want To See The Bright Lights Tonight - 3:06
5. Down Where The Drunkards Roll - 4:04
Seite B
1. We Sing Hallelujah - 2:49
2. Has He Got A Friend For Me - 3:30
3. The Little Beggar Girl - 3:24
4. The End Of The Rainbow - 3:54
5. The Great Valerio - 5:21
Bonustracks 2004
1. I Want To See The Bright Lights Tonight (Live)
2. Together Again (Buck Owens) (live)
2. Calvary Cross (Live)
Alle Tracks: Richard Thompson, ausser wo anders vermerkt.
Besetzung: Richard Thompson: guitar, vocals, dulcimer, mandolin, whistle, keyboards
; Linda Thompson: vocals
; Timmy Donald: drums
; Pat Donaldson: bass guitar
; John Kirkpatrick: accordion, concertina
; Simon Nicol: dulcimer
; Brian Gulland: krummhorn
; Richard Harvey: krummhorn
; Royston Wood: vocals
; John Wood: producer and engineer
; The CWS Silver Band
Richie Hawtin [>] [D]: DE9: Closer To The Edit [F]
Label und Katalognummer: NovaMute NOMU 90, M_nus MINUS 08
Produktion: Richie Hawtin
Veröffentlicht: 2001 09 17 (Ed. EU), 2001 09 18 (Ed. US)
Genretags: Electronica - Techno - Minimaltechno
2. Teil der DE9 Serie – zusammen mit Decks, EFX & 909 und DE9: Transitions. Der Mix wird hier mit Final Scratch auf dem Laptop erzeugt. Die Platten, die Hawtin verwendet, sind spezielle Vinylplatten mit einem unhörbaren aber vom Equipment verarbeiteten Time-Code.
– zur Remix EP: DE9 | Closer To The (R)Edit
Trackliste: 1. Range/Smart Card?/10 Strikes to 2001 - 3:50
2. Smart Card?/10 Strikes to 2001/Monostatic/Diminishing Returns - 1:20
3. Monostatic/Dimishing Returns /Concept Loop U:1 [Special Edition Dub] - 1:50
4. Green Apple/Stereo Virus/Spastik - 0:51
5. Dada EP A2/Stereo Virus/Talk to Me - 0:28
6. Stereo Virus/Talk to Me/Dimishing Returns [Special Edition ...] - 1:25
7. Orph/Diminishing Returns [Special Edition Dub] - 2:47
8. Silent Treatment/Diminishing Returns [Special Edition ...] - 1:18
9. Vacuum Cleaner/Silent Treatment/Into the Duster/Freek - 1:15
10. Forever Love/Bredow - 0:59
11. Forever Love/Courtesy Car/Into the Space/808 Loop - 2:32
12. Courtesy Car/Flibkà Top/Las Rambias (Forever Love) /No Milk Today - 2:18
13. At the Front - 1:56
14. Untitled/Slacker Jack/Divisible/Muff Diver - 2:42
15. B1/Optical Way/A1 - 1:59
16. Optical Way/Panna/B1/Too Distant Images/Clinicalism - 0:41
17. Luna /Clinicalism/Panpot Spliff [Re-Edit] - 1:01
18. Panpot Spliff - 0:38
19. Gelb/Tea Party/Different View/Life Force/Plasticity/Krikot/Tracks - 1:03
20. Tea Party/Tracks on Delivery, Pt. 2 (Pattern 7) /Gelb/The Climax [Original Version - 2:05
21. Tracks on Delivery, Pt. 2 (Pattern 7) /Grown - 0:47
22. Grown/Tracks on Delivery, Pt. 2 (Pattern 7) /Loplop B1/Distortion Man - 0:55
23. Loplop B1/Anyway I Know You/Edit Blue - 1:56
24. Edit Blue/Süizgürtel/Diminishing Returns [Special Edition Dub] - 0:29
25. Edit Blue/Süizgürtel/Diminishing Returns ... [Special Edition Dub] - 2:00
26. Formenverwandler/Friday Night With B. Reynolds/Chemistry/Octagon/A - 3:39
27. Octagon/Edit Blue/Contain/The Super/The Climax /For My ... [Original Version] - 2:56
28. Snatch/Lifeforce/Lfo Drive T.A.C., Paul Hester - 2:00
29. Trinkets/Snatch/Does Ronda Know? - 0:43
30. B1/Snatch/Discount Baby /Distortion Men/Flibkà Top [H.A.L. 9000 Mix] - 2:32
31. Range/Dekommpression/Amenity - 2:15
Besetzung: DJ Mix: Richie Hawtin
; Joseph Cultice: Artwork
Richie Hawtin [>] [D]: DE9: Transitions [F]
Label und Katalognummer: M_nus MINUS 32
Produktion: Richie Hawtin
Veröffentlicht: 2005 10 26
Genretags: Electronica - Techno - Minimaltechno
3. Teil der DE9 Serie – zusammen mit Decks, EFX & 909 und DE9: Closer to the Edit. Dieser Mix ist mit Ableton Live hergestellt. Kleinste Edits/Samples werden zu etwas Neuem gemischt.
Die DE9-Mixes von Richie Hawtin markieren die Epochenschwelle, an der das DJ-Mixing erstens digital wird und zweitens nicht mehr allein ganze Tracks zu einem Mix verarbeitet, sondern Edits und Samples – daher der Titel des zweiten Teils der Serie Closer to the Edit
.
Trackliste: CD Ausgabe
1. Welcomm(in): Hawtin - 3:48
2. TZ Entry Point: Hawtin - 2:46
3. Adding And: Hawtin - 1:07
4. Subtracting: Hawtin - 2:00
5. Prebuild: Hawtin - 1:45
6. Seiltänzer: Hawtin - 3:00
7. Visioning: Hawtin - 6:51
8. We(all)search: Hawtin - 2:44
9. Jupiter Lander: Hawtin - 0:30
10. Reduction And: Hawtin - 3:00
11. Seduction: Hawtin - 1:22
12. Minimal Master: Hawtin - 4:00
13. All 4 Du: Hawtin - 3:00
14. Tonarzt: Hawtin - 5:01
15. The Tunnel: Hawtin - 8:26
16. Minimission: Hawtin - 5:14
17. Noch Nah(r): Hawtin - 4:11
18. Weiter Noch: Hawtin - 5:44
19. Where Is Mayday?: Hawtin - 4:00
20. The Hole: Hawtin - 2:11
21. (D)ecaying Beauty: Hawtin - 4:41
DVD Ausgabe
1. Welcomm(in)
2. TZ Entry Point
3. Adding And
4. Subtracting
5. Prebuild
6. Seiltänzer
7. Visioning
8. We (All) Search
9. Jupiter Lander
10. Reduction And
11. Seduction
12. Minimal Master
13. All 4 Du
14. Tonzart
15. The Tunnel
16. Minimission
17. Noch Nah(r)
18. Weiter Noch
19. Where Is Mayday?
20. The Hole
21. (D)ecaying Beauty
22. Noch Ein Mal
23. Do You Know Dimbi?
24. Power Nine/Six
25. R2
26. Regaining Control
27. Ich Weiß Nicht
28. Transitions
Besetzung: DJ Mix: Richie Hawtin
Robin Scott [>] [D]: Woman From The Warm Grass [F]
Assoziierte Acts: Mighty Baby
Label und Katalognummer: Head [London Psychedelic Rock Label] HDLS 6003
Produktion: Sandy Roberton
Veröffentlicht: 1969 12 00
Genretags: Rock - Psychedelicrock - Psychedelicfolkrock
Singer-Songwriter, der von der Band Mighty Baby begleitet wird.
Trackliste: Seite A
1. The Sailor -
2. Song Of The Sun -
3. The Sound Of Rain -
4. Penelope -
5. The Day Begins -
Seite B
1. Woman From The Warm Grass -
2. I Am Your Suitcase Lover -
3. Mara's Supper -
4. Point Of Leaving -
5. The Purple Cadger -
Alle Tracks: Robin Scott.
Roger Taylor [>] [D]: Strange Frontier [F]
Label und Katalognummer: EMI RTA 1
Produktion: Reinhold Mack
Veröffentlicht: 1984 06 25
Genretags: Rock - AOR-Rock - AOR-Poprock
Roger Taylor versucht sich als Bruce Springsteen. Die Produktion von Mack allerdings sehr Synth-lastig. Springsteen wird erst mit Tunnel Of Love dort ankommen.
Trackliste: Seite A
1. Strange Frontier - 4:16
2. Beautiful Dreams - 4:23
3. Man on Fire - 4:05
4. Racing in the Street (Bruce Springsteen) - 4:28
5. Masters of War (Bob Dylan) - 3:51
Seite B
1. Killing Time - 4:58
2. Abandonfire (Taylor, David Richards) - 4:12
3. Young Love - 3:22
4. It's an Illusion (Taylor, Rick Parfitt) - 4:03
5. I Cry for You (Love, Hope and Confusion) (Taylor, Richards) - 4:16
Besetzung: Roger Taylor: vocals, drums, keyboards, bass guitar, guitars
; David Richards: keyboards
; Freddie Mercury: backing vocals (B1)
; Rick Parfitt: guitar (B4)
; John Deacon: bass guitar (B4)
; Brian May: rhythm guitar (A3)
; Printed By James Upton Ltd.
Roger Waters [>] [D]: The Dark Side of the Moon Redux [F]
Label und Katalognummer: SGB Music Limited SGB 50
Produktion: Gus Seyffert & Roger Waters
Veröffentlicht: 2023 10 06
Genretags: Post-Millennial-Music - Poprock - Classicrock
Roger Waters apropriierende Solo-Interpretation von The Dark Side of The Moon hört mit dem Satz auf: «It's not all dark – is it?». Das Album ist etwa so dunkelgrau wie ein Nachmittag im Altersheim, wo du einem alten Mann zuhörst, wie er sein Leben verklärt und alles so erzählt, als hätte es nie einen anderen Menschen in seinem Leben gegeben. Widerlich!
Dass Waters nichts von seinen drei ehemaligen Mitstreitern Gilmour, Wright und Mason hält, wissen wir. Er hat es oft genug wiederholt: Nur er war der Künstler in Pink Floyd. Die drei anderen waren blosse Musiker ohne eigene kreative Ideen. Hätte er recht, warum beschämt es ihn nicht, dass er so lange mit ihnen musiziert hat?
Waters hatte in fast allen seinen epischen Werken mit Floyd einen Hang, nein, einen Zwang zum Happy End. Die meisten seiner Konzeptalben hörten damit auf, dass alles gar nicht so schlimm sei. Nun heisst es also am Ende: «It's not all dark – is it?» Mit diesem finalen Happy End schafft er im Nachhinein die raison d'être eines seiner Hauptwerkes ab: Syd Barrett, um dessen lamentablen Zustand es am Ende von «The Dark Side of the Moon» gegangen ist.
Im Tod ist jeder allein, haben die Existetialisten gesagt. Roger Waters schafft es mit «The Dark Side of the Moon Redux» so allein zu sein, als wäre er schon tot. Das Album klingt leblos. Jede Poesie ist aus den Songs hinausgepresst. Das ist Mumienmusik eines nach Verwesung stinkenden alten weissen Mannes.
Trackliste: 1. Speak to Me (Nick Mason) - 1:54
2. Breathe (David Gilmour, Roger Waters, Richard Wright) - 3:22
3. On the Run (Gilmour, Waters) - 3:47
4. Time (Gilmour, Mason, Waters, Wright) - 7:19
5. Great Gig in the Sky (Wright) - 5:47
6. Money - 7:32
7. Us and Them (Waters, Wright) - 7:36
8. Any Colour You Like (Gilmour, Mason, Wright) - 3:18
9. Brain Damage - 4:55
10. Eclipse - 2:20
Alle Tracks: Roger Waters, ausser wo anders vermerkt.
Besetzung: Roger Waters: vocals, bass (8), VCS3
; Gus Seyffert: bass, guitar, percussion, keys, synth, backing vocals
; Joey Waronker: drums, percussion
; Jonathan Wilson: guitars, synth, organ
; Johnny Shepherd: organ, piano
; Via Mardot: theremin
; Azniv Korkejian: vocals
; Gabe Noel: string arrangements, strings, sarangi
; Jon Carin: keyboards, lap steel, synth, organ
; Robert Walter: piano (5)
Rolling Stones [>] [D]: The Rolling Stones [F]
Assoziierte Acts: Brian Jones
Label und Katalognummer: Decca LK 4605
Produktion: Eric Easton & Andrew Loog Oldham
Veröffentlicht: 1964 04 16
Genretags: Rock'n'Roll - Rhythm'n'Blues - British-Rhythm'n'Blues
Die amerikanische Version dieses ersten Rolling Stones Albums, England's Newest Hitmakers, lässt A4 zugunsten von Not Fade Away
weg. Uncle Phil and Uncle Gene
in Tracktitel A5 spielen auf Phil Spector und Gene Pitney an, die beide an der Aufnahmesession mitgewirkt haben. Nanker Phelge ist ein Pseudonym, das die Stones zwischen 1963 und 1965 für die Autorschaft einiger ihrer Songs verwendeten. Tell Me
ist der erste veröffentlichte Rolling Stones Song von Jagger und Richards überhaupt. In den USA erschien der Song in einer gekürzten Version. Auf CD-Ausgaben ist allerdings die längere Version enthalten.
Trackliste: Seite A
1. Route 66 (Bobby Troup) - 2:20
2. I Just Want to Make Love to You (Willie Dixon) - 2:17
3. Honest I Do (Jimmy Reed) - 2:09
4. I Need You Baby (Mona) (Ellas McDaniel) - 3:33
5. Now I've Got a Witness (Like Uncle Phil and Uncle Gene) (Nanker Phelge) - 2:29
6. Little by Little (Nanker Phelge, Phil Spector) - 2:39
Seite B
1. I'm a King Bee (James Moore) - 2:35
2. Carol (Chuck Berry) - 2:33
3. Tell Me (You're Coming Back) (Jagger-Richards) - 4:05
4. Can I Get a Witness (Holland-Dozier-Holland) - 2:55
5. You Can Make It if You Try (Ted Jarrett) - 2:01
6. Walking the Dog (Rufus Thomas) - 3:10
Besetzung: Arranged By Rolling Stones
; Bass Guitar, Vocals: Bill Wyman
; Drums: Charlie Watts
; Guitar: Keith Richard
; Guitar, Vocals, Harmonica: Brian Jones
; Maracas: Phil Spector (A6)
; Organ: Ian Stewart (B4, B5)
; Photography By Nicolas Wright
; Piano: Gene Pitney (A6), Ian Stewart (B3)
; Vocals, Harmonica: Mick Jagger
Rosanne Cash [>] [D]: Right Or Wrong [F]
Label und Katalognummer: Columbia JC 36155
Produktion: Rodney Crowell
Veröffentlicht: 1980 02
Genretags: Country - Countrypop - Urban-Cowboy, Rock - AOR-Rock - AOR-Countryrock
US-Debut von Rosanne Cash. Das Album enthält nur eine Eigenkomposition – zur Singer-Songwriterin wird die älteste Tochter von Johnny Cash erst 1993 mit ihrem Album The Wheel. Die Musik klingt nicht wesentlich anders als die von Linda Ronstadt oder Emmylou Harris, aus deren Hot Band viele der hier spielenden Musiker kamen – auch der Produzent Rodney Crowell , der 1979 Rosanne Cashs erster Ehemann wurde.
«Man Smart (Woman Smarter)», der Calypso-Klassiker von King Radio, wird hier in einer Country-Version vorgetragen. Es ist der feministische Song dieser Platte. Das Lied wurde zuvor u.a. von Harry Belafonte, Robert Palmer oder den Carpenters gecovert.
Ein Anspieltipp ist «Seeing's Believing», eine Komposition von Rodney Crowell. Hier wie in «Baby, Better Start Turnin' Em Down» fungiert Emmylou Harris als Background-Sängerin bzw. zweite Stimme und ist wie immer umwerfend.
Trackliste: Seite A
1. Right or Wrong (Kathy Sykes, Keith Sykes) - 3:22
2. Take Me, Take Me (Kathy Sykes, Keith Sykes) - 3:37
3. Man Smart (Woman Smarter) (Harry Belafonte, Kuhn, King Radio, J. Segal, Norman Span) - 2:55
4. This Has Happend Before (Rosanne Cash) - 3:55
5. Baby, Better Start Turnin' Em Down (Rodney Crowell) - 4:08
Seite B
1. No Memories Hangin' Round (feat. Bobby Bare) (Rodney Crowell) - 3:24
2. Couldn't Do Nothin' Right (Karen Brooks, Gary P. Nunn) - 4:48
3. Seeing's Believing (feat. Emmylou Harris) (Rodney Crowell) - 3:28
4. Big River (Johnny Cash) - 2:45
5. Anybody's Darlin' (Anything but Mine) (Rodney Crowell) - 5:03
Besetzung: Brian Ahern: Guitar (Acoustic)
; Bobby Bare: Guest Artist, Performer, Vocals
; Hal Blaine: Drums
; Tony Brown: Piano
; James Burton: Guest Artist, Guitar (Electric)
; Rosemary Butler: Vocal Harmony, Vocals
; Rosanne Cash: Guitar (Acoustic), Vocals
; Donivan Cowart: Engineer, Vocals (Background)
; Rodney Crowell: Guest Artist, Guitar (Acoustic), Vocal Harmony, Vocals
; Hank DeVito: Guitar, Guitar (Acoustic), Slide Guitar
; Emory Gordy: Bass, Organ, String Arrangements
; Glen D. Hardin: Piano, Piano (Electric)
; Emmylou Harris: Guest Artist, Vocal Harmony, Vocals
; Bradley Hartman: Engineer
; Sharon Hicks: Vocals
; Jim Horn: Flute (Bass), Guest Artist, Sax (Baritone), Saxophone
; Albert Lee: Guest Artist, Guitar
; Mickey Raphael: Harmonica
; Frank Reckard: Guitar, Guitar (Electric)
; Ricky Skaggs: Fiddle, Guest Artist, Guitar (Acoustic), Mandolin
; Aldo Strucci: Guitar (Electric)
; Stuart Taylor: Engineer
; John Ware: Drums
; Cheryl Warren: Vocals
; Larry Willoughby: Vocal Harmony, Vocals, Vocals (Background)
Royal Headache [>] [D]: High [F]
Label und Katalognummer: What's Your Rupture? WYR? 0315
Veröffentlicht: 2015 08 21
Genretags: Alternativerock - Poprock - Powerpop
Mit Passion, Freude und Dringlichkeit vorgetragener Powerpop aus Australien. Eine der Bands aus der Indie/Alternative-Ecke, die 2015 nicht altmodisch wirkten.
Trackliste: 1. My Own Fantasy - 3:06
2. Need You - 2:24
3. High - 2:14
4. Another World - 2:22
5. Wouldn’t You Know - 4:17
6. Garbage - 4:01
7. Love Her If I Tried - 3:03
8. Carolina - 3:15
9. Little Star - 2:35
10. Electric Shock - 1:28
Alle Tracks: Royal Headache.
Besetzung: David Akerman: Photography
; Allan Allport: Insert Photography
; Cabrielle De Giorgio: Organ
; Jon Hunter: Engineer, Mixing
; Law: Guitar
; Owen Penglis: Engineer, Guitar, Tambourine
; Damian Sawyers: Engineer
; Shogun: Guitar, Vocals
; Shortty: Drums
; Sukit: Layout
; Paul Threthni: Cover Photo
; Mikey Young: Mastering
Rumpelstilz [>] [D]: Füüf Narre Im Charre [F]
Assoziierte Acts: Polo Hofer
Label und Katalognummer: Schnoutz Records 6326.930
Produktion: Eric Merz & Rumpelstilz
Veröffentlicht: 1976 10 02
Genretags: Rock - Poprock - Dialektrock
Dieses Album ist der absolute Klassiker des Schweizer Mundartrocks. Zwei Singles wurden zu nationalen Hits, der eine davon, Kiosk
, war vier Wochen lang auf Platz zwei der Radiohitparade. Obwohl der Song in Hochdeutscher Sprache im nördlichen Nachbarland der Schweiz erschien, schaffte die Band den internationalen Durchbruch nicht und löste sich 1978 auf. Der Songwriter und Sänger Polo Hofer machte nach Rumpelstilz mit verschiedenen Formationen weiter und mutierte im Laufe dieses Geschehens zu einem Schweizer Original, zu «Polo National». Der «Kapellmeister» und Tastenspieler Hanery Ammann machte in verschiedenen Formationen weiter Musik genauso der Gitarrist René 'Schiver' Schafer, der zuletzt bei Stiller Has musizierte.
Die Wir
kung von Dialekt- oder Mundartrock war äusserst begrenzt. Die Schweiz als kleiner Musikmarkt war ein karger Nährboden für die Musiker. Der ungleich grössere deutsche Markt war schon von deutschen Bands gesättigt. Auf eine Schweizer Band hat dort offensichtlich niemand gewartet.
Das rustikal anmutende Cover zeigt eine Kutsche mit Vierergespann, die nicht nach Gotthard-Post, sondern eher nach Western aussieht. Die Kutsche ist der Wagen im Albumtitel, die Rückseite zeigt die fünf Narren, als hippieske Zirkusclowns.
Trackliste: Seite A
1. Kiosk (Hofer) - 3:25
2. A Däm Gwöhnliche Tag (Hofer) - 4:28
3. Es Blatt im Wind (Ammann, Hofer) - 5:53
4. Dr Müdle Z'lieb (Güdel) - 5:49
5. Jodel (Volkslied) - 1:53
Seite B
1. Uf Däm Lange Wäg (Schafer, Hofer) - 4:43
2. D'Rosemarie und I (Ammann, Hofer) - 6:30
3. Füüf Narre im Charre (Ammann, Güdel, Schafer) - 6:44
4. Teddybär (Ammann, Hofer) - 4:04
Besetzung: Polo Hofer: voc., perc.
; Shiver Schafer: g, voc.
; Küre Güdel: Schlagzeug, voc.
; Milan Popovich: bg, Opernstimme
; Hanery Ammann: keyb., voc., Handorgel, Xylophon, Berimbao
; Rebo Behelinda Boulding: Congas, perc.()A1, A4, B3)
; Chris von Rohr, Thomi Kiefer: Chor (A5)
; Ronald Gall: bg (B4)
Sam Kidel [>] [D]: Silicon Ear [F]
Label und Katalognummer: Latency LTNC 015
Produktion: Sam Kidel
Veröffentlicht: 2018 12 13
Genretags: Post-Millennial-Music - Digital-Underground - Soundart
Generative Musik, die sich mit der Technologie von heute kritisch auseinandersetzt. Der erste Track ist, was Sam Kidel «Mimetic Hacking» nennt. Live @ Google Data Center
ist generative Musik, die von Bildern und Plänen eines Google Data Centers beeinflusst und gesteuert wird. Der zweite Track Voice Recognition DoS Attack
spielt mit einem Voice Recognition Algorithmus in einem Bereich, wo dieser die Stimme unkenntlich macht.
Heraus kommt digitale Ambient Musik, die sich nicht vor Zufall und Beliebigkeit beugt, sondern die nach einem staksigen Anfang in einen organischen Flow gerät und zu LEBEN beginnt.
Trackliste: 1. Live @ Google Data Center - 12:11
2. Voice Recognition DoS Attack - 11:58
Alle Tracks: Sam Kidel.
Schwyzerörgeliduo Rees Gwerder [>] [D]: Plätteli für id Böx [F]
Assoziierte Acts: Rees Gwerder
Label und Katalognummer: CSR CD 91442
Veröffentlicht: 2007 (Ed.)
Genretags: Europeana - Folklore - Ländler
Rees Gwerder (1911– 1998) ist in Muotathal als Sohn eines Bergbauern aufgewachsen. Mit fünf Jahren begann er Schwyzerörgeli zu spielen, das Instrument seines Vaters. 34-jährig zog er nach Arth, wo er einen kleinen Hof auf dem Rossberg bewirtschaftete.
Plattenaufnahmen machte er seit 1962. Anfänglich EPs, mit denen Musikboxen bestückt wurden (daher der Titel der Compilation). Seine Kapelle bestand meist aus Ludi Hürlimann (Schwyzerörgeli) und Dominik 'Sity Domini' Marty (Bass). Sein Repertoire bestand aus 300 Stücken, vielefach alten Tänzen, die er in die Neuzeit rettete.
Trackliste: 1. Morgeluft - 2:30
2. Bim Zhärdfahre - 2:37
3. Bergbureläbe - 3:39
4. Ufem Ofebänkli - 2:42
5. Echo Vom Höllloch - 2:46
6. Echo Vom Gängigerberg - 1:38
7. Ufem Tätschlibodä - 1:39
8. Echo Vom Geisshimmel - 2:13
9. Im Wildheu - 2:33
10. Dr Hürithaler - 2:32
11. Echo Vom Chaiserstock - 2:25
12. Arther Sennechilbi - 3:16
13. Vom Noe Us Dr Arche - 2:16
14. Bim Hansli I Dr Gartelaube - 3:05
15. 'S Butze Unghüür - 2:50
16. Dr Beerivogel - 1:25
17. Die Luschtige Illgauer - 3:36
18. Mir Zwei Ufem Bänkli - 2:44
19. Dr Wildbrettler - 2:35
20. Am Chlausenegg - 3:16
21. Riemestalder Chilbi - 2:28
22. Bim Sepp im Schächägrund - 3:32
23. Dr Zenali - 2:56
24. Dr Alt Gersauer - 2:54
25. 'S Vogel-Lisi - 0:53
26. Äs Buuräbüebli - 0:59
27. Vo Lozärn Gäge Weggis Zue - 1:12
28. Dr Sepp Sött Ga Mälche - 1:17
29. Gäli Vögali (Walzer) - 1:46
30. Auf Brautschau - 1:21
31. Für id Böx (Interview) - 0:49
Slipknot [>] [D]: Mate. Feed. Kill. Repeat. [F]
Label und Katalognummer: Pale One Music 000
Produktion: Slipknot
Veröffentlicht: 1998 10 31
Genretags: Metal - Numetal, Metal - Alternativemetal - Industrialmetal, Metal - Undergroundmetal - Groovemetal
Das erste Album als Selbstrelease. Es wird bei der Zählung der Slipknot-Alben meist nicht berücksichtigt (ist Nummer 0, ein Prequel).
Trackliste: 1. Slipknot - 6:56
2. Gently - 5:17
3. Do Nothing / Bitchslap - 4:20
4. Only One - 2:34
5. Tattered & Torn - 2:38
6. Confessions - 5:05
7. Some Feel - 3:36
8. a) Killers Are Quiet - 10:53, a) Untitled - 0:29, c) Dogfish Rising - 9:52
Alle Tracks: Slipknot.
Besetzung: Bass: Paul Gray
; Drums: Joey Jordison
; Engineer, Producer, Mixed By, Mastered By: Sean McMahon
; Guitar: Donnie Steele, Josh Brainard
; Lead Vocals, Percussion: Anders Colsefni
; Mastered By: Mike Lawyer
; Percussion: Shawn Crahan
; Photography By: Stefan Seskis
; Mixed By: Slipknot
Soft Machine [>] [D]: Middle Earth Masters [F]
Label und Katalognummer: Cuneiform Rune 235
Veröffentlicht: 2006 09 01 (Ed.)
Genretags: Rock - Progrock - Canterbury-Scene
Diese Live Aufnahme von Bob Woolford aus dem Londoner Middle Earth Club, wo Soft Machine regelmässig auftraten, ist musikalisch wertvoll aber klangtechnisch nur so gut, wie die damalige mobile Tonbandtechnolgie und das Alter der Aufnahme es zulassen. Die Tracks 1-8 wurden im Middle Earth Club am 16. September 1967 aufgenommen, Tracks 9 und 10 im Roundhouse an einem Middle Earth Event im Mai 1968. Track 11 schliesslich wurde im Herbst 1967 in einer unbekannten Location aufgezeichnet.
Soft Machine aus dem Trio Robert Wyatt, Mike Ratledge und Kevin Ayers. Gitarrist Daevid Allen konnte wegen Visumsproblemen nicht aus Frankreich nach Grossbritannien hinüber reisen. Er gründete in Paris die Band Gong. Die Lowrey-Orgel von Mike Ratledge dominiert das Geschehen: Sie wird durch eine Fuzzbox und durch einem Marshall Verstärker und Lautsprecher gejagt. Im Club war das unwahrscheinlich laut. Das wird einem beim Hören mit der Zeit klar, sobald sich die Ohren an die Klangqualität angepasst haben.
Trackliste: 1. Clarence In Wonderland (Kevin Ayers) - 4:33
2. We Know What You Mean (Kevin Ayers) - 3:02
3. Bossa Nova Express (Kevin Ayers) - 2:39
4. Hope For Happiness (Brian Hopper, Kevin Ayers, Mike Ratledge) - 13:19
5. Disorganisation (Mike Ratledge) - 6:03
6. We Did It Again (Kevin Ayers) - 5:48
7. Why Are We Sleeping? (Kevin Ayers, Mike Ratledge, Robert Wyatt) - 6:16
8. I Should've Known (Hugh Hopper) - 9:47
9. That's How Much I Need You Now (Robert Wyatt) - 2:20
10. I Should've Known (Hugh Hopper) - 6:44
11. A Certain Kind (Hugh Hopper) - 3:46
12. We Did It Again (Kevin Ayers) - 0:36
Besetzung: Artwork [Package Design]: Bill Ellsworth
; Coordinator [Release]: Steven Feigenbaum
; Drums, Vocals: Robert Wyatt
; Guitar, Bass, Vocals: Kevin Ayers
; Liner Notes: Jon Newey
; Mastering, Producer, Liner Notes: Michael King (9)
; Organ: Mike Ratledge
; Photography: Mark Ellidge
; Photography [Additional]: Jeff Sherman
; Photography [Additional]: Michael King (9)
; Recording [Original Recordings]: Bob Woolford (1-10)
; Technician [Sound Advice]: Miki Dandy
; Manufactured By U.S. Optical Disc, Inc.
; Produced For Cuneiform Records
; Phonographic Copyright (p) Cuneiform Records
; Copyright (c) Soft Machine
; Mastered At Sounds Good, Canada
; Recorded At Middle Earth Club
; Recorded At The Roundhouse
Label und Katalognummer: Ariola 207 424
Produktion: Eric Merz
Veröffentlicht: 1985
Genretags: Rock - Poprock - Dialektrock
Die Mundartrock-Band Span wurde 1972 in Bern als Grünspan gegründet und spielt bis heute (2019) in leicht veränderter Besetzung. Zwei der fünf Gründungsmitglieder sind noch dabei: Christoph Kohli (Bass, Gesang) und Georges Müller (Gitarre, Gesang). Span gehören wie Rumpelstilz zum Urgestein des Berner Mundartrock. Manchmal klangen sich die beiden Bands zum Verwechseln ähnlich. Span waren vielleicht etwas poppiger, etwas weniger vom Blues geprägt, als Polo Hofers Gruppe. Die Mitglieder der Band lebten während Jahren auf einem Bauernhof in einer Musikerkommune zusammen. Ihre Musik ist mehr ein Gemeinschaftswerk als das Werk eines genialen Songwriters.
Das Cover ihrer vierten LP Spanoptikum
von 1985 zeigt die Band durch das Fenster einer Peepshow.
Die erste Peepshow der Schweiz, im Volksmund «Stützlisex» genannt, eröffnete 1977 an der Zürcher Langstrasse (siehe Doku DRS). Für einen «Stutz», wie die 1-Franken-Münze im Dialekt heisst) konnte man 30 Sekunden lang einer Frau beim Strip und aufreizenden Spiel mit sich selbst zuschauen. Die Zürcher Peepshow an der Langstrasse war ein Dorn im Auge der Behörden, obwohl sie in vielerlei Hinsicht bessere Arbeitsbedingungen für die Frauen boten als etwa die Prostitution. Wer aus dem Internet-Zeitalter auf diese sechs Jahre währende Episode zurückschaut, findet die Sache «überaus harmlos» (siehe z.B. NZZ-Artikel zu Gody Müller, dem Betreiber der Zürcher Peepshow).
Als Spanoptikum
1985 herauskam, gab es den «Stützlisex» bereits etwa zwei Jahre lang nicht mehr. Aber für viele Schweizerinnen und Schweizer war er vermutlich noch immer ein rotes Tuch, ein Skandal. Das Cover war also damals viel provokativer als heute. Aber der Witz ist gut gealtert: Das Rock Album ist eine Kunstform, in der auf einer Schallplatte plus/minus zehn bis zwölf Musikstücke gepresst werden, die vielfach etwas miteinander zu tun haben. Ein Konzept oder ein Thema hält die Songs zusammen und wird auf dem Cover mit einer Bilderfindung dargestellt. Hier spielt das generische Konzept «Panoptikum» mit dem Bandnamen und wird zum Albumtitel Spanoptikum
. Die Bilderfindung macht aus dem Wortspiel den Witz mit der Peepshow. Das Bild erzählt davon, dass ein Album gewissermassen immer etwas ist, mit dem eine Band «die Hosen herunterlässt» und auf das viele Blicke gerichtet sind. Das Publikum entscheidet, ob es die Platte mag oder nicht.
Das Cover ist etwas aufwändiger hergestellt als die meisten Schallplattenhüllen. Die Aussenhülle ist ausgestanzt, so dass man auf die Innenhülle durchblickt, auf der die Band abgebildet ist.
Trackliste: Seite A
1. Schwoofe wie Goofe - 2:48
2. Bitte Pösteler - 3:39
3. Unter Druck - 3:19
4. La n'es Füür la brönne - 3:32
5. I gloube a di - 3:40
6. Nume nid jufle - 4:04
Seite B
1. Siesta in Mexico - 4:03
2. Wäg mit dem Militär - 3:10
3. Herr Prestige - 3:08
4. Läbe ohne di - 3:09
5. Am Meer i de Ferie - 4:07
6. Ping Pong - 3:09
Besetzung: Daniel \'Dänu\' Siegrist: vocals
; Matthias Kohli: drums
; Christoph Kohli: bass
; Georges Müller: gitarre
; Produktion: Ariola
; Aufnahme: Sinus Studio, Bern, Sept. 1985
; Überspilig: Rico Sonderegger
; Druck: Letzidruck AG
; Artwork: Christophe Vorlet
; Fotos: Alex Colle
Studio 1 [>] [D]: Studio 1 [F]
Assoziierte Acts: Mike Ink & Wolfgang Voigt
Label und Katalognummer: Studio 1 STU CD 1
Produktion: Wolfgang Voigt
Veröffentlicht: 1997 03 (Ed.)
Genretags: Electronica - Techhouse - Minimaltechhouse
CD-Compilation mit Tracks aus den zehn um 1996 erschienenen Maxis mit Farbnamen: Grün, Gelb, Rot, Blau, Orange, Silber, Rosa, Lila, Hellblau und Gold. Zum Teil sind die Tracks etwas kürzer als auf den Maxis, doch die CD weist als Mehrwert vier exklusive Tracks auf («Neu 1 bis 4»).
Die Farb-Maxis waren wegweisende Musik für Köln als Techno-Stadt und ein Blueprint für das Minimaltechhouse-Genre. Weniger konzeptuell als die sperrigeren Profan-Releases von Voigt und ein direkter Vorläufer für die Total-Reihe von Kompakt.
Die Musik von Studio 1 wird oft als Minimaltechno bezeichnet. Im Unterschied zu Minimaltechno hören wir hier diese federnden, galoppierenden Bässe, die ein «Signature Sound» für das Techhouse-Genre sind, jene Synthese von weichem House und hartem Techno. Deshalb werden in Musikzimmer die Studio-1-Releases als «Minimaltechhouse» geführt. Und mehr noch: Als die ersten Minimaltechhouse-Releases sind sie die Blaupause für diesen Stil und Wolfgang Voigt erhält damit die historische Bedeutung, die ihm zusteht.
Man findet hier vieles in Ansätzen, was die spätere Kompakt-Musik ausmacht. Die federnden Bässe, die aufgeräumten minimalen Beats, den Dub («Lila 3»). Voigt formuliert hier die funktionale musikalische Sprache, im Echoraum seines Kreis von DJs wie Michael Mayer und Tobias Thomas und dem Delirium/Kompakt-Plattenladen entstand daraus der charakteristische und erfolgreiche Kölner-Sound.
Covergestaltung
Die Covergestaltung ist sprechend: Man sieht aufgeräumte gelbe Kreise (Scheinwerferlichter?, Platten?), wo die späteren Total-Releases von Kompakt die Kreise farblich innerhalb eines bestimmten Farbsegments variieren und sie etwas diffuser anordnen (mit Lücken). Das Cover gibt die Musik auf perfekte Art wieder. Sie ist synästhetisch.
Trackliste: 1. Neu 1 - 4:42
2. Blau 2 - 7:57
3. Neu 2 - 7:10
4. Gold 2 - 9:28
5. Rosa 1 - 8:51
6. Neu 3 - 4:56
7. Lila 3 - 9:05
8. Rot 2 - 5:52
9. Gelb 1 - 8:46
10. Neu 4 - 5:33
Alle Tracks: Wolfgang Voigt.
Besetzung: Record Company Profan
; Distributed By Neuton
; Pressed By MPO
Supremes [>] [D]: A Bit Of Liverpool [F]
Label und Katalognummer: Motown MT 623
Produktion: Hal Davis & Marc Gordon & Berry Gordy Jr.
Veröffentlicht: 1964 10 16
Genretags: Afroamericana - Soul - Vocalgroup, Afroamericana - Soul - Motownsoul, Pop - Teenpop - Girlgroups
Dieses Album wurde in Los Angeles aufgenommen. Sein Titel und die Trackliste ist eine Reaktion auf die Beatles und die British-Invasion. Nachdem das erste amerikanische Album der Beatles nach dem Muster des ersten der Supremes benannt war («Meet the ...»), wird hier der Gruss erwidert. So wie die Beatles die Supremes coverten, covern hier die Supremes die Beatles.
Trackliste: Seite A
1. How Do You Do It (Mitch Murray) - 1:52
2. A World Without Love (Lennon-McCartney) - 2:46
3. House Of The Rising Sun (Traditional) - 3:12
4. A Hard Days Night (Lennon-McCartney) - 2:22
5. Because (Dave Clark) - 2:28
6. You've Really Got A Hold On Me (Smokey Robinson) - 2:50
Seite B
1. You Can't Do That (Lennon-McCartney) - 2:32
2. Do You Love Me (Berry Gordy, Jr.) - 2:43
3. Can't Buy Me Love (Lennon-McCartney) - 2:18
4. I Want To Hold Your Hand (Lennon-McCartney) - 2:22
5. Bits And Pieces (Dave Clark, Michael Smith) - 2:04
Besetzung: Diana Ross, Florence Ballard, and Mary Wilson: lead and background vocals
Berry Gordy, Hal Davis and Marc Gordon: producers
Temptations [>] [D]: Anthology [F]
Label und Katalognummer: Motown M 782A3, Motown MCDO 6189 MD2
Produktion: Verschiedene
Veröffentlicht: 1973 08 23, 1986 (Reed.)
Genretags: Afroamericana - Soul - Motownsoul, Afroamericana - Soul - Psychedelicsoul
Dieser Release wird 1986 noch als CD mit 5 Bonustracks neu aufgelegt, aber 1995 von The Best of the Temptations (Anthology Series) abgelöst (mit noch einmal fünf weiteren Tracks). In der kanonischen Bestenliste vom Rolling Stone Magazin ist 2003 und 2012 The Best of the Temptations
enthalten. In der 2020 Version der Kanonliste hingegen wird das Original aus dem Jahr 1973 aufgeführt.
Trackliste: Seite A
1. The Way You Do The Things You Do (Robert Rogers, William Robinson, Jr.) - 2:37
2. I'll Be In Trouble (William Robinson, Jr.) - 2:52
3. The Girl's Alright With Me (Eddie Kendricks, Edward Holland, Jr., Norman Whitfield) - 2:49
4. Girl (Why You Wanna Make Me Blue) (Edward Holland, Jr., Norman Whitfield) - 2:10
5. My Girl (Ronald White, William Robinson, Jr.) - 2:55
6. It's Growing (Warren Moore, William Robinson, Jr.) - 2:57
7. Since I Lost My Baby (Warren Moore, William Robinson, Jr.) - 2:49
Seite B
1. My Baby (Robert Rogers, Warren Moore, William Robinson, Jr.) - 2:57
2. Don't Look Back (Ronald White, William Robinson, Jr.) - 2:53
3. Get Ready (William Robinson, Jr.) - 2:37
4. Ain't Too Proud To Beg (Edward Holland, Jr., Norman Whitfield) - 2:32
5. Beauty Is Only Skin Deep (Edward Holland, Jr., Norman Whitfield) - 2:21
6. (I Know) I'm Losing You (Cornelius Grant, Edward Holland, Jr., Norman Whitfield) - 2:26
7. All I Need (Edward Holland, Jr., Frank Wilson, R. Dean Taylor) - 2:59
Seite C
1. You're My Everything (Cornelius Grant, Norman Whitfield, Roger Penzabene) - 2:59
2. (Loneliness Made Me Realize) It's You That I Need (Edward Holland, Jr., Norman Whitfield) - 2:36
3. I Wish It Would Rain (Roger Penzabene, Whitfield-Strong) - 2:51
4. I Truly, Truly Believe (Allen Story, George Gordy, Margaret Gordy) - 2:43
5. I Could Never Love Another (After Loving You) (Roger Penzabene, Whitfield-Strong) - 3:15
6. Please Return Your Love To Me (Barbara Neely, Whitfield-Strong) - 2:21
7. Cloud Nine (Whitfield-Strong) - 3:15
Seite D
1. Runaway Child, Running Wild (Whitfield-Strong) - 4:30
2. Don't Let The Joneses Get You Down (Whitfield-Strong) - 4:15
3. I Can't Get Next To You (Whitfield-Strong) - 2:53
4. Psychedelic Shack (Whitfield-Strong) - 3:53
5. Ball Of Confusion (That's What The World Is Today) (Whitfield-Strong) - 4:04
Seite E
1. Funky Music Sho Nuff Turns Me On (Whitfield-Strong) - 2:57
2. I Ain't Got Nothin' (Evans King, Maurice King) - 3:30
3. Ol' Man River (Hammerstein-Kern) - 4:24
4. Try To Remember (Harvey Schmidt, Tom Jones) - 3:02
5. The Impossible Dream (Joe Darion, Mitch Leigh) - 5:31
6. I'm Gonna Make You Love Me (Jerry Ross, Jerry Williams Jr., Kenneth Gamble) (feat. Diana Ross, The Supremes) - 2:40
Seite F
1. Just My Imagination (Running Away With Me) (Whitfield-Strong) - 3:39
2. Superstar (Remember How You Got Where You Are) (Whitfield-Strong) - 2:52
3. Mother Nature (Dino Fekaris, Nick Zesses) - 2:59
4. Love Woke Me Up This Morning (Ashford & Simpson) - 2:38
5. Papa Was A Rollin' Stone (Whitfield-Strong) - 6:58
Bonustrack der CD Ausgabe von 1986
1. Masterpiece (Norman Whitfield) - 4:19
2. Shakey Ground (Alphonso Boyd, Eddie Hazel, Jeffrey Bowen) - 3:16
3. Power (Angelo Bond, Berry Gordy, Jean Mayer-Dailey) - 4:09
4. Sail Away (Angelo Bond, Norman Whitfield Jr.) - 4:00
5. Treat Her Like A Lady (Ali-Ollie Woodson, Otis Williams) - 4:03
Besetzung: Arranged: Paul Riser (E2, E4, E5)
; Design: Desmond Strobel
; Illustration: Frank Frezzo
; Liner Notes: Vince Aletti
; Producer: Frank Wilson (B7, E3 to E5)
; Producer: Jeffrey Bowen (E3 to E5)
; Producer: Norman Whitfield (A3, A4, B4 to B6, C1 to C3, C5 to E2, F1 to F5)
; Producer: Smokey Robinson (A1, A2, A6 to B3)
; Phonographic Copyright (p) Motown Record Corporation
; Copyright (c) Motown Record Corporation
; Published By Jobete Music Co., Inc.
; Published By Stone Agate Music Division
; Published By Harms, Inc.
; Published By Chappell & Co., Inc.
; Published By Sam Fox Publishing Co., Inc.
; Published By Andrew Scott, Inc.
; Published By MRC Music, Inc.
; Published By Stone Diamond Music Corp.
Tenille Townes [>] [D]: Living Room Worktapes [F]
Label und Katalognummer: Columbia Nashville 19075-87341
Produktion: Daniel Tashian
Veröffentlicht: 2018 04 13
Genretags: Country - Neo-Traditional-Country - Countryfolk
Die Kanadierin Tenille Townes arbeitet als Songwriterin in Nashville. Diese erste EP enthält vier starke Songs, die eine Geschichte erzählen. Somebody's Daughter
zum Beispiel handelt von einer Frau, die auf der Strasse lebt. Der Song bringt uns dazu, hinschauen, wo wir sonst wegschauen. Er macht einen Menschen aus einer Peinlichkeit. Jersey On The Wall (I'm Just Asking)
handelt von den Fragen, die man nach einem sinnlosen frühen Unfalltod hat.
Diese EP ist einigermassen untypisch, weil sie die junge Musikerin ohne jede glamuröse Produktion präsentiert: Gitarre und Gesang. Das ist sehr stimmig, weil dieses sich besinnen auf die Tugend einer Folk-Produktion die grösste Stärke von Tenille Townes exponiert: die Lyrics.
Trackliste: 1. Where You Are (Keelan Donovan, Tenille Townes) -
2. Jersey On The Wall (I'm Just Asking) (Gordie Sampson, Tenille Townes, Tina Parol) -
3. Somebody's Daughter (Barry Dean, Luke Laird, Tenille Townes) -
4. White Horse (Jeremy Spillman, Tenille Townes) -
Terry Riley [>] [D]: A Rainbow In Curved Air [F]
Label und Katalognummer: Columbia Masterworks MS 7315
Produktion: David Behrman
Veröffentlicht: 1969
Genretags: Akademica - Minimalismus
Sequencer-Musik, bevor es Sequencer gab. Riley, ein Piano-Virtuose und musikalischer Minimalist, spielte wie La Monte Young sehr lange Konzerte, die eine Nacht lang dauerten. Einflüsse waren Bill Evans, John Cage und vor allem Jon Higgins, der karnatische Musik spielte (südindische klassische Musik, Musik die unter anderem von Melismen geprägt ist). Ein 14er Taktzyklus wird durch sechs und durch acht geteilt, wodurch ein unregelmässiges Pattern entsteht und der Musik dieses impressionistische Funkeln verleiht. Zu den verwendeten Instrumenten gehören eine Vox-Supercontinental Elektroorgel, Rock-Si-Chord (ein elektrisches Chembalo, das Produzent David Behrmann einbrachte), Darbuka und Tamburin. Das Album wurde zwar im Overdub-Verfahren eingespielt, die Komposition war aber als Stück gedacht, das von Riley live gespielt werden konnte.
Trackliste: Seite A
1. A Rainbow In Curved Air - 18:40
Seite B
1. Poppy Nogood And The Phantom Band - 21:40
Alle Tracks: Terry Riley.
Besetzung: Artwork [Front Cover Montage]: John Berg
; Engineer: Glen Kolotkin
; Engineer: Roy Segal
; Illustration [Back Cover Illustration]: Virginia Team
; Liner Notes: Terry Riley
; Manufactured By Columbia Records
; Pressed By Columbia Records Pressing Plant, Terre Haute
The Feed-Back [>] [D]: The Feed-Back [F]
Assoziierte Acts: Gruppo di Improvvisazione Nuova Consonanza & Ennio Morricone
Label und Katalognummer: RCA Italiana PSL 10466
Produktion: Jim Foglesong
Veröffentlicht: 1970 10
Genretags: Rock - Progrock - Jazzrock
Die Rock-Revolution trieb an ihren Rändern interessante Blüten. besonders in Kontinantaleuropa, wo in Deutschland oder Italien Rock formal aufgenommen, aber der ganze Kommerz, der in den USA und im Vereinigten Königreich mitlief, entweder schroff abgelehnt oder einfach ignoriert wurde. Das Resultat hiess in Deutschland Krautrock. Für vergleichbare Musik aus Italien fehlt eine gleich pfiffige Bezeichnung. (Wie wäre «Spaghetti-Rock» oder «Pizza-Rock»? – «O.k., just joking.»)
Diese Platte von The Group ist ein Zeugnis dieser avantgardistischen Rock-Musik. «The Group» (die Autorbezeichnung auf dem Label) oder «The Feed-Back» (der Name der Platte) ist ein alternativer Name, den sich die Formation Gruppo di Improvvisazione Nuova Consonanza gegeben hat, ein 1959 gegründetes Kollektiv von Komponisten, von denen auch Vielschaffer Ennio Morricone einer war.
In den angelsächsischen Ländern ist Rock aus der Amalgamisierung von Pop und Folk bzw. Blues entstanden. Auf dem Kontinent gab es kaum respektablen Pop, von dem Musikerinnen und Musiker hätten ausgehen können. Hier gab es keine Medienlandschaft mit Top-40-Radio. Auf dem Kontinent waren Rockbands entweder Nachahmer oder ihre Musiker*innen kamen aus der Avantgarde des Jazz und häufig der neuen Klassik. Kontinental-Rock war deshalb oft eine Hybride aus Jazz, Klassik und Rock. Gelangten die Nachahmer manchmal zu interessanten Resultaten, so kamen die Avantgardisten meistens zu solchen, wobei es ihnen aber an Zugänglichkeit fehlt. Vielleicht sind dies die Skylla und Charybdis des kontinentalen Rocks: unnahbarer Elitismus auf der einen Seite und billiges Epigonentum auf der anderen.
Die Schlüsselkomponente europäischer Rockmusik war das Improvisieren.
Das Album «The Feed-Back» ist eine solche Improvisation aus Rock-Drumming, psychedelischen Klangclustern von Bläsern, Gitarren, Sitar, Synthis und Konkreter Musik. Eine Art Vorgänger-Album von Bitches Brew, aber ohne die musikalische Tiefe von Miles Davis und produktionstechnische Rafinesse von Teo Macero.
Das Cover der Platte zeigt eine Zwitschermaschine. Um futuristische oder automatische Musik handelt es sich im Fall von «The Feed-Back» aber nicht. Möglicherweise st der italienische Futurismus ein Bezugspunkt für dieses experimentierfreudige Ensemble. Die Vorstellung von Musik als Maschine hat am Ende der 1960er Jahre stark mit der Kybernetik zu tun, womit wir beim Bandnamen und Albumtitel «The Feed-Back» anlangen. Ein System reguliert sich selbst mittels Feedback-Mechanismen. Zustände im und ausserhalb des Systems haben einen Einfluss auf die Tätigkeit des Systems. Eine improvisierende Jazzcombo oder Rockband ist so eine selbstregulierte, kybernetische Maschine. Musikerinnen und Msuiker hören einander zu und beeinflussen sich gegenseitig. Es gibt keinen Plan von oben oder von ausserhalb, den sie umsetzen. Da ist kein Komponist und kein Dirigent. Jazz und Rock waren damals – besonders im modus operandi der Gruppo di Improvvisazione Nuova Consonanza – kybernetische Musikformen.
Trackliste: Seite A
1. The Feed-back - 7:00
2. Quasars - 6:04
Seite B
1. Kumalo - 14:51
Alle Tracks: Gruppo di Improvvisazione Nuova Consonanza.
Besetzung: Composed By: Gruppo di Improvvisazione Nuova Consonanza
; Contrabass [Uncredited]: Walter Branchi
; Drums [Uncredited]: Vincenzo Restuccia
; Engineer [Mixing]: Maurizio Montanesi
; Engineer [Recording & Mixing]: Leandro Leandri
; Engineer [Recording]: Sergio Marcotulli
; Guitar [Uncredited]: Bruno Battisti D\'Amario
; Liner Notes: Franco Evangelisti
; Musical Assistance: Giacomo Simonelli
; Percussion [Uncredited]: Egisto Macchi
; Percussion, Piano, Timpani, Vocals [Uncredited]: Mario Bertoncini
; Piano, Trombone, Violone [Uncredited]: John Heineman
; Trumpet [Uncredited]: Ennio Morricone
; Manufactured By RCA S.P.A.
The National [>] [D]: The National [F]
Label und Katalognummer: Brassland HWY 001
Produktion: Nick Lloyd & The National
Veröffentlicht: 2001 10 30
Genretags: Alternativerock - Lo-Fi-Rock
Die Band steht hier noch in den Fusstapfen der Silver Jews. Der Gesang gelingt nicht wirklich.
Trackliste: 1. Beautiful Head - 3:08
2. Cold Girl Fever - 4:06
3. The Perfect Song - 3:15
4. American Mary - 4:02
5. Son - 5:19
6. Pay for Me - 3:22
7. Bitters and Absolut - 4:00
8. John's Star - 3:04
9. Watching You Well - 3:02
10. Theory of the Crows - 4:36
11. 29 Years - 2:50
12. Anna Freud - 3:07
Alle Tracks: Berninger, Dessner, Devendorf, Devendorf.
Besetzung: Bass, Guitar, Mandolin [Mandola]: Aaron Dessner
; Drums, Vocals: Bryan Devendorf
; Guitar, Vocals: Scott Devendorf
; Mastered By: Ue Nastasi
; Mixed By: Nick Lloyd
; Performer [With]: Bryce Dessner, Jeff Salem, Mike Brewer, Nathalie Jonas, Nick Lloyd
; Photography: Mauricio Carey, Pope Rathman
; Producer [Pre-production]: Jeff Salem, Mike Brewer
; Recorded By: Nick Lloyd
; Vocals: Matt Berninger
The Weeknd [>] [D]: Dawn FM [F]
Label und Katalognummer: X♥O
Produktion: Benny Bock & Brian Kennedy & Bruce Johnston & Calvin Harris & Charlie Coffeen & DaHeala & Jeff Gitty & Matt Cohn & Max Martin & Oneohtrix Point Never & Oscar Holter & Peter Lee Johnson & Rex Kudo & Swedish House Mafia & Tommy Brown & The Weeknd
Veröffentlicht: 2022 01 07
Genretags: Afroamericana - R'n'B-Renaissance
«Dawn FM» ist ein Konzeptalbum. Im letzten Album After Hours starb The Weeknd. in «Dawn FM» geht er in die andere Welt über und befindet sich im Fegefeuer. «Dawn FM» ist eine Radiostation, die den Prozess begleitet.
Das Coverbild zeigt Abel Tesfaye als alten Mann. Andere R&B Acts werden in der Regel als Models im Hochglanzformat präsentiert. The Weeknd hingegen wurde blutig geschlagen, geköpft und stirbt nun jung als alter Mann. Das ist eine ungewöhnlich mutige visuelle Präsentation.
Die Musik auf «Dawn FM» ist von Synths geprägt. Eher einfach und angesichts der vielen Produzenten überraschend kohärent.
«Dawn FM» ist nicht so gut wie die vorigen Alben des R&B-Top-Stars, aber immer noch grossartig genug, um es in einem Zug durchzuhören. Es wird wie gewohnt einige Singles abwerfen, die in den diesseitigen Radiostationen erfolgreich sein und obere Hitparadenplätze besetzen werden. Im nächsten Album wird The Weeknd möglicherweise wiedergeboren oder er kommt in die Hölle. Ich bin gespannt, ob es weiter geht und wie es weitergeht.
Trackliste: 1. Dawn FM (feat. Jim Carrey) - 1:36
2. Gasoline - 3:32
3. How Can I Make You Love Me? - 3:34
4. Take My Breath - 5:39
5. Sacrifice - 3:08
6. A Tale By Quincy (feat. Quincy Jones) - 1:36
7. Out Of Time - 3:34
8. Here We Go Again (feat. Tyler, The Creator) - 3:29
9. Best Friend (Interlude) - 2:43
10. Is There Someone Else? - 3:19
11. Starry Eyes - 2:28
12. Every Angel Is Terrifying - 2:47
13. Don't Break My Heart - 3:25
14. I Heard You're Married (feat. Lil Wayne) - 4:23
15. Less Than Zero - 3:31
16. Phantom Regret By Jim (feat. Jim Carrey) - 2:59
Besetzung: Phonographic Copyright (p) The Weeknd XO, Inc.
; Copyright (c) The Weeknd XO, Inc.
; Record Company Universal International Music B.V.
Tim Hecker [>] [D]: My Love Is Rotten To The Core [F]
Label und Katalognummer: Substractif SUBSF 04
Produktion: Tim Hecker
Veröffentlicht: 2002 06 25
Genretags: Electronica - Soundart, Electronica - Dronetronica
Eine Collage aus Liveaufnahmen und Interview-Ausschnitten von der Rockband Van Halen. Der Albumtitel entstammt der Textzeitle aus Ain't Talkin' 'Bout Love.
Das Produkt ist eine für Tim Hecker typische elektronische oder vielleicht analogelektronische Wall of Sound. Die Rekontextualisierung des Cockrocks von Van Halen macht etwas Persönliches aus dem verwendeten Material. Das heisst, «My Love Is Rotten To The Core» ist kein Album für Van-Halen-Fans. Auch für Electronica-Hörer*innen wird die EP eher eine Herausforderung darstellen. «My Love Is Rotten To The Core» ist keine Übung, kein Nebenwerk (Paralipomenon) im Katalog Heckers, sondern die Appropriation von Material, das als Einfluss auf seinen Sound gelten mag, für diesen Sound: Ebbe und Flut aus Jetstream-Ambient-Musik, die der Hörer*in laut, warm und dicht ins Gesicht bläst.
Trackliste: 1. Introducing Carl Cocks - 8:31
2. Sammy Loves Eddie Hates David - 2:50
3. Hello Detroit - 7:24
4. Midnight Whispers - 0:59
5. The Return Of Sam Snead - 5:02
Alle Tracks: Tim Hecker.
Besetzung: Manufactured By magramultimedia.com
Label und Katalognummer: Hallelujah X 616, TOADCDR 086
Produktion: Chris Schwegler
Veröffentlicht: 1971 04, 2000 (Reed.)
Genretags: Rock - Psychedelicrock - Heavypsych
Toad war eine psychedelische Blues- und Hardrock-Band aus Basel, die aus den Schweizer Musikern in der niederländisch-schweizerischen Formation Brainticket hervorgegangen ist. Das Zentrum der Band war Vittorio 'Vic' Vergeat, ein ebenso divenhafter wie begabter Rock-Gitarrist, der verschiedentlich international als Sessionmusiker tätig war und mit Grössen des internationalen Rockzirkus spielte. Er war bekannt für Gitarrensoli mit Überlänge, wie man es auf Platte auch im Stück Pig's Walk
hören kann. Solche Musik versuchte im Prinzip etwas Ähnliches zu sein wie Moderner Jazz: eine reine Instrumentalmusik für eine kleine Besetzung von Instrumentalvirtuosen auf hohem, quasi-akademischen Niveau. Aber solche Ambitionen wurden nicht von allen Rockfans goutiert.
Das Cover zeigt die fotografische Grossaufnahme einer Kröte, in deren Auge sich der Bandname spiegelt. Wenn er sich allerdings tatsächlich spiegeln würde, wäre er verkehrt. Da er nicht verkehrt ist, sieht das Auge aus, wie ein Display, was der Kreatur etwas Maschinenhaftes verleiht. Das Cover ist ein so genanntes Gatefold-Cover, ein auffaltbares Cover, das üblicherweise für Doppel-Alben verwendet wurde und wird. Hier dient das Gatefold dazu, das halbe Gesicht der Kröte zum ganzen auzuklappen.
Trackliste: Seite A
1. Cotton Wood Hill (Werni Fröhlich, Toad) - 8:29
2. A Life That Ain't Worth Living (Vic Vergeat, Toad) - 3:26
3. Tank (Vic Vergeat, Toad) - 3:22
4. They Say I'm Mad (Werni Fröhlich, Vic Vergeat, Toad) - 6:40
Seite B
1. Life Goes On (Werni Fröhlich, Toad) - 11:48
2. Pig's Walk (Vic Vergeat, Toad) - 7:19
3. The One I Mean (Werni Fröhlich, Vic Vergeat, Toad) - 2:28
Bonustracls der CD Ausgabe von ????
1. Stay - 2:33
2. Animals World - 3:25
Besetzung: Artwork: Elso Schiavo
; Bass: Werni Fröhlich
; Drums: Cosimo Lampis
; Engineer: Martin Birch
; Guitar: Vic Vergeat
; Vocals: Benj Jaeger
; Published By Edition Phonag
; Recorded At De Lane Lea Studios
; Licensed From Phonag
; Produced For Hallelujah
Todd Rundgren [>] [D]: Initiation [F]
Label und Katalognummer: Bearsville BR 6957
Produktion: Todd Rundgren
Veröffentlicht: 1975 05 20
Genretags: Rock - Progrock
67,5 Minuten Musik auf Schallplatte. Die Rillen auf Vinyl sehr eng geschnitten. Progressive Rock mit viel Synthesizer, was Todd Rundgren sonst eher mit seiner Band Utopia gespielt hat. Bei Prog-Fans ein Album, das notorisch schlecht bewertet wird.
Trackliste: Seite A
1. Real Man - 4:25
2. Born To Synthesize - 3:40
3. The Death Of Rock And Roll - 3:48
4. Eastern Intrigue - 5:06
5. Initiation - 7:05
6. Fair Warning - 8:07
Seite B
1. A Treatise On Cosmic Fire - 36:00, a) Intro - Prana - 4:27, b) II. The Fire Of Mind - Or Solar Fire - 3:43, c) III. The Fire Of Spirit - Or Electric Fire - 7:34, d) I. The Internal Fire - Or Fire By Friction - 20:16, e) Muladhara - The Dance Of Kundalini / Svadhishthana - Bam, Bham, Mam, Yam, Ram, Lam, Thank You, Mahm / Manipura - Seat Of Fire / Anahata - The Halls Of Air / Vishudda - Sounds Beyond Ears / Ajna - Sights Beyond Eyes / Brahmarandhra - Nirvana Shakti, f) Outro - Prana
Alle Tracks: Todd Rundgren.
Besetzung: Barbara Burton: Percussion
; Rick Derringer: Bass, Guitar
; Kevin Elliman: Percussion
; Kevin Ellman: Drums
; Dan Hartman: Bass
; Mark "Moogy" Klingman: Computers, Keyboards, Organ
; Barry Lazarowitz: Drums
; Jack Malken: Audio Engineer, Engineer
; Roy Markowitz: Drums
; Rick Marotta: Drums
; John Miller: Bass
; Chris Parker: Drums
; Lee Pastora: Bongos, Congas, Percussion
; Roger Powell: Flute, Keyboards, Synthesizer, Trumpet
; Bernard \'Pretty\' Purdie: Drums
; Bob Rose: Guitar (Rhythm)
; Todd Rundgren: Arranger, Audio Engineer, Engineer, Guitar, Keyboard Computer, Percussion, Piano, Piano (Electric), Sitar, Sitar (Electric), String Ensemble, Strings, Synthesizer, Vocals
; David Sanborn: Saxophone
; Ralph Schuckett: Bass, Clavinet
; John Siegler: Bass, Cello
; John Wilcox: Drums
; Edgar Winter: Saxophone
Travis [>] [D]: The Invisible Band [F]
Label und Katalognummer: Independiente ISOM 25
Produktion: Nigel Godrich
Veröffentlicht: 2001 06 10
Genretags: Alternativerock - Poprock - Post-Britpop
Der Titel ist eine Anspielung an die Plastic Ono Band (siehe Cover, das in Motiv und Farbgebung dem ersten Studioalbum gleicht) - Yoko und Johns Idee zu jener Zeit war, eine Band aus Plastikfiguren zu haben. Hier bei Travis wird diese Band unsichtbar.
Trackliste: 1. Sing - 3:48
2. Dear Diary - 2:57
3. Side - 3:59
4. Pipe Dreams - 4:05
5. Flowers in the Window - 3:41
6. The Cage - 3:05
7. Safe - 4:23
8. Follow the Light - 3:08
9. Last Train - 3:16
10. Afterglow - 4:05
11. Indefinitely - 3:52
12. The Humpty Dumpty Love Song - 5:02
Hidden Tracks (US Version)
1. Ring Out the Bell
2. You Don't Know What I'm Like
Alle Tracks: Francis Healy.
Besetzung: Francis Healy: vocals, guitar
; Andy Dunlop: guitar
; Dougie Payne: bass guitar
; Neil Primrose: drums
V. A. (Archeophone) [>] [D]: Alpine Dreaming: The Helvetia Records Story, 1920-1924 [F]
Label und Katalognummer: Archeophone ARCH 8002
Produktion: Verschiedene
Veröffentlicht: 2018 08 31 (Ed.), 1924-20 (Rec.)
Genretags: Europeana - Folklore - Schweizer-Folklore
Dieser Archivrelease wurde vom Musikethnologen James Leary aufbereitet. Leary der sich für die Geschichte der Einwanderer im Mittleren Westen interessiert, stiess vor etwa 30 Jahren auf eine Schellack-Platte vom Label «Helvetia Records» mit dem Jodler Otto Rindlisbacher. Im Lauf der Zeit konnte er weiter Platten zusammentragen und für Alpine Dreaming
mit Hilfe vom Netzwerk von Sammlern um das Archeophone Label den Gesamtkatalog des Labels wiederveröffentlichen. Dieser besteht aus 36 Liedern, die in den Jahren zwischen1920 und 1924 aufgenommen und veröffentlicht wurden.
Helvetia Records hat nur gerade vier Jahre existiert. Es war ein Unternehemen eines ausgewanderten Schweizers, Ferdinand Ingold, der zum einen Schallplatten aus der Schweiz importierte und zum andern das Helvetia-Label betrieb, auf dem er Musik und Lieder für Schweizer Migrant/-innen vertrieb. Die Stücke wurden in New York mit amerikaschweizerischen Musikern und Sänger/-innen aufgenommen. Der Zielmarkt war kein geringer. Fakten liefert Swissinfo: «Die Zahl der Amerika-Schweizer wird auf rund 1,2 Millionen geschätzt. Die grösste Dichte von Amerikanern mit Schweizer Wurzeln findet sich in Kalifornien, New York, Ohio, Wisconsin und Pennsylvania. 73'978 Schweizer Staatsangehörige waren Ende 2007 in den USA registriert. Davon waren 52'415 Doppelbürgerinnen und Doppelbürger.» 1920 wird die Zahl natürlich geringer gewesen sein.
Über Ferdinand Ingold weiss man wenig. Er ist 1860 in Bischofszell zur Welt gekommen und 32-jährig mit seiner Frau und den fünf Kindern in die USA emigriert. Er lebte in Monroe, etwa 20 km südlich von New Glarus im Green County von Wisconsin. Mit seiner Idee, ein Label für ethnische Musik zu gründen, gehört er zu den frühesten Pionieren und dennoch wurden die Helvetia-Platten in der Literatur bisher kaum erwähnt.
1924 endete Ferdinand Ingold Unternehmen im Konkurs.
Trackliste: CD 1
1. Charles Schoenenberger and Louisa Schneckenbuehl: Säntis Marsch
2. Otto Rindlisbacher and Karl Hoppe: Frohsinn auf den Alpen
3. Charles Schoenenberger and Louisa Schneckenbuehl: Hoert Ihr’s von den Bergen Klingen
4. Charles Schoenenberger and Louisa Schneckenbuehl: Hans und Liesel
5. Maenerr Quartett: Das Lieben Bringt Grosse Freude
6. Charles Schoenenberger: Unterwaldner Jodel
7. Charles Schoenenberger: Der Rote Schwyzer
8. Charles Schoenenberger and Louisa Schneckenbuehl: Vo Mine Berge Muss I Scheide
9. Otto Rindlisbacher and Karl Hoppe: Auf dem Schoenen Zuerichsee
10. Charles Schoenenberger and Louisa Schneckenbuehl: Kuhreigen
11. Charles Schoenenberger: The Boy From Emmenthal
12. Piano accordion duet: Puppchen, Du Bist Mein Augenstern
13. Frieda Haldi (the Swiss Nightingale), Jacob Jost and Constantin Wunderle with Orchestra: Emmenthal, Du Bist Mei Freud
14. Maenerr Quartett: Wo di Alpen Rosen Blueh’n
15. Charles Schoenenberger: Bin a Lustige Bueb
16. Charles Schoenenberger and Louisa Schneckenbuehl: Chuyer Chnabe
17. Charles Schoenenberger and Louisa Schneckenbuehl: Cuckoo Yodel Song
18. Otto Rindlisbacher and Karl Hoppe: Stille Nacht
CD 2
1. Otto Rindlisbacher and Karl Hoppe: Gersauer Laendler
2. Charles Schoenenberger: Durlhofer Jodel
3. Charles Schoenenberger: Schweizer Jodellied
4. Charles Schoenenberger: Der Liebe Bueb vom Emmenthal
5. Charles Schoenenberger and Louisa Schneckenbuehl: Wo den Himmel Berge Kraenzen
6. Gemischtes Quartett: Sah ein Knab’ ein Roeslein Steh’n
7. Otto Rindlisbacher and Karl Hoppe: Der Lustige Aelpler
8. Charles Schoenenberger: Vo Luzern uf Weggis zue
9. Charles Schoenenberger and Louisa Schneckenbuehl: Niene Gehts So Schön und Lustig
10. Charles Schoenenberger: Im Frühjahr
11. Charles Schoenenberger: Swiss Yodel Song
12. Piano accordion duet: Wo Steht den das Geschrieben
13. Frieda Haldi (the Swiss Nightingale), Jacob Jost and Constantin Wunderle with Orchestra: Hüttel am Rhein
14. Maenerr Quartett: Stille Liebe
15. Charles Schoenenberger and Louisa Schneckenbuehl: Lueget vo Berg und Tal
16. Charles Schoenenberger and Louisa Schneckenbuehl: O’Schweizerland
17. Charles Schoenenberger and Louisa Schneckenbuehl: The Boy from the Forest
18. Otto Rindlisbacher and Karl Hoppe: Nearer, My God to Thee
V. A. (Bear Family Records) [>] [D]: NDW. Aus grauer Städte Mauern. Die Neue Deutsche Welle 1977-85. Teil 4: Eiszeit [F]
Label und Katalognummer: Bear Family Records BCD 17374 (29385x)
Produktion: Verschiedene
Veröffentlicht: 2016 03 04 (Ed.)
Genretags: Postpunk, Europeana - Schlager - NDW
Im Booklet zu diesem vierten Teil der Compilation befindet sich ein Verzeichnis der Songs aus allen 8 CDs, sortiert nach Bandnamen, mit einem Verweis zur Seite in den Booklets, wo das Stück und die Band behandelt wird.
Trackliste: CD 1
1. Deutsch Amerikanische Freundschaft: Kebab Träume - 3:33
2. Geier Sturzflug: Besuchen Sie Europa (Solange Es Noch Steht) - 2:51
3. Palais Schaumburg: Beat Of 2 - 3:43
4. Die Unbekannten: Radio War - 2:28
5. Cosa Rosa: In Meinen Armen - 3:32
6. Siluetes 61: Wo Ist Der Dom - 3:38
7. Nichts: Tango 2000 - 3:37
8. Lüül: Morgens In Der U-Bahn - 3:23
9. Relax: Marie - 3:31
10. Frl. Menke: Tretboot In Seenot - 3:07
11. Bärchen Und Die Milchbubis: Jung Kaputt Spart Altersheim - 3:07
12. Front: Polaroid - 3:04
13. Male: Clever & Smart - 2:34
14. Bel Ami: Berlin Bei Nacht - 4:25
15. Nina Hagen Band: Auf'm Bahnhof Zoo - 5:24
16. ZaZa: Zauberstab - 4:35
17. Ixi: Der Knutschfleck - 4:03
18. Spider Murphy Gang: Wo Bist Du? - 3:17
19. Markus: Kleine Taschenlampe Brenn' - 3:32
20. UKW: Sommersprossen - 3:38
21. Trio: Anna - Lassmichrein Lasmichraus (Maxi Version) - 4:41
22. Grauzone: Eisbär - 4:47
CD 2
1. Nena: Irgendwie, Irgendwo, Irgendwann - 4:11
2. Purple Schulz & Neue Heimat: Sehnsucht - 3:52
3. Ideal: Eiszeit - 2:54
4. Extrabreit: Polizisten - 5:00
5. Morgenrot: Strom - 2:59
6. Steinwolke: Katharine - 3:20
7. Korpus Kristi: Ausgesetzt - 4:11
8. Fehlfarben: Dollars Und Deutschmarks - 5:29
9. Deutsch Amerikanische Freundschaft: Der Mussolini - 3:53
10. Die Radierer: Eisbär Disco (Erste Version) - 2:22
11. Kastrierte Philosophen: Endzeitliebe - 3:37
12. Erste Allgemeine Verunsicherung: Afrika (Ist Der Massa Gut Bei Kassa) - 3:45
13. Rheingold: Das Steht Dir Gut - 4:36
14. Die Zimmermänner: Ich Werde In Der Sonne Immer Dicker - 3:04
15. Krischan: Mein Saxophon - 3:23
16. Joachim Witt: Märchenblau - 4:34
17. Front: Alternativ - 2:21
18. The Wir
tschaftswunder: Television - 2:56
19. Münchener Freiheit: Ohne Dich (Schlaf' Ich Heut Nacht Nicht Ein) - 4:04
20. Spliff: Herzlichen Glückwunsch - 4:38
21. Mittagspause: Militürk - 3:53
Besetzung: Artwork: Mychael Gerstenberger
; Mastering: Christian Zwarg
V. A. (Cease [>] [D] & Desist) [>] [D]: Join The Future: UK Bleep & Bass 1988-91 [F]
Label und Katalognummer: Cease & Desist C&D 001
Produktion: Verschiedene
Veröffentlicht: 2020 03 27 (Ed.)
Genretags: Electronica - Techno - Bleeps-And-Clonks
Während und nach dem Second Summer Of Love sind viele lokale Techno-Szenen entstanden. Einige davon brachten sehr eigenständige Musik hervor, z.B. die Szene in Sheffield mit ihren «Bleeps and Cloncks». Der Stil wird «Bleep & Bass» oder «Bleep-Techno» genannt. Auf diesem Stil baute das renommierte Warp-Label seinen frühen Katalog auf. Join The Future
wurde von Matt Anniss zusammengestellt. Im Produktionsprozess war Robert Gordon als Master-Engineer involviert, Gordon war eine, wenn nicht die treibend Kraft hinter dem Genre (siehe die Compilation Rob Gordon Projects). Join The Future
ist die erste Genre-Compilation, die nicht vom Warp-Label herausgekommen ist. Sie füllt eine Lücke, aber hätte auch ausführlicher ausfallen können.
Trackliste: 1. Unique 3 & The Mad Musician: Only The Beginning - 7:44
2. Demonik: Labyrinthe - 6:12
3. Original Clique: Come To Papa - 5:27
4. Nexus 21: Self Hypnosis (Mr Whippy Remix) - 6:42
5. Cyclone: A Place Called Bliss (Dub Mix) - 5:39
6. 100 Hz: Low Frequency Overload (Subsonic Mix) - 5:30
7. Cabaret Voltaire: Easy Life (Jive Turkey Mix) - 6:03
8. Alfanso: Dub Feels Nice (Version 4) - 5:04
9. Ital Rockers: Dreams - 5:15
10. Man Machine: Animal (DJ Martin & DJ Homes' Primordial Jungle Mix) - 6:51
11. Nightmares on Wax: 21st Kong - 4:42
12. Tuff Little Unit: Join The Future (Original Unreleased Instrumental Mix) - 4:46
Seite A der Vinyl Ausgabe von 2020
1. Unique 3 & The Mad Musician: Only The Beginning - 7:44.
2. Demonik: Labyrinthe - 6:12.
Seite B
1. Original Clique: Come To Papa - 5:27.
2. Nexus 21: Self Hypnosis (Mr Whippy Remix) - 6:42.
Seite C
1. Cabaret Voltaire: Easy Life (Jive Turkey Mix) - 6:03.
2. Alfanso: Dub Feels Nice (Version 4) (Previously Unreleased) - 5:04.
3. Ital Rockers: Dreams - 5:15.
Seite D
1. Man Machine: Animal (DJ Martin & DJ Holmes Primordial Jungle Mix) - 6:51.
2. Nightmares On Wax: 21st Kong - 4:41.
3. Tuff Little Unit: Join The Future (Original Instrumental Mix) (Previously Unreleased) - 4:45
Besetzung: Compiled By, Liner Notes: Matt Anniss
; Mastered By: Robert Gordon
V. A. (Cherry Red) [>] [D]: Musik Music Musique. 1980 | The Dawn of Synth Pop [F]
Label und Katalognummer: Cherry Red CDTRED 815
Produktion: Verschiedene
Veröffentlicht: 2020 07 31 (Ed.), 1980 (Rec.)
Genretags: Postpunk - Electronic-Postpunk - Minimalsynth, Postpunk - Electronic-Postpunk - Flexipop, Newpop - Synthpop
Diese Compilation vom Cherry Red Label hat Synth-Musik aus dem Jahr 1980 zusammengetragen. Ihr Kurator, Mat Smith, bezeichnet dieses Jahr als «Year Zero» von Synthpop. Das heisst allerdings nicht, dass es vorher keine von Synthis diktierte Popmusik gegeben hätte. Jede Geschichte hat ihre Vorgeschichte und zu dieser Vorgeschichte gehören Bands wie Kraftwerk aus Düsseldorf oder Human League aus Sheffield. Mit gutem Recht könnte man auch 1978 oder 1979 als Geburtsjahr oder «Year Zero» von Synthpop bezeichnen. 1978 brachte Being Boiled und 1979 die beiden UK-Top-Hits Are Friends Electric? und Video Killed The Radio Star – damals zwei Novelty-Hits, die ahnen liessen, dass mit Synthis eine neue Musik möglich war. Zweifelhaft ist, ob sich mit Musik aus diesen Jahren eine Box mit drei CDs füllen liess. Eine Compilation, die frühe Synth-Musik enthält, ist Close To the Noise Floor mit frühen Acts wie Zorch (1975!) enthält, Trobbing Gristle, Blah Blah Blah (Minimalsynth), Renaldo And The Loaf, Storm Bugs, British Standard Unit, Gerry And The Holograms (Artrock), John Foxx, Orchestral Manoeuvres In The Dark und Human League. Es fehlen Cabaret Voltaire. Die wenigsten dieser Bands lassen sich indes sinnvoll als Synthpop bezeichnen. Diese Artrock-, Minimalsynth- und Industrial-Bands waren schlicht keine Pop-Acts.
Auch diese drei CDs enthalten noch allerlei Musik, die noch das Material für eine Vorgeschichte von Synthpop bilden. Wir
hören Bands, die sich 1980 noch in der Formierungsphase befinden und ihre grossen Hits sie ein oder zwei Jahre später landeten (Ultravox oder Human League). Auch «Musik Music Musique. 1980 | The Dawn of Synth Pop» greift auf Sounds zu, die zum einen noch in Postpunk-Experimenten und zum anderen im Art- und Progrock wurzeln. Erstere sind folglich wenig kommerziell.
Kommerziell erfolgreich waren Everybody's Got To Learn Sometime von den Korgis (Platz 3) und Fade To Gray von Visage (Platz 8 im UK, Top-Hit in der Schweiz und in Deutschland). Um Top-Plätze zu errechen, wäre diese Musik besser bei Major-Labels herausgekommen. Aber diese Titel werden fast ausnahmslos von Indie-Labels veröffentlicht, z.B. von Virgin (und seinem Sublabel DinDisc) oder von Mute. Ausnahmen gibt es auch hier, z.B. die Berlin Blondes, die bei EMI unter Vertrag waren.
Reihe
Die Compilation hat Nachfolgerinnen, die unter dem Titel «Musik Music Musique» eine Reihe bilden: 1981 | The Rise Of Synth Pop und 1982 | Synth Pop on the Air.
Trackliste: CD 1
1. Orchestral Manoeuvres In The Dark: Messages (Andy McCluskey, Paul Humphreys) - 4:47
2. Zeus B. Held: Musik, Music, Musique (Zeus B. Held) - 3:40
3. Fad Gadget: Coitus Interruptus (Frank Tovey) - 4:39
4. Xynn: Computed Man (Xynn) - 5:27
5. Rod Vey: Metal Love (Rod McVey) - 3:09
6. Gina X Performance: Vendor's Box (Gina Kikoine, Zeus B. Held) - 4:49
7. Our Daughter's Wedding: Lawnchairs (Keith Silva, Layne Rico) - 3:29
8. Science: Tokyo (Billy McIsaac, Kenny Hyslop) - 3:44
9. Human League: Only After Dark (Mick Ronson, Scott Richardson) - 3:48
10. Toyah: Victims Of The Riddle (Keith Hale, Steve James, Toyah Willcox) - 3:38
11. Nick Nicely: DCT Dreams (Nick Nicely) - 4:11
12. Suicide: Diamonds, Fur Coat, Champagne (Alan Vega, Martin Rev) - 3:21
13. Ultravox: Waiting (Billy Currie, Christopher Allen, Midge Ure, Warren Cann) - 3:54
14. Moebius: Money (Bryce Robbley) - 5:34
15. Fallout Club: Falling Years (Trevor Herion) - 2:19
16. Der Plan: Da Vorne Steht Ne Ampel (Frank Fenstermacher, Moritz R, Pyrolator) - 2:33
17. Dark Day: No, Nothing, Never (Robin Lee Crutchfield) - 6:28
18. Hazel O'Connor: Sons And Lovers (Hazel O'Connor) - 4:42
19. Pauline Murray & Invisible Girls: Sympathy (Pauline Murray) - 2:53
CD 2
1. Spandau Ballet: Glow (Gary Kemp) - 3:50
2. M: Official Secrets (Robin Scott) - 5:49
3. Silicon Teens: Chip N Roll (Daniel Miller) - 3:17
4. Rockets: Galactica (Alain Maratrat, Gerard L'Her) - 4:41
5. Kim Wilde: Tuning In Tuning On (Marty Wilde, Ricky Wilde) - 4:33
6. Landscape: European Man (Andy Pask, Christopher Heaton, John L. Walters, Peter Thoms, Richard James Burgess) - 4:21
7. Henriette Coulouvrat: Can't You Take A Joke? Ha Ha Hi Hi! (André Demay, Boris Bergman) - 3:50
8. Metronomes: A Circuit Like Me (Al Webb, Ash Wednesday) - 3:55
9. John Foxx: No-One Driving (John Foxx) - 3:47
10. Deutsch Amerikanische Freundschaft: Kebabträume (Gabi Delgado, Robert Görl) - 4:02
11. Gary Sloan & Clone: Harmonitalk (Gary Sloan) - 4:45
12. Phil Lynott: Yellow Pearl (Midge Ure, Phil Lynott) - 4:07
13. Dalek I: Dalek I Love You (Destiny) (Alan Gill, David Hughes) - 3:42
14. Taxi-Girl: Mannequin (Daniel Rozoum, Mirwais Ahmadzaï) - 4:49
15. New Musik: This World Of Water (Tony Mansfield) - 3:40
16. Japan: Quiet Life (David Sylvian) - 4:52
17. Kevin Harrison: Chase The Dragon (Kevin Harrison) - 4:07
18. Residents: Diskomo (The Residents) - 4:35
CD 3
1. Buggles: Astroboy (And The Proles On Parade) (Geoff Downes, Trevor Horn) - 4:49
2. Berlin Blondes: Mannequin (David Rudden, Jim McKinven, Robert Farrell, Steven Bonomi) - 4:57
3. Passage: A Certain Way To Go (Dick Witts) - 2:54
4. Sic: Between (Francis Pourcel, Micheline Dufert) - 3:29
5. Yello: Bimbo (Boris Blank, Dieter Meier) - 3:37
6. Genocide: Images Of Delusion (Greg Jung) - 4:12
7. Lori & The Chameleons: The Lonely Spy (Bill Drummond, David Balfe) - 3:28
8. Craze: Lucy (Gerry Lambe) - 3:06
9. Goo-Q: I’m A Computer (Pete Davies) - 3:22
10. Blood Donor: Doctor …? (Gordon Coxon, Keith Hale) - 4:39
11. Alex Fergusson: Brushing Your Hair (Alan Gruner, Alex Fergusson, Daniel Miller) - 2:50
12. Korgis: Drawn And Quartered (James Warren) - 3:20
13. Visage: Mind Of A Toy (Billy Currie, Dave Formula, John McGeoch, Rusty Egan, Steve Strange) - 3:35
14. British Standard Unit: D'Ya Think I'm Sexy (Carmine Appice, Duane Hitchings, Rod Stewart) - 2:27
15. Mataya Clifford: Living Wild (Mataya Clifford) - 4:13
16. Systems: Private Lives (John 'Strange' Hawkins, Tim Lever) - 4:27
17. Karel Fialka: The Eyes Have It (Karel Fialka) - 3:23
18. Nini Raviolette: Suis-Je Normale (Nini Raviolette) - 4:05
19. Eyeless In Gaza: China Blue Vision (Martyn Bates, Peter Becker) - 2:52
20. Red Squares: The Russians Are Coming (The Red Squares) - 1:51
21. La Düsseldorf: Dampfriemen (Klaus Dinger) - 3:38
Besetzung: Design: Lora Findlay
; Liner Notes [Introductory Essay & Artist Biographies]: Mat Smith
; Mastering [Prepared For Disc By]: Oli Hemingway
; Copyright (c) Cherry Red Records Ltd.
; Copyright (c) Cherry Red Records (2)
V. A. (Dust-To-Digital) [>] [D]: The Harry Smith B-Sides [F]
Label und Katalognummer: Dust-to-Digital DTD 51
Veröffentlicht: 2020 10 16 (Ed.)
Genretags: Americana
Die B-Seiten der Anthology Of American Folk Music.
Sam Briger von NPR sprach mit April und Lance Leadbetter, den Gründern des Dust-To-Digital Labels, über diesen Release (siehe: Transskript).
Ziemlich irritierend ist, dass das Label in letzter Minute Tracks aus der Compilation entfernt hat, die rassistische Texte enthalten. Diese Art von Selbstzensur ist verfälschende Geschichtskorrektur, die mit Blick auf die Kunden des Labels betrieben wird. Es ist schon verständlich, dass in der rassistischen Gesellschaft der USA Stellung zu solchen Texten bezogen werden muss. Die Weglassung dieser Tracks ist für mich als Europäer irritierend. Die alternative Realität, die mit der Massnahme konstruiert wird, erzeugt eben so viel Kopfschütteln wie Verschwörungstheorien. Es werden hüben und drüben Blasen als Komfortzonen erzeugt. Am Ende ist niemand mehr bereit, sich mit Fakten und der Realität auseinander zu setzen. Niemand entwickelt eine Streitkultur mit der Gegenseite, die ohne Gewalt, Empörung und Verletzung auskommt.
Trackliste: CD 1
1. Dick Justice: One Cold December Day - 3:14
2. Nelstone's Hawaiians: Village School - 3:05
3. Clarence Ashley: Old John Hardy - 3:28
4. Coley Jones: The Elder He's My Man - 3:03
5. Bill And Belle Reed: You Shall Be Free - 0:04
6. Buell Kazee: The Wagoner's Lad - 3:06
7. Buell Kazee: The Butcher's Boy - 3:05
8. Chubby Parker: Down On The Farm - 3:31
9. Uncle Eck Dunford: Angeline, The Baker - 2:50
10. Richard Burnett & Leonard Rutherford: All Night Long Blues - 3:16
11. Buster Carter & Preston Young: It Won't Hurt No More - 3:07
12. Carolina Tar Heels: You Are A Little Too Small - 3:05
13. G.B. Grayson: Rose Conley - 3:27
14. Kelly Harrell & Virginia String Band: My Wife, She Has Gone And Left Me - 3:20
15. Edward L. Crain: Cowboy's Home Sweet Home - 2:50
16. Kelly Harrell & Virginia String Band: Henry Clay Beattie - 3:06
17. Carter Family: Bring Me Back My Blue Eyed Boy - 3:19
18. Williamson Brothers & Curry: Warfield - 3:15
19. Frank Hutchison: Stackalee - 2:48
20. Charlie Poole And The North Carolina Ramblers: Monkey On A String - 3:09
21. Mississippi John Hurt: Nobody's Dirty Business - 2:56
CD 2
1. William And Versey Smith: Everybody Help The Boys Come Home - 2:24
2. Carter Family: I'm Thinking Tonight Of My Blue Eyes - 3:02
3. Furry Lewis: Kassie Jones (Part 2) - 6:11
4. Bently Boys: Henhouse Blues - 0:04
5. Masked Marvel: Screaming' And Hollerin' The Blues - 3:05
6. Carolina Tar Heels: Back To Mexico - 2:46
7. Uncle Bunt Stephens: Louisburg Blues - 3:01
8. Jilson Setters: Marthis Campbell - 3:12
9. Prince Albert Hunt's Texas Ramblers: Waltz Of Roses - 3:10
10. Delma Lachney & Blind Uncle Gaspard: Le Babe Et Le Gambleur - 3:05
11. Andrew & Jim Baxter: Forty Drops - 2:46
12. Eck Robertson And Family: Amarillo Waltz - 3:11
13. Hoyt "Floyd" Ming And His Pep-Steppers: Old Red - 3:10
14. Henry Thomas: Bull-Doze Blues - 3:29
15. Jim Jackson: I Heard The Voice Of A Pork Chop - 2:53
16. Columbus Fruge: Bayou Teche - 2:46
17. Joseph Falcon: Aimer Et Perdre (To Love And Lose) - 3:09
18. Breaux Frères: T'As Vole Mon Chapeau (You Have Stolen My Hat) - 3:05
19. Cincinnati Jug Band: George Street Stomp - 2:49
20. Frank Cloutier & Victoria Cafe Orchestra: Moonshiner's Dance Part Two - 2:13
21. Rev. J. M. Gates: Oh Death Where Is Thy Sting - 4:14
22. Rev. J. M. Gates: Must Be Born Again - 4:18
CD 3
1. Alabama Sacred Harp Singers: Present Joys - 2:55
2. Alabama Sacred Harp Singers: Rocky Road - 2:46
3. Middle Georgia Singing Convention No. 1: I Am Going Home - 3:05
4. Rev. Sister Mary Nelson: The Royal Telephone - 2:44
5. Memphis Sanctified Singers: The Great Reaping Day - 2:53
6. Elders McIntorsh And Edwards' Sanctified Singers: The Latter Rain Is Fall - 3:17
7. Moses Mason: Go Wash In The Beautiful Stream - 2:45
8. Bascom Lamar Lunsford: Stepstone - 2:57
9. Blind Willie Johnson: You're Going To Need SomeoneOn Your Bond - 3:14
10. Carter Family: God Gave Noah The Rainbow Sign - 3:04
11. Ernest Phipps And His Holiness Singers: A Little Talk With Jesus - 2:50
12. Rev. F.W. McGee: Nothing To Do In Hell - 3:27
13. Rev. D.C. Rice And His Sanctified Congregation: He's Got His Eyes On You - 2:57
14. Clarence Ashley: Dark Holler Blues - 3:00
15. Buell Kazee: Darling Cora - 2:52
16. Cannon's Jug Stompers: Madison Street Rag - 3:15
17. Didier Herbert & Dewey Segura: Far Away From Home Blues - 3:22
18. Richard "Rabbit" Brown: I'm Not Jealous - 3:23
19. Dock Boggs: Down South Blues - 3:08
20. Bascom Lamar Lunsford: Mountain Dew - 3:04
CD 4
1. Ernest And Hattie Stoneman: The Road To Washington - 3:10
2. Stoneman Family: Too Late - 3:30
3. Memphis Jug Band: I Packed My Suitcase, Started To The Train - 3:14
4. Carter Family: The Storms Are On The Ocean - 2:51
5. Cleoma Breaux & Joseph Falcon: Fe Fe Ponchaux - 3:24
6. Blind Lemon Jefferson: Shuckin' Sugar Blues - 3:06
7. Sleepy John Estes & Yank Rachell: Sweet Mama - 2:58
8. Ramblin' Thomas: Ramblin' Man - 3:03
9. Cannon's Jug Stompers: Riley's Wagon - 3:03
10. Dock Boggs: Samie, Where Have You Been So Long - 3:05
11. Julius Daniels: My Mama Was A Sailor - 3:25
12. Blind Lemon Jefferson: Lemon's Worried Blues - 3:02
13. Blind Lemon Jefferson: 'Lectric Chair Blues - 2:35
14. Cleoma Breaux & Ophy Breaux & Joseph Falcon: Elle M'A Oublie (She Has Forgotten Me) - 3:07
15. Uncle Dave Macon: Rise When The Rooster Crows - 3:08
16. Uncle Dave Macon: I'm The Child To Fight - 0:04
17. Mississippi John Hurt: Blue Harvest Blues - 2:56
18. Memphis Jug Band: Memphis Yo Yo Blues - 2:53
19. J.P. Nestor: Black Eyed Susie - 2:56
20. Ken Maynard: The Cowboy's Lament - 3:29
21. Henry Thomas: Texas Worried Blues - 3:18
Besetzung: Art Direction, Design: Barbara Bersche
; Artwork: Harry Smith
; Liner Notes: Eli Smith
; Liner Notes: John Cohen
; Liner Notes: Steven Lance Ledbetter
; Mastering [Mastering And Audio Restoration]: Michael Graves
; Photography: John Cohen
; Producer: April G. Ledbetter
; Producer: Eli Smith
; Producer: John Cohen
; Producer: Steven Lance Ledbetter
; Transferred By [Analog Disc To Digital Tape Transfers]: Music Memory Inc
; Phonographic Copyright (p) Dust-to-Digital
; Copyright (c) Dust-to-Digital
V. A. (Planet Mu) [>] [D]: 14 Tracks From Planet Mu [F]
Label und Katalognummer: Planet Mu ZIQ 295
Produktion: Verschiedene
Veröffentlicht: 2011 01 31 (Ed.)
Genretags: Electronica - IDM
not exactly Dubstep, eher IDM im Wir
kungskreis von Scuba: Triangulation. Könnte eine neue stilistische Richtung im Breakbeat-Kontinuum werden ...
Trackliste: 1. Oriol: Solar - 3:56
2. Solar Bears: To Be With Her - 4:09
3. Floating Points: K&G Beat - 6:31
4. Tropics: Give it Up - 4:32
5. The Internal Tulips: Parasol - 3:08
6. Boxcutter: Ufonik (feat. Brian Greene) - 3:33
7. Kuedo: Starfox - 4:23
8. Ceephax Acid Crew: Topaz - 2:54
9. Starkey: Stars (Slugabed did a remix) (feat. Anneka) - 5:07
10. FaltyDL: Endeavour - 4:43
11. Rossi B. & Luca: E10 Riddim - 4:18
12. Swindle: Airmiles - 5:19
13. Ikonika: Dckhdbtch - 4:29
14. Rudi Zygadlo: Hooray for Captain Balding - 4:30
Besetzung: Design, Art Direction: Ben Curzon
; Photography: Hilary Walker
V. A. (Purple Pyramid) [>] [D]: Space Rock: An Interstellar Traveler's Guide [F]
Label und Katalognummer: Purple Pyramid CLO 0355
Produktion: Verschiedene
Veröffentlicht: 2016 11 18 (Ed.)
Genretags: Alternativerock - Postrock
Diese umfangreiche Compilation enthält Musik aus verschiedenen Traditionen und Epochen: 1970er Jahre, 1990er Jahre, 2000er Jahre. Die Etikette «Spacerock» ist ohnehin nicht sehr griffig und so passt dieser weitestmögliche Rahmen zu dieser Genre-Compilation. Vielleicht wäre «Space Rock» gar keine gebräuchliche Bezeichnung für Musik aus den 70er Jahren mehr, hätten sich nicht spätere Postrock-Bands auf ihn und Krautrock bezogen.
Space Rock begann als ein Genre oder Stil im Rahmen des progressiven Rock-Untergrunds am Ende der 1960er Jahre. Musik, die man so bezeichnen hat, wies recht verschiedene Eigenschaften auf, von denen die vielleicht wichtigste die Schwerelosigkeit war. Schwerelosigkeit, die ein Gleiten im All suggerierte, aber auch Schwerelosigkeit die im Jam entsteht, wenn musikalische Elemente für lange Zeit wiederholt werden, so dass die Musik gleichsam suspendiert wird und schwebt (später im Zusammenhang mit Sampling nannte man es «loopen»).
Es waren vorwiegend europäische Bands wie Pink Floyd, Can, Faust, Guru Guru, Gong, Brainticket, Tangerine Dream oder Eloy, deren Stücke zuweilen so atmosphärisch und schwerelos waren, dass jemand den Namen «Space Rock» erfunden hat. Einige Bands haben diese Bezeichnung für ihre Musik abgelehnt, z.B. Pink Floyd. Vielleicht, weil der Begriff nach Programmmusik klingt. Nichtsdestotrotz passt die Bezeichnung ausgezeichnet zu Stücken mit Titeln wie: «Interstellar Overdrive» oder «Set The Controls for the Heart of the Sun», aber auch zum schwerelosen Eindruck von Floyds Musik.
Einige der aufgezählten Acts fehlen hier trotz der sechs CDs. Einige Stücke auf der Compilation hätte ich nicht in diese Songsammlung aufgenommen. Aber so ist das eben, wenn eine Genrebezeichnung nicht griffig ist.
Querverweise
Einen eigenen Versuch, Space Rock musikalisch auszumessen, hören Sie im PLAYgenre: Space Rock.
Trackliste: CD 1
1. Can: All Gates Open - 8:13
2. Hedersleben: Gulf Of Lost Souls - 4:39
3. Øresund Space Collective: The Trichophantic Space - 8:25
4. Popol Vuh: Steh Auf, Zieh Mich Dir Nach - 4:43
5. Joel Vandroogenbroeck: Sign From Space - 4:10
6. Ozric Tentacles: Space Out - 8:27
7. Secret Saucer: Lift Off - 7:48
8. An Emerald City: Seizuretron - 6:02
9. Nik Turner: Out Of Control - 3:57
10. Melting Euphoria: Flying Eyes Like Saucers - 3:14
11. Guru Guru Groove Band: Ufolove - 5:06
12. Maat Lander: The Comet Rider - 5:38
13. Gong: Fohat Digs Holes In Space (Live) - 4:40
CD 2
1. Tangerine Dream: Ultima Thule Part 1 - 3:27
2. Brainticket: Watchin' You - 5:18
3. Faust: Parasiten - 12:19
4. Pyramidal: Black Land - 8:59
5. Shawn Lee: Low Riders In Space - 3:55
6. Hydravion: Passadena Airport - 4:06
7. Pressurehed: Altitude - 4:36
8. Het Droste Effect: You Know That I Knew - 6:30
9. German Oak: Shadows Of War (A. Rain Of Destruction / B. B1 To London) - 5:54
10. Daevid Allen Weird Quartet: The Cold Stuffings Of November - 2:58
11. Omega: Don't Keep On Me Waitin’ - 7:21
12. Kalutaliksuak: What Are Your Feet Eating? - 6:36
13. Oranssi Pazuzu: Reikä Maisemassa - 4:39
CD 3
1. William Shatner & Steve Hillage: Rocket Man - 4:39
2. Black Rainbows: Hawkdope - 8:55
3. Guru Freakout: Notre Dame (Mothership) - 10:00
4. Xynn: Lost In Space - 5:20
5. Spacelords: Pyroclastic Monster - 11:04
6. Aqua Nebula Oscillator: Human Toad - 5:03
7. Magic Wands: Jupiter - 3:45
8. Atomic Simao: Descending - 6:13
9. White Manna: We Pretend Space Isn't There - 10:26
10. Yuri Gagarin: At The Center Of All Infinity - 8:07
11. Federico Farnè: What Illuminates The Night - 5:30
CD 4
1. Guru Guru: Spaceship - 4:59
2. Hawkwind: Seeing It As You Really Are - 9:51
3. It's Not Night: It's Space: Vibration Eater - 3:43
4. Earthling Society: EA1729 - 7:06
5. Robert Calvert: Lemmy & I Swallowed Massive Amounts Of Drugs - 1:12
6. Gilli Smyth: What Do You Really Want (Live) - 4:16
7. Re-Stoned: Faces Of Earth - 10:52
8. Dunes: Badlands - 8:47
9. Exxasens: Helios - 4:21
10. Oranjjoolius: Tiki Sleep Cycle - 3:53
11. Equations: Sssuuunnn - 7:50
12. Secret Symbol Society: Canes Venatici - 5:08
13. Lord Fuzz: The Freak - 5:02
CD 5
1. Amon Düül II: Archangels Thunderbird - 3:33
2. Naxatras: Space Tunnel - 6:05
3. Celestial Bums: Child Of The Moon - 5:34
4. Dark Buddha Rising: L - 11:12
5. My Education & Theta Naught: End Masse - 8:56
6. Sun Araw: Deep Temple - 11:30
7. Hidria Spacefolk: Kaneh Bosm - 5:12
8. Dasputnik: Orbitary Volcano - 7:12
9. Ava Cherry: Highway Blues - 4:03
10. Orlando Allen: Moonchild - 4:27
11. MKM: Retorn Al Planeta Imaginari - 6:41
12. Sons Of Hippies: Spaceship Ride - 3:02
CD 6
1. Nektar: Astronaut's Nightmare - 6:27
2. Chrome: Eyes In The Center - 4:05
3. Space Debris: Phonomorph - 9:59
4. Leroy Powell And The Messengers: Weightlessness - 2:19
5. Electric Orange: Meals Of Confusion - 15:49
6. Floorian: Overruled - 8:43
7. Alice Cooper: B.B. On Mars - 1:34
8. Gdeva: Autobahn - 4:21
9. Vespero: Vision 7. Kidish Hail - 8:45
10. ST 37: In Crowd - 4:37
11. Nik Turner: 1975 Interview - 10:46
Besetzung: Cover, Painting: Lukasz Kasperczyk
; Liner Notes: Dave Thompson
; Phonographic Copyright (p) Purple Pyramid Records
; Copyright (c) Purple Pyramid Records
V. A. (Rhino) [>] [D]: Where The Action Is! Los Angeles Nuggets 1965-1968 [F]
Label und Katalognummer: Rhino R2 519759
Produktion: Verschiedene
Veröffentlicht: 2009 09 22 (Ed.), 1968-65 (Rec.)
Genretags: Rock - Folkrock
Von Andrew Sandoval kuratierte Zusammenstellung eines alternativen Soundtracks aus Los Angeles, Stücke, die es nicht schafften, so bekannt zu werden wie die grossen Hits, die die Stadt hervorgebracht hat. Wie alle Nuggets-Compilations beantwortet auch «Where The Action Is!» die Frage, was «alternative Musik» war, bevor es den Begriff gegeben hat. Seit Punk/Postpunk heisst «alternative Musik»: Musik von kleinen, von den grossen Schallplattenfirmen unabhängigen Labels oder Musik im Selbstverlag, die die Vertriebsstrukturen dieser kleinen Indie-Labels benutzt. Die hier zusammengestellte Musik erfüllt dieses Kriterium nicht immer, denn wir finden hier auch Mainstream-Bands wie die Byrds, Doors oder Buffalo Springfield. Alternativ heisst hier also lediglich: der Titel hatte keinen kommerziellen Erfolg. Die Compilation ist wie jede der Nuggets-Reihe voller Titel und Bands, die es wert sind, doch noch nachträglich entdeckt zu werden.
Jede der vier CDs hat einen thematischen Rahmen. CD 1 enthält Bands, die in den Baars und Sälen des Sunset Strips gespielt haben. Auf CD 2 sind Songs von Bands zusammengestellt, die aus der Peripherie von Los Angeles kamen, z.B. aus Bakersfield oder Riverside. CD 3 führt die Raffinesse von Produzenten und Studiomusiker (Wrecking Crew) in LA vor und CD 4 zeigt den Weg vom Folkrock zum Westcoast Sound nach, jener eigentümlichen Mischung aus Folk und Country Rock.
Die Kompilation ist exzellent Recherchiert. Zu jedem der Stücke gibt es Credits und einen kurzen Text, der die Band vorstellt oder ins Stück einführt. Hinten im Booklet werden zwölf Clubs (z.B. Ciro, The Trip, Pandorra's Box oder Whisk A Go Go) und vier Radiostationen (KHJ, KFWB, KRLA und KBLA) näher vorgestellt. Auch eine Literatur- und Filmliste fehlt nicht.
Zu weiter hören gibt es eine neuere Compilation dienin den selben Gewässern fischt: Heroes And Villains. The Sound Of Los Angeles 1965-68
Trackliste: CD 1: On The Strip
1. Standells: Riot On Sunset Strip - 2:21
2. Byrds: You Movin' - 2:05
3. Love: You I'll Be Following - 2:22
4. Leaves: Dr. Stone - 2:17
5. Buffalo Springfield: Go And Say Goodbye - 2:19
6. Captain Beefheart And His Magic Band: Zig Zag Wanderer - 2:31
7. Iron Butterfly: Gentle As It May Seem - 2:24
8. Lowell George & The Factory: Candy Cane Madness - 2:09
9. West Coast Pop Art Experimental Band: If You Want This Love - 2:47
10. Bobby Fuller Four: Baby My Heart - 2:14
11. Palace Guard: All Night Long - 2:51
12. Sonny & Cher: It's Gonna Rain - 2:18
13. Guilloteens: For My Own - 2:05
14. Rising Sons: Take A Giant Step - 2:53
15. Association: One Too Many Mornings - 2:50
16. Knack: Time Waits For No One - 2:07
17. Doors: Take It As It Comes - 2:13
18. Kaleidoscope: Pulsating Dream - 1:54
19. Seeds: Tripmaker - 2:41
20. Music Machine: The People In Me - 2:50
21. Sons Of Adam: Saturday's Son -
22. Peanut Butter Conspiracy: Eventually - 1:52
23. Penny Arkade: Swim - 2:42
24. Joint Effort: The Third Eye - 2:11
25. Spirit: Girl In Your Eye - 3:09
CD 2: Beyond The City
1. Thee Midniters: Jump, Jive & Harmonize - 2:27
2. Light: Back Up - 2:47
3. Bush: To Die Alone - 1:54
4. Premiers: Get On This Plane - 2:28
5. Odyssey: Little Girl, Little Boy - 2:22
6. Electric Prunes: Hideaway - 2:43
7. Merry-Go-Round: Listen, Listen! - 2:34
8. Spats: She Done Moved - 2:26
9. Turtles: Grim Reaper Of Love - 2:20
10. Ken And The Fourth Dimension: See If I Care - 2:13
11. Chymes: He's Not There Anymore - 2:01
12. Opus 1: Back Seat '38 Dodge - 2:25
13. Humane Society: Eternal Prison - 2:32
14. Others: Revenge - 1:58
15. Things To Come: Come Alive - 2:58
16. Velvet Illusions: Acid Head - 3:04
17. Limey & The Yanks: Guaranteed Love - 2:23
18. Romancers: Love's The Thing - 1:59
19. Kim Fowley: Underground Lady - 2:13
20. Deepest Blue: Pretty Little Thing - 2:46
21. Whatt Four: You're Wishin' I Was Someone Else - 2:21
22. W.C. Fields Memorial Electric String Band: Hippy Elevator Operator - 3:02
23. Mustangs: That's For Sure - 2:06
24. Fapardokly (Merrell & The Exiles): Tomorrow's Girl - 2:27
25. Hysterics: Everything's There - 2:13
26. Yellow Payges: Our Time Is Running Out - 2:36
CD 3: The Studio Scene
1. Keith Allison: Action, Action, Action - 2:20
2. Dino, Desi & Billy: The Rebel Kind - 2:32
3. Knickerbockers: High On Love - 3:00
4. Jan & Dean: Fan Tan - 2:10
5. P.F. Sloan: Halloween Mary - 2:37
6. Mamas & The Papas: Somebody Groovy - 3:07
7. Thorinshield: Daydreaming - 2:46
8. Full Treatment: Just Can't Wait - 2:44
9. Yellow Balloon: Yellow Balloon - 2:11
10. London Phogg: The Times To Come - 2:52
11. Lamp Of Childhood: No More Running Around - 2:48
12. Garden Club: Little Girl Lost-And-Found - 3:00
13. Moon: Mothers And Fathers - 2:03
14. October Country: My Girlfriend Is A Witch - 2:04
15. Roger Nichols Trio: Montage Mirror - 2:08
16. Pasternak Progress: Flower Eyes - 2:29
17. Common Cold: Come Down - 2:32
18. Gary Lewis & The Playboys: Jill - 2:16
19. Monkees: Daily Nightly - 2:29
20. Modern Folk Quintet: Night Time Girl - 2:35
21. Oracle: Don't Say No - 3:02
22. Hearts And Flowers: Tin Angel (Will You Ever Come Down) - 4:34
23. Lee Hazlewood: Rainbow Woman - 3:11
24. Pleasure Featuring Billy Elder: Poor Old Organ Grinder - 3:55
25. Ballroom: Baby, Please Don't Go - 3:09
CD 4: New Directions
1. Stephen Stills & Richie Furay: Sit Down I Think I Love You - 2:48
2. Jackie DeShannon With Byrds: Splendor In The Grass - 2:21
3. Peter Fonda: November Night - 2:57
4. Danny Hutton: Roses And Rainbows - 2:06
5. Dillards: Lemon Chimes - 2:33
6. Rose Garden: Here's Today - 2:26
7. Nino Tempo & April Stevens: I Love How You Love Me - 2:37
8. Tommy Boyce & Bobby Hart: Words (Demo) - 2:15
9. Motorcycle Abeline: (You Used To) Ride So High - 2:32
10. Gene Clark: Los Angeles - 2:34
11. Tim Buckley: Once Upon A Time - 2:17
12. Everpresent Fullness: Darlin' You Can Count On Me - 1:53
13. Nitty Gritty Dirt Band: I'll Search The Sky - 2:14
14. Van Dyke Parks: Come To The Sunshine - 2:55
15. Beach Boys: Heroes And Villains (Alternate Take) - 2:56
16. Jesse Lee Kincaid: She Sang Hymns Out Of Tune - 2:16
17. Nilsson: Sister Marie - 2:59
18. Randy Newman: Last Night I Had A Dream (Single Version) - 2:00
19. Noel Harrison: Life Is A Dream - 1:58
20. Rick Nelson: Marshmallow Skies - 2:13
21. Del Shannon: I Think I Love You - 4:32
22. Byrds: Change Is Now - 3:21
23. Sagittarius: The Truth Is Not Real (Single Version) - 9:46
24. Love: You Set The Scene - 3:43
25. Barry McGuire: Inner-Manipulations - 3:40
Besetzung: Art Direction, Design: Steve Stanley
; Compiled By: Andrew Sandoval
; Design [Cover]: Mark London
; Liner Notes: Domenic Priore
; Management [Product Manager]: Matt Abels
; Photography [Timeline Photos Courtesy Of]: Andrew Sandoval
; Photography [Timeline Photos Courtesy Of]: Steve Stanley
; Reissue Producer: Alec Palao
; Reissue Producer: Andrew Sandoval
; Reissue Producer: Cheryl Pawelski
; Remastering: Andrew Sandoval
; Remastering: Dan Hersch
; Research [Photos]: Alessandra Quaranta
; Research [Photos]: Steven P. Gorman
; Research [Tape]: Bill Inglot
; Supervised By [Art Supervision]: Aaron Gershman
; Supervised By [Editorial Supervision]: Sheryl Farber
V. A. (Rune Grammofon) [>] [D]: Money Will Ruin Everything [F]
Label und Katalognummer: Rune Grammofon RCD 2032
Produktion: Verschiedene
Veröffentlicht: 2003 11 10
Genretags: Jazz - Avantgardejazz
Kommt in einem 96-seitigen Buch mit den artworks von Kim Hiorthøy und Texten von Rob Young (The Wir
e), Adrian Shaughnessy (The Wir
e) und mit einem Interview mit dem Label-Betreiber Rune Kristoffersen.
Trackliste: CD 1
1. Alog - St. Paul Sessions II (6:47)
2. Food - Daddycation (4:06)
3. Skyphone - Kinamands Chance (3:58)
4. Jaga Jazzist - Two Things (3:43)
5. Biosphere - Colpa Mia (5:10)
6. Svalastog - Pine Solution (5:25)
7. Monolight - Still Light (6:55)
8. André Hardang Borgen - Aiibaka (3:37)
9. Spunk - Kamelmusikk (6:35)
10. Jono El Grande - Tango On The Crest Of Reality (3:57)
11. Isak Anderssen - 3rd Wilderness Song (3:20)
12. Arne Nordheim - Hovering (3:06)
13. Luigi Archetti / Bo Wiget - Stück 22 (5:49)
14. Supersilent - C - 5.1 (9:46)
15. Tove Nilsen - Fingerprint (1:55)
CD 2
1. Arve Henriksen - Sanmyaku (4:18)
2. Nils Økland - Hertervig Skisse (6:59)
3. Kim Hiorthøy - Wait (7:53)
4. Lasse Marhaug - Fauske (4:38)
5. Strønen / Storløkken - Japan (4:50)
6. Phonophani - Animals (4:20)
7. Information - Stacking Of Different Natures II (3:53)
8. Fe-mail - Jacob's Leketøy (3:20)
9. Øivind Idsø - Masker (6:10)
10. Andreas Meland - Eplesky (6:20)
11. Maja S. K. Ratkje - Intro (4:22)
12. Martin Horntveth - For Luca (7:02)
13. Scorch Trio - Taajus (4:54)
14. Deathprod - Deerstalker (4:25)
15. Susanna And The Magical Orchestra - Believer (3:20)
V. A. (Smithsonian Folkways) [>] [D] & Harry Smith [>] [D]: Anthology Of American Folk Music [F]
Label und Katalognummer: Folkways FP 251, Folkways FP 252, Folkways FP 253, Smithsonian Folkways SFW 40090
Produktion: Harry Smith
Veröffentlicht: 1952 04 19 (Vol. 1), 1952 04 19 (Vol. 2), 1952 04 19 (Vol. 3), 1997 08 19 (Reed.), 1934-26 (Rec.)
Genretags: Folk - Urbanfolk - American-Folkmusic-Revival
Harry Everett Smith begann während dem 2. Weltkrieg Schellackplatten zu sammeln, vor allem Race- und Hillbilly-Musik. Nach dem Krieg nannte man diese Musik Rhythm’n’Blues und Country And Western, heute wird sie vorwiegend als Americana bezeichnet: Blues, früher Jazz, frühe Country- und Folk-Musik, Cajun, Zydeco, Textmex oder Gospel fallen unter diesen Begriff. Harry Smith war überzeugt, dass diese Musik die Volksmusik Amerikas darstellte. Amerika war ein Einwandererland. Die eingewanderten Ethnien brachten ihre Volksmusik mit in die neue Welt. Eine auf dem Boden der eigenen Kultur gewachsene Volksmusik hatte Amerika nicht (von der Musik der wenigen Nativ-Americans abgesehen). Deshalb ist Amerika immer besonders stolz auf Kunstformen, die auf dem neuen Kontinent gewachsen waren: Americana, Jazz und Minimalismus in der Musik oder der Abstrakte Expressionismus in der Malerei.
Auf Schallplatte aufgenommen wurden Americana zum ersten mal im Jahr 1927. Mit der wirtschaftlichen Depression in den 30er-Jahren verschwand der kleine Markt dann auch wieder. Während dem Krieg gab es zu wenig Schellack und man begann, um neue Platten produzieren zu können, alte einzustampfen.
Smith wollte ca 1950 seine Musiksammlung bzw. die besten Stücke daraus an das Folkways-Label verkaufen. Er brauchte Geld. Zusammen mit Moe Asch, dem Inhaber des Labels entwickelte er die Idee, drei Doppelalben mit 84 Stücken aus seiner Sammlung zu kuratieren: die Anthology of American Folk Music
. Die Linernotes der Anthologie waren eigentümlich: Smith machte Inhaltsangaben zu jedem Stück, wobei er diese wie bei Schlagzeilen in Zeitungen verkürzte. Zu Coo Coo Bird steht zum Beispiel: «Build Cabin on Mountain, See Willie Go by, Coo Coo Pretty Bird; Warbles, Flys, Hollers Coo Coo Fourth July. Played Cards England, Spain; Bet Beat You Next game. Jack O'Diamonds Known From Old, Rob Pocket of Silver, Gold». Die drei Doppelalben waren thematisch gegliedert: Das erste in grüner Farbe enthielt «Balladen», das zweite in roter Farbe «Social Music» und das dritte, blaue «Songs». Bei der Anordnung der Stücke liess sich Smith von okkulten Vorstellungen leiten.
Als die Anthologie
1952 herauskam, war sie erfolgreich und löste binnen kurzer Zeit ein Folkrevival aus - Musiker wie Bob Dylan, Grateful Dead oder Elvis Costello liessen sich nachhaltig von Harry Smiths Songsammlung beeindrucken. 1997 wurde die Anthologie als CD-Ausgabe wiederaufgelegt und gewann Grammies in den Kategorien «Beste Linernotes» und «Best Historical Album».
Diese Compilation konstituierte Americana (und schenkte damit Amerika eine eigene Volksmusik). Sie betrieb Brückenbau zwischen zwei Generationen, die durch einen Krieg voneinander geteilt waren: Ohne diese Anthologie hätte es vielleicht kein Folkrevival gegeben, keinen Bob Dylan, keine Joan Baez. Smiths Anthologie ist zweifellos eines der wichtigsten Dokumente der Musikgeschichte des 20. Jahrhunderts. Sie überführte 84 Stück bespieltes Schellack in eine kohärente Sammlung im damals neuen Longplay- bzw. Album-Format.
Zum Artwork: Das Cover zeigt Robert Fludds «Celestial Monochord» aus dem Jahr 1618, eine Illustration des pythagoräischen Konzepts der Sphärenmusik. Fludd war ein Rosenkreuzer und versuchte das Perpetuum mobile zu erfinden (siehe The Wir
e 271, September 2006, p. 75).
Trackliste: CD 1: Volume 1: Seite A
1. Dick Justice: Henry Lee - 3:28
2. Nelstone's Hawaiians: Fatal Flower Garden - 2:58
3. Clarence Ashley: The House Carpenter - 3:16
4. Coley Jones: Drunkard's Special - 3:16
5. Bill And Belle Reed: Old Lady And The Devil - 3:05
6. Buell Kazee: The Butcher's Boy - 3:05
7. Buell Kazee: The Wagoner's Lad - 3:05
Seite B
1. Chubby Parker And His Old Time Banjo: King Kong Kitchie Kitchie Ki-Me-O - 3:09
2. Uncle Eck Dunford: Old Shoes And Leggings - 3:01
3. Richard Burnett And Leonard Rutherford: Willie Moore - 3:16
4. Buster Carter & Preston Young: A Lazy Farmer Boy - 3:00
5. The Carolina Tar Heels: Peg And Awl - 2:59
6. G.B. Grayson: Ommie Wise - 3:12
7. Kelly Harrell And The Virginia String Band: My Name Is John Johanna - 3:13
Seite C
1. Edward L. Crain: Bandit Cole Younger - 2:57
2. Kelly Harrell And The Virginia String Band: Charles Giteau - 3:05
3. The Carter Family: John Hardy Was A Desperate Little Man - 2:57
4. The Williamson Brothers And Curry: Gonna Die With My Hammer In My Hand - 3:26
5. Frank Hutchison: Stackalee - 3:01
6. Charlie Poole And The North Carolina Ramblers: White House Blues - 3:31
7. Mississippi John Hurt: Frankie - 3:28
Seite D
1. William And Versey Smith: When That Great Ship Went Down - 2:58
2. The Carter Family: Engine 143 - 3:19
3. Furry Lewis: Kassie Jones - 6:16
4. The Bently Boys: Down On Penny's Farm - 2:50
5. The Masked Marvel: Mississippi Boweavil Blues - 3:09
6. The Carolina Tar Heels: Got The Farm Land Blues - 3:17
CD 2: Volume 2: Seite A
1. Uncle Bunt Stephens: Sail Away Lady - 2:58
2. Jilson Setters: The Wild Wagoner - 3:17
3. Prince Albert Hunt's Texas Ramblers: Wake Up Jacob - 2:55
4. Delma Lachney And Blind Uncle Gaspard: La Danseuse - 2:56
5. Andrew And Jim Baxter: Georgia Stomp - 2:47
6. Eck Robertson And Family: Brilliance Medley - 3:01
7. Hoyt 'Floyd' Ming And His Pep-Steppers: Indian War Whoop - 3:13
Seite B
1. Henry Thomas: Old Country Stomp - 2:55
2. Jim Jackson: Old Dog Blue - 3:04
3. Columbus Fruge: Saut Crapaud - 2:49
4. Joseph Falcon: Acadian One-Step - 3:00
5. Breaux Freres: Home Sweet Home - 3:00
6. The Cincinnati Jug Band: Newport Blues - 2:58
7. Frank Cloutier And The Victoria Cafe Orchestra: Moonshiner's Dance Part One - 2:40
Seite C
1. Rev. J. M. Gates: You Must Be Born Again - 1:31
2. Rev. J. M. Gates: Oh Death Where Is Thy Sting - 1:29
3. Alabama Sacred Harp Singers: Rocky Road - 2:44
4. Alabama Sacred Harp Singers: Present Joys - 2:53
5. Middle Georgia Singing Convention No. 1: This Song Of Love - 2:58
6. Rev. Sister Mary Nelson: Judgement - 2:25
7. Memphis Sanctified Singers: He Got Better Things For You - 2:54
8. Elders McIntorsh And Edwards' Sanctified Singers: Since I Laid My Burden Down - 3:19
Seite D
1. Rev. Moses Mason: John The Baptist - 3:05
2. Bascom Lamar Lunsford: Dry Bones - 3:00
3. Blind Willie Johnson: John The Revelator - 3:21
4. The Carter Family: Little Moses - 3:14
5. Ernest Phipps And His Holiness Singers: Shine On Me - 3:03
6. Rev. F.W. McGhee: Fifty Miles Of Elbow Room - 2:43
7. Rev. D.C. Rice And His Sanctified Congregation: In The Battlefield For My Lord - 3:20
CD 3: Volume 3: Seite A
1. Clarence Ashley: The Coo Coo Bird - 2:56
2. Buell Kazee: East Virginia - 3:01
3. Cannon's Jug Stompers: Minglewood Blues - 3:44
4. Didier Herbert: I Woke Up One Morning In May - 3:04
5. Richard 'Rabbit' Brown: James Alley Blues - 3:07
6. Dock Boggs: Sugar Baby - 2:58
7. Bascom Lamar Lunsford: I Wish I Was A Mole In The Ground - 3:21
Seite B
1. Ernest And Hattie Stoneman: Mountaineer's Courtship - 2:44
2. The Stoneman Family: The Spanish Merchant's Daughter - 3:18
3. Memphis Jug Band: Bob Lee Junior Blues - 3:11
4. The Carter Family: Single Girl, Married Girl - 2:47
5. Cleoma Breaux And Joseph Falcon: La Vieux Soulard Et Sa Femme - 3:10
6. Blind Lemon Jefferson: Rabbit Foot Blues - 2:57
7. Sleepy John Estes And Yank Rachell: Expressman Blues - 3:01
Seite C
1. Ramblin' Thomas: Poor Boy Blues - 2:24
2. Cannon's Jug Stompers: Feather Bed - 3:16
3. Dock Boggs: Country Blues - 2:59
4. Julius Daniels: 99 Year Blues - 3:07
5. Blind Lemon Jefferson: Prison Cell Blues - 2:47
6. Blind Lemon Jefferson: See That My Grave Is Kept Clean - 2:55
7. Cleoma Breaux And Ophy Breaux And Joseph Falcon: C'Est Si Triste Sans Lui - 3:01
Seite D
1. Uncle Dave Macon: Way Down The Old Plank Road - 3:01
2. Uncle Dave Macon: Buddy Won't You Roll Down The Line - 3:15
3. Mississippi John Hurt: Spike Driver Blues - 3:17
4. Memphis Jug Band: K.C. Moan - 2:33
5. J.P. Nestor: Train On The Island - 3:00
6. Ken Maynard: The Lone Star Trail - 3:15
7. Henry Thomas: Fishing Blues - 5:17
Besetzung: Moses Asch: Liner Notes, Transfers
; Harry Smith: Compilation Producer, Editorial
V. A. (Stiff) [>] [D]: A Bunch Of Stiff Records. Undertakers To The Industry ? If They're Dead - We'll Sign 'Em [F]
Label und Katalognummer: Stiff SEEZ 02
Produktion: Verschiedene
Veröffentlicht: 1977 04 01
Genretags: Rock - Hardrock
Track A6 wird auf dem dem Cover und dem label nicht erwähnt. Das Label betitelt das Album: Bunch Of Stiffs
.
Trackliste: Seite A
1. Nick Lowe: I Love My Label - 3:01
2. Wreckless Eric: The Whole Wide World - 3:01
3. Motörhead: White Line Fever - 2:42
4. Elvis Costello: Less Than Zero - 3:04
5. Magic Michael: Little by Little - 3:58
6. Graham Parker: Back to Schooldays -
Seite B
1. Stones Masonry: Jump for Joy - 2:28
2. Jill Read: Maybe - 2:52
3. Dave Edmunds: Jo Jo Gunne - 5:00
4. Tyla Gang: The Young Lords - 3:25
5. Takeaways: Food - 3:32
Besetzung: Producer ? Nick Lowe (A1, A2, A4, A5)
V. A. (The Wire) [>] [D]: Tapper 34 [F]
Label und Katalognummer: The Wir
e 362
Produktion: Verschiedene
Veröffentlicht: 2014 03 (ed.)
Genretags: Jazz - Avantgardejazz
siehe Track by Track Guide (The Wir
e, 362, p. 4 Wire/362.pdf#page=4" target="_blank">[PDF])
Trackliste: 1. Marsen Jules: Beautyfear II
2. Shoukichi Kina & Pascal Plantinga: Shima Guwa
3. Pas Musique: Inside The Spectrum
4. Jakob Boeskov / Timothy DeWit
/ Matthew Morandi
: Computer Eyes
5. chra: Snowbird
6. Niels Lyhne Løkkegaard: Sikorsky (Extract)
7. Mason Bates: Stereo Is King (Wir
e Tapper Edit)
8. Ernest Gibson: Groupwork
9. Bleeding Peasant Orchestra, The: Pandaemonium (Edit)
10. Rodolphe ALEXIS
: Parabolic Amphibian Mix (Various Tree Frogs)
11. Mesak: Runopoika #1
12. Roj & Wolfram Wir
e: It Chimes
13. Oiseaux-Tempête: Kyrie Eleison
14. Process Rebel: Mutation Portal
15. DEADBEAR: Snow In Tokyo (Excerpt)
16. Islet: Tripping Through The Blue Room (Part II)
17. Offthesky: Scintillate Inside You (Abbreviate)
18. Talvihorros: Objectum (Edit)
19. Joe Davolaz: Piña Colada
20. JLIAT: All The Noise CDs I Have Reviewed For Vital-Mix (Excerpt)
Besetzung: Artwork [Cover]: Will Sweeney
; Compiled By: Andy Tait, Katie Gibbons, Shane Woolman
; Mastering: Toby Hrycek-Robinson
; Copyright (c) The Wir
e
V. A. (The Wire) [>] [D]: Unsound And Culture PL Present: Tunnels [F]
Label und Katalognummer: Wir
e Magazine
Produktion: Verschiedene
Veröffentlicht: 2014 03 (Ed.)
Genretags: Electronica
siehe: The Wir
e, 362, p. 7 Wire/362.pdf#page=7" target="_blank">[PDF]
Trackliste: 1. Robert Piotrowicz: Snakeboy Maximus - 5:25
2. Stara Rzeka: Broń Nas Od Złego - 4:41
3. Oren Ambarchi: Live Knots (Excerpt) - 12:29
4. Hubert Zemler Feat. Miłosz Pękala: Variations On The Theme 'Suaves Figures' – Figure 7 - 3:37
5. Kapital: New Kind Of Shit - 6:31
6. NeoTantrik & Suzanne Ciani: Blue Amiga - 7:11
7. copeland657: copeland657 - 3:21
8. Ben Vida: Damaged Particulates XII (Unsound/SubPac Test) - 4:42
9. Piętnastka: Piętnastka - 4:19
10. Andy Votel And Andrzej Korzyński: Kleksploitation Excerpt 2 - 5:39
11. Wilhelm Bras: Peaceful Penetration (Short Mix) - 5:02
12. Evol: Arid Sphere Perk Horn - 5:00
Besetzung: Compiled By [Curated By]: Mat Schulz
; Coordinator [Production]: Ewelina Jędrasiak
; Design: Piotr Jakubowicz
; Executive-Producer: Małgorzata Płysa
; Mastering: Mikołaj Bugajak
; Presenter: Culture PL
; Presenter: Unsound
V. A. (The Wire) [>] [D]: Tapper 35 [F]
Label und Katalognummer: The Wir
e 366
Produktion: Verschiedene
Veröffentlicht: 2014 07 (Ed.)
Genretags: Jazz - Avantgardejazz
Diese Promo-CD kam mit The Wir
e, 366 (Annotationen zu den Tracks siehe p.4.
Trackliste: 1. Coppe': Figment Of Imagination
2. Cayos: Briefcase Wormholes
3. Delmore fx: Furtivo
4. German Army: Flogged Ritual
5. God In Hackney: Holt, Jarmara
6. Silje Nes: Mirrored
7. John Edwards, Mark Sanders, John Tilbury: Part 1
8. Alan Licht & Brian Chase: Immediate Release
9. Co La: Workplace
10. Dakota Suite & Quentin SirJacq: Nu Dat Deze Dag Voorbij Is
11. Running: Motoman
12. Quttinirpaaq: Malvert
13. Grauton: Scordatura Air Guitar
14. Lars Greve: Marens Mauw (Edit)
15. Genlevel: Light Year (Wir
e Edit)
16. Kim Hiorthøy: The Woods
17. D.A. Terence: Kernow
18. Domotic: Le Demon (Theme)
19. Ensemble Economique: Make-Out In The GDR (Edit)
20. Håkon Stene: Prelude For HS
Besetzung: Artwork [Cover Artwork]: Ryoko Aoki
; Compiled By: Andy Tait
; Compiled By: Katie Gibbons
; Compiled By: Shane Woolman
; Mastering: Toby Hrycek-Robinson
; Copyright (c) The Wir
e
V. A. (Virgin) [>] [D]: Routes From The Jungle, Escape Velocity Volume 1 [F]
Label und Katalognummer: Virgin VTDCD 46
Produktion: Verschiedene
Veröffentlicht: 1995 (Ed.)
Genretags: Electronica - Breakbeat - Drum'n'Bass
18 Hardcore Techno And Jungle Classics From The Roots To The Future. Liner Notes von Kodwo Eshun.
Die Compilation wird in Ben Thompson, Seven Years Of Plenty behandelt.
Trackliste: CD 1
1. Lennie De Ice: We Are E
2. Nicolette: Waking Up (Remix)
3. Manix: You Held My Hand
4. Foul Play: Open Your Mind (Remix)
5. Doc Scott: Last Action Hero
6. Ed Rush: Bludclot Artattack
7. Bodysnatch: Secret Summer Fantasy
8. Boogie Times Tribe: Dark Stranger
9. A Guy Called Gerald: Nazinji Zaka
10. Roni Size: Music Box (Remix)
CD 2
1. Dillinja: Deeper Love (Remix)
2. Jo: Apollo 9
3. E-Z Rollers: Believe
4. Flynn & Flora: Flowers
5. Randall & Andy C: Feel It
6. 4Hero: Wrinkles In Time
7. Droppin' Science: Droppin Science Volume 2
8. DJ Krust: Asian Love Dance (Remix)
V. A. (Warner Bros.) [>] [D]: The 1969 Warner/Reprise Songbook [F]
Label und Katalognummer: Warner Bros. PRO 331
Produktion: Verschiedene
Veröffentlicht: 1969 (Ed.)
Genretags: Rock, Country, Folk, Pop
Die erste von zwei extensiven Labelschauen, die Warner Bros. 1969 herausgegeben hat. Die Serie trug den ironischen Titel: «Loss Leaders», da diese Platten zum günstigen Preis von 2 USD nur über Mailorder verkauft wurden. «The 1969 Warner/Reprise Songbook» war der erste Release dieser Loss Leaders Serie, die bis 1980 mit bis zu vier einzelnen, doppelten oder manchmal gar dreifache Platten pro Jahr weitergeführt wurde. Die Reihe repräsentiert den Aufstieg von Warner Bros. zum führenden Rock-Label in den 1970er Jahren.
Mit diesem «Songbook» – ein Begriff aus der alten Welt des Sheet-Publishings – und dem folgende Release, die The 1969 Warner/Reprise Record Show (Son of Songbook) präsentierte sich das Label als dasjenige unter den Majors, das die Zeichen der Zeit erkannt hat und auf Musik statt auf Kommerz setzte. Die hippieske Covergestaltung passt da völlig ins Bild.
Mo Ostin, der das Plattenlabel leitete, kam vom Jazz her und vertrat die Strategie, die in den 1960er Jahren herrschende Prioritätenliste eines Labels umzukehren. Statt wie bisher vor allem Hitsingles im Fokus zu haben und nebenbei Alben von erfolgreichen Acts auf den Markt zu bringen, agierte Warner Bros. umgekehrt und produzierte Alben, aus denen Hitsingles ausgekoppelt wurden. Man beachte das Wort «ausgekoppelt», das diese Prioritätenliste unterstützt. Das Album verkoppelt einzelne Stücke zu einem Ganzen. Eine Single wird aus diesem Verbund herausgelöst. Sie ist nicht das Eigentliche. Mit dieser Strategie schaffte es Austin, Warner (zusammen mit den eingekauften Katalogen von Reprise, Elektra und Atlantic) als führendes Rock-Label zu etablieren.
Die hier zusammengestellten Tracks waren keine Hits, sondern «deep cuts», «outtakes», «rare tracks», zum Beispiel Flipsides (B-Seiten von Singles). Musikfans sollten durch diese Label-Compilations Acts entdecken, die sie am Radio nicht hörten, und in der Folge Original-LPs kaufen.
Label-Compilations wie die Sogbooks gehörten zum Marketing von Rockmusik. Im selben Jahr 1969 brachte auch das britische Island Label eine vergleichbare Platte heraus: You Can All Join In, auf die eine Reihe weiterer Releases folgte.
Querverweise
– Norman Maslov: Warner-Reprise Records: The Loss Leaders Series
Links
– Both Sides Now: Warner Brothers Album Discography, Part 12:
Promotional and Miscellaneous Issues
Trackliste: Seite A
1. Wild Man Fischer: Songs for Sale - 0:29
2. Jethro Tull: My Sunday Feeling - 3:38
3. Pentangle: Sweet Child - 5:10
4. Van Morrison: Slim Slow Slider - 3:20
5. Family: Second Generation Woman - 3:19
6. Neil Young: I've Been Waiting for You - 2:30
7. Tom Northcott: Sunny Goodge Street - 3:15
Seite B
1. Wild Man Fischer: Songs for Sale - 0:15
2. Everly Brothers: T for Texas - 3:25
3. Everly Brothers: Lord of the Manor - 4:45
4. Van Dyke Parks: The All Golden - 3:12
5. Van Dyke Parks: Music for a Datsun Television Commercial - 0:58
6. Sal Valentino: Alligator Man - 2:37
7. Beau Brummels: Deep Water - 2:29
8. Randy Newman: Davy the Fat Boy - 2:50
Seite C
1. Tiny Tim: Mr. Tim Laughs - 0:25
2. Frank Zappa: The Voice of Cheese - 0:27
3. Frank Zappa: The Mothers Play «Louie Louie» at the Royal Albert Hall - 2:19
4. Frank Zappa: Our Bizarre Relationship - 1:05
5. Frank Zappa: The Air - 2:57
6. Fugs: The Divine Toe (Part I) - 0:38
7. Grope Need (Part I) / Tuli, Visited by the Ghost of Plotinus / More Grope Need (Grope Need-Part II) - 0:39
8. Robinson Crusoe - 0:18
9. The National Haiku Contest - 0:25
10. The Divine Toe (Part II) - 0:47
11. Fugs: Wide, Wide River - 2:47
12. Arlo Guthrie: The Pause of Mr. Claus - 7:50
Seite D
1. Sweetwater: Why Oh Why - 3:00
2. Joni Mitchell: Nathan La Franeer - 3:13
3. Eric Andersen: So Good to Be With You - 3:08
4. Electric Prunes: Finders Keepers - 3:00
5. Kinks: Picture Book - 2:34
6. Jimi Hendrix: Red House - 3:45
7. Miriam Makeba: I Shall Be Released - 2:55
Besetzung: Cover: Hy Fujita
; Pressed By Columbia Records Pressing Plant, Santa Maria
Van Dyke Parks [>] [D]: Song Cycle [F]
Label und Katalognummer: Warner Bros. WS 1727
Produktion: Lenny Waronker
Veröffentlicht: 1968 11
Genretags: Pop - Progressivepop - Psychedelicpop
Nachdem Van Dyke Parks mit Brian Wilson an Smile gearbeitet hatte, war er selbst bereit, sich in die Geschichte des avantgardistischen Pop der 1960er Jahre einzuschreiben und sein Sgt. Pepper oder Smile zu produzieren. Sein Plattenvertrag, den er im Januar 1967 mit Warner Bros. abschloss, hat ihm den Weg dazu geebnet: Er sah absolute kreative Kontrolle und ein gigantisches Budget für seine Platten vor. «Song Cycle» verschlang ca 80'000 USD. Es war das teuerste Album, das Warner Bros. bis dahin produziert hat. Parks war 24 Jahre alt, als er im Frühling 1967 mit der Arbeit zu «Song Cycle» begann. Die Aufnahmen dauerten mehr als ein halbes Jahr, doppelt so lange wie die Produktion von Pet Sounds von den Beach Boys beanspruchte.
Als Label-Executive Joe Smith die Musik hörte, schüttelte er den Kopf. «Wo bitte sind die Songs?» fragte er. Als er zögerte, das Album herauszubringen, brauchte es ein gutes Wort von Elektra-Label-Boss Jac Holzmann, der «Song Cycle» ohne Zögern übernommen hätte. Holzman sagte «Song Cycle» sei ein amerikanischer Schatz, Musik für Leute, die gerne im Niemandsland auf Reisen gehen («Trips» ist das zweideutige englische Wort, das er brauchte).
Wie die Musik der Band, die die Wurzeln der damals noch neuen Rockmusik hörbar machte, war «Song Cycle» der Versuch, das selbe für die Populäre Musik zu tun: Musical, Swing, Ragtime, Bluegrass, Märsche, ... Ein grossartiges Konzept, das aber scheitert. Stellenweise klingt die Musik von Parks wie eine Soundcollage, ist aber komponiert. Die Musik von Frank Zappa lässt sich daher am ehesten mit der von Van Dyke Parks vergleichen. Beide Musiker strotzen nur so vor Überambition. Bei Zappa kommt aber noch eine gehörige Portion Übermut hinzu, wo Parks vorsichtig, ja schüchtern wirkt.
«Song Cycle» fehlt am Ende die Erdung in der Popmusik qua Musik für Hitparaden, Top-40-Radioprogramme, Singles. Die Musik kommt weitgehend ohne Gitarren aus und arbeitet mit orchestralem Vokabular.
«Song Cycle» ist Liebhabermusik, schwer zu hören. Leute, die das Album besitzen, warten Jahre auf die günstige Stunde, in der sie es feierlich auflegen und dranbleiben bis zum letzten Ton. Meist legen sie es nach kurzem Anspielen wieder weg und warten weiter auf ihren Van-Dyke-Parks-Moment.
«Song Cycle» wurde trotz exzellenter Besprechungen in der Presse zum kommerzielle Misserfolg. Van Dyke Parks richtete sich danach, wie er selbst sagte, als «Beta-Male» ein und arbeitete als Arrangeur für andere Musiker*innen. Manchmal gab es Van-Dyke-Parks-Schaltjahre, in denen es der Meister mit einem weiteren Album versuchte. Orange Crate Art, ein Gemeinschaftswerk mit Brian Wilson mag der bemerkenswerteste neben «Song Cycle» sein.
Links
– zum Buch über dieses Album von Richard Henderson
Trackliste: Seite A
1. Vine Street (Randy Newman) - 3:40
2. Palm Desert - 3:07
3. Widow's Walk - 3:13
4. Laurel Canyon Blvd - 0:28
5. The All Golden - 3:46
6. Van Dyke Parks (Public domain) - 0:57
Seite B
1. Public Domain - 2:34
2. Donovan's Colours (Donovan Leitch) - 3:38
3. The Attic - 2:56
4. Laurel Canyon Blvd - 1:19
5. By the People - 5:53
6. Pot Pourri - 1:08
Alle Tracks: Van Dyke Parks, ausser wo anders vermerkt.
Besetzung: Accordion: Carl Fortina
; Balalaika: Alan Reuss, Leon Stewart, Nicolai Bolin, Thomas Tedesco, Vasil Crienica, William Nadel
; Choir: Billie J. Barnum, Durrie Parks, Gaile Parks, Gerri Engeman, James Hendricks, Julia E. Rinker, Karen Gunderson, Nik Woods, Paul Jay Robbins, Vanessa Hendricks
; Featuring [Folk]: Steve Young
; Guitar: Dick Rosmini, Ron Elliott
; Harp: Gayle Levant
; Percussion: Earl Palmer, Gary Coleman, Hal Blaine, James Gordon
; Strings: Armand Kaproff, Charles Berghofer, Darrel Terwilliger, Dennis Budimer, Donald Bagley, Frederick Seykora, Gregory Bemko, Harry Bluestone, Jerome Reisler, Jesse Erlich, Joseph Ditullio, Joseph Saxon, Leonard Malarsky, Leonard Selic, Lyle Ritz, Nathan Gershman, Orville Rhodes, Philip Goldberg, Ralph Schaffer, Robert West, Samuel Boghossian, Trefoni Rizzi, William Kurasch
; Viola: Virginia Majewski
; Violin: Misha Goodatieff
; Woodwind: Arthur Briegleb, George Fields, James Horn, Jay Migliori, Norman Benno, Richard Hyde, Richard Perissi, Ted Nash, Thomas Morgan, Thomas Scott, Thomas Shepard, Vincent De Rosa, William Green
Vanilla Fudge [>] [D]: Vanilla Fudge [F]
Assoziierte Acts: Tim Bogert & Carmine Appice
Label und Katalognummer: Atco SD 33224
Produktion: Shadow Morton
Veröffentlicht: 1967 09
Genretags: Rock - Psychedelicrock - Heavypsych
Das Debutalbum von Vanilla Fudge ist ein Coveralbum. Die Art der Coverversionen nennt John Covach «Psychedelic-Symphonic Cover Version». Die Band bearbeitet das Ausgangsmaterial, indem sie Rhythmen verändert, Motive bearbeitet und Harmonien dazuerfindet. Diese Verfahrensweise, wie im Fall von «You Keep Me Hangin' On» ein Popsong der mittleren 1960er Jahre in einen progressiven Track umgebaut wird, ist für Covach mustergültig. D.h. diesem Modell sind andere Gruppen wie Yes gefolgt.
Trackliste: Seite A
1. Ticket to Ride (John Lennon-Paul McCartney) - 5:40
2. People Get Ready (Curtis Mayfield) - 6:30
3. She's Not There (Rod Argent) - 4:55
4. Bang Bang (Sonny Bono) - 5:20
Seite B
1. a) STRA (Illusions of My Childhood: Part One) - 0:20, b) You Keep Me Hangin' On (Brian Holland-Lamont Dozier-Eddie Holland) - 7:20, c) WBER (Illusions of My Childhood: Part Two) - 0:23
2. a) Take Me For A Little While (Trade Martin) - 3:27, b) RYFI (Illusions of My Childhood: Part Three) - 0:23
3. a) Eleanor Rigby (John Lennon-Paul McCartney) - 8:24, b) ELDS
Besetzung: Carmine Appice: drums, vocals
; Tim Bogert: bass, vocals
; Vince Martell: guitar, vocals
; Mark Stein: lead vocals, keyboards
; Engineer [Recording]: Bill Stahl, Joe Veneri
Velvet Underground [>] [D]: White Light / White Heat [F]
Assoziierte Acts: John Cale & Sterling Morrison & Lou Reed & Moe Tucker
Label und Katalognummer: Verve V6 5046, VErve B 0019339
Produktion: Tom Wilson
Veröffentlicht: 1968 01 30, 2013 12 10 (Reed.)
Genretags: Rock - Artrock
Eine Hybride aus Noise-Minimalismus und 'realistische' Beatnik Poesie (Mark Sinker, The Wir
e).
Trackliste: Seite A
1. White Light/White Heat (Lou Reed) - 2:47
2. The Gift (Reed, Sterling Morrison, John Cale, Maureen Tucker) - 8:19
3. Lady Godiva's Operation (Reed) - 4:56
4. Here She Comes Now (Reed, Morrison, Cale, Tucker) - 2:04
Seite B
1. I Heard Her Call My Name (Reed) - 4:38
2. Sister Ray (Reed, Morrison, Cale, Tucker) - 17:27
CD 2 Bonustracks der Deluxe Ausgabe von 2013: Additional Material
1. I Heard Her Call My Name (Alternate Take) - 4:38
2. Guess I'm Falling In Love (Instrumental Version) - 3:32
3. Temptation Inside Your Heart (Original Mix) - 2:31
4. Stephanie Says (Original Mix) - 2:50
5. Hey Mr. Rain (Version One) - 4:40
6. Hey Mr. Rain (Version Two) - 5:23
7. Beginning To See The Light (Previously Unreleased Early Version) - 3:39
CD 3: Bonustracks der Deluxe Ausgabe von 2013: Live At The Gymnasium, New York City, April 30th, 1967
1. Booker T. - 6:41
2. I'm Not A Young Man Anymore - 7:17
3. Guess I'm Falling In Love - 4:18
4. I'm Waiting For The Man - 5:24
5. Run Run Run - 6:55
6. Sister Ray - 18:55
7. The Gift - 10:32
Besetzung: Concept By [Cover Concept]: Andy Warhol
; Design [Cover]: Acy Lehman
; Engineer [Director Of]: Val Valentin
; Engineer [Recording]: Gary Kellgren
; Percussion: Moe Tucker
; Photography [Cover]: Billy Name
; Photography [Liner]: Mario Anniballi
; Vocals, Guitar, Bass: Sterling Morrison
; Vocals, Lead Guitar, Piano: Lou Reed
; Vocals, Viola [Electric], Organ, Bass: John Cale
Vert [>] [D]: Small Pieces Loosely Joined [F]
Label und Katalognummer: Sonig 30
Produktion: Adam Butler
Veröffentlicht: 2003 06
Genretags: Post-Millennial-Music - Digital-Underground - Postelectronica
Der Titel dieses Releases stammt vom Buch mit dem selben Namen von David Weinberger (2002) über die kulturelle Bedeutung des Internets, über dessen Auswirkung auf Raum, Materie, Zeit, Perfektion, Öffentlichkeit, Wissen und Moral.
Trackliste: 1. Pattern Matching - 2:41
2. I Always Lie - 6:11
3. Everything From Shells - 5:19
4. The Ten Thousand Things - 2:02
5. 2 5 1 - 00:58
6. Octatone Rag - 6:43
7. Always Both - 2:41
8. Sprung - 5:31
9. Against The Diagram Makers - 6:56
10. Turn Right & Straight On Til Morning - 34:37
Alle Tracks: Adam Butler.
Besetzung: Artwork [Artwork Assistance From]: Tobias Czybulka
; Mastering: Topo
Vinegar Joe [>] [D]: Vinegar Joe [F]
Assoziierte Acts: Elkie Brooks & Robert Palmer
Label und Katalognummer: Island ILPS 9183
Produktion: Vic Coppersmith-Heaven & Pete Gage
Veröffentlicht: 1972 04
Genretags: Rock - Neo-Americana - Southernrock
Vinegar Joe entstand aus Dada. Die Band war mehr für ihre Konzerte als für ihre Alben bekannt. Vinegar Joe spielte so etwas wie Southernrock, was für eine Band aus London besonders ist. Wir
d heute vor allem als das Karrieresprungbrett für Elkie Brooks und Robert Palmer in Erinnerung behalten. Für mehr Bandgeschichte siehe Wikipedia.
Trackliste: Seite A
1. Rusty Red Armour (Robert Palmer) - 5:01
2. Early Monday Morning (Pete Gage) - 4:43
3. Ride Me Easy Rider (Pete Gage) - 5:44
4. Circles (Robert Palmer) - 4:03
5. Leg Up (Robert Palmer) - 4:54
Seite B
1. See The World (Pete Gage) - 6:16
2. Never Met A Dog (Robert Palmer) - 6:29
3. Avinu Malkenu (Elkie Brooks, Pete Gage) - 3:24
4. Gettin' Out (Dave Thompson (3), Pete Gage, Steve York) - 5:05
5. Live A Little, Get Somewhere (Pete Gage) - 5:19
Besetzung: Arranged [Horns]: Pete Gage
; Backing Vocals: The Vinegrettes
; Drums: Conrad Isidore
; Drums: Keef Hartley
; Drums, Percussion: Rob Tait
; Engineer: Vic Coppersmith-Heaven
; Fortepiano [Pianoforte], Organ: Tim Hinkley
; Harmonica [Harp], Electric Bass, Acoustic Bass: Steve York
; Horns [Horn Section]: Malcolm Duncan
; Horns [Horn Section]: Mike Rosen
; Horns [Horn Section]: Roger Ball
; Lead Guitar, Acoustic Guitar, Guitar [Bottleneck], Effects [Miscellaneous]: Pete Gage
; Percussion [Afro-Percussion]: Gaspar Lawal
; Photography, Design [Cover]: Visualeyes
; Piano [Pianofifty], Electric Piano, Organ [Moog Organ], Soprano Saxophone: Dave Thompson
; Supervised By [Remix]: Morris Dolby
; Tenor Saxophone, Flute: Dave Brooks
; Vocals, Percussion: Elkie Brooks
; Vocals, Rhythm Guitar: Robert Palmer
; Recorded At Olympic Studios
; Remixed At Island Studios
; Phonographic Copyright (p) Island Records Ltd.
; Published By Island Music
; Published By Copyright Control
; Printed By Robor Ltd.
; Pressed By The Gramophone Co. Ltd.
Virginia Astley [>] [D]: From Gardens Where We Feel Secure [F]
Label und Katalognummer: Happy Valley HA 001, Rough Trade ROUGH 058
Produktion: Virginia Astley & Russell Webb
Veröffentlicht: 1983 07 29, 1983 07 29
Genretags: Akademica - Ambient, Folk - Newfolk
Virginia Astley kam aus dem britischen Postpunk-Kuchen. Sie war zusammen mit Kate St. John (später bei Dream Academy) und Nicky Holland ein Mitglied des Frauen-Trios Ravishing Beauties. Ihr Vater war der TV-Musik-Komponist Edwin Astley, ihr Bruder Jon Astley war ein Produzent, ihre Schwester Karen Astley war mit Pete Townsend von den Who verheiratet. Sie hatten zusammen drei Kinder.
Astleys Album From Gardens Where We Feel Secure
ist pastorale Instrumentalmusik von simpler Schönheit – eine Art Soundtrack zu einem heissen Sommertag. Die beiden Plattenseiten sind programmmusikalisch mit «Morgen» und «Nachmittag» überschrieben. Sie wird üblicherweise als Ambient oder New Age klassiert, doch für Ambient ist sie strukturell zu reich und für New Age fehlt die Spiritualität. Piano/Keyboards und Flöten dominieren die Tracks, ein Frauenchor in With My Eyes Open I'm Dreaming
, sowie viele Naturaufnahmen. Man hört Vögel zwitschern, Glocken läuten, Schafe blöken, ein rostiges Gartentor, das sich im Takt der Musik wiegt.
Das Album gehört in die Zeit als der britische Postpunk zu Ende ging bzw. sich in duzende Trends und Revivals zerstreute. Qua Revival höre ich in From gardens ...
mehr die Romantik als etwa die Hippie-Zeit heraufbeschworen. Das Album gehört in jene konservative Zeit, die mit der neu gewählten Premierministerin Margaret Thatcher anbrach.
Zur Lektüre Empfohlen sei die Pitchfork-Rezension des herausragenden Simon Reynolds.
Trackliste: Seite A - Morning
1. With My Eyes Open I'm Dreaming - 5:43
2. A Summer Long Since Past - 4:37
3. From Gardens Where We Feel Secure - 3:59
4. Hiding in the Ha-Ha - 3:56
Seite B - Afternoon
1. Out on the Lawn I Lie in Bed - 5:09
2. Too Bright for Peacocks - 2:29
3. Summer of Their Dreams - 3:22
4. When the Fields Were on Fire - 3:15
5. It's Too Hot to Sleep - 5:20
Alle Tracks: Virginia Astley.
Besetzung: Co-producer, Photography: Virginia Astley
; Design: David A. Jones
; Design: Martyn Atkins
; Engineer: Russell Webb
; Published By M-Ocean Music Ltd.
; Published By Warner Bros. Music Ltd.
Walter Carlos [>] [D] & Johann Sebastian Bach [>] [D]: Switched-On Bach [F]
Assoziierte Acts: Wendy Carlos
Label und Katalognummer: Columbia Masterworks MS 7194
Produktion: Rachel Elkind
Veröffentlicht: 1968 10
Genretags: Akademica - Elektronische-Musik
Diese Platte mag nicht das sein, was man von einem Synthesizer hören möchte, aber wirkungsgeschichtlich brachte sie den Stein der elektronischen Musik ins Rollen. Dank Switched-On Bach
wurde die Welt auf den Moog-Synthesizer aufmerksam und auf die Klänge, die damit produziert werden können. Bach auf dem Moog gespielt: das ist nicht einfach Kitsch, sondern ein Showcase
, eine bunte Auslage im Schaufenster der klanglichen Zukunft.
Switched-On Bach
soll das meistverkaufte Klassik-Album aller Zeiten sein.
Trackliste: Seite A
1. Sinfonia to Cantata No. 29 - 3:20
2. Air an a G String - 2:27
3. Two-Part Invention in F Major - 0:40
4. Two-Part Invention in B-flat Minor - 1:30
4. Two-Part Invention in D Minor - 0:55
6. Jesu, Joy of Man's Desiring - 2:56
7. Prelude and Fugue No. 7 in E-Flat Major - 7:07
Seite B
1. Prelude and Fugue No. 2 in C Minor - 2:43
2. Chorale Prelude Wachet Auf - 3:37
3. Brandenburg Concerto No. 3 in G Major (First Movement) - 6:35
4. Brandenburg Concerto No. 3 in G Major (Second Movement) - 2:50
5. Brandenburg Concerto No. 3 in G Major (Third Movement) - 5:05
Alle Kompositionen von Johann Sebastian Bach.
Besetzung: Wendy Carlos (under her birthname of Walter Carlos): Keyboards, programming
; Liner Notes: Benjamin Folkman, Rachel Elkind
; Performer [With The Assistancy Of]: Benjamin Folkman
Walter Wegmüller [>] [D]: Tarot [F]
Assoziierte Acts: Manuel Göttsching & Klaus Schulze & Walter Westrupp
Label und Katalognummer: Kosmische Musik KK 58.003
Produktion: Rolf-Ulrich Kaiser
Veröffentlicht: 1973 10
Genretags: Rock - Progrock - Spacerock, Rock - Progrock - Krautrock
New-Age-Texte in breitem Schweizerdeutsch, die zum Glück zurückhaltend eingesetzt sind, so dass die grossartige Musik wirken kann. Dieses Album steht im Zusammenhang dem mantrischen Spacerock, der Ash Ra Tempel mit Timothy Leary auf Seven Up gemacht haben. Wie Sergius Golowin gehörte Wegmüller zur Entourage von Timothy Leary, als dieser 1972 in der Schweiz untergetaucht war. Produzent Rolf-Ulrich Kaiser spielte deren Alben für sein Label Kosmische Kuriere mit Musikern von Wallenstein und Ash Ra Tempel ein.
Trackliste: Seite A
1. Der Narr - 3:55
2. Ker Magier - 4:38
3. Die Hohepriesterin - 4:17
4. Die Herrrscherin - 4:16
5. Der Herscher - 2:58
6. Der Hohepriester - 3:10
Seite B
1. Die Entscheidung - 9:06
2. Der Wagen - 9:06
3. Die Gerchtidkeit - 3:01
4. Der Weise - 4:01
5. Das Glücksrad - 3:38
6. Die Kraft - 3:26
Seite C
1. Die Prüfung - 6:12
2. Der Tod - 6:12
3. Die Massigkeit - 4:44
4. Der Teufel - 3:35
5. Die Zerstörung - 4:00
Seite D
1. Die Sterne/Der Mond/Die Sonne/Das Gericht/Die Welt - 23:00
Alle Tracks: Berkers, Dollase, Enke, Gottsching, Grosskopf, Schulze, Wegmuller, Westrupp.
Besetzung: Bass: Jerry Berkers
; Drums: Harald Grosskopf
; Drums, Electronics: Klaus Schulze
; Guitar: Hartmut Enke, Manuel Göttsching, Walter Westrupp
; Keyboards: Jürgen Dollase
; Vocals: Walter Wegmüller
Who [>] [D]: Who's Next (= Who's Next/Life House) [F]
Assoziierte Acts: Pete Townsend
Label und Katalognummer: Decca 79182, Track 2408 102, MCA MCAD 11269, Polydor 3587307
Produktion: Pete Cameron & Glyn Johns & Kit Lambert & Chris Stamp & Who
Veröffentlicht: 1971 08 14 (US), 1971 08 25 (UK), 1995 06 (Reed.), 2023 09 15 (Ed.)
Genretags: Rock - Poprock - Powerpop, Rock - Progrock - Hard'n'Heavy
Dieses Album ist das Resultat einer wiedergewonnenen Freiheit, nachdem das Projekt eines Followups zu Tommy, Lifehouse, gescheitert ist. Lifehouse
wäre eine Science-Fiction-Rockoper geworden, deren Thema die Verschmelzung von Band und Publikum war. Unter anderem hatte Pete Townsend die Idee, biografische und biometrische Daten von Leuten aus dem Publikum in einen Synthesizer zu speisen, der aus diesen Melodien zusammenstellen sollte. Das Scheitern des Lifehouse
Projekts brachte die Band fast zum auseinanderbrechen, Pete Townsend an den Rand eines Nervenzusammenbruchs und Selbstmords. Die für das Musical geplanten Songs sind auf Who's Next
, Who Are You und Odds And Sods erscheinen. Who's Next
hat es auf viele Bestenlisten geschafft, weil es ohne Füllmaterial auskam, das bei einer Rockoper durch das Anstreben einer grösstmöglichen Kohärenz der Erzählung notwendig wird. Es gilt als das geradlinigste Rockalbum der Gruppe auf dem Zenit ihres Schaffens. Exzellent gelungen ist es Townshend, einen Arp 2600 Synthesizer in den Gruppensound zu integrieren (Baba O'Riley und Won't Get Fooled Again). Schliesslich ist das Album produktionstechnisch ein Meilenstein: Nie zuvor klangen The Who dermassen satt und laut.
Das Cover ist eine Anspielung an den Monolithen, der im Kubrik-Film 2001: A Space Odyssey auf dem Mond gefunden wird.
Trackliste: Seite A
1. Baba O'Riley - 5:00
2. Bargain - 5:33
3. Love Ain't for Keeping - 2:10
4. My Wife (John Entwistle) - 3:35
5. The Song Is Over - 6:18
Seite B
1. Getting in Tune - 4:49
2. Going Mobile - 3:43
3. Behind Blue Eyes - 3:40
4. Won't Get Fooled Again - 8:31
Bonustracks der CD Ausgabe von 1995
1. Pure and Easy - 4:22
2. Baby Don't You Do It (Holland-Dozier-Holland) - 5:14
3. Naked Eye - 5:31
4. Water - 6:25
5. Too Much of Anything - 4:25
6. I Don't Even Know Myself - 4:56
7. Behind Blue Eyes - 3:28
Alle Tracks: Pete Townsend, ausser wo anders vermerkt.
CD 1 der Super Deluxe Ausgabe von 2023: Who's Next (Remastered)
1. Who: Baba O'Riley (Pete Townshend) - 5:08
2. Who: Bargain (Pete Townshend) - 5:34
3. Who: Love Ain't For Keeping (Pete Townshend) - 2:10
4. Who: My Wife (John Entwistle) - 3:41
5. Who: Song Is Over (Pete Townshend) - 6:14
6. Who: Getting In Tune (Pete Townshend) - 4:50
7. Who: Going Mobile (Pete Townshend) - 3:42
8. Who: Behind Blue Eyes (Pete Townshend) - 3:42
9. Who: Won't Get Fooled Again (Pete Townshend) - 8:32
CD 2: Pete Townshend's Life House Demos 1970-1971 (Part 1)
1. Pete Townshend: Teenage Wasteland (Demo) (Pete Townshend) - 6:47
2. Pete Townshend: Too Much (Demo) (Pete Townshend) - 5:37
3. Pete Townshend: Going Mobile (Demo) (Pete Townshend) - 4:15
4. Pete Townshend: There's A Fortune In Those Hills (Demo) (Pete Townshend) - 4:09
5. Pete Townshend: Love Ain't For Keeping (Demo) (Pete Townshend) - 1:33
6. Pete Townshend: Bargain (Demo) (Pete Townshend) - 4:31
7. Pete Townshend: Greyhound Girl (Demo) (Pete Townshend) - 3:09
8. Pete Townshend: Mary (Alternate Mix) (Demo) (Pete Townshend) - 4:19
9. Pete Townshend: Behind Blue Eyes (Demo) (Pete Townshend) - 3:28
10. Pete Townshend: Time Is Passing (Demo) (Pete Townshend) - 6:09
11. Pete Townshend: Finally Over (Demo) (Pete Townshend) - 6:09
12. Pete Townshend: Baba O'Riley (Original Demo) (Pete Townshend) - 13:15
CD 3: Pete Townshend's Life House Demos 1970-1971 (Part 2)
1. Pete Townshend: Pure And Easy (Home Studio Mix) (Demo) (Pete Townshend) - 8:39
2. Pete Townshend: Getting In Tune (Alternate Mix) (Demo) (Pete Townshend) - 3:57
3. Pete Townshend: Nothing Is Everything (Let’s See Action) (Demo) (Pete Townshend) - 6:23
4. Pete Townshend: Won't Get Fooled Again (Demo) (Pete Townshend) - 8:33
5. Pete Townshend: Baba O'Riley (Demo) (Pete Townshend) - 7:48
6. Pete Townshend: Song Is Over (2021 Remix) (Demo) (Pete Townshend) - 5:44
7. Pete Townshend: Pure And Easy (Olympic Studios Mix) (Demo) (Pete Townshend) - 5:32
8. Pete Townshend: Mary (Original Mix) (Demo) (Pete Townshend) - 4:23
9. Pete Townshend: Baba O'Riley (First Editing Demo) (Pete Townshend) - 7:53
10. Pete Townshend: Song Is Over (Original Demo) (Pete Townshend) - 5:39
CD 4: Record Plant, New York, Sessions March 1971
1. Who: Don't Do It (AKA Baby Don't You Do It) (Take 2, Unedited, March 16, 1971) (Holland-Dozier-Holland) - 8:55
2. Who: Won't Get Fooled Again (Take 13, March 16, 1971) (Pete Townshend) - 9:05
3. Who: Behind Blue Eyes (Version 1) (Take 15, March 16, 1971) (Pete Townshend) - 4:15
4. Who: Love Ain't For Keeping (Take 14, March 17, 1971) (Pete Townshend) - 4:21
5. Who: The Note (AKA Pure And Easy) (Take 21, March 17, 1971) (Pete Townshend) - 5:06
6. Who: I'm In Tune (AKA Getting In Tune) (Take 6, March 18, 1971) (Pete Townshend) - 8:01
7. Who: Behind Blue Eyes (Version 2) (Take 10, March 18, 1971) (Pete Townshend) - 3:58
CD 5: Olympic Sound Studios, London Sessions 1970-72
1. Who: Pure And Easy (Pete Townshend) - 5:33
2. Who: I Don't Know Myself (B-side With Unreleased Count-in) (Pete Townshend) - 5:00
3. Who: Time Is Passing (Stereo Mix) (Pete Townshend) - 3:36
4. Who: Too Much Of Anything (Original 1971 Vocal) (Pete Townshend) - 4:34
5. Who: Naked Eye (1971 Remake) (Pete Townshend) - 5:59
6. Who: Bargain (Early Mix) (Pete Townshend) - 5:39
7. Who: Love Ain't For Keeping (Unedited Mix) (Pete Townshend) - 2:17
8. Who: My Wife (Unedited Mix) (John Entwistle) - 4:28
9. Who: Getting In Tune (Take 1 With Jam) (Pete Townshend) - 6:58
10. Who: Going Mobile (Alternate Mix) (Pete Townshend) - 3:55
11. Who: Song Is Over (Backing Track) (Pete Townshend) - 6:16
12. Who: When I Was A Boy (John Entwistle) - 3:36
13. Who: Let's See Action (Unedited Mix) (Pete Townshend) - 5:35
14. Who: Relay (Unedited Mix) (Alternate Vocal) (Pete Townshend) - 5:10
15. Who: Put The Money Down (Remix With Original Vocal) (Pete Townshend) - 4:45
16. Who: Join Together (Unedited Remix) (Pete Townshend) - 6:06
CD 6: Singles & Sessions 1970-1972
1. Who: The Seeker (Original Single Mix) (Pete Townshend) - 3:13
2. Who: Here For More (Original Single Mix) (Roger Daltrey) - 2:27
3. Who: Heaven And Hell (New Stereo Mix) (John Entwistle) - 3:34
4. Who: Water (Eel Pie Sound Studio – New Unedited Mix) (Pete Townshend) - 7:15
5. Who: I Don't Know Myself (Eel Pie Sound Studio – New Unedited Mix) (Pete Townshend) - 5:40
6. Who: Naked Eye (Eel Pie Sound Studio – New Unedited Mix) (Pete Townshend) - 6:44
7. Who: Postcard (Eel Pie Sound Studio – Original 1970 Mix) (John Entwistle) - 3:26
8. Who: Now I'm A Farmer (Eel Pie Sound Studio – New Remix) (Pete Townshend) - 4:10
9. Who: The Seeker (Unedited Version) (Pete Townshend) - 4:11
10. Who: Water (IBC Version) (Pete Townshend) - 5:11
11. Who: I Don't Know Myself (IBC Version) (Pete Townshend) - 4:40
12. Who: Let's See Action (Original Single Mix) (Pete Townshend) - 3:58
13. Who: When I Was A Boy (Original Single Mix) (John Entwistle) - 3:32
14. Who: Join Together (Original Single Mix) (Pete Townshend) - 4:22
15. Who: Relay (Original Single Mix) (Pete Townshend) - 3:54
16. Who: Waspman (Original Single Mix) (Keith Moon) - 3:07
17. Who: Long Live Rock (Original Olympic Mix) (Pete Townshend) - 4:03
CD 7: Live At The Young Vic, London – April 26, 1971 (Part 1)
1. Who: Love Ain't For Keeping (Pete Townshend) - 3:10
2. Who: Pure And Easy (Pete Townshend) - 6:32
3. Who: Young Man Blues (Mose Allison) - 4:44
4. Who: Time Is Passing (Pete Townshend) - 4:00
5. Who: Behind Blue Eyes (Pete Townshend) - 5:35
6. Who: I Don't Even Know Myself (Pete Townshend) - 6:05
7. Who: Too Much Of Anything (Pete Townshend) - 4:17
8. Who: Getting In Tune (Pete Townshend) - 7:11
9. Who: Bargain (Pete Townshend) - 5:50
CD 8: Live At The Young Vic, London – April 26, 1971 (Part 2)
1. Who: Pinball Wizard (Pete Townshend) - 3:02
2. Who: See Me, Feel Me (Pete Townshend) - 6:50
3. Who: Baby Don't You Do It (Holland-Dozier-Holland) - 6:16
4. Who: Water (Pete Townshend) - 8:23
5. Who: My Generation (Pete Townshend) - 2:59
6. Who: (I'm A) Road Runner (Ellas McDaniel) - 3:15
7. Who: Naked Eye (Pete Townshend) - 6:29
8. Who: Bony Moronie (Larry Williams (3)) - 3:33
9. Who: Won't Get Fooled Again (Pete Townshend) - 8:55
CD 9: Live At The Civic Auditorium, San Francisco (Part 1)
1. Bill Graham: Introduction - 1:04
2. Who: I Can't Explain (Pete Townshend) - 2:21
3. Who: Substitute (Pete Townshend) - 2:40
4. Who: Summertime Blues (Eddie Cochran, Jerry Capehart) - 4:18
5. Who: My Wife (John Entwistle) - 7:21
6. Who: Baba O'Riley (Pete Townshend) - 6:42
7. Who: Behind Blue Eyes (Pete Townshend) - 4:05
8. Who: Bargain (Pete Townshend) - 7:55
9. Who: Won't Get Fooled Again (Pete Townshend) - 11:07
10. Who: Baby Don't You Do It (Holland-Dozier-Holland) - 9:19
11. Who: Magic Bus (Pete Townshend) - 17:09
CD 10: Live At The Civic Auditorium, San Francisco (Part 2)
1. Who: Introduction To Tommy - 2:10
2. Who: Overture (Pete Townshend) - 6:28
3. Who: Amazing Journey (Pete Townshend) - 6:30
4. Who: Sparks (Pete Townshend) - 5:24
5. Who: Pinball Wizard (Pete Townshend) - 3:08
6. Who: See Me, Feel Me (Pete Townshend) - 7:39
7. Who: My Generation (Pete Townshend) - 8:57
8. Who: Naked Eye (Pete Townshend) - 7:09
9. Who: Going Down (Don Nix) - 4:33
CD 11: Who's Next & 14 Bonus Tracks - Steven Wilson Atmos Mix (48kHz 24-bit)
1. Who: Baba O'Riley (Pete Townshend) - 5:8
2. Who: Bargain (Pete Townshend) - 5:34
3. Who: Love Ain't For Keeping (Pete Townshend) - 2:10
4. Who: My Wife (John Entwistle) - 3:41
5. Who: Song Is Over (Pete Townshend) - 6:14
6. Who: Getting In Tune (Pete Townshend) - 4:50
7. Who: Going Mobile (Pete Townshend) - 3:42
8. Who: Behind Blue Eyes (Pete Townshend) - 3:42
9. Who: Won't Get Fooled Again (Pete Townshend) - 8:32
Steven Wilson 5.1 Mix (96kHz 24-bit)
10. Who: Baba O'Riley (Pete Townshend) - 5:08
11. Who: Bargain (Pete Townshend) - 5:34
12. Who: Love Ain't For Keeping (Pete Townshend) - 2:10
13. Who: My Wife (John Entwistle) - 3:41
14. Who: Song Is Over (Pete Townshend) - 6:14
15. Who: Getting In Tune (Pete Townshend) - 4:50
16. Who: Going Mobile (Pete Townshend) - 3:42
17. Who: Behind Blue Eyes (Pete Townshend) - 3:42
18. Who: Won't Get Fooled Again (Pete Townshend) - 8:32
Steven Wilson Stereo Mix (96kHz 24-bit)
19. Who: Baba O'Riley (Pete Townshend) - 5:08
20. Who: Bargain (Pete Townshend) - 5:34
21. Who: Love Ain't For Keeping (Pete Townshend) - 2:10
22. Who: My Wife (John Entwistle) - 3:41
23. Who: Song Is Over (Pete Townshend) - 6:14
24. Who: Getting In Tune (Pete Townshend) - 4:50
25. Who: Going Mobile (Pete Townshend) - 3:42
26. Who: Behind Blue Eyes (Pete Townshend) - 3:42
27. Who: Won't Get Fooled Again (Pete Townshend) - 8:32
Original 1971 Stereo Mix (96kHz 24-bit)
28. Who: Baba O'Riley (Pete Townshend) - 5:08
29. Who: Bargain (Pete Townshend) - 5:34
30. Who: Love Ain't For Keeping (Pete Townshend) - 2:10
31. Who: My Wife (John Entwistle) - 3:41
32. Who: Song Is Over (Pete Townshend) - 6:14
33. Who: Getting In Tune (Pete Townshend) - 4:50
34. Who: Going Mobile (Pete Townshend) - 3:42
35. Who: Behind Blue Eyes (Pete Townshend) - 3:42
36. Who: Won't Get Fooled Again (Pete Townshend) - 8:32
Bonus Tracks: Steven Wilson Atmos Mix (48kHz 24-bit)
37. Who: The Seeker (Unedited Version) (Pete Townshend) - 4:02
38. Who: Here For More (Roger Daltrey) - 2:27
39. Who: Now I'm A Farmer (Pete Townshend) - 4:10
40. Who: I Don't Know Myself (Eel Pie Sound Version) (Pete Townshend) - 5:38
41. Who: Water (IBC Version) (Pete Townshend) - 5:10
42. Who: Naked Eye (Olympic Sound Version) (Pete Townshend) - 6:01
43. Who: Pure And Easy (Pete Townshend) - 5:33
44. Who: Too Much Of Anything (Pete Townshend) - 4:29
45. Who: Let's See Action (Pete Townshend) - 3:58
46. Who: When I Was A Boy (John Entwistle) - 3:33
47. Who: Join Together (Unedited Version) (Pete Townshend) - 6:05
48. Who: Put The Money Down (Pete Townshend) - 4:43
49. Who: Relay (Unedited Version) (Pete Townshend) - 5:11
50. Who: Long Live Rock (Pete Townshend) - 4:01
Steven Wilson 5.1 Mix (96kHz 24-bit)
51. Who: The Seeker (Unedited Version) (Pete Townshend) - 4:02
52. Who: Here For More (Roger Daltrey) - 2:27
53. Who: Now I'm A Farmer (Pete Townshend) - 4:10
54. Who: I Don't Know Myself (Eel Pie Sound Version) (Pete Townshend) - 5:38
55. Who: Water (IBC Version) (Pete Townshend) - 5:10
56. Who: Naked Eye (Olympic Sound Version) (Pete Townshend) - 6:01
57. Who: Pure And Easy (Pete Townshend) - 5:33
58. Who: Too Much Of Anything (Pete Townshend) - 4:29
59. Who: Let's See Action (Pete Townshend) - 3:58
60. Who: When I Was A Boy (John Entwistle) - 3:33
61. Who: Join Together (Unedited Version) (Pete Townshend) - 6:05
62. Who: Put The Money Down (Pete Townshend) - 4:43
63. Who: Relay (Unedited Version) (Pete Townshend) - 5:141
64. Who: Long Live Rock (Pete Townshend) - 4:01
Steven Wilson Stereo Mix (96kHz 24-bit)
65. Who: The Seeker (Unedited Version) (Pete Townshend) - 4:02
66. Who: Here For More (Roger Daltrey) - 2:27
67. Who: Now I'm A Farmer (Pete Townshend) - 4:10
68. Who: I Don't Know Myself (Eel Pie Sound Version) (Pete Townshend) - 5:38
69. Who: Water (IBC Version) (Pete Townshend) - 5:10
70. Who: Naked Eye (Olympic Sound Version) (Pete Townshend) - 6:01
71. Who: Pure And Easy (Pete Townshend) - 5:33
72. Who: Too Much Of Anything (Pete Townshend) - 4:29
73. Who: Let's See Action (Pete Townshend) - 3:58
74. Who: When I Was A Boy (John Entwistle) - 3:33
75. Who: Join Together (Unedited Version) (Pete Townshend) - 6:05
76. Who: Put The Money Down (Pete Townshend) - 4:43
77. Who: Relay (Unedited Version) (Pete Townshend) - 5:11
78. Who: Long Live Rock (Pete Townshend) - 4:01
Besetzung: Roger Daltrey: lead vocals
; Pete Townshend: guitar, VCS 3, organ, ARP synthesizer, vocals, piano (A1)
; John Entwistle: bass, brass, vocals, piano on "My Wife"
; Keith Moon: drums, percussion
; Dave Arbus: violin (A1)
; Nicky Hopkins: piano (A5, B1)
; Al Kooper: Hammond organ (Bonus 7)
; Leslie West: lead guitar on Record Plant sessions on "deluxe edition" including "Baby, Don\'t You Do It" and "Love Ain\'t for Keeping" (electric version)
; Glyn Johns: associate production, recording, mixing
; Doug Sax: mastering
; Kit Lambert: executive production
; Chris Stamp: executive production
; Pete Kameron: executive production
; John Kosh: album design
; Ethan Russell: photography
; Steven Wilson: multichannel mixes for the 2023 Who\'s Next / Life House deluxe set
Label und Katalognummer: Track 613 013/4, Decca [US] DXSW 7205
Produktion: Kit Lambert
Veröffentlicht: 1969 05 23 (UK), 1969 05 31 (US)
Genretags: Rock - Poprock - Powerpop
Nicht die erste Rockoper, aber die wichtigste und wirkungsmächtigste. «Tommy» hievte Who in den USA in den Status von Superstars und brachte den damals nötigen kommerziellen Erfolg, der die Band von Schulden und dem Auseinanderfallen rettete.
«Tommy» wird durch eine durchgehende Erzählung und Tracks verbindende Motive zusammen gehalten. Kompositorisch machte «Tommy» immensen Eindruck und veranlasste einige der Peer-Musiker, selbst eine Rockoper zu schreiben: Die Kinks folgten ein halbes Jahr später mit Arthur, Jethro Tull mit Thick As A Brick, Frank Zappa mit Joe's Garage, Parliament mit Funkentelechy vs. The Placebo Syndrome, die Bonzo Dog Band mit Keynsham, Aphrodite's Child mit 666, Webber und Rice mit Jesus Christ Superstar, Pink Floyd mit The Wall, die Who selbst mit Quadrophenia.
Querverweise
– zum Film von Ken Russell (1975)
Trackliste: Seite A
1. Overture - 5:21
2. It's a Boy - 0:38
3. 1921 - 2:49
4. Amazing journey - 3:25
5. Sparks - 3:46
6. Eyesight to the Blind (The Hawker) (John Entwistle, Sonny Boy Williamson II, Keith Moon, Pete Townshend) - 2:13
Seite B
1. Christmas - 4:34
2. Cousin Kevin - 4:07
3. The Acid Queen - 3:34
4. Underture - 10:09
Alle Tracks: John Entwistle, Keith Moon und Pete Townshend.
Seite C
1. Do You Think It's Alright? - 0:24
2. Fiddle About - 1:29
3. Pinball Wizard - 3:01
4. There's a Doctor - 0:23
5. Go to the Mirror! - 3:49
6. Tommy Can You Hear Me? - 1:36
7. Smash the Mirror - 1:35
8. Sensation - 2:27
Seite D
1. Miracle Cure - 0:12
2. Sally Simpson - 4:12
3. I'm Free - 2:40
4. Welcome - 4:34
5. Tommy's Holiday Camp - 0:57
6. We're Not Gonna Take It - 7:08
Alle Tracks: John Entwistle, Keith Moon und Pete Townshend.
Besetzung: Roger Daltrey: lead vocals, harmonica, tambourine
; Pete Townshend: guitars, banjo, keyboards, Lead Vocals (A2, A3, B2, B3, C4, C8, D5), Joint Lead Vocals (B1, C3, C5, D4), Backing Vocals
; John Entwistle: bass guitar, horns, Lead Vocals (B2: mit Townshend und Daltrey, C2)
; Keith Moon: drums, percussion, vocals
; Paul Townshend: backing vocals
; Simon Townshend: backing vocals
Who [>] [D]: The Who Sell Out [F]
Label und Katalognummer: Track 612 002 (UK), Decca [US] DL 74950
Produktion: Kit Lambert
Veröffentlicht: 1967 12 16 (UK), 1968 01 (US)
Genretags: Rock - Poprock - Powerpop
Das Album ist mit seinen Jingles und Meldungen («Public Announcements») wie die Sendung einer Piratenradiostation («Wonderful Radio London») gestrickt. Es klingt wie das Programm einer amerikanischen Top-40-Station.
Jim Curtis betont in Rock Eras, dass Radio London mit seinen Jingles, gemessen an der ehrwürdigen BBC dermassen neuartig und exotisch klang, dass diese Effekte in den Sixties ein grossartiges Konzept für ein Rockalbum hergaben. Heute ist man sich diese Art von kommerziellem Radio eher gewohnt und das Konzept hat sich abgenützt.
Gegenüber den späteren Rockopern der Who wirkt «The Who Sell Out» möglicherweise moderner. Die Oper ist ja eine Kunst aus dem 19. Jahrhundert. Andererseits wirkt nur der Begriff: «RockOPER» alt und klassisch. Die Stories von Tommy und Quadrophenia waren dem Publikum vor allem als moderne Musikfilme bekannt.
Als 1964 die Piratenstationen in London aufkamen, gehörten die Who verglichen mit den bereits etablierten Beatles zu einer neuen Generation von Bands, die durch die Promotion der neuen Stationen stark profitiert haben – und umgekehrt: die Rockexplosion in den mittleren Sechzigerjahren gab den neuen Radiostationen eine eigene Musik. Sie hätten sonst vermutlich die Top-40 aus den USA mit vereinzelten britischen Titeln spielen müssen. Herrliche Ambivalenz im Übrigen: zum einen leistet «The Who Sell Out» ein Tribut an die kommerziellen Radios, eine Würdigung nach deren Abschaffung durch BBC Radio 1, das im September 1967, drei Monate vor der Veröffentlichung dieses Albums, «on air» ging. Auf der anderen Seite parodiert der Album-Titel die Tatsache, dass The Who tatsächlich Werbung gemacht und sich damit ausverkauft haben. Es ist die selbe ambivalente Ironie, de auch John Lennon in Revolution anwenden wird, wenn er sich nicht entscheiden kann, ob er bei einer Revolution mitmachen würde oder nicht. Für die Rockmusik, die nach den psychedlischen Jahren kam, war «Radio One» die bessere Option als Top-40-Stationen.
Trackliste: Seite A: Radio London
1. Armenia City In The Sky (John Keen) - 3:12
2. Heinz Baked Beans (John Entwistle) - 0:57
3. Mary-Anne With The Shaky Hand - 2:04
4. Odorono - 2:16
5. Tattoo - 2:42
6. Our Love Was - 3:07
7. I Can See for Miles - 4:17
Seite B
1. I Can't Reach You - 3:03
2. Medac (Entwistle) - 0:57
3. Relax - 2:38
4. Silas Stingy (Entwistle) - 3:04
5. Sunrise - 3:03
6. Rael 1 - 5:44
Bonustracks der Remaster CD Ausgabe von 1995:
1. Rael 2 - 0:47 Top Gear
2. Glittering Girl - 2:56 (previously unreleased) Coke 2
3. Melancholia - 3:17 Bag O'Nails
4. Someone's Coming (Entwistle) - 2:29 John Mason's Cars (Rehearsal)
5. Jaguar - 2:51 John Mason's Cars (Reprise)
6. Early Morning Cold Taxi (Daltrey, Dave Langston) - 2:55 Coke 1
7. Hall of the Mountain King (Edvard Grieg) - 4:14 (previously unreleased) Radio 1 (Boris Mix)
8. Girl's Eyes (Moon) - 3:28 Odorono (Final Chorus)
9. Mary-Anne with the Shaky Hand (Alternate Version) - 3:19 (previously unreleased)
10. Glow Girl - 2:24 Track Records
Besetzung: Roger Daltrey: lead and backing vocals, percussion
; John Entwistle: bass guitar, backing and lead vocals, horns, sound effects
; Pete Townshend: guitar, backing and lead vocals, keyboards, pennywhistle, banjo
; Keith Moon: drums, backing vocals, percussion, sound effects, lead vocals (Bonus 5, 8)
; Al Kooper: keyboards, organ
; Design [Cover]: David King
; Design [Cover]: Roger Law
; Executive-producer: Chris Stamp
; Photography: David Montgomery
; Printed By E.J. Day Group
; Manufactured By Polydor Records Ltd.
Label und Katalognummer: Polydor 1712655, Polydor 1709519
Produktion: Billy Nicholls & Bob Pridden & Pete Townshend
Veröffentlicht: 2006 10 27, 2006 10 30 (DLX)
Genretags: Rock - AOR-Rock - AOR-Poprock
Die Tracks 10-19 sind eine Minioper und heissen Wir
e & Glass.
Trackliste: CD
1. Fragments (Townshend, Lawrence Ball) - 3:58
2. A Man in a Purple Dress - 4:14
3. Mike Post Theme - 4:28
4. In the Ether - 3:35
5. Black Widow's Eyes - 3:07
6. Two Thousand Years - 2:50
7. God Speaks of Marty Robbins - 3:26
8. It's Not Enough (Townshend, Rachel Fuller) - 4:02
9. You Stand by Me - 1:36
CD: Wir
e & Glass - A Mini-Opera
10. Sound Round - 1:21
11. Pick Up the Peace - 1:28
12. Unholy Trinity - 2:07
13. Trilby's Piano - 2:04
14. Endless Wir
e - 1:51
15. Fragments of Fragments (Townshend, Ball) - 2:23
16. We Got a Hit - 1:18
17. They Made My Dream Come True - 1:13
18. Mirror Door - 4:14
19. Tea & Theatre - 3:24
Bonustracks
1. We Got a Hit (extended version) - 3:03
2. Endless Wir
e (extended version) - 3:03
Alle Tracks: Pete Townshend, ausser wo anders vermerkt.
Besetzung: Acoustic Guitar: Jolyon Dixon (08)
; Artwork By [Art & Design]: Andy Engel
; Backing Vocals: Billy Nicholls (10, 11, 14, 20,.21), Simon Townshend (10, 11, 14, 20, 21)
; Banjo: Pete Townshend
; Bass: Pino Palladino (10, 11, 14, 16-18, 21), Stuart Ross (8)
; Cello: Vicky Matthews (13)
; Drums: Peter Huntington (8, 10, 11, 14, 16-18, 20, 21), Zak Starkey (5)
; Electronics: Lawrence Ball (1, 15)
; Engineer: Myles Clarke
; Guitar: Pete Townshend, Simon Townshend
; Keyboards: Rachel Fuller (8)
; Lead Vocals: Roger Daltrey
; Mandolin: Pete Townshend
; Mastered By: Ian Cooper
; Mixed By: Pete Townshend
; Orchestrated By: Pete Townshend (13)
; Organ [Hammond]: John \'Rabbit\' Bundrick (10-11, 18)
; Viola: Ellen Blair (13), Pete Townshend (13)
; Violin: Brian Wright (13), Gill Morley (13), Pete Townshend (13)
Wild Gentlemen [>] [D]: The Wild Gentlemen [F]
Label und Katalognummer: Ex Libris SG 6720
Veröffentlicht: 1967
Genretags: Rock'n'Roll - Beat - Swiss-Beat
The Wild Gentlemen waren eine Beat-Gruppe aus Genf. Beat-Bands nahmen in der Regel Singles und EPs (Platte mit vier Stücken) auf. Es gibt daher nur wenige Original-Langspielplatten von Schweizer Beat-Bands. Dies ist eine von ihnen. Erschienen ist sie bei Ex Libris, dem Schweizer Buch- und Grammoclub. Ex Libris tat sich eher schwer mit der Veröffentlichung von junger Musik. Wenn die Verantwortlichen für das Labelprogramm nach einer Beatband griffen, musste es in musikalischer Hinsicht eine ausgewiesene sein. Die Wild Gentlemen erfüllten dieses Kriterium, weil sie vor ihrer Inkarnation schon als Begleitband von Larry Gréco spielten und mit ihm bis nach Paris kamen.
Die Langspielplatte von den Wild Gentlemen ist eine solide Sache. Der Song Gilly Gilly
ist nach dem Vorbild von Balla Balla der deutschen Rainbows gestrickt – ein Blödelhit (Samuel Mumenthaler) oder Bubblegum-Beat.
Ex Libris Covers waren in der Regel recht aufwändig gestaltet. Diese Veröffentlichung kommt mit einem fotografischen Cover und zeigt junge, tanzende Leute. Es ist keine authentische Szene aus einem wilden Beat-Keller, vielmehr eine Inszenierung mit drei Paaren und immerhin etwas fliegendem Haar und Armen sowie schnippenden Fingern. Dass sich die neuen Teenager-Tänze meilenweit von den bisherigen Gesellschaftstänzen entfernt haben, wird auf den ersten Blick klar. Die Perspektive von oben auf die Tanzfläche wirkt weder authentisch noch zum Mittanzen einladend.
Trackliste: Seite A
1. Gilly Gilly (Gugelmann, Eckhard Kieslich) - 2:07
2. Please, Don't Run Away (Frank Valdor) - 2:34
3. Baby, Bye Bye (Kieslich, Valdor) - 2:30
4. My Dream (Tschanen, North) - 2:08
5. Here It Comes (Valdor) - 2:22
6. Why Can't You Be Like Other Girls (Kieslich) - 2:18
7. Hulla Balloo Da Da Ding Dong Dang (Valdor) - 1:52
Seite B
1. Come On Girl (Valdor) - 2:05
2. Stay With Me (Tschannen, North) - 2:05
3. I'm Gonna Leave You (Kieslich, Valdor) - 3:24
4. But It Hurts Too Much Inside (Kieslich) - 3:30
5. On My Door (Gugelmann, Kieslich) - 3:04
6. It Was A Big Mistake (Valdor) - 2:37
7. Give me Lovin' (Kieslich, Valdor) -
Besetzung: Bass, Vocals: Jean-Claude Tschanen
; Drums, Vocals: Bernard Gugelmann
; Guitar, Vocals: Anthony Manias
; Guitar, Vocals: Richard North
Wire [>] [D]: Chairs Missing [F]
Label und Katalognummer: Harvest SHSP 4093, Harvest 8 29858
Produktion: Mike Thorne
Veröffentlicht: 1978 09, 1994 07 18 (Reed.)
Genretags: Rock - Punkrock - London-Punk, Rock - Punkrock - Artpunk
«Chairs Missing» ist das erste progressive Album im Punkrock. Gegenüber dem Vorgänger Pink Flag kommen hier Keyboards und Synths hinzu, die Produzent Mike Thorne spielt, leichte psychedelische Effekte (wie am Ende von «Men 2nd», in «Sand in My Joints», das nach Spacerock einer Punkband klingt oder der Anfang von «Being Sucked in Again»), eine positive Haltung zum Kunstrock. Nicht umsonst war Wire">Wir
e beim Harvest Label unter Vertrag.
Der Albumtitel ist vom Ausdruck «somebody has got a few chairs missing in his front room» abgeleitet und würde wohl mit «Nicht alle Tassen» ins Deutsche übersetzt.
Trackliste: Seite A
1. Practise Makes Perfect (Gilbert, Newman) - 4:11
2. French Film Blurred (Newman, Lewis) - 2:34
3. Another the Letter (Gilbert, Newman) - 1:07
4. Men 2nd (Lewis) - 1:43
5. Marooned (Gilbert, Newman, Lewis) - 2:21
6. Sand in My Joints (Lewis) - 1:50
7. Being Sucked in Again (Newman) - 3:14
8. Heartbeat (Newman) - 3:16
Seite B
1. Mercy (Newman) - 5:46
2. Outdoor Miner (Newman) - 1:44
3. I Am the Fly (Newman) - 3:09
4. I Feel Mysterious Today (Newman) - 1:57
5. From the Nursery (Newman) - 2:58
6. Used To (Gilbert, Lewis) - 2:23
7. Too Late (Gilbert) - 4:14
Bonustracks der CD Ausgabe von 1994
1. Outdoor Miner (Long Version) - 2:54
2. A Question of Degree - 3:09
3. Former Airline - 3:20
Besetzung: Flute [Flutes]: Kate Lukas (A8)
; Artwork By Art Direction: Brian Palmer
; Artwork By Sleeve Concept: Gilbert, Lewis
; Bass, Vocals: Lewis
; Drums: Robert Gotobed
; Engineer: Paul Hardiman
; Engineer Assistant: Ken Thomas
; Guitar Guitars: B.C. Gilbert
; Mastered By Cutting: Chris Blair
; Photography: Annette Green
; Keyboards, Synthesizer: Mike Thorne
; Vocals, Guitar Guitars: Colin Newman
Yello [>] [D]: Solid Pleasure [F]
Label und Katalognummer: Mercury PRICE 113 (UK), Ralph Records YL 8059 L (US)
Produktion: Boris Blank
Veröffentlicht: 1980 10 15, 2005 (Reed.)
Genretags: Postpunk - Artpop - SwissWave
In der Rockmusik spielten Synthesizer und Elektronik gegenüber den Gitarren und elektrischen Orgeln meist eine untergeordnete Rolle. Mit der NewWave, die ab 1978 von England her über den Kontinent schwappte, begann sch das radikal zu ändern. Elektronische Instrumente aus Japan wurden damals gerade so günstig, dass man sie sich leisten konnte, wie man sich eine Gitarre hat leisten können. Die Klänge, die man diesen Geräten und Instrumenten entlocken konnte, waren weitestgehend «unerhört» im Wortsinn. Das eröffnete ein weites Feld für Musikerinnen und Musiker die Neues ausprobieren wollten.
Boris Blank war einer dieser Sound-Tüftler, der in Carlos Peron einen Geistesverwandten und in Dieter Meier einen ¿Sänger? fand, der mit seinem rezitativen Sprechgesang mehr Schauspieler als Stimmwunder war. Als Yello machte das Trio, das bald zum Kernduo Blank/Meier schrumpfte, eine surreal exotisch anmutende Musik, die international Beachtung fand, ohne dass die Formation je live aufgetreten wäre. In Amerika kam ihre erste Platte Solid Pleasure
beim Label der Medien- und Konzeptkunst Band Residents heraus, bei Ralph Records. Stellenweise klingen Yello hier noch wie die Residents, aber das ist nicht wirklich ein Makel. Eigen hingegen ist der vom ganzen lateinischen Rhythmus-Arsenal unterlagerte Machinenfunk von Yello sowie die unverkennbar weltmännische Stimme Dieter Meiers.
Das Cover von Solid Pleasure
wurde von der Grafikabteilung der Residents, der «Pore No Graphics» gestaltet. Es inszeniert geschickt und mit schreiender Skurrilität Exotik (die Maske) und Innovation (das Baby). Ob sich unter der Maske Rosemary's Baby
versteckt?
Trackliste: 1. Bimbo - 3:38
2. Night Flanger - 4:53
3. Reverse Lion - 1:21
4. Downtown Samba - 2:37
5. Magneto - 2:47
6. Massage - 1:37
7. Assistant's Cry (Blank, Carlos Peron) - 1:40
8. Bostich - 2:13
9. Rock Stop - 2:31
10. Coast To Polka - 1:55
11. Blue Green (Blank, Peron) - 5:26
12. Eternal Legs (Blank) - 4:16
13. Stanztrigger (Blank, Peron) - 2:49
14. Bananas To The Beat - 3:03
Bonustracks der CD Ausgabe von 2005
1. Thrill Wave - 2:05
2. I.T. Splash - 2:37
3. Gluehead - 2:53
4. Smirak's Train (Blank, Chico Hablas) - 4:39
5. Bostich (N'est-ce Pas) - 4:35
Alle Tracks: Boris Blank und Dieter Meier, ausser wo anders vermerkt.
Besetzung: Dieter Meier: vocals
; Boris Blank: vocals on \'Eternal Legs\'
; Chico Hablas: guitar
; Felix Haug: drums
; Walt Keiser: drums
; Carlos Peron: tape effects
Young Gods [>] [D]: The Young Gods Play Terry Riley in C [F]
Label und Katalognummer: Two Gentlemen Records TWOGTL 101-LP
Veröffentlicht: 2022 09 09
Genretags: Post-Millennial-Music - Digital-Underground
Eine Interpretation von Terry Rileys In C (1964, auf Platte 1968). Die sehr offene Komposition besteht aus 53 rhythmisch/melodischen Patterns (etwa Noten-Muster), die nacheinander von einem nicht festgelegten Ensemble gespielt oder gesungen werden. Die Instrumentalist*innen entscheiden selbst, wie oft sie ein Pattern repetieren, bevor sie zum nächsten fortschreiten. Ins Werk eingestiegen wird üblicherweise mit einem C (daher der Name des offenen Werks). Gespielt wird das C vom Piano oder von einem Schlägel-Instrument (Xylophon, Vibraphon, Marimba, Glockenspiel). Auf diese Weise wird jede Aufführung einzigartig. Nicht ein Dirigent bestimmt, was man hört, sondern die Musiker*innen des Ensembles selbst, legen die Gestalt fest.
Bei den Young Gods ist das C ein Metronom-artiger elektronsicher Puls. Die Aufführung geht nicht ganz eine Stunde. Im Verlauf hört man leise und laute, dichte und dünne, technoide und tribale Momente.
Trackliste: 1. In C Part 1 - 9:27
2. In C Part 2 - 6:08
3. In C Part 3 - 7:17
4. In C Part 4 - 4:29
5. In C Part 5 - 4:28
6. In C Part 6 - 6:45
7. In C Part 7 - 8:04
8. In C Part 8 - 5:22
9. In C Part 9 - 5:52
Seite A
1. Patterns 1 To 21 -
Seite B
1. Patterns 22 To 35 -
Seite C
1. Patterns 36 To 53 -
Seite D
1. Patterns 1 To 21 Synthesizer Version -
Alle Tracks: Terry Riley.
Besetzung: Drums, Percussion: Bernard Trontin (1-3)
; Electric Bass, Guitar, Voice: Franz Treichler (1-3)
; Electronics: Cesare Pizzi (1-3)
; Synthesizer, Assemblage: Franz Treichler (4)
Young Thug [>] [D]: So Much Fun [F]
Label und Katalognummer: 300 Entertainment
Produktion: 12 Hunna & ATL Jacob & Pierre Bourne & DY & Lil Duke & DJ Durel & Nick Mira & DJ Mustard & Prezzley & Supah Mario & Southside & T-Minus & Wheezy
Veröffentlicht: 2019 08 16
Genretags: Hip-Hop - Traprap
Das Cover des neuen Albums von Young Thug zeigt ein stilisiertes Gesicht des Rappers aus Atlanta auf grünem Hintergrund. Es ist ein Photoshop Trick, denn die Flecken, aus denen das Gesicht gezeichnet ist, besteht aus kleinen Young Thugs auf einer Wiese, die verschieden gross sind und verschiedene Stellungen einnehmen. Der Albumtitel So Much Fun
wird in den Rasen, der den Hintergrund bildet, hinein gemäht. Der Album-Stream auf Youtube zeigt dieses wegweisende Coverbild als animierte Grafik: Hier zeichnen sich die Schatten von Wolken und einem Flugzeug ab und die Young Thugs auf der Wiese bewegen sich.
Trackliste: 1. Just How It Is - 3:28
2. Sup Mate (feat. Future) - 3:58
3. Ecstasy (feat. Machine Gun Kelly) - 3:08
4. Hot (feat. Gunna) - 3:13
5. Light It Up - 3:29
6. Surf (feat. Gunna) - 3:04
7. Bad Bad Bad (feat. Lil Baby) - 2:29
8. Lil Baby - 3:21
9. What's the Move (feat. Lil Uzi Vert) - 4:11
10. I Bought Her - 3:21
11. Jumped Out The Window - 3:24
12. I'm Scared (feat. 21 Savage, Lil Duke) - 3:20
13. Cartier Gucci Scarf (feat. Lil Duke) - 3:18
14. Big Tipper (feat. Lil Keed) - 3:43
15. Pussy - 2:23
16. Circle of Bosses (feat. Quavo) - 2:59
17. Mannequin Challenge (feat. Juice WRLD) - 2:42
18. Boy Back (feat. NAV) - 3:22
19. The London (feat. J. Cole, Travis Scott) - 3:20
Besetzung: Producer: Nick Mira (1), Wheezy (1, 4, 16), 7, ATL Jacob (2), DY (2), 12 Hunna (3), DY (3), Pierre Bourne (5, 6, 8, 12), DJ Durel (10), Lil Duke (10), Supah Mario (11), Prezzley (13), Southside (14, 15), T-Minus (17, 19), DJ Mustard (18)
; Co-producer: J. Cole (17)
Zebra Katz [>] [D]: Less Is Moor [F]
Label und Katalognummer: ZFK Records
Veröffentlicht: 2020 03 20
Genretags: Post-Millennial-Music - Trap - Ballroom
Mehr als acht Jahre nach dem Killer-Track Ima Read kommt nun das erste Album von Zebra Katz heraus. Zebra Katz ist der in New York lebende Jamaikaner Ojay Morgan. Er setzte sich mit den dunkelhäutigen Charakteren im klassischen Theater auseinander (Mooren bei Shakespeare zum Beispiel – daher kommt das Wortspiel im Albumtitel) und formte daraus seine eigenen Rollen. Zebra Katz ist so eine Rolle, mit der er Theatersport machte – eine scharfzüngige, sarkastische Queer-Figur aus welcher der Ballroom- bzw. Rap-Act wurde, den wir seit Ima Read
kennen.
Zebra Katz ist ein Club-Act. Die Musik enthält Elemente von Queer-Rap, Genre: Post-Millennial-Music - Digital-Underground - Industrial-Grime Genre">Deconstructed Club. Es ist Untergrund-Musik auf der Höhe der Zeit.
Trackliste: 1. INTRO TO LESS - 2:22
2. ISH - 3:29
3. LOUSY - 2:46
4. BLUSH - 2:11
5. IN IN IN - 3:18
6. ZAD DRUMZ - 2:59
7. MONITOR (feat. S Ruston) - 1:40
8. MOOR - 2:24
9. NECKLACE - 1:55
10. SLEEPN - 3:17
11. NO 1 ELSE - 2:17
12. UPP - 3:13
13. BEEN KNOWN - 2:28
14. LICK IT N SPLIT (feat. Shygirl) - 3:00
15. EXIT 2 VOID - 1:43
Suchresultate Songs: Treffer bei Acts
Wire [D]: Field Day for the Sundays [F]
Autor: Bruce Gilbert & Robert Gotobed & Graham Lewis & Colin Newman
Label und Katalognummer: Harvest SHSP 4076, Harvest 8 29846
Produktion: Mike Thorne
Veröffentlicht: 1977 11, 1994 07 (Album)
Genretags: Rock - Punkrock - London-Punk
Wire [D]: Ex-Lion Tamer [F]
Autor: Bruce Gilbert & Robert Gotobed & Graham Lewis & Colin Newman
Label und Katalognummer: Harvest SHSP 4076, Harvest HAR 5151
Produktion: Mike Thorne
Veröffentlicht: 1977 12 (Album), 1978 02 (Single-B)
Genretags: Alternativerock - Artrock
Bemerkungen: Flipside von I Am The Fly.
Wire [D]: I Am The Fly [F]
Autor: Graham Lewis & Colin Newman
Label und Katalognummer: Harvest HAR 5151, Harvest SHSP 4093
Produktion: Mike Thorne
Veröffentlicht: 1978 02 (Single), 1978 10 (Album)
Genretags: Alternativerock - Artrock
Wire [D]: Dot Dash [F]
Autor: Graham Lewis & Colin Newman
Label und Katalognummer: Harvest HAR 5161
Produktion: Mike Thorne
Veröffentlicht: 1978 06 23 (Single)
Genretags: Alternativerock - Punkrock
Wire [D]: I Feel Mysterious Today [F]
Autor: Colin Newman & Gilbert Lewis
Label und Katalognummer: Harvest SHSP 4093
Veröffentlicht: 1978 10 (Album)
Genretags: Alternativerock - Artrock
Wire [D]: Outdoor Miner [F]
Autor: Graham Lewis & Colin Newman
Label und Katalognummer: Harvest SHSP 4093, Harvest HAR 5172
Produktion: Mike Thorne
Veröffentlicht: 1978 10 (Album), 1979 01 (Single)
Genretags: Alternativerock - Artrock
Wire [D]: A Question of Degree [F]
Autor: Graham Lewis & Colin Newman
Label und Katalognummer: Harvest HAR 5187
Veröffentlicht: 1979 06 02 (Single)
Genretags: Postpunk
Wire [D]: The 15th [F]
Autor: Colin Newman
Label und Katalognummer: Harvest SHSP 4105
Produktion: Mike Thorne
Veröffentlicht: 1979 09 (Album)
Genretags: Rock - Punkrock - London-Punk
Wire [D]: I Should Have Known Better [F]
Autor: Graham Lewis
Label und Katalognummer: Harvest SHSP 4105
Produktion: Mike Thorne
Veröffentlicht: 1979 09 (Album)
Genretags: Postpunk, Alternativerock - Neo-Progressiverock, Alternativerock - Punkrock - Artpunk
Wire [D]: Map Ref. 41°N 93°W [F]
Autor: Bruce Gilbert & Graham Lewis & Colin Newman
Label und Katalognummer: Harvest SHSP 4105, Harvest HAR 5192
Produktion: Mike Thorne
Veröffentlicht: 1979 09 (Album), 1979 11 (Single)
Genretags: Rock - Punkrock - London-Punk
Wire [D]: Our Swimmer [F]
Autor: Bruce Gilbert & Robert Gotobed & Graham Lewis & Colin Newman
Label und Katalognummer: Rough Trade RTO 79
Veröffentlicht: 1981 09 (Single)
Genretags: Postpunk
Swirlies [D]: Bell [F]
Autor: Swirlies
Label und Katalognummer: Taang! TAANG! 67
Produktion: Swirlies
Veröffentlicht: 1993 03 26 (Album)
Genretags: Indiepop - Noisepop - Shoegaze
Wir sind Helden [D]: Guten Tag [F]
Autor: Judith Holofernes & Pola Roy & Jean-Michel Tourette
Label und Katalognummer: EMI, Reklamation Records 590869
Produktion: Patrik Majer
Veröffentlicht: 2003 02 03 (Single), 2003 07 07 (Album)
Genretags: Indiepop
Wir sind Helden [D]: Die Nacht [F]
Autor: Judith Holofernes & Mark Tavassol & Jean-Michel Tourette
Label und Katalognummer: Reklamation Records 590869
Produktion: Patrik Majer & Wir
Sind Helden
Veröffentlicht: 2003 07 07 (Album)
Genretags: Indiepop
Wir sind Helden [D]: Denkmal [F]
Autor: Judith Holofernes & Pola Roy & Jean-Michel Tourette
Label und Katalognummer: Reklamation Records 590869, Reklamation Records
Produktion: Patrik 'El Pattino' Majer & Wir
Sind Helden
Veröffentlicht: 2003 07 07 (Album), 2004 (Single)
Genretags: Indiepop
Suchresultate Songs: Treffer bei assoziierten Acts
Mood-Mosaic [D]: A Touch Of Velvet - A Sting Of Brass [F]
Assoziierte Acts: Ladybirds (feat.) & Mark Wir
tz
Autor: J. Ferdy & Mark Wir
tz
Label und Katalognummer: Columbia (EMI) DB 7801, Columbia (EMI) SX 6153
Produktion: Mark Wir
tz
Veröffentlicht: 1966 01 (Single), 1969 (Album)
Genretags: Pop - Orchestralpop - Psychedelicpop
Bemerkungen: J. Ferdy ist ein Pseudonym von Wirtz">Mark Wir
tz
Keith West [D]: Excerpt From A Teenage Opera (= Grocer Jack) [F]
Assoziierte Acts: Mark Wir
tz Orchestra
Autor: Keith Alan Hopkins & Mark Wir
tz
Label und Katalognummer: Parlophone R 5623
Produktion: Mark Wir
tz
Veröffentlicht: 1967 07 28 (Single)
Genretags: Pop - Progressivepop - Psychedelicpop
Suchresultate Songs: Treffer bei Songtiteln
Ideal [D]: Berlin (= Wir steh'n auf Berlin) [F]
Autor: Hans Behrendt & Ernst Deuker & Annette Humpe & Eff Jott Krüger
Label und Katalognummer: Eitel Imperial J 1, Innovative Communication KS 80.004
Produktion: Klaus D. Müller
Veröffentlicht: 1980 05 (Single), 1980 11 (Album)
Genretags: Postpunk - Artpop - NDW
Harry Fraud [D]: Bird On A Wire [F]
Veröffentlicht: 2012
Leonard Cohen [D]: Bird On The Wire [F]
Label und Katalognummer: Columbia CS 9767, CBS 4245
Produktion: Bob Johnston
Veröffentlicht: 1969 04 (Album), 1969 05 (SIngle UK), 1968 09 26 (Rec.)
Genretags: Rock - Singer-Songwriter
Wolfgang Neuss [D]: Chanson vom Wirtschaftswunder [F]
Assoziierte Acts: Orchester Peter Cramer
Autor: Franz Grothe & Klaus Günther Neumann
Label und Katalognummer: ???, Heliodor 46 0066
Veröffentlicht: 1956, 1960 12 (EP)
Genretags: Europeana - Schlager - Chansonschlager
Lale Andersen [D]: Ein Schiff wird kommen [F]
Autor: Fini Busch & Manos Hadjidakis
Label und Katalognummer: Electrola E 21615, Electrola SME 73 328
Veröffentlicht: 1960 10 (Single), 1962 (Album)
Genretags: Europeana - Schlager
Crime [D]: Hotwire My Heart [F]
Label und Katalognummer: Crime sac 0188
Veröffentlicht: 1976 12 (Single)
Genretags: Rock - Punkrock - Garagepunk, Rock - Punkrock - San-Francisco-Punk
Bemerkungen: Der Track wurde von Sonic Youth gecovert.
Zarah Leander [D]: Ich weiß, es wird einmal ein Wunder geschehen [F]
Autor: Bruno Balz & Michael Jary
Label und Katalognummer: Odeon O 4636
Veröffentlicht: 1942 06 (Single)
Genretags: Europeana - Schlager
Die Lassie Singers [D]: Liebe Wird Oft überbewertet [F]
Autor: Christiane Rösinger
Label und Katalognummer: Dragnet DRA 663181, Dragnet 484173
Produktion: Thomas Meinecke
Veröffentlicht: 1996 05 (Single), 1996 (Album)
Genretags: Indiepop - Lo-Fi-Pop, Indiepop - Tweepop
Sheryl Crow [D]: Live Wire [F]
Assoziierte Acts: Bonnie Raitt (feat.) & Mavis Staples (feat.)
Autor: Sheryl Crow & Jeff Trott
Label und Katalognummer: Selbstrelease (Youtube Audio), Big Machine
Produktion: Steve Jordan
Veröffentlicht: 2019 05 23 (Digital), 2019 08 30 (Album)
Genretags: Country - Americana-Revival
Vicky [D]: Morgen sehen wir uns wieder [F]
Assoziierte Acts: Vicky Leandros & Orchester Arno Flor
Autor: Ralf Arnie & Klaus Munro & Mario Panas
Label und Katalognummer: Philips 346 089 PF
Veröffentlicht: 1967 09 (Single)
Genretags: Europeana - Schlager - TV-Schlager
Delgados [D]: Pull The Wires From The Wall [F]
Autor: Delgados
Label und Katalognummer: Chemikal Underground CHEM023CD, Chemikal Underground CHEM024CD
Produktion: Delgados
Veröffentlicht: 1998 04 04 (Single), 1998 06 08 (Album)
Genretags: Newpop - Artpop - Chamberpop
Haim [D]: The Wire [F]
Autor: Alana Haim & Danielle Haim & Este Haim
Label und Katalognummer: Columbia, Columbia 377097
Produktion: Alana Haim & Danielle Haim & Este Haim & Ariel Rechtshaid
Veröffentlicht: 2013 08 (Digital Single), 2013 09 30 (Album)
Genretags: Post-Millennial-Music - Poprock - Altpop
Bemerkungen: siehe Blogeintrag
Vicky Leandros [D]: Theo, wir fahr'n nach Lodz [F]
Autor: Leo Leandros & Fritz Löhner-Beda & Klaus Munro & Artur Marcell Werau
Label und Katalognummer: Philips 6000 143, Philips 6303 114
Produktion: Leo Leandros
Veröffentlicht: 1974 04 (Single), 1974 07 16 (Album)
Genretags: Europeana - Schlager
Kanye West [D]: Through The Wire [F]
Autor: Kanye West & David Foster & Tom Keane & Cynthia Weil
Label und Katalognummer: Roc-A-Fella B0001441 11, Roc-A-Fella B0002030 02
Produktion: Kanye West
Veröffentlicht: 2003 09 30 (Single), 2004 02 10 (Album)
Genretags: Afroamericana - R'n'B-Renaissance
Fall [D]: Totally Wired [F]
Autor: Mark E. Smith & Craig Scanlon & Marc Riley
Label und Katalognummer: Rough Trade RT 056
Produktion: Fall
Veröffentlicht: 1980 09 (Single)
Genretags: Rock - Punkrock - Artpunk
Goldy Und Peter De Vries [D]: Von den blauen Bergen kommen wir [F]
Assoziierte Acts: Goldy und Peter De Vries mit dem Horst Wende-Trio
Autor: Traditional & Goldy De Vries & Peter De Vries & Heinz Woezel
Label und Katalognummer: Polydor 48 171
Veröffentlicht: 1949 (Single)
Genretags: Europeana - Schlager - Countryschlager
Bemerkungen: Niederländisches Duo, das auf Country- und Bluegrass-Stücken spezialisiert war.
Rudi Carrell [D]: Wann wird's mal wieder richtig Sommer [F]
Autor: Steve Goodman & Thomas Woitkewitsch
Label und Katalognummer: m 13 900 AT, m 88 666 IT
Produktion: Thomas Woitkewitsch
Veröffentlicht: 1975 (Single), 1975 (Album)
Genretags: Europeana - Schlager - TV-Schlager
Bernadette La Hengst [D]: Weh tun (wir bleiben in Bewegung) [F]
Label und Katalognummer: Trikont US 0299
Veröffentlicht: 2002 04 22 (Album)
Genretags: Alternativerock - Diskursrock - Hamburger-Schule, Newpop - Electropop
Greie Gut Fraktion [D]: Wir bauen eine neue Stadt [F]
Assoziierte Acts: AGF & Antye Greie & Gudrun Gut
Autor: Holger Hiller
Label und Katalognummer: Monika Enterprise monika 69
Produktion: Antye Greie & Gudrun Gut
Veröffentlicht: 2010 07 06 (Album)
Genretags: Electronica - Breakbeat - Triphop, Electronica - Soundart - Konkrete-Poesie
Tina York [D]: Wir laßen uns das Singen nicht verbieten [F]
Autor: Fred Jay & Jack White [D]
Label und Katalognummer: CBS 2746, CBS 80 694
Produktion: Jack White [D]
Veröffentlicht: 1974 (Single), 1975 (Album)
Genretags: Europeana - Schlager - Stimmungsschlager
Heinz Rudolf Kunze [D]: Wir leben alle im Erdgeschoss [F]
Veröffentlicht: 1981
Ton Steine Scherben [D]: Wir müssen hier raus! [F]
Autor: Ralph Möbius & Ralph Steitz
Label und Katalognummer: David Volksmund Produktion TSS 17
Produktion: Ton Steine Scherben
Veröffentlicht: 1972 11 17 (Album)
Genretags: Rock - Poprock - Deutschrock
Paul Van Dyk & Peter Heppner [D]: Wir Sind Wir (Ein Deutschlandlied) [F]
Autor: Paul Van Dyk & Peter Heppner
Label und Katalognummer: Zeitgeist 9874310
Produktion: Paul Van Dyk & Peter Heppner
Veröffentlicht: 2004 07 12 (Single)
Genretags: Electronica - Trance - Vocaltrance
Bemerkungen: Peter Heppner war der Sänger von Wolfsheim.
2Raumwohnung [D]: Wir trafen uns in einem garten [F]
Veröffentlicht: 2000
Der Plan [D]: Wir werden immer mehr [F]
Veröffentlicht: 1981
Genretags: Postpunk - Electronic-Postpunk - Minimalsynth
Bemerkungen: Dieses Musikvideo war früher in der Medien-Datenbank gespeichert und hatte die ID 2525.
Halim El-Dabh [D]: Wire Recorder Piece [F]
Autor: Halim El-Dabh
Label und Katalognummer: Without Fear WFR 003
Produktion: Halim El-Dabh
Veröffentlicht: 1944 (Rec.), 2000 (Album)
Genretags: Akademica - Elektronische-Musik - Konkrete-Musik
Bemerkungen: Erzeugt mit einem Draht-Tonbandgerät. Das erste Stück musique concrète, Tapemusic bzw. Elektroakustische Musik.
Cliff Richard [D]: Wired for Sound [F]
Autor: B.A. Robertson & Alan Tarney
Label und Katalognummer: EMI EMI 5221, EMI EMC 3377
Produktion: Alan Tarney
Veröffentlicht: 1981 08 17 (Single), 1981 09 14 (Album)
Genretags: Pop - Softrock, Rock - AOR-Rock - AOR-Poprock
Bemerkungen: 1979 brachte Sony den Walkman auf den Markt. Im Lied geht es darum, dass man überall, auch unterwegs, mit Musik verbunden ist. Heute eine Selbstverständlichkeit, damals ein brandneues Lebensgefühl.
Red Fang [D]: Wires [F]
Veröffentlicht: 2011 05 14 (Digital)
Genretags: Alternativerock - Stonerrock, Metal - Numetal - Sludgemetal
Bemerkungen: Dieses Musikvideo war früher in der Medien-Datenbank gespeichert und hatte die ID 391.
Suchresultate Songs: Treffer bei Autoren
Impalas [D]: Sorry (I Ran All The Way Home) [F]
Autor: Arthur Zwirn & GIo Giosasi
Label und Katalognummer: Cub 9022
Veröffentlicht: 1959 03 (Single), 1959 (Album)
Genretags: Afroamericana - Rhythm'n'Blues - Doo-Wop
Mood-Mosaic [D]: A Touch Of Velvet - A Sting Of Brass [F]
Assoziierte Acts: Ladybirds (feat.) & Mark Wir
tz
Autor: J. Ferdy & Mark Wir
tz
Label und Katalognummer: Columbia (EMI) DB 7801, Columbia (EMI) SX 6153
Produktion: Mark Wir
tz
Veröffentlicht: 1966 01 (Single), 1969 (Album)
Genretags: Pop - Orchestralpop - Psychedelicpop
Bemerkungen: J. Ferdy ist ein Pseudonym von Wirtz">Mark Wir
tz
Keith West [D]: Excerpt From A Teenage Opera (= Grocer Jack) [F]
Assoziierte Acts: Mark Wir
tz Orchestra
Autor: Keith Alan Hopkins & Mark Wir
tz
Label und Katalognummer: Parlophone R 5623
Produktion: Mark Wir
tz
Veröffentlicht: 1967 07 28 (Single)
Genretags: Pop - Progressivepop - Psychedelicpop
Janis Joplin [D]: Mercedes Benz [F]
Autor: Janis Joplin & Michael McClure & Bob Neuwirth
Label und Katalognummer: Columbia KC 30322, Columbia 4-45379
Produktion: Paul A. Rothchild
Veröffentlicht: 1971 01 (Album), 1971 04 (Single-B)
Genretags: Rock - Bluesrock
Sylvester [D]: You Make Me Feel (Mighty Real) [F]
Autor: Sylvester James & James Wir
rick
Label und Katalognummer: Fantasy 12FTC 160, Fantasy F 9556
Produktion: Harvey Fuqua & Sylvester James
Veröffentlicht: 1978 08 (Single), 1978 (Album)
Genretags: Disco - Popdisco - Hi-NRG
Taylor Dane [D]: Tell It to My Heart [F]
Autor: Ernie Gold & Seth Swirsky
Label und Katalognummer: Arista AS1 9612, Arista AL 8529
Produktion: Ric Wake
Veröffentlicht: 1987 10 (Single), 1988 01 19 (Album)
Genretags: Newpop - Dancepop
Manic Street Preachers [D]: Motown Junk [F]
Autor: James Dean Bradfield & Richey James & Sean Moore & Nicky Wir
e
Label und Katalognummer: Heavenly Recordings HVN 008, Epic ESCA 5468
Produktion: Robin Wynn Evans
Veröffentlicht: 1991 01 21 (Single), 1991 10 25 (EP)
Genretags: Alternativerock - Punkrock - Glampunk
Swirlies [D]: Bell [F]
Autor: Swirlies
Label und Katalognummer: Taang! TAANG! 67
Produktion: Swirlies
Veröffentlicht: 1993 03 26 (Album)
Genretags: Indiepop - Noisepop - Shoegaze
Manic Street Preachers [D]: From Despair To Where [F]
Autor: James Dean Bradfield & Richey James & Sean Moore & Nicky Wir
e
Label und Katalognummer: Columbia 474064, Columbia 659337
Produktion: Dave Eringa
Veröffentlicht: 1993 06 21 (Album), 1993 06 07 (Single)
Genretags: Alternativerock - Punkrock - Glampunk
Manic Street Preachers [D]: A Design For Life [F]
Autor: James Dean Bradfield & Sean Moore & Nicky Wir
e
Label und Katalognummer: Epic XPCD 2030, Sony Music Entertainment (UK) 483930
Produktion: Mike Hedges
Veröffentlicht: 1996 04 15 (Single), 1996 05 23 (Album)
Genretags: Alternativerock - Punkrock - Glampunk
Maic Street Preachers [D]: The Classes Against The Masses [F]
Autor: James Dean Bradfield & Sean Moore & Nick Wir
e
Label und Katalognummer: Epic 668530
Produktion: Dave Eringa
Veröffentlicht: 2000 01 10 (Single)
Genretags: Alternativerock - Poprock - Powerpop
Manic Street Preachers [D]: This Joke Sport Severed [F]
Autor: James Dean Bradfield & Richey Edwards & Sean Moore & Nicky Wir
e
Label und Katalognummer: Sony 7520582
Produktion: Steve Albini & Dave Eringa
Veröffentlicht: 2009 05 18 (Album)
Genretags: Alternativerock - Punkrock - Glampunk
Rihanna [D]: Rude Boy [F]
Autor: Esther Dean & Mikkel S. Eriksen & Rihanna Fenty & Tor Erik Hermansen & Makeba Riddick & Rob Swire
Label und Katalognummer: Def Jam B 0013827, Def Jam
Produktion: StarGate & Rob Swire
Veröffentlicht: 2009 11 23 (Album), 2010 02 22 (Single)
Genretags: Afroamericana - R'n'B-Renaissance
Manic Street Preachers [D]: Postcards From A Young Man [F]
Autor: James Dean Bradfield & Sean Moore & Nicky Wir
e
Label und Katalognummer: Columbia 88697741882, Columbia 88697854622
Produktion: James Dean Bradfield & Dave Eringa & Sean Moore & Loz Williams & Nicky Wir
e
Veröffentlicht: 2010 09 20 (Album), 2011 02 28 (Single)
Genretags: Alternativerock - Punkrock - Glampunk
Stefflon Don [D]: Hurtin' Me [F]
Assoziierte Acts: French Montana (feat.)
Autor: Stephanie Allen & Rodney Hwingwiri & Karim Kharbouch
Label und Katalognummer: Polydor
Produktion: Rymez
Veröffentlicht: 2017 08 10 (Single)
Genretags: Electropop
Little Dragon & Moses Sumney [D]: The Other Lover [F]
Autor: Erik Bodin & Yukimi Nagano & Fredrik Wallin & Håkan Wir
enstrand
Label und Katalognummer: Ninja Tune
Veröffentlicht: 2020 12 (Digital)
Genretags: Post-Millennial-Music - Digital-Underground - Progressive-Pop
Suchresultate Songs: Treffer in Lyrics
2 unlimited [D]: Info Superhighway [F]
Autor: Peter Bauwens & Anita Dels & Ray Slijngaard & Phil Wilde
Label und Katalognummer: Byte Records BYTE 103
Produktion: Jean-Paul De Coster & Phil Wilde
Veröffentlicht: 1994 06 06 (Album)
Genretags: Newpop - Electronicpop - Technopop
2NE1 [D]: I AM THE BEST (= 내가 제일 잘 나가) [F]
Autor: Teddy Park
Label und Katalognummer: YG Entertainment, YG Entertainment YGK 0057
Produktion: Kush & Lydia Paek & Teddy Park
Veröffentlicht: 2011 06 24 (Digital), 2011 07 28 (EP)
Genretags: Electropop - Globalpop - K-Pop
A.R. Kane [D]: Lollita [F]
Autor: Alex Ayuli & Rudy Tambala
Label und Katalognummer: 4AD BAD 0704
Produktion: Robin Guthrie
Veröffentlicht: 1987 07 (EP)
Genretags: Indiepop - Noisepop - Etherealwave, Indiepop - Noisepop - Shoegaze
Ab-Soul [D]: RAW (Backwards) [F]
Assoziierte Acts: Zacari (feat.)
Label und Katalognummer: Top Dawg Entertainment (Soundcloud), Top Dawg Entertainment
Produktion: Juice of All Trades
Veröffentlicht: 2016 12 08 (Digital), 2016 12 09 (Album)
Genretags: Hip-Hop - Traprap
Absolute Beginner [D]: Füchse [F]
Assoziierte Acts: Samy Deluxe (feat.)
Autor: Jan Eissfeldt
Label und Katalognummer: Buback UMD 70095
Produktion: Platin Martin
Veröffentlicht: 1998 11 10 (Album), 1999 (Single)
Genretags: Hip-Hop - Goldenage - Poprap, Hip-Hop - Goldenage - Deutscher-Hip-Hop
Ace Tee [D]: Bist du down [F]
Assoziierte Acts: Kwam.e (feat.)
Produktion: Plusma
Veröffentlicht: 2016 12 20
Genretags: Afroamericana - R'n'B-Renaissance
Bemerkungen: Dieser Track wurde binnen Tagen zum Indie-Ereignis. Am 20. Dezember wurde das Video von der Künstlerin auf YouTube hochgeladen. Am nächsten Tag markierte ein kanadischer Blogger den Track, ein weiterer Tag später die deutsche Hip-hop-Community. Am Tag darauf forcierte das Label den Digital-Release auf den 24 Dez., am Weihnachtstagsprangen VogueUS und The Fader auf. Am 4. Januar kam der track in den Streaming Services, am 10. Januar berichteten die Mainstreammedien darüber (SPiegelOnline, Süddeutsche). Am 17 Jan. war Bist du down
in dne viral charts Top 10, am 27. Jan. in den deutschen Airplay Charts Top 10.
Adamo [D]: Es geht eine Träne auf Reisen [F]
Assoziierte Acts: Salvatore Adamo
Autor: Salvatore Adamo & Carl-Ulrich Blecher
Label und Katalognummer: Columbia (EMI) C 23 680, Columbia (EMI) 1 C 062-23 056
Veröffentlicht: 1968 11 (Single), 1971 (Album)
Genretags: Europeana - Schlager
Agnetha Fältskog [D]: Jag var så kär [F]
Autor: Agnetha Fältskog
Label und Katalognummer: Cupol CS 45-211, Cupol CLP 64
Produktion: Karl Gerhard Lundkvist
Veröffentlicht: 1967 (Single), 1968 12 (Album)
Genretags: Pop - Progressivepop - Baroquepop
Bemerkungen: Die Debut-Single der 17-jährigen Agnetha Fältskog war ein Top-Hit in Schweden, verkaufte 80'000 Exemplare und verdrängte die Beatles vom Platz 1.
Fältskog war die erste der späteren Abba, die einen Nummer-1-Hit hatte – sowohl als Interpretin als auch als Songwriterin. Sie schrieb den Titel nämlich selbst.
Agnetha Fältskog [D]: Zigenarvän [F]
Autor: Agnetha Fältskog & Bib Haslam
Label und Katalognummer: Cupol CS 260, Cupol CLP 80
Produktion: Karl Gerhard Lundkvist
Veröffentlicht: 1969 11 (Single), 1969 11 (Album)
Genretags: Europeana - Schlager, Pop - Vocalpop
Bemerkungen: übersetzt: «Gypsy Friend»
flüchtige Begenung mit fahrendem Volk (Sinti, Roma)
Exotik zuhause, man muss nict selber reisen
Alan Walker [D]: Diamond Heart [F]
Assoziierte Acts: Sophia Somajo (feat.)
Autor: Yann Bargain & Anders Froen & Gunnar Greve & Kristoffer Haugan & Mood Melodies & James Njie & Edvard Normann & Fredrik Borch Olsen & Sophia Somajo & Thomas Troelsen & Victor Verpillat & Alan Walker
Label und Katalognummer: MER, MER
Produktion: Yann Bargain & Mood Melodies & Victor Verpillat & Alan Walker
Veröffentlicht: 2018 09 28 (Digital), 2018 12 14 (Album)
Genretags: Electropop
Alexandra [D]: Grau zieht der Nebel [F]
Autor: Salvatore Adamo & Ernst Bader
Label und Katalognummer: Philips 844 338 PY, Philips 388 423 PF
Produktion: Fred Weyrich
Veröffentlicht: 1968 12 05 (Album), 1969 12 30 (Single)
Genretags: Europeana - Schlager - Chanson-Schlager
Andrea Jürgens [D]: Und dabei liebe ich euch beide [F]
Autor: Jon Athan & Jack White [D]
Label und Katalognummer: Ariola 11 646 AT
Produktion: Jack White [D]
Veröffentlicht: 1977 (Single)
Genretags: Europeana - Schlager - TV-Schlager, Europeana - Schlager - Schnulze
Angels Of Light [D]: Two Women [F]
Autor: Michael Gira
Label und Katalognummer: Young God Records YG 16
Produktion: Michael Gira
Veröffentlicht: 2001 03 20 (Album)
Genretags: Alternativerock - Gothrock - Southerngoth
Animal Collective [D]: Winters Love [F]
Autor: Noah Lennox & David Portner
Label und Katalognummer: FatCat FAT-SP 08
Produktion: Rusty Santos
Veröffentlicht: 2004 05 03 (Album)
Genretags: Folk - Freakfolk - Noisefolk
Arcade Fire [D]: Month Of May [F]
Autor: Arcade Fire
Label und Katalognummer: Merge MRG 393, Merge MRG 385
Produktion: Arcade Fire & Markus Dravs
Veröffentlicht: 2010 05 27 (Single), 2010 08 03 (Album)
Genretags: Post-Millennial-Music - Poprock - Artpop
Ariel Pink & Weyes Blood [D]: Tears On Fire [F]
Label und Katalognummer: Mexican Summer (Youtube Audio), Mexican Summer MEX 230, Mexican Summer MEX 230
Veröffentlicht: 2017 01 10 (Digital), 2017 01 10 (Single), 2017 01 27 (EP)
Genretags: Post-Millennial-Music - Psychedelia - Psychedelicpop
Arthur Collins [D]: Hello, Ma Baby (Hello, Ma Ragtime Gal) [F]
Autor: Ida Emerson & Joseph E. Howard
Label und Katalognummer: Edison Records 5470
Veröffentlicht: 1899 (Zylinder Single), 1899 (Work)
Genretags: Traditionalpop - Varieteepop - Vaudeville, Traditionalpop - Varieteepop - Coonsong
AURORA [Norwegen] [D]: The River [F]
Label und Katalognummer: Decca, Glassnote
Produktion: AURORA & Magnus Skylstad
Veröffentlicht: 2019 05 10 (Digital), 2019 06 07 (Album)
Genretags: Post-Millennial-Music - Lo-Fi-Underground - Artpop
Ärzte [D]: Männer sind Schweine [F]
Autor: Farin Urlaub
Label und Katalognummer: Hot Action 557 160, Hot Action 568 666
Produktion: Die Ärzte & Uwe Hoffmann
Veröffentlicht: 1998 05 25 (Album), 1998 (EP)
Genretags: Rock - Poprock - Deutschrock, Alternativerock - Punkrock - Deutschpunk
BAP [D]: Kristallnaach [F]
Autor: Klaus Heuser & Wolfgang Niedecken
Label und Katalognummer: Musikant 1C 064-46 639, Musikant 1C 006-64 913
Produktion: BAP & Helmuth Rüssmann
Veröffentlicht: 1982 08 24 (Album), 1982 (Single)
Genretags: Rock - Poprock - Dialektrock
Barbara Morgenstern [D]: The Operator [F]
Autor: Barbara Morgenstern
Label und Katalognummer: Monika Enterprise monika 46, Monika Enterprise monika 47
Produktion: Barbara Morgenstern
Veröffentlicht: 2006 03 24 (Single), 2006 04 22 (Album)
Genretags: Indiepop - Electronicpop - Indietronica
Barbara Morgenstern [D]: Der Augenblick [F]
Autor: Barbara Morgenstern
Label und Katalognummer: Monika Enterprise monika 16
Produktion: Stefan Betke & Barbara Morgenstern
Veröffentlicht: 2000 10 (Album)
Genretags: Indiepop - Electronicpop - Indietronica
Barbra Streisand [D]: Evergreen (Love Theme From 'A Star Is Born') [F]
Autor: Barbra Streisand & Paul Williams
Label und Katalognummer: Columbia 3-10450, Columbia JS 34403
Produktion: Phil Ramone & Barbra Streisand
Veröffentlicht: 1976 11 15 (Single), 1976 11 (Album)
Genretags: Pop - Softrock - Ballade
Bemerkungen: Der von Barbra Streisand selber geschriebene Song war der Hit aus dem Film «A Star is Born» von 1976. Es ist ein herausragende Exposition der Register, Vokalstile und -techniken, die diese Jahrhundertsängerin beherrschte.
Romantisches Lied über die ewige Dauer der Liebe. Man erfährt dabei nichts Konkretes über die Erzählerin oder ihr Liebesobjekt, was typisch ist für Songs, die in der Tradition der Tin Pan Alley stehen.
Querverweise
– zum Film A Star Is Born.
Links
– zu Isolated-Tracks
Baschi [D]: Bring en hei [F]
Autor: Sebastian Bürgin & Roman Camenzind & Hank Merk
Label und Katalognummer: Universal 987 836, Universal 0602517693852
Produktion: Roman Camenzind
Veröffentlicht: 2006 05 12 (Single), 2008 05 02 (Single)
Genretags: Newpop - Vocalpop
Bemerkungen: Schweizer Song der Euro 2008, die bisher erfolgreichste Schweizer Single
Bata Illic [D]: Michaela [F]
Autor: Jean Frankfurter & Werner Krisch & Robert Puschmann
Label und Katalognummer: Polydor 2041 256, Polydor 2371 260
Veröffentlicht: 1972 05 (Single), 1972 (Album)
Genretags: Europeana - Schlager - TV-Schlager
Bausa [D]: Was du Liebe nennst [F]
Autor: Julian Otto
Label und Katalognummer: Warner Germany
Produktion: Bausa & Jugglerz & The Cratez
Veröffentlicht: 2017 09 29 (Single)
Genretags: Hip-Hop - Traprap
Be Bop Deluxe [D]: Adventures in a Yorkshire Landscape [F]
Assoziierte Acts: Be-Bop Deluxe
Autor: Bill Nelson
Label und Katalognummer: Harvest SHVL 813
Produktion: Ian McLintock
Veröffentlicht: 1974 06 (Album)
Genretags: Rock - Artrock - Glamrock
Beach Slang [D]: Bad Art & Weirdo Ideas [F]
Label und Katalognummer: Selbstrelease (Soundcloud), Big Scary Monsters, Polyvinyl Record Company PRC 305
Veröffentlicht: 2015 08 04 (Digital), 2015 08 06 (Single), 2015 10 30 (Album)
Genretags: Alternativerock - Hardcorepunk - Emocore
Beatles [D]: I Want To Hold Your Hand [F]
Autor: Lennon-McCartney
Label und Katalognummer: Parlophone R 5084, Capitol 5112
Produktion: George Martin
Veröffentlicht: 1963 11 29 (Single UK), 1964 01 13 (Single US), 1963 10 17 (Rec.)
Genretags: Rock'n'Roll - Beat - Merseybeat, Rock - Poprock, Pop - Vocalpop
Bemerkungen: «I Want To Hold Your Hand» war die fünfte britische Single der Beatles und diejenige, mit der der Durchbruch der Band in den USA bewerkstelligt werden konnte. Ende November 1963 kam sie im UK heraus und wurde 1 Million Mal vorbestellt. Zwei Wochen lang konnte sich She Loves You noch auf Platz 1 der Charts halten, bevor «I Want To Hold Your Hand» der neue UK-Top-Hit wurde. Damit löste sich die Band selbst an der Spitzenposition ab, was nicht gerade häufig geschieht.
In den USA wurde der titel zur ersten Single, die vom Capitol Label gepresst und distribuiert wurde. Die Platte kam Mitte Januar 1964 heraus und schaffte in der ersten Woche Platz 45, in der zweiten Platz 3 und in der dritten (am 1. Februar) im Top-Slot. Damit hatten es die Beatles ein Jahr nach Grossbritannien auf dem Amerikanischen geschafft, auch in den USA ein Top-Act zu sein.
Kulturgeschichtlich gilt «I Want To Hold Your Hand» als Start in ein neues Kapitel der Geschichtsschreibung der Populären Musik, das überschrieben ist mit «British Invasion». Im Zeitfenster dieser «British Invasion» erreichten viele englische Acts Spitzenpositionen in den Billboard Hot 100, wo in den vielen Jahren davor, selten ein britischer Titel überhaupt in diese Charts gekommen war.
Struktur
Die Songstruktur von «I Want To Hold Your Hand» ist verglichen mit She Loves You eher traditionell und konservativ. Eine 47-taktige AABA-Form mit partieller Reprise (A–B).
Aufnahme
Dies ist der erste Song der Beatles, der auf einer Vierspurmaschine aufgenommen wurde (in der selben Session wie die Flipside This Boy).
Erfolg
«I Want To Hold Your Hand» wurde weltweit die Single der Beatles, die sich mit mehr als 12 Million Stück am meisten verkauft hat. In der englischen Heimat wurde ihr langfristiger Erfolg lediglich von She Loves You übertroffen. Als das Billboard Magazine 2018 die grössten Hits seit dem Bestehen der Billboard Hot 100 auflistete, war «I Want To Hold Your Hand» an 48er Stelle.
Beatles [D]: I Saw Her Standing There [F]
Autor: Lennon-McCartney
Label und Katalognummer: Parlophone PMC 1202, Capitol 5112
Produktion: George Martin
Veröffentlicht: 1963 03 22 (Album), 1964 01 13 (Single)
Genretags: Rock'n'Roll - Beat - Merseybeat
Bemerkungen: «I Saw Her Standing There» ist ein Track der Beatles, der zu einem Rock-'n'-Roll-Standardgeworden ist. Man findet den Song als «opener» auf Please Please Me, als Flipside der US-Single von I Want To Hold Your Hand. Als diese chartete der Song auf Platz 14 der Billboard Hot 100 (damals waren auch B-Seiten Hitparaden-fähig, sofern das Radio sie spielte). Schliesslich fand man den track auf der US-LP «Introducing The Beatles» (mehr Details siehe Wikipedia).
Der Song erschien in der Zeit als Mono- und als Steromix. 2023 kam auch eine Demix-Version für die Wiederauflage des Roten Albums heraus, die durch die Track-Separation mit Artificial Intelligence Technologie) enorm dazugewonnen hat.
Entstehung
Die Idee zum Song geht auf Paul McCartney zurück. Ausgearbeitet haben ihn beide Komponisten, Lennon-McCartney. Während den Sessions hiess der Song noch «Seventeen». Die Eröffnungslinie von Paul lautete: «She was just seventeen. She never was a beauty queen.» John macht daraus die abgeklärte und coole Zeile: «You know what I mean». Damit erhält der Song eine Kräftige Prise sexual innuendo. Hier wird etwas angedeutet, ohne es zu sagen.
Thema
Das Thema des Songs ist typisch Rock ‘n’ Roll: Es geht um den Tanz mit einer Frau, der konnotiert ist mit Sex. In Rock-’n’-Roll-Songs geht es zuweilen um junge Frauen (hier oder bei Chuck Berrys Sweet Little Sixteen. Das kann man als eine Referenz ans Publikum sehen, in dem ja viele junge Frauen sitzen und kreischen. In der Zeit von #MeToo mag man sich fragen, ob diese Musiker auf ihre Beziehungen mit minderjährigen Frauen hinwiesen. (Paul hatte damals eine 17-jährige Freundin.) Nun, das Schutzalter war 16. Damit kann man hier nichts Illegales entdecken.
Struktur
Der Song weist eine AABA-Struktur auf mit partieller Reprise, wobei die 16-taktigen A-Teile konventionellerweise in je 8-taktige Verses und Refrains eingeteilt werden. Man muss dabei beachten, dass der eigentliche Refrain nur aus der Titelzeile besteht.
Harmonie
«I Saw Her Standing There» verwendet die Grundharmonien des 12-Bar-Blues. Diese werden aber freier gespielt und die Gitarristen verwenden zudem viele «Seven-Chords», was dem Song einen Jazz-/Blues-Charakter verleiht. Die Beatles übernahmen diese Spielweise von Eddie Cochran und Tony Sheridan (Ian Macdonald, 1994, p. 55).
Versionen
Live soll die Gruppe diesen Track oft auf bis zu zehn Minuten ausgedehnt haben. Leider ist keine Aufnahme überliefert (Ian Macdonald, 1994, p. 55).
Aufnahme
Es brauchte neun Takes, um den Backingtrack einzuspielen, wobei am Ende doch Take 1 verwendet wurde. Drei Overdubs (Vocals über Take-2 und zwei Mal Handclaps über Take 1). Aus Take 9 wurde das ikonische Einzählen zu Take 12 hinzu montiert (Spoonbill).
Fehler
Vor dem Gitarrensolo wurde editiert, man hört die Stimme bei «there» aus zwei Takes. Wie dieser Editing-Fehler entstanden ist, lässt sich aus meinen Quellen nicht nachvollziehen – wurde vielleicht das Gitarrensolo aus einem anderen Take hinein editiert?
Stehen gelassene Spielfehler gibt es bei 1:11 – der Bass spielt eine falsche Note an sechster Stelle des 8-Ton-Musters. Glücklicherweise wird das durch den Drum-Fill versteckt. Bei 1:25 singt McCartney «Now, I'll never dance ...» während Lennon «I wouldn't dance ....» singt (siehe: cbc.ca).
Links
–
Rock Band Stems (Youtube Kanal): Isolated Tracks
– Isolatedtracks.com: Isolated Tracks
– Noten
– Gitarren-Akkorde
– Mike Pachelli: Gitarren-Lektion
– Mike Pachelli: Bass-Lektion Tracks
– Hooktheory: I Saw Her Standing There
– Isolated Tracks
Beatles [D]: A Hard Day's Night [F]
Autor: Lennon-McCartney
Label und Katalognummer: Parlophone PMC 1230, Parlophone R 5160 (Single UK), Capitol 5222 (Single USA),
Produktion: George Martin
Veröffentlicht: 1964 07 10 (Album), 1964 07 10 (Single UK), 1964 07 13 (Single USA), 1964 04 16 (Rec.)
Genretags: Pop - Vocalpop, Rock'n'Roll - Beat - Merseybeat
Bemerkungen: Der Songtitel ist ein Wortspiel von Ringo Starr. Die Beatles arbeiteten in der Regel am Abend bis in die Nacht hinein im Studio. Wenn sie erst in den frühen Morgenstunden nach Hause gingen, sagte Ringo «It's been a hard day's night» (eine Abwandlung von «It's been a hard day's work»). Der Sound des Stücks ist – wie die meisten Songs auf dem zugehörigen Album A Hard Day's Night geprägt von George Harrisons 12-saitiger Rickenbacker-Gitarre.
Songstruktur
AABA-Struktur mit partieller Reprise: AABA+ABA, wobei das erste A der Reprise semi-instrumental ist. Intro und Coda sind zum Song hinzu montierte Elemente: Das Intro besteht aus einem erratischen Flat-7-Akkord, der angeschlagen wird und während etwa drei Sekunden ausklingt. Als erratisch kann man diesen bezeichnen, weil er nicht wie andere Intros nach dem Takt-Schema des Songs gebaut ist. Es ist der erste Flat-7-Akkord, den man bei den Beatles hört. Solche Akkorde werden die experimentelle Phase der Gruppe prägen.
Dass auch das ausklingende Arpeggio in der Coda hinzumontiert ist, hört man sehr deutlich in den Isolated Tracks (bei 9:41).
Querverweise
– Peter Sellers: A Hard Day's Night Parodie
– Andrew Hickey: A History of Rock Music in 500 Songs: Episode 120: «A Hard Day’s Night» by the Beatles (Podcast)
Bee Gees [D]: Edison [F]
Autor: Barry Gibb & Maurice Gibb & Robin Gibb
Label und Katalognummer: Polydor 184 199/200
Produktion: Barry Gibb & Maurice Gibb & Robin Gibb & Robert Stigwood
Veröffentlicht: 1969 01 (Album)
Genretags: Pop - Progressivepop - Baroquepop
Bemerkungen: Der Song beginnt mit einem Intro, das ähnlich klingt wie dasjenige von White Room von Cream.
Bernadette La Hengst [D]: Weh tun (wir bleiben in Bewegung) [F]
Label und Katalognummer: Trikont US 0299
Veröffentlicht: 2002 04 22 (Album)
Genretags: Alternativerock - Diskursrock - Hamburger-Schule, Newpop - Electropop
Bernd Clüver [D]: Der kleine Prinz (Ein Engel, der Sehnsucht heißt) [F]
Autor: Peter Orloff
Label und Katalognummer: Hansa 12 795 AT, Hansa 87 064 IT
Produktion: Peter Orloff
Veröffentlicht: 1973 08 (Single), 1973 (Album)
Genretags: Europeana - Schlager - TV-Schlager, Europeana - Schlager - Schnulze
Bernd Clüver [D]: Mike und sein Freund [F]
Autor: John Richardson & Hans-Ulrich Weigel & Alan Williams
Label und Katalognummer: Hansa 17 328 AT
Produktion: Peter Orloff
Veröffentlicht: 1976 10 (Single)
Genretags: Europeana - Schlager
Bemerkungen: Homosexualität im Schlager. Folge: Auftrittsverbot in Disco und der Hitparade. Bekenntnisse eines Schlöagerstars, dass er nicht so sei.
Beyoncé [D]: Formation [F]
Autor: Khalif Brown & Jordan Frost & Ashton Hogan & Beyoncé Knowles & Swae Lee & Michael Len Williams II
Label und Katalognummer: Selbstrelease (Youtube Video)
Produktion: Beyoncé Knowles & Mike Will Made-It & Pluss
Veröffentlicht: 2016 02 06 (Digital), 2016 04 23 (Album)
Genretags: Afroamericana - R'n'B-Renaissance
Bemerkungen: siehe: NYT Popcast zum Song (12. Februar 2016)
Bibi Johns & Hazy Osterwald Sextett [D]: Geldregen [F]
Autor: Erich Becht & Kurt Feltz
Label und Katalognummer: Polydor 24 554
Veröffentlicht: 1961 (Single)
Genretags: Europeana - Schlager
Bibio [D]: Petals [F]
Autor: Stephen Wilkinson
Label und Katalognummer: Selbstrelease (Soundcloud), Warp 265
Produktion: Stephen Wilkinson
Veröffentlicht: 2015 11 10 (Digital), 2016 04 01 (Album)
Genretags: Electronica - Folktronica
Big Thief [D]: Mary [F]
Autor: Adrianne Lenker
Label und Katalognummer: Saddle Creek, Saddle Creek LBJ 255
Produktion: Andrew Sarlo
Veröffentlicht: 2017 05 31 (Single), 2017 06 09 (Album)
Genretags: Post-Millennial-Music - Indiefolk, Post-Millennial-Music - Lo-Fi-Underground - Alternativerock
BigBang [D]: Bang Bang Bang [F]
Label und Katalognummer: YG YGK 0536, YG YGK 0726
Produktion: G-Dragon & Teddy Park
Veröffentlicht: 2015 06 02 (EP), 2016 12 13 (Album)
Genretags: Electropop - Globalpop - K-Pop
Black Dresses [D]: GO INSIDE [F]
Label und Katalognummer: Selbstrelease (Bandcamp)
Veröffentlicht: 2018 04 13 (Album), 2018 04 13 (Digital)
Genretags: Post-Millennial-Music - Lo-Fi-Underground - Noisepop
Blandine Ebinger [D]: Das Mädchen mit den Schwefelhölzchen [F]
Autor: Friedrich Hollaender
Label und Katalognummer: Elektrola ???, Columbia 1C 062-29 620
Veröffentlicht: 1928 (SIngle), 1976 (Album)
Genretags: Europeana - Schlager - Kabarett-Schlager
Bemerkungen: Noch keinen Nachweis für die Schellackplatte gefunden.
Das Lied von Friedrich Hollaender basiert auf dem Kunstmärchen von Hans Christian Andersen.
BlocBoy JB [D]: No Chorus Pt. 11 [F]
Label und Katalognummer: Bloc Nation, Selbstrelease (Youtube Video)
Produktion: Tay Keith
Veröffentlicht: 2018 05 04 (Mixtape), 2018 05 04 (Digital)
Genretags: Hip-Hop - Traprap
Blue Oyster Cult [D]: Godzilla [F]
Autor: Donald 'Buck Dharma' Roeser
Label und Katalognummer: Columbia JC 35019, Columbia 3-10697
Produktion: Blue Öyster Cult & Murray Krugman & David Lucas & Sandy Pearlman
Veröffentlicht: 1977 10 (Album), 1978 02 (Single)
Genretags: Rock - Poprock - Powerpop
Blumfeld [D]: Tausend Tränen tief [F]
Autor: Jochen Distelmeyer
Label und Katalognummer: Rough Trade D RTD 129.3563.3
Produktion: Blumfeld & Chris Von Rautenkranz
Veröffentlicht: 1999 (Single)
Genretags: Alternativerock - Diskursrock - Hamburger-Schule
Bemerkungen: Leonard Cohen macht daraus zwei Jahre später A Thousand Kisses Deep.
Blumfeld [D]: Verstärker [F]
Autor: Eike Bohiken & Eike Bohlken & Jochen Distelmeyer & Andre Rattay
Label und Katalognummer: Big Cat ABB 73, Big Cat ABB 95 SCD
Produktion: Blumfeld & Chris Von Rautenkranz
Veröffentlicht: 1994 08 22 (Album), 1995 (Single US)
Genretags: Alternativerock - Diskursrock - Hamburger-Schule
Bo Diddley [D]: Who Do You Love [F]
Autor: Bo Diddley
Label und Katalognummer: Checker 842
Produktion: Leonard Chess & Phil Chess
Veröffentlicht: 1956 07 (Single)
Genretags: Rock'n'Roll - Handjive, Rock'n'Roll - Carsound
Bob Dylan [D]: Mr. Tambourine Man [F]
Autor: Bob Dylan
Label und Katalognummer: Columbia CS 9128
Produktion: Tom Wilson
Veröffentlicht: 1965 03 22 (Album)
Genretags: Folk - Urbanfolk - American-Folkmusic-Revival, Rock - Folkrock
Bob Dylan [D]: The Lonesome Death of Hattie Carroll [F]
Autor: Bob Dylan
Label und Katalognummer: Columbia CS 8905
Produktion: Tom Wilson
Veröffentlicht: 1964 01 13 (Album), 1963 10 23 (Rec.)
Genretags: Folk - Urbanfolk - American-Folkmusic-Revival
Bemerkungen: Der Song erzählt den Rechtsfall Zanzinger. Zanzinger brachte Hattie Carroll um und kriegte dafür nur sechs Monate Gefängnis. Hattie Carroll war schwarz. Der Fall von 1963 zeigt, dass ein schwarzes Leben nicht gleich viel Wert war wie ein weisses.
Bob Dylan [D]: Tin Angel [F]
Autor: Bob Dylan
Label und Katalognummer: Columbia 88725457602
Produktion: Bob Dylan
Veröffentlicht: 2012 09 11 (Album)
Genretags: Country - Americana-Revival
Bemerkungen: Mit seinen 28 Verses ist «Tin Angel» ein Strukturmonster.
Bobby Shmurda [D]: Hot Nigga (= Hot Boy) [F]
Autor: Ackquille Pollard & Orlando Tucker
Label und Katalognummer: Epic
Produktion: Jahlil Beats
Veröffentlicht: 2014 07 25 (Digital)
Genretags: Hip-Hop - Traprap
Bon Iver [D]: Re: Stacks [F]
Autor: Justin Vernon
Label und Katalognummer: Jagjaguwar JAG 115 (Album US), 4AD CAD 2809 (Album UK), 4AD
Produktion: Justin Vernon
Veröffentlicht: 2007 07 08 (Album US),, 2008 05 12 (Album UK), 2008 12 15 (Single)
Genretags: Post-Millennial-Music - Indiefolk
Bon Iver [D]: Perth [F]
Autor: Justin Vernon
Label und Katalognummer: Jagjaguwar JAG 135
Produktion: Justin Vernon
Veröffentlicht: 2011 06 21 (Album)
Genretags: Folk - Freakfolk
Brainiac [D]: I Am A Cracked Machine [F]
Label und Katalognummer: Touch And Go TG 155
Produktion: Eli Janney
Veröffentlicht: 1996 03 26 (Album)
Genretags: Alternativerock - Noiserock
Brian Eno [D]: St. Elmo's Fire [F]
Autor: Brian Eno
Label und Katalognummer: Island ILPS 9351
Produktion: Rhett Davies & Brian Eno
Veröffentlicht: 1975 09 (Album)
Genretags: Rock - Artrock
Bemerkungen: Das Gitarrensolo von Robert Fripp sollte wie das Sprühen von Funken klingen ...
Bright Eyes [D]: Coyote Song [F]
Autor: Connor Oberst
Label und Katalognummer: Producciones Cimarrón (Vimeo Video)
Veröffentlicht: 2010 09 30 (Digital)
Genretags: Post-Millennial-Music - Indiefolk
Bemerkungen: Dieser Song wurde am 31. Juli 2010 zum Anlass eines Charity Konzerts zum ersten Mal gespielt. Es ging darum, gegen eine Gesetz anzutreten, das Latinos benachteiligt.
Bright Eyes [D]: Land Locked Blues [F]
Assoziierte Acts: Emmylou Harris (feat.)
Autor: Conor Oberst
Label und Katalognummer: Saddle Creek LBJ 072
Produktion: Mike Mogis
Veröffentlicht: 2005 01 25 (Album)
Genretags: Post-Millennial-Music - Indiefolk
Bright Eyes [D]: Four Winds [F]
Autor: Conor Oberst
Label und Katalognummer: Polydor 173 043-4, Saddle Creek LBJ 103
Produktion: Mike Mogis
Veröffentlicht: 2007 03 06 (Digital), 2007 04 10 (Album)
Genretags: Post-Millennial-Music - Indiefolk
Bruce Springsteen [D]: Born To Run [F]
Autor: Bruce Springsteen
Label und Katalognummer: Columbia 3 10209, Columbia JC 33795
Produktion: Mike Appel & Bruce Springsteen
Veröffentlicht: 1975 08 (Single), 1975 08 25 (Album)
Genretags: Rock - AOR-Rock - Heartlandrock
Bruce Woolley And The Camera Club [D]: Video Killed the Radio Star [F]
Autor: Geoff Downes & Trevor Horn & Bruce Woolley
Label und Katalognummer: Epic S EPC 7829, Epic EPC 83893
Produktion: Mike Hurst
Veröffentlicht: 1979 (Single), 1979 12 (Album)
Genretags: Newpop - Artpop
Bryan Adams [D]: Everything I Do, I Do It For You [F]
Autor: Bryan Adams & Michael Kamen & Robert John 'Mutt' Lange
Label und Katalognummer: A&M 75021 1567 7, A&M CD 505367
Produktion: Robert John 'Mutt' Lange
Veröffentlicht: 1991 07 (Single), 1991 09 (Album)
Genretags: Rock - AOR-Rock - AOR-Poprock
Buggles [D]: Video Killed The Radio Star [F]
Autor: Geoff Downes & Trevor Horn & Bruce Woolley
Label und Katalognummer: Island WIP 6524, Island ILPS 9585
Produktion: Trevor Horn
Veröffentlicht: 1979 10 12 (Single), 1980 01 30 (Album)
Genretags: Newpop - Synthpop
Bemerkungen: Erster Clip, der auf MTV ausgestrahlt worden ist (am 1 August 1981, um 0:01 Uhr).
Burning Spear [D]: Marcus Garvey [F]
Autor: Winston Rodney & Phillip Fullwood
Label und Katalognummer: Island ILPS 9377
Produktion: Jack Ruby (= Lawrence Lindo)
Veröffentlicht: 1975 (Album)
Genretags: Caribbeana - Reggae
Byrds [D]: Mr. Tambourine Man [F]
Assoziierte Acts: Gene Clark & David Crosby & Chris Hillman & Roger McGuinn
Autor: Bob Dylan
Label und Katalognummer: Columbia 4-43271, Columbia CL 2372
Produktion: Terry Melcher
Veröffentlicht: 1965 04 12 (Single), 1965 06 21 (Album)
Genretags: Rock - Folkrock - Westcoast
Bemerkungen: Dieser Song markiert den Beginn von Folkrock. Bob Dylan überliess der Band einen Song, den er selbst noch nicht aufgenommen und veröffentlicht hatte. Damals war Dylan als Songwriter auf Interpreten wie Peter, Paul and Mary oder The Byrds angewiesen, die seine Songs in die Hitparade trugen.
Die Aufnahme wurde mit Roger McGuinn an der 12-saitigen Rickenbacker Gitarre eingespielt. Diese Gitarre kaufte er nachdem er den Beatles-Film A Hard Day's Night gesehen hatte. Der Rest der Gruppe sang Harmonie. Die Studio-Musiker waren die selben, die für die Aufnahmen von Phil Spector spielten. Das Intro zum Song sei von J.S. Bach «Jesus bleibet meine Freude» inspiriert. Der Beat kam vom Beach Boys-Song Don't Worry, Baby.
Struktur
Die Songstruktur ist eine modifizierte Contrasting Verse-Chorus Form. Ungewöhnlich daran sind die unterschiedlichen Längen der Elemente: 17, 25 und 15 Takte! Bei Dylan hat der Song 3 Verses (mit verschieden langen Taktzahlen) und dauert 5,5 Minuten. Die Byrds mussten den Song ins Single-Format bringen und 2,5 Minuten draus machen. Das ging bei den langen Verses nur mit der Beschränkung auf einen einzigen Verse, der vom Chorus gerahmt wird. Da der Song mit dem Chorus beginnt, könnte man dafür argumentieren, dass es sich hier um eine inversen Verse-Chorus Form handle. Da es aber nur einen Verse gibt, greift das Konzept nicht so richtig. In Der Dylan-Version ist «Mr. Tambourine Man» genau so ein Beispiel einer inversen Verse-Chorus Form. Wichtiger als die Umkehrung ist die zeitliche Modifikation, die Verkürzung des Songs an die Grenze der Verkrüppelung.
Querverweise
– zur Flipside: I Knew I'd Want You
Byrds [D]: I Come And Stand At Every Door [F]
Assoziierte Acts: David Crosby
Autor: Nazim Hikmet
Label und Katalognummer: Columbia CS 9349
Produktion: Allen Stanton
Veröffentlicht: 1966 07 18 (Album)
Genretags: Rock - Psychedelicrock - Psychedelicfolkrock
Bemerkungen: Die Lyrics stammen vom türkischen Dichter Nazim Hikmet. Als Song adaptiert hat das Gedicht Pete Seeger.
Byron G. Harlan [D]: Hello Central, Give Me Heaven [F]
Autor: Charles K. Harris
Label und Katalognummer: Edison Records 7852
Veröffentlicht: 1901 (Single)
Genretags: Traditionalpop - Vocalpop - Ballad
C + C Music Factory [D]: Gonna Make You Sweat [F]
Autor: Robert Clivillés & Freedom Williams
Label und Katalognummer: Columbia 44K 73605, Columbia CK 47093
Produktion: David Cole & Robert Clivillés
Veröffentlicht: 1990 11 17 (Single), 1990 12 (Album)
Genretags: Newpop - Dancepop - Eurodance
Capital Bra [D]: CHERRY LADY [F]
Autor: Dieter Bohlen & Capital Bra
Label und Katalognummer: Urban
Produktion: Jumpa
Veröffentlicht: 2019 03 21 (Digital)
Genretags: Hip-Hop - Traprap
Castaways [D]: Liar Liar [F]
Autor: Denny Craswell & James Donna
Label und Katalognummer: Soma 1433
Veröffentlicht: 1965 05 (Single)
Genretags: Rock - Garagerock - Garagepunk
Caterina Valente [D]: Ganz Paris träumt von der Liebe (I Love Paris) [F]
Assoziierte Acts: Orchester Mike Firestone
Autor: Kurt Feltz & Cole Porter
Label und Katalognummer: Polydor 22 392, Polydor 45 077 LPH
Produktion: Peter Kirsten & Mal Luker
Veröffentlicht: 1954 11 (Single), 1955 09 (Album)
Genretags: Europeana - Schlager
Caterina Valente [D]: Tipitipitipso [F]
Autor: Kurt Feltz & Heinz Gietz
Label und Katalognummer: Polydor 23403
Produktion: Heinz Gietz
Veröffentlicht: 1957 04 (Single)
Genretags: Europeana - Schlager
Bemerkungen: Sauglattismus, der ins Chauvinistische kippt.
Caterina Valente & Silvio Francesco [D]: Es geht besser, besser, besser [F]
Autor: Kurt Feltz & Heinz Gietz
Label und Katalognummer: Polydor 23 116
Veröffentlicht: 1955 11 (Single)
Genretags: Europeana - Schlager - TV-Schlager
Chambers Brothers [D]: Time Has Come Today [Album] [F]
Autor: Joseph Chambers & Willie Chambers
Label und Katalognummer: Columbia CS 9522, Columbia 4-44414
Produktion: David Rubinson
Veröffentlicht: 1966 09 (Single), 1967 11 (Album), 1967 12 (Single)
Genretags: Afroamericana - Soul - Psychedelicsoul, Rock - Gospelrock, Rock - Soulrock
Bemerkungen: Die Chambers Brothers waren vier Brüder, die in Mississippi aufwuchsen und als Gospel-Chor anfingen. Als George Chambers, der älteste der Brüder, nach Los Angeles zog, reisten ihm die anderen bald nach. Zusammen mit einem weissen Schlagzeuger wurden sie eine der frühen Psychedelicsoul-Bands, die Soul mit Acidrock vermengten – sehr ähnlich wie Sly And The Family Stone.
Der Song «Time Has Come Today» wurde ihr einziger (kleiner) Hit. Er ist ein ausgezeichnetes Zeitzeugnis für das Jahr 1967 und wurde entsprechend oft, nämlich über 160 Mal, in Filmen, TV-Shows und in der Werbung eingesetzt (Pophistorydig).
Diffuse Veröffentlichungspolitik
Weil die Band in keines der herkömmlichen Musikformate passte, haderte das Label (Columbia) mit Aufnahme und Veröffentlichung des Songs. Das Zögern schlug sich darin nieder, dass vier Versionen des Songs von verschiedener Länge produziert worden sind. Die kürzeste, im September 1966 veröffentlichte Single war zweieinhalb Minuten lang. Als Flipside (Rückseite) fungierte der Track «Dinah». Der Erfolg blieb noch aus. Die späteren Versionen wurden alle länger. Die zweite Version kam im Dezember 1967 mit der Katalognummer 4-44414 und der Flipside «People Get Ready» in einer Länge von 4:45 heraus. Im Juli 1968 kam unter der selben Katalognummer mit der selben Flipside noch einmal eine Version heraus, die 3:05 dauerte. Die LP-Version vom November 1967 dauert 11 Minuten. Dies ist die Referenzversion, von der sie beiden späteren Singles abgeleitet sind. Erst die letzte Single Ausgabe von 1968 schient etwas Erfolg gehabt zu haben: 14 Wochen lang war «Tme Has Come Today» in den amerikanischen Charts und erreichte Platz 11. Bei den damals entstehenden Freeform Radio Stationen wurde «Time Has Come Today» auch in der langen Album-Version gespielt und ist ein Dauerbrenner geworden.
Radikalisierung aus dem Herzen
Der Song handelt von einem Aufbruch ins Outsidertum. Im ersten Verse verabschiedet sich der Erzähler von seiner Familie und der Gesellschaft. Diese Zeilen bringen den Generationenkonflikt der 1960er Jahre zum Ausdruck: «Young hearts can go their way / [...] / I don't care what others say / They think we don't listen anyway». Im zweiten Verse beschliesst der Erzähler auf der Strasse zu leben, nachdem in die Freundin verlassen hat und er aus der gemeinsamen Wohnung fliegt. Beide Verses laufen darauf hinaus, dass obwohl die Zeit kontinuierlich läuft, die Uhr im Song hörbar tickt, es Momente gibt, in denen man sich ausklinkt («man austickt») und die Zeit einen Punkt erreicht, an der sie einen Sprung macht. «Time Has Come Today» ist somit ein Zeugnis der Radikalisierung im öffentlichen und privaten Leben der Endsechzigerjahre. Da die Chambers Bothers stilistisch und von der gemischtrassigen Besetzung her zwischen den Stühlen sassen, kann man ihr «Time Has Come Today» sowohl als Hippie-haften Ausstieg aus der Gesellschaft als auch als politische Radikalisierung im Sinne der Black Panther Party hören. Der Aufbruch wird dabei als eine Angelegenheit des Herzens beschrieben («Young hearts» nicht «Young people»). Dann wird nachgesetzt, dass es den Erzähler nicht kümmert, was andere sagen: «I don't care what others say». In der Soziologie der 1950er Jahre, z.B. bei David Riesman wird der Gegensatz zwischen einer Aussen und einer Innenleitung thematisiert (siehe: The Lonely Crowd). Der amerikanische Mittelstand sei, so Riesman, geprägt von der Aussenleitung, d.h. dass die Menschen sich an statistischen Standards orientieren und an den Nachbarn, mit denen sie im Wettbewerb um ein besseres Leben stehen (Formel: «keeping up with the Joneses»). Im Gegensatz dazu ist ein Mensch, der sich im Herzen für etwas entscheidet, innengeleitet. Der Aussteiger-Erzähler im Song der Chambers Brothers ist genau so ein innengeleiteter Mensch, dessen «Herz» im sagt, was er tun muss, und der weiss, dass er nicht auf die anderen hören und schauen muss.
Der soziologische Gegensatz spiegelt sich auch im philosophischen Thema «Zeit». Man kann Zeit als etwas verstehen, das kontinuierlich dahin fliesst, versinnbildlicht am stetigen Ticken einer Uhr, das man vom Schlagzeuger der Band, Brian Keenan, am Anfang des Songs hört. Der gesellschaftliche Ausstieg, von dem erzählt wird, ist auch ein Ausstieg aus der kontinuierlichen Zeit. Die kontinuierliche Zeit wird am Ende des Songs unterbrochen. Wie eine Maschine, deren Antrieb aussetzt, wird die Zeit langsamer. Sie hält an. Dann wird die Soul-Nummer zum psychedelischen Freakout, zum disruptiven Erlebnis. Das Ticken des Schlagzeugs wird mit Echo-Effekten gestört, die dem eindimensionalen und monotonen Takt weitere Dimensionen verleihen.
Der Songtext ist nicht schwärmerisch, sondern realistisch, denn er spricht vom möglichen Scheitern des geplanten Ausstiegs. Es heisst «I might get burned up by the sun / But I had my fun». Diese Zeilen sind ein Zeugnis von der hedonistischen Seite des psychedelischen Rausches. Der gesellschaftliche Ausstieg und die Trips mit psychedelischen Drogen können einen Menschen verbrennen: Man hat schlechte Tripps oder kehrt nicht mehr zurück und wird psychotisch. Der Preis ist möglicherweise hoch, doch es lohnt sich wegen dem Fun-Factor. Der Generation der Babyboomer ist ein doppeltes Gesicht eingeschrieben. Es ist eine materiell verwöhnte Generation, deren Protest gegen Eltern und Gesellschaft kein persönliches Opfer sein soll, sondern Spass machen muss. Das unterscheidet sie von früheren Aussteigern, die zum Beispiel Partisanen wurden und unter Einsatz des Lebens für eine Sache kämpften. Der Ausstieg ist zugleich ein Einstieg in die hedonistische Spassgesellschaft.
Der Song enthält eine Interpolation von The Little Drummer Boy.
Das Album kam im November 1964 heraus.
Songstruktur
Intro: Schlagzeug spielt das Tick Tack einer Uhr, dann kommen zwei Gitarren dazu. Eine, die auf dem ersten Beat spielt, ist extrem verzerrt (Stichwort Fuzz) – ausgezerrt (so verzerrt, dass man den Ton fast nicht mehr erkennt). Die andere Gitarre ist leicht verzerrt und klingt melodisch hell. Zusammen spielen sie ein Riff.
Es folgen zwei Verses, die nicht sehr melodisch sind. Sie sind gerappt, wenn man rappen als Sprechgesang versteht. «Bellen» wäre auch ein treffendes Wort.
Chorus mit Post-Chorus: Der Chorus hat die selbe Länge wie ein Verse - im Kern eine Simple-Verse-Chorus-Struktur
Inter2 verlangsamt das Tick Tack: Versinnbildlichung der kontinuierlichen Zeit, was auf sie folgt ist die disruptive Zeit – die Revolution, ein neues Zeitalter!
Bridge: Freakout, psychedelische Improvisation, dauert mehr als die Hälfte des Songs. Elemente des Songs werden genommen und durch Echo- und Reverb-Effektgeräte gejagt.
Drums: tick-tack => Tribaler Rhythmus, 2/2 Takt wird 8tel / 16tel Takt, starker Backbeat auf drittem Viertel, gespielt auf den Stand-Toms
Die Fuzz-Gitarre beginnt ein Solo zu spielen und benutzt eine dorische Tonleiter (die weissen Klaviertasten vom D an). Das verleiht der Musik eine orientalische Stimmung. => das «Little Drummer Boy» Zitat.
Die Gitarre macht einer alptraumartigen Szene Platz mit Schreien und teuflischem Lachen (6:50), später, wenn die Gitarre wieder einsetzt klingen die Schreie wie die von spukenden Gespenstern => Repräsentation eines «bad trips»
Chance The Rapper [D]: All We Got [F]
Assoziierte Acts: Kanye West (feat.) & Chicago Children’s Choir (feat.)
Autor: Chancelor Bennett & Peter Cottontale & Nate Fox & Greg Landfair, Jr. & Nico Segal & Kanye West
Label und Katalognummer: Selbstrelease
Produktion: The Social Experiment & Kanye West
Veröffentlicht: 2016 05 12 (Album)
Genretags: Hip-Hop - Underground-Hip-Hop - Cloudrap
Chance the Rapper [D]: Big B's [F]
Assoziierte Acts: Young Thug (feat.)
Label und Katalognummer: Selbstrelease (Soundcloud)
Veröffentlicht: 2017 07 14 (Digital)
Genretags: Post-Millennial-Music - Hip-Hop - Poprap
Charles Aznavour [D]: Spiel Zigeuner [F]
Autor: Charles Aznavour & Ernst Bader & Traditional
Label und Katalognummer: Metronome M 485
Veröffentlicht: 1965 05 (Single)
Genretags: Europeana - Chanson, Europeana - Schlager
Charley Patton [D]: Pony Blues [F]
Autor: Charley Patton & Traditional
Label und Katalognummer: Paramount 12792
Veröffentlicht: 1929 08 (Single), 1929 06 14 (Rec.)
Genretags: Americana - Blues - Countryblues, Blues - Countryblues - Deltablues
Charli XCX [D]: Girls Night Out [F]
Label und Katalognummer: Asylum
Produktion: SOPHIE & Stargate
Veröffentlicht: 2018 07 27 (Digital)
Genretags: Electropop
Chicago [D]: Street Player [Maxi] [F]
Autor: Daniel Seraphine & David Wolinski
Label und Katalognummer: Columbia FC 36105, Columbia 43-11138
Produktion: Chicago & Phil Ramone
Veröffentlicht: 1979 08 13 (Album), 1979 10 (Maxi)
Genretags: Disco - Popdisco
Chris Roberts [D]: Do You Speak English? [F]
Autor: Kurt Hertha & Ralph Siegel
Label und Katalognummer: Jupiter Records 16 710 AT, Jupiter Records 27175 IT
Produktion: Ralph Siegel
Veröffentlicht: 1976 (Single), 1976 (Album)
Genretags: Europeana - Schlager - TV-Schlager
Chris Roberts [D]: Hab’ ich dir heute schon gesagt, daß ich dich liebe [F]
Autor: Lilibert & Werner Twardy
Label und Katalognummer: Polydor 2041 186, Polydor 2371 184
Produktion: Hans Bertram
Veröffentlicht: 1971 09 (Single), 1971 (Album)
Genretags: Europeana - Schlager
Chris Roberts [D]: Du kannst nicht immer siebzehn sein [F]
Autor: Kurt Hertha & Ralph Siegel
Label und Katalognummer: Jupiter Records 13 175 AT, Jupiter Records 87 666
Produktion: Ralph Siegel
Veröffentlicht: 1974 (Single), 1974 (Album)
Genretags: Europeana - Schlager
Chris Roberts [D]: Ich mach ein glückliches Mädchen aus dir [F]
Autor: Kurt Hertha & Ralph Siegel
Label und Katalognummer: Jupiter 13 599 AT
Produktion: Ralph Siegel
Veröffentlicht: 1974 (Single)
Genretags: Europeana - Schlager - TV-Schlager
Christian Anders [D]: Es fährt ein Zug nach Nirgendwo [F]
Autor: Christian Anders & Fred Jay
Label und Katalognummer: Columbia (EMI) 1C 006-29 946, Hör Zu SHZE 358
Produktion: Christian Anders
Veröffentlicht: 1972 (Single), 1972 (Album)
Genretags: Europeana - Schlager - TV-Schlager
Christian Anders [D]: Geh nicht vorbei [F]
Autor: Joachim Heider & Joachim Relin
Label und Katalognummer: Columbia (EMI) 1C 006-28043, Hör Zu SHZE 284
Produktion: Joachim Heider
Veröffentlicht: 1969 08 (Single), 1970 (Album)
Genretags: Europeana - Schlager - TV-Schlager, Europeana - Schlager - Schnulze
Christian Anders [D]: In den Augen der Andern [F]
Autor: Christian Anders & Fred Jay
Label und Katalognummer: Chranders 1C 006-30 402
Produktion: Christian Anders
Veröffentlicht: 1972 (Single)
Genretags: Europeana - Schlager
Chuck Berry [D]: No Money Down [F]
Autor: Chuck Berry
Label und Katalognummer: Chess 1615, Chess LP 1426
Produktion: Leonard Chess & Phil Chess
Veröffentlicht: 1956 01 (Single), 1957 05 (Album)1955 12 (Rec.)
Genretags: Blues - Urbanblues - Chicago-Blues
Church [D]: Ripple [F]
Autor: Jay Dee Daugherty & Steve Kilbey & Peter Koppes & Marty Willson-Piper
Label und Katalognummer: Arista 07822-18683, Arista
Veröffentlicht: 1992 03 10 (Album), 1992 (Single)
Genretags: Alternativerock - Gothrock
Ciara [D]: Ride [F]
Assoziierte Acts: Ludacris (feat.)
Autor: Christopher Bridges & Terius 'The-Dream' Nash & Tricky Stewart
Label und Katalognummer: LaFace 88697-72092
Produktion: Christopher 'Tricky' Stewart & The-Dream
Veröffentlicht: 2010 04 19 (Digital), 2010 12 14 (Album)
Genretags: Afroamericana - R'n'B-Renaissance
Cindy und Bert [D]: Immer wieder Sonntags [F]
Autor: Andreas Dries Holten & Jonny Halvey
Label und Katalognummer: BASF 05 11679, BASF 62 268
Produktion: Kurt Feltz
Veröffentlicht: 1973 02 (Single), 1973 (Album)
Genretags: Europeana - Schlager - TV-Schlager
Cindy und Bert [D]: Aber am Abend da spielt der Zigeuner [F]
Autor: Kurt Feltz & Werner Scharfenberger
Label und Katalognummer: Cornet 06-12143-6, Cornet 20 22008-7
Produktion: Kurt Feltz
Veröffentlicht: 1974 (Single), 1974 (Album)
Genretags: Europeana - Schlager - TV-Schlager
Clientele [D]: Everyone You Meet [F]
Autor: Clientele & Mark Keen & Alasdair MacLean
Label und Katalognummer: Merge, Merge MRG 607
Veröffentlicht: 2017 08 09 (Single), 2017 09 22 (Album)
Genretags: Post-Millennial-Music - Poprock - Indiepop
Cliff Richard [D]: Rote Lippen soll man küssen [F]
Autor: Hans Bradtke & Jerry Leiber
Label und Katalognummer: Columbia (EMI) C 22 563
Veröffentlicht: 1963 06 (Single)
Genretags: Rock'n'Roll - Mainstream - British-Rock'n'Roll
Bemerkungen: Die deutsche Version von Cliff Richards Lucky Lips
, das selbst ein Cover und Crossover des R'n'B-Titels von Ruth Brown aus dem Jahr 1953 war. Man kann an diesen Versionen nachvollziehen, was mit amerikanischen Rock-'n'-Roll-Songs passierte, als sie europäisiert wurden: Rock 'n' Roll war eine Hybride aus Pop, Country und Rhythm 'n' Blues. Im transatlantischen Crossover blieben die schwarzen Wurzeln der Musik auf der Strecke und so blieb noch eine Mischung aus Country und Schlager übrig.
Cliff Richard [D]: Wired for Sound [F]
Autor: B.A. Robertson & Alan Tarney
Label und Katalognummer: EMI EMI 5221, EMI EMC 3377
Produktion: Alan Tarney
Veröffentlicht: 1981 08 17 (Single), 1981 09 14 (Album)
Genretags: Pop - Softrock, Rock - AOR-Rock - AOR-Poprock
Bemerkungen: 1979 brachte Sony den Walkman auf den Markt. Im Lied geht es darum, dass man überall, auch unterwegs, mit Musik verbunden ist. Heute eine Selbstverständlichkeit, damals ein brandneues Lebensgefühl.
Clowns und Helden [D]: Ich liebe dich [F]
Autor: Carsten Pape & Bernd Westermann
Label und Katalognummer: Teldec 6.14695, FMS CH 001
Produktion: Carsten Pape & Bernd Westermann
Veröffentlicht: 1986 (Single), 1987 (Album)
Genretags: Newpop
Coldplay [D]: Charlie Brown [F]
Autor: Guy Berryman & Jonny Buckland & Will Champion & Brian Eno & Chris Martin
Label und Katalognummer: Parlophone 087 5532, Parlophone
Produktion: Markus Dravs & Daniel Green & Rik Simpson
Veröffentlicht: 2011 10 24 (Album), 2012 01 23 (Single)
Genretags: Post-Millennial-Music - Poprock - Post-Britpop
Coldplay [D]: Midnight [F]
Autor: Guy Berryman & Jonny Buckland & Will Champion & Jon Hopkins & Chris Martin
Label und Katalognummer: Parlophone, Parlophone 825646305919
Produktion: Guy Berryman & Jon Buckland & Will Champion & Paul Epworth & Dan Green & Chris Martin & Rik Simpson
Veröffentlicht: 2014 04 19 (Single), 2014 05 16 (Album)
Genretags: Post-Millennial-Music - Poprock - Post-Britpop
Comedian Harmonists [D]: Ein Freund, ein guter Freund [F]
Autor: Robert Gilbert & Werner Richard Heymann
Label und Katalognummer: Electrola E.G. 2032
Veröffentlicht: 1930 09 (Single)
Genretags: Europeana - Schlager - Vokalensemble, Traditionalpop - Vocalpop - Barbershop-Singing
Connie Francis [D]: Schöner fremder Mann [F]
Autor: Camillo Felge & Hal Gordon & Athena Hosey
Label und Katalognummer: MGM 61 042
Produktion: Gerhard Mendelsohn
Veröffentlicht: 1961 05 (Single)
Genretags: Pop - Teenpop
Bemerkungen: Die Amerikanerin Connie Francis hat häufig in europäischen Sprachen gesungen: in Spanisch, Italienisch und Deutsch. Neben ihr machten das nur wenige andere Pop Sängerinnen, z.B. Eartha Kitt oder Peggy March, etwas später auch die Rock-'n'-Roll-Sängerinnen Brenda Lee und Wanda Jackson.
Connie Francis [D]: Die Liebe ist ein seltsames Spiel [F]
Autor: Howard Greenfield & Jack Keller & Ralph Maria Siegel
Label und Katalognummer: MGM 61 025
Veröffentlicht: 1960 07 (Single)
Genretags: Pop - Teenpop
Conny [D]: Ich bin für die Liebe nicht zu jung [F]
Assoziierte Acts: Conny Froboess
Autor: Rudi Lindt & Peter Ström
Label und Katalognummer: Electrola E 21 814
Veröffentlicht: 1961 09 (Single)
Genretags: Europeana - Schlager - Teenschlager
Conny [D]: Lady Sunshine und Mr Moon [F]
Assoziierte Acts: Conny Froboess
Autor: Hans Bradtke & Heinz Gietz
Label und Katalognummer: Columbia (EMI) C 22 018
Veröffentlicht: 1962 05 (Single), 1961 11 24 (Rec.)
Genretags: Europeana - Schlager, Pop - Teenpop
Conny Froboess [D]: Zwei kleine Italiener [F]
Autor: Christian Bruhn & Georg Buschor
Label und Katalognummer: Columbia (EMI) C 22 008
Veröffentlicht: 1962 03 (Single)
Genretags: Europeana - Schlager
Bemerkungen: Vermutlich das erste deutsche Lied, das die Gastarbeiter-problematik thematisiert.
Die Melodie des Refrains zitiert Franz Liszts Les préludes
.
Costa Cordalis [D]: Anita [F]
Autor: Costa Cordalis & Jean Frankfurter & Charles Level & Traditional
Label und Katalognummer: CBS S 4705
Produktion: Costa Cordalis & Jean Frankfurter
Veröffentlicht: 1976 (Single)
Genretags: Europeana - Schlager - TV-Schlager, Europeana - Schlager - Stimmungsschlager
Counting Crows [D]: Round Here [F]
Autor: Steve Bowman & David Bryson & Adam Duritz & Charlie Gillingham & Dave Janusko & Dan Jewett & Matt Malley & Chris Roldan
Label und Katalognummer: Geffen DGCD 24528, Geffen GED 21916
Produktion: T-Bone Burnett
Veröffentlicht: 1993 09 14 (Album), 1994 07 09 (Single)
Genretags: Alternativerock
Crime [D]: Hotwire My Heart [F]
Label und Katalognummer: Crime sac 0188
Veröffentlicht: 1976 12 (Single)
Genretags: Rock - Punkrock - Garagepunk, Rock - Punkrock - San-Francisco-Punk
Bemerkungen: Der Track wurde von Sonic Youth gecovert.
Dagobert [D]: Zehn Jahre [F]
Label und Katalognummer: Buback BTT1 41
Produktion: Markus Ganter
Veröffentlicht: 2015 03 20
Genretags: Post-Millennial-Music - Lo-Fi-Underground
Daliah Lavi [D]: Willst du mit mir geh'n? [F]
Autor: Miriam Frances & John Kongos
Label und Katalognummer: Polydor 2001 219, Polydor 2310 125
Produktion: Jimmy Bowien
Veröffentlicht: 1971 09 (Single), 1971 (Album)
Genretags: Europeana - Schlager - TV-Schlager
Daliah Lavi [D]: Meine Art, Liebe zu zeigen [F]
Autor: Miriam Frances & Rod McKuen
Label und Katalognummer: Polydor 2001 381
Produktion: Jimmy Bowien
Veröffentlicht: 1972 (Single)
Genretags: Europeana - Schlager - TV-Schlager
Damon Albarn [D]: Mr Tembo [F]
Autor: Damon Albarn
Label und Katalognummer: Parlophone, Parlophone 825646331316
Produktion: Damon Albarn & Richard Russell
Veröffentlicht: 2014 04 15 (Single), 2014 04 25 (Album)
Genretags: Newpop - Artpop
David Bowie [D]: The Bewlay Brothers [F]
Autor: David Bowie
Label und Katalognummer: RCA Victor SF 8244
Produktion: Ken Scott
Veröffentlicht: 1971 12 17 (Album)
Genretags: Pop - Neo-Traditionalpop - Cabaretpop
David Bowie [D]: Rebel Rebel [F]
Autor: David Bowie
Label und Katalognummer: RCA Victor LPB 05009, RCA Victor APL1 0576
Produktion: David Bowie
Veröffentlicht: 1974 02 15 (Single), 1974 04 24 (Album)
Genretags: Rock - Artrock - Glamrock
Bemerkungen: Es gibt eine zweite Version des Songs, die in den USA als Single herauskam.
David Bowie [D]: Rebel Rebel (US Single Version) [F]
Autor: David Bowie
Label und Katalognummer: RCA Victor DJHO 0287
Produktion: David Bowie
Veröffentlicht: 1974 05 (Single US)
Genretags: Rock - Artrock - Glamrock
Bemerkungen: Im Unterschied zur britischen und europäischen Single spielt hier David Bowie alle Instrumente selbst, unterstützt lediglich von Geoff MacCormack an den Congas (vergleiche Rebel Rebel).
De La Soul [D]: Plug Tunin' (Last Chance to Comprehend) [F]
Autor: Maseo & Kelvin 'Posdnous' Mercer & Prince Paul & Trugoy the Dove
Label und Katalognummer: Tommy Boy TB 0910, Tommy Boy TBCD 1019
Produktion: Prince Paul
Veröffentlicht: 1988 (Single), 1989 03 14 (Album)
Genretags: Hip-Hop - Goldenage - Native-Tongues-Family
Dead Milkmen [D]: Punk Rock Girl [F]
Autor: Dead Milkmen
Label und Katalognummer: Enigma 7 75038, Enigma 7 73351
Produktion: Brian 'Orchid Breath' Beattie & Mike Stewart
Veröffentlicht: 1988 (Single), 1988 (Album)
Genretags: Alternativerock - Punkrock
Deep Purple [D]: Child In Time [F]
Autor: Ritchie Blackmore & Ian Gillan & Roger Glover & Jon Lord & Ian Paice
Label und Katalognummer: Harvest SHVL 777, Harvest 5C 006 93557
Produktion: Deep Purple
Veröffentlicht: 1970 06 03 (Album), 1972 06 (Single)
Genretags: Rock - Progrock - Hard'n'Heavy
Bemerkungen: Dieser epische Song über den Kalten Krieg kam nur auf dem europäischen Kontinent als Single heraus – zwei Jahre nach Deep Purple In Rock.
Ein offensichtlicher Einfluss war Bombay Calling. Jon Lord ging eine Zeit lang mit Pattie Santos, der Sängerin von It's a Beautiful Day, aus. Es entstand ein transatlantischer Austausch: die amerikanische gruppe borgte ihrerseits den Song «Wring That Neck» von Deep Purple und machte daraus «Don and Dewey».
Demi Lovato [D]: Let It Go [F]
Autor: Kristen Anderson-Lopez & Robert Lopez
Label und Katalognummer: Walt Disney, Walt Disney D 001906102
Produktion: Andrew Goldstein & Emanuel 'Eman' Kiriakou
Veröffentlicht: 2013 10 21 (Digital), 2013 11 25 (Album)
Genretags: Electropop - Vocalpop
Der Plan [D]: Da Vorne Steht 'ne Ampel [F]
Autor: Kurt Dahlke & Frank Fenstermacher & Moritz Reichelt
Label und Katalognummer: Ata Tak WR 05
Produktion: Der Plan
Veröffentlicht: 1980 (Single)
Genretags: Postpunk - Electronic-Postpunk, Postpunk - Continental-NewWave - NDW
Deutsch Amerikanische Freundschaft [D]: Kebabträume [F]
Assoziierte Acts: DAF
Autor: Gabi Delgado-Lopez & Robert Görl & Chrislo Haas & Michael Kemner & Wolfgang Spelmanns
Label und Katalognummer: Mute MUTE 005
Produktion: Deutsch Amerikanische Freundschaft & Bob Giddens & Conny Plank
Veröffentlicht: 1980 03 11 (Single)
Genretags: Postpunk - Electronic-Postpunk - Minimalwave, Postpunk - Continental-NewWave - NDW
Die fantastischen Vier [D]: Die da!?! [F]
Autor: Michael DJ Beck & Thomas Dürr & Andreas Rieke & Michael B. Schmidt
Label und Katalognummer: Columbia COL 472263, Columbia 658332
Produktion: Andreas Rieke
Veröffentlicht: 1992 08 28 (Album), 1992 (Single)
Genretags: Hip-Hop - Goldenage - Poprap, Hip-Hop - Goldenage - Deutscher-Hip-Hop
Die kleine Cornelia [D]: Pack' die Badehose ein! [F]
Assoziierte Acts: Conny Froboess
Autor: Hans Bradtke & Gerhard Froboess
Label und Katalognummer: Electrola EG 7610
Veröffentlicht: 1951 (Single)
Genretags: Europeana - Schlager
Die Lassie Singers [D]: Liebe Wird Oft überbewertet [F]
Autor: Christiane Rösinger
Label und Katalognummer: Dragnet DRA 663181, Dragnet 484173
Produktion: Thomas Meinecke
Veröffentlicht: 1996 05 (Single), 1996 (Album)
Genretags: Indiepop - Lo-Fi-Pop, Indiepop - Tweepop
Die Lassie Singers [D]: Falsche Gedanken [F]
Autor: Funny van Dannen
Label und Katalognummer: Columbia 468 539, Columbia 656917
Produktion: Micki Meuser
Veröffentlicht: 1991 (Album), 1991 (Single)
Genretags: Indiepop - Lo-Fi-Pop
Die Lassie Singers [D]: Johnny, Jim und Jack [F]
Autor: Kathrin Fitzner & Herman Herrmann & Almut Klotz & Christiane Rösinger & Heiner Weiß
Label und Katalognummer: Columbia 468 539
Produktion: Micki Meuser
Veröffentlicht: 1991
Genretags: Indiepop - Lo-Fi-Pop, Indiepop - Tweepop
Die lustigen Jungs [D]: Am 30. Mai ist der Weltuntergang [F]
Autor: Karl Erpel & Bert Roda
Label und Katalognummer: Polydor 22 367
Veröffentlicht: 1954 (Single)
Genretags: Europeana - Schlager - Stimmungsschlager
Die Zukunft [D]: Drogen nehmen und rumfahren [F]
Assoziierte Acts: Bernadette La Hengst & Knarf Rellöm & Guz
Autor: Oliver Maurmann
Label und Katalognummer: Trikont US 0413, Trikont
Veröffentlicht: 2010 04 30 (Album), 2010 06 06 (Digital)
Genretags: Alternativerock - Diskursrock - Hamburger-Schule
Dire Straits [D]: Telegraph Road [F]
Autor: Mark Knopfler
Label und Katalognummer: Vertigo 6359 109
Produktion: Mark Knopfler
Veröffentlicht: 1982 09 (Album)
Genretags: Rock - AOR-Rock - AOR-Poprock
Bemerkungen: Nur in Frankreich wurde dieser Song auch als Promosingle veröffentlicht.
Die 128 km lange Telegraph Road bzw. der US Highway 24 führt von Colorado nach Michigan und verbindet Detroit mit Toledo. Streng genommen heisst nur der Teil in Michigan Telegraph Road, weil die Strasse hier entlang einer Telegrafenlinie gebaut worden ist (um die Telegrafenlinie warten zu können). Eine Fahrt mit dem Tourbus der Band dieser Strasse entlang inspirierte Mark Knopfler zu diesem Song, der eine kurze Geschichte dieser Gegend im Rust Belt der Vereinigten Staaten erzählt, von der Besiedlung durch Pioniere, über die Industrialisierung bis zur Krise, die auf die Prosperität folgt und der Gegend grossflächige Arbeitslosigkeit beschert. Die Hoffnung stirbt zuletzt und so endet der Song mit der Absicht des Erzählers, weiterzuziehen und sein Glück wo anders zu versuchen.
Don McLean [D]: Vincent [F]
Autor: Don McLean
Label und Katalognummer: United Artists UAS 5535, United Artists 50887
Produktion: Ed Freeman
Veröffentlicht: 1971 10 (Album), 1972 03 (Single)
Genretags: Rock - Singer-Songwriter
Doors [D]: Queen Of The Highway [F]
Autor: John Densmore & Robbie Krieger & Ray Manzarek & Jim Morrison
Label und Katalognummer: Elektra EKS 75007
Produktion: Paul A. Rothchild
Veröffentlicht: 1970 02 01 (Album)
Genretags: Rock - Psychedelicrock - Psychedelicbluesrock
Dorthe [D]: Wärst du doch in Düsseldorf geblieben [F]
Assoziierte Acts: Dorthe Kollo
Autor: Christian Bruhn & Georg Buschor
Label und Katalognummer: Philips 384 537 PF, Philips 844 332 PY
Produktion: Fred Weyrich
Veröffentlicht: 1968 08 (Single), 1968 (Album)
Genretags: Europeana - Schlager
Drafi Deutscher And His Magics [D]: Marmor, Stein und Eisen bricht [F]
Assoziierte Acts: Drafi Deutscher
Autor: Christian Bruhn & Drafi Deutscher & Günter Loose
Label und Katalognummer: Decca D 19 735, Decca SLK 16380-P
Produktion: Christian Bruhn & Drafi Deutscher
Veröffentlicht: 1965 10 (Single), 1965 (Album)
Genretags: Europeana - Schlager - TV-Schlager
Drake [D]: Back To Back (Freestyle) [F]
Label und Katalognummer: Cash Money Records
Produktion: Noah '40' Shebib
Veröffentlicht: 2015 07 31 (Single)
Genretags: Hip-Hop
Bemerkungen: Meek Mill Diss Track
siehe: NYT Popcast
Drake [D]: 5AM In Toronto [F]
Label und Katalognummer: Selbstrelease
Produktion: Boi-1da & Nikhil Seetharam & Vinylz
Veröffentlicht: 2013 03 07
Genretags: Post-Millennial-Music - Hip-Hop - Poprap
Drake [D]: War [F]
Label und Katalognummer: OVO Sound
Produktion: AXL Beats
Veröffentlicht: 2019 12 23 (Digital)
Genretags: Hip-Hop - Drill - UK-Drill
Drake [D]: Lemon Pepper Freestyle [F]
Assoziierte Acts: Rick Ross (feat.)
Autor: Aubrey Graham & Cecilie Maja & Mathew Samuels & Robin Hannibal & William Roberts
Label und Katalognummer: OVO Sound
Produktion: Boi-1da & Keanu Beats & FnZ & Austin Powerz
Veröffentlicht: 2021 03 05 (EP)
Genretags: Post-Millennial-Music - Hip-Hop - Poprap
Dschinghis Khan [D]: Dschinghis Khan [F]
Autor: Bernd Meinunger & Ralph Siegel
Label und Katalognummer: Jupiter 100 430-100, Jupiter 200 690-315
Produktion: Ralph Siegel
Veröffentlicht: 1979 03 (Single), 1979 (Album)
Genretags: Europeana - Schlager - TV-Schlager
Bemerkungen: Deutschlands Beitrag zum Eurovision Song Contest von 1979. Vierter Platz.
Dukes of Stratosphear [D]: Vanishing Girl [F]
Assoziierte Acts: XTC
Autor: Colin Moulding
Label und Katalognummer: Virgin VSY 982, Virgin V 2440
Produktion: Dukes Of The Stratosphear & John Leckie
Veröffentlicht: 1987 07 20 (Single-B), 1987 08 03 (Album)
Genretags: Alternativerock - Neo-Psychedelicrock
Duran Duran [D]: Girls On Film [F]
Autor: Nick Rhodes & Simon Le Bon & Andy Taylor & John Taylor & Roger Taylor
Label und Katalognummer: EMI MC 3372, EMI EMI 5206
Produktion: Colin Thurston
Veröffentlicht: 1981 07 08 (Album), 1981 07 13 (Single)
Genretags: Newpop - Artpop - Newromantic
Bemerkungen: Mit dieser Single ist die Band durchgebrochen. Sie kam im UK auf Platz 5 der Hitparade. In den USA chartete der track nicht, aber wurde sehr bekannt, als MTV das zensurierte Video in «heavy rotation» spielte (siehe Video Tab).
Duran Duran [D]: Hungry Like The Wolf [F]
Autor: Nick Rhodes & Simon Le Bon & Andy Taylor & John Taylor & Roger Taylor
Label und Katalognummer: EMI EMI 5295, EMI EMC 3411
Produktion: Colin Thurston
Veröffentlicht: 1982 05 04 (Single), 1982 05 10 (Album)
Genretags: Newpop - Artpop - Newromantic
Einsürzende Neubauten [D]: Merle (Die Elektrik) [F]
Autor: Blixa Bargeld & Jon Caffery & Andrew Chudy & Mark Chung & F.M. Einheit & Alexander von Borsig
Label und Katalognummer: Rough Trade [DEU] RTD 18
Produktion: Blixa Bargeld & Jon Caffery & Andrew Chudy & Mark Chung & F.M. Einheit & Alexander von Borsig
Veröffentlicht: 1983 11 21 (Album)
Genretags: Postpunk - Electronic-Postpunk - Industrial
Einstürzende Neubauten [D]: Halber Mensch [F]
Autor: Blixa Bargeld & Mark Chung & F.M. Einheit & Alexander Hacke & N.U. Unruh & Nikkolai Weidemann
Label und Katalognummer: What's So Funny About.. SF 14
Produktion: Blixa Bargeld & Mark Chung & F.M. Einheit & Alexander Hacke & Gareth Jones & N.U. Unruh
Veröffentlicht: 1985 09 02 (Album)
Genretags: Postpunk - Electronic-Postpunk - Industrial, Postpunk - Electronic-Postpunk - Continental-Postpunk
Einstürzende Neubauten [D]: Was Ist Ist (= What Is Is) [F]
Autor: Blixa Bargeld & Andrew Chudy & F.M. Einheit
Label und Katalognummer: Our Choice RTD 195.3330.2
Produktion: Jon Caffery & Einstürzende Neubauten
Veröffentlicht: 1996 08 19 (Album)
Genretags: Postpunk - Electronic-Postpunk - Industrial, Postpunk - Electronic-Postpunk - Continental-Postpunk
Einstürzende Neubauten [D]: Die Befindlichkeit des Landes [F]
Autor: Blixa Bargeld & Einstürzende Neubauten
Label und Katalognummer: Potomak RTD 100.0001
Produktion: Einstürzende Neubauten & Boris Wilsdorf
Veröffentlicht: 2000 04 03 (Album)
Genretags: Postpunk - Electronic-Postpunk - Industrial, Postpunk - Electronic-Postpunk - Continental-Postpunk
Einstürzende Neubauten & Meret Becker [D]: Stella Maris [F]
Autor: Blixa Bargeld & Meret Becker & Andrew Chudy & Alexander Hacke
Label und Katalognummer: Mute BETON 503, Mute BETON 504
Produktion: Jon Caffery
Veröffentlicht: 1996 06 22 (Single), 1996 08 19 (Album)
Genretags: Newpop - Artpop - Avantpop
Elbow [D]: Weather To Fly [F]
Autor: Guy Garvey & Richard Jupp & Craig Potter & Mark Potter & Pete Turner
Label und Katalognummer: FictionFiction 1764098
Produktion: Craig Potter
Veröffentlicht: 2008 03 17 (Album)
Genretags: Alternativerock - Poprock - Post-Britpop, Post-Millennial-Music - Poprock
Element Of Crime [D]: Delmenhorst [F]
Autor: Jakob Friderichs & Richard Pappik & Sven Regener & David Young & David Young
Label und Katalognummer: Polydor 06024 9873848
Produktion: David Young
Veröffentlicht: 2005 09 30 (Album)
Genretags: Alternativerock
Element Of Crime [D]: Weißes Papier [F]
Autor: Eckhard Fietze-Fischer & Jakob Friderichs & Richard Pappik & Sven Regener
Label und Katalognummer: Polydor 517 756
Produktion: David Young
Veröffentlicht: 1993 01 21 (Album)
Genretags: Alternativerock - Poprock - Deutschrock
Elton John [D]: Nikita [F]
Autor: Elton John & Bernie Taupin
Label und Katalognummer: Rocket, Rocket 826 213
Produktion: Gus Dudgeon
Veröffentlicht: 1985 10 29 (Single), 1985 11 04 (Album)
Genretags: Rock - AOR-Rock - AOR-Poprock
Elvis Presley [D]: Heartbreak Hotel [F]
Autor: Mae Axton & Tommy Durden
Label und Katalognummer: RCA Victor 47 6420
Produktion: Chet Atkins
Veröffentlicht: 1956 01 (Single)
Genretags: Rock'n'Roll - Rockabilly
Bemerkungen: «Heartbreak Hotel» ist das gesangliche Meisterstück im Frühwerk von Elvis Presley. Die düstere Nummer war von einem Artikel angeregt, den Songwriter Tommy Durden in der Zeitung las. Dieser Artikel berichtete über den Selbstmord einer einsamen Frau, die einen Abschiedsbrief hinterlassen hat, der den Satz enthielt: «I Walk A Lonely Road».
Die Single mit «Heartbreak Hotel» war das Major-Debut von Elvis Presley bei RCA. Das Label hatte sich einen positiveren Song vom jungen Star gewünscht, doch er bestand darauf, diesen Song als Demonstration («Showcase») der Geschmeidigkeit seiner Stimme aufzunehmen.
Songstruktur
Der Song ist ein 12-Bar-Blues in der Simple Verse Form, doch vom Text her auch eine Contrasting Verse-Chorus Form. Die Frage ist, ob der Text ab der Zeile «Heartbreak is so lonely, baby» ein Refrain der Verses ist oder ein eigenständiger Chorus.
Aufnahme
Aufgenommen wurde er mit der Begleitband von Elvis Presley: mit Scotty Moore, Bill Black und D.J. Fontana. WIe stets bei im Studio noch wenig erfahrenen Musikern legte Produzent Chet Atkins selbst Hand an den Saiten an und zog Studiomusiker Floyd Cramer am Piano hinzu. Aufgenommen wurde mit viel Echo, um die frühen Aufnahmen im Sun Studio zu emulieren. Allerdings arbeiteten die RCA Studios in Nashville nicht mit der Slapback-Echo-Methode mittels zwei Tonbandmaschinen wie Sun in Memphis, sondern mit einem Echoraum.
Erfolg
Die Single blieb acht Wochen lang auf Nr.1 in den Billboard Pop Singles Charts. Als Crossover kam «Heartbreak Hotel» auch aif Platz 1 der C&W-Charts und auf Platz 5 der R&B-Charts.
Elvis Presley [D]: Wooden Heart [F]
Autor: Bert Kaempfert & Kay Twomey & Ben Weisman & Fred Wise
Label und Katalognummer: RCA Victor 47-7865
Produktion: Steve Sholes
Veröffentlicht: 1961 03 (Single), 1960 04 28 (Rec.)
Genretags: Pop - Vocalpop
Bemerkungen: AABA mit einer Wiederholung (Reprise) von ABA, wobei die A-Teile bei der Wiederholung in Deutsch gesungen werden.
Eminem [D]: Untouchable [F]
Produktion: Eminem & Skylar Grey & Alex Da Kid & Mr. Porter & Rick Rubin
Veröffentlicht: 2017 12 08 (Single), 2017 12 15 (Album)
Genretags: Hip-Hop - Poprap
EMMA6 [D]: Was kann ich dafür, dass ich aus den 80ern bin? [F]
Label und Katalognummer: Universal 2766065
Veröffentlicht: 2011 04 29 (Album)
Genretags: Post-Millennial-Music
Emmylou Harris [D]: Where Will I Be? [F]
Assoziierte Acts: Daniel Lanois (feat.)
Autor: Daniel Lanois
Label und Katalognummer: Elektra 61854, Elektra PRCD 934
Produktion: Daniel Lanois
Veröffentlicht: 1995 09 26 (Album), 1995 (Single)
Genretags: Rock - Countryrock, Alternativerock - Alternativecountry
Ernst Busch [D]: Moorsoldaten [F]
Autor: Hanns Eisler & Johann Esse & Rudi Goguel & Wolfgang Langhoff
Veröffentlicht: 1935
Genretags: Europeana - Folklore - Arbeiterlied
Bemerkungen: Eines der bekanntesten Protestlieder Europas. Es wurde 1933 von Häftlingen im KZ Börgermoor geschrieben und gesungen. Als Autoren gelten Johann Esser, Wolfgang Langhoff (Lyrik) und Rudi Goguel (Musik). Langhoff veröffentlichte das Lied nach seiner Entlassung im Buch Die Moorsoldaten
(1935 in der Schweiz erschienen). Hanns Eissler überarbeitete es für Busch, dessen Version im spanischen Bürgerkrieg gesungen wurde.
Extrabreit [D]: Flieger, grüß mir die Sonne [F]
Autor: Allan Gray & Walter Reisch
Label und Katalognummer: Reflektor 0060.348, Reflektor 0030.466
Produktion: Christian Schneider
Veröffentlicht: 1980 09 (Album), 1981 (SIngle B)
Genretags: Postpunk - Artpop - NDW
Extrabreit [D]: Polizisten [F]
Autor: Wolfgang Jäger-Ramig & Stefan Kleinkrieg & Rolf Möller & Ulrich Ruhwedel & Kai Schlasse
Label und Katalognummer: Reflektor 0930.034, Reflektor 0060.431
Produktion: Extrabreit & Manfred Neuner
Veröffentlicht: 1981 (Single), 1981 (Album)
Genretags: Postpunk - Artpop - NDW
Bemerkungen: Es gibt kaum einen cineastischern Punk-Song als Polizisten
. Der Song wurde von Kai Havaii als Reaktion auf die Strassenschlachten, die sich in Berlin die Besetzerszene mit der Polizei lieferten. Obwohl der Song die Polizei sehr klischeeartig zeichnet, bringt er doch Anspannung und Angst, die in der Luft liegt, treffend zum Ausdruck.
Falco [D]: Jeanny [F]
Autor: Ferdi Bolland & Rob Bolland & Falco
Label und Katalognummer: GIG Records 222 127, GIG Records 6.14 505
Produktion: Ferdi Bolland & Rob Bolland
Veröffentlicht: 1985 09 11 (Album), 1985 12 22 (Single)
Genretags: Postpunk - Artpop - Wiener-Szene
Bemerkungen: Vielleicht die grösste Skandal-Single in der deutschen Popmusik. Der Song ist aus der Perspektive eines Vergewaltigers und Mörders gesungen. Der hymnische Refrain gepaart mit dieser Thematik war tatsächlich risqué, weil viele Leute Jeanny
mitsingen und sich so unwillentlich die Maske einer Figur aufsetzen, die sie in anderen Kontexten als dem Song (z.B. im Leben) weit von sich weisen würden.
Falco [D]: Der Kommissar (Rap' That) [F]
Autor: Falco & Robert Ponger
Label und Katalognummer: GiG Records 111 117, GiG Records 222107
Produktion: Robert Ponger
Veröffentlicht: 1982 02 (Single), 1982 (Album)
Genretags: Postpunk - Artpop - NDW
Bemerkungen: früher europäischer Rap
Falco [D]: Junge Roemer [F]
Autor: Falco & Robert Ponger
Label und Katalognummer: GiG Records GIG 222 121, GiG Records
Produktion: Robert Ponger
Veröffentlicht: 1984 (Album), 1984 (Single)
Genretags: Newpop - Dancepop
Fall [D]: Totally Wired [F]
Autor: Mark E. Smith & Craig Scanlon & Marc Riley
Label und Katalognummer: Rough Trade RT 056
Produktion: Fall
Veröffentlicht: 1980 09 (Single)
Genretags: Rock - Punkrock - Artpunk
Fall [D]: Hit The North (Part 1) [F]
Autor: Simon Rogers & Brix Smith & Mark E. Smith
Label und Katalognummer: Beggars Banquet BEG 200, Beggars Banquet BEGA 091
Produktion: Simon Rogers
Veröffentlicht: 1987 10 19 (Single), 1988 02 29 (Album)
Genretags: Alternativerock - Alternativedance - Singer-Songwriter-Band
Fehlfarben [D]: Hier Und Jetzt [F]
Autor: Fehlfarben
Label und Katalognummer: Welt Rekord Label 1C 064-46 150
Produktion: Fehlfarben & Horst Luedtke
Veröffentlicht: 1980 10 (Album)
Genretags: Postpunk - Artpop - NDW
Fehlfarben [D]: Paul ist tot [F]
Autor: Uwe Bauer & Frank Fenstermacher & Peter Hein & Michael Kemner & George Nicolaidis & Thomas Schwebel
Label und Katalognummer: Welt 1C 064-46 150
Produktion: Fehlfarben & Horst Luedtke
Veröffentlicht: 1980 (Album)
Genretags: Postpunk - Artpop - NDW
FINNEAS [D]: American Cliché [F]
Autor: Finneas O'Connell
Label und Katalognummer: Selbstrelease (Youtube Audio)
Produktion: FINNEAS
Veröffentlicht: 2021 02 04 (Digital)
Genretags: Electropop
FKA Twigs [D]: home with you [F]
Label und Katalognummer: Young Turks, Young Turks YT 191
Produktion: FKA twigs & Noah Goldstein
Veröffentlicht: 2019 10 07 (Digital), 2019 11 08 (Album)
Genretags: Post-Millennial-Music - Lo-Fi-Underground - Artpop
Fox [D]: Only You Can [F]
Autor: Kenny Young
Label und Katalognummer: GTO GT 8, GTO GTLP 001
Produktion: Kenny Young
Veröffentlicht: 1974 08 09 (Single), 1975 (Album)
Genretags: Pop - Europop
Frank Farian [D]: Rocky [F]
Autor: Jay Stevens & Hans Ulrich Weigel
Label und Katalognummer: Hansa 16 638 AT
Produktion: Frank Farian
Veröffentlicht: 1976 01 (Single)
Genretags: Europeana - Schlager - TV-Schlager
Frank Farian [D]: Spring über deinen Schatten, Tommy [F]
Autor: Günter Loose & Ralph Siegel
Label und Katalognummer: Hansa 17 203 AT
Produktion: Frank Farian
Veröffentlicht: 1976 09 (Single)
Genretags: Europeana - Schlager - TV-Schlager
Frank Zander [D]: Hier kommt Kurt [F]
Autor: Hanno Bruhn & Frank Zander
Label und Katalognummer: Blow Up 145 544, Blow Up INT 110.793
Produktion: Frank Zander
Veröffentlicht: 1989 (Album), 1989 (Single)
Genretags: Rock - Artrock - Comedyrock
Frank Zander [D]: Oh, Susi (Der zensierte Song) [F]
Autor: René Marcard & Frank Zander
Label und Katalognummer: Der Andere Song 17 467 AT
Produktion: Thomas Meisel & Frank Zander
Veröffentlicht: 1976 (Single-B)
Genretags: Rock - Artrock - Comedyrock
Franz Hohler [D]: Es si alli so nätt [F]
Label und Katalognummer: Image S 7905, Image 60.100033
Produktion: August P. Villiger
Veröffentlicht: 1979 (Single), 1982 (Album)
Genretags: Europeana - Schlager - Komik-Schlager
Franz Léhar & Lovro Von Matacic & Philharmonia Orchestra & Elisabeth Schwarzkopf [D]: Ich bin eine anstand'ge Frau [F]
Autor: Franz Léhar
Label und Katalognummer: EMI Classics 7243 5 67370 2 0
Veröffentlicht: 2000 (Album), 1905 (Werk)
Genretags: Akademica - Operette
Bemerkungen: Aus der Operette Die lustige Wittwe
.
Fred Astaire [D]: Puttin' On The Ritz [F]
Autor: Irving Berlin
Label und Katalognummer: Columbia DB 96
Veröffentlicht: 1930 05 (Single UK)
Genretags: Traditionalpop - Vocalpop
Bemerkungen: Der Songtitel ist ein Slangausdruck für «sich gut kleiden», so dass man ins Hotel Ritz eingelassen wird – also Frack und Zylinder anziehen.
Der Song existiert in zwei Versionen, die beide von Irving Berlin geschrieben wurden: die «Harlem-» und die «Manhattan-Version». Fred Astaire singt hier die «Harlem-Version», die eben nicht in London vor dem berühmten Hotel Ritz spielt, sondern in Harlem dem zentrum der Harlem Renaissance. Der Erzähler betrachtet Afroamerikaner*innen, die sich aufputzen und ausgehen. Zur Zeit der Weltwirtschaftskrise war die Harlem-Renaissance mit ihren Clubs eine eigenartige gesellschaftliche Verwerfung, eine Parallelwelt zur ansonsten herrschenden Armut. Wenn nun ein weisser Songwriter und ein weisser Sänger sich über die feiernden Afroamerikaner*innen lustig machen, hat das sowohl eine sozialkritische als auch ein rassistische Komponente.
Der (weisse) Erzähler ist ein Beobachter einer (schwarzen) Szene, ein Zaungast. Die Szene, die er beobachtet, parodiert gewissermassen die weisse High-Society
Struktur
Strukturell kommt der Song in der für die Tin Pan Alley typischen AABA-Form, der ein Verse vorangestellt ist. Die AABA-Sequenz wird zwei Mal wiederholt, zuerst im instrumentalen Mittelteil, welcher der Stepptanz-Einlage von Fred Astaire dient (und in dem der sozialkritische und rassistische Dialog von zwei Beobachtern der Szene stattfindet: «Boys, look at that man puttin' on that Ritz. – You look at him, I can't»). In der zweiten wiederum gesungenen Reprise der gesamten AABA-Folge, treibt Astaire die Spannung zwischen Rhythmus der Musik und Rhythmus der Sprache ins Hyperbolische. Das klingt fast wie ein Rap in einer fremden Sprache.
Fred Bertelmann [D]: In Hamburg sind die Nächte lang [F]
Autor: Karl Bette & Hans Bradtke & Gerd Thumser
Label und Katalognummer: Electrola EG 8546
Produktion: Fuchs & Gert Wilden
Veröffentlicht: 1955 10 (Single)
Genretags: Europeana - Schlager
Fred Bertelmann [D]: Der lachende Vagabund [F]
Assoziierte Acts: Franz Thon und das Tanzorchester ohne Namen
Autor: Jim Lowe & Peter Moesser
Label und Katalognummer: HMV 45-EG 8732
Produktion: Hans Bertram
Veröffentlicht: 1957 10 (Single)
Genretags: Europeana - Schlager
Friedel Hensch und die Cyprys & Alfred Hause mit seinen Tanz-Streichsolisten [D]: Übers Jahr, wenn die Kornblumen blühen [F]
Autor: Ernst Bader & Werner Cyprys
Label und Katalognummer: Polydor 48 575, Polydor 46 756 LPHM
Veröffentlicht: 1951 (Single), 1961 (Album)
Genretags: Europeana - Schlager
Fun Boy Three [D]: The More I See (The Less I Believe) [F]
Autor: Lynval Golding & Terry Hall & Neville Staple
Label und Katalognummer: Chrysalis CHS 2664, Chrysalis CHR 1417
Produktion: David Byrne
Veröffentlicht: 1982 (Single), 1983 02 (Album)
Genretags: Newpop, Postpunk - Ska-Revival
Future [D]: Life Is Good [F]
Assoziierte Acts: Drake (feat.)
Autor: Aubrey Graham & Darius Hill & Mathias Liyew & Nayvadius Wilburn & Ozan Yıldırım
Label und Katalognummer: Epic
Produktion: Ambezza & D. Hill & OZ
Veröffentlicht: 2020 01 10 (Digital)
Genretags: Hip-Hop - Traprap
Bemerkungen: Die beiden Rapper feiern in diesem Track ihren exzessiven Reichtum ab, aber sie rappen auch über den Preis des Geldes, die Pflichten, die mit dem Erfolg kommen. Metaphorisch wird das in die Phrase «working on the weekend» gepackt. Die Stimmung des Tracks ist mehr als gedrückt. Es kommt einem die griechische Figur von Atlas in den Sinn, der die Welt auf seinen Schultern trägt (siehe Farnese Atlas im Museo Archeologico Nazionale, Neapel, Bildquelle: Wikipedia).
Strukturell handelt es sich hier um zwei Tracks, die zusammen montiert sind. Das titelgebende rein verbale Zwischenspiel von Future trennt den Teil von Drake und den Teil von Future. Es handelt sich hier um ein Sample aus einem Interview, das Future dem französischen Clique TV gegeben hat. Es ist ein Moment, wo er über seinen Glauben an Gott spricht.
Future Metro Boomin Kendrick Lamar [D]: Like That [F]
Autor: Joe Cooley & Kendrick Duckworth & Kobe Hood & Rodney Oliver & Leland Wayne & Nayvadius Wilburn
Label und Katalognummer: Epic
Produktion: Metro Boomin
Veröffentlicht: 2024 03 22 (Album), 2024 03 26 (Digital)
Genretags: Hip-Hop - Traprap
Gebrüder Blattschuss [D]: Kreuzberger Nächte [F]
Autor: Beppo Pohlmann
Label und Katalognummer: Der Andere Song 15 777 AT, Der Andere Song 26 130 it
Produktion: Uli Weigel
Veröffentlicht: 1978 (Single), 1978 (Album)
Genretags: Europeana - Schlager - Stimmungsschlager
Georg Kreisler [D]: Tauben vergiften [F]
Autor: Georg Kreisler
Label und Katalognummer: Preiser PR 1715, Preiser 1 C 062-90 878
Veröffentlicht: 1955 (EP), 1962 (album)
Genretags: Europeana - Liedermacher
George J. Gaskin [D]: The Sidewalks Of New York [F]
Autor: Chas. B. Lawlor & James W. Blake
Label und Katalognummer: Berliner Gramophone 959 Z
Veröffentlicht: 1895 (Single), 1894 (Werk), 1995 10 29 (Rec.)
Genretags: Traditionalpop - Vocalpop
Bemerkungen: Tin Pan Alley
Georgia Gets By [D]: So Free So Lonely [F]
Autor: Georgia Nott
Label und Katalognummer: Selbstrelease, Selbstrelease
Produktion: Noah Beresin & Georgia Gets By
Veröffentlicht: 2023 10 05 (Digital), 2023 10 06 (EP)
Genretags: Post-Millennial-Music - Lo-Fi-Underground - Indiepop
Geschwister Schmid [D]: Am Himmel stoht es Sternli z'Nacht [F]
Assoziierte Acts: Kapelle Walter Wild (feat.)
Autor: Artur Beul
Label und Katalognummer: Elite Record 1961
Veröffentlicht: 1942 (Single)
Genretags: Europeana - Schlager - Volkstümlicher-Schlager
Gladys Knight And The Pips [D]: Every Beat Of My Heart [F]
Autor: Johnny Otis
Label und Katalognummer: Vee-Jay VJ 386, Fury FULP 1003
Produktion: Clay McMurray
Veröffentlicht: 1961 05 (Single), 1962 (Album)
Genretags: Afroamericana - Rhythm'n'Blues - Doo-Wop
Bemerkungen: Erste Single von Gladys Knight And The Pips.
Glen Campbell [D]: Wichita Lineman [F]
Autor: Jimmy Webb
Label und Katalognummer: Capitol 2302, Capitol ST 00103
Produktion: Al De Lory
Veröffentlicht: 1968 10 (Single), 1968 11 04 (Album)
Genretags: Country - Countrypop - Countrypolitan
Bemerkungen: Ein Song über die Einsamkeit eines Linemans (Arbeiter, der die Telegraphen-, Telefon- oder Stromleitungen in Stand hält), der sich nach seiner Freundin sehnt. Violinen und Keyboards mimen die Klänge, die der Lineman hört: Morse-Kode, das Pfeifen des Windes an den Kabeln.
Der Song ist in F, ohne dass diese Tonika jemals gespielt wird.
Links
– Beitrag über Cover-Versionen von Stereogum aus der Reihe Gotcha Covered (24. August 2017)
– Rick Beato: Why THIS Is The Greatest Country Song – eine musikalische Analyse des Songs
– Rick Beato: The Musical Genius of 'Wichita Lineman': A One-on-One with Jimmy Webb (31. Juli 2023)
Glen Campbell [D]: Where's The Playground Susie [F]
Autor: Jimmy Webb
Label und Katalognummer: Capitol ST 00210, Capitol 2494
Produktion: Al DeLory
Veröffentlicht: 1969 03 (Album), 1969 04 (Single)
Genretags: Country - Countrypop - Countrypolitan
Glenn Miller Orchestra & Tex Beneke & Modernaires & Marion Hutton [D]: (I've Got A Gal In) Kalamazoo [F]
Assoziierte Acts: Glenn Miller
Autor: Mack Gordon & Harry Warren
Label und Katalognummer: Victor 27934
Veröffentlicht: 1942 07 (Single)
Genretags: Jazz - Swing - Bigbandswing
Goldfrapp [D]: Utopia [F]
Autor: Allison Goldfrapp & Will Gregory
Label und Katalognummer: Mute CDSTUMM 188, Mute CDMUTE 253
Produktion: Allison Goldfrapp & Will Gregory
Veröffentlicht: 2000 09 11 (Album), 2000 10 16 (Single)
Genretags: Post-Millennial-Music - Popsoul-Revival - New-UK-Soul
Goldfrapp [D]: Ooh La La [F]
Autor: Alison Goldfrapp & Will Gregory
Label und Katalognummer: Mute CDMUTE 342, Mute STUMM 250
Produktion: Alison Goldfrapp & Will Gregory
Veröffentlicht: 2005 08 08 (Single), 2006 08 22 (Album)
Genretags: Electropop - New-Rave - Electroclash
Bemerkungen: Klingt sehr nach T. Rex.
Goldy Und Peter De Vries [D]: Von den blauen Bergen kommen wir [F]
Assoziierte Acts: Goldy und Peter De Vries mit dem Horst Wende-Trio
Autor: Traditional & Goldy De Vries & Peter De Vries & Heinz Woezel
Label und Katalognummer: Polydor 48 171
Veröffentlicht: 1949 (Single)
Genretags: Europeana - Schlager - Countryschlager
Bemerkungen: Niederländisches Duo, das auf Country- und Bluegrass-Stücken spezialisiert war.
Gordon Lightfoot [D]: Canadian Railroad Trilogy [F]
Autor: Gordon Lightfoot
Label und Katalognummer: United Artists UAS 6587
Produktion: John Court
Veröffentlicht: 1967 04 (Album)
Genretags: Rock - Folkrock, Rock - Singer-Songwriter
Bemerkungen:
Im Mai 2023 ist Gordon Lightfoot verstorben. Mit etwas Distanz nehme ich mich einem seiner erstaunlichsten Songs an: «Canadian Railroad Trilogy».
Entstehung
Lightfoot schrieb «Canadian Railroad Trilogy» 1967 als Auftragsarbeit der Canadian Broadcasting Corporation (CBC) zum 100-jährigen Bestehen der Canadian Pacific Railway, der Zuglinie, die Kanada von Osten nach Westen durchzieht.
Struktur
Der epische Song hat drei Teile («Trilogie») und ist Struklturell eine Suite. Anstatt dass die drei Teile sich einfach folgen, sind sie verschachtelt: der erste beinhaltet den zweiten, der wiederum den dritten enthält. Der erste Teil ist patriotisch, er besingt Kanada als Land. Der erste Verse ist die Beschreibung von unberührter Natur – ein paradiesischer Zustand. Der zweite Teil besingt das Millieu der Gründerväter, die getrieben von Fortschritt und Moderne das Land industrialisieren, indem sie in eine Eisenbahn investieren. Der dritte Teil beschreibt den Alltag der Eisenbahnbauer, der «navvies».
Erst die Coda verbindet über das Wort «Stille» («silence») den ersten mit dem dritten Teil:
And many are the dead men too silent to be realStill liegen Berge, Wälder und Prärien, wenn sie nicht vom Menschen urbar gemacht und bezwungen werden. Still liegen aber auch die Opfer, wenn kein Barde sie besingt oder keine Geschichtsschreibung ihrer gedenkt ...
Geschichte
«Canadian Railroad Trilogy» ist ein Story Song, also einer, der eine Geschichte erzählt. Die Erzählung ist eine historische und damit hat der Song in zweifacher Hinsicht mit Geschichte zu tun, mit Geschichte als erzählerischem Gehalt und mit Geschichte als Erzählung wie es früher einmal war.
«Canadian Railroad Trilogy» ist historiografisch interessant, weil das Lied in seinen drei Teilen drei Arten von Geschichte («history») erzählt, eine mythologisierende Nationalgeschichte (erster Teil mit der Natur als Erzählgegenstand), eine heroisierende
Wirtschafstgeschichte (zweiter Teil mit den Gründern) sowie eine sozialrealistische Alltagsgeschichte (dritter Teil mit den Arbeitern («navvies») als Antihelden). Es ist grossartig wie ein sechsminütiges Lied diese drei Perspektiven ausrollen kann, das Feierliche des Jubiläums, das gesellschaftliche Abenteuer der Bezwingung der Natur durch schiere Willens- und Körperkraft und die Opfer von Blut, Schweiss und Tränen, die meist ausgeblendet werden.
Die Verschachtelung der drei Teile wirkt wie ein tiefer Schürfen bei der Arbeit mit Quellen oder ein Vordringen zur historischen und gesellschaftlichen «Basis». Diese «Basis» steht in Anführungszeichen, weil sie nicht dem marxistischen Modell von Basis und Überbau folgt, sondern einem Modell der Rahmung. Arbeit und Opfer der «navvies» macht nur Sinn im grösseren Kontext – im Rahmen – der
Wirtschaftsgeschichte und diese wiederum im Rahmen der Nationalgeschichte.
Intertextualität
Ein Vorbild für «Canadian Railway Trilogy» war die Civil War Trilogy von Bob Gibson und Hamilton Camp.
Bedeutung
Gordon Lightfoot zeigte mit «Canadian Railroad Trilogy» früh, dass kanadische Musiker*innen in der obersten Liga der Populären Musik mitspielen, dass sie mit den amerikanischen Kolleg*innen mithalten können. Lightfoot war nicht der erste. Als der Song herauskam, waren Buffalo Springfield, die Gruppe von Neil Young und Stephen Stills, in Los Angeles bereits gut unterwegs. Leonard Cohen und Joni Mitchell traten einige Monate später ins internationale Rampenlicht. Man nahm Lightfoot im Gegensatz zu Buffalo Springfield als Kanadier wahr – und das war für die kanadische Musik wichtig.
Gordon Lightfoot [D]: The Wreck Of The Edmund Fitzgerald [F]
Autor: Gordon Lightfoot
Label und Katalognummer: Reprise MS 2246, Reprise RPS 1369
Produktion: Gordon Lightfoot & Lenny Waronker
Veröffentlicht: 1976 06 (Album), 1976 08 (Single)
Genretags: Rock - Folkrock, Rock - Singer-Songwriter
Bemerkungen: Dieser Song wurde im ersten Take aufgenommen.
Greenjolly [D]: Razom Nas Bahato (= Paзoм нac бaгaтo) (= нac нe пoдoлaти) [F]
Autor: Roman Kalyn & Roman Kostyuk
Label und Katalognummer: Ukrainian
Veröffentlicht: 2004 12 (Single)
Genretags: Post-Millennial-Music - Hip-Hop - Poprap
Bemerkungen: Eine Hymne der orangen Revolution in der Ukraine. Der Titel heisst übersetzt: «Together we are many».
Griff & Sigrid [D]: Head On Fire [F]
Autor: Joe Rubel & Griff & Sigrid
Veröffentlicht: 2022 01 19 (Digital)
Genretags: Electropop
Gun Club [D]: Mother Of Earth [F]
Autor: Jeffrey Lee Pierce
Label und Katalognummer: Animal APE 6001
Produktion: Chris Stein
Veröffentlicht: 1982 09 20 (Album)
Genretags: Postpunk - Psychobilly
Gunter Gabriel [D]: Hey Boss, ich brauche mehr Geld [F]
Autor: Gunter Gabriel
Label und Katalognummer: Der Andere Song 13367 AT
Produktion: Thomas Meisel
Veröffentlicht: 1974 (Single)
Genretags: Europeana - Schlager - TV-Schlager
Haim [D]: The Wire [F]
Autor: Alana Haim & Danielle Haim & Este Haim
Label und Katalognummer: Columbia, Columbia 377097
Produktion: Alana Haim & Danielle Haim & Este Haim & Ariel Rechtshaid
Veröffentlicht: 2013 08 (Digital Single), 2013 09 30 (Album)
Genretags: Post-Millennial-Music - Poprock - Altpop
Bemerkungen: siehe Blogeintrag
Haiyti [D]: Globus [F]
Label und Katalognummer: Selbstrelease (Youtube Video)
Produktion: Lex Lugner
Veröffentlicht: 2016 09 30 (Digital)
Genretags: Hip-Hop - Traprap
Hanns in der Gand [D]: Gilberte de Courgenay [F]
Autor: Robert Lustenberger & Oskar Portmann
Veröffentlicht: 1939
Genretags: Europeana - Schlager
Bemerkungen: – zur Film-Version des Schlagers
Hans Albers [D]: Nimm mich mit Kapitän auf die Reise [F]
Autor: Fritz Grasshoff Schultze
Label und Katalognummer: Decca F 43 497
Produktion: Michael Jary
Veröffentlicht: 1953 01
Genretags: Europeana - Schlager - Seemannslied
Hans Albers [D]: Flieger, grüß mir die Sonne (= Fliegerlied) [F]
Autor: Allan Gray & Walter Reisch
Label und Katalognummer: Odeon O 11750
Veröffentlicht: 1932 12 (Single), 1932 12 07 (Rec.)
Genretags: Europeana - Schlager - Tonfilmschlager
Bemerkungen: Aus dem Film .P.1 antwortet nicht
.
Hardy Hepp [D]: Ivana [F]
Autor: Hardy Hepp & Bruno Spoerri
Label und Katalognummer: Liberty 15 185 A
Veröffentlicht: 1969 01 (Single)
Genretags: Pop - Progressivepop - Baroquepop
Bemerkungen: Paul Nero hat das dramatische und erhebende Streicher-Arrangement für diesen mit Exotik aufgeladenen Schlager geschrieben, eine Hommage an die Musik und das Singen. Noch dramatischere Streicher hörte man 1968 von Alexandra in Der Traum vom Fliegen (arrangiert von Fred Weyrich).
Hazy Osterwald Sextett [D]: Da ist natürlich wieder mal 'ne Frau dran schuld [F]
Label und Katalognummer: Polydor 24930
Veröffentlicht: 1962 (Single-B)
Genretags: Europeana - Schlager
Heino [D]: Bergvagabunden [F]
Autor: Erich Hartinger & Adolf von Kleebsattel & Hans Kolesa
Label und Katalognummer: Columbia (EMI) C 23 955
Produktion: Karl-Heinz Schwab
Veröffentlicht: 1968 12 (Single)
Genretags: Europeana - Schlager - Volkstümlicher-Schlager
Heino [D]: Blau blüht der Enzian [F]
Autor: Adolf von Kleebsattel
Label und Katalognummer: Columbia (EMI) 1C 006-30 376
Produktion: Ralf Bendix & Karl-Heinz Schwab
Veröffentlicht: 1972 (Single)
Genretags: Europeana - Schlager - Volkstümlicher-Schlager, Europeana - Schlager - Stimmungsschlager
Heino [D]: Polenmädchen [F]
Autor: Adolf von Kleebsattel & Traditional
Label und Katalognummer: Electrola C 006 30 533, Columbia 1 C 062-29 504
Produktion: Ralf Bendix & Karl-Heinz Schwab
Veröffentlicht: 1973 (Single), 1974 (Album)
Genretags: Europeana - Schlager - Volkslied
Heintje [D]: Heidschi Bumbeidschi [F]
Assoziierte Acts: Orchester Franz Frankenberg
Autor: Wolfgang Hausmann & Johannes Jorge & Wolfgang Roloff & Albert Schwarzmann & Traditional
Label und Katalognummer: CNR UH 10022 (Single NL), Ariola 14114 AU (Single D), CNR ZZ 1620 (Album NL), Ariola 80 001 IU (ALbum D)
Produktion: Addy Kleyngeld
Veröffentlicht: 1968 (Single), 1969 (Album)
Genretags: Europeana - Schlager - Schnulze
Heintje [D]: Du sollst nicht weinen [F]
Autor: Franz Frankenberg & Wolf Hausmann & Hans Hee & Addy Kleijngeld & Narciso Serradell Sevilla
Label und Katalognummer: Ariola / 14 028 AU, Ariola 77 541 IU
Produktion: Addy Kleyngeld
Veröffentlicht: 1968 (Single), 1968 (Album)
Genretags: Europeana - Schlager - Schnulze, Europeana - Levenslied
Heintje [D]: Mama [F]
Autor: Bruno Balz & Cesare Andrea Bixio & Bruno Cherubini
Label und Katalognummer: Ariola 19 786 AT, Ariola 77 541 IU
Produktion: Addy Kleyngeld
Veröffentlicht: 1967 (Single), 1968 (Album)
Genretags: Europeana - Schlager
Bemerkungen: Der Refrain dieses monströsen Lieds, kreischt babyhaft «Mama» - offenbar mit wirkungsvollem Effekt auf Mama-Herzen.
Helene Fischer [D]: Atemlos durch die Nacht [F]
Autor: Kristina Bach
Label und Katalognummer: Polydor 0602537523238, Polydor
Produktion: Jean Frankfurter
Veröffentlicht: 2013 10 04 (Album), 2013 11 29 (Single)
Genretags: Electropop - Vocalpop - Schlager
Henry Valentino und Uschi [D]: Im Wagen vor mir [F]
Autor: Hans Blum
Label und Katalognummer: Crystal 006 CRY 32243
Produktion: Hans Blum
Veröffentlicht: 1977 (Single)
Genretags: Europeana - Schlager - TV-Schlager
Herbert Grönemeyer [D]: Mensch [F]
Autor: Herbert Grönemeyer & Alex Silva
Label und Katalognummer: EMI Electrola 7243 541621, Grönland 0 7243 5 51298 2 6
Produktion: Herbert Grönemeyer & Alex Silva
Veröffentlicht: 2002 (Album), 2002 (Single)
Genretags: Alternativerock - Singer-Songwriter
Hot Dogs [D]: Ja so warn's die alten Rittersleut' [F]
Autor: Gustav Endres & Max Hieber & Karl Valentin
Label und Katalognummer: Columbia SMC 73 794, Columbia (EMI) 1C 006-29932
Veröffentlicht: 1966 (Album), 1972 (Single)
Genretags: Jazz - Neo-Traditional-Jazz - Dixieland, Pop - Vocalpop - Comedy
Howard Carpendale [D]: Deine Spuren im Sand [F]
Autor: Cliff Corbett & Fred Jay & Neil Lancaster
Label und Katalognummer: Electrola 1C 006-31 255, EMI 1C 062-29 599
Produktion: Howard Carpendale
Veröffentlicht: 1975 05 (Single), 1975 (Album)
Genretags: Europeana - Schlager
Ideal [D]: Berlin (= Wir steh'n auf Berlin) [F]
Autor: Hans Behrendt & Ernst Deuker & Annette Humpe & Eff Jott Krüger
Label und Katalognummer: Eitel Imperial J 1, Innovative Communication KS 80.004
Produktion: Klaus D. Müller
Veröffentlicht: 1980 05 (Single), 1980 11 (Album)
Genretags: Postpunk - Artpop - NDW
Ideal [D]: Sex In Der Wüste [F]
Autor: Anette Humpe & Krüger
Label und Katalognummer: Eitel Imperial WEA 58 400
Produktion: Ideal & Conny Plank
Veröffentlicht: 1981 10 (Album)
Genretags: Postpunk - Artpop - NDW
Idina Menzel [D]: Let It Go [F]
Autor: Kristen Anderson-Lopez & Robert Lopez
Label und Katalognummer: Walt Disney Records D 001906102
Veröffentlicht: 2013 11 25 (Single), 2013 11 25 (Album)
Genretags: Electropop - Vocalpop
Iren Indra [D]: Wie ein Engel ohne Flügel [F]
Autor: Benny Andersson & Christoph Busse & Björn Ulvaeus
Label und Katalognummer: Mercury 811 449-7
Produktion: Christoph Busse
Veröffentlicht: 1983 (Single)
Genretags: Europeana - Schlager
Bemerkungen: Sängerin aus Zürich
Ivo Robić und die Song-Masters [D]: Morgen [F]
Assoziierte Acts: Ivo Robić
Autor: Peter Moesser
Label und Katalognummer: Polydor 23 923
Produktion: Bert Kaempfert
Veröffentlicht: 1959 03 (Single)
Genretags: Europeana - Schlager
J Hus [D]: Lean & Bop [F]
Assoziierte Acts: DoccyDocs (feat.)
Label und Katalognummer: Black Butter
Produktion: JOAT Music Group
Veröffentlicht: 2015 09 25 (Single)
Genretags: Hip-Hop - Grime
Ja, Panik [D]: DMD KIU LIDT [F]
Autor: Andreas Spechtl
Label und Katalognummer: Staatsakt
Produktion: Moses Schneider
Veröffentlicht: 2011 04 15 (Album)
Genretags: Alternativerock - Poprock - Deutschrock
Jackson Browne [D]: Lives in the Balance [F]
Autor: Jackson Browne
Label und Katalognummer: Asylum 9 60457, Asylum 969 514-7
Produktion: Jackson Browne
Veröffentlicht: 1986 02 18 (Album), 1986 (Single D)
Genretags: Rock - AOR-Rock - AOR-Singer-Songwriter
Bemerkungen: Ein Lied über die Lügen der amerikanischen Regierung.
Jackson C. Frank [D]: My Name Is Carnival [F]
Autor: Jackson C. Frank
Label und Katalognummer: Columbia [EMI] 33SX 1788
Produktion: Paul Simon
Veröffentlicht: 1965 12 (Album)
Genretags: Folk - Urbanfolk - American-Folkmusic-Revival
Jürgen Drews [D]: Ein Bett im Kornfeld [F]
Autor: Michael Kunze & Larry E. Williams
Label und Katalognummer: Warner Bros. WB 16 740, Warner Bros. WB 56 208
Produktion: Werner Schüler
Veröffentlicht: 1976 04 (Single), 1976 (Album)
Genretags: Europeana - Schlager - TV-Schlager
Jürgen Marcus [D]: Eine neue Liebe ist wie ein neues Leben [F]
Autor: Fred Jay & Jack White [D]
Label und Katalognummer: Telefunken U 56 222, Telefunken SLE 14689-P
Produktion: Jack White [D]
Veröffentlicht: 1972 08 (Single), 1973 (Album)
Genretags: Europeana - Schlager - TV-Schlager
Jürgen Marcus [D]: Ein Lied zieht hinaus in die Welt [F]
Autor: Fred Jay & Jack White [D]
Label und Katalognummer: Telefunken 6.11 588, Telefunken 6.22251 AS
Produktion: Jack White [D]
Veröffentlicht: 1975 (Single), 1975 (Album)
Genretags: Europeana - Schlager - TV-Schlager
Jefferson Starship [D]: Miracles [F]
Assoziierte Acts: Paul Kantner
Autor: Marty Balin
Label und Katalognummer: Grunt BFL1 0999, Grunt FB 10367
Produktion: Larry Cox & Jefferson Starship
Veröffentlicht: 1975 06 13 (Album), 1975 09 (Single)
Genretags: Rock - Corporate-Rock - Westcoast
Jenny Hval [D]: Sabbath [F]
Autor: Jenny Hval
Label und Katalognummer: Sacred Bones, Sacred Bones SBR 134
Produktion: Lasse Marhaug
Veröffentlicht: 2015 04 04 (Digital), 2015 06 09 (Album)
Genretags: Post-Millennial-Music - Poprock - Alternativepoprock
Jesus And Mary Chain [D]: Sidewalking [F]
Autor: Jim Reid & William Reid
Label und Katalognummer: Blanco y Negro NEG 32
Produktion: John Loder & Jim Reid & William Reid
Veröffentlicht: 1988 04 (Single)
Genretags: Alternativerock - Noiserock, Indiepop - Noisepop
JJ Doom [D]: Guv'nor [F]
Autor: Daniel Dumile Thompson
Label und Katalognummer: Lex LEX 082, Selbstrelease (Youtube Video)
Produktion: Jneiro Jarel
Veröffentlicht: 2012 08 21 (Album), 2012 08 23 (Digital)
Genretags: Hip-Hop - Underground-Hip-Hop - Electronic-Hip-Hop
John Cale [D]: Gun [F]
Autor: John Cale
Label und Katalognummer: Island ILPS 9301
Produktion: Brian Eno & Phil Manzanera
Veröffentlicht: 1974 10 01 (Album)
Genretags: Rock - Artrock
John Waite [D]: Missing You [F]
Autor: Mark Leonard & Charles Sandford & John Waite
Label und Katalognummer: EMI America B 8212, EMI America CDP 538 7 46078 2
Produktion: Gary Gersh & David Thoener & John Waite
Veröffentlicht: 1984 06 23 (Single), 1984 (Album)
Genretags: Rock - AOR-Rock - AOR-NewWave
Johnny Cash [D]: Five Feet High and Rising [F]
Label und Katalognummer: Columbia 4-41427, Columbia CS 8148
Produktion: Don Law
Veröffentlicht: 1959 06 29 (Single-B), 1959 09 (Album), 1959 03 12 (Rec.)
Genretags: Country - Honkytonk
Bemerkungen: Mit dem Wasserstand steigt der Grundton um eine Quarte und das Drama im Song.
Verse und Chorus sind in diesem Song vertauscht.
Johnny Cash [D]: Pickin' Time [F]
Autor: Johnny Cash
Label und Katalognummer: Columbia CS 8122, Columbia 4-43420
Produktion: Don Law & Al Quaglieri
Veröffentlicht: 1959 01 (Album), 1965 10 (Single), 1958 08 13 (Rec.)
Genretags: Country - Honkytonk
Bemerkungen: Ein Song über das harte Leben der Baumwollbauern im Missisisppi-Delta.
Johnny Cash [D]: Rusty Cage [F]
Autor: Chris Cornell
Label und Katalognummer: American Recordings 43097, American Recordings PRO-CD 8513
Produktion: Rick Rubin
Veröffentlicht: 1996 11 05 (Album), 1996 (SIngle)
Genretags: Country - Autorencountry - Songster, Alternativerock - Alternativecountry
Johnny Preston [D]: Running Bear [F]
Autor: Johnny Preston & Jiles Perry Richardson
Label und Katalognummer: Mercury 71474X45, Mercury MG 20592
Veröffentlicht: 1959 07 06 (Single), 1960 06 (Album), 1959 05 21 (Rec.)
Genretags: Pop - Teenpop - Boypop, Rock'n'Roll - Mainstream
Joni Mitchell [D]: The Hissing Of Summer Lawns [F]
Autor: Joni Mitchell
Label und Katalognummer: Asylum 7E 1051
Produktion: John Guerin & Joni Mitchell
Veröffentlicht: 1975 11 (Album)
Genretags: Rock - Singer-Songwriter
Jonny Hill [D]: Ruf Teddybär eins-vier [F]
Autor: Billy Joe Burnette & Peter Greif & Jonny Hill & Ulf Krüger & Hans Georg Moslener & Dale Royal & Red Sovine
Label und Katalognummer: RCA Victor PB 5609
Veröffentlicht: 1978 (Single)
Genretags: Europeana - Schlager - Countryschlager
Journey [D]: Faithfully [F]
Autor: Jonathan Cain
Label und Katalognummer: Columbia QC 38504, Columbia 38-03840
Produktion: Kevin Elson & Mike Stone
Veröffentlicht: 1983 02 (Album), 1983 04 16 (Single)
Genretags: Rock - AOR-Rock - AOR-Poprock
Joy Fleming [D]: Halbblut [F]
Autor: Al Capps & Mary Dean & Carl J. Schäuble
Label und Katalognummer: Global 22539
Produktion: Peter Kirsten
Veröffentlicht: 1973 (Single)
Genretags: Europeana - Schlager - TV-Schlager, Pop - Popsoul
Judith Holofernes [D]: Ich bin das Chaos [F]
Autor: Jörg Holdinghausen & Judith Holofernes & Teitur Lassen & Pola Roy & Jean-Michel Tourette
Label und Katalognummer: Embassy of Music
Produktion: Pola Roy
Veröffentlicht: 2017 03 17 (Album)
Genretags: Post-Millennial-Music - Lo-Fi-Underground - Indierock
Judy Collins [D]: My Father [F]
Assoziierte Acts: Stephen Stills
Autor: Judy Collins
Label und Katalognummer: Elektra EKS 74033, Elektra EK 45649
Produktion: David Anderle
Veröffentlicht: 1968 11 (Album), 1969 02 (Single-B)
Genretags: Folk - Urbanfolk - Baroquefolk, Folk - Urbanfolk - Singer-Songwriter
Bemerkungen: Einer der wenigen selber geschriebenen Songs von Judy Collins. Eine introspektive Pianoballade mit besonderer musikalischer Qualität. Sie wirkt traumhaft und halbpräsent, ist Dreampop avant la lettre.
Das Lied erzählt eine Familiengeschichte: Der Vater der Erzählerin ist Bergwerkarbeiter und träumt davon, mit seinen Töchtern nach Paris auszuwandern. In seinem Traum sieht er seine Familie auf einem Boot auf der Seine und die Erzählerin als Ballettänzerin. Der Traum des Vaters verstummt, er bleibt Miner, aber die Erzählerin wird tatsächlich Tänzerin und lebt in Paris. Sie lebt den Traum ihres Vaters und erzählt ihren Kindern, die auch tanzen, Erinnerungen aus ihrer Jugend. Das Leben der Bergleute kommt den Kindern so fremd und weit weg vor, wie einst Paris im Traum des Vaters.
Collins schrieb dieses Generationen-Rondo als eine Hommage an ihren Vater. Es spricht ein universelles Thema der Babybommer-Generation an. Viele Babyboomer sind sozial aufgestiegen und haben ihre eignen oder die Träume ihrer Eltern verwirklicht. Der Song spricht davon, wie mit der sozialen Mobilität auch eine Entwurzelung einhergeht.
Es besteht ein Ähnlichkeit zum Standard For All We Know (Akkordfolge, Stimmung von der Version Simones).
Judy Garland [D]: Over The Rainbow [F]
Assoziierte Acts: Victor Young And His Orchestra
Autor: Harold Arlen & E.Y. 'Yip' Harburg
Label und Katalognummer: Decca [US] 2672
Veröffentlicht: 1939 08 (Single)
Genretags: Traditionalpop - Vocalpop
Bemerkungen: Berühmt wurde «Over the Rainbow» durch den Film The Wizard of Oz (1938) und gilt bis heute als eines der bekanntesten Lieder des 20. Jahrhunderts. In ihm drückt sich die Hoffnung auf ein Ende der Weltwirtschaftskrise und das Gelingen des New Deal aus.
«Over The Rainbow» ist das sehnsuchtsvolle Lied eines Mädchens, das sich eine bessere Welt wünscht. Es wird zuweilen als Schlock bezeichnet, als Kitsch. Doch dieses Lied korrespondierte mit vielen armen und leidenden Menschen während der Weltwirtschaftskrise (der «Great Depression»). Menschen, die die schönen Seiten des Lebens nur aus ihren Träumen kannten.
Die meisten heute in der westlichen Welt lebenden Menschen haben eine solche Krise und die Armut die damit einhergeht, nie gekannt. Stellen Sie sich vor, Sie sind Teenager und es herrscht eine tiefe Wir
tschaftskrise. An Tagen leiden Sie Hunger. Ihre Kleider sind geflickt, weil die Eltern kein Geld haben, um neu zu kaufen. Ihr Leben kennt keine Möglichkeiten und hat nur ein Ziel: den Hunger zu vergessen, durch den Winter zu kommen, zu überleben. Wenn man das Lied mit dieser Vorstellung hört, denkt man vielleicht nicht zuerst an «Schlock».
Im Film allerdings wird die Sehnsucht, die das Lied zum Ausdruck bringt, belehrt. Dorothy findet heraus, dass sie das Glück nicht am Ende des Regenbogens findet, nicht in einem Traumland, sondern zu Hause, da wo sie ist, bei den Menschen, die um sie herum leben.
Eine ganz andere Bedeutung nahm der Song in der LGBT-Familie an. Hier steht er für die Hoffnung auf ein Ende der Intoleranz und Repression.
«Over The Rainbow» wurde eines der bekanntesten Lieder des 20. Jahrhunderts und für Judy Garland ein «signature song».
Struktur
Strukturell liegt hier eine AABA-Form vor, eine der häufigsten Form des Traditionalpop-Genres bzw. dem Great American Songbook.
Rubato
Interessant ist, dass die verschiedenen A-Teile unterschiedlich lang sind. Das ist umso bemerkenswerter als sie ja alle 8 Takte lang sind. Der Grund dafür ist, dass «Over The Rainbow» das Tempo moduliert. Das Lied ist in der «Standardtime» geschrieben, d.h. in einem 4/4-Takt. Das heisst aber nur, dass ein Takt aus vier Viertelnoten oder zwei Halben usw. besteht. Wie lange sich ein Orchester oder eine Sängerin Zeit nehmen, um diese Noten zu spielen oder zu singen, ist eine andere Sache: «Over The Rainbow» ist in einem mittleren Tempo gehalten, italienisch «andante». Weil nun die Takte verschieden lang sind, schreibt man «rubato» oder «molto rubato» hinzu, d.h. beliebig im Tempo (siehe diese Noten).
Intertextualität und Intermedialität
«Over The Rainbow» wurde 1939 für den Metro-Goldwyn-Mayer-Film The Wizard of Oz komponiert. Der Film war die Adaptation des Kinderbuchs von Lyman Frank Baum: «The Wonderful Wizard of Oz». Die Filmmusik erschien auf Platte, kurz nach dem Filmstart.
Solche intermedialen Transformationen eines literaischen Stoffs kennen wir auch aus der Gegenwart gut: Zum Beispiel hat Disney «Frozen» (2013), das Kunstmärchen von Hans Christian Andersen verfilmt. Der Titelsong von Idina Menzel, Let it Go, kam ebenfalls in die Charts, wenn auch nicht in die höchsten Spitzenpositionen.
Mit jedem Medium erreicht ein Song ein noch grösseres Publikum und wird populärer. Am neueren Beispiel von «Frozen» sieht man, wie komplex diese mediale Verbreitung sein kann: Es gibt Adaptationen des Stoffs zum Beispiel als Musical, der Titelsong wird in verschiedene Sprachen interpretiert, schliesslich soll er ja Kinder und Jugendliche ansprechen, ein Publikum, das nicht in einer Fremdsprache angesprochen werden will.
Medien haben nicht nur das Potential, einen Song weltweit zu verbreiten, sondern sie prägen zuweilen seine Gestalt. «Over The Rainbow» ist anders im Film als auf Platte. Die Filmversion hat kein Intro und ist nur etwas mehr als 2 Minuten lang. Judy Garland singt die AABA-Sequenz und die Coda. Intro und Reprise werden weggelassen. Das hat mit dem Erzähltempo im Film zu tun.
Der Film hat kulturelle Relevanz bis in die neuere Zeit hinein. Elton John schrieb 1973 sein Lied Goodbye Yellow Brick Road und nannte seine Album danach. Als Margareth Thatcher starb, die britische Politikerin, die auch als «eiserne Lady» bekannt und verhasst war, haben ihre politischen Gegner das Lied aus dem «Wizard of Oz» angestimmt: «Ding-Dong! The Witch Is Dead». Der Song ging damals auf Platz 1 der britischen Charts (siehe: Huffingtonpost).
Judy Garland [D]: It's A New World [F]
Autor: Harold Arlen & Ira Gershwin
Label und Katalognummer: Columbia BL 1202, Columbia
Veröffentlicht: 1954 09 (Album), 1954 (Single)
Genretags: Traditionalpop - Vocalpop
Bemerkungen: Song aus dem Soundtrack zu A Star Is Born [1954].
Die Erzählerin ist Hals über Kopf verliebt und zum ersten Mal im Leben dermassen von der Liebe ergriffen. Früher war sie wahrscheinlich nicht glücklich, erst jetzt erlebt sie zum ersten Mal eine tiefe existenzielle Freude. – Das war die Rolle auf die Judy Garland, der ehemalige Kinderstar aus Hollywood, seit ihrem Erfolgsfilm The Wizard of Oz festgeschrieben war.
Der Song ist ein Beispiel einer Songstruktur ohne Wiederholung: A–B–C-D. Eine episodische oder rhapsodische Form.
Juicy Lucy [D]: Who Do You Love? [F]
Autor: Ellas McDaniel
Label und Katalognummer: Vertigo 847 901 VTY, Fontana TF 1068
Produktion: Gerry Bron & Nigel Thomas
Veröffentlicht: 1969 10 (Album), 1970 01 (Single)
Genretags: Rock - Psychedelicrock - Psychedelicbluesrock
Jürgen Marcus [D]: Ein Festival der Liebe [F]
Autor: Fred Jay & Jack White [D]
Label und Katalognummer: Telefunken U 56 270, Telefunken SLE 14689-P
Produktion: Jack White [D]
Veröffentlicht: 1973 (Single), 1973 (Album)
Genretags: Europeana - Schlager - TV-Schlager
Julia Michaels [D]: Issues [F]
Autor: Mikkel Storleer Eriksen & Tor Erik Hermansen & Benjamin Levin & Julia Michaels & Justin Tranter
Label und Katalognummer: Republic, Republic
Produktion: Benny Blanco & Rob Danzen & Stargate
Veröffentlicht: 2017 01 13 (Single), 2017 07 28 (EP)
Genretags: Electropop
Juliane Werding [D]: Wenn du denkst du denkst, dann denkst du nur du denkst [F]
Autor: Gunter Gabriel
Label und Katalognummer: Hansa 16 221 AT
Produktion: Gunter Gabriel & Peter Meisel
Veröffentlicht: 1975
Genretags: Europeana - Schlager - TV-Schlager
Juliane Werding [D]: Am Tag, als Conny Kramer starb [F]
Autor: Jaime 'Robbie' Robertson & Hans-Ulrich Weigel
Label und Katalognummer: Hansa 10 927 AT, Hansa 86 258 IT
Produktion: Peter Meisel
Veröffentlicht: 1971 (Single), 1972 (Album)
Genretags: Europeana - Schlager - TV-Schlager
Just Ice [D]: Cold Gettin' Dumb II [F]
Autor: Just-Ice & Kurtis Mantronik
Label und Katalognummer: Fresh FRE 009
Produktion: Just-Ice & Kurtis Mantronik
Veröffentlicht: 1987 (Single)
Genretags: Afroamericana - Funk - Electrofunk
Kante [D]: Im ersten Licht [F]
Autor: Sebastian Vogel
Label und Katalognummer: Kitty-Yo, Kitty-Yo KY 55234
Produktion: Tobias Levin
Veröffentlicht: 2001 (Single), 2001 01 08 (Album)
Genretags: Alternativerock - Diskursrock - Hamburger-Schule
Kanye West [D]: Through The Wire [F]
Autor: Kanye West & David Foster & Tom Keane & Cynthia Weil
Label und Katalognummer: Roc-A-Fella B0001441 11, Roc-A-Fella B0002030 02
Produktion: Kanye West
Veröffentlicht: 2003 09 30 (Single), 2004 02 10 (Album)
Genretags: Afroamericana - R'n'B-Renaissance
Karat [D]: Über sieben Brücken mußt du gehn [F]
Autor: Helmut Richter & Ulrich Swillms
Label und Katalognummer: AMIGA 8 55 695, Pool 6.12646 AC
Produktion: Jürgen Lahrtz
Veröffentlicht: 1979 (Album), 1979 (Single)
Genretags: Rock - Progrock
Bemerkungen: Das Lied geht auf eine unglückliche Liebesgeschichte zwischen einer Deutschen und einem Polen zurück, die Helmut Richter 1975 geschrieben und die das DDR-Fernsehen gekauft hat. Ulrich Swillms, der Komponist von Karat erhielt den Auftrag, die Filmmusik zu komponieren. Heraus kam Über sieben Brücken mußt du gehn
als Titellied, das Reflektionen der Protagonistin Gitta wiedergibt, die aus dem Satz Über sieben Brücken mußt du gehn
Trost schöpft.
Katja Ebstein [D]: Diese Welt [F]
Autor: Fred Jay & Dieter Zimmermann
Label und Katalognummer: Liberty 15 444
Veröffentlicht: 1971 03 (Single)
Genretags: Europeana - Schlager
Bemerkungen: Der deutsche Beitrag für den Eurovision Song Contest. «Diese Welt» kam mit 100 Punkten auf Platz 3 im Wettbewerb, hinter Un banc, un arbre, une rue mit 128 und En un mundo nuevo mit 116 Punkten.
Katja Ebstein [D]: Theater [F]
Autor: Bernd Meinunger & Ralph Siegel
Label und Katalognummer: Ariola 101 551-100
Produktion: Ralph Siegel
Veröffentlicht: 1980 04 (Single)
Genretags: Europeana - Schlager
Bemerkungen: Der deutsche Beitrag zum Eurovision Song Contest 1980. Der Song wurde am Wettbewerb zweiter.
Katy Perry [D]: Never Really Over [F]
Autor: Gino Barletta & Michelle Buzz & Jason Gill & Leah Haywood & Daniel James & Katy Perry & Dagny Sandvik & Hayley Warner & Anton Zaslavski
Label und Katalognummer: Capitol, Capitol
Produktion: Dreamlab & Zedd
Veröffentlicht: 2019 05 30 (Digital), 2020 08 28 (Album)
Genretags: Electropop
Kendrick Lamar [D]: Cartoon & Cereal [F]
Assoziierte Acts: Gunplay (feat.)
Label und Katalognummer: Top Dawg Entertainment
Produktion: THC & J.LBS
Veröffentlicht: 2012 02 15 (Single)
Genretags: Electronica - Funktronica - US-Funky
Kettcar [D]: Sommer '89 (er schnitt Löcher in den Zaun) [F]
Autor: Kettcar & Marcus Wiebusch
Label und Katalognummer: Grand Hotel van Cleef GHvC 122
Produktion: Philipp Steinke
Veröffentlicht: 2017 10 13 (Album)
Genretags: Alternativerock - Diskursrock - Hamburger-Schule
Kid Creole And The Coconuts [D]: Stool Pigeon [F]
Autor: August Darnell
Label und Katalognummer: Island ILPS 7016, Island PWIP 6801
Produktion: August Darnell
Veröffentlicht: 1982 05 (Album), 1982 07 (Single UK)
Genretags: Postpunk - Postdisco
Kilima Hawaiians [D]: Es hängt ein Pferdehalfter an der Wand [F]
Autor: Carson Robinson & Rolf Winn
Label und Katalognummer: Philips P 44261 H
Veröffentlicht: 1952 (Single)
Genretags: Europeana - Schlager - Exotischer-Schlager
Kim Carnes [D]: Bette Davis Eyes [F]
Autor: Jackie DeShannon & Donna Weiss
Label und Katalognummer: EMI (US) 8077, EMI (US) SO 17052
Produktion: Val Garay
Veröffentlicht: 1981 03 10 (Single), 1981 04 (Album)
Genretags: Rock - AOR-Rock - AOR-NewWave
Bemerkungen: In der Version von Kim Carnes wurde Bette Davis Eyes
zu einem der Lieder des Jahres 1981: Neun Wochen lang besetzte der Song den Top-Spot der US-Charts, sieben Wochen lang denjenigen der deutschen und der schweizerischen, 5 Wochen lang jener der australischen Charts. Die Originalversion eines Songs von Jackie DeShannon, die ihn zusammen mit Donna Weiss geschrieben hat. Ihre Version fiel nicht weiter auf.
Wegweisende Produktion
«Bette Davis Eyes» in der Interpretation von Kim Carnes ist ein produktionstechnisches Meisterwerk, das wegweisend für andere AOR-Acts werden sollte. Das Arrangement wird von einem Synth Riff geprägt, das von Bill Cuomo beigesteuert wurde, der es auf dem Sequential Circuits Prophet-5 Synthesizer spielte. Der Prophet klingt stellenweise wie eine synthetische Gitarre. Der Song spricht daher gleichermassen ein Pop- und ein Rock-Publikum an. Die Produktion ist sparsam wie in einem NewWave Song: Das Intro exponiert das Riff, das mit Maracas unterlegt ist und nach ein paar Takten mit einem kontrapunktischen Synth-Motiv verziert wird. Mit dem Einsetzen der Stimme kommt eine monotone 4/4-Bassdrum hinzu, die sich im Chorus zum ökonomischen Rockbeat aufbaut. Der Produzent Val Garay soll für den Song sowohl synthetische als auch analoge Drums eingesetzt haben. Digital sind unter anderem die Handclap-artigen Beats, die mit dem zweiten Verse einsetzen.
Der Song
Der Song handelt von einer jungen Frau, die ihre verführerischen Kräfte dazu einsetzt, mit Männern zu spielen – oder vielleicht mit Frauen? Da die bekanntesten Versionen des Songs von Frauen gesungen werden, nimmt man entweder an, dass die Erzählerin eine Frau ist, die (neidisch) eine attraktivere Konkurrentin beobachtet oder eben selbst das verführte Opfer ist.
Drei Hollywood Schauspielerinnen werden in den Lyrics genannt. Die erste ist Jean Harlow, die in den 1930er Jahren der Prototyp der blonden Sexbombe war, eine Vorgängerin von Marilyn Monroe. Die zweite ist Greta Garbo, die in den 20er Jahren aus Schweden über Deutschland nach Hollywood kam und auf tragische Frauenrollen spezialisiert war. Zu ihrem Mythos trug bei, dass sie jung und auf dem Höhepunkt ihrer Karriere aus dem Geschäft ausstieg und zurückgezogen lebte, teils im schweizerischen Klosters. Die dritte, die titelgebende Bette Davis, kam als Theaterschauspielerin nach Hollywood und war auf komplexe und souveräne Charaktere spezialisiert. Davis konnte mit ihren Augen und einer Zigarette so viel ausdrücken, dass man sie auch ohne Ton verstand. Ihre Augenlider waren gross und wirkten müde und überlegen zugleich. Alle drei Schauspielerinnen sind Ikonen des Frauenpowers sowie der LGBT-Gemeinde. Dass diese drei im Liedtext genannt werden, ist ein Hinweis, dass der Song auch aus lesbischer Perspektive gehört werden kann. Diese Ambivalenz ist für einen Popsong geschickt in der Erzählposition aufgehoben, wo sie am wenigsten offensiv oder plakativ wirkt. Wer die Andeutung verstehen will, kann sie verstehen, wer nicht, hört «Bette Davis Eyes» als Vamp-Song.
Kim Carnes fing in den Sixties bei den New Christy Minstrels an zu singen. In dieser Popfolk-Grossformation spielten und sangen auch Kenny Rogers, Gene Clark (Gründungsmitglied der Byrds), Barry McGuire und Jerry Yester (später Mitglied der Lovin' Spoonful und Ehemann von Sängerin Judy Henske). Ende der 1960er Jahre sang sie für die Bubblegum-Formation Sugar Bears. Ihre Solokarriere begann 1978. Sie brachte bereits vor ihrem Überhit «Bette Davis Eyes» zwei Songs in die US-Hitparade, einer ein Duett mit Kenny Rogers: Don't Fall In Love With A Dreamer. Sie kam also 1981 nicht gerade aus dem Nichts, aber «Bette Davis Eyes» scheint so hell, dass der Song ihr ganzes restliches Schaffen in den Schatten stellt und daher meist als One-Hit-Wonder bezeichnet wird.
King Crimson [D]: 21st Century Schizoid Man (incl. Mirrors) [F]
Autor: Robert Fripp & Michael Giles & Greg Lake & Ian McDonald & Peter Sinfield
Label und Katalognummer: Island ILPS 9111, E'G EGCD 1
Produktion: Robert Fripp & Michael Giles & Greg Lake & Ian McDonald & Peter Sinfield
Veröffentlicht: 1969 10 10 (Album)
Genretags: Rock - Progrock - Symphonicprog
Bemerkungen: Klassischer Track des Progressive Rock. Von King Crimson sagte Jimi Hendrix, es sei die beste Rockgruppe der Welt. Dieser Track inszeniert eine Horror-Vision, die es mit den grössten Apokalyptikern der Kunstgeschichte aufnehmen kann. Eine atemberaubende Melange aus Metal-Riffs, Freejazz-Improvisationen, pastoralem Folkrock.
Als Single hat der Track nicht charten können. Dafür wird das zugehörige Album In The Court Of The Crimson King in Rock- und Progrock-Genrelisten ziemlich hoch plaziert, z.B. wurde es vom Rolling Stone 2015 auf Platz 2 der Progrock Alben gewählt, unmittelbar hinter The Dark Side of The Moon.
Kings Of Leon [D]: Waste A Moment [F]
Autor: Caleb Followill & Jared Followill & Matthew Followill & Nathan Followill
Label und Katalognummer: RCA
Produktion: Markus Dravs
Veröffentlicht: 2016 09 12 (Single), 2016 10 14 (Album)
Genretags: Alternativerock - Poprock
Klaus Johann Grobe [D]: KOthek [F]
Autor: Klaus Johann Grobe
Label und Katalognummer: Trouble In Mind TIM 069
Produktion: Klaus Johann Grobe & David Langhard
Veröffentlicht: 2014 04 28 (Album)
Genretags: Post-Millennial-Music - Lo-Fi-Underground - Indierock
Klaus Lage Band [D]: Monopoli [F]
Assoziierte Acts: Klaus Lage
Autor: Dieter Dehm & Klaus Lage & Wolf Maahn
Label und Katalognummer: Musikant 1C 066 1469461, Musikant 1C 006 14 6993 7
Veröffentlicht: 1984 (Album), 1984 (Single)
Genretags: Rock - Poprock - Deutschrock
Kraftwerk [D]: Das Model [F]
Autor: Karl Bartos & Ralf Hütter & Emil Schult
Label und Katalognummer: Kling Klang 006 45 109, EMI EMI 5207
Produktion: Ralf Hütter & Florian Schneider
Veröffentlicht: 1978 05 (Album), 1981 12 (UK Single)
Genretags: Newpop - Synthpop
Bemerkungen: Einziger Nummer 1 Hit der Band im UK.
Kraftwerk [D]: Die Roboter [F]
Autor: Karl Bartos & Ralf Hütter & Florian Schneider
Label und Katalognummer: Kling Klang 1C 058-32 843, Kling Klang 1 C 006-32 941
Produktion: Ralf Hütter & Florian Schneider
Veröffentlicht: 1978 04 (Album), 1978 (Single)
Genretags: Electronica - Electronic-Rock - Düsseldorfer-Schule
Kraftwerk [D]: Autobahn [F]
Autor: Ralf Hütter & Florian Schneider & Emil Schutt
Label und Katalognummer: Philips 6305 231, Philips 6003 438
Produktion: Ralf Hütter & Florian Schneider
Veröffentlicht: 1974 11 01 (Album), 1975 02 (Single)
Genretags: Electronica - Electronic-Rock - Düsseldorfer-Schule
Bemerkungen: Kraftwerk beabsichtigten mit diesem Song viele Klänge, die mit dem Auto fahren zu tun haben, synthetisch zu imitieren, nachzubauen.
Die Single wurde nicht ins Englische übersetzt.. Das geschah erst mit den späteren Singles. «Fahr'n, Fahr'n, Fahr'n» wurde folglich vom englischsprachigen Publikum meist als «Fun Fun, Fun» verstanden und als Beach Boys-Zitat aufgefasst.
Es gab auch eine Single Version des Songs.
Kraftwerk [D]: Europa Endlos [F]
Autor: Ralf Hütter & Florian Schneider
Label und Katalognummer: Kling Klang 1C 064-82 306
Produktion: Ralf Hütter & Florian Schneider
Veröffentlicht: 1977 03 (Album)
Genretags: Electronica - Electronic-Rock - Düsseldorfer-Schule
Kris Kristofferson [D]: The Pilgrim - Chapter 33 [F]
Autor: Kris Kristofferson
Label und Katalognummer: Monument Records Z 30679, Monument ZS7 8531
Produktion: Fred Foster
Veröffentlicht: 1971 07 (Album), 1972 (Single)
Genretags: Country - Autorencountry - Outlawcountry, Country - Autorencountry - Singer-Songwriter
Bemerkungen: Song über Johnny Cash und andere.
Krug [D]: Komm Und Spiel Mit Mir [F]
Assoziierte Acts: Manfred Krug
Autor: Günther Fischer & Clemens Kerber
Label und Katalognummer: AMIGA 8 55 279
Produktion: Gerhard Siebholz
Veröffentlicht: 1972 (Album)
Genretags: Rock - Poprock - Deutschrock
Kurt Elling [D]: Resolution [F]
Autor: John Coltrane
Label und Katalognummer: Blue Note 7243 5 90948 2 3
Veröffentlicht: 2003 07 22 (Album)
Genretags: Jazz - Vocaljazz
La Düsseldorf [D]: Geld [F]
Autor: Klaus Dinger
Label und Katalognummer: Strand 6.23626
Produktion: Klaus Dinger
Veröffentlicht: 1978 (Album)
Genretags: Electronica - Electronic-Rock - Düsseldorfer-Schule
Lady Gaga [D]: Just Dance [F]
Assoziierte Acts: Colby O'Donis (feat.)
Autor: Akon & Lady Gaga & RedOne
Label und Katalognummer: Interscope B0011524 32, Interscope 0251766489
Produktion: RedOne
Veröffentlicht: 2008 07 15 (Single), 2008 08 19 (Album)
Genretags: Newpop - Electronicpop
Lale Andersen [D]: Lied eines jungen Wachtpostens (= Lili Marleen) [F]
Autor: Hans Leip & Norbert Schultze
Label und Katalognummer: Electrola EG 6993
Veröffentlicht: 1939 08 (Single), 1915 (Werk), 1939 07 31 (Rec.)
Genretags: Europeana - Schlager
Bemerkungen: Lili Marleen
oder eigentlich Lied eines jungen Wachtpostens
ist zweifellos ein Jahrhundertsong. Das Lied, das eine zufällige Wir
kung entfaltete, wurde während dem Zweiten Weltkrieg zum Spielball der Tagespolitik und schuf ein ideologisches Schlachtfeld, auf dem ausgefochten wurde, welche Art von Männerphantasie erwünscht war und welche unerwünscht. Die Reichspropaganda wusste, dass Fantasien kriegsentscheidend sind ...
Der Hamburger Lehrer Hans Leip schrieb 1915 , kurz bevor er im Ersten Weltkrieg an die Ostfront eingezogen wurde, ein Gedicht mit dem Titel Das Lied eines jungen Soldaten auf der Wacht
. 1937 publizierte Leip, mittlerweile ein bekannter Autor für Seemannsromane, sein Gedicht. Ein Jahr später vertonte Norbert Schultze die drei Verse als Schlager – ergänzt mit weiteren zwei Strophen. Die Platte unter dem Titel Das Mädchen unter der Laterne
von Lale Andersen – bürgerlich Liese-Lotte Helene Berta Bunnenberg – wurde von der Öffentlichkeit zunächst kaum wahrgenommen. Nur gerade 700 Stück sollen davon verkauft worden sein.
Während dem Krieg wurde der Schlager zu einem begehrten Stück Musik. Das besetzte Radio Belgrad, das an allen Fronten empfangen werden konnte, sendete den Song ab 1941 regelmässig. Anfangs aus dem simplen Grund, weil es zu wenig Schallplatten gab und diese halt im Fundus war. Später wurde das Stück anstatt der Landeshymne um 21:55 Uhr zum Schluss des Tagesprogramms gespielt und schlich von dort in die Träume der Soldaten. Der deutsche Propaganda-Minister Göbbels hörte in der Lili Marleen
etwas Defätistisches und liess das Lied neu aufnehmen. Aber die deutschen Soldaten wollten die Originalversion hören. Jeden Abend, quasi als Ritual, wurde das Lied gespielt. Auch die Feinde lauschten mit und während der Song lief, schwiegen die Waffen, so will es der Mythos.
Das Lied ist ein Lehrstück, wie Kontext-sensibel musikalischer Erfolg ist: Ohne den Zweiten Weltkrieg wäre der Song vermutlich sang und klanglos untergegangen und niemand würde heute noch von ihm sprechen. Durch die Erfahrung von zigtausend Soldaten, die durch den Krieg von ihrer Liebsten oder ihrer Familie getrennt wurden, erhielt das melancholische Lied eine Brisanz, die es vorher nicht hatte. Als es dann auch noch Gegenstand der deutschen Propagandamaschine wurde und zum Politikum war der Song definitiv Geschichte. Schliesslich wurde Lili Marleen
auch noch zur Waffe der Alliierten. Lale Andersen wurde 1943 mit einem Auftrittsverbot bestraft, weil sie Briefkontakte zu jüdischen Emigranten pflegte. Die BBC streute darauf die Nachricht, dass die beliebte Sängerin in einem KZ festgehalten würde, worauf die Deutschen, besorgt um ihren Ruf, sie wieder auftreten liessen. Das amerikanische «Office of Strategic Services» machte Marlene Dietrich das Lied singen, die bereits seit 1930 als Schauspielerin in Hollywood arbeitete. Ihre Aufnahme wurde propagandamässig eingesetzt, um die Moral der feindlichen Truppen zu unterhöhlen. Der Song kommt einem vor, wie ein Fetzen Stoff, an dem viele Parteien je einen Zipfel fassen und mit allen Kräften dran ziehen. Der Song aber hält, ohne zu zerreissen.
Lili Marleen
wurde die erste goldene Schallplatte in Deutschland (1 Million verkaufte Einheiten).
Über den Song drehte Rainer Werner Fassbinder 1981 seinen gleichnamigen Film.
Links
– zur Box von Bear Family Records: Lili Marleen An Allen Fronten (2005)
– zum Film über das Lied von Fassbinder
Lale Andersen [D]: Ein Schiff wird kommen [F]
Autor: Fini Busch & Manos Hadjidakis
Label und Katalognummer: Electrola E 21615, Electrola SME 73 328
Veröffentlicht: 1960 10 (Single), 1962 (Album)
Genretags: Europeana - Schlager
Lana Del Rey [D]: Summertime Sadness [F]
Autor: Lana Del Rey & Rick Nowels
Label und Katalognummer: Interscope B 0016425, Universal
Produktion: Emile Haynie & Rick Nowels & Devrim Karaoglu
Veröffentlicht: 2012 01 31 (Album), 2012 06 22 (Digital Single)
Genretags: Post-Millennial-Music - Poprock - Altpop
Larry Williams [D]: Bony Moronie [F]
Autor: Larry Williams
Label und Katalognummer: Speciality 615, Specialty SP 2109
Veröffentlicht: 1957 10 (Single), 1959 (Album), 1957 09 11 (Rec.)
Genretags: Afroamericana - Rhythm'n'Blues - New-Orleans-Rhythm'n'Blues
Laub [D]: Grau. Unter Anderen Bedingungen Als Liebe [F]
Assoziierte Acts: Antye Greie & https://www.youtube.com/watch?v=nv0LXelxkK0
Autor: Antye Greie & Jürgen Kühn & Kristof Schreuf
Label und Katalognummer: Kitty-Yo KY 99019
Produktion: Antye Greie & Jürgen Kühn & Sebastian Vogel
Veröffentlicht: 1999 05 04 (Album)
Genretags: Electronica - Breakbeat - Drum'n'Bass, Electronica - Breakbeat - Triphop
Bemerkungen: Das zitierte Lied Der kleine Trompeter
stammt von W. Wallroth
(1925).
Led Zeppelin [D]: The Crunge [F]
Autor: John Bonham & John Paul Jones & Jimmy Page & Robert Plant
Label und Katalognummer: Atlantic K 50014, Atlantic 45-2986
Produktion: Jimmy Page
Veröffentlicht: 1973 03 28 (Album UK), 1973 09 17 (Single US)
Genretags: Rock - Progrock - Hard'n'Heavy, Rock - Corporate-Rock - Hardrock
Bemerkungen: Die B-Seite zu D'yer Mak'er. Ein Track aus Funk-Breaks, die an Sex Machine von James Brown angelehnt sind (am Schluss wird das mit den Zeilen «I'm just trying to find the bridge...» deutlich. Robert Plant rappt zwar nicht wirklich hier, aber dennoch ist es interessant, den Track als Proto-Rap/Proto-Hip-Hop zu hören. Die Single mit einem Reggae-Track als A-Seite und einem Funk-Track als B-Seite ist unglaublich fortschrittlich für eine Rockband!
Len Spencer [D]: Hello! Ma Baby [F]
Autor: Ida Emerson & Joseph E. Howard
Label und Katalognummer: Berliner 05
Veröffentlicht: 1899 (Single), 1999 04 15 (Rec.)
Genretags: Traditionalpop - Varieteepop - Vaudeville, Traditionalpop - Varieteepop - Coonsong
Bemerkungen: Der Song ist im Internet Archiv und bei der Library of Congress verfügbar.
Leonard Cohen [D]: Bird On The Wire [F]
Label und Katalognummer: Columbia CS 9767, CBS 4245
Produktion: Bob Johnston
Veröffentlicht: 1969 04 (Album), 1969 05 (SIngle UK), 1968 09 26 (Rec.)
Genretags: Rock - Singer-Songwriter
Les Humphries Singers [D]: Sing Sang Song [F]
Autor: Kurt Hertha & Les Humphries & Ralph Siegel
Label und Katalognummer: Decca 6.11844 AC
Produktion: MGH
Veröffentlicht: 1976 04 (Single)
Genretags: Pop - Europop
Bemerkungen: Der 15. Platz am Eurovision Song Contest von 1975.
Liane Covi [D]: Simsalabim [F]
Autor: Fred Jay & Daniele Pace & Mario Panzeri
Label und Katalognummer: Decca 29 167
Produktion: Jack White [D]
Veröffentlicht: 1971 (Single)
Genretags: Europeana - Schlager
Lilian Harvey & Willy Fritsch [D]: Ich tanze mit dir in den Himmel hinein [F]
Autor: Hans Fritz Beckmann & Friedrich Schröder
Label und Katalognummer: Odeon O 25 903
Veröffentlicht: 1937 06 (Single)
Genretags: Europeana - Schlager - Filmschlager
Bemerkungen: Aus dem Film Sieben Ohrfeigen
.
Lilly Ahlberg [D]: Bad Boys [F]
Label und Katalognummer: Selbstrelease (Youtube Audio)
Produktion: Jonny Hockings
Veröffentlicht: 2018 01 05 (Digital)
Genretags: Electropop
Little Simz [D]: Heart On Fire [F]
Autor: Inflo & Little Simz & Cleo Sol
Label und Katalognummer: Forever Living Originals
Produktion: Inflo
Veröffentlicht: 2022 12 12 (Album)
Genretags: Hip-Hop - Conscious-Resurgence
LL Cool J [D]: I Can't Live Without My Radio [F]
Autor: Rick Rubin & James Todd Smith
Label und Katalognummer: Def Jam 44-05291, Def Jam CK 40239
Produktion: Rick Rubin
Veröffentlicht: 1985 10 06 (Single), 1985 11 18 (Album)
Genretags: Hip-Hop - Newschool
Loredana & Mozzik [D]: Romeo & Juliet [F]
Label und Katalognummer: Selbstrelease (Youtube Video)
Produktion: Macloud & Miksu
Veröffentlicht: 2019 01 31 (Digital)
Genretags: Post-Millennial-Music - Hip-Hop - Poprap
Lotte Lenya [D]: Die Seeräuber-Jenny oder Träume eines Küchenmädchens [F]
Autor: Kurt Weill & Bertold Brecht
Label und Katalognummer: CBS MK 42637
Veröffentlicht: 1982 01 (Ed.), 1928 (Werk), 1958 11 11 (Rec.)
Genretags: Akademica - Funktionale-Musik - Musical, Europeana
Bemerkungen: Die böse Revanche-Fantasie eines Dienstmädchens.
Lucia Popp [D]: Die Christel von der Post [F]
Autor: Carl Zeller
Veröffentlicht: 1967 (TV), 1891 (Werk)
Genretags: Pretraditionalpop - Operette
Bemerkungen: Aus der Operette Der Vogelhändler
Lucinda Williams [D]: Car Wheels On A Gravel Road [F]
Autor: Lucinda Williams
Label und Katalognummer: Mercury 558 338
Produktion: Roy Bittan
Veröffentlicht: 1998 06 30 (Album)
Genretags: Alternativerock - Alternativecountry
M.I.A. (UK) [D]: Paper Planes [F]
Autor: Maya Arulpragasam & Diplo & Topper Headon & Mick Jones & Wesley Pentz & Paul Simonon & Joe Strummer
Label und Katalognummer: XL Recordings XLCD 281
Produktion: Diplo & Switch
Veröffentlicht: 2007 08 08 (Album)
Genretags: Electropop - Globalpop - Bhangra
Macklemore And Ryan Lewis [D]: Same Love [F]
Assoziierte Acts: Mary Lambert (feat.)
Autor: Ben Haggerty & Mary Lambert & Ryan Lewis
Label und Katalognummer: Sub Pop, Selbstrelease (Macklemore LLC)
Produktion: Ryan Lewis
Veröffentlicht: 2012 07 24 (SIngle), 2012 10 09 (Album)
Genretags: Hip-Hop - Conscious-Resurgence
Madonna [D]: What it Feels Like For A Girl [F]
Assoziierte Acts: Charlotte Gainsbourg (feat.)
Autor: Madonna & Guy Sigsworth
Label und Katalognummer: Maverick 9362-47865, Maverick 9 42372
Produktion: Madonna & Guy Sigsworth & Mark Stent
Veröffentlicht: 2000 09 19 (Album), 2001 04 16 (Single)
Genretags: Newpop - Dancepop - Trance
Magnetic Fields [D]: Papa Was a Rodeo [F]
Assoziierte Acts: Stephin Merritt
Autor: Stephin Merritt
Label und Katalognummer: Merge MRG 169
Produktion: Stephin Merritt
Veröffentlicht: 1999 09 07 (Album)
Genretags: Indiepop, Alternativerock - Singer-Songwriter - Gruppe, Newpop - Artpop
Mani Matter [D]: Dr Sidi Abdel Assar vo El Hama (Live) [F]
Autor: Mani Matter
Label und Katalognummer: Zytglogge SLP 30-201
Veröffentlicht: 1973 (Album)
Genretags: Europeana - Liedermacher - Berner-Troubadouren
Manillio [D]: Stärne [F]
Autor: Manuel Liniger & Joachim Piehl
Label und Katalognummer: Nation, Nation
Produktion: Sir Jai
Veröffentlicht: 2010 04 30 (Digital), 2010 10 02 (Album)
Genretags: Post-Millennial-Music - Lo-Fi-Underground - Electronicpop
Margot Eskens [D]: Cindy, Oh Cindy [F]
Assoziierte Acts: Kurt Edelhagen mit seinem Orchester
Autor: Robert Barron & Kurt Feltz & Burt Long
Label und Katalognummer: Polydor 23 363
Produktion: Kurt Feltz
Veröffentlicht: 1956 11 (Single)
Genretags: Europeana - Schlager - Exotischer-Schlager
Maria Andergast & Hans Lang [D]: Mariandl [F]
Autor: Martin Kosta & Hans Lang & Kurt Nachmann
Label und Katalognummer: Austroton 8131
Veröffentlicht: 1947 (Single)
Genretags: Europeana - Schlager
Bemerkungen: Aus dem Film Der Hofrat Geiger
von 1947.
Marianne Rosenberg [D]: Ich bin wie du [F]
Autor: Joachim Heider & Christian Heilburg & Gregor Rottschalk
Produktion: Joachim Heider
Veröffentlicht: 1976 01 (Album), 1976 (Single)
Genretags: Europeana - Schlager - TV-Schlager, Disco - Popdisco - Eurodisco
Marianne Rosenberg [D]: Er gehört zu mir [F]
Autor: Joachim Heider & Christian Heilburg
Label und Katalognummer: Philips 6003 431, Philips 6305 287
Produktion: Joachim Heider
Veröffentlicht: 1975 (Single), 1976 01 (Album)
Genretags: Europeana - Schlager - TV-Schlager
Marion [D]: Er ist wieder da [F]
Assoziierte Acts: Marion März
Autor: Christian Bruhn & Günter Loose
Label und Katalognummer: Hansa 18 516 AT, Hansa 75 437 ZT
Produktion: Peter Meisel
Veröffentlicht: 1965 (Single), 1967 (Album)
Genretags: Europeana - Schlager - TV-Schlager
Marion [D]: Mach nicht die Tür zu [F]
Assoziierte Acts: Marion Maerz
Autor: Willy Dehmel& Charly Niessen
Label und Katalognummer: Hansa 18 950 AT
Produktion: Peter Meisel
Veröffentlicht: 1966 (Single)
Genretags: Europeana - Schlager
Marlene Dietrich [D]: Lili Marlene [F]
Autor: Hans Leip & Norbert Schultze & Mack David & Marlene Dietrich
Label und Katalognummer: Decca [US] 23456
Veröffentlicht: 1945 10 (Single)
Genretags: Traditionalpop
Marlene Dietrich [D]: Ich bin die fesche Lola [F]
Autor: Friedrich Hollaender & Robert Liebmann
Label und Katalognummer: Electrola E.G. 1802
Veröffentlicht: 1930 04 (Single), 1930 04 01 (Film), 1930 02 19 (Rec.)
Genretags: Europeana - Schlager - Kabarett-Schlager
Bemerkungen: Song aus dem Film Der blaue Engel.
Die gut aussehende Lola ist wohl ein Revue-Mädchen im Cabarett. Das Pianola, ein automatisches Klavier (siehe Notenrolle), ist eine Anspielung auf ihren Körper. Die Cabarett-Stars sind Komiker*innen, Musiker*innen usw. Die Lola spielt indes mit etwas, das automatisch ist wie das Pianola: ihren Reizen. Die Analogie zwischen mechanischen Wiedergabegeräten und dem Revue-Girl gehen noch weiter: Ihre Reize sind vergänglich (sie nennt sich «Liebling der Saison») wie die Hits, die aus den Apparaten erklingen.
Marlene Dietrich [D]: Ich bin von Kopf bis Fuß auf Liebe eingestellt [F]
Autor: Friedrich Hollaender
Label und Katalognummer: Electrola E.G. 1770
Veröffentlicht: 1930 03 (Single)
Genretags: Traditionalpop - Vocalpop
Mars Volta [D]: Eunuch Provocateur [F]
Autor: Mars Volta
Label und Katalognummer: Gold Standard Laboratories GSL 54
Produktion: Mars Volta & Alex Newport
Veröffentlicht: 2002 05 02 (EP)
Genretags: Alternativerock - Neo-Progressiverock, Metal - Undergroundmetal - Thrashmetal
Marty Mumenthaler & Vrenely Pfyl [D]: Nach em Räge schint Sunne [F]
Assoziierte Acts: Marthely Mumenthaler
Autor: Artur Beul
Label und Katalognummer: Elite Spezial 4311
Veröffentlicht: 1944 (Single)
Genretags: Europeana - Schlager - Swingpolka
Mausberg [D]: Get Nekkid [F]
Assoziierte Acts: DJ Quik (feat.)
Autor: Johnny Burns
Label und Katalognummer: Ark 21
Veröffentlicht: 2000 10 17 (Album)
Genretags: Hip-Hop - Gangstarap - Westcoast
Max Hansen [D]: Warn Sie schon mal in mich verliebt [F]
Assoziierte Acts: Paul Godwin Mit Seinen Jazz-Symphonikern (feat.)
Autor: Max Hansen & Paul Nikolaus
Label und Katalognummer: Grammophon 21758
Veröffentlicht: 1928 (Single)
Genretags: Europeana - Schlager - Kabarett-Schlager
Max Hansen [D]: Was kann der Sigismund dafür daß er so schön ist [F]
Assoziierte Acts: Paul Godwin Tanz Orchester (feat.)
Autor: Robert Gilbert
Label und Katalognummer: Grammophon 23639
Veröffentlicht: 1930 (Single)
Genretags: Europeana - Schlager
Maxi Priest [D]: Close To You [F]
Autor: Gary Banson & Maxi Priest & Winston Sela
Label und Katalognummer: Ten TEN 294, Ten
Produktion: Geoffrey Chung & Lowell 'Sly' Dunbar & Handel Tucker
Veröffentlicht: 1990 07 08 (Single), 1990 07 10 (Album)
Genretags: Afroamericana - R'n'B - New-Jack-Swing
Mötley Crüe [D]: Dr. Feelgood [F]
Autor: Mick Mars & Mötley Crüe & Nikki Sixx
Label und Katalognummer: Elektra EKR 97X, Elektra 9 60829
Produktion: Bob Rock
Veröffentlicht: 1989 08 28 (Single UK), 1989 09 01 (Album)
Genretags: Rock - AOR-Rock - Arenarock, Rock - AOR-Rock - AOR-Hardrock
Müslüm [D]: Süpervitamin [F]
Autor: Ben Mühlethaler & Semih Yavsaner
Label und Katalognummer: Muve Recordings 907392
Produktion: Ben Mühlethaler & Semih Yavsaner
Veröffentlicht: 2012 05 25 (Album)
Genretags: Newpop - Globalpop
MD [D]: Manisch Depressiv [F]
Label und Katalognummer: Soilant S 1983
Veröffentlicht: 1983 (Single), 1981 (Rec.)
Genretags: Postpunk - Artpop - Continental-NewWave
Bemerkungen: MD waren das Duo von Daniel Graessle (g) und Gigia Saladin (voc). Das Stück ist eine Suite kurzer fragmentarischer Stücke. Die Single kam in einer Kartonhülle, die gesprayt war.
Melba Moore [D]: Three-Five-Zero-Zero [F]
Autor: Galt MacDermot & James Rado & Gerome Ragni
Label und Katalognummer: RCA Victor LSO 1150
Produktion: Peter Knight jr. & Norrie Paramor
Veröffentlicht: 1968 (Album)
Genretags: Akademica - Funktionale-Musik - Musical
Melissa Manchester [D]: Don't Cry out Loud [F]
Autor: Peter Allen & Carole Bayer Sager
Label und Katalognummer: Arista AB 4186
Produktion: Harry Maslin
Veröffentlicht: 1978 10 (Album), 1978 10 (Single)
Genretags: Pop - Softrock
Michael Holm [D]: Barfuss im Regen [F]
Autor: Michael Holm & Giorgio Moroder
Label und Katalognummer: Ariola 14 492 AT
Produktion: Michael Holm & Giorgio Moroder
Veröffentlicht: 1970 03 (Single)
Genretags: Europeana - Schlager - TV-Schlager
Michael Holm [D]: Tränen lügen nicht [F]
Autor: Dario Baldan Bembo & Michael Holm & Alberto Salerno & Maurizio Seymandi & Francesco Specchia & Zacar
Label und Katalognummer: Ariola 13 570 AT
Produktion: Michael Holm & Rainer Pietsch
Veröffentlicht: 1974 09 (Single)
Genretags: Europeana - Schlager - TV-Schlager
Michael Sembello [D]: Maniac [F]
Autor: Dennis Matkosky & Michael Sembello
Label und Katalognummer: Casablanca Records 811 492, Casablanca Records 812 516, Warner Bros. 23920
Produktion: Phil Ramone
Veröffentlicht: 1983 04 11 (Soundtrack), 1983 05 (Single), 1983 09 19 (Album)
Genretags: Newpop - Dancepop
Migos [D]: Narcos [F]
Autor: Kirsnick Ball & Kiari Cephus & Quavious Marshall & Daryl McPherson
Label und Katalognummer: Quality Control 673598, Quality Control
Produktion: DJ Durel & Quavo
Veröffentlicht: 2018 01 26 (Album), 2018 06 27 (Digital)
Genretags: Hip-Hop - Traprap
Mills Brothers [D]: The Glow-Worm (= Shine Little Glow Worm) (= Glühwürmchen Idyll) [F]
Assoziierte Acts: Hal McIntyre And His Orchestra
Autor: Paul Lincke & Johnny Mercer & Lilla Cayley Robinson
Label und Katalognummer: Decca [USA] 9-28384
Veröffentlicht: 1952 09 (Single), 1952 07 02 (Rec.), 1907 (Werk)
Genretags: Traditionalpop - Vocalpop - Vocalgroup
Bemerkungen: Dieser Song wurde von Paul Lincke für die Operette Lysistrata
als Glühwürmchen Idyll
geschrieben (zum Beispiel in der Version von Erna Sack von 1937 - hier hört man den transatlantischen Unterschied, aber natürlich auch eine historische Distanz von 45 Jahren zur Komposition und 15 Jahren zur Interpretation – dennoch Operette und Tin Pan Alley sind echt verschiedene Welten!).
Das Original auf der Bühne wurde von Cäcilie Carola, Emma Malkowsky und Kathi Herold gesungen. Musikalisch ursprünglich eine Gavotte.
Lilla Cayley Robinson besorgte die Übersetzung ins Englische, Johnny Mercer erweiterte das Lied und machte daraus einen amerikanischen Schlager.
Mireille Mathieu [D]: Hinter den Kulissen von Paris [F]
Autor: Christian Bruhn & Georg Buschor
Label und Katalognummer: Ariola 14 285 AT, Ariola H 085/3
Produktion: Christian Bruhn & Gerhard Hämmerling
Veröffentlicht: 1969 (Single), 1970 (Album)
Genretags: Europeana - Schlager - TV-Schlager
Mireille Mathieu [D]: Akropolis Adieu [F]
Autor: Christian Bruhn & Georg Buschor
Label und Katalognummer: Ariola 10 377 AT, Ariola 85750 IT
Produktion: Christian Bruhn
Veröffentlicht: 1971 08 (Single), 1971 (Album)
Genretags: Europeana - Schlager - TV-Schlager
Mission [D]: Wasteland [F]
Autor: Craig Adams & Mick Brown & Simon Hinkler & Wayne Hussey
Label und Katalognummer: Mercury MERH 102, Mercury Myth 2
Produktion: Mission & Tim Palmer
Veröffentlicht: 1986 11 (Album), 1987 01 (Single)
Genretags: Postpunk - Darkwave
Monica Morell [D]: Ich fange nie mehr was an einem Sonntag an [F]
Autor: Pepe Ederer & Gerd Gudera
Label und Katalognummer: EMI Columbia 006-33 649, HÖR ZU SHZE 392
Produktion: Pepe Ederer
Veröffentlicht: 1972 (Single), 1973 (Album)
Genretags: Europeana - Schlager - TV-Schlager
Bemerkungen: Ich fange nie mehr was an einem Sonntag an
war 1972 15 Wochen lang in der Schweizer Hitparade verzeichnet, vom 23. Januar 1973 bis 26. Februar 1973 als CH-Top-Hit. Die Sängerin, Monica Morell war Zürcherin und hiess bürgerlich Wirz-Römer">Monica Wir
z-Römer. Das Lied handelt von einer jungen Frau, deren Freund Tommy an einem Sonntag mit dem Motorrad ums Leben kommt. Hier erklang ein neuer ernster Ton im Schlager, der sich zuvor bei Juliane Werding oder Alexandra angekündigt hatte.
Morell hat die Legende in die Welt gesetzt, dass der Song aus ihrem Leben stamme. So verbreitete sich der Irrglaube, dass Morell tatsächlich einen Freund Tommy in einem Motorradunfall verlor. Sie wollte vermutlich keine Lüge verbreiten, aber durchaus wohl als authentische Sängerin wahrgenommen werden, als jemand, die nicht über irgendetwas Unbedeutendes singt. Ihr grosses Vorbild war die politisch engagierte Folksängerin Joan Baez. Der Song indes wurde von zwei professionellen Songwritern geschrieben, von Pepe Ederer (Melodie) und Gerd Gudera (Text).
Die Sängerin hatte selbst einen Sohn mit dem Namen Thommy, der als Säugling am plötzlichen Kindstod verstarb. Ihr spätere Lebensgeschichte war von einer Nervenkrankheit und von Krebs geprägt. Da Monica Morell Andeutungen gemacht hat, dass dieser Song aus ihrem Leben stamme, erhalten diese Trivialitäten ein beklemmendes Gewicht.
Monica Morell [D]: Bitte glaub' es nicht [F]
Autor: Pepe Ederer & Gerd Gudera
Label und Katalognummer: Columbia (EMI) 1C 006-33 676, HÖR ZU SHZE 392
Produktion: Pepe Ederer
Veröffentlicht: 1973 (Single), 1973 (Album)
Genretags: Europeana - Schlager - TV-Schlager
Monica Morell [D]: Danny, Mein Freund [F]
Autor: Pepe Ederer & Gerd Gudera & Irma Holder
Label und Katalognummer: EMI Electrola GmbH 1 C 062-33 791, EMI 1C 006-33 789
Produktion: Pepe Ederer
Veröffentlicht: 1975 (Album), 1975 (Single)
Genretags: Europeana - Schlager - TV-Schlager
Monica Morell [D]: Viele Mädchen denken wie ich [F]
Autor: Pepe Ederer & Gerd Gudera & Irma Holder
Label und Katalognummer: EMI 006-33 931
Produktion: Pepe Ederer
Veröffentlicht: 1977 (Single)
Genretags: Europeana - Schlager - TV-Schlager
Neil Young [D]: Hitchhiker [F]
Autor: Neil Young
Label und Katalognummer: Reprise 525956
Produktion: Daniel Lanois
Veröffentlicht: 2010 09 28 (Album)
Genretags: Rock - Singer-Songwriter, Rock - Folkrock
Nena [D]: Lass mich dein Pirat sein [F]
Autor: Rolf Brendel & Nena Kerner
Label und Katalognummer: CBS CBS 25 870, CBS A 4371
Produktion: Reinhold Heil & Manfred Praeker
Veröffentlicht: 1984 01 27 (Album), 1984 06 (Single)
Genretags: Alternativerock - Poprock - NDW
Nena [D]: Irgendwie, irgendwo, irgendwann [F]
Autor: Jörn-Uwe Fahrenkrog-Petersen & Carlo Karges
Label und Katalognummer: CBS A 4710, CBS CBS 26 546
Produktion: Reinhold Heil & Manne Praeker
Veröffentlicht: 1984 10 05 (Single), 1985 06 25 (Album)
Genretags: Rock - AOR-Rock - AOR-NewWave
Nena [D]: Nur geträumt [F]
Autor: Rolf Brendel & Jörn-Uwe Fahrenkrog-Petersen & Nena
Label und Katalognummer: CBS A 2292, CBS CBS 25 264
Produktion: Reinhold Heil & Manfred Praeker
Veröffentlicht: 1982 06 (Single), 1983 01 04 (Album)
Genretags: Postpunk - Artpop - NDW
Nick Cave And The Bad Seeds [D]: The Mercy Seat [F]
Autor: Nick Cave & Mick Harvey
Label und Katalognummer: Mute MUTE52, Mute STUMM 52
Produktion: Nick Cave & Bad Seeds
Veröffentlicht: 1988 05 23 (Single), 1988 09 19 (Album)
Genretags: Alternativerock - Singer-Songwriter
Nick Cave And The Bad Seeds [D]: Red Right Hand [F]
Autor: Mick Harvey & Nick Cave & Thomas Wydler
Label und Katalognummer: Mute STUMM 123, Mute CDMUTE172
Produktion: Bad Seeds & Tony Cohen
Veröffentlicht: 1994 04 19 (Album), 1994 10 24 (Single)
Genretags: Alternativerock - Singer-Songwriter
Nick Cave And The Bad Seeds [D]: Ghosteen [F]
Autor: Nick Cave & Warren Ellis
Label und Katalognummer: Bad Seed Ltd.
Produktion: Nick Cave & Warren Ellis
Veröffentlicht: 2019 10 04 (Album)
Genretags: Post-Millennial-Music - Poprock - Ambientrock, Post-Millennial-Music - Poprock - Singer-Songwriter
Nicole [D]: Ein bißchen Frieden [F]
Autor: Bernd Meinunger & Ralph Siegel
Label und Katalognummer: Jupiter 6.13 400, Jupiter 6 25 260
Produktion: Robert Jung & Ralph Siegel
Veröffentlicht: 1982 04 (Single), 1982 (Album)
Genretags: Europeana - Schlager - TV-Schlager
Bemerkungen: Eine Hymne der aufkommenden Friedensbewegung in den 1980er Jahren. Melodisch eine Anlehnung an Georges Bizets «Habanera Arie» aus der Carmen.
Nicole Dollanganger [D]: Beautiful And Bad [F]
Autor: Nicole Dollanganger
Label und Katalognummer: Selbstrelease (Soundcloud)
Produktion: Nicole Dollanganger
Veröffentlicht: 2016 02 28 (Digital)
Genretags: Post-Millennial-Music - Lo-Fi-Underground
Nielsen Brothers [D]: Tom Dooley [F]
Autor: Traditional & Arno Gillo
Label und Katalognummer: Electrola E 21 053
Veröffentlicht: 1958 12 (Single)
Genretags: Pop - Countrypop
Nighttrain [D]: Hallo Bimmelbahn [F]
Autor: Michael Holm & Heinz Huth & Jürgen Huth
Label und Katalognummer: Metronome M 25.543
Produktion: Dieter Behlinda & Michael Holm
Veröffentlicht: 1973 (Single)
Genretags: Europeana - Schlager, Pop - Softrock
Bemerkungen: Berliner Band, die aus einer Beat-Formation hervorgegangen ist.
Nina Hagen [D]: New York / N.Y. (= New York, New York) [F]
Autor: Nina Hagen & Karl Rucker & Steve Schiff
Label und Katalognummer: CBS CBS 25667, CBS A 3749
Produktion: Keith Forsey & Giorgio Moroder
Veröffentlicht: 1983 (Album), 1983 (Single)
Genretags: Newpop - Dancepop
Nina Hagen Band [D]: TV-Glotzer (White Punks On Dope) [F]
Assoziierte Acts: Nina Hagen
Autor: Marian Evans & Bill Spooner & Roger Steen
Label und Katalognummer: CBS 83136, CBS 6835
Produktion: Nina Hagen & Reinhold Heil & Herwig Mitteregger & Tom Müller & Ralf Nowy & Bernhard Potschka & Manfred 'Manne' Praeker
Veröffentlicht: 1978 02 11 (Album), 1978 (Single)
Genretags: Postpunk - Artpop - NDW
Nina Hagen Band [D]: Naturträne [F]
Assoziierte Acts: Nina Hagen
Autor: Nina Hagen
Label und Katalognummer: CBS 7011, CBS 83136
Produktion: Nina Hagen & Reinhold Heil & Herwig Mitteregger & Tom Müller & Ralf Nowy & Bernhard Potschka & Manfred 'Manne' Praeker
Veröffentlicht: 1978 (Single), 1978 02 11 (Album)
Genretags: Rock - Punkrock - Deutsch-Punk
Notwist [D]: Where In This World [F]
Autor: Markus Acher & Micha Acher & Martin Gretschmann & Notwist
Label und Katalognummer: City Slang SLANG 5050887, City Slang SLANG 1050752
Produktion: Notwist & Olaf Opal
Veröffentlicht: 2008 04 (Digital), 2008 05 02 (Album)
Genretags: Indiepop - Electronicpop - Indietronica
Of Montreal [D]: The Past is a Grotesque Animal [F]
Label und Katalognummer: Polyvinyl Record Company PRC 124, Polyvinyl Record Company PRC 203-1
Produktion: Kevin Barness
Veröffentlicht: 2007 01 23 (Album), 2010 07 27 (Maxi)
Genretags: Alternativerock - Lo-Fi-Rock - Elephant-6-Collective, Post-Millennial-Music - Psychedelia
Otto Reutter [D]: In 50 Jahren ist alles vorbei [F]
Autor: Otto Reuter
Label und Katalognummer: Deutsche Grammophon 23359
Veröffentlicht: 1930 (Single)
Genretags: Europeana - Schlager - Kabarett-Schlager
P-27 [D]: Murder By Dialect [F]
Assoziierte Acts: Black Tiger (feat.)
Veröffentlicht: 1991 (Single)
Genretags: Hip-Hop - Goldenage - Conscious, Hip-Hop - Goldenage - Dialekt-Hip-Hop
Bemerkungen: Erster Dialekt-Rap (abgesehen von Nüt). Act aus Basel.
Palast Orchester Mit Seinem Sänger Max Raabe [D]: In der Bar zum Krokodil [F]
Assoziierte Acts: Max Raabe
Autor: Fritz Löhner-Beda & Walter Fitz & Willy Engel-Berger
Label und Katalognummer: BMG 74321 72687
Veröffentlicht: 2000 (Album)
Genretags: Europeana - Schlager
Paola [D]: Cinema [F]
Autor: Verónique Müller & Peter Reber
Label und Katalognummer: CBS CBS S 8603
Produktion: Peter Reber
Veröffentlicht: 1980 (Single)
Genretags: Europeana - Schlager - TV-Schlager
Patti Smith [D]: Free Money [F]
Autor: Lenny Kaye & Patti Smith
Label und Katalognummer: Arista AL 4066
Produktion: John Cale
Veröffentlicht: 1975 11 08 (Album), 1975 12 13 (Single),
Genretags: Rock - Punkrock - New-York-Punk
Patti Smith [D]: Land: Horses / Land Of Thousand Dances / La Mer (De) [F]
Autor: Chris Kenner & Patti Smith
Label und Katalognummer: Arista AL 4066
Produktion: John Cale
Veröffentlicht: 1975 11 08 (Album)
Genretags: Rock - Punkrock - New-York-Punk
Paul Kuhn [D]: Es gibt kein Bier auf Hawaii [F]
Autor: Josua Röckelein & Jean Rolle
Label und Katalognummer: Columbia (EMI) C 22 427
Veröffentlicht: 1963 10
Genretags: Europeana - Schlager - Stimmungsschlager, Europeana - Schlager - Trinklied
Paul Simon [D]: The Boy In The Bubble [F]
Autor: Forere Motloheloa & Paul Simon
Label und Katalognummer: Warner Bros. 7599-25447, Warner Bros. PRO-A 2652
Produktion: Paul Simon
Veröffentlicht: 1986 08 12 (Album), 1987 03 07 (Single),
Genretags: Rock - Folkrock, Rock - Singer-Songwriter
Bemerkungen: In den Linernotes zur 2012-CD-Ausgabe betont Jesse Kornbluth, dass dieser Eröffnungstrack von Graceland in den ersten 45 Minuten mehr schillernde Informationen enthält als jeder andere: 9 Sekunden lang Exposition des Akkordeons, hereinbrechende martialische Trommelschläge wie von Kanonen, Simons sehr neutrale Stimme, die von einer Szene in einem warmen Land erzählt, dann von Soldaten (gibt es hier (Bürger-)Krieg?), dann von einer explodierten Bombe (ja, schaurig! Die Bombe war in einem Kinderwagen plaziert und ferngesteuert). Dann der Refrain: Ferngespräch, Kameras, medial vermittelte Wahrnehmung, Mittelbarkeit des Erlebens. Das Kind in der Blase, Anspielung auf Kinder, die unter Immunschwäche leiden und in einer sterilen medizinisch Umgebung gehalten werden. Days of Miracle and Wonder.
Die Musik passt unglaublich gut zum mittelalterlich anmutenden Wappenbild, das vermutlich die Fotografie einer Äthiopischen Ikone aus der Samlung von Robert Langmuir ist.
Paul Van Dyk & Peter Heppner [D]: Wir Sind Wir (Ein Deutschlandlied) [F]
Autor: Paul Van Dyk & Peter Heppner
Label und Katalognummer: Zeitgeist 9874310
Produktion: Paul Van Dyk & Peter Heppner
Veröffentlicht: 2004 07 12 (Single)
Genretags: Electronica - Trance - Vocaltrance
Bemerkungen: Peter Heppner war der Sänger von Wolfsheim.
Paul Weller [D]: You Do Something To Me [F]
Autor: Paul Weller
Label und Katalognummer: Go! Discs 828 619, Go! Discs GOD 130
Produktion: Brendan Lynch & Paul Weller
Veröffentlicht: 1995 06 07 (Album), 1995 07 10 (Single)
Genretags: Alternativerock - Poprock - Singer-Songwriter
Peewee Longway [D]: Rerocc [F]
Assoziierte Acts: Offset (feat.)
Label und Katalognummer: WORLDSTARHIPHOP (YoutubeVideo)
Produktion: Krazy Blacc
Veröffentlicht: 2017 08 11 (Digital)
Genretags: Hip-Hop - Traprap
Peggy March [D]: Romeo und Julia [F]
Autor: Hans Bradtke & Henry Mayer
Label und Katalognummer: RCA Victor 47-15007, RCA Victor LSP 10141
Produktion: Wolf Kabitzky
Veröffentlicht: 1967 08 (Single), 1967 (Album)
Genretags: Pop - Teenpop
Pepe Lienhard Band [D]: Swiss Lady [F]
Assoziierte Acts: Pepe Lienhard
Autor: Peter Räber
Label und Katalognummer: EMI 13C 006-33 905, Electrola 1C 066-33 919
Veröffentlicht: 1977 (Single), 1977 (Album)
Genretags: Europeana - Schlager - TV-Schlager
Bemerkungen: Der Song war der Schweizer Beitrag zum Eurovision Song Contest 1977. Er wurde sechster des Wettbewerbs.
Peter Alexander [D]: Ich zähle täglich meine Sorgen [F]
Autor: Camillo Felgen & Harlan Howard
Label und Katalognummer: Polydor NH 24 174
Produktion: Ralph Maria Siegel
Veröffentlicht: 1960 02 (Single)
Genretags: Europeana - Schlager
Bemerkungen: Song aus dem gleichnamigen Schlager-Komödienfilm von Paul Martin (1960). Der Schlager kam bis auf Platz 2 der deutschen Charts und hielt sich sieben Monate lang darin.
Peter Alexander [D]: Hier ist ein Mensch [F]
Autor: Jonny Halvey & Werner Scharfenberger
Label und Katalognummer: Ariola 80 835 IU, Ariola 14 750 AT
Produktion: Kurt Feltz
Veröffentlicht: 1970 10 (Album), 1970 11 (Single)
Genretags: Europeana - Schlager
Bemerkungen: Auch Peter Alexander macht 1970 einen auf Sozialgewissen. Nach 1968 wandelt sich auch der Schlager und versucht Inhalte zu bringen - hier mit wenig Kontext, verglichen z.B. mit Griechischer Wein.
Peter Alexander [D]: Die kleine Kneipe [F]
Autor: Pierre Kartner & Michael Kunze
Label und Katalognummer: Ariola 16 844 AT, Ariola 27 629 IT
Produktion: Ralph Siegel
Veröffentlicht: 1976 05 (Single), 1976 08 (Album)
Genretags: Europeana - Schlager - TV-Schlager
Peter Alexander & Silvio Francesco & Caterina Valente [D]: Komm' ein bisschen mit nach Italien [F]
Autor: Kurt Feltz & Heinz Gietz
Label und Katalognummer: Polydor 23 116
Veröffentlicht: 1955 11 (Single)
Genretags: Europeana - Schlager
Bemerkungen: Aus dem Revuefilm Bonjour Kathrin
.
Peter Cornelius [D]: Du entschuldige – i kenn’ di [F]
Autor: Peter Cornelius
Label und Katalognummer: Philips 6005 159, Philips 6435 074
Produktion: Michael Cretu
Veröffentlicht: 1980 (Single), 1980 (Album)
Genretags: Europeana - Schlager - Rockschlager
Peter Fox [D]: Haus am See [F]
Autor: Pierre Baigorry & David Conen & Renato Renner & Ruth Maria Renner & Vincent von Schlippenbach
Label und Katalognummer: Downbeat 5051865-0163-2-8, Downbeat 5051865 137 2 3
Veröffentlicht: 2008 09 26 (Album), 2008 10 17 (Single)
Genretags: Post-Millennial-Music - Poprock - Altpop
Peter Gabriel [D]: Intruder [F]
Autor: Peter Gabriel
Label und Katalognummer: Charisma CDS 4019
Produktion: Steve Lillywhite
Veröffentlicht: 1980 06 (Album)
Genretags: Newpop - Artpop - Singer-Songwriter
Bemerkungen: Hier hörte man zum ersten Mal den Gated Reverb Sound. Das klang wie nichts anderes auf der Welt und prägte den «Sounbd of the 80s».
Peter Horton [D]: Mrs. Robinson [F]
Autor: Carl J. Schäuble & Paul Simon
Label und Katalognummer: Polydor 2041 191, Polydor 2371 201
Produktion: Peter Kirsten
Veröffentlicht: 1971 (Single), 1971 (Album)
Genretags: Europeana - Schlager - Rockschlager
Peter Kraus [D]: Mit Siebzehn [F]
Assoziierte Acts: Orchester Werner Scharfenberger
Autor: Fini Busch & Werner Scharfenberger
Label und Katalognummer: Polydor 23744
Produktion: Gerhard Mendelson
Veröffentlicht: 1958 07 (Single)
Genretags: Europeana - Schlager, Pop - Teenpop
Peter Maffay [D]: Über sieben Brücken mußt du gehen [F]
Autor: Helmut Richter & Ulrich Swillms
Label und Katalognummer: Metronome 0030.352
Produktion: Peter Maffay & Peter Wagner
Veröffentlicht: 1980 11 (Single)
Genretags: Rock - Poprock
Bemerkungen: Das Lied stammt im Original von der DDR-Rockband Karat. Peter Maffay sah Karat an einem Konzert und coverte darauf den Song. Im Westen war er vor allem in der Maffay-Version bekannt, im Osten in der Karat-Version. Im Englischen hat den Song Chris de Burgh gecovert - keine gelungene Version.
Peter Maffay [D]: Du [F]
Autor: Michael Kunze & Peter Orloff
Label und Katalognummer: Telefunken U 56 084
Produktion: Christian Bruhn & Michael Kunze
Veröffentlicht: 1969 12 (Single)
Genretags: Europeana - Schlager - TV-Schlager, Europeana - Schlager - Schnulze
Peter Maffay [D]: Und es war Sommer [F]
Autor: Joachim Heider & Gregor Rottschalk
Label und Katalognummer: Telefunken 6.11931, Telefunken 6.22602 AS
Produktion: Joachim Heider & Peter Maffay
Veröffentlicht: 1976 10 (Single), 1976 (Album)
Genretags: Europeana - Schlager, Pop - Softrock
Bemerkungen: Der Liedtext von Gregor Rottschalk ist bis in einzelne Formulierungen hinein von Bobby Goldsboros Summer (The First Time) abgekupfert.
Peter Schilling [D]: Major Tom (völlig losgelöst) [F]
Autor: Peter Schilling
Label und Katalognummer: WEA 24.9967-7, WEA 24.0026
Produktion: Armin Sabol & Peter Schilling
Veröffentlicht: 1982 11 (Single), 1982 (Album)
Genretags: Postpunk, Newpop - Synthpop - NDW
Peter, Sue und Marc & Pfurri, Gorps und Kniri [D]: Trödler & Co. [F]
Autor: Peter Reber & Rolf Zuckowski
Label und Katalognummer: PSM S 17
Produktion: Peter Reber & Rolf Zuckowski
Veröffentlicht: 1979 (Single)
Genretags: Folk - Popfolk - Jug
PeterLicht [D]: Ihr Lieben 68er [F]
Autor: Peter Licht
Label und Katalognummer: Modul 74321 88143
Produktion: Ekki Maas & Wolfgang Proppe
Veröffentlicht: 2001 08 22 (Album)
Genretags: Post-Millennial-Music - Poprock - Alternativepoprock
Bemerkungen: Die Hippies/68er haben gegen kleinbürgerliche Werte gekämpft, gegen Mief, Fremdbestimmung und Autorität. Dieser Song des Autors und Musikers PeterLicht räumt auf witzige Weise mit der heroischen Selbststilisierung jener Generation auf, deren Exponenten teilweise immer noch davon reden, dass sie sich für eine Kulturrevolution verantwortlich zeichnen (dabei war es eine «Revolte»), dass nur sie, die selbst dabei gewesen sind, wirklich darüber sprechen könnten und dass die auf sie folgenden Generationen so etwas wie Dankbarkeit für die Errungenschaften dieser Revolution empfinden müssten. Sarkastisch entlässt der Erzähler diese Generation in die Bedeutungslosigkeit des Daseins im Altersheim, wo man nur noch auf das Leben zurückschaut. Er empfiehlt Dia-Abende zum Zeitvertreib, auch Peinlichkeiten seien in Ordnung (zum Beispiel Memorabilien zeigen – die alte Hosen im Text), denn die 68er hätten sich ja befreit und dann ist nichts mehr peinlich. Auf ironische Weise werden die 68er im Refrain als Bewerber auf die kulturelle Deutungsmacht angesprochen: «[Wir
brauchen euch nicht und] bitte, ruft uns nicht an, wir rufen euch an». Das sagt man bekanntlich zu allen freien Berufstätigen, die gerne noch einen sichern Teilzeitjob hätten, um die Miete zu sichern. «Rufen Sie uns nicht an, belästigen Sie uns nicht. Wir
rufen an, wenn wir Sie brauchen.» Dieser Telefondraht wird nicht mehr heiss.
Pharcyde [D]: Passin' Me By [F]
Autor: T. Hardson & J. Martinez & R. Robinson & D. Stewart & E. Wilcox
Label und Katalognummer: Delicious Vinyl 92222, Delicious Vinyl PRCD 4987
Produktion: J-Swift
Veröffentlicht: 1992 11 24 (Album), 1993 03 18 (Single)
Genretags: Hip-Hop - Goldenage
Phenomden [D]: Wiedike [F]
Autor: Dennis Furrer & Kirk McDowell & David Paul Meyer & Oliver Schrader
Label und Katalognummer: One Ton Nation OT 001
Veröffentlicht: 2005 04 11 (Album)
Genretags: Caribbeana - Dancehall
Piera Martell [D]: Mein Ruf nach dir [F]
Autor: Pepe Ederer
Label und Katalognummer: CBS CBS 2215
Produktion: Pepe Ederer
Veröffentlicht: 1974 (Single)
Genretags: Europeana - Schlager - TV-Schlager
Bemerkungen: Der Song schnitt beim Eurovision Song Contest in Brighton, bei dem Abba gewannen, mit nur drei Punkten sehr schlecht ab.
Piera Martell [D]: Ein neuer Tag [F]
Autor: Horst Herbert Krause & Jürgen Triebel
Label und Katalognummer: United Artists 36 079 AT
Produktion: Fred Weyrich
Veröffentlicht: 1976 (Single)
Genretags: Europeana - Schlager - TV-Schlager
Pink Floyd [D]: If [F]
Autor: Pink Floyd
Label und Katalognummer: Harvest SHVL 781
Produktion: Pink Foyd
Veröffentlicht: 1970 10 10 (Album)
Genretags: Rock - Progrock
Poesie und Musik [D]: Liebesballade für ein Zigeunermädchen [F]
Assoziierte Acts: René Bardet's Poesie und Musik
Autor: Poesie und Musik & François Villon
Label und Katalognummer: APV Prod. AG 60.100 005
Veröffentlicht: 1976 (Album)
Genretags: Rock - Corporate-Rock - Progfolk
Bemerkungen: Die Figur des Outsiders bzw. Outlaws zieht durch die Musik der Hippies, wie durch die Italo-Western der Zeit. François Villon, der französische Dichter aus dem 15. Jahrhundert ist ein trefflicher Vorreiter und Prototyp dieser Outlaw-Figur. Wen wundert's also, dass Poesie und Musik gerade auf ihn zurückgreifen (und später auf den als Jude und zwischen Frankreich und Deutschland zerrissenen doppelt heimatlosen Heinrich Heine). Die «Liebesballade für ein Zigeunermädchen» ist eine wortgewaltige Liebeswerbung, in der ein «waldschratiger» Outlaw eine Fahrende bezirzt.
Poesie und Musik [D]: Henri Heines Talking Blues über die Menschliche Bedingtheit oder der dialektische Realitäts-Blues [F]
Assoziierte Acts: René Bardet's Poesie und Musik & René Bardet & Andreas Vollenweider
Autor: Heinrich Heine & Poesie und Musik
Label und Katalognummer: Image U 776-013
Veröffentlicht: 1977 (Album)
Genretags: Rock - Corporate-Rock - Progfolk
Bemerkungen: Das war eine clevere Idee, das Gedicht Zur Teleologie
von Heinrich Heine mit dem Titel «Talking Blues» zu überschreiben und so zu rekontextualisieren. Ein «Talking Blues» ist ein Folksong mit vielen, schnell und rhythmisch gesprochenen Worten – nicht unähnlich einem Rap. Zu den bekanntesten «Talking Blues» gehören Songs von Woody Guthrie oder dem frühen Bob Dylan. Das Trio liefert hier eine europäische Version eines Talking Blues. Wo der amerikanische «Talking Blues» trocken, krud und bei Dylan surreal ist, ist dieser europäische Text voller Ironie, die von der unerhörten Spannung zwischen Geziertheit und Profanität («Was dem Menschen dient zum seichen, damit schafft er seinesgleichen») lebt.
Popcaan [D]: Stray Dog [F]
Label und Katalognummer: Selbstrelease (Youtube Video)
Produktion: Markus Records
Veröffentlicht: 2017 03 31 (Digital)
Genretags: Caribbeana - Dancehall
Preachers [D]: Who Do You Love [F]
Autor: Ellas McDaniel
Label und Katalognummer: Moonglow M-240
Veröffentlicht: 1965 05 (Single)
Genretags: Rock - Garagerock
Preoccupations [D]: Antidote [F]
Label und Katalognummer: Jagjaguwar, Jagjaguwar JAG 320
Veröffentlicht: 2018 02 13 (Single), 2018 03 23 (Album)
Genretags: Post-Millennial-Music - Postpunk-Revival
Pretenders [D]: My City Was Gone [F]
Assoziierte Acts: Chrissie Hynde
Autor: Chrissie Hynde
Label und Katalognummer: Real ARE 19T, Sire 23980
Produktion: Chris Thomas
Veröffentlicht: 1982 09 (Single-B), 1984 01 11 (Album)
Genretags: Alternativerock - Poprock - NewWave
Bemerkungen: Flipside von Back on the Chain Gang.
Pretenders [D]: Tattooed Love Boys [F]
Autor: Chrissie Hynde
Label und Katalognummer: Real ARE 9, Real RAL 3
Produktion: Nick Lowe & Chris Thomas
Veröffentlicht: 1979 07 06 (Single B), 1980 01 19 (Album)
Genretags: Alternativerock - Poprock - NewWave
Bemerkungen: Fliposide von Kid .
Prince & New Power Generation [D]: Cream [F]
Autor: Prince & New Power Generation
Label und Katalognummer: Paisley Park 9 40197, Paisley Park 7599-25379
Produktion: Prince & New Power Generation
Veröffentlicht: 1991 09 09 (Single), 1991 10 01 (Album)
Genretags: Afroamericana - Funk - Synthfunk, Afroamericana - R'n'B - New-Jack-Swing
Prince & Revolution [D]: Kiss [F]
Autor: Prince And The Revolution
Label und Katalognummer: Paisley Park 9 20442 0, Paisley Park 9 25395 1
Produktion: Prince And The Revolution
Veröffentlicht: 1986 02 05 (Single), 1986 03 31 (Album)
Genretags: Newpop - Dancepop
Procession [D]: Anthem [F]
Autor: Brian Peacock & Mick Rogers
Label und Katalognummer: Festival FK 2126, Festival FL 933091
Veröffentlicht: 1968 01 (Single), 1969 (Album)
Genretags: Pop - Progressivepop - Baroquepop
Psychedelic Furs [D]: Book Of Days [F]
Autor: Richard Butler & Psychedelic Furs
Label und Katalognummer: CBS CK 45412
Produktion: David M. Allen & Psychedelic Furs
Veröffentlicht: 1989 10 31 (Album)
Genretags: Indiepop - Noisepop
Public Enemy [D]: Rebel Without A Pause [F]
Autor: Carlton Ridenhour & Norman Rogers & Eric Sadler & Hank Shocklee
Label und Katalognummer: Def Jam 651245 7, Def Jam CK 44303
Produktion: Bomb Squad
Veröffentlicht: 1987 07 28 (Single UK), 1988 04 14 (Album)
Genretags: Hip-Hop - Goldenage - Conscious
Public Image Ltd. [D]: Rise [F]
Autor: John Lydon & Bill Laswell
Label und Katalognummer: Elektra 9 60438
Produktion: John Lydon & Bill Laswell
Veröffentlicht: 1986 01 21 (Single), 1986 01 27 (Album US), 1986 02 03 (Album UK)
Genretags: Alternativerock - Poprock - Powerpop
Pusha T [D]: Coming Home [F]
Assoziierte Acts: Lauryn Hill (feat.)
Label und Katalognummer: Good
Produktion: Mike Dean & Charlie Heat & Kanye West
Veröffentlicht: 2019 08 28 (Digital)
Genretags: Hip-Hop - Traprap
Pusha-T [D]: Infrared [F]
Autor: Shawn Carter & Mark James & Robert Manchurian & Terrence Thornton & Kanye West
Label und Katalognummer: G.O.O.D. Music
Produktion: Kanye West
Veröffentlicht: 2018 05 25 (Album)
Genretags: Hip-Hop - Traprap
Quarks [D]: Nichts Mehr [F]
Autor: Quarks
Label und Katalognummer: Monika Enterprise monika 10
Produktion: Quarks
Veröffentlicht: 1999 10 04 (Album)
Genretags: Indiepop - Electronicpop - Wohnzimmer-Musik
Queen [D]: Fat Bottomed Girls [F]
Autor: Brian May
Label und Katalognummer: EMI EMI 2870, EMI 0C 064-61820
Produktion: Roy Thomas Baker & Queen
Veröffentlicht: 1978 10 13 (Single-B), 1978 11 10 (Album)
Genretags: Rock - Corporate-Rock - Arenarock, Rock - AOR-Rock - Arenarock
Quicksilver Messenger Service [D]: Who Do You Love (Part 1) [F]
Assoziierte Acts: Quicksilver
Autor: Ellas McDaniel
Label und Katalognummer: Capitol ST 00120, Capitol 2557
Produktion: Quicksilver Messenger Service
Veröffentlicht: 1969 03 29 (Album), 1969 07 (Single)
Genretags: Rock - Psychedelicrock - Psychedelicfolkrock
Bemerkungen: «Who Do You Love (Part 1)» ist nicht etwa ein gefalteter Song, sondern ein Ausschnitt aus einer Song-Suite, bestehend aus sechs Teilen, wobei Part 1 und Part 1 von «Who Do You Love» diese Suite rahmen.
R.E.M. [D]: It's The End Of The World As We Know It (And I Feel Fine) [F]
Autor: Bill Berry & Michael Stipe &Peter Buck & Mike Mills
Label und Katalognummer: I.R.S. IRS-42059, I.R.S. IRM 145
Produktion: Scott Litt & R.E.M.
Veröffentlicht: 1987 08 31 (Album), 1987 08 (Single)
Genretags: Indiepop - Janglepop, Alternativerock - Poprock
Radio 20000 [D]: Eusä Discoscheiss [F]
Autor: Jet Domani & Sgoing Erlöst & Freaza & Krasseranz & Redl
Label und Katalognummer: Nation Biztribution Records NB 0039
Produktion: Domestic Brothers
Veröffentlicht: 2005 10 11 (Album)
Genretags: Hip-Hop - Poprap - Dialektrap
Radio 200000 [D]: Eisprung [F]
Label und Katalognummer: Nation Biztribution Records NB 0081
Produktion: Fabian Brunner & Sling and Stone
Veröffentlicht: 2008 05 30 (Album)
Genretags: Hip-Hop - Gangstarap
Raekwon [D]: Molasses [F]
Assoziierte Acts: Ghostface Killah (feat.) & Rick Ross (feat.)
Autor: Vernon Brown & D. Coles & W. Roberts
Label und Katalognummer: Ice H2O, Ice H2O 5099909490628
Produktion: Xtreme
Veröffentlicht: 2011 02 22 (Single), 2011 03 08 (Album)
Genretags: Hip-Hop - Gangstarap - Eastcoast
Rainhard Fendrich [D]: Schickeria [F]
Autor: Rainhard Fendrich
Label und Katalognummer: Philips 6023 159, Philips 6322 077
Produktion: Rainhard Fendrich & Christian Kolonovits
Veröffentlicht: 1981 12 (Single), 1981 (Album)
Genretags: Europeana - Liedermacher
Rainhard Fendrich [D]: I Am From Austria [F]
Autor: Rainhard Fendrich
Label und Katalognummer: Ariola 113 482, Ariola 260 338
Produktion: Tato Gómez
Veröffentlicht: 1989 (Single), 1989 (Album)
Genretags: Europeana - Liedermacher
Reinhard Mey [D]: Gute Nacht, Freunde [F]
Autor: Reinhard Mey
Label und Katalognummer: Intercord 28 782-1 U, Intercord
Produktion: Walther Richter
Veröffentlicht: 1972 (Album), 1974 03 (Single)
Genretags: Europeana - Liedermacher
Bemerkungen: Geschrieben hatte Mey den Song unter dem Pseudonym Alfons Yondraschek.
Reinhard Mey [D]: Die Zeit des Gauklers ist vorbei [F]
Autor: Reinhard Mey
Label und Katalognummer: Intercord 28590-8 U
Produktion: Walther Richter
Veröffentlicht: 1974 (Album)
Genretags: Europeana - Liedermacher
René Carol [D]: Rote Rosen, rote Lippen, roter Wein [F]
Autor: Michael Harden & Andre Hoff
Label und Katalognummer: Polydor P 48783
Produktion: Kurt Feltz
Veröffentlicht: 1952 (Single)
Genretags: Europeana - Schlager
Rich Homie Quan [D]: Dubai [F]
Label und Katalognummer: Selbstrelease (Soundcloud)
Produktion: Goose
Veröffentlicht: 2016 02 03 (Digital)
Genretags: Hip-Hop - Traprap
Richard Tauber [D]: Ich küsse ihre Hand, Madame [F]
Autor: Ralph Erwin & Fritz Rotter
Label und Katalognummer: Odeon O 4921
Veröffentlicht: 1928 (Single)
Genretags: Europeana - Schlager
Rita Pavone [D]: Arrivederci, Hans [F]
Autor: Georg Buschor & Henry Mayer
Label und Katalognummer: Polydor 53039, Polydor
Veröffentlicht: 1968 06 (SIngle), 1968 (Album)
Genretags: Europeana - Schlager - Ferienschlager
Robert Johnson [D]: Terraplane Blues [F]
Autor: Robert Johnson
Label und Katalognummer: Vocalion 03416, Columbia CL 1654
Produktion: Don Law
Veröffentlicht: 1937 01 (Single), 1961 (Album), 1936 11 23 (Rec.)
Genretags: Americana - Blues - Countryblues, Blues - Countryblues - Deltablues
Bemerkungen: Song mit «double entendre». «I'm gon' get down in this connection, oh well, keep on tanglin' with these wires / And when I mash down on your little starter, then your spark plug will give me fire».
Robert Palmer [D]: You Are In My System [F]
Autor: David Frank & Mic Murphy
Label und Katalognummer: Island IS 104, Island ILPS 9720
Produktion: Robert Palmer
Veröffentlicht: 1983 03 (Single), 1983 04 04 (Album)
Genretags: Afroamericana - Funk - Electrofunk
Rolling Blackouts Coastal Fever [D]: Julie's Place [F]
Autor: Fran Keaney & Joe Russo & Tom Russo & Marcel Tussie & Joe White
Label und Katalognummer: Sub Pop, Sub Pop SP 1195
Veröffentlicht: 2016 11 02 (Single), 2017 03 10 (Album)
Genretags: Post-Millennial-Music - Indiepop
Ronnie Hawkins [D]: Who Do You Love [F]
Autor: Ellas McDaniel
Label und Katalognummer: Roulette Records R 4483
Produktion: Henry Glover
Veröffentlicht: 1963 03 (Single)
Genretags: Rock'n'Roll - Rockabilly
Bemerkungen: Ronnie Hawkins, der kanadische Rockabilly Sänger und seine Backingband The Hawks, die später The Band werden. Die Aufnahme dieses Rock-'n'-Roll-Klassikers von Bo Diddley ist bemerkenswert, weil sie wie ein späterer Garagerock-Track klingt. Robbie Robertson spielt seine Gitarre mit viel Verzerrung und macht aus einem frenetischen Voodoo Party-Hit eine panisch überdrehte und fieberhafte Raserei. Die dunkle Stimmung wird später vom Psychobilly wieder aufgegriffen.
Rosanne Cash [D]: Runaway Train [F]
Autor: John Stewart
Label und Katalognummer: Columbia FC 40777, Columbia 38-07988
Produktion: Rodney Crowell
Veröffentlicht: 1987 06 26 (Album), 1988 07 (Single)
Genretags: Rock - AOR-Rock - AOR-Countryrock
Rosy Teen [D]: Hey, Pippi Langstrumpf [F]
Autor: Jan Johansson & Konrad Elfers & Wolfgang Franke & Helmut Harun
Label und Katalognummer: CBS 4415
Veröffentlicht: 1969
Genretags: Akademica - Funktionale-Musik - Filmmusik
Roy Black & Anita [D]: Schön ist es auf der Welt zu sein [F]
Assoziierte Acts: Orchester Hans Bertram (feat.)
Autor: Lilibert & Werner Twardy
Label und Katalognummer: Polydor 2041 169
Produktion: Hans Bertram
Veröffentlicht: 1971 06 (Single)
Genretags: Europeana - Schlager
Rudi Carrell [D]: Wann wird's mal wieder richtig Sommer [F]
Autor: Steve Goodman & Thomas Woitkewitsch
Label und Katalognummer: m 13 900 AT, m 88 666 IT
Produktion: Thomas Woitkewitsch
Veröffentlicht: 1975 (Single), 1975 (Album)
Genretags: Europeana - Schlager - TV-Schlager
Rudi Schuricke [D]: Auf Wiedersehen [F]
Autor: Eberhard Storch
Label und Katalognummer: Polydor H 48374
Veröffentlicht: 1950 07 22 (Single)
Genretags: Europeana - Schlager
Rumpelstilz [D]: Warehuus Blues [F]
Autor: Polo Hofer
Label und Katalognummer: Sinus Records PU 5/2000
Produktion: Eric Merz
Veröffentlicht: 1973 (Single)
Genretags: Rock - Poprock - Dialektrock
Bemerkungen: Die erste Dialektrock-Single. Sie blieb noch ohne nennenswerten Erfolg.
Rush [D]: 2112 [F]
Autor: Geddy Lee & Alex Lifeson & Neil Peart
Label und Katalognummer: Anthem Entertainment ANR 1-1004
Produktion: Terry Brown & Rush
Veröffentlicht: 1976 04 (Album)
Genretags: Rock - Corporate-Rock - Progressiverock
Sabrina Setlur [D]: Nur mir [F]
Autor: Martin Haas & Thomas Hofmann & Moses Pelham & Sabrina Setlur
Label und Katalognummer: Epic EPC 487244
Produktion: Martin Haas & Moses Pelham
Veröffentlicht: 1997 03 24 (Album)
Genretags: Hip-Hop - Goldenage - Poprap, Hip-Hop - Goldenage - Deutscher-Hip-Hop
SAD [D]: 1 [F]
Assoziierte Acts: Büne Huber (feat.) & Lo und Leduc (feat.)
Autor: Sandro Durrer & Lorenz Häberli & Büne Huber & Luc Oggier
Label und Katalognummer: Sound Service, Sound Service Wigra AG 010213
Produktion: SAD
Veröffentlicht: 2012 (Single), 2013 (Album)
Genretags: Hip-Hop - Poprap
Salome [D]: Gumpu [F]
Autor: Daniel Boquist & Roman Camenzind & Salome Clausen & Samuel Engh & Marc A. Trauffer
Label und Katalognummer: Universal 987 147, Universal 987 156
Produktion: Roland Frei
Veröffentlicht: 2005 04 30 (Single), 2005 05 28 (Album)
Genretags: Alternativerock - Poprock - Powerpop
Bemerkungen: Die Gewinnerin der Swiss Musicstar Casting Show 2005.
Sam Flax [D]: Fire Doesn't Burn Itself [F]
Label und Katalognummer: Burger
Veröffentlicht: 2012 02 17 (Album)
Genretags: Indiepop - Blog-Indie - Chillwave
Sam Hunt [D]: Leave the Night On [F]
Autor: Sam Hunt & Shane McAnally
Label und Katalognummer: MCA Nashville, MCA Nashville B 0021502
Produktion: Zach Crowell & Shane McAnally
Veröffentlicht: 2014 06 16 (Single), 2014 10 27 (Album)
Genretags: Country - Countrypop - Post-Millennial-Countrypop
Sarah MacLachlan [D]: Building a Mystery [F]
Autor: Sarah McLachlan
Label und Katalognummer: Arista 07822-13399, Arista 07822-18970
Produktion: Pierre Marchand
Veröffentlicht: 1997 06 09 (Single), 1997 07 15 (Album)
Genretags: Alternativerock - Poprock
SAULT [D]: Stronger [F]
Autor: Cleo Sol & Inflo
Label und Katalognummer: Forever Living Originals
Produktion: Inflo
Veröffentlicht: 2022 11 01, 2022 11 11 (Digital) (Album)
Genretags: Afroamericana - R'n'B - Nusoul
Seeed [D]: Aufstehn! [F]
Assoziierte Acts: Cee-Lo Green (feat.)
Autor: Pierre Baigorry & Thomas Callaway & Jerome Bugnon & Frank A. Dellé
Label und Katalognummer: Downbeat 5051011-0327, Downbeat 5051011-0999-1-5
Produktion: Pierre Baigorry
Veröffentlicht: 2005 08 22 (Single), 2005 10 14 (Album)
Genretags: Newpop - Dancepop - Dancehall
Shabazz Palaces [D]: Are You... Can You... Were You? (Felt) [F]
Label und Katalognummer: Sub Pop SP 0900
Produktion: Ishmael Butler & Tendai Maraire
Veröffentlicht: 2011 07 28 (Album), 2012 01 26 (Digital)
Genretags: Hip-Hop - Underground-Hip-Hop - Electronic-Hip-Hop
Shamen [D]: Re:Evolution [F]
Autor: Colin Angus & Mr. C & Terence McKenna
Label und Katalognummer: One Little Indian TPLP 042, One Little Indian 118 TP7
Produktion: Shamen
Veröffentlicht: 1992 09 13 (Album), 1993 (Maxisingle)
Genretags: Alternativerock - Alternativedance, Electronica - House - Acidhouse
Bemerkungen: Die Lyrics stammen und sind gesprochen von Terence Kemp McKenna, dem amerikanischen Psychonaut und Philosoph. Im Text geht es um die Bewusstseinserweiterung durch Drogen und Musik, aber anders als noch bei den Hippies. Hier wird kein New Age beschworen, sondern das Ende der Zeit, an das ein Shamane immer schon gehen konnte. Ein Ausserhalb der Zeit, wo er sich diese vergegenständlichen oder vergegenwärtigen kann und diese Wahrheit dann in die Zeit hinein zurückträgt, als Botschaft, als Vision, als Prophetie.
Sheryl Crow [D]: Live Wire [F]
Assoziierte Acts: Bonnie Raitt (feat.) & Mavis Staples (feat.)
Autor: Sheryl Crow & Jeff Trott
Label und Katalognummer: Selbstrelease (Youtube Audio), Big Machine
Produktion: Steve Jordan
Veröffentlicht: 2019 05 23 (Digital), 2019 08 30 (Album)
Genretags: Country - Americana-Revival
Sido [D]: Mein Block [F]
Autor: Roman Preylowski & Sido
Label und Katalognummer: Aggro Berlin AGGRO-013-2, Aggro Berlin Aggro-014-2
Veröffentlicht: 2004 04 05 (Single), 2004 04 26 (Album)
Genretags: Hip-Hop - Gangstarap
Silver Apples [D]: Oscillations [F]
Autor: Simeon & Warren Stanley & Dan Taylor
Label und Katalognummer: Kapp K 923, Kapp KS 3562
Produktion: Barry Bryant & Simeon & Dan Taylor
Veröffentlicht: 1968 06 (Single-B), 1968 06 (Album)
Genretags: Rock - Progrock - Electronicprog
Siouxsie And The Banshees [D]: Switch [F]
Autor: Siouxsie Sioux & Steven Severin & John McKay & Kenneth S. Davis
Label und Katalognummer: Polydor POLD 5009
Produktion: Steve Lillywhite
Veröffentlicht: 1978 11 (Album)
Genretags: Postpunk
SKOR [D]: Willkomme in Züri [F]
Assoziierte Acts: EKR (feat.) & Tinguely de Chnächt (feat.)
Label und Katalognummer: Rumpelmusig 001
Veröffentlicht: 2012 08 09 (Single)
Genretags: Hip-Hop - Poprap
SKOR [D]: I de Schwiiz [F]
Autor: Daniel Bachmann & Benjamin Danech & Mono Pek
Label und Katalognummer: Bakara Music BKRA 0028
Produktion: DJ Mono
Veröffentlicht: 2013 06 07 (Album)
Genretags: Hip-Hop - Poprap
Slime [D]: Deutschland muss sterben [F]
Label und Katalognummer: Aggressive Rockproduktionen AG 004
Veröffentlicht: 1981 (Album)
Genretags: Alternativerock - Punkrock - Skapunk
slowthai [D]: Peace of Mind [F]
Label und Katalognummer: Method, Method
Veröffentlicht: 2019 02 19 (Digital), 2019 (Album)
Genretags: Hip-Hop - Grime
Slowthai [D]: Feel Away [F]
Assoziierte Acts: James Blake (feat.) & Mount Kimbie (feat.)
Autor: James Blake & Mariah Carey & Dave Hall & Dom Maker & Slowthai
Label und Katalognummer: Universal Music, Method Records
Produktion: Mount Kimbie & Dom Maker
Veröffentlicht: 2020 09 15 (Digital), 2021 02 12 (Album)
Genretags: Hip-Hop - Grime
Bemerkungen: Der Song ist dem jüngeren verstorbenen Bruder von Slowthai gewidmet.
Smashing Pumpkins [D]: 1979 [F]
Autor: Billy Corgan
Label und Katalognummer: Virgin 7243 8 40864 2 8, Hut HUTCD 67
Produktion: Billy Corgan & Flood & Alan Moulder
Veröffentlicht: 1995 10 23 (Album), 1996 01 22 (Single)
Genretags: Alternativerock - Poprock - Powerpop
Snail Mail [D]: Heat Wave [F]
Label und Katalognummer: Matador, Matador OLE 1179
Veröffentlicht: 2018 04 26 (Single), 2018 06 08 (Album)
Genretags: Post-Millennial-Music - Poprock - Alternativepoprock
Soccer Mommy [D]: circle the drain [F]
Autor: Sophie Allison
Label und Katalognummer: Loma Vista, Loma Vista
Produktion: Gabe Wax
Veröffentlicht: 2020 01 14 (Digital), 2020 02 28 (Album)
Genretags: Post-Millennial-Music - Poprock - Alternativepoprock
Songs: Ohia [D]: Didn't It Rain [F]
Autor: Jennie Benford & Mike Brenner & Jim Krewson & Jason Molina
Label und Katalognummer: Secretly Canadian SC 065
Produktion: Edan Cohen
Veröffentlicht: 2002 03 05 (Album)
Genretags: Alternativerock - Alternativecountry
SOPHIE [D]: Vyzee [F]
Autor: SOPHIE
Label und Katalognummer: Selbstrelease (Soundcloud), Numbers NMBRS 48
Produktion: SOPHIE
Veröffentlicht: 2015 11 24 (Digital), 2015 11 27 (Album)
Genretags: Electropop - Hyperpop - Bubblegumbass
Soundgarden [D]: Rusty Cage [F]
Autor: Chris Cornell
Label und Katalognummer: A&M 75021-5374, A&M 2406
Produktion: Terry Date & Soundgarden
Veröffentlicht: 1991 10 08 (Album), 1992 03 03 (Single)
Genretags: Alternativerock - Grunge
Spliff [D]: Das Blech [F]
Autor: Reinhold Heil
Label und Katalognummer: CBS A 2930, CBS 25 152
Produktion: Spliff
Veröffentlicht: 1982 (Single), 1982 11 (Album)
Genretags: Postpunk - Artpop - NDW
Spliff [D]: Déjà vu [F]
Autor: Herwig Mitteregger
Label und Katalognummer: CBS 85555, CBS A 2583
Produktion: Spliff
Veröffentlicht: 1982 (Album), 1982 (Single)
Genretags: Postpunk - Artpop - NDW
Spliff [D]: Carbonara [F]
Autor: Reinhold Heil
Label und Katalognummer: CBS CBS A 2202, CBS 85555
Produktion: Spliff
Veröffentlicht: 1982 (Single), 1982 (Album)
Genretags: Alternativerock - Poprock, Alternativerock - Reggaerock
State of Mind & PNC [D]: City On Fire [F]
Label und Katalognummer: Selbstrelease (Youtube Video)
Veröffentlicht: 2009 03 05 (Digiatl), 2009 03 09 (Album)
Genretags: Electronica - Breakbeat - Drum'n'Bass
Steely Dan [D]: Josie [F]
Autor: Walter Becker & Donald Fagen
Label und Katalognummer: ABC AA 1006, ABC AB 12404
Produktion: Gary Katz
Veröffentlicht: 1977 09 (Album), 178 08 (Single)
Genretags: Rock - Jazzrock
Bemerkungen: – zum Rick Beato Video The WEIRDEST Pop Song Intro of All Time
Stephan Sulke [D]: Lotte [F]
Assoziierte Acts: Steff Sulke & Steff Berlin & Steff
Autor: Stephan Sulke
Label und Katalognummer: Intercord INT 160.048, Intercord INT 192507
Produktion: Stephan Sulke
Veröffentlicht: 1976 (Album), 1977 (Single)
Genretags: Europeana - Schlager - Liedermacher
Stephan Sulke [D]: Du machst mir noch mein Herz kaputt [F]
Assoziierte Acts: Steff Sulke & Steff Berlin & Steff
Autor: Stephan Sulke
Label und Katalognummer: Intercord INT 110.032, Intercord INT 160.048
Produktion: Stephan Sulke
Veröffentlicht: 1976 (Single), 1976 (Album)
Genretags: Europeana - Schlager - Liedermacher
Stephan Sulke [D]: Der Mann aus Russland [F]
Assoziierte Acts: Steff & Steff Berlin & Steff Sulke
Autor: Stephan Sulke
Label und Katalognummer: Intercord INT 160.072
Produktion: Stephan Sulke
Veröffentlicht: 1977 (Album)
Genretags: Europeana - Schlager - Liedermacher
Sting [D]: Fortress Around Your Heart [F]
Autor: Sting
Label und Katalognummer: A&M DREAM 1, A&M AMY 286
Produktion: Peter Smith & Sting
Veröffentlicht: 1985 06 01 (Album), 1985 08 24 (Single)
Genretags: Newpop - Popsoul, Newpop - Artpop - Sophistipop
Stormzy [D]: Shut Up [F]
Label und Katalognummer: Selbstrelease (Youtube Video)
Produktion: DJ XTC
Veröffentlicht: 2015 05 17 (Digital)
Genretags: Hip-Hop - Grime
Stubete Gäng [D]: Richi [F]
Label und Katalognummer: Hitmill 0082796 PHO
Veröffentlicht: 2022 07 22 (Digital)
Genretags: Post-Millennial-Music - Hip-Hop - Poprap
Subzonic [D]: Titelgschicht [F]
Autor: Roman Camenzind
Label und Katalognummer: Epic 667255, Epic EPC 491857
Produktion: Roman Camenzind & Daniel Soldenhoff
Veröffentlicht: 1999 (Single), 1999 (Album)
Genretags: Hip-Hop - Poprap
Supremes [D]: Love Is Like An Itching in My Heart [F]
Autor: Holland-Dozier-Holland
Label und Katalognummer: Motown M 1094, Motown MS 649
Produktion: Lamont Dozier & Brian Holland
Veröffentlicht: 1966 04 08 (Single), 1966 08 25 (Album)
Genretags: Afroamericana - Soul - Vocalgroup, Afroamericana - Soul - Motownsoul, Pop - Teenpop - Girlgroups
Suzanne Klee [D]: Wenn du nicht weisst wohin [F]
Autor: Jean Frankfurter & John Möring
Label und Katalognummer: Electrola 76111
Produktion: Jean Frankfurter & John Möring & Bernie Paul
Veröffentlicht: 1980 (Single)
Genretags: Europeana - Schlager - TV-Schlager
Swans [D]: Celebrity Lifestyle [F]
Autor: Michael Gira
Label und Katalognummer: Invisible Records INV 036, Invisible Records INV 035
Produktion: Michael Gira
Veröffentlicht: 1994 10 24 (Single), 1995 01 23 (Album)
Genretags: Alternativerock - Noiserock
System [D]: You Are In My System [F]
Autor: David Frank & Mic Murphy
Label und Katalognummer: Mirage Records DMD 384, Mirage Records 90062
Produktion: David Frank & Mic Murphy
Veröffentlicht: 1982 (Single), 1983 (Album)
Genretags: Afroamericana - Funk - Electrofunk
Bemerkungen: Die Single erreichte Platz 10 der R&B Charts in den USA und Platz 14 in den US Billboard Hot Dance Music/Club Play Charts.
Talking Heads [D]: Psycho Killer [F]
Assoziierte Acts: David Byrne
Autor: David Byrne & Chris Frantz & Tina Weymouth
Label und Katalognummer: Sire SR 6036, Sire RE 1013
Produktion: Tony Bongiovi & Lance Quinn & Talking Heads
Veröffentlicht: 1977 09 16 (Album), 1978 01 (Single)
Genretags: Rock - Punkrock - New-York-Punk
Bemerkungen: David Byrne gibt in seinem Buch How Music Works einen Hinweis auf den Einfluss des Stax-Sounds auf ihr erstes Album (p. 141 f). Psycho Killer
zitiert direkt Otis Reddings Fa-Fa-Fa-Fa-Fa (Sad Song). Die Markenzeichen des Stax-Sounds waren der grosse Raum (das Stax-Studio war ein alter Kinosaal) und die Orgeleinsatz-artigen Horn-Arrangements der Memphis-Horns, der Haus-Blaskappelle des Labels. Stax war ein wichtiger Einfluss für den Blue-Eyed-Soul und das Label gehörte neben Motown zu denen, die am erfolgreichsten Soul-Cossovers bei einem weissen Rockpublikum landen konnte.
Taylor Swift [D]: Tolerate it [F]
Autor: Aaron Dessner & Taylor Swift
Label und Katalognummer: Republic
Produktion: Aaron Dessner
Veröffentlicht: 2020 12 11 (Album)
Genretags: Post-Millennial-Music - Poprock - Altpop
Bemerkungen: Der Track ist eigentlich in 10/8.
Taylor Swift [D]: Anti-Hero [F]
Autor: Jack Antonoff & Taylor Swift
Label und Katalognummer: Republic, Republic
Produktion: Jack Antonoff & Taylor Swift
Veröffentlicht: 2022 10 21 (Album), 2022 10 21 (Digital)
Genretags: Post-Millennial-Music - Poprock - Altpop
Taylor Swift [D]: When Emma Falls in Love (Taylor's Version) [F]
Autor: Taylor Swift
Label und Katalognummer: Republic 2455678249
Produktion: Aaron Dessner & Taylor Swift
Veröffentlicht: 2023 07 07 (Album)
Genretags: Country - Countrypop - Post-Millennial-Countrypop
Bemerkungen: «When Emma Falls in Love» erschien als einer der früher nicht veröffentlichten «From the Vault» Tracks ab Speak Now (Taylor's Version). Stilistisch ein Countrypop-Song mit einer klassischen Harmoniefolge im Verse (I – V – ii – IV, wie z.B. in Knocking on Heaven's Door). Der Song ist eine Charakterstudie, die die Erzählerin über eine ihrer Freundinnen, Emma, anstellt. Dabei schaut sie sich den einen oder anderen Trick ab, stellt aber fest, wie anders sie ist. Emma geht mit ihren Beziehungen überlegt um, sie spielt nicht, sie lässt sich Zeit, sie meint es ernst, sie schützt sich mit Zweckpessimismus. Offenbar lässt sich die Erzählerin von der Liebe viel mehr forttragen.
Es steckt viel Kraft in der Simplizität des Songs. Es gibt Meisterwerke, die nicht mit grossen Innovationen aufwarten, sondern schnell und krampflos entstehen. Weil keine Form und keine Technik das verstellt, was gesagt wird, scheint diese Wahrheit umso heller durch. «Emma» ist ein solcher meisterlicher Song.
Emma
Es wurde spekuliert, ob der Song insofern autobiografisch sei, als er von Emma Stone, der mit Swift befreundeten Schauspielerin handle.
Struktur
Trotz der scheinbaren Einfachheit des Songs zeigt die Analyse, dass die Verses verschieden lang sind. Die ersten beiden Verses arbeiten hauptsächlich mit a-b-Zeilen, wobei die a-Zeile mit der Titelzeile eingeleitet wird. «Emma» ist also einer der wenigen Vers-Chorus-Songs, deren Titel aus dem Verse statt aus dem Chorus stammt. Auch die Übergänge zwischen Verse und Chorus sind fast unmerklich verschieden gestaltet. Im Break am Ende der Bridge verliert man jedes Taktgefühl. Somit ist der Break ein richtiges Absetzen und neuanlaufen, nicht bloss eine Pause, ein Aussetzen des Rhythmus im metrischen Korsett des Songs.
Intertextualität
Der Song erinnert schwach an Slow Burn, den Song von Kacey Musgraves. Beides sind Countrypop-Balladen, die leise, fast intim beginnen und eine kraftvolle Dichte erreichen. «Slow Burn» wird anfangs zögernd aufgebaut und verdichtet, während Swifts Song im Chorus überraschend losrockt, man könnte sagen «explodiert». «Slow Burn» startet mit Gitarrenbegleitung und lässt sich mehr Zeit, beim Aufbau bis die ganze Band spielt. Beide Songs haben eine kraftvolle und eingängige Melodie, die von einer simplen Harmonik getragen werden. Obwohl «Slow Burn» vor «Emma» veröffentlicht wurde, ist «Emma» natürlich einige Jahre älter.
Tea Set [Pink Floyd] [D]: Double O Bo [F]
Assoziierte Acts: Pink Floyd
Autor: Syd Barrett
Label und Katalognummer: Pink Floyd PFREY 1
Veröffentlicht: 1964 12 (Rec.), 2017 03 24 (Album Ed.)
Genretags: Rock'n'Roll - Handjive, Rock'n'Roll - Rhythm'n'Blues - British-Rhythm'n'Blues
The Chainsmokers [D]: All We Know [F]
Assoziierte Acts: Phoebe Ryan (feat.)
Autor: Sara Hjellström & Nirob Islam & Andrew Taggart
Label und Katalognummer: Disrupted, Disruptor Records 88985389912, Selbstrelease (Youtube Video)
Produktion: The Chainsmokers
Veröffentlicht: 2016 09 30 (Single), 2016 11 04 (Album), 2016 11 17 (Digital)
Genretags: Electropop - New-Rave - Electrohouse
The Mamas And The Papas [D]: Dancing Bear [F]
Autor: John Phillips
Label und Katalognummer: Dunhill D 50010, Dunhill D 4113
Produktion: Lou Adler
Veröffentlicht: 1966 08 30 (Album), 1967 11 (Single)
Genretags: Pop - Folkpop
The Mamas And The Papas [D]: Safe In My Garden [F]
Label und Katalognummer: Dunhill D 4125, Dunhill DS 50031
Produktion: Lou Adler
Veröffentlicht: 1968 05 (Single), 1968 05 (Album)
Genretags: Pop - Folkpop
Bemerkungen: Ein pastoraler Ansatz, um gegen die Curfew riots zu protestieren.
The Radio Dept. [D]: Heaven's on Fire [F]
Autor: Martin Carlberg & Johan Duncanson
Label und Katalognummer: Labrador LAB 129, Labrador LAB 105
Produktion: Johan Duncanson & Martin Larsson
Veröffentlicht: 2010 03 24 (Single), 2010 04 19 (Album)
Genretags: Post-Millennial-Music - Lo-Fi-Underground - Indiepop
The War On Drugs [D]: Pain [F]
Autor: Adam Granduciel
Label und Katalognummer: Atlantic, Atlantic 561934
Produktion: Adam Granduciel
Veröffentlicht: 2017 08 03 (Single), 2017 08 25 (Album)
Genretags: Post-Millennial-Music - Psychedelia - Psychedelicrock
The Wind in the Willows [D]: Uptown Girl [F]
Autor: Paul Klein & Art Petzal
Label und Katalognummer: Capitol SKAO 2956
Produktion: Artie Kornfeld
Veröffentlicht: 1968 07 (Album), 1968 (Single),
Genretags: Pop - Progressivepop - Baroquepop
They Might Be Giants [D]: Ana Ng [F]
Autor: John Flansburgh & John Linnell
Label und Katalognummer: Restless 7 72600, Bar/None EPRO 130
Produktion: Bill Krauss
Veröffentlicht: 1988 09 25 (Album), 1989 (Single)
Genretags: Indiepop, Newpop - Artpop
Thomas Dolby [D]: She Blinded Me With Science [F]
Autor: Thomas Dolby & Jo Kerr
Label und Katalognummer: Venice in Peril VIPS 104
Produktion: Thomas Dolby & Tim Friese-Greene
Veröffentlicht: 1982 10 23 (Single)
Genretags: Newpop - Synthpop
Thomas Dolby [D]: Airwaves [F]
Autor: Thomas Dolby
Label und Katalognummer: Venice in Peril VIP 1001, Venice in Peril VIP 1076070
Produktion: Thomas Dolby
Veröffentlicht: 1982 01 30 (Single), 1982 05 10 (Album)
Genretags: Newpop - Synthpop
Thory Bernhards [D]: Vildandens Sång [F]
Assoziierte Acts: Leon Landgrens orkester
Autor: Traditional
Label und Katalognummer: Philips P 50 022 H
Veröffentlicht: 1952 05 (Single)
Genretags: Europeana - Schlager - Folkloristischer-Schlager
Tina York [D]: Wir laßen uns das Singen nicht verbieten [F]
Autor: Fred Jay & Jack White [D]
Label und Katalognummer: CBS 2746, CBS 80 694
Produktion: Jack White [D]
Veröffentlicht: 1974 (Single), 1975 (Album)
Genretags: Europeana - Schlager - Stimmungsschlager
Tocotronic [D]: Drüben auf dem Hügel [F]
Autor: Dirk von Lowtzow & Jan Müller & Arne Zank
Label und Katalognummer: L' Age d'or LADO 17031
Produktion: Christian Mevs & Carol von Rautenkranz
Veröffentlicht: 1995 03 06 (Album)
Genretags: Alternativerock - Diskursrock - Hamburger-Schule, Alternativerock - Punkrock - Poppunk, Alternativerock - Punkrock - Powertrio
Tocotronic [D]: Die Erwachsenen [F]
Autor: Tocotronic
Label und Katalognummer: VertigoTV (Youtube Video), Vertigo 0602547260567
Produktion: Moses Schneider
Veröffentlicht: 2015 04 24 (Single), 2015 05 01 (Album)
Genretags: Alternativerock - Diskursrock - Hamburger-Schule
Tocotronic [D]: Electric Guitar [F]
Autor: Tocotronic
Label und Katalognummer: Universal 0602567282280, Selbstrelease (Youtube Video), Vertigo Berlin
Produktion: Moses Schneider
Veröffentlicht: 2018 01 12 (Single), 2018 01 05 (Digital), 2018 01 26 (Album)
Genretags: Alternativerock - Diskursrock - Hamburger-Schule
Tocotronic [D]: Jackpot [F]
Autor: Dirk von Lowtzow & Jan Müller & Arne Zank
Label und Katalognummer: L'Age d'or LADO 17066, L'Age d'or LADO 15047-3
Produktion: Tocotronic & Carol von Rautenkranz
Veröffentlicht: 1999 07 26 (Album), 1999 10 25 (Single)
Genretags: Alternativerock - Diskursrock - Hamburger-Schule, Alternativerock - Punkrock - Poppunk, Alternativerock - Punkrock - Powertrio
Tom Robinson Band [D]: Up Against The Wall [F]
Autor: Roy Butterfield & Tom Robinson
Label und Katalognummer: EMI EMI 2787, EMI EMC 3226
Produktion: Chris Thomas
Veröffentlicht: 1978 05 (Single), 1978 05 (Album)
Genretags: Rock - Punkrock
Tom und Tommy [D]: Eine handvoll Heimaterde [F]
Autor: Karl Götz & Peka Peter Kaegbein
Label und Katalognummer: Polydor 23 978
Produktion: Werner Cyprys
Veröffentlicht: 1959 (Single)
Genretags: Europeana - Schlager - Countryschlager
Tom Waits [D]: Heartattack And Vine [F]
Autor: Tom Waits
Label und Katalognummer: Asylum 6E 295, Asylum E-47077 (Single B)
Produktion: Bones Howe
Veröffentlicht: 1980 09 (Album), 1980 (Single-B)
Genretags: Rock - Jazzrock - Pianoblues
Ton Steine Scherben [D]: Wenn die Nacht am tiefsten ... [F]
Autor: Ralph Christian Möbius & Ralph Steitz
Label und Katalognummer: David Volksmund Produktion DVP 002
Produktion: Ton Steine Scherben
Veröffentlicht: 1975 06 13 (Album)
Genretags: Rock - Poprock - Deutschrock
Ton Steine Scherben [D]: Wir müssen hier raus! [F]
Autor: Ralph Möbius & Ralph Steitz
Label und Katalognummer: David Volksmund Produktion TSS 17
Produktion: Ton Steine Scherben
Veröffentlicht: 1972 11 17 (Album)
Genretags: Rock - Poprock - Deutschrock
Tony Marshall [D]: Schöne Maid [F]
Autor: Jack White [D]
Label und Katalognummer: Ariola 14 891 AT, Ariola 85 729 IT
Produktion: Jack White [D]
Veröffentlicht: 1971 05 (Single), 1972 (Album)
Genretags: Europeana - Schlager - Stimmungsschlager
Bemerkungen: Stimmungssschlager, der - Überraschung - auf einem thaitianischen Lied basiert.
Tony Marshall [D]: In einem Polenstädtchen [F]
Autor: Jo Plée & Traditional
Label und Katalognummer: Ariola 87 777 IU
Veröffentlicht: 1972 (Album)
Genretags: Europeana - Schlager - Volkstümlicher-Schlager
Townes Van Zandt [D]: Our Mother the Mountain [F]
Autor: Townes Van Zandt
Label und Katalognummer: Poppy PYS 40004
Produktion: Jack Clement & Kevin Eggers & Jim Malloy
Veröffentlicht: 1969 04 (Album)
Genretags: Rock - Folkrock
Traktorkestar [D]: Lost Boy & Suicide Girl [F]
Assoziierte Acts: Simon Jäggi (feat.)
Autor: Simon Jäggi & Thierry Lüthy
Label und Katalognummer: Selbstrelease (Youtube Video)
Produktion: Balthasar Streit
Veröffentlicht: 2016 10 10 (Digital)
Genretags: Post-Millennial-Music - Lo-Fi-Underground
Bemerkungen: Europeana-Crossover. Traktorkestar aus Bern starteten als Balkanbrass-Band und stellen sich mit diesem Track in die Reihe der Berner Pop-/Rock-Acts. Der Track scliesst nahtlos an die Songs von Züri West an.
Trio [D]: Turaluraluralu - Ich mach Bubu, was machst Du [F]
Autor: Gert 'Kralle' Krawinkel & Stephan Remmler
Label und Katalognummer: Mercury 814 242, Mercury 814 576
Produktion: Klaus Voormann
Veröffentlicht: 1983 08 (Album), 1983 12 (Single)
Genretags: Postpunk - Artpop - NDW
Truck Stop [D]: Ich möcht' so gern Dave Duddley hör'n [F]
Autor: Rainer Bach & Holger Grabowski
Label und Katalognummer: Nature 0060.080, Nature 0030.089
Produktion: Volker Heintzen & Joe Menke
Veröffentlicht: 1977 (Album), 1978 (Single)
Genretags: Country - Honkytonk
Trude Herr [D]: Ich will keine Schokolade [F]
Autor: Carl Ulrich Blecher & Jack Marrow
Label und Katalognummer: Philips 345 206 PF
Veröffentlicht: 1960 02 (Single)
Genretags: Europeana - Schlager - Tonfilmschlager, Europeana - Schlager - Komik-Schlager
U2 [D]: Pride (In The Name Of Love) [F]
Assoziierte Acts: Chrissie Hynde (feat.)
Autor: Bono & Adam Clayton & Larry Mullen & The Edge.
Label und Katalognummer: Island IS 202, Island ISL 1011
Produktion: Brian Eno & Daniel Lanois
Veröffentlicht: 1984 09 (Single), 1984 10 01 (Album)
Genretags: Alternativerock - Poprock - Bigmusic
Bemerkungen: Chrissie Hynde singt Begleitgesang, wird aber nicht als Featurinmg-Artist genannt.
U2 [D]: Moment of Surrender [F]
Autor: Bono & Brian Eno & Danny Lanois & U2
Label und Katalognummer: Mercury 1796037
Produktion: Brian Eno & Daniel Lanois
Veröffentlicht: 2009 03 02 (Album)
Genretags: Alternativerock - Poprock - Bigmusic
Udo Jürgens [D]: Immer wieder geht die Sonne auf [F]
Autor: Thomas Hörbiger & Udo Jürgens
Label und Katalognummer: Ariola 19 510 AT
Produktion: Robert Opratko
Veröffentlicht: 1967 06
Genretags: Europeana - Schlager
Udo Jürgens [D]: Griechischer Wein [F]
Autor: Udo Jürgens & Michael Kunze
Label und Katalognummer: Ariola 13 700 AT, Ariola 88 399 IT
Produktion: Ralph Siegel
Veröffentlicht: 1974 12 (Single), 1975 01 15 (Album)
Genretags: Europeana - Schlager - TV-Schlager
Udo Jürgens [D]: Sag mir wie [F]
Assoziierte Acts: Hans Hammerschmid and His Orchestra
Autor: Udo Jürgens & Joachim Relin
Label und Katalognummer: Vogue DVS 14564
Produktion: Joachim Heider & Udo Jürgens
Veröffentlicht: 1966 09 (Single)
Genretags: Europeana - Schlager - TV-Schlager
Udo Jürgens [D]: Lieb Vaterland [F]
Autor: Eckart Hachfeld & Udo Jürgens
Label und Katalognummer: Ariola 14 835 AT
Produktion: Ralph Siegel
Veröffentlicht: 1971 03 (Single)
Genretags: Europeana - Schlager - Chanson-Schlager
Udo Lindenberg [D]: Odyssee [F]
Autor: Rainey Haynes & Udo Lindenberg & Benny Peterson
Label und Katalognummer: Polydor 2372 171
Produktion: Udo Lindenberg
Veröffentlicht: 1983 01 24 (Album)
Genretags: Rock - Poprock - Deutschrock
Udo Lindenberg [D]: Gitarrenlied [F]
Autor: Thomas Fortmann & Beat Hirt
Label und Katalognummer: Telefunken 6.23075
Produktion: Dieter Dierks
Veröffentlicht: 1977 (Album)
Genretags: Disco - Popdisco
Bemerkungen: Ein Song aus dem Rock Musical Tell!, dessen Librettist, Beat Hirt, aus der Schweiz kommt. Hirt war Mitbegründer von und Journalist für Pop, das Schweizer Musikmagazin.
Udo Lindenberg [D]: Bis ans Ende der Welt [F]
Autor: Jacques Kravetz & Udo Lindenberg & Ulla Meinecke
Label und Katalognummer: Telefunken 6.23682
Produktion: Udo Lindenberg
Veröffentlicht: 1978 12 01 (Album)
Genretags: Rock - Poprock - Deutschrock
Udo Lindenberg und das Panikorchester [D]: Ich Bin Von Kopf Bis Fuss Auf Liebe Eingestellt [F]
Assoziierte Acts: Udo Lindenberg
Autor: Friedrich Hollaender
Label und Katalognummer: Telefunken U 56 356, Telefunken SLE 14790-P
Produktion: Thomas Kuckuck & Udo Lindenberg
Veröffentlicht: 1974 06 (Single), 1974 08 15 (Album)
Genretags: Rock - Poprock - Deutschrock
Udo Lindenberg und das Panikorchester [D]: Nichts haut einen Seemann um [F]
Assoziierte Acts: Udo Lindenberg
Autor: Udo Lindenberg
Label und Katalognummer: Telefunken 6.21138
Produktion: Thomas Kuckuck
Veröffentlicht: 1973 (Album)
Genretags: Rock - Poprock - Deutschrock
Udo Lindenberg und das Panikorchester [D]: Jack [F]
Assoziierte Acts: Udo Lindenberg
Autor: Jean-jacques Kravetz
Label und Katalognummer: Telefunken 6.22223 AS
Produktion: Thomas Kukuck & Udo Lindenberg
Veröffentlicht: 1975 04 15 (Album)
Genretags: Rock - Poprock - Deutschrock
Ultravox [D]: Dancing with Tears in My Eyes [F]
Autor: Warren Cann & Chris Cross & Billy Currie & Midge Ure
Label und Katalognummer: Chrysalis CDL 1459, Chrysalis UVX 1
Produktion: Warren Cann & Chris Cross & Billy Currie & Midge Ure
Veröffentlicht: 1984 04 (Album), 1984 05 04 (Single)
Genretags: Newpop - Synthpop
Underworld [D]: Cowgirl [F]
Autor: Darren Paul Emerson & Karl Hyde & Richard David Smith
Label und Katalognummer: Junior Boy's Own JBO 001, TVT 8724
Produktion: Darren Paul Emerson & Karl Hyde & Richard David Smith
Veröffentlicht: 1994 01 24 (Album), 1994 05 27 (Single)
Genretags: Electronica - Techno - British-Techno
Underworld [D]: Jumbo [F]
Autor: Karl Hyde & Rick Smith
Label und Katalognummer: Junior Boy's Own JBO 1005438, Junior Boy's Own JNO 5007193
Produktion: Rick Smith
Veröffentlicht: 1999 03 01 (Album), 1999 05 24 (Single)
Genretags: Electronica - Techno - British-Techno
Underworld [D]: Juanita/Kiteless/To Dream of Love [F]
Autor: Darren Emerson & Karl Hyde & Rick Smith
Label und Katalognummer: Junior Boys Own JBO 4
Produktion: Darren Emerson & Karl Hyde & Rick Smith
Veröffentlicht: 1996 03 04 (Album)
Genretags: Electronica - Techno - British-Techno
Underworld [D]: Rez [F]
Autor: Karl Hyde & Rick Smith
Label und Katalognummer: Junior Boy's Own COLLECT 002
Produktion: Darren Emerson & Karl Hyde & Rick Smith
Veröffentlicht: 1993 (Single)
Genretags: Electronica - Trance
Vicky [D]: Messer, Gabel, Schere, Licht [F]
Assoziierte Acts: Vicky Leandros
Autor: Ralf Arnie & Joe Lander & Mario Panas
Label und Katalognummer: Philips 345.828 PF
Veröffentlicht: 1965 Single)
Genretags: Europeana - Schlager - Teenschlager
Vicky [D]: Morgen sehen wir uns wieder [F]
Assoziierte Acts: Vicky Leandros & Orchester Arno Flor
Autor: Ralf Arnie & Klaus Munro & Mario Panas
Label und Katalognummer: Philips 346 089 PF
Veröffentlicht: 1967 09 (Single)
Genretags: Europeana - Schlager - TV-Schlager
Vicky Leandros [D]: Auf dem Mond, da blühen keine Rosen [F]
Autor: Leo Leandros & Klaus Munro
Label und Katalognummer: CBS S 5004, CBS 81 877
Produktion: Leo Leandros
Veröffentlicht: 1977 02 (Single), 1977 02 27 (Album)
Genretags: Europeana - Schlager
Vicky Leandros [D]: Die Bouzouki klang durch die Sommernacht [F]
Autor: Ralf Arnie & Klaus Munro & Mario Panas
Label und Katalognummer: Philips 6000 101, Philips 6303 087
Produktion: Leo Leandros
Veröffentlicht: 1973 (Single), 1973 05 22 (Album)
Genretags: Europeana - Schlager
Vicky Leandros [D]: Theo, wir fahr'n nach Lodz [F]
Autor: Leo Leandros & Fritz Löhner-Beda & Klaus Munro & Artur Marcell Werau
Label und Katalognummer: Philips 6000 143, Philips 6303 114
Produktion: Leo Leandros
Veröffentlicht: 1974 04 (Single), 1974 07 16 (Album)
Genretags: Europeana - Schlager
Vicky Leandros [D]: Ich liebe das Leben [F]
Autor: Leo Leandros & Klaus Munro
Label und Katalognummer: Philips 9299 663, Philips 6000 191
Produktion: Leo Leandros
Veröffentlicht: 1975 08 15 (Album), 1976 02 02 (Single)
Genretags: Europeana - Schlager - Chanson-Schlager
Bemerkungen: – zur französischen Version
Vico Torriani [D]: Kalkutta liegt am Ganges (Madeleine) [F]
Autor: Hans Bradtke & Heino Gaze
Label und Katalognummer: Decca D 19 075
Veröffentlicht: 1960 07 (Single)
Genretags: Europeana - Schlager
Vico Torriani [D]: La Pastorella [F]
Autor: Walter Geiger & Robert Jung
Label und Katalognummer: Ariola 16 756 AU
Produktion: Walter Geiger
Veröffentlicht: 1976 (Single)
Genretags: Europeana - Schlager
Vico Torriani [D]: Addio Donna Grazia (Leb' wohl, kleine Madonna) [F]
Assoziierte Acts: Béla Sanders und sein Orchester
Autor: Friedrich W. Rust
Label und Katalognummer: Decca F 43 243
Veröffentlicht: 1952 (10' Single)
Genretags: Europeana - Schlager
Walkmen [D]: Angela Surf City [F]
Autor: Matt Barrick & Pete Bauer & Hamilton Leithauser & Paul Maroon & Walter Martin
Label und Katalognummer: Fat Possum FP 1228, Bella Union BELLAV 262
Produktion: John Congleton & Walkmen
Veröffentlicht: 2010 09 14 (Album), 2010 09 30 (Digital UK)
Genretags: Alternativerock - Poprock - Neo-Westcoast
Weakerthans [D]: Left & Leaving [F]
Autor: John K. Samson & Weakerthans
Label und Katalognummer: G7 Welcoming Committee Records G 7013
Produktion: Ian Blurton
Veröffentlicht: 2000 07 25 (Album)
Genretags: Alternativerock - Hardcorepunk - Emocore
Wencke Myhre [D]: Sie trägt ein Ding Dong Bama Lama Sing Song Teeny Weeny Flower Power Kleid [F]
Autor: Christian Bruhn & Georg Buschor
Label und Katalognummer: Polydor 53 050
Produktion: Bobby Schmidt
Veröffentlicht: 1968 (Single)
Genretags: Europeana - Schlager
Willy Schneider [D]: Man müsste nochmal Zwanzig sein [F]
Autor: Kurt Feltz & Gerhard Jussenhoven
Label und Katalognummer: Polydor 22 020
Produktion: F. Marszalek
Veröffentlicht: 1953 03 (Single)
Genretags: Europeana - Schlager
Wir sind Helden [D]: Denkmal [F]
Autor: Judith Holofernes & Pola Roy & Jean-Michel Tourette
Label und Katalognummer: Reklamation Records 590869, Reklamation Records
Produktion: Patrik 'El Pattino' Majer & Wir
Sind Helden
Veröffentlicht: 2003 07 07 (Album), 2004 (Single)
Genretags: Indiepop
Wir sind Helden [D]: Die Nacht [F]
Autor: Judith Holofernes & Mark Tavassol & Jean-Michel Tourette
Label und Katalognummer: Reklamation Records 590869
Produktion: Patrik Majer & Wir
Sind Helden
Veröffentlicht: 2003 07 07 (Album)
Genretags: Indiepop
Wolf Biermann [D]: Drei Kugeln auf Rudi Dutschke [F]
Autor: Wolf Biermann
Label und Katalognummer: Wagenbach WA 3
Veröffentlicht: 1968 (EP)
Genretags: Europeana - Liedermacher
Wolfgang [D]: Abraham - Das Lied vom Trödler [F]
Autor: Wolfgang Hofer
Label und Katalognummer: Bellaphon BL 1148, Bellaphon BLPS 19063
Produktion: Ernst Kugler
Veröffentlicht: 1971 03 (Single), 1971 (Album)
Genretags: Europeana - Schlager
Wolfgang Ambros [D]: Zwickt's mi [F]
Autor: Wolfgang Ambros & Hans Günter Hausner & Veronika Vane
Label und Katalognummer: Bacillus BA 20029, Bacillus BA 24004
Produktion: Peter Hauke
Veröffentlicht: 1975 (Single), 1975 (Album)
Genretags: Europeana - Liedermacher
Wolfgang Neuss [D]: Chanson vom Wirtschaftswunder [F]
Assoziierte Acts: Orchester Peter Cramer
Autor: Franz Grothe & Klaus Günther Neumann
Label und Katalognummer: ???, Heliodor 46 0066
Veröffentlicht: 1956, 1960 12 (EP)
Genretags: Europeana - Schlager - Chansonschlager
Yes [D]: Roundabout [F]
Autor: Jon Anderson & Steve Howe
Label und Katalognummer: Polydor 2401 019, Atlantic 45-2854
Produktion: Jon Anderson & Bill Bruford & Steve Howe & Eddie Offord & Chris Squire & Rick Wakeman
Veröffentlicht: 1971 11 12 (Album), 1972 01 (Single US)
Genretags: Rock - Progrock
Bemerkungen: Die Single Version wurde auf 3:27 gehalten. Sie ist konziser, wo die LP-Version unaufgeräumt wirkt.
Yothu Yindi [D]: Treaty [F]
Autor: Paul Kelly & Dr M Yunupingu & Stuart Kellaway & Cal Williams & Gurrumul Yunupingu & Milkayngu Mununggurr & Banula Marika & Peter Garrett
Label und Katalognummer: Razor D 10468, Mushroom D30602
Produktion: Mark Moffatt
Veröffentlicht: 1991 06 (Single), 1991 (Album)
Genretags: Folk - Traditional-Folk - Australian-Folk
Young Thug [D]: All The Time [F]
Label und Katalognummer: Selbstrelease (Youtube Video)
Produktion: Bricks Da Mane & Narcos
Veröffentlicht: 2017 04 21 (Digital)
Genretags: Hip-Hop - Traprap
Zarah Leander [D]: Davon geht die Welt nicht unter [F]
Autor: Bruno Balz & Michael Jary
Label und Katalognummer: Odeon O 4637
Veröffentlicht: 1942 06 (Single)
Genretags: Europeana - Schlager - Tonfilmschlager
Zarah Leander [D]: Nur nicht aus Liebe weinen [F]
Assoziierte Acts: FFB-Tanzorchester
Autor: Hans Fritz Beckmann & Theo Mackeben
Label und Katalognummer: Odeon O 4624
Veröffentlicht: 1939 08 (Single)
Genretags: Europeana - Schlager
Zarah Leander [D]: Ich weiß, es wird einmal ein Wunder geschehen [F]
Autor: Bruno Balz & Michael Jary
Label und Katalognummer: Odeon O 4636
Veröffentlicht: 1942 06 (Single)
Genretags: Europeana - Schlager
Zayn [D]: Like I Would [F]
Assoziierte Acts: Zayn Malik
Autor: James Emerson & James Griffin & Zayn Malik & Kevin Rains & Salvador Waviest & Robin Weisse & Chase Wells
Label und Katalognummer: RCA, RCA
Produktion: XYZ
Veröffentlicht: 2016 03 11 (Single), 2016 03 25 (Album
Genretags: Electropop
Züri West [D]: Redt Si No Vo Mir [F]
Autor: Kuno Lauener & Züri West
Label und Katalognummer: Black Cat BCLP 130589
Produktion: Etienne Bron & Ron Kurz & Jürg Peterhans
Veröffentlicht: 1989 05 13 (Album)
Genretags: Alternativerock - Poprock
Suchresultate Songs: Treffer bei Labeln
Johnny And The Hurricanes [D]: Crossfire [F]
Autor: T.J. Fowler & Tom King
Label und Katalognummer: Twirl 1001, Warwick M 502, London HL 8899
Produktion: Tom King & Ira Mack
Veröffentlicht: 1959 02 (Single), 1959 04 (Single), 1959 07 (Single)
Genretags: Rock'n'Roll - Instrumental
Bemerkungen: Erste Single der Band, die ein kleiner Hit wurde und bis auf Platz 23 der US-Charts stieg. Sie wurde in einem Kino aufgenommen.
Suchresultate Songs: Treffer bei Produzenten
Manic Street Preachers [D]: Postcards From A Young Man [F]
Autor: James Dean Bradfield & Sean Moore & Nicky Wir
e
Label und Katalognummer: Columbia 88697741882, Columbia 88697854622
Produktion: James Dean Bradfield & Dave Eringa & Sean Moore & Loz Williams & Nicky Wir
e
Veröffentlicht: 2010 09 20 (Album), 2011 02 28 (Single)
Genretags: Alternativerock - Punkrock - Glampunk
Tomorrow [D]: Revolution [F]
Autor: Ken Burgess & Keith Hopkins & Steve Howe
Label und Katalognummer: Parlophone R 5627, Parlophone PCS 7042
Produktion: Mark P. Wir
tz
Veröffentlicht: 1967 09 22 (SIngle), 1968 02 (Album)
Genretags: Pop - Progressivepop - Psychedelicpop
Bemerkungen: «Happiness is hard to find / We just want peace to blow our minds» – ist das ein Wortspiel mit piece? Wenn ja, dann zeigt der Song deutlich, dass es der Gegenkultur nur scheinbar um Friede geht – viel wichtiger ist sein Bewusstsein zu verändern und «peace/piece» zu rauchen.
Tomorrow [D]: My White Bicycle [F]
Autor: Ken Burgess & Keith Hopkins
Label und Katalognummer: Parlophone R 5597, Parlophone PMC/PCS 7042
Produktion: Mark P. Wir
tz
Veröffentlicht: 1967 05 12 (Single), 1968 02 (Album)
Genretags: Pop - Progressivepop - Psychedelicpop
Tomorrow [D]: Real Life Permanent Dream [F]
Autor: Keith Hopkins
Label und Katalognummer: Parlophone PCS 7042
Produktion: Mark P. Wir
tz
Veröffentlicht: 1968 02 (Album)
Genretags: Pop - Progressivepop - Psychedelicpop
Aquarian Age [D]: 10,000 Words In A Cardboard Box [F]
Assoziierte Acts: Tomorrow
Autor: John Charles Alder & John 'Junior' Wood
Label und Katalognummer: Parlophone R 5700
Produktion: Mark P. Wir
tz
Veröffentlicht: 1968 05 31 (Single)
Genretags: Rock - Psychedelicrock
Bemerkungen: Einer der raren Songs mit einem Songtitel aus einem der Verses.
Keith West [D]: Excerpt From A Teenage Opera (= Grocer Jack) [F]
Assoziierte Acts: Mark Wir
tz Orchestra
Autor: Keith Alan Hopkins & Mark Wir
tz
Label und Katalognummer: Parlophone R 5623
Produktion: Mark Wir
tz
Veröffentlicht: 1967 07 28 (Single)
Genretags: Pop - Progressivepop - Psychedelicpop
Mood-Mosaic [D]: A Touch Of Velvet - A Sting Of Brass [F]
Assoziierte Acts: Ladybirds (feat.) & Mark Wir
tz
Autor: J. Ferdy & Mark Wir
tz
Label und Katalognummer: Columbia (EMI) DB 7801, Columbia (EMI) SX 6153
Produktion: Mark Wir
tz
Veröffentlicht: 1966 01 (Single), 1969 (Album)
Genretags: Pop - Orchestralpop - Psychedelicpop
Bemerkungen: J. Ferdy ist ein Pseudonym von Wirtz">Mark Wir
tz
Wir sind Helden [D]: Denkmal [F]
Autor: Judith Holofernes & Pola Roy & Jean-Michel Tourette
Label und Katalognummer: Reklamation Records 590869, Reklamation Records
Produktion: Patrik 'El Pattino' Majer & Wir
Sind Helden
Veröffentlicht: 2003 07 07 (Album), 2004 (Single)
Genretags: Indiepop
Wir sind Helden [D]: Die Nacht [F]
Autor: Judith Holofernes & Mark Tavassol & Jean-Michel Tourette
Label und Katalognummer: Reklamation Records 590869
Produktion: Patrik Majer & Wir
Sind Helden
Veröffentlicht: 2003 07 07 (Album)
Genretags: Indiepop
Rihanna [D]: Rude Boy [F]
Autor: Esther Dean & Mikkel S. Eriksen & Rihanna Fenty & Tor Erik Hermansen & Makeba Riddick & Rob Swire
Label und Katalognummer: Def Jam B 0013827, Def Jam
Produktion: StarGate & Rob Swire
Veröffentlicht: 2009 11 23 (Album), 2010 02 22 (Single)
Genretags: Afroamericana - R'n'B-Renaissance
Swirlies [D]: Bell [F]
Autor: Swirlies
Label und Katalognummer: Taang! TAANG! 67
Produktion: Swirlies
Veröffentlicht: 1993 03 26 (Album)
Genretags: Indiepop - Noisepop - Shoegaze
Suchresultate Songs: Treffer in Bemerkungen
10cc [D]: Dreadlock Holiday [F]
Autor: Graham Gouldman & Eric Stewart
Label und Katalognummer: Mercury 6008 035, Mercury 6160
Produktion: Graham Gouldman & Eric Stewart
Veröffentlicht: 1978 07 (Single), 1978 09 01 (Album)
Genretags: Rock - Corporate-Rock - Artrock
Bemerkungen: Die Engländer waren historisch Kollonialherren im karibischen Raum und die britische Rockszene ging am Ende der 1970er Jahre auf den Inseln ein und aus, was man als postkolonialen Kollonialismus sehen kann, wenn man will. George Martin hatte seine AIR Studio auf Montserrat, Chris Blackwell seine Compass Point Studios in Nassau auf den Bahamas. Die britische Rock Royalty ging zum Aufnehmen gerne ins Dynamic Sounds Studio in Kingston, Jamaica. Der karibische Raum bot eine grossartige Umgebung, Arbeit mit Entspannung zu verbinden sowie Geld anzulegen, um es nicht in der Heimat versteuern zu müssen.
Auf diese Weise waren Szenen vorprogrammiert, die in den Verses von «Dreadlock Holiday» erzählt werden: Der bleiche Engländer, der sich im Hinterland oder auf Nebenstrassen verliert und Bekanntschaft mit einer Gang macht, die ihn ausraubt. Der Hotelgast, der vom Nebengeschäft des Barmans erfährt und profitiert. «Dreadlock Holiday» berichtet von interkulturellen Interaktionen im postkolonial brodelnden Millieu, wobei die heiklen Situationen im Chorus auf humorvolle Weise aufgelöst oder kaschiert werden: Geschickt sprechen die Chorusse die Ambivalenz des Verhältnisses zwischen Einheimischen und Gästen aus: Der Beraubte ärgert sich natürlich und denkt: «Scheiss Jamiaca», sagt es so halb und nimmt es gleich wieder mit einer Umdrehung zurück: «Don't like Jamaica, oh no / I love her». Damit entsteht die typische postkoloniale Vagheit, in der man von der Situation profitiert, wo man kann, und sich durchwurstelt, so gut es geht, ohne wirklich eine Haltung einzunehmen, die sich als genuss- oder geschäftsschädigend auswirken müsste. (Das funktioniert gegenseitig, aus beiden Positionen!)
Freilich kann man, statt dem Song subtilen Humor zu unterstellen, ihn auch für eine auf politische Korrektheit eingestellte Welt disqualifizieren und mit Prädikat «schlecht gealtert» zur Seite legen. Das wäre dann zumindest schade für die Musik, die eines der besten Beispiele von gelungenen Pop-Reggae-Hybriden darstellt.
Aaliyah & The Weeknd [D]: Poison [F]
Autor: Static Major & The Weeknd
Label und Katalognummer: Blackground
Produktion: Nick Lamb & DannyBoyStyles
Veröffentlicht: 2021 12 17 (Digital)
Genretags: Afroamericana - R'n'B - Nusoul
Bemerkungen: Umstrittener Track. Die Frage wird gestellt, ob man Aaliyah den richtigen Respekt erweist, wenn man sie mit The Weeknd paart, um einen ihrer unfertigen Songs schliesslich nach zwanzig Jahren endlich herauszubringen. The Weeknd, wird argumentiert, passe zeitlich und biografisch nicht.
Aaliyah war 2001, als ihr 22-jähriges Leben bei einem Flugzeugabsturz beendet wurde, gerade zum R'n'B Top-Act aufgestiegen. Sie war in der Positionin der The Weeknd vor etwas weniger als zehn Jahren war. Was wäre aus ihr geworden? Niemand zweifelt, dass sie einen mit The Weeknd vergleichbaren Erfolg gehabt hätte. Insofern passen die beiden R'n'B-Stimmen sehr gut zusammen.
Aaliyah nahm offenbar nur die Verses von «Poison» auf – der Song hatte keinen Chorus. Und hier steigt The Weeknd ein und gibt dem unvollendeten Track den transtemporalen «Finish». Nächstes Jahr dürfen wir ein posthumes Album von Aaliyah erwarten und da gibt es noch mehr Kollaborationen: Drake, Future, Ne-Yo, Chris Brown und Snoop Dogg.
Abba [D]: Dancing Queen [F]
Assoziierte Acts: Benny Andersson & Agnetha Fältskog & Anni-Frid Lyngstad & Björn Ulvaeus
Autor: Benny Andersson & Stig Anderson & Björn Ulvaeus
Label und Katalognummer: Polar POS 1225, Polar POLS 272
Produktion: Stig Anderson & Björn Ulvaeus
Veröffentlicht: 1976 08 16 (Single), 1976 10 11 (Album), 1975 08 05 (Rec.)
Genretags: Disco - Popdisco - Eurodisco
Bemerkungen: Aufgenommen wurde der Track zeitgleich mit Fernando. Eine Nonalbum-Single war der Gruppe genug und so musste die Veröffentlichung ein Jahr warten. Das macht «Dancing Queen» zu einem wirklich frühen Europop-Track. Nur wenige Acts waren vor Abba: Love To Love You Baby, 1975) oder Silver Convention!
Noch bevor die Single herauskam, führten Abba «Dancing Queen» am 18. Juni 1976 bei den Hochzeitsfeierlichkeiten für das schwedische Königspaar Silvia und Gustaf XVI auf (siehe: Aufzeichnung).
Entstehungsgeschichte
Der Arbeitstitel des Tracks hiess «Boogaloo» und dieser war stark von Rock Your Baby von George McCrae beeinflusst – ein massiver Crossover-Hit von 1974 in Europa. Ein weiterer Einfluss soll Dr. Johns Gumbo gewesen sein – damit sind das vor allem Karibische Rhythmen. Boogaloo hiess ein Musikstil (Rhythm & Blues mit afrokaribischen Rhythmen) aus New York, der am Ende der 1960er Jahre populär war. Der Rhythmustrack von «Boogalo» ist auf Vimeo greifbar.
Erfolg
«Dancing Queen» war die einzige Single von Abba, die in den USA auf Platz 1 ging. Ebenfalls auf den Spitzenplatz kam die Single im UK, in Schweden, Deutschland, Irland, den Niederlanden, Norwegen, Brasilien, Mexiko, Rhodesien, Südafrika, Australien und Neuseeland. Eigenartigerweise schaffte sie in der Schweiz nur Platz 3 und Österreich Platz 4.
Abba [D]: Eagle [F]
Assoziierte Acts: Benny Andersson & Agnetha Fältskog & Anni-Frid Lyngstad & Björn Ulvaeus
Autor: Benny Andersson & Björn Ulvaeus
Label und Katalognummer: Polar POLS 282, Polar POS 1237
Produktion: Benny Andersson & Björn Ulvaeus
Veröffentlicht: 1977 12 12 (Album), 1978 05 (Single A)
Genretags: Pop - Europop
Bemerkungen: Die Idee zu «Eagle» sei Björn Ulvaeus aus der Lektüre des Romans «Jonathan Livingston Seagull» gekommen. Er sagte: «Ich habe versucht, das Gefühl von Freiheit und Euphorie einzufangen, das ich beim Lesen dieses Buches hatte.» (Palme, 416)
«Eagle» ist einer der wenigen Songs des reiferen Abba-Katalogs, der von beiden Stimmen gesungen wird.
Abba [D]: SOS (= S.O.S.) [F]
Assoziierte Acts: Benny Andersson & Agnetha Fältskog & Anni-Frid Lyngstad & Björn Ulvaeus
Autor: Benny Andersson & Björn Ulvaeus
Label und Katalognummer: Polar POLS 262, Polar POS 1213
Produktion: Benny Andersson & Björn Ulvaeus
Veröffentlicht: 1975 04 21 (Album), 1975 06 (Single)
Genretags: Pop - Europop
Bemerkungen: Mit diesem Song fanden Abba ihre Identität als Europop-Gruppe. Der Song ist unendlich traurig und mitreissend zugleich. Agnetha Fältskogs Stimme inszeniert gekonnt das Gefühl, das jede und jeder kennt, wenn eine Beziehung zu Ende geht. Natürlich kommt das im Rahmen einer traditionellen heterosexuellen Beziehung als die Perspektive der Frau, die verlassen wird. Man kann diese Erzählposition aber auch generalisieren: dann repräsentiert Agnetha die Stimme der verlassenen Person. Dagegen ist der Chorus in musikalischer Hinsicht das letzte Aufbäumen gegen das bereits unausweichliche Beziehungsende, ein letzter Hilferuf, das letzte SOS – der vielleicht humanste Moment einer Trennung!
SOS
ist ein Schlüsselsong für Abba. Die Gruppe wird einige Male das Erfolgsrezept «Trennungssong» wiederholen.
Abba [D]: Mamma Mia [F]
Assoziierte Acts: Benny Andersson & Agnetha Fältskog & Anni-Frid Lyngstad & Björn Ulvaeus
Autor: Benny Andersson & Stig Anderson & Björn Ulvaeus,
Label und Katalognummer: Polar POLS 262, Polar POS 1220
Produktion: Benny Andersson & Björn Ulvaeus
Veröffentlicht: 1975 04 21 (Album), 1975 09 (Single)
Genretags: Pop - Teenpop - Bubblegumpop
Bemerkungen: Die erste Single nach Waterloo, die ein UK-Top-Hit wurde. Was zuerst nach einer Band mit einem One-Hit-Wonder aussah, wurde von nun an eine Band, die eine Reihe von Top-Hits ablieferte. Mehr noch: Mit «Mamma Mia» zeigten Abba, dass sie eine eigene Sprache entwickelt haben, ein Erfolgrezept.
Der Songtitel wurde auch zum Titel der Musical-Produktion, die 1999 in London anlief und ausserordentlich erfolgreich war.
Der Song ist ein Beispiel, wie ein A- und B-Teil konträre Stimmungen zum Ausdruck bringen können. Die Song-Verses sind die Geschichte einer enttäuschten Liebe, der Chorus zeigt eine Frau, die von der Liebe zu diesem Mann, der sie betrügt, überwältigt wird.
AC/DC [D]: For Those About to Rock (We Salute You) [F]
Autor: Angus Young & Malcolm Young & Brian Johnson
Label und Katalognummer: Albert Productions APLP 053, Atlantic 4029
Produktion: Robert John 'Mutt' Lange
Veröffentlicht: 1981 11 23 (Album), 1982 06 (Single US)
Genretags: Rock - Hardrock
Bemerkungen: Der Gruss der Sklaven im klassisch-römischen Zirkus: «Ave Caesar, morituri te salutant» – «die Todgeweiten grüssen dich». Hier als Songthema inszeniert von einer Band, die viel über sich nachgedacht hat. Ihr ist nämlich die denkbar schlimmsten Katastrophe widerfahren, als ihr Leadsänger Bon Scott in London in einem Auto im Vollsuff erfroren ist. Das Rock 'n' Roll Leben fordert seine Opfer, Rock Star zu sein kann tödlich enden. So kommt die Band als sie über ihre Rolle nachdenkt, auf die Formel: «Wir
sind die modernen Gladiatoren im Rock Zirkus». Wir
sterben schlimmstenfalls für die Show und für unser Publikum.
We are the dealers We'll give you everything you need Hail-hail to the good times 'Cause rock has got the right of way We ain’t no legend, ain’t no cause We're just living for today
Am Ende des Songs werden de Kanonen geladen und gezündet: «Fire!». Alles für die Show, alles fürs Publikum, alles für das Spektakel!
Adverts [D]: One Chord Wonders [F]
Autor: Gaye Advert & T.V. Smith
Label und Katalognummer: Stiff BUY 13, Bright BRL 201
Produktion: Larry Wallace
Veröffentlicht: 1977 04 22 (Single), 1978 02 (Album)
Genretags: Rock - Punkrock - London-Punk
Bemerkungen: Die Adverts waren die erste britische Punk-Band mit weiblicher Bassistin, Gaye Advert und eine der ersten mit Erfolg in der Hitparade. Gegründet wurden sie 1976 von Zuzügern in London T.V. 'Tim' Smith und der besagten Gaye Black, wie Adverts richtig hiess. Auch die anderen Mitglieder gaben sich ironische Namen, was typisch für Punk war: Howard Pickup (eigentlich Boak) und Laurie Driver (eigentlich Muscat).
Ihre Single «One Chord Wonders» ist ein programmatischer Punk-Song und bringt die Ästhetik dieser Musik auf den Begriff, in dem sie Do It Yourself und Dilettantismus thematisiert. Der Erzähler des Songs denkt mit Spannung über einen bevorstehenden Gig und fragt sich, was er mit seiner Band spielen wird und ob sie beim Publikum ankommen werden, ob ihr dilettantisches Spiel genügt. Am Ende löst er die Spannung auf, in dem er sagt: «We Don't give a damn» – «es kümmert uns nicht».
Strukturell ist der Song interessant, weil der Chorus ohne Worte gespielt wird (oder man versteht diesen Teil als ein Zwischenspiel, als «Interlude» zwischen Simple Verses.
«(The wonders don't care) We don't give a damn», der Schlussatz des Songs wird wie ein Mantra wiederholt. Das ist eine an sich selbst gerichtete, den eigenen Mut bestärkende Autokommunikation. Man sagt es hundert Mal, bis es nicht anders sein kann und man es selbst glaubt. Das Mantra dauert etwa die zweite Hälfte der Gesamtdauer der Single.
Al Stewart [D]: Year Of The Cat [F]
Autor: Al Stewart & Peter Wood
Label und Katalognummer: RCA RS 1082, RCA
Produktion: Alan Parsons
Veröffentlicht: 1976 07 (Album), 1976 12 11 (Single)
Genretags: Rock - Corporate-Rock - Softprog
Bemerkungen: Ähnlich wie Baker Street, ein melodisch grandioser Song mit Instrumentalsolos, die ineinander überblendet werden. Die cool und entspannt wirkenden Sounds konterkarieren eine tragisch-existentielle Thematik.
Al Stewart [D]: The News from Spain [F]
Autor: Al Stewart
Label und Katalognummer: CBS S 64730
Produktion: John Anthony
Veröffentlicht: 1972 01 01 (Album)
Genretags: Pop - Folkpop
Bemerkungen: Das Piano-Solo wird von Rick Wakeman gespielt.
Algiers [D]: Can The Sub_Bass Speak? [F]
Label und Katalognummer: Matador OLE 1499 DS
Produktion: Randall Dunn & Ben Greenberg
Veröffentlicht: 2019 08 27 (Digital)
Genretags: Post-Millennial-Music - Postpunk-Revival, Jazz - Jazzpoetry
Bemerkungen: Atemberaubende Band, intensiver Track über die Gegenwartskultur, von der man oft nicht weiss, in welche Schublade man ihre Protagonist*innen stecken soll, weil es zwar die Schubladen noch gibt – Genres zum Beispiel, Traditionen, Genderzuschreibungen, Moden –, aber niemand und nichts passt mehr rein, weil alles ZWISCHEN den Schubladen stattfindet, zum Beispiel dieser Track: Ist er Postpunk-Revival oder Jazzpoetry? Ist die Band schwarz oder weiss? Die Antwort auf schwierige Fragen lautet oft: «Mir doch egal was es ist» oder «Sei nicht anstrengend, es ist was es ist». Das kulturelle Leben zwischen den Schubladen hat aber einen Preis: Alles ist dermassen partikulär und führt langfristig zu Beliebigkeit und Gleichgültigkeit. Was heisst hier «führt dazu»? Wir
sind längst mittendrin. Wir
sind verloren!
Alice Cooper [D]: Department of Youth [F]
Autor: Alice Cooper & Bob Ezrin & Dick Wagner
Label und Katalognummer: Atlantic SD 18130, Atlantic 3280
Produktion: Bob Ezrin
Veröffentlicht: 1975 03 11 (Album), 1975 07 (Single)
Genretags: Rock - Hardrock, Rock - Artrock - Glamrock
Bemerkungen: Alice Cooper singt: «We ain't afraid of high power/ We're bullet proof/ and we've never heard of Eisenhower, missile power, justice, or truth» und im Chorus heisst es: «We're the department of youth/ We've got the power.» Das könnte man als späte Auseinandersetzung der 70er Rock Musik mit 1968 verstehen: die Gegenkultur wird hier al eine billige Machtfantasie zelebriert. Die im Song thematisierte Machtergreifung findet auf der Bühne statt und im Publikum als Fantasie, gespeist von der Gewissheit, dass man ein grosses, weltweites Publikum ist, das im Rock Spektakel kompensatorisch die Macht der Regierungen und Konzerne bricht.
Alice Nielsen [D]: Home, Sweet Home [F]
Autor: Henry Bishop & John Howard Payne
Label und Katalognummer: Columbia 5283
Veröffentlicht: 1911 06 (Ed.), 1915 08 (Reed.), 1823 (Werk)
Genretags: Pretraditionalpop - Parlorsongs
Bemerkungen: Charles Hamm nennt «Home Sweet Home» das populärste Lied des 19. Jahrhunderts. Es ist ein exemplarischer «parlor song», der auch in Opern wie «Clari» oder «The Maid Of Milan» hineingesetzt wurde. Das Lied thematisiert die Nostalgie für eine verlorene Heimat. Dass das Lied so populär war, zeigt an, wie die Industrialiserung Menschen aus Gründen der wirtschaftlichen Notwendigkeit dislozierte und entwurzelte. Die nostalgische Sehnsucht nach ihrer Heimat und Scholle war eine sentimentale Gegen- und Fantasiewelt, die in den populären Künsten aufgehoben war.
Allman Brothers Band [D]: Whipping Post [F]
Autor: Greg Allman
Label und Katalognummer: Atco SD 33 308, Capricorn 45 8014
Produktion: Tom Dowd
Veröffentlicht: 1969 11 04 (Album), 1971 03 (Single)
Genretags: Rock - Neo-Americana - Southernrock
Bemerkungen: Zum Tod von Greg Allman
Diesen Song brachte die Allman Brothers Band zuerst auf Single heraus. Doch wesentlich berühmter wurde die Live-Version auf ihrem At Fillmore East Album. Dort nahm der Song eine ganze LP-Seite ein, komplett mit einer Frère Jacques
Coda. Die Live-Version ist viel berühmter geworden als diese Single-Version und gehört zu den wichtigsten Monumenten der Rockmusik. Dennoch ist diese Version mein ganz persönlicher Favorit der Band.
Gregs Bruder Duane Allman gehörte zu den besten Session-Gitarristen, die die Südstaaten zu bieten hatten. Greg war musikalisch erfolglos in Los Angeles unterwegs und war drauf und dran, das Musizieren ganz aufzugeben, als sein Bruder anrief, er bräuchte einen Sänger für seine neue Band. Greg Allman stieg als Komponist und Sänger ein und die Allman Brothers Band wurde zum Prototypen des Southernrocks, der im Wesentlichen auf dem Blues basierte und vor allem live ein Erlebnis war. Allman Brothers Band waren eine so genannte Jamband mit typisch oppulenter Besetzung mit zwei Drummern, zwei Leadgitarristen und einer Orgel. Die beiden Leadgitarren kommen in der Single-Version von Whipping Post
hervorragend zur Geltung. Sie ziehen sich gegenseitig selbst aus dem Sumpf des Mississippis und das Stück wird zu etwas ganz leichtem, das zu fliegen vermag.
Duane Allman ist an einem tragischen Mortorradunfall schon 1971 verstorben. Sein Bruder, Greg Allman, machte noch bis vor zwei Jahren weiter, die Band löste sich mehrere Male auf und formierte sich neu. Ihre Langlebigkeit macht sie zu einem Urgestein der südstaatlichen Rockmusik.
Gregory LeNoir Allman verstarb am Samstag, dem 27. Mai zuhause in Richmond Hill, Georgia.
Amos Milburn [D]: Chicken-Shack Boogie [F]
Autor: Amos Milburn & Anne Cullum
Label und Katalognummer: Aladdin 3014, Aladdin 45 3332 (Single Re-Recording)
Produktion: Maxwell Davis
Veröffentlicht: 1948 11 (Single), 1956 08 (Single Re-Recording)
Genretags: Afroamericana - Rhythm'n'Blues - Jumpblues
Bemerkungen: Anne Cullum wird nur für die Neuaufnahme von 1956 als Autorin geführt.
André Cymone [D]: The Dance Electric (Long Version) [F]
Autor: Prince
Label und Katalognummer: Columbia 44 05249, Columbia FC 40037
Produktion: André Cymone & Prince
Veröffentlicht: 1985 (Single), 1985 (Album)
Genretags: Afroamericana - Funk - Synthfunk
Bemerkungen: Von Prince produzierter Track, der auf dessen der Paisley Platte sein könnte – ein typischer Psychedelicrevival-Track, der die Hippie-Weltanschauung auf den Punkt bringt: «Leute, schaut zum Fenster hinaus, unsere Welt geht zu Grunde. / Der Rhythmus ist Liebe und Liebe ist blind. / Liebt eure Feinde / Wir
haben nicht mehr viel Zeit.»
Andy Williams [D]: Can't Get Used To Losing You [F]
Autor: Doc Pomus & Mort Shuman
Label und Katalognummer: Columbia 4-42674, Columbia CL 2015
Produktion: Robert Mersey
Veröffentlicht: 1963 03 01 (Single), 1963 (Album)
Genretags: Pop - Vocalpop
Bemerkungen: Die Präsenz der Stimme im Refrain wird mit zweistimmig gesungenem Double Tracking erhöht. Ein frühes Beispiel für diesen Effekt.
Animals [D]: The House Of The Rising Sun [F]
Autor: Traditional & Alan Price
Label und Katalognummer: MGM K 13264, MGM SE 4264
Produktion: Mickie Most
Veröffentlicht: 1964 06 19 (Single), 1964 09 (Album)
Genretags: Rock'n'Roll - Rhythm'n'Blues - British-Rhythm'n'Blues
Bemerkungen: Diese Folkballade über das Leben eines armen Schluckers, der auf den falschen Weg gerät und spielsüchtig wird, wurde von Alan Lomax in den 1930er Jahren archiviert. Er nahm den Song in den Appalachen auf. Bob Dylan griff auf «House of the Rising Sun» zu für die Songsammlung seines ersten Albums. Dave Van Ronk hat den Song arrangiert und Dylan kupferte das Lied offenbar von ihm ab. Die Animals werden den Song von Dylan gekannt haben (wie auch «Baby Let Me Take You Home»).
Eric Burdons Stimmorgan wirkt authentisch für diesen Folkblues. Er heult wie ein Wolf in der Nacht, wenn er beim Singen sein Baritone-Register verlässt und Töne presst und lange anhält (zum ersten Mal bei «and it's BEEN the ruin»; später wird es noch markanter, z.B. im zweiten Verse, wo er das in jeder Stanze zwei Mal macht «Mother» / «was», «sawed» / «new», «father» / «was»).
Arrangement
Der Song weist ein kunstvolles Arrangement für Beat-Band mit Orgel auf. Das ist ebenso untypisch für eine Beat-Band wie es untypisch für einen Folkblues-Song ist. Am Anfang dominiert die Gitarre, die diese ikonische Harmoniefolge mit geborgten Harmonien als Arpeggio spielt. Die Orgel als zweites Lead-Instrument kommt langsam, fast unmerklich ins Spiel, übernimmt aber spätestens im instrumental Verse die Lead-Funktion. Wo das Intro die Gitarre ins Zentrum stellt, da spiekt in der Coda die Orgel die Hauptrolle – es ist als gehörten die beiden Teile zu einer anderen interpretation des Songs oder als hätte ein Gemälde oben und unten, links und rechts einen Rahmen mit anderem Material oder mit anderer Farbe. Der TV-Auftritt (siehe Video-Stream) unterstützt diese Verschiebung der Lead-Rolle in der Band: Die beiden Gitarristen und der Sänger wechseln immer mal wieder ihre Position. Dies visualisiert, was im Arrangement passiert.
Es wurde vielfach darauf hingewiesen, dass das Gitarre-Arpeggio im Intro den Folkrock um ein Jahr vorweg nimmt. Und ja, die Single kommt genau drei Wochen vor A Hard Day's Night von den Beatles heraus, jenem Album, dem die selbe historische Funktion zugeschrieben wird.
Entstehungsgeschichte
Die Aufnahmesession fand an einem frühen Morgen in London statt, nachdem die Animals nach einem Konzert in Liverpool die Nacht drchgefahren sind. Offenbar genügten zwei Takes, da das Stück aus dem Live-Programm der Band stammte. Take 1 wurde die Single. Die Session soll 15 Minuten gedauert haben.
Ungewöhnliche Länge
Die Aufnahme hat die Länge von fast 4,5 Minuten, was damals den Industriestandard sprengte, der noch aus der Zeit der Schellackplatten stammte. Eine Vinylsingle mit ihren «Microgrooves» konnte diese Spieldauer problemlos fassen. In den USA indes wurde die Single wegen den herrschenden Standards fürs Airplay auf zwei Plattenseiten aufgeteilt (siehe gefalteter Song). Der amerikanische Plattenmarkt war zu dieser Zeit offensichtlich völlig vom Top-40 Radio geprägt.
Musik
Der Song ist in A-Moll. Zu dieser Tonleiter gehören die selben Akkorde wie diejenigen der C-Dur Tonleiter (sie sind Paralleltonarten): C, F, G, Am, Em, Dm. Nun hat der Song einen ganz anderen Akkordverlauf mit zwei fremden Akkorden: D und E (statt Dm und Em). Hier werden also Harmonien aus anderen Tonleitern geborgt. Diese machen die repetitive und simple Akkordfolge zu etwas Faszinierendem.
Zudem entsteht stelenweise eine harmonische Unentschiedenheit oder Ambivalenz, wenn die Orgel von Alan Price am Ende von Stanzen Septakkorde spielt, wo die Gitarre in der etablierten Harmoniefolge verbleibt (siehe: Ultimate Guitar).
Querverweise
– zum Auftritt in der Ed Sullivan Show: House of the Rising Sun @ Ed Sullivan Show
Quellen
– Gordon Thompson: The British Are Coming: The Summer of 1964
Archies [D]: Sugar, Sugar [F]
Autor: Jeff Barry & Andy Kim
Label und Katalognummer: Calendar 63 1008, Calendar KES 103
Produktion: Jeff Barry
Veröffentlicht: 1969 07 26 (Single), 1969 (Album)
Genretags: Pop - Teenpop - Bubblegumpop
Bemerkungen: Im Jahr des Woodstock-Festivals und der Hippies war dies der grosse Hit, der alle Ideale Lügen strafte. Und doch ist «Sugar, Sugar» ein ansteckender Ohrwurm.
Die Monkees waren eine reale Gruppe aus Fleisch und Blut, die es mit viel Anstrengung doch noch zur Rockband schaffte. Die Archies hingegen waren Comixfiguren, hinter denen Studiomusiker und der Lyriker Andy Kim standen. Pures Brillbuilding, das zeigt, dass es zuweilen Totgesagte gibt, die noch nicht wirklich gestorben sind.
Form
Die Verse-Chorus-Bridge Form weist inverse Verse-Chorus-Sequenzen auf. Der Song stellt ein Rätsel: Hat er keine Coda oder geht die Bridge direkt in die Coda über statt zum Chorus? Einerseits ist der letzte Formteil eine Coda, andererseits sollte der Bridge eine Verse-Chorus-Sequenz folgen. Die Form ist ambivalent: Man kann beim letzten Formteil sowohl für Coda als auch für Chorus plädieren.
Der Verse ist eindeutig das schwächse Element dieses Songs – so schwach, dass dies wohl ausschlaggebend war, die Verse-Chorus-Sequenz umzukehren und den Song nur mit dem Chorus ohne weiterer Wiederholung des Verses ausklingen zu lassen.
Harmonie
Die verwendeten Harmonifolgen (I–IV–V) sind die Grundharmonien der Dur-Tonleiter. Simpler geht es nicht.
Association [D]: Never My Love [F]
Autor: Dick Addrisi & Don Addrisi
Label und Katalognummer: Warner Bros. W 1696, Warner Bros. 7074
Produktion: Bones Howe
Veröffentlicht: 1967 06 (Album), 1967 08 09 (Single)
Genretags: Pop - Progressivepop - Sunshinepop
Bemerkungen: Strukturell ein AABA Song mit einer langen Reprise von ABAAB. Die überlange Reprise ist der Kürze des A-Teils geschuldet und der Tatsache, dass 1967 Songs nicht mehr nach zwei Minuten zu Ende sind. Diese Schwäche der Komposition wird allerdings durch eine herausragende mehrstimmige Vokalleistung der Association mehr als wettgemacht.
Édith Piaf [D]: Hymne à l'amour [F]
Autor: Marguerite Monnot & Edith Piaf
Label und Katalognummer: Columbia (F) BF 306
Produktion: Marguerite Monnot
Veröffentlicht: 1950 05 02 (Single)
Genretags: Europeana - Chanson
Bemerkungen: Den Text dieses Chansons schrieb Piaf über die Liebe ihres Lebens: über den Boxer Marcel Cerdan, der kurze Zeit, nachdem sie das Lied zum ersten Mal in New York sang, bei einem Flugzeugabsturz ums Leben kam. Cerdan wollte sie in New York besuchen. Dieser Kontext gibt dem Chanson einen besonders bitteren und tragischen Unterton, wenn es heisst: «Wenn du stirbst, und weg von mir bist, ist mir das egal, wenn du mich nur liebst, denn ich werde auch sterben. Dann haben wir die Ewigkeit für uns. [
] Gott vereint alle, die sich lieben.» - «Dieu réunit ceux qui s'aiment».
Édouard-Léon Scott de Martinville [D]: Au Clair de la Lune [F]
Label und Katalognummer: Dust-to-Digital DTD 25
Veröffentlicht: 1860, 2012 11 06 (Ed.)
Genretags: Nonmusic - Technikgeschichte
Bemerkungen: Dies ist die früheste Tonauzeichnung in der Geschichte der Menschheit. Édouard-Léon Scott de Martinville
erfand den Phonautographen, um Schall aufzuzeigen. Das war Arbeit im Physiklabor. Man wollte zu dieser Zeit die Schallwellen sichtbar machen. Mehr als fünfzehn Jahre später wird Thomas Alva Edison auf den Phonautographen anschliessen und den Phonographen erfinden.
Barclay James Harvest [D]: Sea of Tranquility [F]
Autor: Woolly Wolstenholme
Label und Katalognummer: Polydor 2442 148
Produktion: Barclay James Harvest & David Rohl
Veröffentlicht: 1977 09 (Album)
Genretags: Rock - Progrock - Symphonicprog, Rock - Poprock
Bemerkungen: Über die Apollo 11 Mission, die die ersten beiden Menschen auf den Mond brachte (Neil Armstrong und Buzz Aldrin) und im Mare Tranquillitatis landete. Der Song wirft ein kritisches Licht auf den Wettlauf ins All und nennt die Apollo 11 Mission sinnlos und vergeblich: «We sold our souls for senseless gain / And brought our harvest home in vain». Der Song spielt geschickt mit der Wort-Bedeutung des Landeplatzes: «Sea of Tranquility» («Meer der Ruhe»). Die Mondlandung bringe den Menschen nicht erhoffte Ruhe oder Erlösung, sondern entzaubere die Welt und verunstalte die alten Gottheiten.
Beatles [D]: Hey Jude [F]
Autor: Lennon-McCartney
Label und Katalognummer: Apple R 5722
Produktion: George Martin
Veröffentlicht: 1968 08 30 (Single)
Genretags: Rock - Poprock
Bemerkungen: Die Single Hey Jude
/Revolution war der erste Release der Band auf dem eigenen Apple Label. Mit ihrer Dauer von über 7 Minuten verstiess sie auffälligerweise gegen eine Regel, die bis dahin in der Popmusik galt: Je kürzer die Single, desto grösser ihr Erfolg. Die Aufgabe von Komponisten und Produzenten war, die gesamte AABA-Form in möglichst kurzer Zeit durch zu deklinieren. Hier haben wir eine AABA Form mit partieller Reprise (AB).
Radiostationen werden ihre Mühe mit der Überlänge gehabt, aber sich zu helfen gewusst haben. Die Coda konnte ja jederzeit ausgeblendet werden.
Die Länge macht vor allem die lange Coda mit der Mixolydischen Begleitfigur, die musikalisch wenig mit dem Song zu tun hat, also ein neues Element darstellt, textlich aber an das «Na-na-na-na-naa-na-na-na» am Ende der beiden Bridges anschliesst.
Spannung zwischen Tradition und Innovation
Die AABA Form schliesst den Song an die traditionelle Popmusik an und präsentiert Hey Jude
als Popsong in der Form der frühen Beatles-Hits. Die Überlänge war der Lust am Brechen von Rekorden geschuldet. Die Beatles haben laufend andere Songs und Bands übertrumpfen wollen. Helter Skelter musste lauter sein als die Who, Hey Jude
überbot die bisher längste Single von Richard Harris: MacArthur Park.
Erfolg
Die Single toppte die meisten Charts der Welt. Ausnahmen waren Frankreich und Japan. Frankreich war damals ein schwieriger Markt für englischsprachige Songs und der Platz 2 ist daher als grosser Erfolg zu werten. In Japan kam Hey Jude
auf Platz 5.
Die Single hält den Rekord für den längsten Aufenthalt in der Top-Position der Billboard Charts (9 Wochen lang).
Trivia
Bei 2:59 hört man im Kopfhörer Paul McCartney fluchen.
Querverweis
– Hey Jude @ Abbey Road – David Frost Sunday Show
Beatles [D]: In My Life [F]
Autor: Lennon-McCartney
Label und Katalognummer: Parlophone PCS 3075
Produktion: George Martin
Veröffentlicht: 1965 12 03 (Album)
Genretags: Pop - Progressivepop - Baroquepop
Bemerkungen: In My Life
sei das erste Lied gewesen, sagte John Lennon im Playboy Interview von 1980 (siehe Musikzimmer), das er ganz bewusst über das eigene Leben geschrieben habe. Von den Lyrics her ist In My Life
also ein früher Rock-Song, der das Feld der Beat-Lyrics mit ihren «Let's Dance» und «I Love You» Themen verlässt. Hier also beginnt der Einfluss von Bob Dylan auf die Beatles Gestalt anzunehmen. Hier werden Beat und Brill Building Pop zu (Pop-)Rock! Musikgeschichte, ick hör dir trapsen ...
In My Life
ist ein Lied über die Erinnerung, wie Jens Buchholz von der FAZ schreibt. Eine Reflexion über das eigene Leben (als Pop Star) und dass Leute und Orte prägend dafür sind, wer man ist. Der Song sagt aus, dass ein Star trotz dem gigantischen Erfolg, dem ihm zuteil wird, im Kern die Person ist und bleibt, die auf dem Boden ihrer Lebens-Erfahrung steht. Das heisst nicht, dass der Erfolg keinen Einfluss auf die Persönlichkeit hat: Der Erfolg bringt den Star mit anderen Leuten zusammen, er bringt ihn an andere Orte und beeinflusst so das Leben des Stars. Es sind aber nicht Ruhm, Erfolg und Geld, die diesen Einfluss haben. – Ein Nebengedanke: Obwohl alle vier Beatles aus armen oder bescheidenen Verhältnissen kamen, haben sie ganz anders auf den Erfolg reagiert als, sagen wir, amerikanische Rapper/-innen der Gegenwart. Bei der Erinnerungsgeste der Beatles ist eher englisches Understatement, bei vielen Rapper/-innen das Braggadocio am Werk.
Die Lyrics von In My Life
sind persönlich, denn es gibt einen Ich-Erzähler. Zugleich sind sie aber sehr allgemein gehalten. Das Lyrische Ich erinnert Orte, Dinge, Menschen, Beziehungen und nennt mit der «Affektion», der Zuneigung, die Art der Beziehung zwischen ihm, dem Erzähler, und den Dingen, Menschen, Orten. Die Persistenz dieser Zuneigung ist das, was die Erinnerung ausmacht (und damit natürlich ihre mögliche Verzerrung). Die Zuneigung bleibt, auch wenn die Orte und Dinge nicht mehr existieren oder sich verändert haben. Sie bleibt, auch wenn die Leute verstorben sind. Das hört sich fast wie eine Zusammenfassung der Existenzphilosphie jener Zeit an, nicht wahr? Und genau dieses Amalgam zwischen persönlicher Erzählung und Allgemeinheit des Erzählten macht diesen Song aus und macht ihn zum exemplarischen Scharnier im Bandkatalog und in der Popgeschichte an der Epochenschwelle zwischen Rock'n'Roll und Rock, zwischen Teenpop/Brill-Building-Pop und Poprock. Brill-Building-Pop war noch geprägt vom klassischen Songwriting des Great American Songbooks. Die Songs wurden so allgemein geschrieben, dass sie in verschiedenen Medien wie Musical, Film und Platten funktionierten und dass sie ohne grosse Anpassungen von Frauen und Männern gesungen werden konnten. Der Erzähler in dieser Musik sprach wie aus dem Off - es war eine reine Stimme ohne einen Körper ohne Geschichte. Die neue Rockmusik hingegen war Musik mit einem Lyrischen ich als Erzähler. Dieser Erzähler war oder wurde nun zusehends ein leibhafter Erzähler. Seinen Leib und seine Geschichte erhielt die Rockstimme durch die Biografie der Sängerin oder des Sängers. Die neuen Rock-Stimmen waren authentische Stimmen, d.h. sie erzählten historisch Konkretes und Relevantes, sie erzählten von Dingen, die sie erlebten und die mit dem Publikum korrespondierten.
Wenn man den Song auf Youtube streamt, kriegt man oft das Pseudo-Video zu sehen, das meines Wissens der Anthologie entnommen ist. Es besteht aus zusammen geschnittenen Bildern von Liverpool und den vier Beatles als jungen Männern am Anfang ihrer Karriere und an deren Ende. Hier wird der Song durch die Bilder biografisch interpretiert, das allgemein Gehaltene an ihm wird mit konkreten Orten und Personen aus dem Leben der Beatles gefüllt. Durch diese «Bio-Pictures» wird der Song zum Rock-Song gemacht, der er im Grunde noch nicht ganz ist.
Das Orgel-Solo von George Martin wurde mit half-speed overdubbing aufgenommen. Er spielte dabei das Solo eine Oktave tiefer und nahm es mit halber Geschwindigkeit auf. Wenn das Band dann mit doppelter Geschwindigkeit abgespielt wird, klingt die Hammondorgel mehr nach einem Cembalo.
Beatles [D]: Help! [F]
Autor: Lennon-McCartney
Label und Katalognummer: Capitol 5476 (Single USA), Parlophone R 5305 (Single UK), Parlophone PCS 3071, Capitol SMAS 2386
Produktion: George Martin
Veröffentlicht: 1965 07 19 (Single US), 1965 07 23 (Single UK), 1965 08 06 (Album UK), 1965 08 13 (Album US)
Genretags: Rock - Poprock
Bemerkungen: Das erste Beatles Stück, das bei der Aufnahme gebounct wurde. Zwei (oder mehr) der vier zur Verfügung stehenden Tonspuren werden auf eine zweite Tonbandmaschine hinübergespielt, so dass auch mit vier Musikern komplexe Arrangements möglich werden. Bei Help!
werden wie bei vielen anderen Stücken dieser Schaffensphase elektrische und akustische, sechs- und zwölfsaitige, Stahl- und Nylonsaiten sowie verzerrte und unverzerrte Gitarren eingesetzt, um das Klangbild zu differenzieren. Durch die Technik des Bouncings wird die Studioarbeit mehr und mehr experimentell.
Beatles [D]: She Loves You [F]
Autor: Lennon-McCartney
Label und Katalognummer: Parlophone R 5055, Swan S 4152
Produktion: George Martin
Veröffentlicht: 1963 08 23 (Single), 1963 09 16 (Single US), 1963 07 01 (Rec.)
Genretags: Rock'n'Roll - Beat - Merseybeat, Rock - Poprock
Bemerkungen: «She Loves You» war lange Zeit der grösste Hit der Beatles, ein signature song. Es war die erste britische Single, von der mehr als eine Million Stück abgesetz werden konnten. In den Charts wurde «She Loves You» ein UK-Top-Hit, blieb 31 Wochen verzeichnet, rutschte zwischenzeitlich vom ersten Platz ab, um später wieder zurückzukommen und wurde am Ende von der nächsten Single I Want To Hold Your Hand abgelöst.
Analyse der Songstruktur
Die früheren Beatles-Singles wiesen alle eine AABA-Form auf. Hier hingegen liegt eine Contrasting-Verse-Chorus-Form vor.
Weil die Songform von «She Loves You» eine Erfindung der Beatles war, ist es nicht erstaunlich, dass alternative Analysen im Netz kursieren. Krerowicz behauptet, der Song beginne mit dem Chorus, was widersinnig ist. Formal ist das Intro das Intro und nichts anderes. In Materieller Hinsicht kann dieses ein Riff, ein Motiv, eine Phrase des Chorus enthalten (wobei ich nicht weiss, wie oft das vorkommt und ob es überhaupt vorkommt). Die Beatles Songwriting Academy ist in dieser Hinsicht deutlich: ‹Intro und Coda (obwohl sie sich unterscheiden) sind aus dem Material des Chorus gestrickt.»
Eine interessante Frage zur Struktur lautet: Weist «She Loves You», wie die Seite der «Beatles Songwriting Academy» behauptet, einen Prechorus auf? Das wäre jeweils der zweite Teil jedes Verses. Die Asymmetrie von Verse (16 Takte) und Chorus (nur 8 Takte) sprechen dafür. Aber, nein! Der Prechorus steht jeweils zwischen Verse und Chorus. «She Loves You» bricht aber nach dem ersten vermeintlichen Prechorus ab und geht in den Verse zurück (kommt nicht zum Chorus).
John Covach argumentiert in From Craft to Art:: Da frühere Beatles-Songs in der AABA-Form kamen, war «She Loves You» anfangs vielleicht eine solche. Der B-Teil klang aber deutlich wie ein Chorus. Deshalb hätten die Komponisten sie an den Anfang verschoben. Dann entstanden zwei weitere Versionen des Chorus (die vermeintlichen Prechori) und Lennon-McCartney bauten die nun entstandenen Elemente neu zusammen. Das Intro mit dem Hook aus dem Chorus hatte eine so starke Wir
kung, dass sie das in späteren Songs wiederholten (in Can't Buy Me Love, I'm a Loser und Help!). Covach spricht hier von der «Beatles verse-chorus» Form, normalerweise aber von der Contrasting Verse-Chorus Form. Um auch hier deutlich zu sein: Contrasting Verse-Chorus Formen gab es vor den Beatles, deshalb ist die «Beatles Verse-Chorus-Form» eine Contrasting Verse-Chorus-Form mit einem Intro, das dem Chorus entnommen ist.
Diese Form ist im Nachhinein (ex post) betrachtet eine geschickte Hybridisierung der AABA- und der Verse-Chorus-Form. Zur Zeit (ex ante) mag es die Unsicherheit gewesen sein, das Nichtwissen, ob man nun einen Chorus oder einen B-Teil geschrieben hat. Da Lennon und McCartney furchtlos und experimentierfreudig waren, konnten sie mit solchen Unsicherheiten gut leben und standen dazu.
Wenn man so will, war dann auch die Verse-Chorus-Bridge-Form, die sich später als Standard der Rockmusik entwickelte, eine solche Hybridisierung. Historisch sind beide «Kreuzungen» das Resultat von zwei musikalischen Traditionen im 20. Jahrhundert: der folkloristischen (Blues, Rhythm & Blues, Folk, Country) und der Tin Pan Alley (Traditionalpop und Brill-Building-Pop).
Die Genrebezeichnung Poprock bringt im Übrigen zum Ausdruck, dass diese Musik am Zusammenfluss der zwei genannten musikalischen Strömungen entstand. In den USA nannte man die selbe Hybridisierung Folkrock. «She Loves You» ist daher eine Kandidatin für den ersten Rocksong der Geschichte.
Text
Der Text ist sehr erstaunlich, weil der Erzähler weder Täter noch Opfer einer Beziehungstragödie ist. Vielmehr tröstet er den vermeintlichen Täter und teilt ihm mit, dass das Opfer es noch einmal versuchen möchte. Peter Sellers hat entsprechend dieser eigenartigen und auffälligen Erzähl-Konstellation «She Loves You» gleich mehrere Male parodiert.
Ein Vorbild eines Songs mit vergleichbaren Erzählkonfigurationen ist Tell Me What He Said von Helen Shapiro.
Aufnahme
Sowohl die Originalbänder als auch die Dokumentation des Aufnahmeprozesses sind nicht erhalten. Wir
wissen nicht genau, wie viele Takes es brauchte, um den Song einzuspielen.
Veröffentlichung
Da die Beatles bei der Veröffentlichung der Single in den USA noch unbekannt waren, verzichtete Capitol, die üblicherweise britische EMI-Releases in den USA lizenzierten, auf die Veröffentlichung der Single. Deshalb sprang das Indielabel Swan ein.
Rezeption
Parlogram macht deutlich, dass der Song von der britischen Presse nicht sehr begeistert aufgenommen wurde. Als störend empfand man das «Yeah, Yeah, Yeah», das amerikanisches und nicht britisches Englisch war. Hier zeigte sich das ambivalente Verhältnis der Brit*innen zu Amerika. Gordon Thompson macht in seiner Ethnologie der Musikszene Grossbritanniens die gegenläufige Geschichte der beiden Länder deutlich: Das Empire fiel zusammen, während die USA zur führenden Weltmacht aufstieg. Kein Wunder also, wenn Brit*innen den wachsenden kulturellen Einfluss der USA kritisch beäugten. Man sagte von den Amerikaner*innen, sie seien «überbezahlt, übersexualisiert und hier drüben» («overpaid, oversexed, and over here»). Wenn England amerikanische Musik adaptierte, was laufend geschah, machten viele sie britisch und akzeptierbar. Als die Beatles aber «Yeah, Yeah, Yeah» sangen, übertraten sie beim britischen Establishment offenbar eine delikat ausmarkierte Grenze.
Querverweise
– zum Auftritt in der Ed Sullivan Show: She Loves You @ Ed Sullivan Show
– Andrew Hickey: A History of Rock Music in 500 Songs. Episode 112: “She Loves You” by The Beatles
– Parlogram: The Incredible Story of The Beatles Greatest 45: She Loves You
Beatles [D]: Norwegian Wood (This Bird Has Flown) [F]
Autor: Lennon-McCartney
Label und Katalognummer: Parlophone PCS 3075
Produktion: George Martin
Veröffentlicht: 1965 12 03 (Album)
Genretags: Rock - Psychedelicrock - Psychedelicpoprock
Bemerkungen: Song über einen Abend und eine Nacht mit einer älteren, möglicherweise verheirateten Frau, an dem es zu Missstimmungen kommt. Offenbar ist es eher sie, die den jüngeren Mann abschleppt und mit in die Wohnung nimmt. Norwegisches Holz war offenbar zur Zeit ein eher billiger Einrichtungsstil (vielleicht wie die späteren Ikea Möbel). Es gibt keinen Stuhl in der Wohnung, das Paar sitzt auf dem Boden. Um zwei Uhr lässt sie ihn stehen und geht zu Bett, während der Erzähler im Badezimmer übernachtet. Die Pointe am Ende des Songs ist, dass der Erzähler am Morgen die Möbel anzündet. Es ist, als würden die beiden Figuren miteinander rangeln und der Erzähler am Ende auf eine äusserst übertriebene Art seinen Triumph herbeiführen. Das Ende des Songs erinnert fast etwas an Songs der Rolling Stones, in denen die Frau dominiert wird (z.B. Under My Thumb, das ein paar Monate später heraus kam).
Beatles [D]: I Saw Her Standing There [F]
Autor: Lennon-McCartney
Label und Katalognummer: Parlophone PMC 1202, Capitol 5112
Produktion: George Martin
Veröffentlicht: 1963 03 22 (Album), 1964 01 13 (Single)
Genretags: Rock'n'Roll - Beat - Merseybeat
Bemerkungen: «I Saw Her Standing There» ist ein Track der Beatles, der zu einem Rock-'n'-Roll-Standardgeworden ist. Man findet den Song als «opener» auf Please Please Me, als Flipside der US-Single von I Want To Hold Your Hand. Als diese chartete der Song auf Platz 14 der Billboard Hot 100 (damals waren auch B-Seiten Hitparaden-fähig, sofern das Radio sie spielte). Schliesslich fand man den track auf der US-LP «Introducing The Beatles» (mehr Details siehe Wikipedia).
Der Song erschien in der Zeit als Mono- und als Steromix. 2023 kam auch eine Demix-Version für die Wiederauflage des Roten Albums heraus, die durch die Track-Separation mit Artificial Intelligence Technologie) enorm dazugewonnen hat.
Entstehung
Die Idee zum Song geht auf Paul McCartney zurück. Ausgearbeitet haben ihn beide Komponisten, Lennon-McCartney. Während den Sessions hiess der Song noch «Seventeen». Die Eröffnungslinie von Paul lautete: «She was just seventeen. She never was a beauty queen.» John macht daraus die abgeklärte und coole Zeile: «You know what I mean». Damit erhält der Song eine Kräftige Prise sexual innuendo. Hier wird etwas angedeutet, ohne es zu sagen.
Thema
Das Thema des Songs ist typisch Rock ‘n’ Roll: Es geht um den Tanz mit einer Frau, der konnotiert ist mit Sex. In Rock-’n’-Roll-Songs geht es zuweilen um junge Frauen (hier oder bei Chuck Berrys Sweet Little Sixteen. Das kann man als eine Referenz ans Publikum sehen, in dem ja viele junge Frauen sitzen und kreischen. In der Zeit von #MeToo mag man sich fragen, ob diese Musiker auf ihre Beziehungen mit minderjährigen Frauen hinwiesen. (Paul hatte damals eine 17-jährige Freundin.) Nun, das Schutzalter war 16. Damit kann man hier nichts Illegales entdecken.
Struktur
Der Song weist eine AABA-Struktur auf mit partieller Reprise, wobei die 16-taktigen A-Teile konventionellerweise in je 8-taktige Verses und Refrains eingeteilt werden. Man muss dabei beachten, dass der eigentliche Refrain nur aus der Titelzeile besteht.
Harmonie
«I Saw Her Standing There» verwendet die Grundharmonien des 12-Bar-Blues. Diese werden aber freier gespielt und die Gitarristen verwenden zudem viele «Seven-Chords», was dem Song einen Jazz-/Blues-Charakter verleiht. Die Beatles übernahmen diese Spielweise von Eddie Cochran und Tony Sheridan (Ian Macdonald, 1994, p. 55).
Versionen
Live soll die Gruppe diesen Track oft auf bis zu zehn Minuten ausgedehnt haben. Leider ist keine Aufnahme überliefert (Ian Macdonald, 1994, p. 55).
Aufnahme
Es brauchte neun Takes, um den Backingtrack einzuspielen, wobei am Ende doch Take 1 verwendet wurde. Drei Overdubs (Vocals über Take-2 und zwei Mal Handclaps über Take 1). Aus Take 9 wurde das ikonische Einzählen zu Take 12 hinzu montiert (Spoonbill).
Fehler
Vor dem Gitarrensolo wurde editiert, man hört die Stimme bei «there» aus zwei Takes. Wie dieser Editing-Fehler entstanden ist, lässt sich aus meinen Quellen nicht nachvollziehen – wurde vielleicht das Gitarrensolo aus einem anderen Take hinein editiert?
Stehen gelassene Spielfehler gibt es bei 1:11 – der Bass spielt eine falsche Note an sechster Stelle des 8-Ton-Musters. Glücklicherweise wird das durch den Drum-Fill versteckt. Bei 1:25 singt McCartney «Now, I'll never dance ...» während Lennon «I wouldn't dance ....» singt (siehe: cbc.ca).
Links
–
Rock Band Stems (Youtube Kanal): Isolated Tracks
– Isolatedtracks.com: Isolated Tracks
– Noten
– Gitarren-Akkorde
– Mike Pachelli: Gitarren-Lektion
– Mike Pachelli: Bass-Lektion Tracks
– Hooktheory: I Saw Her Standing There
– Isolated Tracks
Beatles [D]: A Hard Day's Night [F]
Autor: Lennon-McCartney
Label und Katalognummer: Parlophone PMC 1230, Parlophone R 5160 (Single UK), Capitol 5222 (Single USA),
Produktion: George Martin
Veröffentlicht: 1964 07 10 (Album), 1964 07 10 (Single UK), 1964 07 13 (Single USA), 1964 04 16 (Rec.)
Genretags: Pop - Vocalpop, Rock'n'Roll - Beat - Merseybeat
Bemerkungen: Der Songtitel ist ein Wortspiel von Ringo Starr. Die Beatles arbeiteten in der Regel am Abend bis in die Nacht hinein im Studio. Wenn sie erst in den frühen Morgenstunden nach Hause gingen, sagte Ringo «It's been a hard day's night» (eine Abwandlung von «It's been a hard day's work»). Der Sound des Stücks ist – wie die meisten Songs auf dem zugehörigen Album A Hard Day's Night geprägt von George Harrisons 12-saitiger Rickenbacker-Gitarre.
Songstruktur
AABA-Struktur mit partieller Reprise: AABA+ABA, wobei das erste A der Reprise semi-instrumental ist. Intro und Coda sind zum Song hinzu montierte Elemente: Das Intro besteht aus einem erratischen Flat-7-Akkord, der angeschlagen wird und während etwa drei Sekunden ausklingt. Als erratisch kann man diesen bezeichnen, weil er nicht wie andere Intros nach dem Takt-Schema des Songs gebaut ist. Es ist der erste Flat-7-Akkord, den man bei den Beatles hört. Solche Akkorde werden die experimentelle Phase der Gruppe prägen.
Dass auch das ausklingende Arpeggio in der Coda hinzumontiert ist, hört man sehr deutlich in den Isolated Tracks (bei 9:41).
Querverweise
– Peter Sellers: A Hard Day's Night Parodie
– Andrew Hickey: A History of Rock Music in 500 Songs: Episode 120: «A Hard Day’s Night» by the Beatles (Podcast)
Beatles [D]: Love Me Do [F]
Assoziierte Acts: George Harrison & John Lennon & Paul McCartney & Ringo Starr
Autor: Lennon-McCartney
Label und Katalognummer: Parlophone 45 R 4949, Parlophone PMC 1202, Tollie Records T 9008, Capitol 6062
Produktion: George Martin
Veröffentlicht: 1962 10 05 (Single UK), 1963 03 22 (Album UK), 1963 04 27 (Single US), 1965 10 11 (Single US)
Genretags: Rock'n'Roll - Beat - Merseybeat
Bemerkungen: Die erste britische Single der Beatles war gemessen an den Standards der Zeit eine wenig raffinierte Angelegenheit. Trotz deutlichen musikalischen Mängeln, weist die Aufnahme in die Zukunft, ohne dass dies damals aufgefallen wäre: Mit «Love Me Do» präsentierte sich eine junge Band dem englischen Publikum, die ihre eigenen Songs interpretierte.
Kitchen Sink Honk
Die Single setzt ein Zeichen für Liverpool, ihre Heimatstadt. Eine Band aus dem englischen Norden brachte eine Platte heraus, ungekünstelt ehrlich und direkt. Ian McDonald vergleicht den Song zurecht mit den Kitchen Sink Realism jener Zeit, mit Filmen wie Room at the Top, Saturday Night and Sunday Morning oder A Taste Of Honey, die alle in schwarz-weiss gedreht wurden. «Love Me Do» ist ein «kitchensink honk», eine britische Workingclass-Version des amerikanischen Blues – Blues, ohne eine verzogene Note.
Vorbild
«Love Me Do» hatte als Vorbild für die prominente Mundharmonika Bruce Channels Hey! Baby.
Form
Typisch für die frühen Songs der Beatles, liegt hier eine AABA Form vor. Auffällig ist, dass alle vier A-Verses identisch sind, was nicht für die Qualität des Songs spricht. Was ich indes stark machen möchte, ist die formale Ambivalenz, die dem Song eingeschrieben ist. Wenn man den A-Teil als Sequenz eines Quasi-Verses und eines Quasi-Choruses oder vielmehr eines Refrains anschaut, dann kippt der Song in eine Verse-Chorus-Bridge Form. Möglicherweise stammt die Ambivalenz daher, dass die Beatles George Martin, ihrem Produzenten, den Song in einer Verse-Chorus-Bridge Form vorgespielt haben, worauf Martin vorschlug, die Struktur so zu verändern, wie wir den Song kennen.
Aufnahmetechnik
Der Backingtrack wurde in 15 Takes auf eine BTR2 Mono-Tonbandmaschine aufgenommen. Dann wurden die Stimmen und die Harmonika im Overdub-Verfahren hinzugefügt. Weil Gesang und Harmonika zusammen aufgenommen werden, hört man im A-Verse Lennon und McCartney close harmony singen bis «so please», dann spielt Lennon Mundharmonika während McCartney allein weiter singt: «Love Me Do, Woah Love Me Do».
Sound
Nur die Mundharmonika ist mit Echo versehen und kommt aus einem grossen Raum. Die anderen Instrumente und der Gesang sind sehr trocken aufgenommen.
Geschichte der Aufnahme
Am 6.6.1962 fand die erste Session der Beatles mit George Martin im Studio 2 der EMI-Studios statt. Jahrelang hat man diese Sessions als Audition missverstanden, aber mittlerweile ist klar, dass die Beatles zu diesem Zeitpunkt den Schallplattenvertrag mit Parlophone bereits hatten. Die Sessions waren ein «get together», ein Kennenlernen, ein «see what we can do». Es war etwas ungewöhnlich, dass Martin sich bei den Sessions überhaupt blicken liess. Gespielt hat die Band an jenem Tag: «Besame Mucho», «Love Me Do», «PS I Love You» und «Ask Me Why» (siehe: Beatles Bible). Von den Aufnahmen sind nur «Besame Mucho» und «Love Me Do» erhalten. Beide findet man auf der Anthology 1.
George Martin machte der Band klar, dass ihr Bühnen-Equipment nicht genug gut war, um Plattenaufnahmen zu machen, und man weiss, dass er mit Pete Best nicht zufrieden war.
Die nächste Session fand am 4.9.1962 statt. Mittlerweile hatte Martin den Plan, dass die Beatles einen Song von als Debutsingle aufnehmen: «How Do You Do It». So spielten die Beatles diesen Song und das eigene «Love Me Do» ein. Die Beatles waren nicht begeistert von «How Do You Do It» und wollten den eigenen Titel als Single sehen. Der Verlag «Beechwood Music», der Lennon-McCartney als Songwriter unter Vertrag hatten, intervenierte ebenfalls. Deshalb beschloss Martin ,Love Me Do» als A-Seite und «How Do You Do It» als B-Seite zu veröffentlichen. Damit war aber wiederum Mitch Murray nicht einverstanden, weil er von seinem Song überzeugt war, das es ein Top-Hit sein würde. So wurde «How Do You Do It» schliesslich fallengelassen – zur Erleichterung der Beatles! Der Song wurde etwas später von Gerry And The Pacemakers aufgenommen, einer anderen Gruppe aus Liverpool, ebenfalls gemanagt von Brian Epstein. Diese Version kam tatsächlich auf Platz 1 der britischen Charts.
Bei dieser Aufnahmesession spielte Ringo Starr, der neue Drummer der Band mit. George Martin war auch von ihm anfangs nicht angetan.
Eine Woche später, am 11.9.1962 kam es zu einer dritten Aufnahmesession, zu der Martin den Schlagzeug und Studiomusiker Andy White hinzuzog. Es wurden an diesem Tag Versionen von «Love Me Do» mit Starr und mit White angefertigt. beide Versionen wurden verschiedentlich veröffentlicht. Auf der Original-Single (red Parlophone label) spielte Ringo Starr, auch auf den heute erscheinenden Wiederauflagen wird diese Original-Version geremixt und veröffentlicht. Auf der Erstpressung der LP, den englischen Wiederauflagen der Single (black Parlophone label) und den internationalen Single-Ausgaben wurde meist die Version mit Andy White verwendet.
Allerdings kam die Single in Kanada in der Version mit Ringo Starr heraus. Nachdem die Masterbänder nach der Herstellung des Monomixes überspielt wurden (eine gängige Praxis in England 1962), griff man für die Wiederherstellung der Originalversion auf Masterband auf diese kanadische Single zurück.
Wer entscheiden möchte, welcher Drummer auf einer Aufnahme von «Love Me Do» spielt, höre auf die Perkussion: Gibt es ein Tamburin, wird es von Ringo Starr gespielt und Andy White sitzt an den Drums. Gibt es kein Tamburin, spielt Ringo die Drums.
Bedeutung
Man kann im Nachhinein sagen, «Love Me Do» war die erste Single einer Band die ihr eigener Song interpretierte. Damals ist das kaum jemandem aufgefallen, aber dies wurde binnen weniger Jahre der neue Industriestandard der Rockmusik. Insofern gehört «Love Me Do» zur Vorgeschichte der Entstehung der Rockmusik.
Der Song ging auf Platz 17 der britischen Charts, hauptsächlich dank den Käufen in Liverpool. Zu einem transatlantischen Hit wurde er erst im Zuge der British Invasion.
Querverweise
– zur Flipside der Single: P.S. I Love You
Links
– Hooktheory: Love Me Do
– Mike Pachelli: Gitarren-Lektion (4. Februar 2021)
Beatles [D]: Hey Bulldog [F]
Autor: Lennon-McCartney
Label und Katalognummer: Apple PCS 7070
Produktion: George Martin
Veröffentlicht: 1969 01 13 (Album)
Genretags: Rock - Poprock
Bemerkungen: John Lennons surrealer Song zwischen Sozialsatire und Cutup wurde 1968 für den Film Yellow Submarine in 10 Stunden eingespielt. Ein «Throwaway», ein hingeschmissener Füller fürs entstehende Album, der ausserordentlich robust ist, dafür dass der Song zu den wenig bekannten Stücken der Beatles gehört. Das Riff kann es mit den besten von Keith Richards aufnehmen, die Energie ist unvergleichlich. Das Bass-Spiel von Paul McCartney ist einfallsreich. In der Coda beginnt John Lennon Nonsense-Reime zu improvisieren und beginnt zu bellen wie eine Bulldogge. Paul McCartney stimmt mit ein und es entsteht ein ausgelassen lustiger Dialog zwischen den beiden, in dem Paul den bellenden Hund gibt und John ihn anschreit: «quiet, quiet» – hör auf zu kläffen!
Es entsteht spontan einer der letzten grossen Momente der Band, in dem Musikalität und Humor sich zum unvergleichlichen Beatles-Amalgam vermischen. In Hey Bulldog
flammt die jugendliche Unbeschwertheit dieser Band noch einmal auf.
Lennons improvisierte Schlusskommentare wird man auf dem Let It Be Album wieder hören. Dort wird McCartney nicht mehr darauf einsteigen wie hier.
Beatles [D]: Eight Days A Week [F]
Autor: Lennon-McCartney
Label und Katalognummer: Parlophone PMC 1240
Produktion: George Martin
Veröffentlicht: 1964 12 04 (Album), 1964 10 (Rec.)
Genretags: Rock - Poprock
Bemerkungen: 56-taktige AABA-Struktur mit partieller Reprise, AABA-Phrase Substruktur.
Der Song wird eingeblendet – das ist das umgekehrte Verfahren wie beim Fadeout. Die Idee scheint von den Supremes gekommen zu sein (Come See About Me).
Beatles [D]: From Me To You [F]
Autor: Lennon-McCartney
Label und Katalognummer: Parlophone R 5015, Vee-Jay VJ 522
Produktion: George Martin
Veröffentlicht: 1963 04 12 (Single), 1963 05 27 (Single US), 1963 03 05 (Rec.)
Genretags: Rock'n'Roll - Beat - Merseybeat
Bemerkungen: Die dritte Single der Beatles. Der Titel war inspiriert von der Leserbrief-Kolumne des New Musical Express, die überschrieben war mit «From You To Us». Geschrieben wurde der Song als Gemeinschaftswerk von John Lennon und Paul McCartney. Die B-Seite der Single war «Thank You Girl» eine weitere Kollaboration von Lennon-McCartney.
«From Me To You» hat wiederum einen Harmonika-Hook, wie schon die beiden ersten Singles. (Dieses «feature» wird künftig fallen gelassen.) Gesanglich hört man hier vorwiegend Close Harmony, es gibt aber viele Ausflüge ins Falsett, unter anderem die «Beatles-oohs» zum Beispiel am Ende des B-Teils. Dieses Element entstammt der Aufnahme von Twist and Shout und wird auch in She Loves You als prominentes «Feature» eingesetzt.
Gegenüber den beiden früheren Singles machen aber die Beatles hier einen mächtigen Schritt nach vorne. Harmonisch fängt die Gruppe nun an, raffinierte Akkorde zu verwenden, die der Musik eine besondere Qualität verleiht. Am Anfang des B-Teils (bei «arms») wird die Dominante durch die Moll-Variante des Akkords ersetzt und am Ende des B-Teils wird der G-Akkord durch einen übermässigen G-Akkord ersetzt (bei «satisFIED»). Solche harmonischen Feinheiten brechen aus der gegebenen Tonart aus, wenn auch nur für einen Moment. Diese harmonischen Tricks sind transitorische Phänomene und stammen aus der Barocken Musik (siehe Sekundärdominanten und modal mixture).
Es ist bezeichnend, dass in «From Me To You» gleich zwei solche unüblichen Akkorde vorkommen. Jeder der Komponisten hat seine Strategien und Vorlieben im Einsatz dieser harmonischen Mittel. Von Paul McCartney kommt die Skeundärdominante, von John Lennon der übermässige Akkord («augmented chord»).
Form
Der Song kommt in einer 32-taktigen AABA-Form mit partieller Reprise.
Erfolg
In der englischen Heimat kam der Song auf Platz 1 der Hitparade, in den USA wurde die Single vom Vee Jay als Katlognummer VJ 522 herausgegeben – erfolglos! Hingegen erreichte die Coverversion von Del Shannon Platz 77 der Billboard Hot 100.
Querverweise
– zum Feature von Parlogram
Beatles [D]: I Feel Fine [F]
Autor: Lennon-McCartney
Label und Katalognummer: Parlophone R 5200, Capitol 5235
Produktion: George Martin
Veröffentlicht: 1964 11 27 (Single UK), 1964 11 23 (Single US)
Genretags: Rock - Poprock
Bemerkungen: Das herausstechendes Merkmal des Songs ist sein Riff, das vom Intro an den Song beherrscht und nur in der Bridge zurücktritt. Beeinflusst war es deutlich von Bobby Parkers Watch Your Step. Der Trommelrhythmus kam dagegen von Ray Charles' What’d I Say.
Das Riff könnte einen Einfluss auf die Rolling Stones gehabt haben. John Covach weist in einem Blogpost darauf hin, dass beide Gruppen 1965 eine Reihe von Singles mit markanten Gitarrenriffs produzierten und erklärt das Jahr zum inoffiziellen «Jahr des Gitarren-Riffs Intros»: Satisfaction, Get Off Of My Cloud, Ticket to Ride, Drive My Car (keine Single) und Day Tripper. In musikalischer Hinsicht könnte man sagen, dass hier aus dem Beat heraus die Rock Musik erfunden wird.
Strukturell ist der Song AABA mit volltändiger Reprise: AABA A(instr.)ABA.
Querverweise
– zur Flipside: She's A Woman
Beatles [D]: Maxwell's Silver Hammer [F]
Assoziierte Acts: George Harrison & John Lennon & Paul McCartney & Ringo Starr
Autor: Lennon-McCartney
Label und Katalognummer: Apple PCS 7088
Produktion: George Martin
Veröffentlicht: 1969 09 26 (Album)
Genretags: Rock - Poprock
Bemerkungen: «Maxwell's Silver Hammer» ist wie Ob-La-Di, Ob-La-Da oder Yellow Submarine einer von Paul McCartneys «Singalongs» (Songs zum Mitsingen).
Die Sessions dauerten ewig und gingen George Harrison und Ringo Starr auf die Nerven. John Lennon war im Studio nicht anwesend, weil er in Schottland einen Autounfall hatte.
Auch wenn der Song schlecht gealtert ist – eine seiner Stärken ist die gelungene Verwendung des Moog Synthesizers.
Quellen
– Parlogram: Beatles Fans Top 10 Least Liked Beatles Songs – das Video weist das Stück als den Beatles-Song aus, der von Fans am wenigsten gemocht wird
Beatles [D]: You Like Me Too Much [F]
Autor: George Harrison
Label und Katalognummer: Parlophone PCS 3071
Produktion: George Martin
Veröffentlicht: 1965 08 06 (Album), 1965 02 17 (Rec.)
Genretags: Rock - Poprock
Bemerkungen: John Lennon spielt ein elektrisches Hohner Pianet Piano durch einen Leslie. Am Ende des Intros hört man, wie der Leslie ausgeschaltet wird.
Beatles [D]: And I Love Her [F]
Assoziierte Acts: George Harrison & John Lennon & Paul McCartney & Ringo Starr
Autor: Lennon-McCartney
Label und Katalognummer: Parlophone PMC 1230 (Mono), Parlophone PCS 3058 (Stereo), Capitol 5235
Produktion: George Martin
Veröffentlicht: 1964 07 10 (Album), 1964 07 20 (Single US)
Genretags: Rock - Poprock
Bemerkungen: Der Pitchfork Rezensent Tom Ewing schreibt über «And I Love Her»: «McCartney trift den Ton einer bescheidenen offenherzigen Echtheit («a note of humble, open-hearted«), zu der er auch später wiederholt zurückkehren wird.» (Rezension von «A Hard Day's Night»).
Das Gitarrensolo ist in eir anderen Tonart als der Rest des Songs.
Beatles [D]: Why Don't We Do It In The Road? [F]
Assoziierte Acts: George Harrison & John Lennon & Paul McCartney & Ringo Starr
Autor: Lennon-McCartney
Label und Katalognummer: Parlophone P-PCS 7067/8
Produktion: George Martin
Veröffentlicht: 1968 11 22 (Album)
Genretags: Rock - Poprock
Bemerkungen: Eine unausgearbeitete Songidee, ein Fragment.
In Rishikesh schaute Paul McCartney zwei Äffchen dabei zu, wie sie sich fortpflanzten. Aus der beobachtung entstand dieses Songfragment, das er nie weiter ausgearbeitet hat. Hier wird nur die Frage gestellt, weshalb eigentlich wir Menschen es nicht in der Öffentlichkeit tun. Die Frage wurde 1968 oft im Zusammenhang mit der Lektüre von Willhelm Reichs Schriften gestellt. Radikalere Autoren und Untergrundzeitschriften formulierten damals in deutlicher Sprache die These, dass man sich erst von sozialen Zwängen befreit hat, wenn man im Stande sei, in der Öffentlichkeit zu ficken. McCartneys Song bezieht keine Stellung. Er stellt nur die Frage. Das funktioniert sehr gut als Zeitzeugnis.
Beatles [D]: Long, Long, Long [F]
Assoziierte Acts: George Harrison & John Lennon & Paul McCartney & Ringo Starr
Autor: George Harrison
Label und Katalognummer: Parlophone P-PCS 7067/8
Produktion: George Martin
Veröffentlicht: 1968 11 22 (Album UK), 1968 10 07 (Rec.)
Genretags: Rock - Psychedelicrock - Psychedelicpoprock
Bemerkungen: Ein Track, der erst gegen Ende der Sessions zum White Album
entstand. Aufgenommen wurde er ohne John Lennon.
Der eigenartige Sound am Ende des Tracks kommt von einer Weinflasche, die auf dem Leslie Speaker durch die Vibration zu wackeln begann. Das wurde spontan aufgenommen und Paul McCartney spielte ein Orgel-Akkord, Ringo Starr ein Snare-Wir
bel, während George Harrison mit heulender Stimme sang. Der Gesamteffekt wirkt unheimlich, gespenstisch.
Beatles [D]: Rocky Raccoon [F]
Assoziierte Acts: George Harrison & John Lennon & Paul McCartney & Ringo Starr
Autor: Lennon-McCartney
Label und Katalognummer: Parlophone P-PCS 7067/8
Produktion: George Martin
Veröffentlicht: 1968 11 22 (Album), 1968 08 15 (Rec.)
Genretags: Rock - Poprock, Rock - Countryrock
Bemerkungen: Dieses Kunstlied von Paul McCartney erfindet die Figur des «Rocky Raccoon», die später zur Marvel Comix Figur «Rocket Raccoon» wird. Der Song handelt von der Dreiecksbeziehung zwischen Rocky, seiner untreuen Geliebten Magill und Danny, ihrem neuen Liebhaber. Es kommt zum Duell und Danny trifft Rocky tödlich - die Parodie einer amerikanischen Folk-/Country-Ballade.
Beatles [D]: I Call Your Name [F]
Autor: Lennon-McCartney
Label und Katalognummer: Capitol ST 02080, Parlophone GEP 8913
Produktion: George Martin
Veröffentlicht: 1964 04 10 (Album), 1964 06 19 (EP), 1964 03 01 (Rec.)
Genretags: Rock'n'Roll - Beat - Merseybeat, Rock - Poprock - Powerpop
Bemerkungen: Der erste Beatles Song mit der Rickenbacker 12-String Gitarre. Statt Proto-Folkrock spielen die Beatles hier aber Tanzmusik, etwas, das man später Powerpop nennen wird.
Geschrieben wurden die Verses von John Lennon bereits 1957. Im Sommer 1963 kam die Bridge («middle eight») hinzu, was den Song zu einer Hybride aus frühem, unbedarften und reifem Songwriting macht. Es war einer der Kompositionen, die Lennon-McCartney an Billy J. Kramer and The Dakotas weggaben, die damit die B-Seite zu Bad to Me bespielten, einem anderen Lennon-McCartney-Song.
Struktur
Die traditonelle AABA-Struktur wird durch den Instrumentalteil irritiert, der eher wie die Bridge eines Verse-Chorus-Songs funktioniert als ein B-Teil einer AABA-Struktur. Dieser Instrumentalteil weist einen Ska-Rhythmus auf, der ein neues musikalisches Element in den Song bringt. Ausserdem war Ska im britischen Beat zu dieser Zeit richtig innovativ.
Musik
Der Song ist ähnlich wie You Can't Do That. Seine Bridge ist ziemlich ähnlich wie diejenige vom späteren And Your Bird Can Sing.
Lyrics
Ian McDonald sagt von den Lyrics von «I Call Your Name», sie seien ein Durcheinander. Auf den zweiten Blick enthält der erste Verse ein Wortspiel auf der Laut-Ebene, eine Strategie, die man von Lennon kennt: «Since You've been GONE» und «I can't GO ON». «Sleep» und «weep» wirkt ein wenig billig und wie McDonald feststellt, bringt der Reim die Semantik durcheinander.
Cover und Zitat
Gecovert wurde «I Call Your Name» von The Mamas and the Papas. Tom Waits zitierte in Jersey Girl zwei Zeilen aus «I Call Your Name».
Beatles [D]: A Taste of Honey [F]
Assoziierte Acts: George Harrison & John Lennon & Paul McCartney & Ringo Starr
Autor: Ric Marlow & Bobby Scott
Label und Katalognummer: Parlophone PMC 1202
Produktion: George Martin
Veröffentlicht: 1963 03 22 (Album), 1963 02 11 (Rec.)
Genretags: Rock'n'Roll - Beat - Merseybeat
Bemerkungen: Der Song kommt aus dem gleichnamigen amerikanischen Broadway Musical von 1960, das die Adaptation eines britischen Theaterstücks war. Es gab auch einen britischen Film mit dem Stoff.
Dies ist der erste Beatles-Song, der mit Doubletracking aufgenommen wird (und zwar in der Bridge). Es war auch der einzige Song auf dem Album «Please Please Me» der mit diesem Verfahren aufgenommen wurde, das später zu einem der Kennzeichen des Beatles-Sonds wurde.
Beatles [D]: Misery [F]
Assoziierte Acts: George Harrison & John Lennon & Paul McCartney & Ringo Starr
Autor: Lennon-McCartney
Label und Katalognummer: Parlophone PMC 1202
Produktion: George Martin
Veröffentlicht: 1963 03 22 (Album)
Genretags: Rock'n'Roll - Beat - Merseybeat
Bemerkungen: half-speed overdubbing wird für das Piano nach «I'll remember all the little things we've done» verwendet.
Beautiful South [D]: Song For Whoever [F]
Autor: Paul Heaton & Dave Rotheray
Label und Katalognummer: Go! Discs GODCD 32, Go! Discs FGOCD 16
Produktion: Mike Hedges & John Rowley
Veröffentlicht: 1989 05 (Single), 1989 10 (Album)
Genretags: Newpop - Artpop - Sophistipop
Bemerkungen: Erste Single der Band. Ein Songwriter pflegt funktionale Beziehungen zu Frauen: Er liebt sie, um Songs schreiben zu können; er liebt sie, bis sein Bleistift stumpf wird («I love you till my fountain pen runs dry»). Aber immerhin: «Jennifer, Alison, Phillipa, Sue, Deborah, Annabel, too (I wrote this song for you)».
Ben E. King [D]: Supernatural Thing [F]
Autor: Patrick Grant & Gwen Guthrie
Label und Katalognummer: Atlantic 45-3241, Atlantic SD 18132
Produktion: Bert DeCoteaux & Tony Silvester
Veröffentlicht: 1975 01 (Single), 1975 04 (Album)
Genretags: Afroamericana - Soul
Bemerkungen: Im Stil der Sex-Jams von Marvin Gaye . Die Liebe wird hier aber als etwas Transzendentes und etwas aus dem Reich des Fantastischen abgehandelt.
Betty Hutton & Paul Weston And His Orchestra [D]: Doctor, Lawyer, Indian Chief [F]
Autor: Hoagy Carmichael & Francis Webster
Label und Katalognummer: Capitol 220
Veröffentlicht: 1945 10 (Single), 1945 06 29 (Rec.)
Genretags: Traditionalpop - Orchestralpop - Vocalist
Bemerkungen: Hier wird Sängerin Betty Hutton prominenter erwähnt als Paul Weston And His Orchestra. Früher Indikator für die steigende Popularität von Solosänger*innen nach dem Zweiten Weltkrieg.
Beyoncé [D]: Drunk In Love [F]
Assoziierte Acts: Jay-Z (feat.)
Autor: Shawn Carter & Rasool Diaz & Noel Fisher & Jerome Harmon & Beyoncé Knowles & Timothy Mosley & Andre Proctor & Brian Soko & Nayvadius Wilburn
Label und Katalognummer: Columbia
Produktion: Detail & Beyoncé Knowles
Veröffentlicht: 2013 12 13 (Album), 2013 12 16 (Single)
Genretags: Afroamericana - R'n'B-Renaissance
Bemerkungen: Fast ein Jahr nach dem Erscheinen dieses Tracks wurde Beyoncé von der ungarischen Sängerin Mitsou verklagt, ihre Interpretation des Volkslieds «Bajba, Bajba Pelem» für das Intro von Drunk in Love
ohne Lizenzierung verwendet zu haben. Mitsou will neben Schadenersatz erwirken, dass der Song nicht mehr gespielt werden darf.
Der Song gewann 2015 die grammies in den kategorien «Best R&B Song» und «Best R&B Performance».
Billie Eilish [D]: everything i wanted [F]
Autor: Billie Eilish & Finneas O'Connell
Label und Katalognummer: Darkroom
Produktion: Finneas O'Connell
Veröffentlicht: 2019 11 13 (Digital)
Genretags: Electropop - Ambientpop
Bemerkungen: Scheinbar introspektiver Song über einen Traum (bzw. einen Albtraum), der möglicherweise mit negativen Aspekten aus der Realität aus dem Leben eines Popstars zu tun hat.
Die Harmoniefolge des Verses wird nicht aufgelöst. Die Kickdrum sorgt für Spannung. Der Raum der Produktion wird je nach Text angepasst («my head was underwater»). Der Song wirkt sehr durchkomponiert in seiner Zwei- oder Mehrdeutigkeit. Die Reime zwischen den Strophen («I had a dream» – «I tried to scream») unterstützen diesen Eindruck.
Bo Diddley [D]: Bo Diddley [F]
Autor: Ellas McDaniel
Label und Katalognummer: Checker 814
Produktion: Leonard Chess & Willie Dixon
Veröffentlicht: 1955 04 (Single)
Genretags: Rock'n'Roll - Handjive
Bemerkungen: Dieser Song hat den patted juba oder Hand-Jive-Beat. Unzählige andere Songs nehmen diesen Bo Diddley Beat auf, z.B. Magic Bus von den Who, Not Fade Away von Buddy Holly, Desire von U2. Auch «Bo Diddley» hat das bei Red Saunders' Hambone aufgeschnappt.
Damit wird «Bo Diddley» vieldeutig: der Name des Acts, der Name des Songs, der Name des Beats.
Die Herkunft des Namens geht wohl auf die Diddley Bow zurück, eine in der Regel selbst gebaute einsaitige Brettzither aus dem amerikansichen Süden. Dieses Instrument gilt als ein primitiver Vorläufer der Slidegitarre.
Der erste Verse ist angelehnt an den Kinderreim: «Hush, Little Baby»:
Papa’s gonna buy you a diamond ring And if that diamond ring turns brass Papa’s gonna buy you a looking glassEine Version dieses Songs wurde später auch von Ines Foxx unter dem Titel Mockingbird aufgenommen.
Bob Dylan [D]: Desolation Row [F]
Autor: Bob Dylan
Label und Katalognummer: Columbia CL 2389
Produktion: Bob Johnston
Veröffentlicht: 1965 08 30 (Album)
Genretags: Rock - Folkrock
Bemerkungen: Die Countermelodie auf der Gitarre erinnert an El Paso und wird von Charlie McCoy gespielt, einem damals 24-jährigen Studiomusiker aus Nashville. Sein Instrument war eigentlich die Harmonika, aber er spielte ausserdem Gitarre, bass, Schlagzeug, Keys, Sax, Trompete und Tuba.
Bob James [D]: Nautilus [F]
Autor: Bob James
Label und Katalognummer: CTI CTI 6043
Produktion: Creed Taylor
Veröffentlicht: 1974 06 (Album)
Genretags: Jazz - Fusion - Jazzfunkfusion
Bemerkungen: Nautilus
von Bob James ist einer der im Hip-Hop am meisten gesampelten Tracks aller Zeiten. Whosampled weist 289 Songs nach (Stand Mai 2017), darunter Klassiker wie Eric B. & Rakims Follow the Leader oder Run-DMCs Beats to the Rhyme, beide von 1988.
Ein paar Eckdaten aus dem Leben von Bob James: Er wurde von Quincy Jones entdeckt, machte in seiner Karriere erstaunliche Schritte vom Freejazz zum Smoothjazz und zu Fusion. In den 80er Jahren kehrte er dem Jazz für eine Zeit lang den Rücken zu und spielte vor allem europäische Barockmusik: Bach, Pachelbel, Scarlatti oder Rameau gehörten zu seinen Favoriten.
Nautilus
ist ein vielfarbiges, äusserst gefälliges Jazz instrumental mit einem auffälligen Bassriff, viel Keyboards mit ornamentalen Elementen und dann, nach ca. 2 Minuten, setzen auch noch schamlos opulente Streicher ein. Die Komposition wirkt sehr cineastisch und das ist kein Wunder, denn Bob James war auch ein erfahrender Komponist von Soundtracks.
Bobby Goldsboro [D]: See The Funny Little Clown [F]
Autor: Bobby Goldsboro
Label und Katalognummer: United Artists UA 672, United Artists UAL 3358
Produktion: Jack Gold
Veröffentlicht: 1963 11 18 (Single), 1964 05 (Album), 1963 10 17 (Rec.)
Genretags: Pop - Vocalpop
Bemerkungen: Eine ABC-Struktur (A-B-A-B-C-C), in welcher der B-Teil einen Refrain aifweist (‹no one knows»). Der A-Teil handelt vom Clown als Sozialfigur, der B-Teil von ihrer verborgenen, unsichtbaren Innenseite. Die beiden C-Teile wirken wie eine Art Bridge, die inhaltlich das Thema des Songs noch einmal konzise darstellt mit der grausamen Aussage als dem emotionalen Höhepunkt: «Sie hat mich verlassen, aber ich habe sie eh nicht geliebt.» Nun, wenn diese Bridge tatsächlich eine wäre, dann ginge der Song mit einem weiteren A-B-Paar weiter. Das tut er aber nicht. Also doch keine Bridge! Stattdessen geht es in die Coda, die zur (kleinen) Überraschung die Figur aus der dritten Person in die erste verschiebt (und dann gleich wieder zurück. Die Verschiebung wird vorbereitet mit dem Refrain, der hier aufgegriffen wird.
Wie in vielen Clown-Liedern geht es auch hier um Authentizität. Die Figur, von der dieser Song handelt, ist innen nicht gleich wie aussen, fühlt anders als er sich den anderen präsentiert. trotz den erzähltechnischen Verschiebungen, schafft diese Figur es tragischerweise nicht, die fehlende Autentizität herzustellen. Dadurch wird der Defekt des Clowns umso drastischer hervorgehoben. Goldsboro war ein Sänger von kleinen Alltagstragödien.
Das plötzliche Licht in der Coda ist auch eine Art Geständnis, möglicherweise läuternd. Jetzt wo die Wahrheit ausgesprochen ist, fällt die Maskerade, wenn auch nur für einen Moment. Wie bei den existentiellen Dramen Ibsens, schafft dieses kurze Licht in den Abgrund der menschlichen Existenz oder hier der Clown-Figur, die Voraussetzung für die Aristotelische Katharsis (Läuterung, Umkehr, Heilung, Weg zur Vernunft – wie immer man die Katharsis fasst).
Bobby Rydell [D]: Wild One [F]
Autor: Dave Appell & Bernie Lowe & Kal Mann
Label und Katalognummer: Cameo 171
Produktion: Rick Bleiweiss & Bill Stahl
Veröffentlicht: 1960 01 (Single)
Genretags: Pop - Teenpop - Dancepop
Bemerkungen: Eines der grossen Themen der Rock'n'Roll-Generation, die ungebändigte Jugend wird in dieser Teenpop-Single ins Feld von Boy-Girl-Romanzen übertragen. Was Marlon Brando im Film The Wild One
verkörpert, wird hier zur seichten Romanze verwässert und feminisiert (in einem alten Sinn des Femininen, freilich): Wild ist die Frau, weil sie mit mehreren Jungs ausgeht und sich noch nicht vom jungen Helden besitzen und zämen lässt - whoa whoa whoa - yeah yeah - wah wah wah wah. Furchtbar aber erfolgreich.
Brandi Carlile & Alicia Keys [D]: A Beautiful Noise [F]
Autor: Ruby Amanfu & Brandi Carlile & Brandy Clark & Alicia Keys & Hillary Lindsey & Lori McKenna & Linda Perry & Hailey Whitters
Label und Katalognummer: RCA
Produktion: Brandi Carlile & Alicia Keys
Veröffentlicht: 2020 10 30 (Digital)
Genretags: Post-Millennial-Music - Poprock
Bemerkungen: Der Song wurde für die CBS TV-Sendung «Every Vote Counts: A Celebration of Democracy» produziert und dort aufgeführt. Der Song sollte die Menschen ansprechen, die sich zu einer Minderheit gehörig fühlen und dachten, dass ihre Stimme nichts bei den Wahlen sowieso nichts bewirken wird. Nach der Ausstrahlung erschien der Track als Single und kam in den Digital Downloads Charts («US Digital Song Sales») auf Platz 8.
Brenda Lee [D]: Heart In Hand [F]
Autor: Jackie DeShannon & Sharon Sheeley
Label und Katalognummer: Decca [USA] 31407
Produktion: Owen Bradley
Veröffentlicht: 1962 06 (Single), 1962 03 07 (Rec.)
Genretags: Country - Countrypop - Teencountrypop
Bemerkungen: Interessanterweise wird dieses Teenager Drama erfolgreicher in den Adult Contemporary Charts (Nummer 4) als in den Billboard Charts (Nummer 15). In der Tat könnte man sich diese Nummer von Patsy Cline vorstellen.
Bruce Channel [D]: Hey! Baby [F]
Autor: Bruce Channel & Margaret Cobb
Label und Katalognummer: Le Cam Records 953, Smash S 1731, Mercury 45-AMT 1171, Smash SRS 67008
Produktion: Bill Hall
Veröffentlicht: 1961 (Single), 1962 01 (Single), 1962 (Single UK), 1962 (Album)
Genretags: Rock'n'Roll - Mainstream
Bemerkungen: Die Mundharmonika ist ein Einfluss auf Love Me Do der Beatles. Gespielt wird sie hier von Delbert McClinton. McClinton war auf England-Tournee mit verschiedenen Blues-Grössen. John Lennon hat ihn kennen gelernt. Dass Lennon bie McClinton Unterricht hatte, ist ein Mythos.
Bruno Spoerri [D]: Konzert für SIG-Pressluftwerkzeuge [F]
Autor: Bruno Spoerri
Label und Katalognummer: WA 1317 (Promotionsrelease)
Produktion: Bruno Spoerri
Veröffentlicht: 1971 (Single)
Genretags: Akademica - Elektronische-Musik - Konkrete-Musik
Bemerkungen: Konkrete Musik aus Presslufthämmern zu einem unaufgeregten Rock-Beat. Bruno Spoerri war zunächst ein Zürcher Jazzmusiker, spielte mit allen lokalen Grössen, studierte Psychologie und arbeitete ab 1964 in der Filmproduktion, wo er Komponist und Tonmeister für Dokumentarfilmmusik war. So wurden neben dem Jazz elektronische Klänge sein Metier. Spoerri produzierte nachdem er 1967 sein eigenes Tonstudio gründete, eine Reihe von Singles mit konkreter Musik, das ist Musik, die aus Bandaufnahmen real existierender Klänge komponiert ist. Komponieren heisst in diesem Fall an der Tonbandmaschine zusammenschneiden und -kleben. Dieses Konzert für SIG-Pressluftwerkzeuge
hat er als Musik für den Messeauftritt der Schweizerische Industrie-Gesellschaft (SIG), Neuhausen an der 6. Baumaschinenmesse in Basel komponiert.
Solche Gebrauchsmusik wird heute von Liebhabern, Sammlern und Produzenten elektronischer Musik geschätzt. Der englische Fachbegriff dafür heisst «Library Music». Es gibt heute sogar Labels, die «Library Music» wieder auf Schallplatte und CDs herausbringen. In Spoerris Fall ist das das Finders Keepers Records.
Im Studio von Bruno Spoerri entstanden auch einige Platten von Skibbereen, Toni Vescoli, Hardy Hepp oder Poesie und Musik.
Buffalo Springfield [D]: Broken Arrow [F]
Assoziierte Acts: Neil Young
Autor: Neil Young
Label und Katalognummer: Atco SD 33226
Produktion: Richie Furay & Jack Nitzsche & Stephen Stills & Neil Young
Veröffentlicht: 1967 11 (Album)
Genretags: Pop - Progressivepop - Baroquepop
Bemerkungen: Diesen Song nahm Neil Young ohne Buffalo Springfield
zu einem Zeitpunkt auf, als ihm klar war, dass er die Band verlassen wird. In den Song sind Soundcollagen eingebettet - und das ein Jahr vor Revolution 9 von den Beatles
! Es dauerte mehr als hundert Stunden, um den Song aufzunehmen, was damals eine Ewigkeit war. Da sich die Studiozeit kaum mit Schallplattenverkäufen ausgezahlt hat, muss man den Titel rückwirkend als massives Statement artistischer Ambitionen lesen. Das Bild des gebrochenen Pfeilbogens, der ein Signal für die Kapitulation ist, könnte mit ein Hinweis auf das Ende der Band sein.
Burial [D]: Come Down to Us [F]
Autor: William Emmanuel Bevan
Label und Katalognummer: Hyperdub HDB 080
Produktion: Burial
Veröffentlicht: 2013 12 11 (EP)
Genretags: Electronica - Garage - Futuregarage
Bemerkungen: Der 13-minütige Track ist eine faszinierende Reise durch musikalische und kulturelle Themen unserer Zeit. Komponiert als Suite mit verschiedenen Teilen, findet man sich als Hörerin und Hörer bald in atmosphärische Ambients getaucht, bald von tief-melancholischen, wunderschönen Songs weggetragen.
Es gibt zwei Song-Passagen im Track, beide von simpeln und schweren Synth-Riffs dominiert. Im Outro spricht die Transgender-Filmmacherin Lana Wachowski über ihren Weg über heftige Selbstzweifel zur Selbstakzeptanz. Eine andere Stimme, die als diejenige der NASA-Wissenschaftlerin Melissa Dawson Higgins identifiziert wurde (siehe Pitchfork-Artikel), spricht wiederholt von etwas, das aus dem Weltraum auf die Erde herabkommt. Das Thema setzt am Anfang eine verzweifelte und entsetzte Stimme: «Excuse me, I'm lost». Eine andere, die von Michael Jackson später gegen Ende des Tracks auftritt, sagt: «You are not alone» (ein im Pitch verändertes Vocalsample von You Are Not Alone).
Die durch und durch Geisterhafte Atmosphäre hat eine spirituelle Qualität, die vom Tracktitel Come Down to Us
unterstützt wird: Es ist als würde ein Engel angerufen, der den verzweifelten Menschen mit sich nimmt, hinaus aus der dunkeln Verstrickung in Selbstzweifel, hinein ins Licht. Dieser Track ist die denkbar schönste Kirchenmusik für unsere post-postmoderne Gegenwart.
Burial [D]: Temple Sleeper [F]
Autor: William Bevan
Label und Katalognummer: Keysound
Produktion: William Bevan
Veröffentlicht: 2015 01 22 (Digital)
Genretags: Electronica - Garage - Futuregarage
Bemerkungen: Burial hat mit Temple Sleeper
gemessen an seinen früheren Stücken einen ungewöhnlich technoiden Track veröffentlicht. Fort sind die geisterhaften Nebel, in die Burials Musik getaucht war. Es ist als hätten sich die Schleier der Sinne gelüftet. Doch wie ist das, wenn die dionysischen Nebel sich heben? Es stellt sich selten die appolinische Nüchternheit ein, sondern die Wir
klichkeit haut mit brüsker Kraft rein, die Dinge werden mächtig und überschlagen sich, ihr Tempo wird hektisch.
Für «Sample Hounds»: Der Track verwendet bei 2:35 die Anfangssequenz aus Wow von Kate Bush.
Byrds [D]: Mr. Tambourine Man [F]
Assoziierte Acts: Gene Clark & David Crosby & Chris Hillman & Roger McGuinn
Autor: Bob Dylan
Label und Katalognummer: Columbia 4-43271, Columbia CL 2372
Produktion: Terry Melcher
Veröffentlicht: 1965 04 12 (Single), 1965 06 21 (Album)
Genretags: Rock - Folkrock - Westcoast
Bemerkungen: Dieser Song markiert den Beginn von Folkrock. Bob Dylan überliess der Band einen Song, den er selbst noch nicht aufgenommen und veröffentlicht hatte. Damals war Dylan als Songwriter auf Interpreten wie Peter, Paul and Mary oder The Byrds angewiesen, die seine Songs in die Hitparade trugen.
Die Aufnahme wurde mit Roger McGuinn an der 12-saitigen Rickenbacker Gitarre eingespielt. Diese Gitarre kaufte er nachdem er den Beatles-Film A Hard Day's Night gesehen hatte. Der Rest der Gruppe sang Harmonie. Die Studio-Musiker waren die selben, die für die Aufnahmen von Phil Spector spielten. Das Intro zum Song sei von J.S. Bach «Jesus bleibet meine Freude» inspiriert. Der Beat kam vom Beach Boys-Song Don't Worry, Baby.
Struktur
Die Songstruktur ist eine modifizierte Contrasting Verse-Chorus Form. Ungewöhnlich daran sind die unterschiedlichen Längen der Elemente: 17, 25 und 15 Takte! Bei Dylan hat der Song 3 Verses (mit verschieden langen Taktzahlen) und dauert 5,5 Minuten. Die Byrds mussten den Song ins Single-Format bringen und 2,5 Minuten draus machen. Das ging bei den langen Verses nur mit der Beschränkung auf einen einzigen Verse, der vom Chorus gerahmt wird. Da der Song mit dem Chorus beginnt, könnte man dafür argumentieren, dass es sich hier um eine inversen Verse-Chorus Form handle. Da es aber nur einen Verse gibt, greift das Konzept nicht so richtig. In Der Dylan-Version ist «Mr. Tambourine Man» genau so ein Beispiel einer inversen Verse-Chorus Form. Wichtiger als die Umkehrung ist die zeitliche Modifikation, die Verkürzung des Songs an die Grenze der Verkrüppelung.
Querverweise
– zur Flipside: I Knew I'd Want You
Byrds [D]: Pretty Polly [F]
Assoziierte Acts: Chris Hillman & Gram Parsons
Autor: Traditional
Label und Katalognummer: Legacy CK 65150
Produktion: Gary Usher
Veröffentlicht: 1997 03 25 (Album Reed.)
Genretags: Rock - Folkrock - Westcoast
Bemerkungen: «Pretty Polly» ist eine Ballade, die bereits 1727 als «Broadside Ballade» gedruckt wurde. Lange bevor es Zeitungen gab und vor allem lange bevor die breite Bevölkerung auch lesen konnte, waren solche «Broadsides» populär und wurden zu tausenden gedruckt.
«Broadsides» wurden auch gesammelt und von Ethnologen (z.B. Francis Child – siehe Child Ballads) in Büchern abgedruckt. So tauchen sie in der modernen Folk und Countrymusic wieder auf.
Polly ist einer der Prototypen der Mörderballaden. Ein Mann bringt seine Freundin um, weil sie Schwanger ist und er sie nicht heiraten will oder kann.
Über Polly und ihre Varianten könnte man getrost ein Buch schreiben. Das Lied wird kanonisch für gute Banjo-Spieler*innen wie Roger McGuinn, The Ballad of Hollis Brown von Bob Dylan und Pastures of Plenty von Woody Guthrie beruhen auf der Ballade, Kevin Spacey singt das Lied in «House of Cards» und die Reihe der Varianten und Adaptationen lässt sich beliebig lang fortsetzen.
Carly Simon [D]: Jesse [F]
Autor: Mike Mainieri & Carly Simon
Label und Katalognummer: Warner Bros. BSK 3443, Warner Bros. WBS 49518
Produktion: Mike Mainieri
Veröffentlicht: 1980 06 16 (Album), 1980 07 09 (Single)
Genretags: Rock - Corporate-Rock - Poprock
Bemerkungen: Diese Single wurde mit ca. $300'000.– New Payola im Radio exponiert und gilt als eine der teuersten Singles aller Zeiten. Die teure promotion brachte aber lediglich einen Radio-Hit ohne Album-Verkäufe. Da die Musikwirtschaft von den Albumverkäufen lebte, war die Payola in den Sand gesetzt (siehe Dannen, Fredric: Hit Men: Power Brokers and Fast Money Inside the Music Business, 1991, p. 15f.).
Cash And Cary [D]: Tchip Tchip [F]
Assoziierte Acts: Bobby Setter's Cash And Carry
Autor: Terry Rendall & Werner Thomas
Label und Katalognummer: Cannon Can 3035
Veröffentlicht: 1973 (Single)
Genretags: Pop - Instrumentalpop - Electronicpop
Bemerkungen: Ein Novelty-Ländler, gespielt auf dem Moog Synthi. Die Gruppe kam aus Belgien. Ursprünglich war die Melodie des Schweizers Werner Thomas als Vogerltanz
oder Ententanz
bekannt.
Vor der Version von Cash And Cary kam die Melodie nicht auf Platte heraus. Wenn Werner Thomas ihn spielte, sang er Zeilen dazu wie: «Nimm ihn kräftig in den Mund, ja dann wird er wieder rund / da hilft nur eins, und das ist Blasen». Der zweideutige Text erinnert sehr an die Musik vom Duo Walti und Werni.
Chambers Brothers [D]: Time Has Come Today [Album] [F]
Autor: Joseph Chambers & Willie Chambers
Label und Katalognummer: Columbia CS 9522, Columbia 4-44414
Produktion: David Rubinson
Veröffentlicht: 1966 09 (Single), 1967 11 (Album), 1967 12 (Single)
Genretags: Afroamericana - Soul - Psychedelicsoul, Rock - Gospelrock, Rock - Soulrock
Bemerkungen: Die Chambers Brothers waren vier Brüder, die in Mississippi aufwuchsen und als Gospel-Chor anfingen. Als George Chambers, der älteste der Brüder, nach Los Angeles zog, reisten ihm die anderen bald nach. Zusammen mit einem weissen Schlagzeuger wurden sie eine der frühen Psychedelicsoul-Bands, die Soul mit Acidrock vermengten – sehr ähnlich wie Sly And The Family Stone.
Der Song «Time Has Come Today» wurde ihr einziger (kleiner) Hit. Er ist ein ausgezeichnetes Zeitzeugnis für das Jahr 1967 und wurde entsprechend oft, nämlich über 160 Mal, in Filmen, TV-Shows und in der Werbung eingesetzt (Pophistorydig).
Diffuse Veröffentlichungspolitik
Weil die Band in keines der herkömmlichen Musikformate passte, haderte das Label (Columbia) mit Aufnahme und Veröffentlichung des Songs. Das Zögern schlug sich darin nieder, dass vier Versionen des Songs von verschiedener Länge produziert worden sind. Die kürzeste, im September 1966 veröffentlichte Single war zweieinhalb Minuten lang. Als Flipside (Rückseite) fungierte der Track «Dinah». Der Erfolg blieb noch aus. Die späteren Versionen wurden alle länger. Die zweite Version kam im Dezember 1967 mit der Katalognummer 4-44414 und der Flipside «People Get Ready» in einer Länge von 4:45 heraus. Im Juli 1968 kam unter der selben Katalognummer mit der selben Flipside noch einmal eine Version heraus, die 3:05 dauerte. Die LP-Version vom November 1967 dauert 11 Minuten. Dies ist die Referenzversion, von der sie beiden späteren Singles abgeleitet sind. Erst die letzte Single Ausgabe von 1968 schient etwas Erfolg gehabt zu haben: 14 Wochen lang war «Tme Has Come Today» in den amerikanischen Charts und erreichte Platz 11. Bei den damals entstehenden Freeform Radio Stationen wurde «Time Has Come Today» auch in der langen Album-Version gespielt und ist ein Dauerbrenner geworden.
Radikalisierung aus dem Herzen
Der Song handelt von einem Aufbruch ins Outsidertum. Im ersten Verse verabschiedet sich der Erzähler von seiner Familie und der Gesellschaft. Diese Zeilen bringen den Generationenkonflikt der 1960er Jahre zum Ausdruck: «Young hearts can go their way / [...] / I don't care what others say / They think we don't listen anyway». Im zweiten Verse beschliesst der Erzähler auf der Strasse zu leben, nachdem in die Freundin verlassen hat und er aus der gemeinsamen Wohnung fliegt. Beide Verses laufen darauf hinaus, dass obwohl die Zeit kontinuierlich läuft, die Uhr im Song hörbar tickt, es Momente gibt, in denen man sich ausklinkt («man austickt») und die Zeit einen Punkt erreicht, an der sie einen Sprung macht. «Time Has Come Today» ist somit ein Zeugnis der Radikalisierung im öffentlichen und privaten Leben der Endsechzigerjahre. Da die Chambers Bothers stilistisch und von der gemischtrassigen Besetzung her zwischen den Stühlen sassen, kann man ihr «Time Has Come Today» sowohl als Hippie-haften Ausstieg aus der Gesellschaft als auch als politische Radikalisierung im Sinne der Black Panther Party hören. Der Aufbruch wird dabei als eine Angelegenheit des Herzens beschrieben («Young hearts» nicht «Young people»). Dann wird nachgesetzt, dass es den Erzähler nicht kümmert, was andere sagen: «I don't care what others say». In der Soziologie der 1950er Jahre, z.B. bei David Riesman wird der Gegensatz zwischen einer Aussen und einer Innenleitung thematisiert (siehe: The Lonely Crowd). Der amerikanische Mittelstand sei, so Riesman, geprägt von der Aussenleitung, d.h. dass die Menschen sich an statistischen Standards orientieren und an den Nachbarn, mit denen sie im Wettbewerb um ein besseres Leben stehen (Formel: «keeping up with the Joneses»). Im Gegensatz dazu ist ein Mensch, der sich im Herzen für etwas entscheidet, innengeleitet. Der Aussteiger-Erzähler im Song der Chambers Brothers ist genau so ein innengeleiteter Mensch, dessen «Herz» im sagt, was er tun muss, und der weiss, dass er nicht auf die anderen hören und schauen muss.
Der soziologische Gegensatz spiegelt sich auch im philosophischen Thema «Zeit». Man kann Zeit als etwas verstehen, das kontinuierlich dahin fliesst, versinnbildlicht am stetigen Ticken einer Uhr, das man vom Schlagzeuger der Band, Brian Keenan, am Anfang des Songs hört. Der gesellschaftliche Ausstieg, von dem erzählt wird, ist auch ein Ausstieg aus der kontinuierlichen Zeit. Die kontinuierliche Zeit wird am Ende des Songs unterbrochen. Wie eine Maschine, deren Antrieb aussetzt, wird die Zeit langsamer. Sie hält an. Dann wird die Soul-Nummer zum psychedelischen Freakout, zum disruptiven Erlebnis. Das Ticken des Schlagzeugs wird mit Echo-Effekten gestört, die dem eindimensionalen und monotonen Takt weitere Dimensionen verleihen.
Der Songtext ist nicht schwärmerisch, sondern realistisch, denn er spricht vom möglichen Scheitern des geplanten Ausstiegs. Es heisst «I might get burned up by the sun / But I had my fun». Diese Zeilen sind ein Zeugnis von der hedonistischen Seite des psychedelischen Rausches. Der gesellschaftliche Ausstieg und die Trips mit psychedelischen Drogen können einen Menschen verbrennen: Man hat schlechte Tripps oder kehrt nicht mehr zurück und wird psychotisch. Der Preis ist möglicherweise hoch, doch es lohnt sich wegen dem Fun-Factor. Der Generation der Babyboomer ist ein doppeltes Gesicht eingeschrieben. Es ist eine materiell verwöhnte Generation, deren Protest gegen Eltern und Gesellschaft kein persönliches Opfer sein soll, sondern Spass machen muss. Das unterscheidet sie von früheren Aussteigern, die zum Beispiel Partisanen wurden und unter Einsatz des Lebens für eine Sache kämpften. Der Ausstieg ist zugleich ein Einstieg in die hedonistische Spassgesellschaft.
Der Song enthält eine Interpolation von The Little Drummer Boy.
Das Album kam im November 1964 heraus.
Songstruktur
Intro: Schlagzeug spielt das Tick Tack einer Uhr, dann kommen zwei Gitarren dazu. Eine, die auf dem ersten Beat spielt, ist extrem verzerrt (Stichwort Fuzz) – ausgezerrt (so verzerrt, dass man den Ton fast nicht mehr erkennt). Die andere Gitarre ist leicht verzerrt und klingt melodisch hell. Zusammen spielen sie ein Riff.
Es folgen zwei Verses, die nicht sehr melodisch sind. Sie sind gerappt, wenn man rappen als Sprechgesang versteht. «Bellen» wäre auch ein treffendes Wort.
Chorus mit Post-Chorus: Der Chorus hat die selbe Länge wie ein Verse - im Kern eine Simple-Verse-Chorus-Struktur
Inter2 verlangsamt das Tick Tack: Versinnbildlichung der kontinuierlichen Zeit, was auf sie folgt ist die disruptive Zeit – die Revolution, ein neues Zeitalter!
Bridge: Freakout, psychedelische Improvisation, dauert mehr als die Hälfte des Songs. Elemente des Songs werden genommen und durch Echo- und Reverb-Effektgeräte gejagt.
Drums: tick-tack => Tribaler Rhythmus, 2/2 Takt wird 8tel / 16tel Takt, starker Backbeat auf drittem Viertel, gespielt auf den Stand-Toms
Die Fuzz-Gitarre beginnt ein Solo zu spielen und benutzt eine dorische Tonleiter (die weissen Klaviertasten vom D an). Das verleiht der Musik eine orientalische Stimmung. => das «Little Drummer Boy» Zitat.
Die Gitarre macht einer alptraumartigen Szene Platz mit Schreien und teuflischem Lachen (6:50), später, wenn die Gitarre wieder einsetzt klingen die Schreie wie die von spukenden Gespenstern => Repräsentation eines «bad trips»
Champion Jack Dupree [D]: Junker Blues [F]
Autor: Champion Jack Dupree
Label und Katalognummer: OKeh 06152
Veröffentlicht: 1941 04 (Single)
Genretags: Blues - Pianoblues - Boogie-Woogie
Bemerkungen: Wir
d zu Fats Dominos The Fat Man.
Charli XCX [D]: Nuclear Seasons [F]
Autor: Charlotte Aitchison & Justin Raisen & Ariel Rechtshaid
Label und Katalognummer: Selbstrelease, IAMSOUND, Asylum
Produktion: Ariel Rechtshaid
Veröffentlicht: 2011 10 21 (Digital), 2012 06 12 (EP), 2013 04 15 (Album)
Genretags: Post-Millennial-Music - Electropop - Synthpop
Bemerkungen: Düsterer Synthpop mit schwer-schleppenen Synthis. . Hypnagogischer Pop oder Hauntology sind Begriffe, mit denen elektronische Musik der Gegenwart beschrieben wird, die voller Remineszenzen an die 80er Jahre sind. Die Musik von Charli XCX kommt vom Darkwave her. Nuclear Seasons
wurde von Pitchfork mit dem Label Best New Track ausgezeichnet.
Chromatics [D]: Looking For Love [F]
Label und Katalognummer: Italians Do It Better, Italians Do It Better
Veröffentlicht: 2012 10 22 (Digital), 2018 05 17 (EP)
Genretags: Post-Millennial-Music - Lo-Fi-Underground - Electronicpop
Bemerkungen: Titel bei den Chromatics sind oft nach der Logik des Begehrens gestrickt: Kill For Love
, Candy
oder jetzt Looking For Love
. Das wirkt plakativ wie die poppig-farbenfrohen Logos, Covers und Videos. Dieses Video wurde bei der «Pret-A-Porter Printemps-été» Modeshow von Chanel in Paris gedreht, wo die Chromatics als Live-Band spielten. Diese Bilder mit den Windrädern, durch deren regelmässig-hypnotisches Drehen die Models schweben, sind bemerkenswert. Regie führt wie stets bei den Chromatics: Alberto Rossini.
Chuck Berry [D]: School Day (Ring! Ring! Goes The Bell) (= School Days) [F]
Autor: Chuck Berry & Stanley Clarke & Will D. Cobb
Label und Katalognummer: Chess 1653, Chess LP 1426
Produktion: Leonard Chess & Phil Chess
Veröffentlicht: 1957 03 (Single), 1957 05 (Album), 1957 01 21 (Rec.)
Genretags: Rock'n'Roll - Carsound
Bemerkungen: Siebte Single von Chuck Berry.
Lyrics
Der Song ist sehr verbatim und erzählerisch. Chuck Berry wurde wegen Songs wie diesem auch der «Shakespeare of Rock 'n' Roll» genannt. Die fünf Verses geben Alltagssituationen eines Teenagers wieder: Während der Schule, während der Mittagspause, Schulschluss, im Kaffee, wo man sich bei der Jukebox versammelt, und schliesslich als Höhepunkt eine Ode an den Rock 'n' Roll. «School Day» dokumentiert den Schulalltag amerikanischer Teenager ca. 1957. In den 1950er Jahren waren amerikanische Schulen noch seggregiert. Der Song vermeidet es bis zum Ende des dritten Verses, präzis zu sein, wo diese Szenen spielen, ob an einer Schule für weisse oder afroamerikanische Kids. Dann fallen zwei Wörter, die interessanterweise jeweils andere rassische Zuschreibungen erlauben. «Juke Joint» spielt an die Welt der Afroamerikaner*innen im Süden der USA an und das Hauptthema «Rock 'n' Roll» verrät, dass Weisse gemeint sind, denn Afroamerikaner*innen würden Rhythm 'n' Blues hören statt Rock 'n' Roll. Einmal schwarz und einmal weiss – für den Schulalltag macht es wohl keinen grossen Unterschied. Der Song bleibt am Ende ambivalent.
Der erste Verse spricht davon, wie die Schule schon ein Leistungswettbewerb ist (man gibt sich Mühe und will Prüfungen bestehen, ob der Stoff interessiert oder nicht), wie sie diszipliniert (man muss am Morgen aufstehen) und wie es unter Peers bereits zu Sticheleien und Konflikten kommt. Im zweiten Verse spricht der Song von zu wenig Sitzplätzen in der Cafeteria oder Mensa, was ein Bild der Gesellschaft ist: Es wird ein Wettbewerb um die Sonnenplätze veranstaltet. Es gibt Gewinner und Verlierer. Zurück im Klassenzimmer mit einer Lehrerin oder einem Lehrer, die statt wohlwollend und freundlich einfach nur fies ausschaut und gewiss auch so ist. Im dritten Verse ist Schulschluss und der Erzähler geht in einen juke joint». Ein «juke joint» ist ein Lokal in einer einfachen Behausung, wo es Alkohol, Spiel, Musik und Prostitution gab. Im vierten Verse befinden sich Erzähler und Hörer*innen in der antidotischen Gegenwelt zur Schule. Die Jukebox spielt Rock 'n' Roll und man tanzt dazu. In dieser Gegenwelt gibt es Gefühle, Körperlichkeit, Geschlechtlichkeit. Der Song vermeidet es zu sagen, dass auch diese Welt von Konkurrenz und Verteilkampf beherrscht ist. Nur dass die Jukebox Geld kostet, wird deutlich gesagt. Beachten Sie auch, wie der Weg in diese Gegenwelt beschrieben ist: «Up to the corner and 'round the bend». Das ist eine Abbiegung, ein Abweg, kein gerader Weg. Der gesellschaftliche Gegensatz von Schule und Juke Joint ist geprägt von der Differenz zwischen Ernst und Spass, Arbeit und Freizeit, Rationalität und Emotion, erwachsen sein und Schüler sein. Im Song von Chuck Berry fragt man sich, ob hier wirklich ein «juke joint» gemeint ist oder nicht vielmehr eine Kneipe für musikliebende Mittelstandskids, die sich so nennt oder die die Schüler*innen so nennen, weil es cool ist und dem eigentlich ganz profanen Ort eine mächtige Prise Abenteuer verleiht.
Der letzte Verse steht heraus, ist der Höhepunkt. Nun kommt ein anderes sprachliches Register, das man aus Hymnen und Oden kennt: «Hail, hail». Es ist nicht das deutsche «Heil», dass sich die Nazis zugeworfen haben, sondern ein neues Heil. Es heisst: «Deliver me from the days of old». Der Rock 'n' Roll ist eine lustvolle Gegenwelt, der Ausgang des Menschen aus seiner selbstverschuldeten Unkörperlichkeit. In dieser Gegenwelt gibt es grenzenlosen Spass, wilde Abenteuer und Ganzheitlichkeit (ein Wort, das man erst viel später gebraucht hat): «Body and Soul».
Musik
Berry verwendet in seinem Gitarrenspiel absteigende pentatonische Töne, die er mit zwei Saiten spielt (engl. «descending pentatonic double-stops») – siehe BREAK OUT of the Pentatonic with Double Stops
Erfolg
In den Top 100, wie die späteren «Hot 100» damals noch hiessen, kam «School Days» auf Platz 5. Das war der dritterfolgreichste Titel Berrys. In den Rhythm and Blues Charts, die damals «R&B Best Sellers chart» hiess, war es ein Top-Hit. Im UK kam der Song auf Platz 24.
Querverweise
– Klaus Theweleit: The Times They Are A-Changin' – Theweleit macht eine undistanzierte, sich identifizierende Analyse mit dem Song
– No Particular Place to Go (ähnlicher Song von Chuck Berry)
Claude François [D]: Comme d'habitude [F]
Assoziierte Acts: David Whitaker et son orchestre (feat.)
Autor: Claude François & Jacques Revaux & Gilles Thibault
Label und Katalognummer: Philips 424.550 BE, Flèche 844 800 BY
Veröffentlicht: 1967 11 (EP), 1967 12 (Album)
Genretags: Europeana - Chanson
Bemerkungen: Das Lied wird von David Bowie übersetzt («Even A Fool Learns To Love»). Da er damals noch ein unbekannter Sänger ist, erhält er die Rechte dazu nicht. Stattdessen schreibt Paul Anka eine Übersetzung («My Way»), die von ihm und Frank Sinatra zum Welthit wird. Bowie indes legt den Song nicht ganz weg. Er verwendet die Harmoniefolge für Life On Mars?.
CocoRosie [D]: Child Bride [F]
Autor: Bianca Casady & Sierra Casady
Label und Katalognummer: City Slang SLANG 50050
Produktion: Bianca Casady & Sierra Casady & Valgeir Sigurdsson
Veröffentlicht: 2013 05 27 (Album)
Genretags: Folk - Freakfolk
Bemerkungen: Ein Lied über ein Mädchen, das früh verheiratet wird und allein ist. «I’m a grass widow» heisst es. Vermutlich muss man den Song feministisch als Gender-Allegorie verstehen.
Coleman Hawkins Orchestra [D]: Body and Soul [F]
Assoziierte Acts: Coleman Hawkins
Autor: Edward Heyman & Robert Sour & Frank Eyton & Johnny Green
Label und Katalognummer: Bluebird B 10523
Produktion: Jack Lewis
Veröffentlicht: 1939 12 (Single)
Genretags: Jazz - Swing, Jazz - Bebop - Proto-Bebop
Bemerkungen: Einflussreiche Aufnahme für den Bebop, der wenige Jahre später entstand. Coleman Hawkins spielt sein Tenorsaxofon in einer Weise, die das Improvisieren in den kleinen Bebop-Combos vorwegnahm: Die Hauptmelodie wird nur kurz angespielt, um dann in eine lange Improvisation abzuzweigen, die überdies wenig mit dem geschriebenen Songkörper zu tun hat. Die Seele hat ein von diesem Körper abgelöstes Eigenleben und fliegt befreit oder wie im Traum in eigene Gefilde.
Die nächste Generation von Jazz Saxofonisten haben sich dieses Stück zu Herzen genommen und man hört ihm an, wie wenig es das Orchester braucht.
Connie Smith [D]: Once A Day [F]
Autor: Bill Anderson
Label und Katalognummer: RCA Victor 47-8416, RCA Victor LPM 3341
Produktion: Bob Ferguson
Veröffentlicht: 1964 08 (Single), 1965 03 (Album), 1964 07 16 (Rec.)
Genretags: Country - Countrypop
Bemerkungen: Der Song war 8 Wochen lang auf Platz 1 der Country Charts. Das wird bis 2012 keine andere Frau mehr schaffen. 2012 wird Taylor Swift 9 Wochen lang die Charts mit We Are Never Ever Getting Back Together beherrschen.
Cranberries [D]: I Just Shot John Lennon [F]
Autor: Noel Hogan & Dolores O'Riordan
Label und Katalognummer: Island 524 246
Produktion: Cranberries & Bruce Fairbairn
Veröffentlicht: 1996 04 30 (Album)
Genretags: Alternativerock - Poprock, Alternativerock - Grunge
Bemerkungen: Eine Grunge-Mörderballade, das Lied über die Nacht, in der John Lennon erschossen wurde (8. Dezember 1980). Mark David Chapman wird zitiert, der auf die Frage, ob er wisse, was er getan habe, sagte: «I just shot John Lennon» – «Ich habe eben John Lennon erschossen!» Die Band kommentiert: «Was für ein trauriger, trüber und widerlicher Anblick.»
Am Ende des Stücks hört man die fünf Pistolenschüsse.
Crickets [D]: That'll Be The Day [F]
Assoziierte Acts: Buddy Holly
Autor: Jerry Allison & Buddy Holly & Norman Petty
Label und Katalognummer: Brunswick 9-55009, Decca 30343
Produktion: Norman Petty
Veröffentlicht: 1957 05 27 (Single), 1957 11 27 (Album)
Genretags: Rock'n'Roll - Rockabilly
Bemerkungen: Dies ist die erste Single der Crickets. Der Titel des Songs stammt aus dem Western The Searchers, wo John Wayne in einer Auseinandersetzung auf den Satz: «I hope you die!» schlagfertig mit «That'll Be The Day» reagiert.
Struktur
Der Song ist formal ungewöhnlich aufgebaut: Intro-Chorus-Verse-Chorus-Interlude-Chorus-Verse-Chorus-Coda (ABACABA). Man beachte dabei den symmetrischen Aufbau. Historisch steht er eher in der Tradition von AABA- als von Verse-Chorus-Songs, weil der A-Teil die Titelzeile enthält und der B-Teil kein Chorus ist. Der instrumentale Mittelteil ist wie die Vorform der Bridge einer Verse-Chorus-Bridge Form, aber in einer anderen strukturellen Konstellation.
Einflussbeziehungen
Dieser Song könnte einen Einfluss auf die Beatles gehabt haben. Als Quarrymen haben sie die Nummer 1958 gecovert. Die Namensgebung der beiden Gruppen ist verwandt: «Crickets», «Beatles». Die Crickets haben nach dem Tod von Buddy Holly weitergemacht und z.B. 1964 die LP California Sun - She Loves You veröffentlicht, auf der sie nicht weniger als fünf Lennon-McCartney-Kompositionen covern. Gerade dieser Song könnte Pate gestanden haben bei der Entwicklung der Beatles-Contrasting-Verse-Chorus Form.
Die beiden Gruppen spielen ein transatlantisches Ping-Pong, indem die eine die andere covert und diese wiederum von der anderen gecovert wird. Die erste Bewegung macht möglich, dass die britische Gruppe von der amerikanischen lernt. Die zweite Bewegung findet statt, weil die amerikanische Gruppe ihren Hit-Songwriter bei einem Flugzeigabsturz verloren hat. Wäre Buddy Holly nicht verunfallt, hätte er möglicherweise einige der Innovationen vorweggenommen, die später die Beatles vollzogen haben. Die Musikgeschichte wäre möglicherweise eine andere gewesen.
Querverweise
– zur Flipside I'm Lookin' For Someone To Love
Crosby, Stills, Nash And Young [D]: Woodstock [F]
Assoziierte Acts: David Crosby & Graham Nash & Stephen Stills & Neil Young & Crosby, Stills And Nash
Autor: Joni Mitchell
Label und Katalognummer: Atlantic SD 7200, Atlantic 45-2723
Produktion: David Crosby & Graham Nash & Stephen Stills & Neil Young
Veröffentlicht: 1970 03 11 (Album), 1970 03 (SIngle)
Genretags: Rock - Folkrock - Westcoast
Bemerkungen: Vor Joni Mitchells Version herausgekommen – dennoch führen wir natürlich die Version von Joni Mitchell als Original. Hier wird der Song musikalisch reicher umgesetzt als bei der Songwriterin, die ihn in seiner Simplizität (drei Akkorde und ihre glasklarer Soprangesang) vorführt, was auch stimmig ist! Die Single kam auf Platz 11 der Billboard Charts. In Kanada schaffte sie Platz 3. Die Hitparadenpositionen zeigen stellvertretend für viele Songs, die heute zum heiligen Gral der Rockmusik in ihrer Anfangszeit gehören, dass sie verkaufsmässig bei weitem nicht an die Popmusik der Zeit herangekommen ist. Bei den Album-Verkäufen sah das aber anders aus. Da erreichte Déjà Vu
die Spitzenposition und wurde das 14. erfolgreichste Album des Jahres.
Crystals [D]: He's A Rebel [F]
Autor: Gene Pitney
Label und Katalognummer: Philles 106, Philles PHLP 4001
Produktion: Phil Spector
Veröffentlicht: 1962 08 (Single), 1963 02 (Album)
Genretags: Pop - Teenpop - Girlgroups
Bemerkungen: Im Song wird der Konflikt thematisiert, der entstehen kann, wenn eine junge Frau sich in einen jungen Mann verliebt, der von ihren Freundinnen nicht goutiert wird. Die Erzählerin aber steht zu ihrer Liebe zu einem Rebellen und stellt nüchtern fest: «Wenn die anderen ihn nicht mögen, dann werden sie ab heute auch nicht mehr meine Freundinnen sein.»
Der Song gibt präzis wieder, wie in dieser Zeit über Rebellen gesprochen wurde: «Er ist ein Rebell und er wird NIE was taugen. Er ist ein Rebell, weil er NIE das tut, was er tun sollte.» Übertriebene Verallgemeinerungen! Wer die bürgerliche Ordnung in Frage stellt, fällt für immer aus dem System heraus. Der ach so brave Song spricht von der kleinbürgerlichen Angst vor dem Anderssein.
Damned [D]: New Rose [F]
Autor: Brian James
Label und Katalognummer: Stiff BUY 6, Stiff SEEZ 01
Produktion: Nick Lowe
Veröffentlicht: 1976 10 22 (Single), 1977 02 18 (Album)
Genretags: Rock - Punkrock - London-Punk
Bemerkungen: Erste Punk-Single einer englischen Band. Die Anfangszeile nimmt den Anfang von Leader Of The Pack der Shangri-Las auf. Ist von da her gesehen das dort inszenierte Teenage-Drama aus der Perspektive des jungen Mannes. Das gibt der Schlusszeile (I'd better go or it'll be too late, yeah) auch einen interessanten Dreh: Er wird tödlich verunfallen. Er hat wirklich nicht mehr viel Zeit ...
David Bowie [D]: Warszawa [F]
Autor: David Bowie & Brian Eno
Label und Katalognummer: RCA PL 12030
Produktion: David Bowie & Tony Visconti
Veröffentlicht: 1977 01 14 (Album)
Genretags: Rock - Artrock, Newpop - Artpop - Proto-Newromantic
Bemerkungen: Track über die gefühlte Trostlosigkeit bei einem Besuch in Warschau. Geschrieben von Bowie mit Eno. Das waren die beiden Überväter der New Wave der späten 70er- und frühen 80er-Jahre, vor allem der Newromantic-Bewegung, aber auch einigen Postpunk-Bands wie zum Beispiel Joy Division, die sich ganz am Anfang nach diesem Song benannten. Das Verfahren, nach dem der Track entstand, ging von einem Clicktrack aus. Drei Stellen wurden zufällig bestimmt, an dem Akkordwechsel vorgenommen werden sollten. Diese zeitlichen und harmonischen Elemente wurden alle mit Brian Enos Technik der geplanten Zufälle (planned accidents) komponiert. Die Akkordwechsel finden bei 1:17, 3:47 und 5:24 statt und wirken gemessen an der Einfachheit der Komposition atemberaubend.
Die Lyrics entstammen einem polnischen Volkslied: «Slask».
David Bowie [D]: The London Boys [F]
Autor: David Bowie
Label und Katalognummer: Deram DM 107
Produktion: Tony Hatch & Mike Vernon
Veröffentlicht: 1966 12 02 (Single-B)
Genretags: Pop - Progressivepop - Baroquepop
Bemerkungen: Song eines jungen Manns, der von Zuhause abgehauen ist, um es in London zu schaffen. Er beschreibt tagebuchartig die überwältigenden Eindrücke des Nachlebens in Soho, wird in eine Mod-Gang eingeführt und schluckt Amphetamine («the pills»), um Anschluss zu finden. In der letzten Strophe tritt eine andere Erzählinstanz auf, die ein kritisches Licht auf das Gangleben wirft: Man macht sich vor, dass man viel Spass miteinander erlebt, doch eigentlich ist man auf der Flucht und allein in der Welt.
David Bowie [D]: Memory of a Free Festival [F]
Autor: David Bowie
Label und Katalognummer: Philips SBL 7912
Produktion: Tony Visconti
Veröffentlicht: 1969 11 04 (Album)
Genretags: Rock - Psychedelicrock - Psychedelicfolkrock
Bemerkungen: Dieser Song handelt von einem Rock Festival, das am 16. August 1969 stattfand und vom «Beckenham Arts Lab» organisiert wurde, für das sich Bowie kurz engagierte (siehe Arts Lab movement). Dieses Festival war ein Untergrund-Happening, ein Gratis-Festival, wo Hippies sich trafen, um im Freien Musik zu hören.
Der über 7-minütige Track wurde für die Single zweigeteilt und noch einmal aufgenommen. Durch die Neuaufnahme wurde der Track glam-rockiger. Die beiden Single-Versionen sind auf der David Bowie LP als Bonustracks zu hören. Dies ist die lange und integrale Album-Version.
Der Song wurde kein Erfolg, markiert aber den Beginn der Zusammenarbeit von David Bowie mit Gitarrist Mick Ronson und Drummer Mick Woodmansey, die ihn während seiner Glam-Phase begleiten werden.
Ausserdem haben wir hier einen der späten Hippie-Zeugnisse (einen Song mit einer Extended Coda) am Ende der Sixties. Die beiden Versionen des Songs weisen den Weg, den die Popmusik in den kommenden Monaten und Jahren im UK nehmen wird. Glam wird allem Hippiesken den Garaus machen. Bowies Stunde wird dann schlagen. Wenn man so will kann man traurigen Orgelakkorde am Anfang des Tracks als Trauermusik und Abgesang auf die Sixties hören und die Single-Version als Gründungsdokument für Glamrock.
Dead Kennedys [D]: Holiday In Cambodia [F]
Autor: Jello Biafra & East Bay Ray & Klaus Flouride & Ted
Label und Katalognummer: Optional OPT 4, Cherry Red CHERRY 13, Alternative Tentacles VIRUS 1
Produktion: Dead Kennedys
Veröffentlicht: 1980 05 (Single), 1980 06 (Single UK), 1980 09 (Album)
Genretags: Alternativerock - Hardcorepunk
Bemerkungen: Im Gegensatz zu politischen Punks, die recht humorlos sein konnten, ist dieser Song die bissige Satire eines naiven jungen Amerikaners, der in den Krieg nach Kambodscha geschickt wird. Es muss sich um einen Vertreter der Hippie-Generation handeln, nicht um einen Yuppie, wie vielfach angenommen wurde. Der Krieg war 1975 zu Ende.
Deep Purple [D]: Smoke On The Water [F]
Autor: Deep Purple
Label und Katalognummer: Purple Records TPSA 7504, Purple Records 1C 006 94583
Produktion: Deep Purple
Veröffentlicht: 1972 03 (Album), 1973 01 (Single)
Genretags: Rock - Progrock - Hard'n'Heavy
Bemerkungen: Die Erinnerung an die Aufnahmen von Machine Head in Montreux. Das Casino, in dem die Band aufnahm, brannte während einem Konzert von Frank Zappa und den Mothers Of Invention ab, so dass die Aufnahmen im Grand Hotel gemacht werden mussten. Der Umzug war einfach, weil die Band mit dem Mobilen Studio der Rolling Stones aufnehmen konnten, dem «Rolling truck Stones thing», wie es im Text genannt wird. Ohne Verzögerungen ging es allerdings nicht: «Machine Head» konnte fast komplett in Montreux eingespielt werden, aber für das dokumentarische «Smoke On The Water» reichte die Zeit nicht mehr. Die Aufnahmen mussten in London finalisiert werden.
Querverweise
– «Smoke on the Water» – wie ein Brand in Montreux in die Musikgeschichte einging
Deerhunter [D]: Death in Midsummer [F]
Label und Katalognummer: 4AD 4AD 0120, 4AD 0089
Produktion: Ben H. Allen III & Cate Le Bon & Deerhunter & Ben Etter
Veröffentlicht: 2018 10 30 (Digital), 2019 01 18 (Album)
Genretags: Post-Millennial-Music - Indiepop
Bemerkungen: Der Song ist inspiriert von einer Foto aus der Russischen Revolution. Das Cembalo wird gespielt von Cate Le Bon.
Dexy's Midnight Runners [D]: Burn It Down [F]
Assoziierte Acts: Dexys
Autor: Kevin Rowland
Label und Katalognummer: Parlophone PCS 7213
Produktion: Pete Wingfield
Veröffentlicht: 1980 07 11 (Album)
Genretags: Newpop - Popsoul - Blueeyedsoul
Bemerkungen: Es wird am Radio gedreht, es kommt eine Station, die Smoke on the Water von Deep Purple spielt, dann eine, bei der Holidays In The Sun von den Sex Pistols läuft, dann eine mit Ratrace von den Specials. Dann folgt eine Art Pregame-Ritual der Band, das im Spruch «For God's sake, burn it down!» endet.
Burn it Down war der erste Track des wunderbaren Searching for the Young Soul Rebels Album und war die neu eingespielte Version einer frühen Single der Band, die Dance Stance
hiess.
Diamonds [D]: Little Darlin' [F]
Autor: Maurice Williams
Label und Katalognummer: Mercury 71060
Produktion: Nat Goodman & Clyde Otis
Veröffentlicht: 1957 02 08 (Single)
Genretags: Afroamericana - Rhythm'n'Blues - Doo-Wop
Bemerkungen: Früher Rock-'n'-Roll-Song mit Latin-Einfluss
Die Diamonds waren eine halb kanadische halb kalifornische Vokalgruppe, die darauf spezialisiert war, afroamerikanische Originale für ein weises Publikum zuzurichten und in die Charts zu bringen. Hier werden die Doo-Wop-Stilmittel so übertrieben, dass die Nummer in eine Parodie kippt. Im Doo-Wop wird üblicherweise eine Geliebte angesungen und mit wunderbar geschmeidigen Stimmen bezirzt. Hier ist der Gesangsstil so ruppig, als wäre die Geliebte ein ... Sportgerät. Ein Doo-Wop-Monster.
Diana Ross & Supremes [D]: Reflections [F]
Autor: Holland-Dozier-Holland
Label und Katalognummer: Motown M 1111, Motown MS 665
Produktion: Lamont Dozier & Brian Holland
Veröffentlicht: 1967 07 24 (Single), 1968 03 25 (Album)
Genretags: Afroamericana - Soul - Motownsoul, Afroamericana - Soul - Psychedelicsoul
Bemerkungen: Soul wird introspektiv: «Through the mirror of my mind / Time after time / I see reflections of you and me». Es folgen Sätze, die klar machen, dass die Beziehung zu Ende ist. Grossartig orientalisch-ornamentale Zeilen lauten: «As I peer through the window / Of lost time / Looking over my yesterdays / And all the love I gave all in vain».
Dick Dale And The Del-Tones [D]: Misirlou (=Miserlou) [F]
Assoziierte Acts: Dick Dale
Autor: Unbekannt & Michalis Patrinos & Milton Leeds & Nicholas Roubanis & Chaim Tauber & Fred Wise
Label und Katalognummer: Deltone 5019, Deltone LPM 1001
Produktion: Jim Monsour
Veröffentlicht: 1962 05 (Single), 1962 11 (Album)
Genretags: Rock'n'Roll - Beat - Surfbeat, Rock'n'Roll - Instrumental
Bemerkungen: Dieser Song kommt aus Griechenland (siehe: Whosampled-Seite. Wer das traditionelle Stück geschrieben hat, weiss man nicht, als frühester Recording-Artist ist Michalis Patrinos bekannt.
Ausserdem war dies die erste Single mit dem Fender-Reverb.
«Misirlou» wird oft als Song im Phrygischen Modus missverstanden, tatsächlich verwednet er eine arabische Tonleider, die «double harmonic scale» bzw. «Hijaz Kar».
Dinah Shore [D]: I'll Walk Alone [F]
Autor: Jule Styne & Sammy Cahn
Label und Katalognummer: Victor 20 1586
Veröffentlicht: 1944 06 (Single)
Genretags: Traditionalpop - Vocalpop
Bemerkungen: Ein Lied einer Frau, die dem Soldaten im Ausland Treue versprochen hat und Treue hält, obwohl sie von anderen begehrt wird.
Dinah Washington & Brook Benton [D]: Baby (You've Got What It Takes) [F]
Autor: Clyde Otis & Murray Stein
Label und Katalognummer: Mercury 71565x45
Produktion: Clyde Otis
Veröffentlicht: 1960 01 (Single)
Genretags: Afroamericana - Rhythm'n'Blues
Bemerkungen: Gemäss Manuel Brockhaus einer der ersten Versuche, die mit reichlich Hall inszenierte Snare Drum auf dem Backbeat zum prägenden Sound in der Popmusik zu gestalten. Später wird die Snare auch durch Klatschen und Fingerschnippen ergänzt oder ersetzt.
Der Titel ging bis auf Platz 5 der Billboard Hot 100 und auf Platz 1 der Billboard Hot R&B Sides.
Dire Straits [D]: Brothers in Arms [F]
Assoziierte Acts: Mark Knopfler
Autor: Mark Knopfler
Label und Katalognummer: Vertigo 824 499, Vertigo DSTR 11
Produktion: Neil Dorfsman & Mark Knopfler
Veröffentlicht: 1985 05 17 (Album), 1985 10 (Single)
Genretags: Rock - AOR-Rock - AOR-Poprock
Bemerkungen: Dieser Song ist während dem Falklandkrieg entstanden. Wie viele Lieder von Mark Knopfler wirkt «Brothers in Arms» literarisch – Ernest Hemingway drängt sich als möglicher Referenzpunkt auf.
In «Brothers in Arms» erzählt ein Partisane (oder ein Milizsoldat) vom Krieg. Knopfler benutzt die klassische AABA Form, wobei jeder A-Teil mit dem titelgebenden Refrain endet. Dabei verschiebt Knopfler die Bedeutung auf subtile Weise vom Heroismus der Waffenbruderschaft zu einer universellen Waffenbruderschaft aller Soldaten, die in den Kriegen unserer Welt kämpfen (vergleiche Universal Soldier). Der philosophische B-Teil (die Bridge) spricht von den verschiedenen Lebensweisen, Auffassungen und Wahrheiten, die alle in einer Welt Platz haben müssen und deren Differenz eine der häufigsten Ursachen für bewaffnete Konflikte darstellen.
Der Song wird verständlicherweise häufig an Beerdigungen von Veteranen gespielt.
DJ HVAD [D]: HVADDEMONIA [F]
Assoziierte Acts: HVAD
Autor: Hari Shankar Kishore
Label und Katalognummer: Syg Nok (Youtube Audio)
Produktion: DJ HVAD
Veröffentlicht: 2011 01 26 (Digital)
Genretags: Post-Millennial-Music - Digital-Underground - Industrial-Grime
Bemerkungen: Der Name wird wie «DJ What» ausgesprochen.
DJ Shadow [D]: Border Crossing [F]
Autor: Josh Davis
Label und Katalognummer: Island 2773026, Selbstrelease (Youtube Video)
Produktion: DJ Shadow
Veröffentlicht: 2011 10 03 (Album), 2011 10 06 (Digital)
Genretags: Post-Millennial-Music - Underground-Hip-Hop
Bemerkungen: Video-Teaser für The Less You Know, The Better
. Es geht im Video um die Grenze zwischen Mexico und den USA, die ein Konfliktschauplatz zwischen Migranten und der Grenzpolizei ist. Wem dieses Thema hier zu militant vorgetragen wird und es lieber etwas romantischer hat, dem sei Coyote Song
von Bright Eyes empfohlen. So oder so: Amerika ist nicht mehr das freie Land der unbegrenzten Möglichkeiten, sondern ein Hochsicherheitsgefängnis.
Don Gibson [D]: Oh, Lonesome Me [F]
Autor: Don Gibson
Label und Katalognummer: RCA Victor 47 7133, RCA Victor LSP 1743
Produktion: Chet Atkins
Veröffentlicht: 1957 12 (SIngle), 1958 04 (Album)
Genretags: Country - Countrypop - Nashvillesound
Bemerkungen: Oh, Lonesome Me
war 1958 acht Wochen lang die Nummer 1 der Country-Charts und wurde ein Pop-Crossover, d.i. ein Song, der es aus dem regionalen Country-Markt in den nationalen Mainstream-Pop-Markt schafft. In den Billboard Hot 100 kam der Song bis auf Platz 7. Die Melodie wurde weltbekannt, wenn auch Don Gibson nicht gerade als Haushaltname gelten kann.Oh, Lonesome Me
ist das Lied eines verlassenen Mannes, der die Trennung von seiner Freundin schwer nimmt, den «Blues» hat. Selbstquälerisch stellt er sich vor, wie sie ausgeht und Spass hat, während er deprimiert zuhause herumhängt.
Der Song ist ein typischer Vertreter des klassischen Nashvillesounds. Die Nummer wurde von Chet Atkins in den Nashville Studios von RCA produziert. Jedes Jahr besuchen abertausende von Nashville-Reisenden auf Musikpilgerfahrt durch den Amerikanischen Süden diese legendären Studios, wo auch Elvis Presley, oder Dolly Parton viele ihrer Hits aufgenommen haben.
Auch nach Europa kam der Song (man kann hier von «transatlantischem Crossover» sprechen. In Frankreich machte Sacha Distel die Melodie bekannt. Seine Version übernahm nur die Melodie vom Original und veränderte Text und musikalisches Genre: Oh quelle nuit! ist ein Popsong seiner Zeit, der die Geschichte einer wilden Nacht erzählt. Der Ich-Erzähler schlägt über die Stränge, versetzt und betrügt seine Frau, um am Ende einzusehen, dass sie die einzige für ihn ist.
Gerade im Vergleich zu dieser beschwingten Popversion des Country-Songs zeigt sich die Qualität des Originals: Country-Music wird als aufrichtig, authentisch oder «real» bezeichnet, was hier heisst, dass der Blues im Song ohne falsches Happy-End (wie bei Distel) auskommt.
Donna Hightower [D]: This World Today Is A Mess [F]
Autor: Danny Daniel & Donna Hightower
Label und Katalognummer: Decca 84.115 (E), Decca
Produktion: Danny Daniel
Veröffentlicht: 1972 09 (Single), 1972 (Album)
Genretags: Afroamericana - Soul - Popsoul, Disco - Discofunk
Bemerkungen: Song über die Korrumpierung der Welt, in der Freundlichkeit und Höflichkeit als Schwäche ausgelegt wird. Adorno: «Es gibt kein richtiges Leben im falschen.»
Der Titel kam in der Schweizer Hitparade auf Platz 4, was insofern bemerkenswert war, als in ihr kaum je eine Soul-Single aufgetaucht ist. Auch kam «This World Today ...» in keiner europäischen Hitparade so hoch wie in der Schweiz. Das scheint mit einem TV-Auftritt in Hits à gogo zu tun zu haben (siehe: Vintage Rock TV Archive).
Diese Nummer ist Proto-Disco. Der starke Backbeat swingt gerade noch nicht, aber geht in die Richtung.
Doors [D]: Light My Fire [F]
Autor: Doors
Label und Katalognummer: Elektra EKS 74007, Elektra EK 45615
Produktion: Paul A. Rothchild
Veröffentlicht: 1967 01 04 (Album), 1967 05 (Single)
Genretags: Rock - Psychedelicrock - Psychedelicbluesrock
Bemerkungen: Die zweite amerikansiche Single der Band. Mit ihr brachen sie in den Mainstream durch.
Der Track hat lange Improvisationsstellen, die wie My Favourite Things von John Coltrane auf dem Vamp (Repetition, Ostinato) von zwei aufeinanderfolgenden Akkorden gespielt auf der Vox Continental besteht. Über dem ostinato/Vamp wird improvisiert. Das hat eine Raga-hafte Qualität.
Doors [D]: The End [F]
Autor: John Densmore & Robby Krieger & Ray Manzarek & Jim Morrison
Label und Katalognummer: Elektra EKS 74007, Elektra ELK 22032
Produktion: Paul A. Rothchild
Veröffentlicht: 1967 01 04 (Album), 1979 (Single D)
Genretags: Rock - Psychedelicrock - Psychedelicbluesrock
Bemerkungen: «The End» ist ein psychedelischer Jam, der auf einem kontinuierlichen Gitarren-Motiv basiert, das von Robby Krieger gespielt wird, als wäre sein Instrument eine SItar.
Struktur
Der Song hat mehrere Sektionen. Nur eine wird einmal wiederholt: «This is the end / beautiful friend the end ...».
Entstehungsgeschichte
Die Doors spielten 1966 im Whisey a Go Go, einem der wichtigsten Rock Clubs in Los Angeles. Jim Morrison allerdings tauchte nicht auf und so spielte die Band zu dritt ein instrumentales Set. In der Pause kam Phil Tanzini, einer der Clubbetreiber, und sagte zur Band: «The Doors sind doch vier Kerle. Wo ist der vierte? Wir
zahlen vier Musiker, also spielen vier Musiker!». Die Bandmitglieder strömten jetzt aus, um Jim Morrison suchen und finden ihn im Tropicana Hotel, wo er wohnt. Er ist auf einem LSD Trip. Sie schleppen ihn ins Whiskey, wo er zum Song «The End» eine Improvisation hinlegt:
The killer awoke before dawn, he put his boots on He took a face from the ancient gallery And he walked on down the hall ...Der Club erstarrte, niemand trank einen Schluck, niemand redete, keines der Gogo Girls tanzte mehr als Morrison mit dem Ödipus-Teil des Songs fort fuhr:
He walked on down the hall, and And he came to a door... And he looked inside Father, yes son, I want to kill you Mother... I want to... WaaaaaaNach dem Set wurde die Gruppe gefeuert, was einen lustigen Aspekt hatte. Es war der Donnerstag Abend und Bands hatten Verträge für vier Abende nacheinander.
– «You’re fired!»
– «Eh, Phil, it’s Thursday, you mean we’re fired right now or after the contract?»
Phil Tensini zögerte, aber liess die Gruppe noch bis Sonntag spielen. «You’ll get fired on Sunday night»
Verwendung im Film «Apocalypse Now»
«The End» wurde im Kriegsfilm über Vietnam Apocalypse Now verwendet. Die Bilder und die Musik gehen so gut zusammen – es ist als hätten die Doors das Stück als Filmmusik für Oliver Stone geschrieben, oder als hätte der Regisseur eigens ein Musikvideo für «The End» gedreht.
Doris Day [D]: Secret Love [F]
Autor: Sammy Fain & Paul Francis Webster
Label und Katalognummer: Columbia 40108, Columbia CL 6273 (10'' Vinyl)
Veröffentlicht: 1953 10 09 (Single), 1953 11 09 (Album)
Genretags: Traditionalpop - Vocalpop
Bemerkungen: Aus dem Film Calamity Jane
. Der Titel gewann den 1953 Academy Award in der Kategorie »Best Song«.
Die Melodie wird aufgenommen im Intro zu Billy Pauls Me And Mrs. Jones (Saxophon).
Dream Academy [D]: Life In A Northern Town [F]
Autor: Gilbert Gabriel & Nick Laird-Clowes
Label und Katalognummer: Reprise 25265 1, Warner Bros. 9 28841 7
Produktion: David Gilmour & Nick Laird-Clowes & Alan Tarney
Veröffentlicht: 1985 11 (Album), 1985 11 (Single)
Genretags: Indiepop - Artpop - Dreampop
Bemerkungen: Dieser Song ist ein Tribute für Nick Drake, der aber nicht genannt wird. Es war nur eine Widmung.
Drifters [D]: There Goes My Baby [F]
Autor: Jerry Leiber & Benjamin Nelson & Lover Patterson & Mike Stoller & George Treadwell
Label und Katalognummer: Atlantic 45 2025
Produktion: Jerry Leiber & Mike Stoller
Veröffentlicht: 1959 04 24 (Single)
Genretags: Pop - Teenpop, Pop - Brillbuildingpop
Bemerkungen: Die Drifters waren ein Name, keine Gruppe wie zum Beispiel die Coasters. Den Markenname besass Manager George Treadwell, der Musiker nach belieben austauschte. Für diese Aufnahme wählte er die Sänger der Doo-Wop-Gruppe The Crowns und den Leadsinger Ben E. King (bürgerlich: Benjamin Nelson). Als Produzenten fungierten Jerry Leiber und Mike Stoller. Revolutionär an diesem Song war der Einsatz eines Streicherensembles im Rhythm'n'Blues (zuvor hatten in den Sparten R'n'R und R'n'B lediglich die Orioles und Buddy Holly mit Streichern gearbeitet).
Der Song ist ein gutes Beispiel, um zu zeigen, wie die moderne amerikanische Musik unter ethnisch vielfältigen Einflüssen stand: Ein italienischer Bastard eines brasilianischen Sambas (Anna von Silvana Mangano von 1953) stand Pate zum Beat dieses Songs, zu dem ein russischesches Streichorchester unterlegt und der von einem afroamerikanischen Gesangsquartett gesungen wird (siehe Ken Emerson, 2005, p. 58 ff.).
Duke Ellington [D]: Ko-Ko [F]
Assoziierte Acts: Duke Ellington And His Famous Orchestra
Autor: Duke Ellington
Label und Katalognummer: Victor 26577
Veröffentlicht: 1940 04 (Single), 1940 03 06 (Rec.)
Genretags: Jazz - Swing - Bigbandswing
Bemerkungen: Charlie Parker schrieb später auch ein Stück mit dem selben Namen. Parkers Stück wird allerdings ohne Bindestrich geschrieben.
Eagles [D]: Desperado [F]
Autor: Glenn Frey & Don Henley
Label und Katalognummer: Asylum SD 5068
Produktion: Bill Szymcyk
Veröffentlicht: 1973 04 17 (Album)
Genretags: Rock - Corporate-Rock - Westcoast
Bemerkungen: Musiker/-innen der Rock-Generation identifizierten sich gern mit Outlaws, weil sie sich selbst als Outsider der Gesellschaft stilisierten. Die Eagles taten das ausgiebig auf dem Album Desperado
. Der Rock-Outlaw sieht sich auch als «man on the road», als Musiker auf Tour ohne ein Zuhause und ohne eine Beziehung und Familie. Der Song Desperado
verklärt das Outlaw-Leben gerade nicht. Der Erzähler versucht einen «Loner» oder «Desperado» zur Liebe und zur Bindung zu überreden: «Desperado, oh, you ain't gettin' no younger / Your pain and your hunger, they're drivin' you home» – zu Deutsch: «Desperado, du wirst nicht jünger, dein Schmerz und dein hunger, ziehen dich nach Hause.»
Eddie Holman [D]: This Can't Be True [F]
Autor: Eddie Holman & S. Solomas
Label und Katalognummer: Parkway P 960
Veröffentlicht: 1965
Genretags: Afroamericana - Soul - Philadelphiasoul
Bemerkungen: Erster prototypischer Philysoul Titel: Helium Falsett, reverbreiche Gitarre, ein schleppender Bass und Shuffle-Beats. Dieser Sweetsoul zeigt männliche Verletzlichkeit und wirkt sich bei Thom Bell in seiner produktionsarbeit mit den Delfonics, Stylistics und Spinners aus.
Elkie Brooks [D]: Pearl's A Singer [F]
Autor: Ralph Dino & Leiber-Stoller & John Sembello
Label und Katalognummer: A&M AMS 7275, A&M AMLH 68409
Produktion: Leiber-Stoller
Veröffentlicht: 1977 02 25 (Single), 1977 (Album)
Genretags: Rock - Poprock
Bemerkungen: Der Song handelt davon, wie eine Musikerkarriere enden kann, wenn eine Sängerin den Schlusspunkt nicht findet. Ihr Name ist «Pearl» wie der Übername von Janis Joplin. Sie singt in einem abgehalfterten Nachtclub und erzählt Lachnummern zwischen den Stücken. Während die A-Teile des Songs rapportieren, verschafft der B-Teil Einsicht in den Hintergrund: Pearl wollte einst Betty Grable sein (ein Pin-Up Girl aus den 1940er Jahren. Aber ihr Traum ging nie in Erfüllung.
Während dem Durchlauf durch die AABA-Form ist der Song sozialrealistisch. Ein etwas tumber Bass, simple E-Piano-Akkorde und -fills schaffen eine bedrückende Stimmung. Mit jedem neuen Teil kommt ein neues Instrument hinzu, Gitarre und Steelgitarre. In der Reprise des A-Teils wird der Song zu einen Gospel-Blues. Elkie Brooks demonstriert ihre Powerhouse-Bluesstimme. Ohne diese Reprise wäre der Song kaum zu ertragen, aber mit diesem Finale wird er zum ausgefeilten Drama.
Ella Fitzgerald [D]: Can't Buy me Love [F]
Autor: Lennon-McCartney
Label und Katalognummer: Verve VS 519, Verve V 4064
Produktion: Norman Granz
Veröffentlicht: 1964 04 30 (Single), 1964 07 (Album)
Genretags: Traditionalpop - Vocalpop - Jazzpopvocal
Bemerkungen: Ella Fitzgerald covert «Can't Buy me Love» der Beatles, weil dies damals der jazzigste Song aus dem Katalog der Beatles war. Aber nur die Verses sind mit Jazz kompatibel, nicht der Chorus. Aus diesem Grund wird der Chorus hier aus dem Song herausarrangiert: Fitzgerald singt ihn einmal und baut einen Tonartwechsel ein. Sie kommt dem fremden musikalischen Material mit Improvisation bei.
Elvis Presley [D]: Suspicious Minds [F]
Autor: Mark James
Label und Katalognummer: RCA Victor 47 9764
Produktion: Felton Jarvis & Chips Moman & Elvis Presley
Veröffentlicht: 1969 08 26 (Single)
Genretags: Pop - Popsoul
Bemerkungen: Das Fadeoutist eigenwillig gestaltet: Der Song wird ausgeblendet und dan noch einmal eingeblendet.
Das ist die erste Nummer-1 von Elvis Presley seit Good Luck Charm von 1962.
Elvis Presley [D]: Baby Let's Play House [F]
Autor: Arthur Gunter
Label und Katalognummer: Sun Records 217
Produktion: Sam Phillips [Labelgründer]
Veröffentlicht: 1955 05 14 (Single)
Genretags: Rock'n'Roll - Rockabilly
Bemerkungen: Elvis Presley singt mit vielen Hickups, die teilweise den Amphetamin-Talk von My Generation vorwegnimmt.
«To play house» heisst übersetzt (mit Puppen) Vater, Mutter und Kinder spielen. In diesem Song bekommt der Ausdruck etwas Anzügliches, denn angesprochen wird eine junge Frau, die im College oder noch in der Schule ist. Beim Sun-Label ist es noch möglich, so offen über Sexualität im Teenageralter zu singen. Elvis, der Mainstream-Sänger wird das nicht mehr tun.
Die Zeile «I'd rather see you dead, little girl / Than to be with another man» wird später von den Beatles zitiert (Run For Your Life
).
Elvis Presley [D]: Blue Moon Of Kentucky [F]
Autor: Bill Monroe
Label und Katalognummer: Sun Records 209
Produktion: Sam Phillips [Labelgründer]
Veröffentlicht: 1954 07 19 (Single-B)
Genretags: Rock'n'Roll - Rockabilly
Bemerkungen: Der Song von Bill Monroe wird stark umgebaut: Aus dem Walzertakt wird ein 4/4-Takt, aus dem Song über einen Liebesverlust wird ein Song über die Vorfreude auf die zurückkehrende Geliebte. Der Mond ist bei Bill Monroe ein Erinnerungs-Token an den Verlust, bei Elvis Presley ein Mittelsmann der Liebe, der die Geliebte zurückbringen kann.
Elvis Presley [D]: It's Easy For You [F]
Autor: Tim Rice & Andrew Lloyd Webber
Label und Katalognummer: RCA Victor AFL1 2428
Produktion: Felton Jarvis
Veröffentlicht: 1977 07 19 (Album), 1976 10 29 (Rec.)
Genretags: Rock - Poprock
Bemerkungen: AABA Struktur, die von einer ungewöhnlichen Reprise gefolgt wird, die aus dem B-Teil und einem neuen, nicht wiederholten, A-Teil. Diese Modifikation macht den A-Teil «Verse-hafter», aber den B-Teil nicht zu einem Chorus! Man darf sich nicht täuschen lassen, die A-Teile sind keine Verses einer Verse-Chorus Struktur, denn der Songtitel kommt im A.Teil, nicht im B-Teil vor.
Emerson, Lake And Palmer [D]: Karn Evil 9 [F]
Assoziierte Acts: Keith Emerson & Greg Lake & Carl Palmer
Autor: Keith Emerson & Greg Lake & Peter Sinfield
Label und Katalognummer: Manticore K 53501
Produktion: Greg Lake
Veröffentlicht: 1973 11 19 (Album)
Genretags: Rock - Progrock
Bemerkungen: Der erste Teil beginnt wie eine Schöpfungsszene («Cold and misty morning»), scheint aber vom Ursprungsmythos in eine Science-Fiction Erzählung zu münden. In der Zukunft werden Maschinen die Menschen hintergangen haben und gefangen halten.
Man kann den Song mit etwas Abstraktion auch als Generations-Mythos hören, als das «comming of age» der Rock- oder Hippie-Jugend: «Silent children shivered in the cold» und «they've all been betrayed / They hurt them and they beat them, in a terrible way / Praying for survival at the end of the day». Eine Stimme bietet sich an, um diese leidenden Menschenkinder zu befreien. Vergessen wir nicht: Damals wurde der Rock Musik eine befreiende Macht zu gespochen. Wer das kritisch oder marxistisch sieht, sagt: «Die Kaufkraft der Babyboomer hat diese ganze Generation verblendet.»
Mit einem neuen musikalischen Motiv folgt noch im ersten Teil eine Art Zirkusszene. Der Direktor begrüsst sein Publikum und bittet es ins Zelt: «Roll up, see the show!» Damit steht dieser Song in einem thematischen Zusammenhang mit dem Sgt. Pepper Album, Magical Mistery Tour (dem Film) und dem damals noch nicht veröffentlichten Rolling Stones Rock And Roll Circus.
Der zweite Teil der Suite ist ein Instrumental.
Der dritte Teil setzt den Science-Fiction fort: die Menschen befinden sich im Krieg mit Maschinen/Robotern/Computern. Der Ausgang des Kriegs wurde in alle Richtungen interpretiert. Am Schluss lassen die Maschinen die Menschen leben. Der Mensch sagt: «Ich habe dich geschaffen». Die Maschine erwidert: «Ich bin perfekt. Und du?»
Die Erzählung führt gewissermassen auch das Thema von 21st Century Schizoid Man fort. Ein weiterer Bezug ist die Nummer 9 im Titel, die zu Revolution 9 verweist.
Eruption [D]: One Way Ticket [F]
Autor: Hank Hunter & Jack Keller
Label und Katalognummer: Hansa 200 213-320, Hansa 100 377
Produktion: Frank Farian & Rainer M. Ehrhardt
Veröffentlicht: 1978 12 (Album), 1979 01 (Single)
Genretags: Disco - Popdisco - Eurodisco
Bemerkungen: Frank Farian produzierte die erste deutsche Popmusik, die an die transatlantische Musik der Zeit anschliessbar war. Der Schlager hat in seinen besten Momenten (z.B. mit Udo Jürgens) lediglich mit den Chansons oder den Canzone aus Frankreich und Italien mithalten können. Doch Eurodisco von Boney M. oder Eruption war Musik, die sich auf dem inzwischen gar nicht mehr so neuen internationalen Markt behauptete. Immerhin erreichte die Single Platz 30 der US Dance Club Songs und vergleichbare Positionen in Australien (10) und Neuseeland (32). In Europa war der Titel freilich noch erfolgreicher. In der Schweiz gar eine Nummer eins.
Der Song ist die Coverversion einer Flipside von Neil Sedaka von 1959 – siehe und höre: One Way Ticket (To The Blues).
Strukturell ist der Song mehr als bemerkenswert: Der Bruch zwischen Intro und erster Strophe ist auffällig: Das Soul-getränkte Intro von Sängerin Precious Wilson wird nicht vollständig ausgeführt. Der Refrain bricht in den Song hinein und reisst ihn in eine andere als der angedeuteten Richtung. Kein Smooth-Soul sondern Disco! Sodann verwendet der Song – wie viele Brill-Building-Songs – einen Prechorus. Aber siehe da! Dieser Prechorus ist im Original der Chorus und die Produktion von Frank Farian schafft einen neuen Chorus, der nur aus der wiederholten Titelzeile des Songs bestehet. Das Formelement des Prechorus stammt historisch aus der Zeit des Brill-Building-Pop und das Original ist voll aus der Zeit dieses Genres. Was Farian also macht: Er führt in ein Stück ein zeittypisches Element ein, das das Original gar nicht enthält! Dabei hat diese Erfindung nichts Historisierendes: Erstens verleiht die dreiteilige Form aus Verse-Prechorus-Chorus diesem Song eine grosse Dramatik und zweitens macht diese Struktur, dass dass One Way Ticket
nicht nur auf der Tanzfläche funktioniert, sondern auch im Radio.
Flanagan And Allen [D]: Underneath The Arches [F]
Autor: Bud Flanagan
Label und Katalognummer: Columbia (EMI) CB 481
Veröffentlicht: 1932 07 15 (Single), 1927 (Werk)
Genretags: Traditionalpop - Varieteepop - Musichall
Bemerkungen: Song über Friar Gate Eisenbahnbrücke unter deren Bögen während der wirtschftlichen Depression die Obdachlosen lebten.
Fleetwood Mac [D]: Oh Well, Part 1 [F]
Autor: Peter Green
Label und Katalognummer: Reprise RS 27000, Reprise RS 6368
Produktion: Mike Vernon & Fleetwood Mac
Veröffentlicht: 1969 09 (Single), 1970 (Album US)
Genretags: Rock - Psychedelicrock - Psychedelicbluesrock
Bemerkungen: «Oh Well» war neben Albatross der grösste Hit von Fleetwood Mac in der Zeit mit Peter Green. Der Song ging im UK auf Platz 2, in den Niederlanden auf Platz 1 und sogar in der Schweiz auf Platz 6.
Struktur
«Part 1» und «Part 2» sind völlig unabhängig voneinander. Die Stücke heissen gleich, aber haben keine musikalischen Gemeinsamkeiten. Insofern ist «Oh Well» eine Suite von zwei Stücken. wobei der zweite unbekanntere Teil mehr als doppelt so lang ist wie der erste. Der zweite Teil klingt nach Filmmusik im Stil von Ennio Morricone. Part 1, ein stop-and-go Stück, basiert auf einem Blues- und zwei Hardrock-Riffs, die hintereinander geschaltet sind und von beiden exzellent zusammen spielenden Gitarristen Peter Green und Danny Kirwan gespielt werden. Die Verses – falls es sich um solche handelt – werden a-cappella gesungen, abgesehen vom punktuierten Cowbell Spiel von Schlagzeuger Mick Fleetwood.
Der Titel «Oh Well» wird im A-Teil am Ende des Blues-Riffs gesungen, just vor dem Hardrock-Riff. Man kann sich fragen, ob dadurch der A-Teil der Chorus einer Simple Verse-Chorus Struktur sei.
Varianten
Es gibt mindestens vier Varianten des Songs:
– zwei verschieden lange Single-A Versionen, «Oh Well, Part 1», entweder ohne (Dauer: 2:22) oder mit Coda bestehend aus einem Teil des «Part 2» (Dauer: 3:22) – der Youtube-Stream
– Oh Well, Part 2, die B-Seite der Single (Dauer: 5:39)
– die lange Version auf der amerikanischen Ausgabe des Albums Then Play On (Dauer: 8:56) – diese Version umfasst «Part 1» und «Part 2», die sehr unterschiedlich sind!
Die lange Version ist durch aneinanderfügen von Part 1 (lang) und «Part 2» entstanden. Man kann das als ein Fehler sehen. Da die Coda der langen Single-Version mit dem Anfang von «Part 2» identisch ist, wird dieser Anfang in der langen Version zwei Mal gespielt.
Stilistische Ambivalenz
«Oh Well» ist ein stilistischer «Hotch-potch», was typisch für die postpsychedlische britische Rockmusik ist. Der Blues gleitet mühelos in Heavy- oder Hardrock hinüber und das Stück endet mit einem langezogenen Progfolk-Teil. Es wird kein bestimmtes Genre bedient, vielmehr bleibt die Nummer ambivalent, ist Bluesrock, Hardrock und Progfolk zugleich.
Bemerkenswert ist «Oh Well, Part 2» mit seinem kammermusikalischen Arrangement aus Blues-Gitarren, Cello und Flöte. Der Teil ist sparsam arrangiert und besteht selbst aus mehreren Teilen: Zuerst ein Duo mit akustischer und Reverb-verhangener elektrischer Gitarre. Die akustische Gitarre spielt eine Figur, deren Länge variiert. Die Flöte begleitet die akustische, das Cello die elektrische Gitarre. Das Arrangement nimmt etwas von der späteren Musik von Mike Oldfield vorweg. Nach dem Finale des ersten Teils von «Part 2» gibt es einen langen Break, bevor der zweite Teil einsetzt. Dieser ist eine Duo zwischen akustischer Gitarre und Cello. Der dritte Teil ein Trio zwischen Gitarre, Schlagzeug und Cello. Im vierten Teil, der Coda, kommen Flöte und Piano kurz zurück – das Piano für eine Picardische Terz.
Lyrics
Die Lyrics sind aus einer brutal aufrichtigen Position verfasst. Sie sind ein gutes Beispiel für den Sardonismus in der Rockmusik. Zuerst spricht das lyrische Ich über sich selbst und beschreibt schonungslos eigene Schwächen. Dann wird ein Adressat angesprochen und davor gewarnt, sich überheblich zu wähnen Die grossartigen Zeilen
But don't ask me what I think of you I might not give the answer that you want me tolässt durchblichen, dass die angesprochene Person ebenso schonungslos abgekanzelt würde. Die zitierten Zeilen sind der Refrain beider Verses.
«Oh Well» lässt sich mit «Na ja» oder «Tja» wiedergeben. Man setzt dieses Ausdruck in einem Gespräch als verbalen Seufzer ein, um eine skeptische Anerkennung der Situation oder des Gesagten auszudrücken. Ein «so ist es eben», eine typisch sardonische Interjektion!
Intertextualität
Das Riff erinnert entfernt an Baby Please Don't Go (ohne den Walking-Bass). Das Stop-and-Go-Spiel wird von JimmyPage in Black Dog aufgenommen.
Links
– Dave Simpson: How to play like Peter Green - Episode 8 - Oh Well Part 1 (Youtube, 15.6.2018)
Frank Zappa [D]: Disco Boy [F]
Autor: Frank Zappa
Label und Katalognummer: Warner Bros. BS 2970, Warner Bros. WBS 8342
Produktion: Frank Zappa
Veröffentlicht: 1976 10 29 (Album), 1977 03 07 (Single)
Genretags: Rock - Artrock - Comedyrock
Bemerkungen: Frank Zappas Auseinandersetzung mit dem neusten Pop Trend: Disco. Ein anderer wird sein: Dancin' Fool.
Frank Zappa [D]: Don't Eat The Yellow Snow [F]
Autor: Frank Zappa
Label und Katalognummer: DiscReet DS 2175, DiscReet DSS 1312
Produktion: Frank Zappa
Veröffentlicht: 1974 04 22 (Album), 1974 08 (Single)
Genretags: Rock - Progrock
Bemerkungen: Erster Song von Frank Zappa in den Billboard Hot 100 (eine Nummer 86).
Der Song ist eine Satire auf die Mitte der 1970er Jahre populäre Öko-Aktivist/-innen, die das Fell von Jungtieren anmalten, damit es für die Pelzjagd wertlos wird.
Frank Zappa & Mothers Of Invention [D]: Plastic People [F]
Autor: Frank Zappa
Label und Katalognummer: Verve V 5013
Produktion: Tom Wilson & Frank Zappa
Veröffentlicht: 1967 05 26 (Album)
Genretags: Rock - Artrock - Parodyrock
Bemerkungen: Eine Parodie von Louie Louie wird mit anderen Elementen zusammen montiert.
Fred Astaire [D]: Puttin' On The Ritz [F]
Autor: Irving Berlin
Label und Katalognummer: Columbia DB 96
Veröffentlicht: 1930 05 (Single UK)
Genretags: Traditionalpop - Vocalpop
Bemerkungen: Der Songtitel ist ein Slangausdruck für «sich gut kleiden», so dass man ins Hotel Ritz eingelassen wird – also Frack und Zylinder anziehen.
Der Song existiert in zwei Versionen, die beide von Irving Berlin geschrieben wurden: die «Harlem-» und die «Manhattan-Version». Fred Astaire singt hier die «Harlem-Version», die eben nicht in London vor dem berühmten Hotel Ritz spielt, sondern in Harlem dem zentrum der Harlem Renaissance. Der Erzähler betrachtet Afroamerikaner*innen, die sich aufputzen und ausgehen. Zur Zeit der Weltwirtschaftskrise war die Harlem-Renaissance mit ihren Clubs eine eigenartige gesellschaftliche Verwerfung, eine Parallelwelt zur ansonsten herrschenden Armut. Wenn nun ein weisser Songwriter und ein weisser Sänger sich über die feiernden Afroamerikaner*innen lustig machen, hat das sowohl eine sozialkritische als auch ein rassistische Komponente.
Der (weisse) Erzähler ist ein Beobachter einer (schwarzen) Szene, ein Zaungast. Die Szene, die er beobachtet, parodiert gewissermassen die weisse High-Society
Struktur
Strukturell kommt der Song in der für die Tin Pan Alley typischen AABA-Form, der ein Verse vorangestellt ist. Die AABA-Sequenz wird zwei Mal wiederholt, zuerst im instrumentalen Mittelteil, welcher der Stepptanz-Einlage von Fred Astaire dient (und in dem der sozialkritische und rassistische Dialog von zwei Beobachtern der Szene stattfindet: «Boys, look at that man puttin' on that Ritz. – You look at him, I can't»). In der zweiten wiederum gesungenen Reprise der gesamten AABA-Folge, treibt Astaire die Spannung zwischen Rhythmus der Musik und Rhythmus der Sprache ins Hyperbolische. Das klingt fast wie ein Rap in einer fremden Sprache.
Freddie Mercury [D]: Time [F]
Autor: Dave Clark & Jeff Daniels
Label und Katalognummer: EMI EMI 5559, EMI AMPM 1
Produktion: Dave Clark & Freddie Mercury
Veröffentlicht: 1986 05 06 (Single), 1986 (Album)
Genretags: Rock - AOR-Rock - AOR-Poprock
Bemerkungen: Beeindruckend an dieser Powerballade ist, dass statt der üblichen Auftürmung von Instrumenten hier allein die Stimme Freddie Mercurys für die Power-Steigerung verantwortlich ist. Begleitet wird seine Stimme allein von einem Piano.
Fugs [D]: Kill For Peace [F]
Autor: Tuli Kupferberg
Label und Katalognummer: ESP-Disk’ ESP 1028, ESP-Disk’ 4508
Produktion: Richard Alderson & Ed Sanders
Veröffentlicht: 1966 03 (Album), 1966 (Single)
Genretags: Rock - Garagerock
Bemerkungen: Beatleske Musik, die auch von den Mothers of Invention sein könnte. Der Songtitel ist ein Slogan, der den Vietnamkrieg satirisch kommentiert: Wir
töten für den Frieden, am besten auch zuhause. Nur ein toter Kommunist ist ein guter Kommunist. Der Song agitiert auf dieser Ebene. Das Video bringt noch eine andere Ebene hinein, die im Reim «Kill it'll give you a big release / Kill, kill, kill, kill, kill for peace» schon angedeutet ist: Eine Waffe ist ein grosser Penis, der von Zeit zu Zeit «entladen» werden will.
Fun. [D]: We Are Young [F]
Assoziierte Acts: Janelle Monáe (feat.)
Autor: Jack Antonoff & Jeff Bhasker & Andrew Dost & Nate Ruess
Label und Katalognummer: Fueled by Ramen, Fueled by Ramen 528048
Produktion: Jeff Bhasker
Veröffentlicht: 2011 09 20 (Single), 2012 02 21 (Album)
Genretags: Afroamericana - Funky
Bemerkungen: Janelle Monáe singt – kaum erkennbar – Begleitstimme und wird als Featuring Artist geführt.
Eine Nummer 1 in den USA und im UK, Nummer 2 in der Schweiz.
Future [D]: Life Is Good [F]
Assoziierte Acts: Drake (feat.)
Autor: Aubrey Graham & Darius Hill & Mathias Liyew & Nayvadius Wilburn & Ozan Yıldırım
Label und Katalognummer: Epic
Produktion: Ambezza & D. Hill & OZ
Veröffentlicht: 2020 01 10 (Digital)
Genretags: Hip-Hop - Traprap
Bemerkungen: Die beiden Rapper feiern in diesem Track ihren exzessiven Reichtum ab, aber sie rappen auch über den Preis des Geldes, die Pflichten, die mit dem Erfolg kommen. Metaphorisch wird das in die Phrase «working on the weekend» gepackt. Die Stimmung des Tracks ist mehr als gedrückt. Es kommt einem die griechische Figur von Atlas in den Sinn, der die Welt auf seinen Schultern trägt (siehe Farnese Atlas im Museo Archeologico Nazionale, Neapel, Bildquelle: Wikipedia).
Strukturell handelt es sich hier um zwei Tracks, die zusammen montiert sind. Das titelgebende rein verbale Zwischenspiel von Future trennt den Teil von Drake und den Teil von Future. Es handelt sich hier um ein Sample aus einem Interview, das Future dem französischen Clique TV gegeben hat. Es ist ein Moment, wo er über seinen Glauben an Gott spricht.
Gamblers [D]: LSD-25 [F]
Autor: Larry Taylor & Derry Weaver
Label und Katalognummer: World Pacific X 815
Veröffentlicht: 1960 (Single)
Genretags: Rock'n'Roll - Beat - Surfbeat, Rock'n'Roll - Instrumental
Bemerkungen: Der erste Song, in dem LSD erwähnt wird.
Gang Of Four [D]: Damaged Goods [F]
Autor: Hugo Burnham & Andrew Gill
Label und Katalognummer: Fast Product FAST 05
Produktion: Fast Product & Dave Allen & Hugo Burnham & Andy Gill & Jonathon King
Veröffentlicht: 1978 10 12 (EP)
Genretags: Postpunk - Whitefunk
Bemerkungen: Trennungssong in der kalten Sprache der (marxistischen) Ökonomie. Der Song demontiert auf diese Weise die romantische Liebe, wie sie im Mainstream Pop und Rock beschworen wird..
Dies ist die ursprüngliche EP Version des Stücks. Es wurde, als Gang Of Four einen Vertrag mit EMI erhielt, neu aufgenommen.
Genesis [D]: Home by the Sea [F]
Assoziierte Acts: Phil Collins
Autor: Tony Banks & Phil Collins & Mike Rutherford
Label und Katalognummer: Charisma GENLP 1, Vertigo 8802227
Produktion: Genesis & Hugh Padgham
Veröffentlicht: 1983 10 03 (Album), 1983 (Single NL)
Genretags: Rock - AOR-Rock - AOR-Progrock
Bemerkungen: Eine Geistergeschichte: Neue Mieter ziehen in eine Haus, das von Geistern aus der Vergangenheit okkupiert ist. Der Titel wird auf dem Album gefolgt von Second Home by the Sea
, einem weitgehend instrumentalen Stück. Auch bei Konzerten wurden die beiden Stücke stets hintereinander gespielt. Mit der summierten Zeit von über 11 Minuten steht der gesamte Track tief in der Prog-Tradition.
Genesis [D]: The Musical Box [F]
Assoziierte Acts: Phil Collins & Peter Gabriel & Steve Hackett
Autor: Tony Banks & Phil Collins & Peter Gabriel & Steve Hackett & Anthony Phillips & Mike Rutherford
Label und Katalognummer: Charisma CAS 1052
Produktion: John Anthony
Veröffentlicht: 1971 11 12 (Album)
Genretags: Rock - Progrock
Bemerkungen: «The Musical Box», zu Deutsch die Spieldose ist ein über 10-minütiges Prog-Meisterwerk. Es erzählt die makabere Geschichte vom kleinen Henry, der mit seiner Freundin Cynthia Krocket spielt. Cynthia holt zum Schlag aus und trifft Henrys Kopf, der durch die Luft fliegt ...
Diese Vorgeschichte wird nicht vom Song erzählt, sondern ist als Begleittext zu den Lyrics auf dem Cover abgedruckt. Live wird sie erzählt: «Während Henry Hamilton-Smythe minderjährig, acht Jahre alt, mit Cynthia Jane De Blaise-William, neun-jährig, Krocket spielte, hob die süß lächelnde Cynthia ihren Hammer hoch und entfernte anmutig Henrys Kopf. Zwei Wochen später entdeckte sie in Henrys Kinderzimmer seine geliebte Spieluhr. Eifrig öffnete sie ihren Deckel worauf die Spieldose das Kinderlied «Old King Cole» zu spielen begann. Dann erschien eine kleine Geisterfigur. Es war Henry, aber nicht für lange. Denn als er im Raum stand, begann sein Körper schnell zu altern, wobei sein Verstand der eines Kindes verblieb. Die Wünsche seines ganzen Lebens durchströmten ihn. Als er versuchte, Cynthia Jane zu überreden, seinen romantischen (erotischen) Bedürfnissen nachzukommen, hörte dies die Amme und stürzte ins Kinderzimmer. Instinktiv schleuderte die Nanny die Spieluhr auf das bärtige Kind und zerstörte beide.»
Wie in vielen Märchen haben wir hier das Thema der erwachenden Sexualität.
Die Spieldose hat eine interessante Funktion in der Erzählung: Sie konserviert etwas vom Leben des verstorbenen Henrys, ihr Klang ruft ihn ins Halbleben zurück. Seine Präsenz im Raum ist eine Art Zeitlosigkeit, die als beschleunigte Zeit auftritt: Henry altert schnell, sein Leben dauert so lange, wie das «Old King Cole» Kinderlied dauert.
Der Song macht darauf aufmerksam, dass bereits vor Zylinder und Schallplatte eine künstliche Musikwiedergabe möglich war, nämlich mit den Spieldosen, die um 1800 in der Schweiz erfunden worden sind. Bereits diese Erfindung hatte für die Menschen etwas Gespensterhaftes. Die unschuldige Hörerin, die die Spieldose öffnet, begegnet einer Zauberkraft. Von der Technik geht eine erotische Anziehungskraft aus, die der Hörerin gefährlich werden kann.
Struktur
Dieser Song (eine Suite in drei Teilen, formal eine Rhapsodie.
Querverweise
zu einer Live Version des Songs
Links
– The Musical Box live im Belgischen Fernsehen (1971) – Performance ohne Maske
Geschwister Schmid [D]: Mondschein-Rock [F]
Assoziierte Acts: Joe Schmid mit seinem Orchester
Autor: Holden & Trent
Label und Katalognummer: Decca D 18 855
Veröffentlicht: 1958
Genretags: Rock'n'Roll - Mainstream
Bemerkungen: Trent ist der Songwriter-Name von Julius 'Joe' Schmid, dem älteren Bruder von Werner und Willy. Er und sein Orchester begleiteten nicht nur die Geschwister Schmid, sondern auch Peter Hinnen bei Schallplattenaufnahmen. Joe Schmid war der Wir
t des Zürcher Restaurants Kindli.
Gil Scott-Heron [D]: The Revolution Will Not Be Televised [F]
Autor: Gil Scott-Heron
Label und Katalognummer: Flying Dutchman FD 26011 (Single B), Flying Dutchman/RCA FD 10143
Produktion: Bob Thiele
Veröffentlicht: 1971 (Single-B), 1971 (Album)
Genretags: Jazz - Souljazz, Jazz - Souljazz - Jazzpoetry, Hip-Hop - Proto-Rap
Bemerkungen: Einflussreiches Stück für den mehrere Jahre später entstehenden Hip-Hop. Die Lyrics kontrastieren «Die Revolution» mit Medieninhalten, Werbung, Musik, Filmen. Der Schlusssatz: «The revolution will be live.» heisst: sie wird kein Medienprodukt sein, sondern real. Man kann den Song aber auch als Aufruf an die Afroamerikaner verstehen, mit Ersatzbefriedigungen wie Drogen, Konsum und Medien aufzuhören und stattdessen Politik zu machen.
Glen Campbell [D]: Wichita Lineman [F]
Autor: Jimmy Webb
Label und Katalognummer: Capitol 2302, Capitol ST 00103
Produktion: Al De Lory
Veröffentlicht: 1968 10 (Single), 1968 11 04 (Album)
Genretags: Country - Countrypop - Countrypolitan
Bemerkungen: Ein Song über die Einsamkeit eines Linemans (Arbeiter, der die Telegraphen-, Telefon- oder Stromleitungen in Stand hält), der sich nach seiner Freundin sehnt. Violinen und Keyboards mimen die Klänge, die der Lineman hört: Morse-Kode, das Pfeifen des Windes an den Kabeln.
Der Song ist in F, ohne dass diese Tonika jemals gespielt wird.
Links
– Beitrag über Cover-Versionen von Stereogum aus der Reihe Gotcha Covered (24. August 2017)
– Rick Beato: Why THIS Is The Greatest Country Song – eine musikalische Analyse des Songs
– Rick Beato: The Musical Genius of 'Wichita Lineman': A One-on-One with Jimmy Webb (31. Juli 2023)
Gordon Lightfoot [D]: Canadian Railroad Trilogy [F]
Autor: Gordon Lightfoot
Label und Katalognummer: United Artists UAS 6587
Produktion: John Court
Veröffentlicht: 1967 04 (Album)
Genretags: Rock - Folkrock, Rock - Singer-Songwriter
Bemerkungen:
Im Mai 2023 ist Gordon Lightfoot verstorben. Mit etwas Distanz nehme ich mich einem seiner erstaunlichsten Songs an: «Canadian Railroad Trilogy».
Entstehung
Lightfoot schrieb «Canadian Railroad Trilogy» 1967 als Auftragsarbeit der Canadian Broadcasting Corporation (CBC) zum 100-jährigen Bestehen der Canadian Pacific Railway, der Zuglinie, die Kanada von Osten nach Westen durchzieht.
Struktur
Der epische Song hat drei Teile («Trilogie») und ist Struklturell eine Suite. Anstatt dass die drei Teile sich einfach folgen, sind sie verschachtelt: der erste beinhaltet den zweiten, der wiederum den dritten enthält. Der erste Teil ist patriotisch, er besingt Kanada als Land. Der erste Verse ist die Beschreibung von unberührter Natur – ein paradiesischer Zustand. Der zweite Teil besingt das Millieu der Gründerväter, die getrieben von Fortschritt und Moderne das Land industrialisieren, indem sie in eine Eisenbahn investieren. Der dritte Teil beschreibt den Alltag der Eisenbahnbauer, der «navvies».
Erst die Coda verbindet über das Wort «Stille» («silence») den ersten mit dem dritten Teil:
And many are the dead men too silent to be realStill liegen Berge, Wälder und Prärien, wenn sie nicht vom Menschen urbar gemacht und bezwungen werden. Still liegen aber auch die Opfer, wenn kein Barde sie besingt oder keine Geschichtsschreibung ihrer gedenkt ...
Geschichte
«Canadian Railroad Trilogy» ist ein Story Song, also einer, der eine Geschichte erzählt. Die Erzählung ist eine historische und damit hat der Song in zweifacher Hinsicht mit Geschichte zu tun, mit Geschichte als erzählerischem Gehalt und mit Geschichte als Erzählung wie es früher einmal war.
«Canadian Railroad Trilogy» ist historiografisch interessant, weil das Lied in seinen drei Teilen drei Arten von Geschichte («history») erzählt, eine mythologisierende Nationalgeschichte (erster Teil mit der Natur als Erzählgegenstand), eine heroisierende
Wirtschafstgeschichte (zweiter Teil mit den Gründern) sowie eine sozialrealistische Alltagsgeschichte (dritter Teil mit den Arbeitern («navvies») als Antihelden). Es ist grossartig wie ein sechsminütiges Lied diese drei Perspektiven ausrollen kann, das Feierliche des Jubiläums, das gesellschaftliche Abenteuer der Bezwingung der Natur durch schiere Willens- und Körperkraft und die Opfer von Blut, Schweiss und Tränen, die meist ausgeblendet werden.
Die Verschachtelung der drei Teile wirkt wie ein tiefer Schürfen bei der Arbeit mit Quellen oder ein Vordringen zur historischen und gesellschaftlichen «Basis». Diese «Basis» steht in Anführungszeichen, weil sie nicht dem marxistischen Modell von Basis und Überbau folgt, sondern einem Modell der Rahmung. Arbeit und Opfer der «navvies» macht nur Sinn im grösseren Kontext – im Rahmen – der
Wirtschaftsgeschichte und diese wiederum im Rahmen der Nationalgeschichte.
Intertextualität
Ein Vorbild für «Canadian Railway Trilogy» war die Civil War Trilogy von Bob Gibson und Hamilton Camp.
Bedeutung
Gordon Lightfoot zeigte mit «Canadian Railroad Trilogy» früh, dass kanadische Musiker*innen in der obersten Liga der Populären Musik mitspielen, dass sie mit den amerikanischen Kolleg*innen mithalten können. Lightfoot war nicht der erste. Als der Song herauskam, waren Buffalo Springfield, die Gruppe von Neil Young und Stephen Stills, in Los Angeles bereits gut unterwegs. Leonard Cohen und Joni Mitchell traten einige Monate später ins internationale Rampenlicht. Man nahm Lightfoot im Gegensatz zu Buffalo Springfield als Kanadier wahr – und das war für die kanadische Musik wichtig.
Grateful Dead [D]: Casey Jones [F]
Autor: Jerry Garcia & Robert Hunter
Label und Katalognummer: Warner Bros. WS 1869
Produktion: Betty Cantor & Grateful Dead & Bob Matthews
Veröffentlicht: 1970 06 14 (Album)
Genretags: Rock - Neo-Americana - Acidrock
Bemerkungen: Eine Neuinterpretation der Casey Jones Ballade. Ein Song über die Gefahren des Exzesses. Casey Jones, der Zugführer, der zu schnell fährt und so einen Unfall baut, danach aber zum mythologischen Figur wird, kommt hier zu neuen Ehren: Er fährt den Zug auf Kokain. Im Text heisst es:
Trouble with you is The trouble with me Got two good eyes But we still don't seeDamit wird der Held in Frage gestellt und mit ihm die drogenversessene Gegenkultur.
Der Song war eine Konstante bei den Konzerten der Band. Als Single wurde er nie ausgekoppelt, vermutlich weil er wegen dem Kokain kein Airplay erhalten hätte.
Grauzone [D]: Eisbær (= Eisbär) [F]
Autor: Martin Eicher
Label und Katalognummer: Off Course ASL 3301, Off Course Records ASL 24
Produktion: Grauzone & Urs Steiger
Veröffentlicht: 1980 (Comp.), 1981 (Single)
Genretags: Postpunk - Artpop - NDW
Bemerkungen: Der Schweizer Beitrag zum Kanon der Neuen Deutschen Welle mit ihren zuweilen ironischen und klamaukhaften Texten. Die Musik kommt aus den farblosen Vorstädten (der Bandname Grauzone spricht das an – er kommt vom gleichnamigen Film von Fredi M. Murer von 1979). Die Zeilen «Ich möchte ein Eisbär sein, im kalten Polar» verklären ironisch die Eiszeit (wie etwa auch der Song der Berliner Band Ideal. Hier wird Gesellschaftskritik und Frustration mit doppelbödiger Ironie und strategischer Naivität vorgetragen. Die Musik ist an den englischen Flexipop und an Minimalsynth angelehnt, die mit den zeitgenössischen günstigen Synthis aus Japan neue und eigene sonische Welten bauen.
Halsey [D]: You Asked For This [F]
Autor: Ashley Frangipane & Greg Kurstin & Trent Reznor & Atticus Ross
Label und Katalognummer: Capitol B 003394302, Capitol
Produktion: Trent Reznor & Atticus Ross
Veröffentlicht: 2021 08 27 (Album), 2021 08 27 (Digital)
Genretags: Post-Millennial-Music - Poprock - Altpop
Bemerkungen: Im Song geht es um die Ambivalenz der Schwangerschaft, um die widersprüchlichen Emotionen zwischen Angst und Stolz. Einerseits will die Erzählerin eine Mutter sein, weil es ihre Bestimmung (sex) und gesellschaftliche Rolle (gender) als Frau ist. Dann zeigt sich ihr auch diese ängstliche Seite. Tränen überkommen sie. Wir
d sie mit einem Kind noch ein selbstbestimmtes Sexleben haben oder bleibt ihr lediglich das mittelständische Spiessbürgerleben?
«You Asked For This» ist ein treffliches Beispiel einer Indie-Mainstream-Kollusion: Der Song ist Mainstream-Pop, der musikalische Texturen aus der alternativen Rockmusik verwendet. Halsey schrieb den Song zusammen mit Hit-Garant Greg Kurstin und liess ihn – wie ihr Album If I Can't Have Love, I Want Power – von den beiden Nine Inch Nails Musikern Trent Reznor und Atticus Ross produzieren, die hier über 30 Gitarren verwenden, um einen massiven Shoegaze-Sound zu erzeugen.
Strukturell ist «You Asked For This» eine Verse-Chorus-Bridge Form, wobei die Bridge direkt in die Coda überleitet. Verse und Chorus repräsentieren die ambivalenten Gefühle der schwangeren Erzählerin. In der Bridge kommt ihr «Mission Statement» als Popstar: Sieben Willensbekundungen, was Halsey, die popkulturelle Figur sein will: Ein Wesen am Rand des Absturzes, verwöhnt, atttraktiv, eine Heldin unter Antihelden. Am Ende bringt die Bridge eine neue Perspektive auf den Songtitel aus dem Chorus: «You asked for this» wird im «Mission Statement» zu «I want everything I asked for». So werden die biografischen Widersprüche der Erzählerin qua Privatperson unter die professionellen Anforderungen an sie als Popstar gestellt. Die Bridge macht aus einem anfänglich autobiografischen einen Selbstbehauptungssong. Die Coda schliesslich klingt als Meer von verzerrten Ambientpop-Gitarren aus.
Querverweis
– zum Songexploder Podcast über diesen Song
Harold Arlen [D]: Ill Wind [F]
Autor: Harold Arlen & Ted Koehler
Label und Katalognummer: Victor 24569
Veröffentlicht: 1934 (Single)
Genretags: Traditionalpop - Vocalpop - Jazzpopvocal
Bemerkungen: Arlen singt selbst und wird begleitet von Arthur Schutt am Piano.
Harry Styles [D]: Sign Of The Times [F]
Autor: Jeff Bhasker & Tyler Johnson & Ryan Nasci & Mitch Rowland & Alex Salibian & Harry Styles
Label und Katalognummer: Columbia, Columbia 88985 43677
Produktion: Jeff Bhasker & Tyler Johnson & Alex Salibian
Veröffentlicht: 2017 04 07 (SIngle), 2017 05 12 (Album)
Genretags: Electropop - Vocalpop
Bemerkungen: Erste Single von Harry Styles, einem Mitglied von One Direction.
Harmoniefolge F-Dur, D-Moll, C-Dur, eine verkürze Form der 50s progression.
Der Song spricht von einer deutlichen ausweglosen Situation, aus der man ausbrechen muss. Dabei bleibt er vage, ob es um eine Liebe geht oder um die Welt. Der erste Verse spricht von der letzten Show, in der man sich vormacht, es sei alles in Ordnung. Harmonisch verbleibt der Song in der genannten Harmoniefolge, appliziert diese auf Verse und Chorus und demonstriert damit just, wovon der Text spricht. «stuck and running». Der zweite Verse spricht von einem Aufbruch in eine andere Welt. Andeutungen an den Wettlauf ins All aus den 1960er Jahren werden gemacht und ein wichtiger Song aus dieser Epoche zitiert: Space Oddity von David Bowie («Breaking through the atmosphere» und das Glissando als Einleitung zum Chorus). Vera Lynn klingt noch an «We can meet again somewhere
Somewhere far away from here» und mit ihr der Zweite Weltkrieg
. Während harmonisch also nichts passiert, dekliniert der Song mit den Mitteln von Melodie und Arrangement die formalen Teile einer Verse-Prechorus-Chorus Form durch. Die simple Pianoballade des verses wird im Chorus zum bombastisch in Szene gesetzten Rocksong. Melodisch sind Verse und Chorus ziemlich identisch. (Deutet der Song möglicherweise auch ein Ausbrechen aus den tradierten Songstrukturen an?)
Die Veränderung kommt ca. nach vier Minuten mit der Bridge. Der bisher ausgelassen B-Moll-Akkord wird nun eingeführt. Der Switched On Pop Podcast führt ausserdem vor, dass der Song bis zur Bridge alle Noten der F-Dur-Tonleiter braucht, bis auf einen einzigen Ton, das B♭. Dieses B♭ kommt erst im Outro bei «We gotta get away». Hier finder der Song seinen Schlussbunkt, seine Erfüllung. Wie das Amen in der Kirche, wie die Amen Kadenz.
Querverweise
– zum Switched On Pop Podcast
Heintje [D]: Mama [F]
Autor: Bruno Balz & Cesare Andrea Bixio & Bruno Cherubini
Label und Katalognummer: Ariola 19 786 AT, Ariola 77 541 IU
Produktion: Addy Kleyngeld
Veröffentlicht: 1967 (Single), 1968 (Album)
Genretags: Europeana - Schlager
Bemerkungen: Der Refrain dieses monströsen Lieds, kreischt babyhaft «Mama» - offenbar mit wirkungsvollem Effekt auf Mama-Herzen.
Henry Mancini [D]: It Had Better Be Tonight (= Meglio stasera) [F]
Autor: Henry Mancini & Johnny Mercer & Franco Migliacci
Label und Katalognummer: RCA Victor 47-8286, RCA Victor LPM 2795
Produktion: Joe Reisman
Veröffentlicht: 1964 01 (Single-B), 1964 03 (Album)
Genretags: Traditionalpop - Vocalpop - Easylistening
Bemerkungen: Song aus dem Pink Panter Film. Im Film wird der Song von Fran Jeffries gesungen (siehe: Filmszene).
Herbie Hancock [D]: Rockit [F]
Assoziierte Acts: Material
Autor: Michael Beinhorn & Bill Laswell & Herbie Hancock
Label und Katalognummer: Columbia 38-04054, Columbia FC 38814
Produktion: Michael Beinhorn & Bill Laswell & Herbie Hancock
Veröffentlicht: 1983 07 (Single), 1983 08 (Album)
Genretags: Afroamericana - Funk - Electrofunk
Bemerkungen: Im Interview mit Rick Beato sagt Produzent Michael Beinhorn, dass wir eine Oberheim DMX Drum Machine hören (ein signature sound im zeitgenössischen Electrofunk)
Herman's Hermits [D]: No Milk Today [F]
Autor: Graham Gouldman
Label und Katalognummer: Columbia (EMI) DB 8012, Columbia (EMI) CX 6174
Produktion: Mickie Most
Veröffentlicht: 1966 09 30 (Single), 1967 03 (Album)
Genretags: Pop - Progressivepop - Baroquepop
Bemerkungen: Ein wunderbarer Baroquepop Song aus der Beat-Zeit. Herman's Hermits kamen aus Manchester. Die Diskussion über die Bedeutung dieses Songs auf der Songmeanings-Seite ist unterhaltsam: Da wird unter anderem spekuliert, dass das lyrische Ich ein Verhältnis mit dem Milchmann gehabt haben könnte. Aber die Bedeutung dieses Songs ist ganz einfach: Englands Milchmänner stellten den Belieferten täglich Milchflaschen vor die Haustüre. Wenn man in die Ferien ging oder keine Milch brauchte, stellte man die leere Flasche raus mit einem Zettel, auf dem stand: «No milk today». Es geht also um die Appetitlosigkeit, die den Liebeskummer begleitet. «Lieber Milchmann, ich trinke gerade keine Milch zum Frühstück. Ich bin verlassen worden und mag gar nichts essen oder trinken».
Ein interessanter Aspekt an diesem Song von Graham Gouldman ist, dass dieser Zettel und die leere Flasche vor dem Reihenhaus ein ganz alltägliches Bild hergeben, wo aber hinter der Haustüre eine Welt zusammengebrochen ist. Flasche und Zettel bilden eine Art Scharnier zwischen privater und öffentlicher Welt.
Diese Botschaft an der Milchflasche funktioniert übrigens genau wie ein Popsong: Er hat eine «objekive» (öffentliche) und eine private Bedeutung. Wenn Sie ein Verhältnis zum Milchmann vermuten wollen ... Bitte sehr, dann können Sie das für sich tun.
Highwomen [D]: Highwomen [F]
Assoziierte Acts: Brandi Carlile & Natalie Hemby & Maren Morris & Amanda Shires & Yola Carter (feat.) & Sheryl Crow (feat.)
Autor: Brandi Carlile & Amanda Shires & Jimmy Webb
Label und Katalognummer: Elektra, Elektra 075678651748
Produktion: Dave Cobb
Veröffentlicht: 2019 08 13 (Single), 2019 09 06 (Album)
Genretags: Country - Countryrock - Post-Millennial-Countryrock
Bemerkungen: Ein Antwortsong auf das Lied Highwayman von der Country-Supergruppe (Waylon Jennings, Willie Nelson, Johnny Cash und Kris Kristofferson). Jener Song aus den 80er Jahren handelte von amerikanischen Aussenseitern, die auf dem Weg zum Heldentum gestorben sind, aber deren Ziele überlebt haben. Dieser Song handelt von weiblichen Pendants.
Der Name dieser Americana-Supergruppe, bestehend aus Brandi Carlile, Natalie Hemby, Maren Morris und Amanda Shires, sowie den Gastsängerinnen Yola Carter und Sheryl Crow ist ein grossartiges Wortspiel mit dem Namen der Supergruppe aus den 80er Jahren. Beide Formationen heissen gleich. Der Unterschied liegt in der Schreibweise! Jacques Derrida, der Philosoph der «Spur» hätte seine Freude daran, denn er betonte stets, dass alle Zeichen primär geschrieben Zeichen seien und dass der Sinn im Übersetzen und Weiterschreiben lebendig gehalten wird. Das ist es, wovon die Highwomen/Highwayman singen und das ist es, was die Highwomen hier tun: Sie halten eines der schönsten Country Songs der 80er Jahre am Leben.
Holly Herndon [D]: Dilato [F]
Autor: Holly Herndon
Label und Katalognummer: RVNG Intl. RVNGNL 15
Produktion: Holly Herndon
Veröffentlicht: 2012 11 13 (Album)
Genretags: Post-Millennial-Music - Digital-Underground
Bemerkungen: Von Holly Herndon kam bei RVNG Intl. mit Movement
eine der besten Electronica-Releases von diesem Jahr heraus. Der letzte Track daraus heisst Dilato
. Das ist vermutlich nicht die Musik, die Ihr Herz zum (Mit-)Singen bringt, dennoch poste ich den Track hier. Er dünkt mich interessant, weil man hört, wie mit elektronischen Mitteln die menschliche Stimme transformiert werden kann. Die Stimme ist das Instrument, das noch am wenigsten elektronisch verfremdet wird - bei Gitarren und Synthis sind unsere Ohren das gewohnt. Bei der Stimme sind viele Produzent/-innen noch zurückhaltend. (Ausnahmen sind einige wenige zeitgenössische Hip-Hop- und R'n'B-Renaissance-Produzenten.) Vielleicht sind dieses Klänge eine Postkarte aus der Zukunft, in der man beim Processing der Gesangs-Stimme nicht mehr halt macht.
Human League [D]: Being Boiled [F]
Autor: Ian Craig Marsh & Philip Oakey & Martyn Ware
Label und Katalognummer: Fast Product FAST 04, Virgin V 2133
Produktion: Ian Craig Marsh & Philip Oakey & Martyn Ware
Veröffentlicht: 1978 06 17 (Single), 1979 10 11 (Album)
Genretags: Postpunk - Electronic-Postpunk - Minimalsynth, Postpunk - Electronic-Postpunk - Flexipop
Bemerkungen: Die erste Single mit vollständig elektronischer Musik aus dem UK. Der Big-Bang für den britischen Synthpop. Das Vorbild war natürlich Kraftwerk.
«Being Boiled» ist ein Song, der die Kultivierung von Seide kritisiert.
Erfolg
«Being Boiled» blieb in der Hitparade erfolglos, abgesehen von einer Wiederauflage der Single im Jahr 1982, nachdem Human League den ersten UK-Top-Hit landete. Jetzt erreichte der Song die Top-Ten.
Einfluss
Wenn der kommerzielle Erfolg auch ausblieb, «Being Boiled» war äusserst einflussreich: David Bowie erklärte den Song zur Zukunft der Musik (siehe Artikel aus The Herald). Womit er recht hatte und John Lydon nicht, der in einer Rezension für den NME die Band als trendige Hippies bezeichnete («trendy hippies»). «Hippies» war unter der Punk-Generation eine abschätzige Bezeichnung für die alte Garde, die ausgedient hatte. Es ist bemerkenswert, wie das Vorurteil der Hippies gegenüber Technologie und Synthesizern im Punk weiter lebte. Von Gary Numan, Orchestral Manoeuvres in the Dark oder Vince Clarke von Depeche Mode wird gesagt, dass sie sich von «Being Boiled» inspirieren liessen. Offensichtlich ist der Einfluss auf Fade To Gray.
Versionen
1980 nahm die Band eine, sattere neue Version von «Being Boiled» auf. Diese erschien zuerst auf der Holiday '80 EP, dann auf dem Album Travelogue. Ausserdem gibt es die BBC-Version einer Peel Session (bei Youtube).
Iggy Pop [D]: Girls [F]
Label und Katalognummer: Arista AB 4237
Produktion: James Williamson
Veröffentlicht: 1979 04 20 (Album)
Genretags: Rock - Punkrock
Bemerkungen: Ein Song mit einem der laszivsten Gitarrenriffs der Rockgeschichte, in dem es um Frauen geht, von denen der Erzähler nie genug kriegt. Eine von ihnen wird namentlich genannt, die Zürcherin Susi Wyss («Suzee»), die eine Figur im europäischen Jet-set war. Sie lebte als Gesellschaftsdame in Paris und hatte mit vielen Prominenten Leuten Kontakt. Ihr Leben hat sie in einer ausführlichen und expliziten Autobiografie dokumentiert.
Der Song ist eine Art Mashup, weil er am Ende in ein Cover von Summertime mündet.
Jack Ü [D]: Where Are Ü Now [F]
Assoziierte Acts: Justin Bieber (feat.) & Diplo & Skrillex
Autor: Justin Bieber & Jason Boyd & Sonny Moore & Thomas Wesley Pentz
Label und Katalognummer: Atlantic, Mad Decent
Produktion: Diplo & Skrillex
Veröffentlicht: 2015 02 24 (Album), 2015 02 27 (Single)
Genretags: Latin - Electrolatino - Moombahton
Bemerkungen: Justin Bieber in der Umbruchphase: mit 21 Jahren ist er kein Teen-Star mehr und baut seine Karriere als Popstar für Erwachsene auf. Zum Portfolio des gegenwärtigen Popstars gehört Electropop. Auf «Where Are Ü Now» leiht das kanadische Stimmwunder dem Produzentenpaar Diplo und Skrillex seine Stimme.
Entstehungsgeschichte
Biebers Manager sandte ein Soundfile mit dem Fragment einer Pianoballade auf Diplos Mobiltelefon. Dieser und Skrillex machten aus dem Fragment ein technisches Wunderwerk, einen Song, der sich wie aus der Zukunft anhört. Die ursprünglichen Songlines wurden rearrangiert, die Stimme wurde transponiert, zu «Ghostvoices» verarbeitet, die mit Bieber interagieren, aber auch zu neuen ganz anders klingenden Sounds verarbeitet. Die instrumentale Delphin-Hookline zum Beispiel ist aus Biebers Stimme entstanden. Softwaretechnisch kann man aus jedem Sound jeden beliebigen anderen Sound erzeugen. Diese Platinum-Single ist der Showcase einer Hitproduktion in der Mitte der 2010er Jahre.
Struktur
Als Songfragment hatte «Where Are Ü Now» keinen Chorus und bestand nur aus Zeilen, die sich wie Verses anhörten. Die Titelzeile «Where Are You Now That I Need You» erhielt daher den Status eines Refrains. Die Zeile «I Need You The Most» entstammt offensichtlich nicht dem Fragment, vielleicht wurde sie später aufgenommen, um dem Song ein weiteres Element zufügen zu können. Aus «I Need You The Most» wurde das Intro, ein Zwischenspiel und die Coda. Der Verse und die Refrain-Zeile bilden den klassischsten Teil dieses Songs, sozusagen das «Song-hafte am Track».
Zweifellos kann man die Songstruktur von «Where Are Ü Now» verschieden auslegen. Zum Beispiel kann man von der Entstehungsgeschichte ausgehen und daran festhalten, dass der Song keinen Chorus enthält. Anstelle eines Chorus findet man einen Drop mit dem besagten «whale sound» und der Refrainzeile. Der Drop wird beim ersten Mal mit einem Pre-Chorus aufgebaut, beim zweiten Mal mit einem Pre-Chorus und einem Zwischenspiel. Ich nenne diesen Formteil «Zwischenspiel/«interlude», weil es die Zeile aus dem Intro aufnimmt.
Erfolg
«Where Are Ü Now» kam in den Billboard Hot 100 auf Platz 8, in Kanada auf Platz 5, in Australien auf 3, in Neuseeland auf 3. Bei den Grammys von 2016 gewann der Song in der Kategorie «Best Dance Recording».
Die Hitparaden reagierten weniger gut auf den Song als die Popkritik. «Where Are Ü Now» war einer jener Songs, über die viel geschrieben und nachgedacht wurde. Vor allem das eindrucksvoll produzierte Video-Feature der New York Times hat die Popularität des Songs enorm gesteigert – vor allem bei einem Publikum, das Justin Bieber oder EDM bisher ignoriert hat.
Links
siehe: NYT-Artikel, PopCast und Making-Of-Video Feature
Jackie Brenston And His Delta Cats [D]: Rocket 88 [F]
Assoziierte Acts: Ike Turner
Autor: Ike Turner
Label und Katalognummer: Chess 1458
Produktion: Sam Phillips [Labelgründer] & Ike Turner
Veröffentlicht: 1951 03 05 (Single)
Genretags: Afroamericana - Rhythm'n'Blues - Jumpblues, Afroamericana - Rhythm'n'Blues - Big-Beat
Bemerkungen: Diese Ode ans Oldsmobile 88 mit dem Rocket v8 Motor (erstes Baujahr 1949) wird oft als die früheste Rock'n'Roll Nummer der Geschichte beschrieben. Vorbild für den Titel war Cadillac Boogie von Joe Liggens (1947). Die Leadstimme wie auch der Gruppenname kommt von Ike Turners Saxofon-Spieler, Jackie Brenston.
Der Song ist berühmt für seinen verzerrten Gitarrensound, der von einem defekten Lautsprecher im Gitarrenverstärker herrührte, weil dieser vom Dach des Autos fiel. Link Wray hat aus dieser Geschichte gelernt und perforierte seinen Gitarrenverstärker für die Aufnahme von Rumble (1958) absichtlich.
Links
– Videoanalyse des Songs von John Covach.
Jackie DeShannon [D]: Needles And Pins [F]
Autor: Sonny Bono & Jack Nitzsche
Label und Katalognummer: Liberty F 55563, Liberty LRP 3390
Produktion: Dick Glasser
Veröffentlicht: 1963 04 11 (Single), 1964 10 (Album)
Genretags: Pop - Teenpop - Girlpop, Rock'n'Roll - Beat - American-Beat
Bemerkungen: Die beiden Songwriter Sonny Bono und Jack Nitzsche arbeiteten zur Zeit für Phil Spector. Die Originalversion des Songs von Jackie DeShannon kam auf Platz 83 der Billboard Hot 100. Das britische Cover der Searchers kam ein Jahr später auf Platz 13. Dasselbe wird ihr mit ihrer Eigenkomposition Bette Davis Eyes wieder passieren. Nun, die Version von Kim Carnes war unschlagbar gut produziert und der grössere Erfolg des Covers durchaus verdient. Hier aber ist es die ungeschminkte Ungerechtigkeit am Werk. Dieser Song, die Interpretation der Sängerin, die Produktion – alles stimmt und wurde vom Erfolg ignoriert! Im Nachhinein muss man feststellen, dass diese Single Sound-technisch die British Invasion vorweggenommen hat und auch die amerikanische Reaktion auf diese, den Folkrock. Die Single von Jackie DeShannon ist eine der grossen Ungerechtigkeiten der Geschichte. Und dass sie eine Frau trifft, macht es umso bitterer.
Der mächtige Schlagzeug-Sound entstand, nachdem die Tonbandspur mit den Drums verloren ging und noch einmal eingespielt werden musste.
Jacques Brel [D]: Ne me quitte pas [F]
Autor: Jacques Brel
Label und Katalognummer: Philips B 76.483 R, Philips 432.517 BE
Veröffentlicht: 1959 (Album), 1961 (Single), 1959 09 11 (Rec.)
Genretags: Europeana - Chanson - Chanson-à-texte
Bemerkungen: Nur als Live-Aufnahme aus dem Olympia (Paris) verfügbar. Die Melodie ist eine Variante von Greensleeves. Das Chanson ist als einziges langes Crescendo inszeniert. Der Text ist eine bitterböse Karrikatur oder Satire auf die Matrosen im Hafen von Amsterdam, die sich während dem Landgang vollaufen lassen. Am Ende heisst es: «Il pissent comme je pleure sur les femmes infideles». Die ganze Verachtung, die sich an dieser Stelle im Lied ausdrückt, wird auf die Frauen fokusiert, die die Männer lieben und fallen lassen. Die Ironie der Sache war, dass Jacques Brel selbst ein sehr freizügiges Leben fernab bürgerlicher Normen führte.
siehe auch Liveaufnahme aus dem Olympia
James Blake [D]: The Wilhelm Scream [F]
Autor: James Blake
Label und Katalognummer: Atlas 02, Atlas ATLAS 3T
Produktion: James Blake
Veröffentlicht: 2011 02 07 (Album), 2011 03 07 (Single)
Genretags: Electronica - Garage - Futuregarage
Bemerkungen: Der Titel ist eine Anspielung an ein Sound-Cliché aus Filmen.
Der Song nimmt Lyrics und Melodie aus einem Soulstück von James Litherland (Where to Turn
), das von James Blakes Vater produziert worden ist.
Strukturell liegt hier eine Simple Verse Form vor, aber im Unterschied zur klassischen Songstruktur, wird hier keine Geschichte erzählt. Der Song tritt auf der Stelle. Der Verse kommt in Varianten vor, die sich geringfügig unterscheiden.
James Blake [D]: Retrograde [F]
Autor: James Blake
Label und Katalognummer: Polydor
Produktion: James Blake
Veröffentlicht: 2013 02 07 (Digital), 2013 04 08 (Album)
Genretags: Indiepop - Blog-Indie - Alternative-R'n'B
Bemerkungen: Dieser Track setzt Synthi-Akkorde ein, die nach Insekten oder einem Bienenschwarm klingen. Die Intensität bohrt sich ins Fleisch, was die Wir
kung dieses Torchsong noch mehr unterstützt.
James Blunt [D]: You're Beautiful [F]
Autor: James Blunt & Amanda Ghost & Sacha Skarbek
Label und Katalognummer: Atlantic 7567-93451, Atlantic
Produktion: Tom Rothrock
Veröffentlicht: 2004 10 11 (Album), 2005 05 30 (Single)
Genretags: Rock - AOR-Rock - AOR-Poprock
Bemerkungen: Im Intro wird man irregeführt, weil die Titelzeile kommt und das Intro doch noch weiter geht.
Jamie Carter [D]: The Boy with the Way [F]
Assoziierte Acts: Sandy Hurvitz & Essra Mohawk
Autor: Sandy Hurvitz
Label und Katalognummer: Liberty F 55815
Veröffentlicht: 1964 (Single)
Genretags: Pop - Progressivepop - Baroquepop
Bemerkungen: Sandy Hurvitz aus Philadelphia war 16 als sie diese Single für Liberty schrieb. Später wird sie kurz Mitglied der Mothers Of Invention. Frank Zappa hat sie auf der Bühne als Uncle Meat angesagt. Als Essra Mohawk veröffentlichte sie zwei bis drei Singer-Songwriter-Alben pro Jahrzehnt. Mowhak hiess sie durch die Heirat mit Frazier Mohawk, einem Produzenten und «Essra» war kurz für S-and-ra.
Jason Aldean [D]: Try That In A Small Town [F]
Autor: Kurt Allison & Tully Kennedy & Kelley Lovelace & Neil Thrasher
Label und Katalognummer: Broken Bow
Produktion: Michael Knox
Veröffentlicht: 2023 05 19 (Digital)
Genretags: Country - Countryrock - Post-Millennial-Countryrock
Bemerkungen: «Try That in a Small Town» wurde zu einer Brandstiftung und war offenbar als das gedacht. Der kulturkriegerische Song stellt das Leben in einer amerikanischen Kleinstadt dem in den urbanen Zentren des Landes gegenüber. Der Song spricht davon, dass in den Städten Läden überfallen, Leute auf offener Strasse beraubt, Flaggen verbrannt und Polizisten attackiert würden. In einer Kleinstadt wäre das nicht möglich, singt Aldean.
try that in a small town, see how far ya make it down the road if you're looking for a fight, try that in a small townSchon diese Gegenüberstellung von geordneten Verhältnissen und urbaner Schreckensvision ist ein Zerrbild. Wenn die Kleinstadt als Lebensmodell so grossartig wäre, warum leben nicht mehr Leute in Kleinstädten und warum ziehen, junge Leute mit Tatendrang und Grips von dort weg?
Im zweiten Verse und der Bridge beschwört Aldean das Gewehr seines Grossvaters, also die «gun rights».
Full of good ol' boys, raised up right If you're looking for a fight Try that in a small townDie USA haben in dieser Beziehung weit lockerere Gesetze als alle anderen westlichen Länder. Die Gesetze von 38 Staaten lassen zu, dass ein Büger ohne Waffenschein mit einer Knarre rumlaufen dürfen.
Fast zwei Monate nach dem Release des Songs kam das Musuikvideo zum Song heraus, das Aldean und Band vor dem Maury County Courthouse in Columbia, Tennessee, zeigt, kontrastiert mit Bildern von Black Lives Matter Demos. An diesem Ort wurde 1928 ein junger Afroamerikaner von einem weissen Mob gelyncht.
Das ist alles erstens geschmacklos, weil erst die Kontroverse mit dem Video zum Erfolg dieses Songs beitrug. Zweitens ist Aldean einer der Rassist*innen, die den Rassismus nicht verurteilen, sondern tolerieren und wegschauen. Doch das ist gefährlich: Sobald der Rassismus wieder mehrheitsfähig wird (oder ist er es in den kleinen Städten des amerikansichen Südens schon?) bleiben die feigen Straussenvögel nicht mehr so sprachlos wie jetzt. Aldean ist so ein Vogel Strauss. Er behauptet, das Video sei nicht rassistisch. Das kann er tun, weil er die kontroversesten Szenen, in denen die Black Lives Matter rally in Georgia gezeigt wurde, stillschweigend aus dem Video entfernen liess. Drittens ist der Song selbstwidersprüchlich: Wenn diese «Rechtschaffenen» zur Waffe greifen, dann kommt es zu dem, was der Song als Gefahr anprangert.
Jean Ritchie [D]: The L&N Don't Stop Here Anymore [F]
Autor: Than Hall
Label und Katalognummer: Warner Bros. W 1592
Veröffentlicht: 1965
Genretags: Folk - Urbanfolk - American-Folkmusic-Revival
Bemerkungen: Es geht um die «Louisville & Nashville Railroad», deren Betrieb eingestellt wird. Die Folge ist, dass die Regionen, die nicht mehr ans Netz angeschlossen sind, verarmen.
Jefferson Airplane [D]: White Rabbit [F]
Autor: Grace Slick
Label und Katalognummer: RCA Victor LSP 3766, RCA Victor 47 9248
Produktion: Richard Jarrand
Veröffentlicht: 1967 02 (Album), 1967 06 24 (Single)
Genretags: Rock - Psychedelicrock - Psychedelicfolkrock
Bemerkungen: Der Bolero-artige Rhythmus war von Maurice Ravel und von Miles Davis' Sketches of Spain beeinflusst, der Text von Lewis Carrolls Alice in Wonderland
. Das Wunderland von Jefferson Airplane ist natürlich dasjenige, das man sieht, wenn man LSD wirft. Diese Single brachte die Hippie-Subkultur in den Mainstream, bis auf Platz 8 der US-Charts.
Der Song verwendet eine phrygische Tonleiter und wechselt in die «phrygian dominant».
Jefferson Airplane [D]: Blues From An Airplane [F]
Autor: Marty Balin & Skip Spence
Label und Katalognummer: RCA Victor 47-8848, RCA Victor LPM 3584
Produktion: Matthew Katz & Tommy Oliver
Veröffentlicht: 1966 05 (Single), 1966 08 15 (Album)
Genretags: Rock - Neo-Americana - Acidrock
Bemerkungen: Dies ist der erste Track auf erstem Album der Band. Der Titel verweist auf die Form des Stücks: Es ist ein Blues. Der Blues ist hier in eine AABA-Form gegossen, was damals untypisch war. Jeder Verse ist mit 3 Phrasen/Stanzen gebaut wie oft im Country und Chicago Blues, aber weisen Binnen-Reime auf.
Die Stimmung des Songs ist düster, grüblerisch, verzweifelt, einsam.
An «Blues From An Airplane» lässt sich zeigen, was formal mit dem Blues geschehen kann, wenn er als Bluesrock gespielt wird. Der Blues weist klassischerweise eine Harmoniefolge auf, die 12 Takte lang ist («12-Bar-Blues»). Mit diesen zwölf Takten kann man in einem Song einen Verse gestalten. Die einfachsten Bluessongs bestehen nur aus der Anreihung solcher Blues-Strophen: Man redet dann von «simple verse form».
Ein Solo (falls es eines gibt) hat meist die Länge eines Verses und bildet einen Instrumental Verse. Hier wird das Bluesschema in eine AABA-Form gegossen, wobei der 12-Bar-Blues die Verses bilden. Eine Bridge oder ein B-Teil – musikalisch ein anderes Motiv – wird zwischen den zweiten und dritten Verse geschoben.
Die Verses (A-Teile) sind düster, im B-Teil rafft sich der Erzähler zu positiven Gedanken auf und formuliert Wünsche. Der B-Teil hat folglich auch eine ganz andere musikalische Stimmung.
Jerry Hahn Brotherhood [D]: Captain Bobby Stout [F]
Assoziierte Acts: Jerry Hahn
Autor: Lane Tietgen
Label und Katalognummer: Columbia CS 1044, Columbia 4-45195
Veröffentlicht: 1970 (Album), 1970 (Single-B)
Genretags: Rock - Bluesrock, Rock - Jazzrock
Bemerkungen: Captain Bobby Stout
wurde geschrieben von Lane Tietgen, genau wie Martha's Madman
. Diese beiden Songs befinden sich auf dem herausragenden Album The Jerry Hahn Brotherhood, das einen mächtigen Eindruck bei Manfred Mann hinterlassen haben muss, denn dieser hat die beiden erwähnten Titel mit der Earth Band gecovert. Zuweilen lohnt es sich sehr, den Vorlieben von Musikern nachzugehen.
Captain Bobby Stout
ist ein psychedelischer Blues, erdig, heavy und dreckig. Er handelt davon, dass ein Mann beim Dealen von mexikanischem Gras gefasst wird und nun einer Gefängnisstrafe entgegen sieht. Am Anfang ist der Track ein Worksong, entwickelt sich aber zügig zu einem wilden tanzbaren Biest.
Jimmy Dorsey And His Orchestra & Bob Eberly [D]: My Sister and I [F]
Autor: Alex Kramer & Joan Whitney & Hy Zaret
Label und Katalognummer: Decca [USA] 3710
Veröffentlicht: 1941 04 (Single), 1941 03 19 (Rec.)
Genretags: Traditionalpop - Vocalpop
Bemerkungen: Der Song war eine Adaptation des gleichnamigen Romans von Dirk van der Heide.
Der Song handelt von niederländischen Geschwistern, die im Krieg mit einem Boot flüchten und in einem anderen Land (den USA) eine neues Leben beginnen. Sie sind traurig darüber, was sie verloren haben, ...
Jeder Verse beginnt mit der Titelzeile und endet mit «But we don't talk about that», der zum Ausdruck bringt, dass beide um die Tragik in ihrem Leben wissen, aber darüber schweigen und nach vorne schauen.
In der Bridge wird das Trauma angedeutet, unter dem sie leiden. Sie wachen, vermutlich von Alptraumbildern geplagt, in der Nacht auf und weinen.
Joan Baez [D]: Here's to You [F]
Autor: Joan Baez & Ennio Morricone
Label und Katalognummer: RCA Victor LSP 4612, RCA Victor 74-16080
Produktion: Ennio Morricone
Veröffentlicht: 1971 (Album), 10 1971 (Single)
Genretags: Pop - Progressivepop - Baroquepop
Bemerkungen: Dieses Stück kommt aus dem Film Sacco e Vanzetti (1971, Regie: Giuliano Montaldo). Ferdinando Nicola Sacco (April 22, 1891-August 23, 1927) and Bartolomeo Vanzetti (June 11, 1888-August 23, 1927) waren italienische Anarchisten, die in den USA 1927 vielleicht zu Unrecht zum Tod verurteilt worden sind (siehe Wikipedia (de). Dieses Revolutionslied wurde in fast alle europäischen Sprachen übersetzt. Ganz schlimm ins Deutsche, wo er «Geh mit Gott» heisst. Aus der Revolutionshymne wird ein blasses und biederes Abschiedslied. Der Song wird dadurch völlig entpolitisiert.
Joan Weber [D]: Let Me Go, Lover [F]
Assoziierte Acts: Jimmy Carroll And His Orchestra
Autor: Jenny Lou Carson & Al Hill & Ben Weisman
Label und Katalognummer: Columbia 40366 (Schellack), Columbia 4-40366 (Vinyl)
Produktion: Mitch Miller
Veröffentlicht: 1955 (Single)
Genretags: Traditionalpop - Vocalpop
Bemerkungen: Das Lied basiert auf einem früheren Song über die Alkoholsucht mit dem Titel «Let Me Go, Devil». Die Liebe wird hier als böser Geist dargestellt.
Joanie Sommers [D]: Johnny Get Angry [F]
Autor: Hal David & Sherman Edwards
Label und Katalognummer: Warner Bros. 5275, Warner Bros. WS 1470
Produktion: Stan Applebaum
Veröffentlicht: 1962 (Single), 1962 (Album)
Genretags: Pop - Teenpop - Girlpop
Bemerkungen: Joanie Sommers war eine singende Schauspielerin, bekannt aus dem erfolgreichen TV-Krimi 77 Sunset Strip.
Der Song, der 1962 ein Top-Ten-Hit wurde, ist zusammen mit He Hit Me (And It Felt Like a Kiss) von den Crystals einer der kontroversesten Songs aus dem Girlpop-Genre. Die Erzählerin macht mit ihrem Freund Johnny Schluss, nur um zu erwirken, dass er wütend wird, um a) seine Ernsthaftigkeit unter Beweis zu stellen, indem er um sie kämpft, und b) auf eine härtere Gangart mit ihr umzustellen, indem er männlich wie ein unziviliserter Höhlenmensch wird. Der Johnny der Erzählerin trägt offenbar die Züge eines Softies, der sich zurückzieht, wenn ein anderer junger Mann mit ihr tanzt.
Aspekt a) ist ein Thema in fast allen Teenpop-Stücken, die von Frauen gesungen wurden, einerlei, ob das Stück – wie meistens – von Männern geschrieben wurde oder nicht. Der kontroverse Aspekt b) kann man als Folge eines kulturkritischen Diskurses aus den 1950er Jahren hören, dessen Autoren die Feminisierung der jungen Männer beklagten. Diese Feminisierung kam ihrer Meinung nach durch die Rollenteilung in der Familie zustande, die die moderne Mutter an den von Haushaltsmaschinen geprägten Haushalt band. Die moderne Frau der 1950er Jahre habe ein komfortables Heim, nichts mehr zu tun und würde folglich die Kinder überbehüten, was den jungen Männern nicht bekommen würde. Johnny mag zwar ein Rebell sein, doch «er ist nicht in der Lage, sich um anderer willen anzustrengen. Alle seine Anstrengungen [...] stellen Investitionen dar, die darauf ausgelegt sind, seine unmittelbaren Wünsche und Bedürfnisse zu befriedigen.» Diese Beschreibung von jungen Männern als Narzisten stammt aus Robert M. Lindners Buch Rebel Without a Cause: The Hypnoanalysis of a Criminal Psychopath. Die amerikanische Gesellschaft dachte über jugendliche Rebellen, dass sie Narzissten, Muttersöhnchen seien, Krieger ohne einen Krieg, Partisanen ohne Ideologie, Revolutionäre ohne Programm. Wenn hier Lyriker Hal David die junge Frau sich einen Höhlenmenschen herbeisingen lässt, dann dachte er möglicherweise über jugendliche Rebellen genau wie jene Kulturkritiker in den USA.
Soundgestaltung
Die düstere Gitarre am Anfang kann als Hinweis auf die masochistischen Züge des Songs gehört werden. Das Kazoo-Instrumental ist schlecht gealtert, stellte damals möglicherweise eine Verbindung mit dem Folk-Revival, speziell den Jugband her, klingt heute einfach nur doof und betont den Novelty-Charakter dieses Lieds.
John Cage & Maelström Percussion Ensemble & Jan Williams [D]: Imaginary Landscape No. 4 (March No. 2) [F]
Autor: John Cage
Label und Katalognummer: HatHut hat ART 6179
Produktion: Werner X. Uehlinger
Veröffentlicht: 1996 06 (Album), 1951 04 (Werk)
Genretags: Akademica - Avantgarde, Akademica - Moderne-Klassik - Aleatorik, Akademica - Elektronische-Musik
Bemerkungen: John Cage ist einer der wichtigsten Musiker des 20. Jahrhunderts. Er hat eines der zentralsten Probleme der Musik seiner Zeit gelöst. Mit dieser Komposition (unter anderen) vereinigt er zwei Prinzipien der Musik, die sich vor ihm sich unvereinbar gegenüber standen: Jazz und klassische Musik. Letztere komponiert, erstere improvisiert. «Imaginary Landscape No. 4» ist ein Stück für 12 Radios, 24 Spieler und einem Dirigenten. Jeder Radio wird von zwei Personen gespielt (einer manipuliert die Lautstärke und damit die Dauer, eine Person die Frequenz). Das Werk ist nicht in Noten gesetzt, sondern in Zeitangaben. Klar, dass der Zufall mitspielt – nie klingt dieses Stück gleich: Die Musiker sind frei, wie schnell sie am Radio drehen, wo sie stoppen (das ist das improvisatorische Moment) und doch sind es immer die selben Anweisungen an die 24 Musiker/innen (das ist das kompositorische Moment).
John Lennon & Plastic Ono Band [D]: Power To The People [F]
Autor: John Lennon
Label und Katalognummer: Apple R 5892
Produktion: John Lennon & Yoko Ono & Phil Spector
Veröffentlicht: 1971 03 12 (Single)
Genretags: Rock - Poprock
Bemerkungen: Die Unentscheidenheit aus dem Song Revolution wird in diesem Song entschieden. Hier heisst es nun: «Say you want a revolution / We better get on right away». Der frühere Song wird zitiert, aufgegriffen und korrigiert.
John Leyton [D]: Johnny Remember Me [F]
Autor: Geoff Goddard
Label und Katalognummer: Top Rank JAR 577
Produktion: Joe Meek
Veröffentlicht: 1961 07 (Single)
Genretags: Rock'n'Roll - Mainstream - British-Rock'n'Roll, Pop - Teenpop - Boypop
Bemerkungen: «Johnny Remember Me» ist eine der frühen Songs, die man dem Goth Genre oder Stil zuordnen kann. Der Erzähler wird von einer toten Ex heimgesucht, die im Moor, einem der typischen Orte von Schauergeschichten, herumspukt. Dabei erfährt man weder ihren Namen, wie sie gestorben ist, noch ob der Erzähler dabei eine Rolle spielte.
Eine Platte, die von ausserhalb der etablierten britischen Musikwirtschaft kam. Eine unabhängige Produktion (von Joe Meek) und eines der ersten britischen Indielabels machten einen hörbaren Unterschied zu den Produktionen beim Decca oder bei den EMI-Labeln.
Strukturell ein ebenso unaufgeräumter wie interessanter Song, der weder eine AABA noch eine reine VC-Struktur aufweist. Die Teile sind anfangs 12 Takte lang, dann beginnen sie abzuweichen. Sie enthalten auch unvollständige Repetitionen aus anderen Teilen. Auch die ABC-Form kommt nicht in Frage, weil der Song keine grossen Kontraste aufweist. Würde man ihn als Verse-Chorus-Struktur aufräumen, entstünde eine Simple Verse-Chorus Form. «Johnny Remember Me» ist deshalb eine Rhapsodische Form, die aber durch einen Refrain «gekittet» ist.
Der Song war im UK ein Top-Hit und in Nowegen eine Nummer 4.
John Mayall's Bluesbreakers [D]: Look In The Mirror [F]
Assoziierte Acts: John Mayall & Mick Taylor
Autor: John Mayall
Label und Katalognummer: Decca SKL 4945
Produktion: Mike Vernon
Veröffentlicht: 1968 06 21 (Album)
Genretags: Rock - Bluesrock - British-Bluesrock
Bemerkungen: Ein jazzig gespielter Blues aus dem Album Bare
, dessen Cover psychedelisch gestaltet war. Der Text spricht von einem zerbrochenen Spiegel. Aber sonst ist nichts an diesem Song psychedelisch.
Wir
es
Der Multiinstrumentalist John Mayall
, geboren 1933, galt als «Vater des britischen Blues». Seine erste Band gründete er 1962, die Bluesbreakers
dann 1963. Auf Platte und auf Konzertplakaten tritt die Band in den Varianten «John Mayall», «John Mayall And The Bluesbreakers» oder «John Mayall’s Bluesbreakers» auf.
Mayall war eines von drei Urgesteinen des britischen Blues neben Alexis Korner und Graham Bond.
Die Bluesbreakers
waren die «Durchgangsstation» legendärer Britischer Bluesrock-Gitarristen, die berühmter als ihr ehemaliger Bandleader wurden: Eric Clapton (Yardbirds => Cream, Blind Faith, Delaney And Bonnie, Solo, Derek And The Dominos, Solo), Peter Green (Mick Fleetwood und John McVie) (=> Fleetwod Mac), Mick Taylor (=> Rolling Stones als Ersatz für Brian Jones, Solo). Diese Liste liest sich wie das Who-is-Who des britischen Blues.
John Williamson [D]: Waltzing Matilda 2000 (With 100'000 Voices) [F]
Autor: Banjo Patterson & Traditional
Label und Katalognummer: EMI 7243 5 27681 2 7
Veröffentlicht: 2000 (Album)
Genretags: Folk - Traditional-Folk - Bushballad
Bemerkungen: Die inoffizielle Hymne Australiens. Ein Wanderarbeiter (swagman) auf der Waltz campiert an einem See/Flussarm (billabong) und kocht sich Wasser für eine Suppe. Ein wildes Schaf kommt in seine Nähe, er packt es sich, um es zu essen. Dabei wird er von einem Landbesitzer und von einem Polizisten ertappt (obwohl es kein Unrecht darstellt, ein wildes Schaf zu fangen). Die beiden versuchen den Wanderarbeiter zu verhaften. Dieser entzieht sich, in dem er in den See springt und ertrinkt: Der Swagman stirbt für seine Freiheit und er bzw. sein Lied spukt an dieser Stelle herum – und in den Köpfen des australischen Volkes.
Die Version von Williamson führt die Bushballad als Folksong ein und steigert die Performance zur Hymne.
Johnny Cash [D]: I Walk The Line [F]
Assoziierte Acts: Johnny Cash And The Tennessee Two
Autor: Johnny Cash
Label und Katalognummer: Sun Records 241, Sun Records LP 1220
Produktion: Sam Philips
Veröffentlicht: 1956 05 19 (Single), 1957 11 (Album)
Genretags: Country - Honkytonk
Bemerkungen: I Walk The Line
ist einer der Erkennungssongs von Johnny Cash geworden. Ein Country-Crossover, das bis auf Platz 17 in den Popcharts stieg. In den Pophitparaden von 1956 war I Walk The Line
ein aussergewöhnliches Lied: einen so simplen und spröden Song hat man selten gehört. Der Song ist ein Treueversprechen an eine Ehefrau. Im biografischen Kontext, das Treuversprechen des immerfort tourenden Cash an seine Ehefrau Vivian. Wie treu oder untreu dieser ihr auch immer gewesen sein mag – wenn man diese Stimme hörtn, nimmt man ihr das Treueversprechen ab. Die Stimme ist um Welten grösser als der leibhafte Sänger, aus dem sie erschallt. Die Stimme fungiert hier als ein überzeugendes Verführungs- und Beschwichtigungsorgan, das vom Körper, der sie hervorbringt, getrennt ist. Sie hat etwas Absolutes.
Das Absolute der Stimme wird durch das geisterhafte Einsummen der Stimme vor jeder Strophe noch unterstützt. Man kann darüber lesen, dass Cash mit dem Einsummen den richtigen Ton gesucht habe, denn jede Strophe hat ihre eigene Tonart.
Es wurde viel über den Song geschrieben. Die Zeile «I keep my eyes wide open all the time», soll Cash von Dale Carnegie aufgegriffen haben. Carnegie hat Business Kurse für soziale Aufsteiger/-innen angeboten. Die wichtigsten Inhalte waren, ein Netzwerk von Leuten zu pflegen (Wie man Freunde gewinnt) und fähig sein, öffentlich zu reden. Die Zeile «I keep the ends out for the ties that bind» sei aus einer Predigt gekommen. Die Melodie soll Cash mit einer Erinnerung an eine Tonbandaufnahme der Barbarians, seiner Band während des Militärdienstes in Landsberg an der Lech, geschrieben haben, die eigenartig, ja überirdisch klang: Es war ein Tonband, das sich verwickelt hat und umgekehrt eingespannt war, so dass das Tape rückwärts lief. Die Chord-Progression eines typischen Country-Songs wurden für «I Walk The Line» umgekehrt. Auch das soll zu tun haben mit der Tonband-Erfahrung in Landsberg.
Es braucht vielleicht einen anderen Songwriter von literarischer Qualität, um den Magnetismus dieses Songs zu erklären. Bob Dylan hat in seinen Chronicles geschrieben: «[Johnny Cash] hört sich an, als stünde er am Rand eines Feuers oder im tiefen Schnee oder in einem gespenstischen Wald. Seine Coolness als bewusste und offensichtliche Stärke mit Volldampf ausgespielt, sie zittert vor Gefahr. [...] Johnnys Stimme war so groß, dass die Welt klein wurde. Ungewöhnlich tiefe Töne - dunkel und dröhnend, und er hatte die passende Band dazu [..] Was er sang, klang als wäre es ein Gesetz, legitimiert von Gott selbst» (Chronicles, p. 137).
Johnny Cash [D]: Ring Of Fire [F]
Autor: June Carter & Merle Kilgore
Label und Katalognummer: Columbia 4 42788
Produktion: Don Law
Veröffentlicht: 1963 04 19 (Single)
Genretags: Country - Autorencountry - Songster
Bemerkungen: Seit etwa zwei Jahren waren Johnny Cash und die Carter Family gemeinsam auf Tournee. In dieser Zeit verliebten sich Cash und June Carter ineinander, waren beide aber noch mit anderen Partnern verheiratet. June Carter schrieb 1963 zusammen mit Merle Kilgore, einem Songwriter, ein Lied über die verbotene Liebe zu einem verheirateten Mann (bzw. über die problematische Liebe zu einem Tabletten-süchtigen Mann). Es war ihre Schwester, Anita Carter, die den Song als erste aufnahm - und zwar unter dem Titel (Love's) Ring Of Fire
auf.
Ein paar Wochen später, am 25. März 1963, nahm auch Johnny Cash den Song unter dem bekannteren Titel Ring of Fire
auf. Dieser Song wurde nach einigen Monaten der erste Nummer-Eins-Hit für Cash in den Country Charts - sieben Wochen lang verblieb er auf der Top-Position. Die Single wurde wiederum ein Country-Crossover und schaffte Position 17 in den Pop Charts.
Der Song wurde Cashs grösster Hit seit Don’t Take Your Guns to Town
von 1959. Das war ein wichtiger Erfolg, weil Cash mittlerweile vom Mutterhaus Columbia New York gedroht wurde, man würde seinen Vertrag nicht verlängern. Die Kosten der Sucht waren offenbar ein Grund und die fehlenden Hitsingles.
So setzte Cash alles auf die Aufnahme seiner nächsten Single. Sie musste ein Erfolg werden! Er holte Jack Clement als Produzenten ins Studio, weil er wusste, dass Clement seinen Traum mit den Mariachi-Trompeten verstand und besser umsetzen konnte als die Columbia Produzenten.
Anita Carters Version war ein melancholisches Lied über das hoffnungslose Verliebtsein. Ihre Stimme konnte das Drama und die Verzweiflung nicht zum Ausdruck bringen, die bei Cash durchscheint: Bei ihm klingt das Lied hundert Mal existentieller wie aus einem tiefen Abgrund heraus: «Ich bin in einen brennenden Ring gefallen, Ich fiel tiefer, tiefer, tiefer und die Flammen wurden noch höher». Es waren die selben Worte aber die Stimme von Johnny Cash. Das macht einen hörbaren Unterschied. Der Feuerring wird, von Cash gesungen, zum Fegefeuer oder gar zur Höllenpforte.
An Cashs Version fallen die fanfareartigen Mariachi Trompeten auf, die anstelle des Riffs der Leadgitarre eingesetzt werden. Trompeten waren keine Country-Instrumente. Verwendet wurden sie, weil Cash den Song von Anita mit Trompeten geträumt haben soll. Sie geben dem Song einen Schuss Exotik, machen ihn aber auch zu einem Ohrwurm. Es ist ein Riff, das man nicht vergisst. Die Trompeten wurden von Bill McElhiney und Karl Garvin gespielt, die von der Aufnahme von Bob Moores Mexico bekannt waren, einem Instrumental-Hit aus dem Vorjahr.
Ein süffisantes Detail: Viviane Carter behauptet in ihrer Autobiografie, dass Cash den Song selbst geschrieben habe und dass er von einem bestimmten weiblichen Körperteil handle.
Johnny Cash [D]: Cry! Cry! Cry! (= Cry, Cry, Cry) [F]
Assoziierte Acts: Johnny Cash and The Tennessee Two
Autor: Johnny Cash
Label und Katalognummer: Sun Records 221, Sun Records LP 1220
Produktion: Sam Phillips [Labelgründer]
Veröffentlicht: 1955 06 21 (Single), 1957 11 (Album), 1955 05 (Rec.)
Genretags: Country - Honkytonk
Bemerkungen: Die erste Single von Johnny Cash. Sie stiess auf Platz 14 der Country Charts vor. Die B-Seite der Single war Hey, Porter.
Der Song steht in der Tradition von C&W-Songs, die über eine untreue Frau lamentieren. Neu an der Nummer aber war, dass der Erzähler weder moralisiert noch sich als Opfer ihrer Bosheit stilisiert. Vielmehr spricht der Song über die Konsequenzen, die der Untreuen drohen und zieht eine rachelustige Befriedigung daraus.
Der Song hat grosse Änlichkeit mit dem späteren Folsom Prison Blues.
Die Schreibweise mit den Ausrufezeichen findet sich auf den Shellack- und Vinyl-Singles. Auf der LP von 1957 wird der Song ohne sie und mit Kommas geschrieben.
Joni Mitchell [D]: Amelia [F]
Autor: Joni Mitchell
Label und Katalognummer: Asylum 7E 1087
Produktion: Joni Mitchell
Veröffentlicht: 1976 11 22 (Album)
Genretags: Rock - Singer-Songwriter
Bemerkungen: Ein Meisterwerk eines Songs. In sieben simplen Stanzen («simple verses») verknüpft Joni Mitchell einen Moment in der Wüste mit der eigenen Biografie und derjenigen von Amelia Earhart. Das übergreifende Thema ist der Ikarus-Stoff.
Die Erzählerin führt durch eine Wüste und sieht sechs Flugzeuge, die Kondensstreifen in die Luft zeichnen. Eine einsame aber assoziationsreiche Szene: Die sechs Kondensstreifen sehen wie die Saiten ihrer Gitarre aus. Und schon sind Himmel und Erde miteinander verbunden, das Leben der Erzählerin und ihr Schicksal. Am Ende jeder Stanza wiederholt sich der magische Zuruf: «Amelia, es war nur ein falscher Alarm». Was war ein falscher Alarm?
In der vierten, zentralen, Strophe wird klar, was die Situation der Erzählerin ist: Sie ist auf der Flucht vor einer Beziehung, die in die Brüche gegangen ist. Ihr Partner hat sie gebeten, wegzubleiben, da sie offenbar für ihn sowieso nicht greifbar geworden ist. Er hat sich von ihr getrennt. Und sie rast sinnlos im Auto durch die Wüste, um ihm den Wunsch zu erfüllen, um weg zu sein, um unabwendbaren Schmerz zu vermeiden, aber auch um das zu sein, was sie ist, ein Wandervogel (7. Strophe).
Der Vergleich ihres Lebens mit dem von Amelia Earhart, der Flugpionierin, die mit ihrer Maschine abgestürzt und nie gefunden worden ist, drängt sich der Erzählerin deshalb auf, weil Earhart eine Frau war, die ihr Leben unter das Ziel, zu fliegen, gestellt hat, Gefahren nicht hat wahrnehmen wollen oder gar missachtet hat. Ikarus wird genannt, der mit Flügeln, die mit Wachs befestigt waren, zu nahe an die Sonne flog, wo das Wachs flüssig wurde und die Flügel abfielen. Zwar ist Ikarus abgestürzt, aber er ist geflogen, er hat seinen Traum verwirklicht, den Elementen getrotzt. Das ist es wohl, worauf die Erzählerin hier aussagen will. Für jemanden wie Amelia und die Erzählerin ist Liebe ein Ausnahmefall. Sie schweben zu sehr in den eisigen Höhen und schauen auf die der Erde verhafteten Wesen herunter.
Am Ende des Lieds checkt die Erzählerin in ein Hotel ein, um sich den Staub vom Köper abzuwaschen und um zu schlafen. Im Traum erscheinen ihr wiederum Flugzeuge über geometrischen Farmen, die wohl die Alltäglichkeit des Lebens normaler Leute repräsentieren, der «Squares», wie sie in der Sprache der Hippies heissen.
Und der falsche Alarm? Es ist die Liebe und ihr Kummer, die solche Ikarus-Menschen alarmieren, nicht so hoch zu fliegen. Aber bei Mitchells Song werden solche Schuldgefühle als falscher Alarm bezeichnet. Sie ruft gleichsam Amelia (und damit sich selbst) zu: «Flieg weiter, lass dich nicht durch flasche Warnungen von dem abhalten, was du erreichen willst!» Das sind mutige Worte einer der stärksten und kompromisslosesten Musikerinnen des 20. Jahrhunderts.
Das Thema von Amelia
steht exemplarisch für die musikalischen Ambitionen der Rock-Musikerinnen und -Musiker. Diese Ambitionen schauten sie vielfach den Musikern des Modernjazz ab und markierten mit ihnen eine ästhetische Differenz zur Populären Musik vor Rock, dem Beat und Rock 'n' Roll, dem es um gutes Handwerk und ums Tanzen ging.
Journeymen [D]: 500 Miles [F]
Assoziierte Acts: Scott McKenzie & John Phillips
Autor: Traditional & Hedy West
Label und Katalognummer: Capitol 4625, Capitol ST 01629
Produktion: Andy Wiswell
Veröffentlicht: 1961 09 (Single), 1961 (Album)
Genretags: Folk - Urbanfolk - American-Folkmusic-Revival
Bemerkungen: Der Song, der hier zum ersten Mal auf Platte erscheint, wird ein Standard des amerikanischen Folk-Revivals.
Joy Division [D]: Love Will Tear Us Apart [F]
Autor: Ian Curtis & Peter Hook & Steven Morris & Bernard Sumner
Label und Katalognummer: Factory FAC 23
Produktion: Martin Hannet
Veröffentlicht: 1980 06 20 (Single)
Genretags: Postpunk
Bemerkungen: Der Song handelt von einer Liebesbeziehung, die in die Brüche gegangen ist. Ian Curtis singt ihn mit äusserst verzweifelter Stimme.
Der Refrain ist erstaunlich: weil nicht die Liebenden sich auseinander gelebt haben, sondern weil sie von der Liebe nun getrennt werden, immer wieder («again»), in jedem Moment, wenn sie zusammen sind. Der Song nennt vor allem das Schlafzimmer, wenn man voneinander abgewendet nebeneinander liegt, mit unerträglicher Kälte zwischen den Körpern. Die Liebe kann einen aber nur auseinander reissen, wenn sie institutionalisiert wurde. Man ist verheiratet, hat eine gemeinsame Wohnung, ein gemeinsames Schlafzimmer. Das ist die autobiografische Interpretation des Songs, wenn man ihn auf die Situation von Ian Curtis bezieht. Man muss das aber tun, weil sonst der Refrain keinen Sinn macht. Warum sonst sollte einen die Liebe auseinander dividieren? Hätte man nicht das gemeinsame Schlafzimmer, könnte man einfach auseinandergehen. Hier im Song stellen sich die ehemals Liebenden aber der Situation, statt dass sie ihr ausweichen. Deshalb ist der Song so bitter und kalt. So einmalig.
Die beiden Eingangszeilen des Songs sind hoch literarisch. Viele Assonanzen und wenige Worten, die im Prinzip schon alles sagen.
Dies war die einzige Single von Joy Division, die es in die Charts schaffte und zwar kurz nach dem Selbstmord von Ian Curtis.
Love Will Tear Us Apart
ist strukturell eine Simple Verse Form mit titelgebendem Refrain. Die Melodie des Refrain ist identisch mit dem Bassriff und den melodischen Keyboardlinien. Ein simpler aber treibender Rockbeat gibt dem Song seine Dringlichkeit. Die Gitarren, die im Intro den Song einleiten, spielen in den Strophen keine wesentliche Rolle mehr, hier übernimmt das Keyboard – ausser im Mittelteil zwischen zweiter und dritter Strophe und am Ende, wo man die Rhythmusgitarre wieder hört. Das ist untypisch für eine Rockband und stellt einen Hinweis auf die spätere Karriere von New Order als Synthpop-Band dar. Die Produktion macht einen aufgeräumten Eindruck. Sie schafft einen Kontrast zwischen den Instrumentalen und den gesungenen Teilen des Songs. Erstere klingen wie ein Song zum Tanzen. Zweitere wirken schwer, monoton und verzeifelt. Als der Song aufgenommen wurde, wusste noch niemand, dass Ian Curtis seine Veröffentlichung nicht mehr erleben wird. So sind diese Lyrics ein Testament seiner Verzweiflung geworden.
Judy Collins [D]: My Father [F]
Assoziierte Acts: Stephen Stills
Autor: Judy Collins
Label und Katalognummer: Elektra EKS 74033, Elektra EK 45649
Produktion: David Anderle
Veröffentlicht: 1968 11 (Album), 1969 02 (Single-B)
Genretags: Folk - Urbanfolk - Baroquefolk, Folk - Urbanfolk - Singer-Songwriter
Bemerkungen: Einer der wenigen selber geschriebenen Songs von Judy Collins. Eine introspektive Pianoballade mit besonderer musikalischer Qualität. Sie wirkt traumhaft und halbpräsent, ist Dreampop avant la lettre.
Das Lied erzählt eine Familiengeschichte: Der Vater der Erzählerin ist Bergwerkarbeiter und träumt davon, mit seinen Töchtern nach Paris auszuwandern. In seinem Traum sieht er seine Familie auf einem Boot auf der Seine und die Erzählerin als Ballettänzerin. Der Traum des Vaters verstummt, er bleibt Miner, aber die Erzählerin wird tatsächlich Tänzerin und lebt in Paris. Sie lebt den Traum ihres Vaters und erzählt ihren Kindern, die auch tanzen, Erinnerungen aus ihrer Jugend. Das Leben der Bergleute kommt den Kindern so fremd und weit weg vor, wie einst Paris im Traum des Vaters.
Collins schrieb dieses Generationen-Rondo als eine Hommage an ihren Vater. Es spricht ein universelles Thema der Babybommer-Generation an. Viele Babyboomer sind sozial aufgestiegen und haben ihre eignen oder die Träume ihrer Eltern verwirklicht. Der Song spricht davon, wie mit der sozialen Mobilität auch eine Entwurzelung einhergeht.
Es besteht ein Ähnlichkeit zum Standard For All We Know (Akkordfolge, Stimmung von der Version Simones).
Judy Garland [D]: Over The Rainbow [F]
Assoziierte Acts: Victor Young And His Orchestra
Autor: Harold Arlen & E.Y. 'Yip' Harburg
Label und Katalognummer: Decca [US] 2672
Veröffentlicht: 1939 08 (Single)
Genretags: Traditionalpop - Vocalpop
Bemerkungen: Berühmt wurde «Over the Rainbow» durch den Film The Wizard of Oz (1938) und gilt bis heute als eines der bekanntesten Lieder des 20. Jahrhunderts. In ihm drückt sich die Hoffnung auf ein Ende der Weltwirtschaftskrise und das Gelingen des New Deal aus.
«Over The Rainbow» ist das sehnsuchtsvolle Lied eines Mädchens, das sich eine bessere Welt wünscht. Es wird zuweilen als Schlock bezeichnet, als Kitsch. Doch dieses Lied korrespondierte mit vielen armen und leidenden Menschen während der Weltwirtschaftskrise (der «Great Depression»). Menschen, die die schönen Seiten des Lebens nur aus ihren Träumen kannten.
Die meisten heute in der westlichen Welt lebenden Menschen haben eine solche Krise und die Armut die damit einhergeht, nie gekannt. Stellen Sie sich vor, Sie sind Teenager und es herrscht eine tiefe Wir
tschaftskrise. An Tagen leiden Sie Hunger. Ihre Kleider sind geflickt, weil die Eltern kein Geld haben, um neu zu kaufen. Ihr Leben kennt keine Möglichkeiten und hat nur ein Ziel: den Hunger zu vergessen, durch den Winter zu kommen, zu überleben. Wenn man das Lied mit dieser Vorstellung hört, denkt man vielleicht nicht zuerst an «Schlock».
Im Film allerdings wird die Sehnsucht, die das Lied zum Ausdruck bringt, belehrt. Dorothy findet heraus, dass sie das Glück nicht am Ende des Regenbogens findet, nicht in einem Traumland, sondern zu Hause, da wo sie ist, bei den Menschen, die um sie herum leben.
Eine ganz andere Bedeutung nahm der Song in der LGBT-Familie an. Hier steht er für die Hoffnung auf ein Ende der Intoleranz und Repression.
«Over The Rainbow» wurde eines der bekanntesten Lieder des 20. Jahrhunderts und für Judy Garland ein «signature song».
Struktur
Strukturell liegt hier eine AABA-Form vor, eine der häufigsten Form des Traditionalpop-Genres bzw. dem Great American Songbook.
Rubato
Interessant ist, dass die verschiedenen A-Teile unterschiedlich lang sind. Das ist umso bemerkenswerter als sie ja alle 8 Takte lang sind. Der Grund dafür ist, dass «Over The Rainbow» das Tempo moduliert. Das Lied ist in der «Standardtime» geschrieben, d.h. in einem 4/4-Takt. Das heisst aber nur, dass ein Takt aus vier Viertelnoten oder zwei Halben usw. besteht. Wie lange sich ein Orchester oder eine Sängerin Zeit nehmen, um diese Noten zu spielen oder zu singen, ist eine andere Sache: «Over The Rainbow» ist in einem mittleren Tempo gehalten, italienisch «andante». Weil nun die Takte verschieden lang sind, schreibt man «rubato» oder «molto rubato» hinzu, d.h. beliebig im Tempo (siehe diese Noten).
Intertextualität und Intermedialität
«Over The Rainbow» wurde 1939 für den Metro-Goldwyn-Mayer-Film The Wizard of Oz komponiert. Der Film war die Adaptation des Kinderbuchs von Lyman Frank Baum: «The Wonderful Wizard of Oz». Die Filmmusik erschien auf Platte, kurz nach dem Filmstart.
Solche intermedialen Transformationen eines literaischen Stoffs kennen wir auch aus der Gegenwart gut: Zum Beispiel hat Disney «Frozen» (2013), das Kunstmärchen von Hans Christian Andersen verfilmt. Der Titelsong von Idina Menzel, Let it Go, kam ebenfalls in die Charts, wenn auch nicht in die höchsten Spitzenpositionen.
Mit jedem Medium erreicht ein Song ein noch grösseres Publikum und wird populärer. Am neueren Beispiel von «Frozen» sieht man, wie komplex diese mediale Verbreitung sein kann: Es gibt Adaptationen des Stoffs zum Beispiel als Musical, der Titelsong wird in verschiedene Sprachen interpretiert, schliesslich soll er ja Kinder und Jugendliche ansprechen, ein Publikum, das nicht in einer Fremdsprache angesprochen werden will.
Medien haben nicht nur das Potential, einen Song weltweit zu verbreiten, sondern sie prägen zuweilen seine Gestalt. «Over The Rainbow» ist anders im Film als auf Platte. Die Filmversion hat kein Intro und ist nur etwas mehr als 2 Minuten lang. Judy Garland singt die AABA-Sequenz und die Coda. Intro und Reprise werden weggelassen. Das hat mit dem Erzähltempo im Film zu tun.
Der Film hat kulturelle Relevanz bis in die neuere Zeit hinein. Elton John schrieb 1973 sein Lied Goodbye Yellow Brick Road und nannte seine Album danach. Als Margareth Thatcher starb, die britische Politikerin, die auch als «eiserne Lady» bekannt und verhasst war, haben ihre politischen Gegner das Lied aus dem «Wizard of Oz» angestimmt: «Ding-Dong! The Witch Is Dead». Der Song ging damals auf Platz 1 der britischen Charts (siehe: Huffingtonpost).
Kacey Musgraves [D]: Blowin' Smoke [F]
Autor: Luke Laird & Shane McAnally & Kacey Musgraves
Label und Katalognummer: Mercury Nashville B 0018029, Mercury Nashville
Produktion: Luke Laird Shane McAnally Kacey Musgraves
Veröffentlicht: 2013 03 19 (Album), 2013 04 01 (Single)
Genretags: Country - Countrypop - Post-Millennial-Countrypop
Bemerkungen: Blowing Smoke
ist ein Song über eine Bedienung, die ihren Job hinschmeisst und einen Bus besteigt, der sie ihrem Traum näher bringt. Die Arbeitskollegen bleiben mit ihren eigenen Träumen vom besseren Leben zurück und wollen wissen, dass diese Träume wie der Zigarettenrauch nicht mehr als ein Fantasma ist. Aufhören zu träumen (und den Traum verwirklichen) ist wie aufhören zu rauchen. Schwer!
Kapelle Jost Ribary [D]: Steiner Chilbi [F]
Assoziierte Acts: Jost Ribary
Autor: Jost Ribary
Veröffentlicht: 1946 02 13 (Rec.), 1964 (Rec.), 2008 (Rec.), 1933 (Werk)
Genretags: Europeana - Folklore - Ländler
Bemerkungen: Uraufgeführt am 2. Oktober 1933 in der Bierhalle Kündig in Steinen. Ribary war 23 Jahre alt. Gespielt wird er in verschiedenen Besetzungen. Original ist die Innerschwyzer Besetzung mit Klarinette, Saxofon, Klavier, Harmonika und Bass.
Karlheinz Stockhausen [D]: Kurzwellen [F]
Autor: Karlheinz Stockhausen
Label und Katalognummer: Stockhausen Verlag 13
Produktion: Karlheinz Stockhausen
Veröffentlicht: 1992 (Album Ed.), 1968 (Werk)
Genretags: Akademica - Moderne-Klassik - Serialismus, Akademica - Moderne-Klassik - Aleatorik, Akademica - Elektronische-Musik - Studiomusik
Bemerkungen: Diese Komposition von 1968 trägt die Idee von John Cage in Imaginary Landscape No. 4 einen Schritt weiter: Jenes Stück war sowohl komponiert (Zeitanweisungen an Radios die Lautstärke und die Empfangsfrequenz zu verändern) als auch improvisiert. Es ist für sechs Musiker/innen konzipiert, die Piano spielen, Electronium, Tam-tam mit Microphon, Viola mit Kontaktmikrophon, zwei Filter, und vier Kurzwellenempfänger. Innerhalb dieser musikalischen Komposition wird dem Hörer das reale HF-Funkband in Form unterschiedlicher Funkdienste und Betriebsarten vorgespielt. Zu hören sind Morsezeichen von Küstenfunkstellen, Militärfunk, Zahlensender, Fernschreib- und Bildübertragungsimpulse, Musik- und Sprachelemente von Rundfunksendern und was man sonst noch alles auf den Frequenzen, die die Welt bedeuten, findet. Im Unterschied zur erwähnten Komposition von John Cage sind hier die Spieler angewiesen, mit ihren Instrumenten das zufällig auf Kurzwelle Gehörte zu imitieren, dann zu entlang bestimmter musikalischer Dimensionen zu transformieren. Jede Aufführung klingt natürlich anders. Das Werk ist alleatorisch.
Kendrick Lamar [D]: King Kunta [F]
Autor: S. Bruner & Johnny Burns & K. Duckworth & Stefan Gordy & Michael Jackson & Ahmad Lewis
Label und Katalognummer: Top Dawg Entertainment
Produktion: Terrace Martin & Sounwave
Veröffentlicht: 2015 03 13 (Single), 2015 03 16 (Album)
Genretags: Electronica - Funktronica - US-Funky
Bemerkungen: Kendrick Lamar rapt über sich und seine Situation als neuer König auf dem Tron des Westcoats Hip-Hops. Dabei verwendet er viele Motive aus der Geschichte der Afroamerikaner - hier Kunta Kinte, den er King Kunta nennt. Dieser ist die halbverbürgte Figur aus einer TV-Serie Roots: The Saga of an American Family
aus den 70er-Jahren. Kunta Kinte ist dort ein nach Amerika verschleppter Königssohn, der als Sklave arbeiten muss. Er flüchtete und wurde wieder gefangen. Die Strafe für fliehende Sklaven war – die Amerikaner waren nicht zimperlich – entweder Geschlechtssteil ab oder Fuss ab. Vor die Wahl gestellt, wählte er den Fuss.Kendrick Lamar identifiziert sich mit der Figur, weil er als Afroamerikaner zugleich ein ehemaliger Sklave versteht und zugleich ein König des Hip-Hops ist.
Die Produktion des Tracks ist ein absolutes Meisterwerk: Der Track steht in der Tradition des West Coast Hip Hop, der sich vom Funk herleitete (von Funkadelic, George Clinton etc.). Ausser Beats und funky Bass ist da nicht viel und wenn dann der einfache Synthhook nach 70 Sekunden einsetzt, geschieht das mit grösster musikalische Wir
kung, ein Wenig wie im Techno, wenn der DJ den Beat ausfiltert, was eine Spannung erzeugt, und dann wieder ochdreht, was den TänzerInnen die Glückshormone literweise ins Blut spritzt.
Kenny Chesney [D]: There Goes My Life [F]
Autor: Wendell Mobley & Neil Thrasher
Label und Katalognummer: BNA Records Label, BNA Records Label 82876-56609
Produktion: Buddy Cannon & Kenny Chesney & Norro Wilson
Veröffentlicht: 2003 10 20 (Single), 2004 02 03 (Album)
Genretags: Country - Countrypop - Post-Millennial-Countrypop
Bemerkungen: Dieses Stück klingt etwas wie Bryan Adams, allerdings noch schmusiger und sentimentaler. Der Text handelt von einem Mann, der jung Vater wird und seine Lebenspläne in Rauch aufgehen sieht. «Da verschwindet mein Leben …» heisst es im Refrain. In der Bridge ist die Tochter dann selbst erwachsen und zieht aus und wieder verschwindet sein Leben. Der Lauf der Welt.
Kim Carnes [D]: Bette Davis Eyes [F]
Autor: Jackie DeShannon & Donna Weiss
Label und Katalognummer: EMI (US) 8077, EMI (US) SO 17052
Produktion: Val Garay
Veröffentlicht: 1981 03 10 (Single), 1981 04 (Album)
Genretags: Rock - AOR-Rock - AOR-NewWave
Bemerkungen: In der Version von Kim Carnes wurde Bette Davis Eyes
zu einem der Lieder des Jahres 1981: Neun Wochen lang besetzte der Song den Top-Spot der US-Charts, sieben Wochen lang denjenigen der deutschen und der schweizerischen, 5 Wochen lang jener der australischen Charts. Die Originalversion eines Songs von Jackie DeShannon, die ihn zusammen mit Donna Weiss geschrieben hat. Ihre Version fiel nicht weiter auf.
Wegweisende Produktion
«Bette Davis Eyes» in der Interpretation von Kim Carnes ist ein produktionstechnisches Meisterwerk, das wegweisend für andere AOR-Acts werden sollte. Das Arrangement wird von einem Synth Riff geprägt, das von Bill Cuomo beigesteuert wurde, der es auf dem Sequential Circuits Prophet-5 Synthesizer spielte. Der Prophet klingt stellenweise wie eine synthetische Gitarre. Der Song spricht daher gleichermassen ein Pop- und ein Rock-Publikum an. Die Produktion ist sparsam wie in einem NewWave Song: Das Intro exponiert das Riff, das mit Maracas unterlegt ist und nach ein paar Takten mit einem kontrapunktischen Synth-Motiv verziert wird. Mit dem Einsetzen der Stimme kommt eine monotone 4/4-Bassdrum hinzu, die sich im Chorus zum ökonomischen Rockbeat aufbaut. Der Produzent Val Garay soll für den Song sowohl synthetische als auch analoge Drums eingesetzt haben. Digital sind unter anderem die Handclap-artigen Beats, die mit dem zweiten Verse einsetzen.
Der Song
Der Song handelt von einer jungen Frau, die ihre verführerischen Kräfte dazu einsetzt, mit Männern zu spielen – oder vielleicht mit Frauen? Da die bekanntesten Versionen des Songs von Frauen gesungen werden, nimmt man entweder an, dass die Erzählerin eine Frau ist, die (neidisch) eine attraktivere Konkurrentin beobachtet oder eben selbst das verführte Opfer ist.
Drei Hollywood Schauspielerinnen werden in den Lyrics genannt. Die erste ist Jean Harlow, die in den 1930er Jahren der Prototyp der blonden Sexbombe war, eine Vorgängerin von Marilyn Monroe. Die zweite ist Greta Garbo, die in den 20er Jahren aus Schweden über Deutschland nach Hollywood kam und auf tragische Frauenrollen spezialisiert war. Zu ihrem Mythos trug bei, dass sie jung und auf dem Höhepunkt ihrer Karriere aus dem Geschäft ausstieg und zurückgezogen lebte, teils im schweizerischen Klosters. Die dritte, die titelgebende Bette Davis, kam als Theaterschauspielerin nach Hollywood und war auf komplexe und souveräne Charaktere spezialisiert. Davis konnte mit ihren Augen und einer Zigarette so viel ausdrücken, dass man sie auch ohne Ton verstand. Ihre Augenlider waren gross und wirkten müde und überlegen zugleich. Alle drei Schauspielerinnen sind Ikonen des Frauenpowers sowie der LGBT-Gemeinde. Dass diese drei im Liedtext genannt werden, ist ein Hinweis, dass der Song auch aus lesbischer Perspektive gehört werden kann. Diese Ambivalenz ist für einen Popsong geschickt in der Erzählposition aufgehoben, wo sie am wenigsten offensiv oder plakativ wirkt. Wer die Andeutung verstehen will, kann sie verstehen, wer nicht, hört «Bette Davis Eyes» als Vamp-Song.
Kim Carnes fing in den Sixties bei den New Christy Minstrels an zu singen. In dieser Popfolk-Grossformation spielten und sangen auch Kenny Rogers, Gene Clark (Gründungsmitglied der Byrds), Barry McGuire und Jerry Yester (später Mitglied der Lovin' Spoonful und Ehemann von Sängerin Judy Henske). Ende der 1960er Jahre sang sie für die Bubblegum-Formation Sugar Bears. Ihre Solokarriere begann 1978. Sie brachte bereits vor ihrem Überhit «Bette Davis Eyes» zwei Songs in die US-Hitparade, einer ein Duett mit Kenny Rogers: Don't Fall In Love With A Dreamer. Sie kam also 1981 nicht gerade aus dem Nichts, aber «Bette Davis Eyes» scheint so hell, dass der Song ihr ganzes restliches Schaffen in den Schatten stellt und daher meist als One-Hit-Wonder bezeichnet wird.
King Crimson [D]: 21st Century Schizoid Man (incl. Mirrors) [F]
Autor: Robert Fripp & Michael Giles & Greg Lake & Ian McDonald & Peter Sinfield
Label und Katalognummer: Island ILPS 9111, E'G EGCD 1
Produktion: Robert Fripp & Michael Giles & Greg Lake & Ian McDonald & Peter Sinfield
Veröffentlicht: 1969 10 10 (Album)
Genretags: Rock - Progrock - Symphonicprog
Bemerkungen: Klassischer Track des Progressive Rock. Von King Crimson sagte Jimi Hendrix, es sei die beste Rockgruppe der Welt. Dieser Track inszeniert eine Horror-Vision, die es mit den grössten Apokalyptikern der Kunstgeschichte aufnehmen kann. Eine atemberaubende Melange aus Metal-Riffs, Freejazz-Improvisationen, pastoralem Folkrock.
Als Single hat der Track nicht charten können. Dafür wird das zugehörige Album In The Court Of The Crimson King in Rock- und Progrock-Genrelisten ziemlich hoch plaziert, z.B. wurde es vom Rolling Stone 2015 auf Platz 2 der Progrock Alben gewählt, unmittelbar hinter The Dark Side of The Moon.
Kinks [D]: Give the People What They Want [F]
Autor: Ray Davies
Label und Katalognummer: Arista AL 9567
Produktion: Ray Davies
Veröffentlicht: 1981 08 15 (Album)
Genretags: Rock - Poprock - Powerpop
Bemerkungen: Die Kinks als relativ alte Band wurden vom Punk nicht wie viele andere Bands aus den 60ern weggespült. Sie feierten Ende 70er und anfangs 80er Jahre Grosserfolge als Liveband. Ein Zeugnis davon ist die Doppel-Live-LP One For The Road. In diesem Song setzt sich der Sänger und Songwriter Ray Davies mit der neuen Situation auseinander. Als Live-Band sind die Kinks eine Zirkus Truppe, die für ihr Massenpublikum auf der Bühne ein Spekatakel aufführt. Die Gitarre im Song spielt ein plakatives Hardrock-Riff, das typisch ist für den Stadion- oder Arenarock der Zeit. Ironisch und selbstkritisch bringt der Refrain die Einsicht zum Ausdruck, dass das Publikum ein immer grösseres Spektakel erwartet:
Give the people what they want You gotta give the people what they want The more they get, the more they need And every time they get harder and harder to pleaseJe mehr du dem Publikum gibst, desto mehr will es und so wird es immer schwieriger, das Publikum zufrieden zu stellen.
In der Anfangszeit der Rockmusik hiess es noch «I Can't Get No Satisfaction» und das galt für die Musiker wie die Fans. Hier im Arenarock hat sich seither etwas verschoben. Hier strampeln sich Künstler und Musiker ab, um ihre Fans zufrieden zu stellen.
Korgis [D]: Everybody's Got To Learn Sometime [F]
Autor: James Warren
Label und Katalognummer: Rialto 102 085, Rialto 44.045
Produktion: Korgis
Veröffentlicht: 1980 04 (Single), 1980 07 01 (Album)
Genretags: Rock - Artrock, Newpop - Artpop - Newromantic
Bemerkungen: Ein One-Hit-Wonder, das bis auf Platz 3 der UK Singles Chart vorstiess. New-Romatic bevor das mit diesem Genre richtig los geht. Die Bandmitglieder sehen aber eher nach Powerpop aus und hatten mit diesem Look wirklich keine Chance beim potentiellen Publikum.
Krokodil [D]: Camel Is Top (= Camel Dance) [F]
Assoziierte Acts: Walty Anselmo & Düde Dürst & Hardy Hepp
Label und Katalognummer: Auravision
Veröffentlicht: 1969 (Flexidisc Single)
Genretags: Rock - Psychedelicrock - Psychedelicbluesrock
Bemerkungen: Eine Werbesingle für die bekannte Zigaretten-Marke, die auf Flexidisc gepresst war und als klingende Werbung Magazinen beigelegt werden konnte. Krokodil verdienten sich mit dieser Einspielung ihr Startkapital als Band.
Der Track wirbt für Zigaretten, in dem er die Hörer/-innen zum Kamel-Tanz auffordert. Man darf nicht vergessen, dass Rauchen zu jener Zeit sehr verbreitet war. Ein Pack Zigaretten kostete nicht mehr als ein Pack Kaugummi! An Konzerten haben das Publikum und die Musiker geraucht, wenn man mit Freunden zusammen sass und diskutierte, hat man geraucht, um sich bei einem Kaffee oder sonst wie zu entspannen, hat man geraucht, oder um einer Musik auf Schallplatte konzentriert zuzuhören, hat man geraucht. Wer nicht geraucht hat, hat mitgeraucht.
Mit dieser ersten Aufnahme stellte sich Krokodil als Band vor, die in der Tradition der Jimi Hendrix Experience stand. Ein schweres Blues-Riff dominiert den Track – Leadgitarrist, Walty Anselmo, hat viel von Hendrix gelernt. Einen besonderen, orientalistischen Akzent setzt der B-Teil des Songs (bei 1:05 und bei 2:20).
Nachweis
siehe 45cat-Eintrag
Krokus [D]: Bedside Radio [F]
Autor: Jürg Naegeli & Fernando Von Arb & Chris Von Rohr
Label und Katalognummer: Ariola 101 737-100, Ariola 201 199
Produktion: Krokus & Martin Pearson
Veröffentlicht: 1979 11 (Single), 1980 06 30 (Album)
Genretags: Rock - Hardrock
Bemerkungen: «Bedside Radio», einer der bekanntesten Songs der Schweizer Hardrock-Band Krokus aus dem Jahr 1979, ist ein Lied, das von der starken Wir
kung der Rockmusik auf das Leben der Fans spricht: Am Morgen nach einem Konzertbesuch spielt der Radiowecker nochmals den Song der Band, der dem Fan klar macht, dass sein Leben irgendwie falsch ist: «[The Song] says your way of life is kinda wrong». Statt zur Arbeit fährt er an diesem Morgen zur Stadt hinaus …
Lady Gaga [D]: Bad Romance [F]
Autor: Lady Gaga & RedOne
Label und Katalognummer: Streamline, Interscope B 0013535-72
Produktion: RedOne
Veröffentlicht: 2009 10 26 (Single), 2009 11 18 (Album)
Genretags: Electropop - EDM
Bemerkungen: Lady Gaga nimmt hier Stil-Elemente von Boney M: «Ra-Ra-Rasputin» und «Ma-Ma-Ma-Ma- Ma Baker» wird hier zu «La-La-Olala».
Lady Gaga & Bradley Cooper [D]: Shallow [F]
Autor: Lady Gaga & Mark Ronson & Anthony Rossomando & Andrew Wyatt
Label und Katalognummer: Interscope, Interscope B 0028725
Produktion: Lady Gaga & Benjamin Rice
Veröffentlicht: 2018 09 27 (Digital), 2018 10 04 (Album)
Genretags: Post-Millennial-Music - Poprock - Altpop
Bemerkungen: Song aus der Neuverfilmung von A Star is Born von 2018. Die Musik wird gespielt von Lukas Nelson And The Promise of the Real, der Band des Sohnes von Willie Nelson.
Struktur
Die Komposition besteht zwei Verses mit Refrain («I'm falling ...»), einem Chorus mit Post-Chorus und einer Bridge.
Energieniveaus
Um einen Kontrast zu schaffen, ist der erste Teil des Songs bemerkenslos, damit der Zweite eine Supernova (im Sinn der Explosion eines Sterns) sein kann. So inszeniert der Song eine Fackelübergabe von einem verglühenden Stern an einen aufgehenden. Lady Gaga singt, als müsste sie die Mauern von Jericho zum einstürzen bringen. Das ist hochemotional und reisst mit.
Untypisch ist, wie der Refrain in der Songmitte mit riesigem Energiesprung in den Chorus übergeht. Sonst werden solche Übergänge heute meist mit einem Pre-Chorus gestaltet. Hier gibt es stattdessen einen Refrain, der gerade deshalb kein Pre-Chorus ist, weil er die Energie neidrig hält, so dass sich die Supernova ereignen kann.
Die Bridge hat keinen Text, sondern arbeitet mit Vokalisationen und dem Einsatz der Band. Das dient dazu, das Energieniveau des Songs noch einmal eine Stufe höher zu schreiben. Bei EDM-Songs stünde an dieser Stelle der Drop.
Lyrics
Die Erzählerin will nicht allein bleiben und sehnt sich nach einer Beziehung (eine Veränderung ihres Single-Daseins). Die Beziehung, die nicht einfach ist, meistert sie souverän. Sie hat sich im Griff und kann deshalb für zwei schauen. Sie ist Koabhängig. Ihr Partner ist Alkoholiker und sie glaubt mit ihrer Liebe könne sie ihn heilen.
Der Song ist dialogisch. Er weist wechselnde Anredeformen auf.
Erfolg
Der Track gewann im Januar 2019 einen Golden Globe Award in der Kategorie Original song».
Links
– zum Song bei Hooktheory
Lale Andersen [D]: Lied eines jungen Wachtpostens (= Lili Marleen) [F]
Autor: Hans Leip & Norbert Schultze
Label und Katalognummer: Electrola EG 6993
Veröffentlicht: 1939 08 (Single), 1915 (Werk), 1939 07 31 (Rec.)
Genretags: Europeana - Schlager
Bemerkungen: Lili Marleen
oder eigentlich Lied eines jungen Wachtpostens
ist zweifellos ein Jahrhundertsong. Das Lied, das eine zufällige Wir
kung entfaltete, wurde während dem Zweiten Weltkrieg zum Spielball der Tagespolitik und schuf ein ideologisches Schlachtfeld, auf dem ausgefochten wurde, welche Art von Männerphantasie erwünscht war und welche unerwünscht. Die Reichspropaganda wusste, dass Fantasien kriegsentscheidend sind ...
Der Hamburger Lehrer Hans Leip schrieb 1915 , kurz bevor er im Ersten Weltkrieg an die Ostfront eingezogen wurde, ein Gedicht mit dem Titel Das Lied eines jungen Soldaten auf der Wacht
. 1937 publizierte Leip, mittlerweile ein bekannter Autor für Seemannsromane, sein Gedicht. Ein Jahr später vertonte Norbert Schultze die drei Verse als Schlager – ergänzt mit weiteren zwei Strophen. Die Platte unter dem Titel Das Mädchen unter der Laterne
von Lale Andersen – bürgerlich Liese-Lotte Helene Berta Bunnenberg – wurde von der Öffentlichkeit zunächst kaum wahrgenommen. Nur gerade 700 Stück sollen davon verkauft worden sein.
Während dem Krieg wurde der Schlager zu einem begehrten Stück Musik. Das besetzte Radio Belgrad, das an allen Fronten empfangen werden konnte, sendete den Song ab 1941 regelmässig. Anfangs aus dem simplen Grund, weil es zu wenig Schallplatten gab und diese halt im Fundus war. Später wurde das Stück anstatt der Landeshymne um 21:55 Uhr zum Schluss des Tagesprogramms gespielt und schlich von dort in die Träume der Soldaten. Der deutsche Propaganda-Minister Göbbels hörte in der Lili Marleen
etwas Defätistisches und liess das Lied neu aufnehmen. Aber die deutschen Soldaten wollten die Originalversion hören. Jeden Abend, quasi als Ritual, wurde das Lied gespielt. Auch die Feinde lauschten mit und während der Song lief, schwiegen die Waffen, so will es der Mythos.
Das Lied ist ein Lehrstück, wie Kontext-sensibel musikalischer Erfolg ist: Ohne den Zweiten Weltkrieg wäre der Song vermutlich sang und klanglos untergegangen und niemand würde heute noch von ihm sprechen. Durch die Erfahrung von zigtausend Soldaten, die durch den Krieg von ihrer Liebsten oder ihrer Familie getrennt wurden, erhielt das melancholische Lied eine Brisanz, die es vorher nicht hatte. Als es dann auch noch Gegenstand der deutschen Propagandamaschine wurde und zum Politikum war der Song definitiv Geschichte. Schliesslich wurde Lili Marleen
auch noch zur Waffe der Alliierten. Lale Andersen wurde 1943 mit einem Auftrittsverbot bestraft, weil sie Briefkontakte zu jüdischen Emigranten pflegte. Die BBC streute darauf die Nachricht, dass die beliebte Sängerin in einem KZ festgehalten würde, worauf die Deutschen, besorgt um ihren Ruf, sie wieder auftreten liessen. Das amerikanische «Office of Strategic Services» machte Marlene Dietrich das Lied singen, die bereits seit 1930 als Schauspielerin in Hollywood arbeitete. Ihre Aufnahme wurde propagandamässig eingesetzt, um die Moral der feindlichen Truppen zu unterhöhlen. Der Song kommt einem vor, wie ein Fetzen Stoff, an dem viele Parteien je einen Zipfel fassen und mit allen Kräften dran ziehen. Der Song aber hält, ohne zu zerreissen.
Lili Marleen
wurde die erste goldene Schallplatte in Deutschland (1 Million verkaufte Einheiten).
Über den Song drehte Rainer Werner Fassbinder 1981 seinen gleichnamigen Film.
Links
– zur Box von Bear Family Records: Lili Marleen An Allen Fronten (2005)
– zum Film über das Lied von Fassbinder
Lana Del Rey [D]: Blue Jeans [F]
Autor: Emile Haynie & Dan Heath & Lana Del Rey
Label und Katalognummer: Selbstrelease (Youtube Video), Polydor 2793087, Polydor
Produktion: Emile Haynie
Veröffentlicht: 2011 09 09 (Digital), 2012 01 27 (Album), 2012 04 08 (Single)
Genretags: Post-Millennial-Music - Poprock - Altpop
Bemerkungen: Eine dunkle Schönheit geht von Lana Del Rey aus, als käme sie aus einem David Lynch Film. Sie wird beschrieben als die Nacy Sinatra der 10er-Jahre oder die Nachfolgerin von Amy Winehouse.
Lana Del Rey [D]: A&W [F]
Autor: Jack Antonoff & Lana Del Rey
Label und Katalognummer: Interscope, Interscope
Produktion: Jack Antonoff & Lana Del Rey
Veröffentlicht: 2023 02 14 (Digital), 2023 03 24 (Album)
Genretags: Electropop - Folkpop
Bemerkungen: «A&W» ist eine amerikanische Bier Marke. Der Song hiess ursprünglich «American Whore». Als Product Placement wird er wohl eher am amerikanischen Radio gespielt als mit einem Titel, der Klartext spricht. Lana Del Rey schlüpft in ihrem neuesten Song in die Haut einer Sexworkerin. Wie stets stehen ihre Figuren als exemplarische Vertreter*innen der Gattung des homo americanus. Nathalie Djamila Noll schreibt in einem Feature im Musikexpress: «Kaum eine Künstlerin bündelt das Lebensgefühl der Millennials so gekonnt wie sie. Vollgepackt mit Metaphern und Verweisen auf Pop und Literatur erkundet Del Reys Musik ihren eigenen Traum der USA – oder was davon noch übrig ist.» Wie Joan Didion in den 1960er Jahren dokumentiert die Sängerin das Leben an der Westküste, berichtet aber nicht authentisch oder netral, sondern überhöht die beobachteten Selbstentwürfe zu eigentlichen Kunstfiguren. Die «A&W» im Song macht sich nichts vor und sagt von sich, dass es nicht mehr darum gehe, jemanden zu haben, der sie liebt. Sie weiss, was sie ist: «It's not about havin' someone to love me anymorе / This is the experiеnce of bein' an American whore». Sie akzeptiert ihren Status am Rand der Gesellschaft. Offenbar ist sie im Modus des Überlebens und wer dort angekommen ist, hat keine Energie mehr, für ein anderes Leben zu kämpfen, hat keine andere Antwort mehr für ihr Dasein als die Feststellung, dass sie so ist und dass sie ihr Sosein mag. Das ist der Stolz, der am Nullpunkt bleibt:
Ask my why, why, why I'm like this Maybe I just kinda like this I don't know, maybe I'm just like this.
«A&W» ist wie die Essenz von Lana Del Reys Songwriting-Kunst. Hier ist alles kondensiert, was die einen guten Lana Del Rey Song ausmacht: die Melancholie, die Nostalgie, das Pathos, die Illusionslosigkeit, die fehlende Ironie oder Authentizität, die zentral für die musikalische Kunst früherer Generationen war.
Songstruktur
Der Song besteht aus zwei Teilen, der erste eine Contrasting Verse-Chorus Form mit Pre-Chorus, der zweite – mehr Track als Song – eine Sequenz mit einem gerappten A-Teil, der von Shimmy, Shimmy, Ko-Ko Bop interpoliert ist und zwei Mal wiederholt wird. Hier fehlt eine erkennbare Songstruktur und deshalb nennen wir den zweiten Teil von «A&W» einen «Track» statt einen «Song». Das macht «A&W» zu einer Suite aus Song und Track. Der Triphop und Electro evozierende Track nimmt wie ein Remix Elemente aus dem Song als Sample auf und verfremdet sie.
Lana Del Reys Stimme
Im Song ist interessant zu hören, wie die Stimme von Del Rey sich verändert: Der nuschelnde Whisper Pop, der ihr Markenzeichen ist, dann die Sequenzen, in denen die Erzählerin ihren Körper beschreibt («Look at my hair ...» und «I'm a princess ...», in der die Melodie in die extremen Höhen der Kopfstimme flüchtet und auf fast grausame Art verletzlich klingt, weil sie hörbar versagt. Dann folgt der Pre-Chorus, wo Del Rey mit sich selbst im Chor singt und der Chorus, wo die Stimme wieder an ihren Ausgangspunkt zurück findet, die dunkeln und schwermütigen Harmonien sie aber «grounden».
«A&W» ist zweifellos ein Instant-Klassiker.
Laura Nyro [D]: Stoned Soul Picnic [F]
Autor: Laura Nyro
Label und Katalognummer: Columbia CS 9626
Produktion: Charlie Calello & Laura Nyro
Veröffentlicht: 1968 03 03 (Album)
Genretags: Rock - Folkrock
Bemerkungen: Falls es stimmt, dass «Surry» kurz für «Let's hurry!» steht und ein Neologismus ist, dann setzt Nyro ihn auf sprachlich interessante Weise ein: «Can you surry». «Sassafras» ist ein Baum, dessen Rinde in der Cajun-Küche als Gewürz verwendet wird.
Leadbelly [D]: (Black Gal) Where Did You Sleep Last Night (= In The Pines) (= Black Girl) [F]
Assoziierte Acts: Huddie William Ledbetter
Autor: Traditional
Label und Katalognummer: Musicraft 312
Veröffentlicht: 1944 (Single)
Genretags: Americana - Folk - Songsters
Bemerkungen: Dieses Traditional existiert unter mehreren Titeln: In the Pines, Black Girl oder Where Did You Sleep Last Night. Es wird oft Leadbelly zugeschrieben ist aber in Wir
klichkeit einige Jahre älter.
Einen Antwortsong hat Connie Francis aufgenommen: True Love, True Love.
Led Zeppelin [D]: D'yer Mak'er [F]
Autor: John Bonham & John Paul Jones & Jimmy Page & Robert Plant
Label und Katalognummer: Atlantic K 50014, Atlantic K10296
Produktion: Jimmy Page
Veröffentlicht: 1973 03 28 (Album), 1973 09 17 (Single)
Genretags: Rock - Corporate-Rock - Hardrock, Caribbeana - Reggae - Rock-Reggae
Bemerkungen: Der Songtitel wird «Jamaica» ausgesprochen, nicht «Dear Maker»!
Led Zeppelin [D]: The Crunge [F]
Autor: John Bonham & John Paul Jones & Jimmy Page & Robert Plant
Label und Katalognummer: Atlantic K 50014, Atlantic 45-2986
Produktion: Jimmy Page
Veröffentlicht: 1973 03 28 (Album UK), 1973 09 17 (Single US)
Genretags: Rock - Progrock - Hard'n'Heavy, Rock - Corporate-Rock - Hardrock
Bemerkungen: Die B-Seite zu D'yer Mak'er. Ein Track aus Funk-Breaks, die an Sex Machine von James Brown angelehnt sind (am Schluss wird das mit den Zeilen «I'm just trying to find the bridge...» deutlich. Robert Plant rappt zwar nicht wirklich hier, aber dennoch ist es interessant, den Track als Proto-Rap/Proto-Hip-Hop zu hören. Die Single mit einem Reggae-Track als A-Seite und einem Funk-Track als B-Seite ist unglaublich fortschrittlich für eine Rockband!
Les Paul [D]: Lover [F]
Autor: Lorenz Hart & Richard Rodgers
Label und Katalognummer: Capitol 15037, Capitol H 226
Veröffentlicht: 1948 02 (Single), 1950 (Album)
Genretags: Traditioanlpop - Instrumentalpop - Exotica
Bemerkungen: Les Paul spielte auf dieser Aufnahme alle Gitarrenteile selbst ein. Er benutzte zum ersten Mal in der Geschichte der Aufnahmetechnologie Overdubbing. Paul selbst nannte solche Aufnahmen «Multiples». Das ging so: Er spielte seine Gitarre wie ein Leadinstrument und nahm dies auf eine Acetatplatte auf. Dann spielte er diese Aufnahme ab und zupfte dazu eine Rhythmusgitarre. Beides – die erste Aufnahme und die zweite Gitarre – nahm er auf eine weitere Acetatplatte auf. Diesen Prozess wiederholte er einige Male und lernte, wie die einzelnen Einspielungen in puncto Lautstärke zu spielen waren, damit das Schlussresultat befriedigend klang. Es gab keine Möglichkeit, die einzelnen Aufnahmen nachträglich abzumischen.
Teilweise liess Les Paul die gemachte Aufnahme mit halber Geschwindigkeit laufen und spielte dazu. Auf diese Weise entstanden die blitzschnellen Soli, die wie eine von Aliens gespielte Hawaiigitarre klingen.
«Lover» war ein sofortiger Erfolg auf dem Plattenmarkt und zog weitere Veröffentlichungen nach sich, die unter den Titel The New Sound gestellt wurden.
Man kann diese Single in ihrer Bedeutung für die Musikgeschichte des zweiten teils des 20. Jahrhunderts nicht überbewerten. Ja, vielleicht haben wir hier die erste Pop-Single überhaupt! Denn ihre Machart wurde innerhalb einer Dekade zum Industriestandard als man mit Tonbandgeräten und Studiomischpulten anfing, Platten mit dem Overdub-Verfahren zu produzieren. In den 1960er Jahren wurden die Beatles die grossen Meister dieser Technik.
Links
– Barry Cleveland: How Les Paul Created His Extraordinary New Sound
Querverweise
– zur Flipside Brazil.
Les Sauterelles [D]: Heavenly Club [F]
Assoziierte Acts: Düde Dürst & Toni Vescoli
Autor: Rolf Antener & Toni Vescoli
Label und Katalognummer: Decca BLICK 36, Decca Turicaphon - Blick 1001
Veröffentlicht: 1968 07 (Album), 1968 07 (Single)
Genretags: Rock - Psychedelicrock - Psychedelicfolkrock
Bemerkungen: «Heavenly Club», die Lead-Single zum Album View To Heaven, war 13 Wochen lang in der Schweizer Radiohitparade verzeichnet, sechs Wochen lang auf Platz 1 der CH-Hitparade. Dieses Monument der Schweizer Popmusik besteht aus einer simplen aber effektiven Melodie, die im Ohr hängen bleibt, ist mit dem dramatischen Streicherarrangement von Ernst Kunz unterlegt und wird mit Drums von Düde Dürst im Stil von Ringo-Starr akzentuiert.
«Heavenly Club» handelt wie einige andere Tracks auf dem Album View To Heaven von einem hippieesken Thema – mit negativer Wendung: Der Erzähler kommt auf einen schlechten Trip und hat eine Todesvision. Der Himmel ist ein Club, Petrus sein Türsteher. Um hinein zu kommen, muss er Eintritt bezahlen. Dann stellt sich heraus, dass der Club das Geld nicht wert ist, weil ziemlich abgebrannte Typen drin verkehren: Einer der Engel will ihn anpumpen. Am Ende verlässt der Erzähler den Club und verliert den Verstand.
Les Sauterelles [D]: I Love How You Love Me [F]
Assoziierte Acts: Düde Dürst & Toni Vescoli
Autor: Barry Mann & Larry Kolber
Label und Katalognummer: Columbia SCMZ 3035
Produktion: Teddy Meier & Les Sauterelles
Veröffentlicht: 1966 11 (Album), 1967 (Single)
Genretags: Rock'n'Roll - Beat - Swiss-Beat
Bemerkungen: Die Schlagzeug-Wir
bel am Anfang des Stücks lassen einen wilderen Track vermuten. Es folgt die Interpretation eines Phil Spector Klassikers in der Manier eines frühen Byrds-Songs. Die Aufnahme wirkt stellenweise etwas mechanisch.
Lesley Gore [D]: It's My Party [F]
Autor: John Gluck Jr. & Wally Gold & Herbert Weiner
Label und Katalognummer: Mercury 72119, Mercury MG 20805
Produktion: Claus Ogerman & Quincy Jones
Veröffentlicht: 1963 03 30 (Single), 1963 06 (Album)
Genretags: Pop - Teenpop - Girlpop
Bemerkungen: Die Teenpop-Sängerin Lesley Gore wurde als Lesley Sue Goldstein in Brooklyn geboren und wuchs in nahen New Jersey auf. Sie spielte von früh auf Klavier und im College (an der Dwight School in Manhattan, Upper West Side) sang sie in der Schülerband, die gelegentlich in Hotels auftrat. Bei einem solchen Auftritt entdeckte sie Quincy Jones, der damals für das Mercury Label als Produzent und Arrangeur arbeitete. Er lud die 16-jährige ein, Probeaufnahmen zu machen. Einer der eingespielten Titel war It’s My Party
, ein Teenager Melodrama über eine Party, die für die Einladende ruiniert wird, weil ihr Freund ihr untreu war. Als das Label Wind bekam, dass die Crystals den Song ebenfalls veröffentlichen wollten, verteilte man die Demoaufnahme an Radiostationen. Das war ein Rush-Release in den 1960er Jahren! Die Single eroberte in etwas mehr als zwei Monaten den Top Spot der Billboard Charts.
In Grossbritannien kam die Single auf Platz 9 der Charts.
Lonnie Donegan [D]: Rock Island Line [F]
Assoziierte Acts: Lonnie Donegan Skiffle Group
Autor: Leadbelly & Traditional
Label und Katalognummer: Decca LF 1198, Decca F 10647, London 45 1650 (US)
Produktion: Hugh Mendel & Dennis Preston
Veröffentlicht: 1954 (Album), 1955 11 (Single UK), 1956 03 (Single US), 1954 07 13 (Rec.)
Genretags: Rock'n'Roll - Skiffle - British-Skiffle
Bemerkungen: Die Lonnie Donegan Skiffle Group bestand aus Lonnie Donegan, dem Gitarristen der Chris Barber's Jazz Band, Chris Barber (Doppelbass) und Beryl Brydon (Waschbrett).
Die Single war im UK kein grosser Hit, sie war fünf Wochen in der Top Ten, ging nicht höher als auf Nummer neun, aber verblieb 22 Wochen in den Charts.
Bemerkenswert war die rhythmische Gitarre des Songs. Sie bewegte junge Männer dazu, Gitarre zu spielen (Lewisohn, 2013, p. 83).
Die Single war auch in den USA erfolgreich, blieb 22 Wochen in den Charts und kam auf Platz 8 der Hitparade.
«Rock Island Line» war die erste britische Single, von der mehr als 500'000 Stück verkauft wurden.
Die Wir
kung, die in Grossbritannien von «Rock Island Line» ausging, war immens. Junge Leute gründeten Skiffle-Bands und eiferten Donegan und Haley nach. Viele der späteren Beat und Rhythm & Blues Acts begannen als Skiffle Band.
Lonnie Donegan [D]: Does Your Chewing Gum Lose Its Flavour (On the Bedpost Overnight?) [F]
Autor: Ernest Breur & Marty Bloom & Billy Rose
Label und Katalognummer: Pye 7N.15181, Dot Records 45-15911
Veröffentlicht: 1959 01 (Single UK), 1961 07 21 (Single US)
Genretags: Pop - Teenpop - Bubblegumpop
Bemerkungen: Britische Popmusik aus der Zeit vor der Beatlemania. Diese Single wurde der noch grössere Erfolg für Lonnie Donegan als Rock Island Line.
Der Tiel kam auf Platz drei der britischen Hitparade und war ein Transatlantisches Crossover mit einem fünften Platz in den Billboard Charts von 1961, zwei Jahre nach der Erstveröffentlichung.
Die Release Abfolge in den USA ist nicht schlüssig. Zwar kam die Single bei Dot bereits 1959 heraus, aber 1961 offenbar ein zweites Mal (?). Nun chartete der Track.
Erstaunlich am Song ist, dass ihn ein Sänger interpretiert, der sich einen Namen mit (seriösen) amerikanischen Folk-Covern gemacht hat und der dem Folk-Revival zugerechnet wird. Hier singt er einen Pophit, den man gewissermassen zur Vorgeschichte von Bubblegum-Pop zählen kann – im präzisen Sinn des Begriffs. Ein pures Kontrastprogramm!
Loretta Lynn [D]: Portland Oregon [F]
Assoziierte Acts: Jack White (feat.)
Autor: Loretta Lynn
Label und Katalognummer: Interscope B 0002513, Interscope
Produktion: Jack White
Veröffentlicht: 2004 04 27 (Album), 2004 04 27 (Netaudio Single)
Genretags: Country - Americana-Revival
Bemerkungen: Ein Lied über die Wir
kung von Schlehen-Gin Fizz (Sloe Gin Fizz), wenn man ihn aus dem Krug (Pitcher) statt aus dem Glas trinkt.
Lori Lieberman [D]: Killing Me Softly With His Song [F]
Autor: Charles Fox & Norman Gimbel & Lori Lieberman
Label und Katalognummer: Capitol ST 11081
Produktion: Charles Fox & Norman Gimbel & Lori Lieberman
Veröffentlicht: 1972 (Album)
Genretags: Pop - Softrock
Bemerkungen: Lori Lieberman schrieb nach einem Konzert von Don McLean über die überwältigende Wir
kung von dessen Song Empty Chairs
auf sie ein Gedicht, das sie Fox und Gimbel zeigte. Das Gedicht war die Idee/der Anlass für Fox/Gimbel dieses Lied zu schreiben, eine Urheberschaft für Lori Lieberman bestritten die beiden jedoch erfolgreich.
Los Bravos [D]: Black Is Black [F]
Autor: Michelle Grainger & Tony Hayes & Steve Wadey
Label und Katalognummer: Columbia (E) ME 265, Decca F 22419, Press 45 PRE 60002, Columbia (E) 525 22, Decca LK 4822, Press PR 73003
Produktion: Alain Milhaud & Ivor Raymonde
Veröffentlicht: 1966 (Single E), 1966 06 17 (Single UK), 1966 (Single US), 1966 (Album E), 1966 (Album UK), 1966 (Album US)
Genretags: Pop - Europop
Bemerkungen: Dieser Song wird vielfach als erster Europop-Hit genannt.
Die Band kam aus Madrid, ihr Sänger war ein gebürtiger Deutscher und der Produzent Ivor Raymonde war Brite.
Der Song wurde ein riesiger internationaler Hit. im UK wurde er Nummer 2, in den USA Nummer 4, in Kanada ein Top-Hit. In verschiedenen europäischen Ländern, die damals bereits eine Hitparade hatten, erreichte der Titel Spitzenplätze: in den Ö3 Austria Top 40 Platz 3, in den belgischen Ultratop 50 Flanders Platz 4, in Deutschland Platz 4 in den niederländischen Single Top 100 Platz 3.
Lotte Lenya [D]: Moritat (= Die Moritat von Mackie Messer) [F]
Autor: Bertold Brecht & Kurt Weill
Label und Katalognummer: Philips B 07 089 L
Veröffentlicht: 1955 (Album)
Genretags: Europeana - Schlager - Kabarett-Schlager
Bemerkungen: «Moritat» ist das deutsche Wort für «Mörderballade». Moritaten wurden von Bänkelsängern als Strassenkunst aufgeführt, vielfach auf Jahrmärkten. Sie haben als eine Form der populären Kunst eine einfache, monotone Melodie. Musikalisch begleitet werden die Bänkelsänger von Drehorgeln, Violinen, Gitarren oder Harfen.
Dieses Lied aus der «Dreigroschenoper» von Bertold Brecht und Kurt Weill von 1928 ist ein Klassiker des 20. Jahrhunderts. Die «Dreigroschenoper» war eine Adaptation von John Gayes «The Beggar’s Opera» aus dem Jahr 1728. Brecht verspottete mit seinem Stück das Kleinbürgertum, das die Welt in Gut und Schlecht einteilt. So sind die Personen in der «Dreigroschenoper» Figuren die zwischen diesen moralischen Wertungen schillern. Mackie Messer hat einerseits den Charme eines kleinkriminellen Frauenschwarms, andererseits wird er in der «Moritat» als Brandschatzer, Vergewaltiger und Mörder dargestellt – als regelrechter Soziopath.
Manfred Mann [D]: Ha! Ha! Said The Clown [F]
Autor: Tony Hazzard
Label und Katalognummer: Fontana TF 812, Fontana 465.376
Produktion: Manfred Mann & Shel Talmy
Veröffentlicht: 1967 03 24 (Single), 1967 (EP)
Genretags: Rock'n'Roll - Rhythm'n'Blues - British-Rhythm'n'Blues
Bemerkungen: Der Erzähler macht im Club, in dem Comedy geboten wird, eine Frau an und wird vom Clown – eigentlich einem Komödianten – auf der Bühne ausgelacht, weil diese Frau seine Ehefrau ist, was wir erst als Pointe des Songs erfahren. Clowns waren kurz vor 1968 natürlich ein Thema, man denke nur an Bob Dylan, der sich gern als solcher inszeniert hatte. Das Thema Authentizität spielt hier eine grosse Rolle. Die Frau verstellt sich, flirtet, obwohl sie verheiratet ist, der Erzähler, weiss nicht, woran er ist, ist der Getäuschte, der Betrogene, der Clown verkörpert die Wahrheit. Von aussen gesehen, spielen alle ein anderes Spiel. Sie sucht den Flirt, der Erzähler Trost und Selbstbestätigung, der Clown oder Komödiant ist in der Rolle, desjenigen, der zuletzt lacht. Er steht ironisch über den Vorgängen und kann sie sie als menschliche Kommödie kommentieren.
Die sprachliche Gestalt der Strophen ist bemerkenswert: Es sind keine Sätze, sondern aneinander gereihte Nominalphrasen. Sie geben der Erzählung und dem Song Drive.
Der Song wurde 1967 eine Nummer 4 im UK und eine Nummer 1 in vielen europäischen Ländern (Niederlande, Belgien, Norwegen, Deutschland, Österreich).
Marc Almond & Willing Sinners [D]: Mother Fist [F]
Autor: Marc Almond & Annie Hogan
Label und Katalognummer: Some Bizzare GLOW 5-12, Virgin FAITH 2
Produktion: Marc Almond & Mike Hedges
Veröffentlicht: 1987 03 (Single), 1987 04 (Album)
Genretags: Europeana - Chanson, Newpop
Bemerkungen: In den 80er Jahren wurde Pop neu erfunden, als das was wir heute noch darunter verstehen. Im Musikzimmer heisst diese Sparte Newpop, um es vom früheren Pop abzugrenzen. Marc Almond and the Willing Sinners haben etwas zu Newpop beigetragen, indem sie Anknüpfungspunkte an die europäische Pop-Tradition der Music-Halls und Cabarets schafften.
Marc Cohn [D]: Walking In Memphis [F]
Autor: Marc Cohn
Label und Katalognummer: Atlantic 7567 82178, Atlantic 87747
Produktion: Marc Cohn & Ben Wisch
Veröffentlicht: 1991 02 (Album), 1991 03 (Single)
Genretags: Alternativerock - Poprock - Pianorock, Alternativerock - Poprock - Singer-Songwriter
Bemerkungen: Autobiografischer Song über einen Besuch in Memphis 1986, der zum Erweckungserlebnis wird.
Marcel Khalifé [D]: The Passport (= جواز سفر) (= Jawaz Al-Safar) [F]
Label und Katalognummer: Le Chant du Monde LDX 74626, Nagam NR 1010
Veröffentlicht: 1976 (Album), 199 01 15 (Album)
Genretags: Orientalia
Bemerkungen: Lied über Palästinenser, die 1948 ihre Heimat verloren und keinen Pass haben, nur Aufenthaltsbescheinigungen verschiedener Länder, die ihnen eine Gunst gewähren.
Das Lied existiert in verschiedenen Versionen: Diejenige auf dem Sampler: «The Social Power Of Music» hat einen mit La-La-La begleiteten Refrain, der im Original rein instrumental gespielt wird.
Margo Price [D]: Hands Of Time [F]
Autor: Margo Price
Label und Katalognummer: Third Man, Third Man TMR 339
Produktion: Alex Munoz
Veröffentlicht: 2016 03 11 (Digital), 2016 03 25 (Album)
Genretags: Country - Countrypop - Post-Millennial-Countrypop
Bemerkungen: Eine Erzählerin, deren Leben in eine Abwärtsspirale gerät (eine Vertreterin des ehemaligen amerikanischen Mittelstands). Sie verliert ein Kind und fragt sich, ob es denn wirklich einen gebe, der auf sie herabschaut. Aber sie hält am Traum fest, die Farm ihres Vaters zurückzukaufen. – Rührend.
Marina And The Diamonds [D]: Primadonna [F]
Assoziierte Acts: Marina
Autor: Marina Diamandis & Julie Frost & Lukasz 'Lukasz Gottwald' Gottwald & Henry Walter
Label und Katalognummer: 679 Recordings, 679 Recordings 825646591084
Produktion: Cirkut & Lukasz 'Dr. Luke' Gottwald
Veröffentlicht: 2012 04 16 (Sngle), 2012 04 30 (Album)
Genretags: Post-Millennial-Music - Poprock - Altpop
Bemerkungen: Marina And The Diamonds ein walisischer Indie-Mainstream-Kollusions-Act, der hier mächtig einen auf Katy Perry macht.
Songstruktur
Die Elektropopo-Nummer ist interessant gemacht. Strukturelle Erwartungen werden laufend unterwandert, Dinge verdreht. «You can count on me to misbehave», heisst es im Song über eine verwöhnte Göre, gesungen aus der Ich-Perspektive. Das Intro stellt sich später als der Chorus heraus. Die Sequenz aus Verse – Pre-Chorus – Chorus ist nicht wie üblich in diesem Genre die energetische Steigerung vom Popsong zum exstatischen Dancfloor-Filler, denn der Chorus impoldiert statt zu explodieren. Es fehlt auch der Hook bzw. Popdrop, der nur mit zwei Takten nach dem zweiten Chorus angedeutet wird und dann gleich wieder zur Reprise des Chorus überleitet. Wenn dieser Chorus, der musikalisch mit einer Omnichord-Begleitung beginnt bis eine Gitarre übernimmt, nicht so saugut und eingängig wäre, bestünde «Primadonna» aus einem strukturellen Chaos. So aber haben wir es mit einem seltenen Fall von einem grossartigen Song mit Anti-Chorus zu tun.
Marissa Nadler [D]: Bessie, Did You Make It? [F]
Autor: Marissa Nadler
Label und Katalognummer: Sacred Bones Records, Sacred Bones Records SBR 280
Produktion: Marissa Nadler
Veröffentlicht: 2021 08 25 (Digital), 2021 10 29 (Album)
Genretags: Folk - Freakfolk
Bemerkungen: Eine zeitgenössische Mörderballade über ein Unsolved Crime, ein ungelöstes Rätsel. Manchmal sterben Menschen in Unfällen, ohne dass man die Leichen findet. Dann kann es passieren, dass aus dem Unfall ein Krimi oder ein Mysterium wird, eine rätselhafte Geschichte. So ist es im Fall eines jungen Ehepaars geschehen, das 1928 den Grand Canyon hinunter gepaddelt ist. Das war ein gefährliches Unterfangen. Bessie wäre die erste Frau gewesen, die den Grand Canyon im Wasser bezwungen hätte. Glenn und Bessie sind nie unten angekommen und ihre Leichen wurden nie gefunden. Das Rätsel von ihrem Verschwinden beschäftigt die Geister bis heute. Die Wikipedia hat einen Eintrag zu «The Disappearance of Glen and Bessie Hyde».
Marissa Nadler schrieb diesen Song und nahm den Faden wieder auf. Sie suggeriert mit ihrem Lied, dass Bessie ihren dämlichen Freund und Ehemann, der sie leichtsinnigerweise in dieses tödliche Abenteuer zog, umgebracht habe und dass sie möglicherweise überlebt hat.
Marmalade [D]: Reflections of My Life [F]
Autor: Junior Campbell & Thomas McAleese
Label und Katalognummer: Decca F 12982, Decca SKL 5047
Produktion: Junior Campbell
Veröffentlicht: 1969 11 14 (Single), 1970 (Album)
Genretags: Pop - Progressivepop - Psychedelicpop
Bemerkungen: Marmalade hatten 1968 einen grossen Hit mit dem Cover des Beatles-Songs Ob-la-di Ob-la-da. Dieser Song der Gruppe baut interessanterweise auf den selben Akkorden auf, wie A Day In The Life. Wahrlich eine Band im Schatten der Beatles. Beide Stücke, Reflections of My Life
und A Day In The Life
, sind psychedelische Songs, die das Surreale im Alltag thematisieren und auf unterschiedliche Weise ein Kaleidoskop von Eindrücken zu einer bewegenden Geschichte zusammenbauen.
Der Song hatte wegen den Zeilen: «Take me back to my own home» eine grosse Wir
kung auf Vietnam-Soldaten. Die Zeilen sind umwerfend:
«The world is
A bad place
A bad place
A terrible place to live
Oh, but I don't want to die»
Zur atemberaubenden Kammerpop-Version dieses Songs von Dean Ford aus dem Jahr 2014.
Martha And The Vandellas [D]: Dancing In The Streets [F]
Autor: Marvin Gaye & Ivy Hunter & William 'Mickey' Stevenson
Label und Katalognummer: Gordy 7033, Gordy GS 915
Produktion: William Stevenson
Veröffentlicht: 1964 07 21 (Single), 1965 04 (Album)
Genretags: Pop - Teenpop - Girlgroups, Afroamericana - Soul - Motownsoul
Bemerkungen: Ein besonders schwerer Backbeat trägt den Song: zwei Schlagzeuge und Kleinperkussion wie Tamburin in einem riesig grossen Raum. Der Gesang wird von der Wall Of Sound fast erdrückt. Der Höreindruck der Musik wirkt vom vielen Overdubbing komprimiert.
Ein Sommer-Song für Street-Parties. Die Städte, in denen Motown-Acts auf Tournee waren, werden angerufen. Ebenfalls schwingt der Aufruf zum Mitlaufen bei Bürgerrechts-Rallies mit. Hedonistische Lebensfreude verbindet sich mit Politik und Protestkultur – genau wie bei Alternativedance oder zu denjenigen Techno-Tracks, die eine politische Botschaft mittrugen.
Man kann von «Dancing In The Streets» sagen, dass der Song die Teenager-Tänze der frühen 1960er Jahre auf die Strasse trug. Die Lyrics geben wenig Anlass, an Protestmärsche zu denken, aber da der Song auf Rallies gespielt wurde, trägt er seither die kulturelle Konotation des Protests mit sich.
Der Song wurde vielfach gecovert und so zum Rock-Standard und Klassiker.
Martha Wainwright [D]: Proserpina [F]
Autor: Kate McGarrigle
Label und Katalognummer: Universal, V2 7027402
Produktion: Yuka Honda
Veröffentlicht: 2012 09 03 (Single), 2012 10 15 (Album)
Genretags: Post-Millennial-Music - Poprock - Artrock, Post-Millennial-Music - Poprock - Chamberpop
Bemerkungen: Proserpina ist die römische Göttin des Lebenszyklus, von Tod und Wiedergeburt (die Entsprechung der griechischen Persephone). Proserpina wurde von Pluto in die Unterwelt entführt, ihre Mutter, Ceres (griech. Demeter), hat sie unermüdlich gesucht. Die Geschichte von Proserpina ist verwandt mit derjenigen von Orpheus und Eurydice.
Die Erzählerin des ersten Verses dieses Songs ist Demeter/Ceres, die verzweifelt nach ihrer entführten Tochter sucht. Im zweiten Verse fungiert eine andere Person als Erzählerin. Sie bittet Proserpina nach Hause zu gehen, weil ihre Mutter in Rage die Erde bestraft (es wächst nichts mehr, das Volk hat Hunger). Warum es heisst: «gehe zu Hera» ist verwirrend. Man würde erwarten, dass hier der Name Ceres steht.
Marty Mumenthaler & Vrenely Pfyl [D]: Brunnenhoflied [F]
Assoziierte Acts: Marthely Mumenthaler
Autor: Marthely Mumenthaler & H. Steingrube
Label und Katalognummer: Elite Spezial 4311
Veröffentlicht: 1944 (Single)
Genretags: Europeana - Schlager - Volkstümlicher-Schlager
Bemerkungen: Das Lied handelt vom Einbruch der modernen in die traditionelle Welt. Ein Wir
tshaus (das zum Fallenden Brunnen vis à vis vom Radiostudio) mit seinen lebendigen Gästen wird beschrieben und die ländliche Szenerie der Umgebung. Der Brunnen plätschert und sing sein Lied (stilgeschichtlich ein romantisches Motiv): «So war es einmal und so ist es nicht mehr und so wird es auch nie wieder sein. Die Stadt legt die steinernen Finger aufs Land. Von dem Alten verblieb ich allein.» Das Radiostudio wurde auf eine Grünfläche gebaut. Die Stadt dehnt sich aus; sie frisst Natur im Namen des Fortschritts. Eine Bildersammlung der Lokalität ist bei Alt-Züri zu sehen.
Das «Brunnenhoflied» gewann einen von Radio Zürich ausgeschriebenen Lieder-Wettbewerb. Anlass zu diesem Wettbewerb war die Einweihung des Brunnenhofplatzes, der Kreuzung vor dem Radiostudio. Als das Label Elite Spezial eine Aufnahme machen wollte, fehlte eine geeignete B-Seite. Man fragte Artur Beul an, der Nach em Räge schint Sunne vorschlug. Diese Single wurde offenbar über 100'000 Mal verkauft. Die Schweiz hatte damals 4,5 Millionen Einwohner. Auch in Deutschland soll das Lied ein Erfolg gewesen sein. (Quelle: Gramophoniker, Sammler aus Deutschland)
Marty Robbins [D]: El Paso [F]
Autor: Marty Robbins
Label und Katalognummer: Columbia CS 8158, Columbia 4 41511
Produktion: Don Law
Veröffentlicht: 1959 09 (Album), 1959 10 26 (Single)
Genretags: Country - Countrypop
Bemerkungen: Dieses Kunstlied ist ein typisches Cowboy- oder Western-Drama über Liebe, Eifersucht und Tod. Der Erzähler, ein Cowboy aus El Paso, Texas, verliebt sich in einer Bar («Rosa's Cantina») in eine mexikanische Tänzerin, Feleena. Aber wie das so ist, Feleena ist der Traum vieler Männer und bald schon flirtet sie mit einem anderen, was dier Eifersucht des Erzählers anstachelt. Er fordert den Widersacher zum Duell und tötet ihn.
Die Tat macht ihn zum Mörder und deshalb nimmt er Reissaus auf einem gestohlenen Pferd. Er versteckt sich, um seiner Strafe zu entgehen, in einem anderen Staat, in New Mexico. Aber die Sehnsucht nach Feleena plagt ihn so stark, dass er zurückgeht, um sie zu sehen. Seine Liebe wird ihm abermals zum Verhängnis, denn er wird von einer Truppe des Sheriffs überrascht und erschossen. Er stirbt in den Armen Feleenas, die ihm ein Küsschen gibt – möglicherweise mehr aus Mitleid als aus Liebe.
Marvin Gaye & Tammi Terrell [D]: Ain't No Mountain High Enough [F]
Autor: Nicholas Ashford & Valerie Simpson
Label und Katalognummer: Tamla T 54149, Tamla TS 277
Produktion: Johnny Bristol & Harvey Fuqua
Veröffentlicht: 1967 04 20 (Single), 1967 08 29 (Album)
Genretags: Afroamericana - Soul - Motownsoul
Bemerkungen: Soul beginnt nun seriösere Töne anzuschlagen, was auch in diesem Liebesduett spürbar wird: Der Song betont, dass keine Schwierigkeit zu gross ist, um für die Partnerin da zu sein. Hier werden nun Schwierigkeiten der realen Welt thematisiert, die einer sozialen Verbindung im Weg stehen können. Das ist der halbe Weg zum Soul als Soundtrack für die Bürgerrechtsbewegung, es ist der halbe Weg von einer «I-Love-You»-Botschaft zu «We are all Soul Brothers». Schon bald wird Marvin Gaye What’s going on singen und die Tagespolitik thematisieren.
Massive Attack [D]: Teardrop [F]
Assoziierte Acts: Elizabeth Fraser (feat.)
Autor: Robert Del Naja & Grantley Marshall & Andrew Vowles & Elizabeth Fraser
Label und Katalognummer: Circa WBRCD 4, Circa WBRX 9
Produktion: Neil Davidge & Massive Attack
Veröffentlicht: 1998 04 20 (Album), 1998 04 27 (Single)
Genretags: Electronica - Dubtronica
Bemerkungen: Die Bassdrum ist dem Herzschlag nachempfunden, was dem Song/Track ein im wahrsten Sinn organisches Fundament verleiht. Das Sample stammt von Les McCann, Sometimes I Cry
, aber wird soundtechnisch massiv bearbeitet, so dass es für die Hörer/-innen nach dem eigenen Herzschlag durch ein Stetoskop klingt. Die Lyrics werden verschieden wiedergegeben, meist mit «fearless on my breath», manchmal auch mit: «feathers on my breath», was die Übersetzung eines Texts der mittelalterlichen Mystikerin Hildegard von Bingen wäre – eine Feder, die sich bewegt, weil der Atem Gottes sie voranträgt (siehe Diskussion bei Yelp). Die Ausgangszeilen singt Elizabeth Frazer wie Beth Gibbons von Portishead.
Der Song wurde als Soundtrack (Themesong) für die TV-Serie House MD
verwendet. Eine perfekte Wahl.
Miley Cyrus [D]: Malibu [F]
Autor: Miley Cyrus
Label und Katalognummer: RCA
Produktion: Oren Yoel
Veröffentlicht: 2017 05 11 (Digital)
Genretags: Country - Countrypop - Post-Millennial-Countrypop
Bemerkungen: Nach Lady Gaga verzeichnen wir nun eine weitere Abkehr eines führenden Popstars unserer Zeit vom Electrop: Miley Cyrus kommt mit einer neuen Single heraus und sie ist New-Countrypop durch und durch. Nach ihrem letzten Ausflug im Feld von Psychedelicpop kommt dieser Zug als ein überraschender:
Miley Cyrus geht «back to the roots». Malibu
klingt als Song realtiv traditionell, hat aber grosse Ohrwurmqualität. Ein Gitarrensong zu dem man tanzen kann, wenn es sein muss. Hier sind Remixes gefragt, verehrte Produzent/-innen.
Das Video zeigt die junge Singer-Songwriterin im wiedergewonnenen Paradies, vergleichsweise sittsam und ohne eine Abrissbirne und ohne Tränen. Dem visuellen Auftritt fehlt ein wenig das provozierende Element, der Widerhaken. Das klügste daran ist, dass es in vielen Passagen, in denen die Kamera nahe an der Sängerin ist, eine Leerstelle gibt, in die man oder frau sich hineinprojizieren kann.
Monica Morell [D]: Ich fange nie mehr was an einem Sonntag an [F]
Autor: Pepe Ederer & Gerd Gudera
Label und Katalognummer: EMI Columbia 006-33 649, HÖR ZU SHZE 392
Produktion: Pepe Ederer
Veröffentlicht: 1972 (Single), 1973 (Album)
Genretags: Europeana - Schlager - TV-Schlager
Bemerkungen: Ich fange nie mehr was an einem Sonntag an
war 1972 15 Wochen lang in der Schweizer Hitparade verzeichnet, vom 23. Januar 1973 bis 26. Februar 1973 als CH-Top-Hit. Die Sängerin, Monica Morell war Zürcherin und hiess bürgerlich Wirz-Römer">Monica Wir
z-Römer. Das Lied handelt von einer jungen Frau, deren Freund Tommy an einem Sonntag mit dem Motorrad ums Leben kommt. Hier erklang ein neuer ernster Ton im Schlager, der sich zuvor bei Juliane Werding oder Alexandra angekündigt hatte.
Morell hat die Legende in die Welt gesetzt, dass der Song aus ihrem Leben stamme. So verbreitete sich der Irrglaube, dass Morell tatsächlich einen Freund Tommy in einem Motorradunfall verlor. Sie wollte vermutlich keine Lüge verbreiten, aber durchaus wohl als authentische Sängerin wahrgenommen werden, als jemand, die nicht über irgendetwas Unbedeutendes singt. Ihr grosses Vorbild war die politisch engagierte Folksängerin Joan Baez. Der Song indes wurde von zwei professionellen Songwritern geschrieben, von Pepe Ederer (Melodie) und Gerd Gudera (Text).
Die Sängerin hatte selbst einen Sohn mit dem Namen Thommy, der als Säugling am plötzlichen Kindstod verstarb. Ihr spätere Lebensgeschichte war von einer Nervenkrankheit und von Krebs geprägt. Da Monica Morell Andeutungen gemacht hat, dass dieser Song aus ihrem Leben stamme, erhalten diese Trivialitäten ein beklemmendes Gewicht.
Monica Morell [D]: Später, wann ist das? [F]
Autor: Pepe Ederer & Irma Holder
Label und Katalognummer: Columbia (EMI) 1C 006-99 726, Hör Zu SHZE 392
Produktion: Pepe Ederer
Veröffentlicht: 1973 (Single), 1973 (Album)
Genretags: Europeana - Schlager - TV-Schlager
Bemerkungen: Ein Lied, das die Hippie-Philosophie im Schlager zum Ausdruck bringt: Lebe heute und verschiebe es nicht auf morgen, denn das Morgen wird vermutlich nie stattfinden: «Today is life, tomorrow never comes».
Mood-Mosaic [D]: A Touch Of Velvet - A Sting Of Brass [F]
Assoziierte Acts: Ladybirds (feat.) & Mark Wir
tz
Autor: J. Ferdy & Mark Wir
tz
Label und Katalognummer: Columbia (EMI) DB 7801, Columbia (EMI) SX 6153
Produktion: Mark Wir
tz
Veröffentlicht: 1966 01 (Single), 1969 (Album)
Genretags: Pop - Orchestralpop - Psychedelicpop
Bemerkungen: J. Ferdy ist ein Pseudonym von Wirtz">Mark Wir
tz
Morrissey [D]: Everyday Is Like Sunday [F]
Autor: Morrissey & Stephen Street
Label und Katalognummer: Stephen Street
Produktion: HMV CDCSD 3787, HMV POP 1619
Veröffentlicht: 1988 03 14 (Album), 1988 05 30 (Single)
Genretags: Newpop - Artpop - Chamberpop
Bemerkungen: Im Video werden Clips aus dem TV-Film Carry On Abroad
(Gerald Thomas, 1972) gezeigt. Der Plot dieser Episode der englischen TV-Serie «Carry On ...» besteht darin, dass die Protagonisten beschliessen, ans Mittelmeer in die Ferien zu fahren. Das sit sozusagen die Urszene für das, was der Song thematisiert: Die englischen Seebäder sind heruntergekommen. Wer es sich leisten kann, fliegt ans Mittelmeer. Nur die Armen gehen noch an diese gottvergessenen Orte, die nach Fish & Chips stinken und an denen spielsüchtige Omas sich die Zeit an Spielautomaten vertreiben.
Morrissey ergänzt diese grauen Alltagsszenen mit solchen aus dem Roman On the Beach
(Nevil Shute, 1957), in dem eine U-Boot-Besatzung zu den letzten Überlebenden eines nuklearen Holocaust wird. Daher der seltsame Staub und die Nuklearbomben, von denen die Rede ist.
Das sind starke Bilder von einem, der angewidert auf die englische Gesellschaft schaut. Die trostlosen Orte und die apokalyptischen Visionen des Spaziergängers konterkarieren die üppige und erhebende Melodie. Zuweilen ist das Erhabene die Bombe, die den Dreck der Welt in die Luft sprengt.
Mylo [D]: Destroy Rock & Roll [F]
Autor: Myles MacInnes
Label und Katalognummer: Breastfed Recordings BFD 007, Breastfed Recordings BFD 014CD
Produktion: Kevin Kennedy & Myles MacInnes & Tom Neville & Anu Pillai & William Threlfall
Veröffentlicht: 2004 05 25 (Album), 2005 01 24 (Single)
Genretags: Electropop - New-Rave - Electrohouse
Bemerkungen: Der Track spielt ein ironisches Spiel mit verschiedenen gesellschaftlichen Kräften der Zensur in der populären Musik. Dabei werden die Feuerreden fundamentaler Christen aus den 1950er Jahren gegen den Rock 'n' Roll (vergleiche Preaching Against Rock 'n' Roll) und die Parental Advisory Kleber-Aktionen des «Parents Music Resource Centers» von Senatorengattin Tipper Gore (unter anderen) in den 1980er Jahren zu einem neuen esoterischen Gebräu vermengt. Dem Sinn nach übersetzt heisst es hier: «Alle Abnormitäten des dritten Auges / durch verzerrte und übertriebene Bilder / Perverse Körperbewegungen, Breakdance / und andere Formen des Tanzes / Insbesondere rufen wir in dieser Stunde zum Gericht auf / um die Zerstörung der Rockmusik zu inszenieren / Speziell um die Kinder (zu schützen) / vor Videos, die im Namen folgender Personen gezeigt wurden, / für die wir das Urteil des heiligen Feuers dieser Stunde /
Vor dem Thron des allmächtigen Gottes fordern». Darauf folgt eine Liste von Interpretinnen und Interpreten, die sich schuldig gemacht haben und verurteilt werden sollen.
Die Acts auf der Liste sind solche, die in den 1980er Jahren erfolgreich waren, was etwas über die historische Orientierung von Electrohouse als 80er-Revival-Genre aussagt.
Der Liedtext mag herrlich absurd sein, aber sagt dennoch etwas über Zensur in der Zeit nach dem Millennial aus – oder sagen wir über die Zensur-losigkeit. Dieses Zeitalter brachte sowohl konservativ-verschwörerische Net-Communities hervor, von denen solche abstrusen Reden denkbar sind, als auch eine Party-Generation, die grenzenlos tun und lassen konnte, wonach ihr der Sinn stand. Entscheidend ist, dass der Text keine Stellung bezieht, wodurch seine Ironie eigentlich in Frage steht. Den Ironie-Marker findet man lediglich in der Aussprache von David Bowies Namen als «David Buhwie».
Neil Diamond [D]: Song Sung Blue [F]
Autor: Neil Diamond
Label und Katalognummer: Uni Records 6073 039, UNI Records UNI 93136
Produktion: Tom Catalano & Neil Diamond
Veröffentlicht: 1972 04 06 (Single), 1972 07 15 (Album)
Genretags: Pop - Softrock
Bemerkungen: Dies ist ein Beispiel für einen Song, bei dem der Komponist und Sänger das Hitpotential nicht erkannt hat. Sein Label-Chef Russ Regan insistierte darauf, dass er eine Single wird. Neil Diamond hat nicht einmal eine Bridge für das Lied geschrieben.
Neil Sedaka [D]: One Way Ticket (To The Blues) [F]
Autor: Hank Hunter & Jerry Keller
Label und Katalognummer: RCA RCA 1152
Produktion: Al Nevins
Veröffentlicht: 1959 09 (Single-B)
Genretags: Pop - Teenpop, Pop - Brillbuildingpop
Bemerkungen: Dieser Song war die Flipside von Oh! Carol, wurde oft und wird bis heute gecovert (siehe Secondhandsongs), zum Beispiel von Eruption.
New Order [D]: Love Vigilantes [F]
Autor: Gillian Gilbert & Peter Hook & Stephen Morris & Bernard Sumner
Label und Katalognummer: Factory FACT 100
Produktion: New Order
Veröffentlicht: 1985 05 13 (Album)
Genretags: Newpop - Synthpop
Bemerkungen: Ein Song über einen Vietnam-Rückkehrer, dessen Frau ein Schreiben erhalten hat, in der ihr mitgeteilt wird, dass ihr Mann gefallen sei.
Nick Cave And The Bad Seeds [D]: Sad Waters [F]
Assoziierte Acts: Nick Cave
Autor: Nick Cave
Label und Katalognummer: Mute STUMM 034
Produktion: Bad Seeds & Nick Cave & Tony Cohen
Veröffentlicht: 1986 11 03 (Album)
Genretags: Postpunk, Alternativerock - Singer-Songwriter
Bemerkungen: Die erste Zeile stammt aus Green, Green Grass Of Home. Statt in Richtung Nostalgie dreht der Song wie oft bei Nick Cave ins Schaurig-Schöne ab. Man findet sich statt in der ersehnten Heimat in einer Southern-Goth-Welt wieder, in der gequälten Seelen in jedem Moment fähig sind, aus tiefster Verzweiflung heraus zu morden. Der Mord wird allerdings nicht explizit vollzogen, er klingt nur in Bildern der Trauer an (Trauerweiden entlang eines Flusses, Mary wirft einen Schatten).
Nick Cave And The Bad Seeds [D]: Tupelo [F]
Assoziierte Acts: Nick Cave
Autor: Barry Adamson & Nick Cave & Mick Harvey
Label und Katalognummer: Mute STUMM 021, Mute 7 MUTE 038
Produktion: Flood
Veröffentlicht: 1985 06 03 (Album), 1985 08 01 (Single)
Genretags: Postpunk, Alternativerock - Singer-Songwriter
Bemerkungen: Lied über die Geburtsnacht von Elvis Presley, der in Tupelo, Mississippi zusammen mit seinem Zwillingsbruder Jesse Garon Presley geboren wurde. Jesse, der erstgeborene starb bei der Geburt. Nick Cave macht daraus ein apokalyptisch anmutendes Southerngoth-Drama. Mit biblischer Sprache beschriebt er wie ein Sturm über Tupelo aufzieht – es soll tatsächlich eine stürmische Nacht gewesen sein. Elvis wird mit dem Teufel verglichen, der den amerikanischen Süden heimsucht.
Nina Nesbitt [D]: The Sun Will Come Up, The Seasons Will Change [F]
Autor: Nina Nesbitt
Label und Katalognummer: Cooking Vinyl, Cooking Vinyl
Produktion: Lostboy
Veröffentlicht: 2018 03 28 (Digital), 2019 02 02 (Album)
Genretags: Electropop - Pop-R'n'B
Bemerkungen: Nina Nesbitt ist ein Social Media Star. Sie wurde mit Ed Sheeran bekannt gemacht und er nahm sie mit auf Tournee.
Die Lyrics sprechen tagebuchartig von der Erfahrung mit der Zeit. An einer trivialen persönlichen Erfahrung wird eine recht oberflächliche Reflexion über Zeit angestellt, die Wunden heilt und Perspektiven verschiebt.
Oasis [D]: Cigarettes And Alcohol [F]
Autor: Noel Gallagher
Label und Katalognummer: Creation CRE 169, Creation CRESCD 190
Produktion: Mark Coyle & Owen Morris & Oasis
Veröffentlicht: 1994 08 29 (Album) 1994 10 10 (Single)
Genretags: Alternativerock - Poprock - Britpop
Bemerkungen: Genussmittel wie Zigaretten, Alkohol und Kokain sind Substitute für das richtige Leben, das man sich gewünscht haben mag, andererseits versorgen sie einen mit magischen Momenten im wirklichen Leben («make it happen»), das zuweilen gar nicht so magisch ist. Das ist die Ambivalenz, die jeder moderne Mensch empfindet, der Genussmittel funktional einsetzt, was Musiker/-innen oft tun.
Olivia Rodrigo [D]: Drivers License [F]
Autor: Daniel Nigro & Olivia Rodrigo
Label und Katalognummer: Geffen, Geffen B 0033785
Produktion: Daniel Nigro
Veröffentlicht: 2021 01 08 (Digital), 2021 05 21 (Album)
Genretags: Electropop
Bemerkungen: «Drivers License« überraschte die Popwelt im Januar 2021. Der Song wurde innerhalb einer Woche dank 76 Millionen Streams zum US-Top-Hit und die Sängerin Olivia Rodrigo hatte offensichtlich eine riesige Anhängerschaft, zu der ältere Leute (über 25) nicht zählten. Sie war ein Disney Star und das zeigt, wie wichtig im Pop dieser Hintergrund als Kinderstar ist – jedenfalls in den USA. Ich weiss nicht, welche anderen Länder der westlichen Welt (neben Korea und Japan versteht sich) gleich gut sind im Produzieren von Karrieren für Künstler*innen.
Wir
in Europa setzen dagegen auf solide Kunstausbildungen, die den jungen Leuten die Befähigung zum Popstar gründlich austreiben.
Der Song stiess auf TikTok und YouTube eine Reihe von Videos an, die den Song neu als Antwortsong inszenierten, z.B. aus der Perspektive des Ex-Freundes. Die abgefahrenste Perspektive war diejenige des Führerscheins selbst.
Links
– zum Switched On Podcast über diesen Song
– zum Feature von Howard Ho
– zum Hintergrund-Artikel von Chris Molanphy: Why Olivia Rodrigo's «Drivers License» Had the Biggest Debut Since «WAP»
Otis Redding [D]: Respect [F]
Autor: Otis Redding
Label und Katalognummer: Volt V 128, Volt S 412
Produktion: Yves Beauvais & Steve Cropper
Veröffentlicht: 1965 08 15 (Single), 1965 09 15 (Album)
Genretags: Afroamericana - Soul - Southernsoul, Afroamericana - Soul - Memphissoul
Bemerkungen: Strukturell ein AABA-Song, wobei der Text der Bridge der selbe ist, wie der Text des dritten Verses. In der berühmten Coverversion von Aretha Franklin wird aus dem Song eine modifizierte Simple Verse Form.
Pan [D]: Ebbe / Chum Meitli mer gönd [F]
Label und Katalognummer: Zytglogge ZYT 215
Veröffentlicht: 1978 (Album)
Genretags: Rock - Folkrock - Continental-Folkrock
Bemerkungen: Dieser Song zeichnet das Bild einer leeren, toten Welt. Der Erzähler fühlt sich eingeengt und fremd, wenn er zu Hause aus dem Fenster schaut, wenn er in Gesellschaft ist (wo der Plattenspieler das einzige sei, das sich dreht), sogar wenn er ein Rock-Konzert besucht (das zu viel koste und zu laut sei). Ein Lied über die Entfremdung und den Entschluss, mit der Liebsten aus- oder aufzubrechen. Dieser Aufbruch, das «Come on» steht etwas leer da, vor allem wenn man es mit einem Referenzsong des Folkrock Genres vergleicht, mit Come All Ye von Fairport Convention. Hier wird eine Welt kritisiert, aus der man nicht anderes als ausbrechen will, dort wird auf eine Tradition zurückgegriffen, der man eine magische Kraft zuschreibt. Warum zweifle ich, dass es dem Erzähler gelingt, seine Situation zu ändern?
Patti Page [D]: Tennessee Waltz [F]
Autor: Pee Wee King & Redd Stewart
Label und Katalognummer: Mercury 5534
Produktion: Jack Rael
Veröffentlicht: 1950 11 (Single), 1950 10 14 (Rec.)
Genretags: Traditionalpop - Vocalpop - Countrypop, Country - Countrypop
Bemerkungen: Erster wichtiger C&W-Crossover-Hit. Der Erfolg von Patti Page machte Acuff-Rose, die Copyright-Inhaber reich.
Eine Art Antwortsong auf Kentucky Waltz von Bill Monroe.
Frühes Beispiel von double tracking (Stimme von Page).
Es wird oft gesagt, dass «Tennessee Waltz» von Pee Wee Kings Originalversion inspiriert war, doch es gab mehrere Versionen vor derjenigen von Page und tatsächlich war es die von Erskine Hawkins, einem R&B-/Swing-Bandleader, die als Vorbild diente. Jerry Wexler machte Pages Manager Jack Rael mit dem Song bekannt.
Paul Simon [D]: American Tune [F]
Autor: Paul Simon
Label und Katalognummer: Columbia KC 32280, Columbia 4-45900
Produktion: Phil Ramone & Paul Simon
Veröffentlicht: 1973 05 (Album), 1973 11 (Single)
Genretags: Rock - Folkrock, Rock - Singer-Songwriter
Bemerkungen: Die Melodielinie stammt ursprünglich von Hans Hassler (Mein Gmüth ist mir verwirret) und wurde dann von Johann Sebastian Bach im Choral der Matthäuspassion verwendet.
Paul Simon [D]: Me And Julio Down By The Schoolyard [F]
Autor: Paul Simon
Label und Katalognummer: Columbia KC 30750, Columbia 4-45585
Produktion: Roy Halee & Paul Simon
Veröffentlicht: 1972 01 (Album), 1972 04 08 (Single)
Genretags: Folk - Urbanfolk - Electricfolk
Bemerkungen: Es geht im Song darum, dass Teenager bei einem Streich, vielleicht bei etwas Schlimmerem (die Übertretung wird nicht genannt) gesehen, verpfiffen und verklagt werden. Am Ende werden sie durch die Intervention eines Priesters frei gelassen und kommen in die Schlagzeilen.
Pauline Oliveros [D]: Bye Bye Butterfly [F]
Autor: Pauline Oliveros
Label und Katalognummer: Paradigm Discs PD 04
Produktion: Pauline Oliveros
Veröffentlicht: 1998 03 31 (Album), 1966 (Werk)
Genretags: Akademica - Elektronische-Musik - Tapemusic
Bemerkungen: Pauline Oliveros, die im November 2016 verstarb, war eine amerikanische Pionierin der Elektronischen Musik. Sie war zusammen mit Terry Riley, Steve Reich und Morton Subotnick Mitbegründerin des San Francisco Tape Music Centers. «Tape music» nennt man das Komponieren am Tonbandgerät. Dieses Verfahren war 1966, als das Stück entstand, gerade noch avantgardistisch. Zur selben Zeit schon begannen sich in der Produktion von Populärer Musik Tonbandmontagen zu etablieren (z.B. bei den Beatles). Heute, 50 Jahre später, ist es wenigstens in der Populären Musik eine Selbstverständlichkeit, dass Musik nicht auf dem Notenpapier geschrieben wird, sondern in einem Gerät entsteht – Pro tools, Reaper, Logic und andere Digital Audio Workstations (DAWs) sind die Nachfolger der damals verwendeten Bandmaschinen.
Die in Bye Bye Butterfly
aufgenommenen Klänge stammen von zwei Oszillatoren, Verstärkern und einem Plattenspieler, der Ausschnitte aus Puccinis
Madamme Butterfly
spielt – daher der Titel der Komposition.
Die Oszillatoren pfeifen anfangs atmosphärisch vor sich hin. Interessant sind die stereophonischen Effekte, die Oliveros mit ihrem Setup hinkriegte. Zeitweise dreht sie an den Oszillatoren herum und das klingt wie das Drehen an einem Radioknopf. Ein kontrastreicher Moment entsteht, wenn nach etwas mehr als drei Minuten Puccini einsetzt. Die Bandmaschinen erzeugen einen Hall und entrücken die Arie in einen abstrakten Raum, in dem die klassische Musik von einem nun aggressiveren Pfeifen der Oszillatoren gestört wird. In der Tat verstand Pauline Oliveros ihr Werk als Manifest gegen die klassische europäische Musik und gegen das überkommene Frauenbild, das in Madamme Butterfly
zum Ausdruck komme.
Pearls Before Swine [D]: The Jeweler [F]
Autor: Tom Rapp
Label und Katalognummer: Reprise RS 6405, Reprise 0949
Produktion: Peter H. Edmiston
Veröffentlicht: 1970 (Album), 1970 (Single)
Genretags: Rock - Psychedelicrock - Psychedelicfolkrock
Bemerkungen: Der Song erzählt von einem Juwelier oder Händler, der mit Spucke, Asche und einem Tuch alte Münzen poliert. Diese Münzen tragen Spuren des Gebrauchs, die sich nur teilweise entfernen lassen. Die Tatsache, dass sie irreparable Abnützungen aufweisen, entlockt dem Juwelier ein sanftes und wissendes Lächeln. Und dann gibt es die Münzen, die schwarz geworden sind, auf denen sich von Tausend Händen eine dicke Patina gebildet hat. An diesen Münzen putzt der Juwelier so lange herum, bis seine Finger Blasen bilden, die auffallen, so dass er aus den Händen blutet. In besonderen Momenten – im Lied in der letzten Strophe als Höhepunkt gesetzt – wünscht der Juwelier doch, er könnte die Gebrauchsspuren als Narben der Gegenstände heilen und unsichtbar machen. Der Erzähler im Song beschreibt diesen Moment als Selbstvergessenheit oder vielleicht als Hochmut: Der Juwelier wünscht die Narben der Dinge nur in den Momenten heilen zu können, in denen er seine eigenen Verletzungen und Tränen vergisst. Dies geschieht in der tiefsten Nacht («in the darkest of the night»).
Der tief melancholische Song handelt vom Verhältnis der Menschen zu den Dingen. Die Dinge sind wie ein Analogon, ein Spiegel. Kleine Menschlein, die sich, weil sie benutzt wurden, Narben zugezogen haben. Das Bild mit den blutenden Händen evoziert den ans Kreuz geschlagenen Christus, der die Menschen damit zu heilen sucht, dass er ihr Leid auf sich nimmt und für sie stirbt. Der Juwelier gibt sein Leben für die Münzen, er weiss Asche zu gebrauchen, mit ihr leistet er seinen Gottesdienst:
He knows the use of ashes He worships God with ashes
Auch die Asche ist ein christliches Bild. Sie steht für Busse und Reinigung (vergleiche: Aschermittwoch). Trotz der christlichen Bilder, die der Song verwendet, verbreitet er keine Heilsbotschaft und ist eher die Charakterstudie eines Sammlers. Es handelt sich hier nicht um christliche Musik! Der Juwelier wird vom Song liebevoll gezeichnet, doch kippt seine Sorge um die Münzen am Ende in einen Anflug von Hochmut, so als hätte er die falsche Hoffnung, den Dingen alle Spuren abzuwischen, den Menschlein die Narben entfernen zu können. Sein zu können wie ein Gott. Ein sehr menschlicher Gott allerdings.
Peggy Lee [D]: Is That All There Is? [F]
Autor: Leiber-Stoller
Label und Katalognummer: Capitol 2602, A&M 75021-5268
Produktion: Leiber-Stoller
Veröffentlicht: 1969 09 (Single), 1975 11 (Album)
Genretags: Pop - Progressivepop - Baroquepop
Bemerkungen: Ein Jahrhundertsong, geschrieben als Spätwerk von Jerry Leiber und Mike Stoller, inspiriert von Thomas Manns Erzählung Enttäuschung
von 1896. Eine desillusionierte bzw. ernüchterte Person erzählt aus ihrem Leben:
1. Strophe: Als sie ein Mädchen war, brannte ihr Haus herunter, und sie fragt ungerührt: «Ist das alles, an einem Feuer?»
2. Strophe: Sie geht im Alter von 12 Jahren in den Zirkus [The greatest show on earth – der grösste amerikanische Ringling Circus wird genannt], aber vermisst etwas. «Ist das alles, am Zirkus?»
3. Strophe: Sie liebt und wird verlassen. Aber auch dieser Schmerz ist enttäuschend, weil die Person ihn überwindet. «Ist das alles, an der Liebe?»
4. Strophe: Andere Personen mögen sich fragen: «Warum nimmt sie sich mit dieser Einstellung nicht das Leben?». Die Antwort aber lautet: «Auch der Tod wird eine Enttäuschung sein, warum soll ich ihn herbeiwünschen?»
Das Orchester-Arrangement stammt von Randy Newman.
Erfolg
Der Song wurde Nummer 11 in den Pop Singles Charts, Nummer 1 in den Adult Contemporary Charts—klar, das ist Musik für Erwachsene. Es war der erste Top 40 Hit für Peggy Lee seit ihrem Erkennungssong Fever, 11 Jahre früher. Ausserdem erhielt Is That All There Is?
einen Grammy Award in der Kategorie «Best Female Pop Vocal Performance» des Jahres.
Peter Gabriel [D]: Games Without Frontiers [F]
Assoziierte Acts: Kate Bush (feat.)
Autor: Peter Gabriel
Label und Katalognummer: Charisma CB 354, Charisma CDS 4019
Produktion: Steve Lillywhite
Veröffentlicht: 1980 02 09 (Single), 1980 06 (Album)
Genretags: Newpop - Artpop - Singer-Songwriter
Bemerkungen: «Spiel ohne Grenzen», «Jeux sans frontières», «It's a Knockout» war eine Spielshow der Eurovision, in der Gemeinden oder Städte aus den Eurovisionsländern gegeneinander antraten. Es waren für die Teams verschiedene Wettkämpfe zu absolvieren, die Kraft, Ausdauer und Geschicklichkeit erforderten.
Peter Gabriels satirischer Song spielt mit der Tatsache, dass Europäische Nationen stets miteinander im Krieg waren und nun in den Zeiten des Kalten Kriegs diese militärischen Konflikte durch alberne Spiele ersetzt haben.
wir ziehen Kostüme an und spielen alberne Spiele verstecken uns in Baumwipfeln und rufen einander Schimpfnamen zu Wenn die Pfeife erklingt verstecken wir uns in den Dünen am Meer Wenn die Pfeife erklingt pissen wir auf die Idioten im Dschungel bis zum Knockout Wenn Blicke töten könnten, werden sie es wahrscheinlich tun In Spiel ohne Grenzen, Krieg ohne TränenDer Song teil auch Tritte ans Schienbein europäischer Nationen aus: «Adolf builds a bonfire, Enrico plays with it» (Faschismus)
Kate Bush singt den Refrain dieses Antikriegs-Lieds.
PeterLicht [D]: Ihr Lieben 68er [F]
Autor: Peter Licht
Label und Katalognummer: Modul 74321 88143
Produktion: Ekki Maas & Wolfgang Proppe
Veröffentlicht: 2001 08 22 (Album)
Genretags: Post-Millennial-Music - Poprock - Alternativepoprock
Bemerkungen: Die Hippies/68er haben gegen kleinbürgerliche Werte gekämpft, gegen Mief, Fremdbestimmung und Autorität. Dieser Song des Autors und Musikers PeterLicht räumt auf witzige Weise mit der heroischen Selbststilisierung jener Generation auf, deren Exponenten teilweise immer noch davon reden, dass sie sich für eine Kulturrevolution verantwortlich zeichnen (dabei war es eine «Revolte»), dass nur sie, die selbst dabei gewesen sind, wirklich darüber sprechen könnten und dass die auf sie folgenden Generationen so etwas wie Dankbarkeit für die Errungenschaften dieser Revolution empfinden müssten. Sarkastisch entlässt der Erzähler diese Generation in die Bedeutungslosigkeit des Daseins im Altersheim, wo man nur noch auf das Leben zurückschaut. Er empfiehlt Dia-Abende zum Zeitvertreib, auch Peinlichkeiten seien in Ordnung (zum Beispiel Memorabilien zeigen – die alte Hosen im Text), denn die 68er hätten sich ja befreit und dann ist nichts mehr peinlich. Auf ironische Weise werden die 68er im Refrain als Bewerber auf die kulturelle Deutungsmacht angesprochen: «[Wir
brauchen euch nicht und] bitte, ruft uns nicht an, wir rufen euch an». Das sagt man bekanntlich zu allen freien Berufstätigen, die gerne noch einen sichern Teilzeitjob hätten, um die Miete zu sichern. «Rufen Sie uns nicht an, belästigen Sie uns nicht. Wir
rufen an, wenn wir Sie brauchen.» Dieser Telefondraht wird nicht mehr heiss.
Pierre Schaeffer [D]: Étude aux chemins de fer [F]
Autor: Pierre Schaeffer
Label und Katalognummer: INA-GRM INA C 1006/7/8/9
Produktion: Pierre Schaeffer
Veröffentlicht: 1990 (Album Comp.), 1948 (Werk)
Genretags: Akademica - Elektronische-Musik - Konkrete-Musik
Bemerkungen: Pierre Schaeffers «Étude aux Chemins de Fer» von 1948 ist ein wegweisendes Werk der konkreten Musik (franz. «musique concrète»). Das Stück besteht aus Tonbandaufnahmen von Zuggeräuschen, die technisch manipuliert sind. Tonbandschleifen («Looping»), Schnitttechnik («Splicing») und Geschwindigkeitsmanipulation («pitch shifting») haben die Aufnahmen verändert und eine reichhaltige und neuartige Klanglandschaft geschaffen.
Die «musique concrète» revolutionierte das Wesen und die Komposition von Musik. Konkrete Musik besteht in ihren besten momenten aus reinem Klang. Die traditionellen Parameter wie Melodie, Harmonie und Rhythmus sind sekundär. (Man muss aber bedenken, dass man auch traditionelle Musik mit den Methoden der «musique concrète» bearbeiten kann.)
«Musique concrète» zeigte einen neuen Weg der Komposition auf. Statt wie bisher Noten auf Papier zu schreiben, konnten nun Klänge auf ein Tonband aufgezeichnet werden. Damit rückt die Musik näher an die avantgardistische Filmkunst heran.
Das Stück beginnt mit einem langsamen, rhythmischen Muster von Eisenbahnrädern, die auf die Gleise klicken. Zu diesem Muster gesellen sich nach und nach weitere Geräusche, darunter das Rumpeln der Lokomotive, das Zischen von Dampf und das Klappern von Signalen. In der fortgeschrittenen Komposition werden die Aufnahmen schneller geschnitten, was den Klang stellenweise vom verursachenden Gegenstand zu lösen vermag. In diesen Momenten wird er absolut, mehr Studie («étude») als Eisenbahn («chemin de fer»).
Pink Floyd [D]: Arnold Layne [F]
Autor: Syd Barrett
Label und Katalognummer: Columbia (EMI) DB 8156
Produktion: Joe Boyd
Veröffentlicht: 1967 03 10 (Single), 1967 01 29 (Rec.)
Genretags: Rock - Psychedelicrock - Psychedelicpoprock
Bemerkungen: Die Debut-Single von Pink Floyd. Sie wurde mit Joe Boyd zu einem Zeitpunkt aufgenommen, als die Gruppe noch keinen Schallplattenvertrag hatte.
Der Song handelt von einem Crossdresser, Arnold Layne, der wohl real unter einem anderen Namen existierte und in Cambridge heimlich Frauenkleider stahl. Im Song zieht er sie an und stellt sich dann vor den Spiegel. Als er ertappt wird, wird er ins Gefängnis geworfen.
Das ist kein übliches Thema für einen psychedelischen Song. EMI ging im Pressetext so weit und schrieb: «Pink Floyd does not know what people mean by psychedelic pop and are not trying to cause hallucinatory effects on their audience.»
Das kontroverse Thema des Songs hat Radio London dazu bewogen, den Song zu zensurieren. Die BBC spielte die Single und so kam sie auf Platz 20 der britischen Charts. Pink Floyd wurden später als Band bekannt, die keine Singles veröffentlichten. Tatsächlich kamen 1967 und 1968 insgesamt vier Singles in Grossbritannien heraus und dann die fünfte, Another Brick in the Wall (Part II) erst wieder 1979. In anderen Ländern (Frankreich, Deutschland, USA) kamen durchaus weitere Songs auf Singles heraus, z.B. Money oder Have A Cigar.
Lyrics
Es ist beachtenswert, wie Syd Barrett die Lyrics aus kürzesten rhythmisch aneinander gefügten Stücken schmiedet: «moonshine – washing line», «see through – baby blue», «doors bang – chain gang».
Struktur
Strukturell ist «Arnold Layne» ein Verse-Chorus-Bridge Song ohne Intro. Genau genommen hat der Song ein kurzes Intro, das Gilad Cohen ein «Non-Intro» nennt. Es ist ein kurzes Glissando vom G-Barre-Akkord auf der Gitarre zum A-Akkord. Es ist nicht der einzige Song ohne Intro im frühen Pink Floyd Songbook: «Bike» und Jugband Blues sind weitere Beispiele.
Die Bridge des Songs ist ein 15 Sekunden kurzer psychedelischer Jam, der Live auch einige Minuten lang dauern konnte. Die Stimmen, ob «Arnold Layne» live tatsächlich mit so einem Jam gespielt worden sei, gehen allerdings auseinander. Die zweite Bridge hat ein leicht schnelleres Tempo und man hört den ersten unsauberen Schnitt, mit dem die Bridge in den Rest der Aufnahme hineinmontiert wurde.
Querverweise
– «Now I'm Here» von Queen auf Sheer Heart Attack – von «Arnold Layne» beeinflusster Track
– Pictures of Lily – ähnlich kontroverser Song, der sieben Wochen später herauskam und ebenso wenig zensuriert wurde wie «Arnold Layne» (man nimmt immer an, dass die BBC alles zensuriert hat, was anstössig sein konnte, aber nein!
– zur Flipside: Candy And A Currant Bun
Pink Floyd [D]: Us And Them [F]
Autor: Roger Waters & Richard Wright
Label und Katalognummer: Harvest SHVL 804
Produktion: Pink Floyd
Veröffentlicht: 1973 03 24 (Album)
Genretags: Rock - Progrock
Bemerkungen: Dieser Track war ein Überbleibsel von Zabriskie Point. Antonioni fan den track zu traurig und er erinnerte ihn an Kirchenmusik.
Der Titel «Us and Them» handelt von der sozialen Abgrenzung, was eines dieser Mittelstands-Themen ist, die das Album durchzieht. Gegensätze eröffnen die Verses: «Us – Them», «Me – You», «Black – Blue», «Up – Down», «Down – Out» und «With – Withou». Einzelne von ihnen sind Redewendungen: «Black and Blue» (windelweich), «Down and Out» (heruntergekommen). Den Gegensätzen werden universelle Ideen der EInheit entgegngehalten (wie das Yin und Yang des Taoismus): «Wir
sind alle Menschen, auch wenn wir streiten und Krieg führen», «Alles ist ein Kreislauf, was wir als auf und ab erleben».
Police [D]: Every Breath You Take [F]
Autor: Sting
Label und Katalognummer: A&M AMX 117, A&M AMLX 63735
Produktion: Hugh Padgham & Police
Veröffentlicht: 1983 05 (Single), 1983 06 17 (Album)
Genretags: Newpop - Artrock, Newpop - Poprock
Bemerkungen: Sting komponierte diesen Song zum Thema Eifersucht und Misstrauen in einer Beziehung. Interessanterweise wird er aber von vielen als Gegenteil verstanden, als Ausdruck des Willens für einander da zu sein. Und so wird das Lied an manchen Hochzeiten gespielt.
Strukturell beginnt der Song als AABA. Dann kommt ein neues Thema, die Bridge, die seit den ausgehenden 1960er Jahren standardmässig in Verse-Chorus-Formen eingebaut wird. Diese Bridge bildet hier das strukturelle, erzählerische und energetische Zentrum des Songs. Die Reprise – um im Paradigma der AABA-Form zu verbleiben – wird am Ende gespiegelt und wird zur ABAA-Folge.
Pretty Things [D]: Defecting Grey [F]
Autor: Phil May & Dick Taylor & Wally Allen Waller
Label und Katalognummer: Columbia (EMI) DB 8300
Produktion: Norman Smith
Veröffentlicht: 1967 11 10 (Single)
Genretags: Rock - Progrock
Bemerkungen: Der Song ist eine Montage (weist eine Rhapsodische Form auf) und springt von Stil zu Stil, wobei ein Walzer mehrere Male wiederkehrt. Der erste Freakbeat-Teil ist unglaublich ausgelassen und hart – was für eine Single hätte das hergegeben, aber der Song sollte kein ausgelassener Dancetrack sein, sindern ein Kaleidoskop von Eindrücken auf einem Trip.
Der Titel, der in den Lyrics nicht vorkommt (!), heisst übersetzt etwa «überlaufendes Grau». Gemeint ist das Verschwimmen von Farben. Hier das Grau, das als der graue, langweilige Alltag das Leben auffrisst. Aber auch die Farbe, die im Trip zur bewgten Gestalt wird.
Der Song war zunächst als Epic Song geplant und aufgenommen, aber muste als Single von über fünf Minuten auf viereinhalb Minuten geschnitten werden. Der längere Originalmix kann als Bonustrack auf S.F. Sorrow gehört werden.
Phil May hat in einem Interview angedeutet, dass der Mann, der einsam auf der Parkbank sitzt, ein Homosexueller sei.
Queen [D]: Love of My Life [F]
Autor: Freddie Mercury
Label und Katalognummer: EMI EMTC 103
Produktion: Roy Thomas Baker & Queen
Veröffentlicht: 1975 11 21 (Album)
Genretags: Rock - Poprock
Bemerkungen: Als Single kam das Stück 1979 in einer Live Version heraus (siehe RYM).
Es wird widersprüchlich kolportiert, dass Mercury diesen Song für Mary Austin bzw. für David Minns, seinen damaligen Lover, geschrieben hat.
Queen [D]: Innuendo [F]
Assoziierte Acts: Steve Howe
Autor: John Deacon & Brian May & Freddie Mercury & Roger Taylor
Label und Katalognummer: Parlophone QUEEN 16, Parlophone CDP 79 5887
Produktion: Queen & David Richards
Veröffentlicht: 1991 01 14 (Single), 1991 02 04 (Album)
Genretags: Rock - AOR-Rock - AOR-Progrock
Bemerkungen: «Innuendo» wurde vor allem von Freddie Mercury und Roger Taylor geschrieben. Die Credits auf dem gleichnamigen Album sind aber alle der Band als gesamter zugeschrieben.
Der Track ist ein Rückgriff auf die Anfänge der Band als Hybrider Act zwischen Hardrock, Glamrock und Progrock.
Die Flamenco-Gitarre wird von Steve Howe gespielt.
Radiohead [D]: Subterranean Homesick Alien [F]
Autor: Colin Greenwood & Jonny Greenwood & Ed O'Brien & Phil Selway & Thom Yorke
Label und Katalognummer: Parlophone 7243 8 55229 2 5
Produktion: Nigel Godrich & Radiohead
Veröffentlicht: 1997 06 16 (Album)
Genretags: Alternativerock - Poprock - Post-Britpop
Bemerkungen: Der Song ist um eine Dm–Ab–D/A–D/A Db/Ab–Progression aufgebaut, die einzigartig ist und von David Bennet in einem Video zu 5 songs with unusual chord progressions behandelt wird.
Ramones [D]: Blitzkrieg Bop [F]
Autor: Ramones
Label und Katalognummer: Sire SASD 7520, Sire 6078 601
Produktion: Craig Leon
Veröffentlicht: 1976 04 23 (Album), 1976 05 (Single)
Genretags: Rock - Punkrock - New-York-Punk
Bemerkungen: Der Song ist über weiteste Strecken als Drei-Akkord-Song aufgebaut (I–IV–V). Einzig im Chorus kommt eine kurze Abwechslung in Moll (ii). «Blitzkrieg Bop» entspricht damit dem Punk-Ethos, dass zwei oder drei Akkorde genügen, um einen Popsong zu spielen. Beim Gebrauch der Akkorde fällt auf, dass Tonika, Subdominante und Dominante nicht wie in der Klassischen Musik oder im Jazz, dazu verwendet werden, Spannung aufzubauen und wieder aufzulösen. Es ist in den Verses eher als wäre die Tonika ein lärmiges Stahlgewitter («tight wind», «steam heat»), das mit einer Art Riff (IV–V) verziert ist. Die Spannung ist wie ein Ornament zum Tonika-Akkord. Harmonisch sorgt es für eine kurze Abwechslung der Monotonie. Das Ziel ist nicht, die Monotonie der Tonika wiederherzustellen, die Harmonische Figur aufzulösen, sondern gerade umgekehrt, kurz aus der Monotonie der Tonika auszubrechen. Voilà, das ist Punk. «All revved up and ready to go».
Warum eigentlich heisst der Song «Bop»? Weil es gut klingt (Assonanz mit «Blitz...»)? Weil der Song etwas mit Bebop gemein hat? Das wohl eher nicht, weil er gerade das Gegenteil des virtuosen Bebops darstellt. Ironie? Oder hat die Wortwahl mit der praktischen Kurzhaar-Frisur für Frauen aus den 1960er Jahren zu tun? Das andere Wort im Titel, der «Blitzkrieg», bezeichnet die militärische Strategie, einen Gegner mit einem schnell ausgeführten und verlustreichen Schlag zu demoralisieren. Hitlers Armee führte im Zweiten Weltkrieg einen Blitzkrieg gegen England. Dass das Lied ausgerechnet dort dermassen erfolgreich war, ist dann wirklich eine Ironie. Und ausserdem trifft «Blitzkrieg» die Wir
kung, die die Ramones bei ihrem ersten Konzert in London gehabt haben, sehr genau. Nach dem Auftritt der Band am 4. Juli 1976 im Roundhouse wurden Dutzende von Punkbands gegründet. An Weihnachten war Punk dank den Sex Pistols, die einen TV-Skandal auslösten, das Stadtgespräch (siehe: The Grundy Show Incident).
Residents [D]: Kaw-Liga [F]
Autor: Fred Rose & Hank Williams
Label und Katalognummer: Aim 1013, Torso TORSO 12022
Produktion: Cryptic Corporation
Veröffentlicht: 1986 (Album), 1986 (Maxi NL)
Genretags: Alternativerock - Alternativedance
Bemerkungen: Der Song ist eine intelligente Charakterstudie von «Holzpflöcken», von Menschen, die unfähig sind, eine Regung zu zeigen. Kaw Liga ist ein Totempfahl, ein geschnitzter Indianer, der in einem Antquitätenladen steht. Er steht stumm da, hat sich aber in eine Statue von einer Indianerin verliebt. So souverän wie er da steht, unberührbar mit Adlerblick von oben herab, ohne eine Regung zu zeigen, erfährt niemand, auch nicht die Angebetete, von seiner Liebe. Eines Tages wird wird die anmutige Schönheit verkauft und Kaw-Liga steht immer noch rührungslos da.
Richard Wagner & Herbert Karajan & Orchester der Bayreuther Festspiele [D]: Prelude zu Tristan und Isolde [F]
Autor: Richard Wagner
Label und Katalognummer: Cetra LO 47
Veröffentlicht: 1977 (Ed.)
Genretags: Akademica - Romantik - Spätromantik
Bemerkungen: Der Tristanakkord f-h-dis-gis ist ein leicht dissonanter Akkord, der während der (ellenlangen) Oper «Tristan und Isolde» einfach nicht aufgelöst wird, bis am Ende, in der Arie «Heller schallend, mich umwallend» endlich endlich die Auflösung kommt, wenn das Liebespaar verint im tragischen Tod ihre Liebe vollziehen können. Die Auflösung rührt dermasen an, dass man sich selber fast auflösen möchte.
Querverweise
– Wagner/Furtwängler: Tristan und Isolde
– GuweiMusic: Tristan Chord: The Ultimate Musical Cliffhanger (23.01.2023)
Righteous Brothers [D]: You've Lost That Lovin' Feelin' [F]
Autor: Barry Mann & Phil Spector & Cynthia Weil
Label und Katalognummer: Philles 124, Philles PHLP 4007
Produktion: Gene Page & Phil Spector
Veröffentlicht: 1964 11 (Single), 1965 01 (Album)
Genretags: Pop - Popsoul - Blueeyedsoul
Bemerkungen: Die Produktion von Phil Spector wirkt mit dem grossen Intensitäts-Unterschied zwischen Strophe und Refrain nur noch effektvoller. Drama pur!
Der Song war bis dato die längste Single (3:45).
Rihanna [D]: S.O.S. [F]
Autor: Evan 'Kidd' Bogart & Ed Cobb & Jonathan R. Rotem
Label und Katalognummer: Def Jam 985 606, Def Jam B 0006165
Produktion: Evan Rogers & Jonathan R. Rotem & Carl Sturken
Veröffentlicht: 2006 02 14 (Single), 2006 04 19 (Album)
Genretags: Post-Millennial-Music - Electropop - Electroswing
Bemerkungen: Dieser Track baut auf Tainted Love von Soft Cell auf. Jener Track war selbst schon die Coverversion des Popsoul-Titels von Gloria Jones aus den 1960er Jahren. Ed Cobb, der Komponist der Originalversion, wurde als Songwriter genannt. Produzent Jonathan R. Rotem arbeitete mit der synthetischen Basslinie und dem Synthriff von Soft Cell und legte einen hochenergetischen und peitschenden Swing-Rhythmus dazu.
In der Produktion wurde der Renaissance Maxx Filter von der Firma Waves aus Tel Aviv verwendet. Dieser Filter verleiht einer digitalen Aufnahme die Wärme einer Analogaufnahme.
Ringo Starr [D]: You're Sixteen [F]
Autor: Bob Sherman & Dick Sherman
Label und Katalognummer: Apple PCTC 252, Apple R 5995
Produktion: Richard Perry
Veröffentlicht: 1973 11 02 (Album), 1973 12 03 (Single)
Genretags: Pop - Vocalpop
Bemerkungen: Wenn das Rock sein soll, d.h. authentische Musik, dann ist der Song ein Zeugnis der Lüsternheit eins über 30-jährigen auf eine junge Frau, die dem Schutzalter nicht entwachsen ist. Wir
kategorisieren es dann besser mal als Pop, nicht wahr?
Ein Song, dessen Titel dem Verse entnommen ist.
Robert Johnson [D]: Terraplane Blues [F]
Autor: Robert Johnson
Label und Katalognummer: Vocalion 03416, Columbia CL 1654
Produktion: Don Law
Veröffentlicht: 1937 01 (Single), 1961 (Album), 1936 11 23 (Rec.)
Genretags: Americana - Blues - Countryblues, Blues - Countryblues - Deltablues
Bemerkungen: Song mit «double entendre». «I'm gon' get down in this connection, oh well, keep on tanglin' with these wires / And when I mash down on your little starter, then your spark plug will give me fire».
Robin Gibb [D]: Saved By The Bell [F]
Autor: Robin Gibb
Label und Katalognummer: Polydor 56337, Polydor 583 085
Produktion: Robin Gibb
Veröffentlicht: 1969 07 27 (Single), 1969 (Album)
Genretags: Pop - Progressivepop - Baroquepop
Bemerkungen: Der Songtitel heisst übersetzt: «Gerade noch mal über die Runde gekommen». Der Ausdruck kommt vom Boxen. Wenn einer am Boden liegt und dank der Glocke, die das Ende der Runde läutet, vom K.O. gerettet wird.
Rod Stewart [D]: Maggie May [F]
Autor: Martin Quittenton & Rod Stewart
Label und Katalognummer: Mercury 6052 097, Mercury 6338 063
Produktion: Rod Stewart
Veröffentlicht: 1971 07 (Single B), 1971 07 (Album)
Genretags: Rock - Poprock - Powerpop
Bemerkungen: Dieser Trennungssong ist an eine viel ältere Frau gerichtet. Den Namen des Songs kommt von den Beatles bzw. vom Liverpooler Volk- bzw. Seemannslied Maggie Mae. Dieses stimmen die Beatles auf dem Let it Be-Album kurz an. In ihm geht es darum, dass die Prostituierte Maggie ihren Freiern den Lohn, die Heuer, muckt und dafür verurteilt wird.
Roger Waters [D]: 5:01AM (The Pros and Cons of Hitch Hiking, Part 10) [F]
Autor: Roger Waters
Label und Katalognummer: Harvest CDP 7 46029, Harvest 1C 006 2001297
Produktion: Michael Kamen & Roger Waters
Veröffentlicht: 1984 04 30 (Album), 1984 (Single)
Genretags: Rock - Progrock
Bemerkungen: Titeltrack aus dem alternativen Stoff, den Waters zu den Sessions mitgebracht hat, aus denen «The Wall» hervorgegangen ist. Zur Auswahl standen die Mauer- und diese Autostopp-Geschichte. Gewählt wurde - wie wir alle wissen - «The Wall». Den anderen Stoff hat Waters 1984 auf seiner ersten Soloplatte verwendet.
Die Geschichte ist der Bericht einer Midlifecrisis: Ein Mann nimmt auf der Ferienreise auf dem Kontinent mit seiner Familie eine Autostopperin mit. Mehr passiert objektiv gesehen in den 42 Minuten nicht - das Album spielt real time und erzählt in 42 Minuteneine Begebenheit von 42 Minuten. Dabei geht es nur um das, was in seinem Kopf abgeht: Seitensprung-Phantasien und Paranoia.
Die Innovation beim letzten Pink Floyd Album The Final Cut
und diesem ersten Soloalbum von Roger Waters war, dass er Geräusche, die die Erzählung unterstützten, mit einem holophonischen System aufnehmen liess. Diese Erfindung kam vom Argentiner Hugo Zuccarelli. Es arbeitet mit einem Trick: die Phase dem linken und rechten Stereosignal wird geringfügig verschoben, was dem Ohr ein Raumempfinden vortäuscht. Der selbe Trick wurde in den portablen Gettoblastern verwendent, die in den 80er Jahren aufkamen. Diese hatten in der Regel einen Knopf, um den Raumklang der nahe beieinander liegenden Lautsprecher zu verbessern.
Rolf Harris [D]: Two Little Boys [F]
Autor: Edward Madden & Theodore F. Morse
Label und Katalognummer: Festival FK 3438, Capitol ST 06363
Produktion: Mickey Clarke & Rolf Harris
Veröffentlicht: 1969 11 (Single), 1971 (Album), 1902 (Werk)
Genretags: Pop - Vocalpop - Children's-Music
Bemerkungen: Dieser Novelty-Song war 1969 die im UK am besten verkaufte Single. Two Little Boys
wurde 1903 komponiert und war zunächst in Vaudevilleshows und Musichalls erfolgreich. Rolf Harris, ein britisch-australischer Kabarettist, nahm den Song in politisch brisanter Zeit neu auf: Handelt es sich deshalb um einen Anti-Vietnam-Song oder nicht?
Im Kontext der Zeitgeschichte konnte man den Song als Antikriegslied verstehen. John Lennon gratulierte Rolf Harris zum Erfolg, einen Anti-Vietnam-Song auf Platz eins der Charts gebracht zu haben. Die britische premierministerin Margaret Thatcher, die den Vietnam Krieg als wichtige Intervention gegen den Vormarsch des Weltkommunismus sah, sagte zehn Jahre später in einer Radioshow, dass dies ihr Lieblingslied sei. Es zeigt sich aus diesen verschiednen Interpretationen, dass Pop am besten funktioniert, wenn mit einem Song ein Thema auf universelle und durchaus ambivalente oder wertneutrale Weise erzählt wird, damit alle Leute ihre Interpretation bzw. ihre eigene Geschichte hineinlegen können.
Rolling Stones [D]: (I Can't Get No) Satisfaction [F]
Autor: Jagger-Richards
Label und Katalognummer: London 9766, London LL 3429, Decca F 12220
Produktion: Andrew Loog Oldham
Veröffentlicht: 1965 06 06 (Single US), 1965 07 30 (Album US), 1965 08 20 (Single UK)
Genretags: Rock'n'Roll - Rhythm'n'Blues - British-Rhythm'n'Blues
Bemerkungen: Das berühmte Gitarrenriff ist wohl der Bläser-Section in Dancing In The Streets nachempfunden und mit der Gibson Maestro Fuzz-Tone FZ-1 gespielt.
Die Single wurde der Durchbruch der Stones in den USA.Satisfaction
ist ein Audsdruck von Frustration. Es ist nicht die Frustration der späteren Punk-Generation, die war: «no job, no fun, no future». Nein, dieser Song wurde von jungen Männern geschrieben, die alles hatten, Spass, Geld und eine grossartige Zukunft. Nur waren sie von Leuten umgeben, die ihnen mächtig auf den Keks gingen, Leute, die in ihrer Sonne stehen wollten. Das ist, wie wenn Sie im Lotto gewinnen. Dann werden sie schnell von falschen Freunden umgeben sein, die was von ihrem Glück abhaben wollen. Das ist der Gestus dieses Songs.
Die Zeile mit der Zigarette wurde oft platt interpretiert als: «Es gibt zwei Arten von Zigarettenrauchern, die Potraucher und die, die keinen Pot rauchen». Dabei ist die Zeile ganz einfach arrogant gemeint. Der Typ raucht eine andere Marke, also ist er nicht mein Freund. Die Produkt-/Markenwahl sagt etwas über die Identität des modernen Menschen aus. Wer gleich wählt ist ähnlich, träumt den selben Traum.
Die Werbung ist ein ambivalenter Aspekt des modernen Lebens: Zum einen geht sie ganz schön auf die Nerven, zum anderen versorgt sie uns mit einer Identität, einem Lifestyle.
Der Song wird oft als Protestsong gehört und verstanden, dabei geht es mehr um Provokation.
Querverweise
– zum Auftritt in der Ed Sullivan Show: (I Can't Get No) Satisfaction @ Ed Sullivan Show
Rolling Stones [D]: Street Fighting Man [F]
Autor: Jagger-Richards
Label und Katalognummer: London 45 909, Decca SKL 4955
Produktion: Jimi Miller
Veröffentlicht: 1968 08 30 (Single), 1968 12 06 (Album)
Genretags: Rock - Bluesrock
Bemerkungen: Die Melodie der Verses ist einer Polizeisirene nachempfunden. Der Song kommt ohne ein Riff aus, für das die Stones so bekannt waren. Dafür erweisen sie sich in diesem Song als Meister der Stimmung. Treibende Akkorde von zwei akustischen Gitarren werden akzentuiert von einem Backbeat und untermalt von einer Tanpura (indisches Instrument, das für westliche Ohren wenig anders als eine Sitar klingt). Die Musik und die Lyrics wirken unübersichtlich, wie aus der Perspektive einer demonstrierenden Person, die von der Masse angetrieben und mitgetragen wird. Die Lyrics legen zu Beginn eine falsche Fährte. Man meint, der Song wolle den Funken des Pariser Mai 68 aufnehmen und Feuer legen. Stattdessen sprechen die Lyrics davon, dass die einzig mögliche Rebellion diejenige sei, in einer Rock 'n' Roll Band zu singen. Im zweiten Verse ist von einer Palastrevolution die Rede, die vermutlich gegen die Manager der Musikindustrie gerichtet ist, mit denen der Erzähler sich nicht mehr mit Kompromissen arrangieren möchte. Auf den Song selbst bezogen, könnte das heissen, dass die Rolling Stones Street Fighting Man
als Single herausgaben, obwohl abzusehen war, dass der Song am Radio nicht gespielt und gemessen an ihren grossen Hits ein kommerzieller Misserfolg werden würde. Im dritten Verse schliesslich geht es um den Ruf der Band als Rock-Rebellen: Rock-Rebellen stören, sie werden laut werden, den König töten und gegen seine Gefolgsleute wettern. Aber im verschlafenen London gab es 1968 keinen Grund auf die Strasse zu gehen.
Genau wie die Beatles verhielten sich die Stones ambivalent zu den Ereignissen von 1968 (vergleiche deren Revolution).
Rolling Stones [D]: Ruby Tuesday [F]
Autor: Jagger-Richards
Label und Katalognummer: Decca F 12546, London 45 904, London PS 499
Produktion: Andrew Loog Oldham
Veröffentlicht: 1967 01 13 (Single B UK), 1967 01 13 (Single US), 1967 02 11 (Album US)
Genretags: Rock - Psychedelicrock - Psychedelicpoprock
Bemerkungen: Da de A-Seite der Single «Let's Spend the Night Together / Ruby Tuesday
» nicht gespielt werden konnte, kam in den USA dieser Song von der B-Seite auf Platz eins der Billboard Charts.
Der Song ist ein Ausdruck der «Be Here Now» Mentalität der 60er-Jahre (verglieche das gleichnamige Buch von Ram Dass). Die besungene Frau lebt konsequent nach diesem Motto. Wenn sie hier ist ist sie hier. Woher sie kommt spielt keine Rolle. Ihre Lebensweise ist eine der Freiheit, einer radikalen Freiheit, die dem Erzähler eine Emotion abringt: nämlich dass er sei vermisst, wenn sie nicht da ist.
Gender
Dass eine Frau sich die Freiheit des radikalen «Be Here Now» nimmt, ist sehr emanzipatorisch. Wenn Rockstars so leben, erstaunt das niemanden, der die 1960er Jahre in England kennt. Aber wenn eine Frau das tut ist es ein Song wert, in dem der Mann wenn nicht verunsichert so doch irritiert ist.
Ob «Ruby Tuesday» eine Szenefrau, eine Künstlerin oder ein Groupie ist, wird in den Lyrics nicht gesagt. Sie ist jedenfalls eine In-Figur der Szene von Swinging London. Keith Richards hatte beim Schreiben des Songs das Model Linda Keith, seine damalige Freundin vor Augen. Frau Keith lebte die 1960er offenbar noch ein Stück radikaler als Herr Keith, der damals zu den Prototypen dieses Lifestyles zählte.
Querverweise
– zum Auftritt in der Ed Sullivan Show: Ruby Tuesday @ Ed Sullivan Show
Rolling Stones [D]: Wild Horses [F]
Autor: Jagger-Richards
Label und Katalognummer: Rolling Stones COC 59100, Rolling Stones RS 19101
Produktion: Jimmy Miller
Veröffentlicht: 1971 04 23 (Album), 1971 06 12 (Single)
Genretags: Rock - Bluesrock
Bemerkungen: Wild Horses
gehört zweifellos zu den schönsten Liedern der Rockmusik. Der Song entstand als Schlaflied, das Keith Richards für seinen Sohn Marlon schrieb. Mick Jagger machte daraus eine Reflexion seiner Beziehung zu Marianne Faithfull, die damals unter schweren Depressionen litt, die sie mit Heroin betäubte. Nun haben die Motive «Schlaflied» und «Beziehung zur Muse» sehr wenig miteinander zu tun. Das merkt man dem Song ab der dritten Zeile an, die den Bruch produziert. Der Song funktioniert dennoch auf der Ebene der Bilder: Schlaf, Depression, Rausch und Tod stehen dem Wachsein und Leben gegenüber. Auch die Erzählposition ist kohärent: Im Schlaflied können wir uns Keith am Bett von Marlon vorstellen, im Lied über Marianne Mick am Bett oder am Boden neben seiner Muse im Delirium oder Nahtod. Wild Horses
ist so düster wie schön: Der Song erzählt von der Anziehung des Dunkeln, die zuweilen stärker ist als das ungebändigte Leben, die schiere Lebenskraft, philosophsich der «elan vital». Die verwendeten Bilder sind einfach, doch die existenziell anmutenden Sätze wie «I have my freedom but I don't have much time» oder «Let's do some living after we die» entreissen den Song dem Kitschverdacht.
Ron Sexsmith [D]: Gold In Them Hills [F]
Assoziierte Acts: Chris Martin (feat.)
Autor: Ron Sexsmith
Label und Katalognummer: V2 VVR 1021302, V2
Produktion: Martin Terefe
Veröffentlicht: 2002 10 08 (Album), 2003 (Single)
Genretags: Indiepop - Folkpop
Bemerkungen: Die Single Version wird von Chris Martin gesungen. Die Album-Version nicht.
Ronettes [D]: Be My Baby [F]
Assoziierte Acts: Ronnie Spector
Autor: Jeff Barry & Ellie Greenwich & Phil Spector
Label und Katalognummer: Philles 116, Philles PHLPST 4006
Produktion: Phil Spector
Veröffentlicht: 1963 07 (Single), 1964 05 (Album), 1963 07 (Rec.)
Genretags: Pop - Teenpop - Girlgroups
Bemerkungen: Sonny and Cher fungierten mit anderen als Backingsänger bei der Session, Mitglieder der Wrecking Crew wie Hal Blaine spielten die Musik. Als Arrangeur wirkte Jack Nitzsche, Techniker war Larry Levine.
Struktur
Contrasting Verse-Chorus Form. Der Kontrast wird durch die Drums akzentuiert, die in Verse und Chorus verschiedene Rhythmen spielen. Zwischen Verse und Chorus gibt es einen Pre-Chorus, der der Steigerung der Energie dient, hier musikalisch mit einem chromatischen Anstieg umgesetzt (grossartig!). Im «instrumental Verse» spielen unisono Streicher ein »Solo» (quasi). Der Schluss ist mega-dramatisch inszeniert mit einem kurzen melodisch absteigenden Post-Chorus, der in einen Break mündet. Jetzt könnte der Song zu Ende sein, aber das Schlagzeug setzt noch einmal ein (wie am Anfang des Intros) und das Finale setzt mit voller Wall-of-Sound ein. Diese Coda repetiert den Chorus ad lib. Der Song wird ausgeblendet.
Erfolg
Der Track kam in den Billboard Hot 100 auf Platz 2, in den Cashbox-Charts auf Platz 1, in den Rhythm and Blues Charts Platz 4. Vom ersten Platz zurückgehalten wurde der Song von Sugar Shack.
Ronnie Hawkins [D]: Who Do You Love [F]
Autor: Ellas McDaniel
Label und Katalognummer: Roulette Records R 4483
Produktion: Henry Glover
Veröffentlicht: 1963 03 (Single)
Genretags: Rock'n'Roll - Rockabilly
Bemerkungen: Ronnie Hawkins, der kanadische Rockabilly Sänger und seine Backingband The Hawks, die später The Band werden. Die Aufnahme dieses Rock-'n'-Roll-Klassikers von Bo Diddley ist bemerkenswert, weil sie wie ein späterer Garagerock-Track klingt. Robbie Robertson spielt seine Gitarre mit viel Verzerrung und macht aus einem frenetischen Voodoo Party-Hit eine panisch überdrehte und fieberhafte Raserei. Die dunkle Stimmung wird später vom Psychobilly wieder aufgegriffen.
Roy Orbison [D]: Running Scared [F]
Autor: Joe Melson & Roy Orbison
Label und Katalognummer: Monument Records 45-438, Monument Records SM 14007
Produktion: Fred Foster
Veröffentlicht: 1961 03 (Single), 1962 01 19 (Album)
Genretags: Pop - Teenpop
Bemerkungen: Flipside der Single ist: Love Hurts
Ein musikalisches Melodrama der Teenage-Angst über einem spannungsvollen Bolero-Beat. Das Arrangement wird dichter und dichter bis der Song im Crescendo endet.
Rumpelstilz [D]: D' Rosmarie und i [F]
Assoziierte Acts: Polo Hofer
Autor: Hanery Ammann & Polo Hofer
Label und Katalognummer: Schnouz 6326.930
Produktion: Eric Merz
Veröffentlicht: 1976 10 (Album)
Genretags: Rock - Progrock
Bemerkungen: Ein Song, in dem die Sommerreise zweier Hippies erinnert wird. Der besondere Clue dabei, das Paar trennt sich auf der Reise, aber dennoch bleibt der Trip der Trip mit Rosmarie. Weggehen ist eben wichtiger als zurückkommen.
Saint Etienne [D]: Like A Motorway [F]
Autor: Bob Stanley & Pete Wiggs
Label und Katalognummer: Heavenly Recordings HVNLP 008, Heavenly Recordings HVN 040
Produktion: Sarah Cracknell & Bob Stanley & Pete Wiggs
Veröffentlicht: 1994 02 (Album), 1994 05 (Single)
Genretags: Newpop - Electronicpop
Bemerkungen: Entspannter Electropop, mit Andeutungen an Britpop. Die Melodie dieses Tracks stammt vom Folksong Silver Dagger
.
Zu den Lyrics: Es kommt Liebe in ein langweiliges Leben, doch die Liebe endet; er verlässt sie. Die Verlassene steht in Tränen aufgelöst da, den Abschiedsbrief in der Hand. Erzählt wird die Geschichte aus der Position einer Freundin, die sagt, was man in so einem Fall sagt: «How could / he ever leave you?
You two were good, / you were so right.» Und nun kommt die umwerfende Stelle im Song, der Dreh, das besondere Etwas: Sie antwortet: «Ich wünschte, er hätte mich nur verlassen, denn dann wäre er noch am Leben». Und wie ist er gestorben? Der Song schweigt, was ein besonderes Vergnügen ist, weil man frei interpretieren darf. Es kann sein, dass er auf dem Motorway einen tödlichen Unfall hatte. Es kann aber auch sein, dass SIE seinem Leben ein Ende setzte.
Schoolly D [D]: P.S.K. What Does It Mean? [F]
Autor: Schoolly D
Label und Katalognummer: Schoolly-D SD 112, Schoolly-D SD 114
Produktion: Schoolly D
Veröffentlicht: 1985 (Maxi), 1985 (Album)
Genretags: Hip-Hop - Gangstarap - Eastcoast
Bemerkungen: Dieser Track wird oft als erste Gangstarap-Veröffentlichung betrachtet.
Scott Walker [D]: Jesse [F]
Autor: Scott Engel
Label und Katalognummer: 4AD CAD 2603
Produktion: Scott Walker & Peter Walsh
Veröffentlicht: 2006 05 08 (Album)
Genretags: Newpop - Artpop - Singer-Songwriter
Bemerkungen: Ein Song über den bei der Geburt verstorbenen Zwillingsbruder von Elvis Presley aus der Perspektive von Elvis. Aber das ist noch nicht alles! Die beiden Twins werden in diesem rätselhaft düsteren und unheimlichen Song mit den «Twintowers» zusammengeworfen. Ich höre auch ein Lied über Amerika und die nativen Völker, die man «Indianer» nennt und denen man das Land gestohlen hat.
Der Song wird dominiert vom polysemen und explosiv lautenden «Pow Pow» und von einem fötalen, nicht lebensfähigen Gitarrenriff, einem verstümmelten Etwas, das entfernt Jailhouse Rock gleichen soll (Auch Jailhouse Rock
hat zwei Beckenschläge: «Pow Pow!».) Das «Pow Pow» in Jesse
wird reflektiert von paarig gespielten dröhnend in einen grossen Raum gestellten vage dissonanten Gitarrenakkorden.
Der Song ist ein apokalyptisches Konstrukt, vorgetragen mit einem Ernst ganz ohne Pathos. Er erzählt davon, dass Grösse ohne Opfer nicht zu haben ist. Erfolg nicht ohne Krankheit, Leben nicht ohne Tod, Zivilisation nicht ohne Katastrophen. Vergeblich fleht Scott Walkers Stimme: «Jesse are you listening?» Unmöglich ist die Kommunikation zwischen Leben und Tod. Aber Leben und Tod sind aufeinander bezogen.
Fast am Ende des Songs legt der Erzähler im Traum sein Ohr auf den Prärieboden, wie eine Indianer, der seine Welt abhört, die Zeichen der Natur «liest». Die Welt bleibt, wie es scheint, stumm. Die Konklusion ist: Man ist allein, das eigene Leben ist gestohlen und dem, dem man es gestohlen hat, kann man nichts davon zurückgegeben. Nach dem Opfer kann keine Symmetrie mehr hergestellt werden.
Sex Pistols [D]: Holidays In The Sun [F]
Autor: Steve Jones & Glen Matlock & Paul Cook & Johnny Rotten
Label und Katalognummer: Virgin VS 19112, Virgin V 2086 (Album UK)
Produktion: Bill Price, Chris Thomas
Veröffentlicht: 1977 10 15 (Single), 1977 10 28 (Album UK)
Genretags: Rock - Punkrock - London-Punk
Bemerkungen:
«Holidays In The Sun» ist ein Song über Berlin, wo die Band 1977 Ferien machte, weil sie zum ersten Mal etwas Geld hatten und weil sie dem Aufruhr um sie herum entfliehen wollten.
Der Slogan «A cheap holiday in other people's misery», der am Anfang zitiert wird, stammt aus dem Pariser Mai 1968. Die situationistische Parole steht wie ein Motto über dem Song (Greil Marcus hat in Lipstick Traces darüber geschrieben, im Internet belegt ist z.B. der Spruch: «Voir Nanterre et vivre. Allez mourir à Naples avec le Club Méditerranée» –siehe: dicocitations).
Der Erzähler hält es mit den Situationisten und hält Massentourismus für eine Form von modernem (postkollonialem) Kolonialismus. Aus diesem Grund macht er Ferien in Berlin.
Im Song wird Berlin «Belsen» genannt, wie das Konzentrationslager aus dem 2. Weltkrieg. Berlin war seit 1961 in einer Mauer eingeschlossen und das wird hier auf absurde Weise mit einem Konzentrationslager verglichen.
Wer wie die Sex Pistols zur Zeit des Kalten Kriegs in Berlin Ferien machte, begab sich gewissermassen freiwillig in eine Art Konzentrationslager. Das ist Satire, genau wie die Zeilen:
I didn't ask for sunshine and I got World War III I'm looking over the wall and they're looking at meKonsequenterweise will der Erzähler über die Mauer in den Osten fliehen. Wenn Berlin Belsen ist, dann will man als Insasse raus in die Freiheit. Das ist natürlich absurd, weil es die Umkehrung der eigentlichen Verhältnisse ist, in denen zahlreiche Ostberliner und Ostdeutsche den Weg in den Westen gesucht haben.
Was 1977 noch eine herrliche Satire war, das wurde in den 80er Jahren zu einer permanenten Angst vor dem dritten Weltkrieg, den man sich als grossen Unfall vorstellte. Man befürchtete, dass einer der Staatschefs (Reagan oder Chrustshev) nervös würde, einen Fehler machen und auf den roten Knopf drücken würde.
Shamen [D]: Re:Evolution [F]
Autor: Colin Angus & Mr. C & Terence McKenna
Label und Katalognummer: One Little Indian TPLP 042, One Little Indian 118 TP7
Produktion: Shamen
Veröffentlicht: 1992 09 13 (Album), 1993 (Maxisingle)
Genretags: Alternativerock - Alternativedance, Electronica - House - Acidhouse
Bemerkungen: Die Lyrics stammen und sind gesprochen von Terence Kemp McKenna, dem amerikanischen Psychonaut und Philosoph. Im Text geht es um die Bewusstseinserweiterung durch Drogen und Musik, aber anders als noch bei den Hippies. Hier wird kein New Age beschworen, sondern das Ende der Zeit, an das ein Shamane immer schon gehen konnte. Ein Ausserhalb der Zeit, wo er sich diese vergegenständlichen oder vergegenwärtigen kann und diese Wahrheit dann in die Zeit hinein zurückträgt, als Botschaft, als Vision, als Prophetie.
Shangri-Las [D]: Past, Present And Future [F]
Autor: Artie Butler & Jerry Leiber & George 'Shadow' Morton
Label und Katalognummer: Red Bird RB 10-068
Produktion: Shadow Morton
Veröffentlicht: 1966 08 (Single)
Genretags: Pop - Teenpop - Girlgroups
Bemerkungen: Die letzte Single der Shangri-Las für das Red Bird Label. In den Charts erreichte die Single nur noch Platz 59.
Ein trostloses Teenager Drama in einer AABA Struktur. Kein Gesang, bloss ein melodramatischer Monolog von Mary Weiss, der zu einem jungen Mann spricht, der um die Erzählerin wirbt. Diese sagt ihm: «Versuch mich nicht zu berühren, denn das wird nie mehr wieder passieren.» Man ist möglicherweise geneigt, in der Geschichte die Überreaktion einer jungen Frau nach dem Verlust ihrer vermeintlich grossen Liebe zu vermuten. Weil die Erzählerin nicht ausspricht, was passiert ist, muss man ihr ein Motiv unterstellen und da liegt Hysterie nahe, weil dies ein Standardmotiv im Teenpop ist. Man hört dann ihre Rede als Übertreibung. Aber für dieses Standardmotiv von Girlpop ist dieser Song zu traurig, zu dunkel. Die Erzählerin spricht von einem schlechten Erlebnis mit einem Mann, von einem Übergriff, von etwas, das man als Überrumpelung oder Vergewaltigung bezeichnen muss. Dieser Song ist MeToo avant la lettre.
Die Musik ist von Beethovens Mondscheinsonate
inspiriert. In der Bridge wechselt das Tempo zum Walzer, nachdem der zweite Verse mit der Zeile endet: «Shall we dance?»
Simon And Garfunkel [D]: Mrs. Robinson [F]
Assoziierte Acts: Art Garfunkel & Paul Simon
Autor: Paul Simon
Label und Katalognummer: Columbia 4 44511, Columbia KCS 9529
Produktion: Art Garfunkel & Roy Halee & Teo Macero & Paul Simon
Veröffentlicht: 1968 04 (Single), 1968 04 03 (Album)
Genretags: Pop - Folkpop
Bemerkungen: Der Song hatte den Arbeitstitel «Mrs. Roosevelt». Er handelte vermutlich von Eleanor Roosevelt, der Präsidentengattin und Sozialreformerin, die enttäuscht auf eine moderne Welt ohne Helden schaut. Paul Simon willigte ein, «Mrs. Robinson» aus dem Songentwurf zu machen und ihn zum Film The Graduate beizusteuern.
Die Lyrics machen genug deutlich, dass der Song keinen direkten Bezug zum Film hat. Andeutungen höchstens. Man hat gesagt, dass der erste Verse eine Szene in einer Klink sein könnte, wo Mrs. Robinson einen Entzug macht. Der zweite Verse spricht möglicherweise von einem Suchtproblem, von einer Famielienangelegenheit, die weder die Kinder noch die Öffentlichkeit etwas angeht.
Formal haben wir hier einen Chorus, der sich am Ende verändert. «Here's To You» wird zu «Coo, coo, ca-choo» und dann wird der letzte Chorus wie ein Verse verändert. Dieser letzte Chorus ist – wie soll man das nennen? – ein falscher Chorus.
Simon And Garfunkel [D]: America [F]
Assoziierte Acts: Art Garfunkel & Paul Simon
Autor: Paul Simon
Label und Katalognummer: Columbia KCS 9529
Produktion: Art Garfunkel & Roy Halee & Paul Simon
Veröffentlicht: 1968 04 03 (Album)
Genretags: Folk - Urbanfolk - Electricfolk
Bemerkungen: Die Lyrics von «America» kommen mit einer Ausnahme ohne Reime aus, was man «straight prose» nennt.
Der Song gibt die gemeinsame Reise eines jungen Paars wieder, auf der Suche nach Amerika: Der erste Verse, der mit einem Scherz beginnt, steht unter dem Zeichen eines Aufbruchs, doch das Scheitern ist schon angedeutet: Vier Tage hat das Autostoppen von Saginaw bis Pittsburgh gebraucht. Das sind 600 km, man benötigt im Auto dafür einen halben Tag. Die zweite Strophe spielt im Bus. Das junge Paar ist mit sich selbst und Tagträumen beschäftigt, so langweilig ist die Reise. Die dritte Strophe spricht dann von der inneren Leere des Erzählers, die er seiner Partnerin, Kathy, offenbart, während diese schläft! Diese Leere wird oft mit der Leere gleichgesetzt, die Benjamin Braddock gespielt von Dustin Hoffman im Film The Graduate empfindet. Diese Leere dürfte ein Generationsthema gewesen sein: Viele amerikanische Hippies sind in langweiligen Suburbs aufgewachsen, die ihnen uneträglich waren.
Metrum
Der Song ist auf clevere Weise sowohl ein 3/4 als auch ein 6/8 Takt.
Sinéad O'Connor [D]: Nothing Compares 2 U [F]
Autor: Prince
Label und Katalognummer: Chrysalis 23488, Ensign CDP 32 1759
Produktion: Nellee Hooper & Sinead O'Connor
Veröffentlicht: 1990 01 (Single), 1990 03 20 (Album)
Genretags: Newpop - Vocalpop, Newpop - Poprock - Artrock
Bemerkungen: Sinéad O'Connors signature song ist eine Coverversion von Prince aus dessen The Family Seitenprojekt.
Der Song ist sehr sparsam von Nellee Hooper produziert. Das Arrangement basiert hauptsächlich auf statischen synthetischen Streichern, die mit einigen punktuellen Pianoakkorden eine subkutane Dramatik erhalten. Ab dem 2. Verse setzt ein schleppender Beat ein – weniger eletronisch als bei Trip-Hop und viel langsamer als bei Alternativdance. Dieses ökonomische Arrangement steht komplett im Dienst der atemberaubenden Stimme Sinéad O'Connors. Ihr Gesang schwankt zwischen Verletzlichkeit und Gereiztheit. Wie sie die Enden der Verses und den Chorus mit ihrem Stimmorgan gestaltet, ist schlicht virtuos. Jeder einzelne Chorus ist gesungen und individuell ausgestaltet. Das «Nothing» enthält einen Oktavsprung, der zu virtuosen Registerwechseln einlädt.
Wie in jedem grossen Popsong wirkt hier die «heilige» Trias von Songwriter, Sängerin und Prozuzent. Die drei Positionen sind mit Persönlichkeiten besetzt, die damals ganz oben auif der Leiter des Karriereerfolgs standen: Prince, Nellee Hooper, der mit seinem Projekt Soul II Soul den Trip-Hop mitbegründete, und Sinéad O'Connor, die aus dem Indie kam und nun in den Mainstream durchbrach – nein, hinein explodierte. Der Thron stand für die Sängerin bereit, die ihn wegen persönlichen Püffern nicht hat besteigen können. Wäre sie sonst eine europäische Whitney Houston oder Céline Dion geworden?
Sinéad O'Connor [D]: Never Get Old [F]
Assoziierte Acts: Enya (feat.)
Autor: Sinéad O'Connor
Label und Katalognummer: Chrysalis CCD 1612, Ensign ENYCD 618
Produktion: Kevin Moloney & Sinéad O'Connor
Veröffentlicht: 1987 11 04 (Album), 1988 10 (Single-B)
Genretags: Folk - Newfolk - Singer-Songwriter, Alternativerock - Poprock - Singer-Songwriter
Bemerkungen: Das irischsprachige Intro wird von Enya gesprochen.
Spandau Ballet [D]: Through the Barricades [F]
Autor: Gary Kemp
Label und Katalognummer: Reformation CBS 450259, CBS SPANS 1
Produktion: Gary Langan & Spandau Ballet
Veröffentlicht: 1986 07 15 (Album), 1986 11 (Single)
Genretags: Newpop - Popsoul, Newpop - Artpop - Sophistipop
Bemerkungen: Eine Romeo und Julia Geschichte, die In Nordirland spielt. Ein junger Mann und eine junge Frau treffen sich und verlieben sich, obwohl sie aus den verfeindeten Lagern stammen.
Spandau Ballet waren auf der Höhe ihrer Karriere für Motown-artigen Popsoul bekannt. Mit Through the Barricades
wird Songwriter Gary Kemp politisch. Als er den Song schrieb, lebte er in Irland und die Band war vom Nordirland-Konflikt betroffen, weil ein Tour-Angestellter bei Ausschreitungen erschossen wurde.
Spencer Davis Group [D]: I'm A Man [F]
Autor: Jimmy Miller & Steve Winwood
Label und Katalognummer: Fontana TF 785, United Artists UA 50144, United Artists UAL 3589
Produktion: Jimmy Miller
Veröffentlicht: 1967 01 20 (Single UK), 1967 03 (Single US), 1967 06 (Album US)
Genretags: Rock'n'Roll - Rhythm'n'Blues - British-Rhythm'n'Blues, Rock - Soulrock
Bemerkungen: Der Song wird von Chicago Transit Authority auf ihrem ersten Album in einem Progrock-Arrangement gespielt. Von dort geht der Song zu Santana, der sein erstes Album damit eröffnet – der Track heisst dort aber Waiting
und wird als Eigenkomposition ausgegeben.
Steve Reich [D]: Clapping Music [F]
Assoziierte Acts: Russ Hartenberger (feat.)
Autor: Steve Reich
Label und Katalognummer: Nonesuch 7559-79169
Produktion: Steve Reich & Judith Sherman
Veröffentlicht: 1987 09 15 (Album), 1972 (Werk), 1987 05 (Rec.)
Genretags: Akademica - Minimalismus - Eastcoast-Minimalismus
Bemerkungen: Ein Rhythmus-Muster («Pattern») wird von zwei Perkussionisten geklatscht. Dann wird das Pattern immer mehr verschoben, wodurch neu andere Muster entstehen. Ein Youtube-Video veranschaulicht, wie diese Komposition funktioniert.
Stormzy [D]: VOSSI BOP [F]
Autor: Anderson & Chris Andoh & Dakarai Forbes & Michael Omari
Label und Katalognummer: #Merky, #Merky Records 0190295403034
Produktion: Chris Andoh
Veröffentlicht: 2019 04 26 (Digital), 2019 12 13 (Album)
Genretags: Hip-Hop - Grime
Bemerkungen: Die Single kam nach der ersten Woche auf Platz 1 der britischen Charts und positionierte sich vor Taylor Swifts ME!. Stormzys erste Nummer 1!
Der Vossi Bop ist eine Tanzfigur, die im Video vorgeführt wird (1:32 oder 2:57).
Style Council [D]: Paris Match (= The Paris Match) [F]
Assoziierte Acts: Tracey Thorn (feat.)
Autor: Paul Weller
Label und Katalognummer: Polydor 817 535
Produktion: Paul Weller & Peter Wilson
Veröffentlicht: 1984 03 01 (Album)
Genretags: Newpop - Popsoul - Blueeyedsoul
Bemerkungen: Paul Weller löste sein Punk-Band Jam auf und gründete Style Council, um Soul, Funk und Jazz spielen und komponieren zu könnnen. Es war im Jahr 1983 als Punk und Postpunk zu ermüden begannen und als englische Mainstream-Acts wie Style Council, Paul Young oder Culture Club die schwarze Musiktradition, vorab den Soul, Gospel und Funk für sich entdeckten.
Es gibt eine frühe Version des Tracks, die auf der EP Introducing the Style Council veröffentlicht wurde, mit der Stimme von Paul Weller. Auf der ersten LP der Gruppe sang Tracey Thorn diese verlangsamte Lounge-Jazz Version.
Paris Match
ist ein melancholischer Song über die verlorenen Tage nach einem Beziehungsende, an dem die Erzählerin durch Cafés und Kneipen zieht, Nebel vor den Augen, die vage Hoffnung im Kopf, den Geliebten oder die Geliebte dort zu treffen. Statt zu vergessen und weiter zu leben zieht die Erzählerin es vor, sich in die Melancholie hinein zu hängen («Empty skies say try to forget /
Better advice is to have no regrets»). Auf diese Weise bleibt das Verlangen lebendig, das beim Weiterleben und Weitersuchen erloschen würde («The gift you gave is desire / The match that started my fire»). Sprachlich ausgeführt wird die Mehrdeutigkeit von «match» als «passendem Partner», als Zündholz, dass ein Feuer entzündet und als Name einer französischen Zeitschrift, die in den 50er Jahren für ihre Fotoreportagen bekannt war. Der Song macht noch einmal Paris als die europäische Jazz-Hauptstadt remineszent.
Supertramp [D]: The Logical Song [F]
Autor: Rick Davies & Roger Hodgson
Label und Katalognummer: A&M SP 3708, A&M 2128 S
Produktion: Rick Davies & John Helliwell & Peter Henderson & Roger Hodgson & Bob Siebenberg & Dougie Thomson
Veröffentlicht: 1979 03 29 (Album), 1979 03 (Single)
Genretags: Rock - Corporate-Rock - Softprog
Bemerkungen: Dieser Song bringt zum Ausdruck, dass die Gesellschaft unsere Persönlichkeit kaputt macht, in dem sie uns einem Konformitätsdruck aussetzt, so dass wir am Ende gar zu Gemüse werden. Als Kinder waren wir noch unschuldig und alles war magisch. Deshalb lautet das Rezept für ein gutes Leben, so zu sein wie die Kinder. Supertramp/Hodgson als Bannerträger der Hippie-Lebensanschauung.
Supertramp [D]: It's Raining Again [F]
Autor: Roger Hodgson
Label und Katalognummer: A&M AMS 8255, A&M SP 3732
Produktion: Peter Henderson & Supertramp
Veröffentlicht: 1982 10 (Single), 1982 10 (Album)
Genretags: Rock - AOR-Rock - AOR-Poprock
Bemerkungen: Es wird Yellow Balloon zitiert.
Supremes [D]: Come See About Me [F]
Autor: Holland–Dozier–Holland
Label und Katalognummer: Motown MS 621, Motown M 1068
Produktion: Lamont Dozier & Brian Holland
Veröffentlicht: 1964 08 31 (Album), 1964 10 27 (Single)
Genretags: Afroamericana - Soul - Popsoul, Afroamericana - Soul - Motownsoul
Bemerkungen: Dieser Song wird als erster (?) eingeblendet. Die Beatles werden den Effekt in Eight Day's A Week kopieren.
Susie Klee [D]: Mister Zero [F]
Assoziierte Acts: Suzanne Klee
Autor: Bob Lind
Label und Katalognummer: Polydor BM 56082
Produktion: Giorgio Gomelsky
Veröffentlicht: 1966 05 (Single)
Genretags: Pop - Progressivepop - Baroquepop
Bemerkungen: Die Schweizerin Susie Klee, die im Büro, wo sie zunächst arbeitete, Susi Spörri genannt wurde, zeichnete sich für die wahrscheinlich beste Pop-Single einer Schweizerin während der 60er-Jahre verantwortlich: für «Mr. Zero». Die Geschichte dieser Single ist ungewöhnlich. Ohne das gesunde Selbstbewusstsein der jungen Schweizerin – man muss sagen, sie sah gut aus und entsprach voll dem Schönheitsideal der Sixties – und ohne Mütterchen Zufall wäre es nie dazu gekommen. Susie Klee war neunzehn Jahre alt, als sie sich von den Yardbirds bei einer Autogrammstunde im Zürcher Globus die Adresse ihres Managers, Giorgio Gomelsky geben liess. Wenig später ging sie für einen Sprachaufenthalt nach London und erhielt tatsächlich einen Promo-Job in der erfolgreichen Hitfabrik des Impressarios. Zu dieser Zeit entstanden Spannungen zwischen Gomelsky und den Yardbirds. Der fertig eingespielte Instrumentaltrack von «Mr. Zero», der als erste Solosingle von Keith Relf, dem Sänger der Band, gedacht war, blieb liegen. Susie Klee sprang als Sängerin ein und so kam eine der wenigen Baroquepop-Stücke mit Schweizer Beteiligung zustande. Baroquepop heisst, dass ein Orchestertrack mit oft besonderen Instrumenten eingespielt wird. Man hört hier eine akustische Gitarre, die in den Vordergrund gemischt wird, eine Harfe, Röhrenglocken und vermutlich ein Waldhorn. Die Sängerin oder der Sänger singt am Ende der Produktion über diesen Instrumentaltrack.
«Mr. Zero» wurde von Bob Lind, einem amerikanischen Songwriter geschrieben. Der Song handelt von einem Mister Zero, der traurig still steht, und einer Miss Someone, die nicht bleiben will. Die beiden waren ein Paar in einer farbigen und detailreich beschriebenen Welt. nun verlässt Miss Someone Mr. Zero, fliegt mit dem Flugzeug fort und lässt ihn verloren zurück. Der in Text und Musik blumige Stil der einfachen Geschichte ist recht typisch für englischen Baroquepop. man nennt das auch English Baroque.
Das Stück ist etwas vom Zauberhaftesten, was Schweizer Musik in den Sixties zu bieten hat. Susie Klee macht keine zweite Single mehr, sondern geht zurück in die Schweiz, wo sie als Gesellschafterin für die Rolling Stones bei ihrem Gastspiel im April 1967 gerufen wird. Später wird sie sich Suzanne Klee nennen und Country Music machen.
Sweet [D]: The Six Teens [F]
Autor: Chinn-Chapman
Label und Katalognummer: RCA Victor, RCA Victor LPL 1 5080
Produktion: Chinn-Chapman & Phil Wainman
Veröffentlicht: 1974 07 (Single), 1974 11 (Album)
Genretags: Pop - Glampop
Bemerkungen: The Six Teens waren in den späten 50er-Jahren eine DooWop-Band in Los Angels. Es ist unklar, ob der Song darauf referenziert. Der gemessen an Chinn/Chapman-Standards ambitionierte Song ist ein Portrait von sechs sechzehn Jahre alten (ein Wortspiel) Teenagern in den frühen 70ern. Sie sind von den Hippie-Versprechungen enttäuscht und finden sich in der harten Realität der damaligen Gegenwart wieder. Der Song schürft schon an der Hippie-Fassade, drei Jahre bevor Punk sie sprengen wird.
Sweet [D]: Co-Co [F]
Autor: Chinn-Chapman
Label und Katalognummer: RCA Victor RCA 2087, RCA SF 8238
Produktion: Phil Wainman
Veröffentlicht: 1971 06 (Single), 1971 11 27 (Album)
Genretags: Pop - Teenpop - Bubblegumpop
Bemerkungen: Co-Co ist im Gegensatz zum Promo-Video keine Frau, sondern ein Mann. Vorausgesetzt die Songwriter haben den Song aus ihren eigenen exotischen Fantasien geschrieben (und nicht sich vorgestellt, dass eine Frau fantasiert), dann haben wir im Video eine ästhetische Ambivalenz des Geschlechts, vielleicht eine Verdrängung des homoerotischen Themas, das viele der Teens, an die sich diese Musik hauptsächlich richtet, vermutlich nicht recht verstanden hätten. Im besten Fall liegt eine Ambiguität, ein Spiel mit dem Geschlecht vor, wie es bei Glitter und Glam oft vorkam.
T. Rex [D]: Ride A White Swan [F]
Autor: Marc Bolan
Label und Katalognummer: Fly BUG 1
Produktion: Tony Visconti
Veröffentlicht: 1970 10 02 (Single), 1970 07 01 (Rec.)
Genretags: Rock - Artrock - Glamrock
Bemerkungen: Ride A White Swan
von T. Rex war die erste Single unter dem kürzeren Bandnamen (T. Rex statt Tyrannosaurus Rex). Sie kam auf Platz 2 der britischen Charts.
Der Song bringt Glam Rock auf den Plan. Im Gegensatz zu Hard-, Prog-, Folk-, Blues-Rock etc. kriegt man hier hand claps zu hören, die zum Tanz einladen – ein deutlicher Rückgriff auf die Popgeschichte vor Rock! Auch strukturell kommt der Song in einer kontrastarmen simple Verse-Chorus Struktur. Der Rückgriff auf eine simple Songstruktur widerspiegelt die Tatsache, dass Glam Rock vorwiegend eine Clubmusik war, zu der das Publikum tanzte. Glam war wie Disco die Gegenbewegung zur «Verkunstung» der Popmusik, in deren Folge Bands auf grossen Theater- und Stadion-Bühnen spielten und das Publikum sich kontemplativ zur Musik bewegte.
Das Gitarrenriff ist eine verzerrte Folk- bzw. Blues-Akkordfolge mit pumpenden Bassnoten und liquidem Kleinfingerspiel, äusserst simpel, aber höchst effektiv. Das Gitarrensolo im «Instrumental Verse» hat nichts Virtuoses oder Prätentiöses. Es hält lediglich die Energie des Songs im Flow.
Der Liedtext ist die Antwort auf die Frage: «Was soll ich anziehen? WIe soll ich mich hip kleiden?». Fashion-Tipps mit Marc Bolan: «Trag einen grossen Druiden-Hut über dem langen Haar, hab ein paar Zaubersrpüche auf den Lippen und setz dir ne schwarze Katze auf die Schulter». Die paganen Elemente könnten auch die Lyrics eines Hippie-Songs sein, aber die Linie im zweiten «Verse» ist die wichtigste Zeile für die entstehende Glam-Bewegung: «Greif dir einen Stern vom Himmel und klebe ihn dir auf die Stirn». Wir
sind alles Sterne (oder Sternstaub). Auch hier kann man die Hippie-Ideologie heraushören. Glam bleibt noch ambivalent gegenüber gewissen Hippieidealen. Erst Disco und Punk haben sich später radikal davon abgewendet.
Talk Talk [D]: Such A Shame [F]
Autor: Mark Hollis
Label und Katalognummer: EMI 1A 064 2400021, EMI EMI 5433
Produktion: Tim Friese-Greene
Veröffentlicht: 1984 02 (Album), 1984 03 (Single)
Genretags: Newpop - Artpop - Newromantic
Bemerkungen: Der Songtext von Such A Shame
hat eine literarische Vorlage: Die fiktive Autobiografie eines Psychiaters, der vom Leben gelangweilt ist: The Dice Man
von Luke Rhinehart (Pseudonym von George Cockcroft) (1971). Rhinehart legt anfangs aus purer Zerstreuung sein Schicksal den Würfeln (dem Zufall) in die Hand. Dieses Spiel wird ernst und übernimmt die Macht über sein Leben und über das seiner Patienten. Er schämt sich dafür und dafür, dass er ein anderer sein will, aber teilt diese Schande mit dem Würfel, der auch nie der selbe sein kann und jedes Mal ein anderes Gesicht zeigt (Face heisst im Englischen auch Würfelseite). Jede Seite des Würfels ist ein anderes Leben und die acht ist der Tod («'Til I'm finally left with an eight»).
In England war diese Single der Band nicht so erfolgreich wie auf dem europäischen Kontinent, vor allen Dingen den deutschsprachigen Ländern.
Talking Heads [D]: Once In A Lifetime [F]
Assoziierte Acts: David Byrne
Autor: David Byrne & Brian Eno & Chris Frantz & Jerry Harrison & Tina Weymouth
Label und Katalognummer: Sire SRK 6095, Sire SRE 49649
Produktion: David Byrne & Brian Eno & Chris Frantz & Jerry Harrison & Tina Weymouth
Veröffentlicht: 1980 10 08 (Album), 1981 02 02 (Single)
Genretags: Alternativerock - Poprock - NewWave
Bemerkungen: Eine der wichtigsten Singles der New Wave. Klassische Songstrukturen lösen sich in Loops auf, die die Stimmung des Songs prägnant wiedergeben: Die Zeit fliesst hin und zieht uns mit, dass wir nicht wissen, wie wir her kamen. Die Zeit wirbelt uns herum, dass wir keinen Boden und Referenzpunkt mehr haben.
Taxi [D]: Campari Soda [F]
Autor: Dominique Grandjean
Label und Katalognummer: Sunrise 077-1955, Juke Records Juke 025
Produktion: Etienne Conod & Dominique Grandjean & Taxi
Veröffentlicht: 1977 (Album), 2001 (Single)
Genretags: Postpunk - Artpop - SwissWave
Bemerkungen: Taxi war eine Studioband, also eigentlich ein Soloprojekt von Dominique Grandjean. Unterstützt wurde dieser von Martin Walder, mit dem er später Hertz gründen wird, mit Robert Vogel, der als Techniker in den Sunrise Studios arbeitete, sowie dessen Bruder Heinrich 'Hairi' Vogel. Ursprünglich gab es vom Album gar keine Single. Campari Soda
ist aber in der Schweiz so etwas wie ein Kultsong geworden.
Taylor Swift [D]: When Emma Falls in Love (Taylor's Version) [F]
Autor: Taylor Swift
Label und Katalognummer: Republic 2455678249
Produktion: Aaron Dessner & Taylor Swift
Veröffentlicht: 2023 07 07 (Album)
Genretags: Country - Countrypop - Post-Millennial-Countrypop
Bemerkungen: «When Emma Falls in Love» erschien als einer der früher nicht veröffentlichten «From the Vault» Tracks ab Speak Now (Taylor's Version). Stilistisch ein Countrypop-Song mit einer klassischen Harmoniefolge im Verse (I – V – ii – IV, wie z.B. in Knocking on Heaven's Door). Der Song ist eine Charakterstudie, die die Erzählerin über eine ihrer Freundinnen, Emma, anstellt. Dabei schaut sie sich den einen oder anderen Trick ab, stellt aber fest, wie anders sie ist. Emma geht mit ihren Beziehungen überlegt um, sie spielt nicht, sie lässt sich Zeit, sie meint es ernst, sie schützt sich mit Zweckpessimismus. Offenbar lässt sich die Erzählerin von der Liebe viel mehr forttragen.
Es steckt viel Kraft in der Simplizität des Songs. Es gibt Meisterwerke, die nicht mit grossen Innovationen aufwarten, sondern schnell und krampflos entstehen. Weil keine Form und keine Technik das verstellt, was gesagt wird, scheint diese Wahrheit umso heller durch. «Emma» ist ein solcher meisterlicher Song.
Emma
Es wurde spekuliert, ob der Song insofern autobiografisch sei, als er von Emma Stone, der mit Swift befreundeten Schauspielerin handle.
Struktur
Trotz der scheinbaren Einfachheit des Songs zeigt die Analyse, dass die Verses verschieden lang sind. Die ersten beiden Verses arbeiten hauptsächlich mit a-b-Zeilen, wobei die a-Zeile mit der Titelzeile eingeleitet wird. «Emma» ist also einer der wenigen Vers-Chorus-Songs, deren Titel aus dem Verse statt aus dem Chorus stammt. Auch die Übergänge zwischen Verse und Chorus sind fast unmerklich verschieden gestaltet. Im Break am Ende der Bridge verliert man jedes Taktgefühl. Somit ist der Break ein richtiges Absetzen und neuanlaufen, nicht bloss eine Pause, ein Aussetzen des Rhythmus im metrischen Korsett des Songs.
Intertextualität
Der Song erinnert schwach an Slow Burn, den Song von Kacey Musgraves. Beides sind Countrypop-Balladen, die leise, fast intim beginnen und eine kraftvolle Dichte erreichen. «Slow Burn» wird anfangs zögernd aufgebaut und verdichtet, während Swifts Song im Chorus überraschend losrockt, man könnte sagen «explodiert». «Slow Burn» startet mit Gitarrenbegleitung und lässt sich mehr Zeit, beim Aufbau bis die ganze Band spielt. Beide Songs haben eine kraftvolle und eingängige Melodie, die von einer simplen Harmonik getragen werden. Obwohl «Slow Burn» vor «Emma» veröffentlicht wurde, ist «Emma» natürlich einige Jahre älter.
Tears For Fears [D]: Everybody Wants To Rule The World [F]
Autor: Chris Hughes & Ian Stanley & Roland Orzabal
Label und Katalognummer: Mercury 824 300 1 M 1, Mercury IDEA 9
Produktion: Chris Hughes
Veröffentlicht: 1985 02 01 (Album), 1985 03 18 (Single)
Genretags: Newpop - Synthpop
Bemerkungen: Song, in dem eine AABA-Struktur mit einer Verse-Chorus-Form spielt. Der Chorus wir hier als Refrain (qua wiederkehrende Struktur in einem Verse-Chorus-Muster – [Ref]) wiedergegeben. Diese Lösung ist allerdings nicht ganz zufrieden stellend.Eine strukturelle Hybride wie diese würde man eigentlich in den 1960er Jahren und nicht in den 1980er Jahren erwarten.
Ted Weems Orchestra [D]: Look Who's Here [F]
Autor: Harold Adamson & Burton Lane
Label und Katalognummer: Victor 24208
Veröffentlicht: 1933 01 27 (Single), 1932 12 19 (Rec.)
Genretags: Jazz - Traditionaljazz - Orchestraljazz
Bemerkungen: Für die Zeit eine unglaublich gute Klangqualität dieser frühen elektrischen Aufnahme. Gesang: Parker Gibbs. Die Platte wird in Foren von Sammlern und Experten als exemplarisches Beispiel einer elektrischen Aufnahme aus der Anfangszeit genannt (siehe z.B. hier).
Television [D]: Call Mr. Lee [F]
Autor: Tom Verlaine
Label und Katalognummer: Capitol 0777 7 98396 2 9, Capitol
Produktion: Billy Ficca & Richard Lloyd & Fred Smith & Tom Verlaine
Veröffentlicht: 1992 09 28 (Album), 1992 (Single)
Genretags: Alternativerock - Poprock - Powerpop
Bemerkungen: Dieses Stück von Television besteht neben dem Gesang von Tom Verlaine aus einem Rhythmustrack (Schlagzeug und Bass) und aus zwei unglaublichen Leadgitarren. Bei zwei Leadgitarren denkt man möglicherweise an eine Progressive Rock Extravaganz, in der sich zwei Gitarristen mit Soli überbieten. Television musizieren aber in bester Powerpop-Manier: Die Gitarren von Verlaine und Richard Lloyd spielen Riffs und Figuren die einander ergänzen und die zur Essenz des Songs gehören. Da ist keine Rhythmusgitarre, die ein harmonisches Gerüst für den Song baut. Die beiden Leadgitarren tragen den Song mit, sie sind keine schöne Zierde, die am Gerüst befestigt wird. Es gibt sehr viel guten Powerpop, aber dieses Stück ist meines Wissens ohne Vergleich.
Temptations [D]: Ball Of Confusion (That's What The World Is Today) [F]
Autor: Barrett Strong & Norman Whitfield
Label und Katalognummer: Gordy G 7099
Produktion: Norman Whitfield
Veröffentlicht: 1970 05 07 (Sngle)
Genretags: Afroamericana - Soul - Psychedelicsoul
Bemerkungen: Nach Jimi Hendrix wurde die schwarze Soulmusik politisch und psychedelisch. Die Wir
kungsbeziehung kehrte sich um: Vorher war Rock durch schwarze Stile (Rhythm?n?Blues, Soul) beeinflusst, jetzt nahm der Soul mit der Psychedelik und mit politischen Botschaften Rock-Elemente auf. Die Temptations sind als Motown-Popact mehr psychedelisch als politisch. Die Themen sind zwar da: Vietnam, die Ungleicheit von Weiss und Schwarz, Drogen, Korruption ... Aber statt eine mobilisierende Haltung einzunehmen, üben sich die Temptations mit Ball Of Confusion
in Zurückhaltung. Sie mussten fürchten, dass ihr Label Motown ein weiteres politisches Stück nach War nicht veröffentlichen würde!!! Ein Fall von Selbstzensur.
Tennessee Ernie Ford [D]: Sixteen Tons [F]
Autor: Merle Travis
Label und Katalognummer: Capitol F 3262
Produktion: Lee Gillette
Veröffentlicht: 1955 10 17 (Single)
Genretags: Country - Countrypop, Country - Countryboogie
Bemerkungen: Der Song wurde 1947 von Merle Travis geschrieben, bzw. er wird ihm zugeschrieben, denn auch andere haben Autorschaft angemeldet. Das sind nicht untypische Verhältnisse in der Folkmusik. Die Version von Travis strotzt vor bissigem Sarkasmus – dies ist der Duktus des Protestsongs. Es wird das schwierige Leben der Miner in den Appalachen beschrieben, die statt zu wenig Lohn eine eigene Währung erhalten, die sie wiederum nur in den Company-Stores brauchen können. Die Situation grenzt an Leibeigenschaft. Der Vater von Merle Travis war selbst Bergarbeiter. Von ihm soll die Zeile stammen: «Another day older and deeper in debt.».
1955 haben B.B. King und Tennessee Ernie Ford je eine Coverversion von Sixteen Tons
aufgenommen. Ford hätte allen Grund gehabt, den Song ebenfalls als Protestsong aufzunehmen, denn auch sein Onkel und sein Grossvater arbeiteten in der Kohleförderung. Doch es entsteht eine Country-Version. Poliert und reduziert auf ein rhythmisches Skelett, auf eine memorable Klarinetten-Figur und auf die tiefe Stimme des Sängers. Der Track ist cool inszeniert und spricht aus der Ich-Perspektive eines Mannes, der nichts, aber gar nichts zu verlieren hat.
An der Verschiebung zwischen den Versionen von Travis und Ford lässt sich der Unterschied zwischen Folk und Pop/Country studieren: Der Folksong spricht vom Leben wie es wirklich ist und klagt die Missstände an. Er versammelt die Zuhörer/-innen in einer gemeinsam erfahrenen Empörung über die Ungerechtigkeit. Der Country- oder Pop-Song hingegen – Country hat zu dieser Zeit seine Folk-Wurzeln bereits abgelegt – schafft eine Kunstfigur, die karikaturhaft überzeichnet ist, und stellt sie kommentarlos aus. Der Pop- oder Country-Song macht auf spielerische Art klar, dass gesellschaftliche Missstände Outsider erzeugen, die cool sind, aber denen man besser nur im Film, auf der Bühne oder in einem Song begegnet.
Tex Williams And His Western Caravan [D]: Smoke! Smoke! Smoke! (That Cigarette) [F]
Assoziierte Acts: Tex Williams
Autor: Merle Travis & Tex Williams
Label und Katalognummer: Capitol Americana 40001
Veröffentlicht: 1947 05 (Single)
Genretags: Country - Westernswing
Bemerkungen: «Smoke! Smoke! Smoke!» - die Wortwiederholung im hohen Tempo des Songs lässt die Zwanghaftigkeit spüren, mit der Raucher/-innen zur Zigarette greifen. Der Song ist aus der Perspektive eines Nichtrauchers geschrieben, dessen Flow vom Zwang der Raucher um ihn herum gestört wird. Er hat einen schönen Abend mit einer Frau, beginnt sie zu küssen, doch sie unterbricht ihn und sagt, dass sie erst mal eine Rauchen muss.
The Weeknd [D]: Blinding Lights [F]
Autor: Ahmad Balshe & Oscar Holter & Max Martin & Jason Quenneville & Abel Tesfaye
Label und Katalognummer: X♥O, X♥O
Produktion: Oscar Holter & Max Martin & The Weeknd
Veröffentlicht: 2019 11 28 (Digital), 2020 03 20 (Album)
Genretags: Afroamericana - R'n'B-Renaissance
Bemerkungen: Der Song startet mit einem 30 Sekunden langen Intro. 30 Sekunden sind relativ lange. Die Regel für Gegenwartsmusik lautet: «Komm so schnell wie möglich zur Sache», damit Streaming-Users nicht vorzeitig weiter klicken. Der Song geht dann nämlich nicht in die Erfolgsrechnung ein, er ist nicht relevant für die Hitparaden. Blinding Lights
verlässt sich zum einen darauf, dass die zahlreichen Fans und Follower von The Weeknd ohnehin dran bleiben und – wichtiger! – auf die besondere Qualitäten dieses Intros. Der düster anmutende Anfangsakkord, der perfekt wäre für einen Halloween-Track, wird nach ein paar Sekunden von einem massiven Twostep-Beat überlagert, der an einen der grössten Synthpop-Hits aus den 1980er Jahren erinnert, an Take On Me von A-ha. Wie durch einen Schleier hindurch hört man ein Teaser, des eingängigen Synthriffs, das als Hook des Songs folgt. Dieses Riff ist der Hook des neuen Jahrzehnts, das Herz dieses Songs.
Dieser 80er-Revival-Track ist als Verse-Chorus-Bridge Form aufgebaut, zwischen Verse und Chorus ist jeweils ein Pre-Chorus geschaltet. Der Song ist damit sehr klassisch aufgebaut. Es fällt lediglich eine Asymmetrie der Verses auf: der zweite wird kürzer gehalten als der erste. Vielleicht um zügig wieder zum Chorus und zum Hook zu gelangen.
Der Song ist der Schrei eines Mannes, der lange keine Geliebte mehr hatte und in der Nacht bzw. den Morgenstunden wie ein Besessener durch die Nacht rast auf der Suche nach einer potentiellen Geliebten, die er telefonisch nicht erreichen kann. Ihm läuft die Zeit davon, vielleicht weil er bei Tageslicht nicht mehr schlafen kann, vielleicht weil ihn seine Situation buchstäblich verrückt macht. In der Bridge wird klar, dass ihn die Frau, die er sucht, verlassen hat. Es scheint, dass er sie kampflos hat gehen lassen. Wie er das jetzt bereut!
Was den Song möglicherweise so erfolgreich gemacht hat, ist die während der Coronakrise gewachsene universelle Sehnsucht nach Berührung («I can't sleep until I feel your touch»). Veröffentlicht wurde Blinding Lights
vor dem Ausbruch der Pandemie. Es scheint aber, dass das Virus und seine sozialen Folgen – social distancing, Einschränkungen des öffentlichen Lebens – den Song anhaltend relevant sein lässt. Das sieht man am untypischen Chartrun, dem Verlauf in der Hitparade. Wo ein Hit normalerweise während weniger Wochen in den Charts aufsteigt, seine Spitzenposition erreicht und dann wieder absteigt, zeigt Blinding Lights
ein ganz anderes, sehr erstaunliches Verhalten. Anfangs Dezember 2019 steigt er auf Platz 4 der schweizerischen Hitparade ein, fällt dann für drei Wochen ab, um im Januar wieder auf Platz 2 aufzusteigen, im Februar dann gar auf Platz 1. Bis anfangs Mai hält er die Spitzenposition, bleibt dann bis anfangs September im Mittelfeld der Top-10 um dann nach brutal langer Zeit endlich abzusteigen. Do wiederum verbleibt der Song ungewöhnlich lange in den hinteren Top-20-Rängen und steigt im November und Dezember wieder auf Platz 4 der Hitparade auf - just als die Corona Fallzahlen erneut steigen. Der Song ist immer noch auf Platz 9 der Hitparade (Stand 7. Februar 2021). Die fünf Autoren des Songs waren quasi hellsichtig, als sie die Zeilen schrieben: «I'm going through withdrawals / You don't even have to do too much / You can turn me on with just a TOUCH».
Der Song verwendet einen Titel, der in den Lyrics nicht vorkommt. Gesungen wird: «I'm blinded by the Lights». Dieser Titel ist aber historisch bereits belegt (von Bruce Springsteen/Manfred Mann's Earth Band). Vielleicht wurde der Song «Blinding Lights» genannt, dass man ihn in Suchfeldern findet.
Querverweise
– zum Switched On Pop Podcast über diesen Song
– Chris Molanphy: Why the Weeknd’s «Blinding Lights» Is the First Chart Topper of the Coronavirus Era (Slate, 9. April 2020)
Them [D]: Gloria [F]
Assoziierte Acts: Van Morrison
Autor: Van Morrison
Label und Katalognummer: Decca F 12018 (Single UK), Decca LK 4700
Produktion: Bert Berns & Van Morrison & Dick Rowe & Tommy Scott
Veröffentlicht: 1964 11 06 (Single UK), 1965 06 11 (Album)
Genretags: Rock'n'Roll - Rhythm'n'Blues - British-Rhythm'n'Blues, Rock - Poprock
Bemerkungen: Ein Song über die Erregung und Herrlichkeit der Sexualität.
Struktur
Der Song besteht zur Hauptsache aus einer Akkordfigur aus E-D-A (im mixolydischen Modus). Diese wird nicht variiert, aber der Song spielt mit dem Gegensatz von Spannungsauf- und -abbau («tension and release»). Am Anfang hört es sich wie ein Song mit Struktur an, nach dem ersten Chorus wird die Struktir fahren gelassen. Nun führt ein Vamp den Song fort und gipfelt in der Wiederholung des Chorus und in einer extatischen Coda.
Van Morrison singt nicht, sondern bellt, was er Howlin' Wolfe abgehört hat (gesangstechnisch ist das ein buzz).
Coverversionen
Der Song kam in den USA als SIngle heraus und war ein moderater Hit an der Westküste. Konzerte brachten Van Morrison in die USA, wo er dauerhaft blieb. Nicht alle Radiostationen indes spielten «Gloria» und so gab es eine Coverversion der Shadows of Knight. Abgesehen davon, dass die Lyrics etwas gezähmt wurden, war es eine treue Interpretation, die erfolgreicher war als das Original (Platz 10 in den Billboard Hot 100. Patti Smith machte eine Coverversion und kitzelte noch mehr Spannung aus dem Song heraus als Them. Sie versetzte ihn mit eigenem Text über die willige Sünde der Lust («Jesus died for somebodys sins but not mine»).
Tobias Jesso Jr. [D]: Just A Dream [F]
Autor: Tobias Jesso Jr.
Label und Katalognummer: Selbstrelease (Youtube Audio)
Produktion: Tobias Jesso Jr.
Veröffentlicht: 2013 08 02 (Digital)
Genretags: Post-Millennial-Music - Poprock - Altpop
Bemerkungen: Nach einer erfolglosen Zeit als Songwriter und einer Pechsträne in Los Angeles reiste Tobias Jesso Jr. in seine Heimatstadt Vancouver zurück, überzeugt, dass die Musik nur ein Hobby bleiben wird. Dort schrieb er diese Piano-Ballade, die seine frustrierenden Erfahrungen in Los Angeles verarbeitet. Er stellt das Stück auf Facebook und Youtube und das Lied schlug ein.
Für sein Album Goon
nahm er den Song noch einmal auf. Dies ist die Youtube-Version.
Tommy Dorsey And His Orchestra & Frank Sinatra & Pied Pipers [D]: I'll Never Smile Again [F]
Assoziierte Acts: Tommy Dorsey & Tommy Dorsey And His Clambake Seven & Dorsey Brothers
Autor: Ruth Lowe
Label und Katalognummer: Victor 26628
Veröffentlicht: 1940 06 07 (Single)
Genretags: Traditionalpop - Orchestralpop - Vocalist, Traditionalpop - Vocalpop - Sentimental-Ballad
Bemerkungen: Die erste Nummer 1 für den 24-jährigen Sänger Frank Sinatra in der Billboard Best-Selling Retail Records chart vom 27. Juli 1940. Diese Charts wurden an jenem Tag zum ersten Mal gedruckt. Sie waren die ersten ihrer Art, die Plattenverkäufe im ganzen Land zählten. Vorher beruhten Charts auf Notenverkäufen, Absatz von Pianorollen oder Erfolgen in Vaudeville-Shows.
Sinatras Erfolg war ein Vorbote auf das, was sechs jahre später passieren wird: Swing-Orchester werden aufgelöst und die Sänger*innen, die bei ihnen angestellt waren und sangen, werden die neuen Popstars. Sinatra verlässt Dorsey im August 1942.
Tony Bennett [D]: I Left My Heart In San Francisco [F]
Autor: George Cory & Douglass Cross
Label und Katalognummer: Columbia 4-42332, Columbia CL 1869
Produktion: Ernie Altschuler
Veröffentlicht: 1962 02 02 (Single), 1962 06 18 (Album)
Genretags: Traditionalpop - Vocalpop - Crooning
Bemerkungen: Anthony Dominick Benedetto (August 3, 1926 – July 21, 2023) war ein Junge aus Queens, Sohn italienischer Einwanderer. Dass ausgerechnet eine Hommage an San Francisco, die neblige Stadt an der Westküste, sein signature song wurde, wirkt seltsam. Der Song von Cory und Cross, zwei wirklichen San Franciscans, war 1962 nicht neu, wollte einfach keinen Erfolg haben, bis die goldene Kehle von Tony Bennett ihn sang.
Struktur
Strukturell ein ABAC-Song mit einem vorausgehenden sectional verse (siehe Slides).
Erfolg
Obwohl «I Left My Heart In San Francisco» als B-Seite erschien, kam er in die Hitparade, weil das Radio ihn spielte. Die Single verkaufte in den ersten monaten 500'000 Stück und brachte Bennett seinen ersten Grammy ein.
Torres [D]: Jealousy And I [F]
Autor: Mackenzie Scott
Label und Katalognummer: Selbstrelease (Bandcamp)
Produktion: Ryan McFadden
Veröffentlicht: 2013 01 22 (Album)
Genretags: Post-Millennial-Music - Poprock - Alternativepoprock
Bemerkungen: Ein Song über die EIfersucht, roh aufgenommen mit Gitarre, Raumeffekt und Gesang. Die Erzählerin wird zuweilen von der Eifersucht überwältigt. Sie steht zu ihr und steht ihr , die sie mit ihr erstickt. Die Zeile mit welcher der Chorus endet, «And she’s all mine», ist zweideutig: Er bezieht sich sowohl auf die geliebte Person als auchaud die Eifersucht.
Townes Van Zandt [D]: Tecumseh Valley [1969] [F]
Autor: Townes Van Zandt
Label und Katalognummer: Poppy PYS 40004
Produktion: Jack Clement & Kevin Eggers & Jim Malloy
Veröffentlicht: 1969 04 (Album)
Genretags: Country - Autorencountry - Singer-Songwriter
Bemerkungen: Diese Version des karg-realistischen Songs ist langsamer gespielt als die ursprüngliche Version, die Townes Van Zandt ein Jahr zuvor aufgenommen hat. Eines der traurigsten Lieder wird so noch eindringlicher. Siehe auch diese Live-Version
U2 [D]: Pride (In The Name Of Love) [F]
Assoziierte Acts: Chrissie Hynde (feat.)
Autor: Bono & Adam Clayton & Larry Mullen & The Edge.
Label und Katalognummer: Island IS 202, Island ISL 1011
Produktion: Brian Eno & Daniel Lanois
Veröffentlicht: 1984 09 (Single), 1984 10 01 (Album)
Genretags: Alternativerock - Poprock - Bigmusic
Bemerkungen: Chrissie Hynde singt Begleitgesang, wird aber nicht als Featurinmg-Artist genannt.
U2 [D]: Trash, Trampoline And The Party Girl [F]
Autor: Bono & Adam Clayton & The Edge & Larry Mullen, Jr.
Label und Katalognummer: CBS (Ireland) 2214, Island WIP 6770
Produktion: Steve Lillywhite
Veröffentlicht: 1982 03 (Single-B)
Genretags: Alternativerock - Poprock - Bigmusic
Bemerkungen: B-Seite zu A Celebration
Die Gitarre in diesem Song setzt eigenwillig verschobene Akzente, der Gesang wirkt unfertig, das Arrangement diletantisch, als wäre dies eine Demo-Aufnahme. Vom Song gibt es noch eine Live-Version. Diese ist zu finden auf der Live Mini-LP Under A Blood Red Sky mit besserem Arrangement. Der Song enthält die tolle Zeile: «When I was three I thought the world revolved around me – I was wrong». Der Song ist typisch für U2. Er hat im Ansatz etwas Missionarisches, bleibt aber poetisch genug als nicht als dumpfe Ideologie abzufallen. Und es heisst: «And when you dance then dance with me, Party Girl».
Uriah Heep [D]: Lady in Black [LP Version] [F]
Autor: Ken Hensley
Label und Katalognummer: Bronze ILPS 9152, Vertigo 6059 037
Produktion: Gerry Bron
Veröffentlicht: 1971 01 (Album), 1971 03 (Single D)
Genretags: Rock - Progrock - Hard'n'Heavy
Bemerkungen: Die Single Version ist mit 3:23 kürzer als diese LP-Version (4:35). Nur bei der LP-Version kann man von einer extended Coda mit Panning-Effekt sprechen. Die Single-Version wird ausgeblendet.
Van Morrison [D]: Madame George [F]
Autor: Van Morrison
Label und Katalognummer: Warner Bros. K 46024
Produktion: Lewis Merenstein
Veröffentlicht: 1968 11 (Album), 1968 09 25 (Rec.)
Genretags: Folk - Urbanfolk, Rock - Folkrock, Rock - Singer-Songwriter
Bemerkungen: Der Song hiess ursprünglich «Madam Joy» und zuweilen singt Morrison die Titelphrase auch so.
Mit seiner Simple Verse Form scheint «Madame George» eine Geschichte zu erzählen, in der die Transgender Person Madame George als Protagonistin auftritt. Van Morrison hat in verschiedenen Interviews gegen diese zu einfache Hörweise plädiert. Der Song sei mehr so etwas wie Skizzen auf durchsichtigen Folien, die ünbereinander gelegt seien. Madame George sei nicht eine, sondern mehrere Personen (was ja bei einer Transgender Person so etwas wie ein «truism» wäre). Was sagt uns da Morrison eigentlich?
Der Song enthält auffallend viele Assonanzen:
She jumps up and says: «Hey love, you forgot your gloves» And the gloves to love to love the gloves...Die zitierte Zeile suggeriert ausserdem die Möglichkeit, dass der Erzähler kein beobachtender sondern ein teilnehmender ist, er also selbst Frauenhandschuhe trägt. Wer weiss?
Doch möglicherweise ist das alles tatsächlich nicht so wichtig, denn der Song birgt seine Zauberkraft durch die Erzählweise, die Sprache, die zerkaut wird bis sie Musik ist, die melancholische Dramatik, mit der Morrison erzählt. Der Sinn, den man natürlich suchen möchte, geht in den Wucherungen der vertrackten und akrobatischen Wiederholungen unter.
Vess L. Ossman [D]: Yankee Doodle [F]
Label und Katalognummer: Berliner 465 Y
Veröffentlicht: 1897 06 18 (Schellack)
Genretags: Folk - Folklore - Volkslied, Traditionalpop - Instrumentalpop
Bemerkungen: Yankee Doodle
ist ein patriotisches Lied mit 16 Verses und einem Chorus, das vor der Amerikanischen Revolution entstanden und in den 1780er Jahren publiziert worden ist (das Datum wird widersprüchlich mit 1894 und 1897 angegeben). Von der Melodie nimmt man an, dass sie auf ein mittelalterliches Lied aus Europa zurück geht.
Vess L. Ossman ist eine Instrumental-Version des Songs.
Yankee Doodle
ist die Hymne des Bundesstaats Connecticut.
In Rouds Verzeichnis von Folk Songs trägt das Lied die Index-Nummer 4501.
Visage [D]: Fade To Grey [F]
Autor: Billy Currie & Chris Payne & Midge Ure
Label und Katalognummer: Polydor POSPX 194, Polydor 2490 157
Produktion: Midge Ure & Visage
Veröffentlicht: 1980 11 10 (Single), 1980 11 10 (Album)
Genretags: Newpop - Synthpop
Bemerkungen: Fade To Grey
war der grösste Hit von Visage und definierte das Newromantic-Genre mit. Der französischsprachige Verse wird von Brigitte Arens gesungen, der Freundin von Rusty Egan.
Walty Anselmo Trend [D]: Walking The Dog [F]
Assoziierte Acts: Walty Anselmo
Autor: Rufus Thomas
Label und Katalognummer: Jecklin D 1002
Veröffentlicht: 1967 (Album)
Genretags: Rock - Psychedelicrock - Psychedelicbluesrock
Bemerkungen: Walty Anselmo Trend war die kurzlebige Band des Zürcher Beat- und Rock-Urgesteins, Walty Anselmo. Der Gitarrist wurde damals als «Schweizer Hendrix» gehandelt. Man hört das bei diesem Stück, dem Rhythm'n'Blues-Klassiker, der hier mit dem Foxey Lady-Riff von Jimi Hendrix vorgetragen wird.
Walty Anselmo spielte zuvor u.a. bei Pichi, Hellfire, mit Hardy Hepp im Duo und danach im Krokodil. Er wurde in der Schweiz oft als Sessionmusiker engagiert, z.B. von der Bode Band.
Walty Anselmo Trend blieben ohne eigene Schallplattenveröffentlichungen. Die beiden Aufnahmen, die von der Band existieren, stammen vom Ersten Schweizerischen Rhythm & Blues Festival im Hazyland am 25. November 1967, wo die Band hinter Shiver aus St. Gallen den zweiten Platz belegte.
Walty Anselmo Trend spielten am Zürcher Monsterkonzert als einzige Schweizer Formation im Programm. Die Besetzung am Monsterkonzert war: Walty Anselmo (g, sitar, voc), Jonas C. Haefeli (dr), Stephan ‘Steffi’ Locher (g, sax, voc) und Martin Walder (bg).
Whitney Houston [D]: Saving All My Love For You [F]
Autor: Gerry Goffin & Michael Masser
Label und Katalognummer: Arista AL8 8212, Arista 9381
Produktion: Michael Masser
Veröffentlicht: 1985 02 14 (Album), 1985 10 16 (Single)
Genretags: Afroamericana - Soul - Smoothsoul
Bemerkungen: Das E-Piano ist ein Yamaha DX7. Es wird das Preset «e piano 1» verwendet, das in den 80er Jahren ubiquitär eingesetzt wurde und den 80er Jahre Sound von Pop mitprägte.
Who [D]: I Can't Explain [F]
Autor: Pete Townshend
Label und Katalognummer: Decca [USA] 31725, Brunswick 05926
Produktion: Shel Talmy
Veröffentlicht: 1964 12 (Single US), 1965 01 15 (Single), 1964 11 (Rec.)
Genretags: Rock - Poprock - Powerpop
Bemerkungen: Im NME wird «I Can’t Explain» so beschrieben: Es sei ein hämmernder Shuffle-Shaker mit surfartigen Gegenharmonien hinter dem Haupttext. Es ist heimtückisch und beharrlich, mit einem fesselnden Schlingern – eine Art Mischung aus Mersey- und Surfbeat (NME 15/1). Der Haupterinfluss dürfte allerdings You Really Got Me von den Kinks gewesen sein, das knapp vier Monate vorher herauskam.
Wings [D]: Morse Moose And The Grey Goose [F]
Assoziierte Acts: Paul McCartney
Autor: Denny Laine & Paul McCartney
Label und Katalognummer: Parlophone PAS 10012
Produktion: Paul McCartney
Veröffentlicht: 1978 03 31 (Album)
Genretags: Rock - Poprock
Bemerkungen: Das Tempo des Powerpop-Songs wird von einem panischen SOS-Morsesignal bestimmt, das den Hintergrund bildet. Dabei wechselt der Song zwischen Geräusch-Hörspiel, Folkrock-Strophe (erweitert mit Tuba-Arrangement) und Refrain mit Philly-/Disco-artigem Streicherarrangement. Dieser Song ist ein Wunderwerk der Arrangier- und Produktionskunst von Paul McCartney: In struktureller Hinsicht ist dies gar kein Song, höchstens eine Songidee. Um eine einfache Kinderlied-artige Melodie herum baut McCartney ein musikalisches Minihörspiel erster Klasse.
Woody Herman [D]: Sabre Dance [F]
Autor: Aram Khatchaturian
Label und Katalognummer: Columbia 38102
Veröffentlicht: 1948 02 (Single), 1942 (Werk)
Genretags: Jazz - Swing - Bigbandswing
Bemerkungen: Der Säbeltanz (armenisch: Սուսերով պար) aus dem Ballett Gayane
(1942) von Aram Khachaturian. Die Koposition wurde 1948 in der Bearbeitung diverser Swingorchester ein Jukeboxhit in den USA. Das Klassik-Crossover wurde und wird noch immer als funktionale Musik in Shows (Zirkus), im Fernsehen (Sport) und Filmen eingesetzt.
X [D]: Los Angeles [F]
Autor: Exene Cervenka & John Doe
Label und Katalognummer: Slash SR 104
Produktion: Ray Manzarek
Veröffentlicht: 1980 01 (Album)
Genretags: Alternativerock - Hardcorepunk - LA-Punk
Bemerkungen: Bei diesem Song ist es nicht klar, wie der Erzähler zu seiner Erzählung steht. Beschrieben wird eine Frau, die LA verlässt, weil sie das soziale Klima nicht mehr erträgt. Die explizite Ausdrucksweise («Neger», «Juden») ist ganz Punk, aber die Person, die sich so ausdrückt ist vermutlich kein Punk.
XTC [D]: Dear God [F]
Autor: Andy Partridge
Label und Katalognummer: Virgin VS 960
Produktion: Todd Rundgren
Veröffentlicht: 1986 08 23 (Single B UK)
Genretags: Newpop - Artpop, Indiepop
Bemerkungen: Provokativer Song, der mit den alten philosophischen Argument der Theodizee Gott in Frage stellt: Warum soll ich an dich glauben, wenn du so viel Übel und Leid auf der Welt zulässt? Die Frage wird klar damit beantwortet, dass man an Gott nicht glauben kann.
Xxignal [D]: Anticlimax (Inhumans Moreerotic Female Orgasm Analog Mix) [F]
Assoziierte Acts: Mark Fisher
Label und Katalognummer: Katasonix KATA 001
Veröffentlicht: 1999 (EP)
Genretags: Electronica - Breakbeat - Death-Garage
Bemerkungen: Laut The Wir
e half Mark Fisher bei der Produktion dieses Tracks. Genaueres ist nicht bekannt.
Yes [D]: Roundabout [F]
Autor: Jon Anderson & Steve Howe
Label und Katalognummer: Polydor 2401 019, Atlantic 45-2854
Produktion: Jon Anderson & Bill Bruford & Steve Howe & Eddie Offord & Chris Squire & Rick Wakeman
Veröffentlicht: 1971 11 12 (Album), 1972 01 (Single US)
Genretags: Rock - Progrock
Bemerkungen: Die Single Version wurde auf 3:27 gehalten. Sie ist konziser, wo die LP-Version unaufgeräumt wirkt.
Ylvis [D]: The Fox (What Does the Fox Say?) [F]
Autor: Nicholas Boundy & Mikkel Eriksen & Tor Erik Hermansen & Christian Løchstøer & Bård Ylvisåker & Vegard Ylvisåker
Label und Katalognummer: Parlophone
Produktion: M4SONIC & StarGate
Veröffentlicht: 2013 09 02
Genretags: Electropop
Bemerkungen: Das norwegische Brüderpaar Vegard und Bård Ylvisåker
sind in ihrer Heimat durch das Fernsehen bekannte Entertainer, die mit Musik und Komik arbeiten. Ihr Musikvideo The Fox
war eines der viralen Videos von 2013.
Worum geht es im Stück? – Die meisten Tiere haben haben einen charakteristischen Laut, die Katze macht Miau, der Hund Bellt usw. - Aber was macht der Fuchs? Wir
wissen es nicht. Im Refrain stellen Ylvis humoristische Mutmassungen an, wie der Fuchs klingt, z.B. «Hatee-hatee-hatee-ho!»
Der Song ist von Stargate nach internationalen Standards produziert. Stargate sind Tor Erik Hermansen and Mikkel Storleer Eriksen aus Trondheim. Sie arbeiten mittlerweile in New York für viele R&B- bzw. Hip-Hop-Topshots (z.B. Depeche Mode, Katy Perry, Icona Pop, Beyoncé oder Rihanna).
Der Song geht weiter; er entwickelt sich zu einer Art Liebeserklärung an den Fuchs: »Your fur is red, So beautiful, Like an angel in disguise«.
Und wieder drängt dann die Frage mache dem ihm charakteristischen Laut und eine schräge Hypothese wird aufgestellt:
But if you meet A friendly horse Will you communicate by Mo-o-o-o-orse?Wenn du ein Pferd ansprichst - tust du das mit Morsesignalen?
Der Mittelteil / Bridge geht dann noch einen Schritt weiter hin zur Verklärung des Fuchses:
The secret of the fox Ancient mystery Somewhere deep in the woods I know you're hidingIch weiss dass du dich verbirgst – theologisch ist das das Motiv des »deus absconditus«, das Motiv des höheren Wesens das sich nicht offenbart sonder verbirgt. Jesaja: Fürwahr, du bist ein verborgener Gott, du Gott Israels, der Heiland.“ 45,15
Stars sind moderne Götter (Flender und Rauhe, S. 62 ff.). Je mehr wir von ihnen nicht wissen, desto mehr von unseren eigenen Themen können wir hineinprojizieren: Ideale, Ängste usw.
You're my guardian angel Hiding in the woods What is your sound?
Young Gods [D]: All My Skin Standing [F]
Autor: Thomas Brinkmann & Richie Hawtin & Cesare Pizzi & Franz Treichler & Bernard Trontin
Label und Katalognummer: Two Gentlemen Records TWOGTL 073 D3
Produktion: Franz Treichler
Veröffentlicht: 2019 02 22 (Album)
Genretags: Alternativerock - Crossover - Industrialnoise
Bemerkungen: All My Skin Standing
ist die intensivste Hörerfahrung des neuen Albums von den Young Gods. Das Stück baut auf einem Minimaltechno-Track des Kölner Musikers Thomas Brinkmann auf, der wiederum eine Bearbeitung eines Tracks von Minimaltechno-Pionier Richie Hawtin aus Chicago ist. Drei der sieben Stücke auf dem Album Data Mirage Tangram verwenden als Basis einen fremden Minimaltechno- oder Cenceptual-Glitch-Track: Figure Sans Nom
greift auf Andreas Tilliander zurück, You Gave Me A Name
auf Aleksi Perälä und All My Skin Standing
eben auf Brinkmann/Hawtin. Es handelt sich dabei, wenn ich es richtig höre, nicht um Samples von einem oder wenigen Takten, sondern um die ganzen Stücke in passend editierter Länge. Das Rhythmus-Quellmaterial wird nicht zitiert, sondern okkupiert!
Die Basis für All My Skin Standing
ist das achte Stück des hervorragenden Albums Concept 1 96:VR von Thomas Brinkmann, das sich seit Jahren in der Ewigbestenliste von Musikzimmer befindet. Die Young Gods ergänzen das Rhythmus-Skelett von Brinkmann/Hawtin mit ihren eigenen charakteristischen Sounds. Es entsteht ein Konstrukt aus fluiden Klangströmen, in die toxisch verzerrte Gitarren hinein brechen und sich zu einem immer dichter werden Klanggewitter aufbauen. Die Band erreicht damit die Intensität der besten Stücke aus ihrer Anfangszeit. Die songhaften Strukturen von damals haben allerdings einer ungezwungeren formalen Gestaltung Platz gemacht.
Youngbloods [D]: Get Together [F]
Autor: Dino Valenti (= Chet Powers)
Label und Katalognummer: RCA Victor LSP 3724, RCA Victor 47-9264, RCA Victor 47-9752
Produktion: Felix Pappalardi
Veröffentlicht: 1967 01 (Album), 1967 08 (Single), 1969 09 (Single, Reed.)
Genretags: Rock - Folkrock
Bemerkungen: Dino Valenti schrieb diesen Song über die universelle Brüderlichkeit der Menschen 1964, nahm das Lied selbst auf, allerdings ohne es zu veröffentlichen. Nachdem das Kingston Trio den Song regelmässig an ihren Konzerten sang, wurde Get Together
ausgehend von San Francisco zu so etwas wie einem Folk-/Rock-Standard. Die Version der Eastcoast-Folkrocker Youngbloods war im Januar 1967 auf ihrem ersten Album zu finden und wurde im August als Single ausgekoppelt. Diese Single schaffte es zunächst nicht, mehr als eine kleiner Hit für die Gruppe zu sein. Er wurde aber von der National Conference of Christians and Jews in einer Kampagne für die Brüderschaft von Christen und Juden verwendet. 1969 wurde die Single noch einmal aufgelegt und erreichte die Top Ten der Billboard Charts. Später tauchte Get Together
in Filmen auf wie Forrest Gump
oder Fear and Loathing in Las Vegas
. Seine Eingangszeilen «Love is but a song to sing» wurden in leicht abgeänderter Form zum Titel des San Francisco Nuggets Samplers von Rhino Records. Heute gehört der Song in der Interpretation der Youngbloods zum Bestand der wichtigsten musikalischen Zeitzeugnisse der Hippie-Generation.
Es ist eines der wunderschönsten Folkrock-Stücke. Das liquide Spiel der Leadgitarre wirkt schwerelos und doch dicht. Die Stimme ist äusserst gefühlvoll, zart und bestimmt zugleich. Mit dem Kopfhörer hört man einen der Musiker die Gitarrenlinie mitsingen. Der Song ist kraftvoll aber bescheiden, wie AllMusic-Rezensent Richie Unterberger schreibt. Get Together
a ist ein Song, für den ich meinen Glauben wechseln würde: Die universelle Brüderlichkeit muss doch möglich sein, wenigstens während diesen viereinhalb Minuten.
Suchresultate Videos: Treffer bei Titeln
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Nathan Budzinski [D]: An Interview With Adam Curtis. [F]
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Peter Tschmuck [D]: There Is Music In The Cloud. [F]
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Peter Tschmuck [D]: Die US-Musikindustrie vs. die Filesharerinnen – Teil 1: die RIAA vs. John Doe. [F]
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Peter Tschmuck [D]: Die US-Musikindustrie vs. die Filesharerinnen – Teil 2: Der Fall Jammie Thomas-Rasset. [F]
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Peter Tschmuck [D]: Die US-Musikindustrie vs. die Filesharerinnen – Teil 3: Der Fall Joel Tenenbaum. [F]
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Peter Tschmuck [D]: Musikstreaming 2014. Eine internationale Marktanalyse. [F]
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Peter Tschmuck [D]: Die Musikstreaming-Ökonomie – Ein Einblick. [F]
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Peter Tschmuck [D]: Der phonografische Markt in Großbritannien, 1975-2016. [F]
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Suchresultate News
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Alice Coltrane: The Carnegie Hall Concert (News vom 20240331) [N]
Lead: Alice Coltrane war mehr als die Lückenfüllerin für ihren Ehemann John Coltrane. Das zeigte sich anhand verschiedener (Wieder-)Veröffentlichungen in den letzten Jahren. Turiya Sings demonstriert exemplarisch die Originalität und Unabhängigkeit von ihrem Ehemann. Frauen in Pop und Jazz wurden (und werden traurigerweise noch immer) zuunrecht in den Schatten von Männern gestellt. Denke hier an Nancy Sinatra oder Yoko Ono.
Alice Coltranes «Carnegie Hall Concert» von 1971 weist zwei distinkte Teile auf: In der ersten Hälfte des Auftritts spielten sie und ihre Formation Musik aus dem gefeiertem Album Journey in Satchidananda. Die Live-Interpretationen konzentrieren sich auf die meditative Schönheit und präsentieren Coltranes grossartiges Harfenspiel neben den schwebenden Saxofonsolos von Archie Shepp und Pharoah Sanders sowie dem hypnotischen Schlagzeugspiel von Ed Blackwell und Clifford Jarvis. Die zweite Hälfte steht in einem auffälligen Kontrast dazu: Hier wechselte Coltrane ans Klavier und spielte lange, intensive Arrangements von Kompositionen John Coltranes. Ihre Interpretationen fielen roh und heftig aus, wobei Coltranes kraftvolles Klavier die Bühne dominierte und den Geist von John Coltranes Ära der «ekstatischen Feuermusik» (Hank Shteamer von Pitchfork) heraufbeschwörte (u.a. Meditations, Transition, Infinity). Alice Coltrane bewies sich damit als eigenständige wilde musikalische Kraft, die sich mit den intensivsten Free-Jazz-Pianisten vergleichen liess, auch wenn das Publikum teilweise durch sie hindurchhörte, um verzweifelt die Echos von John zu vernehmen.
Das «Carnegie Hall Concert» zeigt Alice Coltrane vor allem mit dem zweiten Teil als Fackelträgerin der Musik ihres Ehemanns. Deutlich wird aber auch, dass sie diese Fackel nicht nur trägt, sondern mit ihr noch weiter nach draussen stürmt. Dieses Album trägt zur weiteren Anerkennung der Musikerin und ihrer Tonkunst bei.
Die Aufzeichnung
Da die 4-Spur-Masterbänder des Konzerts verloren gingen, wurde diese Veröffentlichung aus den 2-Spur-Bändern, die als Referenzmix mitliefen, rekonstruiert.
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Zum 60. Jahrestag der Ed Sullivan Show mit den Beatles (News vom 20240208) [N]
Lead: Folgender Text ist im Rahmen meiner Vorlesung an der Volkshochschule entstanden. Es ist ein Auszug der Einleitung.
Text: Vor 60 Jahren spielten die Beatles zum ersten Mal live im amerikanischen Fernsehen, nämlich in der Ed Sullivan Show vom 9. Februar 1964. Dieser Auftritt war ein Ereignis in der Biografie der Beatles, der Geschichte der Populären Musik sowie der transatlantischen Kulturgeschichte. Die amerikanische Öffentlichkeit war gespalten: Ein Teil verliebte sich in die vier jungen Männer aus Liverpool und in ihre Musik. Ein anderer Teil sah in diesem Besuch aus England nichts anderes als eine Art Zirkus, der rasch wieder vergessen geht. Für die Beatles selbst war der zweiwöchige Ausflug ein triumphaler Eintritt in den amerikanischen Musikmarkt und eine Mischung aus Arbeits- und Ferienreise.
Das Ereignis wird zurecht als ausserordentlicher Karriereschritt der Beatles dargestellt: Sie waren die erste britische Band, die sich einen nachhaltigen Erfolg in den USA erarbeiten konnte.
Es gibt kaum ein amerikanisches Geschichts- oder Lehrbuch zur populären Musik oder zu den populären Künsten, das die Ed Sullivan Show vom 9. Februar 1964 nicht erwähnt. Das weist darauf hin, dass diese Show ein bedeutendes popmusikalisches Ereignis war.
Stellvertretend für diese Bücher soll die britische Pop-Geschichte Yeah! Yeah! Yeah! von Bob Stanley zitiert werden: «Ende 1962, als Schlagzeuger Ringo Starr gerade zur Band gestossen war, schaffte es ihre Debütsingle, das wackelige «Love Me Do» mit seinem leichten Anflug der Derbheit von Seeleuten, in die Top 20 Großbritanniens. Am darauffolgenden Weihnachtsfest waren sie der größte Pop-Act in Großbritannien. Wenige Wochen nach Beginn des Jahres 1964 waren sie der grösste der Welt: Ihr Auftritt in der Ed Sullivan Show am 9. Februar 1964 war möglicherweise das bedeutendste kulturelle Ereignis im Amerika der Nachkriegszeit. Ihr Aufstieg, das Ausmaß ihres Einflusses auf die Gesellschaft waren völlig beispiellos.» (kursiv von mir)
Die Ed Sullivan Show vom 9. Februar 1964 war sowohl für die amerikanische als auch für die britische Musikgeschichte ein transformatives Ereignis. In den Büchern ist jeweils die Rede von einer British Invasion die mit dem Auftritt der Beatles im amerikanischen Fernsehen beginnt und binnen einiger Wochen eine Schwemme von britischen Songs in die US-Hitparade bringt. Darauf reagiert die amerikanische Popmusik.
Aus britischer Perspektive öffnete sich eine bisher verschlossene Türe in Übersee für britische Musikerinnen und Musiker. Acts wie die Rolling Stones, die Kinks oder Led Zeppelin konnten später von den Beatles profitieren. Der Eintritt in den amerikanischen Musik- und Unterhaltungsmarkt bedeutete für britische Gruppen, Sängerinnen und Sänger eine Vervielfachung der Aufmerksamkeit und ihres monetären Erfolgs: Sie wurden plötzlich Weltstars und verdienten Geld wie niemals zuvor.
Die Bedeutung der Ed Sullivan Show für die amerikanische Kulturgeschichte liegt unter anderem darin, dass die Beatles im öffentlichen Diskurs einen Themawandel einleiteten: Am 22. November 1963 wurde in Dallas Präsident John F. Kennedy auf offener Strasse erschossen. Die Zeitungen waren wochenlang voll von diesem erschütternden Ereignis. Viele Menschen waren wie paralysiert, sie versammelten sich auf öffentlichen Plätzen, um im Fernsehen die Berichterstattung anzusehen. Fassungslosigkeit machte sich breit und Tränen flossen in Strömen!
Am 26. Dezember, dem Boxing-Day, kam die Single einer bis dahin völlig unbekannten britischen Band heraus: «I Want To Hold Your Hand». Radiostationen begannen im Januar 1964 von den Beatles zu sprechen und diese Single in «Heavy Rotation» zu spielen. Vor allem die Boulevardblätter und das Fernsehen begannen über die Beatles zu berichten. Ihr Aussehen machte sie zu einem attraktiven Gegenstand für Frontseiten und Schlagzeilen. Der Teil der Leserschaft, der die Beatles mochte oder sie charmant fand, konnte in die aus Grossbritannien importierte Beatlemania mit einstimmen. Die anderen, die irritiert oder abgestossen waren, schrieben teils witzige Beiträge über die Gruppe und die Massenhysterie, die sie auslöste. Die Beatles wurden kontrovers und öffentlich ausgetragen. Kontroversen schaffen eigentlich immer grosse Aufmerksamkeit. Es war, als müsste sich jede und jeder eine eigene Meinung bilden. Bessere Publicity gibt es kaum.
Viele Autoren haben den Erfolg der Beatles begünstigt durch den Kennedy-Mord gesehen. Ihnen schien, als würde sich Amerikas Öffentlichkeit dank den Beatles vom Trauma erholen. Bruce Spizer setzt sich in The Beatles Are Coming! mit der Frage auseinander, ob es wirklich einen Zusammenhang zwischen Kennedy und den Beatles gab und zweifelt daran. Es gab ja andere Länder, die kein Trauma erlitten haben und trotzdem den Beatles verfielen. Den Zusammenhang kann man nur herstellen, wenn man davon ausgeht, dass Zeitungen mitunter von Themen leben, die sie über eine gewisse Zeit verbreiten, dann aber auch wieder für andere, neuere fallen lassen. Wenn es in dieser Abfolge einen Zusammenhang gibt, dann stellt ihn allein die Presse her. Sachlogisch gibt es ihn nicht.
Interessanterweise gibt es auch im Vereinigten Königreich eine solche Abfolge von Politskandal und Beatlemania. Hier war es der Profumo-Skandal, von dem Beatles und Beatlemania abgelenkt haben sollen. Profumo war der britische Kriegsminister, der Beziehungen zu einer Edelprostituierten, Christine Keeler, unterhielt, mit der auch der russische Marineattachée schlief. Der Profumo-Skandal brachte die Regierung von Premierminister Harold Macmillan in arge Verlegenheit. In der Öffentlichkeit der britischen «Tabloids» wurde die Doppelmoral der politischen Oberklasse skandalisiert und hatte vermutlich einen Einfluss auf den Regierungswechsel im Jahr 1964, als Labour mit Harold Wilson die Unterhauswahlen gewann. Danach kam Farbe ins öffentliche Leben Britanniens und man sprach bald von Swinging London, zu dessen musikalischen Posterjungs die Beatles gehörten.
Uns Schweizerinnen und Schweizer ist das Ereignis möglicherweise fremd. Die Ed Sullivan Show lief nicht auf unseren Kanälen, die Medien berichteten damals kaum über Popereignisse in Amerika. Auch schafften es wegen der Ed Sullivan Show keine kontinentalen oder schweizerischen Bands in die amerikanische Hitparade. Denken wir an Pop, kommen uns andere Kandidaten für das bedeutendste kulturelle Ereignis der Nachkriegszeit in den Sinn:
– Bob Dylan, der am Newport Folk und Blues Festival zum ersten Mal mit elektrischer Band spielt,
– der Summer of Love in San Francisco,
– die Veröffentlichung des «Sgt. Pepper» Albums der Beatles,
– das Woodstock Festival,
– und natürlich die 68er-Unruhen in Paris, Berlin oder Zürich.
Die Ed Sullivan Show ging den genannten Ereignissen voraus und hat sie möglicherweise über eine Reihe vieler weiterer Ereignisse beeinflusst.
Für die amerikanischen Medien kam die Ankunft der Beatles so überraschend, dass sie dieses Phänomen «British Invasion» nannten. Dieser Begriff hat es in die Geschichtsbücher geschafft, obwohl er aus zwei Gründen problematisch ist. Erstens ist er einseitig perspektiviert, schaut das Ereignis nur von amerikanischer Seite an. Zweitens ist diese Bezeichnung abwertend, weil sie den amerikanischen Unabhängigkeitskrieg wachruft. Die Beatles und die anderen britischen Acts als Gefahr für die nationale Integrität zu sehen, war nicht, was historisch tatsächlich passiert ist: Amerikanische Bands haben die britische Musik nicht übertrumpft und verdrängt, sondern sie haben sie aufgesogen und integriert. Auf den Auftritt der Beatles in der Ed Sullivan Show folgte in der amerikansichen Musikszene keine Abwehrreaktion. Vielmehr fingen Musikerinnen und Musiker den britischen Ball auf und rannten mit ihm weiter.
Der Erfolg der Beatles und der anderen britischen Bands in den USA sowie die darauf folgende Reaktion der amerikanischen Popmusik wird besser unter der Perspektive einer transatlantischen Musikgeschichte behandelt. Die Idee davon ist, dass man amerikanische Popgeschichte nicht ohne den Atlantik denken kann. Afrikanische, irische, englische Einflüsse kamen mit Sklaven, Diaspora und Einwanderungsströmen über den Atlantik in die USA und formten die amerikanische Populäre Musik. Nach dem Zweiten Weltkrieg wurde amerikanische Popmusik aus Gründen einer weltpolitischen Grosswetterlage in Europa von vorwiegend jungen Hörerinnen und Hörern gehört und geliebt: Man konnte sie auf AFN oder Radio Luxembourg einschalten. Die amerikanische Popmusik begann damals die europäische nachhaltig zu beeinflussen. Doch erst nach den Beatles wurden transatlantische Kommunikationsbewegungen wirklich dialogisch. Jetzt wurde Popmusik zu einem transatlantischen Ping-Pong oder mit akustischer Metapher: Sie produzierte laufend «transatlantische Echos».
Der Begriff des «Transatlantizismus» oder «Atlantizismus» soll als alternativer Begriff für die «British Invasion» verwendet werden.
Angeregt wurde das vom Buch von Louis Menand The Free World: Der Transatlantizismus besagt oft, Europa und Amerika würden gemeinsame Werte und Ideen teilen: Freiheit, Demokratie, Liberalismus, Rechtsstaatlichkeit – auch Konsumismus. Zuweilen geht der Begriff so weit, eine gemeinsame Kultur zu postulieren: der gemeinsame öffentliche Diskurs, die freie bzw. unabhängige Presse, Kunst und Wissenschaft. Davon handelt Louis Menands Buch, allerdings ohne selbst den Begriff «Transatlantizismus» zu verwenden.
Man kann den Begriff des Transatlantizismus derzeit wieder in den Zeitungen lesen, wenn nostalgische liberale Politikerinnen und Politiker im Angesicht des russich-ukrainischen Kriegs von einem neuen Kalten Krieg sprechen und sich auf einen neuen politischen Transatlantizismus einschwören, der auf gemeinsamen westlichen Werten beruhen soll. Meist geht damit ein Bekenntnis zur Erstarkung der Nato mit höheren Rüstungsausgaben einher. Sodann liest man, dass Joe Biden der vermutlich letzte Transatlantiker sei, d.h. der letzte amerikanische Präsident, der die transatlantische Allianz als Wert an sich versteht, als gemeinsame Kultur des Westens. Von den kommenden US-Präsidentinnen und Präsidenten ist eher zu befürchten, dass sie die transatlantischen Beziehungen neu bewerten werden: Die USA werden in die gemeinsame Kultur investieren, falls es sich rechnet. Was sich rechnen wird, weiss man bei den gegenwärtigen weltpolitischen Umwälzungen indes noch nicht so genau.
Hier interessiert der Transatlantizismus allein in seiner kulturellen und nicht der politische Variante. Der Begriff setzt nicht wie in der Politik eine gemeinsame Kultur voraus, sondern geht von einer Verschiedenheit der Kulturen aus. In diesen zwei Räumen gibt es Ereignisse, die gegenseitig beobachtet und kommunikativ aneinander angeschlossen werden. Macht ein Kunstwerk ein «Crossover», wird es in einem neuen Kontext präsentiert und erfährt teils markante Veränderungen. Zuweilen bedürfen Kunstwerke im anderen Kontext der Übersetzung, jedenfalls wenn man sie musikhistorisch behandelt.
Mediale Ereignisse wie die Ed Sullivan Show vom 9. Februar 1964 sind als Kommunikationsereignisse in einen öffentlichen Diskursraum eingebettet, genauso wie die Konzerte, Platten und Filme der Beatles. Die besagten Kommunikationsereignisse bilden eine Wir
klichkeit, die zuweilen in einem nationalen öffentlichen Raum stattfindet und zuweilen in einem transnationalen wiederhallt. Die Ed Sullivan Show ist ein solches transnationales Ereignis. Sie verändert zwei bis dahin weitestgehend getrennte Musikmärkte, ohne sie deshalb zusammen- oder kurzzuschliessen. Wenn schon macht es sie besser aneinander anschliessbar. Die Wir
kung davon sieht man in den Billboard-Charts, in denen Transatlantische Crossovers für viele Jahre zu einer Normalität wurden.
Im Januar 1964 beginnt eine Radiostation in Washington DC die Beatles zu spielen. Darauf springen viele weitere Popstationen in den USA auf die Beatles auf und verkündeten den Auftritt der Gruppe in der Ed Sullivan Show. Die kollektive Begeisterung stieg in wenigen Tagen auf den Siedepunkt. Ed Sullivan und die Beatles haben am Abend des 9. Februar 1964 eine Einschaltquote von 73 Millionen Zuschauerinnen und Zuschauer generiert. Die mittlerweile alten Leute, die sich noch an jenen Sonntagabend erinnern, wissen in der Regel noch, wo sie waren, als die Show lief, mit wem sie sie gesehen haben und wie die vier jungen Männer aus einer anderen Welt auf sie gewirkt haben. An diesem Abend begann ein neues Kapitel in der Geschichte der Populären Musik der USA, derjenigen Grossbritanniens aber auch ein neues Kapitel der transatlantischen Kultur, die dem Westen und der Welt die Rockmusik beschert hat.
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Universal vs. TikTok – ein historischer Vergleich (News vom 20240203) [N]
Lead: Wir
wissen (noch) nicht, wie historisch der gegenwärtige Streit zwischen Universal Music und TikTok ist. Man kann nur mutmassen, wie der Konflikt ausgeht. Als Musikhistoriker schaue ich in die Vergangenheit, um Vergleiche herbeizuziehen, die die den Streit etwas erhellen.
Text: Als Radio in den 1920er Jahren aufkam ging es wenige Jahre, bis die Plattenlabels und die grossen Radiobetreiber mergten. RCA mergte 1925 mit dem Victor-Label und wurde zur «National Broadcasting Company» (NBC) – einem giagtischen Medienkonzern mit Standbeinen in der Produktion (Label) von Inhalten und in der Verwertung der Inhalte bei den Konsument*innen (Radio und Platten). Zwei Jahre später, 1927, wurde CBS gegründet, ein zweiter nahezu so gigantischer Konzern. Das Mergen von Radio und Musikindustrie war ein cleverer Zug, um Konflikte über den Gebrauch von Musik zu vermeiden. Im gleichen Handumdrehen wurde der Unterhaltungsmarkt der USA weiter nationalisiert. Musik, die in New York geschrieben und an der Ostküste aufgenommen wurde, konnte man dan den Netzwerk-Radiostationen von NBC und CBS im ganzen Land hören. natürlich wirkte sich das auf das Wachstum der Branche aus (wenigstens bis dann die Weltwirtschaftskrise kam).
Ein weiterer epischer Konflikt tauchte in den 1940er Jahren mit einem Player auf, der nicht im Boot war: die Verwertungsorganisation ASCAP. Die ASCAP boykottierte die Radiostationen, weil sie ihrer Ansicht nach zu wenig Geld erhalten hat. Auch sie heuchelte, es gehe um den Verdienst der Künstlerinnen und Künster. Darauf gründeten die Radios kurzerhand die BMI, eine Radio-freundliche Verwertungsgesellschaft. Die Wir
kung dieser neuen Konkurrenz verhalf der Country & Western sowie der Rhythm & Blues Musik zum Durchbruch auf nationaler Ebene. Ohne diesen Konflikt zwischen ASCAP und den Radios wäre Rock 'n' Roll möglicherweise nie entstanden!
Vermutlich werden sich Universal und TikTok einigen. Aber auch dann wird der Konflikt an anderer Stelle wieder aufbrechen. Es geht um die Macht in der Unterhaltungsindustrie: Wie viel Geld sollen die Rechtehalter oder Rechteverwerter erhalten? Wenn mit einem Musikstück 1000.– Franken verdient wird, wer wird wie viel davon erhalten? Dieser Konflikt ist nicht aus der Welt zu bringen, solange die Player nicht fusionieren.
Die Malaise der Rechtehalter besteht aber darin, dass sie entstanden sind, nachdem sich die Msuiklabels nach dem Napsterschock vom Markt zurückgezogen haben und zu diesen reinen Rechteverwaltern wurden. Zuerst hat der Apple Music Store, dann Spotify die Musik für sie abgesetzt. heute ist es TikTok und morgen sind es AI-getriebene Plattformen, auf denen man das bestehende Musikarchiv endlos remixen kann. (Und sonst noch so Dinge, die wir uns noch gar nicht ausdenken können.)
Die Industriestruktur im Musikbusiness bildet die Gesellschaft ab. Universal Music, Sony Music und Warner Music Group besitzen und verwerten Rechte. Die Firmen bestehen hauptsächlich aus Jurist*innen, die Urheberrechte von Katalogen verwalten. Wie man diese Katalog an die Konsument*innen bringt, davon wollen sie nichts wissen. Das ist wie die Autoindustrie, die nur noch Patente hält und die Chinesen und andere Billiglohnländer die Drecksarbeit machen lassen. Die Leute haben ihren Job verloren und Bruce Springsteen singt über diese neoliberale Malaise. Doch jedes Mal, wenn er singt «I got a job working construction
For the Johnstown Company / But lately there ain't been much work / On account of the economy» verdienen die Jurist*innen bei Universal Geld. Dabei kümmern sie sich weder um Springsteen noch um die Fans. Sie verdienen lediglich möglichst viel Geld. Früher war eine Industrie eine Industrie mit Management und Arbeitern. Heute besteht eine Industrie vor allem aus Jurist*innen.
Kurz: Ich denke, dass der Streit zwischen Universal und TikTok nachhaltig gelöst werden könnte, wenn die Unterhaltungskonzerne mit den Plattformen fusionieren würden – genau wie damals bei der Einführung des Radios. Es kann aber aus strukturellen oder finanziellen Gründen sein, dass das nicht passiert. Dann könnte das andere historische Modell (ASCAP vs. Radiostationen) angewandt werden: Dann lassen die Plattformen die grossen Konzerne links liegen, gründen einen neuen Plattform-freundlichen Musikverlag, der Künstler wieder ernster nimmt, so dass viele junge Acts eine Chance erhalten, die jetzt keinen Vertrag mit Universal und den anderen Rechtehaltern erhalten. Dann könnte etwas Neues entstehen.
Vielleicht wiederholt sich aber Geschichte aber gar nicht und es gibt einen dritten Weg. Die schlechteste Option für alle ist, den Konflikt über mehrere Jahre in wechselnden Konstellationen neu aufzurollen. Heute Universal und TikTok, morgen Sony und Spotify, übermorgen Warner und die neueste AI-Plattform, die jetzt noch gar nicht auf dem Markt ist.
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VHS Vorlesung: Transatlantische Echos: Die Musik der frühen Beatles und die Folgen der «British Invasion» in den USA (News vom 20240128) [N]
Lead: Vor 60 Jahren traten die Beatles zum ersten Mal im US-Fernsehen auf. 73 Millionen Amerikaner*innen erlebten in der Ed Sullivan Show, wie eine vermeintlich unbekannte britische Band die Herzen nicht nur der Teenager eroberte. Es wird oft erzählt, dieser Auftritt habe die Beatles in den USA berühmt gemacht und das Zeitalter der British Invasion eingeläutet – zum ersten Mal waren britische Bands in den USA erfolgreich!
Die Vorlesung geht den Fakten hinter diesem modernen Märchen nach und befasst sich mit der Musik der Beatles und anderen Bands im Licht eines kulturellen Transatlantizismus.
Text: Anmeldung über die Webseite der Volkshochschule.
Di 30.01.2024, 19:30–21:00 und die zwei folgenden Dienstage
Ort: KOL-G-217, Universität Zürich-Zentrum, Rämistr. 71, 8006 Zürich
Preis: sFr. 95.–
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Roger Waters als Sardoniker (News vom 20230830) [N]
Lead: Das Wort «sardonisch» bedeutet grimmig, boshaft, mit einem verzerrten Gesichtsausdruck, der zeigt, dass Sardoniker*innen keine Zyniker*innen sind, denn sie erheben sich nicht wie diese über die Welt und die anderen, sondern leidet selbst an ihr, sich selbst und den anderen.
Text: Jean-Michel Guesdon und Philippe Margotin sprechen in Pink Floyd All the Songs: The Story Behind Every Track an drei Stellen vom Sardonismus, um Roger Waters' Texte zu charakterisieren, z.B. bei «Jugband Blues». Sie schreiben, wie viele andere Autoren, dass Pink Floyd eine Band des Gegensatzes zwischen süsser Musik und bitteren Texten («the saccharine and the sardonic») seien. Dieser Gegensatz hat sich zum Topos verfestigt und trieb einen Keil zwischen die Bandmitglieder und die Fans.
Das Werk von Pink Floyd ist voller Schreie (exemplarisch der markerschütternde «inhale scream» von Waters in Careful With That Axe, Eugene) und voller Lacher (exemplarisch das Lachen des Verrückten auf The Dark Side of the Moon – von Roadmanager Peter Watts). Diese Schreie und Lacher lassen sich als sardonsich charakterisieren. Emotionale Reaktionen auf die moralische Verdorbenheit der Welt. Die Schreie sind wehleidig, d.h. sie drücken ein Leiden des Erzählers mit aus. Sardonismus ist entweder ansteckend oder immunisierend: Entweder leiden wir empathisch mit oder aber wir können den Schmerz nicht ausstehen, blenden ihn aus.
Die früheste Spur für den Sardonismus von Waters ist der frühe Bandname: «The Screaming Abdabs» (dem Sinn nach: «Die schreienden Angstattacken»). Abdabs ist ein Wort, das nur im Plural vorkommt, es bedeutet extreme Gereiztheit oder Nervosität. In den USA kennt man den britischen Ausdruck «abdabs» als «heebie-jeebies». Andere Ausdrücke dafür sind «the creeps», «the willies», «the collywobbles». Die «Heebie-Jeebies» sind ein Songtitel im Jazz z.B. bei Louis Armstrong. Der Mann jedenfalls, der seine Band «The Screaming Abdabs» nannte, schrie und kreischte auch bei Pink Floyd noch immer. Er präsentiert sich in seinen Songs als ein Geplagter, der es versteht, andere anzustecken, falls sie willens sind, es und ihn auszuhalten.
Die Schreie und die unheimlichen Lacher im Werk von Pink Floyd können als Schreien und Lachen eines sardonsichen Erzählers gehört werden. Man fragt sich dabei, ob der Sardonismus eine Form der Tragik oder der Komödie sei. Tragödie und Komödie bezeichnen eine Form der Literatur (ursprünglich des Dramas). Plakativ: Tragisch ist, was im Tod, und komisch, was im Happy End endet. Die Tragödientheorie des Abendlandes besagt, dass Zuschauer*innen im Mitleiden mit den Figuren (oder dem Erzähler) eine Katharsis erleben. Katharsis heisst Reinigung. Wer sich mit dem schlimmstmöglichen Ausgang der Dinge befasst, wird geläutert und gestärkt aus dieser Erfahrung herausgehen.
Bei den Konzeptalben von Pink Floyd lässt sich eine Tendenz zum Happy End feststellen, obwohl über die grössten Teile des lyrischen Werks alles auf die Tragödie hinweist. Es sieht so aus, als würde die Geschichte im Tod, im Wahnsinn (TDSOTM, Wish You Were Here), im politischen Totalitarismus (Animals) oder mit dem Abwurf der Bombe (Final Cut) enden. Doch die Form des Schlusspunkts der epischen Werke von Waters ist ambivalent. Er reizt uns mit tragischen Vorstellungen, nimmt sie am Ende aber zurück. «Two Suns in The Sunset» von «Final Cut» scheint eine Ausnahme zu sein, aber – nein! – am Ende hört man eine Wetterprgnose für den kommenden Tag als wäre nichts geschehen.
Roger Waters Lyrics sind Zwangsgedanken und Mahnmale. Waters zeigt, was passiert, wenn es passiert. Er leidet, wir leiden, wir leiden an dem, was wir normalerweise wegschieben, woran wir nicht zu denken wagen.
Die Kategorie des Sardonismus bezeichnet nicht, wie das Ende ausgeht, sondern wie der Autor zum Werk bzw. der Erzähler zur Erzählung steht. Es ist eine pragmatische oder performative Kategorie. (Allerdings: Man liest den Sardonismus der Art der Erzählung und am Erzähler ab, wie man ihn aus dem Text rekonstruiert. Der Sardonismus ist doppelt bestimmt: Wir
sagen: «Der Autor ist ein Sardoniker.» Aber wir sagen auch, der Text weist einen sardonsichen Erzähler auf. Streng genommen wissen wir nicht, ob der Autor eines sardonsichen Textes tatsächlich ein Sardoniker ist oder ob das eine Masche von ihm ist, eine Erzählstrategie.)
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Stil: «Big Music» (News vom 20230729) [N]
Lead: Einige Postpunk-Bands wechselten in den frühen 1980er Jahren auf einen grossspurigen kommerziellen Sound: «Big Music». Die beiden bekanntesten von ihnen sind die langlebigen Simple Minds und U2. Charakteristisch an dieser Big Music waren epische und hymnenhafte Songs, ein ernster Ton (zuweilen religiöse Themen) und ein bombastischer Sound mit mächtigem Schlagzeug, dichten Synths, die auch Riffs spielen (weshalb Simple Minds manchmal als Synthpop-Band bezeichnet wird), Gitarren, die vorwiegend Texturen mit viel Reverb spielen (weshalb einige der Big-Music-Bands zuweilen als Folkrock- oder Folkpop-Bands bezeichnet werden).
Die Bands stammten in aller Regel aus der Peripherie – nicht aus London, New York, Los Angeles. Im Vereinigten Königreich kamen sie aus den katholischen Regionen der britischen Inseln: Irland (U2, In Tua Nua) und Schottland (Simple Minds oder Big Country, Waterboys). Auch Australien brachte Big-Music-Bands hervor (Midnight Oil, INXS).
Am erfolgreichsten war «Big Music» zwischen 1983 und 1987. In diesen Jahren gehörten Formationen wie U2 oder Simple Minds zu den ersten, die aus dem Punk kamen und in Arenas spielten. Wegweisend für die Musik waren die Produktionen von Steve Lillywhite, der das Gated Reverb Aufnahmeverfahren miterfand, das wesentlich zum Arena-Sound der von ihm produzierten Bands beitrug.
Text: Der Name «Big Music» wurde von Mike Scott von den Waterboys geprägt. Er schrieb einen Song mit dem Titel. Der Name wurde sodann von Musikjournalisten aufgegriffen. Sehr verbreitet ist er nicht. Es gibt keine Wikipedia-Einträge für diesen Musikstil. Rate Your Music verwendet das Genretag «Big Music» und Musikzimmer hat es 2023 übernommen.
In den 1990er Jahren hatte der Stil eine Baisse, weil er von anderen Trends wie Grunge oder Britpop abgelöst wurde. Die Simple Minds indes blieben beim Stil und U2 kamen nach Exkursen in den Nineties wieder auf ihn zurück. In der Post-Millennial-Music greift eine Band wie Arcade Fire diesen Sound wieder auf und hat immensen Erfolg damit. Simple Minds und U2 touren noch immer und haben ausgezeichnete Aussichten auf die Spitzenpositionen im Geschäft der letzten grossen Stadionbands, die seit den 1980er Jahren Hits gelandet haben.
PLAYgenre
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R.I.P. Sinéad O'Connor (News vom 20230728) [N]
Lead: Am Anfang der Zeiten schuf Gott Himmel und Erde. Die Erde war eine Scheibe, silbrig spiegelnd, noch nicht gebrannt. Der Geist Gottes schwebte wahrscheinlich als Laser über der Scheibe. - Wir
unterbrechen den Schöpfungsmythos an dieser Schlüsselstelle und setzen hier eine Marke, damit wir später darauf zurück kommen können. Weiter mit dem Mythos: Der Geist langweilte sich sehr und sprach: «Es werde Licht!», der Laser emmitierte einen roten Strahl durch die Dunkelheit hindurch. Die Scheibe wurde in nur sieben Minuten gebrannt. Seither ist Musik und höre, sie ist gut!
Vor Jahren hat sich Sinead O'Connor vom Showbusiness verabschiedet. Erinnere ich mich richtig? Habe damals vergessen eine Marke zu setzen. Ihren Entschluss, keine CD mehr einzuspielen hat Frau O'Connor aufgeschoben. Gut so, bei ihrem Talent. Sean-Nós Nua
versammelt dreizehn Songs aus dem keltisch-irischen Liedgut-Archiv, diese Songs werden allesamt sehr stimmungsvoll eingespielt, ganz im Zentrum natürlich diese glasklare Stimme, die jeden Hauch von Emotion sichtbar werden lässt. Beispielsweise im Refrain von Paddy's Lament
: «Here's you boys, now take my advice - To America I'll have ye's not be going - There is nothing here but war, where the murderin' cannons roar - And I wish I was at home in dear old Dublin». Da scheint einige Wut durch die Stimme hindurch und rekontextualisiert den Song in der politischen Tagesaktualität, dem Irakkrieg, den die USA unter herbeigeredeten Gründen lostraten und mit grausiger Staatspropaganda zu legitimieren suchten.
Zurück nun aber zum gesetzten Index, zurück zur Schlüsselszene mit dem Geist über der spiegelnden Scheibe! Die Soundproduktion dieser CD lässt keinen Zweifel, dass es genau um diesen Geist geht. Du hörst laufend Geisterstimmen des Gesangs. Dies sind keine Echos, dies sind Spiegelungen, akustisches Blendwerk magst du sagen, überflüssiger Postproduktions-Firlefanz. Andererseits geht es genau um diese Spiegelungen des Geistes über der Silberscheibe, über den grossen und öden Wassern, über dem Medium, über unendlichen von der Reling aus gesehenen Wasserflächen, über den Schnapsgläsern in dunkeln Ecken düsterer Pubs, über denen die Lieder entstanden sind usw. Von Geistern handelt diese CD, deren Interpretin selbst als Geist fungiert, fürs Geschäft gestorben, für den Gesang wiedergekehrt, ebenso sind die Figuren und Erzähler dieser Lieder Geister: Die schöne Molly Mallone
schwebt als Geist durch die Strassen Dublins, Lord Baker
, der ins Unbekannte hinaussegelt, in der Türkei landet, eingekerkert sich in die Tochter des Königshauses verliebt, ihr 2 mal 7 Jahre Treue schwört (und hält), falls sie ihn befreit. Nach vierzehn Jahren dann wird die neue Braut entlassen, weil die Braut aus dem Orient im Hause Lord Bakers erscheint - natürlich als Geist (was nicht dem Wortlaut der Geschichte entnommen ist, sondern dem Sound der Interpretation). Auch Paddy wird von einem Geist nach Amerika getrieben - der Geist der Hoffnung auf ein besseres Leben. Im Amerikanischen Bürgerkrieg verliert er statt seinem Leben (was der Mutter zu Hause eine Rente eingebracht hätte) nur ein Bein und geht geldmässig leer aus. Was ihm bleibt ist der phantomschmerz des verlorenen Beins - ein Geist. Und seine Geschichte. Die Geschichten entstehen, wenn der Geist sich in der Anspannung der Langeweile befindet, während er das leere Medium betrachtet. Probier es aus! Mit einer leeren CD, mit einem leeren Blatt Papier, mit der Wasseroberfläche, mit einem Spiegel.
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VHS Vorlesung: Pink Floyds «The Dark Side of the Moon» (News vom 20230324) [N]
Lead: Heute am 24. März vor 50 Jahren kam in Europa Pink Floyds The Dark Side of the Moon auf den Markt.
Im Mai bringt die Volkshochschule meine Vorlesung über das Album.
Es gibt schon viele Anmeldungen – vielen Dank!
Text: «The Dark Side of the Moon» war 1973 die beste Testplatte für Stereoanlagen. Es setzte mit seiner Hörspiel-Qualität einen neuen Standard für progressive Rockmusik und mutet im Rückblick wie ein Horrorkabinett der Ängste der Mittelklasse an: Überarbeitung, Geldsorgen, Existensängste, Sozialphobien etc. Die Vorlesung befasst sich mit der langen Entstehungsgeschichte des Albums. Die Motive führen zurück zu den Anfängen der Band im psychedelischen Untergrund Londons und in die Zeit des europäischen Progressive Rock.
Ich freue mich bereits seit fünf Jahren auf diese Vorlesung: Damals, 2018, las ich an der VHS «Folk und Blues im Wunderland», eine Vorlesung über die psychedelische Musikszene San Franciscos am Ende der 1960er Jahre. Nun kommt endlich das Ergänzungsstück, das vom psychedelischen Untergrund Londons handelt und davon, wie eine der erfolgreichsten Bands dieser Szene 1973 richtig gross herauskam.
Am dritten Abend werden wir uns das Album in glorioser Quadrophonie anhören.
Daten
Mo 08.05.2023 19:30 - 21:00 drei Wochen lang bis am 22.05.2023
Zur Anmeldung folgen Sie dem Quellen/Inspirations-Link unten.
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Laura Nyro (News vom 20221117) [N]
Text: Laura Nyro wurde 1947 in der Bronx als Laura Nigro geboren. Ihr Grossvater väterlicherseits war Italiener die Matrilinie jüdisch. Ihr Vater war Jazz-Trompeter. Sie und ihr Bruder wurden beide Musiker. Als Kind brachte sie sich selbst das Klavier spielen bei und mit acht Jahren begann sie eigene Song zu komponieren.
In der Zeit, als sie die High School of Music & Art in der Bronx besuchte, sang sie regelmässig mit Freunden an Strassenecken und in U-Bahn-Stationen. Das war zur Zeit als DooWop-Vokalgruppen en vogue waren. 1966 konnte sie einen ihrer Songs für $5000 an das Folktrio Peter, Paul and Mary verkaufen. «And When I Die» klang sehr reif für eine 19-jährige. Der Chorus lautet: «Und wenn ich sterbe, wenn ich tot bin, wenn ich abgetreten bin, wird ein Kind geboren und eine Welt wird sich weiter dreh'n».
Laura Nyro sang sehr emotional. Bei ihr klingt ein Popsong wie ein Gospel Stück. Ein Nyro-Spiritual!
Sie brachte ihre ersten Alben zwei bis drei Jahre vor den ersten Singer-Songwritern heraus. Ich verstehe sie als eine Art Brill-Building Songwriterin, die ihre eigenen Songs aufnimmt – nicht unähnlich wie Carole King. Es waren Barbra Streisand oder die Band 5th Dimension, die ihre Lieder in die Hitparade brachten. Andererseits teilte sie mit den Singer-Songwritern die Affinität für Songs mit sozialem Engagement. Beeinflusst war sie von ihrer progressiven Mutter, die sich für den Weltfrieden und die Sache der Frauen engagierte.
Vielleicht war ihr Karriere-Start in dieser Übergangszeit und ihr Dasein zwischen den Genres der Grund dafür, dass sie von der Geschichte weitgehend vergessen wurde. Dabei waren Laura Nyro und Joni Mitchell ca. von 1969 bis 1972 die beiden Singer-Songwriterinnen, die den grössten Respekt unter den Fans dieser Musik hatten. Danach sprachen fast alle nur noch von Joni Mitchell während Laura Nyro vergessen ging. Die Musik der beiden Frauen ist denkbar unterschiedlich: Nyros ist ein sprühender Vulkan, komplex, tief und unergründlich, Mitchells ein Kristallhaus, rein, durchsichtig und preziös.
Ihr erstes Album More Than A New Discovery wurde mit Studiomusikern aufgenommen. Nyro durfte nicht einmal an den Flügel sitzen. Das war gängige Praxis. Die Plattenbosse behanelten sie wie eine Songwriterin und das Format der Singer-Songwriterin war damals noch nicht etabliert. Erst beim zweiten Album Eli and The Thirteenth Confession sass sie selber am Piano. «Eli» war eines ihrer zwei besten Alben. In den Worten von Peter Rocheleau, der eine Ausführliche Würdigung von Nyros Musik geschrieben hat, ist Eli «ein veritables Rock Album, ein Jazz-Album. Man kann die Musik als Dixieland hören, mit einem Beigeschmack von Curtis Mayfield und den Impressions. Einige der Songs vermitteln das Gefühl von Broadway [...] - Rodgers und Hammerstein, nur Hipper. [...] Das Album enthält eine große Palette an Klängen, Vokalharmonien, so dass Sie für einen Moment denken, sie seien im Himmel. Die Songs sind außerordentlich gut gebaut. Zuweilen sind sie unheimlich: Suiten. Sie ändern Tempo, Rhythmus, Tonart, Farbe, Stimmung, Leidenschaftlichkeit und Lautstärke. Es gibt atemberaubende Stille und schwangere Pausen. Die Songs sind paradox: Sie sind experimentell und altmodisch zugleich.» (Rocheleau ,Peter, ass. Fran Eisner, The Divine Miss N. LAURA NYRO. Pet. Comp.)
Nyro trat am Monterey Pop Festival auf, wo sie David Geffen sah, der sich sofort um sie bemühte. Geffen war auch Manager von Joni Mitchell, Linda Ronstadt und den Eagles, die aus der Tourgruppe von Ronstadt entstanden. Geffen gab seinen Künstlerinnen und Künstlern grösstmögliche Freiheiten und so nahm Laura Nyro das dritte und beste Album New York Tendaberry unter Eigenregie auf. Die 8-Spur-Tonbandtechnik der modernen Tonstudios erlaubten ihr, sich selbst gesanglich zu begleiten. «Tendaberry» klingt verglichen mit «Eli» aufgeräumter und moderner. Man kann das Album als Ursprung von und Einfluss auf Kate Bushs Musik hören.
Mit ihrer Vorgängerin Carole King verbindet sie, dass ihr grösster Hit ein Cover von «Up On The Roof» war.
Das Problem, das viele Hörerinnen und Hörer mit Laura Nyros Musik haben mögen, dürfte sein, dass sie schwer einzuordnen ist. Sie ist oft im Weder-Noch oder im Sowohl-als-auch zu finden. Jüdisch und Italienisch. Begabt-schräg. Musikalisch auch: Singer-Songwriter heisst ja stilistisch nichts. Singer-Songwriterinnen können Folk, Blues, Rock, Soul, Pop sein. Nyro lässt sich stilistsich sehr wenig festmachen und es ist zu vermuten, dass es ihr so recht war. Sie scheint sich zeitlebens den Kategorisierungen entzogen zu haben. So stark, dass Freunde oder Manager sie als Mensch schwierig fanden. Als sie zum Beispiel die New Yorker Malerin Maria Desiderio kennen lernte und mit ihr zusammen lebte, sagte sie nicht von sich, sie sei bisexuell oder lesbisch. Sie mied jede Etikettierung und liess sich nicht vereinnahmen, nicht durch die Musikindustrie, nicht durch die Frauenbewegung. Über ihre Beziehung mit Desiderio sagte sie lediglich, sie habe einen seelenverwandten Menschen gefunden und dass sie glücklich darüber sei. – Wenn sie also mit so viel Freiheit umgehen können, dann ist Laura Nyro vielleicht etwas für Sie!
Laura Nyro starb 1997 an Krebs. 2012 wurde sie posthum in die Rock and Roll Hall of Fame eingeführt.
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Volkshochschule: Vorlesung: «Mamma Mia! – Die Musik von ABBA im Kontext des Europop» (News vom 20220601) [N]
Lead: In der nächsten Vorlesung für die Volkshochschule knöpfe ich mir Abba und ihre Musik vor.
Abba, die Lieblingsgruppe der jungen Frauen aus meiner letzten Schulklasse – und ihrer Mütter.
Abba, die 1974 in Brighton den ESC gewonnen haben, als er noch «Concours …» hiess.
Abba, die Stars des Europop.
Abba, die späteren gay icons.
Abba, von nun an Abbatare.
Text: Die Vorlesung kostet integral 85.–
– zur Buchung
Alternativ ist ein Einzeleintritt über die Abendkasse am Eingang der Uni möglich.
Also:
Was steckt in Abba, dem Produkt? – Hering.
Was steckt in Benny? – Melodien.
Was in Björn? – Abbaismen («My, my», «Mamma Mia», «SOS», ...)
Was in Agnetha? – Die goldene Kehle.
Was in Anni-Frid? – Dunkle europäische Geschichte.
Was in den Songs? – Mehr als man denkt.
Und was steckt in der Vorlesung? – Die erste wird die Machart von Abba-Songs analysieren, die zweite die Musiker*innen, ihre Chemie und Karrieren beleuchten und die dritte wird Europop und Abbas Beitrag dazu behandeln.
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Cutting Edge Artist: Yeule (News vom 20220224) [N]
Lead: Yeule ist der nonbinäre Hyperpop-Act von der Person, die als Natasha Yelin Chang in Singapur geboren wurde und früh musikalischen Unterricht am klassischen Klavier hatte, später dann auch Gitarre und Schlagzeug spielte. Heute musiziert Yeule in London. Der Name Yeule ([ɪuːl]) ist eine Ableitung vom Namen der Final Fantasy Figur Paddra Nsu-Yeul – einer Seherin mit einer Seele, die nicht Ganz ist, sondern zerstückelt in verschiedene Zeiteinheiten ist, die wie Inkarnationen von ihr sind.
Der Name verrät: Yeule ist ein Cyborg oder Avatar. Das Bedürfnis, den Körper zu verlassen, ist ein zentrales Thema seines/ihres Albums Glitch Princess. Dazed schrieb über die Identität von Yeule, sie sei ephemeral wie das Hologramm eines Schmetterlings. Und wie bei einem Hologramm sei es zuweilen schwierig auszumachen, ob sie wirklich präsent sei oder nicht. Yeule sei dabei, das selbst für sich herauszufinden.
Yeule lebt ihre/seine Cyborg Figur mit viel Makup und Verkleidung aus und steht damit in der tradition von Björk, FKA Twigs oder Grimes. Gegenwärtig ist Yeule ein Bedroomproducer-Projekt. Live Auftritte müssten konsequenterweise von Avataren geleistet werden.
Links
– Erica Russell: Cyber-pop artist yeule is bridging the void between digital and IRL (Dazed, 28. Oktober 2019).
– Jemima Skala: GHOSTS, GLITCHES AND MESMERISING SOUNDTRACKS: AN INTERVIEW WITH YEULE (TheSampler, 21. November 2019).
– Clovis McEvoy: yeule: “Pop music is transmutable. Avant-garde carves and shapes how pop will evolve” (MusicTech, 28. Oktober 2021).
– Daisy Jones: Yeule: The Future Face of Cyber-Pop (Vice, 25. Januar 2022).
– David Renshaw und Salvatore Maicki: The perfectionism and posthumanist pop of yeule’s Glitch Princess (Fader, 4. Februar 2022)).
– Sophie Walker: How Yeule found their digital freedom (The Line of Best Fit, 4. Februar 2022).
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Ted Gioia: Is Old Music Killing New Music? (News vom 20220124) [N]
Lead: Obwohl das Volumen des Musikmarktes 2021 weiter zugenommen hat stimmt eine Entwicklung bedenklich: Alte Songs machen gegenwärtig 70 % des amerikanischen Musikmarktes aus – und die neue Musik spielt eine immer kleinere Rolle. Ihr Markt schrumpft!
Text: Vor zehn Jahren zog eine Grammy-Show, die neue Musik von aktuellen Musiker*innen auszeichnet, um die 40 Millionen Zuschauer*innen an. Diejenige von 2020 hatte 18,7 und die von letztem Jahr nur noch to 8.8 Millionen. (C.S. Die Grammy Show hatte in der Zeit ihres Publikumsschwundes permanent schlechte Kritiken, wegen den Auswahlkriterien für die Preisträger*innen: vor allem zu wenig Afroamerikaner*innen und zu wenig Frauen. Die Tags dafür waren #GrammysSoWhite und #GrammysSoMale.)
Labels (= die heutigen Musik-Verlage) investieren Milliarden in die Kataloge alter Songwriter*innen, aber tun wenig, um neue Musik zu entwickeln. Warum sollen sie sich um neue Musik kümmern, wenn das Radio sie nicht spielt, wenn die Feedbackloops der Streaming-Plattformen sie ignorieren? Das Problem sei nicht, dass es diese neue Musik nicht gäbe, sondern dass sie aus institutionalen Gründen nicht entdeckt und genährt werden könne, so Gioia.
Es gibt immer wieder mal Musik, die viral wird. Das geschieht ohne das Zutun der Verlage/Labels, die erst auf den Zug aufspringen, wenn die Künstler*innen sich ihre Followers selbst erarbeitet haben.
Am Ende zieht Gioia den Schluss, dass neue Musik immer wieder an den Orten «aufgepoppt» ist, wo die Industrie sie am wenigsten erwartet hat. Es werde wieder passieren. Es müsse. Die Entscheidungsträger unserer Musikinstitutionen hätten den Faden verloren, aber die Musik sei zu mächtig, sie könne nicht getötet werden.
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Artikel von Alexis Petridis im Guardian: Go Easy On Me: Why Pop Has Got So Predictable (News vom 20211223) [N]
Lead: Neue Releases werden schon mit der ganzen Social Media Maschinerie so angekündigt, dass die Käufer*Innen versichert sind, dass sich nicht ändern wird. Massenmärkte mögen keine Veränderung. Soweit der witzige Teil des Artikels.
Text: Aber da war einmal eine uralte, fast vergessen gegangene Zeit, in der Künstler*innen, die sich hartnäckig wiederholten, ausgelacht wurden (Status Quo). Heute ist alles Status Quo: Ein Platz an der Spitze von Pop (oder Film) wird am besten behauptet, wenn man genau das tut, was das Publikum von den Künstler*innen erwartet. Das ist der tragische Teil des Artikels.
Der Artikel erwähnt das Phänomen, dass Innovationen wie Hyperpop oder Drill an den Rändern stattfinden. Aber Petridis will wohl sagen, dass diese Innovationen keinen Einfluss auf den Massenmarkt haben.
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«Get Back», die neue Verfilmung der Let-It-Be-Sessions von Peter Jackson (News vom 20211218) [N]
Lead: Ich habe diese Woche Get Back gesehen, an einem Stück, in seiner ganzen Länge. Das neue Epos von Peter Jackson über die Entstehung eines Beatles-Albums bzw. über das Ende der Beatles als das kreativste musikalische Powerpack, das die 1960er Jahre hervorgebracht haben.
Text: Ich bin der Meinung, dass Let it Be von allen originalen Beatles-Alben das schlechteste ist. An dieser Platte passt nichts zusammen und der alte Film von Michael Lindsay-Hogg hat erklärt, warum das so ist: Die vier erfolgsverwöhnten Freunde gehen in ein Filmstudio, beflügelt von der Idee, ein Rootsrock-Projekt zu machen, ein Live-Konzert im Fernsehen oder auf dem Lande. Ein Dokumentarfilm soll die Magie des Entstehungsprozesses der Beatles-Musik einfangen. Doch, o weh!, die Magie will einfach nicht passieren. Die Gründe sind vielfältig. In personeller Hinsicht ist John Lennon unmotiviert. Er ist dabei, aber es interessiert ihn nicht wirklich. Deshalb muss Paul McCartney den Wagen ziehen und bosst herum, was vor allem George Harrison verärgert. In technischer Hinsicht schätzen sich die Beatles falsch ein. Die Multitrack-Aufnahmetechnologie, die sie in ihren vergangenen Alben zur Perfektion getrieben haben, lassen sie hinter sich. Sie wollen ihre Kunst zeigen und legen den wertvollsten Teil davon zur Seite. In organisatorischer Hinsicht wiederholt sich gewissermassen das Debakel des TV-Films Magical Mystery Tour, wo man mit einem Filmteam losgezogen ist und aus dem Stegreif einen Film produziert hat. Das war Selbstmanagement in Form von Selbstüberschätzung. Man will alte Stücke spielen. Allerdings hat niemand Noten oder Lyrics mitgebracht und so klimpert man ein paar Takte und bricht den Song ab. Ich bin mit bewusst: Ein grosser Teil des Publikums findet das charmant oder ist von den vielen Songs, die die Band im Repertoire zu haben scheint, beeindruckt. Für mich zeigen diese Szenen nur den organisatorischen Leerlauf des Projekts. Schliesslich diese irre Idee, am Tag zu arbeiten, wo alle Beatles Alben am Abend und in der Nacht eingespielt worden sind. Falsche Entscheidungen und Unterlassungen zuhauf! Wunder aber passieren dort, wo ihnen die Bühne bereitet ist. Nicht in den Twickenham Filmstudios im Januar 1969.
Der neue Film von Peter Jackson ist ein technisches Wunderwerk. Die Bilder wirken (dank Artificial Intelligence Einsatz bei der Restauration des Film- und Audiomaterials), als wären sie heute gedreht worden. Leider übertrifft die «cutting-edge» Filmtechnologie die Form der Beatles in diesen Wintertagen von 1969 bei weitem und so ist dieses Epos zu lang geraten. Nicht für Beatles-Fans allerdings: Die chronologische Ordnung der Ereignisse gibt eine sehr gute Vorstellung dieser wirren Tage. Der Film ist ein Muss für alle Fans. Die anderen dürften mit dem Trailer und ein paar Ausschnitten bedient sein.
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Genremap: Americana (News vom 20211111) [N]
Lead: Ein weiteres Genremap ist überarbeitet, dasjenige zu «Americana». Unter den Begriff «Americana» fallen alle US-amerikanischen, folkloristischen Musikstile: früher Folk, Blues, Gospel usw. Entstanden sind diese Stile in einem von Migration (Einwanderung aus Europa, Verschleppung aus Afrika, Besiedlung des Westens) und Seggregation geprägten Feld.
Bis in die 1920er Jahre wird diese Musik kaum aufgezeichnet und verschriftlicht. In dieser Phase ist sie Volksmusik. Afroamerikanische Musik, Blues und Country werden innerhalb weniger Jahre zu eigenen Genres der modernen (= aufgenommenen) Populären Musik.
Text: Ein Genremap zeigt wie musikalische Genres und Stile sich entwickeln. Die Knoten sind verlinkt mit den Genre- und den PLAYgenre-Seiten. Auf den Genre-Seiten wird möglicherweise etwas zum Genre- oder Stilbegriff erläutert, auf den PLAYgenre-Seiten hören Sie, wie ein Genre klingt.
Es gilt wie immer bei Genremaps: So richtig Spass macht die Sache auf einem Laptop- oder Desktop-Gerät. Auf kleinen Bildschirmen fehlt die Übersicht und mangelt es an Handhabbarkeit.
Um die interaktive Karte zu explorieren, folgen Sie bitte dem Musikzimmer-Link, um sie zu suchen, tippen Sie «Americana» ins Suchfeld und scrollen zum Eintrag «Americana (Genremap)».
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Madison Bloom: The Grotesque Is No Longer Shocking in Pop (News vom 20211109) [N]
Lead: Gewisse Phänomene der populären Gegenwartskultur werden abwechslungsweise als Camp oder grotesk beschrieben: das Fleischkostüm von Lady Gaga bei den MTV Video Music Awards von 2010 oder die Videoclips mit dem abgehackten Kopf von The Weeknd. Mainstream-Videos aus den letzen zehn bis fünfzehn Jahren sind voller Blutrünstigkeit. Das Verhältnis des Grotesken zur Campness ist indes weitestgehend ungeklärt. In Frage steht auch, ob diese Phänomene einfach dem Gore-Filmgenre zuzurechnen sind.
Lady Gaga bei den MTV Video Music Awards von 2010
Zum Unterschied von Groteske und Camp
Das Groteske ist ein ganz altes kunstgeschichtliches und literarisches Thema, das mindestens in die Antike zurück reicht. Camp hingegen ist verhältnismässig neu und wird seit den 1960er Jahren thematisiert. Die Groteske ist vielfach eine ornamentale Figur, Camp ist eine aus dem Leben von Minderheiten gezogene Stilisierung des Lebens sowie der Kunst (meist in den Feldern von Architektur, Design, Mode). Es scheint, dass das Groteske eine Figur ist, die bei der Stilisierung von Camp verwendet wird. Das heisst, das Fleischkostüm von Gaga wäre grotesk, ihr Video oder die ästhetische Strategie, die Gaga regelmässig verfolgt, Camp.
Im Artikel The Grotesque Is No Longer Shocking in Pop schreibt die Autorin Madison Bloom dem Grotesken eine transformative Kraft zu, sexuelle und andere Tabus akzeptabler zu machen (siehe Pitchfork).
Aus dem von Bloom verwendeten Corpus sieht man: Die Meister*innen des Grotesken im Gegenwartspop sind Lady Gaga, The Weeknd und Billie Eilish.
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Story: Spacedisco (News vom 20211007) [N]
Lead: Spacedisco ist Disco mit Raumfahrt- und Space-Themen und -Klängen. Die Machart kann «albern oder subversiv, sexuell oder sexistisch, vereinend oder diversifizierend, utopisch oder dystopisch sein, sie bringt Wunder oder Apokalypse, bietet Flucht oder Reflexion an» (A. Loudermilk). Die Verzweigungen dieses Stils sind vielfältig und so ist die Musik, die sich hinter dem Etikett versteckt.
Text: Die Wurzeln von Spacedisco reichen zurück zum Spaceage-Easylistening der 1950er und 1960er Jahre, in die Zeit des Wettlaufs ins All. Damals inszenierten begabte Arrangeure wie Esquivel Sci-Fi-Fantasien mit ihren Orchestern. In den 1970er Jahren indes brauchte es dazu keine Orchester mehr. Ein Produzent (in allen Fällen ein Mann), ein paar Studiomusiker*innen, eine Sängerin, ein Sänger oder eine Vokalgruppe sowie eine Hand voll Synthesizer reichten nun aus.
Spacedisco klingt oft Camp und tritt so auf. Man kann die Raumanzüge auch als einen Schutzschild von den gesellschaftlichen Anfeindungen verstehen. Zudem sind sie eine extravagante Verkleidung für Gender-Vexierspiele. Spacedisco hat daher auch eine Entsprechung im Glamrock, der ein paar Jahre zuvor vor allem in England Geschichte schrieb.
In seiner afroamerikanischen Variante war Spacedisco stark afrofuturistisch inspiriert. Als afrofuturistisch wird afroamerikanische Musik bezeichnet, die Science-Fiction-Motive enthält (z.B. Sun Ra: Space Is The Place). Es liegt nahe: Wer deportiert worden ist, träumt zuerst davon, Wurzeln zu schlagen und die Verbindung mit dem Mutterland wieder herzustellen. Dazu ist jedes Mittel recht, auch Raketen und Astronautenausrüstung. Camp und Afrofuturismus haben den Eskapismus aus einer feindlich gesinnten Welt gemeinsam. Disco bot Menschen, die sich im Alltag nicht zu Hause oder von der Gesellschaft nicht akzeptiert fühlten, einen realen oder einen Fantasieraum, in dem sie sich selbst sein konnten.
A. Loudermilk, der eine ausführlich erläuterte Liste mit Spacedisco-Tracks für PopMatters verfasste, teilte diese in fünf Rubriken ein: 1) «Avant-Garde Deep Spacers» sind abstrakte Tracks mit einem «space groove», für Hörer*innen, die sich für einen langen Flug durch das samtige Andromeda eingerichtet haben. 2) «Spawn of Star Wars» enthält Tracks, die sich entweder direkt auf die Star Wars-Filme beziehen oder offensichtlich von ihnen angeregt wurden. 3) «Selections under Intergalactic Kitsch» zeigen einen campen Humor. 4) «Cosmic Chanteuses» sind Tracks mit singenden Frauen – hier gilt die im Pop übliche Arbeitsteilung zwischen den Männern hinter der Studiotechnologie und den singenden Frauen auf der Bühne. 5) «The Mothership Electro» ist die späte Phase von Spacedisco im afroamerikanischen Stil des Electrofunks, der sich zudem auf eine afrofuturistische Mythologie stützt.
Zusammen mit HI-NRG und Italodisco war Spacedisco das Bindeglied im Übergang zwischen Disco und Electronica. Disco war eine Produzenten-Musik, die vorwiegend von Studiomusiker*innen gespielt wurde. Als die Produzenten zu drum machines und anderen elektronischen Gadgets greifen konnten und damit die Musiker*innen ersetzten, waren Electronica erfunden.
Parallele Entwicklungen fanden innerhalb der Rockmusik statt, in den Genres des Electronicprog (Vangelis oder Rick Wakeman) und in den beiden deutschen Electronicprog-Schulen aus Berlin (Tangerine Dream) und Düsseldorf (Kraftwerk). Diese progressiven Genres standen in der Tradition der Rockmusik, auch wenn sie teils weitab von dieser musizierten. Deren Auftritt war ungleich seriöser, authentischer als Spacedisco, zuweilen avantgardistisch.
Playliste
Weiterhören
– Elaste, Volume 02: Space Disco (Mix von Marc Frank und Tom Wieland)
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Überarbeitetes Genremap der Rock Musik (News vom 20210826) [N]
Text: Es schaut sich an wie ein Schnittmuster ... das überarbeitete Genremap zur Rock Musik der 1960er und 1970er Jahre. Es zeigt wie Genre und Stile sich entwickeln. Die Knoten sind verlinkt mit den Genre- und den PLAYgenre-Seiten. Auf den Genre-Seiten wird möglicherweise etwas zum Genre- oder Stilbegriff erläutert, auf den PLAYgenre-Seiten hören Sie, wie ein Genre klingt.
Im Zusammenhang mit den Genres habe ich die Genrebezeichnungen im Bereich Rock etwas mehr aufgeräumt. Das ist eine riesige, niemals endende Arbeit. Mit jeder Generation des Genremaps entsteht aber mehr Klarheit, bessere Übersicht und mit der grösseren Anzahl der Songs mehr Anschauung für die teils abstrakten Konzepte.
Abgeschlossen ist dieses nerdige Unternehmen jedenfalls noch nicht.
Ach ja, und so richtig Spass macht die Sache natürlich auf einem Laptop- oder Desktop-Gerät. Auf kleinen Mobilgeräten fehlt die Übersicht.
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Volkshochschule: Vorlesung: Freddie Mercury – «Lover of Life, Singer of Songs» (News vom 20210820) [N]
Lead: Wer war Freddie Mercury? Ein «lebenshungriger Rock Sänger», wie es auf seiner Statue in Montreux steht? Die zweiteilige Vorlesung wirft einen Blick hinter das englische Understatement und behandelt Leben, Songs und Auftritte des unvergessenen Sängers und Musikers im Licht von Ambition, Pomp und Exzess.
Text: Die Vorlesung behandelt die relativ unbekannten frühen Queen, das Meisterwerk A Night At The Opera (das Album mit Bohemian Rhapsody), den Stadion- oder Arena Rock der Gruppe, das gespannte Verhältnis von Queen zur Presse und vieles mehr. Es wird kein Happy End geben wie im Biopic «Bohemian Rhapsody».
Eckdaten
Di, ab 21.09.2021, 2x, 19:30 – 21:00
KOL-F-121, Universität Zürich-Zentrum, Rämistr. 71, 8006 Zürich
CHF 60.00
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Programmierarbeiten: Umstellung zu einer «single page application» mit «pretty urls» (News vom 20210604) [N]
Text: Musikzimmer ist unterwegs zu einer «single page application» mit «pretty urls».
Die Umstellung ist nun (fast) vollständig erfolgt. In den ersten Tagen wird es noch weiter zu nicht funktionierenden Teilen der Site kommen und zu fehlerhaften Links. Ich bleibe dran und die Situation wird möglichst rasch behoben.
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Programmierarbeiten (News vom 20210527) [N]
Lead: Wegen Programmierarbeiten kann es zu Fehlern auf der ganzen Site kommen.
Text: Musikzimmer ist unterwegs zu einer «single page application» mit «pretty urls».
Die Situation wird möglichst rasch behoben. Es ist aber über Tage mit Unannehmlichkeiten zu rechnen.
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Volkshochschule: Online Vorlesung «Queens Of Rock» (News vom 20210322) [N]
Lead: Die klassische Rockmusik ist eine krasse Männerwelt! Die Rock & Roll Hall of Fame ehrt jedes Jahr wichtige Künstler*innen mit einer Mitgliedschaft. Unter den bisherigen 719 Mitgliedern sind lediglich 61 Frauen. Die dreiteilige Vorlesung versucht sich in Geschichtskorrektur. Von Carole King über Joni Michell, Emmylou Harris, Sandy Denny, Joan Jett und Patti Smith: Wir
gehen den Rockerinnen sowie ihrer Musik nach.
Text: Vorlesung von Christian Schorno
Mi, ab 14.04.2021, 3x, 19:30 – 21:00
Online-Kurs
CHF 85.00
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Zur Autorität des Rolling Stone Magazins (News vom 20201019) [N]
Lead: Ich möchte kurz erklären, weshalb ich in der Beschreibung der Rolling Stone Kanonliste The 500 Greatest Albums of All Time die Autorität des Magazins in Frage stelle, einen solchen Kanon glaubwürdig zu positionieren.
Glaubwürdig wäre diese Liste für mich, wenn sich die Einschätzung der Experten mit den Einschätzungen des Magazins decken würden. Aber das tun sie nicht. Ich habe die Kohärenz untersucht zwischen dem Charakter der Liste und der Haltung des Magazins, wie sie in seinen Rezensionen widerspiegelt wird. Es ist interessant, was sich da zeigt!
Text: Ich habe aus der Liste neuere Alben aus den ersten 100 Rängen gewählt und nachgeschaut, wie der Rolling Stone diese Alben in den Rezensionen bewertet hat. Hier die herausgegriffenen Beispiele:
– Ira Robbins hat Nevermind mit 4 von 5 Sternen bewertet,
– Christopher Connelly gab Thriller 4 von 5 Sternen,
– Greg Tate gab To Pimp a Butterfly 4,5 von 5 Sternen,
– David Fricke gab Kid A 4 Sterne
– James Hunter gab Voodoo 3 Sterne
– Rob Sheffield gab Lemonade 5 Sterne (sic!)
– Christian Hord gab Back to Black 3 Sterne
– S.H. Fernando gab Aquemini 4 Sterne
– Neil Strauss gab The Blueprint 3,5 Sterne
– Jon Caramanica gab The College Dropout 3,5 Punkte
– Jonah Weiner gab Blonde 4 Sterne
– Rob Sheffield gab Beyoncé 3,5 Sterne
– Miles Marshall gab Baduizm 3,5 Sterne
– Jon Dolan gab Take Care 4 Sterne
– Jon Dolan gab Red 3,5 Sterne
Diese Beispiele zeigen, dass Alben, die der Rolling Stone nun als kanonisch ausgibt, von ebendiesem Magazin fast durchwegs nicht mit Bestnoten bewertet werden – die einzige Ausnahme ist Lemonade
von Beyoncé. Entweder erkennen die Rolling Stone Rezensent/-innen Exzellenz nicht oder eine Bewertung von 4 Sternen ist bereits exzellent.
Miranda Meyers hat die Ratings der Reviews im Rolling Stone aus dem Jahr 2019 untersucht und fand, dass kein einziges Album 5 Sterne erhielt (How Many 5-Star Album Reviews Does Rolling Stone Magazine Give Out?). Daher kann man dem Magazin tatsächlich nachsagen, dass es nicht enthusiastisch bewertet. Meyers hat sieben Alben gezählt, die 2019 4,5 Sterne erhielten - die Bestnote in diesem Jahr. Nun würde man also erwarten, wenn Alben von 2019 in der Kanonliste enthalten sind, dass es welche von diesen sieben sind. In der Tat sind drei Alben von 2019 in der Liste: Norman Fucking Rockwell (NFR!), When We All Fall Asleep, Where Do We Go? und Fine Line. Nur Lana Del Rey erhielt die erwartete Bestnote aus diesem Jahr. Die anderen beiden wurden mit 3,5 Sternen (Billie Eilishvon Suzy Exposito) bzw. mit 4 Sternen bewertet (Harry Styles von Nick Catucci). Mein Punkt ist: Entweder ist die Liste eine relevante kanonische Liste, dann liegt das Magazin mit seinen Einschätzungen regelmässig ziemlich daneben, oder die Liste ist unrelevant. Etwas stimmt da nicht. Ich finde die Liste ist eine Farce, wenn die Alben, die sie als kanonisch exponiert, vom Magazin gar nicht so toll eingeschätzt werden. Lieber ist mir ein Magazin, dessen Liste eins mit den Beurteilungen ist, auch wenn es extreme oder verschrobene Ansichten hat. Es hat dann wenigstens eine Stimme bzw. eine Autorität, die ich beim Rolling Stone nicht erkennen kann.
Miranda Meyers hat für das Jahr 2019 ausserdem die durchschnittlichen Ratings für einzelne Genres untersucht und kommt zum Schluss, dass EDM, K-Pop und Hip Hip die schlechtesten Ratings erhalten, Indie und Rock die besten (siehe Grafik).
Wenn also im Tages Anzeiger Moritz Fehrle blökt, dass die neue Liste des Rolling Stone «eine gründliche Neuausrichtung» sei und «ein deutliches Zeichen für die grossen Veränderungen im Pop in den vergangenen zwei Jahrzehnten», dann lässt er sich vom Magazin an der Nase herum führen (siehe: Verlierer sind die Beatles). Dieses Magazin hat seinen Rockismus bis heute offensichtlich nicht abgelegt (Rockismus heisst: Bevorzugung von Rock gegenüber Pop, authentischer gegenüber artifizieller/produzierter Musik). Die Neuausgabe seiner Kanonliste ist Fakenews, wenn man sie als Neuausrichtung des Magazins liest.
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Veranstaltungsreihe: «Zürich 1980» (News vom 20200827) [N]
Lead: 2. September, 18:30 Uhr, Ausstellungseröffnung: «Bewegter Alltag: Fotografien von Gertrud Vogler» & «Poetische Provokationen: Die Sprache der Bewegung» mit Stefan Länzlinger, Silvan Lerch und Christian Schmid.
Musikalisches Intermezzo von Christian Schorno (Autor, Dozent, Sammler; musikzimmer.ch).
Coronabedingt ist der Zutritt zur Veranstaltung beschränkt. Bitte melden Sie sich über anmeldung@zaz-bellerive.ch an.
Text: Die Ausstellungseröffnung
Vor 40 Jahren wurde Zürich von einer urbanen Revolte erschüttert. Es war eine Rebellion gegen einen normierten und kontrollierten Alltag, gegen ein biederes, engstirniges und repressives soziales Klima, ein erbitterter und lustvoller Kampf für ein anderes urbanes Leben. Die Revolte hat zwei Jahre angehalten und das gesellschaftliche und kulturelle Leben Zürichs grundlegend verändert, mit Auswirkungen, die bis heute sichtbar sind. In dieser Ausstellung schauen wir zurück und nach vorne – in eine bewegte Vergangenheit und eine bewegende Zukunft.
Die Ausstellung ist offen vom 3. September bis am 17. Januar 2021, jeweils MI–SO, 14–18 Uhr.
Das musikalische Intermezzo
Das etwa halbstündige «musikalische Intermezzo» besteht aus einem Gruppen-Musikquiz und einer kurzen Erörterung von Rebellion und Rockmusik. Rebellinnen und Rebellen kommen in verschiedenen Grössen und Farben: als Delinquenten, Narzissten, Dandys, Outlaws, urbane Guerilleros oder Piraten.
Die Veranstaltungsreihe
– 9. September, 19 Uhr: «Mediale Gegenöffentlichkeit»: Diskussion mit Olivia Heussler (Fotografin), Thomas Krempke (langjähriges Mitglied Videoladen Zürich), Dieter Lengacher (Tontechniker und Radiomacher), Josy Meier (Drehbuchautorin).
– 23. September, 19:00: «Gertrud Vogler: Fotografin des Alltags»: mit Fredi Bosshard (langjähriger Journalist WOZ), Sibylle Elam (langjährige Journalistin WOZ) und Markus Schürpf (Fotohistoriker und Leiter Fotobüro Bern).
– 7. Oktober, 19 Uhr: «Provokative Poesie»: Diskussion mit Barbara Ellmerer (Malerin), Franziska Oehmer (Kommunikationswissenschaftlerin, Uni Zürich), Christoph Schuler (Autor) und Philipp Theisohn (Professor für Neuere deutsche Literaturwissenschaft, Uni Zürich).
– 28. Oktober, 19 Uhr: «Der Sound der Bewegung»: Mit Markus Kenner (Dokumentalist), Bjørn Schaeffner (Journalist) und Diana Zucca (Musikerin«Lady Pinball»).
– 11. November, 19 Uhr: «Von Züri brännt zu Fridays for Future»: Mit René Baumann und Rahel Holenstein (Videoladen Zürich) sowie Fiona Chiappori und Jann Kessler (Klimastreik Schweiz).
– 25. November, 19 Uhr: «Die 80er Bewegung und die urbane Frage (Web-Vortrag)» von Christian Schmid.
– 5. Dezember, 16 Uhr: «Movements of the 1980s (Web-Conference)» with the International Network of Urban Research and Action INURA.
– Flyer/Programm
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Beatles Biografie aus der VHS-Vorlesung «The Long And Winding Road» oder das lange Ende der Beatles (News vom 20200611) [N]
Lead: Die Beatles haben wie keine andereren Interpreten die 1960er Jahre popmusikalisch geprägt. Sie waren in den Worten eines ihrer Biografen, Philip Norman: «the greatest engine for human happiness the modern world has known» – die grösste Glückseligkeitsmaschine der modernen Welt.
Die Karriere der Beatles hat etwas Märchenhaftes. Die Band erklomm Sprosse um Sprosse auf der Leiter des Erfolgs, bis das, was sie zusammenhielt, wegfiel. Dann löste sie sich in einem langsamen und schmerzvollen Prozess auf.
Diese Geschichte beginnt am 6. Juli 1957, als John Lennons Skiffle-Band an einem lokalen Fest in Liverpool auftritt. An diesem Tag trifft John Paul McCartney zum ersten Mal und ist beeindruckt, weil der um anderthalb Jahre jüngere Hobbymusiker, weiss, wie man eine Gitarre richtig stimmt. (John spielte zuerst Banjo und stimmte seine Gitarre wie ein solches.) Ausserdem konnte Paul mit zwei Rock ‘n’ Roll Songs von Eddie Cochran und Gene Vincent Eindruck schinden. Ein paar Tage darauf wurde Paul in die Band aufgenommen, die damals The Quarrymen hiess. Das Verhältnis der beiden späteren Songwriter der Gruppe wird bis am Ende so bleiben wie am ersten Tag: John Lennon ist der informelle Chef der Band und Paul McCartney ihr musikalischer Direktor. Zusammen werden sie Songs schreiben und aufnehmen, von denen heute, fünfzig Jahre später, noch gesprochen wird und vermutlich auch noch, wenn weitere 50 Jahre vergangen sein werden.
Text: Im Februar 1958 stösst George Harrison, ein Freund von Paul zur Band. Als dieses Trio treten sie sporadisch mit wechselnden Mitmusikern unter verschiedenen Namen auf: als Johnny and the Moondogs oder als Silver Beetles, Vor allem haben sie lange keinen Schlagzeuger. Erst im August 1960 rekrutierten sie Pete Best als der erste feste Drummer ihrer Band. Damals spielte auch noch ein Freund aus Johns Artschool am Bass: Stu Sutcliffe. Dieser verliess die Band (oder wurde von Paul heraus geekelt), um sich seiner wahren Begabung zu widmen, der Malerei. Er stirbt im April 1962 tragisch an einem Blutgerinsel im Hirn. Man darf annehmen, dass er ein wesentlicher Maler der 60er Jahre geworden wäre. Der vierte Beatle, Ringo Starr, stiess erst zur Band, als sie einen Schallplattenvertrag erhielt, im August 1962. Er wurde von der zweitbesten Band Liverpools rekrutiert, von Rory Storm And The Hurricanes.
Etwa ab dem Mai 1960 treten die Beatles regelmässiger auf und gehen als Vorband auf regionale Tourneen in Nordengland und Schottland. Im August konnten die fünf Jungs – Harrison war noch keine 18 Jahre alt – für ein paar Monate nach Hamburg. Im Rotlichtviertel der Reeperbahn spielten die Beatles in verschiedenen Clubs. Die konstanten Auftritte machen aus ihnen eine mit allen Wassern gewaschene Band. Das Leben als Rock ‘n’ Roll Musiker brachte zwei Begleiterscheinungen mit sich: Um die vielen Auftritte bis in die frühen Morgenstunden zu bewältigen, schlucken die fünf Musiker Preludin, ein Amphetamin, das ihnen die Energie für die Arbeit gab. Nach den Auftritten, noch immer energiegeladen, vergnügen sie sich mit jungen Frauen in einem Mass, das keine Teenagerwünsche offen lässt. Ebenfalls in Hamburg nehmen die Beatles zusammen mit Tony Sheridan mehrere Songs für eine Schallplatte auf.
Es gibt einen stimmungsvollen Film über ihre Hamburger Zeit, Backbeat von Iain Softley (1994).
Als die Beatles nach Liverpool zurückkehren, sind sie rasch die beliebteste und professionellste Band der regen Club Szene der Stadt. Es soll zu dieser Zeit um die 350 Bands gegeben haben. «Liverpool hebte damals gerade ab wie das Tango-versessene Buenos Aires in den 20er Jahren, das Jazz vergiftete Kansas City in den 30er Jahren oder das swingende Harlem in New York in den 40er Jahren.
Was die meisten Liverpooler Bands spielten, war eine britische Art von Rock ‘n’ Roll, ein vielfältiger Musikstil, den man später Mersey Beat nennen wird, nach dem Fanzine, das von Bill Harry herausgegeben wird, einem ehemaligen Kommilitonen von John Lennon am Liverpool Art College.
Ihren lange erhofften Schallplattenvertrag erhielten die Beatles nur durch die glücklich Fügung, dass der Typ, der sie fragte, ob er sie managen dürfe, der Abkömmling eines der grössten Retailer für Schallplatten war. Brian Epstein konnte bei den Labeln in London vorsprechen und hatte dabei eine gewisse Verhandlungsmacht als der grösste Abnehmer von Schallplatten der Region Liverpool. Beim zweitgrössten Label in London, Decca, werden sie mit der Begründung abgelehnt, dass Gitarrenbands «out» seien. Die Decca Verantwortlichen haben sich ein paar Monate später die Haare gerauft. Die Beatles kamen beim Parlophone Label unter, einem von vier Sublabels der ehrwürdigen britischen EMI. Im Oktober 1962 erschien ihre erste Parlophone-Single, im Februar 1963 die erste Langspielplatte.
Jetzt ging es schnell: Die Beatles tourten dauernd, nahmen Platten auf, die nach kurzer Zeit die vordersten Hitparadenplätze belegten und erhielten eine mediale Präsenz, die man vorher in Europa von keiner Popband gekannt hatte. Das verrückteste war, dass bei Konzerten ihre Fans total aus dem Häuschen gerieten. Sie schrien lauter als bei jedem Fussballspiel, junge Frauen wurden Ohnmächtig und haben sich in die Hose gemacht. Die Presse nannte diese Massenhysterie Beatlemania.
Die Beatlemania wurde zum Gegenstand des ersten Films mit den Beatles A Hard’ Day’s Night von Richard Lester (1964).
Alle vier Beatles zogen nach London und gehörten einer urbanen Design- und Kunst-Szene an, die man heute unter dem Stichwort Swinging London behandelt. Diese Szene war sehr prägend für die europäische Wahrnehmung der 60er Jahre als fiebriges, buntes und modernistisches Zeitalter. Ikonisch wurden der Minirock, der Bob (Kurzhaarschnitt für Frauen), die geflippte Mode, der Mini Cooper, die James Bond Filme und – natürlich – die Platten der Beatles. Diese wurden mehr und mehr zu auralen Kunstwerken, die die globale Musikindustrie nachhaltig veränderten.
Am Anfang war die Beatlemania einfach ein bisschen Verrückt. Aber als die Beatles im Februar 1964 auch in den USA durchstarteten – die Amerikaner haben das The British Invasion genannt –, nahm sie groteske Züge an. Es gab Konzerte, bei denen sich die vier Musiker selbst gar nicht spielen hörten. 1966 wurde die Beatlemania unerträglich und gefährlich für die Musiker, so dass sie beschlossen, als Live Band aufzuhören und fortan nur noch im Studio Musik zu produzieren. Abgesehen von verschiedenen Fernseh-Auftritten (z.B. All You Need Is Love) und einem kurzen Konzert auf dem Dach ihres Firmengebäudes in London Ende Januar 1969 sind sie nie mehr live aufgetreten.
1967 veröffentlichten die Beatles ihre beiden musikalischen Hauptwerke: die doppel-A-Single Strawberry Fields Forever / Penny Lane und das Album Sgt. Pepper’s Lonely Hearts Club Band. Ihre Musik war jetzt psychedelisch. Zum Teil entstand sie als Idee im LSD-Rausch. technisch umgesetzt wurde sie in den EMI Studios an der Abbey Road in London, mit ihrem Produzenten George Martin, in hunderten von Stunden Feinstarbeit an Gitarren, Effektgeräten, exotischen Instrumenten und Tonbandmaschinen.
Im Herbst 1967 ist ihr Manager Brian Epstein an einer Überdosis Schlafmittel verstorben. Danach war einiges nicht mehr so wie früher. Ausser die Qualität der Musik – sie ist bis am Ende hervorragend geblieben.
Zuerst suchten die Beatles in Maharishi Mahesh Yogi eine Art spirituellen Ersatzvater. Dieses Thema hat sich nach ein paar Monaten erledigt und danach erodierte die aussergewöhnliche Freundschaft dieser Musiker unter dem Druck von Businessproblemen, die entstanden, als sie die Ambition entwickelten, alle Fäden ihrer Tätigkeiten selbst in die Hand zu nehmen. Aus heutiger Sicht ein geradezu visionäres Unterfangen! Gescheitert ist es letztlich an der Manager-Frage. Die Beatles haben keinen zweiten Brian Epstein gefunden. Hinzu kamen persönliche Veränderungen. Man muss sich vorstellen, dass Ringo Starr und John Lennon gerade mal dreissig Jahre alt waren, als die Band in den Hiatus ging, aus dem sie nicht mehr erwachte.
1968 kam John Lennon mit der Avantgardekünstlerin Yoko Ono zusammen. Ono erwies sich für ihn im Lauf der Zeit als die interessantere künstlerische Option als seine Band. Der Bandleader der Beatles verlor das Interesse und driftete mehr und mehr von den anderen weg. Je mehr dann Paul McCartney das Ruder in die Hand nahm, desto unbeliebter machte er sich. Als er für die Beatles dann noch den Schwiegervater als Manager der Band wünschte, wurde er zum Aussenseiter. Die beiden Lager, die entstanden, fanden nicht mehr zusammen.
Die Beatles waren nur knapp 7 Jahre lang Recording Artists, aber in dieser Zeit haben sie einen Katalog mit 213 Songs hinterlassen, 187 davon Eigenkompositionen. Eine Hand voll dieser Lieder gehören zu den bekanntesten Songs des 20. Jahrhunderts (Yesterday, Let It Be, She Loves You, All You Need Is Love, Something, Hey Jude).
Mark Lewisohn nannte die Beatles im ersten Band seiner Chronik Tune In ein «genuine ultimate». Damit hat er das Beatles Märchen auf eine sehr kurze und treffende Formel gebracht: Die Beatles waren «genuin» – d.h. urwüchsig. Sie haben ihre eigene Art zu musizieren gefunden und ihr Ding mit grosser Selbstverständlichkeit durchgezogen. Dabei haben sie zahlreiche andere Bands und die Musikwirtschaft als Ganzes nachhaltig geprägt. Die Beatles waren ein «ultimate» – etwas Ultimatives. Sie wurden in mancherlei Hinsicht von keiner anderen Band übertroffen – bis heute nicht.
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Album der Woche: Rina Sawayama: SAWAYAMA (News vom 20200419) [N]
Lead: Abwechslungsreiches Pop Album voller grosser Gesten von der Japanerin Rina Sawayama, die in London aufgewachsen ist und lebt. SAWAYAMA
ist ihr Debütalbum.
Nicht nur in den USA wird diese Woche auch das neue, fünfte Album von Fiona Apple abgefeiert, Fetch the Bolt Cutters. Pitchfork gibt emphatische 10 Punkte.
Hören Sie und entscheiden Sie selbst ...
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Album der Woche: The Weeknd: After Hours (News vom 20200324) [N]
Lead: Zwar kennen wir einige Track des neuen Albums von The Weeknd bereits, doch wer – wie ich – nicht von Abel Tesfayes Stimme und Musik genug kriegen kann, wird auch dieses Album des R'n'B-Superstars genussvoll verzehren. Was das Album besonders und vielfältig macht, sind die Ausflüge in den Bereich von Funky R'n'B. Die Themen von The Weeknd bleiben freilich die selben, die seit Anfang seine schamlose Bühnenpersona ausmachen: Die Exzesse des Pop- und Nachtlebens, die die kurzfristige aber einzig mögliche Erlösung aus einer im Grunde miserablen Existenz bieten.
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Neuerscheinung: Caribou: Suddenly (News vom 20200228) [N]
Lead: Das neue Album von Caribou da. Ist bestimmt eines der Alben, über die dieses Jahr viel geschrieben und gesprochen werden wird. Der erste Höreindruck ist schon Mal wunderbar.
Ein ausführlicher englischsprachiger Artikel inklusive Interview mit Dan Snaith
, dem Mann hinter Caribou, hat Best Fit veröffentlicht (Musikzimmer [F]).
Ein weiteres Interview ist bei Groove erschienen.
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The Line Of Best Fit: Comfort In Sound (News vom 20200109) [N]
Lead: Am Freitag, 10. Januar kommt das Georgia Album Seeking Skills heraus. Das Album wird voraussichtlich ein erster Veröffentlichungs-Höhepunkt des neuen Jahres. The Line Of Best Fit veröffentlichten ein ausführliches Feature über die britische Musikerin.
– zum Album
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Die drei Alben des Jahres 2019 (News vom 20191213) [N]
Lead: Früher als gewohnt – ausführliche Listen folgen noch ... – meine drei Alben des Jahres 2019:
– Highwomen: The Highwomen. Elektra 075678651748
– Lana Del Rey (LDR): NFR!. Interscope B 003087802
– Holly Herndon: PROTO. 4AD 4AD 0140
Text:
Highwomen
2019 war ein Country Jahr! Die Highwomen, die Supergruppe von Brandi Carlile, Maren Morris, Natalie Hemby und Amanda Shires, lieferten den Soundtrack dazu. Dass die vier nicht die einzigen Country Frauen sind, die verdammt gute Musik machen, zeigt die Jahresbesten-Liste von Stereogum, in der neun von zehn Alben von weiblichen Singer-Songwriterinnen stammen. Die Highwomen machten mit ihrer Musik darauf aufmerksam, dass die amerikanischen Country Radiostationen die Musik von Frauen unterrepräsentieren (siehe Stichwort: Tomato-gate). Kein westliches musikalisches Genre ist so zerrissen wie Country. Man muss einerseits annehmen, dass das Publikum dieser Musik aus mächtig vielen Trump-Wählerninnen und -Wählern besteht. Andererseits kenne ich keine Musik, die sich dem innenpolitischen Konflikt, der mit der Wahl von «Troublemaker» Trump entstanden ist, besser zu stellen weiss als Country. Die Kunst besteht als Musikerin oder Musiker nicht darin, Trump und seine Wähler zu dissen, sondern kluge Songs zu schreiben, die die Konflikte thematisieren, die viele Familien durchziehen und zu teilen drohen. Wenn man dabei die Protagonist/-innen beider Seiten respektvoll zeichnet – was Country so gut kann, weil es die Musik ist, deren Songs sich schon immer um die Familie drehten –, dann hat die Kunst ihre Aufgabe weitestgehend erfüllt. Wenn ich das schreibe, denke ich vor allem auch an Kacey Musgraves, die letztes Jahr ihr bisher bestes Album veröffentlicht hat, Golden Hour.
Ja, Country ist 2019 wirklich hoch im Kurs: Ken Burns veröffentlichte im Herbst eine mehrteilige Doku zur Country-Geschichte. Dann türmen sich gerade Podcasts und Filme zu Dolly Parton, die sie als die ultimative Stateswoman nicht nur des Genres etablieren – eine Position, die früher Johnny Cash inne hatte. Der herausragend produzierte Podcast Dolly Parton's America spricht davon, wie an Dollys Konzerten Leute aller politischen und genderhaften Couleur sich versammeln, ohne dass es zu Gehässigkeiten komme. Dolly Parton ist heute vielleicht die Mutter der USA, so wie Johnny Cash 1969 mit seiner TV-Show ihr Vater war, als der Vietnamkrieg das Land und die Familien spaltete.
LDR
Lana del Rey rollte seit dem Herbst letzten Jahres ihr mittlerweile sechstes Album mit starken Songs wie Mariners Apartment Complex oder Venice Bitch aus. Am Anfang ihrer Karriere hätte man denken können, dass LDR ein Stern ist, der ebenso schnell verglüht, wie er am Himmel aufgeblitzt war. Aber nichts da! Sie hat diesen Sound, der jung und alt anzusprechen vermag, weil er ebenso alt wie neu klingt. Lana del Rey schreibt Songs, die von persönlichen Beobachtungen geprägt sind und die literarische Qualität haben. Sie erinnert teilweise an die Texte der Essayistin Joan Didion, die in den späten 1960er Jahren die Hippie-Zeit in Kalifornien dokumentierte, indem sie ihren Alltag literarisch verarbeitete. Mit NFR
machte Lana del Rey der Öffentlichkeit klar, dass sie nicht die Kunstfigur ist, für die man sie bisher gehalten hat, sondern eine authentische Beobachterin mit einer überwältigend starken künstlerischen Vision.
Holly Herndon
Der Electronica Release des Jahres kommt von Holly Herndon. Man konnte einiges darüber lesen, wie sie und ihr Lebensgefährte Mat Dryhurst eine Künstliche Intelligenz zum Musik machen einsetzen, die sie als «ihr Baby» bezeichnen, die sie täglich mit stimmlichen sowie musikalischen Inputs füttern und der sie einen Namen gegeben haben: «Spawn». Man mag das als akademische Verstiegenheit sehen, aber die Weise wie Holly Herndon sich mit ihren letzten drei Alben mit der Technologie auseinandergesetzt hat, mit der wir alle, oder fast alle leben und arbeiten, ist vorbildlich. Jenseits von Glorifizierung und Verteufelung der Computertechnologie zeigt Herndon, was es als Musikerin heisst, sich der Technologie zu stellen und sie nicht als blosses Mittel zum Zweck einzusetzen, wie alle es tun, sondern sie kritisch in den Arbeitsprozess miteinzubeziehen, dabei interessante Fragen zu stellen, deren Antworten nicht von vornherein klar sind. Der britisch-amerikanische Musikjournalist Simon Reynolds hat diese Musik in einem Artikel für Pitchfork als «Conceptronica» bezeichnet und nimmt eine bemerkbar kritische Distanz dazu ein. Diese mag daher kommen, dass Conceptronica keine Musik ist, die vorwiegend als Clubmusik funktioniert und auf der Tanzfläche rezipiert wird. Conceptronica erschliesst sich als Musik mitunter über ihren Para- und Metatext, d.i. über die Begleittexte, die Interviews, die Rezensionen. Conceptronica sind nicht Voraussetzungslos, aber – mind you! – das ist Gegenwartsmusik nie. Neben dem konzeptuell anmutenden Austesten der Künstlichen Intelligenz hat PROTO
auch auf der materiellen Ebene viel zu bieten. Herndons Musik ist vom Chorgesang geprägt. Sie ist hörbar fasziniert von der menschlichen Stimme im Raum und das verleiht ihren Tracks eine unmittelbare Qualität, die sich auch ohne Youtube-Anleitung erschliesst.
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Sterogum: Chillwave At 10: The Essential Tracks (News vom 20191210) [N]
Lead: Vor zehn Jahren war Chillwave die heisseste Musik auf dem Planeten – Verzeihung, die coolste Musik. Gorilla vs. Bear war der Blog, der diesem Sound mit Polaroid Fotos ein Gesicht und Publizität gab. Die Frage ist, ob sich eine Musik in der Zukunft auf ein solches Genre berufen können wird, das selbst schon die pure nostalgische Rückwendung auf eine vergangene Zeit war.
Dies ist eine Playliste, die den Begriff Hypnagogicpop musikalisch erläutert.
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Reflexionen auf die 2010er Jahre (News vom 20190923) [N]
Lead: Wir
gehen langsam auf das Ende einer Dekade zu. Damit setzt die Reflexion auf die vergangenen zehn oder zwanzig Jahre ein. Welches waren die besten Alben und Songs? Mit welcher Musik haben wir gelebt? Die ersten Listen kamen nun vom Guardian und vom Gorilla vs. Bear Blog heraus. Der Guardian wirft einen britischen Blick auf die letzten 20 Jahre und der GvB Blog hebt 50 Indie-Releases (was immer das heute noch heisst) aus den vergangenen zehn Jahren heraus. Die GvB-Liste ist auf jeden Fall die Liste, in der man radikalere, experimentellere und ungewohntere Musik findet als im Guardian. Daher ergänzen sich diese Listen recht gut.
Viel Vergnügen auf der Entdeckungsreise! Und bitte ärgern Sie sich nicht, falls etwas, fehlt. Die nächsten Dekaden-Listen kommen bestimmt und vielleicht enthalten sie, wonach Sie suchen. Musikzimmer bleibt dran und führt alle Liste unter dem Stichwort: Musik der 2010er Jahre.
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Lana del Rey: Norman Fucking Rockwell (News vom 20190903) [N]
Lead: Seit Lana del Rey mit ihrem selbstproduzierten Musikvideo Video Games durchgebrochen ist, arbeitet sie sich an ihrem teilweise vergilbten, teilweise morbiden Portrait Kaliforniens der Gegenwart ab. Norman Fucking Rockwell
ist die neuste Version dieser Geschichte und dabei keinen Moment langweilig. Einige der Tracks kennen wir schon von Videos, die seit fast einem Jahr erschienen. Die Wucht des ganzen Albums ist kaum zu toppen. Grossartiges Album!
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Lili Marleen wird in diesen Tagen 80 jährig (News vom 20190731) [N]
Lead: Lili Marleen
wird in diesen Tagen 80 jährig.
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Jeden Sommer wieder: Yachtrock (News vom 20190723) [N]
Lead: Yachtrock ist Softrock aus Südkalifornien, der in den späten 70er-Jahren bis Mitte der 80er-Jahre entsteht. Die Musik hat etwas Leichtes und Unbeschwertes. Die Lyrics handeln zuweilen tatsächlich vom Segeln. Verwandt ist die Musik mit Westcoast und Smoothjazz.
Text: Aufgegriffen wird Yachtrock von Gegenwartsmusiker/-innen wie Daft Punk (Fragments of Time), Pharrell Williams (Fun, Fun, Fun), Vampire Weekend (White Sky), Mark Ronson (Late Night Feelings), Thundercat (Show You The Way feat. Michael McDonald und Kenny Loggins).
Yachtrock ist besonders beliebt als Mood-Musik für Sommerparties, Hintergrundmusik zum Barbetrieb am Fluss oder See oder Sommerplayliste (siehe: GvB: Modern Yacht Rock 2019 Summer Mix von 2019 oder die Spotify-Playliste The Smooth Sound of Yacht von James Wilson).
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Dummy: The 10 Best Weightless Tracks, According to Chevel (News vom 20190505) [N]
Lead: Weightless oder «Weightless Grime» ist eine Art Schwester-Stil von Industrial Grime oder «Deconstructed Club». Weightless ist eine Musik, die von DJ-Producern gemacht und in Clubs gespielt wird, in denen experimentelle Musik läuft (z.B. den Janus Events in Berlin. Im Unterschied zu «Industrial-Grime» kommt «Weightless» ohne die ubiquitären massiven «schweren» Beats und Synth-Elemente aus. Es besteht eine Verwandtschaft zum eher Mainstream-fähigen Purplesound-Stil.
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Sister Rosetta Tharpe: Strange Things Happening Every Day (News vom 20190322) [N]
Text: Von der Rock And Roll Hall Of Fame, die Sister Rosetta Tharpe als «The Godmother of Rock» bezeichnet, gibt es ein Video über die first Soul Sister, wie sie oft genannt wird: Inductee Insights: Sister Rosetta Tharpe
.
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Michael Jackson wird aus den Radioprogrammen genommen – Exorzismus? (News vom 20190312) [N]
Lead: In der Süddeutschen Zeitung schreibt Sonja Zekri zu Michael Jackson und anderen diskreditierten Künstlern: «Jackson hören oder nicht, Wagner hören oder nicht - wer will sich denn diese Entscheidung ernsthaft vorschreiben lassen? Es gehört zu den Privilegien und den Zumutungen der Kunst, dass sie ein Raum bleibt, der so erhaben oder so schmutzig ist wie die Welt, die sie hervorbringt. Selbst wenn alle Spacey-Filme gelöscht, alle Jackson-Alben vernichtet, alle Weber-Fotografien weggesperrt sind, wird sich daran nichts ändern.» Die Autorin zeigt sich befremdet über das, was sie als exorzistische Gesten wahrnimmt, dass nämlich Radiostationen Michael Jackson aus dem Programm nehmen und dass sich Fans fragen, ob sie diese Musik noch hören dürfen.
Text: Ryan Adams, Michael Jackson oder R. Kelly haben alle wunderbare Musik gemacht. Es schmerzt, wenn die Künstler hinter der Musik als Menschen versagen. Die Kunst, die Musik bleibt vom Fehlverhalten natürlich weitestgehend unberührt. Die Kunst oder die Musik der drei genannten Künstler ist nicht anstössig. Frau Zekri mag offensichtlich das Moralisieren nicht und zieht gegen die Exorzismen der Fans und der Programmverantwortlichen ins Feld. Dabei versteigt sie sich m.E. aber massiv: Natürlich muss sich niemand vorschreiben lassen, wen man sich anhören darf und wen nicht. Wer Michael Jackson hören will, soll Michael Jackson hören. Dass Programmverantwortliche den Sänger gegenwärtig aus aus dem Programm nehmen, ist allerding kein falsches Moralisieren und erst recht kein Exorzismus des Bösen aus der Welt. Mit Gut und Bös und Moral würde ich sowieso nicht argumentieren wollen. Hier geht es nicht um Gut und Böse, sondern um eine Sensibilität: Soll ein Radioprogramm in diesen Tagen tatsächlich Michael Jackson spielen? Wäre das nicht ignorant und geschmacklos, wäre es den Opfern gegenüber nicht despektierlich? Es geht ja nicht darum, nie mehr Michael Jackson zu spielen, sondern gegenwärtig keine Musik von ihm zu spielen. Sonja Zekri argumentiert mit der Freiheit und der Zumutung der Kunst: Natürlich darf und soll Kunst provozieren. Aber gerade das tut ja die Musik von Jackson nicht. Ihn aus dem Programm zu nehmen, versucht keine Kunst zahm zu machen oder gar zu zensurieren, sondern zeigt sich mit den Opfern solidarisch. Oder wie fänden Sie das, wenn ich diesem Blogpost das Youtube-Video von Billy Jean – zweifellos ein grossartiger Popsong – beigeben würde?
Die Alternative lautet nicht: moralisieren oder nicht moralisieren. Sie lautet, ob man sich mit den Opfern solidarisiert oder sich im Namen der freien Kunst mit Tätern solidarisiert und sie heroisiert (Muster: Michael Jackson war ein Crackpot und diesem Umstand verdanken wir sowohl die grossartige Musik wie seine Übergriffe. Künstler-Genies sind halt oft etwas schwierig). Ich empfinde eine Welt ungerecht, in der Mächtige oder Künstler sich mehr leisten können als die anderen Menschen. Und Sie?
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Programmierarbeiten im Musikzimmer (News vom 20190220) [N]
Lead: Die Programmierarbeiten dauern an. Ich stelle von PHP auf Javascript um, mit dem Resultat, dass Seiten und Informationen schneller geladen werden und Musikzimmer tauglicher für Mobilgeräte wird. Es kann daher weiterhin jeweils für unbestimmte Zeit zu Unterbrüchen im Catalog-Teil kommen. Teilweise werden nicht alle Informationen zur Verfügung stehen. Für die entstehenden Unannehmlichkeiten bitte ich um Verzeihung und stelle eine noch schnellere und robustere Webseite in Aussicht.
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Phoebe Bridgers und andere Frauen gegen Ryan Adams (News vom 20190216) [N]
Lead: Wenn Musik, die man mag oder liebt, plötzlich Musik von einem unerträglichen Täter wird, ist das traurig für viele Fans. Nur wer sehr dumpf ist, kann darüber hinweghören. Nach der Lektüre einiger relevanter Artikel bin ich dennoch erstaunt, wie viele Male das Arschloch Ryan Adams im Bild erscheint und von den mutigen Frauen, die mit ihren Geschichten an die Öffentlichkeit gehen, nur gesprochen wird. Auch wenn die Blogposts von Frauen geschrieben sind – zum Glück sind wir so weit –, ist die Story noch immer die Story des Täters. Das macht den Täter unterschwellig zu einem Anti-Helden oder Opfer und schreibt die unselige Geschichte fort, dass Täter diese verwirrten Genies seien und die Opfer halt nur Frauen, die den Erfolg suchen.
Wer populär ist, kann sich alles leisten. Dieses Bild vermittelt sogar der Präsident der USA. Wer populär ist, kann offen und ungestraft Frauen verachten, kann Witze auf Kosten von Frauen und Schwachen machen. Das Publikum lacht dabei herzlich mit. Der Youtube Kanal Popculture Detective ist unter anderem solchen Mechanismen auf der Spur und zeigt in einer Episode wie Misogynie im Fall von Präsident Trump funktioniert (Donald Trump: The Sitcom Misogynist) und in der neuesten Folge, wie in Amerika eine ganze Lachkultur in Filmen, bei Komikern und in Sitcoms rund um sexuelle Übergriffe auf Männer besteht (siehe: Sexual Assault of Men Played for Laughs).
Der Artikel Why Are Women Underrepresented in Music? Look to the Ryan Adams Story von Amy Philips bringt für das Musikbusiness einige traurige Fakten aus den letzen Jahren zusammen: Mit schauriger Regelmässigkeit trifft eine junge, idealistische Frau einen älteren Mann in hilfreicher Position. Er schenkt ihr Aufmerksamkeit und verspricht ihr, mit ihrer Karriere zu helfen. Die Sache bringt dann aber mit sich, dass der Mann mehr als ihre Musik will. Eine Version der Geschichte wurde uns vor kurzem in A Star Is Born
vorgeführt. Reale Versionen der Geschichte führten Ke$ha und nun Phoebe Bridgers vor. Diese Frauen waren anfänglich vielleicht tatsächlich verliebt oder sie hatten das bittere Gefühl keine anderen Optionen zu haben, um ihr Ziel zu erreichen. Für das Opfer werden die Dinge vermutlich immer hässlich. Für den Täter wird es hingegen nur riskant. Es kann seine Karriere zerstören, manch einer kam und kommt damit durch, wenn er sich z.B. die richtigen Anwälte leisten kann. Es braucht Mut, mit den Erfahrungen über sexuelle Belästigungen und Übergriffen an die Öffentlichkeit zu gehen, denn die Frau erntet damit nicht nur Sympathien. Es ist populär, #MeToo ins Lächerliche zu ziehen. Und die Geschichten, die dann die Presse mit diesen coming outs strickt, werden einmal mehr beherrscht von den populären Männern. Das ist die traurige Logik der Presse. Deshalb setze ich hier Phoebe Bridgers ins Titelbild.
Text: Manchmal richtet sich die Misogynie der Rockstars gegen Journalistinnen, wie das Beispiel von Laura Snapes zeigt. Sie schrieb im Guardian, dass Ryan Adams nur die Spitze des Eisbergs im Indierock sei, von dem man annimmt, dass seine Protagonisten bewusste und sensible Männer seien, die nie ... Aber hier hat Joe Kennedy vor Jahren den Mechanismus der «Beta Male Misogyny» freigelegt und den entsprechenden Begriff geprägt (siehe: Ariel Pink And Beta Male Misogyny). Auch weniger erfolgreiche Männer spielen noch das Spiel, wer den längeren habe. Auch die sensiblen Beta-Männer spielen das üble Spiel mit, sobald sie die Chance erhalten, und kompensieren die anfängliche Kränkung, dass das Alpha Männchen in der ersten Runde erfolgreicher als er war.
Es ist bei diesen #MeToo-Dramen viel Psychologie im Spiel, Hass für die eine, Mitgefühl für die andere Seite, auch Verwirrung, darüber, was man denken soll. Mag sein, dass es unschuldige Täter und mitschuldige Opfer gibt. Dass die vermeintlichen Opfer immer unschuldig sind, weil sie schwächer sind, ist umgekehrter Chauvinismus, der die Frauen als Schwach festschreibt. Es ist wirklich verworren.
Um zum vorläufigen Ende dieser Gedanken zur Woche noch eine ganz andere Perspektive als die des Dramas zwischen Opfer und Täter ins Spiel zu bringen möchte ich den Blogpost von David Philp erwähnen, der eine Rangliste der erfolgreichsten Personen aus dem Musikbusiness von Billboard kommentierte (siehe: The Right & Wrong of Billboard’s Power 100 List, siehe auch die Quelle der Liste bei Billboard). Die Rangliste zeigt: Zu viele Männer. Nur eine Frau: Julie Greenwald von Atlantic Records. Die Unterhaltungsindustrie ist dominiert von starken Männern. (Was die starken Männer in Hollywood lustig finden, zeigt ja zum Beispiel der anfangs erwähnte Videocast von Popculture Detective.) Der Fisch stinkt, vermute ich, von oben (Führungsetage) und ganz oben (Politik). Das Musikbusiness braucht vielleicht einfach andere Strukturen. Warum sollen Gatekeeper über Karrieren entscheiden und nicht Gremien, warum hat Ryan Adams so viel Macht über Karrieren? Weil er Unternehmer und Arbeitgeber ist? Vermutlich. Gerade die grossen Firmen könnten es sich leisten, was man Alleinunternehmern nicht vorschreiben kann, dass sie umsichtig mit ihrer Macht als Gatekeeper umgehen und Gremien einrichten, die nicht von einzelnen Männern übergangen werden können, Gremien, in denen Männer und Frauen, Personen verschiedenen Alters und verschiedener Herkunft, Hautfarbe, Parteizugehörigkeit ihre Interessen ausgleichen und ihre Macht kontrollieren. Wenn auf der gesellschaftspolitischen Ebene dafür gesorgt würde, dass es Chancengleichheit und Interessenausgleich gäbe, statt immer grössere Macht für immer weniger Leute, dann wäre unsere Gesellschaft als ganzes eine bessere. Wer weiss, vielleicht könnte das Publikum dann auch einen schlechten von einem guten Witz unterscheiden.
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PLAYlists – eine neue Musikzimmer Applikation (News vom 20190214) [N]
Lead: Die Betaversion einer neuen Musikzimmer Applikation «PLAYlist» ist nun online.
Ich habe mir den langen Wunsch nach einem Player erfüllt, der Playlisten mit den Streaming-Audios und -Videos von Youtube automatisch durchspielt. Ebenso sollte der neue Player für Mobilgeräte geeignet sein. Nun ging eine Testversion online. Weitere Funktionen wie das Abspielen von Video-Streams, die nicht von Youtube, sondern von Soundcloud oder Vimeo kommen, werde ich vielleicht noch einbauen. Allfällige Fehler werde ich noch entdecken und korrigieren. Es ist eine Betaversion.
Text: Funktionieren tut der Player wie folgt: Sie wählen eine der verfügbaren Playlisten aus. Per Touch oder Klick gelangen Sie in den Player. Ausser bei Apple Mobilgeräten startet der Stream automatisch und spielt die Playliste durch.
Innerhalb der Playliste können Sie auf verschiedene Weisen navigieren: per Touch oder Klick auf die orangen Pfeiltasten, durch Wischen auf der Fläche, in der der Track angezeigt wird. Auch mit den Pfeiltasten auf einer Tastatur navigieren Sie zwischen den Songs und starten einen angezeigten mit dem Aufwärts-Pfeil oder mit einem Touch oder Klick auf die Playtaste.
Aufrufen können Sie PLAYlists ab sofort über das Menu oder den Button am Ende dieses Posts.
Also: «let the music play»!
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Musikraten: «The End of the Year» (News vom 20181130) [N]
Lead: Am kommenden Montag Abend, dem 3. Dezember, um 20 Uhr, findet das letzte Musikraten von diesem Jahr in der Bar Rossi statt. Wir
erküren die Raterin oder den Rater des Jahres 2018. Den Wettbewerb stellen die Teilnehmer/-innen selbst zusammen. Es werden Stücke gespielt, die einen auf die Tanzfläche reissen, die 2018 am meisten gehört wurden oder die als die ultimativen Sex Jams taugen.
Text: Wo? Bar Rossi, Sihlhallenstrasse 3, 8004 Zürichen.
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Das Ex-Libris-Label (News vom 20181005) [N]
Lead: Der Buchclub «Ex Libris» wurde 1947 nach dem zweiten Weltkrieg gegründet. Er bemühte sich um günstige Lizenzausgaben von deutschsprachigen Verlagen sowie um junge Schweizer Autoren. Der Migros-Genossenschafts-Bund kaufte 1950 erste Anteile des Unternehmens und übernahm dieses 1956 ganz. Mit dem Grammoclub wurden ab 1952 Originalplatten aus England, Frankreich oder den USA in eigenen Covers verkauft. Die Covergestaltung wurde von Schweizer Grafikern besorgt. Zu einer Zeit, in der viele Europäische Labels ihre Platten noch in generischen Covers verkauften, produzierte das Schweizer Label Ex Libris ansprechend gestaltete Platten.
Das Label hiess später auch einfach «Ex Libris».
Text: Das Ziel des Ex-Libris-Labels war, qualitativ wertvolle Musik zu günstigen Preisen anzubieten. Dazu zählte auch gehobene Unterhaltungs- und Tanzmusik – allerdings war diese nur marginal im Katalog vertreten. Für Unterhaltungsmusik gab es eigens Reihen (die ML Katalognummern und die POP-Katalognummern für gehobenrere Unterhaltungsmusik bzw. Populäre Musik (1954–57), Jazztone und Blue Note für Jazz (1954–57), dann die GC-Reihen mit Tanz- und Volksmusik, Jazz, Cabaret usw.) an 1956. Aktuelle Hits mit Originalinterpreten wurden zwischen 1965 und 1967 veröffentlicht.
Der Grammoclub funktionierte über ein Abonnement. Man erhielt monatlich einen Katalog und eine Schallplatte, die in Rechnung gestellt wurde. Wer nicht jede Platte kaufen wollte, musste für jede Veröffentlichung eine Verzichtserklärung ausfüllen und einsenden. Der Club vertrieb auch einen Plattenspieler der Marke «Lenco», den viele Mitglieder besassen. Ex Libris dominierte mit hunderttausenden von Mitgliedern ab den späten 50er Jahren den Tontragermarkt in der Schweiz (siehe historisches Lexikon der Schweiz, wonach Ex Libris 1982 650'000 Mitglieder hatte).
Gepresst wurden Ex-Libris-Platten von der Firma Turicaphon, in Riedikon, die sonst das «Elite Special» Label betrieb.
Von jungen Leuten, die im Radio oder live aktuelle Musik hörten, wurden die Ex-Libris-Platten als Angebots-Terror empfunden. Erst ab 1965 waren dann auch Platten der Rolling Stones oder von Elvis im Angebot. Solche Clubausgaben erzielen auf Auktionen wegen ihrer Seltenheit aufgrund kleiner Auflagen Spitzenpreise (z.B. die «Golden-Boy», die wegen dem gelben Cover so genannt wird).
Quellen
Die Geschichte und die Diskografie des schweizerischen Buchclub-Labels haben Philippe Bachelin und Mathis Kilian aufgearbeitet und auf ihrer Webseite Grammo-Club Ex Libris veröffentlicht.
Über das Label und den Grammoclub hat Samuel Mumenthaler im Artikel In 80 Schlagern um die Welt. Schweizer Populärmusik in den 50er Jahren geschrieben.
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Fehler im Katalog-Teil der Seite (News vom 20180920) [N]
Lead: Der Katalog-Teil von Musikzimmer produziert wegen einer Umstellung auf dem Server Fehler (F!l*r). Die Reparatur wird ein paar Stunden, vielleicht Tage in Anspruch nehmen. Es tut mir sehr leid.
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EU Parlament will Urheberrechtsreform nochmals überarbeiten (News vom 20180706) [N]
Lead: Ein überarbeitetes Urheberrecht für die EU will von Plattformbetreibern Upload-Filter verlangen (Artikel 13), die User-generierte Contents auf urheberrechtliche Zulässigkeit filtert. Ausserdem sollen Suchmaschinenbetreiber Leistungsschutzrechte zahlen, wenn sie Textausschnitte aus einem Werk veröffentlichen (Artikel 11). Über den Gesetzesvorschlag wird zum Glück noch einmal debattiert.
Text: Das Gesetz wäre in dieser Form ein katastrophale Überregulierung, welche die habgierige Lobby der Verleger und Produzenten begünstigte und die Interessen der Allgemeinheit einschränkte. Das Gesetz würde Freiheiten des Internets beschneiden, weil Verlage und Verwertungsgesellschaften das Rad der Geschichte zurückdrehen möchten in eine vermeintlich heile Welt vor dem Internet.
Das Leistungsschutzrecht wurde in Deutschland bereits 2013 eingeführt. Auch Spanien ist schon mitgezogen. Im Herbst 2014 wurde der Ausschuss Digitale Agenda, eine Expertenkommission, beauftragt, das Leistungsschutzrecht zu beurteilen. Die fünf Experten kamen einstimmig zum Ergebnis, dass das Leistungsschutzrecht für Presseverleger wieder abgeschafft werden sollte.
Die Liste der Befürworter von Artikel 13 ist lang. Man kennt die Namen, es sind die Erfolgreichen der letzten 50 Jahre. Sir Paul McCartney ist darunter, der in einem offenen Brief ans Europaparlament für den Artikel eintritt – im Namen einer besseren Kompensation von Google und vergleichbaren Plattformen gegenüber den Musikschaffenden. Es mag ja nun sein, dass die grossen Internetplattformen so viel Verhandlungsmacht haben, dass sie die Preise für Content drücken können. Aber bitte schön, soll man die Informationsfreiheit beschneiden, weil sich die Interessensverbände der Musikschaffenden in den direkten Verhandlungen mit den Plattformbetreibern offenbar nicht durchsetzen können? Soll man, weil man auf dem Weg wirtschaftlicher Verhandlungen unterliegt im politischen Hinterraum einen zweiten Kampf führen und dabei Informationsfreiheiten aufs Spiel setzen?
Und liebe Peers, die ihr mit dem Gegensatz von Indie vs. Majors sozialisiert worden seid: Hier geht es überhaupt nicht um die Grossen gegen die Kleinen, denn Google ist gross und und die Blogger sind klein und beide haben das Interesse, diesen gefährlichen Artikel in den Hades zu schicken.
Für einen Blog-Betreiber wie den Schreiber dieses Beitrags wäre das überarbeitete EU-Urheberrecht eine Einschränkung. Blogs leben davon, Inhalte aus dem Internet zu remixen, Texte und Bilder dabei möglichst frei verwenden zu können. Man macht das unter dem Schutzbanner der Informationsfreiheit und sieht diese in Gefahr, weil Lobbyisten überall ihre hohle Hand hinhalten. Auch engagierte Facebook-Betreiberinnen und Betreiber würden in ihrer Tätigkeit eingeschränkt werden. Das Internet hat von Anfang an sehr davon gelebt, dass jede und jeder mitschreiben kann und dass Information nicht nur in den Händen von wenigen Verlagen liegt. Die überarbeitete Gesetzesvorlage ist eine schwere Gewichtsmanschette an den Füssen derer, die nicht für Verlage und Zeitungen schreiben. In der Musik würden ausserdem musikarchivarische Praktiken verunmöglicht (Wiederentdeckung vergessener Stücke), auch Parodien (die Upload-Filter nicht als solche erkennen, sondern als Urheberrechtsverletzung), Mashups, Mixes, Remixes und vergleichbare Praktiken der musikalischen Aneignung von unten, die letztlich auch der Musikindustrie immer wieder neue Impulse verliehen und Umsätze generiert hat.
Weiterlesen
– Natasha Lomas:
MEPs vote to reopen copyright debate over ‘censorship’ controversy (Techcrunch, 5. Juli 2018)
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SOPHIE's Album ist da ... (News vom 20180619) [N]
Lead: SOPHIE, Produzentin aus Schottland mit Wahlheimat Los Angeles, macht die Musik unserer virtuellen, hyperdimensionalen und multifarbigen Zeit. Ihr Album kommt spät, hat einen unschlagbaren Titel: OIL OF EVERY PEARL'S UN-INSIDES
.
Text: Schier unglaublich. Fünf Jahre ist SOPHIE unterwegs und dies ist das erste Album. Das deutet auf die geringe Rolle hin, die das Format heute spielt. Die Karriere der Produzentin. Performance-Künstlerin und Sängerin war von ikonischen Videos gezeichnet. Ihre Tracks landeten regelmässig auf Jahresbestenlisten. Nun gibt es neun Tracks, die man als SOPHIE-Playliste anhören kann. Die ersten drei kennen wir schon. Der Rest ist wie der Pitchfork-Rezensent Sasha Geffen schreibt: «neue Formen experimenteller [Pop-]Musik. Diese Musik sei weitläufig, schön und behalte dennoch das verwirrende Latex-Pop-Gefühl ihrer faszinierenden Produktionstechnik.»
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New York Times Popcast zu Rita Oras «Girls» (News vom 20180601) [N]
Lead: Girls
ist ein grossartig produzierter Song, von dem man hat annehmen dürfen, dass er sehr erfolgreich wird – einer der Sommerhits vielleicht? Darin heisst es: «I just wanna kiss girls, girls, girls». Der Song ist also eine LGBT-Hymne, ein «coming out» von Ora. Und dann hörten die Leute genauer hin und waren empört, dass der Song nicht von der Lust einer Frau erzählt, die eine andere Frau liebt, sondern von einer Frau, die getrunken und gekifft hat und deshalb heute mal etwas anderes ausprobiert. Dass der Song von Männern geschrieben ist, macht die Sache nur um so enttäuschender. Ein paar Tage nach dem Release des Songs hörte die kritische Öffentlichkeit darin nur noch den Mann oder die Männer, die sich an den betrunkenen Mädchen aufgeilen. Was als bisexuelles Statement hätte ankommen sollen, stürzte als unauthentischer Partysong aus chauvinistischer Perspektive ab.
Im Popcast der NYT diskutieren u.a. Caryn Ganz, Shura und Torres.
Text:
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Neue Veranstaltungsreihe «Sonic Fiction» bringt Ben Frost und Jenny Hval nach Zürich (News vom 20180420) [N]
Lead: Das Zürcher Schauspielhaus startet eine neue Veranstaltungsreihe mit Populärer Musik aus der Kunst-Ecke. Grenzüberschreitungen ins Visuelle und Theatralische sollen gezeigt werden. Mit im Bot als Kuratorinnen sind das musikpublizistische Netzwerk Norient und die Veranstalter des Rewire-Festivals aus Den Haag.
Text:
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Migos feat. Drake: Walk It Talk It (News vom 20180323) [N]
Text: Ich leide noch immer an einer permanenten Retro-Überdosis, die täglich auf mich einströmt. Ich wünsche mir mehr heutige Reynolds Girls (siehe voriger Post) und weniger Bruno Mars, der Musik macht, die ca. 1992 schon mal durch die Kanäle floss. 25 Jahre altes Wasser stinkt! Nun, meine Mission ist nicht, Künstler zu dissen, aber auf die feinen Unterschiede aufmerksam zu machen, wie man mit der musikalischen Vergangenheit umgehen kann. Mein positives Beispiel sind Migos, die auf ihrem neusten Video für Walk It Talk It
die 70er Jahre mit einem «Soul Train» Pastiche aufleben lassen. In ihrer Travestie steckt viel Humor und eine deutliche Prise ironische Distanz, die ich bei Bruno Mars nirgends erkennen kann. Deutliches Zeichen: Die Musik ihrer neuen Single ist nicht auf 70er gestylt, sondern ihr unverwechselbarer Trap-Sound. Wenn der Song im Video kurz vor drei Minuten für eine Spiel anhält, in dem die Frage gestellt wird, in welche Richtung sich die Kultur bewegt, dann lautet die Antwort «Dat Way» mit eindeutigem Fingerzeig auf Migos. Ich hoffe, dass das Video recht hat.
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Sommer-Programm der Volkshochschule Zürich (News vom 20180303) [N]
Lead: Das Programm der Volkshochschule Zürich ist seit kurzem online. Es zeigt auf dem Titelblatt eine Fender Stratocaster Gitarre und weist auf zwei Veranstaltungen hin, in denen Christian Schorno von Musikzimmer involviert ist. Die Ereignisse von 1968 jähren sich heuer zum 50. Mal.
Text: 1968 in der Musik
Ich bin in die Ringvorlesung mit dem Titel 1968 in der Musik
eingeladen. In dieser Reihe sprechen Jakob Tanner über «das Lebensgefühl des «Pop», das sozialen Wandel als Emanzipation erfahrbar machte», Christoph Wagner über Bewusstseinserweiterung und Sinnesentgrenzung am Beispiel von verschiedenen Veranstaltungen/Happenings, Toni Vescoli erzählt im Gespräch mit Pius Knüsel «was Musik damals, [...] was Träume und Utopien, Gras, Gitarre und Geld bedeuteten. Und warum alles anders kam», Jean-Martin Büttner stellt und beantwortet in seinem wirkungsgeschichtlich orientierten Beitrag die Frage, was von 1968 vorbei ist und was weiterging.
Mein Beitrag lotet die Verbindung von Musik und Politik («Rock und Revolution») in Zürich aus: das Monsterkonzert und die Globuskrawalle, Jimi Hendrix und die Junge PdA. Die Geschichte einer schwierigen Liaison.
Im Rahmen dieser Ringvorlesung biete ich ausserdem eine Führung in der Ausstellung des Berner Historischen Museums 1968 Schweiz an.
Folk und Blues im Wunderland
Im September findet meine Vorlesungsreihe Folk und Blues im Wunderland
zur Musikszene der späteren 60er Jahre in San Francisco statt: Drei Abende über die Musik von Bands wie Jefferson Airplane, Grateful Dead, Janis Joplin, Steve Miller oder Santana.
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Christoph Merkis «Streifzug 13 zur Geschichte von Jazz und Pop: American Songbook first!» (News vom 20180131) [N]
Lead: «American Songbook first!» oder «Wie der American Popular Song die Jazz- und Popmusiker nährt(e)». Vor der Ankunft des Bebop, der den Jazz zur Kunstmusik machte, spielten und sangen (!) Jazzmusikerinnen und -musiker ihre eigenen Versionen von Songs aus dem Great American Songbook. Jazz war noch Pop, wenn man so will. Der dreizehnte Streifzug von Christoph Merki lotet das Verhältnis zwischen Popular Standard und Jazz Standard aus und geht der Bedeutung von Jazz Standards in der Gegenwartsmusik nach: Wir
begegnen Ella Fitzgerald und Rod Stewart.
Text:
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Christoph Merkis «Streifzug 12 zur Geschichte von Jazz und Pop: Eine philosophische Attacke» (News vom 20180110) [N]
Lead: Dieses Mal wird's philosophisch in den Streifzügen – Christoph Merkis setzt sich mit «Adornos Verachtung von Jazz und Pop» auseinander.
Text: Wie Rüdiger Safranski in einem Biopic über Adorno und die Frankfurter Schule zum Ausdruck bringt, war dem Philosophen die von Amerika geprägte «Kulturindustrie» neben Faschismus und Stalinismus der grösste Greuel der modernen Welt. Die «Kulturindustrie» war so etwas wie der Verrat an der freien bürgerlichen Kunst (und ihrer autonomen Ästhetik): Musik wird dem Markt unterstellt und produziert, um Gewinn abzuwerfen.
1953 kam es zu einer Debatte zwischen Adorno und dem Jazzkritiker Joachim-Ernst Berendt. Der Streifzug behandelt neben Adorno auch den deutschen Jazz-Papst, wie man Berendt vielfach nannte.
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Schorno: Zürcher Populäre Musik der Hippie-Ära: Eine neue Ästhetik und ihre Wir
kungen (News vom 20180107) [N]
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Schorno: Zürcher Populäre Musik der Hippie-Ära: Eine neue Ästhetik und ihre Wir
kungen (News vom 20180107) [N]
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Christoph Merkis «Streifzug 7 zur Geschichte von Jazz und Pop: Blues vom Lande» (News vom 20171030) [N]
Lead: Blues vom Lande oder «Country Blues» wurde ab Mitte der 20er Jahre auf Schallplatte aufgezeichnet: Zum Beispiel Blind Lemon Jefferson aus Texas, dessen Matchbox Blues über viele Stationen bei den Beatles landete, oder Charley Patton, der erste Blueser, der aufgenommen wurde, oder Blind Lemon Jefferson der ein regionaler «Star» des Country Blues wurde. Die weithin bekanntesten und wirkungsmächtigsten Aufnahmen für die Zeit nach dem Zweiten Weltkrieg waren diejenigen von Robert Johnson. Sie entstanden 1936 und 37 kurz vor dem frühen Tod des Musikers.
Text:
Robert Johnson: «Cross Road Blues». Text und Musik: Robert Johnson. Nachweis (Single): Vocalion 035, 1937.
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Neuprogrammierung von Musikzimmer (News vom 20171025) [N]
Lead: Ich bin seit einigen Wochen daran, die Katalog- bzw. Archivseiten von Musikzimmer neu zu programmieren. Das ist keine geringe Sache und verursacht nun mehr und mehr Fehler auf der alten Seite, weil Komponenten und Funktionen nun umgeschrieben werden. Das Ziel ist, bis Weihnachten alle Seiten im neuen Bootstrap-Design zu haben, natürlich fehlerlos. Bis dahin bitte ich die Nutzerinnen und Nutzer um Geduld.
Text: Am Ende wird der gesamte Musikzimmer-Katalog auf einer Adresse laufen, nämlich auf der neuen Katalogseite, die ab sofort im Menu aufrufbar ist. Aber Achtung! Auch sie ist keineswegs fehlerlos. Wir
d aber von Tag zu Tag nun vollständiger und funktionstüchtiger.
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Christoph Merkis «Streifzug 5 zur Geschichte von Jazz und Pop: Jazz als eine Lady» (News vom 20171016) [N]
Lead: Der weisse Jazzmusiker Paul Whiteman will aus dem Jazz eine vornehme Lady machen.
Er versucht ihn als eine Musik mit klassischen Streichern umzudefinieren. Der Staub der Strasse, der an ihm haftet, soll abgewischt werden. Langfristig setzt sich Whitemans Sicht des Jazz dann aber nicht durch. Die Frage «Geige oder Blues?» wird im Zweifelsfall klar beantwortet: «Blues!»
Text: Die «Salonisierung» des Jazz während den Roaring Twenties bringt aber auch bleibende Früchte hervor, nämlich das Crooning als genuine Gesangstechnik des 20. Jahrhunderts sowie Instrumentalisten mit einem sanften Ton, wie Bix Beiderbecke, dessen Singin The Blues
von 1927 im «Chicago Style», eingespielt mit dem Frankie 'Tram' Trumbauer Orchestra, als für den künftigen Jazz wegweisende Aufnahme gilt.
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Pink Floyd: Their Mortal Remains im V&A (News vom 20171014) [N]
Lead: Die Pink Floyd Ausstellung Their Mortal Remains im Victoria & Albert Museum (V&A) in London wird, dank einer Verlängerung um zwei Wochen die erfolgreichste Ausstellung des Museums und verweist diejenige über David Bowie auf Rang zwei. Im sorgfältig kalkulierten Erfolg sind die Briten gut. Ein neuer Rekord muss her, um jeden Preis. Nicht nur für das Museum gilt das, auch für die Band, die sie ausstellen, war das für lange Zeit ein Arbeitsprinzip: grösser, gigantischer, überwältigender. Dabei stand das Werk, wie Guardian Journalist, Mark Brown, betont, stets im Vordergrund und die Band tat alles, um hinter ihm, hinter der Show, hinter dem Schallplattencover, hinter den grandios wagnerianischen Konzepten zu verschwinden. Ich nahm im letzten Moment noch einen Augenschein vom Ausstellungs-Spektakel und stellte fest, dass leider mehr verschwand als die Privatpersonen Barrett, Gilmour, Mason, Waters und Wright.
Vermutlich konnte die Ausstellung nur unter der Bedingung verwirklicht werden, dass man die privaten Querelen, die passiv-aggressive Dynamik in der Band wegliess, die natürlich konstitutiv für die gute, wie die schlechte Musik der Band war. Für mich war die Ausstellung deshalb ein wenig wie ein Pink Floyd Album ohne Roger Waters oder ohne Syd Barrett: über weite Strecken furchtbar langweilig. Ein Punkt geht an Simon Reynolds, der es in seinem Buch Retromania deutlich sagte: «Pop kann nicht ausgestellt werden». (Bei der Bowie Ausstellung hat er allerdings einen Punkt verloren.)
My gut feeling is that pop and the museum just don't go together. Actually, I'm not sure music of any kind really works in a museum, a place of hush and decorum. Museums are primarily visual, oriented around dis play, designed for the contemplative gaze. The crucial element of sound has either to be absent or suppressed. (Retromania, p. 3)
Die Musik war natürlich nicht weggelassen. Man kriegte am Eingang einen Kopfhörer und ein Empfangsgerät, dass, ja nach Standort, den zugehörigen Sound einspielt. Das ist keine neue Technologie mehr und funktioniert so weit so gut. Freilich, wenn man nicht alleine in der Ausstellung ist, unterbindet diese Apparatur das Gespräch.
Text: Die Ausstellung geht der Bandbiografie entlang. Jugendfreunde in Cambridge musizierten früh zusammen, die meisten von ihnen beginnen ein Architekturstudium, geben dieses dann für die Musik auf. Ihr Frontmann Syd Barrett, gut aussehend und künstlerisch hochbegabt, macht sie zu einer Band, die heraussticht. Sie spielen hörbar gut und die Lyrics von Barrett waren etwas ganz und gar Eigenständiges. Es ist als wüssten sie, wofür sie ihr Studium geschmissen haben, nämlich um mit Rockmusik Erfolg zu haben. Pink Floyd werden die Vorzeigeband des psychedelischen Untergrunds in London – vergleichbar mit den Grateful Dead in San Francisco. Doch solche Vergleiche spart die Ausstellung wiederum aus. Brexit-Britannia ist sich bekanntlich selbst genug. Syd Barrett verlor ob seinem exzessiven Drogenkonsum leider bald seinen Verstand. Die durch Schuldgefühle geplagten hinterbliebenen Bandmitglieder (die eigentlichen «Mortal Remains» – was für ein guter Ausstellungstitel!) mit David Gilmour als Barretts Ersatz schwangen sich wider Erwarten in noch höhere Höhen hinauf.
Wenn man in die Ausstellung eintritt, steigt man gleichsam in den ersten Tourbus der Band. Der zweite Raum ist dem psychedelischen Untergrund gewidmet. Hier taucht man wirklich in die Clubwelt von damals ein. An der Decke blubbern psychedelische Farben, aus den Kopfhörern ertönt Interstellar Overdrive, ein Klassiker der psychedelischen Clubmusik. Ein weiterer thematischer Raum folgt später noch, in dem die Instrumente ausgestellt sind, die die Bandmitglieder verwendet und die den Bandsound geprägt haben. Ansonsten hangelt sich die Ausstellung von Album zu Album. Das ist als würde man sich durch AllMusic klicken, Wikipedia oder Musikzimmer, schön den Alben entlang. Dann stehen noch diese englischen Telefonkabinen in verschiedenen Farben herum, vollgeladen mit Paraphernalien der jeweiligen Zeit. Ohne echte Erschliessung annähernd bedeutungslos.
Am belanglosesten wird die Ausstellung dann nach The Wall
: The Final Cut
, das nächste Album der Band, kriegte nur einen Schaukasten und die öden Alben, die die Band ab den 80er Jahren eingespielt hat, füllen je einen Raum. Nun ja, verkauft haben sich diese Alben, aber ästhetisch waren sie unappetitlich wie ein aufgewärmter Brei. So auch das letzte Album The Endless River
von 2014, an dessen Ende sich das einzige nicht-instrumentale Stück Louder Than Words
befindet. Es gibt, wie auch die Ausstellung, die Perspektive von David Gilmour auf die Bandgeschichte wieder:
We bitch and we fight
Diss each other on sight
But this thing we do
These times you get
Rain or shine or stormy weather
This thing we do
It's Louder than words
This thing that we do
Louder than words
The way it unfurls
It's louder than words
The sum of our parts
The beat of our hearts
Is louder than words
Louder than words
Die Band hat zweifellos etwas Erhabenes geschaffen und das war wichtiger als der interne Streit. Das Werk ist, was bleibt. Das sagen diese Lyrics aus. Doch wagnerianische Konzepte gehen in Kitsch auf, wenn sie nicht eine gute Geschichte erzählen – das gilt für die Band und laider auch die Ausstellung über sie. Mit dem herausgeworfenen Roger Waters hat die Band ihren zweiten Geschichtenerzähler nach Syd Barrett verloren und mit ihm jeden Biss. So gesehen: Pink Floyd haben sich selber geschlissen, dazu brauchte es keinen Punk.
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Christoph Merkis «Streifzug 4 zur Geschichte von Jazz und Pop: Jetzt wird komponiert» (News vom 20171008) [N]
Lead: Diese Woche geht es um Jelly Roll Morton, den ersten Komponisten des Jazz.
Text:
Jelly Roll Mortons Red Hot Peppers: «Sidewalk Blues» (1926) – eine Band, die nur fürs Aufnahmestudio bestand, aber das perfekte Gleichgewicht zwischen Improvisation und Komposition hielt
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Stephan Eicher: Les Filles De Limmatquai (News vom 20171008) [N]
Lead: Zu diesem Song hat Zürich in den 80ern getanzt. Bevor Stephan Eicher Chansons gesungen hat, machte er solche Flexipop/Synthpop Experimente. Untergrundmusik, aber ein Ereignis in unserer kleinen Schweiz.
Text:
Beeinflussen liess sich Eicher hier deutlich von L'amour toujours
, einem Titel von Telex. (Es dürfte wohl kaum umgekehrt gelaufen sein – beide Titel kamen 1982 heraus, Aufgrund der ungenauen Releasedaten lässt es sich aber nicht definitiv ausmachen.) Telex war eine (ziemlich wegweisende) belgische Italodisco/Synthpop Band.
Auch der Text seines MiniMiniMiniMinijupe
-Song könnte von einem einem frankophonen Minimalsynth-Track inspiriert sein, von Touche Pas Mon Sexe von Comix.
Solche Einflüsse waren damals nicht unüblich. Immer wieder wird betont, dass Punk eine Erneuerung der Musik in den späten 70er-Jahren gebracht hat. Von der mächtigen Wir
kung der Disco-Musik gerade auch auf Postpunk ist seltener die Rede. Ein Stück der ersten Eicher-EP hiess Disco Mania
. Hier liegt der Einfluss offen zu Tage.
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How To Enter Vaudeville – eine Anleitung fürs Showbusiness von 1913 (News vom 20171003) [N]
Text: Wir
befinden uns hier in der Zeit, bevor es Radio oder Fernsehen gegeben hat. Die Unterhaltungsindustrie in den meisten industrialisierten Ländern der Welt hatte damals Varietee-Programme, die dem Publikum in der Grossstadt in dafür spezialisierten Theatern einen unterhaltsamen Abend bot. Auf dem Land gab es teilweise «Roadshows» (z.B. die Medicine Shows in den USA oder den klassischen Zirkus). Die Varieteeshows bestanden aus allerlei Nummern: Gesang, Comedy, Akrobatik, Tanz, Erotik, alles bunt gemischt. In verschiedenen Ländern hiessen diese Institutionen anders: Vaudevilleshows in den USA, Cabarets in Deutschland und Frankreich, die Music Hall in England – sie waren vergleichbare Formen der Unterhaltung.
Die Broschüre stammt aus einer Online-Ausstellung der Library of Congress mit dem Titel Bob Hope and American Variety. Hier werden Exponate von einem sehr späten Vaudeville-Star und Komikers gezeigt, der nicht nur auf der Bühne sondern auch für Radio, Film und Fernsehen gearbeitet hat: Unter anderem findet man ein typisches Vaudeville-Programm (Plakat), eine Karte mit den Stationen, wo
Falls der Link zur Quelle nicht funktioniert, benutzen Sie diesen: Quelle
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Hintergründe: Was sind «Child Ballads»? – Nein, keine Kinderlieder ... (News vom 20170921) [N]
Lead: Francis James Child war Rhetoriker in Harvard und hat sich als Volkskundler einen Namen gemacht. Seine Sammlung von 305 englischen und schottischen volkstümlichen Balladen samt Varianten wurden als «The English and Scottish Popular Ballads» zwischen 1882 und 1898 publiziert und die Lieder als «Child Ballads» bekannt. Child war nicht der erste Balladen-Sammler, aber seine thematische Klassifikationsleistung war von bleibender Wir
kung. Besonders im Folk-Revival nach dem 2. Weltkrieg wurden Child Balladen vielfach interpretiert und umgeschrieben/adaptiert (z.B. von Burl Ives, Ewan MacColl, A.L. Lloyd, Joan Baez, Fairport Convention, Pentangle oder Steeleye Span). Zum Beispiel basiert Bob Dylans A Hard Rain's a-Gonna Fall auf Lord Randall
(Child 12).
Text:
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Nord Koreas 5 grösste Bands (News vom 20170823) [N]
Lead: Jeremy Young hat unter dem Titel Apocalypse Or Not
einen Blogpost über die fünf gegenwärtigen Top-Bands aus Nord Korea geschrieben. Alle Acts machen Musik, die den Staat repräsentiert. Furchtbar für westliche Ohren. Die Moranbong Band macht Teenpop. Sie singen: «Lasst uns studieren für das Wohlergehen unseres Landes». Die anderen Acts sind schon gar nicht erwähnenswert.
Anlass für diesen Blogpost boten die Provokationen von Kim Jong Un gegen Amerika. Wir
hoffen, die Hitzköpfe kühlen sich ab und hören etwas mehr K-Pop – koranische Popmusik aus Süd Korea.
Text:
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Zum Tod von Chester Bennington (News vom 20170721) [N]
Lead: Der Linkin Park Sänger wurde gestern tot in seinem Haus in Los Angeles aufgefunden. Wie es mit Linkin Park nun weitergeht, ist nicht bekannt. Nächste Woche hätte die «One More Light World Tour» beginnen sollen.
Die Gruppe Linkin Park schaffte in den Nullerjahren eine der erfolgreichsten Synthesen aller wichtigen Hauptströmungen der Populären Musik der 90er Jahre: Hip-Hop, Electronica, Alternativerock und Metal. Dazu gehörte, dass die Tracks teilweise gerappt und gesungen waren. Für die Raps war Mike Shinoda, für den Gesang Chester Bennington verantwortlich.
Text: Lost In The Echo
ist ein Track, der interessant produziert ist, immer gleich laut, nämlich am Maximum der möglichen Laustärke, unglaublich dicht und digital. Statt Dynamik in der Lautstärke hören wir Dynamik in der Dichte der Sounds.
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Polaris Music Prize: Shortlist 2017 (News vom 20170714) [N]
Text: 
Der interessanteste und grösste Musikmarkt ist derjenige der USA. Der zweitinteressanteste Musikmarkt ist Grossbritannien. Der drittinteressanteste ... Kanada. Dann erst folgt die Schweiz ;-)
Die Shortlist des diesjährigen Polaris Music Prize wurde veröffentlicht. Wer den Preis für das beste kanadische Album gewinnen wird, erfahren wir im September. Der bekannteste Name in der Liste ist Leonard Cohen. Oftmals ging der Preis aber gerade nicht an bekannten Mainstream-Künstler/-innen, sondern an Newcomer ...
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R.I.P. Jaki Liebezeit (News vom 20170127) [N]
Lead: Der Can-Drummer Jaki Liebezeit ist anfangs Woche verstorben. Jaki Liebezeit war ein Schlagzeuger mit persönlicher Handschrift. Man erkennt ihn daran, dass er monotone Beats, präzis wie ein Metronom spielte. Sein Spiel hat Krautrock, d.i. 70er-Jahre-Rock aus Deutschland, geprägt. Sein Drumsound wirkt bis heute inspirierend auf Bands wie Wooden Shjips, " target="_blank">Beak> oder Disappears.
Text:
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Superterz: Insomnia-Sessions@Photobastei (News vom 20170108) [N]
Lead: 
Die zürcher Futurejazz-Formation Superterz spielt diesen Monat an 31 Abenden nacheinander in der Bar der Photobastei 2.0 – in der Wohnzimmer-Atmosphäre dieses wunderbarsten Ortes in Zürich seit der Schliessung der Dachkantine. An jedem Abend ist ein anderer Gast mit von der Partie. Unter anderen spielen Burnt Friedman (am 25.1.), Nils Petter Molvaer (am 27.1.) oder Mauro Pawlowski (26.1.) mit ihnen, letzterer Ex-Gitarrist von Deus aus Belgien. Superterz sind im Kern die Brüder Marcel und Ravi Vaid plus Schlagzeuger Simon Berz und Performance-Künstler Koho Mori-Newton.
Das Konzept, einen Monat lang jeden Abend mit verschiedenen Gästen in einer offenen Bandstruktur zu spielen, ist bemerkenswert. Es verlangt nach einem Publikum, das gewillt ist, mindestens zwei Mal hinzugehen, um wirklich zu erleben, was es mit dem Projekt Insomnia-Sessions 2017
auf sich hat. Die Erfahrung lohnt sich aus mindestens zwei Gründen:
erstens: Superterz machen auf neue Weise erlebbar, was es heisst, eine Band zu sein
Eine Band funktional betrachtet: Die einzelnen Musiker/-innen nehmen in der Regel im sonischen Raum sehr unterschiedliche Dimensionen ein. Das Schlagzeug sorgt für den Rhythmus, die Gitarre oder Tasteninstrumente für die melodische Dimension, die Rhythmusgitarre für die harmonische und rhythmische Dichte, ein Bass-Instrument gibt dem Stück Tiefe, einen Körper, der Gesang ergänzt den verbalen Ausdruck. Jedes Instrument (oder jede Section bei grösseren Formationen) hat ihre Funktion im Gefüge der Band. Die genannten Dimensionen machen zusammen das magische Ganze aus. Bei Powertrios wie Green Day oder Jimi Hendrix Experience und bei Powerpopbands (The Who, The Knack) als den funktional reduziertesten musikalischen Formationen wird dieser Sachverhalt offensichtlich: Beim analytischen Hören kann man, was man hört, klar einem der Instrumente bzw. einem der Spieler zuordnen.
Das ist bei Superterz nicht so einfach. Hier kann jeder Musiker im funktionalen Gehege des anderen spielen. Beats müssen nicht vom Schlagzeug kommen, Stimmen nicht vom Sänger/Performer. Das hat eine spezifische Wir
kung auf die Hörer/-innen. Wir
wissen nicht woher die Sounds kommen und lernen im Hören, dass es keine Rolle spielt. Die Band ist ein Ganzes in einem ausgezeichneten Sinn. Es kommt auch nicht darauf an, welches Instrument eine Mitmusikerin oder ein Mitmusiker spielt. Er, sie, es geht immer in den Bandsound ein, wird inkorporiert.
Text:
zweitens: Superterz machen live eine Grunderfahrung mit Archiven wie Spotify erfahrbar
Insomnia ist der Name des letzten Studio-Albums der Gruppe. Es erschien vor etwas mehr als sechs Jahren. Schon bei der Produktion des Albums ist so viel Material zusammen gekommen, dass es die Bandmitglieder geschmerzt hat, es auf ein Doppelalbum-Länge einzudampfen. Mit dem Insomnia-Projekt ist die Gruppe offenbar bei etwas angekommen, das grösser, sublimer ist als sie und mit dem sie nicht fertig werden können. (Sie machen Sessions für ein Album, das bereits erschienen ist!!!) Hier passt der Begriff der Muchness, die vor etwas mehr als einem Jahr vom damaligen New York Times Journalist Ben Ratliff verwendet worden ist, um musikalische Werke zu bezeichnen, die umfangreicher, länger sind als es bisherige Tonträgerformate zugelassen haben. Werke der «Muchness» erscheinen digital und behelfsmässig als Mehrfach-CDs. Exemplarische Beispiele sind The Epic, das Dreifachalbum von Kamasi Washington, das ebenfalls aus viel, viel mehr Material zusammengeschnitten worden ist, oder die letztjährige 5-fach-CD von Autechre: Elseq 1-5. Wohlgemerkt, als Muchness zählt nur ausgezeichnetes Material, nicht Füllmaterial, das jede und jeder zuhauf produzieren kann.
Das faszinierte Publikum erfährt, dass Insomnia
zeitlich so ausgedehnt ist, dass es immer nur einen kleinen Ausschnitt daraus miterleben kann. Verfahren der «Muchness» lösen einmal mehr den klassischen Werkbegriff auf, dieses Mal in Richtung Archiv. Das Publikum versteht dies, weil es bei Spotify- oder Youtube täglich der Grunderfahrung ausgesetzt wird, dass das Hören nicht mehr zu einem Ende kommt. Superterz bringen diese Erfahrung an den Konzertort.
Die Musik von Superterz ist ein Spiel mit der Intensität von Klang-Texturen. Die Klänge, die von der Band in den Raum gesetzt werden, plätschern anfangs dahin und verdichten sich dann unversehens zu schierer Energie, die durch den Raum fliesst. Es entstehen überwältigende Momente als Manifestationen von etwas Umfassendem und Unfassbarem.
siehe: Artikel von Ueli Bernays (NZZ, 13. Januar 2017)
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Musikraten in Zürich mit Eke Miedaner und Gabor Doka (News vom 20170105) [N]
Lead: Gabor spielt Songs mit aussergewöhnlichen oder sonderbaren Instrumentierungen und keine Musik (d.h Musikraten mit Wort und Bild). Er hat sich ausserdem überlegt, wie man das Quiz-Problem vermeiden kann, dass jemand schon nach Sekundenbruchteilen des Intros ein Stück errät.
Eke wird ein paar bewährte Quizideen sampeln und remixen (oder gar seine eigenen Ideen covern) und das Ganze als neu verkaufen.
Am Montag, dem 9. Januar, um 20 Uhr in der Bar Rossi
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Radio-Garden: Weltempfänger (News vom 20161218) [N]
Lead: Diese Applikation ist besser als jeder Adventskalender: Auf der interaktiven Weltkarte von Radio Garden (funktioniert nicht auf Chrome, aber auf Safari und Firefox) navigieren Sie Orte an, finden deren Internet-Radiostationen und können diese hören. Achtung: Suchtpotential! Wir
wussten schon immer: Die Welt klingt. Hier ist der Beweis. Radio.Garden ersetzt mir meinen alten Weltempfänger.
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Ueli Bernays: Die einsamen Stars und die Chöre der Engel (News vom 20161128) [N]
Lead: Der Chor wird im Artikel von Ueli Bernays popkulturell Interpretiert. Dabei werden aktuelle Releases von Alicia Keys, Common, Katie Melua oder Moby behandelt.
Die folgenden Links führen zum NZZ-Artikel respektive zum Stichwort «Chor» in Musikzimmer, wo einige wichtige Chor-Stücke der neueren Popmusik verzeichnet sind.
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Vor 40 Jahren begann Punk (News vom 20161125) [N]
Lead: Die Geschichtsschreibung ist sich einig, dass vor 40 Jahren, am 26. November 1976 als die Single Anarchy In The UK
von den Sex Pistols herauskam, Punk begann. Dies obwohl die Single New Rose von The Damned fünf Wochen vor Anarchy
erschien. Die Pistols hatten die Wucht, die Geschichte der Rockmusik schlagartig aus der Bahn zu werfen. Der initiale Wutausbruch von Punk dauerte nur etwa ein halbes Jahr, dann war der Spuk vorbei. Das halbe Jahr genügte, um die Musik nachhaltig zu verändern: In fast allen Städten, die wichtig genug waren, um eine Artschool zu haben, wurden Bands, Labels und Fanzines gegründet. Ein alternatives Vertriebssystem wurde geschaffen und damit «Indie» und «Alternative» als schillernde Gegenwelt zum Mainstream geboren. Auf Punk folgte alsbald Postpunk. Wenn wir das auch an einer Single festmachen wollen, dann wählen wir Public Image von Public Image Ltd., die Nachfolgeband von Pistols-Sänger Johnny Rotten, der von nun an wieder unter seinem bürgerlichen Namen John Lydon auftrat und Anzüge statt selbstgedruckte T-Shirts trug.
Sehen Sie über den unten stehenden Link die Musikdoku Track: Greil Marcus, Punk Spirit
.
Text:
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Veranstaltungsreihe «Popmusik, Archiv, Geschichte» (News vom 20160921) [N]
Lead: 
Popmusik ist nun schon mehr als ein halbes Jahrhundert alt. Es gibt heute niemanden, der nicht mit ihr in Berührung kommt. Umso erstaunlicher, dass die Geschichte der Popmusik in der Schweiz bisher kaum erforscht und in den Archiven nur bruchstückhaft präsent ist. Erich Keller ist «Gast im Sozialarchiv 2016» und hat die Veranstaltungsreihe «Popmusik, Archiv, Geschichte» konzipiert. Sammlerinnen und Sammler sprechen über ihre Leidenschaft. Wir
loten aus, was Pop im Archiv zu suchen hat.
Wie sammeln SammlerInnen eigentlich Musik, nach welchen Kriterien und mit welchem Ziel? Was wird aufbewahrt und was weggeschmissen? Wie kann ihr einzigartiges Wissen aufbewahrt und weitergegeben werden? Gibt es Kooperationen zwischen privaten und offiziellen Archiven? Am ersten Abend der Veranstaltungsreihe diskutieren passionierte Sammler und hochspezialisierte Expertinnen und präsentieren Schätze aus ihren Privatarchiven.
Zusammen mit Silvia Moresi, Sam Mumenthaler und Felix Aeppli ist Christian Schorno von Musikzimmer/Archiv für Moderne Musik zum Podiumsgespräch «Musik sammeln» eingeladen. Gesprächsleitung: Erich Keller.
Nach der Pause gibt es ein Musikraten mit Stücken zum Sammeln und Archivieren.
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Lauren Daigle: A Guilty Pleasure (News vom 20160824) [N]
Lead: Für den englischsprachigen Ausdruck «guilty pleasure» gibt es meines Wissens keine anerkannte deutsche Übersetzung (siehe: StackExchange-Seite). Ein «guilty pleasure» ist ein schlechter Film oder ein peinlicher Song, den man trotzdem mag und ihn sich in der Regel heimlich immer wieder ansieht oder anhört. Das kennen Sie alle und haben vermutlich eigene Geschichten dazu.
Vor ein paar Tagen stolperte ich über einen Blogpost zu den diesjährigen Dove Awards, einem Preis für Contemporary Christian Music (CCM). Der Post berichtete über das Album How Can It Be
von Lauren Daigle, das in sechs von 44 Kategorien nominiert wurde. Ich fand, das sei ein massiver Erfolg und so kam es, dass ich das Album archiviert habe und kurz reinhören wollte. Irgendwie war ich von der Musik fasziniert und habe das ganze Album durchgehört. Den Song First
höre ich mir seither fast täglich an. Er ist mein derzeitiges «guilty pleasure».
Auf der letztjährigen Musikreise in den Südstaaten war ich schon drauf und dran, einen Beitrag über CCM zu schrieben. Damals liess ich dieses Thema zugunsten eines Beitrags über die Gospel Hall of Fame (siehe Kapitel 11) liegen. Auf meinen langen Fahrten auf Highways hörte ich mich durch alle Arten des amerikanischen Radios, auch durch CCM-Stationen. Sie brachten in funktionaler Hinsicht die beste Musik zum Autofahren und erstaunten mich mit Popmusik, die zeitgemäss und unaufgeregt klang. Stellen Sie sich in musikalischer Hinsicht Coldplay vor oder Adele.
Die amerikanischen CCM-Stationen sind etwas, was wir in Europa auf diese Weise nicht kennen. Es gibt zwar auch bei uns Christliche Radios oder Sendegefässe, welche die frohe Botschaft verkünden: Messen, erbauliche Gespräche und dabei meist klassische Musik. Typisch: Die Religion in Europa hat sich immer eher mit der repräsentativen Macht eingelassen und war selber eine solche. Darum klassische Musik und kein Pop. Bei mir fällt das auf keinen guten Boden. Ich schalte mein Radio ab.
In Amerika nehme ich das anders war. Die Kirche ist für die Leute da. Ihre Musik ist Pop. In den CCM-Stationen laufen neben den Messen vielfach Popsongs, die in der Hitparade eine Chance hätten, wenn sie von weltlichen Themen handelten. Doch diese CCM-Songtexte machen schlechterdngs keine Konzessionen: Es geht um Seine Liebe, Seine Gnade, unsere Demut und den Willen, ein Ihm gefälliges Leben zu führen. Hardcore für jemanden wie mich, der nur bei Hochzeiten, Taufen und Beerdigungen zur Kirche geht.
Text: First
von Lauren Daigle klingt wie ein Adele-Track. Die 25-jährige Frau aus Louisiana hat allerlei gesangliche Manierismen vom englischen Stimmwunder abgehorcht und verinnerlicht. Andere Lieder auf dem Album klingen wie Coldplay oder zeitgenössischer Electronicpop. Sehr gefällig, Hymnen-artige Melodien in den Refrains wie im Electropop (z.B. Sia). Die Texte sind einfach und gebetsartig. Ihr Ziel ist, dass Hörerinnen und Hörer mitsingen (Sympathisch, oder? Bei Punk ging es auch mal um dieses Mitmachen können der Fans.) Es geht aber natürlich auch um die Glaubensinhalte. Ob Sie das auch sympathisch finden, überlasse ich Ihnen.
Es ist die mächtige Industrie, die an CCM fasziniert. Die wichtigsten Player sind Produktionsfirmen/Verlagshäuser in den USA und Australien, z.B. Word Entertainment, Hillsong Music, Sparrow Records oder Centricity Music, wo auch Lauren Daigle unter Vertrag ist. Der Markt für CCM setzt ca. 60 Millionen Dollar pro Jahr um und wächst offenbar sehr schnell (um die 3% pro Jahr). Nun wird dieser Markt immer noch vor allem als eine Art Ghetto wahrgenommen: Die Musik kann man nur in Christlichen Läden kaufen, die Musikerinnen und Musiker treten nur in Kirchen und assoziierten Räumen auf. Dennoch gibt es seit den 80er-Jahren immer mal wieder Crossovers aus dem CCM-markt in den Popmarkt und die Billboard Charts (z.B. von Amy Grant) und es gibt Bands, die nicht zu CCM-Kreisen gehören, die auch Songs mit christlichen Botschaften aufnehmen (z.B. U2 oder Xavier Naidoo).
Eine Frage ist, ob eine so erfolgreiche Sängerin wie Daigle in den Mainstream durchbrechen kann. In Europa wohl kaum, in Amerika ist das aber durchaus die Möglichkeit.
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Editionsgeschichte von «Pet Sounds» (News vom 20160727) [N]
Lead: 
Acclaimed Music führt das Beach Boys Album Pet Sounds
auf Platz 1 der Top 3000 Albums of All Time. Acclaimed Music ist eine Metaliste vieler anderer relevanter Listen und folglich kann man schliessen – methodische Zweifel mal beiseite –, dass dieses Album das wichtigste und am meisten geschätzte Album der Populären Musik ist.
Am 10. Juni diesen Jahres kam gerade die 50th Anniversary Deluxe Edition heraus, eine 4-CD-plus-Blu-ray-Ausgabe, die dieses Meisterwerk feiert (siehe Rezension auf PopMatters – Link unten). Solche Ausgaben für Fans und Sammler wurden von Simon Reynolds als Retrophänomen thematisiert (Retromania, p. 63ff.). Seit den Nullerjahren besteht ein Boom für «Anniversary Editions» und «Deluxe CDs». Diese verpackt alte Musik neu, versahen sie mit Bonusmaterial und neuen Linernotes und der Markt schluckte das. Katalogreleases verkauften sich insgesamt besser als aktuelle Musik. Die Musiklabels lebten besser davon, ihren Katalog zu verwalten als neue Musik zu promoten. Das war die Retromania.
Text: Ich habe mir heute den etwas freakigen Spass erlaubt, die Editionsgeschichte von Pet Sounds
genauer anzuschauen. Auf einem Spreadsheet habe ich die wichtigsten Formate und Ausgaben der in den USA herausgekommenen Produktvarianten aufgelistet. Man sieht, dass 1966, als das Album als Neuheit herauskam, es als Mono-Vinyl-Platte und als Tape für Spulentonbandmaschinen (das damalige Enthusiasten-Format) aufgelegt wurde. Die erste Wiederauflage kam 1972 als Doppelalbum zusammen mit dem damals aktuellen Release der Beach Boys Carl And The Passions: «So Tough» auf den Markt. 1980 folgte die Cassettenausgabe. 1990 die erste CD Ausgabe. Das war relativ spät, da andere Katalogreleases auf CD schon ab 1985 erschienen. Man muss wissen, dass Pet Sounds
nicht immer so verehrt wurde wie heute – damals offensichtlich gerade noch nicht oder die Verehrung wurde vom Label nicht wahrgenommen! 1996 kamen dann die Pet Sounds Sessions
heraus. Jetzt war das Album und seine Machart ein Thema. Die Sessions-Ausgabe enthielt die 13 Tracks des Albums in einem Mono und einem Stereo-Mix (wie auf der CD), dann folgten 34 Session-Aufnahmen ab den Masterbändern, 11 so genannte «Stack-O-Vocals» – Vocaltracks der singenden Jungs sowie 19 Alternative Versionen. Ab hier fragt man sich, wer sich das alles anhört. So viele Konsumenten werden das nicht sein, die diese vier CDs von vorn nach hinten durchhören. Aber die Geschichte geht weiter und nimmt fast groteske Züge an: Ab 1999 und während den Nullerjahren bis heute erscheinen Formatvarianten des Albums, als HDCS, DVD-Audio, SACDs etc. – im Prinzip alles Formate, die sich nie haben durchsetzen können. Dieser Format-Wir
rwarr ist ein deutliches Zeichen der Retro-Zeit. Wenn es Formatunsicherheiten gibt, sinken Verkäufe. Sobald sich ein Format durchgesetzt hat, steigen Sie. Bei guten Aussichten investieren die Labels in neue Acts, in schlechten verhalten sie sich konservativ. Napster wird i.d.R. als Ursache für die Umsatzeinbrüche im neuen Millennium genannt. Das ist nur zum Teil wahr. Die Unsicherheit über das Format der Zukunft, die erst jetzt mit Spotify, Apple Music, Tidal und Deezer – also den Streaming Services – beseitigt ist, war m.E. ausschlaggebend. Die Labels wollten die Zeichen der Zeit nicht erkennen und brauchten Jahre, um digitale Formate zu akzeptieren. Das verunsichert die Konsumenten. Wer kaufte denn eine HDCD, wenn man eine CD digitalisieren oder die Tracks runterladen kann. Eine handvoll Enthusiasten nur. Heute, 2016 ist Retro definitiv vorbei. Musik klingt wieder neu, es geht auch mit der Geschichte wieder voran. Dennoch muss Pet Sounds
mit einer 50-Jahre-Jubiläumsausgabe bedacht werden. Sie enthält nun die 13 Originaltracks in Mono und Stereo, 5 Bonustracks, 35 Sessiontracks, 16 alternative Versionen, 11 Live-Versionen sowie 11 Stack-O-Vocals. Sind Sie noch bei mir? ;-) Musikzimmer verzeichnet diese Ausgabe. Wenn man verstehen will, wie dieses Meilenstein-Album 1966 zustande kam, kann man da schon mal reinhören. Reinhören, aber vermutlich nicht durchhören.
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Ry Cooder: Paris, Texas (News vom 20160724) [N]
Lead: Paris, Texas
(1985) von Wim Wenders ist ein Film über eine gescheiterte grosse Liebe. Die Handlung spielt über weite Teile in der texanischen Wüstenlandschaft, die in atemberaubenden Bildern gezeigt wird. Es ist als ob der Handlungsort selbst ein Darsteller wäre. Kongenial zu den Bildern von Paris, Texas
ist die Filmmusik von Ry Cooder: Wir
hören eine Gitarre, die ist wie diese Landschaft, karg, steinig, eigenwillig, aber auch weit, offen und kosmisch.
Ry Cooder gilt als der grösste Slide-Gitarrist seiner Generation. Er ist, was man auf Englisch einen «Gitarist’s Guitarist» nennt: einer, der für seine Spieltechnik von Gitarristen-Kolleg/-innen geschätzt wird - mehr als vom breiten Publikum, das ihn vermutlich vor allem von Buena Vista Social Club» her kennt. Cooder war bereits mit 21 Jahren ein gefragter Sessionmusiker in Los Angeles. Sein erster Beitrag zur Musikgeschichte leistete er als Gitarrist von Captain Beefheart And His Magic Band ganz am Anfang der Bandgeschichte als man das Album Safe As Milk einspielte. In einem Video von Sure 'Nuff 'n Yes I Do
, das in Cannes gedreht wurde, kann man das Slidespiel von nahe mitverfolgen:
Captain Beefheart And His Magic Band: «Sure 'Nuff 'n Yes I Do». Text und Musik: Herb Bermann & Don Van Vliet. Nachweis (Video): Live in Cannes, Youtube 1968.
Text: Zurück zum Soundtrack: Ry Cooders Gitarre klingt karg, die Slidebewegungen auf dem Griffbrett werden mit grossem Effekt inszeniert und vom Mikrophon eingefangen. Stellenweise werden bis zu drei Gitarren gespielt, von Cooder, David Lindley und Jim Dickinson - allesamt erstklassige Musiker. 
Wie der Hauptcharakter im Film ist die Musik besessen, «haunted by a ghost». Das Gespenst, das in der Musik spukt, ist Blind Willie Johnson, ein blinder Gospel-Blues-Musiker aus Texas, der 1897–1945 lebte. Falls Sie jetzt sagen: «Noch nie gehört den Namen», dann trifft das meine Erwartung. Wer ihn allerdings gehört hat, vergisst ihn nicht mehr so schnell, diesen Blind Willie Johnson. Wie wichtig er ist, lässt sich daran ablesen, dass seine Musik 1977 ins All geschossen wurde, als die NASA an der Voyager Sonde eine Goldene Schallplatte anbrachte, um die Aliens über die Erde und die grossen kulturellen Leistungen der Menschheit zu informieren. Blind Willie Johnson's Musik ist mit auf dieser Schallplatte – neben der von Bach, Beethoven, Stravinski oder Chuck Berry.
Johnson hat für das Columbia Label in fünf Aufnahme-Sessions zwischen 1927 und 1930 30 Songs aufgenommen. Bei einigen dieser Stücke spielt er ein schnelles Fingerpicking, bei anderen spielt er Slide-Gitarre – was ihm sein Schüler Ry Cooder nach macht – vermutlich mit einem Metalring, vielleicht mit einem Messer. Man kann Slidegitarre typischerweise mit einem Messer, Metallring oder Flaschenhals (Bottleneck) spielen.
Die bekanntesten Lieder von ihm sind:
John The Revelator, It's Nobody's Fault but Mine und Dark Was the Night - Cold Was the Ground. Der letzte Track, ein Instrumental von 1927 war das direkte Vorbild von Ry Cooders Filmmusik zu Paris, Texas
:
Blind Willie Johnson: «Dark Was the Night - Cold Was the Ground». Text und Musik: Blind Willie Johnson. Nachweis (Single): Columbia 143, 1928.
Der Titel des Instrumentals entstammt einem südstaatlichen Kirchenlied aus dem 19. Jhd. und einem Text von Thomas Haweis von 1792, das die Verse enthält: «Dark was the night, cold was the ground / on which my Lord was laid.» «Dunkel war die Nacht, kalt der Grund, auf den mein Herr gelegt wurde».
Ry Cooder: «Paris, Texas». Text und Musik: Ry Cooder. Nachweis (Album): Warner Bros. 9 252, 1985.
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Aus der Trendküche: Nielsen Halbjahres Report 2016 (News vom 20160716) [N]
Lead: 
Streaming explodiert, Rock und Country kämpfen, um mit R&B, Hip-Hop und Latin mitzuhalten. Die beiden Pubika unterscheiden sich durch ihr Konsumverhalten: Rock und Country werden noch physisch und als File gekauft, R&B/Hip-Hop gestreamt.
Anteil Verkäufe nach Genres (Nielsen, 2016)
Diese Zahlen zeigen, dass es verschiedene Märkte für Rock und Country auf der einen Seite und R&B/Hip-Hop auf der anderen Seite gibt. Rock gehört damit zum ersten Mal in der Geschichte zu zu einem Format, das marginal wird und zusehens verschwindet. Am Ende der Entwicklung - wenn nicht etwas Überraschendes geschieht - werden Rock und Country wie Jazz oder Adult-Contemporary ein Nischendasein fristen. Die Zukunft wird es zeigen.
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Adam Torres: Juniper Arms (News vom 20160712) [N]
Lead: Magisch und realistisch zugleich: das Video von Adam Torres zu seinem Track Juniper Arms
. Der Song ist ein Beispiel für den heute weit verbreiteten Falsettgesang. Die Stimme ist ergreifend, emotional, aber nicht zu sehr, weil dieser Gesang doch «Technik» impliziert. Würde man diesen Gesang in eine Kirche setzen oder mit viel Hall inszenieren, wäre er «engelhaft». Das vermeidet die Produktlon aber.
Das Video erzählt die Geschichte eines Gärtners, der einen Wacholder-Stock in einer unwirtlichen Landschaft pflanzt. Ein quasi-magischer Tanz unterstützt sein Vorhaben.
Text:
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Kanye West & Rihanna (feat.): Famous (News vom 20160705) [N]
Lead: Virales Video für Kanye West feat. Rihanna: Famous
zeigt halbnackte Stars und Politiker in einem überdimensionalen Bett im Himmel: George Bush, Anna Wintour, Donald Trump, Rihanna, Chris Brown, Taylor Swift, Kim Kardashian, Ray J, Amber Rose, Caitlin Jenner, Bill Cosby and Kanye West. Wir
haben da ein Artwork, das in der Tradition von Sgt. Pepper der Beatles steht. Dort waren es Wachspuppen und Fotos, die zusammen montiert wurden, hier sind es animierte Körper, Spitzentechnologie der heutigen Unterhaltungsindustrie. Das Video steht auch in der Tradition von animierten Tableaux, wie man das von Alt-J kennt (Tessalate).
Der Rolling Stone geht in einem Artikel der Frage nach, ob es sich z.B. für Taylor Swift lohnt, Kanye zu verklagen.
Das zehn Minuten lange Video hat seine Schwächen, weil es nicht zu einem Punkt kommt. Natürlich ist das Absicht. Vielleicht passt das zu Ben Ratliff Begriff der Muchness.
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Mojo Collection Überarbeitet (News vom 20160621) [N]
Lead: ListenMusikzimmer verwendet folgende Klassifikation von Listen: Listen werden eingeteilt in thematische Listen (Songs mit einem Thema, z.B. Party-Songs), Bestenlisten (Listen mit Songs oder Alben mit exemplarischem Wert (z.B. Jahresbestenlisten, Ewigbestenlisten, Generebestenlisten, beste Alben aus Montreal usw.) und erhobene Listen wie Charts/Hitparaden (Listen, die auf Verkaufszahlen beruhen) oder Polls (Listen die auf Leserumfragen beruhen). Bei den Bestenlisten werden solche von Experten unterschieden und von Kanonlisten, an denen mehrere Experten mitarbeiten und die Liste intersubjektiv validieren. Neben allen diesen einzelnen Listen gibt es noch Metalisten, das sind Listen die aus einzelnen Listen errechnet wurden, zum Beispiel die Meta-Bestenlisten von Acclaimed Music. Analog kann man auch Meta-Themenlisten und Meta-Charts errechnen (zum Beispiel TSort.info).
Bedeutung der Mojo Collection
Die Mojo Collection ist die früheste Kanonliste, die in Buchform erschien. Vor der Mojo Collection kamen solche Listen nur in Musikmagazinen heraus. Auf sie folgende vergleichbare Unternehmungen stellen die Rolling Stone's 500 Greatest Albums Of All Time (2003 in der Zeitschrift, 2005 in Buchform) oder die 1001 Albums You Must Hear Before You Die (2005) dar. Ein noch früheres Beispiel eine Expertenliste in Buchform ist Soundcheck des deutschen Musikjournalisten Karl Bruckmaier von 1999. In Buchform fallen die Texte, die zu jedem Album geschrieben werden, meist länger aus als in Magazinen. Geschrieben wird über die Entstehungs- oder Wir
kungsgeschichte, die Bedeutung des Albums im historischen Kontext und über alles, was sonst noch interessant ist.
Der Umfang der Liste von Mojo ist mit 592 Alben (Erstausgabe 2000, Bild links) etwas grösser als derjenige von Rolling Stone und um einiges kleiner als die 1001 Albums. Sie kommt in der dritten Auflage mit ihren 722 Alben ziemlich genau in die Mitte der beiden anderen Listen.
Die Mojo Collection enthält mehr britische bzw. europäische Musik als vergleichbare amerikanische Unternehmungen. Der Amzon Rezensent Michael Smith stellt polemisch fest: «This is a book for British folk-rock aficionados, punk rock lovers, art critics, and snobs.» Wenn man offen ist, kann man durch die Mojo Collection viel Überraschendes entdecken.
Editionsgeschichte
Die Liste wurde zwei Mal aktualisiert, 2003 (dritte Ausgabe, Bild mitte) und 2007 (vierte Ausgabe, Bild rechts). Die Redaktion hat bei der Überarbeitung Titel ausgemustert und neue Alben ergänzt. Die Entwicklung dieser Kanonliste kann einem Google-Spreadsheet von Musikzimmer nachvollzogen werden.
Repräsentation als Musikzimmer-Liste
Die Mojo Collection in ihren drei Varianten mit den jeweils erfolgten Ergänzungen und Streichungen wird wie folgt in 15 Teillisten abgebildet: Zwölf Listen geben die Ursprungs-Version aus dem Jahr 2000 wieder. Zwei Teillisten enthalten die Ergänzungen der dritten und eine Teilliste diejenigen der vierten Ausgabe. Damit sind alle Alben, die je in der Mojo Collection enthalten waren, verzeichnet.
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Louis Armstrong And The Hot Five: Heebie Jeebies - der erste Scat-Gesang auf Schallplatte (News vom 20160616) [N]
Lead: Diese Aufnahme von 1925 ist das erstes Beispiel von Scat-Gesang auf Schallplatte und es ist vermutlich der erste Song mit improvisiertem Gesang. Heebie Jeebies
heisst so viel wie Gänsehaut, aber im Song ist ein bestimmter Tanzstil damit gemeint.
Eine Legende will, dass Louis Armstrong den Scart-Gesang bei der Aufnahme dieses Titels erfunden hätte, wofür es historische Zweifel gibt. Es handelt sich um eine von vielen Geschichten, die Musiker über andere Musiker erzählen. Wir
wissen oft nicht, ob solche Geschichten urbane Legenden sind, mit denen die Musiker die Musik und sich selbst feiern, oder ob etwas Wahres dran ist. (Dies ist das Grundproblem der «Oral History», die im Gegensatz zur modernen philologisch ausgerichteten Geschichtsschreibung keine schriftlichen Quellen untersuchen kann.) Es ist aber in technologiegeschichtlicher Hinsicht eine gute Geschichte, deren Clou man in Wikipedia, wo sie verkürzt wiedergegeben wird, nicht wirklich versteht. Es heisst, dass Louis Armstrong das Papier mit den Lyrics aus der Hand gefallen sei und dass er deshalb die Worte nicht mehr ablesen konnte und improvisieren musste.
Wir
schreiben das Jahr 1926. Damals wurde Musik noch mechanisch aufgenommen. Das hiess, alle Musiker in einen engen Raum mit dem Aufnahmegerät pferchen, das einen grossen Trichter zum Auffangen der Schallwellen hatte. Alles musste laut sein, um auf die Platte aufgenommen zu werden: Damals wurden keine Gitarren, nur die lauteren Banjos aufgenommen, die Sänger hatten alle Opern oder Theater-Stimmen. Man muss sich nun vorstellen, dass wenn Louis Armstrong das Notenblatt oder die Lyrics aus de Hand fallen, er sich nicht bücken kann, ohne dass er an einem Instrument anstösst oder den Trichter berührt, in dessen Nähe er singt.
Aufnahmesession aus der Zeit mechanischer Aufnahmen (Quelle grammophon-platten.de)
Von diesen aufnahmetechnischen Details her ist die Geschichte der Erfindung des Scats plausibel. Weniger plausibel ist, dass Armstrong die Lyrics nicht auswendig kannte - es war ja nicht irgend ein Song, den die Hot Five da aufnahmen, sondern Repertoire.
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Zeitreise zu einem fast vergessenen Formatkrieg (News vom 20160612) [N]
Lead: Vor dem Streaming war MP3, vor MP3 die CD, vor der CD war Vinyl, vor Vinyl, Schellack. In den Anfangszeiten von Schellack-Platten lagen zwei Hersteller mit ihren Geräten und Platten miteinander im Wettbewerb – sie befanden sich in einem «Formatkrieg» wie das etwas martialischer heisst. Edison, der taube Purist, setzte mit seinen Geräten, dem Edison Diamond Disk, auf wissenschaftliche Wiedergabepräzision, die Victor Grammophone Company, setzte mit ihrem Victrola auf das, was sich später durchsetzen wird: a) der Lateralschnitt: die Nadel wird durch den aufgezeichneten Schall horizontal nicht vertikal wie bei Edison ausgelenkt, b) 78 Umdrehungen pro Minute Abspielgeschwindigkeit nicht mit 80 RPM wie bei Edison. Der Formatkrieg tobte mehr als zehn Jahre. Kunden, die ein Gerät kauften, konnten nur die zugehörigen Platten damit abspielen. Erfolgreiche Popsongs wurden von beiden Anbietern aufgenommen, manchmal mit den selben SängerInnen, meist allerdings mit denen, die bei der je hauseigenen Schallplattennfirma unter Vertrag standen.
Victrola (links) und Diamond Disk (rechts) Geräte (Details)
Text: Der Formatkrieg wurde im zweiten Teil der 20er-Jahre beendet. 1925 wurden 10'' Platten, die bei 78 RPM laufen und lateral geschnitten sind, Standard. Die Elektrifizierung der vorher mechanischen Geräten, speziell der bei 50 Hz Wechselstrom betriebene Elektromotor, der von nun an den Plattenteller bewegte, war der Geburtshelfer dieses Standards. Ab 1929 wurde die Mehrzahl aller Platten nach diesem Standard gepresst. Diese Platten können wir noch immer auf Flohmärkten oder Antiquariaten relativ günstig kaufen. Die älteren Platten sind wegen ihrem Alter und der kleineren Auflage natürlich die wertvolleren Sammlergegenstände.
Vor bald zehn Jahren brachte das Dust-to-Digital-Label aus Atlanta Ausschnitte aus den Victrola-Disk-Sammlungen von Robert Millis und Jeffery Taylor heraus. Ein Youtube-Video zeigt den hervorragend produzierten Archivrelease, der Musik aus allen Teilen der Welt enthält:
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Happy Birthday Bob Dylan (News vom 20160524) [N]
Lead: Statt immer nur Tode zu beklagen feiern wir heute einmal einen Geburtstag: Bob Dylan ist 75!
Der Track Young At Heart
vom neuen Album Fallen Angels
wird wohl bald wieder von Youtube verschwinden.
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RIP Marlene Marder (News vom 20160519) [N]
Lead: Die Gitarristin Marlene Marder von Kleenex, später Liliput, ist einem Krebs erlegen. Kleenex war die Punkband aus Zürich, die in London breit rezipiert wurde als John Peel ihre Singles in seinem Radioprogramm spielte und sie so schlagartig bekannt machte. Bis heute gehört die Band in jede Musikgeschichte, die Punk ernsthaft behandelt. Wegweisend als die erste all-female Punkband: Die Kleenex-Platten kamen vor denen der englischen Slits und Raincoats heraus. Wichtig, als eine der Artpunk-Bands, die das Postpunk-Genre mitprägten, eine Musikart, deren Wir
kung bis heute ungebrochen anhält. Unvergessen durch ihre mit Dringlichkeit und doch spielerisch vorgetragene Musik, welche vielfach die Hysterie, mit der man(n) Frauen stereotypisiert hatte, ironisch polemisierte – riot gilrs avant la lettre!
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Hashtag «Stormzy» (News vom 20160429) [N]
Lead: Stormzy ist Michael Omari aus Südlondon. Er rapt mit einer Dringlichkeit, die wir seit Eminem selten mehr gehört haben. In den letzen beiden Jahren wurde er als «Best Grime Act» mit dem «Music of Black Origin» (MOBO) Award ausgezeichnet. Wenn man den mächtig gebauten Mann sieht, vermutet man den Boxer in ihm und es ist nicht weit gefehlt: Seine Verse kommen immer kraftvoll und stehen gleichsam auf leichtem, verspielt federndem Fuss. Sein neuer Track heisst SCARY
.
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Hitparaden in der Zeit des Streamings (News vom 20160406) [N]
Lead: Früher war vermeintlich alles einfach: Wer ein Album verkaufte, bekam einen Punkt, wer am meisten Punkte hatte, war auf Platz eins der Hitparade. Abgesehen von Payola-Skandalen und anderen Betrügereien (die zur Tagesordnung der Musikwirtschaft gehören) war das ein einfaches, ehrliches und verständliches System. Dann kamen MP3-Verkäufe hinzu, die nie gleich behandelt wurden wie physikalische Verkäufe. Ein digital verkauftes Album oder ein MP3-Track galt weniger als ein Album oder eine Single bzw. eine CD. Warum eigentlich? Mögen Sie Musik weniger, wenn sie sie digital erwerben als wenn sie eine CD kaufen?
Die noch grössere Schwierigkeit trat mit dem Streaming auf. Wir
d ein Album oder ein Track nicht gekauft, sondern auf Youtube oder Spotify angehört, ist das auch Hitparaden-relevant, aber viel weniger als wenn der Track oder das Album gekauft werden. Das ist gut verständlich, denn wenn jemand ein Album kauft und es 100 mal anhört, zählt es für die Hitparade nur ein mal, genau gleich viel, wie wenn jemand das Album kauft und es nie hört. Beim Streaming ist eine ganz andere Logik im Spiel als bei den Tonträgerverkäufen.
Nun ist das aber nicht erst mit dem Streaming ein Problem geworden. ich habe am Anfang unterschlagen, dass Radio-Airplay auch schon immer eine Rolle gespielt hat. Wenn ein Track in den Tausenden von Radiostationen Amerikas häufig gespielt wird, war das immer für die Billboard-Charts ausschlaggebend. Daher mussten schon immer zwei Logiken rechnerisch miteinander in Einklang gebracht werden: die Playlogik (wie oft wird ein Track gespielt?) und die Verkaufslogik (wie viele Exemplare wurden verkauft?). Also doch keine ehrliches System, sondern ein am Verhandlungstisch festgelegtes Kalkül. Sorry, falls ich Sie enttäuscht habe.
Gerade ist die Berechnungsgrundlage neu festgelegt worden und hat Rihannas Album Anti
auf Platz eins gehievt und wird Kanyes Album Life of Pablo
vermutlich auf Platz eins hieven – ohne dass von diesem Album auch nur ein Exemplar verkauft worden wäre. Life of Pablo
kann gegenwärtig nur gestreamt oder digital erworben werden. Eine CD ist (noch) nicht erhältlich.Vor ein paar Jahren wäre das noch undenkbar gewesen, aber nun haben sich die Konsumstandards definitiv gewandelt. Heute gelten in den USA folgende Faktoren:
physical : TEA = 1 : 0,1, das heisst zehn digitale Verkäufe wiegen einen CD-Kauf auf. TEA heisst «track equivalent albums».
physical : SEA = 1500 : 1, das heisst: Es braucht 1500 Streams, die einen CD-Verkauf aufwiegen. SEA heisst «streaming equivalent albums».
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Musikraten «con ritmo» mit Christian Schorno von Musikzimmer (News vom 20160304) [N]
Lead: 
Wo? Am 7. März um 20 Uhr in der Zürcher Bar Rossi (Sihlhallenstrasse 3, 8004 Zürich).
Nicole Roten spielt 50. Christian Schorno spielt 50.
Christian Schornos Motto: «con ritmo». Nicole Roten verrät ihr Motto nicht.
Wir
freuen uns auf zahlreiche Besucher/-innen.
Text:
Burnt Friedman: «Platin Tundra» aus dem Album «Con Ritmo». Nonplace NON 03, 2000.
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Nicole Dollanganger: Beautiful And Bad (News vom 20160303) [N]
Lead: Hören Sie den neuen Track Beautiful And Bad
von Nicole Dollanganger laut oder gar nicht. The Line Of Best Fit schreibt über ihn, er sei «breathy, dangerous, and seriously heavy». Im Text heisst es: «I don’t want to be your girl / I want to be your gun»!!! Lassen Sie diesen Text und das Pressefoto der Künstlerin gleichzeitig auf Sie wirken. Geht das? 
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Bright Eyes: Coyote Song (News vom 20160227) [N]
Lead: Der Coyote Song
von Bright Eyes ist ein Song über eine Geliebte, die aus den USA nach Mexico ausgeschafft wurde. Ein Coyote ist ein Schlepper, der Menschen von Mexico nach den USA bringt. Der Zurückgelassene überlegt, ob er seine Geliebte mit so einem Schlepper zu ihm zurückholen soll. Coyote Song
ist vor sechs Jahren im Zusammenhang mit dem Arizona Gesetz SB 1070 entstanden. Arizona hat damals dieses Gesetz gutgeheissen, aufgrund dessen jemand ohne Papiere auf sich als illegaler Ausländer gilt und ausgeschafft wird. SB 1070 ist eines jener Gesetze, die Rechtstraditionen ausser Kraft setzen, die eine Cowboy-(Selbst-)Gerechtigkeit vor Rechtsprinzipen und Menschenrechte stellen. Musiker haben gegen dieses Gesetz mit einer Aktion protestiert, die Sound Strike hiess. Kanye West, Massive Attack, Conor Oberst von Bright Eyes haben neben vielen anderen unterschrieben, dass sie nicht mehr in Arizona auftreten werden. Ein Song für alle, die auch hoffen, dass es an diesem Wochenende in der Schweiz nicht zu einem Gesetz kommt, dass das Recht mit Füssen tritt.
Text:
Nachtrag 28. Februar: Es ist dieses Mal gut gegangen. Puh! Den Song lass ich hier stehen, er ist zu schön.
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Pantha Du Prince: The Winter Hymn (News vom 20160220) [N]
Lead: The Winter Hymn
ist ein wunderschön schimmernder Track von Pantha Du Prince, um den es erstaunlich lange still war. Die grossartige Produktion kündet ein neues Album des Ha,burgers an, das wir auf Mai erwarten dürfen: The Triad
.
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Gegenwartsmusik und Buddhismus (News vom 20160217) [N]
Lead: Ein Publikum während einem Konzert: Die meisten Leute schauen nicht nur auf die Bühne, sondern in ihre Mobiltelefone, mit denen sie Kommunizieren, Fotos und Videos einfangen. 
Es gibt Künstler, die das Publikum bitten, die Mobilgeräte auszustellen (bei einem jungen Publikum eher undenkbar) und es gibt Künstler, die das auf der Bühne thematisieren. Florence Welch von Florence + The Machine hat am 19.12.15 im Zürcher Hallenstadion ihr Publikum gebeten für den Song «Cosmic Love» die Mobilgeräte wegzupacken. Die Wavebuzz-Rezensentin, Sarah Schmidlin, thematisierte dies als «Zweischneidigkeit von “man-möchte-als-Band-sozialmedial-geshared-werden” und “eigentlich-sind-wir-jetzt-da-live-für-den-Moment”» und stellt fest, dass dies einigen Künstlern(-innen) Schwierigkeiten bereitet (siehe: Wavebuzz-Konzertbericht).
In einem Interview mit Skunk Anansie, das in der NZZ abgedruckt ist, spricht Skin, die Sängerin der Band, über das Glück. Früher habe es im Materiellen bestanden, einen neuen Fernseher kaufen zu können. Heute gehe es darum, im Moment leben zu können. So kommt das Gespräch auf die Fans, die während dem «Konzert alle ständig ihr Handy hochhalten». Skin rufe die Fans jeweils dazu auf, ein Bild zu machen und dann das Handy in die Tasche zu stecken, um das Konzert nicht zu verpassen.
Text: NYT Journalist Ben Ratliff
kam in einem Artikel und im NYT-Popcast über die Musik im Jahr 2015 mit dem Konzept der «Muchness» auf. «Muchness» galt für das Dreifachalbum von Kamasi Washington, die Punkoper The Most Lamentable Tragedy
von Titus Andronicus, die Texte auf Joanna Newsoms neuem Album, die überlangen Singles von Adele und für weitere Musik des Jahres.
Dass ein Popsong drei Minuten gehen muss, ein Album dreiviertel Stunden sind alte Industriestandards, die von Trägermedien geprägt waren. Heute gibt es keine Formatzwänge mehr, was die Länge eines Albums oder einer Single anbelangt. Wenn eine Künstlerin oder ein Künstler Muchness anbietet, dann will er oder sie möglicherweise die Hörgewohnheiten des Publikum neu formatieren. Ratliff
vermutet, diese Künstlerinnen würden ihr Publikum lernen, wie man hinhören müsse («teaching them how to listen»). Er schreibt über das buddhistische Konzept der «Suchness» («tathata») und schwingt sich zum Wortspiel «muchness found suchness» auf. Angesichts von Unsicherheiten (die Welt wird täglich faschistischer oder fundamentalistischer) und der ständigen Reizüberflutung fragt er: «Don’t you feel that the remaining moments count more? And doesn’t that make you want to stay longer with what you like — maybe for solace, or to help you to feel stronger once back out in the world, or just as a reaction against the daily insult of distraction?».
Max Richter: Sleep (2015) - ein achtstündiges Album. Ist Ihnen das möglicherweise zu viel?
Was die drei Fundstücke gemeinsam haben? Es geht um den schwierigen Zusammenhang von Zeit, Aufmerksamkeit und Bedeutung.
Nachtrag: 1. Juni 2016 - Adele
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Amnesia Scanner: As Crust (News vom 20160216) [N]
Lead: Neuer Track von Amnesia Scanner: As Crust
, einer dieser basslastigen, digitalen Funktracks, veröffentlicht als animierter Videoloop auf Youtube. Verstörend das thermo-digital verfremdete Bild. Ein Roboter, der getreten wird und den Tritt ausgleicht, dabei stehen bleibt. Ein wissenschaftliches Experiment. Eine Demonstration der Standhaftigkeit einer Maschine. Und trotzdem kann man die Maschine als ein Tier, ein Hund, wahrnehmen und so etwas wie Mitleid empfinden.
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Chris DeVille: Will 'Indie Pop' Ever Become Pop, Period? (News vom 20160126) [N]
Lead: Chris DeVille vergleicht die Annäherung von Indiepop an Pop mit dem Zenonparadox (Man kommt nicht an, wo man ankommen will, weil man die Hälfte des Wegs zurücklegt und dann wieder die Hälfte und so weiter, ohne je anzukommen, weil immer etwas übrig bleibt). Egal, wie sehr Indiepop nach Pop klingt, es wird nie Pop. Bands wie Chairlift oder Wet oder Künstlerinnen wie Låpsley und Grimes, die alle gut zwischen die heutige Electropop-Musik im Radio passen würden, werden dort nicht gespielt und kommen auch nicht in die Charts. Über die Gründe mutmasst Chris DeVille: Die Label (im Fall von Chairlift Columbia!) promoten die Bands nicht recht und vor allem nicht an die Radiostationen, weil die engen Slots dort schon von Mainstream-Acts gefüllt sind oder die Radio-Gatekeeper sind allergisch gegen Kritikerlieblinge, mutmasst der Autor. Bei alternativen Stationen werden diese Acts auch nicht gespielt, weil sie zu sehr nach Pop klingen. Damit ist elektronischer Indiepop echt in der Hälfte zwischen den Welten ohne je an einem Ende anzukommen.
Text: Hier etwas Indiepop-Glück in vier Portionen
Wie auch andere Genres (z.B. Alternativer R'n'B, Queerpop, Queerrap, Grime, Trap, Chillwave, Ethereal usw. usw.) lebt diese Musik in der Blogosphäre. Wer sich nicht auf den einschlägigen Musikblogs bewegt, kriegt sie kaum mit. Klassische IndiehörerInnen rümpfen die Nase, weil es nach Pop klingt, PophörerInnen bekommen diese Musik nicht mit.
Das neue Zwischenreich reflektiere ich in Musikzimmer seit Monaten mit der Genrebezeichnung «Post-Millennial-Music». Und diese Musik zu hören und zu verfolgen, fühlt sich für mich an wie am Ende der 70er- oder in den frühen 80er-Jahren jeden Tag «Sounds» eingeschaltet zu haben.
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Fatima Al Qadiri: Battery (News vom 20160122) [N]
Lead: Fatima Al Qadiri von Future Brown mit einem neuen Track. Das ist stilistisch hoch interessante Musik, die in der Fachwelt als Vaporwave bezeichnet wird). Diese zeitgenössiche Electronic-Listening-Music verwendet Funktionale Musik (Werbung, Promovideos, Musak) als Ausgangsmaterial für eine dystopische Ambientmusik.
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Heather Leigh: Fairfield Fantasy (News vom 20160106) [N]
Lead: Heute komme ich mit etwas Anspruchsvollem .. mit Heather Leigh, einer Musikerin aus der Gegend Virginias, wo es Kohlebergwerke gibt, einer Gegend, die für ihre rurale und traditionelle Folk-Musik bekannt ist. Leigh spielt eines der typischsten Instrumente der amerikanischen Südstaaten: die Pedal-Steel-Gitarre. Wenn Sie das Instrument hören, sagt ihr Gehirn sofort: «Countrymusic». Hier allerdings nicht. Hier sagt Ihr Gehirn zuerst einmal: «Oops, was ist denn das!» und will vielleicht flüchten, abschalten, was anders hören. Geben Sie nicht sofort nach: dieses Album ist zum Kritiker-Liebling geworden: Es hat von Metacritic ein hervorragendes Rating und es war in der Jahresbestenliste von The Wir
e zu finden, was ein Grund für mich war, noch einmal hinzuhören. Es hat sich gelohnt! Ich bin tief beeindruckt!
Heather Leigh improvisiert auf ihrer Pedal-Steel, sie singt Songs über die dunkle Seite menschlicher Leidenschaften, über Grausamkeit, Verletzlichkeit und Missbrauch, deren freie Struktur stellenweise an Joanna Newsom erinnert. Beide Frauen spielen einen ausdruckstsarken Art-Folk. Doch wo Newsoms Expressivität barocke Farben- und Formenpracht entfaltet, bleibt Leigh karg und nüchtern. Das kommt zum einen daher, dass sie ein Soloact ist und keine Begleitband hat. Zum anderen drückt diese Musik etwas Wesentliches aus, das allen akzidentiellen (nebensächlichen) Ballast weggeworfen hat.
Die düsteren Themen, die die Sängerin behandelt, sind philosophisch nicht psychologisch. Hören Sie das Album oder die Songs von Heather Leigh nicht als ihr Leid und als ihr widerfahrenes Unrecht, das sie weinerlich in die Welt hinausträgt. Das wäre ein grosses Missverständnis. Hören Sie die Musik vielmehr als Exploration der existierenden menschlichen Grausamkeit und Animalität. Diese Dimension ist, wenn man über den Menschen spricht, nicht aus der Welt zu schaffen, obwohl wir hier gerne weghören, wegsehen, verdrängen.
Heather Leigh ist eine furchtlose improvisierende Musikerin, wie die Boomcat-Rezension vermerkt. Die Musik fordert vielleicht das selbe von den Hörer-/innen. Geben Sie dieser aussergewöhnlichen Musik eine Chance! Vielleicht braucht es dazu die Zivilcourage einer Musikhörerin, eines Musikhörers, die darin besteht, sich in etwas Ungewohntes einzulassen, auch wenn zehn andere Songs, die angenehmer zu hören sind, nur einen Klick entfernt sind.
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Nicolas Jaar: RA.500 podcast (News vom 20160104) [N]
Lead: Einen guten Start ins neue Arbeitsjahr wünscht Ihnen Christian Schorno von Musikzimmer!
Das Jahr beginnt hier auf dem Newsblog mit einem Mix von Nicolas Jaar, den er für Resident Advisor produziert hat. Der Blog feiert gerade seinen 500sten Podcast mit fünf Podcasts, unter anderem dem von Nicolas Jaar. Jaar ist ein DJ mit Crossoverpotential bei Alternative-HörerInnen. Das wissen wir seit seinem Bandprojekt Darkside. Seine eigene Musik ist schwierig zu beschreiben und festzumachen: sie ist »Posteverything»: Postpunk, Postrock, Postelectronica. Genau so klingt dieser hervorragende Mix, der tief in die Ideenkiste für ambitionierte DJs greift und Spoken-Word-Elemente verwendet sowie die unhörbaren (!) Sounds von zwei Nektarvögeln mit orangen Federn. Sie merken: Thema ist das Unhörbare zu Musik zu machen. Nicolas Jaar kann tatsächlich zaubern und bekannte Stücke und Acts wie Keith Jarrett, Steve Reich, Lydia Lunch oder Talk Talk in interessante Kontexte stellen.
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Meet The Beatles 2015 (News vom 20151224) [N]
Lead: 
So, es ist so weit, ab Mitternacht können alle Tracks der Beatles gestreamt werden, nicht nur bei Spotify und Apple Music, auch bei anderen Services. Damit geht einer der letzen wichtigen Kataloge online.
Allerdings wird gerade das rechts abgebildete Meet The Beatles nicht online gehen, weil es im Prinzip die amerikanische Version von With The Beatles ist. Der Beatles Studio-Katakog ist längst aufgeräumt - zu ihm gehören die Alben die auch auf The Beatles: Stereo Box Set erschienen sind. Es gibt darin keine Lücken zu beklagen, ausser Outtakes, Rarities, Radio- und Live-Versionen, unter die auch das Beatles-Weihnachtslied Christmas Time (Is Here Again)
von 1967 fällt, das eine exklusive Aufnahme für den Beatles-Fanclub war.
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ANOHNI: 4 Degrees (News vom 20151206) [N]
Lead: «Es sind ja nur 4°, um die sich die Erde in diesem Jahrhundert erwärmt», so wird beschwichtigt. ANOHNI (ehemals Antony Hegarty) engagiert sich gegen die Klimaerwärmung mit ihrem neuen Song 4 Degrees
, der das neue Album
Hopelessness
ankündigt. Der Song kommt rechtzeitig zum Start der Klimakonferenz in Paris heraus und will uns Mut zusprechen, der Wahrheit ins Gesicht zu schauen, statt sie zu verdrängen. Produziert haben den Track Hudson Mohawke und Oneohtrix Point Never.
Text:
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Adele: 25 (News vom 20151129) [N]
Lead: Im Vorfeld zu Adeles neuem Album 25
fragte Mark Mulligan auf dem Midia Research Blog: Could Adele Be The Last Hurrah Of The Album Era? (23. Oktober 2015). Das Thema vom Tod des Albums im Zeitalter des Streamings stellt sich mit jedem Album, das grosse Verkaufszahlen generiert, von Neuem. Vielleicht ist das Album doch keine Auslaufmodell?
Das Album verkaufte in der ersten Woche 3,38 Millionen Einheiten (51/49% Physical/Digital - siehe Hypebot-Post) und brach damit alle Rekorde (siehe: Hypebot-Post – vor allem den 15 Jahre alten First-Week-Sales Rekord von 'N SYNC: No Strings Attached. 25
konnte am Anfang auf keiner Plattform gestreamt werden, was den Verkaufserfolg zusätzlich ankurbelte.
Für diejenigen unter Ihnen, die das Video zur neuen Single When We Were Young
als Studio-Aufnahme noch nicht gesehen haben. Achten Sie auf den erhabenen Moment nach viereinhalb Minuten, wenn Adele mit einer Geste anzeigt, dass sie die Tonlage heben wird, einige Momente bevor die Stimme folgt. Das ist grosse Klasse!
Text:
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John Coltrane: Acknowledgement (Alternate Take) (News vom 20151121) [N]
Lead: Vor etwas mehr als 50 Jahren kam A Love Supreme
, das Meisterwerk von Saxofonist John Coltrane, heraus. Diese Tage wird es als A Love Supreme: The Complete Masters
in einer 3 CD Ausgabe neu aufgelegt. Take 6 von Acknowledgement
ist als Vorabtrack auf Vevo zu hören.
Text:
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Sia: Alive (Video) (News vom 20151109) [N]
Lead: Alive
von Sia hat ein Video erhalten. Der Song kam bereits im September als Single heraus und wird Ende Januar auf dem neuen Album This Is Acting
der Songwriterin zu finden sein. Alive
ist eine dieser Powerballaden, für die Sia Furler bekannt ist, ein Song mit einem Refrain, in dem die Stimme an die Grenze ihrer Kraft geht, so dass sie fast überschlägt. Wir
nehmen das als pure Emotion wahr.Alive
wurde zusammen mit Tobias Jesso Jr geschrieben.
Text:
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Son Lux: NPR Music Tiny Desk Concert (News vom 20151105) [N]
Lead: Nach dem beeindruckenden Konzert von Son Lux in Zürich: das Tiny Desk Concert von NPR Music aus dem August. Synths hier durch Bläser ersetzt, was ein etwas anderes Licht auf die Musik wirft.
Text:
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Mercury Prize 2015 Shortlist (News vom 20151017) [N]
Lead: Dies sind zwölf britische Alben von diesem Jahr, die von der Jury des Mercury Preises auserkoren wurden:
Aphex Twin – Syro
Benjamin Clementine – At Least For Now
Gaz Coombes – Matador
C Duncan – Architect
Eska – Eska
Florence + The Machine – How Big, How Blue, How Beautiful
Ghost Poet – Shedding Skin
Jamie xx – In Colour
Roisin Murphy – Hairless Toys
Slaves – Are You Satisfied
Soak – Before We Forgot How To Dream
Wolf Alice – My Love Is Cool
Am 20. November wird das definitive Gewinner-Album in Sendungen der BBC Four und BBC 6 verkündet.
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USA: Streaming- überholen CD-Einnahmen (News vom 20151016) [N]
Lead: In den USA haben die Einnahmen aus dem Musik-Streaming diejenigen aus den Verkauf physischer Einheiten überholt. Das heisst dass Spotify und Apple Music nun mehr Geld generieren als CD-Verkäufe (von Vinyl wollen wir schweigen).
Bild: BusinessInsider
Wenn diese Entwicklung anhält - und das ist zu vermuten - werden Services nächstes oder übernächstes Jahr die Führung übernehmen. Die Musikwirtschaft wird sich dann endlich vom «post-millenialen Schock» erholt haben, wenigstens in den USA, dem wichtigsten und grössten Musikmarkt. Europa wird etwas später noch die selbe Entwicklung nachvollziehen, so ist zu hoffen.
PS: Ich lese diese Zahlen als Indikator für eine gesunde Musikwirtschaft, die meines Erachtens nur mit Streaming-Services zu erreichen ist.
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Musikraten in der Zürcher Bar Rossi (News vom 20150924) [N]
Lead: 
Am Montag, dem 5. Oktober, um 20 Uhr, sind Angela Fessler und Christian Schorno Emcees im Musikraten der Bar Rossi.
Meine Playliste enthält: Neuheiten der letzten Monate, Texträtsel und einen Song über ein kleines Mädchen ...
Wir
freuen uns auf lautstarke MitraterInnen aber auch auf offene, interessierte Ohren.
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Von FKA Twigs beeinflusste Musik (News vom 20150910) [N]
Lead: Die ersten Stücke von FKA Twigs waren einzigartig, unvergleichlich, «way out». Nun kommen langsam andere Acts, die Ideen aufgreifen und mit Produktionen aufwarten, die Vergleiche mit Twigs provozieren.
Am Anfang, nach Water Me
und Papa Pacify
, geriet vor allem ihr Produzent Arca ins Gespräch. Verglichen wurde sie bisher von Beth Tolmach in einem Post auf Adhoc mit Kelela und mir schien ihre Musik von der Sinnlichkeit her Parallelen mit der von Tinashe aufzuweisen.
Text: Diese Woche habe ich gleich zwei Videos auf der Facebook-Seite von Musikzimmer geteilt, die Ähnlichkeiten zu FKA Twigs aufweisen: zum einen Foreign Fields
von Kacy Hill, die mir wie eine nicht so digitale, wegen dem Piano etwas mehr akustische Version von Twigs erscheint und Layback
von Kwabs, den ich als ihre männliche Version betitelt habe.
Eine Fussnote noch zu solchen Vergleichen. Wenn ein Act einen Vergleich mit einem anderen sucht, dann imitiert er diesen und das wird heute in der Regel eher abschätzig gewertet, weil wir von KünstlerInnen Eigenständigkeit erwarten. Als die Populäre Musik noch mehr Handwerk als Kunst war, am Anfang der 60er-Jahre, war es kein Problem für Bands, so zu klingen wie die Beatles, es galt sogar als schick. Ich will mit diesen Vergleichen keinen der Acts, die in meinem Ohr ähnlich klingen wie FKA Twigs, als billige Imitation hinstellen. Im Gegenteil, ich finde die Gegenwartsmusik könnte etwas mehr kreative Imitation, Lernen am Modell gebrauchen. denn das wirkt stilbildend und fortschrittliche Stile haben wir in den Nullerjahren mit ihrer Retromania schmerzlich vermisst.
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Zürich: Wiliam Basinski im Exil (News vom 20150904) [N]
Lead: In Zürich spielt am kommenden Mittwoch William Basinski im Exil. William Basinski ist hierzulande wenig bekannte Musikgeschichte. Der New Yorker Minimal-Musiker arbeitet im Feld, in dem Akademische und Populäre Musik eine Schnittmenge bilden. Minimalistische Piano- oder Streicherklänge werden geloopt und digital prozessiert, so dass sie sich wie die abblätternden Tapeten von Erik Satie anhören. Auf diesen / seinen Sound kam er am 11. September 2001, als er auf dem Dach seiner Loft in Brooklyn die brennenden Twin Towers auf Video aufzeichnete und dazu alte Tape-Aufnahmen von ihm hörte, deren Bänder sich beim Abspielen zersetzten. Diese Sounds und diese Bilder brachte er in seinen Disintegration Loops zusammen:
Text: Die Disintegration Loops
sind Musik, die in Zeiten von weltumspannenden Archiven wie Youtube und Spotify ihre Vergänglichkeit in sich trägt. Das ist bemerkenswert, weil wir von digitalen Archiven stets denken, ihre Inhalte seien allgemein verfügbar. Doch das täuscht, da die Halbwärtszeit von Speichertechnologien immer kürzer wird und wir folglich Daten auf immer neue Träger kopieren: von der Floppy auf die CD, von der CD auf die Festplatte, von der Festplatte auf Netzwerkspeicher und virtuelle, verteilte und weiss ich was Speicher. Wir
entwickeln eine frenetische Kopiertätigkeit im Namen der Verfügbarkeit und Langlebigkeit unserer Daten und dabei entgleitet uns die Verfügbarkeit und Datenkonsistenz möglicherweise mehr und mehr. Beim Kopieren geht gerne etwas vergessen oder es wird zu teuer, um alles zu migrieren. Vielleicht sterben Daten schneller, je mehr wir versuchen, sie mit immer besseren Technologien zu verewigen. In diesem Zusammenhang hört sich Basinskis Musik mutig an - Sie ist das Zeugnis davon, dass einer den Qualitäts- und Datenverlust mit Interesse betrachtet, es geschehen lässt und daraus grosse Kunst macht.
Das aktuelle Programm, mit dem William Basinski durch Europa tourt, besteht aus Musik ab den Alben Divertissement
, Cascade
und The Deluge
, die alle in Musikzimmer erfasst sind.
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Die Rolle von Playlisten (News vom 20150729) [N]
Lead: Kuratierte Playlisten sind hoch im Kurs, seit sie von Musikservices entdeckt worden sind. Playlisten sind ein wichtiger Funktionsteil von Spotify, Deezer, Google Play Music, YouTube, Rdio oder SoundCloud. Zuletzt hat der Launch von Apple Music mit seinen prominenten «Für dich»-Funktionen Playlisten ins Gespräch gebracht und in diesem Gespräch werden interessante Fragen gestellt.
Marc Hogan spricht in seinem Pitchfork-Beitrag «How Playlists are Curating the Future of Music» viel von John Peel. Der legendäre britische Radio-DJ war der grösste Einflussfaktor für die Musik nach Punk. Wer damals bekannt geworden ist, spielte in Peels
Show, wer von Peel
«gepusht» wurde, ist bekannt geworden. Der Mann war der Gatekeeper für den Indiemarkt in Grossbritannien und hatte auch bei uns in der Schweiz eine grosse Wir
kung, da die Macher der Radiosendung «Sounds» Peel beobachtet haben. Natürlich gibt es bei Apple Music eine Playliste mit dem Namen Artist John Peel Helped Make Famous
. Marc Hogan zitiert eine Analyse des digitalen Musikmarktes der Firma MIDiA Research, die zeigt, dass das Hören von Playlisten das Hören von Alben überholt hat. Also, Playlisten als das neue und ultimative Ding?
Ich habe also noch einmal bei Apple Music gekuckt. Die bisherigen Versuche haben mich immer ganz schnell ernüchtert. Auch dieses Mal. Unter dem Titel «The Rolling Stones: Balladen» hat jemand 15 Titel der Band zusammengestellt, die nicht rocken. Bei Youtube findet man eine ähnliche Playliste unter dem Titel The Rolling Stones - Always suffering (Bridges to Babylon, 1997). Ich schüttle den Kopf, wenn man mir solche Listen präsentiert. Das ist ein Teil Snobismus aber auch ein Teil Unverständnis. Klar, ich habe eine grosse Musiksammlung Zuhause, klar, ich kenn mich aus, klar, ich brauche solche Listen nicht. Viele Leute freuen sich über eine Playliste mit Angie und Wild Horses drin. Klar, ganz klar! Aber das ist nicht mein Punkt.
- Unter dem Stichwort «human touch to the process of music discovery» tut sich gegenwärtig etwas kund, was aus der Enttäuschung über die Algorithmen entstanden ist, die uns bei Amazon gesagt haben, dass Kunden, die das selbe Produkt kauften auch noch ... kauften. Statt Maschinen, die per Algorithmus oder Datenbankabfrage ein Set von Songs aus dem Archiv abrufen, wollen wir nun den klassischen Radiomoderator wie John Peel zurück.
Wir
wollen die Figuren zurück, die wissen, wo es musikalisch lang geht, denn wir haben den Überblick längst verloren. Mit dem «human touch» wird das Schaffen von Playlisten wieder in die Hände eines Kurators oder einer Kuratorin gelegt, die mit Kenntnis, Geschmack und Liebe die Tracks auswählt. - Zweitens werden Playlisten unter dem Stichwort «best content for the right moment» gepriesen. Hier äussert sich der Wunsch, dass man jederzeit auf einen Knopf drücken kann und die richtige Musik für den jetzigen Moment abruft. Musik zum Jogging oder Musik für den Workout sind hier wichtige Szenarien. Und nicht zuletzt sicher wieder das Szenario, Musik um das Date zu verführen.
Ist die Playliste mit Stones-Balladen repräsentativ für eines der beiden Argumente? Vielleicht für das zweite. Einen «human touch» kann ich darin nicht sehen, denn die Kenntnis, der Geschmack und die Liebe, die hinter einer solchen Liste steht, lässt sich just mit einer Datenbank-Abfrage bewerkstelligen: «Gib mir alle Tracks aus mit dem Namen «Rolling Stones» und dem Stil: «Ballade». War es nicht das, wovon wir weg wollten?
Text: Simon Reynolds beklagt auf dem Retromania-Blog die Atemporalität von Playlisten: «I'm curious how much this works towards atemporality - playlists that cut across time». Mir kommt das etwas theoretisch rüber. Es ist sein Argument aus Retromania, dass unsere Zeit kein Bewusstsein für Geschichtlichkeit mehr hat, kein Bewusstsein dafür, dass Dinge jetzt geschehen und dann vorbei sind, Geschichte sind. Wegen den verfügbaren Archiven und Services sind musikalische Ereignisse gewissermassen zeitlos, Frank Sinatra so verfügbar wie Titus Andronicus. Die Argumentation von Simon Reynolds macht mich nicht jubeln, denn ich bin überzeugt, dass eine gute Playliste nur aus einem einigermassen umfassenden Archiv oder einer liebevoll erlesenen Musiksammlung zusammengestellt werden kann. Reynolds Argumentation erinnert mich aber an eine Erfahrung, die ich gerade neulich bei Apple Music gemacht habe. Ich suchte nach dem ersten Album von Joan Baez. Es erschienen nach der Abfrage etwa 100 Alben, die meisten davon irgendwelche Greatest-Hits-Zusammenstellungen. Das gesuchte Album war zwei Mal enthalten als Album mit dem Namen «Joan Baez» und als Remaster-Album mit dem Titel: «Joan Baez Original 1960 Album». Wenn jemand nun den Joan-Baez-Track Silver Dagger ab dieser LP von 1960 für eine Playliste sucht, dann wird er oder sie als Top-Suchergebnis den Track aus einer gleichnamigen Compilation von 2009 erhalten. In der Trackliste scheint es dann, dass der Song von 2009 stammt. Hat Simon Reynolds also doch recht? In der bereits erwähnten Rolling Stones Playliste von Apple Music kommt der Track «Time is On My Side» vor. Er ist offenbar ab dem Sampler The Very Best of the Rolling Stones 1964-1971 genommen, erschienen 2013. Zu meinem Erstaunen ist der Track aber nicht das Original, sondern eine andere Version wahrscheinlich aus der Zeit. Ich weiss nicht, welche Version nun wirklich auf diesem Sampler zu finden ist. AllMusic gibt mir die richtige Version aus. Ich vermute, dass Apple Music einen falschen Track gespeichert hat. Diese Dinge ärgern mich. Musikservices sind keine Arbeitsmittel für jemanden wie mich, der es historisch genau nimmt.
Ein Beispiel einer vorbildlichen Playliste ist Four Tets Late Night Tales Mix - eher eine kuratorische Arbeit als ein DJ-Mix -, der aus allerlei Psychedelia besteht, aus Jazz, Rock, Postrock und Electronica. Das Album ist 2004 erschienen, auch wenn Ihnen Ihr Music Service etwas anders sagt. Youtube hat einige der Tracks in einer Playliste und Apple Music stellt das ganze Album zur Verfügung.
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The Church of the SubGenius (News vom 20150710) [N]
Lead: 
Auf dem «How Music Works»-Blog hat Andrej Popov einen interessanten Beitrag zur Church of the SubGenius veröffentlicht - einer ironisch-absurden, dadaistischen Glaubensgemeinschaft, der Musiker wie Devo, David Byrne oder Frank Zappa angehörten. Die Gemeinschaft war vor allen Dingen ein Witz, hatte aber einen grossen Enfluss auf New-Wave-Bands, die mit vergleichbaren ästhetischen Strategien die Verballhornung der Musik der Hippie-Generation betrieben. Popov hebt in seinem Beitrag hervor, dass die Church of the SubGenius verschiedenste popkulturelle Einflüsse remixten. In diesem Remix seien Parodie, Ironie und die aktive Partizipation aller Beteiligten zentrale Elemente gewesen. Der Einfluss der ästhetischen Strategien der Church ... reiche weit über die New Wave hinaus und wirke bis in die digitale Kultur unserer Zeit hinein, so Popov.
Am kommenden Sonntag, dem 19. Juli (nicht am 12. wie ursprünglich angekündigt), um 21 Uhr strahlt LORA im SO21-Programmfenster eine 45-minütige Sendung von Andrej Popov zum Thema Church of the SubGenius
aus. Nicht verpassen!
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Langeweile in der Bibliothek (News vom 20150704) [N]
Lead: Simon Reynolds postet auf seinem Retromania Blog
Auszüge aus einem Artikel von Kenneth Goldsmith mit dem Titel It’s a Mistake to Mistake Content for Content
. Es sind ein paar grossartige Sätze zitiert, die ich kurz wiedergeben möchte: «We find ourselves, suddenly, in a vast library, an infinite library, a library of Borgesian proportions, and we discover that what’s of most interest to us is not the books on the shelves but the intricacies of the Dewey Decimal System.» und «Abundance breeds boredom». Speziell bei Reynolds ist die Paralyse vor dem Archiv ein Topos geworden. Mir kommen dazu zwei Dinge in den Sinn: Zum einen der Medientheoretiker Marshall McLuhan, der von einer Paralyse oder einem Schock spricht, wenn durch neue Medien, das In-der-Welt-Sein (ein Heidegger Ausdruck) sich verändert. Neue Medien wirken wie amputierte Gliedmassen, auch wenn sie das Gegenteil sind, Erweiterungen des menschlichen Körpers und Wahrnehmungsapparates. Also: Wenn durch technologische Entwicklungen neue Archive entstehen, stehen wir zuerst mal wie paralysiert davor. Andererseits können wir uns jetzt dann langsam vom Schock erholen und mal nüchtern daran denken, dass Archive nichts Neues sind und dass Mönche und Akademiker schon sehr lange damit operieren, ohne zu erstarren oder sich zu langweilen. Freilich gibt es Akademiker/-innen zuhauf, die sich in Methoden verlieren, weil sie zu wenig inhaltliche Ideen haben. Doch es gibt auch die anderen. Ich sehe nicht, dass unsere Kultur wegen ein paar Archiven stehen bleibt. Gerne würde ich von Simon Reynolds mal wieder etwas Inhaltliches zur Gegenwartsmusik lesen.
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Apple Music (News vom 20150701) [N]
Lead: Am 30. Juni startete Apple mit einer neuen Software für ein integrales Musikerlebnis: Apple Music. Das Ereignis hat grosse Aufmerksamkeit, wie alle Schritte dieser Firma. Der Hypebot Blog, der musikwirtschaftliche Aspekte behandelt, hat geschrieben: «Today is a big day for the music industry» (siehe: Hypebot-Post). Da kommt Apple spät mit einer gar nicht so neuen Idee und die Welt scheint Teil davon werden zu wollen. Wahrscheinlich kann der Computer-Gigant mit seinem Angebot gar nicht scheitern, weil es in alle Geräte eingebaut ist, in die Computer der Firma, in die iPhones und Uhren. Ich habe mich beim neuen Apple Radio Beats 1 dazu geschaltet und testete den Musik-Streaming-Service kurz.
Text: Apple hat es auf den ersten Tag geschafft, vier Acts zu überzeugen, ihre Musik über den Service zu streamen, die das bei vergleichbaren Services wie Spotify oder Deezer nicht getan haben: Taylor Swift, AC/DC, Dr. Dre und Thom Yorke (siehe: Heise Meldung). Das ist ein starkes Signal, es ist allerdings für mich gegenwärtig nicht nachvollziehbar, warum diese Künstler ausgerechnet bei Apple nachgeben. Welche besonderen Konditionen haben sie überzeugt?
Apple möchte seinen Streaming-Service bei den Konsumenten durchsetzen, die bisher Tracks für 99 Cents heruntergeladen haben. Und da hat die Firma tatsächlich einen immensen Markt. Interessant finde ich den USP (das Alleinstellungsmerkmal), das Apple Music ins Feld führt. Es geht um den Schwachpunkt eines jeden Archivs, um die Entdeckungsfunktion(en), um die Frage, wie jemand im Dickicht des Angebots die Musik entdecken kann, die er oder sie mag. In der Regel laufen Empfehlungen über Algorithmen, die von dafür spezialisierten Firmen wie The Echo Nest optimiert werden. (The Echo Nest gehört Spotify.) Von Apple Music konnte man im Vorfeld hören und lesen, dass die Firma nicht so sehr auf Algorithmen setzen möchte, sondern auf den houman touch, auf Kurator/-innen, die den Konsument/-innen über die in die App integrierte Radiosation Beats 1 neue Musik nahelegen. Apple konnte den BBC Radio-DJ Zane Lowe und viele Musiker/-innen gewinnen, um Musik-Shows zu präsentieren. Beats 1 klingt wie britisches Radio, sehr urban. Ich stelle mir vor, dass viele Hörer/-innen, deren Ohren nicht an elektronische Clubmusik unserer Zeit geschult sind, Mühe damit haben werden. Das schreibe ich als Liebhaber solcher Musik. Natürlich enthält der Radio-Teil von Apple Music verschiedene Sender. Die üblichen Radio-Formate sind alle da: Top 40 unter dem Namen «Charting Now», Urban als «All-City», Dance als «On The Floor» usw. Nun sind diese Stationen nicht moderiert. Beim drücken des Playbuttons starten die Tracks am Anfang, d.h. die Musik wird aus dem Archiv gestreamt. Hm.
Im Bereich «Neu» des Programms findet man die kuratierten Playlisten von Blogs wie Pitchfork und Musikzeitschriften wie Rolling Stone Magazine. Ich wähle die Playliste «All the Young Dudes» von Mojo Magazine. Dahinter verstecken sich 10 Tracks, von denen mir nicht klar wird, warum sie in dieser Playliste sind. (Es handelt sich auch nicht um die CD, die mit Mojo-Ausgabe 186 (im Mai 2009) kam. Es gibt allerdings Übereinstimmungen. Das wäre nun meiner Meinung nach der richtig Schritt nach vorn: von Musikjournalisten gepflegte thematische Playlisten. Was ich allerdings unter dieser Rubrik finde, ist meist schwach (zu kurz) und wirkt beliebig. Unter dem Etikett «kuratiert» würde ich mehr Qualität erwarten. Ich habe auf die Schnelle auch nicht herausgefunden, ob ich zum Beispiel eine Playliste hier veröffentlichen könnte. Furchtbar finde ich, dass kaum ein Song mit der richtigen Jahreszahl in den Playlisten erscheint. Das liegt natürlich daran, dass die Tracks aus Compilations genommen werden und die Jahreszahl dieses Samplers angegeben wird. Das schmerzt das Herz des Musikhistorikers in mir.
Es wird interessant sein zu erfahren, wie viele Konsumenten nach den drei Monaten Probeabo auf das Bezahl-Modell wechseln. Wie gesagt, für Apple ist das ein Spiel, das die Firma fast nicht verlieren kann.
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Southern Journey 12: Der Geburtsort der Country Music (News vom 20150623) [N]
Lead: Das RCA Victor Label musste aufholen. Die Konkurenz, Okeh und Columbia hatten bereits erfolgreich erste Blues- und Countryaufnahmen aus dem Amerikanischen Süden im Programm. Es gab eine Nachfrage nach dieser Musik, aber ein zu kleines Angebot. Die ersten Schallplatten und Edison Zylinder, die verkauft wurden, waren mit Klassischer und Populärer Musik bespielt. Die Volksmusik der Südstaatler wurden erst jetzt, in zweiten Hälfte der 20er-Jahre in die Kataloge aufgenommen, genau genommen ab 1927. Blues erschien als urbane Musik (so genannter Vaudeville Blues) bereits ab 1920 auf Platten.
Ralph Peer, ein damals 25-jähriger A&R-Mann, der für Columbia und Okeh bereits etliche erfolgreiche Aufnahmen produziert hatte, wurde vom RCA Victor Label beauftragt, in den Süden zu reisen und die dort praktizierte Volksmusik einzufangen. 
Peer hatte sehr klare Vorstellungen davon, wie das anzustellen sei. Er reiste im Sommer 1927 mit der neusten ihm zur Verfügung stehenden Aufnahmetechnologie nach Bristol, einer Grenzstadt zwischen Virginia und Tennessee. Dort mietete er sich in eine Fabrik ein, stellte sein Aufnahme-Equipment auf und war gewillt, allen Künstler/-innen die damals unerhört hohe Summe von $50 pro eingespieltem Stück zu zahlen. (Allerdings war Peer an den Verlagsrechten der Stücke beteiligt und gründete auf dieser Basis seinen eigenen Musikverlag.) Bei den Bristol Sessions wurden 76 Songs von 19 Musiker/-innen eingespielt. Die Platten wurden ein riesiger Verkaufserfolg und lancierten die ersten Stars der Country Music, die damals noch despektierlich «hillbilly music» hiess, die Carter Family und Jimmie Rodgers.
Der Erfolg der Aufnahmen war retrospektiv gesehen kein Wunder, denn diese frühen Country-, Gospel- oder Bluesplatten transportierten eine bestimmte kulturelle Identität, eine Zugehörigkeit zu einer Tradition. Man muss annehmen, dass neben Novelty-Käufern vor allem Menschen zu den Hauptabnehmern gehörten, die die armen Gegenden des Südens verlassen haben und in die Städte zogen, in denen sie Arbeit fanden. Diese rurale Volksmusik auf Platte war für sie ein ein Surrogat, ein Ersatz für die verlorenen Wurzeln. Der Verkaufserfolg erlaubte dem weissen Süden eine eigene Industrie für diese Nostalgie-Konsumgüter aufzubauen: die Musikindustrie von Nashville.
Die Bristol Sessions gingen in die Musikgeschichte ein. Johnny Cash sagte von ihnen, sie seien der Big Bang der Country Music gewesen. Bear Family gab die Aufnahmen 2011 als 5-CD-Box heraus. Ein Jahr später wurden die Sessions wiederholt, allerdings ohne den Initialerfolg wiederholen zu können.
Heute präsentiert sich die schmucke Stadt zwischen den Hügeln der Appalachen als Geburtsort der Country Music. Die Fabrik, in der die Sessions stattgefunden haben, steht leider nicht mehr. Ich traf einen leeren Parkplatz an mit der obligaten Tafel, die auf das Ereignis hinweist (siehe Bild). Nur zwei Blöcke entfernt, befindet sich das moderne Birthplace of Country Music Museum, das die Geschichte der Bristol-Sessions erzählt. Die Ausstellung mit multimedialen Installationen, aufschlussreichen Schautafeln und Instrumenten aus der Zeit ist ausgezeichnet gemacht.
Text: 
Auf der letzten Station meiner Südstaaten-Reise besuche ich die Carter Family Fold, wo jeden Samstag die Tradition der Old Time Music auf dem Grundstück der Familie aufrecht erhalten wird. Vor dem Konzert betritt man den Laden, den A.P. Carter 1945 baute, der heute ein kleines Museum mit Familienstücken, Schautafeln, Instrumenten und Fotos beherbergt. Interessant ist auch das Haus, in dem die Familie wohnte («The Cabin»). Die bescheidenen aber soliden Räumlichkeiten sind mit Familienstücken möbiliert und ausgestattet.
Rita Forrester, die Betreiberin der Fold und die Grosstochter von A.P. und Sara Carter (beide auf dem Bild stehend), begrüsst das Publikum, speziell auch den Schweizer darin, kündigt mit einigen Worten das Konzert von Trey Hensley & Drivin’ Force an. Die Formation besteht aus Gitarre, Banjo, Mandoline, Bass, Fiedel. Trey Hensley spielt virtuos eine ziemlich schnelle Gitarre. Seine Spieltechnik scheint mir ein Kompromiss mit der aktuellen Zeit, die Gitarristen gegenüber Banjo und Mandoline bevorzugt, auch weil das Instrument versatiler ist, auch mal einen Gospel oder ein Singer-Songwriter-Stück spielen kann. Seine Spieltechnik hat viel von der Mandoline und vom Banjo übernommen und wirkt manchmal fast etwas akademisch: Er zeigt, wie gut er spielen kann, baut an einer Stelle mal rasch den Gitarrenlauf von Norwegian Wood ein oder spielt ein paar Takte Stairway To Heaven, um es dann gleich fallen zu lassen.
Trey Hensley and Driving Force from the Carter Family Fold (2009)
Zur meist instrumentalen Musik wird getanzt. Der «Flatfoot» addiert durch das Aufschlagen der Schuhe am Boden einen Rhythmus, der sonst in der Musik verboten ist (alte Country Music musste ohne Schlagzeug auskommen, das war ein ehernes Gesetz). Der Klang der Schuhe erinnert mich entfernt ans innerschweizer «Chlefele», das mit Holz- oder Knochen-Claven praktiziert wird. Auch hier gilt, wer gut tanzt, hat eine gerade Wir
belsäule, die schwerelos in der Luft zu schweben scheint. Zappeln tun nur die Füsse! Ein etwa zehnjähriger Junge hat das gut drauf. Er geht als erster auf die Tanzfläche zur Freude des zahlreichen Publikums, und tanzt mit Händen in den Hosentaschen, was irgendwie cool aussieht. Neben den Abitués tanzt heute Abend auch eine Schulklasse aus Tennessee, die zunächst unbeholfen die Bewegungen zu kopieren versuchen. Irgendwann geben sie es auf und führen eine einstudierte Routine aus dem Tanzunterricht auf. Nach zwei Dritteln des Abends adressiert der Bassist der Band die die einheimischen Tänzer, sie sollen den Jungs und Mädels mal eine Lektion im Plattfüssler geben, worauf die einen und die anderen von ihnen. so etwas ähnliches aufs Parkett legen. Sie haben auf jeden Fall viel Spass am Geschehen. Ich bin ein stiller Beobachter, werde als Schweizer aber von Leuten aus dem Publikum gefragt, wie mir die Musik gefällt und ob wir in der Schweiz auch so etwas hätten. Natürlich haben wir auch eine Volksmusik, aber ob die so virtuos sein kann, wie dieses Banjo- und Gitarrenspiel, wage ich zu bezweifeln. Auch am Ende des Konzerts werde ich von einigen Leuten mit Handschlag verabschiedet. Die hoffen, dass es mir gefallen hat. Es hat. Es war das Schlussbouquet zu meiner Südstaatenreise, zu etwas vom besten, was ich in meinem Leben gemacht habe.
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Southern Journey 11: Dollywood (News vom 20150620) [N]
Lead: Man nennt das Gebiet der Südstaaten auch den «Bible Belt», das ist laut Wikipedia die Gegend der USA, in der ein «konservativer evangelischer Protestantismus eine dominierende Stellung in Gesellschaft und Politik einnimmt» und in der die Leute signifikant häufiger zur Kirche gehen. Ich habe mich bereits in Luray, meinem ersten Ausflugsziel, gewundert, dass im Städtchen praktisch gegenüber zwei imposante Kirchenbauten standen, die eine von den Methodisten, die andere von den Babtisten. Nun, diese Sache scheint so kompliziert zu sein wie der Süden überhaupt. Die Protestanten teilen sich in Baptisten, Methodisten und Presbyterianer. Die Afroamerikaner gehen auch nicht in die selben Kirchen wie die Kaukasier. Hier haben wir neben den Pfingstgemeinden die Southern Baptist und die African Methodist Episcopal Church (siehe Southern Spaces: Overview: Religion and the US South). Neuerdings kommen je nach Region noch die katholischen Latinos dazu. Die Southern Baptist Convention (SBC) ist die einflussreichste Kirche des Südens und hat sich auch gerade in den letzten 50 Jahren zu einer erzkonservativen Kraft verfestigt. Kinder müssen in den Schulen beten und die Lehrer sind in der Lehre nicht ganz frei in dem, was sie lehren. Auf der Webseite der Kirche steht es deutlich: «there should be a proper balance between academic freedom and academic responsibility» und «the freedom of a teacher in a Christian school, college, or seminary is limited by the pre-eminence of Jesus Christ, by the authoritative nature of the Scriptures».
Eine der grossen Einsichten auf meiner Südstaatenreise ist die Tatsache, dass viele Musikerinnen und Musiker aus diesen Kirchen kommen. Und ich spreche nicht von Soul-Grössen wie Aretha Franklin, von denen man weiss, dass Sie vor ihrer Schallplattenkarriere in Kirchen gesungen haben. Nein, ich spreche von Rockern wie Elvis Presley oder Johnny Cash, von Country-Grössen wie Dolly Parton oder Willie Nelson und hundert weiteren. Der Gospel-Gesang beginnt mich zu interessieren und so will ich dem Southern Gospel Museum and Hall of Fame in den Great Smoky Mountains einen Besuch abstatten. Ich staunte nicht schlecht ...
Text: Die Smokeys sind landschaftlich ein wenig wie die Schweizer Voralpen, nur sind wir hier in Amerika: die Kühlschränke sind riesig, die Highways sechsspurig und das Land ist für einen Schweizerkopf fast zu weit. Ich fahre auf dem Highway 441, der verstopft ist. Nicht wegen einer Baustelle, sondern weil dieses Tal Attraktion um Attraktion bietet. Hier befindet sich ein Ferienparadies für Amerikaner! Links und rechts ist die Strasse bald gesäumt von Burgen und Schlössern, Hotels, Pensionen, Malls, Badepläuschen und Erlebnisparks. Sogar eine «Smoky Mountain Opry» gibt es hier. Ich brauche lange, um die Hall of Fame zu finden, nicht nur wegen dem Ferienverkehr, auch weil ich zwei Mal rechtsumkehrt mache, weil ich denke: «das kann es nicht sein». Am Ende finde ich heraus, dass «mein» Gospel-Museum tatsächlich Teil von Dollywood ist, dem Erlebnispark von Dolly Parton. Eintrittspreis $62 plus $12 Parkplatz. Ich jubiliere, bleibe standhaft und ... I walk the line. Ich zahle den Parkplatz, der sich als kilometerlanges Unding mit lustigen Namen herausstellt: Parking A = Apple Jack, B = Butterfly, C= Cotton Candy, D/E= Dolly's Earrings F= Family Fun. Ich parke auf der Zuckerwatte und muss einen Zug auf Pneus besteigen, der mich zu den Ticketschaltern fährt. Am Schalter beteure ich, dass ich es nicht auf Dolly abgesehen habe, sondern einzig die Gospel Hall of Fame besuchen möchte. Es stellt sich heraus, dass ich mit einem Merchandise Shopping Pass gratis in den Themepark rein kann, allerdings nur zwei Stunden lang, die für den Museumsbesuch reichen.
Das Museum ist klein und überschaubar. Es hat zwei Schwerpunkte: erstens, was ich die «Medialisierung des Gospels» nennen würde und zweitens die Gospel Quartette, die den Süden und später das ganze Land mit ihrem Gesang verzauberten. Die Medialisierung der Kirchenmusik im Süden der USA begann mit Verlagen, die Gesangsbücher mit Liedern druckten. Es wurden dabei so genannte shape notes verwendet, Noten mit einer bestimmten Form, damit auch Laiensänger/-innen rasch ab Blatt singen konnten (siehe Wikipedia). Gospel-Gesang wurde eifrig gelehrt und gelernt. So wurde diese Musik der tragende Pfeiler jedes der folgenden Genres, die hier im Süden entstanden sind. Später verbreiteten die elektronischen Medien, Radio und TV, den Southern Gospel, der nach dem zweiten Weltkrieg seine Blütezeit hatte. Damals bis heute ist Nashville nicht nur das Zentrum der Country Music, sondern auch der Christlichen Musik. In Amerika gibt es ja bekanntlich das Radioformat der Christian Music. Das klingt wie Radiomusik für Erwachsene bei uns in Europa, nur handeln die Texte von Seiner grossen Liebe, nicht von unserer.
Es gab Gospel singende Familien (z.B. die Speer Family oder die Wills Family) und Geschwister, z.B. die Blackwood Brothers, deren erster Tourbus das Museum ausstellt. Es war 1955 ein Novum, dass Musiker im eigenen Bus getourt sind. Die Blackwood Brothers taten das, weil zwei Gruppenmitglieder bei einem Flugzeugunglück ums Leben gekommen sind. Hier war Gospel ein Vorbild für die späteren Rockbands, die auf diese Weise reisten. Gospel Quartette und singende Familien sind offenbar bis heute die dominierende musikalische Formation des Genres.
Die Namen der zahlreichen Inductees in der Hall of Fame kenne ich mit wenigen Ausnahmen, die ich an einer Hand abzählen kann, nicht. Dolly Parton ist nicht dabei. Aber auf ihrem Grund steht dieses Haus. Ein ganz und gar verkehrte Tatsache, den Dolly steht knietief im Gospel ihrer Kindheit. Ich bin allerdings der einzige hier in Dollywood, der sich für solche Spitzfindigkeiten und das Museum interessiert.
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Southern Journey 10: Music City (News vom 20150618) [N]
Lead: «The money's all in Nashville but the light's inside my head»
Rosanne Cash: A Feather's Not A Bird (Blue Note, 2014)
In puncto Einwohner ist Nashville die zweitgrösste Stadt von Tennessee und liegt hinter Memphis, aber ein Blick genügt: in Sachen Musik, Geld und Modernität liegt Nashville weit voran. Es war ein weiter Weg von einem Fort namens Nashborough über den Umschlag- und Handelsplatz am Cumberland River zur modernen Grossstadt, die sich 1950 vom Radiomoderator David Cobb den Markennamen Music City geben liess. Diesen Namen verwendet die Stadt seit einigen Jahren ganz offiziell, weil Nashville die Hauptstadt der Country Music ist und Country Music die amerikanische Musik schlechthin. Keith Urban, Toby Keith, Brad Paisley, Trisha Yearwood, Tim McGraw, Faith Hill oder Vince Gill sind hier Haushaltsnamen. Wir
Europäer tun uns eher schwer damit und auch das hat seine Geschichte, denn Country steht für traditionelle und konservative Werte. Heute bin ich an einem Geschäftshaus vorbeigefahren, das hatte zwei grosse Schriftzüge angebracht. Auf dem einen stand «Jesus is Lord» und auf dem andern «We buy guns» (das Bild ist auf Flicker zu finden). Und das ausgerechnet an dem Tag, an dem die Zeitungen einen neunfachen rassistisch motivierten Hassmord in den Schlagzeilen haben.
Text: Ich habe viele berührende Dinge in Nashville erlebt. Ich stand zum ersten Mal in meinem Leben in Tootsie's Orchid Lounge, einer über 50-jährigen Musikbar, tschuldigung, «Honkytonk» heisst das hier. 
Von Tootsie schreibt David Byrne in How Music Works, es sei als Auftrittsort genauso wie das CBGB's, die berühmte Punk-Kneipe in New York, eine Bar, wo Leute eine gute Zeit verbringen wollen, trinken, miteinander herumgrölen. Die Band muss es auf kleinster Bühne schaffen, dieses Publikum zu unterhalten. Diese Live-Situation ist für das Zusammenspiel einer Band prägend. Honkytonk und Punk sei Musik für solche kleinen Bühnen mit direktem Punblikumskontakt, so Byrne. Die Band, die ich sehe, hat eine Sängerin, die auf der Bar steht und diese als eine Art Laufsteg verwendet. So hat sie viel Raum und erhält grosse Aufmerksamkeit. Sie geht auf ihr Publikum zu, reicht den Leuten die Hände. Das Gute am Konservativismus ist: Tootsie's steht noch, CBGB's wurde vor Jahren abgerissen.
Nashville hat seiner Musik eine imposante Hall Of Fame der Country Music geschaffen, ein Top-Museum mit Archiv und Konzerthallen. Hier wird in einer exzellent kuratierten Dauerausstellung die Geschichte der Country Music präsentiert. Jede Station dieser Geschichte ist mit einem Schaukasten repräsentiert. Es wird nie zuviel und bleibt spannend. Eine Sonderausstellung ist den Studiomusikern von Nashville gewidmet, den Nashville Cats. Lovin' Spoonfull haben diese Studiomusiker in einem lustigen Song verewigt:
Lovin' Spoonful: Nashville Cats. Text und Musik: John Sebastian. Nachweis (Album): Kama Sutra KLPS 8054, 1966.
Der Song berichtet von der Zeit, als Folkrocker nach Nashville gingen, um aufzunehmen, allen voran Bob Dylan, dann die Byrds, die Beau Brummels, Simon & Garfunkel, Leonard Cohen oder eben Lovin' Spoonful. Mit einem ironischen Twang in der Stimme singt John Sebastian über die Meisterschaft dieser Musiker: «Yeah, there's thirteen hundred and fifty two Guitar cases in Nashville - And any one that unpacks 'is guitar could play twice as better than I will». Dylan wird nun dafür gefeiert, dass er zwischen 1966 und 69 hier im konservativen Nashville aufgenommen hat und damit ein Vorreiter war. Zu dieser Sonderausstellung kam ein Katalog heraus und diese Woche die 2-CD-Compilation Dylan, Cash, and the Nashville Cats: A New Music City.
Schliesslich will ich noch von Jack Whites Third Man-Studio und -Laden berichten. Es liegt am Rand der Innenstadt und ist zu Fuss erreichbar. Es ist einer der coolsten Läden, die ich je gesehen habe. So wie Freitag in Zürich oder Rough Trade in London, sehr eigen und bis aufs Blut hip. Darin steht die Telefonkabine, in der man Aufnahmen machen kann, tonnenweise Merchandise und Vinyl.
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Southern Journey 9: Al Green’s Full Gospel Tabernacle Church (News vom 20150615) [N]
Lead: The eagle flies on Friday now, Saturday I'll go out to play - Sunday I'll go to church, and I fall on my knees and pray (T-Bone Walker: They Call It Stormy Monday ..., 1947)
Nachdem er in den 70er-Jahren einige grosse Hits hatte (beispielsweise Tired Of Being Alone
, Let's Stay Together
, Take Me To The River
oder Love And Happiness
) beschloss Al Green eine Kirche zu stiften und fortan zu predigen. Er wurde Pastor beim Full Gospel Tabernacle, einer Pfingstgemeinde in Memphis. Bis zum heutigen Tag inszeniert Bishop Al Green an Sonntagen die Wunder des Heiligen Geistes. Ich habe dem Ereignis beigewohnt ...
Text: 
Wie viele Grössen des Soul hatte auch Al Green seine Wurzeln als Gospel-Sänger in der Kirche. Sein Vater war ein Pastor mit wenig Sinn für Rock'n'Roll und Soul. Er warf Al aus dem Haus, weil dieser Jackie Wilson hörte. Al Green lernte 1969 Willie Mitchell kennen, der ihn für das Hi Records Label unter Vertrag nahm.
Al Green trug den Southernsoul der 60-er ins nächste Jahrzehnt. Er sang in seinem hohen Register und verband mit seinen Songs Sex und Gospel, Weltlichkeit und Spiritualität, wie sich das für den Soul gehört. Der junge Mann konnte die weltlichen Aspekte auskosteten, mit zunehmender Reife plagte ihn wohl sein Lebensstil. Ein Zwischenfall mit einer Freundin brachte ihn dann zurück auf den spirituellen Weg. Mary Woodson White keifte mit ihm und wollte ihn zu einer Heirat nötigen. Als er zu Bett gehen wollte, warf sie - je nach Quelle - mit brühender Grütze oder mit heissem Wasser nach ihm, wobei er sich schwere Verbrennungen zuzog. Em Ende dieser Auseinandersetzung erschoss sie sich selber. Drei Jahre später stiftete Al Green eine Kirche und predigt seither darin, wenn immer er in der Stadt ist. Seine musikalische Karriere hing er deshalb nicht ganz an den Nagel. Er nimmt bis heute Platten auf. Statt I'm Still in Love with You heissen sie später He Is The Light
.
Ich fahre also am späten Sonntagmorgen vor, trete zum Eingang der Kirche, wo einer der Minister mich begrüsst. Ich frage ihn, ob es eine Messe gäbe und ob ich daran teilnehmen könne. Ohne mich erklären zu müssen, werde ich willkommen geheissen und als ich im Gotteshaus drin bin, sehe ich, dass ich bei Weitem nicht der einzige Tourist bin, der sich hier einfand.
Die Kirche ist achteckig. Vorne hat sich schon ein etwa 15-köpfiger Chor eingerichtet. Die Musiker kommen gerade zur Türe rein und beginnen, sich einzuspielen. Die Band (sagt man in der Kirche so?) besteht aus Schlagzeug, Bass, Perkussion, Hammond-Orgel und Klavier. Vor dem Chor sind drei Ohrsessel aus Leder. Einer hat ein weinrotes Satintuch mit Inschrift drüber: «Bishop Al Green». Helfer/-innen gehen durch die Gänge zwischen den Bankreihen und heissen Besucher/-innen willkommen. Man nimmt sich in die Arme, verteilt Küsse. Eine Frau vor mir hat ihr drei Wochen altes Baby neben sich. Sie und das Mädchen erhalten natürlich viel Aufmerksamkeit.
Die Messe geht etwa zwei Stunden und ist doch kurzweiliger als eine halbstündige Messe in Europa. Kein Wunder geht bei uns niemand mehr in die Kirche! Hier wird laute Musik gemacht, gesungen, getanzt, geklatscht, Gemeinschaft zelebriert. Die Kinder haben einen Auftritt: Sie haben weisse Masken auf und machen Pantomime zu einem Gospelsong. Einige von ihnen singen auch im Chor. Das jüngste Mädchen im Chor, sie ist etwa zehn Jahre alt, sieht ein wenig aus wie Janelle Monáe. Der Bishop sagt: «You gottta give the children something to do. They gotta be part of our church.» Der Bishop warnt auch vor Hip-Hop. Diese Musik führt auf den falschen Weg. Der Bishop warnt sodann vor antiautoritärer Erziehung: «Als ich geboren wurde», sagt er, «wurde ich an den Füssen hochgehalten und eine Hebamme gab mir einen Klaps auf den Wertesten». Und ich machte: «Bähh». Er kreischt laut und effektvoll. Heute sei das anders, meint er. Man kommt im Spital zur Welt und alle schauen, das man kein Wehwehchen hätte. Man schlägt den Babys auch nicht mehr auf den Hintern. Was für eine Welt! Und ihr passt mal besser auf: Wenn ihr euren Söhnen und Töchtern nicht ab und zu widersprecht, widersprechen sie auch, sobald sie gross sind.
Al Green ist noch ganz ein Showman und freut sich am Internationalen Besuch. Es sind Leute da aus Dänemark, Schweden, England und der Schweiz. Ist es nicht grossartig, sagt er, so viele verschiedene Nationen! Er geniesst seine Popularität, aber das wirkt kein Bisschen überheblich. Seine Rolle hat nichts Ambivalentes, Abstossendes oder Lächerliches.
Youtube Aufnahme einer Messe im März 2012 von Andrea Yodibujo
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Southern Journey 8: Die rote Schautafel an der Tallahatchie Bridge (News vom 20150613) [N]
Lead: Ich fahre auf dem Natchez Trace Parkway von Tupelo ins Delta. Nein, ich fahre nicht, ich rolle. Diese Strasse, die sich sanft durch die Landschaft zieht, kommt mir wie ein Wunder vor. Sie war die Handelsroute von Indianern und zuvor die Zugstrasse von Tieren. Eine gewachsene Strasse, nicht eine funktional gezogene Linie, die dich auf direktem Weg von A nach B führt. An den verschiedenen Wegposten/Rastplätzen wird auf grossen Tafeln die Geschichte von Strasse und Landschaft erzählt. Hier lebten die Chickasaw-Indianer, die der Gegend den Namen gaben: Chickasaw County. Mir kommen ob den Ortsnamen ständig Melodien der Songs von Bobbie Gentry in den Sinn. Etwas später, auf dem Weg zur Grabstätte von Robert Johnson treffe ich eine rote Schautafel an. Es ist eine Schautafel des Country Trails, die der southern belle der Countrypop-Musik der 60er-Jahre huldigt, eben dieser Bobbie Gentry.
Text: 
Roberta Lee Streeter
wurde im Chickasaw County, Mississippi geboren. Sie lebte hier dreizehn Jahre mit ihren Grosseltern, zog 13-jährig zu ihrer Mutter nach Kalifornien und studierte an der UCLA Philosophie. Ihren Künstlernamen Bobbie Gentry wählte sie nach dem Filmtitel und der Hauptperson darin, Ruby Gentry
(Film von King Vidor, 1952). Sie war beeindruckt von der in Armut geborenen Heldin, die entschieden den Erfolg im Leben anstrebt - wir kennen diese Geschichte mittlerweile.
Gentry nahm nur eine handvoll Alben auf, bevor sie sich aus dem Showbusiness zurückzog. Sie hatte mässigen Erfolg damit, aber unter Kennern und Liebhabern gilt ihre Musik als grosser Geheimtipp (hören Sie sich vor allem die ersten beiden Alben, Ode To Billie Joe und The Delta Sweete, an). Stilistisch liegt ihre Musik in der ausgewogenen Mitte zwischen Country, Blues, Folk und Pop. ihre Songs erzählen mit grosser poetischer Kraft vom einfachen Leben im drückend heissen Chickasaw County. Der grösste Hit von Bobbie Gentry, Ode To Billie Joe, ist eine Teenage-Drama, das sich unter der Oberfläche eines Farmer-Alltags abspielt. Eine Familie beim Mittagessen. Das Tischgespräch fällt auf einen Selbstmord: Billy Joe MacAllister sprang von der Tallahatchie Bridge - das ist da, wo die Tafel steht. Das Mitgefühl für diese Tragödie ist gedämpft, die Familie von Billy Joe taugt eh nicht viel usw. Man geht darüber weg, als wäre eine Kuh verendet. Nur die Erzählerin verliert den Appetit und es fällt nur ein kurzer Hinweis darauf, dass sie mit Billy Joe gesehen worden sei. Es bleibt den Hörer/-innen überlassen, was das heisst. Ich kenne keinen anderen Song, der mit der Genauigkeit eines Theaterautors die letztlich brutale Ignoranz der kleinen Leute gegenüber dem Leid ihrer Nachbarn nachzeichnet.
Bobbie Gentry: «Ode To Billy Joe». Capitol, 1967
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Southern Journey 7: Elvis Presley Birthplace, Tupelo, MS (News vom 20150612) [N]
Lead: «And you may find yourself living in a shotgun shack [...] And you may ask yourself: Well...How did I get here?»
David Byrne/Talking Heads: Once In A Lifetime
In Tupelo, einer flächenmässig grossen, aber zerstreut wirkenden nicht hübschen Stadt, kam 1935 Elvis Presley als Sohn von Vernon und Gladys Presley auf die Welt und verbrachte seine ersten 13 Jahre in ärmlichen Verhältnissen. Elvis wurde gefördert durch die liebende Mutter (sie kaufte dem Jungen eine Gitarre als er ein Spielzeug-Gewehr wollte) und seine Familie gehörte der örtlichen Pfingstgemeinde an. Die Gitarre und die Kirche sind die einzigen Hinweise auf das, was ab 1955 aus Elvis Presley werden wird: der King of Rock 'n' Roll, ein Megastar seiner Generation.
Text: 
Die Stadt präsentiert das Geburtshaus und die Kapelle der Christgemeindler, der die Familie angehörte. Das Geburtshaus ist ein Shotgun Shack, das war der billigste Wohnraum für Arbeiter in Vorstädten des Südens. Diese Häuser haben zwei, selten mehr Zimmer, die direkt miteinander verbunden sind. Sie fühlen sich fast an wie ein Wohnwagen. Strom, Wasser, damit sanitäre Anlagen, sind nicht inbegriffen. Dafür gibt es die Outhouses. Die für die musikalische Entwicklung des Königs wichtige Kapelle, die nichts anderes als ein grosses Shotgun Shack ist, musste ein paar Fuss hügelaufwärts transportiert werden. Es soll aber die originale Kapelle sein. Das Presley-Haus enthält Mobiliar aus der Zeit. 
Die Familie hatte es schwer: Ein Zwillingsbruder von Elvis starb bei der Geburt, das Haus überstand einen schrecklichen Tornado knapp und Vater Vernon war zwei Jahre wegen einer Trickserei mit Checks im Gefängnis. Auf Tafeln erinnern sich Schulfreunde an eine nicht aussergewöhnliche Jugend mit dem späteren Star. In der Kapelle gibt es eine aufschlussreiche Präsentation, wofür sich der Besuch richtig lohnt. Auf drei Screens werden Ausschnitte aus einer Messe nachgestellt, wie sie für die «Pentecostal Church» typisch war. Viel gemeinsames Singen, viel zelebrierte Gemeinschaft. Die Pfingstgemeindler glauben an den Heiligen Geist und an die Heilung durch ihn. Sie legen einander die Hände auf, sie singen miteinander lautstark und in «close harmony» Lieder. Elvis hatte hier seine ersten Auftritte als Sänger und ein Publikum, hier entdeckte er die Liebe zur Musik, die von der Mutter nach leibeskräften gefördert wird.
Es wird dem Besucher eine ganz normale Kindheit in extremer Armut präsentiert.
Die ärmlichen Verhältnisse rühren mich an, wie schon bei Rick Hall. Diese Leute haben wirklich den Amerikanischen Traum verwirklicht und sind den Weg von «rags to riches» gegangen. Ihren Antrieb und ihre Entschiedenheit zogen sie aus den demütigenden Erfahrungen als Kinder. Und Amerika bot ihnen tatsächlich eine Chance, die sie in der Klassengesellschaft Europas kaum gehabt hätten.
Die ganze Anlage ist wie der Name Elvis Presley eine riesige Cashcow. Es erstaunt mich, wie skalpellschnitthaft die Biografie 1948 abbricht, das ist die Zeit, als die Familie nach Memphis weiterzieht. Tupelo will Memphis, so scheint es, nicht die Show stehlen. Und die echten Pop-Pilgerer werden ja auch noch das 110 Meilen entfernte Memphis besuchen ...
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Southern Journey 5: Tuscumbia: The Alabama Music Hall Of Fame (News vom 20150610) [N]
Lead: 
Ich komme nach mehrtägiger Fahrt durch das Piedmont (Virginia, die beiden Carolinas und Georgia) endlich im «richtigen» Süden an, in der Brutstätte der modernen Musik. Es ist deutlich wärmer hier als noch in Virginia, aber in der vergangenen Nacht hat es geregnet, was die Luft abgekühlt hat. Der Himmel ist noch etwas wolkenbedeckt, aber die Sonne verrichtet schon wieder ihr Geschäft und heizt erbarmungslos die Dinge auf. Nun stehe ich vor der Alabama Music Hall of Fame und schaue mir die weite Landschaft und den über sie gespannten Himmel an. Hier ahnt man, dass die Welt rund ist und man wähnt sich als ihr Mittelpunkt.
Die Hall of Fame beherbergt allerlei Memorabilia von den zahllosen wichtigen Musiker/-innen, die in Alabama geboren wurden, in Ausbildung waren oder mehr als zehn Jahre hier arbeiteten. Die Institution wurde von lokalen Musikschaffenden projektiert und 1990 eröffnet. Als Kinder Alabamas werden unter anderem W.C. Handy gefeiert (siehe Bild), der Vater des Blues, Jimmy Rodgers, der Vater der Country Music, sowie Sam Phillips, der Elvis Presley-Entdecker und -Produzent. Handy und Phillips wurden beide in Florence geboren. Mit Jimmy Rodgers ist es etwas komplizierter: Er hat verschiedentlich geäussert, er stamme aus Geiger, Alabama, doch wahr ist nur, dass er teilweise in Geiger aufgewachsen ist.
Text: Es herrscht grosse Betriebsamkeit im Museum - ein Autobus brachte eine Schulklasse, gut 40 Personen, die lautstark das Studio im Museum benutzen, in dem Besucher zu Muscle-Shoals-Songs singen können. Die Aufzeichnung kann man dann mit nach Hause nehmen. Eine Hand voll Schüler gehen in die Aufnahmekabine, um zu singen, und werden von den Draussen-Gebliebenen angefeuert als ginge es um Football. Sobald die Schulklasse weg ist, wird es familiär. Ich werde vom Kurator Dick Cooper herumgeführt, der zu allen Exponaten Geschichten zu erzählen weiss. Als erstes beeindruckt mich, dass das Museum gleich nach der Halle mit den Inductees, den in die Hall of Fame eingeführten Künstlerinnen und Künstler, eine Vitrine zur Gegenwartsmusik hat, in der drei Acts vorgestellt werden: Die Civil Wars (inzwischen leider aufgelöst), Drive-By Truckers und Jason Isbell. Muscle Shoals ist immer noch lebendig, aber als Country Musik und Southern Rock.
Civil Wars: The One That Got Away (2013)
Drive-By Truckers: Where The Devil Don't Stay (2004)
Jason Isbel: Traveling Alone (2013)
Ich lerne, dass Nat 'King' Cole noch drei Brüder hatte, die alle eine ähnliche Musik machten, ich sah das Original des Vertrags zwischen Sam Phillips und RCA, mit dem er die Rechte an Elvis für damals sagenhafte $35'000 verkaufte, Ich wusste nicht, dass Hank Williams, die Delmore Brothers, Martha Reeves von Martha And The Vandellas, Sun Ra, Lionel Richie, Rose Maddox von Maddox Brothers and Rose (definierten Bakersfield-Country mit, das war Countrymusik, wie sie in Kalifornien gespielt wurde) oder Emmylou Harris in Alabama geboren sind.
Später lerne ich die Managerin Dixie Griffin kennen, die mich mit den verfügbaren Unterlagen zum Museum versorgt. leider gibt es noch keine Publikation zu den Exponaten oder zu den Archivalien, die das Museum besitzt. Ich bleibe lange, bis ich zur Führung in die FAME-Studios hasten muss - auf zur nächsten Geschichte ...
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Southern Journey 3: Luray Caverns: The Great Stalacpipe Organ (News vom 20150606) [N]
Lead: Hinter dem Shenadoah Nationalpark, der im dichten Nebel lag, gibt es eine der schönsten und grössten Tropfsteinhöhlen der USA: Luray Caverns (siehe Wikipedia (en)). 
Die Tropfsteinformationen von Luray Caverns sind teils atemberaubend. Ihre Farbe ist schwarz, weiss und rot, ihre Formen bieten mehr als die üblich runden Stalagmiten und Stalaktiten. Einige sehen aus wie hängende Tücher, andere wie zwei Spiegeleier. Teilweise muteten Formationen an, als wären sie Skulpturen von H.R. Giger. Besonders beeindruckend ist auch das Spiegelbecken ein kleiner See (mehr ein Weiher) mit perfekt glatter Wasseroberfläche, in der sich Stalagtiten spiegeln. Wenn man hineinschaut, erlebt man die perfekte Illusion: die Stalagmiten sind eigentlich an der Wasseroberfläche gespiegelte Stalaktiten.
Die Halle, die The Cathedral genannt wird, beherbergt ein Instrument besonderer Machart: ein Lithophon, eine Steinorgel (siehe Bild). Wenn man die Tropfsteine mit Hämmerchen (siehe Bild) anschlägt, klingen sie - schwächer / leiser als eine Kirchenorgel, aber sehr rein.
Organ Playing in Luray Caverns, Virginia (Youtube)
Erbaut wurde das Instrument 1956 von Leland W. Sprinkle, der drei Jahre daran arbeitete. Heute wird die Orgel für jede geführte Gruppe von einer Pianorolle gespielt. Konzerte finden kaum mehr statt, nur noch, wenn Paare hier heiraten.
Das Besondere an der Steinorgel von Luray Caverns ist, dass dieses Instrument teils gemacht und teils gewachsen/natürlich geformt ist.
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Southern Journey 4: Fife And Drums: Echo der Amerikanischen Revolution und eine Connection nach Basel (News vom 20150606) [N]
Lead: Williamsburg ist wie ein «Theme Park» für Erwachsene - gestiftet von John D. Rockefeller. Das Koloniale Williamsburg wurde wieder aufgebaut, mit hübschen Holz- und Backsteinhäusern und viel Raum zwischen den Bauten, wie wir das in Europas Städten kaum kennen. Ich frage mich, ob diese Bauart und das weite Land nicht die Mentalität der Leute, die hier lebten, tief geprägt hat, ob die Demokratie, die hier (mit-)erfunden wurde, nicht eine Funktion dieses Abstands zwischen den Subjekten war.
Die Stadt gilt als Wiege der amerikanischen Demokratie. Sie war in der Zeit, in der Amerika ein eigener Staat wurde (es handelt sich hier eher um einen Unabhängigkeitskrieg, nicht um eine Revolution, was vielfach wiedergegeben wird) die Hauptstadt der Kolonie Virginia zwischen 1699 und 1780. Hier wurde das erste amerikanische Kapitol erbaut. Und hier wirkte der spätere Präsident der USA, George Washington, der 1731 in eine der nahegelegenen Tabakfarmer- und Sklavenhalter-Familien der Kolonie geboren wurde.
Die Hauptstrasse säumen allerlei Läden, die so tun, als stünden sie seit dem 18.Jahrhundert hier. Die freundlichen und gesprächigen Angestellten stecken alle in Kostümen der Zeit. Eine Verkäuferin erzählt mir, dass ihr Sohn gerne in Basel eine Trommler-Ausbildung machen würde. Ich fragte mich: «Warum gerade in Basel?».
Text: Warum in Basel? Die Stadt hat eine der besten Fife And Drums Kappellen im Land, das Colonial Williamsburg Fife & Drum Corps.
Nur ein Profi-Corps der US-Army sei noch etwas besser. Fife And Drums sind Trommler und Pfeiffer, die Armeen damals vor 250 Jahren hatten. Diese klingen für meine Ohren (ich bin kein Liebhaber dieser Musik) genau wie das. was die Pfyffer und Tambouren an der Basler Fasnacht spielen.
Colonial Williamsburg Fife & Drum Corps (Youtube, abgerufen am 6.6.14)
Ich lerne interessante Dinge darüber, wie Kriege damals geführt wurden. Die Musiker waren in Uniformen mit anderer Farbe als die eigenen Truppen gekleidet (oft in der Farbe des Gegners!), damit auf sie nicht geschossen wurde. Auf Musiker schiessen und auf Offiziere war bei kriegerischen Auseinandersetzungen verboten. Die Musiker leiteten die Truppen. Sie waren nicht nur für Machtdemonstrationen der Schneidigkeit an Paraden zuständig, sondern dienten den Feldherren auch als Kommunikationsmittel, um die Truppen im Feld zu dirigieren. Nun kommt die Sache doch langsam in Bereiche, die etwas mit meiner martialitätsfreien und fasnachtlosen Welt zu tun haben.
Jetzt noch eine Verbindung zur Southern Journey: Afroamerikaner haben ja in musikalischer Hinsicht so ziemlich alles von den Weissen kopiert, was es gab. Auch Fife And Drums! Man nennt den Stil Fife and Drum Blues. Die Musik ist für meine Ohren viel spannender als der stramme Militär-Sound. Die Musik klingt mehr nach Ritual und Zauber.
African-American Fife & Drum Music: Mississippi & Jamaica (Youtube, aufgerufen am 6.6.14)
Hier noch eine Foto des Corps aus Williamsburg, das 2008 in Basel an einem Tattoo gespielt hat, so heissen die Stelldicheins dieser Bands. Die Foto hängt im Gebäude, wo das Corps übt, neben dem Schaukasten mit den Pokälen. Es ist unterschrieben mit: «To the spectacular cast of the Basel Tattoo 2008 with deepest appreciation. "Vyyle härzlige Dangg"». Jetzt verstehe ich, warum der Sohn der Verkäuferin ausgerechnet in Basel Trommel studieren möchte.
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Southern Journey 1: Zu den Quellen! (News vom 20150603) [N]
Lead: «Periodically, in interviews or conversations about American music, my counterparts will shift their eyes, lean close to my face, and whisper - voices deep, conspirational, hushed - a court proclamation: "All great music comes from the South.» Amanda Petrusich
Manassas ist der historische Ort, an dem am 21. Juli 1861 die erste Schlacht zwischen den Nord- und Südstaatlern (Union und Konföderation) im amerikanischen Bürgerkrieg statt fand. Damals und in der zweiten Runde am selben Ort gewannen zunächst die Konföderierten, was den Krieg leider verlängerte. Den Ausgang kennen wir. 1865 gewann die Union, der Norden, über die Südstaaten. Damit ging eine südstaatliche Kultur unter, die seither mythologisch verklärt werden kann: Dixieland. Gerade in der Musikgeschichte sind wir geneigt, den amerikanischen Süden als die Wiege der Modernen Musik darzustellen. Ragtime und Jazz kommen von hier. Der Blues. Country. Gospel. Und damit alle Hybriden, die aus dieser Ursuppe entstanden: Rhythm 'n' Blues, Rock 'n' Roll, Rock, Soul, you name it. Hier arbeiteten Sklaven, die zu Tausenden verschleppt wurden, um auf den Feldern der neuen Welt zu arbeiten, den Boden zu beackern, der geschwängert war von Blut, Schweiss und Tränen. Hier arbeiteten die Sklaven und sangen ihre Lieder, traurige Lieder, fröhliche Lieder, die hier wuchsen wie der Tabak, Reis und Baumwolle, Lieder, die das Potential hatten, zur prägenden Musik eines funktionalen, urban geprägten und nervösen 20ten Jahrhunderts zu werden.
Christian Schorno von Musikzimmer macht sich auf die Spuren dieser Geschichte und schreibt in den folgenden Tagen darüber, was ihm unterwegs begegnet.
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Southern Journey 2: Manassas (News vom 20150603) [N]
Lead: Stephen Stills tourte mit seinem zweiten Soloalbum und einer hochkarätigen Begleitband in den Staaten. In Cleveland kreuzte seine Tournee mit der Band den Weg, in der Chris Hillman spielte, die Flying Burrito Brothers. Stills und Hillman beschlossen, sich später im Jahr in Miami zu Jamsessions zu treffen. Beide Musiker gehören zur Genealogie der beiden wichtigen Spätsechziger-Folkrock-Gruppen aus Los Angeles, den Byrds und Buffalo Springfield, aus denen Acts und Bands wie die Flying Burrito Brothers, Gram Parsons, Crosby, Stills And Nash, Neil Young, Souther-Hillman-Furay Band, die Eagles und einige Formationen mehr hervorgingen. Bei der Jamsession in Miami waren ausserdem Al Perkins von den Burritos, Calvin Samuels und der im Januar verstorbene Dallas Taylor, beide von der Begleitband, die mit Crosby Stills Nash tourte. Schliesslich waren da noch die Sessionmusiker Paul Harris und Joe Lala. Sogar Bill Wyman von den Rolling Stones, der kurz zu den Jams dazu stiess, habe sich überlegt, sich dieser Band anzuschliessen, die Jams liefen so gut ...
Text: Eingespielt wurde ein Doppelalbum, das der AllMusic-Rezensent Rob Caldwell mit dem Weissen Album der Beatles oder Layla von Derek and The Dominoes vergleicht, mit Alben, die vor Kreativität und Spieltechnik geradezu bersten. Hier wird Rockmusik zur vollendeten Spielkunst. Hier fährt die Rockband oder die Combo als kleine, überschaubare Rock-Formation ihre Stärke aus, die darin besteht, dass die Bandmitglieder beim Jamen hervorragende Ideen entwickeln und, wenn sie länger zusammenspielen, diese Ideen zu einem dichten Bandspiel verfestigen. Der Bebop machte das vor, Rock machte das seit Ende der Sechzigerjahre nach.
Stephen Stills interessierte sich sehr für den Amerikanischen Bürgerkrieg, weshalb er mit seiner neuen Band, die noch immer keinen eigenen Namen hatte, nach Manassas, dem ehemaligen Schlachtort, reiste (siehe Post weiter unten). Am Amtrak Bahnhof von Manassas unter dem Namensschild wurde eine Bandfoto geschossen, die schliesslich als Coverbild verwendet wurde und die der Formation ihren Namen gab.
Was kann man zu diesem Doppelalbum sagen, ausser dass es zu den besten Alben der 70er-Jahre gehört (siehe Zugehörigkeit zu Bestenlisten)? Jede Plattenseite des Albums repräsentierte einen spezifischen Rock-Stil: Seite A: Latinrock, Seite B: Country/Bluegrass, Seite C: Folkrock und Seite D: Bluesrock, wobei der letzte Track Blues Man
ein Tribute für Al Wilson, Duane Allman und Jimi Hendrix ist. Das demonstratiert die Versatilität dieser Musiker. Leider gibt es keinen Track, der so richtig heraussticht und den man kennt, wie Layla oder Ob-la-di, Ob-la-da
. Einige Nummern der Country-Seite schmeicheln sich sofort ein, weil sie an CS&N erinnern. Und so bleibt Manassas
ein Tipp für Rock-Aficionados. Sie können das Album bei Youtube streamen - es ist ein Doppelalbum und Sie brauchen Zeit (die ich in den Ferien natürlich habe - höre das Album während ich Jetlag-bedingt nicht mehr schlafen kann):
Stephen Stills & Manassas: «Manassas». Atlantic SD 2903 [2 LP], 1972.
Hier noch ein Foto des Amtrak Bahnhofs (ohne Band;-)
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Zwei Videos, die mit dem amerikanischen Süden zu tun haben (News vom 20150512) [N]
Lead: 1. Leon Bridges: Better Man
schon gut, aber sooo retro
2. Rae Sremmurd: This Must Be Us
Dieser Track des Hip-Hop-Duos aus Atlanta hingegen gegenwärtig, nicht retro. Musik von heute. Die kann man in zehn, fünfzehn Jahren zeitlich lokalisieren, historisch identifizieren. Leon Bridges hingegen - ich weiss nicht. Klingt nach 60er-Jahre (Muscle-Shoals-Sound, Stax-Sound). Was fangen wir nur damit an in zehn, fünfzehn Jahren, wonach klingt das dann? Nach heute? Nach den 60ern?
Ich bin überzeugt: Viele Leute meinen, Leon Bridges sei wahnsinnig authentisch und enorm musikalisch. Sorry, nein! In puncto Musikalität und Authetizität ziehe ich Rae Sremmurd bei weitem vor. Der Leon Bridges-Track wirkt - so gut er gespielt und aufgenommen ist - akademisch und blutleer, zeitlos in einem ganz schlechten, der Geschichtlichkeit enthobenen Sinn.
Text: Rae Sremmurd treten übrigens am 9. Juli am Openair in Frauenfeld auf.
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Adrian Sherwood’s Post-Punk Productions (News vom 20150420) [N]
Lead: Von Adrian Sherwood kam ein Sampler heraus, der die frühen Arbeiten des Dub-Botschafters auf seinem On-U-Sound-Label versammelt Sherwood At The Controls (Vol. 1): 1979-1984. Das Dummy-Magazin brachte eine kommentierte Playliste von Arthur Ivan Bravo heraus, die ein paar der wichtigsten Tracks von Sherwood präsentiert, zum Beispiel Threat to Creation
von den New Age Steppers & Creation Rebel (1981)
oder das kleine relativ unbekannte Juwel von Robert Wyatt mit Hugh Hopper: Amber & the Amberines (die B-Seite zu seiner Biko-Single), das Sherwood produzierte.
Text: Adrian Sherwood ist besonders auf dem Kontinent nicht ganz so bekannte Musikgeschichte. Der Engländer war einer der Treibkräfte der Postpunk-Zeit (1978-1984). Postpunk war eine der innovativsten Abschnitte der Musikgeschichte – ein hauptsächlich britisches Phänomen. Die Losung junger Bands hiess damals: «Wir
spielen keinen Blues mehr!» oder positiver «Wir
lassen uns von allem inspirieren, ausser von den Stilen, die für die Hippie-Generation wichtig waren». Dub war neben Disco, Funk, Elektronischer und Geräuschmusik (Noise) einer dieser Stile. Adrian Sherwood war einer der Hauptexponenten, die diese damals noch recht neue Producer-Musik aus Jamaica in England bekannt machten. Nach den Postpunk-Jahren war Sherwood als Remixer vieler Mainstream-Acts tätig: zu seinen Auftragsgebern gehören Primal Scream, Sinéad O'Connor, Coldcut oder Depeche Mode.
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Neue Alben von zwei Gitarrenmeistern: Norman Blake und Kaki King (News vom 20150320) [N]
Lead: Verschiedene Generationen, Zielgruppen, die sich vermutlich kaum berühren, doch eine geografische Verwandtschaft, da beide Musiker Wurzeln im südlichen Georgia haben: Kaki King aus Atlanta (gegenwärtig in New York) und Norman Blake aus Tennessee (seit längerer Zeit in Georgia lebend) spielen beide auf beeindruckende Art Gitarre und haben unlängst neue Alben herausgebracht.
Text: Kaki King kann im weitesten Sinn zu Neo-Prog-Acts gezählt werden. Ihr Spiel ist geprägt von Tapping- und Slap-Techniken. Die Sounds werden hörbar elektronisch prozessiert. Bei ihren aktuellen Konzerten verwendet sie ausserdem Live-Visuals, Video-Projektionen, die aus den Gitarrenklängen erzeugt werden. Kaki Kings Musik klingt atmosphärisch und gleichzeitig virtuos, was eine seltene Mischung ist.
Making-of Video
Der Track Anthropomorph
stammt aus ihrem neuen Album bzw. Multimedia-Projekt The Neck Is A Bridge To The Body
, das sie über Kickstarter finanziert hat.
Anthropomorph (Musikvideo)
Norman Blake hat neben seinen Soloarbeiten viel als Studiomusiker in Nashville gearbeitet. Er spielte unter anderem auf Alben von Bob Dylan, Joan Baez, Johnny Cash, Kris Kristofferson oder Steve Earle. Nach einer Durchblutungsstörung des Gehirns musste sich der mittlerweile 77-Jährige das Instrument wieder neu beibringen. Die Songs auf Wood,
hat er danach in sehr kurzer Zeit geschrieben und aufgenommen.Wir
e & Words
Making-of Video
Die Albentitel beider Gitarristen sind Liebeserklärungen an ihr Instrument. Kaki Kings Album heisst The Neck Is A Bridge To The Body
, der letzte Song darauf reflektiert über das Verhältnis von Instrument und Spielerin: We did not Make the Instrument, the Instrument Made Us
. Norman Blake Albumtitel Wood,
sei das, worum sein Leben sich drehte, Holz und Draht (die Gitarre) und ein paar Worte, Lyrics dazu.Wir
e & Words
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Peter Tschmuck: Die US-Musikindustrie vs. die Filesharerinnen (News vom 20150306) [N]
Lead: In drei Teilen setzt sich der Wiener Musikwirtschafter Peter Tschmuck
mit den amerikanischen Rechtsfällen gegen Filesharer/-innen auseinander. Der erste Teil RIAA vs. John Doe
ist die Chronik dieser Fälle, der zweite und (noch nicht erschienene) dritte Teil geht zwei speziellen Fällen nach, die zu ungerecht hoch scheinenden Schadenersatzforderungen führten. Spannend wie ein Krimi und eine Art «Pflichtlektüre» für Musikfans, die durch die Geschichte von Jammie Thomas-Rasset wohl ins Grübeln kommen, was Recht und Unrecht, Schuld und Sühne, Mass und Willkür ist.
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Father John Misty: Bored In The USA (News vom 20150203) [N]
Lead: Mit seinem Auftritt bei David Letterman im vergangenen November hat Father John Misty (das ist der Ex-Schlagzeuger von den Fleet Foxes, der mit bürgerlichem Namen Josh Tillman heisst) TV-Geschichte geschrieben. Er bricht, als er in der Late Show
seine Single Bored In The USA
vorträgt, die Konventionen eines jeden Singer-Songwriters: das Instrument spielt auch ohne ihn und er, der ernste Barde, stellt sich aus, indem seine Zeilen wie die eines Komödianten aus dem Off belacht werden.
Das Album I Love You, Honeybear kommt nächste Woche heraus. Es wird eines der Alben sein, über die man dieses Jahr spricht.
Text:
Father John Mistys Auftritt in David Lettermans Late Show am 3. November 2014
zum Weiterlesen: Christoph Fellmann hat im Zürcher Tages Anzeiger einen empfehlenswerten Artikel zu Father John Misty geschrieben.
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Burial: Temple Sleeper (News vom 20150125) [N]
Lead: Burial hat gemessen an seinen früheren Stücken einen ungewöhnlich technoiden Track veröffentlicht. Fort sind die geisterhaften Nebel, in die Burials Musik getaucht war. Es ist als hätten sich die Schleier der Sinne gelüftet. Doch wie ist das, wenn die dionysischen Nebel sich heben? Es stellt sich selten die appolinische Nüchternheit ein, sondern die Wir
klichkeit haut mit brüsker Kraft rein, die Dinge werden mächtig und überschlagen sich, ihr Tempo wird hektisch.
Für Sample Hounds: Der Track verwendet die Anfangssequenz aus Wow von Kate Bush.
Text:
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Bubblegum-Bass (News vom 20150105) [N]
Lead: Das neueste Genre-Label, das durch die Musikblogs geht, ist Bubblegum Bass. Es handelt sich um elektronische Musik, mit einer - wie Adam Harper sie nennt - Hi-Tech-Ästhetik, die mit einer hoch-künstlichen Niedlichkeit operiert. Stimmen, die melodisch zumeist eingängige Melodien singen, werden hochgepitcht (Mickey Mouse Effekt), die Tracks klingen wie die Musik aus Trickfilmen von Tex Avery. Wer mit Vaporwave vertraut ist, wird diese Musik auf Anhieb interessant finden. Hören Sie einfach über Soundcloud weiter ...
Text:
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Pond: Sitting Up On Our Crane (News vom 20141217) [N]
Lead: ... apropos Videos mit psychedelischer Ästhetik: Pond ist die Band von Jay Watson, der bei Tame Impala Gitarre spielt. Dieses Video von Alejandro Miguel Justino Crawford hat eine ganz eigene visuelle Sprache. Schauen Sie mal bei ca. 1:30, wenn die Figur auf dem Kran aufprallt, wie das Schwindelgefühl mit einer sich drehenden farbigen Nebelwolke dargestellt wird. Abgesehen vom ausgezeichneten Video möchte ich auf den Popappeal dieses Tracks hinweisen.
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William Onyeabor: Box Set (News vom 20141212) [N]
Lead: 
David Byrne bringt auf seinem Label Luaka Bop die Aufnahmen von William Onyeabor aus den späten 70er- und frühen 80er-Jahren neu heraus. Das Boxset erhielt von Pitchfork das Prädikat «Best New Reissue».
Text: Onyeabor stammt (wie Fela Kuti) aus Nigeria, machte aber bemerkenswert aussergewöhnliche Musik. Ihm standen zeitgemässe Synthesizer aus dem Westen zur Verfügung. Sein Afrobeat klingt poppig und funkig zugleich, manchmal schrullig - kein Wunder also, dass ausgerechnet David Byrne sich dafür einsetzt, diese Musik wieder ins öffentliche Bewusstsein zu bringen. Je länger ich sie höre, kommt sie mir als Mischung von Talking Heads (dichte, feingliedrige Afrorhythmik) und Jonathan Richman (verschrobene Naivität) vor.
Die Geschichte der Wiederentdeckung von William Onyeabor Musik passt gut in die Kategorie Retro als Geschichtskorrektur. Synthesizer hat man erst in neuerer Zeit mit Afrika in Verbindung gebracht. Früher war Afrika für das Echte, den Blues, den Soul, den Funk zuständig und in dieses Metanarrativ passt ein Nigerianer nicht, der Moog-Synthesizer sammelt und spielt.
Irgend wann wurde Onyeabor dann ein wiedergeborener Christ und dann war aus mit Musik und Interviews werden auch keine gegeben: Statt ihn dumme Sachen über die Vergangenheit zu fragen, sollen wir lieber eine bestimmte Bibelstelle lesen, sagt er: «My brothers and sisters, I thank God for creating me the way he did. My name is William Onyeabor. Live a good life. Do the word of God. Read your bible. I would like you to read James 1: 22-25. Do the word of God and live a good life. I love you all. Bye for now.» (siehe Doku-Video 28:15).
William Onyeabor: Fantastic Man. A Film About William Onyeabor (Dokumentation) 2014. https://www.youtube.com/watch?v=GiaRp0M2fxE (Abgerufen: 12. Dezember 2014).
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Scott Walker: Brando (News vom 20141027) [N]
Lead: Scott Walker macht keine einfache Musik und man kann sich fragen, wie er es seit zig Jahren schafft, sich eine Reputation und Autorität aufzubauen, die es ihm erlaubt, teilweise teure Alben einzuspielen, die sich vermutlich nur unter einer Kultgemeinde verkaufen. Auf einer Bühne aufgetreten ist Scott Walker seit Jahren nicht (siehe: Thema des NYT Popcasts vom 17. Oktober 2014).
Text: Das Video Brando
vom neuen Album Soused ist beim ersten Ansehen so enigmatisch wie Walkers Musik. Drei Personen treten auf, engelhaft schön, Mutter und Sohn, die mit grosser inzestuös-erotischer Spannung gezeigt werden. Das könnte mit Marlon Brandos Kindheitsgeschichte in Omaha, Nebraska zusammenhängen. Seine Mutter, zu der er ein intensives Verhältnis gehabt zu haben scheint (seine Autobiografie hiess Songs My Mother Taught Me
) war eine ungewöhnlich unkonventionelle Frau, aber auch eine schwere Alkoholikerin. Der Sohn schliesst sich weinend ein, während die Mutter einen seltsamen verzückt-hexenhaften Tanz in Zeitlupe aufführt. Am Ende kommt eine ältere Frau, von der man nicht weiss, wer sie ist und was sie für eine Rolle spielt.
Das Video von Gisèle Vienne benutzt sehr realistische Bilder, um surreale Schichten menschlicher Beziehungen darzustellen. Bei Scott Walker denkt man wahrscheinlich nicht zu Unrecht an Ingmar Bergmann, von dem er sich zu einem seiner bekanntesten Songs The Seventh Seal von 1969 anregen liess. Seit dem Anfang seiner Solokarriere zeigte Walker eine starke Verbundenheit mit europäischer Kultur. Er war der erste, der Songs von Jacques Brel in Englischer Sprache interpretiert hat. Wie Brel versteht sich Scott Walker als ein Sänger, der in eine Rolle schlüpft. Diese Tatsache machte ihn für ein an Postpunk geschultes Publikum so attraktiv. Walker schrieb wie die Doors die Vorgeschichte zu Nick Cave, den Pogues oder Blixa Bargeld/Neubauten. Musik wird hier als kunsthaft-verfremdende Inszenierung verstanden (nicht die Inszenierung eines Spektakels, das Stadionbands aufführen). Songs wie The Seventh Seal oder Brando sind keine Programmmusik oder höchstens ein Grenzfall von Programmmusik. Sie setzen nicht Filmmotive oder Autobiografien in Musik um, sondern nehmen den Stoff als Material, um ein eigenes Kunstwerk mit eigener Botschaft daraus zu machen. Und so geht es in Brando
wohl sehr um den schmerzlichen und gewaltsamen Aspekt der dargestellten Mutter-Sohn-Beziehung, den einige Rezensionen thematisieren (z.B. der NME), weil dieser doppelte Peitschenschlag den fast neun Minuten langen Song durchzieht.
Wie mit Lulu von Lou Reed liegt mit dem neuen Scott Walker-Album Soused ein Alterswerk vor, dessen Magie nicht wie bei Johnny Cash von der Produktion ausgeht (Rick Rubin), sondern von einer Zusammenarbeit mit Musikern, die man niemals mit dem Singer-Songwriter assoziiert hätte: Hier die Dronemetaller Sunn O))), dort die Thrashmetaller Metallica. In solchen Zusammenarbeiten zeigt sich die wichtige Stellung von Metal in der Gegenwartsmusik: Metal scheint besser als jedes andere Genre befähigt, einen musikalischen Ausdruck abseits von Normierung und Stereotypie schaffen zu können.
Soused ist ein Album, das an der Geschichte menschlicher Abgründe weiter schreibt, das Video zu Brando
ist eine verbilligte Eintrittskarte in eine Höhle in «der Wildnis von Missouri», in der einst Vorfahren gelebt haben, Menschen wie wir. Treten Sie ein! Nein, es gewiss keine Mainstreammusik, dafür eine besondere musikalische Erfahrung.
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Daniel Barrow: A Plague Of Soars. Warps In The Fabric Of Pop (News vom 20141020) [N]
Lead: Der dreieinhalb Jahre alte Artikel von Daniel Barrow
erweist sich als sehr präzis in der Beschreibung von Gegenwartspop. Mark Fisher
erwähnt den Artikel in Ghosts Of My Life. Fisher betont, dass der überdeterminierte Exzess in diesen Electropop-Songs eine tiefliegende Traurigkeit verdeckt - «a hidden gravity, a disowned sadness».
«So la da di da di we like to party
Dancing with Miley
Doing whatever we want
This is our house
This is our rules»
Was an We Can't Stop
von Miley Cyrus auffällt: Es ist das eigene Haus, nicht der öffentliche Raum, der als Ort der Party genannt wird. Das ist definitiv anders als in den 90er-Jahren als der öffentliche Raum für Raves und Loveparades in Anspruch genommen wurde.
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Arca: Thievery (News vom 20140912) [N]
Lead: Arca hat sein erstes Album Xen
angekündigt. Es wird anfangs November beim renommierten Mute-Label erscheinen. Der erstklassige Producer wird, das wage ich schon mal verwegen vorauszusagen, Aphex Twin die Lorbeeren im Wettbewerb um das Electronica-Album des Jahres wegstehlen. Dessen Syro
erscheint in diesen Tagen digital und in zwei Wochen physisch.
Text:
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Greil Marcus: The History Of Rock 'n' Roll In Ten Songs (News vom 20140904) [N]
Lead: 
Von vielleicht wichtigsten Rock-Schriftsteller kommt ein neues Buch mit dem Titel: «The History Of Rock And Roll In Ten Songs». Dass einer die reiche Geschichte des Rock and Roll, d.i. die amerikanisch-stämmige Populäre Musik, in nur zehn Songs erzählen möchte, klingt etwas vermessen. Aber wenn es sich um Greil Marcus handelt, dann nehmen wir das ernst. Wenn jemand eine Essenz der Rockmusik in zehn Stücken zu erfassen vermag, dann ist das er.
Text: Drei der zehn Songs sind Shake Some Action von den Flamin' Groovies (produziert übrigens von Dave Edmunds - siehe unten), Transmission von Joy Division und Money Changes Everything von Cyndi Lauper.
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Pharmakon: «Bestial Burden» Teaser (News vom 20140811) [N]
Lead: Pharmakon ist die Newyorkerin Margaret Chardiet, die ihre hoch-expressiven elektronischen Noise-Texturen beim Sacred-Bones-Label veröffentlicht. Ihr zweites Album von letztem Jahr, Abandon, fiel den Blogs, die den Release überhaupt rezensiert hatten, sehr positiv auf. Vielleicht kann man von Pharmakons Musik sagen, sie sei Industrial mit einer kräftigen Prise Ben Frost oder Animal Collective die Musik spielen, nachdem sie sich Intoxiziert haben, oder Lydia Lunch als Solo-Electronica-Act.
Ich möchte Sie hier aber gar nicht von einer Musik überzeugen, die wahrscheinlich sowieso nicht mögen, sondern über das aussergewöhnliche Teaser-Video für das neue Mitte Oktober fällige Pharmakon-Album Bestial Burden
schreiben. Jacqueline Castel führte Regie bei diesem 48 Sekunden kurzen Werbeclip, der die Körperlichkeit der Musik von Pharmakon vorführt: Was wir hören ist der keuchende Atem der Musikerin. Das in Blutrot gehaltene Video zeigt bedrohlich wirkende Bilder dazu: Auf das weisse T-Shirt der Musikerin werden Bilder projiziert, die mit der steigenden Intensität der Atemfrequenz mit anatomischen Zeichnungen verschnitten werden. Isaiah David von Ad-Hoc-Blog urteilt, dies sei ein «guts-filled piece of visual poetry [...] Ingmar Bergman meets Terry Gilliam. It’s Jean-Luc Godard meets American Beauty. It’s David Lynch meets Sandro Botticelli. It’s the video equivalent of everything that is Pharmakon.»
Text:
Ein weiteres aufwändiges Trailer-Video brachte ebenfalls diese Tage Flying Lotus heraus:
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FKA Twigs: Maida Vale Session (News vom 20140811) [N]
Lead: FKA Twigs hat ihr erstes Album LP1 draussen. Es ist klar, dass es dieses Musik-Jahr mitdefinieren wird.
Twigs gab ein Interview und spielte drei Tracks in einer Session in den Maida Vale Studios der BBC.
Text:
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Stereogum: The 50 Best Albums Of 2014 So Far (News vom 20140710) [N]
Lead: Auffällig an diesem Jahr ist die Menge an exzellenten Numetal-Releases. Acht Releases von fünfzig in der Stereogum-Liste sind Numetal und wir reden hier nicht über Popmetal-Bands wie Linkin Park (die es mit ihrem neuen Release notabene nicht in diese Liste geschafft haben), sondern über Extreme-Metal-Bands wie Nux Vomica, Thou, Woods Of Desolation, Agalloch, Morbus Chron, Behemoth, Tombs und die Schweizer Triptykon!
Auch der New York Times Popcast hatte letzte Woche «Metal» als Thema. Ben Ratliff unterhielt sich mit dem Dichter Michael Robbins, der viel über Metal schreibt. Ich empfehle den NYT Popcast hier einmal mehr als eine der interessantesten Quellen, um Neues über Musik zu erfahren.
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Grimes feat. Blood Diamonds: Go (News vom 20140629) [N]
Lead: Grimes wollte einen Track für Rihanna schreiben. Heraus kam Go
, doch Rihanna lehnte ihn ab. Nun nahm Grimes Go
selbst auf und veröffentlichte ihn zum freien Download auf Soundcloud. Der Track ist eine Zusammenarbeit mit dem Produzenten Michael Tucker, der auch als Blood Diamonds
unterwegs ist.
Wie meistens, wenn Untergrund-Künstler/-innen nach dem Mainstream trachten, rufen einige Fans enttäuscht: «Verrat!». Doch eine Musikerin mit dem Profil von Grimes hat natürlich das Zeug, um ein Mainstream-Crossover-Act zu werden. Wie diese Geschichte ausgeht, werden wir in einem oder zwei Jahren wissen.
Text:
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Jack White: Lazaretto (News vom 20140625) [N]
Lead: Jack Whites neues Album, Lazaretto
, ist nun seit ein paar Tagen auf dem Markt. Die Rezensionen fielen gemischt aus, der Tenor lautet: Lazaretto
ist nicht sein bestes Album, aber es ist unterhaltsam, weil Jack White auch in schwachen Momenten nicht langweilt. Ich möchte die Aufmerksamkeit auf zwei Dinge lenken, erstens den Ultra Vinyl Release von Lazaretto
und zweitens den Widerspruch oder, wie man es nimmt, die coincidentia oppositorum (Einheit der Gegensätze) im Video des Titeltracks.
Vor allem in technischer Hinsicht ist der Ultra-Vinyl-Release dieses Albums hoch interessant. Jack White ist ein Vinyl-Fetischist, ein Liebhaber von altem Equipment: Sein Ultra Vinyl Release des neuen Albums wartet mit zahlreichen «Gimmicks» auf, mit Engeln als drehende Hologramme, mit versetzen Rillen, die zusammenlaufen und je nach dem, wo man die Nadel hinsetzt entweder die akustische oder die elektrische Version gespielt wird, eine Seite wird von innen nach aussen abgespielt, es gibt allerlei Auslauf- und Leerlaufrillen und Tracks sind in drei Abspielgeschwindigkeiten (33, 45, 78) eingeprägt. Im folgenden Video erklären Jack White und sein Mitarbeiter beim Third Man Label wie dieses technische Wunderwerk funktioniert:
Mein zweiter Punkt ist das Video zum Titeltrack Lazaretto
. Für einen Traditionalisten wie Jack White kommt dieser Song recht digital daher: Das liegt an der Produktion des Albums und vor allem an den Video-Bildern mit ihren Effekten und wirkt synästhetisch auf die Wahrnehmung der Musik zurück. Der Track wirkt dadurch sehr, sehr ambivalent: Er könnte eine Led Zeppelin-Nummer sein und damit ein traditionelles Stück oder aber eine Cutting-Edge Produktion, die darauf ausgerichtet ist, im Kopfhörer Ihres MP3-Players toll zu klingen.
Text:
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Julia Holter: Don't Make Me Over / Hello Stranger (News vom 20140618) [N]
Lead: Julia Holter kommt im Juli mit einer neuen Single heraus - einer Single mit zwei A-Seiten. D.h. keines der beiden Stücke wird als sekundär oder Platzfüller erklärt. Die zwei Stücke sind gleich wichtig. Es handelt sich bei beiden um Coverversionen von Soulpop-Nummern aus den frühen 60er-Jahren: Don't Make Me Over
von Dionne Warwick (1962) und Hello Stranger
von Barbara Lewis (1963).
Unten zum Vergleich die Originale auf Youtube. Es ist wie Chris DeVille von Sterogum schreibt: Julia Holters Covers (man sollte in diesem Fall statt von «Cover» besser von «Wieder-Erfindung» oder «Re-Imagination» sprechen) behalten eine gehörige Portion vom 60er-Jahre-Flair bei und transformieren den produzierten symphonischen oder orchestralen Pomp von damals in vielschichtige ätherische Chorale.
Text:
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C86 Cassette Compilation als 3 CD Boxset wiederveröffentlicht (News vom 20140610) [N]
Lead: 
Der Cassetten-Release des britischen Musikmagazins NME, aus dem Jahr 1986 enthielt 22 Tracks von jungen britischen Indie-Bands, die alle mehr oder weniger stark von den Smiths beeinflusst waren. Die Cassette hiess C86 wie fünf Jahre zuvor eine NME-Cassette C81 hiess. Diese Namen waren in Anlehnung an die Formate der bespielbaren Cassetten benannt, die man als C-30, C-45, C-60 oder C-90 kaufte. Hier bedeuteten die Zahlen Jahreszahlen statt Zeitangaben. Die Bands spielten introvertierten Indiepop (Tweepop) mit entweder einer Neigung zum Noise (Noisepop - z.B. Wedding Present) oder zum Psychfolk (Janglepop - z.B. Primal Scream). Wie Postpunk kann C86 als Neuanfang in der alternativen Musik gesehen werden, die Initialzündung für Tweepop, Noisepop, Shoegaze und Madchester.
Text: 
Das britische Indie-Label der ersten Stunde, Cherry Red besorgte nun eine Wiederveröffentlichung der C86-Cassette als 3 CD Box. Mit diesem Re-Release wird ein Stück britische Musikgeschichte greifbar und neu zur Diskussion gestellt.
Auf Youtube ist eine Playliste des Cassetten-Releases verfügbar (teils mit Live-Aufnahmen):
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MOOC »History of Rock« von John Covach (News vom 20140501) [N]
Lead: Am 9. Mai beginnt auf Coursera der MOOC zur Geschichte der Rockmusik von John Covach, Prof. an der University of Rochester. Der Onlinekurs wird in zwei Teilen angeboten und dauert insgesamt vierzehn Wochen.
Text: MOOCs - Massive Open Online Courses - sind gerade am boomen. Auf MOOC-Plattformen wie Coursera, edX oder Udacity werden der Internet-Öffentlichkeit Kurse aus erster Hand angeboten - in der Regel von Professoren renommierter Universitäten. Das Wissen wird meist über Videoclips vermittelt, manchmal gibt es auch interaktive Übungen zur Vertiefung und meistens Diskussionsforen zum Austausch mit den Kommiliton/-innen.
Musikinteressierte finden auf Coursera die beiden MOOCs zur Geschichte der Rockmusik von John Covach, Prof. an der University of Rochester. Es sind zwei je sieben Wochen dauernde Onlinekurse. Ich habe selber mit grossem Interesse daran teilgenommen und kann die beiden MOOCs sehr empfehlen. Der Akzent liegt auf der amerikanischen Rockgeschichte. Zeitlich deckt der Kurs die Musik vom Rock ’n’ Roll bis zu den 90er-Jahren ab. Es braucht pro Woche deutlich über eine Stunde Zeit, nur um alle Videos anzusehen. Hinzu kommt die Zeit, die Sie investieren werden, um der Musik auf Youtube nachzugehen, denn im Kurs selbst wird aus urheberrechtlichen Gründen keine Musik vorgespielt. Das Englisch, das Covach spricht, ist nicht simpel aber gut verständlich.
Am 9. Mai beginnt der erste Teil »History of Rock, Part One« erneut. Das Abenteuer ist von der Zeit abgesehen, die es in Anspruch nimmt, kostenlos.
Eine Kostprobe davon, wie John Covach doziert, zeigt das folgende Video, eine TED-Talk-ähnliche Präsentation über den konservativen Charakter des amerikanischen Musikmarkts und wie in diesem doch immer wieder innovative Acts durchbrechen, zum Beispiel Elvis oder die Beatles.
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Sharon Vam Etten: Taking Chances (News vom 20140424) [N]
Lead: Dieses Video Taking Chances
kündigt das neue Album von Sharon Vam Etten an. das in gut einem Monat bei Jagjaguwar erscheinen wird.
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Lana Del Rey: West Coast (News vom 20140418) [N]
Lead: Auf Youtube wurde diese Woche der neue Audiotrack von Lana Del Rey, West Coast
, begleitet von einer geloopten Videosequenz veröffentlicht. Dies ist der erste Track vom kommenden Ultraviolence
-Album, den wir hören. Mir scheint, Lanas Technicolor-Hypnagogicpop ist einem anderen Sounddesign gewichen. Produziert hat Dan Auerbach von den Black Keys.
Text:
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Ben Frost: Venter (News vom 20140320) [N]
Lead: Ben Frost ist ein Tausendsassa, der in viele Produktionen der zeitgenössischen Popmusik involviert ist: als Produzent, als Komponist, als Arrangeur. Er ist - falls es das gibt - ein Brian-Eno-Typ, in dessen Hände man das sonische Erscheinungsbild oder den produktionstechnischen Finish eines Albums legt. Als gebürtiger Australier, verlegte er seinen Wohnort nach Island und gründete dort zusammen mit Valgeir Sigurðsson & Nico Muhly das Bedroom Community-Label. Dort und bei Mute erscheint im Mai ein weiteres eigenes Album mit dem Titel A U R O R A
(typografische Leerschläge in Titeln sind gross im Kommen!). Vorab können wir schon mal Venter
hören:
Text:
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David Byrne: How architecture helped music evolve (News vom 20140314) [N]
Lead: Im kommenden Herbstsemester bietet Christian Schorno an der Uni Zürich eine Lehrveranstaltung zum Buch How Music Works von David Byrne an. Zum Thema gibt es ab sofort einen Blog. Der erste Beitrag ist der Ted Talk von David Byrne aus dem Jahr 2010. Dieser Vortrag behandelt, worum es Byrne im ersten Kapitel seines Buchs How Music Works geht: nämlich um das Konzept einer »Creation in Reverse«. Der Begriff der »Creation in Reverse« kommt in diesem Vortrag noch nicht vor. David Byrne spricht stattdessen davon, dass seine Sicht der Dinge die romantische Vorstellung des kreativen Prozesses umkehre: »This is a reverse view of things from the kind of traditional Romantic view. The Romantic view is that first comes the passion and then the outpouring of emotion, and then somehow it gets shaped into something.« Der Vorstellung, dass künstlerische Kreation aus dem Innern der Künstler/-innen kommt, die sich oder ihre Passionen ausdrücken, wird damit der Garaus gemacht. Stattdessen passen sich Künstler/-innen an die Gegebenheiten ihrer Zeit an, zuvorderst an die Räume, und spielen Musik, die in diesen gut funktioniert.
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Fennesz: The Liar (News vom 20140303) [N]
Lead: Wow, wie cool! Von Fennesz erscheint im April ein neues Album bei Editions Mego (und nicht mehr etwa beim Touch-Label!). Es wird Bécs
heissen. Aus ihm ist nun The Liar
als Teaser-Track verfügbar. Bécs ist übrigens der ungarische Name für Wien, die Heimatstadt von Fennesz.
Text:
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Re-Enter: New Age (News vom 20140215) [N]
Lead: New Age Musik ist gerade eines der grossen Themen in der Gegenwartsmusik. Das Reissue-Label Light In The Attic brachte einen Genre-Sampler heraus, der nun mediale Wellen wirft.
Text: Eine kurze Materialsammlung zum Medienhype um New Age Musik.
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Einen Groschen für die Musikbox (News vom 20140205) [N]
Lead: 
»Einen Groschen für die Musikbox« ist ein Blog über das Erwachsenwerden in den 60er Jahren. Hinter dem Blog steht unter anderem Peter M. Roese, der Autor des Romans »Allgäu Sixties« (2011). Der Blog veröffentlicht nach eigener Aussage »kleine Geschichten über den ganz normalen Wahnsinn damals.« Es kommen Menschen zu Wort (oder es wird über Menschen berichtet), die in den 60er-Jahren aufgewachsen sind.
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Jahresbestenlisten von 2013 (News vom 20140102) [N]
Lead: In Musikzimmer.ch sind nun folgende Jahresbestenlisten erfasst:
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Jon Hopkins: Collider (News vom 20131208) [N]
Lead: Es ist erstaunlich: Man meint, man hat alle Couleur von Tanzmusik auf dem 4/4-Takt bereits einmal gehört, Sounds und Beats zwischen House und Techno mit minimaler Raffinesse oder mit maximaler Brachialität. Alles ausgelotet und entdeckt. Doch dann kommen diese Tracks von Jon Hopkins, einem englischen Produzenten, die der Sache noch einmal etwas abgewinnen können. Minimaltechno mit einer Dichte an Feinheiten bauen eine Intensität auf, die das Video für den Track Collider
von Regisseur Tom Haines
veranschaulicht. Eine junge Frau führt in einem Club unter Alkoholeinfluss einen gewalttätigen Veitstanz auf. Die Bilder wechseln ständig die Szene und schalten vom Club in eine Industriezone um oder von der Nacht zum Tag (es könnte sich um den selben Ort bei Tag handeln). Und so wie das Video die Ebenen wechselt, hat Collider
als Track verschiedene Ebenen bzw. einen Innen- und einen Aussenraum.
Das Album Immunity
wurde auf die Shortlist für den diesjährigen Mercury Preis gesetzt und es wird wohl in einigen (europäischen?) Bestenlisten von 2013 vorkommen.
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Demdike Stare: Transmission (News vom 20131117) [N]
Lead: Demdike Stare sind die Briten Miles Whittaker
und Sean Canty
, beides Sammler exotischer und rarer Platten, die sie zu einem gespenstischen (die Demdike im Namen war eine Hexe), minimalen, dronigen Sound verarbeiten. Ihr neues, atemberaubendes Video Transmission
wurde von der englischen Musikzeitschrift The Wir
e gepostet. Es zeigt einen geisterhaften rituellen Tanz in überlagerten Bildern. Die Musik klingt wie eine hauntologische Version von Basic Channel Techno.
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RUM: Directions (News vom 20131104) [N]
Lead: RUM ist Jamie Krasner aus New York. Ihr neuer Track Directions
hat einen herrlich stacksiges Breakbeat-Takt. We geträumt spielt ein Piano jazzige Phrasen und singt Jamie Krasner mit unwirklicher Stimme ihr Lied.
Text:
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James Ferraro: QR Jr. (News vom 20131018) [N]
Lead: Ein Video von James Ferraro, das ins Museum für Gegenwartskunst gehört. Kritik an den Exzessen des Kapitalismus, wie der Dummy-Blog schreibt. Das neue Album von Ferraro heisst NYC, Hell 3:00AM
. Drei Uhr morgens, das ist die Zeit in der die Grossstadt mit einem Auge schläft und die Lichter auf dem Heimweg besonders grell und kalt erscheinen. Das Video nimmt die Ästhetik der «Ludovico Technique» aus A Clockwork Orange
auf, so dass wir kaum hinschauen wollen. Vielleicht nicht der beste Track von Ferraro, aber sicher eine Art Schlüssel zum Verständnis dessen, was den Mann umtreibt.
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Alternative Nomination für den Mercury Prize (News vom 20130911) [N]
Lead: Heute Abend wird der Preisträger des Mercury Prizes verkündet. Die seit 1992 jährlich vergebene Auszeichnung des besten Albums des Jahres ist neben den Brit Awards der renommierteste Preis. Ausgezeichnet werden hier tendenziell alternative Acts, bei denen das Preisgeld von 20000 £ noch etwas bewirkt. Die Frage liegt also in der Luft, wer dieses Jahr gewinnen wird und da werden die Musikjournalisten aktiv im publizieren eigener Listen mit «nominees», so das Dummy Mag.
Text: hier ist die Shortlist aller ausgezeichneten Alben
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Oneohtrix Point Never: Zebra (News vom 20130905) [N]
Lead: Das neue Album von Oneohtrix Point Never R Plus Seven
kommt Ende Monat heraus. Unser Warten auf dieses potenzielle Album des Jahres wird mit Zebra
verkürzt.
Text:
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Helm: Silencer (News vom 20130826) [N]
Lead: Uneasy Listening: Helm, das ist Luke Younger aus London, kommt in ein paar Tagen mit einer neuen EP auf dem PAN Label heraus, worauf dieser Track Silencer
zu hören sein wird. Mich beeindruckt, wie es Helm gelingt, Industrial Music zeitgemäss klingen zu lassen. Industrial war immer Musik, die den Lärm der Industriestädte aufnahm, um aus ihm eine Hörerfahrung zu machen. Heute arbeitet elektronische Musik in der Tradition von Industrial daran, aus digitalen Störgeräuschen ein Hörerlebnis zu gestalten. Un so verdichtet und intensiviert Silencer
ein Störgeräusch zu einem intensiven psychischen Erlebnis. Live sicherlich sehr laut und eine ganzheitlich leib-seelische Erfahrung.
Text:
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Deep Dive Podcast #3: Do Music Charts Still Matter? (News vom 20130826) [N]
Lead: Der Musikmarkt ist zersplittert wie noch nie und die Verkaufszahlen befinden sich auf einem absoluten Tiefpunkt. Kann eine Hitparade wie die Billboard Hot 100 noch so tun, als gäbe es einen Markt auf dem relevante Songs erfolgreich sind?
Dieser interessante Podcast aus der Reihe von Upward Spiral Deep Dive Podcasts vertieft das Thema der Relevanz von Charts/Hitparaden in unserer Zeit. Anlass für die Diskussion ist, dass ein Mobile-Anbieter eine Million Exemplare von Jay-Zs Album Magna Carta Holy Grail vorgekauft hat, um die Tracks ihren Kunden zu verschenken. Für die Billboard Charts zählen alle verkauften physischen oder digitalen Alben, aber nur dann, wenn ein Kunde die Kaufentscheidung selbst trifft und das ist bei der Million Jay-Z-Alben nicht der Fall.
Der Podcast wirft allerlei interessante und wichtige Fragen im Zusammenhang mit Hitparaden auf: Was soll gemessen werden - ein Kauf, Aufmerksamkeit, Trends auf Twitter, geklickte Like-Buttons? Für wen sind Charts interessant - für oberflächliche MusikhörerInnen, die Trends nachjagen, oder für das Musikbusiness selbst?
Text:
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Musikraten in Aarau (News vom 20130804) [N]
Lead: Am Mittwoch Abend machen Gabor Doka (Mr. D) und Christian Schorno von Musikzimmer (Mr. C) in Aarau ein Musikraten-Gastspiel.
Text: Dies ist der Veranstaltungstext: «Mr. D und Mr. S machen die Show für euch in der Tuchlaube! Die beiden springen aufs Trampolin, über Leute, Pferde, durch Reifen und zuletzt durch einen brennenden Wildschweinskopf! Nach einigen Tagen Vorbereitung, können wir euch einen prächtigen Abend versprechen!».
Kennen Sie den Originaltext, an den diese Einladung anspielt? Wenn ja, ist das die beste Voraussetzung, um mitzumachen und einen der vorderen Ränge zu belegen; wenn nein, vertrauen Sie einfach auf die prächtige Show und das wunderschöne Lokal in der Aarauer Altstadt!
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James Ferraro: Eternal Condition/Stuck 2 (News vom 20130731) [N]
Lead: Von James Ferraro erwarten wir ein neues Album mit dem Titel NYC, Hell 3:00 AM.
. Ferraro ist einer der führenden Köpfe des amerikanischen Lo-Fi-Untergrunds. Er ist der Taufpate einiger Mikrogenres der webbasierten elektronischen Musik, z.B. Vaporwave oder Seapunk. Seine Alben, Tracks und Mixtapes sind Wegweiser zur Musik der 10er Jahre, die noch kommen wird, falls es mal wieder eine Zukunft der modernen Musik gibt. Der erste verfügbare Track aus dem neuen Album heisst Eternal Condition/Stuck 2
.
Text:
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Arca: &&&&& (Mixtape) (News vom 20130724) [N]
Lead: 
Von Arca, das ist Alejandro Ghersi aus Caracas, steht ein Mix mit dem weiss-nicht-wie-wir-das-aussprechen-sollen Namen, &&&&&
, im Netz. Arca hat sich mit den zwei letztjährigen EPs Stretch
einen Namen gemacht und ist inzwischen einer der Produzenten, die mit/für Kanye West arbeiten.
Text:
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Moderat: Bad Kingdom (News vom 20130701) [N]
Lead: Im August wird die neue Scheibe von Moderat erscheinen, das sind Modeselektor und Apparat aus Berlin. Ein erster Track, Bad Kingdom
, kam als Comix Video aus der Pfadfinderei heraus.
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M.I.A. [UK]: Bring The Noize (News vom 20130619) [N]
Lead: Schon einige Zeit sollte das vierte M.I.A. Album Matangi
veröffentlicht werden, das Datum wurde aber auf den Herbst verschoben. Offenbar passen die Tracks nicht zum polemischen Image der Künstlerin: Die Tracks seien zu positiv. Das Warten wird nun mit dem Track Bring The Noize
überbrückt.
Text:
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Disclosure: When A Fire Starts To Burn (News vom 20130605) [N]
Lead: Vermute mal, dass das so ein Video ist, das sich viral im Netz ausbreitet. Aber da man so etwas nicht voraussagen kann, schon gar nicht als Experte, warten wir es ab. Disclosure haben eben ihr erstes Album veröffentlicht und es schneit grossartige Rezensionen vom Pophimmel. Wir
werden dieses Album, Settle
, auf den Jahresbestenlisten finden, das steht ein Tag nach dem Release bereits ziemlich fest. When A Fire Starts To Burn
ist ein infektiöser Track und das Video ist - «abgefahren» ist wohl das Wort. Mir verdreht's auch schon die Augen.
Die Musik erinnert mich ein wenig an Thomas Brinkmanns zweiten Soul Center*-Release.
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Glass Candy: Beautiful Object (News vom 20130529) [N]
Lead: Glass Candy haben dieses neue Video am Start, Beautiful Object
, eine inszenierte Live Version eines Tracks ab der Warm In The Winter EP von 2011. Wir
sehen einmal mehr ein Schulbeispiel von hypnagogischer Musik. Da werden die 70er und 80er Jahre zurückgeträumt (Giorgio Moroder und Italosdisco). Die Instrumente (na ja, ein Teil von ihnen), der Sound, der Look, sogar das Klatschen, die Handclaps, klingen wie in den Originalen von damals. Das Video ist verwittert, da es suggeriert, dass alles wie ein schöner Tagtraum ist, eine Erinnerung an die besten aller Zeiten. Der Regisseur, Alberto Rossini (the guys have italian names!), zeichnet sich für die meisten Videos von Glass Candy verantwortlich, so ist garantiert, dass niemand plötzlich aufwacht und sich in der Gegenwart wieder findet. Hier arbeitet er zusammen mit Martin D' Argensio, der die Kamera führt.
Zum Weiterhören empfehle ich auch die Musik von Maria Minerva, die sehr ähnlich - und ähnlich gut - ist!
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Slava: As Long As You Love Me (News vom 20130517) [N]
Lead: Da wir gerade bei den experimentelleren und ungewöhnlicheren Electronica sind, poste ich einen neuen Track von Slava (Slava Balasanov). Auch Slavas Musik besteht aus frenetischen Samples, deren Rhythmik zu ein Bein-Training in schnellen Schritten einlädt (vergleiche den Text des Dummy Journalisten Anthony Walker). As Long As You Love Me
ist ein Gratis Track für das dis magazine. Sein neues Album Raw Solutions ist vor drei Wochen auf dem Software-Label herausgekommen, Joel Fords und Daniel Lopatins Label, das sich für einige der interessantesten Electronica Releases aus den Staaten der letzten drei Jahre verantwortlich zeichnete.
Text:
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Laura Mvula: She (News vom 20130427) [N]
Lead: Laura Mvula aus Birmingham ist in vielerlei Hinsicht ein typischer Act unserer Zeit. Zuallererst hat sie musikalischen Charakter. Ihre Musik ist schon mit ihrem ersten Album eigen. Ihr Hintergrund ist akademisch - sie ist keine Selfmade-Frau, sie bringt einen Abschluss in Jazz und klassischer Komposition mit und das kann man hören, ohne dass sie deswegen schwierige Musik macht. Pop ist es aber auch nur mit einem Bein. Laura Mvulas Musik ist steinreich an Referenzen und das heisst nicht, dass sie dadurch an Eigenheit verliert. Ich glaube, das macht Klasse aus, wenn jemand viele hörbare Wurzeln hat und trotzdem selbständig klingt. Nun aber zu diesen Referenzpunkten: Ihre Stimme setzte sie zuvor in einer der führenden Acapella Gospel Gruppen Grossbritanniens ein. Daher liegt es nahe, sie zunächst mal in den Kontext der Uk-Soul-Acts zu setzen (Amy Winehouse, Adele, Jessie Ware). Verglichen mit diesen Sängerinnen, die primär grossartige Stimmorgane haben, fallen bei Mvulas Musik zuerst die Arrangements auf. Diese sind reich und etwas exotisch von der Instrumentierung her. Duke Ellington, Quincy Jones sind die Referenzpunkte dieser Kunst, die Mvula so erstaunlich beherrscht. Ihre Backupband, die im Kern aus Bruder und Schwester besteht, spielt mit Instrumenten wie Celeste, Glockenspiel oder Harfe. Auch singen sie alle mehrstimmig, dass es zeitweise nach den Beach Boys klingt. In dieser Beziehung kann man die Musik dem zeitgenössischen Chamberpop zuordnen, nicht den bombastischen Mainstreamacts wie Florence + The Machine, sondern wirklicher Kammermusik, die an allen Ecken und Enden wuchert und viele farbige Blüten treibt. Die vor wenigen Tagen hier gepostete Janelle Monáe ist eine geistesverwandte Musikerin.
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Laurel Halo: Throw (News vom 20130425) [N]
Lead: Herrlicher Track von Laurel Halo als Ankündigung einer neuen EP namens Behind The Green Door
(das war doch ein Porno-Film, der so hiess). Auf diese EP müssen wir nur noch etwa drei Wochen warten. Bis dahin haben wir Throw
mit diesen verwegen verstimmten Klavierakkorden.
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Ding Dong, The Witch Is Dead (News vom 20130416) [N]
Lead: Die Popmusik und der Tod von Maggie Thatcher. Fragen und Erinnerungen. Wir
singen alle Ding Dong, The Witch Is Dead
. Warum und wofür steht im Blog.
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Chvrches: Now is Not The Time (News vom 20130402) [N]
Lead: Chvrches ist ein Electropop-Trio aus Glasgow. Die Band besteht aus Iain Cook (ehemals mit der Postrockband Aereogramme) and Martin Doherty (ehemals mit der Tourband von Twilight Sad und der Sängerin Lauren Mayberry (früher bei Blue Sky Archives, einer Indie-Folkpop-Band). Nach den ersten drei Singles hat sich die Band, die vielfach mit Purity Ring verglichen wird, genug Aufmerksamkeit verschafft, dass man jetzt auf das erste Album gespannt sein darf, das später im Jahr erscheinen soll.
Text: Das Video zu Now is Not The Time
nahm die Band nach Sonnenuntergang in einer Skaterbahn auf, wobei die Beleuchtung stimmungsvoll dunkel gehalten wird und die Musiker im farbigen Gegenlicht einer einfachen Lightshow eingefangen werden.
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Pan American: Project For An Apartment Building (News vom 20130326) [N]
Lead: Pan American (Mark Nelson) ist einer der wunderbarsten Electronic-Ambient-Acts auf diesem Planeten. Die Musik fliesst organisch, klingt stets warm und analog. Cloud Room, Glass Room
, so lautet der Titel des neuen Albums, das Ende April beim Kranky Label erscheinen wird. Project For An Apartment Building
heisst dieser Track.
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Cindytalk: My Drift Is A Ghost (News vom 20130322) [N]
Lead: Cindytalk ist das Solo-Vehikel des Schotten Gordon Sharp, der durch seine Beiträge zur Label-Projekt-Band von 4AD, This Mortal Coil, zum ersten Mal auffiel. Cindy - Gordon hat vor Jahren eine Geschlechtsumwandlung hinter sich - macht heute elektronische Laptopmusik und veröffentlicht beim renommierten eMego-Label. Im Mai kommt das neue Album A Life Is Everywhere
. Der Appetizer heisst My Drift Is A Ghost
.
Solche Noisetronica-Sounds gehören nicht zur leichten Muse, aber diese Musik ist ein Spiel mit recht poppigen Elementen, die kontextversetzt gefälligen Synthpop abgäben. Es ist auch ein Spiel mit Intensitäten: Dichte wird erzeugt, in dem aus dem Set von Elementen, aus dem der Track besteht, nicht ein gefälliges und übersichtliches Nacheinander arrangiert wird, sondern alles zusammengeworfen wird als würde immer das, was man, um Gefälligkeit erreichen zu können, ausschliessen müsste, gerade zur Darstellung gebracht. Ein langer Satz, für eine abstrakte Idee von heutiger Laptopmusik. Kürzer als Formel: Zur Darstellung-Bringen des Ausgeschlossenen, Ausschliessen des Naheliegenden.
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Vampire Weekend: Step (News vom 20130319) [N]
Lead: Vampire Weekend haben ihr neues, drittes Album angekündigt. Es wird Modern Vampires Of The City
heissen. Das Video zum ersten Track daraus, Step
ist eine Liebeserklärung an ihre Heimatstadt New York in Schwarz und Weiss. Der Song basiert mehr auf Synthis als auf der sonst so charakteristischen Gitarre von Ezra Koenig.
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AraabMuzik: The Prince Is Coming (News vom 20130315) [N]
Lead: AraabMuzik ist Abraham Orellana aus dem Amerikanischen Providence. Orellana hat einen Latin-Hintergrund; er wuchs in Guatemala und der Dominikanische Republik auf. AraabMuzik macht Sample-basierte Musik. Das geht heute so, dass man eine Wundermaschine von Akai oder einem vergleichbaren Hersteller vor sich hat: Diese Geräte heissen «Music Production Center» (MPC). Sie haben eine Menge Knöpfe, vor allem ein Feld aus sechzehn grossen Tasten, und sehen damit aus wie eine Art Telefonapparat, der in einem modernen Büro steht, allerdings ohne Hörer. Abraham Orellana und andere, die dieses Instrument spielen, bauen Tracks mit Samples und Rhythmus-Patterns live zusammen, wobei sie manchmal konzentriert, manchmal wie wild auf diesen Tasten herumhämmern.
AraabMuzik gehört zur zweiten Gruppe. Er fuchtelt mit Händen und Fingern wild auf seinem MPC herum. Wir
Zuschauer stehen bass erstaunt da und wundern uns, wie das möglich ist, dass der Spieler immer die richtige Taste erwischt. Das hat etwas von der Faszination, die wir für Turntablists hatten (z.B. Grand Wizard Theodore, der das Scratchen erfunden hat, DJ Shadow oder The Gaslamp Killer), die aus normalen oder manchmal obskuren Platten, Klangwelten hervorzauberten, die wir noch nie gehört haben.
Die Breakbeat-Musik von AraabMuzik klingt nach Dubstep und Science-Fiction. Mit seinem Album Electronic Dream ist er 2011 vielen Rezensent/-innen aufgefallen und kam in einige Jahresbestenlisten. Seit dem Februar ist das Mixtape For Professional Use Only erhältlich und daraus kommt der Track The Prince Is Coming
, der ein üppiges Video erhalten hat.
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James Ferraro: Blood Flow (News vom 20130307) [N]
Lead: James Ferraro ist einer der Architekten des zeitgenössischen Hypnagogicpops - zusammen mit John Maus oder Ariel Pink. Von ihm soll noch diesen Monat ein neues Mixtape erscheinen, das Cold
heissen wird. Ein Track daraus, Blood Flow
, ist als Stream bereits im Angebot.
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Julia Holter & Lauel Halo @ Ecstatic Music Festival (News vom 20130302) [N]
Lead: Julia Holter und Lauel Halo, zwei grosse Hoffnungen im Bereich der elektronischen Musik und häufige Gäste auf diesem Blog, arbeiteten diese Woche am Ecstatic Music Festival in New York mit Daniel Wohl, einem Pariser elektroakustischen Musiker und Transit, einem Streichquartet für Neue Musik, zusammen. Sean Delanty von Adhoc schreibt über die Performance, dass Halo und Holter sich ein eindringliches Ruf-und-Antwort- bzw. Call-and-Response-Duell liefern, das über einer amorphen Textur des Streichquartets (von Wohl komponiert) gelegt ist. Wo das erste Stück noch stimmungsvoll dahin plätschert, wird das zweite bereits mächtig dramatisch.
Die Gefahr einer solchen Kollaboration ist stets, dass die komponierte Musik, weil sie in Noten gesetzt und in der Regel komplex ist, nicht wirklich in einen Dialog mit der Laptop-Musik eintreten kann. Hier scheint mir gerade diese Schwierigkeit sehr gut bewältigt, wenn auch nicht ganz ausgeschaltet.
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David Bowie: The Stars (Are Out Tonight) (News vom 20130226) [N]
Lead: Das Release Date des neuen Albums von David Bowie kommt näher und näher. The Next Day
wird es heissen und in drei Wochen verfügbar sein. Nach Where Are We Now?
, einem ersten Track, der im Januar heraus kam, ist nun eine zweite Single als Video im Netz: The Stars (Are Out Tonight)
.
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James Blake: Retrograde (News vom 20130211) [N]
Lead: James Blake hat seit ein paar Tagen eine neue Single als Ankündigung seines neuen Albums Overgrown
draussen, das im April erscheinen wird. Das Video ist von Martin De Thurah gedreht, der sich schon für frühere Videos des Musikers verantwortlich zeichnete.
Es ist interessant, dass man James Blake zuerst in der Nähe von Futuregarage-Produzenten verortet hat. Mittlerweile höre ich ihn als Vertreter des R'n'B-Renaissance oder des New-UK-Soul-Genres.
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Benoît Pioulard: Margin (News vom 20130129) [N]
Lead: Benoît Pioulard ist der Künstlername von Thomas Meluch, der seit Jahren wunderbar schillernde Folktronica-Musik macht. Margin
verkündigt das neue Album von ihm: Hymnal
, das anfangs März bei Kranky erscheinen wird.
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Tourist: Tonight (News vom 20130127) [N]
Lead: Tourist heisst laut Facebook William Phillips und ist ein Produzent aus London. Bekannt ist Tourist von Remixes für beispielsweise Sharon Van Etten oder Ariel Pink. Tonight
ist ein elektronischer R'n'B-Renaissance-Track, der mit auf dem Keyboard gespielten Vocal-Samples arbeitet. Dieser Track wird auf der gleichnamigen EP Tourist
zu finden sein, die Mitte Februar heraus kommt.
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David Bowie: Where Are We Now? (News vom 20130108) [N]
Lead: Zehn Jahre nach seinem letzten Studioalbum, Reality
, kehrt David Bowie zurück. Zu seinem sechundsechzigsten Geburtstag beschenkt er sich heute gleich selbst, und zwar mit der Ankündigung seines neuen Albums The Next Day
, das im März erscheinen soll, sowie der Veröffentlichung einer ersten Single daraus. Where Are We Now?
ist eine klassische Bowie-Ballade, die seine Erfahrungen in Berlin reflektiert und sich unbeirrbar in den Gehörgängen festzubeissen weiss. Geschmückt wird das Ganze von einem geradezu surrealistischen Video, das der New Yorker Installationskünstler Tony Oursler realisiert hat.
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Shugo Tokumaru: Katachi (News vom 20130106) [N]
Lead: Der japanische Singer-Songwriter Shugo Tokumaru ist ein einhundertprozentiger Self-Made-Man, der seine Musik selber schreibt, spielt, produziert und mixt. Bekanntheit erlangte er über die Landesgrenzen hinaus auch aufgrund der Vielfalt der Instrumente, die er beherrscht: insgesamt hat er auf seinen Aufnahmen über 100 verschiedene verwendet. Die neue Single Katachi
ab dem kommenden Album In Focus?
, seinem insgesamt sechsten, beweist eindrücklich, wie viele Klänge und Ideen sich in drei Minuten packen lassen, und dies ohne, dass es auch nur im Geringsten überladen wirkt.
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Chlöe Howl: No Strings (News vom 20121223) [N]
Lead: Das Rezept für die Debütsingle der 17-jährigen Londonerin Chlöe Howl mutet zunächst etwas allzu einfach an: man nehme einen populären Bassriff (Pumped Up Kicks
von Foster The People) und lasse ihn, ein wenig abgewandelt, zum Erkennungsmerkmal eines eigenen Electropop-Songs werden. Damit verfehlt man allerdings das wirklich Grossartige an dieser neuen Künstlerin: das, was sie zu sagen hat, und die Art, wie sie dies tut. Lyrics wie "You don't even know if I'm the right sex, do you? Fuck your 'no strings'" wollen, glücklicherweise, so gar nicht dem entsprechen, was man von einem Teen-Popstar erwartet. Chlöe Howl ist definitiv ein Name, ein Gesicht, eine Stimme, die man sich merken muss.
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Yo La Tengo: Ohm (News vom 20121222) [N]
Lead: Die Alternativerock-Legenden Yo La Tengo aus Hoboken, New Jersey, werden Mitte Januar des kommenden Jahres ihr mittlerweile dreizehntes Studioalbum, Fade
, veröffentlichen. Bereits im November wurde die Vorabsingle Before We Run
präsentiert. Nun gibt's auch den Albumopener Ohm
zu hören: ein entspannter, beinahe siebenminütiger Track, in welchem die Band ihrer altbewährten Lo-Fi-Ästhetik treu bleibt und die beinahe hypnotischen Qualitäten ihres simplistischen Gitarrensounds optimal ausnutzt. Auch der Videoclip ist sparsam: man sieht einzig Zeitrafferaufnahmen des Baumes, welcher auch das Albumcover von Fade
zieren wird.
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Campfires: Fortune Teller (News vom 20121221) [N]
Lead: Campfires ist das Einmann-Projekt von Jeff Walls aus Portland, der nun in Chicago lebt und im immer noch sehr lebendigen und interessanten Feld des Lo-Fi-Rocks schafft. Von Campfires kamen schon Split-Releases mit den Cloud Nothings und Benoît Pioulard heraus. Im Februar soll das Album Tomorrow, Tomorrow
erscheinen, worauf dieser grossartige Track Fortune Teller
zu finden sein wird. Fortune Teller
klingt aber nicht nach Tomorrow
, wie man wegen dem Albumtitel vielleicht erwarten würde, sondern nach den 60er Jahren. Hier duftet es nach Swinging-London, nach Rhythm'n'Blues, der psychedelisch und tanzbar wird (in Freakbeat umschlägt). Das war eine der besten Zeiten der damals noch jungen Rockmusik. Referenzpunkte aus dem Archiv sind da etwa: die Yardbirds (ab 1965), John's Children oder die amerikanischen 13th Floor Elevators.
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Johnny Jewel: Black And White - A Mix For Autumn (News vom 20121204) [N]
Lead: Schon wieder ein Mix von Johnny Jewel (von Glass Candy, Chromatics, SYMMETRY, Desire): Dies die Trackliste:
01. Lamuka (Johnny Jewel Edit) / Zazou Bikaye Cy1
02. The Fading Faces / Symmetry
03. Nuit / Xeno & Oaklander
04. The President Is Gone / John Carpenter & Alan Howarth
05. Dans Mes Reves (Test Pressing) / Desire
06. One Night At The Raw Deal 12″/ Twisted Wir
es
07. Ceremony (16 Track Demo) / Chromatics Feat. Ida No On Lead Guitar
08. Stars & Houses (Feeling Without Touching 12″) / Glass Candy
09. Its More Fun To Compute (Symmetry Edit) / Kraftwerk
10. Home Is In Your Head / His Name Is Alive
11. Alone In The Ring / Bill Conti
12. As We Could Ever / His Name Is Alive
13. Boy Girl / Blonde Redhead
14. Afraid / Nico
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James Ferraro: No Regrets (Mix für KCRW) (News vom 20121125) [N]
Lead: Ein 33 Minuten kurzer Mix vom umtriebigen James Ferraro für die KCRW-Radiostation. Diese Musik von Ferraro klingt ein wenig wie diejenige von Julianna Barwick: unechte Kirchenmusik (Madrigale) in der Hinsicht, dass der Kirchenraum mit Effekten, also künstlich bzw. virtuell, erzeugt wird.
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Bayou: Cherry Cola (News vom 20121122) [N]
Lead: Der Dummy-Musikblog erhielt von einem Londoner Producer, der sich Bayou nennt, den R'n'B-Track Cherry Cola
, der wirklich wunderbar klingt.
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Lead: Abgefahrenes Sci-Fi-Video von Crystal Ark zum Track We Came To
. Was mich besonders daran dünkt: Sci-Fi-Videos sind heute meistens retrofuturistisch. In ihnen wird markiert, dass diese Art von Science Fiction früher war und heute so nicht mehr möglich ist. Das dadurch entstehende ironische Verhältnis vermisse ich in diesem Video weitgehend. Das überrascht mich. Die Instrumente, die man uns im Video zeigt (Moog Synthi, Keyboard) werden tatsächlich gespielt, das sensorbestückte und damit spielbare Kostüm, das eine der Frauen trägt, ist nicht retro, sondern völlig up-to-date. Das Instrument kommt in unserem Zeitalter der Miniaturisierung näher zum Körper, geht in ihn ein und wird letztlich zum Körper selbst. Das Instrumental-Spiel wird zum sexuellen Akt. Diese Tatsache zeigt das Video ironisch, aber eben: nicht retrofuturistisch.
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Rage Against The Machine wird 20 Jahre alt (News vom 20121110) [N]
Lead: Heute vor 20 Jahren kam dieses Album raus:
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Lead: Alt-J erhielten für ihr Album An Awsome Wave
den Mercury Prize eines Kreditkartenanbieters; ein Preis der das beste britische Album des Jahres kürt.
Das Video zu Tessellate
inszeniert eines der bekanntesten Freskos der Renaissance: Raffaels La scuola di Atene (Schule von Athen) von 1510/11 im Vatikan. Das Fresko zeigt die Vereinigung der wichtigsten griechischen Philosophen und Wissenschaftler mit Platon und Aristoteles im Zentrum. Das Video inszeniert die Szene neu und zeigt einen möglichen Rezeptionsprozess indem die Kamera wie die Augen einer Betrachterin oder eines Betrachteers über das Fresko gleitet. Es entstehen Fixierpunkte, wo Dinge geschehen, die sich ... - sagen wir mal: - REIBEN mit dem klassischen Verständnis der Akademie. Das Video ist eine Freude oder ein Schrecken für Bildungsbürger: Eine Gangster-Akademie.
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Holly Herndon: Fade (News vom 20121023) [N]
Lead: RVNG Intl. ist ein New Yorker Label, das sich auf Synthtronica spezialisert hat. Das Label hat uns dieses Jahr bereits Julia Holters hervorragendes Ekstasis-Album beschert. Im November kommt von Holly Herndon ein Vinyl-Album Movement
heraus. Herndon stammt aus Tennessee (das ist nicht die Heimat elektronischer Musik!), ging als junge Frau nach Berlin und tauchte dort in die Techno-Szene ein. Zurück in den Staaten machte sie einen Abschluss in Elektronischer Musik. Nun wird sie versuchen, sich im Fahrwasser gegenwärtiger Frauen-Acts im Bereich von Synthtronica zu etablieren. Ich spreche vor allem von Julia Holter, Laurel Halo, Nite Jewel, Grouper oder Zola Jesus. Die Musik weist Spuren ihrer Club-Vergangenheit auf, ist aber komponiert.
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Das Archiv für Moderne Musik (News vom 20121017) [N]
Lead: 
Gegenwärtig arbeite ich daran, dass mein Archiv eine Stiftung nach Schweizerischem Recht wird, nämlich das «Archv für Moderne Musik». Heute ist das Logo entstanden und im Textblog von Musikzimmer, der Webseite des Archivs, publiziert worden. Der Blog wird in der nächsten Zeit ein etwas anderes Gesicht erhalten. Er soll neben der Textblog-Funktionalität für Musikzimmer auch zur Webseite des Archivs für Moderne Musik werden.
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Lead: Justin Vernon (Bon Iver) hat selbst Regie bei seinem neuen Video zu Beth/Rest
geführt. Eine Art Anti-Geschichte zu Hänsel und Gretel: In Vernons surrealem Wald brennen auch in der Nacht Lichter. Und wir dürfen für fünf Minuten unsere Unschuld wiedererlangen.
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Lana Del Rey: Ride (News vom 20121013) [N]
Lead: LDR veröffentlichte das epische Video zu Ride, einem Track, der die Paradise Edition von Born To Die
promotet, die im November herauskommt. Diese Paradise Edition wird nicht einfach die Wiederauflage mit ein paar Outtakes als Bonustracks, sondern wartet mit acht neuen Songs auf, mit einer Remix-CD und einer DVD, die der Deluxe-Ausgabe beigegeben sein werden. Lana ist und bleibt ein heller Stern am Pophimmel. Wer denkt, sie war nur eine Sternschnuppe, täuscht sich. Gewaltig!
In diesem Song/Video geht es um den amerikanischen Traum. LDR würde als Musikerin in Greil Marcus' Buch Mystery Train passen, sie ist eine so uramerikanische Künstlerin mit uramerikanischen Themen: I am fucking crazy, but I'm free!
, heisst es am Ende dieses Videos.
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Scott Walker: Bish Bosch (Album Trailer) (News vom 20121012) [N]
Lead: Boa, da kommt was auf uns zu! Das neue Scott Walker Album steht ab Anfang Dezember in den Regalen - ein Nachfolger für das atemberaubend expressive Tilt von 1995. Bish Bosch
scheint die selbe Art von klassisch anmutender Expressivität anzustreben wie Tilt. Wenn denn Klassik und Expressivität überhaupt zusammen gehen, dann bringt das nur Scott Walker zu Stande. Der Trailer zeigt: Bish Bosch
wird weniger auf synthetischen als auf instrumental eingespielten Klängen beruhen. Ich kann das Album kaum erwarten!
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GRMLN: Patio (News vom 20121010) [N]
Lead: Schöner Popfolk für Freunde von den Fleet Foxes oder Bon Iver: Der US-Japaner Yoodoo Park singt und spielt unter dem Namen GRMLN. Patio
wird auf der ersten EP zu finden sein, die im November bei Carpark erscheint.
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Lee Gamble: Emu (News vom 20121009) [N]
Lead: Lee Gamble wurde in Birmingham geboren und lebt in London. Er kam übers DJen zur elektronischen Musik; das ist zunächst ein gar nicht so grosser Sprung, wenn man Samples verwendet. Lee Gamble verwendet aber keine Samples, sondern erzeugt alle Klänge synthetisch. Das heisst er startet vergleichsweise immer mit einer weissen Leinwand. Vom ehemaligen Jungle-DJ blieb nur noch die teils düstere Stimmung der Musik. Den Track Emu
habe ich bei No Fear Of Pop gefunden. Anlass für den Post ist eine EP, die dieses Jahr noch beim Berliner Pan-Label erscheinen wird.
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Oneohtrix Point Never & Rene Hell Split Release: (News vom 20120915) [N]
Lead: Das NNA Tapes-Label veröffentlicht eine Split LP, das ist eine LP, auf der sich zwei Acts je eine Plattenseite teilen, mit Oneohtrix Point Never (Daniel Lopatin aus Brooklyn) und Rene Hell (aus Los Angeles). Der Track-Zyklus von Oneohtrix Point Never steht unter dem Titel Music For Reliquary House
. Diese Tracks sind überarbeitetes Material aus einer Installation von letztem Jahr. Lopatins Tracks sind algorithmisch verkleinerte elektronische Sounds. Sie wirken wie ein Blick durch ein Kaleidoskop aus Klängen: farbig und unergründlich. Die Tracks von Rene Hell sind mit In 1980 I Was A Blue Square
überschrieben. Neoklassische Piano-Stücke werden im Laptop prozessiert, so dass aus dem an sich schon unerschöpflichen Klangerzeuger die Unerschöpflichkeit im Quadrat entsteht. Insgesamt ist diese Split-LP ein Meisterwerk der zeitgenössischen impressionistischen elektronischen Musik.
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Dirty Projectors: Hi Custodian (News vom 20120907) [N]
Lead: Dave Longstreth, Songwriter und Sänger der Artpopper Dirty Projectors aus Brooklyn hat einen Kurzfilm mit Musik seiner Gruppe aus dem neuen Album Swing lo Magellan gedreht. Er heisst Hi Custodian
. Ich fand die Musik der Gruppe schon immer speziell, die des neuen Albums ist wirklich eigen. Man muss sich etwas einhören, bevor sich die Schönheit der Tracks auftut.
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Maria Minerva: Fire (feat. Chase Royal) (News vom 20120903) [N]
Lead: Maria Minerva ist in Talinn (Estland) als Tochter von Mart Juur, einem Komiker, aufgewachsen. Seit einiger Zeit lebt sie in London und besucht die Goldsmiths University of London. Musikalisch gehört sie in die Lo-Fi-Electronica-Ecke; ihr Hypnagogicpop arbeitet sich an einer erträumten Discomusik ab. In der August-Ausgabe von The Wir
e erschien unter dem Titel Divine Styler
ein zweiseitiger Artikel über Minerva, der einen Hinweis auf die Wahl ihres Künstlernamens Minerva
gibt: Hegel, der deutsche Philosoph, hat die berühmten Zeilen geschrieben: Wenn die Philosophie ihr Grau in Grau malt, dann ist eine Gestalt des Lebens alt geworden, und mit Grau in Grau lässt sie sich nicht verjüngen, sondern nur erkennen; die Eule der Minerva beginnt erst mit der einbrechenden Dämmerung ihren Flug.
Das heisst: Weisheit, Klugheit und Philosophie kommen immer nach dem Fest und können es nicht noch einmal aufleben lassen. Sie können es nur noch feststellen, reflektieren, erkennen. So funktioniert die Retromusik von heute: Sie will sich nur noch auf das, was früher war, beziehen, sie kann es nicht wiederbeleben. Jeder Anspruch von Retro an Revival ist müssig.
Maria Minerva ist einer der Vorzeigeacts in besagtem Genre. Ihr Album Will Happiness Find Me?
kommt in diesen Tagen auf dem Lo-Fi-Label Not Not Fun heraus. Der Track Fire
ist mit der Stimme des Rappers Chase Royal entstanden, der einen interessanten Kontrast zum Reverb-reichen Sound hinein bringt.
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Mohn: Ebertplatz 2020 (News vom 20120822) [N]
Lead: Das deutsche Techno-Urgestein, der Kompakt Labelgründer Wolfgang Voigt und sein Mitstreiter Jörg Burger nennen ihr Projekt Mohn. Das Album kam im April heraus und im nächsten Monat soll ein Remix-Album folgen, daraus wir den Track Ebertplatz 2020
streamen können.
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Sea And Cake: On And On (News vom 20120815) [N]
Lead: The Sea And Cake sind ein Urgestein des Chicago Postrock. im September geht die Band mit einem neuen, mittlerweile zehnten Album, Runner
, an den Start, woraus wir bei Soundcloud den Track On And On
streamen können.
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Psychic Ills: Take Me With You (News vom 20120802) [N]
Lead: Die Psychic Ills sind eine Spacerock-Gruppe aus New York. Sie spielen mit dem Titel Take Me With You
auf. Dieser klassisch klingende Track wird in einer Woche als Split-Single zusammen mit einem weiteren Track der Gruppe Moon Duo beim Sacred Bones-Label veröffentlicht. Das ist Musik für Freunde von Gruppen wie Spiritualized, Gruppen, die das Psychedelic-Label in gegenwärtiger Rockmusik lebendig halten.
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Actress: ShockTherapy101 (News vom 20120727) [N]
Lead: Actress ist der DJ und Produzent Darren Cunningham aus London. Er wartete im April mit einem der besten und interessantesten Alben in der Electronica-Sparte dieses Jahr auf, mit R.I.P., einem Post-Dubstep-Album, das Musik enthält, die nur noch wenig mit dem Dancefloor zu tun hat. Die Tracks sind wie Auszüge aus einem Notizbuch, unpolierte Entwürfe für eine Musik der Zukunft.
Den Track ShockTherapy101
machte Actress diese Tage über seinen Twitteraccount bekannt. Wie Dummy dazu schreibt, besteht seine Qualität darin, dass er mit nur minimalen Elementen auskommt, einem knackigen Bassgeratter, einigen kaum greifbaren perkussiven Blips und ein paar Synth-Schwaden, um schon fahren wir ab.
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Holy Other: Held (News vom 20120718) [N]
Lead: Nur noch etwas mehr als einen Monat warten bis das erste voll-lange Album von Holy Other heraus kommt, einem Producer aus Manchester, der beim ultra-hippen Tri Angle-Label veröffentlicht. Der Gorilla vs. Bear Blog hatte die With U-EP auf der Jahresbestenliste des letzten Jahres. The Manchester producer's vocal poltergeists and insular bass depth could conjure sorrow, pain, and even fright, but its crushed velvet breath ultimately exuded lust and yearning
schreibt Ad hoc und betont die grosse Spannung in der Musik zwischen einer abgründigen Unheimlichkeit und einer souligen Bettdeckenkuscheligkeit.
Das Album wird Held
heissen. Den Titeltrack können Sie bereits streamen.
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Lead: Über die Peaking Lights mit ihrer eigenen Mischung von Postpunk, Psychedelik, Dub und Hypnagogicpop wurde in den amerikanischen Musikblogs seit dem letztjährigen Album 936 fleissig geschrieben. Ihr neues Werk, Lucifer, war in den Kanälen von Musikzimmer bereits Musik Tipp des Tages. Jetzt kam zum Track Beautiful Son
ein Video heraus, das auf beeindruckend kitschige Art psychedelisch ist. Damit gehören die Peaking Lights zu den Acts aus den Kreisen des Hypnagogicpop-Trends, die fleissig mit der New-Age-Ästhetik der 80er Jahre arbeiten. Das nenn ich Karma: Die Trends der 80er Jahre kommen zurück, auch die, die wir gar nicht zurück haben wollen.
Der Titel Beautiful Son
erinnert thematisch (und nicht unbedingt musikalisch) an die beiden Songs von John Lennon und Yoko Ono über ihren Sohn Sean (Beautiful Boy bzw. Beautiful Boy (Darling Boy) auf Double Fantasy. Die Peaking Lights sind auch ein Ehepaar-Act wie damals Lennon/Ono.
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OM: Gethsemane (Edit) (News vom 20120709) [N]
Lead: Von der Nu-Metal-Gruppe OM kommt bald ein weiteres Album heraus: Advaitic Songs
. Gethsemane
wird darauf zu finden sein. OM sind Emil Amos (Schlagzeug) und Al Cisneros (Gitarre und Gesang).
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Com Truise: Open (News vom 20120629) [N]
Lead: Von Com Truise (aka Seth Haley) erwarten wir auf den 17. Juli ein neues Album. Es wird In Decay
heissen und bei Ghostly International herauskommen. In Decay
ist eine Compilation, die frühe Tracks versammelt, beispielsweise Open
.
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John Maus: Bennington (News vom 20120623) [N]
Lead: John Maus ist einer der hoch gehandelten Musiker der Gegenwart. In Minnesotta geboren, studierte er Kunst am California Institute of the Arts, das von Walt Disney gegründet wurde. Maus spielte Keyboard für Animal Collective, Panda Bear und Ariel Pink allesamt Top-Acts der letzten Jahre. Heute gehört er zu den wichtigsten Vertretern des Hypnagogicpop.Bennington
wird auf der Compilation zu finden sein, die Maus nächsten Monat herausgibt: A Collection of Rarities and Previously Unreleased Material
.
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Jessie Ware: Wildest Moments (News vom 20120620) [N]
Lead: Der Blogbeitrag vom Dummy Magazine lobt die neue Single von Jessie Warein den höchsten Tönen. Wildest Moments
ist in der Tat eingängige Popmusik: ein schwerer Beat, rauschige Keyboardwände, eine sentimentale Melodie, ein Ohrwurm. Das erste Album Devotion
von Ware erwarten wir im August.
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Buchhinweis: Peter M. Roese: Allgäu Sixties (News vom 20120615) [N]
Lead: 
Aus dem Pressetext: «Allgäu Sixties eine olivgrün angehauchte Liebeserklärung an das Allgäu und die 60er Jahre. Kaufbeuren ist Hauptschauplatz dieser bisweilen nicht ganz ernst gemeinten Story um den Luftwaffensoldaten Rossner und seine Clique. Dienst in der Kaserne, heiße Feten, eine Band und Liebeleien am Bärensee all dies ist eingebettet in die stürmischen Sixties, die auch das beschauliche Allgäu ganz ordentlich aufmischten. Humor wird aber nicht nur rund um den Fliegerhorst groß geschrieben Rossner & Co. lassen es sich nicht nehmen, auch die Umgebung zu erkunden: Landsberg, Memmingen, Mindelheim, Marktoberdorf, Schongau, Füssen, Kempten, Oberstdorf, Tirol ... Außerdem verschlägt es den Leser ins fränkische Neuhaus an der Pegnitz, ins baden-württembergische Mengen und nach Diepholz bei Bremen, stets garniert mit politischen und gesellschaftlichen Ereignissen der wilden 60er. Eine kurzweilige Lektüre voller lebendiger Zeitgeschichte und Lokalkolorit nicht nur für Allgäufans.»
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Holy Other: Love Some1 (News vom 20120610) [N]
Lead: Von Holy Other dürfen wir bald das erste vollange Album erwarten. Held
wird es heissen und kommt im August. Holy Other stand bisher auf der eher hypnotisch-düsteren Seite des Hypnagogicpop-Genres. Die letztjährige EP, With U
, zählte bei den MacherInnen des Gorilla Vs. Bear Blogs zu den besten Releases von 2011.
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Grizzly Bear: Sleeping Ute (News vom 20120606) [N]
Lead: Eine der besten Bands auf dieser Welt in unserer Zeit: Grizzly Bear haben heute ein neues Album TBA
auf den September angekündigt und uns einen ersten Track, Sleeping Ute
, geschenkt. Danke, wir bleiben dran.
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Gary War: Superlifer (News vom 20120527) [N]
Lead: Ein eher wilder Lo-Fi Track von Gary War, ein konfuses Gebräu von Spacerock und alten Slotmachines. Interessanter Track, der mit jedem Hören besser wird.
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How To Dress Well: Ocean Floor For Everything (News vom 20120523) [N]
Lead: Ein neuer Track von HTDW kündigt ein neues Album an ... Das Album wird Total Loss
heissen, erscheint aber erst im Herbst.
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John Maus: Mental Breakdown (News vom 20120517) [N]
Lead: Im Juli wird John Maus eine Compilation mit alten Arbeiten herausgeben: A Collection of Rarities and Previously Unreleased Material
. Mental Breakdown
gibt schon mal einen ersten Eindruck davon.
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Cankun: Too Many Clouds (News vom 20120515) [N]
Lead: Cankun ist Vincent Caylet aus Frankreich, der Lo-Fi-Neo-Psych macht, die Musik, die vom Not Not Fun-Label aus Los Angeles verlegt wird. Eben kam ein neuer Cassetten-Release heraus: Isalo Waterfall
.
Das Video Too Many Clouds
arbeitet mit einer Version des Futuristischen Manifests, was es als geradezu exemplarisches Beispiel einer retrofuturistischen Arbeit auszeichnet.
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Oneohtrix Point Never: I Only Have Eyes for You (News vom 20120511) [N]
Lead: Daniel Lopatin alias Oneohtrix Point Never stellte seinen Remix eines Megahits aus den 50ern online: ein Remake des Flamingos-Songs I Only Have Eyes for You. Aus Doo-Wop wird Doo-Warp.
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2:54: Creeping (News vom 20120503) [N]
Lead: Vor ein paar Tagen habe ich ihr Video You're Early gepostet. Jetzt wird auf Soundcloud ein weiterer Track der britischen Gruppe 2:54 gestreamt: Creeping
.
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Magic Fades: Basically Us (News vom 20120502) [N]
Lead: Wir
bleiben bei R'n'B-Electronica-Hybriden. Wie Pure Lands, die ich gestern gepostet habe, machen Magic Fades, ein Duo aus Portland, Oregon, elektronische Popmusik mit diesem Auto-Tune-Gesang aus dem zeitgenössischen R'n'B. (Auto-Tune ist eine Software, die seit Jahren in der Pop- und Hip-Hop-Produktion eingesetzt wird, um Stimmen in der Tonlage zu korrigieren. Findige Produzenten haben sie aber bald schon dafür eingesetzt, dem Gesang einen interessanten elektronischen Charakter zu verleihen.)
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Steezy Ray Vibes: Empty City (News vom 20120430) [N]
Lead: Perfekte Indiepop-Musik von Steezy Ray Vibes (ein Projekt von Dan Casey und eine Anspielung an den Gitarristen Stevie Ray Vaughan). Dan Casey ist ein Produzent aus Oakland, der bisher vor allem unter dem Namen Yalls bekannt war. Empty City
ist ein melancholischer Ohrwurm, der gekonnt mit dem Raum arbeitet: Es entsteht eine interessante Spannung zwischen der Gitarre, die in einem weiten offenen Raum spielt und der Stimme, die aus einem fragilen privaten Raum erklingt. Vielleicht ein Beispiel für ein Song, dessen Demo-Version besser ist als die ausgereifte Studioversion. Wir
werden es wissen, wenn der Track offiziell erscheint.
Text:
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Dana Buoy: Call To Be (News vom 20120426) [N]
Lead: Dana Buoy ist Dana Janssen. Seine poppig-eingängige Chillwave Nummer Call To Be
erinnert etwas an Panda Bear wird auch auf seinem Album Summer Bodies
zu finden sein, das am 8. Mai heraus kommt.
Text:
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Paco Sala: Earn Your Stripe (News vom 20120420) [N]
Lead: Paco Sala ist der Londoner Antony Harrison, der als Konntinent neo-kosmische Musik macht. Als Paco Sala ist jetzt beim immer interessanten Digitalis Label die Vinyl LP Ro-Me-Ro
herausgekommen, woraus der Track Earn Your Stripe
stammt. Das Album wird als ein grosses Popalbum gewürdigt und erhält auffällig viel gute Rezensionen. Die einander kunstvoll überlagernden Vocal-Edits bilden mit dem Hypertango-Beat und den Soundflächen ein stimmiges Ganzes. Auch ich empfehle diese Musik nachdrücklich!
Text:
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Sin Kitty: Vanity Daze (News vom 20120420) [N]
Lead: Von Sin Kitty kam letztes Jahr eine EP heraus, die unter dem Radar der meisten Blogs flog. Jetzt bringt AdHoc.fm Vanity Daze
und wir hören: Sin Kitty ist Indiepop vom besten.
Text:
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Lead: Im Juni kommt das neue Album der New Yorker Band The Walkmen heraus. Es wird Heaven
heissen. Der Titeltrack ist seit Kurzem verfügbar ...
Text:
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Laurel Halo: Light + Space (News vom 20120413) [N]
Lead: Laurel Halo ist eine vielversprechende junge Musikerin aus Ann Arbor mit Wahlheimat Brooklyn. Von ihr kommt Ende Mai ein neues Album heraus: Quarantine
. Erscheinen wird es auf dem englischen Dubstep-Label Hyperdub, das für seine Cutting-Edge-Produktionen bekannt ist. Light + Space
geht jetzt schon wie ein Lauffeuer durch die Musikblogs. Das dürfte eines der Alben es Jahres werden, aber ich bin voreilig.
Text:
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SBTRKT: Hold On (News vom 20120328) [N]
Lead: Interessantes Video zu Hold On
von SBTRKT – eine Futuregarage-Nummer. Gefällt Freunden/Fans von James Blake. Ein Mann, dessen Frau ihn verlässt, steckt in einem Loop. Mit jeder Wiederholung der Homecoming-Szene wird die Erzählung alptraumhafter, hirnspinstiger. Am Ende scheint er den Loop zu unterbrechen, wenn er am Fenster stehen bleibt.
Solche Videos müsste es mehr geben.
Text:
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Lotus Plaza: Strangers (News vom 20120320) [N]
Lead: Lotus Plaza ist Locked Pundt von Deerhunter. Sein zweites Soloalbum soll bald bei Kranky erscheinen. Es wird mit Spooky Action
betitelt sein.
Text:
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Gossip: (News vom 20120314) [N]
Lead: Gossip melden ein Album auf den Mai an. Es wird A Joyful Noise
heissen. Perfect World
heisst der Teaser.
Text:
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Lead: Die Chromatics nehmen die Szene im Sturm: Das ist die fünfte (!!!) Single, die sie im Vorfeld auf ihren Erstlingsrelease herausgeben. Das ist eine wirksame und interessante Strategie für eine junge Band, um im grossen Stil auf sich aufmerksam zu machen.
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Keep Shelly In Athens: Our Own Dream (News vom 20120308) [N]
Lead: Das KSiA-Video: Verwunschen und voller abgründiger (?) Magie. Die domestikale Idylle bzw. der Zweierkiste dieses Paars ist ein Traum. Was davon wahr ist, was real, werden wir nicht erfahren, scheint mir.
Text:
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Lead: Während grosse Teile der aktuellen Popszene von Geistern und Kindheitserinnerungen besessen ist, machen die Shins dieses Video über die ganz konkrete und völlig unromantische Wir
kung eines Toten: Er geht nicht als Geist um, ist keine wie immer gefärbte persönliche Erinnerung sondern einer, der ein Testament mit Folgen hinterlassen hat.
Ich liebe diesen Song (er war schon vor einigen Tagen als Audiofile hier gepostet). Das Album kommt in diesen Tagen ...
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Spiritualized: Hey Jane (News vom 20120225) [N]
Lead: Spiritualized veröffentlichten einen neuen Song auf Soundcloud. Hey Jane
wird auf dem neuen Album mit dem Titel Sweet Heart Sweet Light
zu finden sein. Der Track feiert den Sound der Endsechziger ab.
Text:
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Ad Hoc: We're Doing It Differently (News vom 20120222) [N]
Lead: Die ehemaligen Altered Zones Macher, Emilie Friedlander und Ric Leichtung, starten einen neuen Blog, für den Sie Geld sammeln. Werden Sie Gönner/-in in einem Projekt, das einer der wichtigsten Kanäle für neue Musik werden wird! Die Macher/-innen haben sich attraktive Gegenleistungen als Dank für die Unterstützung ausgedacht.
Text: Das Mission Statement von Ad hoc lautet: We're doing it differently
. Anders sein als die anderen Musikblogs heisst für Ad Hoc: Die Musik, die eingesandt wird, soll tatsächlich angehört werden, in Besprechungen soll ein Album nicht auf ein Zahlen-Rating reduziert werden, es soll Musik aus der ganzen Welt (statt nur aus Brooklyn) berücksichtigt werden, Musiker/-innen kommen selbst zur Sprache, weil das Projekt von Musikerinnen und Bands mitgetragen wird, es sollen keine Hypes produziert, sondern Qualität gefördert werden, Reviews sollen nicht von der Unterscheidung zwischen gut und schlecht getragen sein, sondern darauf fokusieren, was eine Musik über die artistischen, technologischen, ökonomischen und politischen Entstehungsbedingungen aussagt.
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Neues Layout auf der Titelseite (News vom 20120222) [N]
Lead: Die Titelseite von Musikzimmer kommt ab sofort in einem neuen Layout daher. Dieses Layout verwendet ein CSS-Framework (YAML), das für eine verbesserte Anzeige der Seite für die Besucher mit Internet Explorer sorgt. Diese sehen teilweise noch immer nicht die gerundeten Kästen, aber wenigstens wird die Seite nun insgesamt anschaulicher. Die Verbesserung betrifft nicht zuletzt auch die Anzeige von Musikzimmer auf Mobilgeräten (Tablets, iPads, iPhones).
Text: Der Layoutwechsel bringt einige Veränderungen mit sich. Die auffälligste dürfte das schlankere Menu sein.
In den kommenden Wochen werden weitere Seiten der Layoutanpassung unterworfen.
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Lead: Blunderbuss
wird das neue Soloalbum von Jack White heissen. Es kommt im April heraus. Vorerst gibt es diesen Track Love Interruption
als Video.
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Lead: PopMatters schreibt zu Betty Black: In a perfect world, Black would be your new favorite diva, as she has all of the pop friendliness that the title implies, but grounded in a restless musicality.
Der Track Bad Weather
ist wirklich auf klassische Weise grossartig!
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Lead: Soko ist eine junge Lo-Fi-Folk-Musikerin, die dieses Jahr mit ihrem Debutalbum I Thought I Was An Alien
bekannt werden wird. Wir
haben die Super-8-Ästhetik schon in einigen neueren Videos gesehen, nirgends aber wurden die Themen persönliche Erinnerung
, eigene Kindheit
und Unbeschwertheit, Unschuld
so grossartig eingefangen wie hier.
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Roxy Music: Avalon (Lindstrøm & Prins Thomas Version) (News vom 20120131) [N]
Lead: Und wenn wir schon beim Träumen sind: Ein wunderbarer Roxy Music-Remix für die retroschlagenden 80er-Herzen ...
Text:
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Lead: Grinderman haben sich aufgelöst. Mitte März wird noch eine Remix CD Grinderman 2 RMX
herauskommen und das war's dann.
Der grossartige Track Bellringer Blues
ist nun als Remix und Video von Nick Zinner greifbar geworden. Ich finde das Video und den Track hinreissend. Die pure Energie.
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Lower Dens: Brains (News vom 20120118) [N]
Lead: Jana Hunters Band Lower Dens kommt im Frühjahr mit einem neuen Album heraus. Jetzt schon können wir Brains
downloaden und streamen.
Text:
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Way Yes: Important (News vom 20120110) [N]
Lead: Über das Filter Magazine und 78s kommt der erste Track von Way Yes, Important
zu uns. Ihr Album Walkability
wird im März bei Lefse erscheinen. Ralph Hofbauer von 78s schreibt: «Way Yes bringen die Hooks von Band of Horses, den Afrobeat von Vampire Weekend und die Psychedelik von Animal Collective zusammen.» Da bin ich mal aufs Album gespannt.
Text:
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Way Yes: Important (News vom 20120110) [N]
Lead: Über das Filter Magazine und 78s kommt der erste Track von Way Yes, Important
zu uns. Ihr Album Walkability
wird im März bei Lefse erscheinen. Ralph Hofbauer von 78s schreibt: «Way Yes bringen die Hooks von Band of Horses, den Afrobeat von Vampire Weekend und die Psychedelik von Animal Collective zusammen.» Da bin ich mal aufs Album gespannt.
Text:
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Neon Indian: Step Into the World With Your PAL198X (News vom 201135) [N]
Lead: Man darf hoffen, dass das neue Neon Indian-Album Era Extraña
(Release Datum: 13. September) einen weiteren Chillwave-Meilenstein sein wird. Nun kriegen wir schon mal ein witziges retrofuturistisches Video, das mit der Medien-Ästhetik von Videorecordern spielt. Es handelt sich um ein Promo-Video für ein Hardware-Gadget, das Alan Palomo (Neon Indian) mitentwickelt hat und das als Gadget zusammen mit dem neuen Album verkauft wird.
Text:
Neon Indian - Step Into the World With Your PAL198X from Neon Indian on Vimeo.
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Conrad Schnitzler ist tot (News vom 201132) [N]
Lead: Schnitzler war Mitglied bei Tangerine Dream, verliess die Gruppe aber bereits nach dem ersten Release Electronic Meditations
. Danach gründete er Kluster mit Dieter Moebius und Hans-Joachim Roedelius. Ab 1971 bis zu seinem Tod war er als Solomusiker aktiv und nahm duzende von Alben auf, einige mit bleibender Wir
kung für die elektronische Musik. Aus einem seiner neuesten Releases: Conrad Schnitzler & Bjørn Hatterud - Hirschgebrüll Part 9
Text:
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Four Tet: Locked (TEXT011) (News vom 201131) [N]
Lead: Von Four Tet wird in Kürze ein FabricLive-Album erscheinen. Dieser facettenreiche Track ist ein Vorgeschmack.
Text:
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Das Racist: Michael Jackson (News vom 201131) [N]
Lead: Nach den zwei Netaudio Mixtapes steht im September das erste richtige Album der New Yorker Rapper Das Racist an: Relax
wird es heissen. Dies schon ein Track vorab.
Text:
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Neon Indian: Fallout (News vom 201130) [N]
Lead: Nach Within and Withou von Washed Out kündigt nun Neon Indian eines der Chillwave Alben dieses Jahres an. Era Extrana
, das Album, wird im September erscheinen. Fallout
ist der erste veröffentlichte Track daraus.
Text:
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Erleben wir den Tod des Albums? (News vom 201127) [N]
Lead: In den 60er Jahren wurde das Album gegenüber den Singles zum führenden Schallplatten-Format. Heute gibte es Indikatoren, dass die Tage des Albums gezählt sein könnten ...
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Demdike Stare: Violetta (News vom 201120) [N]
Text:
Demdike Stare - Violetta from The Wir
e Magazine on Vimeo.
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Brian Eno: Glitch (News vom 201116) [N]
Lead: Teaser zum neuen Album Drums Between The Bells is
, das am 4. Juli bei Warp erscheinen wird.
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Four Tet: Moma (News vom 20111219) [N]
Lead: Dieser Four Tet Tracks wird ein Benefiz Album mit dem Titel We Are The Works In Progress
eröffnen, das am 10. Januar herauskommt - als Hilfe für Japan nach dem Tsunami.
Text:
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Julia Holter: Marienbad (News vom 20111210) [N]
Lead: Der hypnagogische Artpop von Julia Shammas Holter steht auf einer deutlich düstereren Seite als der Glampop von Ariel Pink. Im August kam ihr Vinyl-Album Tragedy heraus und wird es wohl in die Jahresbestenliste einiger Connaisseure schaffen. Am 8. März 2012 dürfen wir den Nachfolger Ekstasis
erwarten. Daraus der Vorgeschmack Marienbad
.
Text:
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Lana Del Rey: Born To Die (News vom 20111202) [N]
Lead: Ich kann das neue Album von Lana Del Rey kaum erwarten. Es erscheint Ende Januar, wird grossartig sein und ein Verkaufschlager. Seit kurzem hat sie ihren Majorvertrag und da muss eine Künstlerin Konzessionen machen: Eine Textzeile, die in Live-Auftritten lautet: Let me fuck you hard in the pouring rain, you like your girls insane
wurde jetzt besänftigt zu Let me kiss you hard in the pouring rain
. Hahaha!
Text:
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Spotify seit Mittwoch in der Schweiz (News vom 20111116) [N]
Lead: Neu ist die Musikstreamingplattform Spotify in Belgien, Österreich und der Schweiz vertreten. Am späten Nachmittag berichtet die englische Musikzeitschrift The Wir
e, dass mehr als 200 Nischenlabel ihre Tracks von Spotify abziehen, weil es ihnen eher schadet auf solchen Plattformen präsent zu sein. Zum einen steigert es die Verkäufe nicht und zum andern bezahlt Spotify in einem zu geringen Ausmass. Die Losung der Nischenlabel lautet: Lets keep the music special, fuck Spotify.
Text: Mehr und Konkreteres dazu ist bei Hypebot zu lesen.
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Duran Duran: Girl Panic! (News vom 20111109) [N]
Lead: Ob Duran Duran in musikalischer Hinsicht heute noch eine Rolle spielen oder ob sie bloss eine Nostalgie Band sind, kann man streiten. Aber dieses neue Video von Jonas Åkerlund ist Musikvideogeschichte! Die Band wird von den Ehefrauen repräsentiert. Sie geben Interviews und geniessen das dekadente Leben der Rockstars. Die Bandmitglieder treten als die Bediensteten der Ehefrauen auf. Tolle Travestie!
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Washed Out: Call It Off (News vom 20111031) [N]
Lead: In einer Woche kommt die neue Washed Out-Single Amor Fati
heraus. Ein neuer Track Call It Off
wird mitveröffentlicht.
Text:
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Drake: Club Paradise (News vom 20111013) [N]
Lead: Später in diesem Monat wird Drakes neues Album Take Care
erscheinen. Hier ein Vorgeschmack. Eine zeitgenössische Hybride aus Hip-Hop und R'n'B ...
Text:
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The Weeknd: Initiation (News vom 20111010) [N]
Lead: Grossartiger neuer Track von Weeknd. Im Eröffnungsteil des Tracks wird irritierend / verstörend am Auto-Tune herum geschraubt. Die Stimme verändert sich kontinuierlich. Es ist nicht der Klang der Stimme, der sich verändert, es ist die Stimme selbst. Das ist das Verstörende. Weeknd beweisen weiterhin, dass sie der Act des Jahres sind, dass sie die Musik der Gegenwart schreiben. Friss das oder bleib in der Vergangenheit zurück!
Text:
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Steve Jobs erlag dem Krebs (News vom 20111006) [N]
Lead: Apple Gründer, Steve Jobs, ist 56-jährig verstorben. Jobs hat wie kein anderer die Weise, wie im Zeitalter von PCs und mobilen Geräten Musik distribuiert und konsumiert wird geprägt. iTunes, iPod, iPhone, iPad waren und sind Produkte, die die Konsumenten unmittelbar zu überzeugen vermögen - sie waren, als sie auf den Markt kamen, gigantisch viel besser als alles, was wir bisher kannten. Diese Produkte stellten und stellen die Musik und noch mehr die Konsumenten ins Zentrum. Niemand braucht sich mehr unnötig mit technischen Details auseinanderzusetzen, um diese Geräte bedienen zu können. Wir
haben gestern jemanden verloren, der mit seiner Vision, seiner Leidenschaft und seiner Tatkraft Geschichte geschrieben hat.
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Queen Of Hearts: Spanish Sahara und Black Star (News vom 20111004) [N]
Lead: Queen Of Hearts ist ein neuer Electropop Hype aus London. Die Dame wird als Nachfolgerin von Goldfrapp gehandelt. Das Foals Cover Spanish Sahara
ist produziert von DREAMTRAK und das Dubstep angehauchte Black Star
von Devils Gun.
Text:
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Fucked Up: Do You Feed (News vom 20111001) [N]
Lead: Bei Matador kommt bald ein neues Album der Poppunker Fucked Up heraus, ein zweiter Teil vom herausragenden David Comes To Life. Es wird David's Town
heissen. Do You Feed
ist eine erste Single daraus.
Text:
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WU LYF: Go Tell Fire (Reprise) (News vom 20110909) [N]
Lead: WU LYF haben diesen Track als letztes Stück ihres Albums Go Tell Fire To The Mountain
geplant. Aber er ist nicht rechtzeitig zum geplanten Release fertig geworden. Deshalb liefern sie den Track nun nach.Wir
haben es hier mit einem grossartigen Stück Musik zu tun, aber er zieht dich nicht in das Album der Band hinein (nicht die beste Werbung für dieses hervorragende Album). Vielmehr handelt sich um ein langgezogenes Outro. Nun, es gibt noch andere Tracks der Band auf Soundcloud, beispielsweise Dirt
. Give them a try ...
Text:
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Server Update MO, 27. Sept. 2010 (News vom 201038) [N]
Lead: Am Montag, dem 27. Sept. 2010, zwischen 9.30 und 12 Uhr wird die Webseite für eine Stunde unterbrochen sein. Der Provider führt einen Update durch.
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Cindytalk (News vom 201036) [N]
Lead: Freier Download eines exklusiven Mixes für The Wir
e von Cindy Talk (Robert Gordon) Ex-4AD, heute Editions Mego
Text: Tracklisting: 1) Film sample: F For Fake by Orson Welles, 2) We Are Without Words, 3) Cloud Symphony No. 3, 4) The Eighth Sea, 5) If We Meet, We Meet In Silence, 6) I Walk Until I Fall
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Suchfunktionen aufgeräumt (News vom 201028) [N]
Lead: Die Suchfelder auf der Katalogseiten sind verschwunden. Ich hoffe, das verärgert niemanden. Ich habe die Funktion des Suchens auf Musikzimmer.ch noch einmal grundsätzlich durchdacht, weil mich gestört hat, dass Suchfelder an drei Orten zu finden waren: auf den Katalogseiten in der Suchseite und rechts neben dem Menu. So etwas ist verwirrend und diese Verwirrung wollte ich ausschalten.
Nun funktioniert Suchen auf Musikzimmer.ch wie folgt: Abfragen werden über das Suchfeld rechts neben dem Menu getätigt. Dieser Suchtyp wurde und wird programmtechnisch noch verbessert. Neben diesem Suchtyp stehen Ihnen auf der Suchseite verschiedene Spezialsuchen zur Verfügung: eine Mehrfachsuche, zwei Expertensuchen (je eine für die Alben- und eine für die Song-Tabelle und schliesslich die vier Suchformulare, die bisher auf den Katalogseiten zu finden waren.
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Neue Liste: Freaks (News vom 201016) [N]
Text: Freaks sind Personen, die vor allem in ihrer Erscheinung aber auch im Verhalten aussergewöhnlich sind. Früher wurden Freaks in Shows und Jahrmärketen als Attraktion vorgeführt. Seit man das nicht mehr machen soll, fehlt vielleicht der Bezug dazu, was ein Freak ist, denn heute wird jeder Eigensinnige und Abweichler als Freak bezeichnet. Klar, dass es in der Kunst es einige Leute gab, die sich als Freaks inszeniert haben. Diese Liste enthält Musik von solchen Freak-Künstlern. Das gegenwärtige Freakfolk Genre wird oft auf seine Folk-Tradition zurückgeführt, beispielsweise in der Mojo-Liste Beyond Folk. Hier hingegen möchte ich das Genre auf seine Freak-Tradition zurückführen und mit einiger Gegenwartsmusik ergänzen.
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Superterz: Insomnia Release Party (News vom 201011) [N]
Lead: Innerhalb der vergangen zwei Jahre arbeiteten Superterz konsequent an ihrer fünften Veröffentlichung seit 1998. 'Insomnia', ein Doppelalbum gespickt mit Live-Aufnahmen und Studioproduktionen aus diesen vergangenen Jahren erscheint im April 2010 auf ihrem neuen Label Unit Records (www.unitrecords.com).
Text: Auf dem Doppel-Album präsentieren sich die Züricher Experiment-Experten im Gegensatz zum letzten Album 'Standards' in hoher Kadenz! Die Experimente zwischen Analog und Digital gehen weiter. Der Spagat zwischen Postrock, Post-Electronica, Techno und Jazz ist Teil ihrer Geschichte. Die elektronische Grille zirpt weiter und die beiden Gäste Simon Berz und Harald Haerter sorgen zum Auftakt, der kommenden Konzert-Tour für den analogen Kontrast. Der renommierte Musiker Harald Haerter ist als Derwish der Jazzbühnen und als einer der bedeutendsten Jazzmusiker Europas bekannt. Simon Berz wird Superterz auf der kommenden Tour als Musiker und Schlagzeuger begleiten. 'ige*timer' nennt sich eins seiner interessanten Projekte welches im Sommer auf Japan- und USA-Tour sein wird.
Wir
freuen uns auf Euch und diesen Abend im Exil in Zürich. Weitere Konzertdaten bitte aus unserer myspace-Seite zu entnehmen. (Quelle: facebook text)
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Kosmische Kurriere: Zwischen Trip und Meditation (News vom 201003) [N]
Lead: The Wir
e: The Primer: Kosmische Musik (thematische Liste)
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Neuigkeiten in Musikzimmer (News vom 200950) [N]
Lead: Neues prominentes Suchfeld und Infotabellen bei Genre- udn Label-Diskografien
Text: Das Google-Suchfeld wurde durch ein Suchfeld, das auf den Index des Musikzimmers zugreift, ersetzt. Die Suche ergibt bereits während der Eingabe valide Resultate. Diese werden rechts neben der Site angezeigt. Auf Comoputern mit schmalem Bildschirm wird das leider nicht ohne Scrollen zu sehen sein.
Sodann wurden die Label- und Genre-Diskografieseiten mit Infotabellen ergänzt. Die Information hierfür tröpfelt in den kommenden Wochen und Monaten rein. Die wenigen bestehenden Genreseiten gehen in die Infotabelle der Genrediskografie ein.
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Nicht verpassen: Mountains in Aarau (News vom 200943) [N]
Lead: Am 9. November spielen Mountains im Musikzimmer in Aarau.
Mountains sind Brendan Anderegg und Koen Holtkamp aus Brooklyn NY. Die beiden spielen seit Jahren zusammen und führen das interessante Apestaartje Label.
Ihre Musik wird dem Folktronica Genre zugerechnet. Auf der Bühne spielen die beiden Gitarren und andere Folkinstrumente, wobei sie die erzeugten Instrumentalklänge liveelektronisch zu pastoraler Ambientmusik prozessieren. Wie das klingt könnt ihr auf der Myspace Seite des Duos hören.
Barbetrieb ist ab 20 Uhr, das Konzert beginnt um 20.30 Uhr. Der Eintritt kostet 10.-. Tickets können über musikzimmer@kunstraumaarau.ch reserviert werden.
Beachte auch die anderen Konzerte, die im Musikzimmer Aarau stattfinden.
Suchresultate Volltextsuche Tags
Zweiter Weltkrieg Tag
Der Zweite Weltkrieg war der zweite globale Krieg, in den sich die Menschheit verstrickte. Zusammen mit dem Ersten Weltkrieg prägte er die politische Geschichte der ersten Hälfte des 20. Jahrhunderts.
Der Zweite Weltkrieg wurde von Japan, das 1937 China und 1938 die Sowjetunion angriff, und von Deutschland am 1. September 1939 angefangen, als Hitlers Truppen in Polen einmarschierten. Bald waren über 60 Staaten in die Kriegshandlungen verwickelt, wobei es zwei Parteien gab, die Achsenmächte (D, A, I, J) und die Alliierten (UK, F, USA ab 1941). Mehr als 110 Millionen Menschen wurden eingezogen, mehr als 60 Millionen, Zivilisten und Soldaten, verloren ihr Leben. Im Verlauf des Kriegs kam es zu furchtbaren Massakern, Genoziden und zum Holocaust. Am Kriegsende kam es zu grossflächigen Zerstörung von Städten und Industrieanlagen und 1945 wurden die bisher ersten beiden Atombomben eingesetzt, um Japan in die Knie zu zwingen.
Gründe für den bewaffneten Konflikt war der Kampf um die Vorherschaft der damaligen Grossmächte, vor allem Deutschland und Amerika, aber es war auch ein ideologischer Kampf um die Weltordnung, wie das vor allem post factum dargestellt wurde, nämlich als Kampf der freien Welt (politische Demokratie, liberale Wirtschaftsordnung, freie Meinungsbildung in einer von Öffentlichkeit geprägten Gesellschaft) vor dem tyrannischen und totalitäten Naziregime Hitlers und der verbündeten Staaten (das angeschlossene Österreich, Italien und Japan).
Die Folge des Zweiten Weltkriegs war der Kalte Krieg und die geopolitische und kulturelle Vormachtstellung der USA, die ihre Pax Americana den Verbündeten und den besiegten Mächten oktroyierten. Damals neuartige supranationale Organisationen wurden gegründet, um eine internationale Ordnung zu schaffen, die auf Zusammenarbeit und Kriegsvermeidung setzte: die Vereinten Nationen und deren Unterorganisationen, die NATO, die Weltbank und der Internationale Währungsfonds, in Europa der Europarat, die Montanunion und Euratom.
Die europäischen Integrationsprojekte konvergierten in der EU und brachten dem Kontinent die längste Friedensperiode der neueren Geschichte.
Links
– Sabine Dabringhaus: Der globale Krieg: In China begann das Schlachten schon früher (NZZ, 1. Mai 2020)
– Andreas Rüesch: 1945 war erst gestern – weshalb das Kriegsende die Welt bis heute prägt (NZZ, 9. mai 2020)
Ziegfeld Follies Tag
Die «Ziegfeld Follies» waren eine Revue, die jedes Jahr von 1907 bis 1931 und ab dann in weniger regelmässiger Folge am New Yorker Broadway produziert wurde. Benannt war die Show nach ihrem Produzenten, Florenz Ziegfeld Jr. (1867–1932). Das Vorbild für die «Ziegfeld Follies» waren Pariser Folies Bergère, eine Vaudeville Show in der Form einer Revue mit vielen Tanznummern, in deren Zentrum die Chorus Line stand, ein Cast von langbeinigen Tänzerinnen, die synchrone Figuren tanzten. Im Unterschied zum American Vaudeville und zum Burlesque waren die «Ziegfeld Follies» keine anrüchige Art der Unterhaltung.
Die Show
Die Show bestand aus opulenten Tanznummern, instrumentals und Gesang, Novelty-Acts, Tableaux Vivants und Scetches. Es sind viele Fotos erhalten, die vom Aufwand zeugen, mit dem die Bühne gestaltet und die Tänzerinnen bekleidet waren.
Von Florenz Ziegfeld ist nicht viel persönliches Bekannt. Er lobte wohl in der glamourösen Welt, die er um sich und seine Revuetänzerinnen kreierte. Wäre er nicht im Show-Business gelandet, würde man ihn vermutlich einen Hochstapler nennen.
Ähnliche Produktionen
Neben Florenz Ziegfeld gab es in New York noch George M. Cohan, der vergleichbare Revues auf die Bühne brachte. In Berlin war es Erik Charell. Jede grössere Stadt bot zu dieser Zeit solche Revueshows.
Musik
Die Bühnen waren in der Zeit vor dem Radio das wichtigste Medium, um einen Song zum Hit zu machen. Songs wurden in der Tin Pan Alley komponiert und die Theater machten sie bekannt, so dass ein grosser Markt für Sheetmusic mit den Nummern bzw. Hits des Tages geschaffen wurde.
Stars der Ziegfeld Follies
Stars der Ziegfeld Follies waren Lillian Lorraine, Jessica Reed, Billie Burke, Anna Held, eine Französin, die Ziegfelds Gattin wurde, Sophie Tucker Fanny Brice, Dorothy Dickson und Barbara Stanwyck. Bekannte Entertainer waren Eddie Cantor oder W.C. Fields.
Ein bekannter Name in Paris war Josephine Baker, die sich am Broadway nicht hat etablieren können.
Die Welt der Tänzerinnen
Die Tänzerinnen waren die «role models» der Flappers, den emanzipierten Frauen der «roaring twenties». Die Folies waren ein wichtiges Medium der beginnenden Befreiung der Frauen aus dem Korsett der vormodernen Gesellschaft. Selbstbestimmte Sexualität oder Homosexualität wurden hier innerhalb der bürgerlichen Gesellschaft in unteren und mittleren Schichten zum ersten Mal möglich. Diese Frauen ebneten den Weg für spätere Entwicklungen, sowohl der Frauenrechtsbewegung als auch den moderneren Formen der Objektivierung der Sexualität (Pinup und Poster-Girls, Pornografie).
Ende
Mit dem Aufkommen des Radios, mit den handlungsorientierten Musicals (so genannte «Book-Musicals») sowie dem Tonfilm verloren die «Ziegfeld Follies» anfangs Dreissiger Jahre an Bedeutung. Auch die Wirtschaftskrise dürfte dazu beigesteuert haben.
Ein Thema wurden die «Ziegfeld Follies» in den späteren Bühnen- und Film-Musicals: The Great Ziegfeld
(1936), Ziegfeld Follies (1946), Funny Girl
(1964) und Follies
(1971).
Links
– All That's Interesting: Ziegfeld Follies: The Other, Sensational Side Of Flappers (4. April 2015) – mit einer Foto Gallerie
YouTube Tag
Video-Plattform von Google (eine Tochterfirma). Nach dem Motto «Broadcast Yourself» können registrierte Userinnen und User Videos hochladen, die von der Plattform gespeichert und gestreamt werden. Auch kann man die Videos in eigene Blogs oder Webseiten einbinden. Youtube ist die am meisten etablierte Plattform für Filme, Musik und Video im Internet. Contents werden oft von Personen hochgeladen, die die Rechte dazu eigentlich nicht haben. Ein grosser Teil davon wird dann wieder gesperrt, ein anderer Teil wird aber toleriert. Nicht zuletzt weil der Aufwand sich nicht lohnt, den Content wiederholt zu sperren. Denn kaum wird es auf einem Kanal gesperrt, poppt es in einem anderen wieder auf.
Bedeutung
Youtube sorgt für eine Monetarisierung des Contents: Rechteinhaber werden entschädigt und das Geld stammt von Werbeeinnahmen. Seit etwa 2010 wird Youtube breit benutzt. Seit 2013 sind Youtube-Views relevant für den Erfolg eines Popsongs in den Billboard Hot 100. Seit etwa Januar 2019 findet man auf Youtube am Tag der Veröffentlichung praktisch alle Neuerscheinungen (ausgenommen zum Teil die Compilations, Archivreleases).
Links
– Youtube: Musikcharts und Statistiken – Charts können global und für einzelne Länder angezeigt werden
– Youtube: Musikcharts und Statistiken: Top-Interpreten – auch diese Seite kann die globalen und die länderbezogenen Bestenlisten anzeigen
– Matt Gielen: The Taxonomy Of YouTube Videos (tubefilter, 12. Februar 2019)
– Bobby Owsinski: The Top 10 All Time Most Viewed YouTube Videos (Music 3.0, 21. Februar 2019)
– Dave Whitaker: Youtube: Billion Airs Club. Most-Watched Videos of All Time: Top 100 (Quelle, 7. Februar 2021)
Your Hit Parade Tag
«Your Hit Parade», von Fans oft als «The Hit Parade» bezeichnet, war eine Musiksendung im Netzwerk von NBC, die zwischen 1935 und 1953 am Radio und zwischen 1950 und 1959 im Fernsehen ausgestrahlt wurde. Die Sendung gab vor, die populärsten Songs der USA zu erheben und wöchentlich am Radio auszustrahlen. Die Methoden der Erhebung wurden nie ausgewiesen und man muss annehmen, dass die Show das Konstrukt der Werbeagentur war, die als Sponsor hinter der Sendung stand: Albert Laskers «Lord & Thomas», die die Sendung für Zigarettenwerbung der Marke «Lucky Strike» verwendete. Die erste nationale «Hit Parade» war demnach das Produkt von American Tobacco und dessen Präsident George Washington Hill.
Der Lasker-Biograf John Gunther nahm an, dass «Your Hit Parade» die Erfindung der Tochter von Lasker war (Taken at the Flood). Mary Lasker Block war eine Self-made-Frau, die gegen den Willen ihres Vaters in seiner Firma zu arbeiten begann und angewiesen war, sich ihr eigenes Geschäftsfeld zu finden. Sie bewies in kurzer Zeit, dass sie das Talent für Marketing und Werbung von ihrem Vater geerbt hatte.
Albert Lasker hatte in den ersten vier Jahren des Netzwerk-Radios 30% der Werbeanteile aufgekauft. Der Erfinder der modernen Werbung, wie er oft genannt wird, sass an der Schnittstelle zwischen einer mächtigen Tabakindustrie, die er zum blühen brachte, und dem Radio als neuem Massenmedium vor llem der armen Leute, die sich keine Zeitungen und Magazine leisteten.
Format
Nun, Zigaretten bedeuteten Genuss und die Hit Parade vermittelte gepflegte Unterhaltung in zwei Formaten: Balladen und Tanznummern. Die Show hatte ein eigenes Orchester mit 19 Dirigenten in den 24 Jahren, in denen sie ausgestrahlt wurde. Die Sängerinnen und Sänger gehörten anfangs zu den Orchestern als Solist*innen. Die Show gab 52 Sänger*innen und Vokalgruppen eine Bühne. «Your Hit Parade» war also noch nicht das Format, das später in den 1950er Jahren bekannt wurde, als die erfolgreichsten Platten der Woche gekürt wurden.
Sängerinnen und Sänger der Show waren: Buddy Clark, Lanny Ross, Kay Thompson, Bea Wain, Frank Sinatra (1943–1944, 1947–49) sowie Doris Day.
Dirigenten des Orchesters waren Al Goodman, Lennie Hayton, Abe Lyman, Leo Reisman, Harry Salter, Ray Sinatra, Harry Sosnik, Axel Stordahl, Peter Van Steeden, Mark Warnow und Raymond Scott (1949–1957). Der Chor wurde von Lyn Murray geleitet.
Ende
Die Show wurde mit dem Aufstieg des Rock 'n' Roll altmodisch, weil der Auftritt der neuen, jungen Stars ins Zentrum rückte. Songs waren von nun an eng mit den Sänger*innen verbunden. Es war entscheidend, wer den Song interpretierte. Ein Elvis Presley konnte durch keinen anderen Star ersetzt werden.
Links
– Wikipedia: Albert Lasker
– Wikipedia: List of Your Hit Parade number-one songs
Work For Hire Tag
«Work For Hire» (kurz WFH) meint in den USA eine kreative Tätigkeit, die von einer Person als Angestellte ausgeführt wird. Deshalb muss diese Person zugunsten des Arbeitgebers auf Autorrechte verzichten. «Work For Hire» ist im 17 U.S.C. § 101 geregelt.
Woodstock-Festival Tag
Das Woodstock Festival – mit ganzem Namen «Woodstock Music and Art Fair», Untertitel «3 Days of Peace & Music» – ist das berühmteste Rockfestival der 60er Jahre. Es hat bis heute nichts von seiner Strahlkraft eingebüsst und gilt als historisches Schlüsselereignis der farbigen und ein wenig verrückten 60er Jahre.
Stattgefunden hat es vom 15. bis 18. August 1969 in Bethel, Upstate New York. Die Veranstalter waren vier junge Leute, die mit Geld, guten Beziehungen, Ambitionen und ihrem Fleiss das Festival auf die Beine stellten. Sie konnten am Ende ein paar wichtige Acts verpflichten: Es spielten unter anderem Creedence Clearwater Revival, Jimi Hendrix, The Who, Sly and the Family Stone, Grateful Dead, Janis Joplin und Jefferson-Airplane. Ein paar noch unbekannte Künstlerinnen und Künstler erlebten in Woodstock ihren grossen Karriere-Moment mit der Folge, dass sie in den Mainstream durchbrachen: Santana, Joe Cocker, Melanie sowie Richie Havens.
Die Festival-Vorbereitung erwies sich als äusserst schwierig: In Woodstock selbst konnte kein geeignetes Gelände gefunden werden und so wich man zuerst auf das etwa 100 Auto Kilometer entfernte Wallkill aus. Doch dieser Ort verweigerte den Veranstaltern die Durchführung des Festivals einen Monat vor Beginn. Im letzten Moment wurde dann in Bethel – 150 Auto-Kilometer von Woodstock entfernt – das Landstück des Milchfarmers Max Yasgur gefunden. Die örtlichen Autoritäten wurden mit der geschätzten Zahl von 50’000 Besucherinnen und Besuchern beschwichtigt und so konnte das Festival eilig aufgebaut werden.
Zum Festival erschienen dann hunderttausende von Menschen. Sie waren unmöglich zu zählen. Man spricht oft von 400’000 Besucherinnen und Besuchern. Manche schätzen grosszügig, dass es eine halbe Million war. Unterwegs war an diesem Wochenende vielleicht die doppelte Zahl, doch wegen verstopften Zufahrtsstrassen, die als Parkplatz der früh Angereisten dienten, war für viele von ihnen einfach kein Durchkommen mehr.
Wegen der nicht standfesten Einzäunung des Geländes, wurde das Festival am zweiten Tag als «Gratis Event» erklärt. «It’s a free festival from now on», schallte die Durchsage von den Lautsprechertürmen herunter.
Die Anfahrt war nicht das einzige Problem: Schon in der ersten Nacht vom Freitag auf den Samstag fiel Regen und verwandelte das Gelände in einen See aus Schlamm. Der Sommer 1969 war in Upstate New York heiss-feucht und regnerisch. Am Sonntag zog dann auch noch ein richtig schweres Unwetter über das Festival hinweg. Die Bilder im Film sind monumental. Sie erinnern an die Zornesausbrüche des alttestamentarischen Gottes. Wie musste dieses Unwetter erst auf das anwesende Publikum gewirkt haben?
Erstaunlicherweise sah das Publikum über alle organisatorischen und meteorologischen Widrigkeiten hinweg. Es bildete zu diesem Zeitpunkt schon längst die Schicksalsgemeinschaft, die als «Woodstock Nation» Geschichte geschrieben hat. Die unerschütterlich gute Stimmung, die Vibes von Woodstock, waren zum einen vermutlich auf die warmen Drogen zurückzuführen: Es wurde Gras geraucht, dass man allein vom Mitrauchen high wurde. Ausserdem wurden Psychedelika geschmissen, was das Zeug hält, blaue, grüne, braune Smarties. Viele machten in Woodstock ihre erste Erfahrung mit psychedelischen Drogen und das schweisste diese Jugendlichen zusammen. Die Idee des Festivals war, ein Camping-Wochenende in der freien Natur zu verbringen, wo man miteinander sein und wo man sich an der Liebe, den Drogen und der Musik berauschen konnte – Sex, Drugs und Rock ’n’ Roll, wie das später reisserisch genannt wurde). Die Musik war nicht die Hauptsache an Woodstock, sondern gehörte zum Gesamtpaket.
Die Festival-Besucherinnen und -Besucher reisten mit der Absicht an, mal drei Tage lang in Woodstock zu campieren. Und beim Campieren ist man ja relativ anspruchslos. Aber die Anspruchslosigkeit wurde mächtig auf die Probe gestellt, weil sich herausstellte, dass die meisten Besucherinnen und Besucher zwar Drogen mit brachten, aber kaum Verpflegung. Es wurde bereits am ersten Tag offensichtlich, dass es zu schweren Versorgungsengpässen kommen wird. Die verstopften Zufahrtsstrassen machten den Nachschub zu einem schwierigen Unterfangen. Das Problem konnte am Ende nur mit Armeehubschraubern gelöst werden. Und wieder schallte es von den Lautsprecher Türmen hinunter: «Mann, die sind für ein Mal mit und und nicht gegen uns». Neben Essen und Trinken kamen auch Ärzte zu Hilfe, Medikamente und Chlor wurden herbeigeschafft – letzteres um das Grundwasser zu sterilisieren, in das die Exkremente der Masse gesickert ist.
Bei allem Stress für die Veranstalter und die örtlichen Autoritäten – das Publikum blieb die ganze Zeit friedlich und vergnügt. Wie vielfach betont wurde, kam es zu keinerlei gewalttätigen Auseinandersetzungen. Das war erstaunlich angesichts der enormen Besucherzahl.
Die Veranstalter standen am Ende mit einem finanziellen Loch von 1,3 Millionen Dollar da, das erst im Lauf der 80er Jahre über Lizenzrechte an Film und Soundtrack wieder gestopft werden konnte. Die Medialisierung des Woodstock Festivals mit Fotos, Tonträgern und Film, zuletzt auch mit einem Museum am Ort trug mächtig dazu bei, dass das Woodstock-Festival zum historischen Ereignis wurde als das wir es kennen.
Rezeption, Bedeutung
Über Woodstock als historisches und für die Hippie-Generation symbolisches Ereignis wurde viel berichtet, geschrieben, nachgedacht. Positives und Negatives. Kritisch äusserst sich zum Beispiel Manfred Papst in der NZZ vom 26. Juli 2009. Er schrieb: «Eine hedonistische, mehrheitlich wohlsituierte Jugend verbringt ein verlängertes Wochenende mit Musik, Drogen, freier Liebe – und glaubt, damit ein neues Gesellschaftsmodell verwirklicht zu haben. Sie erlebt sich an diesen drei Tagen als auserwählt und begeistert sich entsprechend an sich selbst. Dass sie für die Zeit des Glücks Musik, Wasser, Dope, Hamburger und Müesli für jedermann bereitgestellt hat, hält sie für eine revolutionäre Grosstat. Keine Arbeit mehr, dafür Spass für alle.»
Ich halte diesen Textausschnitt für selbstgefällig und er wird der Sache überhaupt nicht gerecht. Viele Journalistinnen und Journalisten, die heute über Woodstock schreiben, haben eine postmodern-ironische oder gar zynische Haltung. Sie belächeln einen Idealismus, den sie nie gehabt haben, und sie können wenig oder nichts mit der pragmatischen Weise anfangen, mit der die Hippie-Generation Happenings auf die Beine gestellt hat. Es kommt ihnen naiv und unreflektiert vor. In einem Punkt haben sie möglicherweise recht, dass die Hippie-Generation wenig Nachhaltiges geschaffen hat. Auch die Pop- und Rock-Festivals verpufften wie vieles andere im Nichts. Vom Hippiegeist blieb am Ende vor allem Kommerz.
Eine andere Autorin, die sich mit Woodstock auseinandersetzte, Sabine Nikolay, schrieb: «[Woodstock] dient einerseits dem Mythos einer Generation und dem Wunsch nach ewiger Jugend. Ganz konkret dient es aber auch der Verschleierung großer, teilweise lebensgefährlicher Fehler und der Selbstdarstellung von Einzelpersonen und ihrer PR, damit die Woodstockmaschine weiterhin läuft wie geschmiert.» Die Autorin enerviert sich auch über die lausige Quellenlage. Die Akten (das sind vor allem die Original Verträge der Firma Woodstock Ventures) sind bis heute offenbar für niemanden zugänglich. Man ist als Historikerin daher auf die «Oral History» angewiesen, in die sich die Autorin zwar einlässt, aber aus der kein schlüssiges Gesamtbild konstruiert werden kann.
Das Woodstock-Festival wurde zu einem Monument für die Hippie-Generation und der Gegenkultur der späteren 60er Jahre. Als Ereignis wird es oft (z.B. vom Time Magazine) als so prägend für die Dekade der Sixties gesehen, wie die Mondlandung der ersten Menschen (siehe: Wettlauf ins All). Das Monument Woodstock stand für neuen Werte, die dem Lustprinzip näher standen als dem protestantischen Arbeitsethos. Sich selbst treu zu sein und sein eigenes Ding durchzuziehen, wurde für die Hippies wichtiger als die Bürgerpflicht zu erfüllen. Diese Generation war nicht mehr bereit, in einem Krieg für das Vaterland zu kämpfen oder zu sterben, und sie wollte beim Wirtschaftsboom und Wirtschaftswunder anfänglich nicht mehr mitmachen und Sand im Getriebe von Produktion und Konsum sein. Später, als die Ideale aufgeweicht wurden, konsumierte diese Generation mehr als diejenige zuvor.
Lineup
Die Reihenfolge der Auftritte ist bis heute umstritten. Welche Bands gespielt haben und welche nicht, ist keine Frage. Die verschiedenen Reihenfolgen des Lineups sind in einem separaten Spreadsheet zusammengestellt. Dort wird ersichtlich, bei welchen Acts der Zeitpunkt des Auftritts in Frage steht.
Links
– Woodstock.com (Verantaltungsseite für das 50-jährige Jubiläumsfestival): Explore Woodstock 1969 (abgerufen, Juni 2019)
– Observer: Baron Wolman's Woodstock – in pictures (22. Juni 2014)
– Gabriel H. Sanchez: 31 Pictures That Show Just How Crazy Woodstock Really Was (BuzzFeed, 15. August 2015)
– Tim Peacock: Best Woodstock Performances: 15 Acts That Defined The Festival (uDiscoverMusic, 2. Auguste 2019)
– Brett Milano: Woodstock And Beyond: How the Modern Music Festival Came To Be (uDiscoverMusic, 6. Juli 2020)
– Richard Havers: Woodstock Festival: How We Got To «Three Days Of Peace And Music» (uDiscoverMusic, 15. August 2020)
– Richard Havers: Creedence Clearwater Revival’s Forgotten Woodstock Performance (uDiscoverMusic, 17. August 2020)
– Richard Havers: Richie Havens’ Career Making Appearance At Woodstock (uDiscoverMusic, 21. Januar 2021)
Wissenssoziologie Tag
Die Wissenssoziologie ist das Teilgebiet der Soziologie, das sich mit Fragen rund um das Wissen von Gruppen, Institutionen oder der Gesellschaft beschäftigt: Wie entsteht Wissen, wie wird Wissen verbreitet, appliziert, aufbewahrt und zugänglich gehalten?
Im Unterschied zur Philosophie, die Erkenntnis und Wissen tendentiell als allgemeinen, prinzipiellen oder apriorischen, d.h. voraussetzungslosen, Gegenstand behandelt, geht die Wissenssoziologie davon aus, dass Wissen immer sozial bedingt ist.
Die Begründer der Fachrichtung zu Beginn des 20. Jahrhunderts waren vor allen Dingen Émile Durkheim, Max Scheler und Karl Mannheim. Neuere Vertreter*innen sind beispielsweise Peter L. Berger, Niklas Luhmann oder Michel Foucault.
Querverweise
– Kulturwissenschaften
– Bibliothek, Archiv
Quellen
– Niklas Luhmann: Gesellschaftsstruktur und Semantik (4 Bände im Internet Archive)
Wirtschaftswunder Tag
Als Epoche steht der Begriff für die Zeit nach dem Zweiten Weltkrieg, als sich die Bundesrepublik Deutschland und Österreich rasant vom Krieg und seiner Zerstörung erholten und die Weltwirtschaft boomte. Der erstaunliche Fortschritt in wirtschaftlicher und gesellschaftlicher Hinsicht, der Deutschland damals machte, ruft nach historischen Erklärungen. War es der Marshallplan, also die Wiederaufbau- und Wirtschaftshilfe, die die USA in Deutschland leisteten? War die Liberalisierung des Aussenhandels in Europa und mit den USA die Ursache? Offenbar sind trotz grossen Zerstörungen und Toten immer noch genug Kapital, Know-How und Infrastruktur erhalten geblieben, mit denen das Wirtschaftswunder möglich war. Vielleicht hatten deutsche Tugenden wie Fleiss und Disziplin eine Rolle gespielt. Wirtschaftshistoriker wie Angus Maddison und Moses Abramovitz vertraten die Aufholthese (Catch-up-These), wonach ganz Europa vom Vorsprung der USA hat profitieren können, indem man die führende Nation einfach kopiert und ihre Methoden adaptiert habe.
Weltwirtschaft
Die Weltwirtschaft dieser Zeit war vom Bretton-Woods-System geprägt, einer 1944 vereinbarten internationalen Währungsordnung, die die Wechselkurse an den Dollar als Leitwährung band und stabilisierte. Bei der Zinspolitik herrschte in dieser Zeit der «Golden-Age-Keynesianismus». Niedrige Zinsen förderten den Boom und das Wirtschaftswunder. Die Löhne stiegen und das gesteigerte Einkommen wurde wiederum ausgegeben, was auch die Unternehmensprofite ankurbelte.
Die USA erlebten in der Zeit unmittelbar nach der Weltwirtschaftskrise, also zwischen ca. 1934 bis 1945 einen ersten wirtschaftlichen Aufschwund (siehe: WIkipedia: Nachkriegsboom).
Produktionstechnologie
Produktionstechnologisch gerieten Länder wie Japan und Deutschland gegenüber der USA ins Hintertreffen, weil sie an einer flexiblen Fertigung festhielten. Die USA hingegen produzierte Kriegsgüter und später Waren mit standardisierter Massenproduktion. Im Krieg zeigte sich mit der Zeit die Überlegenheit der Massenproduktion. Nach dem Krieg lernten Japan und Deutschland von den USA und schufen eine flexible Massenfertigung - quasi die Synthese beider Systeme, die nun auch der Massenproduktion zunehmend überlegen war. Auf diese Weise verloren diese Länder zwar den Krieg, aber gewannen den ökonomischen Wettbewerb in der Zeit des Friedens bzw. kalten Kriegs. Die flexible Massenfertigung beruhte auf programmierbaren Werkzeugmaschinen (NC-Steuerungen) und Fertigungsstrassen. Die Massenfertigung, an der die USA, die UdSSR und Grossbritannien auch nach dem Zweiten Weltkrieg grösstenteils festhielten, verlor spätestens dann an Bedeutung, als die Kunden alle Standardprodukte besassen und dann einen Bedarf an individuellen Produkten entwickelten.
Gesellschaftliche Konsequenzen
Die verschiedenen Produktionsweisen – Massenfertigung vs. flexible Massenfertigung – hatten weitreichende gesellschaftliche Konsequenzen: Die Massenfertigung schaffte eine zweigeteilte Gesellschaft, die aus Unternehmern und Arbeitern bestand. Die Arbeiter brauchten keine Ausbildung, um am Fliessband zu arbeiten. Die Zweiteilung bestimmte auch viele politische Fragen dieser Zeit: Arbeitsplatzsicherheit, Sozialversicherung, Gesamtarbeitsverträge, Verstaatlichung der Produktionsmittel etc. Die flexible Massenfertigung hingegen erzeugte neben Arbeitern einen Mittelstand, der aus gut- und hochqualifizierten Arbeitskräften bestand. Dieser Mittelstand war erstens eines der wichtigsten Fundamente für die gesellschaftliche Stabilität jener Jahre und er war es zweitens, der das Wirtschaftswunder möglich gemacht hat. Die höheren Löhne gingen vor allem an den Mittelstand und der Mittelstand kaufte alle diese aus der Sicht der alten Zeit überflüssigen Produkte: das Eigenheim in der Vorstadt, den Fernseher, die Haushaltsmaschinen, später die Ferienreisen.
Die produktionstechnologische Erklärung geht über die Catch-up-These hinaus. Sie spricht davon, dass die deutsche und die japanische Industrie die US-amerikanische nicht nur eingeholt, sondern überholt hat.
Motorisertes Biedermeier
Erich Kästner sagte von dieser Zeit, sie sei «motorisertes Biedermeier». Den kleinbürgerlichen und biedermeierlichen Geist hört man dem Schlager der Zeit ganz gut an.
Ende
Das Ende der goldenen Jahre kam im Herbst 1973 mit der Ölpreiskrise.
Nachkriegsprosperität in der Schweiz
Von der Nachkriegsprosperität wurde auch die Schweiz erfasst (siehe Publikation von Buomberger und Pfrunder, 2011).
Quellen
– Wikipedia: Nachkriegsboom
– Thomas Buomberger & Peter Pfrunder (Hrsg.): Schöner Leben, mehr haben. Die 50er Jahre in der Schweiz im Geiste des Konsums. Zürich, 2011.
Wirtschaft Tag
Die Wirtschaft wird ausgemacht von Produktion (Wertschöpfung in allen Sektoren) und Verteilung. Letzteres wird oft nicht als ein Problem gesehen, dass die Wirtschaft lösen muss, sondern der Staat mit Sozialprogrammen und Umverteilungsprogrammen (Steuerprogression). Der Neoliberalismus behauptet, der Markt sorge selber für eine gerechte Welt und für Wohlstand, doch wo er ideologisch vorherrscht, geschieht genau das Gegenteil: Reiche werden reicher und Arme ärmer.
Wilder Westen Tag
Der amerikanische Wilde Westen ist eine geschichtliche und mythische Gegend. Im 19. Jahrhundert wurden der Midwest, die westlichen Prärien und die Rocky Mountains bis nach Kalifornien systematisch besiedelt. Diese Erschliessung des amerikanischen Westens brachte Frontier-Gesellschaften hervor, in denen Siedler (Pioniere, Abenteurer, arme Schlucker, Prediger, Eisenbahnbauer) auf eine native Bevölkerung stiess. Das Grenzland und seine Pionier-Gesellschaft heisst historisch «Frontier» und wird in den Populären Künste als «Wilder Westen» mythologisiert. Der Wilde Westen ist sowohl ein imaginärer Sehnsuchtsort als auch ein utopisches Experimentierfeld («ein Ort, an dem sich politisch-soziale Utopien verwirklichen liessen» – Ursula Lehmkuhl).
Manifest Destiny
Der New Yorker Publizist John L. O’Sullivan verfasste 1845 in der Zeitschrift «Democratic Review» einen Text, in dem er die Expansion in den Westen als gottgewollt und zwingend charakterisierte. Auf ihn geht die Idee oder Lehre der «Manifest-Destiny» zurück. Es sei das US-amerikanische Schicksal, die göttliche Bestimmung, dass Amerika sich vom Atlantik bis zum Pazifik auszubreiten hat.
Besiedelt wurden nach 1750 das Gebiet zwischen Atlantikküste und Appalachen, um 1800 die Gegenden zwischen Appalachen und Missisippi, nach 1850 die Prärien westlich vom grossen Fluss. Die Grenze der Frontier, die Kontaktzone zwischen den Siedlern und dem wilden Land mit der «unzivilisierten» Bevölkerung verschob sich in diesen Jahren stetig gegen Westen. Der Pazifik bildete den «final frontier».
Technologisierung der Wildnis
Die Infrastruktur, die in den unbesiedelten Raum gebaut wurde, waren «Towns» und Strassen, dann folgten Eisenbahn- und Telegrafenlinie. 1860 war das Schienennetz der USA so gross wie das gesamte Netz der restlichen Welt. Mit der «Pacific Railroad» konnte man 1869 für $65 in sieben Tagen die USA durchqueren. Die Schienen wurden vor allem in Norden gebaut und verliefen in Richtung Ost-West. Die Industrialisierung erfasste die Südstaaten weit weniger als den Norden. Strassen wurden meist entlang der Telegraphenlinien gebaut und dienten dem Unterhalt der Kommunikationsverbindung.
Bedeutung
Die Erschliessung des Westens prägt die amerikanische Gesellschaft bis heute. Den Zusammenhang hat zum Beispiel Frederick Jackson Turner 1893 in seinem Essay «The Significance of the Frontier in American History» festgestellt: Individualismus und Gewaltbereitschaft sind das Produkt der Frontier und sie würden die spezifisch amerikanische Demokratie prägen. Die Vorstellungen, dass jeder es mit Fleiss und Geschick schaffen kann und dass Menschen auch ohne staatliche Kontrolle überleben, lassen sich von der Frontier-Gesellschaft her verstehen.
Querverweise
– Western
– Goldrausch ab 1849
Links
– Ursula Lehmkuhl: Die Erschließung des amerikanischen Westens (FU Berlin, 10. Juni 2009)
– Frederick Jackson Turner: The Significance of the Frontier in American History, Essay von 1893 (Wikipedia)
Wettlauf ins All Tag
Seit den 50er Jahren befanden sich die beiden Supermächte und Konkurrenten im Kalten Krieg, die UdSSR und die USA, in einem «Wettlauf ins All». Es ging darum, welche der beiden Nationen als erste auf dem Mond landen und Menschen hin und zurück bringen würde.
Anfangs führten die Sowjetrussen den Wettlauf an: Am 13. September 1959 wurde die Rakete «Lunik 2» erfolgreich zum Mond gesteuert. Lunik 2 schlug noch auf der Mondoberfläche auf, doch am 3. Februar 1966 machte «Luna 9» eine weiche Mondlandung. Die Amerikaner hatten mit dem Ranger-Programm eine vergleichbare Mission und machten ihre erste weiche Mondlandung am 2. Juni 1966 mit dem «Surveyor 1».
Flug zum Mond
Der nächste Schritt war der bemannte Mondflug. Die Sowjetunion machte Test mit Hunden (siehe: Olesya Turkina: Soviet Space Dogs). Berühmt geworden ist Laika. Die Russen waren die wiederum die ersten Menschen ins All: Kosmonaut Juri Gagarin. Er umkreiste die Erde mit dem Raumschiff «Wostok 1» in 106 Minuten und landete wieder auf der Erde.
Die erste Mondlandung mit Menschen gelang den Amerikanern am 21. Juli 1969, 3:56 Uhr MEZ: Mit der «Eagle» Kapsel auf der Apollo 11 Mission landeten Neil Armstrong und Buzz Aldrin sicher auf dem Mond, betraten den Erdtrabanten und brachten Gesteinsproben zur Erde. Den Ausstieg aus der Kapsel kommentierte Armstrong mit dem Bonmot: «Ein kleiner Schritt für einen Menschen, aber ein großer Sprung für die Menschheit.» Über den Ursprung und den genauen Wortlaut des Satzes gibt es Debatten (siehe: Ulli Kulke: Neue Wahrheiten über Armstrongs legendären Satz. Die Welt 7. Januar 2013).
Die letzte bemannte Mondmission fand mit Apollo 17 (7. bis 19. Dezember 1972) statt.
Raumstationen
Der letzte Schritt im Wettkampf gewannen dann wieder die Russen, die im April 1972 mit «Saljut 1» die erste Weltraumstation eingerichtet haben, gefolgt von den Amerikanern, die im Mai 1973 mit «Skylab» folgten. 1975 wurde der Kosten- und Ressourcen-intensive Wettlauf ins All mit dem symbolischen Akt eines Ankopplungsmanövers einer Sojus- und einer Apollo-Kapsel beendet.
Der Wettlauf ins All in der Populären Musik
Es gibt eine kleine Reihe von aussergewöhnlich guten Songs über Astronauten von David Bowie, Pearls Before Swine und Elton John. Der Wettlauf ins All wurde bereits vor diesen Kommentaren und Fussnoten von Singer-Songwritern der Rockmusik als musikalisches Thema aufgenommen. Die Popmusik am Ende der 50er und am Anfang der 60er Jahre war reich mit Songs zum Thema Raumfahrt, meist Instrumentals. Kategorisiert wird diese Musik als Spaceage-Pop. Hinzu kommen Titelmelodien von TV-Serien, die von der Exploration des Weltalls handelten, zum Beispiel Star Treck
oder Raumschiff Orion
.
Wertung Tag
Für die Literatur hat Hans-Friedrich Foltin (Deutsche Vierteljahrsschrift für Literaturwissenschaft und Geistesgeschichte, Band 39, S. 288–323, 1965) eine dreiteilige Differenzierung der Literatur vorgenommen, die immer noch zitiert wird: Hochliteratur, Populär- bzw. Unterhaltungsliteratur und Trivialliteratur. Eine solche Dreiteilung lässt sich auch auf andere Ausdrucksformen wie der Musik übertragen.
Diese Dreiteilung ist eindimensional, d.h. Werke stehen auf einer Wertungs-Skala entweder ganz unten, dann sind sie trivial, in der Mitte, dann unterhaltend, oder oben, dann Hochliteratur.
Ein anderes Modell als diese eindimensional-wertende ist die soziologische Dreiteilung in Schöne, Populäre Künste und Folklore (siehe Tag: Gattung). Die drei Bereiche sind insofern wertfrei als sie drei verschiedene Funktionen von Kunst darstellen, aber in der wissenschaftlichen, pädagogischen und der Förder-Praxis wird diese Dreiteilung häufig mit einer Wertung überformt. Diese Wertung ordnet die schönen Künste an der Spitze der Hierarchie an. Erst die Romantik hat die Folklore und erst die Moderne das Populäre teilweise Kanon-fähig gemacht.
Die schönen Künste und der Kanon
Der Bildungskanon besteht in aller Regel aus Werken der schönen Künste. Aber nicht jedes Werk gehört zum Kanon. Werke können zum Beispiel vergessen gehen und von Musik-, Kunstgeschichte und Philologie wiederentdeckt werden. Ein Beispiel hierfür sind Dantes Werke, die erst durch das Interesse der Romantiker am Mittelalter wiederentdeckt wurden.
Ein Kanon ist immer eine beschränkte Auswahl, die repräsentativ für die jeweilige Epoche oder Zeitgeschichte ist.
Im Kanon können seit der Moderne und im Ausnahmefall auch unterhaltende Werke aufgenommen werden, wenn sie für Epoche oder Geschichte relevant waren.
Wert, funktional
Wie kommt überhaupt Wert zustande?
Eine erste Sichtweise ist, dass Personen oder Institutionen diesen Wert verleihen. Wenn ein Bild für einen König gemalt oder von ihm erworben wird, ist es kostbarer als wenn es in einem bürgerlichen Haus steht. Wenn ein Werk von einer staatlichen Stiftung finanziert wird, die sich von massgeblichen Experten beraten lässt, dann hat es höheren Wert als ein Werk, das nicht finanziert wird.
Eine weitere Sichtweise besteht darin, dass der Kunstmarkt einen Wert (qua Preis) für ein Kunstwerk bildet.
Drittens: Wert wird durch Aufmerksamkeit konstituiert. Aufmerksamkeit hat mit Verkaufszahlen, sozialer Verbreitung usw. zu tun. Hitparaden beispielsweise messen Aufmerksamkeit und tun dies durch genaue Festlegungen, wie sie operationalisiert werden kann. Ein populäres Musikstück erhält durch Streamingzahlen, Downloads und Tonträgerverkäufe soziale Aufmerksamkeit (siehe Tag: Erfolgsmessung.
Viertens: der Wert kann durch andere Werte wie z.B. Authentizität (qua genuin und eigenständig, einzigartig) konstituiert werden.
Das Populäre als Märchen
Populärkultur wird oft als moderne Märchen gedeutet (siehe Hans-Otto Hügel, Handbuch Populäre Kultur, 2003, S. 2). Starke Helden, schreckliche Monstren, schöne Frauen, Konflikte zwischen Gut und Böse, Liebe und Tod, Mensch und Element, Individuum und Gesellschaft sind die Figuren und Konflikte dieser märchenhaften Erzählungen, deren Funktion Weltflucht, mentale Ersatzhandlung, Evasion in die Fantasie sei. Doch diese Mythisierung werde das Populäre enthistorisiert, in seinen vielen Dimensionen verflacht und lächerlich gemacht, schreibt Hügel.
TITEL
Werk Tag
Der alltagssprachliche Begriff «Werk» ist mehrdeutig und heisst a) Gesamtwerk bzw. Katalog eines Autors/einer Songwriterin und b) einzelne Komposition. Im Recht heisst «Werk» jede geistige Schöpfung und diese wird vom Urheberrecht geschützt. Die neueste Berner Übereinkunft zum Schutze von Werken der Literatur und Kunst nennt folgende Werkarten im Gebiet von Literatur, Wissenschaft und Kunst (Art. 2): «Bücher, Broschüren und andere Schriftwerke; Vorträge, Ansprachen, Predigten und andere Werke gleicher Art; dramatische oder dramatisch‑musikalische Werke; choreographische Werke und Pantomimen; musikalische Kompositionen mit oder ohne Text; Filmwerke einschliesslich der Werke, die durch ein ähnliches Verfahren wie Filmwerke hervorgebracht sind; Werke der zeichnenden Kunst, der Malerei, der Baukunst, der Bildhauerei, Stiche und Lithographien; photographische Werke, denen Werke gleichgestellt sind, die durch ein der Photographie ähnliches Verfahren hervorgebracht sind; Werke der angewandten Kunst; Illustrationen, geographische Karten; Pläne, Skizzen und Darstellungen plastischer Art auf den Gebieten der Geographie, Topographie, Architektur oder Wissenschaft.»
Weltwirtschaftskrise Tag
Die Weltwirtschaftskrise der 1930er Jahre begann mit dem «Black Friday» am 25. Oktober 1929.
Eine direkte Folge der Weltwirtschaftskrise war der New Deal von der Regierung Franklin Delano Roosevelt.
Weltsystem-Theorie Tag
Die Weltsystem-Theorie oder Analyse ist ein multidisziplinarischer Ansatz, die Weltgeschichte zu verstehen. Geschichtsschreibung geht sonst meistens von einem bestimmten Staat aus. Hier kommt apriori die gesamte Welt in den Blick. Der Ansatz soll erklären, warum Reiche und Staaten entstehen und zerfallen, wie der Reichtum verteilt ist, was Imperialismus und Kolonialismus bewirken, wo und warum soziale Aufstände Systeme stören und verändern usw.
Einflussreich waren der Neomarxismus und die französische Annales-Schule. Vertreter*innen der Weltsystem-Theorie sind André Gunder Frank, Immanuel Wallerstein, Samir Amin, Giovanni Arrighi oder Beverly Silver.
Das Weltsystem
Wallerstein hat viel und lange über Afrika geforscht und setzte den Begriffen der «Ersten» bis zur «Dritten Welt» bzw. der «Entwicklungsländer» das Weltsystem entgegen, das aus einer Kernkultur «Core» aus einer «Semi-Periphery» und einer «Periphery» besteht. Die Kernkultur besteht aus mehreren Ländern, die in ökonomischer Hinsicht die grösste Macht akkumuliert haben. Die Semi-Peripherie besteht aus Staaten, die mit Zwischenhandel vom ungleichen Austausch zwischen Core und Peripherie profitieren, aber nicht zur Kernkultur gehören. Die Peripherie versorgt die Kernkultur mit Rohstoffen und günstigen Arbeitskräften, während die Kernkutlur auf den Prinzipien der Kapitalakkumulation (Kapitalismus) mit hoher Produktivität grossen Wohlstand generiert. Die Produktivität des Zentrums ist zyklischen Rhythmen (Kondratieff-Zyklen) unterworfen. Es treten Wachstums- und Rezessionsphasen auf.
Vordenker
– Fernand Braudel
– Marian Malowist
Weltsystem-Theorie vs. Marxismus
Gemeinsam ist beiden:
– Klassenkampf zwischen Proetariat und Kapitalisten
– Ökonomie ist Basis, Politik und Kultur Überbau
– endogene Faktoren eines Landes sind wichtiger als exogene Faktoren
– Fortschritt ist unvermeidbar
Weltmusik Tag
Der Begriff der «Weltmusik» wird wie ein Genrebegriff verwendet. Vermutlich ist diese Verwendungsweise in den 80er Jahren entstanden, als vermehrt Musiker aus Ländern, die nicht dem Westen angehörten, in die Hitparaden kamen: Khaled, Ofra Haza, Nusrat Fateh Ali Khan, Youssou N'Dour. Weltmusik wurde zu einem Synonym für Folklore der Welt. Aber natürlich kann «Weltmusik» nur ein Sammelbegriff für extrem viele verschiedene Genres sein. Wie bei einem Format gab es ein Hörerprofil, das dieser Weltmusik entsprach.
Interessanter ist das transkulturelle Konzept, das mit dem Begriff verbunden ist: Es ist die Idee, dass verschiedene Musiken einen gemeinsamen Nenner haben könnten, so dass, wenn Musiker/-innen aus verschiedenen Kulturkreisen zusammen musizieren, eine gemeinsame Ausdruckssprache möglich ist.
Was unter der Flagge der «Weltmusik» in der Regel geschah, war, dass die Musik aus der fremden Kultur in das Gewand der westlichen Popmusik der jeweiligen Zeit transformiert wurde: Remixes, unterlegte Breakbeats. Eines der typischen Beispiele: Massive Attack remixen Nusrat Fateh Ali Kahn: Mustt Mustt. Die Rolle der exotischen Musik kommt in diesem Stilmix meist als Sample vor.
In Europa gibt es ein vergleichbares Phänomen: das der mediterranen Musik. Die Idee, dass es rund um das Mittelmehr eine transkulturelle musikalische Gemeinsamkeit gäbe, wird an vielen Festivals vermittelt. Oft sind Formationen, die «Mediterranea» spielen, aus europäischen und orientalischen Musiker/-innen zusammengewürfelt, mit durchaus ansprechenden Resultaten.
Walzer Tag
Der Walzer (qua musikalisches Metrum) ist ein Musikstück im 3/4- oder 3/8-Takt. Zu Musikstücken in diesem Metrum, wird der gleichnamige Tanz getanzt, der Walzer (qua Tanz). Das Wort Walzer ist verwandt mit dem Wort drehen.
Unterschied von 3/4- und 6/8-Takt
Obwohl die beiden Taktarten rechnerisch dasselbe sind, sind sie musikalisch verschieden. Der Unterschied ist das Betonungsmuster: Der 3/4-Takt teilt die sechs Achtel in drei mal zwei, der 6/8-Takt in zwei mal drei Noten.
Der Unterschied zum 9-8-Takt (Jazz Walzer) ist, dass dieser swingt, d.h. ein Shuffle ist (siehe David Bennet ab 11:17).
Links
– David Bennett (Youtube Kanal): What's the difference between 3/4 and 6/8 time?
– bemiso9: Sechzehntelnoten im 3/8 Takt
Wall Of Sound Tag
Wall of Sound ist ein vom Produzenten Phil Spector in den Gold Star Studios von Hollywood erfundenes Verfahren der Musikproduktion, bei dem sehr viele Instrumente (Combo- und Orchester-Instrumente) in einem Studioraum eine hohe Sounddichte, metaphorisch eine «Klangmauer» erzeugen. Auch mit analytischem Ohr können einzelne Instrumente kaum auseinander gehalten werden.
Diese massive Orchestrierung klang vor allem in Autoradios und Mono-Transistorradios hervorragend. Mit diesen Geräten hörten Teenager damals Musik. Die «Wall of Sound» zielte genau auf dieses Wiedergabe-Setting ab.
Phil Spector verwendete ein relativ kleines Studio, das mit Sessionmusikern der Wrecking Crew vollgepackt war. Zusätzlich versetzte er den Sound mit Echo. Die Gold Star Studios hatten eine speziell geeignete Beton-Echokammer. Mit Overdubbing wurde der durch die Echokammer gesandte Sound der Originalaufnahme zugemischt. Spector arbeitete mit Ampex 350 4-Spur-Tonbandgeräten.
Personell wirkten neben Produzent Spector der Arrangeur Jack Nitzsche und der Toningenieur Larry Levine mit.
Die meisten Produktionen von Phil Spector kamen auf seinem eigenen Label Philles heraus.
Walking Bass Tag
«Walking Bass» bezeichnet eine aus dem Jazz kommende Art des Bassspiels, bei dem eine Melodie oder ein Riff gespielt wird, das sich häufig wiederholt, dabei sich an die Harmonie anpasst. Die Harmonie wird dadurch betont, das Basspiel hat einen eigenen Groove, was die Musik meist tanzbar macht.
Vorstadt Tag
Mit dem modernen Wachstum der Städte vor allem nach dem Zweiten Weltkrieg kam neben die klassischen geografischen Zonen «Stadt» und «Land» eine dritte hinzu: die «Vorstadt», «the suburbs» oder «Suburbia». Dabei lassen sich verschiedene Typen unterscheiden: die charakterlosen Ansammlungen von aus dem Boden gestampften gleichförmigen Häusern ausserhalb der Stadtgrenzen, die konstruktiven, utopischen Neuen Städte und ehemalige Dörfer, die zu Kleinstädten in Ballungszentren gewachsen sind. Suburbia wurde als Wohnort von der hart arbeitenden und aufsteigenden (in den USA weissen) Mittelklasse bevorzugt. Ihre Häuser waren funktional und modern. Es gab nichts Überflüssiges, was die Bewohner unnötig beschäftigt hätte (wie etwas bei einem Landhaus).
Suburbia ist eine planwirtschaftliche und idyllische Welt, wie sie in den Sitcoms «Leave It to Beaver» oder «Father Knows Best» präsentiert wurden. Wer in diese Vorstädte zog, floh vor dem Schmutz der Städte, ihrer Kriminalität.
Doch – hoppla! – das mit der Idylle kam ganz anders. Die Kinder, die in den Vorstadt-Paradiesen aufwuchsen, entsprachen nicht dem Plan ihrer Eltern: Sie tranken übermässig, nahmen Drogen, klauten in Supermärkten, richteten sich ein Leben in den Malls ein (so genannte «Malrats»), vandalisierten die Nachbarschaft und waren gewalttätig. Nicht alle, versteht sich, doch eine erschreckend grosse Zahl. In den gepflegten Vorstadtgärten, in den Schulen, Malls und Recs (Recreation Centers, Jugendzentren) von Suburbia wuchs die Saat des Bösen.
Eine Erklärung, weshalb das so war, lautet: Es war das Produkt von Langeweile und mangelnder elterlicher Aufsicht. Die Kinder wurden mit Plattenspielern und TVs aufgezogen, statt mit Fürsorge. Die negativen Auswüchse waren also eine Art gesellschaftlich breit angelegte Wohlstandsverwahrlosung. Und so bestand die Jugendkultur der 1980er und 1990er Jahre, also der Zeit vor dem Internet, schon vorwiegend aus Horror, Gore und Pornografie.
An den Vorstädten wird kritisiert, dass ihre Funktionalität mit Leblosigkeit bezahlt werden müsse. Das Leben in ihnen war und ist nur mit einem oder mehreren Autos möglich. Die Häuser sind nach ähnlichen Plänen gebaut. Das förderte den Verdacht, dass Suburbianer unter erheblichem Konformitätsdruck aufwuchsen und lebten. Die Rolle der Frau in suburbanen Familien war speziell trostlos. Durch den automatisierten Haushalt und das klassische Rollenverständnis als Hausfrau waren Frauen Hausfrauen ohne rechte Herausforderung.
Suburbane Häuser beherbergten nicht nur moderne Menschen, sondern grosse Langeweile, Ängste und Neurosen, was in vielen Filmen (Komödien und Horror) thematisiert wurde.
Man kann die Zahlen von Drogenunfällen, Gewalttätigkeit, Kriminalität in Vorstädten interpretieren wie man will. politisch wirkungsmächtig geworden sind Ängste in der Vorstadt in verschiedenen gesellschaftlichen Feldern: in der Jugendkultur, dem Umweltschutz und im Moralismus einer neuen Rechten (Ronald Regan).
Suburbia in der Populären Musik
Unbenutzte Garagen waren das Zuhause unzähliger amerikanischer Bands in den 1960er Jahren. Die Garagen waren ein Ersatz für den städtischen Übungskeller. In diesen Garagen wuchs ein eigenes musikalisches Genre heran: Garage Rock.
In England gab es Neue Städte (New Towns), die am Ende des 2. Weltkriegs entstanden. Basildon, die Heimat von Depeche Mode ist eine solche. Die futuristische, teils aber auch trostlose Musik der Gruppe kann als eine Funktion dieser Herkunft gehört werden.
Die Inszenierung der Songs der Gruppe Talking Heads können als die Neurotizismen von Suburbianer gelesen werden – Leute, die nicht wissen, woher sie kommen und wohin sie gehen.
Für das Aufkommen von Indie und Alternative spielt Suburbia eine grosse Rolle. Erstens zogen Misfits aus Suburbia in die Grosstädte und wurden dort erfolgreiche Künstler*innen, zweitens kam mehr und mehr Musik aus der Peripherie, aus suburbanen Räumen, in denen Clubs, Läden, Labels entstanden, die kurze Zeit erfolgreich waren.
Gangstarap fand vor allem bei weissen Suburbianern Resonanz. Für diese Kids war das Grossstadt-Ghetto eine Fantasiewelt, in der echte Abenteuer möglich waren.
Literatur
– A.C. Spectorsky: The Exurbanites (1955)
– William H. Whyte: The Organization Man (1957)
– Richard E. Gordon: Split-Level Trap (1961)
– Herbert Gans: The Levittowners (1965): eine soziologische Studie über Levittown, New Jersey
Vorgruppe Tag
Die Vorgruppe, die für den Headliner die Stimmung im Publikum aufheizt. Einer Vorgruppe kann aber auch passieren, dass sie ausgebuht wird.
Vokalgruppen Tag
Vokalgruppen sind kleine Formationen von Sängerinnen und Sängern, die bei Konzerten und Aufnahmen meist von einer Backingband unterstützt werden oder a-cappella singen. Die Mitglieder einer Vokalgruppe besetzen typischerweise verschiedene Stimmregister und spielen keine Instrumente. Man kann Vokalgruppen in männliche, weibliche und gemischte einteilen, in Trios, Quartette, Quintette, Sextette etc. Wird die Zahl der Mitglieder grösser, spricht man von einem Chor. In der Geschichte der Populären Musik sind einige distinkte Formen von Vokalensembles entstanden, die im Folgenden behandelt werden.
Barbershop Singing
Barbershop Vokalgruppen im ersten teil des 20. Jahrhunderts hatten eine TTBB-Besetzung (tenor—tenor—bariton—bass), die close harmony sang. Diese Vokalensembles benutzten die just intonation, was ihnen einen resonierenden Ton verlieh. Einer der Tenöre war die führende Stimme («lead»).
Beispiele sind: American Quartet, Big Four Quartet, Columbia Male Quartette, Hayden Quartet, Peerless Quartet, in Deutschland waren die Comedian Harmonists angelehnt – siehe auch Musikzimmer-Genre: Barbershop Singing.
Gospel Quartette
Gospel Quartette kamen in der Regel aus dem amerikanischen Süden bzw. dem Bible Belt. Durch die Migration aus dem amerikanischen Süden in die industrialisierten Städte des Nordens und in den Westen konnten diese Quartette bald in grossen Teilen der USA auf Tournee gehen.
Beispiele waren das Golden Gate Quartet, Five Blind Boys, die Blackwood Brothers, die Soul Stirrers oder die Jordanaires, die vor allem dadurch bekannt wurden, dass sie Elvis Presley und Patsy Cline begleitet haben.
Im Musikzimmer sind Gospel-Vokalgruppen unter den Genre-Tags Gospel-Quartets und Gospel Vocalgroups zu finden.
Quartette im Jazz-Age
Diese Ensembles sangen in der Regel close harmony. Diese Gesangsart findet sich oft bei Brother- oder Sister-Acts.
Beispiele waren: die Boswell Sisters, die Mills Brothers, die Ink Spots, das Golden Gate Quartet, die Andrews Sisters, die Chordettes oder Four Freshmen.
Doo-Wop-Gruppen
Doo-Wop-Gruppen singen in der Regel a-cappella und bestehen hauptsächlich aus Männern. Gospel- und Doo-Wop-Vokalgruppen sind die Vorboten von Soul-orientierte Vokalgruppen (in Musikzimmer siehe: Genreseite: Rhythm'n'Blues-Gospel-Hybride.
Bekannte Beispiele von Doo-Wop-Gruppen sind The '5' Royales, Cadillacs, Chords, Clovers, Coasters, Danny And The Juniors, Del-Vikings, Dion and the Belmonts, Drifters, Five Satins, Flamingos, Frankie Lymon And The Teenagers, Ink Spots, Marcels, Moonglows, Orioles, Paradons, Penguins, Platters, Ravens, Robins, Spaniels.
Eine ausführlichere Liste hat Wikipedia verzeichnet. Gute Übersichten bieten die verschiedenen Genre-Compilations (siehe: Genreseite: Doo-Wop).
Folk Trios und Quartette
Folk Trios und Quartette waren Vokalgruppen, die mit Folk-Instrumenten (Gitarre, Banjo, selten Bass) aufgetreten sind. Die Vokalleistung dieser Formationen war in der Regel bemerkenswerter als die rudimentäre musikalische Begleitung.
Beispiele sind das Kingston Trio, die Weavers, Springfields, Lettermen, Seekers, Peter, Paul And Mary oder The Mamas and The Papas (diese schon eher eine Hybride – siehe weiter unten).
Boy- und Girlgroups
Mit dem Aufkommen des Musikmarkts für Teenager in den 1950er Jahren entstehen Boy- und Girlgroups, die sich bis in die Gegenwart (zum Beispiel im K-Pop) grosser Popularität erfreuen.
Beispiele sind die Shangri-Las, Supremes, Marvelettes, Martha and the Vandellas, Shirelles, Spice Girls, Boyz II Men, Take That, *NSYNC, Backstreet Boys, Destiny’s Child, New Kids on the Block, One Direction, BTS.
Soul Vokalensembles
Ab den 60er Jahren kamen als Weiterentwicklung des Doo-Wop und Gospels meist Soul Vokalensembles auf.
Beispiele: Gladys Knight And The Pips, Delfonics, O'Jays, Stylistics, Commodores, Manhattan Transfer, Tavares, Spinners, Dells, Chi-Lites, Labelle, Pointer Sisters, En Vogue.
Rock- und Funk-Hybriden
Die Beach Boys, die Bee Gees oder Crosby, Stills And Nash, Association, 5th Dimension, Three Dog Night, Roches, Bangles kann man als eine Hybride aus Beat- bzw. Rockgruppe und aus einem Vokalensemble sehen. Die Beatles verkörperten vor allem am Anfang ihrer Karriere eine wegweisende Art der Boygroup (eine Boygroup aus Freunden, die nicht gecastet war wie zum Beispiel die nach ihnen modellierten Monkees). Allerdings ist ihre Vokalleistung nicht ausserordentlich wie bei den Beach Boys.
In der afroamerikanischen Musik gab es ähnliche Hybriden - halb Band und halb Vokalgruppe: z.B. Earth, Wind And Fire oder die Isley Brothers
Vokalensembles im Europop
Auch im Europop waren Vokalensembles und hybride Gruppen-Vokalensembles beliebt: Boney M., Baccara, Abba oder Pussycat.
Verhältnis zum Sologesang
Vokalgruppen haben wegen den verschiedenen Stimmen einen reicheren Ton als Solosänger/-innen. Das erlaubt ihnen zuweilen, auf Instrumente zu verzichten und a-cappella zu singen. Vokalensemles waren immer wieder das Sprungbrett für Solokarrieren ihrer Mitglieder - meist der Leadstimme: Smokey Robinson ging aus den Miracles hervor, Curtis Mayfield aus den Impressions, Diana Ross aus den Supremes, Michael Jackson aus den Jackson 5, Justin Timberlake aus *NSYNC, Harry Styles aus One Direction.
Zuweilen sind Vokalgruppen auch die Backup- oder Begleitsänger/-innen von Solo-Acts: Jordanaires, Midnighters (mit Hank Ballard, der als Soloact aus ihnen hervorgegangen ist), Famous Flames, die James Brown begleitet haben.
Auch in anderen als den westlichen Kulturen spielen Vokalensembles eine grosse Rolle: In Südafrika Ladysmith Black Mambazo.
Links
– Mora Deane: Leaders Of The Pack: A History Of Girl Groups (uDiscoverMusic, 8. März 2020)
Vocoder Tag
Der Vocoder ist ein Abfallprodukt des Zweiten Weltkriegs, als man versuchte, die menschliche Stimme analog zu encodieren, um Bandbreite zu sparen. Die Kunst dieser Signalreduktion besteht darin, möglichst viel unwesentlichen informationswert aus der Stimme zu entfernen, ohne dass sie deswegen unverständlich wird. Das Gerät analysiert die Stimme (oder ein anderes Audio-Signal) und verändert sie beispielsweise durch Überlagerung einer Hüllkurve. Wenn diese Hüllkurve von einem Keyboard kommt, dann wird eine gesprochene Stimme melodisch.
Der Begriff «Vocoder» ist eine Fügung von «Voice» und «Encoder».
In der Musik wurden Vocoder als Effektgeräte eingesetzt, um Stimmen eine synthetische Qualität zu geben (Roboter-Stimmen). Vor allem wurden sie in der Club- und Tanzmusik eingesetzt.
Links
– Complex: The 50 Greatest Vocoder Songs (3. August 2010)
– Andy Beta: 16 Essential Vocoder Songs (Pitchfork, 6. Januar 2016)
vocal fry Tag
«Vocal fry» ist das tiefste Register der menschlichen Stimme. Das Register war (ist?) i der englischen Oberklasse stets verwendet worden, im Finnischen ubiquitär, im Birmanischen ist das Register gar semantisch diskriminierend, d.h. für die Bedeutung eines Wortes relevant. In letzter Zeit ist «vocal fry» eine recht verbreitete Mode unter jungen Amerikanerinnen geworden - sowohl wenn sie sprechen als auch wenn sie singen. Weil vermeintlich hohle Influencerinnen wie Kim Kardashian «vocal fry» zu einem Markenzeichen gemacht haben wird das Register benutzt, um diese Frauen zu dissen und parodieren.
«Vocal fry» hat also verschiedene Konnotationen:
– blasiert, von oben herab, altklug (James Bond Figur, BBC, male upper class voice)
– gelangweilt, gleichgültig, dümmlich (ähnlich wie das Heben der Stimme in Aussagesätzen wie bei einer Frage)
– entspannt, cool
Gender Differenz
Wenn eine Frau mit «vocal fry» spricht, klingt sie heller und voller als Männer, dern vocal fry wie ein Schnurren klingt («purr»). Vielleicht hat das anatomische Gründe. Das Video von Dr. Geoff Lindsey suggeriert das. Aber viel wichtiger ist doch, dass «vocal fry» ein Sprechstil darstellt, den junge Leute, offenbar besonders Frauen, adaptieren und kultivieren. Und warum sollen sie nicht. Sie finden es offenbar cool, während Sexisten und Haters sie unterschätzen und dissen. Eine Ursache könnte sein, meint Lindsey, dass «vocal fry» wie das Knarren eines Holzbodens oder einer defekten Maschine klingt, eine Konnotation von «alt» und «defekt» hat. Er weist darauf hin, dass solche Sounds, als Stimmen von Bösewichten und Soundeffekte in Horrorfilmen verwendet werden.
Querverweise
– Gesang
Viva Tag
VIVA Deutschland (steht für «Videoverwertungsanstalt») war der erste deutsche Sender, auf dem hauptsächlich Musikvideos liefen. Viva wurde von Dieter Gorny gegründet, ging 1993 auf Sendung, wurde 2005 an die amerikanische Viacom verkauft und stellt Ende 2018 den Betrieb ein.
VIVA war das Sprungbrett für Jungmoderatoren wie Stefan Raab, Charlotte Roche, Sarah Kuttner, Oliver Pocher, Matthias Opdenhövel und Heike Makatsch.
Links
– Süddeutsche: Viva wird 25 Jahre alt und macht die Musik aus (30. November 2018)
Vitascope Tag
«Vitascope» hiess ein frühes Filmprojektionsverfahren, das 1895 von Charles Francis Jenkins und Thomas Armat vorgestellt wurde. Jenkins liess ein Verfahren patentieren, das «Phantoskop» hiess. Zusammen mit Armat nahmen beide Modifikationen vor, die zur Serienreife des Vitascopes führte. Die beiden verkauften das Phantoskop bzw. das Vitascope für etwa $5000.— an Edisons Kinetoscope Company.
Funktionsweise
Bilder wurden mittels Film und elektrischem Licht auf eine Wand oder Leinwand projiziert. Die gegossenen Bilder werden ursprünglich mit einem Kinetoskopmechanismus auf Gelatinefilm aufgenommen. Mithilfe eines intermittierenden Mechanismus erzeugten die Filmnegative bis zu fünfzig Bilder pro Sekunde. Der Verschluss öffnet und schließt sich, um neue Bilder freizugeben. Dieses Gerät kann bis zu 3000 Negative pro Minute produzieren.
Erste öffentliche Vorführungen
Das Original-Phantoskop demonstrierte Jenkins im Juni 1894 in Richmond, Indiana – der Anlass gilt als die erste dokumentierte Projektion einer Filmaufnahme überhaupt. Im September 1895 führten Armat und Jenkins ihr Phantascope an der Cotton States-Ausstellung in Atlanta vor.
Im Mai 1895 demonstrierten Woodville Latham aus Nashville und seine beiden Söhne, die in New York einen Kinetoscope parlor betrieben, einen Filmprojektor vor, der es möglich machte, vier Minuten Boxkampf aufzuzeichnen.
Berühmt geworden ist die Demonstration des Vitascopes bei Koster & Bial vom 23. April 1896. Koster & Bial's Music Hall war eines der führenden Vaudeville Theater am 34th Broadway, New York (heute Macey's). Russell Sanjeks Buch über die amerikanische Unterhaltungs- und Musikindustrie Pennies From Heaven beginnt mit diesem Anlass am Ende einer wirtschaftlichen Depressionsphase, mit dem zumindest die Filmindustrie entstand.
Neuer US-Standard
Bereits 1897, nur zwei Jahre nach der ersten Demonstration des Vitascope, wurde die Technologie landesweit übernommen. Projektoren wurden in Vaudeville Theatern und Nickelodeons eingerichtet.
Links
– Library of Congress: Inventing Entertainment: The Early Motion Pictures and Sound Recordings of the Edison Companies
Virtuosität Tag
Virtuosität ist ein Begriff, der aus der klassischen Musik kommt. In der Populären Musik findet er keine Verwendung - jedenfalls keine reflektierte Verwendung. Es kann jederzeit so dahingesagt werden, dass ein Musiker*in virtuos in die Tasten greift, aber eine solche Wortverwendung hat nichts mit der Virtuosen-Tradition des 19. Jahrhunderts oder dem neueren Diskurs über Virtuosität zu tun. Es ist einfach dahingesagt. Alltagssprache bedeutet das «erstaunlich gut am Instrument». Im Fachdiskurs hat Virtuosität mindestens drei andere Bedeutungsschichten, die im Folgenden erläutert werden.
1 Virtuosität als Aufführungskategorie
Virtuos sind Musiker*innen, die spielen (singen), nicht solche die Musik schreiben. Von Songwriter*innen und Komponist*innen sagt man nicht, dass sie virtuos sind. Sergei Prokoviev galt als virtuos, aber diese Virtuosität bezog sich nicht auf die Werk, sondern auf sein Spiel als Interpret.
Freilich haben Komponist*innen für Virtuos*innen geschrieben. Dimitri Shostakovich hat seine Cello Konzerte dem besten Cellisten seiner Zeit, Mstislav Rostropowitsch, gewidmet (siehe seine Aufführung des zweiten Konzerts auf Youtube). Arnold Schönberg verstand viele seiner 12-Ton-Werke als Musik für Virtuos*innen der Zukunft.
Virtuosität als Aufführungskategorie ist zuletzt in der Postmoderne virulent geworden. Die Deutsche Forschungsgemeinschaft initiierte in den 00er Jahren den Sonderforschungsbereich 447 «Kulturen des Performativen. Performative Turns im Mittelalter, in der frühen Neuzeit und in der Moderne». In diesem Rahmen forschte zum Beispiel die Theater und Literaturwissenschaftlerin Gabriele Brandstetter über Virtuosität. Der Postmoderne Virtuositätsbegriff erstreckt sich weit über die Musik hinaus und kann jede aussergewöhnliche Leistung («Performance») meinen – auf der Bühne, in allen gesellschaftlichen Bereichen wie Politik oder Wirtschaft, sowie im Alltag.
2 Virtuosität als Überbietungskategorie
Virtuos*innen stellen alles in den Schatten, was ihre Zeit an guten Interpretinnen zu bieten hat – die Meister*innen. Jede Zeit bringt eine Vielzahl von Meister*innen hervor, aber nur vereinzelte Virtuos*innen. Um dieses Moment der Überbietung spinnen sich mancherlei Geschichten. So wird erzählt, dass zwei Meistergeiger, Jaëll und Benesch, Paganini gehört haben. Sagte Benesch: «Wir können alle unser Testament machen.» Entgegnet Jaëll: «Nein, ich bin schon tot.» (Szenen des Virtuosen, S. 23). Das selbe Drama hat sich für den Blues-Gitarristen Eric Clapton am 1. Oktober 1966 abgespielt, als er Jimi Hendrix zum ersten Mal spielen hörte. Cream traten an jenem Samstagabend im Polytechnic an der Regent Street in London auf. Chas Chandler, Hendrix' Manager, arrangierte für seinen Schützling, dass er mit Cream jamen konnte, was ziemlich ungewöhlich war. Ein unbekannter Gitarrist jamt mit der besten britischen Band. Hendrix spielte «Killing Floor» von Howlin' Wolf mit etwa der dreifachen Geschwindigkeit. Clapton war perplex. Er soll die Bühne verlassen und wütend zu Chandler gesagt haben: «Du hast mit keine Wort erwähnt, dass er so verdammt gut ist» (siehe: Guardian Artikel).
In der Rockmusik hat man die Kategorie der Virtuosität nicht bemüht. Aber es gab ein anderes Wort, mit dem die Presse Hendrix-Auftritte beschrieb: «Gimmicks». «Gimmicks» klang wie ein Vorwurf, den man dem Gitarristen machte, nämlich dass er ein Effekthascher sei. Sein Spiel mit der Zunge und hinter Kopf und Schultern diente nicht wirklich der Musik, sondern der Show.
3 Virtuosität als Verblendungskategorie
Woher kommt es, dass Virtuos*innen oft kritisiert werden? Ist es Neid? Gewiss spielt Neid mit, aber historisch gibt es einen anderen Grund, weshalb Virtuosität als anrüchig gilt. Dazu muss in der Musikgeschichte tiefer gegraben werden. Als im 19. Jahrhundert in Europa das Bürgertum die feudale Ordnung ablöste wurde die Schöne Kunst, die vorher ein Privileg des Hofs war, öffentlich. Es wurden in den grösseren Städten Museen, Opern- und Konzerthäuser gegründet. Die bürgerliche Presse berichtete über Ausstellungen und musikalischen Aufführungen. Musik und Kunst wurden nun ideologisch aufgeladen: Sie galten als Volksbildungsinstitutionen. Mit diesem Anspruch ging aber die Gefahr einher, dass ein grosses ungebildetes Publikum nicht der wahren Schönheit von Kunst und Musik applaudieren würde, sondern einem «blossen Virtuosentum» aufsässe. Dies ist ein Motiv, das für die bürgerliche Musik prägend bleibt: Wie kann die Schöne Kunst bzw. die Wahre Musik vor der Vereinnahmung des Populären geschützt werden? Nur weil etwas beklatscht wird, ist es nicht gut oder schön. Auf die Moderne übertragen: Dass ein Musikstück in die Hitparade kommt, ist kein Ausweis für seinen musikalischen Wert.
Frank Hentschel hat auf 500 Buchseiten deutschsprachige Musikgeschichtsbücher aus der Zeitspanne zwischen 1776 und 1871 auf ihren ideologischen Gehalt hin untersucht. Er schreibt, dass die Musik gerade wegen ihrer fehlenden semantischen Dimension (ihrer «Unbegrifflichkeit») anfällig sei für ideologische Vereinnahmungen (S. 10). Man muss vermuten, dass neben der bürgerlichen Identitätsstiftung auch die Musikwissenschaft selbst gerade durch diese «politisch lesbaren Metaphern» (= Ideologie) überhaupt erst entstand. Musik ist wie alles Schöne radikal subjektiv. Daher fehlen in diesem Feld die Grundlagen für eine Wissenschaft.
Die Virtuosen Musiker*innen der Frühromantik (z.B. Paganini) waren sehr erfolgreich und füllten die bürgerlichen Konzerthäuser. Ideologisch war Virtuosität allerdings nicht hoch angesehen – im Gegenteil. Virtuosität und Effekt, so Hentschel, galten als äusserlich statt innerlich, sinnlich statt geistig, oberflächlich statt tiefsinnig (S. 124 f.).
4 Virtuosität als Treulosigkeitskategorie
Gegen Ende des 19. Jahrhunderts setzte sich in der bürgerlichen Musik zunehmend die Arbeitsteilung von komponierendem Autor und ausführender Musiker*in durch. Mit dieser Trennung kam die Idee der Werktreue auf. Werktreue heisst, dass Musiker*innen oder die Dirigent*innen von Orchestern ein musikalisches Werk so aufführen müssen, wie es vom Autor intendiert ist. Eine Art Gegenbegriff zur Werktreue war «Virtuositätengeklimper», was Robert Schumann die virtuose, auf Effekt angelegte Musik nannte. Virtuose Interpret*innen kamen in Verruf, Werke um des Effektes Willen «treulos» aufführen.
Nun waren aber viele Virtuosen nicht nur ausübende Musiker, sondern schrieben ihre Werke selbst. Beispiele dafür sind Paganini oder Franz Liszt. Ihre virtuosen Werke waren extra dafür geschrieben, ihre aussergewöhnlichen spieltechnischen Fertigkeiten möglichst eindrucksvoll vorzuführen.
Literatur
– Heinz von Loesch, Ulrich Mahlert und Peter Rummenhöller (Hrsg.): Musikalische Virtuosität. 2004, Schott, Mainz. darin der Aufsatz von Peter Wicke: Virtuosität als Ritual. Vom Guitar Hero zum DJ-Schamanen (S. 232).
– Gabriele Brandstetter, Gerhard neumann (Hrsg.): Genie, Virtuose, Dilettant. Konfigurationen romantischer Schöpfungsästhetik. 2011, Königshauser und Neumann, Würzburg.
– Gabriele Brandstetter, Bettina Brandl-Risi, Kai van Eikels (Hrsg.): Szenen des Virtuosen. 2017, Transcript, Bielefeld.
– Frank Hentschel: Bürgerliche Ideologie und Musik. Politik der Musikgeschichtsschreibung in Deutschland 1776–1871. 2006, Campus, Frankfurt a.M.
– Gerhard Brunner, Sarah Zalfen (Hrsg.): Werktreue. Was ist Werk, was Treue? 2011Böhlau, Oldenbourg.
Virtual Reality Tag
Im Zusammenhang mit Musik wird vielfach verkündet, dass VR eine der nächsten Medien-Revolutionen auslösen könnte. VR könnte die Musiker-Fan-Interaktion von Grund auf verändern: Ein Live-Konzert wäre dann ein Erlebnis im Internet, ohne dass die Band reisen muss, aber die Fans hätten ein immersives Erlebnis.
Im musealen Kontext arbeiten Firmen daran, Konsumenten zu erlauben auf der Bühne zu stehen und mit den Musikern zu interagieren oder mit ihnen zu spielen. Luftgitarre reborn. Ein Projekt läuft an der EPFL Lausanne mit den Videomaterialien aus dem Montreux Jazzfestival.
Ein weiterer Anwendungsbereich tut sich in der Musikpädagogik auf. Spezifische Lehrer/-innen stünden ortsunabhängig zur Verfügung.
Quellen
– Jen Sako: Virtual Reality And Beyond: The Future Of Music Experiences (Hypebot, 11. Januar 2018)
Vevo Tag
Vevo ist ein amerikanisches Video Hosting Unternehmen bzw. Videoportal, eine Art joint venture der drei Major Labels Universal Music Group (UMG), Sony Music Entertainment (SME) und Warner Music Group (WMG), das am 8. Dezember 2009 in Leben gerufen wurde. Auch am Unternehmen beteiligt sind Google sowie die Abu Dhabi Media Company. Die Videos der drei Majors werden über den Vevo-Kanal auf YouTube der Öffentlichkeit zugänglich gemacht. 2017 erreichte Vevo zum ersten Mal den Break-even. Der Vevo-Kanal verzeichnet täglich mehr als 800 Millionen views und ist zweifellos der wichtigste Musikvideokanal auf YouTube. 2019, nach zehn Jahren hat Vevo 400'000 Musikvideos online gebracht, daneben auch Serien und Konzertaufzeichnungen. Zwischen 2014 und 2019 sind die Views um 300% gestiegen.
Aus der Sicht der Konsument/-innen ist Vimeo heute das, was MTV in den 80er Jahren war, die erste Adresse für die Musik der Zeit. Aus musikwirtschaftlicher Perspektive ist Vimeo die grösste Hit-Macherin unserer Zeit. Noch mehr als Streaming-Dienste wie Spotify hat Vevo zum Gesunden der Musikindustrie nach dem Napster-Schock beigetragen.
Der Name ist ein Kürzel von «Video EVOlution».
Vimeo ist deshalb so wichtig, weil zwischen Vimeo und YouTube im Prinzip der Preis verhandelt wird, was ein Musik-Stream im Internet wert ist. Den Labels ist, was Google bezahlt zu wenig (wen wundert's?) und Google/YouTube hat das weltweit grösste de facto Medien-Monopol, um Musik-Videos (und Audiostreams) anzubieten.
Quellen
– Bruce Houghton: Vevo Revenue, Video Views Both Up 50% As It Nears Profitability (Hypebot, 2. Januar 2018)
– Bruce Houghton: Vevo Marks 10 Years, 300% Growth In Last 5 Years (Hypebot, 13. September 2019)
Verwertungsgesellschaften Tag
Verwertungsgesellschaften sind Organisationen, die Urheber- und Leistungsschutzrechte eintreiben (siehe Tantiemen), den Gebrauch/MIsbrauch davon überwachen, die Rechte von Künstler*innen (Autor*innen, Komponist*innen, Lyriker*innen) in legislativen und juristischen Prozessen vertreten. Sie treiben eine beachtliche Geldmasse ein und verteilen sie nach einem Schlüssel an ihre Mitglieder.
Geschichte
Die erste Verwertungsgesellschaft wurde 1851 in Frankreich gegründet, die «Société des Auteurs, Compositeurs et Editeurs de Musique» (SACEM). Das Ziel der Gesellschaft bestand darin, «neben den Musiknoten die Aufführung als Quelle des Einkommens von Komponisten und Verlegern zu etablieren» (Dommann, 84). Ihre Gründung fiel mit einer Blüte des französischen staatlich geförderten Kulturexports zusammen. Die SACEM baute ab 1878 im europäischen Ausland und in den USA ein Agentensystem auf, welches das französische Agenturmodell exportierte und erfolgreiche französische Kulturprodukte zu verwerten suchte. Mit ihrer Auslandtätigkeit machte sich die SACEM unbeliebt, sie wurde als Einmischung Frankreichs in fremdem Territorium wahrgenommen. In der Folge wurden in vielen europäischen Ländern eigene Verwertungsgesellschaften gegründet: in Italien die «Società Italiana degli Autori et Editori» (SIAE, 1882), in Österreich die Gesellschaft der Autoren, Komponisten und Musikverleger (AKM, 1897), in Deutschland die Genossenschaft Deutscher Tonsetzer bzw. Genossenschaft Deutscher Komponisten (GDT, 1898) und die Anstalt für musikalisches Aufführungsrecht (AFMA, 1903). Es kam zu nationalistischen Kräftemessen als die «SACEM sich weigerte, Tantiemen für deutsche Werke in Frankreich auszuzahlen, solange aus Deutschland keine Gebühren für die Aufführung französischer Musik nach Frankreich zurückflossen» (Dommann, 85).
Auf dem europäischen Kontinent sind Verwertungsgesellschaften bereits am Ende des 19. Jahrhunderts entstanden, während die USA und Grossbritannien erst 1914 nachzogen.
Der Druck auf Verwertung musikalischer Werke, wenn sie aufgeführt oder abgespielt wurden, kam auch bei Arrangeuren und Kapellmeistern nicht gut an. Diese sahen ihre Freiheiten der Bearbeitung in Gefahr. Gegner der Verwertungsgesellschaften kritisierten und titulierten diese als «Tantiemenwirtschaft».
Verwertungsgesellschaften agier(t)en wie staatliche Bürokraten, die das musikalische Leben der Gesellschaft argwöhnisch beäugen, um eine möglichst lückenlose «Besteuerung» jeder einzelnen Aufführung sicherzustellen. Um solche Vorwürfe abzuwenden, haben sich die Verwertungsgesellschaften bewusst als Genossenschafen organisiert und betont, dass sie im Sinn ihrer Mitglieder agieren und nicht auf Gewinn aus sind. Zudem bauten sie Pensionskassen für Komponist*innen auf, unterstützten bedürftige Mitglieder mit Extraprozenten und gründeten Stiftungen zur Förderung des Musiklebens.
Das Repertoire der Verwertungsgesellschaften
Das Repertoire besteht aus allen Werken der Mitglieder von Verwertungsgesellschaften, deren Schutzfrist noch nicht abgelaufen ist. Wenn also im Urheberrechts- bzw. Copyright-Gesetzen die Schutzfristen verlämngert werden, vergrössert dies das Repertoire dieser Gesellschaften und macht sie stärker.
Mitglieder werden darauf verpflichtet, ihren gesamten Werkkatalog (nicht etwa Einzelwerke oder Auszüge daraus) von der Gesellschaft verwerten zu lassen.
Verteilung und kulturelle Wertung
Die grossen Geldmengen, die eine Verwertungsgesellschaft eintreibt, müssen verteilt werden. Dies bildete eine Tantiemenökonomie aus, der die kulturelle Wertung verschiedener Musikgattungen und Genres abgelesen werden kann. Oberstes Prinzip in den USA war die Gleichverteilung zu je 50% der Tantiemen an Komponist*innen/Autor*innen und an die Verlage. In Grossbritannien war dieser Sclüssel anders: hier gingen 40 % an die Komponist*innen und je 30 % an die Autor*innen und Verlage. Zweitens wurden in die Gesellschaften nur Mitglieder aufgenommen, die Musik schrieben. Die ephemere Kulturproduktion der Folklore war damit ausgeschlossen. Drittens mussten mussten Mitglieder sich teilweise Prüfungen unterziehen oder brauchten die Empfehlung einer Gewährsperson, um aufgenommen zu werden. Viertens waren eine Mindestzahl an publizierten Werken für die Aufnahme erforderlich.
Die Verteilung lief nach Schlüsseln, die erstens die Aufführungsdauer berücksichtigten, zweitens den Status der Komponist*innen. Der Status war abhängig vom Renommee, der Ancienniät/Mitgliedschaftsdauer, dem Genre, der Popularität oder Leistungen, die das Mitglied für die Organisation erbringt. Verwertungsgesellschaften hatten einen grossen Anteil an der empirischen Erfassung der Popularität von Stücken mittels empirischer Marktbeobachtung und Programmanalysen. Sie benutzten dazu Lochkarten und weibliche Hilfskräfte. Auf der anderen Seite applizierten sie gerade nicht auf dem Markterfolg basierende Wertungen, die «ernste Musik» gegenüber der «Unterhaltungsmusik» aufwertete.
verwertung des Weltrepertoires
Mit dem Aufkommen des Radios in der zweiten Hälfte der 1920er Jahren schlossen sich die nationalen europäischen verwertungsgesellschaften zur «International Confederation of Societies of Authors and Composers» (CISAC, 1926) zusammen. Zusammen mit der ASCAP regelten sie mittels Gegenseitigkeitsverträgen die Verwaltung der Tantiemen eines «Weltrepertoires» (Dommann).
Verwertungsgesellschaften in der Schweiz
– SUISA (Urheberrechte im Bereich Musik)
– Suissimage (audiovisuelle Werke)
– Pro Litteris (Literatur, Journalismus, Fotografie)
– Swissperform (Leistungsschutzrechte)
– SSA (wort- und musikdramatische sowie audiovisuelle Werke)
– IFPI und Audion (u.a. Podcasts)
Querverweise
– Monika Dommann: Autoren und Apparate: Die Geschichte des Copyrights im Medienwandel
Verse-Chorus-Bridge Form Tag
Corpus mit Songs, die eine Verse-Chorus-Bridge Form aufweisen.
Eine Songstruktur, die am Ende der 1960er Jahre im Rahmen der damals neuen Rockmusik zu einem Standard des Songwritings in Pop und Rock wird. Sie ist im Prinzip eine um eine Bridge erweiterte Verse-Chorus Struktur. Beobachten kann man sie bereits im Rock 'n' Roll bei Chuck Berry und Buddy Holly, wo sie aber noch die Ausnahme darstellt.
Man kann die Form in Musikgeschichtlicher Perspektive als Synthese (oder Hybride) der AABA Form aus dem Traditionalpop und der Simple-Verse-Chorus-Form aus der Folk und Blues-Tradition sehen. Sie vereinigt sozusagen die Vorzüge beider Songstrukturen, so wie der Rock musikalisch eine Synthese aus den beiden musikalischen Traditionen darstellt.
Verse Tag
Der Verse ist ein Teil einer Songstruktur, der immer paarig mit dem Chorus auftritt.
Im Gegensatz zum Chorus ist der Verse durch folgende Merkmale definiert:
– Seine Lyrics erzählen die Episoden einer Geschichte (narrativ, siehe Story Song) oder handeln episodenhaft ein Thema ab (topologisch).
– Er enthält nur sehr selten den Songtitel.
– Er wird stets verändert, selten einmal wiederholt.
– Er tritt zuweilen in Varianten auf, als «Instrumental-» oder «Spoken-Verse».
Verlag Tag
Ein Musikverlag distribuiert oder verbreitet musikalische Werke, das sind in der Populären Musik Songs. Verlage finanzieren die Produktion von Musik und nehmen Geld ein, indem sie diese Musik verkaufen oder lizenzieren. Jedes Mal, wenn ein Musikstück Live oder in Medien gespielt wird – also an Konzerten, als Hintergrundmusik, in Radio und TV, in einem Film, der Werbung, auf einer Bühne –, auch ausschnittweise, oder wenn ein Tonträger verkauft wird, kriegt der Verlag einen Teil des Erlöses.
Verlage für Klassische Musik drucken und verkaufen vor allem Noten – so genannte «Musikalien».
Ursprung des Verlagswesens
Verlage waren in der Textilindustrie zur Zeit vor der Industrialisierung Gesellschaften, die Heimarbeiter*innen Rohmaterialien und Werkzeuge zur Verfügung stellten (vorfinanzierten, «verlegten»). Für diese Leistung erhielten sie die fertige Ware zu einem vereinbarten Preis. Die Ware verkauften sie dann auf dem Markt. So gesehen waren Verlage einer der Anfänge der kapitalistischen Ordnung der modernen Gesellschaft. Sie arbeiteten mit ihrem Kapital und waren weit mächtiger als die Leute, die für sie arbeiteten und ihnen in vielerlei Hinsicht ausgeliefert waren.
Mit der Industrialisierung wurden Fabriken gebaut, in denen die ehemaligen Heimarbeiter*innen Geld verdienten. Das alte Verlagswesen wurde obsolet und der Begriff ging in die Sphäre des geistigen Eigentums über, wo «Verlag» bis heute Institutionen bezeichnet, die Werke der Literatur, der Musik und der Fotografie vorfinanzieren, an diesen Werken ein Recht haben und dieses verwerten.
Erlöse
Die Erlöse aus der Medienverwertung sind verschiedener Art. Sie sind nur zum Teil selbst erwirtschaftet. Wenn ein Verlag Noten druckt, dan verwertet er seine Werke selbst. Wenn eine Komposition indes aufgeführt wird, hat der Verlag keine Kontrolle darüber und ist auf den Goodwill der Veranstalter oder der Interpreten angewiesen, damit das Leistungsschutzrecht, das dem Verlag zusteht, auch abgerechnet / verwertet wird. Für die Verwertung von solchen Aufführungsrechten wurden Verwertungsgesellschaften gegründet. In der Schweiz ist das die Swiss Perform. Als im 20. Jahrhundert Tonträger aufkamen, brauchte es neue auf diese Medien zugeschnittene Verwertungsrechte. Diese nennt man mechanische Rechte. Wenn ein Tonträger produziert wird, erhält der Verlag Geld, wenn er verkauft wird und wenn er an einem öffentlichen Ort gespielt wird (z.B. von einem DJ in einer Bar oder einem Club, dem Radio oder Fernsehen). Auch hierfür gibt es wiederum Verwertungsgesellschaften, in der Schweiz die SUISA.
Neue Musikwirtschaft
In der digitalen Musikwirtschaft der Gegenwart, die kaum mehr Tonträger herstellt, sind die Labels dazu übergegangen, ihr Kerngeschäft so zu definieren, wie die Verlage. Sie haben eigene Musikverlage gegründet oder bestehende Verlagskataloge aufgekauft. In den frühen 00er-Jahren, als der Tonträgerverkauf – durch Napster ausgelöst – eingebrochen ist, haben die Musik-Labels das Musikverlagswesen übernommen, das früher ein unabhängiger Zweig der Musikwirtschaft war.
Links
– Mark Mulligan: Publishers Are Driving A Full Stack Music Revolution (Musikc Industry Blog, 14. Oktober 2019)
Verlagswesen und Coronakrise
Am 11. Juni 2021 wurde publik, dass Sony Music vielen Künstler*innen Schulden erliess. Diese Schulden sind entstanden, als die Künstler*innen den Vertrag mit dem Label oder dem Verlag unterzeichnet haben. Damals erhielten sie einen Vorschuss, um Platten aufzunehmen uns den Act zu entwickeln. Wenn der Act nie profitabel wurde, dann blieben diese Schulden bestehen. Der Verlag macht heute aber vielfach Geld mit dem Streaming-Angebot seines Musik-Katalogs. Durch den Schuldenerlass können diese Künstler*innen nun vom Streaming-Einkommen profitieren.
Links
– Mark Savage: Sony Music writes off artists' decades-old debts (BBC News, 11. Juni 2021)
– Tim Ingham: FROM SONY’S HISTORIC UNRECOUPED BALANCES MOVE TO UNIVERSAL FUNDING [PIAS]: IT’S MBW’S WEEKLY ROUND-UP (Music Business Worldwide, 11. Juni 2021)
– Tim Ingham: IN HISTORIC MOVE, SONY MUSIC IS DISREGARDING UNRECOUPED BALANCES FOR HERITAGE CATALOG ARTISTS (Music Business Worldwide, 11. Juni 2021)
Verbraucherrevolution Tag
Die Bezeichnung «Verbraucherrevolution» bezieht sich auf eine Veränderung der Konsumgewohnheiten in England in der Zeit zwischen 1600 und 1750 und etwas zeitverschoben in anderen europäischen Ländern. Als die Kolonien Produkte wie Zucker, Kaffee, Tee, Schokolade in die europäische Heimat exportierten, erfreuten sich diese Luxusgüter reger Nachfrage und ergänzten den Konsum der selbst produzierten Nahrungsmittel und Güter grundlegend. Die Verbraucherrevolution brachte den Welthandel und Massenkonsum, den Sklavenhandel und die Sklavenwirtschaft in die Gesellschaft.
Die Verbraucherrevolution ist nicht mit dem Konsumismus seit dem Zweiten Weltkrieg zu verwechseln.
Querverweise
– Tabak
– Kaffee
– Tee (Genussmittel)
Veröffentlichung Tag
Mit der Veröffentlichung wird ein Werk der Öffentlichkeit zugänglich gemacht.
Heute kommen die meisten Releases an einem Freitag heraus, während es bis 2015 an einem Dienstag war. Beyoncé hat gezeigt, dass der Freitag ein praktischer Release-Tag ist: Der Hauptgrund ist die Berechnung des Charterfolgs. Da die Chart-Woche für die Billboard Charts von Freitag bis Donnerstag dauert, gehen durch Publikation am Freitag die oft grossen Anfangsverkaufszahlen optimal in die Berechnung der Charts ein. Ein anderer Grund (aber vermutlich ebenso von der Chartwoche abhängig) ist, dass auch Streaming Services ihr Angebot jeweils am Freitag updaten, obwohl sie das jeden Tag tun könnten.
Mit dem Release gehen verschiedene Marketingbemühungen der Labels und Managements einher, z.B. Anlässe wie Record Release Parties usw.
Links
– Musikzimmer: Stichwort: Erfolgsmessung
– Musikzimmer: Stichwort: Überraschungsrelease
Veranstalter Tag
Als «Veranstalter» werden Organisationen (Konzertagenturen) oder Personen bezeichnet, die Konzerte organisieren. Veranstalter sind Mittler zwischen Künstler/-innen und dem Publikum. Sie machen den Event bekannt (Werbung) und stellen Künstler/-innen oder Bands an.
Heutige Situation
In der neuen Musikwirtschaft sind grosse Konzerte riesige Verwertungsmaschinen. Dahinter stehen drei Oligopole LiveNation, der grösste von ihnen, Anschutz Entertainment Group und CTS Eventim.
Berühmte Veranstalter
– Bill Graham, San Francisco, New York, entwickelte das Rock-Konzert Format
– Michael Lang, Artie Kornfeld, John Roberts und Joel Rosenman: Veranstalter des Woodstock-Festivals
Links
– Berthold Seliger: Monopoly in the Worldwide Concert Business (Universität für Musik und darstellende Kunst Wien, 29. November 2018)
– Ralf Summer: Berthold Seliger über das, was im Konzert-Business falsch läuft (BR, 5. Juli 2019)
– Albert Koch: Berthold Seliger im Interview: «Keiner brennt mehr für Kultur» (Musikexpress, 31. Dezember 2013)
Vaudeville Show Tag
Eine Vaudeville Show ist Unterhaltung, die aus einer Vielzahl von Darbietungen besteht, darunter Musikdarbietungen, Sketch-Comedy, Magie, Tanz, Akrobatik, Jonglieren und Bauchreden. Es wird normalerweise von einem Showmaster (Compère, Zeremonienmeister, Gastgeber, MC) präsentiert.
Entstanden ist das Vaudeville Theater in Frankreich am Ende des 18. Jahrhunderts als eine Komödie mit Liedern und Tänzen. Der Begriff «Vaudeville» hiess anfangs Theateraufführung ohne durchgehende Handlung und dehalb auch ohne die Belehrung, den moralischen Appell, der mit literarischen Theaterformen einher geht. Vaudeville war eine populäre Kunstform, die mit der Industrialisierung aufkam und mit der Ankunft der modernen Massenmedien an Bedeutung verlor.
Das Varieté-Format etablierte sich um 1880 und gelangte von den Bühnen der viktorianischen Ära in Großbritannien (Music Hall) und Amerika (Vaudeville Show) ins Radio (zweite Hälfte 1920er Jahre) und dann ins Fernsehen (1948–50). Varieté TV-Shows waren von Ende der 1940er bis in die 1980er Jahre nicht nur ein fester Bestandteil des englischsprachigen Fernsehens, sondern auch das «Königsformat».
Man nimmt an, dass der Begriff «Vaudeville» von «la voix de ville» abgeleitet ist. Man kann das auf zwei unterschiedliche Arten verstehen: Entweder sind die Unterhaltungsacts auf den Vaudeville-Bühnen die Stimme der Stadt. Oder aber diese Stimmen der Stadt waren die Stimmen im Raum der Öffentlichkeit, die Stimmen der Leute, die im Publikum sassen und ihre Spannung und Aufregung weiter erzählten. «La voix de ville»: das Stadtgespräch.
Vaudeville in den USA
Als die Neue Welt gegen Ende des 19. Jahrhunderts Vaudeville adaptierte, machte sie etwas Eigenes daraus, nämlich eine Revue bzw. Nummern-Show mit untereinander nicht verbundenen oder unzusammenhängenden Teilen (siehe auch Stichwort: American Vaudeville). Ein wenig Music Hall, Minstrel Show und Zirkus war mit dabei. Die Nummern bestanden aus Sängerinnen und Sänger, (spärlich bekleideten) Tänzer*innen, Komödiant*innen, dressierten Tieren, Zaubernummern, Bauchredner*innen, Akrobat*innen, Impersonatoren (Blackface Auftritte wie in der Minstrel Show) – alles, was ein Massenpublikum unterhält. Die Shows hatten anfangs keinen bestimmten Anfang und kein Ende. Das Publikum konnte zu beliebigen Zeiten hinein- und wieder hinauslaufen. In den fünfzig Jahren von 1880 bis 1930 war die Vaudeville Show das Herz des amerikanischen Showbusiness. 1919 gab es um die 900 Vaudeville-Theater im Land (Alan Lewens: Popular Song: Soundtrack Of The Century, p. 29).
Gegenstand vieler Nummern waren ethnische Karikaturen. Komiker parodierten Schwarze oder bestimmte Einwanderergruppen. Über die teils rassistische Form des Humors allerdings, liefen auch die Akzeptanz und die Integration der Einwanderer. Da verschiedene ethnische Gruppen nebeneinander in den Shows auftraten, lernten sie von einander und begannen sich zu imitieren.
Der erste wichtige Vaudeville Impressario war Tony Pastor, ein vormaliger Zirkusdirektor. Er eröffnete am 24. Oktober 1881 an der 14. Strasse sein Vaudeville Theater. Das Zielpublikum war die urbane Mittelklasse. Das wesentlichste Broadway Theater mit Vaudeville Shows war das Palace Theatre am Times Square. Showprogramme wurden von New York oder San Francisco aus durch einen Kreis von Theatern in anderen Städten geschickt. Es gab den Orphium Circuit oder den Keith-Albee Circuit, die beide von mächtigen Impresarios geführt wurden. Schon damals war die amerikanische Unterhaltungsindustrie von Oligopolen dominiert – genau wie die späteren TV-Stationen oder die Plattenlabels.
Das Ende von Vaudeville kam in den 20er Jahren mit dem Aufkommen von Kinos und dem Radio. Der Einfluss des Vaudeville Show Formats auf Radio- (»The Rudy Vallée Show») und später auf Fernsehen-Shows (The Milton Berle Show, Ed Sullivan Show oder Saturday Night Live ist nicht zu übersehen. Institutionell gab es Verbindungen zwischen Vaudeville und Radio: Die Keith-Albee-Orpheum corporation, das Vaudeville Imperium wurde im Radio-Zeitalter die «Radio-Keith-Orpheum Co.» (RKO).
Vaudeville Shows in anderen Ländern
Varieté-Shows hiessen in verschiedenen Ländern jeweils etwas anders. In England nannte man sie Music Hall, in Frankreich und Deutschland Varieté oder Cabaret und in Australien «Tivoli Circuit» (nach den zusammengeschlossenen Theatern). In der Schweiz gab es in Basel ab 1912 das Küchlin Theater, das Varieteprogramme anbot. In Berlin-Schöneberg hat der Wintergarten bis heute in einer Nische überleben können.
Links
– Library of Congress: The American Variety Stage (American Memory)
Variety-TV-Show Tag
In den frühen 1960er Jahren war das Format der Variety-TV-Show ein bedeutender, wenn nicht der bedeutendste Bestandteil der amerikanischen Fernsehlandschaft und bot eine unterhaltsame Mischung aus verschiedenen Darbietungen. Diese Art von Show war geprägt durch ihre Vielseitigkeit und bestand in der Regel aus einer Kombination von Sketch-Comedy, Musik, Tanz, Zauberei und Akrobatik. Moderiert wurden Variety-TV-Shows oft von einer bekannten Medien- oder Unterhaltungs-Persönlichkeit, die als Gastgeberin oder Gastgeber fungierte. Die Moderation führte durchs Programm und kündigte die einzelnen Segmente an.
Das Format sprach ursprünglich ein breites Publikum ohne spezifisches Alter und unabhängig von Geschlecht und Herkunft an. Es gehörte zu den beliebtesten Programmgefässen überhaupt und wurde zur Hauptsendezeit ausgestrahlt. Die Shows wurden teils live ausgestrahlt, teils aufgezeichnet. Sie hatten oft ein prominentes Orchester, das für die musikalische Untermalung sorgte.
Variety-TV-Shows waren vom Anfang der TV-Geschichte in den USA (1948) bis in die 1980er Jahre nicht nur ein fester Bestandteil des Fernsehens, sondern auch das «Königsformat». Die 1960er Jahre gelten als das goldene Zeitalter der Variety-TV-Shows. Amerikanische Familien versammelten sich um ihre Fernsehgeräte und kamen in den Genuss einer grösstmöglichen Mischung aus verschiedenen Disziplinen der Unterhaltung. Erfolgreiche Moderatoren von Variety-Shows waren entweder Impresarios (Ed Sullivan), Komiker (Milton Berle, Jackie Gleason) oder Sängerinnen/Sänger (Dean Martin).
Variety-TV-Shows trugen erheblich zur Popularisierung von Künstlerinnen und Künstlern sowie von Stilrichtungen bei.
Weitere Variety TV-Shows aus der 1960er Jahren – plus/minus
– Ed Sullivan Show
– «Jackie Gleason Show» (CBS, 1952–57, samstags) – ein Komiker
– «Lawrence Welk Show» (ABC, 1955–71, samstags) – eine Musical Variety Show mit einem Orchester
– «Andy Williams Show» (NBC, 1962–71, dienstags) – ein Sänger, der viel Musik brachte
– «Danny Kaye Show» (CBS, 1963–67, mittwochs, Spätprogramm) – Komiker
– «Hollywood Pallace» (ABC, 1964–70, samstags, Spätprogramm)
– «The Dean Martin Show» (NBC, 1965–74), Sänger, der viel Musik für Erwachsene brachte (keine Pop- und Rock-, aber in den späteren Staffeln AOR-Acts)
– «Rowan & Martin’s Laugh-In» (NBC, 1968–73)
– «The Sonny & Cher Comedy Hour» (CBS, 1971–74) – Sonny and Cher waren ein beliebtes Gesangsduo
Geschichte
Im 20. Jahrhundert verdrängten die neuen Massenmedien, Radio in den 1920er Jahren und das Fernsehen in den 1950er Jahren, die Vaudeville-Theater, aber nicht ohne das Varieté-Format in ihren medialen Rahmen zu übersetzen. Erst mit dem Fernsehen konnten wirklich alle Disziplinen, auch Akrobatik, Zauberei oder Tanz, medial umgesetzt werden.
Die meisten Shows aus der Anfangszeit des Fernsehens wurden vom Radio übernommen, so auch die Show von Ed Sullivan, der sich als Moderator einer erfolgreichen Radioshow einen Namen gemacht hat.
Das Variety-TV-Format wurde im Lauf der 1980er und 1990er Jahren zunehmend von neuen Formaten überholt. Damals kamen Spartenprogramme auf und die Kanäle vervielfachten sich. Für Musik gab es nun MTV, das nur Musikvideos sendete. Britische Gruppen erlebten dank MTV einen zweite «British Invasion». Beliebte TV-Formate, die nach den Variety-Shows aufkamen, z.B. «Saturday Night Live», die verschiedenen Late Night Talks (von David Letterman, Jimmy Fallon oder James Corden) sowie Talentshows wie «America Got Talent» oder «The Voice», gelten als die Nachfolgeformate. Einzelne Elemente der Variety-Shows leben in ihnen weiter.
Vergleich mit deutschem Sprachraum
Im deutschen Sprachraum waren TV-Shows, die zur Hauptsendezeit liefen, meist etwas anders ausgerichtet als in Amerika, nämlich als Quizzsendung. Sie hiessen «Alles oder Nichts», «Einer wird Gewinnen» (Hans-Joachim Kulenkampff), «Dopplet oder nüt» (SRG, mit Mäni Weber, 1956–59, 1973–70).
Ende der variety-TV-Show
Obwohl Variety-TV-Shows sich bis heute gehalten haben, hat das Mehrkanalfernsehen (MTV, Kulturkanäle wie Arte) mit ihren Mediatheken und Archiven oder das Internet (mit Youtube, Vimeo und Dailymotion) das Format enttront. Zu den Nachfolge-Formaten gehören die Spielshows, Saturday Night Live (NBC) sowie die bis heute populären Late-Night-Talkshows.
Varianten
– Musical Variety-TV-Show
– Christmas Variety Shows
Unterhaltungsindustrie Tag
Die International Standard Industrial Classification (ISIC) unterscheidet zwischen folgenden Wirtschaftszweigen, die irgend eine Form von Unterhaltung produzieren. Die Zahlen sind ein Klassifikations-Code (R für «Kunst, Unterhaltung und Erholung», J für «Information und Kommunikation»):
R90: Creative, arts and entertainment activities (Kunst und Unterhaltung)
R91: Bibliotheken, Archive, Museen und andere Kulturangebote)
R92: Wett- und Gewinnspiele
R93: Sport und Freizeit
J58: Verlagswesen
J59: Filmwirtschaft, Fernseh- und Videoproduktion, Musikindustrie
J60: Radiosender und Fernsehsender
Umsätze
Chris Hedges, der die American Gaming Association zitiert, schreibt, dass 900 Casinos in den USA 2017 mehr als $37 Milliarden umsetzten. Im Vergleich: Mit Sport (den vier Sport Ligen) werden $17,8 Milliarden, mit der Filmindustrie $10,7 Milliarden und mit der Musikwirtschaft $6.8 Milliarden umgesetzt.
In der Musikdoku Troubadours: Carole King/James Taylor & the Rise of the Singer-Songwriter wird eine Grafik für 1970 gezeigt. Damals wurde mit Musik (Tonträger) 2 Milliarden, mit Film/Kino 1,3 Milliarden und mit Sport 0,6 Milliarden Dollar umgesetzt.
Querverweise
– Unterhaltung
Quellen
Hedges, Chris: America, The Farewell Tour. Simon & Schuster, 2018.
– iaa: Research Peek of the Week: Video Games are Now the Biggest Entertainment Industry in the United States (20. März 2019) – die grafik auf der Seite zeigt folgende Zahlen für die USA 2018: Video Games: 35,8 Milliarden, Home Video: 23,3 Milliarden, Kino: 11,9 Milliarden, Musik: 9,9 Milliarden
Unterhaltung Tag
Das Wort Unterhaltung hat im Deutschen einen so schlechten Geschmack, dass es bisher nicht einmal einen deutschsprachigen Wikipedia-Eintrag dazu gibt.
Unterhaltung wurde in Europa erst in den 1980er Jahren relevant, als der Rundfunk privatisiert wurde. So kann man auf der Seite Unterhaltungsforschung des Herbert von Halem Verlag lesen: «Spätestens seit Einführung des Privatrundfunks in den 1980er-Jahren dominieren die Unterhaltungsangebote unsere Medienlandschaft. Selbst bei den öffentlichen-rechtlichen Sendern machen sie mittlerweile mehr als 50 Prozent des Gesamtprogramms aus. Der Stellenwert der Unterhaltung beim Medienpublikum ist sogar noch eindeutiger: Ca. 70 Prozent der Zeit, die mit Medien verbracht wird, entfällt auf die Nutzung von Unterhaltungsangeboten.»
Amerika hat da eine wesentlich längere Geschichte. Trotz dem Transatlantizismus, der nach dem Zweiten Weltkrieg sukkzessive Konsumismus und Unterhaltung nach Europa brachten – was in Europa durchaus Krämpfe bei den Kultur- und Kunst-Repräsentaten verursachte.
Fakten
Die Hälfte aller Wachzeit verbringen US-Amerikaner*innen mit Unterhaltungsangeboten (Luminate, 14.11.23).
Querverweise
– Unterhaltungsindustrie
UNCUT Tag
Das Musikmagazin UNCUT
von IPC Media, London, kommt seit Mai 1997 monatlich als Heft heraus. Es deckt vor allem klassische Rockmusik (Classic Rock) ab und ist nicht unähnlich zum Mojo Magazine. Unter dem selben Namen kommen auch weitere Produkte wie Uncut Legends
, Uncut Music Award
oder Uncut DVD
heraus.
Der Claim lautet: «UNCUT - The spiritual home of great rock music».
Der Herausgeber ist Allan Jones, ein ehemaliger Mitarbeiter von Melody Maker. Das Zielpublikum sind Männer, die im Durchschnitt deutlich über 30 sind. Auflagenzahlen findet man in Wikipedia (EN): 2007 wurden 90'000 Stück verlegt, in der zweiten Hälfte von 2015 lediglich noch knapp 48'000 Stück.
Inhalte
«UNCUT» behandelt in mehrseitigen Features vor allem Classic Rock. Daneben werden Alternativerock, Alternativecountry sowie Bücher und Filme thematisiert. Die Zeitschrift verbindet damit Traditionspflege und Neuerscheinungen. Kein Wunder vielleicht, dass sie gerade rechtzeitig vor dem verebben der Britpop-Welle gelauncht worden ist. Der Melody Maker wurde damals auf ein immer jüngeres Publikum zugeschnitten. Davon hoben sich Mojo und UNCUT ab.
Das Magazin schreibt über Neuerscheinungen und rezensiert sie. Speziell interessieren Wiederauflagen und die Pflege des Rock-Kanons (Classic Rock, Alternativerock, Alternativecountry). Die Titelgeschichten sind meist mehrseitige Features über eine Band, bei denen neue Fakten ergründet werden. Vielfach werden Interviews publiziert.
Mit der englischen Ausgabe wird jeden Monat eine CD mitgeliefert.
Die Spezialausgaben mit dem Titel Uncut Legends
brachte Magazine zu U2, Radiohead, Bob Dylan, Bruce Springsteen, The Byrds, David Bowie, Demon Records, Eric Clapton, John Lennon, Pink Floyd, Queen, Motown Records, Morrissey, George Harrison, Jimmy Page, Led Zeppelin, The Beach Boys, Paul McCartney, Neil Young, The Beatles, Elvis Costello, The Kinks, Fleetwood Mac und anderen Acts heraus.
Geschichte
Im Mai 2006 wurde das Magazin einem Redesign unterworfen und neu ausgerichtet und konzentriert sich seither auf Musik. Der Buch- und Film-Teil wurden zu Gunsten der Musik wesentlich gekürzt.
Award
Das Magazin vergibt seit 2008 jährlich den «Uncut Music Award». Ein panel von 25 Musiker/-innen und Profis der Musikindustrie wählen aus 25 nominierten Acts, den Sieger, der im jeweils vergangenen Jahr für ein herausstehendes musikalisches Erlebnis gesorgt hat. Gewonnen haben den Award die Fleet Foxes (2008), Tinariwen (2009), Paul Weller (2010) und PJ Harvey (2011).
Links
– zur Webseite
– zur privaten Sammlung digitaler Ausgaben
UK-Underground Tag
Mit «UK-Underground» werden im Musikzimmer sowohl die britische populäre Musik aus den Anfangszeiten der Rockmusik bezeichnet (die Jahre zwischen 1966 und 1972) als auch die psychedelische Szene in London. Diese Szene entwickelt sich an der Schnittstelle zwischen der avantgardistischen Kunstszene und der populären Kunstszene Londons, die zuerst unter dem Stichwort Swinging London bekannt wurde. Je nach dem, wie man die zeitlichen, sachlichen und sozialen Grenzen zieht, ist der UK-Underground Teil oder eine Folge von «Swinging London».
Avantgarde: Szene und Happenings
Im Sommer 1965 besuchte Allen Ginsberg London. Better Books war seine Anlaufstelle. Von hier wurde nach einer Lesung von ihm auch die International Poetry Incarnation geplant und organisiert. Sie fand am 11. Juni in der Royal Albert Hall statt. Hier fanden einige der Protagonisten des späteren psychedelischen Untergrunds zum ersten Mal zusammen. Sie hatten das Gefühl, die Stimmen einer neuen Generation zu sein. Better Book zeigte in seinen Räumlichkeiten amerikanische Avantgarde-Filme und präsentierte Improvisationstheater.
Zwischen März und Juni 1966 veranstaltete Bernard Stollman, der Gründer des amerikanischen ESP-Disk Labels, eine Veranstaltungsreihe mit dem Namen «Spontaneous Underground». An neun Abenden im Marquee Club traten Avantgarde-Künstlerinnen und -Künstler auf. Darunter die Band Pink Floyd, die Musik zu Light-Shows spielte. Deren Manager wurde Peter Jenner, der als in Cambridge ausgebildeter Ökonom eine Dozenten-Stelle im Fach Soziologie, dem Modefach der Zeit, an der London School of Economics hatte. In London wohnte er in Notting Hill, das zu dieser Zeit ein Slum war. Schwer vorstellbar aber in Notting Hill wohnten damals vor allem «West Indies», also Einwanderer aus der Karibik (Bahamas, Antillen). Heute erinnert noch der 1959 gegründete Notting Hill Carnival an die Vergangenheit vor der Gentrifizierung. Der Notting Hill Carnival gehört zu den grössten Outdoor-Veranstaltungen in Europa und zieht jährlich am letzten Augustwochenende fast 2 Millionen Menschen an. Charakteristisch ist bis heute die hohe Beteiligung afrikanischer und karibischer Einwanderer.
In Jenners Kreise kamen mit denen von John ‘Hoppy’ Hopkins zusammen. Auch er war eine Cambridge Abgänger, allerdings Jahre vor Jener, in den Fächern Physik und Mathe. Nach einer Arbeit in einem Reaktorforschungszentrum und einer Reise in die Sowjetunion wurde er Fotograf und Sozialaktivist: Antiatomkraftbewegung, Friendensbewegung usw. Jenner, Hoppy und ihre Freunde gründeten die London Free School, deren Zweck war, den Menschen in Notting Hill und Umgebung eine alternative Bildung zu bieten. Die Themen, die den sozialen Aktivisten wichtig waren, umfassten Französisch, Fotografie, Politik/Soziologie, wobei es um persönliche Freiheiten ging, um die sexuelle Freiheit und die Freiheit, Dope zu rauchen.
Im Oktober 1966 gründete Hoppy Hoppy gründete die International Times, das Untergrund-Magazin Londons und Sprachrohr der Gegenkultur.
Bei der Gründungsparty spielten Pink Floyd und Soft Machine. Beide Acts waren die Hausbands für die Anlässe des Untergrunds und beide stammten nicht aus London (wenn man von Rick Wright absieht), sondern aus traditionellen Kleinstädten, die für Colleges und Universitäten bzw. für die Kirche Englands wichtig waren.
Im Dezember 1966 gründete Hoppy zusammen mit Joe Boyd den UFO Club. Die Parties im UFO Club fanden wöchentlich am Freitag im «Blarney Club» an der 31, Tottenham Court Road statt. Die Türen wurden um 22.30 Uhr geöffnet und 6 Uhr morgens geschlossen. Die Live-Musik wurde von Lightshows, Filmvorführungen, Tanz- und Theaterdarbietungen ergänzt. Für die Veranstaltungen warben die International Times und psychedelische Poster z.B. von Hapshash and the Coloured Coat. Wiederum sorgten Pink Floyd und Soft Machine für die Musik an diesen Happenings.
Psychedelische Rockmusik
Die frühe Rockmusik wird mit den Adjektiven «psychedelisch» (siehe Mojo: Psychedelia UK oder Fact Magazine: 20 Best: UK Psych Records Ever Made) und «progressiv» beschrieben, ein Teil des Bluesrocks und des aufkommenden Hardrocks mit «heavy» (siehe Jon Savage: Heavy Weather 1968).
Anstoss
Es waren vor allem die psychedelischen Alben der Beatles, die anderen Musikern den Weg wiesen und den Labels zeigten, dass sich ernste Popmusik im Longlay-Format sehr gut verkaufen lässt und wegen dem höheren Verkaufspreis einer LP gegenüber einer Single mehr Umsatz generiert. Rubber Soul, Revolver und Sgt. Pepper's Lonely Hearts Club Band stiessen britische (und amerikanische) Musik an, die psychedelisch klang und von der man als «progressiver Musik» sprach.
Progressive Underground: musikalische Vielfalt
Als sich die psychedelische Szene und ihre Musik erschöpfte, folgte auf den psychedelischen ein progressiver Untergrund. Die Bandbreite dieser Musik war weit. Progressiv waren nicht nur Progrock und Psychedelic Rock, sondern Bluesrock, Folkrock, Rootsrock, Hardrock oder Poprock. Eigentlich bildeten sich diese genannten Sparten der Rockmusik erst aus. Bei vielen Rock-Bands, die zwischen 1967 und 1972 musizieren, hört man eine stilistische Unentschiedenheit. Etwa Deep Purple spielen Progressiverock und Hardrock, Led Zeppelin spielten Bluesrock, Hardrock und Folkrock. Die ganze stilistische Bandbreite fand damals ein gemeinsames Rockpublikum: junge Leute, die lange Haare trugen, gern rauchten / kifften und Musik kontemplativ hörten. Die einen lasen die Lyrics mit, die anderen konzentrierten sich auf die neuartigen Sounds von exotischen und elektronischen Instrumenten sowie von elektrischen Gitarren und Orgeln, die durch Effektgeräte gespielt wurden.
Die Labellandschaft
Das erste britische Label, das in die neue Untergrundmusik investierte war Island, das erste amerikanische Elektra. Die Mainstream-Labels sprangen indes schnell auf den fahrenden Zug auf. Sie gründeten Sublabels mit eigenem Personal, das auf Rockmusik spezialisiert war. Die britische Niederlassung von Liberty ist hier zu nennen. EMI gründete Harvest, Philips Vertigo. Hinzukamen Neugründungen wie Immediate, Charisma und Chrysalis.
Compilations
Compilations mit der Musik des britischen psychedlischen Rock-Untergrunds erschienen zum ersten Mal 1986 und 1987 beim See For Miles. Auf vier LPs erschien die Reihe «The British Psychedelic Trip» und auf drei CDs «The Great British Psychedelic Trip». 1986 war die Zeit, als der Alternativerock sich von psychedelischer Musik inspirieren liess. Bands wie Spacemen 3, Church, Mercury Rev oder Primal Screem bekannten sich offen zu zu ihren Vorbildern aus den 1960er Jahren, was im ein paar JAhre früher im Punk und Alternativerock so etwas wie ein Tabu gewesen wäre: Johnny Rotten trug doch dieses Pink Floyd T-Shirt, auf das er «I HATE» schrieb. Auch der Mainstream konnte mit Psychedelia flirten: Bei Prince war das am offensichtlichsten (Around The World In A Day von 1985 oder Parade von 1986).
Ein weiterer kleiner Schub erhielt die Musik durch Major-Label-Compilationen von EMI, Decca, Pye oder Vertigo, die um die Jahrtausendwende erschienen.
Zur Zeit des Freakfolks am Anfang der Nullerjahre arbeitete Castle Music den psychedelischen Folk-Untergrund auf, von dem sich viele junge Acts wie Devendra Banhart, Espers, CocoRosie, Joanna Newsom oder Animal Collective inspirieren liessen. Sogar eine Protagonistin aus der Zeit, Vashti Bunjan, erlebte ein Revival.
Seit 2010 veröffentlichten auf Archivreleases spezialisierte Labels wie Esoteric Recordings und Grapefruit Records Compilations (beides Reissue-Labels, die mit Cherry Red assoziiert sind), die in Releases mit drei oder mehr CDs kommen und tiefer schürfen als vergleichbare frühere Archivveröffentlichungen. Sie kommen ausserdem mit extensiven Booklets, die die Bands sowie die ausgewählten Stücke kurz portraitieren.
Texte
Das einschlägige Buch schrieb Martin Powell (Prophets & Sages. An illustrated Guide to Underground and Progressive Rock 1967–1975). Powell verfasste auch einige Booklets von Compilations (z.B. Legend Of A Mind: The Underground Anthology, Revolution. Underground Sounds Of 1968, Banquet Underground Sounds Of 1969, Taking Some Time On. Underground Sounds Of 1970 und Breakthrough. Underground Sounds Of 1971).
Breiter in der Perspektive ist Vernon Joynsons The Tapestry of Delights: The Ultimate Guide to UK Rock & Pop of the Beat, Psychedelic & Progressive Eras. Dieses Nachschlagewerk enthält viele relevante Bands aus dem UK-Underground.
Korpus
Ein Korpus mit Rockmusik aus dem UK-Underground entsteht im Musikzimmer auf diesem Spreadsheet «UK-Underground». Es ist ein «work in progress».
Querverweis
– International Poetry Incarnation
– International Times
– Better Books
– London Free School
– Indica Gallery
– Granny Takes A Trip
– Arts Lab movement
– UFO Club
– Hyde Park Free Concerts
Twin-Track-Aufnahmeverfahren Tag
Das Verfahren wird ausführlich dargestellt in den Materialien zur Vorlesung: «Transatlantische Echos: die Musik der frühen Beatles» (noch nicht öffentlich zugänglich).
Troubadour (Club) Tag
Der Troubadour Club wurde 1961 von Doug Weston eröffnet und befand sich am 9081 Santa Monica Boulevard in West Hollywood an der Grenze zu Beverly Hills. Als Vorbild fungierte der gleichnamige Club in London. Der Veranstaltungsort fasst 500 Leute. 1957 führte Weston ein Vorgängerlokal, ein «coffee house» am La Cienega Boulevard.
Der Club war ein wichtiger Auftrittsort für die Folkrock- und Singer-Songwriter-Szene von Los Angeles. Doug Weston engagierte auch Komödianten wie Lenny Bruce, der 1957 wegen Obszönität in seinem Troubadour-Auftritt verhaftet wurde. 1964 trat Bob Dylan im Troubadour auf. 1965 spielten die Byrds hier anlässlich eines Open-Mic-Anlasses zum ersten mal zusammen vor Publikum (jeder Montag war Open-Mic bzw. Hootenanny Abend). 1966 gaben Buffalo Springfield, 1967 die Kanadier Joni Mitchell und Gordon Lightfoot, 1969 Poco aus Denver, Neil Young und James Taylor ihre Debuts in Los Angeles. 1970 haben sich Don Henley und Glenn Frey an der Bar des Troubadours kennen gelernt, die später die Eagles gründeten. 1971 wird Tom Waits an einer «Amateur Night» entdeckt.
Zu den weiteren Künstlerinnen und Künstler, die im Troubadour aufgetreten sind, gehören Josh White, Judy Collins, Miriam Makeba, Sabicas , Odetta, Judy Henske, Dillards, Buffy Sainte-Marie, Nina Simone, Tim Buckley, Tom Rush, Nitty Gritty Dirt Band, Canned Heat, Bob Lind, Incredible String Band, Janis Ian, Richie Havens, Dave Van Ronk, Blood, Sweat And Tears, Clara Ward Singers, Poco, Biff Rose, Rick Nelson, Delaney And Bonnie, Melanie, David Ackles, Laura Nyro, Hamilton Camp, Pentangle, Neil Diamond, Jackson Browne, Seals And Crofts, John Sebastian, Elton John, Linda Ronstadt, die Eagles, Carole King, Bonnie Raitt, John David Souther, Van Morrison, Guns N' Roses, ...
Links
– Setlist.fm: Troubadour
– Website
– Getty Images: Suchresultat
Trennung Mainstream - Alternative Tag
Nach der Ankunft von Punk in den USA und in Grossbritannien war der Musikmarkt geteilt in einen Mainstream- und einen Independent- oder Alternativmarkt. Indie-Labels hatten einen Erfolg, wie er zuvor nur in den 50er-Jahren in den USA ansatzweise existierte. Die Indies der 80er-Jahre machte etwas grundlegend neu und das machte sie zu einer viel nachhaltigeren Erscheinung als die früheren Independent-Label. In den 80er-Jahren bauten Indies ihre eigenen Vertriebsstrukturen auf; sie haben eigene Bühnen gehabt, auf denen die Bands aufgetreten sind, eigene Plattenläden (aus denen vielfach Labels entstanden sind, so z.B. Chiswick oder Rough Trade), eigene Radiostationen (die College-Radios) oder Sendungen (John Peel bei BBC, «Sounds» in der Schweiz), Magazine/Fanzines, die die Musik promotet haben und sie haben eigene Hitparaden erhoben (siehe: Indie Hits). Die Trennung der Märkte wurde erst aufgehoben, als Indie-Bands am Ende der 80er-Jahre so grosse Erfolge hatten, dass sie zu Major-Labeln wechselten.
Bei Bestenlisten der 80er-jahre kann man den Unterschied der beiden Märkte deutlich nachvollziehen. Wenn man die beiden Listen Dave's Music Database: The Top 100 Songs Of 1980-1989 und
Chris Gerard: The 100 Greatest Alternative Singles Of The '80s vergleicht, stellt man fest, dass sie weitestgehend aus verschieden Songs bestehen und nur vier Songs in beiden vorkommen: Love Will Tear Us Apart, Blue Monday, How Soon Is Now? und Once In A Lifetime. Diese vier Tracks sind die frühesten Crossover-Hits, bevor es anfangs 90er-Jahre eine Schwemme solcher Crossovers gab.
Auch 2016 haben Indie-Labels noch einen Marktanteil von 38% und generieren während diesem Jahr 6 Milliarden Dollar (Quelle: Bobby Owsinski: Indie Labels Now Make Up 38% Of The Music Business, Music 3.0 Blog, 3. November 2017).
Alternative Ökonomie
Die Trennung zwischen Mainstream- und Alternativökonomie ist der einzige ökonomische Gegensatz, der heute noch existiert, nachdem die staatlich gelenkte sozialistische Planwirtschaft mit dem Ostblock zusammengebrochen ist. Heute zwingt die Entscheidung, als Künstlerin oder Künstler zu leben, oft zu einem alternativen Lebensstil. Man lebt für die Kunst und unter dem Einkommensminimum (sofern es so etwas tatsächlich noch gibt). In diesem Zusammenhang spricht man vom Prekariat. Nicht in prekären Zuständen leben müssen Leute, die Partner haben, die für sie arbeiten oder deren Existenz durch eine Erbschaft gesichert ist.
Alternative Ökonomien haben eine lange Geschichte in der bürgerlichen Gesellschaft: Künstlergesellschaften der Arts-and-Crafts-Bewegung) gehören dazu oder die zeitgenössische digitale Bohème.
Literatur
– Andrew Leyshon, Roger Lee, Colin C Williams (Eds.): Alternative Economic Spaces. Sage 2003
– Richard Lloyd: Neo-Bohemia. Art and Commerce in the Postindustrial City. 2010, Routledge, New York (2nd Edition)
Trennung (Songthema) Tag
Diese Rubrik wird weiter unterteilt in Trennung: Schmerz und Trennung: Selbstbehauptung. Die englischsprachige Kategorie: «Breakup Songs» macht diese Unterscheidung nicht.
Listen- Treblezine: 10 Essential Breakup songs (Andy Barton, Ben Braunstein, Stephen Chupaska, Paul Pearson, Jeff Terich und Alex Zaragoza, 11. Februar, 2016)
- The 20 Most Poignant Breakup Songs (Billboard Staff, 2. November 2015)
- Billboard: Heartbreak Hits: Top 30 Breakup Songs (14. Februar 2014)
Trümmerfilm Tag
Ein Filmgenre bestehend aus deutschen Filmen, die unmittelbar nach dem Zweiten Weltkrieg entstehen. Die Entsprechung in der Literatur ist Trümmerliteratur. Beispiele sind:
– Die Mörder sind unter uns
von Wolfgangs Staudte. Der Streifen gilt als erster deutscher Nachkriegsfilm und wurde im Oktober 1946 in der Sowjetischen Besatzungszone in Berlin uraufgeführt.
– Liebe 47
von Wolfgang Liebeneiner (basiert auf dem Theaterstück Draußen vor der Tür
von Wolfgang Borchert, das der Trümmerliteratur zugerechnet wird.
– 1-2-3 Corona
von Hans Müller, ein heiterer Jugendfilm von 1947/48.
Transatlantizismus Tag
Während dem Kalten Krieg, als Europa vom Marshallplan profitierte und es einen intensiven Austausch von Ideen zwischen den USA und Europa gab, entstand eine Art gemeinsame Kultur-, Geistes- und Ideengeschichte, die bis heute für einen gesellschaftlichen Zusammenhalt sorgt, den man den «Westen» nennt. «Transatlantizismus» oder zuweilen «Atlantizismus» heisst die Idee, dass dieser Zusammenhang existiert und dass man an ihm arbeiten und in ihn investieren soll, besonders in der heutigen Zeit der drohenden Kulturkriege. Transatlantizismus heisst, dass sowohl Europäer*innen als auch Amerikaner*innen ihre Identität nicht allein in den einzelnen Nationalstaaten suchen sollen, sondern in der gemeinsamen Kultur des Westens. Inhaltlich heisst das, dass man gemeinsame politische Werte (Demokratie), gemeinsame liberale Märkte und eine gemeinsame Geistesgeschichte teilt.
Als «transatlantisch» werden Forschungsprogramme zum Beispiel in der Philologie bezeichnet, die Amerika und Europa umfassen (die so genannten «Transatlantic Studies»).
Der Transatlantizismus kann in kultureller Hinsicht in mehrere Phasen oder Epochen eingeteilt werden. Diese Einteilung ist nicht abschliessend und sie wird hier aus der Sicht europäischer Städte dargestellt.
1) Paris als Kulturhauptstadt bis 1958
Nach dem Zweiten Weltkrieg spielte Paris schnell wieder die selbe Rolle wie zuvor: Es war der Schmelztiegel für Künstler*innen aus aller Welt (Menand, p. 609). Nun kamen insbesonders viele Amerikaner*innen, z.B. die Musiker Sidney Bechet, John Cage, Miles Davis. Der Jazz war in den ersten Nachkriegsjahren sehr beliebt in der französischen Hauptstadt. 1958 gab es in Frankreich eine Währungsreform, was das Leben in Paris teurer machte als zuvor. Nun entschieden Amerikansiche Künstler*innen, dass es nicht mehr essentiell sei, in Paris zu leben oder gelebt zu haben. Nun wurde New York die neue Kunsthauptstadt der Welt.
2) London in den swingenden Sechziger Jahren
Eine nächste Epoche des Transatlantizismus entstand in den 1960er Jahren, als Swinging London mit grossem Erfolg Pop-Gruppen, Mode und Lebensstil nach Amerika exportierte, zuvorderst die Beatles und ihre Musik. Diese British Invasion etablierte vor allem eine transatlantische Brücke zwischen Los Angeles, der damals neuen Musikhauptstadt der USA und London.
3) London in den psychedelischen Jahren
Zwischen 1966 und 1970 entstand eine weitere «transatlantische Brücke» zwischen den Städten San Francisco und London, die zusammen die beiden Weltzentren der psychedlischen populären Künste wurden (siehe Geoffrey Marsh: A Tale of Two Cities. In: Broackes, Victoria & Marsh, Geoffrey (Eds.): You Say You Want A Revolution? Records And Rebels 1966–1970. V&A Publishing, 2016, p.19 ff.). Die in Back In The USSSR besungene BOAC (British Overseas Airways Corporation) flog regelmässig nach New York und San Francisco. Das internationale Jet-Zeitalter hatte begonnen und es erleichterte den Austausch künstlerischer Ideen zwischen den Zentren. Auch wenn die meisten Leute sich eine solche Reise gar nicht leisten konnten, wurden Produkte wie Filme, Platten, Magazine nun praktisch ohne Zeitverzögerung über den Atlantischen Ozean versendet. Sgt. Pepper, das Beatles Album, das am 1. Juni 1967 erschien, war das erste, dessen Veröffentlichung dies und jenseits des «grossen Teiches» synchronisiert war.
Transatlantizismus heute
Der amerikanische Präsident Joe Biden wird in Abgrenzung zu Vorgänger Donald Trump zuweilen als Transatlantiker bezeichnet. Am Anfang seiner Amtszeit meinte man, er könnte vielleicht der letzte in einer langen Reihe sein. Durch den Ukrainekrieg erhielt das transatlantische Bündnis einen neuen Schub.
Transatlantische Institutionen
– NATO
– Organisation for Economic Co-operation and Development (OECD)
– G-6/7/8
– North Atlantic Cooperation Council (NACC)
– Euro-Atlantic Partnership Council (EAPC)
– The German Marshall Fund of the United States (GMF)
– European Horizons
– The Atlantic Council
Querverweise
– Transatlantisches Crossover
– Transatlantisches Echo
– British Invasion
– Better Books
Transatlantisches Echo Tag
Als «Transatlantisches Echo» sind in Musikzimmer Songs bezeichnet, die aus den USA stammen, im Vereinigten Königreich gecovert werden, wobei diese Coverversion ein Transatlantisches Crossover wird.
Trail of Tears Tag
Die Appalachen waren in der zweiten Hälfte des 18. Jahrhunderts das Siedlungsgebiet von nativen Völkern Amerikas. Noch 1830 lebten dort die fünf Stämme, die Cherokee, Chickasaw, Choctaw, Muscogee und Seminole Stämme in autonomen Nationen. Wirtschaftlich lebten diese wie die weissen Einwanderer von der Landwirtschaftlichen Produktion, vor allem von Baumwolle. Sie hatten ihre eigene Art der Sklavenwirtschaft.
Politisch und wirtschaftlich gerieten diese Stämme zunehmend unter Druck der Weissen. Man kaufte ihnen das Land ab, missionierte sie und man begann sie trotz geltenden Verträgen zu vertreiben. Als Andrew Jackson Präsident war, verabschiedete der Kongress 1830 den «Indian Removal Act». Nun wurden die fünf Stämme gewaltsam aus den Regionen vertrieben, die man den «Black Belt» nennt. Sie wurden nach Oklahoma deportiert. Dies ging als «Trail of Tears» in die Geschichte ein. Während der Deportation starben vermutlich gegen 50% der Opfer an Krankheit oder Erschöpfung.
Trade Magazines Tag
Ein «trade magazine» ist eine Zeitung oder ein Heft, die oder das sich an Fachleute einer Branche richtet.
Trade Magazines in der Musik
In der Musikwirtschaft beobachten Trade Magazines den Markt, veröffentlichen Hitparaden, berichten über Stellenwechsel in den Führungspositionen von wichtigen Playern (z.B. Verlage, Labels). Finanziert werden Trade Magazines durch zielgerichtete Inserate und Werbung.
Beispiele
– Melody Maker (UK, seit 1926)
– Billboard Magazine (USA, seit 1894)
– Record World (US)
– Cashbox (US)
– Variety – behandelt vorwiegend Theater und Kino (US)
– New Musical Express (UK)
track-by-track Albumcover Tag
Ein Album, das ein anderes Album reinterpretiert, Stück für Stück. Diese ästhetische Strategie funktioniert besonders gut, wenn das Albumcover in einem anderen musikalischen Stil gespielt ist (Luther Wright And The Wrongs) oder wenn das Album mit anderer Aufnahmetechnik reinterpretiert wird (Camper van Beethoven, die eine hingeworfen wirkende Lo-Fi-Version eines der am aufwändigsten produzierten Alben machen).
Track Tag
Der englische Begriff «track» ist mehrdeutig. Zwei verscheidene Bedeutungen sind auseinanderzuhalten:
(1) «Track» als ein technischer Begriff für einen Audiokanal: deutsch: «Spur» oder «Kanal»; Beispiel: ein 4-Spur Tonband («4-track recorder»).
(2) «Track» als eine Werk-Kategorie: ein «Track» ist ein Musikstück. Hier sind wiederum zwei Fälle zu unterscheiden:
(a) der Track-Begriff (2) wird gleichbedeutend mit Song verwendet. Wenn man von einem Song in einem medialen Kontext spricht, z.B. als einem aufgenommenen Werk auf einem Tonträger, dann bezeichnet man ihn ebenfalls als «Track»: «Der vierte Track eines Albums», ein «Bonustrack» auf einem Archivrelease.
(b) der Track-Begriff (2) wird gerade in Abgrenzung zum Song verwendet. Ein Track in diesem Sinn ist ein Musikstück, das die typischen Eigenschaften eines Songs nicht hat, z.B. weil er ein Instrumental ist (keinen Gesang aufweist) oder weil er überlang ist (das Format des Songs sprengt).
Tour Release Tag
Ein Tour Release ist ein Tonträger, der eigens für eine Tour hergestellt wird und in der Regel nur auf dieser Tour als Merchandise verkauft wird.
Top40-CHR Tag
Top 40 Radio wurde in den 50er-Jahren von Todd Storz erfunden. Das Konzept ist nur immer die 40 Spitzenplätze der Hitparade (in Amerika ist das die Billboard Hot 100) zu spielen.
Das Format wird heute entlang zweier Variablen variiert: der Anzahl Hits (Top 10, 20, 30 40, 50, 100) und des Genres (Rock-, Pop- oder Urban-Schwerpunkt).
Tonträger Tag
Tonträger sind technische Medien zur Speicherung aufgezeichneter akustischer Information – Musik oder Sprache (Nonmusic, wozu Komödien, Hörspiele, Hörbücher, Reden und ähnliches gehören). Tonträger werden hergestellt, um auf dem Tonträgermarkt verkauft zu werden, teilweise aber auch, um gespeichert/archiviert zu werden. Tonträger wurden seit dem Anfang der Schallaufzeichnung ständig weiterentwickelt. Verbesserungen betrafen z.B.
– die Robustheit des Trägermaterials (Vinyl statt zerbrechliches Schellack),
– die Kapazität (CD war genug gross, um die längste Beethoven Symphonie zu speichern),
– den Gebrauchswert für Laien (CompactCassette) oder
– die Verschleissfreiheit (digitale statt analoge Medien).
Tonträger variieren technologisch (Zylinder, Schellackplatten, Vinylplatten, Magnetbänder, CD, digitale Speicher), in der Grösse (7''/12'' Vinylplatten), aber auch in zielgruppen-spezifischen Eigenschaften wie Maxisingles für DJs, Picture discs für Fans und Sammler/-innen.
In historischer Hinsicht kann man Epochen festlegen, die jeweils von einer bestimmten Tonträgerart dominiert waren:
– vor 1925 gab es vor allem Hersteller-abhängige Formate: Notenrollen, Edison-Zylinder verschiedener Grösse, Schallplatten verschiedener Grösse, verschiedner Schnittart und verschiedener Abspielgeschwindigkeit
– ab ca. 1925 setzt sich die 10'' Schellackplatte als Standardformat durch
– ab 1948 wird dieser Standard von der 7'' Vinyl Single abgelöst und zusätzlich entsteht ein langes Vinyl-Format, die 12'' Vinyl LP
– ab 1984 wird zuerst in Japan und Mitteleuropa die 1982 eingeführte CD zum Standard Longplay-Format
– ab ca. 2004 wird der MP3-Markt zum Standard (Apple führte seinen iTunes-Store 2003 ein)
Mit den MP3-Daten und der Nachfolgetechnologie, dem Streaming (ab ca. 2010 Standard – Spotify ging 2006 online) verschwinden Tonträger als erwerbs- und handelsfähige Medien Streaming. Mit den digitalen Formaten entsteht die Neue oder Digitale Musikwirtschaft, die mit nicht-materiellen Geschäftsmodellen agiert.
Die hier gezeichneten historischen Epochen sind nicht vollkommen trennscharf: Etablierte Konsumgewohnheiten bleiben in einigen Märkten lange erhalten. So blieben CDs in Deutschland bis weit in die 2010er Jahre ein beliebtes Trägermedium. Auch feiern Vinyl-Platten eine von niemandem vorhergesehenen Renaissance (siehe Vinyl Resurgence).
Verpackung
Tonträger kommen in einer Verpackung auf den Markt – siehe Musikzimmer Stichwort: Verpackung von Tonträgern. Systematisch lassen sich zwei Formen der Verpackung unterscheiden: a) Generische Verpackungsarten und b) gestaltete Verpackungen. Nach dem 2. Weltkrieg setzten sich mit dem Vinylformat gestaltete Cover durch. Man muss sich vor Augen halten, dass die meisten Schellackplatten in generischen Hüllen verkauft wurden. Hier steckte die Platte in einem ungedruckten oder mit dem Labelnamen gekennzeichneten Papierumschlag, der den Tonträger schützte. In der Mitte gab ein ausgestanztes Loch die Sicht auf das aufgeleimte Label frei. Im kriegsgeschädigten Deutschland zum Beispiel hielten sich generische Cover für Singles noch bis in die 60er Jahre hinein.
Die Vielfalt von CD Verpackungen
CDs wurden in Jewel Cases, Digipacks, Digifiles, Kartonhüllen oder Kartonstecktaschen verpackt (siehe Präsentation).
Tonträgerhandel
– Industrial Silence: rares Vinyl aus den 60s und 70s, Marc Drijver aus Apeldoorn, NL
Tonstudio für elektronische Musik (WDR) Tag
Das am 18. Oktober 1951 gegründete Tonstudio für elektronische Musik des Westdeutschen Rundfunks in Köln (damals der Nordwestdeutschen Rundfunk) war das erste seiner Art. In ihm wirkten ikonoklastische Komponisten wie Werner Meyer-Eppler, Robert Beyer, Herbert Eimert, der frühe Pierre Boulez oder Karlheinz Stockhausen. Das Studio stand anfänglich für eine radikal serielle Musik aus Sinustönen, mit deren Parametern (Frequenz, Lautstärke, Dauer) komponiert werden sollte. Das klang damals enttäuschend. Theodor W. Adorno bemerkte dazu spitz, dass elektronische Musik sich anhöre, als werde Anton Webern auf der Wurlitzerorgel vorgetragen. Stockkausen ging deshalb dazu über, neben Generatoren auch Schallmaterial zu verwenden, wie es die französische Musique concrète tat.
Nach dem Modell des Tonstudios für elektronische Musik wurden bald weitere Studios in Milano, Paris oder Amsterdam eröffnet.
Tonleiter Tag
Eine Tonleiter oder Skala ist eine aufsteigende Reihe von Tönen innerhalb einer Oktave. Eine Tonleiter kann z.B. aus fünf (Pentatonik) oder sieben (Heptatonik) Tönen bestehen. Die bekanntesten Tonleitern heissen Dur und Moll. Diese beiden sind gekennzeichnet durch die spezifische Reihenfolge von Ganz- und Halbtonschritten.
Die alte oder aussereuropäische Musik (z.B. die indische oder arabische Musik) kennt anders aufgebaute Tonleitern (vergleiche die Modi, die in Europa auch als «Kirchentonarten» bezeichnet werden – mit den Modi sind die Möglichkeiten allerdings nicht erschöpft!).
Arten von Tonleitern
– chromatische Tonleiter dodekatonische Tonleiter: 12 Töne/Oktave
– nonatonische Tonleiter: 9 Töne/Oktave
– oktatonische Tonleiter: 8 Töne/Oktave – kommt im Jazz und in der Modernen Klassik vor
– heptatonische Tonleiter: 7 Töne/Oktave – üblich in der westlichen klassichen Musik
– hexatonische Tonleiter: 6 Töne/Oktave - üblich in westlichen Folksmusiken
– pentatonische Tonleiter: 5 Töne/Oktave – üblich in Folksmusiken und der asiatischen Musik
– tetratonische Tonleiter: 4 Töne/Oktave
– tritonische Tonleiter: 3 Töne/Oktave
– ditonische Tonleiter: 2 Töne/Oktave – primitive, prähistorische Musik
Übliche Tonleitern in Pop und Rock
– Dur-Tonleiter («Mayor Scale»)
– Moll-Tonleitern («Minor Scale») – hier werden unterschieden: Natürliches Moll (A, H, C, D, E, F, G, A), Harmonisches Moll (A, H, C, D, E, F, Gis, A), Melodisches Moll (A, H, C, D, E, Fis, Gis, A) und Zigeunermoll (A, H, C, Dis, E, F, Gis, A).
Jede Dur- und natürliche Moll-Tonleiter hat ihre Paralleltonart, die dieselben Töne verwenden, wobei der Grundton zwischen Dur und Moll immer denselben Abstand von einer kleinen Terz hat. Der Grundton von Moll liegt eine kleine Terz tiefer als der von Dur. Das hat zur Folge, dass sowohl C-Dur und A-Moll mit der gleichen Vorzeichnung notiert wird. Beide Tonleitern haben kein Versetzungszeichen. Der Quintenzirkel stellt diese Paralleltonarten dar: die Moill-Variante steht im Innern des Kreises und die Dur-Variante im Äusseren.
Weiter werden verwendet:
– pentatonische Dur- und Moll-Tonleitern, die auf Gitarren gut spielbar sind und sich für Improvisationen eignen, da sich Töne nie wirklich reiben:
Griffmuster auf der Gitarre, Bildquelle: Wikipedia
– Bluestonleiter (eine Variante der pentatonischen Moll-Tonleiter mit einem Zusatzton)
– Ganztonskala
– Chromatische Skala
– Mixolydische Skala
– Dorische Skala
Quellen
– Hooktheory: C Major Cheat Sheet – es gibt für jede der 12 Grundtöne aller sieben Modi eine solche Cheat-Sheet-Seite (insgesamt also 84). Dargetsellt werden die Noten der Skala auf der Klaviatur, die Notation, die Paralleltonarten, die beleibtesten Akkorde der Skala, Songs, die diese Skala verwenden sowie einige der populärsten Harmoniefolgen in der Skala
– David Bennett Piano: Songs to recognise different scales by ear
Tongestaltung Tag
Tongestaltung («Sound Design») ist kreative Arbeit mit Klängen und Geräuschen.
Geschichte der Tongestaltung
Elektronisch (wie auch akustisch) erzeugte Klangkompositionen spielen in der Musik eine vergleichbare Rolle wie die konkrete Poesie sie in der Literatur spielt. Im Zentrum der gestalterischen Arbeit mit Sounds steht neben der Arbeit an der Form immer auch die Arbeit an der Substanz, am (Klang-)Material.
Die Vorgeschichte des Sounds beginnt bereits bei Debussy oder dem frühen Stravinski, die beide das klassische Orchester klangmalerisch einsetzen.
Als die ersten Musiker thematisieren die Futuristen (Luigi Russolo) das Geräusch als Material für die Komposition. Die Lärmquellen der modernen Großstadt - Maschinen, Fuhrwerke, Hupen, Schreie usw. - bilden das Orchester, für welches die futuristischen Komponisten ihre Musik schreiben. Der amerikanische Komponist Charles Yves komponiert Stücke aus der akustischen Perspektive des Flaneurs in der Grosstadt: Blaskapellen laufen herbei und vorbei, sie werden lauter, kreuzen einander und verschwinden wieder im akustischen Hintergrund. Yves erfindet quasi das Mischen von Tonspuren bevor es Mischpulte gibt.
Früh schon werden neue elektrische Instrumente erfunden (beispielsweise das Theremin oder das Trautonium). Auch Radioempfänger sind beliebte elektronische Klangerzeuger, von John Cage, Karlheinz Stockhausen oder Holger Czukay eingesetzt. Seit den Sechziger Jahren tritt der Synthesizer seinen Siegeszug in allen Sparten der Musik an: in der Klassik, im Jazz und in der Popmusik.
Doch auch die mit klassischen und elektroakustischen Instrumenten erzeugten Klänge werden immer häufiger elektronisch bearbeitet. Gitarren klingen seit den Sechzigern elektrisch (Byrds, englischer Beat und Rhythm'n'Blues). Kein Wunder hat der konservative Zeitgeist sie als furchtbarer Lärm wahrgenommen. Die Byrds klingen wie der von ihnen besungene Lear Jet. Die Beatles elektrifizieren den Rock'n'Roll, die Stones und die Yardbirds elektrifizieren den Rhythm'n'Blues, so dass er wie aus der Steckdose klingt.
Spätestens seit den Sechzigern werden Effektgeräte wie WahWah, Fuzz oder Distortion während dem Spielen («Real-Time») für die Klangbeeinflussung der Instrumente eingesetzt. Medientheoretisch besehen ist die elektrische Gitarre ein Zeichen für die unaufhaltsame Elektrifizierung der Welt im Sinne McLuhans. Sie hatte eine mächtige kulturelle und politische Wirkung und war eine der wichtigsten Etappen auf dem Weg zur elektronischen Musik.
Im Free-Jazz, der sich Mitte Sechzigerjahre entwickelt, überblasen die Musiker die Töne aus ihren Blasinstrumenten mehr und mehr (Albert Ayler, später John Zorn), um sie nicht als reiner Ton, sondern als Sound zu spielen. Auch Gitarristen spielen ihr Instrument mit Bogen, Ketten, Federn oder Schrauben (Fred Frith) wie ehedem John Cage sein Klavier präpariert, um ihm ganz neuartige Töne und Klangfarben zu entlocken, um es beispielsweise wie ein Perkussionsinstrument zu spielen.
Auch im Aufnahmestudio arbeitet man mehr und mehr am Sound. Was die Beatles 1966 und 1967 im Studio machen, können sie live kaum mehr aufführen, weshalb sie von da an keine Konzerte mehr geben. Von nun an wird das Aufnahmestudio auch als eine Stätte von Postproduktionsverfahren verwendet, um Musiker/-innen und Bands einen eigenen Sound zu verpassen. Elektronik ist heute aus der meisten Musik, die vorgibt, noch immer mit «klassischen» Instrumenten zu arbeiten, kaum mehr wegzudenken.
Der Sound macht auch die strukturell einfachste (Pop-)Musik identifizierbar und fungiert dadurch als Träger kultureller Überkodierung (zeitgeschichtlicher Stil, Individualität, Kollektividentität, Ideologie etc.).
Tongestaltung und Electronica
Am Ende der Achtzigerjahre wird die elektronische Musik unter dem Etikett «Techno» zur Jugendleitkultur. Vor allem in der Tanzmusik werden computergenerierte oder -verarbeitete Sounds von Produzierenden, DJs und Tanzenden bevorzugt. Was durch Avantgardekreise in den Siebzigern und Achtzigern begonnen wird (Kraftwerk, Suicide, G. Morroder, Cabaret Voltaire, Heaven 17), tritt nun an, in vielen Dimensionen ausgeschšpft zu werden.
Diese populärmusikalische Entwicklung schlägt einen völlig anderen Weg als die akademische Tradition (Stockhausen, Boulez, ...) ein, die die elektronischen Soundmöglichkeiten in den Fünfzigerjahren entdeckt und erforscht hat. Dort erkennt man angesichts der Vielfalt der synthetischen Klangmöglichkeiten die Notwendigkeit, der potentiellen kompositorischen Beliebigkeit angemessene Strukturen entgegenzusetzen und findet diese in einem elitären für die Masse der Konzertbesuchenden und Musikkonsumierenden weitgehend unverständlichen Serialismus. Dagegen experimentiert die DJ- und Technokultur leichtherzig mit den Klangmöglichkeiten herum. Als Beschränkungen existieren hier nicht kompositorische Parameter, sondern die etablierten Formate wie House, in deren Rahmen diese Experimente stattfinden. Ebenfalls generiert man aus den bestehenden Formaten neue, beispielsweise «Intelligent Listening» (IDM), Ambient oder «Jungle». Aus House wird später Click-House, aus IDM entsteht Glitch.
Neben diesen Linien gibt es auch Entwicklungsstränge, die aus anderen Musikrichtungen zu etwas Ähnlichem führen wie zu IDM oder Glitch. Auch im Postrock, in der improvisierten Musik, im Jazz wird der Computer im Laufe der 90er Jahre immer häufiger als Klangquelle oder als Klangprozessor eingesetzt. Dabei entsteht vielfach eine Musik, die eng mit Stilen der elektronischen Tanz- und Ambientmusik verwandt ist. An der Jahrtausendwende ist jeder Stil mit jedem anderen Stil kombinierbar. Waren ein paar Jahre früher Producer und DJs den Musiker/-innen klanglich weit voran, gewannen die letzteren schrittweise Territorium zurück. Avant ist jetzt nicht mehr so sehr die Medienkunst, sondern Leute wie Fennesz, die ein Instrument spielen und dessen Klänge im PC prozessieren.
Man könnte die Geschichte statt als Geschichte der Stile (und damit auch der Label und Personen) auch als Geschichte des Samplematerials (und damit verbunden der Technologie) schreiben. Wie im Hip Hop zuvor wurde das Klangmaterial zuerst den Schallplatten der DJs entnommen. Auf dem PC wurden diese Samples zunehmend mehr verarbeitet (Laub, Jan Jelinek), kürzer (Algorythm, Akufen) oder aus ganz anderen Quellen als es Schallplatten sind entnommen (defekte CDs - Clicks'n'cuts -, Mikrophonaufnahmen - Matthew Herbert, Matmos -, Störgeräuschen elektronischer Geräte - Pole, System Error -, Instrumenten oder der Stimme - Maja Ratkje). So sind an der Jahrtausendwende Glitches sehr «en avant». Störgeräusche aus Computern bilden bei der zugehörigen Stilrichtung das musikalisch-kompositorische Material. Die Unvorhersehbarkeit, das Unberechenbare der Glitches leistet einer Musik Vorschub, die die Offenheit improvisierter oder alleatorischer Musik hat.
Zur Bedeutung elektronisch erzeugter Musik
Was in der Komposition notiert wird und was als Gegenstand der klassischen Harmonielehre fungiert, der Ton, ist eine abstrakte Einheit. Das zeigt sich darin, dass ein einziger Ton auf unvorstellbar viele Arten erklingen kann. Die möglichen Klangfarben eines Tons beschränken sich in der traditionellen Musik auf die Klangfarben der verfügbaren Instrumente. Synthesizer und andere elektronische Instrumente haben auf die eine oder andere Weise die Fähigkeit, in einer oder in vielen Dimensionen, Klangfarben zu variieren (wenn dies auch selten genug geschieht, weil man auf die eingebauten Klangmöglichkeiten von Synthesizern, die Presets, zurückgreift). Elektronische Musik ist deshalb nicht eine Musik, die aus den traditionellen Strukturen der Töne besteht, sondern auf der Substanz der Klänge. Deshalb kommt es bei elektronisch bearbeiteter oder erzeugter Musik nicht so sehr auf die Komposition der Töne an, sondern vielmehr auf die Modulation der Klänge, der Sounds. Aufgebaut ist elektronische Musik nicht vor allem auf einem kulturell strukturierten Bestand an distinkten Tönen, sondern sie wird aus vorliegendem oder gegebenem Klangmaterial generiert, wobei die Klangmöglichkeiten ein in vielen Dimensionen kontinuierliches Feld bilden. Die Philosophen G. Deleuze und F. Guattari sagen vom Synthesizer als dem Erzeuger der meisten Gegenwartssounds: Er «variiert kontinuierlich sämtliche Parameter und bewirkt, dass nach und nach völlig heterogene Elemente sich irgendwie ineinander verwandeln».
Synthetische Klänge verweisen deshalb auf einen Erzeugungs- oder Verarbeitungsprozess, in dessen Verlauf Ausgangsklangmaterialien (Sinustöne, Samples, Tracks) be- und verarbeitet werden. Auch das, was am Ende eines Produktionsprozesses steht, kann wieder als Ausgangsmaterial dienen. Das Ende ist ein willkürlich gesetzter, immerzu vorläufiger Abbruch eines immerwährenden Produktionsprozesses. Der Wiener Fennesz zum Beispiel beantwortet in einem Interview die Frage, wie ein Stück entstehe, wie folgt: «Ganz unterschiedlich. Bei einigen (Stücken) kann ich überhaupt nicht mehr sagen, wie ich das gemacht habe. Für gewöhnlich bleibst du bei einem Klang hängen. Dann probierst du Effekte aus, stellst den Klang ruhig einmal auf den Kopf. Dann fängst du an zu schneiden und zu arrangieren. Das kopierst du runter auf zwei Spuren, die zerlegst du wiederum, rechnest neue Effekte hinzu, schneidest etc. - ein ständiges Multiplizieren. Das Ziel, also der Track, entsteht erst im Arbeitsprozess selber.» (zitiert nach F. Klopotek, how they do it, 2002, S. 110)
Deshalb spricht man im Zusammenhang mit elektronischer Musik nicht mehr von Werken als den Resultaten des Kompositions- bzw. Produktionsprozesses. Ein Werk ist nämlich eine aktualisierte, in sich geschlossene Struktur, die in ihrer perfektionierten Ausarbeitung, dem Song bzw. der Komposition, zu einer Integrität gelangt ist, in die nicht mehr eingegriffen werden soll. Wo in der traditionellen Musik fertige Werke geschrieben, präsentiert und aufgeführt werden, stellt die elektronische Musik den Produktionsprozess zwischen Ausgangsklangmaterial und vorläufigem Resultat dar. Wo man zu elektronischer Musik nicht tanzt, sondern zuhört, erkennt man die Operationen, die das Hörbare, den Sound, generieren und prozessieren. Man hört mit zunehmender Hörerfahrung den Produktionsprozess selbst, die Kräfte werden hörbar, die Musik und Klang hervorbringen: nämlich die kollektiven Gedanken, die Phantasien, die leichten und schweren Träume der Zeit, in der dieser Sound entstanden ist.
Mit der Integrität des Werkes verschwindet auch dessen Autorschaft: Beim klassischen Songwriting gibt es einen oder mehrere Autoren zu jedem Werk. In der elektronischen Tanz- und Listening-Musik weicht die Autorfigur dem Produzenten bzw. DJ, der ausgehend von der Arbeit anderer Produzenten und DJs neue Klänge hervorbringen. Ein elektronisches Stück transportiert deshalb wenig personelle Identität: Es wird zumeist in einen Namenlosen Umschlag verpackt, auf der Vinylscheibe ein Label mit einem Projektnamen, der eher auf Maschinen (X-101) und und Zukunftswesen (Drexciya) verweist.
Kriterien zur Beurteilung dieser Musik bleiben weitgehend unbekannt, hält man an den herkömmlichen Kategorien fest, die für das Songwriting gegolten haben. Diese Kriterien fallen weg, da es sich nicht mehr um Songs, sondern um Tracks handelt. Ebenso ist es mit «instrumentellen bzw. gesanglichen Virtuosität». Die Virtuosität liegt nicht im Solovortrag, sondern in der Fähigkeit, neue bisher ungehörte Sounds zu generieren. Auch die Struktur der Tracks besteht aus anderen Elementen als bei den klassischen Kompositionsformen. Als neue und wichtige Grundelemente fungieren beispielsweise die Loops, die ein Sample oder ein Pattern wiederholen, oder die Operationen, mit denen Klänge verarbeitet und verändert werden.
Querverweis
– Produktion
Tomorrow's World Tag
«Tomorrow's World» hiess eine langlebige TV-Sendung der BBC 1 über Trends, Erkenntnisse, Neuheiten auf dem Gebiet von Wissenschaft und Technologie. Seit 2017 ist «Tomorrow's World» ein Name für eine Rubrik bei der BBC für Wissenschaftssendungen.
Produziert wurde die Sendung von Glyn Jones und seiner Ehefrau. Während den 1970er Jahren zog das Programmgefäss um die 10 Millionen Zuschauer*innen an!
Es ist bezeichnend, dass «Tomorrow's World» 1965 gegründet und 2003 abgesetzt wird. Das erste Datum fällt mit der Entstehung der ambitionierten Rockmusik zusammen, das zweite mit der Mallaise der Musikindustrie nach dem Napster-Schock und dem EInsetzen der Retromania. Die Sendung existiert in dem Zeitfenster, in dem die Rockmusik laufend neue Trends, neue Acts, neue Stile hervorbringt.
Querverweise
– Retromania
Tomato-gate Tag
Country Radio Berater Keith Hill riet den Radiostationen im Jahr 2015, vor allem Männer zu spielen. Er benutzte die Analogie des Salat-Rezeptes: Bei der Zubereitung von Salat benutzt man vor allem grüne Blätter (Männer) und schmückt sie mit ein paar Tomaten (Frauen). Begründet hat Keith Hill den Ratschlag mit der Zielgruppe von Country Radio. Es seien vor allem Frauen, die Country Radio eingeschaltet hätten und sie würden lieber Männerstimmen hören.
Wirkung
Country Music Radio spielt nun tatsächlich kaum mehr Frauen. Die Entwicklung hat allerdings bereits Jahre vor dem Salat-Vergleich von Keith Hill eingesetzt. Im Jahr 2000 wurden noch 33,3% Frauen im Country Radio gespielt und 2018 waren es bloss noch 11,3% (Zahlen von Jada Watson im NYT Popcast).
Auf allen Social-Media-Kanälen sorgte Tomato-gate für eine grosse Kontroverse. Todd Cassetty aus Nashville gründete 2014 einen Event namens Song Suffragettes
, der jeweils fünf Musikerinnen eine Plattform bietet, um ihr Schaffen vorzustellen.
Links
– Wikipedia: Song Suffragettes
Titelmelodie Tag
Eine Titelmelodie ist ein Lied aus einer Filmmusik, das sehr populär wird und gewissermassen den Film repräsentiert.
Als «Titelsong» wird auch ein Lied bezeichnet, nach dessen Titel ein Album benannt ist.
Tin Pan Alley Tag
«Tin Pan Alley» heisst der Ort in New York, an dem Musikverlage für Populäre Songs ansässig waren. Der Begriff wird im Umfang verschieden verwendet: 1) für Musikverlage, die zwischen 1900 und 1930 an der 28th Street ansässig waren, 2) für dieselben plus Verlage, die seit etwa 1885 und vor dieser Zeit am Union Square beheimatet waren und 3) für alle Musikverlage New Yorks, deren Kerngeschäft die Produktion von Sheetmusic war. Nicht der «Tin Pan Alley» zugerechnet werden die Brill-Building-Verlage, deren Kerngeschäft aus der Produktion von Platten bestand. Der Verkauf von Sheetmusic ging in den Jahren zwischen 1925 und 1935 drastisch zurück. Radio und Schallplatten verdrängten die Hausmusik (das Musizieren zu Hause) nachhaltig. Das Ende der Hausmusik besiegelte auch das Ende der «Tin Pan Alley».
Name
«Tin Pan Alley» war der Übername, den Monroe Rosenfield für die 28. Strasse Manhattans prägte, wo ab 1900 in Nähe der Broadway Theater die Musikverlage für Populäre Lieder ansässig waren. Rosenfeld war ein «bon vivant» und schrieb selbst gelegentlich Songlyrics. Für einen Artikel im New York Herald, der nicht überliefert ist (siehe: The United States World War One Centennial Commission), portraitierte er das Verlagshaus von Harry von Tilzer und überschrieb seinen Artikel mit dem Titel «Tin Pan Alley». Der Name hat sich sofort durchgesetzt: Bis dato nannte man alle massenproduzierten billigen Dinge «tin pan» oder «tin panny». Tilzer hatte in sein Klavier Papier zwischen die Saiten gezogen, um dem Instrument einen klimpernden Klang zu geben. Er war stolz auf diesen Sound. Man kann ihn möglicherweise in die Vorgeschichte des präparierten Klaviers einreihen. Jedenfalls schien von Tilzers nicht der einzige Verlag in der Strasse gewesen zu sein, aus dem man im Vorbeilaufen eine Kakophonie schäbig klingender Pianos hören konnte.
Verlage am Union Square
Mehrere Verlagshäuser fanden sich 1885 zuerst am Union Square ein, wo die wichtigsten Musiktheater und Vergnügungsbetriebe der Stadt ansässig waren: «Tony Pastor's Music Hall», «Union Square Theatre», «Academy of Music», einige Musikrestaurants, Burlesque-Theater, Ballrooms und Saloons). Diese Verlage etablierten New York im Lauf der Zeit als die führende amerikanische Musikhauptstadt. Zuvor waren Musikverlage in Boston ansässig («Oliver Dibson»), in Philadelphia («Lee & Walker»), Chicago («Root and Cady») und Cincinnati («John Church & Co.»
Der erste Verlag am Union Square war «T.B. Harms» (ab 1881), Sein erster moderater Hit war «Wait Till The Clouds Roll By», der erste Tin-Pan-Alley-Song (2) der Geschichte. Die Hits von «T.B. Harms» wurden grösser und grösser. Zuerst kam «When The Robbins Nest Again» (1883), dann «The Letter That Never Came» (1886).
Der zweite Verlag der «Tin Pan Alley» (2) war «Willis Woodward & Co». Deren Hits waren «White Wings» (1884), «Always Take Mother's Advice» (1884), «The Outcast Unknown» (1887), «The Convict And The Bird» (1888).
Der dritte Verlag war «M. Witmark & Sons» (ab 1886). Deren grosser Hit war «The Picture That's Turned To The Wall» (1891), «When The Sun Has Set» (1892) und «After The Ball» (1892). Letzterer war ein beispielloser Erfolg. Über 2 Millionen Stück Sheetmusic sollen über die Jahre davon abgesetzt worden sein.
Die Verlage am Union Square veränderten das Musik-Marketing grundlegend und der Erfolg etablierte diese Methode für die kommenden Jahre. Bisherige Musikverlage hatten Repertoire im Angebot und verkauften dieses Repertoire. Die Verlage der Tin Pan Alley brachten erstens nur Populäre Songs heraus, die sie zweitens zu Hits machten. Sie buhlten nicht um die Gunst des gesamten Publikums, sondern sie pflegten insbesondere Beziehung zu den Top-Sängerinnen und Top-Sängern in Musiktheatern. Sie boten diesen ihre Hits an. Sie etablierten dafür den Beruf des Song-Pluggers, der den Broadway-Sänger*innen und den in New York durchreisenden Wandersänger*innen ihre neuesten Hits vorspielten und diese zu bewegen suchten, die Songs zu interpretieren. Sie gingen davon aus: Wirkliche Popularität stellt sich für einen Song nur ein, wenn einer der bekannten Schlagersterne ihn sang und bekannt machte. Ihr Erfolg gab ihnen recht.
Tin Pan Alley (1) – Verlagerung an die 28th Street
Um 1900 zogen New Yorks Musikverlage an die 28. Strasse um. Zudem stiessen ein paar neue in den Kreis: Leo Feist, Inc. (1894–1934), Harry Von Tilzer (ab 1902) oder Gus Edwards. Nun war es an der Tagesordnung, dass mit erfolgreichen Songs 1 Million Noten abgesetzt werden konnten. Diese Zahl war am Union Square noch ein seltenes Traumresultat.
Das Ende der «Tin Pan Alley» kam mit der Depression der 30er-Jahre. Die überlebenden Musikverlage waren immer noch in Broadway-Nähe aufgestellt. Nach dem Krieg und vor allem unter dem Einfluss von Rock 'n' Roll in den 50er Jahren wurde die Musikindustrie umstrukturiert: Von nun an spielten Labels, nicht Verlage, die zentrale Rolle. Die (vorläufig) letzte Phase von Verlags-getriebener Musik ist unter dem Namen Brill-Building-Pop bekannt geworden.
Produkt: Sheetmusic
Die Songs, die Tin Pan Alley produzierte kamen primär als Noten (engl. Sheetmusic) heraus. Es waren in der Regel 4–8-seitige Notenblätter mit drei Systemen (Linke und rechte Hand Piano, Stimme). Die Frontseite wurde mit einer Illustration gestaltet.
Links
– The United States World War One Centennial Commission: Tin Pan Alley, Where it all Began
Theremin Tag
Lev Sergeyevich Termen erfand dieses elektronisches Musikinstrument 1920. Es war ein Abfallprodukt eines Instruments zur elektromagnetischen Messung der Dichte von Gasen. Gespielt wird das Theremin mit den beiden Händen, die in einem Magnetfeld je nach Stellung eine andere Tonhöhe und Lautstärke hervorrufen.
Das Theremin ist das einzige Instrument, das man spielt ohne es zu berühren.
Lenin entsandte Leo Termen als Botschafter für die Elektrifizierung durch die ganze Sowjetunion. Er trat auch in Amerika auf. Kurz vor dem Zweiten Weltkrieg verschwand Leo Termen in einem sibirischen Arbeitslager, angeblich weil er spioniert hat.
Das Instrument wurde verschiedentlich für Filmmusik verwendet. In der Populären Musik setzten es Bands ein wie Jean Michel Jarre, Pere Ubu, Decemberists , Slapp Happy, Portishead, Aimee Mann, Mercury Rev, Bright Eyes oder Janelle Monáe.
Links
– The World: Happy 100th Birthday, Theremin! (Staff, 16. October 2019)
– Christoph Wagner: Vor 100 Jahren begann mit dem Theremin das Zeitalter der elektronischen Musik. Das Instrument, das ohne Berührung erklingt, wird bis heute verwendet (NZZ, 21. Dezember 2019)
– Christoph Wagner: Töne aus der Luft: Vor 100 Jahren begann mit dem Theremin das Zeitalter der elektronischen Musik – bis heute spielt es in Pop und Filmmusik eine Rolle (christophwagnermusic, 28. April 2020)
Theorie der Subkulturen Tag
Der soziologische Begriff der «Subkultur» bezeichnet eine Gruppe mit eigener und vom gesellschaftlichen Mainstream abweichender Kultur. Der Begriff entstammt der Kriminalsoziologie, die damit die Gepflogenheiten der Unterwelt und von Street Gangs terminologisierte. Heute wird der Begriff viel allgemeiner verwendet, nämlich für alle vom Mainstream abweichenden Lebensstile.
Die britischen Cultural Studies (u. a. Dick Hebdige) erarbeiteten am Beispiel von unterklassenspezifischen Jugendkulturen wie Mods, Rocker, Skinheads, Hippies oder Punks eine Theorie der Subkulturen. Diese Jugendkulturen bildeten eigene Umgangsformen, einen eigenen Habitus und eigene Wertvorstellungen aus. Diese Kultur wurde gerade in der Abgrenzung zum Mainstream gefestigt. Zuweilen werden subkulturelle Werte von der Mainstream-Kultur assimiliert, womit sie sich selbst eine Jugendspritze verleiht. Dieser Assimilationsprozess wird von denen, die die Assimilation nicht mitmachen, oft als «Ausverkauf» stilisiert und verurteilt.
In Amerika sprachen Soziologen eher von der Gegenkultur und meinten mit diesem Begriff den Protest der Mittelklasse gegen den kulturellen Mainstream.
Themesongs Tag
Musik, die in Film, Radio und TV als Titel und Erkennungsmelodie verwendet werden. Zum einen Teil werden «Themesongs» extra für eine Produktion geschrieben, zum anderen wird eine bereits publizierte Komposition in kompletter oder editierter Form als Titelmusik verwendet.
Theater Tag
Theater wird von den Wissenschaften in der Regel als Literatur für die und auf der Bühne behandelt. Der Aspekt der Aufführung, die Mise en Scène, die Besetzung der Figuren, die die Literatur sprechen, mit Schauspielerinnen, ist von geringerem wissenschaftlichen Interesse. Hingegen interessiert es die Theaterkritiker/-innen, die in den Zeitungen die Uraufführungen und Premieren besprechen.
Auch Theater kann als Kunstform in die drei Gattungen Volkstheater, Populäres Theater und Kunsttheater eingeteilt werden. Zu den populären Formen des Theaters zählen zum Beispiel der Zirkus, die Medicine Show, die Vaudeville Show, die Wildwest Show oder das Fernsehen mit seinen Unterhaltungsformaten (TV-Show, Talk-Show, ...). Gerade beim populären Theater sollte man sich nicht den reinen Text, sondern die gesamte Aufführung vornehmen, um dem Gegenstand gerecht zu werden.
The Wire Tag
Englisches unabhängiges Musik Magazin, das 1982 als Avantgarde Jazz Magazin gegründet wurde und seither monatlich erscheint – im Juni 2017 die Nummer 400! Die Ausgaben sind fortlaufend nummeriert. Der Untertitel der Publikation lautet: «Adventures in Modern Music». Seit den 90er-Jahren erweiterte sich der Fokus des Magazins. Heute deckt The Wire
viele Arten von Musik abseits des Mainstreams ab: Moderne Klassik, Jazz, Avantrock, Electronica, Hip Hop oder Dub.
Schritt in die Unabhängigkeit
2001 kauften sechs vollzeitbeschäftigte Herausgeber und Autoren die Zeitschrift auf. Seither wird sie unabhängig publiziert mit einer Auflage von ca. 20'000 Stück (Quelle).
The Wire
enthält Rubriken wie The Invisible Jukebox
(Interview, in dem Musiker einen in ihrer Biografie begründeten Blind Test unterzogen werden), The Primer
(kommentierte Diskografie eines Acts, eines Genres oder einer Szene) und Reviews von Veröffentlichungen, Musikbüchern und Konzerten. Ausserdem gibt die Zeitschrift eine CD-Reihe für Abonnenten heraus: The Wire Tapper.
Was heisst «Modern Music»
Modern kann heissen: im 20. Jahrhundert entstanden und gespielt. So einfach macht es sich «The Wire» allerdings nicht. Im Buch Undercurrents findet man etwas andere Antworten auf die Frage. Die verscheidenen Beiträge sind unter vier Haupttitel gestellt, die jeweils eine mögliche Antwort auf die Frage geben könnten:
– Electrification: Moderne Musik ist elektrisch.
– Occultism: Moderne Musik stellt einen Bezug zu kosmischen, physikalischen, philosophischen oder universellen Gesetzmässigkeiten her.
– Mechanism: Moderne Musik ist nicht ohne mechanische, elektrische und elektronische Geräte denkbar, mit denen sie produziert, aufbewahrt und gehört wird.
– Freedom: Moderne Musik ist offen für Zufälle oder individuelle Beiträge, die nicht in der geschriebenen Komposition vorgesehen sind. Sie überwindet die traditionelle musikalische Tonsprache mit Stille, Lärm und Sound.
Herausgeber ist Chris Bohn
Quellen
– zur Webseite
– zur neusten Ausgabe
The Echo Nest Tag
«The Echo Nest» war ein 2005 in Somerville, MA, gegründeter Spin-off des MIT Media Lab, der einen grossen Teil der Intelligenz von Streaming Services entwickelt hat. Es bestand aus einem Datenbank-Service, der das Internet nach Informationen über Musik abgraste, Musikfiles, Texte, Playlisten. In der Fachsprache nennt man das «Web Scraping». Die Musikfiles wurden zerlegt und analysiert, aus ihnen wurden «audio-fingerprints» erstellt, die man für Erkenn-Dienste wie Shazam braucht. Stücke können aufgrund dieser fingerprints verglichen werden. Aufgrund der «feature profiles» können stimmungs-basierte Playlisten erstellt werden. Das sind natürlich riesige Datenmengen, die da zusammen kommen und die miteinander verrechnet werden.
Ausserdem erstellt Echo Nest Musikgeschmacksprofile. Hier geht es um die Frage, wer sich was, bei welcher Tätigkeit, zu welcher Tageszeit und wie lange anhört. Mit den Personendaten können die KI-Algorithmen Geschmacksprofile wie Folien übereinander legen und rechnerisch Überschneidungen zwischen dem Verhalten verschiedener Musikkonsument*innen feststellen.
Die Echo Nest Datenbank
Die Echo-Nest-Datenbank hatte kein Frontend. Die Daten wurden an über 400 verschiedene Internet-Dienstleister verkauft (Stand Sommer 2014), unter anderem an Billboard oder Spotify.
Im März 2014 hat Spotify die Startup-Firma übernommen und Daten und Algorithmen in Spotify eingebaut.
Bevor die Firma Spotify gehörte konnten Entwickler*innen über eine API auf viele der Daten zugreifen. Nun sind folgende grossartigen Applikationen aus dem Internet verschwunden:
– Boil The Frog – erzeugte eine Playliste, die bei Frank Sinatra startet und mit einem möglichst sanften schrittweisen Übergang zu Metallica fortschritt.
– Girl Talk in A Box – Zerlegt einen Song in einzelne Takte, deren Ablauf man mit Bedienelementen verändern und so einen Remix erzeugen konnte
– The Infinite Jukebox – damit lässt sich ein Song, der zirkulär dargestellt wird, endlos abspielen, indem man an geeigneter Stelle an eine andere geeignete Stelle springt (zum Beispiel den Refrain mehrere Male wiederholte)
– Map of Music Styles – interaktive Music-Map
Programmierter Musikgeschmack
Links
– Every Noise At Once – Karte («map») mit 4341 Musik Genres
The 1948 Recording Ban Tag
Die amerikanische Musikergewerkschaft American Federation of Musicians, die von Joe Petrillo geleitet wurde, verhängte einen weiteren «Recodring Ban», ein verbot, Platten aufzunehmen. Die Gewerkschaft befand sich im Konflikt mit den Radiostationen und den Plattenlabels. Petrillo wollte verhindern, dass am Radio Platten gespielt wurden, weil dann Musiker nicht bezahlt waren.
Bereits 1942 hat Petrillo einen Recording Ban von 1942-44 verhängt, der als einer der denkwürdigsten Streiks in die Geschichte einging. Ausgerechnet in den Kriegsjahren wurde der amerikansichen Öffentlichkeit Musik ab Platten vorenthalten. 1944 wurde der erste «Recording Ban» abgeschlossen. Aber bereits 1948 wollte Petrillo mehr «Royalties». Wieder wurde gestreikt. Jetzt war auch der Staat, der in der Zwischenzeit Gesetze erlassen hatte eine Zielscheibe der Gewerkschaft.
Wirkung
Die Entstehung des Bebops hat sehr unter dem «Recording Ban» gelitten. Heute wären Jazz-Historiker*innen froh, um mehr überlieferte Plattenaufnahmen aus der Anfangszeit.
Querverweise
– Musikjahr 1948
Quellen
– Spontaneous Lunacy: The 1948 Recording Ban (Sampson, 23. März 2017)
Technics SL-1200 Tag
Der Plattenspieler, der weltweit zum de facto Standard von DJs wurde.
«SL-1200» ist eine Produktreihe des Herstellers «Matsushita» (später «Panasonic») der Marke «Technics», die es seit Oktober 1972 gibt. Im Jahr 2010 wurde die Produktion vorübergehend eingestellt. Es kam zu öffentlichen Petitionen an den Hersteller, das Gerät wiedereinzuführen, was ab 2016 Wirkung zeigte.
Den Plattenspieler zeichnet aus, dass er direkt angetrieben ist. Der Motor betriebt den Plattenteller ohne Gummiriemen, was abnützungsfreier ist und den Plattenteller innerhalb von 0,7 Sekunden bzw. einer Viertelumdrehung auf die erforderliche Solldrehzahl von 33⅓ rpm beschleunigen kann.
Der weltweit erste «direct drive» hat Technics-Chefingenieur Shuichi Obata bereits 1970 auf den Markt gebracht. Das Modell hiess SP-10. Die Abnützungsfreiheit des Direkttriebs machte das Gerät bei Radiostationen belibt, da diese die Riemen häufig wechseln mussten, damit dieser nicht mitten in einer Sendung durch Verschleiss riss.
Der Plattenspieler verfügt über einen grossen Startknopf, mit dem sich eine Platte punktgenau starten lässt («cueing»), was für Radiostationen und Dancefloor-DJs gleichermassen wichtig ist. Sein Direktantrieb, d.h. die Rotation des Motors bewegt direkt den Plattenteller, ohne dass ein Riemen die Bewegung überträgt, sorgt für eine schnelle Hochlaufzeit (in 0,7 Sekunden auf die Drehzahl von 33⅓ rpm), so schnell, dass man das Anfahren des Plattentellers kaum wahrnimmt. Die Gleichlaufstörung liegt mit 0,01 % weit unter der von DIN 45500 geforderten Hifi-Norm (0,2 %). Das Chassis ist mit 2,5 kg so schwer, dass der Plattenspieler sehr gut von der Umgebung entkoppelt ist. Die Tonhöhenregelung («Pitch control») kann die Drehzahl von −8 bis +8 % regeln (eingebaut seit 1978 in das Modell SL-1200 MK2).
Erfolg
Der Technics SL-1200 wurde ursprünglich als High-End-Gerät für den Heimgebrauch entwickelt, wurde aber wegen seinen Eigenschaften von vielen DJs eingesetzt (z.B. von Grandmaster Flash, Kool Herc oder Grand Wizzard Theodore), dem Erfinder des Scratchings, was ihn zum Quasi-Standard in Diskotheken und Clubs machte.
Technics konnte 3,5 Millionen von diesen Geräten verkaufen.
Die Produktion wurde 2010 eingestellt, da Plattenspieler damals von digitalem DJ-Equipment abgelöst wurden. Ab dem September 2015 wird der Plattenspieler als SL-1200G wieder angeboten, nachdem DJs auf Facebook eine Petition für seine Wiedereinführung gestartet haben. 27'000 Personen haben einen Relaunch unterstützt. Mit oder ohne Relaunch hält dieses Gerät den Rekord für das am längsten produzierte Produkt der Unterhaltungselektronik.
Preis
Ein Original kostet in der Regel über 1000.–, ein DJ-Exemplar aus den 1970er Jahren in der Regel über 500.– und ein Neugerät Mk7 ca 900.– (sFr.).
Tantiemen Tag
Mit «Tantiemen» oder dem Anglizismus «Royaltys» werden alle Gebühreneinnahmen bezeichnet, die aus der Verwertung des geistigen Eigentums abgeleitet werden können: Der Begriff umfasst Konzessionen, Lizenzen, Patenten, Warenzeichen oder Urheberrechten erfasst. Die für Laien Bekanntesten sind die Urheberrechte, die bei jeder Aufführung eines Werks anfallen, sei es, wenn ein Song live gespielt, gestreamt oder massenmedial verbreitet wird (Film, Spot, Radio, TV, Streamingplattformen etc.).
Die Eintreibung von Tantiemen geschieht durch Verwertungsgesellschaften wie der GEMA in Deutschland, der SUISA in der Schweiz, der PRS in Grossbritannien, der ASCAP oder der BMI in den USA. In der Regel gelangen Royaltys über verschiedene Gesellschaften zu den verschiedenen Rechteinhabern. So gibt es in der Schweiz beispielsweise die SUISA, die für die Eintreibung von Royaltys bei Medienbetreibern (Radio, TV etc.), Konzertveranstaltern und Plattenproduzenten, die SSA (Société Suisse des Auteurs), die für Opern oder Musicals zuständig ist, sowie die SWISSPERFORM, welche die Rechte ausübender Interpreten wahrnimmt.
Talentwettbewerb Tag
Talentshows sind ein Veranstaltungstyp, bei der Teilnehmer*innen, die noch keine Karriere haben, singen, tanzen oder sonstwie unterhalten, um ihre Fähigkeiten unter Beweis zu stellen. Talentwettbewerbe werden von institutionen veranstaltet, die ein Interesse haben, künftige Künstler*innen frühzeitig zu rekrutieren, also Manger aus der Unterhaltungsbranche, Medienanstalten, Veranstaltungslokale (das Apollo Theatre in Harlem führt seit 1987 das Format «Showtime at the Apollo» durch) usw.
Am Fernsehen inszenieerte Casting Shows waren in den 2000er Jahren äusserst erfolgreich: «Popstars» (1999), «Idol» (2001), «Star Academy» (2001), «Deutschland sucht den Superstar» (2002), «The X Factor» (2004).
Casting Shows haben tatsächlich einige Stars hervorgebracht, u.a. Britney Spears, Justin Timberlake oder in der Schweiz Stefanie Heinzmann. Die meisten Sieger bleiben aber Stars für eine Saison. Die Shows waren oft peinlich und Zeugnisse schlechten Geschmacks. Möglicherweise geht es genau darum, Mediokrität zu inszenieren, so lange sie nur so emotional wie möglich aufgeführt wird. Man schaue auf die Kameraeinstellungen auf der Jury, die die Rolle hat, die Performance im Gesicht und mit dem Körper zu spiegeln. TV-Casting-Shows färbten auch auf den Eurovision Song Contest ab.
Tabak - Zigaretten (Genussmittel) Tag
Die Tabakindustrie war, bis sie 1970 per Dekret des US-Kongresses zurückgebunden wurde, der Hauptsponsor für Radio- und TV-Sendungen in den USA. Der Präsident der «American Tobacco Co.» George Washington Hill (1884-1946) liess die besten PR-Büros der Nation für ihn arbeiten, zum Beispiel Edward Bernays (1891–1995), der Neffe von Sigmund Freud. Bernays drehte das Tabu der in der Öffentlichkeit rauchenden Frau mit millionenschweren Werbekampagnien in eine Tugend um. Rauchen war besionders für die Frau grossartig, weil sie dank dem Tabak schlank blieb. Ein Pack kostete anfangs 1930er Jahre 15 Cents und wurde von vielen als ein günstiges Antidot gegen die Weltwirtschaftskrise gesehen.
Beispiele von Radiosendungen
– NBC: Lucky Strike Your Hit Parade
– CBS: Chesterfield «Old Gold» mit Paul Whiteman ab 1928
– NBC: «Lucky Strike Dance Orchestra» mit Host B.A. Rolfe ab 1929
Es zeigte sich, dass durch diese Sendungen die beworbenen Zigarettenmarken mehr Umsatz machten als solche Marken, die keine Radiosendungen finanzierten. So wurde die Allianz zwischen Tabakindustrie, PR-Büros, Radiostationen und Musikern ein Business-Standard. bald gab es:
– «Camel Pleasure Hour» mit R.J. Reynolds ab 1930
– NBC: «Lucky Strike Dance Hour»
– CBS: «Camel Quarter Hour»
– CBS: «Chesterfield Quarter Hour» mit Nat Shilkret And His Orchestra
– NBC: «Chesterfiled Supper Club» mit Fred Waring und mit Glenn Miller Orchestra, ab 1944 mit Perry Como
– «Light Up Time» (1949–50) mit Frank Sinatra und Dorothy Kirsten.
Systemtheorie Tag
Die Systemtheorie ist eine interdisziplinäre Theorie, d.h. sie lässt sich auf physikalische, biologische, psychologische oder soziologische Gegenstände anwenden. Sie beschriebt diese Gegenstände primär als funktionaler Zusammenhang von Elementen. Die Funktionen sind strukturbildend und die Strukturen vereinfachen oder beschleunigen die Funktionen und Prozesse im System. Die Systemtheorie oder die Systemtheorien sind strukturfunktionalistische Theorien.
Die Systemtheorie vereinigt zwei Denkströme des 20. Jahrhunderts: den Funktionalismus und den Strukturalismus.
Systemtheorietische Soziologie
Die Systemtheorie im Feld der Soziologie wurde von Talcott Parsons und später von Niklas Luhmann ausgearbeitet. Parsons verschob das Erkenntnisinteresse seiner Wissenschaft von der (sozialen) Handlung auf die Ebene des Systems. Er formulierte das AGIL-Modell, um Systemerhalt zu erklären. Die zugrunde liegende Frage lautet also: «Wie erhalten sich Gesellschaftsstrukturen?» Parsons sagt, dass jedes System, um sich selbst erhalten zu können, vier Funktionen erfüllen muss: A) Anpassung (Adaptation) an wechselnde Umweltbedingungen, G) Zielverfolgung (Goal Attainment), d.h. das Setzen und Verfolgen von Zielen I) Eingliederung (Integration): herstellen und erhalten von Zusammenhalt und Einschluss (Kohäsion und Inklusion) sowie L) Aufrechterhaltung (Latency) von Strukturen über die Zeit. Luhmann beschrieb Gesellschaft als (Kommunikations-)System von funktional eigenständigen, autopoietisch operierenden Teilsystemen. Nicht Menschen kommunizieren, sondern die Kommunikation selbst, die sich selber beobachtet, d.h. Bezug auf sich nimmt, an sich anschliesst. Luhmanns Systeme operieren autopoietisch bzw. selbstreferentiell.
Es gibt drei Arten von Kommunikationssystemen. Interaktionssysteme, Organisationssysteme und die Gesellschaft. Letztere bildet funktionale Teilsysteme aus (funktionale Differenzierung), die Luhman in Monografien behandelt hat: die Politik der Gesellschaft (in der Regierung und Opposition beobachtet wird), die Wirtschaft der Gesellschaft (hier wird Allokation/Nichtallokation beobachet), die Wissenschaft der Gesellschaft (hier wird Wahrheit und Falschheit beobachtet), das Recht der Gesellschaft (hier wird Recht und Unrecht beobachtet). die Religion der Gesellschaft (die Immanenz und Transzendenz beobachtet). im Religionssystem oder Regierung/Opposition im politischen System). Diese funktionale Unterscheidungen oder Codes bilden den Rahmen für ein Teilsystem, um strukturelle Formen auszubilden.
Den autopoietischen Charakter der Teilsysteme findet man in einer eigenen Operationsweise des jeweiligen Teilsystems, wobei diese Operationsweise nicht auf die Operationsweise anderer Teilsysteme reduzierbar oder abbildbar ist. Politik operiert mit Macht, Wirtschaft mit Geld oder Wert, Wissenschaft mit Wahrheit. Nun kann man Wahrheit nur mit den Verfahren der Wissenschaft herstellen und nicht mit den Mitteln der Politik oder Wirtschaft. Etwas wird nicht wahrer dadurch, dass eine Firma viel Forschungsgeld in die Forschung und Entwicklung steckt. Eine Wahrheit kann langfristig nicht durch Zensur versteckt werden. Kurzfristig kann es natürlich zu Vermischungen zwischen den Teilsystemen kommen: Ein Fall von Zensur ist relevant für das Teilsystem der Politik, aber im Teilsystem der Wissenschaft stellt sie nur ein Rauschen dar, eine Störung des Betriebs. Auf die Wahrheit selbst hat sie keinen Einfluss.
Soziale Systeme bestehen nicht aus Menschen, sondern aus Kommunikationen. Institutionen sind folglich nicht Verbände von Menschen, sondern Kommunikationen oder Interaktionen, die aneinander anschliessen.
Systemtheorie und Kultur
Niklas Luhmann stand mit seiner Systemtheorie auf einem anderen Boden als die Soziolog/-innen, die man heute dem «cultural turn» zuordnet, einer oder vielmehr mehreren Theorierichtungen, die das Aufkommen der Kulturwissenschaft (cultural studies) oder der Kultursoziologie bewirkt haben: die Cultural Studies, die Postcolonial Studies, die Gendertheorie.
Die Frage stellt sich, ob Kultur ein gesellschaftliche Teilsystem sein kann und ob es im Sinne Luhmanns autopietisch operiert. Was würde ein solches Teilsystem kommunizieren? Geschmack? Wie verhält sich dieser Geschmack (oder was immer diese Operation ist) zu verschiedenen Systemebenen (Gesellschaft oder Bewusstsein)?
Sprache als System
Ferdinand de Saussure definierte in seiner Grundlegung der modernen strukturalistischen Linguistik die Sprache als System und nannte sie «la langue» (siehe: Grundfragen der allgemeinen Sprachwissenschaft). Sprache als System wird von «la parole», den Sprechakten oder der Kommunikation unterschieden. Sie besteht aus einem System von Zeichen (Wörtern oder Lexemen) und grammatischen Regeln (paradigmatische und syntagmatische Beziehungen zwischen den Zeichen).
Luhmann hat darauf hingewiesen, dass der Systembegriff der Linguistik in keiner Weise mit demjenigen seiner Gesellschaftstheorie zusammen hängt. In der Systemtheorie ist die Sprache kein System (siehe: Die Gesellschaft der Gesellschaft, S. 112)! Die Begründung lautet: Die Sprache der Linguistik hat keine eigene (autopoietische) Operationsweise.
Systematische Musikwissenschaft Tag
Unter systematischer Musikwissenschaft wird eine Musikwissenschaft verstanden, die ahistorische bzw. funktionale Zusammenhänge und Phänomene in den Blick nimmt. Im strengen Sinn «ahistorisch» ist allerdings keine musikalische Erscheinung. Musik ist immer historisch bedingt, auch wenn man die zeitliche Dimension methodisch auszuklammern sucht.
Die «Systematische Musikwissenschaft» besteht vor allem in der Musiksoziologie aus mehreren Funktionszusammenhängen: Typisch sind Produktion, Inhalt und Rezeption. Mit Blick auf die Kommunikationstheorie kann man sechs solche Funktionszusammenhänge unterscheiden: Neben Produktion, Inhalt und Rezepetion auch noch Medien, Kodes und Kontexte.
Quellen
zum interaktiven cMap
Synkope Tag
Eine Synkope ist eine Verschiebung des Metrums. Sie entsteht durch das Verschieben einer betonten an die Stelle einer unbetonten Note.
Im Gegensatz dazu ist ein Off-Beat eine andere Betonung des Grundmusters: Bei einem 4/4-Takt ist normalerweise der erste und dritte Virtel betont. Wenn man stattdessen den zweiten und vierten betont, ändert sich lediglich das Betonungsmuster, während das Metrum bestehen bleibt. Dies heisst «Off-Beat» und nicht Synkope.
Im Notenbeispiel sieht man, dass auf dem zweiten Viertel nun ein halber Ton liegt. Damit ergibt sich eine Verschiebung des Akzents auf der Zählzeit 2 (dem zweiten Schlag/Ton des 4/4-Taktes). Sodann wird das letzte Viertel auf das erste des Folgetaktes überbunden. Folglich wird die metrisch leichte zweite und vierte Zählzeit von einer rhythmisch gewichtigen Note belegt und die dritte, sonst betonte Zählzeit ist eine klangliche Leerstelle.
Quellen
– Musikdurchblick: Die SYNKOPE - mit rhythmischen Verschiebungen Melodien variieren (1. Januar 2021)
Symbolischer Interaktionismus Tag
Der «Symbolische Interaktionismus» ist eine sozialwissenschaftliche Grundlagentheorie, die posthum auf den Gedanken von George Herbert Mead gewachsen ist. Das Grundlagenwerk ist Mind, Self, And Society, das drei Jahre nach Meads Tod von Charles W. Morris herausgegeben worden ist. Das Buch basiert auf stenografischen Mitschriften von Meads Vorlesungen.
Der common sense denkt sich den Menschen als ein Wesen, das mit Geist und Bewusstsein begabt ist – ein «Subjekt». Von diesem archimedischen Punkt aus wird die physische Welt der Objekte gedacht, das Verhalten zu diesen und die Gesellschaft als etwas, was aus der Zusammenarbeit oder Konkurrenz verschiedener Subjekte wächst. George Herbert Mead kehrte diese Ansicht auf den Kopf und zeigte, dass der Mensch ein genuin soziales Wesen ist und dass aus Interaktion und Kommunikation Bewusstsein, Geist, Objekte allererst entstehen. Umgekehrt argumentiert: Wäre der Mensch kein soziales Wesen, das kommuniziert, gäbe es kein Bewusstsein, kein Bewusstsein von sich selbst, keine Handlungen, keine Dinge. Zentral ist der Gedanke der Emergenz. Geist, das Selbst, die Ordnung der Dinge, die Gesellschaft entstehen – emergieren – aus der Kommunikation bzw. der symbolischen Interaktion. Emergenz (die Systemtheorie würde sagen: Selbstorganisation) findet auf drei Ebenen statt:
– aktualgenetisch: in konkreten Interaktionen
– ontogenetisch: in der Entwicklung und Sozialisation
– phylogenetisch: in der Menschheits- bzw. Zivilisationsgeschichte
Swinging London Tag
«Swinging London» bezeichnet London, das in der Mitte der 1960er Jahre einen späten wirtschaftlichen Nachkriegsboom erlebte.
In den Jahren zwischen 1964 und 1967 wandelte sich Londons Gesicht völlig: Eine düstere Nachkriegsstadt wurde zum farbigen Epizentrum zeitgenössischer Mode, Kunst und später zu einem der Zentren der Gegenkultur. Getragen wurde der Aufschwung durch die Generation der Babybommer, bzw. durch deren erfolgreiche Mittelschicht in modernen Berufen wie Marketing, Werbung, Medienarbeit und Kunst. Diese verschiedenen Bereiche regten sich gegenseitig an. Die neue ökonomische Prosperität der Baby Boomer machte einen hedonistischen Lebensstil möglich, der früher nur lokal in Künstlerkreisen möglich gewesen war (Berlin, Wien oder New York in den 20er Jahren). Der Kreis der Swingenden Londoner war, wie der Publizist Shawn Levy im Gespräch mit dem Fotografen David Bailey feststellt, ein sehr erlesener und umfasste um die 2000 Personen – eine typische Grossstadt-Szene.
Politisch fiel die Zeit von Swinging London in die Regierungszeit von Labour Harold Wilson, dem jüngsten Premier Minister des Landes im 20. Jahrhundert. Wilson stand für Jugendlichkeit, Optimismus und Innovation (Sandbrook). Er begrüsste eine radikale Modernität, die auf neue Technologien und eine szientistische Lebenseinstellung baute. Die Spannung zwischen Traditionalismus und Modernität beherrschte die britische Politik in dieser Zeit.
Der britische Boom fand seine Entsprechung im Fussball: An der Fussball-WM von 1966, die im Land ausgetragen wurde, gewann die einheimische Elf im Final gegen Deutschland in der Verlängerung nach einem 2:2. Mittelstürmer Geoff Hurst schoss in der Verlängerung zwei Tore (ein Hattrick, da er in der regulären Spielzeit bereits eines schoss), eines davon ein umstrittenes Wembley-Tor (ein Querlattenschuss, der die Torlinie vielleicht nur passiert).
Begriff
In den 1960er Jahren las und sprach man von «Swinging London». Heute tendiert die Geschichtsschreibung vielfach zu einen erweiterten Epochenbegriff und spricht von den «Swinging Sixties».
Der Begriff «swingend» mutet insofern eigenartig an, als er in die Jazz-Vergangenheit griff, um die damalige Gegenwart zu beschreiben: Das Zeitalter des Swing war damals definitiv vorüber. Aber das sachlich angemessenere «Beating London» klingt bei Weitem nicht so gut. «Swinging» war als Wort wenigstens insofern treffend, als es aus dem Bereich der Musik stammt und weil «Swing» einen Rhythmus bezeichnet der sich stark im Off-beat bewegt. Die Wortwahl bringt damit richtigerweise zum Ausdruck, dass die neue Kulturszene Londons sich durch Unkonventionalität und jugendliche Leichtigkeit auszeichnete.
Swinging London wurde zum Thema, als die Journalistin Piri Halasz einen ausführlichen Bericht über die pulsierende Stadt im Time Magazine vom 15. April 1966 als Leitartikel veröffentlichte. Dieser Beitrag war etwa nicht kulturanalytisch gedacht, sondern als touristische Reiseempfehlung. Er pries London als attraktives Reiseziel für amerikanische Jetsetter und Touristen. Damals jettete noch fast niemand nach London, weil man einen grauen, regnerischen, kriegsgeschädigten und von den eigenen steifen Traditionen erstickten Moloch erwartete. Im Ausland hatte man, wie Piri Halasz wusste, keine Ahnung ...
Weshalb London?
Einer der Gründe waren die britischen Art Schools, die ziemlich unkonventionelle Leute aufnahmen und ausbildeten. Grosse Teile der kulturellen Produktion der Stadt in der Zeit von «Swinging London» lag in den Händen von Art-School-Abgänger/-innen oder -«dropouts». Die britischen Art Schools waren nach dem Zweiten Krieg Institutionen, in die man nicht nur die klassisch-kunstbegabten jungen Leute der Oberschicht schickte – also diejenigen, die gut zeichnen konnten und aus begüterten Verhältnissen stammten –, sondern auch die nonkonformen, rebellischen Jungens und Mädels der Mittel und Unterklasse, mit denen nichts in Industrie, Dienstleistung und Verwaltung anzufangen war. Von den Musikern kamen John Lennon aus dem Liverpool College of Art, Keith Richards, Dick Taylor und Phil May aus dem Sidcup Art College, Pete Townshend, Ronnie Wood und Freddie Mercury aus dem Ealing Art College, Eric Clapton und Keith Relf aus dem Kingston College of Art, Jeff Beck aus dem Wimbledon College of Art, Ray Davies aus dem Hornsey College of Art, Syd Barrett aus dem Camberwell College of Art, Jimmy Page aus dem Sutton Art College, Charlie Watts aus der Harrow School of Art, David Bowie aus der Bromley Technical High School in der er Kunst studierte.
Musik
Eine führende Rolle spielte die Musik der Beatles, der Rolling Stones, Kinks, Who sowie den damals jüngeren psychedelischen Bands wie Pink Floyd. Die Hintergrundmusik zu dieser Zeit lieferten die Radio London und Radio Caroline, Radiostationen auf Schiffen vor der Küste, ausserhalb der britischen Hoheit.
Clubs
Vor 1965 hatten lediglich Cabarets und Casinos bis in die frühen Morgenstunden offen. Die Beatles frequentierten Casinos, weil sie oft bis tief in die Nacht hinein im Studio arbeiteten. Im Film A Hard Day's Night gibt es deshalb eine Casino Szene. In der Zeit von Swinging London gab es mehr Kundschaft für Clubs, die nach Mitternacht geöffnet hatten. Zu diesen Clubs gehörten das «Ad Lib» oder «Scotch of St. James», wo die Swingende Szene verkehrte: die Rolling Stones, Kinks, Julie Christie, Mary Quant oder Princess Margaret (siehe: Andrew Grant Jackson).
Pop Art
– siehe Stichwort Pop Art
Ein zentrale Person war der Kunsthändler Robert Fraser (1937–1986). Frazer war ein Freund Paul McCartneys, verschaffte diesem das Gemälde von René Magritte, das die Vorlage für das Apple Logo wurde. Frazer war auch der Kontaktmann zu Peter Burke und dessen Ehefrau Jann Haworth, die das Cover für das Sgt. Pepper Album gestalteten. Für eine ausführlichere Biografie von Frazer, siehe Shawn Levy: Ready, Steady, Go! (2002, Kapitel «Strawberry Bob and the Mods»).
Mode
Die Mode setzte neue Zeichen mit dem Minirock von Mary Quant und den Läden in Saville Row, Carnaby Street und Kings Road, wo Mods sich einkleideten. Einige Stilikonen und Supermodels setzten Trends: Jean Shrimpton, Veruschka, Peggy Moffitt, Penelope Tree und Twiggy.
Am Beispiel von Mary Quant Produkten kann man sehen, woraus der ökonomische Aufschwung bestand: Marketing! Die Ware wurde gar nicht selbst produziert, sondern kam aus den USA (Gala Cosmetics, Myram Picker Group). Im Kern des Geschäftsmodells stand der Look der arbeitenden, selbst-, mode- und zeitbewussten jungen Frau aus dem Mittelstand. Da diese Frauen das Make-up nicht mit dem Silberlöffel von ihren Müttern verabreicht bekommen haben, mussten sie es lernen. Und hier kam das Marketing ins Spiel. Der Look wurde mit den Produkten spielerisch und didaktisch vermittelt: Im gelben Beauty Bus von Mary Quant und in verschiedenen Popup Ständen in Warenhäusern wurden die neuen Produkte den Kundinnen nahe gebracht. Hier konnte frau sich schminken lassen, hier konnte frau lernen, sich selbst hip zu schminken. Zusätzlich gab es gedruckte Schmink-Anleitungen, die als Comic Strip kamen.
Filme und Schauspieler
Der britische Film erlebte bereits am Ende der 1950er Jahre einen Aufschwung mit einer Reihe berühmt gewordener sozialrealistischer Schwarz-Weiss-Filme, die man auch «kitchen sink dramas» nennt (siehe: Kitchen Sink Realism). Sie thematisierten das Leben der einfachen Leute aus der Arbeiterklasse und aus den nordenglischen Städten.
In der Zeit von Swinging London wurden die britischen Filme farbiger, kunstvoller, aufwändiger.
– Richard Lester: A Hard Day’s Night (1964)
– Richard Lester: The Knack …and How to Get It (1965)
– John Schlesinger: Darling (1965)
– Gerry O’Hara: The Pleasure Girls (1965)
– Guy Hamilton: The Party’s Over (1965)
– John Boorman: Catch Us if You Can (1965)
– Michelangelo Antonioni: Blowup (1966)
– Silvio Narizzano: Georgy Girl (1966)
– Lewis Gilbert: Alfie (1966)
– Karel Reisz: Morgan: A Suitable Case for Treatment (1966)
– Stanley Donen: Bedazzled (1967)
– Desmond Davis: Smashing Time (1967)
– Peter Watkins: Privilege (1967)
– James Clavell: To Sir, With Love (1967)
– Michael Winner: I’ll Never Forget What’s’isname (1967)
– Peter Whitehead: Tonite Let’s All Make Love in London (1967)
– Clive Donner: Here We Go round the Mulberry Bush (1968)
– Michael Sarne: Joanna (1968)
– Peter Collinson: Up the Junction (1968)
– Joseph McGrath: The Magic Christian (1969)
– Donald Cammell und Nicolas Roeg: Performance (1970)
– Jerzy Skolimowski: Deep End (1970) sowie
– die James Bond Filme mit Sean Connery in der Hauptrolle.
Autos
Ikonisch waren britische Autos: farbige Mini Coopers für Frauen sowie der sportlich-elegante Jaguar E-Type für den Herren.
Wirkungsgeschichte
Swinging London als Thema hat sich recht schnell verbraucht. Schon ein Jahr nach dem Time Magazine Bericht wurde es zu einem Tourismus Cliché. Selbst David Bayley sagte im Rückblick: «It became a theme-park, [...] It wasn’t real. It was all about money and manufacturing, and selling the American flag and the Union Jack as pop art symbols. There was no substance, really.“ (Dominic Sandbrook: White Heat) .
Später, in den 1990er Jahren bezog sich ein erneuter britischer Boom auf Swinging London: Cool Britannia.
Querverweise
– Biba
Supergruppe Tag
Als «Supergruppe» wird eine Rock Band bezeichnet, deren Mitglieder zuvor in anderen bekannten Bands gespielt haben. Der Begriff wurde von Jann Wenner geprägt, der von Cream als von einer Supergruppe sprache.
Strukturalismus Tag
Der Strukturalismus ist eine der wichtigsten geisteswissenschaftlichen und interdisziplinären Theorien im 20. Jahrhundert. Entstanden ist der Strukturalismus in der Grammatik bzw. der Sprachwissenschaft. Die Prinzipien hat Ferdinand de Saussure in seinem Buch Grundfragen der allgemeinen Sprachwissenschaft ausgearbeitet. Darin führt er grundlegende Unterscheidungen ein:
- «langue/parole»
- diachrone/synchrone Sprachwissenschaft
- Signifikant/Signifikat
Emisch und Etisch
Diese Unterscheidung wurde von Kenneth Pike eingeführt. Es war eine Generalisierung, die vom Begriffspaar «Phonetik» und «Phonemik» ausging. Die Phonemik behandelt die tatsächlichen, konkret artikulierten Laute einer Sprache («langage») und die Phonetik behandelt die allgemeinen, typischen Laute, wie sie für die Sprache als System («langue») bestimmend sind. In ihrer Verallgemeinerung bezeichnen «Emisch» und «Etisch» daher verschiedene Arten von Distinktionen. Emische Distinktionen betreffen das Individuelle, etische Distinktionen das sozial Verbindliche oder «Objektive». Der Strukturalismus zielt dabei stets auf die emischen Distinktionen. In der Psychologie zum Beispiel wäre eine strukturalistische Vorgehensweise, wenn man aus komplexen empirischen Beobachtungen (manifeste Variablen oder «Observablen») auf weniger komplexe und daher grundlegende Variabeln (latente Variablen) schliessen würde. Eine statistische Methode, die das erlaubt, ist die Faktorenanalyse.
Man kann strukturalistische Methoden am vergleichenden Bild einer Marionette, die in einem Puppentheater von einer Spielerin mit Holzstäben gespielt wird, an denen unsichtbare Fäden befestigt sind, die die Marionette bewegen. Eine emische Beschreibung richtet den Blick auf die Ausdrucksmöglichkeiten der Marionette. Eine etische oder strukturalistische Beschreibung würde auf die Holzstäbe zielen, auf die Anordnung der Fäden und die Bewegungsformen, welche die Puppenspielerin zu erlernen hat.
Lehren
Eine wichtige Lehre des Strukturalismus ist, dass eine Begriffs- oder Wortbedeutung sich im Sprachsystem konstituiert. Das wird wichtig bei Bedeutungsverschiebungen in der Wort- oder Begriffsgeschichte. Man kann z.B. nicht etymologisch argumentieren, dass bei der Entstehung eines Wortes eine ursprüngliche Bedeutung beigegeben wurde, die bis in die Gegenwart von Relevanz ist. Sodann kann man nicht davon ausgehen, dass allen historischen Bedeutungen eines Wortes oder Begriffs ein gemeinsamer Nenner innewohne. Mit solchen magischen Vorstellungen hat der Strukturalismus aufgeräumt.
Nachkriegsstrukturalismus
1941 trafen sich zwei hochkarätige europäisch-jüdische Theoretiker in New Yorker Exil: der Linguist und Literaturwissenschaftler Roman Jakobson und der Ethnologe Claude Lévi-Strauss. Sie waren befreundet und besuchten gegenseitig ihre Vorlesungen. Jakobson las über Phonologie und Lévi-Strauss über Verwandtschaftsstrukturen. Dabei stellten sie fest, dass sie ihre Felder mit der selben strukturalistischen Methode behandelten. Von da an war der Strukturalismus nicht mehr auf die Linguistik beschränkt sondern wurde zur Wissenschaft der Kultur.
Jakobsons Theorie, die er als erster aus dem Kreis der Prager Linguisten «strukturalistisch» nannte, ging davon aus, dass es hinter der Vielfalt der Erscheinungen «Invarianten» gibt. Menschen benutzen Laute, um zu kommunizieren. Eine einzelne Sprache benutzt aber nur eine Auswahl aller möglichen Laute. Ein einzelner solcher Laut, ein Phonem, ist die kleinste Einheit, die etwas bedeuten (bzw. einen Bedeutungsunterschied markieren) kann. Die Gesamtheit aller Phoneme einer Sprache bilden ein System aus Werten. Phoneme sind wie ein Kartenspiel oder wie die Töne der Musik. Sie haben keine weitere Bedeutung, sondern nehmen eine Stellung in eienm System aus Differenzen ein. Schaufel As ist schwarz und nicht rot, eine Bildkarte und keine Zahlkarte usw. Ein C ist kein D und kein B.
Jakobson kam zur Überzeugung, dass alle Sprachen der Welt auf zwölf binäre Werte wie offen vs. geschlossen reduzierbar seien. EIne konkrete Sprache macht nur von einem Teil dieser zwölf Oppositionen Gebrauch.
Jede soziale Gruppe erfindet eine Sprache, Ehegesetze, eine Art der Ernährung, hat Mythen, ästhetische Präferenzen, die der Einsatz bei einem Roulette des Lebens und Überlebens sind. Das ist letztlich genau der Kulturrelativismus, der sich nach dem Zweiten Weltkrieg durchsetzt: Die Überzeugung, dass Kulturen nicht miteinander verglichen werden können und deshalb gleichwertig sind. Dies wiederum war die vorherrschende Ideologie der Dekolonisation.
Vergleiche
– Funktionalismus
– Systemtheorie
Streifzüge zur Geschichte von Jazz und Pop Tag
Christoph Merkis Streifzüge sind gesammelte Materialien zur «Einführung in den Jazz und Pop», ein langjähriger Kurs, den der Zürcher Saxofonist an der Zürcher Hochschule der Künste unterrichtet. Die Streifzüge bestehen aus Notizen, Fotos, Klangbeispielen und Videos. Sie richten sich zuerst an die Musikstudierenden der ZHdK, sind aber auch für interessierte Laien ein wunderbarer Einstieg in die Geschichte des Jazz von den Anfängen bis zum Bebop.
Verzeichnis der Themen
1900–1920
Streifzug 1: Lasst uns tanzen!
Streifzug 2: Liebe und Hass
Streifzug 3: Woraus Jazz entsprang
Streifzug 4: Jetzt wird komponiert
1920–1930
Streifzug 5: Jazz als eine Lady
Streifzug 6: Der wahre König!
Streifzug 7: Blues vom Lande
1930–1950
Streifzug 8: Im Auge des Taifuns
Streifzug 9: Der Vater
Streifzug 10: Saxofon-Erotik
Streifzug 11: Robbie swingt
Streifzug 12: Eine philosophische Attacke
Streifzug 13: American Songbook first!
Streifzug 14: Überschallmusik
Streifzug 15: Steve Coleman räsoniert
Christian Schorno von Musikzimmer hat die Streifzüge zur Geschichte von Jazz und Pop technisch umgesetzt.
Streaming Service Tag
Streaming Services sind webbasierte Services, die Streaming Media (Audio, Video oder beides) anbieten. Klassische Radio und TV-Stationen nahmen Streaming von Sendungen in ihr Portfolio auf. mit Youtube betreibt Google eine universelle Videostreaming Plattform, die von Amateuren und Profis benutzt wird, um Medien als Streams im Internet zu veröffentlichen. Zusätzlich sind spezialisierte Musikstreaming Services wie Spotify, Apple Music, Deezer oder Tidal entstanden.
Musik Streaming stellt die Musikwirtschaft auf neue, andere Füsse. Vor dem Streaming produzierte sie Tonträger und mit der Umstellung auf Streaming wird sie zur Lizenzwirtschaft, die Musik in alexandrinischer Quantität zum Konsum bereitstellt. Die Verwertung geht nun hauptsächlich über den Verkauf von Konzerten, Merchandise und das Musikstreaming. Um den Wandel zu betonen, spricht man von der Musikwirtschaft heute auch von der «New Music Industry» oder digitalen Musikwirtschaft.
Bezahlt oder gratis
Streaming-Services wie Spotify können gratis genutzt werden und im Abonnement. Noch Ende 2022 zeigte sich, das nur rund die Hälfte aller Nutzer*innen ein Abo lösen. Luminate stellte hier einen grossen Markt fest und unterschied fünf Gratis-User-Gruppen: diejenigen, die 1) prinzipiell nicht zahlen, 2) mit dem Gratisdienst zufrieden sind, 3) keine Zeit haben, um den Dienst so zu nutzen, dass sich ein Abo lohnt, 4) Musik besitzen wollen, für die sie zahlen und 5) mit der Qualität nicht so zufrieden sind, dass sie die Investition in ein Abo gerechtfertigt finden.
Das Resultat ist, dass Luminate seit es die Firma gibt, sich im grossen Stil damit beschäftigt, wie Musik als Werbeträger für Produkte (nicht nur Merch und die nahe liegenden Ticketsales) dienen kann. Das degradiert die Musik zu funktionaler Musik und Hintergrundgeräusch für Werbespots.
Weltweit führende Streaming Services
Zu den weltweit wichtigsten Streaming-Services gehörten im März 2020
- –
(in den USA online seit 14. Juli 2011), 286 Mio. Benutzer*innen und 130 Mio. Abonent*innen - – Apple Music, 60 Mio. Abonent*innen
- – Amazon Music: 55 Mio. Abonent*innen
- – Tencent Music (Chinesischer Anbieter): 657 Mio. Benutzer*innen, 42.7 Mio. Abonent*innen
- – YouTube Music: 1 Milliarde Benutzer*innen, 20 Mio. Abonent*innen
- – Pandora: 60.9 Mio. Benutzer*innen, 6.2 Mio. Abonent*innen
- – SoundCloud: 175 Mio. Benutzer*innen
- –
: 16 Mio. Benutzer*innen, 7 Mio. Abonent*innen - – Gaana (indischer Anbieter): 152 Mio. Benutzer*innen, 1 Mio. Abonent*innen
- – JioSaavn (indischer Anbieter): 104 Mio. Benutzer*innen
- – Anghami (orientalischer Anbieter): 21 Mio. Benutzer*innen, mehr als 1 Mio. Abonent*innen
Video Services
– Netflix
– Hulu
– Amazon Prime Video
– HBO
– CBS All Access
– Showtime
– YouTube Premium
– Apple
– Disney
– WarnerMedia
– NBCUniversal
Es gibt einen grossen Unterschied zwischen Audio und Video Streaming. Die Video Streaming Plattformen haben alle mehr oder weniger exklusiven Content. Man muss mehrere abonnieren, um breit abgedeckt zu sein. Beim Audio Streaming ist das nicht so, obwohl es Bemühungen gibt, die in diese Richtung gehen.
Quellen
– Bobby Owsinski: Consumers Getting Fed Up With Streaming Subscriptions (Music 3.0, 8. April 2019)
– Bruce Houghton: Piracy Is Not The Problem, Free YouTube and Spotify Are, says Music Industry Trade Group (Hypebot, 22. Juli 2019)
– Ryan Edwards: Who Are Winners And Losers In The New Music Industry? (Hypebot, 16. Juli 2019) – im Musikzimmer
Story Song Tag
Ein Lied, das ein Geschichte erzählt.
Im Folk eine Ballade in der Tradition der europäischen Balladen, die als Broadside-Balladen in die angloamerikanische Pop-Geschichte eingingen.
In der Regel wird die Geschichte in den Verses untergebracht, während der Chorus die Moral oder eine allgemeine Perspektive zum Ausdruck bringt.
Querverweis
– Balladen
Stimmung Tag
Zum einen heisst «Stimmung» Festlegung der Tonhöhen (Frequenzen) von Instrumenten (engl.: «tuning»). Deabei gibt es je nach Instrument verschiedene Stimmungssysteme, bei denen der Referenzpunkt (meist Kammerton a1 = 440 Hz) und das Verhältnis einzelner Saiten oder Tasten zueinander eingestellt werden.
Zudem heisst «Stimmung» Emotionalität und Atmosphäre einer musikalischen Interpretation (engl.: «mood»). Stimmung in diesem Sinn ist ein Deskriptor für Musik. Aber nicht nur: Stimmungen haben gewissermassen alle Kunstwerke und somit ist der Begriff einer der Ästhetik. Die Erweiterung der Bedeutung von Stimmung eines Instruments zu Stimmung als Ästethischer Kategorie nehemn im deutschen Sprachraum offenabr Immanuel Kant und Friederich Schiller vor. Wichtig wird dieser Begriff in der Romantik.
Querverweise
– reine Stimmung (Stichwort)
Links
– Wikipedia: Stimmung (Musik)
– AllMusic: Moods – eine Liste mit Deskriptoren, die bei AllMusic verwendet werden
– WIkipedia: Stimmung (Kunst)
Stille Tag
Mit dem Stichwort «Stille» ist hier eine musikalische Qualität gemeint, von der eine Wirkung ausgeht. Es geht um die Silmittel der Auslassung, der Unterbrechung, der leisen Töne, der Detailversessenheit im leisen Bereich (wenn Musik wie durch eine akustische Lupe hindurch klingt. Die Wirkung solcher Elemente kann verschieden sein: Es kann Intimität hergestellt werden, die Illusion, dass eine Stimme ganz nahe am wahrnehmenden Ohr singt (Crooning). Bei 4' 33' von John Cage erklingt in der Konzertsituation, in der das Publikum still wird und hinhört, keine Musik gespielt, was die Hörerinnen und Hörer dazu bringen soll, auf die Umgebungsgeräusche aufmerksam zu achten.
Unter diesem Stichwort sind auch Songs oder Alben zu finden, die die Stille thematisieren.
Links
– Ben Ratliff: Every Song Ever. Kapitel 5: «We Don't Need No Music. Quiet/Silence/Intimacy» (New York, 2016, p. 59 ff.)
Stil Tag
Stil bezeichnet den Modus einer Ausdrucksform und wird in der Kultur (Musik, Malerei, Design, Literatur usw.) aber auch beim persönlichen Ausdruck von Menschen angewendet (Handwerksstil, Bewegungsstil, Schwimmstil), um die Ausdrucksformen und damit die Menschen in psychologischer Hinsicht oder ihre Werke in ästhetischer Hinsicht von einander zu unterscheiden.
Stil im Allgemeinen
Der Begriff des Stils muss von den Begriffen der Epoche (zeitlich bestimmt), der Gattung und des Genres abgegrenzt werden.
Stil umfasst in funktional-struktureller Hinsicht beides, Prozess (Sein, Vollzug, Handlung, Werktätigkeit) und Struktur (Habitus, Resultat, Ergebnis, Werk). Das heisst, man kann den Stil sowohl den Prozessen als auch den Strukturen ablesen.
Stil wurde und wird teilweise noch immer als Distinktionsmerkmal verwendet. Nach dieser Sichtweise gibt es Menschen, die Stil haben, und solche, die keinen Stil haben. Erstere sind die wertvolleren. Wir stellen das in der Welt fest, hoffen aber frei davon zu sein.
Spezifische Bedeutung im Musikzimmer
Stil ist die topologisch unterste Kategorie einer Genrebezeichnung. Dabei ist strittig, ob Genre und Stil das selbe sind. In den Filmwissenschaften gibt es zum Beispiel die Auseinandersetzung über den Film Noir, wo einige Wissenschaftler/-innen sagen, es handle sich um ein Genre, andere, es sei kein Genre, sondern ein Stil (siehe Wikipedia, 29.7.18). Raymond Borde und Étienne Chaumeton schrieben zum Film Noir als «Reihe»: «Eine neue ‚Reihe‘ war im Film entstanden. Eine Reihe kann definiert werden als eine Gruppe von Filmen aus einem Land, die gewisse Eigenschaften (visueller Stil, Atmosphäre, Thematik …) so überzeugend teilen, […] dass ihnen dadurch mit der Zeit ein unverkennbarer Charakter verliehen wird.» (1955). Der Streit entfacht sich entlang der Demarkationslinie von Inhalt und Form: Ein Genre ist inhaltlich definiert, eine Reihe oder ein Stil «nur» formal, motivisch, atmosphärisch, ...
Sodann kann man herrlich darüber streiten, ob der Unterschied Genre vs. Stil ein gradueller ist oder ein kategorieller. Die in Musikzimmer verwendeten Genre-Trippel (Rock - Folkrock - Wescoast), machenden Anschein eines lediglich graduellen Unterschieds. Aber in der Tat handelt es sich bei der zweiten Abstufung von der Sparte zum Stil um einen kategoriellen Unterschied – wenigstens ist das in der Regel so. Stile sind kontextueller bzw. akzidentieller Natur, sie sind geprägt von Orten (im Beispiel «Westcoast» eben der Westküste), von sozialer Zugehörigkeit zu einer Institution wie einem Label, Studio, einer Gruppe von Musiker/-innen («Motownsoul») oder prägenden Instrumenten («Synthfunk»).
Stereophonie Tag
Mit «Sterophonie» wird ein zweikanaliges Aufnahme- und Wiedergabeverfahren für Raumklang bezeichnet (etwa in Abgrenzung von neueren mehrkanaligen Verfahren wie Dolby-Surround oder THX). Stereophone Aufnahmen bieten einen plastischen Höreindruck, bei dem der Klang nicht von einem Punkt im Raum zu kommen scheint, sondern ein Feld im Raum einnimmt. Seit ca. 1970 ist Stereophonie ein Audiostandard, der gehalten hat, wo Studiotechnologie, Medien und Konsumgewohnheiten sich längst verändert haben – teils sogar mehrfach. Verschiedene stereophone Technologien mussten entwickelt werden, um dieses Raumklangerlebnis in verschiedene Medien wie Schallplatten, Radio oder Fernsehen und mittels Unterhaltungselektronik zu den Konsument*innen nach Hause zu bringen.
Funktionsprinzip
In der Regel werden auf der ganzen Kette zwischen Aufnahme und Wiedergabe zwei Kanäle benötigt – ein linker und ein rechter: Zwei Mikrofone, die entweder links und rechts im Raum vor die Schallquelle gestellt werden oder im Zentrum davor mit verschiedener Ausrichtung (XY-Stereophonie), Mehrspuraufnahmegeräte, Stereo-Schallplatten und Stereo-Wiedergabegeräte.
Forschung und Entwicklung
1931 experimenteierte EMI in Grossbritannien mit stereophonen Langspielplatten, etwas später auch das Telefunken-Label in Deutschland. Diese ersten Versuche gingen in die deutsche Studiotechnologie ein, hinterliessen auf dem Verbrauchermarkt indes keine Spuren.
1952 entwarf der amerikanische Toningeneur Emory Cook (1913–2002) eine Schallplatte mit zwei unabhängigen Rillen und entsprechende Abspielgeräte mit zwei Nadeln. 1956 entwickelte die britische Decca ein Verfahren, bei dem zwei Tonsignale in eine Rille geschnitten wurden – eine für den linken und eine für den rechten Kanal. Der Vorteil des Verfahrens war, dass Monogeräte diese stereophonen Platten genauso abspielen konnten. Kein Wunder also, dass sich dieses Verfahren durchgesetzt hat. Für eine anschauliche Demostration siehe den RCA Living Stereo Werbefilm von 1958 (Minute 3 bis 4,5).
Aufnahmetechnologie
Stereophonie setzte sich zuerst in der Klassischen Musik durch. RCA machte im Oktober 1953 erste binaurale Testaufnahmen mit Leopold Stokowski im Manhattan Center. Die ersten kommerziellen Stereoaufnahmen entstanden im Februar 1954 mit dem Boston Symphony Orchestra in der Boston Symphony Hall unter Charles Munch. Aufgezeichnet wurde anfänglich mit einer Mono- und einer Stereo-Anlage. Es waren die Aufnahmen des Chicago Symphony Orchestras unter Fritz Reiner ab 1953, die als die herausragenden Beispiele sterophoner Aufnahmen von symphonischer Musik gelten. Die Orchestra Hall in Chicago kam der Sterophonie entgegen, da die Bühne sehr breit und wenig tief war. Die drei für die Aufnahme verwendeten Mikrofone (Telefunken U-47) wurden an einem zwischen den Balkonen gespannten Seil aufgehängt und lagen hier weit auseinander, was das sterophone Panorama unterstützte. Es wurden bei den Aufnahmen zusätzlich so genannte Stützmikrofone eingesetzt. Als Tonbandmaschinen dienten Ampex Zweispur-Maschinen.
Ganz befriedigend waren Zweispur-Aufnahmen nie, weil dadurch kein homogener Raumeindruck entstand. Deshalb übernahm RCA Victor 1956 das Dreispuhr-Verfahren von Mercury und den Decca-Tree von Decca. Entweder hat man die drei Hauptmikrofone in einer Linie oder im Dreieck hinter dem Dirigenten angebracht. Die dreispurigen Masteraufnahmen wurden für die Plattenproduktion schliesslich auf 2 Spuren hinunter gemischt und mit dem «Living Stereo» Logo vermarktet.
1957 kamen bei EMI in London die ersten Steroplatten mit dem neuen von Allan Blumlein entwickelten Schneideverfahren mit Flankenschrift auf den Markt. 1958 folgte RCA Victor, das das Westrex-Schneidesystem der Western Electric Company anwendete.
In der Populären Musik wurden stereophone Langspielplatten zum ersten Mal in der zweiten Hälfe der 1950er Jahre in den Capitol Studios in Los Angeles produziert. Man verwendete dazu Dreispur-Tonbandmaschinen – zwei Spuren für das Orchester und eine für den Gesang, der in die Mitte gemischt wurde. Singles in Stereo folgten bei RCA Victor ab 1960. Stuck On You von Elvis Presleys war der erste der simultane Mono-/Stereo-Release. Andere Label folgten kurz darauf.
In Grossbritannien wurden Alben bis am Ende der 1960er Jahre meist Mono aufgenommen. Stereoplatten waren Pseudo-Stereo (auch: «Knüppelstereo»). Sie klingen künstlich, was man bei den Beatles sehr gut hören kann. Stimmen oder Instrumente werden auf einen der Kanäle gemischt und erklingen statt aus dem Raum hart von links oder rechts. Deram begann 1967 Deramic Sound System Platten zu veröffentlichen, die richtig Stereo waren. So richtig los ging es mit der Sterophonie aber erst in den 1970er Jahren, als Acht- und Sechzehnspur-Tonbandmaschinen in den Studios standen.
Stereophonie in den Massenmedien
Beim Radio begann die Stereo-Übertragung auf FM/UKW 1964. Am Anfang der 1980er Jahre wurde Sterophonie auch beim Fernsehen eingeführt.
Wiedergabe: Unterhaltungselektronik
Konsument*innen brauchten, um in den Genuss stereophoner Technologie zu kommen, entsprechende Wiedergabegeräte. Diese waren zum ersten Mal 1955 als Stereo-Bandabspielgeräte erhältlich. Tonbandgeräte gingen also den Steroplattenspielern voran! Die Stereo-Magnetbänder wurden als «Stereo Orthophonic Tapes» vermarktet. Die stereophone Wiedergabetechnik hiess auf dem gesamten unterhaltungselektronsichen Markt «High Fidelity».
Stereo-Plattenspieler kamen ab 1957 zusammen mit den ersten Stereo-Schallplatten auf den Markt. Diese Platten hatten einen Serien-Namen, um sie als Premium-Produkte teurer zu verkaufen: Bei RCA hiessen sie «Living Stereo», bei Decca «ffss» («full frequency stereophonic sound») und bei Mercury «Living Presence» Serie. Die meisten Konsument*innen, speziell die Teenager, die die grosse Masse der Plattenkäufer*innen ausmachten, hatten zu dieser Zeit – und noch lange danach – keine Steroabspielgeräte. Deshalb kamen Neuerscheinungen bis Ende der 1960er Jahre parallel als Mono- und als Stereo-LP bzw. Single auf den Markt.
Vom 25. May 1959 bis am 10. August 1963 wies das Billboard Magazine eine eigene LP-Hitparade für Stereo LPs aus. Diese Alben sind in der Liste US-Top-Stereo-Albums 1959 bis 1963 erfasst.
Querverweis
– Deramic Sound System
Links
– DAS: Living Stereo im Digital-Zeitalter
Stardom Tag
Ein Star ist eine ist eine prominente Persönlichkeit mit enormer massenmedial multiplizierter Popularität/Beliebtheit. «Stardom» (der Ruhm eines Stars) dürfte eng an das gesellschaftliche Ideal der persönlichen Freiheit geknüpft sein: Die moderne Gesellschaft bringt Stars hervor, Individuen, die aufgrund ihres Soseins, das sie auf der Bühne oder vor der Kamera zur Schau stellen, beliebt sind. Andere dienen diesen Stars zu (das Verlagswesen, die Film- und Musikindustrie, die Presse, Radio, Fernsehen, ...) oder schenken ihnen Aufmerksamkeit, eifern ihnen nach. Für die Nacheifernden kann ein Star ein Vorbild sein und befreiende Kraft haben. So kann eine Musikerin durch einen weiblichen Star ermutigt werden, ihre Kunstfertigkeit und Persönlichkeit in eine ähnliche Richtung zu entwickeln. Die meisten Nacheiferer jedoch werden Fans sein, die nicht mehr als einzelne Aspekte der Freiheit eines Stars in ihr Leben inkorporieren. Darin liegt höchstens ein kleines – aber für die Einzelnen bedeutendes – Stück individuelle Freiheit. Der Stardom bestätigt den Mythos der modernen Gesellschaft, dass man im Leben Massstäbe setzen und damit erfolgreich sein kann. Den Einzelnen in der Gesellschaft ruft er zur Selbstaktualisierung auf. Die Selbstaktualisierung dürfte indes ein knappes und ungleich verteiltes Gut sein.
Für ein Star gilt: Es gibt keine schlechte Publicity. Édith Piaf war der Überzeugung, «dass das Publikum das Recht hat, in die Intimität von Stars vor- und einzudringen. Niemals darf man es in dieser Hinsicht enttäuschen.» Sie räumte der Boulevardpresse grössere Wichtigkeit ein als den ernsthaften Kritiken. (Quelle: Edith Piaf und das wahre Leben hinter dem Mythos).
Ein Star werden
Um ein Stern zu werden, muss man
– entdeckt werden: man wird von Leuten entdeckt, die bereits im System drin sind und genau wissen, was es braucht und wer zum Star taugt (A&R Leute, Manager, Entrepreneure etc.)
– fiktive Identität: ein Star braucht einen neuen Namen, eine Lebensgeschichte, die mitverkauft wird – diese kann mehr oder weniger nah an der tatsächlichen Biografie liegen
– der Star braucht ein Image, wozu sowohl Aussehen und Charakter gehören – die Wahl der Filme und der Musik spielt dabei eine Rolle
– der Star wird als Markenname etabliert (Branding)
Links
– Forbes Celebrieties Wikipedia (en)
– Be Kind Rewind: Comparing Every Version of A Star Is Born (6. Oktober 2018) – ein Vergleich der vier A Star Is Born
Filme von 1937 (Janet Gaynor und Fredric March), 1954 (Judy Garland und James Mason), 1976 (Barbra Streisand und Kris Kristofferson) und 2018 (Lady Gaga und Bradley Cooper), in denen es um die «Produktion» eines Stars geht
Wolfgang Ullrich und Sabine Schirdewahn (Hrsg.): Stars: Annäherungen an ein Phänomen, Frankfurt a.M., 2002.
Star [Magazine] Tag
Kurzlebiges und skandalbehaftetes Teen Magazin aus Los Angeles, das die Glam-Szene der Stadt thematisierte. Es erschienen fünf Nummern und wurde herausgegeben von Petersen Publishing. Jede Nummer hat als Titelbild eine der Baby Groupies von Los Angeles abgebildet. Der Slogan des Magazines lautete: «Should a nice girl like you read a bad Magazine like Star?» Star zeigte jungen Mädchen, wie man Glam-Kleider selber macht (niemand verkaufte solche Klamotten zur Zeit ab der Stange - es war alles DIY). Es enthielt Artikel, die den Mädchen beibrachten, die Männer auf sich aufmerksam zu machen und diese Situation in Kontrolle zu behalten. Die Leserinnen wurden angewiesen, wie sie zuhause das brave Mädchen spielen und am Wochenende auf den Putz hauen können. Das Sinnbild dieses Frauentyps war der Fuchs (im Logo). Das Vorbild war der Song der Jimi Hendrix Experience: Foxy Lady. Das Adjektiv «foxy» ist im Magazin auf fast jeder Seite zu lesen. Die erste Magazin-Ausgabe hat eine ganzseitige Anzeige mit dem Leserinnen-Profil: Dort steht: «Das Mädchen, das «Star» liest ... / sie hat Verstand / ihr Herz ist warm aber aber für immer frei / sie weiss um ihre Macht / sie wird ihren Traum nie aufgeben. Das Mädchen, das «Star» liest ist jemand genau wie du.»
Links
– Ryan Richardson: Star 1973 Online Archiv
Stadt Tag
Als Stadt gelten in der Schweiz Orte mit mehr als 10'000 Einwohnerinnen und Einwohner. In anderen Ländern gelten Orte als Stadt, denen eine verwaltungstechnische Aufgabe als Hauptort oder Kreisstadt zukommt. Wie immer man es definiert, Städte sind besondere Räume, in denen nicht nur viele Leue zusammen kommen, sondern viele verschiedene Interessen zusammen finden. Städte sind mit besonderen Institutionen ausgestattet, die man in ländlichen gebieten nicht findet: z.B. Verwaltung, spezialisierte Schulen, Universitäten/Hochschulen, Akademien.
In kultureller Hinsicht sind Städte Ansammlungsorte für Kulturproduzent/-innen, aber ebenso von Kulturkonsument/-innen. Man spricht in diesem Zusammenhang von «Kulturraumverdichtung». Die wissenschaftliche Disziplin, die Städte erforscht, heisst «Urbanistik» oder «Stadtforschung».
Städte haben einen eigenen Charakter
Das Adjektiv «urban» kommt in verschiedenen Namen von Musikformaten vor und bezeichnet Musik, die offenbar an ein vorwiegend städtisches Publikum gerichtet ist: z.B.: Hispanic Urban oder Urban Contemporary.
Verstädterung, Urbanisierung
Am Beispiel von England: 1500 lebten 7 % der Population in Städten («towns» und «cities», definiert mit >= 5000 Einwohner*innen). 1750 stieg dieser Anteil auf 23 %, 1850 50 %, 1910 75 %. London wurde dabei zur grössten Stadt Europas: 1500 hatte die Stadt noch 50'000 Einwohner*innen, 1600 200'000, 1700 500'000 in 1700 und 1800 bereits eine Million (alle Zahlen Rober C. Allen The Industrial Revolution, p. 27).
Links
– David Chipperfield: Die faszinierende Idee Stadt (NZZ, 21. Juli 2019)
– Wolfgang Christ: Die Stadt im digitalen Biedermeier (Deutsches Architekten Blatt, 29. November 2019)
– Thomas Sevcik: Auch du bist ein Städter: wie die Urbanisierung gerade die Lebenswelt von uns allen verändert (NZZ, 25. Januar 2021)
Spotify Tag
Spotify ist der bisher erfolgreichste Musikstreaming-Service im Internet. Das schwedische Unternehmen wurde als legale Konkurrenz für P2P-Tauschbörsen entwickelt und ging am 7. Oktober 2008 online.
Premium-Nutzer/-innen haben Zugriff auf ein riesiges Musikarchiv und auf Playlisten. Wer keinen Premium-Account hat, kann Spotify mit beschränkter Funktionalität und zugeschalteter Werbung nutzen (z.B. mit einem Facebook-Account).
Ende Mai 2019 kündigte Spotify die Social Listening Funktion an, mit der man gemeinsam Musik hören kann.
Die Nutzerzahlen steigen und werden vermutlich auch in naher Zukunft weiter steigen (siehe Diagramm):
Anzahl aktiver UserInnen pro Monat und Premium-AbonnentInnen, jeweils am Ende der Jahre 2012-2017 (Quelle: P. Tschmuck)
Spotify hat Lizenzverträge mit Labels und Label-Verbänden wie der Universal Music Group, Sony Music Entertainment, der Warner Music Group sowie mit MERLIN.
2017 fuhr Spotify einen Verlust von EUR 378 Mio. ein. Es drohen dem Unternehmen Prozesse von mehreren Seiten. Insgesamt muss das Unternehmen in den nächsten Jahren beweisen, dass es profitabel zu wirtschaften vermag.
Beliebteste Playlisten (2018)
– Today’s Top Hits
– RapCaviar
– ¡Viva Latino!
– Baila Reggaeton
– Songs to Sing in the Car
Erfolgreichste Songs auf Spotify
25 Songs wurden über 1000 Millionen mal gestreamt – siehe: Bruce Houghton: 25 Songs Have Each Played Over 1B Times On Spotify (Hypebot, 3. April 2019)
– Dave Whitaker: Streaming: Top 100 Songs (Dave's Music Database, 10. Dezember 2019)
Neil Young vs. Spotify
Neil Young verkündete Ende Januar 2022 seine Musik von Spotify abzuziehen. Er nötigte Spotify sich zwischen ihm und dem Fakenews-Podcaster Joe Rogan zu entscheiden. Spotify hielt zu Rogan und bedauerte den Abzug Youngs (siehe The Fader).
Spoken Interlude Tag
Gesprochenes Zwischenspiel, wo der Formteil des Zwischenspiels («Interlude») sonst musikalisch ist, wird er hier hörspielartig gesprochen. Zuweilen auch mit Musik unterlegt.
Querverweis
– Spoken Verse
Spieldose Tag
Der Genfer Uhrmacher, Antoine Favre-Salomon, erfand 1796 eine musizierende Taschenuhr und die Schweiz avancierte in der Folge zum führenden Hersteller von Spieldosen. In den 1860er Jahren war das ein 2 Millionen schweres Geschäft.
Anfangs wurde jede einzelne Tonzunge individuell gefertigt, gestimmt und montiert. Nach ein paar Jahren gelang es, mehrere Tonzungen aus einem Stahlblech anzufertigen. Dosen mit dieser Technologie nennt man «Segmentmusikdosen». 1810 gelang es schliesslich einem Genfer Fabrikanten mit einer speziellen Fräsanlage den gesamten Spielkamm in einem Stück herzustellen.
1887 erfand Paul Lochmann aus Leipzig-Gohlis eine Spieldose, die von einer Platte statt Walze gesteuert wurde. Diese Platten konnten einfacher ausgetauscht werden, wenn jemandem die Melodie verleidete. Unter den Markennamen «Herophon», «Orpheon», «Symphonion» und «Ariston» wurden solche Plattendosen – auch als Drehorgeln – verkauft.
Spieldosen wurden in Holzkisten, Schatullen, Zigarrenkisten und -etuis, Fotoalben, Spielwaren und Möbel eingebaut.
Die Spieldosenindustrie verlagerte sich im Lauf des 19. Jahrhunderts aus der Schweiz nach Deutschland und kam zum erliegen, als der Phonograph der Spieldose den Rang ablief.
Spieldose und Urheberrecht
Urheberrechtlich zeigt sich an der Spieldose zum ersten Mal das, was im 20. Jahrhundert «mechanical rights» heissen wird. Doch das Bewusstsein dafür entstand schrittweise: Dass die Musik, die mit diesen Accessoires verkauft wurde, einen Wert habe, sah zu Beginn eigentlich niemand. Erst in den 1860er Jahren gingen französische Gerichte «dazu über, die Übertragung musikalischer Werke auf Musikdosen als unerlaubte Reproduktion zu betrachten» (Monika Dommann: Autoren und Apparate, 2014, 34). Frankreich machte das Autorenrecht gegen die Schweiz geltend, doch in einem diplomatischen Kompromiss, erreichte die Schweiz, dass Musikdosen vom Autorenschutz ausgenommen blieben.
Ein ganz neuer Aspekt kam beim Urteil des Deutschen Reichsgerichts von 18XX zur Sprache: Die Musikwiedergabe in einer Spieldose stellt einen potentiellen Wertverlust für das musikalische Werk dar. Auch und gerade die Wiedergabe von eingängigen Ausschnitten würde die Komposition entwerten. ungeachtet der Wiedergabequalität «sei es die »rasche Abnutzung der Komposition, deren das bessere Publikum deshalb so schnell überdrüssig« werde.» (Dommann, 35). Ludolf Waldmann bezeichnete den Veraltungs- oder Abnützungsprozess als «Korrumpierung des Originals». Waldmann verfasste eine Kampfschrift für die Durchsetzung einer Abgabe von Herstellern an Komponisten. Er nahm darin auch schon vorweg, was später eintreten wird, die Ersetzung von Musiker*innen durch Apparate.
Querverweise
– Notenrolle
– Jukebox
– Mechanische Rechte
Links
– Schweizer Freunde mechanischer Musik
– Alte Spieluhren (Webseite) (Detlef Knick, Berlin)
– Gesellschaft für Selbstspielende Musikinstrumente e.V.
– Grassi Museum Leipzig
– Musical Box Society International
Spex Tag
Im September 1980 wurde Spex als Fanzine von einem Kölner Herausgeberkollektiv um Gerald Hündgen, Clara Drechsler, Dirk Scheuring, Wilfried Rütten und Peter Bömmels gegründet. Die erste Nummer erschien im September 1980. Der Name wurde in Anlehnung an die britische Band X-Ray Spex benannt.
Als 1983 Sounds einging, wechselten einige Autoren zu Spex: Diedrich Diederichsen und Detlef Diederichsen, Andreas Banaski, Michael Ruff, Xao Seffcheque und Olaf Dante Marx. Diederichsen war zwische 1985 und 1990 Chefredakteur und zwischen1988 und 2000 Mitherausgeber. Weitere Autoren der Spex waren Ralf Niemczyk (Redaktion und Mitherausgeber), Lothar Gorris (Redakteur, 1985–1989 und Mitherausgeber), Hans Nieswandt (Redakteur, 1990–1993), Sebastian Zabel (Redaktion), Manfred Hermes, Harald Hellmann, Markus Heidingsfelder, Mark Sikora, Olaf Karnik und Jutta Koether (Redakteurin und Mitherausgeberin, 1985 bis 2000), Rainald Goetz und Joachim Lottmann. Die Gestaltung kam von Christoph Pracht, der CCCP Werbeagentur.
In den 90er Jahren wurde Spex eine Art deutsches Cultural Studies Magazin, bei dem die Autorinnen und Autoren auch als Herausgeber fungierten. Der Untertitel lautete nun «Magazin für Popkultur» und der Inhalt wurde akademischer und politischer als zuvor. Das widerspiegelte nicht das Interesse der gesamten Leserschaft. Spex verlor Leserinnen und Leser an Gratiszeitschriften wie Intro. 2000 endete das Experiment des selbstverwalteten Popkultur-Magazins. Die Selbstverwaltung war nur durch Selbstausbeutung aufrecht zu erhalten.
Das Verlagshaus Piranha Media GmbH, Berlin, übernahm die Zeitschrift und baute das Thema «Mode» mit ein. Die meisten bisherigen Mitarbeitenden verliessen die Zeitschrift.
Im Herbst 2018 wurde bekannt, dass das Magazin mit der Dezember Nummer 384 eingestellt wird. im Sommer 2020 wurde auch der verbleibenden Online-Redaktion gekündigt.
Links
– Webseite
– TAZ: Krach, bum! Spex kaputt (Kommentare zum Ende von Spex, 15. Oktober 2018)
Soziologie Tag
Soziologie ist die Wissenschaft der Gesellschaft und des menschlichen Zusammenlebens. Als Wissenschaft arbeitet sie empirisch und theoriebildend. Die Soziologie ist eine eher junge Wissenschaft, die in der Aufklärung entstanden ist. Klassiker des Fachs sind Auguste Comte, der ihren Namen geprägt hat, Karl Marx, Herbert Spencer, Émile Durkheim, Isaiah Berlin, Ferdinand Tönnies, Georg Simmel, Max Weber, Jürgen Habermas, Niklas Luhmann oder Hartmut Rosa.
Die Soziologie behandelt alle Ebenen der Vergemeinschaftung, von der Interaktion zwischen einzelnen Akteuren, über Gruppen und Organisationen bis zur Gesellschaft als Ganzem. Auf diesen Ebenen werden verschiedene Dimensionen des Handelns untersucht: politische, juristische, wirtschaftliche, wissenschaftliche, religiöse, kulturelle, pädagogische. Diese Dimensionen konstituieren verschiedene Felder der Soziologie, z.B. die politische Soziologie, die Wirtschaftssoziologie, die Religionssoziologie usw.
Geschichte der Soziologie
Nach frühen Klassikern des Fachs bildeten sich im 20. Jahrhundert wirkungsmächtige Schulen heraus, zuerst die Durkheim-Schule vor dem Ersten Weltkrieg, dann die Chicagoer Schule in der Zwischenkriegszeit und schlieslich die Parsons-Schule nach dem Zweiten Weltkrieg.
Soziologie und Moderne
Eine Grundfrage vieler theoretsicher Soziologien lautet, wie sich die Moderne und die Modernisierung verstehen lassen. Max Weber hat eine berühmte Antwort auf die Frage gegeben: Modernisierung sei ein Prozess der Rationalisierung. Niklas Luhmann spezifizierte die Rationalisierung als Ausdifferenzierung verschiedener voneinander unabhängig operierender Teilsysteme. Hartmut Rosa hingegen gibt eine andere Antwort: Modernisierung ist Beschleunigung («Accelleration») und Dynamisierung.
Soziologie und Kultur
Das klassische Untersuchungsfeld ist die Kunst der Gesellschaft. Nach dem zweiten Weltkrieg setzten sich im Feld zunehmend kulturrelativistische Einflüsse durch. Statt die Kunst oder anderen klassischen Dimensionen der Gesellschaft wurde vermehrt der Alltag und das Populäre untersucht. Der Leitbegriff dabei war die Kultur. Das neue Feld der Soziologie hiess «Kultursoziologie». Die Wende von der klassischen (z.B. Kunstsoziologie) zur Kultursoziologie nennt man cultural turn. Sie brachte eine Abwendung von einer szientistischen Soziologie und eine Hinwendung zum konkreten Leben und Erleben der Akteure einer egalitären Gesellschaft bzw. zum Leben und Erleben sozialer Minderheiten in der modernen Gesellschaft.
Das Alltags- oder Populärkultur wurde dabei als Menge von Erlebens-, Wissens- und Verhaltensmuster von sozialen Akteuren verstanden und untersucht (siehe z.B. Werner Faulstich: Kulturgeschichte des 20. Jahrhunderts
). Andere Theorietraditionen sahen die Kultur, das Populäre als Kampfplatz von Klassen, Gruppen, Minderheiten, Einwanderkulturen, Subkulturen, Geschlechter, Alterskohorten (Generationen), denen es um kulturelle Hegemonie geht, um das Recht, sich auszudrücken und um das Deutungsrecht im Zusammenhang mit der eigenen Identität und ihrem Ausdruck. Hier geht es um das Recht auf Eigensinn im Lebensentwurf. Eine dritte, skeptische Position untersucht Emanzipationsgewinne im obigen Sinn als vordergründige Entwicklungen und versucht tiefer liegende gesellschaftliche Disziplinierungen zu entlarven (so etwa die Kritische Theorie und deren Exponentin, die Frankfurter Schule). Alle Richtungen der Kultursoziologie haben gemeinsam, dass sie das Populäre als eine Art Öffentlichkeit begreifen, in der das Erleben, Meinen/Wissen und Handeln kommunikativ hergestellt und verhandelt werden (vergleiche: Klaus Nathaus: Auf der Suche nach dem Publikum. Popgeschichte aus aus der «Production of Culture»-Perspektive, in: Alexa Geishövel, Bodo Mrozek (Hrsg.): Popgeschichte, Band 1, S. 127 f.).
Bereiche der Gesellschaft
Gesellschaft hat viele Bereiche mit eigenen Untersuchungsfeldern. Musik kann sich zu allen diesen Feldern verhalten:
– Politik: Musik und Politik
– Recht: Musikrecht
– Wirtschaft: Musikwirtschaft, Musikmarkt
– Kunst: Musik und Kunst, Musik und Kino, Musik und Tanz, Musik und Theater, Musik und Wort
– Wissenschaft: Musik und Wissenschaft, Musik und Theorie
– Religion: Musik und Religion
– Pädagogik: Musikpädagogik
– Gesundheit
– Technologie: Musiktechnologie
– Medien: Musik und Massenmedien
Sozialistischer Deutscher Studentenbund Tag
Die SDS trennt sich 1961 von der Mutterorganisation, dem Hochschulverband der SPD (1946–1961) und wird zum Sammelbecken der Neuen Linken Studentenschaft in der Bundesrepublik. Die SDS war ausserdem die Kernorganisation der Außerparlamentarischen Opposition (APO).
1965 traten Rudi Dutschke, Dieter Kunzelmann und Bernd Rabehl in den Berliner SDS ein.
Sozialfigur Tag
Soziologischer Begriff für einen Typus, für eine historische Gestalt. Sozialfiguren werden oft im Rahmen von Kulturgeschichten und Sozialgeschichten verwendet. Sie treten aber auch häufig in Literatur, Kunst, Musik, Film usw. auf.
Im Unterschied zur sozialen Rolle, die tendenziell in gesellschaftlichen Zusammenhängen oder Institutionen wie Unternehmen (Vorgesetzte*r, Diener*in), Politik (Wähler*in, Bürger*in, Parlamentarier*in), Familie (Vater, Mutter, Tante), Schule (Lehrer*in, Streber*in) usw. eingenommen werden, übergreift eine Sozialfigur solche verschiedenen Sphären (Stephan Moebius & Markus Schroer: «Diven, Hacker, Spekulanten: Sozialfiguren der Gegenwart», Suhrkamp, 2010). Sozialfiguren sind sozial konstruiert und fallen in der Regel auf. Folglich werden sie zumindest anfangs zu einem negativen Stereotyp. Es verwundert daher nicht, dass viele Sozialfiguren randständig sind oder als gesellschaftliche Aussenseiter gelten. Auf der anderen Seite geniessen Sozialfiguren ein gewisse Attraktivität und bevölkern als Figuren Erzählungen in Literatur, Film, Theater usw. oder Musik in Songs. Von hier wirken sie wiederum positiv auf das Verhalten von Leser*innen, Zuschauer*innen und Hörer*innen, so dass ein Teil ihnen nacheifert.
Einige der Sozialfiguren sind gendermässig festgelegt: Der Dandy ist ein Mann, die Diva eine Frau. Das heisst nicht, dass gegengeschlechtliche oder nonbinäre Pendants vorstellbar sind und dass man tatsächliche Vertreter*innen solcher Pendants in der Geschichte findet, wenn man sie sucht.
Beispiele von Sozialfiguren
– Aktivist*in (Sammelbegriff für verschiedene Sozialtypen)
– Alleinstehender, alte Jungfer
– Amateur
– Aussteiger*in
– Beatnik
– Bonze
– Clochard
–damsel in distress
– Dandy
– Dilettant
– Diva
– Emanze
– Existentialist*innen
– Fan
– Flaneur
– Flüchtling
– Gammler*in
– Hacker*in
– Halbstarke
– Heimkehrer*in
– Hippie
– Hipster
– Hobo
– Intellektueller
– Nerd
– Philister (Anti-Intellektuelle, Leute, die keinen Sinn für das Schöngeistige haben)
– Phoneur (siehe Wikipedia
– Pirat
– Sozialschmarotzer*in
– Spekulant*in
– Spiesser*in
– Sponti
– Star
– Tramp
– Troll (Netzkultur)
– Trümmerfrau
– Vamp
– Whistleblower*in
– Wutbürger*in
– Yuppie
Querverweise
– Populäre Figuren
Links
– Wikipedia Kategorie: Sozialfigur
soziale Differenzierung Tag
Soziologisches Thema, das von Georg Simmel mit seinem Buch Über sociale Differenzierung (1890) in die damals noch junge Wissenschaft eingebracht worden ist. Das Thema der Ungleichheit der Menschen geht aber auch auf den Philosophen Hegel zurück, der das Thema unter dem Stichwort Herr(schaft) und Knecht(schaft) behandelte (in: Phänomenologie des Geistes, 1807).
Arten der sozialen Differenzierung
– Horizontale Differenzierung: Menschen haben verschiedene Berufe und Lebenswelten
– Vertikale Differenzierung: hierarchische und Herrschaftsstrukturen
– Räumliche Differenzierung: Menschen sind verschieden, da sie an anderen Orten leben – relevant z.B. Stadt – Land – Suburbaner Raum
– Segmentäre Differenzierung: kleine Unterschiede in einfachen, kleinräumigen Gesellschaften mit viel direkten Kontakten zwischen den Mitgliedern (Stammes- oder Dorfgesellschaften)
– Funktionale Differenzierung: abstrakte, theoretische Art der Differenzierung, wie sie z.B. von der soziologischen Systemtheorie behandelt wird.
Bücher
– Pierre Bourdieu: La distinction. Critique sociale du jugement (dt: Die feinen Unterschiede), 1979
Soziale Bewegungen Tag
Soziale Bewegungen sind Gruppen, die ein alternatives, von den herrschenden Vorstellungen verschiedenes politisches, gesellschaftliches oder kulturelles Interesse verfolgen. Ihre Organisationsform weicht von traditionellen Formen der sozialen Organisation ab, von politischer Partei, wirtschaftlichem Unternehmen oder privatrechtlichem Verein. Die wesentlichen Merkmale von Bewegungen sind ihr informeller und spontaner Anfang und ihre mobilisierende Kraft (sie sind vor allem am Anfang wachsende Massen). Wenn eine Bewegung über längere Zeit wächst, kann sie sich organisieren. Zum Beispiel hat die amerikanische Bürgerrechtsbewegung ihre Aktivistinnen und Aktivisten systematisch in den Methoden des zivilen Ungehorsams und der Gewaltfreiheit ausgebildet. Hippies haben Kommunen gegründet oder sich an Konzerten und Festivals versammelt. Die primären Aktions-Mittel einer Bewegung bestehen zum Beispiel aus Demonstrationen, zivilem Ungehorsam oder Besetzungen. Gewaltfreie Widerstandsaktionen gehen vor allem auf Mahatma Gandhi zurück.
Die Ziele sozialer Bewegungen sind meist emanzipatorisch, das ist aber nicht notwendigerweise so – sie können auch konservativ oder restitutiv sein.
Bewegungen werden in der Regel Wortführer herausbilden. Wenn die Bewegung erfolgreich sein will dann hilft es, wenn diese Wortführer Charisma haben. Charismatische Führer einer Bewegung waren Mahatma Gandhi, Martin Luther King oder Rudi Dutschke.
Soziale Bewegungen können sich durch Demonstrationen in der Öffentlichkeit und andere Protestaktionen oder können sich nicht als Protestbewegung manifestieren. Nichtöffentliche und nicht protestierende Veranstaltungsformen dienen oft der Selbstverständigung der Bewegung.
Bewegung als soziales System
Luhman unterscheidet drei Arten von sozialen Systemen: Interaktionen, Organisationen und Gesellschaften. Interaktionen sind zeitlich spontan, sachlich unverbindlich und personell flüchtig. Organisationen sind in allen Dimensionen differenziert/organisiert. Daher fasst die Systemtheorie eine soziale Bewegung als Interaktionssytem. Differenzierung ist nicht nötig, weil eine Bewegung ein gesellschaftliches oder organisationales Problem feststellt und dieses nicht selber lösen muss. Die Lösung wird von der Organisation oder der Gesellschaft gefordert. Falls eine Bewegung sich zu institutionalisieren beginnt, geht sie in eine oder mehrere Organisationen über. Typisch ist in einem solchen Moment, dass der Übergang nicht reibungslos vonstatten geht. Es wird diejenigen Agenten geben, die das Moment weitertragen und die Institutionalisierung als Verrat an der Sache anprangern. Auch ehemalige Agent/-innen einer Bewegung, die in Organisationen eintreten, um die Ziele der Bewegung weiter zu verfolgen, können unter Verdacht geraten, die Sache der Bewegung zu verraten. Beispiele: Wenn jemand aus der Studentenbewegung einen Job in Wirtschaft oder Politik antritt, wenn eine Indie-Band bei einem Majorlabel einen Schallplattenvertrag unterschreibt, ...
Astroturfing
Als Astroturfing wird der Einfluss von Organisationen auf eine soziale Bewegung bezeichnet, die diese für ihre Zwecke lenken und instrumentalisieren. Ein Beispiel war die anfangs libertäre Tea-Party-Bewegung, die durch den Einfluss der religiösen Rechten und der Neokonservativen zu einer rechtspopulistische Protestbewegung wurde.
Beispiele von sozialen Bewegungen
– Arbeiterbewegung
– Bürgerrechtsbewegung
– Pfingstbewegung
– Friedensbewegung
– verschiedene Jugendbewegungen, z.B. die 1968er-Bewegung
– Frauenbewegung
– Umweltbewegung
– Anti-Atomkraft-Bewegung
– Hausbesetzerbewegung
– Lesbenbewegung und Schwulenbewegung
– Menschenrechtsbewegung, siehe Internationale Liga für Menschenrechte
– Tierrechtsbewegung
– Antiglobalisierungsbewegung
– Occupy Wall Street Bewegung
– Fridays for Future
Querverweise
– Greensboro sit-ins
Links und Quellen
– Martin Klimke und Joachim Scharloth (Eds.): 1968 in Europe: A History of Protest and Activism, 1956-1977. Palgrave Macmillan, New York, 2008.
– J’na Jefferson: Black Female Activists Discuss The Power Of Music In Movements (uDiscoverMusic, 5. November 2020)
Sounds Of The Seventies Tag
«Sounds of the Seventies» war eine Radio Show für progressive oder Untergrund Musik von BBC Radio 1. Auch das heutige Radio 2 hat eine Reihe mit diesem Namen, die nostalgisch ist und zuerst von Steve Harley und dann von Johnnie Walker präsentiert wurde bzw. wird. Die Musik wurde als «adventurous contemporary sounds» angekündigt. Moderatoren waren John Peel, David Symonds, Bob Harris, Mike Harding, Stuart Henry, Pete Drummond, Vincent Price, Alan Black, Annie Nightingale, die damals «Anne» war.
Die Show lief von MO bis DO um sechs Uhr abends und dauerte eine Stunde. Ab 1971 wurde die Show ins Nachtprogramm von Radio 2 verschoben (22 Uhr), dafür dauerte sie zwei Stunden. Im Dezember 1974 wurde sie dann gekappt. Die Moderatoren wurden ausser John Peel entlassen.
Links
– John Peel Wiki: Sounds Of The Seventies
Soundcloud Tag
Online-Musikdienst bzw. Streaming-Plattform zur Distribution von Audiodateien. Wie YouTube für Musikvideos wird Soundcloud für Audio als Werbeplattform für Musik benutzt, um Acts bekannt zu machen.
Soundcloud ist eine Privatfirma, die von Alexander Ljung gegründet wurde. Der Firmensitz ist juristisch in London, eine Zweigniederlassung befindet sich in Berlin.
Im Juni 2019 wurde das Premium Service Abonnement «Soundcloud GO+» in der Schweiz, in Belgien, Italien, Spanien und Portugal erhältlich. Mit SoundCloud Go+ haben Benutzer/-innen Zugang zu mehr als 200 Millionen Tracks, DJ Sets, Remixes usw.
Einen kleinen Teil der Soundcloud-Tracks kann man auch als File herunterladen (Download-Button).
Sound Tag
Sound oder Timpbre bezeichnet den Höreindruck eines akustischen Klangemisches, das physikalisch als Zusammensetzung eines Grundtons mit einer Menge an Obertönen in einem bestimmten Verhältnis oder Volumen verstanden wird. Dargestellt werden Klänge in Spektrogrammen, die die vorkommenden Frequenzen in ihrem jeweiligen Volumen darstellen,
Zur Klassifikation von Sound
Sounds zu klassifizieren fällt schwer. Einige Autoren gehen bei ihren Klassifikationen von der Materialität oder Physikalität aus, andere vom Höreindruck. Ein Beispiel für letzteres ist Peter Gorges, der in seinem Buch «Synthesizer Programming» (Bremen, 2009, p. 136 ff.) die Dimensionen unterscheidet:
– Dimension (Grösse, Ausdehung)
– Temperatur (warm, kalt)
– Textur (Material, Beschaffenheit)
– Animation (Bewegung)
– Aggression (Kraft, Angriffstärke)
Die Dimension warm/kalt ist ein Höreindruck, da sie keine Dimension der Tonsprache ist. Grösse und Ausdehnung hingegen sind als Lautstärke und Länge spielbar und notierbar. Diese Faktoren, die Gorges aufzählt sind in der Sprache von Musikzimmer nicht «Sound», sondern «Physikalität».
Dimensionen von Sound
Es gibt mindestens drei Sound-Dimensionen (unpublizierte Vorlesung zu «The Dark Side of the Moon»):
- Präsenz («presence»)
- Dichte («thickness»)
- Modulierung («modulation»)
Querverweise
– Tremolo
– Reverb
– Fuzz
Songwriter Tag
Es gibt viele Formen von Songwritern – Evan Zwisler hat folgende zusammengestellt:
– Singer-Songwriter, Songwriter*in, die oder der selbst auftritt
– Songwriter*in in einer Band
– Songwriter*in für andere als eigene Acts
– Freelance Songwriter*in, Auftrags-Songwriter*in (work-for-hire contracts) - hier gibt der oder die Songwriter*in Ihr Autorenrecht an den Auftrags-/Arbeitgeber ab.
– Angestellte Songwriter*innen (Staff Writer in Verlagen oder Labeln)
– Texter*innen («Lyricists»)
– Komponist*innen für TV-/Filmmusik
– Jinglewriter*innen
– Kinderlieder Komponist*innen
– Musical Komponist*innen
Songwriter schreiben Musik als Noten, als Demoaufnahme oder als Arrangement in Softwaretools. Sie können allein arbeiten oder als Co-Autoren (z.B. Lennon-McCartney, die nur in wenigen Fällen wirklich zusammengearbeitet haben). Koautorschaft ist spätestens seit der Tin Pan Alley oft in der Arbeitsteilung Komponist*in vs. Texter*in verbreitet.
Links
– Dave's Music Database: Top 50 Composers from Broadway and the Early 20th Century (Dave Whitaker, 7. Dezember 2019, update: 26. Januar 2022)
– Dave's Music Database: Top 100 Songwriters of the Rock Era (Dave Whitaker, 7. Dezember 2019, update: 26. Januar 2022)
Songstruktur Tag
Populäre Musik ist (genauso wie andere Musik) meistens geformt. Man sagt und kann lesen, Musik sei organisierter Lärm. Ihre Organisation findet in zwei Dimensionen statt, (1) in der Zeit, die wir meist als horizontale Linie darstellen, und (2) in der Vertikalen als (a) Stimmen (Instrumente und Stimmen einer Partitur) sowie (b) als Harmonie. Seit Musik aufgeschrieben und aufgezeichnet wird, hat ihre Organisation eine bestimmte Persistenz, die sie ohne Notenblatt oder Aufnahme nicht hätte. Wenn nämlich Musik vor Publikum aufgeführt wird, bestimmt das Publikum ihre finale und konkrete Gestalt mit. Ein DJ, der wahrnimmt, dass ein bestimmter Track bei seinem Publikum gut ankommt, kann ihn verlängern oder eine Sequenz von ihm später noch einmal in den Mix einflechten. In einer TV-Show kann das Orchester oder die Kapelle betimmte Sequenzen – man nennt sie Vamp – beliebig verlängern, wenn zum Beispiel die Präsentator*in länger als vorgesehen spricht. Psychedelische Rockmusik wie diejenige der frühen Pink Floyd weist Sequenzen mit Jams auf, die in der Livesituation praktisch beliebig lang verlängert werden konnten. Nur auf Plattenaufnahmen dauert ein bestimmtes Stück immer gleich lang.
Aufnahmen und Niederschriften von musikalischen Performances werden allein schon deshalb organisiert, weil eine beschränklte Zeit auf einem Medium eingehalten werden muss. Früher mussten Aufnahmen auf einer Schellack- oder Vinyl-Single Platz haben. Diesen beschränkten zeitlichen Platz, will man organisieren, nicht zuletzt um dem Stück Musik seine optimale Wirkung zu verleihen.
David Bennett vergleicht AABA- und Verse-Chorus-Formen miteinander und sagt von der letzten, dass sie wie eine Fahrt mit der Berg-und-Tal-Bahn, wo erstere mehr eine Ritt auf einer Schaukel sei.
Songstruktur und musikalische Form
«Songstruktur» bezeichnet eine konkrete strukturelle Gestaltung eines Songs, während musikalische Form die Formenlehre bezeichnet. Kommunikationstheoretisch ist Songstruktur auf der Ebene der Nachricht und musikalische Form auf der Ebene der Codes. Man kann auch sagen, die musikalische Form ist die Grammatik des Bauplans eins Songs.
Querverweise
– Musikalische Formen. Formensprache und Formelemente.
Song Tag
Songs bzw. Lieder gehören zu den gesungenen musikalischen Werken. Sie sind hybrid und bestehen aus Musik und Sprache (Lyrics). Damit ist aber die Definition eines Songs nicht erschöpft. Ich mache dazu gerne ein surreales oder Lacansches Wortspiel: «Ein Song ist kein Sing.»
Das Doppelgesicht der Songs
Als Kunstform gehören Songs zu den performativen Künsten – wie Theater, Tanz, Rede, Musik, Musiktheater. Wie in allen performativen Künsten besteht die Kunstform aus dem Werk oder der Komposition und der Aufführung («performance»). Die Komposition eines Songs umfasst sowohl die Musik als auch die Sprache. Die Aufführung besteht aus einer Szene und den Interpret*innen. Stimmlich können Songs auf einer Skala von Sologesang bis zu riesigen Chören ausgestaltet sein, während die musikalische Gestaltung auf einer ähnlichen Skala zwischen null und einer Vielzahl an Instrumenten variiert. A-cappella Gesang ist eine Sonderform, weil hier sowohl Text und Musik des Songs von der oder den Stimmen allein aufgefürt werden. Das Umgekehrte ist erst in neuerer Zeit möglich: klassische Instrumente können Sprache nicht artikulieren. Neuere elektronische Instrumente hingegen können menschliche Stimmen allerdings imitieren oder sampeln.
Stimmlich vorgetragen werden Songs von Sängerinnen und Sängern, die solo oder in Formationen (Duos, Trios, Quartett, Quintett, ..., kleinen und grossen Chören singen.
Wenn die Lyrics vor der Musik existieren, spricht man vom der Komposition als einer Vertonung.
Klassifikation 1 – Gattungen
Eine Grundeinteilung der Songs ist die Dreiteilung der Gattungen: Volkslied, Kunstlied und populäres Lied.
Verbreitung
Songs sind vermutlich in allen Kulturen verbreitet. In der Populären Musik der Moderne und der Gegenwart sind Songs die prominenteste musikalische Form.
Formale Gestalt
Abgesehen von einfachen Formen wie Sprechhören (engl. «chants» und «cheers»), die z.B. im Sport zum Anfeuern einer Mannschaft oder bei politischen Manifestationen verbreitet sind) haben Songs einen formalen Aufbau aus Strukturelementen. Sich wiederholende Strophen (engl. Verses), die in Konklusionen enden heissen Refrains, wenn statt der Konklusion ein eigener Strukturteil wiederholt wird, heisst dieser Chorus. Musik und Lyrics können formal mehr oder weniger eng aneinander gebunden sein. Textlich kann ein Song aus Verses und Chorus bestehen, musikalisch hingegen kann er weitere instrumentale Teile aufweisen: Intros, Codas, Bridges, kurze oder ausgedehnte Solis.
Wie bei allen im Prinzip strukturalistsichen Betrachtungen werden konkrete Songs als Varianten eines Typs aufgefasst. Typen sind unter anderem die AABA Form der Tin Pan Alley, die Folk-Ballade sowie Verse-Chorus bzw. Verse-Chorus-Bridge Formen.
Eine Wissenschaft von Songs
Songs können wissenschaftlich als Gegenstand sui generis verstanden werden. Allerdings gibt es die Wissenschaft des Songs bisher nicht als Disziplin. Untersuchungen zu Songs bilden ein Forschungsfeld, das verschiedenen Disziplinen angehört, unter anderem der Musik-, der Literatur-, der Geschichts-, der Rechts- und der Wirtschaftswissenschaften.
Songs als Kommunikat
Kulturwissenschaftlich kann ein konkreter Song qua Aufführung als Kommunikat (Mitteilung) in einem Kommunikationsprozess aufgefasst werden.
Songs als Medieninhalt
In der Populären Musik werden Songs als mediale Produkte produziert, sei es als Notenblatt (engl. Sheetmusic) oder als Aufnahme (engl. Recording) in einem Tonstudio. Distribuiert werden sie auf Tonträgern, Notenblättern oder digitalen Formaten (als Datei oder Streaming), auf Distributionsmedien, die sich mit der Zeit verändern: Zylinderwalzen, Pianorollen, Schellackplatten, Vinylplatten, CDs, Audiodateien, Audio- und Video-Streams usw. Um für den Massenkonsum zu taugen, werden Songs von Musiker*innen und Lyriker*innen komponiert, sie werden Arrangiert und in neuerer Zeit fast immer technisch aufbereitet, d.h. entweder in einem Tonstudio oder mit einer Software (DAW) produziert.
Songs kommen als bestandteil anderer Kunstformen vor: auf der Theaterbühne, in Opern und Operetten/Musical, im Film, in Sendungen, in Makroformen wie Konzerten, Alben, Radiosendungen, Fernsehsendungen, DJ-Mixes und Playlisten.
Interpretation und Analyse von Songs
Songs können sowohl musikalisch als auch textlich analysiert, verstanden und interpretiert werden (siehe Analyse).
Fans und Fachleute interpretieren zuweilen anders. Songs werden manchmal komplett missverstanden, z.B. I Can't Get No Satisfaction (eine Liste mit weiteren Songs Treblezine: 10 Misunderstood Songs). Songs werden manchmal missverstanden, weil man den Wortlaut anders verstehet (siehe Mondegreen.
Man findet auch radikale Haltungen oder Positionen, die finden, man könne einen Song interpretieren, wie man wolle. «Well, you know.»
Klassifikation – Sujet
Songs haben Sujets oder Themen. Es lassen sich je nach Komplexität Haupt- und Nebenthemen unterscheiden. Da es im Populären Lied sehr oft um die Liebe geht, kommt dieses Thema in allen möglichen Aspekten vor: Werbung, Verlieben, Trennungsleid usw.
Auf Musikzimmer sind Songthemen Tags, z.B.:
– Begenung mit fahrendem Volk (Songthema)
– Comixfigur (Songthema)
– Eifersucht (Songthema)
– Geständnisse (Songthema)
– Liebeslied
– Mörderballade
– Musik und Musiker*innen (Songthema)
– Odyssee (Songthema)
– Politischer Protest (Songthema)
– Schlaflieder (Songthema)
– Sex (Songthema)
– Traurigkeit, Melancholie (Songthema)
– Trübsinn (Songthema)
– Trennung (Songthema)
– Unerwiderte Liebe (Songthema)
– Verlorene Liebe (Songthema)
– Vietnamkrieg (Songthema)
– Weihnachtsmusik (Songthema)
– Weinen (Songthema)
Der Song als Werk – ISWC
De jure ist jede Komposition vom Urheberrecht geschützt. Unter anderem zur Vereinfachung des Lizenzierungsprozesses wurde der International Standard Musical Work Code (ISWC) geschaffen. Dieser identifiziert ein Musikwerk als einzigartige immaterielle Schöpfung. Es bezieht sich auf das Ergebnis einer immateriellen Schöpfung einer oder mehrerer Personen, unabhängig vom Urheberrechtsstatus, den Verbreitungen oder Vereinbarungen, die diese Schöpfung abdecken. Der Code sieht beispielsweise so aus:
ISWC T-034.524.680-1
Dieser Bezeichner ist in vier Elemente unterteilt. Erstens muss «ISWC» stehen. Dies wird gefolgt vom Präfixelement (der Buchstabe «T»). Darauf folgen die Werkkennung (neun Ziffern) und eine numerische Prüfziffer (im Beispiel die «-1»). Bindestriche und Punkte als Trennzeichen sind optional.
Nachschauen kann man den ISWC beispielsweise bei Secondhandsongs.
Quellen
– Zentrum für Populäre Kultur und Musik der Universität Freiburg in Kooperation mit Schott Music und der HS Düsseldorf: Songlexikon. Encyclopedia of Songs (Netzpublikation)
– Timeout: The 50 Best Drinking Songs (Andy Kryza, 27. Mai 2022)
– Timeout: The 30 Best Birthday Songs (Matthew Singer, Andrew Frisicano, Ro Samarth & Andy Kryza, 27. Mai 2022)
– Timeout: The Best Motivational Songs (Andrew Frisicano, 8. Dezember 2021)
– What is ISWC? (Webseite)
Soldatenbräute Tag
Die US-Army führte im Ersten Weltkrieg ein Freizeitprogramm für Soldaten ein. Orchester und Sänger*innen wurden an die Fronten entsandt, um dort für die Truppen zu spielen und zu singen. Von besonderer Wirkung waren natürlich Frauen, die neben den intendierten Wirkungen – Moral der Truppe stärken, Propaganda etc. – auch die Fantasie der Soldaten anregten, sie an die Entbehrungen erinnerten, die jeder von ihnen weit weg von Freundin oder Ehefrau leistete. «Female Military Entertainers gab es seither in allen amerikanischen Kriegen und in Besatzungsgebieten.
«Female Military Entertainers» wurden im UK auch «Forces' Sweetheart» genannt. Ein gleichnamiger Film wurde 1953 von Maclean Rogers gedreht (siehe Ausschnitte auf Youtube).
Die USO
Für diese Entertainment Programme zuständig war und ist immer noch eine Nicht-Regierungsorganisation, die United Services Organisation (USO), die ein Zusammenschluss von verschiedenen Wohltätigkeitsorganisationen war, u.a. des YMCA oder der Heilsarmee.
Man hat nicht nur Künstler*innen entsandt, auch freiwillige junge Frauen, die an den Fronten Dienst leisteten und den Soldaten «Normalität» vermittelten. Diese Frauen wurden sorgfältig rekrutiert. Sie wurden als Symbol konventioneller Weiblichkeit ausgelesen, als «girl next door». Diese Frauen nahmen im Erholungsprogramm interessante Doppelrollen ein: Sie steigerten nicht nur die Moral, sondern auch die Leidenschaft der Truppen. Sie machten Propaganda nach innen und aussen. Sie exportieren die amerikanische Kultur ins Ausland, machten zu Hause aber auch allen klar, dass man im Krieg war und dass der Krieg Opfer forderte. Sie befanden sich im Kriegsdienst und zugleich domestizierten sie den Alltag auf den ausländischen Stützpunkten. Dass sie die Leidenschaft der Männer auf sich zogen, war übrigens Teil des intendierten Programms. Für die Armeeführung ging es auch darum, die Soldaten vom Besuch ausländischer und möglicherweise feindlicher Prostituierten oder gar von Homosexuellen Kontakten abzubringen. Ultimativ veränderten diese Frauen möglicherweise das Gesicht des Kriegs.
Amerikanische Entertainer an den Fronten
Dass das Glenn Miller Orchestra im Ausland für die eigenen Truppen spielte, weiss man. Zu den Frauen, die in einem solchen Einsatz waren, gehören:
– Marlene Dietrich im Zweiten Weltkrieg, sie trat in Frankreich, Italien und Nordafrika auf
– Judy Garland im Zweiten Weltkrieg
– Dinah Shore im Zweiten Weltkrieg
– Janis Martin in Europa nach dem Zweiten Weltkrieg
– Marilyn Monroe im Koreakrieg
– Debbie Reynolds im Koreakrieg
– Nancy Sinatra in Vietnam
– Ann-Margret in Vietnam
– Lola Falana in Vietnam
– Marie Osmond im Golf Krieg
– Pointer Sisters im Golf Krieg
– Loretta Lynn in Deutschland und im Nahen Osten
– Carrie Underwood im Irak und in Afghanistan
Frauen auf der Bühne mit einem reinen Männerpublikum waren eine Spiel mit dem Feuer. Mit ihren Auftritten mussten sie das Bild der Patriotin, der Landesmutter geben. Auf einer anderen Ebene waren diese Frauen stets in der Rolle der unerreichbaren Frau, die von hunderten an Entbehrung leidenden Männern begehrt wird.
British Forces Sweethearts
– Vera Lynn
– Gracie Fields
– Anne Shelton
Australische Sängerinnen im Vietnam Krieg
– Lorrae Desmond
Female Military Entertainers im Film
In Apocalypse Now gibt es eine Szene mit einem Auftritt von «Female Military Entertainers» (etwa nach einer Stunde). Man muss diese Szene als eine sexualisierte Groteske und Satiresehen. natürlich gerät sie ausser Kontrolle.
– «For the Boys» (Mark Rydell, 1991) mit Bette Midler in der Hauptrolle
Frauenfiguren im Rahmen der «Geistigen Landesverteidigung» in der Schweiz
In der neutralen Schweiz während dem Zweiten Weltkrieg spielten Frauen als Projektionsfläche für Männerphantasien im Film eine bedeutende Rolle. Filme wie August Kerns «S'Margritli und d'Soldate/Marguerite et les soldats» mit dem Margritli-Lied von Teddy Stauffer sowie Franz Schnyders «Gilberte de Courgenay» von 1941 mit dem gleichnamigen Lied von Hanns in der Gand vermittelten das Frauenbild einer Mutter der Nation, einer Sekretärin, einer schönen jungen Frau mit verborgener Sexualität – und zwar alles zugleich. Das Bild der Schweiz war geprägt von der Geistigen Landesverteidigung. Die Produktion von Kultur in Film, Radio, Musik und den anderen Disziplinen musste in das politisch verordnete Bild der Schweiz passen. Ein einiges, wehrhaftes Volk, das sich aus seiner Tradition versteht, die viel komplizierter war als sie dargestellt wurde. Zu dieser Tradition gehörten Frauen, die ihren Männern in ihrer multiplen Rolle als Magd-Mutter-Schwester-Freundin zu Diensten stehen. Die Männer hatten ihre Sexualität im Krieg zurückzuhalten. Figuren wie s'Margritli oder Gilberte de Courgenay, die auf einer realen Person aus dem Ersten Weltkrieg beruhte, wurden als keusche Jungfrauen stilisiert, deren Herz allen und niemandem gehört.
Querverweise
– Musik und Politik
Quellen
– USO Webseite und USO Wikipedia Eintrag
– Emily Yellin: Our Mothers' War: American Women at Home and at the Front During World War II (Simon and Schuster, 2005).
– Eric Taylor: Forces Sweethearts: Service romances in World War II. (London, 1991)
– Kara Dixon Vuic: Girls Next Door: Bringing the Home Front to the Front Lines (7 Jan. 2019).
– James Russell: The Evolution of Female Military Entertainers (TCU Magazine, 2018).
– Lena Rudeck: Rezension von Kara Dixon Vuic: The Girls Next Door. Artikel_Online. Deutsches Historisches Institut, Francia Recensio, 2019.
– Nancy Traylor-Heard: Reviewing The Girls Next Door (Strategy Bridge, 11. September 2019)
– USO: 9 World-Famous Women of World War II and Beyond Who Are a Part of USO History (10. März 2020).
social media Tag
Social Media (soziale Medien) sind webbasierte Anwendungen, in denen Nutzerinnen und Nutzer sich selbst präsentieren (Profile, Inhalte wie Posts, Likes etc.) und sich mit anderen vernetzen können. Das Vernetzen geht nach dem passiveren Prinzip des Folgens (z.B. Twitter) oder nach dem aktiveren Prinzip der gegenseitigen Freundschafts-Verbindung (z.B. Facebook).
Wertung
Positiv gewertet wird an der Kommunikation in den Social Media Kanälen, dass die früher übliche «one-to-many» Kommunikation dialogischer wird. Allerdings macht nur eine kleine Zahl deer Nutzerinnen und Nutzer von Like-Buttons Gebrauch und noch weniger treten tatsächlich in einen Dialog.
Ebenfalls positiv ist, dass sich via Social Media Neuigkeiten schneller verbreiten.
Ein Problem sind die «fake news» geworden, das sind Behauptungen und Verleumdungen, die über die Kanäle der sozialen Medien zum Zweck der Manipulation der öffentlichen Meinung verbreitet werden. Im Zusammenhang mit Wahlen oder Abstimmungen können mit «fake news» demokratische Prozesse massiv gestört werden.
Medienverhalten
Im Begriff steckt mit dem Plural bereits die Tatsache beschlossen, dass die meisten Nutzerinnen und Nutzer sozialer Medien auf mehreren Kanälen aktiv sind.
Im Unterschied zur Zeit vor Social Media kommt es zu interessanten neuartigen Verhaltensweisen wie dem «Ghosting». Ghosting heisst das Beenden einer sozialen Beziehung auf einer Plattform. In Beziehungen, die nur auf sozialen Plattformen bestehen, kann sich eine Person sehr einfach aus der Beziehung stehlen, in dem sie eine andere Person weg klickt oder den Account löscht. Offenbar wird Ghosting recht oft praktiziert und färbt sich bereits auf reale Beziehungen ab, in denen Menschen ohne einen Ton verschwinden.
Links
– Oliver Pfohlmann: Ghosting: Wenn Menschen plötzlich aus dem Netz verschwinden, als hätte es sie nie gegeben (NZZ, 18. Dezember 2019)
Querverweise
– Überwachungskapitalismus
Literatur
Tina Soliman: Ghosting. Vom spurlosen Verschwinden des Menschen im digitalen Zeitalter. Klett-Cotta-Verlag, Stuttgart 2019.
Social Media für Musiker*innen
– MySpace 
ist die internationale Plattform für Musiker/-innen und Bands, die sich hier beschreiben, Musik anbieten und News verbreiten können
– Mx3 (schweizerisches Myspace)
slow-burner Tag
Ein «slow-burner» ist ein Hit (Song oder Album), der lange braucht, um in die Hitparaden zu kommen.
Im Unterschied zum Sleeper Hit, der ebenfalls langsam zum Erfolg kommt, wird jener nicht beworben, der «slow-burner» aber schon.
Sleeper Hit Tag
Ein «Sleeper Hit» ist ein Medienprodukt (ein Musikstück, ein Album, ein Film oder Game), dass in der Regel ohne Promotion im Lauf der Zeit, nur allmählich oder schleichend, erfolgreich wird. Mit der üblichen Promotion kommen Hits nach wenigen Tagen oder Wochen in die Charts, steigen auf ihre Spitzenposition auf und danach wieder ab. «Sleeper Hits» brauchen ohne die Promotion lange bis sie in die Charts kommen, falls sie überhaupt hinein kommen. Dafür haben sie länger als die herkömmlichen Hits Erfolg.
Vergleiche auch slow-burner, ein Hit der ungewöhnlich viel Zeit braucht, um in die Hitparaden zu kommen: Der «Sleeper Hit» ist ein Spezialfall des «slow-burners».
Slash Chords Tag
«Slash Chords», z.B. «C/D» (gesprochen: «C over D») ist ein C-Dur-Akkord mit einem D in der Bassnote. Auf dem Piano spielt man mit der rechten Hand die Triade des C-Akkords (C–E–G) und mit der linken Hand die Bassnote oder zwei Bassnoten D. In einer Band spielt die Gitarre teils den «Slash-Chord», teils den C-Akkord und der Bass die Bassnote. Damit sind «Slash-Chords» eigentlich Tetraden, die mit der Standard-Akkordnotation erweiterte Akkorde zum Ausdruck bringen (C/D also C9). Weil die zusätzliche Note im Bass gespielt wird, handelt es sich gleichzeitig um eine Akkord-Inversion (die 9. Stufe wird im Bass statt über der Triade gespielt).
«Slash-Chords» klingen anders als die Standard-Triade, die aber immer noch deutlich hörbar ist. Mit «Slash Chords» kann man einen Akkord kollorieren. Sie eigenen sich daher für Akkordübergänge. Weitere Funktionen sind, dass sie für Akkord-Inversionen stehen (das ist lediglich eine vereinfachte Schreibweise, die in der Populären Musik eingebürgert ist). Oft dienen «Slash Chords» auch dazu, Line Clichés zu notieren. Hierbei wird der Ausgangsakkord vor dem Schrägstrich notiert und der wandernde Ton in der Bassnote des Slash-Akkords.
Singularität Tag
Die Singularität oder das Singuläre ist etwas ist eine philosophsiche und soziologische Kategorie, die im Verhältnis zwischen «Allgemeinem» und «Besonderem» (bei Immanuel Kant in der Kritik der Urteilskraft: «Begriff» und «Anschauung») eine wichtige Rolle spielt: Das Singuläre ist ein Besonderes, das sich nicht verallgemeinern lässt. Es ist unvergleichlich oder inkommensurabel. Singularitäten sind einem Besonderen entgegengesetzt, das exemplarisch oder ein Typ ist, d.h. ein Vertreter eines Allgemeinen. Sozialwissenschaftlich ist eine Singularität ein Sosein (eine Lebenspraxis), das im Rahmen der sozialen Praktiken, die Identität konstruieren, als besonders und inkommensurabel wahrgenommen und bewertet werden. Dabei handelt es sich nicht länger um eine Idiosynkrasie, die sich in ihrem Sosein, außerhalb der sozialen Ordnung bewegt. Es ist dieser Ausschluss einer Identität vor dem Hintergrund einer Konformität, der von neueren sozialen Bewegungen seit den 1970er Jahren kritisiert wird.
Singularitäten (Dinge/Objekte, Subjekte, räumliche Einheiten/Orte, zeitliche Einheiten/Ereignisse oder Kollektive/Gemeinschaften) sind keine objektiven Fakten, sie sind eigenkomplex. Sie hängen von Praktiken der Singularisierung ab.
Singularisierung
Der Prozess der «Singularisierung» habe die Moderne und Spätmoderne (Postmoderne) von Anfang an geprägt, sagt Andreas Reckwitz (Die Gesellschaft der Singularitäten 4: EIne Replik). Genauso ist es mit der Rationalisierung. Diese Prozesse laufen in der Gesellschaft parallel. Singularisierung kommt mit dem wichtiger werden der Kultur. In dem Mass, wie Kultur eine gesellschaftliche Rolle spielt, spielen Singularitäten eine Rolle. Die Begriffe gehören eng zusammen.
Quellen
– Andreas Reckwitz: Die Gesellschaft der Singularitäten. Zum Strukturwandel der Moderne. Suhrkamp, Frankfurt a.M., 2017. (siehe Wikipedia: Die Gesellschaft der Singularitäten
Silent Generation Tag
Die Stille Generation folgte auf die G.I. Generation. Ihrer Vertreterinnen und Vertreter waren in den späteren 20er Jahren bis in die früheren 40er Jahre geboren. Diese Genration war durch den Zweiten Weltkrieg geprägt, den sie in der Jugend erlebte. Auch die Nachkriegszeit war vor allem in Europa von Entbehrung geprägt. Der Name der Generation kommt daher, dass sie der Überzeugung war, dass es besser sei im Privaten zu verbleiben, statt öffentlich die Meinung kund zu tun. Sie fokussierten ihr Leben auf die berufliche Karriere - hier gab es viele Aufsteiger und Profiteure als die Wirtschaft wieder besser ging. In Amerika dachten sie während der McCarthy-Ära, dass es gefährlich sei, politische Überzeugungen öffentlich auszusprechen. Die Haltung gegenüber ihren Kindern hat der Personal Computing Pionier Lee Felsenstein zum Ausdruck gebracht: «Ich wuchs in dem Bewusstsein auf, dass wir eine Verpflichtung unserer Eltern bekamen etwa von der Art: Wir mussten all das tun, wir mussten das alles durchmachen [gemeint ist der Zweite Weltkrieg und die Opfer, die er von den Soldaten gefordert hat], jetzt sorg du dafür, dass es sich gelohnt hat.» (siehe: Computer History Museum: Lee Felsenstein—2016 CHM Fellow (Youtube Video, 3. Mai 2016). Im übertragenen Sinn war diese Haltung auch in anderen Ländern als den USA verbreitet: Die Silent Generation ging durch die schweren Zeiten der Wirtschaftskrise und des Weltkriegs und ihre Kinder sollten es einmal besser haben als sie. Das war nicht nur ein Wunsch für die Jugend, sondern eine Verpflichtung.
Soziologische Analysen
Die 1950er Jahre brachten verschiedene soziologische bzw. sozialpsychologische Untersuchungen hervor, die in den damals modernen Menschen beängstigende Abgründe attestierten. David Riesman sprach von der Lonely Crowd, William Whyte vom Organization Man, Paul Goodman davon, dass die junge Generation auf absurde Weise aufwuchs und erzogen wurde (Growing Up Absurd), und C. Wright Mills vom White Collar Man. Diese Autoren waren sich weitestgehend darin einig, dass der damals moderne Mensch ein stiller und passiver Mitmacher sei, der sich im Privaten eingerichtet hat und jeden Tag zur Arbeit fährt, um dort nicht weiter aufzufallen. Seine Zivilcourage war gleich Null.
Die darauf folgende Hippie-GenerationHippie-Generation war das diametrale Gegenteil, sie war laut und explizit, was den Zusammenprall der beiden Generationen um so schlimmer machte (siehe Generationenkonflikt).
signature song Tag
«Signature song» kann mit «Erkennungslied» übersetzt werden. Es ist das Lied im Katalog eines bekannten Acts, an dem man ihn erkennt, nein mehr, mit dem man ihn identifiziert. Ein markanter «signature song» enthält mehrere stilistische Kennzeichen, die den Act ausmachen, und er bildet die Essenz ihrer oder seiner künstlerischen Botschaft.
Hat eine Künstlerin oder ein Künstler einen solchen «Signature song», dann muss sie oder er ihn regelmässig darbieten. Das Publikum verlangt den Song bei jedem Konzert, was auch lästig werden kann. Die Kinks haben bei ihren Konzerten oft damit gespielt: Ray Davies spielte das intro zu Lola um das Publikum anzuheizen, brach diese Prozedur zwei bis drei Mal ab, um dann in der Zugabe den Song endlich zu spielen.
Es gibt Acts mit mehr als einem «signature song», z.B. Lynyrd Skynyrd: Sweet Home Alabama und Freebird. Es gibt Acts, die haben keinen wirklichen «signature song». Die Beatles haben zwar viele erfolgreiche Songs veröffentlicht, aber keiner von ihnen repräsentiert sie als Gruppe, möglicherweise weil ihre Musik zu viele stilistische Richtungen eingeschlagen hat. Sodann gibt es Songs, die für zwei Gruppen der «signature song» sind: «Venus» für Shocking Blue und Bananarama.
Berühmte «signature songs» sind:
– Over The Rainbow für Judy Garland
– My Way für Frank Sinatra
– What A Wonderful World von Louis Armstrong
– I Want It That Way von den Backstreet Boys
– Every Breath You Take von Police
Links
– Wikipedia: List of signature songs
– Signature songs (Webseite, die für Rock, Pop, R&B, Hip-Hop, Country solche Songs verzeichnet)
Shuffle Tag
Aus Blues und Jazz stammender ternärer Rhythmus, d.h. ein 4/4-Takt wird auf Triolen aufgebaut. Das führt zu verschiedenen Arten, wie der «ungerade» Shuffle notiert wird.
Der Shuffle kommt im Blues,, Boogie-Woogie, Rockabilly, Country, in Caribbeana, Hip-Hop und Electronica (dort oft als «Schaffel» bezeichnet) vor.
Beim Spielen ist der Shuffle eine Sache des Gefühls. Bei drum machines kann der Wert des ungeraden Schlags stufenlos verstellt werden.
Links
– Rob Brown: The 6 Shuffle Grooves That You Should Know! (Schlagzeug Lehrvideo) – dies zeigt den Purdie-Shuffle, Porcaro-Shuffle, Bonham-Shuffle, Gadd-Shuffle, Texas-Shuffle und Purdie-2-Shuffle.
Sexuelle Revolution Tag
Als «sexuelle Revolution» wird die Enttabuisierung der Sexualität in den 60er Jahren bezeichnet. Die Folgen der sexuellen Revolution sind, dass der öffentliche Diskurs über das Thema seither unverklemmter, toleranter geführt wird, dass verschiedene Arten der sexuellen Orientierung akzeptiert werden, dass den Frauen eine eigene Sexualität zugesprochen wird und dass der Diskurs frei von religiösen Moralvorstellungen geführt werden kann. An die Stelle der Religion ist die Psychologie getreten, die die mit der Sexualität verbundenen Themen und Fragen «wissenschaftlich» abhandelt.
Einflüsse
Die Antibabypille: «Die Pille» kam in den USA 1960 und in Deutschland 1961 auf den Markt. Anfangs verschrieben Ärzte sie nur an verheiratete Frauen, dann auch an Frauen mit Menstruationsbeschwerden. Durch die Antibabypille wurde die Lust von der Fortpflanzung getrennt, was der Sexuellen Revolution mächtig Vorschub leistete.
Sigmund Freuds Modell der psychosexuellen Entwicklung im Kindesalter: Die Unterdrückung der kindlichen Sexualität sei der wichtigste Faktor für die Entwicklung von Neurosen. Freuds Schüler/-innen gingen von dieser Theorie aus in verschiedene Richtungen. Eine kontroverse Theorie hat Wilhelm Reich vertreten, der die unterdrückte Sexualität als Ursache für den Totalitarismus im 20. Jahrhundert verantwortlich machte.
Die zwei Bücher des Zoologen Alfred Kinsey: Das sexuelle Verhalten des Mannes
(1948, deutsch: 1955) und Das sexuelle Verhalten der Frau
(1953, deutsch: 1954). Beide wurden unter dem Stichwort «Kinsey Report» diskutiert.
Setlist Tag
Die Setlist ist die Reihenfolge der Stücke bei einem Konzert. Bei den meisten Pop- und Rock-Konzerten steht die Setlist nicht von vornherein fest und wird zum Teil vor dem Konzert angepasst. Die Musiker*innen bringen meistens einen Zettel mit der Setlist mit auf die Bühne. Diese Zettel waren beliebte Sammelgegenstände von Fans. Zum Teil händigen die Musiker*innen sie am Ende des Konzerts den Fans aus und vor ihnen liegen.
Ein Programmheft ist dagegen ein gedrucktes Programm von einem Konzert oder Festival.
Quellen
– Setlist.fm – Setlist Wiki mit Auswertung, aus welchem Album ein Track stammt, und mit Links zu Youtube
Sessionmusiker*innen Tag
Der Begriff «Sidemen» wird zuweilen von dem der «Sessenmusiker*innen» abgehomen. Letztere sind weitgehend anonym und ertsere sind bekannt. Sidemen können seit 2000 in die Rock And Roll Hall Of Fame aufgenommen werden.
Septakkord Tag
Septakkorde verwenden gegenüber den üblichen Triaden einen weiteren vierten Ton. Der tiefste Ton heisst «Grundton» (engl. «Root»). Die anderen werden gezählt: dritter, fünfter, siebter Ton.
7 Arten
Es gibt sieben Arten, Dur- und Moll-Triaden mit diesem vierten Ton zu ergänzen: Dominantseptakkord in Dur (C7: c–e–g–b), grosser Septakkord in Dur (Cmaj7: c–e–g–h), Mollseptakkord (Cm7: c–es–g–b), Mollseptakkord mit großer Septime (Cm(maj7): c–es–g–h), halbverminderter Septakkord (Cmø: c–es–ges–b), verminderter Septakkord (C°7: c–es–ges–heses) bzw. übermäßiger Septakkord (C+7: c–e–gis–h).
Logisch kann das aus den vier Arten von Triaden hergeleitet werden (Dur, Moll, vermindert, übermässig), auf die jeweils eine vierte Note mit drei oder vier Halbtönen Abstand draufgesetzt wird. Das gäbe acht Permutationen, aber eine davon fällt weg: der übermässige Akkord mit grosser Terz, bei der der siebte Ton wieder ein C ist und damit die Qualität nicht verändert – so bleiben sieben.
Klassische vs. Moderne Musik
In der klassischen Musik werden Septakkorde als Spannungs-Akkord («tendency tone») verwendet, der auf die Triade aufgelöst wird. In der Modernen Musik hingegen werden Spannungs-Akkorde frei verwendet («frei» im Sinn: es gibt keine Notwendigkeit mehr, die Spannung im Akkord aufzulösen. Insbesondere der Jazz verlagert seine Musik gerne ins Feld dieses spannungsgeladenen Töne und baut aus ihnen seine Tonsprache auf.
Semiotik und Kommunikation Tag
Semiotik ist die Theorie der Zeichen und Kommunikation ist der Prozess mit dem Zeichen prozessiert werden. Für Musik relevant ist das Teilgebiet der Musiksemiotik.
Die Kommunikationstheorie bildet mit ihren Instanzen (Sender, Empfänger, Botschaft, Code, Kontext, Medium) die Grundlage des im Musikzimmer-Kabinett verwendeten Kategoriensystems in der Abteilung Systematische Musikwissenschaft.
Kommunikation nach Niklas Luhmann
Luhmann unterscheidet drei voneinander unabhängige Dimensionen, die durch ein Kommunikationsereignis konstituiert werden. «Unabhängig» heisst, man kann keine auf die jeweils anderen zurückführen:
a) die Sozialdimension: konstituiert soziale Differenzierung: Trennung von Produktion und Rezeption, Produktion und Konsum(ation)
b) die Sachdimension: konstituiert sachliche Differenzierung: Vielfalt, Variation im Feld von Code und Kontext
c) die Zeitdimension: konstituiert zeitliche Differenzierung: Geschichte, Wirkungsgeschichte, Innovation
Semanalyse nach Kristeva
Kristeva kritisiert die strukturale Semiotik («semiologie»), weil sie sich nicht mit dem individuellen Verlangen, Spiel oder Regelverstössen gegen den sozialen Code befassen könne. Die klassische Semiotik behandle das srechende Subjekt (den Autor, den oder die Künstler*in) als «transzendentales Ego», losgelöst von seiner Biografie, seinem Körper, seinem Unbewussten.
Kristeva moniert dagegen, dass das sprechende Subjekt ein geteiltes sei. Es bestehe zum einen aus einem Bewusstsein, das soziale Zwänge wie Familienstrukturen und Produktionsweisen enthält, und zum anderen aus einem Unbewussten, das aus biophysiologischen Prozessen besteht, die Freud als «Antriebe» bezeichnet hatte. Hier ist das Motiv erkennbar, Semiotik und Psychoanalyse zusammen zu denken. Dazu schlägt Kriteva eine Semanalyse vor, die die klassische Semiotik ablösen soll. Die Semanalyse fasst Bedeutung als einen bezeichnenden Prozess auf, statt als Zeichensystem. Sie unterscheidet Genotext und Phänotext, wobei der Genotext der Körper des biophysiologischen Prozesses ist, der durch den sozialen Code eingeschränkt wird. Der Genotext sei nicht auf das Sprachsystem reduzierbar und existiere innerhalb des Phänotextes, dem wahrnehmbaren Bedeutungssystem.
Links
– Wikipedia (de): Kommunikation
– Wikipedia (en): Communication
– Kristeva, Julia
Sekundärdominanten Tag
Die Folge Dominante => Tonika ist die Auflösung der grösstmöglichen Spannung in einer Tonleiter. Ein Musikstück, das harmonisch auf diese Weise abschliesst, befriedigt das Gehör. Eine Alternative ist, Sekundärdominanten zu verwenden, um den selben Effekt zu erreichen, wenn die Harmoniefolge auf irgendeinem Akkord «landen» soll. Dazu verwendet man den um eine Quinte tiefer liegenden Septakkord als Sekundärdominante und löst auf der Tonika auf.
Dasselbe gilt nicht nur für Kadenzen (Auflösungen), sondern für Harmoniefolgen. Soll eine Harmoniefolge von C zu Am gehen, kann man für das Am die Sekundärdominante suchen, also E7 und die Harmoniefolge C–E7–Am bilden, die sehr befriedigend klingt. Der wesentliche Punkt hier ist, dass jeder Ton einer Tonleiter (ausser der verminderten siebten Stufe) seine eigene Sekundärdominane hat.
In der Notenschrift sind Sekundärdominanten mit Versetzungszeichen geschrieben, da sie stets mit Tönen gebildet wird, die nicht der Grundtonleiter zugehören.
3 Qualitäten jeder Sekundärdominante (z.B. D7 => G)
1) der erste Akkord ist ein Dominant-Akkord, oft ein Dominantseptakkord
2) der Grundton des ersten Akkords ist immer eine perfekte Quinte über dem Zielakkord
3) die Sekundärdominante ist unumkehrbar, eine Einbahnstrasse: Man geht vom Dominant-Akkord zum Zielakkord, der innerhalb der Tonleiter liegt.
Schreibweise von Sekundärdominanten
Sekundärdominanten werden mit römischen Zahlen und einem Slash geschrieben, also z.B. «V/vi», was in C-Dur ein E-Akkord wäre. Hier gibt es eine Verwechslungsgefahr mit Slashakkorden, die deshalb nicht mit den römischen Zahlen geschrieben werden, sondern mit den Tönen, z.B. «C/E» (einC-Akkord mit einem E-Basston).
Sectional Verse Tag
Der «sectional verse» ist ein Teil eines Tin Pan Alley Songs, der der AABA Struktur mit ihren 32-Takten vorausgeht. Er ist üblicherweise 16 Takte lang und ist eine Ausdruck des Kontexts, des Hitergrunds des Lieds. Er setzt eine bestimmte Stimmung und wird meist mit einer Sprechstimme vorgetragen, die die Worte im Rubato vortragen.
Der «sectional Verse» wird in vielen Aufnahmen weggelassen. So beginnt White Christmas auf Platte mit dem A-Verse («I'm dreaming of a white Christmas»). Geschrieben wurde von Irving Berlin ein «sectional Verse», der lautet: «The sun is shining, the grass is green, The orange and palm trees sway, There's never been such a day In Beverly Hills, L.A, But it's December the twenty-fourth, And I am longing to be up North».
Screwball Comedy Tag
Die Screwball-Komödie ist ein typisches Filmgenre aus Hollywood, das Mitte der 1930er Jahre bis Anfang der 1940er Jahre einen Höhepunkt mit Filmen wie It Happened One Night
(1934) oder My Man Godfrey
(1936) erlebte. Der «Screwball» ist eine schräge Person, die während dem Verlauf des Films für Drama und Aufregung sorgt. Der Ausdruck stammt aus dem Baseball und bezeichnet einen angeschnittenen Ball, dessen Fluglinie unberechenbar ist.
Die Screwball-Komödie hatte ihren Höhepunkt zur Zeit der Weltwirtschaftskrise und war eskapistisch, aber auch konservativ. Der Screwball wird im Happy End immer gezähmt, kehrt ins private und häusliche Glück zurück oder kommt unter die Haube.
Abgelöst wurde die Screwball-Komödie in den 1940er Jahren vom Film Noir und vom Kriegsfilm.
Links
– Filmpodium Zürich: Screwball Comedy: Wohldosierter Wahnsinn
Schweizer Hitparade Tag
Die Schweizer Hitparade wird seit dem 2. Januar 1968 wöchentlich erhoben und am Radio ausgestrahlt. Für LPs gibt es seit 1983 eine Hitparade.
Die Hitparad bzw. «Bestseller auf dem Plattenteller» war 1968 die einzige Popsendung im Schweizer Radio. Sie dauerte eine halbe Stunde, so dass die meisten Titel nicht ausgespielt werden konnten. Erst 1975 wurde die Sendung auf eine Stunde verlängert. Nun konnten die Platten ausgespielt und vier Neuvorstellungen ausgestrahlt werden. Ab dem 2. April 1976 wurde die Sendung mit 15 Rängen präsentiert.
Der erste Moderator war Christoph Schwegler. Nach einem Jahr wurde er von Alexander Felix abgelöst. Auf diesen folgte Jürg Marquart bis 1975. Dann kam Urs Padel.
Querverweis
– Top Hits der Schweizer Hitparade
Links
– aktuelle Single Hitparade (hitparade.ch)
– aktuelle Album Hitparade (hitparade.ch)
– Single Jahreshitparade (hitparade.ch)
– Die erste Hitparade am 2. Januar 1968 (hitparade.ch)
– 50 Years Swiss Music Charts (3-D-App von D ONE & Hinderling Volkart, 2018) – dies die Übersicht
– Radiocharts (Offizielle Airplay-Charts ermittelt durch MusicTrace im Auftrag der IFPI Schweiz)
– Offizielle Schweizer Hitparade (IFPI Schweiz) und das Chartreglement (PDF, 211.2 KB)
Schlock Tag
Das yiddische Wort «shlak» bezeichnet Dinge, die gebraucht, verbraucht, defekt sind, wertlose, schäbige und geschmackslose Sachen. «shlak» bezeichnete aber auch Hehlerware. Auf die Musik angewendet: «Schlock Rock» oder «Schlock Music» ist formulaische Musik, die auf gestohlenen Ideen und einer Fliessbandproduktion beruht, eine Ansammlung von Klischees. Schlock ist das Gegenteil von cool.
Die unsterbliche Form von Schlock ist die Powerballade, die mit ihrer schamlos prätentiösen Opulenz ans Vulgäre grenzt.
Wie jedes abwertende ästhetische Urteil hat Schlock eine starke soziale Komponente. Schlock ist Musik, die von den falschen Leuten als gut befunden wird.
andere abwertende Bezeichnungen für Musik
ähnliche: Schmalz, Kitsch, «cheese»
andere: Camp
Links
– Jody Rosen: From Journey to Beyoncé: The 150 Greatest Schlock Songs Ever (Vulture, 27. Mai 2014)
Schlagzeug Tag
Ein Standard Schlagzeug besteht aus einer Basstrommel mit Fussmaschine, einer kleinen Trommel (engl. floor tom tom), einer kleinen oder Wirbeltrommel («snare drum»), zwei Tom-Toms, einem Hi-Hat und zwei verschiedenen Zimbeln («cymbals»)
Die Anordnung der Trommeln ist für Links- und Rechtshänder/-innen verschieden. Ringo Starr spielte allerdings als Linkshänder ein Schlagzeug in der Konfiguration für einen Rechtshänder.
Links
– Rolling Stone: 100 Greatest Drummers of All Time (31. März 2016)
Saus und Braus Tag
Eine von Bice Curiger kuratierte Ausstellung im Strauhof, Zürich, 1980. Diese Ausstellung wird oft im Zusammenhang mit den Opernhauskrawallen und Punk gesehen.
In der Ausstellung waren u.a. Peter Fischli und David Weiss mit ihrer «Wurstserie» zu sehen. Damals waren die beiden noch namenlos.
Satz Tag
«Satz» ist der Oberbegriff für die Verhältnisse der Stimmen innerhalb einer Komposition. Man unterscheidet primär zwischen Einstimmigkeit bzw. Monophonie (z.B. im gregorianischen Gesang) und Mehrstimmigkeit bzw. Polyphonie. Bei der Polyphonie kann man sekundär zwischen Homophonie und Herophonie unterscheiden. Ein homophoner Satz hat eine Hauptstimme, dem die anderen Stimmen zudienen. In einem heterophonen Satz hingegen bewegen sich die Stimmen unabhängig voneinander – nicht völlig frei, sondern mit gewissen Regeln aus der Harmonielehre, die machen, dass die Stimmen harmonisch sind (Bach: The Glenn Gould Edition: Partitas BWV 825-830; Preludes & Fugues).
Heterophone Musiktraditionen sind die arabische, persische, ostasiatische und türkische Kunstmusik, der Jazz (hier vor allem im Freejazz (wenn ein Thema von zwei Instrumenten zeitversetzt gespielt wird, aber auch in den frühen Marchingbands und dem Dixieland aus New Orleans), die «kakophone» Musik einer Fastnachtsmusik, im Irish Folk und in der europäoischen Kunstmusik nach der Barockzeit (die Anfänge sind bei (Johan Stamitz und die Wiener Klassik).
Der grösste Teil der westlichen Populären Musik ist homophon, d.h. die verscheidenen Stimmen unterstützen die Hauptstimme. Die verschiedenen Instrumente einer Band oder die Sektionen eines Orchesters unterstützen die Hauptstimme: den Gesang (und die Soli). Die Begleitstimmen gelten nicht als selbstständig. Sie tragen und unterstützen die Hauptstimme. Sie sind fast immer harmonisch, oft auch rhythmisch an die Hauptstimme gebunden. Der harmonisierende Begleitgesang ist zudem auch melodisch gebunden.
Verhältnisse zwischen Lead- und Begleitgesang
– Call and Response – Wechselgesang
– harmonisierender Begleitgesang, ein Sonderfall ist der Close Harmony Gesang, bei dem zwei Stimmen oft als eine wahrgenommen werden.
– kontrapunktischer Begleitgesang (God Only Knows)
Querverweise
– Kontrapunkt
Sardonismus Tag
Das Wort «sardonisch» bedeutet grimmig, boshaft, mit einem verzerrten Gesichtsausdruck, der zeigt, dass Sardoniker*innen keine Zyniker*innen sind, denn sie erheben sich nicht wie diese über die Welt und die anderen, sondern leidet selbst an ihr, sich selbst und den anderen.
Roger Waters als Sardoniker
Jean-Michel Guesdon und Philippe Margotin sprechen in Pink Floyd All the Songs: The Story Behind Every Track an drei Stellen vom Sardonismus, um Roger Waters' Texte zu charakterisieren, z.B. bei «Jugband Blues». Sie schreiben, wie viele andere Autoren, dass Pink Floyd eine Band des Gegensatzes zwischen süsser Musik und bitteren Texten («the saccharine and the sardonic») seien. Dieser Gegensatz hat sich zum Topos verfestigt und trieb einen Keil zwischen die Bandmitglieder und die Fans.
Das Werk von Pink Floyd ist voller Schreie (exemplarisch der markerschütternde «inhale scream» von Waters in Careful With That Axe, Eugene) und voller Lacher (exemplarisch das Lachen des Verrückten auf The Dark Side of the Moon – von Roadmanager Peter Watts). Diese Schreie und Lacher lassen sich als sardonsich charakterisieren. Emotionale Reaktionen auf die moralische Verdorbenheit der Welt. Die Schreie sind wehleidig, d.h. sie drücken ein Leiden des Erzählers mit aus. Sardonismus ist entweder ansteckend oder immunisierend: Entweder leiden wir empathisch mit oder aber wir können den Schmerz nicht ausstehen, blenden ihn aus.
Die früheste Spur für den Sardonismus von Waters ist der frühe Bandname: «The Screaming Abdabs» (dem Sinn nach: «Die schreienden Angstattacken»). Abdabs ist ein Wort, das nur im Plural vorkommt, es bedeutet extreme Gereiztheit oder Nervosität. In den USA kennt man den britischen Ausdruck «abdabs» als «heebie-jeebies». Andere Ausdrücke dafür sind «the creeps», «the willies», «the collywobbles». Die «Heebie-Jeebies» sind ein Songtitel im Jazz z.B. bei Louis Armstrong. Der Mann jedenfalls, der seine Band «The Screaming Abdabs» nannte, schrie und kreischte auch bei Pink Floyd noch immer. Er präsentiert sich in seinen Songs als ein Geplagter, der es versteht, andere anzustecken, falls sie willens sind, es und ihn auszuhalten.
Die Schreie und die unheimlichen Lacher im Werk von Pink Floyd können als Schreien und Lachen eines sardonsichen Erzählers gehört werden. Man fragt sich dabei, ob der Sardonismus eine Form der Tragik oder der Komödie sei. Tragödie und Komödie bezeichnen eine Form der Literatur (ursprünglich des Dramas). Plakativ: Tragisch ist, was im Tod, und komisch, was im Happy End endet. Die Tragödientheorie des Abendlandes besagt, dass Zuschauer*innen im Mitleiden mit den Figuren (oder dem Erzähler) eine Katharsis erleben. Katharsis heisst Reinigung. Wer sich mit dem schlimmstmöglichen Ausgang der Dinge befasst, wird geläutert und gestärkt aus dieser Erfahrung herausgehen.
Bei den Konzeptalben von Pink Floyd lässt sich eine Tendenz zum Happy End feststellen, obwohl über die grössten Teile des lyrischen Werks alles auf die Tragödie hinweist. Es sieht so aus, als würde die Geschichte im Tod, im Wahnsinn (TDSOTM, Wish You Were Here), im politischen Totalitarismus (Animals) oder mit dem Abwurf der Bombe (Final Cut) enden. Doch die Form des Schlusspunkts der epischen Werke von Waters ist ambivalent. Er reizt uns mit tragischen Vorstellungen, nimmt sie am Ende aber zurück. «Two Suns in The Sunset» von «Final Cut» scheint eine Ausnahme zu sein, aber – nein! – am Ende hört man eine Wetterprgnose für den kommenden Tag als wäre nichts geschehen.
Roger Waters Lyrics sind Zwangsgedanken und Mahnmale. Waters zeigt, was passiert, wenn es passiert. Er leidet, wir leiden, wir leiden an dem, was wir normalerweise wegschieben, woran wir nicht zu denken wagen.
Die Kategorie des Sardonismus bezeichnet nicht, wie das Ende ausgeht, sondern wie der Autor zum Werk bzw. der Erzähler zur Erzählung steht. Es ist eine pragmatische oder performative Kategorie. (Allerdings: Man liest den Sardonismus der Art der Erzählung und am Erzähler ab, wie man ihn aus dem Text rekonstruiert. Der Sardonismus ist doppelt bestimmt: Wir sagen: «Der Autor ist ein Sardoniker.» Aber wir sagen auch, der Text weist einen sardonsichen Erzähler auf. Streng genommen wissen wir nicht, ob der Autor eines sardonsichen Textes tatsächlich ein Sardoniker ist oder ob das eine Masche von ihm ist, eine Erzählstrategie.)
Vetreter*innen
– Roger Waters
– Jack Nicholson ist ein Schauspieler, der viele seiner Rollen als Sardoniker gespielt hat
Links
– Pink Floyd: Zynismus vs. Sardonismus (Privater Link)
San Francisco Oracle Tag
Auch unter dem Namen «The Oracle of the City of San Francisco» erschienene Untergrundzeitschrift. Von ihr kamen zwischen September 1966 und Februar 1968 12 Ausgaben heraus. Chefredakteur war Allen Cohen und Art Director Michael Bowen. Als Financiers fungierten die Headshop Besitzer Ron und Jay Thelin.
Im September 1966 kam die Zeitschrift noch als P.O. Frisco heraus – diese Ausgabe wird im Archiv als Null-Nummer geführt. Die Redaktoren der ersten beiden Nummern, die grafisch noch nicht sehr elaboriert sind. waren George Tsongas und John Bronson. Ab Nummer drei übernahm Allen Cohen und hatte den Posten bis zur zwölften und letzten Nummer inne.
Das Oracle enthielt Lyrik, psychedelische Grafik und Comix, thematisierte Spiritualität und das multikulturelle Leben in der Gegenkultur von Haight Ashbury. Es verband ausserdem die Untergrundkultur der Beat-Generation mit der der Hippie-Gegenkultur. Beat-Poeten wie Allen Ginsberg, Gary Snyder, Lawrence Ferlinghetti oder Michael McClure schrieben im Oracle.
Die Zeitschrift war ein frühes Mitglied des Underground Press Syndicates.
Sampling Tag
Als «Sampling» bezeichnet man eine Sequenz einer bestehenden Aufnahme, die in einer anderen Aufnahme oder einem DJ-Mix (hier auch: Edit) verwendet wird.
Die ersten analogen Samples wurden für Soundcollagen z.B. in der konkreten Musik verwendet.
Eine weitere Vorform des Samplings entstand im Turntablism, wo man mit mechanisch veränderten Schallplatten die Nadel zum Zurückspringen an die immer selbe Stelle zwang und so «Loops» erzeugte.
Sammlung - Sammeln - Sammler*in Tag
Sammeln bezeichnet als Verb das Auflesen, Pflücken, Zusammentragen von Dingen. Auf diese Weise hat sich der frühe Mensch als «Jäger und Sammler» seine Nahrung beschafft. Beim modernen Menschen heisst sammeln das mehr oder weniger systematische Zusammentragen von Gegenständen oder Informationen. Sammeln kann ein Hobby sein, aber auch eine ernstere Beschäftigung mit einem Gegenstandsbereich, über den die Sammlerin oder der Sammler ein Korpus zusammenträgt und möglicherweise auch das zugehörige Wissen. Sammeln ist eine kulturelle Praxis. Im besten Fall können Bestände aus privaten Sammlungen in Museen, Bibliotheken oder Archive überführt werden. Zuweilen aber gehen sie nach dem Tod oder dem Verlust von Interesse und Kraft verloren oder werden zerstreut.
In soziologischer Hinsicht interessiert beispielsweise, wer sammelt. Oft ist das Sammeln privilegierten Personen vorbehalten, weil nur sie über genügend Zeit und Geld verfügen, eine systematische Sammlung aufzubauen. Die weniger Privilegierten müssen mit Charme oder einer radikal individualistischen Perspektive überzeugen.
Das System als imaginärer Aspekt des Sammelns
Bedeutende Sammlungen sind nicht zufällig sondern mehr oder weniger systematisch zusammengetragen. Sie haben diese imaginäre Komponente, ein System, eine mehr oder weniger verborgene Ordnung, nach der sie entstehen. Manchmal entsteht diese Ordnung gerade durch die Sammlung selbst. Kaum eine Sammlung ist je komplett, aber eine bedeutende Sammlung vermag einen Hinweis auf die Totalität zu geben, eine Ahnung des Ganzen zu vermitteln.
Das Verhältnis von Sammler*in und Sammlung
Die Sammlung ist ein Besitz, verkörpert einen Wert. Sie ist ein Werk (allerdings nur unter Umständen auch im juristischen Sinn), das auf der Geschicklichkeit des Sammlers beruht: Er oder sie kennt die Quellen, die seltenen Stücke und ist geschickt genug, diese zu erhalten. So gesehen ist die Sammlung eine Funktion der sammelnden Person. Die Person wird aber auch die Funktion der Sammlung, weil die Sammlung sie gewissermassen übersteigt und Macht über sie oder ihn ausübt: Finanzielle und zeitliche Opfer, den Schmerz die vielen Stücke gar nicht angemessen geniessen und schätzen zu können, der Anflug von Sinnlosigkeit.
Motive des Sammelns
Warum sammeln jemand? Gibt es eine Motivation oder Veranlagung, die in Sammlerinnen und Sammlern angelegt ist? Oder ist es ein krankhafter Zwang? Ein umgeleiteter Machttrieb? Das Vorurteil lautet: Sammlungen sind Ersatzpartner*innen («Anybody had sex here recently? – No?»). Ist es eine Abhilfe gegen die Melancholie der Kontingenz? (So fragt die Zeitschrift Avenue, die ihre siebte Ausgabe dem Sammeln widmen wird.)
Der Status der Sammlung
Was ist eine Sammlung – Schatz- oder Grabkammer? Eine Anhäufung toter Dinge, die ihrem lebendigen Kontext entrissen wurden? Ein Mausoleum? Ein Abfallberg? Ein Anlagewert? Der Grundstein für ein Museum. Ein Versuch, sich Unsterblichkeit zu verschaffen, weil die Sammlung die Sammlerin oder den Sammler überlebt?
Der französisch-polnische Philosoph und Historiker Krzysztof Pomian hat 1988 Sammelgegenstände und Archivalien als Semiophoren bezeichnet, als Gegenstände, die von ihrem alltäglichen Gebrauchszusammenhang in einen anderen, musealen Zusammenhang überführt werden. Der museale Zusammenhang ist zeichenhaft oder wie die Grammatik einer eigenen Kunstsprache, die von der Kunst als Kunst oder von der Zeit als historischer berichtet bzw. zeugt.
Sammeln im digitalen Zeitalter
In Filesharing-Gemeinschaften hat Sammeln darin bestanden, hunderte oder tausende von Alben oder Songs herunter zu laden und als MP3 oder FLAC auf Festplatten und Netzwerkspeicher (NAS) zu packen. Das war meist mehr Musik als man hören konnte (siehe: Simon Reynolds, Retromania, 2011, p. 86ff. – Kapitel «Lost In The Shuffle» und zur Geschichte des Filesharings: Stephen Witt: How Music Got Free, 2015). Nun, im Zeitalter von Streaming kann man nur noch alte Formate sammeln, Tönträger oder Files. Streams kann man nicht besitzen, man kann sie nur in ein digitales Format wandeln.
Querverweise
– Excavated Shellac
Links
– Plattensüchtig (Blog zum Buch von Jürgen Schmich: PLATTENSÜCHTIG. 7 Interviews mit Schallplattensammlern plus Einführung. 2011)
Sacred Harp Singing Tag
«Sacred Harp Singing» der Titel eines amerikanischen Liederbuchs von 1844 mit 573 traditionellen Hymnen und solchen aus der Kolonialzeit. Die Noten sind in «Shape Notes» gedruckt; in einer Vier-Noten-Notation mit runden, rechteckigen, dreieckigen und rautenförmigen Notenköpfen. D.h. die Notation ist kein präzises Abbild des Gesangs, sondern sie bedarf der oralen Tradierung des Werks. Gesungen wird a-cappella und polyphon. Der Chor sitzt in einer quadratischen Anordnung.
Die vereinfachte Schreibweise der «Shape Notes» wurde entwickelt, um die aktive Teilnahme der Gläubigen beim Kirchengesang zu fördern. Beim Singen ist das Gemeinschaftsgefühl wichtiger als die Leistung. Bei einer Aufführung wird ein Lied oft zuerst in den vier Noten fa - so - la - mi vokalisiert, dann erst kommt der Text hinzu.
«Sacred Harp Singing» begann an der Ostküste und überlebte im amerikanischen Süden, während dem «Third Great Awakening» (1880–1910). In der Mitte des 20. Jahrhunderts haben Musikethnologen wie Alan Lomax «Sacred Harp Singing» aufgezeichnet und archiviert. Heute gibt es auch Chöre in Deutschland.
Name
Der Begriff «The Sacred Harp» stammt einerseits von der Harfe, die König David gespielt hat, als er die Psalmen sang, zum andern bedeutet der Ausdruck einfach «Stimme».
Querverweise
– Genre: Sacred-Harp-Singing
Links
– Christoph Wagner: In Zungen singen: die Tradition der «Sacred Harp»
(DRS2, 6. April 2012)
Rubato Tag
«Rubato» (italienisch für «gestohlene Zeit») bezeichnet die rhythmische Freiheit in der Aufführung bzw. im Spiel oder Gesang. Man kann noten schneller oder langsamer singen oder spielen. Im Gesang hat das mit der Phrasierung zu tun, kann aber auch ganze Strukturteile betreffen, die unterschiedlich schnell gesungen oder gespielt werden («Over The Rainbow»).
Das Rubato gibt es heute in der Popmusik eigentlich nicht mehr. In den 1970er Jahren hat man bei der Produktion im Studio begonnen, den Aufnahmen einen Clicktrack zu unterlegen, so dass alle Instrumente nach diesem metronomischen Click spielten. Heute bei der Musik, die aus Samples zusammengesetzt wird, ist ein einheitliches Tempo eine Selbstverständlichkeit. Ausnahmen gibt es nur wenige.
Tempi bleiben aber nicht überall immer gleich – zum Beispiel in einem Mix kann die oder der DJ das Tempo beschleunigen. Jede DJ-Software kann die Abspielgeschwindigkeit eines Tracks verändern, um ihn zum Beispiel an einen folgenden Track anzupassen.
Rubato als Spannung zwischen Stimme und Musik
Das Rubato kann auch als Spannung zwischen Stimme und Orchester eingesetzt werden. Dabei bleibt das Orchester im selben Tempo und die Sängerin oder der Sänger eilt vor oder schleicht hinten nach. Auch bei Solos im Jazz nennt man ein solches Vorauseilen: «drive» und ein Hintanhinken: «relaxed».
Rolling Thunder Revue Tag
Die «Rolling Thunder Revue» war eine von Bob Dylan angeführte Show, die in Nordamerika tourte und bei der eine Plethora von Wegbegleiterinnen und Wegbegleitern teilnahm:
Joan Baez, Ramblin’ Jack Elliott, Allen Ginsberg, Roger McGuinn oder Joni Mitchell, die in Kanada einen Gastauftritt hatte und sich der Show spontan anschloss. Dylans Begleitband ist dieselbe wie auf dem Desire Album, das in der Winterpause der Revue aufgenommen wurde: Scarlet Rivera (Violine), Rob Stoner (Bass), Howie Wyeth (Drums) und Mick Ronson (Gitarre). Hinzu kamen auch die Gitarristen T-Bone Burnett, David Mansfield und Steven Soles, die nach der Tour zusammen die Alpha Band gründeten. Dylans Road Manager Bob Neuwirth nannte die gesamte Band der Revue GUAM.
Die Revue, die als zirkusartige Varieté-Show konzipiert war, wurde über 50 Mal aufgeführt (die eine Hälfte der Shows im Rahmen der Herbsttournee 1975 und die andere während der Früjahrstournee 1976). Seit dem ominösen Motorradunfall im Sommer 1966 zog sich Bob Dylan vom Konzertbetrieb zurück (ähnlich wie die Beatles kurze Zeit zuvor). Zurück kam er erst 1974, als er mit der Band tourte, was auf dem Album Before The Flood dokumentiert ist. Diese «Rolling Thunder Revue» war die zweite Tournee des Musikers in den 1970er Jahren.
Bob Dylans Karriere befand sich während der Rolling Thunder Revue auf einem kreativen Höhepunkt. Scarlet Rivera sagte zur «Rolling Thunder Revue»: «[Dylan] war während diesen Konzerten elektrisierend, hatte grenzenlose Energie und eine unglaubliche Leistungsstärke. Als er ‹Along the Watchtower› sang, war es einfach fesselnd. Seine Worte waren wie Stakkato-Kugeln. [...] Es war eine so kraftvolle und magische Erfahrung. Wir erhielten weltweit unverschämte Kritiken und die Tour war eine riesige Sensation. Für mich wurde bestätigt, dass ich mit einem lebenden Genie zusammen war, auf der Ebene eines Shakespeares unserer Zeit. Einfach tiefgründig – produktiv und tiefgründig.»
Musikhistorisch passt die «Roilling Thunder Revue» nur beschränkt zum Corporate-Rock, der zu jender Zeit vorherrschte und grosse kommerzielle Erfolge einzufahren vermochte. Ästhetisch ist die «Rolling Thunder Revue» eher ein Rückgriff auf die Folkrock-Phase und die Hippiezeit (selbstverständlich ohne die Naivität von damals zu reproduzieren). Um als Corporate-Rock durchzugehen, müsste Dylans Musik in den Mittsiebzigern besser produziert sein. Auch live setzt sich diese Tournee von den Megaacts jener Zeit ab: Viele Konzerte finden in kleinen Konzertsälen an Orten statt, wo der Corporate-Rockzirkus nicht mehr vorbeikommt. Insofern fällt die «Rolling Thunder Revue» zur Geschichte hinaus und ist das Werk eines Künstlers mit einer eigenen künstlerischen Vision. Dazu gehört, dass Dylan und seine Mitmusker*innen teilweise weiss geschminkt (als Clown) oder mit Maske auf der Bühne erschienen. Das Motto lautete: Wer aus einer Maske spricht, offenbart die Wahrheit. Auf und vor allem hinter der Bühne herrschte teilweise ein chaosartiges Durcheinander, was nicht wundert, wenn so viele hochkarätige Künstlerinnen zusammen kommen.
Die Konzertreihe wurde vielseitig medial begleitet: Larry Sloman schrieb das Buch «On the Road with Bob Dylan» (1978). Sam Shepard und Dylan produzierten den Film Renaldo and Clara mit Konzertausschnitten aus der Revue. Netflix veröffentlichte 2019 die Dokufiction Rolling Thunder Revue. A Bob Dylan Story by Martin Scorsese.
Quellen
– Concertarchives: Bob Dylan's 1975 Concert History
– Ray Padgett: Rob Stoner's Guide to Guam (9.11.2020) – Padgett hat das Buch Pledging My Time: Conversations with Bob Dylan Band Members geschrieben
Rockoper Tag
Eine Rockoper ist ein Album, dessen Tracks eine ganze Geschichte erzählen. Die Reihenfolge der Tracks ist fest. Einzelne Tracks funktionieren auch losgelöst vom Ganzen, aber die Rockoper wird in der Regel integral aufgeführt.
Rockopern sind mit Konzeptalben verwandt. Von Rockoper ist nur die Rede, wo das Konzept auf der Bühne, als Musical oder im Film umgesetzt wurde.
Querverweise
– Musical
Rockism Tag
Rockismus ist die durchaus hegemoniale Einstellung von Fans und Musikkritiker/-innen, dass Musik besser (authentischer) ist, wenn jemand den Song selber schreibt und spielt, als wenn er produziert ist. Es ist auf eine kurze Formel gebracht die Ideologie, dass Rock die bessere Musik ist als Pop oder Tanzmusik (Disco bis Techno). Die entgegengesetzte Einstellung davon heisst Poptimism. Die Rockismus-Ideologie entstand und festigte sich im Rahmen von Classic Rock Zeitschriften wie dem Rolling Stone Magazine und dem Classic Rock Radio, also in der nostalgischen Rezeption der als Leitkultur längst überholten Rock-Musik der Hippie-Ära und der Verabsolutierung ihrer Ästhetik.
Die rassistischen Implikationen hat Jack Hamilton in Just Around Midnight herausgearbeitet. Der Rockismus anerkennt «schwarze» Musikerinnen und Musiker nur als unbewusste Wegbereiter für die heroischen und authentischen Leistungen weisser Musikerinnen und Musiker. Wenn eine weisse Musikerin einen Schritt in Richtung schwarze Musik macht, dann verliert sie nichts an Authentizität. Aber wenn eine schwarze Musikerin einen Schritt in Richtung weisse Musik macht, verliert sie ihre Authentizität.
Man kann über den Rockismus nichts Positives schreiben. Er ist so dumm, dass er ein leichter Gegner ist. Man muss vielleicht auch mal fragen, wem dieser leichte Gegner zur Steigerung der eigenen Position dient. Andererseits wurde und wird mit Rockismus ziemlich viel Geld umgesetzt. Doch wenn diese Wirtschaft dem Rassismus und der Diskriminierung Vorschub leistet, dann muss auch darauf hingewiesen werden.
Vergleiche auch Hippie-Ästhetik und Generation - Hippies.
Rock-Beat Tag
Ein Standard- oder 4/4-Takt mit Backbeat, d.h. Betonungen der unbetonten geraden Zählzeiten: eins – ZWEI – drei –VIER.
Der Rock-Beat war die Grundlage des Rock 'n' Rolls und der Beat Musik.
Auch Disco weist diesen Backbeat auf.
Vom «Backbeat» ist der «Offbeat» zu unterscheiden: Der Offbeat ist eine Variante des 2⁄4-Takts, bei dem die Positionen zwischen den Beats gespielt werden, z.B. das zweite oder vierte Achtel. Als «Doubletime-Offbeat» wird das gespielte 2., 4., 6. oder 8. Sechzehntel bezeichnet. «Offbeats» machen den Salsa, den Reggae oder Punk.
Rock Zirkus Tag
Als Rock Zirkus wird der Konzertbetrieb der erfolgreichen Rock Musik in den 70er Jahren bezeichnet. Die Bands tourten mit jeder neuen Platte und überboten sich teilweise mit immer aufwändigeren Bühnenshows.
Als erste haben vermutlich die Rolling Stones den Rock (als Rock and Roll) als Zirkus aufgeführt. Die TV-Produktion wurde aber nicht ausgestrahlt und kam erst in den 90er Jahren auf DVD heraus.
Alle erfolgreichen Rock Bands der 70er Jahre spielten in grossen Theatern in Hallen und Stadien. Dies waren Lokalitäten, die grosse Zuschauerzahlen erlaubte. Im Gegensatz zu Clubs waren diese Lokalitäten viel hierarchischer Strukturiert: Die Trennung von Bühne und Zuschauerraum war deutlich. Die Stars waren nict mehr zum greifen nah wie in einem Club.
Stilistisch spricht man bei dieser Art Rock von Arenarock. Der Wort «Arena» kommt aus dem semantischen Raum des Zirkus'.
Rock And Roll Hall Of Fame Tag
Die Rock And Roll Hall Of Fame war zuerst eine Stiftung, die 1983 durch Ahmet Ertegun (Atlantic Rec.), Suzan Evans (Juristin), Jann S. Werner (Rolling Stone Magazine), Allen Grubman (Anwalt), Seymour Stein (Sire Rec.), Bob Krasnow (Decca) und Noreen Woods ins Leben gerufen wurde. Die Hall of Fame erhielt 1995 in Cleveland, der Stadt wo Alan Freed als DJ den Begriff «Rock & Roll» bekannt machte, durch den Architekten I.M. Pei ein Zuhause. Das Gebäude beherbergt eine Bibliothek und ein Museum, das jährlich ca. 500'000 Besucher/-innen anzieht.
Die HoF führt jedes Jahr Musiker ein, die vor 25 oder mehr Jahren ihre erste Platte veröffentlicht haben. Die Festlichkeit findet in NYC im Waldorf-Astoria statt.
Als Institution zeichnet die R&RHoF seit 1986 jedes Jahr eine Gruppe von Personen aus, die sich um die Rockmusik verdient gemacht hat. Diese Personen werden in die Hall of Fame eingeführt. Das ist eine Art geadelt werden. Es gibt verschiedene Kategorien:
- Interpreten, das sind einzelne Musiker/-innen oder Formationen/Bands
- Non-Performer, Personen, die hinter der Bühne wirkten: Song-Autor/-innen, Produzenten, Manager/-innen, Executives, DJs, Journalist/-innen etc.
- Früher Einfluss, das sind Musiker/-innen, die bevor es Rock Musik gab, die Entstehung beeinflussten.
- Studiomusiker/Sidemen (seit 2000)
Listen und Verzeichnisse
– Rock And Roll Hall Of Fame: 500 Songs That Shaped Rock And Roll
– Wikipedia (en): Liste mit den Inductees
– Musikzimmer: Spreadsheet mit den Inductees
– Daves Music Database: Rock and Roll Hall of Fame Inductees, 1986-2020 (Dave Whitaker, 15. Januar 2020)
Rock als Revolte (RAR) Tag
Von Markus 'Punky' Kenner organisiertes Rockfestival auf dem Hönggerberg in Zürich und der Name der Gruppe, die als Organisationskomitee fungierte. Es waren Besetzungsaktivist*innen aus dem Schindlergut («Schigu»). Ihre Ziele waren, den urbanen Raum für nicht- oder wenig kommerzielle Konzertveranstaltungen einzunehmen und Kulturförderung auch für Rockmusik zu erwirken. Die Produktionsmittel (Studio, Labels ...) sollten im Besitz der Macher*innen sein. Sie forderten ausserdem, dass kommerzielle Konzertveranstalter wie Good News ihre Buchhaltung offen legen.
Links
– Markus 'Punky' Kenner: Rock als Revolte
Rock Album Tag
Das Rock Album wurde Mitte der 60er-Jahre zu einer der beiden zentralen Kunstform der Rockmusik, neben den Konzerten. Der Begriff «Rock Album» ist ein komplexer ästhetischer Begriff: In medialer Hinsicht bezeichnet er den Tonträger Langspielplatte (LP), den es vor der Rockmusik bereits gegeben hat, aber mit der Rockmusik ein Handelsgut mit einem gigantischen Markt wurde. In inhaltlicher Hinsicht ist ein Rock Album ein Album mit charakteristischer Abfolge von Songs (siehe unten: Sequenzierung).
Geschichte des Rock Albums
Vor dem Rock Album war ein Album eine Zusammenstellung von Titeln einer Interpretin oder eines Interpreten. Meistens waren Alben um einen oder zwei Hits herum gebaut. Nicht selten waren diese Hits die jeweils ersten Tracks der beiden Seiten der Vinyl Platte. Der Raum des Longplayer-Formats wurde ausgenutzt, indem die Hits mit Füllmaterial, Standardsongs, Coverversionen von Songs anderer Interpreten und derivativen Aufnahmen angereichert wurden. Der Fachausdruck für diese Art von Tracks lautet: «Filler». Als Gruppen wie die Beach Boys oder die Beatles damit begannen, LPs zu veröffentlichen, die ohne diese «Filler» auskamen, war das Rock Album geboren. (vergl.: Entstehung der Rock Musik.)
Zusammenhang der Tracks im Rock Album
Als Rockmusikerinnen und Rockmusiker begannen, Alben als Kunstwerke zu veröffentlichen, fanden sie Strategien, wie Songs zu einem Ganzen, dem Rock Album, zusammengestellt werden sollten. Zu diesen Strategien gehörten:
– Songs zu komponieren, die ein bestimmtes Thema behandeln (Thema-Album)
– Songs zu komponieren, die über die beiden LP-Seiten hinweg eine Geschichte erzählen oder eine Rockoper inszenieren (Konzeptalbum)
Epic Tracks
Rock Alben boten auch Platz für lange Stücke (siehe Stichwort: Epic Songs, die vielfach eine ganze LP-Seite füllten.
Intermedialität des Rock Albums
Inspiration für Konzeptalben suchten sich die Rock Songwriter in verschiedenen anderen Kunstformen wie Comix (Cheap Thrills), Radiosendung (The Who Sell Out), Vaudeville-, Music-Hall- oder Tingel-Tangel-Show (Sgt. Pepper), Singspiele wie Musical, Operette oder Oper (die Rockopern) oder Erzählung (Roman, Novelle).
Ein Rock Album ist eine Heterotopie (z.B. im Sinne Foucaults). Das Album ist ein Ort, an dem mehrere Songs versammelt sind, um etwas ganz anderes (das mehr ist als die Summe der Teile) zu ergeben. Umgekehrt haben einzelne Stücke eines Albums eine Art Eigenleben (als Single oder als Lieblingssongs beim Publikums), so dass der Song auch als Individuum konsumiert wird, dem Ganzen entrissen und vielleicht von vornherein bereits als solches Individuum konzipiert, dass in einzelnen Aspekten gar nicht richtig in das Ganze einer Rockoper passt. Bei Sgt. Pepper kann man sich fragen, wie der Track Within You Without You
hineinpasst. Mit der Heterotopie kann man der Frage einen Namen geben.
Auch zu den intermedialen Aspekten des Rock Albums zählt seine aufwändige grafische Gestaltung von Verpackung und teilweise Beilagen (siehe: Stichwort: Schallplattencover). Die visuelle Gestaltung von Rock Alben bildet die Konzepte, Erzählungen oder ihre Themen ab.
Alben und Singles
Erfolgreiche Bands wie die Beatles liessen trotz der neuen Ausrichtung auf Album-Veröffentlichungen nicht davon ab, weiterhin auch Singles zu veröffentlichen, die sich in den Hitparaden (Charts) behaupteten. In England blieben die Veröffentlichungen von Alben und von Singles lange zwei getrennte Dinge. Die meisten Singles der Beatles erschienen im Heimatland nicht auf ihren Alben und kamen auf dem Album Format erst 1972 mit dem roten und dem blauen Album heraus. In Amerika war die Veröffentlichungspolitik eine andere: Hier musste jedes Album die eine oder die zwei Singles enthalten, die ein Hit waren.
Einige progressive britische Rockbands verzichteten eine Zeit lang ganz auf die Veröffentlichung von Singles, z.B. Pink Floyd, Led Zeppelin, King Crimson oder Yes.
Das «Sequencing» der Tracks auf dem Album
Der erste Track, der «opener» oder Eröffnungstrack hat die Aufgabe, den Ton und die Agenda des Albums verständlich zu machen. Der erste Track muss sitzen, er ist nicht nur entscheidend, ob jemand weiter hört, sondern auch wie und was er oder sie dann hört! Der Opener kann explizit ein Intro-Track sein wie bei Sgt. Pepper
, der in das Thema oder Konzept des Albums einführt. Er kann die Single sein, um diese zu promoten, es kann ein Track sein, der verschiedene Songs im Album ankündigt, wie bei The Dark Side Of The Moon
. Im besten Fall macht der Opener klar, dass ein bestimmtes von erster Güte ist, ein immersives Hörerlebnis! Eine Playliste mit zehn epischen «Opening Tracks» hat die Redaktion von Treblezine zusammengestellt: 10 Epic Opening Tracks (Adam Blyweiss, Liam Green, Paul Pearson und Jeff Terich, 13. September 2018).
Die Sequenzierung der Songs auf einem Album zu überdenken unternimmt das Online Musikmagazin Treblezine: Unter der Rubrik Remake/Remodel werden dort klassische Alben neu sequenziert und Tracks werden weggelassen, die schwach sind, oder hinzugezogen, wenn sie aus der selben Epoche oder den selben Sessions stammen.
Der wirtschaftliche Erfolg der Rock Alben
In den 70er Jahren war die Kunstform «Rock Album» ein Industriestandard. Alben verkauften sich gut. In Amerika war die LP-Hitparade längst etabliert, allerdings zum Beispiel nicht in der Schweiz – trotz der Wichtigkeit der Alben am Gesamtumsatz der Musikindustrie. Megaseller spielten gigantische Summen ein, die ein Mehrfaches der Produktions- und Marketingkosten waren. Bald aber überholten die Produktionskosten bei erfolgreichen Bands wie den Eagles oder Fleetwood Mac die Einkünfte.
Links
– Chris Willman: The Album Isn’t Dead. Long Live The Long-Player (uDiscoverMusic, 12. Oktober 2019)
Roboter Tag
Roboter können singen: Sophia the Robot and Jimmy Sing a Duet of «Say Something» (Jimmy Fallon, 21. November 2018)
Wie gut Roboter tanzen können, zeigt das Video von Justin Timberlake.
Link
– Svetlana Efimova: Der ‚Roboter‘ wird 100. Über eine (nicht nur) literarische Utopie (Geschichte der Gegenwart, 24. Januar 2021)
Rhythmusgruppe Tag
Im engen Sinn besteht die Rhythmusgruppe einer Band oder eines Orchesters aus Bass- und Perkussionsinstrumenten, im weiteren Sinn wird die Begleitband einer Lead- oder Solostimme oder eines Lead- oder Soloinstruments als «Rhythmussection» bezeichnet.
Rhythmus und Metrum Tag
Der Takt (die Taktart) ist das, was in den Noten steht (sehr häufig ein 4/4-Takt, den man deshalb «Standardzeit» nennt). Man nennt den Takt auch die «Zählzeit», weil man 1-2-3-4 mitzählen kann.
Das «Metrum» oder der «Rhythmus» sodann besagt, mit welchem Muster ein ganzer Takt gefüllt ist und welche Noten betont, welche nicht betont sind.
Das «Tempo» besagt schliesslich, wie schnell eine Note oder ein Takt gespielt wird. In der notierten Musik kann ein Tempo vorgegeben sein. Die Begriffe dafür sind italienisch: Andante (mittleres Tempo), Allegro, Lento usw.
In Pop, Rock und Jazz dominiert heute der 4/4-Takt. Ebenfalls kommen 2⁄4-Takt, 3⁄4-Takt (siehe: Walzer), 6⁄4-Takt und 6⁄8-Takt häufig vor.
Es gibt Genres oder Gattungen mit vorgegebene Taktarten: Polka, Märsche und Ragtime im 2⁄4-Takt, Walzer, Scherzi, Menuette im 3⁄4-Takt, Mazurken, Barkarolen, Jigs, Tarantellas im 6⁄8-Takt und Madrigale, Motetten, Kantaten der Renaissance im 4/2- bzw. 3⁄2-Takt.
Afroamerikanische und afrokubanische Metren
Im Folgenden heisst «!» «betonter Akzent» und «.» unbetonter Akzent. Ausgehend vom europäischen Marsch (!. !. !. !. – zähle so: «EINS und ZWEI und DREI und VIER und») kehrte die afroamerikansiche Musik das Betonungsmuster um (.! .! .! .!). Statt dem Downbeat wurde nun der Up- oder Backbeat betont. Das kann man im Gospel (The Crucifixion of Christ), im Blues (Preachin' Blues (Up Jumped the Devil)) und im Ragtime (Maple Leaf Rag) hören. Im Ragtime spielt die linke Hand einen Walking Bass im europäischen Metrum und die rechte Hand betont den Backbeat. Die Musik fügt sich sozusagen in einem Zwischenraum ein. Zum einen hat das afrikanische Wurzeln, zum anderen kann es als Metapher für afroamerikanische Kultur gedacht werden: Sie muss sich in den Zwischenräumen einrichten, an den Orten, die die weisse Mainstreamkultur nicht schon besetzt hat. Der gerade Backbeat ist in Stücken wie Maybellene, London Calling, Preaching the Blues oder Mr. Tambourine Man zu hören.
Der Boogie-Woogie hat folgendes Betonungsmuster (!.. ... ..! ...). Das hört man bei Roll 'em Pete, House Of Blue Lights, Jailhouse Rock in den Verses)
Der Jazz machte aus dem geraden Beat den «Hot Jazz Four Step» (!!!!). Zu hören ist dieser bei Sing Sing Sing oder Flamin' Reeds and Screamin' Brass.
Der Swing hat folgendes Muster: (!.. !.! !.. !.!) z.B. bei Keep A-Knockin'. Der Swing Shuffle (!.! !.! !.! !.!) z.B. bei Blue Suede Shoes, Chicken-Shack Boogie.
In der Rock- (weisse Variante afroamerikanischer Musik) und Disco Musik verlagert sich das Betonungsmuster auf den Offbeat (.. !. .. !.). Hören kann mandas bereits im Gospel (The Lord's Gospel Train), im Rhytm 'n' Blues und Soul (Sweet Soul Music und im Rock (Anarchy in the U.K.).
Der Jazz-Backbeat tut etwas Ähnliches (... !.. ... !..) (The Hoeydripper, Shake, Rattle & Roll, The Wanderer).
Der karibbische Ska-Beat oder Shuffle Boogie (..! ..! ..! ..!).
Aus der Latin-Musik die Rhumba (!. .! .. !.) – zu hören bei Heat Wave oder Hound Dog –, die Habanera (!. .! .. !. .. !. !. ..) – zu hören in The Peanut Vendor – und der Mambo Shuffle (!.. ..! !.. !..) bei Chuck E.'s In Love.
Viele dieser Beispiele sind dem Booklet von The History Of Rhythm And Blues 1942-52 (2009) entnommen.
Links
Jonas Böker: Workshop: Shuffle Grooves auf dem Schlagzeug spielen lernen
Shuffle-Rhythmen von damals bis heute: vom Texas Shuffle bis zum Swag Beat (Bonedo, 8. August 2018)
– Drumset Fundamentals: Drum Grooves – grossartige Animation von grundlegenden Beats
Rhythm and Blues Charts Tag
Billboard Charts für afroamerikanische Mainstream-Musik.
Namensvarianten (Timeline)
1942 bis 10.2.1945: «Harlem Hit Parade» – Jukebox play
17.2.1945 bis 17.6.1957: «Race Records Juke Box» – Jukebox play
22.5.1948 bis 13.10.1958: «Race Record Best Sellers» – Plattenverkäufe
22.1.1955 bis 13.10.1958: «Race Record Jockeys» – Radio play
25.6.1949: Umbenennung aller drei Charts in «Rhythm and Blues Juke Box», «Rhythm and Blues Best Sellers» und «Rhythm and Blues Jockeys»
20.10.1958 bis 23.11.1963: «Hot Rhythm and Blues» – erste R&B Charts, die alle Konsumformen berücksichtigt (Radio, Jukebox, Plattenverkäufe)
30.11.1963 bis 23.1.1965: in dieser Zeit publizierte Billboard keine R&B Singles Chart. Der Grund war, dass sich der Pop Markt und der R&B Markt weitestgehend angeglichen hatten. Wer für statistische Zwecke Hitparadenplazierungen aus diesen 13 Monaten braucht, greift in der Regel zu den Cashbox Charts
30.1.1965 bs 16.8.1969: «Hot Rhythm and Blues»
23.8.1969 bis 7.7.1973: «Best Selling Soul Singles»
14.7.1973 bis 19.6.1982: «Hot Soul Singles»
26.6.1982 bis 10.1990: «Hot Black Singles»
10.1990 bis 1.1999: «Hot R&B Singles»
1.1999 bis 12.1999: «Hot R&B Singles & Tracks»
12.1999 bis 4.2005: «Hot R&B/Hip-Hop Singles & Tracks»
4.2005 bis heute: «Hot R&B/Hip-Hop Songs»
Begriff
Der Begriff «Rhythm and Blues» scheint Jerry Wexler vom Atlantic Label geprägt haben (zu einer Zeit als er noch als Journalist arbeitete). Als Begriff war «Rhythm and Blues» seit 1941 im Umlauf. Das Billboard Magazin benannte seine Hitparaden für Afroamericana ab 1949 mit «Rhythm and Blues».
«Race records»
Vor der Etablierung des Namens «Rhythm and Blues» hiess die Sparte in der Regel «race music». Mit der Umbenennung wurde ein per se rassistischer Begriff eliminiert. Als historischer Begriff bezeichnet «race records» die frühesten amerikanischen 78-rpm Schellackplatten mit afroamerikanischer Musik. Im grösseren Umfang fingen die Labels in den 1920er Jahren an, Schallplatten auch an eine afroamerikanische Käuferschaft abzusetzen: Blues, Tanzmusik, Spirituals, Gospel, Predigten, Comedy, Novelty, ... Während der Weltwirtschaftskrise und dem Zweiten Weltkrieg brach dieser neue Markt zusammen, um dann während der Zeit des Wirtschaftswunders wieder zu erwachen. Nun wurden Afroamericana nicht mehr nur an Afroamerikaner/-innen verkauft, sondern weisse Jugendliche begannen sich für diese Musik zu interessieren. Vermutlich wollte man mit der Begriffsänderung nicht nur den inhärenten Rassismus vermeiden, sondern eine Bezeichnung schaffen, mit der sich die neue Käuferschaft besser identifizieren konnte.
Querverweise
– US-R&B-Top-Hit
Links
– Paul Sexton: Rescued Soul: Billboard R&B Chart Returns With Temptations On Top (uDiscoverMusic, 30. Januar 2021)
Revue Tag
Die Revue ist eine populäre Kunstform, eine Theatershow, die eine Kombination von Musik, Tanz und Akrobatik aufführt. Revues waren vor allen Dingen ein visuelles Spektakel mit viel Tanz («chorus girls»). Eine Show erzählt keine übergreifenden Geschichte sondern steht unter einem Thema oder Motto, unter dem die verschiedenen Akte eine nur lose zusammenhängende Reihe mit Soloauftritten und Tanzensembles bilden.
Komponisten, die Songs für Revues schrieben, waren Victor Herbert, Irving Berlin oder Jerome Kern steuerten anfangs einzelne Songs bei. Zum ersten Mal vertonte Kern 1912 ein ganzes Stück («The Red Petticoat»). Ähnlich wie der Film war die Musical Comedy nicht so sehr ein Werk von Autoren als von Produzenten.
In den USA waren Revuen in den Jahren von 1900 bis 1920 beliebt: v.a. die Ziegfeld Follies oder die Revuen von George M. Cohan.
Im Deutschen bezeichnet «Revue» den Typ Show, der in einem Varieté aufgeführt wird (eine Nummernshow, eine Vaudeville Show).
Ende
Revuen haben sich erschöpft, als der Tonfilm aufkam.
Beispiele
– George Lederer's The Passing Show (1894)
– Florenz Ziegfeld Jr.: Ziegfeld Follies (ab 1907–1932)
Revival Tag
Ein Revival ist die «Wiederbelebung» eines alten Stils oder Genres.
Ein vergleichbarer Begriff ist «Retro-...» [Tag]. Im Gegensatz zu «Retro» bringt der Begriff «Revival» zum Ausdruck, dass etwas Altes nicht nur nostalgisch abgefeiert, sondern wiederbelebt wird. In musikhistorischer Hinsicht führen Revivals oft zu etwas Neuem. So ist Punk von einem Garagerock- und einem Powerpop-Revival vorbereitet worden.
Man kann bei den Revivalist/-innen verschiedene Typen unterscheiden, mindestens diese drei: Nostalgiker/-innen, Geschichtskorrigierer/-innen und Ästhetiker/-innen. Zu letzteren sind Leute zu zählen, die den Stil oder das Musikgenre perfekter machen als es je war.
Beispiele
– Rockabilly-Revival
– Ska-Revival
– Mod-Revival
– 80s-Revival
– Disco-Revival (im R'n'B
– Postpunk-Revival
Reverse Echo Tag
Als «Reverse Echo» wird ein spezifischer Effekt bezeichnet, bei dem das Echo und/oder Delay auf eine separate Spur aufgezeichnet und dann rückwärts wiedergegeben wird. Statt einen Nachhall erhält man dann ein vor- oder ein-hallen.
Reverb Tag
Nachhall ist, was man von einem Instrument indirekt durch Reflexionen der Schallwellen im Raum hört. Je grösser der Raum, desto länger der Nachhall.
Ursprünglich war Reverb auf Tonaufnahmen das Produkt des Studioraums. Um einen guten Klang zu erhalten baute man Tonstudios in alte Kirchen oder extra für diesen Zweck geschaffene Räume ein. Elektrische Instrumente benutzen oft Reverb-Effektgeräte, die den Nachhall künstlich erzeugen. Ursprünglich wurden für Effektgeräte Federn verwendet, dann Aluminiumplatten (EMT Plate-Reverb-Boxes ab 1957) oder in Studios Hallräume («echo chambers») eingerichtet. Seit den frühen 1980er Jahren kann Hall digital erzeugt und dabei alle Parameter kontrolliert werden. Seither wird ein psychoakustischen Raum um ein trocken aufgenommenes Instrument herum gelegt.
1981 kam mit der AMS RMX 16 die erste digitale Reverb
Querverweise
– Gated Reverb
– AMS RMX-16 Digital Reverb
Retro Tag
Als «Retro» als rückwärts gewandt oder retrograd gelten Musik oder Mode, wenn sie sich auf ältere Traditionen beruft oder die ältere Formensprache in den neueren Werken wiedererkannt wird. Im Unterschied zu «Vintage» ist Retro neu gemacht, während Vintage einfach noch da ist und in der selben Absicht wie Retro verwendet werden kann. Vintage kommt aus den Flohmärkten, Retro aus der Kulturindustrie.
Simon Reynolds bezeichnet die Populäre Musik nach dem Millenium als Retromanisch, verliebt in frühere Stile und Moden.
Laut Simon Reynolds wird der Begriff erst seit den 1980er Jahren gebraucht.
Links
– Michel Foucault: 'ANTI-RETRO' - Michel Foucault in interview (Onscenes, 11. April 2017, Original in Cahiers du Cinema 251, 2, July-August 1974) – hier kommt der Begriff im Sinn von Geschichtsrevision («rewriting of history» vor, nicht im Sinn von «recycling ideas»
– Simon Reynolds: the word «retro» (Retromania Blog, 15. März 2021)
Repetition Tag
Repetition in der Musik wird oft als Monoton wahrgenommen und daher als schlecht gewertet: Zum Beispiel Adorno hielt Repetition für infantil oder psychotisch. Tatsächlich aber liebt das Ohr bzw. der menschliche Hörapparat Wiederholungen, Texturen und Muster wie hörpsychologische Arbeiten erweisen. Repetition wurde von Elizabeth Hellmuth Margulis untersucht. Sie schrieb das Buch On Repeat: How Music Plays the Mind
. Sie testete Probanden mit der unrepetitiven Musik von Luciano Berio und dem selben editierten Musikstück, in dem sie Sequenzen wiederholte. Resultat: Leute mögen die Musik mehr, wenn Repetitionen vorkommen.
Links
– Collin Morris: Self-Similarity Matrices von Songs
– Collin Morris: 6 Weird Pop Songs, Visualized (14. März 2017)
– Webseite von Elizabeth Margulis
– Indiepedia: Repetitive Musik
Repertoire Tag
Als «Repertoire» (von lat. «repertorium») bezeichnet man eine Reihe von Werken, die
a) ein Oper- oder Theaterensemble innert kürzester Zeit oder sofort spielen kann
b) eine musikalische Formation (Orchester, Band, Solist) spielen kann
c) von einem Label oder Verlag zum Verkauf oder zur Verwertung bereit gehalten wird.
Der Begriff wie in a) und b) hat sich in den schönen künsten des 19. Jahrhunderts herausgebildet, um Repertoire-Ensembles und -Bands von solchen zu unterscheiden, die stets neue Werke einüben und aufführen. Von hier ging der Begriff weiter in die (Sozial-)Psychologie, wo das «Verhaltensrepertoire» die Verhaltens- und Handlungs-Optionen bezeichnet, die einer Person in einer bestimmten Situation zur Verfügung stehen.
Der «Repertoire»-Begriff in der Populären Musik wird oft synonym mit demjenigen des «Katalogs» verwendet. Aber es gibt einen feinen Unterschied: Labels veröffentlichen gedruckte Kataloge (siehe den Victor/Bluebird Katalog für 1943 oder den Columbia Katalog (PDF, Internet Archive). Diese Kataloge enthalten die lieferbaren Platten der Labels und damit verzeichnen bzw. enthalten sie das Repertoire der beiden Labels.
Remix Tag
Ein Remix ist ein andere Abmischung eines Songs oder Tracks. Remix bezeichnet sowohl das Verfahren bzw. den Prozess wie auch das Resultat, d.i. die neue von der Originalversion abweichende Version des Musiktitels.
Remixes kommen aus der Tanzmusik (Disco, Hip-Hop, Electronica, R'n'B), wo Titel anfangs in kurzen Radioversionen und in längeren DJ-Versionen für Discos und Clubs hergestellt wurden. Dabei geht es nicht nur um das zeitliche Verlängern eines Titels, sondern um das funktionale Zurichten für die Zwecke des Dancefloors.
Andere Anlässe für Remixing sind, alten Titeln einen neuen «polish» zu geben, d.h. sie stilistisch an neue Moden anzupassen.
Remix-Alben
Remix-Alben sind Alben mit Remixes. Hierbei lassen sich Compilations (Zusammenstellungen) von Remix Versionen verstehen oder auch ein Album, das in seiner Gesamtheit geremixt wurde (siehe z.B. Treblezine: 10 Essential Remixed Albums).
Remix als Verfahren
Remix wird oft auch auf aussermusikalische Gegenstände angewendet, wo bestehende Materialien in ihre Komponenten zerlegt und neu angeordnet werden. Wesentlich dabei ist, dass man im Remix das Original noch erkennt (etwa im Unterschied zu Lego-Bausteinen, mit denen sich alles bauen läst).
Querverweis
– Arrangement
– Edit
– Sampling
Links
– Treblezine: Revolutions Per Minute: A History of the Remix in 45 Songs (10. Mai 2021)
Rekontextualisierung Tag
Kategorie aus der Ästhetik. Wenn ein Werk oder Teile eines Werkes oder wenn ein Verfahren (Prozess) aus einem Kontext in einen anderen übertragen wird. Mit «Kontext» kann gemient sien: ein Aufführungsort, eine Aufführungspraxis, ein Genre, ...
reine Stimmung Tag
Stimmt man ein Instrument mit reinen Quinten (Saite im Verhältnis von 3:2) und reinen Terzen (Saite im Verhältnis von 5:4 und 6:5) erhält man eine reine Stimmung. Diese Stimmung geht nur auf für genau eine Tonleiter. Das Klavier mit seinen 12 Tönen pro Oktave wird in der Regel als Kompromiss gestimmt.
Musik, die für die reine Stimmung geschrieben wird, muss auf entsprechend gestimmten Instrumenten gespielt werden. Die Musik der Renaissance und des Barocks war üblicherweise auf rein gestimmten Instrumenten gespielt. Auch neuere Kompositionen von Harry Partch, La Monte Young oder Terry Riley werden mit rein gestimmten Instrumenten gespielt.
Rechnerische Begründung der Wolfsquinte
Wenn man eine Saite im Verhältnis 3:2 teilt, schwingt der kürzere Teil mit der dreifachen Frequenz und der längere Teil mit der 1,5-fachen Frequenz. Eine Saite, die in der ganzen Länge mit 262 Hz schwingt (C4), wird dann auf 393 Hz schwingen. Das Intervall zwischen den beiden Frequenzen ist die perfekte Quinte. Wenn man diese Operation nun 12 Mal ausführt, landet man wieder auf dem Grundton (die Frequenz ist für Menschen unhörbar: 33993 Hz). Wenn man die Saite hingegen sieben Mal halbiert (sieben Oktaven Erhöhung) kommt man auf 33536 Hz. Die Differenz zwischen den zwei Frequenzen (33536 kHz und 33993 kHz) ist ein Fehler, der zwischen verschiedenen Stimmungen entstehen kann. Dass man die Beispiel-Frequenz nicht hört, spielt dabei keine Rolle. Der Fehler entsteht auch im Bereich der hörbaren Frequenzen.
Andere Stimmungen
In der Barockzeit gab es immer neue Vorschläge zur Temperierung. Bis zum gleichstufig gestimmten Klavier gab es keine verbindliche Lösung. Temperierung zielt darauf ab, dass 1) möglichst alle häufig verwendeten Tonarten reine Terzen aufweisen und 2) der Quintenzirkel ohne Wolfsquinte geschlossen wird.
– pythagoreische Stimmung: diese hat man im Mittelalter verwendet. Hier waren die Oktaven, die Quinten und Quarten rein gestimmt, die große Terz jedoch nicht.
– mitteltönige Stimmung: in der Renaissance gebräuchliche Stimmung, die naturreine Terzen mit annähernd reinen Quinten verwendete. Hier entstand die sogenannte Wolfsquinte, die gegenüber der reinen Quinte stark verstimmt erscheint.
– wohltemperierte Stimmung: historische nichtgleichstufige Stimmungssysteme, die die mitteltönige Stimmung so erweiterten, dass alle Tonarten des Quintenzirkels spielbar wurden.
– gleichstufigen Stimmung: das ist der Kompromiss, der bei modernen Klavieren eingesetzt wird. Die Oktave ist in zwölf gleiche Halbtöne eingeteilt; Oktave, Quarte und Quinte sind genau, die Terzen hingegen klingen dadurch etwas rau.
Querverweise
– Genrediskografie: Mikrotonale Musik
Links
– Wikipedia: List of compositions in just intonation
– David Bennett Piano: Why all pianos and guitars are out of tune (temperament vs. just intonation) (12. September 2022)
Refrain Tag
Ein «Refrain» ist ein Teil eines «Verses», der Wiederholt wird. Der «Refrain» ist quasi eine strukturelle Frühform des «Chorus» (siehe Simple Verse-Chorus Form), aber eben nur eine Phrase, nicht ein eigenes Strukturelement. Typischerweise kommt der «Refrain» im Rahmen einer Simple Verse Form vor oder im Verse (A) einer AABA-Form.
Von «Refrain» spricht man auch im Orchester Pop, wo ein Orchester ein oder zwei Arrangements eines AABA-Songs spielt, bevor eine Vokalistin oder ein Vokalist, das Lied singt. Diesen Gesang nennt man «vocal refrain» oder «refrain».
Vorsicht: Der Terminus «Refrain» soll nicht mit dem des Chorus verwechselt werden! Die deutsche Sprache, die den Chorus «Refrain» (französisch ausgesprochen) nennt, ist hier ein falscher Freund! «Refrain» und «Chorus» sind beides Kehrreime, wo der ‹horus» ein eigenes Strukturelement darstellt, tut das der «refrain» gerade nicht. Historisch ist der eine möglicherweise aus dem anderen hervorgegangen.
Red Bull Music Academy Tag
Die Red Bull Music Academy ist ein Beispiel von Kultur-Sponsoring: Mit Workshops in verschiedenen Städten der Welt, mit Festivals und dem eigenen Schallplattenlabel werden Musiker/DJs unterstützt und Kunden an den Getränkehersteller gebunden.
Gegründet wurde die RBMA 1998 in Berlin. An einem Festival der RBMA finden Konzerte auf Bühnen und in Clubs statt, es werden Vorträge und Podiumsgespräche veranstaltet. In einem geschlossenen Teil des Festivals werden talentierte Musiker und DJs mit der Musikindustrie vernetzt. Neben dem jährlichen Event tritt der Sponsor
mit einem Online Magazin und einem Internet Radio auf.
Anfangs April 2019 verlautete, dass die Red Bull Music Academy geschlossen würde, da Yadastar und Red Bull, die beiden Sponsoren der Institution sich trennen (siehe: The Wire Blogpost vom 3. April 2019).
Links
– Red Bull Music Academy
– Zweikommasieben (Magazin): Kommentar in eigener Sache: Red Bull (24. Oktober 2018)
Recording Ban of 1942-44 Tag
Die grösste amerikanische Musiker*innen-Gewerkschaft, die American Federation of Musicians, verhängte am 1. August 1942 ein Aufnahmeverbot von Schallplatten. Dieser zwei Jahre dauernde Boykott sollte von den vier grossen Labels (Columbia, Decca, Capitol und Victor) grössere Royaltys erzwingen. Der Vorsitzende der Musikergewerkschaft in dieser Zeit hiess James Petrillo. Nach ihm wird der Boykott auch «Petrillo ban» genannt.
Die ersten Labels, die eine Einigung mit der Gewerkschaft einwilligten, waren Decca [USA] und Capitol. Dadurch konnten die Platten von z.B. Louis Jordan and his Tympany Five gespielt werden konnten. So mussten Columbia und RCA Victor einlenken.
Wirkungen
Eine Wirkung des Boykotts war, dass Vokalmusik nun populärer wurde als Swing-Bands. Das kam daher, dass Sänger/-innen nicht wie Instrumentalisten auf eine Mitgliedschaft in der AFM angewiesen waren, um an Engagements heranzukommen. Als die Musiker*innen die Labels boykottierten, griffen die Labels im grossen Stil nach Vokalgruppen: zum Beispiel nach Barbershop-Quartetten, Gesangs-Ensembles wie den Andrews Sisters und Vokalsolisten wie Frank Sinatra oder Perry Como. Die Instrumentalbegleitung musste während dem Streik durch einen Chor ersetzt werden. Paradoxerweise nahm das Publikum die Vokalmusik als neuen Trend auf. Der «Recording Ban» hatte zur Folge, dass Sänger*innen, vor allem Quartette und Crooner, die Swing-Orchester in der Popularität ablösten. Dieser Effekt sorgte natürlich für eine noch grössere Anspannung bei der Gewerkschaft.
Eine zweite Wirkung war, dass wegen dem Streik kaum Aufnahmen vom frühen Bebop existieren, der in diesen Jahren entstanden ist.
Eine dritte Wirkung war, dass in der Zeit des Streiks kleine unabhängige Labels entstanden sind, die Musiker*innen aufnahmen, die nicht gewerkschaftlich organisiert waren oder den Streik umgingen, indem sie unter Pseudonymen spielten. Solche Labels waren Savoy (gegründet: 1942) und Apollo (gegründet 1943).
Rebellion Tag
Le monde ne sera sauvé, s’il peut l’être, que par des insoumis.
Die Welt wird von den Rebellen gerettet, falls sie überhaupt gerettet werden kann.
André Gide
The revolt of each generation may differ in style and detail but is based on the same need: the escape from the family.
Die Rebellion jeder Generation mag in ihrer Art und im Detail verschieden sein ader hat die selbe Ursache: den Ausbruch aus der Familie.
George Melly
Rebellion heisst Widerstand einer oder mehrerer Personen gegen die herrschenden Verhältnisse, z.B. gegen die Staatsgewalt. Die Heftigkeit des Widerstands geht von der Manifestation des Dissens bis zur gewaltsamen und bewaffneten Widerstandsaktion. Hannah Arendt hat Revolution und Rebellion wie folgt unterschieden: Rebellion ziele auf Befreiung und Revolution auf die Gründung einer neuen freiheitlicheren Ordnung. Rebellion ist indes nicht notwendig auf Freiheit bezogen, sondern kann alte Verhältnisse wieder herstellen wollen.
David Riesmann: «Die Rebellion dieser Minderheitsgruppe [im Unterschied zu den Konsumenten, die der Mode folgen und indifferent sind gegen die kommerziellen Appelle und Verwertungsversuche der Industrie] könnte in einigen der folgenden Einstellungen gegenüber Popmusik zum Ausdruck kommen: einem Beharren auf strengen Urteilsstandards und Geschmack in einer relativistischen Kultur; eine Vorliebe für nichtkommerzielle, unbeworbene kleine Bands gegenüber Namensbands; die Entwicklung einer Privatsprache (sowie eines privaten Stils) und dann eine Flucht daraus, wenn die diese von der Mehrheitsgruppe übernommen wird; eine tiefe Abneigung gegen die Kommerzialisierung von Radio und Musikern. Andersdenkende Einstellungen zu Wettbewerb und Zusammenarbeit in unserer Kultur könnten sich in Gefühlen gegenüber Improvisation und kleinen „Combos“ widerspiegeln; Eine Wertschätzung für die Eigenart der Darbietung geht einher mit einer Abneigung gegenüber „Star“-Darstellern und dem Beharren darauf, dass die Improvisation ein von der Gruppe erzeugtes Phänomen sei.» (Listening to Popular Music. In: On Record).
Rebellen in der Literatur
Spartacus: Römischer Sklave und Gladiator, der in der Zeit der späten Römischen Republik einen Sklavenaufstand anführte. Nach einer gelungenen Flucht aus der Sklavenschule formiert Spartacus eine Armee, die durch das Römische Reich zieht und römische Armeen mehrere Male vernichtend schlägt. Erst nach etwa drei Jahren konnte Spartacus von Pompeius' Armee an die Strasse von Messina zurückgedrängt werden. Als die Rebellenarmee von dort nach Sizilien übersetzen wollte und dabei von kilikischen Piraten betrogen wurde, die mit dem Geld für die Überfahrt flüchteten, wurden sie in ihren Festungen ausgehungert und anschliessend im Jahr 71 v. Chr. vernichtend geschlagen.
Zahlreiche antike Autoren haben spärliche Berichte hinterlassen. Karl Marx machte in einem Brief an Friedrich Engels Spartakus zum kommunistischen Helden. Er sei der «wahre Vertreter des römischen Proletariats». Spartacus hat seinen Mitkämpfern den Besitz von Gold und Silber verboten (der russische Althistoriker A. W. Mischulin nannte das einen «Kommunismus der Konsumtion»). Ausserdem verbot Spartacus das Plündern und Morden bei der Bevölkerung. Essen und Waffen wurden gegen Geld erworben, womit sich die Rebellen beliebt machten.
Im 20. Jahrhundert wurde Spartacus zur politischen Symbolfigur. In der Zeit des Ersten Weltkriegs nannten sich die marxistischen Kriegsgegner aus der SPD um Rosa Luxemburg und Karl Liebknecht «Spartakusgruppe». Im November 1918 wurde daraus der «Spartakusbund» und am 1. Januar 1919 die Kommunistische Partei Deutschlands (KPD). Im Ostblock wurden viele Sportclubs nach Spartacus benannt (z.B. der Fussballverein «Spartak Moskau»).
Bearbeitungen des Stoffes gibt es zahlreiche: Im 18. und 19. Jahrhundert wurden Dramen von Lessing und Grillparzer entworfen. Arthur Koestler veröffentlichte 1939 einen Roman Die Gladiatoren
, in dem Gladiatoren gegen die staatliche Tyrannei aufstanden, sich aber selber tyrannisch zu organisieren. In Koestlers Parabel flossen Erfahrungen mit dem Stalinismus und dem spanischen Bürgerkrieg ein. Weitere Spartakus Romane erschienen 1933 von James Leslie Mitchell und 1952 von Howard Fast. Diesen Roman verfilmte Stanley Kubrick 1960 mit Kirk Douglas. Robert Dornhelm drehte 2004 eine TV-Adaption des Stoffs. Aram Chatschaturjan schrieb 1954 ein Ballett Spartakus
.
Willhelm Tell: Schweizer Freiheitskämpfer, der sich weigerte, Respekt vor der Autorität zu zeigen, dem Habsburger Landvogt Gessler. Gessler liess ihn verhaften und forderte ihn heraus, seine Kunst als Schütze zu beweisen. Tell musste mit der Armbrust einen Apfel vom Kopf seines Sohnes schiessen. Das gelang ihm. Gessler fragte Tell nach einem zweiten Pfeil, den er bereit gelegt hatte und dieser provoziert ihn gleich noch einmal: Der zweite Pfeil sei für ihn bestimmt gewesen, falls er mit dem ersten nicht getroffen und den Sohn verletzt oder getötet hätte. Gessler lässt nun Tell abführen und ins Gefängnis nach Küssnacht bringen. Auf der Überfahrt per Schiff, gelingt es Tell während eines Föhnsturmes vom Schiff zu springen. Er wartet an einer engen Stelle auf Gessler, der auf dem Landweg reist, und erschiesst ihn.
Datiert ist die Geschichte auf das Jahr 1307. 1507 wird sie als Legende im weissen Buch von Sarnen gedruckt und der Geschichtsschreiber Aegidius Tschudi nimmt sie 1550 in sein Chronicon Helveticum
auf. Von Tschudi stammt die Datierung aufs Jahr 1307. Melissantes (Johann Gottfried Gregorii) verbreitete die Geschichte in mehreren seiner seiner Geografiebücher aus den Jahren zwischen 1708 und 1729. Friedrich Schiller macht 1804 aus der Legende eines Rebellen einen idealistischen Freiheitshelden. 1818 druckten auch die Brüder Grimm die Sage von Tell in ihrer Sammlung mit Deutsche Sagen. Max Frisch schrieb 1971 eine Demontage des Nationalhelden: Wilhelm Tell für die Schule
.
Berühmte musikalische Bearbeitungen des Stoffs stammen von Gioachino Rossini (Oper, 1829) und von Johann Strauss (Wilhelm Tell-Galopp, Op. 29b).
In der Schweiz gehört die Legende zum gelebten Volksgut. Verschiedene Volkstheater führen Tell-Spiele auf, oft mit Beteiligung von Laien.
Robin Hood: Die historischen Wurzeln der Legende von Robin Hood sind umstritten. Vielleicht geht der Stoff auf die Bauernaufstände um 1381 zurück. Falls es Robin Hood gegeben hat, haben er und seine Taten eine lange und medial vielfältige literarische Tradition begründet: Bücher und Gedichte sind geschrieben worden, Theater aufgeführt, Filme gedreht, Trickfilme und Comix gezeichnet, Lieder gesungen. Sogar einen Themepark gibt es in Nottingham. Die Legende kommt in verschiedenen Motiven und Handlungsvarianten vor. Robin Hood ist ein angelsächsischer Rebell, der es mit der normannischen Aristokratie aufnimmt. Er beraubt die Reichen und verteilt die Beute unter den Armen. Ein Motiv ist die Romantisierung des Lebens abseits der Gesellschaft (vergleiche Outsider oder Outlaw). Dieses lustige Leben im Sherwood Forrest, dem Robin Hood und seine Merry Men frönen, greifen zum Beispiel die Hippie-Aktivisten Merry Pranksters in den 1960er Jahren wieder auf. Robin Hood ist selbst von edler Herkunft. Seine Taten zielen nicht etwa auf eine Reform der ständischen Gesellschaft, sondern auf die Wiederherstellung der gerechten und legitimen Herrschaft von König Richard, nachdem diese von Prinz John übernommen wurde.
Literarische Rebellen
Literarische Rebellen sind oft vielschichtiger als ihre historischen Vorbilder. Sie werden in den Erzählungen romantisiert, heroisiert oder als die moralisch überlegenen dargestellt. Rebellen kämpfen oft für eine höhere Gerechtigkeit, die dem geltenden Recht in die Quere kommt. Manche Rebellen wollen nicht nur die bestehende Ordnung in Frage stellen, sondern schaffen eine alternative Ordnung. Nicht immer kämpfen sie für eine progressive neue Ordnung. Zuweilen wollen sie eine alte Ordnung, die sie für legitimer halten, wieder herstellen. Ambivalent ist die Einstellung der Bevölkerung oder der Öffentlichkeit zu Rebellen. Wo diese sich mit der Obrigkeit identifiziert, macht sich der Rebell auch zum Feind des Volkes. Zuweilen aber gelten die Sympathien des Volkes dem Rebell, weil er mehr Mut zeigt, sich zu widersetzen als die Mehrheit. Rebellen, die in der modernen Gesellschaft medial aufbereitet werden, dienen als grossflächige Identifikationsfiguren.
Rebellenfiguren im 20. Jahrhundert
Prominente Rebellenfiguren waren
- – die Partisanen und Guerilleros,
- – der juvenile Rebell (auch «rebel without a cause»),
- – der gesellschaftliche Aussteiger und Verweigerer
Im Lauf des 20. Jahrhunderts verändert sich nicht nur die Figur der Rebellen, sondern die Rebellion als solche wird zusehends dem tatsächlichen Guerilla-Krieg entzogen und in eine rebellische Attitüde überführt. Rebellion ist bis in die 1950er Jahre mit dem persönlichen Engagement in einem Partisanenkrieg verbunden. Rebellion ist Engagement für und in einem Krieg plus Gesinnung als Voraussetzung dafür. Danach wird es mehr und mehr zu einer Attitüde von jungen Menschen, die nicht bereit sind, sich von der Gesellschaft sozialisieren und bändigen zu lassen. Der tatsächliche Guerillakrieg, wie er in der Dritten Welt weiterhin statt findet, wird dabei zur idealistischen Projektionsfläche für Krämpfe dieses unbändigen Ichs, das sich an der Gesellschaft und ihren Geboten und Verboten abarbeitet. Aus Kampf wird Krampf. Aus einem Opfer für eine Sache wird Lifestyle. Der Kampf des Rebellen seit den 1950er Jahren gilt vor allem einem als stark empfundenen Drucks zur Konformität. Politisch ist der Rebell ein Produkt des Kalten Krieges, der ein Gesinnungskrieg ist, und dessen Begleiterscheinungen, dem McCarthyismus und dem Konsumismus.
Querverweise
– Jugendkrawalle
Quellen
– Stephen Lowry: «Rebell». Eintrag in: Hans-Otto Hügel: Handbuch Populäre Kultur. Metzler, Stuttgart, 2003
Räuber Tag
Räuber sind beliebte Figuren der Populären Literatur.
Ein Beispiel ist Robin Hood, der Prototyp des edlen Räubers, der vom Volk als Held verklärt wird, weil er nicht ziellos agiert, sondern die Reichen, die Mächtigen bestiehlt und die Beute mithin unter den Bedürftigen verteilt.
Verwandt ist der Wegelagerer (engl. «Highwayman»), der Western bevölkert. In der Populären Musik nannte sich eine Country Supergruppe Highwaymen.
Rationalisierung Tag
Rationalisierung ist ein soziologischer Begriff, der die Richtung oder das Ziel der Entwicklung der modernen Gesellschaft (oder moderner Gesellschaften) bezeichnet. Die zunehmende Rationalität äussert sich in der Organisation von Bürokratie und Unternehmen, aber auch im Selbstverständnis des modernen Menschen, dessen Lebensführung von rationalen Prinzipien geleitet wird. Im Ganzen ist die Rationalisierung gegen traditionelle Orientierungen gerichtet. Der Wissenschaft kommt eine wichtige Rolle zu, traditionelle Einrichtungen durch rational begründbare zu verändern.
Links
Andreas Fasel: Rationalisierung (Eintrag im Historischen Wörterbuch der Schweiz, 28. Juli 2010)
Autorin/Autor:
Rate Your Music Tag
Die von Hossein Sharifi aus Seattle entwickelte Applikation «Rate Your Music» (RYM) enthält Informationen zu Alben, EPs, Singles, Videos und Bootlegs. Hinzu kommen ein Ratingsystem, das der Applikation den Namen gibt, und die Möglichkeit, dass Benutzer Rezensionen und Diskussionsbeiträge eingeben können. Dank der Zahl der Ratings und des Bewertungsdurchschnitts, lässt sich erahnen, wie wichtig und wie beleibt ein bestimmter Release ist.
RYM enthält weit über zwei Millionen Einträge zu Veröffentlichungen. Genauere Zahlen zeigt die deutsche Wikipedia.
Eine neue Version von RYM unter dem Namen Sonemic wird erscheinen, allerdings wurde der Beta-Release schon mehrere Male verschoben.
Veröffentlichungen im Musikzimmer enthalten, wenn möglich, einen Link zum Eintrag bei «Rate Your Music»
Links
–
Rassismus Tag
Rassismus ist die Ideologie, die davon ausgeht, dass Menschen verschieden weit entwickelt sind. Rassismus tritt oft als weisser Suprematismus auf, ist aber nicht darauf beschränkt. Es fällt auf, dass die Ideologie so tut, als würde sie von einer genetischen Anlage sprechen (sie suggeriert Naturgegebenheit), macht ihre Vorurteile aber in der Regel gerade nicht am Genotyp fest, sondern am Phänotyp. So lange der genaue Zusammenhang von Genen und Verhalten wissenschaftlich nicht besser geklärt ist, muss man jede Form von Rassismus als Vorurteil verstehen, das soziologisch statt biologisch zu erklären ist.
Links
– Christian Geulen: Rassismus ohne ‚Rassen‘. Über eine Ideologie und ihren scheinbaren Grundbegriff (Geschichte der Gegenwart, 5. Juli 2020) – Mit der Rassismus-Diskussion, die die Black Lives Matter Bewegung in Deutschland angestossen hat, wird gefordert, den Rassenbegriff aus dem Grundgesetz zu streichen. Der Artikel zweifelt am Zusammenhang zwischen dem Wort und dem Rassismus. Rassismus ist auch ohne das Wort «Rasse» möglich. Wesentlich und zureichend für die Verfassung ist, dass niemand bevorzugt oder benachteiligt behandelt werden darf.
Radiointro Tag
Songs, die mit dem Abstimmen eines Radios beginnen, sei es dass eine Station eingestellt wird oder nicht.
Radio 24 Tag
«Radio 24» ist der grösste private Radiosender der Schweiz. Eigentümerin ist die CH Media (ein Joint Venture der NZZ-Regionalmedien und der AZ Medien) und Geschäftsführer Florian Wanner.
Entstehungsgeschichte
«Radio 24» startete 1979 als spektakuläres Unternehmen eines unbequemen Journalisten, Roger Schawinski. Damals waren in der Schweiz keine Privatradios zugelassen. Die Schweizerische Rundfunkgesellschaft (SRG, heute: SRG SSR) betrieb Landessender in den drei am meisten verbreiteten Landessprachen der Schweiz. Im Lauf der 1970er Jahren kam es vermehrt zu Kritik am staatlichen Monopol und Piratensender begannen sporadisch lokale Sendungen auf Mittelwelle und UKW auszustrahlen. Die schweizerischen Post-, Telefon- und Telegrafenbetriebe (PTT) als zuständige staatliche Institution verfolgte die Radiopiraten mit Entschiedenheit, hob die Sender aus und bestrafte die Piraten teils drastisch. Betrieben wurden die Piratenradiostationen zum einen Teil von politisch motivierten Personen und Gruppen, deren Anliegen es war, Gegeninformation anzubieten und Minderheiten freien Zugang zum Medium Radio zu gewähren. Der andere Teil der Piraten kämpfte für die Zulassung von Privatradios in der Schweiz, vor allem weil sie und ihre zahlreichen Hörerinnen und Hörer mit den Sendeinhalten des Schweizer Radios unzufrieden waren. Der Hauptkritikpunkt war das fast vollständige Fehlen von zeitgenössischer Populärer Musik (damals Rock und Pop) bei allen staatlichen Programmen.
Roger Schawinski war der erste professionelle Journalist der Schweiz, der das Anliegen der Piratenradios aufnahm und auf eine neue politische und gesellschaftliche Ebene hob. Sein Kampf für die Einführung von Privatradios in der Schweiz sorgte mit einer Mischung von Radiopiraterie, systematischer Öffentlichkeitsarbeit und professioneller Organisation mit potenten Geldgebern im Hintergrund für den entscheidenden Druck, der dazu führte, dass der Bund 1982/83 eine Rundfunk-Verordnung erliess, in der neben der SRG auch 35 Privatradios zugelassen waren, darunter «Radio 24».
Die Radiopiraten vor Schawinski waren Hobbyfunker, Bastler und Musikfans. Von einem von ihnen übernahm er die Idee, aus Italien mit einer leistungsstarken Antenne zu senden. In Italien waren Privatradios seit 1976 zugelassen. Gebaut hat die Antenne auf dem Pizzo Groppera, 130 km von Zürich entfernt und jenseits der Alpen, ein Ingenieur, der auf Richtfunk spezialisiert war. Sein privater Einsatz für den Piratensender hat ihn seine Stelle bei der der «Brown, Boveri & Cie.» gekostet. So verfilzt war damals die Schweiz.
«Radio 24» nahm den Sendebetrieb im November 1979 auf. Die Studios waren in einer Wohnung in Cernobbio am Comersee untergebracht. Als Moderator/-innen machten sich Röbi Koller, Frank Baumann, Peter Baumann, Valeria Bruni, Christian Heeb und Roger Schawinski. Das Radio hatte von der ersten Stunde an viele Hörerinnen und Hörer. Es etablierte sozusagen auf Anhieb das damals für die Schweiz neue Modell vom Rundfunk als Begleitmedium.
Da die schweizerischen Behörden Druck auf die italienischen Kolleg/-innen machten (nicht nur wegen «Radio 24», sondern wegen diversen Grenzstationen, die von Italien ins Tessin hinein sendeten), wurde «Radio 24» mehrere Male geschlossen, was in der Schweiz viele Leute auf die Strasse brachte, um für die Sache von «Radio 24» zu protestieren. Der öffentliche Druck sorgte dafür, dass der Bund die Frage der Privatradios priorisierte.
Am 1. November 1983 konnte Radio 24 den Betrieb als anerkanntes Lokalradio aufnehmen.
Weitere Entwicklung
2001 verkaufte Roger Schawinski «Radio 24» an die Tamedia. Diese verkaufte es Ende 2011 an die BT Holding von Peter Wanner weiter. Im April 2018 übernahmen die AZ Medien «Radio 24», die wenige Monate später einen Joint Venture mit der NZZ-Mediengruppe einging.
Seit dem Sommer 2011 wird «Radio 24» auch über DAB+ ausgestrahlt.
Links
– Radio 24: Webseite
– Radio 24: Ein Radio mit Geschichte
– Gegenspieler: Radio 24 – Duel on the Pizzo Groppera (euscreen.eu, 1980)
Quintenzirkel Tag
Der Quintenzirkel stellt die 12 Töne wie auf einer Uhr im Abstand von Quinten dar. Im Quintenzirkel wird neben der Quintverwandtschaft ersichtlich, welche Dur- und Mol-Tonarten aus den selben Tönen bestehen, aus welchen diatonischen Tonleitern die westliche Musik besteht.
Historisch geht der Quintenzirkel auf den Russen Nikolay Diletsky zurück, der 1679 «Circle of fifths in Idea grammatikii musikiyskoy» veröffentlichte.
Was man dem Quintenzirkel entnehmen kann
– welche Dur- und Mol-Tonarten aus den selben Tönen bestehen (siehe oben)
– welche sechs (von sieben) Akkorden eine harmonische Tonleiterbilden: C-Dur und A-Moll sind benachbart mit F und D-Moll auf der linken sowie mit G und E-Moll auf der rechten Seite. Dies sind sechs von sieben Harmonien einer Tonleiter. Hat man die Akkorde eines Songs, sucht man auf dem Quintenzirkel die Gegend, wo diese Töne sich befinden und findet so rasch raus, um welche Tonleiter es sich handelt.
Punk Tag
Der Begriff «Punk» kann bezeichnen: a) ein Genre der Rockmusik, b) ein musikalisches Stilmittel, das andere Genres kolorieren kann (z.B. Cowpunk, d.i. Folk oder Country Musik, die mit einer Dringlichkeit oder der Attitüde von Punk vorgetragen wird) c) eine Subkultur bzw. ein Lebensstil, d) eine Lebenseinstellung (engl. «attitude»), die unter anderem darin besteht, bewusst ein Amateur oder eine Amateurin zu sein und Dinge auf persönliche Weise selber zu machen (siehe Do It Yourself ), auch Dinge neu zu erfinden und mit Traditionen zu brechen.
«Inflammable Summer of 76»
Punk hatte zwei Fackelträger. Die einen waren die Ramones, die die Musik von New York nach London, und die anderen die Sex Pistols, die sie von London nach Manchester brachte. Das Londoner Konzert der Ramones im Roundhouse, am 4. Juli 1976, wurde von ca. 2000 Personen besucht, von denen viele danach eine Punkband gründeten. Tim Peacock von uDiscoverMusic braucht als Begriff für die unmittelbare Wirkung der Musik das Verb «blitzkrieging» – angelehnt an den Song Blitzkrieg Bop (siehe Peacock, 2023). Als die Sex Pistols am 4. Juni 1976 (also ein Monat davor!!!) in Manchester auftraten hatten sie eine ähnliche Wirklung wie die Ramones. Es waren weniger als 50 Personen an diesem Gig und praktisch alle gründeten nach dem Konzert Bands oder waren in der Punk-Bewegung der Stadt involviert.
Quellen
– Tim Peacock: Atypical Girls: The Female Punks Who Fought For Equality (uDiscoverMusic, 8. März 2020)
– Tim Peacock: Hey! Ho! Let’s Go! Ramones Debut At The Roundhouse, July 4, 1976 (uDiscoverMusic, 4. Juli 2023)
– Jukebox History: The History of Proto-Punk (4. Januar 2023)
– Jukebox History: The History of 1970's Punk (18. Januar 2023)
– Jukebox History: How Post-Punk Saved Punk Rock (2. Januar 2024)
– Jukebox History: How New Wave Ruled The 1980's (24. März 2024)
Psychedelische Lightshow Tag
Psychedelische Lightshows waren ein Bestandteil des Rock-Konzert Formats. Entwickelt wurde diese Kunstform zum einen im New Yorker, zum anderen im San Franciscoer Untergrund. In Andy Warhols Factory wurde die Gruppe Velvet Underground und ihre damalige Sängerin Nico in ein Lichtmeer aus Diaprojektionen getaucht. Ihre Show von 1966 hiess Exploding Plastic Inevitable. Der Lichttechniker dieser Show war Danny Williams. Er entwickelte viele Techniken, die danach im psychedelischen Untergrund von San Francisco zur Standardpraxis wurden: lichtdurchlässige Emulsionen aus Öl- und Wasserfarbe zwischen Glaslinsen werden mittels Overheadprojektoren in den Raum geworfen.
Die Exploding Plastic Inevitable Show wurde am 27–29 Mai 1966 im Fillmore Auditorium in San Francisco aufgeführt. Danny Williams brachte eine Lightshow mit, die Stroboskope, Dia- und Filmprojektionen verwendete. Bill Graham baute solche Lichtshows dann regelmässig in seine Rock Konzerte im Fillmore West und Fillmore East ein (ab 1968). In San Francisco war vor allem die Gruppe, die sich «The Brotherhood of Light» nannte, verantwortlich für die Lightshows an psychedelischen Rock-Konzerten.
Vorläufer
Andere Vorläufer waren die Vortex Veranstaltungsreihe in San Francisco (zum Audio Dokument), die Expanded Cinema Experimente sowie die Projektionen von Seymour Locks zu Jazz-Musik. Locks erfand die Technologie der «Liquid Projection», wobei eine Lichtprojektion durch Glasbehälter geführt wird, in dem sich verschiedenfarbige nicht mischbare Flüssigkeiten wie Öle und Tinten befinden. Locks' Schüler, Elias Romero, arbeitete in Los Angeles und später in San Francisco mit Bill Ham und Anthony Martin zusammen. Bill Ham war Lichtkünstler für Chet Helms, als er im April 1966 den Avalon Ballroom eröffnete.
Akteure
Ab 1966 entstanden mehrere Lightshow-Kollektive in der Bay Area, z. B. Headlights (Glenn McKay und Jerry Abrams), die North American Ibis Alchemical Company (Ben Van Meter) oder Holy See. In Los Angeles war es die Single Wing Turquoise Bird, die später zu einem improvisierenden Multimedia-Ensemble wurde. In New York waren es die bereits genannte Exploding Plastic Inevitable im Kreis von Andy Warhols Factory, sowie die Joshua Light Show bei Konzerten in Bill Grahams Fillmore East.
Nach Europa brachten die se Art von Lichtkunst die Amerikaner Joel und Toni Brown. Sie arbeiteten mit Pink Floyd zusammen. Pink Floyd arbeiteten später mit Peter Wynne-Wilson zusammen, der mit «Liquid Projections» schaffte, Soft Machine mit Joan Hills und Mark Boyle, die seit 1963 Film- und Dias projizierten und später als Sensual Laboratory auftraten. Gustav Metzger arbeitete 1965 an seiner «Liquid-Crystal-Show» und visualisierte wenige Auftritte von Cream und The Who. Weitere Londoner Lightshow-Kollektive waren Amoeba Lightshow, Electric Light Garden, Five Acre Lights, Krishna Lights oder Crystalleum Lightshow. Als wichtiges Ereignis gilt die Konzert- und Lichtshow-Veranstaltung «14 Hour Technicolor Dream» im Alexandra Palace, wo am 29. April 1967 70 Acts auftraten (zur kurzen Feature-Film Doku und zum Doku-Film A Technicolor Dream von 2008).
Links
– Webseite von The Brotherhood Of Light
– See this Sound: Joshua Light Show (Fillmore East)
– David E. James: Lightshows und Multimedia-Shows (See This Sound)
Psychedelia Tag
«[LSD] users also talked about a transfigured view of the everyday world and a sense that time was elastic. These feelings could be evoked—onstage, but even more effectively in the recording studio—with circular, mandala-like song structures; sustained or droning melodies; altered and effected instrumental sounds; reverb, echoes, and tape delays that created a sense of space, and layered mixes that rewarded repeated listening by revealing new and mysterious elements. The presence of all or any one of these sounds became enough to earn a piece of music the label ‹ psychedelic.›»
Psychedelisch/Psychedelia (engl. Fachtermini, die abgeleitet sind von griech.: die Seele offenbarend) steht als Begriff für einzelne oder die Gesamtheit der Praktiken, mit der man, mittels LSD, Meskalin oder Psilocybin eine Bewusstseinsveränderung bzw. Bewusstseinserweiterung erreichen kann. Das Wort «psychedelic» hat der englische Psychiater Humphrey Osmond 1956 in seinem berühmten Ausspruch geprägt: «To fathom hell or soar angelic, just take a pinch of psychedelic» («Um die Hölle zu ergründen oder wie ein Engel aufzusteigen, nimm eine Prise Psychedelik»). Osmond untersuchte den Zusammenhang von LSD-Rausch und Psychose und postulierte anfangs die Hypothese, dass die Wirkung von LSD «psychotomimetisch» sei, also eine Psychose nachahme. Er tauschte sich mit dem Schriftsteller Aldous Huxley über die Möglichkeit aus, dass LSD auch eine religiöse Erfahrung vermitteln könne. Beide räumten dies ein. Daher brauchte Osmond einen neuen, positiveren Begriff für «psychotomimetisch» und verwendete fortan «psychedelic» («psychedelisch»), von deloun/delos (griech.): offenbaren, sichbar.
Psychedelia in der Gegenkultur der 60er Jahre
In der Gegenkultur der 60er Jahre tauchte Psychedelik zum ersten Mal in einem populärkulturellen Zusammenhang auf, als die Merry Pranksters, die Künstlergruppe um den Schriftsteller Ken Kesey zuerst in San Francisco und Los Angeles Experimente mit LSD veranstalteten (siehe Acid Tests). Ihr klandestines LSD wurde von Owsley Stanley produziert, einer der wichtigsten Figuren der Gegenkultur Kaliforniens. Die Musik der Zeit trat in eine psychedelische Phase ein: Es gab Psychedelischen Folk, Psychedelischen Folkrock und Psychedelischen Bluesrock, Psychedelicpop, Psychedelicsoul. Die psychedelische Musik von damals wurde vermutlich nur zum Teil im LSD-Rausch eingespielt. Notorisch für ihre Trip-Konzerte waren allerdings Grateful Dead. Und interessant, wenn auch keine musikalische Offenbarung, ist der posthume Release von LSD Underground 12, bei dessen Einspielung alle Musiker auf einem Trip gewesen sein sollen.
Merkmale psychedelischer Kunst
Visuelle Psychedelische Kunst drückt mit grellen Farben und verlaufenden oder sich bewegenden Formen Merkmale der veränderten Wahrnehmung im Rauschzustand aus. Diese Kunst hat die Funktion zu dokumentieren aber auch den Rauschzustand mit anregenden Stimuli zu begleiten.
Die psychedelische Musik zeichnet sich aus durch klangverändernde Soundeffekte (Gitarreneffekte wie Fuzz, Phaser, Wah-Wah, Flanger). Fremdländische oder ungewohnte Instrumente waren an der Tagesordung (Sitar und Tablas). Elektronische Soundeffekte, die im Studio produziert wurden: Tonbandaufnahmen mit falscher Geschwindigkeit oder rückwärts laufend. Paning-Effekte, die eine Schallquelle im Raum bewegten. Die musikalische Form hatte eine Tendenz zur Länge, weil man mit der Musik den Drogentrip begleiten (nicht unterbrechen) wollte.
Mit der psychedelischen Kultur kam die psychedelische Plakatkunst und der psychedelische Film.
Geschichte der Psychedelia
Jede Zeit, in der das Psychedelische eine Rolle spielt, bringt eine eigene psychedelische Kultur hervor – und sei es eine Retrokultur. Das erste Revival entstand in den 80er Jahren (siehe: Neo-Psychedelicrock Spartendiskografie). Sludgemetal hatte Affinitäten zur Psychedelik, Goa-Trance bezog sich in der Elektronischen Tanzmusik auf die Hippiekultur der 60er Jahre. Die Musiker/-innen des Freakfolk und speziell das Psychfolk-Revival der Nuller Jahre (siehe: Psychfolk Stildiskografie) waren ihrerseits besessen von vergessen gegangener psychedelischer Musik aus den Endsechzigern und Frühsiebzigern.
Listen mit psychedelischer Musik
– Richard Morton Jack: Psychedelia. 101 Iconic Underground Rock Albums 1966–1970
– Richard Morton Jack: Psychedelia. 30 Great Psychedelic Singles – US, UK, Europe
– Treblezine: Treble’s Top 50 Psychedelic Albums
– Mojo: Psychedelia US
– Mojo: Psychedelia UK
– Mojo: 50 Most Out There Albums - Psychedelia, Outsiders & Visionäre
– Fact Magazine: 20 Best: UK Psych Records Ever Made
– Musikzimmer: Thematische Songsammlung: Angst und andere psychische Zustände
Ausgewählte Compilations mit psychedelischer Musik
– V.A.: Let's Go Down And Blow Our Minds: The British Psychedelic Sounds Of 1967. Cherry Red CRSEGBOX 033, Grapefruit Records CRSEGBOX 033. 3 CD Box, Genre-Comp., 2016.
– V.A.: Hallucinations: Psychedelic Pop Nuggets From The WEA Vaults. Rhino RHM2 7821. Genre-Comp., 2004.
– V.A.: Children Of Nuggets: Original Artifacts From The Second Psychedelic Era. Rhino R2 74639. 4 CD Box Genre-Comp., 2005.
– V.A.: The Golden Apples Of The Sun. Bastet 01. Genre-Comp., 2004.
Psychedelische Genres
– Rock - Poprock - Psychedelicpoprock
– Rock - Bluesrock - Psychedelicbluesrock
– Rock - Folkrock - Psychedelicfolkrock
– Rock - Rock - Neo-Americana - Acidrock
– Alternativerock - Neo-Psychedelicrock - Paisleyunderground
– Post-Millennial-Music - Psychedelia
Links
– Oregano Rathbone: So What Is Psychedelic Rock? (uDiscoverMusic, 2. Juli 2020)
Psalter Tag
Der Psalter ist ein Buch im Alten Testaments, das 150 Bitt-, Klage-, Lob- und Dank-Gesänge enthält – Text, keine Musik. Das Buch wurde im Mittelalter König David zugeschrieben, aber die Texte stammen wohl von verscheidenen Autor*innen. Die Forschung erblickte in den Psalmen Kultgesänge im Jerusalemer Tempel. Als Psalter wird auch ein Intstrument bezeichnet, das eine trapezförmige oder dreieckige Zither ohne Griffbrett ist.
Die christliche Tradition hat diese jüdischen Texte adaptiert. Dabei wurde «der Psalter zur wichtigsten Christusprophetie des Alten Testaments umgedeutet» und «die Dreiteilung des Psalters in drei Gruppen von je 50 Psalmen als Hinweis auf die christliche Trinität betrachtet» (beide Zitate Ganz, 2021). In Klöstern wurden Psalmen entsprechend ihrer Interpretation als Kultgesänge zu allen Tageszeiten gesungen, mit dem Ziel, den gesamten Psalter ein Mal in der Woche durch zu exerzieren. Ausserhalb von Klöstern wurde der Psalter vorwiegend als ein privater Meditationstext gebraucht. Im 12. Jahrhundert wurde der Psalter vom Stundengebet im Kloster zum privaten Gebetbuch der aristokratischen Oberschicht. In dieser Zeit wurden für adlige Frauen Prachtpsalterien geschaffen, handgeschrieben und reich illustrierte («illuminierte») Bücher mit den Psalmen. Einer der bekanntesten dieser Prachtpsalterien ist der Bamberger Psalter. Ab etwa 1300 wurde der Psalter als privates Gebetbuch zunehmend vom Stundenbuch abgelöst. Im Protestantismus, z.B. in Genf, wo im späten 16. Jahrhundert der Grossteil der Bevölkerung lesen konnte, waren private Liedpsalter im Umlauf. Sie waren günstiger als ganze Bibeln und folglich in vielen Haushalten zu finden.
Die verlorene Musik
Ursprünglich wurden Psalmen begleitet von Psaltern oder von Harfen. Diese Musik lässt sich nicht rekonstruieren, weil die Quellen fehlen. Moderne Vertonungen existieren als Kirchenlieder, liturgische Gesänge und Psalmodien (Vertonung aller Psalmen).
Querverweis
– Sacred Harp Singing
Links
David Ganz: Psalter (UZH, Bildglossar für die Kunst des Mittelalters, 2021)
Protestantismus Tag
Der Protestantismus kam im 16. Jahrhundert in Deutschland (Kurfürstentum Sachsen), in der Schweiz (in Zürich mit Zwingli und Genf mit Calvin), in Frankeich (mit den Hugenotten) und in England (verschiedene freikirchliche Strömungen wie die Täufer und Mennoniten, die Kongregationalisten, die Baptisten, die Quäker, Methodisten und später die Pfingstkirchen sowie die Charismatische Bewegung) auf. Man lehnte sich auf gegen Praktiken und Machtansprüchen der römisch-katholischen Kirche, die sich an der Spitze einer fixen (Gott-gegebenen) Weltordnung sah. Im Gegensatz zum Katholizismus vermittelte der Protestantismus dem gläubigen Menschen die Gewissheit, «dass ein ewiges Leben nach dem Tod durch tatkräftige Eingriffe ins irdische Leben erreichbar sei. Hier und jetzt – so die Botschaft – können die Menschen zur Entfaltung des Reichs Gottes beitragen. Sie sind den Geschicken des Weltlaufs also nicht einfach ausgeliefert, sondern können handelnd eingreifen» (vergleiche: Siegenthale, 2019). Der neue Glaube setzte auch auf eine Priesterschaft der Gläubigen, statt auf einen Priesterstand, inaugurierte die Hoheit des Glaubens über die «gute Tat» («sola fide») sowie der Bibel in Glaubensfragen («sola scriptura»).
Einfluss
Der Protestantismus hatte einen Einfluss auf freies Unternehmertum, Kapitalismus und Bildung. Es war unter anderen der Soziologe Max Weber, der in seinem Aufsatz von 1905 «Die protestantische Ethik und der Geist des Kapitalismus» einen Zusammenhang von Protestantismus und Kapitalbesitz bzw. Unternehmertum festgestellt hat. Dennoch ist es heikel, aus dem statistischen Zusammenhang eine Kausalität abzuleiten. Die Renaissance in Italien hat freies Unternehmertum im katholischen Italien hervorgebracht. Damit sind weder der Kapitalismus, noch die ihm entsprechende unternehmerische Mentalität exklusiv protestantische Errungenschaften. Ein weiterer Faktor, der den Protestantismus erfolgreich machte, lässt sich vom «sola scriptura» Grundsatz herleiten: Jede und jeder Gläubige muss die Bibel lesen können. Der Protestantismus stand daher der breiten Bildung sehr positiv gegenüber. Das gilt im Islam aber auch, ohne dass der Islam ein freies Unternehmertum hervorgebracht hätte. Mit singulären Faktoren bzw. monokausalen Erklärungen kommt man nicht zum Ziel, den von Max Weber postulierten Zusammenhang schlüssig nachzuweisen.
Wichtige Reformatoren
– Jan Hus (Böhmen) – siehe Wikipedia
– Martin Luther (Wittenberg) – siehe Wikipedia
– Philipp Melanchthon (Wittenberg, Evangelisch-lutherische Kirchen) – siehe Wikipedia
– Ulrich Zwingli (Zürich) – siehe Wikipedia
– Johannes Calvin (Genf) – siehe Wikipedia
– John Knox (, Schottland, Presbyterianer) – siehe Wikipedia
– Thomas Cranmer (Erzbischof von Canterbury) – siehe Wikipedia
– Martin Bucer (Engländer, Reformator von Strassburg und des Elsass) – siehe Wikipedia
Quellen
– Tobias Straumann Max Webers These vom Zusammenhang zwischen Protestantismus und Kapitalismus - und die Kritik daran (NZZ, 27. April 2017).
– Hansjörg Siegenthaler: Warum ist die Schweiz reich geworden? (NZZ, 16. Mai 2019).
Prophet-5 Tag
Der «Prophet-5» ist ein analoger Synthesizer, der von Dave Smith und John Bowen entwickelt und von deren Firma «Sequential» 1978 auf den Markt gebracht wurde. Der Prophet war der erste polyphone Synthesizer, deren Einstellungen man speichern konnte, und das erste Instrument, das einen Mikroprozessor eingebaut hatte. Das Vorbild für den «Prophet-5» war der Minimoog.
In den ersten Produktionsjahren (zwischen 1978 und 1984 – seither wird das Instrument als Vintage-Synth seit 2020 wieder hergestellt) sollen 6000 Stück gebaut worden sein. Das Nachfolgeinstrument war der Prophet-10 (zehnstimmig, zwei Keyboards, seit 1981).
Der «Prophet-5» wurde schnell Marktleader und ein Industriestandard. Man kann ihn auf vielen Aufnahmen, die ab 1978 erschienen, hören. Ein paar prominente Musiker*innen, die den Prophet spielten, waren: Tony Banks von Genesis, Phil Collins, Michael Jackson, Tangerine Dream, Madonna, Patrick Cowley.
Link
– Theo Bloderer: Sequential Prophet-5 – Meilenstein und Musiklegende (Great Synthesizers, 7. Februar 2016)
Prohibition Tag
Mit Prohibition wird die staatlich oder suprastaatlich verordnete Verbot des Konsums bestimmter Substanzen (Drogen) bezeichnet. Die Verbote können moralisch, religiös oder medizinisch motiviert sein und werden vielfach kulturell überlagert mit Zielen wie der Volksgesundheit usw.
Eine der berühmtesten Prohibitionen wurde vom amerikanischen Kongress am 16. Januar 1920 beschlossen, der Volstead Act, der die Produktion, den Vertrieb und den Konsum von Alkohol in den USA verbot. Das Verbot bezweckte Verbrechen und Gewalt zu reduzieren, die Armut zu lindern und den Lebensstandard bzw. die Lebensqualität zu heben. Diese amerikanische Prohibition hatte eine lange und internationale Vorgeschichte mit der Abstinenz- und Temperanzbewegung im ausgehenden 19. Jahrhundert. Damals wurden viele Institutionen gegründet, die den Kampf gegen die Trunksucht aufnahmen, z.B. der sozialdemokratische Deutsche Arbeiter-Abstinenten-Bund.
Ebenfalls wirkungsmächtig ist die Prohibition von Drogen, die die Vereinten Nationen 1961 unterzeichneten. Unter sie fallen beispielsweise Opium, Heroin oder Cannabis.
Wirkung
Die Prohibition bringt eine Reihe von nicht beabsichtigten Wirkungen mit sich, die nur schwer zu bekämpfen sind: Kartelle, Schmuggel, organisiertes Verbrechen, Beschaffungskriminalität. Die Süchtigen sind ja durch das Verbot nicht aus der Welt, Gewohnheiten lassen sich nicht von einem Tag auf den anderen ändern.
Musik der Prohibitionszeit in den USA (1920-1933)
Mit der Prohibition verbunden sind die Speakeasies, illegale Kneipen oder Clubs, in denen Bier und Schnaps, ausgeschenkt wurden, sowie der Jazz. Der Verbot des Alkohols machte ihn umso begehrenswerter. In dern «roaring Twenties» konnte man offensichtlich Feiern, wann man wollte, wenn man wusste, wo es möglich war. Der Soundtrack der Zeit war der Jazz, zu dem man tanzte. Speakeasies oder Clubs wie der Cotton Club in Harlem (mit Duke Ellingtons Band als Hausband) waren Orte, wo Jazz-Musiker/-innen ihre Musik weiter entwickelt haben.
Links
– Christoph Merki: Streifzug 8: Im Auge des Taifuns
Programmmusik Tag
Programmmusik heisst eine Musik, die einem aussermusikalischen Vorbild nachempfunden ist, man sagt einem «Programm folgt». Programmmusik steht im Gegensatz zur «absoluten Musik», die keine solche aussermusikalischen Vorstellungen begleitet.
In der Populären Musik zählen Instrumentalalben oder Stücke mit einem programmatischen Titel zur Programmmusik. Rockopern zählen nicht dazu, weil der Begriff «Programmmusik» ausschliesslich auf Instrumentalmusik angewendet wird. Beispiele von Populärer Programmmusik sind:
– Vangelis: China
– Mike Oldfield: The Songs of Distant Earth (nicht alle Stücke sind Instrumentals)
– Manfred Mann's Earth Band: Solar Fire (nicht alle Stücke sind Instrumentals)
– Tangerine Dream: Cloudburst Flight
Ebenfalls können ganze Genres oder Stil-Familien zur Programmmusik gezählt werden: Ambient, New-Age, Space Rock, Surf Rock.
Profumo Affaire Tag
John Profumo, Kriegsminister unter dem britischen premier Minister Harold Macmillan began im Sommer eine Affaire mit der 19-jährigen Prostituieren, Christine Keeler. Keeler war zur selben Zeit auch die Geliebte des russischen Militärattachés Ivanov. Profumo leugnete seine Affaire mit Keeler, nachdem 1962 Gerüchte an die Öffentlichkeit drangen. Im März 1963 überzeugte Profumo das Unterhaus von seiner Unschuld. Im Juni 1963 musste Profumo zugeben, dass er die Öffentlichkeit und das Parlament getäuscht hatte und trat am 5. Juni 1963 zurück.
In der Folge kam es zu einem Prozess gegen Stephen Ward, einem Osteopaten und Salonlöwen. Ihm wurde Spionage und Zuhälterei vorgeworfen. Ward nahm sich das Leben. Heute wird dieser Prozess als Ablenkungsmanöver gesehen. Profumo kam mild davon, ihm blieben Verhöre und Gerichtsverhandlungen erspart. Ward hingegen wurde geopfert. Spionage, Zuhälterei und die Diskussion über die richtige und falsche Moral bildeten eine Art Schutzschild für Profumo.
Der Skandal legte die Doppelmoral der britischen konservativen Führungsschicht offen, brachte Premier McMillan zum Rücktritt und stiess die kulturellen Entwicklungen der 60er Jahre an.
Produzent Tag
Der Musikproduzent ist die Person im Aufnahmestudio, die die Verantwortung über den Aufnahme- und Produktionsprozess (Abmischung, Sound-Effekte, Klangbild) hat. Der Produzent ist eine typische Figur in der Populären Musik. Klassik-Aufnahmen haben Tonmeister, deren Aufgabe es ist, ein Orchester oder Ensemble technisch richtig einzufangen. Popproduzenten haben einen grossen Einfluss auf die Sound-Gestaltung. Der produzent bei einer Schallplattenaufnahme ist vergleichbar mit dem Regisseur im Film. Die Namen berühmter Produzenten sind oft mit bestimmten Klangbildern verbunden, z.B. Phil Spector mit der Wall of Sound oder Daniel Lanois mit einer atmosphärischen, ambienthaften Klanggestaltung. Am Anfang war der Produzent oft Toningenieur, Arrangeur, Musikproduzent und A&R in einem. Diese Aspekte der Studio-Arbeit wurden im Lauf der Zeit zu eigenständigen Berufszweigen.
Remix Produktion
Wie definiert man eine Remix und wie wird der Remixer für seine Arbeit bezahlt? Ein Remix ist ein wenig mit dem Sampeln vergleichbar. Ein Remixer kann vom Originalproduzent mit Samples oder Snippets ausgestattet werden, die er neu zusammenstellt und anders bearbeitet. Eine Remixerin oder ein Remixer kann wie ein neuer Autor behandelt werden, dann ist er oder sie am Ertrag beteiligt. Ebenso möglich ist es, den Remix als «Work-for-hire» (Auftragsarbeit) einzukaufen.
Der Remix ist kein Cover des Songs. Er kann eine Bearbeitung sein («derivative work», «Werk zweiter Hand»), wenn er genügend stark vom Original abweicht und somit wie ein eigenes abgeleitetes Werk darstellt. In dem Fall muss der Songwriter oder sein Verlag das Einverständnis für die Bearbeitung geben. Songwriter und Verlag können auch festlegen, wie viel Eigentum an der Bearbeitung sie beanspruchen und sie können die Veröffentlichung der Bearbeitung verhindern.
Es gibt keine verbindliche Standards, wie ein Remixer für seine Arbeit kompensiert wird bzw. wie die Einnahmen zwischen den Autoren des Originals, dem Verlag, dem Label und dem Remixer aufgeteilt werden. Potentiell verlangt jeder Remix eine eigene Vertragsvereinbarung über diese Dinge. Das macht die Sache kompliziert und aufwändig.
Quellen
– Dave Whitaker: The Top 50 Producers of All Time (19. Mai 2017, update: 26. Januar 2022)
– Chris Robley: How should you compensate a remixer? (DYW Musician, 22. Januar 2019)
Produktion Tag
Bei der Produktion Populärer Musik lassen sich mehrere Aspekte analytisch unterscheiden: rechtliche, technische, ökonomische, institutionelle, persönliche und typologische Aspekte. Da man die Produktion unter sehr vielen Aspekten untersuchen kann sind die sechs genannten sicher nicht die einzig möglichen. (Zum Beispiel liesse sich der Aspekt der Kreativität ergänzen.)
Untereinander stehen die sechs Aspekte in vielfältigen und komplexen Beziehungen. Manchmal kann ein Aspekt für einen anderen konstitutiv sein, so zum Beispiel das Recht, das diejenigen Spielräume schafft, in denen wirtschaftliche Tätigkeit überhaupt möglich wird. Das Copyright bzw. das Urheberrecht schafft die Voraussetzungen zum Schutz geistiger Schöpfung und Werktätigkeit und macht so möglich, dass ein Autor oder ein Verlag/Label die musikalischen Schöpfungen ökonomisch verwerten kann. Zuweilen fungiert einer dieser Aspekte als Störung für einen anderen Aspekt. Als die technische Möglichkeit des Filesharings erfunden wurde, konnte digitalisierte Musik problemlos zwischen Nutzern geteilt werden. Die Folge war ein dramatischer Zusammenbruch des Tonträger-Marktes. Deshalb waren die (Major-)Labels in den frühen Nullerjahren gezwungen, ihr Geschäftsmodell von der Tonträgerproduktion zur Lizenzverwertung umzustellen. Ausserdem haben sie auf juristischem Weg versucht, Copyright-Verletzungen mit hohen Bussen zu ahnden. Der erste Weg war letztlich erfolgreicher.
Der Begriff der «Produktion» muss im musiksoziologischen Kontext sehr abstrakt verstanden werden als alle Kräfte, die an der Produktion Populärer Musik beteiligt sind:
– juristisch: die Rahmenbedingungen des Urheberrechts (in Amerika des Copyrights), die Rechtssprechung, die mit ihren Entscheiden den Graubereich zwischen Recht und Unrecht aushandeln, die Verträge, die das Verhältnis zwischen Personenund Institutionen regeln, z.B. einer Sängerin und ihrem Label.
– ökonomische: die wirtschaftliche Tätigkeit der Labels, ihr finanzieller Erfolg und Misserfolg, ...
– technische (bzw. technologische): Phonografie als Technologie, ihre Erfindung und Verbesserung, Aufnahme- und Studiotechnologie, die Intrumenten-Technologie, die Technologie der Träger- und Distributionsmedien, ...
– institutionell: Verlage, Labels, Verwertungsorganisationen, Interessenverbände, Gewerkschaften, ...
– typologische: Musiker-Rollen und Berufsbilder, die sich im Lauf der Zeit wandeln. Die wichtigste ist die Autoren-/Komponisten-Rolle (in der populären Musik die Songwriter/-innen). Weitere Rollen, die sich im lauf der zeit ausgebildet haben sind: Singer-Songwriter, A&R, Bandleader, Produzenten, Studiomusiker/-innen, Songwriter-Produzenten. Am Rand auch Fotograf/-innen, Grafiker/-innen, Regisseur/-innen, Stylisten, Modeschöpfer/-innen usw.
– personell: die involvierten konkreten Personen
Production of Culture Perspective
Die Betonung der Produktion hat auch eigene Theorien hervorgebracht, zum Beispiel den Kulturproduktionsansatz bzw. die Production Of Culture Perspective von Richard A Peterson.
Producer Tags Tag
Früher blieben Produzenten im Hintergrund. Man konnte sie an ihrer Handschrift erkennen, z.B. Brian Eno an seinen Soundscapes, Daniel Lanois mit seinem Breitbild-Sound. Heute hingegen wird es mehr und mehr üblich, dass Spitzenproduzenten im Trap ein Tag in ihre Tracks setzen. Beipsiele sind DJ Mustard: «Mustard on the beat, hoe», DJ Khaled: «Another One, We the Best Music», AraabMUZIK: «You are now listening to AraabMUZIK», London on da Track hat drei: «We got London on da Track», «London on da Track, bitch! Hahahaha», «I'm in London, got my beat from London», Marshmello: «Mello made it right», auch Metro Boomin hat einige: z.B. «This beat is so, so Metro», «Metro Boomin want some more, nigga», die Tags von Mike WiLL Made-It sind: «Mike WiLL Made-It», «EarDrummers», «Mike WiLL, fuck with me!», «Mike Willie with me, nigga», «Mike WiLL Made-It, nigga», Southside: «Ayy, Southside, where'd you get all that drip?», Wheezy: «Wheezy», «Wheezy Beatz», «Wheezy outta here», «My nigga Wheezy, know, what I'm sayin'?», «Tsunami Warning» usw.
Vorgänger
Bob Wills sang ein «aah-haw» in jedem seiner Stücke als Erkennungsmarke. Vor ihm machte Jimmy Rodgers etwas Ähnliches, der in vielen Stücken einen Blue Yodel (allerdings in Varianten) sang.
Links
– Rap Genius: Producer Tags Directory (Genius)
– andPOP: 31 Hip Hop Producer Tags Compilation (25. Februar 2016)
Primal Therapy Tag
«Primal Therapy» hiess eine Psychotherapie von Arthur Janov, der Störungen (Neurosen) auf ursprüngliche, d.h. in der Kindheit liegende, Traumata zurückführte, die durch die Neurose bewältigt werden. Für das Individuum ist die Neurose also Trauma-Bewältigung. Sie würde verschwinden, wenn das Trauma noch einmal durchlebt wird und einen direkteren Ausdruck finde. Statt wie in anderen Psychotherapien, in denen gesprochen wird, glaubte Janov, dass tiefer liegende Regionen der Psyche als der Neocortex an der Trauma-Bewältigung beteiligt sein müssten.
In den frühen 1970er Jahren, nach der Publikation von Janovs Buch «The Primal Scream» war die Primal Therapy sehr erfolgreich. Viele Musiker*innen und Schauspiler*innen unterzogen sich einer Therapie. Die berühmtesten waren John Lennon und Yoko Ono. Die beiden Mitglieder von Tears For Fears unterzogen sich mehr als zehn Jahre nach diesem ersten Trend einer Therapie. Die Therapie schlug sich für Janovs Musiker-Klientele in Alben nieder, die von den Kindheitstraumata und deren Bewältigung handelten.
Pre-Chorus Tag
Ein Pre-Chorus ist ein Strukturteil, der – wie es der Name sagt - zwischen Verse und Chorus kommt. Er verbindet Verse und Chorus. Seine Funktion ist, den Chorus einzuleiten. Vor allem wenn der Unterschied in der Energie zwischen Verse und Chorus gross ist, kann mit dem Pre-Chorus eine raffinierte Steigerung über eine Zwischenstufe eingebaut werden.
Funktion
Das Berklee College of Music nennt den «Pre-Chorus» auch «Transitional Bridge». Das ist verwirrend und verwischt die verschiedenen Funktionen von «Pre-Chorus» und «Bridge». Die «Bridge» ist der B-Teil in einer AABA-Songstruktur und schafft einen Kontrast im Song. Der B-Teil ist thematisch vom A-Teil verschieden. Er macht den Song lebendiger, formal reicher. Anders die «Transitional Bridge». Sie hat die Aufgabe, Verse und Chorus miteinander zu verbinden. Ihre Funktion ist der Energiehaushalt oder die thematische Überleitung.
Inhalt
Musikalisch ist der Pre-Chorus sowohl vom Verse als auch vom Chorus verschieden. Lyrisch können die Pre-Chorusse eines Songs jeweils gleich sein (Chandelier) oder varieren (Waterloo, Anti-Hero).
Die Lyrics des Pre-Chorus können sich eher an die Verses oder eher an den Chorus anlehnen. Im ersten Fall sind die Lyrics aller Pre-Chorusse wahrscheinlich verschieden (wie die Verses), im zweiten Fall wahrscheinlich gleich (wie der Chorus). Daher werden diese Art der Pre-Chorusse gezählt (Pre-Chorus 1, Pre-Chorus 2, Pre-Chorus 3), während gleichbleibende Pre-Chorusse nicht gezählt werden (Pre-Chorus, Pre-Chorus, Pre-Chorus).
Es gibt auch instrumentale Pre-Chorusse (z.B. bei Bette Davis Eyes).
Häufigkeit
Jay Summach hat den Pre-Chorus systematisch und historisch untersucht. Ein Histogramm zeigt, dass Pre-Choruses in den 1960er Jahren entstehen und dann immer häufiger verwendet werden. Offenbar gab es in den späten 1970er Jahren (während Punk, NewWave und Postpunk) einen kurzzeitigen Einbruch mit nachmalig weiterem Wachstum der Häufigkeit.
Makrostrukturen von Modulen
Summach leitet den Pre-Chorus von Makrostrukturen in den Strukturelementen ab, also argumentiert nicht auf der Ebene von Verse-Chorus oder AABA, sondern auf der Ebene von aa'bc, Phrasen, die innerhalb eines Verses oder eines A-Teils (auch «Modul» genannt) vorkommen.
Präpariertes Klavier Tag
Wenn die Saiten eines Klaviers / Flügels mit Materialien (Gegenstände aus Metal, Radiergummis, Papier etc.) belegt werden, oder diese mit Gegenständen gezupft oder angeschlagen werden (Werkzeug, Trommelstöcken, Fingern/Händen etc.), spricht man von «Präpariertem Klavier». Eingeführt haben das Präparierte Klavier Henry Cowell und John Cage in den 1940er Jahren.
Neben dem mechanischen Eingriff in das Instrument kommt mit der Elektronik das gesamte Arsenal des Live-Processing bzw. der Live elektronischen Musik hinzu. Hier wird das Klavier mit Mikrofonen ausgestattet, um seinen Klang abzugreifen und dieser wird in Effektgeräten oder im Laptop live verarbeitet, verändert, manipuliert, «gemorpht». Christoph Wagner spricht hier von einem «Hyperinstrument».
Der Begriff des «Präparierten Klaviers» beschränkt sich auf die Veränderung des Piano-Klangs mit mechanischen und motorisch-spielerischen Mitteln. Sobald Elektronik im Spiel ist, spricht man von Live elektronischer Musik.
Pragmatismus Tag
Amerikanische philosophische Schule, die davon ausgeht, dass Ideen und Theorien kontingent, kontextabhängig und fallibel sind. Sie sind Werkzeuge, um die Wirklichkeit zu handhaben, und diese Werkzeuge werden ständig umgebaut, korrigiert, adaptiert. Der Pragmatismus brach mit der Idee letzter Prinzipien.
Powerballade Tag
Corpus mit Powerballaden. – Eine Powerballade ist eine Ballade im modernen Sinn («sentimentale Ballade» oder wie es der Experte für Balladen, David Metzer, sagt: «a song set to a slow tempo that deals with themes of love and loss»), die überdies langsam anfängt und stetig eskaliert wird bis sie das grosse Finale erreicht. Powerballaden sind melodische Songs, die mit steigendem Pomp bzw. wachsender Wucht vorgetragen werden. Als erste Powerballade in der Pop Musik hat ein Rezensent der New York Times Barry Manilows Mandy beschrieben: als eine «Big Bang Formula». Eskalation heisst: mehr Passion, mehr Emotion, mehr Instrumente, ständige Steigerung bis zum Grand Finale. Aber man findet bereits in der früheren Musik Powerballaden.
Powerballaden waren bei Arenarock-Bands aller Couleur (Soft, Pop, Hard, Metal) beliebt. Bemerkenswert war zum Beispiel, wie Glammetal-Bands auf jedem Album eine Powerballade haben mussten. Gehörte einfach dazu. Ironisch wird es, wenn eine solche Band heute vor allem noch über diese Balladen bekannt sind (Poison).
Links
– Brett Milano: Best Power Ballads: 25 Lighters-In-The-Air Classics (uDiscoverMusic, 15. Mai 2020)
Postmoderne Tag
Die Postmoderne ist die Epoche, die auf die Moderne folgt. Die Postmoderne ist eine kulturgeschichtliche Epoche, deren Anfang und Ende von verschiedenen Autoren und Gelehrten aus verschiedenen Disziplinen zu unterschiedlichen Zeitpunkten festgelegt wird.
– Beginn nach dem Zweiten Weltkrieg (z.B. Eric Gans): auf diese Weise festgelegt ist die Postmoderne vom Kalten Krieg geprägt. Das Ende der Postmoderne wäre folglich der Fall der Mauer am Ende der 80er Jahre. Geprägt war die Postmoderne nach Gans von der Devise «No more final solutions!».
– Im Feld der Populären Musik beginnt die Postmoderne eigentlich erst mit Glam und Punk in den 1970er Jahren. Hier wird die Authentizität aufgelöst, die in der Nachkriegszeit ein prägender Faktor in der Musik war, indem Künstler wie David Bowie mit verschiedenen Identitäten spielten oder Bands wie Roxy Music mit Mode- und Stilhybriden zu experimentierten. Die Punks (mehr noch die Postpunks) setzten postmoderne Ideen in der Grafik, in der Mode, im Auftreten um. Musiker*innen hatten lustige Übernamen, die klar machten, dass sie als Künstler*innen eine Rolle spielten (Johnny Rotten, Syd Vicious, Siouxsie Sioux, Robert Gotobed usw. usw.). Das Ende dieser popmusikalischen Postmoderne kam mit dem neuen Millenium und dem Napster-Schock, der die Ära der Digitalen Musikwirtschaft einläutete. Diese Ära heisst z.B. Post-Postmoderne oder «Digimoderne». Ob das definitive Bezeichnungen sein werden, wird man erst mit zeitlicher Distanz feststellen können.
Radikaler Relativismus, Partikularismus
Alle Postmodernismen (die Dekonstruktion, der Poststrulturalismus, Postkolonialimus, der Kulturrelativismus, der radikale Konstruktivismus, ...) hatten gemeinsam, dass sie die Existenz einer essentiellen und verbindlichen Wahrheit leugneten. Damit entzogen diese Postmodernismen jeder Art von Verbindlichkeit den Boden, auch wenn anfangs lediglich die grossen, mächtigen hegemonialen Systeme intendiert waren. Wahrheit wurde die Wahrheit einer Person (und, wenn diese erfolgreich war, ihrer Schule).
Absage an die «grossen Erzählungen»
Zu den grossen Erzählungen der Moderne gehörten die Idee der Weiterentwicklung der Gesellschaft durch Umstürze («Revolutionen») oder durch technologischen Fortschritt, Utopien aller Art (z.B. die Eroberung des Weltalls, die sanfte Revolution der Hippies). Der Begriff «grosse Erzählungen» stammt von Jean-François Lyotard aus seinem Bericht La condition postmoderne («Das postmoderne Wissen») für den Universitätsrat der Regierung von Québec von 1979.
Postmoderne Literatur
Die postmoderne Literatur ist geprägt von der Hinwendung zum Trivialen: Krimis, Schauergeschichten und Pornografie wurden omnipräsent. Fakten wurden in Frage gestellt, was zu einem interessanten Spiel zwischen Realität und Fiktion führte. Das Zitat, die Intertextualität wurde wichtiger als der Bezug auf die Wirklichkeit. Figuren werden in ihrer Individualität dargestellt, mit erheblichen Widersprüchen, die sich nicht auflösen lassen. Auch die Erzählinstanz wurde zuweilen unzuverlässig.
– Günter Grass: «Die Rättin» (1986)
– Elfriede Jelinek: «Lust» (1989)
– Sten Nadolny: «Die Entdeckung der Langsamkeit» (1983)
– Botho Strauß: «Paare, Passanten» (1981)
– Patrick Süskind: «Das Parfum» (1985)
– Christoph Ransmayr: «Die letzte Welt» (1988) und «Die Schrecken des Eises und der Finsternis» (1984)
– Umberto Eco: «Der Name der Rose» (1980)
– Robert Schneider: «Schlafes Bruder» (1992)
– Urs Widmer: «Im Kongo» (1996)
Post-Postmoderne Tag
Die Post-Postmoderne ist eine von der Kulturtheorie konstituierte Epoche, die zeitlich auf die Postmoderne folgt. Auf eine Formel gebracht, ist die Post-Postmoderne die ins Internet-Zeitalter eingetretene Postmoderne.
Der Begriff stammt von Tom Turner, einem Landschafts- und Stadtarchitekten. Alternative Begriffe sind «digimodernism» (Alan Kirby), «Metamodernismus» (Timotheus Vermeulen & Robin van den Akker), «trans-postmodernism» (Mikhail Epstein, ein russisch-amerikanischer Slavist) und «post-millennialism» (Eric Gans).
Popmusikalische Post-Postmoderne
In der Populären Musik beginnt die Ära der Post-Postmoderne mit dem neuen Millennium und dem und dem Napster-Schock. Als Musik in Form von MP3-Dateien im Internet veröffentlicht und als Datei mit anderen Nutzern geteilt werden konnte (siehe: Filesharing) fiel der Tonträgermarkt dramatisch zusammen und Institutionen der Musikwirtschaft wie Verlage und Labels mussten sich nolens volens umorientieren. Entstanden ist in der Folge eine neue Digitale Musikwirtschaft.
Everything Time
Mit dem Beginn der Digitalen Musikwirtschaft war die Musik geprägt durch Retro-Phänomene. Der Musikjournalist Simon Reynolds thematisierte diese neue Tendenz im Buch Retromania. Das Motto war nun: «I Can Hear Everything. It's Everything Time» (Glass Jar von Gang Gang Dance). Die grossen Streaming Plattformen, die in den 2010er Jahren aufgebaut und verbreitet wurden, bieten die gesamten Label-Kataloge an. Anfangs gab es noch Ausnahmen, so erschienen die Beatles erst im Dezember 2015 auf Spotify und Radiohead gar erst im Dezember 2019 auf Youtube. Anfangs 2019 waren praktisch alle neuen Alben auf Youtube als Playliste zu finden und Ende 2019 wurde bekannt, dass ab dem Januar 2020 das Streaming von Alben für die Billboard Charts ausgewertet werden.
In der popkulturellen Post-Postmoderne wurde Musik gewissermassen zu dem Wasser, von dem Dave Kusek und Gerd Leonhard in ihrem Buch The Future of Music. Manifesto for the Digital Music Revolution
(2005) sprachen. Wenn man ans Wassersystem angeschlossen ist, kann man beliebig viel Wasser quasi zum Nulltarif, jedenfalls zu einem bezahlbaren Preis beziehen. So ist es mit der Musik nun geworden.
Ökonomie und Formatierung
Die weitgehend freie Verfügbarkeit von Musik hat aber ihre Ökonomie verändert: Die Geld-Ökonomie wurde zur Aufmerksamkeits-Ökonomie. Früher wurde die Ökonomie konstituiert durch ein beschränktes Budget, mit dem man relativ teure Tonträger kaufen musste. Heute beschränkt die verfügbare Zeit den Konsum einer überwältigenden Menge Musik (und vielem anderem).
Solche Ökonomie-Überlegungen betreffen allerdings vor allem die Musik-Fans und weniger die Mainstream-Konsumentinnen und -Konsumenten. Jene hören nach wie vor Radio, schauen TV und abonnieren neuerdings Playlisten, die, wenn sie gut kuratiert werden, wie ein noch besseres Radioprogramm als es sie früher gab funktionieren. Jedenfalls hat sich bei uns in Europa die Vielfalt des Musikangebots durch Playlisten gegenüber Radioprogrammen erheblich vergrössert. Hörerinnen und Hörer binden sich nicht nur an durch Musikgenres definierte Playlisten, sondern vermehrt an solche, die durch bestimmte Tätigkeiten (Workout, Spaziergang, Relaxen, Einschlafen) oder durch Emotionen/Stimmungen (Life Sucks, Walk Like A Badass, Feelin' Good) definiert sind. Gewissermassen hat sich das amerikanische Formatradio, das hauptsächlich in den Dimensionen Genre und Hörergeneration differenziert war, weiterentwickelt zu einem dreidimensionalen Modell von Genre, Hörergeneration und Situation (bestimmt durch Anlass und Stimmung).
Auch die traditionellen Radiostationen haben sich längst formal den Playlisten angenähert. Das Programm ist im Internet als real-time Playliste repräsentiert und die Hörerschaft kann mit der Playliste interagieren, einzelne Tracks liken oder kommentieren. Diese Art der Interaktion ist in allen Medien mehr oder weniger Standard geworden.
Jahrmarkt – «eternal funfair»
Die am Beispiel der Radioprogramme beschriebene Medienkonstellation, bei der die Nutzerinnen und Nutzer permanent die Möglichkeit haben, auf das Programm einzuwirken und die Programme sich immer besser an die Stimmungslagen der jeweiligen Nutzer/-innen anpassen vermögen, setzt sich auf allen Ebenen der Gesellschaft mehr und mehr durch. Jedes Produkt und jede Dienstleistung soll heute personalisiert werden können. Der Kulturtheoretiker Alan Kirby befasst sich in seinem Buch Digimodernism (2009) mit den Auswirkungen dieser medienstrukturellen Entwicklung. Er sagt dass der Gebrauch von «digimodernen» Medienkonstellationen die Nutzer/-innen in eine Art Hypnose oder Trance versetze, sie süchtig mache und in ihr Zeitempfinden ausschalte. «The digimodernist text does seem to possess the property of overwhelming the individual’s sense of temporal proportion or boundaries; it can engulf the player or user or viewer, who experiences a loss of will, a psychological need for textual engagement that exceeds any realistic duration or rational purpose» (p. 148 f.). Der post-postmoderne Mensch ist dadurch wie ein Besucher eines Jahrmarkts. Er befindet sich in einem unüberschaubaren Gewühl von Menschen und Buden und Attraktionen. Er ist kein Flaneur mehr wie die Schriftsteller vor hundert und mehr Jahren, der durch sein langsames Tempo zum sorgfältigen Beobachter wird. Er bewegt sich wie in einem Strom, mehr mitgerissen als selbstbestimmt. Er lässt sich von allem und jedem ablenken. Früher kam der Jahrmarkt einmal im Jahr und die Menschenverloren sich liebend gern für ein paar Stunden in seinem Gewühl. Mit dem Internet als Medientechnologie hat sich der Jahrmarkt nun permanent in der Gesellschaft eingerichtet. Ein Ende ist nicht abzusehen und ein Ausgang nicht mehr zu finden. Ob unter diesen Bedingungen eine Post-Post-Postmoderne entstehen kann, wird sich zeigen. Entstehen wird sie nicht durch einen Entschluss des Menschen, das Internet abzuschalten. Es gibt gewissermassen keinen Ausgang aus dem Jahrmarkt. Notwendig sein wird eine strukturelle Veränderung des Internets zum Beispiel indem die Dinge, die über eine IP-Adresse verfügen, – selbstfahrende Autos, Haustechnologie, Roboter, Wearables – die Rahmenbedingungen verändern. Diese Dinge werden nicht mehr nur die Werkzeuge des Menschen sein; die instrumentelle Hierarchie zwischen Subjekt und Objekt wird sich dann verschieben. Die Folgen davon scheinen mir noch nicht absehbar.
Post-Chorus Tag
Ein Strukturelement, das auf den Chorus folgt. Der Post-Chorus hält die Energie des Chorus mindestens aufrecht oder steigert sie (andernfalls wäre das Strukturelement ein Verse oder möglicherweise eine Bridge) und er enthält eine Hookline, also eine charakteristische, melodische Phrase (Musik und Text) mit Wiedererkennungswert (andernfalls wäre das Strukturelement eine Überleitung (Zwischenspiel, «transition»).
Der Post-Chorus ist im zeitgenössischen Electropop wichtig geworden – was aber nicht heisst, dass es ihn vorher nicht gegeben hätte. Electropop ist eine Hybridisierung von klassischem Vokalpop und elektronischer Tanzmusik (EDM). Aus dem Vokalpop werden Verse und Chorus (gegebenenfalls eine Bridge) übernommen, aus dem EDM kommt ein Spiel mit der Intensität und dieses Spiel wird strukturell mit Pre-Chorus – Chorus – Post-Chorus umgesetzt. Exemplarisch ist das bei Brittney Spears: Till The World Ends zu hören.
Asaf Peres ist ein Musikologe, der sich intensiv mit dem Post-Chorus beschäftigt hat. Er unterscheidet zwei Typen, die auch hybrid vorkommen können:
1) «attached postchorus»: eine Erweiterung des Chorus (Beispiel: Volare, Girls Like You, Bad At Love).
2) «detached postchorus»: ein zweiter Chorus, der auf den ersten folgt (eine Art C-Teil wie zum Beispiel bei Chandelier).
3) «hybrid postchorus»: ein Strukturteil, der die Hookline aus dem Chorus beibehält (wie 1) aber zusätzlich ein neues Element einführt (wie 2).
Es gibt Musikolog*innen, die nur im Fall 1) von «Post-Chorus» sprechen.
Ein Post-Chorus muss nicht jedes Mal auf den Chorus folgen. Oft wird er erst im Anschluss an den zweiten oder dritten Chorus eingeführt (z.B. Good For You).
Der «detached postchorus» kann im zeitgenössischen Electropop ein Drop sein (auch zweiter Chorus oder C-Teil). Oft enthält diese Art des Post-Chorus chopped Vocals (It Ain't Me).
Zwei frühe Beispiele
Nach em Räge schint Sunne und Volare (Nel Blu Dipinto Di Blu) haben die Sequenz: Chorus – Post-Chorus – Chorus. Vermutlich gibt es mehr davon ...
Populismus Tag
Populismus wird heute zumeist als Rechtspopulismus verstanden und als eine Gefahr für die Demokratie aufgefasst. Die Pauschalisierung geht so weit, dass in bestimmten Kreisen der Populismusvorwurf als ein Killerargument eingesetzt werden kann und wird. Jemand sagt etwas, das sich populistisch anhört, und folglich geht man nicht darauf ein, argumentiert gegen die Person statt gegen die Sache. Geht man der Frage nach, was Populismus eigentlich genau heisst, dann findet man verschiedene Erklärungen, wobei zu den zentralsten Merkmale des Rechtspopulismus folgende gehören:
- Berufung auf das Volk: heutige Rechtspopulisten berufen sich ständig auf das «Volk» und behaupten, dessen Interessen zu vertreten. Sie stilisieren sich als Stimme des Volkes und sprechen von einem «Wir», das gegen ein «Sie»" (die Elite, die Etablierten) steht. Sie stellen sich als die einzige Kraft dar, die die Interessen des Volkes wirklich vertreten kann.
- Kritik an den Eliten: Populisten kritisieren oft eine als korrupt, selbstbezogen und selbstbegünstigend wahrgenommene politische oder wirtschaftliche Elite.
- Systemverändernde Politik: Populisten positionieren sich gegen die bestehende politische Ordnung und versprechen Wandel und Erneuerung.
- Charismatische Führung: Populistische Bewegungen werden oft von charismatischen Führern angeführt, die eine starke emotionale Bindung zu ihren Anhängern herstellen.
- Emotionale Ansprache: Populisten sprechen eher Emotionen und Bedürfnisse an als den Verstand. Sie nutzen Rhetorik, Symbole und Bilder, um ihre Anhänger zu mobilisieren.
- Zu einfache Lösungen: Sie prangern Missstände an und versprechen scheinbar eindeutige und einfache Lösungen für komplexe Probleme. Sie scheuen komplexe Analysen und differenzierte Antworten.
- Polarisierung: Populisten spalten die Gesellschaft. Sie nutzen einfache Feindbilder und schüren Ängste und Vorurteile.
- Gebrauch und Missbrauch von Medien: Populisten nutzen Medien oft geschickt, um ihre Botschaften zu verbreiten und ihre Anhänger zu mobilisieren. Sie missbrauchen dabei mitunter verfügbare Medien und verbreiten Falschinformationen.
Man muss sich ebenfalls vor Augen halten, dass Populismus System-, Richtungs- und Parteiunabhängig ist. Populismus ist nicht an bestimmte politische Systeme gebunden. Er kann in Demokratien wie auch in autoritären Regimen auftreten. Es gibt ihn als Linkspopulismus und als Rechtspopulismus. Man findet ihn zwar oft in den politischen Extremen, aber potentiell ist er Parteiunabhängig. Nicht populistisch agieren in aller Regel Politikerinnen und Politiker von Mehrheitsparteien. Da nicht ausgeschlossen ist, dass Populist*innen gewählt werden und sogar mehrheitsfähig, übernehmen sie auch politische Verantwortung und kommen in die Rolle von den denen, die sie früher kritisiert haben. Zusammenfassend lässt sich sagen: Populismus ist eine politische Strategie, die auf der Dichotomie von «Volk» und «Elite» (Rechtspopulismus) basiert. Populisten versuchen, durch die Mobilisierung des Volkes (Rechts-) oder der Massen (Linkspopulismus) gegen die Elite Macht zu gewinnen. Hingegen ist Linkspopulismus ist eine Form des Populismus, die linke politische Ideen mit populistischer Rhetorik und Strategien verbindet. Hier sind die wichtigsten Merkmale:
- Klassenkampf-Rhetorik : Linkspopulisten teilen die Gesellschaft in «das Volk», «die Arbeiter», «die Massen», stilisiert diese als die wirtschaftlich Benachteiligten, und in eine «Elite», die aus den «Reichen», «Kapitalisten», «Konzerne», «dem System» besteht.
- Fokus auf soziale Gerechtigkeit: Sie vertreten die Forderung nach mehr sozialer Gerechtigkeit, wirtschaftlicher Umverteilung und verstärkten sozialen Absicherungen.
- Kampf gegen Ausbeutung: Themen wie Arbeitslosigkeit, schlechte Löhne, Steuergerechtigkeit und der Kampf gegen Konzerne stehen im Zentrum.
- Kritik am Establishment: Linkspopulisten attackieren das bestehende politische und wirtschaftliche System, das sie als korrupt und unfair darstellen.
- Befürwortung direkter Demokratie: Die Stärkung direkter demokratischer Mitspracherechte wie Volksentscheide stehen häufig im Vordergrund.
Nicht jede Vertreterin oder jeder Vertreter einer linken Partei ist automatisch populistisch.
Kurze Geschichte des Populismus
Die Wurzeln des Populismus reichen weit zurück in die Geschichte. Schon in der Antike gab es politische Bewegungen, die sich auf das Volk beriefen und gegen die Elite opponierten. Der Begriff "Populismus" selbst wurde jedoch erst im 19. Jahrhundert geprägt. In den USA gründete sich 1891 eine «Populist Party», die sich für die Interessen der Farmer und Arbeiter einsetzte. Die Partei erreichte einige Erfolge, löste sich aber nach einigen Jahren wieder auf. In Europa wurde der Populismus im Laufe des 20. Jahrhunderts vor allem in den 1930er Jahren relevant. In dieser Zeit der wirtschaftlichen und politischen Krise gewannen populistische Bewegungen in vielen Ländern an Einfluss. Nach dem Zweiten Weltkrieg ebbte der Populismus zunächst wieder ab. In den 1980er Jahren erlebte er jedoch eine erneute Renaissance. Seitdem ist der Populismus vor allem als Rechtspopulismus in vielen Teilen der Welt ein fester Bestandteil der politischen Landschaft.
Populismus und Social Media
Die Ausbreitung des Rechtspopulismus wird vielfach mit der Durchdringung von Social Media in Zusammenhang gebracht. Gründe, warum Social Media den Populismus fördern sind:
- Einfacher Zugang: Social Media ermöglichen die schnelle und unkomplizierte Verbreitung von Informationen, jedoch auch von Falschinformationen und Desinformationen. Populisten nutzen dies aus, um ihre Anhänger zu mobilisieren und ihre Gegner zu diskreditieren.
- Algorithmen von Social-Media-Plattformen bevorzugen oft Inhalte, die stark emotionalisieren und polarisieren, was die Verbreitung von Falschinformationen begünstigt.
- Die Flut an Informationen und die mangelnde Verifizierung von Inhalten erschweren es den Nutzern, zwischen Wahrheit und Lüge zu unterscheiden. Viele verlassen sich in dieser Situation auf die Filterblasen und Echokammern, die Social-Media-Algorithmen produzieren. Man sieht dann nur noch die Inhalte, die der eigenen Meinungen und Interessen entsprechen. In diesen geschlossenen Räumen können sich populistische Positionen ungehindert verbreiten und extremistische Ansichten normalisiert werden. Der Austausch mit Andersdenkenden wird minimiert, was wiederum die Polarisierung der Gesellschaft fördert.
- Emotionale Ansprache und Personalisierung: Populisten nutzen Social Media, um ihre Anhänger emotional anzusprechen und zu mobilisieren. Sie verwenden dabei oft einfache Botschaften, die Angst und Wut schüren.
- Schwächung der traditionellen Medien: Social Media konkurrieren mit traditionellen Medien wie Zeitungen und Nachrichtensendungen um die Aufmerksamkeit der Nutzer. Populisten nutzen dies aus, um die Glaubwürdigkeit der traditionellen Medien zu untergraben und ihre eigene Agenda zu verbreiten. Die sinkende Reichweite und Akzeptanz der traditionellen Medien schwächt die demokratische Kontrolle der Politik und ermöglicht es Populisten, ihre Macht zu festigen.
- Direkte Interaktion und Mobilisierung: Social Media ermöglichen Populisten die direkte Interaktion mit ihren Anhängern. Sie können so ihre Botschaften ungefiltert verbreiten und ihre Anhänger zu Aktionen mobilisieren.
Social Media sind natürlioch nicht die alleinige Ursache für den Vormarsch des Populismus. Es gibt auch eine Reihe von anderen Faktoren, die dazu beitragen, wie z. B. die wirtschaftliche Ungleichheit, Kontrollverlust gegenüber Sachzwängen oder die zunehmende Unsicherheit in der Gesellschaft.
Quellen
– Edgar Schuler: Trump und Johnson – die wahren Pessimisten (Tages Anzeiger, 25. Mai 2020)
– Frank Decker: Populismus (Bundeszentrale für politische Bildung)
– Florian Hartleb: Linkspopulismus – ein vernachlässigtes Phänomen? (Bundeszentrale für politische Bildung, 7. Dezember 2017)
– Liberties: Was ist Populismus?
Populärer Song Tag
Der Populäre Song ist die prominenteste Kunstform der Populären Musik. Wie bei der «Populären Musik» ist im Musikzimmer «Populär» gross geschrieben, um zu betonen, dass dieses Wort zum Substantiv gehört und kein reines Adjektiv ist. Anzahlmässig besteht der grösste Teil der Populären Musik aus Populären Liedern. Und ja, es handelt sich um eine Kunstform, eine populäre Kunstform. Lieder gibt es in allen drei Gattungen, der Folklore, der schönen Kunst und in der Populären Musik.
In der Folklore und in der Populären Musik sind Lieder die prominenteste, am häufigsten vorkommende Form. In der Kunstmusik gibt es auch einen anständig grossen Körper von Songliteratur, doch verschwindet das Lied hinter prominenteren Formaten wie Oper und Concerti (Symphonien, Klavier-, Cello-, Violinkonzerten usw.).
In der Populären Musik ist der Song die Königsdisziplin. Zuweilen gibt es historische Abschnitte, während denen andere Formate auf- oder überholen. Gegenwärtig ist der Rap in den USA möglicherweise die blühendere Kunstform als das Lied. In den späten 1930er und frühen 1940er Jahren haben Swing und in den 1990er Jahren elektronische Tanzmusik den Song mächtig herausgefordert. Doch blieben die Populären Lieder auch durch Zeiten des veränderten Geschmacks beliebt. Herausforderungen durch andere Formate konnte der Song bisher stets inkorporieren und so erlebte man in der postmillenialen Musik Hybriden aus Song und Rap sowie aus Songs und EDM.
Nach wie vor gehört der Populäre Song zu den beliebtesten Künsten überhaupt. Viele Leute sprechen von «meinem Song» und identifizieren sich mit einem Populären Lied. Dasselbe passiert einem Roman viel weniger häufig und einem Kunstwerk vermutlich ganz selten. Michael Lasser & Philip Furia weisen darauf hin, dass zwischen Songs und Menschen ein wechselseitiges Verhältnis besteht: «So wie wir Songs besitzen, besitzen Songs uns: Wenn wir Lieder hören erinnern sie uns an vergangenen Zeiten, ander Orte und Menschen.»
Populärer Song als unpopulärer Begriff
Gegenwärtig findet man keine Bücher über Populäre Songs. Es ist als wäre der Begriff veraltet und als liesse sich ein Buch zum Thema nicht verkaufen. Das Buch von Charles Hamm zum Amerikanischen Populären Song hat seit seinem Erscheinen nie mehr einen Update erhalten und es erschien kein neuerer Text zum Thema. Das kann verschiedene Ursachen haben. Eine mögliche Ursache ist, dass der Begriff «Populärer Song» zu stark mit der Tin Pan Alley verbunden ist (wie etwa beim Release American Popular Song. Six Decades Of Songwriters And Singers). Wenn man den Begriff historisch so eingeschränkt, dann wird das geringe Interesse an ihm verständlich. Eine weitere Ursache könnte sein, dass man Populäre Musik und alle anderen Formen Populärer Künste heute gerne im kulturellen Substrat einbettet und nicht an den Werken, den Songs festmacht. Man schreibt keine Bücher über Songs (ausser als Empfehlungsliteratur (1001 Songs You Must Hear Before You Die) und als kommentierte Playlisten (Encyclopedia of Great Popular Song Recordings – dieses gigantische Werk ist allerdings mehr als eine Playliste, nämlich ein Corpus).
Definition
Der Populäre Song gehört zu den performativen Künsten, d.h. Songs kommen sowohl in einer festgehaltenen Form als juristisch geschütztes Werk vor und als konkrete Aufführung («performance») für ein (reales oder potentielles) Publikum. Wie jeder Song (wie auch Volkslied und Kunstlied) besteht er aus ineinander verschränkter Musik und Text (Lyrics). Populäre Songs werden in der bürgerlichen Gesellschaft von professionell agierenden Institutionen (Verlage, Labels) und Musiker*innen produziert, die auf Populäre Musik spezialisiert sind und sie über möglichst viele zur Verfügung stehenden Medien auf einem oder verschiedenen Märkten verwerten. Erfolgreiche Populäre Songs bestehen in der Regel in vielen verschiedenen Versionen, die musikalisch und gesanglich verschieden arrangiert sind und in verschiedenen medialen Kontexten verbreitet werden.
Die Definition des Populären Songs ist nicht von der Art: Der Populäre Song ist ein Song, der ... Die Definition hat einige Bestimmungen, die der Populäre Song nicht mit Volksliedern (z.B. die Doppelstruktur Werk – Aufführung) oder Kunstliedern (die mediale Vielfalt, die Vermarktung) teilt. Deshalb rechtfertigt sich die Grossschreibung: «Populärer Song». Das «Populär» ist nicht ein Adjektiv, das den Populären Song vom Song ableitet oder unterscheidet.
Gütekriterien
– Struktur
– musikalische Elemente (Melodie, Harmonie, Rhythmus), die auf natürliche opder überraschende Weise mit den verbalen Elementen zusammenwirken
– Bedeutung, Aussage (Songs erzählen Geschichten, verleihen einer Stimmung Ausdruck, dokumentieren universelle oder individuelle Erfahrungen
Populäre Musik Tag
Populäre Musik wird sehr verschieden verstanden und gebraucht. Der zusammengesetzte Begriff hat mindestens drei Bedeutungsdimensionen.
1) Musik, die populär bzw. erfolgreich ist. «Populär» ist ein unbeliebtes, anrüchiges Wort. (Der Begriff der Popmusik hält gerade diese Dimension fern: Für sie hatte und hat dezidiert nicht die Masse und ihr Geschmack für die relevante Popmusik gesorgt, sondern die Kultur von Minderheiten und gesellschaftlichen Aussenseiter*innen.) Popularität kann aber als Erfolg wertfrei (falls es das gibt) gemessen werden. Populär ist, was faktisch oder potentiell in die Hitparade kommt. Das Adjektiv «potentiell» wäre entscheidend bei einem Sleeper Hit, der möglicherweise nicht erst mit dem Eintritt in die Hitparade populär wird sondern es potentiell bereits vorher war. Problematisch ist dieses Verständnis, weil im Prinzip mit jedem medialen Produkt ein möglichst hoher Absatz intendiert ist. Gewissermassen ist dann aber jedes Produkt «populär», ausser es sei von Anfang an nur für einen Nischenmarkt bestimmt.
2) Populäre Musik als eigene stilistische Tradition oder als Genre. In diesem Sinn meist Vokalmusik, die arbeitsteilig produziert wird: Sängerinnen, Sänger und Vokalgruppen interpretieren ein Lied, das von Songwriter*innen geschrieben und Produzent*innen im Studio aufgenommen und klanglich gestaltet wird. Das Problem dieser Definition ist, dass sie vieles ausschliesst: Rock Musik, die zum grösseren Teil von den Interpret*innenn selbst geschrieben ist, Pop-Autor*innen wie Scott Walker, Hip-Hop und viele andere Stile, die aber ebenfalls in der Hitparade erfolgreich sind (also populär).
3) Das Dritte Verständnis von «Populäre Musik» betrifft die Gattung. Populäre Musik in diesem Sinn ist von Verlagen und Labels vorfinanzeirte Musik. Die Investition für Produktion und Promotion muss über den Musik- oder Unterhaltungsmarkt zurückbezalt werden.
Letztere ist zum grössten Teil von öffentlichen oder privaten Geldern finanziert und zwar à fonds perdu, während die Volksmusik von privaten nicht-monetären Einsatz von Laien lebt (Chöre, Blasmusiken, Hobby-Bands), auch wenn sie einen Musikstil spielen, die andere Formationen erfolgreich zu Markte tragen. Populäre Musik wird von unternehmerisch tätigen Verlagen, Labels, Impresarios und Managements vorfinanziert und muss dann die in sie getätigte Investition über den Markt zurückzahlen und, wenn möglich, darüber hinaus Gewinn abwerfen. Der Markt braucht kein Massenmarkt zu sein. Populäre Musik ist nicht nur dann erfolgreich, wenn sie in die vorderen Ränge der Hitparade kommt oder grosse Konzerthallen füllt, ihr Erfolg kann in Nischenmärkten oder lokalen Märkten wie dem der Schweiz stattfinden.
Diese Betrachtung ist natürlich idealtypisch, denn heute gibt es erfolgreiche Mischfinanzierungen wie eine öffentliche Risikogarantie und Startup-Hilfen, die den möglichen Misserfolg mitfinanzieren, im Erfolgsfall auf dem Markt aber aber zurückbezahlt werden. Dieses Thema könnte beliebig vertieft werden. Für den Moment ist nur wichtig, dass Populäre Musik kein Musikstil ist und dass sie in den 60er- und 70er-Jahren, um die es hier geht, stilistisch vielfältig war, mindestens Pop und Rock umfasste.
Ein der Populären Musik entgegengesetztes Verständnis ist das der Popmusik, wie ihn im deutschen Sprachraum Diedrich Diederichsen (mit-)geprägt hat. Diederichsen versteht «Pop-Musik» gerade nicht als Spezialfall von «Musik», sondern als eigenes Gegenstandsfeld, das durch einen komplexen Verbund von Medien (Musik, Fotos, Videos usw.) zustande kommt und von den Rezipienten konstituiert wird. Im Rahmen dieser Auffassung beginnt Popmusik erst ab ca. 1965 als sie qua Jugendkultur in die (kontinentaleuropäische) Gesellschaft eindiffundiert ist und als die präferierte Musik zweier zahlenmässig starker Generationen, den Babyboomern und der Generation X zu einer Art musikalischem Mainstream geworden ist.
Arbeitsdefinition im Rahmen von Musikzimmer
Populäre Musik besteht aus stetig wachsenden musikalischen Werkkatalogen, deren Produktion von Verlagen und Labels finanziert wird, die auf Märkten verwertet werden, die medial zu gängigen Formaten aufbereitet sind (je nach Epoche gehören Notendruck, Tonträger, Musikvideo oder digitale Formate zu den verbreiteten medialen Formaten).
Populäre Musik ist zwar «im Kern» Musik, ist aber fest verbunden mit anderen symbolischen Zeichensystemen: Grafik, Fotografie, Video, Film, Mode, Tanz, Theater, ...
Populäre Musik ist ein zusammengesetzter Begriff, weshalb «Populär» stets gross geschrieben wird. «Populär» ist nicht vor allem Adjektiv, sondern Bestandteil des Substantivs.
Anfang der Populären Musik
Eine SIchtweise ist, dass es Populäre Musik schon immer gegebent hat, z.B. wenn Musiker*innen im öffentlichen Raum (z.B. Marktplatz, Restaurant) Musik aufführen, einen Hut aufstellen und Gewinn erzielen. Die beschriebene Marktplatz-Szene kann als Urszene der Populären Musik gesehen werden. Konstitutiv sind die Öffentlichkeit (der Markt), die Gunst (Aufmerksamkeit) des Publikums, um die Musiker sich bemühen, sowie ein nennenswerter Umsatz, der zu weiteren Geldflüssen veranlasst (wie Verteilung des Verdienstes unter den Musiker*innen, Entschädigungen der Komponist*innen, ...).
Die Moderne Populäre Musik beginnt in den 90er Jahren des ausgehenden 19. Jahrhunderts. Damals veränderten zwei Erfindungen die Musik. Zum einen kamen in jenen 90er Jahren die ersten Tonträger heraus, Noten- oder Pianorollen, Wachszylinder und Schallplatten, die in Massen produziert werden konnten. Zum anderen wurden damals in New York Verlagshäuser für Musik eröffnet, die ein neues Geschäftsmodell für die Produktion und den Absatz von Musik etablierten. Sie versuchten Hits (deutsch «Schlager») zu produzieren, wo bisherige Musikverlage Repertoire verwalteten. Man nennt die Gesamtheit dieser New Yorker Verlagshäuser, die als erste auf Hits aus waren, Tin Pan Alley. Die Tin Pan Alley Verlagshäuser wurden bald durch andere Institutionen ergänzt, durch Schallplattenlabels, Managements, Verwertungsgesellschaften usw. Die Gesamtheit der Institutionen, die mit der Produktion, Vertrieb und Promotion von Populärer Musik beschäftigt ist, wird Musikwirtschaft genannt. Der Begriff Musikindustrie ist veraltet und abwertend konnotiert.
Beispiele von Definitionen
Der Oxford Music Online definiert «Populäre Musik» als Musik, die für eine grosse Zahl von Hörerinnen und Hörern (und nicht für eine Elite) gemacht wird und für diese auch zugänglich ist. Eine Definition falle schwer, weil die Bedeutung des Begriffs historisch variiere und weil die Grenzen zu anderen [Gattungen] umkämpft seien.
Populäre Literatur Tag
Literarische Genres bzw. allgemein Literatur, die der Unterhaltung dient und wenig oder keinen Anspruch darauf hat, zum Kunstkanon zu gehören. Zu den Genres gehören Krimis, Thriller, Spionagegeschichten, Fantasy, Liebesromane, Schauer- und Gespenstergeschichten, Science-Fiction, Western, historische Romane etc. (vergleiche Genres der Populären Literatur).
Zur Unterscheidung Populäre – Schöne Literatur
Populäre Literatur wird historisch zuerst durch ihre Wertigkeit von der ernsten oder schönen Literatur abgegrenzt: Populäre Literatur dient der Unterhaltung, ist Anspruchslos und wird von Leuten gelesen, die sich mit diesen Stoffen zerstreuen. Die ernste Literatur hingegen wird von Leuten gelesen, die von den Texten lernen, ihre Identität daran formen wollen und sich Gedanken machen, wie ein Text mit der Geschichte und der Gesellschaft zusammenhängt. Schulen, die Bildung vermitteln, lehren diesen Umgang mit Literatur.
Mit der Postmoderne am Ende des 20. Jahrhunderts wurde diese Wertung und Hierarchie der Künste – von Gelehrten und Künstler/-innen gleichermassen – in Frage gestellt. Wer an der Unterscheidung zwischen dem Populären und dem «Schönen» oder «Akademischen» festhalten möchte, braucht ein anderes Unterscheidungskriterium. Der englische Begriff der «genre fiction» weist einen möglichen Weg, die beiden Bereiche zu unterscheiden. Das literarische Genre könnte darüber entscheiden, ob ein Text dem einen oder dem anderen Bereich zugehört. Ein Entwicklungsroman wäre dann ein typisches Beispiel von «schöner» und eine Horror- oder Schauergeschichte ein Beispiel für populäre Literatur. Die Grenzen im Bereich der Künste sind und bleiben allerdings fliessend. Folglich wird jedes Kriterium, das man sich zur Unterscheidung aussucht, seine eigenen Probleme aufwerfen. Beim obigen Beispiel des Bildungsromans drängt sich das coming-of-age Genre auf, das thematisch mit dem klassischen Bildungsroman eng zusammenhängt, aber genauso der Populären Literatur zugerechnet werden kann.
Genres und Figuren
Marker für die Zugehörigkeit eines literarischen oder allgemeiner eines erzählerischen Werks zum Populären können also erstens literarische Genres sein und zweitens bestimmte Figuren, die im Text eine Hauptrolle spielen. Solche Populären Figuren sind zum Beispiel Räuber, Outlaws, Piraten, Mörder, Spione, Zuhälter, Prostituierte usw.
Entstehung der Populären Literatur
Hans-Otto Hügel vertritt in Handbuch Populäre Kultur von 2003 die Auffassung, dass Populäre Litaratur in Deutschland mit der Entstehung der Deutschen Familienblättern zusammenhänge (S. 6), die ab den 1870er Jahren erschienen. Populäre Literatur setzt eine bürgerliche Öffentlichkeit mit entsprechenden Publikations- und Rezeptionsfreiheiten voraus, eine relativ anspruchsvolle Mediale Ausdifferenzierung der Gesellschaft. Soziale Mobilität, mediale Ausdifferenzierung und bürgerliche Freiheiten sind dabei aber nur notwenidige, nicht hinreichende Entstehungsbedingungen. Zentral für das Populäre sei, so Hügel, die Unterhaltung.
Populäre Künste Tag
Populäre Künste sind Ausdrucksformen, die an ein nicht elitäres, urbanes Publikum gerichtet sind. Populäre Künste unterhalten primär, aber nicht ausschliesslich die Mittel- und Unterschicht. Geografisch sind Populäre Künste mit Städten und ihren Vororten und Aglomerationen verbunden. Entstanden sind sie vermutlich mit und nach der Industrialisierung unter den Bedingungen von sozialer Mobilität (sozialer Aufstieg, Migration), medialer Ausdifferenzierung der Gesellschaft (vor allem der Entstehung von Ton- und Bildaufzeichnungsmedien) und bürgerlichen Freiheiten (Öffentlichkeit, unternehmerische Freiheit von Verlagen, Konsum- und Rezeptionsfieheiten).
Viele relevante Funktionen der Schönen Kunst («fine arts») spielen bei der Populären Kunst keine Rolle. Vor allem muss sie nicht repräsentieren – weder Land, Region, Regierung noch herrschende Klasse. Sie verlangt nicht notwendigerweise die selbe Professionalität bei den Ausübenden, wenn gleich diese unter Konkurrenzdruck erheblich steigen kann.
Charakteristisch für Populäre Künste sind ausgeprägte Modetrends in der stilistischen Ausgestaltung. Ihre Formensprache bedient sich an Versatzstücken aus den anderen Kunstgattungen (Folklore und Schöne Künste), an alten Stilen (Revivals), fremden Kulturen. Sie verwenden neuen Medien und Materialien, sobald diese genug günstig verfügbar sind.
Populäre Künste sinf oft wenig kontrovers (das macht ihre Popularität aus), andererseits sind sie oft schneller als die Schönen Künste fähig, kontroverse Themen über den Weg der Sensation aufzunehmen.
Kommerzialität ist essentiell: Produkte und Inhalte der Populären Künste werden stets kommerziell verwertet und zielen in der Regel auf ein möglichst grosses Publikum. Mit zunehmender Ausdifferenzierung des Marktes entstehen aber auch Nischenmärkte.
Wie jeder der drei Kunstgattungen kommen den Populären Künsten auch soziale Funktionen zu, z.B. die Konstitution von persönlicher und kollektiver Identität.
Medialität der Populären Künste
Die drei Kunstgattungen, die Folklore, das Populäre und die schöne Kunst, lassen sich nicht eindeutig bestimmten Medien zuordnen. Aber umgekehrt diente eine bestimmte Medialität immer wieder dazu, Kunstwerke gattungsmässig einzuteilen: Nachdem Märchen, Sagen, Legenden, Balladen aufgeschrieben wurden, nahm man sie nicht länger als als Folklore, sondern als Literatur wahr. Oder wenn Schallplatten der Populären Musik ins Museum gestellt werden, wertet es sie auf. Auch die Musik gilt dann nicht mehr nur als Unterhaltung. Seit dem Aufkommen der Fotografie als Massenmedium (1880er Jahre), der Tonträger (USA, 1890er Jahre) und des kommerziellen Radios (USA, 1920er Jahren) gilt als populär, was vorwiegend in den modernen massenmedialen Kanälen verbreitet wird und der Unterhaltung dient. Vor diesem massenmedialen Einschnitt galt tendenziell das, was oral weitergetragen wurde als folkloristisch und was niedergeschrieben wurde als schöne Kunst.
In der Musik wurden einige Operetten, z.B. Carmen
oder die Die Lustige Wittwe
in den klassischen bürgerlichen Kanon aufgenommen. Man könnte in diesen Fällen von «Gattungs-Crossover» sprechen. Der Begriff «Gattungs-Crossover» würde dann als Sammelbegriff alle sechs möglichen Arten von gattungsmässigen Übersprüngen bezeichnen.
Inventarisierung
Die Britannica nennt Tanz, Literatur, Musik, Theater und lässt andere Formen zu, ohne sie zu nennen. Hier sind Ergänzung denkbar. Film (Blockbuster, B-Movies, aber vermutlich nicht Studiofilme), Body Art (Tattoos, Piercings, Frisuren), Kleidung, Gebrauchsdesign, Comix, Kleinkunst, Cabaret, Zirkuskünste, Burlesque, Standup Komik, Innenarchitektur z.B. von Clubs, Grafik, Computergrafik, Animationsfilme, Video, ...
Das Zielpublikum der Populären Künste wird bestimmt als die «gewöhnlichen Leute», die aber gebildet sind und in einer technologisch fortgeschrittenen Welt leben. Medien- und Reproduktionstechnologien gelten als eine Voraussetzung für Populäre Künste: Radio, TV, Personal Computer, Mobilgeräte, Kopiergeräte, Tonbandgeräte, Datenträger, Fotoapparate, Videokameras usw.
Systematisierung
Wenn man die Populären Künste systematisieren wollte, dann könnte man von ihrem Aufführungsort ausgehen und käme so auf folgende Einteilung:
1. Künste, die im Freien aufgeführt werden: Akrobatik, Strassenmusik, Strassentheater
2. Künste, die in mobilen Einrichtungen wie Zelten oder Wagen aufgeführt werden: Zirkus, Medicine Show, Minstrel Show, ...
3. Künste, die in ortsgebundenen Institutionen wie Theatern, Hallen, Clubs oder Stadien aufgeführt werden: Vaudeville Shows, musikalische Konzerte, Tanzveranstaltungen, Sportveranstaltungen, ...
4. Künste, die in bestimmten medialen Settings produziert werden: Bücher, Tonaufzeichnungen, Filme, Radio- und TV-Programme
Denkbar sind selbstverständlich auch andere Systematisierungskriterien.
Historisierung des Populären
Hans-Otto Hügel historisiert die Populären Künste mit verschiedenen Phasen/Epochen (die Liste aus dem Handbuch Populäre Kultur ist mit eigenen Stichworten ergänzt):
1) 1850–1870: Leitmedium: Familienblatt: Verbürgerlichung der Unterhaltung
2) 1870–1890: Leitmedien: Familienblatt und Kolportageroman, Differenzierung von privater Unterhaltung und öffentlichem ästhetischen Genuss – in dieser Phase entsteht erst die Abwertung des Populären und die Übersteigerung der bürgerlichen Hochkultur.
3) 1890–1920: Entstehung von Unterhaltungsinstitutionen (Panoptika, Vergnügungsparks, Kinos, Vaudevilletheater mit Revues), Unterhaltung wird personalisiert, ideologisiert und heroisiert, Leitmedien: Unterhaltungsblätter, Groschenheft, Stummfilm, Schallplatte, Zirkus, Revues.
4) 1920–1955: Leitmedien: Film, Radio, Schallplatte, Illustrierte
5) 1955–1970: Leitmedien: Fernsehen, Schallplatte, Film.
6) 1970–2000: neue Rezeptionsformen wie das Zapping, Medien dringen in den Alltag ein: Begleithören und sehen, zunehmende Spezialisierung (MTV, CNN). Übertragung von Events (Sport, Kunst).
Gegen diesen relativ späten Anfang des Populären spricht, dass bereits im 18. Jahrhundert in Frankreich die Opéra-comique, in Deutschland das Singsspiel und aus diesem später die Spieloper und in England die Ballad Opera entsteht. Letztere bringt bereits 1728 die berühmte «Beggars opera» von John Gay hervor. Solche populären Formen der Oper verzichten alle auf das Rezitiv und ersetzen es durch Erzählungen.
Ausbildung
In Berlin gibt es die Berlin School of Popular Arts (SoPA), die sich das Populäre auf die Flagge schreibt. Studiengänge, die dort angeboten werden, sind
- Film und Motiondesign
- Fotografie
- Film und Fernsehen
- Visual and interactive media
- Audiodesign
- Musikproduktion
- Popularmusik
Bemerkung zur Schreibweise
Ich schreibe «Populäre Kunst» und «Schöne Kunst» mit Majuskeln, weil ich die Begriffe als zusammengesetzte Nomen und nicht als Nomen mit Adjektiv verstehe.
Querverweise
– Das Populäre
– Populäre Literatur
– Popliteratur
– Genres der Populären Literatur
– Populäre Figuren
– Populäre Musik
– Popmusik
– Populärkultur
Links
– Encyclopedia Britannica: Popular Art
Popmusik Tag
«Popmusik», zuweilen auch «Pop», ist der Name für eine in der Nachkriegszeit aus den USA importierte massenmedial verbreitete musikalische Praxis, welche die Populäre Musik von zuvor sowohl in den USA als auch in Westeuropa zunehmend verdrängte. Diese neue musikalische Praxis war weitestgehend egalitär, wo die europäische Musik einen klaren und immer präsenten sozialen Unterschied setzte, mit dem sie elitäre und unterhaltende Musik säuberlich auseinander hielt.
Der so erläuterte Begriff «Popmusik» kommt besonders in Europa und speziell in den deutschsprachigen Ländern vor. Man kann es nicht deutlich genug sagen: «Popmusik» ist nicht synonym mit dem amerikanischen Begriff der popular music! Die nahe liegende Übersetzung ist ein falscher Freund! Die deutsche Wikipedia definiert «Popmusik» wie folgt: «Popmusik (aus engl. popular music) bezeichnet eine Musikform, die vorwiegend seit den 1950er Jahren aus dem Rock ’n’ Roll, der Beatmusik und dem Folk entstand, von den Beatles fortgeführt und von der schwedischen Band ABBA seit Beginn der 1970er Jahre popularisiert wurde. Sie gilt seit den 1960er Jahren als europäisierte, international etablierte Variante angloamerikanischer Musik, die im Kontext jugendlicher Subkulturen entstand und inzwischen zumeist auf Grundlage der Erkenntnisse aus der Elektronischen Musik aufbereitet und massenmedial verbreitet wird.» (Stand 16. Mai 2017) Pop kommt zwar aus Amerika ist aber ein Importprodukt aus der amerikanischen «Popular music». Es ist stimmig, dass es in der englischen Wikipedia gar keinen Eintrag «Popmusic» gibt.
Entscheidend ist, dass diese Definition Musik ausschliesst, die vor den 50er Jahren entstand und die im angelsächsischen Raum ebenfalls zur «popular music» gezählt wird: Swing, «American Popular Song (das Great American Songbook) und frühere Formen populärer Lieder. Ebensowenig gehören europäische Traditionen Populärer Musik: Chanson, Musette, Rembetika, Fado, Flamenco, Filmschlager ab den 20er Jahren, Lieder aus den Musichalls und dem Cabaret, Walzer, Operette und vieles mehr, zur Popmusik.
Ebenfalls wichtig an der Definition von «Popmusik» ist, dass sie mit jugendlichen Subkulturen assoziiert wird. Diese Subkulturen waren zweifellos wichtig für ästhetische Innovationen, aber sie sind nicht in jeder Zeit essentiell für die Populäre Musik: seit Rave/Techno in den späten 80er-Jahren gab es keine viralen Jugendbewegungen mehr. Gibt es deshalb seither keine Popmusik mehr? Ist Popmusik deshalb nur noch in den subkulturellen Nischen vorhanden? Und das in der obigen Definition genannte Beispiel von ABBA – was hat diese schwedische Band mit jugendlichen Subkulturen zu tun? ABBA ist sehr typische Musik für Jung und Alt, zudem Mainstream- und nicht Subkultur-Musik: ABBAs historischer Beitrag bestand unter anderem gerade darin, Pop wieder als Familienmusik zu etablieren und den Generationenkonflikt der 60er Jahre beizulegen.
Querverweise
– Popkultur
Popliteratur Tag
Popliteratur ist ein literarisches Genre der Postmoderne. Popliteratur ist nicht auf die deutsche Sprache beschränkt, der Begriff hat sich vor allem im deutschen Sprachraum etabliert.
Popliteratur erzählt Geschichten von jungen Leuten, deren Leben von Medien, Werbung und Konsum bestimmt ist. Produkt-Marken, Musiktitel, Filmtitel werden genannt und zeigen an, wer jemand ist. Die Autor*innen rechnen mit einer Leserschaft, die sich in diesen Dingen auskennt. Die Protagonisten sind häufig Wohlstandskinder, deren Alltag sich um Musik, Party, Drogen und Sex dreht. Die Ich-Erzähler sind coole, abgeklärte Hipster, die sich in allerlei Exzesse einlassen können. Was ihnen geschieht und wie sie die Welt wahrnehmen, wird genaustens beschrieben – und zwar erstens oberflächlich, d.h. es werden weder Ursachen noch verborgene Motive von Handlungen und Ereignissen gesucht (Erzähler und Figuren sind keine reflektierenden Subjekte), und zweitens ohne je zu moralisieren. In der Welt der Popliteratur gibt es keine Moral. Man lebt selbstbewusst hedonistisch und umgibt sich mit Personen, die ebenso sind. Die dargestellte Gesellschaft lebt ein modernes Dandytum.
Herkunft
Die Popliteratur geht zurück auf die amerikanische Beatgeneration in den 1940er und 1950er Jahren (William S. Burroughs, Jack Kerouac oder Allen Ginsberg). Diese Schriftsteller befassten sich zum Teil in Ich-Erzählungen mit dem leben in einer Subkultur, mit der Faszination des Musik-Fandoms, dem Drogenkonsum und dem Nachtleben.
In der Zeit, in der in den USA die Beatgeneration schrieb, war im deutschen Sprachraum alles was mit Pop zu tun hatte, zutiefst verdächtig und fremd. Die Hochkultur liess sich nicht auf die damals neue Konsumwelt ein. Es war ein Aufsatz von Leslie Fiedler, Cross the Border – Close the Gap (1969), der im Playboy Magazin gegen Theodor W. Adorno die Stimme erhob und die Populäre Kunst verteidigte, indem er sie sogar als paradigmatisch für die neue postmoderne Literatur erklärte. Der junge deutsche Lyriker Rolf Dieter Brinkmann war einer der ersten Vertreter einer an der Beatgeneration orientierten deutschen Popliteratur avant la lettre.
Verzeichnis von Autoren, die dem Genre zugerechnet werden
Der Begriff «Popliteratur» kam in den 1990er Jahren wieder auf und fasst Autor*innen zusammen wie:
– Rainald Goetz: «Irre», «Kontrolliert» oder «Abfall für alle»
– Christian Kracht: «Faserland»
– Benjamin von Stuckrad-Barre (geb. 1975): «Soloalbum»
– Elke Naters
– Alexa Hennig von Lange: «Relax»
– Judith Hermann
– Thomas Brussig: «Helden wie wir» und «Am kürzeren Ende der Sonnenallee»
– Sibylle Berg: «Ein paar Leute suchen das Glück und lachen sich tot»
– Andreas Mand
– Takis Würger
– Andreas Neumeister
– Thomas Meinecke
– Moritz von Uslar
Im englischen Sprachraum könnte man Nick Hornby, Mark Fisher, möglicherweise Tony Parsons dazu rechnen.
Der japanische Autor Haruki Murakami kann man zur Popliteratur zählen.
Als Verlage sind KiWi und Tempo führend.
Popdrop Tag
Der «Drop» ist ein Strukturelement aus der Tradition von Disco und Electronica zu EDM/Electropop. Tanzmusik ist oft nicht auf gängigen Songstrukturen (wie Verse-Chorus) gebaut, sondern spielt mit Intensitäten. Der Moment der grössten Intensität heisst Drop. Meist setzt der Drop nicht nahtlos ein, sondern wird einer kurzen oder auch längeren Pause, die den Kontrast hervorhebt.
Charlie Harding vom Switched On Pop Podcast hat den Begriff «Popdrop» geprägt.
Es werden verschiedene Arten des Drops unterschieden, zum Beispiel der «beat-up», ein plötzliches Einsetzen oder laut werden der Bassdrum.
Der Teil, der vor dem Drop kommt, heisst «build up» (Prinzip der Steigerung) oder «break» (Pause, Absetzen, um gleich ganz abzuheben).
Der Drop kann statt Teil eines Tracks zu sein auch vom DJ inszeniert werden, indem sie oder er die Bässe filtert und an geeigneter Stelle wieder dazugibt.
Pop-Art Tag
Kunstrichtung ab Mitte der 60er Jahre, deren Namensverwandtschaft mit der «Pop-Musik» die Frage aufwirft, wie Pop-Art und Pop-Musik sich zu einander verhalten. Popart wurde auf Schallplatten-Covern abgebildet (zum Beispiel die Banane von Andy Warhol auf dem Album The Velvet Underground And Nico). Popmusik fand andererseits zusammen mit anderen Gestaltungsformen der Massenkultur (z.B. Comix) als Stilelement oder Material den Weg in die Museen.
Die Pop-Art versuchte, überkommene Verhältnisse auf den Kopf zu stellen:
- Das Werk als Original wurde durch Kopien und Serien (Andy Warhol) ersetzt
- das Künstler-Genie wurde auf eine Vermittlungs-Rolle reduziert
- Hierarchien zwischen Künstler/-in und Publikum wurden abgebaut und die Grenze zwischen Produktion und Konsum verwischt
- Massenkultur fand as Material und als Sujet den Weg ins Museum (Campbell’s Tomato Soup Dosen von Andy Warhol)
Dies alles geschah mit dem übergeordneten Ziel, den Kunstbetrieb zu entzaubern und Kunst in den Alltag zu überführen.
Pop Tag
Pop ist ein Kurzwort/Abkürzung. Als Begriff ist «Pop» schillernd und hat mindestens die folgenden Bedeutungsdimensionen bzw. steht für die folgenden ungekürzten Begriffe:
– Pop Art, eine ursprünglich angelsächsische Kunstrichtung, die in den 1950er Jahren entstanden ist und in den 1960er Jahren ihre Blütezeit hatte. «Pop Art» ist im Gegensatz zu den anderen drei Bedeutungsdimensionen eine Richtung der schönen Künste, nicht der populären Künste.
– Popkultur, Abkürzung für populäre oder Populärkultur seit den 1950er Jahren (Rock 'n' Roll, Elvis Presley und die Folgen, einen Konsumkultur für Teenager, später auch für junge Leute überhaupt)
– Popliteratur, Abkürzung für populäre oder Populärliteratur
– Popmusik, Abkürzung für Populäre Musik
Zusammenhang dieser Begriffe
Im Zusammenhang mit Musik gibt es wiederum sehr verschiedene Auffassungen und Definitionen von Populärer Musik.
Popkultur
Popkultur breitet sich ausgehend von medial vermittelten bildnerischen und musikalischen Subkulturen in der Mitte des 20. Jahrhunderts von den USA her aus. Diese einst subversiven und im Selbstverständnis revolutionären Bewegungen haben sich mittlerweile zu einem hegemonialen Mainstream geformt. Beschrieben wird dieser gesellschaftliche Komplex mit Schlagwörtern wie «Kulturindustrie» (Adorno), Massenkultur, Konsumismus, Trivialisierung, Hybridisierung (postmoderne Programmlosigkeit, Hang zum Bullshit), Oberflächlichkeit, Körperkultur, freie Sexualität, Jugendlichkeit, Nonkonformismus (teilweise Subversivität), Starkult, egozentrischer Individualismus. Pop als Mainstreamkultur mag stellenweise immer noch rebellisch sein, doch mehrheitlich ist es die Verwertung von allem Kulturellen (Pop ist kapitalistisch – und wie!) und ein Lifestyle-Phänomen. Als letzteres hat Pop mehr als kulturelle Bedeutung und beschränkt sich nicht auf die Unterhaltung, sondern greift in andere (politische, didaktische, wirtschaftliche) Zusammenhänge hinein.
Pop als Genrebegriff
«Pop» wird im Musikzimmer als historische Genrebezeichnung wie «Blues», «Beat», «Rock», «Soul» usw. verwendet (siehe: Genre: Pop. Pop als Genre ist zeitgleich mit Rock 'n' Roll aus Traditionalpop entstanden, verabschiedet sich aber vom Songwriting mit Noten, den grossen Orchestern (Bigbands) und wird mit Mehrspurtonbandgeräten im Tonstudio unter der Leitung eines Produzenten mit Hilfe von Studiomusikern aufgenommen. Pop wurde in den 1980er Jahren von Newpop abgelöst, als sich die Produktion wieder grundlegend veränderte und Synthesizer und elektronische, teils digitale Instrumente die Studiomusiker aus dem Produktionsprozess verdrängten.
Polymeter Tag
Ein Polymeter ist Musik, die gleichzeitig mit unterschiedlichem Metrum gespielt wird, also zum Beispiel ein Instrument im 5/4-Takt, das andere im 4/4-Takt. Nach ein paar Takten kommen die beiden wieder zusammen, laufen dann wieder auseinander um erneut zusammen zu kommen.
Abgrenzung
Polymeter ist nicht dasselbe wie ungerader Meter oder Polyrhythmus. Zu den ungerade Metren gehört zum Beispiel der 5/4-Takt, bei dem ein Takt aus mehreren Gruppen von Noten besteht, entweder aus zwei Vierteln plus drei Vierteln oder aus drei Vierteln plus zwei Vierteln.
Ein Polyrhythmus besteht gleichzeitig aus zwei Rhythmen, einem 3/4 und einem 4/4 Takt. Hier hat jeder Takt, das selbe polyrhythmische Metrum.
Links
– Stackexchange: Polymeter vs Polyrhythm (Forum)
– Andrew Huang: POLYRHYTHMS vs POLYMETERS (Video, 26. November 2020)
Polemik Tag
Eine Polemik ist ein Texttyp (Rede, Schrift, Film etc.), der eine Auseinandersetzung mit dem common sense oder anderen Ansichten sucht. Das Ziel einer Polemik ist oft, eine Diskussion über ein Thema zu entfachen, mehr als sachlich recht zu haben. Deshalb wird die Sache, die den Streit veranlassen soll, oft übertrieben dargestellt.
Polaris Music Prize Tag
Ein kanadischer Musikpreis, der vom ehemaligen A&R von Warner Music Canada und True North Records, Steve Jordan, gegründet wurde. Jordan ist bis heute der Direktor des Gremiums. Ausgezeichnet werden herausragende kanadische Alben («Canadian music albums of distinction»). Jedes Jahr im Juni wird zuerst eine aus 40 Alben bestehende Longlist veröffentlicht, im Juli dann die Shortlist mit zehn Alben. Der Gewinner wird von einer fast 200-köpfigen Jury auserkoren und jeweils im September bekannt gegeben.
Quellen und Ressourcen
– Polaris Music Prize Webseite
– Polaris Prize Shortlists in Musikzimmer
– Spreadsheet der mit dem Polaris Prize ausgezeichneten Alben
Plattenvertrag Tag
Ein Plattenvertrag ist ein Vertrag, der zwischen einem Label und einem Interpreten (Solokünstler/-in oder Band) zum Zweck der Produktion von Musikaufnahmen geschlossen wird und deren Finanzierung, Herstellung, Vermarktung und Kompensation/Gewinnverteilung regelt.
Links
– AWAL: Decoded: The History of Record Deals (AWAL, 30. April 2019)
Piraterie Tag
Als «Piraterie» oder (auch «off-shore») wird eine Praxis oder ein Geschäft bezeichnet, das mit seinem Standort sich dem Gesetz des Heimatlandes entzieht. «Off-Shore»-Geschäfte waren in den 1960er Jahren bei englischen Musiker/-innen beliebt, um sich den hohen Steuern in der britischen Heimat zu entziehen. Meistens wird eine Praxis im Zusammenhang mit Medien als Piraterie bezeichnet: Piratensender, Piraterie als Umgehung der Urheberrechts/Royaltys-Konventionen.
Die Figur des Piraten
So stellen wir uns einen Piraten vor: Ein wilder, angsteinflössender Seemann in Uniform oder zerlumpten, aber fantasievollen Kleidern, Augenbinde, Armprothese mit Enterhaken, Holzbein, Papagei auf der Schulter, Säbel, zuweilen Degen in der Hand. Piratenhut oder Kopftuch, heute natürlich Tatoos. Diese Ikonografie ist – wie die ganze Semiosphäre – einem historischen Wandel ausgesetzt.
Woher kommt diese Figur? Piraterie existierte bereits in der Antike. Sie ist aus der Antike überliefert (der Römische Historeograph Appian berichtet von der Niederlage der Kilikischen Seeräuber, die 67 v.Chr. von Pompejus vernichtend geschlagen wurden. Das war ein Krieg gegen fast 400 Schiffe, 120 Piratenstützpunkte und 20’000 Mann. Piraten schreiben auch in der Gegenwart weiter Schlagzeilen, vor allem vor den Küsten Nigerias und Somalias. Tendenz steigend.
Das Bild des Piraten wurde über Jahrhunderte geformt. Zurück geht es auf das goldene Zeitalter der Piraterie in der Karibik (1690–1730).
Piraten sind von Freibeutern zu unterscheiden: Grossbritannien, Frankreich, die Hansestädte und die USA stellten Kaperbriefe aus, das heisst sie heuerten private Kapitäne an, um fremde Handelsschiffe zu entern. Die Beute konnten sie oftmals behalten. Offenbar ging es vor allem darum, anderen Nationen zu schaden. Es war die reine Bosheit zwischen Krieg führenden Nationen. Freibeuter waren das Pendant zu eine Söldnertruppe bei der Landarmee. In der Karibik im 17./18. Jh. hiessen sie «Flibustiers» (auf französischer Seite) und «Bukaniers» (auf englischer Seite), im Mittelmeer hiessen sie «Korsaren».
Kaperei und Freibeuterei gab es überall dort, wo Handelsrouten vom Orient oder aus den Kolonien nach Europa führten. Jede Seemacht überfiel die Handelsschiffe ihrer Gegnerinnen. Erst 1856 wurde in Paris die Seerechtsdeklaration unterschrieben, die Freibeuterei ächtete.
Piraten waren dagegen ungesetzliche Freibeuter. Sie hatten keinen Enterbrief und entschieden frei, welche Schiffe sie enterten. Selbstverständlich heimsten sie die gesamte Beute ein.
Es gab nicht wenige Kaperer, die in die Piraterie rutschten (Klaus Störtebeker), und umgekehrt Piraten, die zu Kaperer wurden (Sir Francis Drake). Befördert hat die Piraterie vor allem das Ende des Spanischen Erbfolgekrieges zwischen Spanien, Großbritannien und den Niederlanden einerseits und Frankreich andererseits wurden 1714 viele Freibeuter «arbeitslos» und gingen zur Piraterie über.
Piraterie als Klassenkampf avant la lettre
Markus Riediker, ein Aktivist und Historiker erblickte in der Piraterie einen Klassenkampf avant la lettre (Buch Villains of all Nations
). Piraten seien von den unmenschlichen Arbeitsbedingungen auf den Handels- und Kriegsschiffen geflüchtet. Sie hätten gemeutert, die Schiffe übernommen und darauf eine egalitäre, klassenlose und multinationalen Gesellschaft gebildet. Vermutlich ist das Revolutions-Verklärung.
Piraterie in der Populärkultur
Piraterie wurde verschiedene Male als Metapher herbeigezogen, wenn die Musikwirtschaft von neuen Technologien in ihrer Alleinmacht bedroht wurde. Zum Beispiel werden Radio- und TV-Stationen, die staatliche Monopole umgehen und ohne Lizenz senden als Piratensender bezeichnet. In den 1980er Jahren als Musik-Fans Alben mit CassettenRecorder kopierten und so vermeintlich den Umsatz der Musikindustrie bedrohten. Schon das Mitschneiden von Musik von Radiosendungen wurde als solche Bedrohung empfunden und es wurden Kampagnen gestartet, um Fans, die der Praxis nachgingen zu kriminalisieren.
Mit dem internet und dem Kopieren von MP3-Dateien sowie mit Filesharing-Plattformen wie Napster wurde das Problem immens. Mit einem Personal Computer konnte jede CD digitalisiert werden und dank dem Internet am Tag ihres Erscheinens für ganze Communities bereit gestellt werden. Der ganze Tonträgermarkt wurde damit unterlaufen.
Juristisch wurde von den Fans immer das Recht auf Privatkopie als «fair use» in Anspruch genommen. Mit dem Erwerb eines Tonträgers, so sieht es das Urheberrecht in den meisten Ländern vor, berechtigt die Käuferin oder den Käufer Kopien für den Eigengebrauch herzustellen. Zum Beispiel darf jemand eine Vinyl Platte kaufen und sie digitalisieren bzw. auf eine Kassette überspielen, um die Platte zu schonen oder im Auto abspielen zu können. Auch darf man für ein Familienmitglied oder eine nahe stehende Person eine solche Kopie herstellen. Was «nahe stehend» heisst ist natürlich ein Graubereich. Die Gesetzgeber hatten vermutlich vor Augen, dass Personen, die im selben Haushalt wohnen oder einen Haushalt frequentieren den Tonträger sowieso hören können und damit also auch in den Genuss einer Kopie kommen müssten. Gewiss hatten Gesetzgeber nicht vor Augen, dass mit Reproduktionstechnologien systematisch solche Kopien angefertigt werden würden. Und als diese Technologien dann verfügbar und zugänglich wurden, wurden diese Formen des «fair use» zu einem Problem. Durch alle Kampagnen und den politischen Druck der Musikindustrie auf die Urheberrechtsreformen zeigte sich, dass die Gesetzgebung nicht bereit war, den «fair use» abzuschaffen und das herrschende Recht zu Gunsten der Musikindustrie einschneidend zu verändern. Das Recht auf eine Privatkopie blieb erhalten, aber Plattformen, die der weiteren als der privaten Verbreitung von urheberrechtlich geschützten Werken dienten, also Filesharing-Plattformen, wurden geschlossen und die Betreiber/-innen bestraft. Allerdings wurden nicht alle Plattformen geschlossen. Für Musik-Fans gab es seit Napster und bis heute jederzeit Filesharing-Plattformen, auf denen die neueste Musik gratis zu beziehen war. Diese Tatsache führte letztlich zur digitalen Transformation der Musikindustrie und zur digitalen Musikwirtschaft.
Links
– Pippi in Taka tuka land (Youtube)
Querverweise
– Piratensender
Piratensender Tag
Piratensender sind privat betriebene Radiostationen ohne staatliche Lizenz. Piratensender waren ein Thema in Europa, wo die Radiolandschaft bis Jahre nach dem Zweiten Weltkrieg von staatlichen Monopolen kontrolliert wurden.
Nordsee und Ostsee
Die ersten Aufsehen erregenden Piratenstationen entstanden ab 1958 in Dänemark, 1959 in den Niederlanden, 1961 in Schweden (Radio Nord) und wenige Jahre später im Vereinigten Königreich. Diese Programme wurden von Schiffen auf offener See ausgestrahlt, d.h. von ausserhalb der 3-Meilen-Zone und dem jeweiligen staatlichen Hoheitsgebiet.
«Radio Mercur» war die erste europäische «offshore radio station» und sendete von der Ostsee nach Kopenhagen (siehe Wikipedia Artikel).
1959 folgte das niederländische «Radio Veronica» (siehe Wikipedia Artikel). Die Top-40-Hitparade von Radio Veronica lag praktisch in jedem Schallplattengeschäft auf. Die Radiofrage brachte im Februar 1965 die niederländische Regierung zu Fall.
1961 sendete 16 Monate lang «Radio Nord» von der baltischen See aufs schwedische Festland (siehe Wikipedia Artikel).
Britische Piratenradios gingen ab 1964 auf Sendung. Hier werden ein paar prominente genannt.
Anfangs 1964 wurden zwei Sender lanciert: «Radio Caroline», am 27. März 1964 (siehe Wikipedia Artikel, nach Asa Briggs soll es der 29.März 1964 gewesen sein) vom Iren Roman O'Rahilly, der Manager von Georgie Fame war und «Radio Atlanta» am 12. Mai 1964 (siehe Wikipedia Artikel, am 9. Mai gemäss Briggs). Atlanta wurde von Allan Crawford gegründet, einem Australier. Das Schiff von Atlanta hiess «Mi Amigo», es war ein altes schwedisches Piratenradioschiff, das in Texas für den Einsatz vorbereitet wurde. «Radio Caroline» wurde nach der Tochter des erschossenen Präsidenten John F. Kennedy benannt. Das Schiff von Caroline segelte unter der Flagge von Panama, einem Staat, der die internationalen Rundfunk-Verträge nicht unterschrieben hatte, in denen die Verteilung von Radio-Frequenzen geregelt war. Bereits am 2. Juli 1964 fusionierten Caroline und Atlanta, wobei der Name Atlanta vom Äther verschwand. Radio Caroline betrieb fortan zwei Schiffe, die «Caroline» (ex-Atlanta) und nun «Radio Caroline North», das von der Isle of Man aus sendete, und die kleinere «Mi Amigo», die vier Meilen ausserhalb von Frinton an der Küste von Essex ankerte.
Am 27. Mai ging «Radio Sutch» von Screaming Lord Sutch auf Sendung. Sutch benutzte einen Flugabwehrstützpunkt aus dem Zweiten Weltkrieg an der Themse-Mündung. Im September verkaufte er «Radio Sutch» an Reginald Calvert, den Managers der Band Fortunes, der die Station fortan «Radio City» nannte (siehe Wikipedia Artikel).
Am 23. Dezember 1964 nahm «Radio London» (auch «Big L») von einem ausgedienten amerikanischen Kriegsschiff den Sendebetrieb auf, das der texanische Entrepreneur Don Pierson erwarb und als Radiostation umbauen liess. Diese Top-40-Station sendete bis am 14. August 1967 aus der Nordsee bei Frinton-on-Sea (siehe Wikipedia Artikel). Der Chief Operations Officer in Europa war Tom Danaher. Der Radio DJ John Peel machte sich bei «Big L» einen Namen, zuerst im Tages, dann auch im Nachtprogramm, wo er das britische Freeform Rock Radio popularisierte. (Im Unterschied zum späteren Freeform Radio in den USA sendete «Big L» auf Mittelwelle nicht auf FM.) «Big L» haben sowohl die Hörerinnen und Hörer als auch Musikerinnen und Musiker nachgetrauert. Das Radio entwickelte sich zum erfolgreichsten Offshore-Sender für London.
«Radio Invicta» sendete von einem Fort aus, das auf einer Sandbank ausserhalb von Whitstable stand, und existierte vom Juni 1964 bis im Februar 1965, wurde dann bis im Jahr 1967 zu «Radio 390» (siehe Wikipedia Artikel). Weder Invicta noch 390 waren besonders erfolgreich.
1965 kamen noch einmal zwei neue Stationen dazu: «Swinging Radio England» vom 3. Mai 1966 bis am 13. November 1966 (siehe Wikipedia Artikel) und am selben Tag «Britain Radio».
«Radio Caroline» und «Radio London» arbeiteten teilweise zusammen, sie beschäftigten einen Kapitän und tauschten DJs. Die DJs arbeiteten eine Woche an Bord und hatten eine Woche frei. Die Schicht für Techniker dauerte zwei Wochen.
In wirtschaftlicher Hinsicht rentierten diese Stationen vor allem am Anfang: Die Investition von Caroline belief sich auf £500'000.– und das Radio spielte £16'000.– pro Woche ein. Für jede Single, die im Programm abgespielt wurde, beliefen sich die durchschnittlichen Einnahmen auf £7! Doch mit der grösseren Konkurrenz gingen die Einnahmen wohl stark zurück. Ein Mangel an Liquidität bewog Radio Caroline und Radio Atlanta 1965 zur Fusion.
Piratenstationen waren mit allen neuesten Platten ausgerüstet. Offiziell arbeiteten die Labels bzw. ihre Vertriebe zwar nicht mit den Piraten zusammen, aber diese hatten die Platten dennoch bevor sie in die Läden kamen.
Pirate style: Im Lauf von Fusions-Verhandlungen kam es zu einem tödlichen Streit zwischen Oliver Smedley, dem Besitzer von Radio London, und Reginald Calvert, dem Besitzer von Radio City. Radio London verkaufte an Radio City einen Sender, den sie zuvor sabotierten. Da der Sender nie richtig funktionierte, wurde er auch nicht bezahlt. Deshalb schickte Smedley ein paar Männer aus, die den Flabstützpunkt von Radio City enterten, um den Sender zurückzuholen. Da der Sender auf Niemandsland stand, griff die Polizei nicht ein. Als dann Calvert Smedley einen Besuch abstattete und ihm drohte, wurde er erschossen. Smedly machte vor Gericht glaubhaft, dass er in Notwehr gehandelt habe (siehe Wikipedia-Artikel zu Smedley).
Gegenseitige Sabotageakte waren an der Tagesordnung: So wurden beim Ausrüsten der Schiffe im Hafen die Arbeiten behindert, um den Sendestart zu verzögern.
Das Ende der britischen Piratensender kam per Dekret der Regierung Mitte September 1967. Die 3-Meilen-Zone wurde auf 12 Meilen erweitert und am Samstag, dem 30. September 1967, ging die staatliche Station BBC Radio 1 auf Sendung, die den Piraten den Wind aus den Segeln nahm. «BBC Radio 1» übernahm populäre DJs von Offshore-Sendern, z.B. Tony Blackburn oder John Peel.
Schweiz
In der Schweiz gab es in den späten 1970er und frühen 1980er Jahren einen Boom von Piratenradios. Die damaligen Stationen lassen sich in zwei Gruppen einteilen, politische Sender und Musiksender. Die politischen Sender waren das Sprachrohr verschiedener Bewegungen, der Frauenbewegung («Wellenhexen», 1976–79), der Anti-AKW-Bewegung («Radio aktiv freies Gösgen») und weiteren. Die Musiksender waren die ersten Rock- und Pop-Radios im Land und kämpften für eine freie Radiolandschaft (z.B. Radio Jasmin). Beide Arten von Piratensendern waren mit der SRG dem Schweizer Radio unzufrieden – wenn auch aus verschiedenen Gründen.
Auf eine neue Ebene hob der Journalist und Medienunternehmer Roger Schawinski die schweizerische Radiopiraterie mit einer Mischung aus Radiopiraterie, systematischer Öffentlichkeitsarbeit und professioneller Organisation mit potenten Geldgebern im Hintergrund. Sein Radio 24 sendete mit einer leistungsstarken UKW-Antenne aus Italien, wo private Radiostationen zugelassen waren, in die deutsche Schweiz hinein. Der Erfolg von «Radio 24» sorgte für den entscheidenden gesellschaftlichen und politischen Druck für eine neue Rundfunk-Verordnung, in der Privatradios zugelassen waren.
Rolle der Piratensender
Piratensender kämpften gegen die staatlichen Monopole. Die einen waren für den offenen Zugang zu den Medien, die anderen für einen freien Wettbewerb im Äther. Piratensender sorgten für den notwendigen Druck, um den status quo zu ändern. Dass der Kampf jeweils mehrere Jahre dauerte, zeigte die mangelnde Flexibilität staatlicher Organisationen. In England waren der BBC die Hände gebunden, weil es die mit den Musiker/-innen-Gewerkschaften ausgehandelte so genannte «Needle Time» gab, die Maximalzeit, während der am Radio Schallplatten gespielt werden durften. Diese «Needle Time» betrug anfangs der 1950er Jahre weniger als 30 Stunden/Woche, wurde aber im Lauf der Zeit sukzessive erhöht und 1988 aufgehoben. Klar, dass die «Needle Time» einem Pop- und Rock-Programm im Weg stand.
Das schweizerische Monopol beruhte auf dem «Telegrafen- und Telefonverkehrsgesetz» aus dem Jahr 1922. Eine zeitgemässe Rechtsgrundlage wurde erst 1984 mit dem Radio- und Fernsehartikel in der Bundesverfassung geschaffen. Zwei Vorstösse in ähnlicher Richtung wurden 1957 und 1976 vom Volk abgelehnt. Die Zulassung privater Radiostationen bedurfte einer Gesetzesreform, der ein legislativer Prozess vorausging, der je nach politischem Klima schwierig und langwierig sein konnte. Mehr noch als die Polemiken von links und rechts fiel wohl die Tradition ins Gewicht, dass das Schweizer Radio die Stimme des neutralen Kleinstaates war, der sich gegen Moden aus dem Ausland verwehrte.
Links
– Pirate radio in Europe (Wikipedia)
– Asa Briggs: The History of Broadcasting in the United Kingdom. Volume 5: Competition. (Oxford University Press, London, 1995, pp. 502–567)
Ein Artikel über Radio Caroline und Radio London erschien im Melody Maker am 13. Februar 1965 – wiederabgedruckt in Uncut_THOR_1965. [jpg]
– Jolly Roger: Swiss-Pirate-Radio History
– SDA: Radio 24 war das bekannteste, aber nicht das erste (Persönlich.com, 2014)
– zum Film: Jolly Roger
Physik und Akustik Tag
Was wir hören, wenn wir etwas hören, wird vom Ohr und dem Gehirn aufgrund von akustischen Reizen, die das Ohr erreichen, konstruiert. Die akustische Reize bestehen aus sehr schnellen Wechseln des Luftdrucks, wenn Dinge vibrieren. Die Akustik untersucht die physischen (mechanischen) Eigenschaften von hörbaren Reizen.
Phrasierung Tag
Als «Phrasierung» bezeichnet man die Ausgestaltung der Melodie innerhalb einer Harmoniefolge. Da die Melodie auf zig Arten verlaufen kann, gibt es theoretisch viele Varianten, die sich rhythmisch, hinsichtlich der Lautstärke, der Artikulation und Pausensetzung unterscheiden.
In der Regel soll die Phrasierung natürlich sein und nicht die Betonung der Wörter verschieben. Sie soll zudem nicht steif oder zwanghaft sein und die Sätze immer auf dem Up- oder Downbeat beginnen lassen. Wiederholung schadet nicht, aber wenn es immer gleich ist, wird es mechanisch und langweilig.
Beispiele für lebendige Phrasierung
– Jacques Brel: Les Bourgeois
– Björk: It's Oh So Quiet
Personelle Aspekte der Rezeption Tag
Was hören Menschen, wenn sie Musik hören?
Hörphysiologie
Die Hörphysiologie untersucht die Wahrnehmung von akustischen Reizen. Akustische Reize sind physikalisch kontrollierbare Schalleinwirkungen, die als unabhängige Variabeln fungieren. Die abhängigen Variabeln sind in der Regel Aussagen von Probanden. Die Hörphysiologie ging und geht Fragen nach wie diesen: Wie stark muss ein Reiz sein, damit er wahrgenommen wird? Wie ist ein Reiz beschaffen, der das Gehör bleibend oder vorübergehend schädigt. Wie gross muss der Unterschied zweier Frequenzen sein, damit das Gehör sie als zwei Töne auseinanderhalten kann?
Im Weiteren spielt die Anatomie des Hörorgans eine gewisse Rolle beim Verstehen des Hörvorgangs.
Hörpsychologie
Die Hörpsychologie untersucht, was in der Wahrnehmung von Schall, Sprache oder Musik eigentlich passiert, wie zum Beispiel Wachzustände oder verschiedene Grade der Aufmerksamkeit die akustische Wahrnehmung beeinflussen. Wie jedes Wahrnehmungsorgan zeichnet sich aus das Ohr durch Konstanzleistungen aus, d.h die Wahrnehmung nimmt Reize nicht ohne Filterung, Regelung oder Korrektur wahr. Die Korrektur geschieht im Sinne der Eliminierung von Störungen. In der akustischen Wahrnehmung von Sprache werden zum Beispiel Phoneme auch dann als identisch wahrgenommen, wenn sie physikalisch auf verschiedene Art gebildet werden (Phonemkonstanz). Analog unterliegen in der Wahrnehmung von Musik (und Stimmen) Frequenzspektren einer Konstanzleistung. Dadurch klingt eine Violine nach Violine, auch wenn das Spektrum verändert wird.
Rolle der inneren Bilder
Wenn Menschen danach befragt werden, was sie hören, wenn sie Musik (kontemplativ) hören, dann geht man von der Annahme aus, dass die Musik Bilder auslöst und diese Bilder wiederum die Emotionen und die Wahrnehmung (bzw. die Aussagen über die Wahrnehmung) steuern. In Experimenten hat Mats Küssner gezeigt, dass durch Ablenkung mit einfachen visuellen Aufgaben die Produktion von vorgestellten Bildern hemmt und damit auch die Emotionen.
Links
– Helmut Mittermaier: Ich höre was, was du nicht hörst (Deutschlandfunk Kultur, 17. Dezember 2019)
– Juliane Meißner: Berliner Weltverbesserer Er erforscht die Psyche durch Musik (Berliner Zeitung, 7. Februar 2018)
Personal Computing Tag
Die Erfindung des «Personal Computing» geht auf die Philosophie der Hippies zurück. Am Ende der 60er-Jahre waren Computer grosse Rechenanlagen, die von Grossfirmen, der Armee und universitären Forschungsprojekten verwendet wurden (Mainframes, Grossrechner). Es ist die wenig bekannte technologische Seite der Hippie-Bewegung, die darauf hin arbeitete, das Computing den grossen Institutionen zu entreissen und zu personalisieren. Die Techno-Hippies aus der Bay-Area passten ideologisch nicht so recht zu den Hippies, da Hippies in der Regel eine Aversion gegen die Technologie hegten. Das lag vor allem daran, dass Technologie in den den Händen der verhassten Grosskonzerne und der Armee lagen.
Zu den Pionieren der Techno-Hippie-Bewegung, einer Subkultur, die sich später Hacker nannten, gehörten Lee Felsenstein und Stewart Brand. Stewart Brand war ein Mitglied der Merry Pranksters und veröffentlichte ab 1968 den Whole Earth Catalog, ein enzyklopädisches Verzeichnis von nützlichen und günstigen Werkzeugen für die Gegenkultur, Werkzeuge, die man zum Beispiel selbst bauen kann oder die der autodidaktischen Aneignung von Wissen dienen können. Dieser Whole Earth Catalog
gilt als ein Vorläufer des Internets und Stewart Brand wird die Begriffsschöpfung von «Personal Computer» zugeschrieben.
Lee Felsenstein ist ein Computertechniker, der an der Entwicklung der ersten Personal Computer beteiligt war. Er war eines der ersten Mitglieder des Homebrew Computer Clubs. Felsensteins Eltern waren Kommunisten und er ein Aktivist in der Neuen Linken, konkret dem Free Speech Movement, wegen dem er von der Ostküste nach Berkeley zog (Youth Migration). Als Aktivist schrieb er für die lokale Untergrund Zeitschrift Berkeley Barb
. In der Zentrale des Free Speech Movements beobachtete er, wie bei den beiden Telefonen Zettel an der Wand hingen, mit denen Daten, Aktionen und anderes aufgeschrieben und miteinander geteilt wurden. Ihm wurde klar, dass Computer diese Aufgabe der Vernetzung von Leuten lösen müssten, die miteinander kommunizieren. In einem Plattenladen (Leopold Records) richtete er mit Freunden ein Terminal ein, an dem man sich mit einem Grossrechner verbinden konnte und mit seinen Freunden Kommunizieren konnte. Dies war das «Community Memory Project». Später war Felsenstein eine der treibenden Kräfte im Homebrew Computer Club, der zwischen 1975 und 1986 existierte und die Entwicklung der Personal Computer vorantrieb.
Um das Personal Computing handhabbar zu machen, mussten Hardware- und Software-Probleme gelöst werden: Vor allem handhabbare Peripherie wie die Computer-Maus musste geschaffen werden, Betriebssysteme, die auch visuell als grafische Benutzeroberfläche funktionierten (mit den heute selbstverständlichen Fenstern) und Programme, mit denen einfache tägliche Arbeiten erledigt werden konnten (Tabellenkalkulation, Text- und Bild-Editoren.
Nachfolger dieser gegenkulturellen Gruppe waren die Cyber-Hippies, die das Internet als Cyberspace definierten und dafür kämpften, dass dieser Cyberspace ein von Politik und Wirtschaft unabhängiger Raum bleibt.
Penny Arcade Tag
Der Begriff Penny Arcade bezeichnet öffentliche Spielhallen in den USA mit mechanischen oder elektromechanischen Spielautomaten, die für wenig Geld gespielt werden konnten. Die frühesten Spielsalons wurden am Ende des 19. Jahrhunderts in New York City und Atlantic City gebaut. Ihre grösste Popularität erreichten sie in den 1930er Jahren wärend der Weltwirtschaftskrise. in den 1970er-Jahren wurden die Spielapparate zu Computerspielen.
Der Name «penny arcade» leitet sich vom günstigen Preis für die Spiele ab. Als «Arkaden» wurden diese Spielsalons bezeichnet, weil sie oft wie Einkaufspassagen gebaut waren.
Art der Spiele
– Flipperkästen (pinball machines)
– bagatelles
– Wahrsageautomat («fortune-telling machinery»)
– Geldspielautomaten («slot machines»)
– Münzen-betriebene Phonografen («amberolas»)
– Peep Shows (nicht im späteren pornografischen Sinn – man zeigte Bilder und Filme, letztere z.B. mit «Mutoscopen», die man drehen konnte und durch Linsen oder Gucklöcher sah man bewegte Bilder)
– Münzaparate, um seinen sexappeal zu testen («love tester machines»)
– Shciessspiele («shooter games», «gun games»)
Querverweise
–Nickelodeon
PBS Tag
PBS ist das öffentliche Amerikanische Network TV Programm. Es ist das Gegenstück zum NPR Radio. Gegründet wurde es am 3. November 1969 als Nachfolgerin von National Education Television (NET). Der Hauptsitz von PBS ist in Airlington, Virginia.
PBS besteht als nationaler Zusammenschluss von 348 nichtkommerziellen Lokalsendern, die vorwiegend aus der öffentlichen Hand finanziert werden. Gegenüber kommerziellen Anbietern verfügen NPR- und PBS-Programme über mehr Freiraum in der Gestaltung des Programms. Die Finanzierung wird von Seiten Republikanischer Politiker/-innen immer wieder in Frage gestellt.
Links
– Webseite
– zum Verzeichnis von PBS-Produktionen im Archiv
Partisanen Tag
Man lebt nur in den Augenblicken, in denen man bereit ist zu sterben. Wo Leben und Tod aufeinander treffen, offenbart sich unser wahres Ich. Wer wir wirklich sind. Alles andere ist Maskerade. (Davos, 1917)
Ein Partisan – das Wort kommt aus dem Italienischen: «partigiano» heisst «Parteigänger» – ist ein bewaffneter Freiheitskämpfer, der gegen die Armee eines Staates oder eine fremde Armee, die ein Territorium erobert, besetzt oder kolonialisiert hat, kämpft. Vergleiche auch Guerilleros. Die beiden Begriffe sind semantisch gleich, unterscheiden sich aber vom politischen Kontext her: Partisanen sind Freiheitskämpfer in europäischen Ländern. Sie bekämpfen in der Regel eine faschistische Herrschaft (in Italien oder Spanien). Guerilleros hingegen sind Freiheitskämpfer im Rahmen der Entkolonialisierung von Zweit- und Drittweltländern (zum Beispiel Kuba, Nicaragua, Philippinen).
Widerstandskämpfer/-innen werden in verschiedenen populären Künsten (Literatur, Film und Lied) gerne zu Freiheitskämpfern heroisiert. Ihr Heroismus besteht darin, dass sie ihr Leben für eine Überzeugung oder Partei aufs Spiel setzen.
Das Thema eines Guerillakriegs kam gleichzeitig oder ein wenig vor der bürgerlichen Gesellschaft auf. Das erste Handbuch wurde 1760 in London publiziert. Es hiess The Partisan, or the Art of Making War in Detachment
und wurde von einem geschrieben, Ludwig Michael von Jeney, sein Autor diente in der preussischen Armee und war Offizier im Siebenjährigen Krieg (1756–1763), der als Vorgänger der späteren Weltkriege fungierte. Ein weiteres Buch war Abhandlung über den kleinen Krieg
von Johann von Ewald (1789). Die zeitliche Koinzidenz heisst nicht, dass es vor dem bürgerlichen Zeitalter keine Partisanenkriege gegeben hätte.
Eine frühe Form des Partisanenkriegs trat im Rahmen des Amerikanischen Bürgerkriegs auf. Damals gab es auf der Seite der Konföderierten (der Südstaaten) zwei Partisanentruppen, die hauptsächlich in Virginia kämpften: Mosby's Raiders und McNeill's Rangers. Berühmte Partisanen waren John S. Mosby, Jesse James, der später ei Outlaw wird, William Quantrill oder Bloody Bill Anderson.
Partisan Review
In Amerika erschien zwischen 1934 und 2003 die «Partisan Review» eine linkspolitisch ausgerichtete literarische Vierteljahresschrift, für die Intellektuelle wie Hannah Arendt, Saul Bellow, Leslie Fiedler, George Orwell, James Baldwin und Susan Sontag schrieben. Den grössten Einfluss hatte das Blatt in den 1950er Jahren. Der Titel der Zeitschrift zeigt, wie die Linke noch in den 1950er Jahren Opposition und Dissidenz als Partisanenkampf stilisierte.
Parental Advisory Tag
Ein Kleber, der in den USA von der Recording Industry Association of America, RIAA, seit 1985 und in Grossbritannien von der British Phonographic Industry, BPI, seit 2011 auf Platten, Kassetten und CDs angebracht wurde und wird, der Eltern vom expliziten Inhalt der Musik warnt. Die Initiative stammt aus Regierungskreisen der USA: Susan Baker, die Ehefrau von James Baker, dem damaligen amerikanischen Finanzminister, und Tipper Gore, die Ehefrau von Vize Al Gore, empörten sich über Produkte von Madonna und Prince, die sie für ihre Töchter kauften. Sie gründeten daraufhin das Parents Music Resource Centers (PMRC), das die Musikindustrie dazu bewegte, das PAL-Label auf profanen Produkten anzubringen.
Das Label wurde bei einem Teil der Musiker/-innen zu einem Qualitäts-Siegel für ernst zu nehmende Musik. Einem Alternativerock-, Metal- oder Rap-Release ohne das «PAL-Gütesiegel» war nicht zu trauen. Zufälligerweise waren diese drei Formate – Alternative, Metal und Rap – damals die innovativsten musikalischen Felder und hatten das grösste Marktpotential, das in den 90er Jahren schliesslich verwirklicht wurde, als Grunge, Crossover und Gangstarap in den Mainstream durchbrachen.
Auf der anderen Seite hat die Kampagne bewirkt, dass Wal Mart und andere Händler ab 1991 keine CDs mit dem PAL-Sticker mehr anboten. Deshalb kamen Aufnahmen von nun an in zwei Versionen auf den Markt, als «clean version» und als «explicit version». Auch in Medien wurden die gesäuberten Versionen gespielt, um niemanden zu verletzen. Methoden der Säuberung sind das «muting out» oder das «bleeping out». Bei der ersten Methode werden profane Wörter ausgeblendet, so dass man sie nicht hört, bei der zweiten Methode mit einem Pfeifton übertönt.
Das PMRC gab ausserdem eine Liste mit fünfzehn kritikwürdigen Liedern heraus, die «Filthy Fifteen» (siehe deutsche Wikipedia). An dieser Liste ist zu erkennen, was als anstössig empfunden wurde und wird: Es sind offene Anspielungen oder die Erwähnung von Geschlechtsverkehr, Masturbation, Gewalt, Drogenmissbrauch, Okkultismus und natürlich der Gebrauch von profanen oder verletzenden Wörtern.
Outsider Music Tag
Unter «Ousider Music» fallen verschiedene Dinge: (1) Entweder handelt es sich um Musik, die nicht von der Musikindustrie produziert und distribuiert wird, sondern im Selbstverlag erscheinen und in der Regel nur einen kleinen Kreis von Hörer/-innen findet. (2) Oder es wird mit dem Begriff Musik bezeichnet, die wie «art brut» in der Malerei, von Personen ohne formales Training oder von psychisch Kranken produziert wird.
Links
– Stephen Deusner: Remembering Roky Erickson In 13 Songs (Stereogum, 4. Juni 2019)
Oral History Tag
«Oral History» oder Historiografie mittels mündlicher Überlieferung ist eine Methode der Geschichtswissenschaft. Man lässt Zeitzeugen sich erinnern und frei sprechen, zeichnet das Erinnerte und Gesagte auf (Audio- oder Videomitschnitt). Die Methode ist beliebt in Bereichen der inoffiziellen Geschichtsschreibung: In der Alltagsgeschichte, Volkskunde, Lokalgeschichte, ... In der Populären Musik können Protagonist*innen mittels «oral history» von ihrem Milieu, ihrer Lebenswelt berichten, die sonst selten Teil der Geschichtsschreibung wird.
Als Begriff und Methode kam «Oral History» in den 1930er Jahren auf, drang in den 1960er Jahren in den deutschen Sprachraum ein.
Nyah nyah nyah nyah nyah nyah Tag
Die lexigrafische Wiedergabe einer universellen Kindermelodie, die als Phrase auch in Popsongs zitiert oder verwendet wird. Meistens sind es sechs Noten: G-G-E-A-G-E.
Die Melodie wird auch zum hänseln oder verspotten verwendet.
Beispiele
– «Rain Rain go away, come again another day»
– «It's raining, It's pourring, the old man is snoring»
– «Ring around the rosie, a pocket full of posey»
Links
– Szene aus Star Treck
NPR Tag
US-Radio Netzwerk, in dem verschiedene rechtlich und wirtschaftlich unabhängige Hörfunksender lose zusammengeschlossen sind. NPR wurde per Dekret des US Congresses gegründet und ging 1971 auf Sendung. Die meisten Mitglieds-Stationen sind entweder von Universitäten oder von der öffentlichen Hand finanziert. Die Programmschwerpunkte liegen bei Information und Kultur. CEO ist Jarl Mohn.
Das Fernseh-Gegenstück zu NPR ist Public Broadcasting Service (PBS).
Links
– NPR Webseite
– NPR Music Website
– NPR Music: Tiny Desk Concert (Youtube Kanal)
Novelty Tag
Novelty Songs bilden eine Kategorie, die aus dem Vaudeville Theater kam und auf Plattenveröffentlichungen im Traditional Pop übertragen wurde. Ein «Novelty Act» ist ein Bühnenact, der von sletsamen und ungewöhnlichen Effekten lebt (vergleiche Gimmick. Novelty Songs können Balladen oder Tanznummern sein, die überzeichnet oder übertrieben lustig sind, parodistisch auch. Viele dieser Nummern verwendeten unübliche Instrumente oder Arrangements (Pfeifen, Glocken, Geräusche), die effektvoll inszeniert werden. Die Songtexte sind oft humoristisch oder absurd. Sie machten zuweilen keinen grossen Sinn.
Novelty Acts und ihre Nummern gelten als kurzlebige Sensation. Kaum ein Novelty-Act hatte eine lange Karriere, aber Acts mit einer langen Karriere haben durchaus auch Novelty-Songs interpretiert. Nicht vorteilhaft scheint es, als Novelty-Act durchzubrechen, weil man dann vermutlich in diese Ecke gestellt und nicht ernst genommen wird.
Die frühen Beatles wurden mit ihren femininen Frisuren, dem Moptop, oft als ein solcher Novelty Act gesehen. Die amerikanische Presse reagierte auf sie als «passing fad», als «here today, gone tomorrow». Es ist ein typisches Karrieremerkmal eines Novelty Acts, dass er für strohfeuerartiges Furore sorgt und dann sang und klanglos verschwindet – so schnell wie er gekommen ist.
Novelty-Songs waren in den 1920er und 1930er Jahren verbreitet, erlebten in den 1950er und 1960er Jahren ein erstes und nach dem Millenniumswechsel ein zweites Revival.
Obwohl Novelty auf der Wertungsskala der Künste ganz tief unten steht, haben die Gimmicks und Novelty-Techniken sich teilweise zu Standards entwickeln können: Overdubbing, Heliumstimmen, Scratching, Sampling, Auto-Tune Effekte haben ihre Karriere als Novelty-Effekt begonnen. Später prägten sie ganze Genres wie Hip-Hop oder Electropop.
Quellen
– Way Back Attack: Top 100 Novelty Hits Of The '50s and '60s
Nouvelle Vague Tag
Als «Nouvelle Vague» (franz, «Neue Welle») wird eine Stilrichtung und Epoche des französischen Filmschaffens bezeichnet. Die «Nouvelle Vague» begann 1954, als François Truffaut einen Artikel Une certaine tendance du cinéma français
veröffentlichte, der als Gründungsdokument gilt. Ihre bedeutende Phase waren die späten 1950er Jahre. Die Nouvelle Vague wollte Filme mit Kunstanspruch machen und wandte sich von allem ab, was vorhersehbar war: Genrefilme und Standardplots (z.B. das Zwanghafte «Happy End» der Hollywood Filme).
Eine unbekanntere «Nouvelle Vague» wurde bereits 1918 von Marcel L’Herbier geprägt.
Vertreter neben Truffaut waren Claude Chabrol (Les Cousins
), Alain Resnais (Hiroshima, mon amour
), Louis Malle (Le feu follet
) oder Jean-Luc Godard (Masculin, féminin
).
Links
– Gaspard Dhellemmes: Pour ses 50 ans, la Nouvelle Vague en 10 films (Les inrockuptibles, 23. September 2009)
Notenrolle Tag
Notenrollen waren ein Produkt der Musikindustrie in der Zeit, bevor Schallplatten zu einem standardisierten Produkt wurden. Man konnte mit einer Notenrolle ein mechanisches Klavier («player piano», Pianola) bestücken und dieses spielte die Komposition heraus, wie eine Drehorgel mit Fusspedal als Antrieb oder wie eine Spieldose mit eigenem Antrieb.
Das «player piano» wurde 1895 von Edwin Scott Votey in Detroit gebaut. Votey wurde von der «Aeolian Company», die wichtigste Herstellerin von «player pianos» in den USA engagiert, die das Instrument 1897 in den USA und 1899 in Europa auf den Markt brachte. In Deutschland entwickelte die Firma Hupfeld in Leipzig 1902 ein weiter entwickeltes System, das «Phonola», das in Europa den Markt beherrschte.
1908 wurde das Format der Pianorollen standardisiert. Sie konnten alle 88 Noten eines Klaviers (A0 bis C8) wiedergeben. In Deutschland waren die Rollen anders standardisiert. Hier wurden 72 Noten (F1, G1 bis E7) wiedergegeben.
Notenrollen für das Reproduktionsklavier wurden typischerweise von berühmten Pianisten oder Komponisten aufgenommen. Spezielle Aufnahmeklaviere zeichneten Tonhöhe, Dauer der Tasten und die Bewegungen der Fusspedale auf. Auch die Dynamik der Darbietung eines Pianisten wurde auf Steuerspuren am Rand der Rolle einperforiert, allerdings nicht automatisch. Verschiedene Unternehmen verwendeten unterschiedliche Systeme zur Notation der Dynamik.
Das Pianola wird z.B. in der Feschen Lola von Marlene Dietrich) besungen. Diese Klaviere funktionierten pneumatisch oder elektromechanisch.
Pianola
– Stanford University Piano Roll Archive
(SUPRA)
– Illinois Library: Music and Performing Arts Library (MPAL)
– QRS Music Catalog (Katalog eines heutigen Lieferanten)
Non-Album-Single Tag
Eine Single, die nicht auf dem aktuellen Album eines Acts erscheint. Die erfolgreichen unter ihnen, kamen später meist auf Greatest Hits Alben heraus. Es ist Musik, die konsequente Album-Käufer*innen nicht hatten und nur vom Radio kannten, sie dort möglicherweise auf Kassette mitgeschnitten hatten.
Sinn und Unsinn der Kategorie
Das Tag wird bei englischen Releases in den 1960er Jahren nicht vergeben, da es dort und damals Standard war, Singles nicht auf LPs abzupressen (prominenter Fall: die Beatles).
Spezialfälle von «Non-Album-Singles» sind auch Tracks, die auf Filmsoundtracks erscheinen, aber nicht im Katalog des Acts. Der Ausgangspunkt ist also der Band- und nicht der Label-Katalog.
Eine ganz andere Sache ist der Untergrundpunk und Postpunk, wo einige Acts nur ein paar Singles oder EPs herausgegeben haben. Hier fällt es auch schwer, die Kategorie «Non-Album-Single» anzuwenden.
Fazit
Schaut man sich die Acts an, die auf «Non-Album-Singles» spezialisiert waren (Smiths, XTC, Clash), dann sieht man, dass die meisten von ihnen mit der britischen Musik aus den 1960er Jahren liebäugelten. Ein anderer Fall sind New Order, die Singles nicht als Retro-Fetisch, sondern als Tanzformat, gewissermassen als Maxisingle verstanden. In der Mitte sind die Stone Roses.
New Payola Tag
Mit «New Payola» wird eine Form von institutionalisierter Payola bezeichnet, die Ende der 1970er Jahre bis 1986 in der amerikanischen Musikwirtschaft den Ton angab. Label konnten sich keien Skandale mit direkten Zahlungen an die Top-40-Radiostationen mehr leisten. Deshalb etablierte sich ein System mit unabhängigen Promoleuten, die von den Labels bezahlt wurden, um ihre Titel ins Contemporary Hit Radio (CHR) zu bringen. Diese Promoleute wurden «Indies» genannt.
Diese Indies entstanden wegen einer Lücke in den US-amerikanischen Payola-Gesetzen, den Vorschriften der Federal Communications Commission (FCC). Der Veranstalter würde den Senderdirektoren „Werbezahlungen“ anbieten, wenn sie die Künstler ihrer Kunden auf die Playlist des Senders setzen, und damit die umgehen.
1978 schlossen ein paar «Indies» sich in einem Treffen in New York zum «Network» zusammen und hatten fortan die Macht, Radiohits zu machen. Zu diesen Netzwerk gehörten Leute wie Fred DiSipio (Cherry Hill), Joseph Isgro (Los Angeles), Gary Bird (Cleveland), Dennis Lavinthal (Los Angeles) Jerry Brenner (Boston) oder Jerry Meyers (Buffalo). Sie bestimmten, was die Netzwerkstationen spielten und dafür liessen sie sich von den Labels immer mit mehr Geld bezahlen.
Der Industrie ging es gar nicht so sehr um die Radiohits, sondern um die Promotion des Albumverkaufs mittle dieser Hits. Alben wurden verkauft, wenn sei einen oder zwei Hits enthielten. Ein Hit wurde eine Single, die am Radio gespielt wurde. Somit lief die Promotion über diese «Indies», die einen Song ans Radio brachten und das Radio macht Werbung für das Album.
Die Praxis von «New Payola» verbreitete sich, nahm Überhand (so dass ein Label 1985 ca. 30 % des Profits vor den Steuern in diese Art der Promotion investierte. 1986 brachte NBC News einen Bericht über «New Payola» und löste damit eine weitere Runde von Ermittlungen des Kongresses aus.
Querverweise
– Payola
New Hollywood Tag
Mit New Hollywood wird das Autorenkino aus Hollywood bezeichnet, das am Ende der 1960er Jahre aufgekommen ist und zu dem Regisseure wie John Cassavetes, Robert Altman, Francis Ford Coppola, Steven Spielberg oder Woody Allen gehören.
In den 1960er Jahren waren Filme aus Hollywood nicht ganz so erfolgreich mehr wie in früheren Zeiten. In den 1940er Jahren gingen jährlich noch 4 Milliarden Amerikaner*innen ins Kino, um 450 Spielfilme aus Hollywood zu sehen. Nun waren es nur noch 1 Milliarde, bei einem Output von 175 Filmen. Eine Ursache für den Rückgang war das Aufkommen des Fernsehens, das Unterhaltung direkt ins Wohnzimmer brachte. Eine andere, sicher geringere, Ursache war, dass anspruchsvolle Zuschauer*innen, um Kinokunst zu sehen, Filme aus Frankreich und Italien den Studio-Produktionen aus Hollywood vorzogen.
Als erster Film von «New Hollywood» gilt Easy Rider.
Links
– Wikipedia: Liste wichtiger New Hollywood Filme
New Deal Tag
Der New Deal bestand aus einem Bündel von Projekten der Regierung von Franklin D. Roosevelt in den Jahren 1933–1936, um die Depression der Dreissiger Jahre zu überwinden. Darunter gehörten eine Reform der Industrie (der National Industrial Recovery Act of 1933) und die Social Security Administration. Die Regierung unterstützte speziell Bauern und Arbeitslose. Sie griff ins Bankenwesen ein, um die Volkswirtschaft zu stabilisieren. Die Massnahmen werden oft als die «3 Rs» wiedergegeben: «Relief for the unemployed and poor, Recovery of the economy back to normal levels and Reform of the financial system to prevent a repeat depression». Es werden zwei Phasen unterschieden, der First New Deal (1933–1934) und der Second New Deal (1935–1936). Zu den kulturellen Themen dieser Zeit zählten: der Soziale Realismus, die Austerität in der Krisenzeit, der Klassenkampf, die kollektive Kraft des einfachen Mannes oder die Gefahren des Individualismus.
Unter Druck kam der New Deal vor allem von Seiten der Industrie und der Banken, die davon überzeugt waren, dass die Politik nicht in die Wirtschaft eingreifen sollte. PR-Kampagnen von Wirtschaftsorganisationen wie der National Association of Manufacturers betonten, dass die Modernisierung nur dank der Wirtschaft und nicht dank der Politik möglich sei. Wo die Regierung Roosevelt davon ausging, dass die Bürger der modernen Massengesellschaft sich rational verhielten, hielten Industrie und Banken die Bürger für irrational und steuerbar.
Musik
Die Regierung Roosevelt lancierte das Federal One Arts Program und stellte dadurch Geld für die ethnografische Dokumentation der Folklore Amerikas zur Verfügung. Das Archive of American Folk Song von Harold Spivacke, John Lomax und Alan Lomax bei der Library of Congress war die wichtigste Institution im Rahmen dieser Förderung.
Film
Films, die in die Ära des New Deals gehören, sind Citizen Kane
(1941), ein Film, der die Abgründe in einem vermeintlich grossen Mann zeigte, The Grapes of Wrath
(1940), der die Moral des kleinen Mannes zelebrierte, oder It's a Wonderful Life
(1946) oder Mr. Smith Goes to Washington
(1939), Meet John Doe
(1941). Ein Film, der die Austerität der 30er Jahre und die Ausgelassenheit der 20er humoristisch in einem ungleichen Paar darstellte, war It Happened One Night
(1934).
Netzwerk Radio und TV Tag
Netzwerk Radio ist in technischer Hinsicht ein über Leitungen oder Funkverbindungen (heute Satelliten) hergestelltes Netzwerk von lokalen Radio- oder TV-Stationen. Die Netzwerkverbindung dient der Content-Syndikation, d.h. der Verteilung und mehrfachen Verwenden von Sendungen. Das Netzwerk kann zentralistisch oder dezentral organisiert sein. In institutioneller Hinsicht handelt es sich um privatwirtschaftliche Gesellschaften wie die US-amerikanischen Anstalten NBC, CBS oder NPR oder die britische BBC. Die meisten Netzwerke sind nationalstaatlich organisiert. In Europa gab und gibt es die transnational agierenden Eurovision und Intervision (im ehemaligen Ostblock), die Sendungen über die Landesgrenzen hinaus austauschen.
Lokale Stationen, die mit einem Netzwerk verbunden sind, werden englisch «Affilliates» genannt.
«Superstations» sind Radio- oder später TV-Sender, deren Programme über Netzwerke grossflächig verbreitet wurden. Superstationen sendeten vor allem Nachtprogramme mit Musik.
Wirkung
Radio- und später TV-Netzwerke hatten in grossen Ländern wie den USA einen riesigen Einfluss auf die Etablierung einer nationalen Kultur. Vor den Netzwerken war die Kultur der Südstaaten oder der Westküste eine andere als die Kultur von Neuengland. Dank nationaler Programme konnten sich Künstlerinnen und Künstler einem landesweiten Publikum präsentieren und konnten danach im ganzen Land Konzerte und Platten verkaufen.
In Europa hat es die Etablierung einer europäischen Kultur weitaus schwerer, weil die verschiedenen Sprachen gewissermassen Grenzen mitkonstituieren.
Neoliberalismus Tag
Der Neoliberalismus ist ein politisches Programm, eine ökonomische Theorie, ein Kampfbegriff und auf der Gegenseite ein Schimpfwort. Neoliberalismus besagt, dass ein idealer Markt der beste Regulierungsmechanismus für gesellschaftliche Probleme darstellt. Der Staat hat folglich die Aufgabe, den Markt zu schützen, dass der Preismechanismus ungehindert spielen kann. Gehindert würde der Mechanismus zum Beispiel durch politische Partizipation (Zugehörigkeit zu einer Partei) oder durch Ideologien.
Theorie
Die Rolle der Politik ist darauf beschränkt, die persönliche Freiheit und das Privateigentum zu sichern. Darüber hinaus gäbe es keine Funktion für die Politik.
Der Neoliberalismus als Theorie denkt darüber nach, unter welchen Bedingungen der ökonomische Mechanismus der «invisible hand», die jeden Markt steuert am besten funktioniert. Als Theorie ist das äusserst interessant, aber als allein selig machendes Prinzip der gesellschaftlichen Ordnung ist das vermutlich selbst ideologisch und mündet in eine gefährliche Ungleichheit - oder wie erklärt man die wachsende Ungleichheit zwischen Reich und Arm seit der Durchsetzung des Neoliberalismus in der Politik der 1980er Jahre?
Frage (C.S.): Die Politik muss Macht verteilen. Das macht sie durch Gewaltenteilung und durch staatsrechtlich geregelte politische Prozesse. Die Wirtschaft muss knappe Güter verteilen. Das macht sie durch Schaffung von zugänglichen und transparenten Märkten. Ist es nicht so, dass die Probleme, die die beiden Teilsysteme der Gesellschaft lösen, fundamental verschieden und nicht aufeinander reduzierbar sind? Weder kann doch die Politik Verteilungsprobleme optimal lösen, noch kann die Wirtschaft Macht verteilen. Oder wie wäre das zu denken?
Bekannte neoliberale Schulen sind die Freiburger Schule (Ordoliberalismus), die Chicagoer Schule sowie die österreichische Schule von Friedrich August von Hayek.
National Association of Broadcasters (NAB) Tag
Die NAB ist der Zusammenschluss der amerikanischen Radio- und TV-Sendeanstalten. Der Verband vertritt die Interessen der Mitglieder gegenüber der Öffentlichkeit und lobiert für deren Rechte. Die NAB repräsentiert mehr als 8300 terrestrische und Radio- und TV-Sationen sowie die Netzwerke.
Die NAB wurde im Frühjahr 1923 als «National Association of Radio Broadcasters» (NARB) in Chicago gegründet. 1951 wechselte die gesellschaft ihren Namen und wurde zur «National Association of Radio and Television Broadcasters» (NARTB), um Fernsehstationen einzubeziehen. 1958 schliesslich nahm sie ihren heutigen Namen «National Association of Broadcasters» an.
Die NAB wirkte darauf hin, dass die USA ein von kommerziellen Interessen geprägtes Radiosystem schufen. Dieses System trat mit der «General Order 40» der Federal Radio Commission im August 1928 in Kraft und stiess bei anderen Interessengruppen auf Widerstand, die ein staatliches non-profit System ohne Werbung nach Vorbild der britischen BBC errichten wollten. Zu diesen zählten Organisationen, denen Bildung, Religion oder die Arbeiterbewegung ein Anliegen waren. Doch die NAB setzte sich gegen diese bestrebungen durch und das kommerzielle System wurde mit dem Communications Act von 1934 festgeschrieben. Daraufhin gründeten die anderen Gruppierungen 1939 die «National Independent Broadcasters» als Teil der NAB und später an 1941 als unabhängige Organisation.
Narratologie Tag
Narratologie ist die Wissenschaft, die sich mit dem Erzählen in Literatur, Film, Songs, Spielen und im Alltag befasst.
narrative turn
Als «narrative turn» wird die Hinwendung verschiedener Wissenschaften zum Erzählen als sozialer Grundtechnik bezeichnet. Diese Hinwendung fand sowohl in den Geistes- als auch in den Sozialwissenschaften – also inter- bzw. transdisziplinär – statt. Das Paradigma des Erzählens wurde zum basalen Prozess für die verschiedensten sozialen Funktionen erhoben: Erkenntnisgewinn, Wissenstransfer, Ausbildung und Transformation von individuellen und kollektiven Identitäten. Die Grundidee des «narrative turn» besteht darin, dass Erzählen nicht nur auf die Literatur beschränkt ist, sondern in allen Bereichen des sozialen Lebens eine wesentliche Rolle spielt. Erzählen sei eine anthropologische Universalie (z.B. Michael Scheffel: «Erzählen als anthropologische Universalie, in: R. Zymner, M. Engel: «Anthropologie der Literatur», Paderborn, 2004). Wie verwandte Konzepte («pragmatic turn», performative turn) eröffnete der «narrative turn» eine Reihe von Forschungen und Publikationen, die das Erzählen ins Zentrum der Aufmerksamkeit rückten.
Information vs. Story
Susan Sontag differenzierte die Begriffe Information und Erzählung (bei ihr «story» - der Begriff hat unten eine andere Bedeutung, weshalb es hier besser «plot» heissen würde): Eine «Story» sei ein ganzer Zusammenhang während die Information immer nur fragmentarisch sei. Die «Story» sei zwar auf Fakten und Informationen angewiesen, diese bildeten ihr Stoff. Sie würden diese allerdings in ein grösseres Ganzes, eine Perspektive, einen Zweck, einen Sinn einbetten. Daher erhalten Informationen von Erzählungen höheren Sinn.
Ontogenetische Anfänge des Erzählens
Kinder lernen zu erzählen. Sie lernen, Ereignisse miteinander zu verknüpfen: « Und dann .. und dann .. und dann ...», Spannung und Auflösung: «Wo ist die Mama? Hier ist die Mama!». Ebenso lernen Kinder Erzählungen zu differenzieren, d.h. mit immer reicheren Details auszustatten. Irgendwann begreifen sie dann auch, dass Erzählungen eine Art Eigenleben erhalten, wenn man sie wiederholt. Mit Erzählungen lernt der Mensch aber auch handeln: Mit einer Story kann man sich rechtfertigen, aus schwierigen Situationen herauswinden, schwindeln, lügen ...
Erzählung
Erzählungen sind wie andere Sprechhandlungen Sprache in Funktion, Sprache verschränkt mit dem Leben. Die Fiktion ist daher eine Sonderform des Erzählens in einem Rahmen, der als Fiktion markiert ist. Man schaut einen Film oder leist ein Buch. Dabei weiss man in der Regel, ob es sich um Fiktion oder Bericht handelt. Natürlich wird man zuweilen getäuscht oder kann sich selber täuschen.
Unterschied von Fakt und Fiktion
Literarische Erzählungen (das sind vor allem Roman, Novelle, Kurzgeschichte, Parabel, Fabel, Legende, Märchen) sind fiktiv. Davon unterscheiden sind narrative textgattungen, die reale Grundlagen haben: Historiografie (Geschichtsschreibung), Berichte und Alltagserzählungen. Ebenso unterscheiden kann man Textgattungen, die nur am Rand oder teilweise narrativ sind: Traktate (Abhandlungen), Anleitungen.
Lyrics von Songs sind in der Regel nicht narrativ, können aber narrative Teile enthalten (siehe Story Songs).
Erzählungen nehmen auf der Skala zwischen Wahrheit und Fiktion eine Position ein. Es handelt sich dabei aber eigentlich um mehrere Skalen: Erzählungen basieren auf wahren Ereignissen oder sind erfunden, sie erfolgen detailgetreu oder nicht, sie bleiben neutral oder nehmen eine Perspektive oder Wertung vor, die vom Erzähler abhängig ist. Mit diesen Skalen lässt sich spielen. Man kann eine fiktive Geschichte mit hoher Detailtreue erzählen («Buddenbrooks») oder man kann eine wahre Geschichte durch Weglassung oder Verdrehung von Fakten entstellen. (Letzteres passiert in der Politik laufend, wenn Fakten an Parteiprogramme und Ideologien angepasst werden.)
Unterschied Autor und Erzähler
Der Autor ist nicht der Erzähler. Der Autor verantwortet den Text, hat ihn in der Regel geschrieben oder mitgeschrieben. Auch wenn ein Autor «ich» schreibt, sollte dieses dem Erzähler, nicht dem Autor zugeschrieben werden. Man nennt den Erzähler auch «Erzählinstanz» oder «Stimme» (franz. «voix» bei Génette, engl. «voice»).
Unterschied von Geschichte und Diskurs
Die Geschichte ist der Gegenstand der Erzählung (französisch «histoire», engl. «story»), die erzählten Situationen, ihre Figuren/Personen, Handlungen und deren Umstände, so wie sie in der Erzählung geschildert sind. Der Diskurs (französisch «récit» bei Génette, «discours» bei Todorov, engl. oft «plot») hingegen ist die Weise, wie die Geschichte erzählt wird. Im Gegensatz zu realen Ereignissen ist ein Diskurs ausschliesslich medial und sprachlich (auch Bild- und Tonsprachlich). Der Diskurs kommt oft in bestimmten Formaten daher: Roman, Gedicht, Hörspiel, Lied, Krimi etc.
Erzählinstanzen
Strukturell wird beim Erzählen eine reale Ebene vorausgesetzt, die den realen Autor und den realen Rezipienten beinhaltet. Davon abgehoben wird der Text. Beide Autor und Rezipient, können im gesprochenen oder geschriebenen Text vorhanden sein. Bei faktischen Texten nennt man diese beiden «Autorinstanz» und «Leserinstanz». Ist der Text hingegen fiktional, enthält er die Erzählung mit dem Erzähler und dem Addressaten. Zwischen diesen beiden entspannt sich die Geschichte, wie sie im Diskurs medial und sprachlich gestaltet ist.
Funktionen des Erzählens
Erzählen im Alltag hat alle Funktionen, die Kommunikation haben kann (siehe: Kommunikationstheorie). Fiktionales oder literarisches Erzählen hat eine ästhetische Wirkung auf die Rezipient*innen. Die ästhetische Wirkung kann viele Formen annehmen: sie kann unterhalten, das Denken anregen, moralisch oder ästhetisch bilden, Erkenntnisse vermitteln oder Selbsterkenntnis ermöglichen.
Klassiker der Narratologie
Platon stellt seiner verstreuten Betrachtungen zur Poetik stets unter seine Leitfrage nach der Wahrheit. Da die Dichtung wie jede Kunst mimetisch ist, produziert sie Abbilder von Abbildern, statt Wahrheit. Neben dieser epistemologischen Verortung des Erzählens stammt eine Gattungs-Klassifikation von Platon, die Lyrik, Theater (Drama und Komödie) und Epos mittels der Kategorien «mimesis» und «diegesis» unterscheiden. Lyrik ist diegetisch, Theater mimetisch, der Epos beides.
Die Poetik von Aristoteles ist gewissermassen der Urtext der abendländischen Narratologie. Hier werden Haupthandlung («mythos») von Einzelhandlungen unterschieden. Letztere fügen sich zum Mythos. Der Umschwung in der Handlung heisst «peripetheia». Oft wird die Einheit von Raum, Zeit und Handlung in der Erzählung Aristoteles zugeschrieben. In Wahrheit stammen diese drei Einheiten aus der Rainaissance von Lodovico Castelvetro «La poetica di Aristotele vulgarizzata» (1570).
Aus der Barockzeit stammen die ersten Abhandlungen über Roman und Novelle, z.B. Traité de l'origine des romans von Pierre Daniel Huet. (Dieses Buch gilt als die erste Literaturgeschichte im modernen Sinn.) Roman und Novelle werden als eine aus dem Epos ausdifferenzierte Form begriffen. Der Roman transportiert ein Gesellschaftsbild, er ist welthaltig, während Novellen Einzelschicksale darstellen. Aus der Romantheorie kristallisert sich im lauf der neueren Zeit die Theorie des Erzählens heraus.
In «Die Rolle des Erzählers in der Epik» von 1910 arbeitet Käte Friedemann zum ersten Mal die Anwesenheit einer Erzählinstanz heraus. Sie nennt dies «Mittelbarkeit» als Konstituens einer Erzählung. In der selbe Zeit gibt es viele Traktate, die sich mit Rahmen- und Binnenerzählungen auseinandersetzen, wie sie beispielsweise bei E.T.A. Hoffmann vorkommen.
In der Zeit vom Ende des Ersten Weltkrieges bis zum Ende der 1920er Jahre entstand der russische Formalismus, der in den 1960er Jahren vom französischen Strukturalismus wiederentdeckt wurde. Der Formalismus untersuchte angeregt vom Strukturalismus von Ferdinand de Saussure Literatur als Sprachkunst statt als soziales Produkt der Gesellschaft oder Äusserung eines Autors und zielte darauf ab, die Frage nach der Literarizität bzw. der Poetizität eines textes zu beantworten. Der erste wichtige Vertreter des Formalismus war Wiktor Schklowski. Sein Hauptwerk «Kunst als Verfahren» erschien 1817 und stellte das Verfahren der Verfremdung als Konstituens der Literatur heraus. Durch die Verfremdung lenkt das Sprachkunstwerk von den Inhalten auf sich selber und auf seine Verfasstheit ab. Mit den Begriffspaaren «fabula» und Geschichte bzw. «sujet» und «Diskurs» machte auch Schklowski auf die Differenz zwischen Geschichte und Diskurs (siehe oben) aufmerksam. Der Formalismus ging von der heuristischen Idee aus, dass das Sprchliche Kunstwerk eigene Sujetgesetze aufweist, die nichts mit dem Geschehen in der Welt zu tun haben, sondern allein der Literatur bzw. einer ihrer Tetgattungen zukommen.
Weitere Vertreter des Formalismus waren Wladimir Propp, der die Struktur (bzw. Morphologie – er war eher noch von Goethe inspiriert) von Märchen untersuchte, Boris Eichenbaum, Juri Tynjanow (auch ein Schriftsteller) und Roman Jakobson, der später als die stalinistische Kulturpolitik den Formalismus erdrosselte nach Prag emigrierte und dort den Prager Linguistenkreis bzw. den Prager Strukturalismus mitbegründete und später in die USA emigrierte. Jakobson war beseelt vom Gedanken, die Literaturwissenschaft auf ein ähnlich wissenschaftliches Fundament zu stellen wie die Linguistik.
Der Strukturalismus brachte in verscheidenen Ländern Beiträge zur Narratologie hervor: Gerald Prince griff Propp auf und arbeitete narrative oder Story-Grammatiken heraus.
Der französische Strukturalismus hat mit Tzvetan Todorov, Gérard Genette und Roland Barthes, gewissermassen auch der Italiener Umberto Eco eine Reihe von wichtigen Beiträgen zur Theorie des Erzählens hervorgebracht. Es war Todorov, der die Disziplin der Narratologie auf den Begriff gebracht hat. Roland Barthes arbeitete den Unterschied zwischen obligatorischen und fakultativen Handlungselementen im Diskurs heraus. Die rsten nannte er Kardinalfunktionen, die zweiten Kerne oder Katalysen.
Die grundlegende Idee des strukturalen Narratologie bestand darin, dass narrative Elemente (Propps Gestalten) Zeichen im Sinn der Semiotik sind.
Nachkriegskonsens Tag
Die Nachkriegszeit (die Jahre von 1945 bis 1979) in England, aber auch in anderen westlichen Staaten, war geprägt von einem Kräftegleichgewicht zwischen Konservativen und Liberalen einerseits sowie der Sozialdemokratie (Labour Party) und den Gewerkschaften andererseits. Beide Seiten anerkannten diesen Konsens. Mit ihm ging einher, dass es keinen Generalstreik geben und dass der Staat dafür Wohlfahrt für alle garantieren sollte.
Die Wirtschaftspolitik war vom Keynesianismus geprägt, d.i. die Doktrin, die besagte, dass die gesamtwirtschaftliche Nachfrage die entscheidende Grösse für Produktion und Beschäftigung sei. So lange jedes Jahr ein wenig mehr konsumiert wird als im Vorjahr, geht es der Wirtschaft gut und wenn es der Wirtschaft gut geht, herrscht Vollbeschäftigung und Arbeitsfrieden. Diese Kausalkette sollte wirtscjaftspolitisch gesteuert sein und nicht dem Markt oder Zufall überlassen werden. (Dagegen haben sich später die Neoliberalen gestellt.) Private und staatliche Unternehmen bestanden nebeneinander und bildeten eine «mixed economy», wobei die Regierung Einfluss auf die Schlüsselsektoren wie Sicherheit, Bildung, Energieversorgung haben sollte. Die Gewerkschaften wurden anerkannt und konnten Tarifverhandlungen führen.
Der britische Begriff des «Butskellism» stammte von den beiden Protagonisten des Nachkriegskonsensus, von R.A. Butler, dem prominenten konservativen Politiker, und dem Labour-Politiker Hugh Gaitskell.
Ende
Der Nachkrigskonsens ging in Grossbritannien mit dem «Winter of Discontent» vorüber. Der Begriff war eine Anleihe aus William Shakespeares «Richard III». Dieser Winter war besonders kalt und das Land litt unter wirtschaftlicher Stagnation und Streiks. Diese Situation zerstörte den Glauben an den Keynesianismus und den Wohlfahrtsstaat.
Querverweise
– Kalter Krieg
– Wirtschaftswunder
– Keynesianismus
Muzak Tag
Muzak ist funktionale Hintergrundmusik, die in Aufzügen, Unterführungen, Kaufhäusern, Hotels usw. läuft. Muzak ist oft von Profis gemacht – hat mehr mit Akademischer Musik zu tun als mit Populärer Musik. Die Produktion von Muzak ist sehr günstig, das sie keine aufwändige Werbung braucht, verdienen die Firmen dahinter relativ viel Geld damit.
Muzak wurde erfunden von George Owen Squier, einem hohen Offizier der US-Armee. 1922 gründete er mit «Wired Radio» einen Musik-Service über ein Kabel-Netzwerk, das Fabriken und Bürohäuser mit Hintergrundmusik versorgte. Seit 1934 gibt es den markennamen «Muzak», den Squier als Kunstwort von «Music» und «Kodak» ableitete.
Die Firma «Muzak» wurde 1981 von Westinghouse gekauft, wechselte mehrere Mal die Hand und ist seit 2011 im Besitz von «Mood Media».
Die neueste Form von Muzak sind Streaming Playlisten mit Stimmungsmusik von Pseudokünstlern («fake artists»), hinter denen z.B ein schwedisches Produktionshaus steht. Services wie Spotify zahlen einen fixen Betrag für die Stücke und gestalten Deep-Focus- oder Peaceful-Piano-Playlisten damit. Die Royalties ziehen sie dann selber ein und verdienen viel Geld damit (siehe Bobby Owsinski, 2019).
Genres
– Funktionale Musik
Quellen
– Bobby Owsinski: These 10 Fake Artists Have Over 1 Billion Streams (Music 3.0, 22. Mai 2019)
Musikzimmer Tag
Ein Musikzimmer ist ein Raum in einem (gross-)bürgerlichen Haus, in dem ein Klavier/Flügel steht, eventuell weitere Instrumente.
Grossbürgertum
In grossbürgerlichen Villen gab es Musikzimmer mit Flügel, in das die Familie gesellschaftliche Einladungen zu Hauskonzerten gab und professionelle Musiker*innen engagierten. Zu solcher Hausmusik wird eigens geladen, es sind keine öffentlichen Veranstaltungen. Historisch haben diese Musikzimmer ihre Wurzeln in der Biedermeier Zeit (siehe Wikipedia-Artikel).
Zuweilen werden in einem Musikzimmer auch Gemälde ausgestellt. Solche Musikzimmer waren ein Ort der Kunst und spielten eine repräsentative Rolle für das Haus und seine Familie.
Kleinbürgertum, Mittelstand
Das beflissene Kleinbürgertum eiferte dem Grossbürgertum nach und schuf eine eigene Praxis der Hausmusik (engl. «parlour song»).
Übungszimmer
Es werden auch Übungszimmer an (Musik-)Schulen «Musikzimmer» genannt. Diese sind meistens gegen Schallemission isoliert, so dass benachbarte Räumlichkeiten unbelästigt bleiben.
Diederichsens Abwandlung
In seinem Buch Musikzimmer. Avantgarde und Alltag hat Diedrich Diederichsen den Begriff des Musikzimmers abgewandelt. Es sei der Raum, in dem Sammler*innen, Archivar*innen und Musikjournalist*innen die Musik hören, archivieren und ihre Texte schrieben. Diese Art des modernen Musikzimmers sei genauso wie der Club als Nachfolger des bürgerlichen Musik- oder Klavierzimmers entstanden (S. 24 f.).
Ein Musikzimmer als persönliche Musik-Sammlung oder als Archiv des eigenen Lebens (auch als Ort der Hörerfahrung) kann heute in der Zeit nach der grossen Digitalisierungswelle auch schon wieder als Museumsstück einer früheren Lebensart gesehen werden, genau wie das Musikzimmer in den grossbürgerlichen Villen. Auch das Musikzimmer der Pop-Dandys und Hipster braucht es nicht mehr notwendigerweise: Heute erhält man sich das Archiv aus der Cloud. Die Miete für das zusätzlich Zimmer sparen sich die meisten Leute. Allerdings gehören die Hörerfahrungen und Hörgeschichten dadurch nicht mehr den Fans, sondern den Diensten. Und so hat der Atavismus eines privaten Musikzimmers (und diese Webseite) doch einen gewissen Sinn.
Musikzeitschriften Tag
Musikzeitschriften sind Periodika, die schwerpunktmässig sich mit Musik befassen. Im weitesten Sinn gibt es hier Musikmarkt-Zeitschriften (z.B. Billboard), Verbraucher-Magazine (Pop, Rolling Stone, Mojo), Fanzines oder auf Instrumente spezialisierte Magazine (Keyboard). Fanzines sind von Fans und unabhängig von Verlagsgruppen produzierte Verbraucher-Magazine wie Pop oder Spex in den Anfängen. Diese beiden Zeitschriften haben sich auf dem Markt behauptet und verloren mit der Zeit ihren Fanzine-Charakter. Verbraucher-Magazine sind in aller Regel auf Formate/Genres spezialisiert, z.B. auf Rock oder Hip Hop.
Englischsprachige Musikzeitschriften der 60er Jahre , die Untergrund Musik thematisierten
Melody Maker, New Musical Express, Record Mirror, Top Pops, Rave, Beat Instrumental, International Times, Flower Scene, OZ, Time Out, Hit Parader, Teenset, Go, World Countdown, Mojo Navigator, Hullabaloo, Open City, Jazz & Pop, Rolling Stone, Fusion.
Quelle: Richard Morton Jack: UK Music Publications. In: Psychedelia. 101 Iconic Underground Rock Albums 1966–1970, New York: Sterling, 2017, p. 56
Britische Musikzeitschriften in den 1970er Jahren
Es gab fünf wichtige Magazine: Melody Maker, New Musical Express, Sounds, Disc und Record Mirror. Zusammen haben sie mehr als eine halbe Million Exemplare pro Woche verkauft.
Das Ende der Musikzeitschriften
Musikjournalistinnen und Musikjournalisten, die für Musikzeitschriften schrieben, haben in der Zeit vor dem Internet eine Gatekeeperfunktion inne gehabt. Sie wussten über Trends und Szenen bescheid und führten Gespräche mit Musikerinnen und Musikern. Durch Social Media ist diese Gatekeeper-Funktion weitgehend obsolet geworden.
Auch die Finanzierungsquelle von Musikzeitschriften ist versiegt. Im Streaming-Zeitalter wird kaum mehr für neue Veröffentlichungen geworben.
Musikwirtschaft Tag
Als Musikwirtschaft wird die Gesamtheit aller ökonomischen Aspekte der Musik bzw. der Musikbranchebezeichnet, der Markt und seine Analyse, die Institutionen auf der Produktionsseite (Management, Veranstalter, Verlage und Labels) und auf der Verwertungsseite (Verwertungsgesellschaften).
Wir leben in einer digitalen Welt. Das prägt uns, ob wir Musik machen oder Musik konsumieren. Noch vor 150 Jahren gab es keine Musik, ausser jemand spielte sie. Heute ist sie mit ein paar Clicks abrufbar. Gewissermassen ist die Populäre Musik durch die Digitalisierung ein Gemeingut geworden, das durch Abgaben, Werbung und Abonnemente finanziert wird. Die digitale Musikwirtschaft mit ihren Streaming Services und Online-Radiostationen ist mittlerweile ein fast ebenso grosses Geschäft geworden wie die Tonträgerindustrie in den 90er Jahren des letzten Jahrhunderts.
Wenn man in die Geschichte der Modernen Musik, ihrer Produktion und ihrer Rezeption, schaut, sieht man, wie Krisen und Prosperität einander abwechseln. Neue Technologien und Medien, Kriege und demografische Veränderungen haben mit unvorhersehbarer Regelmässigkeit den status quo der Musikmarktes und damit des Musizierens und Musikhörens bedroht. Die anhaltende Coronakrise scheint die nächste grosse Bedrohung zu sein, weil der Konzertbetrieb weitestgehend eingestellt werden musste und das Haupteinkommen für die Musiker*innen weggefallen ist.
Musikwirtschaft und Musiktechnologie mögen zwar gemessen an der Musik selbst eher uninteressant scheinen, aber Ökonomie und technisch-mediale Infrastruktur sind die Basis, ohne die man das Musikleben der Gegenwart und der Vergangenheit nur oberflächlich versteht.
Aspekte der Musikwirtschaft
– der globale Musikmarkt und die nationalen und regionalen Musikmärkte
– die Marktforschung
– das Verlagswesen, das auf den Grundsätzen des Musikrechts aufbaut – hier vor allem dem Copyright (angelsächsische Rechtstradition) bzw. Urheberrecht (kontinentaleuropäische Rechtstradition)
– Schallplatten-Labels
– Management
– Veranstalter
– Sortiment
– Distribution des Sortiments
– Absatz: Promotion und Marketing.
Musikwirtschaft als Wissenschaft
Als Wissenschaft ist die Musikwirtschaft eine Fachrichtung oder Spezialisierung der Ökonomie. Die meisten Schulen befinden sich in den USA. Im deutschen Sprachraum ist das Fach am Institut für Kulturmanagement und Gender Studies (IKM) der Universität für Musik und darstellende Kunst Wien aufgehoben, wo Peter Tschmuck lehrt.
Institutionen auf der Angebots-Seite
Die Musikwirtschaft hat sich zu mehreren Angebotsoligopolen entwickelt. Auf dem Mainstream-Markt (und teilweise nicht nur in diesem) stehen nur wenige Anbieter (Labels, Streaming-Services oder Veranstalter den Konsument/-innen gegenüber.
Die Konsument/-innen haben durch die Internettechnologie allerlei Mittel in die Hände bekommen, den Musikmarkt zu unterlaufen und Musik kostenlos zu beschaffen: illegale Downloads, Filesharing, Torrents. Es scheint, dass der Markt mit diesen Fakten leben muss.
Rangliste der wichtigsten Executives
1. Lucian Grainge, Chairman/CEO Universal Music Group
2. Michael Rapino, President/CEO Live Nation Entertainment
3. Daniel Ek, Founder/CEO Spotify (and four others from Spotify)
4. Irving Azoff, Chairman/CEO The Azoff Company (and his son, Jeffrey)
5. Rob Stringer, CEO Sony Music Entertainment
6. Steve Cooper, CEO Warner Music Group and Max Lousada, CEO Recorded Music WMG
7. Oliver Schusser, VP Apple Music & Int’l Content (and five others from Apple)
8. Jon Platt, Incoming Chairman/CEO Sony/ATV Music Publishing
9. Craig Kallman, Chairman/CEO Atlantic Records & Julie Greenwald, Chairman/COO Atlantic
10. Boyd Muir, CFO/EVP/President Label Operations, Universal Music Group (and three others)
Quelle: David Philp: The Right & Wrong of Billboard’s Power 100 List (Music Biz 101, 10. Februar 2019)
Reputation
Die Institutionen der Musikwirtschaft scheint es zu brauchen, um Musik in der modernen Gesellschaft zu den Hörerinnen und Hörern zu bringen. Ohne Marketing kennt man die besten Musiker/-innen nicht. Ohne ein professionelles Management verdient niemand Geld mit ihrer oder seiner Musik. Dabei hat aber die Musikwirtschaft die schaurige Reputation, sowohl das künstlerische Talent als auch diejenigen, die es würdigen, vampirhaft auszusaugen. Frühere aussermusikalische Aspekte wie die Technologie konnten weitgehend in die Kunst inkorporiert werden. heute muss niemand mehr ein teures Studio mieten, um überhaupt eine Aufnahme machen zu können, auch Instrumente aller Art sind erschwinglich geworden. Und so könnte man die Musikgeschichte erzählen als Ästhetisierung der Technologie. ich meine damit, dass Musiker/-innen gelernt haben, mit Technologie kreativ umzugehen und sie nicht nur als Mittel zum Zweck, sondern als ein Teil des Ausdrucks selbst zu verstehen und sie haben begonnen, die Technologie zu begehren. Die wirtschaftlichen Aspekte der Musik sind dagegen kaum ästhetisiert worden. Vielleicht gibt es hier noch Potentiale zu entdecken? Wenn sie entdeckt wären, gehörten die Manager zur Band, hätten die Musiker/-innen Lust, alle diese wirtschaftlichen Tätigkeiten selbst in die Hand zu nehmen.
Querverweise
– Musikbranche qua Wirtschaftszweig, der mit Musik zu tun hat
Links
– Peter Tschmuck: Musikwirtschaftsforschung (Blog)
– Bobby Owsinski: 15 Best Music Business Schools Named (Music 3.0 – Music Industry Blog, 4. Oktober 2017)
– Music Think Tank
Musikvideos Tag
Musikvideos sind Kurzfilme zu einem Song oder Track. Die filmische Umsetzung der Musik und der Lyrics verfolgt verschiedene ästhetische Strategien, vom Kurzfilm, über eine konzertante Aufführung bis zum Animationsvideo.
Die ersten Musikvideos wurden in England der 1960er Jahre gedreht. Sie dienten (und dienen bisher) der Verkaufsförderung eines Musiktitels – damals im Fernsehen, damit die Gruppe oder die Sängerin/der Sänger nicht extra in die Studios reisen musste. Heute werden Musikvideos auf Internet-basieerten Streamingplattformen wie Youtube publiziert. Ihr Konsum wird genau wie beim Audio-Streaming für den Verkaufs- und Hitparaden-Erfolg ausgewertet.
Musikvideos stehen in der Tradition von Musiktheater (Operetten, Musicals, Vaudeville-Shows) und Musikfilm (Konzertfilm, Musikfilm).
Eigentlich waren Musikvideos von Anfang an eine eigene Kunstform.
Links
– Clipland – Musikvideo- und Werbespot-Datenbank
– Dave Whitaker: Most-Watched Videos of All Time: Top 100 (Dave's Music Database, 10. Dezember 2019)
– Dave Whitaker: The Top 100 Videos of All Time (Dave's Music Database, 5. Februar 2010, update: 12. Februar 2021)
Musikmuseen Tag
Es war Paolo Giovio, der am Anfang des 16. Jahrhunderts eine Sammlung, die in einer Villa ausgestellt wurde, Museum nannte – nach dem griechischen «museion», dem Ort oder Tempel der Musen. Viel früher, um 1471 wurde in Rom auf dem Kapitol eine Antikensammlung gezeigt. Dies soll die erste an einem säkularen Ort allgemein zugängliche und dauerhafte Sammlung gewesen sein. Eine Schenkung.
Museen als Selbstverständlichkeit des Kulturbetriebs
Heute sind Museen eine Selbstverständlichkeit des Kulturbetriebs. Einige sind aus der öffentlichen Hand finanziert, andere sind privat initiierte Stiftungen. Der Museumsbesuch gehört für viele zum Reiseprogramm auf Städtetrips und auf Reisen. In Italien wurden 2019 130 Millionen Eintritte verzeichnet, in Deutschland 114 Millionen in Frankreich 63 Millionen und in der Schweiz 14 Millionen (siehe Pèlerin).
Ausgestellte Populäre Musik
Musikmuseen oder Musik-Ausstellungen in einem Museum sind eine neuere Entwicklung. Klassischerweise wurden in Museen visuelle Kunstwerke gezeigt oder Kuriositäten der Natur. Als «Ort der Musen» müssen Museen auch die Euterpe (die Muse der Musik), die Polyhymnia (die Muse der feierlichen Musik), die Terpsichore (Muse des Tanzes) und die Erato (die Muse Liebesdichtung) beherbergen, wenn man den Wortsinn ernst nimmt. Allerdings ist es einfacher visuelle Dinge auszustellen als klingende und sich bewegende Dinge. Wenn diese Musik von sich geben, wird der Raum des Museums schnell von einem unausstehlichen Lärm erfüllt. Die Abhilfe ist oft, den Besucher*innen einen Kopfhörer aufzusetzen, was sie voneinander isoliert.
Wegweisende Ausstellungen über Populäre Musik sind beispielsweise das Abba Museum in Stockholm oder die äusserst erfolgreichen V&A Ausstellungen zu David Bowie oder Pink Floyd
Für eine Übersicht über Musikmuseen siehe Laura Stavropoulos.
Links
– Laura Stavropoulos: The Best Music Museums Around The World (uDiscoverMusic, 18. Mai 2020)
– Krzysztof Pomian: Le Musée, une histoire mondiale – Bd. 1 : Du trésor au musée. Gallimard, Paris 2020
– Hibou Pèlerin: Das Museum, ein globales Erfolgsmodell (Landesmuseum Schweiz, 2021)
Musikjournalismus Tag
Musikjournalismus ist auf Musik spezialisierter Kultur- oder Entertainment-Journalismus. Es geht um Berichterstattung über Konzerte, Rezensionen von Neuerscheinungen auf dem Tonträger- oder Streamingmarkt, um Hintergrundberichte über Szenen, Akteur*innen, über musikalische, technische oder wirtschaftliche Aspekte der Musik, auch über Trivia.
Im Bereich der Populären Musik hat sich neben der Tagespresse, die wenn überhaupt, vor allem die Mainstream-Musik abdeckt, eine spezialisierte Fachpresse herausgebildet, die zum einen an ein Fachpublikum gerichtete Branchenmagazine und zum anderen an Konsumentinnen und Konsumenten (Fans) gerichtete Musik Magazine veröffentlicht.
Rock Journalismus
Die ersten Rock-Kritiker*innen bei Tageszeitungen waren Ellen Willis beim «New Yorker» und Ellen Sander beim «Saturday Review» Magazin (sowie «Hit Parader» und «Vogue»). Ihre Beiträge erschienen jedoch noch nicht regelmässig. Ellen Sander ist die Autorin von «Trips: Rock Life in the Sixties» (1973).
Die Rock-Kritiker*innen und Musikjournalist*innen aus den 1970er Jahren schrieben vielfach aus einer neomarxistischen Perspektive (siehe Neomarxismus). Deshalb mochten sie bestimmte Bands und verachteten andere. Ihre Art des Musikjournalismus war theoretisch unterfüttert, aber ideologisch zugleich. Geschrieben wurde aus soziologischer Perspektive. Rockkritiker*innen konnten schrieben (wie alle Journalist*innen), von Musik verstanden sie nicht viel.
/Auf den Neomarxismus folgte eine Postmoderne, die kritiklos alles hat gelten lassen, was laut und schrill genug war. Die Postmoderne brachte uns das Ende der Geschichte, das Ende der Ideologien und den Tod der Kritik. Doch ohne einen theoretischen Unterbau (und immer noch ohne eine profunde musikalische Kenntnis) wurde die Musikpresse schlechterdings zu einem Verband von Claqueuren.
Dann kam das Internet hinzu und brachte die bestehenden Organe zum verschwinden, die die Musikkritik immerhin haben bezahlen können. Bis heute schreiben im Internet vor allem Leute über Musik, die von einer Identitätspolitik oder von einem partikulären Selbstinteresse geleitet sind. Geschrieben wird in den Resonanzräumen der Internetbubbles, deren Relevanz oft an der Grenze der Blase auf Null zusammenfällt.
Das Ende der Ideologie oder Theorie wird vielfach laut beklatscht. Zum Beispiel von Edward Macan, der 1997 im Zusammenhang mit Progrock zufrieden schrieb: «Ultimately, burdened down by an overly rigid ideology, these critics give us at best a very distorted picture of progressive rock as a social force, and they have virtually nothing useful to say about progressive rock as a musical style. They abandoned what should have been their primary duty: coming to grips with how the progressive rock style reflected the interests, concerns, and identity of its sizable taste public, and judging individual progressive rock bands according to how imaginatively and coherently they communicated the style to their fans. The fact that the critical consensus was never seriously challenged until Allan Moore's Rock: The Primary Text (1993) is significant: it suggests that we are only now reaching a place where we can reexamine the cultural history of the 1970s from a clearer, more objective vantage point. Edward Macan, 2409, p. 177f. – Macan stellt sich der Kritik nicht mehr. Wenn ein Musikstil ein grosses Publikum hat, dann soll sich der Musikjournalismus mit der Frage auseinandersetzen, wie gut eine Band diesen Stil kommuniziert. Die Antwort wird immer lauten: «Sehr gut, denn sie hat ja ein grosses Publikum.» Das ist Populismus in reiner Form.
Im schlechten Fall verstärken oder multiplizieren Musikjournalist*innen kritiklos Stimmen im sozialen Raum, sie tragen Gerüchte weiter, statt kritisch zu informieren.
Verzeichnis einflussreicher Musikjournalist*innen
– Ellen Willis
– Jann Wenner
– Greil Marcus
– Charlie Gillett
– Lester Bangs
– Dave Marsh
– Robert Christgau
– Nick Kent
– Will Hermes
– Jon Savage
– Ira A. Robbins
– Paul Morley
– Diedrich Diederichsen
– Richie Unterberger
– Jean-Martin Büttner
– Martin Büsser
– Simon Reynolds
– Adam Harper
– Jon Pareles
– Mark Fisher
– Amanda Petrusich
– Ben Ratliff
– Jon Caramanica
– Tom Breihan
– Jeff Terich
Webseiten von Musikjournalisten
– Robert Christgaus Website mit vielen Rezensionen
– Dominik Imseng
– Rachel Kaadzi Ghansah
– Simon Reynolds
– Adam Harper
– Geeta Dayal
Links
– Trouserpress – the Bible Of Alternative Rock since 1983
– Rock's Backpages (Archiv für den Rockjournalismus: Reviews, Interviews und Features über Rock Acts)
Musikjahr 2010 Tag
2010 war ein reiches Jahr. Es gab so viel gute Musik, ich konnte sie kaum verarbeiten.
Das Jahr 2010 – ein Neuanfang?
Nach den konservativen Nullerjahren ist mit dem neuen Jahrzehnt ein Ruck durch die Musik gegangen, so scheint's mir. Oder müsste man sagen, durch die amerikanische Musikbranche? In Amerika hat man schliesslich herausgefunden, wie man Musik über das Internet bekannt macht und verkauft. In Europa steckt man da vergleichsweise noch in den Kinderschuhen.
Ist der Eindruck des Neuanfangs ein persönlicher, der durch eine neue Orientierung an amerikanischen Musikblogs und Online-Musikzeitschriften zu Stande kommt? Mein Wahrnehmungsfilter hat sich dieses Jahr verschoben. Ich habe mich neu ausgerichtet. Das hat Konsequenzen: Ich interessiere mich wieder für Alternative- bzw. Indierock und Pop, weil da hervorragende Sachen rauskommen und weil die amerikanische Szene überraschend lebendig ist – vor allem in Blooklyn aber auch in anderen Städten.
Die besten Electronica-Alben kommen von Ellen Allien, Gonjasufi (mit Gaslamp Killer als dem Produzenten), Pantha Du Prince und Keith Fullerton Whitman. Dubstep lebt dort, wo der Stil mit anderen Stilen kombiniert wird, bei Scuba, Skream, F [Florent Aupetit], Martyn, Actress, Shackleton oder James Blake. Electronica sind vor allem dann interessant, wenn die bestehenden Formate offen sind und keine Berührungsängste mit anderen Stilen und Genres haben. Analogelectronica leben vor allem in Amerika, bei Acts wie den Emeralds. Ein grosses Thema war Chillwave und sein dunkler Ableger oder Wegbegleiter Witchhouse. Teen Dream von Beach House ist hier das beste Album, wobei diese Gruppe nur bedingt dem Genre zuzuordnen ist.
Im Freakfolk hat neben den neuen Alben der klassischen Acts wie Joanna Newsom, Coco Rosie und Antony And The Johnsons Scott Tuma mit einem wunderbaren Album aufgewartet, mit Dandelion.
Popmusik ist sehr offen für elektronische Sounds und Texturen, zum Beispiel bei Yeasayer, Robyn oder M.I.A.
Bestenlisten des Jahres
– AllMusic: Favorite Albums
– Altered Zones: Top Albums of 2010
– Consequence Of Sound: Top 100 Albums of the 2010s
– Musikzimmer Beste Alben von 2010
– Musikzimmer: Beste Videos und Songs von 2010
– Pitchfork: The Top 50 Albums of 2010 (16. Dezember 2010) – siehe Liste im Musikzimmer
– Pitchfork: The Top 100 Tracks of 2010
– Pitchfork: Best New Music 2010
– PopMatters: The Best 70 Albums Of 2010
– PopMatters: The 60 Best Songs of 2010
– PopMatters: The Best Female Artists Of 2010
– PopMatters: The 10 Best Electronic Albums of 2010
– Pop Matters: The 10 Best Experimental 'Albums' of 2010
– PopMatters: The 10 Best Indie Rock Albums of 2010
– PopMatters: The Best Indie Pop Of 2010
– PopMatters: The Best Indie Rock Of 2010
– Pretty Much Amazing: Best Albums Of 2010
– Spin: 40 Best Albums Of 2010 (15 von 40)
– Spinner: 30 Best Albums Of 2010
– The Milk Factory: The 2010 Review (20 von 50)
– The Wire: 2010 Rewind. Records of the Year (20 von 50)
Links
– Was War Wann?: Musikjahr 2010
Musikjahr 2009 Tag
Wo sind im Jahr 2009 die Epizentren herausragender Musik zu finden? Ganz grossartig sind die Alben von Animal Collective, Grizzly Bear und Atlas Sound. Genre und Stil der Musik von Animal Collective haben leider noch keinen griffigen Namen. Die Musik ist zwischen Alternativerock und Indiepop anzusiedeln. Es sind herausragend produzierte psychedelische Popsongs, sehr melodisch, mit hörbaren Beach Boys und Van Dyke Parks Einflüssen. Neben den drei genannten sind das Deerhunter, Band of Horses, die Fleet Foxes, Department of Eagles, Dirty Projectors, Panda Bear und die dänischen Efterklang.
2009 ist das Jahr von Chillwave. Ein den Stil repräsentierendes Album ist Psychic Chasms von Neon Indian.
Erwähnenswert ist Ben Frost, der mit By The Throat ein geradezu brodelndes Postelectronica Album hingelegt hat.
In England zeigt Dubstep weitere Zeichen der Erschöpfung. Die Three EPs von Shackleton überzeugten mich zuerst nicht (gewinnt aber mit jedem Mal hören Punkte - Sam Shackleton gehört spätestens seit diesem Jahr zu den grossen Autoren gegenwärtiger elektronischer Musik), Burial schwieg dieses Jahr, abgesehen von seiner Single mit Four Tet, The Bug macht ein Dubtronica-Album (Waiting for you ... unter dem Namen King Midas Sound), Milanese setzt mit dem massiven, stellenweise brutalen Album Lockout eine Landmarke. Erschöpfung im Zusammenhang mit Dubstep will heissen, dass das Genre an dem Punkt angekommen ist, an dem die ehemalige Musik aus dem Untergrund nun als Autorenmusik weiterlebt. Dubstep ist noch immer eine Ecke, in der Electronica sehr interessant sind.
Was ist sonst mit Electronica los? Unglaublich für mich, dass Oneohtrix Point Never in die Jahresendcharts von The Wire kommt. Auch der dort gewinnende Broadcast / Focus Group Release überzeugt mich nicht als wegweisende Musik. Besser gefallen hat mir im Analogelectronica-Genre Belbury Polys From An Ancient Star. Unter den Electronica-Releases sind Giuseppe Ielasis, Vladislav Delays und Hudson Mohawkes Alben weitaus am spannendsten. Mowhak behält mit seinem ersten Album für Warp den Wonky-Stil im Spiel.
Hervorragende Popalben lieferten Kid Cudi mit Man On The Moon: The End Of The Day und Gossip mit Music For Men, produziert von Rick Rubin. Dass im September endlich, endlich die geremasterten Beatles-Alben heraus kamen, macht 2009 zu einem Beatles-Jahr.
Und wenn wir bei den alten Sachen sind: Michael Jackson ist gestorben.
Listen
– Metacritic: The Best Albums Of 2009
– Popmatters: The 60 Best Albums of 2009 (20. September 2019)
– Popmatters: The 50 Best Songs of 2009 (Staff, 4. Oktober 2019) – [C] (10 von 50)
– Chris Baynes: The 10 Best Debut Albums of 2009 (Popmatters, 20. September 2019)
– David Abravanel, Timothy Gabriele , M.R. Newmark, Alan Ranta, Dominic Umile: The 10 Best Electronic Albums of 2009 (Popmatters, 26. September 2019)
– Pitchfork: The Top 50 Albums of 2009 (17. Dezember 2009)
– Pitchfork: The Top 100 Tracks of 2009 (14. Dezember 2009)
– AllMusic: AllMusic's Favorite Albums of 2009 (15. Dezember 2009)
– TheWire 311 (January 2010), p. 36 ff. – Liste im Musikzimmer (10 von 50)
– Musikzimmer: Beste Alben von 2009
Links
– Was War Wann?: Musikjahr 2009
Musikjahr 1985 Tag
Fredric Dannen schriebt über die Musikwirtschaft von 1985: «Das Schallplattengeschäft ist eine relativ kleine Industrie. Amerikaner*innen geben gleichviel für Musik aus wie für Frühstücksflocken, um die $6.8 Milliarden pro Jahr. 1985 erzielte die US-Plattenindustrie einen Umsatz von nicht mehr als 4,5 Milliarden US-Dollar.
Quellen
– Was War Wann?: Musikjahr 1985
Musikjahr 1982 Tag
Die RIAA berichtete, dass 1982 2630 neue Alben auf den Markt kamen, 2710 Cassetten-Releases und 2285 Singles. Mit greatest Hits Alben und Wiederauflagen erschienen in diesem Jahr total 5375 Veröffentlichungen. Ca. 180 Alben wurden vergoldet oder erhielten Platin, wo das 1978 noch 40% mehr waren. Bei den Singles wurden nur 24 mit Gold ausgezeichnet. Seit 1966 waren es nicht mehr so wenige (R. Serge Denisoff: Tarnished Gold, 1986, p. 4). Eine LP kostete 9 $, eine Single 2 $ (ebenda). Kanpp 50 % des Marktes wird von Pop und Rock eingenommen. Country hat 15 %, Afroamericana knapp 10 %, den Rest machen klassische Platten, Jazz, Comedy, solche für Kinder etc. aus (ebenda).
Quellen
– Was War Wann?: Musikjahr 1982
Musikjahr 1974 Tag
Der neue Corporate Rock – Übergangsalben und Neuanfänge
Die Epoche des progressiven oder Untergrundrocks geht zu Ende und Rock-Musik tritt in die nächste Phase ein, den Corporate Rock. Es ist nicht so, dass die Musik plötzlich sehr anders klang. «Corporate Rock» hat mehr mit der Haltung der Labels zu tun, dass fast ausschlisslich nur noch Bands im Programm blieben, die auch grosse Stückzahlen ihrer Alben absetzten und an Konzerten grosse Massen in Stadions und Theater zogen. Die Musik musste ausserdem FM-Radio-freundlich sein, Alben ein bis zwei Hits enthalten. Das setzte der progressiven Musik ein Ende, die experimentierfreudig war. Die kommerziellen Acts machten weiter. Nun brach die Zeit der grossen Rockacts an: Eagles, Fleetwood Mac oder Peter Frampton.
Das letzte Album der klassischen Besetzung von Genesis, The Lamb Lies Down On Broadway, ist eine recht radikale Abkehr von den bisherigen viktorianischen Themen. Es befasst sich mit der modernen Gegenwart und klingt neu. Aber «Lamb» stellt im Bandkatalog ein Übergang-Album dar, weil Peter Gabriel die Band verlässt und diese sich neu erfinden muss. Auch King Crimson befand sich in personeller Veränderung, als Violonist David Cross die Band verliess. Red ist auch ein Übergangsalbum mit einer glühend-dunkeln Energie. Emerson, Lake And Palmer gingen in einen dreijährigen Hiatus.
Im Hardrock fiel 1974 das Debut von Bad Company auf, einer neuen Supergruppe, die aus Free hervorgegangen ist. Deep Purple kamen mit Stormbringer heraus, ebenfalls einem Übergangsalbum mit Funk- und Soul-Elementen, die den bewährten Sound der Gruppe bereicherten aber die Reihe ihrer klassischen Alben beendete.
Eric Clapton meldete sich nach einem Drogenentzug mit seinem Solo-Effort 461 Ocean Boulevard zurück.
Im Poprock-Mainstream dominierte Elton John, der in Australien und Nord Amerika mit der Kiki Dee Band tourte.
Southern-Rock kam in den Mainstream mit Lynyrd Skynyrd und ihrem Überhit Sweet Home Alabama.
Songer-Songwriter wie Carole King, James Taylor, Joni Mitchell blieben mit ihren leiseren Klängen populär. Ihr heilsamer und introspektiver Ton hat sich mittlerweile im Pop als Softrock eingerichtet, hier freilich handelt es sich nur bei einem kleinen Teil der Interpreten ujm Singer-Songwriter. Die meisten sind wie bisher Vokalisten, die Songs von professionellen Songwriterinnen und Songwritern interpretieren.
Fusion
An den Grenzen von Jazz und Rock musizierten Bands wie Mahavishnu Orchestra, Return to Forever oder der Trompeter Miles Davis. Fusion war eine der wichtigsten Musik-Genres in den 1970er Jahren.
Electronica
Kraftwerk gelang mit Autobahn ein Durchbruch in der elektronsichen Musik. Synthesizer liessen sich anfangs schlecht spielen, so dass man sie vorwiegend als Effektgeräte brauchte (ausser die Beatles auf Abbey Road und Emerson, Lake and Palmer). Sie vertrugen sich als Gimmick-Geräte schlecht mit den Authetizitäts- und Hippie-Idealen der Rock-Musik. «Autobahn» aber zeigte dass eine stimmungsvolle progressive Musik möglich war, die ganz auf Synthis (und dann und wann eine Flöte) gebaut war. Die andere deutsche Band war Tangerine Dream, die dieses Jahr mit Phaedra ein meditatives Gegengewicht zu «Autobahn» schufen.
Alternativen zum Rock-Mainstream
In teils noch recht stiller Opposition zur Rockmusik in der Tradition des progressiven Untergrundrocks formierte sich aus Glam und Hardrock eine alternative Rocktradition, die sich zurück nach den frühen 1960er Jahren sehnte: Powerpop und Proto-Punk, aus denen drei Jahre später Punk entstand. CREEM war das Rock Magazin, dass diese Entwicklung vorbereitete.
Die New Yorker Proto-Punk Band New York Dolls fusioniert Glam mit Powerpop. Zusammen mit den Stooges sähen sie an, woraus drei Jahre später Punk entstehen wird.
Glam war in Grossbritannien immer noch wichtig, wenn auch auf dem Abstieg. Queen bringen mit Killer Queen eine Hybride mit Progrock heraus und David Bowies Diamond Dogs ist dystopischer Glam, ein Konzeptalbum und fühlt sich introvertiert an. Das Album ist ein zeimlicher Kontrast zu Ziggy Stardust von 1972. Mit dem Album wird Bowie seiner kamäleonartigen Reputation weiter gerecht.
Disco formiert sich
1974 war das Jahr, in dem Disco sich ankündigte, als eine zweite Frontseite zur Rock-Musik: Zwei Singles, die diese Bewegung vorbereiteten, Rock The Boat und Rock Your Baby, lösten einander im Juli an der Spitze der amerikansichen Charts ab.
US-Top-Hits
– Jim Croce: Time in a Bottle (29. Dezember 1973 – 11. Januar 1974)
– Steve Miller Band: The Joker (12. Januar 1974 – 18. Januar 1974)
– Al Wilson: Show And Tell (19. Januar 1974 – 25. Januar 1974)
– Ringo Starr: You're Sixteen (26. Januar 1974 – 1. Februar 1974)
– Barbra Streisand: The Way We Were (2. Februar 1974 – 8. Februar 1974)
– Love Unlimited Orchestra: Love's Theme (9. Februar 1974 – 15. Februar 1974)
– Barbra Streisand: The Way We Were (16. Februar 1974 – 1. März 1974)
– Terry Jacks: Seasons In The Sun (2. März 1974 – 22. März 1974)
– Cher: Dark Lady (23. März 1974 – 29. März 1974)
– John Denver: Sunshine On My Shoulders (= Sunshine) (30. März 1974 – 5. April 1974)
– Blue Swede: Hooked On A Feeling (6. April 1974 – 12. April 1974)
– Elton John: Bennie And The Jets (13. April 1974 – 19. April 1974)
– MFSB: TSOP (20. April 1974 – 3. Mai 1974)
– Grand Funk: The Loco-Motion (4. Mai 1974 – 17. Mai 1974)
– Ray Stevens: The Streak (18. Mai 1974 – 7. Juni 1974)
– Paul McCartney And The Wings: Band On The Run (8. Juni 1974 – 14. Juni 1974)
– Bo Donaldson and The Heywoods: Billy, Don't Be A Hero (15. Juni 1974 – 28. Juni 1974)
– Gordon Lightfoot: Sundown (29. Juni 1974 – 5. Juli 1974)
– Hues Corporation: Rock The Boat (6. Juli 1974 – 12. Juli 1974)
– George McCrae: Rock Your Baby (13. Juli 1974 – 26. Juli 1974)
– John Denver: Annie's Song (27. Juli 1974 – 9. August 1974)
– Roberta Flack: Feel Like Makin' Love (10. August 1974 – 16. August 1974)
– Paper Lace: The Night Chicago Died (17. August 1974 – 23. August 1974)
– Paul Anka & Odia Coates (feat.): (You're) Having My Baby (24. August 1974 – 13. September 1974)
– Eric Clapton: I Shot The Sheriff (14. September 1974 – 20. September 1974)
– Barry White: Can't Get Enough Of Your Love, Babe (21. September 1974 – 27. September 1974)
– Andy Kim: Rock Me Gently (28. September 1974 – 4. Oktober 1974)
– Olivia Newton-John: I Honestly Love You (5. Oktober 1974 – 18. Oktober 1974)
– Billy Preston: Nothing From Nothing (19. Oktober 1974 – 25. Oktober 1974)
– Dionne Warwick & Spinners: Then Came You (26. Oktober 1974 – 1. November 1974)
– Stevie Wonder & Jackson 5 (feat.): You Haven't Done Nothin' (2. November 1974 – 8. November 1974)
– Bachman-Turner Overdrive: You Ain't Seen Nothing Yet (9. November 1974 – 15. November 1974)
– John Lennon & Elton John (feat.): Whatever Gets You Thru The Night (16. November 1974 – 22. November 1974)
– Billy Swan: I Can Help (23. November 1974 – 6. Dezember 1974)
– Carl Douglas: Kung Fu Fighting (7. Dezember 1974 – 20. Dezember 1974)
– Harry Chapin: Cat's in the Cradle (21. Dezember 1974 – 27. Dezember 1974)
– Helen Reddy: Angie Baby (28. Dezember 1974 – 3. Januar 1975)
Querverweise
– zur Liste der US-Top-Hits 1974
– zum Tag: US-Top-Hit
Links
– Was War Wann?: Musikjahr 1974
Musikjahr 1973 Tag
Das Krisen-geschüttelte Jahr 1973 brachte mit der Ölkrise das Ende des Wirtschaftswunders, die Watergateaffäre, der Putsch in Chile und den Jom-Kippur-Krieg.
Pop – Glam und Rock 'n' Roll Revival
Pop wird vor allem in Grossbritannien von Glamrock beherrscht: Slade, Gary Glitter, Elton John, Sweet oder Suzi Quatro. Ein Teil dieser Acts und deren Titel können auch einem Rock-'n'-Roll-Revival zugerechnet werden (z.B. «Crocodile Rock» oder die Gary Glitter Songs).
Afroamericana
Neben Motown etabliert sich 1973 Phillysoul. Den Hit des Jahres landet Roberta Flack mit Killing Me Softly with His Song.
Rock
Am 24. März 1973 veröffentlichten Pink Floyd ihr Konzeptalbum Dark Side Of The Moon. Dieses Album blieb jahrelang in den Charts, verkaufte weit über 50 Millionen Exemplare und war wegweisend für den Progressive Rock der kommenden Jahre.
Eine Hybride aus Progressive Rock und Folk wurde zu einem weiteren Grosserfolg: Tubular Bells von Mike Oldfield. Sein Erfolg war umso bemerkenswerter als «Tubular Bells» der erste Katalognummer des damals neu gegründeten Virgin Labels war.
Hip Hop
Der 11. August 1973 gilt als die Geburtsstunde von Hip Hop. Am Abend war DJ Kool Herc DJ und MC eine Blockparty in der Bronx. Von Hip-Hop oder Rap hören wird die Welt aber erst Jahre später.
US Hot 100 Top Hits
– Billy Paul: Me and Mrs. Jones (16. Dezember 1972 bis 5. Januar 1973)
– Carly Simon: You're So Vain (6. Januar 1973 bis 26. Januar 1973)
– Stevie Wonder: Superstition (27. Januar 1973 bis 2. Februar 1973)
– Elton John: Crocodile Rock (3. Februar 1973 bis 23. Februar 1973)
– Roberta Flack: Killing Me Softly with His Song (24. Februar 1973 bis 23. März 1973)
– O'Jays: Love Train (24. März 1973 bis 30. März 1973)
– Roberta Flack: Killing Me Softly with His Song (31. März 1973 bis 6. April 1973)
– Vicki Lawrence: The Night the Lights Went out in Georgia (7. April 1973 bis 20. April 1973)
– Dawn: Tie a Yellow Ribbon Round the Ole Oak Tree (21. April 1973 bis 18. Mai 1973)
– Stevie Wonder: You Are the Sunshine of My Life (19. Mai 1973 bis 25. Mai 1973)
– Edgar Winter Group: Frankenstein (26. Mai 1973 bis 1. Juni 1973)
– Paul McCartney & Wings: My Love (2. Juni 1973 bis 29. Juni 1973)
– George Harrison: Give Me Love (Give Me Peace on Earth) (30. Juni 1973 bis 6. Juli 1973)
– Billy Preston: Will It Go Round in Circles (7. Juli 1973 bis 20. Juli 1973)
– Jim Croce: Bad, Bad Leroy Brown (21. Juli 1973 bis 3. August 1973)
– Maureen McGovern: The Morning After (4. August 1973 bis 17. August 1973)
– Diana Ross: Touch Me in the Morning (18. August 1973 bis 24. August 1973)
– Stories: Brother Louie (25. August 1973 bis 7. September 1973)
– Marvin Gaye: Let's Get It On (8. September 1973 bis 14. September 1973)
– Helen Reddy: Delta Dawn (15. September 1973 bis 21. September 1973)
– Marvin Gaye: Let's Get It On (22. September 1973 bis 28. September 1973)
– Grand Funk: We're an American Band (29. September 1973 bis 5. Oktober 1973)
– Cher: Half-Breed (6. Oktober 1973 bis 19. Oktober 1973)
– Rolling Stones: Angie (20. Oktober 1973 bis 26. Oktober 1973)
– Gladys Knight And The Pips: Midnight Train to Georgia (27. Oktober 1973 bis 9. November 1973)
– Eddie Kendricks: Keep on Truckin' (10. November 1973 bis 23. November 1973)
– Ringo Starr: Photograph (24. November 1973 bis 30. November 1973)
– Carpenters: Top of the World (1. Dezember 1973 bis 14. Dezember 1973)
– Charlie Rich: The Most Beautiful Girl (15. Dezember 1973 bis 28. Dezember 1973)
US-R&B Charts
– Billy Paul: Me and Mrs. Jones (9. Dezember 1972 bis 5. Januar 1973)
– Stevie Wonder: Superstition (6. Januar bis 26. Januar)
– Timmy Thomas: Why Can't We Live Together (27. Januar bis 9. Februar)
– Spinners: Could It Be I'm Falling In Love (10. Februar bis 16. Februar)
– O'Jays: Love Train (17. Februar bis 16. März)
– Gladys Knight And The Pips: Neither One Of Us (Wants To Be The First To Say Goodbye) (17. März bis 13. April)
– Temptations: Masterpiece (14. April bis 27. April)
– Sylvia: Pillow Talk (28. April bis 11. Mai)
– Ohio Players: The Funky Worm (12. Mai bis 18. Mai)
– Independents: Leaving Me (19. Mai bis 25. Mai)
– Barry White: I'm Gonna Love You Just A Little More Baby (26. Mai bis 8. Juni)
– Spinners: One Of A Kind (Love Affair) (9. Juni bis 6. Juli)
– Fred Wesley & JB's: Doing It To Death (7. Juli bis 20. Juli)
– Johnnie Taylor: I Believe in You (You Believe in Me) (21. Juli bis 3. August)
– Aretha Franklin: Angel (4. August bis 17. August)
– Marvin Gaye: Let's Get It On (18. August bis 28. September)
– Stevie Wonder: Higher Ground (29. September bis 5. Oktober)
– Eddie Kendricks: Keep on Truckin', Part 1 (6. Oktober bis 19. Oktober)
– Gladys Knight And The Pips: Midnight Train To Georgia (20. Oktober bis 16. November)
– Billy Preston: Space Race (17. November bis 23. November)
– Harold Melvin And The Blue Notes: The Love I Lost (24. November bis 7. Dezember)
– Staple Singers: If You're Ready (Come Go With Me) (8. Dezember bis 28. Dezember)
– Stevie Wonder: Living For The City (29. Dezember bis 11. Januar 1974)
UK-Hitparade
– Jimmy Osmond: Long Haired Lover from Liverpool (17. Dezember 1972 bis 20. Januar 1973)
– Sweet: Blockbuster (21. Januar 1973 bis 24. Februar 1973)
– Slade: Cum On Feel The Noize (25. Februar 1973 bis 24. März 1973)
– Donny Osmond: Twelfth Of Never (25. März 1973 bis 31. März 1973)
– Gilbert O'Sullivan: Get Down (1. April 1973 bis 14. April 1973)
– Dawn: Tie A Yellow Ribbon Round The Old Oak Tree (15. April 1973 bis 12. Mai 1973)
– Wizzard: See My Baby Jive (13. Mai 1973 bis 9. Juni 1973)
– Suzi Quatro: Can The Can (10. Juni 1973 bis 16. Juni 1973)
– 10CC: Rubber Bullets (17. Juni 1973 bis 23. Juni 1973)
– Slade: Skweeze Me Pleeze Me (24. Juni 1973 bis 14. Juli 1973)
– Peters and Lee: Welcome Home (15. Juli 1973 bis 21. Juli 1973)
– Gary Glitter: I'm The Leader Of The Gang (I Am) (22. Juli 1973 bis 18. August 1973)
– Donny Osmond: Young Love (19. August 1973 bis 15. September 1973)
– Wizzard: Angel Fingers (16. September 1973 bis 22. September 1973)
– Simon Park Orchestra: Eye Level (23. September 1973 bis 20. Oktober 1973)
– David Cassidy: Daydreamer (21. Oktober 1973 bis 10. November 1973)
– Gary Glitter: I Love You Love Me Love (11. November 1973 bis 8. Dezember 1973)
– Slade: Merry Christmas Everybody (9. Dezember 1973 bis 12. Januar 1974)
Top-Hits der CH-Hitparade
– Les Humphries Singers: Mexico (21. November 1972 bis 22. Januar 1973)
– Monica Morell: Ich fange nie mehr was an einem Sonntag an (23. Januar 1973 bis 26. Februar 1973)
– Elton John: Crocodile Rock (27. Februar 1973 bis 19. März 1973)
– Les Humphries Singers: Mama Loo (20. März 1973 bis 23. April 1973)
– Bernd Clüver: Der Junge mit der Mundharmonika (24. April 1973 bis 11. Juni 1973)
– Demis Roussos: Goodbye My Love, Goodbye (12. Juni 1973 bis 11. September 1973)
– Suzi Quatro: Can the Can (12. September 1973 bis 23. Oktober 1973)
– Rolling Stones: Angie (24. Oktober 1973 bis 20. November 1973)
– Lobo: I’d Love You to Want Me (21. November 1973 bis 21. Februar 1974)
Top-Alben der US-Hitparade
– Moody Blues: Seventh Sojourn (9. Dezember 1972 bis 12. Januar 1973)
– Carly Simon: No Secrets (13. Januar bis 16. Februar)
– War: The World Is A Ghetto (17. Februar bis 2. März)
– Elton John: Don't Shoot Me I'm Only The Piano Player (3. März bis 16. März)
– Eric Weissberg & Marshall Brickman: Dueling Banjos From The Original Motion Picture Soundtrack Deliverance And Additional Music (17. März bis 6. April)
– Diana Ross: Lady Sings the Blues (7. April bis 20. April)
– Alice Cooper [Band]: Billion Dollar Babies (21. April bis 27. April)
– Pink Floyd: The Dark Side Of The Moon (28. April bis 4. Mai)
– Elvis Presley: Aloha From Hawaii Via Satellite (5. Mai bis 11. Mai)
– Led Zeppelin: Houses Of The Holy (12. Mai bis 25. Mai)
– Beatles: The Beatles / 1967-70 (= The Blue Album) (26. Mai bis 1. Juni)
– Paul McCartney And The Wings: Red Rose Speedway (2. Juni bis 22. Juni)
– George Harrison: Living In The Material World (23. Juni bis 27. Juli)
– Chicago: Chicago VI (28. Juli bis 17. August und 25. August bis 7. September)
– Jethro Tull: A Passion Play (18. August bis 24. August)
– Allman Brothers Band: Brothers And Sisters (8. September bis 12. Oktober)
– Rolling Stones: Goats Head Soup (13. Oktober bis 9. November)
– Elton John: Goodbye Yellow Brick Road (10. November bis 4. Januar 1974)
Querverweise
– zur Liste der US-Top-Hits 1973
– zum Tag: US-Top-Hit
– zur Liste der US-R&B-Top-Hits 1973
– zum Tag: US-R&B-Top-Hits
– zur Liste der UK-Top-Hits 1973
– zum Tag: UK-Top-Hits
– zur Liste der CH-Top-Hits 1973
– zum Tag: CH-Top-Hits
– zur Liste der US-Top-Alben 1973
– zum Tag: US-Top-Album
– zur Monatsdiskografie vom Januar 1973 (mit Navigation zu den anderen Monaten des Jahres)
Links
– Was War Wann?: Musikjahr 1973
Musikjahr 1970 Tag
Das neue Jahrzehnt war für die Protagonist*innen und Fans der Rockmusik eine Zeit der grossen Enttäuschung und Ernüchterung. Der Krieg in Vietnam tobte weiter. Wichtige Hoffnungsträger waren tot, ruchlos beseitigt (John F. Kennedy, Robert F. Kennedy, Martin Luther King). Der Hippietraum wurde aus den eigenen Reihen heraus ermordet (die Morde der irren Manson-Sekte und das Altamont Speedway Free Festival – beide Ereignisse inszenierten den Sündenfall im Paradies). An der Spitze des Trümmerhaufens der Endsechziger lag die Wahl Richard Nixons zum Präsident der USA. Nixon war der Fackelträger des amerikanischen Mittelstands, der seinen Glücksspielgewinn in der Zeit des Wirtschaftswunders über die Runden retten wollte. Als 1970 begann, war klar, dass das grosse Versprechen auf eine jüngere, friedlichere, freiere, musikalischere Welt nicht eingehalten werden konnte.
In diese stimmungsmässige Misere hinein reagierte die Rockmusik mit Songs wie
– Simon And Garfunkel: Bridge Over Troubled Water (Januar 1970)
– Beatles: Let It Be (März 1970)
– James Taylor: Fire and Rain ('Februar bzw. September 1970)
– George Harrison: My Sweet Lord (November 1970)
Diese Titel waren von Gospel und Spirituals inspiriert und spendeten Trost und Beistand, sprachen von Solidarität, boten Rückversicherung, leckten die Wunden, damit sie schneller heilen mochten. Doch hilfebedürftig waren die kulturellen Anführer*innen selbt geworden, sie selbst lebten in einer Zeit nicht nur politischer sondern narkotischer Dunkelheit.
Links
– Was war Wann?: Musikjahr 1970
Musikjahr 1969 Tag
1969 war das Jahr von Apollo 11 und Woodstock. Beide Veranstaltung zogen eine grosse Masse von Leuten an und waren so die Manifestationen zweier gewaltiger Utopien am Ende der 1960er Jahre.
In den USA kostete eine LP nun wieder $3.79, wie bereits zwischen 1955 und 1966.
Middle Americans
Das Time-Magazin wählte den «Middle American» zum Mann bzw. zur Frau des Jahres, also die konservative Mittelklasse, die Nixon zum Präsidenten machte. Vorher gehörten diese Leute zur «silent majority». Die «Middle Americans» wollten ihren Frieden, sie hatten die Unruhen der Hippies und politischen Aktivist*innen satt.
Musikalisch wird dieser «Middle American» im Lauf der 1970er Jahre den Softrock und den AOR-Rock zu einem der wichtigsten Segmente der Populären Musik machen und in die Hitparaden bringen.
Links
– Paul McGuinness: Death Of The 60s: The Dream Was Over, But The Music Lives On (uDiscoverMusic, 6. Dezember 2019)
– Wann War Was?: Musikjahr 1969
Musikjahr 1968 Tag
1968 gilt els das Jahr der Studierenden- und Jugendproteste, das Jahr der 1968er-Bewegung.
Der Prager Frühling wurde am 20. August von Panzern und Truppen des Warschauer Paktes zerschlagen.
Musikwirtschaft
1968 und 1969 brachten nicht wie die Jahre zuvor eine Steigerung des Musikmarktes.
EIne Single musste auf dem US-Markt, um finanziell rauszukommen, 11'200 Exemplare verkaufen. 74 % aller Singles erreichten diesen «break even» nicht. LPs mussten hingegen nur 7800 Exemplare verkaufen um zu rentieren. 61 % aller LP-Veröffenlichungen schafften das nicht.
Besonders erfolgreich waren das Columbia- und das Warner Bros. Label, die beide früh in die Rockmusik investierten. Clive Davis von Columbia nahm Janis Joplin, Electric Flag, Jimi Hendrix, Steve Miller, Who und Quicksilver Messanger Service. Joe Smith und Mo Ostin hatten Grateful Dead, Blood, Sweat and Tears, Santana oder Chicago.
Querverweise
– 1968er-Bewegung
– Columbia University Protests 1968
– 1968 Rolle der Medien
– 1968, Schweiz [Ausstellung]
– Charts 1968 (Spreadsheet mit CH, UK US-Chartruns)
Links
– Was War Wann?: Musikjahr 1968
Musikjahr 1960 Tag
Anfangs März wird Elvis Presley aus dem Militärdienst entlassen, nachdem er knapp zwei Monate davor zum Sgt. befördert wurde. Im April hatte er den ersten Auftritt in Sinatra's Timex Special.
Am 4. April kündigte RCA Victor an, künftig alle Pop-Singles in Mono und Stereo auszuliefern. Elvis Presleys Single Stuck On You war der erste der Mono-/Stereo-Releases. 1960 war auch das Jahr, in dem in den USA und im Vereinigten Königreich die letzten Schellackplatten veröffentlicht wurden.
Am 16. April kommt es auf der England-Tournee von Eddie Cochran, Gene Vincent und Songwriterin Sharon Sheeley, Cochran Freundin, zu einem Autounfall, wobei Cochran am 17. April Tag an den Folgen stirbt.
In Grossbritannien gaben Teenager in diesem jahr £500'000'000.– aus.
Die Beatles geben am 17. August 1960 ihr Debut im Indra Club in Hamburg. Sie spielen 48 Abende lang.
Im Lauf des Jahres fanden in den USA die Payola hearings statt.
Billboard US-Top-Hits von 1960
– Frankie Avalon: Why (28. Dezember 1959 bis 3. Januar 1960)
– Marty Robbins: El Paso (4. Januar bis 17. Januar)
– Johnny Preston: Running Bear (18. Januar bis 7. Februar)
– Mark Dinning: Teen Angel (8. Februar bis 21. Februar)
– Percy Faith: Theme From A Summer Place (22. Februar bis 24. April)
– Elvis Presley: Stuck On You (25. April bis 22. Mai)
– Everly Brothers: Cathy's Clown (23. Mai bis 26. Juni)
– Connie Francis: Everybody's Somebody's Fool (27. Juni bis 10. Juli)
– Hollywood Argyles: Alley-Oop (11. Juli bis 17. Juli)
– Brenda Lee: I'm Sorry (18. Juli bis 7. August)
– Brian Hyland: Itsy Bitsy Teenie Weenie Yellow Polka Dot Bikini (8. August bis 14. August)
– Elvis Presley: It's Now Or Never (15. August bis 18. September)
– Chubby Checker: The Twist (19. September bis 25. September)
– Connie Francis: My Heart Has A Mind Of Its Own (26. September bis 9. Oktober)
– Larry Verne: Mister Custer (= Mr. Custer) (10. Oktober bis 16. Oktober)
– Drifters: Save The Last Dance For Me (17. Oktober bis 23. Oktober)
– Brenda Lee: I Want To Be Wanted (24. Oktober bis 30. Oktober)
– Drifters: Save The Last Dance For Me (31. Oktober bis 13. November)
– Ray Charles: Georgia On My Mind (14. November bis 20. November)
– Maurice Williams And The Zodiacs: May I (21. November bis 27. November)
– Elvis Presley: Are You Lonesome Tonight? (28. November bis 8. Januar 1961)
US-R&B-Top-Hits
– Spacemen: The Clouds (28. Dezember 1959 bis 10. Januar)
– Bill Black's Combo: Smokie, Part 2 (11. Januar bis 7. Februar)
– Dinah Washington & Brook Benton: Baby (You've Got What It Takes) (8. Februar bis 17. April)
– Buster Brown: Fannie Mae (18. April bis 24. April)
– Bill Black's Combo: White Silver Sands (25. April bis 22. Mai)
– Jackie Wilson: Doggin' Around (23. Mai bis 12. Juni)
– Everly Brothers: Cathy's Clown (13. Juni bis 19. Juni)
– Dinah Washington & Brook Benton: A Rockin' Good Way (To Mess Around And Fall In love) (20. Juni bis 10. Juli und 18. Juli bis 24. juli)
– Bobby Marchan: There's Something On Your Mind (Part 2) (11. Juli bis 17. Juli)
– Dinah Washington: This Bitter Earth (25. Juli bis 31. Juli)
– Jackie Wilson: A Woman, a Lover, a Friend (1. August bis 28. August)
– Brook Benton: Kiddio (29. August bis 30. Oktober)
– Drifters: Save The Last Dance For Me (31. Oktober bis 6. November)
– Hank Ballard & Midnighters: Let's Go, Let's Go, Let's Go (7. November bis 13. November und 21. November bis 27. November und 5. Dezember bis 11. Dezember)
– Jerry Butler: He Will Break Your Heart (14. November bis 20. November und 28. November bis 4. Dezember und 12. Dezember bis 15. Januar)
UK-Top-Hits von 1960
– Emile Ford And The Checkmates: What Do You Want To Make Those Eyes At Me For? (12. Dezember 1959 bis 22. Januar)
– Michael Holliday: Starry Eyed (23. Januar bis 29. Januar)
– Anthony Newley: Why? (30. Januar bis 3. März)
– Adam Faith: Poor Me (4. März bis 10. März)
– Johnny Preston: Running Bear (11. März bis 24. März)
– Lonnie Donegan: My Old Man's A Dustman (25. März bis– 21. April)
– Anthony Newley: Do You Mind (22. April bis 28. April)
– Everly Brothers: Cathy's Clown (29. April bis 16. Juni)
– Eddie Cochran: Three Steps To Heaven (17. Juni bis 30. Juni)
– Jimmy Jones: Good Timin' (1. Juli bis 21. Jul)
– Cliff Richard & Shadows: Please Don't Tease (22. Juli bis 28. Juli und 5. August bis 18. August)
– Johnny Kidd And The Pirates: Shakin' All Over (29. Juli bis 4. August)
– Shadows: Apache (19. August bis 22. September)
– Ricky Valance: Tell Laura I Love Her (23. September bis 13. Oktober)
– Roy Orbison: Only The Lonely (Know The Way I Feel) (14. Oktober bis 27. Oktober)
– Elvis Presley: It's Now Or Never (28. Oktober bis 22. Dezember)
– Cliff Richard & Shadows: I Love You (23. Dezember bis 5. Januar 1961)
US-Top-Albums von 1960
– Kingston Trio: Here We Go Again! (14. Dezember 1959 bis 7. Februar)
– Original Broadway Cast & Leland Hayward & Richard Halliday & Richard Rodgers & Oscar Hammerstein II & Mary Martin: The Sound Of Music (8. Februar bis 1. Mai)
– Billy Vaughn and His Orchestra: Theme From A Summer Place (2. Mai bis 8. Mai und 16. Mai bis 22. Mai)
– Kingston Trio: Sold Out (9. Mai bis 15. Mai und 23. Mai bis 24. Juli)
– Bob Newhart: The Button-Down Mind Of Bob Newhart (25. Juli bis 18. September und 31. Oktober bis 4. Dezember und 12. Dezember bis 18. Dezember)
– Kingston Trio: String Along (19. September bis 23. Oktober)
– Frank Sinatra: Nice 'n' Easy (24. Oktober bis 30. Oktober)
– Elvis Presley: G.I. Blues (5. Dezember bis 11. Dezember und 19. Dezember bis 8. Januar)
UK-Top-Albums von 1960
Es gab nur sieben Wochen, in denen South Pacific nicht an der Spitze der Album-Charts war. Die Ausnahmen waren:
– Freddy Cannon: The Explosive Freddy Cannon (6. März 1960 – 12. März)
– Elvis Presley: Elvis Is Back (24. Juli bis 30. Juli)
– 101 Strings: Down Drury Lane to Memory Lane (4. September bis 8. Oktober)
Querverweise
– zur Liste der US-Top-Hits 1960
– zum Tag: US-Top-Hit
– zur Liste der US-R&B-Top-Hits 1960
– zum Tag: US-R&B-Top-Hit
– zur Liste der UK-Top-Hits 1960
– zum Tag: UK-Top-Hit
– zur Liste der US-Top-Albums 1960
– zum Tag: US-Top-Album
– zum Tag: US-Top-Stereo-Album
– Liste mit den US-Top-Stereo-Albums 1959 bis 1963
– zur Monatsdiskografie vom Januar 1960 (mit Navigation zu den anderen Monaten des Jahres)
Links
– Was War Wann?: Musikjahr 1960
Musikjahr 1959 Tag
Jazz
1959 erschienen vier Alben, die für die weitere Entwicklung des Jazz massgebend waren:
– Miles Davis: Kind of Blue
– Dave Brubeck Quartet: Time Out
– Ornette Coleman: The Shape Of Jazz to Come
– John Coltrane: Giant Steps
Mit diesen Alben wird der Bebop zu einer universellen musikalischen Sprache erweitert – in harmonischer (Davis), rhythmischer (Brubeck), melodischer (Coltrane) und struktureller (Coleman) Hinsicht. Modaljazz, Third Stream, Polytonalität, Freejazz, Spiritualjazz und Coffehouse-Jazz, alles wird möglich. Somit ist 1959 das Jahr, in dem der Jazz hörbar zu einer akademischen Musik wird, freilich ohne vorerst das Publikum zu verstören und zu verlieren. Institutionell wird diese Entwicklung mit ersten Curricula seit den 40er und 50er Jahren in den USA vorbereitet.
Querverweise
–US-Top-Stereo-Albums 1959 bis 1963
Links
– Was War Wann?: Musikjahr 1959
Musikjahr 1940 Tag
Was passierte 1940 in der Welt der Populären Musik? In Europa herrschte Krieg und die USA hielt sich vorerst noch aus den Konflikten heraus. Die USA waren das wirtschaftlich mächtigste Land und erlebten seit ca. 1933 einen Wirtschaftsboom, an dem die Kriegsparteien nicht Anteil hatten.
Kino
Am 13. November 1940 hat Walt Disneys Fantasia Premiere, ein Musikfilm, der den Massen Klassische Musik mit fantastischen Animationen näher brachte.
Hitparade
Billboards erste systematisch und landesweit erhobene wöchentliche Verkaufshitparade für Singles wurde im Juli 1940 abgedruckt. Das zweite Halbjahr brachte drei Top Hits hervor, zwei sentimentale Balladen, gesungen von den Jahrhundert-Croonern Bing Crosby und Frank Sinatra, und ein Stück für Swingorchester. Die drei Top Hits waren:
- 27. Juli 1940–18. Oktober 1940: Tommy Dorsey And His Orchestra with Frank Sinatra & The Pied Pipers: I'll Never Smile Again
- 19. Oktober 1940–20. Dezember 1940: Bing Crosby with John Scott Trotter And His Orchestra: Only Forever
- 21. Dezember 1940–14. März 1941: Artie Shaw And His Orchestra: Frenesi
Weitere Hits des Jahres waren Tuxedo Junction und Pennsylvania Six-Five Thousand vom Glenn Miller Orchestra.
Radio
Wesentlich für das Verständnis der damaligen Musikwelt ist, dass Radioprogramme in den 1940er Jahren noch nicht auf Musik spezialisiert waren, sondern auf Radio-Shows. Wenn in einer solchen Show ein Musikstück vorkam, dann wurde es live gespielt und gesungen. Dass Radioprogramme Platten spielten, kam erst mit der Einführung des Fernsehens in den 1950er Jahren auf. Die Verbreitung von Musik, das Bekanntwerden von Hits lief damals noch über Radio-Shows, Filme, Musicals und Unterhaltungsshows in Varietées.
Schallplatten
Schallplatten waren noch lange nicht der dominante Faktor der Musikindustrie. Sie waren ein Nebenprodukt. Das Hauptgeschäft war die Lizenzierung von Songs für Radio, Kino, Bühnen. Ein dort erfolgreicher Song wurde in der Regel von allen Labeln lizenziert und interpretiert. So konnte man von I'll Never Smile Again nicht weniger als sieben Versionen kennen: Zuerst die Live-Version von Percy Faith am kanadischen Radio (CBC), dann die Versionen auf Platten von Tommy Dorsey and His Orchestra (die Erstausgabe auf Platte, im Juni 1940 vom Victor-Label veröffentlicht), von der afroamerikanischen Vokalgruppe Ink Spots (im August 1940 vom Decca-Label veröffentlicht), von Ginny Simms (im September 1940 für das Okeh-Label), von Elton Britt (im August 1940 auf dem Bluebird-Label veröffentlicht), von Tony Martin with Orchestra (1940 von Decca veröffentlicht), von Lang Thompson and His Orchestra (im Mai 1940 vom Varsity-Label veröffentlicht (siehe secondhandsongs). Hit-Songs existierten daher in mehreren Varianten. Keine von diesen Varianten wurde als Original empfunden. Original war nur die Komposition als solche, die Sheetmusik, die ein Musikverlag veröffentlichte meist abgefasst für zweihändiges Klavier und Stimme (drei Notenlinien). Wenn ein Orchester einen solchen Song interpretierte, musste er arrangiert werden. Ein Arrangeur oder der Bandleader selbst schrieb die Noten für die verschiedenen Sektionen in seiner Formation, z.B. für die Posaunen, Saxofone, Klarinetten oder Trompeten.
Sängerinnen und Sänger
Sängerinnen und Sänger waren noch nicht sie Stars, die sie in den 1950er Jahren wurden. Die meisten von ihnen sangen in einem Orchester und waren nichts als ein weiterses Register oder «Instrument» dieses Orchesters. Man hört das den meisten Songs an: Das Orchester spielt eingangs mehr als ein Intro. Die erste Minute gehört auf einer solchen Interpretation dem Orchester. Erst dann setzt die Sängerin oder der Sänger ein und trägt den Song als solchen vor. Eine Ausnahme ist just Dorseys «I'll Never Smile Again». Hingegen bestätigen andere Stücke von ihm (z.B. «Indian Summer») diese Regel, genau wie verschiedene Stücke des Glenn Miller Orchestras.
Deutschland
1940 steht Deutschland unter der totalitären Herrschaft der NSDAP. Die deutsche Armee hat 1939 in einem Blitzkrieg in West und Ost weite Teile Europas besetzt. Jazz, insbesondere Tanzen zu Swing, ist verboten. Homosexuelle und jüdische Musiker*innnen werden verfolgt. Entweder sie können das Land verlassen (oft in Richtung USA) oder kommen, vor allem als der Krieg seinem bitteren Ende entgegen ging, in Konzetrationslagern um.
Der Schweizer Teddy Stauffer, der mit seinem Swing-Orchester in Deutschland grossen Erfolg hatte, muss sich 1940 in die Schweiz zurückziehen und wanderte 1941 in die USA aus.
Einige, wie der Berliner Bandleader Kurt Widmann, hielten in den ersten NS-Jahren aus, indem sie verschiedene Tricks anwandten, um nicht zur Zielscheibe der Propaganda und zensur zu werden. Sie gaben Musikern englische Namen oder versahen die jüdischen oder amerikansichen Komponisten mit deutschen Namen. Das Regime entledigte sich ihrer, indem sie die Musiker in den Krieg einzog. Widmann allerdings kehrte wegen Untauglichkeit vorzeitig nach Berlin zurück und spielte Swing während die Stadt von den Allierten zerstört wurde. Auf deutschen Platten kam Swing seit 1938 nicht mehr heraus.
Im Deutschen Rundfunk wurde zwischen 1939 und 1941 «Wunschkonzert für die Wehrmacht» ausgestrahlt, im Jahr 1940 jeweils am Sonntag. Empfangen wurde die Sendung auf Volksempfängern, die so gebaut waren, dass man damit nur konforme Sender empfangen konnte. Die Sendung sammelte Spenden uns spielte Musikwünsche. Sie war so populär, dass 1940 sogar ein Film «Wunschkonzert» in die Kinos kam (siehe Internet Archiv).
Querverweise
– monatliche Zeitdiskografien
Musikgeschichte Tag
Richard Middleton skizziert in Studying Popular Music (1990) eine Musikgeschichte der letzten zweihundert (und etwas) Jahre und identifiziert drei Umbruchphasen («Revolutionen», wenn man es marxistisch will), in denen sich die gesellschaftlichen Bedingungen des Musikmachens und Musikhörens verändern. Datierungen gehen je nach Kontinent oder Staat etwas auseinander, die Entwicklung gelte aber für alle entwickelten westlichen Gesellschaften (p. 12 ff.).
In der ersten Hälfte des 19. Jahrhunderts vollzog sich eine bürgerliche Revolution in allen Bereichen der Musik. In dieser Phase setzt sich ein Marktsystem durch. An deren Ende lag die musikalische Produktion und Distribution in den Händen kommerzieller Verlagshäuser, Veranstalter und grossen Theater- und Konzerthäuser. Es entstanden damals neue bürgerliche Lieder für die öffentliche Aufführung und für die Hausmusik, neue Tanzmusik, Arbeiterlieder für Fabrikarbeiter, Kneipenlieder, explosionsartig viel «urban street song». Schottische und irische Balladen wurden kommerzialisiert. Leute sangen in grossen Chören und spielten in grossen Blaskapellen.
Nach 1850 folgte eine ruhigere bürgerlich dominierte Zeit (in England das Viktorianische Zeitalter), in der es leichte Oper gab, bürgerliche Hausmusik, Blasmusik, Chormusik, die Music Hall. Strassenmusik war teilweise verboten.
Eine zweite Revolution vollzog sich nach 1890. Nun stieg Amerika zur führenden Nation auf (was sich in den beiden Weltkriegen des 20. Jahrhunderts zeigte) und die Gesellschaft wurde durch den Einfluss von Medien eine Massengesellschaft. Kultur wurde homogenisiert und zur Einweg-Kommunikation, zur «Sendung». Medienmonopole entstanden. Musichalls wurden zu mächtigen Ketten und Syndikaten. Verlagshäuser der Tin Pan Alley (New York) und Denmark Street (London) diktierten den Geschmack der populären Lieder. Grammophon-Hersteller wie Victor (USA) und die Gramophone Co. of Britain beherrschten den Markt und fusionierten in den USA bald mit Radiostationen. Die Filmindustrie konzentrierte sich in Hollywood, die Musikverlage in New York.
Eine dritte Revolution begann nach dem Zweiten Weltkrieg. Die monopolistischen Strukturen der Wirtschaft wurden nun von Jugend- und Subkulturen herausgefordert. Die technische Entwicklung brachte neue Aufnahmetechnologien wie das Magnettonband hervor. Das Studio wurde zum neuen Verlag, sein Magnetband zum neuen Notenblatt («score»). Gitarren und andere Instrumente werden elektrisch und dann elektronisch. Sound wird wichtiger als die «klassische» Instrumentaltechnik. Die einst homogene Zielgruppen der Massenmedien zersplittert sich in viele Zielgruppen mit einem Profil.
Eine solche Überflugs-Geschichtsschreibung muss verfeinert werden. Middleton entwirft sie in Anlehnung an ökonomische Periodisierungsmodelle wie dem des marxistischen Ökonomen Ernest Mandel. Veränderte Rahmenbedingungen für die Produktion und Rezeption von Musik stellen sich aber nicht nur in der Ökonomie, sondern in allen für die Musik relevanten gesellschaftlichen Feldern: Recht (Urheberrecht, Medienrecht), Wirtschaft, Technologie. Auch demografische Veränderungen (Migration, Generationen) spielen eine grosse Rolle. Viele Veränderungen im Musikleben sind Modeerscheinungen. Diese Moden sind zum einen Teil von soziologischen Faktoren bedingt, zum anderen Teil von mächtigen Agenten bestimmt, die sie zu diktieren vermögen.
Links
– Andrew Hickey: A History of Rock Music in 500 Songs. Podcasts seit 2018.
Musikfilm Tag
Als «Musikfilm» werden Filme bezeichnet, die von musikalischen Darbietungen (Gesang oder Tanz) geprägt sind. Als Filmmusik dagegen wird Musik bezeichnet, die in einem Film zur Untermalung der Handlung eingesetzt wird. Die Musik im Musikfilm kann lose an die Handlung angeschlossen sein und damit eher wie in einer Nummernrevue bzw. «Variety Show» funktionieren oder aber zum Handlungsstrang gehören, so wie in einem Musical. Die grosse Zeit des Musikfilms startete während der Weltwirtschaftskrise in den 1930er Jahren. Am Broadway mussten viele Theater schliessen. In der Folge gingen die Künstler/-innen nach Hollywood. Damals übernahm der Film zusehends die Rolle von Theatern als beliebteste Einrichtung der Unterhaltungsindustrie.
Stummfilm
Vorgänger des Musikfilms waren Stummfilme mit Tanzeinlagen, z.B. The Four Horsemen Of The Apocalypse, ein Stummfilm von 1921 in dem Rudolph Valentino einen Tango tanzt. Auch The Jazz Singer mit Al Jolson von 1927 ist noch ein Stummfilm, doch die Gesangseinlagen sind mit auf dem Film aufgenommen. The Jazz Singer gilt als der erste (lange) Tonfilm, doch die meisten Leute werden ihn als Stummfilm gesehen haben, weil die wenigsten Kinos schon für Tonwiedergabe eingerichtet waren.
Früher Tonfilm
Zu den Musikfilmen zählen mehrere Filmgenres. In systematischer Hinsicht kann man Musikfilme als Übersetzungen etablierter Unterhaltungsformen in den Film verstehen. Vor allem im frühen Tonfilm sind das die Vaudeville Show (die Nummernrevue) und das Musical. Damit sind die frühesten Beispiele des Musikfilms die Film Musicals (Filme, deren Hauptdarsteller/-innen über grosse Zeitstrecken singen oder tanzen (Judy Garland oder Fred Astaire). Film Musicals stehen in der Tradition von Revues. Wichtige Beispiele sind 42nd Street, Gold Diggers of 1933
und Footlight Parade
(alle choreografiert von Busby Berkeley, 1933).
Musikkomödie
Die Amerikanische Musikkomödie hat einen Handlungsstrang, in den Showeinlagen eingebaut sind. Ein deutscher Ableger dieses Genres ist der Heimat- und Schlagerfilm in den 1950er und 1960er Jahren. Diese Genres stehen in der Tradition von Operettenund Musicals. Die erste Musikkomödie, die einen Oscar gewann, war The Broadway Melody
(Harry Beaumont, 1929).
Die grosse Zeit der Musikkomödie waren die 1940er und 1950er Jahre. Produktionen von MGM wie Meet Me in St. Louis (1944), «Easter Parade» (1948), «On the Town» (1949), «An American in Paris» (1951), «Singin' in the Rain» (1952), «The Band Wagon» (1953), High Society (1956) oder «Gigi» sowie von anderen Studios wie «Holiday Inn» (1942), «White Christmas» (1954) oder «Funny Face» (1957) haben sich ins kulturelle Gedächtnis eingebrannt. Die Stars dieser Filme waren Judy Garland, Bing Crosby, Fred Astaire, Gene Kelly, Frank Sinatra, Shirley Temple, Ann Miller, Kathryn Grayson, Howard Keel, Marilyn Monroe oder Jane Russell. Die wichtigen Regisseure waren Stanley Donen und Vincent Minnelli, die Songwriter Betty Comden und Adolph Green, Richard Rodgers und Oscar Hammerstein II, George Gershwin und Ira Gershwin, Irving Berlin sowie Cole Porter. Als Tänzer wurden Fred Astaire, Ginger Rogers oder Bill 'Bojangles' Robinson
Verfilmungen von Musicals
In den 1950er Jahren werden Verfilmungen von (Broadway) Musicals populär: «Oklahoma!» (1955), «The King and I» (1956), «Carousel», «South Pacific» (1958), West Side Story (1961), «Gypsy» (1962), The Music Man (1962), «Bye Bye Birdie» (1963), «My Fair Lady» (1964), «Mary Poppins» (1964), The Sound of Music (1965), «A Funny Thing Happened on the Way to the Forum» (1967), «How to Succeed in Business Without Really Trying» (1967), «Thoroughly Modern Millie» (1967), «Oliver!» (1968) oder «Funny Girl» (1969).
Rock 'n' Roll Filme
– siehe: Rock 'n' Roll Filme
Rock Filme
– siehe: Rock Filme
Musik-Trickfilme
Beispiele: Fantasia, «Junglebook», «The Lion King», ...
In neuerer Zeit kommen Konzertfilme und Konzertmitschnitte
Musikdokus
Musikdokumentationen werden üblicherweise zur Geschichte eines Musikgenres, einer Szene, eines Acts oder eines Labels gedreht. BBCund Arte produzieren solche Musikdokus am laufenden Band, was auf ihre Beliebtheit schliessen lässt. Die meisten Produktionen sind stereotyp bzw. hoch formatiert. Man sieht neben Musikausschnitten aus Shows und Musikvideos vor allem «Talking Heads», Musiker/-innen, ihre Kolleg/-innen und Nachfolgerinnen, die über die phänomenalen Leistungen von denen sprechen, die Thema sind. Die meisten Musikdokus sind Oral History im Medium des Films und sie tendieren zur «Great man theory», zu einer heroisierenden Geschichtsschreibung. Musikdokus wurden zuerst fürs Fernsehen produziert. Gute, weil wenig sensationalistische Musikdokus sind zum Beispiel All You Need Is Love von Tony Palmer, die die Geschichte der Populären Musik in zwölf Episoden erzählt oder die Ken Burns: Country Music. Miniseries. Letztere kommt mit einer 5 CD Box Country Music. A Film by Ken Burns.
Biopics
Biopics sind Spielfilme über das Leben von Popstars. Beispiele La mome über Édith Piaf oder «Ray» über Ray Charles.
Links
– Martin Chilton: The Sound Of Film Musicals: How Songs Shaped Showbusiness On The Silver Screen (uDiscoverMusic, 4. Januar 2021)
– Tim Peacock: Best Music Documentaries: 37 Essential Watches For Music Fans (uDiscoverMusic, 4. Januar 2021)
Musikbranche Tag
Die Musikbranche ist der Wirtschaftszweig, der Msuik produziert, vertreibt und auf verschiedenen Musikmärkten wie Tonträger, Services oder Events absetzt.
Oft werden amerikanische Lehnwörter wie «Musikindustrie» oder «Musikbusiness» verwendet. Theodor W. Adorno sprach von «Kulturindustrie» und meint den Begriff verachtend als Kultur, die wie Konsumgüter hergestellt werden. Der wie selbstverständlich gebrauchte Begriff «Musikindustrie» kann man allein deshalb problematisieren, weil die Musikbranche in der digitalen Musikwirtschaft kaum mehr etwas produziert, was man Wertschöpfung nennen könnte. «Industrie» sollten die Wirtschaftszweige heissen, die Wertschöfung durch Produktion betreiben. Der Finanz- und der Dienstleistungssektor sind nicht in diesem Sinn wertschöpfend. Spätestens seit die Musikbranche keine Tonträger mehr produziert, müsste man sie zu den Dienstleistungsbranchen zählen und nicht «Musikindustrie» nennen.
Querverweise
– Musikwirtschaft – die Gesamtheit der ökonomischen Aspekte der Musikbranche
Musik Magazine Tag
Musik Magazine sind auf auf eine Gattung (Folklore, Klassische oder Populäre Musik), auf ein Genre (Pop, Rock, Jazz, Hip-Hop, Electronica etc.) oder auf ein Instrument spezialisierte Magazine, die in der Regel monatlich erscheinen. Finanziert werden solche Magazine durch Inserate und durch Abonnenten- und Kioskverkäufe. Musik Magazine sind wesentliche «Tastemaker», sie bilden den Geschmack der Hörer, publizieren oft einen Kanon mit Musik, die man gehört haben muss, portraitieren Akteur/-innen und informieren über Neuerscheinungen. Als Medien stehen sie irgendwo zwischen den Labels, die ihre Musik promoten möchten, und den Fans, die aus dem breiten Angebot zielsicher «ihre» Musik auswählen wollen. Diese Magazine können die Funktion eines guten Plattenladens übernehmen, aber auch als Promotionskanal dienen.
Tod der Musik Magazine
Im Zeitalter des Internets sind viele Magazine eingestellt worden oder erscheinen nun online. Teilweise haben Musik Blogs ihre Funktion übernommen.
Britische Musikmagazine
In Grossbritannien wurden Branchenmagazine und Musik Magazine nie so klar voneinander getrennt wie in Amerika. So sind Melody Maker und NME etwas von beidem.
– Melody Maker (1926–2000)
– New Musical Exress (NME) (ab 1952)
– Let it Rock (1972-1975)
– The Wire
Deutschsprachige Musik Magazine
– Pop (siehe: archivierte Nummern in Musikzimmer)
– Spex
– de:bug
Links
– für auf Rock spezialisierte Musik Magazine siehe Rock Journalismus
– Wikipedia: umfangreiche Liste mit Musik Magazinen (Wikipedia_en)
– Musikzimmer: Verzeichnis archivierter Musikmagazine
Musik der 2010er Jahre Tag
Trends und Themen waren:
– Streaming als führende Konsumform: 2008 ging Spotify und 2015 Apple Music online. Am Ende der Dekade sind Streaming Services (Spotify, Apple Music und YouTube usw.) für 80% der Einkünfte der Musikwirtschaft verantwortlich.
– Die New Music Fridays setzen sich seit dem 10. Juli 2015 als Industriestandard durch: Releases erscheinen in der Regel am Freitag, weil von da an die Streams und Verkäufe für die Hitparade zählen. Da die meisten Alben in den ersten Wochen verkauft und konsumiert werden, kommt es darauf an, deren Veröffentlichung mit der Messung für die Charts zu synchronisieren.
– Sehr viele Alben von Mainstream-Acts sind als Überraschungsrelease herausgekommen, ganz ohne Ankündigung, quasi aus dem heiteren Himmel. Interessanterweise schafften sich Überraschungsreleases jeweils grosse Aufmerksamkeit, auch ohne einen sorgfältig geplanten Album-Launch. Diese Veröffentlichungsart passt vermutlich zu den Millennials, die nicht gerne vertröstet werden und warten müssen.
– die erste neue Pop Aristokratie seit den 80er Jahren: Beyoncé, Lady Gaga, Taylor Swift, Katy Perry, Justin Bieber
– Niederschwelliger bzw. demokratischerer Eintritt in die Welt der Musikproduktion: Nicht nur die Produktionsmittel waren nun zu günstigen Preisen verfügbar, auch die Möglichkeit, die eigenen Tracks zu promoten. SoundCloud fungierte als die wichtigste Plattform, auch Bandcamp. Vor allem SoundCloud war verantwortlich für eigene Subgenres, deren Musiker*innen nicht über den Weg der Verlage und Labels Einlass in die Gilde der Produzenten und Interpreten fanden. Cloudrap war so ein Genre/Stil, der sich musikalisch auszeichnete durch obskure Lyrics, den breiten Einsatz von Effekten und Auto-Tune aus. Auch Hyperpop oder Emorap wurden über SoundCloud bekannt (Acts wie Smokepurpp, Post Malone and the late Lil Peep, Wiz Khalifa oder XXXTentacion).
– Dominanz von Hip-Hop: Hip-Hop/Rap war erfolgstechnisch die wichtigere Musik als Rock. Drake und Kendrick Lamar waren die führenden Acts, bei den Frauen Nicki Minaj und Cardi B.
– Die Trennlinie zwischen Hip-Hop und R'n'B wurde aufgeweicht. Dieser hybride Stil aus den beiden Sparten wird im Musikzimmer als R&B-Renaissance bezeichnet.
– R'n'B öffnete sich in Richtung Indie/Alternative; es entstand das Genre Alternative-R'n'B
– Pop wurde globaler: Einzigartiger Erfolg von Reggaeton und K-Pop.
– Die Grenzen zwischen Mainstream und Untergrund (bzw. Indie oder Alternative) verwischen sich. Mittels Kollaborationen zwischen Untergrund Produzenten Sophie oder Arca und Mainstream-Acts wie Björk oder Charli XCX kommen Künstler/-innen zusammen, die sich sehr verschieden zur globalen Musikindustrie verhalten. Die einen sind Teil von ihr, die anderen sind daran, ihre eigenen Produkte selber zu vermarkten. Im Amerikanischen Fernsehen werden Künstler/-innen von Indie-Labels wie Sub Pop (Father John Misty) oder Jagjaguwar (Angel Olsen oder Sharon Van Etten) national exponiert. In den 80er und 90er Jahren waren die beiden Lager kritisch gegeneinander eingestellt. Indie und Mainstream waren verschiedene Welten. Die Vorurteile, die zu diesen abgegrenzten Welten geführt haben, existieren nicht mehr.
– LGBT und QTPOC Acts gehören zu den wesentlichen musikalischen Innovatoren (z.B. Sophie), einige von ihnen erreichen Mainstream-Erfolg (z.B. Frank Ocean oder Le1f).
– ein grosses Thema wurde im Anschluss an den Weinstein-Skandal im Oktober 2017 die rasch viral gewordene MeToo-Bewegung. Frauen begannen über die sexuelle Belästigung und die sexuellen Übergriffe zu sprechen, denen sie in der Unterhaltungsindustrie ausgesetzt sind. Einer der prominenten Fälle war Phoebe Bridgers, die Ryan Adams des Missbrauchs seiner Macht als Gatekeeper anklagte.
– Musik-Festivals wie Coachella werden zu riesigen Veranstaltungen, die aufstrebende Künstler/innen und den Mainstream exponieren. Festivals sind wie Live-Konzerte überhaupt das grosse Verwertungsgeschäft für Musik. Da Acts mit dem Streaming nur wenig verdienen, sind Liveauftritte ihre eigentliche Lebensgrundlage.
– Zwei der grössten Superstars (zumindest für die Generation X), David Bowie und Prince sind anfangs 2016 überraschend verstorben.
Listen
– The Top 100 Songs From 2010-2019 (11. Juli 2019, update: 29. November 2019) – [F]
– Musikzimmer; Ewigbestenliste. 10er-Jahre (Christian Schorno, work in progress)
– AllMusic: The AllMusic Decade in Review
– Gorilla vs. Bear: Gorilla vs. Bear's Albums of the Decade | 2010-2019 (20. September 2019) [C]
– Discogs: The 200 Best Albums of the 2010s (Jeffrey Lee Puckett, Daten von Brent Greissle, 25. Oktober 2019) [C]
– Pitchfork: The 200 Best Songs of the 2010s (7. Oktober 2019) [C]
– Pitchfork: The 200 Best Albums of the 2010s (8. Oktober 2019) [C]
– Pitchfork: Best of the 2010s: Pitchfork Readers’ Poll Results Albums und Songs (16. Oktober 2019)
– Treblezine: Top 150 Songs of the 2010s (6. Januar 2020) – im Musikzimmer [C]
– Treblezine: Top 150 Albums of the 2010s (7. Januar 2020) – im Musikzimmer [C]
– Stereogum: The One-Hit Wonders Of The 2010s (Chris DeVille, 7. November 2019) Musikzimmer [C]
– Gorilla vs. Bear: Gorilla vs. Bear's Songs of the Decade | 2010-2019 (7. Oktober 2019) [C]
– Q Magazine: Songs Of The Decade, Ausgabe Dezember 2019, pp. 30–75 [C]
– Groove: Die 2010er in 10 Tracks: Der Roundtable zum Ende der Dekade (28. Dezember 2019)
– Phil Freeman: The 20 Best Jazz Albums Of The 2010s (Stereogum, 9. Januar 2020)
Links
– Brett Milano: What Did 2010s Music Do For Us? Behind A Transformative Decade (uDiscoverMusic, 6. Dezember 2019)
– Wyoming Reynolds: 20 Unforgettable Musical Events Of The 2010s (uDiscoverMusic, 30. Dezember 2019)
Musik der 1990er Jahre Tag
Die Neunziger-Jahre waren geprägt vom Durchbruch verschiedener Genres in den Mainstream: Hip-Hop, Alternativerock, Indiepop, Electronica, Metal.
Lokale Szenen
In den 90er Jahren entstehen neue lokale Szenen, die aus dem Niemandsland interessante Musik machen und Bands in verschiedenen Konstellationen hervorbringen:
– Omaha, NE: Conor Oberst, Mike Mogis, Bright Eyes, The Faint
– Weilheim, Oberbayern: Notwist, 13 And God, Tied And Tickled Trio, Console, Technical Yawn, Lali Puna
– Denver, CO und Athens, GA: The Elephant 6 Recording Company: Apples in Stereo, Olivia Tremor Control, Neutral Milk Hotel, Beulah, Elf Power, of Montreal, Minders, Circulatory System
– Bergen, Norwegen: Röyksopp, Annie, Ralph Myerz And The Jack Herren Band, Erot, Kings of Convenience, Erlend Øye
– Leipzig: Raster-Noton-Label: alva noto, Frank Bretschneider. Dieses Glitch-Electronica-Label entstand 1999 aus dem Zusammenschluss der beiden genannten Musiker und ihrer jeweiligen Labels. Die Wirkung entfaltete das Label allerdings vor allem in den 00er Jahren.
Links
– Nisha Gopalan: The 90s: The Decade That Doesn’t Fit? (uDiscoverMusic, 10. Juni 2019)
– PopMatters: 15 Overlooked and Underrated Albums of the 1990s (Enio Chiola, 27. Oktober 2020) – im Musikzimmer
– Timeout: The 50 Best ’90s Songs (Nick Levine, James Manning, Laura Richards, Tristan Parker, Jon Cook, Hayley Joyes, Michael Curle, Andy Kryza, Matthew Singer, 3. März 2022)
Musik der 1920er Jahre Tag
In den ersten Jahren der 1920er Jahre, genau bis 1923 – befand sich die deutsche Mark in einer Hyperinflations-Spirale. Die Inflation begann während dem Ersten Weltkrieg, da die Regierung den Krieg über die Geldentwertung mitfinanzierte. Nach dem Krieg erhöhte auch die Weimarer Republik die Geldmenge, um ihre Reparationskosten als Kriegsverlierer zu bezahlen. Im Juli 1923 kostete ein Dollar 1 Million Mark. Diese Hyperinflation liess die deutsche Wirtschaft und das Bankensystem zusammenbrechen. Die Folgen waren Hungersnot, Arbeitslosigkeit, Epidemien und ein gehässiges politisches Klima mit Attentaten und Strassenkämpfen. Am 15. November 1923 wurde die alte Papiermark durch die neue Rentenmark abgelöst und die Mark wieder stabilisiert. Nun begannen die goldenen 20er Jahre, die etwa fünf Jahre lang dauerten bis die Weltwirtschaftskrise von 1929 ihnen ein Ende setzte. Währen dieser Jahre herrschte weltweit eine Hochkonjunktur, die von den USA angetrieben wurde. Deutschland profitierte von US-amerikanischen Krediten (Dawes-Plan) und zahlte damit die Reparationskosten. Gewissermassen war die Hochkonjunktur also nur eine geliehene. Begleitet wurde die kurze Phase der Konjunktur auch von einer Blütezeit der Kultur. Diese wird gemeint, wenn man von den «roaring twenties» spricht, von den «goldenen Zwanzigern» oder wie im Französischen von den «années folles».
Musikalisch waren es die Jahre, in denen der Jazz populär wurde. Daher spricht man von den 20ern auch als vom «Jazz Age». In Europa entstand eine neue Art der Populären Musik, der in Deutschland Alltagsschlager hiess. Es war die adaptierte Version des Tin Pan Alley Hits. In Varietés wurde Kleinkunst geboten, in Tanzpalästen zu Foxtrot, Charleston oder Tango getanzt.
Es konnte sich neue Rollen für die moderne Frau aus bilden. Junge Frauen legten die Korsette im wörtlichen und im metaphorischen Sinn ab und ergriffen moderne Berufe wie den der Telefonistin, gingen aus wie Männer, rauchten, tranken, tanzten, fuhren Auto (siehe Flappers).
New York
folgt noch ...
Berlin
Berlin wurde in den 20er Jahren zu einer deutschen Kulturhauptstadt. Der Tonfilm setzte sich ab 1927 gegen den Stummfilm durch. Leuchtreklamen machten die Nacht hell, in der die Grossstädterin und der Grossstädter ein buntes Angebot von urbaner Unterhaltung fand: Kleinkunst (Kabarett mit Otto Reutter und Claire Waldoff - fürs Kabarett schrieben Schriftsteller wie Erich Kästner, Kurt Tucholsky oder Klaus Mann), Bars und Nachtclubs, Ballhäuser, in denen Unterhaltungsorchester zum Tanz aufspielten.
In den Wohnzimmern setzten sich Grammophone und Radiogeräte durch. Wie in den USA zuvor wurden Schlager beliebt, Stücke, die sich nur einige Wochen oder Monate in den Ohren der Menschen festsetzen und in rascher Folge durch andere solche «Alltagsschlager», wie man sie auch nannte, abgelöst wurden. Wer sie auf Schellackplatte erwarb, konnte sie auch wieder zurückbringen und erhielt eine neuere Scherbe zum günstigeren Preis.
Die Produktion von Schallplatten machte einen grossen Qualitätssprung, als die Aufnahmetechnologie elektrifiziert wurde. Bisher sangen und spielten Musiker/-innen in einen Metalltrichter, nun gab es Mikrophone und Verstärker. Schallplattenverkäufe verfünffachten sich zwischen 1924 und 1929, um aber nach dem Börsencrash wieder auf die alten Werte zurückzufallen (vergleiche die Zahlen für die deutsche DGG: B. Greve, 2000, S. 30).
Die amerikanische Musikindustrie bestand im Wesentlichen aus drei Major-Labeln («The Big Three»): Columbia, Brunswick und Victor. hinzu kam die europäische Musikindustrie: In England HMV (His Masters Voice) und Columbia, die spätere EMI (Firmenname: Columbia Graphophone Company), in Frankreich Pathé, in Deutschland Lindstrom mit den Sublabels Odeon und Beka.
Tänze der 20er Jahre
– Foxtrot
– Charleston
– Tango
– Cakewalk
– One Step & Two Step
– Shimmy
– Lambeth Walk
Links
– Schellackplatte: Alltagsschlager aus dem Berlin der 20er Jahre (YouTube-Kanal, 21. Juli 2011)
– Schellackplatte: Alltagsschlager aus dem Berlin der 20er und 30er Jahre - Kleinkunst (YouTube-Kanal, 14. September 2014)
– Christoph Heim: So wild waren die Zwanzigerjahre (Tages Anzeiger, 3. Juli 2020)
Musik der 1910er Jahre Tag
Der erste Weltkrieg (1914–1918) kostete 17 Millionen Menschen das Leben. Der mit ungeheuerlichem technischen Aufwand geführte Krieg (Panzer, U-Bote, Flugzeuge, Giftgas) war ein Einschnitt in die Welt, wie es ihn früher nicht gegeben hat. Dass Kunst und Musik davon betroffen wurden, steht ausser Frage. Zwei radikale Kunstströmungen begannen während dem Weltkrieg und waren zweifellos tief vom Kriegsgeschehen beeinflusst: Futurismus und Dadaismus. Beide werden den verschiedenen Avantgarden des 20. Jahrhunderts zugezählt. Der Futurismus zeigte sich begeistert von den technischen Möglichkeiten, dem ohrenbetäubenden Lärm, der der Krieg machte. Der Dadaismus wurde von Kriegsgegnern in Zürich gegründet, die davon überzeugt waren, dass mit dem Weltkrieg jeglicher Sinn in der Welt verloren ging. Der Expressionismus, der üblicherweise nicht den Avantgarden zugerechnet wird, stellte die Welt in ihrer unverblümten Schrecklichkeit und die Menschen mit unerschrockener Hässlichkeit dar. Überhaupt musste sich die moderne Kunst, wie die Kunst des 20. Jahrhunderts nun genannt wurde (dieser Begriff war allerdings nicht neu), von nun an mit der Tatsache auseinandersetzen, dass Kunstwerke technisch reproduzierbar waren. Drucktechniken und die Fotografie brachten neuen Werke hervor, die die alte Frage nach Original und Kopie und die damit verbunden Wertungen in Frage stellten. Auch maschinell hergestellte Produkte konnten die Züge des alten Kunsthandwerkes tragen. Zum Beispiel konnten Jugendstil-Ornamente gegossen oder gepresst werden.
Musik
Schon seit den 90er Jahren des 19. Jahrhunderts konnte Musik auf Tonträger aufgezeichnet werden: Es gab Thomas A. Edisons Wachzylinder, die mitttels Phonographen aufgezeichnet und wiedergegeben wurden, es gab Platten von Emile Berliner, die mit einer Schallspur beschrieben waren und es gab Noten- oder Pianorollen, die mechanische Klaviere wie Drehorgeln steuerten. Auch vor der Musik machte also die technische Reproduzierbarkeit nicht Halt. 50 Jahre früher hat man Musik noch für ephemer gehalten, das heisst: mit dem verklingen der Musik als physikalischem Ereignis galt sie als unwiederbringlich verloren, vergangen, verschwunden. Es war anfangs wie ein Wunder: Nun konnte sie mit modernen Apparaten eingefangen und festgehalten werden. Freilich waren die technischen Grenzen damals noch immens: Eine Aufnahme dauerte ein paar Minuten und nicht mehr und sie klang, abgesehen von der Pianorolle, nicht gerade hervorragend.
Populäre Musik
Eine grosse Rolle spielten Schlager, die wie leichte Klassik klangen. Gepflegte Opern und Operettenstimmen, aber auch die mächtigen und lauten Stimmen aus den Vaudevile-Shows, die für heutige Ohren völlig grotesk klingen, weil sie quasi über-artikulieren, um im turbulenten Betrieb der Vaudeville Theater nicht unverstanden zu bleiben. Marschmusik spielte natürlich in dieser Kriegsdekade ein Hauptrolle.
Links
– Steve Hawtin: Songs from the 1910s (Tsort.info, Dezember 2019)
– Nathaniel Jordon: Top 30 Greatest Songs 1910-1919 (Youtube-Kanal, 11. Juni 2014)
– Dave Whitaker: The Top 100 Songs Of 1910-1919 (Dave's Music Database, 4. April 2012, update: 27. Juli 2018) – Liste im Musikzimmer
Musik aus der Schweiz Tag
Unter dieser Rubrik werden Alben und Songs von Schweizer Musiker*innen sowie Literatur, die Schweizer Musik behandelt, geführt. Frank Hänecke sprich vom «nationalen Repertoire».
Musik aus der Schweiz bildet in der Sprache der Musikwirtschaft und der Verwertungsgesellschaften ein Repertoire. Wissenschaftlich spricht man von Korpus, wenn ein Repertoire nicht zufällig oder nach dem Wissenstant oder den Interessen von Institutionen oder Forscher*innen, sondern nach expliziten Kriterien zusammengestellt ist, um damit empirische Forschung zu betreiben.
Adaptation oder «Lue zersch wohär dass dr Wind wääit»
Die Populäre Musik der Schweiz hat nur punktuell Eigenes hervorgebracht. Nach dem Zweiten Weltkrieg und der Erosion der Geistigen Landesverteidigung wurden regelmässig Musikstile aus dem angelsächsischen Raum übernommen und adaptiert. Die Schweiz als kleines zentraleuropäisches Land geriet genau wie die anderen kontinentaleuropäischen Länder in den Sog einer globalen und urbanen Popmusik, die in Zentren wie New York, Los Angeles oder London produziert und von dort massenmedial verbreitet wurde. Es gab seit den 60er Jahren jeweils einen genug grossen Teil der Jugend, die die neuesten Spielweisen dieser Musik schätzte und konsumierte sowie die Trends der Jugendkultur übernahm. Diese Szenen haben überdies eigene Bands, Sängerinnen und Sänger hervorgebracht, die diese neuesten Stile adaptiert haben.
Der etablierte Kulturbetrieb, die Medien und die Erwachsenen, die mit der geistigen Landesverteidigung sozialisiert wurden, taten sich mit dem neuen Ton der Pop- und Rockmusik schwer und begegneten ihr mit Geringschätzung. Ein wichtiger Stein des Anstosses war aber nicht die Populäre Musik überhaupt, sondern die englische Sprache und die Urbanität der Musik. Zur Urbanität gehörte, dass sie selbstbewusst und laut war. Populäre Musik gab es in der Schweiz, bevor Pop aus den USA und England ein umstrittenes Thema wurde. Sie bestand zum grossen Teil aus volkstümlichen Schlagern und Ländlermusik, die vor allem in der Zeit der behaupteten Unabhängigkeit während dem Zweiten Weltkrieg, aber auch danach noch lange, ganz unter der Ideologie der geistigen Landesverteidigung stand. Populäre Musik wurde in jener Schweiz tendentiell als Volksgut kultiviert, als «Eusi Musig». Entsprechend betulich kommen diese Lieder für heutige Ohren daher. Es gab in jener Schweiz aber auch ein weltoffeneres Publikum für Swing, Jazz oder Chansons.
Zwei grundlegende Adaptationsrichtungen
Wenn die neue Musik für ein junges Szenenpublikum oder für den Schweizer Markt zugerichtet wurde, dann geschah das erstens auf dem Weg der «Swiss version of ...»: Man produzierte nach dem Motto: «Wir auch!» eine schweizerische Version einer Musik: Beispiel: Les Sauterelles waren die «Swiss Beatles». Eine zweite Möglichkeit bestand darin, Texte in deuscher Sprache oder im Dialekt zu schreiben und zu singen. Berner Troubadouren (z.B. Mani Matter) und der spätere Berner Mundartrock (z.B. Rumpelstilz) haben es damit zu grosser nationaler Anerkennung gebracht. Mit der Musik im Dialekt wird das Problem eines kleinen Landes und Marktes am offensichtlichsten, doch auch für Produktionen der «Swiss version of ...» vermögen Bands nur Binnenaufmerksamkeit zu erzeugen vermag. Denn: Wer im Ausland – auch im deutschsprachigen Ausland – hat auf eine schweizerische Version der globalen Musik gewartet? Schaut man in Europa, welche Länder abgesehen von Grossbritannien einen eigenen, international wirksamen Beitrag zur populären Musik haben leisten können, dann sieht es recht düster aus: Krautrock, Untergrund Rockmusik aus Deutschland hat es zu Kultstatus geschafft. Einige Krautrocker konnten mit ihrer Musik ihr Leben meist schlecht und recht finanzieren. Zu diesen Krautrockern kann man die Zürcher Band Krokodil oder die Basler Band Brainticket zählen. Aus Paris kamen afroeuropäische und orientale Musikstile, die international registriert wurden: Zum Beispiel der algerische Raï, dem einige einzelne Crossovers gelungen sind. Auch die Schweiz hat solche Einzelfälle: Kleenex, die in England Erfolg haben. Celtic Frost, die bis heute auf der ganzen Welt als eine der einflussreichsten Undergroundmetal-Bands gelten.
Die Schweiz muss sich mit dem Nischendasein begnügen oder es müsste so etwas wie ein Schwedisches Wunder passieren. Schweden ist vermutlich das erfolgreichste Popland Europas (immer noch abgesehen vom UK). In Schweden entstand in den 90er Jahren eine Produzenten- und Studio-Szene, die für amerikanische Popacts komponierte und produzierte (Denniz PoP, Max Martin).
Querverweis
– Stichwort Schweizer Jazz
Weitere Quellen
– Sam's Collection (Samuel Mumenthaler, Autor, Sammler)
– Kategorie: Schweizer Musikdatenbank (Mikiwiki von Michael Kuhn)
– Schweizer Hits mit Links auf Streaming-Objekte (Videos, Audios)
– Wikipedia: Kategorie «Schweizerische Band» – alphabetisches Interpreten-Verzeichnis
– Le monde du Rock N Twist en Suisse
– Swiss Music
Musik Tag
Musik ist gestalteter Schall.
Schall war bis zur Erfindung des Phonographen eine flüchtige Erscheinung. Goethe sprach im Faust von «Schall und Rauch», die sich beide nach kurzer Zeit in Nichts auflösen.
Kate Bush in einem Interview mit Emma Barnett Radio 4: «Other art forms sit in their own space. [Music] finds a way of touching people».
Musik wird auf verschiedene Weise hervorgebracht: mittels der menschlichen Stimme und mittels dem kompetenten Spiel mit einem Musikinstrument.
Links
Wikipedia hat ein Portal Musik (Englisches Portal)
Musicland Studios Tag
Die Studios, die Giorgio Moroder 1972 im Keller des Arabella-Hochhauses in München gründete. Neben Disco (Donna Summer oder Amanda Lear) wurde hier auch Rock produziert. Bands, die in den Musicland Studios aufnahmen, waren Led Zeppelin, Queen, Rolling Stones, Electric Light Orchestra, Three Degrees, Iron Maiden, T. Rex, Deep Purple, Rainbow, Freddie Mercury, Sweet oder Elton John.
Die Räumlichkeiten
Franz Schöler beschreibt in «Die Legende vom schnellsten Schützen im Westen» wie dieses Studio von Sandy Brown akustisch ausgelegt wurde, «daß sich im tiefen Baßbereich von 40 Hz eine Nachhallzeit von maximal 0,3 Sekunden und bei den Höhen über 10 kHz kein größerer Nachhall als 0,7 Sekunden ergibt. Die Raumdämpfung zur Schallabsorption wurde so gestaltet, daß die einzelnen Frequenzbereiche sich trotz Echo um maximal -3dB im Pegel verändern, der Klang also weitgehend natürlich von den Mikrofonen empfangen wird. Die Musiker bringen meist nicht nur ihre Pickups, Instrumentenverstärker und Saiten mit, sondern gleich auch noch ihren eigenen Tontechniker, der genau weiß, welch spezieller Klang auf Anforderung erzeugt werden soll.» (Rock Session 1, 1977, S. 310).
Music Modernization Act Tag
Der MMA ist ein Gesetz, mit dem das Copyright, bzw. das so genannte «mechanical licensing» ins digitale Zeitalter überführt werden soll. Das neue Gesetz scheint mühelos durch den Kongress gewinkt zu werden, doch einige Interessengemeinschaften äussern sich auch kritisch, ob das Gesetz wirklich allen Musikerinnen und Musikern dient oder nur den prominenten und mit der Musikindustrie assoziierten.
Links
– Amy X. Wang: House of Representatives Unanimously Passes Music Modernization Act (Rolling Stone, 25. April 2018)
– Christy Crowl: Music Modernization Act Database – Landmark Or Landmine? (Hypebot, 22. Mai 2018)
Muscle Shoals Tag
Mit «Muscle Shoals» wird in der Musik das Konglomerat von Städten in Alabama bezeichnet, Muscle Shoals, Sheffield, Tuscumbia und Florence. Diese Orte sind bekannt geworden durch Studios, in denen einige der wichtigsten Southernsoul Aufnahmen entstanden, nämlich in den Fame Studios von Rick Hall und dem Musicle Shoals Sound Studio.
Links
– Paul McGuinness: Muscle Shoals Studio: A History Of The Soul Of America (uDiscover, 27. April 2019)
Multitrack Recording Tag
Aufnahmeprozess in einem Tonstudio mit einem Mehrspur-Tonbandgerät, bei dem die Spuren nacheinander aufgenommen werden, Spur für Spur, der Sound sozusagen Schicht um Schicht aufgebaut wird.
Links
– Wikipedia: History of Multitrack Recording
MTV Tag
MTV, kurz für «Music Television», ist ein 1981 gegründeter Kabelfernseh-Kanal, der in den 1980er Jahren und bis in die 1990er Jahre hinein eines der wichtigsten globalen Ditributionsmedien war, um Musik bekannt zu machen und zu popularisieren. MTV sendete anfangs ausschliesslich Musikvideos. Andere Formate kamen mit der Zeit hinzu. Im Lauf der 1990er Jahre erodierte der Fokus auf Musik langsam zugunsten von Reality-TV-Shows für Teenager.
Wirkung
Wegen MTV sahen sich Promoabteilungen gezwungen Musikvideos zu finanzieren.
Analog zum Discjockey (DJ) bei Radiostationen wurden die Moderator*innen Videojockeys (VJs) genannt.
Die MTV Entertainment Group ist heute Teil der Paramount Media Networks, die wiederum zu Paramount Global gehört.
Querverweise
– Slides zu Popquizshow: (September 2014)
MRC Data Tag
«MRC Data» ist die wichtigste Marktforschungsgesellschaft der USA, die Vorgängerin von Luminate (seit März 2022) und die Nachfolgerin von Nielsen Soundscan und ultimativ vom Branchenmagazin Billboard Magazine. Diese Institutionen waren jeweils für die Erhebung der amerikanischen Hitparaden verantwortlich. «MRC Data» untersucht, wo Musik konsumiert wird: wo es am Radio läuft, wo es als Song oder Album verkauft oder gestreamt wird.
Das Unternehmen betreibt die Analyseplattformen «Music Connect», «Broadcast Data Systems» (für Airplay) und «Music 360».
Links
– MRC Webseite
Motivation Tag
Motivation ist der psychologische Fachbegriff, der die Ursache bezeichnet, die Menschen zu zielgerichtetem Verhalten antreibt. Motivationstheorien beantworten die Frage, warum sich Menschen so oder so verhalten und bieten Erklärungsmodelle an, wie es zu Handlungen kommt. Was allen Motivationstheorien zu Grunde liegt, sind folgende Zusammenhänge:
- Menschliches Verhalten und Handeln geht nicht unmittelbar aus der Umwelt hervor, sondern ist durch mehr oder weniger rationale Entscheidungen und durch ein System von Gewohnheiten vermittelt.
- Aus der Umwelt entstehen Bedürfnisse (Mangelzustände und Anreize) und das Handeln dient der Behebung dieser Mangelzustände oder dem Verfolgen dieser Anreize. Die Umwelt in diesem Sinn beinhaltet die Physiologie. Umwelt heisst hier nicht Umwelt des Menschen, sondern Umwelt eines Handlungssystems.
- Dieses System der Gewohnheiten bildet sich im Lauf der Sozialisation und des Lebens aus. Eine besondere Stellung kommt unter anderem Werthaltungen zu, die bei Erwachsenen relativ gefestigt sind und zu einer gereiften Persönlichkeit gehören
- Gewohnheiten lassen sich ändern, manche leichter, manche schwerer – unter die letztgenannte Kategorie fallen zum Beispiel die eben erwähnten Werte aber auch gefestigte Verhaltensgewohnheiten.
- Eine Handlung bezweckt in der Regel etwas, aber es ist nicht gesagt, dass der intendierte Handlungszweck auch tatsächlich erreicht wird.
- Der Unterschied zwischen Verhalten und Handeln ist fliessend. Das Begriffspaar markiert einen Unterschied im Grad der Bewusstheit: Handeln ist bewusst, d.h. es weiss um den Mangel, den es zu beheben gilt oder den Anreiz, den es zu verfolgen gilt und es zielt auf einen Zweck, der das Bedürfnis zu stillen vermag. Dem Verhalten hingegen können diese Merkmale abgehen.
- Wenn die Wissenschaft Handeln untersucht, kann sie Reize schaffen und schauen, wie Menschen darauf reagieren. Sie versucht dabei auf Motive als den Handlungsursachen zu schliessen.
Motion Picture Patents Company Tag
Die MPPC, ein Trust der grossen in den USA ansässigen Filmunternehmen (Edison , Biograph, Vitagraph, Essanay, Selig Polyscope, Lubin Manufacturing, Kalem Company, Star Film Paris, American Pathé, sowie George Kleine, der führende Filmverleiher und Eastman Kodak, der größte Lieferant von Rohfilmmaterial) wurde im Dezember 1908 mit dem Zweck gegründet, die Vorherrschaft ausländischer Filme auf dem Unterhaltungsmarkt zu beenden, die Vertriebswege und das Format der Filme zu standardisieren. Im Movie Trust waren alle damaligen Patente vereinigt, welche der Filmproduktion und -wiedergabe zugrunde lagen: Kamera, Projektoren (beide Edison) und Filmmaterial (Kodak). Um im Filmgeschäft tätig zu sein, musste eine Firma Mitglied des Trusts sein oder erhielt keinen Rohfilm bzw. wurde wegen Patentverletzungen verklagt.
Die interne Konkurrenz soll die Qualität US-amerikanischer Kinofilme verbessert haben. Andererseits führte die protektionistische Tätigkeit des Trusts statt zu besseren Filmen lediglich zu immer neuen Rechtsstreitigkeiten. Der Markt wurde de facto auf zwei Produktionsfirmen beschränkt: Edison und Biograph. Biograph kam an Edison vorbei weil die Firma ein von Edison abweichendes Kamera-Design verwendete, das die Patente nicht verletzte.
1915 wurde die Motion Picture Patents Company aufgelöst, nachdem der Trust seine Wirkung zusehnds verloren hatte. Filme wurden damals lang, was neue strukturen in der Filmbranche mit sich brachte, unter anderem Fremdfinanzierung von Produktionen, denen der Trust im Weg stand. Eine Filmrolle hatte eine Laufzeit von 13–17 Minuten. Der Trust beschränkte die Dauer eines Films auf diese Laufzeit. Aus dem In- und Ausland drängten aber Produktionen auf den Markt, die mit zwei und drei Rollen arbeiteten («two» and «three reelers»). Es drängten immer mehr unabhängige Filmproduktionsfirmen auf den Markt. Rechtlich verlor der trust seinen Einfluss, da der Supreme Court 1912 das Patent zur Filmherstellung aufhob und 1915 zudem alle weiteren Patente des Unternehmens. 1917 wurde der 1890 geschaffene Sherman Antitrust Act gegen die MPPC angewendet und die Gesellschaft 1917 verurteilt. Dies bedeutete das endgültige Ende für den Trust, der zu dieser Zeit aber ohnehin schon allen Einfluss verloren hatte.
Die Wirkung der Auflösung war, dass die US-amerikanische Filmindustrie zur Zeit der MPPC in New York ansässig war, danach in Hollywood, wo sich zur Zeit des trusts die Independents angesiedelt haben (weit weg von New York). Beide Firmen, Edison und Biograph, befanden sich südlich vom Union Square. Mit den Independents setzte sich das Starsystem durch (wo der Edison Trust seine Schauspieler*innen nicht namentlich nannte) und die abendfüllende Programmlänge der Filme.
Querverweise
– The Great Train Robbery (Referenzfilm aus der Zeit der MPPC)
MOR Tag
«Middle of the road» (MOR) ist nicht etwa ein musikalisches Genre (es wird zuweilen so bezeichnet), sondern ein Radio-Format aus den späteren 1970er Jahren. Als Format umfasste es mehrere Genres: Pop, Rock, Country und teilweise Afroamericana. MOR-Musik hat drei Merkmale, egal aus welchem Genre die Musik kommt: 1) die melodische Ausrichtung der Musik, 2) ausgeprägter Harmoniegesang sowie 3) orchestrale Begleitung.
Bezeichnungsvielfalt
Eine frühe Bezeichnung für das Format lautete: «mellow rock». Ein Programm wurde 1971 bei der Station KNX-FM, Los Angeles, von Programmdirektor Steve Marshall eingeführt. Ein anderes Beispiel war KIMN-FM, Denver (ab 1975 unter Programmdirektor Scott Kenyon). Erste Stationen, die 1977 den Begriff «Soft Rock» verwendeten, waren WTFM und WYNY (eine NBC Station) aus New York, sowie WBBM-FM aus Chicago. Bei letzterem handelte es sich um ein Hybridformat aus Softrock und Album Oriented Rock (siehe AOR) unter dem Titel: «Soft Rock 96» und «Mellow sound of Chicago».
In den frühen 1980er Jahren wurde aus dem Format «adult contemporary» oder «adult album alternative». Im November 1982 schuf Programmdirektor Jhani Kaye von KOST 103.5 aus Los Angeles ein Format, das er «soft adult contemporary» nannte.
Querverweise
– Adult Contemporary – die Billboard Charts für dieses Format
Monterey Pop Festival Tag
«It happened to us, inundated us, washed over us like holy water, gushed through us like a mystic catharsis and left us trembling on the brink of something awesome» (Elen Sander)
Das historische Musikfestival von Monterey, das vom 16. bis am 18. Juni 1967 stattfand, knapp 200 Kilometer von San Francisco entfernt, wurde von John Phillips, dem Songwriter der Mamas und Papas, und seinem Produzenten Lou Adler aus Los Angeles organisiert. Einige Hilfe kam vom San Franciscoer Veranstalter Bill Graham, Beatles Pressesprecher Derek Taylor und David Crosby. Ihre Idee war, Rock, Pop und Soul den Status des Jazz zu verleihen. (Monterey war der Austragungsort des jährlichen Jazz Festivals.) Dazu sollten Top-Bands aus England und den Staaten eingeladen werden. Der kommerzielle Aspekt des Festivals war anfangs umstritten. Vor allem Bands aus San Francisco wie Grateful Dead waren zunächst nicht gewillt aufzutreten, konnten aber von der Idee überzeugt werden. Der Anlass dauerte drei Tage vom 16. bis am 18. Juni 1967, zog weniger als 100'000 Zuschauer an. Er gilt als der Höhepunkt des Summer Of Love. Das Festival machte dem amerikanischen Publikum Jimi Hendrix bekannt, der seine Solo-Karriere in London begann. Beim Auftritt von Ravi Shankar hörte der Grossteil des Publikums zum ersten mal indische Ragas. Als er seine Sitar 15 Minuten lang stimmte, kriegte er Applaus. Das Publikum meinte, er habe ein Stück gespielt. Otis Redding hatte mit seinem Auftritt bei den Rock-Fans grossen Erfolg.
Musiker/-innen und Bands spielten (ausser Shankar je 40 Minuten lang (ausser The Who, die nach 25 Minuten ihr Equipment zerstört hatten!) und kriegten keine Gage, damit die Eintrittspreise gering gehalten werden konnten ($ 3–6,50). Als Chuck Berry angefragt worden ist, hat er verlauten lassen: «Chuck Berry has only one charity and that's Chuck Berry». Er trat nicht auf. Ravi Shankar war der einzige Musiker, der bezahlt wurde. Sein Vertrag war unterschrieben, bevor die Idee mit der Charity auftauchte.
Die beiden englischen Acts, The Who und Jimi Hendrix gaben dem Festival Kontour. Man sagte: «The Who was like rape, and Jimi was like making love».
Der ganze Event wurde von D.A. Pennebaker gefilmt.
Das Festival war nicht das erste seiner Art. Eine Woche vorher, am 10.und 11. Juni fand im Sidney B. Cushing Memorial Amphitheatre beim Mount Tamalpais in Marin County, Kalifornien, die Fantasy Fair and Magic Mountain Music Festival statt. Da jener Event aber nicht gefilmt worden ist, geht es in der Geschichtserzählung oft vergessen. Monterey blieb auch nicht das einzige solche Festival. Es folgte ein Jahr später das noch bekanntere Woodstock-Festival an der Westküste.
Die Sound-Anlage wurde von Abe Jacobs aus der Entourage von Mamas und Papas aufgestellt. Sie hatte weniger als 1000 Watt Leistung, war aber eine der besten verfügbaren Anlagen. Im Film von D.A. Pennebaker hört man David Crosby sagen: «Oh, groovy, a nice sound system at last» (ca. 5:30).
Im Film sieht man Cass Elliott und andere Künstler/-innen im Publikum sitzen. Das ist ein Hinweis, wie informell und untergrundhaft dieses Festival noch war.
Der Rolling Stone (Nummer 1) berichtete über die finanziellen Aspekte des Festivals: Das Non-Profit-Unternehmen erwirtschaftete einen Profit von $211'451! Die Ausgaben beliefen sich auf $290'233. Den Gewinn erwirtschafteten die Veranstalter vor allem durch den Verkauf der TV-Rechte an ABC-TV, was $288'843 einbrachte. Ohne dieses Lizenzgeschäft wäre das Festival mit $77'392 in die roten Zahlen geraten. Damit gilt auch für das Monterey Pop Festival, was für die meisten frühen Rockfestivals gilt: Diese Unternehmen sind im Kern defizitär, können aber über die Lizenzierung der Aufnahmen für Film, TV und Platten das investierte Geld zurückspielen.
Bernie Krause und Paul Beaver hatten einen Stand auf dem Festivalgelände, an dem Sie den Moog Synthesizer vorstellten.
Setliste
– Wikipedia (en): Set Liste des Monterey Pop Festival">Monterey Pop Festival (set list)
Links
– Richard Havers: Monterey Pop Festival: The Epitome Of The Summer of Love (uDiscoverMusic, 16. Juni 2019)
Monterey Jazz Festival Tag
Das Monterey Jazz Festival findet seit 1958 jährlich am dritten September-Wochenende in den Monterey County Fairgrounds in Monterey, einem kalifornischen Küstenort, statt. Gegründet wurde es vom Disc Jockey James L. 'Jimmy' Lyons Lyons und dem Jazzkritiker Ralph J. Gleason gegründet. Neben den Konzerten gibt es ein reiches Programm aus Workshops, Ausstellungen und Podiumsdiskussionen.
Mit dem Gewinn, das das Festival abwirft (sechsstellige Summen) werden US-weite Jazz-Förderprogramme finanziert.
Monterey hatte einen Hoffotografen; es war Ron Hudson (1940–2011).
Links
– Festival Webseite
– Encyclopedia Britannica: Monterey Jazz Festival (21. November 2016)
Monsterkonzert Tag
Das Zürcher Monsterkonzert im Mai 68 war ein Rockereignis erster Güte und überdies eng an die lokalen 1968 Revolten gekoppelt: Der Globuskrawall fand nicht zufällig vier Wochen später statt: Zürichs Neue Linke agitierte Beat- und Rockfans am Konzert mit dem 1. Flugblatt der antiautoritären Menschen und das übertrieben harte Eingreifen der Polizei politisierte viele Rockfans.
An den Tagen vor Pfingsten 1968, am Donnerstag, dem 30., und am Freitag, dem 31. Mai, spielten im Zürcher Hallenstadion Jimi Hendrix Experience, The Move, Eric Burdon And The New Animals, Traffic, John Mayall's Bluesbreakers, Koobas und – als einzige Schweizer Band – Anselmo Trend zu einer Beat-Revue auf. Die meisten dieser Gruppen spielten eine Richtung der damals neuen psychedelischen Rockmusik.
Bis heute sind die kompletten Setlist der meisten Gruppen nicht genau bekannt. Was man weiss, wurde unter anderem aus Tonband- und Super-8-Mitschnitten von Fans rekonstruiert. Die Bands, die am Anfang spielten, wurden fast gar nicht aufgenommen, weil die mitgebrachten Ressourcen (Batterien, Bandmaterial) für die Headliner gespart wurden.
Form
Man kann oft lesen, dass das Monsterkonzert ein Vorläufer der Rock-Festivals gewesen wäre. Stattdessen ist richtig, dass es zwar die damals neue Rockmusik nach Zürich brachte, aber von der Form des Konzerts her noch ganz den Beat Revues entsprach.
Veranstalter und Veranstaltung
Veranstalter war Hansruedi Jaggi, der sich schon für das Rolling Stones Konzert im Hallenstadion ein Jahr zuvor verantwortlich zeichnete und der 1971 Muhamad Ali nach Zürich brachte.
Der Eintritt ans Konzert kostete zwischen sFr. 11.– und 25.–. Pro Abend erwartete man 10’000 Zuschauer/-innen, doch am ersten Konzertabend am Donnerstag kamen nur die Hälfte: 4–5000. Das zweite Konzert am Freitag war dann allerdings ausverkauft (oder nahezu). Der Veranstalter soll einen Reingewinn aus den zwei Konzertabenden von sFr. 100’000.– gemacht haben. Die Bands kosteten ihn £ 15’000.– (das sind 50 Jahre später sFr. 20’350.– Zeitwert).
Sponsoren
Als Sponsoren traten auf:
– Jürg Marquard, der 1965 Pop gegründet hat, das Schweizer Beat- und Pop-Magazin. Pop schlug mächtig die Werbetrommel. Alle Gruppen, die am Monsterkonzert spielten, wurden ausführlich in der Zeitschrift vorgestellt. Ausserdem druckte Pop ein Programmheft zum Monsterkonzert als Sondernummer.
– Bernie Lehrer, Inhaber von Bernie’s Boutique, die bis in die 10er Jahre in Zürich existierte.
– Die beiden Boulevard-Blätter «Blick» (Ringier) und «Neue Presse» (TA-Verlag). Der «Blick» kaufte 1000 Tickets, verloste sie und finanzierte so den Anlass mit. Wer eins gewann, erhielt einen von Düde Dürst, dem Les Sauterelles Schlagzeuger und Grafiker, gestalteten Gutschein, auf dem das eigentliche Ticket rechts unten angebracht war.
Die «Neue Presse» veranstaltete eine Autogramm-Stunde mit Eric Burdon und es waren über die damalige Jugendseite unter dem Titel «Fan Box» (besorgt von Edith Lier) zwei Flüge Zürich-London retour zu gewinnen. Der Hinflug war in der selben Maschine in der auch Jimi Hendrix reiste.
Pressespiegel
Die wenigsten Zeitungen berichteten auch inhaltlich vom Konzert. Den meisten Artikel beschränkten sich auf die Stars und die Krawalle nach dem Anlass. Nur aus 5 Zeitungen ist zu erfahren, wie einzelne Bands spielten und wie gut sie beim Publikum ankamen (Basler Nachrichten, die Tat, Blick, National Zeitung und Aargauer Tagblatt):
Anselmo Trend hätten ihre Aufgabe souverän erfüllt und als Amateur-Band unter Profis bestehen können.
Während dem Konzert der Koobas sei Unruhe entstanden. Grosse Teile des Publikums strömten vor die burghafte, 5 m hohe Bühne – vor allem am Donnerstag, als es viele frei gebliebene Sitzplätze vor der Bühne gab.
Die Musikalität von John Mayalls Auftritt wurde mehrfach betont. Das Publikum hörte ihm aufmerksamer zu als den Koobas zuvor. Während dem Konzert schaffte es ein Beat-Fan, die Bühne zu erklimmen und das Feuerzeug des Musikers, das auf dem Piano lag, zu entwenden. Mayall hörte sofort auf zu spielen und drohte das Konzert abzubrechen, sollte der Übeltäter ihm das Feuerzeug nicht zurückgeben. Der Strolch muss wohl sehr unter sozialen Druck geraten sein und gab sein Erinnerungsstück zurück. Das Konzert ging weiter. Man sieht aus dieser Geschichte, dass die Musiker ihre Fans ganz gut im Griff hatten.
Steve Winwoods Traffic habe vor allem bei den Mädchen hysterische Reaktionen ausgelöst: es soll ein grosses Gekreische stattgefunden haben.
Eric Burdon kam besser beim Publikum an als Hendrix, der Blick machte daraus seine Schlagzeile: «Flap! – Die Überraschung am Zürcher Monsterkonzert: Eric Burdon stahl Jimi Hendrix die Schau» Seine Filmprojektion während dem Konzert liess die Leute im Publikum erstarren. Niemand randalierte. Viele seien staunend, teils mit offenem Mund dagestanden und seien von der Show gefesselt gewesen.
The Move hätten verhalten eine Zerstörungswut inszeniert. Sie sollen abgefallen sein, der Applaus spärlich. Wie die Band anlässlich der Pressekonferenz sagte, wurden sie vertraglich dazu angehalten, auf ihre übliche Show zu verzichten, die das Zerstören von Fernsehern beinhaltete. Was von der Show übrig blieb, waren ein paar Knallpetarden. Die Basler Zeitung berichtete von pantomimischen Holzfällen. Richtig wären das eben die Fernseher gewesen, die Roy Wood verhackstückt hätte.
Jimi Hendrix sei der «technische und musikalische» Höhepunkt gewesen. Gelobt wurde seine Geschicklichkeit am Instrument, das er mit Fingern, einhändig, mit der Zunge und hinter dem Rücken zu spielen verstehe. Wiederum hätte das Publikum nicht geschrien, sondern gestaunt. Es ist aber auch die Rede davon, dass aus dem Publikum Bierdeckel auf die Bühne geflogen seien und Hendrix verärgert darauf reagiert habe.
Der Ansager Giorgio Frapolli erhielt ein Lob in den Basler Nachrichten: «dessen psychologisch geschicktes Vorgehen die in zivil unter die Zuschauer gestreuten Ordnungshüter überflüssig machte; denn er hatte die Fans immer unter Kontrolle».
Am Freitag spielten The Move folglich vor Burdon.
Agitation
Auch eine kleine radikale Gruppe der Neuen Linken Zürichs interessierte sich für das Konzert: die junge Sektion der PDA («JS»). Der bekannteste Sprecher und Vordenker dieser Gruppe war Roland Gretler. Er hatte die Idee, junge Rock-Rebellen für die Sache seiner Organisation zu gewinnen. Über den Journalisten, Walter Bretscher, stellte er einen Kontakt zum Veranstalter her. Zwei Wochen vor dem Monsterkonzert haben sich die drei Personen im Malatesta beim Hirschenplatz getroffen. Jaggi wurde gefragt, ob die JS am Monsterkonzert ein Flugblatt verteilen dürfe, das den Titel trage «Rebellion ist berechtigt». Als Gegenleistung offerierten sie Jaggi ihren Mann, der bei Demos mit dem Megafon mitlief, Giorgio Frapolli, als Ansager. Frapolli verstünde es, die Massen zu bewegen und er würde für einen störungsfreien Ablauf der Veranstaltung sorgen. – Jaggi willigte ein.
Mit dem 1. Flugblatt der antiautoritären Menschen hat die JS versucht, die Zürcher Beat-Szene zu agitieren. Die Vorderseite des Plakats zeigte den headliner des Monsterkonzerts, Jimi Hendrix, in Postergrösse. Hendrix trug ein Amulett mit dem Mao-Zitat: «Rebellion ist berechtigt». Das Flugblatt konnte aufgefaltet und als Poster aufgehängt werden. Auf der Rückseite des Flugblatts befand sich eine comixartige Anleitung, wie durch Rebellion gegen die repressiven staatlichen Autoritäten «Satisfaction» zu erreichen sei. Hier wurde der Text der Rolling Stones aus dem Song (I Can’t Get No) Satisfaction zitiert. Das Zürcher Rock-Publikum sah in den «Stones» die Berufsrebellen und ihr schnoddriger Song «Satisfaction» lag allen Fans noch im Ohr.
Krawall
Das Monsterkonzert wurde nun nicht nur von Beat-Fans und Journalist/-innen besucht, sondern auch von der Polizei. Ihr Auftritt wurde am zweiten Abend leider ebenso wichtig, wie derjenige von Jimi Hendrix.
Das Sicherheitsdispositiv der Stadtpolizei war aufwändig: Unter der unnatürlich hohen Bühne sassen nämlich 100 Mann im Bereitschaftsdienst. Die Musiker sollen sie fluchen gehört haben – kein Wunder, sie spielten ja gerade über ihren Köpfen. Weitere 60 Polizisten in zivil waren im Publikum, am Eingang der Halle zudem Polizeihunde im Einsatz.
Im Anschluss an das zweite Konzert am Freitag Abend kam es zu heftigen Zusammenstössen zwischen der Zürcher Polizei und Konzertbesucher/-innen. Im Stadion hat die Polizei das Publikum hinausgetrieben und schürte so die Aggression. Vor dem Stadion fuhren keine öffentliche Verkehrsmittel mehr. Weil es kühl gewesen sein soll, entfachten Jugendliche vor dem Stadion ein Feuer. Die Polizei berichtete, das sei in der Nähe einer Tankstelle gewesen. Wiederum schritten die Ordnungshüter unverhältnismässig heftig ein und verprügelte junge Leute. Zusammenstösse verlagerten sich in der Nacht auch in die Innenstadt.
Die Presse kritisierte am folgenden Tag den Polizeieinsatz, nicht zuletzt weil auch etliche Journalisten und Fotografen Prügel abbekommen hätten. Sogar die bürgerliche NZZ konstatierte: «Einige Polizeimänner machten unnötigerweise vom Knüppel Gebrauch.» Sie + Er schrieb: «Nicht das Monsterkonzert war monster, die Polizei war es.»
Die Polizei war aus verschiedenen Gründen auf die Rockfans und die Veranstaltung wütend: Veranstalter Jaggi sorgte wiederholt für Späteinsätze. Die wertkonservativen Polizisten nahmen die Rockfans mit ihren Kleidern, Haaren und ihrer Begeisterung für diese laute Musik als Gesindel wahr. Das Flugblatt der JS, das zur Rebellion aufrief und auf dem die Polizei verhöhnt wurde, lud die Stimmung zudem politisch auf – gerade so, als hätte der kulturelle Affront nicht genügt.
Aussage gegen Aussage
Dr. Hans Schlegel, der Chef der Zürcher Sicherheitspolizei gab am Samstag Nachmittag eine Pressekonferenz und stellte die Nacht aus seiner Sicht dar: «Jugendliche hatten Stühle zusammengeschlagen und auch einiges Feuerwerk abgebrannt. Die Räumung verlief reibungslos, doch wurden anschliessend vor dem Haupteingang Feuer aus Papierfetzen und demolierten Stühlen angefacht.» «500 Randalierer [...] bewarfen die Polizisten mit Steinen, Flaschen und kleinen gusseisernen Dolendeckeln. In dieser Lage musste von Gummiknüppel Gebrauch gemacht werden.» (so wird der Inhalt der Pressekonferenz im Anzeiger von Uster wiedergegeben).
Das mit den Stühlen war nicht wahr, wenn man der Presse glaubt und die Knüppel wurden von Anfang an, nicht erst als Reaktion und Antwort auf angreifende Jugendliche eingesetzt.
Das war nun Aussage gegen Aussage. Es ist undenkbar, dass mehrere Journalisten sich abgesprochen haben sollen, die Polizei als Täterin darzustellen. Schlegel stellte seinen Angriff offensichtlich als Verteidigung dar.
Der Einsatz der Polizei in dieser Nacht war mehr als ein üblicher Sicherheitseinsatz, der Beat- und Rockfans vor sich selber schützen und Tunichtgute aus der Szene entfernen sollte. Es war vielmehr ein systematischer Einsatz gegen Jaggi und seine Veranstaltungen. Nur so kann man sich erklären, dass die Polizei trotz der brenzligen Lage in der Stadt noch Zeit hatte, Jaggis Lokal, das «Crazy Girl», in dem eine «After Show Party» stattfand, pünktlich zur Polizeistunde um 2 Uhr zu räumen.
Die Fronten waren jetzt aber gebildet. Auf der einen Seite, die alte Ordnung und ihre autoritäre Polizei, auf der anderen Seite die «Jugend», Musikfans und linksradikal politisierte Studierende sowie Angehörige von Organisationen der Neuen Linken.
14 Tage nach dem Monsterkonzert veranstaltete die Neue Linke einen Schauprozess, ein Volkstribunal gegen einen unbekannten Polizisten. Nach dieser Veranstaltung kam es zu einer Vollversammlung im Globus-Provisorium auf der Papierwerd. Dort wurde die Forderung nach einem Zürcher Autonomen Jugendzentrum zum ersten Mal erhoben. Ein Aktionskommitee wurde gegründet, das das Anliegen gegenüber der Stadt vertrat.
Einen Monat nach dem Monsterkonzert kam es in Zürich erneut zu Zusammenstössen zwischen der Jugend und der Obrigkeit. Der Globuskrawall ging als Höhepunkt der 1968er Jugendrevolten in der Schweiz in die Geschichte ein. Die mittlerweile gut organisierte Protestjugend okkupierte das leerstehende Globus-Gebäude auf der Zürcher Papierwerd. Die Polizei räumte die Versammlung und vertrieb die Demonstrierenden mit Wasserschläuchen.
Songs
Die Songs bezwecken lediglich, die Bands vorzustellen.
Quellen
Vom Konzert sind Audio- und Video-Aufnahmen erhalten geblieben. Die meisten befinden sich im Archiv von Marcel Aeby. Ausserdem hat das Schweizer Fernsehen ein Feature für die Jugend- und Musiksendung Hits à gogo gedreht
– Marcel Aeby: Monsterkonzert Blog mit einem Artikel von Eugen Sorg (Magazin/TA/BZ), vielen Fotos, Plakaten und einem Pressespiegel.
Moniker Tag
Moniker (Spitznamen) und Übernamen sind in der Populären Musik häufig. Sie werden Acts zugeschrieben oder werden zuweilen als Künstlername frei gewählt.
Beispiele zugeschriebener Übernamen
Bei den zugeschriebenen Übernamen ist nicht auszuschliessen, dass die Idee dafür aus dem Marketing, vom Label oder vom Management kommt und gezielt in die Welt gesetzt wird. Zuweilen entstehen sie aber auch in Musiker*innen- und Fan-Kreisen.
Bildung von Übernamen
Sehr beliebt sind Kings und Queens von bestimmten Genres, sowie Godfathers (Taufpaten) für Vorreiter eines Genres (Pete Townsend
als der «Godfather» von Punk und Neil Young als derjenige von Grunge. Zuweilen werden ganze Machtgenealogien konstruiert, z.B. im Jazz: Art Tatum als Gott, Benny Goodman als König (vom Swing), Glen Miller als der Major und Charles Mingus als Baron. In den Künstlernamen eingegangen sind Übernamen im Fall von Duke Ellington und Count Basie.
Liste mit Übernamen
– «King of Ragtime» (Scott Joplin)
– «The Voice» (Frank Sinatra)
– «Bird» (Charlie Parker)
– «King of the Jukebox» (Louis Jordan)
– «First Lady Of Song» (Ella Fitzgerald)
– «Lady Day» (Billie Holiday)
– «The Boss of the Blues» (Big Joe Turner)
– «The Genius» (Ray Charles)
– «High Priestess of Soul» (Nina Simone)
– «Miss Rhythm» (Ruth Brown)
– «The King» (Elvis Presley)
– «The Killer» (Jerry Lee Lewis)
– «The Architect of Rock and Roll» (Little Richard)
– «The Man in Black» (Johnny Cash)
– «Father of Bossa Nova» (João Gilberto)
– «King of Calypso» (Harry Belafonte)
– «Mama Africa» (Miriam Makeba)
– «Miss Peaches» (Etta James
– «fab four» (Beatles)
– «The Queen of Soul» (Aretha Franklin)
– «The Human Riff» (Keith Richards)
– «God», «Slowhand» (Eric Clapton)
– «The Hardest-working Man in Show Business» (James Brown)
– «The Tiger of Wales» (Tom Jones)
– «Der Spatz von Avignon» (Mireille Mathieu)
– «Starchild», «Dr Funkenstein», «Mr Wiggles» (George Clinton)
– «Piano Man» (Billy Joel)
– «The Boss» (Bruce Springsteen)
– «Gentleman of Pop» (Robert Palmer)
– «King of Pop» (Michael Jackson)
– «Camille », «His Royal Badness» oder «His Purple Majesty» (Prince)
– «Mother Monster» (Lady Gaga)
Beispiele von Spitznamen, die als Act-Name fungieren
Duke Ellington, Sun Ra oder Count Basie.
Acts, die unter verschiedenen Namen auftreten
Gründe für verschiedene Namen können sein: ein anderes musikalisches Interesse, das unter dem Spitznamen verfolgt wird, ein anderes Format, das ein Produzent beackert, oder ein anderes Label, für das sie oder er aufnimmt.
– XTC / Dukes Of Stratosphear
– Hank Williams / Luke The Drifter (ein moralisches Alter Ego des Singer-Songwriters)
– David Johansen (Glamrock Star) / Buster Poindexter (Lounge Sänger)
– 2Pac / Makaveli
– Eminem / Slim Shady
– Will Oldham / Bonnie 'Prince' Billy
Links
– Laura Stavropoulos: The 15 Most Famous Alter Egos In Music History (uDiscoverMusic, 7. April 2021)
Moll Tag
Moll Tonleitern wirken traurig. Sie kommen in verschiedenen Varianten:
– der natürlichen Moll Skala (= Äolischer Modus)
– der harmonischen Moll Skala
– der melodischen Moll Skala (Yesterday – diese Skala steigt anders als sie fällt!!!)
– Zigeuner-Moll
– Zigeuner-Dur (Double Harmonic Minor)
– Napolitanische Moll Skala
Moderne Musik Tag
Moderne Musik ist Musik, die unter der medialen Bedingung der Tonaufzeichnung entsteht. Diese technische Möglichkeit verändert die Produktion und die Rezeption der Musik nachhaltig.
Was heisst «moderne Musik»?
1. Mit «moderner Musik» kann zum einen einfach neuere Musik gegenüber älterer bezeichnet werden, wobei jene ältere Musik als aus der Mode gefallen gilt, als antiquiert, traditionalistisch (statt fortschrittlich) und konventionell (statt individuell, persönlich und unverwechselbar). Diese Neigung verrät allerdings nichts darüber, was genau «modern» heisst.
2. Sodann wird «moderne Musik» im Feld der akademischen bzw. «klassischen» Musik für Strömungen verwendet, die im 20. Jahrhundert auftreten und gegen die kompositorischen Verfahren und ästhetischen Strukturen der Romantik gerichtet sind. Zu den Themen dieses Modernitätsverständnisses gehören zum Beispiel die Auflösung der Tonalität (Arnold Schönberg), eine neue Art der Verwendung von Septakkorden in Jazz und Pop, das Verwenden nicht-musikalischer Klänge (Luigi Russolo), die Auflösung des Werks zugunsten des Aufführungs-Prozesses bzw. der Performance (John Cage) oder die Komposition mit Blick auf das Fremde, auf andere musikalische Kulturen (Claude Debussy, Béla Bartók, Henry Cowell).
3. Die englische Musikzeitschrift The Wire trägt den Untertitel «Adventures In Modern Music» und handelt somit ebenfalls von «moderner Musik». Die Zeitschrift ist bekannt für das Ignorieren von kanonisierter Mainstreammusik. Für The Wire sind die Beatles, die Rolling Stones und die meisten der anderen Grössen der 1960er Jahre kein Thema. Dafür lenkt die zeitschrift den Blick auf Avantgarde, Jazz, Avantrock, Improvisation, Electronica und Dub. Doch warum soll gerade dieser Genre- oder Stilmix «modern» sein? Es hat letztlich mit der Haltung der Musikerinnen, Musiker und ihres Publikums zu tun. Bei den von «The Wire» behandelten Musik-Arten sind Personen involviert, die eine nicht kommerzielle Musik um der Musik willen praktizieren (siehe gesellschaftliche Semantik).
Veraltung
Modernen Gesellschaften sind Modeströmungen eingeschrieben. Wenn sich ein Feld wie das der Musik nicht verändern würde, macht sich die Gesellschaft verdächtig, betonierte Strukturen zu haben. Das Rad der Geschichte dreht sich in modernen Gesellschaften immer weiter und weiter. Es macht die Modernität der Musik dieser Gesellschaft mit aus, dass sie nach ein paar Jahren durch eine andere abgelöst wird, dass sie veraltet. Unbedeutend wird eine überholte Musik damit nicht unbedingt: Sie kann rezykliert und adaptiert werden.
Modern Rock Tracks Charts Tag
Ein amerikanisches Radioformat und eine zugehörige Airplay-Hitparade für «alternative» Rockmusik. Am Anfang hatte die Hitparade 30 und ab dem 10. September 1994 40 Positionen. Die Hitparade wurde als Ergänzung («companion») zur Mainstream Rock chart (damals «Album Rock Tracks» geschaffen und bereitete die gemessen an der britischen Musikgeschichte späte Explosion von Alternativerock vor (zusammen mit dem MTV Gefäss «120 Minutes» und den College Radio Stationen).
Der erste Top-Hit dieser Hitparade war Peek-a-Boo von Siouxsie and the Banshees. Sonst bevölkerten Tracks diese Hitparade, die zum Umfeld von Postpunk zählten (im UK war Postpunk als Genre bereits ca. 1984 vorbei, aber die Labels waren nach wie vor aktiv und veröffentlichten Alternativerock und Indiepop) oder zu synthetisch für den US-Mainstream klangen. In den frühen 1990er Jahren charteten hier die Grunge Bands. Grunge und das Crossover-Genre sorgte in den 1990er Jahren für viele Alternative-Mainstream-Crossovers. Erst in den 2000er Jahren waren die Charts wieder verschieden und Crossovers selten.
Namensänderungen
Die Chart hiess zwischen 1988 und 2009 «Modern Rock Tracks», zwischen 2009 und 2020 «Alternative Songs». Ab dem 20. Juni 2009 hiess die Hitparade «Alternative Songs». Im Juni 2020 führte Billboard eine separate «Hot Alternative Songs» Chart ein, die eine ähnliche Methode der Erfolgsmessung verwendet wie die Billboard Hot 100 (Airplay plus Verkäufe plus Streaming). Dabei wurde, um Verwechslungen zu vermeiden, die «Alternative Songs» in «Alternative Airplay» umbenannt.
Erfolgsmessung
Seit 2012 wird die ausgestrahlte Musik von ca. 80 Radiostationen in den USA elektronisch erfasst von Nielsen Broadcast Data Systems.
Querverweis
– US-Top-Hit-ModernRockTracks
Links
– Wikipedia: List of Billboard number-one alternative hits
modal mixture Tag
Man geht davon aus, dass eine Komposition innerhalb einer bestimmten Tonleiter bzw. eines bestimmten Modus geschrieben ist. C-Dur würde also Harmoniefolgen aus C, F, G, Dm, Em, Am verwenden. Durch «modal mixture» können nun Harmonien aus anderen Tonleitern ausgeborgt werden, was der Komposition an dieser Stelle eine besondere Note («Tiefe», «Farbe») verleiht. Meist werden Akkorde aus der Paralleltonart geborgt (von Dur zu Moll oder umgekehrt beim selben Grundton/Tonika), also z.B. ein D statt ein Dm. Prinzipiell kann aber aus jeder verwandten Tonart geborgt werden, also neben Moll/Dur auch anderen Modalitäten wie dorisch, lydisch etc.
Im Extremfall kann das so weit gehen, dass man nicht mehr sicher ist, ob ein Stück nun in D oder Dm geschrieben ist (Are You Gonna Be My Girl oder Hey Joe). Die Harmonik des Blues kann als Resultat von «modal interchange» gesehen werden. Aber meistens wird nur für kurze Zeit geborgt, die geborgten Akkorde sind transitorische Modulationen.
Historisch ist die modale Mischung bzw. das Ausborgen von Akkorden aus verwandten Tonleitern in der Barocken Musik entstanden.
Begriffsabgrenzungen
– secondary chords: die primären in Dur sind I, IV, V, die sekundären ii, iii, vi – die primären in Moll: i, iv, V, die sekundären III, VI und iidim
– altered chords: der Überbegriff für «modal mixture» oder «borrowed chord» sowie Sekundärdominanten. Bei beiden wird ein Akkord, der nicht zur Tonleiter gehört – ein chromatischer Nachbarton – an die Stelle eines tonalen Akkords ersetzt.
Querverweise
– Sekundärdominanten
Mixolydischer Modus Tag
Mixo für halb, Lydian für Lydischer Modus – ein halber Lydischer Modus also.
Mixolydisch ist der fünfte Modus der C-Dur Tonleiter. Der Modus ist mit dem Dur verwandt, aber hat einen um einen Halbton verringerten Leitton: Eine Auflösung auf den Grundton C macht also nicht den üblichen halben, sondern einen ganzen Tonschritt.
Anders gesagt: Die mixolydische Tonleiter ist wie die Dur-Tonleiter, aber hat einen Ganzton im letzten Schritt.
Der mixolydische Modus beinhaltet den im Blues verwendeten Tonikaakkord mit kleiner Septime. Deshalb spielt die Tonleiter in der Blues-, Jazz- und Rockmusik eine prominente Rolle.
Mixolydisch wird assoziiert mit psychedelischer Musik. John Lennon verwendete den Modus für einige seiner psychedelischen Beatles-Songs: I Feel Fine, Norwegian Wood oder She Said, She Said. Ebenfalls wird mixolydisch mit irischer Musik assoziiert. Ein Beispiel dafür ist Belfast Child von Simple Minds und In God's Country von U2.
Beispiele aus der Klassischen Musik
– Debussy: The Sunken Cathedral
– Leonard Bernstein: Fancy Free Ballet: Variation III (Danzon)
Mixolydische Begleitfigur Tag
Harmoniefolge: I–bVII–IV–I (z.B.: D–C–G).
Oft im Rock, Blues, Funk. Die Dur-Tonleiter (Ionisch) wird geringfügig umgebaut. Das B wird um einen Halbton gesenkt («flatted»).
Mittelschicht Tag
«I live a life of pleasant sorrows» Paul Simon
Eine Schicht oder Klasse, die im soziologischen Bevölkerungsschichtenmodell die Mitte zwischen der privilegierten und herrschenden Oberklasse und der Unterklasse einnimmt. Die mittlere Schicht ist vor allem als Bürger in urbanen Räumen zu finden, der als Beamter, Lehrer, unabhängiger Händler tätig ist. Heute kommen die vielen Kreativberufe hinzu. Den Angehörigen der Mittelschicht kommen historisch eine gewisse Souveränität über die eigene Person und Persönlichkeitsrechte zu. Die bürgerliche Mittelschicht fungierte lange als Nährboden für den Liberalismus.
In der Soziologie wird die hierarchische Dreiteilung in Ober-, Mittel- und Unterschicht verwendet und in der Regel an der Einkommensstatistik festgemacht. Der Vorteil dieser Einteilung scheint prima vista recht gut verständlich, so dass bis heute auch Politik mit den Ständen gemacht wird. Beispielsweise wird mit dem Verschwinden der Mittelschicht (des Mittelstands in der Schweiz) politisiert. Die Soziologie verwendet schon seit den 60er Jahren differenziertere vertikale und horizontale Modelle der gesellschaftlichen Zusammensetzung.
Geschichte der Mittelschicht
Die Mittelschicht wird bereits bei den antiken Griechen thematisiert. Aristoteles schrieb: «Der Staat, der auf der Mittelschicht fußt, ist genug entfernt von zwei Extremen: der Regierung der Reichen und der Regierung der Armen» (Politics IV.11). In der liberalen Tradition hat der Mittelstand mit der Möglichkeit zu tun, dass Bürger frei sind, eine wirtschaftliche Tätigkeit aufzunehmen (Unternehmertum, Entrepreneurentum). Zum Beispiel hat der Philosoph John Locke einen Zusammenhang zwischen politischer Freiheit und dem Recht, sich als freier Unternehmer zu betätigen, geäussert. Diese liberale Sicht unterschlägt die Tatsache, dass auch das wenig unternehmerische Beamtentum zum Mittelstand gezählt wird.
Die Mittelschicht (oder die Mittelschichten einzelner Staaten) stehen im frühen 19. Jahrhundert meist im Zetrum wichtiger gesellschaftlicher Entwicklungen, die in der Summe zur Modernisierung führen: Verbürgerlichung der Gesellschaft, freies Unternehmertum, Schaffung einer Öffentlichkeit, Reformen aller Art.
In der Zeit nach dem Zweiten Weltkrieg erstarkte in den USA und in Zentraleuropa der Mittelstand in vorher unbekanntem Mass. Diese Entwicklung war mit den politischen Programmen mit sozialer Sicherheit und Wohlstand für Viele verbunden. Mit dem Erstarken der Mittelklasse schwand der Einfluss extremer politischer Gruppierungen, die in der ersten Hälfte des 20. Jahrhunderts für Unruhe sorgten.
Seit spätestens der Jahrtausendwende schwindet die starke Mittelklasse in den USA. In Europa ist die Entwicklung nicht so drastisch, obwohl das stark länderabhängig ist (vergleiche die Zahlen zur Einkommensungleichheit der Bundeszentrale für politische Bildung). In den USA stirbt die Mittelklasse in einem offenbar auch wörtlichen Sinn – siehe Was geschieht mit der amerikanischen Mittelklasse?). Die Einkommensverteilung in den USA nimmt erschreckende Züge an (siehe: Wealth Inequality in America – Seit der Publikation dieses Videos geriet die Einkommensverteilung noch mehr ins Ungleichgewicht!). Erklärungen für das Verschwinden der Mittelklasse gibt das Video Why The Middle Class Is Shrinking Fast (EPB Research, 20. September 2022), das die Staatsverschuldung seit den 1980er Jahren als Haupteinfluss nennt. Als es dem Mittelstand am besten ging, gab es einen Anstieg der Produktivität (die Frucht der zweiten industriellen Revolution, des Fordismus und Taylorismus) sowie der Population (Babyboom). Dies schlug sich direkt auf die Erstarkung des Mittelstands nieder. Seit die Staatsverschuldung ansteigt, geht die Entwicklung einher mit einem Rückgang der Produktivität. Krisen der Staatsverschuldung wurden mit einer Senkung des Zinsniveaus beantwortet, statt die Ursachen der Staatsverschuldung zu bekämpfen. Die Oberklasse hat ihr Geld mit der Kapitalrendite in Schwellenländern verdient. Die Mittelklasse hat ihren Reichtum zugunsten eines neuen Mittelstandes in diesen Schwellenländern verloren. Wenn man die Schwächung des Mittelstandes global betrachtet, sind die Nutzniesenden der Mittelstand ehemaliger Entwicklungs- und Schwellenländer und Migrant*innen. Die Zinspolitik half den Investoren, aber nicht der Wirtschaft und der Verlierer ist der Mittelstand. Gegenwärtig ist die Schuldenlast zu hoch, die Produktivität zu gering und die Börsenkurse zu übersteuert. Damit droht ein Kolaps der Wirtschaft, eine Stagflation, die man jetzt (2022) besonders mit den Lasten des Kriegs in Europa deutlich merkt. Mit zunehmenden Unsicherheiten (der Wirtschaft aber auch auf dem Immobilienmarkt – immer weniger Leute können sich noch ein Eigenheim leisten) hat der Mittelstand weniger Kinder.
Eine weitere Vermutung ist, dass die Schwächung des Mittelstands mit dem Verschwinden der Industrie zu tun hat. Die produktive Industrie, die mittlerweile fast ganz nach Fernost ausgelagert ist, garantierte während Jahrzehnten ein Einkommen für Viele, auch für den Mittelstand, der von qualifizierter Lohnarbeit abhängig ist. Mit dem Verschwinden der Industrie übernahm der Finanzsektor die gesamte Wirtschaft des Westens und richtet die Misere an, die in den genannten Videos gezeigt wird.
Mit dem Brexit begab sich das Vereinigte Königreich wohl in eine ähnliche Entwicklungsspirale wie die USA.
Krise des Mittelstands
Der Mittelstand ist allein deshalb eine permanente Krise, weil er nach unten und oben sehr offen ist und Personen und Familen öfter mal aufsteigen (kleine Unternehmer, deren Firmen zu Konzernen wachsen) oder abrutschen (bei Wirtschaftskrisen).
Die Krise der amerikanischen Mittelschicht besteht heute darin, dass die Chancen geschwunden sind, dass die Soziale Sicherheit, die Jobsicherheit und die Aufwärtsmobilität ein Ding der Vergangenheit sind. Die Jobsicherheit hat nicht nur den Lebensstandard, sondern auch das Studium des Nachwuchses garantiert. Da die heutige Mittelschicht nicht mehr an ihren sozialen Aufstieg glaubt, bleibt nur noch die Hoffnung auf den Erfolg der Kinder. Erschwingliche Bildungskosten dürften ein wichtiger Faktor für den Erhalt des Mittelstands sein. Sodann die gerechtere Verteilung der Unternehmenseinkommen zwischen den CEOs und den Angestellten.
Rolle der Mittelschicht im Klassenkampf
Karl Marx sagte voraus, dass der Klassenunterschied zu Revolutionen führt und die industrialisierte Gesellschaft sich zum Sozialismus und schliesslich zum Kommunismus weiterentwickeln würde. Die Prognose von Marx ignorierte (im Sinn von sah nicht voraus), dass der Kapitalismus eine starke Mittelschicht hervorbrachte, die stabilisierend in den sozialen Konflikt eingriff.
Werte der Mittelschicht
Der Mittelschicht kommt eine wesentliche Rolle bei der Rationalisierung der Gesellschaft zu. Die mittleren Einkommen stehen in der Regel für meritokratische Ideale und für gesellschaftliche Mobilität. Man ist arbeitsam, weil und wenn man mit seinem Fleiss etwas erreichen kann (ein Eigenheim, sozialer Status, bessere Ausbildung der Kinder etc.). In den USA schlug sich diese Ideologie als Amerikanischer Traum («märchenhafter Aufstieg vom Tellerwäscher zum Millionär») nieder.
Die Mittelschicht wurde auch negativ beschrieben. Ihr wurde nicht nur Fleiss, Unternehmertum und Schaffung von politischem Gleichgewicht zugeschrieben, sondern auch Sozialchauvinismus («Nach oben buckeln und nach unten treten»). Ausserdem erstickte die Dominanz der Mittelschicht die Gesellschaft in einem oft als repressiv empfundenen, wenig freiheitlichen Konformitätsdruck.
Mittelklasse und Populäre Musik
Eine sicherlich nicht ganz richtige Zuordnung von vertikalen Gesellschaftsklassen zu musikalischen Geschmäcken besagt, dass Kunstmusik den Geschmack und die Lebensweise der Oberklasse, Populäre Musik den der Mittelklasse und Folklore den der Unterschicht reflektiert. Wenn das so wäre, müsste die Populäre Musik mit der Mittelschicht verschwinden. Die Entwicklung geht aber insofern in die entgegengesetzte Richtung, als Populäre Musik immer mehr ein Allgemeingut geworden ist, so allgemein, dass jede Tageszeitung darüber berichtet und rezensiert, wo dies früher nur Fachzeitschriften getan haben. Kunstmusik und Populäre Musik koexistieren heute im öffentlichen Raum.
Möglicherweise verdienen erfolgreiche populäre Künstler*innen heute ein Vielfaches von früher, so dass sich die gesellschaftliche Einkommensverteilung hier abbildet. Aber das ist nur eine Vermutung. Keine Vermutung ist hingegen, dass Verteilungsprobleme zwischen Künstler*innen, Label und Streaming Services ein grosses Thema sind. Aber solche Verteilungsprobleme gab es schon früher, nur hiessen die Parteien anders, nämlich Verlag, Label und Künstler*innen (siehe Digitale Musikwirtschaft).
Mittelschicht in der Literatur
Sinclair Lewis schrieb in den 1920er Jahren Romane, die die Mittelschicht als Satire darstellte: Main Street (1920), Babitt (1922) und Arrowsmith (1925). In deutscher Sprache war die «Dreigroschenoper» eine Satire auf das Kleinbürgertum. «Biedermann und die Brandstifter» von Max Frisch und viele mehr.
Links
– Pavithra Mohan: How our definition of middle class has – and hasn't – changed in 100 years (Fastcompany, 14. Mai 2019)
– Mills, C. Wright: White collar; the American middle classes (Oxford University Press, 1951). Online im Internet Archive.
Minstrel Show Tag
Minstrel Shows waren seit den 1840er und bis in die 1870er Jahre die wichtigste Form der populären Unterhaltung in den USA. Entstanden ist diese populäre Kunstform in den wirtschaftlichen Depressionsjahren (1937–1943). Damals fanden Schauspier*innen nur schwer Auftrittsmöglichkeiten. Die strukturell einfache Minstrel Show war für viele ein Ausweg aus ihrer Misere.
Der erste wichtige Minstrel war Dan Emmett, der eigene Songs schrieb. Emmett war der Sohn eines Schmieds, der in der Armee «fife and drums» (Trommeln und Pfeifen) lernte, dann im Zirkus und in Varietés als Blackface-Künstler auftrat. Ab 1843 trat er mit seiner Gruppe, den Virginia Minstrels in der Bowery auf, dem damaligen Vergnügungsviertel New Yorks (zusammen mit Five Points) - ein Slum mit Vergnügungs-Etablissements wie Bordellen, Biergärten und Volkstheatern. Die Virginia Minstrels traten mit Banjo, Violine, Kastagnetten («bones»), Tambourine («tambo») auf. Ihre Show wurde «Ethiopian Concert» genannt. Der Kern des Publikums solcher Shows bildeten urbane Industriearbeiter.
Diese Minstrel Show wurde ein Monat später in Boston aufgeführt und bereits im Mai und Juni 1843 in Liverpool, Manchester und London. In dieser Zeit wurden die Virginia Minstrels in der amerikanischen Heimat bereits kopiert. Als die vier Entertainer wieder nach Hause kamen, formierten sie sich in anderen Ensembles. Aber die Show als solche war nun ein beliebtes Format geworden, das viele Jahre lang bestehen sollte.
Show und Inhalt
Eine Minstrel Show oder ein «Ethiopian Concert» wurde stets von mindestens vier Entertainern gegeben, die sich als schwarze Plantagenarbeiter verkleideten und sich die Haut mit Asche aus Kork dunkel färbten. Jeder hatte seine bestimmte Rolle und sein Instrument. Diese Vierer-Formation war ei in sich geschlossenes Ding. Die Entertainer sassen in einem halbrunden Kreis mit Blick aufs Publikum. Sie konnten sich auch gegenseitig sehen. So führten sie komische Nummern, Lieder und Tänze auf. Es waren am Anfang durchwegs weisse Schauspieler mit geschwärzten Gesichtern und Händen, die Afroamerikaner*innen nachäfften. Mit der Zeit gab es auch afroamerikanische Schauspieler oder Minstrel-Truppen, die die selben stereotypen Rollen spielten. Minstrel Shows zeigten Afroamerikaner*innen als hinterwäldlerisch, faul, abergläubisch, naiv, und sorglos in den Tag hinein lebend.
Minstrel Shows verliefen stereotyp: Die verschiedenen Truppen sangen mehr oder weniger die selben Lieder, machten die selben Witze und führten die selben Kunststücke auf. Minstrel Shows waren die erste amerikanische Massen-Unterhaltung, ein popkulturelles Ereignis, das im ganzen Land unter den einfachen Leuten bekannt und beliebt war, 100 Jahre bevor es das Fernsehen gab!
Klaus Kuhnke beschreibt die Show wie folgt: «Die Darsteller wurden im Halbkreis aufgestellt, der Tamburinspieler, der oft auch Banjo spielte, an einem, der Knochenrasselspieler am andern Ende. Der Leiter stand in der Mitte. Der erste Teil der Show bestand aus lustigen Dialogen und Spässen zwischen dem Leiter und den nach ihren Instrumenten benannten «Mr. Tambo» und «Mr. Bones», sowie verschiedenen Liedern und Tänzen, bei denen die übrigen Schauspieler mitwirkten. Im zweiten Teil – ‹olio› genannt – konnten die einzelnen Darsteller ihre Talente zur Schau stellen. Den Schluss bildete eine gemeinsame Gesangs- oder, was meist der Fall war, Tanznummer: der ‹Walk Around›.» (S. 125). Ein unvollständiges Bild vermittelt ein Dokument der Library of Congress, das ein spätes Reenactment einer Minstrel Show ist, um diese auf Tonträger und Film aufzunehmen.
Einige Namen
Nach den «Virginia Minstrels» wurden die «Christy Minstrels» berühmt, deren Leiter Edwin P. Christy hiess und dem das Verdienst zukommt, die Minstrelshow standardisiert zu haben. Die Christy Minstrels waren noch in den 1960er Jahren namengebend für eine Folk-Revival Gesangsgruppe, die sich New Christy Minstrels nannte. Als «Vater der Minstrel Show» gilt Thomas Dartmouth Rice. Rice spielte einen alten Afroamerikaner, den er in seinem Act «Jim Crowe» nannte, ein tanzender und singender Schwarzer.
Die Jim Crow Figur
Die Jim Crow Figur wurde zum umstrittenen Symbol des amerikanischen Rassismus. Zwar wurde die Sklaverei nach dem Amerikanischen Bürgerkrieg de jure abgeschafft, aber trotzdem blieben Afroamerikaner*innen bis mindestens zum Zweiten Weltkrieg de facto Bürger*innen zweiter Klasse. Jim Crow steht so für die Scheinheiligkeit einer Gesellschaft, die sich Gleichheit auf die Fahne schrieb, aber de facto seine Bürger seggregierte.
Erfolg der Minstrel Show
Minstrel Shows waren äusserst beliebt – nicht allein weil das Publikum rassistisch war. Es gab weitere Gründe. Die Industrialisierung zog viele schwarze und weisse Landarbeiter in urbane und industrialisierte Gebiete des Nordens, wo sie in den Fabriken unter teils noch schlechteren Bedingungen arbeiteten als Taglöhner in der Landwirtschaft. So schaffte die Industrialisierung und ihre Lebensform bei Schwarz und Weiss ein nostalgisches Heimweh nach einer traditionellen ländlichen Gesellschaftsordnung. Einer der erfolgreichsten Minstrelsongs, «Carry Me Back To Old Virginia», bringt genau das zum Ausdruck (z.B. die Version von Alma Gluck aus dem Jahr 1914 Carry Me Back To Old Virginny).
Minstrel Shows nach dem Amerikanischen Bürgerkrieg
Die Minstrel Shows haben sich im Lauf der Zeit verändert. Nach dem Bürgerkrieg wurden sie grandioser und opulenter in der Aufführung. Truppen wie die von Charles Callender oder J.H. Haverly gingen schon deutlich in die Richtung von Vaudeville Shows. Komische und satirische Lieder handelten nun nicht mehr allein von Afroamerikaner*innen, sondern von irischen, deutschen oder chinesischen Immigrant*innen oder von Natives. Ausserdem wurden nun Shows mit afroamerikanischen Sängern, Tänzern und Schauspielern produziert. Die späte Minstrel Show bot begabten Afroamerikanern die Möglichkeit, professionelle Künstler zu werden.
Die erste afroamerikanische Minstrel Formation war Lew Johnson's Plantation Minstrel Company. Interessanterweise traten auch Afroamerikanische Darsteller in Blackface auf. Zudem schminkten sie sich die Lippen rot und umrandeten sie weiss, so dass ihr Mund eine groteske Grösse erhielt. Sie übernahmen auch die Stereotypen der weissen Minstrels.
Die Minstrel Show wurde nun wieder ein Exportprodukt. Haverlys Truppe trat 1881 in England auf. Charles Hicks, ein Afroamerikaner, stellte eine Truppe zusammen, die auf eine Welttournee ging.
Minstrel Songs
In den frühen Minstrel Shows wurden vor allem zwei Typen von Liedern gesungen: Charakter Songs (diese hatten früher eine rassistischen Bezeichnung), und «plantation songs». Die ersteren sind Portraits von afroamerikanischen Charakteren, über die das Publikum lachte. Sie waren alles andere als frei von Rassismus. Die Plantation Songs verklärten hingegen das Leben im ruralen Süden, wo man am Tag hart arbeitet und in der Nacht tanzt und feiert. Diese Songs vermittelten das Bild eines sorgenfreien Lebens weit ab der harschen Realität.
In den späteren Minstrel Shows gab es eine Synthese der beiden ersten Typen und einen neuen Typ, die Minstrel-Spirituals. Dieses Lied-Genre wurde so erfolgreich, dass es bald Shows mit nur Spirituals gab. Teilweise wurde dabei die afroamerikanische Harmonik in eine europäische transkribiert. Trotzdem musste der Effekt, dem Erfolg der Aufführungen nach zu schliessen, überwältigend gewesen sein.
Die erfolgreichsten Minstrelsongs komponiert hat Stephen Forster, dessen Lieder von Christy für 10–15 Dollar abgegolten wurden.
Der erste erfolgreiche afroamerikanische Songwriter, James Bland, war ebenfalls ein Kind der späten Minstrel Show. Bland stammte aus einer Mittelstandsfamilie (sein Vater war auch ein Pionier, der erste afroamerikanische höhere Postbeamte). James Bland sah als junger Mann eine Minstrel Show und gab die Schule auf, um in die Theaterwelt einzutauchen. Er schrieb das bekannte Lied «Carry Me Back to Old Virginny».
Unterschied zu den späteren Vaudeville und Variety Shows
Der Unterschied zu den späteren Vaudeville Shows oder den Unterhaltungs- bzw. «Variety»-Shows im Fernsehen besteht vor allem darin, dass in einer Minstrel Show eine Künstlergruppe zusammen auftritt. Bei Vaudeville- oder TV-Shows gibt es keine festen Künstlergruppen mehr, nur noch spezialisierte Acts, die nacheinander in einer Nummernshow auftreten.
Die Minstrel Show aus der Gegenwart betrachtet
Die Minstrel Show und die Blackface Theaterpraxis gelten in der gegenwärtigen öffentlichen Debatte als absolutes No-Go. Die Minstrel Show ist eine rassistische Kunstform. Punkt. Es gab z.B. 2018 eine Kontroverse darüber, ob Blackface an Halloween ok oder rassistisch sei. Die öffentliche Meinung sieht es klar als rassistisch. Es ist nicht lustig und es verletzt.
Die Geschichte der Minstrel Show ist indes faszinierend. An ihr lässt sich vieles ablesen, was die moderne, urbane, industrialisierte Gesellschaft ausmacht: Produktion und Arbeit, Migration, soziale Mobilität, Seggregation, Populäre Kunst, Humor, soziale Distinktion, Zensur, Medien, Öffentlichkeit, um ein paar Stichworte zu nennen. Die Minstrel Show ist ein wunderbares Studienobjekt, um viele Aspekte der modernen Gesellschaft zu verstehen. Bücher wie die von Eric Lott oder Nick Tosches zeigen die Show im Spannungsfeld multipler gesellschaftlicher Kräfte in einer schwierigen und umkämpften Zeit.
Wirkungsgeschichte
Von der Faszination des Folk-Revivals mit der Minstrel Show war oben kurz die Rede. Es gab nicht nur in Amerika die New Christy Minstrels, sondern auch in der Schweiz, in Zürich Die Minstrels, gutmütige, haarige Hippies, die Folklore mit Geige und Gitarre vortrugen. Die Folkies der 1960er und 1970er Jahre hielten die Minstrel Show interessanterweise für amerikanische Folklore und konfundierten damit die Kategorien: Folk ist nicht Pop. Minstrel Shows gehören zu den Populären Künsten, mit denen viel Geld verdient wurde. Die Hippie-Minstrels in den USA und in Europa standen hingegen für eine Musik, die möglichst wenig kommerziell zu sein hatte. Ausserdem sozial engagiert. Den Rassismus der Minstrel Show hat man damals nicht thematisiert – offenbar gar nicht wahrgenommen!
Ein aktuelles Beispiel von Minstrelsy-Humor ist die französische Komödie Intouchables, in der Diss, ein junger afrikanischer Immigrant aus der Vorstadt ziemlich genau die stereotypen Eigenschaften von Jim Crow hat. Seine Art bringt ihn aber gegen jede Logik in die aussergewöhnliche Situation, ein Pfleger eines querschnittgelähmten Aristokraten zu werden. Dieser stellt Diss an, weil er nicht vom Mitleid getrieben ist. Aus einer gegenseitigen Faszination entsteht eine Freundschaft. Und genau diese von Faszination angetriebene Annäherung war auch eine der Funktionen der Minstrel Show. Schwarz und Weiss begegnen sich im Theater und auf der Bühne auf ungefährliche, humoristische Weise. Es ist Humor auf Kosten der Unterlegenen, gewiss. Aber es ist der Anfang einer Annäherung, einer Integration, einer Desegregation mit langer, noch immer nicht abgeschlossener Geschichte.
In der Populären Musik lebte die Verbindung von Humor und Musik in Varietées und im Kino weiter. In der Pop und Rock Musik gab und gibt es nur wenige Acts, die beide Ausdrucks- und Kunstformen beherrschen. Bette Midler war jemand, die das konnte, das Rat Pack oder Tom Waits.
Literatur
– Hans Nathan: Dan Emmett and the Rise of Early Negro Minstrelsy. University of Oklahoma Press, 1977. Ausleihbar im Internet Archive
– Carl Frederick Wittke: Tambo and Bones: A History of the American Minstrel Stage, Praeger, 1971. Ausleihbar im Internet Archive
Querverweise
– zum Genre Minstrelsy
Minimoog Tag
Der Minimoog war der erste portable modulare Synthesizer. Er ist monophon, d.h. es wird von mehreren gedrückten Tasten immer nur die tiefste gespielt. Entwickelt wurde er von Robert Moog. Auf dem Markt erschien er 1970. Der Minimoog war der erste modulare Synthi, den Musiker ohne groses Budget vermochten und den sie ohne Hilfe von einem Techniker bedienen konnten. Er war zudem das erste Instrument, das ein «Pitch Wheel» hatte.
EIngesetzt wurde der Minimoog in Disco, Fusion und Funk, um synthetische Bassläufe zu erzeugen (Jive Talkin', Chameleon, Sir Duke). Bei Abbas SOS stammt das Arpeggio vor dem Chorus vom Minimoog.
mimesis Tag
Mimesis (altgriechisch μίμησις, mímēsis, deutsch «Nachahmung», Wortherkunft: durch Gesten Wirkung erzielen) ist ein Begriff, der die Kunsttheorie und Ästhetik seit der Antike beschäftigt.
Platon
Bei Platon ist Kunst etwas, das am Wahren teilhaben kann und soll. Als ein Abbild von einem Abbild hat sie aber in der Ontologie bzw. Hierarchie des Wesentlichen einen schlechte Position: Das Wesentliche in Platons Denken sind die «Ideen», von denen die Wirklichkeit nur ein Abbild ist. Die Kunst indes ist ein Abbild der Wirklichkeit und damit das Abbild eines Abbilds.
Bei Platon kommt die «μίμησις» dem Drama bzw. der Komödie zu, «Diegesis» der Lyrik. Das Epos sei gemischt. Seine Unterscheidung ging auch als «zeigen» (primäres Reden, reden nach der Natur) vs. «erzählen» (sekundäres Reden, nacherzählen, negativ Gerüchte streuen) in die Erzähltheorie ein.
Aristoteles
«Mimesis» ist ein wichtiger Begriff in der Poetik von Aristoteles. Sie zieht durch die abendländische Geschichte und an ihren Bedeutungsverschiebungen lässt sich Ästhetik- und Kunstgeschichte verstehen. Aristoteles begriff den Menschen als ein mimetisches Lebewesen (Poetik IV, 1 bis 3 – neben dem, dass der Mensch bei ihm auch vernunftbegabt und dadurch zur Wahrheit fähig ist, und dass der Mensch ein politisches Wesen ist). Damit meint Aristoteles, dass der Mensch erstens fähig ist, durch Nachahmung Kunst zu produzieren. Wer die Nachahmung über erste Stegreifversuche vervollkommnet, schafft Kunst. Zweitens ist der Mensch fähig, sich an der Nachahmung zu freuen, weil er im Nachgeahmten Bekanntes wiederentdeckt. Dieses zweitere ist die unterhaltende Dimension der Kunst, das «Wohlgefallen», das sie erzeugt.
Der Nachahmungsbegriff ist aber zahm, wenn man ihn vor allem Alltagssprachlich versteht im Sinn von «jemand ahmt jemanden oder etwas nach». Griffiger wäre seine Wiedergabe mit dem Begriff der Repräsentation (wie z.B. in der Semiotik). Die Tragödie lässt sich damit als eine künstliche Repräsentation einer wirklichen Begebenheit oder Handlungskette verstehen. Im Neuaristotelismus des 20. Jahrhunderts (Martin Heidegger, Hermeneutik) wird Mimesis als ein «offenbaren» oder «verwandeln» wiedergegeben – ein «aus dem Verborgenen hervortreten lassen». Nachahmung heisst damit: «Verwandlung in eine scheinhafte Darstellung, die das in der Realität Verborgene als Möglichkeit hervortreten lässt» (siehe Gert Ueding: «Grundriss der Rhetorik», Metzler, 1986, S. 22).
Kant
In der Kritik der Urteilskraft von Immanuel Kant wird der klassische Mimesis-Begriff radikal modernisiert. Künstler*innen wirken als Genie und nicht als Nachahmer*innen der Natur (qua Schöpfung Gottes). Kunst zu produzieren ist ein Schöpfungsakt des modernen Subjekts, das der Natur seine eigene Gesetze bzw. Regeln aufzwingt. Damit überwindet Kant sowohl die aristotelische «mimesis» als auch die «imitatio». Das Genie hat eine Naturbegabung, grosse Einbildungskraft und Originalität. Es ist nicht blosses Organ der Natur (die alte «mimesis»). Es ist ebenso wenig ein Imitator der Kunsttradition. Die Kunstschaffung ist «Hervorbringung durch Freiheit».
Adorno
Die Kunst des 20. Jahrhunderts ist zum grossen Teil radikal un-mimetisch. Bei Theodor W. Adorno bleibt «mimesis» indes ein wesentliches Moment. Adorno sagt, dass moderne Kunst nicht auf Darstellbarkeit ausgerichtet sei. Sie bestehe aus «Mimesis und Konstruktion». Mimetisch an ihr sei, dass sie Stoff aus der Wirklichkeit beziehe, konstruktiv, dass sie den Stoff (das Material) auf gelungene Weise andersartig zusammenfüge und so eine eigene, in sich geschlossene und autonome Welt erschaffe.
Derrida
Für Jacques Derrida gibt es kein Ausserhalb des Textes: «il n’y a pas un en-dehors-texte». Damit leugnet er nicht die Wirklichkeit, sondern betont, dass es keinen Zugriff auf die Wirklichkeit gibt, der ausserhalb eines Textes stattfinden könnte. Die abendländische Philosophie sei voller Platonismen: Urbild und Abbild, Sein und Schein, Natur und Kultur, primäre und sekundäre Wirklichkeit, Realität und Sprache. Wenn man anerkennt, dass es dieses Ausserhalb des Textes nicht gibt, dann verbietet sich jeder Rekurs auf eine Eigentlichkeit, Ursprünglichkeit, Authentizität, Natürlichkeit etc. Diese Begriffe sind diskursive Konstrukte und damit willkürlich, relativ, konventionell. Die «mimesis» hat dadurch einen anderen Sinn: Statt auf eine Wirklichkeit ausserhalb der Zeichen zu verweisen, verweisen Zeichen immer nur auf andere Zeichen. Worte, Bilder, Musik sind ein unendliches Spiel von Zeichen.
Girard
Der Literaturwissenschaftler und Religionsphilosoph René Girard erweitert den Mimesis-Begriff zur anthropologischen Kategorie oder Universalie. Girard geht vom Begriff des Begehrens aus und sagt, dass es folgende Struktur aufweise: A begehrt etwas (B), weil C es bereits begehrt. Das Begehren ist nach Girard «triangulär und mimetisch». Das so gefasste Begehren präge die gesamte Kultur von Anfang an. Es sei die Basis von Eifersucht, Neid, Streit und Krieg.
Der Mensch wisse nicht wirklich, was er will. Aggressiv werde er nicht, weil er etwas nicht hat, weil er in seiner Freiheit behindert wird, sondern weil er es nicht lassen kann, das Begehren des anderen mimetisch nachzuahmen. Und so sind Bedürfnisse und Begierden kulturell geformt und würden sich nach dem richten, was andere für begehrenswert halten bzw. was eine Zeit, als Mode oder Ideologie hypostasiert.
Mimesis und Musik
Wenn Musik mimetisch ist: Was aus der Natur soll sie abbilden, nachahmen, repräsentieren? Tierlaute? Das Rauschen der Blätter im Wind? Die menschliche Sprache? Der Lärm der Grossstadt und das Tosen des Krieges (so das Programm der Futuristen)? Die Naturgesetze der Musik (Harmonik der Töne)?
Querverweise
– Imitation
Migration Tag
Seit der neolithischen Revolution vor 5000–10000 Jahren wurde der Mensch sesshaft und begann Ackerbau und Viehzucht zu treiben, legte Vorräte an. Vor ihr lebte er als Jäger und Sammler. Völker, die seither auf Wanderschaft sind gelten entweder als rückständig oder als vertrieben, was mit völkerrechtlichen Katastrophen einher geht (Konflikte, Kriege, Progrome).
In der modernen Gesellschaft entstehen aber weitere Gründe, weshalb Menschen auf Wanderschaft sind. Man zieht an die Orte, die einem eine Lebensgrundlage verschaffen können oder die einem mehr Chancen bieten. Von Migration sind nicht nur die Ärmsten der Armen betroffen, sondern auch die Privilegierten, die sie als Option wahrnehmen, ein noch besseres oder interessanteres Leben erlangen zu können. Multinationale Konzerne, Kunst und Wissenschaft verlangen oft von ihrem «Personal», dass es einen Lebensort gegen einen anderen eintauscht. Auf diese Weise wird Migration zu einem «Normalfall» in der modernen Gesellschaft.
In einem NZZ-Artikel im Sommer 2018 wurden sieben Expat-Typen genannt:
- Optimierer: Suche nach einer besseren Lebensqualität, finanzielle Gründe oder Politik, Religion und persönliche Sicherheit und Vorteilen
- Entsandte: Entscheidung kam vom Arbeitgeber
- Romantiker: Romantiker ziehen aus Liebe zu einem Partner um und leben in deren oder dessen Heimat
- Karrieristen: Arbeit im Ausland wird auf eigene Initiative gefunden, oder Firma aus dem Ausland hat den Expat abgeworben
- Entdecker: Abenteuer, Wunsch, in einem bestimmten Land oder einer bestimmten Stadt zu leben
- Mitreisende Partner: Der Partner/die Partnerin zieht für seine/ihre Arbeit um
- Student/-innen: Besuch einer Schule oder einer Universität oder die Verbesserung der Sprachkenntnisse
Migration und Kultur/Musik
Migration spielt in der Entwicklung von Musikgenres eine Rolle. Migrationsströme tragen Musiker/-innen von Ort zu Ort. Sie tragen dazu bei, dass lokale Musikarten sich mit der Migration ausbreiten. In den USA sind folgende Migrationsströme für die Musikgeschichte im 20. Jahrhundert wichtig:
- Puritanische Flüchtlingsströme: ab 1630 emigrierten etwa 20'000 englische Puritanerinnen und Puritaner nach Amerika, um der zunehmenden Repression durch die Anglikanische Kirche zu entgehen. Der Puritanismus forderte eine Reformation der Anglikanischen Kirche, doch diese konnte ihre Macht erhalten und setzte sich mit Repressionen gegen Vertreterinnen und Vertreter des Puritanismus durch.
- Deutsche und irische Migration: zwischen 1840 und 1880 kamen aus den genannten Ländern unzählige Migrant/-innen in die USA. Sie verdreifachten die Bevölkerungszahl von 1820 in etwas mehr als einer Generation.
- New Immigration: Vor allem osteuropäische Juden (Ashkenazi) wanderten ab 1880 und im frühen 20. Jahrhundert nach den USA aus, manche um Progromen zu entfliehen. Sie siedelten sich bevorzugt in Städten an und lebten teils in furchtbarer Armut. Ab 1924 etablierten die USA Einwanderungsquoten für Leute bestimmter Herkunft.
- Zwischen 1933 und 1941 kam es zu einer transatlantischen Migration von europäischen Künstler*innen und Wissenschaftler*innen nach Amerika. Der Grund waren das Aufkeimen totalitärer Systeme und deren Repression, denen Jüdinnen und Juden sich ausgeliefert sahen. So flüchteten Igor Stravinsky und Sergei Rachmaninov, Arnold Schönberg und Paul Hindemith, Arturo Toscanini, Bela Bartók, Albert Einstein, Rudolf Carnap, Max Horkheimer, Theodor W. Adorno, Hannah Arendt oder Herbert Marcuse. Einige von ihnen fühlten sich in den USA nicht wohl. Sie kamen aus Ländern, wo sie als Intellektuelle oder Künstler*innen privilegiert waren. In den USA waren sie indes Niemande und mussten auf viele Privilegien verzichten, die sie in der alten Heimat genossen. Das führte z.B. bei Horkheimer und Adorno zu einer ambivalenten Einstellung zu den USA. Einerseits waren sie froh, dass sie in die USA emigrieren konnten und eine Anstellung an einer amerikanischen Universität erhielten. Andererseits kritisierten sie die in den USA herrschende Konsum- und Massenkultur. Nach dem Zweiten Weltkrieg gingen Horkheimer, Adorno und Friedrich Pollock andere wieder nach Deutschland zurück und eröffneten das Institut für Sozialforschung neu. Dieses Institut und die von ihm ausgehende kritische Theorie entwickelte einen mächtigen Einfluss auf die Neue Linke, die in den 1960er Jahren entstand. Die geschilderte Ambivalenz gegenüber den USA war auch dieser Theorie eingeschrieben.
- Great Migration: Die Blues und Jazz-Szenen industrialisierter Städte im US-amerikanischen Norden, vorab Chicago, Detroit, speisten sich aus ehemaligen Landarbeitern aus dem Süden: Muddy Waters
- Dust Bowl Migration: Eine durch die Naturkatastrophe aber auch durch Armut getriebene Migration von Bauern aus dem Süden und Midwest nach Westen, vor allem nach Texas und Kalifornien: T-Bone Walker
- Hippie Youth Migration: 1967 migrierten ca. 100'000 Jugendliche nach San Francisco. Sie waren auf der Flucht vor als eng empfundenen familiären und schulischen Lebenssituationen. Die Stadt hatte damals ca. 730'000 Einwohner.
Das Musikzentrum New York speiste sich bis nach dem zweiten Weltkrieg zum grossen Teil aus jüdischen Immigranten: Emil Berliner, der Erfinder der Schallplatte, Kurt Weil, Frederick Loewe, Irving Berlin, Jerome Kern, George Gershwin sowie sein Bruder Ira Gershwin waren jüdisch. Der Sänger Al Jolson war der Sohn eines jüdischen Kantors. Auch die Entrepreneure der entstehenden amerikanischen Filmindustrie in Los Angeles waren jüdisch: Adolph Zukor, Louis B. Mayer, Samuel Goldwyn sowie die vier Warner Brothers: Jack L. Warner, Harry Warner, Albert Warner und Sam Warner. Schliesslich waren die Musikverlage der Tin Pan Alley zum grossen Teil in jüdischer Hand.
Three-Generation-Pattern
Jim Curtis spricht in Rock Eras von einem «Three-Generation-Pattern», dem zum Beispiel das Leben von Al Jolson entspricht: Der Grossvater lebt in grosser Armut im jüdischen Stettel. Der Vater wandert nach Amerika aus und der Sohn hinterlässt am Ende seines Lebens ein vermögen von 4 Millionen Dollar. Der mit dem sozialen Aufstieg einhergehende Wertewandel erzeugt grosse innerfamiliäre Konflikte. Diese werden im Musikfilm The Jazz Singer thematisiert.
Das «Three-Generation-Pattern» besagt, dass sozialer Erfolg oft in der zweiten Generation nach einer Armutserfahrung und eine Generation nach einer Migrationserfahrung zu Stande kommt. Die Biografien und Familiengeschichten von Martin Luther, Adolf Hitler oder Jesef Stalin folgen diesem Muster.
Immigration in den USA
1907 kamen nicht weniger als 1'285'349 Migrant*innen in die USA, zumeist aus Europa. 1970 besuchten 2'898'000 Amerikaner Europa (1'567'000 allein im UK). 1972 waren es fast 4 Millionen.
– Statista: Anzahl europäischer USA-Auswanderer in den Jahren 1820 bis 1880
– Statista: Veränderung der Anzahl der Immigranten¹ in der US-Bevölkerung je Dekade von 1850 bis 2021
Migration in Europa
In Europa gab es Arbeiterströme vom armen und wenig industrialisierten Süden in den Norden: Italienische, spanische, türkische Familien, Familien aus dem Balkan, Griechen. Umgekehrt reisten viele wohlhabende Nordeuropäer in den Mittelmeerraum in die Ferien. Einige siedelten sich nach der Pensionierung dort an, um den Lebensabend im milden mediterranen Klima zu verbringen. Pioniere dieser Bewegung waren die Hippies, die sich auf dem Trail nach Indien oder Marokko auf Mittelmeerinseln wie Ibiza oder Kreta niedergelassen haben.
Miami Pop Festival Tag
1968 gab es in Miami gleich zwei Festivals unter diesem wenig charakteristischen Namen. Beide fanden im Gulfstream Park (heute Hallandale Beach), einer Pferderennstrecke statt. Das erste Festival wurde am 18. und 19. Mai 1968 von Richard O’Barry und Michael Lang veranstaltet. Etwas mehr als ein Jahr später wird der selbe Michael Lang mit dem Woodstock-Festival Rock-Geschichte schreiben. Als das Festival beworben wurde, hiess es noch «1968 Pop and Underground Festival».
Es kamen zwischen 50 und 100'000 Zuschauerinnen und Zuschauer. Auf der Bühne spielten Steppenwolf, Jimi Hendrix Experience, Mothers of Invention, Blue Cheer, The Crazy World of Arthur Brown, Chuck Berry, Pacific Gas & Electric und Three Dog Night.
Wie in Woodstock, regnete es auch während diesem Festival – und zwar so stark, dass am zweiten tag keine elektrischen Instrumente gespielt werden konnten. Jimi Hendrix hat den Moment mit einer Soundcollage auf Electric Ladyland verewigt, mit Rainy Day, Dream Away
.
Miami Pop Festival II
Das zwite Festival fand am 28. bis am 30. Dezember 1968 statt. Hier war Tom Rounds Veranstalter, der ehemalige Organisator der Fantasy Fair and Magic Mountain Music Festival auf dem kalifornischen Mount Tamalpais.
Dieses Festival hatte etwa 100'000 Besucherinnen und Besucher. Es spielten unter anderem Procol Harum, Turtles, Grass Roots, Three Dog Night, José Feliciano, Box Tops, Paul Butterfield Blues Band, Hugh Masekela, Pacific Gas & Electric, Fleetwood Mac, Richie Havens, Sweet Inspirations, Joni Mitchell, Jr. Walker And The Allstars, McCoys, Sweetwater, James Cotton Blues Band, Canned Heat, Charles Lloyd Quartet, Booker T. And the M.G.'s, Ian & Sylvia, Country Joe and the Fish, Buffy St. Marie, Steppenwolf, Amboy Dukes, Iron Butterfly, Chuck Berry, Flatt and Scruggs, Grateful Dead, Marvin Gaye, Joe Tex. Zu diesem Festival gab es ein Programmheft im Comix-Stil, das die auftretenden Interpreten als Comix-Superhelden darstellte.
Metrumwechsel Tag
Dieses Stichwort wird bei Songs vergeben, die zwischen verschiedenen Metern (oft 3/4 und 4/4) wechseln.
Metadaten Tag
Hinter einem Song wie Firework von Katy Perry stehen fünf Songwriter mit fünf verschiedenen Musikverlagen sowie das Label, in dem Fall Capitol. Alle diese Rechtsinhaber sollen kompensiert werden, wenn und wo immer dieser Song gespielt oder ein Tonträger mit dem Titel verkauft wird. Nun haben aber Verwertungsgesellschaften, Labels und Streaming Services wie Spotify oder Youtube
ihre eigenen Datenbanken, teils mit fehlerhaften Einträgen und so kann es aufgrund dieser fehlerhaften Daten passieren, dass ein Song gespielt, aber nicht oder nicht richtig abgerechnet wird. In zentralen Datenbanken verwaltete Metadaten sind nun ein mögliches technisches Mittel, um der Idealvorstellung von Musik-Executives etwas näher zu kommen, wenn es um die Verteilung der Royalties geht. Ein Projekt wie Session soll hier Abhilfe schaffen, indem Songwriter Credits bereits in der Studio-Software ProTools erfasst wird und weiter distribuiert werden kann.
Consumer Electronics
Im Konsumentenbereich gibt es zum Beispiel Roon, ein Angebot, das MP3-Archive mit Metatags versehen kann.
Links
– Dani Deahl: Metadata Is The Biggest Little Problem Plaguing The Music Industry (The Verge, 29. Mai 2019)
Mercury Prize Tag
Der Mercury Prize (alter Name: Mercury Music Prize) wird jährlich seit 1992 für das beste britische Musikalbum der jeweils letzten 12 Monate vergeben. Dieser Award ist ein Gegenstück zu den viel kommerzielleren Brit Awards.
Links
– Webseite
– Musikzimmer: Liste mit den nominierten Alben von 2021
Merchandise Tag
Zum Merchandising gehören allerlei Produkte wie Buttons, T-Shirts, Posters, Klebebilder usw.), die den Namen bzw. das Logo eines Acts, einer Band tragen. Mit Merchandise lassen sich recht grosse Gewinne erwirtschaften, weil sie zu Preisen verkauft werden, die weit über den Anschaffungskosten liegen.
Weiterlesen
– Bobby Owsinski: Top 10 Merch Items With Highest Profit Margin (Music 3.0 Blog, 2. November 2017) - die Illustration stammt aus diesem Artikel und zeigt die Gewinnspannen verschiedener Merch Produkte.
Melodie Tag
Eine Melodie oder Tonfolge besteht aus mehreren Tönen, die als Tonfolge wahrgenommen werden. Melodien haben Untereinheiten, Teile, die man Phrasen oder Motive nennt. Phrasen und Motive werden in einer Komposition wiederholt.
Ursprünglich kann man sich Melodien als Tonhöhenschwankungen im Sprechen vorstellen. Niemand spricht immer auf dem selben Ton.
Melodien können beschrieben und notiert werden. Die Tonfolge ist eine Bewegung, deren Schritte und Teilgestalten man mit Begriffen wie «Nachbarton», «Durchgangston», ‹Gestalt», «Kadenz» usw. beschrieben werden kann. Meistens aber benutzt man einzelne Tonschritte und beschreibt diese als Intervall im Rahmen einer Tonleiter.
Melodie in verschiedenen musikalischen Genres
Populäre Musik (Pop, Rock, Soul, Folk, Country, Blues etc.) verwenden Melodien im Rahmen von Struktur- bzw. Formelementen: Verse, Chorus, Bridge. Die darin verwendeten Melodien, werden vielfach repetiert, teils in Varianten. Die Melodien sind eng an die Lyrics gebunden und entsprechen ihrer Phrasierung.
Im Jazz wird hingegen von einer Melodie als «lead» oder «head» ausgegangen, die als Grundlage der Improvisation dient. Dieser «lead» ist im Traditionaljazz meist populären Songs entnommen, im Modernjazz sind sie selbst komponiert.
In der klassischen indischen Musik gibt es keine Akkordwechsel. Hier spielt sich alles mit Melodie und Rhythmus ab.
Klassische ottomanische, klassische arabische, japanische Gagaku, thailändische Musik, philippinische Musik der Kulintang Ensembles und balinesische Gamelan Musik verwenden oft Variationen einer Melodie und überlagert diese. Man nennt dies «Heterophonie».
Die westliche Kunstmusik verwendet Melodie, indem sie ein Thema oder mehrere Themen exponiert und dann Variationen davon ableitet. Dabei arbeitet sie polyphonisch, d.h. eine Komposition weist mehrere Ebenen oder Stimmen auf.
Melodica Tag
Eine Melodica ist eine Art Harmonika, die mit einer Klaviatur gespielt wird. Sie gehört in die Familie der Blasinstrumente. Der Oktavumfang ist nicht so gross, in der Regel zwei. Die eingeblasene Luft wird durch die von den Tasten gesteuerte Öffnung gelassen. Der Ton wird mit einem Plättchen erzeugt, genau wie in der Harmonika.
Links
– Staff: Toppa Top 10: Ten Classic Songs with a Melodica (Large Up, 20. Juni 2014) – Gang of Four: Ether, Crashers: Flight to Jamaica, New Order: Your Silent Face, Oasis. Champage Supernova, Depeche Mode: Everything Counts, Kinks: Sunny Afternoon, Gorillaz: Clint Eastwood, Billy Preston: Will It Go Round In Circles, Wailers: Sun is Shining, Augustus Pablo: East of the River Nile, Fantomas: The Godfather, Peter Tosh: Anti Apartheid, Hooters: And We Danced, Tortoise auf dem TNT Album.
– ilxor (Forum): 101 songs featuring a melodica (that are not by Augustus Pablo)
Mellotron Tag
Ein Mellotron ist ein elektromechanisches Tasteninstrument, dessen Tasten auf Druck ein Tonband abspielen. Mellotrone wurden von den Brüdern Leslie, Frank und Norman Bradley für die Firma «Streetly Electronics» in Birmingham gebaut. Das erste Modell, das 1963 auf den Markt kam, hiess «Mellotron Mark I» mit 35 Tasten und zwei nebeneinander liegenden Manualen.
Mellotrone hatten einen amerikanischen Vorläufer, das Chamberlin, erfunden von Harry Chamberlin zehn Jahre zuvor. Chamberlin war ein genialer Erfinder, aber kein Geschäftsmann. Bill Fransen versuchte Chamberlins in den USA und dann auch in England zu verkaufen. Er kam mit den Bradleys in Kontakt und diese bauten es nach. Die beiden Firmen kamen überein, dass Mellotrone nur in Grossbritannien verkauft werden durften, während die Instrumente von Chamberlin nur in den USA zu kaufen waren.
Chamberlin und Mellotron – diese Kombination von Megnetbandtechnologie und Klavier – gelten als analoge Vorläufer des Samplers.
Insgesamt sollen bis in die 1980er Jahre 1000 Chamberlins und 2700 Mellotrone produziert worden sein.
Ein Problem dieser Instrumente war, dass sie richtige Musiker*innen ersetzten, was den Musikergewerkschaften nicht gefallen durfte. Als die Beatles das Instrument einsetzten, hängten sie es nicht an die grosse Glocke, aus Angst vor einer Klage.
Funktionsweise
Ein Mellotron arbeitet mit 3/8 Zoll breiten dreispurigen Tonbändern, die in Kassetten eingebaut und auf denen Klänge in der von der Taste bestimmten Tonhöhe aufgenommen sind. Typische Klangfarben waren Violine und Trompete. Auf Tastendruck wird das Band abgespielt, d.h. am Tonkopf vorbeigezogen, beim Loslassen schnellt das Magnetband von einer Feder gezogen in die Ausgangsposition zurück. Somit betrug die Maximallänge eines Tons ca. acht Sekunden und ein Dauerton konnte das Instrument nicht abgeben.
Die ersten Modelle (Mk I, Mk II, M 300) hatte jedes Tonband sechs Abschnitte, die über einen Motor angefahren wurden. Auf diese Weise hatte das Instrument pro Band 18 Instrumente vorprogrammiert (3 Spuren und 6 Abschnitte).
Einsatz
Das um die £30'000.– teure Instrument wurde hauptsächlich für die Produktion von Filmmusik eingesetzt. Dann aber begannen Rockgruppen Mellotrone zu entdecken und das Instrument wurde für signifikant für den Sound von Progressive Rock.
Rock Bands mit intensivem Gebrauch des Mellotrons
– Moody Blues
– Barclay James Harvest
– King Crimson
– Yes
– Genesis
– Tangerine Dream
Revival
Chamberlins und Mellotrone werden wieder von vielen Bands seit den 1990er Jahren eingesetzt, z.B. von
– Flaming Lips
– Mercury Rev
– Crowded House
Melisma Tag
Das Wort «Melisma» (entstammt dem altgriechischen μέλος, melos, Lied, Weise, Gesang). Der Begriff beziechnet eine ornamentale Weise des Gesangs, bei dem auf einer sprachlichen Silbe mehrere Töne gesungen werden: «Glo-o-o-o-ria-a-a»). Die gegenteilige Weise des Gesangs heisst: «Syllabik». hier wird jeder Silbe genau eine Note zugeordnet.
Geschichte
Melismatischer Gesangs hatte im Früh- und Hochmittelalter eine grosse Bedeutung, beispielsweise im Gregorianischen Choral oder im orthodoxen Kultgesang.
Der Terminus Melisma bezeichnet auch das zugehörige Zeichen des Tonsatzes im Liedtext: «Glo______ria___».
Melancholie Tag
Die Melancholie als eine Art «condition humaine», von der einige Leute, aber nicht alle, befallen sind, kannten bereits die alten Griechen. Aristoteles schrieb über sie. Die Melancholie war eine von vier Temperamenten, vergleichbar mit einer modernen psychologischen Persönlichkeitspsychologie, die nach «traits», statt nach «states» fragt («trait» bezeichnet eine beständige Persönlichkeitseigenschaft, «state» einen momentanen situationsbedingten Zustand).
Im Mittelalter sollen Geisteskranke und Gottesleugner als Melancholiker gegolten haben. Hier ist die Melancholie deutlich negativ geprägt.
In der Renaissance galten Künstler*innen als melancholisch und im 17. und 18. Jahrhundert die Gelangweilten (die Hamlet Figur bei Shakespeare). Möglicherweise kann man hier den «ennui» den Vertreter*innen des müssigen Adels zuschreiben, die an der inhaltsleeren Etikette des Hofes leiden (ezwa «Leonce und Lena» von Georg Büchner).
Im 19. Jahrhundert erhält die Melancholie eine Schwester, die Depression. Depression ist eine Krankheit, die therapiert wird, während man der Melancholie nicht mit einem Rezept beikommt. Die Romantik verklärt die Melancholie, vor allem in den Kunstformen der Literatur und der Musik. Hier meint man emphatisch, dass alle grossen Männer Melancholiker gewesen seien. In der romantischen Musik hört man die Melancholie in den Werken von Gustav Mahler.
In der Moderne schliesslich wird Melancholie zum Kitsch, sagt Laszlo Földenyi, ein Kunsthistoriker, der Bücher über die Melancholie geschrieben hat. Gemeinsam sei den Melancholiker*innen, dass sie an einem Verlust des Weltvertrauens leiden würden. Melancholiker*innen seien offen für eine Metaphysische Dimension. Baudelaire hat über Musik und Poesie gesagt, sie brächten eine Welt jenseits des Grabes zum Vorschein.
Melancholie in der Klanggestaltung
Rasmus Peters über melancholische Musik: «Die Töne verhallen als überformte, umwölkte Klänge in kleinen Intervallen. Echo und Halleffekte hüllen in vibrierende Langsamkeit und führen in eine Weite, in deren Distanz die Konturen verwischen. Den Hörer hinterlässt es in einem dem Heimweh vergleichbaren Gefühl. Die Distanz zum Zuhause und gleichzeitig seine unmittelbare Nähe im Erleben seiner Abwesenheit. Melancholie ersetzt die Ordnung des Nacheinanders mit der Unordnung der Gleichzeitigkeit. Es entsteht eine Überforderung des Fühlens mit einer Überhöhung des Wahrgenommenen» (siehe Melancholie als Trendstimmung, FAZ, 2. Februar 2021). Unordnung verursacht also Leid. Leiden kann man an der realen Welt, wenn sie unaufgeräumt und widersprüchlich ist. Die Melancholiker*in leidet an der «Unordnung der Gleichzeitigkeit», an den unüberschaubaren Möglichkeiten, die sie oder ihn lähmen.
Gender
Eine Frage ist, ob die Melancholie männlich ist oder ob Frauen in gleicher Zahl und ähnlichem Verhältnis melancholisch sein können. Im 19. bis ins 20. Jahrhundert hinein scheint der Mann stereotyp melancholisch, die Frau hysterisch (was zu belegen ist). Die Romantische Ideologie schafft einen deutlichen Zusammenhang zwischen Männlichkeit, Melancholie und Genie. In der neueren Popmusik haben aber beispielsweise Frauen wie Lady Gaga oder Adele melancholische Lieder gesungen.
Abgrenzung von Traurigkeit
Man kann es nicht verhehlen: Eine Abgrenzung zwischen Melancholie und Traurigkeit fällt schwer. Wer von jemandem verlassen wird, wer in der Welt mit etwas scheitert, ist traurig. Die Melancholikerin oder der Melancholiker indes haben es immer gewusst, dass die Liebe, der Erfolg eigentlich nicht sein kann. Hinter der Melancholie steckt ein Habitus. Dieser leidet nicht an der Realität als solcher, sondern an den Möglichkeiten und Unmöglichkeiten.
In Blue Eyes Crying In The Rain von Willie Nelson (ursprünglich für Patsy Cline geschrieben) leidet der oder die Erzählerin gar nicht am Ende der Beziehung, sondern daran, dass die beiden sich nie mehr sehen werden:
When we kissed goodbye and parted I knew we'd never meet againund daran, dass von einer Liebe nur eine Erinnerung bleibt
only memories remainEs gibt für Melancholiker keinen Trost in dieser Welt. Nur das Jenseits mag das ändern. In dieser anderen Welt gibt es keine Trennung.
Some day when we meet up yonder We'll stroll hand in hand again In a land that knows no parting
Melancholie
Die Melancholie beschleicht den Melancholiker in der Nacht. Sie beschert ihm schlaflose Nächte. Deshalb ist sie assoziiert mit der Nacht, dem Mond oder beidem, der Schattenseite des Mondes (The Dark Side of The Moon), von der das unsterbliche Rock-Album von Pink Floyd handelt.
Melancholiker in der Populären Musik
– Roy Orbison
– Townes Van Zandt
– Joy Division
– Tindersticks
– Bonnie 'Prince' Billy
Quellen
– Laszlo Földenyi: Lob der Melancholie. Matthes & Seitz, 2019.
– Laszlo Földenyi: Melancholie. Matthes & Seitz, 2020.
Mediterranea Tag
Unter dem Stichwort «Mediterranea» sind Archivalien abgelegt, die mit der Kulturgeschichte oder der Musikgeschichte des Mittelmeers zu tun haben.
Das Mittelmeer bildet eine eigene Region, die Kontinentalgrenzen übergreift. Der Name des Mittelmeers leitet sich von «medius terra» (lat.) ab – «Merr zwischen den Ländern». Das Meer verbindet drei Kontinente und mehr als ein Duzend Staaten. Der Grossraum war lange ein Wiege von Zivilisation und Kreativität.
Das Mittelmeer ist Gegenstand einer Sehnsucht von Mittel- und Nordeuropäern. Carl Spitteler schrieb 1897 in einer Auftragsschrift für die Gotthard-Bahn, «Der Gotthard»: «Ich hasse im Grunde die Berge, weil sie dem Himmel, also der Lichtkugel, Stücke wegfressen und den Horizont verringern. Meine Lieblingsfantasie ist jetzt, den Gotthard mit allen Alpen mit Dynamit in die Luft zu sprengen, damit wir italiänische Luft direct bekämen.» Dieser Satz wurde Jahre später zum Slogan schweizerischer Jugendbewegungen, die forderten: «Freier Blick aufs Mittelmeer – Sprengt die Alpen» (siehe: Artikel in der Luzerner Zeitung).
Querverweise
– CD-Reihe: Café del Mar
– Electronica - House - Balearichouse
– Electronica - Trance - Ibizatrance
Links
– Alexis Waltz: Sven Väth: „Die Szene auf Ibiza hat ihre Identität verloren” (Teil 1) (Groove, 9. Oktober 2019)
Medientechnologie 4 - Internet Tag
Das Internet wurde zu verschiedenen Zeiten mit sehr unterschiedlichen Bildern umschrieben (die kognitive Psychologie nennt das vielfach Metaphern - siehe: Wikipedia-Artikel: Internet Metaphors): als Daten-Highway, Netz, Wolke, Matrix, Wellen auf denen man surft, Bibliothek oder Shopping-Mall. Das wesentlich Neue, das mit dem Internet zur Kommunikationstechnologie dazu kommt, ist der immersive Aspekt, dass die Kommunikatoren (die Benutzer) kognitiv in dieses Medium eintauchen.
Literarische Auseinandersetzungen mit diesem immersiven Aspekt findet man im Science-Fiction Subgenre Cyberpunks. Konkrete juristische Probleme werden im Zusammenhang mit Datensicherheit und Datenhoheit diskutiert (siehe z.B. Facebook-Eintrag). Gesellschaftliche Auswirkungen des Internets, besonders des sozialen Internets thematisiert z.B. der Filmemacher Adam Curtis.
E-Mail
Neben dem World Wide Web ist E-Mail, die elektronische Post, die wichtigste Applikation des Internets. Mit E-Mail wurden fast alle Leute rund um die Uhr erreichbar. Schnell hat sich die Erwartung eingeschlichen, dass E-Mails rasch beantwortet werden sollen. Als asynchrones Medium hat E-Mail einen Druck in Richtung synchronem Medium geschaffen, weshalb mit dem Aufkommen von Mobiltelefonen ein Grossteil des privaten Verkehrs auf SMS, MMS und RCS abgewandert ist. Einschneidend waren E-Mail zum Beispiel für Universitätsprofessoren, wie Guardian-Journalist Jimmy Leach im März 2006 feststellte: Studierende können zu allen Tages- und Nachtzeiten E-Mails an Lehrpersonen richten, sie als eine weitere Informationsquelle benutzen (wie eine professorale Google-Suchmaschine), dabei besteht die Erwartung, dass die Adressierten zügig antworten. Auch der Ton hat sich in den E-Mails verändert: Lehrpersonen werden auch mal per Vornamen angesprochen und erhalten Grussformeln wie «cheers mate». Leach suggeriert, dass mit E-Mail das Ende des Zeitalters der Ehrerbietung («the age of deference») begonnen hätte.
Social Media
Die Episode Nosedive
von Black Mirror
zeigt eine Welt, in der jeder Mensch ein soziales Profil hat, das von anderen im realen Kontakt eingesehen werden kann. nach jeder Interaktion wird ein Mensch beurteilt, ob er nett ist, ob er cool ist.
Querverweise
– Cyberpunk
Links
– Jimmy Leach: Email ends the age of deference (Guardian, 23. März 2006)
Materielle Kultur Tag
Früher stand «Materielle Kultur» in der Ethnologie und Archäologie für die Grabbeigaben, die man in einem räumlich (Gegend, Stamm, Reich) und zeitlich (Epoche) festgelegten Kulturkreis findet. Heute besteht die materielle Kultur in der Gesamtheit aller von einer Gesellschaft oder Kultur hervorgebrachten Artefakte, die einen kultursemiotischen Rückschluss auf ein kulturelles System ermöglichen.
In beiden Auffassungen zeigt sich Kultur am Ausdruck in Sprache, Schrift, Mythos, Religion, Ethik, Kunst, Wirtschaft, Staatsordnung, Massenmedien, Wissenschaft und Technik. Was davon als Artefakt entsteht und überdauert, weil es gesammelt, konserviert und aufbewahrt oder erhalten bleibt, ist die materielle Kultur einer Gemeinschaft und Epoche.
Kultursemiotik
Ein Artefakt der materiellen Kultur wird einem bestimmten Kulturkreis zugeordnet. Der Kulturkreis, so unterstellt die Theorie, besitzt ein sprachähnliches System kultureller Bedeutungen, das man anhand der semiotischen Kulturanalyse erforscht. Es geht dabei zum einen um die strukturellen Eigenschaften eines Objekts: Was ist seine Stellung im kulturellen System? In welchen Dimensionen unterscheidet es sich von anderen Objekten. Zum anderen geht es um die Verwendung des Objektes der materiellen Kultur: Wie sind der Besitz geregelt? Wer darf es wie gebrauchen? Welche Regeln des Umgangs mit den Objekten gibt es?
Links
– Christian Schorno: Von der Semiotik Peirces und der Theorie sozialer Systeme Luhmanns zu einer Operationalen Theorie kultureller Identitäten, 1999.
Massenpsychologie Tag
Teilgebiet der Sozialpsychologie, das sich mit dem Erleben und Verhalten des Individuums in der Masse (Menschenansammlungen) und dem Verhalten der Masse auseinandersetzt.
Schlüsseltheorien
Gustave LeBon schrieb 1895 ein Buch Psychologie der Massen
, in dem er der Masse ein Eigenleben zuschrieb und die Ansteckungstheorie (engl. Contagion theory) entwickelte: Massen hätten eine hypnotische Wirkung auf das Individuum. In der Anonymität der Menge, würde das Verantwortungsgefühl zersetzt und dafür die Gefühlsübertragung befördert. Does führe tendenziell zu irrationalem Handeln.
Sigmund Freud setzte sich mit LeBon auseinander und schrieb 1921 sein einflussreiches Werk Massenpsychologie und Ich-Analyse
. Wo LeBon sich vor allem mit Mobs auseinander setzte (spontane Menschenaufläufe bei Kundgebungen, Paniksituationen usw.) da studierte Freud auch Organisationen wie Kirche und Heer. Freuds Erklärungen bedienen sich den Erkenntnissen aus der Trieblehre. Die Libido als bindende Energie sei auch bei der Bildung von Massen (und Institutionen/Organisationen) am Werk, das Triebziel werde allerdings umgelenkt. Die Masse verleihe dem Einzelnen Sicherheit, so dass sie oder er in der Masse Triebe auslebten, die sie oder er als Individuum kontrollieren würden. Falls eine Masse einen Anführer habe, so bezieht sich die Libido auf diesen. Alle Mitglieder würden sich mit dem idealisierten Anführer identifizieren. Narzisstische Libido fliesst auf den Anführer als dem Objekt. Man «liebt» Führungspersonen wegen ihrer Vollkommenheit, die man selbst auch angestrebt aber nicht erreicht hat. Freud: «Eine primäre Masse ist eine Anzahl von Individuen, die ein und dasselbe Objekt an die Stelle ihres Ich-Ideals gesetzt und sich infolgedessen miteinander identifiziert haben.»
Elias Canetti veröffentlichte 1960 sein Buch Masse und Macht, an dem er während vieler Jahre gearbeitet hatte. Canetti behandelt Massen als natürliche Daseinsweise des Menschen.
Konvergenztheorien kehren die Ursächlichkeit bei der Bildung von Massen um: Personen schliessen sich zusammen, wo sie ähnliche Ziele verfolgen. Das Massenverhalten ginge nicht von der Masse selbst aus, und sei nicht so irrational, wie es LeBon beschrieben hatte. Massenverhalten würde von den Zielen bestimmt, die Verbände, Vereine, Institutionen auch Individuen, die andere zu mobilisieren vermögen, sich setzten.
Massenmedien Tag
Massenmedien sind kommunikative Verbreitungsmedien, mit denen eine sehr grosse Zahl (eine Masse) von Rezipienten erreicht werden können. Die ersten Massenmedien waren Print-Produkte: Bücher, Zeitungen, Kalender, Flugblätter usw. Im 20. Jahrhunder kamen die modernen durch elektronische Technologie ermöglichten Massenmedien hinzu. Schallplatten in einer standardisierten Form, Radio, Film und Fernsehen wurden alle zwischen ca 1925 und 1950 erfunden und entwickelt. Später ab den 80er-Jahren kommen Spiele und ab den 90er-Jahren des 20. Jahrhunderts das Internet als weitere Massenmedien hinzu.
Wirkung
Elektronische Massenmedien waren immense Erweiterer des Wirkungskreises von Musik. Ohne moderne Massenmedien bleibt Musik etwas Lokales. Musik ist Folklore in ruralen Gebieten und in urbanen Zentren mögen sich akademische Formen der Musik entwickeln, weil die Öffentlichkeit dafür zahlt (Einrichtung von Konzertsälen und Opernhäusern, organisierte Musik in Kirche, Armee und Staat). Solche Musik wird aufgeschrieben und gedruckt. Sie kann deshalb auch weite Teile der Erde erreichen. Durch die elektronischen Massenmedien werden Formen von Folklore und Formen meist leichter akademischer Musik zu Populärer Musik, d.i. Musik, die in grossen Stückzahlen verkauft und damit popularisiert wird. Im Lauf der zeit bildet sich eine eigene Ästhetik Populärer Musik aus. Populäre Musik wird zu einer eigenständigen Kunstform neben klassischer bzw. akademischer Musik und Folklore.
Medein im Einzelnen
–Medientechnologie 1: Post
–Medientechnologie 2: Telegrafie und Telephonie
–Medientechnologie 3: Funk, Rundfunk und Television
–Medientechnologie 4: Internet
Martin D-28 Tag
Die Martin Westerngitarre, Modell D-28, wurde 1931 zum ersten Mal verkauft und gewann am Ende der 1960er Jahre in den Kreisen von Singer-Songwritern beliebt: Bob Dylan, Johnny Cash, Elvis Presley, Neil Young, Clarence White von den Byrds sowie die Beatles spielten diese Gitarre (oder diesen Gitarrentypen).
In Rishikesh hatten die drei Beatles Gitarristen Martin D-28 Westerngitarren dabei, auf denen sie komponierten und musizierten. Donovan brachte den Beatles Fingerpicking-Figuren aus dem Folk bei. Diese benutzten die Songwriter für Songs wie Julia, Blackbird, Mother Nature’s Son
(im Unterschied zu den beiden vorigen Stücken im Singer-Songwriter-Stil mit gelegentlichem double tracking ist Mother Nature's Son
ein Song mit Baroquepop-Arrangement), Dear Prudence (auf einer elektrischen Gitarre gespielt).
Dieses Modell weist 15 Halbtöne auf dem Hals auf, wo normale spanische Gitarren 12 Halbtöne haben. Die Spannung auf dem Instrument wird dadurch grösser. Sie ist deshalb aus dafür geeignetem, sehr gutem und teuren Holz gebaut, aus Palisander, Sitka-Fichte, Mahagoni und Ebenholz. Das Holz schlägt sich im Preis nieder.
Management Tag
Das Musik Management kümmert sich um die organisatorischen und wirtschaftlichen Belange von Musiker/-innen, DJs oder Bands. Funktionen wie Booking oder Kontakt zu Booking Agents, Promotion (oder Kontat zu PR und Presse Agent/-innen), Business Management (Buchhaltung, Steuern etc.), Vertragsverhandlungen mit Labels, Lizenznehmern und Veranstaltern, Karriereplanung und Personal Assistance.
Historische Beispiele
– Colonel Tom Parker für Minnie Pearl, Slim Whitman, Hank Snow, Eddy Arnold und Elvis Presley
– Albert Grossman (für Odetta, Bob Dylan, Band, Paul Butterfield, Janis Joplin, Bob Gibson, Gordon Lightfood, Ian And Sylvia oder Peter, Paul and Mary)
– Brian Epstein (für die Beatles, Gerry and the Pacemakers, Billy J. Kramer and the Dakotas, the Fourmost, the Cyrkle und Cilla+Black, Tommy Quickly und Sounds Incorporated)
– Andrew Oldham, der die Rolling Stones managte
– Allen Klein (für Sam Cooke, die Rolling Stones und Beatles)
– Denny Cordell und Tony Secunda, ersterer ein Hipster und zweiter vom Typus Gangster, managten Move, Procol Harum und Joe Cocker
– Keith Lambert und Chris Stamp, ein ähnliches Paar wie Cordell/Secunda hatten die Who unter Vertrag
– Robert Stigwood managte Cream
– Chas Chandler und Mike Jeffreys: Jimi Hendrix
– Chris Blackwell: Steve Winwood
– Chris Wright und Terry Ellis hatten Ten Years After und Jethro Tull
– Peter Grant: Led Zeppelin
– der Amerikaner, der von den englischen Working-Class und Schurken-Managern lernte, war David Geffen
– Malcolm McLarren: Sex Pistols
Links
– Dave Whitaker: The Top 20 Music Managers of All Time (Dave's Music Database, 26. Januar 2022)
Making of Tag
Eine Art filmischer Dokus, die einen Blick hinter die Kulissen einer Film- oder Albumproduktion wirft. Solche «Making ofs» werden oft auf Bonus Sets oder DVDs und Blu-Rays veröffentlicht. Einige sind auf Online-Kanälen wie Youtube zu finden.
Querverweise
– Retromania
Madison Square Garden Tag
Mehrzweckarena in New York City, Austragungsort von Sportveranstaltungen (Boxen, Basketball, Eishockey) und Pop-/Rock-Konzerten. MSG wird auch «The World’s Most Famous Arena» genannt. Die Halle ist mit einem TV Studio ausgerüstet.
Geschichte
MSG befand sich an drei verschiedenen Locations:
– Erster MSG (1874–1890), Adresse: Fifth Avenue and 23rd Street
– Zweiter MSG (1890–1925), Adresse: Fifth Avenue and 23rd Street
– Dritter MSG (1925–1968), Adresse: Eighth Avenue and 50th Street
– Vierter MSG (1968 bis heute), Adresse: Seventh Avenue and 33rd Street
Pop- und Rock-Konzerte
Mit seiner Lage in der Weltstadt und seinem Fassungsvermögen von 20'000 Personen gehört der MSQ zu den Locations, in denen einige der profiliertesten Konzerte abgehalten wurden.
Lyrics Tag
«A big part of songwriting, like all writing, is editing—distilling thought down to essentials. Novice writers often hide behind filigree. In many cases the artistry is in what is unsaid.» (Bob Dylan, The Philosophy of Modern Song)
Der Liedtext oder die Lyrics sind der sprachliche Teil einer Lied-Komposition. Verfasser bzw. Songwriter arbeiten oft in Teams von Spezialist*innen zusammen, wobei eine Person, die Komponistin oder der Komponist («composer») für die Musik zuständig ist und eine Person für den Text. Diese Person heisst Liedtexter (engl. «Lyricist»). In der Oper oder Operette heissen diese Leute «Librettist» (im Deutschen und Englischen gleich), da sie das «Libretto» des Werks verfassen.
Songlyrics werden meist als etwas gesehen, was mit einem Gedicht (der Lyrik in der Literatur) verwandt ist. Darauf hat Simon Frith entgegnet: «Songs are more like plays than poems.»
Tin Pan Alley
Die Lied-Kompositionen aus der Zeit der Tin Pan Alley (die das Korpus des Great American Songbooks bilden, wurden oft im Team geschrieben – je ein Komponist und ein Texter, z.B. die Paare Richard Rodgers (Musik) und Lorenz Hart (Texter), Jerome Kern (Musik) und Oscar Hammerstein II (Texter) oder George Gershwin (Musik) und Ira Gershwin (Text).
Rock
In der Rockmusik finden wir oft Songwriter, die beides tun: Bob Dylan, Lennon-McCartney, Joni Mitchell, James Taylor, Elvis Costello, um ein paar wenige zu nennen.
Post-Millennial-Music
In neuerer Zeit schreiben sehr viele Komponist*innen und Texter*innen an einem Hit-Song (siehe: Bogpost von Bobby Owsinsky: It Looks Like You Need 9.1 Songwriters To Write A Hit Song These Days).
Verse/Chorus und Stanze
Songs bestehen musikalisch und lyrisch aus verschiedenen Abschnitten, die Strukturen und Superstrukturen bilden: Verse und Chorus oder A- und B-Teile, Bridges (Überleitungen, Verbindungsstücke), Intros und Codas). Nicht alle diese Abschnitte haben notwendig Lyrics. Man nennt einen Abschniztt ohne Lyrics: «Instrumental Verse» oder «instrumental Bridge». Auch das Gegenteil kommt vor: Ein Abschnitt ohne Musik: «Atlantis' Agony At June 5th - 8498, 13 p.m. Gregorian Earthtime» von Eloy beginnt mit der Rezitation von gesprochenem Text.
Strukturen und Superstrukturen
Die simpelste Struktur ist die Wiederholung von Strophen. Songs können aber sehr raffiniert strukturiert sein. Raffiniert sind beispielsweise Songs von Max Martin mit dem komplementären Chorus. Sie sind durchstrukturiert bis ins letzte Detail! Wenn man die Vielfalt von möglichen Songstrukturen auf das Wesentliche reduziert, kann man, z.B. mit dem Blog Openmusictheory, der dem Rock-Musikologen John Covach folgt, drei Grundformen von Songstrukturen unterscheiden, die AAA-, die VC- und die AABA-Struktur. Ausserdem kann man diese drei als auseinander hervorgehend verstehen. Diese Strukturen können sich überlappen und Formen bilden, die nicht eindeutig einem dieser Strukturen zugeordnet werden können.
AAA-Form: Ein Lied kann nun aus nichts anderem als aus mehreren Strophen bestehen. Man spricht dann von simpler Strophenform (engl.: «strophic songs»). Beispiel: Blue Suede Shoes. Um eine AAA-Form lebendig zu machen, können einzelne Strophen als Instrumental-Verse ausgestaltet werden. Um die Strophe kenntlich zu machen (es sind ja alle gleich), endet sie meist mit ein oder zwei wiederholten Phrasen (die nicht einen Refrain darstellen, denn dann wäre es keine AAA-Form). Das Strophenende in Beispiel-Song:
But don't you step on my blue suede shoes. You can do anything, but lay off o' my blue suede shoes. (mit kleinen Variationen)Bei
Blue Suede Shoeskönnte jemand argumentieren, die genannten Stanzen seien ein Chorus, weil sie sich wiederholen (wenn auch variert).
– VC-Form: Verse und Chorus, Strophe und Refrain sind zwei verschiedene musikalische Motive, die sich abwechselnd wiederholen. Die Strophe enthält die Erzählung/Geschichte des Songs. Der Refrain hingegen bleibt weitestgehend unverändert und wird zwischen die Strophen geschaltet. Inhaltlich kann er eine Moral/Evaluation oder eine andere Perspektive auf das Geschehen werfen. Das Wort «Chorus» kommt aus der Griechischen Tragödie, in der der Chor die Stimme des Volkes repräsentierte. Beispiel für die VC-Form: Livin' On A Prayer – mit Pre- und Postchorus. Ein Prechorus ist ein Refrain vor dem Refrain, der die Dramatik steigert (sehr schön, geradezu klassisch im Beispielssong). Zuweilen wird er «transitional bridge» genannt, auch mal «bridge» oder «kleine Bridge».
– AABA-Struktur: Der B-Teil, auch «Bridge» oder «Middle-8» genannt, hat ein anderes musikalisches Motiv, wie oben bereits der Chorus im Gegensatz zum Verse. Der Unterschied zur VC-Struktur liegt darin, dass diese eine Art Wechselrede zwischen Verse und Chorus darstellt, die AABA-Struktur konstruierter, künstlicher und freier gestaltbar ist. Varianten sind AABABA oder AABAA. Hier sind der Kreativität keine Grenzen gesetzt. Der A-Teil kann auch das Kombinat von Verse und Chorus sein. Man erhält dann folgende Struktur: Verse-Chorus-Verse-Chorus-Bridge-Verse-Chorus. Beispiel für eine AABABA-Form: Yesterday.
Eingerahmt werden alle diese Strukturen von Intro (Einleitung) und Coda (Outro).
Abschnitt und Stanzen
Bei der Abschrift der Songlyrics wird jede Stanze, wie in einem Gedicht, in eine eigene Zeile geschrieben. Die meisten Abschnitte (Verses, Chorusse etc.) bestehen aus mehreren Versen – die «Verszahl» besagt, aus wie vielen. Eine Stanze hat eine bestimmte Anzahl von Silben – das ist die Verslänge. Die Silben haben Kürzen und Längen. Deren Verteilung bestimmt das Versmass. Wenn Musik und Lyrics homoform sind, dann gibt es pro Takt zwei, drei oder vier Noten, die «simpel» (eins-und-zwei-und ...) oder «compund» (eins-und-a-zwei-und-a ...) heissen.
Die Reime folgen einem bestimmten Reimschema («rhyme scheme»), das ist die Abfolge und Art der korrespondierenden Verszeilen. Für das Reimschema benutzt man kleine Buchstaben als Schreibweise. Für Vierzeiler z.B.: aabb (Paarreim), abab (Kreuzreim), abba (umarmenden Reim). Selbstredend können sich Verse auch mal nicht reimen, stabreimen (Reim im Anlaut einer Stanze, binnenreimen (Reim im Versinneren) oder über verschiedene Verse reimen (aaab, cccb). Der Kreativität sind keine Grenzen gesetzt.
Zusammenhang Musik und Lyrics
Ein Song ist insofern eine intermediale Kunstform als in ihm Lyrics (Sprachkunst) und Musik (Tonkunst) zusammen kommen. Was im Fall von arbeitsteiligem Songwriting zuerst geschrieben wird, ist offen, aber oft steht zuerst die Musik und der Text wird an diese angepasst. Das Umgekehrte ist aber genauso möglich: Man geht von einem Text aus und vertont ihn (Elton John und Bernie Taupin). Beim Schreiben von Motiven oder Hooks kann man beides zugleich tun. Rhythmus und Meter von Musik und Text sind grundsätzlich symmetrisch, sonst passen sie nicht zusammen. Manchmal benutzen Texter Füllwörter oder Pausen, um ihre Worte an die Musik anzupassen.
Stimme und Lyrics
Simon Frith hat betont, dass die Lyrics von Rocksongs wie Dramen gelesen werden müssen. Es handelt sich nicht um einen Text, der für sich steht, sondern zu einer Figur gehört. «The point of pop song words is to express the voice not vice versa» (The Sociology Of Rock: Notes From Britain, 1982, p. 152).
Interpretation von Songlyrics
Die Interpretation von Songlyrics muss verfahren wie Sprach- und Literaturwissenschaften mit Texten verfahren. Songlyrics sind fiktive Texte, die nicht autobiografisch gelesen werden sollten. Auch dann nicht, wenn sie so intendiert sind.
Die meisten Text-Interpretationen, die man in Foren wie Songmeanings oder Genius findet sind Paraphrasen und erklärende Annotate zu den Lyrics. Paraphrase sind meist öde zu lesen, es sei denn, sie verhelfen zu besserem Verständnis der Lyrics (z.B. durch geeeignetere Wortwahl oder durch Übersetzung). Die Paraphrase ist nicht wirklich eine Interpretation, sondern die Widergabe mit anderen Worten. Sie ist tautologisch.
Nicht-tautologisch sind Text-Interpretationen, die induktiv oder deduktiv sind. Im ersten Fall wird die Textaussage des Songs verallgemeinert, im zweiten Fall auf das eigene Leben, eine eigene Erfahrung oder einen bestimmten Fall angewendet.
Gute Songinterpretationen sind selten. Sie stellen einen Song in einen sinnvollen grösseren und überraschenden Zusammenhang. Sie dichten dem Song dabei aber keinesfalls etwas an. Solche Interpretationen sind erfinderisch und können kongenial sein. Die Erfindung muss stets im Text gründen. Es darf nichts an den Text herangetragen werden, das nicht vertretbar ist. Es darf nichts hineingelesen werden.
Querverweise
– Narratologie
Links
– Openmusictheory: Form in pop/rock music – Overview – Openmusictheory folgt in groben Zügen John Covach
– Jamie Atkins: Musicians Who Are Poets: 12 Game-Changing Lyrical Masters (Udiscovermusic, 21. März 2019)
– Stefan Betschon: Gangsta-Rap mit Apostrophen (NZZ, 19. Juni 2019)
Lunapark Tag
Der Lunapark war ein Vergnügungspark am Berliner Halensee. Eröffnet wurde er 1909 und geschlossen 1933. Zu seiner Zeit war er die grösste derartige Institution auf der Welt. Sein Vorbild war Coney Island.
Vorgeschichte
Am Ort gab es ein Freibad und 1882 entstand am Ostufer des Halensees das «Wirtshaus am Halensee». Der Kurfürstendamm war noch ein Waldweg. in den 1890er Jahren entstand am Halensee ein Rummelplatz mit Karussell, Buden und der Wasserrutschbahn. Am 14. Mai 1904 wurden die «Terrassen am Halensee» eröffnet, die die 1909 in «Lunapark» umbenannt wurden.
Der Park
Auf dem Gelände des Vergnügungsparks fanden Besucher/-innen neben Jahrmarktattraktionen eine Wasserrutschbahn, eine Berg- und Talbahn, ein Wellenbad, ein Hippodrom, ein Haus, dass sich drehen konnte, die Wackel- oder «Shimmy-Treppe» und zahlreiche Restaurants für alle Ansprüche und Schichten.
Als Attraktionen wurden zum Beispiel Völkerschauen geboten, Boxkämpfe, Feuerwerke, Kabarett, Theateraufführungen oder Revuen. Es wurde auch Jazz gespielt und es fanden Tanzturniere statt. 1926 wurde der Boxer Max Schmeling hier berühmt.
Erfolg und Niedergang
In den ersten Jahren nach einer Eröffnung hatte der Park täglich mindestens 50'000 Besucher/-innen. Im zweiten Jahr zählte man bereits den millionsten Besucher. Während dem ersten Weltkrieg gingen die Besucherzahlen drastisch zurück. Die Anlage geriet in einen schlechten Zustand. Neu investiert wurde erst wieder gegen Ende der 20er Jahre. Der Lunapark wurde neu eröffnet am 9. Mai 1929, erreichte aber nicht mehr die selbe Attraktivität wie vor dem Krieg. Im Oktober 1934 schloss der Lunapark endgültig und 1935 wurde die Anlage abgerissen. Die Nazis, die nun herrschten, betrachteten diese Art Park als Schandfleck. Der frei gewordene Raum am Stadtrand wurde unter dem neuen Regime anders genutzt: als Olympiaanlage (für die Sommerspiele 1936), als Messegelände und für einen Funkturm.
Luftgitarre Tag
Pantomimische Gitarrenspiel.
Aufgekommen ist das Luftgitarrenspiel durch Joe Cockers Auftritt in Woodstock. Praktiziert wird es vor allem von Fans des Hardrock, Heavy Metal und Punk. Luftgitarre spielen geht oft einher mit Lip-Synching, das Nachmachen des Gesangs, der verlautbart wird oder nicht. Die Verlautbarung hört man im Vollzug während einem Konzert nicht, weil die Musik natürlich lauter ist.
Anfänglich war das Luftgitarrespiel eher eine introvertierte Art des Musikkonsums, ein sich in die Musik versetzen. Seine extrovertierterten Aspekte werden heute in Wettbewerben ausgelebt.
Der Hildesheimer Medienwissenschaftler Mathias Mertens forscht über das Luftgitarrenspiel. Er kommt zum Schluss: «Die Luftgitarre ist als Reaktion auf kollektiv erfahrbare Musik entstanden, sie ist Ausdruck von Teilhabe an der Rockkultur und sie funktioniert nur als Feedback in einem Regelkreis von ästhetischer Produktion und Rezeption.» Luftgitarre kann nur spielen, wer die Musik verinnerlicht hat.
LSD Tag
Bewusstseinsverändernde Droge, die 1938 vom Basler Chemiker Albert Hofmann entdeckt wurde als er über die Alkaloide von Mutterkorn arbeitete. Mutterkurn ist ein Pilz, der Nahrungs- und Futtergetreide befallen kann und für Mensch und Tier toxisch ist. Aus Mutterkorn wird Lysergsäure gewonnen, aus der wiederum LSD hergestellt werden kann. Lysergsäure ist das einzige Alkaloid des Mutterkorns, das wasserlöslich ist. Deshalb ist sie recht einfach und ohne die unerwünschten toxischen Alkaloide zu gewinnen. Möglicherweise war diese Tatsache bereits in der Antike bekannt und wurde bei den Mysterien von Eleusis verwendet, um psychotrope Getränke zu bereiten.
In den 50er Jahren wurde LSD in der Psychiatrie erforscht, z.B. in Los Angeles von Sidney Cohen oder in London von Ronnie Sandison. Man testete dessen Wirkung an psychotischen Patientinnen und Patienten. Der britische Schriftsteller Aldous Huxley schrieb 1954 sein Buch The Doors of Perception über seine Selbstversuche mit Mescalin (Peyote) und 1956 Heaven And Hell über LSD und Meskalin.
In den 50er Jahren verblieb LSD noch im klinischen und militärischen Kontext. Das änderte sich Mitte der 60er Jahre in Amerika, nachdem das Patent von Sandoz 1963 ausgelaufen war. Der damalige Techniker der Gruppe Grateful Dead, Owsley 'Bear' Stanley, synthetisierte zwischen 1965 und 1967 um die 500 Gramm LSD, was für 5 Millionen Trips gereicht haben muss. In Harvard experimentierte Timothy Leary mit Psylocybin und wurde nach LSD-Erfahrungen zum Anwalt oder Guru der Droge. Nach seinem Ausscheiden aus Harvard popularisierte Leary die Droge und prägte allerlei Mantras der Gegenkultur wie «turn on, tune in, drop out» oder «think for yourself and question authority». Im San Francisco Veterans Hospital führte die CIA Experimente mit LSD unter dem Decknamen «MKUltra» durch. Dort meldete sich der 26-jährige Literaturstudent Ken Kesey als Proband. Er sollte der Anführer der Merry Pranksters werden, eine die Gegenkultur der 60er-Jahre prägende Aktivisten-Gruppe. Diese führte im ersten Quartal von 1966 insgesamt neun Acid Tests in San Francisco und Los Angeles durch. Die Regierungen in Kalifornien und Grossbritannien reagierten am schnellsten und verboten die Droge schon 1966. Die anderen Länder folgten ein par Monate später.
Kulturelle Bedetung
LSD spielte bei den Hippies eine riesige Rolle. LSD wurde, wie Jon Savage feststellte, erstens zu einem Popstil, der in den Jahren 1966 und 67 prägend war. Zweitens wurde die Droge eine Agentin der Gegenkultur, die in ihr ein spirituelles Gegenmittel zum verhassten Materialismus sahen (Jon Savage, All Together Now?, p. 145), aber auch zur Atombombe, der grössten Bedrohung der Menschheit während der Zeit des Kalten Krieges (vergleiche den Slogan: «Drop Acid, not Bombs», das Poster «If the Bomb goes off make sure to get higher than the bomb» im Film More (bei 1:25:44) oder den Titel des Archivreleases Let's Go Down And Blow Our Minds: die Explosion soll im Kopf stattfinden, nicht durch einen Abwurf der Bombe). Die Rockmusik, die unter anderem im Milieu der Gegenkultur von San Francisco entstand, der Acidrock, war geprägt von langen, improvisierten Instrumentalparts, die den Tänzer/-innen im LSD-Rausch (dem «Trip») lang anhaltende, möglichst ununterbrochene Klang-Eindrücke zu verschaffen.
LSD bleibt bis heute eine Droge, die zur klinischen Therapie eingesetzt wird (das ist allerdings erst seit neuerer Zeit wieder erlaubt!), zur Inspiration und Rekalibrierung und Bewusstseinserweiterung.
Quellen
– Richard Morton Jack: LSD – A Brief History, in: Psychedelia. 101 Iconic Underground Rock Albums 1966–1970. Sterling, 2017, p. 32 ff.
– Connie Littlefield: Hofmann's Potion (National Film Board of Canada, 2002)
Lena Stallmach: LSD schüttelt das Gehirn einmal durch (NZZ, 13. April 2018)
– BBC: How LSD Influenced Western Culture (Holly Williams, 17. Oktober 2018).
LP Tag
Abkürzung für «Long Play» oder «Langspielplatte».
Spätestens seit der Einführung von Vinylplatten (Polyvinylchlorid) nach dem Zweiten Weltkrieg wird zwischen langen und kurzen Tonträger Formaten unterschieden. Die LP als langes Format hat zwei bespielte Seiten auf einer Platte mit 30 cm Durchmesser, die bei 33 1/3 U/min läuft. Darauf hat insgesamt etwa 45 min Musik Platz.
Loops Tag
Ein Loop (deutsch: «Schleife») ist eine Sektion einer Komposition, die repetiert wird und zwar ununterscheidbar genau. Loops sind mit der Konkreten Musik entstanden, als Tonbandsequenzen repetiert wurden. Kurze Sequenzen wurden kopiert und zusammengeschnitten, längere konnten zu einer Schleife geschnitten werden, die eine Tonbandmaschine endlos wiedergeben kann.
Mit Plattenspielern wurden Loops erzeugt, in dem die Nadel zum Zurückspringen in die vorige Rille gebracht wird (z.B. durch aufkleben eines Hindernisses).
In einer Digital Audio Workstation kann ein Sample für eine beliebige Zeit geloopt werden.
Es gibt auch Live-Sampler und Effektgeräte, die Performer*innen auf der Bühne erlauben, gespielte Sequenzen zu loopen.
Live Aufnahme Tag
Das Stichwort «Live Aufnahme» wird für einzelne Aufnahmen und Singles verwendet, die Live eingespielt wurden. Ganze Alben sind unter dem Stichwort Live Album geführt.
Live Album Tag
Musikalbum mit Musik von Live Konzerten.
In Datenbanken wie der von Musikzimmer werden Live Alben oft besonders als solche gekennzeichnet und von Studio Alben unterschieden. Studio Alben werden aber nicht eigens als solche ausgezeichnet. Sie sind die Normalform.
Diese Kategorie wird nur für Alben verwendet. Einzelne Songs, die nicht im Zusammenhang eines Albums z.B. als Single erschienen sind, werden unter dem Stichwort Live Aufnahme geführt.
Liebeslied Tag
Ein ubiquitäres Thema von Populären Songs.
Grösserer historischer Zusammenhang
Liebeslieder sind nur in Gesellschaften wirklich relevant, in denen die Liebesbeziehung und Liebesheirat eine Rolle spielt. Liebesheiraten als Standard gibt es offenbar nur in Gesellschaften, Gruppen und Schichten, in denen ein gewisser Wohlstand herrschte, der es möglich macht, dass Paare materiell von ihren Eltern unabhängig sind, d.h. eigenes Geld verdienen. Das war in den USA seit den 1920er Jahren und in Europa seit dem Kalten Krieg der Fall.
Querverweise – Tags
Im Musikzimmer wird das allgemeine Thema Liebeslied in mehrere spezifische thematische Rubriken unterteilt. Diese Kategorien sind weder trennscharf noch decken sie das gesamte Feld von Liebeslidern ab.
– Unerwiderte Liebe
– Verlorene Liebe (Songthema)
– Trennung, Trennungsschmerz
– Teenager-Liebe
– Sex
Querverweise – Literatur
– Ted Gioia: Love Songs. The Hidden History (Oxford University Press, 10. Februar 2015)
Quellen
– Dave Whitaker: The Top 100 Love Songs of All Time (Dave's Music Database, 14. Februar 2012)
– Paul McGuinness: Let’s Get It On: The Best Love Songs Ever (uDiscoverMusic, 14. Februar 2020)
– Brett Milano: From Masochism To Obsession: 17 Ways To Subvert The Love Song (uDiscoverMusic, 14. Februar 2020)
– Ian McCann: Best Motown Love Songs: 20 Essential Songs For Soulmates (uDiscoverMusic, 11- Februar 2020)
– Ben Merlis: Best Hip-Hop Love Songs: 25 Tracks For 808s And Soulmates (uDiscoverMusic, 11. Februar 2020)
– Charles Waring: Best Jazz Love Songs: An Essential Romantic Playlist (uDiscoverMusic, 12. Februar 2020)
LGBTQplus-Musik Tag
Geschrieben als: «LGBTQ+», was kurz für «Lesbian, Gay, Bisexual, Transgender and Queer», wobei das «+» für alle anderen nicht-normativen Gender-Identitäten steht. Das Stichwort versammelt Beiträge zu den verschiedenen Gender-Identitäten, deren Identitätspolitik und dem Kampf der Vertreter*innen für ihre Rechte.
LGBTQ+ Musik hat wesentliche Beiträge zu verschiedenen Genres wie Disco, House oder Hyperpop geleistet. Ihre Vertreter*innen sind praktisch zu allen Zeiten erfolgreich in vielen Feldern der Unterhaltung tätig gewesen.
LGBTQ+ Musik handelt oft, aber nicht notwendig, von Selbstzweifeln, Ängsten, der Repression und der Selbstermächtigung von nicht-normativen Gendererfahrungen und -Identitäten. Als Act ist LGBTQ+ Musik tendentiell körperbetont und theatralisch. Tanzen, sich verkleiden, posieren sind meist wichtiger als die Musik selbst, die oft nur ein Medium oder eine Bühne für den queeren Selbstausdruck bietet. Tanzstile, die von der Szene ausgingen, waren Jacking, Vogueing oder Waacking.
Queere Communities begannen sich in den 1970er Jahren zu organisieren, erhielten in den 1980er Jahren tragischerweise durch AIDS einen mächtigen Schub. AIDS führte dazu, dass viele Künstler*innen sich outeten, die ihre Identität zuvor nicht zum Gegenstand öffentlicher Diskussion gemacht haben. Seit der Jahrtausendwende sind sowohl Identitätspolitik als auch LGBTQ+ Musik ein fester Bestandteil der Populären Musik. Zum Beispiel kommt kaum eine Boyband oder Girlgroup ohne eine Vertretung eine dieser Identitäten aus.
Ein Teil der LGBTQ+ Musik stammt von Acts, deren Mitglieder keine Vertreter*innen queerer Gemeinschaften sind, beispielsweise Judy Garland, Cher, Abba, Donna Summer, Madonna, Janet Jackson oder Beyoncé.
Schwulenbewegung
Die Schwulenbewegung entstand 1969 im New Yorker Greenwich Village, als Inhaber und Besucher einer Gay-Bar sich gegen eine Polizeirazzia auflehnten. Dies führte zur zweitägigen Stonewall Rebellion. Zum ersten Jahrestag und seither wird diese Rebellion mit dem Christopher Street Day (CSD) komemoriert, an dem «Gay Parades» in grossen Städten stattfinden – die ersten 1970 in New York, Chicago und Los Angeles.
LGBTQ+ Acts
Bessie Smith, Judy Garland, Little Richard, Dusty Springfield, Cher, David Bowie, Elton John, Freddie Mercury, Abba, Jobriath, Sylvester, Madonna, Pet Shop Boys, Morrissey, kd lang, Kylie Minogue, Lady Gaga, Omar Apollo, Kaytranada, Kehlani, Lil Nas X, Janelle Monáe, Orville Peck, Kim Petras, Sam Smith, Kali Uchis, Arlo Parks, Tove Lo, Pabllo Vittar, Troye Sivan, Frank Ocean, SOPHIE, Christine And the Queens
Querverweis
– Camp
Links
– Spotify: GLOW. The hottest songs from LGBTQIA+ artists (Playliste) und GLOW Spotify hub
– GLAD Award – Award der 1985 gegründete Organisation zur Interessenvertretung von LGBTQ+ in den Medien
– Wikipedia: Liste mit den Gewinner*innen des GLAAD Vanguard Awards
– Connor Winyard: LGBTQ+ Musicians: 40 Pioneering Artists You Need To Know (Dig!, 18. Februar 2023)
– Randi Zimmermann: 9 Organizations Supporting LGBTQ+ Rights in the Music Industry (Symphonic Blog, 29. Juni 2022)
– Queer Joy Podcast Series
– Queer Music Agency - eine Agentur, die ausschliesslich LGBTQ+-Musiker*innen repräsentiert
Letzte Alben Tag
Unter diesem Stichwort werden Alben gelistet, die mit dem Wissen, dass es das letzte sein wird, aufgenommen wurden.
Lebensreform Tag
Lebensreform fungiert als Sammelbegriff für verschiedene konservative soziale Reformbewegungen ab Mitte 19. Jahrhundert. Der Begriff stammt aus dem letzten Drittel des 19. Jahrhunderts. Das geografische Zentrum solcher Lebensrefombewegungen lag im deutschen Sprachraum. Die Lebensreform kritisierte die Industrialisierung, die Verstädterung und den Materialismus und stellte der modernen Entwicklung das «Zurück zum Naturzustand!» entgegen. Jean-Jacques Rousseau ist der philosophische Stammvater der Bewegung, zu der Anliegen gehören wie vegetarische Ernährung, ökologische Landwirtschaft, Antialkoholismus und Diät. Reformhäuser haben hier ihren Ursprung.
Eine Paralellerscheinung mit gemeinsamen Anliegen waren die verschiedenen theosophischen Bewegungen. Diese hatten im Kern «geistig-spirituelle» Anliegen, wo die Lebensreform nach einem gesunden körperlichen Leben strebte. Zu diesen bewegungen zählen Anthroposophie, Esoterik, Theosophie usw.
Konkrete Bewegungen
– Sozialreform von Karl Wilhelm Diefenbach
– Monte Verità bei Ascona (Treffpunkt von Lebensreformern, Pazifisten, Künstlern)
– Bauhaus
– Obstbau-Genossenschaft Eden bei Oranienburg
– Freikörperkultur (FKK, Naturismus)
– Turnbewegung
– Ausdruckstanz
– Bodenreformbewegung Adolf Damaschkes
– Freiwirtschaft Silvio Gesells
– Wandervogel- und Jugendbewegung (Wiederaneignung von Volksliedern, unmittelbare Formen der Geselligkeit, Jugendherbergen
– Reformpädagogik
– Künstlergruppe die Brücke, Künstlerkolonie Worpswede, Blauer Reiter
– Homöopathie, Kneip-Bund usw.
– Reformkleidung, Abschaffung des Korsetts
– Landkommunen, Schrebergärten, Gartenstädte (z.B. Siedlung Hellerau)
Beurteilung
Alle diese Bewegungen und Anliegen waren und sind eine Art Begleiterscheinung der Moderne. Ein widerständiges Rauschen, das dem Fortschritt entgegengesetzt wurde und wird, ohne dass er deswegen aufgehalten worden wäre. Die Frage lautet, ob die Lebensreform einen Eskapismus darstellt, wie der auf alternative soziale Bewegungen spezialisierte Historiker Ulrich Linse
meint.
Wirkung
Eine Wirkung hatten diese Bewegungen auf die Hippies in den USA und in Europa.
Quellen
Robin Brunold: Die Lebensreformbewegung und ihre gesellschaftlich-kulturellen Hintergründe (Geschichte Lernen)
Late Night Show Tag
Talk Shows im Spätprogramm mit Moderatoren, die zwei bis drei Gäste (nacheinander oder miteinander) empfangen und sie interviewen. Viele der Moderatoren kommen aus der «Stand-up Comedy» und sind sehr schlagfertig. Zusätzlich aufgelockert wird eine solche Sendung mit Presseschauen mit mehrdeutigen oder verfänglichen Schlagzeilen, belustigende TV- und Filmausschnitten, eigenproduzierte Comedy-Kurzfilmen und Musikstücken. Einzelne Shows haben eine eigene Band. Die Roots spielten in der NBC Late-Night-Show. Viele Indie-Mainstream-Kollusions Acts treten live oder mit Playback auf.
Beispiele
– ABC/CBS/PBS/USA Network/CNBC: «The Dick Cavett Show» (1968–1975, 1977–1982, 1985–1987 und 1989–1996)
– NBC: «Late Night»: mit David Letterman (1982–1993), Conan O’Brien (1993-2009), Jimmy Fallon (2009-2014) und Seth Meyers (seit 2014)
– CBS: «Late Show» mit David Letterman (1993–2015), Stephen Colbert (seit 2015)
– TBS: «Conan» mit Conan O’Brien (2010–2021)
– RTL: «Gottschalk Late Night» mit Thomas Gottschalk (1992–1995)
– RTL: «RTL Nachtshow» mit Thomas Koschwitz: (1994–1995)
– Harald Schmidt: Die Harald Schmidt Show (Sat.1/Sky), 1995–2003 / 2011–2014; Harald Schmidt (ARD), 2004–2007 / 2009–2011
– ARD: «Schmidt & Pocher» mit Harald Schmidt und Oliver Pocher (2007–2009)
– ProSieben: «TV total» mit Stefan Raab, Sebastian Pufpaff (1999–2015, (seit 2021)
– SRF: «Viktors Programm» mit Viktor Giacobbo (1990–1994) und «Viktors Spätprogramm» (1995–2002)
– SRF: «Late Service Public» mit Giacobbo/Müller (2008–2016)
– SRF: «Deville Late Night» mit Dominic Deville (seit 2016)
last.fm Tag
«last.fm» ist eine 2002 gegründete britische Musikwebseite. Sie ist eine Musikdatenbank mit API und bietet eine Software, den Audioscrobbler, die den Musikgeschmack von Endverbrauchern über deren Player (Winamp mit Plugin) oder benutzten Plattfomen (u.a. Spotify, Deezer, Tidal, MusicBee) erhebt. Der Erfinder des Ausio-Scrobblers ist Richard Jones.
Der Scrobbler hat sich als Konzept durchgesetzt und die Logik von Musikseiten im Internet geprägt.
«last.fm» generiert wöchentliche Charts mit 400 Künstlern und Tracks aufgrund der Nutzer-Präferenzen.
Wie die Endung «fm» andeutet, ist «last.fm» auch ein Internet-Radio, das Tracks aufgrund von Präferenzen ausspielt – «last.fm» war meines Wissens die erste programmierten Playlisten (siehe Playlisten).
Mit dem Aufkommen von Streaming Services hat «last.fm» an Popularität eingebüsst.
Links
– Eliot Van Buskirk: The Man Who Invented Scrobbling And Changed the World (Wired, 20. November 2012)
Label Tag
«Label» (dt.: «Etikett») nannte man ursprünglich die im Zentrum von Schellack- oder Vinylplatten angebrachten Etiketten, auf denen das Label-Logo, der Titel, die Komponist*innen und verwendungsrechtliche Hinweise aufgedruckt waren. Der Begriff «Label» steht totum pro parte für die Firma, die Schallplatten herstellt.
Labelcode
Jedes eingetragene Label hat einen von der International Federation of the Phonographic Industry (IFPI) vergebenen Labelcode (Beispiel: LC 12345).
Lables 1950er Jahre
Man unterscheidet seit den 50er-Jahren Major- und Indie-Labels.
Lables 1960er Jahre
In den Sixties gibt es im Vereinigten Königreich EMI (mit Parlophone, Regal Zonophone, Columbia und His Masters Voice) und Decca (mit Track), die beiden Marktführer seit Jahrzehnten, Pye, das Label von ITV, Philips und Polydor, das Sublabel der Deutschen Grammophon. Als Folge der British Invasion hatte auch das amerikanische Label Columbia/CBS eine Niederlassung in London. Andere folgten.
Lables 2010er Jahre
Seit 2012 gibt es noch drei Major-Labels, besser eigentlich Schallplattenfirmen, die international tätig sind und wirtschaftliche Konglomerate von vielen eigentlichen Labeln darstellen: Universal, Sony Music und Warner. Zusammen beherrschen diese Konzerne etwa 75–80% des Musikmarktes. So hat die Universal Music Group dutzende von «Imprints» oder Labeln wie Interscope, Geffen, Island, Capitol, Decca, Virgin usw.
Indie-Labels operieren zumindest am Anfang eher lokal mit einer überschaubaren Anzahl von Personen, oft als Einmann-Unternehmen. Um auf dem globalen Markt präsent sein zu können, haben unabhängige Labels oft Distributions-Verträge mit Major-Labeln oder schliessen sich selbst wiederum zu Konglomeraten zusammen (z.B. 4AD, Matador Records, Rough Trade Records und XL Recordings, die zur Beggars Group zusammengeschlossen sind). Indie und Major waren anfangs zwei sehr verschiedene Welten. Bands oder Musiker-/innen waren entweder Major oder Indie, je nach dem, bei welchem Label sie unter Vertrag standen. Später, mit dem Erfolg von Indie-Acts wie U2, Smiths, New Order, Sonic Youth, Pixies, Nirvana, Bands, die vermehrt Crossover-Hits in den Charts landeten, kamen die erfolgreichsten dieser Bands bei Major-Labeln unter. Seit den 1990er-Jahren verwischen sich die Grenzen zwischen Indie und Major zusehends (siehe Indie-Mainstream-Kollusion).
Sublabel und Vanity-/Boutique-Label
Labels gründen Sublabels, die auf Stile oder Künstler spezialisiert sind. Ein Spezialfall von Sublabeln sind auch die Boutique- oder Vanity-Label. Das sind Label, die für die Releases eines meist sehr erfolgreichen Acts gegründet werden. Zuweilen erscheinen dann auch von diesem Act kuratierte Releases beim Vanity-Label. Zum Beispiel erschienen bei Aftermath Entertainment, dem Label von Dr. Dre, Releases von Eminem, 50 Cent, Busta Rhymes oder Kendrick Lamar. Ein recht umfangreiches Verzeichnis von Vanity-Labeln gibt es bei Wikipedia.
Netlabel
Seit den Nullerjahren gibt es mehr und mehr Netlabel, das sind Label, die keine Releases mehr veröffentlichen, sondern Musik in digitalen Formaten übers Internet vetreiben. Netlabel-Verzeichnisse findet man bei clongclongmoo.org, record labels on the web.com oder Netlabel Catalogue.
Ein japanisches Netlabel ist Minusn.
Labels im Musikzimmer
Jeder in Musikzimmer erfasste Release und Song wird mit dem Label erfasst, bei dem er zuerst im Heimatland erschienen ist. Mit der Labelangabe kommt die Katalognummer (meist ein Buchstaben-Kürzel und eine Laufnummer). Diese Angaben sind interaktiv, d.h. vom Factsheet aus kann man den Labelkatalog bzw. die Label-Diskografie aufrufen und so nachschlagen, welche anderen Releases oder Songs beim selben Label erschienen sind.
Der Oligopol
Seit dem 11.11.2011 ist bekannt, dass die EMI Group, die Monate zuvor in finanzielle Schwierigkeiten geraten war, in einem «slit sale» teils an Sony BMG (der Publishing-Teil der Firma) und teils an Universal (der Musik-Teil der Firma) verkauft wurde. Da waren's nur noch drei.
Die Links in der folgenden Aufzählung führen zur entsprechenden Wikipedia-Seite (in Englisch)
1) Vivendis Universal Music Group
2) Sony BMG
3) WB
4) EMI Group, Geschichte von EMI
Labeldiskografien
Labeldiskografien bieten zum einen Musik-Datenbanken an, vor allem Discogs (umfangreich und deshalb teilweise unaufgeräumt), RateYourMusic, MusicBrainz sowie Musikzimmer (nur in wenigen Fällen komplett)
Detaillierte Discographien bestimmter Label findet man bei:
– Both Sides Now 
(vor allem amerikanische Label)
– Collectable-Records.ru 
– Wiki Musik-Sammler.de: Auflistung von Labelcodes
Kuratieren Tag
«Kuratieren» ist ein Neologismus, der im Deutschen seit 1996 im Umlauf ist (siehe: Joachim Güntner: Heute schon kuratiert? (NZZ, 18. November 2014). Im Englischen ist das Wort schon viel länger im Gebrauch. Das Nomen kannten bereits die Römer; ein «Curator» war ein Aufsichtsbeamter, der sich um den Unterhalt der baulichen Infrastruktur wie Strassen, Tore oder Brücken kümmerte. Auch ein Vormund war ein Kurator.
Kuratiert sind Blogs, Menus urbaner Restaurants, Sammlungen, Playlisten, DJ-Sets. Kuratieren bedeutet liebevoll auswählen, zusammenstellen. Kuratiert werden digitale und reale Objekte, die von jemand anderem und oft in einer anderen Zeit produziert worden sind.
Es ist zu vermuten, dass sowohl der Anglizismus als auch die postmoderne Remixkultur sowie der Umgang mit Inhalten im Internet den Gebrauch des Begriffs «Kuratieren» für Edieren, Ausstellen usw. gefördert haben.
Man spricht seit den 2010er Jahren von einem «curatorial turn». Dieser Begriff ist ein Ausdruck dafür, dass kulturelle Themen oder Meme vermehrt von Liebhaber*innen und Sammler*innen aufgebracht werden statt wie bisher von Vertreter*innen des öffentlichen oder akademischen Diskurses (als Journalist*innen und Wissenschaftler*innen). Die Verfügbarkeit von realen Objekten über globalisierte Onlinemärkte und digitale Plattformen, in denen Musik oder andere Medieninhalte zugänglich werden, beförderten diese Entwicklung.
Es ist interessant, dass sich der «curatorial turn» exakt zu der Zeit ereignet, als das Profiling der Algorithmen, die hinter den Musikplattformen wie Spotify stehen, das Kuratieren von Musik bedrohen und auf drastische Weise überflüssig machen. Wie die Vinyl Resurgence verklärt der ‹curatorial turn» möglicherweise einen Umgang mit realen Objekten, der keine grosse gesellschaftliche Rolle mehr spielt, ausser eine Spielform des Konsumismus zu sein.
Etwas vom Wesentlichen am Kuratieren ist, dass es nichts produziert, sondern bereits Produziertes neu zusammenstellt, remixt. Der heutige Kurator ist ein Typ des Zeitalters der Digimodernität, der Post-Postmoderne. Er kommt vor allem in urbanen und gentrifizierten Orten vor. Kurator*innen haben einiges Prestige. Es umspannt sie der Mythos, dass sie erfolgreiche Entrepreneure seien (die neoliberale Version) und dass sie in einer globalisierten und anonymen Welt etwas Persönliches schaffen würden (so spricht die politische Linke über Kurator*innen). Doch dieser Mythos ist nostalgisch und täuscht darüber hinweg, dass Europa und Amerika es aufgegeben haben, Dinge zu produzieren und Arbeitskräfte nachhaltig zu beschäftigen. Die meisten Kurator*innen leben in einem Prekariat, teils finanziert von Arbeitslosenversicherungen, teils von tatsächlichen Aufträgen. Es sieht nicht so aus, als könnte man eine Wirtschaft nachhaltig auf kuratorischen Tätigkeiten aufbauen. Lifestyleprodukte tragen zu wenig zu einem Volkseinkommen bei. Der Kurator kann kein Modell für die Produktion der Gesellschaft sein.
Kuratieren als «existentielle Sorge»
In der ontologischen Existenzphilosophie von Martin Heidegger hat die Sorge («cura») eine zentrale Stellung. Das Dasein des Menschen sei sowohl in der sachlichen und sozialen Dimension als auch in der Dimension des Selbstbezugs durch die Sorge geprägt. Heidegger meint mit der Sorge, dass wir zu dem, was wir besorgen, und zu denen, für die wir sorgen ein besonderes Verhältnis haben: Heidegger hat emphatisch hervorgehoben, dass unser Verhältnis zur Welt im Grunde ein anders sei als wir es uns üblicherweise vorstellen. Dinge stünden nicht grundsätzlich zu unserer Verfügung, so dass wir sie beherrschen, besitzen, nach Blieben kaufen oder verkaufen könnten, Dinge seien keine Gegenstände, die uns draussen in der Welt gegenüberstehen, sondern wir seien auf diese Dinge bezogen und würden uns auch an sie verlieren. Die Dinge haben eine Macht über uns, sie ziehen uns an, sie machen, dass wir unser Leben für sie hingeben. In Heideggers eigenwilliger Sprache heisst es: «[Dasein] kann [...] bestimmt werden als das verfallend-erschlossene, geworfen-entwerfende In-der-Welt-sein, dem es in seinem Sein bei der ‹Welt› und im Mitsein mit Anderen um das eigenste Seinkönnen selbst geht.» (Sein und Zeit, S.181)
Kuratieren im Kunstbetrieb
Das Kuratieren heutiger Kurator*innen ist im Gegensatz zum obigen philosophischen Begriff, vor allem im Kunstbetrieb zu lokalisieren: Kurator*innen sind Leute, die auswählen, zusammenstellen, ausstellen, vermitteln. Kuratieren setzt voraus, dass es zahlreiche verfügbare Inhalte, Sammlungen gibt, deren Fülle zu verdaubaren Mengen reduziert und mit einer wirksamen Geschichte versehen werden. Die Kuratorinnen und Kuratoren gehen davon aus, dass ein Archiv, die Bestände eines Museums oder private Sammlungen totes oder stummes Material darstellt und sehen es als ihre Aufgabe, daraus eine sinnvolle Selektion zu treffen und diese mit einer attraktiven Geschichte zu versehen. Auswahl und Narrativ sind das Leben, das den toten Beständen eingehaucht wird.
Archive sprechen davon, dass sie Bestände aufbewahren, erschliessen und vermitteln. Die dritte Funktion entspricht der des Kuratierens.
Gegenüber früheren Begriffen, bezeichnet der Begriff «Kurator» in der multimedialen Gesellschaft jemanden, der mit allen Typen von Archivalien umgehen kann, Schrift, Bild, Film, Ton, ...
Abstrakt heisst Kuratieren ein «Kulturerbe verwalten». Allerdings betont der Neologismus, dass diese Tätigkeit nicht länger im Geist der Verwaltung, der Administration, des Beamtentums zu geschehen habe, sondern mit «jugendlicher Frische». Der mitschwingende Gegensatz ist ein neoliberaler. Alles was staatlich organisiert, institutionalisiert und bürokratisch abläuft, ist dem Neoliberalismus ein Greuel, weil Bürokraten zu wenig beweglich seien und sich nicht schnell genug an neue Trends anpassen würden. Wenn es nach dem Neoliberalismus ginge, müsste der ganze Kulturbetrieb privatisiert werden. Tendenzen in dieser Richtung sind in den letzten Jahren deutlich geworden: Es gibt viele Kuratorinnen und Kuratoren, die privatwirtschaftlich unterwegs sind. Möglicherweise sorgen sie tatsächlich für frischen Wind im Kunstbetrieb. Durch die Coronakrise wurde aber auch deutlich, dass die nicht institutionelle Kulturarbeit besonders stark leidet. Der Sturm der Krise bläst stärker als die frischen Windchen.
Kunst Tag
Es gibt viele Antworten auf die Frage, was Kunst ist. Kunst kann als Prozess oder Produkt verstanden werden und gehört in die Sphäre der Kultur.
Subjektive Exklusivität der Produktion
Wer Kunst macht, gilt als Künstler*in. Dabei gibt es anerkannte und nicht-anerkannte Künstler*innen (Outsider Art, Outsider Musik). Es gibt erfolgreiche und erfolglose Künstler*innen. Es gibt Künstler*innen, deren Werke als Kunst verstanden werden, und solche, bei denen das umstritten ist.
Es herrscht die Vorstellung vor, dass nicht jede oder jeder zur Künstlerin oder zum Künstler taugt: Künstlerinnen haben möglicherweise besondere Fähigkeiten, wie Kreativität, Vorstellungskraft («Imagination»), Geschicklichkeit und Übung («Kunst kommt von Können»), Geist, Wissen, Wahrnehmungsfähigkeit (der «Blick» im übetragenen Sinn), Intuition
Die Grenze von Kunst und Nicht-Kunst
Was Kusnt ist und was nicht, wird oft sehr klar unterschieden und dient der Rechtfertigung von Ausgrenzung und Selektion.
– Original vs. Massenprodukt
– entwickelte Tätigkeit vs. unentwickelte Tätigkeit
– auf akzeptierten Techniken beruhend vs. auf allen anderen Verfahren und Techniken beruhend
– Gegenstand ausserhalb von funktionalem Zusammenhang (Gegenstand an sich, seine «Formalität») vs. Gegenstand in seinem Verwendungszusammenhang
– das Erhabene vs. das Gewöhnliche
– das Sakrale (die Aura) vs. das Profane
Wirkung von Kunst
Als Wirkung von Kunst wurden genannt: sie bilde, sie erzeuge Subjektivität oder Individualität, sie mache frei (oder zeige den Weg in die Freiheit).
Etablierte Disziplinen
In der westlichen bürgerlichen Gesellschaft zählen zur bildenden Kunst:
– Malerei, Bildhauerei, Grafik, Architektur, aber auch Gebrauchskunst bzw. Kunsthandwerk
– Musik (Komposition und Interpretation)
– Literatur: Epik, Dramatik, Lyrik, Essayistik
– darstellende Kunst mit den Hauptsparten Theater, Tanz und Film
Ein hermeneutischer (?) Dreh
Wir haben von Duchamp gelernt, dass Kunst auch etwas sein kann, das nicht in der Absicht produziert wurde, Kunst zu sein (siehe Fountain). Der Schluss daraus war, dass man gesagt hat, der Künstler bestimmt, was Kunst ist. Wenn Duchamp ein Pissoir in eine Gallerie oder ein Museum stellt, ist es Kunst. Ich (CS) würde diesem Schluss einen anderen Dreh geben und sagen, nicht die Produktion, sondern die Rezeption bestimmt, was Kunst ist. Wenn ich einen Alltagsgegenstand unter dem Aspekt betrachte, dass er Kunst ist, dann ist er Kunst. Freilich kann das sehr unergiebig sein, aber das ist nicht das Wesentliche. Ich halte für wesentlich, dass jeder Gegenstand oder Text zum Kunstwerk wird, wenn man ihn als Lektion über Kunst betrachtet oder liest. Kunst soll m.E. nicht in eine eigene Sphäre erhoben werden, die sich von allen anderen Gegenständen des Gebrauchs und des Alltags unterscheidet. Alles kann Kunst sein, wenn es jemanden gibt, der daraus das Kunstvolle zu überzeugend zu zeigen vermag. Damit ist nicht gesagt, was Kunst ist – es bleibt bewusst offen!!!
Kulturkriege Tag
Samuel P. Huntington schrieb 1996 ein Buch, das zuerst weitgehend ignoriert im Lauf der Zeit aber stark an sachlicher Relevanz und wissenschaftlichem und journalistischem Einfluss gewonnen hat: «Clash of Civilisations». Nach dem Fall der Mauer und dem Zusammenbruch des Ostblocks schwor der Westen sich auf eine konfliktarme Zeit ein, in der der Welthandel blühen und der Kapitalismus gesiegt haben würde. Das zugehörige Buch schrieb Francis Fukuyama The End of History and the Last Man (1992). Fukuyamas Lehrer, Huntington, verfasste vier Jahre später eine Replik, die die Welt nach dem Kalten Krieg grundlegend anders portraitierte als sein Schüler: Anstelle der bisherigen globalen Konflikte, die primär ideologisch und ökonomisch motiviert waren, würden in seiner Interpretation des weltpolitischen Klimas Kulturkriege zwischen Nationen und Blöcken treten, die auf verschiedenen Glaubens- und Überzeugungsfundamenten aufbauen und miteinander unvereinbar sind.
Herkunft des Begriffs
Der Ausdruck/Begriff «clash of civilisations» stammt aus der Sphäre der französischen Kolonialgeschichte, in der die schlechte Vereinbarkeit des islamischen und des westlich-kolonialen Staatswesens schon früh zu Tage trat und auf kulturelle Faktoren zurückgeführt wurde. Basil Mathews verfasste 1926 ein Buch mit dem Titel «Young Islam on Trek: A Study in the Clash of Civilizations», 1931 eines mit dem Titel: The Clash of World Forces. A Study in Nationalism, Bolshevism and Christianity und 1932 The Clash of Color. Albert Camus hat 1946 über den Konflikt mit Algerien geschrieben: «Cela ne sera pas un choc d'empires nous assistons au choc de civilisations».
Huntingtons Kulturkreise
Die Kulturkreise, die Huntington in seinem Buch zeichnete, waren der Westen, die Orthodoxie, der Islam, Buddhisten, Hindus, Adfrikaner, Lateinamerikaner, Japan, China. Diese Kulturen scheinen bei ihm sehr geprägt von Religion. Es stehen aber nicht alle Religionen in einem vergleichbar gewalttätigen Verhältnis zur westlichen Kultur, wie zum Beispiel der radikale Islam. Auch ist Islam nicht immer radikaler Islam. Dann lässt sich kritisieren, dass nicht immer religiöse Überzeugungen die Basis der globalen Konflikte darstellen: Im derzeitigen Russisch-Ukrainischen Krieg geht es u.a. um verschiedene Geschichtsinterpretationen und Machtansprüche.
Die starke religiöse Ausrichtung von Huntingtons Argument ist wie der Begriff am Konflikt zwischen dem Westen und dem Islam gewachsen: Beide Religionen seien (1) missionarisch, (2) ausschliesslich («all-or-nothing» religions) – nur sie haben Recht und (3) teleologisch (d.h. stark mit Sinn und Zweck des Menschlichen Lebens verbunden.
Huntingtons und die westliche Überheblichkeit
Huntintons Buch war ein Angriff auf die westliche Überheblichkeit, dass sein Wertesystem universell sein soll. Huntington rechnete dem Westen anhand der Kriege im ex-yugoslawischen Raum Naivität vor. Die damaligen «challenger civilizations» waren China und der Islam. Huntington zeichnet in seinem Buch die Vision eines Bündnisses zwischen diesen zwei westlichen Herausforderern («Sino-Islamic connection»).
Argumente für einen Clash
Huntington expliziert sechs Erklärungen und Gründe für den «clash of civilastions», also kommende Kulturkriege: (1) Kulturunterschiede sind fundamental und sind über Jahrhunderte gewachsen. Sie werden nicht einfach aufgegeben. (2) Die Welt wird kleiner. Eine Koexistenz in weitgehender gegenseitiger Ignoranz ist kaum möglich. (3) Globale Modernisierungsprozesse und Migration entwurzeln Menschen von ihrer Herkunftskultur, aber nicht von ihrer Religion. (4) Die Rolle des Westens als führender Kulturkreis fördert den Stolz der anderen Kulturkreise: Es entstünden «return-to-the-roots» Bewegungen. (5) Kulturelle Merkmale und Unterschiede seien weniger veränderlich und daher weniger leicht zu kompromittieren und zu lösen als politische und wirtschaftliche. (6) Es gibt einen Anstieg des wirtschaftlichen Regionalismus. Solche regionalen Erfolge werden die eigene kulturelle Identität befeuern, nicht das Überlaufen zum Westen.
Diese Gründe führten zu Kulturkonflikten zwischen dem Westen und anderen Kulturkreisen: Stuart Hall prägte dafür die Formel: «The West and the Rest».
Nicht-westliche Kulturen können sich zum hegemonialen kulturellen Aspruch der führenden Kultur auf drei prinzipielle Weisen verhalten: (1) sie können sich isolieren, (2) sie können profitieren und als Gegenleistung die hegemonialen Werte übernehmen («band-wagoning») und (3) können sie sich modernisieren und mit anderen zusammenschliessen. Dabei werden sie nach aussen militärische oder ökonomische Macht aufbauen, nach innen aber die eigenen Werte erhalten.
Koexistenz der Kulturen vs. Kulturkriege
Huntington äusserte sich positiv über die Lernfähigkeit des Westens mit anderen Kulturkreisen umzugehen. Wenn man die Geschichte anschaut und sein Argument der missionarischen, ausschliesslichen und teleologischen Religion ernst nimmt, dann kann man mit Recht auch zweifeln. Jedenfals würde der kapitalistische Universalismus einer Koexistenz verschiedener Kulturen Platz machen, meinte Huntington.
Innenpolitische Kulturkriege
Auch Klassenkämpfe, regionale Konflikte werden zunehmend als «clash of cultures» dargestellt. Gut ausgebildete Spitzenverdiener*innen können sich in Deutschland nicht mehr mit einfachen Leuten verständigen, weil ihre Kulturen so verschieden sind (Susanne Gaschke: Die Verachtung des Normalen). In den USA beobachtete die Soziologin Katherine J. Cramer ein «rural consciousness» zur politischen Kraft heranwuchs, die gegen das politische Establishment gerichtet ist (The Politics of Resentment: Rural Consciousness in Wisconsin and the Rise of Scott Walker). Die Gespaltenheit des Landes zwischen Trumpisten und der politischen Elite entfaltet sich sichtbar entlang der alten politischen links-rechts Orientierung, ist aber gerade nicht politisch, sondern kulturell motiviert.
Links
– WIkipedia: Clash of Civilizations – Artikel zum Buch von Samuel P. Huntington
Kultur Tag
Was ist Kultur? Was ist das Verhältnis von Kultur und Gesellschaft? Über diese Fragen kann man endlos streiten. Der Sachverhalt ist kompliziert.
Was ist Kultur?
Das Wort «Kultur» wurde in verschiedenen indoeuropäischen Sprachen aus dem Latein entlehnt. Es hatte die Bedeutung: Pflege des Bodens und Verbesserung (Zucht) von dem, was darauf wächst und lebt. Bis zum Barockzeitalter wurde «cultura» stets mit Genitiv verwendet: Kultur der Seele, Kultur des Glaubens usw. Zu einem Status (ohne Genitiv) wurde «cultura» beim Staatsrechtler Samuel von Pufendorf, der den Naturzustand als einen glücklosen Zustand ausserhalb der Gemeinschaft (vergleiche Aussenseiter/Outsider) statt einem paradiesischen Urzustand (wie bei Adam und Eva) begriff. Der Status der «cultura» ist bei ihm das Gegenteil eines Aussenseitertums. Von nun an hatte «Kultur» zwei semantische Marker: einen ergologischen (aus der Antike) sowie eine sozialen (aus der neuzeitlichen Naturrechtslehre, die den Menschen nicht mehr als Geschöpf Gottes mit ebenbildlicher gesellschaftlicher Ordnung, sondern als vernunftbegabter Staatsbürger denkt, der mit Moralempfinden sich selbst die Gesetze gibt). Ein dritter semantischer Marker kam in der Aufklärung bei Johann Gottfried Herder die Zeitlichkeit hinzu. Herder sprach von der Kultivierung und vom kultiviert-sein, das bei einem Volk oder bei einem Menschen zur Blüte seines Daseins führen könne.
In der ständischen Gesellschaft war Kultur die exklusive und privilegierte Lebensweise der Adligen. Familienbesitz und altes Geld war der Garant von Kultur. In der bürgerlichen Gesellschaft wurde «Kultur» ein exklusiver Wertbegriff, der den feinen Geschmack der Oberklasse zum Ausdruck brachte. Kultur wurde hier zur Eigenschaft, die wie ein Besitz des (gross-)bürgerlichen Standes in dessen Händen lag: Geist, Bildung, Manieren, Geschmack. Er diente der sozialen Abgrenzung (Distinktion) und wurde von unten als Standesdünkel wahrgenommen. So verstandene Kultur setzt Freiheit von wirtschaftlichen Zwängen voraus. Wer reich genug ist, um sich Freizeit gönnen zu können, hat einen enormen Vorteil im Erwerb von so verstandener «Kultur» bzw. «kulturellem Kapital».
In den 60er Jahren kam in Amerika ein neuer radikal egalitärer und relativistischer Kulturbegriff auf. Dies geschah, so Helmut Hofbauer, ohne wissenschaftliche Notwendigkeit auf dem Boden der Bürgerrechts- und Friedensbewegung (siehe: Eine jüngere Etymologie des Wortes 'Kultur'). Kultur hiess von nun an primär die Gesamtheit von sozial vermittelten und in einem sozialen Kreis geteilten Werthaltungen, Überzeugungen und Verhaltensmuster sowie die durch Arbeit und Kunst hervorgebrachten Artefakte und Leistungen (materielle Kultur) wie Kunstwerke, Produkte, Erfindungen.
Die Ursprünge dieses Verständnisses findet man beim Ethnologen Franz Boas und beim Soziologen und Begründer der Chicagoer Schule Robert Park. Sie verwendeten den Kulturbegriff zum ersten Mal für alles, was ein Volk produziert, Güter, Kleider, Möbel, Gebrauchsgegenstände, Gesetze, Hoffnungen, Symbole, Texte, Bilder, Lieder, ...
In den Wissenschaften wird der Begriff «Kultur» verschieden verwendet. Vor allem schillert der Begriff zwischen zwei Verständnisweisen: Einerseits bedeutet Kultur die Lebensart, die sich im Produktionsprozess durch Handwerker*innen und Künstler*innen mit in deren Artefakte und Werke einschreibt. Andererseits besteht die Kultur genau aus diesen Artefakten und Werken einer Gruppe und einer Zeit. Das erste will die Ethnologie und Ethnografie erforschen, wo Philologie und Ästhetik (verstanden als die Lehre der Kunst) eher auf das zweite gehen. Die Geschichtswissenschaft schwankt zwischen beiden. Zur Veranschaulichung: Man kann die Songs von Johnny Cash daraufhin untersuchen, was in ihnen über die Kultur der Südstaaten zum Ausdruck gebracht wird. Man kann aber auch genau in diesen Songs (und anderen Werken) die Südstaatenkultur erblicken.
Wie stehen Kultur und Gesellschaft zueinander?
Eine mögliche Antwort, die vom heute vorherrschenden egalitären Kulturbegriff ausgeht, lautet: Gesellschaft ist offiziell, ist top-down organisiert und erlassen, während Kultur an der Basis von Alltagsbiografien gelebt wird. Was Menschen tun, tun sie im Kraftfeld der Gesellschaft. Man kann sich diesem Kraftfeld nicht wirklich entziehen. Die Flucht ins Private oder das Outsidertum stellen zwar Versuche dar, sich dem Kraftfeld der Gesellschaft zu entziehen, aber diese Versuche sind nur vorläufige. Sie enden, wenn die Steuerrechnung ins Haus flattert oder die Ordnungskräfte die Aussenseiter zur Rechenschaft ziehen.
Es ist aber im Kraftfeld der Gesellschaft, in dem der tätige Mensch Kultur hervor bringt. Das heisst, wenn jemand oder eine Gruppe etwas tut, kommt es mit einer persönlichen Prägung heraus. Diese Prägung oder Eigenheit ist die Kultur. «The way we do things around here», sagte der der in Zürich geborene MIT-Organisationspsychologe Edgar Schein.
Ein Unterschied zwischen Gesellschaft und Kultur ist, dass Gesellschaft tendentiell Konsens, Standards, Institutionen, Allgemeines hervorzubringen trachtet und Kultur Singularitäten, die inkommensurabel sind.
Kultur schafft nach Andreas Rechwitz eine Differenz der Wertung: «Im Feld der Kultur wird bestimmten Dingen Wert zugeschrieben, sie werden mit Wert aufgeladen und anderen wird Wert abgesprochen.» Die Kultur habe in der Rationalität einen mächtigen Gegenspieler. Rationalität sei die Sphäre der Zweck-Mittel-Relationen und der allgemeinen Gesetze. Rationalität und Kultur sind die dualen Kräfte im Weltbild von Reckwitz. Die Moderne habe auf Rationalisierung und Effizienzsteigerung in Technik, Wirtschaft, Politik und Wissenschaft gesetzt. Kultur schien in dieser versachlichten und säkularisierten Welt nur von untergeordnetem Wert. Es gab sie in Kunst und Religion. Spätestens mit dem Anbrechen der Spät- oder Postmoderne in den 1970er und 1980er Jahren werde die Rationalität zwar nicht aufgegeben, aber die Kulturen würden geradezu explodieren. Reckwitz nennt das «Hyperkultur» und stellt sie dem Kulturessenzialismus entgegen. Die Hyperkultur schafft Singularitäten, während der Kulturessentialismus von kollektiver Identität ausgehe.
Operationsmodi
Das Moment der Kultur wird durch biografisches oder kollektives Handeln oder Tätigsein im Kraftfeld der Gesellschaft manifest. Es gibt hier verschiedene Modi:
– personalisierte Aneignung: wie Bildschirmoberflächen personalisiert werden können, lässt die Gesellschaft dem Individuum Freiräume, in denen es eine Wahl hat. Kultur ist in diesem Sinn ein von der Gesellschaft vorgesehener Platzhalter, in dem das Individuum oder eine Gruppe sich stilisieren kann. Ein Beispiel ist die gesellschaftlich gewährte Privatsphäre und das Recht darauf, wo dieses nicht höhere Ziele wie Sicherheit oder Frieden tangiert.
– Freiräume können eingenommen werden, ohne dass sie jeweils von der Gesellschaft vorgesehen wären. Subkulturen wie Reform-, Alternativ- oder Jugendbewegungen richten sich in den gesellschaftlichen Nischen ein, an Orten wo die gesellschaftlichen Gegebenheiten die kulturelle Entfaltung und Stilisierung nicht erdrücken. Wenn eine Jugendbewegung ein autonomes Jugendzentrum fordert, ist das ein Ruf an die Gesellschaft, einen Freiraum einzurichten, wo er nicht besteht, bzw. einen Freiraum, den man sich genommen hat, zu legitimieren. Es ist sehr oft so, dass Jugenkultur oder Gegenkultur sich dort einrichtet, wo eine relative Absenz von gesellschaftlichem Interesse und Regelung herrscht. Man nutzt günstigen, wenig attraktiven Raum, man füllt Lücken. Dadurch entsteht oft etwas paradox Ungewolltes. Der wenig interessante Raum wird attraktiv und damit wird das öffentliche Interesse wieder auf diesen Raum gerichtet, wodurch Gebiete gentrifiziert werden und dort die Preise steigen. Die«Neo-Bohem», die sich an diesen Orten eingerichtet hat, wird durch diese Gentrifizierung an den nächsten Ort vertreiben.
– das «Ver-wenden», das kreative anders verwenden, das gegen den Strich bürsten gesellschaftlicher Gegebenheiten: Ein Beispiel ist die «Ver-wendung» von Technologie gegen die intendierten Zwecksetzung: Auto-Tune, das kreativ zur Manipulation von Stimmen eingesetzt wird, statt zur Korrektur falsch gesungener Töne. MP3, das benutzt wird, um Musik in Internet-Communities und Filesharing-Plattformen zu teilen, entgegen das geltende Urheberrecht/Copyright und entgegen den Regeln der Musikwirtschaft.
– produktive Missverständnisse
Alle diese mehr oder weniger kreativen Modi, zwischen Aneignung und und bewusster Ver-wendung machen den Stoff aus, aus dem die Popkultur gewoben ist.
Populäre Musik und Kultur
Die Populäre Musik ist im alten Verständnis gerade keine Kultur, weil sie als Musik der Massen nicht raffiniert genug ist, soziale Distinktion zu schaffen. Im neuen Verständnis der Kultur ist sie zweifellos eine Kultur-Maschine, die im Kraftfeld der Gesellschaft operiert und kulturelle Blüten hervorbringt. Zum Kraftfeld der Gesellschaft gehören Aspekte wie das Recht, die Technologie, die Ökonomie, ohne die es keine Populäre Musik gibt.
Wir glauben heute, dass Pop Mitte der 50er Jahre die Kultur (neu) erfunden hat – zuerst als Jugendkultur, deren Trägerinnen und Träger die Teenager der beginnenden Wohlstandsgesellschaft in der Nachkriegszeit waren, dann als gesellschaftskritische Gegenkultur, deren Trägerinnen und Träger die Hippies und andere Aussteiger aus der Gesellschaft waren.
Links
– Helmut Hofbauer: Eine jüngere Etymologie des Wortes 'Kultur' (Philohof, 2004)
– Ritter et al.: Historisches Wörterbuch der Philosophie. Eintrag Kultur, Kulturphilosophie von Wilhelm Perpeet
Kultsong Tag
Was ein Kultsong ist, daran scheiden sich die Geister. Viele Leute verstehen den Begriff so, dass Lieder eine subjektive Bedeutung haben oder eine bestimmte Bedeutung für eine bestimmte Generation oder Szene. Ein Kultsong ist dann so etwas wie die Lieblingslieder aus der Sammlung der Lieblingslieder, die Steigerung von Lieblingslied also. Diskussionen wie im Forum von Multimediaxis führen die Polysemie des Begriffs vor.
Ich schlage eine spezifischere Bedeutung von Kultsong vor: Ein Kultsong ist ein Song, der es nie zu einem Hit geschafft hat, der aber bei gewissen Gelegenheiten gerne gespielt wird. Er ist weitum bekannt, aber man hat ihn nur als Spezialistin oder Spezialist (DJ, Musiksammler usw.) wirklich zur Hand.
Kralingen Music Festival (Holland Pop Festival) Tag
Das Kralingen Music Festival wurde im Stadtwald von Rotterdam am 26.–28. Juni 1970 veranstaltet. Es war eine europäische Antwort auf Woodstock. Rund zwei Duzend Bands spielten, jede fast zwei Stunden! und 50'000 Zuschauer sollen gekommen sein. Das Rock Festival war vorbildlich organisiert, es gab genug Essen und Hygiene- und Gesundheitseinrichtungen (Drug Team), Garderoben für die Musiker und Aussichtstürme für die Fotografen. Statt Ordnungskräfte hatte man Helfer/-innen angestellt.
Schade war vielleicht, dass die Holländischen Acts grösstenteils auf einer kleinen Nebenbühne spielen mussten, statt dass man sie integriert hätte.
Lineup vom Freitag, dem 26. Juni
Es spielten: It's a Beautiful Day, Jefferson Airplane, Stone the Crows, Santana, The Flock, Canned Heat, Hot Tuna, Pentangle,
Quintessence,
Lineup vom Samstag, dem 27. Juni
Es spielten:
die Byrds, Family, Dr. John, Country Joe McDonald, T. Rex, Third Ear Band, Al Stewart, Tata Mirando Gypsy Orchestra, CCC Folk & Blues Inc., Supersister,
Lineup vom Sonntag, dem 28. Juni
Es spielten:
Mungo Jerry, Art Ensemble of Chicago, John Surman, Han Bennink, Caravan, Fairport Convention, Fotheringay, Soft Machine, Pink Floyd.
Der Event wurde von George Sluizer und Hansjürgen Pohland filmisch dokumentiert: siehe Stamping Ground (1971).
Das Festival wirkte sich günstig auf die Drogenpolitik der Niederlande aus. Die Polizei tolerierte den Handel und den Konsum von Marijuana am Festival, weil daraus in den Augen der anwesenden Polizei keine weiteren Probleme entstanden. Diese Politik machte Schule.
Seit 2013 gibt es ein Denkmal, das an das erste Openair Festival auf europäischem Boden erinnert, das mehrere Tage dauerte.
Canned Heat auf der Bühne des Kralingen Music Festival (Wikimedia)
Herinneringsmonument Holland Pop Festival (Quelle: Wikimedia
Quellen
– Bericht in Pop Nr. 8 / August 1970, S. 34
Konzert Tag
Musikalische Darbietungen fanden zu allen Zeiten und an den meisten Orten der Welt im Zusammenhang mit Feierlichkeiten statt (Festmusik, Kirchenmusik, Repräsentationsmusik) oder an Orten, wo sich viele Leute aufhielten (Märkte, Jahrmärkte, Versammlungen usw.). Unterschieden werden können Konzerte von Tanzanlässen, obwohl allerlei Mischformen existieren.
In der europäischen Geschichte hat das Bürgertum vom Hof organisierte Konzerte übernommen und vor allem in den Städten wie das Theater und die Mischform der Oper institutionalisiert. Dazu baute man spezialisierte Gebäude, die neben Museen, Bibliotheken, Lesesälen, später Kinos usw. zum Kulturleben einer Stadt beitrugen. Konzerthäuser wurden auf Initiative von Privatpersonen (auch Stiftungen) oder Vereinen errichtet und wurden in Europa vielfach von der öffentlichen Hand gefördert.
Konzert Typen
Man kann mehrere Typen oder Formate von Konzerten unterscheiden. Einige Musik-Genres haben sich in bestimmten Formaten eingerichtet und sind nur schwer in anderen Kontexten vorstellbar. Konzerte sind dadurch vielfach soziale Anlässe, die hoch ritualisiert sind. So sind die Verhaltensmuster eines Rock-Publikums oder eines Opern-Publikums denkbar verschieden. Oft dienen rituelle Regeln der sozialen Distinktion – von der Abgrenzung bis zur Ausgrenzung.
Man kann im Bereich der populären Musik vom Konzertort (Setting) her unterscheiden:
– Clubkonzert
– Saalkonzert (in Restaurants, «Roadhouses»)
– Theaterkonzert
– Hallenkonzert (Sport- und Mehrzweckhallen, ehemalige Fabrikhallen)
– Freiluftkonzert
sowie vom Format her:
– Revuekonzerte (Vaudeville Shows, Music Hall, Beat Revues)
– Rock-Konzert (gemeint ist hier nicht so sehr die Musikart – es fehlt der treffende Fachbegriff –, sondern vor allem, dass Musiker abendfüllende Konzerte spielen, eventuell mit Vorband)
Je kleiner und informeller der Raum (wie beim Club), desto eher ist das Publikum nicht nur wegen der Musik anwesend, sondern um mit anderen zu sein, sich auszutauschen, zu trinken oder essen etc.
Wo eine Musik herkommt, unter welchen Aufführungs-Bedingungen sie gespielt wird wirkt auf sie zurück. David Byrne hat auf diesen Zusammenhang zwischen Veranstaltungs- bzw. Aufführungsort und musikalischen Eigenschaften in einem TED-Talk und in seinem Buch How Music Works aufmerksam gemacht.
Konzeptalbum Tag
Konzeptalben entstanden in den 1960er Jahren im Feld der Rockmusik. Es handelt sich um Alben, deren Songs (oder der grösste Teil dieser Songs) zusammen gehören und eine Geschichte erzählen.
Abgrenzung Thema- und Konzeptalbum
Nicht zu verwechseln sind Konzeptalben mit Thema-Alben.
Nur wenn es sich um ein Originalalbum handelt und weder um ein Soundtrack- noch ein Cast-Album, kann man die Frage nach Thema- oder Konzeptalbum stellen – dass es sich um ein Originalalbum handelt, ist ein notwendiges aber nicht zureichendes Kriterium.
Nur wenn es ein verbindendes oder übergreifendes Thema gibt und zwar über das ganze Album oder über weite Strecken, kann man von Thema- oder Konzeptalbum sprechen. Wiederum ist das Kriterium notwendig, zureichend aber nur für Thema Album, nicht zureichend für Konzeptalbum.
Wenn keines der Stücke durch ein anderes ausgetauscht werden, d.h. die Sequenzierung nicht umgestellt werden kann, ohne dass die Logik oder der Sinn durcheinandergebracht wird, dann handelt es sich um ein Konzeptalbum. Dieses Kriterium ist notwendig und zureichend.
Historische Herkunft
Konzept- und Thema-Alben lassen sich beide auf Liederzyklen oder Liederkreise der Romantik zurückführen, als Komponist*innen mehrere Lieder als Zyklus schrieben und veröffentlichten. Diese Zyklen hatten ein gemeinsames Thema oder erzählten eine Geschichte. An die Liedzyklus-Tradition knüpfen Van Dyke Parks mit seinem Album Song Cycle oder Elvis Costello und das Brodsky Quartet mit Juliet Letters an.
Links
– AllMusic ♥s Concept Albums (AllMusic Staff, 10. Februar 2014)
– Romina Cucchiara: The Concept Album As a Performative Genre (PopMatters, 10. November 2014.
– Brett Milano: Best Concept Albums: 25 Classics That Will Blow Your Mind (uDiscoverMusic, 25. April 2019 und 26. April 2020)
Kontroverse Songs Tag
Corpus mit kontroversen Songs, die entweder heikle Themen behandeln oder öffentliche Verwirrung oder einen Skandal ausgelöst haben.
Kontrapunkt Tag
Songs, die Kontrapunkt verwenden, d.h zwei oder mehr Melodielinien haben, die unabhängig voneinander sind, sich aber harmonisch ergänzen. Kontrapunkt heisst die Lehre, mehrstimmige Musik zu organisieren. Historisch entstand die Lehre ab dem 14. Jahrhundert in Frankreich und Italien und wurde danach weiterentwickelt.
In der zeitgenössischen Populären Musik tritt Kontrapunkt selten in reiner Form auf. Er wird vielmehr im Rahmen einer mehrstimmigen homophonen Komposition verwendet (z.B. bei God Only Knows). Populäre Musik im 20. Jahrhundert (und bis heute) ist vorwiegend von der Singstimme dominierte Homophonie (David Bennett: «melody-dominated Homophony»), d.h. alle Instrumente dienen dazu, die Singstimme zu unterstützen. Kontrapunkt hingegen wäre, wenn die Instrumente unabhängig voneinander individuelle Stimmen hätten, die sich frei, aber harmonisch «richtig», durch die Zeit bewegen. Wo – wie im Traditionalpop – Popmusik aufgeschrieben, notiert und als Sheetmusic publiziert wird, da besteht sie in der Regel aus drei Notensystemen. Das obere ist die Singstimme und die beiden unteren die Klavierbegleitung (rechte und linke Hand).
Kontramelodie Tag
Eine Kontramelodie ist eine zweite oder eine Neben-Melodie (bzw. Stimme). Sie wird als Melodie wahrgenommen, wird simultan zu einer Hauptmelodie gesungen oder gespielt und ist weniger wichtig als die Hauptmelodie. In der Komposition spricht man auch von Kontrapunkt.
Kontexte Tag
Das Wort «Kontext» stammt aus der Sprachwissenschaft und zpeziell aus der Kommunikationstheorie, wo es das an der Bedeutung sprachlicher (und nicht-sprachlicher) Zeichen zum Ausdruck bringt, das nicht lexikalisch und konventionell ist. Der Kontext betimmt die Bedeutung einer Äusserung, eines Satzes, eines Texts mit.
Der Kontext kann potentiell polyseme Ausdrücke eindeutig machen. «Der Hahn ist fünfjährig» gesprochen in der Küche beim Spülbecken oder auf dem Bauernhof beim Hühnerstall spricht entweder vom Alter eines Wasserhahns oder eines Gockels.
Klassifikation des Kontextes
Die Sprachwissenschaft unterscheidet zwischen sprachlichem und nicht-sprachlichem Kontext und differenziert daher Kontext und Kotext. «Das war ja wirklich eine Meisterleistung!» kann je nach Betonung ein Lob («literale» oder «lexikalische Bedeutung») oder ein Tadel (Ironie) aussprechen. Was zum Kotext gehört ist je nach Untersuchungsgegenstand anders: Untersucht man sprachliche Äusserungen (betreibt also Sprachwissenschaft, Linguistik) ist der Kotext sprachlich, der Kontext aussersprachlich. Untersucht man die selben Äusserung semiotisch, dann gehören viele Kontextfaktoren nun zum Kotext, weil sie auch zeichenhaft sind. Das Augenzwinkern als Ironiemarker ist nicht-verbal, aber ein Zeichen, also semiotisch.
Eine weitere Klassifikation des Kontextes unterscheidet
a) den allgemeinen Kontext, das sind alle Faktoren der Sprechsituation: Ort, Zeit, Handlung, Personen
b) persönlichem und sozialem Kontext, dazu gehören alle Arten von geteiltem Wissen über die oder den Sprecher*in und die oder den Hörer*in sowie das geteilte Wissen über die Welt («Weltwissen»), das als Implikation eine Äusserung begleitet, sowie
c) den sprachlichen Kontext, d.i. derjenige Kontext, den die Sprache mittels deiktischer Wörter (semiotisch: «indexikalische Zeichen») explizit anspricht z.B. mit Personal- oder Demonstrativpronomen.
Einn dritte Unterteilung des Kontextes ist die eines näheren Mikro- und eines ferneren/weiteren Makrokontextes.
Kontext in der Interpretation von Songs
Der Kontext ist der Boden unter den Liedern, den man nicht erfinden kann.
Konsumismus Tag
Der Begriff «Konsumismus» ist mehrdeutig. Einerseits bezeichnet er eine individuelle Lebenshaltung, die auf Konsum ausgerichtet ist. Andererseits bezeichnet «Konsumismus» eine Ideologie der modernen Gesellschaft, die von der amerikanischen Nachkriegswirtschaft ausgegangen ist: Der Konsum von Gütern hat die gesellschaftliche Funktion, Individuen voneinander zu unterscheiden. Was jemand kauft, macht sie oder ihn zu dem, was sie oder er ist, weil es in der modernen Gesellschaft kaum mehr traditionelle Identität durch Wohnort, Familienzugehörigkeit und Grundbesitz gibt. Konsum ist in der modernen Nachkriegsgesellschaft sowohl Recht als auch Pflicht. Jeder Bürger hat ein ungeschriebenes Recht auf Konsum, aber auch die ungeschriebene Pflicht, zu konsumieren, weil das die Wirtschaft ankurbelt oder am Laufen erhält.
Schon 1955 sagte John Bugas, Vizepräsident von Ford, in einer Rede, dass «consumerism» ein treffenderer Begriff für den Kapitalismus der US-Wirtschaft sei. Der Konsument sei der eigentliche Boss der Wirtschaft und auch der Nutznieser. Die, welche «Nieder mit den Kapitalisten!» rufen, könne man sich einfach nicht vorstellen, dass sie «Nieder mit den Konsumenten!» rufen.
«Consumer Revolution»
In der Zeit zwischen 1600 und 1750 kam es vor allem in Grossbritannien zur ersten bescheidenen Verbraucherrevolution , zu einem Anstieg des Konsums. Leute, die nicht der Oberklasse angehörten kauften, was bis dahin als Luxusgüter bezeichnet worden wären: Möbel, Geschirr, Pflegeartikel, modische Kleidung, Zucker, Tee, Kakao, Kaffee. Mit dieser ersten westlichen Welle des Konsumismus entstand eine neue urbane Mittelklasse.
Das erste Buch, in dem der Konsumismus gepriesen und gesellschaftlich legitimiert wurde, stammte 1714 von Bernard Mandeville: «The Fable of The Bees: or, Private Vices, Publick Benefits». Es ging 1723 in eine zweite, überarbeitete Auflage. Mandeville forderte die traditionelle Vorstellung eines tugendhaften Lebens heraus, in dem er darlegte, dass das Selbstinteresse und die Eitelkeit des Einzelnen zum Wohl der Gesellschaft als Ganzer beitrügen.
Zum Wohlstand von Grossbritannien vor der industriellen Revolution siehe auch Ulrike Herrmann: Das Ende des Kapitalismus.
Leisure Class
Das erste Buch über Konsumismus schrieb Thorstein Veblen 1899. Es hiess The Theory of the Leisure Class und untersuchte das Verhalten und die Werte der amerikanischen Oberschicht, der «Leisure Class», die so wohlhabend war, dass grosse Teile von ihr nicht zu arbeiten brauchten. Das Buch kritisierte diese «Leisure Class» und schälte heraus, dass Konsum Prestige erzeugt. Im Gegensatz zu Europa konstituierte sich die amerikanische Oberklasse nicht durch historisch gewachsene ständischer Zugehörigkeit, sondern durch Besitz und Konsum. Veblen unterschied zwei Formen der sozialen Distinktion: demonstrativer Müßiggang (statt zu arbeiten widmet man sich Schöngeistigem) und Konsum (verschwenderischer Konsum von Gütern).
Konsum ist im Verlauf der Zeit nach dem Zweiten Weltkrieg stark aufgewertet worden, weil er sehr eng an die Persönlichkeit, das Selbst geknüpft worden ist. Im Konsumverhalten steckt Individualität und im besten Fall Authentizität. Konsum und Produktion stehen in einem sich wechselseitig verstärkenden Prozess. Steigende Nachfrage bewirkt steigende Produktion bewirkt steigende Nachfrage. Wirtschaftswachstum stabiliisere das Wirtschaftssystem, so die kapitalistische Annahme, die auf dem Grundsatz beruht, dass Kapital nur investiert wird, wo an die Investition eine Gewinnerwartung geknüpft ist.
Kritik am Konsumismus
Kritik am Konsumismus ist von vielen Seiten laut geworden: Der Umweltschützer*innen oder Globalisierungsgegner*innen beklagen den Abfall, den der Konsum verursacht und die Ausbeutung der Arbeitskräfte in der Dritten Welt, alternative Lebensstile wollen bewusster weniger konsumieren.
Querverweis
– Stichwort: Konsum
Kommunikationstheorie Tag
Kommunikationstheorien liefern wisenschaftliche Erklärungen dafür, wie es möglich ist, dass verschiedene Individuen (Lebewesen, Tiere, Menschen) sich untereinander verständigen, ihre Handlungen synchronisieren oder aufeinader abstimmen. Sie verwenden dazu Signale und Symbole, die bedeutsam sind. Diese bedeutsamen Einheiten werden terminologisch «Zeichen» genannt und die Wissenschaft, die sich mit ihnen auseinandersetzt, heisst je nach Schule Zeichentheorie, Semiotik oder Semiologie.
Mathematische Kommunikationstheorie
Die mathematische Kommunikationstheorie, zuweilen auch Informationsthorie genannt, wurde während dem Zweiten Weltkrieg wesentlich vorangetrieben, da die Aliierten die deutsche Enigma, die als nicht dechiffrierbar galt, zu knacken versuchten, was ihnen am Ende gelang.
Die dabei entstandenen Theorien befassen sich vor allem mit der Quantifizierung, Speicherung und Übertragung von Informationen. Sie reduzierten die Zeichen auf etwas mathematisch Berechenbares und die Kommunikation als Prozess auf die fehlerlose Übertragung codierter Information. Wertvoll war der Beitrag dieser Theorie für die Fehlerfreiheit der Übertragung. Mittels redundanter Information (z.B. Prüfziffern) liessen sich Übertragungsfehler beheben.
Im zweiten Teil des 20. Jahrhunderts sind in den Feldern der Psychologie, Soziologie, Betriebswirtschaftslehre verschiedene angewandte Kommunikationstheorien entstanden, die mit dem Vokabular der Informationstheorie arbeiteten: «Sender», «Empfänger», «Kanal», «Botschaft». Solche angewandte Theorien sowie die Sprachwissenschaft haben die enge Sichtweise der mathematischen Kommunikationstheorie erheblich erweitert. Nun erhielt neben dem Code auch der Kontext eine fundamentale Bedeutung im Prozess der Kommunikation zugeschrieben. Zeichen werden in angewandten Feldern auch nicht decodiert, sondern aktiv interpretiert.
Eine Kommunikationstheorie für die Literaturwissenschaft
Im Feld der Literatur hat Roman Jakobson 1960 einen einflussreichen und mittlerweilen «klassischen» Text mit dem Titel «Linguistics and Poetics» geschrieben (siehe Semiotics: An Introductory Anthology), der literarische Texte funktional in ihren kommunikativen Kontext einband. Dieser Text erschien in der Zeit nach dem Zweiten Weltkrieg, als Texte in den Literaturwissenschaften weitgehend immanent gelesen wurden. Man nahm einen Text als Text und blendete den Kontext (Autor, Leserschaft, historischer Kontext) aufs Notwendigste ab. Möglicherweise wäre man sonst die Monster der damaligen neueren Vergangenheit nicht losgeworden: Nazis, Holocaust, Kriegsverbrechen ... Jakobsons Aufsatz konnte so einflussreich werden, weil er bestehende Lektürestandards nicht über Bord warf, sondern zeigte, dass der Kontext im Text selbst sichbar wird.
Der Titel des Aufsatzes «Linguistics and Poetics» weist ausserdem darauf hin, das es Jakobson darauf abgesehen hatte, die Sprachwissenschaft (Linguistik) und die Literaturwissenschaft (Poetik) zusammen zu denken, statt als getrennte Felder, die sie bis heute an den meisten Universitäten sind. Die Theorie, die die beiden Disziplinen vereinigen sollte, war die Semiotik, ein theoretisches Feld (siehe Einführung in die Semiotik), das im Lauf der 1960er Jahre mächtig an Fahrt gewann.
Die Semiotik war eine Theorie neben anderen, die Strukturen und Prozesse in einem «Framework» oder Modell zusammen dachten und die daher als «strukturfunktionalistische Theorien» bezeichnet werden können. Strukturfunktionalistische Theorien fassen komplexe Gegenstände wie Sprache, Kunst oder Gesellschaft als eine Wechselwirkung von Prozessen und Strukturen auf. Prozesse bilden Strukturen aus und diese Strukturen haben wiederum einen Einfluss auf die Prozesse. Erläutert an der Sprache: Sprache ist beobachtbar in abertausenden von Kommunikationen (die Prozesse). Da diese Prozesse nicht chaotisch, sondern nach Regeln ablaufen, findet man in der Vielfalt der Kommunikation Regeln, die man als Strukturen auffasst, und die hinter jeder Kommunikation stehen. Das sind aber keine ehernen naturgesetzlichen Regeln, sondern Konventionen, die sich in und durch die Kommunikation selbst ausbilden. Damit können Kommunikationsprozesse die Reglen verändern, nach denen sie funktionieren (Wechselwirkung). Andere strukturfunktionalistsiche Theorien waren die Systemtheorie z.B. von Niklas Luhmann für die Soziologie, der Konstruktivismus z.B. von Berger und LuckmannPeter L. Berger & Thomas Luckmann (The Social Construction of Reality) oder die Prozesssoziologie von Norbert Elias. Lange vor diesen Theorien arbeitete innerhalb des amerikanischen Pragmatismus George Herbert Mead mit deiner Lehre des Symbolischen Interaktionismus auf eine strukturfunktionalistische Theorie hin.
Roman Jakobsons Aufsatz zeigte, dass literarische Texte Kommunikationen darstellen, in denen sowohl poetische als auch linguistische Strukturen/Regeln nachweisbar sind. Es gibt nicht Alltagstexte und literarische Texte, die grundverschieden sind, sondern alle Texte können sowohl auf ihren linguistischen als auch auf ihren poetologischen Gehalt hin untersucht werden. Deshalb a) schliessen sich Linguistik und Poetologie oder Ästhetik nicht aus und b) können im Prinzip alle Texte (auch z.B. Bilder oder Musik) mit strukturfunktionalistischen Methoden untersucht werden.
Jakobsons strukturfunktionalistische Analyse zeigte, wie Text und Kontext zusammenhängen, wie der Text linguistische Spuren des Kontexts aufweist. Er unterschied sechs Funktionen:
– die Botschaft bzw. den Text (poetische Funktion)
– den Kontext (referentielle Funktion) als Voraussetzung dafür, dass der Text von einem Sachverhalt handelt und für diesen relevant ist
– der Code als die Konventionen, die die Verständigung sicher stellen und bei Verständnisschwierigkeiten selbst zum Thema werden (metalinguale Funktion)
– den Sender, als dessen Äusserung die Botschaft oder der Text aufgefasst wird (die emotive Funktion)
– den Empfänger, deren Adressaten eines Texts (konative Funktion)
– den Kanal (heute würden wir sagen das Medium), der den Kontakt von Sender und Empfänger herstellt und der die Botschaft in einen medialen Rahmen stellt (phatische Funktion).
In der Soziologie hat Niklas Luhmann die Kommunikation und ihre Dimensionen zur Grundlage der Gesellschaftstheorie Ausgebaut. In seiner Systemtheorie ist Kommunikation die grundlegende Operationsweise sozialer Systeme. Interaktionen, Gruppen und die Gesellschaft als Ganzes werden gemäss Luhmann nicht durch Personen konstituiert, sondern durch Kommunikation. Dabei ist Kommunikation in drei Dimensionen instabil (und hier kommen einige Instanzen Jakobsons wieder hinein): in der sozialen Dimension zwischen Sender und Empfänger, in der sachlichen Dimension zwischen Code und Kontext sowie in der temporalen Dimension zwischen Kommunikationen, die aneinander anschliessen. Die vierte Dimension zwischen Botschaft und Kanal/Medium fasst Luhmann als ein Gegensatz von Form und Inhalt.
Semiotik
Mit der Semiotik (und im Prinzip auch mit den anderen strukturfunktionalistischen Theorien) kann man jede Form der Kommunikation, sprachliche, musikalische, visuelle usw. in den kommunikationstheoretischen Rahmen stellen. Dann hat jedes musikalische Werk eine soziale Dimension (Sender–Empfänger), eine sachliche Dimension (Code–Kontext), eine temporale Dimension sowie eine mediale Dimension (Medium–Botschaft). Die sachliche Dimension kann man so verstehen, dass sie ein semiotisches Werk einspannt in das Universelle und Partikuläre. Ein Code (eine Konvention) ist immer potentiell universell, wobei der Kontext potentiell partikulär ist. Ein Musikstück zum Beispiel schwebt in der Mitte aller dieser Dimensionen.
Querverweise
– Semiotik und Kommunikation
Links
– Wikipedia: Roman Jakobson: Das Kommunikationsmodell (abgerufen 27. November 2019)
Kommune 1 Tag
Die Kommune I wurde am 1. Januar 1967 als eine politisch motivierte Wohngemeinschaft in Berlin (West) gegründet und existierte bis im November 1969. Ihre Kommunarden waren Mitglieder der Ausserparlamentarischen Opposition (APO). Zu ihnen gehörten Ulrich Enzensberger (Bruder), Dagrun Enzensberger (Ex-Frau von Hans Magnus Enzensberger) mit Tochter Tanaquil, Volker Gebbert, Hans-Joachim Hameister, Dieter Kunzelmann, Detlef Michel (bis 25. März 1967), Dorothea Ridder, Dagmar Seehuber, Fritz Teufel und ab März 1967 Rainer Langhans.
Die Kommune war als Gegenmodell zur bürgerlichen Kleinfamilie gedacht, war aber auch eine wirksame PR-Maschine der APO. Als «Spassguerilla» organisierten sie provokative, spielerisch-phantasievolle, politische Happenings/Aktionen wie Kuchenattentate, die ihnen grosse mediale Aufmerksamkeit bescherten. Als sie 1968 in eine Fabrik an der Stephanstraße 60 zog, provozierten sie mit Themen wie Sex, Musik und Drogen. Das war die Zeit als Uschi Obermaier und Rainer Langhans die freie Liebe propagierten. Die Kommune II in Charlottenburg war als soziales Projekt wichtiger.
Kommodifizierung Tag
Kommodifizierung kann zum einen die Privatisierung von vorher gemeinfreien Ressourcen bedeuten, sodann Vermarktung menschlicher Arbeitskraft und schliesslich Zurichtung zur (handelbaren) Ware.
Der Begriff wird häufig von kritiker*innen neoliberaler Konzepte verwendet, die in der Kommodifizierung eine biquitär werdende und bedrohliche Marktlogik bzw. eine Ökonomisierung des Sozialen bedeutet.
Kinetoscope Tag
Kinetoskop hiess ein von Thomas Alva Edison in seiner Firma Kinetoscope Company gebauter Filmbetrachter – der erste seiner Art. Fertig entwickelt wurde das Kinetoscope 1891–92 von William Kennedy Laurie Dickson, Chefingenieur bei Edison. Erste Patentanmeldungen gab es bereits 1888. Erstmals demonstriert wurde das Wiedergabegerät an der Weltausstellung von 1893 in Chicago. Ab 1894 wurde das Gerät ausgeliefert und in Kinetoscope Palors und Penny Arcades aufgestellt. Die ersten zehn Exemplare gingen an den Kinetoscope Parlor am 1155 Broadway. Der zweite solche Parlor wurde im Mai 1994 in Chicago eröffnet.
Funktionsweise
Ein Elektromotor treib einen 66 Zoll (ca. 20 m) langen und 2¾-Zoll breiten Endlos-Zelluloidfilmstreifen, der in der Länge zur Verdopplung der Spieldauer gespalten war, an einem Okkular vorbei, durch das eine Betrachter*in schauen konnte. Das Licht kam von einer Glühbirne und fiel getaktet von einer mit Schlitzen versehenen Umlaufblende auf den Film. Aufgezeichnet wurden die Filme mit einem ebenfalls von Edison/Dickson entwickelten Kinetographen.
Dickson stattete sein Kinetoskop, das er Edison demonstrierte, auch mit einem synchronisierten Phonographen aus. Ein Modell mit einem Phonographen wurde «Kinetograph» genannt. Verwirrenderweise wurde derselbe Name auch für das Aufzeichnungsgerät der Bilder benutzt.
Wirkung
Das Kinetoscope machte eine Unterhaltungsindustrie möglich, die laufend neue Filme für den Apparat produzierte. Edison liess in New Jersey ein Filmstudio bauen, das «Black Maria» genannt wurde, weil das Gebäude den Polizeiautos für Gefangenentransporte glich.
Ende
1896 wurde das Vitascope präsentiert, das die Kinetoscope nicht sofort aber doch bald obsolet machte.
Keynesianismus Tag
Mit Keinesianismus wird meist eine interventionistische Wirtschaftstheorie bezeichnet, die den Wohlfahrtsstaat zum Ziel hat. Der Begriff ist indes mehrdeutig: «Keynesianismus» kann 1) die wirtschaftstheoretische Lehre von John Maynard Keynes bezeichnen, 2) verschiedene Schulen, die sich auf ihn berufen (Keynesianismus, Post- und Neokeynesianismus), 3) die faktische politische Philosophie, die vom Ende des Zweiten Weltkrieges bis zur Mitte der 1970er Jahre in allen westlichen Staaten vorherrschte oder 4) die wirtschafts- bzw. geldpolitischen Massnahmen eines Staates oder einer Staatengemeinschaft, die durch Lenkung von Staatsausgaben und Staatseinnahmen versucht, die allgemeine Wohlfahrt zu steuern.
Merkmale des keynesianismus
A.P. Thirlwall brach die keynesianische Idee auf sechs Kernbotschaften hinunter («six central messages of Keynes’ vision»]:
1) Produktion und Beschäftigung werden über den Gütermarkt, nicht über den Arbeitsmarkt gesteuert und 2) unfreiwillige Arbeitslosigkeit ist möglich: Eine Volkswirtschaft, die über den Arbeitsmarkt steuert (wie der realexistierende Sozialismus, vermeidet Arbeitslosigkeit durch garantierte Vollbeschäftigung, bei der es keine Arbeitslosigkeit gibt. Ansätze eines garantierten Grundeinkommens würden über den Geldmarkt steuern. Der klassische oder Neoliberalismus wollen gar nicht steuern.
3) eine Erhöhung der Ersparnisse führt nicht zu einer gleich großen Erhöhung der Investitionen; vielmehr bestimmen die Investitionen das mögliche Sparvolumen in der Volkswirtschaft, Investitionen sind also nicht davon abhängig, dass vorher gespart wird. Vielmehr können die Banken Kredite durch Kredit- und Geldschöpfung vergeben.
4) Eine Geld oder Kreditwirtschaft unterscheidet sich von einer Natural- oder Tauschwirtschaft. Der Tauschakt in einer Geldwirtschaft besteht aus zwei unabhängigen Akten: Geld gegen Waren und Waren gegen Geld. Geld fliesst hauptsächlich in Form von Kreditgeld.
5) Die Quantitätstheorie des Geldes gilt nur bei Vollbeschäftigung.
6) In Marktwirtschaften werden Investitionsentscheidungen auch von den «animal spirits» (vom Instinktverhalten) der Unternehmer bestimmt.
Kastagnetten Tag
Kastagnetten sind in der Musik oft mit der Verführungskraft der animalischen, ungebändigten, unzivilisiert wilden weiblichen Schönheit assoziiert, die weder gezähmt werden, noch treu sein kann. Carmen
ist die prototypische Figur hierfür. Wenn die Rolling Stones in den 70er-Jahren des 20. Jahrhunderts Kastagnetten einsetzen (Brown Sugar
), dann verweist das vermutlich genauso auf den Gegensatz zivilisiert–wild, allerdings wird das Wilde nun den Afroamerikanern zugeschrieben.
In der Carmen
prallen die Gegensätze Zivilisiertheit und Wildheit aufeinander und bleiben unversöhnlich. Wer der Wildheit verfällt, fällt aus der Ordnung des Zivilisierten heraus. Das endet im tragischen Mord. Bei den Stones wird der Gegensatz benutzt, um auf ostentative Weise die Doppelmoral der Gesellschaft anzuprangern: zum einen diskriminieren wir Afroamerikaner/-innen, zum andern begehren wir sie.
18 Songs mit Kastagnetten sind in der Playliste der Popquizshow 12 von Christian Schorno zu finden.
Kassettenrekorder Tag
Ein Produkt der Konsumelektronik, das es erlaubte, Aufnahmen auf Magnetband zu machen und diese wiederzugeben. Das Band war in einer AudioCassette fest einmontiert und damit ohne Probleme handhabbar. Mit der Zeit wurden auch Tonträger in diesem Audio-Kassetten-Format gehandelt.
Die Geräte kamen in verschiedenen Ausführungen. Vor allem für Jugendliche wurden kompakte und tragbare Geräte verkauft («Kassettenrekorder» genannt), die ein Mikrofon und einen Lautsprecher eingebaut hatten. Auf den Hi-Fi-Markt kamen Kassetten Decks als Komponenten im Rahmen von Stereoanlagen. Mit den kompakten Geräten haben die Besitzer/-innen typischerweise Musik vom Radio aufgenommen, mit den teureren Komponenten war es möglich, Schallplatten in guter Qualität zu kopieren.
Kassettengeräte dienten vor allem den Zweck, Musik für den Privatgebrauch zu kopieren. Die Musikindustrie reagierte darauf mit Missfallen und bekämpfte diesen Gebrauch der Geräte mit Kampagnen, in denen sie die Nutzer/-innen als «Piraten» kriminalisierte (der Slogan hiess: «Hometaping is killing music»). Später löste man das Problem, in dem der Verkaufspreis von AudioCassetten eine einmalige Urheberrechtsabgabe enthielt.
Karriere Tag
Berufliche Laufbahn eines Acts. Konstituiert wird eine «Karriere» durch Vertragsunterzeichnungen (Management Deals, Plattenverträge mit Labels usw.), Ortswechsel, Veröffentlichungen und Erfolge. Die Karriere beginnt streng genommen erst, wenn ein Act in der Musikwirtschaft arbeitet. Die Aspekte der Ausbildung, der Entscheidung, professionell Musik zu machen, gehören nicht zur Karriere, sondern zur Biografie.
Strukturierung musikalischer Karrieren
Eine rudimentäre Struktur, die man in fast jeder Karriere herauslesen kann, ist dreiteilig: Eine frühe Phase, in der ein Act noch wenig gereift und derivativ musiziert, aber schon deutliche Funken von Eigenständigkeit versprüht. Eine mittlere Phase, in der ein Act seinen eigenen Beitrag leistet, Genres revolutioniert oder durch entscheidende Ideen bereichert. Eine späte Phase, in der ein Act sich wiederholt, ermüdet, kommerziell abstiegt. Eine Karriere dauert in der Populären Musik fünf bis zehn Jahre. Abweichungen von diesem Normalfall (z.B. früher Erfolg, später Erfolg, lang anhaltender Erfolg, überlange oder lebenslange Karriere) sind immer ein Thema in der Biografie.
The Iron Law of Stardom
Der Kulturhistoriker Louis Menand schrieb, dass die meisten Künstler*innen nur gerade drei Jahre haben, in denen die Öffentlichkeit ein Interesse an ihnen hat (siehe: The Iron Law of Stardom).
Querverweise
– PopMatters: Top 10 Most Notable Career Suicide Albums
Karneval Tag
Da, wo es einen Karneval gibt – es handelt sich bei uns um eine eher katholische Tradition –, wird für ein paar Tage die Gesellschaftsordnung umgekippt. Sinn kippt für kurze Zeit in den Unsinn. Es herrschen dann die Machtlosen und parodieren die Mächtigen. Die Gesellschaft, ihre Spiele, werden als Grotesken inszeniert. Die Funktion dieses Spiels wird darin gesehen, dass sich in der Groteske die Gesellschaft erneuern kann (Regenerationsfunktion) oder dass gesellschaftliche Spannungen sich entladen können (kontrollierte und ritualisierte Ventilfunktion).
Die Karnevaleske
Als Karnevaleske bezeichnet man einen literarischen Modus, ein poetisches Verfahren, bei dem eine groteske Verfremdung der herrschenden Realität aufgeführt wird – in der Literatur, im Film oder auf der Bühne. Die Karnevaleske kann subversiv sein, sie kann eine versteckte Wahrheit offenbaren oder sie kann einfach unterhaltsam sein. Untersucht und die Diskussion über die Karnevaleske geprägt hat der russische Literaturwissenschaftler Mikhail Bakhtin. Bakhtin fand karnevaleske Züge zum Beispiel in den Werken von Rabelais und Dostoevsky. Zurückführen kann man die Karnevaleske über mittelalterliche Messparodien und das Fest der Narren («festum fatuorum»), über die römsichen Saturnalien zum griechischen Dionysoskult. Bakhtin machte darauf aufmerksam, dass Karneval nicht gleich Karneval ist, dass der ursprüngliche Karneval ein kreatives Ereignis und seine verwaschene Form nur ein Spektakel.
Die Karnevaleske zeichnet sich durch vier Merkmale aus: (i) die freie und unbefangene Interaktion zwischen den Beteiligten, (ii) exzentrisches Verhalten (Verletzungen des sonst herrschenden Verhaltenskodexes werden nicht geahndet), (iii) Ordnungskriterien werden umgestürzt oder zumindest ausser Kraft gesetzt (Hierarchien eingeebnet, Gegensätze aufgehoben oder umgekehrt) und (iv) Profanisierung (Frömmigkeit gegenüber dem Heiligen und Respekt gegenüber der Macht wird abgelegt). «Dem Karnevalesken wohnen seit ehedem freiheitliche, anti-hierarchische Tendenzen inne, die sich für eine begrenzte, aber legale Zeit sich gegen Obrigkeit, Autorität und Macht wenden. In der Kultursemiotik sprach man um 2000 herum auch von «ritualisierter Tabuverletzung» (siehe: Finnisch-Ungarisches Kultursemiotisches Symposium). Symbole der repressiven (Staats-)Macht werden dabei umgestülpt und ins Lächerliche und „abstoßend Komische“ (Bachtin) gezogen und drücken darin eine „Narrenwahrheit“ aus, deren provozierendes Gelächter als Befreiung erlebt wird.» (Lexikon der Filmbegriffe).
Karnevaleske Inszenierung
Christian Schorno hat für eine Museumsführung am Beispiel der Rockmusik den Unterschied zwischen karnevalesker und circensischer Inszenierung herausgearbeitet. Die karnevaleske Inszenierung, die im Rock Untergrund vorherrschte (z.B. bei den Acid Tests) ist eine Veranstaltung, die dem Karneval gleicht. Die circenische Inszenierung hingegen gleicht einer Theateraufführung. Sie herrschte im Rockbetrieb der 70er Jahre vor (Rock Zirkus, «Corporate Rock»). Der Rock Zirkus war international organisiertes Business. Die karnevaleske Inszenierung findet dagegen an transitorischen Orten oder in einem zeitlich begrenzten Raum statt. Sie ist immer lokal. Dieser Raum wird eingenommen (Hausbesetzungen, Demonstrationen in der Öffentlichkeit, Zwischennutzungen) und entzieht sich weitestgehend der Ökonomie (keine oder geringe Miete, kein oder geringes Eintrittsgeld). Wo die karnevaleske Inszenierung sozial egalitär ist, schafft die circensische Inszenierung den hierarchischen Unterschied zwischen den Künstler/-innen auf der Bühne und dem Publikum. Der Karneval und die karnevaleske Inszenierung bildet ein «total environment». Wer in dieses eintritt gehört zur Szene und ist zugleich eine Person, die unterhaltet und unterhalten wird. Auch die Inhalte der beiden Veranstaltungsformen/Inszenierungen unterscheiden sich: in der karnevalesken Inszenierung herrscht die Groteske vor (Masken, kollektiver Drogen-Rausch, Ausleben von Utopien, von Persönlichkeitsentwürfen) und bei der circensischen Inszenierung die Posse, der Ulk, der Bombast und das Spektakel (Nebel, Kulissen, Kanonenschüsse). Verkleidung findet hier tendentiell nur auf der Bühne statt. Sie gehört zur Show. Die Show ist ein Rollenspiel, das der Illusion dient. Bei der karnevalesken Inszenierung steht die Verkleidung im Dienst der inszenierten Utopie, des je eigenen Persönlichkeitsentwurfs. Hier wird die Welt auf den Kopf gestellt und das Innere nach aussen gedreht («world upside down» / «world inside out»).
Hans Nieswandt nahm in einem Interview das utopische Moment der karnevalesken Inszenierung für die Clubkultur in Anspruch («Clubkultur als positives Gesellschaftsmodell»): «Es ist ein Miteinander. Einmal in der Woche kannst du sein, wer du willst, ohne ausgegrenzt zu werden. Ich hab das mal gelesen, das fand ich ganz schön: "Clubs sind Orte, wo Utopien für eine gewisse Zeit Wirklichkeit werden können." Das glaube ich auch. Die Utopie muss aber auch wieder enden, die ist ja nicht alltagstauglich.» (Isabel Hempen: Die Clubkultur hier ist brutal gut. Journal Frankfurt, 31. Januar 2019).
Quellen
– Musikzimmer: Stichwort: «Groteske»
Kanonisierung Tag
Das Festlegen eines Kanons als Menge von Schriften oder Werken, die exemplarischer Natur sind. In der Literatur hat die Kanonisierung direkte Auswirkungen auf die Lehrpläne, also darauf, was in Schulen gelesen wird.
In der Populären Musik wird mit Bestenlisten kanonisiert, die mit dem Anspruch daher kommen, dass man etwas kennen oder gehört haben müsse. Dieser kanonische Anspruch äussert sich in Buchtiteln wie «1001 Albums / Songs You Must Hear Before You Die».
Wer legt fest? Wofür?
Einen Lehrplan gilt es in der Populären Musik nicht zu konzipieren. Was soll folglich ein kanonischer Anspruch begründen? Genau wie im Bildungssystem: Kennerschaft bzw. Expertise natürlich! Aber wo wird diese gebraucht, wenn es keine Schulen gibt, in denen der Kanon zur Anwendung kommt? Kann ein Kanon eine Empfehlung an Musikjournalist/-innen oder Musiker/-innen darstellen? Bei Journalist/-innen kann man sich das noch am ehesten vorstellen: Sie sollten Musik in einem Umfang kennen der das Fantum übersteigt, um (na ja) «objektiv» über Musik schreiben zu können, um besprochene Platten oder Konzerte in grössere Zusammenhänge einordnen zu können. Doch werden Journalist/-innen nicht auf Musik angesetzt, weil sie einen Kanon kennen, sondern weil sie willens und fähig sind, über Popmusik zu schreiben. Nur wer in Feuilletons über Bildungsmusik schreibt, mag Musik studiert haben. Im Pop muss keine Journalistin oder kein Journalist Pop studiert haben. Bei Musiker/-innen ist die Idee geradezu absurd, dass sie, um Musik machen zu können, umfassende Kenntnis der Musikgeschichte haben müssen. Neue Musik lebt oft gerade davon, dass sie frei ist von Objektivität, dass sie radikal subjektivistisch ist. So wird klar, was wir eigentlich von Anfang an wussten: Der behauptete Kanon oder die kanonischen Bestenlisten der Populären Musik funktionieren vor allem als Kaufempfehlung. Sie sind also im weiteren Sinn Marketing-Instrumente. Sie werden geschrieben und zusammengestellt mit der narzisstischen Freude der (selbsternannten) Experten, die Empfehlungen mit ernstem oder schalkhaften Blick auf die von der Masse überforderten Konsument/-innen abgeben.
Die Denkmalfunktion des Kanons
Es gibt vor allem in den USA Gremien und Institutionen wie die Rock And Roll Hall Of Fame, die ein Musikgenre kanonisieren, um die Grösse dieser Musik herauszustellen und um beide – Musik und Grösse – der Öffentlichkeit und der Nachwelt zu vermitteln. Es werden mit viel Pomp Preise vergeben (z.B. der Grammy Award der amerikanischen National Academy of Recording Arts and Sciences) und es werden Personen bzw. Formationen, die sich um eine Musik verdient gemacht haben, in Halls Of Fame eingeführt. Das ist ein Umgang mit dem Kanon der Populären Musik als Kulturerbe, der uns Kontinentaleuropäern eher fremd ist. Wie schwierig es die Swiss Music Awards in der Schweiz haben, zeigt der T-A-Artikel von Benedikt Sartorius: «Ich kenne die Vorwürfe – der Rosa, die Mauscheleien, der Kommerz» ([F]).
Natürlich wird auch bei den Grammys zurecht Kritik geübt (#GrammysSoWhite oder #GrammysSoMale). Dennoch ist eine Award-Show etwas viel Positiveres als eine Diskussion besorgter Eltern, was die Kleinen denn in der Schule lesen sollen, damit etwas aus ihnen wird. Es ist Showbusiness, nicht Politik!
Postmoderne Zersplitterung des Kanons in Kanones
In der Literatur wird der Kanon mindestens seit dem Anbruch der Postmoderne in Frage gestellt. Die Bewegung zielt fast immer auf die Subjektivierung des Kanons. Hier wird gefragt, wessen Kanon ein jeweiliger Kanon eigentlich ist und welche Macht oder welche Ansprüche sich damit verbinden. Die Postmoderne hat den Kanon in Kanones zerstückelt: Es gibt noch immer den klassischen Kanon, von dem man sich abhebt (er wird als Gegenstand der Dekonstruktion gebraucht!). Dann gibt es den Kanon der Feministinnen, den Kanon der Postkolonialist/-innen, den Kanon der Afroamerikaner/-innen, den LGBT- / QTPOC-Kanon und so weiter. In wissenschaftlicher Hinsicht interessiert am Ende die Kritik am Kanon und die Metadiskussion über die Kriterien mehr als der Kanon selbst.
Links
– Andrea Geier: Wer braucht einen europäischen #Kanon? (Geschichte der Gegenwart, 13. März 2019)
Kanon Tag
Ein Kanon ist eine Menge massgebender oder exemplarischer Werke der Literatur, Musik oder Kunst, aber auch als Bildungskanon der Bestand des Wissens, den man von aktiven Teilnehmerinnen und Teilnehmern am Kulturbetrieb voraussetzen darf. Das Wort «Kanon» (Mehrzahl «Kanones») ist dem Altgriechischen entnommen, wo es Messstab, Lineal oder Richtschnur bedeutet.
Bedeutung
Kanones sind natürlich in ihrem Bestand und in ihrer Pragmatik umstritten: Man kann mit Recht darüber streiten, was zum Kanon gehört und was nicht. Wo ein Kanon festgelegt wird, wirkt er zuweilen auch wie ein Korsett. Eine wichtige Frage ist auch die, nach dem Umfang des Kanons. Abhängig davon kann das Erarbeiten eines Kanons mächtig viel Arbeit machen. Durch das Absolvieren oder Nichtabsolvieren des Kanons qualifizieren und disqualifizieren sich Leute für Positionen und Ansehen. Lehrpläne (Curricula), die das Erarbeiten eines Kanons nachdrücklich verlangen, können vielen die Freude an der Sache verderben.
Den Kanon wegen seinen negativen Seiten (Instrument der Disziplinierung, Korsett etc.) zu verurteilen, ist aber das Kind mit dem Bad ausgeschüttet. Wir brauchen kanonische Werke für die Verständigung über Kunst. Kanonische Werke werden beispielsweise bei Rezensionen oder Analysen herbeigezogen, um andere Werke an ihnen zu messen. Pitchfork-Rezension ziehen bei der Besprechung neuer Alben oft Referenzwerke, kanonische Alben oder Songs heran.
Kanon in der Populären Musik
Kanones wurden zuerst und zumeist in den schönen Künsten und der «ernsten» Musik gebildet. Sie hingen oft mit den Lehrplänen akademischer Ausbildungen zusammen. Für die Populäre Musik ist ein Kanon nicht so dringlich, könnte man meinen. Und tatsächlich begann die Kanonbildung hier relativ spät. Der Kanon der Populären Musik wurde zuerst in Musik- und Lifestyle-Magazinen verhandelt, dann ab den späten 1990er Jahren entstand eine ganze Reihe von Empfehlungsliteratur mit kanonischen Alben und Songs, z.B. «40 Records That Shook the World» von Will Hermes (1998, Liste mit 22 Alben und 18 Songs im Details Magazine November Ausgabe), Mojo Collection (2000), Rolling Stone: The 500 Greatest Albums Of All Time (2003 im Magazin, 2005 als Buch und 2012 als revidierte Liste im Magazin), 1001 Albums To Hear Before You Die (2005). Auch die Gründung der Rock And Roll Hall Of Fame und vergleichbarer Institutionen in den USA trug zur Kanonisierung bei.
Umgang mit dem Kanon
Ein Kanon kann - wie gesagt – ein Korsett sein und ein Machtinstrument von Expert/-innen. Was man nicht braucht ist ein von Autoritätsgläubigkeit geprägter Umgang mit ihm. Indes kann ein Kanon den Blick für bisher Unbekanntes öffnen. Da es in der Regel in keinem Feld nur einen Kanon gibt, kann man Kanones miteinander vergleichen und jede kanonische Bestenliste als «Kanon-Vorschlag», als eine Konstruktionsleistung, begreifen, der nichts Sakrosanktes zukommt. Es kommt hier auf den kritischen Umgang mit solchen Kanon-Vorschlägen an. Kennt man die Blickwinkel, unter denen sie entstanden sind, kann man sie kritisch miteinander vergleichen.
Das Wertvolle an einem Kanon-Vorschlag ist, dass man eine Messlatte für «gute» Werke hat – was immer das heisst. Mit ihm lässt sich Weitsicht pflegen, mit ihm kommt man über den eigenen Geschmack hinaus. Kann sich selber fordern. Heute ist es mit den Streaming Services kein Problem mehr, an die Musik heranzukommen. Alles, was man braucht, ist viel Zeit ...
Verzerrungen
Es gibt mehrere bekannte Verzerrungen in gängigen Kanon-Vorschlägen:
1. Das Genre-Problem: In den bestehenden Kanon-Vorschlägen gibt es offensichtlich unterrepräsentierte Genres: Progrock, Elektronische Musik, House, Techno, moderne Klassik, Jazz und vieles mehr. Die meisten Kanon-Vorschläge entstammen der Rockmusikpresse. Deren Journalistinnen und Journalisten haben unglaubliche Blinde Flecken. Bezüglich der Genres sehr offen ist The 100 Most Important Records Ever Made von «The Wire». Aber auch «The Wire» schliesst systematisch Musik aus.
2. Das Nationen-Problem: Die meisten Kanon-Vorschlägen sind durch die amerikanische und die englische Musik geprägt. Deutsche Musik (Krautrock, NDW oder Deutscher Rap) fehlt weitgehend, jamaikanische Musik zu grossen Teilen (Dub ganz klar – hingegen ist Reggae gut repräsentiert). Französische Musik von Édith Piaf, Jacques Brel oder Boris Vian fehlt ganz, obwohl diese nicht ohne Einflüsse auf die englischsprachige Musik geblieben ist (Scott Walker zum Beispiel). Seit «World Music» eine Marktposition darstellt, tauchen allerdings einige nicht angloamerikanische Titel zum Beispiel in der neuesten Ausgabe der Mojo Collection auf.
3. Das Problem der neueren Musik: Neuere Musik ist im Kanon immer unterrepräsentiert. Die alten Werke sind offenbar die Kanon-fähigeren Werke. Diese Verzerrung wird oft als «Genration Bias» bezeichnet. Ich bin mir aber nicht sicher, ob das ein Generations-Problem in dem Sinn ist, dass die Leue, die den Kanon zusammenstellen, nicht mehr jung sind. Vielmehr denke ich, dass es eine Charakteristik des Kanons ist, dass er vorzugsweise ältere Werke enthält, deren Wirkungsmächtigkeit deutlich geworden ist. Die Wirkungsgeschichte eines Werks ist für dessen Aufnahme in den Kanon essentiell, woraus folgt, dass junge Werke, die eben noch keine langjährige Wirkungsgeschichte entfalten konnten, deutlich weniger Chancen haben, in den Kanon aufgenommen zu werden.
4. Weitere Verzerrungen: Schwarze Musik ist gegenüber weisser Musik in der Regel unterrepräsentiert (dieses Problem deckt sich teils mit dem Genre-Problem), Frauen bzw. weibliche Acts gegenüber männlichen. Dies liegt mit Sicherheit daran, dass es weniger Schwarze und Frauen in den Berufen gibt, die Kanon-Vorschläge machen. Eine Abhilfe schuf 2020 The ZORA Music Canon.
Probleme mit den Spielregeln der Kanonisierung
Wenn Kanonlisten geschaffen werden, werden in der Regel mehrere Expertinnen und Experten befragt. Je nach Fragestellung entsteht ein anderer Kanon. Jede Fragestellung schafft ihre Verzerrungen. Das lässt sich kaum vermeiden. Wird nach den «besten», den «wichtigsten», den «grössten», den «einflussreichsten» Alben oder Songs gefragt?
Mit der Fragestellung kommen Spielregeln. Wird nach «Alben» oder nach «Studio Alben» oder nach Original Studio Alben» gefragt? Je nach dem werden Greatest Hits Alben, Live Alben, Lost Albums, die wesentliche Zeit nach ihrer Entstehung erscheinen, ausgeschlossen.
1. Das Kompilations-Problem: Besteht ein Kanon nur aus Original-Alben oder auch aus Kompilationen (Greatest Hits von Bands/Interpreten oder Genres): Konkret geht es um die Frage ob ABBAs The Definitive Collection oder The Best Glam Rock Album in the World ... Ever zum Kanon gehören sollen oder nicht. Diese Frage wird von der «Mojo Collection» verneint, wobei aber die Buchausgabe eine Liste mit Compilations enthält. Der Rolling Stone hat einzelne Zusammenstellungen in seine 500 grössten Alben aufgenommen und die All-Time 100 Albums von «Time» hat acht Compilations in der Liste.
2. Die Alben oder Songs Entscheidung: Besteht der Kanon eigentlich aus Alben oder Songs? Und warum gibt es keinen Kanon aus Bands oder Genres. Mir sind nur zwei Bücher bekannt, die Alben und Songs kombinieren (Sean Eagans 100 Albums That Changed Music and 500 Songs You Need to Hear und Classic Tracks Back To Back - Albums / Singles). Der Rolling Stone hat separat je 500 Songs und 500 Alben erkürt, Acclaimed Music errechnet je 3000 Alben und Songs.
Die Bibel – ein frühes Beispiel eines Kanons
Die Bibel, wie wir sie kennen, ist eine verbindliche Zusammenstellung verschiedener Schriften (Konvolut). Das Ziel der Kanonisierung dieser Schriften war, eine möglichst kohärente Darstellung der Glaubensinhalte zu erhalten, damit Glaubensfragen entschieden werden konnten. Dazu mussten bestimmte Schriften ausgeschlossen werden (Apokryphen), weil sie inhaltlich teilweise der angestrebten Kohärenz widersprachen. An diesem exemplarischen Beispiel eines Kanons sieht man: Das Zusammenstellen eines Kanons geschieht somit durch Ein- und Ausschliessen von Werken. Hier liegen bewusste Entscheidungen von den Personen und Institutionen zugrunde, die den Kanon zusammenstellen. Diese Personen haben ihre Sicht der Dinge, diese Sicht ist beschränkt (man kann unmöglich alles kennen) und verzerrt (man hat Vorlieben oder eine Agenda).
Querverweis
Musikalisch ist ein Kanon vor allem ein Lied mit einander nachahmenden Stimmen. Für jene Bedeutung siehe Kanon [Liedform] (siehe dort).
Verzeichnis von Kanonlisten
Wer sein Interesse am Rockmusik-Kanon hat, dem empfehle ich, mit einem nicht so umfangreichen Kanonvorschlag anzufangen und sich dann weiter zu arbeiten. Zum Einstieg ion den Kanon von Alben eignen sich Bestenlisten mit 50 bis 100 Titeln:
– Observer: The 50 Albums That Changed Music
– Time: The All-TIME 100 Albums
Für Leute, die offen sind: The 100 Most Important Records Ever Made von «The Wire»
Zu den umfangreicheren kanonischen Listen mit 500 oder 1000 Titeln gehören:
– 500 Greatest Albums Of All Time
– die Mojo Collection mit ihren etwa 600 Alben.
– 1001 Albums You Must Hear Before You Die!
– Acclaimed Music mit 3000 Alben und einem teilweise lesenswerten Forum.
Bestenlisten von Songs sind meist umfangreicher als Bestenlisten mit Alben – man findet kaum eine brauchbare Liste mit nur 100 Songs. Empfehlungen hier sind:
– The 500 Greatest Songs of All Time von «Rolling Stone»
– Dave Marsh: The Heart Of Rock & Soul – Expertenliste
– The Sound of the City – eine Expertenliste aus dem hervorragenden Buch von Charlie Gillett: The Sound Of The City. The Rise of Rock and Roll, New York, 1983 (3. Auflage, 1970, Play List p. 415–450)
– Acclaimed Music mit 3000 Songs
Kanäle Tag
Zu den Medienkanälen für Musikinhalte zählen alle erdenklichen Kommunikationsmittel oder Kanäle, über die Musik vertrieben wird. Auch das Live Konzert wird hier als ein solcher Kanal betrachtet, neben Tonträgern, Filmen, Radio und TV Programmen, dem Internet und Archiven, die Inhalte über lange Zeiten speichern. Es gibt Kanäle, die Musik thematisieren, z.B. Bücher und Magazine. Sie gehören nicht in diese Kategorie, weil in ihnen keine Musik, sondern Texte zur Musik übertragen werden. Musik Magazine und Bücher werden unter der Kategorie Musik und Wort behandelt.
Junge PdA Tag
Diese Jugend-Sektion der Partei der Arbeit war eine Gruppierung der Neuen Linken in der Schweiz und bestand in den Jahren zwischen 1964 und 1969.
Die Gründung einer Jungen Sektion (JS) war in den Statuten der PdA nicht vorgesehen, wurde aber im August 1964 trotzdem von der Partei gutgeheissen. Die PdA war überaltert und hatte die Jugendarbeit vernachlässigt. So wurde das Thema «Jugend» zum Anliegen und die Ausnahme hoffnungsvoll gewährt. Die Junge Sektion entstand aus der Gruppe «Jugend gegen atomare Aufrüstung», die schon 1963 die ersten Anti-Atomwaffen-Ostermärsche organisiert hatte.
Der Status der JS war und blieb etwas unbestimmt: Gegen Vorwürfe der bürgerlichen Presse, eine Organisation zu sein, die gesteuert durch die kommunistische Mutterpartei, Junge Leute in ihrem Idealismus verführe, wehrte man sich vehement und betonte, nur eine «Organisation der PdA» zu sein (Outsider-Thema von 1968!). Die Dissidenz gegenüber der Mutterpartei war motiviert durch konträre Ansichten beim Einmarsch russischer Truppen in Ungarn oder in der Frage der Atomwaffen, war aber viel grundsätzlicherer Natur. Denn die JS wollte eine Neudefinition des Sozialismus. Der Klassenkampf sollte vermehrt auf einer «geistig-kulturellen Ebene» geführt werden, statt wie beim klassischen Marxismus nur auf der politisch-ökonomischen Ebene. Dabei wurden neue Methoden des Protestes und zivilen Ungehorsams propagiert, Strategien, um «Bürger und Spiesser zu provozieren». Es ging um eine «antiautoritären Revolte der Jugend». Der alte Kampf um die materielle Existenz wurde dabei zur Nebensache erklärt. Auch stellte sich die JS gegen den parlamentarischen Weg zum Sozialismus, den die Mutterpartei 1959 ins Programm aufgenommen hatte (wieder: Outsider-Thema). Es ging der JS nicht um den Gewinn von Parlamentssitzen, sondern um die Bewusstseinsänderung der Massen.
Die JS hat 1968 versucht, die Zürcher Beat-Szene mit einem Flugbaltt zu agitieren, dem 1. Flugblatt der antiautoritären Menschen, auf dem Jimi Hendrix abgebildet war. Das Flugblatt/Poster war formal an die Rock-Plakate der Zeit angelehnt. 1968 war die JS mittlerweile mit anderen Gruppierungen der Neuen Linken zur FASS (Fortschrittliche Arbeiter, Studenten und Schüler) zusammengeschlossen. Zur FASS gehörten die Fortschrittlichen Studenten Zürichs, die Mittelschulorganisationen, die Jusos und die Rocker der «Lone Star Gang»!
1969 löste der Parteivorstand die JS mit sofortiger Wirkung auf, weshalb viele Mitglieder aus der Mutterpartei ausgetreten und zu anderen Organisationen wie der POCH, RML oder PSA übergetreten sind.
Quellen
– Die Junge Sektion und die PdA (Kommunistische Jugend Schweiz, 6. Oktober 2016)
– David Eugster, Lena Rentsch: Revolutionäre Miniröcke: Die neue Linke (swissinfo.ch, 21. Dezember 2017)
Jugendkultur Tag
Louis Menand schreibt in The Free World Art and Thought in the Cold War: «The first person to use the term ‹youth culture› was a Harvard professor, Talcott Parsons» (p. 302). 1942 charakterisierte Parsons Jugendkultur bzw. die Kultur der Jugend als geprägt von einer Verantwortungslosigkeit, die darauf aus ist, eine gute Zeit zu haben. Junge Leute sind noch nicht erwachsen und haben damit noch keine familiären und beruflichen Pflichten. Sie sind aber auch nicht mehr Kinder, d.h. unselbständige und von der Primärfamilie abhängige Wesen. Die Jugend lebt in diesem zeitlichen Zwischenraum und ist ein Übergangsstadium zwischen Kind- und Erwachsensein.
Im selben Jahr, in dem Parsons Jugendkultur zum soziologischen Thema erhob – also 1942, begannen Kleiderläden, Mode für junge Frauen zu verkaufen. Ab September 1944 erschien die Zeitschrift «Seventeen». Sie soll in nur sechs Tagen die gesamte erste Auflage von 400'000 Exemplaren abgesetzt haben. Im July 1949 hatte diese Zeitschrift bereits eine Auflage von 2,5 Millionen Exemplaren, was mehr als 40 % der weiblichen Alterskohorte war. Die Frauen der gesamten Generation wurden mit einem Teenager-Magazin sozialisiert!
Die Jugend kriegte bald den Namen Teenager und bildete eine der kaufkräftigsten Zielgruppe für auf sie zugeschnittene Produkte aus den Bereichen Mode, Ernährung und Unterhaltung. Teenager gaben Mitte der 1950er Jahre zwischen sieben und neun Milliarden Dollar aus.
Die gesellschaftliche Institution, in der Teenager sich aufhielten, war die Schule, in den USA die «high school». Im Jahr 1900 gingen bloss etwa 10.2 % der 14- bis 17-Jährigen zur Schule. Zwischen 1910 und 1930 stieg die Zahl der High-School-Absolvent*innen um mehr als 400 % und erreichte 1940 die Marke von 73 %. In Europa waren die Ziffern viel kleiner. Von daher erklärt sich, weshalb die spätere globale Jugendkultur amerikanisch geprägt war. Die Vereinigten Staaten hatten mit ihrem Schulsystem und dem Wirtschaftssektor, der die entsprechende Zielgruppe bediente, einen Entwicklungsvorsprung und einen Wettbewerbsvorteil.
Das Bildungssystem in den USA wurde bald durch «colleges» ergänzt. 1956 gingen 2,9 Millionen junge Leute in ein College, 1969 bereits mehr als 8 Millionen. Hinzu kam eine Öffnung der Universitäten für alle Klassen. Das «college» oder ein Studium dauert länger als die «high school» und so wurde der Lebensabschnitt der Jugend in der zweiten Hälfte des 20. Jahrhunderts dramatisch verlängert. Ein Grund für den Ausbau des Schulsystems war der Sputnik-Schock.
Auch in der Entwicklung des Hochschulsystems hinkten Europa und die anderen Länder den USA hintennach. Vergleiche Investition Bildung. Ausbaupläne und Reformideen der Zürcher Universitätspolitik vor 1968 von Sebastian Brändli.
Menand betont, dass die Entstehung der Jugendkultur nichts mit dem Babyboom zu tun hatte, sondern diesem voran ging. Sehr aufschlussreich und nicht auf die USA beschränkt ist in diesem Zusammenhang das Buch Teenage: The Prehistory of Youth Culture: 1875-1945 von Jon Savage. Savage befasst sich mit Tagebuch schreibenden jungen Frauen, Wandervögeln, der Hitlerjugend oder den Bobby Soxers. Bei allen diesen Bewegungen und Formationen zeigen sich die Grundmotive jeder Jugendkultur: Jugendliche werden von der Gesellschaft ignoriert und vernachlässigt, kriminalisiert, paternalisiert, pädagogisiert, politisch instrumentalisiert und für Märkte erschlossen. Dahinter stehen die Erwartungen der Eltern und der Gesellschaft an die Jugend. Doch gerade da, wo eine grosse Zahl Jugendlicher zusammen kommt, also an Schulen und Universitäten, formiert sich auch ein Autonomiestreben, ein Widerstand gegen die Ansprüche der Eltern und Pädagog*innen.
Gender-Ungleichheit in den 1950er Jahren
Der Begriff «Jugenkultur» ist in den 1950er Jahren vor allem geprägt durch männliche Rebellen in englischsprachigen Filmen, James Dean, Marlon Brando oder Richard Burton. Das ist ein einseitiges Bild! Junge Frauen waren die ersten, die Teenager-Mode, Accessoires und Beauty-Produkte kauften. Junge Frauen bildeten auch den auffälligsten Bestandteil der Publika von Frank Sinatra oder später Elvis Presley. Die Rolle der Frauen scheint auf den ersten Blick fälschlicherweise passiv, dabei waren sie gewissermassen der Motor der Entwicklung: Männer eiferten Elvis nach, weil sie wie er das Ziel weiblicher Aufmerksamkeit sein wollten.
Querverweise
– Teenager
– Gegenkultur
Jim Crow Tag
Die stereotype Figur eines tanzenden, singenden und einfältigen Afroamerikaners, die in den Minstrel Shows populär war. In Minstrel Shows spielten zunächst vor allem weisse Komiker, die sich das Gesicht mit Kohle schwärzten, um die Figur zu verkörpern («Blackface Minstrelsy»).
Ein Minstrel Schauspieler, Thomas Dartmouth Rice, hat die igur von Jim Crow wesentlich mitgeprägt. Seine charakteristische Nummer hiess «Jump Jim Crow».
Eine Reihe von US-Gesetzen, mit denen die Rassentrennung (vor allem zwischen Afroamerikanern und Weißen) festgeschrieben wurde, werden «Jim-Crow-Gesetze» («Jim Crow Laws») genannt. Die Zeit von 1876–1964 wird als «Jim-Crow-Ära» bezeichnet.
Es steht ausser Frage, dass die Figur ein Ausdruck des herrschenden Rassismus in der segregierten amerikanischen Gesellschaft ist. Doch neuere Theorien geben zu bedenken, dass Jim Crow eine Figur ist, die im Wechselspiel von schwarzer und weisser Interaktion entstanden ist.
Jazzfestival Willisau Tag
Das Jazzfestival Willisau wird jährlich seit 1975 veranstaltet gehört zu den wichtigsten schweizerischen Jazzfestivals mit internationaler Ausstrahlung.
Links
– Webseite
James Bond Serie Tag
Die erfolgreiche Filmserie wird seit 1962 produziert. Der erste Film war Dr. No. Seither sind insgesamt 25 Spielfilme für die Serie produziert worden. Die Produzenten waren Albert R. Broccoli und Harry Saltzman, James Bond spielten Sean Connery (1962–71 und 1983), David Niven (1967), George Lazenby (1969), Roger Moore (1971–85), Timothy Dalton (1987–1989), Pierce Brosnan (1997–2002) and Daniel Craig (seit 2006). Die Plots wurden aus den Romanen von Ian Fleming adaptiert oder in Anlehnung daran erfunden.
James Bond, Codename 007, ist ein britischer Geheimagent mit der Lizenz zu töten. In der Regel kämpft er gegen einen Bösewicht oder eine Organisation, die die Weltmacht an sich reissen will. Jeder Film hat ein eigenes «Bondgirl» als weibliche Hauptdarstellerin und einen meist erfolgreichen Titelsong.
Historischer Hintergrund
Verschiedene Ereignisse förderten das Interesse an Spionagegeschichten und Spionen und bereiteten das Feld für die James-Bond-Serie.
1960 wurde über dem russischen Luftraum der amerikanischer CIA-Spion Francis Gary Powers abgeschossen. Der Vorfall wurde im Film Bridge of Spies thematisiert.
In Grossbritannien kam es im Herbst 1961 zu einem Sexskandal, in den der Kriegsminister John Profumo involviert war und der schliesslich zum Rücktritt des Premiers Harold MacMillan im Oktober 1963 führte. Profumo hatte eine Affaire mit der neunzehnjährigen Christine Keeler, die ebenfalls Sex mit einem sowjetischen Spion hatte.
Am 23. November 1963 wurde in Dallas Präsident John F. Kennedy erschossen. Der Schock der Öffentlichkeit sass tief.
Jamband Tag
Eine Jamband ist eine Rockband, die live oder im Studio lange improvisierende Jams spielt. Dabei wird oft von Harmoniefolgen, z.B. dem Bluesschema, ausgegangen oder von rhythmischen Mustern («grooves»), worüber die Instrumente relativ frei spielen und improvisieren. Die Songs sind oft lang, auf Platte gerne mal Seiten-lang. Statt Songstrukturen aufzuweisen, sind Jams fluid. Motiv leitet zu Motiv über oder ein Song in den anderen.
Links
– Top Jam Band albums of the 1970s (Rate Your Music, updated November 2022)
– WIkipedia: List of Jambands
IV–V-iii–vi-Progression Tag
Die IV–V-iii–vi-Progression ist das japanische Pendant zur westlichen I-V-vi-IV Progression. Diese Progression wird nie aufgelöst (sie geht nicht auf die I).
iTunes Tag
iTunes, die Audio-Applikation von Apple, die aus Media-Player, Archiv, Radio und der Anbindung an Mobilgeräte besteht, hat bei seiner Einführung 2001 der Marke Apple eine Renaissance beschert. Mit den für 99 Cents aus dem iTunes Music Store downloadbaren Musikfiles war die Software beteiligt an der Digitalisierung des Musikmarktes, da der Store und iTunes zusammen eine legale Alternative zu Filesharing boten.
Die Software wurde nicht von Apple selbst entwickelt, sondern eingekauft.Sie wurde von der Firma Casady & Greene entwickelt und hiess «Soundjam». Ende der 90er Jahre wurden einige solche MP3-Player für Personalcomputer entwickelt, neben «Soundjam» auch «Winamp», «Audion», etwas später «VLC-Player».
Im Juni 2019 teilte Apple mit, dass die Software nicht weiterentwickelt wird. Apple Music, Apple Podcasts und Apple TV werden seine Funktionen übernehmen. Da heute die meisten Medien nicht mehr heruntergeladen, sondern gestreamt werden, reflektiert diese Entwicklung beim Hersteller lediglich das Nutzerverhalten.
Italienischer Neorealismus Tag
Mit «Italienischer Neorealismus» wird ein epochales Filmgenre und ein Literaturgenre bezeichnet. Als Epoche dauert der Neorealismus etwa von 1943 bis 1954. Geschaffen wurde er im Italien von Benito Mussolini. Als marxistisch inspirierte Reaktion auf den italienischen Faschismus wollte der Neorealismus die ungeschminkte Wirklichkeit auf die Leinwand bringen, die Armut der einfachen Leute zeigen. Roland Barthes betonte, dass der Neorealismus diejenige Wirklichkeit darstellt, welche die bürgerliche Gesellschaft sich bemüht zu verbergen.
Wichtige Vertreter sind die Regisseure Roberto Rossellini, Luigi Zampa, Luchino Visconti, Federico Fellini oder Vittorio De Sica.
Das britische Kino der 50er Jahre ist stark vom Neorealismus geprägt (siehe Kitchen Sink Realism), der deutsche Trümmerfilm sowie der amerikanische Film Noir.
Liste wichtiger Filme
– Luchino Visconti: Ossessione (1943)
– Vittorio De Sica: I bambini ci guardano (1944)
– Roberto Rossellini: Roma città aperta (1945)
– Vittorio De Sica: Sciuscià (1946)
– Roberto Rossellini: Paisà (1946)
– Roberto Rossellini: Germania anno zero(1948)
– Vittorio De Sica: Ladri di biciclette (1948)
– Luchino Visconti: La Terra Trema (1948)
– Giuseppe De Santis: Riso amaro (1949)
– Roberto Rossellini: Stromboli, terra di Dio (1950)
– Luchino Visconti: Bellissima (1951)
– Vittorio De Sica: Miracolo a Milan (1951)
– Giuseppe De Santis: Roma, ore 11 (1952)
– Roberto Rossellini: Europe '51 (1952)
– Vittorio De Sica: Umberto D. (1952)
– Roberto Rossellini: Viaggio in Italia (1954)
Internationale Essener Songtage Tag
Die Internationalen Essener Songtage fanden vom 25. bis zum 29. September 1968 in Essen statt. Die Veranstaltung war ein Festival, auf dem Rock, Pop, Chanson und Folk gespielt, Kabarett aufgeführt, Lesungen, Performances und politische Diskussionen abgehalten wurden. Die Songtage gelten als die Geburtsstunde eigenständiger deutscher Rockmusik. 40'000 Besucher/-innen sind gekommen.
Acts, die auftraten, waren unter anderen Amon Düül, Blossom Toes, Peter Brötzmann, Tim Buckley, Franz Josef Degenhardt, Julie Driscoll, Brian Auger & The Trinity, Family, Floh de Cologne, The Fugs, Guru Guru, Alexis Korner, Frank Zappa And The Mothers of Invention, Soul (Xhol) Caravan, Tangerine Dream, Hannes Wader oder Bernd Witthüser.
«Die Musiker kriegten keine nennenswerten Gagen», aber ihnen wurde ein Fragebogen ausgeteilt, mit dem die gesellschaftliche Relevanz ihres Schaffens erfasst werden sollte. (Podcast Deutschlandfunk Kultur). Wie an kaum einem anderen Festival der 60er Jahre entluden sich in Essen die Emotionen zwischen Musikkonsumenten und Agitatoren («Wir sind doch hier ins Ruhrgebiet gekommen, damit wir an der Front sozusagen, auf der Strasse die Bewohner agitieren, d.h. politisch bewusst machen, nicht dass wir hier für Konsumenten schöne Lieder bringen!»).
Instrumente Tag
Ein Instrument ist ein Werkzeug, um Musik zu spielen. Ein Grenzfall ist die menschliche Stimme, die nicht wirklich ein solches konkretes Werkzeug ist, aber eine mit Instrumenten vergleichbare musikalische Artikulationsfähigkeit besitzt.
Einteilung der Instrumente
Die Einteilung der Instrumente erfolgt vielfach nach der physikalischen Art der Tonerzeugung: Idiophone, Membranophone, Chordophone, Aerophone und Elektrophone. Weiter können diese nach der Beschaffenheit des Instruments unterteilt werden, zum Beispiel die Aerophone in Blas- und Tasteninstrumente, die Blasinstrumente wiederum in Holz und Blechblasinstrumente.
Gängig sind auch die aufführungspraktische Einteilungskriterien, die sich nach den Sektionen musikalischer Formationen richten: Bläser, Streicher oder Rhythmusinstrumente.
Die Musikethnologie kennt und behandelt auch die Instrumente, die nicht zum Körper des typischen kunstmusikalischen Orchesters oder zur popmusikalischen Combo gehören. Die Bauart von Instrumenten erhält angesichts der ethnologischen Vielfalt der Instrumente eminente Bedeutung: So kann eine Oud als eine Kurzhalslaute aus dem Vorderen Orient bestimmt werden.
Links
– Brett Milano: The Weirdest Musical Instruments Ever (uDiscover Music, 4. August 2018)
– Martin Chilton: 10 Homemade Musical Instruments That Rocked The World (uDiscoverMusic, 29. August 2019)
Instrumental Chorus Tag
Ein Song, dessen Chorus ohne Worte auskommt. Berühmt Seven Nation Army, das mit einem 2-taktigen instrumentalen Pre-Chorus und Chorus auskommt. Der Chorus ist das ikonische Gitarrenriff.
Ein «Instrumental Chorus» ist kein wirklicher Chorus, weil ein Chorus typischerweise ein wiederkehrender gesungener Teil ist.
Innovation Tag
Innovation ist schwer zu definieren. Der Begriff kann alle Arten von Erfindung bezeichnen, sowol solche, die etwas Neues und Einzigartiges in die Welt bringen als auch solche, die neue Varianten des Bestehenden schaffen. Der Begriff ist auch unscharf, ob die Idee, die die Innovation auslöst, der Prozess der Schöpfung/Entwicklung oder das Resultat gemeint ist. Definitionsanalysen zeigen, dass man allein in der Forschung mühelos 40 bis 60 verschiedene Definitionen findet (Baregheh, Anahita; Rowley, Jennifer; Sambrook, Sally: «Towards a multidisciplinary definition of innovation». Management Decision. 47 (8): 1323–1339, 4. September 2009, doi:10.1108/00251740910984578). Eine griffige Definition könnte lauten: Innovation ist die Umsetzung von einer oder mehreren Ideen, die zu einem neuen Produkt oder zu einer neuen Dienstleistung führt. Die ISO-Norm 56000:2020 definiert: «a new or changed entity realizing or redistributing value».
Innovation wird oft von Erfindung unterschieden. Erfindungen können zur Schaffung eines Geschäftsfelds führen. Innerhalb dieses Felds können mehrere Innovationsschübe stattfinden, um die Produkte oder Dientleistungen zu verbessern und naue Gegebenheiten anzupassen. Aus dem Blickwinkel der Forschung wird unterschieden: Grundlagenforschung, Technologieforschung, Vorentwicklung und Produktentwicklung. Bevor es zur Produktentwicklung eines marktfähigen Plattenspielers kommt, muss die Grundlagenforschung in der Physik zum Beispiel die elektromagnetischen Gesetze finden, die Technologieforschung Wandler von mechanischer Bewegung zu elektrischem Strom bauen. Dies macht es wiederum möglich, dass Tonabnehmer und Lautsprecher gebaut werden können (Vorentwicklung), die dann in konkreten Produkten verbaut werden (Produktentwicklung). Bei komplexen technischen Produkten gibt es meist standardisierte Einzelteile, die dann als Bauteile in Produkten verwendet werden können. Nach solchen Differenzierungen können sowohl die Bauteile innoviert werden als auch die finalen Produkte.
Man kann in analytischer Hinsicht technische und kulturelle Innovation unterscheiden. Erstere wird patentiert und erhält Patentschutz, während zweitere registriert wird und Urheberrecht beanspruchen darf. Beide sind im Feld der Populäre Musik relevant und interagieren teilweise: Neue Medienformate beispielsweise schaffen neue musikalische Stile (die Langspielplatte macht Mood-Music möglich).
Diffusion von Innovation
Jede Form der Innovation hat eine Adaptation zur Folge, bis die Innovation sich durchsetzt (Fachbegriff: «Diffusion»). Hier unterscheidet man «innovators», «early adopters», «early», «late majorities» und «laggards». Wenn man die Zahl der Personen, die eine Innovation adaptieren in Funktion der Zeit aufzeichnet, entsteht eine Glockenförmige Kurve. Diese Kurve stimmt nur, wenn eine Innovation sich tatsächlich durchsetzt. Viele Innovationen werden vom Produkte-, Dienstleistungs- oder Aufmerksamkeitsmarkt nicht zur Kenntnis genommen oder erreichen eine kritische Zahl von adaptierenden Personen nicht, die nötig ist, um die Innovation umfassend bekannt zu machen.
Eine Innovation muss vom Markt akzeptiert werden und zwar beidseitig: Produktionsseitig müssen involvierte Personen und Institutionen bereit sein, die Innovation zum Markt zu bringen und die Konsumierenden müssen bereit sein, Geld für die Innovation auszulegen. Wenn ein Produzent eine Innovation als Schädigend für sein Geschäftsmodell wahrnimmt, kann er zögern, was eine Chance für die Konkurrenz bietet. Solche Formen von Innovation, die ein neues Businessmodell und einen neuen Markt schaffen bzw. einen bestehenden alten Markt verdrängen heissen disruptive Innovationen. In der Musikbranche haben die Majorlabels in den 1990er Jahren zugewartet mit digitalen Angeboten (obwohl sie in dieser Richtung geforscht haben), bis sie von Napster überholt worden sind.
Querverweise
– Novelty
Informationstheorie Tag
Was ist ist, was nicht ist ist möglich – Blixa Bargeld / Einstürzende Neubauten
Die Informationstheorie ist der grundlagentheoretische Kern der Kommunikationstheorie. Die Informationstheorie beruht auf Mathematik, bzw. spezifischer auf der Wahrscheinlichkeitsrechnung, während die Kommunikationstheorie angewandte Informationstheorie ist.
Die Informationstheorie wurde 1948 vom US-Mathematiker Claude Shannon in einem wirkungsmächtigen Text mit dem Titel A Mathematical Theory of Communication formuliert. Die grundsätzliche Idee lautet: Ein Stück Information (in der Semiotik auch ‹Phonem» oder «Zeichen» genannt) wird als Selektion von möglichen Zeichen aus einem Pool, einer Quelle oder einem «Code» aufgefasst. Der Buchstabe «A» beispielsweise als Wahl aus der Menge aller Buchstaben einer Sprache. In einer Sprache mit 26 Buchstaben ist jeder konkrete Buchstabe die Selektion aus dem Pool von 26 möglichen Buchstaben. Ein Computer, der mit den Zuständen 0 und 1 operiert ist jede 0 die Selektion aus dem Paar 0/1. Aufgrund dieser Modellierung konnte Shannon seine Grundlagentheorie ausformulieren.
Das Gegenteil von Information ist Entropie, die zufällige Gleichverteilung von möglichen Zeichen.
Historisch gewachsen ist die Informationstheorie im Feld der Dechiffrierung militärischer Mitteilungen im Zweiten Weltkrieg. Den Mathematikern, die für die Streitkräfte arbeiteten, verdanken wir wegweisende Erkenntnisse, die zur Entwicklung von Computern und zur störungsunabhängigen und fehlerfreien Übertragung, Kopie und Kompression von Daten geführt hat (Telefonie, Radio, TV, Internet, Archivfiles).
Die Informationstheorie hat Kommunikationstheorie und Semiotik (die es beide schon vor ihr gegeben hat) auf eine neue mathematische Grundlage gestellt.
Bewusstsein
Der Informationsbegriff könnte als die moderne Version des Begriffs des «Bewusstseins» gedacht werden. Bewusstsein wäre dann das WIssen, dass etwas so und so ist und zugleich nicht anders. Ein Selbstbewusstsein wäre demnach das WIssen über sich selbst (wer man ist), in dem man angeben kann, wie oder was man alles nicht ist.
Influencer Tag
Leute, die auf Social Media Kanälen viele Follower haben und deren Kaufinteresse wecken oder Meinungen zu beeinflussen vermögen.
Links
– Reto Stauffacher: Es ist höchste Zeit, dass wir Influencer als wesentliche Akteure des Mediensystems wahrnehmen (NZZ, 23. Januar 2020)
Individualismus Tag
Der Individualismus als Bejahung des Individuums und als Verneinung des Kollektivismus, gibt es als philosophische Idee schon lange. Die Idee geht mindestens auf das 19. Jahrhundert zurück, als der klassische Liberalismus das Individuum ins Zentrum seines Denkens stellte. Im 20. Jahrhundert folgten die Anarchisten und Existentialisten. Über die Beatniks ging der Individualismus auf die Hippie-Generation über, aber erst zum Zeitpunkt als die Friedens- und Menschenrechtsbewegung zusammenfielen. Jetzt kam die Idee auf, dass man zuerst sich selbst ändern muss, bevor man die Gesellschaft verändern kann. Es begannen die Experimente in Sekten, mit Spiritualität, die Kommunen. Der Imperativ lautete: «Sei authentisch, sei eins mit dir selbst, sei, was du sein willst!»
Seither lässt sich in westlichen Gesellschaften beobachten, dass soziale Bewegungen versagen, weil die Protagonisten in ihrem Individualismus eingeschlossen sind und unfähig, sich einer Idee anzuschliessen oder zu unterwerfen, die die Einzelnen übersteigt.
Der Individualismus unserer neueren Zeit ist möglicherweise ein Epiphänomen (Nebenprodukt) des Konsumismus.
Der Individualismus kann auch mit der Immersion verglichen werden, als der Weise, wie wir unsere neueste medientechnologische Innovation, das Internet erfahren: Wir sind als Individuen voll eingetaucht in die eigene Welt, in die eigene Konstruktion der Wirklichkeit. Wir leben medial bedingt in einer eigenen Sphäre, einer Filter-Bubble, einer Echokammer. Wir sind eingesperrt im Meinungssilo. Eine literarischere Beschreibung stammt von Adam Curtis. In einem Podcast mit Adam Buxton vergleicht er den medial bedingten Zustand, in dem wir uns heute befinden, mit Bambi! Wir springen, wir lassen uns ablenken von allem und jedem, das funkelt, strahlt und vor unseren Augen tanzt. Ein anderer Vergleich wäre ein Bummel durch einen Rummelplatz. Eingetaucht in ein dichtes Gerangel von Ständen, Buden und Vergnügungsattraktionen und unzähligen anderen Besucher/-innen haben wir nie den Überblick. Wir haben weder Orientierung noch einen Plan. Wir lassen uns vom Strom der Massen treiben. Wir sind verloren. Der grosse Unterschied zum Jahrmarkt ist allerdings, dass es keinen bekannten Ausgang mehr gibt und dass der Jahrmarkt, der früher ein Mal pro Jahr für ein paar Tage statt fand, nun persistiert.
Indie-Mainstream-Kollusion Tag
In den 2010er Jahren vermischten sich die Felder von Independent- und Mainstream-Musik. Einerseits kam es zu verschiedenen Kollaborationen zwischen Indie- und Mainstream-Künstler/-innen. Andererseits gab es eine Reihe von Acts, bei denen die Zuordnung zu Indie oder Mainstream schwer fällt.
Der Begriff der Kollusion stammt aus der Psychologie, wo er ein weitgehend unbewusstes, d.h. wenig reflektiertes Zusammenwirken von verschiedenen Akteuren bezeichnet. Zu den erwähnten Kollaborationen kam es, weil die Mainstream-Acts ihrer Lust bzw. Laune folgten. Es gab keinen Plan dahinter, keine Strategie. Die Kollaboration war kein Erfolgsmodell.
Independent-Label Tag
Independent Labels sind Musik Labels, die sich von «major labels» abgrenzen. Der Unterschied «major – indie» hat seine eigene Geschichte. In den 1940er und 1950er Jahren waren Indies Labels, die über keine eigenen Presswerke und Vertriebsstrukturen verfügten. In den 1960er Jahren kam ein neuer Typ Indies auf, die von Produzenten wie Joe Meek, George Martin, Phil Spector, Ted Albert oder Shel Talmy gegründet wurden. Typischerweise haben diese Indies Künstler*innen und Bands unter Vertrag genommen, produzierten ihre Aufnahmen und lizenzierten diese Aufnahmen dann an Majorlabel, die sie veröffentlichten, promovierten und distribuierten.
, In den 1980er Jahren waren Indies im Prinzip das selbe wie in den 50er Jahren, doch nun bauten die Labels eigene Vertriebsstrukturen auf, in dem sie vor allem unabhängige Schallplattenläden belieferten und sich zusammenschlossen, um diese Aufgabe gemeinsam zu bewältigen. Heute hingegen gelten Labels als «Indies», die nur kleine Auflagen mit Liebhabermusik oder Musik von (noch) unbekannten Künstler*innen veröffentlichen. Diese Labels haben oft eine Partnerschaft mit einem der Major-Labels, um den Vertreib sicherzustellen. Der Vertrieb ist in der digitalen Musikwirtschaft weniger aufwändig geworden, da die Labels ihre Releases über Plattformen wie Bandcamp anbieten können.
Improvisation Tag Ein Musikstück oder ein Teil eines Musikstücks ist improvisert, wenn alle, ein einzelnes oder eine Gruppe von Instrumenten etwas spielt, das nicht von der Komposition vorherbestimmt ist, sondern im Prozess des Spielens entsteht. In der Populären Musik wird dieses engere Verständnis ausgeweitet auf Musik, die als Improvisation entstanden ist, nun aber mehr oder weniger gleich gespielt wird.
Bis in die 1990er Jahren und teilweise bis heute sind Indie-Labels im Besitz von Entrepreneuren mit der ihnen eigenen Mischung aus monetärem Erfolgstrieb und musikalischer Vision.
Den Indie-Labeln kommt historisch das Verdienst zu, Innovation vorangetrieben zu haben, vor allem in Zeiten als Major-Labels sich auf bewährte ästhetische und wirtschaftliche Strategien versteiften. So wurde Musk aus den Genres Rock 'n' Roll, Postpunk, Alternativerock, Hip-Hop oder Electronica zunächst fast ausschliesslich von Independent Labeln veröffentlicht.
Falls Indie-Veröffentlichungen in den Mainstream durchbrechen (Fachbegriff Crossover), beginnen Major-Label die musikalischen Innovationen zu übernehmen.
Die Musik von Indies wird in Grossbritannien seit dem Januar 1980 und in den USA seit dem September 1988 (siehe Modern Rock Tracks Charts) in wöchentlichen Hitparaden veröffentlicht.
Der erste grosse Schub von Indie-Labels kam nach dem zweiten Weltkrieg in den USA. Kleine Labels in Städten wie Chicago, Los Angeles, New York oder Memphis konnten sich mit den lokalen Verkäufen bestens über Wasser halten. Die Binnenmigration im Land (Great Migration und Dustbowl Migration) brachte die Kunden zu ihnen. Wichtig waren dabei aber die Kontakte zu Radiostationen, die die Musik promoteten. Die Auswirkung der Indies nach dem Krieg war immens: Zwischen 1942 und 1947 hatten noch die Majors das Sagen. Decca stellte über 50% der 57 Chart-Topper, nämlich 31. Neun kamen je von Capitol und Victor/Bluebird. Immerhin sechs Indies vermochten eine Nummer-1 zu landen. 1948 und 49 aber waren von 31 Top-Hits 26 Indies und Decca, Capitol, Victor hatten nur noch fünf solche (Quelle – Richard Havers: [F]).
Liste erfolgreicher amerikanischer Indie-Labels nach dem 2. Weltkrieg
- Chess
- King
- Sun Records
- Speciality
- Vee-Jay
- Peacock
- Imperial
- Aladdin
- Atlantic
- Savoy
Liste erfolgreicher britischer Indie-Labels nach Punk
- Mute
- Rough Trade
- Factory
- 4AD
- Cherry Red
- Rhythm King
- Creation
- One Little Indian
Liste erfolgreicher US Indie-Labels nach Punk
- SST
- Sub Pop
- Dischord
- Matador
- Merge
- Touch And Go
Querverwei
Indie-Mainstream-Kollusion
Quellen
Der Billboard-Artikel von Ed Christman führt Hip-Hop-Label wie Cash Money als Independent Label. Allerdings ist Chash Money eher ein Boutique-Label mit völliger künstlerischer Freiheit, was allerdings viele der oben aufgeführten Indielabels mittlerweile auch sind.
– Ed Christman:
Improvisation spielt im Jazz eine grosse Rolle. In der Rockmusik kommt Improvisation meist in einem der unten aufgeführten Arten vor.
Eine gelungene Improvisation setzt in der Regel voraus, dass die Musiker*innen a) ihr Instrument oder ihre Stimme technisch beherrschen, b) die vom Musikgenre und -stil geforderten musikalischen Parameter kennen und c) sich darin frei und kreativ bewegen können.
Arten der Improvisation
– freies Spiel über Riff (Beispiel: In-A-Gadda-Da-Vida),
– freies Spiel zu musikalischem Thema oder zu einer Harmoniefolge wie dem 12-bar blues (Beispiel: What'd I Say)
– freies Spiel innnerhalb einer Tonleiter oder eines Modus (Beispiel Dark Star).
Querverweise
Improvisation kommt auch in anderen Künsten vor.
– Improvisationstheater
Impersonator Tag
Ein Impersonator imitiert möglichst echt den Stil eines bekannten Acts. Elvis Presley gehörte zu den ersten Popstars, die man nachgemacht hat. Andy Kaufman war ein berühmter von ihnen. Er wird im R.E.M. Song Man On The Moon
besungen.
Imitation Tag
Das Wort «Imitation» entstammt dem Lateinischen, wo «imitatio» «Nachahmung» bedeutet. Nachahmend ist ein Verhalten, wenn es das Verhalten einer anderen Person (zuweilen auch eines Tiers oder Dings) kopiert.
Imitation in der Populären Musik
In der Populären Musik werden oft musikalische Eigenschaften imitiert, z.B. der Millennial Whoop, Stimmen mit Auto-Tune. Zuweilen werden auch Acts imitiert. So hatten die Everly Brothers britische und schweizerische Nachahmer in den Allisons respektive den Faux Frères.
Imitation in der Ästhetik
In der Ästhetik wird meist zwischen mimesis und «imitatio(n)» unterschieden. Ersteres meint Nachahmung der Natur, zweites Nachahmung älterer oder klassischer Vorbilder.
Querverweise
– Mimesis
Ideologie Tag
Abgeleitet aus dem französichen Begriff idéologie – eine Menge von Glaubenssätzen, Annahmen, Wahrheiten, die einer Person oder einer Gruppe von Menschen zukommt oder zugeschrieben wird. Ideologien sind politischer, ökonomischer, oder religiöser Natur.
Links
– Daniel Bell: The End of Ideology, Free Press, New York, 1960.
Identitätspolitik Tag
Politik, die von den Bedürfnissen nach Akzeptanz und Einfluss von gesellschaftlichen Gruppen ausgeht, typischerweise kulturelle, ethnische, soziale oder Gender-Minoritäten.
Anfang
Der Historiker Philipp Sarasin macht in seinem Buch 1977. Eine kurze Geschichte der Gegenwart den Anfang der Identitätspolitik im besagten Jahr fest. Wo vorher (auch nachher noch) Ansprüche in der Politik vor allen Dingen als Interessen formuliert wurden, war in einem Statement des «Combahee River Collectives» (eine lesbische Abspaltung der «National Black Feminist Organization») im April 1977 zum ersten Mal von «identity politics» die Rede, womit gemeint war, sich ganz auf die eigene Geschichte der Unterdrückung als schwarze lesbische Frau zu konzentrieren. Es war der Philosoph Jean-François Lyotard der diese Idee in «Das Patchwork der Minderheiten» aufgriff und innerhalb der postmodernen Philosophie bekannt machte.
Sarasin sagt, «Identität» hätte sich am Ende der 1970er Jahre und in der Folge als «Sehnsuchtssignifikant» etabliert und hätte zwei aufeinander bezogene Figuren hervorgebracht: das «unschuldiges Opfer» und die «postideologischen Helfer».
Der weisse Mann als Identität
Mit der Wahl von Donald Trump zum Präsidenten der USA hat sich die Rechte des Identitätspolitk-Begriffs bemächtigt. Das war insofern bemerkenswert, als «Identität» vorher von Minderheiten in Anspruch genommen wurde, die gerade von weissen, heterosexuellen Männern unterdrückt wurden. Nun kam Trump, zeigte sich gekränkt und politisierte auf eine vergleichbar unverhandelbare Weise. Er fand Zulauf von vielen Männern, die eine Wut gegen das politisch-wirtschaftliche Establishment hatten, weil sie Arbeitslos blieben und gesellschaftlich nicht mehr als relevant galten. Am Ende der Präsidentschaft war Amerika gespalten und es gab keinen Plan, wie diese gesellschaftlichen Spaltungen zu überwinden seien.
Der Soziologe Armin Nassehi machte deutlich, dass Identitätspolitik seit dem Wahlkampf Trumps kein Privileg akademischer Mittelschichten mehr, sondern die entscheidende Politikform geworden sei. Gekränkte und besorgte Bürger betrieben Identitätspolitik mittlerweile leidenschaftlicher als die alten Minderheitsgruppierungen.
Historisch philosophischer Hintergrund
Philosophisch geht es mit der Identitätspolitik vor allem um den Gegensatz zwischen Universalismus und Partikularismus/Relativismus. Wo Identitätspolitik kritisiert wird – es gab kritische Stimmen von links und rechts – wirft man ihr vor, sie sei partikularistisch und lasse allgemeine Vernunftgründe in den Feldern der Identität nicht gelten. Somit werden queere oder ethnische Realitäten unverhandelbar. Es wird erwartet, dass sie von anderen respektiert werden. Nicht nur das. Es wird ein Hegemonialanspruch mit der eigenen Identität und Kultur verknüpft und eine Sprechhoheit erhoben, die im äussersten Extrem besagt, dass nur eine schwarze Lesbe selbst über ihr Leben und ihre Realität als Frau, als Zugehörige einer ethnisch unterdrückten Gruppe und einer Gender-Minorität sprechen könne.
Frühe Vertreter des Partikularismus waren Johann Gottfried Herder, der Weimarer Klassiker, der am Ende der Aufklärung den Weg für die spätere Romantik vorbereitete, indem er das völkische oder ethnische in den Vordergrund stellte. Er gab gegen den Universalismus zu bedenken, dass verschiedene Kulturkreise von anderen Denkvoraussetzungen ausgehen, anders denken mögen und folglich auch zu anderen Schlüssen geraten. Diese Art des kulturellen Partikularismus hat sich zum Beispiel in den Literaturwissenschaften durchgesetzt, die einzelne Disziplinen für jede Sprache oder Sprachgruppe ausdifferenziert hat. Germanistik ist eben nicht Romanistik, Slavistik, Anglistik. Fächer wie «Vergleichende Literturwissenschaften» sind neben diesen Philologien in der Regel Orchideenfächer.
In Frankreich war Joseph de Maistre der Vorreiter des Partikularismus. Er sagte, dass es keinen Menschen an sich gäbe.
Diese Spielarten des Partikularismus (ethnisch, von der Sprache her oder auf eine andere Art) rückten die Folkloren verschiedener Kulturkreise ins Zentrum des Interesses. Im wissenschaftlichen Fächerkanon waren dies die Volkskunde (eigene Kultur) und die Ethnologie (fremde Kulturen), die weitab von einer universellen Soziologie oder einer Soziologie der modernen Gesellschaft Kulturen untersuchten, die sie als von der modernen technologischen Welt bedroht sahen.
Kritik an der Identitätspolitik
Linke Kritik erhebt sich angesichts der sozialen Schere, die neuerdings aufgeht. Hier wird diskutiert, ob linke Parteien an der Identitätspolitik von Minderheiten und Benachteiligten orientiert sein sollen oder an der marxistischen Idee der sozialen Klasse (siehe Jana Hensel: Alte Linke gegen neue Linke. Die Zeit, 6. März 2021).
Eine Alternative zur Partikularität der Identitätspolitik formulierte Kimberlé Crenshaw mit dem Begriff der «Intersektionalität». Gemeint ist mit der Metapher der Wegkreuzung die Gleichzeitigkeit und das Zusammentreffen verschiedener Diskriminierungstraditionen in einer Person (oder Gruppe). Dieser Begriff radikalisiert die Partikularität allerdings noch mehr als der Begriff «Identitätspolitik». Er stellt aber eine Alternative zur meist von der weisen akademischen Mittelklasse – also einer privilegierten Position – vertretenen Haltung dar.
Identitätspolitik und (Populäre) Kunst
Wo identitätspolitische Ansprüche wohl immer kontrovers bleiben und diskutiert werden müssen, ist Identitätspolitik in der Gegenwartskunst unbestrittener zuhause. Identitätspolitische Gruppen finden im künstlerischen Ausdruck ein wichtiges Betätigungsfeld und im Kunstbetrieb einen bedeutenden Resonanzraum.
In den Genres der Populären Musik gibt es stilistische Felder, in denen Identitätspolitik eine Rolle spielt: z.B. Queerrap im männlich geprägten, oft homophoben Hip-Hop-Genre.
Querverweis
– Gender
– LGBTQ+ Musik
– QTPOC
– Geschichte der Afroamerikaner*innen in den USA
– Singularität
I-V-vi-IV Progression Tag
Die vier Akkorde I-V-vi-IV bilden eine in der Populären Musik zwischen 1980 bis 2010 häufig verwendete Harmoniefolge («chord progression»). In C-Dur sind das die Akkorde: C-Dur – G-Dur – a-Moll – F-Dur, das sind die Tonika (I), die Dominante (V), die Tonikaparallele (vi) sowie die Subdominante (IV) einer Tonleiter.
Diese Harminiefolge ist ein dauerndes Spiel von Spannung und Auflösung. Sie kann folglich rotieren und in folgenden vier rotierten Varianten auftreten:
1) I–V–vi–IV (C-Dur – G-Dur – a-Moll – F-Dur): klassische Four-Chord-Formel, optimistische Wirkung, sehr häufig verwendet
2) V–vi–IV–I (G-Dur – a-Moll – F-Dur – C-Dur): selten verwendet
3) vi–IV–I–V (a-Moll – F-Dur – C-Dur – G-Dur): Modern-Popformel / Moll-Popformel, pessimistische Wirkung, sehr häufig verwendet
4) IV–I–V–vi (F-Dur – C-Dur – G-Dur – a-Moll): weniger häufig verwendet
Hypnagogicpop Tag
Hypnagogie bezeichnet einen Zustand zwischen Schlafen und Wachen, in dem hypnagogische halluzinationen auftreten können.
In der populären Musik bezeichnete David Keenan die Musik von z.B. Ariel Pink oder James Ferraro als Hypnagogicpop (siehe The Wire 306, August 2009). Er meinte damit eine post-millenniale Version psychedelischer Musik, die wie eine Musik aus der medialen und stilistischen Vergangenheit klingt. Hypnagogicpop war wie ein amerikanischer Verwandter der britischen Hauntology.
Kennzeichen von Hypnagogicpop
– die Musik kommt vielfach als Kassetten-Release heraus, einem obsoleten Medium
– sie wird mit altem und obsoletem Equipment aus den 1980er Jahren produziert
– sie erinnert an die Jugend der Musiker/-innen, statt zeitgemäss zu klingen, sind sie wie aus der Zeit gefallen
Querverweise
– Chillwave Genre
– Stichwort: Hauntology
Hymne Tag
Corpus mit Songs und Alben, die Hymnen sind oder hymnische Qualitäten aufweisen.
Es gibt offizielle und inoffizielle Hymnen. England zum Beispiel hat keine offizielle (d.h. vom Gesetz vorgeschriebene) Hymne – hier wird in der Regel «God Save The Queen» gesungen, aber als Alternative kommt zuweilen Jerusalem
zum Einsatz. Inoffizielle Hymnen werden vom «Volk» statt vom Dekret zur Hymne erhoben. Waltzing Mathilda
ist hierfür ein Beispiel.
Fussballhymnen sind eine moderne Form von Kriegsgesang. Sie können aber auch – je nach Philosophie des Clubs – Brüderlichkeit bestärken wie You'll Never Walk Alone
(FC Liverpool).
Links
– NZZ/DPA: Aus Respekt vor Ureinwohnern: Australien ändert Nationalhymnen-Text (1. Januar 2021) – die Wörter «Wir sind jung und frei» wurden geändert zu «Wir sind eins und frei»
Human Potential Movement Tag
Eine Richtung der humanistischen Psychologie, die davon ausging, dass die Psychoanalyse sich mit ihrem Ziel, Menschen zu rationalen Wesen zu machen, nicht nur täuschte, sondern zur Dienerin einer repressiven staatlichen und wirtschaflichen Macht gemacht hat. Diese Psychologie gilt die Grundannahme für falsch, dass das Es aus einer Menge irrationaler und gefährlicher Gefühle bestehe, die durch das Ich kontrolliert werden müssten. Im Anschluss an den abtrünnigen Analytiker Wilhelm Reich dachten Vertreter dieser Schule, dass die Libido als Grundenergie des Lebens etwas Gesundes sei und dass man sie von jeglicher Repression befreien müsse.
Das Ziel therapeutischer Arbeit bestand darin, die Entwicklungspotenziale der Menschen zu entfalten und dadurch ihre Lebensqualität zu verbessern.
Das HPM hatte einen grossen Einfluss auf die Hippiekultur und die später daraus entstehende New Age Kultur.
Esalen
1962 wurde das Esalen Institute von Michael Murphy und Dick Price mit dem Ziel gegründet, Erwachsene in alternativer Psychologie weiterzubilden, «Humanistic alternative education» wie das in Amerika genannt wurde. Esalen wurde der Ausgangspunkt der New Age Lebensphilosophie.
Das Esalen Institut bot Ausbildungsprogramme für Erwachsene an, ihr «menschliches Potential» zu entfalten. Besucher*innen wurden mittels ‹workshops», «encounter groups» oder «T-Groups» («T» für Training) in Meditation, Wachstum der eigenen Person, Massage, Yoga, Veganismus und vielem mehr weitergebildet. Die Überzeugung war, dass Menschen ein Potential haben, das freigelegt werden müsse. Pro Jahr liefen bis zu 500 Workshops in Esalen, so dass die Sache oft als soziale Bewegung bezeichnet wird: als «Human Potential Movement».
Berühmte Besucher*innen
Besucher*innen waren u.a. Joan Baez, Paul Tillich, Henry Miller, Timothy Leary oder Hunter S. Thompson.
Auftritte am Ort
In Esalen wurden zwischen 1964 und 1971 jährlich Musikfestivals ausgetragen. Dort traten neben anderen auf: Joan Baez, Bob Dylan, Crosby, Stills, Nash and Young, Joni Mitchell, Blood, Sweat And Tears, Simon and Garfunkel, John Sebastian, Bruce Springsteen, Judy Collins, Creedence Clearwater Revival, Paul Winter,, Ravi Shankar, Chambers Brothers, George Harrison, Taj Mahal, Ringo Starr, Airto Moreira, Donovan, Jackson Browne, Bonnie Raitt, Fred Frith, Kenny Loggins, Babatunde Olatunji.
Vertreter*innen
– Abraham Maslow: Theoretiker der Selbst-Aktualisierung
– Carl Rogers: Theoretiker einer Gesprächstherapie
– Fritz Perls: Gründer der Gestalttherapie, deren Ziel es war, die Awareness, des Gewahrsein, zu fördern, d.h. alle gegenwärtigen Gefühle, Empfindungen und Verhaltensweisen wahrnehmen zu können, den Kontakt zu sich selbst und zur Umwelt herzustellen. Perls brachte Judith Malina und Julian Beck auf ihren Weg, das Living Theatre zu entwickeln.
– Michael Murphy und Dick Price, die Gründer des Esalen Institute (est. 1962) in Big Sur, Kalifornien.
– Werner Erhard, Gründer der Methode est.
Literatur
Carl Rogers: Encounter Groups, 1970
Hot Dance Club Songs Tag
Die «Hot Dance Club Songs» sind die Billboard Charts für Tanzmusik.
Ab 1975 veröffentlichte Billboard wöchentliche Playlisten/Charts von DJs aus verschiedenen Städten. Am 28. August 1976 wurden die nationalen Charts als «Disco Action Top 30» gegründet. Damals war You Should Be Dancing Nummer 1. Kurz darauf wurden diese Charts auf 40 und 1979 auf 60 Positionen, dann auf 80 und 100 erweitert. 1981 wurden sie auf 80 redimensioniert.
Am 16. März 1985 wurden die Disco Charts aufgeteilt in «Hot Dance/Disco» (50 Positionen für Club Play) und «Hot Dance Music/Maxi-Singles Sales» (50 Positionen für 12'' Maxisingles). Die Maxisingles-Hitparade hat heute nur noch 10 Positionen und wird nur bei Billboard.biz publiziert. Die Club Play Hitparade heisst heute «Hot Dance Club Songs». 2003 hat Billboard noch Charts für Dance Airplay geschaffen: die «Hot Dance Airplay», die heute «Dance/Mix Show Airplay» heisst. Am 26. Januar 2013 kam eine weitere Hitparade hinzu, die «Dance/Electronic Songs» (50 Positionen).
Links
– Dance Club Songs
– Hot Dance/Electronic Songs
– Dance/Mix Show Airplay
– Dance/Electronic Digital Song Sale
– Dance/Electronic Streaming Songs
– Dance/Electronic Album Sales
Hookline Tag
Eine «Hookline» oder ein «Hook» ist eine charakteristische, melodische Phrase in der elektronsichen Tanzmusik. Meist besteht der Hook aus Musik ohne Lyrics, denn sonst wäre es ein Chorus. Funktional ist der Hook wie ein Chorus ohne Lyrics, also ein wiedererkennbarer ohrwurmartiger Teil, der möglichst auch noch repetiert wird.
Nicht zu verwechseln ist der Hook mit dem Drop im Elektropop), der in der Regel ein Postchorus ist.
Homerecording Tag
Unter die Vorgänger des Homerecordings fallen Aufnahme-Sessions von Rock-Acts, die in ihrem Haus ein Studio einrichten: Rolling Stones (Exile on Main St.) oder Led Zeppelin (grosse Teile von Led Zeppelin IV), Bob Dylan & Band (Basement Tapes), Nine Inch Nails (The Downward Spiral), Radiohead (OK Computer) sind prominente Beispiele. Eigentliches Homerecording wird aber erst durch erschwingliches Analog-Equipment, später digitale DAWs möglich. Homerecording mit günstigem Analog-Equipment war unter Lo-Fi-Bands seit den 90er-Jahren en vogue.
Listen
– Tyler Kane: 10 Great Albums Recorded at Home (Paste Magazine, 17. Januar 2012)
Hologramm Tournee Tag
Futurama wird wahr. Jedenfalls beinahe. In Matt Groenings Trickfilmserie kommen unter anderen Richard Nixon als «Head jars» vor, so eine Art Präparat des Kopfes eines toten Menschen, der dann in einem Museum aufbewahrt werden – Nixon in der Hall of Presidents. Die «Head jars» können sprechen und sie können sogar handeln, falls sie einem Roboter aufgesetzt werden (siehe Futurama Ausschnitt).
Verschiedenen toten Rock- und Pop-Stars wird nun ein ähnliches Leben nach dem Tod möglich gemacht, dank der Technologie des Hologramms. So wurde 2018 die «In Dreams – The Roy Orbison Tour», eine Tournee mit dem Hologramm von Roy Orbison veranstaltet. Abba haben nächstes oder übernächstes Jahr eine Tour als Hologramm angesagt. Keiner der Bandmitglieder ist verstorben, aber sie haben sich entschieden, als junge Leute wieder auf die Bühne zu gehen. Amy Winehouse, Ronnie James Dio und Frank Zappa sollen 2019 auf Hologram Tour gehen. Von Whitney Houston wurde 2019 verkündet, sie würde auf Hologramm-Tournee gehen.
Eines können diese Hologramme natürlich nicht, was der Nixon «Head jar» in Futurama eben kann, mit realen Personen im Publikum interagieren. Die Hologramme sind lediglich Filmaufzeichnungen, dreidimensionales Kino, das auf einer Bühne in Szene gesetzt werden kann. Als Technologie auf jeden Fall interessant. Man könnte sich das ja auch mit den Gorillaz denken.
Roy Orbison - In Dreams - The Hologram Tour (Youtube)
– Feed Jacobs: Would You Pay To See A Classic Rock Hologram Perform A Show? (Jacobsmedia, 25. Oktober 2018)
– Daniel Kreps: Roy Orbison Hologram Tour Sets North American Dates (Rolling Stone, 10. Juli 2018)
– Greg Prato: Live Review: Ronnie James Dio Returns to Long Island… as a Hologram (Consequence Of Sound, 10. Juni 2019)
Hollywood Bowl Tag
Ein Amphitheater (Freilichtbühne) in den Hollywood Hills, Los Angeles. Es wird vor allen Dingen für Musikveranstaltungen benutzt und beherbergt über 18'000 Zuschauer/-innen. Eröffnet wurde es am 11. Juli 1922.
Hitparaden Tag
Hitparaden sind Ranglisten, die die erfolgreichsten Songs/Tracks oder Alben eines Zeitabschnitts (Fachbegriff: «Bestseller») in der Reihenfolge ihres Erfolgs auflisten. An erster Stelle, der Top-Position, fungiert der erfolgreichste Titel. Erfolg ist in der Regel ein Kalkül aus mehreren Konsumarten von Popmusik wie Schallplattenverkäufe, Airplay, Wahl in einer Jukebox, bezahlte Digital-Downloads, unbezahlte Downloads, Streaming. Was Erfolg heisst, hat sich gerade in den letzten Jahren durch die Digitalisierung sehr stark verändert. Früher waren es vor allem Verkaufszahlen, heute sind es gewichtete Berechnungen aus den verschiedenen Konsumarten: Verkäufe physischer Tonträger, Downloads sowie Klicks bei Streaming-Angeboten. Charts werden pro Land erhoben, auch in Europa.
Hitparaden können mit verschiedenen Zeitfenstern gebildet werden: Es sind die Wochen-Hitparaden, die errechnet und veröffentlicht werden. Auf ihrer Grundlage können aber auch Monats-, Jahres-, Dekaden- oder Allzeit-Hitparaden errechnet werden (z.B. durch Bewertung der Top-position mit 10 Punkten, des zweiten Ranges mit 9 Punkten usw.).
Hitparaden beruhen auf möglichst objektiven Markterhebungen. Die in ihnen verzeichneten Songs oder Alben erhalten aber durch die Präsenz in der Hitparade einen Verkaufsschub, denn die Hitparade sorgt für zusätzliche Aufmerksamkeit. Deshalb sind Hitparaden Erfolgsverstärker und keine objektive Messungen.
Aufmerksamkeit als Währung
Wenn man Verkäufe und Streaming-Konsum vergleicht, dann vergleicht man Äpfel mit Birnen. Die eine Zahl ist zunächst nicht in die andere abbildbar. Anders gesagt: Es ist nicht sinnvoll, Streaming-Zahlen und Verkaufszahlen einfach zu addieren. Wenn jemand ein Album oder eine Single kauft, dann weiss die Marktforschung nicht, was damit geschieht: Wird der Tonträger ins Regal gestellt, wird er nur kurz angespielt, wird er ein Mal gehört oder wird er rauf und runter gespielt? Bei Streaming-Objekten werden diese detaillierten Konsum-Daten erhoben. Ein Song gilt dabei als angehört/gestreamt, wenn jemand den Stream 30 Sekunden lang nicht abbricht. Um nun Verkaufte Einheiten mit den Streaming-Zahlen zu verrechnen, hat sich die RIAA auf einen Faktor geeinigt, mit dem Streams zu Verkaufs-Äquivalenten berechnet werden. Hier gilt heute, dass 150 Streams gleich viel zählen wie ein bezahlter Download (Kauf einer MP3- oder FLAC-Datei) und dass 1500 solche Downloads gleich viel zählen wie ein Album-Verkauf. Diese beiden Faktoren sind für die USA festgelegte Grössen. Andere Länder können andere Faktoren verwenden. Diese Äquivalenz-Faktoren sind Konventionen der Industrie und können jederzeit verändert werden, wenn Gründe dafür vorliegen. Für Hitparaden heisst das, dass sie nicht Verkäufe oder Umsatz messen, sondern «Aufmerksamkeit». Die Aufmerksamkeit oder das Interesse an einem Song ist sozusagen die gemeinsame Währung von den verschiedenen Musik-Konsum-Arten, von Verkäufen, Downloads, Radiokonsum und Streaming.
Neue Charts im 2019
im Mai 2019 hätten beim Rolling Stone Magazin neue Charts heraus kommen sollen. Das Magazin hat das Startup Alpha Data aufgekauft, das die Zahlen bereitstellt. Der Release wurde aber vorerst nach hinten gestellt (siehe: Hypebot). Wie Billboard wird Rolling Stone die Top 100 Songs sowie die Top 200 Alben erheben. Im Unterschied zu Billboard, werden die Zahlen allerdings jeden Tag aktualisiert. Neben diesen zwei Basis-Charts wird Rolling Stone auch die am meisten gestreamten Acts publizieren (Rolling Stone Artist 500), die «fastest-moving songs» (Rolling Stone Trending 25) und neue Acts, die zum ersten Mal charten (Rolling Stone Breakthrough 25).
Billboard kündigte auf später im Jahr neue Globale Charts an: «The Global 100». Es sind internationale Charts, die aufgrund von Streaming- und Verkaufszahlen errechnet werden (siehe The Fader).
Chart Verzeichnisse
– siehe: Wikipedia (en): Chart Übersicht
Weltweite Charts
Charts werden in der Regel für nationale Musikmärkte erhoben und erstellt. Supranationale oder globale Charts gibt es nur wenige: T4C (Top40Charts.com) veröffentlicht die World Singles Official Top 100, die hier auf der Site in einer Liste repräsentiert ist. Diese Liste wird nur sporadisch aktualisiert. Sodann gibt es die Webseite United World Chart, die globale Daten erhebt (siehe auch die Wikipedia-Seite: United World Chart). World-Charts müssen Daten nationaler Charts miteinander verrechnen. Es fällt auf, dass diese nicht offiziellen World Charts stets ohne Streaming Daten rechnen müssen. Offenbar sind ihnen nur die Daten zugänglich für Verkäufe, Downloads und Airplay.
Amerikanische Charts
Billboard-Charts werden von Nielsen erhoben. Sie existieren in verschiedenen Sparten-Charts und den wichtigsten beiden, den Billboard Hot 100 Single Charts und den Billboard Top 200 Album Charts. Siehe: Billboard Charts
Britische Charts
Die Britischen Charts werden von der Official Chart Company erhoben. Die Charts mit den Singles/Tracks heissen Official Singles Chart Top 100, diejenigen mit den Alben Official Albums Chart Top 100.
Andere Europäische Charts
Die Schweizer Hitparade (publiziert von Hitparade.ch – diese Webseite publiziert auch weitere Europäische Charts).
Deutsche Charts: Online-Publikation und Seite zur Geschichte der Single Charts Deutschland
Streaming Charts
– Youtube: Musikcharts und Statistiken – YouTube-Charts können global und für einzelne Länder angezeigt werden
Hit Tag
«It’s a Hit! Love it! It’s a Hit. It loves you because you love it because it’s a Hit!»
George W.S. Trow
Ein Musiktitel der einschlägt (engl. «to hit»), d.h. erfolgreich, populär ist. Ein Hit ist also ein Song, der in die Hitparade / Charts kommt. Wenn der Begriff spezifiziert wird wie z.B. in Jukebox-Hit oder Radio-Hit, dann heisst das, dass der Titel vorwiegend in Jukeboxes oder im Radio erfolgreich ist, aber nicht unbedingt als verkaufte Schallplatte.
Historiografie Tag
Musikgeschichten von vor dem Millennium waren sehr oft konstruiert wie chronologisch oder nach Künstlernamen organisierte Playlisten. Diese wurden ergänzt durch Geschichten zu den Künstler*innen. Diejenigen, die die Musikgeschichten schrieben, waren Musikjournalist*innen. Sie erzählten ihre Musikgeschichte mit dem Sinn und der Logik eines Musikmagazins oder einer Tageszeitung. Neuheit, Glamour, Skandal gaben den Schmuck der Geschichten her. Was hatte die Leserin oder der Leser davon. Nun, in der Zeit vor dem Internet war Information über Musik nicht einfach so abrufbar wie heute. Auch als Musikfan wusste man nie genau, ob man von einer Band alle Songs und Alben oder wenigstens die wichtigsten kannte. Man baute die Kenntnis von Band-Katalogen in Plattenläden auf. Diese hatten nicht immer alles in den Regalen.
Wo es heute noch Muiskfans gibt, wie wir es früher waren, sind sie stets vollständig informiert (vermutlich überinformiert wo wir unterinformiert waren). Alte Musikgeschichten haben für die neuen Generationen, die mit dem Internet leben herzlich wenig Wert. Wo wir uns versichert haben, ob wir auch alles Kennen und alles Wissen, langweilen sich junge Leute wohl, wenn sie Büssers On The Wild Side lesen würden.
Heutige Musikgeschichten müssen anders verfasst sein. Sie brauchen andere Stories, sollten auf empirischen Daten beruhen und schaffen Bezüge zu aussermusikalischen Themen.
Hillbilly Tag
«Hillbilly» (etwa «Hinterwäldler») war ein abwertender Begriff für das, was man nach dem zweiten Weltkrieg «Country music» genannt hat, sowie für die Leute, die Country Musik hören. Das Hinterwäldlerische hängt der Country Musik als stereotype Vorstellung bis heute an. Stellt man sich einen Sänger wie Toby Keith vor Augen, der einer der wenigen amerikanischen Musiker ist, die offen Donald Trump unterstützen, dann mag das Klischee eine gewisse Berechtigung haben. Doch darf man nicht vergessen, dass Country viel mehr ist als Toby Keith. Bluegrass, Progressive Country, Americana gehören in den Stammbaum von Country, dessen neuste Triebe heute nach Electropop und Trap klingen.
Einen Beleg für das Hillbilly-Klischee lieferte beispielsweise der Journalist für «Variety», Abel Green, der 1926 in einer Zeit, als Country zum ersten Mal auf Schallplatten aufgenommen und Amerika-weit vertrieben worden ist, schrieb: «The 'hill-billy' is a North Carolina or Tennessee and adjacent mountaineer type of illiterate white whose creed and allegiance are to the Bible … and the phonograph.» Interessant am Zitat ist, dass es die Kulturbildende Kraft der Schallplatte erkennt. Die Kultur, so liesse sich explizieren, wächst auf dem Boden, auf dem die Leute stehen, und wird geformt durch Medien (Bibel, Bücher, Zeitung). Bildungsferne Kreise konnten immer daran dingfest gemacht werden, dass sie nicht lesen. Als sie zu lesen begannen hiess es, dass sie nicht das richtige lesen. Schallplatten bedienten seit den mittleren 20er Jahren bildungsferne Kreise mit Musik, in der sie sich repräsentiert sahen: Schlager, Country, frühe Afroamericana. Für die Kultur der Leute waren Schallplatten und sind abonnierte Musikstreams mit «ihrer» Musik ein wichtiger medialer Kitt der Kultur. Die Schallplatten machten aus lokalen Volkskulturen ausserdem nationale, teils bereits internationale kulturelle Formationen.
High vs. Low Tag
Das Hohe an der Kunst fasst David Stubbs in Fear of Music als Dreiheit von «High Art», «High Society» und «High Capital».
Zwischen E- und E-Musik oder zwischen High und Low arts zu unterscheiden, schafft eine Klassendistinktion und eine Wertung, die in der Moderne als unangenehmer Elitarismus auffällt. Trotzdem sind die Grenzen zwischen E und U in vielen gesellschaftlichen Feldern völlig intakt: bei der Vergabe von Fördergeldern wird in Europa zumindest E deutlich bevorzugt. Argumentiert wird allerdings kaum mehr mit der Wertigkeit der Musik, sondern eher funktional. Es braucht die Gelder, damit die Musik aufgeführt werden kann.
Wenn man die drei Gattungen (Schönen Künste, Folklore und Populäre Künste) mit der Distinktion zwischen E und U vergleicht und die Begriffe versucht, abbildbar zu machen, kommt man vor allem mit der Folklore in ernsthafte Probleme. E ist Schöne Kunst, U ist Populäre Kunst, aber die Folklore, wohin schlägt man sie? Ist sie gar keine Kunst (sondern etwas Urwüchsiges)? Ist sie U? Ist sie manchmal U und manchmal E? Wird sie E, sobald sie von Ethnologen erfasst und schriftlich weitertradiert wird?
Von High und Low wird auch in Diskursen gesprochen, bei denen es um die Popart geht, deren Flirt mit dem Populären und trivialen. Popart bejaht als erste, dass sich Künstlerinnen und Künstler vom Alltäglichen und trivialen anregen lassen, dass sie dieses Alltägliche und Triviale zum Material ihrer Kunst machen (Werbeplakate, Auslagen in Schaufenstern, die Innenausstattung von Kaufhäusern, Comix und Karrikatur, Zeitungen und Magazine, Graffiti, Populäre Songs, die aus den Radios erklingen, Filme im Kino und im TV usw.) oder dass sie mit den selben Techniken und in den selben Medien arbeiten, in denen das Triviale hergestellt wird.
High Fidelity Tag
Der Begriff «High Fidelity» kam in den 1950er Jahren auf, um die damals neueste Aufnahme- und Wiedergabe-Technologie auszuzeichnen. Die damals neuen Vinyl LPs setzten neue technologische Standards für Tonaufnahmen bzw. deren Aufnahme- und Wiedergabetechnologie. Die Wiedergabegeräte im Vinyl-Zeitalter erfuhren einen massiven Qualitätssprung nach oben. Es entstand ein Markt für Konsumelektronik im Hi-Fi-Bereich.
Die Sprache von Hi-Fi
Die technische Sprache, mit der massenproduzierte Kulturgüter (Schallplatten) verkauft wurden, ist bemerkenswert. Auf den Vinylplatten von Capitol war zu lesen:
The record in this envelope has been recorded with today´s most advanced electronic techniques. It has been pressed to the most exacting manufacturing specifications. These are the basic requirements of High Fidelity, for they represent meticulous concern for top quality in every step of the record´s creation. The moment this fine product is completed, it is placed in this envelope so that it will reach you in "mint" condition. From here on, quality reproduction is up to you!
You need good playback equipment to reproduce the wealth of musical detail which this record contains. But, equally important, you must give this record all the care a precision-made product deserves. Handle it only by its center and edges, remove surface just by gentle wiping with a soft damp cloth, be sure to check needle condition occasionally to avoid groove damage, and keep the record in its jacket between playings. Then you will always be able to hear the rich beauty of this superb recording.
For longer record life, use a good needle - one that is the correct size and not worn. Diamond needles are most durable and cost less, in the long run.
Diese Sprache wird sich vorab an weisse Männer der Mittelklasse gewandt haben, die sich von solchen technisch formulierten Verkaufsargumenten haben zu Kaufentscheidungen bewegen lassen.
Im Zeitalter der digitalen Wiedergabetechnologie werden Geräte, die eine besondere Note in Klang und Design anstreben, «High End Geräte» genannt.
Quellen
– Joe's Music Rack: Capitol Inner Sleeves (Your Key to Collectibles)
Headliner Tag
Hauptgruppe eines Konzerts oder Hauptgruppe eines Festivaltags – Konzerthöhepunkt. Die Vorgruppe wird dagegen Vorgruppe oder Supporting-Act genannt.
Harmoniefolge Tag
Standardisierte Folge von Akkorden in Pop, Jazz und Rock. In den beiden letzteren fungieren Harmoniefolgen als eine der Grundlagen für die Improvisation.
Die meisten Songs in der Populären Musik sind auf Elementen (formalen Teilen wie Verse, Chorus, Bridge usw.) aufgebaut, die in aller Regel aus einer Harmoniefolge bestehen. Nur wenige Songs verzeichten auf diese harmonische Ausgestaltung; No-Chord-Songs, One-Chord-Songs und – als reduzierter Grenzfall – Two-Chord-Songs.
Rechtlicher Status der Harmoniefolge
Vom Urheberrecht wird jede Melodie geschützt, aber nicht notwendigerweise die zugrunde ligende Harmoniefolge. Trotzdem ist es immer wieder zu Klagen gekommen und zu aussergerichtlichen Einigungen, die das Recht verwässern. Albert Hammond hat gegen Radiohead geklagt, Radiohead wiederum gegen Lana Del Rey.
Querverweise
– I–IV–V Progression – das Rückgrat der westlichen Klassischen Musik
– I-V-vi-IV Progression
– Pachelbel-Harmoniefolge (I – V – VI – iii – IV – I – IV – V – I Progression)
– 50s progression (I–vi–IV–V Progression)
– i-VI-III-VII-Progression (beliebte Harmoniefolge in Mol)
– IV–iii–ii–I-Progression
– ii-V-I- bzw. Jazz-Progression
– vi–IV–I-Progression
– I–II–IV–V-Progression
– IV–I–III–vi-Progression
– I–III–IV–iv-Progression
– Mixolydische Begleitfigur: I–bVII–IV–I (engl. «mixolydian vamp»)
– Andalusische Kadenz (i–bVII–bVI–V)
– Aeolische Begleitfigur (engl. aeolian vamp»)
– Dur-Begleitfigur: I–V–IV–V (engl. «major scale vamp»)
– IV–V-iii–vi-Progression, von David Bennett als japanisches Pendant zur westlichen I-V-vi-IV Progression
– Quintenzirkel-Progressionen in mehreren Varianten: a) die vollständige Quintenzirkel-Progression (Am-Dm-G-C-F-Bdim-E-Am) bzw. b) deren verkürzte Form als I-iv–ii–V-Progression (in Dur) oder c) als vi-ii-V-I-Progression (in Moll).
Links
– Hooktheory Songdatenbank
Harmonie Tag
Harmonie heisst die vertikale Organisation von Tönen in einer musikalischen Komposition oder Aufführung. Auch ein einzelner Ton hat durch die gegebene Modalität/Tonleiter eine implizite Harmonik. Somit kann die Harmonie explizit oder implizit sein.
Die Harmonie der westlichen klassischen Musik und grossen Teilen der Populären Musik baut auf einer Terzenharmonik auf: Dreiklänge aus zwei Terzen bzw. einer Terz und einer reinen Quinte. Moderne Klassik und Jazz haben eine Quarten- sowie eine Quintenharmonik erarbeitet, die auf der reinen (sowohl reine Stimmung als auch temperierte Stimmung), übermässigen oder vermindeten Quarte bzw. Quinte beruht.
Beispiel für den Grundton C:
– Terzenharmonik: C–E–G
– Quartenharmonik: C–F–B♭
– Quintenharmonik: C–G–D
Stufentheorie der Harmonik
Die Stufentheorie geht davon aus, dass eine bestimmte Tonleiter ausgehend vom Grundton immer gleich verläuft, unabhängig von diesem Grundton. Es gibt sieben Stufen, die römisch nummeriert werden. Jede Stufe besteht aus einem Dreiklang mit leitereignen Tönen. Die erste, vierte und fünfte aus einem Dur-Dreiklang mit grosser Terz und reiner Quinte. Die zweite, dritte und sechste Stufe besteht aus einem Moll-Dreiklang mit kleiner Terz und reiner Quinte. Auf der siebten Stufe entsteht ein verminderter Dreiklang Bdim mit kleiner Terz und verminderter Quinte.
Funktionale Theorie der Harmonik
Die funktionale Theorie der Harmonik geht auf Hugo Riemann (1893) zurück. Sie beschreibt Verhältnisse bzw. Spannungen zwischen den Akkorden in der klassischen Musik, die mit Dur- und Moll Tonleiter arbeitet. Weitere Theoretiker sind Wilhelm Maler und Diether de la Motte.
Funktional werden Harmonien in Haupt- und Nebenfunktionen eingeteilt. Die drei Hauptfunktionen sind Tonika (musikalisches Zuhause), Subdominante und Dominante. 
Nebenfunktionen stehen im Terzabstand zu den Hauptfunktionen. Zu den Nebenfunktionen gehören Parallelen, Gegenklänge und Medianten.
Die funktionalen Namen aller Stufen: Tonika – Supoertonic – Mediant – Subdominante – Dominante – Submediant – Leading Note.
Die Theorie geht davon aus, dass in einer Komposition eine Bewegung weg von der Tonika stattfindet, was eine Spannung erzeugt, die am Schluss wieder aufgelöst wird. Diese Auflösung heisst «Kadenz». Die einfachsten Kadenzen sind der authentische Schluss (Dominante=>Tonika) sowie der plagale Schluss (Subdominante=>Tonika). Die Bewegung Tonika=>Subdominante=>Dominante=>Tonika heisst auch «Vollkadenz».
In der Populären Musik werden sowohl funktionale als auch stufentheoretische Begriffe verwendet. In der klassischen Musik (Barock bis Romantik) eigenet sich die funktionale Theorie, im Jazz die Stufentheorie.
Tonsprache
Die meisten Pop-Songs arbeiten mit den Stufenakkorden einer Tonleiter. Einige indes benutzen Akkorde mit Tönen, die nicht in diese Tonleiter passen und erweitern so den Akkordpool. Die erste Möglichkeit besteht darin, Sekundär- oder Zwischendominanten zu verwenden, die zweite, mittels Modalem Austausch («modal interchange» oder «modal mixture») Akkorde aus aus verwandten Tonleitern auszuborgen.
Bereichern einer simplen Harmoniefolge
Wie David Bennett in einem Video zeigt, gibt es mehrere Strategien zum Bereichern einer simplen Harmoniefolge, z.B. der 50s Doo-Wop-Progression C–Am–F–G:
– Farbtöne («colour tones», chord extensions): Cadd9–Am7–Fadd9–Gsus2
– Überleitungs-Akkorde («passing chord»): C–G/B–Am–C/G–F–F#°–G
– Sekundärdominanten: C–E7–Am–C7–F–D7–G7
– 2-5-1-Überleitungen: C–Bm7–E7–Am–Gm7–C7–Fmaj7–Am7–D9–G7
Links
– Wikipedia (en): Quartal and quintal harmony
– David Bennett Piano: 1 Chord Progression, 5 Levels of Complexity (15. Februar 2024)
Handclapping Tag
Klatschen als Rhythmus-Element in einem Song ist weit verbreitet. Klatschen ist Perkussion ohne Instrument. Jeder kann den Grundtakt mitklatschen (vermeintlich). Am Mitklatschen zeigt sich die fundamentale Differenz zwischen denen, die auf auf den ersten und dritten Beat mitklatschen und mitstampfen («Musikantenstadel», «Für Stadt und Land», «Disco», «ZDF-Hitparade» (Songbeispiel: Tony Marshall: Schöne Maid) und denen, die auf den zweiten und vierten Beat, dem Offbeat, mitklatschen. Das ist die afroamerikanische Art: Gospel, Funk, Disco und Hip-Hop sind voll davon.
Girlgroups klatschen relativ viel oder schnippen mit dem Finger. Das machten ihnen die Beatles nach (neben den in der Liste vertretenen Songs auch in «Hold Me Tight», «I'm Looking Through You», «Roll Over Beethoven», «Please Mister Postman» oder «Words of Love»). Bei den Beatles haben viele, viele Songs diese Mitklatsch-Qualität. Manchmal weiss man auch nicht so genau, ob das Schlagzeug nach Klatschen klingt ober ob tatsächlich geklatscht wird. Die Mädchen und Jungs, die sich die Musik anhörten, klatschten auch mit um die Energie abzuführen und wenn das nicht genügte, z.B. bei einem Livekonzert, kam das Schreien hinzu. Von der Teenpop-Zeit der frühen 60er-Jahre ging das Handclapping in der Popmusik zum Newpop und Indiepop, die sich als Postpunk-Bewegungen zurück auf diese Zeit besannen (siehe Blondie oder Ramones).
Es gibt dutzende von Disco-Tracks mit Handclapps. Später wurde der Disco-Handclap in die TR 808 eingebaut, die ab 1980 verkauft wurde. Der Sound war in Boogie- und Electrofunk-Tracks ubiquitär. Auch gab es ab ca. 1980 ein Clap-Synthi, den Simmonds Clap-Trap.
Klatschen ist ein multifunktionales und ultimatives Community-Erlebnis, es wird verwendet, um Beifall zu bekunden, um eine Mannschaft anzufeuern (Missy Elliott), um Einigkeit zu manifestieren (Saul Williams). Klatschen kann heissen: «Dies ist ein Song für dich, zum Mitklatschen.» Dieses Klatschen steckt an und ist gewissermassen ein Pop-Urelement.
Hallenstadion Tag
Das Hallenstadion ist eine Mehrzweckhalle in Zürich, Oerlikon. Es wurde und wird für Messen, Sportveranstaltungen und Konzerte gebraucht. Eröffnet worden ist es am 4. November 1939. Renoviert wurde es zwischen 2004 und 2005.
Konzerte
– Am 24. März 1959 tritt Louis Armstrong auf. Es kam zu Sachbeschädigungen und Scharmützeln mit der Polizei. Im Hallenstadion waren es immer Holzstühle, die von Fans unsanft zur Seite gestellt und geworfen worden sind, wenn sie sich im Zuschauerraum frei bewegen wollten.
– Am 14. April 1967 spielten die Rolling Stones ihr erstes Konzert in der Schweiz
– Am 30. und 31. Mai 1968 spielten am Monsterkonzert u.a. Jimi Hendrix Experience, John Mayall und die Animals. Das Konzert war ein Vorspiel zu den Zürcher Jugendunruhen, dem Globuskrawall.
– Am 30. Mai 1980 spielte Bob Marley sein einziges Konzert in der Schweiz im Hallenstadion. Dieser Event wurde zum Auftakt zu den Zürcher Opernhauskrawallen.
Links
– Webseite
Halbstarke Tag
Mit den amerikanischen Beatniks zeitgleich auftretende Jugendkultur der 50er und frühen 60er Jahre. Die Halbstarken Europas haben vergleichsweise wenig literarische Ambitionen, wie Franz Walter im Spiegel schrieb «deuteten sich [die Halbstarken] nicht theoretisch, nicht intellektuell, auch nicht charismatisch» (Abschied von den Halbstarken). Sie speisen sich aus rebellisch eingestellten gesellschaftlichen Aussenseitern der unteren Schichten. Das Aussenseitertum ist entweder selbst gewählt oder geht von der Gesellschaft aus: Jugendliche, die mit Eltern, Lehrmeistern auf Kriegsfuss stehen, rausgeworfen werden oder selbst gehen. Teilweise Jugendliche, die aus Heimen abgehaut sind.
Halbstarke traten meist in Gruppen auf, waren darauf aus, über die Stränge zu schlagen, Spiesser zu provozieren. Halbstarken-Krawalle waren in vielen Grossstädten an der Tagesordnung. Das hing mitunter auch damit zusammen, dass es in Europa der Nachkriegszeit grau und langweilig war. Der grosse Konformitätszwang der Wirtschaftswunder-Zeit musste Opfer hervorbringen: die Jugendlichen, die nicht gewillt waren, brav mitzumachen. Bei der Unterklasse zeigt sich der Protest vermutlich deshalb zuerst, weil diese Leute am wenigsten zu verlieren hatten.
Der eigentlich despektierliche Begriff, der sich aber auch bei den Vertreter/-innen durchgesetzt hat, kennt noch respektlosere Varianten, die aber geläufig waren: «Verlauste» oder «Gammler».
Aufgefallen sind die Halbstarken deshalb, weil sie mit den bisherigen bündisch geprägten und disziplinierten Jugendorganisationsformen brachen: Sie schlossen sich keiner Institution an (Pfadfinder, Turn- und Sportvereine, Musikvereine etc.), sondern schlossen sich selbst und spontan zusammen. Das gab ihnen einen anderen Habitus, eine lässige, beiläufige «coole» Art. Die Vertreter/-innen entzogen sich allen institutionalisierten Korrektur-, Erziehungs- und Resozialisierungsversuchen. Sie lebten offen einen Hedonismus, der als anstössig wahrgenommen wurde.
Aus der Halbstarkenszene rekrutierten sich zum einen Akteure der kontinentalen Beat-Explosion, aber auch der Rocker- und Biker-Szene (Hell's Angels).
Die Halbstarkenkultur wird in Schlagern und Filmen mediatisiert: Peter Kraus und Cornelia Froboess, die Beatles der Hamburger-Zeit, Johnny+Hallyday sind Beispiele. Amerikanische Filme aus der Zeit bieten Rollenmodelle an, vor allem:
– Marlon Brando: A Streetcar Named Desire (Elia Kazan, 1951), The Wild One (Laslo Benede, 1953) sowie
– James Dean: East of Eden (Elia Kazan, 1955), Rebel Without a Cause (Nicholas Ray, 1955)
– Ein weiterer wichtiger Film ist Backboard Jungle (Richard Brooks, 1955).
Quellen
– Fotografiert hat die Szene der Schweizer Fotograf Karlheinz 'Jim' Weinberger.
– Werner Fritschi: verwahrlost – Ein Filmbericht über den Versuch junger Menschen, verwahrlosten Jugendlichen zu helfen (1966, Dokumentation über Halbstarke in der Schweiz, Online-Stream Sozialarchiv, Annotiert)
Hacking Tag
Als Hacking bezeichnet man unter Musikerinnen das Eingreifen in ein bestehendes Instrument oder Effektgerät, mit dem Ziel dessen Funktionsweise zu explorieren und den Sound zu verändern. Gehackte Klangerzeuger können dann wiederum wie ein Instrument gespielt werden. Hacking ist die Möglichkeit, bestehende in instrumentale Klang-Gegebenheiten einzugreifen und so zu neuen künstlerischen Leistungen zu kommen.
Ein Hacking im weitesten Sinn ist auch das präparierte Klavier, dessen vom Hersteller gegebene Klangfarbe, durch Manipulation von Saiten, Anschlagmechanismus oder anderer Anschlagsart (Zupfen wie eine Harfe und vieles mehr) verändert wird.
Hacking gibt es bei Musiker/-innen, die auf einer Bühne auftreten, aber auch bei Künstler/-innen, die im musealen Kontext Installationen machen. Bei letzteren könnte man sagen, das Hacken nimmt ein Readymade und verleiht ihm zusätzliche (Klang-)Dimensionen.
Ein klassisches Instrument wird irgendwann aufgenommen, man lernt, es zu spielen, und bringt es möglicherweise zur Meisterschaft. In der akademischen elektronischen Musik hat sich schnell die Tugend ausgebildet, keine Presets zu verwenden und die Mittel der Soundproduktion selbst zu produzieren. Ganz abstrakt gesprochen nehmen zeitgenössische elektronische Musiker/-innen nicht einen Synthesizer und machen damit Musik, sondern überlegen sich, wie sie auf einer Bühne oder in der Ausstellung Gesten in Klangereignise umsetzen. Das Instrument ist der Transformator und dieses wird im Idealfall jedesmal neu erfunden oder verändert.
Guilty Pleasure Tag
Ein «guilty pleasure» ist ein Musikstück (oder ein Film), der im Allgemeinen als schlecht beurteilt wird. Wenn jemand das Stück trotzdem mag, hört sie oder er es mit Scham und wird in seinem sozialen Umfeld nicht über diese Musik sprechen wollen. Da aber viele Musikhörer/-innen solche «guilty pleasures» haben und vor allem mit zeitlicher Distanz auch darüber sprechen, gibt es Songs, die oft als «guilty pleasures» genannt werden.
«Guilty pleasures» existieren nur in einer Welt, die Songs und Interpreten wertet. In einer Zeit, in der sich diese Wertmasstäbe auflösen oder verändern, fällt es leichter über «Guilty pleasures» zu sprechen. Wenn der Diskurs über Musik in einem postmodernen «anything goes» ankommt, gibt es im Grunde keine «guilty pleasures» mehr. In so einer Welt steht der Ausdruck für eine ironische Figur: Man mag einen Song, obwohl er unter dem Niveau der Musik liegt, die man sonst hört. Indem an ihn als «guilty pleasure» bezeichnet, markiert man, dass man trotzdem bei Trost ist.
Eigentlich kann man keinen Song per se als «guilty pleasure» bezeichnen. Es kommt immer darauf an, welche Art von Wertung bzw. Abwertung im Spiel ist. So gibt es typische «guilty pleasures» von Rock-Hörerinnen und Hörern: z.B. Songs von Elton John oder George Michael.
Methodisch kann man «guilty pleasures» verwenden, um die herrschenden Wertungen und Ideologien von Typen von Musikkonsument/-innen zu verstehen. Vermutlich kaschieren diese Wertungen allerlei Chauvinismen und Sexismen.
Groteske Tag
In der Renaissance haben Forscher in Höhlen/Kellern römischer Ruinen (daher der Name – von (ital.) «grotto») römische Ornamente gefunden, die fantastische Motive zeigten, Figuren halb Mensch, halb Tier, und die missgestaltete oder komische Züge aufwiesen. Solche Ornamente gingen dann in die Renaissance Kunst ein und der Begriff «Groteske» bezeichnet seither Kunstwerke und Ornamente, die fastnachtsartig oder fantastisch anmuten. Die Wirklichkeit wird durch sie ins Grauenvolle oder Absurd-Komische verzerrt.
Die Groteske arbeitet mit Verzerrungen, Übertreibungen und mit der Hybridisierung von Mensch und Tier. Grenzen werden aufgehoben, das Zivilisierte gerät in Gefahr, vom Bestialischen, Wilden und Rohen verdrängt oder eingenommen zu werden. Grotesken suggerieren Gewalt, wie sie im Naturzustand vorkommt, sowie ungebändigte, ungezügelte Sexualität. Die Groteske zeigt sich in der Regel an Körper und Gesicht. Sie kommt in den Schönen Künsten vielfach als Ornament oder Maske vor. In den Populären Künsten ist das Groteske oft zu finden. In der mittelständischen Zielgruppe von Pop entfaltet die Groteske ihre uneindeutige Wirkung zwischen Angst und Faszination. Pitchfork-Autorin Madison Bloom schreibt der Groteske in einem Feature eine subversive Kraft zu: Das Groteske habe die Kraft, Tabus zu adressieren und zu normalisieren, was sich vor allem im Feld der nicht-binären Geschlechterordnung und Sexualität zeigt («Pop has always been a medium where the subversive meets a mass audience. The alchemy of mere exposure has the ability to normalize taboos, and popular music’s acceptance of the visceral mirrors its embrace of non-normative sexuality throughout the last century.»)
Das Groteske hat in der milden Form eine absurd-belustigende und im Extremfall eine abstossende Wirkung. Nichtsdestotrotz zieht sie die Aufmerksamkeit an und vermag ein Publikum in den Bann zu ziehen. Die Groteske fasziniert. Sie ist aber auch dezidiert uneindeutig. Sie kommt unter anderem da zum Vorschein, wo sie der Welt einen Spiegel vorhalten will – ähnlich wie im Karneval. Sie kann aber auch eine aufgesetzte Maske sein, hinter der sich eine Person, eine Künstler*in verbergen kann.
Beispiele von Grotesken
– Gargoyle als Figur
– Wasserspeier wie sie auf der Chronic Town EP von R.E.M.: Ausflüsse und Traufrinnen entlang von Dächern, Figuren an Brunnen, aus denen Wasser fliesst.
Groteske in der Modernen Kunst
In der Literatur und im Theater steht die Groteske oft der Satire oder Tragikkomödie nahe. Beispiele sind:
– Alfred Jarry: «Pere Ubu» (Theater)
– Friedrich Dürrenmatt: «Der Besuch der alten Dame», «Die Physiker» (Theater)
– Elias Canetti: Die Blendung (Roman)
– Arnold Schönberg: Piero Lunaire (Melodram)
– Dmitri Schostakowitsch: Die Nase (Oper)
Im Film
Die Genres Fantasy und Sci-Fi sind voller Grotesken.
Weitere Beispiele:
– Monty Python (Comedy in TV und Film)
– Marco Ferreri: La grande bouffe (1973)
– Terry Gilliam: Brazil (1985)
– David Lynch: Blue Velvet (1986)
– Marc Caro und Jean-Pierre Jeunet: Delikatessen (1991)
– David Cronenberg: Naked Lunch (1991)
– Cohen Brothers: Fargo (1996)
Grotesken in der Populären Musik
– Genres/Stile wie Southern Goth sind voller Grotesken
– Psychedelische Ornamente auf Plakaten oder Covers
– die «Inflatables» in der Inszenierung von Pink Floyds The Wall
– Die Rapperin Cardi B als Act
– vergleiche auch: Freaks
Groove Tag
Das deutschsprachige Techno-Magazin wurde 1989 in Frankfurt a.M. von Thomas Koch gegründet, der auch als DJ T
unterwegs war. Mittlerweile wurde es an den Verlag verkauft, bei dem auch Spex erscheint (Piranha Media GmbH, Berlin). Das Magazin wird noch immer als Gratisblatt aufgelegt (Auflage: 35000 Stück), lässt sich seit 2005 aber auch am Kiosk in einer etwas umfangreicheren Version und mit CD-Beilage kaufen (Auflage: 25000 Stück). «Groove» erscheint zweimonatlich. Seit 2018 ist Groove ein Onlinemagazin.
Links
Webseite
Greensboro sit-ins Tag
In Greensboro, North Carolina, machten vier Afroamerikaner einen Sitzstreik in der Woolworth Kantine, um zu bewirken, dass sie als Schwarze von der weissen Belegschaft bedient würden. Am Tag danach kamen weitere 20, am zweiten Tag weitere 100 protestierende Personen hinzu.
Das Ereignis gilt als wichtiger Katalysator für folgende Sit-ins auf dem Weg der Deseggregation sowie für die Gründung des SNCC, des Student Nonviolent Coordinating Committees.
Querverweise
– Soziale Bewegungen
Links
– History Pod: 1st February 1960: Start of the Greensboro sit-ins to protest segregation (Youtube Kanal, 31. Januar 2019)
Greatest Hits Compilations Tag
Zusammenstellungen mit den erfolgreichsten Hits eines Acts kommen in der Regel im Format einer LP oder einer CD heraus (manchmal auch als Doppel oder Mehrfach CD), wobei die Spielzeit des langen Formats dazu ausgenutzt wird, a) möglichst viele erfolgreiche Hits, die zuvor schon als Single erschienen sind und oft schon auf Longplay-Releases zu finden waren. Zuweilen geschieht die Zusammenstellung nach bestimmten Kriterien: Radiohits, Nummer 1 Hits etc. Wenn ein Act in seiner Karriere das Label gewechselt hat, sind dem Kompilieren oft lizenzrechtliche Grenzen gesetzt: Auf Greatest Hits Compilations findet man dann oft nur die Hits, die bei einem Label erschienen sind.
Rich Wilhelm schrieb in einer Rezension über Patsy Cline, dass Greatest Hits Alben in aller Regel keine artistischen Statements seien, sondern «cash cows» für die Plattenfirmen.
Offen ist die Grenze zu Archivreleases, die in der Regel sorgsam kuratiert werden und bemüht sind, ein ausgewogenes oder akkurates Gesamtbild des Katalogs eines Acts zusammenzustellen, oft mit Annotationen, aufwändigen Liner Notes, Gimmicks bei der Verpackung (Box Releases, mit Begleitbuch, Medien in verschiendenen, teile historisch korrekten Formaten usw.).
Zahlenmässig gross sind Greatest Hits Releases von Billig-Labeln, die frei gewordene Musik oder Musik, die sie zu günstigen Lizenzkosten pressen können, veröffentlichen. Solche Releases haben in der Regel keinen Wert für den Katalog des jeweiligen Acts. Sie sind auch auf dem Markt «nonvaleurs».
In der Release-Politik eines Acts kommen Greatest Hits oft dann heraus, wenn sich Künstler oder Künstlerinnen eine Pause vom dichten Release-Plan gönnen. So markieren sie Marktpräsenz, ohne neue Musik produzieren zu müssen.
Links
– Dave Whitaker: Compilations: Top 100 All-Time (30. März 2018) – Liste mit den erfolgreichsten Greatest Hits Compilations der Popgeschichte
– Evan Sawdey: The 11 Greatest Hits From "Greatest Hits" Compilations (PopMatters, 16. Oktober 2020)
Great Migration Tag
Als «Great Migration» wird die Abwanderung von Afroamerikaner*innen aus den armen Südstaaten in die industrialisierten nord- und westamerikanischen Städte bezeichnet. Noch im Jahr 1900 lebten die meisten der 30 Millionen Afroamerikaner*innen noch im Süden. In den Jahren der «Great Migration» haben geschätzte 6 Millionen von ihnen en Süden verlassen und das Leben unter diskriminierenden Jim-Crow-Gesetze, offen ausgelebtem Rassismus im Alltag sowie armem Dasein als Sharecropper hinter sich gelassen. Diese Migrationsbewegung war grösser als der Kalifornische Goldrausch im 19. Jahrhundert und die Dust Bowl Migration.
Wirkung der Great Migration
Die «Great Migration» führte zum Anschwellen der Städte des Nordens und Westens, eine seggregierte Siedlungsstruktur in den Ballungsgebieten mit Ghettos für die afroamerikanische Bevolkerung.
Es entstand aber auch eine afroamerikanische Mittelschicht, die es im Süden so kaum gegeben hat. Diese brachte eine eigene Kultur hervor (siehe z.B. Harlem Renaissance).
Links
– Britannica: Great Migration
– African American Heritage: The Great Migration (1910-1970)
Great Depression of 1979 Tag
Der Begriff Great Depression of '79 wurde von R. Serge Denisoff geprägt und von Theo Cateforis zitiert. Der hyperbolische (übertriebene) Vergleich mit der Weltwirtschaftskrise, englisch «The Great Depression», der 1930er Jahre bezeichnet einen Umsatz- und Gewinneinbruch der Musikindustrie im Jahr 1979 mit durchaus drastischen Folgen. Gründe wurden dem «Home Taping» zugeschrieben und neuen Formen der Unterhaltung wie Videospielen oder Videokassetten, die man kaufen und mieten konnte. Nun übertrafen zur Zeit des einbrechenden Marktes die Herstellungskosten für Alben von Mainstream-Acts alles, was man bisher gekannt hatte. Die Produktionskosten für die neuesten Alben der Eagles (The Long Run) und Fleetwood Mac (Tusk) kosteten über eine halbe Million! Andere durchschnittliche Rockproduktionen kosteten damals gerne Summen im Bereich von 70–100'000 USD.
Produktionen vom Rand des musikalischen Zentrums wurden nun zum neuen Industriestandard erhoben: Get The Knack
von der Gruppe The Knack kostete nur zwischen 2 und 4000 USD, Dire Straits von 1978 £12'500. Für die Aufnahme ihrer ersten Single zahlten Police umgerechnet $300.
Die Musikindustrie musste 1979 zwischen 1000 und 2000 Personen entlassen. In der Folge erhielt jede Band, deren Mitglieder schmale Lederkrawatten trugen, einen Schallplattenvertrag. Die neuen Bands, die die damalige «New Wave» bildeten, kamen wieder – genau wie die grossen Bands der 1960er Jahre – aus den Clubs von London, New York und Los Angeles. The Knack zum Beispiel spielten sich vor ihrem Chart-Erfolg My Sharona im Whisky a Go Go die Finger wund.
Wirkungen in der Musikindustrie
– von 14'000 Angestellten (USA) wurden 1–2000 entlassen
– Disco als neuestes Format und Genre hat sich auch schon erschöpft: Am 12. Juli 1979 fand in Chicago die Disco Demolition Night statt. Rock-Hörer*innen aus dem Midwest verbrannten angefeuert durch den Radio DJ Steve Dahl ihre Disco Platten.
Querverweis
– Musikjahr 1979 (Tag)
Quellen
– Theo Cateforis (2011): Are We Not New Wave? Modern Pop At The Turn Of The 1980s. Ann Arbor: University of Michigan Press. - p. 36 ff.).
Great American Songbook Tag
Das «Great American Songbook» ist ein Korpus von Standard Pop-Songs, die ab den 20er und 50er Jahren des 20. Jahrhunderts entstanden sind. Geschrieben wurden die Songs von Songwritern, die für Musikverlagshäuser) am Broadway an der so genannten Tin Pan Alley arbeiteten. Publiziert wurden sie von den Verlagen zunächst als Sheetmusic, also als Notenheft. Von dort wanderten die Songs in die verschiedenen Felder der Populären Musik:
- In Vaudeville Shows, Broadway-Musicals und Hollywood Filme. Die erfolgsversprechendsten Songs wurden gezielt in Filmen, Shows und Musicals platziert. Sie halfen ein grosses Publikum für diese populären Kunstformen anzuziehen und fungierten für diese Produktionen als Erfolgsgarant. Umgekehrt verhalfen diese Kunstformen den Songs wiederum zu Bekanntheit und den Schallplatten, auf die sie aufgenommen wurden, zum Verkaufserfolg.
- Auf Schallplatte erschienen die Pop-Standards, wie die Songs in diesem Feld genannt werden, in vielen Varianten. Jedes Label nahm seine Interpretation eines Standards mit den geeigneten Spitzensängerinnen und -sängern auf.
- Auch in den Jazzclubs wurden diese Songs gespielt, allerdings oft nur instrumental und musikalisch anders ausgestaltet, arrangiert für Swing-Orchester, die zum Tanz aufspielten. Tin-Pan-Alley-Songs, die von Jazz-Musiker*innen oft interpretiert wurden, hiessen Jazzstandard. Diese konnten gesungen sein oder auch nicht. In rein instrumentalen Arrangements z.B. im Bebop ist die Melodie nur noch das Material als Anstoss für Improvisationen.
- Während dem 2. Weltkrieg setzte zudem ein grosses Interesse des Publikums für Sängerinnen und Sänger ein. Von da gehörten Sängerinnen und Sänger zum festen Bestandteil der Orchester und zogen mit der fortschreitenden Zeit mehr Aufmerksamkeit der Öffentlichkeit auf sich als die Bandleader. Erfolgreiche Sänger*innen wie Frank Sinatra nahmen nun Songs aus dem «Great American Songbook» auf Schallplatten auf.
Komposition vor Interpretation
Es gibt hier einen grossen Unterschied zu dem, was wir uns heute gewöhnt sind, nämlich dass ein Song der Song einer bestimmten Sängerin oder eines Sängers ist. Heute gelten Coverversionen als weniger wichtig als das Original. Im «Great American Songbook» hingegen spielt diese Präferenz eines Originals keine Rolle. Das Original ist, wenn man so will, die Komposition. Das ist vergleichbar mit den Kompositionen der Klassischen Musik. Sängerinnen und Sänger wussten, dass sie eine Version – ihre Version – eines Standards sangen und haben das als so genannte Song Stylisten gemacht, als Interpreten, die den Song mit ihrer Persönlichkeit einkleideten oder verkörperten.
Komponisten und Songs
Die folgende Liste enthält einige der wichtigsten und erfolgreichsten Komponisten. Da diese ihre Songs nicht selbst gesungen oder aufgeführt haben, führen die Songtitel zu einer Datenbankabfrage nach Song-Interpretationen:
- Jerome Kern
- Ol’ Man River
The Way You Look Tonight
Smoke Gets in Your Eyes - Harold Arlen
- Over the Rainbow
- Irving Berlin
- Let’s Face The Music And Dance
- Richard Rodgers
- My Funny Valentine
Some Enchanted Evening - George Gershwin
Ira Gershwin - Summertime
Someone to Watch Over Me - Cole Porter
- Night and Day
Love for Sale
I've Got You Under My Skin - Johnny Mercer
- One for My Baby (and One More for the Road)
Bedeutung
Das «Great American Songbook» bildet den Kern der Populären Musik des 20. Jahrhunders. Die Songs von Cole Porter, Irving Berlin und der anderen grossen Songwriter der Tin Pan Alley haben bis heute eine Gültigkeit, die mit derjenigen der Kompositionen aus der europäischen Klassischen Musik vergleichbar ist. Es ist amerikanische Musik, d.h. sie trägt tiefe Spuren der Hybridisierung von europäischer und afroamerikanischer Musik. Die Bedeutung des Songbooks wurde zwar durch die Ankunft des Rock 'n' Rolls Mitte der 50er Jahre empfindlich geschmälert. Aber das ist das Rad der Geschichte, das sich glücklicherweise weiterdreht – das macht die Modernität einer Musik mit aus, dass sie nach ein paar Jahren durch eine andere abgelöst wird. Unbedeutend wird eine überholte Musik damit nicht unbedingt, was gerade beim «Great American Songbook» klar wird: Grösse misst sich daran, dass ein ungebrochenes Interesse an den Song besteht und dass sie immer wieder aufs Neue produktiv gemacht werden können. Auch auf unwahrscheinlichem Territorium wie der Indie-Musik: Zum Beispiel hat das die Berlinerin Masha Qrella mit ihrem Album Speak Low: Loewe And Weill In Exile vorgeführt.
Quellen
– Martin Chilton: Cover To Cover: The Story Of The Great American Songbook (Udiscovermusic, 5. April 2021)
– Dave's Music Database: Top 50 Composers from Broadway and the Early 20th Century (Dave Whitaker, 7. Dezember 2019)
Grammy Lifetime Achievement Award Tag
Diese Auszeichnung wird seit 1962 von den Recording Academy’s National Trustees einmal im Jahr an eine Künstlerin oder einen Künstler für deren bzw. dessen Lebenswerk vergeben.
Wer den Award bisher erhielt, ist aus einem Spreadsheet ersichtlich und auf der Webseite von Dave Whitaker.
Grammy Award Tag
Der Grammy Award wird jährlich von der amerikanischen National Academy of Recording Arts and Sciences in Los Angeles in verschiedenen Disziplinen vergeben. Diese Awards gelten als hoch konservativ und nicht in Kontakt mit dem Zeitgeist. Eine Auszeichnung mit einem Grammy widerspiegelt nicht einen tatsächlichen Erfolg. Verzerrungen werden breit diskutiert #GrammiesSoWhite und #GrammiesSoMale.
Bei der 2019 Award Show im Februar, die erste nach Neil Portnow als Vorsitzendem, sah es so aus, als würde der Ordnungspunkt #GrammiesSoMale endlich aus der Welt geschafft. Bis Drake in seiner Dankensrede für den Award in der Kategorie «best rap song» zum nächsten Hieb ansetzte: «dieser preis spielt keine grosse Rolle, denn er wurde nicht von den relevanten Leuten zugesprochen». Und Drake wurde abgewürgt, indem Werbung eingeblendet wurde. Hip-Hop ist die gegenwärtig dominanteste Musikrichtung in der Populären Musik. 2017 waren laut Nielsen Soundscan Zahlen acht der zehn erfolgreichsten Acts Rapper. Bei den Grammies wird diese Tatsache nicht reflektiert. GrammiesStillSoWhite.
Der erste Grammy Award wurde 1959 für musikalische Leistungen im Jahr 1958 vergeben. Die «Grammy Awards ceremonies», die Show, erhält grosse öffentliche Aufmerksamkeit in den Staaten.
Hauptkategorien
Insgesamt gibt es 75 plus Grammy-Kategorien. Allerdings sind vier Hauptkategorien zentral:
- «Album of the Year» für die Interpretin, den Interpreten und das Produktionsteam eines Albums.
- «Record of the Year» für die Interpretin, den Interpreten und das Produktionsteam eines Songs.
- «Song of the Year» für die Songwriterin oder den Songwriter eines Songs.
- «Best New Artist» für eine Interpretin, einen Interpreten, der seinen Durchbruch im vergangenen Jahr hatte.
– 1987 gewann Andreas Vollenweider in der Kategorie «Best New Age Album»
– 1990 gewann der Musik-Ethnologe Marcel Cellier in der Kategorie «Best Traditional Folk Recording» für die Aufnahme von Le Mystère Des Voix Bulgares: Volume 2
– 2016 gewann Al Walser in der Kategorie «Best Children's Album»
– 2018 gewann die Geigerin Patricia Kopatchinskaja für ihre Aufnahme von Death and the Maiden – Kopatchinskaja ist moldauisch-österreichisch-schweizerische Geigerin. Sie lebt in Bern.
Quellen
– Webseite der Grammy Awards
– Liste mit den Award-Kategorien
– Liste mit den Gewinnern des Grammy Awards: Album of the Year
– Liste mit den Gewinnern des Grammy Awards: Record of the Year
– Liste mit den Gewinnern des Grammy Awards: Song of the Year
– Liste mit den Gewinnern des Grammy Awards: Best New Artist
– Alexis Petridis: In silencing Drake, the Grammys continue to have a problem with rap (11. Februar 2019)
– NYT: Popcast (11. Februar 2019)
– David Deal: Why Ariana Grande Doesn’t Need the Grammys (Festival Peak, 8. Februar 2019)
– Laura Stavropoulos: 10 Most Surprising Winners In Grammy History (uDiscoverMusic, 11. März 2021)
– Laura Stavropoulos: The Best Grammy Performances Of All Time (uDiscoverMusic, 11. März 2021)
Global Recording Artist of the Year Tag
Der «Global Recording Artist of the Year» ist eine Auszeichnung der IFPI, die seit 2013 jährlich an den Recording Artist vergeben wird, die oder der im vergangenen Jahr am populärsten war, d.h. am meisten album-equivalent units erreicht hat.
Bisherige Preisträger/-innen
2013: One Direction
2014: Taylor Swift
2015: Adele
2016: Drake
2017: Ed Sheeran
2018: Drake
2019: Taylor Swift
Glitch Tag
«Glitch» heisst ein elektronischer Fehler, der unvorhergesehen auftritt. Als Entladung oder Puls kann ein Glitch Signale und Dateien bis zur Unkenntlichkeit verändern. Glitch-Electronica sind musikalische Werke, deren Entstehung oder deren Sound durch Glitches beherrscht wird. Ein Beispiel für die Verwendung von Glitches stellen die ersten Releases von Pole (Stefan Betke) dar. Den Künstlernamen Pole wählt der Glitch-Produzent aus Berlin, weil sein Markenzeichen-Sound von einem defekten Waldorf Pole Filter (Bild) stammt, das zufällige Knack-Geräusche produzierte.
Entstehung
Glitchmusik entstand im Kontext von IDM und Soundart. Die Musik war eher durch produzenten aus dem akademischen Kunstbetrieb abgeregt als durch die Partyszene. Es war die alte Idee der Verwendung von digitalen Kunstmitteln am Rand der Konvention. Geoff Cox spricht von «Post-Digitaler Ästhetik». Audio- und Bild- bzw. Film-Editoren stürzen ab, machen Fehler, die interessant klingen. Es war die Idee, dass evolutionäre Kräfte letztlich durch Systemrauschen und durch Systemfehler hervorgebracht werden können. Die Systemfehler werden entweder gefunden oder absichtlich herbeigeführt. Effektgeräte (Pole 1) oder Tools werden in Bereiche gefahren, wo sie versagen, sie werden umgebaut, damit Fehler entstehen (Circuit Bending
) oder Datenträger wie CDs (Oval) werden mit Filzstift bemalen, so dass sie beim Abspielen skippen.
verschiedene Genres benutzen Glitches als Stilprinzip und so entstehen folgende Glitch-Stile:
- Glitch-IDM,
- Glitchfunk,
- Cliphop,
- Conceptual-Glitch,
- Digitalminimalism,
- Glitchambient,
- Microhouse,
- Glitchpop.
Gitarrenriff Tag
Ein Gitarrenriff, zuweilen auch «Lick» genannt, ist ein kurzes, melodisch oder rhythmisch prägnantes Motiv, das viele Male wiederholt wird («Ostinato») und einen hohen Wiedererkennungswert hat. Riffs sind eines der Grundelemente eines Rocksongs und wurden oft mit verzerrter Gitarre gespielt. Mit dem Tempo eines Beat-Songs gespielt, geben sie der Musik eine tanzbare Qualität. Ihre Funktion und Wirkung ist dann mit den Samples in der Clubmusik vergleichbar.
Die frühesten Rock-Riffs sind auf Instrumentals zu hören, 1958 und 1959 auf Rumble
und dem Peter Gunn Theme
. Dann sind ab der zweiten Hälfte von 1964 britische Beat-Hits von Riffs geprägt. Das hält an bis die Musik 1967 psychedelisch wird. Von nun an gehören Riffs zum Vokabular der Rockmusik und kommen durch die ganze Rock-Geschichte hindurch vor.
Im Sommer 1964 haben die damals neuen Bands Who (noch als High Numbers) und Kinks mit ihren ersten Singles I'm The Face
, You Really Got Me
und All Day And All Of The Night
einen Reigen von Riff-geprägten Beat-Hits eröffnet. Die Beatles nahmen das Element auf und die Rolling Stones machten eine Kunst daraus. Von ihnen stammt das wahrscheinlich berühmteste Riff der Rock-Geschichte (Satisfaction
). Bei Jimi Hendrix, Led Zeppelin oder Black Sabbath werden Riffs «heavy». Hier verliert die Musik an Tanzqualität, aber natürlich nicht an Eindringlichkeit. Erst mit den Funk-Riffs gewinnt die Musik wieder an Tanzbarkeit (Chic, Bowie oder Doobie Brothers). In den 80er Jahren werden das «Heavy»- und «Funk-Riff» kombiniert (Metallica, Rage Against The Machine und natürlich Red Hot Chili Peppers). Im neuen Jahrtausend fassen die White Stripes mit Seven Nations Army
die vorläufige Geschichte des Gitarrenriffs zusammen. Das auf die minimalste Essenz reduzierte Riff dieses Songs hat Spuren der Garage-Qualität aus der Mitte der 60er, eine Prise Funk aus den 70ern und ist Heavy wie im Hardrock – alle drei «Dialekte» des Gitarrenriffs zugleich!
TITEL
– Martin Chilton: 15 Of The Best Guitar Riffs Of All Time (uDiscoverMusic, 22. Oktober 2019)
Gilded Age Tag
Die Epoche nach dem amerikanischen Bürgerkrieg bis zur Jahrhundertwende in Amerika wurde von Mark Twain als «Guilded Age» bezeichnet. Als Epochenbezeichnung wird «The Gilded Age» etwa seit den 1920er Jahren verwendet. Die Epoche fällt in der ersten Hälfte grob mit dem mittleren Viktorianischen Zeitalter zusammen und mit der «Belle Époque» in Frankreich.
Die Ära ist gekennzeichnet von wirtschaftlicher Prosperität im Anschluss an die «Panic of 1873». (Es gab auch eine «Panic of 1893». Diese Krise war nur von kurzer Dauer.) Der Reichtum blieb hingegen sehr einsietig verteilt: Die 4000 reichsten Familen hatten gleich viel Vermögen wie der ganze Rest der US-Bevölkerung. 1880 zählten die USA noch 50, 1890 bereits 63 Millionen Menschen. Es waren nicht bloss demografische Unterschiede, die das Land fast zerrissen, sondern auch regionale: Die Südstaaten nach dem Sezessionskrieg verbleiben arm und wurden nur marginal industrialisiert.
Die Epoche wird «vergoldet» und nicht «golden» genannt, weil die Zeit nur oberflächlich durch Prosperität gekennzeichnet war. Zwar überholte die industrielle Produktion der USA alle anderen Länder, doch in seinen Städten herrschte Armut und seine Politik war korrupt. Die meisten amerikanischen Präsidenten dieser Zeit waren Hampelmänner der Tycoons, die diese Epoche zuhauf hervorbrachte: Andrew Carnegie (Stahlindustrie), John D. Rockefeller (Ölindustrie), Cornelius Vanderbilt (Eisenbahnunternehmen) oder John Pierpont Morgan (Investmentbanking).
Erfindungen
Erfindungen wie die Telefonie, die Tonaufzeichnung oder das elektrische Licht fallen in diese Zeit.
Transport
Im Gilded Age wurde ein Eisenbahnnetz gebaut, das die Flussschifffahrt als wichtigstes Verkehrsmittel im Landesinnern ersetzte. Dadurch veränderte sich die Geografie des Landes: Besiedelt wurden nun den Eisenbahn- und Telegrafenllinien entlang, wo es früher vor allem die Flüsse waren. Die «Pacific Railroad» wurde 1869 noch während der Reconstruction nach dem Bürgerkrieg eröffnet. Diese Einsenbahnlinie läutete das Gilded Age ein.
Die Menschen in der Stadt und auf dem Land legten weitere Strecken noch immer mit Pferdefuhrwerken zurück. Die erste Autofabrik wurde 1893 in Chicopee Falls (Massachusetts) eröffnet. Dennoch gab es bis 1900 kaum Autos auf amerikanischen Strassen.
Migration
Zwischen 1865 und 1890 wanderten über 10 Millionen Migranten vor allem aus Nord- und Westeuropa und zwischen 1890 und 1920 ca. 16 Millionen aus Osteuropa in die USA ein. In den Städten entstanden Armenviertel wie Five Points in New York.
In die Zeit des Gilded Age fällt auch die Zeit des «Old West», der letzten Phase der «western frontier», der Besiedlung des Territoriums hinter den Appalachen bis zur Westküste. Diese Zeit inspirierte riesige Bereiche der amerikanischen Populärkultur des 20. Jahrhunderts: die Western Romantik mit ihrer Anarchie und Gewaltverherrlichung wurde in Western Shows, Literatur, Filmen, Comic Strips, Songs, Videogames verewigt.
Nationales Zusammenwachsen und territoriale Expansion
Im Gilded Age entstand zum ersten Mal so etwas wie ein überregionales Bewusstsein. Bis zum Bürgerkrieg war das Leben der meisten Amerikaner*innen völlig lokal ausgerichtet. Amerika war ein Land von Bauern, die von ihrem Land lebten. Wer etwas kaufte, kaufte es bei Handwerkern am Wohnort. Mit der Industrialisierung und den EInsenbahnen begann sich das zu ändern. Zur Zeit des Goldrausches war San Francisco noch eine andere Welt, die man von der Ostküste per Schiff über Nicaragua erreichte. Mit der Pazifischen Eisenbahn wurde Kalifornien besser an die USA angeschlossen.
Mit der Eisenbahn wurden nun Rohstoffe, Halbfertigprodukte und Güter vermehrt überregional distribuiert und angeboten. Kohle kam aus Wyoming, Stahl aus Pittsbugh, Silber aus Nevada und Colorado, Kupfer aus Montana, Zinn aus Oregon, raffiniertes Öl aus Cleveland, Möbel aus Cincinnati, Traktoren aus Chicago (PBS).
Zwischen 1889 und 18XX werden verschiedene Territorien als Staaten in die USA aufgenommen:
das «Territory of Dakota» wird im Nov. 1889 zu North Dakota und South Dakota, das «Territory of Montana» zum Staat Montana, das «Territory of Washington» zum Staat Washington. Im Mai 1890 wird das «Territory of Oklahoma» zum gleichnamigen Staat, ebenso Idaho und Wyoming. 1896 wird das «Territory of Utah» zum 45. Staat.
Soziale und politische Konflikte
Kulturelle und politische Debatten entstanden um die Themen der Prohibition, des Wahlrechts für Frauen, der Schaffung öffentlicher Schulen und der Einführung der allgemeinen Schulpflicht, der Integration der Einwanderer und der Versorgung der Industrie mit Geld. Es waren besonders Kirchen, die Spitäler und Schulen einrichteten. Gewerkschaften kämpften für den 8-Stunden-Tag und die Abschaffung der Kinderarbeit.
Querverweise
Weitere Perioden der amerikanischen Geschichte sind:
– der amerikanische Bürgerkrieg
– Erster Weltkrieg
– die Roaring Twenties
– die Great Depression
– Zweiter Weltkrieg
– der Kalte Krieg, Wirtschaftswunder und Wettlauf ins All
Gesellschaftliche Semantik Tag
Die Semantik bzw. Bedeutungslehre ist die Teildisziplin der Linguistik, die sich mit der Bedeutung von Wörtern befasst. Das Wort «Semantik» ist aus dem Altgriechischen abgeleitet, von «σημαίνειν» (sēmaínein), was mit «bezeichnen» oder «ein Zeichen geben» übersetzt werden kann. Die Semantik ist die Grundlagentheorie für die Lexikologie, die den Wortschatz einer Sprache inventarisert. Sie ist aber auch eine philosophische Disziplin, die sich mit der Beziehung zwischen Wörtern und dem von ihnen Bezeichneten (der Welt) auseinandersetzt. Hier wird dann beispielsweise über Wahrheit, Richtigkeit, Genauigkeit etc. nachgedacht.
Semantik als Teildisziplin der Semiotik
Die Semantik selbst ist eine von drei Disziplinen der Semiotik. Der Terminus «Semiotik» hat die gleiche Wortherkunft wie die Semantik. Semiotik heisst «allgemeine Zeichentheorie». Eine solche allgemeine Zeichentheorie besteht aus drei Teildisziplinen: Syntaktik, Semantik und Pragmatik, wobei die Syntaktik untersucht, wie Zeichen aufgebaut und zusammengesetzt sind (z.B. wie aus Laut oder Schriftbildern Wörter und Sätze gebildet werden), die Semantik, was die Zeichen bedeuten, und die Pragmatik, wie Zeichen verwendet werden, wie man mit ihnen handelt. Eine solche allgemeine Semiotik hat den Anspruch, alle Kommunikationsarten zu umfassen: menschliche Sprachen, tierisches Ausdrucksverhalten, Verkehrsschilder, Gebärdensprache, Heraldik, Kunstwerke usw.
Semantik und Information(stheorie)
Die eher statistsiche und quantitative Informationstheorie spricht ebenfalls von der Semantik einer Informationsfolge und meint damit, dass eine Folge von Zeichen bzw. Bits auf statistische Weise bedeutsam ist. Nämlich so: Eine Zufallsfolge hat keine Bedeutung und den höchsten Informationsgrad. Eine nicht zufällige Zeichenfolge hingegen hat Bedeutung und benutzt redundante Informationen, um diese Bedeutung zu etablieren.
Strukturale Semantik
Semantik wurde in der neueren Zeit meist als strukturale Semantik betrieben. Der Strukturalismus versucht die Mannigfaltigkeit der Erscheinungen auf einfachere Strukturen zurückzuführen. Man geht von einer Menge verwandter Wörter aus und sucht nach Kriterien, weshalb diese Wörter sich unterscheiden. Für die Welt der Möbel zum Sitzen hat Bernard Pottier (1963, S. 16) die strukturale Methode anschaulich gemacht. Sein Beispiel wurde immer wieder zitiert. Es ist paradigmatisch geworden, um das Vorgehen der strukturale Semantik bei Analysen zu erklären. Es gibt eine ganze Menge von Wörtern, die Sitzmöbel bezeichnen: «Stuhl», «Schemel», «Fauteuil», «Kanapee», «Pouf» usw. Nun versucht man den Unterschied der Bedeutung dieser Wörter zu erfassen. Dazu schreibt man die wesentlichen Merkmale von jedem Möbel auf. Bei diesen Merkmalen unterscheidet man zwischen wesentlichen (semantisch relevanten) und akzidentiellen (semantisch zufälligen, nicht relevanten) Merkmalen: Akzidentiell sind bei allen genannten Sitzmöbeln die Farbe oder das Material, aus dem sie hergestellt sind. Wesentlich hingegen sind sechs Merkmale, um Pottiers fünf Arten von Sitzgelegenheiten auseinanderzuhalten: Diese relevanten Merkmale nennt man auch «Seme» (s):
| s1 | s2 | s3 | s4 | s5 | s6 | |
| chaise | + | + | + | + | — | + |
| fauteuil | + | + | + | + | + | + |
| tabouret | — | + | + | + | — | + |
| canapé | + | + | — | + | + | + |
| pouf | — | + | + | + | — | — |
Als Seme fungieren hier: «mit Rückenlehe», «mit Armlehne», «für eine Person», «Möbel zum Sitzen», «mit Polsterung». Mit diesen Semen kann man nun jedes Sitzmöbel analysieren und präzis zuordnen: Man macht einen Entscheidungsbaum und fragt: «Hat die Sitzgelegenheit eine Rückenlehne oder nicht?» Wenn nein, ist es entweder ein «Schemel» («tabouret») oder ein «Pouf». Man fragt dann weiter: «Hat das Möbel Beine oder nicht?» Je nachdem ist es das eine oder das andere. Falls das Möbel eine Rückenlehne hat, fragt man: «Dient es zum Sitzen von einer oder mehrerer Personen?» Wenn von mehrerer Personen, dann ist es ein «Fauteuil». Und so weiter. Auf diese Weise lässt sich die Welt des Bezeichneten auf Seme zurückführen, die als «semantische Oppositionen» solche Entscheidungsbäume bilden.
Eine philosophische Frage ist, welchen ontologischen Status die Strukturen haben, die man mit dieser Methode hinter der Vielfältigkeit der Erscheinungen findet. Sind sie die Welt an sich, bilden sie eine von dieser Welt an sich unabhängige sprachliche Ordnung oder sind sie ein konventionelles Konstrukt, das auch anders sein könnte? Diese Frage muss hier offen bleiben.
Soziologische Semantik
Viele Gesellschaftstheorien (Soziologie) gehen davon aus, dass es gesellschaftsrelevante semantische Oppositionen gibt, die für soziale Systeme strukturbildend sind. Somit lassen sich verschiedene soziale oder politische Identitäten bzw. Mentalitäten ähnlich behandeln wie oben die Sitzmöbel. Die strukturale Methode lässt sich beispielsweise für die Politologie auf die Parteienlandschaft eines bestimmten Landes, für die Geschichte auf historische Epochen oder die Marktforschung auf Konsumentengruppen anwenden.
In der soziologsichen Systemtheorie (z.B. Niklas Luhmann) wird unter Semantik ein Wissensvorrat des Gesellschaftssystems verstanden. Dieses wird laufend und in der Regel ohne nachzudenken und ohne zu reflektieren repliziert. Konkretisieren kann man die gesellschaftliche Semantik als offizielles Gedächtnis, kulturelles Erbe, bedeutsame und bewahrenswerte Leitvorstellungen, Standardisierungen des Wahrnehmens, Denkens, Handelns und Redens, sofern diese auf semantischen Differenzen beruhen. Die Systemthorie schliesst, was die gesellschaftliche Semantik betrifft, relativ nahtlos an den Strukturalismus an bzw. steht in deren Tradition.
Sowohl Linguistik und Soziologie wissen, dass die Strukturen, die mit der strukturalen Methode gefunden werden, immer nur für eine gewisse Zeit gilt. Die gefundenen Strukturen sind selbst historisch, d.h. diese semantischen Differenzen bilden keine ewigen und unveränderlichen Strukturen, sondern sind geschichtlichen Veränderungen ausgesetzt. Die Parteienlandschaft in Deutschland in der Zwischenkriegzeit ist eine andere als diejenige im Kalten Krieg. Deshalb bezeichnen Begriffe wie «links», «Mitte» oder «rechts» zu verschiedenen Zeiten sehr unterschiedliche politische Programme und Einstellungen.
Beispiele von semantischen Differenzen aus der gesellschaftlichen Semantik
– brutal – gezähmt (auch roh und gekocht bei Claude Lévi-Strauss)
– männlich - weiblich
– Herkunft – Zukunft
Gesellschaftliche Semantik in der Populären Musik
Mit dem strukturalen Konzept der semantischen Oppositionen lassen sich beispielsweise Radioformate, musikalische Genres oder der musikalische Geschmack einer Zeit untersuchen. Es zeigt sich dann, dass zum Beispiel der amerikanische Musikmarkt nicht einheitlich oder homogen ist, sondern heterogen (Illustration oben). Struktrale Oppositionen schaffen verschiedene Musikmärkte für ein weisses und ein afroamerikanisches Publikum, für eine urbanes und ein rurales Publikum. Deshalb gibt es verschiedene Musikmärkte für Pop, Country und Afroamericana. Jeder dieser Märkte hat seine eigenen Produzenten, Konsumenten, Medien, ästhetischen Wertvorstellungen. Deshalb findet man diese marktkonstituierenden Oppositionen auch in Texten, die über Musik sprechen (z.B. in Rezensionen, Geschichtlichen Darstellungen, Musiker*innen- und Band-Biografien etc.).
Beispiele von releavanten semantischen Oppositionen in der Musik:
– E- und U-Musik, auch reine – funktionale Musik
– Stadt – Land, auch als «urban» – «country», «urban» – «rural»
– weiss – schwarz bzw. europäisch – afrikanisch
– heteronom – autonom, auch als Unterscheidung von Pop – Rock
– natürlich – artifiziell, auch als Folklore – Kunstmusik
Beobachtungen unter dem Blickwinkel der gesellschaftlichen Semantik
Man weiss, dass die selben Dinge verschiedene Namen haben können. Das gilt auch für die semantischen Oppositionen, mit denen man ein Feld untersucht. Am Fall der Verortung der Musik der frühen Beatles in der Musik ihrer Zeit, also von 1962 bis 1964, lassen sich die drei gesellschaftliche Ordnungen ausmachen, die die Illustration oben dartellt. Es gab 1962 in den USA drei Musikmärkte, die sich mit zwei Oppositionen «afroamerikanisch – weiss» und «urban – rural» definieren lassen. Es gab auch verschiedene musikalische Ästhetiken, die sich mit der Oppositon «traditionell vs. modern» (auch «jung – alt») bzw. mit « authentisch – kommerziell» beschreiben lassen. Es stand nie in Frage, dass die frühe Musik der Beatles in die Tradition der Popmusik gehörte. Ihre Singles erscheinen in den Billboard Hot 100.
In den USA wird am Anfang der 1960er Jahre unter drei langlebigen musikalischen Traditionen unterschieden: Pop, C&W und R&B. Diese Traditionen bestehen bis heute als Pop, Country und R&B, auch wenn se mittlerweile von neueren Genres ergänzt worden sind (Latin, Hip-Hop). Für diese Musikmärkte wurden meist verschiedene Hitparaden erhoben. Interessanterweise fiel gerade 1964, als die beatles in Amerika durchbrachen, die Opposition zwischen schwarz und weiss zusammen. Möglicherweise unter dem Druck der Bürgerrechtsbewegung, sicher aber unter dem Eindruck des Erfolgs vom Motown-Label. Für etwa ein Jahr war afroamerikanische urbane Musik deckungsgleich mit weisser urbaner Musik. Die alte Opposition wurde allerdings 1965 wieder eingeführt und blieb seither bestehen.
Ein zweiter Unterschied wurde zwischen Pop für junge Leute (Elvis Presley, Beatles) und Pop für nicht mehr junge Leute (Frank Sinatra) gemacht. Beide Formen von Pop waren erfolgreich und gesellschaftlich relevant. Aber eine Radiostation, die die eine Musik spielte hat kaum die andere gespielt und die Käufer*innen der einen deckten sich kaum mit den Käufer*innen der anderen. Die Beatles gehören klar ins Feld der jungen Popmusik, aber sie haben vereinzelt – auch in der Ed Sullivan Show, wo das passte – einen Titel aus dem Great American Songbook interpretiert («Till There Was You»), was eher von Sinatra zu erwarten war. Wenn man Zeitungstexte liest, die den Auftritt der Beatles im US-Fernsehen rezensieren, dann wird die Kluft zwischen alter und junger Popmusik augenfällig: Die Musikjournalist*innen schreiben oft: «Die Beatles können nicht singen.» Das vorherrschende Modell ist Frank Sinatra bzw. die traditionelle statt die junge Popmusik.
Der dritte Unterschied am Anfang der 1960er Jahre war derjenige zwischen Folk und Pop. Er war geprägt vom Anspruch des Publikums an die Musik, die es hört. Pop und Rock ‘n’ Roll wurden von Jugendlichen gehört, die sich in ihrem Geschmack an einer (konformen) Mehrheit ausrichten, während Folk von gebildeten Leuten gehört (und mitgesungen!) wird, die sich gerne unkonform geben. Das Ideal von Folk ist, dass man selbst musiziert und singt. Pop ladet in den Augen der Folkies zu nichts anderem ein als zum Konsum: Platten kaufen, mit der Mode mitgehen, … Viele der Folk-Hörer*innen hatten dezidierte politische Haltungen und engagieren sich in der Bürgerrechtsbewegungoder gegen Vietnamkrieg und Atomwaffen. Folkies hatten Ideale, Pop-Hörer*innen Idole.
Mit dieser dritten semantischen Opposition im gesellschaftlichen Feld der Musik geschah im Lauf der 1960er Jahre etwas Interessantes. Die Opposition verschwand nicht, sondern wandelte sich zu einer, die andere musikalsiche Genres trennte. Am Anfang der 1960er Jahre markierte die Opposition eine Grenze zwischen Folk und Pop (wozu auch Rock 'n' Roll gehörte). Am Ende der Dekade hingegen bezeichnete die selbe Opposition die Grenze zwischen Rock und Pop. Nun war Rock die Musik für kritische Leute mit Idealen und Pop war weiterhin kommerzielle Musik ohne diese Investition in eine Haltung oder Überzeugung. Die Beatles haben den Sprung von der eine Seite der Opposition auf die andere durch ihre Freundschaft mit Bob Dylan bwerkstelligt und mit einer Reihe von Singles und LPs, mit denen Sie künstlerische Ambition zeigten. Diese Ambition wurde wichtiger als alle kommerziellen Überlegungen. Dylan verbleib auf der Seite, in der er schon zuvor war. Seine Musik wandelte sich aber und mit ihr die Begrifflichkeiten: Der elektrische Folk, den er in verschiedenen Formen am Ende des Jahrzehnts spielte, galt als Rockmusik (als Folkrock oder SInger-Songwriter).
Die Opposition zwischen Folk und Pop bzw. Rock und Pop war eine gesellschaftlich stark gewertete: Folk und Rock wurde von der jungen Elite des Landes (das war damals die Ober- und die Mittelklasse) gehört. Sie war auf der Macher-Seite stark von Männern besetzt. (Die meisten Männer spielten und hörten Rock, während die Frauen Pop spielten und sangen.)
Der Unterschied zwischen Pop und Rock könnte ein Buch füllen, aber der Einfachheit halber kann man sagen, dass Pop in der Regel von Interpretinnen und Interpreten gesungen wird, die diesen Song nicht selbst geschrieben haben und den sie oder er in der Regel auch nicht selber instrumental begleiten. Rockmusik wird dagegen meist von einer Band gespielt, die von der Zeit der Beatles an den Song selber schreiben und die Musik selbst interpretieren.
Es ist eklatant, wie überdauernd eine etablierte gesellschaftliche Semantik ist. Semantische Oppositionen haben oft epochenüberschreitenden Bestand. Auch hinter musikalischen Entwicklungen, Hybridisierungen, modischen Umbenennungen blieben die sie als gesellschaftliche Ordnung bestehen.
Der ontologische Status der Seme und der Oppositionen
Philosophisch gibt es mehrere Auffassungen, wie die Strukturen aus semantischen Oppositionen sich zur Welt bzw. zu den Phänomenen verhalten. Diese Auffassungen stehen selbst wiederum in Denktraditionen, die älter sind als der Strukturalismus oder die Systemtheorie. Die alten Griechen, denen die Erfindung der Philosophie zugeschrieben wird, dachten über das Wesen nach, das sie «ousia» nannten. Die klassich-griechische Philosophie warf die grundlegenden Fragen nach dem Wahren, Guten und Schönen auf. Sie lehrte: Wenn das Wahre, Gute und Schöne nicht zufällig sein soll (so wie die Mode es diktiert oder die, die die Macht haben), dass man sich ein Wesen denken muss, etwas an der Sache, das persistiert, unwandelbar ist und unauflöslich. Das Gute sei immer das selbe Gute oder auf die selbe Weise gut, unabhängig davon, welcher Herrscher geltende Gesetze erlassen habe. Platon nannte dieses Wesen auch Idee. Die Philosophiegeschichte, die auf diese griechischen Denker folgte, hat immer weider versucht zu bestimmen, wie sich das Wesen oder die Idee zu den Dingen verhält. Die einen haben gesagt, diese Wesenheiten seien Ewig und existieren ausserhalb der Dinge. Die anderen sagten, sie seien in den Dingen. Bezüglich der Erkenntnis meinten die einen, sie seien in den Dingen und wir erkennen sie, indem wir die Dinge betrachten, andere wiederum meinten, sie seien nicht in der Welt und werden von uns, wenn wir denken an die Dinge herangetragen. Es gab Philosophen, die sagten, man könne die Philosophiegeschichte als Geschichte von Kommentaren zur klassich-griechischen Philosophie lesen. Die Probleme seien von den Griechen aufgeworfen worden und konnten seither nicht abschliessend gelöst werden.
Wie auch immer – die Frage nach dem ontologischen Status der semantischen Strukturen bringt den selben reichhaltigen Strauss von Antworten hervor, den die Philosophiegeschichte auf die Frage nach dem Wesen hervorgebracht hat.
Querverweise
– E- und U-Musik
Quellen
– Philipp Overberg: Merkmalssemantik vs. Prototypensemantik (Magisterarbeit, Münster, 1999)
Geschichtstheorie Tag
Die Theorie der Geschichte («Historik») befasst sich mit den theoretischen Grundlagen der Geschichtsschreibung («Historiografie») und damit der Geschichtswissenschaft.
Unterschieden wird die Geschichtstheorie von «Geschichtstheorien», das sind zeit- und geschichtsphilosophische Theorien über Zeit, Zeitlichkeit, den Gang oder den Sinn der Geschichte (prominente Beispiele Hegel oder Karl Marx oder Francis Fukuyama.
Verzerrungen der Historiografie am Beispiel der Populären Musik
1. Die Theorie der grossen (weissen) Männer: Eoin grosser Teil der Geschichtsschreibung geht davon aus, dass der Lauf der Dinge von grossen Männern (ganz selten von Frauen) beeinflusst worden ist. Die politische Geschichte wird so die Erzählung von Königen, Fürsten, Kaiser, Staatschefs, Diktatoren und Generälen. Die Geschichte der Populären Musik wird so die Erzählung von Elvis Presley, der den Rock 'n' Roll erfunden hat, was den Gang der weiteren Geschichte stark beeinflusst hat. Dann der Beatles, die en Rock als Kunst im Albumformat erfunden haben usw. usw. Eine ganz andere Geschichtsschreibung ergibt sich oder auch einfach eine erfrischende Ergänzung der klassischen Geschichtsschreibung, wenn diese personelle Perspektive durch eine gesellschaftliche ergänzt wird: Wie ist die Gesellschaft demografisch zusammengesetzt? Gibt es Veränderungen in dieser Zusammensetzung? Gibt es Wanderbewegungen (Migration)? Gibt es technische oder wirtschaftliche Veränderungen in der Produktion oder der medialen Verbreitung?
2. Oft stehen so «grosse» Acts wie die Beatles oder Elvis pars pro toto für viel mehr Musik als tatsächlich untersucht wird. Man behandelt die Musik der Beatles und ein paar anderer grosser Acts und glaubt damit die 1960er Jahre verstehen zu können. Doch unter der Oberfläche der Spitzenmusiker*innen gibt es eine breite Basis, die man ebenfalls untersuchen sollte. Im Fall von Rock 'n' Roll sieht man dann, dass keineswegs Elvis diese Musik erfunden hatte, sondern dass sie sozusagen in der Luft lag und dass viele soziale Faktoren bereits nach dem Zweiten Weltkrieg auf diese musikalischen Veränderungen hinweisen.
Geschichte der USA Tag
Vor dem Amerikanischen Bürgerkrieg wurden die Vereinigten Staaten von Amerika zu drei Fünftel von aristokratischen Farmern aus den Südstaaten regiert, die alle Sklavenhalter waren. Die anderen zwei Drittel bestanden aus Händlern, Bankiers und Anwälten aus dem Norosten. Der grösste Wirtschaftszeit bestand aus dem Anbau und Handel von Baumwolle. Ihr Export finanzierte den Ankauf europäischer Industriegüter. Massachusetts hatte die erste Textilindustrie. Es galt die Drei Drei-Fünftel-Klausel von 1787 (Three-fifths Compromise), wonach drei von fünf Sklaven bei der Ermittlung der Gesamtbevölkerung eines Staates für die gesetzgeberische Vertretung im Parlament und Besteuerung gezählt wurden. Das hatte zur Folge, dass der amerikansiche Süden die Hälfte des Senats ausmachte, während der Norden fast die doppelte Bevölkerungszahl aufwies. zwei Drittel der reichsten Amerikaner lebten im Süden, nämlich 4500 von 7000 mit Vermögen über $100'000 (heutiger Wert: $2 Millionen). Die Südstaaten stellten die meisten Präsidenten und Spitzenbeamten.
Neuer Reichtum entstand mit dem Bergbau, den Eisenbahnen und der Stahlindustrie.
Querverweise
– Europa vs. Amerika
– Amerikanische Revolution
– Amerikanischer Bürgerkrieg
– New Deal
– Koreakrieg
– Vietnamkrieg
Geschichte der Populären Musik 8 - Post-Millennial-Music - Trap - Electropop Tag
Die Musik am Anfang des neuen Jahrtausends war geprägt durch eine Krise der Musikindustrie und der darauf folgenden Umstellung des Geschäftsmodells auf eine digitale Musikindustrie. Der immense CD-Markt in den 90er-Jahren fiel in kurzer Zeit zusammen, weil Musik nun im MP3-Format übers Internet distribuiert werden konnte. Die Musikindustrie reagierte nach aussen konservativ auf diese Entwicklung, wollte die alten Absatzzahlen bewahren und kriminalisierte die Fans, die Musik über Filesharing mit Peers teilten. Nach innen aber wurde die Branche innert weniger Monate und Jahre komplett auf den digitalen Markt um- und eingestellt. Musiker/-innen und Bands verdienten von nun an ihr Geld hauptsächlich durch Live-Auftritte. Für Innovationen im Studio hatte die Industrie nur noch wenig Geld. Auch wurden teure Aufnahme-Studios immer häufiger durch Home-Studios ersetzt: Musiker/-innen konnten von nun an ihre Songs bequem mit einem Laptop und Digital Audio Workstations (DAWs) zuhause aufnehmen.
Der Genrebegriff bezeichnet sowohl die Musik der Genration der Post-Millennials, als auch die Musik, die ab dem Jahr 2000 veröffentlicht wurde und im Rahmend er neuen, digitalen Musikwirtschaft entstanden ist. Für diese Musik ist bezeichnend, dass sie nicht mehr allein Hit-orientiert war, sondern Repertoire-orientiert. In der alten Musikindustrie wurden Tonträger abgesetzt, die vor allem der Logik des Hits folgte. Diese Logik beherrschte die Musikindustrie seit den 90er Jahren des 19. Jahrhunderts (siehe Stichwort Tin Pan Alley). Nun wurden Überlegungen des Repertoires erneut wichtig, weil man im Lizenzierungsgeschäft grosse Katalog-Bestände bzw. ganze Musikbibliotheken für das Streaming anbot. Die Labels kauften die Verlage auf bzw. übernahmen mit den 360° Verträgen die gesamten Geschäfte der Musiker/-innen, das Live-Geschäft und das Verlags-Geschäft. Die Folge dieser Bemühungen um ein Repertoire waren die Revivals, die Autor Simon Reynolds als Retromania thematisierte und irritiert kritisierte. Nun gab es im aktuellen Musikprogramm jeden Stil, der in den letzten 50 Jahren gespielt worden ist. Es blühten die Revivals: zum Beispiel Popsoul-Revival, Postpunk-Revival, Garagerock-Revival, Americana-Revival, Disco-Revival.
Eine starke Indie-Szene bildete sich in Brooklyn (Williamsburg). Siehe Stichwort Animal Bands.
Merkmale der Musik – Tiefenwirkung der Distributionsmedien
Geprägt ist die Musik in medientechnischer Hinsicht von den Streaming Diensten wie Youtube und Spotify, die es den Benutzer/innen erlauben, einen Sing jederzeit zu skippen, womit die Aufmerksamkeit vermutlich für immer verloren geht. Also müssen Songs so schnell wie möglich zum Punkt kommen, zum Hook, der die Hörer*innen fesselt und bei Stange hält. Untersucht hat diese Tatsache der kanadische Musikwissenschaftler Hubert Léveillé Gauvin, der Top Hits einer Langzeitstudie unterzogen hat und zum Schluss kam, dass postmillenniale Songs nur noch wenige Takte für eine Einleitung verwenden (Intervoew in der Süddeutschen Zeitung: «Es gibt keine Intros mehr»). Auch Pitchforks Mark Hogan stellt den Zusammenhang von Erfolg und kurzem Intro fest (siehe: Uncovering How Streaming Is Changing the Sound of Pop, 16. Oktober 2018, Musikzimmer Factsheet).
Die Rolle, neue Musik bekannt zu machen und zu propagieren, die vorher der Musikpresse zugekommen war, wurde jetzt von Musik- und Lifestyle-Blogs übernommen: Gorilla vs. Bear, Altered Zones (ein nach kurzer und äusserst einflussreicher Betriebszeit eingestellter Spinoff von Pitchfork), Broooklyn Vegan.
Geschichte der Populären Musik 7 - Millennial-Musik - Retromania Tag
Die junge Generation in dieser Epoche, d.h. die Millennials, ist deutlich in der Minderzahl gegenüber den Babybommern. Die Gesellschaft ist überaltert. Die jungen fühlen sich machtlos, etwas ändern zu können. Der Historiker Bodo Mrozek hat es thematisiert, dass wir eine überalterte Gesellschaft seien (Alte Zwänge, neue Zwänge
, Interview in der Spex, 19.6 2019). Die Musikindustrie bringt demnach auch bemerkenswert viele Produkte für ältere Konsumenten hervor, statt wie früher, als erfolgreiche Musik junge Musik war.
Querverweise
– Tomorrow's World
Geschichte der Populären Musik 4 - Pop - Rock - Soul Tag
Musik der Boomer-Generation. Sie artikuliert sich ab den 1960er Jahren.
Die Geschichte der Rockmusik im Vereinigten Königreich
Es sind sechs unterschiedlich lange Phasen oder Epochen, die der Geschichte der britischen Rockmusik ihre Gestalt geben. Solche Epochen haben wie alle historischen Übergänge poröse Grenzen. Die so festgelegten Epochengrenzen sind meine Festlegung (CS, aus einer Vorlesung zu The Dark Side Of The Moon, Mai, 2023).
Wenn man Geschichte betreibt, lässt man sich nicht vom eigenen Geschmack treiben, sondern versucht, aus einem Korpus Epochengrenzen festzulegen und innerhalb dieser Zeitabschnitte die Musik zu verstehen. Wie klingt Musik aus den Jahren 1968 bis 1974 und warum klingt sie so? Und warum klingt Rockmusik zwischen ca. 1974 und 1978 anders?
Korpora sind als Textkorpora in der linguistsichen, literarischen, sozialwisenschaftlichen und historischen Forschung ein Thema geworden, seit man mit elektronischer Datenverarbeitung Texte untersuchen kann. So stellt die Wissenschaft Korpora als möglichst umfassende Textsammlungen zusammen, die eine Art Referenz des Sprachgebrauchs oder des Wissens in einem Feld und zu einer Zeit darstellen. Korpora stellen die empirische Basis für die Forschung dar. Ein Korpus ist also eine extensive, überpersönliche Sammlung von Alben oder Songs. Mein Korpus ist meine Musiksammlung auf dieser Webseite.
Zu meinem Verständnis von «Rockmusik»: Rockmusik beginnt um 1965 herum (siehe Entstehung der Rockmusik). Es gab vorher Rock ‘n’ Roll und Beat, doch diese Musik zähle ich nicht zum Rock. Ebenso wenig zähle ich den neueren Alternative- oder Indie-Rock zu dieser Rock-Tradition (die Musik, die sich auf Punk und Postpunk bezieht. Für mich sind das andere Musiktraditionen, die zwar Verwandtschaften zur Rockmusik aufweisen, aber nach anderen Regeln funktionieren, andere Fans haben, von anderen Typen von Musikern gespielt werden.
1 Die R&B-Phase
Britischer Rock in der R&B-Phase war von zwei Gruppen geprägt, den Beatles und den Rolling Stones, die beide amerikanische Musik nachspielten bzw. adaptierten – die Beatles, deren Musik man Merseybeat nannte, afroamerikanische Schlager (z.B. Motown) und die Rolling Stones, deren Musik man britischen Rhythm & Blues nannte, den Chicago Blues.
Britische Gruppen hatten eine gute Voraussetzung für diese Adaptation amerikanischer Musik – sie sprachen dieselbe Sprache: Englisch. Aber sie hatten nicht den musikalischen Background wie amerikanische Kolleg*innen, die sich um die Wurzeln der eigenen Traditionen bemühten. Ein Beispiel einer amerikanischen Blues Band ist die Paul Butterfield Blues Band aus Chicago. Butterfield ist auch ein weisser Kerl, der sich aber seit seiner Jugend um die Gunst der afroamerikanischen Bluesmusiker und ihrem Publikum in der Stadt bemühte. Er spielte mit ihnen zusammen. Niemand stellte seine Authentizität als Bluesmusiker in Frage.
Englische Bands hatten abgesehen von ein paar Gastspielen ihrer Idole kaum eine Chance, diese Authentizität herzustellen und so spielten sie nie «the real thing», sondern eine kulturelle Adaptation dieses Dings. Teilweise war das indes so frisch, dass der amerikanische Musikmarkt ganz unerwartet positiv darauf reagierte. 1964 brachen die ersten paar britischen Bands in Amerika durch, darunter die Beatles und etwas später die Stones. In den USA wird ihr Erfolg British Invasion genannt – eine drastische Bezeichnung, als wäre der Unabhängigkeitskrieg der USA noch einmal aufgerollt worden.
Als Muddy Waters be einem Gastspiel in England die Yardbirds hörte, bemerkte er: «Those boys were playing louder than we ever played.» (p. 15)
Geschichtlich war das wichtig, denn damals kehrte sich plötzlich etwas um: Amerikanische Musik war in den 1950er Jahren sehr erfolgreich in England, aber praktisch nie hat es ein britischer Hit jenseits des Atlantiks in die Hitparade geschafft. Die Beatles und die Stones kehrten diese musikalische Handelsbilanz für ein paar Monate um. London wurde dabei zur europäischen Kulturhauptstadt: Musik, Mode, Fotografie und Kunst florierten: London «swingte», wie man sagte (Tag: Swinging London.
Zu dieser Zeit fallen einige Beat- und Rhythm & Blues Bands durch Ambitionen auf: Die Beatles machen Studioexperimente und exzellente LPs (was es früher kaum gab). Rhythm & Blues Gruppen brachten Gitarrenvirtuosen hervor (Eric Clapton, Jeff Beck, später Jimmy Page – von Clapton wurde an die Wände geschrieben, er sei Gott). Die Rolling Stones traten mit einem Braggadocio auf, das sie von afroamerikanischen Bluesmusikern abgeschaut hatten aber Mick Jagger konnte vielfältiger Singen als die afroamerikanischen Vorbilder.
2 Psychedelische Phase
Ab 1965 und 1966 wurde die Musik britischer Bands unter dem Einfluss von bewusstseinsverändernden Drogen psychedelisch. Der Rhythm & Blues mutierte zu Freakbeat. Als Rhythm & Blues zu Freakbeat mutierte, wurde die Popmusik psychedlisch und «progressiv». Die herausragenden Platten dieser Zeit sind Alben von den Beatles Revolver und Sgt. Pepper’s Lonely Hearts Club Band. Mit der psychedelischen Lebensform kam die Idee auf, dass Musik wie ein Trip sein soll, kein dreiminütiges Tanzerlebnis, sondern eine immersive und vieldimensionale Hörerfahrung. Das LP-Format bot sich als Medium für diese ambitionierte progressive Philosophie an und begann sich durchzusetzen. In kurzer Zeit begannen die Album-Verkäufe den Single-Absatz zu überholen. Die Zielgruppe für diese Musik waren Hippies, Künstler*innen und Studierende.
In London entstand wie in San Francisco zuvor ein psychedelischer Untergrund, der Musik im Zusammenhang mit avantgardistischen Happenings präsentierte. Die wichtigste Hausband dieser Szene war Pink Floyd.
3 Progressiver Untergrund
Nach dem verpuffen der Psychedelischen Musik kam es zu einem Rückschlag: Nun boomten Bluesrock, Folkrock und Rootsrock.
In den Jahren des psychedelischen und progressiven Rock-Untergrunds sind viele Bands entstanden – durch Neugründungen und Umformierungen. Die Jahre zwischen 1968 und 1973 brachten einen schier unglaublichen musikalischen Reichtum hervor (siehe das Korpus UK-Underground: Psychedelia und Prog).
Die Plattenlabel waren beeindruckt vom Erfolg der Beatles, LPs zu verkaufen. Eine LP kostete vier bis fünf Mal so viel wie eine Single. Die Labels sprangen auf den fahrenden Rock-Zug auf – in der Hoffnung, dass der Umsatz gesteigert werden könne. Dutzende dieser neuer Bands erhielten einen Plattenvertrag, obwohl die meisten von ihnen ziemlich erfolglos blieben. Das war eine Business-Strategie mit dem wüsten und despektierlichen Namen: «Throwing shit on the wall and see if it sticks».
Aufgetreten sind die Bands im Universitäts- und College-Zirkel (wo sie nicht so hohe Gagen erhielten wie die Bands in den renommierten Clubs) und an Festivals, z.B im Hyde Park, am National Jazz and Blues Festival in Plumton, am Bath Festival of Blues and Progressive Music, am Isle of Wight sowie an der Glastonbury Fayre in Pilton.
BBC Radio 1 strahlte wöchentlich die Sendung Top Gear mit John Peel aus, ab 1970 Sounds of the Seventies und am TV lief The Old Gray Whistle Test. Diese Sendegefässe waren auf progressive Musik spezialisiert. In der Schweiz gab es das progressive Radioformat erst 1976, als «Sounds» gegründet wurde.
Geschrieben wurde in der Untergrundpresse über diese Musik: IT, OZ, ZigZag. Die Musik wurde «Underground» oder «Progressive», «hard» oder «heavy» genannt, zuweilen auch noch «psychedelic», obwohl dieser Begriff aus der Phase zuvor stammt.
Einige wenige der Untergrund-Acts haben Mainstream-Erfolg genossen: Zu ihnen gehörten Deep Purple, Jethro Tull, ELP, Fleetwood Mac und Yes. Auch Pink Floyd traten an vielen Orten in ganz Westeuropa und in den USA auf.
Majorlabels gründeten spezialisierte Abteilungen mit Sublabels für ihre Rockacts:
EMI (bzw. Columbia, Parlophone, Regal Zonophone) gründete im Juni 1969 Harvest, wo sie Pink Floyd unterbrachten, Deep Purple oder Barclay James Harvest.
Decca bzw. Deram brachten die Nova Serie heraus und hatten Thin Lizzy, Ten Years After und die Moody Blues unter Vertrag.
Pye gründete im Oktober 1969 Dawn und brachte dort Platten von Mungo Jerry oder Atomic Rooster heraus.
Philips gründete im November 1969 Vertigo bei dem Manfred Mann Chapter Three, Jucy Lucy oder Colosseum Musik veröffentlichte.
Wichtig waren auch Indie-Labels oder Neugründungen:
Island bisher hauptsächlich ein Reggae-Label nahm Spooky Tooth, Traffic, Fairport Convention, Quintessence und Free unter ihren Schirm.
Chrysalis hatte Jethro Tull unter Vertrag, Procol Harum, Ten Years After.
Charisma: Genesis, Van der Graaf Generator, Lindisfarne.
Liberty Records kam 1970 mit einem Rock-Rebrand: Liberty / UA, mit Acts wie Hawkwind, Man und Can aus Deutschland heraus. Bei Liberty war auch die erste Zürcher Rockband Krokodil.
Virgin war die späteste Gründung (1972). Das Label war mit «Tubular Bells» von Mike Oldfield so erfolgreich, dass es sich hat nachhaltig etablieren können.
Rock war immer noch eine Musik für Hippies und Studierende. Sie fielen der etablierten Gesellschaft wegen ihrem Gammel-Look auf: lange Haare, Jeans, damals noch eine Arbeiterkleidung, die man trug, wenn man aus der Gesellschaft aussteigen wollte, und die man vermied, wenn man irgendeine Rolle in ihr hat spielen wollen.
Rock war stilistisch vielfältig. Diese Leute hörten sowohl Hardrock als auch Progrock. Das machte keinen Unterschied. Wer an ein Black Sabbath Konzert ging, schämte sich nicht eines von Fairport Convention zu besuchen. Was die Szene zusammenhielt, war der Hippie Lifestyle.
4 Corporate Rock
In der Phase des Corporate Rock wissen die Labels schliesslich, was ihre Bands wert sind und die besten von ihnen produzieren nun Megaseller. Nun wird die Rockmusik ein kommerzielles Massenphänomen. Jetzt spielen Radiostationen die Musik (FM-Stationen in den USA, Kabelkanäle und Privatstationen in Europa). Rockkonzerte werden Grossanlässe in offenen und gedeckten Sport- und Messehallen. Man spricht von Arena- oder Stadiumrock.
Alben, die Millionen Exemplare umsetzen sind (Out of the Blue und Discovery von ELO, Tubular Bells von Mike Oldfield, Houses of the Holy und Physical Graffiti von Led Zeppelin, Rumours von Fleetwood Mac, A Night At the Opera und News of the World von Queen, 4 und Agent Provocateur von Foreigner (letzte beiden britisch-amerikanische Bands), Eric Claptons Slowhand, Peter Frampton: I’m In You und Frampton Comes Alive, Rod Stewarts A Night on The Town, Wings: Band on the Run und Wings over America, Rolling Stones mit Some Girls, Genesis ...And Then There Were Three..., Al Stewart Year of the Cat, Gerry Rafferty City To City, Roxy Music Flesh and Blood, David Bowie « Ziggy Stardust, Supertramps Crime of the Century, Crisis? What Crisis?, Even Inthe Quietest Moments…, Breakfast in America sowie die Konzeptalben Wish You Were Here, Animals und The Wall von Pink Floyd.
In den 1970er Jahren ist eine Generation von Rock-Hörerinnen und Hörer erwachsen geworden. Eine Hörerschaft, die Geld verdient und Musik auf Alben kauft. Von der etablierten Gesellschaft wird Rock als Look und Stil nun nicht mehr ignoriert (jedenfalls in den angelsächsichen Ländern, in der Schweiz ist man weiter davon entfernt, das kommt erst mit den privaten Radiostationen).
Rock wurde jetzt in Arenas gespielt. Clubkonzerte gab es wenige. Man musste gross sein oder existierte nicht. Das war einer der Gründe, weshalb es Punk brauchte, um der Musik neue Impulse zu geben und um Clubmusik wieder auferstehen zu lassen. Junge Musiker*innen müssen ein Publikum aufbauen und wachsen. Wenn sie das nicht können, ist die Musik tot.
Corporate Rock hat viel Musik hervorgebracht, die bis heute gehört und wieder und wieder gekauft wird. Kreativität und Kommerzialität hielten sich die Waage und schlossen sich gegenseitig nicht aus. Jede erfolgreiche Band hatte nun einen oder zwei Songwriter (Fleetwood Mac hatte drei), die Lieder schrieben, die Ohrwürmer waren und in den Hitparaden erfolgreich waren. Im Untergrund-Rock operierten Bands oft gleichberechtigt, Songs entstanden beim Jamen. Nun kam Songwriting-Qualität, wie sie im Brill-Building ein Standard war, zurück, nun aber in der Doppelrolle als Bandmitglied und Songwriter*in.
5 AOR-Rock
Nach der Corporate Rock Phase gibt es eine Gegenentwicklung, die Punk heisst. Bands, die hier nicht mitgehen, lösen sich entweder auf (Emerson, Lake and Palmer) oder adaptieren ihren Sound (Genesis). Von dieser Musik spreche ich als Adult Oriented Rock. AOR war auch ein Radioformat in den USA. AOR-Stationen brachten Musik für Leute, die ein gewisses Alter hatten und deren Kinder meistens ganz andere Musik als die Eltern hörten: New Wave, Hip-Hop, Indie oder extremen Metal. Rock spielte jetzt gewissermassen die Rolle, die Vocalpop von Sinatra und Streisand in den Sechzigern gespielt hat. Rock war professionell geschriebene und produzierte Musik, die von neuen Modeströmungen mehr und mehr zur Seite gespült wurde.
Der Musikmarkt war riesig wie noch nie und mit MTV wurde ein neues Medienformat etabliert, das Musikvideo. Musikvideos liefen nun rund um die Uhr in den Zimmern der Jugendlichen und Rockbands mit attraktiven Videos liefen auf MTV in «heavy rotation» Rockbands, die visuell etwas zu bieten hatten, besetzten in diesen Jahren vordere Plätze der Album- und Singles-Hitparaden. Es war nicht nur die alte Garde, die weiter musizierte, es gab auch junge Bands, die im AOR-Rockformat mit AOR-NewWave und AOR-Powerpop aufwarteten, einer an die Ästhetik der 80er Jahre angepasste Form der Rockmusik (allerdings verbreiteter in den USA als im Vereinigten Königreich).
6 Classic Rock
Die Phase des «Classic Rock» bringt diese Rockgeschichte an ein Ende, ein Ende nicht im Sinn eines Abschlusses, sondern im Sinn eines anhaltend statischen Zustands. Die Rockmusik entwickelt sich nicht mehr weiter, die Zeit steht still.
Classic Rock ist kein Genre oder Stil wie «Psychedelic Rock». Der schmeichelhafte Begriff (Earlewine) wurde in den 1980er Jahren vom Marketing als Radioformat geschaffen, das nur noch die Favoriten aus den 60er und 70er Jahren spielte und so erfolgreich wurde, dass es der ehemals vitalen Musik das Blut aus den Adern saugte. Neue Acts bestanden nun nur noch aus den Klischees sorgfältig gestylter, weisser, rebellischer Männer mit langen Haaren.
Die Geschichte der Rockmusik in den USA
Die amerikanische Geschichtsschreibung betont dagegen die Kontinuität von Rock 'n' Roll, Rock und Punk ganz im Sinn des Singer-Songwriters Billy Joel, der 1980, zu einer Zeit als die Rocktradition von der NewWave herausgefordert war, sang:
«Hot funk, cool punk, even if it's old junk It's still rock and roll to me» und «Next phase, new wave, dance craze, anyways It's still rock and roll to me»Diese Betonung der Kontinuierlichkeit kommt daher, dass Amerika stolz auf sein Kind und dessen Enkelinnen und Enkel ist. Zum Verständnis der Musik trägt das m.E. leider wenig bei.
Geschichte der Populären Musik Tag
Quellensammlung zur Geschichte der Populären Musik.
Geschichtsbücher
Musikgeschichte wird vor allem und am besten über Bücher vermittelt. In der Text-Datenbank von Musikzimmer sind Geschichtsbücher als solche ausgezeichnet, siehe Stichwort: Musikgeschichte.
Musikgeschichte online
Online ist die englische Wikipedia eine ausgezeichnete Quelle, um musikalische Genres und Stile nachzuschlagen.
Eine richtige Musikgeschichte hat Piero Scaruffi verfasst. Da ist zum einen Piero Scaruffi's
History of Rock Music und A brief history of Popular Music before Rock Music.
Musikdokus
Weitere Quellen sind Musikdokus mit historischer Ausrichtung. eine der besten ist immer noch All You Need Is Love. The Story Of Popular Music von Tony Palmer von 1977. Sodann gibt es die beiden BBC-Dokus Dancing In The Street von 1995 und Seven Ages Of Rock von 2007.
Moocs
Eine Videovorlesung zur Geschichte der Rockmusik hat John Covach an der University of Rochester produziert. Covach ist der Autor von What's That Sound?. Ursprünglich musste man einen Kurs bei Coursera buchen, aber mittlerweile hat die Universität sie auf ihrer Webseite veröffentlicht.
Geschichte der Kunstmusik Tag
Dass es eine Trennung von ernster bzw. wertvoller Musik («Kunstmusik») und leichter Musik («Populäre Musik») gibt, wurde bereits Mitte des 16. Jahrhunderts vom Protestanten/Hugenotten Jean Calvin zum Ausdruck gebracht als er in seinem Genfer Psalter schrieb, dass Lieder ‹Gewicht und Majestät› haben sollten statt ‹leicht und frivol› zu sein, denn es gäbe einen grossen Unterschied zwischen der Musik, die der Unterhaltung von Menschen am Tisch und Zuhause diene und den Psalmen, die in der Kirche in der Gegenwart Gottes gesungen werde (zitiert und übersetzt nach Lydia Goehr, The Imaginary Museum of Musical Works, 131). Hier wird das modernere E und U mit «geistlich und weltlich» überlagert.
Eine andere Distinktion war diejenige zwischen Höfischer Musik für eine feine Gesellschaft und der Musik des gemeinen Volkes.
Jede Zeit und jede Gesellschaft kann eigene Distinktionen von wertvoller und wertloser Musik hervorbringen, so wie die Hugenotten im 16. Jahrhundert. Eine funktionale Unterscheidung im deutschsprachigen 20. Jahrhundert war diejenige zwischen ernster «E-» und unterhaltender «U-» Musik. Diese Unterscheidung war mehr als ein Begriffsspiel, sondern brachte für beide Arten der Musik eigene Institutionen hervor: Akademien, Verlage, Konzertorte oder mediale Kanäle. So hatten die nationalen Radios in Europa je eigene Programme und eigene Orchester für die beiden Musikgattungen.
Geschichte Tag
History is often written as a series of conflicts, whether the wars are between nations or artistic styles. – Elijah Wald, p. 199
Corpus von Literatur zu Geschichte und Geschichtswissenschaft, akademisch und populärwissenschaftlich.
Geschichte als Begriff
«Geschichte» sind alle vergangenen Handlungen, Ereignisse, wie sie mittels Quellen überliefert sind und von geschichtsschreibenden Agent*innen selektioniert und zu einem Sinnganzen verknüpft werden. Der Bezug auf Quellen ist essentiell, wenn Geschichte nicht Mythos oder Ideologie sein soll. Quellen können primär oder sekundär sein. Auch sekundäre Quellen müssten letztlich auf Primärquellen zurückführbar sein, um als gesichert zu gelten. Wo Primärquellen verloren gegangen sind, bleibt diese Forderung allerdings unerfüllbar. Die Selektion von (belegten) Ereignissen und deren Verknüpfung zur kohärenten Erzählung («Historiografie») sind geprägt von Chronologie und Periodisierung. Chronologie betrifft die Reihenfolge der Ereignisse und Periodisierung deren Gruppierung zu Sinneinheiten, Epochen, Zeitalter. Eine bestimmte Historiografie läuft oft/immer (?) auf eine Metaerzählung oder ein «grosse Erzählung» (Jean-François Lyotard) hinaus, in deren Dienst sie steht: Emanzipationsgeschichten (Befreiungskämpfe, Ermächtigungsgeschichten), Heldenepen, Legenden usw.
Geschichtswissenschaftliche Untersuchung
Eine geschichtswissenschaftliche Untersuchung ist eine der typischen Arbeiten von Historiker*innen und geht von einer Fragestellung aus, sucht und analysiert Quellen, arbeitet sie zu einer kohärenten historiografischen Erzählung oder einem Bericht aus.
Geschichte als Mythos
Als «Mythos» kann man diejenigen geschichtlichen Ereignisse verstehen, deren Gruppen, Institutionen oder Staaten gedenken, um sich selber zu verstehen und in der Gegenwart zu positionieren. Ein alternativer Begriff ist «Geschichtspolitik».
Geschichte als Idolatrie
Geschichte wird oft und gerade in der Populären Musik als Verklärung von Helden (Stars) betrieben, deren Lebensgeschichten zu Legenden geformt werden. Diese Mechanismen dienen speziell im Classic Rock dazu, Produkte aus dem Katalog zu verkaufen. Der Classic Rock scheint mittlerweise das grössere Geschäft zu sein als die Neuerscheinungen.
Geschichte als Schulfach
Im Schulfach «Geschichte» werden Schülerinnen aller Stufen über Themen und Ereignisse aus der Zivilisationsgeschichte, Landesgeschichte und anderen Feldern der Geschichte unterreichtet. Meist mit dem Ziel, einen gewissen Typus Bürger zu erziehen: die oder der kritische Bürger*in, die oder der staatestreue Bürger*in. So lange dies mit der für das Fach typischen Absenz von Methoden passiert, kommt das Schulfach nicht in die Nähe dessen, was Geschichtswissenschaft ist.
Geschichte als sachliterarisches Genre
Als Geschichte wird auch das Corpus aller Fachliteratur bezeichnet, die sich mit Geschichte befasst. In diesem Sinn wird im Musikzimmer das Stichwort «Geschichte» vergeben.
Disziplinen – Geschichte wovon?
Man kann unterscheiden (unvolständig):
– Geschichte der verschiedenen gesellschaftlichen Felder: Politikgeschichte, Rechtsgeschichte, Kunst-/Kulturgeschichte, Bildungsgeschichte, Wirtschaftsgeschichte
– Geschichte von gesellschaftlichen Institutionen: Militärgeschichte, Firmengeschichte, Organisationsgeschichte, Sportgeschichte, Religionsgeschichte, Wissens- oder Wissenschaftsgeschichte, ...
– Geschichte von Fächern und Disziplinen: Technikgeschichte, Mathematikgeschichte, Philosophiegeschichte, Musikgeschichte, ...
– Themengeschichten: Geschlechtergeschichte, Ideengeschichte, Sozialgeschichte, ...
– Geschichten verschiedener Grossereignisse: Geschichte der Kreuzfahrten, Geschichte des Zweiten Weltkriegs, Geschichte des Kalten Krieges, ...
Geschichten verschiedener Epochen und Zeitabschnitte: Jahreschronologien (Geschichte des Jahres 2020), Geschichte der 1950er Jahre, Geschichte des 19. Jahrhunderts, ...
Geschichte als erklärende Wissenschaft
Geschichte kann auch erklären. Sie muss erklären, d.h. sie muss, wenn sie nicht leeres Geplauder und Vielwisserei sein möchte, die Grundkräfte freilegen, die in struktureller Hisnicht historische Variation und in historischer Hinsicht Veränderung bewirken. Zum Beispiel würde die Geschichte der Populären Musik besser nicht als Folge von erfolgreichen Künstlerinnen (selten) und Künstlern (meist) erzählt, die den Kurs der Geschichte lenkten und für eine Zeit und Epoche stehen, sondern als Folge gesellschaftlicher (soziologischer) Kräfteverschiebungen (Migrationsbewegungen, demografische Verschiebungen usw.) oder Einfluss und Macht von Institutionen zu erklären. Erfolg und Einfluss sind nicht die Erklärung (explanans), sondern das zu Erklärende (explanandum). Schon gar nicht ist die Genialität, die in diesem Zusammenhang immer wieder herbeigezogen wird, eine Erklärung. Die Geschichte muss andere Erklärungsmuster anbieten als «Genialität». «Genialität» ist eine Ideologie, mit der das Grossbürgertum im 19. Jahrhundert geliebäugelt hat. Heute wird sie immer noch von populären Musikzeitschriften in Anspruch genommen. Siedet man das Palaver über geniale Musiker ein, dann heisst Genialität meist nur: «hat den Kurs der (Musik)-Geschichte zu prägen oder zu verändern vermocht», «wirkte vorbildhaft auf andere». Das wie und warum (das Explanandum) bleibt diese Erklärung schuldig. Ein Beispiel: Stanley Crouch hat im Zusammenhang mit der Frage nach dem Verhältnis von afroamerikanischen und jüdischen Musikern geschrieben: «I think one of the things that we always have to understand when we discuss these matters (nämlich seine Frage: …Teilen Afroamerikaner*innen und Jüd*innen ein Schicksal, dass sie verfolgt und unterdrückt werden?) is that we are talking about performers and composers of genius. We're not talking about the average guy. See, George Gershwin doesn't represent Jews, he represents a genius first, he's a genius who's a Jew. You know, Irving Berlin is a popular songwriting genius who's a Jew. Right? Duke Ellington is a genius who's black. They all have one thing in common, they're geniuses first and then the ethnic category comes second. That's what Duke Ellington, George Gershwin, Louis Armstrong and Irving Berlin have in common, and I think that is the American story really».
Eine soziologisch ausgerichtete Geschichtswissenschaftw versucht dagegen statt Varianten des Titanenmythos andere Erklärungen für Einfluss und Macht zu geben, die auf gesellschaftlichen Grössen, Kräften und Institutionen beruhen. Wenn man die Welt mit den Augen der Soziologie sieht, dann muss man Individuen nicht dermassen mit wunderbaren Eigenschaften wie «Genialität» beladen. Dass die als genial gefeierten Akteure hervorragende Musiker, Produzenten usw. waren, steht nicht in Frage, aber dass sie alleine und mit titanischer Kraft den Weltlauf zu bewegen vermochten. Dies ist ein populärer Mythos, der einer Geschäftsstrategie dient.
Querverweise
– Musikgeschichte
– – Geschichte der Folklore
– – Geschichte der Kunstmusik
– – Geschichte der Populären Musik
– – – Geschichte der Populären Musik 1 - Pretraditional
– – – Geschichte der Populären Musik 2 - Traditional - Swing
– – – Geschichte der Populären Musik 3 - R&B - R’n’R
– – – Geschichte der Populären Musik 4 - Pop - Rock - Soul
– – – Geschichte der Populären Musik 5 - Postpunk - Newpop - Alternative - Indie
– – – Geschichte der Populären Musik 6 - Electronica - Postrock
– – – Geschichte der Populären Musik 7 - Millennial-Musik - Retromania
– – – Geschichte der Populären Musik 8 - Post-Millennial-Music - Trap - Electropop
– Geschichte der Menschheit
– Geschichte der USA
– Geschichte der Afroamerikaner*innen in den USA
– Geschichte UK
– Geschichte der Schweiz
– Geschichtstheorie
– Historiografie/Geschichtsschreibung
Quellen
– Zeitgeschichte Online, von Jürgen Danyel 2004 geschaffene Plattform, die von der Deutschen Forschungsgemeinschaft (DFG) gefördert und vom Leibniz-Zentrums für Zeithistorische Forschung in Potsdam finanziert und unterhalten wird (auch mit Wissenschaftler*innen der Humboldt-Universität zu Berlin).
Gesang Tag
In der Populären Musik spielt der Gesang eine der wichtigsten Rolle. Vocalpop, das Genre, in dem vor allem Popsongs gesungen werden, kann als die Königsdisziplin der Populären Musik angesehen werden.
In zeitlicher Hinsicht spielt der Gesang aber nicht in jedem Jahrzehnt diese prominente Rolle. In den 30er Jahren des 20. Jahrhunderts waren die Swing Orchester deutlich wichtiger als Sänger*innen. Aber als es diese Orchester langsam schwerer hatten wegen der Konjunktur, dem Krieg und gewerkschaftlichen Grabenkämpfen, traten aus ihnen eine neue Generation von Vokalartisten in Jazz und Pop hervor, die in den 50er Jahren den populären Gesang zu einem ersten Höhepunkt führten. Einige der damals besten Sänger*innen der Populären Musik waren Ella Fitzgerald,Billie Holiday, Frank Sinatra oder Judy Garland.
Ein zweiter Höhepunkt erreichte der Gesang in den 90er Jahren des 20. Jahrhunderts mit Sängerinnen, die fast jede Gesangstechnik virtuos beherrschten, zum Beispiel Whitney Houston, Mariah Carey oder Céline Dion.
Register («vocal range»)
Bildquelle: SingWise
Man unterscheidet sechs Stimmregister nach Geschlecht und Stimmhöhe: Bei den Frauen Sopran, Mezzosopran bzw. Alt und Contralto, bei den Männern Tenor, Bariton und Bass. Jede Sängerin oder jeder Sänger kann einer dieser Stimmlagen zugeordnet werden.
Stimmarten
Jede Stimme kann unabhängig vom Register mit Bruststimme und Kopfstimme singen. Die erste benutzt Bauch und Brust als Resonanzkörper, die zweite presst die Stimmbänder mehr an und benutzt die Hohlkörper in Hals, Mund und Nase als Resonanzkörper. Die Kopfstimme beim Mann heisst «Falsett». Auf Falsett spezialisierte Tenöre heissen auch Countertenöre. Sie erreichen eine Stimmregister, das sonst der Alt-Stimme zukommt.
Weitere Stimmarten sind Strohbass (vocal fry) und Pfeifstimme («whistle register»)
Gesangs-Stile («vocal style»)
Die Populäre Musik des 20. Jahrhunderts hat eigene und prominente Gesangs-Stile hervorgebracht, die sich vom klassischen Operngesang («operatic singing») und seinem Vibrato abheben:
– Belting
– Crooning
– Falsett
– Gritty Vocals
– Raspy Vocals
– growly
– Neo-punk Nasal-Technik
– Hauch-Stimme («breathy quality»)
– Pixie-Stimme
– speech-song und
– Rap
Rock Gesang
Die Frontleute in Rockbands sind oft in vokaltechnischer Hinsicht keine guten Sänger*innen. Statt auf klassische Stimmbildung kommt es im Rock auf etwas anderes an, das Roland Barthes «grain of the voice» genannt hat (siehe Essay in Image Music Text). Für den Rock 'n' Roll der 1950er und 1960er Jahre hat sich Michael Hicks mit den Gesangstechniken auseinandergesetzt und unterscheidet Roar, Buzz und baby talk (Sixties Rock. Garage, Psychedelic, and Other Satisfactions).
Sting sagt im Rick-Beato-Interview, ein Sänger in einer Rockband könne kein Baritone sein. Der Grund ist, dass die Gitarre(n) dieses Register beherrschen. Es sei wie ein Kommandant in der Armee, der mit hoher Stimme über der Tonlage der Schüsse befehlen muss, um gehört zu werden.
Rock Sänger und Sängerinnen
In der Rockmusik stehen Sängerinnen und Sänger in puncto Wichtigkeit hinter den Bands. Als Faustformel gilt: Rock ist primär Musik, die von Bands gemacht wird. Dennoch hat das Genre einige wichtige Solo-Vokal-Acts hervorgebracht, beispielsweise Janis Joplin, Rod Stewart, Elkie Brooks, Bette Midler, Pat Benatar, PJ Harvey, Melissa Etheridge.
Im von Männern dominierten Genre der Rockmusik sind Frauen um so beeindruckender, wenn sie Erfolg haben: Tina Turner, Patti Smith / Patti Smith Group, Janis Joplin solo und mit Big Brother And The Holding Company, Debbie Harry von Blondie, Stevie Nicks von Fleetwood Mac, Joan Jett von den Runaways und von Joan Jett And The Blackhearts, Chrissie Hynde von den Pretenders, Kathleen Hanna von Bikini Kill und Le Tigre, Grace Slick von Jefferson Airplane, Jefferson Starship und Starship, Ann Wilson von Heart, Siouxsie Sioux von Siouxsie And The Banshees, Lita Ford von den Runaways, Kate Pierson von B-52's, Donita Sparks von L7, Dolores O'Riordan von den Cranberries, Courtney Love von Hole, Gwen Stefani von No Doubt und Solo, Shirley Manson von Garbage, Karen O von den Yeah Yeah Yeahs, Kim Deal von den Pixies und den Breeders, Hayley Williams von Paramore, Brittany Howard von Alabama Shakes, Jenny Lewis von Rilo Kiley.
Querverweise
– Roar
– Buzz
– baby talk (Gesang)
– speech-song
– Buzz
– Buzz
Links
– Sam Graham: The Different Voice Types for Singing Rock (School of Rock)
– Matt Ramsey: Falsetto, vibrato, and other natural vocal effects you should master (Disc Makers, 17. Sept. 2019)
– Ilana Kaplan: Best Female Rock Singers: An Essential Top 30 Countdown (Udiscovermusic, 11. März 2019)
– Dave Whitaker: The Top 100 Singers of All Time (Dave's Music Database, 26. Januar 2022)g
Genreklassifikation Tag
Musikzimmer verwendet ein dreiteiliges System von Genrebezeichnungen (siehe unten). Genres stehen zueinander in chronologischer und systematischer Beziehung. Das Netz dieser zeitlichen und logischen Beziehungen bildet eine Genreklassifikation, die in Genremaps visualisiert werden können.
Musikalische Genres
Genrebezeichnungen werden verwendet, um Werke der Literatur, Kunst oder Musik zu klassifizieren, um sie relativ homogenen Klassen zuzuordnen, die bestimmt sind durch stilistische (und andere) Merkmale. Genre ist aber keine rein deskriptive Kategorie, sondern eine der Intertextualität, genauer der Herkunft. Wenn ein Werk zu einem Genre gezählt wird, heisst das, dass es Ähnlichkeiten mit prototypischen Werken in der Vergangenheit aufweist. Eine/Jede Heldengeschichte zum Beispiel trägt Züge der «Odysee» von Homer. Jeder Entwicklungs- oder Bildungsroman trägt Züge der «Geschichte des Agathon» von Christoph Martin Wieland. Heute konstruiert man Genres eher synchron als diachon, was die Folge und Lehre des Strukturalismus sein dürfte. Man versucht ein Genre auf eine Menge von Merkmalen zu reduzieren und erhält so Kategorien mit verschwommenen Grenzen.
Herkunft von Genrebegriffen
Viele Genrebegriffe kommen durch Musikkritiker*innen in die Welt. Zuweilen werden sie von Plattenlabels erfunden und manchmal erfindet man sie gar nicht, sondern rekombiniert sie (aus Folk und Rock wird Folkrock).
Gebrauch
Aus der Sicht von Künstler*innen ist ein Genre eine Form, die sich ästhetisch gestalten lässt, d.h. die Genrekonventionen können bedient werden (Beispiel: Tanzmusikproduktion) oder sie können bewusst verletzt werden (Dylan, der in Newport elektrischen Folkrock spielt). Manchmal entsteht durch Verletzung der Konventionen ein neues Genre. Auch können diese Formen kombiniert werden (die Byrds spielen Folksongs im Stil englischer Beatbands).
In den Medien, die über Musik berichten oder Kanäle mit Musik füllen, dienen Genrebezeichnungen zur Aufmerksamkeitslenkung. Sie helfen, wenn über eine Neuveröffentlichung (oder ein Konzert) geschrieben oder berichtet wird, diese Musik ästhetisch zu verordnen. Medien können Genrebezeichnungen pflegen, so dass die Grosszahl ihrer Konsumenten wissen, was unter ihnen zu erwarten ist. Mit der Zeit versteht eine Leserin von The Wire was «Avantrock» ist. Genrebezeichnungen clustern genügend ähnliche Musik und reduzieren damit die Komplexität, mit der über Musik geschrieben oder gesprochen wird.
Genrebezeichnungen findet man auch in Diskografien und in Musikdatenbanken. Nach Genres suchen kann man beispielsweise bei AllMusic oder in Rate Your Music und natürlich in Onlinelexika wie Wikipedia (vor allem das englische), wo hingegen in Discogs Genres nur als Attribut verwendet werden.
Die Industrie führt die Konsumenten von Radioprogrammen sowie die Schallplatten- bzw. CD-Käufer*innen mittels Genrebezeichnungen zum Produkt: Genrebezeichnungen spezifizieren Spartenradio-Programme und sie leiten Kunden in CD- und Schallplattenläden zu den Regalen, mit der für sie interessanten Musik. Wie Pachet und Cazaly (A Taxonomy of Musical Genres (PDF), 2000, S.2) beschreiben, arbeiten diese Taxonomien in der Regel auf vier Stufen:
– globale musikalische Kategorien wie Klassik, Jazz, Rock,
– Subkategorien wie Hardrock, Oper, Swing,
– alphabetische Ordnung der Interpreten bzw. Musiker*innen und
– die einzelnen Alben selbst.
Man kann wohl mit Aucouturier und Pachet (Representing Musical Genre: A state Of The Art (PDF), 2003, S. 83) behaupten, dass die Genrezugehörigkeit die beliebteste Beschreibungskategorie von Musik darstellt. Deshalb findet man sie auch in gängigen Musikdatenbanken im Internet und der Musikzimmer-Datenbank. Musikzimmer bietet Navigationsmöglichkeiten bei Genres an. Navigierbare Genres erlauben einen praktischen topdown Zugriff auf Musik: Über eine Genrebezeichnung wie Garagerock findet man viele spannende Bands und Alben. Oder wenn man ein Album wie Ys von Joanna Newsom mag, dann findet man über Genreverwandtschaften andere Alben, die einem auch gefallen.
Vagheit
Genres sind wie die Definition am Anfang dieser Seite zum Ausdruck bringt vage Kategorisierungen ohne klare Grenzen. Folgende Dimensionen machen die Vagheit von Genreklassen mit aus:
Genrebezeichnungen sind mehrdeutig. R&B kann Rhythm & Blues zur Zeit nach dem zweiten Weltkrieg bezeichnen und Urban Contemporary der 90er und der frühen 2000er Jahre.
Genreklassen sind inkonsistent. Es wird nach musikalischen Formen eingeteilt (diese betreffen teils die Form des Rhythmus, teils die Form der Komposition: Beat, Rock, Symphonie), nach Instrumenten (Synthpop, Guitar Virtuosos), nach Nationen (Krautrock), nach Aufführungspraxen (Oper, Ballet, Chorwerk, Kirchenmusik, Dance), nach historischen Perioden (die akademische oder sogenannte «klassische» Musik verwendet Genreangaben wie: Barock, Klassik, Romantik etc.) usw.
Genre-Taxonomien sind hierarchisch; es gibt Genres und Subgenres. Dabei kann die selbe Bezeichnung einmal für ein Genre, ein anderes Mal für die Bezeichnung eines Subgenres fungieren. Indie kann ein Genre oder ein Subgenre (von Rock oder Pop) sein. Rhythm & Blues kann für praktisch die gesamte afroamerikanische Popmusiktradition stehen oder für deren Phase nach dem zweiten Weltkrieg bis zum Soul.
Klassifikationen von Genres sind teils taxonomisch (begriffslogisch), teils genealogisch (geschichtlich). Eine genealogische Verbindung zweier Genres zeigt eine musikalische Entwicklung. Beispielsweise entsteht Mersey-Beat aus Rhythm & Blues, Rock’n’Roll und Skiffle.
Genreklassifikationen bzw. die Summe aller verwendeten Genrebezeichnungen ist sehr unterschiedlich. Musikläden kommen mit vielleicht fünf Genres aus, Musikdatenbanken wie der AMG arbeiten mit über 500 Genrebezeichnungen. Zwischen diesen Extremen liegt ein Faktor von 100! Je mehr Bezeichnungen, desto genauer, aber auch desto schwieriger zu verstehen. Grafische Repräsentationen mögen das ertragbare Mass von Genrebezeichnungen anheben.
Immer wieder kommen neue Genres hinzu, was die Klassifikation schwierig macht. Ein neues Genre schafft neue Abgrenzungen und Zuordnungen.
Das alles schlägt negativ zu Buche: Genrebezeichnungen sind vage und demzufolge fehlt der Konsens weitgehend (siehe hierzu auch Pachet & Cazaly, 2000, S. 3).
Ivan Sterzinger schreibt in der Zürcher Fabrikzeitung über das Verschwinden von Stilgrenzen im Internet: «Networking-Plattformen wie Myspace, Fairtilizer und Last.fm […] ändern auch unser Musikverständnis. Stilbegriffe werden aufgeweicht, Hörgewohnheiten individualisiert. […] Bisher hatten Radios, Fach- und Gratiszeitungen bei der Vermittlung von populärer Musik immer eine Sonderstellung inne. Über sie wurde Musik verbreitet, sie entschieden, welche Musik letztlich bei der Hörerschaft ankam und in welchen Kontext diese Musik gestellt werden sollte.» (Fabrikzeitung 235, 10/2007, S. 2) In Webapplikationen, wo die User selbst über Stilbezeichnungen verfügen, sind sie vielfach überfordert oder unentschieden. Im ersten Fall potenzieren sich die Schwierigkeiten, die auch bei Profis auftreten, House wird zu Techno, Folk zu Rock oder Heavy Metal zu Punk. Die Beliebigkeit regiert. Im Fall der Überforderung greifen Nutzer zu Restkategorien wie «Anderes». Durch beide Tendenzen verschwinden Genregrenzen zunehmend.
Genrebezeichnungen als Autorleistung
Ist es aber nicht auch möglich, die Vagheit, Unbestimmtheit und die fehlende soziale Verbindlichkeit der Genrebezeichnungen als Tatsache anzuerkennen und diese gar positiv zu wenden und zu sagen, es ist eben die Leistung eines Autors, der sich mit der Geschichte und den Formen der Musik auseinandergesetzt hat, Genrebezeichnungen einzuführen und einigermassen konsistent zu verwenden? Es ist typisch, dass Ingenieure, Datenbank-Designer, die einen technischen Background haben, diese philologische/kunstgeschichtliche Tatsache verkennen.
Musik ist eine Kunstform. Kunst ist als Ausdruck von Menschen so facettenreich, dass es keine einfache und sozial verbindliche Nomenklatur über Genres und Stile geben kann.
Genealogie und Taxonomie
Die Genres der Musikzimmer-Datenbank leiten sich nicht allein von taxonomischen Überlegungen her ab, sondern stellen eine Art Musikgeschichte im Überblick, also eine Geneaologie dar. Eine Betaversion einer sochen Genealogie ist bereits seit einiger Zeit als Genremap von Musikzimmer online.
Und so gibt es innerhalb von Musikzimmer.ch zwei positive Zwecke für die Zuteilung von Genrebegriffen zu Alben und Songs: Diese Zuteilung lebt nicht so sehr von der Richtigkeit, sondern von den sich daraus ergebenden Querverbindungen, von Alben und Songs, die stilistisch zu einander gehören (synchrone Querverbindung, Logik der stilistischen Ähnlichkeit) und die genealogisch miteinander zu tun haben (diachrone Querverbindung, Logik der Genealogie).
In Musikzimmer verwende ich in taxonomischer Hinsicht dreistufige Genrebezeichnungen. Die drei Stufen sind: «Sparte – Genre – Stil».
Als Genres verwende ich diejenigen Genrebezeichungen, die in Schallplattenläden Departemente, Abteilungen gebildet haben oder die bei Radiostationen as Sparten bezeichnet werden: Akademische bzw. «klassische» Musik, Pop, Rock, Jazz usw. Es gibt eine Übersicht über die verwendeten Sparten als kognitive Karte. Darin sind allerdings Volksmusik-Sparten wie Afrikana, Caribbeana, Europeana, Latin und Oriantalia nicht eingezeichnet.
Als Sparten verwende ich speziellere Bezeichnungen, die Fans und Sachverständigen durchaus geläufig sind oder sein müssten: In der Sparte Rock sind das zum Beispiel: Bluesrock, Hardrock, Psychdelicrock, Progrock, Glamrock, Artrock, Punkrock usw.
Als Stile verwende ich Begriffe, die ein Genre weiter zu spezifizieren vermögen. Oft sind es geografische Kriterien, die hier ins Spiel kommen. Im Fall von Punkrock beispielsweise New York Punk, Cleveland Punk, London Punk, Manchester Punk. Die Stilbegriffe sind für mich optional, d.h. ich bin bereits zufrieden, wenn ich einem Release oder einem Song eine möglichst genaue Sparten- und Genrebezeichnung zuordnen kann.
Gattungen
Man unterscheidet zwischen traditioneller Musik (Folklore), Populärer Musik und Kunstmusik. Diese drei Felder sind Gattungen, nicht Genres!
Aufzeichnungen
Diese Unterscheidung ist medial und semiotisch: Traditionelle Musik zeichnet sich durch folgende Kriterien aus: Sie ist oral überliefert, kulturell partikulär, frei von Autorenrechten, präglobal, präkommerziell, komemorativ. Traditionelle Musik wurde lange Zeit typischerweise nicht aufgezeichnet. Das Kriterium der Oralität ist etwas unscharf, denn es gibt natürlich Tonaufzeichnungen von traditioneller Musik. Die vielleicht berühmteste Sammlung früher Folkmusik stammt von Harry Smith (die Anthology Of American Folk Music). Die dort aufgezeichnete Musik ist archiviert und wurde nicht extra als Medienprodukt produziert. Man könnte hier das Kriterium der Autentizität verwenden, aber ich ziehe die semiotische Bezeichnung von ikonischer Abbildung vor. Wenn traditionelle Musik zu Archivierungszwecken aufgezeichnet wird, belibt sie deswegen traditionell und wird nicht Popularmusik. Die Unterscheidung von Popularmusik und Kunstmusik kann man mit dem Kriterium der Ausbildung der Musiker machen. Wer eine Akademie besucht hat, gehört eher in die Kunstmusik-Ecke. Natürlich ist die Grenze zwischen Kunst und Pop fliessend: Die Gründer von Artrock- und Postpunk-Bands waren Artschool-Abgänger und als solche bestens mit ästhetischen Prinzipien vertraute Musiker. Konzeptionell (nicht notwendig auch spieltechnisch) waren sie Kunstmusikern ebenbürtig.
Tabellarische Darstellung musikalischer Grundformen
Musiker haben oder haben nicht eine akademisch oder quasi-akademische Ausbildung – soziale Trennung zwischen Musikern und Publikum, oft aber nicht notwendig gibt es eine Abrbeitsteilung zwischen Komponisten und Interpreten.
Orthogonal getrennt werden folgende zwei Dimensionen:
“Art – Pop”: eine soziale Einteilung der Musik; diese Einteilung ist gradueller Natur: Musiker haben eine akademisch oder quasi-akademische Ausbildung; hinzukommen kann eine Abrbeitsteilung zwischen Komponisten und Interpreten, die als Indikator für akademische Musik sein kann
“oral – geschrieben – aufgezeichnet”: eine mediale Einteilung der Musik; diese Einteilung ist eher eine prinzipielle
Dadurch entsteht folgende Tabelle:
|
Traditionelle Musik |
Geschriebene Musik |
Aufgezeichnete Musik |
|
|
Kunstmusik |
Früher Jazz |
Klassische Musik, Moderne Akademische Musik (Serialismus, Minimalismus) |
Improvisierte Musik, Elektronische Musik, Artrock, zum Teil auch Progrock … |
|
Popularmusik |
Blues, Folk, Country |
American Songbook, Brill Building Pop |
Rock, Pop (mit Ausnahmen), Electronica |
Zum Vergleich – Links zu weiteren Genre Maps
– Tigersushi
– Musicmachinery
– Ishkur’s Guide to Electronic Music
– Digitalmusiccollector
– washedashore
– Kubanische Musik
Genre Tag
Der Begriff «Genre» kann verschiedenes heissen. Oft ist er ein Marketing-Begriff, mit dem eine bestimmte Musik verkauft werden soll. Als ein solcher Marketing-Begriff wird er of, besonders von Musker*innen abgewertet, die nicht gerne in eine Schublade versorgt werden, und die es nicht schätzen, wenn ihre Musik als generisch verstanden wird. «Generische Musik», das impliziert der Genre-Begriff gewissermassen, sei nicht eigenständig genug. Und so ist der Genre-Begriff eigentlich nur bei Musiker*innen beliebt, die sich gerne verkaufen lassen oder die sich nicht als Künstler*innen, sondern als Handwerker*innen verstehen. Ganz gut etabliert haben sich Genre-Begriffe in der Clubmusik. Und viele, die über Genre-Begriffe lästern, werten auch die Tätigkeit von DJs und DJ-Produzenten als Handwerk ab. Scheint also alles zu passen: Genre ist entweder ein Verkaufsargument oder eine Bezeichnung für generische und funktionale Musik.
Genre und Intertextualität
Mit der ästhetischen Kategorie «Genre» ist im weiten Sinn etwas gemeint, was Verwandtschaftsbeziehungen einer Musik mit anderer Musik zum Ausdruck bringt. Es ist das, was in der Philologie, der Text-Theorie oder Semiotik durch Gattungen und Textsorten beschrieben wird. Gérard Genette untersucht Genrebeziehungen als «Architext» (siehe: The Architext. An Introduction (1992). Das Feld der musikalischen Genres (i.w. Sinn) lässt sich nach den drei wissenssoziologischen Kategorien von Luhmann differenzieren: sachlich (Genres i.e.S., Sparten), zeitlich (Stile und Epochen) und sozial (in Musikzimmer in der Regel auf der stilistischen Ebene: New-York-Punk - London-Punk). Die sachliche Differenzierung heisst auch «taxonomisch» und die zeitliche «genealogisch», wobei letztere eher Epochen (Zeitabschnitte mit verschiedener Ästhetik) konstituiert. Der ästhetische Charakter von Genrebegriffen ist nie ganz rein, sondern mit allerlei kommunikative Dimensionen wie Produktion, Funktion/Gebrauch, Kontext oder Medienkanal vermengt. «Disco» ist zum einen eine rein ästhetische, zum andern aber auch eine funktionale Kategorie (Musik, die in einer Diskothek zum Tanzen aufgelegt werden kann). Gerade in der Anfangszeit von Disco ist das wichtig, weil es noch nicht so viel Disco-Musik gibt und sich DJs bei anderen Genres bedienen, bei Rock, Latin, Soul, Jazz oder Funk.
Genre im Musikzimmer
In Musikzimmer steht der Genre-Begriff in einer Hierarchie von Gattung - Sparte - Genre - Stil.
– siehe auch die ausführlichere Darstellung: Einführung in die Genre-Klassifikation von Musikzimmer
Querverweise
– Format
– Gattungen
– Sparte
– Stil
– Genrediskografien
– Genreklassifikation
– Genremaps
Genie Tag
Das «Genie» oder «Originalgenie» wurde in der Literatur der Sturm und Drang Zeit erfunden und bezeichnete ein Künstler-Subjekt, das selbständig über sein Werk herrscht. William Shakespeare wurde als Vorbild gefeiert.
Kunst galt damals als Nachahmung (mimesis) und man differenzierte Nachahmung der Natur und Nachahmung der Tradition (der Meister der Vergangenheit). Kunst galt als Original, wenn ein Künstler gut darin war, nach der Natur zu schaffen.
Begriffsherkunft
«Genius» hiess in der römischen Religion der persönliche Schutzgeist eines Mannes. Dieser war verantwortlich für seine Persönlichkeit, Zeugungskraft und für sein Schicksal. Der Genius stirbt mit dem Menschen.
Genieästhetik
Die Genieästhetik des Sturm und Drang war eine Gegenbewegung zur barocken und klassizistischen Regelpoetik (etwa von Johann Christoph Gottsched). Dort wurden überzeitliche Regeln zur Kunstproduktion und -interpretation festgehalten, die nun als starres Regelwerk einengend wirkte.
Historisch wurde der Genie-Begriff sowohl von der Wiener und Weimarer Klassik als auch von der Romantik aufgegriffen und weiterentwickelt.
Moderne
Heute gilt als Genie, wer aussergewöhnlich intelligent, schaffenskräftig oder originell ist.
Generative Musik Tag
Der Begriff stammt von Brian Eno und umfasst Musik, die Maschinen/Geräte aber auch Musiker miteinander zu einem kybernetischen System verschaltet. Das Resultat der Verschaltung ist dabei nicht simpel (eine Addition der Wirkungen/Äusserungen), sondern komplex: Die Musik verändert sich stetig und bringt überraschende Klänge hervor, die man aufgrund des Inputs der einzelnen Genreatoren, Prozessoren und Musiker/-innen nicht erwarten würde.
Generationentheorie Tag
It's every generation throws a hero up the pop charts – Paul Simon, The Boy In The Bubble
Der Soziologe Karl Mannheim hat die Generationssoziologie begründet. Dabei hat er den Begriff der Generation aus dem Kontext der Familienforschung in die Gesellschaftstheorie überführt. Die damit verbundene Vorstellung ist, dass jede soziologische Generationskohorte durch gesellschaftspolitische Entwicklungen geprägt wird. Auf der Basis der vorgefundenen Erfahrungen, die eine Generation mit der früheren Elterngeneration und den historischen Bedingungen macht, bilden sich bestimmte Orientierungsmuster aus, die verhaltensrelevant sind. Von prägender Kraft sind Generationserfahrungen in der Jugend. Divergierende Erfahrungen zwischen einer jungen Generation mit ihrer Elterngeneration (eng. «genration gap») können vermittelbar oder nicht vermittelbar sein. Im zweiten Fall kann es zu Generationskonflikten kommen. Zum Beispiel die Haltungen und Werte der Hippie Generation waren in der zweiten Hälfte der 1960er Jahre kaum mehr mit denjenigen der Silent Generation vermittelbar. Auf diese Weise lassen sich Generationskonflikte verstehen, die sich bis zu Jugendkrawallen aufbäumen können.
In der Marktforschung werden verschiedene Konsummuster mit den Generationen verbunden. Bei der Verwendung des Generationsbegriffs und der Generationentheorie muss man sich bewusst sein, dass das Abstraktionsniveau sehr hoch ist, so dass die Binnendifferenzierung gewissermassen zugunsten der Generationsdifferenzierung ausgeblendet wird. Das heisst, wenn man von einer bestimmten Generation spricht, beschreibt man nicht die zweifellos unvorstellbare Vielfalt der Menschen, die zu jeder solchen Generations-Kohorte gehören, sondern Erfahrungs-, Konsum- oder Verhaltensmuster, die sich in der historischen Dimension ändern.
Der Begriff der Generation unterscheidet sich vom Begriff der Altersgruppe. Ein Mensch gehört sein Leben lang zur selben Genration aber durchschreitet verschiedene Altersgruppen und mehr verschiedene Altersgruppen, je länger er lebt. Eine Generation wird durch eine Reihe von Geburtsjahrgängen bestimmt, wobei die Grenzen der Generation genau wie die Grenzen bei der historischen Epochenbildung festgelegt werden müssen. In der empirischen Markforschung müsste man Epochengrenzen also empirisch belegen können. Im Rahmen einer geisteswissenschaftlichen oder historischen Auseinandersetzung sind Generationen oft Muster, die die Historikerin oder der Historiker benutzt, um Entwicklungen zu erkennen und darzustellen.
Der soziologische Begriff der Generation und die damit verbundene Generationentheorie dient der Differenzierung der Gesellschaft über historische Zeiträume hinweg. Sie hat eine vergleichbare differenzierende Erklärungskraft wie andere soziologische Kategorien, beispielsweise «Schicht»/«Klasse» oder «Geschlecht».
Generationen sind historische Gestalten, denen eine gewisse Erklärungskraft zukommen muss. Die Generationsgrenzen, das heisst der erste und er letzte Jahrgang aus einer Reihe von Jahrgängen, deren geborenen Personen eine Generation bilden, sollen nicht beliebig gewählt werden. So ist es nicht üblich, Generationen durch Jahrzehnte festzulegen, also etwa «die in den 1960er Jahren Geborenen» und «die in den 1970er Jahren Geborenen». Die Grenzen müssen etwas Trennendes und etwas Verbindendes haben; sie verbinden die in ihrem Zeitraum Geborenen Menschen miteinander und sie trennen diese von in anderen Zeiträumen geborenen Menschen. Die Generationengrenze muss, statt beliebig festgesetzt zu sein, eine differenzierende Erklärungskraft haben. Man kann die Generationentheorie als eine Art soziologisches Fundament der Historiografie sehen, allerdings nicht im Sinne einer Ableitung der letzteren aus der vorderen, sondern als abgleichende Wechselwirkung oder als hermeneutischer Zirkel: Die Generationsgrenzen bilden die Epochen der Geschichtsschreibung und die Geschichtsschreibung verleiht den Generationsgrenzen ihre Plausibilität.
Es ist auffällig, dass die neueren Generationen X, Y und Z vor allem ausgehend von medialen Entwicklungen beschrieben werden. Soziale Medien seien prägend für die Millennials. Vom Gebrauch Sozialer Medien werden Erlebens- und Verhaltensmuster abgeleitet. Zum Beispiel: Die Millennials sind mit Pornografie im Internet aufgewachsen. Sie haben Porno als Interaktions- und Beziehungsmodell perzipiert, bevor sie irgend etwas davon praktiziert hätten, sie würden sich mit den Beziehungs- und Schönheitsidealen aus Pornos vergleichen, würden unrealistische Ideale aufbauen und stünden unter sozialem Druck, selbst attraktiv und leistungsfähig zu sein. Eine weitere Folge davon sei eine weit greifende Verunsicherung. Der Schluss aus der Lektüre solcher Aufsätze über die heutigen Jungen und Jugendlichen kann nur lauten: Empirische Untersuchungen tun der Diskussion gut und man liest solche Aufsätze und Bücher am besten kritisch auf das Geschäftsmodell hin, das sich hinter den Beobachtungen der selbsternannten Expertinnen und Experten verbirgt. Dass so viel über Generationen gesprochen und geschrieben wird, heisst eigentlich, dass Karl Mannheims Konzept einer Generationssoziologie eine grosse Akzeptanz gefunden hat und heute vielleicht das an Erklärungsmacht verloren habende Klassen- oder Schichtungsmodell der Gesellschaft als primäres Modell gesellschaftlicher Differenzierung abgelöst hat. Die Grundlagen wurden von Mannheim in den 20er Jahren formuliert (Karl Mannheim: Das Problem der Generationen. München, 1928). Karriere gemacht hat die Generationenthorie bzw. die Generationssoziologie ab den 1990er Jahren (Lena Glaubach, 2019).
Generationen
Folgende Generationenbezeichnungen werden häufig gebraucht, stellen aber keinen Konsens dar. In der Literatur und im Journalismus wird eine recht grosse grosse Varianz von Begriffen angeboten. Es ist als würde jede Autorin und jeder Autor das bisherige Begriffsangebot um eine eigene noch treffendere Variante überbieten zu wollen. So werden die Millennials unter anderem auch als «Generation Y», «Generation Porno», «Generation Selfie» oder «Generation Merkel» bezeichnet.
– G.I. Generation
– Silent Generation
– Hippies
– Generation X
– Millennials (Generation Y)
– Generation Z
Wie hängen Generationen mit Populärer Musik zusammen?
Lu Seegers legt in einem Beitrag dar, dass Pop ein Anker zur alterbezogenen Selbsthistorisierung gesehen werden kann. Biografische Erzählungen setzen bei Medienangeboten an: Radiosendungen (Hitparaden in den 1970er Jahren, Sendekanäle wie MTV in den 1980er, Popstars wie Elvis Presley, die Beatles, die Sex Pistols oder Nirvana haben eine ganze Generation im Medienverhalten und in der Selbststilisierung geprägt. Wenn die Geprägten älter werden, nehmen sie in biografischen Erzählungen Bezug auf diese generationsspezifischen Erfahrungen. Soziologisch hat der Vorgang eine Grundlage in grösseren sozio-tektonischen Verschiebungen: Nach dem Zweiten Weltkrieg gewann die Populäre Musik an Wichtigkeit als Sozialisierungsfaktor. Jugendliche verblieben länger in Ausbildung, hatten mehr Freizeit und waren ökonomisch besser gestellt als vordere Generationen junger Menschen. Mit dem Aufkommen der Konsumgesellschaft und des Konsumismus erhielten Konsumgüter wie Platten, Zigaretten, Kleider, Mediengadgets, Fahrzeuge, Frisuren etc. eine wichtige Rolle in der Selbststilisierung. Die Selbststilisierung agierte dabei im Spannungsfeld von Zugehörigkeit und Abgrenzung. Das Resultat war, dass Jugendkulturen entstanden sind, transnational auftretende codifizierte Stilisierungen, die von der Populären Musik und ihren Protagonist/-innen mitgeprägt wurden oder in denen Populäre Musik ein wesentlicher Aspekt war. Der Schluss von Lu Seegers lautet: «Die Popkultur [...] wirkt wie eine Zeitmaschine» (S. 95): Man kann später im Leben im nostalgischen Rückgang auf die Musik der Jugend wieder in das Lebensgefühl von damals einsteigen.
Mit Pop lassen sich aber auch generationsspezifische Erfahrungen verstehen – Rebellionen, Generationskonflikte, Aneignung von Freiräumen und Ausdrucksarten.
Mit dem Generationskonzept lässt sich eine Geschichte erzählen, die frei kommt von a) der in der Geschichtsschreibung der Pop- und Rockmusik üblichen Epochenbildung mit den Jahrzehnten (die Musik der 1960er Jahre und b) von den grossen prägenden Persönlichkeiten. Die 1960er Jahre sind nicht nur Bob Dylan, die Beatles und die Rolling Stones. Es ist auch nicht die hegemoniale US- oder UK-Musik, die eine globale Wirkung entfaltet. Mit dem Konzept der Generation kann man verschiedenen transnationale Kulturelle Formationen (Bewegungen, Trends, Stile) unabhängig von den Superstars beschreiben. Auch in einem popmusikalisch wenig bedeutenden Land wie der Schweiz fanden analoge Prozesse wie in der offiziellen Geschichtsschreibung der angelsächsischen Popmusik statt. Rocker, Hippies, Punks, Clubbers gab es in vielen Ländern. Diese kulturellen Formationen sind nicht nur durch den Einfluss wegweisender Künstlerinnen und Künstler entstanden (wie oben im Motto von Paul Simon), sondern könnten das Resultat generationsspezifischer Resonanzen im Produktions- und Rezeptionsraum von Pop gewesen sein.
Generation Z Tag
Zur Generation Z oder den «young millennials» gehört die Generationskohorte, die von Personen gebildet wird, die ab 1995 geboren sind. Diese Kohorte schafft gegenwärtig (2019) die neuesten musikalischen und technologischen Trends.
Diese Generation sei geprägt von Ernst und emotionaler Verletzlichkeit (Artikel von Slate's Chris Molanphy). Sie gilt als ängstlich und skeptisch. Sie verhalten sich wie neue Puritaner*innen. Sie haben nachweislich weniger Sex, ernähren sich «gesund», nehmen weniger Drogen. Sie lebt vermutlich in einem Feld grosser sozialer Kontrolle über Soziale Medien («shaming», «bullying», «cancelling» als Ursachen von Ängsten). Die melancholische Grundstimmung geht einher mit narzistischen Ansprüchen an die Um- und Mitwelt («ich habe ein Recht zu ...»). Die moralischen Ansprüche auch an sich selber sind sehr hoch.
Arbeitgeber behandeln sie wie Partner auf Tinder. Nichts ist verbindlich, Freundschaften, Verträge, ..., nichts ist gewiss, Gender, Einstellungen, ... Man spricht von der Gen-Z als der fluiden Alterskohorte. Bei der Arbeit wollen sie mitsprechen und die Freiheiten behalten, die sie auf ihrem langen Ausbildungsweg genossen haben.
Die musikalische Sozialisation der Genration Z wurde z.B. geprägt von High School Musical oder Cloudrap.
Vertreter*innen
Justin Bieber, Lorde,Juice Wrld, Lil Nas X und Billie Eilish, Shawn Mendes, Camila Cabello, Lewis Capaldi, Olivia Rodrigo.
Online Verhalten: Umfragen vom Pew Research Center zeigten 2018, dass 45% dieser Kohorte ständig online sind. Neun von zehn Teens sind mehrere Male am Tag online. Diese Generation lernt selbstgesteuert vieles aus Online-Quellen wie Tutorials und Filme von Influencer/-innen. Snapchat ist die beliebteste Kommunikationsplattform.
Musikkonsum: Die beliebtesten Plattformen sind Spotify und Youtube (Midia Consumer Research, UK).
Links
– Stephen B. Gerrard: The Rise of the Comfort College (Bloomberg Opinion, 9. September 2019)
Generation X Tag
Der Künstler ist ein reines Phantasieprodukt seiner Zuhörer. [...] Wir sind die ursprünglichen falschen Propheten. Wir sind die Götter. [...] Wir existieren nicht. Und ich spüre die selbe Leere wie alle anderen, wenn sie an dem Punkt angekommen sind. – David Bowie
Zur Generation X zählen die späteren Babyboomer, die in den mittleren 60er und 70er Jahren geborenen. Es war die Generation von Musikkonsumenten, die mit Punk, Postpunk, Newpop, Indiepop und Alternativerock gross geworden ist, medientechnisch mit MTV. Gegensätzliche Ausprägungen sind Popper und Slacker. Die Generation gilt als zynisch, ironisch, apathisch und unzufrieden. Sie wurden von den Boomern überschattet und tendentiell ignoriert. Es waren viele Scheidungskinder unter ihnen, weil die Scheidungsraten hoch waren wie nie zuvor. Viele Mütter arbeiteten und Tagesstrukturen waren noch nicht vorhanden, was machte, dass viele dieser Kinder unbeaufsichtigt und auf sich alleine gestellt aufwuchsen. Sie wurden schlecht integriert und zogen sich in persönliche Nischen zurück (Musik, Games, Drogen). Das junge Leben der Gen X wurde von der Crack- und der AIDS-Epidemie heimgesucht. Die Kriminalität war gross. Untersuchungen über die Gen X in den mittleren Lebensjahren zeigen sie als aktiv, glücklich und auf eine gute Work-Life-Balance eingestimmt. Viele Vertreter*innen aus deiser Alterskohorte legen sich als Entrepreneure ins Zeug.
Die Gen-X war die erste Alterskohorte, die mit Technologie ihr Leben finanzieren konnte – es gab viele beruflich Umsteiger, die Programmierer oder Informatiker wurden. In dieser Generation haben die Frauen die Männer an den Universitäten zahlenmässig überholt. Sie hat traditionelle Geschlechterrollen hinterfragt und die Diskussion um die Chancengerechtigkeit für Frauen am Arbeitsmarkt angestossen.
Da die Gen-X in Kleinfamilien aufwuchsen und diese Familien vielfach auseinandergefallen sind, sorgen viele Vertreter*innen sowohl für eigene Kinder als auch für ihre Elternteile.
Name, Bezeichnung
Der Begriff «Generation X» wurde verschiedentlich gebraucht: Der ungarische Fotograf Robert Capa veröffentlichte bereits in den frühen 50er Jahren einen Fotoband über junge Leute nach dem Krieg. Die erste Band von Billy Idol nannte sich Generation X. Namengebend für die Generationensoziologie war indes das Buch von Douglas Coupland von 1991: Generation X: Tales for an Accelerated Culture. Das «X» bedeutete im Wesentlichen «unbekannt». Vertreter/-innen der Generation X waren sich und anderen ein Rätsel. Die Entfremdung gepaart mit dem unbedingten Willen, nicht mitzumachen, aus der Gesellschafts-Mühle auszusteigen.
Ein vergleichbarer Begriff ist «Blank Generation» im Song von Richard Hell And The Voidoids (beachte auch deren Gruppenname!).
Wichtige Tracks für diese Generation
– Modern English: Melt with You, 1982
– Violent Femmes: Blister in the Sun, 1983
– Nirvana: Smells Like Teen Spirit, 1991
– Beck: Loser, 1993
Links
– MSN: Not too slack to act: 24 classic Generation X movies (22. August 2015)
Geistige Landesverteidigung Tag
EIne politisch kulturelle Bewegung in der Schweiz, die während der Zeit des Totalitarismus in Europa (Faschismus in Italien, Nationalsozialismus in Deutschland und Kommunismus in Russland) eine erste Blüte erreichte. Die Geistige Landesverteidigung zielte darauf ab gegenüber den totalitären Regimen «schweizerische Werte» zu stärken. Was dies genau hiess, varierte je nach politischer Partei: Die Liberalen sahen in ihr die Stärkung der persönlichen und wirtschaftlichen Freiheiten, die aus dem revolutionären liberalen Erbe des 19. Jhds. stammten, die Sozialisten die egalitäre Gesellschaft durch Überwindung der Klassengegensätze und die Konservativen eine Festigung von Familie und Kirche.
Der Erste Weltkrieg zeigte das Gesicht des modernen Krieges, der alle Beriche des lebens touchierte, auch Berichterstattung, Kunst und Alltag. Moderne Medien wie Film und Rundfunk verbreiteten Propaganda im grossen Rahmen. In den 1930er Jahren verlangten verschiedene Politiker, Intellektuelle und Journalisten eine kulturelle Eigenständigkeit und Unabhängigkeit der Schweiz. Edzard Schade konstatiert am Ende der 1920er Jahre «staatspolitische Debatten um die Neugestaltung der gesellschaftlichen Kommunikationsstrukturen» (Herrenlose Radiowellen, S. 238). Zentralisten gebahrten sich als Modernisten und die konservativen Föderalisten speisten sich aus der ideologischen Nähe zur damals neuen Heimatschuitzbewegung, der Bewegung «Ordre et tradition» in der Wadt, dem chritlichen Traditionalismus sowie aus der abschreckenden Wirkung des nationalsozialistischen Unitarismus und verdichtete sich im Begriff der «Geistigen Landesverteidigung» (ebd.). Der Begriff war, wie Jakob Tanner feststellt, «stark mit dem nationalistischen Diskurs der politisch Rechten verwoben» (Geschichte der Schweiz im 20. Jahrhundert, S. 234).
Politisch wirksam wurd die Idee der Geistigen Landesverteidigung in der bundesrätlichen Botschaft von Philipp Etter am 9. Dezember 1938. Der überparteiliche Schulterschluss einte die neutrale Schweiz inmitten konfligierender Kulturräume in äusserst turbulenten Zeiten. Die Idee war, dass nicht der Staat sondern primär jeder einzelne Bürger Träger dieser Geistigen Landesverteidigung war. Die Pro Helvetia wurde 1938 als private Kulturorganisation gegründet, die Armeesektion Heer und Haus sowie die Neue Helvetische Gesellschaft (NHG). Auch dass das Rätoromanische als vierte Landessprache anerkannt wurde, gehört in diese Zeit.
Wirkung
Die Schweiz blieb im Zweiten Weltkrieg neutral und konnte ihre Eigenständigkeit bewahren. Bis zu welchem Grad die Geistige Landesverteidigung dazu beitrug ist vermutlich strittig.
Einige Kulturbereiche erlebten dank der Geistigen Landesverteidigung eine Blüte: das Verlagswesen, das Theater, das dank aus Deutschland emigrierten Kunstschaffenden zur Weltklasse aufstieg, die aussenpolitische Berichterstattung am Radio Beromünster, bei der sich der Historiker Jean Rudolf von Salis verdient gemacht hat, sowie der Schweizer Film.
Als die Werte der Geistigen Landesverteidigung auch im Kalten Krieg noch stark in den Köpfen verfestigt blieben (die Zielscheibe war jetzt der sowjetische Totalitarismus), 1959 die Dienststelle Heer und Haus neu eröffnet sowie die Arbeitsgemeinschaft für Geistige Landesverteidigung (AGGLV) gegründet wurde, kam Opposition auf: Jean Rudolf von Salis warf der Geistigen Landesverteidigung geistige Bevormundung und Gesinnungsschnüffelei vor. Im Lauf der 1960er Jahren wurden die Institutionen der Geistigen landesverteidigung abgebaut, weil der Bundesrat sie nicht mehr fördern wollte. Als sich die Neue Linke formierte, erblickte sie in ihrem Schussfeld die Geistige Landesverteidigung als totalitäres Instrument der ideologischen Indoktrination und gesellschaftlich uniformen Disziplinierung. 1969 veröffentlichte das EJPD ein Zivilverteidigungsbuch, das noch einmal tief in die Kiste der geistigen Landesverteidigung langte. Darauf reagierten viele mit heftiger Kritik. Nun musste die Geistige Landesverteidigung engültig abdanken.
Seither wird der Bewegung und der Ideologie der Geistigen Landesverteidigung vorgworfen, selbst faschistisch zu sein oder zumindest eine engstirnige Haltung von rechtsbürgerlicher Heimattümelei, die eine moderne Schweiz verunmöglicht, das Land auf den nationalistischen Réduit-Gedanken reduziert.
Links
– Marco Jorio: Geistige Landesverteidigung (Historisches Lexikon der Schweiz, 23.11.2006)
Gegenkultur Tag
The thing [with the counter culture] is we were coming out from under the counter – Wavy Gravy
Eine Subkultur, deren Werte und Ziele sich konträr zu den herrschenden Werten und Zielen einer Gesellschaft verhalten und teils gegen diese gerichtet ist. Beispiele sind die Fahrenden, die nicht sesshaft sein wollen, wie die meisten Menschen in der modernen Gesellschaft, die Bruderschaft der Vagabunden, das war zwischen 1927 und 1933 eine Bewegung von Landstreichern, die der anarchistischen Weltanschauung nahe stand, der Pietismus oder die frühe Arbeiterbewegung. Gegenkulturen bleiben in der Regel lokale Angelegenheiten mit wenig Wirkung im gesellschaftlichen Mainstream. Doch wenn eine Gegenkultur mehr und mehr Anhänger zu gewinnen vermag, kann sie Veränderungen in der Gesellschaft auslösen.
Gegenkulturen nähren sich von (wahrgenommener) Unzufriedenheit, Benachteiligung oder neuen, teils utopischen, Ideen. Gegenkulturen leben dort, wo Leute aktiv etwas unternehmen, um ihre Lebensbedingungen zu verändern. Wie Frank Zappa sagte: «The mainstream comes to you, but you have to go to the underground.» Der Begriff «Gegenkultur» macht im übrigen nur Sinn, wo es eine homogene Mainstreamkultur gibt. In der Postmodernen Gesellschaft gibt es lediglich eine Avantgarde und es gibt Dropouts, aber keine Gegenkultur, wie Barry Miles betont (Spirit of the underground: the 60s rebel, Guardian, 30. Januar 2011).
Im Zusammenhang mit der Modernen und Populären Musik wird der Begriff der «Gegenkultur» vor allem im Zusammenhang mit verschiedenen Subkulturen gebraucht, die sich Mitte der 60er Jahre formierten und programmatisch gegen das «Establishment» und deren Vertreter/-innen (Spiesser, wie man sie nannte) gerichtet waren: Neue Linke, Hippies, Biker, Black Panthers usw.
Vergleichbare Begriffe
– Subkultur
– Untergrund
– Outsider
Links
– Wikipedia (en): Timeline der 60er Gegenkultur
gefalteter Song Tag
«Gefalteter Songs» sind Epic songs, also überlange Songs, die nicht auf die Seite einer Single passten und so auf beide Seiten der Single verteilt wurden, in der Regel als «part 1» und «part 2».
Der Tag wird einserseits Songs gegeben, die als kurzer Single-Track erfasst sind, andererseits für Songs als integrale Tracks (part 1 zusammen mit part 2). Die letzteren Versionen sind meistens erst im CD-Zeitalter veröffentlicht worden.
Gattungen Tag
Als musikalische «Gattungen» werden üblicherweise Folklore, populäre Musik und akademische Musik behandelt. Was die drei genau unterscheidet ist theoretisch umstritten.
Die Begriffe stammen aus der Kunsttheorie, die analog unterscheidet:
– die Schönen Künste (engl. «fine arts»)
– die Volkskunst oder Folklore (engl. «folk arts»)
– die Populären Künste (engl. «popular art»).
Als Unterscheidungskriterien für die drei Kunst- oder spezifischer: Musik-Gattungen wurden soziologische Faktoren angegeben, z.B.:
– die Art der Tradierung (schriftlich, oral, technische Aufzeichnung)
– die Zugehörigkeit von Produzenten oder Rezipienten zu einer Klasse/Schicht (Ober-, Mittel- und Unterschicht) oder
– die Finanzierung (Förderung durch die öffentliche Hand oder durch private Geldgeber/-innen, Unabhängigkeit von Finanzierung, unternehmerische Finanzierung).
Die Grenzen zwischen den drei Gattungen sind nach wie vor intakt, entgegen der Ideologien, die versuchen, sie zu verwischen oder Wertungen, die mit den verschiedenen Gattungen einher gehen, abzutragen. Ein Beispiel jedoch, das jenseits dieser Unterscheidungen agiert, ist die unabhängige englische Musikzeitung The Wire, die von moderner Musik
spricht und alle Arten von Musik einschliesst, Moderne Klassik, Jazz, Improvisation, Rock, Weltmusik, Hip-Hop, Electronica, ..., sofern sie etwas über über ihre jeweilige historische Bedingtheit aussagen können.
E und U
Oft kann man statt der Gattungs-Trias von einer Distinktion zwischen High- und Low-Arts lesen, zwischen der ernsten und der unterhaltenden Kunst, wobei in der Extremauslegung nur die ernste wirklich Kunst ist, alles andere einfach Unterhaltung. Diese Dualität ist nicht wirklich eine Vereinfachung der drei Gattungen, sondern ein wertender Diskurs, den man nur vom hohen Ross der ernsten Kunst herab mit Gewinn führen kann.
Links
– Christian Schorno: Präsentation (privater Link)
Gated Reverb Tag
Ein Drum Sound, der von Techniker Hugh Padgham und Phil Collins bei der Aufnahme von Peter Gabriels Melt Album entwickelt wurde. Eigentlich wurde er entdeckt, weil er bereits als Talk-Back-Funktion in ein Mischpult eingebaut war (Vox Earworm Video). Der Effekt gibt einer Snare- oder Kickdrum einen wuchtigen Klang. Gated Drums wurden vor allem in den 80er Jahren ubiquitär eingesetzt und gelten deshalb als Kultsound jener Zeit.
Gated Reverb ist eine Produktionstechnik, welche zwei Arten von Effektgeräten miteinander kombiniert: ein Reverb (Hallgerät) und ein Noise Gate. Mit Reverb wird der Trommel in einen grossen virtuellen Raum gesetzt und mit dem Gate werden die leisen Töne weggeschnitten.
Heute ist der Effekt digital verfügbar und wird gerne von Produzenten wie Ariel Rechtshaid oder Jack Antonoff verwendet.
Links
– Kevin Hilton: 'Out came this ginormous sound': Hugh Padgham on 'accidentally discovering' the gated reverb drum sound (PSN Europe, 21. Februar 2018)
– Vox Earworm: How a recording-studio mishap shaped '80s music. Video Feature (18. August 2017)
Ganztonskala Tag
Die Ganztonskala besteht aus sechs Tönen im gleichen Abstand: C – D – E – F# – G# – A#. Wenn man diese Töne spielt, haben Melodien einen traumhaften Charakter, weil die Tonika fehlt und es damit harmonisch weder Skala noch melodisch eine Auflösung gibt. Es gibt, da es keinen Grundton gibt, nur zwei solche Skalen, die eben genannte und diejenige mit den sechs anderen Tönen.
Wegen ihrem melodischen Mangel wird die Ganztonskala selten länger eingesetzt als ein Intro lang oder in einem Zwischenspiel – zum Schmuck («flavour») oder als musikalischer Effekt.
In der Klassischen Musik hört man Ganztonskalen bei Claude Debussy («Voiles»). Wolfgang Amadeus Mozart verstand die Ganztonskala als Spass, aber verwendet sie in «Ein musikalischer Spass».
Fuzz Tag
Fuzz heisst eine spezifische Art Verzerrung, die meistens mit E-Gitarren benutzt wird. Die Fuzz-Verzerrung entsteht durch zwei in Serie geschalteten Verstärkerstufen, wobei die erste die zweite übersteuert. Zum einen wird damit das Signal in Richtung Rechteck-Schwingung verformt, zum anderen entsteht eine Kompression der Dynamik.
Bevor es Fuzzboxen gab, wurden defekte Röhrenverstärker für ähnliche Effekte eingesetzt: etwa bei Rocket 88, Rumble, The Train Kept A-Rollin. Bei Don't Worry war ein defekter Vorverstärker für den Fuzz-Sound verantwortlich und Dave Davis von den Kinks bearbeitete den Lautsprecher seines Gitarrenverstärkers mit einer Rasierklinge, um den Sound von You Really Got Me zu erhalten. Solche Tracks mit defektem und manipuliertem Equipment werden im Musikzimmer unter dem Stichwort Defect Effects geführt.
Ab 1962 waren Fuzzoxes auf dem Markt erhältlich. Die erste war die Gibson Maestro FZ1 Fuzz-Tone, die Keith Richards bei Satisfaction anwendete.
Links
– Hewitt's Garage Studio: Fuzz and Distortion Timeline
– HS Pedals: Origin of Fuzz (JHS VLOG, 27. Juni 2018)
– Damian Fanelli: Essential Listening: 10 Great Fuzz Guitar Songs (Guitar World, 29. Mai 2018)
– Doron Barness: 130 greatest fuzz songs of all times (Fuzz Quest, 21. Mai 2012)
freeDB Tag
CD-Player haben CDs einfach abgespielt. Sie konnten keine Informationen zum Tonträger abrufen, weder von der CD, die solche Infos nicht enthält, noch aus dem Internet, weil erst neuere Geräte mit dem Internet verbunden sine können. Wenn man eine CD auf dem Computer oder Laptop abspielt, dann können Informationen online abgefragt werden. Player wie iTunes, «Winamp» oder VLC sowie Software zum rippen oder Kopieren von CDs fragen die Infos zu einer CD bei «freeDB» oder bei «Gracenote» ab. Der Unterschied dieser zwei Anbieter liegt darin, dass «freeDB» ein Comunity-Projekt ist und «Gracenote» von einer Firma betrieben wird.
Man findet bei «freeDB» nur sehr basale Informationen wie Act, Titel, Cover, Erscheinungsjahr, Gesamtspielzeit, Trackliste mit Angabe der Dauer plus die Disc-ID.
Am 31. März 2020 wurde «freeDB» eingestellt (siehe BitBlokes: Freedb.org macht dicht – die freie Datenbank ab 31. März 2020 eingestellt). Als Alternative wird MusicBrainz empfohlen.
Freaks Tag
Freaks sind Personen, die vor allem in ihrer Erscheinung aber auch im Verhalten aussergewöhnlich sind. Früher wurden Freaks in Shows und Jahrmärkten als Attraktion vorgeführt. Seit man das nicht mehr machen soll, fehlt vielleicht der Bezug dazu, was ein Freak ist, denn heute wird jeder Eigensinnige und Abweichler als Freak bezeichnet. Klar, dass es in der Kunst es einige Leute gab, die sich als Freaks inszeniert haben. Unter dem Stichwort «Freaks» ist Musik von solchen Freak-Künstlern enthalten, sowie Stücke, die Freaks thematisieren. Ihre Musik besteht aus Parodien, Travestien, Freakshows. Sie als Personen zeigen viel Sinn für abgründigen, teils kranken, d.h. sarkastischen und grotesken, Humor.
Freaks als eigene Gruppe von Hippies in Los Angeles
Zur Freak-Szene in Los Angeles gehörten z.B. Captain Beefheart And His Magic Band oder Frank Zappa mit seiner Begleitband Mothers of Invention (vergleiche Freaks [60s Sunset Strip Scene]).
Funk- und Disco-Freaks
Wie sehr Funk und Disco vom karnevalesken Treiben der Hippies abschaute, wird klar, wenn man sich die Nummern anhört, die Freak im Titel haben: Le Freak (gemeint ist ein Tanz, der aber als Name von einer Person abgeleitet ist), Super Freak, Out Come The Freaks, He Was A Big Freak, I'm a Big Freak oder Freaks Come out at Night. Die Freaks der Disco-Szene waren weniger die Figuren aus dem Film von Tod Browning von 1932. Die Freaks hier sind abgedreht gekleidete Gestalten wie von den Plattenhüllen von Parliament, Leute devianter sexueller Präferenzen mit unstillbarem sexuellen Appetit.
Freakfolk
Das Freakfolk Genre der 2000er Jahre wird oft auf seine Folk-Tradition zurückgeführt, beispielsweise in der Mojo-Liste Beyond Folk. Aber es hat auch ein Standbein Tradition der Freaks.
Querverweis
– Freaks [60s Sunset Strip Scene] (Musikzimmer Tag)
Literatur
– Leslie A. Fiedler: Freaks: Myths and images of the Secret Self, 1978. Das Buch untersucht die Rolle, die Freaks in der Kulturgeschichte spielen.
– Albert Goldman: Freakshow, Atheneum, 1971
Frankfurter Schule Tag
Die «Frankfurter Schule» war eine Gruppe von Philosophen, Soziologen und Psychologen, die am Institut für Sozialforschung in Frankfurt lehrten oder diesem verbunden waren. Die Schule verknüpfte die Lehren von Karl Marx und Sigmund Freud zu einer kritischen Gesellschaftstheorie, die als «Kritische Theorie» wirkungsmächtig geworden ist.
Als Hauptwerk der Frankfurter Schule gilt das von Max Horkheimer und Theodor W. Adorno zwischen 1944 und 1947 verfasste Buch Dialektik der Aufklärung
, in dem unter anderem die Populäre Musik (qua «Kulturindustrie») einer scharfen Kritik unterzogen wird, sie sei «Massenbetrug». Die Institutionen der modernen Populären Musik (denke: Tin Pan Alley) stellen Musik quasi industriell her (oft ist in diesem Zusammenhang die Rede von einer «Hitfabrik», speziell bei Motown). Solche musiklischen Produktionen würden diejenige, die sie hören, nicht zur Freiheit erziehen, sondern als Konsumenten unterjochen. Die Musik sei fantasielos und spreche lediglich die untersten Triebe im Menschen an.
Formalismus Tag
Die Ästhetik der Musik hat im 19. Jahrhundert die Schule der Formalisten hervorgebracht. Formalismus bedeutet, dass die Bedeutung eines musikalischen Werks vollständig durch seine Form bestimmt wird.
Die Antipoden der Formalisten heissen Expressionisten. Sie sind überzeugt, das Musik Gefühle weckt, induziert, überträgt. Manchmal nennt man die beiden theoretischen Lager auch Autonomisten und Heteronomisten. Die Frage war: «Was bringt Musik zum Ausdruck?» Autonomisten und Funktionalisten würden sagen: «Sich selbst.» oder «Das eigene Tonsystem.»
Physikalität
Es sind physikalische Qualitäten, die eine Musik annehmen kann. Musik kann …
– dicht oder lose sein
– repetitiv oder aleatorisch (zufällig)
– laut oder leise usw.
Punkrock ist laut und lärmig, Disco repetitiv, wie jede Tanzmusik. Pop ist meist komplex, aber simpel.
Wie unterscheidet sich die Physikalität vom Sound? Sound wird eher durch die Wahl eines Raumes und die Wahl der Aufnahme und WIedergabetechnik bestimmt. Physikalität hingegen hängt eher vom Arrangement und der Spieltechnik ab. Der Unterschied ist graduell und vielleicht scheint die Sache deshalb verworren.
Wir brauchen die Physikalität, um die Funktion einer Musik zu verstehen, insbesondere, warum wir immer wieder glauben, Musik hätte eine Bedeutung oder Musik wirke unmittelbar auf unsere Gefühle.
Intermedialität
Die Physikalität ist ausserdem die Grundlage der Intermedialität von Musik. Weil Musik physikalische Merkmale hat, können wir passende Gefühle haben, können wir zu ihr tanzen (sie in Bewegung umsetzen), können wir in Musikvideos den Eindruck haben, Musik und Bild passen zusammen wie zum Beislpiel bei Disneys Fantasia.
Wenn wir Musik tanzend in Bewegung umsetzen, ist das eine Übersetzung der musikalischen Sprache in die Bewegungssprache. Eine solche Übersetzung ist ein Thema der Intermedialität. Die Übersetzung gelingt, wenn sie sich an die Physikalität der Musik hält.
Folklore Tag
Folklore ist die Kultur einer bestimmten Gemeinschaft, eines Volkes. Folklore gehört niemandem, sondern allen zugleich. Die Populäre Musik hingegen gehört den Verlagen und Labels, die in sie investieren und diese Investition wirtschaftlich verwerten.
Eine kurze Geschichte der Folklore
In der Weimarer Klassik war es Johann Gottfried Herder, der entgegen der Aufklärung an eine nicht universalistische Geschichte bzw. Kulturgeschichte glaubte. Die Geografie, das Volk sind für ihn bestimmend. So sind die alten Griechen eine Kultur für sich, die eine eigene Literatur, Philosophie und Kunst hervorgebracht hat. Ebenso die Deutschen, die Franzosen oder Briten.
Es war dann die Romantik, die sich vom universellen oder klassischen (dem antiken bzw. griechischen Ideal) ab- und zur zur eigenen Kultur hinwandte. Damit gerieten die Sagen, Mythen und Märchen eines Volks oder einer Region in die Aufmerksamkeit.
Im Nationalismus und noch mehr im Faschismus wurde die Folklore aufgeladen und als das Gesunde schlechthin stilisiert (wo Goethe das Gesunde und Starke noch im universalistischen, klassischen Ideal gesucht und gefunden hat).
Transformationen
Wesentlich an der Folklore ist, dass sie allen anderen Künsten zur Verfügung steht. Das heisst sie kann sowohl popularisiert als auch ästhetisiert werden, wobei sie zu einer Hybride wird und ihren ursprünglichen Charakter verliert. Das amerikanische Folk-Revival in der Mitte des 20. Jahrhunderts und danach das britische kommerzialisierten eine Musik, die früher gänzlich unkommerziell war. Das selbe ist in der Akademischen Musik passiert. Komponisten wie Jean Sibelius, Antonín Dvořák oder Claude Debussy liessen sich aus der Folklore, der eigenen oder fremden, anregen.
Fluxus Tag
Fluxus war eine von George Maciunas inittierte avantgarditische Kunstrichtung, die darauf verzichtete, Werke als fertige Strukturen zu schaffen und stattdessen den Prozess betonte, in dem Kunst entsteht, verläuft und vergeht. Fluxus räumte ab Ende der 50er bis in die 70er Jahre mit der bürgerlichen Vorstellung eines Kunstwerkes auf, das als Original fetischisiert wird und damit seine initiale Sprengkraft verliert, indem es einen Warenwert erhält, der nicht das künstlerische Anliegen reflektiert.
Der Name ist aus dem Latein abgeleitet. «Flūxus» heisst «fliessen» und «vergehen».
Zu den Vertreter/-innen dieser Bewegung zählten neben George Maciunas John Cage, George Brecht, Wolf Vostell, Yoko Ono, Joseph Beuys oder Nam June Paik.
Fluss Tag
Das Thema Fluss und Musik
Es geht hier um Songs, die in den Lyrics den Fluss als Symbol oder Denkfigur verwenden (vergleiche auch: Eintrag im Symbollexikon). Es interessieren drei Bedeutungsdimensionen:
1) der Fluss als Anfang und Ende des Lebens
2) der Fluss als Grenze zwischen Leben und Tod (inkl. die Passage dieser Grenze)
3) der Fluss als Lauf der Zeit / des Lebens / der Liebe - er endet im Meer als dem Ende dieses Flusses
1 Anfang und Ende des Lebens
Gospel Songs sind voll von Flüssen am Anfang und am Ende des Lebens. Beispiel: Al Green: Take Me To The River
. Da heisst es:
Take me to the river
Drop me in the water
Bring mich an den Fluss
lass mich ins Wasser fallen
Babtisten und Anhänger/-innen der Pfingstbewegung empfangen das Sakrament der Taufe in einem Fluss: Immersionstaufe (siehe Blog-Beitrag zum Thema). Im Song werden die Zeilen im Zusammenhang mit einer schlechten, schmerzhaften Liebe verwendet, die der Erzähler sich abwaschen möchte.
Ein anderes Beispiel: Elvis Presley: If We Never Meet Again
. Da heisst es:
Soon we'll come to the end of life's journey
And perhaps never meet anymore
Till we gather in heaven's bright city
Far away on that beautiful shore
Bald kommen wir ans Ende der Lebens-Reise
Und vielleicht treffen wir uns nie mehr
bis wir uns vor der hellen Stadt des Himmel versammeln
Weit weg an jenem schönen Ufer
Das ist kein offensichtlicher Fluss-Song. Es ist aber von «shore» die Rede: das heisst «Strand», «Küste», «Ufer». Ich schlage vor, in Anlehnung an die griechisch-abendländische Literatur und Mythologie «shore» mit «Flussufer» zu übersetzen.
Flüsse (und Flussufer) gehören zur rituellen Lebenserfahrung der Südstaatler, die als äusserst religiös gelten. Der Film O Brother Where Art Thou von den Cohen Brothers ist eine gute Einführung in diese Kultur und natürlich enthält der Film eine Immersinstauf-Szene. Im Dezember 2014 brachte das Label Tompkins Square den Sampler When I Reach That Heavenly Shore mit afroamerikanischen Gospel-Stücken aus den frühen Jahren 1926-36 heraus.
2 Zwischen Leben und Tod
Das christliche Leben beginnt nicht nur im Fluss (mit der Immersionstaufe), es endet auch am Fluss. Über den Fluss gehen heisst nun aber vom Leben in den Tod übertreten. Der Fluss ohne Wiederkehr
trennte in der antiken Mythologie das Diesseits vom Jenseits. In Dantes Göttlicher Komödie
haben wir gar ein System von fünf Flüssen der Unterwelt:
– Styx, der Totenfluss, über den die toten Seelen von Charon auf der Fähre hinübergeschifft werden und sich gegebenenfalls in seinen Wassern reinigen müssen (=> Al Green)
– Kokytos, der Fluss des Wehklagens der Trauerarbeit.
– Phlegethon: der Fluss der Flammen oder der Fluss aus Blut
– Lethe, der Fluss des Vergessens. Man muss von seinem Wasser trinken, um das leben zu vergessen.
– Acheron, wo das Totenreich, die Ewigkeit anfängt.
Auf dem Fluss transformiert sich die Seele des Menschen, sie wird geläutert bis sie die Bindungen aus dem Leben lösen kann, bis sie den Übergang von zeitlichem zu ewigem Leben vollzogen hat.
Brian Eno: By This River
Here we are
Stuck by this river
You and I
Underneath a sky that's ever falling down, down, down
Ever falling down
Hier ist die Rede von einem Fluss, an dem man stecken bleibt, wo es nicht weiter geht. Zurückgehen, einen anderen Weg suchen wird nicht zum Thema.
Through the day
As if on an ocean
Waiting here
Always failing to remember why we came, came, came
I wonder why we came
Hier kommt das Lethe-Motiv.
You talk to me
As if from a distance
And I reply
With impressions chosen from another time, time, time
From another time
Menschliche Bindungen lösen sich allmählich und man tritt in eine andere Zeit / andere Welt ein.
siehe: GoogleDoc (nicht öffentliche Fortsetzung) und Song-Liste
Flanger Tag
Der Flanger-Effekt entsteht durch zwei parallele Signalwege, wobei der eine geringfügig zeitlich verzögert wird (1 bis 20 ms). Bei erneuter Überlagerung der beiden Signale ergeben sich Interferenzen, die man auch «Kammfiltereffekt» nennt. Der Klangeindruck, der dadurch entsteht, ist typisch für psychedelische oder «spacige» Musik/Effekte.
Bevor es Flanger-Effektboxen gab, wurden die gewünschten Interferenzen mit zwei Tonbandmaschinen produziert, wobei das eine der beiden Bänder mit dem Daumen am Flansch abgebremst wurde: z.B. in Itchycoo Park oder Mexico.
Den Flanger-Effekt kannte und kennt man auch von FM-/UKW-Empfängern, wo sie das Resultat von Interferenzen sind.
Beliebt war der Effekt in der Zeit des Apollo-Programms in den Jahren zwischen 1971 und 1974.
Quellen
– Steve Howell: Q. What's the difference between phasing and flanging? (Sound on Sound, März 2006)
Finanzkapitalismus Tag
Finanzkapitalismus oder Finanzmarkt-Kapitalismus (abschättzig auch auch: «Kasino-Kapitalismus») bezeichnet einen Kapitalismus, in dem die Finanzmärkte die Wirtschaft dominieren und die Realökonomie degradieren. Der Begriff stammt vom Soziologen Paul Windolf.
Final Scratch Tag
Final Scratch ist eine DJ-Software vom niederländischen Hersteller N2IT (Entwickler: Mark-Jan Bastian, Tim Hemel und Bill Squire), die in einem Laptop installiert wird, an den auch USB-fähige Plattenspieler oder CD Player angeschlossen werden. Damit kann ein DJ Musik von einem PC abspielen und über spezielle Timecode-Schallplatten steuern und scratchen.
Prominente Anwender waren John Acquaviva und Richie Hawtin.
Hergestellt wird Final Scratch von Stanton und von Native Instruments, mit dessen «Traktor» Software es arbeitet («Traktor Scratch» – eine Version von «Traktor»).
Links
– Demo von den Entwicklern und John Acquaviva.
Filmmusik Tag
Als Filmmusik wird Musik bezeichnet, die den Handlungsstrang des Films untermalt – im Gegensatz zum Musikfilm, der die musikalische Darbietung in den Fokus stellt. In der Zeit des Stummfilms wurden Filme musikalisch begleitet – live bei einer Vorführung. Im Tonfilm kommt die Musik im Postproduktionsprozess hinzu. Oft spielt ein auf Filmmusik spezialisiertes Orchester das Score, während die musikalisch untermalten Szenen projiziert werden. Grosse Filmstudios hatten oder haben eigene Orchester für diesen Zweck (z.B. das Deutsche Filmorchester Babelsberg). Seltener ist die Einbeziehung des Filmmusik-Komponisten in die Produktion und die parallele Entwicklung von Handlung und Score.
Stummfilm
Schon die ersten Stummfilm-Vorführungen wurden mit Live-Musik unterlegt. Gründe waren das Gespenstische eines laufenden Bildes ohne Ton, der dunkle Projektionsraum, das Rattern des Projektors. Schon Vorführungen von Tableux vivants und Dioramen wurden mit Musik begleitet (Moormann, S. 9). Musik wird generell überall dort eingesetzt, wo Stille überwunden werden muss – an Parties, in Bars usw.
Die ersten Filme waren kurz und wurden im Rahmen von Nummernshows aufgeführt. In diesem Rahmen wurden jeder Act musikalisch begleitet. Insofern stellt Filmmusik eine Kontinuität aus diesen Anfängen statt.
Die Live-Musik von Stummfilmaufführungen war in aller Regel improvisiert. Das erste geschriebene Score stammt aus dem Jahr 1903 zum Film Kingdom of the Fairies
von Georges Méliès. Camile Saint-Saëns Schrieb 1908 eine Filmmusik zu L’Assassinat du duc de Guise
.
Tonfilm
Der Tonfilm hat verschiedene Techniken hervorgebracht, wie das Score die Handlung unterstützt bzw. begleitet: Die Leitmotiv-Technik, die von der Oper übernommen wurde (Richard Wagner). Hier erhalten Personen, Gegenstände oder Erzählstränge ein eigenes Motiv, «Leitmotive» genannt. Leitmotive steuern die Aufmerksamkeit des Publikums und helfen, Paraverbales zu vermitteln: Gefühle, Vorahnungen, Traumszenen, Rückblenden, ... Das «Underscoring» versucht die Szene direkt in Musik umzusetzen. Die Filmmusik unterstützt oder verstärkt dann die Emotion der Handlung. Expressionistisches bis groteskes «Underscoring» wird bei Trickfilmen angewendet. Eine dritte Technik ist die «Mood-Technik». Sie unterlegt die Filmszene mit einer musikalischen Stimmung. Die Filmmusik ist dann viel weniger eng an die Handlung gekoppelt als beim «Underscoring». Das ist Musik als Kulisse, nicht Musik als Verdopplung der Handlung.
Titelmelodien und Jukeboxmusicals
Der Tonfilm hat populäre Titelmelodien mit sich gebracht (etwas, das es vorher auch schon im Musical gab). Beispiele sind Moon River aus Breakfast at Tiffany's (Blake Edwards, 1961). Doctor Zhivago (Maurice Jarre, 1965) oder Whatever Will Be, Will Be (Que Sera, Sera) von Doris Day (Alfred Hitchcock: The Man Who Knew Too Much
, 1956).
Ab den 1960er Jahren wurden vermehrt Stücke aus der Pop- und Rockmusik in Filmen eingesetzt. Ein frühes Beispiel ist The Graduate mit Stücken von Simon And Garfunkel (siehe Soundtrack). Beim Jukeboxmusical werden als Soundtrack eine Auswahl neuer und alter populärer Hits verwendet. Ein Beispiel ist Pulp Fiction
von Quentin Tarantino (siehe Soundtrack).
Querverweis
siehe: Genre: Filmmusik
Links
– Jack DoyleMusic in Film. Songs and Soundtracks (Pop History Dig, 11. Januar 2021)
– Martin Chilton: Best Rock’n’Roll Soundtracks: 10 Essential 50s Screen-Shakers (uDiscoverMusic, 9. März 2021)
Film Tag
Es geht bei dieser Kategorie nicht nur um Film als solchen, sondern auch um Musik im Film.
Geschichte des Films
Die ersten kurzen Filme wurden mittels Kinetoscopes ab 1893 in Penny Arcades und Panoptika gezeigt. Erst mit den Vitascopes konnten Filme projiziert werden, womit sie auch in Vaudeville Shows integriert werden konnten. 1897 wurden die Vitascopes amerikanischer Standard. Es gab zwei Firmen, die ie Technologie für die Theater anboten: Edison und die American biograph Company. beide Firmen verkauften Filme und Projektoren, nicht aber Kameras. Damit monopolisierten sie die Produktion.
Filme wurden langsam länger. 1902 führte Thomas Talley in Los Angeles mehrere Filme, die zusammen eine Stunde dauerten vor. 1903 wurde The Great Train Robbery veröffentlicht. Der Film dauerte ca 13 Minuten. The Birth Of A Nation von 1915 dauerte bereits 3 Stunden.
Film als einträgliche Unterhaltungsform
Russell Sanjek analysiert den Markt in Chicago und im Jahr 1907: «100'000 persons a day visited a moving-picture house». Die Stadt hatte 116 Nickelodeons und 18 Penny Arcades mit Peep Shows (Kinetoscopes und münzbetriebenen Phonographen. Die neue und einträgliche Branche der Unterhaltungsindustrie brachte bald einen Trust hervor, der den Markt zu kontrollieren trachtete, die Motion Picture Patents Company (ab 1908). Dem Trust wurde von Independents der Rang abgelaufen, weil er am Format der kurzen Filme festhielt und Independents wie Zuckor (später Paramount), Warner Bros. oder Metro Pictures (später MGM) Filme mit zwei und drei Rollen zeigten. Die Indies liessen sich in Los Angeles nieder, möglichst weit weg vom Unterhaltungszentrum New York.
Film als Populäre Kunstform
Ein Film ist ein visuelles Kunstwerk aus einer Sequenz von Bildern, die die Illusion von kontinuierlicher Bewegung erzeugt. Mit einem Film lassen sich Geschichten erzählen, Events dokumentieren (Dokumentarfilm, Musikfilm – im Fall von Aufzeichnungen) oder Ideen vermitteln (Lehrfilme). Die frühen Filme waren ohne Ton und wurden deshalb oft von Pianist*innen musikalisch begleitet (Stummfilm). Ab 1927 hatten Filme dank der Vitaphone-Technologie die Möglichkeit, Töne wiederzugeben. Man sprach in den USA von «talkies».
Die beliebtesten Formate waren romantische Komödien, Gangster- und Westernfilme.
Musik und Stummfilm
In der Stummfilmzeit hätte man Phonographen oder Grammophone für die Tonwiedergabe einsetzen können. Aber es gab keine Möglichkeit, ihren Klang für ein Theaterpublikum zu verstärken. So wurde zu den laufenden Bildern Livemusik gespielt. Meist Klaviermusik.
Musik und Tonfilm
Zum einen wird Musik im Film funktional zur Untermalung eingesetzt (siehe Scores, Filmmusik) zum anderen gibt es Musikfilme, bei denen die Musik das Thema und der hauptsächliche Inhalt darstellt (z.B. Musik Dokumentationen, Konzertfilme, Biopics von Musikerinnen und Musikern usw.).
Querverweise
– Motion Picture Patents Company (1908-15) h
Filesharing Tag
Ein P2P Filesharing Netzwerk besteht aus verbundenen Rechnern und dient der Distribution von Dateien über das Internet. Wenn auf einem Rechner eine entsprechende Client-Software installiert wird, können Benutzer/-innen bestimmte Verzeichnisse für andere Nutzer freischalten. Die Client Software erlaubt auch das suchen in allen geteilten Verzeichnissen und so den gezielten Datei-Zugriff in den geteilten Verzeichnissen.
Die Technologie wurde 1999 verfügbar und revolutionierte die Musikwirtschaft. Über die P2P Plattformen wie Napster wurden vor allem Musikfiles, aber auch Software und Spiele ausgetauscht – mit dem Resultat, dass der CD-Markt in den folgenden Jahren zusammenfiel. Plattformen waren:
– Napster (die erste Plattform, gegründet von Shawn Fanning, John Fanning und Sean Parker, zwischen 1. Juni 1999 und Juli 2001)
– Audiogalaxy (geschlossen 2002, siehe: Wikipedia
– Limewire
– Kazaa
– Soulseek
– BitTorrent
– eDonkey2000
– Vuze
Field Recording Tag
«Field recording» bezeichnet (1) Aufnahmen im Freien (Wind, Tiere, Strassenverkehr, Städte, ...) und (2) das ethnomusikologische Verfahren, Volksmusik, da wo sie praktiziert wird, aufzunehmen.
1 Aufnahmen im Freien
Verschiedene Musikerinnen und Produzent/-innen im Bereich der elektronischen Avantgarde machen Aufnahmen im Freien und verwenden diese in ihren Kompositionen und Mixes. Im engsten Sinne ist «Field Recording» ein Subgenre von Electronica, das vor allem oder ausschliesslich mit vorgefundenen Klängen aufgenommen werden, die ausserhalb von Tonstudios gesucht und gefunden sowie ohne das Spielen eines Instruments entstehen (im Musikzimmer siehe: Stil: Concrete-Ambient). Diese Aufnahmen werden dann im Studio zu Soundcollagen zusammenmontiert, weiterprozessiert oder in elektronische Kompositionen eingemischt. Protagonist/-innen dieser Musik sind beispielsweise Chris Watson, Geir Jensen oder Random Inc..
Das World Soundscape Projekt
Raymond Murray Schafer lancierte in den späten 60er Jahren das World Soundscape Projekt. Eine Sammlung von Musik, die auf Field Recording basiert oder die Field Recordings eingearbeitet hat.
2 Ethnologie
Muddy Waters wird 1941 von John und Alan Lomax aufgenommen (Bildquelle: Muddy Water’s Library of Congress Recordings, See That My Blog is Kept Clean 2012
Nach dem Aufkommen der Phonographie benutzten Musikethnologen, die Feldforschung betrieben, diese Technologie, um Volksmusik aufzuzeichnen. Die Aufnahmen und die wissenschaftliche Methode wird als «field recording» (deutsch wenig gebräuchlich: Feldaufnahmen) bezeichnet. Der erste bekannte Ethnologe, der Feldaufnahmen machte, war Robert W. Gordon, der zwischen 1926 und 1928 mit einem portablen Zylinder Grammophon bzw. Phonographen Aufnahmen in Georgia und North Carolina machte. 1928 entschied die Library of Congress, angeregt von Robert W. Gordon, mit Feldaufnahmen ein Archiv anzulegen, das Archive of Folk Song. Dieses Archiv sollte die weltweit grösste Sammlung von ethnischen Aufnahmen, vor allem mit afroamerikanischer Musik aus dem amerikanischen Süden werden. Als 1932 die Projektförderung auslief, schlug John Avery Lomax vor, eine Anthologie mit amerikanischen Balladen und Folksongs aufzunehmen und auf Schallplatte herauszubringen. Diese Idee verband die Forschungstätigkeit mit der kommerziellen Praxis der Populären Musik, Schallplatten zu produzieren. Im Juni 1933 machte sich Lomax mit seinem 17-jährigen Sohn Alan zu ihrem ersten «field recording trip» in Texas auf. Sie legten 16'000 Meilen zurück und sammelten die Volksmusik der afroamerikanischen und die weissen Bevölkerung des Südens, darunter die Aufnahmen von singenden oder Gitarre spielenden Gefängnisinsassen der Parchman Farm (z.B. Bukka White), Arbeitslieder, Balladen, Country Blues und vieles mehr. Im Angola Prison fanden sie den schwarzen Songster Leadbelly und stellten ihn nach seiner Befreiung als Chauffeur an. Ein Grossteil der aufgenommenen Musiker waren damals unbekannt, ein paar aber auch schon etabliert - z.B. W.C. Handy oder Jelly Roll Morton.
Association for Cultural Equity
Alan Lomax machte Zeit seines Lebens Feldaufnahmen und wurde der wahrscheinlich berühmteste Musikethnologe des 20. Jahrhunderts. Ab den 30er Jahren reiste er durch weite Teile der Welt, um Volksmusik aufzunehmen. Er wurde so einer der Katalysatoren des amerikanischen und britischen Folkrevivals, er entdeckte Leadbelly, Muddy Waters und gewissermassen Woody Guthrie, den er aufnahm, bevor er bekannt wurde.
Die ethnomusikologischen Aufnahmen aus aller Welt, die seinen Nachlass bilden, können seit März 2012 bei ACE (Association for Cultural Equity) frei gestreamt werden – das sind ca. 5000 Stunden Musik, 17'000 Tracks, 400'000 Fuss Film, 3000 Videobänder, 5000 Photographien und Manuskripte. Cultural Equity ist die Stiftung, die Lomax hinterlassen hat. Seine Tochter, Anna Lomax, steht dieser vor.
Weitere ethnomusikologische Feldaufnahmen
Die Sammlung des britischen Musikethnologen Peter Kennedy mit irischer und britischer Musik ist ebenfalls online verfügbar (siehe: Peter Kennedy Archive).
Der Schweizer Musikethnologe Marcel Cellier (29. Oktober 1925, Zürich; bis 13. Dezember 2013, Vevey) bereiste mit seiner Frau Catherine Cellier ab 1950 Südosteuropa und machte Volksmusik aus dem Balkan weltweit bekannt. Er entdeckte den Panflötisten Gheorghe Zamfir und den bulgarischen Frauenchor Le Mystère des Voix Bulgares. Der Filmemacher Stefan Schwietert drehte einen Dokumentarfilm über die Celliers: Balkan Melodie
.
Links
– Richard Havers: The Lomax Legacy: Giving A Voice to the Voiceless (uDiscoverMusic, 22. August 2019)
Festival della Canzone Italiana Tag
Das von der RAI veranstaltete «Festival della Canzone Italiana» war der populärste Europop-Wettbewerb in Italien. Abgehalten wurde das Festival jährlich in Sanremo, Ligurien. Im Wettbewerb befanden sich bisher unveröffentlichte neue Songs. Ein Sieg wirkte weit über die Grenzen Italiens hinaus und gab den Songwriter*innen und Sänger*innen eine internationale Bühne.
Das erste Festival fand zwischen 29. und 31. Januar 1951 mit drei Teilnehmern statt, Nilla Pizzi, Achille Togliani und Duo Fasano. Von Anfang an wurde das Festival am Radio übertragen. Ab 1955 übernahm das Fernsehen.
Italien veranstaltete auch in anderen Populären Künsten Festivals mit Wettbewerben: Premio Regia Televisiva (Fernsehen), Premio David di Donatello (Kino).
Dieses Festival war das Vorbild für den Eurovision Song Contest.
Links
Gottlieb F. Höpli: Wenn halb Italien Schlager hört (NZZ, 8.Februar 2019).
Fanzine Tag
«Fanzine» ist ein Kunstwort/Schachtelwort aus Fan und «Magazin». Ein Musik Fanzine ist ein Musikmagazin, das von einem oder mehreren Fans für Gleichgesinnte gemacht wird. Fanzines wurden vor dem Internet vor allem in gedruckter Form vertrieben, heute hingegen als «E-Fanzine» im Internet veröffentlicht.
Links
– Tim Peacock: Fanzines: More Information Than You Need (uDiscoverMusic, 11. März 2020)
Fandom Tag
Fans sind Anhänger eines musikalischen Acts – oder eines Spiels, Films, Filmgenres, einer Serie, z.B. Fatasy- odder Science Fiction Serien wie Star Wars oder Star Treck.
Fantum kann individuell oder organisiert ausgelebt werden. Fans können sich selbst oder ein Act kann einen Fanclub gründen. Die zweite Variante wird in der Regel «offizieller Fanclub» genannt.
Fantum und Verfügbarkeit von Tonträgern
Fandom in der Musik wurde vermutlich erst so richtig möglich, als Musik auf Tonträgern verfügbar wurde. Tonträger schafften die Möglichkeit, dass Hörer*innen mit einer Musik ein quasi-intimes Verhältnis herstellen konnte. Ohne Tonträger hörte man Musik punktuell an Konzerten. Nur privilegierte Personen konnten Konzerte mehrere Male besuchen. Tonträger hingegen kann man duzende oder hunderte von malen auflegen, bis man ein Werk in und auswändig kennt und sich damit indentifiziert (im Sinn von «das ist ‹meine› Musik».
Fans, die sich mit einem Act identifizieren werden möglichst viele Produkte kaufen: Tonträger, Merchandise, Konzerttickets. Sie reisen den Künstler*innen über weite Strecken nach und sie adaptieren den Lifestyle (Mode, Frisuren usw.), der mit den Act oder seinem Musikstil einher geht.
Fantum vor dem Aufkommen von Tonträgern
Vorformen des Fandoms gab es bereits in der akademischen Musik des 19. Jahrhunderts. Es entstand ein Kult um Richard Wagner und seine Opern und im ganzen 19. Jahrhundert um virtuose Pianist*innen oder Geiger*innen.
Superfans
Luminate spricht von Superfans, das sind Fans, die zu den ersten gehören, die Musik entdecken, sie sind «early adopters» und sie sprechen über ihre Entdeckungen. Sie brennen darauf und verstehen es als teil ihrer Identität, persönlichen Kontakt mit den Künstler*innen herzustellen oder zu haben. Sie engagieren sich mit grosser Wahrscheinlichkeit bei Community- oder Fandom-Events, die Künstler*innen anbieten (siehe Infografik).
Links
– Guardian: The fandom that made me (ab 20. Januar 2021) – Artikel-Serie über die formativen Aspekte des Fandoms
– Christina Mohr: Das Leben als Fan: Selbstbewusstsein durch Popmusik (PIQD, 11. Februar 2021)
Fan Music Video Tag
Musikvideo, das von Fans produziert wurde. Die meisten dieser Videos werden inoffiziell auf Kanäle wie Youtube oder Vimeo gepostet. In einzelnen Fällen kommt die Initiative von den Musikern oder Labels, die Fans dazu auffordern, Videos zu produzieren, wobei das beste oder die besten offiziell publiziert oder mit einem Preis ausgezeichnet werden.
Vidding wird heute als eigene Kunstform gesehen, bei der Fans «vids», «fanvids», «songvids» bzw. «edits» produzieren.
Vidding ist einer der zahlreichen Fälle (neben Sampling, Mixes, Mixtapes, Mashups oder Remixes), in denen Produktionsmittel in den Händen von Fans einerseits zu Urheberrechts- und Copyright-Verletzungen führen, andererseits eine neue Art der kreativen Tätigkeit zu Tage fördert. Durch diese Praktiken entsteht zuweilen ein Druck auf das bestehende Urheberrecht. Sobald solche Praktiken ubiquitär werden und von den Künstlern selbst angewendet werden, muss das Urheberrecht reagieren und zuweilen angepasst werden – zum Beispiel im Fall von Sampling.
FAME Studios Tag
Die FAME Studios, kurz für «Florence Alabama Music Enterprises», wurden von Rick Hall in den späten 1950er Jahren gegründet. Die Adresse lautet: 603 East Avalon Avenue in Muscle Shoals, Alabama. Die FAME Studios hatten eine Studioband aus am Ort ansässigen weissen Rockmusikern, die Muscle Shoals Rhythm Section (auch The Swampers), die man von ihrer Spielweise für Afroamerikaner hielt, wenn man sie nicht persönlich kannte. Diese Studioband prägte Soul, Country und Rock gleichermassen. Ihr Sound ging als «Muscle Shoals Sound» in die Geschichte ein.
Die Studios gehören zum reichen Kulturerbe von Alabama und zum Kulturerbe der USA. Sie sind bis heute in Betrieb. Man kann sie aber auch besuchen und wird geführt.
Querverweis
Vergleiche Rick Hall
Fadeout Tag
Das Ausblenden am Ende eines Songs oder Instrumentalstücks. Alternativen zum «fade out» sind das musikalisch als Schluss ausgestaltete Ende («complete end») oder das «cold end», ein plötzliches Ende. Seit man Musik elektronisch aufnimmt, kann man die Lautstärke mit Reglern beeinflussen. Vor den elektronischen Aufnahmen war ein Fadeout gar nicht möglich. Allerdings gibt es Vorformen davon: Eine Marching Band, die sich spielend vom Mikrofon / Trichter entfernt erzeugt einen ähnlichen Effekt.
Für die Zuhörerin oder den Zuhörer ergibt sich der Effekt, dass die Musik ins Nichts verschwindet, sich entfernt. Aber auch, dass sie nicht wirklich zu Ende ist, sondern andernorts weiterläuft (und vielleicht wieder vorbei kommt).
Querverweise
– Einblenden («fade in»)
Facebook Tag
Seit dem 4. Februar 2004 in Betrieb und gegründet von Marc Zuckerberg wurde Facebook in kurzer Zeit zur wichtigsten Social Media Plattform, auf der Benutzer*innen sich vernetzen und inhaltlich austauschen können. Weltweit sind 2,200'000'000 Milliarden User bei Facebook angemeldet (Stand Januar 2018), was nicht heisst, dass alle von ihnen Facebook auch wirklich nutzen. Trotzdem: eine sehr hohe Zahl! Hinter Google und Youtube ist Facebook die am meisten aufgerufene Webseite im Internet.
Für die Musikwirtschaft ist Facebook ein wichtiges Werkzeug. Bands haben ihre Seiten und können mit ihren Fans und Follower*innen Kontakt halten. Musik kann von Benutzer*innen als Stream geteilt werden, wodurch Facebook ein Promotionswerkzeug ist – sowohl für Live-Events als auch für Veröffentlichungen.
Für Fans ist Facebook nicht weniger wichtig: Auf der Plattform kann man sich mit anderen Fans vernetzen.
Datenmissbrauch
Das Jahr 2016 hat gezeigt, dass sich Facebook durch sein(e) Geschäftsmodell(e) in eine schwierige Lage gebracht hat. Der Verkauf von Nutzerdaten hat viele Nutzer/-innen verunsichert. Wenn man die Informationspolitik von CEO Zuckerberg beobachtet, verunsichert das nur noch mehr (siehe Betschon, 2019).
Die Firma hinter der Appllikation «Facebook» heisst «Meta».
Extended Coda Tag
Die Coda eines Songs besteht in der Regel aus einem kurzen Schluss, der einen Punkt findet oder ausgeblendet wird. Bei den Beatles findet man in der psychedelischen und postpsychedelischen Phase mehrere Songs mit einer Extended Coda bzw. einer «wuchernden Coda» (mein Begriff – C.S.).
Eine Vor- und Nebenform von langen Codas findet man in Protofunk- und Funk-Stücken von James Brown, Booker T. And The MG's und vielen anderen (suche nach Songs mit «part 1» im Titel). Ein prominentes Beispiel ist Cold Sweat, wo der von einem Saxofonriff beherrschte Verse wuchert – auch hier haben wir eine Überlänge, die hier – ganz typisch für das Afroamericana-Genre – auf die beiden Single-Seiten als «Part 1» und «Part 2» herunter editiert und verteilt werden.
In wuchernden Codas (und anderen Strukturteilen) drückt sich in den späten 1960er und frühen 1970er Jahren die Lust an der Jam aus. Diese entwickeln sich in progressiven Formen des Rock und des Funk zu (gemessen an klassischen Songbauplänen) überlangen instrumentalen Soloteilen weiter. Von hier ist es dann ei kleiner Schritt, die Songstruktur in Richtung Suite von verschiedenen, musikalisch unzusammenhängenden Teilen weiter zu entwickeln.
Im Progressive Rock gibt es Stücke, die aus zwei Teilen zusammengesetzt sind (wie Moonchild/The Illusion
von King Crimson) bei denen man den zweiten Teil als Coda des ersten Teils sehen kann. Das macht aber nur beschränkt Sinn, wenn die Songs schon verschiedene Namen haben und als zwei Teile eines Tracks gekennzeichnet sind.
Link
– Dan Tepfer: Short songs with absurdly long codas (22. Juli 2018)
Experimentelle Musik Tag
Schwieriger Begriff, weil meist falsch verwendert. MusikjournalistInnen und Fans greifen oft zu dieser Bezeichnung, wenn Sie unfähig oder ideenlos sind, eine Musik genremässig zu klassieren. Wenn eine Musik nichts ist, was ihnen bekannt oder vertraut ist, dann ist sie «experimentell».
Streng genommen ist Musik experimentell, wenn sie vergleichsweise unter Laborbedingungen entsteht. Das kann zum Beispiel sein, dass eine Band mit einer instrumentalen oder performativen Konstellation etwas Neues versucht. Es geht hier um Musik, die wie in einem Experiment angelegt wird und einen offenen Ausgang hat, z.B. No Pussyfooting von Fripp und Eno.
). «Experimentell» als Label für Musik finde ich ganz schwierig. Experimentell heisst eigentlich (), wird aber meist für Musik verwendet, die einE RezensentIn nicht zu klassifizieren vermag.
Also, um es auf den Punkt zu bringen: Postrock ist ein Genrebegriff (und das heisst bei mir im Gegensatz zur Literatur) eine klar abgegrenzte Phase der Rockmusik, die in den 90ern (ca.) beginnt und vermutlich noch nicht ganz abgeschlossen ist - lasse ich mal offen). In dieser Liste sind ein paar Modell-Alben für diese Musik:
Expanded Cinema Tag
Als «Expanded Cinema» werden kinematische Experimente aus den 50er, 60er und 70er Jahren bezeichnet, die Filme nicht nur auf eine Leinwand projizieren und so einen Unterschied zwischen Projektion und Publikum schaffen sowie die Aufmerksamkeit fokalisieren, sondern den ganzen Raum mit Licht (Film- und Dia- und Overhead-Projektion und Lichtshows) erfüllen. Erweitert wird das Licht durch multimediale Aufführungen wie Musik (Untergrund Rock-Konzerte), Tanz, Theater oder einer Mischung davon. Auf diese Weise soll das Publikum in das Ereignis eingebunden werden, der Unterschied zwischen Kunstereignis und Kunstkonsum nivelliert werden.
Verwandt ist «Expanded Cinema» mit anderen Kunstformen der selben Epoche wie Aktionskunst und Aktionstheater, die auch die Mauer zwischen Bühne und Publikum einreissen wollten, oder mit den
psychedelischen Lightshows, die an Untergrund-Rockkonzerten in San Francisco, New York oder London inszeniert wurden.
Existenzialismus Tag
Existenzialismus heisst eine vor allem französische Richtung des philosophischen Denkens, die den menschen, bzw. dessen Existenz ins Zentrum ihrer Betrachtungen und Reflexionen stellt. Zu den Hauptvertreter/-innen des Existenzialismus zählen Jean-Paul Sartre, Albert Camus, Simone de Beauvoir oder Gabriel Marcel.
Der Existenzialismus war eine Philosophie, die eine ungeheuer starke Wirkung auf die Lebensart vieler Menschen gehabt hat. Einige Aussagen der Philosophie wurden zu Maximen und Losungen popularisiert: «Der Mensch ist zur Freiheit verdammt.» «Die Hölle sind die anderen.» «Wir sind geworfen.» « Das Leben ist sinnlos.» «Existenz geht der Essenz voraus.» «Il n'existe pas l'amour heureux.» Als Philosophie für die Zeit nach dem Zweiten Weltkrieg waren solche nihilistischen Maximen durchaus verständlich.
Es wird An-sich-Sein und Für-sich-Sein unterschieden. Dinge sind an-sich. Der Mensch ist für-sich. Er hat ein Bewusstsein von sich selbst («conscience de soi»). Dieses Selbstverhältnis ist nicht allein eines des Bewusstseins, sondern ist vorreflexiv. Auch ohne ausgebildete höhere kognitive Funktionen hat ein Mensch ein Selbstverhältnis: Er leidet, hat Schmerzen, verspürt Furcht und Angst. Ein Mensch muss für sich selbst Verantwortung übernehmen. Sie oder er ist frei dazu und das lässt sich nicht vermeiden. Wer die Verantwortung nicht übernimmt entscheidet sich auch, und zwar für eine uneigentliche Seinsweise («mauvaise fois»), die sie oder ihn zu einem Ding, einem An-sich-Seienden degradiert.
Zusammenhang mit der Geschichte der Philosophie
Vorläufer des modischen französischen Existenzialismus waren die Philosophien von Søren Kierkegaard und Martin Heidegger. Sartre hat im Wesentlichen Heidegger übersetzt und popularisiert. Er hat den heimattümelnden und nazifreundlichen Existenzialismus zu einer hippen links-intellektuellen Philosophie umgearbeitet. Wo sich Heidegger mit den Nazis verrannt hat, da liebäugelte Sartre mit Chruschtschows UdSSR. Was ein Existenzialist sicher nicht war: ein Mensch der Ausgewogenheit, der extrovertierte Massenmensch, wie ihn der amerikanische Soziologe David Riesman in seinem Buch The Lonely Crowd von 1950 beschrieb und als «other-directed» bezeichnete.
Abgelöst wurde der Existenzialismus als Modephilosophie schliesslich vom Strukturalismus.
Links
– Martin Heidegger: Sein und Zeit (1927)
– Jean-Paul Sartre: L'être et le néant (1943)
Excavated Shellac Tag
«Excavated Shellac» heisst der Musikblog von Jonathan Ward aus Los Angeles, einem Sammler von alten Schellackplatten aus mehr oder weniger exotischen Ländern (also nicht Amerika und nicht dem UK).
Seine Sammlung bildet ein unvergleichliches Korpus für ethnische Musik aus einem schmalen Zeitfenster, die unter ganz besonderen Umständen entstanden ist. In den 1920er Jahren begannen die Plattenlabels damit, lokale Musik aus allen möglichen Ländern aufzunehmen und zu veröffentlichen. Diese Praxis führten sie weiter, bis in den 1930er Jahren die Weltwirtschaftskrise und der Zweite Weltkrieg dieser Tätigkeit ein Ende setzten.
Das Geschäftsmodell hinter diesen Platten
Warum nahmen Labels lokale Musik auf? Klingt nicht nach einem sehr lukrativen Geschäft, nicht wahr? Sie nahmen da keine Hits oder wenn schon nur lokale Hits auf. Warum also? Sie taten es aus einem einzigen triftigen Grund, nämlich um Plattenspieler verkaufen zu können. Plattenlabels waren damals die hauptsächlichen Hersteller von Plattenspielern. Bzw. umgekehrt: Die Gerätehersteller bauten unter ihrem Namen selbst ein Repertoire von Platten auf, damit niemand sagen konnte: «Ich brauche keinen Plattenspieler, denn meine Musik gibt es gar nicht auf Platte.» Die grossen amerikanischen Plattenlabels der 1920er Jahren waren Columbia, Brunswick und Victor («The Big Three», wie man sie auch nannte). Hinzu kam die europäische Musikindustrie: in England HMV (His Masters Voice) und Columbia Graphophone Company, die spätere EMI, in Frankreich Pathé, in Deutschland Lindstrom und das Sublabel Odeon.
Korpus
Mit den von Ward gesammelten Schellackplatten liegt ein unvergleichlicher Schatz ethnischer Musik vor, Musik, die kaum globalisiert ist. Da hört man Stimmakrobatik und fremdartige Instrumente spielen, ohne dass ein Breakbeat drunter gelegt ist. Authentisch ist sie deshalb nicht, denn oft musste die Musik gekürzt werden, damit sie auf Schellack passt oder Instrumente wurden ersetzt, damit die Aufnahme überhaupt gelang. Nichtsdestotrotz entstand ein einzigartiger Bestand – ein Korpus – von Musik, unmittelbar bevor es wie heute internationale Märkte gab. Und es sind ein paar wenige Jahre, in denen diese Tätigkeit stattgefunden hat. Das Korpus ist also wie ein Bild der Musik der Welt in einer ganz bestimmten Epoche.
Blog: Excavated Shellac
Jonathan Ward veröffentlicht seit April 2007 Perlen aus seiner Sammlung auf dem Blog Excavated Shellac. Er schrieb zu jedem veröffentlichten Stück alles auf, was er über die Musik, die Musiker*innen und die Tätigkeit der Labels in der Region oder dem Land wusste.
Archivrelease «Excavated Shellac» bei Dust-To-Digital
Das auf die Digitalisierung von alten Schellackplatten spezialisierte Label Dust-To-Digital hat bisher vier Archivreleases mit Perlen aus Wards Sammlung veröffentlicht. Die beiden ersten versammelten ausgewählte Instrumente: Reeds und Strings. Der dritte Release Opika Pende mit Platten aus Afrika und Excavated Shellac: An Alternate History Of The World's Music von 2020 mit Platten aus der ganzen Welt. 100 Musikstücke im Digitalformat oder auf vier CDs gebrannt, zusammen mit einem extensiven Booklet. Dieser Release war im Rahmen der «64th Annual Grammy Awards» in der Kategorie «Best Historical Album» nominiert.
Links
– Jonathan Ward: Excavated Shellac (Musikblog)
– Norient: Lonely Artists Today: Jonathan Ward
Euro-Crossover Tag
Von einem Euro-Crossover – ein Spezialfall von Crossover – kann man sprechen, wenn ein Song aus einem bestimmten Land, in dessen Landessprache gesungen, in einem anderen Land erfolgreich wird. Wenn also zum Beispiel ein italienischer Schlager in Deutschland oder Frankreich in die Hitparaden kommt. Man kann drei Weisen dieser Crossover unterscheiden:
– Erstens die fremdsprachige Originalversion ist im fremden Land/Markt selbst erfolgreich.
– Zweitens der Originalinterpret singt eine fremdsprachige Version des Lieds.
– Drittens, der Song kommt im anderen Land als Coverversion heraus.
Schaut man in der Mitte der 1950er Jahre auf diese Euro-Crossover, also zu einer Zeit, in der der Eurovision Song Contest gegründet worden ist und folglich noch keine etablierte Grösse in der europäischen Populären Musik war, dann sieht man, dass der Prototyp einer Crossover-Sängerin des ersten und zweitens Typs Caterina Valente war, die in zwölf Sprachen sang, von denen sie sechs fliessend beherrschte, nämlich Französisch, Italienisch, Schwedisch, Deutsch, Englisch und Spanisch.
Estate Management Tag
Das Estate Management kümmert sich darum, tote Künstler zu verwerten. Jeff Jampol beispielsweise managt mit seiner Firma Jam Inc. die Hinterlassenschaft der Ramones, der Doors, von Janis Joplin oder Otis Redding.
Eine zentrale Aufgabe des Estate Managements ist es heute, die Musik für junge Konsument*innen attraktiv zu halten. Queen z.B. haben mehr monatlicher Hörer*innen auf Spotify als die Beatles. Es könnte sein, dass das ihr Estate Management besser funktioniert als das der Fab Four. Ein Extremfall: Wenn es ein Estate Management verpasst, auf den neuen Plattformen präsent und attraktiv zu sein, dann könnte die Musik an Relevanz verlieren. Die Musikgeschichte ist zwar schon geschrieben, meint man, aber das könnte sich leicht ändern. Wenn in ein paar Jahren niemand mehr Jimi Hendrix hört, dann wird er in künftigen Musikgeschichtsbüchern nicht mehr den selben Platz einnehmen wie in bisherigen. In der klassischen Musik war das nicht anders (Woelfl, Pfitzner, Silcher, Egk).
Erweiterte Akkorde Tag
Erweiterte Akkorde sind Triaden mit weiteren Tönen im Terzabstand, die auf die Triade bzw. auf den Septakkord geschichtet werden: der neunte, elfte und dreizehnte Ton. Wenn die erweiterten Triaden chromatische Alternativen zu den erweiterten Tönen darstellen, werden sie «Altered Chords» genannt.
Chromatische Erweiterungen: «Altered Chords»
Es gibt folgende Töne, aus denen Altered Chords gebildet werden:
– ♭9 oder #9 (während 9 der erweiterte Akkord ist)
– #11 (oder ♭5) – ♭11 ist identisch mit der ersten Terz im Grundakkord
– ♭13 (oder #5) – #13 ist identisch mit dem ♭7 im Septakkord
Somit bleiben vier Töne: ♭9, #9, #11 und ♭13 (= #5). Mit ihnen kann man eine «altered scale» bilden: z.B. G–♭a–#a–b–#c–♭13–F. Diese «altered scale» wird auch «superlocrian» oder «diminished wholetone scale» genannt. Die Töne dieser Skala können verwendet werden, um im Jazz zu improvisieren: Erweiterte Akkorde können mit einem oder mehreren verschiedenen Tönen der «altered scale» geschmückt werden. Oder die ii-V-I-Progression wird an der zweiten Stelle (bei der V) mit beliebigen Tönen aus der «altered Scale» erweitert (z.B. iim7–Valt–i(7) oder auch iim7–V7–Valt–i(7)).
Kulturelle Bedeutung
Für die afroamerikanische Musik haben «altered chords» eine wichtige Bedeutung. Die Musik wird in einem tonalen und harmonischen Bereich angesiedelt, der von der europäischen Musik nicht besetzt ist, gewissermassen in einem musikalischen Niemandsland. Analog verfuhr die afroamerikanische Musik mit dem Rhythmus: Die Synkopen in Ragtime und Jazz sind rhythmische Akzente, die auf die nicht akzentuierten und unerwarteten Stellen des Rhythmus verlegt wurden. Mit beiden Verschiebungen wurde eine neue, ganz andere Musik geschaffen, die auf ihre Weise mit der romantischen Musiktradition brach.
Quelle
– Michael Keithson: Altered Chords | What, Why, How
Erster Weltkrieg Tag
Der erste Weltkrieg begann am 28. Juli 1914, als Österreich-Ungarn genau einen Monat nach dem Attentat von Sarajevo Serbien den Krieg erklärte. Er endete am 11. November 1918 mit dem Waffenstillstand von Compiègne. Kriegshandlungen erstreckten sich über weite Teile der Erde: Europa, Naher Osten, Afrika, Ostasien und Ozeanen. Nicht weniger als 40 Staaten waren involviert. Hauptparteien waren das Deutsche Kaiserreich, Österreich-Ungarn, Bulgarien und das Osmanische Reich, Staaten die die Mittelmächte bildeten, sowie die zur Entente verbündeten Staaten Grossbritannien, Frankreich, Italien, Beneluxländer, Serbien, Japan, USA uvm. Die Mittelmächte befanden sich in einem aufzehrenden Zweifrontenkrieg, der nach Anfangserfolgen in einem Stellungskrieg erstarrten. Befeindende Truppen standen einander in zwei Graben gegenüber. Gefochten wurde mit Überraschungsangriffen, Bomben und Gas aus der Luft und auf See mit U-Booten. Der erste Weltkrieg war eine ungeheure Materialschlacht mit einer immensen Anzahl von Toten. Gewonnen wurde er nicht, weil eine Partei die andere in klassischen Schlachten schlugen, sondern weil die Verlierer ausgezehrt wurden.
Die Rolle der USA
Die USA blieben bis am 6. April 1917 neutral. Präsident Woodrow Wilson und seine Regierung stand für Freiheit und Demokratie. Sie wollte die kriegerischen Auseinandersetzung in der alten Welt den Europäern überlassen. Ausserdem lebten viele ausgewanderte Deutsche in den USA und Iren, die nicht an der Seite Englands in den Krieg ziehen wollten.
Die US-Industrie lieferte den arg bedrängten Briten (auch den Franzosen und anderen allierten Ländern) Waffen gegen Bezahlung.
Die Kriegserklärung an Deutschland erfolgte am 6. April 1917. Während dem Krieg wurden die Deutschen mehr und mehr als die eigentlichen Aggressoren gesehen. Kam dazu, dass viele bestimmende Familien der Ostküste Stolz auf ihre britische Herkunft waren. Am 7. Mai 1915 versenkte ein deutsches U-20 U-Boot das amerikanische Passgierschiff «Lusitania». 128 US-Bürger verloren dabei das Leben. Die Deutschen sabotierten zudem am 30. Juli 1916 die Black Tom Hafenanlage in Jersey City, wo Waffen und Munition an die Briten verladen wurden. Mit diesem Sabotageakt wandte sich die öffentliche Meinung gegen die Deutschen, die nun als Agrressoren gesehen wurden.
Während den 19 Kriegsmonaten mobilisierten die US-Streitkräfte nicht weniger als 4,7 Millionen Personen und erlitten Verluste von über 116'000 Soldaten. Die US-Streitkräfte hatten vor dem Ersten Weltkrieg kaum die Schlagkraft der europäischen Grossmächte. Der Krieg machte die USA zur führenden millitärischen Weltmacht.
Der Waffenstillstand trat am 11. November 1918 in Kraft. Wilson vetrat bei der Neuordnung Europas nach dem Krieg ein 14 Punkte-Programm. Das zentrale Anliegen dieses Programms war das Selbstbestimmungsrecht der Völker, der Wiederaufbau Europas und der internationale Handel. Es sollte ein Völkerbund gegründet werden, der den Frieden garantiert. Bei den Verhandlungen hatte Wilson aber weniger Einfluss als gedacht. Umgesetzt werden konnte vom Programm viel zu wenig.
Spanische Grippe Epidemie
Zum Krieg kam gegen sein Ende zu noch eine heftige Grippewelle, die «Spanische Grippe», die nur so hiess, weil die spanische Presse offen darüber berichtete, während andere Staaten die Epidemie tot schwiegen. Sie kostete weiteren 50 Millionen vor allem jungen Menschen das Leben. Junge Menschen mit starkem Immunsystem reagierten auf das Influenza-A-Virus H1N1 mit einer Überreaktion und starben reihenweise daran.
Quellen
– Constantin Eckner: Leugnung, Beschwichtigung, Beschuldigung, Akzeptanz: Wie der Mensch mit dem Virus haderte (und hadert) (NZZ, 19. März 2020)
– UCSB Cylinder Audio Archive: Popular Songs of World War I
Erhabenes Tag
Wer, wenn ich schriee, hörte mich denn aus der Engel
Ordnungen? und gesetzt selbst, es nähme
einer mich plötzlich ans Herz: ich verginge von seinem
stärkeren Dasein. Denn das Schöne ist nichts
als des Schrecklichen Anfang, den wir noch grade ertragen,
und wir bewundern es so, weil es gelassen verschmäht,
uns zu zerstören. Ein jeder Engel ist schrecklich. – Rainer Maria Rilke, Duineser Elegien
Die ästhetische Kategorie des Erhabenen ist vergleichbar mit dem Schönen, aber unterscheidet sich von ihm. Das Erhabene ist eine spezifisch abendländische Idee, die in anderen Kulturkreisen nicht vorzukommen scheint.
Geschichte
Bei Aristoteles kommt das Erhabene in der Tragödientheorie vor.
In der Rhetorik ist Erhabenheit eine Gattung bzw. ein Stil, nämlich der gehobene Stil («genus grande»).
Eine eigene Schrift, «Peri hypsous», widmete Longinos oder Pseudo-Longinus ca. im ersten Jahrhundert unserer Zeitrechnung dem Erhabenen als etwas, das ein Publikum erschüttert, gemeint war natürlich das Verstricktsein und Leiden des tragischen Helden, mit dem das Publikum mitleidet. Als dieses Traktat über das Erhabene in der Renaissance wiederentdeckt und 1544 gedruckt wurde, löste es bald ein philosophischer Streit aus: die Querelle des Anciens et des Modernes (Boileau vs. Perrault).
So richtig produktiv gemacht wurde das Erhabene durch das Buch von Edmund Burke: «A philosophical enquiry into the origin of our ideas of the sublime and beautiful» von 1757. Hier unternimmt Burke es als erster, das Schöne vom Erhabenen zu unterscheiden. Ruft das Schöne Wohlgefallen aus, so das Erhabene einen wohligen Schauer («delightful horror»). Diese Art Schauer seien eine Art Ehrfurcht vor einer grösseren oder höheren Wesenheit.
Bei Immanuel Kant ist das Erhabene die gempütsbewegung oder der Eindruck des schlechthin und über alle Vergleiche grossen. Das Erhabene weckt das Gefühl eines übersinnlichen Vermögens in uns.
Bei Friedrich Schiller wird das Erhabene zum Ausdruck der menschlichen Freiheit. Das Erhabene erhebt den menschen über seine Natur und Sinnlichkeit.
Jean-François Lyotard deutet Kant um und ahnt das Erhabene in der Wahrnehmung einer Präsenz, statt in der Wahrnehmung einer Grenze. Das Gefühl des Erhabenen sei deshalb nicht das Erahnen eines für das Subjekt unerreichbaren Ortes, sondern das Erfahren eines «es gibt». Eine erhabene Erfahrung ist eine, die sich darüber wundert, «dass etwas ist, und nicht viel mehr nichts.»
Arten des Erhabenen
Man unterschied verschiedene Arten des Erhabenen, z.B. das furchtbar Erhabene, das feierlich Erhabene oder das majestätisch Erhabene (z.B. Friedrich Ludewig Bouterweck, 1806).
Das Erhabene und die Musik
Die Musik von Georg Friedrich Händel (1685–1759) hat eine Auseinandersetzung mit dem Erhabenen ausgelöst. Christian Friedrich Michaelis schrieb 1805: «Das Gefühl des Erhabenen wird durch Musik erregt, wenn die Einbildungskraft zum Grenzenlosen, Unermesslichen, Unüberwindlichen erhoben wird.» In der ersten Hälfte des 19. Jahrhunderts wurden vor allem der oratorische Stil Händels (er galt als «prächtig-erhaben») und Bachs (er galt als «tief-erhaben») thematisiert. In der Kirchenmusik des frühen 19. Jahrhunderts wird das Erhabene zum normativen Begriff: Kirchenmusik soll von der prosaischen Wirklichkeit wegweisen und sich von der trivialen Musik distanzieren.
Richard Wagner hielt Ludwig Van Beethovens Musik für erhaben und verschrieb sich selbst dem Schaffen erhabener Musik. Die Frage der spätromantische Musik ist: Können gigantische Besetzungen wie in der Alpensymphonie die Erhabenheit der Natur zum Ausdruck bringen oder sind sie letztlich bloss grossbürgerliche Protzerei, Pathos und Bombast, die die Grandeur der Bourgeoisie repräsentieren soll?
Erfolgsmessung Tag
Im Streaming Zeitalter, d.h. seit dem 13. Dezember 2014, wird Erfolg in der Hitparade aus drei Grössen errechnet. Die massgeblichen Zahlen sind Äquivalenz-Werte. Physische Verkäufe (Tonträger, die in Stückzahlen zählbar sind) werden mit Downloads und Streamingwerten verrechnet. Dabei geht jeder einzelne Track, der während mindestens 30 Sekunden gestreamt wird, in die Rechnung ein. Zudem macht es seit dem 29. Juni 2018 einen Unterschied, ob die Hörerin oder der Hörer für den Stream zahlt oder nicht: Es braucht in den USA gegenwärtig 100 bezahlte Streams oder 150 unbezahlte Streams eines Songs, um gleich wie eine verkaufte CD oder ein Vinyl Album gewichtet zu werden.
Äquivalenz-Album-Einheiten
Die Formel für die Äquivalenz-Album-Einheiten lautet:
10 Song-Verkäufe = 1500 Song Streams von Albumtracks = 1 Albumverkauf
Man spricht in diesem Zusammenhang von «Track Equivalent Album [TEA]» und «Streaming Equivalent Album [SEA]».
Zertifizierte Einheiten
Für die goldenen (500'000 Einheiten), Platin- (1 Mio.), Multiplatin- (2 Mio.) und diamantenen Zertifikate (10 Mio.), die die RIAA verleiht, gilt heute die Masseinheit der Zertifizierten Einheiten. Ein verkaufter Tonträger oder ein digitaler Download ist eine Einheit. Ein Audio- oder Video-Stream zählt als 1/150 Einheiten.
Zeitfenster – die Musikwoche
Das Fenster, in dem der Erfolg eines Releases auf dem amerikanischen Markt gemessen wird, dauert vom Freitag bis am Donnerstag. Dies ist der Grund, weshalb Alben in der Regel am Freitag herauskommen.
Links
– Patrick McGuire: What Does “Success” In Music Mean? (Music Think Tank, 28. August 2019)
– Sarah Perez: YouTube Music cracks down on rampant chart manipulation with new pay-for-play ban (techcrunch, 13. September 2019)
Erfindung des Buchdrucks Tag
Johannes Gutenberg erfindet mitte 15. Jahrhundert den Typendruck (Satz mit gegossenen Lettern), der das Publizieren von Schriften und Büchern erheblich beschleunigt. Ob Gutenberg der alleinige Erfinder der Methode war, wird heute bestritten. Das Bild zeigt links die Presse und rechts das viel Wesentlichere, der Setzkasten mit den Lettern/Typen.
– Druckerpressen gab es vor Gutenberg: im 3. Jahrhundert wurden bereits Stoffe mit Holzschnitten bedruckt und die chinesische Tang-Dynastie (6–10. Jahrhundert) kannte das Drucken auf Papier.
– Auch Lettern haben die Chinesen rund 140 Jahre vor Gutenberg gekannt: Wang Zhen, ein chinesischer Regierungsbeamter während der Yuan-Dynastie, erfand das Verfahren, um mittels dem «Nong Shu», einem 800-seitigen Buch über die Landwirtschaft, eine Agrarrevolution im Reich verbreiten zu können. Die Lettern bestanden aus Holz und der Setzkasten war ein Rad, das gedreht werden konnte.
Zu Gutenbergs wesentlichen Weiterentwicklungen gehören:
– die Lettern wurden aus Blei, Zinn und Antimon gegossen (tatsächlich nahezu 500 Jahre lang) – Gutenberg war von Hause aus Silberschmied.
– die Presse war gebaut wie eine Weinpresse: Gutenberg kam aus Strassburg im Elsass, wo traditionellerweise Weinbau betrieben wurde
– die Druckerschwärze bestand aus Russ, Öl und Harzen und wurden mit grossen, weichen Stempeln aus Hundeleder, das keine Poren hat und folglich die Schwärze nicht aufsaugt, auf die Druckplatten aufgebracht (siehe Bild)
Wirkung
Die Wirkung des Typendrucks war in Europa offenbar viel nachhaltiger als in China. Hier schaffte es der Buchdruck, die hegemoniale Kontrolle der Information durch Staat und Kirche zu zerstören. Die Technologie (Druckeropresse plus Typensatz) entfaltete gesellschaftliche Sprengkraft! Ohne Bücher keine Bildung, keine Demokratisierung, keine Informationsgesellschaft. Es ist bestimmt nicht übertrieben, im Buchdruck einen grundlegenden Faktor zu erblicken für die Verbreitung protestantischer Ideale (sei fleissig, du bist für dein Leben selbst verantwortlich, Geschick ist nicht Schicksal), die humanistische Bildung (die Wiederentdeckung der antiken Literatur und Philosophie), die Ideen der Aufklärung (habe Mut dich deines eigenen Verstandes zu bedienen), den Aufstieg des Bürgertums und die Industrialisierung.
Zuerst stand die Druckerpresse deutlich im Dienst von Protestantismus und Humanismus. In nur etwa zwanzig Jahren gab es Druckereien nach dem Vorbild Gutenbergs in Norditalien und im Rheinland. Nach etwas 50 Jahren hatte jede grössere europäische Stadt ihre Druckerei, das waren mehr als 250. In den ersten 50 Jahren wurden mehr Bücher gedruckt, als im gesamten Mittelalter abgeschrieben wurden. Die Stadtregierung Zürichs zum Beispiel holte sich den bayerischen Drucker Christoph Froschauer in die Stadt und bürgerte ihn im Schnellverfahren ein. Froschauer druckte Zwinglis Zürcher Bibel.
Drucker und Druckereien unterstanden damals in den Anfängen dem Zunftrecht und druckten brav Bibeln und Predigten. Aber es entstanden auch Pamphlete, Flugblätter, die Vertreter der Obrigkeit anklagten. Und so wurden Gesetze erlassen, die das Recht, etwas zu drucken, regelten. Diese ersten Copyright Gesetze wollten nichts anderes als den Output der Druckereien regulieren und kontrollieren: Ihre Funktion war im Prinzip die staatliche Zensur.
Notendruck
Musikalische Noten konnten zum ersten Mal 1498 in Venedig von Ottaviano Petrucci gedruckt werden. Petruccis Verfahren war, ein Blatt mit Notenlinien zu drucken und dieses dann in zwei weiteren Arbeitsgängen mit Buchstaben (Lyrics) und mit Noten aus Lettern/Typen zu versehen. Vor ihm musste mandie komplette Notenseite in ein Holz schnitzen. Petruccis erste Ausgabe mit mehrstimmiger Musik, die «Harmonice Musices Odhecaton A», erschien 1501.
Links
– Britannica: Printing (Robert Lechêne)
– Youtube (Kanal: Sabrina Huyett): How a Gutenberg printing press works
Epoche Tag
Epoche steht für Zeitabschnitt in einer Geschichtserzählung. Epochen sind historiografisch relevant, wenn eine Geschichte oder die Geschichte von ... erzählt wird. Solche historiografische Darstellungen sind in aller Regel in Epochen gegliedert. Relevant sind Epochen insbesondere in der Kunst- und Musikgeschichte. Ihre Logik ist zum Teil in der Wissenschaftsgeschichte entwickelt worden (z.B. der Begriff des «Paradigmenwechsels» von Thomas S. Kuhn).
Epochenbildung (engl. «Periodization»)
Epochen sind auktoriale oder soziale Konstruktionsleistungen. Als auktoriales Konstrukt bilden sie das Inhaltsverzeichnis des Geschichtsbuchs eines Autors, als soziale Konstruktionsleistung bilden sie allgemeingültigere Epochen, die in vielen Geschichtsdarstellungen verwendet werden. Auktoriale Epochen können mehr oder weniger stark an den sozial verbindlichen Epochen ausgerichtet sein.
Typische Epochen in der Geschichtsschreibung sind bestimmt von
- der Herrschaft von Königen, z.B. das Viktorianische Zeitalter
- Kriegen, z.B. der Dressigjährige Krieg
- chronologischen Zeitabschnitten, z.B. die «Sixties», d.h. die Sechziger Jahre im Zwanzigsten Jahrhundert
Epochen werden oft begrenzt durch markante Ereignisse wie:
- Geburt und Tod eines Regenten oder einer Regentin
- Kriegsanfang und Kriegsende
- gerade Jahre, 1960 bis 1970 oder 1600 bis 1700
- Umwälzungen in Politik, Wirtschaft, Religion, z.B. Revolutionen, Regierungswechsel, Wirtschaftskrisen, Pandemien
- Möglichkeit zur Verarbeitung kulturprägender Materialien, technologische oder mediale Erfindungen, z.B. Bronzezeit, Erfindung des Rades, des Motors, des Buchdrucks, der Kinematografie, der Phonographie, des Radios, des Fernsehens, der Internets usw.
Epochenbildung im Spiel zwischen Chronologie und Sachlogik
Die Epochenbildung in der Geschichte kann mit mehr oder weniger Notwendigkeit geschehen. Chronologische Einteilungen anhand von Jahrzehnten und Jahrhunderten haben wenig innere Notwendigkeit, sie sind ein Raster, das von aussen über die Folge von Ereignissen gelegt wird. Mehr Notwendigkeit haben Epochengrenzen, die aus den Ereignissen selbst durch Veränderungen in ihrer Logik oder Ästhetik begründet sind (Sachlogik). Damit ergeben sich Ungleichgewichtungen von Ereignissen: Es gibt paradigmatische Ereignisse. Diese sind regelhaft oder regelmässig in Bezug auf die (oder eine) herrschende Logik/Ästhetik der Epoche. Dann gibt es Ereignisse, die aus der Logik oder Ästhetik einer Epoche herausfallen. Wenn solche Ereignisse zum neuen Normalfall werden, dann bilden sie eine neue Epoche, wenn nicht, sind sie Ausnahme- oder Sonderfälle.
Die Ränder der Epochen: Übergänge, Sattel, Schwellen, Grenzen
Epochengrenzen sind meistens Übergänge. Eine Ästhetik wird von der anderen abgelöst, was unter Umständen Jahre braucht. In der Geschichtsschreibung tendiert man aus Gründen der Ordnung und Verständlichkeit dazu, Epochengrenzen schärfer darzustellen als sie tatsächlich sind.
Für die Übergänge wurden verschiedene Begriffe geprägt. Reinhart Koselleck brahcte in den 1970er Jahren den Begriff der «Sattelzeit» für den Übergang zwischen Früher Neuzeit und Moderne ins Spiel. Hans Blumenberg, der Philosoph und Metaphorologe, nannte den Zeitraum zwischen zwei Epochen «Epochenschwelle».
Komplexere Geschichtslogiken
Geschichte wird oft als Abfolge von Epochen erzählt: und dann und dann und dann ... Während epochaler Übergänge gibt es mindestens zwei distinktive Logiken oder Ästhetiken, die miteinander im Streit liegen, die alte Logik und die neue, die sich durchsetzen wird. Wer die Geschichte schreibt, weiss, was sich durchgesetzt hat. Die Übergangszeiten sind meistens spannender und vielfältiger als von der überflugsartigen Geschichtsschreibung dargestellt. Die Folgeepoche kann sich zur Vorgängerepoche verschieden verhalten, sie kann auf ihr aufbauen, sie kann auf eine noch frühere aufbauen oder zurückgehen («Retro» und «Revival»), sie kann im Kontrast stehen, eine Weiterentwicklung sein. Die Stimmführer*innen der Vorgängerepoche sind in der Folgeepoche selten schon tod und stumm, sie werden sich in irgend einer Weise zum Neuen günstig oder kritisch verhalten.
Die Epoche als Lebenszeit, Äon, Zyklen
Dargestellt werden einzelne Epochen oft nach dem Schema: Aufstieg, Blüte und Verfall. Jede Epoche hat Ereignisse, die ihr vorangehen. Diese subsummiert man unter die «Vorgeschichte» einer Epoche («prä-...» oder «pre-...»). Ebenso hat sie Nachwirkungen, die man zu einer «Nachgeschichte» ordnet («post-...»).
Korrekturen der Geschichtsschreibung: Verlängerungen und Verkürzungen
Beliebt geworden ist eine Darstellung von Jahrzehnten, die man verlängert. Man spricht von den «Sechzigerjahren», verlängert diese nach vorne und nach hinten zu den «langen Sechzigerjahren», um die eher willkürliche chronologische Ordnung durch eine konsequentere sachlogische Ordnung zu ergänzen. Dabei werden die Vor- und Nachgeschichte der «Sixties» einbezogen, sofern sie für die Dekade explikativen Wert haben oder als Nach- oder Spätwirkung verstanden werden können.
Verwerfungen ergeben sich im Spiel zwischen Chronologie und Sachlogik.
Vergleich verschiedener Epochen-Konstruktionsleistungen
Wenn man auktoriale Epochenbildungen einer Disziplin sammelt (z.B. Darstellungen der Geschichte der Populären Musik) und gleichsam wie Folien übereinander legt, zeigen sich verbindlichere und unverbindlichere Epochengrenzen. Die ersten kommen in sehr vielen Darstellungen vor, die zweiten in wenigen. Sichtbar werden dadurch auch Zeiten, in denen wenig Unregelmässiges passiert, Zeiten in denen kein Autor an eine Epochengrenze denkt.
Auf die selbe Weise kann man auch die Epochenbildungen aus verschiedenen verwandten Disziplinen übereinanderlegen und vergleichen. Es ergeben sich dann Fragestellungen nach der Verwandtschaft und Ähnlichkeit z.B. zwischen Kunst- und Musikgeschichtsschreibung.
In diesen Fällen zeigt sich, dass Geschichte sich an einem Gegenstand vollzieht. Geschichte ist Geschichte von ... eines Staats, einer Institution, der Kunst, der Philosophie, der Ideen, der Mentalitäten, ... Es gibt so gesehen keine Geschichte der Geschichte (von Doppeldeutigkeiten des Wortes absehen – es gibt natürlich die Geschichte der Geschichtswissenschaft). Die Gegenstände, von denen historisch erzählt wird, sind die Trägerinnen der Geschichte. Zeit und Geschichte sind ihr Akzidens. Auch wer die Geschichte eines Jahres erzählt, erzählt Ereignisse und Wandel, die herbeigezogenen Geschichtssubjekte erleiden.
Link
– Wikipedia (en): Periodization
Entstehung der Rockmusik Tag
Wie der Rock 'n' Roll zuvor, ist Rock ein hybrides und damit für verschiedene Musiktraditionen offenes Genre, ohne enge Grenzen. Entstanden ist Rock, indem sich Rock 'n' Roll und Beat weiter entwickelten, dabei Anregungen aus «erwachsenen» Genres wie dem urbanen Folk und Blues abholten. Auch der Folk machte einen Schritt in Richtung Pop, zum Missfallen vieler. Rock ist so gesehen, was entstand, als Pop einen Schritt auf Folk und Folk einen Schritt auf Pop zuging. Rock entstand zwischen 1964 und 1967.
Britische Impulse
An der Entstehung von Rock beteiligt waren die beiden auch in Amerika erfolgreichen britischen Bands, die Beatles und die Rolling Stones. Erstere gehen von der Popmusik der Zeit aus (Mainstream-Rock'n'Roll, Motownsoul und Brillbuilding-Pop), die anderen vom Chicagoer Electric-Blues und Motownsoul. Schon ab 1963 spielen die Stones und Yardbirds elektrisierend schnellen Blues. Vermutlich ist das erste Album der Rolling Stones das erste Rock Album überhaupt.
Im Sommer 1964 kommt A Hard Day’s Night
von den Beatles als Album und Film heraus. Die Musik ist geprägt von einer 12-saitigen Rickenbacker Gitarre, die die Blaupause für den Folkrock der Byrds aus Los Angeles hergibt. Das erste Album der Gruppe, Mr. Tambourine Man
, erscheint im Juni 1965. Auf es folgen eine grosse Zahl von Folk-Stücken, die mit elektrischen Gitarren gespielt und für den Pop-Mainstream produziert ist: Simon & Garfunkel, Lovin’ Spoonful, Mamas And The Papas, Bob Dylan). In der Folk-Anhängerschaft wird diese Entwicklung heftig diskutiert: Ist sie Ausverkauf oder ein musikalischer Schritt nach vorn?
Die Rolle der Südstaaten
Studios in den Südstaaten hatten eigene Hausbands, die die Soul-, Country- und Rock-Sänger/-innen bei Aufnahmen als Backing Band begleiteten. Bei Stax in Memphis spielten Booker T. And The MG's, das FAME-Studio von Produzent Rick Hall in Muscle-Shoals hatte seine Studio Band mit Jimmy Johnson, Roger Hawkins, Terry Thompson, Albert ‘Junior’ Lowe, Linden ‘Spooner’ Oldham. Diese Bands amalgamierten Rock ‘n’ Roll, Blues, Country und Soul zu Southern Soul und Southern Rock. Dieses Südstaaten-Amalgam war für die gesamte Entwicklung von Rock sehr einflussreich.
Folk wird elektrisch (vergleiche: Elektrifizierung des Folk)
Vor allem durch Bob Dylan angeregt, wurden die Lyrics vieler Gruppen poetischer oder behandelten Themen, die das «Boy meets girl» oder das «Let's Dance» Paradigma der damaligen Popmusik weit hinter sich liessen: Selbstbestimmte Liebe, Bewusstseinserweiterung (mit und ohne Drogen) oder der Tod wurden Thema. Im März 1965 erscheint Bringing it All Back Home
von Bob Dylan, ein Album, dessen Songs zur Hälfte mit Rockband eingespielt und zur anderen Hälfte akustisch vorgetragen war. Am 20. Juli folgt Dylans Rock-Single Like A Rolling Stone
.
Selbstverantwortetes Songwriting
Bob Dylan und die Beatles schaffen das Modell des selbstverantworteten Songwritings bzw. des Singer-Songwriters, einer Person, die ihre eigenen Songs mit oder ohne Band vorträgt. Dieses selbstverantwortete Songwriting hat sich innert kürzester Zeit als Standard etabliert. Musiker wollten nun als Singer-Songwriter ernst genommen werden, das war von jetzt an eine Frage der Authentizität.
Vom Kunsthandwerk zur Kunst
Die Rolle der Musiker verändert sich mit der Rockmusik wesentlich: Musikerinnen und Musiker (es sind vorwiegend Männer!) werden von Handwerkern zu Künstlern (John Covach, University of Rochester).
Das Studio als Instrument
Rock Musikerinnen und Musiker begannen, Alben zu produzieren, bei denen sie nicht nur ihre eigenen Songs schrieben, sondern auch Hand an die Produktion legten. Sie suchten die Grenzen der Musik durch den experimentellen Einsatz von Studio-Technologie (vor allem Mehrspuraufnahme und Tonband-Montagen), aber auch durch das Verwenden unüblicher (exotischer oder elektronischer) Instrumente. Die produktionstechnischen Innovationen von den Beach Boys (vor allem auf dem Album Pet Sounds
und den Beatles (auf den Alben Rubber Soul
, Revolver
und Sgt. Pepper
) schufen unmittelbar einen Druck auf die Studiotechnik und mittelbar auf die Bühnentechnik. Beide wurden in den Jahren, als die Rockmusik blühte, mit Hochdruck weiterentwickelt.
Mit der Musik auf LPs und auf Singles wollten Rockbands und Musiker/-innen nun musikalische Visionen umsetzen; sie schufen Konzept- und Thema-Alben (vergleiche: Stichwort: Rock Album).
AM-Radio wird in den USA durch (freeform) FM-Radio ergänzt. Im Unterschied zum Top-40-Radio, das erfolgreiche Pop Singles spielte, war das Freeform Radio offen für Rockmusik: es wurden von den Radio-DJs, die die Musikauswahl am Anfang selbst besorgten, LP-Tracks, Tracks von Demotapes oder mal ganze LP-Seiten gespielt.
Rock war insofern ein rebellisches neues Genre, als diese Musik Herausforderungen an die Musikwirtschaft mit ihren Standardprozeduren stellte, zu denen Staff-Produzenten und Studiomusiker/-innen, Staff-Songwriter/-innen als Hitgaranten gehörten. Die Palastrevolution, die Rockmusiker veranstalteten, gelang, weil die Bands äusserst erfolgreich bei den nun erwachsen gewordenen Babyboomern waren. Der Singles-Markt wurde durch einen boomenden LP-Markt ergänzt, was zu Umsatzsteigerungen in der Musikwirtschaft der 70er Jahre führte. Der Erfolg auf dem Markt setzte sich natürlich durch. Die neuen Praktiken wurden von der Musikindustrie bald als neuer Business-Standard akzeptiert und der Markt aufs vollste ausgeschöpft (siehe Megaseller der 70er Jahre).
Neues Business mit neuen Typen von Managern
Mit der Rockmusik traten andere Typen von Managern auf: Manager, die auf kollegialer Basis mit den Musiker/-innen arbeiteten (z.B. David Geffen in Los Angeles). Auch die Veranstalter und Konzertagenturen professionalisierten sich. Rockmusik wurde ein Zirkus: Nachdem eine Band eine neue LP aufgenommen und veröffentlicht hatte, ging sie damit auf Tournee. Die Bands spielten vor allem in Theatern und teilweise auf Festival-Bühnen. Wo Rock 'n' Roll und Beat noch Club Musik waren, ging Rock nun in die Theater und wurde damit auch konzertant. Die Performance nahm revuehafte Züge an: Es wurde mit Kanonen, Lichtshows, Feuer, Verkleidungen und vielem mehr gearbeitet.
Entwicklungen in der afroamerikanischen Musik
Die Entwicklung zu Rock hatte auch einen Preis: die erneute Trennung von afroamerikanischer und weisser Musik. Seit Dezember 1963 waren R&B bzw. Soul und Pop quasi eines. Das Billboard Magazine stellte damals seine R&B Hitparade ein und legte sie mit der ohnehin ähnlichen Popcharts zusammen. Was für ein Zeichen der Integration der Rassen in Amerika – wenn auch nur auf der Ebene der Musik! Aber mit dem Rock ging diese Entwicklung wieder verloren und die Genres waren wieder separiert (siehe Elija Wald: How The Beatles Destroyed Rock ‘n’ Roll – eines seiner Bonmots lautet: «Rock ‘n’ Roll verlor den «Roll», das ist den Tanz-Aspekt, den Sex. Rock wurde verkopft und weiss).
Soul wurde zu psychedelischem Soul (Temptations), sozial engagiertem Soul (Marvin Gaye) und Funk (James Brown) und machte so seine eigene Emanzipationsbewegung durch, genau wie Rock. Aber die Schienen, auf denen der Soul und Rock Zug fuhren, waren parallele und nicht gemeinsame!
Rock Journalismus
Die ersten Musikjournalisten, die Rock ernst nahmen, waren Ralph Gleason (San Francisco Chronicles) und Robert Shelton (New York Times). Die ersten aif Rock spezialisierten Musikzeitschriften waren Crawdaddy! (Ostküste) und Rolling Stone Magazine (Westlüste, San Francisco, gegründet von Jann Wenner und Gleason im Hintergrund.
Shelton schrieb in einem Artikel über Simon and Garfunkel: «Pop music is catching up with film as the leading medium in which to make some comment about the world for a large audience, just as films have caught up with literature.» (NYT, 28. August 1966, p. 111) Gleason schrieb etwa zur selben Zeit in den Linernotes zu Parsley, Sage, Rosemary And Thyme: «The New Youth of the Rock Generation has done something in American popular song that has begged to be done for generations. It has taken the creation of the lyrics and music out of the hands of hacks and given it over to poets.»
Links
– Martin Chilton: Grand Designs: What Makes Epic Music? (uDiscoverMusic, 16. August 2019)
Ende von Genres Tag
Von der Musik der Millennials wird gesagt, sie sei »Postgenre» oder «post-genre» (siehe Artikel von Peter Robinson). Gemeint ist, dass Musiker/-innen und Bands nicht mehr länger auf ein Genre festgeschrieben sind (Justin Bieber, der sowohl Vocalpop als auch Electronica macht), dass Genregrenzen keine klaren Kontouren mehr haben (R&B und Hip-Hop) und durchlässig werden (Ryan Adams, der ein ganzes Taylor Swift Album nachspielt) oder dass Musik genremässig hybrider wird (Lana del Rey - ist sie Alternative oder Contemporary Pop?). Es gibt bereits Schulen, die mit Postgenre im Programm operieren (siehe: Mannes School of Music).
Post-Genres kann auch noch ein Sammelbegriff für Genres sein, die «post-» im Namen führen: Postrock, Postpunk, Postelectronica, Posthardcore. Diesen Genres ist die Programmatik gemeinsam, dass sie mit der Tradition von Rock, Punk oder Electronica brechen und zu neuen oder progressiven Ufern aufbrechen. Der bruch ist allerdings eher ein traditionsbewusstes Fortschreiten auf der Zeitachse. Postpunk ist eine Musik, die ohne Punk nicht sein könnte, die aber nicht mehr so klingt wie Punk. Das Verhältnis des Post-Genres zum vorhergehenden Genre ist oft ein ironisches.
Im März 2016 schrieb Peter Robinson im Guardian einen Artikel über die Millennials, die sich nicht mehr wie alle Generationskohorten zuvor für Genres interessierten und sich auf eines festlegten. Millenials hören Musik aus allen Genres. Mit Zahlen: 79% der 13–32-jährigen geben an, dass ihr Musikgeschmack nicht mit einem spezifischen Genre zusammenfällt. Nur gerade 11% sagen von sich, dass sie ein bestimmtes Genre mögen.
Wenn man Playlisten auf Spotify und anderen Streamingservices anschaut, sind diese nicht mehr nur genre-, sondern vermehrt stimmungsspezifisch. Es scheint, dass Genre von Mood abgelöst wird.
Echokammer Tag
Eine Echokammer ist eine Einrichtung in einem Aufnahmestudio, mit dem man einen natürlichen Nachhall als Raumklang produzieren kann, um einer trockenen oder dünnen Aufnahme einen Raumeindruck zu verleihen. Echokammern hatten eine grosse Bedeutung für ein Studio, bis günstige analoge und später digitale Effektgeräte sie obsolet machten.
Diese Räume werden in der Regel von Akustiker*innen entworfen oder ausgestattet, um beste Resultate zu erhalten. Produzent*innen in Studios, die nicht über einen separaten Hallraum verfügten, benutzten oft ihre Badezimmer als Notlösung. In den 1950er Jahren wurden auch Tonbandgeräte für Echo benutzt, ab den 1960er Jahren gab es Echo- und Hallgeräte als Effektgerät für Instrumente und fürs Studio.
Um eine Aufnahme mit einem Hallraum zu bearbeiten, wird die Aufnahme über Lautsprecher in den Raum gespeist und mit Mikrofonen wieder abgegriffen. Das resultierende Signal wird dem Ursprungssignal beigemischt.
Beispiele
Columbia Studio an der 799 7th Av.Columbia Studio an der 799 7th Av. verwendten nach Feierabend das Treppenhaus im Gebäude. Lautsprecher wurden im 3. und 4,5. Stock platziert, das Mikrofon für die Aufnahme im 8. Stock.
Links
– Wikipedia (de): Hallraum
Querverweise
– Echogeräte
Echogeräte Tag
Hall und Nachhall bzw. Echo ist in Räumen (oder Felswänden bzw. Hausmauern) reflektierter Schall. Von Hall (engl. «Reverb») spricht man, wenn die Reflexion in weniger als 0,1 Sekunden nach dem Initialgeräusch aufs Ohr trifft, von Nachhall oder Echo (engl. «Delay» oder «echo»), wenn die Reflexion später eintrifft.
Hall und Echo im Aufnahmeprozess
Wenn Musik aufgenommen wird, sei es auf einer Bühne oder im Aufnahmestudio, kann eine Aufnahmeleitung oder Produzent*in grundsätzlich verschiedene Wege gehen, was den Raumeindruck der Aufnahme betrifft. Man nimmt eine Musik im Raum auf, wo sie üblicherweise gespielt wird, dann wirkt die Aufnahme authentisch oder natürlich. Nach dem zweiten Weltkrieg hatten grosse Labels wie EMI, Columbia oder Capitol riesige Räume, in denen die Orchester für Klassik- oder Popaufnahmen spielten. Kleinere, aber gut eingerichtete Studios, in denen Popmusik aufgenommen wurde, hatten Echokammern, in denen man eine oder mehrere Aufnahmespuren oder den ganzen Mix hineinspielen und wieder aufnehmen konnte, um der Aufnahme Raum zu verleihen. Wenn ein Studio weder über einen grossen Raum noch über eine Echokammer verfügte, dann griffen die Produzent*innen zu technischen Hilfsmitteln: Slapback-Echo oder Echogeräten. Slapback-Echo wurde mit einem Tonbandgerät erzeugt, dass über die Funktion einer Hinterbandkontrolle verfügte. Hier kann man mit einer kurzen Verzögerung hören, was man aufgenommen hat. Wenn man dieses Kontrollsignal dem ursprünglichen Signal beimischt, erhält die Aufnahme mehr Raumeindruck.
Effekt
Verzögerungseffekt eingebaut in Verstärkern, Instrumenten oder Effektgeräten. Analoges Delay funktioniert in der Regel mit einem Tonband, auf das das Audiosignal aufgenommen und mit etwas Verzögerung wiedergegeben wird. Der Abstand von Aufnahme- und Wiedergabe-Tonkopf sowie die Geschwindigkeit des Bandtransports bestimmt die Verzögerungszeit. Digitale Geräte lesen das digitale Audiosignal in einen Speicher ein und lesen es mit Verzögerung wieder heraus. Neben der Verzögerungszeit gibt es andere Parameter, die sich verstellen lassen, z.B. das Feedback, bei dem sich das summierte Aussgangssignal wieder zurück speisen lässt, wodurch ein kaskadeartiges Echo entsteht.
Erzeugung von Nachhall/Echo
Um einen künstlichen Nachhall oder Echoeffekt zu erzeugen gibt es mindestens drei analoge Verfahren: das Tape-Echo (die Weiterentwicklung des Slapback-Echos), der Federhall und die Hallplatte. Tape-Echo nimmt ein Eingangssignal auf ein Tonband auf und gibt die Aufnahme wieder. Der mechanische Abstand von Aufnahme und Wiedergabekopf bzw. die Tapegeschwindigkeit sind die Faktoren, die die Grösse des Effekts bestimmen. Bei Federhall wird eine Audiodignal in eine mechanisches Signal gewandelt und dieses auf eine Feder gegeben, deren Länge die Verzögerungszeit bestimmt. Diese mechanischen System scheppern und sind empfindlich auf Körperschall. Auch weil die Federlänge nicht variiert werden kann, sind diese Systeme weitestgehend unbrauchbar. Abhilfe schaffen Hallplatten, die ähnlich funktionieren. Das elektrische Signal wird in Körperschall der Hallplatte gewandelt. Die Schwingungen breiten sich auf der Platte aus und werden an den Rändern reflektiert. Mit Mikrofonen werden die mechanischen Schwingungen wieder in ein elektrisches Signal zurückgewandelt.
Analoge Effektgeräte
Die drei berühmtesten analogen Delay-Effektgeräte während den 1970er Jahren waren Echoplex (Led Zeppelin), Binson Echorec (Pink Floyd) und Roland Space Echo (Lee 'Scratch' Perry).
Querverweise
– Echoplex
– Binson Echorec
– Roland Space Echo (Roland RE-201, 1974 to 1990)
– Echokammer/Hallraum
Links
– Wikipedia (de): Delay (Musik)
E-Gitarre Tag
E-Gitarren oder elektrische Gitarren wurden ab den 1950er Jahren gebaut. Das «E» im Namen steht für elektrisch oder elektrisch verstärkt oder elektroakustisch. Das Instrument gehört zu den Elektromechanischen Instrumenten. Wo die akustische Gitarre die Schwingung von Saiten durch einen Schallkörper «verstärkt», da hat die E-Gitarre ein oder mehrere elektromagnetische Pickups eingebaut, die die Schwingung in ein elektrisches Signal wandeln und das von Effektgeräten und Gitarrenverstärkern weiter prozessiert wird.
Die Entwicklung der E-Gitarre war getrieben vom Wunsch nach einem genug lauten Instrument, das im Zusammenspiel mit anderen nicht klanglich untergeht. Bläser oder Pianos übertönten die leise Gitarre.
Typen
Zwei grosse Familien von Instrumenten lassen sich unterscheiden, E-Gitarren mit und ohne Resonanzkörper. Erstere werden oft Jazz-Gitarre genannt, haben einen grösseren aber dünneren Klangkörper als akustische Gitarren. Die zweiten nennt man auch «solid body» Gitarren. Mischformen nennt man «halbakustisch» oder Halbresonanzgitarren.
Spiel mit Plektrum oder Hand
Gitarristen, die die E-Gitarre nicht mit dem Plektrum spielten waren: Albert King, Jeff Beck, Ry Cooder, Richard Thompson, Robbie Krieger, Derek Trucks von der Allman Brothers Band, J.J. Cale, Steve Hackett, Lyndsey Buckingham, Mark Knopfler.
Querverweise
– Gitarre
– Elektromechanische Instrumente
Dust Bowl Migration Tag
Staubstürme, die in den Jahren 1935–38 durch die grossen Ebenen der USA fegten und weite Landstriche unbewohnbar machten. Zu dieser Naturkatastrophe führte eine anhaltende Dürre. Für den monokulturellen Anbau von Weizen und Futtermais wurde das Präriegras entfernt, das den Boden zusammenhielt. Nun hatten die Blizzards leichtes Spiel und wirbelten den Boden durch die Luft. Die Dustbowl Stürme fielen zeitlich mit der Weltwirtschaftskrise (Great Depression) zusammen.
Durch die Dustbowls wurden ganze Landschaftsstriche unbewohnbar und die ohnehin schon arme Landbevölkerung musste ihre Häuser und Grundstücke aufgeben. Viele Familien zogen nach Kalifornien, wo sie Arbeit unter noch schlechteren Bedingungen fanden. Sie wurden «Okies» genannt.
Dustbowl in Literatur und Musik
– Dorothea Lange porträtierte verarmte Flüchtlinge und brachte mit ihren Fotos das soziale Problem ins öffentliche Bewusstsein.
– John Steinbeck: Grapes Of Wrath (Buch: 1939, Film: 1940).
– Woody Guthrie: Dust Bowl Ballads
Doubletracking Tag
Mehrspur-Aufnahmetechnik, bei der das selbe Instrument oder die selbe Stimme zwei Mal auf verschiedenen Tonspuren aufgenommen wird. Wesentlich dabei ist, dass man die erste Aufnahmespur nicht einfach kopiert, sondern wirklich ein zweites Mal aufnimmt. Dadurch entsteht ein dichterer und präsenterer Klang als mit einer einzigen Tonspur. Es ist als würden zwei Instrumente spielen, zwei Sänger*innen singen.
Das Doubletracking ist eine Spezialform des Overdubbings.
Eine Variante des Doubletracking ist die erste Spur über den linken Kanal und die zweite über die rechte Spur abzumischen. Das passiert zum Beispiel in Hurt.
Geschichte
George Martin begann 1962 damit, Stimmen zu doubletracken. Mit den Beatles applizierte er diese Methode zuerst bei A Taste of Honey in der Bridge. Auf dem zweiten Album With The Beatles weisen 10 von 14 Songs «doubletracking» auf.
Querverweise
– ADT
Dorischer Modus Tag
Die dorische Skala weist mit ihrer kleinen Terz und großen Sext im Tonmaterial Gemeinsamkeiten mit der Blues-Rock-and-Roll-Skala auf. Die Tonleiter wird zuweilen als urtümlich, erdig, grüblerisch, roh und primitiv beschrieben.
Musikalische Beispiele
– Claude Debussys «Nocturnes» sind dorisch (=> CD)
– Modest Mussorgsky: Night on Bald Mountain
– Sergei Rachmaninoff: Rhapsody on a Theme of Paganini
– Sibelius: Anfang der sechsten Symphonie
– Stravinsky: Sacre du printemps
Distribution Tag
Distribution ist der Weg, wie Musik von den Produzenten über den Musikmarkt zu den Konsumenten oder Rezipienten kommt.
Materielle Distribution
Auf einem Tonträgermarkt heisst Distribution der Weg, wie Tonträger vom Label zum Presswerk und von dort in den Plattenladen kommen.
Mediale Distribution
Die mediale Distribution beschreibt die medialen Wege, wie Musik vom Verlag zu den Hörer*innen gelangt. Zum Beispiel wird ein Song zuerst als Notenblatt gedruckt. Diese Noten werden den Verbrauchern verkauft. Sie können aber auch an Interpreten verkauft werden, die das Stück für ein Orchester arrangieren, das am Radio spielt. Oder die Interpreten führen das Stück bei einer Schallplattenaufnahme auf. Die Schallplatte wird in der Folge von einer Radiostation gesendet und gelangt so in die Ohren der Verbraucher.
Mediale Distributionswege sind vielfältig und komplex.
Diskothek Tag
«Disco» ist die Abkürzung für «Diskothek». Das lange, ursprüngliche Wort war eine Neuschöpfung aus zwei griechischen Wortteilen: «Discos» – Scheibe und «Thekä» – Behältnis. Eine «Diskothek» ist ein Ort, an dem Schallplatten zur Unterhaltung oder zum Tanz aufgelegt werden. Die Abkürzung hat einen zweiten Sinn und bezeichnet ein Musikgenre (siehe Disco).
Paris während der deutschen Besatzung
Das Französische war die Sprache, in der das Wort «Discothèque» als erstes eingebürgert wurde. Frankreich war das erste Land, in dem es Diskotheken gab, nämlich während dem Zweiten Weltkrieg als Nazideutschland Paris besetzte und kontrollierte. Die Jazzbands, die vor der Besetzung in den Pariser Clubs spielten, durften nun nicht mehr auftreten. Da sich die Lebenslust nur ungerne unterdrücken lässt, wurden Jazzfans findig und richteten in Kellern am «rive gauche» Diskotheken ein, in denen Swing ab Schallplatte gespielt wurde und in denen Paare tanzen konnten. Nach dem Krieg blieben einige Diskotheken bestehen und erlebten mit dem Rock 'n' Roll und den auf ihn folgenden Teenager-Tänzen wie dem Twist einen neuen Boom. Von Frankreich aus verbreitete sich die Idee, zu Musik von Platten zu tanzen, zuerst in Europa und dann in den USA. Man muss bedenken, dass Diskotheken im Anfang den Charakter eines Surrogats hatte, eines Ersatzmittels für die Live-Musik, die als einzige vollwertige Art der Aufführung von Musik galt. Eine Diskothek war eine Krücke während der Naziherrschaft, wurde in Friedenszeiten indes als billige, heute würden wir vermutlich sagen «trashige» Weise der musikalischen Unterhaltung wahrgenommen. Dies änderte sich sukzessiv mit der Verbesserung der Platten und der Soundsysteme (Plattenspieler, Verstärker, Lautsprecher/PA) sowie mit der sozialen Relevanz der Gemeinschaften und Gesellschaften, die zum Tanzen zusammenfanden. Solche Gesellschaften waren anfänglich Stars und Leute aus dem Showbiz, später gesellschaftliche Aussenseiter/-innen wie Schwule oder Latinos. Gegenwärtig gehören Clubs, wie man Diskotheken heute nennt, zum gesellschaftlichen Inventar von Unterhaltungsmöglichkeiten und sind aus dem Nachtleben nicht mehr wegzudenken.
New York in den 1960er Jahren
Diskotheken schwappten in den 1960er Jahren aus Frankreich nach New York hinüber. Zum Beispiel der am Neujahrstag 1962 eröffnete «Le Club» von Oliver Coquelin war ein Club, in dem man Mitglied sein musste. Es gab sowohl Livemusik als auch Musik ab Platte. Die Livemusik wurde irgendwann fallen gelassen, mitunter aus Kostengründen. Diese Entwicklung war nicht zum Gefallen der Musikergewerkschaft. Diskotheken verdrängten nicht nur Livemusik, sondern auch Jukeboxen, die seit dem Ende der Prohibition 1933 in Bars und Clubs aufgestellt waren.
Sybil Burton, die Ex-Frau von Richard Burton, eröffnete das «Arthur» in New York, eine Diskothek, in der viele Stars und Promis verkehrten. Terry Noël war der DJ, der in den Pausen der Liveband Singles auflegte, zu denen die Besucher/-innen tanzten. 1969 war der Zauber von «Arthur» vorbei und man nahm an, dass Diskotheken nur eine kurzlebige Modewelle waren. Doch dann übernahmen schwule Babyboomer die Entwicklung und Diskotheken verschwanden zum ersten Mal im Untergrund.
Untergrundclubs
Von den ab 1969 sich ausbreitenden Diskotheken und House-Parties sind wenig Dokumente erhalten. Spätere Disco-, Garage- und House-DJs wurden aber in dieser Szene sozialisiert.
Der erste Untergrund-Club Manhattans war das «Salvation» (wiederum mit DJ Terry Noël), dann kamen The Loft und «The Church» bzw. The Sanctuary. In diesen Clubs wurde nun die Technik des Platten-Mischens entwickelt: Slipqueing, Crossfading zwischen zwei Plattenspielern, Plattenspieler mit Geschwindigkeitsregelung, Mischpulte mit Kopfhöreranschluss zum Vorhören. Aus heutiger Sicht sind das alles Selbstverständlichkeiten, aber jemand musste damit beginnen. In diesem Zusammenhang gehen viele Credits an Francis Grosso, der den DJ-Beruf weit weg von seinen Ursprüngen im Radiostudio trug. Seine Mixes waren «seamless», d.h. das eine Stück ging nahtlos in das nächste über.
Discogs Tag
Discogs ist eine Online-Datenbank, die im Jahr 2000 als privates Projekt von Kevin Lewandowski begonnen wurde und heute seiner Firma Zink Media, Inc. in Portland, Oregon gehört. Lewandowski wollte zunächst seine eigene Plattensammlung auf seiner Homepage verwalten. Seine Site wurde schnell ein überpersönliches Ding. Zuerst wurde aus Discogs die umfangreichste Datenbank für Electronica und mittlerweile sind die Singles, EPs, Vinyl-LPs, Musik-Cassetten, CDs, Minidiscs, Netaudio-Releases oder DVDs vieler anderer Genres erfasst. Die Sparten neben Electronica sind Hip Hop, Rock, Funk / Soul, Pop, Jazz, Reggae, Latin, Non-Music und Blues.
Die typischen Suchresultate sind Diskografien von Artists und Labels, daher der Name «Discogs». Eine einzelner Eintrag ist ein Release mit Informationen wie: Artist, Label und Katalog Nummer, Coverbild(er), Format (CD, CDR, LP, MC), Land (nicht immer klar, ob Land des Acts oder Land des Labels gemeint ist), Releasedatum, Genre, Stil, Credits, Rating (0–5), Track Listing, Rating und Kommentare. Das heisst, es wird jede Variante eines Releases erfasst.
Discogs ist eines der Musterbeispiele einer Web 2.0 Applikation, deren Inhalte von einer weltweiten Community erfasst und gepflegt werden. Wer mit Tonträgern handelt, tut das in der Regel auf Discogs. Alle registrierten User können noch fehlende oder neue Releases erfassen, bewerten oder kommentieren. Die Verkäuferinnen von Releases sind motiviert, ihre Produkte genau zu beschreiben und so kann man davon ausgehen, dass fast jeder Release, der über Discogs angeboten oder gehandelt wurde, in guter Daten-Qualität erfasst ist.
Für Sammler/-innen bietet Discogs die Möglichkeit, ihre Tonträger in der Sammlung («Collection») zu erfassen zu verwalten sowie eine Wunschliste («Wantlist») anzulegen. Beides, «Collection» und «Wantlist» kann man als als Excel-File herunterladen.
Discogs hat seit August 2007 eine Programmierschnittstelle (API), die es anderen Applikationen erlaubt, auf die Daten zuzugreifen.
Alle Dienste sind kostenlos. Finanziert wird Discogs durch die Verkäufer, denen 5% der Verkaufssumme belastet wird.
Schwesterunternehmen
– VinylHub – Verzeichnis von Plattenläden
– Filmogs – Filmdatenbank und Marktplatz
– Gearogs – Instrumente, Effektgeräräte, DJ-Equipment etc. Datenbank und Marktplatz
– Bookogs – Bücherdatenbank und Marktplatz
– Comicogs – Comix Datenbank und Marktplatz
– Posterogs – Poster Datenbank und Marktplatz
Discography of American Historical Recordings Tag
«Discography of American Historical Recordings» (DAHR) ist eine Datenbank, die mehr als 130'000 Masteraufnahmen von Amerikanischen Schallplattenfirmen aus dem Schellack-Zeitalter (78rpm Platten) enthält. Die Datenbank gehört zum American Discography Project (ADP) der University of California, Santa Barbara und des Packard Humanities Institute.
In der Datenbank lassen sich «Takes» bei Sessions nachschlagen, welche Schallplatten davon auf den Markt kamen und natürlich fehlen die Namen der involvierten Bands, Musiker, Solisten, Sänger/-innen usw. nicht. Diese Datenbank wird die definitive Onlinequelle für amerikanische Schellack-Platten. Sie ist immer noch im Aufbau begriffen.
Links
– zu Discography of American Historical Recordings
Disco Demolition Night Tag
Am 12. Juli 1979 rief in Chicago Radio DJ Steve Dahl zu einer Schallplattenverbrennung auf, die als Disco Demolition Night in die Geschichte eingegangen ist. Der Event war eigentlich als Promo für ein Baseball Spiel der Chicago White Sox gegen die Detroit Tigers in einer verkaufsschwachen Saison gedacht – ausgerechnet diese beiden Städte, die ein paar Jahre Jahre später House und Techno, die beiden Abkömmlinge von Disco, in die Welt hinaus trugen! Dahl rief die Baseball-Fans dazu auf, eine Disco-Platte mitzubringen. Man erhielt damit einen günstigeren Eintritt. In der Spielpause wurden diese Platten dann aufgetürmt und von Dahl angezündet. Die Aktion war äusserst erfolgreich: Es kamen mehr als doppelt so viele Leute als erwartet an das Spiel. Die Disco Demolition Night war auch effektiv darin, Disco landesweit aus den Radioprogrammen zu verbannen. Die Parole «Disco Sucks!» war äusserst wirkungsvoll. Das Genre war im Mainstream sofort tot und Disco wieder eine Untergrundmusik.
Bedeutung
Es wurde diskutiert, ob die Verbrennungsaktion Ausdruck des Rassismus oder der Homophobie war. Steve Dahl hat seine Version der Geschichte in einem Artikel dargestellt (siehe unten). Für ihn war die Aktion eine von Revanchegelüsten getragene Komödie. Er hat seinen Job verloren, weil ein Rock-Sender sein Format auf Disco umstellte und er war nicht nur ein Radio-Moderator, sondern auch ein begabter Komödiant. Seine Parodien waren weitum bekannt. So gesehen war die Aktion vielleicht ein abgeschmackter Witz, der mehr Erfolg zeitigte als jemals vom Macher intendiert war. Der Rock-Historiker John Covach sieht die Disco Demolition Night eher als Ausdruck der damaligen Konfrontation zweier popmusikalischer Ästhetiken, der Rock- und der Disco-Ästhetik, denn als Homophobie, Rassismus oder Chauvinismus: «One important explanation requires us to question the ways in which disco was viewed as a threat within the rock community. In many ways, disco stood in direct confrontation to the hippie aesthetic that had been developing in rock music since the the mid-1960's. Disco was not about listening to music but dancing to it. Instead of being concerned with important spiritual or social issues, disco was about fun. And perhaps most important to the musicians involved, disco was not about the specific artists but about the beat in general – which was sometimes provided by a machine. It took the production authority away from the artist and returned it to the producer.» (What's That Sound?, p. 371 f.).
Wirkung
Bands wie die Bee Gees, die während den Disco-Jahren in Radios rauf und runter gespielt wurden, kriegten kein Airplay mehr und waren am Ende.
Links
– Steve Dahl: Disco Demolition 35 years later: That's the way I liked it (Crain's, 10. Juli 2014).
– Michelle Kim: Chicago White Sox Giving Away “Disco Demolition Night” T-Shirts for 40th Anniversary (Pitchfork, 11. Juni 2019)
Dilettant Tag
Ein Dilettant ist eine Sozialfigur, das Gegenteil eines Profis, aber mit dem Vorteil, dass seine mangelnde formale Qualifikation ihm ermöglicht, einen unbefangenen Blick auf den Gegenstand seines Interesses zu richten. Für eine Beschreibung des Dilettanten siehe Artikel von Roman Bucheli in der NZZ (2019).
Wertung
In der Alltagssprache ist der Begriff meist abwertend gemeint. Jemand ist ein Dilettant, der eine unsachgemässe Arbeit macht, ein Pfuscher.
In der Kunst und teils in den Wissenschaften oder der Technik steht der Dilettant für einen Menschen, der einen unmittelbaren Blick auf die Wirklichkeit kultiviert hat. Wenn er weiss, dass er dilettiert, kann ihn dieses Wissen stark machen.
Dilettantismus in der Geschichte: Bürgertum
Als Wort ist «Dilettant» im Zusammenhang mit Musik seit dem 17. Jahrhundert belegt. Es stand fpr den nicht berufsmässigen Umgang mit Musik, etwa im Gegensatz zum Profi. Im Conversationslexikon von 1796 wird der Dilettant als «Liebhaber einer schönen Kunst, welcher keine Profession von derselben macht» bezeichnet. Eine Wertung geht nicht mit dem Wort einher. 1819 heisst es im Brockhaus, dem Nachfolger des genannten Lexikons: «Liebhaber von Kunst und Wissenschaft». Dilettantismus ist das «Vergnügen an diesen Gegenständen, so wie seine Beschäftigung damit». Modern wäre das, was man mit «Hobby» bezeichnet. Dilettantismus ist «der Meisterschaft entgegengesetzt, obgleich er diese oft an Wärme übertrifft». Gewertet wird hier die «geistvolle» über der «geistlosen Liebhaberei. Eine positive Wertung hängt im frühen 19. Jahrhundert mit dem frühbürgerlichen Bildungsverständnis zusammen, für das die Autodidaktik konstitutiv war.
Im zweiten Drittel des 19. Jahrhunderts wird die musikalische Professionalität auf- und der «Dilettant» abgewertet. Das arrivierte Bürgertum musste sich nun vor allem nach unten abgrenzen, weil Kleinbürger mittlerweile auch Instrumente spielten und sich weiterbildeten. Die städtischen Orchestern waren jetzt mit professionellen und bezahlten Dirigenten und Musiker*innen besetzt. Auch diese mussten sich von Hobbymusiker*innen absetzen.
Dilettantismus in der Geschichte: Avantgarden
Bei Walter Benjamin erfuhr der Begriff wieder eine Aufwertung. In Das Kunstwerk im Zeitalter seiner technischen Reproduzierbarkeit schrieb er: «Die Figur des Dilettanten trägt Züge der Rettung». Diese Aufwertung geht mit den Avantgarden des 20. Jahrhunderts einher, die den Dilettantismus zur Kreativmethode erheben. Die verschiedenen Schübe avantgardistischer Bewegungen von Dada über Surrealismus bis Fluxus pflegten den Zugang zum Unbewussten als Quelle (automatisches Produzieren, freies Assoziieren), den unvoreingenommenen Blick auf das Material, die Absage an die akademische Verbildung. Sie wandten sich stattdessen dem «Wilden» und «Ursprünglichen» zu, das sie in nicht westlichen Kulturen vermuteten.
Dilettantismus in der Geschichte: Postpunk
In der Popmusik bezeichneten sich einige Musikerinnen und Musiker der frühen 80er Jahre als «Dilletanten» oder «Geniale Dilletanten» (extra falsch geschrieben, um die Haltung zu unterstreichen). Bands wie Die Tödliche Doris und Einstürzende Neubauten machten aus dem Dilettantismus eine ästhetische Haltung.
Digitale Musikwirtschaft Tag
Die Musikwirtschaft bestand im Prinzip immer aus zwei funktionalen Komplexen, der Bewirtschaftung der Rechte an der Musik und der Bewirtschaftung des Absatzes oder der Distribution. Vor der digitalen Musikwirtschaft lag die erste Funktion in den Händen der Musikverlage, die zweite in denen der Labels. In der Neuen oder digitalen Musikwirtschaft haben die Labels die Verlage übernommen und bewirtschaften spätestens seit Mitte der Nullerjahre die Rechte. Die Distribution haben seither Firmen wie Applemusic und Spotify übernommen, also Online-Musikshops, die gerade verschwinden, und Streaming Services.
In der digitalen Musikwirtschaft können Musiker/-innen kaum noch vom Verkauf von Tonträgern leben, auch nicht aus den Einnahmen von Streaming-Services. Live-Auftritte sind der mächtigste Garant für ein Einkommen als Musiker/-in.
Die Schallplattenfirmen (Labels) haben ihre Gatekeeper-Rolle teilweise verloren: Heute können Musiker/-innen ihre Werke im Selbstverlag, auf Bandcamp, Youtube oder Soundcloud publizieren.
Durch das Internet werden musikalische Erfolge noch grössere Erfolge als früher (siehe Anita Elberse: Blockbusters
, 2013) und teils können im Indiebereich durch den so genannten «Long Tail» Umsatzzahlen erreicht werden, von denen frühere Künstler/-innen nur träumen konnten (siehe Chris Anderson: The Long Tail
, 2009). Im Distributionsgeschäft haben sich in den 10er Jahren Streaming Services durchgesetzt, bei denen Musik im Abonnement nach dem «all you can eat» Prinzip zur Verfügung gestellt wird: Spotify, Apple Music, Deezer oder Tidal, um einige wichtige zu nennen.
Digital Maximalism Tag
Der Begriff wurde im musikalischen Kontext von Simon Reynolds für eine neue Tendenz in der Musik der 2010er Jahre geprägt (in einem anderen Kontext brauchte Lifestyle-Autor William Powers den Begriff in seinem Buch Hamlet's BlackBerry: Building a Good Life in the Digital Age
.)
Einige, vor allem britische Produzenten wie Rustie oder HudMo, brachen mit der Tendenz elektronischer Clubmusik, minimal zu sein. Ihr neuer Maximalismus gehört zu einer Sound-Ästhetik, die die 10er Jahre mitgeprägt hat. Siehe Genres wie Purplesound, Vaporwave oder Deconstructed Club.
Exkurs zum Minimalismus in Electronica
Der Minimalismus stellte sozusagen einen Produktionsethos im Umgang mit Samples dar: Es galt, Samples herzustellen, die in ihrem minimalen Kern eine maximale Wirkung entfalteten. Man versuchte, die Essenz der Musik in den kleinen musikalischen Stücken zu finden (Microhouse, Microsampling, Minimaltechno, Minimaltechhouse etc.). Auf eine Formel gebracht: Minimalismus war und ist der Versuch, das Material für die Produktion von elektronischer Club- oder Listeningmusik – die Samples – auf grösstmögliche strukturale Sparsamkeit zu reduzieren ohne dabei funktionale Einbussen in Kauf nehmen zu müssen. Microhouse-Tracks sind noch immer unglaublich funky und funktionieren auf der Tanzfläche perfekt.
Minimalismus passt gut zur deutschen Ingenieurs-Mentalität, während Maximalismus eher der französischen Mentalität entspricht. Vielleicht auch protestantischer Puritanismus vs. katholische Oppulenz. Den Gegensatz konnte man schon in den 70er Jahren bei den Vorvätern der elektronischen Musik beider Länder hören, bei den spartanischen Kraftwerk und beim progressiven, opernhaften Jean Michel Jarre. Beide verkörpern ihre jeweiligen Haltungen bis heute. Jarre geht mit eine riesigen Intrumentenpark auf die Bühne und spielt sie alle. Kraftwerk gehen mit abstrakten Instrumenten auf die Bühne, mit Konsolen, die wie schwerelos vor den vier Musikern schweben.
Maximalismus als grosse Geste
Maximalismus in der digitalen Produktion verfolgt eine andere Strategie, ohne dass es dabei um ein Gegenteil im Sinne des Überladens geht. Vielmehr geht es um grosse Gesten, um Pathos, um die Anreicherung elektronischer Musik mit Rock 'n' Roll (Rustie und Tim Hecker sind Fans des Gitarristen Eddie Van Halen. Nicolas Jaar arbeitete als Darkside mit dem Gitarristen Dave Harrington. Bei Daft Punk konnte man in den Tracks Aerodynamic
und Digital Love
Gitarrensoli hören.)
Wodurch zeichnet sich Digital Maximalism nun eigentlich aus? Pitchfork Autor Martin Clark schrieb in einem Artikel über Grime und Dubstep, dass Rustie den Midrange it Bleeps und Riffs überfrachten würde. Das führe zu einer musikalischen Metapher für das Leben im Internetzeitalter, in dem man mit intensiven und exzessiven Möglichkeiten zu kämpfen habe. Auf der Ebene des Sounds wird vom «Purplesound» gesprochen (siehe: RYM). Die Signature-Sounds des Stils bestehen aus Synthmelodien, die durch Kompressoren und Filter gejagt wurden, bis sie eine unmittelbare und intensive Qualität erhielten. Die Sounds muten an wie die digitalen Bilder von HD-TV, so übertrieben real, dass es surreal wird. Es scheint als könnten «purple sounds» mit souveräner Leichtigkeit den Hyperraum bündeln. In gelegentlich euphorischen Momenten gelingt ihnen diese Illusion. Gang Gang Dance brachten 2011 ihr Album Eye Contact heraus, das mit dem Track Glass Jar
beginnt, der den Maximalismus auf den Punkt bringt: «I can hear everything. It's everything time.»
Links
– Soundstudiesblog: digital maximalism (Stichwort im genannten Blog)
Digital Bohemia Tag
Der Begriff wurde 1995 von Elisa Rose und Gary Danner, dem Künstlerduo Station Rose geprägt und von Sascha Lobo und Holm Friebe, einer Berliner Künstlergruppe, aufgegriffen: Wir nennen es Arbeit: Die digitale Boheme oder: Intelligentes Leben jenseits der Festanstellung
(2006). Digitale Bohème wird seither im Zusammenhang mit Netzkünstler/-innen und (alternativer) digitaler Kunst verwendet. Die Alternative besteht vor allem darin, dass man sich der Praxis der Festanstellung entziehen möchte, weil diese die persönliche Freiheit ungebührend beschneide.
Deskriptoren für Musik Tag
Unter der Kategorie «Deskriptoren für Musik» sind Dimensionen der Beschreibung von Musik zusammengefasst, wie beispielsweise: Stimmung («Mood»), Genre, Sound (Timbre), Textur oder Besetzung, physikalische Eigenschaften wie Lautstärke, Dynamik, Tempo usw.
Deskriptoren können sprachliche Kategorien für den Eindruck von Musik (bzw. Kunstwerken) auf den Menschen, aber auch Eigenschaften der Werke sein. Je nach dem sind sie Rezeptions-, Produktions- oder Objekt- bzw. Werkkategorien. Das Genre eines musikalischen Werkes zum Beispiel wird oft produktionsseitig determiniert. Eine Band oder ein*e Produzent*in arbeitet im Rahmen eines Genres. Sound, Textur, Dynamik, Tempo sind oft Werkkategorien, d.h. an der Komposition oder der Interpretation feststellbar. Stimmung dagegen wird oft als Eindrucks- oder Wirkungskategorie verwendet. Sie ist, was Musik bei Menschen auslöst oder wozu eine Musik funktional verwendet werden kann (Workout music, Meditations-Musik usw.).
Deramic Sound System Tag
Das Deramic Sound System sollte in den 1960er Jahren mit 4-Spur-Maschinen einen natürlicheren Stereoklang erzielen. Die Neuerung bestand darin, dass die vier Spuren als zwei Stereopaare und nicht als vier Monospuren verwendet wurden. Das war ein bewusstes Zurückkehren auf die Zweispurtechnik, nur dass man alles konsequent Stereo aufnahm, Instrumente und Stimmen. Als Decca schliesslich die 8-Spur-Maschinen einführte, war vom DSS keine Rede mehr.
Instrumente und Gesang wurden stereophon aufgenommen, d.h. im Raum positioniert. Dadurch hatte man eigentlich nur zwei Spuren zur Verfügung, z.B. der Backingtrack plus Gesang/Soloinstrument. Overdubbing wurde so durchgeführt, dass alle vier Spuren auf ein anderes Tonband überspielt wurden und die Band mit der Wiedergabe mitspielte.
Es wurden nur elf Platten so aufgenommen, weil bald die 8-Spur-Aufnahmetechnik das Verfahren obsolet machte. Ausgerechnet Days of Future Passed, das das neue Stereoverfahren hätte eindrucksvoll demonstrieren sollen wurde letztlich nicht wirklich stereophonisch aufgenommen. Das Orchester schon, aber nicht die Band, die konventionell monofon aufgenommen und pseudostereophonisch gemischt wurde.
Die meisten Platten mit dem «Deramic Sound System» waren Easylistening. Die einzigen Rock-Aufnahmen stammen von den Moody Blues, wobei In Search Of The Lost Chord das einzige Album ist, bei dem das Verfahren konsequent angewendet wurde.
Platte, die nicht im Musikzimmer erfasst ist
– Laszlo Tábor Conducting The London Festival Orchestra: Concerto, Deram SML 710, 1968
Links
– Gearspace: Forum (7. November 2017, Beitrag von User: JRNelsonSr)
Denmark Street Tag
An der Denmark Street in London waren ab den 1950er bis in die 1990er Jahre die grossen britischen Musikverlage ansässig. Denmarks Street ist gewissermassen die britische Tin Pan Alley. Nach den Verlagshäusern kamen Studios (Regent Sound Studios 1 oder die Southern Music, ein Demo Studio) und Musikläden. 2014 wurde eine Tafel angebracht, die an die Bedeutung der Strasse für die britische Musikwirtschaft erinnert.
Ein direkter Vorläufer von Denmark Street war das Publishing von Broadside ballads im Gebiet von Seven Dials.
Quellen
– Peter Watts: «Denmark Street: London’s Street Of Sound». Paradise Road, 2023. – Webseite des Verlags
– Peter Watts: Is Denmark Street really London’s Tin Pan Alley? (Apollo Magazine, 18. Oktober 2023)
Das Populäre Tag
Man kann endlos darüber streiten, was das Populäre ist und was die Populären Künste und die Populäre Musik von anderen artistischen und musikalischen Gattungen unterscheidet. Einige der Probleme mit dem Begriff bestehen, weil man a) entweder etymologisch das Populäre mit dem Volk (lat.: populus) verbindet oder b) weil man das Populäre mit musikalischen Genres verschränkt. Wenn ich in Musikzimmer von «Populärer Musik» spreche, dann benutze ich den Begriff als Fachbegriff und streife zwei Bedeutungsdimensionen, die aus der Alltagssprache kommen ab: als erstes die Konnotationen mit «Volk» und «volkstümlich» (a) und als zweites jede Zuordnung zu musikalischen Genres (b). Ein Genre ist nicht konstitutiv für die Gattung. Blues kann sowohl Folklore, Kunstmusik oder Populäre Musik sein. Blues ist als Folklore entstanden, wurde später auf Schallplatten gepresst und verkauft (hier wurde er zu Populärer Musik). Wenn er als Repräsentation von amerikanischer Musik bei einem Empfang in Washington gespielt wird ist er Kunstmusik. Ich behandle die musikalische Gattung als eine soziologische Funktion: Folklore kommt mit keinem oder mit wenig Geld aus, Kunstmusik wird gefördert und repräsentiert und Populäre Musik wird produziert, um auf einem Markt verkauft zu werden.
Als 1981 die International Association for the Study of Popular Music (IASPM) gegründet wurde, war eines ihrer ersten Bestreben, das Feld abzustecken und «Populäre Musik» definieren zu können. Charles Hamm ging dabei strukturalistisch vor und grenzte Populäre Musik von Kunstmusik und Folklore ab (siehe Gattungen). Mit seinem Ansatz waren die Probleme, die durch die Etymologie entstehen (a), ausgeschaltet. Aber Hamm vermied den zweiten Fehler nicht, die Verbindung von Gattung und Genre (b).
Das Populäre der Populären Musik ist, dass sie mit der Veröffentlichung in einen Wettbewerb um Erfolg eintritt. Der Erfolg bestand im traditionellen Musikmarkt aus verkauften Einheiten und Zuhörer/-innen-Zahlen, auf dem neuen digitalen Musikmarkt aus Aufmerksamkeit, die in verschiedenen Kanälen erhoben und mit Gewichtungen errechnet wird. Dargestellt wird der Erfolg bzw. die Popularität der Populären Musik in Hitparaden.
Das Populäre in der Literatur und in der Musik
Das Populäre in der Literatur mache ich an inhaltlichen Kriterien fest: an Figuren, die im Text auftreten, oder am Genre, dem der Text zugehört. Das Populäre in der Musik (siehe Populäre Musik hingegen mache ich am Erfolg in der Hitparade fest – also gerade nicht an etwas Inhaltlichem. Das widerspricht sich offensichtlich. Um den Widerspruch zu lösen, müsste ich Populäre Literatur an den Verkaufszahlen festmachen, dort wo diese gemessen und abgedruckt werden.
Das Ende von Rock Tag
Rock befindet sich 2018 im deutlichen Abwärtstrend: Die Zeichen stehen schlecht:
– Leonard Cohen gewinnt den Grammy Award in der Kategorie «Best Rock Performance»
– Die letzten Acts, die in die Rock And Roll Hall Of Fame induziert wurden, waren Madonna, Donna Summer und ABBA
– das riesige Coachella Festival wird dieses Jahr ohne Rock-Headliner auskommen
– der letzte Jahresbericht von Nielsen, das ist die Firma, die den amerikanischen Musikmarkt beobachtet und die Zahlen für die Billboard-Charts erhebt, hat gezeigt, dass Rock von Hip-Hop/R&B überholt worden ist
Für Fans mag das bitter sein, aber Rock ist deutlich im Abwärtstrend. Das Schicksal der Rockmusik wird das des Jazz sein. Zum einen wird die Musik akademisiert, d.h. man kann Rock an Musikschulen studieren und es werden viele Bücher über ihn geschrieben werden, die jeden Winkel ausleuchten. Weiterhin werden viele Rockformationen existieren, aber wohl keine signifikante Rolle auf dem Musikmarkt mehr spielen.
– Caren Gibson: IN-DEPTHIs Rock Music Dead? Not If You’re Really Listening (uDiscoverMusic, 1. Oktober 2019)
damsel in distress Tag
Eine stereotype Figur aus allen möglichen Künsten: die schöne, aber unschuldige junge Frau, die in Gefahr gerät oder von einem Bösewicht bedroht wird (Monster, Drachen, Mann). In narrativen Künsten wird der Topos damit weitergeführt, dass ein edler Herr, ein Ritter oder Held sie aus der misslichen Lage befreit.
Der Topos wurde natürlich zum Gegenstand feministischer Kritik. Der Topos steht traurigerweise im Kern fast jeder #MeToo-Erzählung. Wenn die Auflösung der Erzählung darauf beruht, dass die Frau sich nicht selbst verteidigen kann und auf einen starken Mann angewiesen ist, dann schreit das nach alternativen Modellen, in denen die Frau sich selbst zu helfen vermag, Menschen gegen den Übergriff zusammenstehen oder schlicht die Rollen getauscht werden und Frauen Männern helfen.
Dada Tag
Eine der transnationalen Avantgarden der modernen Kunst, oft eine künstlerische «Bewegung» genannt. Der Beginn von Dada wird auf das Jahr 1916 datiert, als vorab deutsche Emigrant/-innen in Zürich ein Künstlercafé gründeten, das «Cabaret Voltaire». Das «Cabaret Voltaire» an der Spiegelgasse 1 existierte nur sehr kurz für ungefähr sechs Monate. Dort verkehrt haben und aufgetreten sind: Emmy Hennings, die als Wirtin fungierte, Hugo Ball, Tristan Tzara, Richard Huelsenbeck, Marcel Janco und Hans Arp. Es war mitten im Ersten Weltkrieg. Weitere Dada-Städte neben Zürich waren Köln, Berlin, Hannover, Dresden, New York und Paris.
Dadaistische Kunst ist avantgardistisch und radikal, weil sie sich von damals herrschenden Konventionen des Kunstbetriebs abwendete. Die Künstler/-innen arbeiteten mit den Mitteln der Parodie und Satire sowie den Techniken der Sinnentleerung (z. B. Lautgedichte, Verwendung von trivialen Materialien, Juxtaposition unzusammengehöriger Elemente). Dadaist/-innen gebarten sich als Bürgerschreck. Sie lehnten jede Form von Sinnkonstruktion oder Ordnung aufs Vehementeste ab. Notorisch ist, dass jede und jeder eine eigene Definition von Dada hat. Absurdität und Widerspruch reflektierten die Zerstörungen, die der Weltkriegs mit sich brachte, und den Zerfall der alten bürgerlichen Ordnung, in der die Kunst repräsentative Funktion inne hatte. So gesehen kündigte der Dadaismus die Ehe von bürgerlicher Herrschaft und schöner Kunst auf. Dada war die erste rebellische Kunst und eine der ersten totalen Kunstrichtungen des 20. Jahrhunderts. Mit «total» ist gemeint, dass es keinen Unterschied zwischen Leben und Kunst gibt. Dada hört nach der Aufführung oder Ausstellung nicht auf, sondern ist eine Lebenseinstellung.
Dada beeinflusste weitere Avantgarden wie Surrealismus oder Situationismus, sowie die Populären Künste, deren Ausdruckssprache es umgekehrt gerne dafür verwendete, um die Kunst zu trivialisieren. Punk ist ohne Dada nicht zu denken, ebensowenig die Postmoderne – das macht allerdings beide umgekehrt nicht zu Avantgarden!
Weitere Künstler/-innen die von Dada beeinflusst waren: Monty Python, Damien Hirst, die NDW-Band Trio. Nach dem Zürcher Cabaret Voltaire benannte sich die Postpunk Band Cabaret Voltaire aus Sheffield.
Links
– Webseite des Cabarets Voltaire in Zürich
– Manufacturing Intellect: Dada: The Original Art Rebels documentary (2016) – archiviert im Musikzimmer
– Manufacturing Intellect: Dada and Surrealism: Europe After the Rain(1978, publiziert am 24. Januar 2018)
– Manufacturing Intellect: Dada Art: Alphabet of Dadaism with Hans Richter documentary (1968, publiziert am 31. Januar 2018)
Cyber-Hippies Tag
Leute wie John Perry Barlow sind Cyber-Hippies – Lute die das IUnternet als unabhängigen Raum sehen, über den die reale Welt der Regierungen und Konzerne keine Kontrolle haben sollen. Die Idee war beeinflusst von den LSD-Parties in den 60er Jahren. LSD war utopisch, eine kollektiv erfahrene alternative Welt, die nun in den Cyberspace hinein projiziert wurde. Nun sollte das Internet der Ort der Utopie sein, eine alternative Welt, die frei ist von den Ungeheuerlichkeiten die Politik und Wirtschaft in der realen Welt anstellten.
Vorgänger waren die Leute, die programmatisch am Personal Computing arbeiteten.
Crooning Tag
Intime Art des Gesangs, die in der Mitte des 20. Jahrhunderts prominent war und durch die Mikrofon- und Verstärkungs-Technik möglich wurde. Sowohl auf der Bühne als auch auf Im modernen Tonstudio wurden die Instrumente und die Stimme unabhängig voneinander aufgenommen und verstärkt, wodurch Stimmen sehr leise singen konnten, wo das früher nicht möglich gewesen wäre (vergleiche Belting, weil das Orchester sie schlicht übertönt hätte. Die leise Qualität der Stimmen schaffte zum einen Intimität und brachte zum anderen Nuancen der Atmung und der Betonung in den Vordergrund.
Männliche Crooner galten am Anfang als effeminiert. Die BBC spielte sie nicht im Programm.
Frühes Crooning
Als die drei frühsten Crooner gelten Al Jolson, Rudy Vallée und Bing Crosby. Crosby wurde mit seinem lang anhaltenden Erfolg der herausstehende Crooner des Swing-Zeitalters und darüber hinaus. Er ist der Hauptinnovator des Gesangsstils und landete zwischen 1931 und 1956 über 340 Hits in den USA!
Ein weiterer früher Crooner war Gene Austin.
Auf die klassische Trias folgte Frank Sinatra, der in Phrasierung und Artikulation stark vom Jazz beeinflusst war. Sinatra wirkte auch zurück in den Jazz: Lester Young und Miles Davis nennen Sinatras Crooning als Einfluss auf ihr Spiel.
In den 50er Jahren gab es eine neue Welle von Croonern: Don Cornell, der für seine etwas schmalzige Stimme bekannt war, Eddie Fisher mit seiner schäkernden Stimme, Al Martino, Dean Martin, Perry Como, Tony Bennett, Bobby Darin, aber auch der Brasilianer João Gilberto.
Afroamericana
– Nat 'King' Cole
– Sammy Davis Jr.
Jazz
– Billie Holiday
– Chet Baker
Als Country-Crooner bekannte Stimmen
– Eddy Arnold
– Jim Reeves
– Ray Price
Europa
– Charles Aznavour
– Matt Monro
– Harry Frommermann von den Comedian Harmonists
– Willy Fritsch
– Rudi Schuricke
– Max Raabe (überzeichnet, parodistisch)
Als Rock-Crooner bekannte Stimmen
– Roy Orbison
– Leonard Cohen
– Lana del Rey
Covergestaltung Tag
Neue Tonträger werden in der Regel in einer Verpackung angeboten und verkauft. Ein solche Verpackung kann einen einzelnen oder mehrere Tonträger beinhalten. Die Verpackung dient dem Schutz bei Transport und Lagerung. Vielfach identifizieren Verbraucher*innen ein bestimmtes Exemplar an diesem Umschlag, zumal wenn er bebildert ist. Dass Tonträger mit einem Bild assoziiert sind, gilt bis heute, da Musik weitestgehend gestreamt wird. Die Identifikation eines Musikstücks oder Albums hängt sehr stark an seinem Coverbild.
Am Anfang ihrer Geschichte wurden Tonträger meist in generischen Papier- oder Karton-Hüllen verkauft. Diese Hüllen hatten den Firmennamen aufgedruckt und kamen eventuell in Varianten (Veröffentlichungs-Reihen in verschiedenen Farben). Den Titel der Aufnahme ersah man am Label der Platte selbst. Die Hüllen hatten beidseitig ein Loch im Zentrum ausgestanzt, die die Sicht auf das Label freigaben.
Die individuelle Gestaltung von Schallplattenhüllen kam in den USA im Jahr 1940 im Zusammenhang mit «Alben» auf, in denen mehrere Schellackplatten zusammen verkauft wurden. Opern-Veröffentlichungen enthielten auf diese Art mehrere Arien, Symphonien mehrere Sektionen. Der name «Album» wurde in Anlehnung an Fotoalben so genannt.
Als nach dem Zweiten Weltkrieg unzerbrechliche Vinyl Platten im LP- und Single-Format die Schellackplatten ablösten, wurde die Praxis übernommen, Alben in individuell gestalteten Covers auszuliefern. Die grossen amerikanischen Plattenfirmen begannen bald auch, Singles mit gestalteten Covern zu verkaufen. In der Regel war die Qualität der Verpackung bei LPs besser als bei Singles (Karton- vs. Papier-Hüllen).
In Europa, das nach dem Krieg Wirtschaft und Kaufkraft erst hat wiederbeleben müssen, hinkte diese Entwicklung nach. Doch mit dem Wirtschaftswunder, als der Verkauf von Schallplatten zu boomen begann, zog auch der europäische Markt nach. Bei der deutschen Polydor, aber auch bei der englischen Parlophone wurden Singles bis in die 1960er Jahre hinein in generischen Covern verkauft.
Frühe Grafiker
Anfangs wurden Cover von Grafikern gestaltet, die frei für die Label arbeiteten oder «inhouse» angestellt waren. Der erste von ihnen war Alex Steinweiss, der ab 1939 bei Columbia arbeitete. Steinweiss (1917–2011) gestaltete bis zu seiner Pension 1973 um die 2500 Cover. In den frühen 50er Jahren war er derjenige, der die damals neue 12'' Vinyl LP in ein Paperboard Cover verpackte. Dieses Verpackungsformat ist bis heute ein Industriestandard für LPs.
Capitol beschäftigte als Gestalter den Maler Thomas B. Allen, RCA Victor Jim Flora. Flora illustrierte auch für Columbia. Seine Handschrift war eine Mischung von Karikatur und naivem Surrealismus, seine humorvollen Montagen erinnern stellenweise an Picasso.
Gestaltung von Jazzplatten
Im Jazz wurden die ersten Covers mit Fotos bzw. mit Foto und Grafik gestaltet. Eines der führenden Labels in Sachen Design (und natürlich Aufnahmetechnik) war Blue Note. Es beschäftigte Reid Miles oder Paul Bacon als Designer. Fotos machte Labelgründer Francis Wolff. Das Impulse! Label beschäftigte Robert Flynn als Art Director und die Fotografen Pete Turner (der auch für Verve arbeitete), Ted Russell und Joe Alper. Weitere Jazz Fotografen waren Charles Stewart und Herman Leonard.
Gestaltung von Rock 'n' Roll Platten
Mit der Rock 'n' Roll und Beat Musik wurden die Interpreten für die Käufer/-innen wichtige Identifikationsfiguren. Deshalb werden auf den Covers dieser Musik vermehrt die Interpreten fotografisch dargestellt. Überhaupt waren ab 1956 Plattencovers immer weniger grafisch und immer häufiger fotografisch (ein Meilenstein war das Jazz Album Ella And Louis).
Bei Beat Bands war es verbreitet, die Gruppe abzubilden, alle Mitglieder in einer Reihe aufgestellt, zuweilen mit ihren Instrumenten, zuweilen mit anderen Gadgets, die mit dem Plattentitel korrespondierten (z.B. das Surfbrett auf Surfer Girl von den Beach Boys).
Für Columbia arbeitete ab 1961 John Berg, der in etwa 25 Jahren 5000 Covers gestaltete.
Gestaltung von Rock Covern
Mit dem Aufkommen der Rock Musik wurde die LP zum wichtigsten Format. Rock Bands und Musiker/-innen konnten als erste Interpreten selber bestimmen, wie die Platten auszusehen hatten. Sie machten aus der Covergestaltung eine eigene Kunstform, die grafisch oder photografisch sein konnte. Rock-Alben wurden aufwändig gestaltet (siehe Titelbild) und gaben in der Regel die Konzepte und Themen der Alben wieder. Speziell fruchtbar war die Gestaltung von psychedelischen Rockpostern in der Untergrundszene von San Francisco. Einige dieser Künstler gestalteten auch Covers, z.B. Alton Kelley. Einige Rock Acts arbeitetet mit bekannten Künstlern aus der Popart und der Modernen Kunst zusammen (Peter Blake, Richard Hamilton, Andy Warhol, Robert Frank, H.R. Giger ). Es gab Bands, die ihre eigenen Grafiker hatten, so Frank Zappa, der mit Cal Schenkel, und Grateful Dead, die mit Stanley 'Mouse' Miller arbeiteten.
Gestalter wie Roger Dean oder Grafikbüros wie Hipgnosis gestalteten duzende von Albumcovers für progressive Rockbands. Zuerst für Hipgnosis, dann unter eigenem Namen arbeitete Storm Thorgerson, der auch Konzertfilme und Videos produzierte.
Einige Rockstars waren auch selbst künstlerisch tätig und gestalteten die Cover ihrer Platten: Joni Mitchell, Captain Beefheart, Bob Dylan.
Die Rockmusik brachte auch Rock Fotografen hervor, die zum Teil in die Kategorie der Celebrity Fotografen gehören: Annie Leibovitz, Robert Mapplethorpe, Jean-Paul Goude.
Hip Hop
In den frühen Tagen fotografierte Janette Beckman die Künstler vom Def Jam Label (siehe Def Jam Kurzdoku).
Quellen
Für einen Steinweiss-Werküberblick siehe das Buch Alex Steinweiss: The Inventor of the Modern Album Cover
oder Discogs.
– Jim Flora
– Thomas B. Allen
– David Stone Martin
– S. Neil Fujita
– Reid Miles
– John Devries
– Ken Veeder
– Barney Bubbles
– Alton Kelley
– Peter Saville
– Vaughan Oliver
Links
– Alex Steinweiss (Wikipedia (en)
– Webseite mit Arbeiten von Steinweiss für Columbia und Decca
– Billboard: The 50 Greatest Album Covers of All Time (Staff, 12. November 2015)
– Dale Eisinger, Susan Cheng: The 50 Best Pop Album Covers of the Past Five Years (Complex, 8. November 2013).
– Ranker: The Greatest Album Covers of All Time
– Igor Lipchanskiy: Instagram Seite – Rekontextualisierung von berühmten Schallplattencovern
– Martin Chilton: Cover Story: A History Of Album Artwork (uDiscoverMusic, 2. September 2019)
– Tim Peacock: The Most Controversial Album Covers Of All Time (uDiscoverMusic, 26. September 2019)
– Tim Peacock: The Bad, The Bad And The Ugly: The Worst Album Covers Of All Time (uDiscoverMusic, 29. September 2019)
– Ben Merlis: «It’s All Rebel Music»: How Janette Beckman Documented The Early Days Of Def Jam (uDiscoverMusic, 19. Juni 2020)
– Martin Chilton: Up Their Sleeves: The 13 Most Iconic Album Cover Designers (uDiscoverMusic, 23. Oktober 2020)
– Cover Paradies
– L'Arte della Copertina
– Cover des Blue Note Labels
– Animierte Cover
– Hypgnosis Covers
– Feature über Nackt-Cover von Intuitivemusic
– Liste mit Covern von Robert Crumb, dem Musiksammler und Schöpfer von «Fritz The Cat» bei «Rate Your Music»
Coronakrise Tag
Das Coronavirus (SARS-CoV-2) war ab Januar 2020 das dominante Thema im Leben, in der Presse und bald auch für die Musikwirtschaft. Das Virus löste eine weltweite Pandemie, die Coronakrise aus. Sie war die schwerste Gesundheitskrise seit der Spanischen Grippe im Jahr 1918. Der Betrieb der Welt wurde heruntergefahren und die Menschen praktizierten «social distancing», um die Ansteckung bzw. die Ansteckungsgeschwindigkeit einzudämmen.
Festgestellt wurde das neue Virus zuerst in der chinesischen Stadt Wuhan kurz vor Jahreswechsel. Die Weltgesundheitsorganisation (WHO) rief am 30. Januar 2020 die internationale Gesundheitsnotlage aus. In China wurde die Stadt Wuhan quarantänemässig abgeschlossen. In Italien, wo das Virus ab dem 22. Februar 2020 grossflächig festgestellt wurde, isolierte man mehrere Ortschaften. An den Finanzmärkten kam es im Februar und März zu starken Einbrüchen. Wirtschaftsprognosen für das Jahr 2020 waren pessimistisch.
Erste Reaktionen (Ende Februar bis 12. März)
Ab Ende Februar wurden, wegen der Übertragungsgefahr, Grossveranstaltungen abgesagt. Das traf den Lebensnerv der Unterhaltungs- und Musikindustrie, die vor allem durch Events und Konzerte Umsatz machen. In Zürich verbot der Regierungsrat ab dem 28. Februar Veranstaltungen mit mehr als 1000 Besucherinnen und Besuchern (siehe: Medienmitteilung des Kantons Zürich vom 28. Februar 2020).
Auch das Clubleben stand still: Zürcher Clubs reagierten mit verschärften Personenkontrollen und flächendeckenden Datenerhebungen, um einem Tanzverbot auszuweichen (siehe Tages-Anzeiger Artikel).
An der Schnittstelle von Politik und Wirtschaft wurden Möglichkeiten verhandelt, ob und wie der Staat Verluste kompensieren könnte. So schreibt die SUISA am 3. März auf ihrer Webseite: «Wir erwarten vom Bundesrat also, dass er neben den anderen berechtigten Wirtschaftszweigen auch die Musikbranche in ihrer Gesamtheit im Bewusstsein hat und mit einbezieht, wenn weitere Massnahmen und Kompensationsmöglichkeiten diskutiert werden.»
Pandemie und Notstand (12. März bis ...)
Ab 13. März schloss der amerikanische Präsident Trump die Grenzen für Einreisende aus Europa. Regierungen oder die Bildungsinstitutionen selbst schlossen die Schulen bis Ostern oder bis zum Ende des Semesters. Das öffentliche Leben wurde anschliessend in den meisten Ländern Europas und Nordamerikas heruntergefahren. Das UK setzte auf Appelle ohne Massnahmen, de facto der Strategie der kollektiven Immunisierung (sie TA-Artikel).
Kein überzeugendes Bild gab die EU von sich. In Pandemie-Fragen sah man vor allem die Nationalstaaten handeln. Die EU-Kommission erklärte sich für nicht zuständig, denn das Gesundheitswesen sei Sache der Mitgliedstaaten. Grenzen der Mitgliedstaaten wurden wieder reguliert. Die EU spielte hingegen auf der Ebene der Versorgung mit Waren eine wichtige Rolle. Am 17. März schloss die EU ihre Aussengrenzen.
Kritische Stimmen zum Notrecht
Ab dem 24. März hörte man mehr kritische Stimmen zum Notrecht. Es kamen bereits am 19. März bei der Süddeutschen Zeitung Zahlen aus Italien heraus, die deutlich zeigten, dass die Todesopfer fast ausschliesslich aus Risikogruppen stammten und dass das Virus bei gesunden Personen kaum oder überhaupt keine verheerenden Wirkungen habe. In der NZZ schlug der Fribourger Volkswirtschafts Professor Reiner Eichenberger eine «geregelte Ansteckung» als Strategie im Umgang mit der Pandemie vor. Ein NZZ-Artikel von Olivier Kessler setzte sich am 27. März auch mit dem Problem auseinander, dass Staaten nach Ausnahmesituationen ihre Macht ausbauen zuungunsten der Bürgersouveränität. Das zeigte sich nach 9/11 oder nach der Finanzkrise von 2008. Die staatliche Interventionsspirale, so verständlich sie ist, hat viele negative Nebeneffekte. Die Finanzhilfe, die in der Krise gesprochen wird, kostet Geld, das anderswo eingetrieben werden muss. Da der intervenierende Staat Handlungskapazitäten aufbaut, geht das mit einer Vergrösserung der Bürokratie einher und da einmalige monetäre Interventionen heikel sind, weil sie nicht mit wirtschaftlichen Erfolgen rückgekoppelt werden, führt das fast notwendig zu Ressourcenverschwendung, wie man das von der Entwicklungshilfe kennt.
Folgen
Pandemien werde nun, nach der Coronakrise in die erhöhte Aufmerksamkeit der Gesundheitspolitik geraten. Man wird sich vorsehen und vorbereiten, um bei der nächsten Welle gewappnet zu sein. Der Historiker Christian Geulen weist darauf hin, dass der Bedrohungstyp ein anderer ist als noch im Kalten Krieg (oder bei fundamentalistischen Terroranschlägen). Damals kam die Gefahr von der anderen Seite von einem definierten Gegner. Das Szenario war pipolar. Die Pandemien gehören, so Geulen, zu einem anderen Bedrohungstyp. Wie Klimawandel, Finanzkrise, Flüchtlingskrise, Populismus werden Pandemien als «menschheitliche Existenzkrisen» wahrgenommen und würden sich zu «metahistorischen Begriffen einer Fundamentalgefährdung des Ganzen» entwickeln. Diese Art von Krisen fördern das «Bewusstsein, in einer wahrhaft globalisierten Welt zu leben». «Andererseits wird die Abwehr dieser universalen Gefährdungen weitgehend national und partikular organisiert».
Corona Pandemie und Musik
Verschiedene Popstars, darunter Ariana Grande, Taylor Swift, Miley Cyrus oder Caroline Polachek riefen ihre Fans auf, Social Distancing zu praktizieren (siehe: Fader-Artikel). Polachek twitterte, dass sie die Symptome von COVID-19 habe. Der erste Musiker, der an Covid-19 starb, war am 24. März Manu Dibango. Andere Opfer waren Dave Greenfield von den Stanglers, John Prine, Adam Schlesinger von Fountains of Wayne, Lee Konitz, Trini Lopez, im Dezember 2020 Charley Pride.
Playlisten
Es erschienen Playlisten zum Thema. Billboard veröffentlichte eine mit Songs, deren Refrain so lange dauert, dass man dazu Hände waschen kann. Andere Playlisten grenzten zum Teil an einen schlechten Humor, wenn sie Titel enthalten wie The Final Countdown.
– Rania Aniftos: Here Is the Perfect Hand-Washing Playlist to Combat Coronavirus (Billboard, 3. März 2020)
– Paul Rowe: Coronavirus Tunes: A Brief Playlist for Our Times of Self-Isolation (PopMatters, 31. März 2020)
Live Musik von Zuhause
Hunderte von Künstlerinnen und Künstlern haben zuhause Konzerte oder einen Song gespielt und übertragen. Im TA-Artikel Sting liefert den Soundtrack zur Pandemie wird das auch von der Presse rezensiert (Andrian Kreye). Es muss einem schon sehr langweilig sein, um Zeit mit dieser Video-Gattung zu verbringen.
Literarische Vorlagen
Im Film und in der Literatur wurde die Coronakrise schon mehrfach vorgelebt (siehe: Outbreak
(1995), Contagion
(2011), Plague Inc.
(2012) oder die nun wieder populär geworden Rede von Bill Gates von 2015.
Kritik an China
– Niall Ferguson: Sechs unangenehme (aber unabdingbare) Fragen an Xi Jinping, den Generalsekretär des Einparteistaats China (NZZ, 6. April 2020)
– Lea Deuber: So vertuschte China das Virus (Tages Anzeiger, 6. April 2020)
Links
– Johns Hopkins University: COVID-19 Data Visualization Center
– ArcGIS Experience Builder: COID19 Switzerland Dashboard Desktop
– Niels Werber: Von der Grippe zur Seuche. Corona-Kommunikation (Pop Zeitschrift, 24. März 2020) – eine soziologische Analyse der Kommunikation über das Coronavirus
– M. Brupbacher, T. Plattner, A. Moor: Sterberate? Ansteckungsgefahr? Übertragungswege? Das ist der aktuelle Stand der Wissenschaft (Tages-Anzeiger, 7. März 2020)
– Constantin Eckner: Leugnung, Beschwichtigung, Beschuldigung, Akzeptanz: Wie der Mensch mit dem Virus haderte (und hadert) (NZZ, 19. März 2020)
– Lynne Hanson: Corona Tales: Life As an Indie Musician in 2020
Lynne Hanson19 Mar 2020 (PopMatters, 19. März 2020)
– Oliver Meiler: Warum Italien so stark betroffen ist (Süddeutsche Zeitung, 19. März 2020)
– Oliver Kessler: Der Staat kommt meist, um zu bleiben (NZZ, 27. März 2020)
– Christian Geulen: Vor, in und nach der Krise (Geschichte der Gegenwart, 1. April 2020)
– Nikolaus Piper: Über die paradoxen Spätfolgen von Seuchen (Tages Anzeiger, 11. April 2020)
– Kate Brown: The Pandemic Is Not a Natural Disaster (The New Yorker, 13. April 2020)
– Sophie Smith: A Guide To The Best Self-Isolation Playlists (uDiscoverMusic, 23. April 2020)
– Martin Eimermacher, Peter Kümmel, Christine Lemke-Matwey, Katja Nicodemus und Tobias Timm: Künstler in der Corona-Krise: Ausgespielt (Die Zeit, 22. April 2020)
– Susanne Kübler: So klingt Corona (Tages-Anzeiger, 24. April 2020) – die Schlagzeile ist absoluter Quatsch, ich fand keinen Artikel in der Tagespresse, der erklärt hat, wie die Forscher das Virus zum Klingen gebracht haben, das wäre jedenfalls interessanter als die Musik.
– Katrin Büchenbacher, Michael Schilliger, Aline Wanner: Wieso Italien dem Virus erlag (NZZ, 20. Juni 2020)
– Ulrich Bröckling: Nachruf auf die Corona-Helden (Geschichte der Gegenwart, 12. Juli 2020)
– Sandro Benini: Sie begreifen es immer noch nicht (Tages Anzeiger, 20. August 2020)
– Berit Uhlmann: So enden Pandemien (Tages Anzeiger, 16. September 2020) – am Ende wird der Artikel flapsig. Will der Artikel suggerieren, dass wir einfach keine Angst mehr vor Covid haben sollen und dann geht die Epidemie zu Ende?
– NZZ-Redaktion Wissenschaft: Forschungs-Update Corona: Verdreifachtes Sterberisiko durch Covid-19 – bisher grösste Studie zeigt wichtige Unterschiede zu Influenza (18. Dezember 2020)
– Mark Savage: 'Right now, hit songwriters are driving Ubers' (BBC News, 8. Dezember 2020)
– NZZ: Corona-Krise: Ewig währt der Lockdown – wie gehen unsere Nachbarn damit um? (13. Februar 2021)
– Fabian Schäfer: Neue Zahlen zu den Corona-Toten – schon im zweiten Jahr der Pandemie ist die Sterblichkeit fast wieder auf das vorherige Niveau gesunken (17.April 2023)
Contrasting Verse-Chorus Tag
Corpus mit Songs, die eine Contrasting Verse-Chorus Form aufweisen.
Die Simple-Verse-Chorus Form legt den Akzent auf den «chorus» – im Deutschen oft auch «Refrain» genannt. In der Theorie, die in Musikzimmer verwendet wird, heisst «Refrain» allerdings eine wiederkehrende Zeile (deutsch etwa der Kehrreim) in der Strophe. Dem «chorus» ist in der Regel der Songtitel entnommen. Die «verses» erzählen eine fortlaufende Geschichte und der «chorus» bringt eine Art Moral der Geschichte zum Ausdruck. Wenn man ein Lied nur vage kennt, ist es mist der «chorus», den man mitsingen kann.
«Contrasting» ist die Verse-Chorus-Form, wenn die die beiden Formteile harmonisch nicht gleich verlaufen.
Compound AABA Tag
Die Compound AABA Form ist eine in Rock und Metal weit verbreitete hybride Form, d.h. eine AABA Makrostruktur, die in sich andere Strukturen – meist Verse-Chorus Abfolgen – enthält. Die A-Sektion in der Compound AABA Form besteht mindestens aus einem solchen VC-Paar, das zusammen mindestens 16 Takte lang ist.
Es handelt sich um eine Sammelkategorie von solchen hybriden Formen. Ihre Gemeinsamkeit liegt auf der Makroebene. Die konkrete formale Ausgestaltung ist verschieden.
Mit dieser Makrostruktur erklärt man sich typischerweise Epic Songs.
Die vermutlich frühste Compound-Form war die Verse-Chorus-Bridge Form, die auf der Makroebene eine AABA-Form ist, wobei die A-Teile jeweils VC-Paare sind. Von da, kann man sich vorstellen, wurde die Makroform in mindestens drei Dimensionen weiterentwickelt und variiert: 1) Zwei, drei oder mehrere Bridges werden eingebaut. 2) die Sequenz der VC-Paare wird verändert, so dass zum Beispiel VVC-Sequenzen vorkommen, 3) die Sequenz der VC-Paare wird thematisch variiert, so dass es V1-C, V1-C und V2-C2. Diese thematische Variation schafft eine Suite von im Prinzip verschiedenen Songs.
Common practice period Tag
Die Zeit zwischen ca. 1650 und 1900 wird in der Geschichte der europäischen Kunstmusik als «common practice period» bezeichnet. Während diesen rund 250 Jahren wurde ausgehend von einer gewählten Tonleiter (Dur und drei Moll Tonarten) komponiert. Die stilistsiche Bandbreite der Musik ist dadurch nicht in Frage gestellt. Es ist lediglich die Harmoniesprache, die in dieser Epoche in einer Beziehung gleich bleibt: Die Harmonien in einer Komposition können relativ zum Grundton mit Zahlen angegeben werden: I, ii, iii, IV, V, vi, vii (Dur).
Am Anfang des 20. Jahrhunderts wurde in der klassichen Tradition, der Folklore und der Populären Musik – also in allen Gattungen – mit dieser Praxis gebrochen: Blues, Jazz, Moderne Klassik, Traditionalpop, Pop. Die Populäre Musik greift dabei oft auf Techniken zurück, die in der Barockzeit entwickelt wurden. Der Begriff Baroque Pop bezeichnet aber meist gerade nicht diesen musiktheoretischen Zugriff, sondern oberflächliche Merkmale des musikalischen Arrangements, nämlich die Verwendung von exotischen oder gattungsfremden Instrumenten wie Hörnern, Streichinstrumenten, Cembali usw.
Comedy-Drama Tag
Eine Drama-Komödie ist ein Film, Stück oder Werk, das sowohl durch dramatische als auch komödienhafte Teile enthält.
In der schönen Literatur spricht man von «Tragikomödie». Dieser Begriff wird aber in den Populären Künsten wenig verwendet.
Columbia University Protests 1968 Tag
Sieben Tage dauernde Besetzung der Columbia University in New York im Frühjahr 1968. Anlass war der geplante Bau einer Sportanlage, die nach Prinzipien der Rassenseggregation gebaut werden sollte (separate Gebäude für Afroamerikaner und Weisse). Das Gelände wurde von der Polizei geräumt, 700 Personen wurden verhaftet und 150 verletzt. Der Sachschaden war immens.
Anführer war Mark Rudd, der damals 20-jährige Anführer der SDS – Students for a Democratic Society.
Die Columbia riots hatten Signalwirkung im ganzen Land.
Collage Tag
In der Regel entstehen Soundcollagen durch technische Geräte, zuerst durch Montage von Tonband-Fragmenten, dann durch Sampler und schliesslich durch digitale Audioeditoren (DAWs). Fragmente oder Samples werden aus Quellenmaterial herausgeschnitten und dann in einen neuen Zusammenhang hineinmontiert. Im Fall von Prince (Batdance
) ist die Collage gespielt (oder wirkt jedenfalls so). Das ist der nicht untypische Fall, dass Musiker/-innen lernen, eine Ästhetik, die durch technische Mittel entsteht, ohne diese technischen Mittel zu spielen (etwas Vergleichbares geschah auch mit Auto-Tune).
Links
– Treblezine: 10 Essential Plunderphonics Tracks (Jeff Terich, Adam Blyweiss und Ben Braunstein, 21. Juli 2016)
Querverweis
– Plunderphonics
Close Harmony Tag
«Close Harmony» heisst ein Begleitgesng, eine zweite Stimme, eine Gesangsharmonie, die eng an der Hauptmelodie entlang geführt wird, zum Beispiel mit parallelen Terzen. Der Gegensatz heisst «Open Harmony».
In einem zweiten Sinn heisst «close harmony» auch, dass man zwei Singstimmen kaum aueinanderhalten kann (Everly Brothers, Beatles) oder dass sie zusammen eine eigene Qualität entwickeln, die markant von den Einzelstimmen abweicht (Abba).
Close Harmony ist in Jazz und Pop eine weit verbreitete Form des Arrangements. «Close Harmonies» findet man zwischen Stimmen (Comedian Harmonists, Mills Brothers, Everly Brothers, Simon And Garfunkel) oder auch zwischen Instrumenten (Glenn Miller, Billy Vaughn).
Classic Rock (Magazin) Tag
Classic Rock ist ein britisches Musikmagazin, das dem titelgebenden Format des Classic Rock gewidmet ist. Gegründet wurde das Magazin in den 90er Jahren. Es erscheinen 13 Ausgaben pro Jahr. Herausgegeben wird es vom Verlag «Future PLC».
Zwei Schwestern und zwei Ableger
Es gibt je zwei Schwester-Magazine, Prog und «Metal Hammer», und zwei Ableger: «Classic Rock presents Prog» und «Classic Rock presents AOR». Seit 2010 erscheint das Magazin auch in deutscher Sprache.
Links
– Webseite
– Webseite der deutschen Ausgabe
Classic Rock Tag
«Classic Rock» ist ein schillernder Begriff, der vielfach bis zur Beliebigkeit gedehnt wird. Historisch war der Begriff als Radioformat entstanden. Heute wird er oft als Stilbezeichnung gebraucht, als was ihn auch die deutsche Wikipedia bezeichnet (Stand: 7.3.18). Das 1980 aus dem AOR-Radio ausdifferenzierte Format beherbergt Rock Musik, die im Zeitfenster zwischen den späteren 60ern und den 80ern entstanden ist, viel Hardrock, Pop-/Hair-Metal und Powerballaden, gespielt von weissen Männern, vielfach mit einem rebellischen Bad Boys Image.
Entwickelt haben das Format Lee Abrams, der schon AOR-Radio erfunden hat und es in den frühen 80er Jahren unter dem Namen «Timeless Rock» an neue demografische Gegebenheiten angepasst hat, sowie Paul Christy von KRBE Houston. Ein Gesicht gegeben hat dem Format Fred Jacobs von WCXR, Washington DC, in den mittleren 80ern. Was anfangs ein Nischenformat von Album Oriented Rock (AOR) war, hat sich schliesslich durchgesetzt und wurde zu einem der führenden Radioformate in den USA, erfolgreicher als AOR!
Zielgruppe
Jedes Format widerspiegelt einen differenzierten und artikulierbaren Publikumsgeschmack. «Classic Rock» wurde für die Generation der Babyboomer entwickelt, deren Vertreter*innen mit Punk und NewWave nichts anfangen konnten.
Magazine
Das «Classic Rock÷ Format wird nicht nur von Radiostationen bedient, sondern auch von Musikmagazinen wie Classic Rock, Uncut oder Mojo.
Begriffsunschärfe
«Classic Rock» wird als Begriff verschieden verwendet. Man kann mindestens drei Gebrauchsdimensionen auseinander halten:
- Radioformat: «Classic Rock» ist das Format der Classic Rock Radiostationen (siehe oben).
- Stilbezeichnung: «Classic Rock» ist ein Stil der Rockmusik (Rock ist ein Genre, «Classic Rock» ein Stil). So definiert die deutsche Wikipedia. Hier muss man anfügen, dass «Classic Rock» als Stil auf einer Ästhetik beruht, die in der Rockmusik der Jahre 1965 bis 1975 entstanden ist. Deshalb gehören auch Hairmetal- und AOR-Bands der 1980er Jahre zum Stil, obwohl sie aus dem angegebenen Zeitrahmen fallen.
- Epochenbegriff: «Classic Rock» ist Rockmusik aus zeitlich festgelegten Jahren, z.B. 1965 bis 1977. Rock von vor 1965 heisst «Vintage Rock», Rock von nach 1977 «Alternativerock».
Implikationen von «Classic Rock»
«Classic» («klassisch») transportiert eine Implikation. «Klassisch» heisst ein Höhepunkt künstlerischer Werktätigkeit, Leistungen, die über die Zeiten (Epoche) hinweg Gültigkeit beanspruchen können, vollendet, vorbildhaft und mustergültig sind. Die «klassische Musik» soll einen solchen künstlerischen Höhepunkt in der Geschichte darstellen, eine herausragende Leistung, die über die Zeit ihrer Komposition im 18. und 19. Jahrhundert hinaus ausstrahlt. Mozart, Beethoven, Schubert, Wagner haben solche «klassische» Musik geschrieben, die bis heute in den westlichen Gesellschaften als repräsentativ für die exemplarische Kulturleistung der bürgerlichen Gesellschaft gelten.
Nun ist Kunst aber geschichtlich. Jede Zeit bringt ihre Künster*innen hervor, ihre Werke und ihre Moden und Stile. Verglichen mit diesem endlosen Spiel ist der Anspruch des Klassischen ein wenig ungeheuer: «Klassische Musik» soll eine Kunst sein, die über diesem stetigen Fluss der künstlerischen Erscheinungen stehen sollen.
Emphatisch sagt man von einer solchen künstlerischen Leistung, sie sei «ewig», was heissen will, dass man sich ihrer auch in tausend Jahren noch erinnern wird, auch wenn bis dahin die Musik oder Kunst bereits ganz andere Formen als die heutigen angenommen haben wird.
Das Klassische ist selbst geschichtlich
Geistesgeschichtlich waren viele Menschen der Renaissance der Überzeugung, dass die alten Griechen und ein paar Römer solche klassischen kulturellen Leistungen erbracht hätten. Die Renaissance war beseelt von der Idee, dass die Griechen etwas Zeitloses geschaffen hätten. Noch Goethe glaubte fest daran, wobei die ganze Zunft der Germanistik nach ihm fest daran glaubte, dass er und Schiller als Vertreter der Weimarer Klassik etwas Zeitloses geschaffen hätten. In der Musik glauben Gelehrte und Praktizierende bis heute, dass die Wiener Klassik einen Masstab gesetzt hätte. Bis zum heutigen Tag besteht der Konzertbetrieb der sogenannten «Klassischen Musik» aus den immer gleichen Komponisten und Werken. Die Komponisten können auf eine Liste mit vielleicht fünfzig bis hundert Namen geschriebn, die Werke haben mit einer Beschreibung alle in einem Buch Platz, ohne dass man zu extra dünnem Bibelpapier greifen müsste.
Was den Begriff des «Klassischen» indes dekonstruiert, ist die Tatsache, dass das Klassische oder die Klassik selbst geschichtlich und nicht «ewig» ist. Anders gesagt: Was mustergültig ist, ändert sich von Epoche zu Epoche. In der frühen Neuzeit galt alles Antike als klassisch, vor allem wenn es griechisch war. Noch Goethe strebte nach einem zeitlosen griechischen Ideal. In der Modernen Kunst spielt dier Begriff der antiken Klassik nur noch eine untergeordnete Rolle.
Phänomenologie des Klassischen
Das Klassische macht, dass Werke über Epochengrenzen hinaus bedeutend sind. Die meisten Menschen lesen Bücher, die Neuerscheinungen sind, d.h. vor kurzer Zeit geschrieben worden sind. Für alte Bücher interessieren sich vorwiegend Philolog*innen und Historiker*innen, Schriftgelehrte, die darin ausgebildet sind, alte Texte zu lesen und auszulegen. In Vorbereitung auf eine mögliche Gelehrtenkarriere werden an höheren Schulen ebenfalls Bücher von vor 50 Jahren gelesen. Natürlich haben wir uns als Bildungsbürger oder gebildete Bürger längst an diese Tatsache des Klassischen und die damit verbundene Lese- und Hör-Praxis gewöhnt. Nur wenige denken kritisch darüber nach und fast niemand stellt das in Frage.
Das Klassische ist eine erstaunlich kleine und enge Welt. Sie kommt häufig in der Gestalt eines Kanons daher. Trotz der Enge dieser elitären Welt, werden die Menschen nie damit fertig. Das Klassische wird von allerlei Schlaumeiern, Professor*innen, gelehrten Personen, Akademiker*innen in einem endlosen Spiel der Interpretation und der Komemoration gehalten. Der Kanon der klassischen Musik hat sich weitgehend im zweiten Teil des 19. Jahrhunderts ausgebildet und verfestigt. Dieser bürgerliche Musikkanon ist bis heute bestimmend, wenn es darum geht, was in einem Opernhaus oder einem Konzertsaal gespielt wird. Dabei gewinnt man den alten Werken durchaus neue Aspekte ab. Noch wichtiger ist aber, dass bei der Aufführung einer so meisterhaften Interpretation eines klassischen Werks der zeitgenössischen Musik eine Möglichkeit genommen wird, sich zu präsentieren. Da dies systematisch passiert, verdeckt jede Musik von klassischem Charakter Gegenwartsmusik. Das Klassische hat so gesehen stets hegemonialen Charakter (siehe auch Wikipedia: Kulturelle Hegemonie.
Das Klassische kommt stets als zeitlos daher. Das heisst mindestens zweierlei: Erstens haben klassische Werke eine Wirkung über ihre Gegenwart bzw. Schaffensepoche hinaus: Eben wenn diese Werke in einer viel späteren Zeit noch gelesen oder gehört werden, in einer Zeit, die mit der Schaffensperiode nicht mehr viel zu tun hat. Zweitens wird diese Wirkung oft als ewig bezeichnet: «All Time Classic Hits», «All time best ...».
Die Autorinnen und Autoren, die das Klassische geschaffen haben, scheinen etwas Übermenschliches zu haben: Man bezeichnet sie als Genies und behandelt sie gleichsam als Helden, mehr noch als Quasi-Heilige.
Klassische Werke sind vom Entstehensprozess abgehoben, sie sind von den sozialen Kontexten ihrer Produktion und ihres primären Konsums abgelöst. Sie werden in eine eigene Sphäre der Kunst entrückt, in der sie wie eine Sonne auf uns Sterbliche und Durchschnittliche hinunter strahlen. Hierin gründet die Idee einer absoluten Kunst.
Das Klassische des «Classic Rock»
Wenn es nach dem Willen der Architekten des «Classic Rock» ginge, dann würde der um die Jahrtausendwende festgeschriebene Kanon der Rockmusik (Rolling Stones 500 Albums, Rolling Stones 500 Songs, Mojo Collection usw.) einen ähnlichen Kanon bilden, wie ihn die klassische Musik darstellt. Bereits 1982 hat Lee Abrams, der einflussreiche Radio-Executive in Amerika, der das AOR-Format und später das Classic Rock Format geschaffen und mitgeprägt hat, von «zeitloser Rockmusik» gesprochen («timeless Rock»).
Die Probleme mit «Classic Rock»
«Classic Rock» ist kein Genre mit neuer Musik, sondern ein mediales Nostalgieprodukt. Berücksichtigt wird nur die Musik aus einem schmalen Zeitfenster. Mit der Musik kommt eine Werthaltung und eine Ideologie mit.
«Classic Rock» wiederspiegelt die Musik bzw. die Musikgeschichte zwischen 1965 und 1977 nicht adäquat. «Classic Rock» ist nicht wertfrei, sondern bevorzugt Musik, die kommerziell war. Der Begriff ist, als würde man Musikgeschichte nur anhand der Hitparade erzählen. Bei der Rockmusik ziehe ich vor, mich nicht an Verkaufszahlen zu orientieren, sondern an den ästhetischen Errungenschaften und Innovationen, die oft gerade nicht kommerziell waren, weder in der Zeit als die Musik erschien, noch später.
Querverweise
– Musikzimmer: Formate: Classic Rock (60er-80er Jahre) (Liste) – als PLAYliste
Links
– Kim Freeman: Classic Rock Thrives In 18 Months. Some Insist It's Just A Passing Phase (Billboard Magazine, 1986, Nr. 43, p. 10).
– Miguel Gallego: It's Only Rock 'n Roll: Liking Classic Rock in 2014 (Ad Hoc, 24. Juli 2014).
– Daves Music Database: The Top 100 Classic Rock Songs of All Time (Dave Whitaker, 19. Januar 2019 – updated 9. Februar 2021) – siehe Liste in Musikzimmer
Civil Rights Movement Tag
Das Civil Rights Movement (CRM) war die Mutter aller Grassroot-Bewegungen der 50er und 60er Jahre. Das Ziel des CRMs war, die Segregation der Rassen und die Diskrimination der Afroamerikaner (und Latinos) in den Vereinigten Staaten von Amerika zu beenden.
Bei den Aktionen des CRM wurden die verschiedenen Strategien des zivilen Ungehorsams erprobt: Boykotte, Sit-ins sowie Protestmärsche. Ostermärsche für den Frieden nahmen diese Strategien auf sowie die späteren Aktionen der Gegenkultur. In der Soziologie und Politologie bezeichnet man solche Strategien als «Direct Action», als Massnahmen, die nicht den Weg der Legislation nehmen. Es werden bei der «Direct Action» keine politischen oder wirtschaftlichen Interessenvertreter beauftragt und keine Rechtswege begangen, sondern an Ort und Stelle oder in der Öffentlichkeit (der «Strasse») auf das Anliegen hingewiesen. Ein wichtiges Vorbild für die Strategien der «Direct Action» war die Indische Unabhängigkeitsbewegung, die von Mahatma Gandhi angeführt wurde.
Wichtige Initialereignisse des CRM fanden in Montgomery, Alabama statt, wo zwei Afroamerikanerinnen, Rosa Parks (12.54) und Claudette Colvin (3.55) sich weigerten, im Bus ihre Sitze für Weisse freizugeben. Die schwarze Bevölkerung boykottierten daraufhin den öffentlichen Verkehr der Stadt. Der Sprecher des Boykotts war Dr. Martin Luther King, Jr., der durch diese Aktion zu einer Symbolfigur für das CRM aufstieg. King gründete mit anderen zusammen die Southern Christian Leadership Conference (SCLC), die Afroamerikaner darin trainierten, zivilen Ungehorsam auszuüben und so politisch Druck zu machen. In South Carolina gründeten Septima Clarke und andere die Citizenship Schools, die Afroamerikaner/-innen auf den Literacy-Test vorbereiteten, damit sie ihr Wahlrecht wahrnehmen konnten.
Am 28. August 1963 fand der «March on Washington for Jobs and Freedom» statt. Das Ereignis zog zwischen 200 und 300 Tausend Personen nach Washington. Martin Luther King hielt an diesem Tag seine berühmte Rede: «I have a dream» (siehe: Rede auf Youtube).
Das Ende des CRMs wird festgelegt auf die Ereignisse, die mit der Erschiessung von Martin Luther King am 4. April 1968 in Memphis, Tennessee, und den darauf folgenden Revolten in vielen Amerikanischen Städten zusammenhängen. Vom April 1968 an wurde die Geschichte der Afroamerikaner/-innen von den in Oakland, Kalifornien, im Oktober 1966 gegründeten Black Panther Party übernommen. Mit der Black Panther Party wurde die Bewegung millitanter als zuvor.
Querverweise
– Greensboro sit-ins
– Marsch auf Washington
Links
– Wikipedia (en): Timeline of the civil rights movement
– National Association for the Advancement of Colored People (NNACP) – eine der einflussreichsten Bürgerrechtsorganisationen in den USA
cinéma-vérité Tag
Unter «cinéma-vérité» wird ein Typ Film verstanden, der tatsächliche Events filmisch festhält bzw. dokumentiert. Ein Ideal ist, wenn beim Dreh weder das Subjekt noch das Publikum um die Aufnahme weiss. Die Kamera sollte eine Art «Fliege an der Wand» sein.
Das Genre kam in den 1950er und 1960er Jahren auf. Es steht im Zusammenhang mit der Rockmusik, deren Konzerte und Festivals oft mit Filmen dieses Genres festgehalten wurden.
Beispiele
– Robert J. Flaherty: «Nanook of the North» (1922)
– Robert Drew: «Primary» 1960)
– Edgar Morin & Jean Rouch: «Chronicle of a Summer» (1961)
– Robert Drew: «Crisis: Behind a Presidential Commitment» (1963)
– Richard Lester: A Hard Day's Night (1964)
– D.A. Pennebaker: Don't Look Back (1967)
– Frederick Wiseman: «Titicut Follies» (1967)
– Frederick Wiseman: «High School» (1968)
– Albert Maysles, David Maysles und Charlotte Zwerin: «Salesman» (1968)
– D.A. Pennebaker: Monterey Pop (1968)
– Albert Maysles & David Maysles & Charlotte Zwerin: Gimme Shelter (1970)
– Michael Wadleigh: Woodstock (1970)
– Penelope Spheeris: The Decline of Western Civilization (1981) und seine Sequels
– Jennie Livingston: Paris Is Burning (1990)
– Chris Hegedus, D.A. Pennebaker: «The War Room» (1993)
– Jehane Noujaim: «Control Room» (2004)
Chorus Tag
Chorus hat in der Musik mindestens drei Bedeutungen: 1) Chorus ist synonym mit Chor (vorwiegend im Englischen), 2) ein Effekt und 3) ein Strukturteil.
Chorus als Strukturteil
Der Chorus ist ein Teil einer Songstruktur, der in aller Regel paarig mit dem Verse auftritt und mehr oder weniger invariabel nach jedem oder nach jedem zweiten Verse wiederholt wird.
Im Gegensatz zum Verse ist der Chorus durch folgende Merkmale definiert:
– Er bleibt zuerst im Ohr.
– Er enthält meist den Songtitel (eine Ausnahme ist z.B. When Emma Falls in Love von Taylor Swift).
– Er wird (meist unverändert) wiederholt.
– Er folgt auf jeden Verse (doch kann zuweilen auch voran gehen).
– Er bringt lyrisch ein Fazit zum Ausdruck, eine andere Perspektive oder die «Moral von der Geschichte» (auch «Evaluation»).
Zur Unterscheidung von Refrain und Chorus
Im Deutschen, zum Teil auch im Englischen, ist statt von «Chorus» von «Refrain» die Rede. In der Theorie, die in Musikzimmer verwendet wird, heisst Refrain allerdings eine wiederkehrende Zeile im Verse, während der Chorus ein eigenständiger Songteil mit mehreren Stanzen (Verszeilen) ist.
Child Ballads Tag
Francis James Child war Rhetoriker in Harvard und hat sich als Volkskundler einen Namen gemacht. Seine Sammlung von 305 englischen und schottischen volkstümlichen Balladen samt Varianten wurden als «The English and Scottish Popular Ballads» zwischen 1882 und 1898 publiziert und die Lieder als «Child Ballads» bekannt. Child war nicht der erste Balladen-Sammler, aber seine thematische Klassifikationsleistung war von bleibender Wirkung. Besonders im Folk-Revival nach dem 2. Weltkrieg wurden Child Balladen vielfach interpretiert und umgeschrieben/adaptiert (z.B. von Burl Ives, Ewan MacColl, A.L. Lloyd, Joan Baez, Fairport Convention, Pentangle oder Steeleye Span). Zum Beispiel basiert Bob Dylans A Hard Rain's a-Gonna Fall auf Lord Randall
(Child 12).
Liste der Child Balladen
– List of the Child Ballads (Wikipedia)
Die Balladen online
Die frühe achtbändige Ausgabe bei Little, Brown & Co., Boston von 1857–1858 wurde teilweise digitalisiert und ist online greifbar: Diese Ausgabe ist verglichen mit der späteren zehnbändigen ärmer an Kommentaren und Varianten. Achtung: Beide Ausgaben enthalten ca. 100 Balladen, die in der jeweils anderen nicht zu finden sind!
– Vol I (archive.org)
– Vol III (archive.org)
– Vol IV (archive.org)
– Vol V (archive.org)
– Vol VI (archive.org)
– Vol VII (archive.org)
– Vol VIII (archive.org)
Die spätere umfangreichere Ausgabe mit den 305 Balladen ist in einer Ausgabe von Houghton Mifflin co., Boston 1904 ebenfalls online greifbar:
– English and Scottish popular ballads (archive.org)
Che Guevara [Guerrillero Heroico] Tag
«Guerrillero Heroico» ist der Titel einer Foto von Ernesto 'Che' Guevara, die als Symbol der Gegenkultur um die Welt gegangen ist. Che Guevara war ein Guerillero, der als Argentinier auf der Seite von Fidel Castro für die marxistische Revolution in Kuba kämpfte.
Guerrillero Heroico
Guerrillero Heroico
ist der Titel eines der bekanntesten fotografischen Bildern des 20. Jahrhunderts. Eine moderne Ikone im Sinn eines Heiligenbildes, aber auch in der semiotischen Bedeutung eines Bildes mit Abbild-Charakter. Es bedeutet Widerstand gegen die kapitalistische und faschistische Herrschaft. Es wurde als Foto, Poster, Graffiti, Aufdruck auf T-Shirts und Jacken millionenfach reproduziert.
Aufgenommen wurde die Foto von Alberto Korda am 5. März 1960 in Havanna. Korda war ein Werbefotograf. Guerrillero Heroico
ist von daher gesehen kein Portrait eines Revoluzionärs, sondern ein Werbeplakat für die kommunistische Sache. Korda verzichtete auf Tantiemen und liess das Bild durch den italienischen Verleger und Aktivist Giangiacomo Feltrinelli verbreiten und verwerten. (Das ist ein ebenso ungewöhnliches wie typisches Ausbeutungsverhältnis zwischen erster und dritter Welt.)
Giangiacomo Feltrinelli
Feltrinelli war der Abkömmling einer norditalienischen Industriellen- und Banker-Dynastie. Er wurde als linker Verleger sehr erfolgreich. Er besass die Rechte an Dr. Schiwago
von Boris Pasternak, den Wendekreisen
von Henry Miller sowie von Il gattopardo
von Giuseppe di Lampedusa.
Giangiacomo Feltrinelli ist eine interessante Figur, die als Bindeglied zwischen den italienischen Partisanen und der 1968er-Bewegung fungiert. Als junger Mann war er am Ende des Zweiten Weltkriegs Partisan. Er begleitete bewaffnet Flüchtlinge und kämpfte als Freiwilliger an der Seite der 5. US-Armee. 1969 gründete er die GAP (Gruppo d’Azione Partigiana) und tauchte unter. 1972 starb er bei einem Attentat auf eine Hochspannungsleitung als der Sprengsatz zu früh explodierte. Bis heute wird gemutmasst, dass er vom Geheimdienst ermordet wurde.
Die Foto von Che Guevara, wie sie von Feltrinelli publiziert worden ist, war erstens ein Ausschnitt aus einem Breitformat-Foto in schwarz-weiss und wurde zweitens um ⅙ in die Höhe gezogen, um Guevaras Gesicht schmaler und damit jugendlicher aussehen zu lassen. Che Guevaras Gesicht war durch Einnahme von Cortison gegen sein Asthma aufgedunsen. Das Foto zeigt Guevara von unten, sodass man unmerklich zu ihm hochschaut. Sein Blick visiert entschieden eine Ferne (die Weltrevolution). Das Gesicht wirkt im Gegensatz zu anderen Portraits von Politikern jugendlich, was mit der Generation der Babybommer und ihrem Jugendkult korrespondierte. Die Jugendlichkeit Guevaras wird durch seinen dünnen Bartwuchs unterstützt.
Links
– Wikipedia (en): Che Guevara
Chartrun Tag
Der Verlauf der Positionen in der Hitparade. Ein typischer «Chartrun» verläuft wie die erste Hälfte einer Sinuskurve: Der Song steigt auf, erreicht seine Spitzenposition und steigt wieder ab. Man kann den typischen «Chartrun» entlang folgender Kenngrössen greifbar machen:
- Der Normalverlauf wird variiert in der Breite, d.i. die Länge in Wochen, in denen ein Titel in der Hitparade verbleibt. Diese Grösse – der Verbleib in den Charts in Wochen – kann selbst wieder eine Hitparade bilden. So kann man die Titel nachschlagen, die am längsten in den Top-10, den Top-20 oder den Top-100 verblieben ist. Der Verbleib ist von der Anzahl Plätze in der Hitparade abhängig. Eine Hitparade mit nur zehn Plätzen erzeugt kürzere Chartruns als eine mit hundert.
- Die Spitzenposition eines Titels: Die Sinus-/Normalkurve erreicht eine Spitzenposition. Diese wird als die beliebteste Kenngrösse für den Song verzeichnet. Man sagt dann von einem Titel, er war ein Nummer-7-Hit oder ein Nummer-1-Hit (auch «Top-Hit» genannt.
- Abgeschnittener Höcker bei Top-Hits. Ein Top-Hit kann nicht weiter aufsteigen, auch wenn er noch erfolgreicher wird – das ist eine Eigenschaft von Ranglisten. D.h. für die Sinus-/Normalform des Chartruns eines Top-Hits, dass die Kurve oben flach werden kann. Die Länge des abgeflachten Höckers ist ein weiterer Kennwert für einen Hitparaden-Titel: Er besagt, wie lange ein Titel auf seiner Top-Position verblieb. Man sagt dan von einem Hit er sei 7 Wochen lang auf Platz eins gewesen.
- Asymmetrischer Auf- und Abstieg: Es mag weiter interessieren, wie lange ein Titel braucht, um aufzusteigen, und wie lange er braucht, um abzusteigen. Man kann die Grössen miteinander vergleichen und hat dan Titel, die schnell ihre Spitzenposition erreichen und langsam absteigen. Diese Kenngrösse kann z.B. Auskunft darüber geben, wie schnell ein Titel die potentiellen Konsument/-innen erreicht. Top Stars im Zeitalter des Streamings erreichen ihr Publikum relativ rasch. So steigen Topstars oft hoch oben in die Charts ein und brauchen nicht lange, um die Spitzenposition zu erreichen. Sehr viele Alben erreichen heute in der ersten Woche ihre Top-Position und steigen danach nur noch ab. Die Kenngrösse – wie immer man sie mathematisch ausdrückt, z.B. als Quotient – sagt vermutlich mehr über den Act als über den Song oder das Album selbst und sie sagt ebenfalls etwas über die Art des Musikmarktes aus.
- Es gibt untypische Verläufe, bei denen ein Titel eben nicht – wie man es erwartet – auf- und wieder absteigt. Ein Beispiel dafür sind Sleeper Hits, «long tail Verkäufe». Ein aussergewöhnlicher «Chartrun» hatte Blinding Lights von The Weeknd.
Cäcilia Tag
Cäcilia ist die Schutzheilige der Musik. Sie war eine Märtyrerin, das heisst eine Römerin, die den christlichen Glauben zu einer Zeit angenommen hat, zu der es im röm. Reich gefährlich war, Christ zu sein. Christen wurden verfolgt, gesteinigt oder im Fall von ihr verbrüht bzw. enthauptet. Als dann das Christentum zur Staatsreligion erhoben wurde, fanden Kirchengründungen oft an Stellen statt, wo Märtyrer gestorben sind (vergleiche Felix und Regula in Zürich, wo heute das Grossmünster steht). Am Wohnort der Cäcilia wurde die Kirche Santa Cecilia in Travestere gebaut.
Cäcilia ist mit ca. 30 Jahren als junge Frau oder Jungfrau (so mögen es Gläubige) getötet worden. Sie hat sich an einer Aktion beteiligt, getötete Martyrer zu begraben, was verboten war. Sie wurde dabei erwischt uns selbst hingerichtet. Die Legende erzählt, dass sie in einem Bad eingesperrt worden ist (in einer Sauna), dass die Hitze ihr aber nichts hat anhaben können, und dass es dem Scharfrichter auch nicht gelang, ihr den Kopf mit drei Hieben abzuschlagen. Mehr als drei Hiebe waren verboten. Angeblich lebte sie noch drei Tage und verteilte ihren Besitz an Arme.
Quellen gibt es nur späte; Feiern zu ihren Ehren gingen schriftlichen Zeugnissen voran. Die Cäcilien-Geschichten sind demnach vermutlich ein Fall von Folklore! Sogar in der Katholischen Enzyklopädie steht: «In this shape the whole story has no historical value; it is a pious romance». Die Geschichte der Cecilia ist eine fromme Romanze.
Eine Skulptur der hl. Cäcilia vom Bildhauer Stefano Maderno (siehe Bild, Quelle Wikimedia) ist in der Kirche Santa Cecilia in Trastevere (1599-1600) zu finden.
Zur Musik kommt Cecilia auf verrückte Weise. Dass sie gesungen haben soll, als der Scharfrichter sein Schwert gegen sie erhob, ist eine Mär. Im 14. und 15. Jahrhundert wird sie zunehmend mit einer Orgel abgebildet, was auf eine Fehlübersetzung des Satzes «cantantibus organis illa in corde suo soi domino decantabat» zurückgeht. Der Satz heisst etwa: Sie sang in ihrem Herzen allein zu Gott. Und mit einer Orgel, die Cecilia spielt, hat das nichts zu tun. 1584 wurde in Rom die Akademie der Musik gegründet und sie war die Patronin dieser Institution. Folklore siegt einmal mehr über schriftliche Zeugnisse: Bis heute ist Cecilia die Schutzpatronin der Musik.
Eine weitere Legende spielt in der Zeit des radikalen calvinistischen Bildersturms. Drei Brüder, calvinistische Rabauken, trachteten den Dom von Aachen zu verwüsten. Dann geschah ein Wunder: Die Sorores sangen im Dom und Caecilia selbst leitet den Chor. Als die Rabauken das hörten, werden sie von der Musik so verzaubert, dass sie ihr Unterfangen vergassen.
Ein herrlicher Zufall will es, dass der Macher von Musikzimmer am Tag der Heiligen Cäcilia geboren wurde. Es grenzt an ein Wunder!
Capitol Records Building Tag
1955 baute das Capitol Label an der 1750 Vine Street in Hollywood das Capitol Records Building bzw. den Capitol Records Tower, ein Hochhaus, das aussieht wie ein Stapel Schallplatten. Entworfen wurde es vom Architekten Louis Naidorf und dem Büro «Welton Becket Associates». Eröffnet wurde es im April 1956. Das ikonische Gebäude war und ist der Hauptsitz des Labels und beherbergt die vier Studios (Capitol A bis Capitol D), in denen hunderte von populären Sängerinnen, Sänger und Bands ihre Hits und Alben aufgenommen haben: Frank Sinatra, die Beach Boys, Michael Jackson oder Imagine Dragons.
Das Gebäude wird auch «The House That Nat Built» genannt, weil Capitol mit den Verkäufen seiner Platten von Nat King Cole gross geworden ist.
Die Studios
Die Capitol Studios gehörten in der zweiten Hälfte der 50er Jahre die technologisch fortschrittlichsten Studios der Welt. Sie waren die ersten der USA, in denen die Aufnahmen auf Magnetband gemacht wurden, statt sie direkt auf die Masterplatte zu schneiden (direct-to-disc Verfahren). Das Magnetband eröffnete zum ersten Mal die Möglichkeit, Aufnahmen nachzubearbeiten, anders abzumischen und mit Raumeffekten (Echo, Reverb) zu versehen. Die Rolle des Produzenten veränderte sich dadurch wesentlich. Ein Produzent war ab jetzt nicht länger nur der Meister und Verantwortliche über die Aufnahme, sondern der Architekt des Klangbildes einer Platte. Die Capitol Studios verfügten ausserdem über Neumann U47 Kondensator Mikrofone, die damals vermutlich die besten der Welt waren. Diese Mikrofone zeichneten bisher ungehörte Details der Stimmen von Frank Sinatra oder Judy Garland auf. Im 2700 m2 grossen Studio A konnten die Sängerinnen und Sänger singen, während hinter ihnen das Orchester spielte. Das war ein weniger aseptisches Aufnahme-Setting als gewöhnlich wenn die Vokalist/-innen in einer schallgeschützten Kabine zu singen hatten
cancel culture Tag
Cancel Culture ist ein rechtspolitisches Schlagwort, das die Welle der sozialen Ausschlüsse von rassistischen Personen aus Organisationen und Institutionen meist kritisch im Sinn von Diskurswächterei bis Zensur begleitete.
Begriffsherkunft
Die Discofunk-Band Chic brachte 1981 einen Song heraus, der Your Love Is Cancelled hiess. Dort bezog sich das «canceln» auf die Leibe zu einer Person. Der Film «New Jack City» von 1991 wandte den Begriff auf Personen an. Auf den Vorwurf von Selina: «You’re a murderer, Nino. I’ve seen you kill too many people, Nino.» entgegnet der angegriffene Nino Brown: «Cancel that bitch. I’ll buy another one.» (siehe die Szene auf Youtube).
2014 verbreitete sich der Ausdruck über queere, schwarze Communities – damals war der Ausdruck noch ironisch und witzig wie im Film. Zwei bis drei Jahre später etablierte sich der Begriff auf Social Media Kanälen. Im Rahmen der «call-outs» der MeToo- und Black-Lives-Matter-Bewegungen setzte sich der Begriff der «cancel culture» durch wurde aber schnell von rechtskonservativen Kreisen als Kritik an den Bewegungen in Anspruch genommen. Auch in liberaleren Kreisen wird die «cancel culture» als puritanisch und extrem kritisiert. Verunsichernd wirkten zum Beispiel die Entlassung des New York Times Journalisten Donald McNeil Jr., der in einem Artikel ein sehr despektierliches Wort in einem Zitat brauchte.
Canary Tag
Als «Kanarienvogel» wird ein Typ Sängerin im Traditionalpop bezeichnet, der zwischen 1940 und 1955 in Mode war. Beispiele waren Peggy Lee, Jo Stafford oder Judy Garland. Das männliche Pendant des «Canaries» war der Crooner (z.B. Frank Sinatra).
«Canaries» waren von der Stimme her mehr an der europäischen Songtradition orientiert. Sängerinnen, die von der Jazz- oder Blues-Tradition her kamen, gelten als Jazzpopvokalistinnen. Ob eine Sängerin ein «Canary» oder eine Jazzpopvokalistin war, hing oft vom Repertoire und vom Orchester ab, mit dem sie sang. Diese Ausrichtung ist nicht allein eine Frage der Hautfarbe. Ella Fitzgerald, Anita O'Day oder Peggy Lee sangen mühelos in beiden Stilen.
«Canaries» waren «Songstylistinnen», das heisst sie interpretieren einen Song auf ihre persönliche Weise. Damals wurden neue Songs zugleich von verschiedenen Sängerinnen und Sängern interpretiert. Zum Beispiel hatten alle führenden Platten-Label ihre Interpretation eines erfolgreichen Songs im Programm. Deshalb war die persönliche Note, der individuelle Still so wichtig.
«Canaries» hatten eine kalkulierte Bühnenpersona («stage persona»), zu der Make-up, Haar- und Kleidungsstil gehört. Sie traten grösstenteils unter einem Künstlernamen auf. Ihr Gesangsstil war raffiniert, am Mikrofon entwickelt und trainiert. Das Mikrofon registriert jede stimmliche Feinheit und sie konnten diese Feinheiten bedienen. Neben Stimme und «look» waren zusätzliche Kompetenzen von Vorteil und machten ihren Act reicher: tanzen, schauspielen, witzig sein.
Verschiebung vom Orchester zum Sologesang
«Canaries» waren zunächst ein Teil eines Unterhaltungsorchesters, später traten sie unter eigenem Namen auf. Auch als Solo-Act werden sie von Orchestern begleitet. Dass Sänger und Sängerinnen im Zentrum stehen, sind wir uns noch heute gewohnt. Es ist eine Selbstverständlichkeit, die aber genau in den Jahren entstanden ist, als «Canaries» zu Bühnenstars wurden. Man kann die alte Rolle einer Sängerin als Teil eines Orchesters im Auftritt von Peggy Lee mit dem Orchester von Benny Goddman sehen: Peggy Lee verhält sich wie eine Solistin. Wenn sie singt, ist sie das fokale Zentrum des Geschehens, wenn sie nicht singt, zieht sie sich zurück und gibt das Spotlight an Benny Goodman ab. Durch die Verschiebung des Fokus vom Orchester zur Solosängerin und zum Solosänger erhält das Orchester eine neue Rolle: Es wird zum Hintergrund für die Performance einer Sängerin oder eines Sängers.
Beispiele für «Canary»-Acts
– Peggy Lee (mit Benny Goodman)
– Jo Stafford
– Judy Garland
– Rosemary Clooney
– Patti Page
– Dinah Shore
– Kay Starr
– Margaret Whiting
– Joni James
– Doris Day
– Gale Storm
– Georgia Gibbs
– Anita O'Day (mit Gene Krupa aufgetreten)
Querverweise
– Vocalpop (Genreseite)
– Jazzpopvocal (Genreseite)
Links
– Louis Berg: Life of a Canary (17. Januar 2013)
– S. Kay Hoke: American Popular Music. In: Karin Pendle (Ed.): Women & Music. A History. Indiana University Press, Bloomington, 1991
C81 Tag
Der Name einer Cassetten-Compilation, die 1981 mit einer der Januar-Ausgaben des NME ausgeliefert worden ist. Der Begriff «C81» wird oft als Stilbegriff im Indiepop verwendet - genau wie C86.
Im Musikzimmer ist diese Stilbezeichnung durch genauere Genre-Tags ersetzt worden (Indiepop - Janglepop, Indiepop - Artpop).
Vertreter dieses Stils
– Josef K
– Wah! Heat
– Raincoats
– Aztec Camera
– Orange Juice
– Scritti Politti
– Virgin Prunes
Querverweise
– Musikjahr 1981
Burning Man Tag
Burning Man ist ein jährlich stattfindendes neun Tage dauerndes Festival in der Black Rock Desert, Nevada, etwa 150 km nordnordöstlich von Reno. Es findet Ende August statt und dauert bis am Labour Day, dem ersten Montag im September. Jeweils am siebten Festivaltag wird eine Statue verbrannt – daher der Name.
Burlesque Tag
Die Burlesque ist eine erotische Gattung des amerikanischen Unterhaltungstheaters, die anfangs 20. Jahrhunderts bis in die 30er Jahre als erotische Variante der Vaudeville-Show existierte. Die zentrale Attraktion war der Striptease, der anfangs mehr aus Andeutungen bestand (Ausziehen von Handschuhen zum Beispiel). Erst in den 30er Jahren wurden die Shows explizit und legte die Moderation, den Tanz und Gesang zugunsten des reinen Striptease ab.
Die amerikanische Burleske hatte die Pariser Varietétheater wie das Moulin Rouge oder das Folies Bergère zum Vorbild, ebenso die Sideshows des Zirkus (Carny-Shows), die Viktorianische Burlesque, die Music Hall sowie die Minstrel Shows. Als Gattung überlebte sie den Untergang des Vaudevilles Unterhaltungstheaters am Ende der 1920er Jahre, um dann in den 40er Jahren selbst an Popularität zu verlieren. Die Amerikanische Burleske vom vom direkten und wenig spielerischen Striptease abgelöst. Erst in den 00er Jahren des neuen Jahrtausends kommt es zu einem Revival.
Seit dem 17. Jahrhundert verstand man unter einer Burleske eine grobe Parodie mit grotesken Elementen («burla» stand italienisch für Schabernack, im Latein für Lappalie). Die Bedeutungsverschiebung zur erotischen Show vollzog sich 19. Jahrhundert in London, wo eine spezifische Populär- oder Arbeiter-Kultur sich im Kontrast zur feinen bürgerlichen Hochkultur entwickelte.
Der Höhepunkt erlebte die Burleske in New York als Minsky’s Burlesque. Die drei Brüder Abe, Billy und Herbert Minsky besassen eine Reihe von Theatern, in denen hauptsächlich Einwanderer aus der Unterschicht verkehrten. Ab 1931 hatten die Brüder ein Theater am Broadway, das «New Victory Theatre».
New Burlesque
Als New Burlesque wird ein Revival der Burleske bezeichnet, die seit den 00er Jahren in Berlin, München oder Wien stattfindet. Zu den bekanntesten Tänzerinnen gehören Dita Von Teese und Marlene von Steenvag. In den Umkreis der New Burlesque gehört auch das Modell Bettie Page, die seit den 80er Jahren als Vorläuferin der sexuellen Revolution der 60er Jahre gilt.
Burlesque im Musical und im Film
– I'm No Angel (1933) mit Mae West
– Lady of Burlesque (1943), Krimi, der im Millieu eines Burlesk Theaters spielt
– Hollywood Revels (1946) erste Adaptation einer Burlesk Show fürs Kino
– French Follies (1951) - erste aufwändige Inszenierung einer Burlesk-Show fürs Kino, mit MC, Tänzen, Showgirls, Strippers, Komik
– Naughty New Orleans (1954), Striporama (1953), Varietease (1954), Teaserama (1955) – alle mit Bettie Page
– Gypsy (Musical, 1959) – über das Leben von Gypsy Rose Lee
– Gypsy (Verfilmung des Musicals, 1962) – mit Rosalind Russell, Natalie Wood und Karl Malden
– The Night They Raided Minsky's (1968)
– Gypsy (Fernsehverfilmung des Musicals, 1993) mit Bette Midler, Cynthia Gibb und Peter Riegert
– Burlesque (2010), mit Christina Aguilera und Cher
– Behind the Burly Q (Dokumentarfilm, 2010)
Quellen und Links
– Kaitlyn Regehr: The history of American burlesque [timeline] (28.Juni 2017)
Buchla Music Easel Tag
Ein Buchla Synthi, der 1973 auf den Markt kam. Er wird für seine «natürlich» klingenden Timbres geschätzt, die mit komplexen Oszillatoren erzeugt werden.
British Phonographic Industry Tag
Die BPI oder «British Phonographic Industry» ist der Brachenverband der britischen Musikwirtschaft. Gegründet wurde der Verband 1973 als «British Phonographic Industry Limited». Der Namenswechsel wurde 2007 vorgenommen.
Querverweise
– IFPI
Links
– Webseite
British Invasion Tag
Der Begriff «British Invasion» bezeichnet aus amerikanischer Perspektive die hohe Anzahl englischer Beat-Acts in den amerikanischen Popcharts ab dem April 1964 bis im Juni 1965. Neben dieser Tatsache wird der Zeitabschnitt auch für die musikgeschichtliche Phase dieser Zeit verwendet. Eine zweite Welle britischer Bands reüssierten zwischen 1967 und 1973.
Begriff
«British Invasion» ist ein Begriff aus der Politischen Geschichte: Im Britisch-Amerikanischen Krieg landeten am 18. Juni 1812 britische Truppen in Maryland. Damit ist der Begriff natürlich sehr negativ gefärbt, eine Bedrohung der amerikanischen Unabhängigkeit vom britischen Mutterland, etwas, das abgewehrt und bekämpft werden muss. Tatsächlich gab das Phänomen der «Britischen Invasion» der amerikanischen Kultur aber neue Impulse (Folk Rock, Garage Bands) und war eine wichtige Entwicklung im grösseren Rahmen der Globalisierung des Musikmarktes.
Bereits 1963, ein Jahr bevor die Beatles in Amerika «landeten», war von einer «british invasion» am Broadway die Rede (siehe Elija Wald, HTBDR, p. 232).
Man unterscheidet drei grosse Wellen, die britische Musik nach Amerika brachten, zwei davon in den 60er Jahren und eine in den 80er Jahren.
Die erste Welle
Die Beatles gaben 1964 die ersten Konzerte in den USA. Im Februar besuchten sie zwei Wochen lang New York, Washington und Miami. Im Sommer folgte dann ihre erste US-Tournee. Unmittelbar bevor die Gruppe in die USA reiste, wurde I Want To Hold Your Hand ihr erster US-Top-Hit. Mit den Beatles und der Beatlemania kamen weitere englische Singles in die Charts und englische Bands bevölkerten die amerikanischen Charts wie nie zuvor. Nach den Beatles waren es Dave Clark Five aus London, die mit Glad All Over auf Platz 6 der Charts gelangten, danach Peter and Gordon, Chad and Jeremy (beide Duos aus London), die Rolling Stones aus London, Gerry and the Pacemakers aus Liverpool, Herman's Hermits aus Manchester, die Animals aus Newcastle, The Who aus London und die die Hollies aus Manchester. Mitte April 1964 waren nicht weniger als 17 britische Titel in den Billboard Hot 100 vertreten. Das war damals einmalig, weil es zuvor nur einzelne englische Titel gab, die überhaupt in Amerika reüssierten. Jetzt waren es gleich diese grosse Menge.
Man muss sich hier vor Augen halten, dass die Geschichte auch hätte anders laufen können: Es hätte kaum einer dieser Songs in den USA Erfolg haben können (es wären wie bisher nur tröpfchenweise britische Titel in die US-Charts gekommen). Die Beatles hätten die einzigen sein können, denen der transatlantische Erfolg vergönnt gewesen wäre. Es kam aber anders: Offenbar war viel Substanz in den britischen Musikszenen, die die Beatles mit ihrem massenmedial inszenierten Erfolg nach Amerika zu bringen vermochten. Eine Schlüsselrolle kam der Ed Sullivan Show zu, die viele dieser britischen Acts einem nationalen TV-Publikum vorstellte.
Der Erfolg der Beatles
Am 9. Februar 1964 spielten die Beatles in der Ed Sullivan Show. Die Einschaltquoten lagen bei 60%, das waren sagenhafte 73 Millionen Amerikaner, die zusahen. Am 31. März 1964 belegten die Beatles die ersten fünf Ränge der Billboard Charts:
- Twist and Shout
- Can’t Buy Me Love
- She Loves You
- I Want to Hold Your Hand
- Please Please Me
British Invasion in Zahlen
Von den 212 Singles, die in den beiden Jahren 1962 und 1963 in die Top Ten der Billboard Charts kamen, waren nur gerade drei aus Grossbritannien. 1964 waren es dann 32 von 100, 1965 36 von 110 und 1966, 30 von 124. 1964 kamen neun britische Singles auf Platz 1 der Billboard Hot 100 und 1965 waren es zwölf. In diesen beiden Jahren hielten britische Acts die Nummer 1 während 52 Wochen, also während der Hälfte der Zeit (Quelle: Dominic Sandbrook: «White Heat», 2006, p. 141). In den Invasionsjahren kamen also rund ein Drittel der amerikanischen Top Ten Hits aus dem UK.
Querverweis
– Billboard: The Hot 100, Woche vom 8. Mai 1965
– CD-Reihe: The British Invasion: The History Of British Rock
– Dave's Music Database: British Invasion: Top 100 Songs
– Musikzimmer: British Invasion 1964-1967, US Top 20 Hits
– British Invasion @ Ed Sullivan Show
– Musikzimmer: British invasion I (Datentabelle)
Links
– Richard Havers: How The Beatles Kicked Off The British Invasion (uDiscoverMusic, 25. Februar 2021)
Literatur
– John Covach, Andrew Flory: What's That Sound? An introduction To Rock And Its History. 3rd Edition, New York, 2012, pp. 158–191.
– Lester Bangs: The British Invasion. In: Jim Miller (Ed.): The Rolling Stone Illustrated History of Rock & Roll. New York 1976, pp. 164–171.
– Reebee Garofolo: Rockin' Out. Popular Music In The USA. 4th Edition, Somerville, 2008, pp. 180–188.
– Larry Starr, Christopher Waterman: American Popular Music. From Minstrelsy To MP3. New York, 2009, pp. 255–267.
Bridge Tag
Der Begriff «Bridge» wird in der Populären Musik sehr verschieden gebraucht: in der AABA Form der 8-taktige B-Teil), der Standard im Traditionalpop war. In der Pop- und Rockmusik ist die Verse-Chorus-Bridge Form vorherrschend, eine Art Hybride zwischen Verse-Chorus und AABA-Form. Hier bringt die Bridge ein kontrastives kurzes Thema in den Song und sorgt damit für Abwechslung. Eine dritte Art der «Bridge» ist der «Prechorus», eine Überleitung zwischen Verse und Chorus.
Begriffsherkunft
Das Wort «Bridge» kommt aus dem Deutschen «Steg», einem Begriff, der die Meistersinger im 15. Jahrhundert und Richard Wagner in seinen Opern für Überleitungen verwendet haben. In die englische Sprache ist der Begriff in den 1930er Jahren durch deutsche Musiker*innen eingegangen, die am Broadway und in Hollywood arbeiteten.
Um den Kontrast zu erhöhen, arbeitet die Bridge in der VCB-Form oft in einer anderen Tonart, zuweilen in einer anderen Tonsprache (z.B. Moll statt Dur).
Links
– Billboard: The 100 Greatest Song Bridges of the 21st Century: Staff Picks (13. Mai 2021)
Boutique Labels Tag
Die Begriffe «Boutique Label» oder «Vanity Label» werden erstens gleichbedeutend mit Independent-Label benutzt. Das ist der umfassendste, weiteste Begriff. Zweitens bezeichnet er Labels, die von meist erfolgreichen Künstlerinnen und Künstlern gegründet werden, um zuerst und vor allem ihre eigene Musik zu veröffentlichen. Oft werden dann andere Acts unter Vertrag genommen. Drittens –und das ist der spezifischste Bedeutung – bezeichnen diese Begriffe Sublabels von Majors, die im (teilweisen) Besitz oder von erfolgreichen Künstlerinnen und Künstlern sind und von ihnen dazu benutzt werden, neue Acts zu lancieren.
Die Gründung von Boutique Labels bringt es fast immer mit sich, dass Musikerinnen und Musiker mehr kreative Freiheit haben, frei werden von der Kontrolle der Musikindustrie. Sie treffen eigene Business-Entscheidungen und werden selbständig wirtschaftlich tätig. Das kann steuerliche Vorteile oder im Erfolgsfall ein grösseres Einkommen generieren.
Beispiele von Boutique Labels
– Reprise (Frank Sinatra)
– Apple (Beatles)
– Straight und Bizarre (Frank Zappa)
– Brother (Beach Boys)
– Shelter Records (Leon Russell)
– Maverick (Madonna)
– Grand Royal (Beastie Boys)
Links
– Jamie Atkins: Record Labels Run By Musicians: 11 Artists Who Did It Their Way (uDiscoverMusic, 25. Februar 2021)
Booklet Tag
Als «Booklet» wird das Begleitheft eines Tonträgers bezeichnet. Solche Begleittexte sind bei LPs in der Regel beigelegt, manchmal eingeheftet oder eingebunden, bei CDs werden sie eingesteckt, entweder im durchsichtigen Frontteil (JewelCase) oder im kartonierten Teil des Digipaks. Eine aufwändigere Verpackungsart war ein Kartonschuber, in den man das JewelCase und das Booklet einschieben konnte.
Boogie Tag
Boogie Rock entstand am Ende der 1960er Jahre als Stil des Blues- oder Hardrock. Das typische Merkmal ist die ostinative Repetition eines geraden Takts mit groovendem Boogie-Rhythmus (ein Shuffle-Rhythmus).
Der Vorläufer von Boogierock ist John Lee Hookers Boogie Chillen'. Für die Countrymusic adaptierte Arthur Smith den Boogie mit Guitar Boogie. Im Rock waren es Gruppen wie Canned Heat, die den Boogie adaptierten. Bald war der Stil unheimlich populär. Norman Greenbaum trug ihn in die Spitzenplätze der Hitparaden (Spirit in the Sky). Status Quo machten ihren eigenen Stil daraus.
Zwei Stile
Der Begriff Boogie-Rock wird für zwei verscheidene Stile von Blues-Rock-Songs angewendet: solche, die a) ein repetitives Riff auf einer Saite spielen (Prototyp: neben «Boogie Chillen» Hot For Teacher und b) deren Rhythmusgitarren-Muster von frühen Rock 'n' Roll Stücken beeinflusst ist (wie Johnny B. Goode oder Roll Over Beethoven.
Bohème Tag
Bohemia. A desert country near the sea.
William Shakespeare
Als Bohème wird in modernen Gesellschaften eine Subkultur bezeichnet, der Künstler/-innen und Intellektuelle angehören, die sich dem gesellschaftlichen Mainstream entziehen und ein alternatives Leben oder eine alternative Kunst suchen.
Sinnvollerweise würde ich den Begriff der Bohème streng auf ein von der Kunst («high art») motiviertes alternatives Leben beziehen und so von anderen typen des alternativen Lebens unterscheiden. Auch die Populären Künste haben alternative Lebensstile motiviert: zum Beispiel die Hippie-Subkultur, die Indie-Subkulturen der 80er Jahre oder die digitale Bohème heute.
Biopic Tag
Verfilmungen der Lebensgeschichte von Bands, Künstlerinnen und Künstlern. Biopics kommen in zwei Formen,
a) als mehr oder weniger fiktionalisierte Verfilmung des Lebens oder Lebensabschnitts einer Musikerin, eines Musikers oder einer Band/Formation. Hier sieht man vorwiegend Schauspieler die Biografie spielen.
a) als Musikdokumentation. Hier sieht man die Musiker/-innen selbst, Kolleg/-innen, Freundinnen, Freunde, Verwandte usw. sprechen und erzählen.
Den Unterschied in der Machart sieht man sehr gut am Beispiel von Elton John. Das Biopic der BBC 4 The Making of Elton John: Madman Across the Water aus dem Jahr 2010 ist dokumentarisch, Rocketman von 2019 ein Kinofilm.
Links
– Tim Peacock: Best Music Biopics: 30 Essential Films For Music Fans (uDiscoverMusic, 5. Mai 2020)
– Hans Jürg Zinsli: Wird Lady Gaga jetzt Madonna spielen? (Tages Anzeiger, 9. Februar 2021)
Binson Echorec Tag
Das Binson Echorec ist ein Delay-Gerät, das bevorzugt in der Rockmusik der 1960er und 1970er Jahre eingesetzt wurde und bis heute in Studios verwendet wird. Das Audiosignal wird statt auf ein Tonband auf eine rotierende magnetisierbare Metallscheibe aufgezeichnet und wieder abgegriffen. Die Drehgeschwindigkeit bestimmt den Nachhall.
Verwendet wurden Echorecs von Hank Marvin (Shadows), Syd Barrett und allen anderen Musikern von Pink Floyd.
Links
– Abbey Road Institute: When You Say Pink Floyd, You Say Binson Echorec (2018 01 08)
Billboard Hot 100 Tag
Die amerikanische Hitparade für Popsongs – das Hauptformat aller Billboard Charts. Neben den Hot 100 veröffentlicht Billboard allerlei Spartencharts. Die Songs in den Billboard Hot 100 sind relevant für das Top-40 bzw. Contemporary Hit Radio.
Geschichte
Die Top 100 wird seit dem 12. November 1955 und die Hot 100 seit dem 4. August 1958 im Billboard Magazin abgedruckt. Vor diesen Stichdaten veröffentlichte das Magazin drei verschiedene Charts:
– best sellers in stores (Verkäufe von Singles, seit 1936, 20 oder 50 Positionen)
– «most played by jockeys» (Airplay, 20 oder 25 Positionen)
– «most played in jukeboxes» (Jukebox-Hitparade, 20 Positionen)
Die 1955 und 1958 geschaffenen Charts kombinierten alle drei Aspekte der Popularität eines Songs: Verkäufe, Airplay und Jukeboxen. Die drei alten Charts wurden vorerst weiterhin abgedruckt. 1955 gibt es eine «Top 30» und zwischen 1956 und 58 eine «Top 50».
Seit den Anfängen dieser Hitparade wird jedes Jahr ein Song des Jahres erhoben (siehe Musikzimmer Liste).
Bedeutung
Wer in diese Charts kommt, ist auf dem grössten westlichen Markt für Popmusik erfolgreich. Die Billboard Hot 100 sind damit eine Art Referenzhitparade.
Daten
Die umfassende Datensammlung stammt von Joel Whitburn, der über viele Jahre Nachschlagewerke über verschiedene Hitparaden und Zeiten herausgegeben hat, z.B. The Billboard Book of Top 40 Hits (9th Edition: Complete Chart Information about America's Most Popular Songs and Artists, 1955-2009
, 9. Auflage, 2010). Der originale Datensatz ist vermutlich ein Excel Sheet, das eine Zeit lang im Usenet veröffentlicht war. Diesen Datensatz bereinigen gegenwärtig John Michaelson (1955-1999) und Jarrett Nolan (seit 2000). Auf ihren Webseiten (Top40 Weekly und Singleschronology) sind die wöchentlichen Charts publiziert, aber nicht die Quelldaten. Eine Programmierschnittstelle (API) liegt nicht vor.
Billboard stellt eine API für die aktuellen Billboard Chart Entries zur Verfügung, Applikationen wurden verschiedene programmiert (z.B. NPM Billboard Top 100).
– Musikzimmer: Data Sheet mit US-Top-Hits (in Arbeit)
Quellen
– zu den aktuellen Billboard Hot 100
– Billboard Chart Archive
– The Pudding: How Music Taste Evolved (2018). Eine Animation aller Top-5 Titel aus den Jahren 1958 bis 2016
– Dave's Music Database: Billboard songs to debut at #1 on the Hot 100 (Dave Whitaker, 29. Januar 2019)
– John Michaelson (1955-1999) und Jarrett Nolan (seit 2000): Top40 Weekly – online US Top 40 Archive
– dieselben: Singles Chronology – enthält alle Billboard Hot 100 Singles und die wöchentlichen Hitparade von 1955 bis 2013 und zwar mit Act, Songtitel, Release Datum, Chart Spitzenposition, Dauer des Stücks, Original Label und Katalog Nummer. Jahreslisten sind in der Waybackmachine des Internetarchivs verfügbar.
– Billboard: Hot 100 Turns 60 (2018)
– Stereogum The Number Ones – diese Stereogum-Kolumne bespricht und bewertet jeden Nummer-1-Hit in den Billboard Charts seit 1958
– Dave Whitaker: Billboard - Songs of the Year, 1958-2021 (Dave's Music Database, 8. Dezember 2021) – Billboard wählt jedes Jahr einen «Song of the Year» aufgrund seiner Performance in den Charts
Billboard Charts Tag
Das amerikanische Billboard Branchenmagazin begann in den 1930er Jahren, Hitparaden («Charts») zu publizieren. Eine Hitparade gibt wieder, welcher Schlager (oder «Hit») in einem definierten Zeitabschnitt (Woche, Monat, ...) am meisten konsumiert wurde.
Wesentlich an den amerikanischen Hitparaden ist, dass sie als Marketinginstrument der Musikwirtschaft ein komplexes System von mehreren verschiedenen Hitparaden bilden.
1936: Erste Musikhitparaden
Am 4. Januar 1936 veröffentlichte Billboard seine ersten Musikhitparaden, die auf Verkaufszahlen von Platten beruhten. Es wurden damals drei separate Top-Ten Listen abgedruckt, eine pro Majorlabel: Nummer eins in der Liste von Columbia war Stop, Look and Listen von Joe Venuti and Orchestra. Platz eins auf der Liste von Brunswick war Ozzie Nelson and Orchestra mit Quicker Than You Can Say Jack Robinson und in den RCA-Victor Charts war es The Music Goes Round von Tommy Dorsey and His Clambake Seven.
1940: Erste Hitparaden für den Gesamtmarkt
Am 27. Juli 1940 begann Billboard eine Hitparade zu publizieren, die auf den Verkaufszahlen von 50 Retailern beruhte («National Best Selling Retail Records», ab 1945 «Best-Selling Popular Retail Records», ab 1950 «Best-Seller in Stores»). Hinzu kamen Charts für Jukeboxen. Noch während dem Zweiten Weltkrieg wurden die Charts weiter differenziert: Nun wurden Märkte für verschiedene Musiksparten (Pop, Country, Rhythm & Blues etc.) und Verbrauchsarten (Jukebox, Plattenkäufe, Airplay) beobachtet und die Hits regelmässig in bis zu 28 verschiedenen Charts publiziert.
1958: Billboard Hot 100
Die Billboard Hot 100 gibt es seit dem 4. August 1958. Mit dieser Hitparade wurden zum ersten Mal die Märkte für Jukeboxes, Radio Airplay und Tonträgerverkäufe in einer Hitparade zusammengefasst. Dies vereinfachte das Chart-Universum zwar nur bedingt, weil Billboard weiterhin die Teilmärkte untersuchte und in Charts abdruckte. Aber mit den «unified» Charts gibt es nun eine allgemeinverbindliche Hitparade, die als Erfolgsmassstab für alle Tonträger galt.
Zwei Monate nach den Billboard Hot 100 wurden die Rhythm and Blues Charts und die Hot C&W Sides als erste «unified» Charts für Afroamericana und Country eingeführt. Von nun an gab es drei Konsumformat-unabhängige Musikmärkte in den USA: den Pop-, den R&B- und den Country-Markt. Diese Dreiteilung gilt bis heute.
Statt drei verschiedene Konsumformen zu erheben (Jukebox, Airplay, Verkäufe) wurde nun die Unterscheidung in Singles (inkl. EPs) und LPs wichtig. Bis zur Entstehung der Rockmusik, mitt der 1960er Jahre, wurden Singles fast ausschliesslich von einem jungen und LPs von einem reiferen Publikum gekauft.
Da Hitparaden Marketinginstrumente sind, reflektieren solche Bewegungen im Hitparaden-Universum, was mit dem Musikmarkt passiert: Die «unified» Charts werden zu einer Zeit eingeführt, in der die Jukeboxen gegenüber den Plattenkäufen massiv an Bedeutung verlieren. Mit der Nachkriegsprosperität besitzt jeder Konsument und jede Konsumentin ein eigenes Wiedergabegerät (wo der Plattenspieler vorher tendenziell ein Familiengerät in den Händen des Vaters war) und man hat das Geld, um Platten gemäss seinem persönlichen Geschmack zu kaufen.
Gegenwart
Die Billboard Hot 100 (Songs) und die Billboard 200 (Alben) sind heute die massgebenden Hitparaden für die USA, die den grössten nationalen Musikmarkt der Welt bilden.
Querverweise
– Billboard Hot 100
– Billboard 200
– Billboard Rhythm and Blues Charts
– Billboard Hot Country Songs
– Mainstream Rock Airplay
Whitburn Sammlung Sammlung und Daten
Joel Whitburn ist ein Schallplattensammler. Er archiviert jede Platte, die es je in die Billboard Charts geschafft hat. Sein Datensatz ist nicht online verfügbar, da Whitburn Nachschlagewerke in Buchform publiziert und verkauft (siehe: 
Record Research).
Ein Abfrage- und Visualisierungstool von Kyle Biehle, das auf den Whitburn-Daten aufbaut, ist auf tableau public verfügbar.
Links
– Hot 100 (Pop Single Charts)
– Billboard 200 (Pop Album Charts)
– verschiedene Spartencharts (Electronic, Urban, Country, Adult usw. usw.)
– Liste der Nummer-1-Singles in den Billboard Charts (Wikipedia)
– Paul Sexton: Billboard’s First Retail No.1: Frank Sinatra Makes 1940 Chart History (Quelle, 27. Juli 2020)
Billboard 200 Tag
Die wöchentlichen Amerikanischen Album Charts von Billboard. Die jeweils aktuellen Top 200 Charts können auf der Webseite von Billboard online eingesehen werden.
Diese Charts waren ab 1956 eine wöchentliche Top-10, die im Mai 1967 zur Top 200 angewachsen sind. Benannt wurden diese Charts verschieden:
– Billboard Top LPs (1961–1972)
– Billboard Top LPs & Tape (1972–1984)
– Billboard Top 200 Albums (1984–1985)
– Billboard Top Pop Albums (1985–1992)
– Billboard 200 (seit März 1992).
Gezählt wurde historisch von Montag bis Sonntag. Im Juli 2015 wurde die Woche an den Freitag als Release Tag für die meisten Alben angepasst und dauert von Freitag bis Donnerstag.
Streaming wird seit dem 13. Dezember 2014 berücksichtigt.
Ende 2019 kündete Billboard an, dass ab dem 3. Januar 2020 die Musikvideos ab YouTube, Apple Music, Spotify, Vevo, Tidal etc. für die Erfolgsmessung von Alben berücksichtigt würden. Ausgenommen sind von Usern generierte Contents, wie man sie auf Youtube findet. Sieben Jahre lang wurden die Streams nur für die Single Hitparade berücksichtigt, die Billboard Hot 100. Nicht ganz unbedeutend dürfte die Tatsache sein, dass das selbe Verfahren nicht nur für die Top 200 gilt, sondern auch für die Spartenhitparaden wie Country-, R&B/Hip-Hop- und Latin-Alben. Im Country darf man möglicherweise einen Boost für die Alben von Interpretinnen erwarten, die am Radio kaum gespielt werden.
Querverweise
– US-Top-Albums
Links
– Billboard: Billboard 200
– Laura Stavropoulos: Billboard 200 Album Chart Will Now Include Youtube Streams (uDiscoverMusic, 13. Dezember 2019)
– Dave Whitaker: The Biggest #1 Albums in U.S. Chart History (Dave's Music Database, 15. November 2010, update: 3. August 2020)
– Dave Whitaker: The Longest-Charting Albums in U.S. Chart History (Dave's Music Database, 5. März 2013, update: 3. August 2020)
Bildungsexpansion Tag
Mit dem Begriff «Bildungsexpansion» wird im deutschen Sprachraum der Ausbau des Bildungswesens bezeichnet, wie er im 20. Jahrhundert, aber besonders nach dem Zweiten Weltkrieg in Europa stattgefunden hat (Stichwort: «golden age of social mobility»). Mit der Bildungsexpansion geht ein sozialer Wandel der Gesellschaft einher: Die Bevölkerung ist höher qualifiziert und die Anforderungen an Personen, die auf dem Arbeitsmarkt bestehen können, sind gestiegen. Die Gesellschaft ist anders zusammengesetzt als vor der Bildungsexpansion, weil eine «Umschichtung nach oben» stattfand, das heisst das mehr ehemalige Angehörige der Unterklasse in die Mittelklasse aufstiegen.
Begonnen hat die Bildungsexpansion nach dem Zweiten Weltkrieg, als europäische Universitäten die im Krieg erfolgreichen USA als Vorbild genommen und die Universitäten ausgebaut haben. Etwas später zogen tertiäre Bildungsinstitutionen nach (das sind diejeingen, die aufbauend auf einer abgeschlossenen Sekundarschulbildung, höhere Bildung vermitteln, z.B. Fachhochschulen).
In der Zeit des Kalten Kriegs gab es in vielen europäischen Ländern Universitätsreformen, die zur Folge hatten, dass viel mehr junge Leute studieren konnten als früher. Im UK waren es zuerst der Education Act von 1944 und später der Robbins Report von 1963, der den sofortigen Ausbau der Universitäten empfahl. Die gewachsenen Studierendenzahlen müssen aber von zwei verschiedenen Ursachen her verstanden werden: Zum einen gab es einen Babyboom, der ab den 1960er Jahren an spürbar wurde. Damals kamen viele junge Menschen ins Alter ihrer universitären Ausbildung. Zum anderen musste der Anteil an den Akademiker*innen in der Gesellschaft erhöht werden. 1970 gab es in Amerika etwa 8 Millionen Studierende, und ein Drittel der achtzehn- bis zweiundzwanzig Jährigen war an einem College eingeschrieben. Die amerikanischen Universitäten waren bereits 1945 gross und expandierten zudem als Konsequenz des «GI-Bills», dem Gesetz, das die College-Ausbildung für Militärveteranen subventionierte. In Europa hingegen studierte ein viel geringerer Prozentsatz der Geamtbevölkerung. In der Schweiz waren das vor den Universitätsreformen inder Nachkriegszeit nur etwa 1 %!
Europa zog also nach und nahm mehr Studierende auf, schuf auch neue sozialwissenschaftliche Fächer wie die Soziologie, die in den 1960er Jahren zum Modefach wurde. Dieses neue exemplarische Fach war empirisch ausgerichtet und stellte einen Bruch mit dem alten System des Gelehrtentums dar. Man kann soziologsiche Methoden in drei bis fünf Jahren erlernen, aber in dieser kurzen Zeit nicht zu einem Schriftgelehrten werden. An traditionellen europäischen Unis studierten Leute teils jahrelang, bis sie abschlossen.
Nicht nur in Grossbritannien ging die Universitätserweiterung mit dem einher, was britische offizielle Berichte als «Swing to the Arts» bezeichneten. Der Nationale Wirtschaftsplan hatte vorgeschlagen, dass jeder dritte Student Naturwissenschaften studieren sollte, doch 1968/69 tat dies nur jeder Fünfte.
Durch die höheren Studierendenzahlen kam es beim traditionellen Bildungsbürgertum auch zu Dünkeln gegenüber mittelständischen «Parvenues»: Die Ehefrau von Charles de Gaulle erklärte sich die Unruhen von 1968 mit der Flut von solchen Parvenues, denen die Raffinesse der Umgangsformen der Oberklasse fehlten. Die Privilegierten konnten sich auch einreden, dass ihre Studiengänge nicht mehr denselben Wert hätten wie früher, weil sie von sozialen Aufsteiger*innen überflutet wurden.
In den Vereinigten Staaten waren einige Universitäten Stadtstaaten mit eigenen Radiosendern, Zeitungen und – schlimm! – eigenen Polizeikräften.
Bildungsexpansion und Proteste
In den USA, scheint es, waren die gescheitesten Studis in den 1960er Jahren diejenigen, die am ehesten protestierten. Studentenproteste gab es auch eher an Eliteunis. Aber nicht nur: Auch an weniger privilegierten Bildungsinstitutionen wie der State University of New York in Buffalo und der Michigan State und Kent State Ohio kam es zu radikalen Protesten. Die Eliteunis geben möglicherweise die grössen Schlagzeilen her und deshalb bleiben vor allem sie in Erinnerung.
Ursachen und Folgen der Bildungsexpansion
Als Ursachen für die Bildungsexpansion werden geannt:
– Grösser werdender Qualifikationszwang als Folge des technischen und wissenschaftlichen Fortschritts in der westlichen Gesellschaft.
– Grösserer Bedarf an Humanressourcen, die spezialisierte Qualifikationen auszuweisen haben.
– Die allmähliche Herausbildung einer Wissensgesellschaft, in der Wissen und Know-how als Motor der wirtschaftlichen und gesellschaftlichen Entwicklung fungieren.
Als Folgen lassen sich beobachten:
– Besonders zielstrebige und willensstarke Menschen nutzen ihren Bildungsvorsprung zur Statussicherung.
– Die anderen sehen sich gezwungen, weil die Anzahl der Mitbewerber steigen, ihre Marktfähigkeit (und ihren gesellschaftlichen Status) durch Weiterbildung wiederherstellen.
– Der gesellschaftliche Wohlstand steigt mit der Expansion der Bildung. (Aus-)Bildung wird daher als ein Schlüssel zu Wohlstand und Wohlfahrt gesehen.
– Der Nutzen der höheren Bildung führt allerdings nicht in jedem Fall automatisch zu einem Nutzen für die Gesellschaft. Personen mit einem höheren Bildungsabschluss arbeiten nicht automatisch besser. Es werden auch nicht alle Abschlüsse gleich stark nachgefragt. Viele Fächer wie die Soziologie, Psychologie, Ethnologie, die geboomt haben, brachten keine funktionierenden Individuen in einer prosperierenden Gesellschaft hervor, sondern schufen (oder bestätigten) das Potential zum gesellschaftlichen Ausstieg.
Die höhere durchschnittliche Bildung beförderte das politisch-kritische Denken der Bevölkerung. Sie steigerte zudem das verständnis für komplexe Sachfragen.
Bibliothek Tag
EIne Bibliothek ist ein Archiv für Bücher und andere handgeschriebene oder gedruckte Dokumente – eine Institution, die dem Wissen bzw. der Information verpflichtet ist. Ursprünglich eine staatliche oder universitäre Einrichtung, gelten Bibliotheken heute als Dienstleistungseinrichtungen im sinnne der bürgerlichen Freiheiten und Institutionen, dem freien Zugang zu Information und der Öffentlichkeit. Neben Staaten haben Regionen/Kantone/Departemente, Gemeinden, Viertel in Städten Bibliotheken, neben Univeritäten Fachhoschulen, Berufsschulen, Gymnasien/Colleges und Grundschulen. Es gibt auch auf ein Thema verpflichtete Sammlungen, die öffentlich und damit zur Bibliothek werden.
Bruchstäcke eienr Geschichte der Bibliotheken
Die bedeutendste Bibliothek der antiken Welt stand in Alexandria. Sie wurde zu Beginn des 3. Jahrhunderts vor Christus gegründet. Es gibt schriftliche Zeugnisse antiker Autoren, die diese sagenumworbene Bibliothek erwähnen. Archeologische Überreste sind indes bis heute nicht gefunden worden. Ebenso ungeklärt ist das Ende der Institution. Möglicherweise ist sie im 3. Jahrhundert zusammen mit dem Palastviertel der Stadt zerstört worden. Die Bibliothek von Alexandria soll einen enormen Bestand von Papyrus Schriftrollen angesammelt haben. Sie umfasste das gesamte antike WIssen: Literatur, Nissenschaften, Philosophie. Wahrscheinlich fungierte die Bibliothek als Schul- bzw. Forschungsbibliothek des Museion von Alexandria, wo berühmte Gelehrte unterrichteten und forschten. Einrichtungen wie Universitäten und Bibliotheken haben auch den Aspekt einer politisch-volkswirtschaftlichen Machtdemonstration.
In Frankreich gibt es seit dem 16. Jahrhundert das «dépôt légal», die abgabe eines Pflichtexemplars von Druckerzeugnissen an die Nationalbibliothek.
Querverweise
– Library of Congress (Amerikansiche Nationalbibliothek in Washington DC)
– Bibliothek
– Katalog
– Musikzimmer: Verzeichnis (Katalog) der Bücher und Texte
Bible Belt Tag
Der Begriff «Bible Belt» bezeichnet die Regionen (nicht nur der USA), in denen relativ grosse Anteile der Bevölkerung christlich religiös sind. In den USA befindet sich der «Bible Belt» im Südosten des Landes (siehe Karte). Die Bevölkerung im amerikanischen «Bible Belt» gilt als konservativ, traditionell und bibeltreu. Die Landstriche des «Bible Belts» sind tief von den verschiedenen Erweckungsbewegungen seit dem 18. Jahrhundert geprägt.
Der Begriff wird auch auf andere Länder übertragen. So spricht man manchmal von der Ostschweiz (Winterthur, Zürcher Oberland, Thurgau und St. Gallen) als dem schweizerischen «Bible Belt».
Biba Tag
Boutique in London während der Zeit von Swinging London. Eröffnet wurde «Biba» von der Polin und Brighton Art College Abgängerin Barbara Hulanicki und ihrem britischen Ehemann Stephen Fitz-Simon. Der Name «Biba» war der Übername ihrer jüngeren Schwester: Biruta. 1964 verkaufte Hulanicki 17'000 selber entworfene Kleider in Anlehnung an eines, das Brigitte Bardot trug, über ein Inserat im Daily Mirror. Mit diesem Erfolg konnte sie ihre erste Boutique an der 87 Abingdon Road eröffnen. Der Laden zog 1966 an die Kensington Church Street um, 1969 an die 120, Kensington High Street.
Berühmte Kund*innen von Biba waren Twiggy, Julie Christie, Paul McCartney, Mick Jagger oder Sonny & Cher.
1973 eröffnete Hulanicki «Big Biba» im Derry & Toms Warenhaus. Hier soll der Laden 1 Million Besucher*innen pro Woche angezogen haben.
Ab 1973 lief Biba nicht mehr so gut. Die Wirtschaftskrise war eine Ursache und die Tatsache, dass viele Besucher*innen nichts kauften und nur schauten.
Links
– Flashback: The Rise and Fall of the Biba Boutique
– Yasmin Robert: Timeline: Biba’s sensational 50 years (Drapers, 1. Dezember 2014)
– Claire Mahoney: Biba – the bohemian brand (26. September 2019)
Bewegung 2. Juni Tag
Die Bewegung 2. Juni war eine linksextremistische terroristische Vereinigung in Berlin, die im Januar 1972 gegründet wurde und sich nach dem Todesdatum von Benno Ohnesorg benannte. Anführer der Gruppe war Fritz Teufel. Die Gruppe verübte mehrere terroristische Attentate, Banküberfälle und entführte zum Beispiel Peter Lorenz (1975), dem CDU-Spitzenkandidat, und Günter von Drenkmann (1974), den Präsidenten des Berliner Kammergerichts. Die Entführung von Drenkmanns schlug fehl und endete mit der Erschiessung. Durch die Geisel Peter Lorenz konnte die Bewegung 2. Juni die Freilassung mehrerer verurteilter Terroristen erwirken.
Die Bewegung 2. Juni wurde am 2. Juni 1980 augeflöst. Ein Teil ihrer Aktivisten schlossen sich der Roten Armee Fraktion (RAF) an.
Besetzung Tag
Mit «Besetzung» wird die Art und Anzahl der Musikinstrumente bzw. Singstimmen in Ensembles verstanden.
Besetzungsliste
«Besetzungslisten» nennen die invovierten Personen und Institutionen bei Konzerten oder Aufnahmesessions in Studio. Sie können sich sowohl auf einzelne Tracks beziehen als auch auf Alben.
Da gewöhnlich einige Personen und Institutionen an der Produktion eines Werks der Populären Musik involviert sind, sollen diese Listen ein wenig geordnet sein. Oft findet man zuerst die Interpreten, deren Name auch auf der Plattenhülle/Verpackung angegeben wird. Dann die Sessionmusiker*innen.
Links
– Martin Chilton: 10 One-Man Bands Who Didn’t Need Anyone Else (uDiscoverMusic, 27. August 2019)
Beispiele von Besetzungen
– Folk Duo, Trio und Quartett
– Rockband
– «Vocalgroup» (Vokalgruppe)
– Powertrio und Powerquartett
Benefiz Konzerte und Releases Tag
Benfiz Konzerte oder Platten sind Auftritte oder Releases, bei denen Künstlerinnen und Künstlern (oft auch als Zusammenarbeit) für einen guten Zweck oder eine gemeinnützige Organisation spielen. Rock Acts haben seit den Anfängen für gute Zwecke gespielt, zur Feier der neuen Kultur (Monterey Festival), bei Demos auf den Campus und auf den Strassen, bei den Anlässen der Bürgerrechtsbewegung usw.
«Charity Rock» wurde mit Band Aid (von Bob Geldof und Midge Ure organisiert) ein zentrales und kontrovärses Thema. Der Anlass war so erfolgreich, dass er eine Lawine von ähnlichen Aktionen auslöste.
Oft wird George Harrison als der Erfinder des Charity Konzerts genannt (The Concert For Bangla Desh.
Bandkollege John Lennon schenkte dem WWF bereits 1969 sein Stück Across the Universe
für die Charity-LP No One's Gonna Change Our World (1969).
Links
– Wikipedia: Liste mit Charity Singles
– WIkipedia: Kategorien-Seite: Charity Albums
– Lori Majewski: The Making of Band Aid: Secrets and Stories From the Star-Studded Session (Rolling Stone Magazine, 25. November 2014)
– Sassan Niasseri: Rewind Today: USA For Africa nehmen ‚We Are The World‘ auf (Rolling Stone Magazin, 28. Januar 2014)
– Richard Havers: Live Aid: The Day That United The World Through Music (uDiscoverMusic, 12. Juli 2020)
Belting Tag
Belting ist die führende Bühnengesangstechnik neben der klassischen Opernstimme, eine direkte und laute Stimme, die ohne Mikrophonverstärkung einen Saal füllen kann, ein sich unterhaltendes Publikum übertönen kann. Belting wird bis heute bevorzugt im Musical (aus dieser Tradition kommt die Technik ja), Pop, Rock und Soul eingesetzt. Das Paradebeispiel einer beltenden Bühnenstimme hatte die Musical-Sängerin Ethel Merman (1908–1984). Modernere Beispiele sind Shirley Bassey, Aretha Franklin, Cher, Whitney Houston, Céline Dion, Mariah Carey oder Christina Aguilera.
Querverweise
– Gesang
Beatnik Tag
Der Beatnik war eine Sozialfigur der späten 1950er und frühen 1960er Jahre.
Zuweilen wurde und wird der «Beatnik» synonym mit einem Vertreter der Beatgeneration verwendet. Andererseits kann man den Beatnik auch als eine derivative Karrikatur des «Beat Poets» auffassen: ein Mann, der wie ein Hipster spricht, Jazz oder Blues hört, langes Haar und einen Goatee trägt, einen Rollkragenpulli, ein Beret und zuweilen auffällige Hornbrillen. Seine Freundin trägt einen langen Rock oder ein Trikot-Kleid, Ledersandalen ohne Absätze, sie schminkt sich nicht und ihre Haare sind lang oder burschikos kurz.
1959 war das Jahr der Beatniks. Das Life Magazine brachte einen Artikel über Beat Rebellen. Die TV-Show «The Many Loves of Dobie Gillis» hatte einen Beatnik-Charakter: Maynard G. Krebs. Das Broadway-Musical «The Nervous Set» thematisierte Beatniks (siehe Soundtrack. Es gab einen Exploitation Film: «The Beat Generation» von MGM. 1960 thematisierten Komödianten (Bob Hope) und Cartoons («Beatnik Magoo»: Episode von «Mr. Magoo», Cool Cat Figur bei Looney Tunes) die Beatniks.
beatlesque Tag
Ein beatlesquer Song hat eine musikalische Ähnlichkeit mit einem oder mehreren Songs der Beatles. Verschiedentlich wird der Begriff auch auf den Sound einer Band angewendet, deren Musik auf allgemeiner Ebene derjenigen der Beatles gleicht. Das Wort «beatlesque» wird also auf zwei Arten verwendet: 1) «Der Song xxx ist b.» und 2) Die Band yyy klingt b.»
Zu den beatlesquen Bands zählen: Klaatu, Aerovons, Badfinger, Harry Nilsson, Big Star, Marshall Crenshaw, Electric Light Orchestra, Fountains of Wayne, Squeeze oder Smithereens.
beatlesk Tag
Als «beatlesk» wird Musik bezeichnet, die stilistisch nach den Beatles klingt – aber nicht von den vier Bandmitgliedern als Solokünstler stammt.
Beatlemania Tag
Als «Beatlemania» wird die weltweite Euphorie um die britische Band Beatles bezeichnet. Begonnen haben soll die «Beatlemania» am 13. Oktober 1963, als die Band in Val Parnell's TV-Show «Sunday Night At The London Palladium» auftrat und die Zeitung «Daily Mail» unter der Schlagzeile über diesen Auftritt berichtete. 1964, auf der ersten USA-Tournee der Beatles, erreicht die «Beatlemania» ihren Höhepunkt. Erst als die Beatles ab 1966 nicht mehr live aufgetreten sind, flachte die Euphorie ab. Dennoch gab es Fans, die vor dem Studio und vor den Wohnungen der vier Musiker warteten, um die vier Beatles zu sehen und in ihrer Nähe zu sein. George Harrison nannte sie die «Apple Scruffs» und schrieb einen rührenden Song für sie, obwohl er oft Verachtung für diese extremen Arten von Fandom geäussert hat.
Rolle der Medien
Exzessives Stardom und Fandom waren in den 1960er Jahren keine neuen Phänomene. Vor den Beatles waren Elvis Presley, Frank Sinatra Auslöser von Massenphänomenen. Im 20. Jahrhundert ist die exzessive Verehrung von Stars durch die Massenmedien verstärkt worden, die für eine grössere Durchdringung und weitere Verbreitung des Phänomens gesorgt haben.
Begriff
Der Begriff «Beatlemania» wurde von der Presse in Anlehnung an den virtuosen Pianisten Franz Liszt erfunden, der im 19. Jahrhundert eine «Lisztomanie» ausgelöst hat. Heinrich Heine hat über die Wirkung des Klaviervirtuosen auf die Pariser Gesellschaft geschrieben: «Was ist aber der Grund dieser Erscheinung? Die Lösung der Frage gehört vielleicht eher in die Pathologie als in die Ästhetik.» Später wurden auch andere kollektive Euphorien um Pop-Bands nach dem selben Begriffsbildungsschema benannt: die Rollermania Bay City Rollers, die Abbamania Abba oder die Spicemania Spice Girls.
Erklärungen
1. Es stellt sich die Frage, ob die Beatlemania eine freilich extreme Äusserungsform des Beifalls darstellt. Sind die Schreie eine extreme Form des Applauses? Diese Frage zu bejahen, klingt deshalb nicht sehr plausibel, weil der Applaus eine hoch ritualisierte Angelegenheit ist. Auch ein frenetischer, tosender Applaus verläuft in vorgesehenen und gesellschaftlich akzeptierten Bahnen. Die Beatlemania hingegen besteht aus eher spontanen, unvorhersehbaren Ausbrüchen. Das Unvorhersehbare ist nicht, ob das Geschrei stattfindet oder nicht, sondern mit welcher Heftigkeit es stattfindet und welche Effekte es nach sich zieht. Jeder Applaus, ob verhalten oder begeistert, findet in einer kontrollierten Situation statt. Diese Kontrolle geht in der Regel nicht verloren. Es hat freilich in der Geschichte der Musik Momente gegeben, in denen diese Kontrolle abhanden gekommen ist, etwa nach der Aufführung avantgardistischer Werke, die das Publikum verstört haben, die es als Affront empfunden hat. Aber diese Momente sind selten. Auch hat die Beatlemania nichts mit einem rebellierenden Publikum zu tun, dass sich gegen eine Aufführung stellt – ganz im Gegenteil. Die Frage ist nur, ob das Geschrei der Beatlemania graduell vom begeisterten Applaus oder substantiell davon verschieden ist. Ich glaube, man ist sich schnell darin einig, dass es ein substantieller Unterschied ist. Begründen wird man diese Entscheidung damit, dass es zu Sachschäden und Unfällen kommt: Einzelne Personen im Publikum werden Ohnmächtig, zerdrückt, sie tun Dinge, die ein Publikum unter kontrolliert rituellen Bedingungen nie tun würde. Wollte man in den Phänomenen der Beatlemania einen graduellen Unterschied zum Applaus sehen, müsste man argumentieren, dass Klatschen nach einem Konzert eine Dank und Respektbekundung darstellt, ein Dankeschön des Publikums an die Musikerinnen und Musiker. Je grösser die Leistung der Musiker/-innen, desto länger und lauter der Applaus. Wenn man das nun steigert, kommen neue Verhaltensweisen hinzu, die noch mehr Lärm machen als Händeklatschen: Man stampft mit den Füssen, Pfeift schrill oder jolt. Die extreme Form ist das Schreien.
2. die Kollektivhypnose-These: Sie kommt vom ersten Sozialpsychologen, der sich am Ende des 19. Jahrhunderts mit der Masse beschäftigt hat, Gustave le Bon. Le Bon hat gesagt, dass die Menschen in der Masse gleichgerichtet seien. Erklärt hat er diese Gleichrichtung mit dem damals modischen Phänomen der Hypnose. Le Bon würde also sagen, dass die Präsenz der Beatles und ihre Musik die Fans hypnotisiert hätten. Ich halte das für unplausibel, da die Hypnose eine Art Schlafzustand ist. Die kollektive Manie nicht. Ausserdem ist die Hypnose als Bewusstseinszustand selbst schwer zu erklären und deshalb finde ich, Le Bon liefert keine besonders wertvolle Erklärung. Er verschiebt das Problem oder die Fragestellung auf einen anderen schwierigen Gegenstand. Eine Erklärung von etwas Fragwürdigem sollte auf etwas Bekanntes zurückgeführt werden und nicht auf etwas, das noch weniger oder genauso wenig bekannt ist. Man kann aber von Le Bon lernen, dass Massen gleichgerichtet sind und dass etwas mit dem Individuum passiert, wenn es sich in einer Masse bewegt. Es ist sozusagen nicht mehr er oder sie selbst.
3. die Ventil-These: Diese These besagt, dass die Beatles ein Ventil (eine Schleuse) öffneten und dass folglich in diesen Momenten der Massenhysterie ein angestauter Überdruck entwich. Die Ventilthese geht davon aus, dass der Mensch in der Masse eine Hemmung verliert, die er als Einzelner hat. In der Masse können aufgestaute Aggressionen sich einen Weg verschaffen und zerstörerisch werden. In der Masse können aber auch andere Emotionen sich ungehindert einen Weg verschaffen: zum Beispiel Freude und Ausgelassenheit bei einem Fest.
4. die Regressions-These: durch den Rhythmus werden Hörerinnen und Hörer altersmässig zurückgeworfen. Theodor W. Adorno formulierte diese These im Rückgriff auf Sigmund Freud: Populäre Musik ist Regressiv. Sie steht unter «Ideologieverdacht der gesellschaftlichen Zurichtung, der Verführung der Masse zu Konsummaschinen, zu Propaganda-Empfängern» (Büttner, S. 467). Für Adorno kann nur die Europäische Kunstmusik ideologiefrei sein und ihre Hörer/-innen freie, selber denkende Menschen. Alles, was Massen an sich bindet, also alles Populäre und Erfolgreiche, ist für Adorno und mit ihm für viele Akademiker/-innen pauschal wertlos, weil regressiv.
Die Generation von Adorno vermutete in jedem Massenphänomen den Nationalsozialismus, den Faschismus. Und damit war jede Populäre Musik erledigt. Verdächtig. Gefährlich. Wertlos.
Adorno greift auf Freud zurück, der Kulturleistungen mit Triebverzicht erklärt. Der Mensch benimmt sich zivilisiert, weil er darauf verzichtet, jede Regung ungehindert auszuleben. Er kontrolliert sich, d.h. seine Triebe. Er unterdrückt sie, hält sie zurück, hält sich zurück. In der Masse jedoch verliert der Einzelne die Kontrolle über seine Triebe. D.h.das Individuum in der Masse fällt in einen Entwicklungszustand zurück, bei dem es den Triebverzicht noch nicht gelernt hat. Bei Freud kommt hier der Ödipuskomplex ins Spiel. In der Familie zielt die erwachte Sexualität bei den Jungens auf die verfügbare, nahe stehende Mutter. D.h. er gerät in Konkurrenz mit dem Vater und will diesen beseitigen. Das Bewältigen dieses Konflikts, in dem der Junge lernt, seinen Trieb nicht narzisstisch auszuleben, macht ihn fähig, als erwachsenes und zivilisiertes Wesen zu leben. Die Mädchen würden etwas Analoges erleben, meinte Freud Schüler Carl Gustav Jung. Er nannte es den Elektra-Komplex. In der Masse aber, regrediert das Individuum in einen Entwicklungszustand, bei dem es den Ödipuskomplex noch nicht bewältigt hat. Es verliert seine kulturelle oder zivilisatorische Zähmung.
Religiöse Fundamentalisten und Rassisten in den USA haben diese These auf Elvis Presley und den Rock ‘n’ Roll angewendet. Sie haben gesagt, Elvis bewege sich wie ein Affe oder wie ein Neger. Mit zweiterem hatten sie recht und das war für den Rock ‘n’ Roll in den USA fast noch gefährlicher als ein Affe (höre: Rev. Jimmy Snow).
5. die Idol-These: Idole, Ikone, Reliquien sind Repräsentationen des Heiligen. Man will sie sehen und berühren. man verspricht sich davon «Heilung» im weitesten Sinn des Wortes. An die Beatles Konzerte wurden regelmässig Kranke und Behinderte geführt. Das war so auffällig, dass John Lennon böse Witze über diese Tatsache machte (siehe: Youtube).
Stars sind die Idole der modernen Welt, sie ersetzten Götter und Gottheit. Wo sie auftauchen und auftreten, ziehen sie eine Gefolgschaft, die Fans an. Und mit ihnen die Schaulustigen. Stars sind nicht nur für Fans magnetisch, auch für Schaulustige. man erkennt die schaulustige Person daran, dass sie sagt: «ich wollte ans Beatles Konzert, weil ich diese Gruppe und ihre Wirkung mal sehen wollte».
6. Der Literatur-Nobelpreisträger Elias Canetti hat mit Masse und Macht (1960) eines der imposantesten Bücher über Massen geschrieben. Mit den Beatles und ihren Fans hat sich Canetti nicht befasst. Massen sind für Canetti keine Unfälle der Zivilisation, keine Regression, sondern sind eine der Existenzweisen des Menschen als Gattung: Die Masse und die Macht werden aufeinander bezogen, die Macht bringt Massen hinter sich, lenkt sie und hetzt sie an, kann aber auch von ihr gestürzt werden. Masse und Macht
ist eine Fundamental-Anthropologie.
7. Die Wissenschaft hat spät damit angefangen, die Phänomene Stardom und Fandom vorurteilslos zu untersuchen, d.h. nicht a priori davon auszugehen, dass diese Phänomene die Kultur bedrohen.
Fazit
Es braucht, um einem Phänomen wie der Beatlemania beizukommen, sowohl einen vorurteilslosen empirischen Blick als auch Erklärungen mit Rückgriff auf Erkenntnisse und Theorien aus der Massenpsychologie oder der Anthropologie. Die wenigsten Autoren haben sich daran gewagt, die Beatlemania nicht nur fasziniert oder entsetzt festzustellen, sondern wirklich zu erklären.
Links
– Dorian Lyndskey: Beatlemania: 'the screamers' and other tales of fandom (Guardian, 29. September 2013)
Beatgeneration Tag
Die Beat Generation ist eine Richtung der US-amerikanischen Literatur nach dem Zweiten Weltkrieg. Viele ihrer wesentlichen Texte entstanden in den frühen 1950er Jahren, wurden aber erst im Oktober 1955 anlässlich einer Lesung in der Gallery Six in San Francisco bekannt.
Das Wort «Beatnik», das für die Mitglieder der Beatgeneration steht, wurde 1958 von San Francisco Chronicle Journalist Herb Caen in Umlauf gebracht.
San Francisco als Beat Hauptstadt
San Francisco wurde zur Hauptstadt der Beatgeneration, nachdem Madeline Gleason das erste Poesie Festival der USA in einer kleinen Galerie an der Gough Street in San Francisco veranstaltete. Der Autorin waren performative Lesungen von Lyrik ein Anliegen. Kenneth Rexroth war der erste regelmässige Teilnehmer an diesem Festival, zu einer Zeit zu der die meisten Beat-Autoren noch in New York lebten. Rexroth war am 7. Oktober 1955 der MC des Festivals, an dem Michael McClure, Gary Snyder und Allen Ginsberg auftraten.
Am 3. Oktober 1957 gab es in San Francisco einen Prozess, der darüber entschied, ob Howl obszön sei. Der Richter entschied, dass nicht. Bis zum Zeitpunkt dieses Prozesses wurden Beat-Autoren, ihre Werke und Lesungen im «San Francisco Chronicle», einer der beiden grossen Zeitungen der Stadt, nicht erwähnt. Nach dem Prozess wurde wie wild über Beat Literatur geschrieben. Der City Lights Book Store, der 1953 von Lawrence Ferlinghetti und Peter D. Martin gegründete unabhängige Buchladen wurde ein Anziehungspunkt San Franciscos. Überhaupt wechselte die Stadt zu dieser Zeit ihr Gesicht: ein konservatives Pflaster wurde in diesen Jahren zu einem Zentrum für Jazz (Dave Brubeck) und Politischer Komödie (Lenny Bruce). Diese innovativen Szenen waren alle in North Beach angesiedelt.
Autoren
Zu den prominentesten und wichtigsten Beat-Autoren zählen Jack Kerouac, Allen Ginsberg und William S. Burroughs.
Netzwerk
Wirkung
Als Bewegung waren die Beatniks ein recht kurzlebiges Phänomen. Einige ihrer Werke sind aber mittlerweile kanonisch geworden. Ausserdem waren die Beats wichtige Anwälte und Förderer der Hippies und der Gegenkultur, die fast zehn Jahre nach ihnen die Stadt San Francisco bevölkerten.
Quelle: Steven Watson: Die Beat Generation: Visionäre, Rebellen und Hipster, 1944-1960. Hannibal, 1997
Querverweise
– Beatnik
Quellen
– Levi Asher: The Beat Generation (25. Juli 1994, Literary Kicks Blog)
– Bruno von Lutz: Gegen den Albtraum hilft die Poesie: Der amerikanische Beat-Poet Lawrence Ferlinghetti ist 101-jährig in San Francisco gestorben (NZZ, 23. Februar 2021)
Beat-Revue Tag
Ein mittlerweile weitgehend ausgestorbenes Konzert-Format, das in der Zeit von Rock 'n' Roll und Beat üblich war.
Eine Revue war ganz ursprünglich eine Nummernshow im Vaudeville Theater, im Cabaret oder Zirkus, eine Aneinanderreihung von Einzeldarbietungen.
In der Epoche von Rock ‘n’ Roll und Beat wurden Tourneen oft als Beat-Revue veranstaltet, in denen eine ganze Reihe von Interpreten auftraten. Durchschnittlich spielten die Bands nur 20–30 Minuten lang. Auch die Headliner. Wenn man sich die durchschnittliche Setlist eines Beatles-Konzerts im Jahr 1966 anschaut, dem letzten in dem die Gruppe tourte, dann sieht man, dass ein Konzert aus elf Stücken bestand. Ein Beatles Stück dauerte damals zwischen 2 und 3 Minuten, d.h.ein solches Konzert war nach 20–25 Minuten vorbei.
Rock-Konzerte, wie wir sie heute kennen, sind erst zwischen 1967 und 1972 schrittweise erfunden worden. Ab ca. 1972 war der neue Standard etabliert; von nun an spielten Bands auf grossen Theaterbühnen Konzerte von etwa doppelter LP-Länge, also anderthalb Stunden – plus, minus. Eine Vorband heizt die Stimmung mit einem kurzen Set von 30 Minuten an.
Die Kurze Spielzeit der Headliner im Rahmen von Beat-Revues war auf dem europäischen Kontinent zunehmend ein Anlass für Tumulte aus Frust bei den Fans: Diese gingen mit ihren grössten Erwartungen an ein Konzert der Rolling Stones oder Jimi Hendrix und der Zauber war nach 20 Minuten vorbei. Man kann allerdings feststellen, dass in der Übergangszeit von Beat-Revue und Rock-Konzert (d.i. in den Jahren zwischen 1967 und 1972) die Auftritte der Headliner in Revues länger und länger werden. So spielten die Who oder Hendrix in Woodstock bereits längere Sets.
Beispiele von Beat-Revues
– die 1959 Winter Dance Party Tour mit Buddy Holly And The Crickets, Big Bopper, Ritchie Valens und Dion And The Belmonts, wo in der Nacht auf den 3. Februar der Flieger mit drei der Protagonisten abgestürzt ist, was als The Day The Musik Died in die Geschichte eingegangen ist
– die Motortown Revue, einer Revue mit Motown Interpreten. Motown war das erfolgreiche Label von Berry Gordy aus Detroit, das Diana Ross, Marvin Gaye, Stevie Wonder, Smokey Robinson hervorgebracht hat.
– die T.A.M.I. Show – eine TV-Show im Format der Beat Revue
– das Monsterkonzert am 30./31. Mai 1968 in Zürich – hier spielte Headliner Jimi Hendrix Experience bereits 40–45 Minuten
– die Total Package Tour von 2017 mit New Kids on the Block, Boyz II Men and American singer Paula Abdul: Dieses Beispiel zeigt, dass das Format auch heute wieder als Option wahrgenommen wird.
BBC Tag
Die British Broadcasting Corporation (BBC) wurde om Oktober 1922 gegründet und ist damit die älteste nationale Rundfunkanstalt überhaupt.
Anfangs schaute Grossbritannien fasziniert nach Amerika und war gewillt, den Rundfunk nach diesem privatwirtschaftlichen Modell zu organisieren. 1922 kippte die Ansicht, da zunehmend Wildwuchs wahrgenommen wurde. Bemängelt wurde die Führung und Organisation, qulitative Mängel im Programminhalt und die schlechte Verteilung der Sender über das Land.
Die anfangs privatwirtschaftliche BBC wurde 1927 in eine öffentlichrechtliche Anstalt umgewandelt. Ihr Auftrag wurde mit dem Schlagwort «Public Service» umschrieben. Das Zielpublikum sollte statt einem Kaufersegment ein mündiger Bürger sein. Ein Radio hatte als «Public Service» eine sozialpolitische Funktion zu erfüllen.
Die schweizerische SRG wurde sehr stark an die britische BBC angelehnt.
Bürgertum Tag
Vieldeutiger Begriff:
– eine soziale Klasse (vergleiche Mittelschicht)
– als das hohe Bürgertum der Feind des Marxismus, die Klasse der Besitzenden, die die Arbeiterklasse ausbeutet
– die herrschende politische Gruppe in der bürgerlichen Gesellschaft, die historisch anstelle der früheren Feudalherren regiert und gesellschaftlich bestimmend wird
– die historisch älteren Bürger, Familien, die in Städten leben und mit Privilegien ausgestattet waren, vor allem Ämter zu bekleiden und Gewerbe zu treiben
Diese Formen des Bürgertums sind zum Teil durch soziologische Differenzierung oder historischer Entwicklung auseinander hervorgegangen. Als gesellschaftliche Gruppe oder Klasse zeichnet sich das Bürgertum durch handlungsleitende Wertorientierungen aus, die kulturellen Artefakten abgelesen oder mentalitätsgeschichtlich untersucht werden können.
Städtisches Bürgertum im Feudalstaat
Bis zum 18. Jahrhundert verstand man unter «Bürger» einen Bewohner der Stadt, der politisches Mitspracherecht hatte, ein wirtschaftlich selbständiges Gewerbe betrieb. Die gesellschaftliche Position eines Bürgers war mit gewissen politischen und wirtschaftlichen Freiheiten verbunden. Von daher kommt der alte Spruch: «Stadtluft macht frei».
Bürgertum als aufstrebender Stand
Im Anschluss und im Ausgang an die Aufklärung bildete sich ein gesellschaftlicher Typus heraus, der ansetzte die Gesellschaft zu übernehmen, umzuorganisieren und zu leiten. Dieser Bürger hatte eine bestimmte Mentalität (die man «bürgerlich» nennt und was natürlich keine Erklärung ist). Er lebte auf eine bestimmte Art und vertrat bestimmte Werte. Dazu gehörte, sich als frei zu empfinden, wirtschaftlich selbständig zu sein und noch besser ein Unternehmer zu sein, der Manufakturen, Fabriken, Firmen gründet, die moderne Technologie verwendet und verwertet. Diese bürgerliche Mentalität setzte Literatur, Kunst und Musik (den «Geist») an die Spitze eines Bildungsideals. Das Selbstverständnis wertete den Begriff des Subjekts um. Fürher war ein Subjekt etwas unterworfenes (das war der Wortsinn), nun war das Subjekt die Trägerin von Freiheit und Autonomie. Das bürgerliche Subjekt konnte sich selbst aktualisieren.
Innerhalb dieser Art von Bürgertum gab es durchaus verschiedene Ausprägungen: ein Besitzbürgertum, deren Vertreter Grund und Kapital besassen, ein Wirtschaftsbürgertum, deren Vertreter Fabrikherren, Handelsunternehmer oder Gewerbetreibende waren, schliesslich ein Bildungsbürgertum, deren Vertreter freie akademische oder künstlerische Berufe ausübten und entsprechende Stellen besetzten: Ärzte, Advokaten, Richter, Professoren und Beamte (siehe: Historisches Lexikon der Schweiz, Albert Tanner, 1995).
Diese Art Bürgertum machte nur 5–15 % der Gesamtbevölkerung aus (adlig waren weniger als 0,5 %). Aber dieses Gesellschaftssegment wurde in Westeuropa im Verlauf des 19. Jahrhunderts politisch und wirtschaftlich führend. Sie machten den Adligen ihre Position streitig und übernahmen die gesellschaftliche Verantwortung. Diese Entwicklung muss natürlich immer im Kontext der jeweiligen Nationalgeschichte betrachtet werden. Deutschland zum Beispiel hinkte gegenüber Frankreich und Grossbritannien hinterher. Vielleicht stilisierte das Land sich deshalb als Heimat von Dichtern und Denkern, weil die Vertreter der bürgerlichen Mentalität der Weg von der Selbstverständigung zur Etablierung als herrschende Macht versperrt war.
Diese kleine Elite konnte die demokratische Mehrheit nur mit Hilfe anderer Stände erlangen und erhalten. Der Adel war weiterhin in Schlüsselstellen zu finden – er wurde verbürgerlicht. Dabei blieb das Verhältnis von altem und neuem Geld, von alter und neuer Macht durchaus schwierig und ambivalent.
Die bürgerlichen Werte waren Fleiss, Tüchtigkeit, Bejahung des Leistungsprinzips, positive Einstellung zum gesellschaftlichen Fortschritt. Der Bürger glaubte an die Bildung als persönliche Ressource auf dem Weg der Berufskarriere und des Lebens überhaupt. Im Zeitalter Napoleons gab es Bildungsreformen, deren philosophisches Fundament von Pädagogen wie Johann Heinrich Pestalozzi oder Wilhelm von Humboldt ausgingen. Bildung wurde gesellschaftlich institutionalisiert, aber auch durch individuelle Anstrengung (autodidaktisch) erlangt. Bildung wurde zur Voraussetzung für das Bekleiden von Ämtern und leitenden Positionen. Durch die Institutionalisierung der Bildung im bürgerlichen Schulsystem wurde die Schule eine Art Rekrutierungssystem für gesellschaftlich leitende Berufe und Funktionen sowie für freie Berufe. Dagegen zielte das Bildungsideal nach Pestalozzi eher auf breite Volksbildung und das von Humboldt auf die Kombination von Autodidaktik und Herausbildung von Eliten.
Links
– Historisches Lexikon der Schweiz: Bürgertum (9. Oktober 2006).g
Bass Tag
Der Bass sorgt im Ensemble einer Band oder eines Orchesters für die tiefen Töne. Das Bassspiel ist harmonisch an die Komposition gebunden, ist zum Teil aber so melodisch, dass die «bassline», also die Melodie des Basses völlig eigenständg ist.
Die meisten Musikhörer*innen können relativ schnell eine Hauptmelodie nachsingen. Die Bassmelodie hingegen, nehmen viele nicht einmal wahr. Das kann zu bassem (sic!) Erstaunen führen, wenn man die isolierten Tracks eines Songs zum ersten Mal hört.
Das Bassspiel in der Populären Musik der 1960er Jahre am Beispiel der Beatles
Kevin Moore unterscheidet in The Beatles By Ear vier Arten des Basspiels bei den Beatles und in der Musik zur Zeit der Beatles (die Wirkungen sind meine Ergänzungen):
- Bassmelodien aus den Grundnoten der Akkorde. Beispiel: A Hard Day's Night. Wirkung: Der Bass ist ein blosses Anhängsel der Rhythmusgitarre, das für Volumen in den Tiefen sorgt.
- Bassmelodien aus den Grundnoten und weiteren Noten der Akkorde. Beispiel: Love Me Do. Wirkung: Das klingt wie in der Countrymusic, wo dieses Verfahren weitverbreitet war. Sehr simpel.
- Der Bass spielt ausser den Grundnoten weitere Töne, die Überleitungen zwischen den Harmonien schaffen. Beispiel: Everybody's Tring To Be My Baby. Wirkung: Eine Art Kitt für den Song aus der Tiefe.
- Walking Bass: Der BAss spielt eine Figur und geht mit der Harmoinie mit. Wirkung: Hebt den Rhythmus hervor, macht den Song tanzbar.
Querverweise
– Bassriff
– Bass-Intro
Quellen
– Dave's Music Database: The Top 100 Bassists of All Time (Dave Whitaker, 25. Januar 2021)
Bandformation Tag
«ein Konglomerat aus Ehrgeiz, Geldgeilheit, Ruhm- und Vergnügungssucht» – Greil Marcus
Eine Band ist eine musikalische Formation. Es gibt grosse und kleine Formationen. Die grossen heissen Orchester, die kleinen heissen einfach «Band». Eine Band besteht aus drei bis - sagen wir mal - weniger als zehn Mitgliedern. Im Jazz hat man meist noch die genaue Zahl der Musiker*innen angegeben. Formationen hiessen Miles Davis Quintet, auch heute noch Vijay Iyer Trio. In der Rockmusik hatten Bands dann Namen wie The Beatles (benannt in Anlehnung an einen Musikstil), The Rolling Stones (benannt nach einem Blues Song) oder The Who (benannt nach der Rückfrage, die jemand stellt, wenn er oder sie den Bandnamen nicht verstanden hat).
Bands bestehen oft aus grossen Individualisten mit Ambition, Ehrgeiz, Profilierungssucht. Charaktere. Wenn solche Leute in Trios, Quartetten oder Quintetten zusammenkommen, dann entsteht ein grösseres Ganzes, ein Gefüge, in dem jede und jeder über sich hinauswachsen kann, aber auch seinen Platz einnehmen muss, was zu Konflikten mit der eigenen Persönlichkeit führt. Im Jazz wechselten und wechseln Formationen häufiger als im Rock. So war und ist es die Rockmusik, die mit zahlreichen Geschichten um Probleme und Konflikte in Bands aufwarten kann, die in der Regel früher oder später zu Trennungen führen. Gruppen, die wie die Rolling Stones lange zusammen bleiben, halten an ihrem Erfolg fest und die Mitglieder wissen, dass sie allein nicht annähernd den selben Erfolg haben können wie als Band.
Entstehen von Bands
Eine Band ist fast immer das Ergebnis enormer sozialer Austauschprozesse aus mehr oder weniger kalkulierten Zusammenschlüssen, Neugründungen, Konflikten, Frustrationen, Rauswürfen, Scheidungskriegen. Ein paar Unglückliche wie Pete Best, Ian Stewart oder Syd Barrett bleiben auf der Strecke. Manchmal werden aus ihnen Sessionplayer, Roadies oder andere Helfer*innen. Manchmal bleiben sie zuhause oder gehen zurück in einen 9-to-5-job. Der ganze Tanz, der um die Konstitution einer Band aufgeführt wird, die unglücklichen Trennungen und glücklichen Fügungen dienen am Ende alle dem kleinen Wunder, dass ein paar wenige Personen eine Zeit lang erfolgreich miteinander musizieren und als eine Band wahrgenommen werden.
Bands heute
In der heutigen digitalen Musikwirtschaft spielen Bands eine untergeordnete Rolle. Es gibt sie freilich noch, aber die Notwendigkeit, sich mit anderen zu einem grösseren Ganzen zusammen zu tun, besteht nicht länger. Musik kann produziert werden ohne ein Instrument, ohne eine Musiker*in. Wesentlich bleiben Songwriting- und Produktions-Skills. Damit sind die Konflikte, die individuellen Opfer, die mit Bandformationen kommen, weitestgehend ausgeschaltet. Das ist bequem. Vielleicht aber hört man der Gegenwartsmusik ihre weitgehde Absenz von persönlichen Konflikten an. Ohne die heftigen Auseinandersetzungen über musikalische Entscheidungen, darüber, wie ein Song gespielt und produziert werden soll, fehlt ihr das Drama. Alben wie Rumours oder Tusk, bei deren Produktion alle Bandmitglieder in das Ende zweier Beziehungen involviert waren und das persönliche Drama mit ihrer Musik sublimieren mussten, entstehen in unserer Zeit jedenfalls nicht mehr.
Bandcamp Tag
Bandcamp ist ein Online-Musikdienst, der von vielen Lo-Fi- und Untergrund-Musiker/-innen dazu benutzt wird, ihre Musik bekannt zu machen oder erste Produkte wie Selbst vertriebene LPs, Kassetten oder Files zu verkaufen. Neben Soundcloud dürfte Bandcamp die wichtigste Plattform zur Promotion unabhängiger Künstler/-innen und Bands sein.
Seit dem März 2020 und der Corona-Krise startete die Plattform die Bandcamp-Freitage, an denen die Plattform auf die Provision der verkauften Alben verzichtet, um die Künstler/-innen, die nicht mehr auftreten können, finanziell zu unterstützen. 20 Millionen Dollar sollen so direkt bei Künstlern und ihren Labels gelandet sein.
Babyboomer Tag
Die Hippie- oder die Babyboomer-Generation war zahlenmässig mächtig. Ihre Vertrreterinnen und Vertreter wurden von den frühen 40er Jahren an bis in die frühen 60er Jahre geboren. Die Generation folgte auf die Stille Generation.
Die Charakteristik der Hippie-Generation ist kulturell und politisch sehr umstritten. Viele ihrer Vertreterinnen und Vertreter protestierten gegen die Hinterlassenschaften ihrer Elterngeneration: den Vietnamkrieg, die Konsumwelt. Es war die erste Generation in Europa und Nordamerika, die in bisher unerreichtem Wohlstand und relativem Frieden aufgewachsen ist. Allerdings war der Frieden insofern fragwürdig, als eine ständige Bedrohung durch einen atomaren Krieg herrschte und sich Amerika in den Vietnam-Krieg verwickelt hat und junge Männer dafür einzog (Draft und Anti-Draft-Bewegung). Die Akteure dieser Generation protestierte lautstark gegen die Schwachstellen der Wohlstandsgesellschaft. Die Proteste begannen an der Westküste der USA (in San Francisco und dann in Los Angeles) und breiteten sich zu einem transnationalen Phänomen aus. Protestiert und demonstriert wurde bald in vielen grösseren Städten der USA, in Mexico City, in London, Paris, Berlin, Prag oder Mailand. Angetrieben war die Unzufriedenheit von utopischen Vorstellungen eines friedlichen und nicht von «oben» organisierten Zusammenlebens aller Menschen. 1968 kam es an vielen der genannten Orte zu Zusammenstössen zwischen denen, die Protestiert haben und den gesellschaftlichen Ordnungskräften (Polizei und Militär). Die Bewegungen konnten gegen diese staatliche Übermacht nichts ausrichten und implodierten danach in verschiedene lokale Aktionen und Alternativen: Ökologie-, Anti-Atomkraft-, Friedens-, Frauen-Bewegung waren einige der wichtigen davon.
Grosse Teile der Generation standen Welt ihrer Väter und Mütter kritisch gegenüber, glaubten aber, dass die Gesellschaft sich weiterentwickeln und die Verhältnisse sich weiter verbessern würden. Freilich sah sie sich nicht dem selben Kurs der gesellschaftlichen Entwicklung verpflichtet wie die Genration zuvor. Trotz der kritischen Haltung zum Konsum hat sich dieser weiter vergrössert.
Heute beherrschen die Babyboomer die Wirtschaft und Politik. Sie sind eine privilegierte und die reichste Alterskohorte. Im UK sind ca. 20 % der Boomer Millionäre. In den USA besitzen sie 70 % des Vermögens, in Frankreich 60 %. Das Social Media Werkzeug ihrer Wahl ist Facebook.
Begriffsalternativen
Für die Kohorte der zwischen 1954 und 1965 geborenen wird auch der Begriff «Generation Jones» verwendet. Diese Kohorte steht zwischen den Hippies und der Generation X, die auf die Boomer folgten.
Querverweise
– Hippie
– Gegenkultur.
Links
– David Hoffman: Youtube-Kanal – Hoffman hat hunderte von Dokumentarfilmen produziert, in denen er Leute erzählen lässt, wie das Leben in den 50er und 60er Jahren war.
Ölpreiskrise Tag
Der Ölpreisschock war die erste weltweite ökonomische Krise seit der Weltwirtschaftskrise in den 1930er Jahren. Der wichtigste Auslöser war der vierte Nahostkrieg, der Jom-Kippur- bzw. der Ramadan-Krieg (6.–25. Oktober 1973), in dem Ägypten und Syrien Israel angriffen, um den besetzten Sinai und die Golanhöhen zurück zu erobern. Die erdölfördernden arabischen Länder unterstützen diese Intervention mit einem Öl-Embargo, das mehr ein Slogan und ein Programm war als eine kohärente Strategie: Saudi Arabien lieferte weiter die gleiche Menge Öl an die USA! Auf diese Weise setzten die Herrscher im Nahen Osten ein Zeichen für Palestina. Das Embargo zeigte, dass die westliche Ökonomie ganz wesentlich auf dem billigen Erdöl aus dem Nahen Osten (und anderen Ländern) beruhte und dass schon die Gefahr eines Preisanstiegs, die Wirtschaft beträchtlich destabilisieren konnte. Der Ölpreis stieg um verheerende 70 %. Über Nacht stürzte die westliche Wirtschaft in eine alptraumhafte Stagflation (das ist eine Kombination aus Rezession und Inflation). Ölpreiskrise und Stagflation setzten dem Wirtschaftswunder, dem «Boom» des Westens nach dem Zweiten Weltkrieg ein jähes Ende.
Zweite Krise 1979
1979, im Jahr der iranischen Revolution, kam es erneut zu einem drastischen Preisanstieg des Öls. Der Iran förderte mengen- und konsistetmässig weniger Öl. Es ging um nur 4 % der weltweiten Ölförderung, was damals wiederum genug war, eine Panik auszulösen.
Links
– Judith Berthold: Vor 40 Jahren: Der Jom-Kippur-Krieg im Nahen Osten (Zeitgeschichte Online, 1. Oktober 2013)
Öffentlichkeit Tag
Öffentlichkeit heisst der Bereich des gesellschaftlichen Lebens, in dem ein Diskurs über Themen, die alle angehen oder die Gesellschaft bewegen, geführt wird. Öffentlichkeit besteht aus physischen oder medialen Orten: Versammlungsorte, Debatierräume und Medien, in denen Meinungen dargestellt und verhandelt werden. Traditionellerweise waren solche Orte nur restriktiv zugänglich und durch die Herrschaft dominiert. Man musste zur Elite gehören, man musste sich qualifiziert haben, um sprechen zu dürfen. Öffentlichkeit als Gegenmodell zu dieser traditionellen Organisationsform ist mit der bürgerlichen Gesellschaft als eine der grundsätzlichen und gesetzlich verankerten Freiheiten aufgekommen. Öffentlichkeit hat sich mit dem Aufkommen und der Etablierung der bürgerlichen Gesellschaftsordnungen verankert. Sie ist die regulative Idee im Sinne von Immanuel Kant, dass der öffentliche Raum im Idealfall für alle ohne Hindernisse zugänglichein ist und bleibt. Dies ist ein Ideal, das als Erungenschaft stets gesichert und an dem man weiterarbeiten soll.
Bedeutungsdimensionen des Öffentlichkeits-Begriffs
Bernhard Schäfers unterscheidet fünf Bedeutungsdimensionen von «Öffentlichkeit»: 1) freier Zugang zu Versammlungen und Örtlichkeiten, 2) Publizität als Voraussetzung zur Transparenz in politischen Angelegenheiten, 3) das Publikum als versammeltes, angesprochenes, interessiertes, 4) eine im Zeitalter der Aufklärung etablierte Methode der Freiheitssicherung der Bürger und 5) die politische Öffentlichkeit als Strukturprinzip moderner Demokratien, das der Kontrolle von Herrschaft dient (Jürgen Habermas).
Öffentlichkeit im Existentialismus
Karl Jaspers nannte den «Sprung in den öffentlichen Raum», «das Wagnis der Öffentlichkeit» eine Grundbedingung, damit sich das Individuum einer Auseinandersetzung stellen könne. Bei Hannah Arendt sagte in der Festrede zur Verleihung des Friedenspreises an Karl Jaspers
: «Gewonnen wird die Humanität nie in der Einsamkeit [...]. Nur wer sein Leben und seine Person mit in das Wagnis der Öffentlichkeit nimmt, kann sie erreichen.»
Öffentlichkeit als Stimmengewirr
Manchmal wird ein sich wandelndes Stimmungsbild in der Gesellschaft wahrgenommen, eine allmähliche «Verschiebung des Diskurses nach rechts». Falls mit dieser Formulierung gemeint sein sollte, dass es EINEN Diskurs in der Öffentlichkeit gibt, ist das ein falsches Verständnis. Habermas' Universalanspruch einer diskursiven Vernunft geht manchmal in Richtung Hypostasierung des Diskurses. Man muss sich stets klar machen: Die Öffentlichkeit ist genuin ein Stimmengewirr – sie ist wesentlich nicht entweder links oder rechts. Wo sie auf diese Weise einseitig wäre, würde sie nicht mehr existieren.
Querverweis
– Tag: Gegenöffentlichkeit
Quellen
– Bernhard Schäfers: «Öffentlichkeit», in: Grundbegriffe der Soziologie. 5. Auflage, UTB 1416, Leske + Budrich, Opladen.
übermässiger Dreiklang Tag
Ein übermässiger Dreiklang ist eine Triade mit je zwei ganzen Noten Abstand. Die Akkorde wrden mit einem Plus-Zeichen geschrieben, also G+, A+ etc., oder mit «aug», also Gaug.
Der Akkord wirkt seltsam, unaufgelöst, angsteinflössend.
In der Populären Musik begegnet man dem Akkord zwar selten, aber meist in der Rockmusik – zum Beispiel bei den Beatles, bei Chuck Berry: School Day, Aaron Neville: Tell It Like It Is, Gene Pitney: Town Without Pity, Beach Boys: «The Warmth of the Sun», Joe Cocker: «Delta Lady», Caravelles: «You Don't Have to Be a Baby to Cry», Dave Clark Five: Glad All Over, Martha and the Vandellas: Dancing in the Street, Guy Lombardo: Seems Like Old Times.
Voice Leading
Übermässige Dreiklänge werden in einer dreiteiligen Harmoniefolge oft dazu verwendet, den obersten Ton der Triade chomatisch nach unten (All my Loving) oder oben ((Just Like) Starting Over) wandern zu lassen: «I – I+ – IV». Dies kann man hören in It's My Party (I – I+ – IV – iv), There's a Kind of Hush oder Crying (Abstieg der Noten 6 – ♭6 – 5).
Wie viele übermässige Dreiklänge gibt es?
Da die Töne des übermässigen Dreiklangs genau in die Oktave passen gibt es gewissermassen nur vier solche Akkorde (C - E - G# ist gleich wie E - G# – C ist gleich wie G# – C – E), wobei «ist gleich» heisst: «besteht aus den selben Tönen». Es kommt bei der Bezeichnung des Akkords allerdings drauf an, welches der Grundton ist (C+, E+ und G#+).
Quellen
– Signals Music Studio: The Bizarre World of Augmented Chords (10. August 2020)
Avantgarde Tag
Avantgarde bezeichnet als Sammelbegriff verschiedene Kunst-Bewegungen des 20. Jahrhunderts, die zunächst abseits vom akademischen Betrieb (Akademien, Museen, Kunsthandel) stattfanden. Avantgardistische Künstler*innen machten Kunst, die gesellschaftskritisch, polemisch, agitatorisch und politisch war. Avantgardistische Kunst zielte auf den Alltag. Ihre Vertreter*innen waren aktiv in oder sympatisierten mit anarchistischen oder kommunistischen Gruppierungen. Insofern war die Avantgarde ein Angriff auf die bürgerliche Vorstellung einer absoluten oder autonomen Kunst.
Eingrenzung und Abgrenzung
Teilweise werden eine Unmenge von Kunstrichtungen (Schulen) zur Avantgarde gezählt. Aber nicht alles was in der Moderne sowie der Postmoderne neu und innovativ war, war auch avantgardistisch (sonst verwässert das den Begriff). Unbestritten zur Avantgarde gehören Futurismus, Dada, Surrealismus, Lettrismus, Situationismus und Fluxus. Die unbestrittenen avantgardistischen Bewegungen waren stets eine Kritik am herrschenden Status Quo. Dada und Surrealismus, wurden von Peter Bürger als «historische Avantgarde» bezeichnet. Diskutieren kann man, ob die funktionale Phase am Bauhaus avantgardistisch war. Der Funktionalismus ist nicht Avantgardistisch, aber vielleicht der sozialreformerische Impetus, mit dem funktionale Entwürfe in Architektur und Design umgesetzt wurden. Ebenso in Frage steht, ob der russische Konstruktivismus eine Avantgarde war. Da er mit einem politischen Programm aufgeladen war, könnte er es sein, da dieses Programm die offizielle Staatsraison der SU war, macht ihn zu Agitprop. Eine interessante Frage ist ausserdem, ob die Outsider-Kunst eine Avantgarde war oder ist. Sie kommt von Positionen ausserhalb von allem, was etabliert ist, doch die Frage lautet, ob sie so kämpferisch waren/seien, wie die Avantgarden es waren. Outsider Kunst wird meistens von Aussenseiter/-innen ohne soziale Anbindung gemacht. Von Bewegung kann man hier nicht sprechen. Programmatisch ist die Outsiderkunst auch nicht.
Avantgarde und Subkultur
Das Verhältnis von Avantgarden und Subkulturen arbeitete David Hopkins heraus (A Companion to Dada and Surrealism, S. 14 ff.): Wie Subkulturen hätten Avantgarden ihre Regeln und Werte gehabt, mittels derer die Zugehörigkeit geregelt wurde. Subkulturen seien ein spezifisches Phänomen der Unterklasse. Avantgarden hingegen eines der Mittelklasse. Noch etwas anders abgegrenzt: Avantgarden entstanden in der Abgrenzung von der bürgerlichen Kunst, Subkulturen waren und sind eine Abkehr von der Populären Kunst. Dabei haben sich die historisch späteren Subkulturen oft und gerne bei den Avantgarden bedient. Ein Beispiel wäre etwa Pete Townsend, der als Mod das Konzept der autodestruktiven Kunst seines Art School Lehrers Gustav Metzger übernommen hat.
Begriff
Der Begriff wurde zum ersten Mal 1825 von Olinde Rodrigues in einem Essay mit dem Titel L'artiste, le savant et l'industriel
gebraucht.
«Avantgardistisch» ist wie «experimentell» (siehe Eintrag) ein überstrapazierter Begriff bei der Beschreibung von Musik. Avantgardistisch ist eine Musik, wenn sie sich auf die ästhetischen Strategien beruft, die die Avantgarden des 20. Jahrhunderts geschaffen oder praktiziert haben. Surrealismus, Futurismus, Situationismus, Dada usw. Revolution 9 von den Beatles könnte ein Beispiel für avantgardistische Musik sein.
Avantgarde in der Kunst
Künstlerische Avantgarden waren lokal agierende, oft international miteinander im Kontakt stehende radikale Gruppen und Gemeinschaften von Künstler*innen, die den etablierten Kunstbetrieb ablehnten und an dessen Stelle eine radikale, innovative, provozierende und auf jeden Fall unorthodoxe Kunst stellten. Viele dieser Gruppen und Bewegungen waren politisiert. Ihre Vertreter*innen liessen sich von radikalen politischen Ideen anregen und standen teilweise im Kontakt mit Vertreter*innen radikaler politischen Ideen des 20. Jahrhunderts: Kommunismus, Sozialismus, Faschismus, Anarchismus. Avantgarden stellten das überkommende Kunstverständnis in Frage: Kunst sollte nicht vor allem schön sein und gefallen, sondern sollte herausfordern, aufrütteln, Alternativen aufzeigen. Damit rüttelten die Avantgarden auch an den überkommenen Verhältnissen zwischen Künstler*in und Gesellschaft bzw. zwischen Künstler*in und Kunstkonsument*in.
Man kann die Avantgarden als Motor der modernen Kunst verstehen: Anfangs waren die Vertreter/-innen der Avantgarde nicht sonderlich erfolgreich, galten als unakzeptabel, was sich aber nach einiger Zeit änderte: dann wurden die Werke begehrt und kamen in die Museen. Aus heutiger Perspektive lassen sich wesentliche Kapitel der Kunstgeschichte des 20. Jahrhunderts bis zum 2. Weltkrieg als die Folge verschiedener Avantgarden darstellen: Futurismus und Konstruktivismus vor, Dadaismus während, Surrealismus nach dem ersten Weltkrieg. Lettrismus nach dem zweiten Weltkrieg, Situationismus (1957–1972).
Merkmal-Katalog zur Sach- und Begriffsbestimmung
Diana Crane hat die Avantgarde als Kunst bestimmt, die
a) Konventionen in der Kunst neu definiert
b) neue Werkzeuge oder Techniken verwendet, oder die
c) Natur des Kunstwerks umdefiniert,
d) wenn das Kunstwerk vom Mainstream abweichende Werte vertritt,
e) wenn das Werk die Abgrenzung zwischen Hoch- und Populärkultur neu definiert (für Crane gehört die Popart zu den Avantgarden),
f) wenn Künstler/-innen eine kritische Haltung gegenüber etablierten Kunstinstitutionen an den Tag legen,
g) wenn die Kunst diecProduktion, die Ausstellung oder die Distribution revolutioniert
h) oder wenn das Kunstwerk die Rolle der Künstler/-innen verändert bzw. den Grad, wie sehr Künstler/-innen an anderen sozialen Institutionen teilhaben.
Quellen
– Diana Crane: The Transformation of the Avant Garde: the New York Art World. University of Chicago, 1987.
– Wikipedia: Relationship between avant-garde art and American pop culture
Autorschaft Tag
Autorschaft an einem Werk haben eine oder mehrere Personen, die ein sprachliches Werk geschaffen haben. Juristisch verbindet sich mit der Autorschaft ein «geistiges Eigentum» am Werk bzw. eine Urheberschaft. Autorschaft wurde im Lauf der Geschichte auf andere mediale Werke ausgedehnt, auf Musik, Bilderbücher, Fotoromane, Comix. Wichtig ist im juristischen Zusammenhang der Begriff der Schöpfungshöhe.
Schöpfungshöhe: Komposition – Bearbeitung – Arrangement
Nicht jede kreative oder produktive Arbeit an Text- und Bild-Werken wird als geistige Schöpfung anerkannt. Juristisch gelten folglich nur die Tätigkeiten an einem Werk als Schöpfung, die die Schöpfungshöhe erreichen. Das Songwriting, d.i. das Verfassen von Musik und zugehörigem Text (typischerweise Musiker*in und Lyriker*in, manchmal auch in Personalunion und manchmal in er Mehrzahl) gilt als Autorschaft. Das Übersetzen eines Texts (z.B. Songtexts) in eine andere Sprache gilt als Bearbeitung. Das Instrumentieren, Arrangieren einer Komposition gilt als Arrangement. Die Schöpfungshöhe erreichen nur die ersten beiden Tätigkeiten, nicht das Arrangement. So sind Studiomusiker, Arrangeure, die für Orchester arbeiten, keine Autoren.
Kulturgeschichte des Autors
Vermutlich waren es die alten Griechen, die Autorschaft als erste als individuelle Leistung dachten. Diese Idee nahm die Renaissance später wieder auf. Etwas Neues wird nicht von Gott in die Welt gesetzt, nicht von der Tradition oder den Vorfahren übernommen, auch nicht in Gemeinschaften erzeugt, sondern von einem Individuum geschaffen.
Bei den Römern und im Mittelalter war Autorschaft mit anerkannter Autorität (lat. auctoritas – daher die Worherkunft) verbunden. Der Autorschaft waren Verfasser also nur fähig, die bereits erfolgreich und bekannt (Ansehen) waren. Dieses Verständnis von Autorität wird in der Musikkritik zuweilen noch verwendet, wenn man von einer Sängerin, einem Sänger oder von Instrumentalist*innen sagt, sie singen/spielen mit Autorität, was sagen will, dass sie absolute Meister*innen ihres Fachs sind und alle Rafinessen ihrer Kunst beherrschen.
In der Neuzeit wurden durch den Buchdruck viele kulturelle Felder, die zuvor mündlich tradiert waren, schriftlich. Bücher wurden nun gedruckt statt von Hand geschrieben. Das förderte ein neues Verständnis der Autorschaft, die weniger an die Autorität gebunden war. Auch Verfasser von Pamphleten galten nun als Autor. Sie verantworteten ihre Werke und konnten von Herrschaft und Kirche für die Ideen, die sie verbreiteten, zur Rechenschaft gezogen werden. Autorität waren nun Staat und Kirche, Autoren stellten sich zu ihnen auf – als Verteidiger oder Herausforderer. Der Buchdruck verhalf so den neuen Ideen von Reformation und Renaissance zum Durchbruch.
Mit der Genieästhetik der Aufklärung und Romantik wurde die Autorschaft zusätzlich aufgewertet. Sie galt als geniehafte Leistung eines autonomen Autors und die Werke als etwas, was vor Verfälschung geschützt werden musste. Erst Rechtstexte des 19. Jahrhunderts sprechen vom Autor als Urheber und verbinden mit ihm Rechte am Werk. Ältere Gesetze hatten statt die Autoren Verlage und Drucker zum Gegenstand. Dieser emphatische Autorbegriff ebnete den Weg zum modernen, bürgerlichen Verständnis von Autorschaft.
In der bürgerlichen Gesellschaft wird das Werk zu einem verwertbaren Besitz. Der Autor wird mit dem Recht ausgestattet, das Geschick seines Werks zu verwalten: Autorschaft entsteht mit dem Verfassen eines Werks, ohne dass es veröffentlicht und staatlich registriert wurde. Allein die Autor*in bestimmt, wie es veröffentlicht wird, und ist am Gewinn des Buchverkaufs beteiligt, weil ein Werk wie Kapital eine Rendite abwirft.
In der Postmoderne gerät der romantisch-idealisierte Autorbegriff zunehmend unter Kritik, während Urheberrechtsgesetze kaum darauf reagieren und – im Gegenteil – die Dauer der Geltung des Urheberrechts weiter verlängert wird. Kritik am emphatischen Autorbegriff übten Roland Barthes in «Der Tod des Autors» und Michel Foucault im Aufsatz «Was ist ein Autor?» (siehe Essential Works, Vol. 2).
Autor als Funktion
Betrachtet man Autorschaft funktional, zeigt sich, dass Arbeit an einem sprachlichen, bildhaften oder musikalischen Text immer ein Verhältnis zu herrschenden Konventionen ausbildet. Nur was von einer Textverfasser*in neu in die Welt gesetzt wird, kann als ihres oder seines betrachtet werden. Zum Beispiel ist dieser Text hier eine Zusammenfassung von Gelesenem und Verstandenem. Er zeichnet sich nur in gerigem Mass durch Novität aus. Die Art der Zusammenstellung ist möglicherweise einzigartig. Es ist wie ein musikalischer Mix, der Samples verwendet. Keine Komposition, eine Bearbeitung im besten, ein Arrangement im schlechteren Fall. Sein «Autor» veröffentlicht ihn unter einer «creative commons» Lizenz. Damit übt er ein Recht an seinem Text aus: Er bestimmt zum Beispiel, dass das geschriebene weiterverwendet werden darf, wenn es nicht in einem kommerziell verwerteten Text geschieht. Eine emphatische Autorschaft entsteht eigentlich erst, wenn einem Text eine gewisse quantitative und qualitative Arbeit voraus gegangen ist: längere Recherchen und Forschungsarbeiten, die zu Berichten und Sachbüchern, tatsächliche Erfindungen der Fantasie, die zu belletristischen Werken führen. Aber auch die Länge einer Arbeit, sagt nichts über ihre Qualität aus. Die Frage ist, wie sich Qualität und Schöpfungshöhe verbürgen lassen. Die beliebtesten Methoden in den Wissenschaften sind Peer-Review und die quanritativ ausgezählte Zitationsmenge. Wissenschaft untersteht einem Novitätsanspruch, der bei nicht-wissenschaftlichen Texten nicht gefordert ist. Trotzdem gelten die Verfasser dieser Texte vor dem Gesetz als Autoren. Würde bei Texten wie bei Patenten auf die Novität geachtet, wären die meisten Verfasser von Geschriebenem keine Autoren. Autorschaft ist so gesehen keine Funktion eines einzelnen Menschen, sondern ein Trade-off zwischen Textarbeiter*in, Verlag, gesellschaftlichen Institutionen, die Qualität verbürgen, und der Öffentlichkeit, die ein Anrecht auf Zugang zu Wissen, Information und Daten hat.
Querverweise
– Narratologie/Erzähltheorie, wo zwischen Autor und Erzähler unterschieden wird. Letzterer ist eine vom Erzähler geschaffene, d.i. fiktive Instanz.
– Work For Hire
Auto-Tune Tag
Software der Firma Antares Audio Technologies von Mathematiker und Musiker Andy Hildebrand, die 1997 auf den Markt kam und dazu bestimmt war, Stimmen zu korrigieren, die den Ton nicht ganz treffen. Seit Cher 1998 die Software in ihrem Song Believe
als Effektgerät verwendet hat, wurde sie im Hip-Hop, R'n'B und Electropop zum ubiquitären Vokaleffekt des beginnenden neuen Jahrtausends. Wenn man bei Auto-Tune den Parameter der Korrektur-Geschwindigkeit verstellt, dann beginnt eine Stimme im unteren Bereich, wo die Software verzögerungsfrei und sozusagen in Synchronisation mit der Stimme arbeitet, kristallin zu werden, so als würde sie sich in Glas verwandeln, das durch Eigenspannungen voller Brüche ist. Eine Auto-Tune Stimme ist eine überdeutlich erkennbare Cyborg-Stimme, sowohl organisch als auch artifiziell, eine Kollaboration von Mensch und Maschine, die im Lauf der Jahre nach Believe
in allen erdenklichen Variationen exploriert worden ist: Rapper hat Auto-Tune dazu gebracht, über Gefühle und Verletztheit zu singen, männliche Stimmen wurden zu weiblichen und vice versa.
Elektronische Klänge waren seit spätestens 1968 in der Popmusik zu hören, sie wollten aber nicht so recht in den hippiesken Zeitgeist der Authentizität des unmittelbaren (natürlichen) Ausdrucks passen. Die elektronische Soundgestaltung war in Rock und Pop der Musik untergeordnet. Deutschlands Kosmische Kuriere verblieben eine Kuriosität des kontinentalen Rock-Untergrunds. Vorurteilsloser näherten sich Produzenten von Clubmusik den Synthis und Vokal-Effekten. Vor allem in der Disco-Musik wurden Vocoder als Effekt der Gesangsstimme verwendet. Die Vocoder schafften es kaum je über den Statusdes Novelty-Gimmiks oder des comixartigen Futurismus hinaus. In der Rockmusik experimentierten einige Gitarristen mit der Talk Box (z.B. Peter Frampton). Die Talkbox war ein Effektgerät, mit dem man einer Gitarre das Singen beibringen konnte. Dann kamen die Harmonizer, die Stimmen ohne lächerliche Mickeymouse-Effekte transponieren konnten. Doch erst mit Auto-Tune kriegten Stimmen eine wirklich posthumane Qualität. Auto-Tune war der Liftboy im Aufzug ins neue Jahrtausend.
Authentizität Tag
Der Begriff «Authentizität» ist die Substantivierung des Adjektivs «authentisch», «echt». Echtheit in der Musik ist eine Kategorie der Folklore. Folkloristische Musik ist dann echt, wenn sie urwüchsig und unverfälscht ist, d.h von Musiker*innen gespielt wird, die mit der Musik aufgewachsen sind und die üblicherweise in einem lokalen Kontext für ein lokales Publikum spielen. In unserer globalen Welt ist indes jede Folklore in Gefahr, unter vielfältige exogene Einflüsse zu geraten und damit verfälscht zu werden. Vieles, was als «Folklore» bezeichnet und verkauft wird, ist eigentlich Populäre Musik, z.B. grosse Teile der schweizerischen Ländlermusik.
In der Kunstmusik wurden gewisse Kirchentonarten als authentisch bezeichnet, während die anderen, plagalen, als Ableitungen den authentischen untergeordnet werden.
Authentizität in der Populären Musik
Im Zusammenhang mit Populärer Musik hat «Authentizität» mindestens zwei Bedeutungen: zum einen kann sie auf Kunstwerke bezogen werden, zum anderen auf die Autoren von Kunstwerken. Im ersten Fall geht es mit dem Thema Authentizität um die Frage, was ein «authentisches Kunstwerk» sei: Hier wurden zum Beispiel ganze Gattungen als authentisch bezeichnet und andere Gattungen als nicht-authentisch. So galten fast während der zweiten Hälfte des 20. Jahrhunderts Blues- und Folk-Songs als authentische Musik, da sie als Musik den direkten Ausdruck der Lebensbedingungen eines Volkes oder einer gesellschaftlichen Gruppe verkörperten. Hingegen galt die Popmusik als künstlich gemacht. Ihr wurde jeder Anspruch auf Authentizität abgesprochen. So verstandene Authentizität hat demnach mit «Verwurzelung in einer Folklore» zu tun, mit einer Übereinstimmung von Lebensform und Form des Kunstwerks, mit einem Wahrheitsaspekt in der Kunst. Freilich werfen diese Konzeptionen viele Fragen auf, wie zum Beispiel diejenige, ob Pop nicht auch der authentische Ausdruck des modernen, urbanen und suburbanen Menschen sei, der in einer industrialisierten Warenwelt lebt.
Der zweite Authentizitätsbegriff hat mit der werktätigen Künstlerin oder dem werktätigen Künstler zu tun. Hier wird das Thema der Übereinstimmung von Lebensform und Kunstform auf Künstlerbiografien angewendet und es steht in Frage, in wie fern die Werke einer Interpretin oder eines Interpreten Züge des eigenen Lebens aufweisen.
Austin City Limits Tag
Langlebige TV-Musiksendung von Public Broadcasting Service (PBS) aus Austin. Die Show war in den 1970er Jahren das Aushängeschild für die örtliche Live-Musikszene («Live Music Capital of the World»). Sie wurde gestaltet und produziert von Bill Arhos, Bruce Scafe und Paul Bosner und wird seit 1974 ausgestrahlt.
Aufnahmetechnologie Tag
Tonaufnahme oder Tonaufzeichnung bezeichnet die Technologie zur Aufzeichnung und Wiedergabe von Schall. Die Technologie und die Geräte zur Schallaufzeichnung haben sich seit ihrer Erfindung im 19. Jahrhundert stark entwickelt. Mechanische wurden von elektrischen, magnetischen und schliesslich von digitalen Verfahren abgelöst.
Vorgeschichte: Klangfotografie
Jean Marie Constant Duhamel (1797–1872) hatte beim Experimentieren mit einem Bleistift, der an einer Stimmgabel befestigt war, entdeckt, dass die Vibrationen der Stimmgabel eine Wellenlinie beschreiben. Thomas Young (1773–1829) baute im Anschluss darauf 1807 seinen Kymographen (Wellenschreiber), der die Schallwellen auf eine russgeschwärzte rotierende Walze aufzeichnete.
Die nächste Weiterentwicklung kam von Édouard-Léon Scott de Martinville. Er baute einen Apparat, den er «Phonautograph» nannte. Ein Trichter sammelte und lenkte den Schall in Richtung einer Membran, an der eine Schweineborste befestigt war, die auf eine drehende russgeschwärzte Walze aufzeichnete. Von seinem Phonautographen besitzen wir die älteste erhaltene Tonaufzeichnung aus dem Jahr 1860.
Alle diese frühen Verfahren konnten Schall sichtbar machen, aber noch nicht wiedergeben. Aufnahme und Wiedergabe wurden erst durch den nächsten Schritt möglich, den Edison machte.
Edisons Erfindung des Phonographen
Thomas Alva Edison ersann 1877 die Tonaufzeichnung als dauerhaften oder wenigstens dauerhafteren Abdruck auf einer Walze mit einer weichem Metalloberfläche und nannte das von seinem aus der Schweiz stammenden Chefingenieur/Maschinenbauer John Kruesi gebaute Gerät «Phonograph». Der Phonograph wurde am 24. Dezember 1877 zum Patent angemeldet. Den praktischen Nutzen seiner Erfindung sah Edison noch nicht in der Aufzeichnung von Musik, sondern in der Funktion eines Diktiergeräts im Rahmen der Telegrafie: Morse-Nachrichten mussten damals von Telegrafie-Sekretären eingetippt werden. Damit der Verfasser einer Nachricht nicht neben dem morsenden Sekretär stehen muss, sollte der Phonograph als Diktiergerät dienen, von dem der Assistent die Nachricht abhören und eintippen konnte.
Die kombinierte Schall-Aufnahme- und Wiedergabetechnologie war ein tiefgreifender kultureller Wandel in der Geschichte der Menschheit. Bisher war Musik in ihrer Physikalität, das ist was man heute «Sound» nennt, im Moment der Produktion zugleich entstanden und vergangen. Nun konnten die Stimme eines bestimmten Menschen oder der Klang eines Orchesters erhalten werden. Allerdings brauchte es zur Marktreife von Edisons Erfindung noch ein paar Jahre. Edison hatte zur Verbesserung des Phonographen vorerst keine Zeit, weil er, geschäftig wie er war, die Glühbirne erfinden und entwickeln musste.
Der Weg zur Marktreife
An Edisons Erfindung arbeiteten in Washington, DC, Alexander Graham Bell, der Erfinder des Telefons, sein Cousin Chichester A. Bell und Charles Sumner Tainter weiter. Sie verbesserten das Trägermaterial der Schallaufzeichnung und den Antrieb. Die Walze wurde nun eine mit Wachs beschichtete Kartonrolle, die man auswechseln konnte. Der Antrieb, der bisher durch eine Handkurbel erfolgte, wurde durch eine mechanischen Aufzugsfeder ergänzt. Mit der Kurbel zog man nun das Gerät wie eine alte mechanische Uhr auf, so dass es danach während mindestens einer Aufnahme- oder Abspiel-Sitzung selbsttätig lief. Das so entstandene Aufnahme- und Abspielgerät hiess Graphophone.
Phonographen von der «Columbia Phonograph Company» waren zuerst eigentlich als Diktiermaschinen gedacht. Es zeigte sich aber bald, dass die Geräte zu umständlich waren. Die Firma mit dem unbrauchbaren Produkt ging fast Konkurs, als ein anderes Einsatzszenario sie rettete. Phonographen wurden auf Jahrmärkten und später in urbanen Automatenhallen (engl. «Phonograph Parlors») als Attraktion eingesetzt. Ein kurioses Publikum zahlte je 5 Cents, um die geisterhaften Stimmen von Tenören, Sopranistinnen und Komiker*innen aus den Zauberapparaten zu hören. Ein weiteres Einsatzszenario war, dass jemand seine eigene Stimme aufzeichnen und die bespielten Wachszylinder verschenken konnte. Zylinder wurden zumindest eine Zeit lang ein beliebtes Geschenk, das man sich machte. Sie wurden vermutlich auch spielerisch als eine Art aurale Telegraphie verwendet. Wer es sich leisten konnte und wusste, dass der Empfänger über ein gerät verfügte oder Zugang zu einem hatte, der konnte dem Onkel oder Bruder in den USA eine akustische Botschaft senden.
Eine anfangs umstrittene, aber langfristig entscheidende Erfindung patentierte der deutsche Auswanderer Emile Berliner 1887. Er verwendete eine drehende Platte als Träger für die Aufnahme und Wiedergabe. In technischer Hinsicht ist die Platte suboptimal, weil die Winkelgeschwindigkeit bei konstanter Umdrehungszahl sich verändert, was einen Einfluss auf die Abtastmechanik und auf den Frequenzgang der Wiedergabe haben kann. Die Platte hat aber den entscheidenden Vorteil, dass sie viel einfacher reproduziert werden kann. Dass dieses Argument zur entscheidenden Produkteigenschaft wurde, zeigt, dass nun bei Berliner die Idee im Zentrum stand, Musik oder Reden aufzuzeichnen, sie wie Bücher zu drucken/vervielfältigen, so dass sie als Produkt verkauft werden konnten.
Zylinder waren bespielbare Aufnahme- und Wiedergabemedien, Platten hingegen konnte man nur abspielen, sie waren reine Wiedergabemedien.
Für Emile Berliners Erfindung gab es bald eine Firma, die sowohl Platten aufnahm als auch Wiedergabegeräte verkaufte: die «Grammophone Company».
Elektrisches Aufnahmeverfahren (1925–47)
Anfangs der 1920er Jahre begann AT&T bzw. ihre Forschungsabteilung, die Bell Laboratories, eine neue elektrische Aufnahmetechnologie zu entwickeln. Ein Forscherteam war mit der Entwicklung eines Schallplatten-Aufnahmeverfahrens betraut (die Ingenieure Joseph P. Maxfield und Henry C. Harrison). Ein zweites Team mit E.C. Wente, Donald MacKenzie and Irving Crandall entwickelte ein Soundsystem für Kinosäle. Beide Gruppen wurden geführt von Harvey Fletcher. Eine Reihe von Erfindungen spielten bei der neuen elektrischen Aufnahmetechnologie zusammen: das Kondensatormikrophon, die Verstärkerröhre und die magnetische Schneidesichel. Zuerst war das Kondensator-Mikrophon. Statt in einen Trichter zu singen, an dessen Ende eine Membran den Schall in eine mechanische Bewegung umsetzte wandelte ein Mikrofon den Schall nun in ein elektrisches Signal, das verstärkt wurde und schliesslich die Schneidesichel des Aufnahmegerätes bewegte. Entwickelt wurde das Kondensatormikrofon 1916 von Edward Christopher 'E.C.' Wente. Vor dem Kondensatormikrofon benutzte man Kohlemikrophone, die nur einen sehr beschränkten Frequenzumfang hatten. Die Verbesserung des Mikrofons nützte anfangs vor allem der Telefonie und wurde erst mitte der 1920er Jahre auch für die Aufnahme von Schallplatten verwendet.
Die zweite Komponente war die Verstärkerröhre. Erste solche Röhren wurden von Lee de Forest entwickelt und funktionierten mit ionisiertem Gas. Bell Labs haben das Gas durch ein Vakuum ersetzt und die Funktion erheblich verbessert.
Die dritte Komponente war die Schneidesichel, der «rubber line recorder».
Diese Komponenten bildeten am Ende das «Westrex» System, das «Western Electric Electrical Recording System».
Western Electric Electrical Recording System
Im Frühjahr 1924 konnte die Anlage demonstriert werden. Victor und Columbia testeten die Anlage im Herbst 1924. Columbia kaufte das System zuerst, Victor zögerte. Die neue elektrische Aufnahmetechnologie fiel mit dem Durchbruch der Radiophonie zusammen. Die Tonträgerbranche erlitt damals starke Umsatzeinbussen wegen der neuen Radiotechnologie. Was die Umsätze wieder ankurbelte waren unter anderem die Aufnahmen, die in der musikalischen Peripherie gemacht wurden, z.B. in den Südstaaten von Ralph Peer. Die Labels begannen nun mobile Studios auf Zeit aufzustellen und lokale Künstler*innen aufzunehmen.
Magnetische Aufnahmeverfahren (1945–75)
folgt
Digitale Aufnahmeverfahren (1975– heute)
folgt
Links
– Grammophon-Platten.de: Die Geschichte der frühen Tonaufzeichnung im Überblick (Timeline)
– David Miles Huber: History of Recorded Sound (DMH, 2019)
– stokowski.org: Bell Laboratories and The Development of Electrical Recording.
– John G. Frayne: History of Disk Recording (PDF). in: Audio Engineering Society 33, 4 1985.
– Allan Sutton: Recording the 'twenties: The Evolution of the American Recording Industry, 1920-29. Mainspring Press, 2008.
Aufmerksamkeitsökonomie Tag
«Aufmerksamkeitsökonomie» ist ein Begriff aus den sich überschneidenden Feldern von Medientheorie und Ökonomie. Der Begriff stellt den Versuch dar, Medienwirtschaft nicht nur als Buchhaltung zu verstehen (über Einnahmen und Ausgaben), sondern über die Währung der «Aufmerksamkeit». Man nimmt an, es sei die Aufmerksamkeit, die in einer durch und durch medialisierten Gesellschaft das knappe Gut darstelle, weil die Zugangskosten gegen null sinken. Wenn also für die meisten Leute Musik zu einem erschwinglichen Preis zu erhalten ist, dann spielen die Kosten für einen Laptop, Radio, Mobiltelefon und für den Internetzugang keine Rolle mehr. Das knappe Gut wird dann die Aufmerksamkeit der Mediennutzenden.
In Phasen der Einführung neuer Medien wird diese Sichtweise noch nicht stimmen, ebenso wenig in den Sphären der gesellschaftlich benachteiligten Gruppen.
Wenn die Aufmerksamkeitsökonomie spielt, d.h. Medien ihr Verhalten an der Aufmerksamkeit der Nutzenden ausrichten, beginnen sie ihre Angebote, ihre Inhalte zu verschenken. Diese Geschenke dienen nicht der Geld-, aber der Aufmerksamkeitsökonomie.
Diese Geschenke, die zur Regel werden, können von Schnäppchenjäger*innen ausgenützt werden, die z.B. früher mit einem Cassettenrecorder Tracks vom Radio aufgenommen, statt die Platten gekauft haben. Heute im Internet sind es Filesharing oder Downloader, mit denen man von Youtube oder Spotify Musik als MP3-File herunterladen kann. Eine Begleiterscheinung zur Aufmerksamkeitsökonomie ist das Moralisieren und das Kriminalisieren der Schnäppchenjäger*innen (Stichwort: Home Taping Is Killing Music).
ASMR Tag
In den 2010er Jahren sind auf Youtube Videos über 13 Milionen Videos erschienen, die mit geflüsterten meditativen Texten ASMR stimulieren sollten. ASMR ist ein euphorisches kribbeln am Nacken, das auch als eine «Gehirn-Massage» oder ein «Gehirn-Organsmus» beschrieben wird. Typische Schlüsselreize, die das Gefühl auslösen sollen sind Flüstern, leise Töne wie kämmen von Haar, das Blättern in einem Buch, Reibgeräusche von Fingern auf harten Oberflächen, schlucken, schlürfen, ... Anfangs dürfte die Technik im direkten interpersonellen Kontakt praktiziert worden sein, dann aber wurden Millionen von Videos auf Youtube gestellt. Aber auch hier können verschiedene Stile unterschieden werden: fantastische, intime oder therapeutische.
Frühe literarische Quelle für ASMR
Im Roman Mrs Dalloway
von Virginia Woolf (1925) kommt ein Dienstmädchen bzw. eine Krankenpflegerin vor, die ihren Herrn mit ASMR-Stimuli beruhigt.
Kunst
Die Berliner Künstlerin Claire Tolan arbeitet mit ASMR (siehe: Thinking Systems).
Musik
Es gibt eine Reihe von Musikstücken, die Techniken von ASMR-Stimulation aufnehmen, vor allem das flüsternde Singen, das zu einer charakteristischen Vokaltechnik der 2010er Jahre geworden ist.
– twigs: Weak Spot
auf ihrer ersten EP. Leise Töne ziehen sich durch ihr bisheriges Werk.
– Holly Herndon, die eine Freundin von Claire Tolan ist, nahm mit dieser zusammen den Track Lonely At the Top
auf (2015).
– Maren Lickhardt: Über ASMR (Autonomous Sensory Meridian Response) (Pop-Zeitschrift, 10. August 2020)
ASCAP Tag
Die amerikanische Verwertungsgesellschaft «American Society of Composers, Authors and Publishers», die Geld von denen eintreibt, die Musik öffentlich aufführen (Radios, Veranstalter, Restaurants, Kinos usw.), und an die Songwriter auszahlt.
Gründung und Etablierung
Gegründet wurde die ASCAP am 13. Februar 1914 in New York. Treibende Kräfte waren Komponisten wie Irving Berlin, Jerome Kern, Victor Herbert oder Raymond Hubbell. An der Gründungsveranstaltung nahmen 150 Komponierende und 20 Verlage teil. George Maxwell war der erste gewählte Präsident der Gesellschaft.
In den ersten sieben Jahren rentierte die ASCAP kaum. Sie musste erst einmal gegen Betreiber von Restaurants und Bars gerichtlich vorgehen, um ihre Beiträge zu erhalten. Ab 1921 überwiegten die Einträge gegenüber den Kosten ($80'000.–). OIn den Folgejahren wurde der gewinn grösser und grösser (1922: $145'000.–, 1923: $200'000.–). Mitte 50er Jahre hatte die ASCAP viele Niederlassungen in wichtigen Städten und in Europa. Ihre Einnahmen betrugen nun $20'000'000.–.
Verteilung
Die eingetriebenen Beträge der ASCAP wurden zwischen den Verlagen und dern Komponist*innen/Lyriker*innen aufgeteilt. Dabei wurde ein Wertungssystem verwendet, das erfolgreiche Komponisten wie Berlin, Gershwin, Kern, Porter, Rodgers, so genannte AA composers, besser zahlte als die anderen. Nach 1950 wurde der Schlüssel gerechter; er stützte sich auf Empirie, auf Marktforschung. Es gab nun auch Hitparaden, die ebenfalls auf empirischer Marktforschung beruhte.
Mitgliedschaft
Um Mitglied der ASCAP zu werden, musste ein*e Autor*in empfohlen werden, fünf publizierte Kompositionen vorweisen und teilweise sogar eine Prüfung ablegen. Damit blieb die Organisation ein relativ elitärer Club von hauptsächlich in der Tin Pan Alley arbeitenden Komponist*innen. Nicht in der ASCAP organisiert waren afroamerikanische Komponist*innen und solche, die Countrymusic oder andere Minderheitenmusik schrieben (Tejano, Cajun, Zydeco, ...).
Verwertungsgeschäft und Radio
Als das Radio aufkam, konnte Musik noch tantiemenfrei ausgestrahlt werden, doch ab 1922 begann die ASCAP von ausgewählten Stationen Lizenzgebühren zu fordern. Zwischen 1923 und 1926 sprachen verschiedene Gerichte der ASCAP das Recht auf Lizenzgebühren zu.
Das Tantiemengeschäft mit den Radiostationen wurde nun zu einem zentralen Geschäft der Musikwirtschaft überhaupt. Dabei standen sich mit der ASCAP und der National Association of Broadcasters (NAB) zwei riesige Gesellschaften gegenüber. Das Businessmodell der Musikbranche war nun nicht länger das Notengeschäft (der Verkauf von Sheetmusic), sondern das Lizenzgeschäft mit dem gesamten Repertoire der ASCAP. Für die ASCAP war es wichtig, die Mehrheit des verhandelbaren Repertoires in Händen zu halten. Auf diese weise konnte die Verwertungsgesellschaft laufend die Summe der Tantiemen für den ASCAP-Katalog bis knapp unter die Schmerzgrenz anheben. Radiolizenzgebühren machten 1939 bereits 67 % des Tantiemengeschäfts der ASCAP aus.
Ein weiterer mächtiger Player war die Filmindustrie von Hollywood geworden. Hollywood übernahm auch zusehends die New Yorker Musikverlage. So waren fünf der ehemals grössten Verleger zur Music Publishers’ Holding Company vereinigt und Mitte der 1930er Jahre bereits im Besitz von Warner Brothers Pictures.
1936 traten die von Warner Bros. gehaltenen Verlage sieben Monate lang aus der ASCAP aus, um sich den Anteil von etwa 10 % der Einnahmen aus dem Tantiemengeschäft zu sichern.
Die Nationalisierung des Radios mit den Netzwerkstationen führte zunehmend zu einer Nationalisierung des US-Musik- und Unterhaltungsmarktes. Unterhaltung wurde in den USA nun von «coast to coast» von grossen Organisationen verwaltet, die sich ihren Marktanteil nötigenfalls mit Boykotten sicherten, wenn sie ihre Umsatzziele auf dem Verhandlungsweg nicht erreichten.
ASCAP vs. BMI
Neben der ASCAP gibt es in Amerika auch noch die BMI, die als Radio-freundliche Verwertungsgesellschaft in der Zeit des Konflikts zwischen der ASCAP und den Radiostationen gegründet worden ist, als erstere die Tantiemen erhöhte und zweitere nicht willens waren, die Beträge zu zahlen und die ASCAP boykottierten. Die von der National Association of Broadcasters (NAB) gegründete BMI verwaltete die Royalties hauptsächlich von Rhythm & Blues und Country & Western Acts. Die ASCAP war dagegen die Verwertungsgesellschaft von Tin Pan Alley und Hollywood Songwritern. Die Rock-'n'-Roll-Revolution machte die BMI stark und die ASCAP war stolz, nur den klassischen Typ Songwriter zu vertreten.
Im Konflikt mit der NAB/BMI verlor die ASCAP erst einmal einnen Drittel ihres Lizenzgeschäfts. Den Markt musste sie fortan mit der BMI teilen. Auch das Departement of Justice hatte im Sinne der Vermeidung eines Kartells ein Interesse an der Existenz zweier konkurierender Verwertungsgesellschaften. Die ursprüngliche Dominanz auf dem Verwertungs-Markt gewann die ASCAP erst wieder mit dem Payola-Skandal zurück. Die Payola Untersuchungen zielten ins Herz der Geschäftspraxis kleiner, privater Label, die den Radiostationen Geld für die Promotion ihrer Singles zahlten. Deren Songwriter waren zum überwiegenden Teil durch die ASCAP vertreten. So war der Payola-Skandal das willkommene Mittel der ASCAP, die alte Marktstellung zurückzugewinnen.
Die WIrkung die das Boykitt von 1941 hatte, war immens: «Von den 100 Millionen Schallplatten, die bis September 1941 verkauft wurden, [stammten] 30 Millionen aus dem BMI-Repertoire. Und unter den fünfzehn Songs, die in der Zeitschrift Variety im Januar 1942 als die best sellers von 1941 aufgeführt wurden, figurierte bloß ein ASCAP-Stück» (Ninika Dommann).
Monika Dommann betont in ihrem Buch Autoren und Apparate, dass die ASCAP bis dahin eine Institution nach europäischem Vorbild war und dass dieses europäische Elitedenken der Institution im Weg stand. Die zu Beginn des Ersten Weltkriegs etablierten Eintrittsregeln der ASCAP seien «aus der europäischen Kultur des 19. Jahrhunderts übernommen» und bevorzugte «die schriftlich fixierte und renommierte Musik». Die vielen ausgeschlossenen Komponistinnen und Komponisten aus Jazz, Country & Western und der «race music» (später «Rhythm & Blues» gennant) machten es der NAB überhaupt möglich, die BMI zu gründen und damit Druck gegen die ASCAP aufzubauen. So gesehen stand sich die ASCAP selbst im Weg.
Der Konflikt zwischen ASCAP und BMI bzw. NAB wurde von aus Europa emigrierten Sozialforschern wie der Gruppe um Paul F. Lazarsfeld und dem Institut für Sozialforschung (Frankfurter Schule, Theodor W. Adorno und andere) aufmerksam verfolgt. Sie sahen, wie die kommerzielle Radioindustrie den etablierten Institutionen (den Verlagen und Verwertungsgesellschaften) zusehends den Rang abliefen. Dabei sahen sie die durch die ASCAP vertretenen Rechte der Autoren und Künstler*innen in Gefahr. Sie subsummierten den Konflikt unter eine Dichotomie Kunst vs. Wirtschaft (Kapitalismus, Kommerz). Die kritische Theorie entfaltete dann in Europa ihre grossee Wirkung, da europäische Sendeanstalten strikt im Besitz des Staates blieben und kommerzielle Stationen lange verboten blieben. Der Konflikt zwischen ASCAP und BMI diente der kritischen Theorie als Quelle und Beleg für deren Kulturkritik an Amerika, dass nämlich auf dem neuen Kontinent der Kommerz die Kultur aufschlucke.
BMI oder ASCAP
Man kann auf den Labels von Singles und LPs nachschauen, von welcher Verwertungsgesellschaft die Songwriterin oder der Songwriter vertreten wird. Klassische Songwriter nach Payola waren aber noch immer bei BMI, z.B. die Liberty-Songwriterin Jackie De Shannon, die Aldon-Songwriterin Carol King oder Neil Diamond. Offenbar war, wer für den Teenmarkt Rock-'n'-Roll-affine Musik schrieb eher der BMI zugetan, auch wenn sie oder er in New York arbeitete.
Querverweise
– BMI
Die der ASCAP entsprechende Verwertungsinstitution in Deutschland ist die GEMA, in Österreich die AKM, in Frankreich die SACEM, in der Schweiz die SUISA.
Links
– ASCAP (Webseite)
Arts Lab movement Tag
Das erste «Arts Lab» wurde 1967 als alternatives Kunstzentrum der Gegenkultur und des UK-Undergrounds von Jim Haynes an der 182, Drury Lane in London gegründet. Es existierte nur ca. zwei Jahre lang als Veranstaltungsort für Künstlerinnen und Künstler.
An der Drury Lane gab es das Kino («soft floor cinema») von David Curtis, die Gallerie kuratiert von Biddy Peppin und Pamela Zoline, ein Theater, das von Jack Henry Moore gestaltet war. Für den Ausbau zeichneten sich David Jeffrey und Philippa James verantwortlich. Neben Theateraufführungen, Ausstellungen und Filmvorführungen fanden Film-Workshops statt. Susan Miles führte das Restaurant.
Wirkung
Das «Arts Lab» inspirierte viele ähnliche Zentren im Vereinigten Königreich, Kontinentaleuropa und Australien, darunter das erweiterte «Institute of Contemporary Arts» (ICA) in London, den Melkweg («Milky Way») in Amsterdam, das «Entrepôt» in Paris und das «Yellow House Artist Collective» in Sydney(Gründer: Martin Sharp).
Artificial Intelligence Tag
AI ist das Teilgebiet der Informatik, das sich mit der Automatisierung kognitiver Funktionen (Wahrnehmung, Kognition) unter Einbezug von maschinellem Lernen befasst. Meist werden kognitive oder Entscheidungsstrukturen aufgebaut und kontextsensibel umgebaut.
Darüber, was «intelligent» ist, ist man sich uneinig. Somit ist AI eher ein Paradigma, eine Idee, als ein wohldefinierter Forschungszweig. Diese Offenheit des Forschungsfeldes verspricht aber auch interessante neue Algorithmen, die auf Musik oder Film angewendet werden können.
Im Folgenden werden einige Paradigmen solcher Algorithmen dargestellt. Unter dem Stichwort «Artificial Intelligence» sind Dokumente und Archivalien versammelt, die entweder AI-Technologie als solche demonstrieren oder mittels ihr bearbeitet wurden.
AI im Rahmen von Distributionsplattformen: automatsiche Erkennung von Genres
Seit mindestens den frühen 2000er Jahren (vermutlich schon vorher) begann man mit AI für die Klassifikation von Genres zu forschen. Die Idee ist, eine Repertoire von Digitalen Musikfiles automatisch aufgrund von musikalischen Merkmalen nach Genres zu sortieren. Einer der führenden Forscher war François Pachet, der damals für Sony Music in Paris gearbeitet hat und der heute für Spotify tätig ist. Vor der Napster Krise und dem Zusammenfall des Tonträgermarktes haben die Labels bereits an die digitale Distribution von Musik nachgedacht. Pachet forschte darüber, wie die Stücke in einem grossen Musikrepertoire mit AI analysiert werden können, um sie dann zu klassifizieren. Vor Augen hatte die Forschung damals eine «intelligente» automatische Genreklassifikation.
Einschätzung der Forschungsresultate: So weit ich (CS) die Forschungsresultate verstanden habe, waren die Erfolge anfangs bescheiden und man ist auf andere Klassifikationen statt Genres ausgewichen. Heute sind Klassifizierungen nach Stimmungen («Moods») dominierend – musikalische «Stimmungen» sind für die Algorithmen einfacher zu erkennen als «Genres».
AI im Rahmen von Distributionsplattformen: Errechnung von Kundenprofilen
AI wird erfolgreich für die Errechnung von Kundenprofilen verwendet. Solche Algorithmen kamen auf kommerzieller Ebene zuerst bei Amazon in den Einsatz («wer x kaufte, kaufte auch Y»). Heute laufen vergleichbare Algorithmen in den wichtigsten und grössten Distributionsplattformen (Youtube, Spotify, Apple Music usw.).
Die führende Firma in beiden Bereichen – Erkennung und Kundenprofile – war/ist The Echo Nest, die 2014 von Spotify aufgekauft und in der Plattfom eingebaut worden ist.
AI in der Musikproduktion
2019 kam PROTO von Holly Herndons heraus. Die Tracks auf dem Album sind mit einer AI-Software mit dem Namen «Spawn» produziert. Spawn ist lernfähig und wurde von Holly Herndons Partner Mat Dryhurst geschrieben.
AI für die Restauration von altem Bildmaterial
Bei der Apollo 11 Doku oder beim Beatles-Film Get Back wurden mit intelligenten Farb- und Ton-Korrekturfiltern restauriert - mit atemberaubenden Resultaten!
deepfake
«Deepfake» ist ein Kofferwort aus den Wörtern «Deep Learning» und Fälschung («Fake»). Dabei geht es um realistsich scheinende Medieninhalte (Foto, Audio und Video), die durch Artificial Intelligence modelliert werden. Dadurch können zum Beispiel Gesichter überlagert werden, so dass jemand wie eine andere Person aussieht oder Stimmen verändert werden, so dass sie klingen wie eine Modellstimme. Diese Technologie wird zu allerlei neuen immersiven Spiel- und Showformaten führen.
Restauration von altem Tonmaterial: demixing und upmixing
AI wird verwendet, um alte Aufnahmen in Mono zu verbessern. Software wie die von der Firma Audionamix kann einzelne Instrumente aus einem Mono- oder Stereo-Track isolieren («demixing», «unmixing»), so dass man die einzelnen Spuren verbessern und neu abmischen kann – ehemalige Mono-Aufnahmen nun auch in Stereo.
Auf diese Weise wurdn zum Beispiel Aufnahmen von Édith Piaf für den Soundtrack des Films La Vie en Rose (2007) neu aufgearbeitet.
Die neusten Technologien im «demixing» und «upmixing» machen ebenfalls von «deepfake» Algorithmen Gebrauch. Audioshake können einen Song in so genannte «stems» hinunterbrechen – Spuren isolierter Instrumente, so dass man sie remixen, sampeln oder in einem Mashup verwenden kann.
Der ehemalige Software-Engineers der Abbey Road Studios, James Clarke, gründete die Firma Audio Research Group, die bei der Restaurierung, dem Upmixing von Alben wie Beatles: Sgt. Pepper's Lonely Hearts Club Band, Beatles: Live At The Hollywood Bowl, Rolling Stones: On Air, David Bowies Legacy, Cat Stevens: Matthew And Son beteiligt war. Die Aufnahmen vom Hollywood Bowl zum Beispiel konnten, indem das Publikumsgeschrei als eigenes Instrument modelliert worden ist, zurück in den Hintergrund und die Band in den Vordergrund gemsicht werden.
Im Consumer-Bereich bietet Audionamix die Online-Software «xtrax-stems» an, die Stimmen, Schlagzeug und Bass von anderen Instrumenten trennt. Aber das fuktioniert gegenwärtig noch nicht zur vollsten Zufriedenheit. Native Instruments verwendet die selbe Technologie für Traktor Kontrol.
Die Technologie wird über kurz oder lang dazu führen, dass Apps in Echtzeit die Stimmen von Rapper*innen, Pop- und Rocksänger*innen durch die Stimme der User austauschen können. Spotify arbeitet an einem Projekt mit dem Namen SingAlong.
Links
– Wikipedia: Artikel: Geschichte der künstlichen Intelligenz
– Daryl Keating: The Artificial Intelligence Takeover of Music in 2019 (Exclaim!, 12. Dezember 2019)
– Signal Separation Evaluation Campaign (SISEC) (Community Site, die aber seit 2018 nicht mehr aktualisiert wurde)
Ars Electronica Tag
Die «Ars Electronica» ist ein Festival für digitale Kunst, das jährlich in Linz stattfindet. Veranstalterin ist die 1979 gegründete «Ars Electronica Linz GmbH». Von Interesse sind die Wechselwirkungen zwischen digitaler Kunst, Technologie und Gesellschaft.
Links
– zur Ars Electronica Webseite
Arrangement Tag
Arrangement heisst in der Musik das musikalische und/oder technische Bearbeiten einer Komposition. Im Zusammenhang mit Orchestern hat sich die Beruf- oder Funktionsbezeichnung des Arrangeurs oder Orchestrators als der Person durchgesetzt, die für das Arrangement zuständig ist.
Eine Komposition besteht aus Melodie, Harmonie, Rhythmus und Metrum, der musikalischen Form und dem Songtext. Zu diesen Primärkomponenten kommen bei jeder Interpretation Sekundärkomponenten hinzu: das Arrangement.
Arrangement heisst jede klangliche oder technische Gestaltung der Komposition, sei es in einem Tonstudio für eine Aufnahme oder sei es für eine Show vor einem Publikum. Ein Arrangement arbeitet mit der Instrumentierung, mit Effektgeräten, im Studio mit allen technsichen Gestaltungsmitteln, die ein Aufnahmestudio bietet.
Typische musikalische Arrangements sind nötig bei Orchestern, um die Komposition an die Besetzung mit den verschiedenen Sektionen (Streicher, Bläser etc.) anzupassen, um einen Song für eine A-cappella-Formation zu adaptieren. Bei Studioaufnahmen Pop- und Rockbands heisst Arrangement jedes Ausgestalten einer Kompoition, die meist nicht als Notenblatt vorliegt. Mit den Studiomusikern wird das Arrangement aufgrund einer Demoaufnahme oder eines Vorspiels der Kompnist*innen besprochen und improvisierend erarbeitet.
Arrangement Prozesse
Im Prozess des arrangierens können z.B.
– Formteile umgestellt werden
– Instrumente gewählt werden (welche Art der Gitarre, welche Marke, welche Effektgeräte, welche Verstärker)
– weitere Instrumente, die von der Standardbesetzung abweichen, zugefügt oder weggelassen werden
– «Miking» – wie wird das Instrument aufgenommen, wo und wie wird sein Schall abgegriffen – z.B. bei der akust. Gitarre: Pickup über dem Schallloch des Klangkörpers oder Raummikrofon – ersteres klingt hörter, man hört den Anschlag der Saiten
– bei Orgeln oder Synthesizern, die Wahl der Register, Preset oder Programm
– Anordnung der Instrumente im Studio-Raum: das Schlagzeug ist ein Instrument, das andere INstrumente übertönt. Deshalb braucht es Strategien, um das Instrument so aufzunehmen, dass es nicht in andere Aufnahmespuren hinein «leakt».
Arrangement in der Klassik
In der Aufführungspraxis klassischer Werke gibt es in der Regel kein Arrangement, weil Werke des europäischen Kanons werktreu aufgeführt werden müssen. Werktreue heisst im Prinzip Absenz von Arrangements. Ausnahmen sind alte Musik aus Mittelalter, Renaissance und Barock. Diese Werke werden oft für neuere Formationen und Instrumente arrangiert.
Arrangement im Jazz
Im Jazz ist das Arrangement wichtig. Jedes Orchester und jede Band hat, wenn Standards gespielt werden, eine eigene Besetzung und für diese Besetzungen wird arrangiert. Hier haben Kompositionen oft keine Noten, weil Stücke auf Improvisation beruhen. Wenn ein Orchester sie spielt, muss jemand die Noten dafür schreiben, der Arrangeur!
Arrangement im Rock
Im Rock verleiht die Arrangements, besonders die technischen, einem Musikstück seinen prägenden Charakter, den wir wiedererkennen. Dennoch verdient der Produzent an der Komposition nicht mit.
Arrangement und Urheberrecht/Copyright
Die Arbeit der Komponist*nnen eines Songs wird anders bezahlt als die Arbeit von Arrangeur*innen: Letztere sind Angestellte und werden durch eine vereinbarte Summe bezahlt – sie erhalten ein Entgelt für einen Auftrag. Die Autoren hingegen erhalten von ihrem Verlag und von ihrem Label eine Gewinnbeteiligung (oft erst nach Abzug von Investitionskosten). Zudem werden sie über Verwertungsgesellschaften bezahlt, die Geld für die Nutzung eines Songs bei Radiostationen, DJs, öffentlichen Aufführungen usw. eintreiben. Komponisten sind Unternehmer, die im Fall eines Erfolgs grosse Gewinne machen können.
Das Verhältnis von Komposition und Arrangement ist ein hierarchisches. Arrangeure machen selten das grosse Geld und stehen im Schatten der Komponist*innen und Bandleader.
Querverweise
– Produzent
– Produzenten und Studiomusiker
Arpeggio Tag
Ein Arpeggio ist ein Akkord, der in seine einzelnen auf- oder absteigende Töne aufgelöst bzw. temporalisiert wird.
Arpeggios werden für monophone Instrumente (wie die Trompete) geschrieben, um Harmonie in Melodie und Rhythmus umzusetzen oder zur musikalischen Ausschmückung (Ornamentik, Verzierung).
Armadillo World Headquarters Tag
Armadillo World Headquarters war ein Veranstaltungsort und Nachtclub in Austin, TX. Er wurde von Eddie Wilson, einem lokalen Manager und Promoter, gegründet und öffnete am 7. August 1970 zum ersten Mal die Türen. Die Adresse lautete 505 Barton Springs Road.
Das Publikum in den Armadillo World Headquarters war sehr heterogen: Es bestand aus Cowboys, Geschäftsleuten und Hippies. Es war erlaubt, Cannabis zu rauchen. Im «Dillo» spielten alle namhaften Outlaw-Country-Acts, beispielsweise Willie Nelson, Waylon Jennings, Jerry Jeff Walker, aber auch Country-Rock-Acts (z.B. Michael Martin Murphey) oder Jambands. Der lokale Musikstil wird oft ironisch «Redneck Rock» genannt, «Austin Sound», «Progressive Country» oder «Cosmic Cowboy». Auch auswärtige Acts spielten im «Dillo», z.B. Bruce Springsteen, Frank Zappa, AC/DC oder Clash. Auf der Rückseite des Covers von London Calling befindet sich ein Foto des Auftrittes in den Armadillo World Headquarters (dasjenige im Breitformat).
Das Time Magazine schrieb 1974 in einem Bericht über die Armadillo World Headquarters, dass dieser Auftrittsort für Austin eine vergleichbare Rolle spielte wie das Fillmore Auditorium für San Francisco gespielt hatte. Hier entstand eine lokale Szene, deren Zauber sich auf Platten nur schlecht mitteilte.
Die Armadillo World Headquarters schlossen 1980.
Live-Aufnahmen existieren von Commander Cody and His Lost Planet Airmen, New Riders of the Purple Sage, Sir Douglas Quintet oder Phil Woods.
Archive of Contemporary Music Tag
Das New Yorker Archive of Contemporary Music (ARC) ist ein 1985 von B. George und David Wheeler (1957–1997) gegründetes Non-Profit Archiv, das über drei Millionen Tonträger, Fotos, Bücher, Zeitschriften, Noten und Memorabilia beheimatet. Es besteht eine Partnerschaft mit dem Internet Archive. Gesammelt wird alles ab 1950 bis in die Gegenwart. Direktor ist B. George.
Im Jahr 2020 muss das Archiv umziehen, weil es die Miete in TriBeCa nicht mehr bezahlen kann. Derzeit (Januar 2020) ist noch nicht klar, wohin.
Links
– Archive of Contemporary Music: Webseite
– Archive of Contemporary Music: Musikbücher
Apple Corps Ltd. Tag
Von den Beatles anfangs 1968 gegründete Firma (Startkapital 2 Millionen USD). Apple Corps. lizenzierte die Musik der Beatles an die EMI im Vereinigten Königreich und an Capitol in den USA.
Apple Corps. war die Nachfolgefirma von Beatles Ltd., der Firma welche die Einkünfte aus den Konzerten und Plattenaufnahmen verwaltete.
Die erste Apple-Produktion war der TV-Film Magical Mystery Tour.
Als Paul McCartney und John Lennon am 12. Mai 1968 in der amerikanischen «Tonight's Show» über die neue Firma sprachen, sagten sie, Apple sei eine kontrollierte Verrücktheit, eine Art westlicher Kommunismus. Sie wollen Menschen helfen, aber ohne es wie eine Wohltätigkeitsorganisation zu tun («a controlled weirdness, a kind of Western communism. We want to help people, but without doing it like a charity.») – siehe Youtube Video.
Apple hatte fünf Teilunternehmen:
– Apple Records, ein Plattenlabel,
– Apple Electronics,
– Apple Films,
– Apple Publishing und
– Apple Retail (Apple Boutique an der Ecke Baker Street / Paddington Street in London)
Das Mutterhaus befand sich in den späten 1960er Jahren an der Adresse 3, Savile Row in London. Dort war auch das Apple Studio untergebracht, wo die Beatles 1969 die Aufnahmen zu Let It Be machten und am 30. Januar 1969 spontan ihr Rooftop Concert veranstalteten. Als geschäftsführender Manager fungierte Neil Aspinall, der ehemalige Roadmanager der Gruppe. Er war Buchhalter von Beruf. Apple Electronics wurde von Magic Alex geleitet.
Logo
Das Logo der Firma ist der Apfel aus dem Gemälde Le Jeu de Mourre
(von 1966) des surrealistischen Malers René Magritte (1898-1967), das im Besitz von Paul McCartney ist. Es stellt einen fotorealistischen Apfel dar, der die Aufschrift trägt: «Au revoir». Der Titel ist wohl ein Wortspiel mit «jeunnes amours». Gestaltet wurde das Logo von Gene Mahon.
Nach der Auflösung der Band
Nach der Auflösung der Gruppe blieb das Unternehmen bestehen, allerdings ohne die verschiedenen Abteilungen. Das Label blieb bestehen und die Firma fungierte als die Agentin für Lizenzen der Marke «The Beatles». Apple überwacht den Katalog der Band, schützt den Namen, bestimmt, was auf welchen Medien veröffentlicht werden kann.
Heute wird die Firma von Jeff Jones, einem ehemaligen Sony Manager, geleitet. Inhaber sind immer noch die vier Beatles bzw. deren Erben.
Rechtsstreit mit dem Computerhersteller
Als sich eine noch junge Computerfirma «Apple» nannte, kam es zu mehreren Klagen und Prozessen, durch die die Beatles-Firma Abfindungen in Millionenhöhe erhielt.
Links
– Webseite
– – The Dayly Beatles: The Apple logo
(2. Januar 2015)
Apple Boutique Tag
Die Apple Boutique an der Ecke Baker Street / Paddington Street in London war eine kurzlebige Boutique, die die Beatles betrieben. Gestaltet und ausgestattet wurde die Boutique vom Designer-Kollektiv The Fool.
Mit ihrer Geschäftspolitik wollte die Gruppe Neuland betreten: Alle Mitarbeiter waren am Gewinn beteiligt (es gab nur keinen), Überschüsse hätten an wohltätige Projekte gehen sollen. Als man die Boutique im Sommer 1968 schloss, wurden die Waren verschenkt.
Die Geschichtsschreibung und die Legendenbildung macht sich stets ein wenig lächerlich über diesen Misserfolg der Beatles. Aber wenn man das Unternehmen kontextualisiert, sieht es nicht so schlimm aus: Solche psychedelischen Shops gab es in London einige. Den ersten eröffnete Nigel Waymouth bereits 1966 und hiess Granny Takes A Trip. In der Regel waren solche Shops mehr Popup Stores und Kunstprojekt als wirtschaftliches Unternehmen.
Die Beatles eröffneten ihre Boutique auch aus Fiskalen Überlegungen. Die Boutique hätte gar nicht übermässig rentabel sein sollen.
Natürlich war da viel Idealismus mit dabei - das war der Zeitgeist. Vielleicht ist nicht der Idealismus das Problem, sondern das ausbleibende Turnaround Management. Man reagierte erst, als es zu spät war.
Mit dem Laden nahmen sie einen Trend auf: Damals war London neben San Francisco das grösste Zentrum für psychedelische Untergrund Kunst und Musik. Von dem, was damals in London geschah, lassen sich Küntlerinnen und Künstler bis heute inspirieren.
Quelle
– Barry Miles: Artikel in der IT (Nummer nicht bekannt)
– Sweet Jane: Apple Boutique (Blogpost, 15. August 2013)
Apollo Theatre Tag
An der 254 West 125th Street im New Yorker Stadtteil Harlem gelegenes Theater, in dem Afroamerikanische Musik aufgeführt wurde und wird.
Das 1913 erbaute Theater war zunächst auf Burlesque-Shows spezialisiert und hiess «Hurtig and Seamon´s New Burlesque». 1928 wurde es dann «Apollo» benannt. Während der Wirtschaftskrise wurde das Theater geschlossen und musste renoviert werden. 1934 wurde es neu eröffnet und beherbergte Vaudeville Shows. Mit dem Untergang von Vaudeville traten mehr und mehr afroamerikanische Acts in Shows und Konzerten auf.
Links
– Webseite
– Martin Chilton: Showtime: A History Of The Apollo Theater (uDiscoverMusic, 23. April 2020)
Antwortsong Tag
Song der als Antwort auf einen anderen geschrieben und aufgenommen wird. Dabei sind Perspektivenwechsel wichtig, zum Beispiel dass eine Sängerin Ihre Sichtweise zu einem Song eines Sängers abgibt. Die Melodie des Antwortsongs bleibt die selbe, während der Text umgeschrieben wird. Manchmal wird der Instrumentaltrack des Originals genommen, zuweilen die Musik mit dem mehr der weniger gleichen Arrangement neu eingespielt. Dass die Musik des Antwortsongs möglichst gleich klingt, wie das Original ist wesentlich. Die Hörer/-innen sollen das Original wieder erkennen. Antwortsongs waren sehr populär in der Musik aus den Südstaaten (Blues, Rhythm 'n' Blues, Country) zwischen den 30er- und den 60er-Jahren. Auch Hip-Hop und R&B brachten Antwortsongs wieder auf.
Ein Song und sein Antwortsong haben eine sehr befreiende, eventuell therapeutische Wirkung: Eine Hörerin oder ein Hörer kann von einem Song sagen: «das ist mein Song, er erzählt meine Geschichte». Der Antwortsong kann dieses enge Verhältnis in Frage stellen, indem er die Erzählung dezentriert, die Perspektive erweitert.
Antwortsongs waren nie so erfolgreich wie ihre berühmten Vorbilder und selten so aufwändig produziert wie das original. Es ging lediglich um die Gegenperspektive.
Antwortsongs gelten wegen ihrem Witz oft als Novelty .
Man kann einwenden, dass Antwortsongs oft von Männern für Frauen geschrieben wurden und dass den Songs jede Authentizität fehle. In der Tat kann man Antwortsongs auch als Übungsstücke für Songwriter sehen, wie wenn man als Jurist/-in oder Politiker/-in spielerisch Reden für die Gegenposition hält. Das ist wie ein rhetorisches Spiel. Problematisch ist das nur aus der Perspektive einer Ästhetik, die Authentizität verlangt (wie das im Rock der Fall ist). Von der Erzähltheorie her gesehen ist ein Antwortsong ein Song, dessen Erzählperspektive wechselt. Es ist der Erzähler (und nicht der Autor), dessen Geschlecht ausgetauscht wird. In der Literatur ist der Unterschied zwischen Autor und Erzähler fundamental. Ohne diese narratologische Differenz könnte keine weibliche Autorin einen Roman schreiben, in dem auch Männer glaubwürdig agieren.
Die Möglichkeiten, einen Antwortsong zu schreiben, sind immens – es geht nicht immer nur um die Gegenposition. Der Antwortsong kann affirmativ sein, wenn eine Frau auf Are You Lonesome Tonight singt: «Yes, I'm Lonesome Tonight» (Dodie Stevens). Das eher bittere Hound Dog (Big mama Thornton) wird komödiantisch von Rufus Thomas erwidert. Der Perspektivenwechsel kann ernst und ideologisch sein wie in der Stellungnahme zum Vietnamkrieg von den Spokesmen, der auf Eve of Destruction mit Dawn of Correction antwortet.
Abgrenzung
B. Lee Cooper und Frank Hoffmann führen in ihrer Liste mit Antwortsongs auch Sequels auf (siehe Popular Music Research: Answer Songs, Blue-Eyed Soul, Cover Recordings...And Beyond). Solche Songs führen eine begonnene Erzählung fort, wenn z.B Danny And The Juniors At The Hop mit Back To The Hop fortsetzen. Einem «Sequel» fehlt allerdings die charakteristische Verschiebung der Erzählperspektive und deshalb sollte man sie nicht mit Antwortsongs konfundieren.
Auch eine interessante Klasse bilden Coverversionen von Songs, deren Original von einem Mann stammt und von einer Sängerin gecovert werden (oder umgekehrt). Auch dies ist streng genommen kein Antwortsong, auch dann nicht, wenn Namen und Pronomen ausgewechselt werden (siehe He Fought The Law von She Trinity).
Erzähltheorie
Die Narratologie bietet eine strukturelle Hierarchie von Instanzen an, die man auseinander halten sollte:
- der Autor oder die Autorin (Songwriter/-in),
- bei Songs ergänzen wir die Sängerin oder den Sänger,
- der Erzähler und zuletzt
- Figuren, die in einem Song vorkommen.
Links
Leah: Women in Rock & Answer Songs (12. Januar 2019, Women in Rock Project)
Angry Young Men Tag
Ein Paralellphänomen der amerikanischen Beatgeneration. Mit dem Begriff wird eine Gruppe englischer Theaterschriftsteller bezeichnet, die in den 1950er Jahren der englischen Unter- und Mittelklasse entstammen und die in ihrem Werk ein realistisches Portrait ihrer Herkunft zeichnen. Vertreter sind John Osborne, Kingsley Amis, John Braine, Alan Sillitoe oder John Wain.
Aneignung Tag
Adaptieren heisst, sich schaffend etwas zu eigen machen. Adaptieren ist kreatives kopieren, emphatisch gesagt, Kopieren mit Geist.
Die Adaption oder Adaptation ist eine Kategorie der Intertextualität. Adaptierendes Kopieren oder Schaffen hat zum Ziel, das Fremde zum Eigenen zu machen. Mittels Adaption kann ein Genre oder Stil wandern (eine andere Art der Wanderung ist die Migration). Im engeren Sinn ist die Adaption die Umarbeitung z.B. eines literarischen Stoffes in einen Film oder ein Hörspiel. Das ist die Überführung eines Stoffes in ein anderes Medium. Wenn man den Begriff abstrakter verwendet, kommt man auf die zuerst genannte Intertextualitätskategorie, bei der ein Stoff in einen anderen Kulturraum überführt wird. Bekannte literarische Beispiele sind die Griechische Odyssee
, die zur Römischen Aeneis
zum modernen Ulysses
.
Die literarische Adaption hat nicht nur kulturelle Bedeutung, sondern auch juristische. Jede Adaption ist ein neues Werk, doch ihre Quelle oder Grundlage muss die Einwilligung zur Adaption geben.
Die Adaptation kann als ein Prozess aufgefasst werden, der von simplen und qualitativ schlechten Kopien sich vorwärts arbeitet zu immer besseren und zuletzt eigenständigen Kopien.
Andalusische Kadenz Tag
Die Andalusische Kadenz ist eine Harmoniefolge, die aus dem Flamenco stammt: i–bVII–bVI–V.
Eine Variante ist die Harmonische Quartfallprogression mit phrygischem Halbschluss. Diese wird verwendet in Don't Let Me Be Misunderstood, Sultans of Swing oder Nights In White Satin.
Eine weitere Variante ist die Folge i–bVII–bVI–bVII-Progression.
Analyse Tag
We Hear With Our Ears and Listen With Our Brain – Sprichwort
Kunstmusik wird üblicherweise notiert. In dieser Musik-Gattung setzt Analyse in der Regel an der Partitur an. In der Populären Musik indes entsteht eine Notenabschrift meist erst im Bedarfsfall, z.B. wenn ein beliebtes Stück als Notenbuch für Klavier oder Gitarre gedruckt und vertrieben werden soll. Die Produktion kommt hier weitgehend ohne Noten aus.
Will man ein Musikstück der Populären Musik analysieren, geht man von den Tonträger oder Streams bzw. vom Gehör aus. Wo Noten existieren, sind sie meist eine Bearbeitung und enthalten viele Charakteristiken der Originalmusik nicht.
Nicht immer analysiert man ein einzelnes Musikstück, zuweilen befasst man sich mit ganzen Apparaten oder Korpora. Eine Korpus-Analyse hat Christian Schorno am Beispiel der frühen Songs der Beatles durchgeführt (unpublizierte Vorlesungsunterlagen).
Die Analyse von Populärer Musik ist zuerst phänomenologisch und verlangt ein konzentriertes Gehör, das einen Song oder Track auf mehreren Ebenen wahrnehmen kann. Zu diesen Ebenen gehören:
– die Musik (d.i. Melodie, Harmonie, Rhythmus wie in der Musiktheorie behandelt),
– die Songstruktur bzw. die Variante davon
– die Lyrics bzw. der Text,
– Physikalität der Musik (Tempo, Lautstärke, Dichte, ...),
– die Klanggestaltung (der Sound, Timbre)
In der Regel empfiehlt es sich, diese Ebenen analytisch zu hören, d.h. bei einer Anhörung speziell auf einen dieser Aspekte zu achten.
Neben dieser eng an der Phänomenologie geführten Analyse gibt es auch aussermusikalische oder Kontextfaktoren, die an der Erscheinung und der Bedeutung eines Stücks mitarbeiten. Entstehungsgeschichte, Wirkungsgeschichte, eine Analyse der Produktions- und Rezeptionsbedingungen (z.B. die Production Of Culture Perspective), der medialen Bedingungen einer Zeit gehören zu einer funktionalen Analyse. Die funktionale Analyse ergänzt diese phänomenologische oder musikalische Analyse.
Musikalische Analyse
Die musikalische Analyse untersucht ein musikalisches Werk unter vor allem musikalischen Gesichtspunkten, zu denen Rhythmus, Melodie, Harmonie zählen.
Lyrics Analyse
Hier wird ein Song gleichermassen als ein Gedicht analysiert und interpretiert, wie man das mit Literatur macht.
Strukturanalyse
Der formale oder strukturelle Aufbau eines Stücks, Songstruktur.
Physikalität
Ben Ratliff hat in seinem Buch Every Song Ever demonstriert, wie man Musik in Hinsicht auf physikalische Eigenschaften analytisch hören kann: Statt von Takt, Melodie, Harmonie, statt Strukturen wie Verse, Chorus, Bridge, Sonate oder statt Genres spricht Ratliff von physikalischen Parametern wie Repetition, Langsamkeit, Geschwindigkeit, Stille, Lautstärke (man sieht: einige dieser Dimensionen sind auf einer Skala zu denken), Insistenz auf einem Ton, Raum, Dichte, Nähe, sozialer Ein- und Ausschluss (na ja, vielleicht sind doch nicht alle diese Parameter im strengen Sinn «physikalisch» - darum habe ich diesen Titel mit dem Wort «Gestalt» ergänzt, falls dieses denn die Sache besser trifft).
Klanggestaltung
Was werden für Instrumente und Effektgeräte verwendet? Immanuel Brockhaus hat darauf aufmerksam gemacht, dass Pop viele Kultsounds verwendet. Tricks, Gimmicks und Effekt, mit denen modische Klänge erzeugt werden, die sich nach einer gewissen Zeit verbrauchen und daher auch als Marker für eine Zeit dienen können.
Intertextualitätsanalyse
Ist ein Song ein Cover oder wurde der Song cecovert? Zu welchem musikalischen Genre gehört ein Stück? Zitiert das Stücke ein anderes? Werden Samples verwendet? Gehört das Stück in eine grösseren Zusammenhang (einen Mix, ein Album, eine Rockoper, ein Musical, eine Show, ...)?
Quellen
– Podcasts mit detailreichen Analysen aktueller Songs publiziert der Blog Switched On Pop (siehe: [Tag]).
– ebenso der Blog Top 40 Theory von Asaf Peres
– David Bennett: Every type of Song Structure EXPLAINED (25. März 2024)
Amerikanischer Bürgerkrieg Tag
Der amerikanische Bürgerkrieg bzw. der Sezessionskrieg dauerte von 1861 bis 1865. Im Konflikt miteinander lagen zwei Parteien, die man geografisch dem Norden und dem Süden der USA zuordnet. Die nordstaatliche «Union» kämpfte und gewann gegen die südstaatliche «Konföderation». Der Konflikt, der mit Waffengewalt entschieden werden musste, entbrannte vor allem über der Sachfrage der Sklaverei, aber auch als Folge einer Wirtschaftskrise, der die Nordstaaten mit Schutzzöllen begegnen wollten, was die agrarischen Südstaaten erheblich geschädigt hätte. Die Wirtschaft der Südstaaten war eine Jahrhunderte alte Sklavenwirtschaft. Der industrialisierte Norden schämte sich über den Süden mit seiner altertümlichen Ständegesellschaft. Der Süden verblieb selbstbewusst und war stolz über seine reiche Kultur. Für den Norden war der Krieg ein Kampf im Namen des Fortschritts. Der Norden war dem Süden an Ressourcen überlegen, das war keine Frage. Aber dennoch dauerte die Auseinandersetzung über vier geschlagene Jahre: bis 1865 und kostete 750'000 Tote. Das waren 2,5% der damaligen US-Bevölkerung und mehr Tote als der erste und der zweite Weltkrieg auf Seiten der USA forderte. Zu den Toten kamen mehr als 400'000 Verwundete. Von vier Soldaten kam einer nicht mehr nach Hause. Gestorben wurde nicht nur auf dem Schlachtfeld, sondern auch wegen schlechter medizinischer Versorgung nach dem Kampf.
Antebellum
Der Konflikt loderte bereits lange vor dem Kriegsbeginn. Im Parlament wurden die Debatten über die Wirtschaftspolitik des Landes gehässig geführt und Abgeordnete, die sich angegriffen fühlten, forderten ihre Kontrahenten vielfach zu Duellen, um ihre Ehre zu bewahren. Duelle wurden tendenziell eher von den Duell-gewohnteren Südstaatlern gewonnen. Eines der berüchtigten Duelle fand zwischen William Graves und Jonathan Cilley wegen einem Bestechungsvorwurf statt.
Krieg
Der Krieg begann noch vor der Amstseinführung des neu gewählten Präsidenten Abraham Lincoln. In den drei Monaten zwischen seiner Wahl im November 1860 und der Inauguration im März 1861 traten sechs Südstaaten aus der Union aus. Als am 12. April der Krieg begann, waren es elf.
Zu Kriegsbeginn meldeten sich im Norden viele Freiwillige. Viele waren Einwanderer. Zum Beispiel waren 6000 ehemalige Schweizer in dieser Armee. Im fortgeschrittenen Stadium des Krieges kam es zu «Draft-Riots» und zu einem Mangel an Soldaten. Auf der Seite des Südens kämpften vor allem die Armen, die als Milizen eingezogen wurden oder sich freiwillig meldeten. Ungerecht war insbesondere, dass diejenigen, die viele Sklaven hatten, nicht in den Krieg gehen mussten, weil sie im Betrieb als unentbehrlich galten. Es gab einige Deserteure, die, wie entflohene Sklaven, in Wäldern und Sümpfen lebten. Allerdings hatten ihre Familien als Folge der Desertation zu leiden.
Unionsgeneral William T. Sherman (1820–1891) war ein unbarmherziger Mann. Im Süden ist er bis heute ein rotes Tuch. «Nicht weil Sherman kämpfte, eroberte und siegte, sondern weil er den Süden demütigte» (so Uwe Schmidt in einem Artikel der Zeit. Sherman machte sich Mitte November 1864 mit seiner Armee von 62’000 Unionssoldaten auf zu einem «Marsch zum Meer». Er zog von Atlanta bis nach Savannah, wobei er eine 90 Kilometer breite und 400 Kilometer lange Schneise verbrannter Erde hinterliess. Von diesem Niemandsland aus, sollte in der Folge kein Widerstand und kein Krieg mehr ausgehen können. Die Unionsarmee raubte, was sie brauchte, brandschatzte, was für den Feind brauchbar sein konnte, sie vertrieb, wer ihr im Weg war. Der Befehl Shermans lautete: «Richtet so viel Schaden an, wie ihr nur könnt». Die Übergriffe auf die Zivilbevölkerung hielten sich in Grenzen – so zivilisiert war die Unionsarmee – doch es wurden ganze Familien vertrieben, es kam zu 700 gemeldeten Vergewaltigungen vor Militärgericht. Die Dunkelziffer dürfte dabei riesig sein.
Folgen des Kriegs
Die Spaltung des Landes ermöglichte dem Kongress unbehindert von den Südstaaten Neuerungen durchzubringen, die das Land modernisierten. Er unterstützte die wissenschaftliche Lehre und Forschung, indem öffentliche Universitäten gegründet wurden. Er führte das erste nationale Steuersystem ein und schuf die erste nationale Währung. Er stellte de Weichen für die Fertigstellung der transkontinentalen Eisenbahn.
Mit dem Sieg der Union über die Konföderation ging eine südstaatliche Lebensweise unter, der in politischer Hinsicht heute niemand, die oder der bei Trost ist, nachtrauert. Wirtschaftlich verarmte der Süden, denn im Sezessionskrieg wurde seine gesamte Infrastruktur zerstört, die hätte helfen können, die Region zu industrialisieren und zu modernisieren. Die Nordstaaten demütigten den uneinsichtigen Süden bis auf die Knochen.
Die Skaverei wurde 1865 mit dem Thirteenth Amendment abgeschafft. Die ehemaligen Sklaven wurden fortan als Sharecropper und Lohnarbeiter angestellt. Die einzige Alternative, die sie hatten, bestand darin, zu in den industrialisierten Norden oder den Westen zu migrieren (siehe Great Migration). In den Südstaaten wurde die Politik der Segregation betrieben (Jim Crow Gesetze, Motto: «separate but equal»).
Im Süden wurde der Ku-Klux-Klan gegründet, eine Geheimgesellschaft weisser Suprematisten.
Die progressive Republikanische Partei machte nach dem Krieg eine Art Kehrtwendung und wurde zur Partei der Unternehmer und der Besitzenden.
Der mediale Krieg
Der Krimkrieg und der Sezessionskrieg waren die ersten Kriege, deren Gräuel und Opfer mit Fotografien sichtbar gemacht wurden. Seither hat sich in der öffentlichen Wahrnehmung von Kriegen drastisch verändert.
Die amerikanische Auseinandersetzung mit dem Thema «Sezessionskrieg» ist ziemlich verzerrt: Beide Seiten werden in der Regel als Helden dargestellt. Die Südstaatler kämpften heroisch und nobel für ihren «Lost Cause of the Confederacy». Aus dem Sezessionskrieg eine offizielle und eine populäre Kultur von Reenactments und Gedächtnisfeiern entstanden, die der Geschichte der Opfer und der (ehemaligen) Sklaven nicht gerecht wird. Auch Hollywood und Fernsehen haben hier mit dem Film Vom Winde verweht
oder der Serie Fackeln im Sturm
ihren Anteil an dieser kollektiven Verdrängung.
Links
– Uwe Schmidt: Der US-General, der den Krieg zur Hölle machte (Welt, 17. November 2014)
– Library of Congress: Death & the Civil War (Youtube, 15. Mai 2013).
– New England Historical Society: Remembering Jonathan Cilley, the Reluctant Maine Duelist
– Thorsten Kathke: Gewalt und Opfer. Eine andere Geschichte – Die Opfer des US-Bürgerkriegs (1861-65). (Vorlesung im Rahmen der Applied History Lecture HS 19, 26. September 2019)
American Music Awards Tag
Die American Music Awards wurden ab 1974 verliehen. Das ABC-Netzwerk verlor ein Jahr zuvor die Rechte, die Grammy-Preisverleihung zu übertragen und so beschlossen Sie die AMA's als Konkurrenzveranstaltung hochzuziehen. Der Preis geht an Künstler/-innen, die vom Publikum und nicht von einem Expertengremium gewählt werden. Dick Clark produzierte die Veranstaltung.
Anfangs gab es drei Hauptkategorien – Pop/Rock, Soul/R&B und Country – mit je fünf Unterkategorien: beste/-r Sängerin, Sänger, Gruppe, Singles und Alben. Heute sind neue Hauptkategorien hinzugekommen: General, Rap/Hip-Hop. Auch gibt es weitere Restkategorien («Other»), in denen jeweils ein Preis verliehen wird: Favorite Adult Contemporary Artist, Favorite Alternative Artist, Favorite Latin Artist, Favorite Contemporary Inspirational Artist sowie Favorite Electronic Dance Music Artist. Kategorien, die wieder fallen gelassen wurden, waren Disco, Dance, Metal.
Links
– Website
Die Sieger-Songs der Kategorie «favorite pop/rock song» verzeichnet Dave's Music Database.
American Epic Tag
«American Epic» ist der Name einer Musikdoku aus dem Jahr 2017, zu der ein Film, drei stündige TV-Features, ein Buch und verschiedene Tonträger herausgekommen sind. Auf dieser Basis ist auch ein Ausbildungsprogramm an der University of Chicago Laboratory Schools entstanden. Thematischer Schwerpunkt sind die 1920er Jahre, als in den USA zum ersten Mal Rootsmusik auf Tonträger aufgenommen wurde und sich Amerika infolgedessen zum ersten Mal selbst hörte. Impliziert wird im Slogan der Serie «The First Time America Heard Itself», dass Americana nicht nur die Volksmusik der USA sind, sondern der primäre Ausdruck einer eigenen amerikanischen Kultur, die von der europäischen kolonialen Kultur verschieden ist und letztlich (neben dem Jazz) Amerikas Beitrag zur Musik der Welt darstellt.
Die TV-Features wurden in England von der BBC und in den USA von PBS ausgestrahlt. Die Geschichte von zwölf Interpreten aus der Zeit wird erzählt: Carter Family, Memphis Jug Band, Elder J.E. Burch, Williamson Brothers, Dick Justice, Charley Patton, Hopi Indian Chanters, Joseph Kekuku, Lydia Mendoza, Breaux Family, Mississippi John Hurt, und Blind Willie Johnson.
Beim Third Man Label von Jack White kam 2017 eine CD-Serie mit Genre- und Act-Compilations heraus.
Amazon Tag
– Christiane Hanna Henkel: Die zwei ungleichen Riesen (NZZ, 28. August 2018)
Altered Zones Tag
Altered Zones war ein kurzlebiger Musikblog, der von Pitchfork zwischen dem Sommer 2010 und dem Jahresende von 2011 betrieben wurde und sich mit DIY-/Lo-Fi-Musik befasste. Die Herausgeber waren Ric Leichtung und Emilie Friedlander. Die Inhalte wurden aus verschiedenen kleineren Blogs aggregiert. Altered Zones thematisierte Untergrund Acts, von denen einige später erfolgreich geworden sind: Julia Holter, How To Dress Well oder Grimes.
Nach nur 16 Monaten wurde AZ wieder geschlossen. Dessen Nachfolge hat ad hoc 2012 angetreten, ohne je das selbe Echo gefunden, geschweige denn eine mit AZ vergleichbare Wirkung gehabt zu haben.
Links
– Internet Archive: Waybackmachine: Altered Zones (Blog)
– Dale W. Eisinger: Altered Zones: A Eulogy (Nonstop Sound, 1. Dezember 2011)
– Altered Zones: Altered Zones: Top Albums of 2010 (Rate Your Music Liste von User R2R_Catalogue) – in Musikzimmer
– Altered Zones: Favorites Albums of 2011 (Year End Lists, 30. Dezember 2011) – Liste in Musikzimmer
– Discogs: Verzeichnis der Altered Zones Mix Serie
AllMusic Tag
«AllMusic», früher «All Music Guide» (AMG) ist eine Musikdatenbank, die von Michael Erlewine in Ann Arbor gegründet wurde und heute von RhythmOne aus San Francisco betrieben wird – zusammen mit AllMovie.
Spezialisiert ist AllMusic auf CD-Releases. Die Datenbank enthält neben Metainformationen ausführliche Rezensionen und eine Experten-Bewertung (maximal 5 Sterne). Für Interpreten lassen sich Biografien und Ähnlichkeits- und Einflussbeziehungen nachschlagen. Die Diskografien der Interpreten sind in Main Albums, Compilations, Singles & EPs, DVDs & Videos und Others eingeteilt. Die Restkategorie Others umfasst vor allem Bootlegs. Zu jedem Release findet man viele Informationen: das Cover, eine Rezension/Besprechung, ein Rating, eine Trackliste (im besten Fall mit Angabe der Autorschaft, der Trackdauer und einem 30-Sekunden Streaming-Sample), die Release-Daten und Auflagen, das Label, die Credits, ausserdem je Genre-, Stil-, Moods- und Themenzugehörigkeiten. Natürlich lässt diese Zuteilung eine Suche nach Stilen, Stimmungen oder Themen zu – auch über Instrumente und Länder.
AllMusic hat zwar die Rubrik «Singles & EP's», aber die Suche nach Singles ist nicht seine Stärke. Es ist nicht nur dass viele Singles fehlen, sondern dass der AllMusic nicht wirklich eine Datenbank für Singles ist, da er von den Tracklisten der LP-, CD-, EP-Releases ausgeht und die einzelnen Songs (Tracks) in einer weiteren Datenbank-Kategorie erfasst. In der Rubrik Songs kann man nach jedem erfassten Track suchen, was teils zu unüberschaubar vielen Resultaten führt. Ausgeben lassen können Sie sich die Songlisten bezogen auf einen Namen (Künstler, Act) oder auf alle Namen (klicken Sie auf: All Performers that have performed this Title). Ausserdem gibt es einzelne Besprechungen zu wichtigen Tracks (siehe die Besprechung zu Let It Be).
Die Datenbank ist vor allem im Bereich Main Albums sehr gut gepflegt. Es gibt zwar Lücken da und dort, bei älteren Releases, die bisher noch nicht auf CD neu aufgelegt wurden, fehlen oft die Covers, Electronica Releases aus Europa fehlen im grossen Umfang. Leider unterscheidet der AllMusic beim Release-Datum nicht zwischen Europa und Amerika. So sind Europäische Releases oft mit den teils viel späteren amerikanischen Erscheinungsdaten versehen.
AllMusic bietet ausserdem verschiedene Rubriken, die man sonst eher von Online-Magazinen erwarten würde: Im Blog findet man redaktionelle Beiträge und in New Releases neue Veröffentlichungen.
Seit dem 15. Juli 2013 hat AllMusic sein aktuelles blaues Erscheinungsbild. Genau ein Jahr später, am 15. Juli 2014 führte AllMusic die Collection-Funktion ein, mit der man Releases zu einer individuellen Sammlung zusammenstellen kann. Eingeloggt kann man ausserdem Alben bewerten, Rezensionen schreiben, einzelnen Acts folgen, Mitteilungen über neue Releases erhalten und Listen erstellen.
AllMusic verkauft seine Inhalte auch anderen Anbietern, beispielsweise an mp3.com: mp3.com
Links
– zu AllMusic
Alkohol Tag
Alkohol ist so alt wie die menschliche Zivilisation. Vielleicht waren alkoholische Getränke sogar eine Motivation, sesshaft zu werden. In vermutlich allen Hochkulturen der Vergangenheit war Alkohol ein fester Bestandteil der Ernährung.
Alkoholverbote wie die amerikanische Prohibition haben den Alkohol nicht verdrängen können, sie schufen stattdessen eine starke Mafia, die sich durch schwarzes Brennen und Vertreiben eine goldige Nase verdiente. Im Verruf stand Alkohol nicht erst bei den Puritanern, sondern bereits in der Reformationszeit. Auch die sozialistische Arbeiterbewegung sah den Alkohol als ein Mittel, mit dem die Kapitalisten sich die Arbeiterschaft gefügig hielten (wie auch die Kolonialisten sich die Eingeborenen mit Alkohol gefügig machten). Tabuisiert wird Alkohol auch in Jugendszenen wie der Straight Edge Bewegung.
Die WHO zählt pro Jahr über drei Millionen Tote durch Alkoholmissbrauch.
Aldon Music Tag
«Aldon Music» war ein New Yorker Musikverlag, der 1958 von AL Nevins und DON Kirshner gegründet wurde. Aldon war äusserst erfolgreich und mitverantwortlich für den Brill Building Sound. Der Verlag hatte seinen Sitz an der Adresse 1650 Broadway – nicht im Brill Building!
Namen
«Aldon Music» hatte folgende Personen unter Vertrag: Neil Sedaka (auch ein Interpret), Howard Greenfield, Carole King (zeitweilig auch eine Interpretin), Gerry Goffin, Jeff Barry, Ellie Greenwich, Neil Diamond (auch ein Interpret), Paul Simon, Phil Spector, Barry Mann, Cynthia Weil und Jack Keller.
Aldons Buchhalter war Allen Klein, der spätere Labelgründer von ABKCO und Manager der Rolling Stones und der Beatles.
Aldons Büro in Los Angeles wurde von Lou Adler geführt, der später Jan and Dean managen sowie die Labels Dunhill und Ode gründen wird. Für Aldon in Los Angeles schrieben David Gates, Harry Nilsson,
Tommy Boyce und Bobby Heart Songs.
Arbeitsweise
Die Songwriter bei «Aldon Music» arbeiteten auf eine andere Weise als die alten Tin Pan Alley Autoren. Jene schrieben Musik als Noten und der Verlag verkaufte diese Noten und lizensierte die Songs für Musicals, Filme, Plattenaufnahmen etc. Nun nach Mitte der 1950er Jahre und nach dem Siegeszug von Rock 'n' Roll waren vor allem Teenager die Endabnehmer der Musik und kauften Vinyl Singles. Die neuen Musikverlage wie «Aldon Music» in New York oder «Metric Music» in Los Angeles (der Verlag von Liberty Records) verstanden Songwriting auf eine neue Art. Die in der Regel sehr jungen Songwriter/-innen schrieben nicht länger Noten, sondern produzieren Platten. Sie hatten eine klare Vorstellung davon, wie ihr Song als Aufnahme klingen soll und setzten diese Vorstellung um, indem sie mit verlässlichen Produzenten zusammen arbeiteten oder indem sie den Song selbst (mit-) produzierten. «Aldon Music» hatte zeitweilig den Inhouse-Produzenten Phil Spector angestellt oder die Songwriter produzierten selbst. In Los Angeles arbeitete Lou Adler mit Snuff Garrett zusammen.
«Aldon Music» hat neben dem Verlag ein Label gegründet, Dimension Records, das vor allem der Produktion von Demo-Aufnahmen diente. Einige von ihnen waren so gut, dass sie als Single veröffentlicht wurden und Spitzenplätze in der Hitparade erreichten.
Ende
Don Kirshner und Al Nevins verkauften ihr kleines Imperium 1963 für 2,5 Millionen Dollar an ein Sublabel von Columbia, Screen Gems, einer Tochtergesellschaft von Columbia, die im TV-Geschäft tätig war. Kirshner machte als Executive von Colpix und dem Nachfolger Colgems weiter und feierte weitere Erfolge mit Pop-Bands wie den Monkees und den Archies.
AIM Awards Tag
Der AIM Musik Award wird von der Association Of Independent Music vergeben. Kategorien sind:
– Track of the Year
– Album of the Year
– Best Live Act
– Independent Video of the Year
– UK Breakthrough of the Year
– International Breakthrough of the Year
– Best Small Label
– Independent Label of the Year
– Best Sophomore Release
– Best Creative Packaging
– Hardest Working Band or Artist
– PPL Award for Most Played New Independent Act
– Indie Champion Award
– Innovator Award
– Outstanding Contribution To Music
– Pioneer Award
Links
– Webseite der Association Of Independent Music
AIDS Tag
Durch das HIV-Virus verursachte Immunkrankheit. Unmittelbar nach der Infektion treten Grippe-ähnliche Symptome auf. Dann folgt eine langjährige Latenzphase. Am Ende zerstört das Virus die Abwehrkräfte. Patient*innen werden wegen kleinsten Infektionen krank und entwickeln vielfach ein Kaposi-Sarkom, einen Hautkrebs.
Die Übertragung erfolgt durch Bluttransfusionen, kontaminierte Nadeln oder Austausch von Körperflüssigkeiten, vor allem beim Analverkehr.
Seit den 1990er Jahren hat man eine Therapie, die Mit Highly active antiretroviral therapy (HAART), die zwar das Virus nicht zerstört, aber das Immunsystem stärkt, indem die Konzentration HI-Virus unter die Nachweisgrenze gedrückt wird.
Agitpop Tag
«Agitpop» ist ein an «Agitprop», Lenins Vereinnahmung der Kunst für die russische Revolution, angelehntes Kunstwort, das Formen von Agitation und Propaganda mittels der Populärkultur bezeichnet. 1968 in Zürich gingen Populäre Musik und Neue Linke eine solche «marriage difficile» ein. Diese steht im unmittelbaren Zusammenhang mit dem Monsterkonzert im Zürcher Hallenstadion im Mai und den Globuskrawallen im Juni.
Was passierte ...
Der Zürcher Veranstalter Hansruedi Jaggi traf sich im Vorfeld des Monsterkonzerts mit Roland Gretler von der Jungen Sektion der PDA (JS), einer der politischen Gruppen der Neuen Linken Zürichs. Jaggi liess sich mit der JS auf einen Deal ein: Er konnte von der JS den gut aussehenden und souverän auftretenden Giorgio Frapolli, einen der Männer an den megaphonen als Ansager beim Monsterkonzert haben, dafür dürfe die Gruppe ein Flugblatt unter den Besuchern verteilen. Jaggi händigte der JS zudem die Adressen jener 6000 Fans aus, die beim «Blick» an einem Wettbewerb teilnahmen, bei dem es 1000 Freibillette fürs Konzert zu gewinnen gab. Das Flugblatt trug den Titel 1. Flugblatt der antiautoritären Menschen. Jaggi wurde vom Konzert-Sponsor Blick für seine Machenschaften wegen Landfriedensbruchs verklagt. Er bekam seinen Kopf aber wieder aus der Schlinge.
Wirkung
Durch das Eingreifen der Neuen Linken in der Musikszene vereinigten sich verschiedene Arten der Rebellion zu einer Jugendbewegung, die allerdings sehr heterogen blieb. Da waren die relativ unartikulierten und wenig politisierten Beat-Fans, die durch ihr Äusseres von der konservativ-verknöcherten Zürcher-Gesellschaft verhöhnt und diskreditiert wurden und daher mehr als latent frustriert waren. Sodann gab es die Hippie-Aussteiger, die gesellschaftlich nicht mehr mitmachen und stattdessen ein höheres Bewusstsein mittels Drogen und Meditation zu erreichen suchte. Schliesslich gab es die Neue Linke, die den Sturz der alten Autoritäten forderte. Diese Formen von Rebellion vermengten sich zwar im Sommer 1968 zu einer Bewegung, doch aus der Sicht der Neuen Linken hatte diese «marriage difficile» eine zentrale Bedeutung, zu der die Partnerinnen nicht ohne Weiteres «Ja» gesagt hätten.
Hintergrund dieser Agitation
Ein Gespräch, das Hans Magnus Enzensberger im Oktober 1967 mit Rudi Dutschke und anderen führte, gibt Aufschluss über die Tragweite von Agitpop. Das Gespräch kam auf die amerikanischen Hippies. Sie seien die gesellschaftliche Kraft, die am ehesten zur Beseitigung oder zum Umsturz des Systems bereit wäre. Enzensberger würdigt den Mut der Hippies zur Utopie: «Sie haben den Mut zu ihren Wünschen» und «Ich glaube an die Sprengkraft der Wünsche». Dutschke attestiert den Hippies, dass sie «die Bedürfnisse des Körpers» nicht wie der Rest der Gesellschaft verdränge und dass dies ein in die Zukunft weisendes Moment sein könnte. Nur werde darüber «die Machtfrage» vergessen. Wie selbstverständlich wird im Gespräch vorausgesetzt, dass die Gesellschaft bzw. das politische System umgestürzt werden muss. Ein Umsturz braucht aber gemäss marxistischer Lehre die unzufriedene dritte Klasse als Agentin: Ohne dass sich Bauern und Arbeiter erheben, gibt es keine Revolution. Die Arbeiter waren für die jungen Studenten damals nicht zu gewinnen, weil ihnen – so sahen sie es – ihre potentielle Unzufriedenheit mit sozialer Sicherheit abgekauft wurde. An die Stelle der Arbeiter und Bauern wurden nun die Hippies als Träger eines potentiellen gesellschaftlichen Umsturzes interessant.
Adult Contemporary Tag
Radioformat für die Zielgruppe von 25–49 jährigen, nicht mehr jugendlichen Personen. Zum Format gehört leichte, unaufgeregte, hauptsächlich melodisch geprägte Musik, alte Hits aus der Jugend der jeweiligen Generation und so genannte «recurrents» (das sind aktuelle Titel aus den letzten ca. fünf Jahren, die nach grosser Vorlaufzeit auch bei diesem Publikum ankommen, vorausgesetzt, sie erfüllen die Format-Anforderungen).
Seit 1961 führt das Billboard Magazin die AC-Charts, zuerst unter dem Namen «Easy Listening» (1961–62, 1965–79), Middle-Road Singles (1962–64) oder Pop Standard Singles (1964-65). Seit 1979 heisst das Format «Adult Contemporary» (kurz AC), die zugehörigen Hitparade AC Tracks (1979–82) bzw. AC Singles (1983–heute).
AC-Musik wird vor allem über Massenmedien (Radio und TV) verbreitet. Schallplattenverkäufe halten sich verglichen mit dem Jugendmarkt in Grenzen, obwohl es auch hier Blockbuster gibt. Deshalb basieren die AC-Charts, auf dem Airplay und nicht auf den Verkaufszahlen. Diese Hitparade wird damit hauptsächlich von «Gatekeepern» bestimmt, von professionellen Redakteur/-innen der Radioprogramme, und nur indirekt von den Endverbrauchern!
Das Format ist auch in Europa verbreitet und erfolgreich. Bis in die 60er- bzw. in Ländern wie der Schweiz, wo sich die Radiolandschaft langsam entwickelte, bis in die 70er Jahre hinein war Unterhaltungsmusik AC-formatiert.
Kommerziell ist das Format eines der erfolgreichsten: Es wendet sich an Teile der kaufkräftigsten Hörer/-innen, allerdings kaufen diese nicht die gespielte Musik, sondern die beworbenen Produkte. (aufschlussreich ist das Buch von Kim Simpson (2011) zur Formatrevolution in den 70er Jahren.)
Weihnachtsmusik gehört auch zum AC-Format. In Amerika nehmen AC-Acts irgend wann einmal in ihrer Karriere ein Weihnachts-Album auf.
Weiterentwicklungen und Differenzierungen fanden in den Dimensionen der Alterskohorte statt (Modern AC), der Zulässigkeit von Top40-Hits im Format (Soft und Hot AC), aber auch in der «Christian Music» oder im R'n'B, wo «Urban and rhythmic AC» oder «AC R&B» oder «Smooth adult contemporary» entstanden sind. Diese Differenzierungen zeigen, dass es bei Formaten grundsätzlich mindestens zwei voneinander unabhängige Dimensionen gibt: eine des Musiktyps (Pop, R'n'B, Country, Christian, Klassik, Jazz usw.) und eine des Alters (Hot als Indikator für jung und urban, Soft als Indikator für das Erwachsenenealter, Smooth oder Classic als Indikator für gesetztes Alter). (Vergleiche auch Tag: Format).
Links
– Billboard: Aktuelle Billboard Adult Contemporary Charts (abopflichtig)
– Billboard: Greatest of All Time Adult Contemporary Songs
– Dave Whitaker: The Top 100 Adult Contemporary Hits of All Time (Dave's Music Database, 22. Juli 2011, update: 9. April 2019) – [C] [PLAYlist]
ADT Tag
ADT oder «Automatisches Double-Tracking» war eine Aufnahmetechnik der mittleren 1960er Jahre, die in den Abbey Road Studios in London entwickelt wurde als sie noch EMI Studios hiessen. Um Doubletracking herzustellen, was zu dieser Zeit ein Produktionsstandard für Stimmen und Soloinstrumente war, musste eine Sängerin, ein Sänger oder eine Band zwei Mal singen. Der Gesang musste genügend ähnlich sein und es brauchte in der Regel mehrere «takes» bis der Produzent zufrieden war. Doubletracking kostete Zeit und eine ganze Aufnahmespur auf der 4-Kanal-Maschine.
Der Anlass, um ADT zu erfinden kam 1966 möglicherweise vom damals führenden EMI-Act, den Beatles, die keine Lust auf zwei Mal singen und spielen hatten, oder von den EMI-Aufnahmetechnikern, die den Aufnahmeprozess beschleunigen, Kosten senken und eine Aufnahmespur mehr zur Verfügung haben wolten.
Es war Techniker Ken Townsend der mit der Lösung kam: Die bei der Aufnahme verwendeten Studer 4-Spur-Tonbandgeräte hatten zwei leicht zeitversetzte Ausgänge pro Aufnahmekanal, die Townsend während dem Mix-Prozess abgriff. Auf einem der Ausgänge schloss er eine EMI BTR 2 Mono Tonbandmaschine an, die das Signal bei einer von einem Kristall-Oszillator gesteuerten und von Hand abgestimmten Geschwindigkeit von rund 30 inch pro Sekunde aufnahm und schliesslich mit dem anderen Signal vom Vierspur-Band zusammen mischte (siehe das Video von Waves Audio mit dem Ken Townsend Interview).
Das ADT-Verfahren erfand mit dem Oszillator gesteuerten Tonband einen Audio-Effekt, den man bis heute «Flanging» nennt (siehe Flanger. Flanging entsteht, wenn man die Geschwindigkeit des zusätzlichen Tonbandgeräts leicht wobbelnd verändert (schnelles hin- und her drehen des Frequenz-Drehreglers. Den Begriff haben laut Mark Cunningham George Martin und John Lennon geprägt. Als lennon fragte, wie man das Problem des ADT nun gelöst hätte, erklärten ihm die Techniker den Trick. Lennon aber hate wenig technisches Flair und verstand die Erklärung, die man ihm gab, nicht. George Martin sprang mit einer metaphorischen Beschreibung ein: «Wir leiten deine Stimme wie durch die Zähne einer Gabel, wobei sie durch das eine oder andere Gerät geht, wodurch ein sprühender Rand/Flansch entstehet» (Cunningham, p. 145). Lennon verstand es zwar noch immer nicht aber er kommunizierte von nun an mit den Technikern so: «Kannst du meine Stimme bei diesem Song flangen?» So bürgerten sich das Wort Wort «Flanging» für den Effekt ein. Wenig später wurden auch Effektgeräte gebaut, die diesen Effekt nutzen und die man Flanger nannte.
Links
– Inside Abbey Road: Artificial Double Tracking (13. April 2020)
Ad Hoc Tag
«Ad Hoc» ist ein Musikblog, der von den ehemaligen Altered Zones-Macher*innen, Emilie Friedlander und Ric Leichtung gegründet wurde. Finanziert wurde der Blog mittels Crowndfunding. Das Missionstatement von «Ad Hoc» lautete: «We're doing it differently». Anders sein als die anderen Musikblogs heisst für «Ad Hoc»: Die Musik, die eingesandt wird, soll tatsächlich angehört werden, in Besprechungen soll ein Album nicht auf ein Zahlen-Rating reduziert werden, es soll Musik aus der ganzen Welt (statt nur aus Brooklyn) berücksichtigt werden, Musiker*innen kommen selbst zur Sprache, weil das Projekt von Musikerinnen und Bands mitgetragen wird, es sollen keine Hypes produziert, sondern Qualität gefördert werden, Reviews sollen nicht von der Unterscheidung zwischen gut und schlecht getragen sein, sondern darauf fokusieren, was eine Musik über die artistischen, technologischen, ökonomischen und politischen Entstehungsbedingungen aussagt (siehe auch das Video auf der Fundraising-Seite).
«ad Hoc» war insofern eine Enttäuschung, als es die nach Altered Zones hoch gesteckten Erwartungen nie einlösen konnte.
Links
– zu Ad Hoc
Acclaimed Music Tag
Acclaimed Music ist eine Webseite, die Expertenlisten für Songs und Alben erfasst hat (Bestenlisten von Musikmagazinen, Webseiten, Radiostationen, Musiker/-innen) und diese statistisch zu einer Metaliste verrechnet – zur Liste aller erfassten Listen. Die Site wurde 2001 von Henrik Franzon aus Stockholm gegründet.
Nicht berücksichtigt werden Jahresendlisten für Singles (aus zeitökonomischen Gründen) und Genre-spezifische Listen von Quellen, die nicht auf dieses Genre spezialisiert sind. Ebenfalls unberücksichtigt bleiben Fanlisten. Bei den Alben werden Compilationen nicht berücksichtigt.
Eine Liste wird gewertet: Je kohärenter sie mit anderen Listen ist, desto mehr Wert hat sie. Je älter ein Album ist, desto höher die Wertung. Die Wertung ist ausserdem abhängig von Erscheinungsort der Liste. Veröffentlicht diese Region weniger Listen ist ihr Rating höher. Hat die Region eine grosse Population ebenfalls.
Publiziert werden die besten Alben und Songs aller Zeiten, Dekadenlisten und Jahreslisten (je für Alben und Songs).
Links
– Top Albums of All Time
– Top Songs of All Time
Ableton Live Tag
Ableton Live ist ein DAW bzw. eine Sequenzer-Software, die vom Berliner Softwareunternehmen «Ableton» vertrieben wird. Sie richtet sich an DJ-Producer, die damit Tracks arrangieren oder bei live DJ-Sets in Echtzeit bearbeiten können.
Quellen
– Ableton Live (Webseite)
AABA Tag
Die AABA-Form ist die typische musikalische Form im Great American Song Book bzw. im Songwriting der Tin Pan Alley. Man hat die Form sogar «American Popular Song Form» genannt, um zu unterstreichen, wie charakteristisch sie in den USA im ersten Teil des 20. Jahrhunderts war.
Der Fokus bei dieser musikalischen Form liegt bei der A-Sektion. Ihr ist in aller Regel auch der Songtitel entnommen, der am Beginn oder Ende steht. Die B-Sektion, die Bridge oder «middle eight», schafft einen Kontrast und bereichert so den Song. Jede Sektion hatte ursprünglich acht Takte, daher auch der Begriff «middle eight». Da die 4 x 8 Takte meist zu kurz für einen Song sind, wird entweder die komplette Struktur wiederholt oder ein Teil davon. man spricht von partieller oder kompletter Reprise.
Varianz
Neben der AABA Form treten auch andere Formen auf: AABC, ABAC, ABCA, ABCD.
Die schwedische Gruppe ABBA spielt mit dem Namen dieser Form. Abba ist bei ihr aus den vier Vornamen der Bandmitglieder zusammengesetzt: Agnetha, Björn, Benny und Anni-Frid.
Entstehungsgeschichte
Um die Wende zum 19. Jahrhundert dominierten Songs, die aus mehreren 8 bis 10 Stanzen langen Verses bestanden, die am Ende einen Refrain hatten, der sich über eine oder zwei Verszeilen erstreckten.
Minstrelsongs und Songs in der Mitte des 19. Jahrhunderts: Ausbildung eines kurzen Chorus am Ende der Verses. Das musikalische Hauptmaterial (d.i. der Teil des Songs, an den man sich zuerst erinnert, der im Ohr liegt) lag noch immer in den Verses.
Post-Civil-War Songs: Hier werden Verse und Chorus gleich lang. Beide enthalten musikalisches Hauptmaterial.
Tin Pan Alley Songwirter der ersten Generation: Zwei oder drei Verses und Chorus, alle haben etwa die selbe Länge, das Hauptmaterial liegt nun im Chorus.
Tin Pan Alley Songwirter der zweiten und dritten Generation: Songs haben nur noch einen oder zwei Verses, die zudem bei vielen Plattenaufnahmen oder Radio- und TV-Auftritten weggelassen werden. Dwer Chorus ist das musikalische Hauptmaterial. Es ist der Chorus, der in der Regel 4 mal 8 Takte (sehr schnelle Songs hingegen 4 mal 16 Takte) enthält die eben AABA strukturiert sind. Die AABA-Sequenz ist historisch also die Binnenstruktur eines Chorus.
Jazz
Im Jazz werden oft Songs aus dem Great American Songbook gespielt. Nach allen 32 Takten, werden diese schlicht repetiert, wobei dei Instrumente beginnen zu improvisieren. Am Ende werden noch einmal alle 32 Takte durchgespielt, um das Stück zu beenden.
Querverweise
– Quelle: Entstehung der AABA Songstruktur: Charles Hamm: Yesterdays, p. 358 ff.
A&R Tag
«A&R» ist die Abkürzung für «Artists and Repertoire», eine Funktion bei einem Label, die mit einem Redakteur bei einem Verlag vergleichbar ist. Die Funktion hat sich im Lauf der Geschichte verändert.
Vor dem Rock 'n' RollI war ein A&R die Person, die Aufnahmesessions leitete. In ihrer Verantwortung lag das Labelprogramm, das Finden von geeigneten Künstler*innen, die Auswahl der Songs, die diese interpretierten. Der berufliche Hintergrund eines A&Rs war in der Regel ein musikalischer: Eine A&R-Person musste komponieren und arrangieren können.
In den 1960er Jahren ging die Verantwortung für die Aufnahme zunehmend an den Produzent über. Die Funktion des A&Rs bestand dann darin, Künstler*innen und Produzenten anzustellen und deren Repertoire mitzubestimmen.
Mit der Rockmusik, die viele Künstler*innen hervorbrachte, die ihre eigenen Songs interpretierten, die Produzenten selbst bestimmten, wandelte sich die Funktion erneut: Nun konzentrierten sich A&R-Leute zunehmend auf die Business-Funktionen: Budgetierung, Promotion und Vermarktung. Nun hielten sich A&R-Personen zunehmend aus den musikalischen Angelegenheiten heraus. Ihr beruflicher Hintergrund war nun in der Regel ein finanz- und betriebswirtschaftlicher.
Das Ende von A&Rs
Im digitalen Musikmarkt nach dem Millennium sind A&R-Personen weitestgehend verschwunden. Die Funktionen mögen überlebt haben, werden aber nicht mehr auf die frühere Weise gebündelt. Bei Independent-Labels gibt es sie noch. Aber, da sie diese Labels betreiben heissen sie Label-Betreiber*innen.
Grosse Labels hatten mehrere A&Rs, die in der Regel auf einzelne Sparten spezialisiert waren.
Beispiele von A&Rs
– John Hammond (Columbia)
– Mitch Miller (Columbia)
– George Daly (Columbia)
– Dave Kapp (Decca)
– George Martin (Parlophone)
– Hugo and Luigi (Mercury)
– Ken Nelson (Capitol, C&W)
– Dave Dexter (Capitol, Jazz)
– Dave Cavanaugh (Capitol, Blues und Rhythm & Blues)
– Voyle Gilmore (Capitol, Pop)
– Lee Gillette (Capitol, Pop)
– Clyde Otis (Mercury)
– Al Coury (Capitol, RSO, Geffen)
– Clive Davis (Columbia, Arista, LaFace)
– Gary Gersh (DGC)
– David Geffen
– Loren Israel (Capitol)
– John Kalodner (Atlantic, DGC, Columbia)
– Kara DioGuardi (Warner Bros.)
50s progression Tag
Eine Harmoniefolge, die in den 50er-Jahren und dort im Doo-Wop sehr verbreitet war, auf die aber in jeder Zeit gerne zugegriffen wird – in allen Genres, wo Songs und Harmonie eine wichtige Rolle spielt. Die Progression, die unter vielen Namen bekannt ist (siehe oben), geht so: I–vi–IV–V – in Cdur: C–Am–F–G. Es gibt Varianten dieser Harmoniefolge, zum Beispiel V7 statt I oder V, x * (I–vi)–1*(IV–V), I–IV–vi–V, I–V–vi–IV (wobei diese Progression in der Regel nicht als Variante, sondern als eigenständige behandelt wird!).
Liste mit Songbeispielen
Wikipedia: List of songs containing the 50s progression
4-4-Takt Tag
Diese Taktart wird zuweilen auch als «standard meter» bezeichnet, weil er zumal in der Populären Musik am meisten vorkommt. Deshalb ist es auch wenig sinnvoll, Songs in der Musikzimmer-Datenbank mit diesem Stichwort auszuzeichnen. Mit einer Taktart getaggt werden vielmehr diejenigen Songs, die von diesem Standard abweichen.
3rd-Party Playlists Tag
3rd-Party Playlists sind Playlisten auf Spotify und anderen Streaming Services, die nicht von der Plattform selbst kuratiert werden, sondern von unabhängigen kommerziellen oder nicht-kommerziellen Kuratoren. Kuratoren von 3PLs können passionierte Fans sein («passion projects»), Fanclub-ähnliche Kuratoren, die vor allem die Musik eines Acts bevorzugen, Radio- oder Medien-Organisationen bzw. DJs/VJs, Marketing-Organisationen, die einer Marke (z.B. einem Sportartikel- oder Getränke-«Brand» – z.B.: Nike’s Nike Running Tempo Mix) ein musikalisches Gesicht geben. Zuweilen arbeiten diese Kuratoren nur auf einer Streaming-Plattform (eher die «passion projects»), zuweilen auf mehreren Streaming Service Plattformen (Apple Music und Spotify) oder sogar auf mehreren Streaming- und Nicht-Streaming-Plattformen (z.B. die Firma Red Bull, die mit der Red Bull Music Academy aktiv ist und 3PLs unterhält).
Die Funktion von 3PLs besteht darin, im unübersichtlichen Angebot der Services eine Aggregation relevanter Musik zu schaffen. Kriterien der Auswahl sind häufig Stimmungen («Moods») oder Stile – Musik zum Autofahren oder 90er Jahre Rock.
Das alte Payola-Problem spielt auch hier wieder eine Rolle: Einerseits ist es nicht abwegig, dass die Kuratoren für ihre Arbeit bezahlt sind, andererseits sollten sie nicht bestochen werden, um Musik zu platzieren. Wo die Grenze zwischen dem einen und dem anderen liegt, müsste gesellschaftlich festgelegt werden.
Für Künstlerinnen und Künstler ist es wirksam, neben ihrer Youtube-Präsenz auch in den 3rd-Party Playlists prominent vertreten zu sein. Plattformen wie SubmitHub versprechen, bei der Promotion eines Songs zu helfen. Sie stellen den Kontakt zwischen Künster/-innen und Kuratoren her und unterstützen die Erfolgsmessung mit Statistiken.
Links, Verzeichnisse
– Austin Powell: Spotify shuts down major third-party service after playlist scandal (Daily Dot, 17. März 2018)
– AWAL: Decoded: The Evolution of 3rd-Party Playlisting (28. November 2018)
– Grant Rindner & Jordan Zirm: The Best Spotify Playlists Right Now (30. Oktober 2018)
– Parker Hall: Jam out in style with the 25 best playlists on Spotify (Digital Trends, 12. Dezember 2018)
2-2-Takt Tag
2/2-Takt wird in der Klassischen Musik, in der Marsch-Musik aber auch in der Populären Musik verwendet.
Links
– Jade Bultitude: Time Signature 2/2 (Cut Time) Explained (28. Januar 2023)
– David Bennett: Songs that use 2/2 time (20. Juni 2023)
1968er-Bewegung Tag
1968 ist keine normale Jahreszahl – «1968» steht für mehr als das Jahr zwischen 1967 und 1969. Es gibt keine 67er oder 69er, aber es gibt die 68er! 1968 ist eine mit (Zeit-)Geschichte aufgeladene Jahreszahl, von der man seit den 70er Jahren spricht. Gemeint sind mit «1968» die transnational auftretende Jugend-, Studierenden- und Bürgerrechtsrevolten, die einen gesellschaftlichen Neuanfang und Aufbruch markierten, eine «Kulturrevolution» sein wollten und einen wesentlichen Einfluss auf die Öffnung oder Liberalisierung der westlichen Nachkriegsgesellschaft für sich reklamieren. Der Grad dieses Einflusses wird von liberalen Kreisen allerdings in Frage gestellt. Unmittelbar kann man sagen, dass die 68er-Bewegung eher das Gegenteil bewirkt hat, die Erstarkung der konservativen Kräfte. Zur gesellschaftlichen Öffnung führte die Bewegung nur langfristig gesehen. Einige gesellschaftliche Entwicklungen waren schon vor den späten 60er-Jahren unterwegs: Die Friedensbewegung hatte in den Ostermärschen seit den Endfünfzigern ihre Anfänge. In der Schweiz wurden die Universitäten bereits ab 1961 für breitere Bevölkerungschichten geöffnet (siehe Artikel von Sebastian Brändli). 1961/62 fand das 2. Vatikanische Konzil statt, das die Ökumenisierung der Kirche anstiess.
Transnational heisst, dass Revolten an verschiedenen urbanen Orten der Welt auftraten, vor allem in der westlichen Welt aber nicht nur: San Francisco, Los Angeles, New York, Washington, Chicago, Detroit, Mexico City, Paris, Berlin, Zürich, Prag, Tokyo, ... Diese Revolten weisen eine beträchtliche inhaltliche Kohärenz auf: Die Demonstrierenden wünschten sich oder fordernten weniger Autorität, mehr Mitbestimmung, mehr Freiheiten, mehr Gerechtigkeit und weniger Gewalt.
1968 als Chiffre
Es war Adorno-Biograf und Soziologe Detlev Claussen, der diese Aufladung der Jahreszahl mit Geschichte Chiffre 68 nannte. Es gibt wenig Geschichtsschreibung in deutscher Sprache, die dieses «Chiffre 68» nicht mindestens erwähnen. Wenn eine Zahl eine «Chiffre» ist, muss man sie decodieren, interpretieren und nicht einfach als selbstverständlich hinnehmen.
1968 als Chimäre
Jakob Tanner, emeritierter Historiker der UZH, hat darauf aufmerksam gemacht, dass 1968 auch eine Chimäre sei: Die lokalen Agenten haben doch immer eine eigene Geschichte, die man untersuchen muss. Die lokalen Bewegungen konvergieren 1967 bis 68 kurzfristig und sie weisen vergleichbare Themen auf. Sie solidarisierten sich offen miteinander, reagieren aufeinander und verstanden sich als eine Stimme, als die Stimme der damals jungen Generation, die sich gegen die herrschenden Verhältnisse auflehnen, gegen die Welt, wie sie ihnen ihre Eltern (die «Spiesser») und die Institutionen (das «kapitalistische und autoritäre System») vorlegten.
1968 als Mythos
Verschiedene Autoren haben darauf hingewiesen, dass 1968 ein Mythos sei, vor allem die Veteranen, die lange den Diskurs über 68 bestimmt haben. Sie machten 1968 zu ihrem Mythos, ihrer Helden- und Leidensgeschichte. Auch Politiker/-innen und Publizist/-innen von Links und Rechts, die 1968 in Reden und Artikeln zum Sündenfall erklären, durch den die Familie zerstört wurde, die Disziplin nachgelassen habe und ein Hedonismus Einzug gehalten habe, der die Gesellschaft zerstöre, oder die 1968 als der schon erwähnte Gründungsmythos einer offenen, demokratischen Gesellschaft, wie sie im zeitgenössischen Europa vorherrscht, erzählen.
Fazit
Was haben die 68er Bewegungen rückschauend eigentlich bewirkt und wie ist das zu beurteilen? Meine persönliche Antwort auf diese Frage besteht aus drei entschiedenen Würdigungen und zwei kritischen Infragestellungen:
1. Die 68er Bewegungen hatten ein unbestechliches Gefühl für wichtige gesellschaftliche Themen, die sie mutig und zivilcouragiert artikulierten und die, wenn auch nicht unmittelbar, flächendeckend und endgültig, doch in grossen Teilen der Welt gesellschaftlich und politisch durchgesetzt worden sind: Bürgerrechte, Gleichbehandlung von Schwarz und Weiss, Frauenrechte, Ökologie, Friede und vieles mehr.
2. Die 68er Bewegung hat das gesellschaftliche und politische Klima, genauer die Form von Herrschaft nach Max Weber verändert: Vor 68 wurde Herrschaft traditional ausgeübt, mit 68 etablierte sich die charismatische Herrschaft. Traditionale Herrschaft wird von Leuten ausgeübt, die ihre Legitimation aus aus der Tradition schöpfen, ihrer Zugehörigkeit zu den gesellschaftlichen Kreisen, die für Herrschaft aufgrund ihres Besitzes, ihre Unternehmergeistes oder Patriotismus in Frage kommen. Diese Zugehörigkeit allein legitimiert ihr politisches Handeln. Die 68er waren haben die charismatische Herrschaft in unserer Gesellschaft durchgesetzt, zu einem Grad, der gar nicht intendiert war, denn heute politisieren auch wertkonservative Kreise charismatisch und erst noch erfolgreich (Stichwort: Populismus).
3. In den verschiedenen politischen und weniger politischen Gruppierungen von 68 wurden junge Leute sozialisiert, die später tatsächlich Politik machten oder erfolgreiche Künstler/-innen wurden: In Grossbritannien zum Beispiel waren das Tony Blair, Jeremy Corbyn und John McDonnell (Politik), Richard Branson oder David Puttnam (Entrepreneure). In Frankreich wurden aus vielen jungen Intellektuellen die mächtige postmoderne Bewegung der Dekonstruktion, die Axiome der leitenden Theorien von 1968 (Srukturalismus, Marxismus, Psychoanalyse) der Kritik unterzogen, ohne sie ganz wegzuwerfen und zu verneinen.
4. und 5. Kritisch zu betrachten ist an den 68er Bewegungen, dass sie wenig bis keine Sensibilität für die zwei der höchsten Errungenschaften moderner Demokratien aufgebracht haben: für die Gewaltentrennung und das Subsidiaritätsprinzip. Die Phantasie und die Hoffnung der 68er war, die gesellschaftlichen Probleme basisdemokratisch lösen zu können. In den Versammlungen von Kommunen-Mitgliedern setzten sich die besten (charismatischen) Redner und Denker durch. Doch die Frage der politischen Kontrolle blieb weitgehend ausgespart. Probleme wie Krieg und Umweltschutz sind globale Probleme, die nicht in der Wohngemeinschaft oder durch verantwortungsvolles Handeln aller Bürger gelöst werden können.
1968, Schweiz [Ausstellung] Tag
1968, Schweiz ist der Titel einer Ausstellung des Bernischen Historischen Museums im 50. Jubiläumsjahr von 1968. Die Ausstellung machte sich anhand von 16 Aktivist/-innen auf Spurensuche des gesellschaftlichen Wandels, der von den «68ern» ausgegangen ist und fragte nach den Auswirkungen auf die Gegenwart, speziell in Politik, Kultur und Alltag. Sie dauerte vom 16. November 2017 bis am 17. Juni 2018.
Links
– Urs Hafner: Die Fragen von 1968 (NZZ, 27. November 2017) – der Artikel behandelt 1968, aber nicht die Ausstellung
– NZZ: Bildstrecke
– Daniel Di Falco: Unter Druck (Tages-Anzeiger, 29. November 2017) – beurteilt die Ausstellung als bildstark und erkenntnisreich
– Urs Wüthrich: Stühle fliegen, Schüsse fallen – und Frauen demonstrieren für ihre Rechte (Berner Zeitung, 15. November 2017) – der Artikel betont die Berner Ereignisse und Erinnerungen
1000 True Fans Theory Tag
Eine Theorie, die besagt, dass eine Künstlerin oder ein Künstler 1000 wahre Fans braucht, so genannte «core fans», um als Profi überleben zu können. Die Theorie – eher eine Art Daumenregel – wurde von Wired Magazine Journalist Kevin Kelly formuliert: «A creator, such as an artist, musician, photographer, craftsperson, performer, animator, designer, videomaker, or author—in other words, anyone producing works of art—needs to acquire only 1'000 True Fans to make a living.» Die Anforderung an einen wahren Fan sit allerdings gross: Er oder sie soll von einem Act etwa für $100/Jahr Produkte kaufen.
Links
Bobby Owsinski: The 1000 True Fans Theory Explained (Music 3.0, 16. November 2017)
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