7 UMJETNOST. ARHITEKTURA. FOTOGRAFIJA. GLAZBA. SPORT

Transcription

Str. 1
POINT Software Varaždin
7 UMJETNOST. ARHITEKTURA. FOTOGRAFIJA. GLAZBA. SPORT
78
GLAZBA
78 GLOCKE
GLOCKENGELAEUTE
78
Glockegeläute der Kirche Rüschlikon. - [s.l.] : His Master's Voice[s.a.]. - 1
MP : mono 78 ; 30 cm
Bakelite gramofonska ploča
78 TEST p1
TEST ploča
78
Test ploča za tehničko proveravanje profesionalnih i kućnih HI-FI uređaja. Beograd : RTB, [s.a.]. - 1 LP 33,3 ; 30 cm
TEST gramofonska ploča
Test ploča je prevashodno namenjena za ispitivanje i podešavanje studijskih i kućnih Hi-Fi gramofona.
Međutim, ovim se mogućnost njene primene ne iscrpljuje.
Ploča je urađena prema savremenim, važećim, svetskim standardima (RIAA, IEC. DIN...).
Pored ispitivanja rada predpojačavača i pojačavača snage, moguće je proveriti ispravnost snimanja, kako na
kasetofonu, tako i na magnetofonu sa otvorenom trakom.
Bitno je da oba kanala sistema (uključujući i zvučnike) budu u fazi, kako bi se dobio pravi stereo zvuk. Jedan
od uspisanih signala na ovoj ploči omogućuje proveru faze.
Znači, pojedini delovi ploče mogu uz dobar gramofon da posluže umesto generatora tona kojim se mogu
obaviti razna ispitivanja uređaja
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vreme za zamenu igle, kada je oštećena, odnosno istrošena.
Ploča je napravljena direktnim urezivanjem signala iz režijskog stola. Ovo je urađeno u jesen 1981. godine u
studiju X. Radio Beograda. Ovaj studio je, za ovu priliku, povezan direktno sa rezačnicom PGP RTB.
Korišćeni su sledeći uređaji: Mikrofon NEUMANN SM 69 (stereo) režijski sto MCI JH 542, ton generator B &
K 2002 sa analizatorom frekvencijskog odziva B & K 4712. Za merenje nivoa signala ka rezaču je korišćen
modulometar NTP 177-210
Urezivanje folije je obavljeno na rezaču NEUMANN VMS 80 glava za rezanje NEUMANN S 74, standard
urezivanja RIAA. 75-318-3180, vertikalni ugao igle rezača 15°.
Sve faze proizvodnje ploče su strogo kontrolisane. Probni otisci su provereni zvučnicom Ortofon MC 20 MK
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Autori: Jovan Višković i Milan Orlić Rezač i galvanizacija Košta Vesković Tekst čitao Dušan Marković
Produkcija gramofonskih ploča Radio-televizije Beograd
Makedonska 21, Beograd
Omot Jugoslav Vlahović
Glavni i odgovorni urednik Stanko Terzić
78 GALLAG bes
GALLAGHER, Rory
78.067.26
The Best Years / Rory Gallagher. - Beograd : PGP, 1974. - 1 LP : stereo 33 ;
30 cm
Long play gramofonska ploča$aOriginalno izdanje: Polydor, 1973
78 GALLAG call
GALLAGHER, Rory
78.067.26
Calling Card / Rory Gallagher. - Ljubljana : RTVL, 1978. - 1 LP : stereo 33 ;
300 cm
Long play gramofonska ploča$aOrig. izdanje: Chrysalis, 1978
Rory Gallagher's "Calling Card" was never a huge commercial success and it will probably never make a top
100 albums list, but those who are lucky enough to know Rory's work are aware that this is perhaps the
greatest album ever recorded.
First off, I can't overemphasize the incredible musicianship this album offers. Rory Gallagher was one of the
most amazing guitar players who ever lived.
Give him shred, blues, jazz, folk, rockabilly, he could play it and any given subgenre flawlessly.
Also, he was a tasteful player. No "excess" noodling and repetitive A minor runs here. "Calling Card" also
features the stunning Lou Martin on piano, Gerry McAvory on bass (great chemistry between he and Rory)
and the enormously talented Rod de'Arth on drums.
There's no shortage of good rockin' tunes on "Calling Card". Most notably, "Country Mile", "Jackknife Beat",
and the almost Deep Purple-esque "Moonchild".
But there's something for everybody, including the jazz/blues fusion title track, the melancholy acoustic
number "I'll Admit You're Gone", the folk jam "Barley and Grape Rag", and arguably the best track, "Edged In
Blue" (which might have been a hit for Rory had he decided to release singles).
78 GALLAG top
GALLAGHER, Rory
78.067.26
Top Priority / Rory Gallagher. - Ljubljana : RTVL, 1979. - 1 LP : stereo 33 ; 30
cm
Long play gramofonska ploča$aOrig. ozdanje Chrysalis, 1979
Despite his fiery guitar-playing, his stunning live performances and his single-minded adherence to the true
spirit of rock n' roll, Rory Gallagher (from Ballyshannon in Ireland) never made the big league, never getting
the full backing of his record comp any.
A shame, because here is a guy who liked his blues rough and raw.
Add passionate fretboard work; songwriting savvy; a high-octane, souped up Stratocaster to the formula and
you have rock heaven.
Created with XFRX, www.eqeus.com, commercial use prohibited.
Str. 2
The keyword is energy. It literally oozes out of the speakers. Follow Me is impressive by any standards.
When the rhythm section of Gerry Macavoy (bass) and Ted McKenna (drums) kicks in, the energy and power
is extraordinary.
Keychain, Wayward Child and Bad Penny are other highlights, with Rory laying down the blues as though he
invented it, and adding to the blistering blues licks an unmistakable Celtic tone that makes Rory Gallagher a
truly unique blues/rock artist.
Although not all the songs on the album live up to Follow Me (and points off for the unecessary bonus
tracks), and Rory's vocals are more rough and ready than accomplished, those who want an introduction to
one of the world's top blues/rock Strat-toting guns, who died just a few years ago long before his time was
up, should check out Top Priority..
78.07 ANDER
ANDERTON, Craig
78.07
Home recording for musicians / by Craig Anderton. - [Saratoga, CA] : Guitar
Player Books ; New York : distributed in the U.S.A. and Canada by Music Sales
Corp., c1978. - 182 p. : ill. ; 28 cm. + sound disc (analog, 33 1/3 rpm ; 7 in.)
Accompanying disc is a soundsheet (in 10-in. sleeve), Includes index
ISBN 0891220194
Up-to-date information on how to make good, clean, professional-sounding demos using affordable
equipment.
Covers tape decks, microphones, and midi recording; noise reduction; computers in the studio; how to mix;
mastering and assembling; and more.
781
TEORIJA GLAZBE
78 BACHA por
BACHARACH, Burt
781.6
Portrait in Music / Burt Bacharach. - [s.l.] : Ariola : [s.a.]. - 1 LP : stereo 33 ;
30 cm
Long play gramofonska ploča
78 POURC pag
POURCEL, Franck
781.6
Pages Celebres : vol 1. / Franck Pourcel et son grand orchestre. - Paris :
Pathe Marconi, 1959. - 1 LP : stereo 33 ; 30 cm. - (Pages celebres ; vol 1)
Long play gramofonskaploča
782
DRAMSKA GLAZBA
78 BEETHO sym5 BEETHOVEN, Ludivig Van (1770-1827)
782
Symphonie Nr. 7 A-dur op. 92 / Beethoven. - [s.l.] : Siemens, 1941. - 6 MP :
mono 78 ; 30 cm
Shelack gramofonske ploče
78 DVORA aus
DVORAK, Antonin (1841-1904)
782
V Symphonie E moll "Aus der neuen Welt" Op. 95 / Antonin Dvorak. - Vienna
: Polydor, 1929. - 5 Shelacks : Mono 78 ; 30 cm
Shelack gramofonske ploče
78 GOUNO
GOUNOD, Charles (1818-1893)
782
La Ciel a visite la terre ; Il est ne le divin enfant / Charles Gounod. - [s.l.] :
His Master's Voice, [s.a.]. - 1 GP : mono 78 ; 25 cm
78 JESUS
JESUS Christ Superstar
782
Jesus Christ Superstar : The Original Motion Picture Sound Track Album /
Andrew Lloyd Weber. - [s.l.] : MCA, 1974. - 2 LP : stereo 33 ; 30 cm
Universal Pictures and Robert Stigwood
A Norman Jewison Film
Screenplay by Melwin Bragg and Norman Jewison
Str. 3
Based upon the Rock Opera "Jesus Christ Superstar" Book by Tim Rice
Orchestration by Andrew Lloyd Webber
Music by Andrew Lloyd Webber
Lyrics by Tim Rice
Music conducted by Andre Previn
Associate Producer Patrick Palmer
Directed by Norman Jewison
Ted Neely - Jesus Christ
Carl Anderson - Judas Iscariot
Yvonne Ellyman - Mary Magdalene
Barry Dennen - Pontius Pilate
Bob Bingham - Caiaphas
Larry T. Marshall - Simon Zealotes
Joshua Mostel - King Herod
Kurt Yaghjian - Annas
78 MOZAR ein
MOZART, Wolfgang Amadeus (1756-1791)
782
Eine kleine Nachtmusik (Serenade Nr. 7 in G-dur, KV 525) ; Ouvertüre
Leonore Nr. 3 in C-dur op. 72a / Wolfgang Amadeus Mozart, Ludwig van
Beethoven. - Wien : Viennaphon, [s.a.]. - 1 MP : mono 33 ; 25 cm
78 ROETSC fro
ROETSCH, Paul
782
Frohe Weihnachten : Grosse Weihnachtsfantasie / Paul Rötsch. - [s.l.] :
ODEON Suisse, [s.a.]. - 1 shelack disc : mono 78 ; 25 cm
78 STRAU tho
STRAUSS, Johann (1825-1899)
782
Thousand And One Nights ; Waltz from Sari / Johann Strauss, Emerich
Kalman. - [s.l.] : Columbia, [s.a.]. - 1 MP : mono 78 ; 30 cm
bakelite gramofonska ploča
78 BEHR sol
BEHR, Franz (1837-1898)
782.1
Soldatenchor aus "Margarethe" hoch ruhm und ehre! ; Jagechor aus "der
Freischutz" was gleich wohl auf Erden / Franz Behr, Gounod, Carl Maria von
Weber. - [s.l.] : His Master's Voice, [s.a.]. - 1 mp : mono 78 ; 30 cm
78 MASCA int
MASCAGNI, Pietro (1863-1945)
782.1
Intermezzo sinfonico ; Intermezzo. - [s.l.] : Telefunken, [s.a.]. - 1 MP : mono
78 ; 25 cm
78 MOZAR gio
782.1
Don Giovanni : Schöne Donna / Wolfgang Amadeus Mozart. - [s.l.] :
Deutsche Grammophon Gesellschaft, [s.a.]. - 1 LP : mono 33 ; 30 cm
bakelite Gramofonska ploča
78 SMETA ver
SMETANA Bedrich
782.1
Die verkaufte Braut : Komische Oper in drei Akten / Friedrich Smetana. Koeln : Eurodisc, 1975. - 3 LP : stereo-quadro ; 30 cm. Long play gramofonska ploča
Die verkaufte Braut
Komische Oper in 3 Akten Libretto von Karel Sabina Deutsch von Kurt Honolka
Krušina (Kruschina),
ein Bauer........... Joern W. Wilsing, Bariton
Ludmila,
Str. 4
seine Frau.......... Margarethe Bence, Sopran
Marie,
beider Tochter...... Teresa Stratas, Sopran
Micha,
Grundbesitzer....... Alexander Malta, Baß
Hata,
seine Frau.......... Gudrun Wewezow, Mezzosopran
Wenzel,
beider Sohn......... Heinz Zednik, Tenor
Hans,
Michas Sohn aus erster Ehe... René Kollo, Tenor
Kecal,
Heiratsvermittler... Walter Berry, Baß
Springer,
Direktor einer Wandertruppe.. Karl Dönch, Tenor
Esmeralda,
Tänzerin............ Janet Perry, Sopran
Muff,
ein „Indianer" der Truppe.... Theodor Nicolai, Baß
Dorfbewohner, Komödianten (Buben)
Die Handlung spielt während einer Kirchweih nachmittags in einem Dorf in Böhmen.
Chor des Bayerischen Rundfunks/Einstudierung: Helmut Franz
Münchner Rundfunkorchester/Dirigent: Jaroslav Krombholc
Eine Gemeinschaftsproduktion der Ariola-Eurodisc, des Bayerischen Rundfunks und der Bavaria Atelier
GmbH.
Aufnahme: 20—30.04.1975. Studio I des Bayerischen Rundfunks Produktion: Hans Richard Stracke, Oskar
Waldeck, Theodor Holzinger Toningenieur: Alfons Seebacher
78 VERDI lat
VERDI, Giuseppe (1813-1901)
782.1
La Traviata : Oper in drei akten / Giuseppe Verdi. - [s.l.] : Musical
Masterpiece Society, [s.a]. - 2 LP : stereo ; 30 cm + Libretto 27 str.. Long Play gramofonska ploča
GIUSEPPE VERDI
LA TRAVIATA
OPER IN DREI AKTEN
Dichtung nach Dumas des Jüngeren Roman „Die Kameliendame" von Francesco Maria Piave
Deutsch von Natalie von Grünhof
Ort der Handlung: Paris und seine Umgebung
Zeit: Mitte des 19. Jahrhunderts
PERSONEN
Violetta Valery...............Elena Todeschi
Flora Bervoix ............Luciana Pio-Fumagalli
Alfred Germont.............Augusto Vicentini
Georg Germont, dessen Vater .........Renato Cesari
Gastone, Vicomte von Letorieres........ Paride Venturi
Annina, Dienerin Violettas.............Anna Galli
Baron Douphal — Marquis vonObigny — Doktor Grenvil — Giuseppe, Diener Violettas — Ein Diener bei
Flora — Ein Kommissionär Freunde Violettas und Floras — Matadore — Pikadore — Zigeunerinnen —
Diener Violettas und Floras — Masken
Chor und Orchester der Wiener Staatsoper
Leitung: Gianfranco Rivoli
78 VERDI va
782.1
Va, Pensiero, Sull'ali Dorate... ; Al Suon Del Tamburo / Giuseppe Verdi. [s.l.] : His Master's Voice, [s.a.]. - 1 MP : mono 78 ; 25 cm
78 SCHNE hei
SCHNEIDER, Willy
782.8
Heimatland, dein gedenk ich ; Wer die Heimat liebt / Willy Schneider. - [s.l.] :
Polydor, [s.a.]. - ! MP : mono 78 ; 25 cm
783
SAKRALNA GLAZBA
78 BACH bis
BACH, Johann Sebastian (1685-1750)
783
Bist du bei mir ; Komm süsser Tod / / Johann Sebastian Bach. - [s.l.] : His
Master's Voice, [s.a.]. - 1 MP : mono 78 ; 25 cm
Str. 5
78 BACH joh
783
St. John Passion: It is fulfilled / J. S. Bach. - [s.l.] : His Master's Voice, [s.a.].
- 1 MP : mono 78 ; 30 cm
78 BACH mat
783
St. Mathew Passion / BACH. - [s.l.] : His Master's Voice, [s.a.]. - 1 MP : mono
78 ; 25 cm
78 BACH toc
783
Toccata and Fugue in D minor / J. S. Bach. - [s.l.] : DECCA, [s.a.]. - 1 MP :
mono 78 ; 30 cm
Recorded at St. Mark's Church, North Audley Street, London.
78 BACH toc
783
Toccata und Fuge (dorisch) d-moll (BWv 538 / Johann Sebastian Bach. [s.l.]%vArchiv Produktion des Musikhistorischen Studios der Deutsshen
Grammophon Gess, 1950. - 1 MP : mono 79 ; 30 cm
Bakelite gramofonska ploča ; arhivska snimka
78 BREU son
BREU
783
Sonntag ist's ; Dies ist der Tag des Herrn / Breu, Kreutzer. - [s.l.] : His
Master's Voice, [s.a.]. - 1 MP : mono 78 ; 25 cm
78 CHORSH cho
CHOR der St. Hedwigskathedrale
783
So nimm denn meine Hände ; Heilig, heilig ist der Herr / Chor der St.
Hedwigskathedrale. - [s.l.] : His Master's Voice, [s.a.]. - 1 MP : mono 78 ; 25 cm
78 HAENDE ari
HAENDEL, Georg Friedrich (1685-1759)
783
Arioso: Dank sei Du, Herr ; Gellert Lieder / Georg Friedrich Händel, Ludwig
van Beethoven. - [s.l.] : His Master's Voice : [s.a.]. - 1 MP : mono 78 ; 30 cm
78 HAENDE mes
783
Messiah / Georg Friedrich Händel. - [s.l.] : Columbia, [s.a.]. - 1 MP : mono 78
; 25 cm
78 ORFF car
ORFF, Carl
783
Carmina Burana : (Cantiones profanae) / Carl Orff. - Zagreb : Jugotin, 1981.
- 1 LP : stereo 33,3 ; 30 cm
Long Play gramofonska ploča
Carmina Burana 'Songs of Benediktbeuern' was the title given to a thirteenth-century manuscript collection of
songs (mostly in Latin) found in the monastery at Benediktbeuern in southern Bavaria in the last century, by
J. A. Schmeller, when he published it in 1847.
Orff came across the collection in 1935, and was immediately struck by it, particularly by the illumination of
the Wheel of Fortune reproduced as a frontispiece, and conceived the idea of setting the songs to music.
He collaborated with Michel Hofmann in the selection of the songs to be set, and in the arrangement of the
work into three main sections; he scored it for soprano, tenor and high baritone soloists, large
Str. 6
chorus (including a smaller choir and boys' voices) and a large orchestra (including two pianos and
multifarious percussion).
Orff's subtitle for the work, printed on the title-page of the score, is 'Cantiones profanae cantoribus et choris
cantandae comitantibus instrumentis atque imaginibus magicis' - 'Secular songs for soloists and chorus,
accompanied by instruments and magic tableaux' - and it was in fact intended for stage presentation, with
dancers miming the action.
The first performance was given at the Städtische Bühnen in Frankfurt-am-Main on 8th June 1937, in a
production by O. Wälterlin and with B. Wetzelsberger conducting. Its first performance outside Germany was
at La Scala, Milan on 10th October 1942, but since then it has been given far more often in concert
performances - to which it is eminently well suited.
In 1953 Orff made it the first part of the tripartite Trionfi, whose other members are the 'Ludi scaenici' Catulli
Carmina and the 'Concerto scenico' Trionfo di Afrodite.
The musical style of Carmina Burana has been admirably summed up by K. W. Bartlett in his article on Orff
in the fifth edition of Grove's Dictionary. '
The simplicity and the cunning of the music is most impressive', he writes.
'Orff deliberately discards counterpoint, thematic development and the use of elaborate forms; the vocal
parts are written in unison, octaves, thirds and sometimes fifths, the tunes are concise
and of a popular character and are repeated without variation, sometimes merely transposed into other keys.
His writing is tonal in principal and there is an occasional sprinkling of clashing harmonies.
The swinging, vigorous rhythm plays a dominating part in the whole work.'
The melodic language ranges from that of plainchant (e.g. Nos. 3, 5, 13 and 19) and folksong (e.g. Nos. 8
and 10) to flamenco (No. 17) and romantic opera (Nos. 11 and 21).
As has already been mentioned, the work is divided into three sections.
These are framed by a massive chorus ('O fortuna'), which bears the general title Fortuna Imperatrix Mundi
('Fortune, Ruler of the World') and takes its cue from the Wheel of Fortune reproduced in Schmeller's edition
of Carmina Burana.
At the beginning of the work the opening chorus is followed by a second one ('Fortune plango vulnera') that
expresses similar sentiments.
The first of the three sections into which the main body of the work' is divided is entitled Primo Vere ('Spring')
and is concerned with the beneficial effects of that rejuvenating season.
The first and third of its eight movements are choral, and the second for solo baritone.
The last five have the separate title Uf dem Anger ('On the village green') and depict rustic merrymaking; the
first movement (No. 6) and the first part of No. 9 are orchestral dances, while the rest are choral (Nos. 8, 9
and 10 are to German, as opposed to Latin, texts).
The second section is entitled In Taberna ('In the Tavern') and comprises four movements scored, as befits
their bibulous nature, for male voices—a solo baritone in No. 11, and tenor and baritone solos in Nos. 12 and
13, with chorus joining in. The prevailing mood here is one of cynicism: if fortune is such a cruel mistress, the
best way to put up with her is to drown one's sorrows.
The last section is entitled Cour d'amours ('Court of Love') and is concerned with both the tribulations and
the joys of love. It is the longest of the three parts and comprises ten movements, five of which (Nos. 15, 17,
21, 22 and 23) feature the solo soprano (hitherto silent); the solo baritone also appears in four (Nos. 16, 18,
19 and 22). Boys' voices are called for in Nos. 15 and 22, men's (unaccompanied) in No. 19, and full chorus
in Nos. 18, 20 (double choir), 22 and 24. The latter movement has the separate title Blanziflor et Helena,
sacrilegiously equating the Virgin Mary with those two heroines of mediaeval romance. The opening chorus
('0 fortuna') is repeated after this, in conclusion.
78 ROTHM gro
ROTHMUELLER, Marko
783
Grosser Gott, wir loben Dich ; Ehre sei Gott in der Höhe / Marko Rothmüller.
- [s.l.] : His Master's Voice, [s.a.]. - 1 MP : mono 78 ; 25 cm
78 SACK ave
SACK, Erna
783
Ave Maria (Bach-Gounod) ; Ave Maria (Schubert) / Erna Sack. - [s.l.] :
Telefunken, [s.a.]. - 1 MP : mono 78 ; 30 cm
78 SCHUBE lit
SCHUBERT, Franz (1797-1828)
783
Litanei ; Ave Maria / Franz Schubert. - [s.l.] : His Master's Voice, [s.a.]. - 1
MP : mono 78 ; 30 cm
784
VOKALNA GLAZBA
78 ATTENH mpx
CHAMBRE XXIV
784
Mein Schweizerland, wach auf ; O mein Heimatland / Chambre XXIV. - [s.l.] :
His Master's Voice, [s.a.]. - 1 ;P : mono 78 ; 25 cm
Str. 7
78 CASH Ame6
CASH, Johnny
784
American VI : Ain't no Grave / Johnny Cash. - [s.l.] : American
Recordings-Lost Highway, 2010. - 1 CD : stereo ; 12 cm. Compact Disc
ISBN 602527315621
"American VI: Ain't no grave" is the final in the Rick Rubin produced "American" series of CDs by Johnny
Cash. Like its predecessors, it comprises pared-back covers, as well as (in this case), an original (and
purpotedly final) composition by Cash.
"I Corinthians 15:55" is the lone original with lyrics looking at his mortality and the hope of seeing his
Redeemer. Mortality, love, redemption, and spirituality colour the 10 songs on this beautiful CD, and I must
say, for what supposedly comprises his last recordings, he sounds a lot stronger than he did on songs like "If
you could read my mind" (from "American V"), or "Bridge over troubled water" ("American IV), where he was
slightly reedy.
"Redemption day" (a Sheryl Crow composition) is a beautiful acoustic ballad that wouldn't sound out of place
in a Western movie, with Cash singing about the "train that's heading straight to heaven's gate", while "For
the good times" (a Kris Kristofferson composition) is a heartbreaking farewell to his lover as they part and he
reminisces the good times they shared.
"Can't help but wonder where I'm bound" touches on his journey on earth and his curiousity over his final
destination. The solemn "Last night I had the strangest dream" finds him dreaming of a world with no more
war, against a richer musical backdrop than the other songs.
Highlight, in my opinion" is "Ain't no grave", his fearless and defiant proclamation that no grave can hold his
body down when he hears the trumpet sound, and his looking forward to meeting Jesus, his mother and
father. Chiming bell sounds, Soft guitars and banjo set to shuffling shackled-footstep sounds which provide
the gentle beat to this stirring song.
As with the previous discs in the series, Cash inhabits and makes each song his own. It is obvious he knew
his sojourn here was done and the songs reflect his strong belief of a life well lived and being reunited with
loved ones on the other side of eternity. A masterpiece!
78 CASH ame2
CASH, Johnny
784
American II : Unchained / Johnny Cash. - [s.l.] : Lost Highway, 2002. - 1 CD :
stereo ; 12 cm. Compact Disc
ISBN 743213974224
Nashville is cruel to its veteran performers, but they have found a way to fight back. When Johnny's career
as a recording artist seemed finished, he found a new producer, Rick Rubin, and together they have gone
from strength to strength. They recorded four albums together and the last one, recorded only a few months
before his death, became Johnny's first gold album in 23 years. The recipe for success is simple - go right
back to Johnny's roots in the fifties, when his sound was simple and uncluttered, and don't worry about the
radio stations that are obsessed with listeners in their twenties and thirties. If the music strikes the right
chord, those people will buy it anyway.
This was the second album Johnny and Rick recorded together and it contains many of the elements you
expect from them. Tom Petty and his band provided the musical backing - and they certainly did a good job.
There are some stunning covers including Sea of heartbreak (Don Gibson), Rusty cage (Soundgarden),
Memories are made of this (Dean Martin), Southern accents (Tom Petty) and I've been everywhere (Hank
Snow). Actually, most of the songs are covers and they are all excellent.
There is a new version of Mean eyed cat, a song Johnny wrote and recorded in the fifties. In the liner notes,
Johnny says that the original version was unfinished, but was released anyway, so he finally completed the
song more than forty years later. Johnny also wrote Country boy and Meet me in heaven.
Johnny has a long and varied recording career behind him, but this is one album that appeals to both country
fans and rock fans. It has that indefinable something that cuts across musical preconceptions. Regardless of
your own musical preferences, forget your preconceptions about country music and enjoy this excellent
album.
78 CASH ame3
CASH, Johnny
784
American III : Solitary Man / Johnny Cash. - [s.l.] : Lost Highway, 2002. - 1
CD : stereo ; 12 cm. Compact Disc
There's something irresistable about an old, wise rebel singing songs of despair and melancholy. Johnny
Cash has carved out this niche for over 45 years. He's walked the line and gone down in a burning ring of
fire. He's surpassed illness and critics. "American III: Solitary Man" follows "American Recordings" (1994)
and "Unchained" (1996) as Cash's third cd produced by Rick Rubin (Beastie Boys et al.) Cash shines on
remakes like Tom Petty's "I Won't Back Down", Neil Diamond's "Solitary Man", U2's "One", Nick Cave's "The
Mercy Seat". When Cash is dark, he's very dark like the lyrics in "I See A Darkness". He can turn on a dime
and produce sad, painful comedy like "Nobody" and "Country Trash". He never loses the heart and soul of
country/folk playing and singing. At 68, Cash is the oldest, coolest artist in my collection, and I look forward
to each of his recordings because it seems like he always has some new way of seeing life and
relationships. Some artists have nothing to say or make a few cds and then have nothing to say, but Johnny
Cash continues to show the wisdom of age and experience and its value in our lives. I don't like country
music much, but I sure do dig Johnny Cash. "American III: Solitary Man" stands on its own.
78 CASH ame4
CASH, Johnny
784
American IV : The Man Comes Around / Johnny Cash. - [s.l.] : Lost Highway,
2002. - 1 CD : stereo ; 12 cm. Compact Disc
ISBN 044006333922
I am the least capable person to review this album. This man had been writing and singing songs for forty
years and all I'd heard of him was "Ring Of Fire". I knew the song. I did not know who sang it. It was all but
another one of these inevitable songs on every compilation, and one of these songs every channel my
parents loved so much would play. I never noticed. Today, I still know hardly more.
One late-summer evening as I was zapping through the music channels here in The Netherlands, my thumb
froze over the remote. On the screen singing was, not the usual parade of lewd, crafted, playbacking little
mouths seemingly right of production lines, not good capable singers only better than the rest because of
management and advertisement skills; it was a man dressed in black, looking old
Str. 8
as death, with a voice raw as a crow's. I did not know it was he, if it had mattered. It was Cash, singing
"Hurt". I looked, listened but then more. It was so unspeakably sad, so unfathomably melancholic. How can I
describe the emotions hearing that song? Haunted and moved don't seem adequate.
Enchantment. I was a youth with a passion for music: metal, symphonic, classic, techno. Give it to me, give it
to me every day, all day long. I'll be satisfied. I was a youth, looking at an old man, singing for me, singing of
his life and emotions. Music moves me always, but it was this music, barely more than a voice and an
acoustic guitar, that drew a tear, dropped into my heart - then another and another. Silent, invisible tears
filling hollows, and all that showed on the outside, were a sniff of the nose and a blink of the eyes. I was a
youth.
Many of the songs on this final album, including "Hurt", are covers, even though some are his own. Cash
here also covers Paul Simon, Hank Williams and John Lennon. Not all of his arrangements are better than
the originals. Technically. But Cash performs with such feeling, such sway, such voice, that this is the most
cherished music I've bought in a lifetime.
Then, as I sat there oblivious, and wishing I had seen the whole thing, the clip ended and I saw Cash's
name. I turned off the set, stood, and hoped I would hear it again. Weeks later, Cash was dead. Today, I still
know hardly more.
Five stars to this album
Bram Janssen,
The Netherlands
78 CASH na
CASH, Johnny
784
Na putu s legendom : granica / Johnny cash. - Karlovac : KA-ART, 2008. - 1
DVD : 4:3, Engleski s podnaslovima na hrvatskom, slovenskom i srpskom
jeziku ; 12 cm
1 DVD Dokumentarni film
ISBN 3859891589722
Nakon velikog uspjeha filma ,,Waik The Line" predstavljamo vam ovaj nezaboravan dokumentarni film u
kojem ćete vidjeti neispričanu priču o usponu među zvijezanim preprekama koje su mu se ispriječile na tom
putu.
Predstavljene su i rane snimke njegovih koncerata koje nam otkrivaju čar njegovih nastupa, a čut ćete i
hitove poput „Heartbreak Hotel" i ,,A Boy Named Sue".
Johnny je u svim pogledima bio velikan suvremene glazbe, a njegove su pjevačke sposobnosti bile pet
desetljeća ispred tadašnje rock scene.
Kad bi njegovi obožavatelji mogli birati, zadržali bi ga ondje još pet desetljeća.
78 COHEN son
COHEN, Leonard
784
Songs From The Road / Leonard Cohen. - [s.l.] : SONY Legacy, 2010. - 1 CD
; 12 cm
After the release of "Live in London" in March of last year, and "Live at the Isle of Wright 1970" in October of
last year, Leonard Cohen has just released another, yes ANOTHER, live album/DVD combo.
I have to admit that my first reaction was "money grabbing move!!" I mean, last year's "Live in London"
2CD/DVD combo is a fantastic document from his on-going (never-ending?) world tour.
"Songs From the Road" (12 tracks; 66 min.) brings a collection of tunes recorded all over the world during
the 08-09 world tour.
Upon reviewing the set list closer, I was pleasantly surprised that there is only a 4 song overlap (Bird on a
Wire; Suzanne; Hallelujah; Closing Time) between this and the "Live in London" album.
Testament to the depth of Cohen's catalogue, for one. There are some really great songs on here, including
"Lover, Lover, Lover" (one of my all-time favorite Cohen songs), but also "Famous Blue Raincoat" and some
lesser-known songs like "Heart With No Companhion" and "That Don't Make It Junk".
So immediately this became a must-have for me, period.
So it may be there a hint of "money-grabbing" by releasing this collection, but in the end, who would
begrudge the legendary Leonard Cohen?
78 CREEDE dow
CREEDENCE Clearwater Revival
784
Down On The River : In Concert / Creedence Clearwater Revival. - [s.l.] : All
Stars, 2005. - 1 DVD : PAL video 4:3 stereo + 5.1 Dolby surround ; 12 cm
DVD video ; Koncert
ISBN 8712273132020
78 DOMIN fat
DOMINO, Fats
784
Fats Domino / Fats Domino. - Quickborn : Europa, 1980. - 1 LP : stereo 33 ;
30 cm
Str. 9
78 FEELI
FEELINGS
784
Feelings : Die 20 schönsten Lieder für zätliche Stunden. - Frankfurt/Main,
K-tel, 1978. - 1 LP : stereo ; 30 cm
78 FRANC unv
FRANCIS, Connie
784
Unvergessene Hits / Connie Francis. - Essen : Polydor, 1971. - 1 LP : stereo
; 30 cm. Long play gramofonska ploča
78 FRIED org
FRIEDMANN, Georg
784
Stille Nacht, heilige Nacht ; O du fröhliche, o du selige / Georg Friedmann. [s.l.] : Odeon, [s.a.]. - 1 MP : mono 78 ; 25 cm
Orgelsolo: Georg Friedmann
Organist an St. Marien Glocken des Kölner Doms
78 GOOD mor
GOOD morning America
784
Good Morning America : Great folk-songs and ballads / Razni izvođači. Frankfurt Am Main : K-Tel, 1979. - 1 LP : stereo 33 ; 30 cm
78 JARREA jar
JARREAU, Al
784
Jarreau. Al Jarreau. - [s.l.] : WEA : 1983. - 1 LP : stereo ; 30 cm. Long play gramofonska ploča
If you only own one Al album, then this should probably be it. 'Breakin' Away' is undeniably superb too, but
THIS album simply has no low points at all.
There cannot be a finer way to kick off an album than with 'Mornin' - play it in the car on the way to work
every morning and your day will be that much better - it's just so uplifting. From there, 'Step by Step' and
'Save Me' are just typical brilliant Jarreau - the tempos vary but Al's voice just dances across the top of the
melody and weaves vocal patterns that have to be heard to be believed.
This truly is the album where Jay Graydon's production (which is always described in reviews as
'sympathetic') really complements Al's voice to the full - there are no deep bass or drum sounds, just
shallower percussion and light electric pianos to allow Al's voice to create the depth itself. 'Black and Blues'
and 'Trouble in Paradise' are the sort of singalong catchy stuff that win Al so many R'n'B awards, but the
outstanding moment for me is 'Not Like This' - barely more than 2 minutes long, the emotional depths Al
reaches in this song are breathtaking.
78 JOHN hon
JOHN, Elton
784
Honky Chateau / Elton John. - Zagreb : Jugoton, 1972. - 1 LP : stereo 33 ; 30
cm
Orig. izdanje: DJM, 1972
By 1972, Elton John was already a rising star in America, although most casual listeners still identified him
as part of the singer/songwriter explosion, thanks to the success of "Your Song" and "Levon."
Honky Château changed all that, beginning with the success of "Honky Cat," a rousing New Orleans-ish R&B
powerhouse that kicks off this terrific collection of songs.
This was the album that first revealed John as a pure-pop craftsman, and he's all over the musical map on
this set, moving from country-ish rock to blues-based rockers.
But the best things here still might be two gorgeous ballads: "Mona Lisas & Mad Hatters" (displaying the
young vocalist at his best) and the hit single "Rocket Man" (which had many rock fans debating which was
the better space odyssey of the day--this or Bowie's).
And lyricist Bernie Taupin was revealing a new, slightly darker side here via tunes like "I Think I'm Gonna Kill
Myself."
78 KAUŠI pje
KAUŠIĆ, Ružica
784
Da je višnja k'o trešnja ; Ovim šorom jagodo / Ružica Kaušić. - Zagreb :
Jugoton, [s.a]. - 1 MP : mono 78 ; 25 cm
Gramofonska ploča
78 KESSLE bat
KESSLER, Jakob
784
's Bätzytglöggli ; Miss Müetti / Jakob Kessler und Sepp Israng. - [s.l.] : Ideal,
[s.a.]. - 1 MP : mono 78 ; 25 cm
Str. 10
78 KESSLE gru
KESSLER, Jakob
784
Gruss ans alte Wien ; Die Försterliesel / Jakob Kessler. - [s.l.] : Columbia,
[s.a.]. - 1 MP : mono 78 ; 25 cm
78 KNEŽE pje
KNEŽEVIĆ, Vjekoslav
784
Koliko te ljubim ; Ah, piši mi mati / Vjekoslav knežević. - Zagreb : Jugoton,
[s.a.]. - 1 MP : mono 78 ; 25 cm
Gramofonska ploča
78 KUDIM jas
KUDŽ Ivo Mikac
784
Ja sem Varaždinec / KUDŽ Ivo Mikac. - Zagreb : Jugoton, 1985. - 1 LP :
stereo ; 30 cm. Long play gramofonska ploča
78 LEWIS jer
LEWIS, Jerry Lee
784
Mean Old Man / Jerry Lee Lewis. - [s.l.] : Verve, 2010. - 1 CD ; 12 cm
Compact disc
It's hard to think of another artist who could bring together so many collaborators from disparate corners of
the music world as those who turn up on the Killer's latest outing, which include Mick Jagger, Keith Richards
and Ron Wood (on separate tracks, natch), Tim McGraw, Sheryl Crow, Gillian Welch, Solomon Burke, Willie
Nelson, Robbie Robertson and Jon Brion.
But the Muhammads of pop music apparently are only too happy to come to the mountain that is Jerry Lee
Lewis, who turns 75 at the end of this month and demonstrates that he's still eminently capable of pumping
those 88 black and white keys.
It's a similar route to the one he took in 2006 with "Last Man Standing," that one focusing on his stature as
one of the founding fathers of rock 'n' roll, this one emphasizing his second career in the late-'60s and '70s
as a master of country music.
He reprises a couple of his key hits from that period - "Rockin' My Life Away" (aided by Kid Rock and Slash)
and Sonny Throckmorton's anguished "Middle Age Crazy" (with McGraw and Brion) - and puts his indelible
stamp on the title track, written for him by Kris Kristofferson.
Creedence Clearwater's "Bad Moon Rising" is one of the few missteps - Fogerty is underutilized simply
offering harmonies, and in a key that's too low to show Lewis' voice at its best.
Conversely, the pairing of Lewis and Richards is a made-in-heaven meeting of two of rock's most surprising
survivors for a wonderfully woozy slide through the Stones' "Sweet Virginia," which Richards says he
originally wrote with Lewis in mind.
Multimillionaire Steve Bing, who has championed the latter-day resuscitation of Lewis' career with Shangri-La
Music, has said he simply wants to get as much of the Killer on record as he can while he's still playing and
sounding this vibrant. May the digital memory continue to roll.
78 MARTI gre
MARTIN, Dean
784
Dean Martin's Greatest Hits! Vol.1 / Dean Martin. - Hamburg : Reprise, 1968.
- 1 LP : stereo 33 ; 30 cm
78 NEWTO gre
NEWTON-JOHN, Olivia
784
Greatest Hits / Olivia Newton-John. - Zagreb4cJugoton, 1978. - 1 LP : stereo
33 ; 30 cm
Long play gramofonska ploča ; Orig. izdanje: EMI, 1977
Olivia Newton-John's Greatest Hits (1977) was the first compilation album released by Olivia Newton-John in
the United States.
In some other regions, Newton-John released a 1974 compilation, First Impressions.
This album was therefore marketed instead as Greatest Hits Vol. 2 and featured a different tracklisting.
The album collected all of Newton-John's American Top 40 singles released between 1971 and 1977.
"Changes" was the only track not released as a single, but it was one of Newton-John's first self-written
songs that she recorded.
The album was Newton-John's first platinum certification peaking No. 13 Pop and No. 7 Country.
Str. 11
78 NEWTO phy
NEWTON-JOHN, Olivia
784
Physical / Olivia Newton John. - Jugoton : Jugoton, 1981. - 1 LP : stereo 33 ;
30 cm
Long Play gramofonska ploča ; Orig. Izdanje: EMI, 1981
Olivia Newton-John: Vocals
Steve Lukather: Guitar on "Physical", Acoustic Guitar on "Carried Away"
John Hobbs: Keyboards, Synthesizers
Michael Boddicker: Polymoog
Bill Cuomo: Synthesizer
Tom Snow: Prophet Synthesizer on "Make a Move on Me" and "Recovery", Piano on "Carried Away"
John Farrar: Guitar, Vocoder, Bass Guitar, Backing Vocals
Carlos Vega: Drums & Timpani
Lenny Castro, Victor Feldman: Percussion
Gary Herbig: Horns
The album was a massive success, peaking in sixth place on Billboard 200and ranking double platinum.
This was also Newton-John's first and only album to chart R&B, peaking at number thirty-two.
With country music completely overlooked for this album, this unsurprisingly became Newton-John's first
studio album not to chart country since her 1971 debut, If Not for You.
Physical is the best selling album by a female Australian singer, selling 10,000,000 copies worldwide.
78 NEWTO tot
NEWTON-JOHN, Olivia
784
Totally Hot / Olivia Newton John. - Zagreb : Jugoton, 1978. - 1 LP : stereo 33
; 30 cm
Long play gramofonska ploča ; Orig. izdanje: EMI, 1978
Totally Hot is an album by the singer Olivia Newton-John. Released in November 1978, following
Newton-John's global success in the film musical Grease, the album peaked at #7 on the U.S. Billboard 200
album chart.
Dressed on the cover all in leather, the album's singles "A Little More Love" (No. 3 Pop, No. 94 Country, No.
4 AC), "Deeper Than The Night" (No. 11 Pop, No. 87 Country, No. 4 AC) and the title track (No. 52 Pop) all
demonstrated a newer sound for Newton-John, who filmed promotional videos for all three singles.
She also wrote two of the album's tracks, "Borrowed Time" and "Talk To Me". The album was certified
platinum and its first single, "A Little More Love", was certified gold.
Although the album focused much less on Country than her earlier albums, it still reached No. 4 on the
Country Albums chart.
While the "Totally Hot" single was targeted to Pop radio, its B-side, "Dancin' 'Round And 'Round", was
worked to Country (No. 29) as well as AC (No. 25) (this was the first time since her 1975 single, "Let It
Shine/He Ain't Heavy ... He's My Brother", that Newton-John worked both sides of a single to different radio
formats). "Dancin' 'Round And 'Round" also charted Pop (No. 82) after "Totally Hot" finished its chart run.
The album was also a Top 10 success in Australia, Canada and Japan (although none of its singles charted
in Japan).
The album reached no.30 in the UK (where it was also released as a limited edition picture disc), though the
single "A Little More Love" was a big hit reaching no.4 on the UK Singles Chart.
78 PLATTE enc
PLATTERS the
784
Encore of Broadway golden Hits / The Platters. - [s.l.] : Mercury, 1972. - 1 LP
: stereo remastered 33 ; 30 cm
If ever a vocal group was made to record a specific album, this is the group, and this is the album.
The Platters have scored a multitude of successes in their personal tours around the world, appearing on
stages in almost every big city.
Their record albums, such as "Encore Of Golden Hits," have broken sales records not only in America but in
South America, Spain, England, Africa and Japan.
Theirs is a most unique and much sought after combination of talent and fame.
On this album, the world-famous Platters sing the great and immortal golden hits of Broadway.
These are the songs and melodies that have lived in the hearts of men over the years and they come from
the shows which have pleased theater-goers in countless thousands of performances.
The shows and these song titles conjure up pleasant thoughts and images even in the hearts of the most
stoic.
Here is a blend of talent and music unmatched in the annals of music history . . .
78 PLATTE pla
PLATTERS the
784
The Platters / The Platters. - Hamburg : Europa, 1981. - 1 LP : stereo 33 ; 30
cm
Long play gramofonska ploča - Orig izdanje: RCA, 1977
78 PRESL moo
PRESLEY, Elvis
784
Moody Blue / Elvis Presley. - Zagreb : Jugoton, 1977. - 1 LP : stereo 33 ; 30
cm
This album is a fine effort.
Culled from recordings in 1976 and 1977, including songs that Elvis recorded at Graceland, it is a fitting
finale to Elvis and his musical legacy.
The Moody Blue album is a bit stronger effort than 1976's "From Elvis Presley Blvd., Memphis,
Str. 12
Tennessee", his 2nd to last studio album.
Unlike the '76 LP, 77's major studio/touring effort features songs that are intertwined with meaning and
impact.
From the haunting "He'll Have To Go", to the personal "It's Easy For You", this is a very personal album
indeed.
"Moody Blue" is a fitting title track and "Way Down", the album's biggest hit mirrors Elvis' drug demise only
weeks after this record's release.
Also, don't miss the cut "Pledging My Love", a remake of the old Johnny Ace tune. Strangely, Elvis does
covers of Jim Reeves and Johnny Ace on this recording, both of whom died young and tragically... just as
Elvis soon would.
This is a strong effort, overall, and a very meaningful one too.
78 RE hoy
RE
784
Hoy Toca El Re / RE. - [s.l.] : Roxon, 1983. - 1 LP : stereo ; 30 cm. Long play gramofonska ploča
78 REED ber
REED, Lou
784
Berlin / Lou Reed. - [s.l.] : Continental film, 2008. - 1 DVD trajanje 78 minuta
: Dolby digital stereo, PAL, 16x9 ; 12 cm
Koncert u Berlinu 1973, Prvo izdanje DVD iz 2008: Miriam Collection
ISBN 3856002130699
How do you adapt a record once described as "the most depressing album of all time" into a multi-media
stage performance? Rather well, when it comes to Lou Reed's Berlin. The former Velvet Underground
mainstay was already established as a solo artist, buoyed by the hit "Walk on the Wild Side," when he
released the Berlin recording in 1973. That it was not a commercial success, to say the least, is unsurprising,
given its relentlessly grim lyric content and music that, while often very appealing, is hardly the stuff that Top
Ten dreams are made of. Still, it made sense when Reed revived the work some 35 years later for a single
world tour and concert DVD. Working with film director Julian Schnabel (The Diving Bell and the Butterfly),
Reed brings a quiet power to his weary tale of hopeless junkies Caroline and Jim, whose lives, already
bound for the gutter when the performance begins, completely bottom out little over an hour later (the
81-minute DVD includes a few encores, notably the Velvet Underground classic "Sweet Jane"). The songs,
played by a standard rock band but with subtle touches of horns, strings, and choir (Antony Hegarty of
Antony and the Johnsons adds vocals as well), are for the most part strikingly prosaic; Reed has never been
much of a singer, and his words are anything but flowery, closer to prose than verse (many lines, like "All of
her friends call her Alaska when she takes speed," are more spoken than sung). Schnabel does a superb job
matching the downbeat mood, relying primarily on the use of low, filtered lighting and film (in which Caroline
is portrayed by Emmanuelle Seigner). Not for everyone, certainly, but Berlin is a work to be admired. --Sam
Graham
78 SADE sol
ADU, Sade
784
Soldier of love / Sade Adu. - [s.l.] : Sony, 2010. - 1 CD : stereo ; 12 cm. Compact Disc
After almost a decade of absence - 25 years into her career - the elegant soul /jazz siren is back with
"Soldier Of Love".
The new album sees Sade reunited with the same musicians (Stuart Matthewman, Paul Denman and
Andrew Hale) who performed on her 1984 debut "Diamond Life", which became the classic yuppie dinner
party soundtrack. It catapulted her to the forefront of the 1980s soul jazz scene and spawned the singles
"Smooth Operator" and "Your Love is King".
But despite the success of "Diamond Life" and her follow-up albums - selling a total of 50m records
worldwide - Sade has shunned the limelight and has lived in "self-exile", including stints in Spain and
Jamaica.
Now 50, she remains one of the most iconic female vocalists alive - partly because of the stylish image she
fostered in the fashion-conscious Eighties.
The title song is the least Sade-like track here - with its metallic, shiny, marching band-style drum beats not
far from trip hop/Tricky territory, it's the toughest-sounding thing she's ever done, though the lyric posits the
idea of the relationship as battleground.
The track is a bit of a revelation - a rich, atmospheric pop symphony with, as the title suggests, a military
theme. What's impressive is how fully-realised that theme is, from the marching band percussion to the
cadence call-style hooks, the guitar riffs that ape the sound of gunfire to Sade crooning lines like "I've lost the
use of my heart".
The remaining nine tracks can't quite match it for shock value.
They glide by elegantly, registering subtle variations.
My highligts: "Baby Father", a gentle reggae-tinged confection apparently extolling the constancy of paternal
love. It's in marked contrast to the wounded bittersweetness and the overall melancholy of the remainder of
the tracklist: the feel-good beat will have you shaking your booty.
It all gets a little too cosy on "In Another Time", a waltz-time slog where a saxophone and string quartet
provide an orchestral extravaganza. Pure magic.
"Be That Easy": Sade's soaring hypnotic voice leaves listeners in a zombie-like trance.
As usual, the album is immaculately produced, and Sade oozes class and sophistication, although seemingly
offering variations on a single theme. Recorded at Peter Gabriel's Real World studio, this album "illustrates
the dilemma of the long-term artist: whether to alienate fans with a radical departure or risk the charge of
repetition". - Paul Lester
All in all, it's a pleasant and sonic balm, which will make her fans immensely happy, even if there's nothing
quite adventurous, rare, powerful and intelligently written as the title track may imply and suggest.
Enjoy!
Str. 13
78 SANTA bud
SANTANA
784
At Budokan : Live in Tokyo / Santana. - Karlovac : KA-ART, 2008. - 1 DVD
trajanje: 1:30:08 : Dolby digital stereo PAL 4:3 ; 12 cm. - (Exclusive gold
edition)
Orig. izdanje: Atticus, 2008 Snimljeno May, 1981 at Budokan, Tokyo Japan
ISBN 3859891589913
78 SCHWE 1
GESCHWISTER Buchberger
784
Hoch vom Dachstein an ; Almenrausch und Edelweiss / Geschwister
Buchberger. - [s.l.]His Master's Voice, [s.a.]. - 1 MP : mono 78 ; 25 cm
gramofonska ploča
78 WINKL alm
GESCHWISTER Winkler aus Innsbruck
784
Almenräusch und Edelweiss ; Tirol, Heimat der Berge / Geschwister Winkler
aus Innsbruck. - [s.l] : Polydor, [s.a.]. - 1 MP : mono 78 ; 25 cm
78 COCKE SHE
COCKER, Joe
784.72
Sheffield Steel / Joe Cocker. - Zagreb : Jugoton, 1982. - 1 LP : stereo 33,3 ;
30 cm
Bass - Robbie Shakespeare
Drums - Sly Dunbar
Engineer - Alex Sadkin , Benji Armbrister*
Guitar - Barry Reynolds , Mikey Chung
Keyboards - Wally Badarou
Mastered By - Ted Jensen
Other [Production Associate] - Paul L. Wexler
Percussion - Sticky Thompson*
Producer - Alex Sadkin , Chris Blackwell
Vocals - Joe Cocker
-------------------------------------------------------------One of Joe Cocker's best and most under-appreciated works.
None of the treacle that comes up in his later work, and some smokin' covers - exactly what Cocker does
best.
As another reviewer noted, his cover of Dylan's "Seven Days" alone is worth the price of admission, but his
work on "Many Rivers to Cross" is excellent also.
While I am a fan of Steve Winwood, Cocker's cover of "Talking back to the Night" overwhelms Winwood's
original.
Rest of the album more than carries its weight - nothing sinks to the level of filler that unfortunately appears
on many of Cocker's albums.
78 COMO gol
COMO, Perry
784.72
Como's Golden Records / Pery Como. - New York : RCA, 1958. - 1 LP :
stereo 33 ; 30 cm
78 CREED badm
CREEDENCE Clearwater Revival
784.72
Bad Moon Rising - Live / Creedence Clearwater Revival and John Fogerty. [s.l.] : MPC, [s.a.]. - 1 DVD, trajanje 73:46 : glazbeni, 4:3 ; 12 cm
Glazbeni DVD - koncert
ISBN 4260134455046
78 HOTBU popc
HOT Butter
784.72
Popcorn / Hot Butter. - [s.l.] : MUSICOR, 1972. - 1. gramofonska ploča :
stereo 33,3 ; 30 cm
Hot Butter's version became the first primarily electronic-based piece of music to reach the American popular
music charts, peaking at number nine on the Billboard Pop Singles and number four on the Adult
Contemporary Chart.
The single had a great success in Australia where it reached number one for ten weeks.
It was also number one in Switzerland, where it topped the chart for ten weeks and stayed for 17 weeks in
the top ten. In Norway, it was number one for nine weeks and featured for 21 weeks in the top ten.
It was also number one in Germany and reached number five on July 22, 1972 in UK and number 15 in
Canada - October 1972. In France, this version of "Popcorn" is the 131st best-selling single of all time,
Str. 14
with about 900,000 sales.
78 MART hgh
MARTINO, Al
784.72
His Greatet HIts / Al Martino. - [s.l.] : EMI-Electrola-Capitol, 1981 1 LP :
stereo 33 ; 30 cm
78 NELSO ame
NELSON, Willie
784.72
American Classic / Willie Nelson. - [s.l.] : Blue Note, 2009. - 1 CD : stereo ;
12 cm. Compact Disc
Willie Nelson is among the few surviving elders from country's rebellious pantheon of artists who blazed a
trail out of the saccharine stupefaction of 1960s Nashville and laid down the spirit of rugged individualism
that has inspired the alt country/Americana revival of the past decade.
Over the decades, Willie has become an expert in the fine art of song-catching - virtually the whole of the
American song book can be found rolling around in his oeuvre. "When you hear a great song you know it",
he says simply, of his talent. "You can't explain why they're great, but you know they are and you want to
sing them".
He is first and foremost a great songwriter: he wrote "Crazy" - immortalised by Patsy Cline - and "Ain't It
Funny How Time Slips Away".
The formula of 1978 hit "Stardust", pop classics and standards, has been cleverly re-thought, re-formatted
and resumed on Willie Nelson's debut for the jazz label Blue Note.
On "American Classic", the country and western iconic crooner "takes another leisurely swim in the vast
ocean of popular American song only to find himself becalmed in the sleepy lagoon of smooth (and
smoothed-out) jazz classics, 31 years after the agenda-setting survey of popular standards, "Stardust", gave
his standing and credibility outside country music circles a considerable boost". BBC
This banishes the traditional image of Willie Nelson, in outlaw bandana, spliff dangling from weathered lip,
just one step ahead of the tax man.
The 73-year old Verve Music Group chairman and commercial producer Tony LiPuma and engineer Al
Schmitt have mapped out a selection of suppertime classics, wrapped in elegantly supple jazz
arrangements, and Willie has evidently popped into the studio, possibly in a tuxedo, and given them his best
shot.
If you need a polished, carefree, easy-on-the-ear, relaxed take on "Fly Me to the Moon" or "Ain't
Misbehaving", this album is for you.
Unlike Johnny Cash, who garlanded his late recordings with audacious covers, Willie has chosen - or forced
to choose - the safest road.
This time around, the formula abandons Nelson's usual backing band in favour of silky-smooth late-night jazz
re-workings (stealthily fronted by pianist Joe Sample, bassist Christian McBride and drummer Lewis Nash)
and perfectly manicured orchestral arrangements courtesy of the Grammy Award-winning Johnny Mandel,
who can boast collaborations with the likes of Frank Sinatra, Count Basie and Peggy Lee on his CV.
To make the album more enjoyable, the venerable LiPuma - only few months after an almost disastrous
work with Diana Krall on Quiet Nights - has called up the most famous late-nite, smoothest operators/syrens
on the market, the aforementioned, ubiquitous whispering Canadian star and the sweetly perky Norah Jones
on the two tracks, "If I Had You" and "Baby, it's Cold Outside", with very little added value.
Overall, this is a good and very pleasant listening.
Willie's interpretations are mellow and laidback, like the sounds of Starbucks, it's a delight to listen to them,
they are honest and clear, but they don't show particular emotions or intimacy.
Certainly it is not an album which will impact your world, nor will hand Willie Nelson over to the American
Songbook's History.
My highlights: "The Nearness of You", "On the Street Where You Live" and "Angel Eyes".
78 NELSO los
NELSON, Willie
784.72
Lost Highway / Willie Nelson. - [s.l.] : Lost Highway, 2009. - 1 CD : stereo ;
12 cm. Compact Disc
ISBN 602527139319
A good Willie Nelson album is like a good bottle of wine. His voice is perfectly aged and sounds as good as
ever. Lost Highway is a collection of some of Nelson's recent gems, some of which are immediately
recognizable and some that you may not have heard before.
"Maria (Shut Up and Kiss Me"), with Rob Thomas, is a fun, lighthearted way to start off the album, which
includes guest appearances from such music legends as Lucinda Williams, Elvis Costello, and Ray Price.
For me, the treasures of this album are "Back to Earth" from Songbird (produced by Ryan Adams and
feature the Cardinals as Willie's studio band) and the several unreleased songs, including "Superman". If you
have seen Willie in concert recently, he loves to perform this song live, but the album version really stands
out on this collection.
Of course, you also get a few of Willie's greatest hits, including "Mendocino County Line", featuring Leann
Womack, Beer for My Horses, with Toby Keith and Blue Eyes Crying in the Rain with Shania Twain (a very
interesting version of this classic song).
If you are a Willie Nelson fan, this is one that has to be in your collection. If you are new to Willie, what a
great place to start.
Str. 15
78 NELSR mem
NELSON, Rick
784.72
Memphis session / Rick Nelson. - Zagreb : SUZY, 1986. - 1 LP : stereo 33,3 ;
30 cm
ISBN 5099705703212
The longer i listen to music and write about those who create it, the more admiration I gain for that special
few who possess, not only a unique style, but an undefinable magic that distinguishes them as legends in
their own time.
Rick Nelson had that special kind of talent; his voice had that special kind of magic.
For some reasons, while reflecting on Rick's Memphis Sessions, recorded during the winter of '78-'79, my
mind flashed back to a statement made by rock 'n' roll's visionary forefather, Sam Phillips.
"Rosie," said Sam in one of his super philosophical moods, "music, any form of it, is the closest thing we
have to heaven on earth."
Maybe Sam is right. At its best, music can be that pure, that truthful, that losing -almost divine.
I believe Rick Nelson would have liked Sam's assessment of music as much as he enjoyed hearing stories
about his Sun-dols - particularly, Carl Perkins and Elvis Presley.
I don't know what force brought Rick to Memphis to record during that exceptionally cold winter the year after
Elvis' death.
I never heard anyone say.
I did hear that he rode out to Graceland one snowy morning about 2 a.m. and parked outside its famous
gates.
And, I do know that there is something extraordinary about Rick's vocals on the Memphis Sessions - an
empathy or soulfulness that I personally feel more strongly than ever before.
To a generation that to briefly experienced the sensitivity of James Dean and respected him as the epitome
of "cool", Rick was hip.
He was the Hollywood Rockabilly.
He made rockabilly music "high class" with great finesse, without violating its integrity.
Both Rick Nelson and Elvis Presley greatly admired the talent of primo guitarist James Burton, and since
neither one of the singers could pick like James, they kept hiring him away from each other.
Once in a discussion with some members of Elvis' band about James' contribution to both men's sound, I
made the astute observation that I thought Rick Nelson sounded like the Everly Brothers in one body.
I thought that was a heavy-duty compliment until someone spoke up and said, "Elvis said if James Dean
could sing, he would probably sound like Rick Nelson."
After hearing Elvis' compliment, no one in the group dared ever question Rick's talent again.
Rick's Memphis sessions were cut at Lyn-Lou Recording Studio in a rugged North Memphis neighborhood in
a converted brick building that had once served as a grocery store with a house attached.
Memphis is famous for converting anything that remotely looks like it might sound good into a studio, and
Lyn-Lou was no exception.
The decor tere is something called "southern funk."
It's a style that results from collectors bringing home anything that looks as though it might have good vibes.
There's a traffic light in the cutting room and an authentic barber's chair where the vocalist may just have a
seat if he feels like it. The atmosphere is cozy and good-natured, providing an ideal setting for a uniquely
different experience.
Rick seemed to like it just fine.
The session produced an EP for Epic released in 1979 with the chart single "Dream Lover" and the album
was scheduled to be completed in the spring of '79.
The last time i saw Rick was september 20, 1985. He was rushing into American Studios, former home of
the 827 Thomas St. Band that had cut Elvis' famous Comeback Sessions.
Rick was eager to meet Carl Perkins for the first time. Bobby Neal, the talented Lyn-Lou staff guitarist Rick
had hired after the Memphis Sessions to be leader of the Stone Canyon Band, was with him.
Bobby and I had tried to arrange for Carl and Rick to meet several times over the years, but something had
always prevented it.
I guess fate had reserved that meeting for this night. It was a session for a reunion album of Memphis Sun
artists, and already present with Carl were most of the label's other greats - Roy Orbison, Jerry Lee Lewis,
Johnny Cash, even Sam Phillips, himself.
Rick's good friend John Fogerty had come along, as had Dave Edmunds.
All were set to join in on the jam of the session's finale, "Big Train (From Memphis)."
I've been waiting on this moment allmy life," Rick told TV reporters outside the studio. "
I'm a big fan of all the guys in there."
Carl saw Rick when he entered the crowded room and moved towards him.
The two legends met with a handshake and big smiles, "Man, I've been looking forward to this for a long
time, I'm Carl..."
You don't have to tell me who you are," Rick interrupted.
"It's an honor to meet you."
Rick and Carl continued to converse as the other "stars" around them swapped autographs.
Rick withdrew after that, choosing to stand on the sidelines, content to watch the action so as not to intrude.
Rose Clayton
April, 1986
78 NEWTO cle
NEWTON-JOHN, Olivia
784.72
Clearly Love / Olivia Newton-John. - [s.l.] : EMI-Electrola, 1875. - 1 LP :
stereo 33 ; 30 cm
Olivia churned out album after album through out the 70's, but Clearly love stands out with its simple catchy
melodies and Olivia's pure voice. The songs on this album are great to sing along to and, while they all
represent her 70's style, they do so by covering a wide range of genres, such as the jazzy, blues-like
Something Better to Do, the optimistic anthem Let it Shine, the poppy Slow Down Jackson, and the
emotional cover of He Ain't Heavy, He's My Brother. By far, the most moving performance on the album is
the somber Just a Lot of Folk--this song displays her ability to filter emotions into lyrics. How many singers
can take lyrics that include the word "marshmallow" and still move the listener to tears? On that note,
however, I could have done without the cover of Summertime Blues. That being said...this album is
CLEARLY one of her best---put it in on a rainy day and simply "Let it Shine."
Str. 16
78 NEWTO com
NEWTON-JOHN, Olivia
784.72
Come on over / Olivia Newton-John. - [s.l.] : EMI_Electrola, 1976. - 1 LP :
stereo 33 ; 30 cm
It's one of Olivia's best covers! But that of course is not the reason this album ranks as one of her best, and
most under-rated. She does a wonderful cover of "Jolene," which is more exciting that Dolly's. "Pony Ride" is
a beautiful and quite unusual ballad that works well with Olivia's classic breathy voice. Her inclusion of
"Greensleeves" is bold, and she does a great job with it. "Don't Throw It All Away," later covered by Dave and
Sugar, is a winner. My three favorites are: "Who Are You Now," "Smile for Me," and "Small Talk and Pride."
Her cover of "The Long and Winding Road" is commendable, too. Olivia worked well with John Farrar and
this shows in this wonderful collection. Definitely a must for Olivia fans and those who haven't discovered her
yet!
78 NEWTO fir
NEWTON-JOHN, Olivia
784.72
First Impressions / Olivia Newton-John. - [s.l.] : EMI-Elekctrola, 1975. - 1 LP
: stereo 33 ; 30 cm
With Bob Dylan's "If Not for You", John Denver's "Take Me Home, Country Roads" and George Harrison's
"What is Life" intermixed with other favorites, Olivia Newton-John was bound to make a great First
Impression. The recognizable "Let Me Be There","If You Love Me (Let Me Know)" and of course the ever
popular "I Honestly Love You" also appear on this CD. Listening to "Amoureuse" will have you thinking
'Where have I heard this before?' The lyrics are changed but it's the same music as Helen Reddy's
"Emotion" (you can spread my wings....). The carnivalesque style of "Long Live Love" and traditional folkstyle
of "Banks of the Ohio" covers the spectrum of Olivia's musical styles. The ballads "Winterwood" & "If We
Try" bring the varieties together. Rounding out the CD is "Music Makes My Day." And the music on this CD
will at least enlighten your day.
78 PAUL mar
PAUL Les
784.72
Les Paul and Mary Ford. - [s.l.] : THE ENTERTAINERS, 1986. - 1 LP : stereo
33 ; 30 cm
78 ROGERS chr
ROGERS, Kenny
784.72
Christmas / Kenny Rogers. - [s.l.] : Liberty, 1981. - 1 LP : stereo 33,3 ; 30 cm
The album features several songs that were already well-known at the time including "White Christmas",
"When A Child is Born", "Carol of the Bells" and "My Favorite Things".
Several original Christmas songs are also included, which have also now become well-know via this album.
Christmas was also the origin of Kenny's first holiday single, "Kentucky Home Made Christmas".
The album peaked at #10 on the U.S. Country charts and #34 on the overall U.S. charts
(Izvor: Wikipedia)
78 RONST blu
RONSTADT, Linda
784.72
Blue Bayou And Other Hits / Linda Ronstadt. - [s.l.] : Rhino Flashback, 2007.
- 1 CD : stereo ; 12 cm
Compact disc
Kompilacija starih hitova iz sedamdesetih godina.
78 RONST mas
RONSTADT, Linda
784.72
Mas Canciones / Linda Ronstadt. - [s.l.] : ELEKTRA-WEA, 1991. - 1 CD :
stereo ; 12 cm
Compact disc
ISBN 075596244725
I am not a Mexican, but I have circulated for years in the Mexican parts of Los Angeles, and I have travelled
throughout Mexico, enjoying the native musicians on street corners and in parks and cafes.
I have always wondered about those who praise Lola Beltran as the "great" Mexican singer.
She sounds too urbane and too international to me--in the manner of Catarina Valente.
I always thought the real spirit of Mexican music was better represented by such as Las Hermanas de Alba.
And now Linda Ronstadt carries on the true Mexican tradition in her later work. Whatever else she may have
sung in her career, I find in Linda's Mexican singing the authentic flavor of Old Mexico.
(Amazon)
78 RONST wes
RONSTADT, Linda
784.72
Western Wall : The Tucson Sessions / Linda Ronstadt and Emmylou Harris. [s.l.] : Asylum, 1999. - 1 CD : stereo ; 12 cm
Compact disc
Perhaps inspired by the triumphs of TRIO and TRIO II, whichthey recorded with Dolly Parton, Linda
Rondstadt and Emmylou Harris went into a makeshift studio to record an album as a duo.
Str. 17
The results are superb. Rondstadt leaves her slick Hollywood pop sound behind and delivers some of her
most unadorned and heartfelt singing since the early '70s.
Harris is Harris: her voice is as delicate as a butterfly and as strongas steel.
The songs on WESTERN WALL are varied, each vividly telling a story. "1917" is a chilling chronicle of an
affair cast amid the brutality of WW I.
"Sweet Spot" is an eerie declaration of devotion, with a spare, Laurie Anderson-like use of electronics,
written by Harris and Luscious Jackson's Jill Cunniff.
Rondstadt shines on a straightforward, proud version of Jackson Browne's "For a Dancer". Other song
choices include Bruce Springsteen's "Across the Border" and Leonard Cohen's "Sisters of Mercy". Excellent.
78 RONST win
RONSTADT, Linda
784.72
Winter Light / Linda Ronstadt. - [s.l.] : Electra, 1993. - 1 CD : 45:47 : stereo ;
12 cm
Compact disc
It was Ronstadt's first solo album since Don't Cry Now not produced with Peter Asher.
She elected to produce it herself along with George Massenburg. The album marked Ronstadt's increased
responsibilities and confidence behind the boards, this time achieving a multi-layered New Age-oriented
sound, as in Anna McGarrigle's "Hearbeats Accelerating" - the album's first hit single - and Brian Wilson's
"Don't Talk (Put Your Head On My Shoulder)".
Other aspects of the album show Ronstadt paying tribute to great female vocalists of the 1960s with a
combination of rock n roll, oldies, and rock ballads.
Linda selected classic compositions from various songwriters such as Burt Bacharach, Carole King, Jimmy
Webb as well as contemporary ones such as Tish Hinojosa.
The album also showcased Ronstadt the singer-songwriter and music arranger, introducing her own ethereal
composition, "Winter Light," which was covered notably by Sarah Brightman on her 2001 album, Classics.
Considered one of Ronstadt's most underrated and highly acclaimed recordings.
Rolling Stone magazine rated the album '4' (out of a possible '5') stars.
Ironically, it was a rare commercial failure for Ronstadt and peaked at #92 on the Billboard album chart.
The disc had disappointing sales, moving approximately 200,000 copies in the US, and as of 2008 was
Linda's only Elekra/Asylum release out of print.
(In 2009 several more classic Ronstadt albums were deleted from her catalog.)
Also included on this disc is Linda's Spanish language folk-song Adonde Voy.
The title track, "Winter Light" was also prominently used in the Warner Bros. distributed 1993 film production
The Secret Garden, which was not featured in the film's original soundtrack.
-------------------------------------------------------------------Linda Ronstadt - Vocals, Producer, Mixing, Engineer
George Massenburg - Producer, Engineer, Mixing
Dean Parks - Guitar (Acoustic), Guitar, Guitar (Electric), Mandolin
Joseph Powell - Vocals (Background)
Emil Richards - Vibraphone
Doug Sax - Mastering
Kevin Scott - Assistant Engineer
Craig Silvey - Assistant Engineer
78 SEGER dis
SEGER, Bob
784.72
Th Distance / Bob Seger and the Silver Bullet Band. - Zagreb : Jugoton,
1982. - 1 LP : stereo 33,3 ; 30 cm
Bass - Chris Campbell
Drums - Russ Kunkel
Engineer - Shelly Yakus
Organ - Craig Frost
Percussion - Bobbye Hall
Producer - Jimmy Iovine
Vocals - Bob Seger
----------------------------------------------The Distance is the twelfth album by American rock singer Bob Seger and his fourth with The Silver Bullet
Band.
It was released in the final week of 1982. It peaked at #5 on Billboard's album chart and sold close to two
million copies in the United States.
The album's lead single, "Shame On The Moon", was Seger's biggest hit, holding at #2 for four weeks on
Billboard's Hot 100 behind Michael Jackson's "Billie Jean".
It also hit #1 Adult Contemporary and crossed over to #15 Country.
78 SHELT blu
VAN SHELTON, Ricky
784.72
Blue Christmas / Ricky van Shelton. - [s.l.] : AUDIUM, 2000. - 1 CD : stereo ;
12 cm. Compact disc
ISBN 684038812028
Ricky Van Shelton's Blue Christmas is predominantly comprised of contemporary classics like "Silver Bells"
and "Winter Wonderland," with a couple of hymns ("Silent Night," "O Come All Ye Faithful) and a
Str. 18
remake of his best known holiday composition ("Country Christmas") filling out the lineup. Shelton's voice
has grown deeper and less supple since his hit-making run about a decade ago, but a tremendous warmth
still radiates. For those who like their Christmas music familiar and unadventurous, this set should delight.
78 SHERI myb
SHERIDAN, Tony
784.72
My Bonnie / Tony Sheridan and the Beat Brothers. - [s.l.]Polydor, 1987. - 1
LP : stereo ; 30 cm. Long Play gramofonska ploča
We all know about his ledgendary recording with Beatles from hamburg, but this is Tonys own album with
only two tracks with the Beatles (the first single my bonnie/ the saints)
His good old fellas Beat Brothers( Roy Young and Colin Melander among others) helps him out here.
THis album is worth more atention than you might think even if its not a revolutionary record that changed
music it was recorded during the times when rock n roll was everything.
All tracks rock and nothing more is needed to make this a perfect album.
Its raw in its places but very well done and does who call Tony a poor Elvis impersinator are terribelly wrong
not only is he very entusiastic when making music he is also a flowing singing are well acompliced guitar
player, and he never stoped doing what he liked the most rock on (he did not sell out like the Beatles did
later on) he keeps his rocking touch trough the whole album and the fun never stops (the yeahs and woohs
and wells are at almost every track) swinging giutars dunkin beats flowing pianos.
STand out tracks include "top ten twist" when you listen to it you feel like your at the famous club where he
used to rock out!
skinny minny is wounderful ready teddy really rocks out lets twist again is has that pumpin beat that never
stops and halleluja is just great with its fanatastic riff and jammin beat
My bonnie and the saints always sound fresh and full of energy
There is a lot of rockers here all great but also intresting ballads with a hell of alot of flow like ich leib dich so
with great strings work aswell that i think we have to thank producer bert keapfert for. You can see in this
album thar sheridan himself also is a very godd writer just check out I know baby with its mid tempo flow.
I Could keep on going comenting every single track well by the way check out the uptempo wildness of
vedeeboom slop slop i love that saxophone and let slop well i just have to say woooh!!!!
as for ruby baby well its a slow track but hey its got good flow and the backers well (aoooh!)
he is such an underrated artist well remeber George Harrisons QUEOTE "ALL I LEARD FROM ROCK N
ROLL I LEARNED FROM SHERIDAN"
listen again and you might learn someting from him!
I could even say he's better than elvis!
and before I stop i need to say this... YOU DONT HAVE TO BE A BEATLES COLLECTOR TO ENJOY THIS!
HE IS A GOOD ROCKING ARTIST ON HIS OWN TOO
please open your ears for Sheridan!
he is not just some guy that the beatles backed in hamburg!
78 SINGE asp
THE SINGERS unlimited
784.72
A Special Blend / The Singers Unlimited. - [s.l.] : MPS-BASF, 1976. - 1 LP :
stereo 33 ; 30 cm
The Singers Unlimited:
Bonnie Herman,
Don Shelton,
Len Dresslar,
Gene Puerling
78 STEW atgb5
STEWART, Rod
784.72
Fly Me To The Moon : The Great American Songbook vol V. / Rod Stewart. [s.l.] : J-Records, 2010. - 1 CD : stereo ; 12 cm
Compact Disc
ISBN 886979660924
Introducing the fifth stunning chapter of the chart-topping, multi-platinum album series.
An all new collection of American classics... it's Rod's most danceable Songbook yet.
Truly possessing one of the most distinctive and interpretive voices in music, on Fly Me To The Moon...
The Great American Songbook, Volume V, he lends his signature vocals to such classics as: "That Old Black
Magic", "Beyond The Sea", "I've Got You Under My Skin", and many more. The album was produced by
longtime collaborators Clive Davis and Richard Perry.
(Izvor: amazon.com)
--------------------------------------------------------Rod Stewert počeo je sa svojim Grammyijem nagrađenim serijalom "Songbook" 2002. godine, s albumom "It
Had To Be You: The Great American Songbook", koji je bio toliko popularan da je u sljedeće tri godine,
svake godine izdavao po jedan album klasične pop glazbe.
2006. godine, vratio se u vode klasičnog rocka, nakon čega je usljedio njegov nedavni album kojim odaje
počast soul glazbi 60-ih I 70-ih.
Rod Stewart, koji je nekoć rasprodavao koncerte pjevajući rock and roll, opisuje svoju ljubav za glazbu velike
američke pjesmarice kao ovisnost.
Kaže da mu pruža nepresušan izvor pjesama, te da mu nikada nije problem naći odličan materijal.
Odličnog materijala ne nedostaje ni na njegovom novom albumu "Fly Me To The Moon: The Great American
Songbook, Volume 5", na kom se, između ostalog našao i lagani aranžman skladbe Harolda Arlena i
Johnnyija Mercera, "The Old Black Magic". Njegov hrapavi glas omekšao je s godinama, što se može uočiti
i u ovoj skladbi.
Str. 19
Repertoar Roda Stewerta nastavlja rasti sa "I've Got The World On A String".
Tijekom godina, ovu su skladbu otpjevali mnogi glazbenici, od Louisa Armstronga, i Franka Sinatre, do
Celine Dion i Tonyija Bennetta.
(Izvor: VOANews.com)
785
INSTRUMENTALNA GLAZBA
78 BLAKE hamm BLAKE, Howard
785
Hammond in percussion / Howard Blake and his combo. - Zagreb :
Jugoton,, [s.a]. - 1 LP : stereo 33 ; 30 cm
Orig. izdanje: Studio2stereo-EMI, 1966
Howard Blake:
Composer (THEME FROM 'H' and SHARK are by him); an arranger (his version of YESTERDAY is surely
the most original yet); a concert pianist (listen to his spectacular performance on the EXODUS theme); and
probably the swingingest organist this countryhas produced (GRAVY WALTZ and DACE should convince
you of that).
He also plays vibes, marimba, celeste and jangle-box.
The word, is versatile. His mastery of the. Hammond organ is astonishing.
He makes it wail and he makes it sing. And with nothing more than a rhythm group, a little discreet
double-tracking, and a few sound effects he turns the JAMES BOND THEME into a rivetingly exciting
demonstration of what stereo really means.
Howard is a stunningly talented musician, but everything he plays is first and foremost enjoyable—to move
to, and to listen to. You will not often hear an LP as varied in mood, tempo and feeling as this one. It
happened like this:
A young A. and R. Manager heard Howard playing Rhythm and Blues in London's Ad Lib Club, and
immediately signed him to make his record debut. It's easy to hear why.
With so much to choose from, my own favourite is the jangle-box solo on GRAVY WALTZ.
If you don't know the word 'funky', this is what it means.
Howard is 27, and has composed symphonies, chamber music, pop songs and jingles.
His Piano Rhapsody is frequentlyplayed by Semprini in broadcasts and concerts.
78 CRAMER bes
CRAMER, Floyd
785
The Best Of Floyd Cramer / Floyd Cramer. - [s.l.] : RCA, 1971. - 1 LP : stereo
33 ; 30 cm
78 DEBUSS pell
DEBUSSY, Claude (1862-1918)
785
Pellas und Melisande : Drame-lirique in 5 Akten / Claude Debussy. - [s.l.] :
DeAgostini, 2005. - 147 min, 1 DVD : PCM stereo, PAL 4:3, CC 2 ; 12 cm. - (Die
OpernSammlung ; 38)
1987 Live aufgenommen in der Opera National de Lyon
Libretto: Maurice Maeterlinck
ColetteLibretto MAURICE MAETERLINCK
COLETTE ALLIOT-LUGAZ • FRANÇOIS LE ROUX JOSÉ VAN DAM • ROGER SOYER • JOCELYNE
TAILLON FRANÇOISE GOLFIER • RENÉ SCHIRRER
ORCHESTER und CHOR der OPER LYON Chorleiter HENRI FARGE
Dirigent SIR JOHN ELIOT GARDINER
Bühnenbild und Bühnenregie PIERRE STROSSER Kostüme PATRICE CAUCHETIER
Video-Regie JEAN-FRANÇOIS JUNG
78 GLUCK orp
GLUCK, Christoph Willibald (1717-1787)
785
Orpheus und Eurydike : Oper in 3 Afzugen / Christoph Willibald Gluck. [s.l.] : DeAgostini, 2005. - 100 min 1 DVD : PCM Stereo 16:9 PAL CCode 2 ; 12
cm. - (Die OpernSammlung ; 22)
Live aufgenommen in Theatre Musical De Paris - Chatelet
Libretto: Ranieri de'Calzabigi
Magdalena Kožena, Madeline Bender, Patricia Petibon,
Orchestre Revolutionnaire Romantique
Monteverdi Choir
Dirigent: Sir John Eliot Gardiner
Choreographie: Giuseppe Frigeni
Buhnenregie: Robert Wilson
Produzent: Colin Wilson
Productionleitung: Jacques Hedouin (Theatre Nusical de Paris - Chatelet),
Yves Rolland (LGM), Jane Seymour (RM Associates)
Video und TV-regie: Brian Large
Str. 20
78 HAENDE xer
785
Xerxes : Oper in 3 Akten / Georg Friedrich Händel. - [s.l.] : DeAgostini, 2005.
- 186 min. : 1 DVD PCM Stereo 4:3 PAL CCode 2 ; 12 cm. - (Die OpernSammlung
; 29)
Live aufgenommen in der English National Opera 1988
Origina-Libretto von Niccolo Minato
In der Bearbeitung von Silvio Stampaglia
Ins Englische übertragen von Nicholas Hytner
Neufassung von Sir Charles Mackerras und Noel Davies
Ann Murray, Valerie Masterson, Christopher Robson
Jean Rigby, Lesley Garrett, Christopher Booth-Jones
Rodney McCann
Chor der English National Opera
Leitung: Martin Handley
Orchester der English National Opera
Konzertmeister: Raymond Ovens
Dirigent: Sir Charles Mackerras
Bühneregie: Nicholas Hytner
Ausstattung: David Fielding
Video-Regie: John Michael Phillips
78 MANTO raw
MANTOVANI, Annunzio
785
Rawicz i Landauer / Mantovani i njegov orkestar. - Zagreb : Jugoton, [s.a.]. 1 LP : stereo 33 ; 30 cm
78 MOZAR cos
785
Cosi fan tutte : Oper in 2 Akten / Wolfgang Amadeus Mozart. - [s.l.] :
DeAgostini, 2005. - 192 min. 2 DVD : PCM stereo, 16:9, PAL, CCode 2 ; 12 cm +
22 min. bonus-material. - (Die OpernSammlung ; 10)
Live aufgenommen im Opernhaus Zuerich
Libretto Lorenzo da Ponte
Cecilia Bartoli
Agnesa Baltsa
Liliana Nikiteanu
Roberto Sacca
Oliver Widmer
Carlos Chausson
Orchester des Opernhauses Zürich : Dirigent Nikolaus Harnocourt
Chor des Opernhauses Zürich : Chorleiter Ernst Raffelsberger
Inszenierung und Bühneregie: Jürgen Flimm
Video-regie: Brian Large
78 ROGER pan
ROGER Roger
785
Panorama Europeen / Roger Roger et le Symphony Orchestra. - [s.l.] :
Vogue, 1966?. - 1 LP : stereo 33 ; 30 cm
78 STRAU fle
STRAUSS, Johann (1825-1899)
785
Die Fledermaus / Johann Strauss. - [s.l.] : LONDON, [s.a]. - 2 LP : stereo 33
FFRR ; 30 cm
Long play gramofonska ploča Richmond high fidelity
Hilde Gueden - Rosalinde
Julius Patzak - Eisenstein
Anton Dermota - Alfred
August Jaresch - Dr. Blind
Alfred Poell - Dr. Falke
Wilma Lipp - Adele
Sieglinde Wagner - Prince Orlofsky
Kurt Preger - Frank
with the Vienna Philharmonic Orchestra
and the
Vienna State Opera Chorus
conducted by
Clemens Krauss
Str. 21
78 TSCHAI piq
TCHAIKOVSKY, Peter I. (1840-1983)
785
Pique Dame : Oper in 3 akten / Peter Tscaikowski. - [s.l.] : DeAgostini, 2005.
- 170 min. 1 DVD : PCM stereo, PAL 4:3, CC2 ; 12 cm. - (Die OpernSammlung ;
31)
1992 Live aufgenommen in der Glyndebourne Festival Opera
Libretto MODEST TSCHAIKOWSKI nach ALEXANDER PUSCHKIN
Produktion mit frdl. Unterstützung von JOHNSON MATTHEY
YURI MARUSIN - NANCY GUSTAFSON - FELICITY PALMER
SERGEI LEIFERKUS - DIMITRI KHARITONOV
Das LONDON PHILHARMONIC ORCHESTRA Leitung JACQUELINE HARTLEY Dirigent ANDREW DAVIS
THE GLYNDEBOURNE CHORUS Einstudierung DAVID ANGUS
Bühnenregie GRAHAM VICK Ausstattung RICHARD HUDSON
Licht THOMAS WEBSTER Choreografie RON HOWELL
Produzent STEPHANY MARKS Produktionsleitung JANE SEYMOUR für RM ARTS, DENNIS MARKS für
BBC-Tv Video-Regie PETER MANIURA
78 VAUGH gol
VAUGHN Billy
785
Die Goldenen Super 20 / Billy Vaughn. - Muenchen : Ariola, 1977. - 1 LP :
stereo ; 30 cm. Long play gramofonska ploča
78 VERDI mac
785
Machbeth : Oper in 4 Akten / Giuseppe Verdi. - [s.l] : DeAgostini, 2005. - 150
min, 1 DVD : PCM Stereo, 4:3, PAL, CCode 2 ; 12 cm. - (Die OpernSammlung ;
17)
1987 Live aufgenommen in der Deutschen Oper Berlin
Libretto: Francesco Maria Piave nach Shakespeare (alle Rechte bei G. Ricordi and CO
Goetz Rose, David Griffith, Renato Bruson, Maria Zampieri
James Morris, Claus Endisch, Dennis O'Neil, Sharon Sweet
Josef Becker, Klaus Lang, Leopold Clam, Paul Wolfrum
Chor und Orchester der Deutschen Oper Berlin
Choirleitung: Marcus Creed
Dirigent Giuseppe Sinopoli
Regie: Luca Ronconi
Bühnenbild und Kostüme: Luciano Damiani
Produzent: Hartmut Schottler
Video-Regie: Brian Large
78 VIVAL orl
VIVALDI, Antonio (1678-1741)
785
Orlando furioso : Oper in 3 Akren / Antonio Vivaldi. - [s.l.] : DeAgostini,
2005. - 147 min, 1 DVD : PCM stereo, PAL 4:3, CC 2 ; 12 cm. - (Die
OpernSammlung ; 34)
1989 Live aufgenommen in der San Francisco Opera
Libretto GRAZIO BRACCIOLI Kritische Ausgabe von ULYSSES ROSEMAN, JR. Alle Rechte bei G.
RICORDI & CO, Mailand
MARILYN HÖRNE - SUSAN PATTERSON KATHLEEN KUHLMANN - SANDRA WALKER - JEFFREY GALL
WILLIAM MATTEUZZI - KEVIN LANGAN
ORCHESTER und CHOR der SAN FRANCISCO OPERA Chorleiter IAN ROBERTSON Dirigent RANDALL
BEHR
Produktion PIER LUIGI PIZZI Produktionsleitung UGO TESSITORE Ausstattung PIER LUIGI PIZZI
Licht THOMAS J. MUNN Kostüme JENNIFER GREEN
Perücken und Maske PAUL ALBA Video-Regie BRIAN LARGE
78 WAGNE tri
WAGNER, Richard (1813-1883)
785
Tristan und Isolde : Oper in 3 Afzügen / Richard Wagner. - [s.l.] : DeAgostini,
2005. - 241 min 2 DVD : PCM Stereo 16:9 PAL CCode 2 ; 12 cm. - (Die
OpernSammlung ; 20)
Live aufgenommen bei den Münchner Opernfestspielen 1998
Libretto: Richard Wagner
Jon Fredric West, Kurt Moll, Waltraud Meier, Bernd Weikl, Claes H. Ahnsjö, Marjana Lipovsek, Kevin
Conners, Hans Wilbrink, Ulrich Ress
CHOR der Bayerischen Staatsoper Leitung Udo Mehrpohl
Bayerisches Staatsorchester / Dirigent Zubin Mehta
Bayerische Staatsoper / Bühnenregie: Peter Konwitschny
Bühnenbild und Kostüme: Johannes Leiacker
Licht: Michael Bauer
Produktion: Michael Peter
Fernseh- und Video-Regie Brian Large
Str. 22
78 DANIE rev
DANIELI, Fausto
785.1
Reverie En Sax ; Sanjarenje uz saksofon / Fausto Danieli uz svoj orkestar. Zagreb : Jugoton, 1973. - 1 LP : stereo 33 ; 30 cm
Orig. izdanje: Vogue, 1972
78 NELSO two
NELSON, Willie
785.161
Two Men with the Blues / Willie Nelson and Wynton Marsalis. - [s.l.] : Blue
Note Records : 2008. - 1 CD : stereo ; 12 cm
Compact disc
ISBN 5099950445424
Two Men with the Blues is no more a jazz album than a blues album.
It's neither jazz returning home, nor blues wandering out.
What Willie Nelson and Wynton Marsalis have created is a compilation of jump-blues standards with
arrangements that compliment both genres.
While most of the album is careful not to take itself too seriously, there are a few tracks that seem to plod on
for ages.
The live set kicks off with the upbeat "Bright Lights, Big City," on which Marsalis' horn is crisp and full. "Ain't
Nobody's Business" and "Basin Street Blues" are arranged slower than better known versions but still fit the
album's context.
Nelson and Marsalis's take on "Stardust" comes off as a bit too "Sinatra" for Nelson's thin vocal, while
"Georgia on My Mind" just doesn't work at all.
Still, the things that work, work well. "Night Life" and "Rainy Day Blues" are particular stand-outs, and
"Caldonia" is a faithful homage to the Louis Jordan original (minus Jordan's screaming punch line, of
course).
The album ends riding high on closer "That's All," with its straight-out-of-a-New-Orleans-Baptist-church feel.
Both Nelson and Marsalis are notorious for collaborating with other artists.
Therefore, it seems only natural that they've found themselves on a project together.
Overall, this set is well worth the wait.
786
GLAZBA ZA INSTRUMENTE S TIPKAMA
78 RUBIN lie
RUBINSTEIN, Artur (1887-1980)
786
Liebeslied ; Träumerei ; Wiegenlied / Artur Rubinstein. - [s.l.] : His Master's
Voice, [s.a.]. - 1 MP : mono 78 ; 25 cm
78 TCHAI pc1
TCHAIKOVSKY, Peter I. (1840-1983)
786
Piano concerto No 1 u b-molu op. 23 / P. I. Čajkovski. - Zagreb : Jugoton,
[s.a.]. - 1 LP : full frequency stereo ; 30 cm
Orig. izdanje: DECCA
Vladimir Askenazi i Londonski simfonijski orkestar / Lorin Maazel
787
GLAZBA ZA INSTRUMENTE SA ŽICAMA
78 RODRIG con
RODRIGO, Joaquin
787
Concierto de Aranjuez ; Concierto Andaluz / Joaquin Rodrigo. - Beograd :
RTB : [s.a.]. - 1 LP : stereo 33,3 ; 30 cm
The Concierto de Aranjuez was inspired by the gardens at Palacio Real de Aranjuez, the spring resort palace
and gardens built by Philip II in the last half of the 16th century and rebuilt in the middle of the 18th century
by Ferdinand VI.
The work attempts to transport the listener to another place and time through the evocation of the sounds of
nature.
Composed in early 1939, in Paris, amid the tensions of the pending war, it was the first work Rodrigo had
written for guitar and orchestra.
The instrumentation is unusual: rarely does the guitar face the forces of a full orchestra. Instead, the guitar is
never overwhelmed, remaining the solo instrument throughout.
Concierto Andaluz, for four guitars and orchestra, was commissioned by Celedonio Romero for himself and
his three sons.

7 UMJETNOST. ARHITEKTURA. FOTOGRAFIJA. GLAZBA. SPORT

Transcription

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