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Neue ALBEN / SINGLES von 80er-Stars

Erstellt von bamalama, 18.08.2004, 16:24 Uhr · 2.091 Antworten · 312.019 Aufrufe

  1. #81
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    MORRISSEY - you are the quarry (Platinum Edition) 2 CD ATTACK RECORDS ATKDD001 VERÖFFENTLICHUNG: 08.11.2004

    Limited Platinum Edition 2-CD set comprising of 12-track CD album plus BONUS 6-track enhanced disc featuring previously unreleased studio recordings plus 2 CD-Rom videos and Jools Holland performance!

    - Extended 24 page booklet
    - New photo of Morrissey on reverse side of booklet


    01. America Is Not The World
    02. Irish Blood, English Heart
    03. I Have Forgiven Jesus
    04. Come Back To Camden
    05. I'm Not Sorry
    06. The World Is Full Of Crashing Bores
    07. How Could Anybody Possibly Know How I Feel?
    08. The First Of The Gang To Die
    09. Let Me Kiss You
    10. All The Lazy Dykes
    11. I Like You
    12. You Know I Couldn't Last


    01. Slum Mums
    02. I'm Playing Easy To Get
    03. No-One Can Hold A Candle To You
    04. Irish Blood, English Heart (Enhanced Video)
    05. The First Of The Gang To Die (Enhanced Video)
    06. Let Me Kiss You (Enhanced Live Performance From BBC's Later With Jools Holland)

  3. #82
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    NEW EDITION - one love UNIVERSAL 0602498637395 VERÖFFENTLICHUNG: 02.11.2004

    New Edition: Johnny Gill, Mike Bivins, Ralph Tresvant, Ricky Bell, Ronnie DeVoe (vocals).
    Producers: Sean "P.Diddy" Combs; Big Chuck; Stevie J.; Andre Harris; Jimmy Jam; Terry Lewis.
    Recording information: Paramount, Hollywood, California; Daddy's House, New York, New York; Circle House, Miami, Florida; The Village Recorder, Los Angeles, California

    01. Conference Call
    02. Been So Long
    03. Hot 2 Nite
    04. 5exy Lady
    05. Last Time
    06. All On You
    07. Wildest Dream
    08. Start Turnin' Me On
    09. Love Again
    10. One Love Interlude
    11. That's Why I Lied
    12. Come Home With Me
    13. Best Man
    14. Re-Write The Memories
    15. Newness
    16. Feelin' It
    17. Leave Me

  4. #83
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    MICHAEL MCDONALD - motown two MOTOWN 000347202 VERÖFFENTLICHUNG: 26.10.2004

    Soul -- real, honest and unforced soul -- is at the core of Michael McDonald’s long and varied career in music. Whether playing with his early bands like Mike and the Majestics in the midwest, working on the road and in the studio with Steely Dan, famously revitalizing the sound of the Doobie Brothers, or, most recently, following his own muse as a soul artist, McDonald has always made music graced by a radiant and dignified sort of soulfulness.

    With 2002’s surprise smash Motown album, McDonald and his collaborators like producer Simon Climie effectively showcased the groundbreaking and still relevant music once known as “The Sound of Young America.” A respectful yet contemporary salute to one of our most beloved musical legacies, McDonald’s album proved once again that the music of Motown is a global phenomenon that speaks not to just the Big Chill generation but to every generation. The great admiration and deep love that McDonald, his producers and fellow musicians conveyed for the great artists and songs of Motown came through loud and clear on his platinum, Grammy-nominated album. And in the best spirit of the music itself, Motown -– and now its brand new, equally impressive sequel Motown Two -- crossed over any imaginary boundaries of race or genre, something that McDonald’s music too has always done along the way.

    Michael McDonald comes by his own distinctive soulfulness quite naturally. He was born in 1952, not in the Detroit of Motown fame, but not all that far way in another urban center of the American Midwest, St. Louis, Missouri.

    “You could very easily develop a love of rhythm and blues in that town without really trying,” McDonald explains. “Even when I go back there today, it’s still a town where people put on some obscure soul records and go, `Have you heard these guys?’ The town seems to be just filled with kind of people who are connoisseurs of rhythm and blues. I grew up around guys like who were well versed in all the soul singers, and ended up playing with lots of them in bands. I remember thinking, at a young age, `These are the kinds of records I’d love to make some day.’ At that point the world was filled with the sounds of the Troggs and the Kinks – groups I loved too. But my leanings were always towards classic soul music.”

    For McDonald, finding his own place in the joyful and meaningful music of Motown was not exactly a struggle. “I think the only reason I even considered doing the first Motown album was how much fun I thought it would be to sing these incredible songs,” McDonald explains. “And the experience didn’t disappoint me at all in that respect. It was probably more fun than I could have ever realized for all kinds of reasons.” Recording in the South of France was a pleasure, and not just because of the fine weather, food and accommodations. “Working with Simon Climie— and the whole team that made these records—has been just a complete joy,” McDonald reports. “Certain projects, you feel like you’re pulling teeth. Other times you think, `This has to be good on some level because it’s just too much fun not to be. This has been one of those kind of projects.”

    Of course, Motown became a massive commercial success, helped in no small measure by exposure "Ain’t No Mountain High Enough' and "Ain't Nothing Like The Real Thing" were given in commercials for MCI. “The commercial was huge definitely, but in terms of the way that I tend to judge the success of an album, commercial success is one aspect, but not always the key ingredient. For me the album was a success when Simon signed on and I could see pretty clearly we were going to do the kind of record I hoped -- very respectful and possibly even bringing something to these copyrights that I love so much. We wanted to show our respect to the original performers and their original performances, but also to real qualities of the songs themselves.”

    Since Motown was arguably Motor City’s single greatest production line, it seems only fitting that McDonald and company have a new model of Motown, a soulful sequel of sorts. “I think we all left the first record going gosh, some day we’ll do a Motown Two, whether it’s right now or not,” McDonald remembers. “Then the success of Motown made it all the more possible for us to actually do that. We didn’t blink because we already knew we could probably do five Motown records and never exhaust the catalog of great songs. At some point in the future there might be a Motown Three, for all I know. It’s just such a rich and resourceful wellspring of wonderful copyrights and wonderful songs and incredible performances to go to school on.”

    Here’s what McDonald says of the classic songs that have found a beautiful and loving new home on Motown Two:

    YOU’RE ALL I NEED TO GET BY: That’s one of my favorite songs written by Ashford and Simpson – I always loved the chord progression and the lyric. And like everyone, I loved Marvin Gaye and Tammi Terrell’s version of the song. Marvin Gaye was, well, Marvin Gaye, and Tammi Terrell is a singer who is so underrated. She had this angelic, sort of innocent voice with incredible range that you just fell in love with listening to her. When you heard those two sing together, you had to root for Marvin to land a chick as sweet as Tammy Tyrell. There was a great chemistry there.

    I WAS MADE FOR TO LOVE HER: It’s one of those great quirky Stevie Wonder songs. The thing I always loved about Stevie, even in his early years, is that his records were so assured and had so much genius in terms of the rhythm patterns. The grooves were always just different. How do you make a pop record out of so many, you know, really sophisticated elements? His genius was undeniable even then with these songs about high school romance.

    REACH OUT, I’ll BE THERE: The first thing that comes to my mind when I think of “Reach Out, I’ll Be There” is Levi Stubbs’ lead vocals. It’s one of my favorites of all the amazing things he did with the Four Tops. Levi just sang the hell out of that song. Actually he sang the hell out of all of them. It a great, dramatic song, but I imagine that when most people think of “Reach Out,” the first thing they probably think of is the passion that man brought that lead vocal. It’s what it’s all about – a great singer and a great song.

    STOP, LOOK AND LISTEN (TO YOUR HEART): Just a great song -- the first thing I always think of when I think of a Thom Bell tune are those great chord progressions. Of course the words are great, because Linda Creed never wrote a bad word. I probably went through three copies of that Diana Ross- Marvin Gaye LP. That and Marvin Gaye’s Super Hits never left my turntable. And I get to sing the song with Toni Braxton who is an incredibly beautiful and incredibly passionate performer. She’s mesmerizing to watch. She is one of those singers I have to be careful not to look at her too much because then I’ll forget my next line.

    BABY I NEED YOUR LOVING: One of my favorite Four Tops tunes. I love the form and the structure of that one. The chorus has an unusual key relationship to the rest of the song. It is really neat, kind of sophisticated, and a well written song. This is one of song I wanted to do on the last record, so I was really glad we got to do it on this one. At first wasn’t sure that we did it justice to be honest with you – I did the best I could but it’s hard to get close to Levi Stubbs on that one. Still, other people seemed to like it so much. People have told me that’s their favorite. Personally, I think they’re just responding to a truly great song.

    LOVING YOU IS SWEETER THAN EVER: That was one we discovered in the course of making the project. I kept saying to Simon, “You know, I’m all for doing the big hits, but I really feel like we owe it to ourselves on this one especially to venture out into things the label might consider more obscure.” I think there’s a beauty in giving people not just the songs they know and love also something great they haven’t had the privilege of hearing. For whatever reason, I didn’t remember this song from Adam. I heard Marvin Gaye’s version on a compilation in Europe. I only heard The Four Tops version – which apparently was a big hit in England -- the other day in some restaurant. But when I heard Marvin Gaye’s version I fell in love with it. It’s one of those timeless soul songs that just rolls off your tongue.

    THE TRACKS OF MY TEARS: Simon and Tony Swain really changed directions on this Smokey Robinson masterpiece. I just got in there and sang it the best I could, the way I felt the arrangement was taking it, which is a melancholy, introspective kind of thing. I think Smokey is one of the greatest American pop songwriters or American songwriters period, just way ahead of his game.

    WHAT’S GOING ON: Of course, this is a daunting song to sing. The only comfort is we have been doing that song for quite a few years in our live show. I always felt that “What’s Going On” was just such an important message -- the song’s words are practically more timely today than when they were written. Marvin was one of a kind. We leaned a little bit more on the Donny Hathaway live version here than the original Marvin Gaye masterpiece.

    I SECOND THAT EMOTION: Here’s another one we took a departure on. It’s another great Smokey Robinson song. We had fun with the rhythm cadence of it. Smokey’s lyrics remind me a lot of Cole Porter lyrics. They have that kind of playfulness, and at the same time it’s real poetry with the same kind of sense of humor of a great riddle.

    AFTER THE DANCE: A great later song from Marvin Gaye that was written by Leon Ware who wrote some of my favorite songs for Marvin, including “I Want You.” Leon Ware was another one of the great Motown songwriters. That label had some incredible talent come through its doors.

    NOWHERE TO RUN: One of my all time favorite songs and again one of those numbers I wanted to do on the first Motown album. Martha and the Vandellas did it wonderfully, and it had one of those great Phil Spector-ish kind of productions with a relentless beat -- kind of like “Dancing in the Streets.” It’s just undeniable.

    TUESDAY HEARTBREAK: As far as I’m concerned, music never got hipper than Stevie did during this period of his amazing career. The lyric turns out to be almost a stream of consciousness – it was so inside and the vocal performance was so nuanced that I almost found I had to just surrender myself to the feeling of the track and the original performance. It was almost like a Zen exercise -- just becoming one with the groove and the track and the song.

    MERCY, MERCY ME: Of course, I love the song and Marvin’s recording of it, but I think Simon really wanted to do that song more than I did. But when we got into it, we decided to take more of a Latino, almost Samba approach which sold me on the whole idea. The lyrics are still strong. I remember back when I was a kid listening to that song thinking, “fish full of mercury,” what the hell is that about? He really was ahead of his time.

    BABY I’M FOR REAL: This is one of those classic great R&B ballads that was a big hit for the The Originals. It always reminded me of one of the great songs Teddy Pendergrass sang with Harold Melvin and the Blue Notes. I’m embarrassed that I didn’t know it was written and produced by Marvin Gaye for them. In fact, it always reminded me of “Distant Lover” by Marvin. Like so much soul music, it’s incredibly romantic.

    Finally, Michael McDonald is asked what makes him most proud of the Motown albums. The characteristically soft-spoken and humble singer-songwriter thinks for a moment, then says, “I think the thing I’m most proud of -- and hopeful that -- it, even in a small part, makes obvious , one more time -- for the 150th time probably -- just how great these songs are, no matter who is singing them.”

    01. You're All I Need to Get By
    02. I Was Made to Love Her
    03. Reach Out, I'll Be There
    04. Stop, Look, Listen (To Your Heart)
    05. Baby I Need Your Loving
    06. Loving You Is Sweeter Than Ever
    07. Tracks of My Tears
    08. What's Going On
    09. I Second That Emotion
    10. After the Dance
    11. Nowhere to Run
    12. Tuesday Heartbreak
    13. Mercy Mercy Me
    14. Baby I'm for Real

  5. #84
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    Eine Frage zu der Tears for Fears CD : Laut Amazon kommt die erst im Dezember und auch im Media Markt ist von einer VÖ nichts bekannt. Hab ich was verpasst ???

  6. #85
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    der veröffentlichungstermin für das neue TEARS FOR FEARS-album hat sich (in EUROPA) auf ANFANG 2005 verschoben. im DÜSSELDORFer MEDIA MARKT ist sie allerdings als import bereits zu haben - dort kostet sie € 16.99!

  7. #86
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    PRINCE - cinnamon girl COLUMBIA / SONY 6751422 VERÖFFENTLICHUNG: 08.11.2004

    Was wäre unser Prince ohne handfeste Skandale von Zeit zu Zeit? Eben, any promotion is good promotion - getreu diesem Motto greift Prince im Video zur neuen Single "Cinnamon Girl" die Thematik "Vorurteile gegenüber arabischstämmigen Mitmenschen" auf. An und für sich löblich - doch wieso er deshalb die Thematik Selbstmordattentat aufgreift, sei einfach mal dahingestellt. Und außerdem entscheidet sich das Mädchen im Video dann doch noch um! Don't worry, be happy.

    Musikalisch kommt uns seine Durchlaucht zur Abwechslung mit einem erdigen, leicht bluesorientierter Rocksong Marke Endsiebziger. Prince' Stimme klingt dabei teilweise erstaunlich rau, nichts mehr zu hören vom Quietschgesang der früheren Tage. Überhaupt überzeugt "Cinnamon Girl" durch seine Bodenständigkeit, eine klare Linie im Song, ein schörkelloser Stil eben. Durchaus eine gelungene Single, wenn auch keine musikalische Neuerfindung.

    01. Cinnamon Girl
    02. Dear Mr. Man (Live at Webster Hall)
    03. United States Of Division

  8. #87
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    Billy Currie is well known for his contribution to the group ULTRAVOX and the studio project Visage playing Keyboards and Violin.
    Billy first started playing keyboards at the Huddersfield Music College back in 1965. Piano was his second instrument. He was there to train to become an orchestral Viola player but things did not quite work out like that!
    Piano became a very interesting tool for him as a way to hear the harmony he had to compose for lessons and a means to see fully what was going on while reading scores. All the notes were there on the keyboard! Billy was a natural string player but loved this elevated view of music the piano gave him. He was impressed by the classical electronic composers of the recent times like Varese and Honegger but also liked the more spacey contemporary music from new composer Terry Riley, especially “Rainbow in Curved Air”. His music had a very spacey organ sound that was a bit like a current sparkly synthesiser version of an organ sound.

    Billy managed to secure a place at the London Royal Academy of Music in 1969 to take his next step to becoming an orchestral player but took a sharp left turn. He was invited into a band and grabbed the opportunity. This band, based in London, called Springbirth then Company Roadshow had a strong leaning towards blues and Jazz but with a rock edge. The drummer had played with The Graham Bond Organisation. Improvisation was the way. Billy played Electric Viola and six string bass guitar with a line-up of Vocals, Guitar, Sax, Drums and Hammond B3. The Hammond was an amazing instrument for Billy to experiment with when the band were not around. He loved the way Pink Floyd used it as well as Jimmy Smith. The boffin roadie for the band used to look after Hawkwinds strange oscillator synth so Billy got the chance to sit in his workshop playing with this weird synth all night.

    Billy left this band after a year and worked with the Tim Buckley styled song smith Jeff Starrs who later, after Billy moved on, did two albums for Virgin with his band Interview. This was a time when Billy, playing piano, started writing very emotive songs, with Jeff on vocals. They had a few big gigs supporting The Strawbs so Billy experienced the serious thrill of playing a grand piano up on stage. It was at this time that Billy worked with the amazing Mellotron. It belonged to the the Strawbs. Billy was invited into Pye studios, London, to produce a young female vocalist and so got a chance to use this instrument, that had great string sounds, on the sessions.

    Ultravox was the next band that Billy joined in 1973. Billy was still considered an electric Violin or Viola player first and it took a year for him to move into the position of keyboard player. The first keyboard Billy bought was a bland sounding Crumer Electric piano. This was just good enough for gigs and worked fine for the rehearsal writing process. Billy loved writing using the keyboard as he could see what was going on with the structure and harmony.

    Ultravox signed to Island Records in 1976 and went in the studio to record there first album. Billy used the acoustic grand piano, wurlitzer, string machine, organ and clavinet. Bits and pieces really to get the job done. It was the sounds coming from the Mini Moog synthesiser that blew Billy's mind. Brian Eno was co producing with Steve Lillywhite and showed Billy how to get some sounds from this great instrument. Billy co wrote “Slip Away” with John Foxx (Vocal) and the Mini Moog worked very well on this track. It also worked on “My 5ex” an experimental track written in the studio.

    The Arp Odyssey synthesiser was the choice for Billy. He felt it sounded more raw and emotional. Billy immediately started to experiment and, as well as using the instrument to make electronic rhythms and sometime violent effects, developed his own solo sound. The sound had a vibrato made from the LFO sounding like a very intense Violin. This seemed a natural way to express himself being a Violinist. There is a good example of this solo sound on the Gary Numan live version of “On Broadway” 1979. The Oscar arrived in 1984 and Billy started using this more reliable Synth instead of the Arp. Chris Huggett and Paul Wiffen, the English Guys that made it, modelled the first preset sound on Billy's Arp lead sound. This solo sound can be heard on the track “Ukraine” from Billy's “Stand Up And Walk” album.

    With “Still Movement” Billy has, in his own uniquely creative way, mastered the new Virtual versions of his trademark synths, the Arp Odyssey and the Oscar, to make a very crisp and powerful Synthesiser Album, drawing from his considerable experience.

    The new version of the Arp is now called the Oddity and the new version of the Oscar is now the Imposcar. Both have new features for Billy to experiment with, for example polyphonic sounds. Only two notes at a time could be played back in the early days of Ultravox. “The Other World” is a track from “Still Movement” written using a Billy Currie polyphonic sound from the Imposcar. (this sound is on the Billy Currie Signature Sounds called High Float) Please use phasing.

    One of the other Billy Currie trademark sounds was the huge, almost religious in its intensity, string sounds he created from the magnificent Yamaha CS80. He used this sound on the Ultravox track “Hymn”.

    “Standing Still” from “Still Movement” goes into this area using a CS80 sound from the Atmosphere virtual synth.
    Billy uses many other synths on this album, as well as the Violin, and has moved forward taking things up a couple of notches from his previous album “Push”. Its a Billy Currie Synthesiser Album. Eleven beautifully crafted tracks created with passion!

    01. Waving Hands In Clouds
    02. Simultaneity
    03. Afterglow
    04. Apocrypha
    05. The Waves Look Sleepy
    06. Standing Still
    07. Highfalutin
    08. The Other World
    09. Stately
    10. Deflect Downward
    11. Step Forward To Seven Stars

  9. #88
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    Axel Rudi Pell hat in den 80ern bei der Band Steeler die Gitarre gespielt. NAch Auflösung der Band formierte er 1988 eine eigene Band, 1989 erschien dann schließlich das erste Album. Es gab bereits 10 reguläre Studioalben, 1 Best-of und 2 Balladen-CDs. Nun ist am 25. Oktober die dritte Balladen-CD "The Ballads 3" erschienen, auf der neben den Balladen der letzten Alben auch 2 neue Songs vertreten sind, besonders das wunderschöne "Don't say goodbye" sollte man erwähnen. Für alle die die Band nicht kennen: Vom Stil her ist die Musik mit Rainbow oder Deep Purple zu vergleichen, allerdings schon einen Zacken härter.

  10. #89
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    Bereits am 27. September ist ein Balladen-Album von Phil Collins erschienen. Darauf finden sich natürlich hauptsächlich seine alten Klassiker. Für diesen Thread relevant ist allerdings der neue Song "Tearing and breaking", eine sehr schöne, sparsam instrumentierte Ballade.

    Im Bereich "neue Singles von 80er-Stars" sollte man noch folgende Titel erwähnen:

    Kylie Minogue - I believe in you
    (noch kein Cover verfügbar)

    Tina Turner - Open arms

    Ich hoffe, daß sie bisher noch nicht genannt wurden...

  11. #90
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    Am 13. September erschien übrigens ein neues Album von David Knopfler mit dem Namen "Ship of dreams"...

    Die folgende Kritik stammt von Amazon:
    "Ship of Dreams", das neunte Soloalbum von Sänger und Gitarrist David Knopfler, ist, wie schon frühere Werke, eher verhalten und lebt von kleinen Details. Zum Beispiel der wunderbaren Slide-Gitarre von Gastmusiker Chris Rea auf "Easy Street", "When Will The Crying Stop" und dem Country-Folkrock "Sometimes There Are No Words", das zudem durch eine schöne, altmodische Orgel besticht. Mit der deutschen Sängerin Jule Neigel singt Knopfler ein sehr gefühlvolles Duett mit dem bezeichnenden Titel "Tears Fall". Seine Dire-Straits-Vergangenheit verleugnet der Bruder von Mark Knopfler gottseidank auch nicht, insbesondere "Easy Street" könnte glatt als neues Stück der erfolgreichen Band durchgehen, aber auch "All I Want Is You" mit dem klassischen Rockauftakt. Die zweite Hausnummer von David Knopfler ist und bleibt natürlich Bob Dylan, ob nun "4U (Rabbit Song)" oder "God's Mockingbird" mit dem typischen Mundharmonikaspiel. Neben klassisch angehauchten Balladen wie "Going Down With The Waves" und dem auch vom Text her zutiefst romantischen "Symmetry Of The Stars" ist der absolute Ohrwurm das beschwingte "Shine Shine Shine".

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