Original, made in Yugoslavia Knjizica od 8 str. RETKO Vlastimir Trajković (Beograd, 17. jun 1947 — Beograd, 4. januar 2017[1]) bio je srpski kompozitor i muzički pedagog, akademik SANU. Biografija Potomak je porodice koja je dala tri generacije muzičara, njegov deda je kompozitor i muzikolog Miloje Milojević. Trajković je studirao kompoziciju na Muzičkoj akademiji u Beogradu (kod Vasilija Mokranjca) gde je i diplomirao (1971) i magistrirao (1977), a usavršavao se kod A. Laporta i V. Lutoslavskog u Kulturnom centru Muzičke omladine u Grožnjanu (1977) i na Visokom nacionalnom konzervatorijumu u Parizu kod O. Mesijana (1977-78). Radio je kao profesor muzičke škole „Stanković“ (1971-75), a potom na Muzičkoj akademiji/Fakultetu muzičke umetnosti u Beogradu počev od 1975. kao asistent na Katedri za teorijske predmete (do 1978), a potom i na Katedri za kompoziciju i orkestraciju (od 1978. asistent, 1980. docent, 1987. vanredni profesor i od 1993. redovni profesor) gde je bio i šef katedre (1988-2007). U njegovoj klasi, između ostalih, diplomirali su i/ili magistrirali i Katarina Miljković, Isidora Žebeljan, Ognjen Bogdanović, Anja Đorđević, i Aleksandar Sedlar Bogoev; u njegovoj klasi školovali su se i Đuro Živković i Božo Banović. Bio je član žirija Međunarodnog takmičenja muzičke omladine (disciplina violina), 2001. godine. Za dopisnog člana Srpske akademije nauka i umetnosti bio je izabran 2001. a za redovnog 2009. godine. Trajkovićeva dela izvođena su u mnogim evropskim zemljama (Francuska, Italija, Holandija, Nemačka, Mađarska, Austrija, Irska Velika Britanija), Japanu i SAD. Bavi se muzikološkim radom. Uz saradnju muzikologa S. Varsakovića, sredio je zaostavštivu svog dede, kompozitora i muzikologa Miloja Milojevića i načinio kataloški popis rukopisa, kompozicija i tekstova. Stil Trajković je jedan od prvih srpskih postmodernista. Njegova bogata erudicija ga je odvela ka postmodernoj sintezi prožetoj ispitivanjima dometa avangarde i duhom francuske muzike 20. veka još u prvim kompozicijama („Tempora retenta“, 1971; „Četiri nokturna“,1972; „Duo za klavir i orkestar“, 1973; i „Zvona“, muzika za klavir, 1974). „Arion, nova muzika za gitaru i gudače“ (1979) se smatra i jednim od ključnih ostvarenja rane faze ovog stila u srpskoj muzici; ovde je autor postminimalističku repetitivnost primenio na sled džez akorada i izgradio jednostavan oblik u kome se smenjuju solistički, kvazi-improvizacioni nastupi gitare i veoma spori nizovi akorada u gudačima. Savremenost, jednostavnost i dejstvenost ove muzike duboko je uticala na srpsku muziku ranih osamdesetih godina. Istraživanje po istoriji muzike i stravalačku igru sa stilovima i muzičkim dijalektima Trajković je nastavio i razvio tokom sledećih decenija: pulankovski Sonata za klavir i violinu (1982) i Koncert za obou i orkestar (1996), mesijanovski „Epimetej“ (1977) za orgulje, dok su „Deset preludijuma za solo-gitaru“ (1980), u savremenom džez-neoklasičnom maniru, među najpopularnijom srpskom literaturom za ovaj instrument. „Duo za klavir i orkestar“ i Sonata za violinu i violu (1987) su omaži ekspresionizmu, a Sonata za violončelo i klavir (1984) poznom romantizmu. No, ova jednostavna tumačenja samo su naznake kuda je sve putovao radoznali duh kompozitora koji je, u istom delu, prožimao već pomenute osnovne eklektičke ideje sa zabavnim žanrovima (Sonata za klavir i violinu, Deset preludijuma za gitaru) i naročito postimpresionizmom (Sonata za Flautu i klavir 1986; Sonata za violončelo i klavir). Veliku sintezu Trajkovićevog stvaralaštva predstavlja Koncert za klavir i orkestar (1990), bogato kompozitorovo viđenje muzike 20. veka koje je, uostalom, potkrepio i sa dva skrivena citata-omaža (iz De Faljine „Noći u vrtovima Španije“ i Četvrtog klavirskog koncerta Rahmanjinova) i gde muzičkim sredstvima ispisuje sopstvene fascinacije pojedinim stilovima ili kompozitorskim opusima, ali se takođe nekih i odriče tako što ih parafrazira u neodgovarajućoj tehnologiji (druga tema je niz dodekafonskih varijacija u tonalnoj sredini, što je tajni ironijski kod u odnosu na Drugu bečku školu). Trajkovićeva ostvarenja nastala u 21. veku pokazuju taloženje i „akademizaciju“ stila uz vrhunsko profilisanje ekspertnih kompoziciono-tehničkih postupaka. „Zefirov povratak“ (2001) reciklira i postmodernom stilizacijom „rastače“ francusko-italijanski ukus ukrštajući monteverdijevske uzorke i postimpresionistički izraz. „Pet pesama Stefana Malarmea“ (2003) komponovane su na prevod koji je, minuciozno poštujući ritam i naglaske francuskog jezika, načinio sam kompozitor upravo u težnji da što suptilnije prožme stihove i postimpresionistički koloritnu muziku i da se na istovetni muzički tekst vokalne linije mogu pevati bilo francuski, bilo srpski stihovi. Kompozitor o nekim svojim delima „Duo za klavir i orkestar“ „Sećam se da sam, pristupajući radu, osetio da čisto muzičkim jezikom, svojim bojama, svojim tonskim slogom, mogu da izrazim (a zbog tog osećaja sam, u stvari, i pristupio radu: rad je posledica inspiracije a ne obrnuto!), dakle, osetio sam da mogu da izrazim ono veličanstveno... i u suštini toplo i emotivno, ali na jedan moderan način toplo-i-emotivno lirsko osećanje kojeg i svaki pravi naučnik, fizičar, a ne meta-fizičar, oseti pred neumoljivom `tačnošću` ... i iskonskom snagom sila Prirode. I u toj priči – priči koja sama, bez prisustva čoveka, priča svoju priču – u tom objektivizmu leži otklon u odnosu na stari, romantičarski, antropomorfni sentimentalizam“. Koncert za obou i orkestar „Ako je `Duo` `antikoncert` – a on to jeste – onda je Koncert za obou i orkestar Ef-Dur `pravi` koncert. Njegov objektivizam, taj subjektivističkim angažmanom nepomućeni mir, ta slika jednog `savršenog sveta` neuzdrmanog onim `ljudskim-i-odviše-ljudskim`, možda jesu (neo)klasičarski, uz svu prepoznatljivu topografiju četvorostavačnog sonatnog ciklusa, ali jedan džejms-bondovski aktivizam Drugog i Četvrtog stava... ako i ravelovsko i geršvinovsko biće Prvog i Trećeg stava, upućuju ovaj koncert-divertimento u jednom ipak posebnom, i na drugačiji način `modernom` pravcu.“ „Pet pesama Stefana Malarmea“ „Pet pesama Stefana Malarmea koje čine poetski predložak preveo je na srpski Vlastimir Trajković, autor muzike. Mnoga rešenja i pronalasci Kolje Mićevića, autora najpoznatijeg prevoda Malarmeove poezije... pokazali su se korisnim te ih je autor prevoda Pet pesama... ponekad prihvatio, imajući ambiciju, međutim, ne samo da ostvari jedan tačan prevod, verodostojan sa semantičkog, poetskog i metričkog stanovišta, već i da realizuje adaptaciju koja bi, praktično bez izmena u strukturi vokalne fraze, sledila melodijsku liniju proisteklu iz originalnog, francuskog teksta.“ Nagrade Nagrada „Stevan Hristić“ (za delo Tempora retenta), 1971. Druga nagrada Udruženja kompozitora Srbije (za delo Pet nokturna), s.a. Druga nagrada Udruženja kompozitora Srbije (za delo Sonata za violončelo i klavir), s.a. Treća nagrada Međunarodne tribine kompozitora (za delo Koncert za violu i orkestar), 1994. Nagrada „Stevan Mokranjac“ (za delo Koncert za klavir i orkestar), 1995. Aprilska nagrada grada Beograda (za delo Pet pesama Stefana Malarmea), 2006. Važnija dela Spisak važnijih dela prema autorovom popisu opusa: „Tempora retenta“, studija za veliki orkestar, Op.2, 1971. „Četiri nokturna“ (Quatre nocturnes) za obou, hornu, čembalo i gudački kvartet Op.3, 1972. „Duo za klavir i orkestar“ Op. 4, 1973. „Zvona“, muzika za klavir (Cloches, musique pour piano), Op.5, 1974. „Dan, četiri himne za orkestar“ (Le jour, Quatre hymnes pour orchestre), Op.6, 1976. „Arion, nova muzika za gitaru i gudače“ (Arion, le nuove musiche per chitarra ed archi) Op.8, 1979. Deset preludija za gitaru Op.10, 1980. Sonata za klavir i violinu Cis-Dur, Op. 11, 1982. Sonata za violončelo i klavir ce-mol, Op. 14, 1984. „Odbrana našeg grada“, oda za tenor solo i veliki orkestar (tekst M. Pavlović), Op. 16, 1984. Sonata za flautu i klavir Es-Dur, Op. 18, 1986. Sonata za violinu i violu De-Dur, Op. 20, 1987. Koncert za klavir i orkestar Be-Dur, Op 21, 1990. Koncert za violu i orkestar ge-mol, Op.23, 1993. Koncert za obou i orkestar Ef-Dur, Op.24, 1996. „Zefirov povratak... ili Zefiro torna“, tri žive slike mitoloških prizora za flautu, violinu i klavir Op.25, 2001. „Testije i kondiri“ (D’aguieres et d’alcarazas), pet muzičkih gravura za engleski rog i violu Op.27, 2002. „Pet pesama Stefana Malarmea“ za glas, flautu i klavir Op.28, 2003. „Pet pesama Stefana Malarmea“ za glas i orkestar Op.29, 2003. Notna izdanja Autor: svi opusi Udruženje kompozitora Srbije: „Arion, nova muzika za gitaru i gudače“ (Arion, le nuove musiche per chitarra ed archi) Op.8; Sonata za klavir i violinu Cis-Dur, Op. 11. Max Eschig, Paris: Duo za klavir i orkestar Op.4. Edizione Berben, Ancona: „Dieci preludii per chitarra“, Op.10 Radio-Beograd: „Odbrana našeg grada“, oda za tenor solo i veliki orkestar, Op. 16; Koncert za klavir i orkestar Be-Dur, Op 21. Diskografija „Guitar Music – Muzika za gitaru“, LP 2340011, Stereo, PGPRTB, 1983. Autorska LP (Duo za klavir i orkestar, Arion, le nuove musiche per chitarra ed archi, Deset preludija za solo gitaru) „Antologija jugoslavenske klavirske muzike“, Vladimir Krpan, klavir, 2 LP 1739, Jugoton, Zagreb, 1984 (Zvona) CD „New Sound“ 104/105, Koncert za violu i orkestar g-moll, Op.22, SOKOJ, 1995. „Vlastimir Trajković, Sellected works, 1971-1990“ CD 204, SOKOJ, 1995. („Late 20th Century serbian Music“) (Duo za klavir i orkestar Op.4; Sonata za violinu i violu Op.20; Sonata za flautu i klavir Op.18, Koncert za klavir i orkestar Op.21) CD „New Sound“ 109, „Zvona“, SOKOJ, 1997. Sonja Radojković, klavir, „Zvona“, CD 430275 PGP RTS, 1997. „Svetska premijera“, Koncert za obou i orkestar Op. 24, CD 430459, PGP RTS, 1997. „Arion za gitaru i gudače“, Autorski CD, 431081, PGP RTS, 2001. (Arion, le nuove musiche per chitarra ed archi; Emprompti Op.12 za klavir; Deset preludija za gitaru; „Odbrana našeg grada“; „Balada“ za gitaru) CD „New Sound“ 121, „Testije i kondiri“/“Jugs and Stoups, Five Music Engravings“, SOKOJ, 2002. CD „New Sound“ 128, „Пет песама Стефана Малармеа“ за глас и оркестар Оп.29, FMU, 2005.

Josipa Lisac - Original Album Collection Vol. 1 Originalno izdanje sa bogatim bukletom (box set), sadrzi 6 diskova u kartonskim omotima. Knjizica ima 36 strana. Made in Croatia Ocuvanost Dnevnik Jedne Ljubavi CD: 4+ (jedna linija, jedna tacka, ne utice na rad) Omot: 5 _________________________________ Najveći Uspjesi CD: 4++ (dve male tanke linijice od kojih jedna vecim delom nije na snimljenoj povrsini, ne utice na rad) Omot: 5 _________________________________ Josipa Lisac & B. P. Convention Big Band International CD: 5/5- Omot: 5 _________________________________ Made In U.S.A. CD: 5 Omot: 5 _________________________________ Hir, Hir, Hir CD: 5 Omot: 5 _________________________________ Lisica CD: 5- Omot: 5 _________________________________ Kartonska kutija: 5- _________________________________ Spisak pesama: CD1 - Dnevnik Jedne Ljubavi 01 O Jednoj Mladosti 3:59 02 Srela Sam Se S Njim 3:09 03 Sreća 3:10 04 Po Prvi Put 2:50 05 Plačem 4:12 06 Jedna Kratka Vijest 3:17 07 Ležaj Od Suza 4:31 08 Ne Prepoznajem Ga 4:27 09 Vjerujem Ti Sve 3:34 10 Kao Stranac 3:21 CD2 - Najveći Uspjesi 01 Što Me Čini Sretnom 3:40 02 Krenule Su Lađe 3:17 03 Igra Valova U Mom Sjećanju 3:29 04 Još Te Čekam 2:51 05 Život Moj 5:46 06 Oluja 4:22 07 Kapetane Moj 4:15 08 I Teče, Teče Vrijeme 3:54 09 Dok Razmišljam O Nama 3:36 10 Na, Na, Na, Na 2:53 CD3 - Josipa Lisac & B. P. Convention Big Band International 01 Ljudi (People) 5:13 02 Nema Sunca (Ain`t No Sunshine) 2:34 03 Nešto (Something) 3:18 04 Ti Si Sunce Mog Života (You Are The Sunshine Of My Life) 3:29 05 Willie And Laura Mae Jones 3:12 06 Jučer (Yesterday) 2:46 07 Intima (Intime) 3:43 08 Zar Ne? (Didn`t We?) 2:42 09 Čovjek S Tisuću Mana (Son Of A Preacher Man) 2:36 10 Moj Smiješni Dječače (My Funny Valentine) 5:02 CD4 - Made In U.S.A. 01 Ti Si Genije (You`re My Handy Man) 3:58 02 Budi Dobar (He`s My Pilot) 2:41 03 Opet Sam Slobodna (I`m Over You) 3:22 04 Život S Njim (Crazy Love) 3:50 05 Svako Zlo Nosi Nešto Dobrog (When You Find Someone Who Loves You) 3:35 06 Ne Štedi Se (Love Is Alive) 3:51 07 Bila Sam Žena (Soon As I Touched Him) 3:18 08 Naša Zvijezda Gubi Svoj Sjaj (Take This Heart) 3:15 09 Čarobna Moć Mjeseca (Moondance) 2:58 10 Tko Zna Kog Vidiš U Meni (What You See Is Who I Am) 4:00 CD5 - Hir, Hir, Hir 01 Pazi, Oštar Pas 2:56 02 Randez-Vous Sa Sotonom 3:42 03 Magla 4:22 04 Ne Budi Lud 2:59 05 Mister Gaf 2:47 06 Make Up 3:05 07 Knock Down 4:16 08 Hir, Hir, Hir 3:10 09 U Mislima 4:35 CD6 - Lisica 01 I Mama Mi Je Rekla To 3:29 02 Karte Na Stol 2:42 03 Mali Ključ Od Zlata 2:44 04 Postao Si Drugi Čovjek 2:47 05 Daj Mi Riječ 3:44 06 Hazarder 3:36 07 Divlji Brak 2:57 08 Godišnjica 3:10 09 Noćna Ptica 3:19 10 Bedž Za Rock And Roll 2:34 Stanje mozete videti na slikama. Zanrovi: pop rock, blues rock, jazz-rock pvs3r9

Zlatko Ivanišević, Various – Planeta Zemlja - Pjesme I Priče Za Djecu Label: Planet Earth Production – CD0054 Format: CD, Album, Book&CD Country: Bosnia & Herzegovina Genre: Rock, Pop, Children`s, Stage & Screen Style: Educational, Comedy, Story 1 Zlaja* & Dado*– Intro Dialogue 2 Various– Planeta Zemlja Music By – R. Gaetano* 3 Zlaja* & Dado*– Intro Dialogue 4 Dražen Žerić Žera*– Pozdrav Zvijezdama Music By – J.J. Cale 5 Zlaja* & Dado*– Intro Dialogue 6 Branko Đurić Đuro* & Tanja Ribič– Na Raspustu Music By – John Farrar 7 Zlaja* & Dado*– Intro Dialogue 8 Mladen Vojičić Tifa– Mirišeš K`o Cvijeće Bebo Music By – Dees*, Orbison* 9 Zlaja* & Dado*– Intro Dialogue 10 Z.Ivanišević Zlaja* & Muhamed Trnka Muki*– Higijena Music By – Muhamed Trnka, Zlatko Ivanišević 11 Zlaja* & Dado*– Intro Dialogue 12 Zlatko Ivanišević Zlaja*– Popola-Napola Music By – Snap! 13 Zlaja* & Dado*– Intro Dialogue 14 Darko Ostojić Ogi*– Tajni Agent Prskaći Music By – Del Shannon, M. Crook* 15 Zlaja* & Dado*– Intro Dialogue 16 Zlatko Ivanišević Zlaja*– Robi Hud Music By – J. Bird 17 Zlaja* & Dado*– Intro Dialogue 18 Mario Drmač– Strašni Kapetan Music By – Percy Mayfield 19 Zlaja* & Dado*– Intro Dialogue 20 Zlatko Ivanišević Zlaja*– Put Oko Svijeta Music By – Jagger-Richards 21 Zlaja* & Dado*– Intro Dialogue 22 Branko Đurić Đuro*– Šejtan Na Kanafi Music By – Jagger-Richards 23 Zlaja* & Dado*– Intro Dialogue 24 Momčilo Bajagić Bajaga*– Lav Kralj Životinja Music By – Lennon-McCartney 25 Zlaja* & Dado*– Intro Dialogue 26 Davor Gobac– Moj Drug Džambo Music By – Ritchie Valens, Traditional 27 Zlaja* & Dado*– Intro Dialogue 28 Saša Lošić Loša* & Dražen Žerić Žera*– Čarobna Pjesma Music By – Lennon-McCartney 29 Zlaja* & Dado*– Intro Dialogue 30 Zlatko Ivanišević Zlaja*– Mujo Kuje Konja Po Mjesecu Lyrics By – Traditional Music By – G.Chambers*, R.Williams* 31 Zlaja* & Dado*– Intro Dialogue 32 Mladen Vojičić Tifa– Prekrasan Dan Music By – Weiss*, Douglas* Recorded At – Studio Zound, London Recorded At – Studio NSK, Ljubljana Recorded At – Croatia Records Studio Recorded At – Sync The Loop, Beograd Recorded At – Muhaman , Sarajevo Recorded At – Studio Punkt, Sarajevo Recorded At – Studio Nede Babovića Acoustic Guitar – Zlatko Pandur Backing Vocals – Dunja Kajević*, Vid Iv Ivanišević Drums, Percussion – Davor Maraus Keyboards – Eldin Bihorac Bato* Mixed By, Recorded By, Electric Guitar, Bass Guitar, Backing Vocals – Nurudin Dino Vatrenjak Producer, Text By, Lyrics By – Zlatko Ivanišević Recorded By – Goran Martinac Gogo*, Iztok Turk, Ljubiša Opačić Buba*, Samir Fočo Recorded By, Electric Guitar – Nedim Babović Recorded By, Electric Guitar, Bass Guitar, Backing Vocals – Muhamed Trnka Muki* Text By, Lyrics By – Jadranko Džihan (tracks: 13,14,17,18) `Planeta Zemlja` contains hard cover book with CD...40 illustraded pages,songs lyrics ect. CD 4+ KNJIGA 24 stranica.SA ILUSTRACIJAMA

Original, made in EU Knjizica od 32 str. Odlicno ocuvano knjizica 5 Cd 5/5- Turn Blue is the eighth studio album by American rock duo the Black Keys. It was released through Nonesuch Records on May 12, 2014, and co-produced by Danger Mouse and the duo. The record was their fourth collaboration with Danger Mouse, following their previous studio album, El Camino (2011), which was their biggest commercial and critical success to that point. For Turn Blue, Danger Mouse reprised his role from El Camino as an equal songwriting partner alongside guitarist Dan Auerbach and drummer Patrick Carney. The Black Keys recorded the majority of Turn Blue at Sunset Sound in Hollywood, California, from July to August 2013, with additional recording taking place at Key Club in Benton Harbor, Michigan, and Auerbach`s Easy Eye Sound Studio in Nashville, Tennessee, in early 2014. The sessions coincided with Auerbach`s divorce from his wife, which inspired much of the album`s lyrics. The resulting material was more melancholy and slower paced than the uptempo, hook-laden songs from El Camino. The album exhibits influences from psychedelic rock and soul, while also including the band`s usual blues and garage rock sound. In addition to representing the record`s moody tone, the title was selected as a homage to the `turn blue` catchphrase used by 1960s horror host Ghoulardi. The band announced the album in March 2014 via a tweet by retired boxer Mike Tyson and a series of cryptic YouTube videos featuring a hypnotist. The song `Fever` was released as the lead single in March, and it charted in several countries. Four additional singles were released, including `Gotta Get Away`, which was a rock radio success in North America. Turn Blue received favorable reviews from critics, many of whom commented on Danger Mouse`s growing influence on the band. The album debuted at number one in the United States, Australia, and Canada, becoming the group`s first record to top the charts in those countries. In May 2014, they embarked on a world tour in support of the album. At the 57th Annual Grammy Awards, Turn Blue was nominated for Best Rock Album, while `Fever` received nominations for Best Rock Performance and Best Rock Song. Background In December 2011, the Black Keys released their seventh studio album, El Camino.[5] It was co-produced and co-written by the band`s frequent collaborator Brian `Danger Mouse` Burton, who had previously produced the group`s 2008 album Attack & Release and their 2010 single `Tighten Up`. El Camino comprised mostly uptempo, hook-laden tracks and featured a sound that drew from several popular genres of the 1950s–1970s, such as rock and roll, glam rock, rockabilly, surf rock and soul. The record was critically acclaimed and commercially successful, and bolstered by the popular singles `Lonely Boy`, `Gold on the Ceiling`, and `Little Black Submarines`, it helped the group attain a new level of popularity. In the US, it debuted at number two on the Billboard 200 and sold 206,000 copies in its first week, the highest single-week sales and (to that point) charting position the group had achieved in the country.[6] The album also reached the top five of the album charts in Australia,[7] Canada, Belgium (Flanders), and New Zealand.[7][8] Many publications, such as Rolling Stone and Time ranked El Camino among the best albums of the year.[9][10] The album was certified double-platinum in Australia, Canada, and New Zealand; platinum in the US, UK, and Ireland; and gold in Belgium, the Netherlands, and France.[11] The group`s subsequent 129-date concert tour, the El Camino Tour, was their first playing arenas as a headlining act.[12] It grossed $12.7 million in ticket sales in 2012.[13] Speaking about the two-and-a-half-year gap between the release of El Camino and Turn Blue, guitarist Dan Auerbach explained that the group took longer for their eighth album because they were `this-is-your-brain-on-drugs fried`. The duo also spent time between records producing for artists: Auerbach worked on albums for Lana Del Rey (Ultraviolence), Dr. John (Locked Down),[14] and Ray LaMontagne (Supernova), among others; Carney produced for Tennis.[15] Writing and recording The Black Keys began recording Turn Blue in January 2013 at Key Club in Benton Harbor, Michigan, during a break from their El Camino Tour.[16][17] The studio had a rare Flickinger recording console custom built for Sly Stone that the band liked,[18] and the location had been recommended by fellow rock band the Kills.[19] For Turn Blue, just as they did for El Camino, the Black Keys entered the studio without having written any songs. Auerbach said, `Every morning we got to the studio, we`d start from scratch and by the end of the day we`d have a new song and that was really it.`[20] The group spent 12 days at Key Club, sleeping above the studio and not once leaving the building.[16] During these sessions, `Gotta Get Away`, `It`s Up to You Now`, and the first half of `Fever` were recorded.[18] Carney said that while in Michigan, the group was still trying to write hooky songs like they did for El Camino: `we were still on that singles thing. I wanted [Auerbach] to let the record just breathe, and I think [he] wanted the songs to move along... There were some moments that got a little tense.`[21] Carney added, `We were kind of playing it safe. So we put the sessions on hold.`[16] After a South American leg of touring, the band reunited with Burton in Nashville, Tennessee, for a planned two weeks of recording. However, the session ended after just one day, as Auerbach grew frustrated trying to record a vocal part and walked out. He told Carney and Burton, `I can`t do this right now. I don`t want to waste our time,` making them wonder whether he was fit to be working. Auerbach subsequently took a vacation in North Carolina with friends.[21] In July 2013, the Black Keys resumed recording with Burton at Sunset Sound in Hollywood, California.[16][17][22] They traveled to accommodate Burton, who lived in Los Angeles and had traveled for previous recording sessions with the group.[18] Working in Studio 2,[18] the band recorded most of Turn Blue at Sunset Sound.[23] During the recording of the album`s nearly seven-minute opening song `Weight of Love`, Auerbach was urged by Carney and Burton to continue playing the track`s concluding guitar solo, despite his reservations that it would be self-indulgent.[24] He said that the song`s completion set the tone for the rest of the album and that instead of focusing on radio-friendly singles, they would attempt to make a `headphone record`.[14] Carney said the month-long sessions at Sunset Sound were more inspired: `That`s where the record unfolded. The record is L.A. At that point there were no rules. It`s a more open, sprawling kind of album.`[16] As recording stretched into August, Auerbach finalized his divorce from Stephanie Gonis; many personal details of their separation were publicized in the press. Auerbach said that his emotional state during the divorce imbued the album with a moody feeling: `I`ve never relied on music to get me through anything like I did on this one. This past year, I realised how fortunate I was to have this thing I can do: making music, and lyrically, saying things that are personal.`[25] Additional recording took place at Auerbach`s Easy Eye Sound Studio in Nashville in February 2014,[22][23] including all of Auerbach`s vocals.[18] According to the band, they wrote 30 songs while recording the album,[26] but were unable to complete all of them.[27] Carney spent about three-to-four days sequencing the album at his studio before soliciting Auerbach`s input. The only change made to the running order was the addition of `Gotta Get Away` to the end; Carney had wanted `In Our Prime` to close the record, but Auerbach thought the song was too sad and preferred a catchy, upbeat track to conclude the album. Carney agreed with the change, saying, `Actually, I think it works well at the end, too. It erases your brain from whatever heavy elements there are in the record. I think maybe it encourages you to go back and listen to the record again.`[27] Packaging and title The album title is a catchphrase used by Ghoulardi, the 1960s horror host alter-ego of Cleveland television presenter Ernie Anderson.[26] Carney called the title `a shout-out to Ohio`, the state in which he and Auerbach grew up.[28] The title also captured the despondent tone of the record. Auerbach said, `We liked the association with Ghoulardi, this kind of weird freak from Ohio from the early 60s – that was a phrase he used to use. And then so much of the album was lyrically melancholy and introspective and personal, so it was very blue. I guess it just made sense.`[26] Carney explained the original context in which Ghoulardi used the phrase: `It`s [his] way of telling people to fuck off.`[16] The cover art, which features an image of a blue and magenta spiral,[29] was designed by Michael Carney, the group`s art director and Patrick`s brother.[22][26][30] After selecting the title, Patrick said the group began `referencing early `60s sci-fi, shows like The Outer Limits and Twilight Zone` for the art direction, due to Ghoulardi`s association with the genre.[31] The album`s artwork was influenced by Carney`s interest in mind control; the subject drew his attention after he feuded on Twitter with fans of pop star Justin Bieber. Director Harmony Korine subsequently recommended Carney watch the 1985 film The Peanut Butter Solution, in which a teacher uses mind control on students to make them build paintbrushes. The film inspired the hypnotism wheel on the cover and in the album`s promotional videos.[21] Promotion Turn Blue was announced on March 21, 2014, via a tweet by retired boxer Mike Tyson;[32] the `announcement` contained the album title and a hyperlink to a series of cryptic YouTube videos featuring a hypnotist played by actor Micah Fitzgerald.[33][34] The idea to have Tyson unveil the album originated after he called the band to thank them for licensing a song for use in a documentary he was making and he offered them a favor.[16] Three days after the album announcement, the song `Fever` was released as the lead single, along with the unveiling of the album`s cover art and track listing.[35] A second song, `Turn Blue`, was premiered on Carney`s Sirius XM Radio program Serious Boredom on April 14.[36] On May 5, one week prior to the release date, the album became available for streaming on iTunes Radio.[37] The group made their third appearance on American sketch comedy television show Saturday Night Live three days prior to the album`s release, performing `Fever` and `Bullet in the Brain`.[38] Other promotional appearances included performances on Live on Letterman/Late Show with David Letterman and The Colbert Report.[39][40] Turn Blue was released on May 12, 2014.[41] `Bullet in the Brain` was released as the album`s third single in the United Kingdom on June 30, 2014.[42] `Gotta Get Away` was issued to modern rock radio in the United States as the album`s fourth single on August 19, 2014,[43] while `Weight of Love` was released as the fifth single on January 27, 2015.[44] On May 8, the band announced the remainder of the dates for their 2014 concert tour in support of the album. The Turn Blue World Tour began with an appearance at the Hangout Music Festival on May 16, and was followed by a European leg of shows from June to July and a North American leg from September to December.[45] Track listing All tracks are written by Dan Auerbach, Patrick Carney, and Brian Burton except where noted No. Title Length 1. `Weight of Love` 6:50 2. `In Time` 4:28 3. `Turn Blue` 3:42 4. `Fever` 4:06 5. `Year in Review` 3:48 6. `Bullet in the Brain` 4:15 7. `It`s Up to You Now` (Auerbach, Carney) 3:10 8. `Waiting on Words` 3:37 9. `10 Lovers` 3:33 10. `In Our Prime` 4:38 11. `Gotta Get Away` (Auerbach, Carney) 3:02 Total length: 45:11 Personnel The Black Keys[56] Dan Auerbach – vocals, guitars, bass guitar, keyboards Patrick Carney – drums, keyboards, percussion Additional performers[56] Brian Burton – keyboards, piano Regina, Ann, and Alfreda McCrary – backing vocals on `Weight of Love`, `In Time`, `Turn Blue`, and `10 Lovers` Production[22][56] Danger Mouse (Brian Burton) – production (except `It`s Up to You Now` and `Gotta Get Away`) The Black Keys – production Kennie Takahashi – engineering Geoff Neal – additional engineering Bill Skibbe – additional engineering Collin Dupuis – additional engineering Tchad Blake – mixing Brian Lucey – mastering