Original, made in EU Knjizica od 24 str. knjizica 5 Cd1 4 CD2 3+/4- ima sitnih povrsinskih linijica koje ne uticu na reprodukciju zvuka, radi besprekorno Compilation album by Bryan Adams Released October 18, 2005 Recorded 1978–2005 Genre Rock, soft rock Length 155:57 (International edition) Label Polydor Producer Bryan Adams, Robert John `Mutt` Lange, Bob Clearmountain Bryan Adams chronology Colour Me Kubrick (2005) Anthology (2005) 11 (2008) Anthology is a compilation album by Canadian singer-songwriter Bryan Adams which contains songs he recorded from 1978 through 2005. The two-disc set includes songs from 1980 to 2005. A third disc which was a DVD live concert which was recorded in mid-2005 called `Live in Lisbon` was included in North America for a limited time. All the songs are in chronological order of their release, except the last song on the first disc on the North American edition, which was released in 1999. The album`s enclosed booklet has notes about the process of the recordings and the credits for each track. International release Disc one No. Title Writer(s) Length 1. `Remember` Adams, Vallance 3:41 2. `Lonely Nights` Adams, Vallance 3:46 3. `Straight from the Heart` Adams, Kagna 3:30 4. `Cuts Like a Knife` Adams, Vallance 5:16 5. `This Time` Adams, Vallance 3:18 6. `Run to You` Adams, Vallance 3:54 7. `Somebody` Adams, Vallance 4:44 8. `Heaven` Adams, Vallance 4:03 9. `Summer of `69` Adams, Vallance 3:35 10. `One Night Love Affair` Adams, Vallance 4:42 11. `It`s Only Love` (with Tina Turner) Adams, Vallance 3:15 12. `Heat of the Night` Adams, Vallance 5:07 13. `Hearts on Fire` Adams, Vallance 3:30 14. `(Everything I Do) I Do It for You` Adams, Lange, Kamen 6:34 15. `Can`t Stop This Thing We Started` Adams, Lange 4:29 16. `There Will Never Be Another Tonight` Adams, Lange, Vallance 4:40 17. `Thought I`d Died and Gone to Heaven` Adams, Lange 5:58 18. `All I Want Is You` Adams, Lange 5:20 Disc two No. Title Writer(s) Length 1. `Please Forgive Me` Adams, Lange 5:55 2. `All for Love` (with Rod Stewart and Sting) Adams, Lange, Kamen 4:46 3. `Have You Ever Really Loved a Woman?` Adams, Lange, Kamen 4:52 4. `Rock Steady` (with Bonnie Raitt) (Live) Adams, Peters 4:05 5. `The Only Thing That Looks Good on Me Is You` Adams, Lange 3:37 6. `Let`s Make a Night to Remember` Adams, Lange 6:19 7. `Star` Adams, Lange 3:42 8. `Back to You` (Live) Adams, Kennedy 3:35 9. `I`m Ready` (Live) Adams, Vallance 4:42 10. `On a Day Like Today` Adams, Thornalley 3:15 11. `When You`re Gone` (featuring Melanie Chisholm) Adams, Kennedy 3:24 12. `Cloud Number Nine` (Chicane Mix) Adams, Martin, Peters 4:10 13. `The Best of Me` Adams, Lange 3:33 14. `Don`t Give Up` (Original Radio Edit) Adams, Nicholas Bracegirdle, Ray Hedges 3:31 15. `Here I Am` Adams, Zimmer, Peters 4:40 16. `Open Road` Adams, Kennedy 3:30 17. `18 til I Die` (Live) Adams, Lange 3:28 18. `So Far So Good` Adams, Lange 3:40 19. `I`m Not the Man You Think I Am` Adams, Peters 3:02 Personnel Bryan Adams – rhythm guitar, vocals, co-producer Keith Scott – lead guitar Tommy Mandel – Hammond organ and keyboards Dave Taylor – bass guitar Mickey Curry – drums Jim Vallance – drums and percussion Robbie King – Hammond organ Larry Klein – bass guitar Bill Payne – piano and Hammond organ (on Everything I Do) Ed Shearmur – keyboards on (Everything I Do) Brian Stanley – bass guitar on Lonely Nights James `Hutch` Hutchinson – bass on (Please Forgive Me) Phil Nicholas – keyboards and programming (on Waking Up the Neighbours) The Tuck Back Twins – background vocals Andrew Catlin – Photography

Original, made in UK Knjizica od 8 str. Odlicno ocuvano knjizica 5- Cd 5- Disco is the first remix album by English synth-pop duo Pet Shop Boys, released on 17 November 1986[4] by Parlophone in the United Kingdom and by EMI America Records in the United States. Disco consists of remixes of tracks from the band`s debut album Please and its respective B-sides. The album includes remixes by Arthur Baker, Shep Pettibone and the Pet Shop Boys themselves. Remix album by Pet Shop Boys Released 17 November 1986 Recorded 1985–1986 Genre Synth-popdance-popdisco Length 46:02 Label Parlophone Producer Nicholas FroomeStephen HaguePhil HardingJ. J. JeczalikJulian MendelsohnPet Shop Boy According to interviews,[citation needed] the album was released to showcase music the duo deemed non-radio friendly. With the exception of `Suburbia`, all the mixes on Disco were either rare import remixes or previously unreleased. In The Night - possibly[citation needed] originally intended for the B-side of the original 12` 1985 release of `Opportunities (Let`s Make Lots of Money)` (the sleeve of which lists `In The Night (Extended)` but in fact played the 7` version); previously unreleased Suburbia - a.k.a. The Full Horror (standard 12` version) Opportunities - a.k.a. `Version Latina` from the remix 12` of the original 1985 release of `Opportunities`, which at the time of the release of Disco was changing hands for up to £100 Paninaro - a.k.a. The Italian Remix a.k.a. The Pet Shop Boys Mix, previously available only on a very limited edition 12` in Italy Love Comes Quickly - a.k.a. the Shep Pettibone Mastermix, previously available only on 12` in the USA, an edit of which also appeared on the 7` double-pack of `Suburbia` West End Girls - different from the version released on the remix 12`; previously unreleased In addition, Pet Shop Boys would later release the remix albums Disco 2, Disco 3 and Disco 4, although the concepts of these compilations differ greatly from the original Disco album: Disco 2 is a continuous mega-mix of dance remixes, Disco 3 is a mixture of remixes and new songs and Disco 4 consists exclusively of tracks remixed by the Pet Shop Boys, mainly by other artists. The sleeve cover is a still of Chris Lowe from the promo video of `Paninaro`, which was directed by Pet Shop Boys themselves. The Disco mix of `Suburbia` can also be found on the `Suburbia` 12` and the 2001 two-disc re-release of Please. The original version of `In the Night` was the B-side to the original release of `Opportunities (Let`s Make Lots of Money)`. Arthur Baker`s Extended Mix of `In the Night` was used as the theme for the BBC`s The Clothes Show. Stuart Price, producer of the Pet Shop Boys albums Electric and Super, cites Disco as a major influence on his musical taste as a teenager.[citation needed] Track listing All tracks are written by Neil Tennant and Chris Lowe, except where noted. No. Title Writer(s) Producer(s) Length 1. `In the Night` (Arthur Baker`s extended mix) Pet Shop BoysPhil HardingBaker[a] 6:25 2. `Suburbia` (Julian Mendelsohn`s Full Horror mix) Mendelsohn 8:55 3. `Opportunities (Let`s Make Lots of Money)` (Ron Dean Miller and Latin Rascals` Version Latina) J. J. JeczalikNicholas FroomeMiller[a]Latin Rascals[a] 5:29 4. `Paninaro` (Pet Shop Boys and David Jacob`s Italian mix) Pet Shop BoysDavid Jacob[a] 8:35 5. `Love Comes Quickly` (Shep Pettibone`s Mastermix) TennantLoweStephen Hague HaguePettibone[a] 7:35 6. `West End Girls` (Shep Pettibone`s Disco mix) HaguePettibone[a] 9:03 Total length: 46:02 Notes ^[a] signifies a remixer Personnel Credits adapted from the liner notes of Disco.[5] Arthur Baker – remix (track 1) Pet Shop Boys – production (tracks 1, 4); remix (track 4) Phil Harding – production, engineering (track 1) Julian Mendelsohn – production, mixing (track 2) Andy Richards – Fairlight (track 2) Gary Barnacle – saxophone (track 2) Ron Dean Miller – remix (track 3) Latin Rascals – remix (track 3) J. J. Jeczalik – production (track 3) Nicholas Froome – production (track 3) Blue Weaver – additional keyboards (track 3) Khris Kallis – additional keyboards (track 3) David Jacob – remix, engineering (track 4) Adrien Cook – Fairlight (track 4) Shep Pettibone – remix (tracks 5, 6) Stephen Hague – production (tracks 5, 6) Andy Mackay – saxophone (track 5)

Original, made in Germany Knjizica od 20 str. Odlicno ocuvano Testify is the seventh solo studio album by English musician Phil Collins. Released in 2002, the album debuted at No. 30 on the American Billboard 200 albums chart, which was also the album`s peak position. It was also the second Phil Collins studio album where no track peaked within the American top 40 singles chart. It was also his lowest charting album in the UK, becoming his only solo effort not to reach the Top 5. However, the album achieved success in some countries of Continental Europe. It is his second album not to be co-produced by Hugh Padgham, who co-produced Collins` most successful albums. Released 11 November 2002 (UK) [1] Recorded 2000–2002 (Switzerland and United States) Genre Poprock Length 57:16 Label Face ValueAtlantic Producer Phil CollinsRob Cavallo Testify was crafted over a two-year period at Collins` home in Switzerland, and was recorded in France and Los Angeles. Most of the album`s twelve tracks are derived from demos Collins made in his bedroom studio and finished off with the help of producers Rob Cavallo and James Sanger, engineer Allen Sides, guitarist Tim Pierce, and bassist Paul Bushnell. Collins worked extensively with computers during production, work that can be seen throughout the album. After Collins made Dance into the Light without any drum machine, he returned to the device for Testify.[6] The album begins with an up-tempo `Wake Up Call`. It was based on a 16-bar doodle Collins wrote, and only began to formalise when he brought it into studio. The title track, the longest and most complex sounding song on the album, is according to Collins `one of the most direct and most personal love songs I have ever written`. Another up-tempo song, `Don`t Get Me Started` follows a tradition of critical statements about politics and society Collins began with `That`s Just the Way It Is`, `Another Day in Paradise`, and `Both Sides of the Story` in his previous albums and songs such as `Tell Me Why` with Genesis.[6] The soulful `It`s Not Too Late` refers to lost faith in dreams – `It`s never too late to make your dreams come true. We all should try it`. `Driving Me Crazy` is another upbeat track. Collins said the song is about the narrow path between love and dangerous obsession.[6] Songs such as the aforementioned `Testify` and `This Love This Heart` were inspired by Collins` then-wife, Orianne, while their first child, Nicholas, was the main inspiration for tracks `Come with Me` and `Swing Low`, and `You Touch My Heart`. `Come with Me` was originally a lullaby Collins sang to his daughter Lily when she was a baby when on tour in 1990, Seriously Live! and the lyrics were developed when Nicholas was born.[6] Collins collaborated with longtime associate, Daryl Stuermer, for `The Least You Can Do`, providing the lyrics, arrangement and lead guitar on the track. It is followed by `Can`t Stop Loving You`, a cover of Leo Sayer`s 1978 country hit. Collins heard the song on the radio and brought a modern feel to country song `I heard Leo Sayer`s version of `Can’t Stop Loving You` on vacation and I was impressed by the fantastic melody. I have attempted to breathe new life into this song and change its feel.` It was the first single off the album, hitting No. 1 in the Adult Contemporary Charts. The album ends with `Thru My Eyes` and `You Touch My Heart`, another song inspired by his son. (`Thru My Eyes` is not to be confused with `Look Through My Eyes`, a song recorded by Collins for the Brother Bear soundtrack in 2003 Personnel Phil Collins – vocals, all instruments except where noted James Sangar – additional programming (1-5, 8, 11) Jamie Muhoberac – keyboards (9, 10) Tim Pierce – guitars (1-11), nylon guitar (12) Daryl Stuermer – guitar (9, 10) Paul Bushnell – bass (3-10) Eric Rigler – Uilleann pipes (9)

Original, made in EU Knjizica od 12 str. Odlicno ocuvano knjizica 5 Cd 5- The Colour and the Shape is the second studio album by American rock band Foo Fighters, released on May 20, 1997, through Roswell and Capitol Records. It marked the official debut of the Foo Fighters as a band, as their eponymous 1995 debut album was primarily recorded by frontman Dave Grohl and producer Barrett Jones as a demo. After the debut became an international success, Grohl recruited guitarist Pat Smear, bassist Nate Mendel, and drummer William Goldsmith to form the band`s full lineup. The group convened in the fall of 1996 for pre-production on a second album, and brought in Gil Norton as producer to establish a pop sensibility for the tracks. The band strived to create a full-fledged rock record, contrary to music press predictions that it would be another grunge offshoot. Primarily inspired by Grohl`s divorce from photographer Jennifer Youngblood in 1996, The Colour and the Shape is more lyrically introspective and musically developed than the Foo Fighters` debut. The album`s track listing was designed to resemble a therapy session, splitting the album between uptempo tracks and ballads to reflect conflicting emotions. Early sessions at the Bear Creek Studio in Washington went poorly and the band discarded most of those recordings. The band regrouped without Goldsmith in early 1997 to record at Hollywood`s Grandmaster Recordings studio, with Grohl sitting in on drums instead. Goldsmith was offended and disgruntled that most of his material had been re-recorded, and he left the band shortly thereafter. The singles `Monkey Wrench`, `Everlong`, and `My Hero` peaked within the top ten of US rock radio charts, and the album charted at number ten on the Billboard 200. The album was also a commercial success on an international level, peaking at number three in the United Kingdom. Critics deemed the album a significant American rock release of its era, and in retrospective assessments it continues to be viewed as a seminal modern rock album. It was nominated for a Grammy Award in 1998 for Best Rock Album. The Colour and the Shape remains the Foo Fighters` biggest seller in the U.S., having sold more than two million copies according to Nielsen SoundScan. The album was remastered and reissued in 2007 with several bonus tracks for its tenth anniversary. The Colour and the Shape was Foo Fighters` last album to be released and marketed by Capitol Records. After the band, along with their label Roswell Records, signed to RCA Records, its distribution, along with their eponymous debut album, has switched to RCA. Studio album by Foo Fighters Released May 20, 1997 Recorded November 1996 – February 1997 Studio Bear Creek (Woodinville, Washington) WGNS (Washington, D.C.) Grandmaster (Hollywood) Genre Alternative rockpost-grungehard rockgrungepunk rock Length 46:47 Label RoswellCapitol Producer Gil Norton Foo Fighters chronology Foo Fighters (1995) The Colour and the Shape (1997) There Is Nothing Left to Lose (1999) All tracks are written by Dave Grohl, Nate Mendel and Pat Smear except where noted. No. Title Writer(s) Length 1. `Doll` 1:23 2. `Monkey Wrench` 3:51 3. `Hey, Johnny Park!` 4:08 4. `My Poor Brain` 3:33 5. `Wind Up` 2:32 6. `Up in Arms` 2:15 7. `My Hero` 4:20 8. `See You` 2:26 9. `Enough Space` Grohl 2:37 10. `February Stars` 4:49 11. `Everlong` Grohl 4:10 12. `Walking After You` Grohl 5:03 13. `New Way Home` 5:40 Total length: 46:47 Foo Fighters Dave Grohl – lead vocals, guitar, drums Pat Smear – guitar Nate Mendel – bass Additional personnel William Goldsmith – drums on `Doll`, `Up in Arms` (credited for slow intro), `My Poor Brain` (verses only, uncredited), `The Colour and the Shape` (uncredited), and `Down in the Park` (uncredited) Taylor Hawkins – drums on `Requiem`, `Drive Me Wild`, and `Baker Street` (10th anniversary edition`s bonus tracks only) Lance Bangs, Chris Bilheimer and Ryan Boesch – handclaps on `See You` Louise Post – backing vocals on `Everlong`[59] (uncredited) Production Gil Norton – production Bradley Cook, Geoff Turner – engineering Ryan Boesch, Todd Burke, Don Farwell, Ryan Hadlock, Jason Mauza – assistant engineering Chris Sheldon – mixing Bob Ludwig – mastering Bradley Cook, Geoff Turner – recording technicians Jeffery Fey, Foo Fighters, Tommy Steele – art direction Jeffery Fey, George Mimnaugh – design Andy Engel – logo design Josh Kessler – photography

Original, made in Austria Knjizica od 16 str. Omot 3, kompaktan ali blago talasast i poslednje dve strane slepljene. Cd 5 odlicno ocuvan Harbor Lights was the fourth album by Bruce Hornsby and was released by RCA Records in 1993. It was the first album credited solely to Hornsby, without his previous backing band, the Range. The record showcased Hornsby in a more jazz-oriented setting and featured an all-star lineup, including Pat Metheny, Branford Marsalis, Jerry Garcia, Phil Collins and Bonnie Raitt. Unlike earlier albums, Harbor Lights allowed more space for Hornsby`s and guest-players` `extended instrumental` solos to `flow naturally` out of the songs.[2] The tone was set by the opening title track, which after 50 seconds of expansive solo piano lurches into an up-tempo jazz number, ending with Metheny`s guitar runs. The album closes in a similar fashion with `Pastures of Plenty`, this time with an extended guitar solo from Garcia intertwined with Hornsby`s piano. Hornsby also quotes the main musical phrase from the Grateful Dead`s `Dark Star` as the jazz head to his song about tensions surrounding a biracial relationship, `Talk of the Town`.[3] The mid-tempo `Fields of Gray`, written for Hornsby`s recently born twin sons, received some modest radio airplay, peaking at #69 on the Billboard Hot 100. Harbor Lights was well received by critics and fans, who praised it for its `cooler, jazzier sound` and its `affinity for sincere portraits of American life, love, and heartache.`[2] The album cover uses Edward Hopper`s 1951 painting Rooms By the Sea. Personnel (on all tracks) Bruce Hornsby – vocals, grand piano, organ, accordion, synthesizers Jimmy Haslip – bass John Molo – drums Additional personnel, by track Harbor Lights Pat Metheny – guitar solo, sitar John Bigham – rhythm guitar Laura Creamer-Dunville – backing vocals Jean McClain – backing vocals Dave Duncan – MIDI man Jeff Lorber – loops Talk of the Town Branford Marsalis – soprano saxophone Jeff Lorber – programming Will Ross – rhythm guitar Pat Metheny – guitar Phil Collins – bongos Long Tall Cool One Branford Marsalis – soprano saxophone Phil Collins – backing vocals China Doll Pat Metheny – guitar solo Phil Collins – backing vocals Tony Berg – guitar chords Wayne Pooley – guitar chords Fields of Gray Phil Collins – tambourine, backing vocals John McLaughlin Williams – violin Laura Roelofs Park – violin Beverly K. Baker – viola William Conita – cello Lamont Coward – percussion Rainbow`s Cadillac John Bigham – lead and rhythm guitars Bonnie Raitt – backing vocals Laura Creamer-Dunville – backing vocals Jean McClain – backing vocals John D`earth – trumpet Glenn Wilson – horns Branford Marsalis – saxophone Passing Through John Bigham – guitar Laura Creamer-Dunville – backing vocals Jean McClain – backing vocals Jerry Garcia – guitar The Tide Will Rise Pat Metheny – rhythm guitar and guitar solo Bonnie Raitt – backing vocals Debbie Henry – backing vocals Laura Creamer-Dunville – backing vocals Jean McClain – backing vocals Bona Cheri Williams – backing vocals John D`earth – trumpet Glenn Wilson – horns George Gailes III – horns Roy Muth – horns Tim Streagle – horns George Harple – French horn Philip Koslow – French horn Adam Lesnick – French horn Alan Peterson – French horn What A Time Debbie Henry – backing vocals Bona Cheri Williams – backing vocals John D`earth – trumpet Glenn Wilson – horns George Gailes III – horns Roy Muth – horns Tim Streagle – horns Pastures of Plenty Jerry Garcia – guitar John McLaughlin Williams – violin Laura Roelofs Park – violin Beverly Baker – viola William Comita – cello Production Produced by Bruce Hornsby Production Coordination – Sharona Sabbag, Shamina Singh and Amy Wenzler. Engineered by Wayne Pooley and Steve Strassman Additional Engineering – Eddie King Mixed by Wayne Pooley (Tracks #1, 3-5, 7, 8 & 10), Keith `KC` Cohen (Track #2) and David Leonard (Tracks #2, 6 & 9). Recorded at Bruce Hornsby`s House (Williamsburg, VA) and Acme Recording Studios (Mamaroneck, NY). Mastered by Bob Ludwig at Gateway Mastering (Portland, ME) and Masterdisk (New York, NY). Horn Charts by Bruce Hornsby String Quartet Charts by John McLaughlin Williams Art Direction and Design – Norman Moore Cover and Inside Art – Edward Hopper Back Cover Photo – Greg Gorman Inside Photo – Carey Wilhelm Management – Q Prime Guitar Technician for Pat Metheny – Carolyn Chrzan Piano Tuning and Service – Leo Schatzel Tambourine Technician – Danny Gillen

Original, made in Germany Knjizica od 6 str. Odlicno ocuvano knjizica 5 Cd 5/5- Studio album by the Doors Released February 9, 1970 Recorded August 19, 1966 (`Indian Summer`) & November 1969 – January 1970 Studio Elektra, Hollywood Genre Blues rockpsychedelia[1]R&B[2] Length 37:05 Label Elektra Producer Paul A. Rothchild The Doors chronology The Soft Parade (1969) Morrison Hotel (1970) Absolutely Live (1970) Morrison Hotel is the fifth studio album by American rock band the Doors, released on February 9, 1970, by Elektra Records. After the use of brass and string arrangements recommended by producer Paul A. Rothchild on their previous album, The Soft Parade (1969), the Doors returned to their blues rock style and this album was largely seen as a return to form for the band. The group entered Elektra Sound Recorders in Los Angeles in November 1969 to record the album which is divided into two separately titled sides, namely: `Hard Rock Café` and `Morrison Hotel`. Blues rock guitar pioneer Lonnie Mack and Ray Neapolitan also contributed to the album as session bassists. The album reached No. 4 on the Billboard 200, and performed better overseas than the preceding album (it was the group`s highest-charting studio album in the United Kingdom, where it peaked at No. 12). The accompanying `You Make Me Real` / `Roadhouse Blues` single peaked at No. 50 in May 1970 on the Billboard 100 chart. The cover photo was taken by Henry Diltz. Background On March 1, 1969, Jim Morrison performed while intoxicated at the Dinner Key Auditorium in Coconut Grove, Florida, in front of a crowd of nearly 12,000; he was charged for his performance and behavior with indecent exposure, on April 4.[3] The incident negatively reflected on the band`s publicity, sparking a `March for Decency` at the Miami Orange Bowl.[4] Consequently, twenty-five dates on the band`s next tour were cancelled, and their records were blacklisted from radio airplay, resulting in the band abandoning the rest of their potential tour, costing what John Densmore characterized as `a million dollars in gigs.`[5] Nevertheless, the band gradually regained momentum by playing concerts throughout the rest of the year, including the Toronto Rock and Roll Revival;[6] they played alongside John Lennon, among others, who later said, `supposedly the Doors were top of the bill.`[7] In July, the Doors released their fourth album, The Soft Parade, a heavily orchestrated affair that augmented the band`s sound with horns and strings.[8] Around early 1969, Morrison traded in his stage leathers for more conventional attire, grew a beard and gained weight as he attempted to live down his `Lizard King` image; however, his worsening alcoholism often undermined his efforts.[9] In November, a drunken Morrison caused such a disturbance on a flight to Phoenix, Arizona, to see a Rolling Stones concert that he was charged with a new skyjacking law that carried up to a $10,000 fine and a ten-year prison sentence.[5] Original album Details are taken from the 1970 Elektra Records album and may differ from other sources.[37] Side one: Hard Rock Café No. Title Writer(s) Length 1. `Roadhouse Blues` Jim Morrison, music by the Doors 4:04 2. `Waiting for the Sun` Morrison 3:58 3. `You Make Me Real` Morrison 2:50 4. `Peace Frog` Morrison, Robby Krieger 2:52 5. `Blue Sunday` Morrison 2:08 6. `Ship of Fools` Morrison, Krieger 3:06 Total length: 18:58 Side two: Morrison Hotel No. Title Writer(s) Length 1. `Land Ho!` Morrison, Krieger 4:08 2. `The Spy` Morrison 4:15 3. `Queen of the Highway` Morrison, Krieger 2:47 4. `Indian Summer` Morrison, Krieger 2:33 5. `Maggie M`Gill` Morrison, music by the Doors 4:24 Total length: 18:07 Personnel Details are taken from the 2007 Rhino Records CD 40th Anniversary Edition liner notes with Bruce Botnick`s and David Fricke`s accompanying essays, which may differ from other sources.[16] The Doors Jim Morrison – vocals Ray Manzarek – piano, organ, tack piano on `Roadhouse Blues` and `You Make Me Real`,[39] guitar on `Maggie M`Gill`[40] Robby Krieger – guitar John Densmore – drums; with brushes on `The Spy`[41] Additional musicians Ray Neopolitan – bass guitar[42] Lonnie Mack – bass guitar on `Roadhouse Blues` and `Maggie M`Gill` John Sebastian (as `G. Puglese`) – harmonica on `Roadhouse Blues` Paul Beaver – moog synthesizer programming on `Waiting for the Sun`[39] Technical Paul A. Rothchild – production Bruce Botnick – engineering Gary Burden – art direction, sleeve design Henry Diltz – sleeve photography

GötterDÄmmerung - Tribut An Die Beste Band Der Welt 2xCD 4+ Label:Gringo Records ‎– GRINGO 979 Genre:Electronic, Hip Hop, Rock Style:Alternative Rock, Pop Rock, Punk, Breakbeat, Techno, Ska, Hip Hop, Thrash Tracklist Position Artists Title/Credits Duration 1-1 –Joey DeMaio Intro 0:16 1-2 –Terrorgruppe Mach Die Augen Zu Adapted By – Alert*, von Hinten*, Bottrop*, Schlitzer* Producer – Uwe Hoffmann 3:13 1-3 –Mr. Ed Jumps The Gun Zu Spät Engineer – Stefan Brüggemann Producer – Mr. Ed Jumps The Gun, Ralf Goldkind 2:57 1-4 –The Butlers Sweet, Sweet Gwendoline Organ [Hammond] – Jojo (77) Producer – Sølve*, The Butlers, Wolodja Vocals [Gesang] – Nana (4) 2:51 1-5 –Die Fantastischen Vier Madonnas Dickdarm Arranged By – Die Fantastischen Vier Co-producer – Deejot Hausmarke* Engineer – Klaus Scharff Producer – And. Ypsilon* 2:30 1-6 –Sodom Feat. Alex Kraft Elke Featuring – Alex Kraft Producer – Tom Angelripper 3:17 1-7 –Stimpy Mysteryland Arranged By – Perry Spinoza Recorded By, Mixed By – Ronnie Henseler 2:46 1-8 –The Travelling Suurbiers Wie Ein Kind Performer [The Travelling Suurbiers] – Andrew W. Suurbier, Bugs Suurbier, Cäpt`n Suurbier, Fränkie Suurbier, Dirty Gørdi*, Jenny* Producer, Recorded By, Mixed By – Gørdi* 3:44 1-9 –Lemonbabies Mit Dem Schwert Nach Polen, Warum René Adapted By – Lemonbabies, Pattino Producer – Lemonbabies, Pattino 5:02 1-10 –Wizo Anneliese Schmidt Producer – Fratz A. Thum Recorded By, Mixed By, Mastered By – Axel Kurth, Nico Berthold Soloist, Flute [Blockflötensolo] – Paddy Kelly 3:21 1-11 –Prollhead! Radio Brennt Adapted By – A. Glenn Schmidt*, R. Henseler* Recorded By, Mixed By – Ronnie Henseler 4:30 1-12 –Heinz Strunk Mein Baby War Beim Frisör Adapted By – Heinz Strunk 2:12 1-13 –The Incredible Hagen Feat. Anja* Für Immer Featuring – Anja* Producer, Mixed By – Sven Haeusler 3:10 1-14 –Wiglaf Droste & Dziuks Küche Quark Adapted By – Wiglaf Droste Contrabass – M. Jaksch* Drums – K. Dziuk* Guitar, Vocals, Percussion – H. Rohe* Keyboards, Guitar – D. Dziuk* Recorded By, Mixed By – Milo (6) Vocals – W. Droste* 3:47 1-15 –Fluchtweg 30-Jahre-Bauch Recorded By, Mixed By – Franzi Treutler 2:14 1-16 –Church Of Confidence Wie Am Ersten Tag Producer, Mixed By – Rod Gonzalez 2:42 1-17 –La Cry Alleine In Der Nacht Producer – Yenz Voight-Leonhardt* 2:25 1-18 –Der Wahre Heino Teenagerliebe Adapted By – Dorothee Bosky Drums – Andy Laaf Guitar, Bass – Tex Morton Mixed By – Gørdi* Producer – Laaf*, Gürke*, Hähnel*, Morton* Violin – Anja Clarisa Gürke* Vocals – Norbert Hähnel 3:23 1-19 –Lucilectric Der Allerschürfste Adapted By – Luci van Org, Goldkind* Producer, Mixed By – Lucilectric 2:55 2-1 –FC St. Pauli Feat. Witte XP (Von Wegen) Westerland Adapted By – M. Witte* Co-producer [Produziert unter Mitwirkung von] – Martin Witte Producer – Uwe Hoffmann 3:40 2-2 –Armageddon Dildos Ich Weiß Nicht (Ob Es Liebe Ist...) Adapted By – D. Krause*, U. Kanka* 3:07 2-3 –Die Kassierer Du Willst Mich Küssen (Spezialversion) Adapted By – V. Kampfgarten* Producer – Die Kassierer 2:33 2-4 –Schweisser Bitte, Bitte Producer – Axel Kröll 3:46 2-5 –The Inchtabokatables Feat. Marion Brasch Meine Ex(plodierte Freundin) Featuring – Marion Brasch Producer – The Voodoo 3:07 2-6 –Fury In The Slaughterhouse Der Lustige Astronaut 3:36 2-7 –Fettes Brot Was Hat Der Junge Doch Für Nerven Producer, Mixed By – Dougie*, Mario von Hacht 4:18 2-8 –P.-Pack Feat. CPS Rod Loves You (Rod Is Cummin` - Mix) Adapted By – C. Dietermann*, D. Bruder*, D. Mielenhausen* Featuring – CPS Producer – Chris Dietermann*, Danny `The Brother` Bruder*, Milo (6) Vocals – Davy (2) 4:09 2-9 –MC Lüde & Frank Z.* No Future (Ohne Neue Haarfrisur) Adapted By – Frank Z.*, Lüde* Performer [Mitwirkende] – Frank Z.*, Gary Schmalzl, Luci van Org, Lüde*, Rod* Producer – Rod Gonzalez 3:51 2-10 –The Chainsaw Hollies Cry For Love Adapted By – Atze Ludwig Producer – Atze Ludwig, Siggi Bemm 4:05 2-11 –Bronx Boys Lieber Tee Adapted By – Bronx Boys Producer [Aufgebrüht von] – Witte* 5:11 2-12 –Mad Sin El Cattivo Adapted By – Köfte*, Mad Sin Engineer – Jean Pierre* Producer – Holly*, Mourad Köfte Calvies* 4:15 2-13 –Pankow (2) Hurra Adapted By – Pankow (2) Bass – J. Reznicek* Drums – S. Dohanetz* Guitar – J. Ehle* Piano – K. Dziuk* Producer – Pankow (2) Vocals – A. Herzberg* 3:52 2-14 –Pothead (2) Am Ende Meines Körpers Adapted By – Pothead (2) Producer – Pothead (2) 2:29 2-15 –Die Kleine Tierschau Schunder-Song Adapted By – Die Kleine Tierschau, Mantel*, Gaedt*, Schulig* Producer – Die Kleine Tierschau Recorded By – Ralf Schübel 3:12

Original, made in UK Knjizica od 20 str. Odlicno ocuvano knjizica 5 Cd 5 Compilation album by Monty Python Released 11 December 1989 (UK) Recorded 1971–1989 Genre Comedy Length 54:16 (1989) 1:08:58 (2014) Label Virgin Producer Eric Idle, Andre Jacquemin Monty Python chronology The Final Rip Off (1987) Monty Python Sings (1989) The Ultimate Monty Python Rip Off (1994) Monty Python Sings is a compilation album of songs by English comedy troupe Monty Python. Released in 1989 to celebrate their 20th anniversary, it contains popular songs from their previous albums and films. The album was dedicated to the memory of founding member Graham Chapman, who died two months before its release. The album contained two previously unreleased tracks: `Oliver Cromwell` (originally performed by John Cleese on the 1960s radio series I`m Sorry, I`ll Read That Again) was recorded during sessions for Monty Python`s Contractual Obligation Album in 1980, while a studio recording of Terry Gilliam`s live standard `I`ve Got Two Legs` was recorded in 1974 for the Drury Lane shows, where it was to be mimed onstage, but discarded once Gilliam decided to perform it live instead. The album also has a longer version of `Medical Love Song,` with added instrumentation and previously unheard verses which mix out Eric Idle`s guide vocals and push Graham Chapman`s lead vocal to the forefront. The remixes of `Sit on My Face` and the extended `Henry Kissinger` from The Final Rip Off were also used, as well as a new mix of `Bruces` Philosophers Song (Bruces` Song)` and a remix of the 1975 George Harrison-produced single version of `The Lumberjack Song`, featuring some alternate vocal takes. This was the first compilation to include tracks from the Life of Brian and The Meaning of Life soundtracks, albeit in remixed form. `Every Sperm Is Sacred` is the extended version, previously only available on the B-side of the 7-inch single of `Galaxy Song`. Artwork The cover design by Terry Gilliam marked his first original album artwork since 1977`s Instant Record Collection. The original vinyl release contained a booklet featuring illustrated lyrics to all the songs. Monty Python Sings (1989) No. Title Writer(s) Original release Length 1. `Always Look on the Bright Side of Life` Eric Idle Monty Python`s Life of Brian 3:33 2. `Sit on My Face` Music: Harry Parr Davies Lyrics: Idle Monty Python`s Contractual Obligation Album 0:45 3. `Lumberjack Song (Alternate Take)` Music: Terry Jones/Michael Palin/Fred Tomlinson Lyrics: Jones/Palin Previously unreleased 3:20 4. `Penis Song (Not the Noel Coward Song)` Idle Monty Python`s The Meaning of Life 0:41 5. `Oliver Cromwell` Music: Frédéric Chopin (interpolating Polonaise in A-flat major, Op. 53) Lyrics: John Cleese Previously unreleased; recorded 1980 4:10 6. `Money Song` Music: John Gould Lyrics: Idle/Gould Monty Python`s Previous Record 0:52 7. `Accountancy Shanty` Idle/John Du Prez Monty Python`s The Meaning of Life 1:16 8. `Finland` Palin Monty Python`s Contractual Obligation Album 2:01 9. `Medical Love Song` Music: Idle/Du Prez Lyrics: Graham Chapman/Idle Monty Python`s Contractual Obligation Album 3:31 10. `I`m So Worried` Jones Monty Python`s Contractual Obligation Album 3:20 11. `Every Sperm Is Sacred` Music: David Howman/Andre Jacquemin Lyrics: Palin/Jones Monty Python`s The Meaning of Life 4:34 12. `Never Be Rude to an Arab` Jones Monty Python`s Contractual Obligation Album 1:00 13. `I Like Chinese` Idle Monty Python`s Contractual Obligation Album 3:10 14. `Eric the Half-a-Bee` Music: Idle Lyrics: Idle/Cleese Monty Python`s Previous Record 2:06 15. `Brian Song` Music: Jacquemin/Howman Lyrics: Palin Monty Python`s Life of Brian 2:35 16. `Bruces` Philosophers Song (Bruces` Song)` Idle The Monty Python Matching Tie and Handkerchief 0:52 17. `The Meaning of Life` Music: Idle/Du Prez Lyrics: Idle Monty Python`s The Meaning of Life 2:15 18. `Knights of the Round Table (Camelot Song)` Music: Neil Innes Lyrics: Chapman/Cleese Monty Python and the Holy Grail 1:06 19. `All Things Dull and Ugly` Music: Traditional Lyrics: Idle Monty Python`s Contractual Obligation Album 1:33 20. `Decomposing Composers` Palin Monty Python`s Contractual Obligation Album 2:48 21. `Henry Kissinger (Extended Version)` Idle The Final Rip-Off 1:28 22. `I`ve Got Two Legs` Terry Gilliam Previously unreleased; recorded 1974 0:33 23. `Christmas in Heaven (Extended Version)` Music: Idle Lyrics: Jones Monty Python`s The Meaning of Life 2:45 24. `Galaxy Song` Music: Idle/Du Prez Lyrics: Idle Monty Python`s The Meaning of Life 2:41 25. `Spam Song` Music: Palin/Jones/Tomlinson Lyrics: Palin/Jones Another Monty Python Record 0:32 Personnel Performers Graham Chapman John Cleese Terry Gilliam Eric Idle Terry Jones Michael Palin Additional performers Sonia Jones (`Brian Song`, `The Silly Walk Song`, `Nudge Rap/Blackmail`) John Du Prez (`The Silly Walk Song`) Bob Saker (`The Silly Walk Song`) Tim Whitnall (`The Silly Walk Song`) Jamie Lisa Jacquemin (`The Silly Walk Song`, `Nudge Rap/Blackmail`) Technical John Du Prez – arranger (`The Silly Walk Song`, `Finland`, `Medical Love Song`, `I`m So Worried`, `I Like Chinese`, `The Naval Medley`, `Sit on My Face`, `Never Be Rude to an Arab`, `Decomposing Composers`, `Henry Kissinger`, `Rainy Day in Berlin`, `Lousy Song`), producer (`The Naval Medley`), mixing (`The Naval Medley`) Neil Innes – arranger John Altman – arranger Mike McNaught – arranger Fred Tomlinson – arranger (`Money Song`, `Spam`, `Lumberjack Song`) Eric Idle – producer Andre Jacquemin – producer, engineer, mixing James Saunders – recording assistant Kath James – co-ordinator Kay Gee Bee Music Ltd. – illustration TDC – layout Holly Gilliam – project coordinator (2014 edition) Terry Gilliam – cover artwork, packaging design, layout (2014 edition) Ric Lipson – packaging design, layout (2014 edition) Darren Evans – additional artwork and design (2014 edition) Andy Gotts – Monty Python group photo (2014 edition) Robert Ross – notes (2014 edition) Giselle Berger – notes transcription (2014 edition) Sean Magee – mastering (2014 editio

Original, made in EU Knjizica od 8 str. knjizica 5 Cd1 4+ Cd2 5 Label: Virgin – VTDCD 380, Virgin – 7243 8 10357 2 6 Series: The Album – 2001 Format: 2 x CD, Compilation Country: UK Released: 2001 Genre: Electronic, Rock Style: Alternative Rock, Acoustic, Pop Rock, Big Beat, Britpop 1-1 Gorillaz– Clint Eastwood Co-producer – Jason Cox, Tom Girling Producer – Dan The Automator, Gorillaz Rap – Del Tha Funkee Homosapien Written-By – 2D (3), Murdoc*, Tarin Del Jones* 3:44 1-2 Stereophonics– Mr. Writer Lyrics By – Kelly Jones Producer – Bird And Bush Written-By – Jones*, Bird* 4:27 1-3 Wheatus– Teenage Dirtbag Written-By – Brendan Brown 4:01 1-4 Ash– Burn Baby Burn Mixed By – Alan Moulder Producer – Ash, Owen Morris Written-By – T. Wheeler* 3:29 1-5 Muse– Plug In Baby Mixed By – John Cornfield, Muse Producer – David Bottrill, Muse Written-By – Bellamy* 3:19 1-6 Feeder– Buck Rogers Producer – Gil Norton Written-By – Grant Nicholas 3:12 1-7 Robbie Williams– Let Love Be Your Energy Arranged By – Guy Chambers Mixed By – Steve Power Producer – Guy Chambers, Steve Power Written-By – G. Chambers*, R. Williams* 4:05 1-8 Toploader– Dancing In The Moonlight Engineer – Alan Douglas (2) Mixed By – Dave Shiftman*, Greg Fidelman Producer – George Drakoulias Written-By – Sherman Kelly 3:47 1-9 Creed (3)– With Arms Wide Open Written-By – Mark Tremonti, Scott Stapp 3:29 1-10 Manic Street Preachers– You Stole The Sun From My Heart Engineer, Mixed By – Ian Grimble Lyrics By – Nick Jones (5) Music By – James Dean Bradfield, Sean Moore Producer – Mike Hedges 4:20 1-11 JJ72– Oxygen Producer, Mixed By – Ian Caple Written-By – Mark Greaney 3:39 1-12 Soulwax– Too Many DJs Producer, Mixed By – Dave Sardy Remix – Dave Bascombe* Written-By – D. Dewaele*, S. Dewaele* 3:26 1-13 My Vitriol– Always: Your Way Engineer, Mixed By – Chris Sheldon Producer – Chris Sheldon, Som Wardner Written-By – S. Wardner* 3:49 1-14 Blink-182– All The Small Things Producer – Jerry Finn Written-By – Mark Hoppus, Tom DeLonge 2:49 1-15 Sunna– I`m Not Trading Mixed By – Dave Eringa Producer, Arranged By – Neil Davidge, Sunna Vocals – Jon Harris Written-By – Jon Harris, Neil Davidge 3:37 1-16 Placebo– Taste In Men Engineer – Kenny Patterson, Lorraine Francis, Paul Corkett Mixed By – Paul Corkett, Placebo Performer – Placebo Producer – Dare Mason, Paul Corkett, Placebo Vocals – Severe Loren Written-By – Placebo 3:59 1-17 Mansun– I Can Only Disappoint U Co-producer – Mike Hunter* Mixed By – Mark `Spike` Stent* Producer – Hugh Padgham Written-By – Dominic Chad, Paul Draper 4:19 1-18 Semisonic– Closing Time Mixed By – Jack Joseph Puig Producer, Recorded By – Nick Launay Written-By – Dan Wilson 3:51 1-19 Radiohead– Optimistic Engineer, Mixed By – Nigel Godrich Mastered By – Chris Blair Producer – Nigel Godrich, Radiohead Written-By – Radiohead 4:51 1-20 Fatboy Slim– Star 69 Engineer, Mixed By – Simon Thornton Producer – Fatboy Slim Written-By – Cook*, Clark* 3:33 1-21 Roni Size / Reprazent– Dirty Beats Mixed By, Engineer – Dave Amso, Roni Size Producer, Arranged By – Roni Size Vocals – Dynamite MC Written-By – Smith*, Williams* 3:12 2-1 Coldplay– Trouble Written-By – Martin*, Berryman*, Buckland*, Champion* 4:31 2-2 Starsailor– Fever Engineer [Assistant] – Jim Ashmore* Engineer, Mixed By – Mark Aubrey Written-By – Starsailor 4:01 2-3 Turin Brakes– The Door Engineer – Albert Pinheiro Mixed By – Al Stone Producer – Turin Brakes Vocals – Olly Knights Written-By – Gale Paridjanian, Olly Knights 3:37 2-4 Richard Ashcroft– A Song For The Lovers Mixed By – Chris Potter* Producer – Chris Potter*, Richard Ashcroft Vocals – Richard Ashcroft Written-By – Richard Ashcroft 5:21 2-5 Supergrass– Moving Producer – John Cornfield, Supergrass Written-By – Rob Coombes*, Supergrass 4:25 2-6 Badly Drawn Boy– Once Around The Block Co-producer, Engineer – The Away Team Drums – Adrian Dacre Producer – Badly Drawn Boy Vocals, Acoustic Guitar, Electric Guitar, Lead Guitar, Bass Guitar, Vibraphone – Badly Drawn Boy Written-By – Badly Drawn Boy 4:01 2-7 Blur– Coffee & TV Engineer – Jason Cox, John Smith (4), William Orbit Producer – William Orbit Written-By – James*, Albarn*, Rowntree*, Coxon* 5:02 2-8 The Divine Comedy– Love What You Do Mastered By – Chris Blair Producer – Nigel Godrich Vocals, Guitar, Keyboards [Additional] – Neil Hannon Written-By – Neil Hannon 3:54 2-9 Doves– Catch The Sun Engineer – Bruno Ellingham Producer, Mixed By – Steve Osborne Written-By – Williams*, Williams*, Goodwin* 4:46 2-10 Alabama 3– Woke Up This Morning Featuring – The Street Angels Choir 2000 Producer – Al Stone, Matthew Vaughan, The Ministers At Work Written-By – Love*, Love*, Very Reverend Dr. D. Wayne, The*, Love* 4:04 2-11 Gomez– Tijuana Lady Engineer – Ken Nelson Producer – Gomez Written-By – Ben Ottewell, Ian Ball, Olly Peacock, Paul Blackburn, Tom Gray (2) 7:03 2-12 AIR– All I Need Producer – Jean-Benoît Dunckel, Nicolas Godin Written-By – Beth Hirsch, Jean-Benoît Dunckel, Nicolas Godin 3:59 2-13 Kings Of Convenience– Toxic Girl Engineer – Ken Nelson, Morten Arnetvedt Mixed By – Ken Nelson Performer – Kings Of Convenience Producer – Ken Nelson, Kings Of Convenience, Morten Arnetvedt Written-By – Kings Of Convenience 3:07 2-14 Grandaddy– The Crystal Lake Producer – Jason Lytle Written-By – Jason Lytle 5:00 2-15 David Gray– Late Night Radio Mixed By – Bob Salcedo, David Nolte Producer – David Nolte Written-By – David Gray 3:53 2-16 Neil Finn– Wherever You Are Backing Vocals – Sharon Finn Engineer, Mixed By – Tchad Blake Guitar, Vocals – Neil Finn Producer – Mitchell Froom, Neil Finn, Tchad Blake Written-By – Neil Finn 4:43 2-17 Alfie– Bookends Performer – Alfie Producer – Joe Robinson Written-By – Alfie 3:53 2-18 Elbow– Red Co-producer – Ben Hillier, Elbow Written-By – Potter*, Garvey*, Potter*, Turner*, Jupp* 3:39 Copyright © – Virgin Records Ltd. Phonographic Copyright ℗ – Circa Records Ltd. Copyright © – Circa Records Ltd. Manufactured By – EMI UK Record Company – EMI Compiled By, Concept By – Ashley Abram Design – design4music.com © 2001 Virgin Records Ltd. The copyright in this recording is owned by Circa Records Ltd. ℗ & © 2001 Circa Records Ltd. This compilation ℗ & © 2001 Circa Records Ltd.

Original, made in Austria Knjizica od 24 str. Odlicno ocuvano knjizica 5 Cd 5 Studio album by The Hooters Released May 6, 1985[1][2] Recorded 1984–1985 Studio Record Plant Studios, NYC Studio 4, Philadelphia Genre Rock Length 39:02 (LP) 43:07 (CD and cassette) Label ColumbiaCBS (Europe) Producer Rick Chertoff The Hooters chronology Amore (1983) Nervous Night (1985) One Way Home (1987) Nervous Night is the second studio album by American rock band The Hooters, released in May 1985 by Columbia Records and on CBS Records in Europe. The album features two of the band`s biggest and best-known hits, `And We Danced` and `Day by Day,` as well as the minor hit, `All You Zombies,` which was a rerecorded version of a single that had first been released in 1982. Background In the summer of 1983, guitarist Eric Bazilian and keyboard player Rob Hyman were invited by their old college friend and bandmate from Baby Grand, Rick Chertoff, to work on the debut album for a newly signed singer to Columbia Records named Cyndi Lauper. This resulted in The Hooters reforming after having broken up several months earlier. Eventually executives at Columbia Records, who were impressed by the over 100,000 copies that the band`s independent album Amore had sold, as well as the local Philadelphia fan support (26 million entries in radio station WMMR`s contest to win a Hooters show at a local high school) decided on July 26, 1984 at the Four Seasons Hotel in Philadelphia, to sign The Hooters to a multi-album contract to the company. On July 13, 1985, The Hooters opened the Philadelphia segment of Live Aid, a concert event to raise funds to benefit Africa. This internationally televised event introduced the band to a global audience that subsequently translated to major commercial success. Their first major overseas tour came later that year when they played throughout Australia. Different versions of three songs on Nervous Night — `All You Zombies,` `Hanging on a Heartbeat,` and `Blood from a Stone` — were originally released on The Hooters` independent album release Amore in 1983.[7] `Blood From a Stone` had also been recently covered by Red Rockers and released as a single.[7] Eric Bazilian told Songfacts that `Day by Day` `was a song that started as an experiment with Rick Chertoff.` He added that it took them `2 years whipping it into shape.`[8] Cash Box called the third single `Day by Day` a `straight ahead anthem-like track which chimes with a ringing chorus` that shows of The Hooters` `excellent use of dynamics and innate talent for penning hit songs full of melodic hooks.`[9] Billboard said that it has `hard-driving energy and muscular mandolins.`[10] Cash Box said that fourth single `Where Do the Children Go` was a `poignant ballad.`[11] 1986 film An award-winning film starring The Hooters and directed by John Jopson, Nervous Night, was produced by Bell One Productions. Nervous Night was shot on 35mm film and intercuts two separate elements: a concert filmed at the Tower Theater outside Philadelphia, and a series of short films, each one starring a different band member. The VHS release by CBS/Fox Video did not contain the short films; however, portions of the shorts were included in the `Day By Day` music video. MTV aired the version with the short films in the summer of 1986 as part of their Feature Presentation series.[12] Awards On October 7, 1994, Nervous Night achieved 2x platinum certification status around the world, selling in excess of 2 million copies in the United States.[13] On September 5, 1986, The Hooters appeared on the 1986 MTV Video Music Awards, where they were nominated in the category of Best New Artist in a Video for `And We Danced.` They performed two songs on the show, `And We Danced` and `Nervous Night.` Rolling Stone named The Hooters the Best New Band of the Year for 1986. At Billboard`s 8th Annual Video Music Conference on November 22, 1986, the film Nervous Night won two awards: Best Concert Performance for the `Where Do the Children Go` video and Best Long-Form Program. The Hooters also placed in five categories in Billboard`s Top 100 of 1986: Top Pop Artist (No. 41) Top Pop Album (No. 23) Top Pop Album Artists/Groups (No. 16) Top Pop Album Artists based on one album (No. 27) Top Pop Singles Artists based on three singles (No. 3) Track listing No. Title Writer(s) Length 1. `And We Danced` Rob HymanEric Bazilian 3:48 2. `Day by Day` HymanBazilianRick Chertoff 3:24 3. `All You Zombies` HymanBazilian 5:58 4. `Don`t Take My Car Out Tonight` HymanBazilianChertoff 3:55 5. `Nervous Night` (CD and cassette bonus track) HymanBazilianChertoff 3:58 6. `Hanging on a Heartbeat` HymanBazilianGlenn GossJeff Ziv 4:20 7. `Where Do the Children Go` HymanBazilian 5:29 8. `South Ferry Road` HymanBazilianChertoff 3:43 9. `She Comes in Colors` Arthur Lee 4:12 10. `Blood from a Stone` HymanBazilian 4:13 Notes The album`s title track did not appear on original LP releases of the album, or on the very first CDs.[14] Originally a B-side to the `All You Zombies` single,[15] it was included on all subsequent CD and cassette editions of the album as track 5.[16] Personnel Credits adapted from the album liner notes.[17] The Hooters Eric Bazilian – lead vocals (tracks 1-3, 5-7, 9-10), guitars, bass, mandolin, saxophone Rob Hyman – lead vocals (tracks 1-4, 6-8), keyboards, melodica Andy King – bass, vocals John Lilley – guitar David Uosikkinen – drums Additional musicians Patty Smyth – vocals on `Where Do the Children Go` Technical Rick Chertoff – producer John Agnello – engineer William Wittman – engineer, mixing (at Atlantic Studios) Carol Cafiero – assistant engineer Dan Nash – assistant engineer Dave Thoener – mixing (`And We Danced`) (at Cherokee Studios) George Marino – mastering (at Sterling Sound) Joel Zimmerman – art direction, design Mark Chin – photography Barbara Blair – production design

Original, made in UK Knjizica od 4 str. Omot 5 Cd 5-/4+ John Holt ‎– John Holt Label: Time Music International Limited ‎– TMI214 Format: CD, Compilation Country: UK Released: 1997 Genre: Reggae Style: Reggae Tracklist 1 In The Midnight Hour 4:31 2 Homely Girl 4:13 3 Hey Love 3:44 4 Looking Back 3:18 5 Left With A Broken Heart 3:10 6 Oh Girl 2:32 7 I Hope We Get To Love In Time 3:09 8 Born To Lose 3:31 9 Stick By Me 3:24 10 Here I Come 3:03 11 Wolf & Leopard 3:40 12 Everybody Needs Love 2:30 13 Release Me 3:09 14 Do You Love Me 4:11 15 I`ll Be Lonely 2:21 16 I Love My Girl 3:04 17 Peacemaker 3:29 18 She Wants It 3:48 Companies, etc. Phonographic Copyright (p) – Time Music International Limited Copyright (c) – Time Music International Limited Notes This compilation ℗&© 1997 `Time Music International Limited`. Serie; Time Music Collection, 1997 Copyright in this sound recording is controlled by Marathon International and Licensed to Time Music International Ltd. Barcode and Other Identifiers Barcode: 5 033606 021426 Mastering SID Code: IFPI LD11 Matrix / Runout (TMI214 - CD Systems UK ): 23665. John Kenneth Holt CD (11 July 1947[1] – 19 October 2014[2]) was a reggae singer and songwriter from Jamaica who first found fame as a member of The Paragons, before establishing himself as a solo artist. Holt was born in the Greenwich Farm area of Kingston, Jamaica, in 1947.[3] His mother Amy was a nurse.[4] By the age of 12, he was a regular entrant in talent contests run at Jamaican theatres by Vere Johns, winning 28 contests, some broadcast live on Radio Jamaica.[3][5][6] He recorded his first single in 1963 with `Forever I`ll Stay`/`I Cried a Tear` for record producer Leslie Kong, and also recorded a duet with Alton Ellis, `Rum Bumper`, for producer Vincent `Randy` Chin.[5][6][7] In 1965 Holt joined Bob Andy, Garth `Tyrone` Evans, and Junior Menz in their group the Binders; Menz departed to be replaced by Howard Barrett and they changed their name to the Paragons.[7] They initially recorded for Clement `Coxsone` Dodd`s Studio One before cutting a succession of singles for Duke Reid at his Treasure Isle Studio in the rocksteady era of 1966–1968; They enjoyed a string of hits, including `Ali Baba`, `Tonight`, `I See Your Face`, and the Holt-penned `The Tide Is High` (later made famous by Blondie and also covered by Atomic Kitten).[8] `Wear You to the Ball` was another of his hits with the Paragons, and it made the charts again when U-Roy (whom he had introduced to Duke Reid) recorded a Deejay version over it.[3] With Andy having left early on, the departures of Barrett (in 1969) and Evans (in 1970), who had both won scholarships in the US, brought the group to an end.[3][7] During his time with the Paragons, he also recorded solo material for Bunny Lee (`Tonight`), and Harry J.[5][6] He subsequently concentrated on his solo career, recording for Prince Buster (`Oh Girl`, `Rain From the Skies`), Reid (`Stealing Stealing`, `Ali Baba`), Dodd (including `Fancy Make-up`, `A Love I Can Feel`, `Let`s Build Our Dreams` and `OK Fred`), Alvin Ranglin (`Strange Things`), and Phil Pratt (`My Heart Is Gone`).[3] By the early 1970s, he was one of the biggest stars of reggae, and his work with producer Lee was key to his success;[9] `Stick By Me` was the biggest selling Jamaican record of 1972, one of a number of records recorded with Lee.[3][5] His 1973 Harry Mudie-produced album, Time Is The Master, was successful, with orchestral arrangements recorded in London by Tony Ashfield.[3] The success of the string-laden reggae led to Trojan Records issuing a series of similarly arranged albums produced by Ashfield starting with the 1,000 Volts of Holt in 1973, a compilation of Holt`s reggae cover versions of popular hits (and later followed by similarly named releases up to the Lee-produced 3,000 Volts of Holt). 1,000 Volts spawned the UK Top 10 hit `Help Me Make It Through the Night` (written by Kris Kristofferson), which peaked at number 6,[10] and included covers of Billy Joel`s `Just the Way You Are` and `Touch Me in the Morning` by Diana Ross.[11] He had success back in Jamaica in 1976 with `Up Park Camp` (on a reworking of the Heptones` `Get in the Groove` rhythm), and his success continued into the 1980s with tracks such as `Police in Helicopter` and `Fat She Fat`, recorded with producer Henry `Junjo` Lawes, and a standout appearance at the 1982 Reggae Sunsplash festival.[3][6][7] `Police in Helicopter` was a condemnation of the Jamaican government`s crackdown on marijuana plantations.[12] The cover to the album single pictured Holt growing locks and a beard,[13] an indication of the increasing importance of Rastafari in his life.[3] He continued to tour regularly, performed several times at Sunsplash in the 1990s, and performed in the United Kingdom with the Royal Philharmonic Concert Orchestra, with a live album taken from these shows released in 2001. In 2004 he was awarded the Order of Distinction (Commander Class) by the Jamaican government for his contribution to Jamaican music.[4][14] Holt`s style, notably slower and more romantic than most of his contemporaries, is a recognisable forerunner of the lovers rock subgenre. His song `Man Next Door` has been covered by numerous other reggae artists, including Dennis Brown, UB40 and Horace Andy. The latter sang in a more electronic vein for the Massive Attack album Mezzanine. Having been taken ill at the One Love Festival on 16 August,[15] Holt died on 19 October 2014 in the Wellington Hospital in London.[2][16][17] He had been diagnosed with colon cancer in June 2014.[18][19] He is survived by his wife Valerie, 12 children, and 25 grandchildren.[20] His funeral took place on 17 November at Holy Trinity Cathedral in Kingston, and featured performances by U-Roy, The Silvertones, Tinga Stewart, Boris Gardiner, George Nooks, Luciano, Carlene Davis, Ken Boothe, and members of Holt`s family, backed by Lloyd Parks and the We the People Band. He was buried at Dovecot Memorial Park.[21][22]

Original, made in EU Knjizica od 20 str. Odlicno ocuvano knjizica 5 Cd 5 Kiss & Tell is the debut studio album by American band Selena Gomez & the Scene. The album was released on September 29, 2009 through Hollywood Records. The album is composed mainly of pop rock and electronic rock, with Gomez citing bands such as Forever the Sickest Kids as influences on the album. Ted Bruner and Trey Vittetoe worked extensively on the record with Gomez, producing multiple tracks. Gomez worked with Gina Schock on several songs for the album, while Rock Mafia produced two of the album`s tracks. Upon its release, Kiss & Tell received mixed to positive reviews from music critics. Some critics praised the album`s `fun` nature, while others criticized Gomez`s vocal performance. Gina Schock`s work on the album received praise from multiple critics. The album was a commercial success, entering the top-ten of the Billboard 200 in the United States. It went on to sell over 900,000 copies in the country, making it the band`s best-selling album to date. It was later certified Gold by the RIAA. Kiss & Tell entered the top-twenty in the United Kingdom, and was Gomez`s highest-charting album in the country until Revival (2015). Kiss & Tell was preceded by the lead single `Falling Down`, which was released in August 2009. The album became a moderate hit, and was heavily promoted through the Disney Channel. `Naturally` was released as the second single, and is often regarded as the band`s breakout hit. It peaked inside the top-ten of countries such as the United Kingdom. Kiss & Tell was promoted mainly through televised performances, with the band appearing on shows such as Dancing with the Stars to perform songs from the album. The group toured on their Selena Gomez & the Scene: Live in Concert tour throughout the United States in 2009 and 2010, performing both new and old songs. Released September 29, 2009 Recorded December 2008 – July 2009 Studio The Flood Room (Los Angeles, California) Rondor Studio (Los Angeles, California) The Village (Los Angeles, California) SuperSpy Studios (Los Angeles, California) Safe House Studios (Dayton, Ohio) Definitive Sound Studios (Toronto, Canada) Studio La Chambre (Montreal, Canada) Skyline Studios (Los Angeles, California) Imagine This Studio (Toronto, Canada) Rocket Carousel Studio (Los Angeles, California) Cookie Jar Studios (Los Angeles, California) HP Studios (Malibu, California) Genre Electronic rockpop rockelectropopdance-pop Length 42:20 Label Hollywood Producer Ted BrunerTrey VittetoeJohn FieldsSuperSpyAntonina ArmatoTim JamesDevrim KaraogluRob WellsShelly PeikenGreg WellsToby GadMatthew Wilder Development Gomez became heavily involved with the Disney Channel in 2007, starring in her own sitcom and making various appearances on soundtracks.[1] Gomez also contributed multiple songs to the soundtrack for her film Another Cinderella Story (2008), one of which was released as a promotional single.[2] In July 2008, Gomez announced that she had signed a recording contract with Hollywood Records, who most notably had signed other Disney acts such as Miley Cyrus and Demi Lovato.[3][4] She revealed to MTV News that she hoped to start a band as opposed to having a solo career.[5] Gomez held auditions to find members for the band in Burbank, California.[6] Greg Garman was selected as the band`s drummer,[7] Joey Clement played bass guitar,[8] and Dane Forrest and Nick Foxer played the keyboard, with Foxer also providing background vocals. Foxer departed the band the following year for unknown reasons.[9] Ethan Robers both played guitar and provided background vocals.[10] Gomez worked on the project for over a year, with over one-hundred songs being considered for the album.[11] Gomez later stated she went through so many tracks to ensure that both she and her fans could `relate` to the material.[12] Gomez announced the band`s name to be Selena Gomez & the Scene in August 2009, claiming `I named my band the Scene because a lot of people are making fun of me calling me a `wannabe scene,` so I thought I would poke fun [at] that. If you can`t beat `em join `em!`[13] While recording the album, Gomez began to learn how to play the guitar and drums, and later began to learn how to play the piano and take vocal lessons.[13] She stated she hoped to `make people dance` with the music on the album.[14] Gomez wrote a song titled `I`m Sorry` for the album, reportedly inspired by her relationship with Nick Jonas.[15] Gomez claimed it would be the first song recorded for the album, and would be the only ballad featured; it was included on the album and renamed as `I Won`t Apologize`.[15] She also recorded a song titled `Beautifully Disturbed`, which she revealed in May 2009.[16] On the song, Gomez said `It’s definitely a song that’s close to me because it’s a nickname I was given and it’s very sweet. It means that sometimes I can be negative like every person can be, but you`ve got to find the beauty in that.`[17] The song was not included on the album`s final track listing.[16] Gomez worked extensively with Ted Bruner and Trey Vittetoe on the album, who she claimed produced `the core` of the record.[18] Gomez worked with The Go-Go`s member Gina Schock on numerous songs, four of which were included on the album.[19] She worked with Rock Mafia on the song `Naturally`, the first of many collaborations between the three.[20] `Falling Down` featured writing and production credits from Ted Bruner, Gina Schock and Trey Vittetoe.[21] `I Won`t Apologize` was written by Gomez, and is her only writing credit on the album.[22] During a live performance, Gomez said `I wrote this song because I feel like a lot of people tend to change themselves for – let’s be honest – a boy; and that’s what I did; and I never make that mistake again now. I’m sorry, I’m not what you wanted me to be, but I’m not gonna apologize for who I am.`[23] She later cited the song as her favorite on the album.[24] `Tell Me Something I Don`t Know` was originally released as a promotional single by Gomez in 2008, with Rock Mafia remixing the song for its appearance on Kiss & Tell.[25] Gomez cited herself as a `huge` fan of Canadian singer Fefe Dobson, and later included a cover of her song `As a Blonde` on the record.[26] Gomez cited `Crush` as one of her favorite songs on the album.[27] `Falling Down` and `Stop & Erase` were the first two songs to be added to the album.[28] Music and lyrics `The fact that I can say I have a record is a dream come true to me but not possible if it weren`t for you guys [...] The whole process is so much fun and very therapeutic; most of my friends are amazing musically so to step into that for a while has been an incredible experience for me.` — Gomez, on recording the album[13] The music found on Kiss & Tell is composed mainly of pop rock and electronic rock music.[29][30] Gomez described the album as being `fun pop-rock` with `a dance beat to it.`[31] The album incorporates a wide variety of musical genres into its composition such as pop punk, Latin-influenced dance, mid-tempo bubblegum pop, new wave, and techno.[32] The album`s lyrical themes focus on the topics of love, fame, heartbreak, and freedom, among other.[33] Gomez said the album was `what [she`s] gone through with heartache, friendships, and things like that. I want my fans to know me a little bit better after they hear this record.`[34] Gomez felt the album was a `good start` to figuring out `where [she] wanted to be musically.`[13] Artists such as Paramore and Forever the Sickest Kids were cited as influences on the album.[35] `Kiss & Tell` is the album`s opening number, which sees Gomez experimenting with the use of drum and bass and jungle music.[36] The song is backed by `punkish` guitars, hand claps, and shouts of `Hey!`[36] It was described as featuring `attitude` and `borrows equally from punk attitude and pop melody.`[36] `I Won`t Apologize` lyrically sees Gomez refusing to apologize for the person that she is, and has been described as featuring an `emo pop` composition.[32] `Falling Down` is an upbeat pop rock and dance-pop track which contains a strong use of drums and electric guitars mixed with predominant `bloopy synths`.[36] Gomez claimed the song was `about Hollywood and what people think about it and essentially how plastic it is sometimes.`[37] `I Promise You` is a mid-tempo soft rock-inspired song which focuses mainly on the use of a guitar and drums. Lyrically the song sees Gomez promising a lover they will stay together.[36] `Crush` is a pop punk song that is also described as having an emo pop tone, and lyrically sees Gomez getting over a former lover.[32] `Naturally` is an electropop song that features a `juicy and instantly memorable vocal hook.`[38] On the song, Gomez sings about how easily feelings for a lover come to her.[39] `The Way I Loved You` is cited as the sole ballad on the album, with Gomez claiming she will never love someone as much as her previous lover.[36] `More` is an electronic rock song that features elements of pop music.[32] `As a Blonde` sees Gomez expressing interest in trying different things and changing up her personality.[40] `I Don`t Miss You At All` has been compared to releases from Australian duo The Veronicas, with prominent elements of dance music.[41] `Stop & Erase` is a dominant rock track that sees Gomez confronting a `mean girl` or bully.[32] `I Got U` is a pop rock song with new wave elements that, according to Bill Lamb of About.com, is a `mix of sweetness and intensity that seems distinctively Selena Gomez.`[36] The remixed version of `Tell Me Something I Don`t Know` is a more pop-oriented version than the original, and has been likened to early releases from Britney Spears.[36] Release and artwork The album was initially slated to be released in July 2009, though was pushed back for unknown reasons.[42] Gomez confirmed the album`s title to be Kiss & Tell on Twitter in August 2009.[13] Radio Disney aired one song per day leading up to the album`s release, with the songs `Kiss & Tell`, `Naturally`, `Crush`, `I Promise You`, and `More` making their premiere on the station.[43] The full album premiered on the station on September 26, with a re-broadcast the following day.[43] Kiss & Tell was released physically and to digital retailers on September 29, 2009 in North America.[44] Gomez filmed a mini-series during the recording of the album which chronicled the recording of the album, band auditions, and the photo shoot for the album`s artwork; the eight episodes were posted via Gomez`s official YouTube channel.[45] The Target exclusive version of the album also featured a special video chronicling the creation of the album.[46][47] The album was not released in countries such as Japan and the United Kingdom until 2010, following the success of the album`s second single `Naturally`.[48] The main cover for the album is a close-up of Gomez with a pink heart made of rhinestones covering her lips.[49] Gomez stated the idea for the cover was her idea, and she wanted the album to have a colorful cover. The album`s packaging in European territories saw a different cover, with this one seeing Gomez pose with a red polka-dot wall behind her.[50] The Japanese edition also features a different cover, a close-up of Gomez`s face with a dark background.[51] All three of the album covers feature the same logo, with a heart in the center of `Selena Gomez & the Scene`. The back cover on the album sees Gomez with her band in the background, and features minimal coloring in contrast to the front cover; the text listing the songs on the album is written in pink.[52] The album`s booklet features various colors and themes, and focuses namely on Gomez as opposed to the full band.[53] The shots in the booklet are fashion-oriented, with Gomez sporting various dresses and outfits in the images.[54] Promotion The album received much promotion through Disney Channel and Radio Disney, the former of which aired the band`s music videos.[55] The group had their first televised performance on Dancing with the Stars on September 29, 2009, where they performed `Falling Down`.[56] Derek Hough and Karina Smirnoff performed a choreographed dance while the band played the song.[56] Gomez and her band performed `Naturally` on The Ellen DeGeneres Show on December 11, 2009.[57][58] The band were selected to be MTV Push artists, and performed `Falling Down`, `Naturally`, `Kiss & Tell`, `Tell Me Something I Don`t Know`, and `The Way I Loved You` in an online concert.[59] Multiple songs from the album were performed at the 2009 Teletón in Mexico.[60] Gomez performed both `Naturally` and `More` on Dick Clark`s New Year`s Rockin` Eve with Ryan Seacrest on January 1, 2010.[61] She also appeared on stage with Justin Bieber while he performed his song `One Less Lonely Girl` (2009).[62] Gomez and The Scene later performed at PopCon with Bieber in February 2010.[63] `Naturally` and `More` were again performed on Good Morning America on February 11, 2010. During the week of the album`s release in the United Kingdom, the band went on a promotional tour in the country.[64] The group performed `Naturally` on GMTV on April 5, 2010, and again on Studio Five the following day. The band embarked on their Selena Gomez & the Scene: Live in Concert tour in 2009.[25][65] The tour saw all of the album`s tracks being performed, excluding `As a Blonde` and `I Got U`.[27] Consisting mainly of festivals and fairs, the tour had nineteen shows over the span of November 2009 to October 2010.[66] There were an additional four shows to the concert that were cancelled due to illness.[67][68] Later dates in the concert saw the band performing songs from their then-unreleased sophomore album. The tour was a financial success.[69] Kiss & Tell – Standard edition No. Title Writer(s) Producer(s) Length 1. `Kiss & Tell` Ted BrunerTrey VittetoeGina Schock BrunerVittetoe 3:17 2. `I Won`t Apologize` Selena GomezJohn FieldsWilliam James McAuley III Fields 3:06 3. `Falling Down` BrunerVittetoeSchock BrunerVittetoe 3:05 4. `I Promise You` Isaac HassonLindy RobbinsMher Filian SuperSpy 3:20 5. `Crush` BrunerVittetoeSchock BrunerVittetoe 3:19 6. `Naturally` Antonina ArmatoTim JamesDevrim Karaoglu ArmatoJamesKaraoglu[b] 3:22 7. `The Way I Loved You` Shelly PeikenRob Wells R. Wells[a]Peiken[c] 3:33 8. `More` HassonRobbinsFilian SuperSpy 3:30 9. `As a Blonde` PeikenGreg WellsFefe Dobson G. Wells 2:47 10. `I Don`t Miss You at All` RobbinsToby Gad Gad 3:40 11. `Stop & Erase` BrunerVittetoeSchock BrunerVittetoe 2:52 12. `I Got U` Matthew WilderTamara Dunn Wilder 3:34 13. `Tell Me Something I Don`t Know` Ralph ChurchwellMichael NielsenArmato ArmatoJamesKaraoglu[b] 2:55 Total length: 42:20

Original, made in Holland Knjizica od 4 str. Odlicno ocuvano knjizica 5- Cd 5 Studio album by Enigma Released 3 December 1990 Recorded 1990 Studio A.R.T. (Ibiza, Spain) Genre New-ageworldbeatpop Length 40:16 Label VirginCharisma Producer Michael Cretu Enigma chronology MCMXC a.D. (1990) The Cross of Changes (1993) MCMXC a.D. is the debut studio album by the German musical project Enigma, led by Romanian-German musician Michael Cretu. It was released in Europe by Virgin Records on 3 December 1990, and in the United States by Charisma Records on 12 February 1991. Cretu became fascinated with mixing archaic sounds with modern music after producing German pop singer Sandra`s song `Everlasting Love`, for which he experimented with Gregorian chant. Following Michael Cretu and Sandra`s marriage in 1988, Michael developed the idea of the musical project Enigma and recorded the album over the course of eight months in 1990 at A.R.T. Studios. MCMXC a.D. combines new-age music with dance rhythms, as well as combining themes of religion and Gregorian chant with sexuality, for which the album received generally positive reviews from music critics. The Gregorian chant was taken from recordings by Capella Antiqua München, which resulted in the Munich-based choir`s label, Polydor Germany suing Cretu and Virgin Records for infringing on its `right of personality`.[1] The case was dropped after Cretu agreed to pay compensation. Commercially, MCMXC a.D. became a worldwide success, reaching the top 10 on record charts in 10 countries, including charting at number six in the United States, staying on the country`s Billboard 200 chart for 282 weeks. It was certified quadruple platinum in the US by the Recording Industry Association of America (RIAA). Four singles from the album were released: `Sadeness (Part I)`, `Mea Culpa (Part II)`, `Principles of Lust`, and `The Rivers of Belief`. The lead single topped charts worldwide. Background and release In 1987, Michael Cretu worked with Sandra on her song `Everlasting Love`. Cretu experimented with Gregorian chant while working on the song with Sandra, and the chants appeared at the beginning of her song.[2] He would become fascinated with incorporating archaic sounds into contemporary songs.[2] Michael Cretu married Sandra in 1988 and came up with the idea of a new-age musical project, which would become known as `Enigma`.[2][3] MCMXC a.D. was recorded in 1990 in eight months at A.R.T. Studios, Cretu`s studio located on the Spanish island of Ibiza.[4] Cretu conceived the album as one continuous song;[5] his philosophy when creating it was, `Contrary to the usual record-company philosophy, people are open-minded and starved for something unique.`[6] Cretu produced MCMXC a.D., with creative input from Frank Peterson and Fabrice Cuitad.[2][7] The first song recorded for the album was `Sadeness (Part I)`. After making the song, Michael told Sandra Cretu, `This will be a huge hit or nothing at all.`[8] `Sadeness (Part I)` was released as a single on 1 October 1990.[9] Michael Cretu wanted to be anonymous and wished for the single not to be promoted. He believed that it was not important for consumers to know who the producer is and wanted them to buy the single for the music itself. Due to this, he was credited as Curly M.C.,[a][11] while Peterson was credited as F. Gregorian,[b] and Cuitad was credited as David Fairstein.[7][13] Virgin Records promoted the song with radio and club-play only.[9] Despite having virtually no promotion, `Sadeness (Part I)` became an international hit and reached number one in Germany faster than any previous new release, and prior to the completion of its music video.[8][6][9] MCMXC a.D. was released in Europe by Virgin Records on 3 December 1990, and in the United States by Charisma Records on 12 February 1991.[5] Cretu still wanted to remain anonymous, believing that the consumers would buy the album for the music itself.[8] The three producers were credited on MCMXC a.D. under the same monikers as on `Sadeness (Part I)`: Cretu as Curly M.C., Peterson as F. Gregorian, and Cuitad as David Fairstein.[14] Composition and lyrics Overview MCMXC a.D. is 40 minutes and 16 seconds long and is divided into seven tracks, two of which contain three separate songs each. The track `Principles of Lust` contains `Sadeness`, `Find Love`, and `Sadeness (Reprise)`; and `Back to the Rivers of Belief` contains `Way to Eternity`, `Hallelujah`, and `The Rivers of Belief`.[14] The album encompasses a range of genres, including new-age, worldbeat, and pop music;[5][15][16][17] and it utilizes hip-hop and dance rhythms.[5][17][18] The album is well known for its mixing of Gregorian chant and other religious overtones with sexuality;[19] the lead single, `Sadeness (Part I)`, being the prime example.[8][12][20] It is a common misconception that, because `Sadeness (Part I)` employs Gregorian chants, the entire album contains such chants. In debunking this notion, Cretu stated that ``Sadeness` is only one piece of the puzzle.`[6] Larry Flick from Billboard further clarified, saying that `Mea Culpa` maintains the atmosphere of `Sadeness`, but `without the aid of Gregorian chants.`[6] According to the Journal of Religion and Health, MCMXC a.D. follows the narrative of facing one`s demons and making peace with them.[18] Songs `The Voice of Enigma` was written solely by Cretu,[14] and starts with a foghorn sound that is known as the `Enigma horn`.[21] After the foghorn, Louisa Stanley (an executive at Virgin Records at the time) starts talking[21] and invites the listener to relax and take a deep breath,[17] while an environmental soundscape plays in the background.[16] `The Principles of Lust` track employs a drumbeat throughout similar to the R&B 1989 song `Keep On Movin`` by Soul II Soul, flute synth lines, and Cretu`s whispers and `orgasmic breathing` that mark the song breaks.[5][12][22] The first part, `Sadeness`,[14] includes a Gregorian chant taken from the track `Procedamus in pace!` from the 1976 album Paschale Mysterium by Capella Antiqua München.[23][15] It also includes contributions from Fabrice Cuitad and Peterson.[13] The song`s French lyrics are a quizzical look at, and defense of, the 18th-century writer Marquis de Sade, who was notorious for writing literature delving into themes of sexual violence and domination.[11][12] `Callas Went Away` was written solely by Michael Cretu,[14] and samples Maria Callas`s singing.[17] `Mea Culpa` was written by Cretu and Fabrice Cuitad[14] and is a follow-up to `Sadeness`.[12] Like `Sadeness`, `Mea Culpa` samples Gregorian chant from the Capella Antiqua München[1] and thus evokes the same atmosphere.[6] The song`s theme `centers around guilt`, according to the official Enigma website.[24] `The Voice & the Snake`, written by Cretu and Peterson,[14] is based on the Book of Revelation.[25] `Knocking on Forbidden Doors` was written solely by Cretu.[14] The `Back to the Rivers of Belief` track`s three songs were mainly written by Cretu, with the song `The Rivers of Belief`—which centers around the Indian river Ganges and differs from the other songs in being more soulful—including contributions from Fabrice Cuitad.[14][24][26] 1990 original version[14] No. Title Writer(s) Length 1. `The Voice of Enigma` Curly M.C. 2:21 2. `Principles of Lust` a. `Sadeness` b. `Find Love` c. `Sadeness (Reprise)` Curly M.C., David Fairstein (`Sadeness`, `Sadeness (Reprise)`), F. Gregorian (`Sadeness`, `Sadeness (Reprise)`) 11:43 3. `Callas Went Away` Curly M.C. 4:27 4. `Mea Culpa` Curly M.C., Fairstein 5:03 5. `The Voice & the Snake` Curly M.C., F. Gregorian 1:39 6. `Knocking on Forbidden Doors` Curly M.C. 4:31 7. `Back to the Rivers of Belief` a. `Way to Eternity` b. `Hallelujah` c. `The Rivers of Belief` Curly M.C., Fairstein (`The Rivers of Belief`) 10:32 Total length: 40:16 Personnel Credits adapted from the liner notes of MCMXC a.D.[14] Michael Cretu (credited as `Curly M.C.`) (all tracks)[e] Frank Peterson (credited as `F. Gregorian`) (tracks 2a, 2c, and 5)[e] Fabrice Cuitad (credited as `David Fairstein`) (tracks 2a, 2c, 4, and 7c)[f] Sandra Cretu (uncredited) (tracks 1, 2a, 2c, and 4)[12][19]

Original, made in Holland Knjizica od 26 str. Odlicno ocuvano knjizica 5 Cd 5 The Great Escape is the fourth studio album by the English rock band Blur. It was released on 11 September 1995 on Food and Virgin Records. The album reached number one on the UK Albums Chart and charted in the top 10 in more than ten countries around the world. Less than a year after the album was released, it was certified triple platinum in the UK.[5] The album received near-universal acclaim on release. The album continued the band`s run of hit singles, with `Country House`, `The Universal`, `Stereotypes` and `Charmless Man` all reaching the top 10 of the UK Singles Chart. `Country House` was Blur`s first number one hit in the UK, beating Oasis` `Roll with It`, in a chart rivalry dubbed `The Battle of Britpop`.[6] The Great Escape is often considered to be the final album of a trio of Britpop albums released by Blur in the mid-1990s,[7] after Modern Life Is Rubbish (1993) and Parklife (1994). With Blur`s 1997 self-titled album, the band would change direction and move away from Britpop in favour of a more lo-fi and alternative rock sound. Studio album by Blur Released 11 September 1995 Recorded January–May 1995 Studio Maison Rouge and Townhouse, London Genre Britpop Length 56:56 Label FoodVirgin Producer Stephen Street Background and recording Concept On 17 June 1995, lead singer Damon Albarn and bassist Alex James spoke on BBC Radio 1 about coming up with a title for the album;[8] `We`ve got until this Wednesday, our record company inform us, to come up with it`, said Albarn. `We`ve been trying to get life into it, but nothing was very good – Wifelife, Darklife, Nextlife`, added James. The album is in the style of a concept album, that is, most of the songs are linked by a similar theme—loneliness and detachment. Albarn subsequently revealed that much of The Great Escape is about himself (e.g. `Dan Abnormal` is an anagram of `Damon Albarn`). Songs `Mr. Robinson`s Quango` was the first song recorded for the album,[9] whilst `It Could Be You` was the last, in May 1995.[10] The title of the latter was taken from the original advertising slogan of the United Kingdom`s multimillion-pound-prize National Lottery, which had drawn much public interest after its inception the previous year.[11] `Yuko and Hiro` was originally titled `Japanese Workers`,[12] whilst `The Universal` was first attempted during the Parklife sessions as a ska number. During the making of The Great Escape the song was resurrected by James, who notes in his autobiography, Bit of a Blur, that the band had almost given up on getting it to work when Albarn came up with the string section.[12] One song on the album, `Ernold Same`, features then-MP Ken Livingstone. He is credited in the sleevenotes as `The Right-On` Ken Livingstone.[9] Producer Stephen Street commented, `It was my idea to get him in because I’m not a huge fan of his. We needed somebody with a really nasal, boring voice doing the commentary and I suggested him. He came in thinking he was the bee’s knees and we were fans – we weren’t at all! (Laughs) I couldn’t stand him and my preconceptions were confirmed when he insulted the pastel jumper I was wearing that day! But his voice suited the song.`[13] As with Blur`s previous two albums, the liner notes also contain guitar chords for each of the songs along with the lyrics. Singles The album spawned four hit singles for the band with `Country House`, `The Universal`, `Stereotypes` and `Charmless Man`. `Stereotypes` made its debut at a secret gig at the Dublin Castle in London and was considered as the album`s lead single, but `Country House` got a bigger reaction from fans.[9] `Country House` gave the band their first number one single, beating Oasis to the top spot. `The Universal` and `Charmless Man` both reached the top 5, whilst `Stereotypes` peaked at number 7. In Japan, `It Could Be You` was released as a four-track single, featuring B-sides recorded live at the Budokan. Reception and legacy Professional ratings Review scores Source Rating AllMusic [14] The Guardian [15] Los Angeles Times [16] Melody Maker 12/10[17] NME 9/10[18] Pitchfork 8.2/10[19] Q [20] The Rolling Stone Album Guide [21] Select 5/5[22] Spin 6/10[23] The Great Escape was met with widespread acclaim from critics.[24][25][26] David Cavanagh in Select called it `a funny, brave and heartbroken record` that `has everything you could want`,[22] while NME reporter Johnny Cigarettes wrote: `The Great Escape is so rammed with tunes, ideas, emotions, humour, tragedy, farce, and edgy beauty that it`s utterly beyond contemporary compare.`[18] Melody Maker`s Paul Lester awarded the album an unconventional 12/10 and deemed it superior to celebrated predecessor Parklife, while noting that `Blur understand the geometry of the song, and the basic principles of pop, better than anyone today`.[17] In response to `album of the decade` claims from Melody Maker, J. D. Considine of The Baltimore Sun said: `The Great Escape may not be the defining work of the ‘90s, but it is the best Brit-rock release this year.`[27] Less enthused was Spin journalist Chuck Eddy, who felt the LP ranged from `wonderful` to `detached and emotionally stiff`.[23] The Great Escape was named as one of the 10 best records of 1995 in Melody Maker,[28] NME,[29] Q,[30] Raw[31] and Select.[32] NME readers voted it the third-best album of the year.[33] Support from the music press soon tapered off, however, and The Great Escape gained many detractors. The greater commercial success of rival band Oasis is known to have played a role in this revaluation;[24][25] BBC Music writer James McMahon recalled how the `critical euphoria` surrounding the album lasted `about as long as it took publishers to realise Oasis would probably shift more magazines for them`.[24] Q would issue an apologia for its five-star review of the record,[34] while Graeme McMillan in Time remarked that it lacks the `breadth and heart` of Parklife, feeling `cynical and uninspired in comparison`.[35] Drowned in Sound reporter Marc Burrows felt the LP had been overrated and then underrated, writing: `Reality is somewhere in between... The Great Escape reveals itself as flawed, melancholy, occasionally stunning and utterly bonkers.`[25] Other journalists retained an unapologetically favourable stance: the album was described by AllMusic editor Stephen Thomas Erlewine as `a vibrant, invigorating record` that `bristles with invention`,[14] while Brian Doan of PopMatters dubbed it a `masterpiece` whose content examines the costs of `trusting in stasis`.[7] Damon Albarn has expressed distaste for the album in later interviews, describing it as `messy` and one of the two `bad records` he has made in his career (the other being Blur`s debut album Leisure).[36] Select named the record the 34th-best of the 1990s,[37] while Pitchfork placed it 70th.[38] It was ranked by BuzzFeed as the sixth-best album of the Britpop era.[39] The Great Escape also placed at number 725 in the 2000 edition of the book, All Time Top 1000 Albums.[40] Commercial performance The Great Escape continued the commercial success of previous album Parklife. While the latter was more of a sleeper hit,[41] The Great Escape registered strong first-week sales of 188,000.[42] In its first year, the album sold 68,000 copies in the US.[43] By late 1996 the album had sold approximately 600,000 units in continental Europe.[44] According to Food managing director Andy Ross, it `comfortably outsold Parklife everywhere except the UK. The total figure was up 400,000 and the balance came mainly from Europe and Southeast Asia.` Sales in France up to late November 1996 were 125,000 units, compared with 69,000 for Parklife. In Italy, sales were 83,000 compared with 16,000 for Parklife.[44] Track listing All lyrics by Damon Albarn. All music by Damon Albarn/Graham Coxon/Alex James/Dave Rowntree. No. Title Length 1. `Stereotypes` 3:10 2. `Country House` 3:57 3. `Best Days` 4:49 4. `Charmless Man` 3:34 5. `Fade Away` 4:19 6. `Top Man` 4:00 7. `The Universal` 3:58 8. `Mr. Robinson`s Quango` 4:02 9. `He Thought of Cars` 4:15 10. `It Could Be You` 3:14 11. `Ernold Same` (featuring Ken Livingstone) 2:07 12. `Globe Alone` 2:23 13. `Dan Abnormal` 3:24 14. `Entertain Me` 4:19 15. `Yuko and Hiro` 5:24 Personnel Blur Damon Albarn – vocals, piano, keyboards, organ, synthesizer, handclaps Graham Coxon – electric and acoustic guitar, banjo, saxophone, backing vocals, handclaps Alex James – bass guitar, handclaps, backing vocals on `Top Man`[45] Dave Rowntree – drums, percussion, handclaps, backing vocals on `Top Man` Additional musicians Simon Clarke – saxophone Tim Sanders – saxophone J. Neil Sidwell – trombone Roddy Lorimer – trumpet Louise Fuller – violin Jennifer Berman - violin Richard Koster – violin John Metcalfe – viola Ivan McCermoy – cello Ken Livingstone – narration on `Ernold Same` Theresa Davis – backing vocals on `The Universal` Angela Murrell – backing vocals on `The Universal` Cathy Gillat – backing vocals on `Yuko and Hiro` Stephen Street - handclaps Technical personnel Jason Cox – studio manager John Smith – engineering Julie Gardner – assistant engineering Tom Girling – assistant engineering Nels Israelson – photography Tom King

Original, made in Germany Knjizica od 12 str. Odlicno ocuvano knjizica 5 Cd 5-/4+ Studio album by U2 Released 9 March 1987 Recorded January 1986 – January 1987 Studio STSDanesmoate HouseMelbeachWindmill Lane[nb 1] Genre Rock Length 50:11 Label Island Producer Daniel LanoisBrian Eno U2 chronology Wide Awake in America (1985) The Joshua Tree (1987) Rattle and Hum (1988) The Joshua Tree is the fifth studio album by Irish rock band U2. It was produced by Daniel Lanois and Brian Eno, and was released on 9 March 1987 on Island Records. In contrast to the ambient experimentation of their 1984 release, The Unforgettable Fire, the band aimed for a harder-hitting sound within the limitation of conventional song structures on The Joshua Tree. The album is influenced by American and Irish roots music, and through sociopolitically conscious lyrics embellished with spiritual imagery, it contrasts the group`s antipathy for the `real America` with their fascination with the `mythical America`. Inspired by American experiences, literature, and politics, U2 chose America as a theme for the album. Recording began in January 1986 in Ireland, and to foster a relaxed, creative atmosphere, the group primarily recorded in two houses. Several events during the sessions helped shape the conscious tone of the album, including the band`s participation in the Conspiracy of Hope benefit concerts for Amnesty International, the death of roadie Greg Carroll, and lead vocalist Bono`s travels to Central America. Recording was completed in November 1986; additional production continued into January 1987. Throughout the sessions, U2 sought a `cinematic` quality for the record, one that would evoke a sense of location, in particular, the open spaces of the United States. They represented this in the sleeve photography depicting them in American desert landscapes. The Joshua Tree received critical acclaim, topped the charts in over 20 countries, and became the fastest-selling album in British history. According to Rolling Stone, the album increased the band`s stature `from heroes to superstars`. It produced the hit singles `With or Without You`, `I Still Haven`t Found What I`m Looking For`, and `Where the Streets Have No Name`, the first two of which became the group`s only number-one singles in the US. The album won Grammy Awards for Album of the Year and Best Rock Performance by a Duo or Group with Vocal in 1988. The group supported the record with the Joshua Tree Tour throughout 1987, during which they began to perform in stadiums for the first time in their career. Frequently listed among the greatest albums of all time, The Joshua Tree is one of the world`s best-selling albums, with over 25 million copies sold. U2 commemorated the record`s 20th anniversary with a remastered re-release, and its 30th anniversary with concert tours and a reissue. In 2014, The Joshua Tree was inducted in the Grammy Hall of Fame, and was selected for preservation in the US National Recording Registry for being deemed `culturally, historically, or aesthetically significant` by the Library of Congress. Background Prior to The Joshua Tree, U2 had released four studio albums and were an internationally successful band, particularly as a live act having toured every year in the 1980s.[1] The group`s stature and the public`s anticipation for a new album grew following their 1984 record The Unforgettable Fire, their subsequent tour, and their participation in Live Aid in 1985. U2 began writing new material in mid-1985 following the Unforgettable Fire Tour.[1][2] U2`s manager Paul McGuinness recounted that The Joshua Tree originated from the band`s `great romance` with the United States, as the group had toured the country for up to five months per year in the first half of the 1980s.[1] Leading up to the album sessions, lead vocalist Bono read the works of American writers such as Norman Mailer, Flannery O`Connor, and Raymond Carver so as to understand, in the words of Hot Press editor Niall Stokes, `those on the fringes of the promised land, cut off from the American dream`.[3] Following a September–October 1985 humanitarian visit to Egypt and Ethiopia with his wife Ali,[4] Bono said: `Spending time in Africa and seeing people in the pits of poverty, I still saw a very strong spirit in the people, a richness of spirit I didn`t see when I came home... I saw the spoiled child of the Western world. I started thinking, `They may have a physical desert, but we`ve got other kinds of deserts.` And that`s what attracted me to the desert as a symbol of some sort.`[5] After recording vocals for Steven Van Zandt`s anti-apartheid project Sun City in August 1985, Bono made an additional contribution to the album in October that was inspired by his burgeoning interest in roots music.[4] While in New York, he spent time with musicians Keith Richards and Mick Jagger, who played him blues and country music. Bono was embarrassed by his lack of familiarity with the genres, as most of U2`s musical knowledge began with punk rock in their youth in the mid-1970s. He realised that U2 `had no tradition` and felt as if they `were from outer space`.[6] This inspired him to write the blues-influenced song `Silver and Gold`, which he recorded with Richards and Ronnie Wood and convinced Van Zandt to add to Sun City.[4] Until that time, U2 had been apathetic towards roots music, but after spending time with the Waterboys and fellow Irish band Hothouse Flowers, they felt a sense of indigenous Irish music blending with American folk music.[2] Nascent friendships with Bob Dylan, Van Morrison, and Richards encouraged Bono to look back to rock`s roots and to focus on building his skills as a songwriter and lyricist.[7][8] He explained: `I used to think that writing words was old-fashioned, so I sketched. I wrote words on the microphone. For The Joshua Tree, I felt the time had come to write words that meant something, out of my experience.`[9] Dylan told Bono about his own debt to Irish music,[10] while Bono further demonstrated his interest in music traditions in his duet with Irish Celtic and folk group Clannad on the track `In a Lifetime`.[10] `We had experimented a lot in the making of [The Unforgettable Fire]. We had done quite revolutionary things... So we felt, going into The Joshua Tree, that maybe options were not a good thing, that limitations might be positive. And so we decided to work within the limitations of the song as a starting point. We thought: let`s actually write songs. We wanted the record to be less vague, open-ended, atmospheric and impressionistic. To make it more straightforward, focused and concise.` —The Edge, on the band`s approach to The Joshua Tree[11] U2 wanted to build on the textures of The Unforgettable Fire, but in contrast to that record`s often out-of-focus experimentation, they sought a harder-hitting sound within the limitations of conventional song structures.[12] The group referred to this approach as working within the `primary colours` of rock music—guitar, bass, and drums.[13] Guitarist the Edge was more interested in the European atmospherics of The Unforgettable Fire and was initially reluctant to follow Bono`s lead to seek a more American sound.[14] The Edge was eventually convinced otherwise after discovering blues and country artists such as Howlin` Wolf, Robert Johnson, Hank Williams, and Lefty Frizzell on American public radio stations during the Unforgettable Fire Tour.[2] Despite lacking a consensus on their musical direction, the group members agreed that they felt disconnected from the dominant synthpop and new wave music of the time, and they wanted to continue making music that contrasted with these genres.[1] In November 1985,[15] U2 moved into drummer Larry Mullen Jr.`s newly purchased home to work on material written during the Unforgettable Fire Tour. This included demos that would evolve into `With or Without You`, `Red Hill Mining Town`, and `Trip Through Your Wires`, as well as a song called `Womanfish`. The Edge recalled it as a difficult period with a sense of `going nowhere`, although Bono was set on America as a theme for the album. Supplementary recording sessions at STS Studios in Dublin with producer Paul Barrett saw the development of `With or Without You` and the genesis of `Bullet the Blue Sky`.[ Track listing All lyrics are written by Bono; all music is composed by U2 Side one No. Title Length 1. `Where the Streets Have No Name` 5:38 2. `I Still Haven`t Found What I`m Looking For` 4:38 3. `With or Without You` 4:56 4. `Bullet the Blue Sky` 4:32 5. `Running to Stand Still` 4:18 Side two No. Title Length 1. `Red Hill Mining Town` 4:52 2. `In God`s Country` 2:57 3. `Trip Through Your Wires` 3:33 4. `One Tree Hill` 5:23 5. `Exit` 4:13 6. `Mothers of the Disappeared` 5:12 Total length: 50:11 Personnel U2[51][nb 2] Bono – lead vocals, harmonica, guitars The Edge – guitars, backing vocals, piano Adam Clayton – bass guitar Larry Mullen Jr. – drums, percussion Additional performers[51] Brian Eno – keyboards, DX7 programming, backing vocals Daniel Lanois – tambourine, Omnichord, additional rhythm guitar (`I Still Haven`t Found What I`m Looking For`, `Running to Stand Still`), backing vocals The Armin Family – strings (`One Tree Hill`) The Arklow Silver Band – brass (`Red Hill Mining Town`) Paul Barrett – brass arrangement and conducting Technical[51] Daniel Lanois – production Brian Eno – production Flood – recording Dave Meegan – additional engineering Pat McCarthy – additional engineering Steve Lillywhite – mixing (`Where the Streets Have No Name`, `With or Without You`, `Bullet the Blue Sky`, `Red Hill Mining Town`) Mark Wallis – mix engineering Mary Kettle – assistant mix engineering Bob Doidge – string recording Joe O`Herlihy – studio crew Des Broadberry – studio crew Tom Mullally – studio crew Tim Buckley – studio crew Marc Coleman – studio crew Mary Gough – studio crew Marion Smyth – studio crew Kirsty MacColl – album track sequencing