Annotazione

{Text from booklets. Author Wim van Putten.}
* Text captured with software and translated in Word, Powered by Microsoft® Translator
**Performed the capture with specialized software, however source image isn't that great in terms of 'resolution'; program works at best when text is very clear, so there are words that aren't captured correctly and thus poorly translated.
***If any Dutch speaking editor could enhance/correct the translation (and even original text) would be much appreciated (if so, please then erase this addendum)***

Het is 1982, De Argentijnen bezetten de
Falklandeilanden waar mevrouw Thatcher het
niet mee eens is. Helmut Kohl wordt de nieuwe
Duitse bondskanselier. In Suriname worden de
decembermoorden gepleegd. Het computer-
spelletje Pac-Man wordt een rage en de eerste
laserprinter voor de PC komt op de markt. In de
LP-Show van de TROS wordt de opvolger van de
elpee gepresenteerd: de compact disc oftewel
cd. Je kunt het je nu niet voorstellen, maar op
donderdag 9 december 1982 lag er nog geen cd
in de winkel. En bij de hifi-zakert stond er geen
cd-speler in de etalage. De LP-show was een
radioprogramma van de TROS. Hugo van
Gelderen was er ooit mee begonnen. Hij draaide
de "betere" muziek. Klaus Schulze bijvoorbeeld
werd regelmatig gedraaid.

In 1979 werd ik vaste invaller van dal programma en voor ik het wist presenteerde ik het elke week.
Tros Donderdag, 21.00 uur, (toen nog) Hilversum 3! Op de Firato, de beurs voor alles wat met geluid
en beeld te maken had, hoorde ik op de stand van Philips (achter de schermen) voor het eerst de cd.
Ik worstelde al jaren met het tik- en spettervrij houden van mijn elpees. Het klonk zo vervelend op de
radio, die hangers. Ik heb wat mensen zien worstelen met borsteltjes, lapjes en niet te vergeten de
lenco-clean die je plaat besproeide met - als ik het mij goed herinner - een water en alcohol-oplos-
sing. Bij de NOS was in de Fonotheek (waar een schat aan platen te vinden is) een platenwasma-
chine. Ik realiseerde mij op de Firato dat al die handel de vuilnisbak in kon. De cd was er! Wat een
uitvinding! Ik stelde aan Hugo van Gelderen voor als eerste een uur lang die cd te gaan draaien.
Hugo zag het belang, reageerde enthousiast en de speurtocht naar een cd-speler begon. Ja, want
die had de NOS toen nog niet. Er werd een Philips consumentenspeler gevonden, een CD100 (een
bovenlader). De technische dienst van de NOS bouwde daar een kastje aan met een scherm waar-
op je zag welke track er afgespeeld werd en hoe lang het nummer duurde. Dat zat niet standaard op
de speler, die in de winkel fl. 1995,-- zou gaan kosten. Sony kwam met een speler die wel tijd- en
trackinformatie gaf en bovendien een afstandsbediening had. Je was dan wel fl 2395,-- armer. Dat
kun je je nu niet meer voorstellen. In 1983 waren dit bijzonder forse bedragen. Op
9 december 19B2 draaide op TROS-donderdag op Hilversum 3 de hele dag een promo: "Hangers,
tikken, spetters, ruis. Allemaal verschijnselen die zich kunnen voordoen bij de huidige platen.

Maar... vanaf 1 maart komt daar verandering in......" Nederland was gemobiliseerd en zat's avonds
aan de radio gekluisterd. CD's waren er nauwelijks. In de studio lagen "Love over gold" van de Dire
Straits. "Moving pictures" van Rush. "Berlin" van Barclay James Harvest. "Avalon" van Roxy Music
en "Equinoxe" van Jean-Michel Jarre. De LP-Show werd die avond niet uitgezonden uit de Hilversum
3 studio in wat toen het Muziekpaviljoen heette van de NOS (nu: Audiocentrum). maar kwam uit de
AVRO studio. Daar was plek om de apparatuur op te bouwen. Het was spannend. Zou de Cl) 100 er de
brui aangeven of het een uur volhouden? Nou. hij deed het gewoon.
Op 3 maart 1983 werd de naam van de LP-Show veranderd in LP- en CD-Show. In het programma
werd wekelijks aandacht besteed aan de cd. maar de tweede uitzending met alleen maar cd's was
pas op 7 juli 1983. Het programma kreeg pas echt zijn definitieve vorm toen ik tegen Jan van
D itmarsch aanliep. Jan's werk bestond en bestaat nog steeds uit het overal ter wereld vandaan halen
van interessante cd's. Jan kwam wekelijks met impon-cd's aan en daar zaten juweeltjes bij:
Antartica van Vangelis is een beroemde. En Abbey Road van de Beatles uit Japan was ook een knaller.
Als je bij wilde blijven, kon je niet onder de LP- en CD-show heen. Het duurde niet lang en de naam
veranderde in CD-Show. Het programma kreeg er nog een uur bij. De formule was simpel, maar doel-
treffend: Weinig gepraat en van elk nieuwe album 2 of 3 tracks. En alles werd uitgedraaid tot de laatste
noot. De platenmaatschappijen waren er in het begin niet zo blij mee. De taperecorders stonden in
half Nederland te draaien. Maar wat bleek? De hometaper ging toch naar de platenzaak. Want die
3 tracks waren niet genoeg. De rest zou dan ook wel de moeite waard zijn. De CD-Show was jaren-
lang een van de best beluisterde avondprogramma's op Hilversum 3/Radio 3. Op 1 oktober 1992 werd
Radio 3 een ander station. Bij de restyling werd het eerste uur van de CD-Show een album hitparade.
De daling van de luistercijfers begon. Op 19 december 1992 presenteerde ik mijn laatste CD-Show.
Het programma liep nog even door. maar de luistercijfers bleven dalen en uiteindelijk werd het
programma opgeheven.
Het is nu 2002. Jan van Ditmarsch en ik zijn nog steeds hele goeie vrienden. We hebben samen radio-
geschiedenis geschreven. Nog steeds worden Jan en ik geassocieerd met de CD-Show. Blijkbaar
zijn er nog steeds mensen die het programma vaak opnamen en nog steeds naar die tapes luisteren.
Wij vragen ons wel eens af of de CD-Show valt in de categorie "cult". Op deze cd's staan een selectie
van tracks van albums die absoluut de moeite waard zijn. De kracht van muziek en de kracht van
radio is dat je bij muziek beelden kunt zien. Van hoe je toen in je vel zat. Van verliefdheid, verdriet,
je eerste kind of die baan die het einde was.
Veel luisterplezier!
Wim van Putten

Translation

It is 1982, the Argentines occupy the
Falkland Islands which Mrs. Thatcher the
not agree. Helmut Kohl is the new
German Chancellor. In Suriname, the
December murders committed. The computer-
game of Pac-Man is all the rage and the first
laser printer for PC comes on the market. In the
LP-Show of the bunch is the successor to the
LP presented: the compact disc or
CD. You cannot imagine now, but on
Thursday 9 December 1982, there was still no cd
in the store. And at the HiFi-Zakert there was no
CD player in the shop window. The LP-show was a
radio program of the bunch. Hugo of
Vera was ever started. It was running
the "better" music. For example, Klaus Schulze
was regularly turned on.


In 1979 I became a regular substitute at Valley program and before I knew it, I presented it each week.
Tros Thursday, 9 p.m., (then) Hilversum 3! On the Firato, the fair for all with sound
and image was dealing, I heard on the stand of Philips (behind the scenes) for the first time the cd.
I struggled for years with the tap-and splash free keeping my albums. It sounded so annoying on the
radio, which pendants. I have what people see wrestling with brushes, patches and not to mention the
lenco-clean you plate sprayed with-if I remember correctly-a water and alcohol solution
sing. At NOS included in the audio library (where a wealth of plates) a platenwasma-
chine. I realized on the Firato that all those trade the dustbin in could. The cd was there! What an
invention! I suggested to Hugo Velasquez for first hour long run that cd.
Hugo saw the importance, responded enthusiastically and the quest for a cd player started. Yes, because
who had the NOS when yet. There was a Philips CD100 (a consumer player found, a
top loader). The Technical Department of the NIS built there a box with a screen where-
on you saw which track was played there and how long it took number. That was not standard on
the player, who in the shop fl. 1995.0--was going to cost. Sony came up with a player that take time-and
track information and also gave a remote control. You were or fl 2395.0--poorer. That
can you imagine now. In 1983 this very substantial amounts. On
9 December 19B2 turned on TROS-Thursday on Hilversum 3 all day a promo: "pendants,
Click, spatters, noise. All phenomena that can occur in the current plates.

But ... from March 1, comes change...... “Netherlands was mobilized and sat glued to the radio. CDs were scarce. In the studio layers "Love over gold" of the Dire
Straits. "Moving Pictures" by Rush. "Berlin" by Barclay James Harvest. "Avalon" by Roxy Music
and "Equinoxe" of Jean-Michel Jarre. The LP Show was not broadcast that evening from the Hilversum
3 studio in what was then the music Pavilion was called the NOS (now: Audio Center). But came from the
AVRO studio. There was place for the equipment. It was exciting. Would the 100 Cl) there the
chucked indicate whether the one hour persevere? Well. He just did it.
On March 3, 1983 the name of the LP Show changed to LP and CD Show. In the weekly program
was paid attention to the cd. But the second broadcast with just CD's was
only on 7 July 1983. The program really got its final form when I against Jan van
D itmarsch. Jan's work existed and still exists from the around the world comes from
of interesting CDs. Jan came weekly with impon CDs by and there were gems:
Antarctica by Vangelis is a famous. And Abbey Road by the Beatles from Japan was also a stunner.
If you wanted to stay, you could not under the LP and CD show. It didn't take long and the name
changed in CD-Show. The program got there another hour. The formula was simple-
aptly: little talk and of each new album 2 or 3 tracks. And everything was out of it until the last
nut. The record companies were there in the beginning not so happy with it. The tape recorders were in
Netherlands half to run. But what turned out to be? The home taper still went to the record store. Because that
3 tracks were not enough. The rest would be well worth it. The CD-Show was years-
long one of the best listened to evening programs on Radio Hilversum 3/3. On 1 October 1992,
Radio 3 another drive. At the restyling was the first hour of the CD-Show an album hit parade.
The decrease of the listening figures began. On 19 December 1992, I presented my latest CD-Show.
The program ran through. But the listening figures continued to fall and eventually became
program raised.
It is now 2002. Jan Vaughn and I are still very good friends. We have put together radio
history written. Jan and I are still associated with the CD-Show. Apparently
There are still those who the program often recordings and still listen to those tapes.
We sometimes wonder if the CD-Show falls into the category "cult". On these CDs are a selection
tracks from albums that are absolutely worth it. The power of music and the power of
radio is that you can see pictures at music. How you when in your skin. Of romantic love, grief,
your first child or that job was the end.
Enjoy your workouts!
Wim van Putten

Annotazione modificata l'ultima volta il 2016-01-30 22:33 UTC.

Elenco tracce

1CD
#TitoloArtistaValutazioneDurata
1Who Wants to Live Forever
tecnico di registrazione:
Eric Tomlinson (British recording engineer)
programmazione degli strumenti:
Brian May (Queen guitarist)
assistente tecnico:
Croydon (engineer)
tecnico:
David Richards (Swiss-based producer and engineer)
produttore:
Queen (UK rock group) e David Richards (Swiss-based producer and engineer)
chitarra elettrica e sintetizzatore :
Brian May (Queen guitarist)
voce di accompagnamento:
Brian May (Queen guitarist), Freddie Mercury e Roger Taylor (Queen drummer)
voce principale:
Brian May (Queen guitarist) e Freddie Mercury
orchestra:
The National Philharmonic Orchestra (fka the London Promenade Orchestra until 1971, mostly film music and opera)
direttore d'orchestra:
Michael Kamen (American score composer)
orchestratore:
Michael Kamen (American score composer) e Brian May (Queen guitarist)
diritti fonografici (℗) detenuti da:
Queen Productions Ltd. (company and copyright holder, do not use as an imprint or release label) (nel 1986, nel 2011)
registrata presso:
Abbey Road Studios in St John's Wood, Westminster, London (Greater London), England, Regno Unito, Mountain Studios (original Montreux location, 1975–2002) in Montreux, Vaud (Canton Vaud), Svizzera (dal 1985-09 al 1986-04), Musicland Studios (Munich) in München (Munich), Bayern (Baviera), Germania (dal 1985-09 al 1986-04) e The Town House in Shepherd's Bush, Hammersmith and Fulham, London (Greater London), England, Regno Unito (dal 1985-09 al 1986-04)
registrazione di:
Who Wants to Live Forever?
paroliere e compositore:
Brian May (Queen guitarist)
editore:
EMI Music Ltd., EMI Music Publishing Ltd. (PRS‐affiliated), Queen Music Ltd., EMI Music Publishing Limited (PRS‐affiliated) (nel 1986) e Queen Music Limited (nel 1986)
compresa in:
We Will Rock You (Queen musical)
compresa in:
We Will Rock You (German version of the Queen musical)
Queen4.055:15
2Jeanny, Part 1
edit di:
Jeanny di Falco (Austrian pop & rock musician)
registrazione di:
Jeanny (nel 1985)
paroliere:
Ferdi Bolland, Rob Bolland e Johann Hölzel (Austrian pop & rock musician)
compositore:
Ferdi Bolland e Rob Bolland
editore:
Amfinold BV, Bolland Music, Edition Falkenhorst, Ferdi Bolland Songs, Nada Bolland Music e Nada Music (Dutch publisher)
Falco5:11
3Paradise by the Dashboard Light
tecnico, produttore e tecnico di missaggio:
Todd Rundgren
basso :
Kasim Sultan
batteria :
Max Weinberg
chitarra :
Todd Rundgren
sassofono :
Edgar Winter
sintetizzatore :
Roger Powell (US musician, programmer, and columnist, band "Utopia")
tastiera e altra voce [lascivious effects]:
Jim Steinman
tastiera e pianoforte :
Roy Bittan
voce di accompagnamento:
Rory Dodd, Marvin Lee e Todd Rundgren
voce di accompagnamento e voce principale [featured female vocal]:
Ellen Foley
voce parlata [baseball play-by-play]:
Phil Rizzuto
voce principale:
Meat Loaf
esecutore:
Ellen Foley
arrangiatore:
Todd Rundgren e Jim Steinman
diritti fonografici (℗) detenuti da:
CBS, Inc. (US broadcasting company; file no releases here!) (nel 1977) e Sony BMG Music Entertainment (Aug 5, 2004 – Oct 1, 2008) (nel 1977)
registrazione di:
Paradise by the Dashboard Light
paroliere e compositore:
Jim Steinman
Meat Loaf4.28:23
4Purple Rain
tecnico di registrazione:
David Rivkin (producer/engineer David Rivkin) (il 1983-08-03) e David Leonard (US producer and engineer) (il 1983-08-03)
produttore:
Prince (“The Artist Formerly Known as…”) e The Revolution (founded by Prince)
basso elettrico :
Brown Mark (il 1983-08-03)
batteria elettronica [Pearl SY-1 Syncussion] , batteria elettronica [Simmons SDS-V] , drum machine [Linn LM-1] e percussione :
Bobby Z. (il 1983-08-03)
chitarra elettrica :
Wendy Melvoin (il 1983-08-03) e Prince (“The Artist Formerly Known as…”) (il 1983-08-03)
pianoforte elettrico a coda [Yamaha CP-70] :
Dr. Fink (il 1983-08-03)
sintetizzatore :
Lisa Coleman (US pianist/keyboardist & composer) (il 1983-08-03) e Prince (“The Artist Formerly Known as…”) (il 1983-08-03)
viola e violino :
Novi Novog (dal 1983-08-15 al 1983-09-15)
violoncello :
David Coleman (American cellist & composer) (dal 1983-08-15 al 1983-09-15) e Suzie Katayama (dal 1983-08-15 al 1983-09-15)
voce di accompagnamento:
Brown Mark (il 1983-08-03), Lisa Coleman (US pianist/keyboardist & composer) (il 1983-08-03), Dr. Fink (il 1983-08-03) e Wendy Melvoin (il 1983-08-03)
voce principale:
Prince (“The Artist Formerly Known as…”) (il 1983-08-03)
direttore d'orchestra:
Lisa Coleman (US pianist/keyboardist & composer) (archi) e Wendy Melvoin (archi)
esecutore:
Prince (“The Artist Formerly Known as…”) (il 1983-08-03) e The Revolution (founded by Prince) (il 1983-08-03)
arrangiatore archi :
Lisa Coleman (US pianist/keyboardist & composer) e Prince (“The Artist Formerly Known as…”)
arrangiatore:
Prince (“The Artist Formerly Known as…”) e The Revolution (founded by Prince)
diritti fonografici (℗) detenuti da:
Warner Bros. Records Inc. (not for release label use, company behind the “WB Records” imprint) (nel 1984), WEA International Inc. (not for release label use! copyrights holder, distributor for the world outside of the US) (nel 1984) e NPG Records, Inc. (nel 2017)
registrata presso:
First Avenue in Minneapolis, Minnesota, Stati Uniti (il 1983-08-03) e Sunset Sound, Studio 3 in Hollywood, Los Angeles, California, Stati Uniti (dal 1983-08 al 1983-09)
lavorazione tecnica effettuata presso:
Sunset Sound, Studio 3 in Hollywood, Los Angeles, California, Stati Uniti (dal 1983-08 al 1983-09)
parte di:
Rolling Stone: The 100 Greatest Guitar Solos of All Time (2026-05-04) (numero: 1), Rolling Stone: 500 Greatest Songs of All Time: 2021 edition (numero: 18), Billboard Hot 100: 2026-01-17 (numero: 27), Billboard Hot 100: 2026-01-24 (numero: 30), Billboard Hot 100: 2026-01-31 (numero: 38), Helsingin Sanomat: 100 maailman parasta laulua (2022-1-15) (numero: 39), Billboard Hot 100: 2026-02-07 (numero: 41), Rock and Roll Hall of Fame – 500 Songs That Shaped Rock e Rolling Stone: 500 Greatest Songs of All Time (as at 2016-06-10) (numero: 143)
registrazione dal vivo di:
Purple Rain (il 1983-08-03)
paroliere e compositore:
Prince (“The Artist Formerly Known as…”)
editore:
Because Éditions, Controversy Music e Island Music Ltd.
Prince and The Revolution4.258:38
5Belfast Child
produttore:
Trevor Horn e Stephen Lipson
arrangiatore:
Simple Minds (Scottish rock band)
diritti fonografici (℗) detenuti da:
Virgin Records Ltd. (not for release label use! for company relationships only) (nel 1989)
registrazione di:
Belfast Child
paroliere:
Jim Kerr (of Simple Minds)
compositore:
[traditional] (special purpose artist)
arrangiatore:
Charlie Burchill, Jim Kerr (of Simple Minds) e Michael MacNeil
editore:
EMI Music Publishing (do not use as a release label!)
si basa su:
She Moved Through the Fair
Simple Minds46:39
6Total Eclipse of the Heart
produttore:
Jim Steinman (nel 1982)
voce di accompagnamento:
Rory Dodd
diritti fonografici (℗) detenuti da:
Sony Music Entertainment UK Limited (not for release label use! post-2008 subsidiary of Sony Music Entertainment), Sony BMG Music Entertainment (UK) Ltd. (not for release label use! UK subsidiary of Sony BMG Music Entertainment) (nel 1983), Sony Music Entertainment Inc. (company owned by Sony Corporation of America from 1991–2004, operated worldwide except in JP; normally not a release label) (nel 1983), Sony Music Entertainment (Germany) GmbH (not for release label use! for © & ℗ or distributor only, defunct since 2005/03/09) (nel 1995) e Sony BMG Music Entertainment (Aug 5, 2004 – Oct 1, 2008) (nel 2008)
video musicali:
Total Eclipse of the Heart (music video) di Bonnie Tyler
parte di:
VH1: 100 Greatest Songs of the 80’s (compiled in 2006) (numero: 56) e Billboard: The 500 Best Pop Songs (as of October 2023) (numero: 121)
registrazione di:
Total Eclipse of the Heart
paroliere e compositore:
Jim Steinman
editore:
BMG Rights Management (UK) Ltd. (not for release label use! see annotation), BMG VM Music Ltd., EMI Virgin Music Australia Pty Ltd, EMI Virgin Music Ltd. (do not use this as a release label!), Lost Boys (BMI affiliated) e Virgin Music (Publishers) Ltd.
registrazione dal vivo di:
Total Eclipse of the Heart
paroliere e compositore:
Jim Steinman
editore:
BMG Rights Management (UK) Ltd. (not for release label use! see annotation), BMG VM Music Ltd., EMI Virgin Music Australia Pty Ltd, EMI Virgin Music Ltd. (do not use this as a release label!), Lost Boys (BMI affiliated) e Virgin Music (Publishers) Ltd.
Bonnie Tyler4.456:58
7Joan of Arc (Maid of Orleans)
produttore:
Richard Manwaring (Producer) e Orchestral Manoeuvres in the Dark
registrazione di:
Joan of Arc
paroliere e compositore:
Andy McCluskey
editore:
Dinsong Music
registrazione di:
Joan of Arc (Maid of Orleans)
paroliere e compositore:
Andy McCluskey
editore:
April Musikverlag GmbH (publisher), Dinsong Ltd. e EMI Virgin Music Ltd. (do not use this as a release label!)
Orchestral Manoeuvres in the Dark7:41
8The Final Countdown
tecnico di registrazione e tecnico di missaggio:
Wally Buck e Kevin Elson
produttore:
Kevin Elson
batteria [drums] :
Ian Haugland
chitarra :
John Norum
chitarra basso [bass] :
John Levén
tastiera :
Mic Michaeli
voce di accompagnamento:
Ian Haugland, Mic Michaeli e John Norum
voce principale:
Joey Tempest (Swedish singer)
diritti fonografici (℗) detenuti da:
CBS, Inc. (US broadcasting company; file no releases here!) (nel 1986), Sony BMG Music Entertainment (Aug 5, 2004 – Oct 1, 2008) (nel 1986) e Sony Music Entertainment Inc. (company owned by Sony Corporation of America from 1991–2004, operated worldwide except in JP; normally not a release label) (nel 1986)
è stato produttore per:
Elson Music Vision, Inc.
registrata presso e mixata presso:
Fantasy Studios (Berkeley) in Berkeley, California, Stati Uniti, Powerplay Studios in Maur, Zürich (Canton Zurigo), Svizzera e Soundtrade Studios in Solna City, Stockholms län (Stockholm county), Svezia
video musicale per:
The Final Countdown di Europe (Swedish band)
parte di:
VH1: 100 Greatest Hard Rock Songs (2008-12-29) (numero: 66) e Cachitos Nochevieja 2022 (numero: 155)
registrazione di:
The Final Countdown
paroliere e compositore:
Joey Tempest (Swedish singer)
editore:
Copyright Control (not for release label use! this is only for copyrights and publishing relationships), EMI (EMI Records, or EMI Music only if there is no other imprint), EMI Music Publishing Australia Pty Ltd (not for release label use!), EMI Music Publishing Ltd. (PRS‐affiliated), EMI Music Sweden AB (not for release label use! SE subsidiary of EMI), Screen Gems–EMI Music, Inc. (USA, affiliated with BMI) e Seven Doors Music
Europe4.055:08
9Owner of a Lonely Heart
registrazione di:
Owner of a Lonely Heart
autore:
Jon Anderson (Yes/Jon & Vangelis), Trevor Horn, Trevor Rabin (South African musician and score composer) e Chris Squire (Yes bassist)
editore:
Affirmative Music (publisher), BMG Chrysalis Scandinavia AB (not for release label use! file releases under its imprint “BMG Chrysalis”), BMG Rights Management (UK) Ltd. (not for release label use! see annotation), Carbert Music Inc., Carlin America, Inc., Carlin Music Corporation, Downtown Music Publishing, Downtown Music Publishing International Inc., Downtown Music Publishing LLC (PRS-affiliated), Hebbes Music Group Pty. Ltd., Kassner Associated Publishers, Ltd., SPZ Music, Inc. (BMI affiliated), Tremander Songs, Unforgettable Songs (ASCAP-affiliated), Unforgettable Songs Ltd., Warner Bros. Music (publisher; do NOT use as release label), Warner Bros. Music Ltd. (UK subsidiary, so named between 1970/01/23–1971/04/26 and 1972/04/25–1988/08/23), Warner Chappell Music (publisher as Warner/Chappell Music), Warner Chappell Music Ltd. (no slash; used 1988–1996), Warner Chappell Music Scandinavia, Warner Chappell North America, Warner–Tamerlane Publishing Corp. (publisher; do NOT use as release label), Warner/Chappell (Warner/Chappell Music, Inc.) e Warner/Chappell North America Limited (formerly incorporated as Marmalade Music Ltd., from 1968/09/19–1999/11/09)
sub-editore:
エイベックス・ミュージック・パブリッシング 第7出版事業部 (Avex Music Publishing, 7th Publishing Division), ワーナー・チャペル音楽出版 Synch事業部 (Warner/Chappell Music Japan K.K., Synch Division), フジパシフィック音楽出版 BMG事業部 (fino al 2014-12-31), フジパシフィックミュージック BMG事業部 (Fujipacific Music Inc., BMG Division) (dal 2015-01-01 a oggi) e ヤマハミュージックエンタテインメントホールディングス (Yamaha Music Entertainment Holdings, Inc., holding company – do not use as release label) (dal 2017-04-01 a oggi)
Yes7:22
10Love Is a Battlefield
produttore:
Pete Coleman e Neil Giraldo (multi-instrumentalist, songwriter, producer)
voce principale:
Pat Benatar
diritti fonografici (℗) detenuti da:
Chrysalis e Chrysalis Records (don’t use as an imprint; please use “Chrysalis” instead)
registrazione di:
Love Is a Battlefield
autore:
Mike Chapman (Australian producer and songwriter) e Holly Knight
editore:
BMG Gold Songs, BMG Music, BMG Music Pbl. Ltd., Copyright Control (not for release label use! this is only for copyrights and publishing relationships), EMI Music Publishing Ltd. (PRS‐affiliated), Island Music Ltd., Universal Music–MGB Songs, Warner Chappell, Warner/Chappell Music Ltd. (1996–2019), Zomba Music Publishers Ltd. (UK subsidiary of Zomba Music Publishing) e Zomba Music Publishing Ltd.
Pat Benatar6:28
11Goodnight Saigon
tecnico e tecnico di missaggio:
Jim Boyer (producer/engineer)
tecnico associato:
Bradshaw Leigh
assistente produttore:
Laura Loncteaux
produttore:
Phil Ramone
basso elettrico :
Doug Stegmeyer (bass player, aka Slug Douglas) (nel 1982)
batteria :
Liberty DeVitto (US drummer) (nel 1982)
chitarra :
Russell Javors (nel 1982)
chitarra elettrica :
David Brown (guitarist for Billy Joel) (nel 1982)
pianoforte e voce principale:
Billy Joel (American singer‐songwriter and pianist) (nel 1982)
tamburo rullante [field snare] :
Bill Zampino (nel 1982)
primo violino:
David Nadien
diritti fonografici (℗) detenuti da:
CBS, Inc. (US broadcasting company; file no releases here!) (nel 1982), Columbia Records (not for release label use! company owned by Sony Music Entertainment, only use for manufacturing/distribution and copyright holding) (nel 1982), Sony BMG Music Entertainment (Aug 5, 2004 – Oct 1, 2008) (nel 1982) e Sony Music Entertainment Inc. (company owned by Sony Corporation of America from 1991–2004, operated worldwide except in JP; normally not a release label) (nel 1982)
remixata presso:
A&R Recording Studio (third studio, 322 West 48th Street, closed in 1989) in New York, New York, Stati Uniti
video musicali:
Goodnight Saigon di Billy Joel (American singer‐songwriter and pianist)
registrazione di:
Goodnight Saigon (nel 1982)
paroliere e compositore:
Billy Joel (American singer‐songwriter and pianist)
editore:
Blackwood Music Inc. (1953-02-07–1987-12-30), Joelsongs (dal 1981 a oggi), Impulsive Music (nel 1981) e CBS Songs Ltd. (nel 1982)
Billy Joel3.856:58
2CD
3CD
4CD

Accreditamenti

Gruppo di pubblicazioni

parte di:Back to the 80’s (numero: 5) (ordine: 5)