Back to the 80’s: De hits uit de jaren ’80: The Long Versions

~ Veröffentlichung von Various Artists (alle Versionen dieser Veröffentlichung ansehen, eine vorhanden)

Anmerkung

{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

Anmerkung zuletzt geändert am 2016-01-30 22:33 UTC.

Titelliste

1CD
Nr.TitelKünstlerBewertungLänge
1Who Wants to Live Forever
recording engineer:
Eric Tomlinson (British recording engineer)
drum machine-Programmierung:
Brian May (Queen guitarist)
assistierende(r) Techniker(in):
Croydon (engineer)
Techniker(in):
David Richards (Swiss-based producer and engineer)
Produzent(in):
Queen (UK rock group) und David Richards (Swiss-based producer and engineer)
E-Gitarre und Synthesizer:
Brian May (Queen guitarist)
Hintergrundgesang:
Brian May (Queen guitarist), Freddie Mercury und Roger Taylor (Queen drummer)
Sologesang:
Brian May (Queen guitarist) und Freddie Mercury
Orchester:
The National Philharmonic Orchestra (fka the London Promenade Orchestra until 1971, mostly film music and opera)
conductor:
Michael Kamen (American score composer)
Orchestrator(in):
Michael Kamen (American score composer) und Brian May (Queen guitarist)
phonographisches Urheberrecht (℗) von:
Queen Productions Ltd. (company and copyright holder, do not use as an imprint or release label) (in 1986, in 2011)
aufgenommen bei:
Abbey Road Studios in St John's Wood, Westminster, London (Greater London), England, Vereinigtes Königreich, Mountain Studios (original Montreux location, 1975–2002) in Montreux, Vaud (Kanton Waadt), Schweiz (von 1985-09 bis 1986-04), Musicland Studios (Munich) in München, Bayern, Deutschland (von 1985-09 bis 1986-04) und The Town House in Shepherd's Bush, Hammersmith and Fulham, London (Greater London), England, Vereinigtes Königreich (von 1985-09 bis 1986-04)
recording of:
Who Wants to Live Forever?
Texter und Komponist(in):
Brian May (Queen guitarist)
publisher:
EMI Music Ltd., EMI Music Publishing Ltd. (PRS‐affiliated), Queen Music Ltd., EMI Music Publishing Limited (PRS‐affiliated) (in 1986) und Queen Music Limited (in 1986)
enthalten in:
We Will Rock You (Queen musical)
enthalten in:
We Will Rock You (German version of the Queen musical)
Queen4.055:15
2Jeanny, Part 1
Bearbeitung von:
Jeanny von Falco (Austrian pop & rock musician)
recording of:
Jeanny (in 1985)
Texter:
Ferdi Bolland, Rob Bolland und Johann Hölzel (Austrian pop & rock musician)
Komponist(in):
Ferdi Bolland und Rob Bolland
publisher:
Amfinold BV, Bolland Music, Edition Falkenhorst, Ferdi Bolland Songs, Nada Bolland Music und Nada Music (Dutch publisher)
Falco5:11
3Paradise by the Dashboard Light
Techniker(in), Produzent(in) und Mix:
Todd Rundgren
Bass:
Kasim Sultan
Gitarre:
Todd Rundgren
Keyboard und sonstiger Gesang [lascivious effects]:
Jim Steinman
Keyboard und Klavier:
Roy Bittan
Saxophon:
Edgar Winter
Schlagzeug:
Max Weinberg
Synthesizer:
Roger Powell (US musician, programmer, and columnist, band "Utopia")
Hintergrundgesang:
Rory Dodd, Marvin Lee und Todd Rundgren
Hintergrundgesang und Sologesang [featured female vocal]:
Ellen Foley
Sologesang:
Meat Loaf
Sprecher [baseball play-by-play]:
Phil Rizzuto
Interpret(in):
Ellen Foley
arranger:
Todd Rundgren und Jim Steinman
phonographisches Urheberrecht (℗) von:
CBS, Inc. (US broadcasting company; file no releases here!) (in 1977) und Sony BMG Music Entertainment (Aug 5, 2004 – Oct 1, 2008) (in 1977)
recording of:
Paradise by the Dashboard Light
Texter und Komponist(in):
Jim Steinman
Meat Loaf4.28:23
4Purple Rain
recording engineer:
David Rivkin (producer/engineer David Rivkin) (am 1983-08-03) und David Leonard (US producer and engineer) (am 1983-08-03)
Produzent(in):
Prince (“The Artist Formerly Known as…”) und The Revolution (founded by Prince)
Bratsche / Viola und Geige / Violine:
Novi Novog (von 1983-08-15 bis 1983-09-15)
Cello:
David Coleman (American cellist & composer) (von 1983-08-15 bis 1983-09-15) und Suzie Katayama (von 1983-08-15 bis 1983-09-15)
drum machine [Linn LM-1], elektronisches Schlagzeug / E-Drums [Pearl SY-1 Syncussion], elektronisches Schlagzeug / E-Drums [Simmons SDS-V] und Perkussion:
Bobby Z. (am 1983-08-03)
E-Bass:
Brown Mark (am 1983-08-03)
E-Gitarre:
Wendy Melvoin (am 1983-08-03) und Prince (“The Artist Formerly Known as…”) (am 1983-08-03)
Hybrid-Piano [Yamaha CP-70]:
Dr. Fink (am 1983-08-03)
Synthesizer:
Lisa Coleman (US pianist/keyboardist & composer) (am 1983-08-03) und Prince (“The Artist Formerly Known as…”) (am 1983-08-03)
Hintergrundgesang:
Brown Mark (am 1983-08-03), Lisa Coleman (US pianist/keyboardist & composer) (am 1983-08-03), Dr. Fink (am 1983-08-03) und Wendy Melvoin (am 1983-08-03)
Sologesang:
Prince (“The Artist Formerly Known as…”) (am 1983-08-03)
conductor:
Lisa Coleman (US pianist/keyboardist & composer) (Saiteninstrumente) und Wendy Melvoin (Saiteninstrumente)
Interpret(in):
Prince (“The Artist Formerly Known as…”) (am 1983-08-03) und The Revolution (founded by Prince) (am 1983-08-03)
Saiteninstrumente arranger:
Lisa Coleman (US pianist/keyboardist & composer) und Prince (“The Artist Formerly Known as…”)
arranger:
Prince (“The Artist Formerly Known as…”) und The Revolution (founded by Prince)
phonographisches Urheberrecht (℗) von:
Warner Bros. Records Inc. (not for release label use, company behind the “WB Records” imprint) (in 1984), WEA International Inc. (not for release label use! copyrights holder, distributor for the world outside of the US) (in 1984) und NPG Records, Inc. (in 2017)
aufgenommen bei:
First Avenue in Minneapolis, Minnesota, Vereinigte Staaten (am 1983-08-03) und Sunset Sound, Studio 3 in Hollywood, Los Angeles, California (Kalifornien), Vereinigte Staaten (von 1983-08 bis 1983-09)
engineered at:
Sunset Sound, Studio 3 in Hollywood, Los Angeles, California (Kalifornien), Vereinigte Staaten (von 1983-08 bis 1983-09)
Teil von:
Rolling Stone: The 100 Greatest Guitar Solos of All Time (2026-05-04) (Nummer: 1), Rolling Stone: 500 Greatest Songs of All Time: 2021 edition (Nummer: 18), Billboard Hot 100: 2026-01-17 (Nummer: 27), Billboard Hot 100: 2026-01-24 (Nummer: 30), Billboard Hot 100: 2026-01-31 (Nummer: 38), Helsingin Sanomat: 100 maailman parasta laulua (2022-1-15) (Nummer: 39), Billboard Hot 100: 2026-02-07 (Nummer: 41), Rock and Roll Hall of Fame – 500 Songs That Shaped Rock und Rolling Stone: 500 Greatest Songs of All Time (as at 2016-06-10) (Nummer: 143)
live recording of:
Purple Rain (am 1983-08-03)
Texter und Komponist(in):
Prince (“The Artist Formerly Known as…”)
publisher:
Because Éditions, Controversy Music und Island Music Ltd.
Prince and The Revolution4.38:38
5Belfast Child
Produzent(in):
Trevor Horn und Stephen Lipson
arranger:
Simple Minds (Scottish rock band)
phonographisches Urheberrecht (℗) von:
Virgin Records Ltd. (not for release label use! for company relationships only) (in 1989)
recording of:
Belfast Child
Texter:
Jim Kerr (of Simple Minds)
Komponist(in):
[traditional] (special purpose artist)
arranger:
Charlie Burchill, Jim Kerr (of Simple Minds) und Michael MacNeil
publisher:
EMI Music Publishing (do not use as a release label!)
basiert auf:
She Moved Through the Fair
Simple Minds46:39
6Total Eclipse of the Heart
Produzent(in):
Jim Steinman (in 1982)
Hintergrundgesang:
Rory Dodd
phonographisches Urheberrecht (℗) von:
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) (in 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) (in 1983), Sony Music Entertainment (Germany) GmbH (not for release label use! for © & ℗ or distributor only, defunct since 2005/03/09) (in 1995) und Sony BMG Music Entertainment (Aug 5, 2004 – Oct 1, 2008) (in 2008)
Musikvideos:
Total Eclipse of the Heart (music video) von Bonnie Tyler
Teil von:
VH1: 100 Greatest Songs of the 80’s (compiled in 2006) (Nummer: 56) und Billboard: The 500 Best Pop Songs (as of October 2023) (Nummer: 121)
recording of:
Total Eclipse of the Heart
Texter und Komponist(in):
Jim Steinman
publisher:
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) und Virgin Music (Publishers) Ltd.
live recording of:
Total Eclipse of the Heart
Texter und Komponist(in):
Jim Steinman
publisher:
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) und Virgin Music (Publishers) Ltd.
Bonnie Tyler4.456:58
7Joan of Arc (Maid of Orleans)
Produzent(in):
Richard Manwaring (Producer) und Orchestral Manoeuvres in the Dark
recording of:
Joan of Arc
Texter und Komponist(in):
Andy McCluskey
publisher:
Dinsong Music und Virgin Music (Publishers) Ltd.
recording of:
Joan of Arc (Maid of Orleans)
Texter und Komponist(in):
Andy McCluskey
publisher:
April Musikverlag GmbH (publisher), Dinsong Ltd., EMI Virgin Music Ltd. (do not use this as a release label!) und Virgin Music (Publishers) Ltd.
Orchestral Manoeuvres in the Dark7:41
8The Final Countdown
recording engineer und Mix:
Wally Buck und Kevin Elson
Produzent(in):
Kevin Elson
Bassgitarre [bass]:
John Levén
Gitarre:
John Norum
Keyboard:
Mic Michaeli
Schlagzeug [drums]:
Ian Haugland
Hintergrundgesang:
Ian Haugland, Mic Michaeli und John Norum
Sologesang:
Joey Tempest (Swedish singer)
phonographisches Urheberrecht (℗) von:
CBS, Inc. (US broadcasting company; file no releases here!) (in 1986), Sony BMG Music Entertainment (Aug 5, 2004 – Oct 1, 2008) (in 1986) und Sony Music Entertainment Inc. (company owned by Sony Corporation of America from 1991–2004, operated worldwide except in JP; normally not a release label) (in 1986)
produced for:
Elson Music Vision, Inc.
aufgenommen bei und mixed at:
Fantasy Studios (Berkeley) in Berkeley, California (Kalifornien), Vereinigte Staaten, Powerplay Studios in Maur, Zürich (Kanton Zürich), Schweiz und Soundtrade Studios in Solna City, Stockholms län (Stockholm county), Schweden
Musikvideo für:
The Final Countdown von Europe (Swedish band)
Teil von:
VH1: 100 Greatest Hard Rock Songs (2008-12-29) (Nummer: 66) und Cachitos Nochevieja 2022 (Nummer: 155)
recording of:
The Final Countdown
Texter und Komponist(in):
Joey Tempest (Swedish singer)
publisher:
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) und Seven Doors Music
Europe4.055:08
9Owner of a Lonely Heart
recording of:
Owner of a Lonely Heart
Verfasser(in):
Jon Anderson (Yes/Jon & Vangelis), Trevor Horn, Trevor Rabin (South African musician and score composer) und Chris Squire (Yes bassist)
publisher:
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 1970‐01‐23–1971‐04‐26 and 1972‐04‐25–1988‐08‐23), Warner Chappell Music (holding behind all publishing activities of Warner Music Group, 2019–), 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.) und Warner/Chappell North America Limited (formerly incorporated as Marmalade Music Ltd., from 1968/09/19–1999/11/09)
sub-publisher:
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 (bis 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) (vom 2015-01-01 bis heute) und 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) (vom 2017-04-01 bis heute)
Yes7:22
10Love Is a Battlefield
Produzent(in):
Pete Coleman und Neil Giraldo (multi-instrumentalist, songwriter, producer)
Sologesang:
Pat Benatar
phonographisches Urheberrecht (℗) von:
Chrysalis und Chrysalis Records (don’t use as an imprint; please use “Chrysalis” instead)
recording of:
Love Is a Battlefield
Verfasser(in):
Mike Chapman (Australian producer and songwriter) und Holly Knight
publisher:
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) und Zomba Music Publishing Ltd.
Pat Benatar6:28
11Goodnight Saigon
Partner-Techniker(in):
Bradshaw Leigh
Techniker(in) und Mix:
Jim Boyer (producer/engineer)
assistierende(r) Produzent(in):
Laura Loncteaux
Produzent(in):
Phil Ramone
E-Bass:
Doug Stegmeyer (bass player, aka Slug Douglas) (in 1982)
E-Gitarre:
David Brown (guitarist for Billy Joel) (in 1982)
Gitarre:
Russell Javors (in 1982)
Klavier und Sologesang:
Billy Joel (American singer‐songwriter and pianist) (in 1982)
kleine Trommel / Snare [field snare]:
Bill Zampino (in 1982)
Schlagzeug:
Liberty DeVitto (US drummer) (in 1982)
concertmaster:
David Nadien
phonographisches Urheberrecht (℗) von:
CBS, Inc. (US broadcasting company; file no releases here!) (in 1982), Columbia Records (not for release label use! company owned by Sony Music Entertainment, only use for manufacturing/distribution and copyright holding) (in 1982), Sony BMG Music Entertainment (Aug 5, 2004 – Oct 1, 2008) (in 1982) und Sony Music Entertainment Inc. (company owned by Sony Corporation of America from 1991–2004, operated worldwide except in JP; normally not a release label) (in 1982)
remixed at:
A&R Recording Studio (third studio, 322 West 48th Street, closed in 1989) in New York, New York, Vereinigte Staaten
Musikvideos:
Goodnight Saigon von Billy Joel (American singer‐songwriter and pianist)
recording of:
Goodnight Saigon (in 1982)
Texter und Komponist(in):
Billy Joel (American singer‐songwriter and pianist)
publisher:
Blackwood Music Inc. (1953-02-07–1987-12-30), Joelsongs (vom 1981 bis heute), Impulsive Music (in 1981) und CBS Songs Ltd. (in 1982)
Billy Joel3.856:58
2CD
3CD
4CD

Nennungen

Veröffentlichungsgruppe

Teil von:Back to the 80’s (Nummer: 5) (Reihenfolge: 5)