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Music & Entertainment Auction
Hugo Marsh Neil Thomas Forrester (Director) Shuttleworth (Director) (Director) Music & Entertainment Auction Tuesday 19th February 2019 at 10.00 Viewing: For enquiries relating to the auction Monday 18th February 2019 10:00 - 16:00 please contact: 09:00 morning of auction Otherwise by Appointment Saleroom One 81 Greenham Business Park NEWBURY RG19 6HW Telephone: 01635 580595 Christopher David Martin David Howe Fax: 0871 714 6905 Proudfoot Music & Music & Email: [email protected] Mechanical Entertainment Entertainment Music www.specialauctionservices.com As per our Terms and Conditions and with particular reference to autograph material or works, it is imperative that potential buyers or their agents have inspected pieces that interest them to ensure satisfaction with the lot prior to auction; the purchase will be made at their own risk. Special Auction Services will give indications of the provenance where stated by vendors. Subject to our normal Terms and Conditions, we cannot accept returns. ORDER OF AUCTION Music Hall & other Disc Records 1-68 Cylinder Records 69-108 Phonographs & Gramophones 109-149 Technical Apparatus 150-155 Musical Boxes 156-171 Jazz/ other 78s 172-184 Vinyl Records 185-549 Reel to Reel Tapes 550-556 CDs/ CD Box Sets 557-604 DVDs 605-612 Music Memorabilia 613-658 Music Posters 659-666 Film & Entertainment Memorabilia Including items from the Estate of John Inman 667-718 Film Posters 719-743 Musical Instruments 744-759 Hi-Fi 760-786 2 www.specialauctionservices.com MUSIC HALL & OTHER DISC RECORDS 18. Music hall and similar records, 10 inch, 67, by Geo Robey (G & T 2-2721 & 18 1. -
Rock Album Discography Last Up-Date: September 27Th, 2021
Rock Album Discography Last up-date: September 27th, 2021 Rock Album Discography “Music was my first love, and it will be my last” was the first line of the virteous song “Music” on the album “Rebel”, which was produced by Alan Parson, sung by John Miles, and released I n 1976. From my point of view, there is no other citation, which more properly expresses the emotional impact of music to human beings. People come and go, but music remains forever, since acoustic waves are not bound to matter like monuments, paintings, or sculptures. In contrast, music as sound in general is transmitted by matter vibrations and can be reproduced independent of space and time. In this way, music is able to connect humans from the earliest high cultures to people of our present societies all over the world. Music is indeed a universal language and likely not restricted to our planetary society. The importance of music to the human society is also underlined by the Voyager mission: Both Voyager spacecrafts, which were launched at August 20th and September 05th, 1977, are bound for the stars, now, after their visits to the outer planets of our solar system (mission status: https://voyager.jpl.nasa.gov/mission/status/). They carry a gold- plated copper phonograph record, which comprises 90 minutes of music selected from all cultures next to sounds, spoken messages, and images from our planet Earth. There is rather little hope that any extraterrestrial form of life will ever come along the Voyager spacecrafts. But if this is yet going to happen they are likely able to understand the sound of music from these records at least. -
1 All His Greatest Hits, from “Show Me the Way” and “Do You Feel Like We Do” to “Baby I Love Your Way,” on New the B
1 ALL HIS GREATEST HITS, FROM “SHOW ME THE WAY” AND “DO YOU FEEL LIKE WE DO” TO “BABY I LOVE YOUR WAY,” ON NEW THE BEST OF PETER FRAMPTON From Superstar to Elder Statesmen, Peter Frampton remains one of rock’s most prolific guitarists. The July 8 release of The Best Of Peter Frampton edition of 20th Century Masters/The Millennium Collection (A&M/UME), offers a succinct retrospective of his glorious past. The collection features 10 digitally remastered selections from his first eight solo albums, spanning 1972 to 1981, and includes all six of his Top 20 hits. For those who only remember his poster image, it is worth noting that Frampton produced every track and wrote every song except his cover of Stevie Wonder’s “Signed, Sealed, Delivered (I’m Yours).” As a 16-year-old guitar prodigy who wanted nothing more than to be taken seriously as a musician, Frampton joined The Herd in 1966. After launching Humble Pie with Steve Marriott, he went solo with 1972’s Wind Of Change, represented on The Best Of Peter Frampton by “All I Want To Be (Is By Your Side).” 1973’s Frampton’s Camel served up the ballad “Lines On My Face” and the following year brought Somethin’s Happening’s “Baby (Somethin’s Happening).” His musical and commercial progression continued with the idyllic Top 20 “Nassau/Baby I Love Your Way” from 1975’s gold Frampton. That album’s “Show Me The Way” was heard in its Top 10 version on 1976’s #1 Frampton Comes Alive!, which set a new mark for the biggest-selling live album in history and continues to add to its worldwide sales of more than 16 million copies. -
EDDIE KRAMER KRAMER Communication
ISSUE #38 MMUSICMAG.COM ISSUE #38 MMUSICMAG.COM PRODUCER Tell us about your creative process. world, I urge bands to buy their own tape. It starts when I first hear a song. Usually, You can keep reusing it. I’ve done an entire these days, a band sends a digital file of a album on one reel. The moment you cut your rough track. If I like a song, I start prepping track, you can dump it into Pro Tools, wipe it over the phone with the artist, and get into it, and use it again. It’s an investment. Even the studio to rehearse. Then the real work if it costs you $250 for a reel, that’s nearly begins of tearing a song apart, rebuilding what a hard drive would cost, and you can it, and ensuring the singer or songwriter’s keep using it—not ad infinitum, but for a while. desires and message gets across. I want to help translate what he or she is thinking into If the Beatles, Zeppelin or Hendrix reality, so that when the audience hears it, Buddy Guy were recording now, how would they they go, “Wow, that’s cool.” I want listeners to use Pro Tools? love the way a song sounds, love the way the to fix every damn thing. It’s the antithesis I imagine they would do what I’m doing— vocalist is singing. I want to capture emotion. of what rock is all about. Listen to great record analog and dump it into Pro Tools. I don’t want any song to be a stiff, by-the- records—Zeppelin, Hendrix, the Stones, the [Jimmy] Page grew up on analog, like I did. -
Just Loomis Art Direction
::: Jeffrey Ayeroff ::: Hunting High and Low / 1985 A-ha Photography : Just Loomis Art Direction : Jeri McManus, Jeri McManus (Design) ::: Done With Mirrors / 1985 ::: Ghost in The Machine / 1985 Aerosmith The Police Photography : Jim Shea Art Direction : Mick Haggerty Art Direction, Design : Norman Moore ::: High Crime / 1984 ::: L Is For Lover / 1986 Al Jarreau Al Jarreau Photography : Just Loomis Photography : Paul Jasmin Art Directions : Michael Hodgson Art Directions : Michael Hodgson ::: Cuts Like a Knife / 1983 ::: Fandango / 1982 Bryan Adams Herb Alpert Photography : Jim O'Mara Photography : Jim Shea ::: Made in America / 1981 Carpenters Art Directions : Chuck Beeson Illustlatitions : David Willardson ::: Chicago 18 / 1986 ::: On Your Every Word / 1983 Chicago Amy Holland Cover Arts : Maria Sano Art Directions : Mick Haggerty Design, Photography : Hugh Brown Photography : Hiro ::: Christine McVie / 1984 ::: No Lookin' Back / 1985 Christine McVie Michael McDonald Photography : Brian Griffin Photography : Joel Levinson(f), Brian Aris(b) ::: Synchronicity / 1983 ::: Anywhere You Go / 1985 The Police David Pack Photography : Duane Michals Photography : Jim Shea Art Directions : Norman Moore Art Directions : Norman Moore, Vartan ::: Home By Dawn / 1984 ::: Breaking All The Rules / 1981 J.D. Souther Peter Frampton Photography : Just Loomis Art Directions : Chuck Beeson Art Directions : Glenn Parsons, Jeri McManus ::: Hearts and Bones / 1983 ::: Graceland / 1986 Paul Simon Paul Simon Photography : Arthur Elgort Design : Kim Champagne -
Peter Frampton
PETER FRAMPTON BIOGRAFIA Em 1976, o inglês Peter Frampton tornou-se a maior sensação do ano, vendendo 13 milhões de cópias de um disco, num ano, um recorde sem precedentes até então. Cantor e guitarrista de incrível talento o seu momento de ápice desapareceu quase tão rápido quanto apareceu. Mesmo assim, é difícil encontrar alguém que não conheça o seu nome. Peter Frampton nasceu em 22 de Abril de 1950 na cidade de Beckenham, em Kent, na Inglaterra. Aos sete anos, ao ouvir um recital de piano pela rádio com os seus pais ele queixou-se de que “algo estava errado com aquele piano.” Os seus pais não compreenderam a sua reclamação até que no final da apresentação, o locutor da estação apresentou um pedido de desculpa, pois, como ele passou a informar, durante a execução, uma folha de partitura caiu e pousou sobre as cordas do piano. A partir daí os seus pais perceberam que seu filho tinha um ouvido especialmente sensível para música. Aos oito anos, Peter ganhou de presente um ukulele, espécie de cavaquinho havaiano e sozinho aprendeu uma série de músicas infantis, todas de três acordes. O seu gosto musical incluía Cliff Richards, cujas músicas fariam parte de seu repertório numa apresentação escolar que também incluiria a sua primeira composição própria, um instrumental. Aos nove anos recebeu o seu primeiro violão, passando a ter aulas de violão clássico, que embora não fosse a música que ele queria tocar, lhe deu a disciplina e moldou a técnica que, mais tarde, Peter iria desenvolver. Paralelamente ao material clássico, Frampton ouvia e executava material de B. -
20Th Century Masters Liner Notes
th DATE April 24 2003 e TO Vartan/Um Creative Services/Meire Murakami FROM Beth Stempel EXTENSION 5-6323 SUBJECT Peter Frampton – Millennium (Revised Also Available section) COPIES Alice Bestler; Amy Gardner; Andy McKaie; Andy Street; Anthony Hayes; Barry Korkin; Bill Levenson; Bob Croucher; Brian Alley; Bridgette Marasigan; Bruce Resnikoff; Caroline Fisher; Cecilia Lopez; Charlie Katz; Cliff Feiman; Dana Licata; Dana Smart; Dawn Reynolds; [email protected]; Diane Vivares; Elliot Kendall; Elyssa Perez; Frank Dattoma; Frank Perez; Fumiko Wakabayashi; Giancarlo Sciama; Guillevermo Vega; Harry Weinger; Helena Riordan; Jane Komarov; Jason Pastori; Jeffrey Glixman; Jerry Stine; Jessica Connor; Jim Dobbe; JoAnn Frederick; Joe Black; John Gruhler; Jyl Forgey; Karen Abdul; Karen Sherlock; Kelly Martinez; Kerri Sullivan; Kim Henck; Laura Weigand; Lee Lodyga; Leonard Kunicki; Lori Froeling; Lorie Slater; Maggie Agard; Marcie Turner; Margaret Goldfarb; Mark Glithero; Mark Loewinger; Martin Wada; Melanie Crowe; Michael Kachko; Michelle Debique; Mike Ragogna; Nancy Jangaard; Nollie Grenaway; Norma Wilder; Olly Lester; Patte Medina; Paul Reidy; Pete Hill; Ramon Galbert; Randy Williams; Robin Kirby; Ryan Gamsby; Ryan Null; Sarah Norris; Scott Ravine; Shelin Wing; Silvia Montello; Simon Edwards; Stacy Darrow; Stan Roche; Steve Heldt; Sujata Murthy; Todd Douglas; Todd Nakamine; Tracey Hoskin; Wendy Bolger; Wendy Tinder; Werner Wiens ARTIST: Peter Frampton TITLES: The Best Of Peter Frampton 20th Century Masters The Millennium Collection CD #: B0000531-02 UPC #: 6 024 980 011-7 2 CD Logo: A&M Records & Chronicles Attached please find all necessary liner notes and credits for this package. Beth Peter Frampton Peter Frampton – Millennium B0000531-02 1 12/01/19 11:35 AM The Best Of Peter Frampton 20th Century Masters The Millennium Collection (CD Folder) By the time Peter Frampton released his first solo album in 1972, he’d already walked away from two thriving musical careers. -
Festival 30000 Lp Series 1961-1989
AUSTRALIAN RECORD LABELS FESTIVAL 30,000 LP SERIES 1961-1989 COMPILED BY MICHAEL DE LOOPER © BIG THREE PUBLICATIONS, OCTOBER 2015 Festival 30,000 LP series FESTIVAL LP LABEL ABBREVIATIONS, 1961 TO 1973 AML, SAML, SML, SAM A&M IL IMPULSE SODL A&M - ODE SINL INFINITY SASL A&M - SUSSEX SITFL INTERFUSION SARL AMARET SIVL INVICTUS ML, SML AMPAR, ABC PARAMOUNT, SIL ISLAND GRAND AWARD KL KOMMOTION SAT, SATAL ATA LL LEEDON AL, SAL ATLANTIC SLHL LEE HAZLEWOOD INTERNATIONAL SAVL AVCO EMBASSY LYL, SLYL, SLY LIBERTY SBNL BANNER DL LINDA LEE BCL, SBCL BARCLAY SML, SMML METROMEDIA BBC BBC PL, SPL MONUMENT SBTL BLUE THUMB MRL MUSHROOM BL BRUNSWICK SPGL PAGE ONE CBYL, SCBYL CARNABY PML, SPML PARAMOUNT SCHL CHART SPFL PENNY FARTHING SCYL CHRYSALIS PJL, SPJL PROJECT 3 MCL CLARION RGL REG GRUNDY NDL, SNDL, SNC COMMAND RL REX SCUL COMMONWEALTH UNITED JL, SJL SCEPTER CML, CML, CMC CONCERT-DISC SKL STAX CL, SCL CORAL NL, SNL SUN DDL, SDDL DAFFODIL QL, SQL SUNSHINE SDJL DJM EL, SEL SPIN ZL, SZL DOT TRL, STRL TOP RANK DML, SDML DU MONDE TAL, STAL TRANSATLANTIC SDRL DURIUM TL, STL 20TH CENTURY-FOX EL EMBER UAL, SUAL, SUL UNITED ARTISTS EC, SEC, EL, SEL EVEREST SVHL VIOLETS HOLIDAY SFYL FANTASY VL VOCALION DL, SDL FESTIVAL SVL VOGUE FC FESTIVAL APL VOX FL, SFL FESTIVAL WA WALLIS GNPL, SGNPL GNP CRESCENDO APC, WC, SWC WESTMINSTER HVL, SHVL HISPAVOX SWWL WHITE WHALE SHWL HOT WAX IRL, SIRL IMPERIAL 2 Festival 30,000 LP series FL 30,001 THE BEST OF THE TRAPP FAMILY SINGERS, VOL.