Bibliothek

Länge: 19:34

Länge: 30:40

Disks: 1

Genre: Schlager

Länge: 55:17

Disks: 1

Genre: Pop

Länge: 1:47:33

Disks: 2

Produzent: Peter Brian Gabriel, Peter Walsh

Zusammenfassung: Die CD wurde tatsächlich nachgebessert, nur das hat mehr mit der technischen als mit der PR-Seite zu tun. Peter Gabriel tritt mit einer sehr guten Mannschaft auf, sehr rhytmisch und kontinuerlich.. Die typischen "Gabriel" Songs haben eine neue, frische Charakter, perfektes Percussion. Aufnahme und Ton-Qualität sind creme de la creme, fast Studio Sound und trotzdem "voll" live. Sehr gut.

Genre: Limited Edition, Box-Set

Länge: 45:31

Disks: 3

Genre: Vinyl

Disks: 1

Genre: Pop, Children's, Story

Länge: 1:00:03

Disks: 1

Produzent: Peter Maffay, Peter Wagner, Tony Carey

Zusammenfassung: Comes with a 20-page booklet.

℗ 1986 Teldec Schallplatten GmbH
© 1986 Teldec Schallplatten GmbH
Manufactured in Germany

Länge: 45:51

Disks: 1

Genre: Rock

Länge: 47:22

Disks: 1

Zusammenfassung: The beginning of Phil Collins’s massively successful solo career coincided with the discord in his first marriage, turning Face Value into a compelling churn of emotions, from the utter disgust of “In the Air Tonight” (where Collins dryly comments, “If you told me you were drowning / I would not lend a hand”) to the delight he feels in exploring a new relationship (“This Must Be Love”). Collins’s thundering drums and punchy horn arrangements – a close approximation of Earth, Wind & Fire’s sound, actually – clicked with the public, turning “I Missed Again” and “In the Air Tonight” into Top 20 singles and launching Collins’s career as one of the biggest and most unlikely stars of the ’80s. —Daniel Durchholz

Genre: Pop

Länge: 46:12

Disks: 1

Zusammenfassung: Spätestens nach der Veröffentlichung seines dritten Solo-Albums ist Phil Collins, dank seiner immer mehr sich dem Mainstream nähernden Werke mit Genesis, seiner eigenen Chart-Erfolge und seines untilgbaren Markenzeichens auf Produktionen anderer Künstler, zu einer fast allgegenwärtigen Präsenz im Rundfunk geworden. "No Jacket Required" hat nicht gerade bewirkt, daß die starke Präsenz von Collins in den Radiosendern zurückging. Und das ist auch gut so, wenn man bedenkt, daß dies grundsätzlich seine beste Sololeistung ist, die von den mitreißenden Rocknummern wie "I Don't Wanna Know", "Don't Loose My Number", dem albernen Neuaufguß von Princes "Sussudio" bis hin zu herzerwärmenden Balladen wie "One More Night" und "Long Long Way Home" reicht. Letztere bietet eine Gesangsdarbietung von Sting, der (zu der Zeit) nicht minder allgegenwärtig war. "--Daniel Durchholz"

Genre: Rock, Pop

Disks: 1

Zusammenfassung: Basler Fasnacht? Wahnsinniggewordene Buschtrommler? Nein, es ist nur Phil Collins, der sechs Titel seiner Erfolgs-CD "No Jacket Required" noch einmal als Maxiversionen herausbringt. Und beim Einsatz des Schlagzeuges war der Mann ja bekanntlich kein Zauderer. Diese Maxis waren in den 80ern äußerst populär, wenn auch mancher geniale Popsong auf diese Art furchtbar aufgeblasen und zerklopft wurde. Bei Collins funktionierte es aber: "Sussudio" und "Take Me Home" sind reine Groove-Orgien, es stockt einem immer noch der Atem. Natürlich darf auch der Riesenhit "Don´t Lose My Number" hier nicht fehlen. Die anderen drei Nummern wirken hier eher wie Füller, wenngleich "One More Night" auch heute noch sehr anrührend wirkt.
Klasse Songs damals, nur hat er vergessen, die Rezeptur zu ändern. Er begann sich zu wiederholen und wurde von der Zeit überrollt. Plötzlich waren seine Balladen und monumentalen Drumbreaks nicht mehr angesagt.
Die fettesten Jahre hat er womöglich hinter sich. Sein letzter, zugegebenermaßen wirklicher Riesenerfolg, "...But seriously", ist immerhin auch schon zehn Jahre alt. Dann folgte sein Weggang von Genesis (vielleicht ein Fehler), diverse Jazzprojekte, Tarzan-Filmmusik. Klingt nicht gerade nach steiler Erfolgskurve. Also, genießen wir noch einmal Phil Collins´ erfolgreichste Titel aus dem Jahr 1987. Vielleicht rafft sich der Maestro ja noch einmal auf. "--Ravi Unger"

Genre: Pop

Länge: 59:40

Disks: 1

Zusammenfassung: "But seriously...", mal ernsthaft: Was soll man über einen der erfolgreichsten Popmusiker aller Zeiten sagen? Hier zeigt er, warum er ganz zurecht diesen Olymp erklommen hat: Er schreibt und singt einfach immer wieder tolle Songs! Die große Dynamik von "Something happened on the way to heaven" machte das Intro weltweit und immer wieder zur Eröffnungs- oder Unterleg-Musik für Fernsehsendungen oder Radio-Trailer. Jeder einzelne Titel hätte zur Single getaugt - typisch Collins. Herausragend auch "Another day in paradise", eine Auseinandersetzung mit dem Schicksal Obdachloser.Immer wiederkehrendes Highlight sind seine Bläserformation, die Phenix Horns. Es macht einfach Spaß, diese knackigen, auf den Punkt gespielten Bläsersätze zu genießen -- am besten sehr laut. Für Phil Collins, als hauptberuflicher Schlagzeuger exaktes Spiel gewohnt, muß diese Zusammenarbeit ein Highlight gewesen sein. Das Instrumentalstück "Saturday night and Sunday morning" zeugt davon. Also: Ein großes Album eines ganz Großen. "--Wolfram Lumpe"

Genre: Pop

Disks: 1

Zusammenfassung: 1993

Genre: Pop

Länge: 58:35

Disks: 1

Produzent: Hugh Padgham, Phil Collins

Zusammenfassung: Arranged By [Horns] - Tom-Tom 84*
Engineer [Assistant] - Howard (Double Plug) Gray*
Engineer [Strings] - Mike Ross (2)
Horns - Phenix Horns, The
Leader [Orchestra] - Gavyn Wright
Mastered By - Ian Cooper
Mixed By [Extra Hands On The Orchestral Tracks], Conductor - Martyn Ford
Orchestra - Mountain Fjord Orchestra, The
Photography [Inside Pics] - Hugh Padgham , Jill Tarelman , Marjaret Maxwell
Photography [Main Cover] - Trevor Key
Producer - Phil Collins
Producer [Assistant], Engineer - Hugh Padgham
Saxophone [Tenor, Alto] - Don Myrick
Trombone - Louis Satterfield
Trumpet - Michael Harris , Rahmlee Michael Davis
Written-By - Collins* (tracks: A1 to A4, B1 to B5)
Notes: Recorded at Old Croft (Los Angeles, CA, USA) on 1" 8 track, overdubbed at The Farm and Townhouse (both Los Angeles, CA, USA) in May-June 1982.
Strings recorded at CBS (New York, NY, USA).

Engineer - Hugh Padgham
Producer - Phil Collins



1 I Don't Care Anymore (5:00)
Guitar - Daryl Stuermer
Keyboards, Drums, Vocals, Bass [Pedals] - Phil*
2 I Cannot Believe It's True (5:14)
Arranged By [Horns] - Tom Tom 99
Bass - John Giblin
Choir - Don* , Louis* , Peter Newton , Phil* , Rham*
Guitar - Daryl*
Keyboards, Drums, Vocals, Percussion - Phil*
Performer - Phenix Horns*
Performer [Choir] - Phenix Choir
Saxophone [Alto] - Don Myrick
Trombone - Louis*
Trumpet - Michael* , Rhamlee*
3 Like China (5:05)
Bass - John*
Guitar - Daryl*
Keyboards, Drums, Vocals, Percussion [Claps] - Phil*
4 Do You Know, Do You Care? (4:57)
Guitar - Daryl*
Keyboards, Drums, Vocals, Other [Pedals], Trumpet - Phil*
5 You Can't Hurry Love (2:50)
Arranged By [Strings] - Martyn (Narrie) Ford*
Bass - John*
Conductor [Strings] - Martyn Ford
Drums, Vocals, Tambourine - Phil*
Guitar - Daryl*
Leader [Strings] - Gavyn Wright
Piano, Glockenspiel, Vibraphone - Peter (Scene) Robinson*
Strings - Mountain Fjord Orchestra, The
6 It Don't Matter To Me (4:12)
Arranged By [Horns] - Tom Tom 99
Bass - Mo Foster
Guitar - Daryl*
Keyboards, Drums, Vocals, Percussion - Phil*
Performer - Phenix Horns*
Saxophone - Don*
Trombone - Louis*
Trumpet - Michael* , Rhamlee*
7 Thru These Walls (5:02)
Bass - Mo*
Guitar - Daryl*
Keyboards, Drums, Vocals, Marimba - Phil*
8 Don't Let Him Steal Your Heart Away (4:43)
Arranged By [Strings] - Martyn (Kickers) Ford*
Bass - John*
Conductor [Strings] - Martyn Ford
Guitar - Daryl*
Leader [Strings] - Gavyn Wright
Piano, Drums, Vocals - Phil*
Strings - Mountain Fjord Orchestra, The
9 The West Side (4:59)
Arranged By [Horns] - Tom Tom 99
Guitar - Daryl*
Keyboards, Drums, Percussion, Vocals, Other [Pedals] - Phil*
Performer - Phenix Horns*
Saxophone - Don*
Saxophone [Alto] - Don*
Trombone - Louis*
Trumpet - Michael* , Rhamlee*
10 Why Can't It Wait 'Til Morning (3:01)
Arranged By [Strings] - Martyn (Doris) Ford*
Conductor [Strings] - Martyn Ford
Leader [Strings] - Gavyn Wright
Piano, Vocals - Phil*
Strings - Mountain Fjord Orchestra, The

Genre: Rock

Länge: 2:35:13

Disks: 2

Genre: Rock

Länge: 44:13

Disks: 1

Zusammenfassung: Supposedly the sessions for this album were difficult and unproductive, but you'd never know it by the finished product, as Wish You Were Here was an amazing follow up to their breakthrough album. Although not quite the spectacular commercial success of Dark Side or The Wall, the album has also sold many millions and all of its songs are familiar radio standards to any "classic rock" listeners. Again the band uses studio effects, synthesizers (played by Waters as well as Wright), and female backing vocalists (Venetta Fields and Carlena Williams this time) effectively, and the album's melancholic mood music provides an interesting contrast to Waters' often-angry lyrics. Containing only five long songs (really four since "Shine On You Crazy Diamond" is split into two different songs, each with several parts), this album is dedicated to Syd Barrett, the band’s leader during their formative years who never recovered from too many LSD trips. Although it unsettlingly chronicles his descent into madness, while also addressing their (or at least Waters') antagonistic attitude towards the music industry, this sad and beautiful album is also remarkably touching. Both parts of the extended song suites “Shine On You Crazy Diamond” that bookend the album are spaced out, atmospheric pieces perfect for a lazy day, featuring gorgeous synth washes prominently along with Gilmour’s fluid, supple, unforgettably mournful guitar. Parts I-V unfold languidly, in no great hurry, and this near-perfect song is all about its soulful, emotional soloing. The vocals don't even arrive until shortly before the 9-minute mark, but when they do they deliver one of the band's most memorable vocal hooks, with lyrics that directly address Syd, who haunts the album and in an odd coincidence actually showed up at the sessions, albeit so fat and changed in appearance that they didn't recognize him at first! Dick Parry again provides another memorable cameo, adding some classy sax to the fadeout, which leads into the chilly, effects and synthesizer-heavy “Welcome To The Machine”, which tells the story of Barrett’s rise to prominence and the accompanying music business exploitation that played no small role in leading to his current condition. “Have A Cigar”, the album’s most rocking song, is another great tune lambasting the music industry (most famously via its sarcastic "oh by the way, which one's Pink?" line), and is buoyed by the ragged vocals of guest singer Roy Harper (the only non-band member to ever sing lead), more big synths, and some more excellent guitar work from Gilmour, who solos extensively throughout the album. Unsurprisingly, this album is Gilmour and Wright's favorite Pink Floyd album, as both instrumentalists shine throughout, plus it turned out to be the last Pink Floyd album that musically was truly a collaborative effort, as the next three Pink Floyd albums would be increasingly dominated by Waters. Anyway, the muted fadeout of "Have A Cigar" into the muted intro of "Wish You Were Here" is a cool production trick, and seemingly every prospective guitar player at some point or another tries out the eloquent acoustic intro to the latter tune. Simply put, "Wish You Were Here" is one of my favorite songs of all-time, and it represents the absolute peak of their pastoral, folksy style. Led by the aforementioned guitar and arguably Gilmour's greatest lead vocal as well, the song movingly tells of how Syd has been missed since his exile (even if his ouster from the band was necessary), but like with many songs this one can be given its own interpretation. Personally, it never fails to make me misty-eyed and think of past relatives, pets, and friends (particularly Kevin again as we used to listen to this album together on an almost daily basis) who I myself have lost. "Shine On You Crazy Diamond (Parts VI–IX)" seems almost anti-climactic by comparison, but even though it's more jam-based and less essential than Parts I-V, it's still a great song that provides a certain symmetry to the album, even if perhaps it also makes the album seem slightly padded out. Still, although the album is perhaps (slightly) less than perfect, it's still an easy A+, as Wish You Were Here provides a warm, heartfelt tribute to a fallen comrade while also working as a wonderful listening experience.
Rating: A+

Genre: Alternative Rock

Länge: 38:24

Disks: 1

Produzent: The Police

Zusammenfassung: "Outlandos D'Amour" is a product of the late-'70s British punk scene, but the Police were never really punks. The album lacks the class-conscious awareness that fueled early Clash albums or the angry, antimusical nihilism of the Sex Pistols. The material, although constructed with guitar, bass, and drums, often at tempos that would never be matched in their later studio recordings, stands apart. Andy Summers' guitar textures are here more traditional and without their later ethereal quality, but his chord choices on "Roxanne," for example, or his expansive solo lines on "So Lonely" would have baffled most of the burgeoning punk guitar school. So, too, would Stewart Copeland's drumming, enriched as it is by a multinational upbringing and stage experience in the last gasps of the progressive-rock movement. The rhythms of reggae are woven into the music and Sting's vocals pay conscious tribute to Bob Marley. The songs are mostly about love, or a lack of personal connection, and are frequently obsessive; the hits alone are worth the price of the album. "--Al Massa"