Traumwolf - Aussen (Vinyl, LP)
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And there are some very strong tracks with wonderful melodic electric guitar playing. One to approach with caution, but there is quite a bit to enjoy. CD A spirited live album. Richard and band are in a very good mood and sparkle. This is probably pay attention to the fact that Mr. Thompson is not only a good songwriter yet not necessarily in prog but also an accomplished guitarist.
Anyway, a fun album to listen to. Musically we get folk-rock, plain rock I have to think of Bruce Springsteen because of some reason or another and country rock quite a bit too much for my taste. Over the years he had played in venues across the country both as a solo performer as the founding member of Colony Earth and The Salamander Project.
Steve was well received and gained much praise. Sometimes we hear the poppy side of Jadis and sometimes the fine neo prog music made by IQ.
Unfortunately the constant high level from IQ is missing on several tracks. A real surprise and welcome addition to the GEP roster. Think Tom Mcrae mixed with some of the more pop tinged prog and ad some venign lyrics and you get the idea.
This is a great and very creative musician who makes music from his heart, using his brain for the balance! A fine album it is. LP British musician, leader of Mandragora, and active solo or as a guest musician as well - mainly in the new age field. Definite recommendation for space-rock fans. Thors Hammer recorded only one album, but the members appeared in many other Danish bands and recordings later. The project had originally started as a death metal band of Ihsahn and Tomas Haugen a.
Samoth several years earlier and released two demos. Professionally made, but it leaves me relatively cold. The band evolved into Forces At Work. Most songs are really accessible, almost AOR-like, but on the proggy side. If you liked the quasi ELP-project 3, you should definitely check out Thread! Musically, both bands are very much alike.
Keith played some piano during the concert and the foundations were lawn for future work. Emerson made Mikkelsen and Bonilla connect and they started working on the project of rearranging material for orchestra and testing it out in far away places like Mongolia. A tour with full orchestra was a possibility that the treesome was working on. And indeed it is. Goosebumps for the first time. The new arrangements give a different feel to the piece which at times becomes more classic, at other times jazzier.
The first part is very close to the classical original led by horns with powerful kettle drums, after that the rock band lets go in full force and finishes in a finale together with the orchestra. Welcome back my friend! Interesting for fans also because of the cover art which is entirely different from the CD version. Three Man Army also present. After that the band brings some extremely fine early heavy progressive rock. A really nice album I must say.
The opener brings spirited heavy rock that reminds of Led Zeppelin, but after that the band dabbles all over the place with references to Beatles, average s guitar rock and the weaker moments of Wishbone Ash. Stick to the other albums by this group! The band played its first live show in November at the Wiltshire club. Highly recommended. Solid, but not brilliant. Also production wise it sounds perfect; with a lot of new effects used the songs sound crystal clear.
People who enjoyed "Hypothetical" as much as I did must certainly get "Critical Mass". This was a pleasant re-acquiaintance with their fine blend of progmetal and symphonic prog.
Actually, for the greater part this is rather heavy sympho than real progmetal. So thumbs up. Their LP was recorded in November and December Later they. After eight years the group came with a new album - their fifth - which was recorded during sessions between and Apparently Thule had over the years shrunk to the core-duo of Steve Riise Jensen instruments and Peer-Einar Pedersen vocals with two female guest singers on a few tracks.
A new thing was that where Thule used their native language on previous work, all singing was now in English. Some parallels to Floyd, but not too many. The harsh Norwegian vocals may be something some listeners may have to get used to, but are no big deal and actually fit to the gloomy mood of the entire album.
Nothing to listen to in a depressive mood, but quite provoking. The vocals are generally horrible and should rather be forgotten. Also here, the vocals are low-ish and a bit out of the ordinary, but somehow it fits better with the band singing in Norwegian language. Add to that the music that is more of my liking - the guitars, and basically all of the instruments, are much spacier which fits the music very well.
The closing track is 12 and a half minutes long. To be honest, this piece I like the best from the CD. At age of seven he learned how to play the violin, but turned to rockmusic in his teens. So he played in Eulenspygel which band he founded inRoyal Servants and short-time Et Cetera-member. Meanwhile he also completed his studies at university, first in German philosophy and political science, later also music composition and double-bass.
Both solo-albums are available on CD. At school he met Fred Teske, who taught him to play the guitar. Together with some friends they founded a band in which Krutzsch played bass and Teske the guitarthat had to break up after they finished their school.
At that time Germany lacked a specialised rock press to promote the music. In the band played at British Windsor Free Festival, which became a great success, so Tibet was invited back the year after playing together with famous bands like Ginger Baker drummer of Cream and Hawkwind. Despite the success, Dieter Kumpakischkis quit, tired of living on the road.
He also persuaded them to write down their music into structured scores. By then Tibet started thinking about releasing an album and contacted several record companies without any result, so they decided to record a single themselves for which they selected two songs from their repertoire.
Ballin suggested to add female vocals to the melodies. In the hope that a more commercial approach would bring them success, the band recruited a 17 year old vocalist who brought a disco-feel to the songs.
The band aimed at being accepted by a wider audience by an accesible single before bringing a more complex album. They released the single on their own label Eye Records, in a limited edition of 1. The single had been recorded in less time than anticipated, so the band used the extra days of studiotime to record three more numbers without the female singer. After hearing these tracks the band decided they defintely needed a vocalist to enhance their music.
Ballin again suggested to hire a friend of his, Klaus Werthmann, whom he had met in a band called Kobold. With this vocalist the live-performances became more theatrical. Due to limited financial means, Tibet had to spread the recording of their album over three sessions in DecemberOctober and September In between these sessions, they kept touring even in England.
Wigginghaus also asked Kumpakischkis back for the final recording session, who was persuaded to stay after the session. Unfortunately shortly before the release of the album, Deff Ballin left to join Geier Sturzflug, a band that just had scored a hit in Germany.
Also Klaus Werthmann, who had finished his studies and wanted to start a practice, left. He was replaced by Richard Hagel.
In May of the album was released and distributed to German speaking countries only. This meant the end of the band, for most members favoured a safe career outside music. Tibet disbanded after a final concert in March With help of Hamann and Teske who both found jobs outside music he released a new wave single under the name 4U a project that disbanded and a solo-single under the pseudonym Neue Weltmacht.
Finally he released a single and an album as keyboard player under the name Cinema, again with help of some former Tibet-members.
After this he turned to producing and managing of The General Lee Band and others. AR CD, ?? CD, Greek space rock band, obviously influenced by Ozric Tentacles. A second album appeared in where De Roos and ………. Much of the album in fact is relatively poppy 14 relatively short pieces in case you wonderbut of the very sophisticated kind of pop like 10CC some of the very good vocals of Tideline even remind of that legendary group.
The music also has some untypical instruments like sax, trumpet and strings to place accents. Extremely intelligent music. AR CD,reworked version My first experience with Tiemko was their album, but I should have properly started with their fine debut.
On the other hand, this way around I was in for a pleasant surprise! Great stuff! Alas with a drum solo half way through. Boys, this was completely uncalled for! And while the album contains very strong moments especially if you like music that leans towards KC I find this disc does not meet the same enthusiasm from my side as the debut did.
This is a fairly good description for many of the other pieces on the album too. I would say less KC than last time, but there are some more traces of Zappa-ism this time; for example on the quirky and off-beat title track, with no little thanks to the vibraphone.
A fine album. At times there is rather bombastic symphonic prog, at others we find more experimental moments which make you feel very uneasy. Nothing for casual listeners for sure! Tietchens did his first solo-album - sounding like Cluster with Peter Baumann as producer. Through Liliental, Tietchens had met with Dutchman Okko Bekkers, who became a good friend and his almost permanent co-musician and producer. Tietchens also formed a backing band, Zeitzeichenorchester, which accompanied him on the next three albums, introducing a very original style with a rather humorous sound.
Besides these albums for the Sky-label, Tietchens also did some cassette-only releases through the years. These later works were more classical avant-garde. This has also been released on CD. No details available on the second and third album yet. LP T Spanish folk-rock band that did two good albums in the mids. The debut album featured spevial guest Kevin Chown on bass and backing vocals.
Maybe that was due to the fact that Tiles reminded me of Rush, although they have definitely created their own sound. The debut holds in a way fine the balance between the various stages Rush went through from the late s to the mids and in a way combines them to their own version of the Rush sound.
Good, very good. Given the fact that you like Rush. The guitars, keyboards and drums are from the original tapes while Paul and Jeff recorded new vocals and bass tracks in January with Terry Brown. The music on this album is adventurous, challenging and ultimately amazing and it really is a shame that I still have not had the chance to see them doing a live show. If you do not have this album already, then you should buy it now.
Musically they blend their strong Rush influences with progressive metal in the Enchant-mode and especially the singer reminds me of Enchant - not a positive thing in my opinion. So far only disappointing songs in which the musical development of Tiles comes to a standstill. Fortunately Tiles also plays some real progressive stuff like the epic title track, with hooky riffs, lots of diversity and a rather heavy ending. It kicks off with a beautiful instrumental intro and then it becomes a pure prog metal song with an amazing chorus and lots of speedy and melodic guitar solos.
This song proves that Tiles still have that special something, but why did they not play more songs like that one on this album?? So, my conclusion is: four misses, two mediocre ones, two rather good songs and three excellent progressive tracks.
Not good enough for a great band like Tiles!! The Rush-link is enhanced by the high vocals. But the bass opening is best because it sounds fairly original in this style at least. There are several long pieces 7, 9 and even 15 minutes on the disc, but these are not all that memorable. The singing is seriously among the most ugly and annoying I have heard in quite a time. And yes, that will reduce the probability of me exploring their music significantly!
Consider that a warning. No rating so far. Time received some quite good reviews for their first progressive album. Singer Topic and organist Asanovic released some solo albums rock and jazz-rocklisted below.
The first two Time LPs have been reprinted several times and are well known in their country. The musicians from Time also played as backing band for singer Josipa Lisac. Time released only one album. Well, the only real parallel to Yes are probably the high lead vocals, but in this case these are female over a neo prog foundation. Not entirely matured, I think, but quite acceptable. Most disturbing is the clear Italian accent of the lead singer, who could have had a smaller role if you ask me.
After that short piece the album kicks loose with faster-than-the-speed-of-light progmetal. The rhythm section appears to be runaway and the guitarst races up and down the scales. Real progmetal fans will definitely enjoy this more than I do.
They kick off and gallop on without taking all too much consideration for the fact that some listeners might want to breathe underway. I can appreciate the technical craftsmanship, but for my taste too much feeling and atmosphere is sacrificed in the process.
Best moments for me personally are the odd neo classical touches, like the short Bach adaptation that closes the CD. Still, the band will never be among my favourites and frequent played artists. It has again the oriental feeling to it.
The middle section sounds rather improvised. This continues in the following tack as well. There are some more melodic tracks on the disc. Over all a very diverse disc, though not one I would play a lot.
There are too many freakish parts in here. Very varied like with oriental and ambient influences in the opening track or wild Crimson-like horn playing in the second. Not suitable for everyone! Also several guests notably on vocals, percussion and brass appeared. The Tale" and had played with Ruud in a band called Harvest. Musically Timelock was even more mainstream and more rocky than The Last Detail.
Their first CD is dedicated to silent movie actress Louise Brooks The follow-up, that was released two year later has artwork by former drawer for SI Magazine, Mario Baert. Timelock is also featured on the SI Compilation discs. Ruud, Bert and Julian, however, kept on writing new material. A couple of record companies were interested, and Xymphonia Records gave them the best deal and released their third album with new guitarist Martin Hendriks who had worked with Julian on his Dreamcarnation project before and guest singer Hans van Lint FAF after eight years of silence.
After the completion of the album, Rob Boshuijzen came to fill the place behind the drumkit permanently. When I then finally bought the CD there was a certain feeling of disappointment. Somewhere between prog-light and AOR this disc presents kind of nice but rather nonmemorable music. Thus a more memorable and promising album. The songs are of a very high level.
The magnus opus is probably the 12 minutes long epic track "Everything except the world". Their aim was to form a band without any boundaries in terms of musical direction. Therefor they chose the name Timescape. Johan who had started playing guitar at age 16, but quickly turned to keys and played in his first band as keyboardist at age 17!
The band debuted with a three track promo-CD, fusing classic hard rock, prog, jazz and ethnic music into an individual style. The mini-album was received pretty well by numerous underground magazines and websites. The band is a real promise for the future and certainly deserves a real good record label. Roughly located between Jarre the more accessible parts and vocoder voices and Berlin School great Moog work and much more.
On her solo album she was backed by musicians from Irolt and Farmers Union. He released a solo CD with a compilation of his orchestral film music. A great moody album! The music is maybe even more atmospheric and Pink Floyd influenced, yet with a sound of its own. The music flows rather calmly and melancholic with occasional outbursts.
An extremely fine piece of work! Pretty good! There is talent present, but they need better songs than Traumwolf - Aussen (Vinyl. DVD, ?? The second piece confirms Zappa as probably the most important influence, also in the guitar work. And so the disc goes on in a total of 7 tracks, the shortest of which is and the longest You can imagine how exhausted some listeners may feel after that. Casual listeners should take it one track at a time. My rating is based on the general direction, quality of the musicians and the sheer progressiveness.
CD British jazz and avant-garde pianist who was briefly a member of progressive rock legend King Crimson. He later married singer Julie Driscoll and did several albums with her, including the seminal Centipede project. LP Gentle folk-rock. The male vocals are very civilized sounding in the line of Colin Blunstone meeting Al Stewart.
After some minutes narration in Spanish appears. Alas I understand little of that but some part of the story seems to excite the narrator a lot which is illustrated by the music. Then things loosen up in a swinging jazzy piece led by flute which is followed by a vocal part with crooning vocals. The music contains a fine variation of moods and styles, mainly centered around symphonic prog. A truly charming concept from the s and pretty typical.
Especially recommended to people who love Mandalaband and the like. She had been writing material for this CD from onward over the past six years, which resulted in a great female folk album in the vein of Loreena McKennitt, the first White Willow album, the Dutch band Zenga and sometimes Kate Bush. The moody acoustic music shows some psychedelic influences and contains a lot of flute, violin and classical guitar passages.
Sometimes extremely dark, sometimes quite joyous, sometimes pure folk; sometimes psych. The CD also contains a hidden track before the first track and a video. Rhythms are very held back, even though there are some bubbling down in the sound at times and laying tha pattern. Fans of the heavier side of neo prog may want to give this a try. Given time LP) develop, a good producer and maybe a better singer this could be great. Imagine Mastermind with a slightly more vintage and spaced up sound and you might get an idea of this not entirely instrumental album but oddly enough you are left with an impression after listening that it was all instrumental….
They were the first Norwegian group to gain wide commercial success outside of Scandinavia a situation which remained until the midsbut ironically, Titanic never played a concert in Norway. They were actually founded in in Germany, coming out of a group called The Beatnicks. Great stuff. Good vocals also. The singer reminds me at times of a more likeable Rod Stewart. The band was named after the main character of Mervyn Peake's gothic fantasy novel.
Since all the tracks are over five minutes long, there is room for elaborate instrumental developments, which almost get exciting, but fall. Bassist Lee can be found on albums of Dutch flautist Chris Hinze. Most members had worked with Achim Reichel and Wonderland. It took several years before the second album appeared with Kruse, Lembrecht and newcomer Tissy Thiers bassformerly of Randy Pie. Vic was quite an international affair: originally an Italian of French origin, but raised in Switzerland and later he moved to England and The States.
He was LP) in and raised by his grandparents. His grandmother, by the way, had been an opera singer, so that may be where his musical talents came from. Fueled by the desire to play the guitars like Jimi, Vic traveled to London. He participated in various jam sessions, which is how he came in touch with space rockers Hawkwind, who were preparing the recordings of their first LP. Being fed up with England after a year of living in London, Vic returned to Switzerland, where he met his old buddy Cosimo Lampis again - they had played in a band some years before, but now Cosimo was a member of Brainticket.
As said, when Vic Vergeat returned from England, he visited Cosimo with Brainticket in the studio one day. Things went rather well for Toad: they played on the renowned Montreux Festival - to much acclaim - and the show was recorded and broadcast on Swiss television. In the meantime, there had come a split in the group between the instrumentalists and Benj Jaeger, who felt separated from the rest of the band during the long instrumental parts and jams during live gigs.
Consequently, Jaeger left and went on to form Island. The remaining three members of Toad decided to continue as a trio and do the vocal parts themselves. Besides guitars and vocals, Vic Vergeat also played the piano. The opening piece is a heavy rocker with a Zep reference, but rather varied. Sounds nice and must go down very well when played live, but hardly progressive… The beginning of the third song brings a jazzy acoustic guitar to which some beautiful melancholic violin played by guest H.
Lipsky, first violinist of the Boston Philharmonic Orchestra is added. After some two minutes, the violin turns into a furious gypsy-like instrument accompanied by ragtime-like acoustic guitars and towards the end returning to the calm beginning.
A wonderful track! What follows is another bluesy rocker with a Hendrix-touch. The sixth piece is another highlight with great play LP) electric and acoustic guitars, comparable to early Rush with a dash of Led Zeppelin thrown in. The track is pretty varied, although the main ingredients are various guitar-excursions over a solid rhythm section. After almost six and a half minutes, it has an acoustic part, which sounds a bit classical and ballad-esque.
This becomes even more classically oriented, when the violin starts dueting the acoustic guitars. Unfortunately, this beauty in music is destroyed by some distorted feedback and guitar effects after only a minute, which leads into the central guitartheme from the beginning of the piece and then rocks it to an end in some good solos. This superb piece of music is followed by a short, beautiful piano piece, which closes the original LP.
The first bonus track brings some great bass-play and dual guitars, again sounding a bit like early Rush, thanks to the guitar sound.
The final piece again brings some nice violin and acoustic guitars, but has something of a country-touch over it. This meant the end of Toad. Vic moved to America, traveled the country as a session- and live-musician, did soundtrack work in Italy and even appeared in a Terence Hill movie. During the late s, an attempt of a Toad-reunion was done, but due to the punk movement, this reunion was destined to fail. This never happened and also a planned super project with Carl Palmer and Rick Wakeman never came to fruition.
In he finally came with his solo-debut. This LP - a solid heavy rock effort was produced by famous German producer Dieter Dierks of Scorpions fame and others. Fun trivia: that Vic got his acoustic guitar from Peter Green. The fifth track is a long progressive rock piece with wailing guitars, dramatic bass-riffs and acoustic guitar before a spooky part takes over around two and a half minutes into the piece. After about six minutes, Toad picks up the heavy part again and the track closes with a bass part.
The pieces that follow are another rocker and an acoustic ballad, finishing the original record. When we get to the first guitar solo, however, things become more blues oriented.
Even more so bluesy is the 9 minutes long title track. The latter has a lot of Hendrix in it. On this LP much more piano and Mellotron is used in the music, but also a few funky things sign of the times, I presume have crept into the music. Overall a nice album - yet a bit uneven. In fact one of the best attempts on the Zep sound I know a collegaue in the office even mistook them for the real thing!
In early versions of the band Fritz Fey guitars and Friedhelm Misiejuk drums had been a member, but left Tobogan to join Prosper. When Tobogan leader Hopmann saw that his former band mates had released with Prosper, he decided to do so as well. Competent bluesy early progressive rock. A singer who reminds me of Joe Cocker, good riffs, fine songwriting.
I love this kind of stuff. Some musicians cane from Magic. Krell and Musenbichler later appeared in JoJo. Some members later appeared in metal group Craaft. It kind of made them the European parallel to Toto, a band they also resembled musically.
The band chose its name from what they found the strongest track on their debut. They made a breakthrough by playing on German television and they toured in Germany, Austria and Switzerland. A fourth Tokyo LP did appear, but this was more the. Musenbichler had by that time continued with JoJo and enjoyed modest success.
Matzka died from leukaemia in Skip that track if possible. Side 2 brings solid AOR with clear links to Toto. Kind of a must for LOTR fans, all others should have a listen first. CD Finnish guitarist, member of Stratovarius. Very un-neo classical metal and even rather poppy with a good singer. Great guitar too. Cool keys and guitars. The dreamy and symphonic 11 and a half minutes title track closes the album in a fine way, except that the Charlie Chaplin speech probably is a bit too much.
CD This Finnish guitarist became especially known as a member of Tasavallan Presidentti, but also built up a respectable solo discography, mainly in jazz and jazz-rock direction.
Highly, very highly recommended. This one also brings highly enjoayable and playful progressive jazz-rock with a great sense of melody and hardly any freaking out. Very enjoyable. From an artistic point of view the first disc is the most interesting and coherent, focusing on his jazz-rock work. But as said: a good way to get to know the man. CD I like Tolonen, I like many things done by Coltrane, so the combination should be to my liking as well?
Well, not always is the combination of a hero covering another hero a good idea, but luckily it was this time around. On his rare debut, mentioned below mainly members of Arcane V. Unlike Wendy Carlos, however, Tomita made actual adaptations, giving the classical pieces his own interpretation. The initial line-up included Olaf Casalich, but his place was later taken by Gerd Paetzke. Unfortunately the group split up in already - Meyer would later appear in Alto and Karges in Novalis and Nena.
This LP was stylistic more jazz -rock flavored with Zappa-esque hints. Well, this album might vaguely give an answer to this crazy idea. The album is maybe a bit too long - some weaker songs could have been left off if you ask me, and this fully applies to the drum solo… A fine disc for fans of early s prog. Very, very good stuff and far too unknown. Not quite the prog-metal that I like from later work. Although there are clear indications at progressiveness, effects and atmospheric moments and genrally - Tool is clearly not your average band the music presented here is less interesting to be honest.
And I would have kept the CD within the 40 minute range. Quite amazing that there are still people who find out original and interesting things to do with a boring jewel case. Complex and very heavy with screamish vocals, but also good dynamics, switching between heavy and intense passages and quieter more atmospheric pieces.
No clear prog influences, actually, except maybe a slight nod towards the noisy side of King Crimson - not surprisingly the bands would soon tour together. Check this out! Not very original, but not bad either, although the vocals spoil some of the pleasure of listening. The second piece opens with a light, up-beat sound, almost sounding like a jazz-fusion piece, but then returns to the darker mood.
Overall an interesting disc, although not all pieces are of the same standard regarding musical and sound quality. A must for Zeuhl adepts, nevertheless. Said to be nothing spectacular. SO FAR - -?? CD David Torn is a renowned guitarist in the worlds of rock, jazz, fusion, progressive, ambient and several other styles.
As a basis for the music we find often an ambient-ish and orientally influenced layer over which Torn plays his guitar. Not a trace of new age or eerie stuff. A fantastic and powerful album between prog, a bit of jazz-rock, art-rock and pop. Regrettably Mr Torn dabbles here a bit too much in the soundscapes-drones-and-weird-noises-galore field.
The first two tracks 12 and 20 minutes sound tasteful with lots of strong flute and piano ideas, but also some longwinding moments.
These are good musicians with good ideas but in my opinion they should keep the running time of the tracks under 10 minutes on their next CD. He worked with Banco, Logan Dwight, B. Coleman and Gato Barbieri and he also did one varied album with symphonic song oriented prog.
The music varies from romantic orchestral symphonic pieces to relatively heavy psychedelic prog and some Italian pop-like tunes. It sounds all a bit dated now, but has still some worthwhile moments and a certain charm if you like these s experiments. Lush keyboard work, fairly good singing, here and there jazzy touches, but mostly symphonic. Well, not on this one This single tends rather in the direction of early heavy progressive prog, yet a rather complex and busy form of it - even though the 2 tracks are not even 3 minutes long!
A bit stranger that it seems that they are playing two different pieces at the same time… After two minutes there is then a sudden shift in rhythm and mood like a new piece has started. Der Plattenspieler dient dabei als Steuerinterface. Die Videobilder wurden dabei in analoger Form auf die Platten gepresst. Entsprechend wurde Vinylvideo im er-Jahre-Stil beworben. Flexi werden zum Beispiel als Beilage in Fanzine oder Kinderzeitschriften verwendet.
Zum Abspielen ist als Unterlage eine normale Platte mit kleinem Mittelloch notwendig. Eine Kombination aus analoger Schallplatte und CD bzw. Musik und Texte zu einzelnen Dias wurden auf Schallplatten bereitgestellt. Die Schallplattenpresswerke bieten Pressungen von verschiedenem Gewicht an. Bei Langspielplatten beispielsweise,Gramm usw.
Diese naive Vorstellung ist jedoch eine Legende. Neuere Schallplatten bestehen aus dem Nichtleiter Polyvinylchlorid und ziehen somit durch elektrostatische Aufladung des Materials Staub und Schmutz an. Es gibt in der Geschichte der Schallplatte daher eine Vielzahl von Methoden, die Platten zu entladen und die Rillen sauber zu halten. Reinigungsarm beim Nassabspielen auf der Platte.
Automatischer Plattenwechsler mit Schellackplatten und elektrischem Tonabnehmer, Dieser Artikel oder nachfolgende Abschnitt ist nicht hinreichend mit Belegen beispielsweise Einzelnachweisen ausgestattet.
Mai CEST. Transparente Maxi-Single auf bedruckter Rutschfolie. Archiviert vom Original am 5. November ; abgerufen am 4. Oktober Februar im Internet ArchiveZugriff am Juni Band 3. August im Internet Archiveabgerufen am September im Internet Archiveabgerufen am September August PDF Musikindustrie,abgerufen im Jahr PDF Prof. Dieter Gordy, Dr. Mai Abgerufen am LP) Januar PDF Abgerufen am Abgerufen am 4. Februar In: Heise online. Deutsches Musikarchiv
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