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

~ Release by Various Artists (see all versions of this release, 1 available)

Annotation

{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

Annotation last modified on 2016-01-30 22:33 UTC.

Tracklist

CD 1
#TitleArtistRatingLength
1Who Wants to Live Forever
recording engineer:
Eric Tomlinson (British recording engineer)
drum machine programming:
Brian May (Queen guitarist)
assistant engineer:
Croydon (Engineer)
engineer:
David Richards (Swiss-based producer and engineer)
producer:
Queen (UK rock group) and David Richards (Swiss-based producer and engineer)
electric guitar and synthesizer:
Brian May (Queen guitarist)
background vocals:
Brian May (Queen guitarist), Freddie Mercury and Roger Taylor (Queen drummer)
lead vocals:
Brian May (Queen guitarist) and Freddie Mercury
orchestra:
The National Philharmonic Orchestra (fka the London Promenade Orchestra until 1971, mostly film music and opera)
conductor:
Michael Kamen (American score composer)
orchestrator:
Michael Kamen (American score composer) and Brian May (Queen guitarist)
phonographic copyright (℗) by:
Queen Productions Ltd. (company and copyright holder, do not use as an imprint or release label) (in 1986, in 2011)
recorded at:
Abbey Road Studios in St John's Wood, Westminster, London (Greater London), England, United Kingdom, Mountain Studios (original Montreux location, 1975-2002) in Montreux, Vaud, Switzerland (from 1985-09 until 1986-04), Musicland Studios (Munich) in München, Bayern, Germany (from 1985-09 until 1986-04) and The Town House in Shepherd's Bush, Hammersmith and Fulham, London (Greater London), England, United Kingdom (from 1985-09 until 1986-04)
recording of:
Who Wants to Live Forever?
lyricist and composer:
Brian May (Queen guitarist)
publisher:
EMI Music Publishing Limited (PRS‐affiliated) (in 1986) and Queen Music Limited (in 1986)
part of:
We Will Rock You (German version of the Queen musical)
part of:
We Will Rock You (Queen musical)
Queen45:15
2Jeanny, Part 1
recording of:
Jeanny
lyricist:
Ferdi Bolland, Rob Bolland and Johann Hölzel (Austrian pop & rock musician)
composer:
Ferdi Bolland and Rob Bolland
publisher:
Amfinold BV, Ferdi Bolland Songs and Nada Bolland Music
Falco5:11
3Paradise by the Dashboard Light
engineer, producer and mixer:
Todd Rundgren
bass:
Kasim Sultan
drums (drum set):
Max Weinberg
guitar:
Todd Rundgren
keyboard and other vocals [lascivious effects]:
Jim Steinman
keyboard and piano:
Roy Bittan
saxophone:
Edgar Winter
synthesizer:
Roger Powell (US musician, programmer, and columnist, band "Utopia")
background vocals:
Rory Dodd, Marvin Lee and Todd Rundgren
background vocals and lead vocals [featured female vocal]:
Ellen Foley
lead vocals:
Meat Loaf
spoken vocals [baseball play-by-play]:
Phil Rizzuto
performer:
Ellen Foley
arranger:
Todd Rundgren and Jim Steinman
phonographic copyright (℗) by:
CBS, Inc. (US broadcasting company; file no releases here!) (in 1977)
recording of:
Paradise by the Dashboard Light
lyricist and composer:
Jim Steinman
Meat Loaf4.28:23
4Purple Rain
recording engineer:
David Rivkin (producer/engineer David Rivkin) (in 1983) and David Leonard (US producer and engineer) (in 1983)
producer:
Prince (“The Artist Formerly Known as…”) and The Revolution (founded by Prince)
bass guitar:
Brown Mark (on 1983-08-03)
cello:
David Coleman (American cellist & composer) (on 1983-08-03) and Suzie Katayama (on 1983-08-03)
drums (drum set) and percussion:
Bobby Z. (on 1983-08-03)
guitar:
Wendy Melvoin (on 1983-08-03)
instruments:
Prince (“The Artist Formerly Known as…”) (on 1983-08-03)
keyboard:
Lisa Coleman (US pianist/keyboardist & composer) (on 1983-08-03) and Doctor Fink (on 1983-08-03)
viola and violin:
Novi Novog (on 1983-08-03)
additional vocals:
Brown Mark (on 1983-08-03), Lisa Coleman (US pianist/keyboardist & composer) (on 1983-08-03), Doctor Fink (on 1983-08-03) and Wendy Melvoin (on 1983-08-03)
lead vocals:
Prince (“The Artist Formerly Known as…”) (on 1983-08-03)
performer:
Prince (“The Artist Formerly Known as…”) (on 1983-08-03) and The Revolution (founded by Prince) (on 1983-08-03)
strings arranger:
Lisa Coleman (US pianist/keyboardist & composer) and Prince (“The Artist Formerly Known as…”)
arranger:
Prince (“The Artist Formerly Known as…”) and The Revolution (founded by Prince)
phonographic copyright (℗) by:
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) and NPG Records, Inc. (in 2017)
recorded at:
The Record Plant (New York) in Midtown Manhattan, New York, New York, United States and First Avenue in Minneapolis, Minnesota, United States (on 1983-08-03)
engineered at:
Sunset Sound in Hollywood, Los Angeles, California, United States (from 1983-08 until 1983-09)
part of:
The Rolling Stone Magazine’s 500 Greatest Songs of All Time: 2021 edition (number: 18), Helsingin Sanomat: 100 maailman parasta laulua (2022-1-15) (number: 39) and Rolling Stone Magazine’s 500 Greatest Songs of All Time (as at 2016-06-10) (number: 143)
live recording of:
Purple Rain (on 1983-08-03)
lyricist and composer:
Prince (“The Artist Formerly Known as…”)
publisher:
Because Éditions, Controversy Music and Island Music Ltd.
Prince and The Revolution4.258:38
5Belfast Child
producer:
Trevor Horn and Stephen Lipson
arranger:
Simple Minds (Scottish rock band)
recording of:
Belfast Child
lyricist:
Jim Kerr (of Simple Minds)
composer:
[traditional] (special purpose artist)
arranger:
Charlie Burchill, Jim Kerr (of Simple Minds) and Michael MacNeil
publisher:
EMI Music Publishing (do not use as a release label!)
is based on:
She Moved Through the Fair
Simple Minds3.56:39
6Total Eclipse of the Heart
producer:
Jim Steinman (in 1982)
background vocals:
Rory Dodd
phonographic copyright (℗) by:
Sony Music Entertainment Inc. (not for release label use! company owned by Sony Corporation of America from 1991–2004, operated worldwide except in JP) (in 1983), Sony Music Entertainment (Germany) GmbH (not for release label use! for © & ℗ or distributor only, defunct since 2005/03/09) (in 1995) and Sony BMG Music Entertainment (Aug 5, 2004 – Oct 1, 2008) (in 2008)
music videos:
Total Eclipse of the Heart by Bonnie Tyler
recording of:
Total Eclipse of the Heart
lyricist and composer:
Jim Steinman
publisher:
EMI Virgin Music Ltd. (do not use this as a release label!), Lost Boys (BMI affiliated) and Virgin Music (Publishers) Ltd.
Bonnie Tyler4.66:58
7Joan of Arc (Maid of Orleans)
producer:
Richard Manwaring and Orchestral Manoeuvres in the Dark
recording of:
Joan of Arc
lyricist and composer:
Andy McCluskey
publisher:
Dinsong Music
recording of:
Joan of Arc (Maid of Orleans)
lyricist and composer:
Andy McCluskey
publisher:
April Musikverlag GmbH (publisher) and Dinsong Ltd.
Orchestral Manoeuvres in the Dark7:41
8The Final Countdown
recording engineer and mixer:
Wally Buck and Kevin Elson
producer:
Kevin Elson
bass guitar [bass]:
John Levén
drums (drum set) [drums]:
Ian Haugland
guitar:
John Norum
keyboard:
Mic Michaeli
lead vocals:
Joey Tempest (Swedish singer)
phonographic copyright (℗) by:
CBS, Inc. (US broadcasting company; file no releases here!) (in 1986) and Sony Music Entertainment Inc. (not for release label use! company owned by Sony Corporation of America from 1991–2004, operated worldwide except in JP) (in 1986)
produced for:
Elson Music Vision, Inc.
recorded at and mixed at:
Fantasy Studios (Berkeley) in Berkeley, California, United States, Powerplay Studios in Maur, Zürich, Switzerland and Soundtrade Studios in Solna City, Stockholms län, Sweden
recording of:
The Final Countdown
lyricist and composer:
Joey Tempest (Swedish singer)
publisher:
EMI (EMI Records, since 1972), EMI Music Publishing Ltd. (PRS‐affiliated) and Seven Doors Music
parody version of:
The Final Sound
Europe45:08
9Owner of a Lonely Heart
recording of:
Owner of a Lonely Heart
writer:
Jon Anderson (Yes/Jon & Vangelis), Trevor Horn, Trevor Rabin (South African musician and score composer) and Chris Squire (Yes bassist)
publisher:
Affirmative Music (publisher), BMG Rights Management (UK) Ltd. (not for release label use!), Carbert Music Inc., Carlin America, Inc., Carlin Music Corporation, Downtown Music Publishing, Downtown Music Publishing International Inc., Downtown Music Publishing LLC (PRS-affiliated), SPZ Music, Inc. (BMI affiliated), Tremander Songs, Unforgettable Songs Ltd., 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 Ltd. (no slash; used 1988–1996), Warner–Tamerlane Publishing Corp. (publisher; do NOT use as release label), Warner/Chappell, Warner/Chappell North America Limited (formerly incorporated as Marmalade Music Ltd., from 1968/09/19–1999/11/09), 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, ワーナー・チャペル音楽出版 Synch事業部, フジパシフィック音楽出版 BMG事業部 (until 2014-12-31), フジパシフィックミュージック BMG事業部 (from 2015-01-01 to present) and 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 (holding company – do not use as release label) (from 2017-04-01 to present)
Yes7:22
10Love Is a Battlefield
producer:
Pete Coleman and Neil Giraldo
lead vocals:
Pat Benatar
phonographic copyright (℗) by:
Chrysalis and Chrysalis Records (Don’t use as an imprint. Please use “Chrysalis” instead.)
recording of:
Love Is a Battlefield
writer:
Mike Chapman (Australian producer and songwriter) and Holly Knight
publisher:
BMG Music Pbl. Ltd., Island Music Ltd., Zomba Music Publishers Ltd. (UK subsidiary of Zomba Music Publishing) and Zomba Music Publishing Ltd.
Pat Benatar6:28
11Goodnight Saigon
associate engineer:
Bradshaw Leigh
engineer and mixer:
Jim Boyer (producer/engineer)
assistant producer:
Laura Loncteaux
producer:
Phil Ramone
drums (drum set):
Liberty DeVitto (US drummer) (in 1982)
electric bass guitar:
Doug Stegmeyer (bass player, aka Slug Douglas) (in 1982)
electric guitar:
David Brown (guitarist for Billy Joel) (in 1982)
guitar:
Russell Javors (in 1982)
piano and lead vocals:
Billy Joel (in 1982)
snare drum [field snare]:
Bill Zampino (in 1982)
concertmaster:
David Nadien
phonographic copyright (℗) by:
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) and Sony Music Entertainment Inc. (not for release label use! company owned by Sony Corporation of America from 1991–2004, operated worldwide except in JP) (in 1982)
remixed at:
A&R Recording Studio (third studio, 322 West 48th Street, closed in 1989) in New York, New York, United States
music videos:
Goodnight Saigon by Billy Joel
recording of:
Goodnight Saigon (in 1982)
lyricist and composer:
Billy Joel
publisher:
Blackwood Music Inc. (1953-02-07–1987-12-30), Joelsongs (from 1981 to present), Impulsive Music (in 1981) and CBS Songs Ltd. (in 1982)
Billy Joel46:58
CD 2
CD 3
CD 4