Karel Gott - From My Czech Song-Book / Карел Готт – Из моего чешского песенника

Karel Gott - From My Czech Song-Book / Карел Готт – Из моего чешского песенника

Альбом: 1 пласт.
Размер: 12" (гигант)
Запись: 1975 г.
Тип записи: стерео
Оборотов в мин.: 33
Состояние (диск/конверт): очень хорошее / очень хорошее
Производство: Чехословакия
Фирма: Supraphon

Side 1
Angelo Michajlov / Jin Staidl, Joy Turner
WHERE DO YOU GO AND HIDE, LOVE 4:00
(Ja brany uz otvi'ram)

Ladislav Staidl / Jin Staidl, Joy Turner
LIFE IS WORTH LIVING 2:35
(Kufr iluzi)

Karel Svoboda / Zdenek Borovec, Marlene Moore
LAUGHING 2:50
(Muj refren)

Ladislav Staidl / Jiri Anderle, Marlene Moore
I COULDN'T CHANGE 3:30
(Vi'tr mi odval tech mych par let) Ladislav Staidl / Jiri Staidl, Joy Turner

HEY, MR. GREEN 3:40
(Prijela pout')

Karel Svoboda / Frantisek R. Cech, Marlene Moore
JUST LIKE WE ARE 3:05
(Napoj lasky c. 10)

Side 2
Karel Svoboda / Zdenek Borovec, Joy Turner
IF I WERE MR. PAGANINI 2:30
(Paganini)

Ladislav Staidl / Zdenek Ryti'r, Joy Turner
LIKE YOUR SHADOW 3:20
(Tvuj sti'n se ma)

Karel Svoboda / Zdenek Borovecf Marlene Moore
WITH YOU WENT THE WORLD 3:30
(Muj desf)

Ladislav Staidl / Jin Staidl, Joy Turner
I'LL SUGAR COFFEE MORE 2:35
(Kavu si osladim)

Karel Svoboda / Zdenek Borovec, Joy Turner
LET LOVE SPREAD FAR AND WIDE 2:40
(At laska ma kde kvest)

Ladislav Staidl / Jin Staidl, Jo Manning Wilson
WHEEL OF LOVE 3:00
(Ne, ne, ne)

KAREL GOTT (in English)
Babettes (1/2, 11/1, 2)
Lubomir Panek Singers (H/5)
LADISLAV STAIDL ORCHESTRA

RECORDED AT THE SUPRAPHON STUDIOS AT MOZARTEUM AND IN DEIVICE, PRAGUE, FROM FEBRUARY TO MAY, 1975
Recording directors: Mojmir Balling and Kvetoslav Rohleder
Recording engineer: Frantisek Rebicek

Cover design © Josef Zich & Ivanka Zichova 1975
Cover photo © Otto Dlabola 1975
Liner notes © Stanislav Titzl

Karel Gott's rise to the extra class of Czechoslovak singers was a really giddy one. In 1963 he won only three points in the popularity poll organized by the Mlady Svet (Young World) weekly and just twelve months later, unthreatened by anyone, he won his first 'Golden Nightingale1 and since then he has enjoyed the favour of listeners as the absolute and regular winner of this highly-valued trophy (with the exception of 1967 when, in consequence of his several-months engagement in Las Vegas and in other places on the North American continent, he became second). Today he is the most successful singer of pop music in Czechoslovakia. He can boast not only of the largest number of trophies won at various competitions and festivals, but also of the largest gramophone record sales. Supraphon has published his eleventh album and another four (the most recent is just From My Czech Song-book) have been issued in a special version for foreign discophils.
His home successes naturally soon roused response abroad. Performances on well-known international concert platforms (the festivals in Rio de Janeiro, Athens, Tokyo, Sopoty, the Euro-vision Grand Prix, the gala concerts held within the framework of MIDEM in Cannes and so on) - such are the milestones along the path of Karel Gott's artistic career. Today we encounter his name not only on Supraphon records, but also on Amiga label in the German Democratic Republic, Melodiya label in the Soviet Union and so on. Messrs. Polydor in the Federal Republic of Germany have produced twenty LP records, published under the exclusive and now very well known title The Golden Voice of Prague, with the Sinatra of the East — as they also call Karel Gott.
Karel Gott has concentrated on mastering vocal technique to such an extent that he can now sing equally reliably jazz, country and western, stylized folklore, the tenor songs made famous by such stars as Beniamino Gigli, Joseph Schmidt and Mario Lanza, or Jenik's aria from Smetana's Bartered Bride. However, it was not until 1974 that he made his first film musical called A Star Falls Upwards in which he plays the role of a Czech folk figure - Svanda the Bagpiper - portrayed in a modern way against the background of the career of a successful pop singer.
It is a definite fact that the voice possessed by Karel Gott is a treasure of which very few singers in the world can boast, this being doubly true in the field of pop music. Together with Ladislav Staidl Orchestra, he forms a whole of high professional standard, a fact also confirmed by this selection of Gott's most successful songs by Czech composers of recent origin. Many of them have already become hits beyond the borders of the country of the Golden Voice of Prague.
It was certainly not merely by chance that the prize of the specialized London magazine for the gramophone industry -Music Week - intended for the most outstanding representatives of popular music in individual European countries for successes attained in 1974 was awarded just to Karel Gott in the case of Czechoslovakia. The unusual qualities of this interpreter's voice, his persistence and diligence, the uncompromising self-discipline with which he sets about achieving his artistic aims - all these things are naturally reflected in his wide popularity which covers not only all the corners of Czechoslovakia, but also spreads via Poland, Hungary and the German Democratic Republic to both the remotest places in the Soviet Union in the east and the whole of West Europe, in particular to the Federal Republic of Germany.
Today Karel Gott as an acknowledged singing personality is generally known to place greater emphasis on displaying the extraordinary qualities of his voice than on lyrics with profound meaning and it is to this end that he fully subordinates his repertoire. His beginnings as a singer were marked by his enchantment with jazz, it being only gradually that he inclined more to the sphere of popular music. However, this change gained him a mass of new admirers who first applauded him at the first important halt in his artistic career, namely the small Semafor Theatre in Prague, and later also on his way to the career of an independent soloist. His original repertoire, based mainly on jazz (we encounter it partially on the Supra-phon/Artia record The Golden Voice of Prague), was gradually replaced with songs with wide-breath cantilenas. Apart from these, however, there was still sufficient scope for attractive and rhythmically precise melodies.