Rather, my issue is about the way the vocal parts integrate with the music. There are two problems, in my view. First, as with the musical background and perhaps because of itI sometimes felt that the vocal melodies were overly difficult, sacrificing immediacy and euphony in favour of technicality "Heart of France", "Apprentice".
Second, many of the singers involved in the project have a rather similar timbre and it is really hard to tell them apart. This is a major shortcoming, in my opinion, as one of the things I appreciate the most in this type of multi-singer projects is the variety of the vocal performances.
This is almost completely lost here, with only Steve Walsh possessing a distinctive timbre Album) sets him apart from the rest of the male vocalists.
In truth, Leonardo feels a lot like a LaBrie-dominated project, with many other singers that sound a lot like LaBrie extras. Overall, although there are a few moments of brilliance above all, the two male-female duets "First Commission" and "This Time, This Way"Leonardo was a mildly disappointing release for me, with too many dull moments and shortcomings.
The theme of this rock opera was to celebrate the th anniversary of the Peasant Revolt of when the situation of the population was so desperate that they were forced to collaborate their efforts to defeat the ruling aristocracy of the day.
The project began as far back in and premiered on March 5, in the concert hall of Vatroslav Lisinski. The play was a huge success within Yugoslavia and even spilled outside its borders despite being performed exclusively in the Croatian language. The most famous and highly regarded of the entire musical output from this rock opera has remained "Ave Maria" performed by Josipa Lisac and although the play has been revived from time to time, it has never been as successful as when it was first released.
The album featured nine tracks with a wide range of moods and motifs. While i know next to nothing about Croatian music history, this one is not a bad example at all about the sentiments experienced in the era of the communist hegemony as it rather perfectly exemplified a new form of dictatorship in an area of the world that had been suppressed for a very long time. Given that this album is thematically relevant and performed exclusively in Croatian automatically means that most who don't speak the lingo won't comprehend the meaning of its relevance and on the musical side of the equation there is nothing here to get overly excited about either as it rather reflects the trend of ethnic folk musical flavors incorporating rock music into its fabric of existence.
For those in the ex-Yugoslavia this very well may be of extraordinary importance in historical terms but for those of us who are clueless as to the experiences of the time and place, this one is decent indeed but hardly something that will speak to us on a higher level.
Well worth the time to experience this Eastern European for its historical significance alone but not something that musically transcends beyond its thematic relevance. Review by Matti Prog Reviewer. The various artists disc in itself feels patchy and confusing.
Sadly the set doesn't have systematic release information such as the years or source albumsand searching the information from the two-page text is difficult, since it doesn't even proceed in the running I Know A Place - Billy Strange - English Hits Of 65 (Vinyl. Some of the music is indeed unquestionably Crimsonesque. The musical diversity on this disc is awesome, and the music is interestingly more or less Crimson-related in many various ways, but the representation leaves a lot to be desired.
One may ask why their only proper album The Cheerful Insanity Of is not represented. Even when these restrictions were relaxed in the early s the local music publishers sold enough of their music for at least one current record company to claim that it was originally financed by the unauthorised sales of Beatles music. Until the mid s there was no attempt to place this business on a legal footing. Looking at the music revenue as a percentage of GDP suggests that China, Brazil, Russia, Mexico and possibly Italy all sell significant numbers of albums without reporting them, these sales are not included in the above figures.
The numbers here indicate approved sales, not the number of copies that exist. Of course it is difficult to guess which artists and albums are most involved.
The four organisations that have been used are the official bodies in the four biggest relevant markets. Each of these groups issues the sales certificates for a particular country. They all will only audit album sales if a record company both requests and pays for the work, which means that only albums that someone is interested in promoting get examined. A level of "Gold" indicates 0. There is some confusion in the sources about the way that RIAA counts double albums. Sources indicate that sales of most double albums are counted as two records, so selling 5.
However some sources clarify this as only being true for records of longer than a certain duration and state that, for example "The Wall" was short enough for its "23 X Platinum" to indicate 23 million sales. For this table we have elected to just ignore all these issues. The levels listed here are "Silver" 60, sales, "Gold"sales, "Platinum"sales and "Multi-Platinum" which indicate multiples ofsales. The levels listed are "Gold" 75, sales, "Platinum"LP and "Diamond"sales.
The levels are "Gold"sales and "Platinum"sales, but then rather oddly "3 X Gold"sales and "2 x Platinum"sales and so on. There are also some albums certified as "10 X Gold" rather than "5 x Platinum" for some reasonour guess is that has to do with the logical way that Germans think. You will have noticed that the definition of, for example a "Gold" record varies from country to country, this is because it is tied to the anticipated sales in each country.
When considering the possible global sales of albums the relative size of the market in different countries has to be taken into account. This shows that the distribution of sales in was:.
The other markets also have significant local content, indeed once that is taken into account the four "regions" above each represent about the same size of adjusted global market.
Once all that is taken into account the expected sales of an album should be 7x in the US, 2x in the UK and 1x each in France, Germany, Southern Europe, Northern Europe, Anglophone and everywhere else.
So if, for example, "Thriller" sold 40 million copies in those four markets then the expected total global sales would be 60 million. If someone were to claim global sales of, for example million, that would require the rest of the world to have purchased 60 million copies, or 3 times the anticipate sales and that's already assuming the album is the best selling one ever. For those sales levels to be correct the album would have to have been 3 times as successful as its nearest rival, which of course would have to Album) up in the charts of the majority of other countries and clearly doesn't.
So any claim of more than million sales for "Thriller" would be obviously ludicrous. The minimal sales figure represents a guaranteed certified absolute minimum of the album's sales. But this is a low estimate, both because the sales were audited some time in the past and extra sales have happened since then, and also because other smaller markets must have additional sales. So in order to estimate the actual sales we first need to take into account the underestimate of sales in the given markets, then we have to take account of the remaining market in other countries.
The certified sales for the US are generally accepted as a reasonable estimate of sales. When the total number of certified sales for the other markets are compared it can be seen that they are always more cautious about sales estimates than the RIAA.
If we accept the US numbers then we should expect the actual numbers for the other markets to be higher, as shown in the "Expected" column below. We can therefore calculate an "Adjustment" factor for each market.
So the Album) numbers are multiplied by the factor to estimate the actual sales in each of the four markets. This estimate of the rest of the world's sales has quite a lot of uncertainty. As was mentioned the certification authorities started work in the s. This means that reliable sales numbers are not available for albums released before about As the greatest album page has shown the impact on the chart of, for example some albums from The Beatleswas massive. Can that possibly be accurate, or has the focus on recent sales resulted in a systematic underestimate of historical sales?
We can start to explore the question of historical sales levels with a set of numbers from the RIAA for the US music market over the period - This illustrates how the US revenue from music has changed over the last 15 years, however this series of data only starts inmuch too late to answer our question. One way to view this says that the number of certified disks in was roughly half that in so the ratio of sales should be about the same.
Awards are always retrospective, so one might worry that this assumption is too simplistic. However it is reasonable to assume that the rate of new awards in any year is related to the number of candidates passing the threshold for the award within that year, in other words the the number of awards is proportional to sales in that year, even if the bulk of the album's sales were obtained in previous years.
In fact it is easy to see that this measure will exagerate the volume of sales as time goes on, since the number of candidates for awards is always being added to. So the sales for - and the number of gold records both help to hint at the trend in market size. Using a combination of other such indicators we can estimate the music market sales for the US for a much longer period.
This results in the above estimate of the value of the global music market from - Finally, if inflation and the changing cost of albums is taken into account the above plot shows how the real global music revenue has changed over the last 50 years. There are two factors that complicate the interpretation of the peak between andfirst this era was dominated by the sale of singles rather than albums, and second the adjustment to account for the relative cost of albums may be too severe.
Unit shipment numbers from Japan suggest that contemporary sales of music in the s was between one third and a quarter of the volumes in the late s. For the well-known albums on this list i. So we should expect that a "major hit" album ofsuch as "Rubber Soul" would have something like half the sales of an equivalent album fromlike "Jagged Little Pill". This appears to indicate that the low representation Album) this sales lists of The Beatles and of course all the other top acts of the 50s, 60s and early 70s are connected with the process of auditing rather than reflecting the actual sales numbers of their records.
Of course it is interesting to compare this analysis of the global sales with the long term trends that can be seen in the charts. As with all the complex calculations described on the site you can decide to try out a different approach. If your analysis shows something interesting we will be interested to hear about it. These results were generated from data version 1. Thanks for the info but we can't incorporate individual entries we need a complete refresh of the whole chart.
From Wikipedia, the free encyclopedia. Archived from the original on Retrieved Official Charts Company. Retrieved 2 February Facebook Twitter Flipboard Email. March 1, PM ET. Enlarge this image. Rockabilly Hall of Fame. Retrieved February 22, The New York Times. Big Cartoon News. Big Cartoon DataBase.
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