Intersound (LPs)

[Mr]

Original list courtesy of Lobbykiller, revised by me.

German label launched c. 1979 by Gerhard Narholz and based in München, Bayern.
Essentially an offshoot of Narholz' Sonoton, with which it shares an address, the label focused on more performer-centric instrumental music, enlisting the contributions of a few not-insignificant names of easy listening and big band music, including Nelson Riddle, Billy May, Les Brown, Xavier Cugat and Franck Pourcel, as well as Germany's own Horst Jankowski.

Releases are mostly (but not all) undated.

The rights seems to be spread across a few different publishers surrounding Narholz and Sonoton, including Sonoton Music GmbH Co. KG itself, and subsidiaries Edition Dezime and Edition Konkret, Narholz' Figurata Musikverlag, Intersound subsidiaries Vivatone Editions and Edtition Tonarchiv, Gunter and Waltraud Greffenius' Edition Show Business and Edition Sportiva, Hilla Seuß' Atlas-Musikverlag and Konrad Wolf's Discant Musik-Edition.

The company is still active, now as a Sonoton subsidiary.


LPs:
ISST 101 - Meet Mr. Black Forest - Horst Jankowski and His Orchestra (undated)
ISST 102 - Take the Chance for a Dance - Hans Ehrlinger and His Orchestra (undated)
ISST 103 - Flying Dreams - Antonio Campo and His Orchestra (undated)
ISST 104 - Western Railroad - Billy's Western Brass (undated)
ISST 105 - Piano Interlude - Horst Jankowski (undated)
ISST 106 - To All My Friends - Xavier Cugat and His Orchestra (undated - Selecta: July 2nd, 1979)
ISST 107 - Don't Disturb My Crocodile - Peter Xanten's Ragtime Band (undated)
ISST 108 - Sax Message - Carl Drewo
ISST 109 - Plastic Popsicle - John Fiddy and His Orchestra (undated)
ISST 110 - Guitar Junction - The Exciting Sounds of Kevin Peek and His Synthesizer Guitar
ISST 111 - Lights On - George Winters and His Orchestra (undated)
ISST 112 - Flowers - The Magic Strings arranged and conducted by Norman Candler (undated)
ISST 113 - Get on the Band Wagon - Jerry Mengo and His Orchestra (undated)
ISST 114 - Babylon A.M.C.: Instrumental Fantasy for 11 Keyboards & Rhythm and Brass Combination - The Rias Orchestra cond. by Helmuth Brandenburg
ISST 115 - Romance, Fire and Fancy - Nelson Riddle and His Orchestra (undated)
ISST 116 - Holiday in Dixieland - The Two Beats
ISST 117 - Extracting the Digital - Tony Fisher with the John Fiddy Enterprise (undated)
ISST 118 - You May Swing - The Golden Sound of Billy May and His Orchestra (undated)
ISST 119 - Poetry: Guitar Ballads Played by Michael Goltz - Michael Goltz/The Rias Strings conducted by Helmuth Brandenburg (undated)
ISST 120 - Funky on the Rocks - The Alpine Pop Sounds of Die Popländer Musikanten (undated)
ISST 121 - Synthésis - The Digital Sounds of Claude Larson and His Computercontrolled Oscillators (undated)
ISST 122 - Trombone Talk - The Slurping Trombones of Hans Ehrlinger and His Orchestra (undated)
ISST 123 - Dream Away - Anesis (undated)
ISST 124 - Holiday Dreams: The Soft Sounds of Dusko Goykovich, Flügelhorn - Dusko Goykovich/The Soft Strings of the George Winters Orchestra (undated)
ISST 125 - Turned to Stone - Troll (undated)
ISST 126 - Please Smile Again - The Rias Orchestra cond. by Helmuth Brandenburg (undated)
ISST 127 - High-Tech - The Digital Sound of Claude Larson (undated)
ISST 128 - Meet Mr. Black Forest Vol. 2 - Horst Jankowski and His Orchestra (undated)
ISST 129 - Over the Rainbow - The Mladen Franko Group (undated)
ISST 130 - Dreaming in the Sun featuring Acker Bilk, Clarinet - Acker Bilk/The Magic Strings arr. and cond. by Norman Candler (undated)
ISST 131 - The Big Band Sound of Ted Heath under the Direction of Don Lusher - The Ted Heath Orchestra (undated)
ISST 132 - Piano to the People - The Main Street Piano Band (undated)
ISST 133 - Pourcel Himself - Franck Pourcel & His Orchestra (undated)
ISST 134 - Still on My Way - Wolf (undated)
ISST 135 - Patterns - Mainstream (undated)
ISST 136 - Flights of Fancy - Etienne Cap and His Orchestra (undated)
ISST 137 - Imaginations - John Fiddy and His Orchestra (undated)
ISST 138 - What the Hell Is Happening - Sepia (undated)
ISST 139 - Summer Serenade - Mladen Franko with the Dreamland Strings (undated)
ISST 140 - Guitar Tales - Wolf (undated)
ISST 141 - Burning - Troll (undated)
ISST 142 - Pan Pipe Pops - Giuseppe Solera, Panpipe/The Norman Candler Orchestra (undated)
ISST 143 - Sax-Shop - Manuel Landy (undated)
ISST 144 - Guitar Magic - Al Sigmund (undated)
ISST 145 - Middle of the Road - The Rias Orchestra presents Kookie Freeman & His Original Velvet Sound (undated)
ISST 146 - Castles in the Air - The Philharmonic Pop Orchestra arranged and conducted by Helmuth Brandenburg (undated)
ISST 147 - Happy Copa Cabana - Juan Erlando and His New Latin Band (undated)
ISST 148 - Waves across the Sand - The Alan Parker Sound (undated)
ISST 149 - Fun Key - Joerg Reiter & Band (undated)
ISST 150 - Capolinea Club - Attilio Donadio Big Band (undated)
ISST 151 - Happy Blue Piano - Horst Jankowski/The Rias Orchestra arranged and conducted by Helmuth Brandenburg (undated)
ISST 152 - Golden Age - The Mladen Franko Group featuring Giuseppe Solera, Harmonica (undated)
ISST 153 - Tief drin' im Böhmerwald: Golden Bohemian Brass (Originalaufnahmen der beliebtesten böhmischen Blaskapellen) - Moravanka (Leitung: Jan Slabák)/Budvarka (Leitung: Áda Školka)/Goldene Blasmusik (Leitung: Jiří Eliášek)/Ostrauer Zehner (Leitung: Věroslav Lancǎ)/Original kleine Böhmische Blasmusik (Leitung: Ladislav Kubeš)/Blasorchester Eduard Kudelásek (undated)
ISST 154 - Thanks for the Melodies - The Magic Strings arranged and conducted by Norman Candler (undated)
ISST 155 - Sun River - Joerg Reiter & Band featuring Stefan Diez, Guitar (undated)
ISST 156 - More from the Maestro - Franck Pourcel and His Orchestra (undated)
ISST 157 - Boogie - The Boogie Clan (undated)
ISST 158 - Morning Concerto - Piano Tales Played by Mladen Franko & the Norman Candler Strings (undated)
ISST 159 - Daydreams - Kapono Beamer
ISST 160 - Traumnoten - Easy Listening with Eugen Cicero and the Rias Orchestra conducted by Rüdiger Piesker (undated)
ISST 161 - Blue Night Concerto - The Philharmonic Pop Orchestra arranged and conducted by Helmuth Brandenburg featuring Hans-Otto Gerosch (Piano) (undated)
ISST 162 - Sunset Kisses - Joerg Reiter & Band featuring Johannes Faber, flügelhorn & trumpet
ISST 163 - Plastic Zoo - Plastic Zoo, arranged & trained by Harry Winkler (undated)
ISST 164 - Tief drin' im Böhmerwald: Golden Bohemian Brass Vol. 2 (Originalaufnahmen der beliebtesten böhmischen Blaskapellen: Folge 2) - Jaroslav Malina und seine Böhmerwald Musikanten (undated)
ISST 165 - Sailing to an Isle of Dreams - Mr. Acker Bilk & the Norman Candler Strings
ISST 166 - Jolly Jo Joker - Pepe's Jolly Sax (undated)
ISST 167 - The Summer of '85 and Other Seasons - Cis (undated)
ISST 168 - Just Beautiful - The Romantic Piano of Mladen Franko & His Orchestra (undated)
ISST 169 - Love to Share - Wolf and His Soft Rock Guitar
ISST 170 - The One and Only - Les Brown and His Band of Renown (1986)
ISST 171 - Poetry: Guitar Ballads Played by Michael Goltz Volume 2 - Michael Goltz/The Rias Strings cond. by Helmuth Brandenburg (undated)
ISST 172 - Fun Key II - Joerg Reiter
ISST 173 - More than Ever - Francis Goya with the Norman Candler Strings (undated)
ISST 174 - Back with the Boys - Kevin Peek
ISST 175 - Fantasy Games - Terence Yucca (undated)
ISST 176 - Open All Hours - Megatone (undated)
ISST 177 - Gee Whiz! - The Pride of London Big Band (undated)
ISST 178 - Visions - The Stephan Diez Group featuring Johannes Faber (undated)
ISST 179 - Pop Sinfonietta - The Philharmonic Pop Orchestra arranged and conducted by Helmuth Brandenburg (undated)
ISST 180 - Head Winds - Seefelder (undated)
ISST 181 - Piano on the Road - The Mladen Franko Group (undated)
ISST 182 - Meet Me - Klaus Peter Schöpfer & Friends, special guests: Abraham Laboriel, Alex Acuna & Hadley Hockensmith (undated)
ISST 183 - Silent Crossing - Kapono Beamer (undated)
ISST 184 - Colours in Jazz - Francis Coppieters Selection featuring Klaus Weiss, drums/Koenraad Ellegiers, violin/Gustav Kedves, French horn (1986)
ISST 185 - Fun Key 3 - Joerg Reiter/The Piano Conception (undated)
ISST 186 - Tief drin' im Böhmerwald: Golden Bohemian Brass Vol. 3 (Originalaufnahmen der beliebtesten böhmischen Blaskapellen: Folge 3) - Starobrněnská 12 (Leitung: Josef Ružička)/Moravanka (Leitung: Jan Slabák)/Veselka (Leitung: Ladislav Kubeš jun.)/Original Pilsner Urquell Musikanten (Leitung: Josef Pospíšil)/Bojané (Leitung: Josef Esterka)/Jarovanka (Leitung: Jaroslav Malina)/Lesanka (Leitung: Jan Paleček)/Plzeňská 12° (Leitung: Vlastimil Eichler) (undated)
ISST 187 - Talk to Me - Geoff Bastow
ISST 188 - The New Magic - Norman Candler/The Magic Strings (undated)
ISST 189 - Fröhliche Runde - Petra Wechselberger (Hackbrett) und die Krimmler Saitenmusi (undated)
ISST 190 - Arriba Erlando - Juan Erlando and His New Latin Band (undated)
ISST 191 - City Lights - The Diez Brothers, Frank & Stephan Diez (undated)
ISST 192 - Relax and Enjoy - The Piano of Horst Jankowski & the Rias Rhythm Section (undated)
ISST 193 - Powerplant - Dieter Reith (undated)
ISST 194 - Late Dance - The Rias Sax & Brass Section featuring Christin Pittius, keyboards (undated)
ISST 195 - Pop to the Past - The Philharmonic Pop Orchestra conducted by Helmuth Brandenburg
ISST 196 - Crazy Days Are Back Again - Charlie's Oldtimers
ISST 197 - ....So Many Ways - Horst Jankowski, Piano, with the Rias Strings (undated)
ISST 198 - The Night Groove - Joerg Reiter/Charly Mariano/Peter Tiehuis/Elmar Schmidt/Ralf Illenberger/Dave King/Freddy Santiago (undated)
ISST 199 - Lighting up the Town - Kenny Ball and the Jazzmen (undated)
ISST 200 - Let Things Happen - Barry & John/The RIAS Orchestra conducted by Helmuth Brandenburg/Barry Ross & John Marshall/Christian Pittius (undated)
ISST 201 - Art - Art van Damme/Peter Horton/Ingo Cramer/Hajo Lange (undated)
ISST 202 - Hold on Me - Klaus Peter Schöpfer & Friends featuring Ernie Watts (undated)
ISST 203 - Don't Look Back - Tough Stuff (1990)

"ISUS"-series, alternate versions of some of the above releases:
ISUS 121 - Synthésis: Underscores - Claude Larson
ISUS 123 - Dream Away: Underscores - Anesis
ISUS 146 - Castles in the Air: Classical Versions without Pop Rhythm - The Philharmonic Pop Orchestra arranged and conducted by Helmuth Brandenburg
ISUS 161 - Blue Night Concerto: Classical Versions without Pop Rhythm - The Philharmonic Pop Orchestra arranged and conducted by Helmuth Brandenburg featuring Hans-Otto Gerosch (Piano)

Underscores
Rhythmusversionen ohne Melodie - Rhythme sans theme - Illustrazione ritmica senza melodia

Classical versions without pop rhythm
"Classical" versions without pop rhythm. "Klassische" Versionen ohne Rhythmus. Version classique sans rythmique. Versione "classica" senza ritmo pop.

"SPOTS"-series, jingles/commercial cuts:
SPOTS 1 - Spots 1 ("Short versions of instrumentals previously released on Intersound Records ISST 101-105")
SPOTS 2 - Spots 2 ("Short versions of instrumentals previously released on Intersound Records ISST 105-109")
SPOTS 3 - Spots 3 ("Short versions of instrumentals previously released on Intersound Records ISST 110-119")
SPOTS 4 - Spots 4 ("Short versions of instrumentals previously released on Intersound Records ISST/ISUS 119-123")
SPOTS 5 - Spots 5 ("Short versions of instrumentals previously released on Intersound Records ISST 124-129")
SPOTS 6 - Spots 6 ("Short versions of instrumentals previously released on Intersound Records ISST 130-136")
SPOTS 7 - Spots 7 ("Short versions of instrumentals previously released on Intersound Records ISST 137-143")
SPOTS 8 - Spots 8 ("Short versions of instrumentals previously released on Intersound Records ISST 144-150")
SPOTS 9 - Spots 9 ("Short versions of instrumentals previously released on Intersound Records ISST 151-172")
SPOTS 10 - Spots 10 ("Short versions of instrumentals previously released on Intersound Records ISST 172-181")

Composers:
ISST 101 - Gerhard Narholz/Horst Jankowski/trad. arr. Rob Pronk/Norman Candler (Gerhard Narholz)/Rob Pronk/Christian Halldorf (Wolfgang Förster)/Rolf Cardello (Rüdiger Piesker)
ISST 102 - Gerhard Narholz/trad. arr Hans Ehrlinger/Mario Kinel/Rolf Kulander/Sammy Burdson (Gerhard Narholz)/Hans Ehrlinger/Otto Sieben (Gerhard Narholz)/Wolfgang Kaltenbach (Heide Pehofer)/Gil Flat (Hans Ehrlinger)/Dave Rosenholz (Michael Stenz)
ISST 103 - Hans Günther Bunz/Norman Candler (Gerhard Narholz)/Antonio Campo (Frits Velt)/Gerhard Narholz/Walt Rockman (Gerhard Narholz)/Jerry Westerby (Wolfgang Förster)
ISST 104 - Hans Ehrlinger/trad. arr. Gil Flat (Hans Ehrlinger)/trad. arr. Al Blackstick (Heribert Thusek)/trad. arr. Franco Domani (Heribert Thusek)/Heribert Thusek/Bert Loska (Heribert Thusek)/Gil Flat (Hans Ehrlinger)/trad. arr. Heribert Thusek/Walter Franz
ISST 105 - Can Candid (Heinz Stiersdorfer)/Horst Jankowski/Otto Sieben (Gerhard Narholz)/Ted Rideout (Helmuth Brandenburg)/Norman Candler (Gerhard Narholz)/Gerhard Narholz/Svein Björnson (Heinz Matschurat)
ISST 106 - trad. arr. Juan Erlando (Hans Ehrlinger)/Benny Sky (Lothar Nakat)/Sammy Burdson (Gerhard Narholz)/Mac Prindy (Gerhard Narholz)/Gerhard Narholz/Norman Candler (Gerhard Narholz)/Rolf Kulander/Alfred Dilz-Hartenstein
ISST 107 - Walt Rockman (Gerhard Narholz)/Ron Fletcher (Hermann Egger)/Gerhard Narholz/Peter Xanten (Helmuth Brandenburg)/Wolfgang Brenk (Wolf Niggeling)/Helmuth Brandenburg/Dietmar Kindler/Tony Tape (Gerhard Narholz)/Alfred Dilz-Hartenstein
ISST 108 - Terence Yucca (Helmuth Brandenburg)/Vladimir Kos/Wolfgang Kaltenbach (Heide Pehofer)/Helmuth Brandenburg/Ted Rideout (Helmuth Brandenburg)/Tony Tape (Gerhard Narholz)/Norman Candler (Gerhard Narholz)/Alfi Kabiljo/Sven Björnson (Heinz Matschurat)/Teddy Ehrenreich/Sammy Burdson (Gerhard Narholz)
ISST 109 - Gerhard Narholz/John Fiddy/Sammy Burdson (Gerhard Narholz)/Peter Guntherson (John Fiddy)/Barry Ryder (John Fiddy)/Mac Prindy (Gerhard Narholz)/Fernand Moreno (Ferdinand Slothouwer)/Klaus Witschi (Hilla Seuß)
ISST 110 - John Fiddy/Norman Candler (Gerhard Narholz)/trad. arr. Barry Ryder (John Fiddy)-Norman Candler (Gerhard Narholz)-Kevin Peek/Barry Ryder (John Fiddy)/Kevin Peek/Peter Guntherson (John Fiddy)/Sammy Burdson (Gerhard Narholz)
ISST 111 - Fridl Althaller/Boris Schoska (Manfred Minnich)/Hans E. Häusser/Werner Bild (Manfred Minnich)/Heinz Jahr/Walter Franz/George Potella (Manfred Potella)/Sven Björnson (Heinz Matschurat)/Manfred Minnich/Ernst Fienbork/Gerhard Narholz/Rolf Asberg (Horst Kirsch)
ISST 112 - Heinz Matschurat/trad. arr. Norman Candler (Gerhard Narholz)/Vladimir Kos/Yradier arr. Norman Candler (Gerhard Narholz)/Danks arr. Norman Candler (Gerhard Narholz)/Horst Kirsch/Norman Candler (Gerhard Narholz)/Martini arr. Norman Candler (Gerhard Narholz)
ISST 113 - Denza arr. Jerry Mengo (Joseph Mengozzi)/Hans Gisha/Jerry Mengo (Joseph Mengozzi)/Klaus Köster (Klaus Werker)/Franz Frankenberg/Fernand Moreno (Ferdinand Slothouwer)/trad. arr. Jerry Mengo (Joseph Mengozzi)/Damian Robinson/John Roberts
ISST 114 - Helmuth Brandenburg
ISST 115 - Norman Candler (Gerhard Narholz)/Nelson Riddle/Tony Tape (Gerhard Narholz)/Cecil Canterburn (Ernst Fienbork)/Hans E. Häusser/Walt S. Heebner/Jim Harbourg (Gerhard Narholz)/trad. arr. Nelson Riddle-Klaus Witschi (Hilla Seuß)
ISST 116 - Can Candid (Heinz Stiersdorfer)/trad. arr. Gil Flat (Hans Ehrlinger)/Robert Konar (Jan Markowski)/trad. arr. Hans Ehrlinger/Conti Eckert/trad. arr. Joe Satory (Hans Ehrlinger)/Joe Lordup (Hannes Gottauf)/Mike Sunderland (Heinz Matschurat)
ISST 117 - Gerhard Narholz/Tony Fisher/Sammy Burdson (Gerhard Narholz)/John Fiddy/Walt Rockman (Gerhard Narholz)/Jean-Claude Madonne (John Fiddy)/Barry Ryder (John Fiddy)/Peter Guntherson (John Fiddy)/Günther Birner/Mike Sunderland (Heinz Matschurat)/Antonio Scorsi (Roman W. Zajaczek)
ISST 118 - Billy May/Tony Tape (Gerhard Narholz)/Rolf Kuhl (Rolf Kulander)/Walt S. Heebner/Karlheinz Krupp/trad. arr. Billy May-Klaus Witschi (Hilla Seuß)/Gerhard Narholz/Jim Harbourg (Gerhard Narholz)/H. Kia (Hilla Seuß)
ISST 119 - Alfred Jack/Terence Yucca (Helmuth Brandenburg)/Werner Randecker/Norman Candler (Gerhard Narholz)/Uli Röver/Rolf Asberg (Horst Kirsch)/Dieter Reith/Benny Sky (Lothar Nakat)/Tony Tape (Gerhard Narholz)/Wolfgang Förster/David Xerxes (Helmuth Brandenburg)/Rolf Kulander
ISST 120 - Hans Ehrlinger/Heribert Thusek/Johann Einsiedl (Hans Ehrlinger)/Bert Loska (Heribert Thusek)/Otto Sieben (Gerhard Narholz)/Ulrich Wenzel/Can Candid (Heinz Stiersdorfer)/Horst Kirsch
ISST 121 - Gerhard Narholz/Claude Larson (Klaus Netzle)/Manuel Landy (Delle Haensch)/Jim Harbourg (Gerhard Narholz)/Antonio Scorsi (Roman W. Zajaczek)
ISST 122 - Gerhard Narholz/Hans Ehrlinger/Allan Brennes (Walter Franz)/trad. arr. Heribert Thusek/Hans E. Häusser/Joe Satory (Hans Ehrlinger)/Frank Syman (Heribert Thusek)/Sammy Burdson (Gerhard Narholz)/Gil Flat (Hans Ehrlinger)/trad. arr. Bert Loska (Heribert Thusek)/Franco Domani (Heribert Thusek)
ISST 123 - Norman Candler (Gerhard Narholz)/Fred Silberstein (Wolfgang Förster)/Walter Rauxel (Helmuth Brandenburg)/Antonio Scorsi (Roman W. Zajaczek)/Krys Moram (Jan Markowski)/Walt Rockman (Gerhard Narholz)/Sammy Burdson (Gerhard Narholz)/Helmuth Brandenburg/Peter Xanten (Helmuth Brandenburg)/Terence Yucca (Helmuth Brandenburg)
ISST 124 - Werner Bild (Manfred Minnich)/Klaus Köster (Klaus Werker)/Eddie Warner (Warner Blumann)/Tony Tape (Gerhard Narholz)/Boris Schoska (Manfred Minnich)/Vladimir Kos/Norman Candler (Gerhard Narholz)/Ronald Sekura (Konrad Wolf)/Hans Günther Bunz/Georg Potella (Manfred Minnich)/Klaus Fischer (Konrad Wolf)
ISST 125 - Barry Ryder (John Fiddy)/Mac Prindy (Gerhard Narholz)
ISST 126 - Barry Ross/Arias (????)/Walt Rockman (Gerhard Narholz)/David Xerxes (Helmuth Brandenburg)/Jerry Westerby (Wolfgang Förster)/Sammy Burdson (Gerhard Narholz)/Tony Tape (Gerhard Narholz)/Vladimir Kos/Wolfgang Förster/Peter Xanten (Helmuth Brandenburg)/Adie Feuerstein/Ron Fletcher (Hermann Egger)
ISST 127 - Claude Larson (Klaus Netzle)/Manuel Landy (Delle Haensch)
ISST 128 - Horst Jankowski/Gerhard Narholz/Frank Holfert/Rob Pronk/Otto Sieben (Gerhard Narholz)/Günther Birner/Paul Rothman (Rüdiger Piesker)/Sammy Burdson (Gerhard Narholz)
ISST 129 - Mladen Franko/Giuseppe Solera/Norman Candler (Gerhard Narholz)/Sammy Burdson (Gerhard Narholz)
ISST 130 - trad. arr. Otto Sieben (Gerhard Narholz)-Jan Schneeberg (Heide Pehofer)/Klaus Köster (Klaus Werker)/Norman Candler (Gerhard Narholz)/Sammy Burdson (Gerhard Narholz)/Eddie Warner (Warner Blumann)/Günther Birner/Mac Prindy (Gerhard Narholz)/Benny Sky (Lothar Nakat)
ISST 131 - trad. arr. Ronnie Hazlehurst/Don Lusher/John Robert/Damian Robinson/Günther Birner/Hans E. Häusser/Otto Sieben (Gerhard Narholz)/Ronnie Hazlehurst/Mac Prindy (Gerhard Narholz)/Heinz Buchold
ISST 132 - Mac Prindy (Gerhard Narholz)/Horst Jankowski/Lars Holmen (Werner Böhm)/Charles Simondi (Alfred Dilz-Hartenstein)/Rolf Asberg (Horst Kirsch)/John Finten (Franz Frankenberg)/Antonio Scorsi (Roman W. Zajaczek)/Adie Feuerstein/Paul Rothman (Rüdiger Piesker)/Karlheinz Krupp
ISST 133 - John Fiddy/Sammy Burdson (Gerhard Narholz)/Norman Candler (Gerhard Narholz)/Lars Holmen (Werner Böhm)/Franck Pourcel/Jean-Claude Madonne (John Fiddy)/Dietmar Kindler
ISST 134 - Wolf Nanssen (Wolfgang Göhringer)/Mac Prindy (Gerhard Narholz)/Walt Rockman (Gerhard Narholz)/Jim Harbourg (Gerhard Narholz)/Lars Erigson (Eduard von Overheidt)/Mike Sunderland (Heinz Matschurat)
ISST 135 - Hans Thomas-Mindnich/John Epping (Gerhard Narholz)/Gerhard Narholz/Rolf Steinfelder (Gerhard Narholz)/Otto Sieben (Gerhard Narholz)/H. Kia (Hilla Seuß)
ISST 136 - Etienne Cap/Jim Harbourg (Gerhard Narholz)/Norman Candler (Gerhard Narholz)/Hans Thomas-Mindnich/Pedro Valeria (Etienne Cap)/Gerd Kadenbach (Gerd Schmitz)/Gerhard Quaas/Sammy Burdson (Gerhard Narholz)
ISST 137 - Guido Cergoli/Dante Panzuti/Norman Candler (Gerhard Narholz)/John Fiddy/Barry Ryder (John Fiddy)/Tony Tape (Gerhard Narholz)/Heinz Matschurat/Jean-Claude Madonne (John Fiddy)
ISST 138 - Ralf Weigand/Antonio Scorsi (Roman W. Zajaczek)/John Epping (Gerhard Narholz)/Walt Rockman (Gerhard Narholz)/Sammy Burdson (Gerhard Narholz)/Tony Tape (Gerhard Narholz)/Heinrich B. Wagner
ISST 139 - Martin Bondi (Erich Meier)/Mac Prindy (Gerhard Narholz)/Antonio Scorsi (Roman W. Zajaczek)/Glenn Bow (Reinhold Glembotzki)/Otto Sieben (Gerhard Narholz)/Gerhard Narholz/Günther Birner/Norman Candler (Gerhard Narholz)/Guido Cergoli/Virgilio Panzuti/Wolfgang Förster
ISST 140 - Wolf Nanssen (Wolfgang Göhringer)/Walt Rockman (Gerhard Narholz)/Jim Harbourg (Gerhard Narholz)/Norman Candler (Gerhard Narholz)/John Epping (Gerhard Narholz)/Mac Prindy (Gerhard Narholz)
ISST 141 - Barry Ryder (John Fiddy)/Mac Prindy (Gerhard Narholz)/Ramon Codas (Eddy von Overheidt)/Robert Lüben (Conti Eckert)
ISST 142 - Norman Candler (Gerhard Narholz)/Giuseppe Solera/Benny Sky (Lothar Nakat)/Heide Pehofer/Arthur Schmittenbecher/Klaus Köster (Klaus Werker)/Rolf Cardello (Rüdiger Piesker)/Wolfgang Förster/Hermann Impertro/Martin Bondi (Erich Meier)
ISST 143 - Walt Rockman (Gerhard Narholz)/Manuel Landy (Delle Haensch)/Claude Larson (Klaus Netzle)/Jim Harbourg (Gerhard Narholz)/Gerhard Narholz
ISST 144 - Al Sigmund/Karlheinz Krupp/Fridl Althaller/Hans Egon Häusser/Otto Amon/Peter Seiber (Eduard Koeck)/Walter Franz/Frank Holfert/trad. arr. Al Sigmund
ISST 145 - trad. arr. Helmuth Brandenburg/Mac Prindy (Gerhard Narholz)/Hermann Impertro/Hans Thomas-Mindnich/Ted Rideout (Helmuth Brandenburg)/Paul Rothman (Rüdiger Piesker)/Werner Randecker/Frank Holfert/Rolf Steinfelder (Gerhard Narholz)
ISST 146 - Helmuth Brandenburg/Otto Sieben (Gerhard Narholz)/Sven Torstenson (Sven Piesker)/Igor Rosenow/Günther Birner
ISST 147 - Heinrich B. Wagner/trad. arr. Gil Flat (Hans Ehrlinger)/Vladimir Kos/Lars Holmen (Werner Böhm)/Juan Erlando (Hans Ehrlinger)/Rolf Kulander/trad. arr. Juan Erlando (Hans Ehrlinger)/Claude Brennon (Claudius Cojocar)/Hans Ehrlinger/Roy Etzel/Heinz Matschurat/Hans-Günther Bunz/Joe Satori (Hans Ehrlinger)
ISST 148 - Barry Ryder (John Fiddy)/Sammy Burdson (Gerhard Narholz)/Jean C. Madonne (John Fiddy)/Norman Candler (Gerhard Narholz)/Mac Prindy (Gerhard Narholz)/Alan Parker/Günther Birner/Antonio Scorsi (Roman W. Zajaczek)
ISST 149 - Gerhard Narholz/Joerg Reiter/Heinrich B. Wagner/Mac Prindy (Gerhard Narholz)/Jim Harbourg (Gerhard Narholz)/Walt Rockman (Gerhard Narholz)
ISST 150 - Attilio Donadio/Dante Panzuti/Alex Lörke (Klaus Nelhiebel)/Heinz Matschurat/Heinrich B. Wagner/Rex Werra (Werner Randecker)/Otto Sieben (Gerhard Narholz)
ISST 151 - David Xerxes (Helmuth Brandenburg)/Marc Vanessa (Adie Feuerstein)/Rolf Steinfelder (Gerhard Narholz)/Peter Xanten (Helmuth Brandenburg)/Terence Yucca (Helmuth Brandenburg)/Horst Jankowski/Paul Rothman (Rüdiger Piesker)/Helmuth Brandenburg/Vladimir Kos
ISST 152 - Mladen Franko/Giuseppe Solera/Martin Bondi (Erich Meier)
ISST 153 - Jan Sedláček/Áda Školka/trad. arr. Ladislav Kubeš/František Juráček/Věroslav Lanča/Slava Tkačuk/Eduard Kudelásek/Jan Slabák
ISST 154 - trad. arr. Norman Candler (Gerhard Narholz)/Norman Candler (Gerhard Narholz)/Drechsler arr. Norman Candler (Gerhard Narholz)/Charles Simondi (Alfred Dilz-Hartenstein)/A. G. Villoldo arr. Norman Candler (Gerhard Narholz)/Werner Randecker
ISST 155 - Gerhard Narholz/Joerg Reiter/Stefan Diez/Antonio Scorsi (Roman W. Zajaczek)/Mac Prindy (Gerhard Narholz)/Bob Vessin (Rolf Kulander)/John Epping (Gerhard Narholz)
ISST 156 - Jean Claude Madonne (John Fiddy)/John Fiddy/Lars Holmen (Werner Böhm)/Barry Ryder (John Fiddy)/Franck Pourcel/Norman Candler (Gerhard Narholz)/Otto Sieben (Gerhard Narholz)/Sammy Burdson (Gerhard Narholz)/Tony Tape (Gerhard Narholz)/Heinrich B. Wagner
ISST 157 - Denny Motion (Harry Winkler-Rauter)/Walt Rockman (Gerhard Narholz)/Sammy Burdson (Gerhard Narholz)/Christoph W. Narholz/Jeff Hasky (Harry Winkler-Rauter)/Otto Amon/Peter Seiber (Eduard Koeck)/Harry Winkler-Rauter
ISST 158 - Otto Sieben (Gerhard Narholz)/Mladen Franko/Norman Candler (Gerhard Narholz)/Franco Matricano/Martin Bondi (Erich Meier)/John Epping (Gerhard Narholz)/Sven Torstenson (Sven Piesker)/Vladimir Kos
ISST 159 - Norman Candler (Gerhard Narholz)/Kapono Beamer/Christoph W. Narholz
ISST 160 - Eugen Cicero (Eugen Ciceu)/Wolfgang Förster/Hans Egon Häusser/Günther Birner/Sven Torstenson (Sven Piesker)/Allan Brennes (Walter Franz)/Paul Rothman (Rüdiger Piesker)/Hermann Egger/Karlheinz Krupp/Rolf Cardello (Rüdiger Piesker)/Wolfgang Förster
ISST 161 - Otto Sieben (Gerhard Narholz)/Peter Xanten (Helmuth Brandenburg)/Walter Rauxel (Helmuth Brandenburg)/Igor Rosenow/Helmuth Brandenburg/Günther Birner/Sven Torstenson (Sven Piesker)/Ted Rideout (Helmuth Brandenburg)/Claude Brennon (Claudius Cojocar)
ISST 162 - Gerhard Narholz/Johannes Faber-Jakob/Joerg Reiter/Norman Candler (Gerhard Narholz)/Mac Prindy (Gerhard Narholz)/Gerd Kadenbach (Gerd Schmitz)/Jim Harbourg (Gerhard Narholz)
ISST 163 - Harry Winkler-Rauter/Gerhard Narholz
ISST 164 - Heinz Matschurat/Jaroslav Malina
ISST 165 - Antonio Scorsi (Roman W. Zajaczek)/trad. arr. Norman Candler (Gerhard Narholz)/Norman Candler (Gerhard Narholz)/Klaus Köster (Klaus Werker)/Otto Sieben (Gerhard Narholz)/Günther Birner/Ulli Gigg (Lothar Nakat)
ISST 166 - Giuseppe Solera/Mladen Franko/Otto Sieben (Gerhard Narholz)
ISST 167 - Christoph W. Narholz
ISST 168 - Norman Candler (Gerhard Narholz)/Mladen Franko/Martin Bondi (Erich Meier)/Guido Cergoli/Dante Panzuti/Werner Randecker
ISST 169 - Wolf Nanssen (Wolfgang Göhringer)/Christoph W. Narholz/Jim Harbourg (Gerhard Narholz)/Alex Lörke (Klaus Nelhiebel)/Bob Vessin (Rolf Kulander)
ISST 170 - Otto Sieben (Gerhard Narholz)/Gunter Greffenius/James L. Hill/Gerhard Narholz/Les Brown/Sammy Burdson (Gerhard Narholz)/Walt S. Heebner/Marc Monsen (Gunter Greffenius)
ISST 171 - Jan Schneeberg (Heide Pehofer)/Fred Silberstein (Wolfgang Förster)/Norman Candler (Gerhard Narholz)/Ted Rideout (Helmuth Brandenburg)/Rolf Steinfelder (Gerhard Narholz)/Antonio Scorsi (Roman W. Zajaczek)/Michael Goltz/Jim Harbourg (Gerhard Narholz)/David Xerxes (Helmuth Brandenburg)/Thilo Peters/Günther Birner/Friedrich Schlagenweit (Helmuth Brandenburg)
ISST 172 - Joerg Reiter/Norman Candler (Gerhard Narholz)/Hans-G. Bunz/Gerhard Narholz/Mac Prindy (Gerhard Narholz)/Jeff Newman (Joerg Reiter)/Otto Sieben (Gerhard Narholz)
ISST 173 - Mozart arr. Norman Candler (Gerhard Narholz)/Christoph W. Narholz/Borodin-Belaieff arr. Norman Candler (Gerhard Narholz)/trad. arr. Fred Friday (Seppo Paakkunainen)-A. Le'Baron (Osmo Ruuskanen)/Francis Weyer/trad. arr. O. Antero (Osmo Ruuskanen)-Armas Nukarainen (Seppo Paakkunainen)/Gregor F. Narholz/Beethoven arr. Norman Candler (Gerhard Narholz)/Frank Degryse/A. G. Villoldo arr. Norman Candler (Gerhard Narholz)
ISST 174 - Jim Harbourg (Gerhard Narholz)/John Fiddy/Sammy Burdson (Gerhard Narholz)/Guido Cergoli/Virgilio Panzuti/Kevin Peek/Barry Ryder (John Fiddy)/Bizet arr. John Fiddy/Ray Wyngate (Bernd Steffanowski)
ISST 175 - Otto Sieben (Gerhard Narholz)/Terence Yucca (Helmuth Brandenburg)/Ray Wyngate (Bernd Steffanowski)/Christoph W. Narholz/Guido Cergoli/Dante Panzuti/Ted Rideout (Helmuth Brandenburg)/Walter Rauxel (Helmuth Brandenburg)/Bob Vessin (Rolf Kulander)/Igor Rosenow/Paul Rothman (Rüdiger Piesker)/Peter Xanten (Helmuth Brandenburg)
ISST 176 - Jean Claude Madonne (John Fiddy)/John Fiddy/Mac Prindy (Gerhard Narholz)/Gregor F. Narholz/Barry Ryder (John Fiddy)/Christoph W. Narholz/Sammy Burdson (Gerhard Narholz)/Gerhard Narholz/Rudolf Fischer/Mike Sunderland (Heinz Matschurat)/Peter Guntherson (John Fiddy)
ISST 177 - Otto Sieben (Gerhard Narholz)/John Fiddy/Gerd Kadenbach (Gerd Schmitz)/Robert Lüben (Conti Eckert)/Barry Ryder (John Fiddy)/Peter Guntherson (John Fiddy)/Hans Günther Bunz
ISST 178 - Gerhard Narholz/Stephan Diez/Norman Candler (Gerhard Narholz)/Gregor F. Narholz/Christoph W. Narholz/Mike Sunderland (Heinz Matschurat)/Antonio Scorsi (Roman W. Zajaczek)
ISST 179 - Helmuth Brandenburg/Gregor F. Narholz/Otto Sieben (Gerhard Narholz)/Vladimir Kos/Sven Torstenson (Sven Piesker)/Walter Rauxel (Helmuth Brandenburg)/Gerd Kadenbach (Gerd Schmitz)
ISST 180 - Peter O'Mara/Jürgen Seefelder/Rhonda Heath/Marc Monsen (Gunter Greffenius)/Walt Rockman (Gerhard Narholz)
ISST 181 - Mladen Franko/Rudolf Fischer-Potsdam/Mike Sunderland (Heinz Matschurat)/Vladimir Kos/Martin Bondi (Erich Meier)/Ulrich Wenzel/Gregor F. Narholz
ISST 182 - Frieder Berlin/Sammy Burdson (Gerhard Narholz)/Mike Sunderland (Heinz Matschurat)/Klaus Wagenleiter/Gregor F. Narholz/Klaus Peter Schöpfer/Dieter Falk/Jim Harbourg (Gerhard Narholz)/Christoph W. Narholz
ISST 183 - Kapono Beamer/Gregor F. Narholz/Christoph W. Narholz
ISST 184 - Francis Coppieters
ISST 185 - Joerg Reiter/Norman Candler (Gerhard Narholz)/Robert Lüben (Conti Eckert)/Walt Rockman (Gerhard Narholz)/Gregor F. Narholz/Horst Bredow (Dietmar Kindler)/Christoph W. Narholz
ISST 186 - Josef Ružička/Metoděj Prajka/Ladislav Kubeš sen./Josef Konečný/Jan Slabák/Jaroslav Malina/Antonín Pecha/trad. arr. Ladislav Kubeš sen./František Dunovský (Marcel Tkačuk)/Jan Sedláček/Josef Pospíšil/Antonín Bulka
ISST 187 - Geoff Bastow/Norbert Rümmele/John Epping (Gerhard Narholz)/Martin Bondi (Erich Meier)/Sammy Burdson (Gerhard Narholz)/Günther Birner
ISST 188 - trad. arr. Norman Candler (Gerhard Narholz)/Christoph W. Narholz/Gregor F. Narholz/Mike Sunderland (Heinz Matschurat)/Beethoven arr. Norman Candler (Gerhard Narholz)/Norman Candler (Gerhard Narholz)/Karlheinz Krupp/Elgar arr. Norman Candler (Gerhard Narholz)/Günther Birner/Claude Brennon (Claudius Cojocar)
ISST 189 - Otto Sieben (Gerhard Narholz)/trad. arr. Alfons Wechselberger/Hans Lechtaler (Bernd Steffanowski)/Ulrich Wenzel/Eberhard Witt/Fridl Althaller/Hans Free (Heinz Schultze)/Alfons Wechselberger/trad. arr. Hans Lechtaler (Bernd Steffanowski)/Raimund Lohr (Herbert Koch)/Stephan Kling (Hermann Egger)
ISST 190 - Juan Erlando (Hans Ehrlinger)/Vladimir Kos/Bob Vessin (Rolf Kulander)/Joe Satori (Hans Ehrlinger)/Günther Birner/Willy Willmann/Robert Lüben (Conti Eckert)/Allan Brennes (Walter Franz)/Lars Holmen (Werner Böhm)/Mike Sunderland (Heinz Matschurat)/Gil Flat (Hans Ehrlinger)
ISST 191 - Stephan Diez/Christoph W. Narholz/John Epping (Gerhard Narholz)/Frank Akrya (Frank Diez)/Mike Sunderland (Heinz Matschurat)/Robert Lüben (Conti Eckert)/Vic Ellis/Jean-Jacques Kravetz/Thomas Glanz/Pico Dalla (Norbert Rümmele)
ISST 192 - Joplin arr. Peter Xanten (Helmuth Brandenburg)/Horst Jankowski/trad. arr. Helmuth Brandenburg/Werner Randecker/Ted Rideout (Helmuth Brandenburg)/Paul Rothman (Rüdiger Piesker)/Walter Rauxel (Helmuth Brandenburg)/Sven Torstenson (Sven Piesker)/Walter Franz/Hubert Deuringer/Bob Vessin (Rolf Kulander)
ISST 193 - Dieter Reith/Otto Sieben (Gerhard Narholz)/Robert Lüben (Conti Eckert)/Vladimir Kos/Walt Rockman (Gerhard Narholz)/John Epping (Gerhard Narholz)/Jim Harbourg (Gerhard Narholz)
ISST 194 - Helmuth Brandenburg/Rudolf Fischer-Potsdam/Gerd Kadenbach (Gerd Schmitz)/Mike Sunderland (Heinz Matschurat)/Terence Yucca (Helmuth Brandenburg)/Paul Rothman (Rüdiger Piesker)/Gerhard Narholz/David Xerxes (Helmuth Brandenburg)/Sven Torstenson (Sven Piesker)/Robert Lüben (Conti Eckert)/Dave Cornfield (Sven Piesker)/Ted Rideout (Helmuth Brandenburg)/Rolf Cardello (Rüdiger Piesker)
ISST 195 - Helmuth Brandenburg/Otto Sieben (Gerhard Narholz)/Günther Birner/Paul Mondello (Dirk Schütz)/Gregor F. Narholz/Jim Klugman (Rüdiger Piesker)/Walter Rauxel (Helmuth Brandenburg)/Igor Rosenow/Ted Rideout (Helmuth Brandenburg)/Raimond Erbe/David Xerxes (Helmuth Brandenburg)
ISST 196 - Ki Bombo (Hagen Galatis)/Günther Birner/Peter Harling (Hagen Galatis)/Jim Klugman (Rüdiger Piesker)/Allan Brennes (Walter Franz)/Bob Vessin (Rolf Kulander)/Herry J. Schmitt/Hagen Galatis/Marcel Garrieux (Hagen Galatis)/Vladimir Kos
ISST 197 - Horst Jankowski/Kai Rautenberg/Peter Xanten (Helmuth Brandenburg)/Rolf Steinfelder (Gerhard Narholz)/Paul Rothman (Rüdiger Piesker)/Friedrich Schlagenweit/Sammy Burdson (Gerhard Narholz)/Mac Prindy (Gerhard Narholz)/Helmuth Brandenburg/Sven Torstenson (Sven Piesker)
ISST 198 - Joerg Reiter/Theo Tassi (Teofil Merchisan)/Rudolf Fischer-Potsdam/Gerhard Narholz/Frieder Berlin/Günther Birner/John Epping (Gerhard Narholz)
ISST 199 - trad. arr. Kenny Ball-John Fiddy/Benny Sky (Lothar Nakat)/Bert Petri (Gerhard Quaas)/Kenny Ball/Barry Ryder (John Fiddy)/Tony Tape (Gerhard Narholz)/trad. arr. Kenny Ball-Barry Ryder (John Fiddy)/Norman Candler (Gerhard Narholz)/D. Emmett arr. Kenny Ball-Barry Ryder (John Fiddy)/Mike Sunderland (Heinz Matschurat)/Karlheinz Krupp
ISST 200 - Jim Harbourg (Gerhard Narholz)/trad. arr. Helmuth Brandenburg/Sammy Burdson (Gerhard Narholz)/Terence Yucca (Helmuth Brandenburg)/Peter Xanten (Helmuth Brandenburg)/Adelmo Prandi/Otto Sieben (Gerhard Narholz)/Gregor F. Narholz/Mike Sunderland (Heinz Matschurat)/Ted Rideout (Helmuth Brandenburg)/David Xerxes (Helmuth Brandenburg)
ISST 201 - Art van Damme/Tony Tape (Gerhard Narholz)/David Xerxes (Helmuth Brandenburg)/Otto Sieben (Gerhard Narholz)/Norman Candler (Gerhard Narholz)/Jim Klugman (Rüdiger Piesker)/Sammy Burdson (Gerhard Narholz)/Günther Birner/Terence Yucca (Helmuth Brandenburg)/Bert Lindenthal (Walter Depenheuer)/Peter Xanten (Helmuth Brandenburg)/trad. arr. Helmuth Brandenburg/Ted Rideout (Helmuth Brandenburg)
ISST 202 - Klaus Peter Schöpfer/Norman Candler (Gerhard Narholz)/Klaus Wagenleiter/Karlheinz Krupp/John Epping (Gerhard Narholz)/Frieder Berlin/Jim Harbourg (Gerhard Narholz)/Glauco Rosignolo/Dieter Falk/Mac Prindy (Gerhard Narholz)
ISST 203 - Michael Schütz/Mac Prindy (Gerhard Narholz)/Mario Bronzini/Christoph W. Narholz

Publishers, "Original Publisher:", "Verlag:":
ISST 101 - Edition Dezime
ISST 102 - Edition Dezime
ISST 103 - Edition Dezime
ISST 104 - Figurata
ISST 105 - Vivatone Editions
ISST 106 - Vivatone Editions
ISST 107 - Sonoton
ISST 108 - Sonoton
ISST 109 - Vivatone Editions
ISST 110 - Vivatone Editions
ISST 111 - Atlas
ISST 112 - Figurata (GEMA)
ISST 113 - Figurata (GEMA)
ISST 114 - Vivatone Editions/Atlas
ISST 115 - Figurata/Atlas (GEMA)
ISST 116 - Figurata (GEMA)
ISST 117 - Sonoton (GEMA)/Atlas
ISST 118 - Figurata/Atlas (GEMA)
ISST 119 - Vivatone Editions
ISST 120 - Vivatone Editions (GEMA), Vivatone Editions/Atlas (GEMA)
ISST 121 - Vivatone Editions/Edition Dezime (GEMA)
ISST 122 - Figurata/Atlas (GEMA)
ISST 123 - Edition Dezime (GEMA)
ISST 124 - Atlas/Discant/Edition Tonarchiv (GEMA)
ISST 125 - Vivatone Editions (GEMA)
ISST 126 - Vivatone Editions (GEMA)
ISST 127 - Vivatone Editions (GEMA)
ISST 128 - Figurata (GEMA)
ISST 129 - Vivatone Editions (GEMA)
ISST 130 - Figurata (GEMA)
ISST 131 - Atlas (GEMA)/Vivatone Editions (GEMA)
ISST 132 - Figurata (GEMA)
ISST 133 - Figurata (GEMA)
ISST 134 - Vivatone Editions (GEMA)
ISST 135 - Figurata/Atlas (GEMA)
ISST 136 - Atlas (GEMA)/Edition Konkret (GEMA)
ISST 137 - Vivatone Editions (GEMA)
ISST 138 - Vivatone Editions (GEMA)
ISST 139 - Figurata (GEMA)
ISST 140 - Edition Dezime (GEMA)
ISST 141 - Vivatone Editions (GEMA)
ISST 142 - Figurata (GEMA)
ISST 143 - Vivatone Editions (GEMA)
ISST 144 - Edition Dezime (GEMA)
ISST 145 - Vivatone Editions (GEMA)
ISST 146 - Vivatone Editions (GEMA)
ISST 147 - Vivatone Editions (GEMA)
ISST 148 - Figurata (GEMA)
ISST 149 - Vivatone Editions (GEMA)
ISST 150 - Vivatone Editions (GEMA)
ISST 151 - Vivatone Editions (GEMA)
ISST 152 - Edition Konkret (GEMA)
ISST 153 - Vivatone Editions (GEMA)
ISST 154 - Figurata (GEMA)
ISST 155 - Vivatone Editions (GEMA)
ISST 156 - Figurata (GEMA)
ISST 157 - Vivatone Editions (GEMA)
ISST 158 - Figurata (GEMA)
ISST 159 - Figurata (GEMA)
ISST 160 - Vivatone Editions/Atlas (GEMA)
ISST 161 - Vivatone Editions (GEMA)
ISST 162 - Vivatone Editions (GEMA)
ISST 163 - Vivatone Editions (GEMA)
ISST 164 - Edition Dezime (GEMA)
ISST 165 - Figurata (GEMA)
ISST 166 - Figurata (GEMA)
ISST 167 - Figurata
ISST 168 - Figurata, Vivatone Editions (GEMA)
ISST 169 - Edition Tonarchiv (GEMA)
ISST 170 - Vivatone Editions/Edition Sportiva (GEMA)
ISST 171 - Vivatone Editions (GEMA)
ISST 172 - Figurata (GEMA)
ISST 173 - Figurata (GEMA), Figurata/Belaieff (GEMA)
ISST 174 - Figurata (GEMA)
ISST 175 - Vivatone Editions (GEMA)
ISST 176 - Vivatone Editions
ISST 177 - Vivatone Editions (GEMA)
ISST 178 - Vivatone Editions (GEMA)
ISST 179 - Vivatone Editions (GEMA)
ISST 180 - Edition Tonarchiv/Edition Show Business
ISST 181 - Figurata (GEMA)
ISST 182 - Figurata (GEMA)
ISST 183 - Figurata (GEMA)
ISST 184 - Vivatone Editions
ISST 185 - Figurata (GEMA)
ISST 186 - Edition Dezime (GEMA)
ISST 187 - Figurata (GEMA)
ISST 188 - Figurata (GEMA)
ISST 189 - Edition Dezime
ISST 190 - Vivatone Editions (GEMA)
ISST 191 - Figurata (GEMA)
ISST 192 - Vivatone Editions (GEMA)
ISST 193 - Figurata (GEMA)
ISST 194 - Vivatone Editions (GEMA)
ISST 195 - Vivatone Editions (GEMA)
ISST 196 - Figurata (GEMA)
ISST 197 - Vivatone Editions (GEMA)
ISST 198 - Figurata (GEMA)
ISST 199 - Figurata (GEMA)
ISST 200 - no publisher listed(?) (GEMA: Figurata)
ISST 201 - no publisher listed(?) (GEMA: Vivatone Editions)
ISST 202 - Figurata (GEMA)
ISST 203 - Vivatone Editions (GEMA)

SPOTS 1
SPOTS 2 - Vivatone Editions (GEMA), Sonoton (GEMA), Vivatones Editions (GEMA)
SPOTS 3
SPOTS 4 - Vivatone Editions (GEMA), Figurata (GEMA), Edition Dezime (GEMA)
SPOTS 5 - Vivatone Editions (GEMA), Figurata (GEMA)
SPOTS 6
SPOTS 7
SPOTS 8 - Edition Dezime, Vivatone Editions, Figurata
SPOTS 9 - Vivatone Editions, Vivatone Editions/Atlas, Vivatone Editions/Edition Sportiva, Edition Konkret, Edition Tonarchiv, Figurata
SPOTS 10 - Figurata, Vivatone Editions, Edition Tonarchiv/Edition Show Business

Performers, additional info:

ISST 101:

The happy melody of "SCHWARZWALDFAHRT" (Walk In The Black Forest) made Horst Jankowski well known as a composer and pianist throughout the entire world. In Germany he has also earned a reputation as an outstanding entertainer and singer du to his appearence on many TV Shows.
On his latest record "MEET MR BLACK FOREST" his piano is accompanied by 50 strings, woodwind and horns. It is a record for all who love music; for all who do not always appreciated or accept the banal lyrics and insignificant melodies of many of todays' popular songs. Easy listening for the music lover.
The arrangements are by Rob Pronk, composer and arranger, whose successful work for many TV Shows in Germany (eg the Peter Kraus Show) has proved him to be in the world class.

Die fröhliche Melodie der "SCHWARZWALDFAHRT" hat Horst Jankowski in der ganzen Welt als
Komponisten und Pianisten bekannt gemacht. In Deutschland kennt man ihn auch von unzähligen TV-Shows als hervorragenden Entertainer und Sänger.
Auf seiner neuesten Platte "MEET MR. BLACK FOREST" wird sein Solo Klavier von einem großen Orchester mit 50 Streichern, Holz und Hörnern begleitet. Es ist eine Platte für all, die Musik lieben und sich nicht mit der primitiven Machart mancher Tagesschlager zufrieden geben. "Easy Listening" für Fortgeschrittene!
Die Arrangements schrieb Rob Pronk, der als Komponist und Arrangeur vieler TV Showz (z.B. Peter Kraus Show) bewiesen hat, daß er zur internationalen Spitzenklasse zählt.

La charmante mélodie du "VOYAGE DANS LA FORET NOIR" a rendu Horst Jankowski dans le monde entier en tant que compositeur et pianiste. En Allemagne il est aussi connu pour ses nombreux Shows à la télévision comme un excellent animateur et chanteur.
Sur son nouveau disque "MEET MR. BLACK FOREST" son solo piano est accompagné d'un grand orchestre composé de 50 instruments à cordes et d'instruments à vent. C'est un disque pour tous ceux qui aiment la musique et ne se content pas de la banalité de certains succès. "Easy Listening" est quelquechose pour les connaisseurs.
Les arrangements ecrits par Rob Pronk qui a prouvé comme compositeur et arrangeur de nombreux Shows TV (par exemple Peter Kraus Show) qu'il compte parmis les meilleurs artistes internationaux.

La gaia melodia dello "SCHWARZWALDFAHRT" (Viaggio nella Foresta Nera) ha fatto conoscere Horst Jankowski in tutto il mondo quale compositore e pianista. In Germania è conosciuto anche attraverso numerosi shows televisivi come eccellente presentatore e cantante.
Nel suo nuovo disco "MEET MR. BLACK FOREST" il suo assolo di pianoforte è accompagnato da una grande orchestra con 50 strumenti ad archi, legni e corni. Si tratta di un disco per tutti coloro che amano la buona musica e non si accontentano della fattura senza pretese di alcuni succesi d'ogni. "Easy Listening" per intenditori!
Gli arrangiamenti sono stati scritti da Rob Pronk, che ha dato prova quale compositore ed arrangiatore di molto spettacoli televisivi (p.es. per lo show di Peter Kraus) di appartenere alla migliore classe internazionale.

Arrangements: Rob Pronk
Produced by Norman Candler
Sound Engineer: Willy Schmidt

© INTERSOUND
Schleibingerstr. 10
8000 München 80

Trade distribution for U.K. by Selecta,
a division of
THE DECCA RECORD CO. LTD.
125/127, Lee High Road, LONDON WC2H8LU

ISST 102:

Arrangements: Hans Ehrlinger
Produced by Norman Candler
Sound Engineer: Willy Schmidt
Coverphoto: Intersound

HANS EHRLINGER, one of Europe's top trombone soloists introduces a panorama of his musical ability on this record. The interesting and pleasing sound of his arrangements, the precise performance of the orchestra and characteristic and unique sound of his solo trombone create special listening pleasure to all who love good instrumental music.

HANS EHRLINGER, einre der europäischen Top-Posaunisten zeight auf dieser LP die ganze Palette seiner musikalischen Fähigkeiten. Die interessanten, aber angenehmen Klangfarben seiner Arrangements, die Präzision seines Orchesters und der unverwchselbare Ton seiner Solo-Posaune machen diese Produktion zu einem Erlebnis für alle Freunde guter Instrumentalmusik.

HANS EHRLINGER, un des plus célèbres joueurs de trombone nous prouve sur ce disque toute sa capacité. Toutes les nuances intéressantes mais agréables de la tonalité de ses compositions précises et la musicalité sans comparaison de son solo de trombone font de cette production un évenement exceptionnel pour tous les amis de la belle musique instrumentale.

HANS EHRLINGER, uno dei più famosi suonatori europei di tormbone, presenta in questo LP l'intera gamma della sua abilità musicale.
Il colorito interessante nonchè gradevole dei suoi arrangiamenti, la precisione della sua orchestra e il suono inconfondibile del suo trombone soliste, fanno di questa produzione un avvenimento per tutti gli amici della buona musica strumentale.

© INTERSOUND
Schleibingerstr. 10
8000 München 80

Trade distribution for U.K. by Selecta,
a division of
THE DECCA RECORD CO. LTD.
125/127, Lee High Road, LONDON WC2H8LU

ISST 103:

Arrangements: Antonio Campo
Produced by Norman Candler
Sound Engineer: Gerhard Frei
Coverphoto: Intersound

ANTONIO CAMPO, one of the busiest musicians in London recording and TV studios was born in Indonesia. After studying art in Amsterdam he returned to his first love, the guitar.
Starting his musical career in nightclubs around Europe and South America he soon progressed to being a top session musician backing Shirley Bassey, Udo Jürgens, Aretha Franklin, Elton John, Gilbert O'Sullivan, Paul Anka and many others.
He played under the baton of John Dankworth for the Jazz scene, Elmer Bernstein and Henry Mancini on film soundtracks and live concerts.
As arranger and producer he worked for artists such as Penny Lane, Eve Boswell, Rudy Harst, Roger Whittaker and others.
His instrumental album FLYING DREAMS is created for all those willing to let their imagination take a flight.

ANTONIO CAMPO, einer der meistbeschäftigten Instrumentalsolisten in London's Schallplatten und TV Studios, stammt aus Indonesien. Der vielseitig begabte Künstler studierte Malerei in Amsterdam und spielte nebenbei Gitarre in verschiedenen Bands. Bald jedoch widmete er sich ganz der Musik und seiner Gitarre.
Seine musikalische Karriere begann in europäischen und südamerikanischen Nightclubgs. Bald wurde er aber in London seßhaft und entwickelte sich zu einem Top-Session-Musiker, der Shirley Bassey, Udo Jürgens, Aretha Franklin, Elton John, Paul Anka, Gilbert O'Sullivan und viele andere bei ihren Schallplattenaufnahmen und auf der Bühne begleitete.
In der Jazz Scene spielte er unter John Dankworth. Für Elmer Bernstein und Henry Mancini spielte er viele Filmsoundtracks und Live-Konzerte.
Als Arrangeur und Produzent arbeitete er für Künstler wie Roger Whittaker, Penny Lane, Eve Boswell, Rudy Harst und viele andere.
FLYING DREAMS ist ein Insturmental-Album für alle die bereit sind, ihre Träume auf die Reise zu schicken.

ANTONIO CAMPO, un des musiciens les plus demandes dans les studios d'enregistrement et télévision londoniens est originaire d'Indonesie. L'artiste talentueux a étudié la peinture à Amsterdam et jouaint de la guitare dans differentes orchestres. Mais très vite à se consacre entièrement à la musique et sa guitare.
Sa carrière musicale commence dans des nightclubs americains et sud americains. Mais bientôt il s'installe à Londres et il devient l'accompagnateur de Shirley Bassey, Udo Jürgens, Aretha Franklin, Elton John, Paul Anka, Gilbert O'Sullivan et beaucoup d'autres pour leurs enregistrements de disques et aussi sur scène.
Il a joué aussi sous la direction de John Dankworth. Pour Elmer Bernstein et Henry Mancini il a interpreté de la musique de film et se produit dans des concerts.
Au tant qu'arrangeur et producteur il travaille avec des artistes tels que Roger Whittaker, Penny Lane, Eve Boswell, Rudy Harst et beaucoup d'autres.
FLYING DREAMS est un album instrumental pour tous ceux qui sont prèts a s'evader dans leurs rêves.

ANTONIO CAMPO, uno degli strumentalisti più impegnati negli studi televisi e nelle case discografiche di Londra, è nato in Indonesia. Questo artista estremamente versatile allorchè studiava pitture ad Amsterdam, suonava inoltre la chitarra in diverse orchestre. Presto si dedicò completamente alla musica ed alla sua chitarra.
La sua carriera musicale è cominciata nei nightclubs d'Europa e dell' America del sud. Si stabili presto a Londra e divenne un musicista da top session accompagnando Shirley Bassey, Udo Jürgens, Aretha Franklin, Elton John, Gilbert O'Sullivan, Paul Anka e molti altri durante la restrazione dei loro dischi e sul palcoscenico.
Nel campo del jazz ha suonato sotto la direzione di John Dankworth e per Elmer Bernstein ed Henry Mancini molte colonne musicali e concerti dal vivo.
Quale arrangiatore e produttore lavora per artisti come Roger Whittaker, Penny Lane, Eve Boswell, Rudy Harste molti altri.
Il suo album strumental FLYING DREAMS è stato creato per tutti coloro che vogliono dare volo al loro sogni.

© INTERSOUND
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125/127, Lee High Road, LONDON WC2H8LU

ISST 104:

Arrangements: Heribert Thusek/Gil Flat
Produced by Norman Candler
Sound Engineer: Heinz Gärtig
Coverphoto: Intersound

© INTERSOUND
Schleibingerstr. 10
8000 München 80

Trade distribution for U.K. by Selecta,
a division of
THE DECCA RECORD CO. LTD.
125/127, Lee High Road, LONDON WC2H8LU

ISST 105:

Horst Jankowski, Piano
Milan Pilar, Bass
Charly Antolini, Drums

Arrangements: Horst Jankowski
Produced by Norman Candler
Sound Engineer: Willi Schmidt

© INTERSOUND
Schleibingerstr. 10
8000 München 80

Trade distribution for U.K. by Selecta,
a division of
THE DECCA RECORD CO. LTD.
125/127, Lee High Road, LONDON WC2H8LU

ISST 106:

Arrangements: Juan Erlando
Produced by Norman Candler
Sound Engineer: Willi Schmidt
Cover Drawing: Xavier Cugat

AN INTERVIEW WITH XAVIER CUGAT made after the recordings of this album:

Question:
"Mr. Cugat, is this the first time you recorded an album in Germany?"

Cugat:
"Yes, and I am really astonishly surprised about the way they record here in Germany, and the technical quality."

Question:
"Did you start your musical career as a Latin American Music bandleader?"

Cugat:
"No, I startet as a classical violinist. When I was six years old, the only violin maker in Cuba gave me a very small violin, not a toy, a regular one for Christmas. We were four brothers and a sister, but nobody in the family was a musician. I liked to play on that "toy" so much, that my father said: "Well, you don't go to School, you just play the violin all day long." When I was 8 years old, I got a scholarship to study music in the conservatory of Havanna. When I was 12 I was the concert master of the Symphony Orchestra and the Opera Company. At the age of 18 I gave a concert with the Symphony Orchestra conducted by Alfred Hertz. Critics said after the concert: Good Violinist, but not great!" - So I put the violin in the case and never played again - I feel in the concert world there is no in between: either great - or nothing. I then took up my hobby as a profession and became a cartoonist."

Question:
"When did you form your first Latin American Orchestra?"

Cugat:
"After being a cartoonist for five years for the "Times" newspaper, I organised my first Latin Americna Orchestra which was very successful right from the beginning. I was the first one to play in motion pictures, working on 21 films (including "Holiday in Mexico", "Neptune's Daughter", "Transatlantic Luxury", "No Live, no Love" and others) for Metro. I have made hundreds of records for different companies in the United States, South America, Japan and I have practically travelled the whole world with my Orchestra. Also some of the big Latin American numbers have been written for my by all the great composers: in Brazil, Ary Barroso wrote "Brazil" and "Bahia". In Mexico they wrote "Noche de Ronda", "Perfidia", "Quiereme mucho", especially for my orchestra. In the United States Cole Porter wrote "Begin the Beguine" and dedicated it to me and my orchestra. I myself have not written very much as a composer, but I wrote "The Conga", "Cuban Mambo" and some others."

Question:
"With your orchestra you also accompanied many well known singers?"

Cugat:
"Yes, Frank Sinatra. The first record he ever made was with my orchestra. In fact, my theme song is by Frank Sinatra. Also Bing Crosby had some of his big hits with my orchestra: "You belong to my heart", "Bahia", "Frenesi". Perrey Como also sang with my orchestra and many others. I put Dean Martin and Jerry Lewis together for the first time on Broadway at the Paramount Theatre. And of course, when it comes to Latin American artists, practically all sang with my orchestra."

Question:
"You also played many times at the White House in Washington?"

Cugat:
"Yes, I have been very lucky, since President Roosevelt's time I have been invited to play for the inauguration of every president, even for President Carter. I have also been invited to play at the Japanese Palace for the Emperor and his family on October 10th, 1975, a National Feast of Independence. It was the first time a popular orchestra was ever invited to play at the Japanese Palace."

Question:
"Coming back to your work as a cartoonist..."

Cugat:
"I have exhibited already in New York and Rome and I am preparing a very big exhibition in Paris. My caricatures have been reproduced many times. The campaign caricature of President Ford was mine and he used it all the time, even on stationary."

Question:
"There is also one caricature hanging in the White House?"

Cugat:
"Yes, in the White House, there is a big one of the inauguration of President Kennedy who was the one to give the name to my pictures; he called them "Happy Paintings". My paintings have a sense of humor which makes people smile."

Question:
"Talking again of the early days of your musical career. Was it easy to introduce your Latin style to the Americans?"

Cugat:
"No, no, it wasn't easy, it was very difficult. Because they didn't get the rhythm, they didn't have the ear for it. I thought, well, the best way would be to put a very beautiful woman in front of the orchestra. They would feel more about the music. The first girl I put in front of my orchestra was Rita Hayworth, seventeen years old. Her name then was Rita Cansino. I babtised her Rita Hayworth, because Cansino was difficult for the American people. After Rita Hayworth I got Carmen Miranda from Brazil to do the same thing and many others. I always had a very beautiful girl in front of my orchestra, but unfortunately I had to marry five of them! I have now ritten my life story which is called: "My five mothers in law." They were all very, very lovely and they all loved me."

"Mr. Cugat, thank you very, very much for this interview and for this wonderful new album dedicated TO ALL YOUR FRIENDS."

© INTERSOUND
Schleibingerstr. 10
8000 München 80

Trade distribution for U.K. by Selecta,
a division of
THE DECCA RECORD CO. LTD.
125/127, Lee High Road, LONDON SE 13 5 NX

ISST 107:

Arrangements: Peter Xanten
Produced by Norman Candler
Sound Engineer: Willi Schmidt
Coverphoto: Intersound

INTERSOUND
Schleibingerstr. 10
8000 München 80

Trade distribution for U.K. by Selecta,
a division of
THE DECCA RECORD CO. LTD.
125/127, Lee High Road, LONDON SE13 5NX

ISST 108:

Arrangements: Helmuth Brandenburg
Produced by Norman Candler
Sound Engineer: Willi Schmidt
Coverphoto: Intersound

liner notes????

© INTERSOUND
Schleibingerstr. 10
8000 München 80

Trade distribution for U.K. by Selecta,
a division of
THE DECCA RECORD CO. LTD.
125/127, Lee High Road, LONDON SE13 5NX

ISST 109:

Side A recorded at Trixi Studio, Munich
Sound Engineers: H. Gärtig/G. Frei
Produced by Norman Candler

Side B recorded at R.G. Jones Studio, London
Sound Engineer: G. Kitchingh
Coverphoto: Intersound

JOHN FIDDY has made his musical career arranging and conducting for artists such as Petula Clark, Sacha Distel, The Shadows and Judy Garland.

This is his first purely instrumental album and includes several of his own compositions, all arranged in his own inimitable style.

The magic of his sound is the combination of strong, tuneful melodies, wrapped in a very contemporary package.

EASY LISTENING AND DANCING.


JOHN FIDDY, Arrangeur und Dirigent unzähliger Aufnahmen mit Vocalsolisten wie Petula Clark, Sacha Distel, The Shadows, Judy Garland u.a. präsentiert sein erstes Instrumentalalbum mit dem er als Komponist, Arrangeur und Orchesterleiter eine Visitenkarte seiner musikalischen Personlichkeit abgibt.

Das faszinierende an seinem Soudn beruht auf einprägsamen Melodien, oft echten "Ohrwürmern", die er in sehr zeitgernäße Rhythmen verpackt.

EASY LISTENING AND DANCING.


JOHN FIDDY, arrangeur et directeur d'innombrables enregistrements avec des solistes vocaux comme Petula Clark, Sacha Distel, The Shadows, Judy Garland et beaucoup d'autres, présente ici son premier album instrumental, avec lequel il présente la carte de visite de sa personalité musicale en tant que compositeur, arrangeur et directeur d'orchestre.
Le charme de son "sound" est déterminé par des melodies faciles à retenir, souvent des vraies "airs en vogue" qu'il arrange avec des rythmes adaptés au goût du jour.

EASY LISTENING AND DANCING.


JOHN FIDDY, arrangiatore e direttore di innumerevoli incisioni con solisti vocali come Petula Clark, Sacha Distel, The Shadows, Judy Garland ed altri, presenta il suo primo album strumentale con il quale egli porge il biglietto da visita della sua personalità musciale quale compositore, arrangiatore e direttore d'orchestra.
Il fascino del suo sound è determinato dalle melodie facilmente orecchiabili, spesso dei veri e propri "chiodi nella mente", che vengono da lui confezionate ed offerte con ritmi estremamente adatti al gusto dei tempi.

EASY LISTENING AND DANCING.

© INTERSOUND
Schleibingerstraße 10
8000 München 80

Trade distribution for U.K. by Selecta,
a division of
THE DECCA RECORD CO. LTD.
125/127, Lee High Road, LONDON SE13 5NX

ISST 110:

Arrangements: J. Fiddy/K. Peek
Produced by Norman Candler
Sound Engineer: Gary Kitchingh
Coverphoto: INTERSOUND

liner notes????

© INTERSOUND
Schleibingerstr. 10
8000 München 80

Trade distribution for U.K. by Selecta,
a division of
THE DECCA RECORD CO. LTD.
125/127, Lee High Road, LONDON SE13 5NX

ISST 111:

Arrangements: George Winters
Produced by Norman Candler
Sound Engineer: Willi Schmidt
Coverphoto: Intersound

© INTERSOUND
Schleibingerstraße 10
8000 München 80

Trade distribution for U.K. by Selecta,
a division of
THE DECCA RECORD CO. LTD.
125/127, Lee High Road, LONDON SE13 5NX

ISST 112:

Arrangements: Norman Candler
Produced by Norman Candler
Sound Engineer: Willi Schmidt
Coverphoto: Intersound

℗ INTERSOUND
Schleibingerstr. 10
8000 München 80

This is a promotion record and not available for sale to the general public.

ISST 113:

Coverphotos: Intersound (front) and Claude Poirier, Paris
Arrangements: Jerry Mengo
Produced by Norman Candler

℗ INTERSOUND
Schleibingerstr. 10
8000 München 80

ISST 114:

Sound engineer: Gert Bazin
Producer: Klaus Bischke
Recorded at RIAS Tonstudio, Berlin
Coverphoto: Intersound

℗ INTERSOUND
Schleibingerstraße 10
8000 München 80

ISST 115:

The Nelson Riddle Orchestra
Flutes: Harry Klee, Willie Schwartz, Dave Shostac, Bud Shank, Abe Most
Oboe (Engl. Hn.): Barbara Winters
Clarinet: Abe Most
Trumpets: Bobby Bryant, "Shorty" Sherlock, John Audino, Oscar Brashear
Trombone: Tommy Shepard, Tommy Pederson, Chris Riddle
French Horns: Vinnie De Rosa, Arthur Maebe, Dick Perissi
Piano: Alan Broadbent
Guitars: Joe DiBlasi, Mike Clinco
Bass: Steve La Fever
Drums: Norm Jeffries
Percussion: Bob Zimmitti
Leaders of the strings section: Lenny Atkins, Gerald Vinci
Harp: Lou Ann Neil

Soloists:
A1, B2: Joe DiBlasi, Guitar
A3, B4: John Audino, Flugel, Trumpet
A5, B6: Barbara Winters, Oboe, Engl. Hn.
B3: Abe Most, Flute
B4: Alan Broadbent, Piano
B6: Louis di Tullio, Flute

Arrangements: Nelson Riddle
Produced by Walt S. Heebner and Norman Candler
Recorded at Capitol Records Studio Hollywood by Hugh Davies
Remixed at Trixi Tonstudio, Munich by Willi Schmidt
Coverphotos: Intersound (front) and Brian D. McLaughlin

INTERSOUND
Schleibingerstr. 10
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ISST 116:

Benny Gebauer, Clarinet
Dieter Mäder, Trumpet
Hans Ehrlinger, Trombone
Armin Rusch, Piano
Dirk Schweppe, Banjo
Milan Pilar, Bass
Charly Antolini, Drums
harry Thusek, Washboard

Arrangements: Hans Ehrlinger
Produced by Norman Candler
Sound Engineer: Willi Schmidt
Coverphoto: Intersound

℗ INTERSOUND
Schleibingerstr. 10
8000 München 80

ISST 117:

Arrangements: John Fiddy
Digital Sounds And Computer Programmes: Claude Larson
Remixed at Trixi Tonstudio, Munich by Willy Schmidt
Produced at ELMULAB, Munich, by John Fiddy and Norman Candler

Erquipment used:
FAIRLIGHT CMI MUSIC-COMPUTER
ROLAND SYSTEM 700
OBERHEIM 4 VOICE
POLYMOOG
ROLAND MC 8 MICROCOMPOSER
SYNTOVOX VOCODER
YAMAHA CS80
PROPHET 5-VOICE
ARP PRO SOLOIST
MINI-MOOG
ROLAND MP 700 ELECTRIC PIANO

Tony Fisher, the leading British solo trumpet player, here presents his first album with a digital orchestral background.
Whether blowing happily as on "YANKEE PANKY" and "WAKE UP SMILING", interpreting a romantic title such as "RIGHT AFTER MIDNIGHT"on the fluegel-horn, or displaying his virtuosity and command on "COLONEL ROCKBOROUGH'S BLUES", a personal spark always leaps across to the audience. His interpretations never give the impression of being studio-made - impersonal and cold. He deftly bridges the gap between the sterile atmosphere of the studio and his public, making a direct appeal as if live on stage.
Using solo and multi-tracked trumpet and fluegel-horn in the main, Tony also employs the unusual and sonorous sound of the bass-trumpet on "FINALLY".
He is accompanied by the John Fiddy Enterprise, a band which integrates modern synthesizer sounds, computer recording, and "natural" sounds in an unusual and very musical way, so that the casual listener is not distrubed by the complex backgrounds; however careful listening will be rewarded with all kinds of delights. The listener will not be aware that a large part of the accompaniment is played by computer, because the computer has been programmed with as much loving care as any fine instrument would be played.
"EXTRACTING THE DIGITAL" is an album in which the extraordinary solo abilities of Tony Fisher and the most modern recording techniques have been merged into a superb sound experience for our generation.


Tony Fisher, der führende, englische Solo-Trompeter präsentiert hiermit sein erstes Album mit digitalem Orchester-Background.
Ob er "happy-populär" bläst wie bei "YANKEE PANKY" und "WAKE UP SMILING", ob er romantisch-melodiöse Titel auf dem Flüegelhorn interpretiert, wie "RIGHT AFTER MIDNIGHT", oder ob er im "COLONEL ROCKBOROUGH'S BLUES" mit großer Virtuosität brilliert, - immer springt ein persönlicher Funke über zum Publikum. Niemals wirkst seine Interpretation studiomäßig-unpersönlich und kalt.Spielerisch überbrückt er die tiefe Kluft, die zwischen der nüchternen Studio Atmosphäre und der breiten Offentlichkeit besteht und spricht mit jedem Takt sein Publikum direkt und persönlich an, wie er es von der Bühne der gewöhnt ist.
Sogar der ungewöhnlichen Baßtrompete entlockt er harmonische Melodiebögen, die die Kuriostät dieses Instruments vergessen lassen und den Zuhörer einfach gefangen nehmen. ("FINALLY").
Begleitet wird der Solist von einer Band, die modernste und neueste Synthesizer-Klänge und Klangkombinationen in natürlicher und sehr musikalischer Weise integriert hat, sodaß man bei flüchtigem Zuhören gar nicht bemerkt, welche komplizierten Klangabläufe sich hinter dem Trompetensolisten abspielen. Man würde nie auf die Idee kommen, daein Großteil dieses Orchesterbackgrounds nicht von Menschen, sondern von einem Computer gespielt wurde. Allerdings von einem Computer, dem eine meisterhafte menschliche Hand erst alles sehr sorgfältig mit viel Liebe und Einfühlungsvermögen programmieren mußte, was ihn dann zu der auf diesen Aufnahmen gehörten musikalischen Perfektion befähigte.
"EXTRACTING THE DIGITAL"ist ain Album, auf dem solistiches Können und technischer Fortschritt zu einem angenehmen Klangerlebnis für unsere Generation verschmolzen wurden.


Tony Fisher, le célèbre trompettiste anglais, présente ici son premier album avec un fond orchestral digital.
Il peut joyuer des pièces gaîes et poplaires comme "YANKEE PANKY" et "WAKE UP SMILING" au saxhorn, des titres romantiques et mélodieuses comme "RIGHT AFTER MIDNIGHT", mais il peut aussi faire preuve de toute sa virtuosité dans le "COLONEL ROCKBOROUGH'S BLUES", il ne donne jamais l'impression de jouer en studio. Son jeu est tel que l'auditeur croit l'artiste face à lui dans l'ambiance chaude et vivante d'un concert "Life".
En jouant de la trompette basse, instrument insolite, tant soi peu comique, il arrive à créer un climat mélodique agréable.
Le soliste est accompagné d'un "band" qui a réuni des synthesizers les plus modernes et qui obtient les sons les plus actuels de façon naturelle et très musicale si bien qu'en l'écoutant d'une oreille distraite, on ne se rend pas compte d'abord des combinaisions de sons compliqueées qui font partie de l'accompagnement, il est difficile d'imaginer qu'une grande partie de cet accompagnement n'est pas jouée par des musiciens, mais par un ordinateur. Cependant il s'agit d'un ordinateur qui a nécéssité une programmation très compliquée, soignée, et d'une grande sensbilité. C'est cela qui a permis d'atteindre a la prefection musicale de ces enregistrements.
"EXTRACTING THE DIGITAL" est un album qui réunit la virtuosité d'un soliste et le progrès technique dans une expérience musicale remarquable pour notre-temps.


Tony Fisher, il solista di tromba inglese di grande fama, presenta il suo primo album musicale con sottofondo digitale d'orchestra.
Sia che interpreti sulla sua tuba un pezzo "popolare-giocoso" quale "YANKEE PANKY" e "WAKE UP SMILING", oppune un titolo romantico-melodic quale "RIGHT AFTER MIDNIGHT", o brilli jper grande virtuosismo in un pezzo come "COLONEL ROCKBOROUGH'S BLUES", si accende sempre una scintilla fra lui e il suo pubblico. Le sue interpretazioni non hanno mai un effeto freddo ed impersonale da studio d'incisione. Senza sforzo alcuno egli sa colmare il vuoto che esiste fra l'atmosfera asettica dello studio di registrazione e il vasto pubblico e si rivolge con ogni sua battutta ài suoi ascoltatori, direttamente e personalmente, come già è già abituato a fare dal palcoscenico.
E' perfino capace di trarre dell'insolite tromba basso degli archi melodici armoniosi che fanno dimenticare e la bizzarria di questo strumento ed affascinano semplicemente i suoi ascolitatori ("Finally").
Il soliste viene accompagnato da un'orchestra che ha inserito i suoni di synthesizer più moderni e più attuali e le combinzaioni di suoni in modo così naturale ed estremamente musicale, che ascoltando distrattamente non si può assolutamente rilevare quali complicati movimenti musicali si svolgano alle spalle del solista di tromba. A nessuno verrebbe in mente che una gran parte di questo sfondo musicale per orchestra non viene suonata da persone ma da un computer. Da un computer, tuttavia, che ha dovuto venir programmato - con amore e sensibilità - dalla mano di un uomo che lo ha reso idoneo a trasmettere la perfezione musicale udibilie in queste registrazioni.
"EXTRACTING THE DIGITAL" è un album nel quale sono state fuse le capacità solistiche ed il progresso tecnico, creando una sensazione di suoni molto piacevoli per la nostra generazione.

℗ INTERSOUND
Intersound Musikverlag-Musikproduktion-Musikvertrieb GmbH & Co. Edition Tonarchiv KG, Schleibinger Straße 10, D-8000 München

ISST 118:

... The portly, bearede, Pittsburg-reared arranger and conductor whose dance band with its slurping saxophones created an international stir in the early 1950s has taped a new LP in Los Angeles with a rocking aggregation comprised of many of the musicians who performed with him almost 30 years ago.
Says May: "We used eight brass, five reeds, four rhythm and one percussion and it came off well. With men like Justin Gordon, Willie Schwartz, Dick Nash, John Best, Alvin Stoller and Ray Sherman, going into the studio again was a pleasure. We taped on 24-track equipment at Capitol with Hugh Davies as chief engineer."
"We all are aware that big bands are a hard sell on disk and tape these days." May says.
"But with fresh tunes and contemporary recording techniques we believe there's a market for musical big band sounds."
Walt S. Heebner who has produced for RCA and CAPITOL through the years says "May's music is distinctive and timeless. That isn't true of a lot of the old name bands."
BILLBOARD, February 2, 1980

The Billy May Orchestra
Saxes (Flutes, Clarinets, Bass Clarinet): Ted Nash, Willie Schwartz, Jules Jacob, Justin Gordon, Johnny Lowe
Trumpets: John Audino, Uan Rasey, Johnny Best, Graham Young
Trombones: Dick Nash, Lloyd Ulyate, Tommy Johnson, Jimmy Self
Percussion: Dale Anderson
Drums: Alvie Stoller
Bass: Chuck Berghofer
Guitar: Bob Bain
Piano (Fender Rhodes, Elec. Harpsichord): Ray Sherman

Soloists:
A3, B2, B3: Justin Gordon (Alto, Tenor Sax)
A6, B4: Ted Nash (Alto Sax)
B5: Ray Sherman (Elec. Harpsichord)
B5: Uan Rasey (Trumpet)

Arrangements: Billy May
Produced by Walt S. Heebner and Norman Candler
Recorded at Capitol Records Studio Hollywood L.A. by Hugh Davis
Remixed at Trixi Tonstudio Munich by Willi Schmidt
Coverphotos: Brian D. Mc.Laughlin

℗ INTERSOUND
Schleibingerstr. 10
8000 München 80

ISST 119:

Arrangements: Helmuth Brandenburg
Sound Engineers: Gert Bazin, Hansjörg Saladin, Peter Thiele
Recorded at RIAS Tonstudio, Berlin
Coverphoto INTERSOUND

Michael Goltz, one of our most sensitive and highly expressive soloists among the young European guitar players presents an album without any use of amplifiers or electronic equipments. The natural sound of his concert guitar, accompanied by a large string section dominates this production. The 'ballad' form provides the artist with a variety of musical possibilities from playing a simple melody impressively to free improvisation; from lyrical romantic moods to rhythmic explosion! Everything within the possibilities of a natural concert guitar.
Helmuth Brandenburg arranged these ballads without an aggressive rhythm section, using the solo guitars for rhythmical acommpaniment to a large extent, blending the lush string sound and the guitar into a unique musical dimension.

Michael Goltz, einer der sensibelsten und ausdrucksstärksten Solisten der jungen europäischen Gitarristen-Generation verzichtet bei diesem Album auf jegliche Elektrizität und Elektronik. Der naturliche Klang seiner Konzert-Gitarre, begleitet von einem großen Streichorchester, prägt den Sound dieser Produktion. Er nützt alle Möglichkeiten, die die musikalische Form "Ballade" dem Interpreten bietet, von der schlichten Interpretation eindrucksvoller Melodien, über kleine Umspielungen bis hin zur freien Improvisation, von lyrisch-romantischen Tönen bis zur rhythmischen Explosion. Aber alles im Rahmen der Möglichkeiten, die eine Natur-Gitarre bietet.
Der Arrangeur, Helmuth Brandenburg, hat auf eine aggressive Rhythmusgruppe verzichtet und auch die rhythmische Begleitung weitestgehend der Solo-Gitarre übertragen. So verschmelzen Streichorchester und Gitarre zu einer musikalischen Einheit, die durch nichts gestört wird.

Michael Goltz, un des solistes les plus sensibles et expressifs de la nouvelle génération des guitaristes européens renonce dans cet album à tous les artifices de l'électronique et de l'électricité. La sonorité naturelle de sa guitare de concert accompagnée d'un grand orchestre d'instruments à cordes, caractérise le "sound" dfe cette production. Il utilise tous les moyens que la structure musicale de la "Ballade" peut offrir à l'interprète, allant de la simple interprétation des mélodies, expressives, en passant par les petites variations, jusqu'á la libre improvisation, des sonorités romantiques et lyriques jusqu'à l'explosion rhythmique. Mais cela se situe toujours dans l'éventail des possibilités offertes par une simple guitare.
L'arrangeur Helmuth Brandenburg a renoncé à un groupe rythmique agressif et aégalement permis à l'accompagnement de se fondre avec la guitare rythmique. Ainsi l'orchestre à cordes et la guitare forment une parfaite unité sans heurts.

Mixhale Goltz, uno dei solisti più sensibili ed espressivi della nuova generazione de chitarristi europei, rinuncia in questo album a qualsiasi forma di elettronica e d'elettricità. Il suono naturale della sua chitarra da concerto, accompagnata da una grande orchestra ad archi, caratterizza il suono di questa produzione. Michael Goltz sfrutta tutte le possibilità offerte all'interprete dalla forma musicale delle "ballate", iniziando dalla semplice interpretazione di melodie ricche di effetto, per passare attraverso piccoli scarrti fino ad arrivare alla libera inprovvisazione dai toni lirico, romantici, fino all'esplosione ritmica. Il tutto nell'ambito - tuttavia - delle possibilità offerte dalla chitarra.
L'arrangiatore Helmuth Brandeburg ha rinunciato ad un gruppo ritmico dal carattere aggressivo ed ha trasferito anche l'accompagnamento ritmico  della chitarra solista nel modo più semplice. Orchestra ad archi e chitarra si fondono pertanto in un elemtno unico che non viene assolutamente disturbato.

℗ INTERSOUND
Intersound Musikverlag-Musikproduktion-Musikvertrieb GmbH & Co. Edition Tonarchiv KG, Schleibinger Str. 10, D 8000 München 80

ISST 120:

Arranged and Produced by Hans Ehrlinger
Sound Engineer: Heinz Gärtig
Coverphoto: INTERSOUND

Alpine folk music has gained greater worldwide popularity than any other folk music in the world. Alpine brass bands have influenced practically all brass bands. Musical phrases, based on Alpine tradition are included even in military marches.
On the other hand today's influence of Jazz and Pop is also present in folk music. Many village bands play traditional brass music at the "Frühschoppen" ("Morning Pint") and pop music in the evenings for dancing.
Hans Ehrlinger, inspired by these interrelations has written the arrangements for this album, combining folkloristic elements together with the rhythmic feeling of today's pop music. He uses one of Germany's leading pop rhythm sections and the wind instruments of his regular big band. The additional use of synthesizers and a modern 24 track recording technique contributes to a contemporary sound creation presenting an artistic blend of old and new, a music known and loved in its origin by the whole world, a bridging of the past and the present, of older generation and "pop-enthusiastic" youth.


Die alpenländische Volksmusik hat eine weltweite Popularität erreicht, wie kaum irgendeine andere Volksmusik einer anderen Region dieser Welt.
Besonders die alpenländische Blasmusik hat alle Blasorchester der Welt beeinflußt. Sogar in Militärmärschen findet man musikalische Phrasen, die auf alpenländischer Tradition beruhen.
Auf der anderen Seite darf heute der Einfluß der Jazz- und Pop-Musik auf die Volksmusik der Gegenwart nicht unterschätzt werden. Viele Dorfkapellen spielen zum "Frühschoppen" traditionelle Blasmusik und am Abend Pop-Musik zum Tanzen.
Diese Wechselbeziehungen haben den Arrangeur Hans Ehrlinger dazu angeregt, in einer professionellen Produktion die traditionellen volkstümlichen Elemente mit den Rhythmuselementen unserer heutigen Pop-Musik zu vereinen. Er engagierte eine der führenden deutschen Pop-Rhythmusgruppen und dazu die Bläser seiher regulären Bigband. Zusätzliche Verwendung von Synthesizern und die moderne 24-Spur-Technik trugen dabei zur Schaffung eines "Sounds unserer Zeit" bei.
So entstand mit dieser Langspielplatte eine gelungene Mischung aus alt und neu, eine Musik, deren Wurzeln man in der ganzen Welt kennt und liebt und die eine Brücke schlägt von der Vergangenheit in die Gegenwart und von der älteren Generation zur popbegeisterten Jugend.


La musique populaire des régions alpines a atteint une popularité mondiale comme practiquement aucune musique d'autres région du monde. C'est surtout la musique d'instruments à vent qui influence tous les orchestres àcuivres du monde. Même dans les marches militaires on peut trouver des phrases musicales inspirées du folklore alpine.
D'autre part, on ne doit pas sousestimer l'influence du jazz et de la musique pop sur la musique actuelle. De nombreux orchestres de village jouent àl'heure de l'aperitif une musique d'instruments à vent traditionnelle et la soir de la musique de danse pop.
Ces rencontres ont inspiré l'arrangeur Hans Ehrlinger qui a réuni les éléments populaires traditionnels et les éléments rythmiques de la musique pop. Il a engagé l'un des groupes pop le plus connu en Allemagne et les musiciens "à vent" de son big band habituel. L'utilisation de synthésizer et une production avec la technique moderne grâce au "24 pistes" permettent d'obtenir la sonorité de notre temps. C' est ainsi qu'avec ce 33 tours il est arrivé à un mélange d'éléments traditionnels et moderne, une musique dont les racines sont connues et appréciées dans le monde entier, et qui constitue un "pont" entre le passé et le présent de même qu'entre les générations plus anciennes et la jeunesse enthousiaste de la musique pop.


La musica popolare delle regioni alpine ha raggiunto una popolarità mondiale tale, come quasi nessun'altra musica popolare di una altra regione del mondo. La musica per strumenti a fiato delle regioni alpine ha soprattutto influenzato tutte le orchestre a strumenti a fiato del mondo. Perfino nelle marce militari si riscontrano dei franati musicali che si ricollegano alla tradizione delle zone alpine.
D'altra parte non si deve sottovalutare oggi l'influsso che la musica pop e quella jazz hanno sulla musica popolare attuale. Molte orchestrino di paese suonano della misuca tradizionale per strumenti a fiato all'ora dell'aperitivo e la sera musica pop da ballo.
Queste reciprocità hanno stimolato l'arrangiatore Hans Ehrlinger a riunire, in una produzione a livello professionale, gli elementi tradizionali popolari come quelli ritmici della nostra musica pop attuale. Egli ha scritturato uno dei gruppi musicali pop-ritmici leader tedeschi ed inoltre i suonatori di strumenti a fiato della sua grande orchestra. L'impiego, inoltre, di synthesizer ed una realizzazione con la tecnica moderna dei 24 solchi, hanno contribuito alla creazione del "Sounds dei nostri tempi". Con questo long-play è nata cosi una felice miscellanea di nuovo e di vecchio, una musica le cui radici sono conosciute ed apprezzate in tutto il mondo e che getta un "ponte" fra il passato ed il presente, fra la gene-razione piú matura e la gioventù entusiasta della musica pop.

℗ INTERSOUND
Intersound Musikverlag-Musikproduktion-Musikvertrieb GmbH & Co. Edition Tonarchiv KG, Schleibinger Str. 10. D 8000 München 80

ISST 121:

Arrangements: Claude Larson and Manuel Landy
Produced at ELMULAB Electronic Music Laboratory
Digital Sounds And Computer Programmes Created By Claude Larson
Equipment Used:
FAIRLIGHT CMI MUSIC-COMPUTER
ROLAND SYSTEM 700
OBERHEIM 4 VOICE
POLYMOOG
ROLAND MC 8 MICRO-COMPOSER
SYNTOVOX VOCODER

Cover Design: Lionel Koechlin, Paris

℗ INTERSOUND
Intersound Musikverlag-Musikproduktion-Musikvertrieb GmbH& Co.Edition Tonarchiv KG,Schleibinger Str.10. D 8000 Munchen 80

ISST 122:

Without doubt, Hans Ehrlinger is one of Europe's leading trombone soloists. It is not only his brilliant technique and perfect ease of playing most difficult phrases, that fascinates his audience, but also his warm sweet sound even in the highest ranges of his trombone.
Hans Ehrlinger, as the arranger of this album has created a new orchestral trombone sound using glissandos as a dominating way of interpreting the melody. Quite different, however, to Billy May's popular "slurping saxes", and highly influenced by the latest developments in pop music.
Once again, the artist shows his great ability to interpret instrumentals in a very popular way without losing title to a high musical quality.
An "Easy-Listening-Album" for all lovers of contemporary, melodic dance music.


Hans Ehrlinger zählt zweifellos zu den führenden Posaunen-Solisten in Europa. Es ist nicht nur seine blendende Technik und die spielerische Leichtigkeit, mit der er auf der Posaune die schwierigsten Passagen bewältigt, sondern auch sein warmer, welcher Ton bis in die höchsten Lagen der Posaune, der den Zuhörer fasziniert.
Der Arrangeur Hans Ehrlinger hat sich für die vorliegende Langspielplatte einen neuen Posaunen-Sound einfallen lassen. Er verwendlet Glissandi als wesentliches Mittel der Melodie-Interpretation, aber nicht im Sinne von Billy May, sondern in einen sehr eigenwilligen Art, die stark von den musikalischen Entwicklungen am Pop-Sektor beeinflußt ist. Wieder einmal zeigt Hans Ehrlinger seine große Begabung, Instrumetals in einer populären Form zu arrangieren und mit seinem Orchester zu interpretieren und trotzdem dabeil höchsten musikalischen Qualitätsansprüchen gerecht zu werden.
Ein Easy Listening Album für alle Freunde melodischer, aber moderner Tanzmusik.


Hans Ehrlinger compte sans nul doute parmi les solistes du trombone lles plus connus en Europe. Ce qui fascine l'auditeur, ce n'est pas seulement sa technique exceptionnelle et la faculté avec llaquelle il maitrise les passages les plus ardus avec son trombone, mais encore sa sonorité chaude et délicate jusque dans les plus hauts régistres de cet instrument.
L'arranger Hans Ehrlinger a imaginé une nouvelle sonorité du trombone pour ce disque 33 tours: il utilise les glissandi comme élément principal de l'interpretation de la mélodie, non pas dans le conception de Billy May, mais d'une manière toute personnelle, puisqu'il a subi l'influence de la musique pop.
Hans Ehrlinger prouve tout son talent dans l'arrangement des thèmes populaires et l'interprétation avec son orchestre satisfait les plus hautes exigences.
Un disque facile à écouter pour les amateurs de musioque de rythme, mélodique certes mais moderne.


Hans Ehrlinger fa parte indiscutibilmente dei solisti più famosi di trombone d'Europa. Ciò che affascina gli ascoltatori non è soltanto la sua tecnica eccezionale e la facilità estrema con la quale supera i passaggi più difficili sul trombone, ma anche i suoi toni morbidi e caldi fino ai registri più altri raggiunti dal suo strumento.
L'arrangiatore Hans Ehrlinger ha ideato per questo disco long -play un nuovo suono di trombone impiegando dei passaggi strisciati come importante mezzo per l'interpretazione melodica. Tuttavia non nel senso di Billy May, ma in una forma estremamente puntigliosa ed influenzata degli sviluppi nal settore della musica pop. Hans Ehrlinger dimostra di nuovo il suo grande talento nell'arrangiare i pezzi strumentali in una forma popolare e nell'interpretarli con la sua orchestra, soddisfando tuttavia le maggiori esigenze musicali in fatto di qualità.
Un Easy Listen Album per tutti gli amici della musica da ballo melodica ed ai tempo stesso moderna.

Arrangements: Hans Ehrlinger
Sound Engineer: Heinz Gärtig
Coverphoto: INTERSOUND

℗ INTERSOUND
Intersound Musikverlag-Musikproduktion-Musikvertrieb Gmbh & Co Edition Tonarchiv KG Schleibinger Str. 10 D 8000 München 80

ISST 123:

Coverphoto: Intersound

Carl Drewo: Alto Sax
George Rötzer and Walter Rab: Trumpet
George Delagaye: Trombone
Mladen Franko: Keyboards
Michael Goltz: Guitars
Dave King: Bass
Manfred Schacher: Drums
Arrangements: Terence Yucca
Sound Engineer: Willy Schmidt

Intersound Musikverlag-Musikproduktion-Musikvertrieb Gmbh & Co, Edition Tonarchiv KG, Schleibinger Straße 10, D-8000 München 80

ISST 124:

THEY SAID ABOUT DUSKO...
"... Goykovich, the Yugoslav who was with the International Youth Band at Newport, R.I., a couple of seasons back, is a fine jazzman on both trumpet and fluegelhorn."
IRA GITLER

"And all-round modern jazz trumpeter and writer of exceptional ability."
LEONARD FEATHER

"Dusko Goykovich is a hell of a trumpet player!"
THAD JONES

"Yugoslav trumpeter turns them on."
RALPH J. GLEASON

"He was one of the stars of the International Youth orchestra at Newport a few years ago. A thorough musician with a keen and inventive mind."
JACK MELLISH

"And then came one of the spotlights of the festival, when trumpeter Dusko Goykovich took his fluegelhorn and featured "I Remember Clifford" in one of the most dynamic arrangements of the festival."
"DOWN BEAT"

"Dusko Goykovich has made great progress over the past year. His solo was intelligently conceived. He demonstrated a superior sound on the trumpet and fluegelhorn with exceptionally controlled intonation."
"SAN FRANCISCO EXAMINER"

"This musician, who proposes to remain in Europe, will get to be talked about, still more: he is both powerful and subtle, a brilliant technician, packed with ideas, which he expresses to perfection."
"JAZZ HOT"

Sound Engineer: Willi Schmidt
Coverphoto: Intersound

Dusko Goykovich was born 1931 in Yugoslavia. He worked with Yugoslav and German bands like the International Youth Band at Brussels and Newport (1958) and the Kurt Edelhagen Band in Cologne (1960). After studying at Berklee School in Boston (1961-63) he toured with the Maynard Ferguson Band (1963-64) and with Woody Herman (1964-65). He formed a quintet with Sal Nistico in 1965. He rejoined Woody Herman in London (1966) for tours of England, Spain, Germany, Africa and Eastern Europe. He often appeared at amous Jazz Clubs like FIVE SPOT and BIRDLAND (New York), RONNIE SCOTT'S (London), DOMICILE (Munich) and MUSIC-INN (Rome) and recorded many LP's with Kenny Clarke-Francy Boland, Maynard Ferguson, Woody Herman and with his own band.

℗ INTERSOUND
Intersound Musikverlag-Musikproduktion-Musikvertrieb Gmbh & Co Edition Tonarchiv KG
Schleibinger Straße 10 D-8000 München 80

ISST 125:

The fables tell us that Trolls are "supernatural giants from Scandinavia, who eat people, munch the bones, and drink blood". Nasty people indeed. Sure? Listen to their music and remember the rhyme:
"I'm a troll, fol-de-rol, and I'll eat your for supper"

Their happy life has one big problem, one glimpse of the sun and they turn to stone, like our Troll on the cover.
(Remember the Hobbit?) So this album had to be recorded in a cave somewhere underneath Abbey Road. Fortunately the Trolls had eaten well before the sessions, so engineer Tony Clarke and producer John Fiddy are happily still with us. So also are the Trolls:

Alan Parker, Phil Palmer, Ray Russell .... Guitars
Mike Moran .... Keyboards
Mo Foster .... Bass
Simon Phillips .... Drums

Here's hoping the music grabs you before the Trolls do!

Recorded at:
Abbey Road Studios, London
Engineer: Tony Clarke

R.G. Jones Studios, London
Engineer: Gerry Ktichingham

Remixed at Landsdowne Studios, London
Engineer: chris Dibble

Produced and Arranged by John Fiddy
Coverphotos: Intersound

℗ INTERSOUND GmbH & Co KG
Schleibingerstraße 10
8000 München 80

ISST 126:

Arrangements: Helmuth Brandenburg
Recorded at RIAS Tonstudio, Berlin
Produced by RIAS, Berlin
Coverphotos: Intersound

℗ INTERSOUND GmbH & Co KG
Schleibingerstraße 10
8000 München 80

ISST 127:

HIGH-TECH signifies a technically oriented design used in interior decoration.
Using steel, synthetic material and glass does not necessarily go along with coldness and impersonality, but represents well balanced proportins and a technical design conveying aesthetic comfort. I use this expression for my musical product on purpose as I see certain parallels.

The material used for my 'sound buildings' is provided by modern technology. Computer sounds and oscillators form the basic material, but only technical design produces an environment of well balanced proportions.

HIGH-TECH is also used as a concept in architecture: the most prominent example in Europe being the Centre Pompidou in Paris. As the architect has to be artist as well as technician, a composer of electronic music has also to be sound engineer in order to really control his original musical ideas from the beginning to the finished product.

I hope you will join the HIGH-TECH fans having pleasure in the beauty of the function.

Claude Larson


In der Innenarchitektur bezeichnet man mit "High-tech" eine Richtung, welche sich an technischen Formen orientiert. Die Verwendung von Stahl, Kunststoff und Glas muss nicht gleichbedeutend mit Kälte und Unpersönlichkeit sein. Es ist vielmehr die wohlausgewogene Proportion und das gelungene technische Design, welches den ästhetischen Genuss vermittelt.

Wenn ich diese Begriffe nun auf meine musikalische Arbeit anwende, so desshalb, weil ich glaube, dass sich hier gewisse parallelen ergeben.

Das Material für meine Klang-Gebäude wird durch modernste Technologien bestimmt. Klänge aus Computern und Oscillatoren bilden das Ausgangsmaterial, jedoch entsteht auch hier durch das Design, durch das Spiel mit technischen Formen ein Environment der ausgewogenen Proportionen.

In der Architektur wurde HIGH-TECH ebenfalls ein Begriff - markantestes Beispiel in Europa: Das Centre Pompidou in Paris. So wie der Architekt halb Künstler und halb Techniker sein muss, so muss auch der Komponist - speziell, wenn er sich mit elektronischer Musik befasst - zur Hälfte Toningenieur sein, um wirklich die Kontrolle von der Idee bis zum fertigen Produkt zu behalten.

Ich hoffe, dass Sie wie alle HIGH-TECH-Fans ihr Vergnügen an der Schönheit des Funktionellen haben werden.

Claude Larson


En décoration d'intérieur on désigne par "High-tech" une tendance qui s'oriente suivant les formes téchniques. L'emploi d'acier, de matières synthétiques et de verre ne doit pas [????] signifier froid et impersonnel. Cela représente bien plus un bon équilibre des proportions et un design téchnique réussi, qui procure un plaisir esthétique.

Donc, lorsque j'emploie des formes pour mon oeuvre musicale, c'est parce que je pense pouvoir faire ici certains paralleles. Le matériau consituant mon édifice sonore est déterminé par les technologies les plus modernes. Des sons provenant d'ordinateurs et d'oscillateurs forment la matière initiale, néanmoins apparait ici également, à travers le design et le jeu avec les formes techniques, un environnement de proportions bien équilibrées.

En architecture la High-tech devenue également un notion bien connue - Un exemple des plus marquants en Europe est le Centre Pompidou à Paris. Tel que l'architecte, qui doit être moitie artiste, moitie technicien, le compositeur, quant à tui, doit aussi être, pour une bonne [???] ingenieu du son - en particulier lorsqu'il a affaine avec la musique éléctronique - afin de garder vraiment le contrôle de l'idée jusqu'au produit [????].

J'espère que le beauté du fonctionnel [????] comme tous les fans de High-tech, beaucoup de plaisir.

Claude Larson


Nell'architettura ambientale si definisce con l'espressione "high-tech" una tendenza orientata sulle forme tecniche.
L'impiego di acciaio, di materie plastiche e di vetro non deve far subito pensare al freddo ed alla mancanza di personalità. Sono le proporzioni armoniose e il design tecnico ben riuscito che offrono maggiormente un godimento estetico.

Se applico questi valori alla mia oepra musicale, lo faccio perchè credo che in questo campo si determino dei parallelismi ben definiti.
Il materiale per le mie costruzioni sonore viene determinato dalle tecnologie più moderne. I suoni provenienti dai computer e dalli oscillografi formano il materiale iniziale anche se si determina in questo campo un insieme di proporzioni equilibrate tramite il design e il gioco dato dalle forme tecniche.

La high-tech ha assunto anche in architettura un significato ben preciso. L'esempio più noto è il Centro Pompidou di Parigi. Come un architetto deve essere mezzo artista e mezzo tecnico, così anche il compositore - specialmente se si occupa di musica elettronica - deve essere metà ingegnere del suono per essere in grado di conservare il controllo del processo che va dall'idea fino al prodotto finito.

Spero che, come tutti i fans della high-tech, guestereete anche Voi il piacere della bellezza della funzionalità.

Claude Larson

Arrangements: Claude Larson and Manuel Landy
Computer Programmes and Digital Sounds: Claude Larson
Produced at Almulab, Electronic Music Laboratory, Munich

℗ INTERSOUND GmbH & Co. KG
Schleibingerstraße 10
8000 München 80

ISST 128:

Arrangements: Rob Pronk
Produced by Norman Candler
Sound Engineer: Gerhart Frei
Coverphotos: Intersound

℗ INTERSOUND Gmbh & Co KG
Schleibingerstraße 10
8000 München 80

ISST 129:

Mladen Franko, Keyboards
Pepe Solera, Alto Sax, Flute
Gabor Kristof, Trumpet, Guitar
Manfred Schacher, Drums

Arranged and produced by Mladen Franko
Coverpainting: Mladen Franko

℗ INTERSOUND GMBH & CO KG Schleibinger Straße 10 D-8000 München 80

ISST 130:

A1, A3, A4, A5, B2, B3, B5 featuring Acker Bilk, Clarinet

Arrangements: Norman Candler
Sound Engineers: Willi Schmidt/Gerhart Frei
Coverphoto: Intersound

℗ INTERSOUND Gmbh & Co KG
Schleibingerstraße 10
8000 München 80

ISST 131:

Ted was essentially a quiet man - gentle, kind and in the beginning, very shy and retiring. The loud, exciting, aggressive sounds of his music were his alter ego. The soft, deep quality sounds would sometimes almost reduce him to tears.
He loved his work beyond antyhing else in his life. What a wonderful joy for a man to have been able to work at what he loved best, with the people he knew and cared for, to achieve the heights of success in his profession, and to be remembered with love and affection by so many. He dreamed a dream, ant eh dream became reality.
Moira Heath

The Ted Heath Orchestra:
TRUMPETS: Kenny Baker, Derek Healey, Ronnie Hughes, Duncan Campbell
SAXOPHONES: Roy Willcox, Ray Swinfield, Tommy Whittle, Henry Mackenzie, Eddie Mordue
TROMBONES: Wally Smith, Johnny Edwards, Ric Kennedy, Bill Geldard
PIANO: Norman Stenfalt
BASS: Lennie Bush
GUITAR: Judd Proctor
DRUMS: Ronnie Verrell

Musical director and solo trombone: Don Lusher
All arrangements by Ronnie Hazlehurst, except [A2, B4] Don Lusher
Produced by Don Lusher
Sound Engineer: Richard Millard
Front Picture: Intersound

℗ INTERSOUND
Intersound Musikverlag-Musikproduktion-Musikvertrieb Gmbh & Co. Edition Tonarchiv KG.
Schleibinger Straße 10, D-8000 München 80

ISST 132:

The Main Street Piano Band.
Horst Jankowski (keyboards)
Michael Goltz (guitar)
Milan Pilar (bass)
Kees Kranenburg (drums)

Arrangements: Horst Jankowski
Sound Engineer: Gerhart Frei
Produced by Norman Candler
Coverphoto: Intersound

℗ INTERSOUND
Intersound Musikverlag-Musikvertrieb GmbH & Co. Edition Tonarchiv KG,
Schleibinger Strasse 10, D-8000 München 80

ISST 133:

Arrangements: Franck Pourcel
Produced by John Fiddy and Norman Candler

Recorded at R.G. Jones Studio, London
by Gerry Kitchingham
Remixed at Trixi Tonstudio, Munich
by Willi Schmidt

Coverphoto: Gerhard Narholz

Frank Pourcel
Highlights in an outstanding musical career:
Over 35 million records sold in 53 countries.

First European orchestra leader to sell more than one million records in the United States.

The Grand Prix du disque of the Charles Cros Academy, Paris.
The Grand Prix du disque, France.
The Grand Prix of records in Brazil.

Amsterdam: the Edison prize (equivalent of Hollywood's "Oscar") for instrumental arrangements of pop songs.

Gold records in France, Venezuela, Mexico, three gold records in Japan.

Concert tours in many countries.

Triumphant concerts in New York, Los Angeles, San Francisco, Denver and Hollywood.

Guest conductor of famous classical orchestras such as:
La Société des Concerts du Conservatoire
The London Symphony Orchestra
The BBC Orchestra at the Royal Festival Hall
L'Orchestre Lamoureux à la Salle Pleyel
National Philharmonic Orchestra


Frank Pourcel
Höhepunkte seiner aussergewöhnlichen musikalischen Karriere:
über 35 Millionen verkaufte Schallplatten in 53 Ländern.

Erstern, europäischer Dirigent, der in USA über 1 Million Singles verkaufte.

Le Grand Prix du disque, Frankreich.
Grosser Schallplattenpreis von Brasilien.

Amsterdam: Edison Preis (entspricht dem Hollywood "Oskar") für Instrumentale Arrangements von Pop Songs.

Goldene Schallplatten in Frankreich, Venezuela, Mexico, drei goldene Schallplatten in Japan.

Konzerttourneen durch viele Länder.

Triumphale Konzerte in New York, Los Angeles, San Francisco, Denver und Hollywood.

Gästdirigent berühmter klassischer Orchester:
La Société des Concerts du Conservatoire
The London Symphony Orchestra
The BBC Orchestra at the Royal Festival Hall
L'Orchestre Lamoureux à la Salle Pleyel
National Philharmonic Orchestra



Frank Pourcel
Zénith de son extraordinaire carrière musicale:
plus de 35 millions de disques vendus dans 53 pays.

Premier chef d'orchestre européen à avoir vendu plus d'1 million de 45 tours aux Etats-Unis.

Le Grand Prix du Disque de l'Académie Charles Cros
Le Grand Prix du Disque, France
Il Gran Premio del Disco, Brésil

Amsterdam: Prix Edison (correspond à l'"Oscar" à Hollywood) pour les arrangements instrumentaux de chansons pop.

Disques d'or en France, au Vénézuela, au Mexique.
Trois disques d'or au Japon

Tournées de concerts à travers de numbreux pays:
Concerts triomphaux à New York, Los Angeles, San Francisco, Denver et Hollywood.

Chef d'orchestre comme hÔte de tourée d'orchestres classiques célebres:
La Société des Concerts du Conservatoire
The London Symphony Orchestra
The BBC Orchestra at the Royal Festival Hall
L'Orchestre Lamoureux à la Salle Pleyel
National Philharmonic Orchestra


Frank Pourcel
Zenith della sua straordinaria carriera musicale:
piú di 35 millioni di dischi venduti in 53 paesi.

Il primo direttore d'orchestra europeo che abbia venduto piú di un millone di dischi negli USA.

Egli ha ricevuto:
Le Grand Prix du disque de l'Académie Charles Cros,
Le Grand Prix du disque in Francia,
Il Gran Premio del disco in Brasile.

AD Amsterdam: l'Edison Preis (corrispondente all' "Oscar" di Hollywood) per gli arrangiamenti strumentali di canzoni pop.

Dischi d'oro in Francia, Venezuela, Messico, tre dischi d'oro in Giappone.

Tourné di concerti in molti paesi.

Concerti trionfali a Nuova York, Los Angeles, San Francisco, Denver ed Hollywood.

Dirigente ospite di famose orchestre classiche quali:
La Société des Concerts du Conservatoire
The London Symphony Orchestra
The BBC Orchestra at the Royal Festival Hall
L'Orchestre Lamoureux à la Salle Pleyel
National Philharmonic Orchestra

℗ INTERSOUND
Intersound Musikverlag-Musikvertrieb GmbH & Co. Edition Tonarchiv KG,
Schleibinger Strasse 10, D-8000 München 80

ISST 134:

Geoff Stradling: Keyboards
Wolf Nanssen: Guitars & Arrangements
Dave King: Bass
Elmar Schmidt: Drums

Soundengineer: Gerhart Frei
Coverphoto: INTERSOUND

WOLF NANSSEN was born in Allgäu, close to the famous castle of Neuschwanstein in Bavaria. As well as studying Geology, pedagogics and guitar he was very much devoted to rock music from early childhood, without neglecting his musical education, which now enables him not only to master the most difficult passages on his guitar in an outstanding and superior style, but also to write his own arrangements. In Munich he is one of the leading guitar soloists of the rock music scene.
His first album, produced together with Geoff Stradling, Elmar Schmidt and Dave King includes, apart from the most exciting rock rhythms, some beautiful lyrical moods, exposing the sensitive artist heart, beating beneath the hard rock shell.

WOLF NANSSEN wurde in Allgäu in der Nähe des Schlosses Neuschwanstein geboren. Er studierte Geowissenschaften, Pädogogik un Gitarre. Shcon in frühester Jugend verschrieb er sich der Rock-Musik, ohne dabei seine solide klassische Musikausbildung zu vernachlässigen. Eine Ausbildung, die ihn nicht nur dazu befähigt, die schwierigsten musikalischen Passagen auf seiner Gitarre souverän zu meistern, sondern auch die Arrangements für seine Produktionen selbst zu schreiben. Er zählt heute zu den führenden Gitarristen der Münchner Rockszene. Auf seiner ersten LP, die er mit Geoff Stradling, Elmar Schmidt und Dave King eingespielt hat, verblüfft er nicht nur durch mittreißende Rock-Rhythmen, sondern auch durch lyrische Töne, die darauf hinweisen, daß unter der harten Rock-Schlale ein sensibles Künstlerherz schlägt.


WOLF NANSSEN est né en Bavière près du célèbre château Neuschwanstein.
Il a étudié les sciences géologiques, la pédagogie et la guitare.
Le Rock l'avait attiré des sa première jeunesse, sans pour autant qu'il négligeât les êtudes de musique classique. Grâce à cette formation, il est en mesure de maitriser son instrument à la perfection et d'écrire lui-même ses arrangements pour ses productions parfois extrêmement difficiles à exécutre.
Il compte aujourd'hui parmi les premiers guitaristes rock munichois.
Pour son premier album, enregistré avec Geoff Stradling, Elmar Schmidt et Dave King, il étonne par ses rythmes irresistibles et aussi par certains accents lyriques qui font comprendre que sous une couverture de hard rock, un coeur d'artiste est omniprésent.


WOLF NANSSEN è nato in Allgäu, nelle vicinanze del famoso castello di Neuschwanstein.
Ha studiato scienze geografiche, pedagogia e chitarra. Si è dedicato alla musica rock fin dai primissimi anni senza tutavia trascurare la sua solida istruzione di musica classica. Questa formazione in musica classica non gli permette solo di superare con la massima facilità i passaggi musicali piú difficili sulla sua chitarra, ma di scrivere da solo anche gli arrangiamenti per le sue produzioni.
Wolf Nanssen fa parte attualmente dei chitarristi piú significativi della scena rock di Monaco di Baviera. Nel suo primo long-play, realizzato assieme a Geoff Stradling, Elmar Schmidt e Dave King, egli non sorprende l'ascoltatore soltanto con i ritmi rock travolgenti ma anche con i toni lirici che mettono in luce un'animo artistico sensibile sotto una scorza di rock duro.

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INTERSOUND MUSIKVERLAG-MUSIKPRODUKTION-MUSIKVERTRIEB GmbH& CO. EDITION TONARCHIV KG,
SCHLEIBINGER STR. 10 D-8000 MÜNCHEN 80

ISST 135:

MUSICIANS:
Hans Thomas - trumpet, fluegelhorn
Bernd Rabe - altosax
Joe Gallardo - trombone
Lance Burton - baritonesax
Joerg Reiter - piano
Thomas Stabenow - bass
Matthias Holtmann - drums

All Arrangements: Hans Thomas
Recorded at Tonstudio BAUER, Ludwigsburg
Recording Engineer: Martin Wieland
Cover Design: Herbert Joos

Hans Thomas plays BLESSING Instruments
Matthias Holtmann plays PREMIER Drums

Special thanks to Hugh Muldoon

Ginge es darum, die Stilrichtung Mainstream ohne jede Gefahr eines Mißverständnisses zu erläutern, dann bedarf es nur des Hinweises auf die in Stuttgart residierende Band gleichen Namens. Ihre Musik ist die vitalste Inkarnisation dieses Jazzstils schlechthin.
Mit einer kompromißlos strengen, geradezu einmaligen Konsequenz, die jeden Zweifel, jedes Zögern ausschließt, wird hier jene Musik gemacth, die in der stilistischen Entwicklung des Jazz einen Logenplatz der musikalischen Folgerichtigkeit einnimmt.
In der Spielweise dieser Band konzentrieren sich tatsächlich die vielfältigen Ausdrucksformen mehrerer Jazz-Jahrzehnte zu einer neuen musikalischen Substanz von erregender zeitloser Aktualität.
Eine Musik, die nie aus der Mode kommen kann, weil sie sorgsam auf modische Nuancen verzichtet, einfact keine Mode sein will und sein kann. Hier wird sie zum zwingenden Ergebnis mannigfaltiger historischer Enwicklungen.
Man muß sie hören, um es verstehen zu können. Ein Sound, der niemals ahnen läßt, daß er allein aus einem vierstimmigen Bläsersatz kommt. Da glaubt man eher an die Sektionen einer Bigband, an Powermusic einer Formation, die nur mühsam ihre berstende Energie zu zügeln vermag und bei jedem Takt auszubrechen droht.
Alles, was "Mainstream" spielt, wird vom Trompeter und Bandleader Hans Thomas arrangiert. Seine Art, die Stimmen zu setzen, ist dert Schüssel des ungewöhnlicben Soiunds. Einst stark von Bill Evans und Horace Silver beeinflußt, entwickelte er ganz eigene und von jeder traditionellen Abhängigkeit freie Vorstellungen neuer Klangversionen. Das ist kein Blick zurück aber auch kein Wagnis nach vom, um für jeden Preis zur Avantgarde gezählt zu werden.
Schlichtweg eine Bestandsaufnahme mit der Erfahrung und dem Feeling einer Jazzgeneration, die den Weg vom Swing bis zum Free-Jazz zu bewältigen hatte, dabei aber dennoch nicht immer mit allen Problemen fertig werden konnte.
Die Musik von "Mainstream" demonstriert es mit erregende Frische. Sie zeigt, was auch heute noch im Jazz machbar ist, ohne daß man sich dabei in vagen und oft wieder schnell vergessenen Experimenten versuchen muß. Und niemand wird auf den Gedanken kommen, es mit überholten Strukturen zu tun zu haben.
Mit Gelassenheit wird kaum wird kaum jeman zuhören können. Dafur wird viel zu aggressiv musiziert. Und dennoch keine Musik, die ratlos macht, die sich endlos deuten ließe. Schlichtweg Jazz, wie es ihn in dieser Art auch noch in Jahrzehnten immer wieder geben wird.
Jürgen C. Jagla


If one wanted to define Mainstream jazz in such a way as to exclude any possibility of misunderstanding, one would in fact only have to refer to the band of that name from Stuttgart, West Germany; for their music is quite simply the most vital living incarnation of that style.
With unique, strictly uncompromising consistency "Mainstream" makes music of which one can say unhesitatingly and without the shadow of a doubt, that this is the style which occupies a place of honour in the history of Jazz.
For this band succeeds in distilling the diverse forms of expression from several decads of Jazz history into a new and exciting musical essence of timeless relevance.
This is music which can never become unfashionable - not least because it so carefully avoids any hint of fashion; it does not wish to be 'fashionable': it cannot be 'fashionable'. Rather, this is music which is unmistakeably the conclusive product of a multifarious historical process.
To understand this music you m ust hear it. it is scarcely credible that this sound issues from a four-part wind ensemble. The first impression is that all the sections of a big band combination are involved, a powerful grouping that barely manages to keep its explosive energy from bursting out of every bar.
Everything played by "Mainstream" is arranged by trumpeter and bandleader Hans Thomas, and it is his style of part-writing that is the key to the group's unusual sound. At one time he was strongly influenced by Bill Evans and Horace Silver, but he quickly developed his own personal stylistic visio, untrammelled by any traditional models. He may not look back - but he certainly does not risk everything for a quick (but temporary) avant-garde reputation either.
Put simply, it is perhaps a matter of taking stock of the various emotions and experiences of a whole jazz generation, a generation which had to bridge the gap between 'Swing' and 'Free Jazz', and which was not always able to overcome all the problems involved.
And "Mainstream"s music is above all a demonstration of exciting freshness, it shows what is possible in jazz today - without becoming lost in vapid and often unmemorable experiments.
But on the other hand, no one could ever claim that "Mainstream" is simply rehashing outworn musical structures.
There can be hardly anybody who could listen to this music and remain unmoved: the style of playing is too aggressive to permit indifference. But again, this is not the kind of music which confuses the listener with endless ambiguities; is quite simply jazz music - jazz music such as will still be played decades from now.
Jürgen C. Jagla
Translated by Jolyon Brettingham Smith

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Intersound Musikverlag-Musikvertrieb GmbH & Co. Edition Tonarchiv KG,
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ISST 136:

Etienne Cap: Trumpet, flugelhorn, flugelbone, arrangements and production
Pepe Solera: Tenor, soprano, alto saxophones, harmonica, flute, altoflute
Thomas Strasser: Electric and acoustic guitars, synthesizer programmes
Eric Stevens: Electric and acoustic bass
Ladia Base: Piano, Fender Rhodes, synthesizer
Alan Waterson: Drums, syndrums, percussion
Freddie Santiago: Percussion
Christian Finck: Leader of the string ensemble

Recorded at "Studio T1"
Soundengineer: René Delpire

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ISST 137:

Arrangements: John Fiddy
Produced by John Fiddy and Norman Candler
Recorded at R.G. Jones Studio, London by Gerry Kitchingham
Remixed at TRIXI Tonstudio, Munich by Gerhart Frei
Coverdesign: Lisi Casalino

INTERSOUND Musikverlag-Musikproduktion, Musikvertrieb GmbH & Co. Edition Tonarchiv KG, Gerhard Narholz, Schleibinger Straße 10, D-8000 München 80

ISST 138:

SEPIA
PETER TUSCHGER: Trumpet, Flugelhorn
UWE BLOCK: Clarinet, Alto Sax, Bells
WOLFGANG KÖHN: Tenor Sax
RALF WIEGAND: Acoustic Piano, Yamaha CP70, Fender Rhodes, Mini-Moog, Roland Jupiter 8, Hohner Clavinet D6
THOMAS WALOSSEK: Guitars
STEFAN PFAFFINGER: Fender Bass
ROLY SCHEESER: Congas, Cowbell, Ago-Go, Cabasa, Shaker, Guiro, Triangle, Maracas, Tambourine, Bells, Whistlle
KLAUS LOTZ: Drums

SPECIAL GUESTS
FRANK HORVATH: Guitars on "PLEASANT APPROACH" and "CLEAR UP"; Guitar Solo on "RAPID INNOVATION"
GÜNTHER KLATT: Soprano Sax on "JULIA'S SONG"

Arranged and produced by RALF WEIGAND from PHARAO MUSIC
Recorded and mixed at TRIXI TONSTUDIOS, Munich, in July and August 1982.
Recording and Re-mix Engineer: ROLAND KUSCHE
Assistant Producer: FRANK HORVATH
Cover Design: DIETER HERRMANN

Management address:
PHARAO MUSIC
Guardinistr. 79
D-8000 München 70
Tel. 089/713676

Many thanks to:
Roland, Tommi, Verena, Sabine, Julia, Andi, Tony, Dieter, Mr. Schmidt and Dir. Hartmann

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ISST 139:

Sound Engineer: Gerhart Frei
Coverphotos: INTERSOUND

Arrangements:
B/6: Wolfgang Förster
all other titles: Norman Candler
Produced by Norman Candler

℗ INTERSOUND
Intersound Musikverlag-Musikproduktion, Musikvertrieb GmbH & Co, Edition Tonarchiv KG, Gerhard Narholz, Schleibinger Straße 10, D-8000 München 80

ISST 140:

Arrangements and solo guitar: Wolf Nanssen
Sound Engineer: Gerhart Frei
Assistant: Roland Kusche

Coverphoto: Intersound

℗ INTERSOUND
INTERSOUND Musikverlag-Musikproduktion, Musikvertrieb GmbH & Co, Edition Tonarchiv KG, Schleibinger Straße 10, D-8000 München 80

ISST 141:

TROLL:
Keyboards: Mike Moran
Guitars: Ray Russell, Alan Parker
Bass Guitar: Les Hurdle
Drums: Peter Van Hooke
Synthesizers: Mark Stevens
Programmed-Synthesizers: Steve Allan, John Fiddy
Saxes: Ray Warleigh
The Troll Choir: Bryan Beast, Richard Rotten, Johnny Jaws

Recorded at:
Landsdowne Studios
Engineer: Chris Dibble

Snake Ranch Studios
Engineers: Steve Allan, Neil Richmond

Remixed at R.G. Jones Studios
Engineer: Gerry Kitchingham

Arranged and Produced by John Fiddy

Coerphotos: INTERSOUND

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ISST 142:

Arrangements:
A/2 and B/5: Giuseppe Solera
All other titles: Norman Candler

Sound Engineer: Gerhart Frei
Coverphotos: INTERSOUND

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8000 München 80

ISST 143:

Arrangements, Fairlight- and Roland MC-Programmes: Manuel Landy
Alto Sax, Lyricon, Keyboards and Music-Computer: Manuel Landy

Produced at ELMULAB, Electronic Music Laboratory, Munich

Sound Engineers: Klaus Netzle, Shane Dempsey and Hans Muehlbauer

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8000 München

ISST 144:

Arrangements: Al Sigmund

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ISST 145:

Arrangements: Helmuth Brandenburg
Produced at RIAS-Tonstudio, Berlin
Coverphoto: INTERSOUND

℗ INTERSOUND Musikverlag-Musikproduktion, Musikvertrieb Gmbh & Co, Edition Tonarchiv KG, Schleibinger Straße 10, D-8000 München 80

ISST 146:

Coverphoto: INTERSOUND

Arrangements: Helmuth Brandenburg
Sound Director: Raimond Erbe
Sound Engineer: N. Wollermann

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ISST 147:

Arranged and Produced by Juan Erlando
Coverphotos: INTERSOUND

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ISST 148:

Recorded at PRT Studios by Terry Evvennett
Remixed at Trixi Tonstudios by Gerhart Frei
Arranged and produced by John Fiddy
Coverphoto: INTERSOUND
℗ INTERSOUND Gmbh & Co KG, Schleibinger Straße 10, D-8000 München 80

ISST 149:

Joerg Reiter: PROPHET V, MINIMOOG, OBXa, JUPITER 8, FENDER RHODES
Stefan Diez: GUITARS
Thomas Stabenow: BASS
Matthias Holtmann: PREMIER DRUMS
Freddie Santiago: OAK PERCUSSION

Arranged and Produced by Joerg Reiter
Sound Engineer: Carlos Albrecht
Coverdesign: Brigitte Hensel
Photograph: Christian Heller

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ISST 150:

SAXOPHONES:
Gianni Basso
Gabriele Corneglio
Sergio Rigon
Giancarlo Porro
Claudio Allifranchini
Attilio Donadio

TRUMPETS:
Emilio Soana
Piero Michi
Sergio Fanni
Bruno Moretti

TROMBONES:
Rudy Migliardi
Beppe Bergamasco
Angelo Rolando
Moreno Fassi
Alex Attico

PIANO:
Ettore Righello

FENDER BASS:
Carlo Milano

DRUMS:
Alfredo Colino

SOLOISTS:
Sergio Fanni, Trumpet & Rudy Migliardi, Trombone on "HOLIDAY SUN"
Attilio Donadio, Alto Sax on "BACIAMI"
Gabriele Corneglio, Alto Sax & Rudy Migliardi, Trombone, on "PLAYFUGUE"
Sergio Rigon, Baritone Sax & Sergio Fanni, Trumpet on "CAPOLINEA CLUB"
Gianni Basso, Tenor Sax on "MELLOW"
Ettore Righello, Piano on "DRIVE ALONG"
Emilio Soana, Flügelhorn on "GOING AND COMING"
Sergio Fanni, Trumpet & Gabriele Corneglio, Alto Sax on "THE NEW SWING WAVES"

Arrangements: Attilio Donadio
Produced by Dante Panzuti
Recorded and mixed at Mondial Sound Studio, Milano (Oct. 1983)
Sound Engineer: Tonino Paolillo
Coverphoto: Black & White Studio, Milano

℗ INTERSOUND
Musikverlag-Musikproduktion
Muikvrtrieb GmbH & Co
Edition Tonarchive KG
Schleibinger Straße 10
D-8000 München 80

ISST 151:

Arrangements: Helmuth Brandenburg
Produced at RIAS-Tonstudio, Berlin
Coverdesign: Vladimir Kos

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ISST 152:

Arranged and Produced by Mladen Franko
Coverpainting: Mladen Franko

℗ INTERSOUND
Musikverlag-Musikproduktion
Musikvertrieb Gmbh & Co
Edition Tonarchiv KG
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ISST 153:

Original Recordings by PANTON, Prague

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Schleibinger Straße 10
D-8000 München 80

ISST 154:

Arranged and produced by Norman Candler
Coverphoto: INTERSOUND
Sound Engineer: Gerhart Frei

℗ INTERSOUND GmbH & Co KG
Schleibingerstraße 10
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ISST 155:

Coverdesign: Brigitte Reiter
DIGITAL RECORDING (3M DIGITAL MASTERING SYSTEM 32-TRACK)
REMIXED To SONY-PCM

Recorded at Tonstudio Bauer, Ludwigsburg
Engineered by Carlos Albrecht
Mixed by C. Albrecht, S. Diez, J. Reiter
Produced by Joerg Reiter & Stephan Diez

Arrangements:
A/1, 2, 4-6, B/1, 4, 6: Joerg Reiter
A/3, B/2, 3, 5: Stefan Diez

Joerg Reiter (Steinway, Fender Rhodes, Prophet 4, DX 7, Mini Moog, OBX-A, Juno 60, DSX)
Stephan Diez (OVation Classic, Adamas Acoustic, Ibanez LR 10, Guild 12-String, [????] IME Effect-Board)
Matthias Holtmann (Premier-Drums, Simmons-Drums)
Thomas Stabenow (Bass)
Freddie Santiago (Oak Congas)

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ISST 156:

Arrangements: Frank Pourcel
Produced by John Fiddy
Engineered by Doug Bennett at Olympic Sound Studios

Cover Photos: Gérard Neuvecelle

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ISST 157:

Arranged, Conducted & Produced by Harry Winkler.
Recorded & Mixed at Interpop Studio Munich.
Recording Engineer: Lee Kennedy
Mixing Engineer: Harry Winkler
Coverdesign: CIS

THE BOOGIE CLAN
Gregory Maxweel (Piano)
Kevin "Fuzz" Delane (Bass)
Mark Delane (Guitar)
Kenny Morten (Drums)
Felice Civitareale (Trumpet)
Benny Gebauer (Alto Sax)
Hermann Breuer (Trombone)

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ISST 158:

Arrangements:
A1, 3, 4, 5, B1, 3, 6: Norman Candler
A2, 6, B2, 4, 5: Mladen Franko

Sound Engineer: Gerhart Frei
Coverphoto: Gerhard Narholz

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D-8000 München 80

INTERSOUND Musikverlag-Musikproduktion, Musikvertrieb Gmbh Schleibinger Straße 10, 8000 München 80

ISST 159:

Arrangements: Kapono Beamer
Recorded at Commercial Recording Studios, Honolulu, Hawaii
Sound Engineer: Jim Linkner

Kapono Beamer: Guitars

Fred Schreuders: Electric Guitar
David Inamine: Bass
Bob Wilson: Keyboards & Drums

Guitars handmade for Kapono Beamer
by Donald Marienthol

Special thanks to Kika for her inspiration
Cover Photos: Gerhard Narholz

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ISST 160:

Production: Rüdiger Piesker
Arrangements: Wolfgang Foerster
Recorded at RIAS Tonstudio, Berlin
Directed by Peter Thiele
Sound Engineer: Gert Bazin
Coverphoto: K. T. Creations

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ISST 161:

Coverphoto: Gerhard Narholz
Arrangements: Helmuth Brandenburg
Sound Director: Raimond Erbe
Sound Engineer: Jürgen Wollermann
Production GDR Radio.

℗ INTERSOUND GmbH
Schleibingerstraße 10
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ISST 162:

JOERG REITER - Steinway, Prophet 5, Mini-Moog, Roland Sequencer, JX-3p, Juno 60, Fender Rhodes, DX7
STEPHAN DIEZ - Guitars
THOMAS STABENOW - Bass
FREDDIE SANTIAGO - Percussion
MATTHIAS HOLTMANN - Drums
JOYCE FABER & RONDA HEATH - Vocal on A/2, 5, B/3, 5

Arranged & Produced by Joerg Reiter
Coverdesign: Brigitte Reiter

DIGITAL RECORDING (3M DIGITAL MASTERING SYSTEM 32-TRACK)
Remixed to SONY-PCM
Recorded at Tonstudio Bauer, Ludwigsburg
Sound Engineer: Carlos Albrecht

℗ INTERSOUND GmbH
Schleibingerstraße 10
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ISST 163:

Featuring (in alphabetical order)
The Baa Lambs
Bahama Llama
Billy Goat
Blue Gnu
The Chickadees
Clarabella Cow
The Dawn Chorus
The Frogs Chorus
Goosey Gander
The Hound Dogs
Jocko
Kittykatz
Leo The Lion
The Peekaboo Cuckoo
Piggy Wig
Puppy Dog
Red Ara
"Rocky" Cock
The Waddle Duck

Arranged & Trained by Harry Winkler

A1 - Billy Goat, Blue Gnu, Jocko, The Waddle Duck & Leo The Lion
A2 - "Rocky" Cock, Piggy Wig, Billy Goat & The Hound Dogs
A3 - "Rocky" Cock & The Chickadees With Goosey Gander
A4 - The Baa Lambs & Kittykatz
A5 - Puppy Dog & The Hound Dogs, Clarabella Cow With The "Frogs Chorus"
A6 - Billy Goat & the Baa Lambs
B1 - The Peekaboo Cuckoo & The Dawn Chorus
B2 - Puppy Dog & The Hound Dogs, The Peekaboo Cuckoo, The Baa Lambs, The Dawn Chorus & Goosey Gander
B3 - "Rocky" Cock & The Chickadees, Clarabella Cow, The Hound Dogs, Kittykatz & The Frogs Chorus
B4 - Puppy Dog & The Hound Dogs with Bahama Llama
B5 - The Baa Lambs, Red Ara & The Hound Dogs
B6 - Kittykatz, Puppy Dog & The Hound Dogs

Produced by Harry Winkler & Gerhard Narholz
Recorded at INTERPOP Tonstudio, Munich
Sound Engineers: Lee Kennedy & Harry Winkler
Coverphoto: Gerhard Narholz
DIGITALLY mixed & mastered

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ISST 164:

Arrangements: Josef Hadek
Produktion: Jaroslav Malina, Prag
Coverphoto (Front): Gerhard Narholz

℗ INTERSOUND GmbH, Schleibinger Straße 10, D-8000 München 80

ISST 165:

Arrangements: Norman Candler
Coverphotos: Gerhard Narholz

Recorded at Trixi Tonstudio, Munich
Sound Engineer: Gerhart Frei

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ISST 166:

Arranged & Produced by by Mladen Franko & Giuseppe Solera
Recorded at TRIXI Tonstudio and Mladen FRANKO Studio, Munich
Coverpainting: Mladen Franko

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ISST 167:

Composed and arranged by Christoph W. Narholz

The CIS Musicians:
Dave King (bass)
Elmar Schmidt (drums)
Freddie Santiago (percussion)
Charly Hornemann (guitars and solo guitars)
Stephan Diez (guitars)
Laszlo Bencker (keyboards)
Pepe Solera (saxophones, flutes and harmonica)
Etienne Cap (trumpet)
Georges Delagaye (trombone)

Recorded at Trixi Studios Munich by Gerhart Frei
Produced by Christopher W. Narholz
Mixed by Gerhart Frei and Christoph W. Narholz
Cover design by Cis - Photo taken in Vienna, June 1985

℗
INTERSOUND GmbH
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ISST 168:

Arranged & Produced by Mladen Franko
Coverpainting: Mladen Franko

℗ INTERSOUND GmbH
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ISST 169:

Wolf Nanssen: Electric & Acoustic Guitars
Dave King: Bass
Commodore C64, Yamaha DX 9, Roland JX 3,
Sequential Circuits Drumtraks
Sequencer Program by Steinberg Research
Programmed by Wolf Nanssen

Coverphoto: Gerhard Narholz

℗ INTERSOUND GmbH
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ISST 170:

Born in the year 1912 Les Brown started his musical career in 1935 at Duke University leading the "Duke Blue Devils" dance band. In 1937 he was writing arrangements for Ruby Newman, Isham Jones, Jimmy Dorsey, Larry Clinton and Red Nichols and a year later formed the big band which became known as "Les Brown And His Band of Renown". A clean-cut, hard swinging band playing outstanding arrangements which quickly established an international reputation, performing at the "New York World's Fair" in 1939 and recording the million sales record hit "Sentimental Journey" sung by Doris Day in 1944.

1947 saw the beginning of the band's long association with Bob Hope, which continued into the 80's, on radio and T.V. shows and overseas tours. During this period Les Brown recorded regularly and in 1948 had another international record hit "I've got my love to keep me warm".

He was and still is, musical director of innumerable TV shows; guest conductor of the Los Angeles Symphony; Denver Symphony; Burbank Symphony; North Carolina Symphony; Inglewood Symphony and the Duke University Concert Band.

Les Brown is writer, or co-writer of several successful songs and instrumentals which ahve become world-wide record hits, recording with stars such as Bing Crosby; Bob and Dolores Hop; Johnny Mercer; Nancy Wilson; Dick Haymes; The Ames Brothers and a host of others.

"Les Brown And His Band Of Renown" appeared in films such as "Will Cowan Shorts" (Universal), "Seven Days Leave" (RKO), "The Nutty Professor" (Paramount) and played at the inauguration balls for President Nixon (1973) and President Reagan (1981 and 1985) and is one of the very few great big bands still an active part of the American Show Business scene even after all these years.

Arrangements: James L. Hill
Produced by Gerhard Narholz & Gunter Greffenius
Recorded May 1985 at Angel Studios
Engineered by John Timperley
Coverphoto Gerhard Narholz
Special Thanks to Walt S. Heebner for preparations and coordination

℗ 1986 INTERSOUND GmbH
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ISST 171:

Arrangements: Helmuth Brandenburg
Sound Engineers: Gert Basin & Klaus Bischke
Recorded at RIAS Tonstudio, Berlin
Coverphoto: Gerhard Narholz

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ISST 172:

Arranged & Produced by Joerg Reiter
Coverdesign: Wulf-Dietrich Blaurock
DIGIAL RECORDING (3M DIGITAL MASTERING SYSTEM 32-TRACK)
Remixed To SONY PCM
Recorded & Mixed at Tonstudio Bauer, Ludwigsburg
Engineered by Carlos Albrecht

Joerg Reiter: Keyboards (Kurzweil K-250, OB-8, DX-7, TX-7, Propher-5, DX-100, DSX, DMX, DMX-programming, Commodore SX-64)
Christof Lauer: Tenor Saxophone
Peter Tihuis: Guitar
Dave King: Bass
Elmar Schmidt: Drums
Freddy Santiago: Percussion
Carlos Albrecht: Kurzweil Programming & Sound Effects

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ISST 173:

Arrangements: Norman Candler
Recorded at Trixi Tonstudio, Munich
Sound Engineer: Gerhart Frei
Coverphoto: Daniel Tricot

Special thanks to Osmo Ruuskanen
Sleeve design: Christoph W. Narholz

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ISST 174:

Arranged by John Fiddy
Produced by Kevin Peek
at Tracks Recording Studios, Perth, Western Australia
Remixed by John Fiddy
at Olympic Sound Studios, London, England
Engineer: Doug Bennett
Coverphotos: Gerhard Narholz

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ISST 175:

Arrangements: Helmuth Brandenburg
Sound Director: Raimond Erbe
Sound Engineer: Jürgen Wollermann
Production: GDR Radio
Coverphoto: Gerhard Narholz

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ISST 176:

Arranged and produced by Jean-Claude Madonne
Recorded at Sound Suite Studios, London
Sound Engineer: Peter Rackham
Cover Design: Mary Noakes

MEGATONE:
Guitars: Ray Russell
Bass Guitar: Mo Foster
Drus: Neil Wilkinson
Keyboards: Trevor Bastow/John Fiddy
Trumpets: Tony Fisher/John Huckridge
Saxes: Ron Aspery/Jeff Daly
Trombone: Chris Smith
synths & UMI Computer Programmes: Peter Rackham/John Fiddy
Backing Voices: Jean C. Madonne

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ISST 177:

Trumpets:
Tony Fisher
Ronnie Hughes
Henry Lowther
Dave Hancock
John Barclay

Trombones:
Chris Smith
Chris Pyne
Colin Sheen

Bass Trombone:
Ken Goldie

Saxes:
Ray Swinfield
Ray Warleigh
Stan Sulzmann
Danny Moss
Ronnie Ross

Piano:
Brian Dee

Bass:
Alan Walley

Guitar:
Clive Hicks

Drums:
Terry Jenkins

Conducted by John Fiddy
Arrangements: John Fiddy/Barry Forgie
Recorded at Angel Studios, London
Engineer: John Timperley
Assistant Engineer: Frank Barretta
Coverphoto: Gerhard Narholz

℗ INTERSOUND GmbH
Schleibingerstraße 10
D-8000 München 80

ISST 178:

A1, A4, B2 With Johannes Faber, Trumpet
A2, A3, B4, B5, B6 With Johannes Faber, Flügelhorn

STEPHAN DIEZ, Guitars (Ovation, ESP, Les Paul Standard, Gibson Birdland, IME Effects Rack, etc.)
JOHANNES FABER, Flügelhorn & Trumpet
JOERG REITER, Keyboards & Programming
THOMAS STABENOW, Bass
ELMAR SCHMIDT, Drums
FREDIE SANTIAGO, Percussion
CARLOS ALBRECHT, Sound Effects & Computer Programmes

Arrangements: Stephan Diez
Recorded at Tonstudio Bauer, Ludwigsbur, Digital 32-track
Sound Engineer: Carlos Albrecht
Mixed by Carlos Albrecht & Stephan Diez
Coverphoto: Gerhard Narholz (front)

℗ INTERSOUND GmbH
Schleibingerstraße 10
D-8000 München 80

ISST 179:

Arrangements: Helmuth Brandenburg
Coverphoto: Gerhard Narholz
Sound Director: Raimond Erbe
Sound Engineer: Jürgen Wollermann
Production GDR Radio

℗ INTERSOUND GmbH
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ISST 180:

SEEFELDER
Rhonda Heath (vocal)
Jürgen Seefelder (alto & tenor sax)
Peter O'Mara/Peter Wölpl/Charles Hornemann (guitars)
Peter Christl (bass)
Thomas Simmerl (drums)

Special guests on A/2:
Franz Weiherer (trumpet)
Gerd Fink (trombone)

Arrangements:
A/1, B/2: Peter O'Mara
A/2, 4, B/1, 3, 4, 5: Jürgen Seefelder
A/3: Charles Hornemann
A/5: Peter Christl

Produced by Gunter Greffenius & Jürgen Seefelder
Cover Design: Mary Noakes
Recorded at DOWN TOWN MUSIC Studio, Munich
Sound Engineers: Jochen Scheffter, Artur Silber, Uli Ullmann

℗ INTERSOUND GmbH
Schleibingerstraße 10
D-8000 München 80

ISST 181:

Arrangements: Mladen Franko
Recorded at MLADEN FRANKO STUDIO
Enginered by Mladen Franko
Remixed by Gerhart Frei
Cover Design: Mladen Franko

℗ INTERSOUND GmbH
Schleibingerstr. 10
D-8000 München 80

ISST 182:

Klaus Peter Schöpfer, Electric & Acoustic Guitars
Klaus Wagenleiter, Keyboards (except A/1, B/2)
Dieter Faolk, Keyboards (on A/1, B/2)
Frieder Berlin, Synthesizer-Solo (on A/1)
Capo Mayer, Bass (except A/1, B/1, 2)
Peter Lübke, Drums (except A/1, B/1, 2)
Frank Loef, Woodwinds
Rudi Reindl, Trumpet, Flugelhorn
Karl Farrent, Trumpet
Ernst Hutter, Trombone
Peter Schmidt, Percussion
Jörg Gebhardt, Percussion

Special Guests (on A/1, B/1, 2):
Abraham Laboriel, Bass
Alex Acuna, Drums and Percussion
Hadley Hockensmith, Rhythm Guitar and Second Lead Guitar

Arrangements:
Klaus Peter Schöpfer (A/2, 3, 5, 6, B/1, 6)
Klaus Wagenleiter (A/4, B/3, 4, 5)
Dieter Falk (A/1, B/2)

Recorded & Digitally Mixed by Manfred Deppe at Melody Tonstudio, Stuttgart
Coverphotos: Manfred Bauerle, Georg Kahlstetter

℗ INTERSOUND GmbH
Schleibinger Straße 10
D-8000 München 80

ISST 183:

Dedicated to Kika for her love and faith

Produced by Kapono Beamer
Arrangements & Executive Producers: Kapono Beamer, Christoph W. and Gerhard Narholz
Synthesizers programmed by Bob Wilson and Bruce Hamada
Recorded and mixed at Dolphin Sound, honolulu, hawaii
Sound Engineer: Jim Linkner
Cover: From an original painting by George Sumner © 1987 Sumner Studios Industrial Center Bldg. Studio 325, Sausalito, California 94965

Special Thank you to George Sumner for his Positive Spirit and Inspiration

Kapono Beamer: Guitars
Bob Wilson: Drums, Keyboards & additional Synthesizer Arrangements
David Inamine: Bass
Bruce Hamada: Keyboards
Guitars custom made for Kapono Beamer by Donald Marienthol and Douglas Ching

℗ INTERSOUND GmbH
Schleibingerstraße 10
D-8000 München 80

ISST 184:

All Compositions And Arrangements by Francis Coppieters
Recorded March 1986 at Cornet Studio, Cologne
Sound Engineer: Wolfgang Hirschmann

Co-produced by
℗ 1986
WDR
Westdeutscher Rundfunk, Köln and INTERSOUND Musikverlag-Musikproduktion, Musikvertrieb GmbH, München

Sleeve Design by Roberto Patelli

℗ INTERSOUND GmbH
Schleibingerstraße 10
D-8000 München 80

ISST 185:

Arranged & Produced by Jorge Reiter
Coverdesign: Wulf-Dietrich Blaurock
DIGITAL RECORDING (3M DIGITAL MASTERING SYSTEM 32-TRACK)
Remixed To SONY PCM
Recorded & Mixed at Tonstudio Bauer, Ludwigsburg
Engineered by Carlos Albrecht

Joerg Reiter: Keyboards (Kurzweil K-250, DX-7, TX-7, Prophet-5, MKS 80, DMX, DMX Programming, Computer Programming)
Peter Tiehuis & Peter Wölpel: Guitars
Elmar Schmidt: Drums, Add-1
Carlos Albrecht: Kurzweil Programming & Sound Effects

℗ INTERSOUND GmbH
Schleibinger Straße 10
D-8000 München 80

ISST 186:

Original Recordings by PANTON, Prague

℗ INTERSOUND GmbH
Schleibinger Straße 10
D-8000 München 80

ISST 187:

Geoff Bastow: Solo-Guyitar, Keyboards, Computer Programmes & Arrangements
Recorded at Trixi Tonstudio
Sound Engineer: Gerhart Frei
Produced by Geoff Bastow & Gerhart Frei

Sleeve Design: Sibylle Florian

℗ INTERSOUND GmbH
Schleibinger Straße 10
D-8000 München 80

ISST 188:

Arrangements: Norman Candler
Recorded at TRIXI Tonstudio, Munich
Sound Engineer: Gerhart Frei
Sleeve Design: Mary Noakes

℗ INTERSOUND GmbH
Schleibingerstraße 10
D-8000 München 80

ISST 189:

Aufgenommen im TRIXI Tonstudio, München
Toneingenieur: Gerhart Frei
Photo "KRIMMLER WASSERFÄLLE": Sigi Probst

℗ INTERSOUND GmbH
Schleibingerstraße 10
D-8000 München 80

ISST 190:

Arranged and produced by Juan Erlando
Recorded at Hans Ehrlinger Studio
Digital Mixed by Gerhart frei
Coverphoto: Gerhard Narholz

℗ INTERSOUND GmbH
Schleibingerstraße 10
D-8000 München 80

ISST 191:

Arrangements:
Stephan Diez (A/1-3,5 B/1-3,5,6)
Thomas Glanz (A/4,6 B/4)

Musicians:
Frank Diez - Guitars
Stephan Diez - Guitars
Thomas Glanz - Keyboards & Programming
Will Roper - add. Programming & Effects

Pre-recorded at Central Tonstudio, Berlin
Sound Engineer: Thomas Glanz
digitally recorded at MONONGO STUDIO, Berlin
Sound Engineer: Will Roper
mixed by Will Roper, Stephan Diez & Thomas Glanz

Coverphoto: Gerhard Narholz

℗ INTERSOUND GmbH
Schleibingerstraße 10
D-8000 München 80

ISST 192:

Arrangements: Helmuth Brandenburg
Recorded at RIAS Tonstudio, Berlin
Sound Engineers: Klaus Bischke, Gert Bazin
Coverphoto: Gerhard Narholz

℗ INTERSOUND GmbH
Schleibingerstraße 10
D-8000 München 80

ISST 193:

Produced by DRM (Dieter Reith Musikproduktion) at DRM-STUDIO Stuttgart.
Arrangements, Computer-Programming & Engineering: Dieter Reith
Mixed by Johannes wohlleben
Cover Design: TOP PRODUCTION Manuel Neuhaus
Photo: Hugo Jehle

℗ INTERSOUND GmbH
Schleibinger Straße 10
D-8000 München 80

ISST 194:

Arrangements: Helmuth Brandenburg
Recorded at RIAS Tonstudio, Berlin
Recording Engineers: Hansjörg Saladin & Gert Bazin
Mixing Engineer: Gerhart Frei
Sound Director: Peter Thiele
Roland, DX 7, Mirage, RS 50, Mini-Moog, Yamaha-Drums-Synthesizer, Akai-Computer programmed and played by Christian Pittius
Coverphoto: Gerhard Narholz

℗ INTERSOUND GmbH
Schleibinger Straße 10
D-8000 München 80

ISST 195:

Arrangements: Helmuth Brandenburg
Cover Design: Manuel Neuhaus
Sound Director: Raimond Erbe
Sound Engineer: Jürgen Wollermann
Production: GDR Radio

℗ INTERSOUND GmbH
Schleibinger Straße 10
D-8000 München 80

ISST 196:

CHARLIE'S OLDTIMERS:
Klaus Osterloh, Tpt., Fl-H.
Heinz Kretschmar, Alto, Kl.
Georg Mayr, Ten., Sopr.
Dave Horler, Tbn.
Tom Wohlert, Banjo
Ingo Luis, Tuba
Eric van Lier, Tuba
Francis Coppieters, Key-bds.
Elmar Schmidt, Dr., perc.

Arranged & produced by Hagen "Charlie" Galatis
Recorded at Studio Cornet
Sound Engineer: Thomas Kern
Organisation: Ferdy Klein
Sleeve Design: Manuel Neuhaus

℗ INTERSOUND GMBH
Schleibinger Straße 10
D-8000 München 80

ISST 197:

Arrangements: Helmuth Brandenburg
Recorded at RIAS Tonstudio, Berlin
Sound Engineer: Gert Bazin
Sound Director: Klaus Bischke
Cover Design: Victoria

℗ INTERSOUND GmbH Schleibingerstraße 10 D-8000 München 8

ISST 198:

Arranged & Produced by
Joerg Reiter: DX-7- KURZWEIL K-250, YAMAHA [????], AKAI S-900, ROLAND D-50

Featuring
Charly Mariano: Alto Sax
Peter Tiehuis: Guitars (except A/6)
Ralf Illenberger: Guitars (only A/6)
Dave King: Bass
Elmar Schmidt: Drums
Freddy Santiago: Percussion

Recorded at TONSTUDIO BAUER, LUDWIGSBURG
by Carlos Albrecht on MITSUBISHI MIX [????]
32-TRACK DIGITAL.
Remixed by Carlos Albrecht and Joerg Reiter to PCM [????]-track (except A/6 [????] by Johannes Wohlleben)

Sleeve: Wulf-Dietrich Blaurock
℗ INTERSOUND GmbH Schleibingerstraße 10 D-8000 München 8

ISST 199:

Kenny Ball - Trumpet/Cornet

The Jazzmen:
Andy Cooper - Clarinet
John Bennett - Trombone
John Benson - Bass/Tuba
Hugh Ledigo - Piano
John Fenner - Guitar/Banjo
Ron Bowden - Drums

Arranged by Kenny Ball & John Fiddy
Produced by John Fiddy
Recorded at PRT Studios, London
Engineer: Mike Dutton

℗ INTERSOUND GmbH Schleibingerstraße 10 D-8000 München 80

ISST 200:

Arrangements: Helmuth Brandenburg
Recorded at RIAS Tonstudio, Berlin
Sound Engineer: Gert Bazin
Sound Director: Peter Thiele
Sleeve Design: Gerhrad Narholz

A/1-A/5, B/1,3,4,6: Solo-Trombones: Barry Ross & John Marshall
A/6, B2,5: Solo-Trombone: Barry Ross
Keyboards & Computer Prorgrammes: Christian Pittius

℗ INTERSOUND GmbH Schleibingerstraße 10 D-8000 München 80

ISST 201:

Arrangements: Helmuth Brandenburg
Recorded at RIAS Tonstudio, Berlin
Sound Engineer: Hansjörg Saladin
Sound Director: Peter Thiele

Art van Damme Quartett:
Art van Damme: Akkordeon
Peter Horton: Naturgitarre
Ingo Crame: E-Stereogitarre
Hajo Lange: Naturbaß

℗ INTERSOUND GmbH
Schleibingerstraße 10
D-8000 München 80

ISST 202:

Klaus Peter Schöpfe, Electric & Acoustic Guitars
Ernie Watts, Soprano-Alto- & Tenorsax (A1-4, B1,2,5,7)
Klaus Wagenleiter, Keyboards (A1-3,5, B2-4,6,7)
Dieter Falk, Keyboards (A4,6, B1,5)
Karl Farrent, Flügelhorn (B1)
Christian Baumgärtner (Marimba (A5, B3)
Rolf Dieter Mayer, Bass (A1-3,5, B1,2,4,6,7)
Klaus Peter Schöpfer, Bass (A4,6, B3)
Theo Simmerl, Drums (A1,3,6, B7), Percussion (A2,5, B1,2,4)
Peter Lübke, Drums (A2,3,5, B1,2,6), Percussion (B4)
Alex Acuña, Drums (B3,5), Percussion (A5, B1,6

Arrangements:
Klaus Peter Schöpfer (A1,4,6, B1-3,6,7)
Klaus Wagenleiter (A2,3,5, B4)
Dieter Falk (B5)

Recorded at MTS TONSTUDIO, ALBSTADT & TONSTUDIO CORNETT, KÖLN
by Manfred Deppe, Tom Krüger, Christian Baumgärtner & Gerd Rautenbach
Mixed by Tom Krüger
Photos: Toma Minić, Manfred Bauerle
Computer Graphics: TOP PROODUCTIONS Manuel Neuhaus

Special thanks to CAMAC, Norbert Heuser & Regina Büchner-Fröschlin

℗ INTERSOUND GmbH
Schleibinger Straße 10
D-8000 München 80

ISST 203:

TOUGH STUFF:
Michael Schütz, Keyboards
Thomas Kraus, Guitar
Sebastian Zimmermann, Bass
Stefan Schütz, Drums

featuring:
Rick Keller, Saxophone
Ekkehard Rössle, Saxophone on A6, B2
Thomas Simmerl, Percussion
Katrin Haug, Vocals on B1
Roger Roger, Vocals on A5

All titles arranged by Michael Schütz
Computer programming by Michael Schütz
Additional sound programming by Dieter Falk
Recorded at Tonstudio Leonberg, Stuttgart
Produced by Dieter Falk
Engineered by Manfred Lohse
Mixed by Manfred Lohse and TOUGH STUFF
Cover Art by Michael Schnerring
Designed by Michael Schnerring and TOUGH STUFF

P 1990 INTERSOUND GmbH
Schleibinger Straße 10
D-8000 München 80

[Mr]

Fully revised 2018-05-11.

[Mr]

Revised and expanded today.

As with Sonoton, I had assumed all Intersound's releases to be undated, but upon closer inspection that's not actually the case. In addition to some releases that specify the music's recording dates, a few of the LPs are dated outright.

In my research for this revision, I also stumbled upon this curiousity:


Usefully, it gives us a concrete release date for ISST 106; July 2nd, 1979 - which strangely, it refers to as the "first" LP released on the label, suggesting that the catalogue numbers might not reflect the actual release chronology.
It also gives me a small hope we might find additional paperwork from Selecta/Decca to pinpoint the exact release dates in the future, at least for those initial 11 releases distributed by them.