UNCOMPRESSED WORL D

VOL . II

AUDIOPHILE FEMALE VOICESPUREST AUDIO-

NATURAL
DYNAMICSPLAYBACK CAREFULLY!
A U D I O P H I L E
R E C O R D I N G S

It was in fact a small experiment when in 2009 the record Label ACCUSTICARTS AUDIOPHILE RECORDING was founded. Yet one year later with the issue of“Uncompressed World Volume 2” it is clear that the experiment has succeeded.
There are many music lovers who appreciate our compilation series dedicated tothe audiophile work of producers, audio engineers and musicians. We are very
happy about the positive feedback of the first volume and have decided to carryon with Volume 2.

Where volume 1 included 13 instrumental tracks, with Volume 2 we now present a
total of 15 different, excellent recordings with the focus on the female voice. Thus
volume 2 features voices of 15 female singers from Europe and the US. The voices
are all different and yet they have something in common: the tracks have a highmusical and excellent sound quality. Along with a number of well-known names,
there are also singers on the CD who are mostly unknown to the listener. Let
yourself be pleasantly surprised by the recordings, just as we were in the courseof our extensive research and pre-listening activities.

Important mastering insights on Uncompressed World Vol. 2:
Similar to Vol. 1 the tasks set was to bring the variety of the selected songs whichhave been recorded in different time periods and with different recording formats
to the final master with zero loss of quality. Pro Tools HD system was used to adjust
the songs with the provided different formats and levels. Just like with Vol. 1 thePOW-R #1 dithering algorithm was used to convert some tracks to 44.1 khz / 16 bits.
For the ideal no loss basis the CD premastering was done with Sonic Pre Master on
DDP.
For the monitoring of Uncompressed World Vol. 2 we used ACCUSTIC ARTS AMP II MK 2, TUBE-PREAMP II as well as TUBE-DAC II SE on the electronics side as well as the
PROLINE MK 3 speakers in a special crossover configuration in the nearfield.

If you have missed out on Uncompressed World Vol. 1,
concentrating on instrumental music pieces of the Jazz,
New Age/World Music genres only, please feel free to visit
our website at www.accusticarts.de for further details.
We thank you for opting for this CD and wish you many hours of musical enjoyment.

Milan Sajé

Rasmus Muttscheller

Steffen SchunkProducer: Benedicte Torget and Øystein Sevåg

Statements by Benedicte Torget:
The song is about receiving. And about letting go. The song is a lullaby for those whohave spent a long time wandering. It’s a song about the gift of being recognized. In
the end the song is about trust. To nature, to your deep self and to the one who lovesyou.
The arrangement and the sound developed itself like a picture in a darkroom. The
simplicity with voice and piano, the middlepart with percussion creating an open
landscape and with the singing sound of Gjermunds doublebass in front, it all cameout of asking what the song were asking for.
Singer and composer Benedicte Torget and musician Øystein Sevåg, who plays the
piano and did the studio engineering, produced this CD together. The collaborationand meeting between their two musical worlds created a sense of a continous creative space. Singers and musicians always seeks the spontaneous take. To catch theauthentic shining moment and to keep it shining during the mixwork. It takes timeto just let things happen. It takes time to find the perfect mix. There must be time todeepen, work, talk and try.
Some technical insights in the production:
Vocal: Røde NTV -> Digidesign Pre 8 -> Digidesign 192
Grand Piano (PETROF 227 cm): 2x Neumann U87 and 2x Schoeps CMC-5; SONY DMX-R-100
Acoustic Bass: AKG C 414 -> Digidesign PRE 8 -> Digidesign 192
Mixed in Logic Pro, with 2x external Nuverb Lexicon reverbs.

Benedicte Torget, Øystein Sevåg

Benedicte Torget

Benedicte Torget SLEEP AWHILE

Andrea Zonn

Andrea Zonn BET TER BE HOME SOON
Producer: Andrea Zonn

Statements by Andrea Zonn:
I’ve always been fond of this song, but the most special thing, to me, about recording it were the players involved. Willie Weeks and John Jarvis are two of the mostthoughtful musicians I know of, and I don’t tend to do anything without Steven Sheehan. Add Jon Randall on vocals and how can you go wrong?
As a producer, I like to go into a session with a good plan. I’ll have some broad guidelines mapped out, but I like to leave ample room for the musicians to find inspirationin the process. I also know the general feel I’m after, and call on those musicians I
feel can capture that spirit. To me, it’s important to allow space for the magic of the
moment to occur.
Some technical insights in the production:
We recorded this track on ProTools, recording the rhythm section at The Sound Emporium, Studio B, and then overdubbing vocals and strings at Cliff’s Walk-In Closet.
There, we used a Lawson mic on the vocals and the strings, going through a Manley
VoxBox.

© Steffen Baraniak

Robert Matt

Jessica Gall
© Steffen Baraniak

Jessica Gall BEAUTIFUL GIRLS
Producer: Robert Matt

Statements by Robert Matt:
The band was recorded in a separate room with visual contact in order to give themix and production the best possible creative freedom. What is so special for me
about Jessica Gall is the depth of her voice, which cannot be consciously arranged.
The philosophy behind the music is to be ready when the musician is ready and tocreate an atmosphere which uses the technology as a means to an end and not justas content for the production. A great idea has to work with simple means. How’s thebow, the arrangement, the message? That’s when the real production starts.

Some technical insights in the production:
Brauner Valvet, Neumann TLM 171, Schoeps mk4, Shure SM 58, Rode, etc., Tubetech
MEC, RME Fireface 800, SPL Gainstation 1AD, Purple Audio various preamps, UAD cardwith precision bus compressor / Neve channel strip, Sony Oxford EQs, Lexicon 480 L,
Mac Pro, Logic 8, analogue adder.

Lydia Gray

Lydia Gray MAYBE I‘M AMAZED
Producer: Lydia Gray, Elisabeth Gray and Damian Bermudez

Statements by Lydia Gray:
I loved the process of recording this song. “Maybe I’m Amazed” is a big rock balladthat I wanted to make intimate. The engineer on the recording couldn’t understandEnglish very well because he is Spanish. He wasn’t familiar with the song at all. If he
didn’t understand the feeling behind the lyric, then I would redo it until he understood what is was all about. This made for a deeply personal interpretation. I love recording in Spain because everyone is very passionate about making a good product.
My sister, Elisabeth Gray, produced and that was also a treat, because not only is she
a great singer in her own right, she knows the very best musicians in Madrid. It was a
joy to work with her.
My recording philosophy is pretty straight forward. I like to pare down a song to its
core meaning so it can be an honest interpretation of what the writer meant and how
it affects me personally. I have an acting background so to dig into the inner point ofview of a song is very much my approach.
Some technical insights in the production:
Pre Amp: TL AUDIO 5060 IVORY II
Studio microphone: FAME STUDIO C02; SE 4 ELECTRONICS
Recording system: PROTOOLS LE DIGIDESIGN 002
Plugins: FOCUSRITE D2, D3 RED SERIES; LEXICON and TL SPACE NATIVE REVERB
Monitor: KRK SYSTEMS ROKIT 5

Jochen Schild

Karen Selig

Karen Selig SUMMER MOOD
Producer: Jochen SchildStatements by Jochen Schild:In the production of the album “By the way” by Karen Selig my main priority was toconvey the naturalness and personality of the artist in the best way possible. The
actual concept and idea behind this production was to capture moments and allow
oneself the freedom to just go with the flow without feeling pressurised to conformto a particular musical style. The result is 12 beautiful tracks with pop, jazz and Latin
influences. Working with Karen was very inspiring as she is able to express her feelings with incredible sensitivity in the form of texts and melodies. The song “Summer Mood” was one of the first song ideas for the album and set the trend for thephilosophy of the following tracks, i.e. to create an absolutely natural sound withmainly acoustic instruments and clearly arranged instrumentation. In particular, theaim was to maintain 100% of the dynamism of the respective instrumentalist andthe expression and feeling in Karen’s voice. In keeping with the motto “less is more”,
the song “Summer Mood” was recorded with just an acoustic guitar, a double bass,
some percussion and a ukulele in combination with Karen’s clear voice to make thesun shine.

Some technical insights in the production:
Vocals: BRAUNER VM1 tube mic; MindPrint EN-VOICE MK 2 (tube recording Preamp)
Guitar/ukulele/double bass/percussion: Neumann KM 184 condensor mic; Neumann
U 87; MindPrint DTC (2 channel high-end channel strip)
Recording/mix: RME Fireface 800 (audio interface); Apple Logic 8 speakers: Bowers &Wilkins Nautilus 800d

Producer: Øystein Sevåg

Statements by Øystein Sevåg:This was a quite “live” recording in the studio, all musicians playing simultaneously.
We found the right mood for this recording in the late evening. Elin Synnøve has an
extraordinarily flexible and expressive voice with many colours and a wide dynamic
spectrum. Her song “Earthly Things” (the title track of her Eliksir debut album)
moves between the most delicate to the most ethnic sounds, and her inspired bandmusicians follow up the dynamic flexing in a brilliant fashion.
When asked regarding production philosophy I would say use the right microphones
to the right instruments in stead of a lot of equalizing and processing. Make surethe musical arrangements are efficient and not to crowded. That makes the mixing
process easy. In general, solve sound problems at the earliest possible stage in theprocess of making an album. Sound is very much influenced by how musicians playtheir instruments. Therefore try to establish as much sound identity as possible withthe musicians and their instruments, before using the buttons.
Some technical insights in the production:
Recorded in Protools
Vocal: Mojave MA 200 -> Digidesign Pre 8 -> Digidesign 192
Grand Piano: 2x U87 and 2xSchoeps CMC-5 Bass direct via 2610
Electric guitar via amp and AT61
Drums: AudioTechnica mics at4033, at25
Recorded thru the SONY DMX-R-100
Mixed in Logic, with 2x Nuverb Lexicon reverbs.

Øystein Sevåg

Eliksir

Eliksir EARTHLY THINGSKavin Hoo, Corrinne May& Richard Oliver Furchat Studio D, Westlake Studios, LA

Corrinne May

Corrinne May FIVE LOAVES AND T WO FISHES
Producer: Corrinne May and Kavin Hoo

Statements by Kavin Hoo:
Corrinne May, the artist, is pretty particular about the piano she uses, especiallywith regards to the touch and feel of the piano action. We have had great successrecording on a 7’ Yamaha and Steinway at O’Henry Studios in LA, but when it cametime to record this song, we found out that the studio had closed down. We prowled
all the big studios in Hollywood, but eventually found the perfect piano at a piano
store : a 6’ 5 Yamaha with delicate action and perfect tuning. Luckily for us, the store
routinely rents out their pianos. So we rented it for 3 weeks and recorded the piano
right in our living room using Neumann U89s and Brent Averill Vintage API mic pres.
The best part about it was that the whole process was so relaxing because unlike
recording in a studio, we were not under any time constraints to finish the recording.
Corrinne is the consummate artist. She has impeccable timing, rhythm and vocal
control. One thing our vocal coach and I noticed is that Corrinne seems to sing
better when singing down the entire song rather than doing multiple punch-ins. So
we recorded her Nashville style, whereby we recorded 4 or 5 passes of the song,and then listened down to see which phrases needed more oomphs or variations.
More often than not, we ended up using the very first take. The general recording
philosophy is to never fix things in the mix. If a song is recorded right, it will soundright with pretty much just the faders all up. I love working with a good recording
engineer who takes the proper care in mic placement and pairing the right mics withthe right mic pres on the right instruments.
Some technical insights in the production:
Neumann U89, U47, U67, KM84, KM184, Sennheiser 421, Telefunken 250, 251, Avalon
VT737SP, Urei LA2A, 1176. Brent Averill Vintage API, Neve 1066, 1073, Vintage API mixing board circa 1977. Pro Tools HD Accel 3, Lexicon PCM80, various plugins including
Waves SSL & Diamond, Roger Nichols Dynamizer, Digidesign Reel Tape Suite, McDSP.

Producer: Felix M. von Racknitz, Sandra MacBeth and Gibbs PlatenStatements by Gibbs Platen:
Originally my activity as a co-producer was solely to mix the album. After 2 days of
mixing our producer had to leave us for 2 days. So Sandra and I decided to re-record
some vocals. Then for 2 days and mainly nights we re-recorded almost all the vocals.

It was great to work with Sandra as she really is an exceptional artist. We were
not held back in any way and so we were able to concentrate on fine-tuning theinterpretation.

Some technical insights in the production:
We were both against using Autotune. Firstly, because it destroys the sound andsecondly, because it isn’t really honest. The technology used was a Horch microphone
and a Siemens V 276 amp. We used Nuendo for the recording.

Gibbs Platen

Sandra MacBeth

Sandra MacBeth 8BALL

Jamie Lynn Noon

Jamie Lynn Noon TO FINALLY
Producer: Jamie Lynn Noon and Kevin Harris

Statements by Jamie Lynn Noon:
This recording from US singer-songwriter Jamie Lynn Noon found its resulting arrangement by adding subtle layers of instrumentation and vocal harmonies, starting
off very intimate and creating a cinematic culmination at the bridge and unto thefinal chorus.
“To Finally” is the ultimate closing track - written in a unique 6/8-time structure
and based on a brilliant chord sequence Jamie worked out at the piano. It completely
sums up the themes of the EP in an uplifting and universal fashion. (“You have tolive through loneliness to finally feel the love/You have to go through all the lows to
finally see the sun.”)Some technical insights in the production:
Digital Performer; Plug-Ins from Native Instruments, Spectrasonics, Focusrite,
Waves, Wave Arts; Yamaha S90

Leslie Tucker

Leslie Tucker JESSIE (GOING THROUGH)
Producer: Gary West and Alison Brown

Statements by Gary West:This was Leslie’s first record and really her first time in the studio. Any time someone
is making their first album, everything about the process is exciting and memorable.
Leslie is such a natural singer that everyone had a great time sharing the experience
with her. Also, we recorded this track at Bradley’s Barn and actually got to meet Owen
Bradley while we were record.
As a producer, I like to get the best possible musicians for the track in the room andthen let them play the tune. I see my role as being more one of offering guidance anda sounding board rather than trying to direct the musicians to play specific parts. As
the track evolves I just try to keep things between the lines and help it along if themusicians get bogged down. We are very lucky to have so many great players to callon in Nashville - some of whom are on this track.
Some technical insights in the production:
Bradley’s Barn is well equipped with a lot of vintage gear including the Yamaha piano
from the Quonset Hut studio where Patsy Cline and Elvis Presley recorded their icon
albums.

Lisa Bassenge

Lisa Bassenge A LIT TLE LOVING
Producer: Rainer Robben

Statements by Rainer Robben:
The sounds prepared beforehand by the musicians give this song its charm. It isalways very inspiring to work with others on an idea. Lisa influenced the atmospherewith her singing. We inputted everything together and everyone could let themselves
go. In the studio it’s important for me to correctly pick up and capture the vibrations
on offer.
Some technical insights in the production:
A number of different mics and in the same way as brushes are to a painter ALL areequally important.
Mics: Brauner VM1; Brauner VMX; Brauner Valvet; Lewilson 247; Neumann M 147;
Neumann TLM 103; Neumann TLM 170; Neumann KM 131; Sennheiser MKH 80;
Royer 121 and 122; Marek Design RS 1; DPA (Bruel & Kjaer) 4011;
Calrecs CM 1050C; Beyer (160/130) ribbon; Sennheiser 441
The preamps also have an enormous influence on the sound with the combinationof mic/preamp responsible for a big part. An individual decision has to be madeabout where to “calculate” while intuition is also essential to hear and appreciate
the interaction of other sound sources (+ mic + preamp). This is made easier withexperience and an exchange of ideas. Preamps: Api, Avalon, Chandler, Manley,
Earthworks, Neve.

Maria Markesini

Maria Markesini KOSMO
Producer: Bob Hagen

Statements by Bob Hagen:Maria Markesini was inspired by the life of the American painter and sculptor Geoffrey
Myers, especially by his painting ‘Kosmo’. This painting is also in the booklet of thealbum ‘Kosmo’.
Our intention is always to search for new talents deserving more reconition. Maria issuch a talent. We have a strong belief in her possibilities as an artistic talent.
Some technical insights in the production:
Microphones: Vocal: Neumann M49
Drums: OH: Neumann KM56c & Coles 4038
Bassdrum: D12 & AKG414. Snare top: Shure SM57, Snare Bottom: Neumann KM140,
Toms: TLM 170 & U87, Double bass: Telefunken ELA 251
Piano: 2x Neumann U67, Accordeon: Telefunken/Schoeps 221b,
Preamp: Focusrite RED 3, API 3124+ SSL, ProTools HD 88,2 KHz 24 bit
House clock: GRIMM CC1
Analog Mixing: Solid State Logic - Duality
AD: Cranesong HEDD
Dynamics: Manley, Summit, Focusrite, Neve, Tube-tech
Reverb: Lexicon 960L, Delay: TC 2290
Steinway D-274 grand piano
Live-room 180 m2

Amy Antin

Amy Antin HAPPY
Producer: Amy Antin and Josef Piek

Statements by Amy Antin:
Special about recording the album “Heart of Clay” was the fact that the producer,
Josef Piek, was also arranger and guitarist on the recordings. So the process wasalways first and foremost a very musical one. All decisions were based on what reallyserved each song best, and not some preconceived notion about production. Since
I’m the singer, I can only say that what needs to be mentioned is that it was an honor
to work with Josef and the other musicians on this recording. I was impressed by
the maturity of each person’s individual talents and the generosity with which theyshared these.
As a songwriter and singer, my recording philosophy is limited to the recording of myown guitar and/or vocals, and that is to listen carefully, and follow my intuition oneach part of my own work. Even if means taking a long time to get a vocal interpretation just right, and that also means lots of patience on the part of the other teammembers, I think it’s important to have that time. I’m very grateful that on “Heart ofClay”, that so many hours were allowed me.

Luis Conte, Jeff Porcaro

Clair Marlo

Clair Marlo ‘TIL THEY TAKE MY HEART AWAY
Producer: Clair Marlo and Bill SchneeStatements by Clair Marlo:
What was truly special about recording the song was to have all those amazing
musicians in the same room. In between songs, they would break out into jams thatwould have made a fantastic record on their own. Steve Haselton modified a C-12
microphone that was live like no other. Not only was it very sensitive and true in its
recording, but if I got too close to it, it shot sparks! There was no room in the studiofor all the background singers, so we had to put them in the front reception area,
near the coffee machines, and turn everything off in there. They were arranged in asemi-circle around a pair of mics.
Regarding the singer: A week before the sessions, I got a bad case of laryngitis andcouldn’t even talk up until the day of the session, so I couldn’t rehearse any of thesongs. On the day of the session, I had tea and chocolate and, at the first downbeat,
was able to sing again.
Some technical insights in the production:
On the purist side, I like to hear recordings that sound like you’re in the room withthe musicians. To me, many recordings overcompress now, and you lose the soul ofthe music. Also, I don’t mind hearing fret noise, or the slight inflections in a persons
voice. Use of auto-tune changes not only the pitch, but the timbre of the voice so I
don’t like it much as a purist. On the producer side, I sometimes use recording
techniques as an instrument, doing things that are completely unnatural to the
instrument or voice, but that become something new and different.
The songs were recorded at Bill Schnee’s studio. We used many of Doug Sax’s
Mastering Lab mic pre units and his specially built limiters and compressors. Manyof the mics were specially modified by Steve Haselton.

Margriet Sjoerdsma

Margriet Sjoerdsma MY SILLY HEART
Producer: Michiel Hoogenboezen

Bonus-TrackCOMPOSERS, WRITERS, ARTISTS & CO.

SLEEP AWHILE:
Time: 3:25

John Jarvis piano,
John Randall Stewart background vocals

Publishing: Benedicte Torget
Produced by: Øystein Sevåg and Benedicte
TorgetArrangement: Benedicte Torget andØystein Sevåg in collaboration with themusicians
Musicians:
Vocals: Benedicte Torget

BEAUTIFUL GIRLS:
Time: 3:47
(Gall/Aperdannier/Matt/Goldsby)
Published by Herzog Records GmbH /Close Listening / Bass LionGrand piano / Keys: Øystein Sevåg

Produced, recorded, mixed & mastered byRobert Matt (www.robertmatt.de)

Doublebass: Gjermund Silset

Vocals: Jessica Gall

Percussion: Helge Norbakken

Rhodes: Bene Aperdannier

Copyright Benedicte Torget / Present
Recordings 2008

Guitar: Jo Ambros
Bass: Edward Maclean
Drums: Martell Beigang

BETTER BE HOME SOON:

P+C 2010 Herzog Records GmbH

Time: 4:27
Writer/Publisher: Neil Finn,Roundhead Music
Producer: Andrea Zonn
Recorded by: Cliff Goldmacher @ Cliff’s
Walk-in Closet & The Sound Emporium,
Nashville TN
Master: Dave Sinko @ The Sound
Emporium, Nashville TN
Mixed by: Randy Leroy @ Final Stage,
Nashville TN
Artists: John Gardner drums,
Steven Sheehan guitar,
Mark Prentice bass,

MAYBE I‘M AMAZED:Time: 3:05
(Paul McCartney)
Published by Macsolo Ltd./Northern Songs Ltd.
Produced by Lydia Gray, Elisabeth Grayand Damian Bermudez
Executive Producer: Betty Johnson
Recorded and Mixed in Madrid and Malaga
by Damian Bermudez
P 2007 Bliss Tavern MusicCOMPOSERS, WRITERS, ARTISTS & CO.

SUMMER MOOD:

Drums/Percussion: Trygve Tambs-Lyche

Time: 2:55

P 2007 Siddhartha Records

Music & Lyrics by Jochen Schild &Karen Selig
Arranged and recorded by Jochen Schild
Mixed by Jochen Schild & Torsten Kühn
Mastered by Scott Hull
Produced by Jochen Schild & Karen Selig

FIVE LOAVES AND TWO FISHES:
Time: 4:40
(Corrinne May Ying Foo)

Karen Selig - vocals

Published by Corrmay Gourmet Music(ASCAP)

Jens Kouros - guitars

Produced by Kavin Hoo & Corrinne May

Jochen Schild - ukulele

Recorded by Helik Hadar,
Kavin Hoo & Richard Oliver Furch

Axel Kühn - bass
Christoph Scherer - percussions
www.jochenschild.de
www.karen-selig.com

EARTHLY THINGS:
Time: 5:56
Music & Lyrics: Elin Synnøve Bråthen
Publishing: Elin Synnøve Bråthen
Produced by Øystein Sevåg
Arrangement: Eliksir (Elin Synnøve Bråthen
in collaboration with musicians & producer)
Musicians:
Vocals: Elin Synnøve Bråthen
Grand Piano/Keys: Hilmar Kristoffersen
Guitars: Haldor Røyne
Bass: Glenn Phillip Nilsen

Mixed by Bob Horn
Mastered by Gene Grimaldi at Oasis
Mastering
Vocals: Corrinne May(www.corrinnemay.com)
Piano: Corrinne May
Keyboards, programming & strings
arrangement: Kavin HooString ensemble: Nicole Garcia,
Lorand Lokuszta, Patrick Rosales,
Matt Cooker, Chris Woods, Tom Vos,
Tom Tally & Adrienne Woods
Guitar: Andy Georges
Bass: Joe Dunne
Percussion: Randy Cooke
Drums: Craig Macintyre
P+C 2007 Corrinne May, Pink Armchair
Records

8 BALL:

Producer: Garry West/ Alison Brown

Time: 4:14

Recorded by: Jim DeMain at Bradley’s Barn,
Mt Juliet, TN

Written and performed by Sandra MacBeth
Taken from the album “Conjugal Scene”
Arrangement: Sandra MacBeth & Felix
von Racknitz.
Produced: Felix von Racknitz,
Sandra MacBeth & Gibbs Platen
P 2009 Sandra MacBeth, teuchstar records

TO FINALLY:
Time: 5:10
Composer: Jamie Lynn NoonC+P 2009 by Jamie Lynn Noon
ISRC: US-ANG-08-10550

Mixed by: Tom Size at Tomland, Oakland, CA
Master: Glenn Meadows, Masterfonics,
Nashville TN
Musicians: John R. Burr piano, Mike
Marshall guitar, Dave Pomeroy bass, Rick
Reed drums, Jessie Tucker background
vocalsIssued under license from the Compass
Records Group© 1995 Compass Records. Issued underlicense from Compass Records Groupwww.compassrecords.com. From theCompass Records CD: Leslie Tucker “In ThisRoom” COM-CD-4228.

Publisher: Noon’s Tunes (ASCAP)Album: A Moment to Break EP;
Original release: January 27, 2009

A LITTLE LOVING:

Produced by Kevin Harrisand Jamie Lynn Noon

Time: 3:42
(Bassenge/Kleber)

Mastered by Brian Gardner

Produced by Lisa Bassenge, Paul Kleber
and Boris Meinhold
Executive Producer: Stephan Meyner

JESSIE (GOING THROUGH):
Time: 3:55
Artist: Leslie Tucker
Track: Jessie (Going Through)Writer/Publisher: Leslie Tucker/Tuckaway
Music

Recorded by Rainer Robben & Johannes
Hampel at Audio Cue – Berlin
Mixed by Boris Meinhold at Compuphonic
Bed – Berlin
P 2007 Minor Music GmbHCOMPOSERS, WRITERS, ARTISTS & CO.

KOSMO:

TIL THEY TAKE MY HEART AWAY:

Time: 4:32

Time: 4:15

Music and lyrics: Peter Myers

Writers:
Music: Clair Marlo and Steve Porcaro
Lyrics: Clair Marlo

Recording: PowerSound Studio Amsterdam
Recorded and mixed: Paul Pouwer
Producer / executive producer: Bob Hagen
Release coordination: Harry Velleman
Musicians:
Maria Markesini: vocals
Bert van den Brink: piano, accordion and/or hammond

Publisher: Tarzana Jane (ASCAP), So Little
Time Music (ASCAP)
Produced and arranged by Clair Marlo
Recorded and mixed direct to two-track
anolog by Bill Schnee at Bill Schnee Studios,
Los Angeles
Musicians:

Clemens van der Feen: double bass

Synthesizers: Steve Porcaro & Clair Marlo

Jasper van Hulten: drums

Electric Guitar: Dean Parks

The original album Kosmo (Catalogue
number: KTD6003) is or will soon beavailable in The Netherlands, Belgium,
Luxembourg, Germany, France, Greece,
Italy, UK. More countries to follow soon.

Acoustic Gutiar: George Doering

P 2009 EtceteraNOW

Background Vocals: Susan Stevens,
Gail Farrell, Scottie Haskell

Bass: Leland Sklar
Drums: Jeff Porcaro
Percussion: Luis Conte

P 1989HAPPY:
Time: 4:21
(Amy Antin/Amy Antin)
Published by eisenberg publications
ISRC: DECY90600012
P+C 2007 Herzog Records GmbH
Produced and recorded by Josef Piek
Mastered by Reinhard Kobialka, TopazStudio, Cologne

MY SILLY HEART:
Time: 5:26
(I. Panayotova/D. Bodurov)
Musicians:
Margriet Sjoerdsma – vocals, backing
vocalsShirma Rousse – backing vocals
Laise Aerts – backing vocals

Dimitar Bodurov – piano
Cord Heineking – double bass
Jasper van Hulten – drums, percussion
Jeffrey Bruinsma – violin
Heleen van der Hoeven – violin
Ro Krauss – viola
Saartje Camp – celloSound Engineer: Michiel Hoogenboezen
NL-Y33-08-00293
P + C 2009 T2 Entertainment