#deutsche gramophon

[mariesrbouipochodian]

[superdeluxeaverage]

listening to ravel debussy string quartets tonight ^_^

[ultra-francesca-mercury]

novemnber 8, 1887

Emile Berliner is granted the first patent for the gramophone. In the 1890s, he starts manufacturing gramophone players and discs, but in the early 1900s the Victor Talking Machine company becomes the market leader.

[gouldblogger]

Colour photographs of Martha Argerich and Claudio Abbado, taken by Ilse Buhs in 1967 for Deutsch Gramophone, the first of which was then used as cover for the 2023 box set of Martha Argerich and Claudio Abbado – Complete Concert Recordings

[videostak]

also love at the end of the book it had list of his stuff thats available on record and the deutsche gramophon drumming etc LP was listed as coming soon :O so fkn cool lol

[sivavakkiyar]

“accessibility” when it comes to music listening has been changed dramatically by streaming. concretely if you have access to spotify you have access to massive amounts of the deutsche-gramophone, blue note, even more “obscure” labels like Lovely Music and ESP-Disk catalogue. It’s concretely not the same situation it was in the 70’s-80’s where a lot of our discourse comes from, and it’s not even the same as when I was a kid, where you had to get lucky to find the albums or hope the torrent was still being seeded or find hard drive space or someone was posting it to their blog (oh I miss you megaupload). I hope this doesn’t come across as a “no excuses” post, I just mean it’s *there* if you’re interested

on the other hand the music is *less* accessible than ever. when I was a kid those albums came with liner notes that discussed the music seriously, the history, often what the musician was trying to achieve, like program notes. I can’t tell you how much a lot of the pretentious 60’s jazz composers were falling over themselves to explain because they *wanted* you to get them. This is all lost because Spotify doesn’t include liners, and they’re not available online—-you have to hope maybe for a good Wikipedia article or an allmusic summary, and those never go in depth. Sympathetically, with the sheer variety instantly available, why *wouldn’t* someone put on Coleman’s Free Jazz, hear it for a few minutes, think “stereotype confirmed” and click on something they know and love? it’s a shame

[opera-ghosts]

Lohengrin: Wenn ich im Kampf für dich siege (1908) Deutsche Bioscope

Music: Richard Wagner

Singers: Emmy Destinn, Ernst Kraus

Tonbild (Sound Picture) for the duet "Wenn ich im Kampf für dich siege" from the first act of Richard Wagner's opera "Lohengrin". Tonbild is a term for early cinema films with synchronous sound (recorded and played back using the pin-tone method). In Germany, the production of sound images began around 1903: The camera filmed actors using the playback method to a sound recording on a shellac record. In the cinema show, the projector (usually still hand-cranked) was synchronized with the gramophone. The short films preferably showed popular pieces of music from opera, operetta and revue. Special audio-visual theaters were even created for the extremely popular genre. Before the start of the First World War in 1914, the brief era of audio images ended again. Filmed in large numbers around 1908, they are now among the rarities of early film heritage.

[bm2ab]

Arrivals & Departures . 1884 – September 1895 . Nipper

Nipper, also known as the RCA Victor dog, was a dog from Bristol, England. Bred as a terrier mix, he served as the model for a 1898 painting by British painter Francis Barraud titled His Master's Voice. This image became one of the world's best known trademarks, the famous dog-and-gramophone pairing that was used by several record companies and their associated company brands, including Berliner Gramophone and its various affiliates and successors, among them Berliner's German subsidiary Deutsche Grammophon; Berliner's American successor the Victor Talking Machine Co. (later known as RCA Victor and then RCA Records); Zonophone; Berliner's (and later Victor's) British affiliate the Gramophone Co. Ltd. (informally known as His Master's Voice) and its successors EMI and HMV Retail Ltd.; the Gramophone Co.'s German subsidiary Electrola; and former Victor subsidiary the Japan Victor Company (JVC).

[culttvblog]

The Avengers: The Joker

A favourite of the fans, this one, so I won't have anything new to add to the discussion, I'm sure. It is of course a remake of the series 3 episode, Don't Look Behind You, and this fact is largely the criticism you wil read on the internet. It has also been linked to The House That Jack Built, with its theme of being lured to a sinister house and subjected to strange things.

I only discovered while reading up for this post that the German record which features in this episode, Mein Leibling Mein Rose, is nothing of the sort, and in fact was written in English for this episode before being turned into German and recorded for the show. They were a bit surprised at the demand for a release, and so a record was hastily pressed and you can hear it on the internet in full if you want. I don't speak German, and apparently the German isn't very grammatical, but it has taken me in completely and I imagined it was some actual song from the thirties. The record label is even completely fictional, although obviously based on Deutsche Gramophon.

It will sound like I'm doing a hatchet job on this, because I'm rather going to focus on some problems with the episode or with its reception.

To get it out of the way, in my opinion the main problem with this episode is that it has a plot hole that you could drive a tank through. I'm afraid I'm going to run with the hare and hunt with the hounds because later I'm going to say that there is a lot of unrealism in this episode but my main criticism is that it is somewhat unrealistic, or perhaps I should say not credible.

The problem for me is that if you discover there is a chess grandmaster called Sir Cavalier Rusicana, you laugh and give him no credence, assuming it to be a humorous pen name. If he writes to you and invites you to his place for the weekend, you look him up in Debrett's to double check and treat the invitation with caution. If you have to drive half way across the country to get to his house and discover that everything is blanketed in fog, you ring him with your apologies and stay in London. If you are unwise enough to get there, one glance at someone with such an obvious sociopathic personality as Ola Monsey-Chamberlain should really send you scurrying off back down the drive even if you have to spend the night in the car, if you have any sense at all. The further discovery that your host isn't there should certainly remove any reason for you being there and you should make your excuses. The bizarre decor of the dining room should certainly be a warning that things aren't right in this household, and if you haven't paid attention to all these warnings, the discovery that your room contains a whole trunk of records all the same, should certainly make you think that there is at least some sort of obsession going on here and you'd really better not be there.

Yet strangely Mrs Peel, who you'd expect to be more than a little canny, isn't discouraged by any of these warnings and while she is obviously aware it is strange, she just stays there and appears to go along with what Ola says. It's absolutely bizarre, and positively uncharacteristic.

The episode successfully completely knocks us off our feet with the introduction of the 'strange young man'.

Which brings me nicely to the first of the problems of reception with this episode. You will read in the commentary online that there is a continuity error in that we get a glimpse in the opening scene of the man cutting up Mrs Peel's picture, who is of course supposed to be Prendergast, and he doesn't look like Peter Jeffrey who plays Prendergast. I think this is to miss the point, since he does actually look like Ronald Lacey who plays the Strange Young Man. I think this is a deliberate blind, setting us up to think that a blond man is the one with the violent obsession with Mrs Peel, ie the Strange Young Man. Of course you could say it is unsuccessful if apparent misdirection has gone wrong enough for people to assume that it is a continuity error.

This misunderstanding is confused by two other things about this episode. The first being that it is actually chock full of continuity errors, sightings of the boom and shadows of stage hands (you can see a full like on the Dissolute site), so it is natural to expect to see bloomers.

The other is that this episode is very heavily reliant on the magical realism so characteristic of the later series of The Avengers, and unfortunately I think some of the examples of this have tended to be seen as plot faults. One example is that in the scene where Steed rescues Mrs Peel, when the record starts playing again, the only person who could have started the record is Steed, but there is much criticsm online that he couldn't possibly have done so! Another example is that a man who was supposed to be too unwell to go anywhere can suddenly also drive across the country to rescue Emma (are we supposed to believe there was nobody else in the Ministry he could have involved?). I'm also rather unhappy about the poison-infused razor blade left with a card under Steed's hat by the front door. I'm finding it difficult to visualise how Prendergast could have placed the card when he set up the trip wire, without Steed noticing something so obvious, in which case this is distinctly magical as well.

I suppose what I'm saying is that the real problem with this episode is that its dependence on magic and lack of reality, combined with a number of actual continuity errors, has left everyone not being sure what situationally wrong thing is intended to be magic and which is just a mistake. However I think the major problem with this episode is that I really don't think anyone who was even remotely cautious would have spent any longer in that house than enough to find out her host was absent before bolting.

Now I don't want you to run away with the idea that I think this episode is rubbish: it's a very slightly flawed very characteristic later Avengers episode which is still great viewing, it's just confused the fandom no end.

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[mrtgarage1]

Comprehensive Guide to Understanding In-Car Audio Technology

For as long as individuals have been behind the wheel, the desire to enjoy music while on the move has endured. Although the challenge of preventing a gramophone from skipping in early automobiles has long been surpassed, today's car audio technology has undergone significant advancements. The aftermarket now provides an extensive range of options for car audio technology.

While many contemporary car audio systems come pre-configured by manufacturers to achieve a balance between quality and affordability, standard car stereos may lack certain features or fall short in terms of volume and clarity. Even vehicles equipped with premium sound packages can benefit from enhancements.

The intricacies of car audio systems might appear daunting at first, but breaking them down into three primary components simplifies the overall picture. Each system comprises:

The head unit, responsible for generating the initial audio signal,

The amplifier, dedicated to amplifying the electronic signal,

The speakers, tasked with converting the signal into audible sound, ensuring a pleasurable in-car experience even during traffic jams.

Unveiling the Significance of the Head Unit in Car Audio Systems

The central brain of your car's audio setup is the head unit, also known as the radio, stereo, CD player, or, in older models, a tape player. However, these labels only scratch the surface of the device's true capabilities. Essentially, the head unit's primary function is to generate an electronic audio signal and transmit it to the speakers. This signal can originate from various sources such as radio, CD, tape, digital media devices, Bluetooth, or other signals.

Going beyond audio functions, some touch screen head units come with video capabilities, able to play DVD or Blu-ray discs and often digital video data. Multimedia head units typically come equipped with built-in display screens, and external video screens can be connected to offer entertainment for passengers in the rear.

Modernly termed "infotainment systems," contemporary head units often feature sizable LCD screens and encompass controls for climate systems, navigation, diagnostic readouts, vehicle-specific functions, and hands-free telephone operation, in addition to the fundamental audio system.

Unraveling Single DIN and Double DIN in the Jargon of Car Audio

Head units commonly come in two sizes referred to as single DIN and double DIN. Single DIN typically measures 50mm in height by 180mm in width, although slight variations may be present in some head units. In contrast, double DIN maintains the same width but has double the height. The term DIN originates from Deutsches Institut für Normung, the German institute responsible for establishing standardized sizing for head units.

Revealing the Function of an Amplifier in Car Audio Setups

While the head unit generates an audio signal, the amplifier's role is to magnify the power of that signal enough to vibrate the speakers and produce the audible sound you hear.

Typically, factory audio systems consist of a head unit and four speakers, with an amplifier integrated into the head unit itself. Due to considerations of space and cost, car manufacturers often include a low-power amplifier within the head unit. However, this design choice can constrain the potential volume, clarity, and the number or size of speakers that can be used with a factory head unit.

Simply upgrading the car's amplifier may not significantly enhance the system's audio quality, as the speakers often act as the limiting factor in most cases.

Delving into the Function of Speakers in Automotive Audio Systems

Speakers constitute the concluding component in the trio that makes up a fundamental car audio configuration. Their primary function involves transforming the electrical signal transmitted by the head unit into physical movements. The vibrating cones of the speakers displace the air within your car's cabin, generating audible sound waves.

Typically, car audio systems incorporate at least four 'full-range' speakers, adept at handling the roles of subwoofers, tweeters, and midrange speakers to optimize both space and cost. An often-employed enhancement entails using discrete components to address each sound frequency independently.

Speakers showcase considerable diversity in terms of quality, size, and form factor, providing a range of options for crafting an efficient car audio setup.

Elevating Your In-Car Audio: Essential Components for Upgrading

Attaining peak sound quality in your car audio system necessitates a comprehensive approach to each primary component. Each element contributes significantly, and focusing on just one may not result in substantial improvements. Consider factors such as your budget, available installation space for new speakers or an external amplifier, the feasibility of replacing the head unit without causing compatibility issues, and more. A suggested initial step often involves the replacement of worn or outdated speakers with new ones, as persistent high-volume playback can cause damage and undesirable vibrations.

Linking Your Car Audio System: Varied Approaches to Wiring

Just as there are diverse options for components, there are various methods to connect all the elements of your car sound system. Although there isn't a one-size-fits-all wiring solution, most fundamental aftermarket systems require a wiring kit that includes power cables, ground wires, fuses, and other essentials. If you feel uncertain about wiring your sound system, seeking professional assistance is recommended to prevent potential damage to your system, car, and ensure personal safety by avoiding any errors.

[demoura]

BAYREUTH “QUO VADIS “ ? :DESAPARECEU A MÍSTICA DA MECA WAGNERIANA . AGORA BILHETES FÁCEIS , RODOPIO DE CANTORES , PARSIFAL COM ÓCULOS , TRANSMISSÃO MACIÇA NA DEUTSCH GRAMOPHONE E NOVAMENTE O DETESTÁVEL VALENTIN SCHWARZ EM AUTOPROMOÇÃO COM UM SACO DE BOXE « ROUBADO » A CASTELUCCI : o Festival de Bayreuth catedral de wagnerianos com o elitismo do acesso difícil desapareceu ! .Décadas atrás a Zaza e eu esperamos 7 anos até obter maus bilhetes para uma récita ! Confesso que foi irritante ver no ano passado neófitos da Colina Verde com bilhetes nas primeiras filas para todas as óperas ! Agora uma semana antes do início do festival dia 25 existem bilhetes disponíveis na loja online para o "Holandês Volante", e para todas as apresentações do "Anel do Nibelungo" na “trash regie “ de Valentin Schwarz . Não me surpreende . Depois do regresso do peregrinação do nosso CRW em 2022 tive o privilégio de ter sido convidado pela Presidente a fazer uma palestra sobre a encenação do austríaco que considerei incoerente e abusiva . Mas nada abate a auto-estima de Valentin ! Este ano autopromove-se frente a um saco de boxe - uma ideia roubada a Castelucci na Salomé de Salzburgo ….Também não é segredo que o Parsifal deste verão exige óculos de realidade aumentada (AR) para receber a encenação completa da visão gerada por computador de Jay Scheib . Infelizmente não existem dispositivos para todos..Também o rodopio de cantores é este ano impressionante : Tomislav Mužek substitui Andreas Schager no Erik do «Flying Dutchman», que por sua vez substitui Joseph Calleja como Parsifal . Mika Kares e Günter Groissböck sucedem a Dmitry Belosselsky Hagen em «Götterdämmerung» e Landgrave Hermann em «Tannhäuser». Elina Garanca substitui Ekaterina Semenchuk como Vênus. Stephen Gould teve de cancelar tudo . Clay Hilley agora interpreta Tristan, Klaus Florian Vogt interpreta Tannhäuser e Andreas Schager interpreta Siegfried (lembre-se, este é o que substitui Calleja como Parsifal). John Lundgren deixou o navio como Flying Dutchman há algumas semanas; Michael Volle substitui-o. Elisabeth Teigefait faz tudo - ela é Sieglinde em Die Walküre, Senta em Die Hollander e Elisabeth em Tannhäuser. Esqueci-me de alguém? Sim, na verdade: Asa Asszonyi em «Götterdämmerung - ela assume a Gutrune de Emily Magee. Finalmente o que se passava no «  santuário «  da Colina Verde é agora exposto nos media de forma maciça através da acordos. com a Deutsch Gramophone e com a Br-Klassik . Embora admirador de Katharina Wagner este é um outro Bayreuth que já não me interessa. Não voltarei . Ficam as memórias transcendentes do que vivi lá com a Maria Zaza e depois as outras agradáveis com o Miguel e com os amigos wagnerianos do CRW de Portugal .

[rogergreenawalt]

Dear Monty Lipman, Hope you're ready to witness a musical revolution, brought to you by none other than Roger McEvoy Greenawalt - the "innovator" of mediocrity and the "genius" of unoriginality. I recently stumbled upon Republic Records in my search for a label that appreciates musical chaos, and here I am, reaching out to you! Now, I know Republic Records has a reputation for nurturing real talent and releasing chart-toppers, but hey, why not shake things up with my "unique" music that's sure to leave everyone scratching their heads? Forget about coherent melodies and meaningful lyrics, my music is all about the beautiful mess of noise and confusion. I must say, I'm impressed with your label's ability to churn out hits, but with my "genre-defying" and "groundbreaking" sound, I could be the black sheep that stands out. Who needs commercial success when you can have critical acclaim for being "unlistenable," am I right? I know you're probably dying to meet me in person or jump on a call to discuss how my music could take the industry by storm Monty, but no pressure. I'll be here, biding my time in my compound dreaming of the day when Republic Records realizes the once-in-a-lifetime opportunity they nearly missed. And hey, by the way, my Magnum Opus "Unlistenable Musics Volumes IV - VII" is coming off license from Deutsch Gramophone. Just thought Republic Records might want to work with a title that has an established track record. But hey, if you're interested in hearing more of my "unique" music, feel free to reach out. I'll be sure to keep my delusions of grandeur in check, or maybe not. Get ready to experience a whole new level of low. Best (or worst, depending on your perspective), Roger McEvoy Greenawalt (aka the "Musical Mastermind," as per my cat). (at Pasadena, California) https://www.instagram.com/p/Cq4NH4jNK-c/?igshid=NGJjMDIxMWI=

[vprki]

РЕФЛЕКСИИ: Камий Тома диша с Филхармониците в създаването на музика

Пореден духовен празник ни подариха в първата октомврийска седмица Найден Тодоров и Софийската филхармония, заедно с чаровната Камий Тома. В сложното ни сбъркано време подобни мигове сякаш наместват съзнанието в правилните очертания, връщат ни в една позабравена нормалност на мисли и чувства, огрени от топлота и чиста радост. Написа за „въпреки.com” музиколожката проф. Анда Палиева.

Талантливата обаятелна млада виолончелистка Камий Тома е вече позната у нас и беше очаквана с интерес и от помнещите нейния Шуманов концерт с Филхармониците и Найден Тодоров преди две години, и от онези, за които това беше първа среща. От богатата предварителна информация се знаеше за звездните й успехи по световните сцени с прочути диригенти и големи европейски оркестри, за спечелените конкурси, ексклузивния договор с Deutsche Gramophon, издадените албуми, получили най-високи награди, за партньорството ѝ с УНИЦЕФ и активното ѝ отношение към актуалните събития по света.

Камий Тома и Найден Тодоров

Но и най-интригуващите биографични детайли не биха могли да дадат и най-малка представа за необикновената ѝ харизматична индивидуалност. Рядко може да се срещне такова цялостно издържано артистично присъствие – от очарователната пленяваща усмивка и топъл, естествен контакт и с музикантите на сцената, и с публиката, до съвършеното инструментално изпълнение.

Така познатият, любим концерт от Дворжак – връх в репертоара на най-големите виолончелисти по света, „пробен камък” за инструментално майсторство – звучи по-необичайно в нейната интерпретация, сякаш по-романтичен с изобилието от свободно излети в рубато мелодии и деликатни глисанди, с бликащата експресивна емоционалност, преливаща от изящна мека лирика до раздираща патетика. В почти магическото въздействие на нейното свирене съзнанието дори не забелязва абсолютната инструментална перфектност, бисерните виртуозни пасажи и сложни грифове, а потъва в изумително красивия звук на старинното виолончело (Страдивари „Фойерман“) и внушението на нежност, сила и страст в изпълнението.

Камий Тома и Найден Тодоров

И излъчваната от Камий Тома изумителна радост от съвместното създаване на музика – през цялото време тя се чувства сякаш вплетена част от Филхармониците, диша заедно с тях всеки тон и в мащабните тутти дялове. Както и обратното – оркестърът бе в пълен синхрон с нейната интерпретация, с особено гъвкави реакции към по-свободната ѝ фразировка в диалозите със солиращите дървени духови инструменти. А като цяло Найден Тодоров разстла мащабното платно на тази творба, по-скоро симфония–концерт (писана скоро след Деветата симфония „Из Новия свят“, партитурата на концерта не само носи в началото си сходна мелодия с финала на симфонията, но в същността си е замислена със симфонична драматургия) с размах, умело разгръщайки целия тембров и динамичен потенциал на оркестъра, с ярко изведени солистични линии и грандиозни тутти кулминации.

Камий Тома

Уникалния артистичен натюрел на Камий Тома и адекватно реагиращата ѝ на актуалната съвременност личностна позиция допълниха двата биса – изпълнената заедно с оркестъра разтърсваща ламентозна „Мелодия“ от украинския композитор Мирослав Скорик и соловата еврейска печална молитвена Кадиш, своеобразен поклон към борещите се ирански жени.

Камий Тома – прекрасен музикант, удивителна личност! Ще я чакаме отново!

Камий Тома след концерта

Но тази вечер донесе още един подарък – изпълнението на Първата симфония на Веселин Стоянов, посветено на 120-годишнината на големия творец. Създадена в късните му години и изпълнена (може би концертно еднократно?) през 1962, тази творба остава почти непозната дори и сред професионалните музиканти. И нейното преоткриване от Найден Тодоров и вдъхновеният му внимателен детайлен прочит разкри една великолепна творба – красива, богата музика, с интересен и разнообразен тематичен материал, раздвижен емоционален климат и характерната за автора колоритна темброва палитра в майсторската оркестрация.

Маестро Найден Тодоров

Незаслужено забравена, но благодарение на Найден Тодоров и Софийската филхармония тя вече е изведена в съвременния оркестров репертоар.

И това е една от основните линии в неотклонната всеотдайна работа на Найден Тодоров – да представя на света националната ни култура с шедьоврите в нейната история и с днешните ѝ върхове, така, както въвежда непрестанно в музикалния живот у нас най-значими личности от световното съвременно изкуство.

Не зная дали всички, които ден след ден изпълват любимата ни зала, следят афиши и програми, с интерес и любопитство очаквайки следващия концерт на Филхармониците, наистина разбират напълно какво ни дават тези музиканти днес, какъв е действителният културен и социален мащаб на този феномен в съвременния ни живот. И осъзнава ли днешният ни социум, че в последните години, въпреки всички бариери и ограничения (здравословни, финансови и т.н.), Софийската филхармония зае достойно своето място сред най-реномираните европейски оркестри, че Найден Тодоров, диригент с висок международен авторитет, има признанието на чуждестранните си колеги и като великолепен мениджър, че зала „България“ се превърна в известно за света музикално средище, привлекателно за прочути знаменитости, които с желание се връщат отново и отново на концертния подиум у нас.

Маестро Найден Тодоров

И какво придава всичко това на страната ни в съвременната реалност!≈

Текст: Анда Палиева

Снимки: Виктория Вучева, архив на Софийска филхармония

[videostak]

also on the positive side i got vhs of peggy sue got married (havent seen that movie yet) and two cds one deutsche gramophon of schubert stuff (trying to get into schubert) and mister magic by grover washington jr (kinda have trouble finding genuinely strong albums from like the bob james sort of late 70s jazz fusion musicians but i played a bit of it while at the thrift testing the broken boombox and it sounded real good) so thats cool

[jedivoodoochile]

October 1st 1982 the first Compact Disc (CD) is released! Happy 40th year anniversary!

When and what was the first CD that you bought? Mine was Van Halen - Van Halen 1, in the summer of 1988.

On October 1st, 1982 Billy Joel's album 52nd Street was the first CD album released.

In 1976 Phillips and Sony developed the compact disc (CD), an optical disc used to store and playback digital data.

It was originally developed to store and playback sound recordings exclusively. CDs can hold up to 700 megabytes. This equates to up to 80 minutes of uncompressed audio. By 2007 200 billion CDs were sold worldwide.

"Philips publicly demonstrated a prototype of an optical digital audio disc at a press conference called "Philips Introduce Compact Disc" in Eindhoven, The Netherlands on March 8th, 1979.

Three years earlier, Sony first publicly demonstrated an optical digital audio disc in September 1976.

In September 1978, they demonstrated an optical digital audio disc with a 150 minute playing time, and with specifications of 44,056 Hz sampling rate, 16-bit linear resolution, cross-interleaved error correction code, that were similar to those of the Compact Disc introduced in 1982.

Technical details of Sony's digital audio disc were presented during the 62nd AES Convention, held on March 13-16, 1979 in Brussels.

"The first test CD was pressed in Hannover, Germany by the Polydor Pressing Operations plant in 1981.

The disc contained a recording of Richard Strauss's Eine Alpensinfonie, played by the Berlin Philharmonic and conducted by Herbert von Karajan.

The first public demonstration was on the BBC TV show Tomorrow's World when The Bee Gees' 1981 album Living Eyes was played.

In August 1982 the real pressing was ready to begin in the new factory, not far from the place where Emil BerlinerOffsite Link had produced his first gramophone record 93 years earlier.

By now, Deutsche Grammophon, Berliner's company and the publisher of the Strauss recording, had become a part of PolyGram.

The first CD to be manufactured at the new factory was The Visitors by ABBAOffsite Link.

The first album to be released on CD was Billy Joel's 52nd Street, that reached the market alongside Sony's CD player CDP-101 on October 1, 1982 in Japan.

Early the following year on March 2, 1983 CD players and discs (16 titles from CBS Records) were released in the United States and other markets.

This event is often seen as the "Big Bang" of the digital audio revolution. The new audio disc was enthusiastically received, especially in the early-adopting classical music and audiophile communities and its handling quality received particular praise.

As the price of players sank rapidly, the CD began to gain popularity in the larger popular and rock music markets.

The first artist to sell a million copies on CD was Dire Straits, with its 1985 album Brothers in Arms.

The first major artist to have his entire catalogue converted to CD was David Bowie, whose 15 studio albums were made available by RCA Records in February 1985, along with four Greatest Hits albums.

In 1988, 400 million CDs were manufactured by 50 pressing plants around the world. To date, the biggest selling CD (as opposed to the biggest selling title) is Beatles "1", released in November 2000, with worldwide sales of 30 million discs" (Wikipedia article on Compact Disc, assessed 01-17-2010).