Trilogy – Past, Present, Future

Trilogy: Past Present Future
Veröffentlichung: 26.03.1980
Label: Reprise
Produzent: Sonny Burke

The Past:
1.The Song Is You
2.But Not For Me
3.I Had The Craziest Dream
4.It Had To Be You
5.Let's Face The Music And Dance
6.Street Of Dreams
7.My Shining Hour
8.All Of You
9.More Than You Know
10.They All Laughed

The Present:
Some Very Good Years
11.You And Me (We Wanted It All)
12.Just The Way You Are
13.Something
14.Macarthur Park
15.Theme From New York,New York
16.Summer Me,Winter Me
17.Song Sung Blue
18.For The Good Times
19.Love Me Tender
20.That's What God Looks Like

The Future:
1.What Time Does The Next Miracle Leave?
2.World War None!
3.The Future
4.The Future (Continued) "I've Been There"
5.The Future (Conclusion) "Song Without Words"
6.Finale: Before The Music Ends



Review zu "The Future":

BACK TO „THE FUTURE“
by Bernhard Vogel
(geschrieben im April 1997)

people who understand music hear sounds that no one else makes when Sinatra sings.“
---- Walter Cronkite (from his narration on the 1965 CBS TV special „Sinatra – An American Original).

„It is difficult to conceive of a more daunting assignment for a composer than being asked to write a suite of music about the future. The possibilities are so vast that whatever approach the composer chooses inevitably will be criticized by others who would have chosen a different approach. ‚Reflections on The Future‘ is no exception to this dilemma and is certain to become one of Sinatra’s most controversial recordings. Some will say that it is his finest hour. Others will say that certain of its lyrics are too personal. There can be no question, however, that ‚Future‘ includes the most stirring and imaginative music and lyrics that Gordon Jenkins has ever written.“
---- David McClintick (Liner notes to „Trilogy-The Future“ 1979, winning a Grammy Award).
I.
The fact that „The Future“ should be called the most unusual piece of music that Frank Sinatra ever did, or the most Sinatra-unlike one when compared to his other recordings, requires no elaboration I think. Everyone of us, including myself, probably thought that when first listening to „Trilogy“.
Another thing that struck me was that even die-heart Sinatraphiles would occasionally call the suite „a mess“. As The Future clearly has the intention to let the singer reflect on his own self („My name is Francis Albert...“), some of them were turned away by that approach – and I would concede that it might be a matter of taste whether or not an artist like Sinatra in the „September of his years“ should embark on such that path. If he choses to do so, however, it depends on how his steps are actually done. And most of those who have expressed their dislike of The Future admitted to me that they simply found it „unaccessible“. Therefore, it might be the most ‚difficult‘ piece of music Sinatra ever recorded as well.
On the other hand, and that was by then very astonishing to me, a friend of mine who is absolutely off for Classical Music (Beethoven, Bach, Mozart, that is), and who would always comment on my musical vocal preferences (Sinatra, Garland etc.) with an infuriatingly „understanding“ twinkle in his eye, listened to a segment of The Future by pure coincidence and he liked it a lot – after being treated to the whole thing on demand he considered it to be „a witty piece with some very clever orchestrations“. He bought the Trilogy album afterwards, and having listened to all three parts of it, he said The Future was the only thing he liked! It was that conversation about 12 years ago that made me listen seriously again to The Future.
Last but not least, the pure data of the recording sessions is worth an entry in the Sinatra Guiness book of records. A whole symphony orchestra was hired, plus a big vocal chorus and prominent solists such as Loulie Jean Norman, a personnel close to 150 so that the recordings had to be made at the Shrine Auditorium in Los Angeles rather than at a ‚normal‘ recording studio. This again, in another sense, makes The Future the most unsual of all Sinatra recordings, and for sure, the most ambitious one as well.
And finally, could Gordon Jenkins, whose association with Sinatra by then had lasted for almost 35 years, have been so wrong writing a suite especially for The Voice whom he helped in recording some of his finest work?

II.
To state that a Sinatra recording deserves serious listening may sound redundant, but it has to be stressed regarding The Future. In fact, you have to pay attention even before starting to play the music: The exact title of the suite is „Reflections On The Future In Three Tenses“, while the whole „Trilogy“ album is divided into three parts „The Past-The Present-The Future“. Among those many critics who blamed the Jenkins suite for „ruining“ the album (reportedly, its inclusion cost Sinatra the Grammy in 1980), I haven’t so far noticed one who would at least mention that as signalled through this subtitle, Jenkins very cleverly picked up the past-present-future theme of the whole album in a capsule, since the suite is about past, present and future things as well!! Now, listen to it with the sleeve notes and the reprinted lyrics at hand (it was no coincidence, I think, that with this work Reprise for the first time ever would issue song lyrics – the reprint is really bad with the CD booklet, however, if you have it go for the LP notes instead), and, most important, listen to it as a whole. The latter is, to my point of view, essential to grasp the concept, and the former enables you to experience how cleverly, on many occasions, Sinatra’s unfamiliar lines are matched by the orchestration.
The introduction has Sinatra singing about himself, the way he has so often displayed himself on stage: „I sing love songs/mostly after dark/mostly in saloons.../I’ve had some very good years/I haven’t missed a whole lot in those firecracker years [a nice reference to some fun Sinatra and his friends had with firecrackers at Peggy Lee’s home]/and I don’t want to miss a thing/when the future appears...“ Combined to Gordy’s orchestration, these lines alone are much more sincere an approach to self-reflection than Paul Anka’s overrated „My Way“ ever conveyed. (My Way became a classic not for the quality of the lyrics, but for the drama of aging Sinatra singing it live on stage). The imaginary scene has Frank sitting outside „on a summer night/with a drink in my hand/and a little moonlit music on the stereo“ (how about Moonlight Sinatra?), „and look at the stars“ (a line to which wonderful stardust is musically created by Jenkins). „If the satellite tours begin/count me in, count me in, count me in.“
The following musical ‚satellite tour‘ has Frank visiting the planets and contains lots of references to his personal life. Sinatra’s journey is accompanied by a chorus, and a technical-sounding „announcer“ voice from the off. The first planet is Venus, that is, of course, identified with women. Now isn’t the ballad-like orchestration of the verse, especially its ending „maybe/when I get to Venus/I will never be lonely/again“ reflecting an essential part of the Sinatra persona, the man who had his fill, his share of losing, and the moods that sponsored so many of his classic ballad recordings? It is even reflecting that the singer hasn’t arrived „at Venus“ yet, conveying the „I-almost-made-it-but-not-quite“ message of his ballads: There ought to be clowns, well maybe next year.
Jupiter („makes with the rain“) and Saturn („makes with the crops“) are combined in a very classical manner: It is the ancient Roman view (shades of „Italian“?) of the two gods bound together, in a very witty line: „A nicer trade/was never made/and hopefully never stops“. Pluto („where the devil dwells“) brings a highlight of the whole suite: „Pluto is a rotten place/an evil misbegotten place/it’s Hades.../filled with graduates of the pen/a sordid flock of crim’nal men/and ladies...“ Are you listening, all you Lew Mortimers and Kitty Kelleys? „It’s pure hell/when your journey ends there/but you can bet your ass I’ll meet a lot of friends there“, to which the chorus responds: „We did it your way“. Ain’t that great self-irony!!!!
On „Neptun and his deep blue sea“ Sinatra hits one of the lowest notes ever sung in his career (some of you will have the proper classification I lack for that note), matching the famous one in the 1963 version of „Ol’Man River“. Finally, Uranus will be heaven if „they meet me at the station/with a cheese and tomato pizza/well done/and a little red wine“. These lines are orchestrated with some waltzy ‚Italian‘ sounds, they lack the in-depth quality of the above lyrical references to Sinatra’s life but they are pure fun after all.
The scenery then has the satellite special return to earth, and Frank finds himself „in the desert“, a surrounding that inspires him to think about mankind, and war, and how to protect the future: „It’s time to get ready for world war none“. This song – it actually is one of the parts from The Future that could be played on ist own – is somewhat overdone. If you don’t count „Noah“ from his 1973 comeback album („Walk with the lion/soar with the eagle/sing with the nightingale/and live in love and peace“), Sinatra has never sung anything like it, and it doesn’t work: It’s the Dylan-like „answer is blowing in the wind“ area he should have stayed away from. The „global“ message of the song doesn’t fit eith what has been sung before in the suite, and despite Sinatra’s honest singing [and his honest longing for a peaceful world], you can’t escape the feeling of „oh yes, of course, the longing for a peaceful world must be mentioned, so okay, here goes“. Jenkins should have stayed with portraying the singer.
Anyway, this segment builds the bridge to the next piece really entitled „The Future“, which is again, as I see it, a little gem of its own within the whole suite. The mixed chorus, reflecting on what the future might bring to a world of spaceships and computers, introduces Sinatra who depicts himself as „stand(ing) there, big and brave [a very weak line – it almost blows the whole thing]/and quietly say: Ladies and gentlemen, play for me, play for me“, followed by a nice instrumental interlude, before the chorus expresses that probably „everyone of us could use/some words of wisdom/from a man who’s paid his dues“, leading into Sinatra’s solo part called „I’ve Been There“.
The secret of Sinatra singing a sad ballad has always been that he managed to make it ring so true that you would always feel like he was telling your own special story, and to make it sound so honest that its suicidal sadness would always convey some shelter at the same time. Much has been written about this impact – I follow the words of Jonathan Schwartz who in his liner notes to the 1990 Reprise 4-Cd-set concluded: „Thank you, Mr. Sinatra, for speaking to me when simply no one else could.“ And for sure, all of us will turn to Sinatra ballad albums again in the future, because Sinatra’s singing indeed, and eternally, contains „some words of wisdom from a man who’s paid his dues“. Call it a cliché, but at least for us Sinatraphiles, it’s a truth. And that is what makes this segment of The Futrure so poignant.
„I’ve Been There“ is a fine ballad, a comforting saloon song – if anything, maybe it is slightly tampered only by Sinatra sounding a little uncomfortable with some special notes. The lyrics of this song would be worth a complete reprint right here – read them and at the same time listen to them!! Yes, he has been there when „the boy is sulking/and the girl is close to tears“, but also when „a certain smile/made it difficult to breathe/and so easy to fly/and a pleasure to cry“. Notice the very fine orchestration Jenkins provides for these lines: You can almost imagine the „easy to fly“! And then, never has Sinatra, in the ballad field of his work, sounded more encouraging, and never in his Harvest years has he addressed young people more directly, than at this song’s close:
„So to all of you/in the throwes of early love/
where delightful confusion reigns supreme/
let me try to help you re-arrange your dream/
Let yourself live/let yourself love/let yourself goooooo/
I’ve been there/and I knooooow.“
As a testimony of the Sinatra persona, a kind of legacy The Old Man wants to leave for the next generation, I would rank this among the best things Sinatra ever recorded, and as another proof of the Sinatra-Jenkins ballad genius. [Aside: This would be the only piece from The Future that Sinatra ever performed in concert, for a short period of time in 1980].
The next part is more general reflections again and starts with a somewhat irritating interlude sung by Norman („I want to build a little house on a star“), but luckily after that, they return to music. Sinatra wishes „to write a song that the whole wide world could understand“. A little redundant in a sense, since Frank has sung at least a few hundred of songs of such quality (among others, our Sinatraphiles list with participants from all parts of the world proves it!), and the following „Songs Without Words“, with its tiresome „duh-duh-duh-duh/duh-duh-duh-duh/duh-duh-duuuuh“ vocals by the chorus, again comes close to the aforementioned „love and piece“ mood, while it works a little better throughout.
The final part is entitled „Before The Music Ends“, and here again, the whole thing is rather close to genius with a „I did it my way“ testimony that easily surpasses the Anka song: Sinatra opens with „I reached the age of forty somewhat sooner than expected“ – if you take this metaphorically, as it should be taken (think of Sinatra on his final stage at Fukuoka in December 1994: „I knew this song when I was ten years old, and I’m only eleven now“ – magic!!), the impact of this line even grows now that we all have to realize that he has really grown old. Maybe this impact wasn’t that strong in 1980 when the record was released, maybe then, you coulkd also think ‚Now stop those reflections and make another good album of true Sinatra music instead‘. However, Sinatra here adds two lines worth a quote: „Quite a different song must be sung/when the singer is no longer young“. What follows is, for me, the best part of the suite.
He revisits his personal life, goes back to Hoboken, „down the streets where that thin Italian kid ran“ (mind the beautifully ‚running‘ orchestration here!!). Of his school teachers, he sings „those nice old ladies tried to teach me/unaware that I knew much more than they did“ – this is, in a sense, pure narcism, but then of course, also the timeless truth of many geniuses whose talents unfolded only after their ‚release‘ from school. Slightly overdone, perhaps, but fitting.
The next scene has Sinatra „stop in the poolroom [at Hoboken]/for a beer“ (with Jenkins marvelously alluding to the One For My Baby arrangement), and „sadly say to myself:/I don’t know anybody here“, to which the chorus responds: „Francis, don’t go home again“. A nice moment, but maybe again a bit overdone, it’s the ‚hey old people, stick to your spirits and don’t cling to the past‘-message, featured a bit too shortly to be taken honestly.
More successfull, in my opinion, is Sinatra next revisiting the classics, „some wonderful life-long friends/I‘ve never met but have known so well“ (ain’t that a pretty-witty description for one’s personal musical heroes?). Sinatra has spoken out on his preferences in classical music on many occasions, hence this becomes maybe the most authentic section of the whole suite. The first reference, and the one most intimately done, is to Franz Schubert: „From one Frank to another/thank you for your dream/your dream is now my own“. Indeed, Schubert’s writing by many means is comparable to the Sinatra songbook – fittingly, referring to Schubert’s most famous composition and the German opera singer who did one of the best recordings of it, a German crictic in 1993 headlined his review of Sinatra’s German concert appearances with: „A Fischer-Dieskau from Hoboken on his final Winter Journey“. I like the comparison – Sinatra The Voice was partly based on belcanto, yes, but also on „story-telling“, „Lieder“, the eternal master of which was Schubert.
The others mentioned in this context, underlined by orchestral allusions, are Beethoven: „Thanks, Ludwig van/for the flights of fancy you sent me on“, Giuseppe Verdi: „thanks, Mrs. Verdi, for Joe“ – a classy line from Sinatra being his own ultracool self, and Puccini: „and a special thanks to Giacomo“ – „Giacomo“ is heavily underlined by the chorus, and fittingly so, it seems, since Puccini, more than anybody else, once opened the road to what would later become known as belcanto. Summarizes Frank: „All of them took turns in delivering the sunrise/a little sooner to my window“.
The next segment of „Before The Music Ends“ has Sinatra, „accompanied by Dino and Serge“, making „one more charge at Vegas“, and off goes a very clever orchestration by Jenkins in a classically styled up-tempo. Sinatra rules: „Hand my them dice and stand back!“. This doesn’t require much interpretative remarks: It is revisiting what has been, as we all know, very essential to Sinatra the Lounge Man. There are shades of the womanizing rat-packer („Won’t hear me talk about baby’s new shoes/baby’s got fifty-seven pairs“). His hoping for „just a plain and simple nine“ is underlined by the sounds of rolling dice. (Luck Be A Lady!). Then finally – and I admit this touches me to the heart given the circumstances of Sinatra’s final years – , what a summary: „In years to come/I may forget/if I lost or if I won/but I’ll always remember/how much funnnnnnnnn it wasssssss“. Oh boy. His phrasing here makes for one of these eternal Sinatra moments never to be equalled.
Now the closing. „I’ll ask Chester [Jimmy van Heusen] to write me one more song/I’ll ask Lefty [that’s how Sinatra used to call Gordon Jenkins] to write me one more chart/and I’ll make one more record/with the best musicians in the world“. There would be another van Heusen song („Searching“ 1982), there would be some more Jenkins charts (on „She Shot Me Down“ 1981), and think about the star ensemble that would gather four years later for „L.A. Is My Lady“, or think of The Together Again and Ultimate Event tours, or even „Duets“ in a sense.
„When the music ends/I’d like it to end this way“.
„And when that cat with a scythe/comes dragging at my sleeve/I’ll be singing/as I leeeeeeeeeaaavvve“. A grand orchestral finish, with the chorus repeating „Sinatra! Sinatra!“. This last chorus somewhat crystallizes the few weaknesses within the concept of the whole suite: It’s a bit overdone again. With the intro about 40 minutes prior being „My name is Francis Albert“, and given the thrilling drama Sinatra impends on his final line „as I leave“, it would have worked much better without the chorus chiming in here.

III.
So now that we have been through this musical journey, let’s try to reminisce and recollect.
I think Will Friedwald is totally wrong by stating that „the third disc of Trilogy almost resists description“ (in his book „The Song Is You“, Hardbound edition 1995, p. 356). Even the more I reject his classification of The Future being „the most spectacular disaster of [Sinatra’s] recording career“ (also p. 356). As I said at the beginning of this essay, the whole idea of putting an artist’s reflections on his own life and being to record may be a matter of taste – if you strictly condemn such patterns in general, there is little to none chance to win you over for The Future, even if the artist is Frank Sinatra. If you stay away from such overall prejudgements, however, in this case we have not only some marvellous singing by the artist concerned, who happens to be the greatest male vocalist of popular music the 20th century has seen, but also, a really ambitious concept sparkling with both lyrical and musical allusions. There are some debateable, or overdone, or too narcistic, passages, but as I have tried to emphasize, there are by comparison far more fine „scenes“, clever lyrics, and even another saloon song (I’ve Been There) to emerge from the suite.
Finally. The way Friedwald judges The Future brings us back the very beginning of this long post. As he points out, the huge amount of personnel hired for the occasion caused a lot of extra work for the „sub-arrangers“,. such as our fellow lister Vincent Falcone jr. who on piano prepared Sinatra for his vocal parts. Even if Sinatra actually turned out to be very well prepared indeed, this was by no means a session where the possibility of scrapping a few parts, or holding the project to rewrite some segments, was ever in existance. It is my impression that the whole project would have further improved if given some more time to work on it – but this could hardly be done in December 1979, with all other recordings for the ‚Past‘ and ‚Present‘ parts of Trilogy already being in the box. And after all, would Frank Sinatra, the one-session-and-I-nail-the-tune-type of guy, have been willing to spend some more days, or even weeks, with it? Given Sinatra’s usual way of working, it seems like a small miracle today that he did the whole thing at all – on just two sessions, December 17 and 18, 1979 (see appendix).
It is the most unusual of all Sinatra recordings, but it is very far from being the worst. In fact, judged from the viewpoint of the artist being creative, and innovative, it ranks among the finest, maybe even the ultimate.
It is the most difficult of all Sinatra recordings to access, but it is very much worth the exploration, and it is served wrong by anybody who despects it on first overview listening.
It is the most ambitious of all Sinatra recordings – the shortcomings might have been eliminated if the project had been given a longer time to prepare, but I don’t think it was too ambitious. At least, it was worth a try.
And as for Gordon Jenkins: I think the cleverness of his concept is right there when you listen to the work as a whole. One could of course further elaborate on the general importance of „suite work“ in Jenkins‘ musical oeuvre, examining his „Seven Dreams“, his „The Letter“ (a suite for Judy Garland), or both versions of „Manhattan Tower“, and in a sense, to know these works is essential in order to understand why and how Jenkins would conceive the idea of a Sinatra suite. Also, most of these works have been treated with the same ignorance that has been predominant in judging „The Future“ for very similar reasons, e.g. „The Letter“ is very much unlike any other Judy Garland recording, thus many Judy fans skip by this work without really paying attention to it.
But remember: A van Gogh was skipped by by his contemporaries, and so was Mozart...
However, I think The Future can also be judged simply by itself, because all of Gordy’s impressions from decades of work with Sinatra are present all the way, and maybe for the last time in his career, all of Frank is present as well.
„My name is Francis Albert...“

IV.
„THE FUTURE“ SESSIONS:
LOS ANGELES; SHRINE AUDITORIUM, DEC. 17-18, 1979
ARRANGED AND CONDUCTED BY GORDON JENKINS
It is noteworthy that the vocal chorus included Marlene Verplanck, who has since made a career of her own as an exquisite interpreter of American Songbook material, and Al Capps who did some arrangements for Sinatra in the Seventies. Essential additions to the orchestra were Sinatra’s regular accompanists, namely Gene Cherico (bass), Al Viola (guitar) and of course Vinnie Falcone jr. (piano).
THE LOS ANGELES PHILHARMONIC SYMPHONY ORCHESTRA + augmentations:
Boyde W. Hood, Walter I. Johnson, Nelson E. Hatt, David P. Searfoss, Robert H. Findley (trumpet); Dick Noel, William C. Boot, Bruce A. Paulson, Thomas M. Shepard, Donald G. Waldrop, Dominick J. Gravine (trombone); Edmond Walter (tuba); Brian D. A. O’Connor, Aubrey J. Bouck, Robin L. Graham, Ronn B. Kaufman (fr. horn); Gale H. Robinson, Alan Robinson, James Atkinson, Marilyn L. Robinson, Claude E. Sherry (horn); Jack Marsh, Patricia S. Kindel, Fowler Friedlander, Kenneth E. Munday (bassoon); Joan Elardo, Robert Steen, Philip W. Ayling, Hugo Raimondi, David Atkins, Lloyd W. Hildebrand, Ronald A. Jannelli (clarinet); Lisa Edelstein (flute); James R. Walker, Susan S. Fries, Geraldine Rotella, Harry Klee, Kathleen Robinson-Barker, David M. Sherr, Jon Kip (woodwinds); Donald Ashworth, Gary Gray, Willie Schwartz, Wayne E. Songen, Merritt Buxbaum (sax); Harry Bluestone, Harris Goldman, Alexander Murray, Joseph Livoti, Ross Shub, Robert S. Lezin, Spiro Stamos, John Sambuco, Reginald Hill, Dianna Jeane Brodick, Lya Stern, Thomas Buffum, David D. Turner, Arkady Shindelman, John Santulis, Bobby Bruce, Robert Shushel, John Wittenberg, Sandra D. Seymour, Niki Magee, Hyung-Sun Paik, Davida Lou Johnson, Tibor Zelig, Anthony S. Doria, Sid Page, Rhonni J. Hallman, Carl LaMagna, Terence A. Glenny, Blanche Belnick, Gwen R. Heller, Walter Edelstein, Robert C. Lipsett, Joseph Stepansky, Mary D. Lundquist, Janet Lakatos, Arnold E. Koblentz, Henry L. Roth, James V. Ross, Jerome R. Webster, William Hymanson, David L. Newman, Pamela Tompkins, Ron Clark, Franklin Foster, Ralph Silverman, Doris Carr (violin); David Schwartz, Linn Subotnick, Archie Levin, Sven H. Reher, Leeana Sherman, Bryana Sherman, Barbara J. Porter, Barbara A. Simons, Renita Koven, Patricia M. Mathews, Barbara Thomason, Mark G. Kovacs, Cynthia W. Kovacs, Margot MacLaine, Meyer Bello (viola); Nils Oliver, Peter A. Rejto, Ernest Ehrhardt, Igor Horoshewsky, Carolisa Lindberg, Edwin V. Beach, Todd Hemmenway, George Koutzen, Nancy M. Koutzen, Julianna Buffum, Hadassa Newman, Linda Sanfilippo, Paula J. Hochhalter, Victor Sazer, Alexander Reisman, Margaret Giulbeau (cello); Vinnie Falcone (piano); Al Viola (guitar); John A. Hornshuch, Jim D. Hackmann, David H. Young, Edward Mears, Ray Siegel, Robert K. Stone, Robert W. Daugherty, Stephen LaFever, Frank A. Granato, Gene Cherico, Morty Corb (bass); Carl V. Rigol, Alexander L. Lepak, Peter Limonik, Irv Cottler (percussion); Lou Anne Neill, Carl Vincent Rigoli, Eric S. Remsen, Alan C. Ester (harp).

CHORUS
Jaqueline Allen, Sue Allen, B. J. Baker, Billie J. Barnum, Kathy Brown, Dick Bolks, Clark Burroughs, Amick Byram, Al Capps, Vangie Carmichael, Peggy Clark, Bill Cole, Allan Davles, Jan Gassman, Mitch Gordon, Christine Grant, Jim Haas, Steve Haas, Sandie Hall, Gordon Harkness, Walter Harrah, Errol Horne, Nancy Adams Huddleston, Marilyn Jackson, Gary Jones, Jon Joyce, Thomas Kenny, Karen Kenton, Larry Kenton, Douglas Laurence, Lynn Dolin Ravenscroft, Michael Redman, Darice Richman, Julia Richer, Terry Stilwell, Robert Stevens, Sally Stevens, Jacquie Sullivan, Robert Tebow, Linda Wheeler, Ann White.

VOCAL SOLOS
Beverly Jenkins, Loulie Jean Norman, Diana Lee.

DATES FOR SINATRA‘S RECORDINGS
The Future 12-17-79
I’ve Been There 12-17-79
Song Without Words 12-17-79
Before The Music Ends 12-18-79
What Time Does The Next Miracle Leave? 12-18-79
World War None 12-18-79

Veröffentlichungen

Album-Titel/ Format plus Infos/ Label/ Katalognummer/ Land/ Veröffentlichungsjahr
Trilogy: Past, Present & Future 3x12" Reprise Records 3FS 2300 US 1980
Trilogy: Past, Present & Future 3x12" Box Reprise Records W 64042 Italy 1980
Trilogy: Past, Present & Future 3x12" Reprise Records GM-200.2698/3 Venezuela 1980
Trilogy: Past, Present & Future 3x12" Reprise Records 3FS 2300 Canada 1980
Trilogy: Past, Present & Future 3x12" Reprise Records L3WB-5397 Mexico 1980
Trilogy: Past, Present & Future 3x12" Reprise Records REP 64042 Portugal 1980
Trilogy: Past, Present & Future 3x12" Reprise Records 3FS 2300 Australia 1980
Trilogy: Past, Present & Future 3x12" Reprise Records P-5189~91R Japan 1980
Trilogy: Past, Present & Future 3x12" Reprise Records S 96.303 Spain 1980
Trilogy: Past, Present & Future 3x12" Box Reprise Records REP 64 042, WB 64 042 Europe 1980
Trilogy: Past, Present & Future 3x12" Box Reprise Records REP 64042, WB 64042 Germany 1980
Trilogy: Past, Present & Future 3x12" Reprise Records 3FS 2300 US 1980
Trilogy: Past, Present & Future 2xCD Reprise Records 2300-2 US 1988
Trilogy: Past, Present & Future 2xCD. RE Reprise Records WPCR-2124/25 Japan 1998
Trilogy: Past, Present & Future 2xCD. RE, RM Universal 6,02527E+11 Europe 2010

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