Karel Gott | LP MC Der Star meines Lebens

[The Star of My Life]

  1. album song  Text  Glory Day (2:45)
  2. album song  Text  Glaub an den Tag (3:29)
  3. album song  Text  Mac Arthur Park (5:24)
  4. album song  Text  Star meines Lebens (2:51)
  5. album song  Text  Im selben Boot (3:53)
  6. album song  Text  Proud Mary (3:07)
  7. album song  Text  Das trägst du lange mit dir (4:37)
  8. album song  Text  Was wird morgen (3:45)
  9. album song  Text  Good-Bye (3:24)
  10. album song  Text  Liebe ist das Brot der ganzen Welt (2:29)
  11. album song  Text  Wenn dein Herz brennt (2:12)
  12. album song  Text  Die letzten sieben Tage (3:49)
Karel Gott | Der Star meines Lebens

LP MC Polydor 2371036

The album Der Star meines Lebens (The Star of My Life) is a rock-feeling record from 1970 under the leading of the outstanding young british musician Jimmy Horowitz. This album was released on Karel efforts, despite the Polydor production and he recorded it with a great eager. It is really obvious - a wonderful album and one of the best albums recorded by Karel Gott ever. But unfortunatelly, as the production predicted, it was only accepted half-heartedly by the public. The song Star meines Lebens - You're Such a Good-looking Woman (which become a hit) and which is more lively than the czech version Má prvni láska se dnes vdává, was also released in a changed austrian club version. His version of this hit has bigger drive than by Tom Jones (as in Karel Gott's version of his Delilah).

PROMO '70: Impossible to pigeon-hole — that's Karel Gott! The orchestra is directed from the piano by Jimmy Horowitz, 21 year-old-arranger from London. He directs with a vehemence not normally to be expected of a fellow only 5ft 6 inches tall. He really draws the utmost in terms of rhythm from his British colleagues - urging them to excel themselves. Rob Pronk from the Netherlands takes over. He conducts with extreme sensitivity his own arrangements — intelligently, elegantly, and occasionally even exotically. Günter Kallman (the leader of the famous choir from Berlin) is there to lend a hand, and with his group of singers lends to the proceedings his own particular brand of enchantment. But is anybody interested? Doesn't everybody already have an allegiance to the 'Gott' which they have set up for themselves in their own imagination? Won't it be disappointing if the 'Golden Voice From Prague' does not measure up to this image? Karel Gott is himself on hand to refute this. What is the point of repeating arguments for and against the 'Beat Generation or that widely discussed entity known as 'German Taste'? A satisfactory answer can never be reached. Discussion is time wasted: demonstration is the answer, and that demonstration can only be vested in serious and honest artistic work. Through work you can defy categorisation, and this is a favourite theme of Karel Gotts.

6.30 a.m. - the end of a night which flew by. A night of exciting achievment. Seldom is a group of performers so affected by the act of v performing. Their personal and emotional involvment was total and committed until the very last echo had faded away. Volume down to zero, lights out, faces relax. 'I would very much like to take home the only copy of this L.P., lock it in my safe, and listen to it on very special days over a glass of my favourite scotch. ... Just on my own .. .' Karel Gott smiles his famous shy smile. He makes this pronouncement as would somebody who is eager to protect something very precious from the turbulence of the outside world. This is the artist amongst his friends saying simply and unaffectedly. 'Listen, that's me!' Well — that was the excitement of the days during which this L.P. was recorded: days of tension, days of sweeping enthusiasm — days of fascination for the listener, captivating him, and refusing to let him go again. A music expert says of the 'Golden Voice From Prague' - 'Karel always seeks the closest possible contact with his audience. He always has an open mind with, regard to criticism, and happily enters involved discussion of this nature.' Most of the time however there remains for his listener no alternative but to surrender to a complete agreement with him. Anyone who has watched Karel Gott on T.V. or the Stage will already have made this discovery — and this L.P. will only serve to strengthen it.