| | Donots Coma Chameleon CD - Import Donots Discography of CDs
2008 full length from the German punk rock band formed in 1993. They've had heavy single rotation on college radio stations, done lots of music television and were nominees for Best German Band and Best Rock Band. The band have always been more concerned with playing as many shows as possible and having a good time with their fans. They've re-invented themselves with this release trying to improve their sound and to revive the spirit of the old DIY days at the same time. Donots Coma Chameleon Songs | 1. | There's A Tunnel At The End Of The Light |
| 2. | Break My Stride |
| 3. | Pick Up The Pieces |
| 4. | Headphones |
| 5. | New Hope For The Dead |
| 6. | Anything |
| 7. | To Hell With Love |
| 8. | Stop The Clocks |
| 9. | The Right Kind Of Wrong |
| 10. | This Is Not A Drill |
| 11. | Killing Time |
| 12. | Somewhere Someday |
| Coma Chameleon Review
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Purchase Coma Chameleon CD To buy, Click on price to add to cart | Glee Cast Glee: The Music, Vol. 2 CD (2009) (Import) Original Soundtrack; United Kingdom
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$8.15 The Broadway musical Mack & Mabel, having opened on October 6, 1974, closed on November 30 after 65 performances, a flop. Three days later, on December 3, 1974, the original Broadway cast album was released. The recording is destined to become one of those prized by musical theater fans who will ponder how a show with such a good score could have failed. Certainly, the portents were good. Songwriter Jerry Herman, responsible for the hits Hello, Dolly! and Mame, re-teamed with the librettist of Hello, Dolly!, Michael Stewart, and that show's director/choreographer Gower Champion, and they cast two Broadway stars, Robert Preston (The Music Man) and Bernadette Peters (Dames at Sea) in the title roles. The "Mack" and "Mabel" of the title were Mack Sennett, the director of silent film comedies featuring the Keystone Kops in the 1910s and '20s, and Mabel Normand, whom he made into a star. The two were a romantic couple, so the scenario offered a combination of the hi-jinks of the silent screen and a love story. It was, however, a tragic love story: Sennett and Normand never married; they eventually split up professionally and personally; and Normand later died young after a scandal-ridden post-Sennett career. Thus, Mack & Mabel could only be a "musical comedy" in a formalistic sense. But that may have been what attracted Herman. He had succeeded with his frothy twin hits in the mid-'60s, then stumbled in 1969 with Dear World, a seriously intended musical adaptation of the play The Madwoman of Chaillot, and had been silent for nearly five years. In that time, the musical theater had taken a distinctly dark and serious turn in the hands of rivals like Stephen Sondheim and the team of John Kander and Fred Ebb. Sondheim, for example, won the Tony Award for best composer three years in a row for his ambitious, experimental shows Company, Follies, and A Little Night Music. These were not Jerry Herman's type ...
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