| | Best Of Schlagermania CD - Import
Best Of Schlagermania Music Best Of Schlagermania Songs | 1. | Engel am Morgen (Udo Jürgens) |
| 2. | Na und (Howard Carpendale) |
| 3. | Tränen machen stark (Kristina Bach) |
| 4. | Du fängst mich auf und lässt mich fliegen (Helene Fischer) |
| 5. | Das Geheimnis der drei Worte (Kastelruther Spatzen) |
| 6. | Joana (Peter Wackel) |
| 7. | Keiner liebt dich (Achim Petry) |
| 8. | Ich darf mich nicht in dich verlieben (Claudia Jung) |
| 9. | Genau wie du (Uwe Busse) |
| 10. | Lass meine Arme dein Zuhause sein (Semino Rossi) |
| 11. | Kein Weg zu weit (Flippers) |
| 12. | Eine Nacht (ist mir zu wenig) (De Räuber) |
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Best Of Schlagermania Music Best Of Schlagermania Review
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Purchase Best Of Schlagermania CD To buy, Click on price to add to cart | Gov't Mule By A Thread CD (2009)
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BY A THREAD is Gov't Mule's first studio album since HIGH & MIGHTY was issued in 2006. Since that time, bassist Andy Hess has been replaced by Jorgen Carlsson, though Hess appears on two tracks at the end of the album. Carlsson's playing style is much more aggressive than Hess', and is therefore closer - in spirit anyway - to Gov't Mule's original bassist, the late Allen Woody, though he possesses an adventurous sense of time and is harmonically more colorful than either Woody or Hess. Carlsson and drummer Matt Abst are a solid match, since Abst is a drummer used to shifting time signatures and allowing the unexpected in while still driving a band. The band's keyboardist and rhythm guitarist, Danny Louis, is a shape-shifter, playing to whatever is needed in a given track. His manner of coloring sounds inside and around a particular tune's framework is a large part of what makes Gov't Mule's sound so fresh here - despite the fact that they don't stray far from what they do best. Warren Haynes and his guitar are, as usual, front and center, his ...
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Each copy of this limited edition is sequentially numbered. The packaging recreates the original double-gatefold sleeve and includes the original poster as well as the individual photos of each band member.
Additional personnel includes: Yoko Ono (vocals); Eric Clapton (electric guitar); Mal Evans (trumpet, tambourine); George Martin (piano, harmonium); Chris Thomas (harpsichord, Mellotron); Maureen Starkey, Patti Harrison (background vocals).
This reissue of THE WHITE ALBUM has been digitally re-mastered. It comes packaged with replicated original U.K. album art, an expanded booklet containing original and newly written ...
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Getting right back to where they started from, Creed reunites for Full Circle, putting all tensions to rest and cutting their first album in eight years. FULL CIRCLE is a none-too-subtle allusion to how they're getting back to their beginnings, but a cynic could say they never got much past it, toiling the same ...
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Vinyl LP version also available directly from the label at www.whatmusic.comLong before the bossa craze swept the brazilian nation in the late 50s and early 60s, cities like Rio and São Paulo already boasted impressively healthy live music and nightclub scenes. The clubs acted as the seedbed for the young musicians who would later take brazilian music into the consciousness of the rest of the world. This was the meeting point of the previously all-conquering influence of cuban rhythms, (in Brazil principally the bolero, rumba and cha cha cha), with the modern arrangements of the Stan Kenton school and the increasingly evident beat of the samba. So, with a number of albums recorded in the period from 1957 to 62 the listener gets a mixture of old-school big-voiced vocalists, deft organists, bongo beats, dodgy cha cha and killer bossa grooves all mixed up in the same 'panela' and served hot and tasty - ready for dancing.In Rio the principal watering hole where these musicians practised was the night club simply called Drink. Owned by musician, composer and small time gangster Djalma Ferreira, the Drink was a proving ground for young players and singers like Silvio Cesar, Orlann Divo, Durval Ferreira, Celso Murilo and the place where bassist Ed Lincoln first came face to face with the Hammond B3 organ that was to change his career.Traditionally, Djalma Ferreira had led the house band but he was constantly indisposed by such trivia as armed attempts on his life and other criminal activity. Djalma's lead chair was taken first by Lincoln and then by Celso Murilo, a young wunderkind from the interior of Minas Gerais who was João Gilberto's favourite accompanist. Other key musicians are represented on this album such as Luiz Bandeira, singer and composer of some note who was also artistic director of the Drink at the time of this recording. Another feature was the young debuting star Sandra who also recorded an album on Pawal, only to be tragically killed in a car crash on the way to receive her Best Newcomer award for 1961. But perhaps the most interesting element on this portmanteau LP is the arrival on the scene of one Wilson Simonal de Castro. Simonal, already signed to Odeon but still unknown, began his glittering career as the main 'crooner' at the club. This recording predates his first Odeon recordings. In fact Wilson opens the album in some great style with his familiar sensual baritone and sense of timing already in evidence at such a young age. Of all the artists on this album Simonal was the one who achieved true superstardom.Translation from the original liner notesIt was no easy task to reunite all of these artists from the Drink Club on one LP. The fact that nearly all of them are exclusively signed to the best of the well-known record companies was the first obstacle. But Columbia ...
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Redd Foxx spent years touring the "chitlin' circuit" before (and after) he cut his first comedy album in 1956, but it was when he started appearing at the Aladdin Hotel in Las Vegas that he began making an impression on mainstream audiences and the showbiz elite (it's said that Frank Sinatra signed Foxx to Loma Records, the R&B-oriented subsidiary of Sinatra's Reprise label, after he caught one of the comic's Aladdin engagements). So it made sense for Foxx to record one of his Vegas shows for posterity, and 1967's 'Live' Las Vegas offers a bit less than half an hour of the comic on-stage, in loose but energetic form, tossing out one-liners and short comic bits in his trademark earthy ...
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