| | Sybersound Party Tyme Karaoke: Broadway Soundtrack CD (1 Customer Review)
This is part of Sybersound Records "Party Tyme Karaoke" series.
West Side Story,Sound Of Music King And I,Kismet,Oliver,Cats Party Tyme Karaoke: Broadway Soundtrack Music Sybersound Party Tyme Karaoke: Broadway Soundtrack Songs | 1. | Tonight - (from "West Side Story", with Sybersound) |
| 2. | My Favorite Things - (from "The Sound Of Music", with Sybersound) |
| 3. | Hello, Young Lovers - (from "The King And I", with Sybersound) |
| 4. | I Could Have Danced All Night - (from "My Fair Lady", with Sybersound) |
| 5. | Stranger in Paradise - (from "Kismet", with Sybersound) |
| 6. | Oh, What a Beautiful Morning - (from "Oklahoma", with Sybersound) |
| 7. | All I Ask of You - (from "Phantom Of The Opera", with Sybersound) |
| 8. | Consider Yourself - (from "Oliver", with Sybersound) |
| 9. | Memory - (from "Cats", with Sybersound) |
| 10. | Summer Nights - (from "Grease", with Sybersound) |
| 11. | Some Enchanted Evening - (from "South Pacific", with Sybersound) |
| 12. | What I Did For Love - (from "A Chorus Line", with Sybersound) |
| 13. | If I Loved You - (from "Carousel", with Sybersound) |
| 14. | Hello, Dolly! - (from "Hello Dolly", with Sybersound) |
| 15. | 'Till There Was You - (from "Music Man", with Sybersound) |
| 16. | Put on a Happy Face - (from "Bye Bye Birdie", with Sybersound) |
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Party Tyme Karaoke: Broadway Soundtrack Music Review Purchase Music From Party Tyme Karaoke: Broadway CD To buy, Click on price to add to cart | Richard Rodgers Victory At Sea CD (1992)
Party Tyme Karaoke: Broadway Soundtrack album
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The 1952 NBC series Victory at Sea was one of the earliest network documentary series to capture the public's imagination in a serious way, and one of the more enduring offshoots was the music by Richard Rodgers, which was recorded by RCA-Victor in what ultimately became a series of four LPs. Rodgers was chosen by series producer Henry Salamon based on his being ...
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"Change The Game" was nominated for the 2002 Grammy Award for Best Rap Performance By A Duo Or Group.
Jay-Z released REASONABLE DOUBT, his solo debut, in 1996. Only four years later, he dropped his fifth album, THE DYNASTY. Matching his unique off-beat delivery with hip-hop's most impressive lyrics, the Brooklyn-native reinforces the idea that he is one of rap's most profound MCs. Once again, Jay-Z shows us he knows about "big pimpin'" ...
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Out of print in the U.S.! 1971 debut solo album from the Soft Machine drummer/percussionist. Eight tracks. Sony/BMG.
Of all the projects Robert Wyatt created apart from his tenure with Soft Machine and Matching Mole, The End of an Ear has to be the strangest, and among the most beautiful and misunderstood recordings of his career. Recorded near the end of his membership in Soft Machine, End of an Ear finds Wyatt experimenting far more with jazz and avant-garde material than in the jazz-rock-structured environment of his band. The Wyatt on The End of an Ear (a play on words for the end of the SM era, and another session called "Ear of the Beholder") is still very much the fiery drummer and percussionist who is interested in electronic effects and out jazz and not the composer and interpretive singer of his post-accident years. Influenced by Miles Davis' electric bands and the fledgling Weather Report who did their first gigs in the U.K., Wyatt opens and closes the album with two readings of Gil Evans' "Las Vegas Tango, Pt. 1." These are the most structured pieces on the recording, and the only ones not dedicated in some way: "To Mark Everywhere," "To Caravan and Brother Jim," "To Nick Everyone," "To the Old World (Thank You for the Use of Your Body, Goodbye)," "To Carla, Marsha, and Caroline (For Making Everything Beautifuller)," and others. The titles reveal how personal the nature of these sound experiments can be. Wyatt, because of his association with many in the Canterbury scene, not the least of which is SM mate Elton Dean who prominently appears here, was learning alternate structures and syntax for harmony, as well as the myriad ways rhythm could play counterpoint to them in their own language. The interplay between Wyatt, bassist Neville Whitehead, cornet player Marc Charig, and alto man Dean on "To Nick Everyone" is astonishing. Wyatt creates time from the horn lines and then alters it according to Whitehead's counterpoint both to the formal line and the improvisations. Toward the end of the track, Wyatt's piano is dubbed in and he reveals just how expansive he views this new harmonic approach. The piano becomes a percussion instrument purely, a timekeeper in accordance with the bass, and the drums become counterpoint ...
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