Angebote zu "Boom" (26 Treffer)

Hal Leonard Desplats Alexandre - The Shape Of W...
19,20 €
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The Shape of WaterMusic from the Motion Picture SoundtrackSeries: Piano Solo SongbookComposer: Alexandre Desplat 13 selections from Alexandre Desplat´s Academy Award-winning original score to this critically acclaimed, award-winning 2017 film, arranged for piano solo:BabaluChica Chica Boom Chic (featured in THE SHAPE OF WATER)Elisa And Zelda (from THE SHAPE OF WATER)Elisa´s Theme (from THE SHAPE OF WATER)The Escape (from THE SHAPE OF WATER)Five Stars General (from THE SHAPE OF WATER)I Know Why (And So Do You) (featured in THE SHAPE OF WATER)Overflow Of Love (from THE SHAPE OF WATER)The Shape Of Water (from THE SHAPE OF WATER)(Theme From) A Summer Place (from A SUMMER PLACE)That Isn´t Good (from THE SHAPE OF WATER)Underwater Kiss (from THE SHAPE OF WATER)You´ll Never Know

Anbieter: Woodbrass.com
Stand: 29.04.2019
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Faszination Musical
24,95 € *
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Ist es die mitreißende Musik? Oder sind es die starken Geschichten, die auf eine einzigartige Weise erzählt werden? Warum sind wir nur so Musicalverrückt? Musicals haben die Bühnen der Welt im Sturm erobert. Denn Musicals bieten Spannung, Unterhaltung, Witz und Emotionen pur. Heute sind sie nicht nur eine etablierte Größe im Kulturbetrieb, sondern bilden auch einen der bedeutendsten Wirtschaftsfaktoren für die jeweiligen Spielorte. Und der Musical-Boom scheint ungebrochen. Dieses Buch beschreibt anschaulich die wichtigsten Stationen in der Entwicklungsgeschichte dieses Genres, das Millionen Menschen fasziniert.

Anbieter: buecher.de
Stand: 16.07.2019
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Musical ImagiNation als eBook Download von Mari...
24,99 € *
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(24,99 € / in stock)

Musical ImagiNation:U. S-Colombian Identity and the Latin Music Boom Maria Elena Cepeda

Anbieter: Hugendubel.de
Stand: 18.07.2019
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Various - She-Boom, She-Boom - African-American...
14,95 € *
zzgl. 3,99 € Versand

(2000/Westside) 18 tracks booklet. African-American Influences On Reggae 1963-73 She-Boon She-Boom ´The Big Beat Keeps You Rocking On Your Feet´... ...And it came to pass that the American Rhythm & Blues of the 1950s and early 1960s begat reggae. Well, almost . Before Jamaica´s national music - and its most outstanding world export - became ´reggae´, it inevitably passed through several stages of metamorphosis. First there was the shuffle. the island´s own individualistic representation of the sounds that beamed daily and nightly from clear-channel R&B stations in America´s deep south - stations that could be heard the length and breadth of Jamaica when good weather conditions prevailed - and over massive sound systems at blues dances island-wide. The whole Ja. music industry that we know today stems from the shuffle, which was initially created to satiate demand for this style after the American R&B scene had moved on and away from it. Eventually the shuffle evolved into Ska, itself still influenced to a degree by the pre-Soul music of Black America. And as US R&B ultimately moved to the backburner to let Soul take over in the mid 60s, so Ska gave way first to soul-influenced rock steady and, eventually, to reggae - but those R&B influences never totally left Jamaican music. as you´re about to find out if you´ve bought this compact disc... To complement its two volumes of reggae versions of soul originals. ´The Music Got Soul´ (WESA 847) and ´The Music Got Mo´ Soul´ (WESA 848), Westside´s compilers-that-be now present a dozen and a half tracks which all have their musical origins in the aforementioned pre-Soul era but which successfully adapted to a Jamaican treatment. Presented in a chronology approximate to their original release date (these versions. not the US originals), they show how important American R&B was to the evolution of what we now know as reggae. Few would dispute this writer´s assertion that you couldn´t have had one without the other... Several of the acts featured herein actually started their careers in this pre-Soul era. Thus it´s entirely appropriate that the oldest song to feature. Joan Whitney and Alex Kramer´s ´Ain´t Nobody Here But Us Chickens´ -originally recorded by, and a # 1 R&B, # 6 Pop hit for, the great Louis Jordan in early 1947 - should be performed by the one of the first Jamaican artists to record locally. Lascelles Perkins made his debut recordings in the mid 1950s for Clement ´Coxsone´ Dodd. 20 years before his amusing version of ´Chickens´ (complete with speeded-up, Chipmunk like backing vocals by ´The Chicks´) hit the racks in mid-1974. An old-fashioned crooner with a distinct Nat ´King´ Cole influence. Perkins had been only semi-active as a recording artist for some years prior to this recording - but was still singing in the early 80s. when he cut a version of another Whitney/Kramer song much beloved by Jamaican singers. ´No Man Is An Island´. for his brother-in-law Dodd´s Studio One imprint. Another of those who was ´there at the start´ was Derrick Harriott, and it´s Derrick who provides us with the earliest recording on this CD. A more than capable tenor with a distinctive, melodic falsetto, Harriott had not long departed his colleagues in the Jiving Juniors to begin a lengthy career as a solo when he cut his own. slow-soul version of Donnie Elbert´s ´What Can I Do´ (De Luxe. 1958). The song had been a big ´end-of-night´ closer for sound systems for years. Derrick interspersed the verses of ´What Can I Do´ with a recitation that he had borrowed from ´All I Could Do Was Cry Part Two´. an early. torrid performance by future soul star Joe Tex (Anna Records 1959). To round the whole thing out he also threw in a snippet of Wilson Pickett´s then-current. breakthrough hit ´It´s Too Late´ (Double L. 1963) and the mixture came out perfectly, as you´ll hear here. Harriott did not confine his interest in Elbert´s catalogue to ´What Can I Do´ - he cut the man´s uptempo jiver ´Leona´ as the flip of ´The Wedding´ - nor his interest in medleys to this record. In 1969, just as rock steady was turning into reggae, he blended the choruses of the Pastels´ Been So Long´ (Hull. 1957) with the verses of the Tams´ 1964 ABC-Paramount recording of ´You Lied To Your Daddy´ to forge the churning. exciting version featured here. All in all. Harriott recorded more than a dozen Tams tunes, among them ´Standing In´, ´Laugh It Off´. ´Close To Mn´, ´Do I Worry´. ´Walk The Streets (a.k.a ´You Might As

Anbieter: Bear Family Recor...
Stand: 22.06.2019
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In It for the Long Run: A Musical Odyssey , Hör...
9,95 € *
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Inspired by the Hank Williams and Leadbelly recordings he heard as a teenager growing up outside of Boston, Jim Rooney began a musical journey that intersected with some of the biggest names in American music, including Bob Dylan, James Taylor, Bill Monroe, Muddy Waters, and Alison Krauss. In It for the Long Run: A Musical Odyssey is Rooney´s kaleidoscopic firsthand account of more than five decades of success as a performer, concert promoter, songwriter, music publisher, engineer, and record producer. As witness to and participant in over half a century of music history, Rooney provides a sophisticated window into American vernacular music. Following his stint as a Hayloft Jamboree hillbilly singer in the mid-1950s, Rooney managed Cambridge´s Club 47, a catalyst of the ´60s folk music boom. He soon moved to the Newport Folk Festival as talent coordinator and director, where he had a front-row seat to Dylan ´´going electric´´. In the 1970s, Rooney´s odyssey continued in Nashville, where he began engineering and producing records. His work helped alternative country music gain a foothold in Music City and culminated in Grammy nominations for singer-songwriters John Prine, Iris Dement, and Nanci Griffith. Later in his career, he was a key link connecting Nashville to Ireland´s folk music scene. Whether he´s writing songs or writing his memoir, Jim Rooney is the consummate storyteller. In It for the Long Run: A Musical Odyssey is his singular chronicle from the heart of Americana. 1. Language: English. Narrator: Jim Rooney. Audio sample: http://samples.audible.de/bk/blak/008390/bk_blak_008390_sample.mp3. Digital audiobook in aax.

Anbieter: Audible
Stand: 26.06.2019
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Sex, No Drugs & Rock´N´Roll: Memoirs of a Music...
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Sex, No Drugs & Rock´N´Roll: Memoirs of a Music Junkie is a ´´balls-to-the-wall´´ coming of age narrative explicitly told through the eyes of a musical ´´baby-boomer Holden Caulfield´´, simultaneously maturing with the country itself. From the 50s´ innocent invulnerability following WWII, to the teenage years of rebellion and political unrest in the 60s, to the disillusionment and cynicism of the late 70s, sowing the seeds for the ´´me´´ generation to come. The dots connected in two universal languages: music and sex. The book contains songs L.E. Kalikow wrote and performed during that time. Although the story is based on true life, certain names, personalities, and events have been altered, both for artistic and legal reasons, and should therefore be considered a ´´creative re-creation´´. For more, visit www.LEKalikow.com. 1. Language: English. Narrator: L. E. Kalikow. Audio sample: http://samples.audible.de/bk/acx0/054381/bk_acx0_054381_sample.mp3. Digital audiobook in aax.

Anbieter: Audible
Stand: 26.06.2019
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Various - Sinfonie der Sterne - Die 90er Jahre ...
15,95 €
Rabatt
13,95 € *
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1-CD mit 24-seitigem Booklet, 20 Einzeltitel, Spieldauer 79:57 Minuten. POLYDOR - ein Name ist Legende. Seit den ´Goldenen Zwanzigern´ drehen sich Schellacks, später Vinyl und Compact Discs unter dieser Weltmarke, anfangs mit verschiedenenfarbigen Labels, seit Beginn der 50er Jahre mit dem unverwechselbaren Orange-Label und den kleinen Sternchen oder mit dem seit 1963 eingeführten Polydor-Rot. Die Neunziger-Jahre Alles ist Pop, und der Pop ist überall im gerade wiedervereinigten Deutschland. Auf MTV und VIVA und Festivals, in der Werbung, im Radio, beim Einkaufsbummel, im Restaurant, bald auch aus dem Computer: von alles Seiten tönt Musik. Nicht-mehr-Jugendliche hören vorzugsweise Mainstream-Rock, Grunge, Reggae, Punk, Alternative, (volkstümliche) Schlager. Boygroups und Girlgroups richten sich musikalisch-tänzerisch an die Teenager. Aus der Dancefloor-Ecke mischen sich HipHop, House und Techno in den Pop-Eintopf. Techno? Da winken sogar schon 30-Jährige ab und bekennen, sich damit nicht auszukennen. Wer mit seiner Clique zur ´Love Parade´ nach Berlin, zur ´Mayday´ nach Dortmund oder kleineren ´Raves´ am Wochenende zieht, ist in der Regel noch diesseits der 20. Es sind die Techno-Töne, die die Pop-Musik in den 90er Jahren revolutionieren - nicht nur in Deutschland. Jugendliche Sound-Tüftler gehen in ihre Musiklabors, vor allem in Berlin und in Frankfurt am Main, schrauben an Computern und erfinden den Klang einer neuen Maschinen-Romantik. Erstmals machen junge Leute im Alleingang Musik für ihre Altersgenossen, die mehr in Projekten, denn in herkömmlichen Bands an die Öffentlichkeit tritt und sich sogar international behaupten kann. DJs legen die neuen Werke der Sample-Kunst zunächst in einsturzgefährdeten Kellern und Bunkern auf und avancieren selbst zu Stars der Szene. (Für DJs bleibt dabei das Vinyl als Trägermedium interessant, ansonsten übernimmt ab 1993 die CD.) Die Beats per minute (BpM) werden zum Maß aller Dinge. Auf das Konto der deutschen Copyright-Besitzer gehen 1995 etwa zwei Fünftel aller in Deutschland gemachten Tonträger-Umsätze (Singles und Alben). Bei Polydor hält Alex Christensen unter dem Projektnamen U 96 als einer der ersten mit einem Techno-Dance-Track Ende 1991 Einzug in die Popcharts. Das Boot ankert dann zwischen Januar und Mai 1992 auf dem ersten Platz der Verkaufshitliste. Dort, an der Spitze der Charts, hatte sich seit 1990 ein weiterer Künstler aus Polydor-Reihen positioniert: Matthias Reim. Sein Debüt Verdammt, ich lieb´ dich verschmilzt Textzeilen nach Muster eines Kinderabzählreims mit einer durchaus rockigen Verpackung und schlägt dermaßen beim Publikum ein, dass die Branche nicht bloß von einem Hit, sondern von einer Eruption spricht. Höchstens Taube können Verdammt, ich lieb´ dich entkommen. Auch die hinterhergeschobenen Singles Ich hab geträumt von dir (1990) sowie Ich hab mich so auf dich gefreut schaffen es mühelos in die Top Ten. Matthias Reim war quasi über Nacht aus dem Nichts zum neuen deutschen Superstar geworden. Nach 1992 lässt sein Erfolg allerdings wieder nach. Derweil setzt in Deutschland und Österreich ein selbst von Optimisten nicht für möglich gehaltener Musical-Boom ein. Nach den gefeierten En-suite-Produktionen ´Cats´ und ´Das Phantom der Oper´, deren Musik Polydor schon während der 80er Jahre auf Tonträgern festhielt, wird der Katalog im Verlauf der 90er Jahre um ´Elisabeth´, ´Miss Saigon´, ´Les Miserables´, ´Tanz der Vampire´ sowie ´Jekyll und Hyde´ - um nur die Renner zu nennen - ergänzt. Keine andere Firma ist im Bereich der Musicals so gut aufgestellt. Daneben sind es in der zweiten Hälfte der 90er Jahre die irische Boyband Boyzone, das Berliner Duo Rosenstolz, der italienische Tenor Andrea Bocelli sowie der niederländische ´Walzerkönig der Gegenwart´, André Rieu, die als Neuzugänge der über 150 Namen umfassenden Künstlerliste (von ABBA bis Zucchero) bei der Hamburger Polydor Konturen geben. Als die Dekade schließlich auf das neue Millennium zusteuert, begegnet Polydor dem Zeitgeist mit einer nach diesem benannten neuen Abteilung. Zeitgeist legt 1998 einen guten Start hin und wird 1999 gar mit dem ´German Dance Award´ ausgezeichnet. Für DJs und Dance-Produzenten ist dieses junge Polydor-Referat zu einer bevorzugten Adresse geworden. An dieser Stelle verhallt Polydors ´Sinfonie der Sterne´, die Pop-Musik im 20. Jahrhundert in Deutschland dokumentiert. Die Sinfonie ist jedoch noch nicht vollendet. Der nächste musikalische Satz ist bereits in Arbeit.

Anbieter: Bear Family Recor...
Stand: 19.02.2019
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Little Known Facts: Molly Ringwald , Hörbuch, D...
9,95 € *
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Molly Ringwald, international movie star, gets candid with Ilana about how she has handled a lifetime of fame, growing up with a blind parent, why she won´t let her kids act, and more. Molly began her film career at the age of 13 in Paul Mazursky’s Tempest, for which she received a Golden Globe nomination. She went on to star in numerous films, including The Pick-Up Artist, For Keeps, Fresh Horses, Betsy’s Wedding, Cindy Sherman’s directorial debut Office Killer, Billy Bob Thornton’s short film Some Folks Call It a Sling Blade, and the iconic movies Sixteen Candles, The Breakfast Club, and Pretty in Pink. In 1992, Ms. Ringwald moved to Paris and acted in such foreign films as Tous Les Jours Dimanches, Enfants de Salaud, and Jean-Luc Goddard’s King Lear. Her television credits include the critically acclaimed comedy series Townies, Stephen King’s The Stand, the Emmy-nominated Allison Gertz Story, and the movie Molly: An American Girl, based on the American Girl series. In 1997, Ms. Ringwald moved to New York City, where she starred in Paula Vogel’s Pulitzer Prize winning How I Learned to Drive, a role she reprised at the Mark Taper Forum in Los Angeles. Subsequent theater credits include playing the legendary Sally Bowles in the Broadway production of Cabaret; the Tony-nominated Broadway production of Enchanted April; and the London production of When Harry Met Sally. She created the role of Horton Foote’s Lily Dalein the NY off-Broadway production, performed the role of Salome (with Al Pacino), starred in Jonathan Larson’s musical Tick, Tick…Boom!, the hit comedy Modern Orthodox, and a national theater tour of the Bob Fosse musical Sweet Charity. Molly was in the comedy TV show Raising Expectations, created by Tom Saunders (Arreste 1. Language: English. Narrator: Ilana Levine. Audio sample: http://samples.audible.de/bk/comm/001672/bk_comm_001672_sample.mp3. Digital audiobook in aax.

Anbieter: Audible
Stand: 26.06.2019
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Midnight at the Oasis , Hörbuch, Digital, 1, 32...
9,95 € *
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Love affairs from long ago are often quickly forgotten, dead, and buried. We all move on with our lives, after all. But one day a shocking bit of news brought memories of one long-forgotten affair flooding to the surface, and those memories were as fresh and alive as though they happened yesterday. But they didn´t. They happened more than 40 years ago. It was 1974. A president faced impeachment, gas had surged to 60 cents a gallon, and women were burning their bras. Chris Pugley and Travis Buckner were young disk jockeys who moved from small market to small market in the first two years of their careers, then suddenly had a chance to go to New Orleans to help KSLM, a stodgy old radio station, launch a rock music format. That´s when their lives changed in a whirlwind. Sandi Kelso was a sexy and streetwise twenty-four-year-old New Yorker who moved to New Orleans on a whim and wound up at KSLM, doing mind-numbing office work. But events presented her with new opportunities to advance both her career and her love life. Maria Muldaur´s sexy hit song that dominated the charts in 1974 provides part of the musical soundtrack to this Baby Boomer ´´coming of age´´ tale, as Chris, Travis, and Sandi find excitement, romance, and themselves in New Orleans. Their year in the Crescent City brought them closer together and changed the course of their lives in the process. If you´re a Baby Boomer and can still remember being young, this book may make you smile. If you´re Gen X or a Millennial, you might be shocked to learn what your parents were up to when they were your age. Midnight at the Oasis perfectly captures New Orleans in the polyester era, much the way Mad Men nailed the ´60s. 1. Language: English. Narrator: Mark Huffman. Audio sample: http://samples.audible.de/bk/acx0/085915/bk_acx0_085915_sample.mp3. Digital audiobook in aax.

Anbieter: Audible
Stand: 26.06.2019
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