English, Paperback, 21.5x28 cm, 288 pages/Seiten, completely illustr. with hundreds of rare b/w photos, labelshots and article repros; The American rockabilly movement of the mid-1950s captured the imagination and spirit of young people everywhere. The magical blend of country music and the blues-these divergent sounds merged to create rock ´n´ roll-is personified by such vocalists as Carl Perkins, Bill Haley, Gene Vincent, and, of course, Elvis Presley. But Presley soon took other musical paths, and rockabilly sound ultimately faded. In this detailed book, author Randy McNutt de- scribes the music and artists, gives the secrets by behind the songs and tells us how the early rockabilly records were made. Through oral histories and narrative pieces, the author looks closely at why the music was suddenly popular. At the time, the music was only a feel- ing, a seed of youthful rebellion and expression that would not spawn its own poets until late. So this book is a tribute to the rockabillies themselves, known and unknown. May their music lives forever.
(2005/DAWN) 10 tracks plus bonus music video of ´Somethin Better´ / symphatische Stimme mit einer gefälligen Nashville-Mainstream Produktion aus Arizona -
(2016/Fountainbleau Entertainment Inc.) 12 Tracks - Digipack - French Cookin´ is a New York-based Blues band around singer-guitarist David ´Doc´ French, playing a wide variety of styles, all firmly rooted in the Blues with their own unique touch to present a new look at this vital American art form with a selection of original titles, presenting the Blues in a more contemporary vein while preserving the essence that is the core of the music!
(2016/Air Cuts) 11 tracks Following several years during which she waitressed, recorded jingles, toured with Michael Jackson, sang backup for Don Henley, Stevie Wonder and Belinda Carlisle, and had her songs recorded by Tina Turner, Celine Dion and others. Sheryl Crow finally became a star in 1993, with the release of Tuesday Night Music Club.
(2015/Valcour) 25 tracks. Sehr schöne Zusammenstellung von zeitgenössichen Musikern aus Louisiana, die sich der Lousiana Musik der 1930er Jahre widmen, die damals von Alan Lomax aufgenommen wurde. During the last few decades of the twentieth century, it became fashionable in some circles to belittle the work of Alan and John Lomax. As is often the fate of intellectuals who reach beyond academia to a broader public, they were considered somehow suspect, and their work came to be misunderstood, neglected, and often ignored by many scholars who would otherwise be interested in traditional music. Often, the two very diferent people—and very diferent thinkers—were combined into one conglomerate Lomax, a sort of golem that came to symbolize old-fashioned approaches to folk music. To the detriment of the study of American vernacular music, however, misgivings about the Lomaxes and their missions bled over into and contributed to a monumental failure to address the bulk of their extensive collections. And while many famous performers whose legacies were intertwined with the Lomaxes became icons of American roots music (Lead belly, for instance, or Muddy Waters), the broad scope of even their earliest feld collections largely overwhelmed the assembled academic and archival apparatuses of the twentieth century.In this century, however, things have changed with respect to such collections and to the role of early feld collections in general. Te gears of the old machine have been oiled up, so to speak, and things seem to be getting rolling again. Tere are a number of reasons for this: frst, technology increasingly provides more efcient access to the media they collected. It’s very easy to ignore something silently gathering dust in an archive but substantially more difcult to neglect important cultural performances when they are within swiping distance, particularly when they undermine or enhance inherited ideas about the character of major genres of American music. Second, a century or so after feld recording became feasible, it continues to become increasingly clear that the early era of recorded sound did preserve something extraordinary and evanescent—a moment in human culture (or at least Western culture) before centuries of oral tradition became irrevocably disrupted and in some cases eviscerated. It should be clear to anyone today that John Lomax wasn’t just being quaint and romantic when fretting about song styles expiring, or that Alan Lomax was sounding an overly shrill alarm about impinging threats to cultural diversity. Songs traditions were submerged. Cultural diversity was damaged. Te Lomaxes were, more often than not, just being realistic, and we can see this with clearer eyes today.Handwringing about the Lomaxes or about the importance of old songs, of course, has never been too much of a concern in southern Louisiana. Perhaps it’s the encroaching, fligreed coast, or the beautiful French still surfacing and disappearing in everyday life—whatever it is, there’s an awareness of the past and candor about the realities of cultural change. In some ways, Louisiana has been a model or at least a test case for how vernacular traditions can adapt and reconstitute themselves using tools of the sort pioneered by John and Alan Lomax. Eighty years after the Lomax trip to the area, for instance, we can see that the songs they recorded have had a major impact on the character and form of Cajun and Creole music. A recent celebration of their work at the 40th Festivals Acadiens et Créoles, which included a concert performance as well as a compact disc of Lomax songs performed at the festival over the years, for instance, made this abundantly clear. In addition to the region’s shared accordion/fddle/guitar music with lyrics in vernacular French, musicians have used the Lomax materials to explore narrative and harmonic pathways that enhance and expand the musical language of the region, or at least keep it broad and fexible. In an area with a cultural aesthetic grounded in reverence for tradition, the Lomax collections and other archival resources help ensure that this tradition remains accessible, irrepressible, and endlessly recombinant.In this collection, we’ve tried to look again at these old felds explored by the Lomaxes and more fully sound the resources they ofer. By digging into these older genres, there’s an attempt to expand the musical future by enlarging the the musical past and perhaps tweaking our understanding of
The Videos: 01 9 PM (Till I Come) 02 Dont Stop 03 Killer 04 The Summer 05 The Fields Of Love 06 Let U Go 07 Hold You 08 Youre Not Alone 09 I Dont Wanna StopBonusmaterial:DVD-Ausstattung / Bonusmaterial: - Kapitel- / SzenenanwahlDarsteller:
DescriptionWestlife: Westlife Complete lyrics and guitar chord boxes for each song from the hit debut album from Westlife. SonglistCan´t Lose What You Never HadChange The WorldFlying Without WingsFool AgainI Don´t Wanna FightI Need YouIf I Let You GoMiss YouMomentsMore Than WordsNo NoOpen Your HeartSeasons In The SunSwear It AgainTry AgainWe Are OneWhat I Want Is What I´ve Got