Angebote zu "Fancy" (6 Treffer)

I Love Disco Pres. Fancy
24,95 €
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20,99 € *
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Audio CD

Anbieter: RAKUTEN: Ihr Mark...
Stand: 16.05.2018
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Feber Fancy House 2
221,81 € *
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Kinderspielhaus / Abmessungen: 127 x 119 x 144 cm / geeignet ab: 3 Jahren / Material: Kunststoff

Anbieter: idealo-Deutschlands
Stand: 16.06.2018
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Feber Fancy House 2
221,81 € *
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Kinderspielhaus / Abmessungen: 127 x 119 x 144 cm / geeignet ab: 3 Jahren / Material: Kunststoff

Anbieter: idealo-Deutschlands
Stand: 16.06.2018
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Feber Fancy House (800010962)
221,03 € *
zzgl. 25,50 € Versand

Kinderspielhaus / Abmessungen: 127 x 119 x 144 cm / geeignet ab: 3 Jahren / Material: Kunststoff

Anbieter: idealo-Deutschlands
Stand: 15.06.2018
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The Willows - The Church Bells May Ring Forever...
17,95 €
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14,95 € *
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(El Dorado) 19 tracks - The Willows are mostly remembered as one of the countless ´one-hit-wonders´ for their only hit CHURCH BELLS MAY RING.which was also covered by the DIAMONDS. Very few people have recognized that lead singer TONY MIDDLETON released many solo recordings in the years fol-lowing his stay with the group before he decided to become an actor-and so he appeared in the 1971 Broadway production of ´PURLIE´ (toge-ther with Ray Pollard of The Wanderers and Milton Grayson of The Dominoes). The Story of The WILLOWS goes back to 114th Street in Harlem,where Tony (born June 26,1934) in Richmond.Virgin) lived in 1952. He received an invitation to Mrs. Clarisse Martin´s house on 115th Street while he was training his boxing at a local gym. Mrs.Martin´s twin sons, Joe and Ralph,were rehearshing under her guidance with John Thomas ´Scooter´ Steele (bass),Richie Davis (1. tenor) and Bobby Robinson to be kept off the streets. Being very impressed by Tony´s fancy footwork and choreography in the ring she knew for sure that the chance to archive some success with this guy in the group would be great - if she could teach them assiduity and discipline. Having been the main impulse behind the recording career of THE WILLOWS from 1952 to 1965. she let them practise every day. So you could find the group singing at the corner of 115th and Lenox Ave. in hospitals.at church benefits and at dances at the Chelsea Vocational High School. While still known as ´The Dovers´, they sometimes used Doc Green as additional singer. One of Green´s favourite songs was ´The Whiffenpoof Song´ by the Cabineers, and so the group decided to try their luck with the same company the Cabineers had recorded for. Abbey Records under the management of Pete & Goldie Durain had meanwhile moved and changed its name to Allen Records. The first release for Allen under the name of THE FIVE WILLOWS was the streetsong MY DEAR,DEAREST DARLING, introducing for the first time the famous bass intro by ´SCOOTER´ Steele to the public. This gimmick was carefully planned to be their trademark, later reviewed in LITTLE DARLIN´ and DO YOU LOVE ME. Billboard magazine called this release in June ´kinda weird and somewhat hypnotic´, and so you can hear the group sometimes out of key, while the flipside ROCK LITTLE FRANCIS (the obligary jump) sounds amateurish, but nevertheless interesting. The 1953 formation had recorded without Doc Green (who later joined The Five Crowns.transforming into a Drifters group) and Bobby Robinson (who had already started his Red Robin Label and later owned various companies). Tony was also featured as lead on THE WHITE CLIFFS OF DOVER. while he shared the vocals with Richie on DOLORES - the latter coupled with ALL NIGHT LONG on their second Allen release in September. At the end of 1953, their third Allen record was out, but again no chart entries were noted for WITH THESE HANDS (lead by Richie). When Pete Durain decided to part business with Mr. Allen, The WILLOWS went with him and recorded their next release for Pee Dee Records in early 1954. entitled LOVE BELLS c/w PLEASE BABY. Pete Durain himself went out of business in 1954. but the group was able to record four sides for Herald (found on the Relic albums 5015 & 5047) - in the same style, but again without success. When Tony met Morty Craft in 1955, who had just left his partners at London Records to form his own Melba label. a chance to record again was in sight. The WILLOWS (as they were known now, just dropping the ´Five´) offered him a ballad entitled CHURCH BELLS MAY RING, which was written by Tony from an idea of his wife Betty. When first released as CHURCH BELLS ARE RINGING (mislabeled on early copies),it had transfor-med into a wonderful rocking tune with a now famous bass bridge (´Hello hello again.my friend. I´m hopin´that we´ll meet again´), close harmony-and as a gimmick chimes (played by the still unknown Neil Sedaka from a suggestion by Morty Craft) plus a shuffle rhythm. Hitting the r & b charts on April 18,1956. the song reached no. 11 and stayed for 2 weeks,but it had more success before on the pop charts,first appearing at no. 74 on March 28, then climbing to the middle of the Top 100 listing. Soon cover versions by The Cadets, Sunny Gale and The Diamonds fol-lowed, and The Diamonds´version nearly outsold The WILLOWS´original on all main markets. The same story happened again, and so the guys didn´t get paid more then S 200 for their million seller, even after they

Anbieter: Bear Family Recor...
Stand: 09.04.2018
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Amber Cross - Savage On The Downhill (CD)
16,95 € *
zzgl. 3,99 € Versand

(2017/AMBER CROSS) 10 tracks (40:06) digipac. - Authenticity is A difficult thing to measure in American roots music. It’s not in the hat you wear, or the twang in your voice. It’s in how well you understand that the music comes from the land, and that its roots run deep. Americana songwriter Amber cross understands this, and on her new album, Savage on the Downhill, she makes music as beholden to the landscapes of Northern and Pacific California, where she lives and travels, as to the visually-rich songwriting she crafts around it. Her songs hang heavy with the yellow dust of dirt roads, plunge deep into the soft loam of the forest. As a hunter, a fisherman, and a woman of the backcountry, she knows the countryside well, and has a deep respect for the honest work that makes you a steward of the land. It’s something she shares with other roots musicians, a community she found attending her first Cowboy Poetry Gathering in Elko, Nevada. Her contacts from the gathering helped her connect with Savage on the Downhill’s producer, Canadian blues and roots musician rAy bonneville. Traveling to Austin to record the album with Bonneville, Cross connected with other great American songwriters, gurf morlix and tim o’brien, who both came onboard for the album, with O’Brien complimenting her ´´no bullshit style of singing.” If there’s a rawness to Cross’ voice, a plainness to the words, it comes from the fact that Cross knows the roots of this music aren’t fancy. They’re built by hand and filled with honest words and hard-won truths. The songs on Savage on the Downhill are deeply visual and inextricably tied to nature, whether the California forests that Cross roams through, or the high deserts outside Austin, Texas, where she recorded the album. Even the title of the album paints a picture of Cross in the backcountry. ´´Savage” refers to a brand of hunting rifle, and the phrase ´´Savage on the Downhill” refers to how a tracker should hold a rifle so as not to bury the barrel into the dirt when side-hilling or climbing down an incline. Like any artist that works with their hands, Cross has a deep love and respect for tools, seeing the same artistry in a well-worn rifle butt that you would in a perfectly crafted song. ´´I have always been drawn to work that involves my hands,” Cross says. ´´It seems to me that this type of work is more creative. Or maybe it is that working with my hands pulls the creativity out of me in a way nothing else does.” Throughout, Cross moves easily through different styles of country and folk songwriting, from Bakersfield outlaw attitude to Woody Guthrie plain-spoken folk. She’s a songwriter able to juxtapose a simple image with a powerful poetic emotion. On ´´Echoes,” she paints the picture of a humble domestic scene, then wonders what happens to a house when the people who made it a home have left it behind. On ´´Pack of Lies,” she moves between hard-hitting lines like ´´Pretending to love is a wicked game” and vision-laden verses like ´´Barking dogs rule the moonless night.” It may come as no surprise that Amber cross first came to music through singing in a small church in rural Maine, where she was born and raised. Her father was a small-town pastor and she was raised on the rough-hewn homilies of the hymnal. Now, Cross is creating her world by hand, working her songs until they shine with a worn polish, finding truth in tradition. ´´Every once in a while music comes along that you just know instantly that you are going to like. Amber´s melodies are more than complimented by thoughtful, interesting and honest lyrics, along with fine, understated musicianship that proves the old adage that ´´less is more´´. The result is a set of superbly crafted, well-rounded, addictive songs that stay with you long after the last notes have ended, and make you hungry for more.´´ - Duncan Warwick, Country Music People Magazine, UK Upon first hearing Amber Cross you might think you are listening to an archival Smithsonian recording. Her old-time voice is clear and captivating, like a strong muscle, fringed in lace. She´s a singer and songwriter who writes from her own life’s struggles and experiences, delivering her stories with unforgettable power and emotion. Originally from Maine, Amber spent her early years surrounded by gospel music in a small town church where her father preached and her mother played piano. In 2003 Amber left her studies at New Mexico State University to pursue her love for music. She moved

Anbieter: Bear Family Recor...
Stand: 09.04.2018
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