(BBNC) Sly & The Family Stone: One of the most innovative groups popular music has ever known, a band that instigated a musical revolution! Led by Sylvester ´Sly Stone´ Stewart, The Family Stone´s personnel was black and white, and male and female, and black and white, making it likely the first fully integrated group in the history of popular music. Starting in 1966, their sound was a unique, unknown fusion of soul, jazz, rock, R&B and psychedelia. Sly himself was a master musician who wrote, arranged and produced all the group´s material, fashioning ingenious musical arrangements filled with syncopated rhythm, pop melody and unexpected harmony. This book covers the entire discography of Sly & The Family Stone. It is a complete career overview, from the first gospel recording by the Stewart Four, through to Sly´s most recent releases, as well as each members solo work in the years before and since, illustrated with vinyl releases from all over the world. It´s the book all Sly fans have been waiting for. As a special bonus, copies come with a 45 reproduction of the hyper-rare Stewart Four 78 from 1952.
(Jukebox Music Factory) 16 tracks El Vidocq hat eine monströse Playlist aus den 50er und 60er Jahren zusammengestellt, da diese für Kino und Musik erschreckend kreative Jahrzehnte waren. Tatsächlich waren beide Welten miteinander verflochten, wie hier von f.i Lon Chaney (The Unknown) mit seinen´Monster Holidays´ melodiös illustriert. Kein Stil bleibt zurück, vom Surfrock der Noblemen bis zum Cha Cha Cha Cha Cha von Bruno Martino, vom Rockabilly von Jim Burgett bis zum Big Band Jazz von Jackie Jocko. Machen Sie sich bereit, mit Frankenstein, Dracula und einer hungrigen Horde Zombies zu rocken und zu rumpeln. Wha ha ha ha ha ha!!!!
(2016/Grosso) 31 tracks 1946-1962. A compilation from ´El Ciego Ma ravilloso´, the authentic godfather of salsa. Havana & NYC early recordings. The tracks have been remastered and restored and some are presented on vinyl after many years. Nice graphic design. 350g cardboard printed on the reverse side. Format and selection designed for DJs, collectors and general public. Ignacio de Loyola Rodríguez Scull aka Arsenio Rodríguez (30 August, 1911, Güira de Macurijes, Matanzas, Cuba - 30 December, 1970, Los Angeles, CA, USA) was a Cuban musician, bandleader and prolific composer who developed the son montuno and other Afro-Cuban-based rhythms. - Some of his best-known, and most-often covered recordings from the 1950s and early 1960s are included here, among them ´Dame un cachito pa´ huele´, ´Dundunbanza´, ´El reloj de pastora´, ´Cambia El Paso´, and ´Hay Fuego En El 23´. Never one to stand still creatively, by the early 1960s Arsenio began introducing other experimental modes of expression taken from his new adopted home (jazz, r&b, rock) into his conjunto, incorporating saxophones and alking´ bass, as well as amplifying his guitar and even singing a few tunes himself (in a jocular, gruff tone). True to his racial pride, he often utilized African religious terms, melodies, rhythms and sonorities. - Leaving the barrios of New York behind and moving to Los Angeles in 1969 - 1970 to try his luck on the West Coast amongst the Chicanos (he had lived there briefly with his brothers Kiki and Raúl from 1964-1966), Rodríguez unfortunately remained relatively unknown in California, and by most accounts audiences were indifferent to his by now old-style Cuban music, especially with the rise of Latin rock, which was ironic since he had often played his tres with distorted, sustained amplification not unlike that in use by guitarists like Carlos Santana and others. In the late 60s and early 70s, Johnny Pacheco, the Dominican bandleader and musical director of Fania Records, had been recording versions of the conjunto and son montuno sound that Rodríguez and others like La Sonora Matancera had pioneered decades before, complete with trumpets and tres, and similar arrangements.
Gebundene Ausgabe - 1060 Seiten- Record Research Inc. - 1996 - Englisch AUTHOR´S NOTE How do you condense several tons of record albums and CDs, plus 41 years of weekly Billboard charts and an extensive artist biography file into something that weighs less than five pounds? With 100,000 man hours and fine print! All of the separate elements of this book not only take up a tremendous amount of computer space, but also a good chunk of our record vault and offices. At the onset, the task of converting it into a single tome appeared daunting. But it´s well worth the effort once you hold the finished product in your hands. With an unknown amount of words and numbers, this fourth edition of our Top Pop Albums book chronicles every one of the 18,594 albums and 4,484 artists that have appeared on Billboard´s Pop albums charts since 1955. Without any essays or analyses, the Billboard chart data tells the story of 41 years of the album in America. The Billboard Pop albums chart is a direct tally of the public´s favorite albums week to week. It is based entirely on sales figures. Anything can make the chart, from death metal to Contemporary Christian. Radio airplay can be inconsequential to an album´s placement on the chart as long as enough fans buy it. This is precisely what makes Billboard´s Pop albums chart so fascinating. It hosts artists from every musical genre, from Beverly Sills to Black Uhuru. Study Billboard´s Pop albums charts and you´ll observe significant pop culture truisms not easily evident on the singles charts. Note the development of stereo with the early ´60s proliferation of percussive albums. Witness the fruitful output of artists like Joni Mitchell, Grateful Dead, Joan Armatrading, Led Zeppelin, John Prine and Roy Ayers whose longtime successes on the albums chart far eclipses their singles chartings. Find out each era´s popular comedians from Shelley Berman to Jeff Foxworthy. Mark the long history of jazz artists like Dave Brubeck, Miles Davis or Weather Report. Contrast the abundant annual turnout of albums by ´60s artists with many of today´s artists´ three-year spans between albums. Just as an artist endeavors to make an album a complete work, we strive to take each new edition of our Top Pop Albums book forward in its content and presentation. Our primary aim of accuracy requires endless fact checking. With our complete album collection as the backbone of our research, we again proofed each chart entry against the actual album. We mined our record vault for more interesting title notes and supplemented band bios with the names and instruments of each member, if known. We brought all of the album prices up to date; you will notice some drastic price increases since our last edition. Of the several new features, one of the most enlightening is the bolding of album artists in bios and title notes which serves as an immediate cross reference and is especially helpful when looking at British bands like Black Sabbath. So, whether you choose to scrutinize certain artists or scan the big picture, the information on the next 1,000+ pages yields countless insights into America´s taste in music over the years. Best of all, you don´t need 1,500 square feet to house this information. It fits on your coffee table. JOEL WHITBURN