Depeche Mode Dans la horde de groupes estampillés new wave et qui verront le jour à l’aube des années 80, Depeche Mode affichera rapidement sa singularité et proposant une alternative à la musique des deux autres géants de l’époque : The Cure et U2. De la new wave sombre à l’electro-pop il n’y a qu’un pas que la bande de Dave Gahan et Martin L. Gore franchira brillamment. Des débuts sur les sentiers de la synthpop fleurant bon les années 80 puis, à la fin de cette décennie, une sorte de virage avec des productions aux sonorités nettement plus industrielles, plus sombres et savamment grandiloquentes.

Direkt vom Parkett der Tanzschulen präsentiert »Discofox Klassiker Vol. 1 - Die größten Tanzschulen Hits« 40 starke Discofox Hits auf 2 CDs.

"Einfach nur Magie" ist das sechste Studioalbum des Sängers aus Mülheim an der Ruhr.
Sein Motto lautet:
„Die Vergangenheit abhaken und voller Energie und positiver Einstellung zum Leben einen Neuanfang wagen".

One of Germany's most successful pop singers during the 1970s and '80s, Howard Victor Carpendale was born on January 14, 1946 in Durban, South Africa. Howie, as he is affectionately known, was working as an Elvis impersonator when he relocated to Europe in 1966, settling first in the U.K. He moved to Germany in 1969 when he was offered a recording contract with Electrola Records, having success right out of the gate that year on the German pop charts with a cover of the Beatles' "Ob-La-Di, Ob-La-Da." Carpendale was unable to follow up on that success, however, and his stay with Electrola was over by the early '70s.

Sister Rosetta Tharpe was a gospel singer, songwriter and guitarist who was unique in her genre as the pioneer of performing gospel using an electric guitar, to the extent that many of her records and performances have been seen as early examples of rock 'n' roll, and she acquired the nicknames "the original soul sister" and "the Godmother of rock 'n' roll". Rock 'n' roll artists like Elvis Presley and Little Richard, and blues guitarists like Eric Clapton and Jeff beck cite her as an influence. This 78-track 3-CD collection comprises a significant proportion of the A & B sides of her releases on the Decca label during this era, and includes releases with Lucky Millinder's Orchestra, duets with fellow gospel singer Marie Knight, and tracks where she is accompanied by The Sam Price Trio. Her work strayed into the mainstream R&B market, and this collection includes her US R&B hits "Strange Things Happening Every Day", "Precious Memories", "Up Above My Head I Hear Music In The Air" and "Silent Night". She was an artist who broke the mould of how gospel could be performed and this collection from a key era of her career is a substantial and entertaining showcase for her unique approach.

The most beautiful Instrumental, Easy Listening, Jazz songs by 101 Strings Orchestra, Darren "Woody" Woodford, Café Accordien Du Paris and many more on one compilation!

After the war, when musical activities resumed, Starker became principal cellist of the Budapest Opera and the Budapest Philharmonic orchestras. Soviet Red Army forces had occupied the country, and the Communist Party was gaining dominance. Starker left the country in 1946 when relatively free travel was still possible. He gave a successful concert in Vienna, then remained there to prepare for the Geneva Cello Competition, held in October 1946. He won only a bronze medal. "I played like a blind man," he said. "What happens to the bird who sings and doesn't know how it sings? That's what happens to child prodigies." Starker set out to rebuild his technique. He analyzed all aspects of playing, from breathing to the physics of applying muscular force to the bow and the instrument, to phrasing, bowing, and fingering. By October of the following year he had regained his confidence. He decided to stay in the West due to the deteriorating political situation in Hungary, and headed for the United States, where Hungarian musicians had important positions.

After serving during World War II, Přibyl trained as an electrical technician. In 1952 he took private singing lessons in Hradec Králové, and participated in amateur opera performances; his debut was the same year as Lukas in The Kiss by Smetana. Further appearances there led to an invitation to join the State Opera at Ústí nad Labem, making his professional debut there in 1959 in Rusalka as the Prince.Two years later Přibyl became a soloist of the National Theatre in Brno which became the base for the rest of his career, initially continuing his studies at the city's Janáček Academy. He also sang regularly with the Prague National Opera.[1] In 1964 he visited Edinburgh with the Prague company, and his performance of the title role in Dalibor led to his Covent Garden debut the same year.

Mödl is present from the very first note, and, just for a moment, Wagner's idea of the union of man and woman into the perfect human being seems to have become reality. Brünnhilde's visions of fear are then of oppressive intensity, followed by moments of peaceful illusion and elemental power, before she unconditionally relinquishes her divinity. In her autobiography 'So war mein Weg', Mödl confesses that the Siegfried-Brünnhilde interplay was the most difficult role she experienced in the entire Ring: "The part is short, but it is always a third above my register. I had to be particularly careful", something she had to do most of the time.

In Craig Charles' own words ‘The Craig Charles Trunk Of Funk Volume 3' features "19 of the finest slices of super slinky soul, boot shaking blues and boogie, dazzling discofied ditties and fine funky rump shakers!”
As a lifelong soul boy, Craig Charles has been adding to his trunk of funk since his youth in Liverpool, going to see local heroes The Real Thing live, and wearing out his shoe leather dancing in the city’s many underground clubs.
As a poet, actor, radio & television star (including comedy sci fi 'Red Dwarf' and soap opera 'Coronation Street') he’s been famous since his teenage years, and for over 22 years he has been evangelising for the good groove via his world renowned BBC 6 Music weekend and day time shows, DJing at clubs and festivals around the globe – his reputation as a one of the highest profile ambassadors for all things soulful & funky is indisputable.

The remastered, repackaged set 'Music from Grizzly Man' contains all of the out of print material Thompson recorded for the acclaimed documentary. Richard Thompson's score for 'Grizzly Man', Werner Herzog's 2005 documentary film of real life and death in the Alaskan wilderness is one of the best-kept secrets in the British guitarist's epic canon: an instrumental masterpiece disguised as a movie soundtrack. Recorded over two days as Thompson played live in the studio to Herzog's footage - mostly alone, at times in chamber settings with cello, piano and percussion - these tenderly detailed melodies and quietly visceral improvisations are cinema in their own right, rendered with pictorial instinct and the dazzling technique forged in Thompson's lifelong passage through traditional folk, psychedelia, North African modes and intensely personal songwriting.

After the highly decorated ‘17 From Morden’ album Top Sounds pay a second visit to R.G Jones’ studio with ‘From Morden To Wimbledon’, a compilation which collects 15 tracks transferred from OAK label acetates. Two of Friday’s Chyld’s excellent and recently unearthed pre-Fire recordings make their debut on vinyl, and Torquay’s Phaze offer weighty psych pop with two numbers from their acetate only EP. Pre-single versions of the legendary Keith Dangerfield Plexium label 45 surface together for the first time, and superb progressive rock is on the menu with two numbers by Nemesis. Row Boat invigorate with ‘You Keep Me Hanging On’ and one of the ultimate OAK double siders has been uncovered by the Tinsel Arcade, which couples heavy freakbeat with top drawer psychedelia. There’s spooky psych with ‘Science Fiction’ plus meaty goodies from the Rustic Souls and Scott and Weller.

A collection of previously unreleased OAK label acetates all recorded at R.G Jones of Morden during the mid 60s, featuring British beat, rhythm and blues, mod flavoured rock and blue eyed soul.

Venice was one of the most fertile centres of Italian Baroque music. The serenity of its inhabitants and their immoderate taste for celebration, carnivals, entertainment and pleasure were the envy of the whole of Europe, as were the beauty of the city and its fine situation, its prestige and its magnificence. In the City of the Doges music was a necessity. ‘There are concerts somewhere almost every evening,’ wrote the French scholar and politician Charles de Brosses in 1740.

In the year 1688, when the 52-year-old Georg Daniel Speer, son of a reputed peltmonger family of Breslau, had his 'Musicalisch-Türckischer Eulen-Spiegel' published in Ulm, he was an organist and assistant teacher in South Germany and already had an eventful life behind him. At the age of 18, he had set off through the Carpathian Mountains to Spisz (located in the north-east of present-day Slovakia). Throughout the following years, he worked as a mercenary for various armies, once as an army drummer, then as a bugler in the war of Hungary against the Turks. Finally, he reached Constantinople in the company of a 'high-born lord'.