Her name was RayLee. They called her the Acid Jazz Singer, her sultry voice mesmerizing human and demon alike. She´d been running for three years from her maker and only Travis McKenzie stood between her and the darkness that had become her life. Travis hunted the hit squads of demons and paid lip service to the sheriff of the city. The half-blood had gifts of the magic shifting kind - and something more. It made him a stone cold killer and the only thing that mattered in his life was safeguarding the woman he was falling in love with. The singer and the protector had a history. But that history changed when a southern bigot vamp turned Travis´ friend into a travesty - neither man, nor woman - but both. Travis fell hard for the trans known as RayLee. He was having a harder time dealing with his best friend, Ray. Then the game changes, and Travis and Ray have to rely on an assassin with a secret agenda and uncertain loyalties. Vladimira was the oldest of her kind, an enforcer - a gun for hire to the highest bidder. Vamp, human, demon. It didn´t matter. It was all about the job - until the stakes changed and she found a reason to care. When the demon comes to claim Ray, Travis must walk through the bowels of hell to save the only being on earth he cares about. The problem is - who is going to save Travis from himself? 1. Language: English. Narrator: Michael Ferraiuolo. Audio sample: http://samples.audible.de/bk/acx0/095770/bk_acx0_095770_sample.mp3. Digital audiobook in aax.
In the aftermath of the mysterious death of their lead singer, the young members of a now-legendary British acid folk band hole up at Wylding Hall, an ancient English country house with its own dark secrets. There they record Wylding Hall, the album that makes their reputation - but at a terrifying cost when Julian Blake, their new lead singer, disappears within the mansion and is never seen again. Now, years later, the surviving musicians and their friends and lovers - including a psychic, a photographer, and the band´s manager - meet with a young documentary filmmaker to tell their own versions of what happened during that summer. But whose story is the true one? And what really happened to Julian Blake? 1. Language: English. Narrator: Jennifer Woodward, John Telfer, Dan Morgan, Emma Fenney, Simon Victor, Kris Dyer, various narrators. Audio sample: http://samples.audible.de/bk/blak/007492/bk_blak_007492_sample.mp3. Digital audiobook in aax.
It´s 1972. A TV network under congressional pressure hires a group of young singer-songwriters to create educational cartoons. Holed up in a studio with unlimited pot, acid, and sex, the young artists and their self-serving mentor seem to have found an artistic utopia. But when jealousy and betrayal replace grammar and multiplication as the musicians’ focus, they struggle to pull their project together before it tears them apart. 1. Language: English. Narrator: Vikas Adam. Audio sample: http://samples.audible.de/bk/adbl/023167/bk_adbl_023167_sample.mp3. Digital audiobook in aax.
House is the first descendant of disco. While Black and Hispanic communities were jamming and party DJs spinning records, a new birth of rhythm gave way to music lovers from Chicago and New York in the form known as house music.Developed in Chicago´s underground dance club culture in the early 1980s, house music began as DJs spinning in the gay subculture altered the pop-like disco dance tracks to give them a more mechanical beat and deeper bass lines. As well, these DJs began to mix synth pop, dub reggae, rap, and even jazz into their tracks.The first pioneers of house music were Chicago DJ and record producer Frankie Knuckles, Chicago acid-house electronic music group Phuture, Tennessee DJ and producer Mr. Fingers, and US-born, UK-based singer Kym Mazelle.House music quickly spread to other American cities such as Detroit, New York City, Baltimore, and Newark - all of which developed their own regional house scenes. Today, house music is worldwide and continues to dominate most club scenes and has expanded beyond its subculture beginning. 1. Language: English. Narrator: David Sadzin. Audio sample: http://samples.audible.de/bk/acx0/104659/bk_acx0_104659_sample.mp3. Digital audiobook in aax.
(2016/Warner Music Australia/Festival) 20 tracks (56:15) 1962-1974 with 8 page color booklet. - Klasse Latin Compilation mit 20 Hits und Raritäten aus den 1960er Jahren, als Bossa Nova und Samba erstmals in den USA Mainstream vordrangen. Zusammengestellt von den Acid-Jazz-Pionieren Chris Bangs und Gilles Peterson. Featuring Elvis Presley, Astrud Gilberto, Aretha Franklin, Marcos Valle, Dizzy Gillespie, Sergio Mendes, u. v.a. - The bossa nova has its roots in the songwriters and singers who emerged from Brazil´s late 50s and early 60s golden age. When the newly democratic country was revelling in its position as the wealthiest, and most advanced of the Southern American countries. Its football team had not only won the 1958 World Cup in Sweden, but done it with style unearthing the 18 year old talent Pele. In Oscar Niemeyer it had another world-beater, this time in the world of architecture - his buildings would come to define mid-Century modernism in his home country. - Musically the like of Luis Bonfa, Joao Gilberto and Tom Jobim were beginning to forge the new beat that would become known as bossa nova, and the rhythm especially captivated a group of American jazzmen who passed through the country, they travelled on tours sponsored by the State Department and designed to showcase US culture to the developing world. The likes of Dizzy Gillespie, Bud Shank, Herbie Mann, Stan Getz and Charlie Byrd all made the journey, and returned wanting to tell their home country about the fabulous new music. - The latter were inspired to rnake an album called ´Jazz Samba´ for Verve, and by the summer of 1962 it had climbed all the way to #1 on the Billboard charts, boosted by the success of Jobim and Newton Mendonca´s tune ´Desafinado´ which was lifted as a single. It began the great bossa nova craze. Of course jazz musicians got on board. It isn´t often that commercial music and jazz become bedfellows, and when they do everyone wants a slice. Stan Getz proved lightning could strike twice when he recorded ´The Girl From Ipanema´ with Gilberto. The English language parts were sung by Gilberto´s wife Astrid and made her a star as the single went to #5 in the pop charts. She continued to record for Verve making a series of sophisticated jet-set evoking albums, which included such gems as ´Take Me To Aruanda´. - ´Ipanema´ itself became a standard, capable of being treated in many ways. Not many got close to the gently swaying cool of Lou Rawls in his majestic jazz-soul phase at Capitol. His velvety vocal stylings were perfectly suited to creating a high-end Brazilian croon, and others were recording in the same vein. Jon Hendrick´s gave an early attempt via his version of ´Jive Samba´ from 1964 and the little known club singer Lonnie Sattin updated Ellington´s ´Caravan´ as the most delicious of bossa temptations. Nearly a decade later Jon Lucien, a native of the US Virgin Island, who was taking the New York jazz scene by storm, gave Lionel Bart´s ´Who Will Buy´ (from ´Oliver´) what was by then an unfashionable bossa update. - Those records had both jazz and Brazilian credibility in spades, but the same couldn´t be said about the scores, possibly hundreds of records that attempted to make the pop charts using the bossa nova beat. So Elvis Presley´s ´Bossa Nova Baby´ could have been seen as The King at the nadir of 1960s movie making slump, but actually it is a clever cash-in written by the ´Hound Dog´ and IJailhouse Rock´ writing team Leiber and Stoller, and Elvis rose to the occasion. L&S were also the team behind Tippie and The Clovers ´My Heart Said (Bossa Nova´ which was released on their own Tiger label. Similar in style Is Doris Troy´s self-written ´Bossa Nova Blues´. The singer was a big favourite of The Beatles and other British sixties groups, and later recorded for the Fab Four´s Apple label. Slightly later, but part of the same New York Atlantic Records scene is Aretha Franklin who wrote ´Don´t Let Me Lose This Dream´ for her label debut ´I Never Loved A Man The Way I Loved You´ and its rhythm is pure bossa. - The US love of Bossa Nova swept up numerous Brazilians and gave them a shot at international stardom (or at least a residency in a Vegas). Organist Walter Wanderley was perhaps the oddest of these. Juxtaposing cheesy roller skating rink organ, over a bossa beat, he was extraordinarily popular for a while with his mixture of covers of pop tunes and Brazilian standards. Marcos Valle was another, an exceptional