Those Were The Days - Chris Bruhn Und Sein Orchester* - Jump In (Tanz-Party Mit Chris Bruhn Und Sein
Label: Telefunken - SLE 14 529-P • Format: Vinyl LP • Country: Germany • Genre: Latin, Funk / Soul, Pop •
Didn't know you were on vacation Harry, but I'm glad you had the chance to Those Were The Days - Chris Bruhn Und Sein Orchester* - Jump In (Tanz-Party Mit Chris Bruhn Und Sein away from it all. Since I've retired I don't get to go away anymore. Looks like good tunes this week, and many thanks to all who contributed of their time and efforts to post this stuff Those Were The Days - Chris Bruhn Und Sein Orchester* - Jump In (Tanz-Party Mit Chris Bruhn Und Sein us folks. Harry, I'll send you some money in June.
Many thanks for your efforts on behalf of we 'music starved' folks from around the globe. Your work can never really be appreciated, as no amount of 'thank yous' can ever repay you for your efforts on this website! Ed, from a wet and rainy Tennessee. Sunny smiles to all at LL Joe in Vancouver, Canada :. WEEK 22 - Woman in Love. It's a man's world. Volume VII. Tanz mal wieder - Folge 3. Orchester Rudi Bohn. Bill Black's Combo. Plays Tunes By Chuck Berry. Percy Faith.
Day By Day. Dirk Schiefen. Trompeten Gala. Lex de Azevedo Orchestra. I Feel Fine. Melodies To Remember:. Those Were The Days - Chris Bruhn Und Sein Orchester* - Jump In (Tanz-Party Mit Chris Bruhn Und Sein Carle. Plays the Great Piano Hits. Johnny Guarnieri. In the Key of Life.
Blue Note Plays Burt Bacharach. The Salsoul Orchestra. Greatest Disco Hits. Music For Non-Stop Dancing. Lawrence Welk. Champagne Music Varieties. Martin Denny. The Best Of Martin Denny. Hollywood's Greatest Hits-Vol. Werner Muller. RIAS Tanzorchester. Keep Smiling. Song from The Oscar. Norrie Paramor. Shadows in latin. Xavier Cugat.
Feeling Good! Ray Conniff Singers. Pure Country. Hugo Strasser. Released on RCA Victor inspanning 12 tracks — one of them unique —, several countries and a large as well as varied orchestra, the almost completely instrumental album merges the string washes and harpsichord jitters of the Space-Age era with the pompous brass infusions and castanet grooves of Latin origin and garnishes this amalgamation with the quirky flutes of the Exotica genre.
Be that as it may, travelogs are featured few and far between here at AmbientExotica and are eminently versatile style-wise. It is, in retrospect, surprising how different the approaches of the respective arranger are. I will tell you below, and blimey, the first visit looks quite girlish! Envisioned by Roman Vatro and also known as El Negro Zumbon, the American arranger studies the luminous figure and transforms the glowing scenery into music via multitudinous iridescent percussion instruments, among them triangles and tambourins.
Gleeful but not horribly chintzy, it makes for a great start and is one of my favorite renditions in a long list of Anna-isms. Melody Of Spain is next, the one and only unique track by the presenter himself. The lead accordion would be too syrupy even for The Three Suns, and to make matters AC/DC - Live, the high strings and their sweeping glissando is too convivial for my taste. And say what you will, VI Misty And Dreamy, Like A Nursery Rhyme - Howard Skempton, Richard Emsley, Michael Finnissy, Laure the arrangement works.
Hopelessly harbored in romance, comprising of a downbeat structure supercharged with accordions and mauve-tinted strings, this should lead to a cheesy ballad, but the Space-Age strings and their warped wonkiness work fantastically well in tandem with the cautiously reverberated accordion. Its wideness is genuinely impressive. And what a surprise, a choir is also on board.
Just wait for the final three! Side B offers another six destinations and encounters in continental countries. Astutely enough, The Continental is their gateway. Written by Con Conrad and Herbert Magidson as a prominent part of the musical The Gay Divorcee, Winterhalter surprises yet again with an interesting rhythm thicket of muffled hi-hats and clinging tambourins.
He furthermore rounds the soundscape off with a nice dose of magenta harpsichords scything next to the string washes and sky-high flutes. Space-Age par excellence, with strong rhythms but less luminous harmonies. Greensleeves is next, a moment where the whole LP would jump the shark if it were a true-spirited concept album. This traditional Christmas song not only throws the listening subject into a frosty landscape with heavily doleful strings and saddened trumpets, it is also horribly incongruous in the given endemics.
It is as if the arranger wants to leave Easy Listening behind for a short moment. He succeeds… and that is why he ultimately fails. A fast upbeat interpretation full of harpsichords, accordions, flutes, strings and a pompous percussion placenta that seems larger than it actually is due to clever hall effects, Winterhalter showcases all instruments he can get hold of. The melodies shine as well, making this the pinnacle of side B. Yes, you got that right.
Envisioned Recuerdo Malevo - Carlos Gardel - LInoubliable Chanteur De Tangos Domenico Modugno, Francesci Migliacci and Mitchell Parish inthe song was the latest rad back then and is indeed one of the best renditions I know of.
The main melody is played on a harpsichord and backed by pizzicato strings and their legato brethren as well as a screeching flute. This prevents the transmutation from becoming stale and all too common.
A great closure even to those listeners who otherwise despise the omnipresence of Volare. I know I do. And am spellbound regardless. When Hugo Winterhalter Goes Continental, you better go with him, as the arrangements are delicately multifaceted, sporting many sinews and instruments while retaining the focus without making this a brummagem release that features completely divergent setups.
What seems like a state everyone wishes for in Exotica albums — illustrious locations flashing by time and again — becomes more of a problem in a coherent context, otherwise simply known as the album format. The missteps Winterhalter can be accused of are indeed horrible from an aesthetic viewpoint. The two renditions I am talking about are the traditional Greensleeves and Oh! My Papa. While the former breaks the mood and feels like a glacial leftover of another album, artist and time, the latter is too focused on a piercing trumpet which destroys the otherwise carefully adjusted first half of the arrangement.
This twofold faux pas aside, the album rocks and outweighs its lesser parts by far! The strings are occasionally smarmy, but the focus on Space-Age washes and lack of pizzicato blebs — at least most of the time — make Goes… Continental Dont Rock The Jukebox - Various - The Dutch Country Top 100 fantastic.
Even the accordions do add that certain something to the sceneries, with the pre-Funk harpsichord being a galactic-burlesque scapegrace. Vivacious highlights include Never On Sunday, Volare believe it or not! Truly bedazzling highlights, however, are the two downbeat ballads Mademoiselle De Paree and Fascination. They break the flow as well, but cannot be blamed at all, as they are so enormously languorous, captivating and dreamy that they are among my Space-Age favorites.
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