In the wild, when a wolf knows its time is over, when it knows it is of no more use to its pack, it may sometimes choose to slip away. Dying apart from its family, it stays proud and true to its nature. Humans aren’t so lucky. Luke Warren has spent his life researching wolves. He has written about them, studied their habits intensively, and even lived with them for extended periods of time. In many ways, Luke understands wolf dynamics better than those of his own family. His wife, Georgie, has left him, finally giving up on their lonely marriage. His son, Edward, twenty-four, fled six years ago, leaving behind a shattered relationship with his father. Edward understands that some things cannot be fixed, though memories of his domineering father still inflict pain. Then comes a frantic phone call: Luke has been gravely injured in a car accident with Edward’s younger sister, Cara. Suddenly everything changes: Edward must return home to face the father he walked out on at age eighteen. He and Cara have to decide their father’s fate together. Though there’s no easy answer, questions abound: What secrets have Edward and his sister kept from each other? What hidden motives inform their need to let their father die . . . or to try to keep him alive? What would Luke himself want? How can any family member make such a decision in the face of guilt, pain, or both? And most importantly, to what extent have they all forgotten what a wolf never forgets: that each member of a pack needs the others, and that sometimes survival means sacrifice? 1. Language: English. Narrator: Natalia Payne, Louis Changchien, Celeste Ciulla, Nick Cordero, Angela Goethals, Mark Zeisler, Andy Paris. Audio sample: http://samples.audible.de/bk/reco/005521/bk_reco_005521_sample.mp3. Digital audiobook in aax.
(See For Miles Records)) 26 tracks Stateside & Columbia - It was in June 1967 that the ´Atlantic Soul Review´ hit Amsterdam to play a concert at its renowned concert hall, the Concertgebouw. The star studded pack-age featured some of the finest talent from the Atlantic and Stax labels such as Sam and Dave, Eddie Floyd, Carla Thomas, Arthur Conley and Booker T and the MG´s. Wilson Pickett had been announced as the headliner of the show, but he appeared to be indisposed and was replaced by Lee Dorsey at the last minute. I had recently been installed as the label manager for the Stateside label at Bovema, the Dutch company that represented EMI Records. Lee´s recordings on the American Amy label were released on the Stateside label in Holland. I was duly consigned to perform the usual hospitality ritual bestowed on visiting international artists that the record company represented. In the case of Lee Dorsey, this proved to be a delightful job. Lee was a happy and easy going character with an infectious grin and chuckle. I spent one of my better nights out, introducing Lee to the various delights that Amsterdam had to offer during the late 1960´s, and I can assure you that he was great and appreciative company. The next evening he proved to be a consummate showman and hard worker as the only non-Atlantic/Stax artist in the ´Atlantic Soul Review´. Lee stole the show and won the hearts of the Dutch soul fans with his segment in the show, culminating in his suggestive and humorous rendition of ´Ride Your Pony´, which caused a near riot in the usually sedate Concertgebouw. Irving Lee Dorsey was born in New Orleans on December 4, 1926 and moved to Portland, Oregon at the age of 10. During the late 1940´s and early 1950´s Lee was a successful lightweight boxer, operating under the nickname ´Kid Chocolate´. He survived a four year stint in the Navy after which he resumed his boxing career. Lee hung up his boxing gloves during the mid 1950´s when he returned to New Orleans. Circa 195658 he met Allen Toussaint, either at a party or in a studio to which he had taken a page of verse in the hope of making a record out of it. At that time the younger Toussaint, born in New Orleans in 1938, had already passed through the R&B group leader and touring accompanist stages to begin his climb through the ranks of local session musicians. During the late 1950´s Lee made his first recordings for Joe Banashak´s Instant label. One of these singles was ´Lottie Mo´, which became a regional hit on which he was backed by Allen Toussaint, who also arranged the track. Marshall Sehorn, who was Southern promotion man, talent scout and sometime producer for Bobby Robinson´s New York based Fury label, heard ´Lottie Mo´ on the radio during one of his visits to New Orleans in 1960. Marshall was duly impressed by the record and Lee subsequently signed to the Fury label. ´Ya Ya´, Lee´s first Fury single, exploded and went to No. I R&B and No.7 Pop on the Billboard charts in September 1961. Petula Clark covered the song as ´Ya Ya Twist´ for consumption on the European market, and reached the UK Top 20 with it. Fury followed ´Ya Ya´ up with ´Do-Re-Mi´ in December 1961 and again Lee scored a considerable hit, peaking at No.27 Pop and 22 R&B on the Billboard chart. ´Do-Re-Mi´ was regularly performed by Georgie Fame and Dusty Springfield. Lee recorded another 3 singles for Fury, but the hits had dried up. A subsequent Fury album contained 15 tracks, Lee´s total recorded output for the label, recorded in New Orleans in 1961 and 1962. Allen Toussaint who wrote, arranged and produced hits for Joe Banashak at this time, also freelanced and almost certainly arranged and co-produced with Marshall Sehorn all of Lee´s Fury sides. Toussaint did not play piano on ´Ya Ya´ according to Kurt Mohr´s Lee Dorsey discography. The backing on ´Ya Ya´ was provided by: Marcel Richardson, piano, Melvin Lastie, trumpet, Harold Battiste, tenor sax, Red Tyler, baritone sax, Justin Adams, guitar, Chuck Badie, bass and John Boudreaux, drums. The back-up on ´Do-Re-Mi´ consisted of: unknown horns, Allen Toussaint, piano, Roy Montrell, guitar, Richard Payne, bass, and John Boudreaux on drums. The Fury label collapsed in 1963 and Allen Toussaint was drafted into the army at the same time Lee returned to his car repair business while his recording career temporarily stalled. During the next few years Lee, still managed and produced by Marshall Sehorn, had a single released on the Smash label and