1 CD mit 46-seitigem Booklet, 23 einzelne Titel, Spieldauer 79: 032 Minuten. Es gibt keinen groovigeren oder funkigeren Sound.als die B-3 Hammondorgel. Wenn irgendein Instrument an seinem 70. Geburtstag einen Tribut verdient, dann ist es die Hammond. Anstattfür einen kompletten Querschnitt der Hammondmeisters haben wir uns entschieden, das Instrument in den Händen der 1960er Jahre zu präsentieren.Britische Rockbands, als es richtig zur Geltung kam. Und so sind hier einige der allerbesten Beispiele für ORGANizinggespielt von einigen der besten Praktiker Großbritanniens. Du kennst vielleicht nicht jeden Namen oder jedes Lied, aber du kannstSie repräsentieren die besten und innovativsten Orgelklänge, die Sie je an einem Ort gehört haben.auf einmal! Instrumentale Songs beinhalten: Spencer Davis Group (mit Stevie Winwood ), Stevie´s Groove , Brian Auger ´s Ellis Island , Manfred Mann ´s One Way , Georgie Fame ´s The In- Crowd , Ten Years After ´s Adventures Of A Young Organ , AlanPreis ´s Critics Choice , Free ´s Rare Guy Stevens Blues , Steampacket ´s Holy Smoke , The Small Faces ´ Wachsen Sie IhreOwn , The Nice ´s Sombrero Sam , und viele andere. Kritische Wahl? Darauf kannst du wetten!
From the Bedroom to the Boardroom: What You Need to Say to Be Heard:A Conversation with Maria Smith, Conscious Communicator Georgie Nickell
Regina Ransom brings an ill-fated heroine to life in this erotic story about a surprise gangbang that finds Georgie reluctantly pleasing five men at once. From the first unexpected thrust into her mouth to the endless supply of semen she´s forced to swallow, she ends up making sure all are satisfied. When, in a daze, she thinks about the orgasms that course through her in the process, the rough and reluctant gangbang she unknowingly encouraged might not be so bad after all. Warning: This audiobook contains very graphic representations of a gangbang with a reluctant participant. There is very rough sex and humiliation, including double team sex, deep throat, and reluctant semen swallowing. It is intended for mature listeners who will not be offended by sex acts between consenting adults. Here´s a preview: By the time she was done showering, primping, and dressing, she had to rush to her car in order to make it to the hotel. She finally knocked on the door at 7:59, hoping the rush didn´t show on her face. Charlie opened it, and she saw they had a nice enough room, with an extended living area that had a couch and a dinner table and a bedroom with a door. She walked to the table and set the manila folder down on it. She turned and asked where the other members of the band were. ´´We figured I´d go first, and then they would take turns with you. They´re hanging out in the bedroom.´´ That sounded silly to her. She didn´t want to do her presentation five times. She shook her head. ´´That doesn´t make any sense. You guys should all be in here at the same time.´´ Charlie got a quizzical look on his face, but he shrugged and called over his shoulder, ´´Guys. She wants us all at once.´´ She heard some exclamations from the room, but the doorknob turned, and the door opened. 1. Language: English. Narrator: Amber Grayson Vayle. Audio sample: http://samples.audible.de/bk/acx0/045798/bk_acx0_045798_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