Device 22B3 Mp3, Flac, Wma

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Device 22B3 mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Electronic / Rock Album: 22B3 Country: Spain Released: 1986 Style: Pop Rock, Synth-pop, Disco MP3 version RAR size: 1878 mb FLAC version RAR size: 1167 mb WMA version RAR size: 1248 mb Rating: 4.4 Votes: 999 Other Formats: MP3 AA XM DXD VQF VOC AC3 Tracklist A1 Hanging On A Heart Attack 5:07 A2 Who Says 4:50 A3 Pieces On The Ground 5:55 A4 Tough And Tender 4:55 A5 When Love Is Good 4:46 B1 Didn't I Read You Right 4:35 B2 Fall Apart, Golden Heart 4:30 B3 I've Got No Room For Your Love 4:58 B4 Who's On The Line 6:00 B5 Sand, Stone, Cobwebs And Dust 3:34 Companies, etc. Mastered At – Sterling Sound Recorded At – Cherokee Studios Mixed At – Cherokee Studios Credits Design [Art Design] – Dyer/Kahn Inc., Paul Morgan Engineer [Mixing] – George Tutko Engineer [Studio] – Brian Scheuble Guitar – Gene Black Keyboards, Bass, Vocals, Programmed By [Computer] – Holly Knight Lead Vocals – Paul Engemann Photography By – Brian Aris Producer, Recorded By – Mike Chapman Written-By – Black* (tracks: A3, B1, B3), Knight*, Chapman* (tracks: A1, A2, A4, B2, B4, B5) Notes Recorded and mixed at Cherokee Studios, Los Angeles, California, September, 1985 - February 1986. Mastered at Sterling Sound, New York. Ⓟ&Ⓒ 1986 Chrysalis Records Barcode and Other Identifiers Barcode: 013136152616 Other versions Category Artist Title (Format) Label Category Country Year BFV 41526 Device 22B3 (LP, Album) Chrysalis BFV 41526 US 1986 CHSC 41526 Device 22B3 (Cass, Album) Chrysalis CHSC 41526 Canada 1986 CHR-1526 Device 22B3 (LP, Album) Chrysalis CHR-1526 Italy 1986 830 018-1 Device 22B3 (LP, Album) Chrysalis 830 018-1 France 1986 WWS-81762 Device 22B3 (LP, Album) Chrysalis WWS-81762 Japan 1986 Related Music albums to 22B3 by Device J. Brian Hill - Seasons Of A Heart Brian Knight - 1861 O'Bryan - Surrender The Blades - Modernised Hindsight - Days Like This Gladys Knight - Pieces of my broken heart/If you ever get your hands on love Pat Benatar - Seven The Hard Way Rod Stewart - Every Beat Of My Heart.

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Elegante ausdrucksstarke Klänge werden Ihrer Veranstaltung einen unverwechsel- baren Charakter verleihen und diese zu einem unvergesslichen Erlebnis machen. Inhaltsverzeichnis Repertoire für besondere Atmosphäre 3 Repertoire für die romantische Trauung 8 Repertoire für die weihnachtliche Stimmung 10 Ingo Herzmaier Fasanturmweg 27g A-8055 Graz 0676-4134939 [email protected] www.saxsolo.at 2 A Whiter Shade Of Pale Gary Brooker / Keith Reid 04:08 Adagio T. Albinoni 03:12 Adelita Traditional 03:23 Against All Odds Phil Collins 02:50 All By Myself Eric Carmen / Serge Rachmaninoff 03:04 Amazing Grace Traditional 03:06 American Patrol Traditional 02:50 Angels Robbie Willams / Guy Chambers 02:21 Another Day In Paradise Phil Collins 02:58 Aquarius James Rado / Gerome Ragni / Galt MacDermot 03:08 As Time Goes By Herman Hupfeld 01:58 Aura Lee Traditional 01:43 Aus Böhmen kommt die Musik Christian Bruhn / Robert Jung 03:51 Autumn Impressions Martin Pfeifer 03:06 Autumn Leaves Jacques Prevert / Johnny Mercer / Joseph Kosma 02:43 Ave Maria J.S. Bach / Charles Gounod 03:53 Ave Maria Franz Schubert 02:26 Bad, Bad Leroy Brown Jim Croce 03:25 Baker Street Gerry Rafferty 02:59 Beauty And The Beast Alan Menken / H. Ashman / T. Rice 03:22 Besame Mucho Consuelo Velazquez 02:55 Blue Eyes Elton John / Gary Osborne 02:24 Blue Moon Richard Rodgers 03:39 Blueberry Hill Al Lewis / Larry Stock / Vincent Rose 03:31 C'est Si Bon Henri Betti / Andre Hornez 04:32 Can You Feel The Love Tonight Elton John 03:16 Can't Help Falling In Love With You George Davis Weiss / Hugo Peretti / Luigi Creatore 03:35 Cherish Robert Bell / James Taylor & Kool & The Gang 02:44 Cielito Lindo Traditional 02:41 Colours Martin Pfeifer 03:52 Colours Of The Wind Alan Menken / Stephen Schwartz 04:50 Copacabana J.
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Mad Max Beyond Thunderdome Music Credits
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The Heart of Rock and Soul 1 Marvin Gaye - I heard it through the grapevine Tamla 1968, written by Norman Whitfield & Barrett Strong 2 Chuck Berry - Johnny B. Goode Chess 1958, written by Chuck Berry 3 James Brown - Papa's got a brand new bag King 1965, written by James Brown 4 Four Tops - Reach out I'll be there Motown 1966, written by Brian Holland, Lamont Dozier & Eddie Holland 5 Righteous Brothers - You've lost that lovin' feelin' Philles 1964, written by Barry Mann, Cynthia Weill & Phil Spector 6 Rolling Stones - I can't get no satisfaction London 1965, written by Mick Jagger & Keith Richards 7 Bob Dylan - Like a rolling stone Columbia 1965, written by Bob Dylan 8 Aretha Franklin - Respect Atlantic 1967, written by Otis Redding 9 Little Richard - Tutti Frutti Specialty 1956, written by Dorothy LaBostrie, Richard Penniman & Joe Lubin 10 Martha and the Vandellas - Nowhere to run Gordy 1965, written by Brian Holland, Lamont Dozier & Eddie Holland 11 Kingsmen - Louie Louie Wand 1963, written by Richard Berry 12 Elvis Presley - Mystery train Sun 1955, written by Junior Parker 13 Big Joe Turner - Shake,rattle and roll Atlantic 1954, written by Charles Calhoun (= Jesse Stone) 14 Jerry Lee Lewis - Whole lotta shakin' goin' on Sun 1957, written by Dave Williams & Sunny David (= Roy Hall) 15 Otis Redding - (Sittin' on) The dock of the bay Volt 1968, written by Otis Redding & Steve Cropper 16 Sly and the family Stone - Everyday people Epic 1968, written by Sly Stone 17 Roy Orbison - Only the lonely Monument 1960, written by Roy Orbison & Joe Melson 18 Aretha Franklin - (You make me feel like) A natural woman Atlantic 1967, written by Gerry Goffin, Carole King & Jerry Wexler 19 Contours - Do you love me Gordy 1962, written by Berry Gordy jr.
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Sunday June 21, 2015 * Denotes AOV (Artist on the Verge) _____________________________________________________________________________ 11:00 am Registration Opens at the Wyndham New Yorker Hotel _____________________________________________________________________________ 12:15 pm - 1:15 pm Crystal Ballroom: Do It Yourself 2015: In the new music business, artists are gen- erally required to "break themselves." Defining what success means to you is the first step. Second, you need a strategy. Third, you need to be able to execute. How and when do you put together your team? When is it time to look for a manager or booking agent? How can you successfully promote and publicize your b(r)and. Publicists, Managers, Agents, and successful DIY artists discuss how to succeed on your own. Conductor: Dick Huey (Founder, Toolshed) Players: Emily White (Co-Founder, Whitesmith Entertainment), Ariel Hyatt (Founder, Cyber PR) , Cassandra Kubinski (Singer/Songwriter), Han Kim (Artist Manager, Outerloop Man- agement), Steele Saldutti (Songwriter, Producer, DIYer, Van- LadyLove) 1:45 pm - 2:45 pm Crystal Ballroom: The Four Agreements: A Practical Guide to Music Success: Management, Label, Publishing, and Internal Band Deal Agree- ments. To have a successful career you need to understand these four agreements. You will learn key terminology, negotia- tion points, what to look out for. Hear from managers, lawyers, booking agents, and publishers. If you are serious about your ca- reer, then this is a must-attend movement. Conductor: Debbie Newman, Esq. (Consultant/Attorney, MUSICSTRAT) Players: Mike Mowery (CEO, Outerloop Management), Jennifer Newman Sharpe (Attorney, JNS Law Offices; WIM), Steve Gordon (Entertainment Attorney, Steve Gordon Law), Robert Ce- lestin, Esq. (RAC Law Offices) 3:15 pm - 4:15 pm Crystal Ballroom: Touring For Road Warriors: Hitting the road is full of excite- ment and challenges.
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Simply-The-Best-Piano-And-Voice.Pdf
Simply The Best Mike Chapman Holly Knight F F6 F~ F - ~ ¥~ call you when I need you and my heart/e on fire _ You F6 F~ F Dm come to me, come to me wild and wired _ You come to me give me eve - ry - thing_ need You bring a life Verse 2-3 I I F F F6 F ~§~~~- - time_ of pro - mi-ses_and a world of dream6 _ sp eak the langu I see the et.art _ _ of _eve-ry night and every day _ In your eyes F6 ~ ~F~~F ~ F ~ .. - - I~¥~ _ '---' ~~ '-' '-' age of love _ like you know what it means Mm, _ _ and It can't be _ I get lost _ I get washed _ a - way Just_ as wrong take my heart _ _ and make it strong _ longas I'm here in your arms I can be in no bet - ter place You're simp - Iy the be6t bet - ter than all _ _ the rest_ bet - ter than a - ny - one _ _ a - ny- one I ev er met _ _ Copyright © Mike Chapman Music Publish ing/ Knigthy Music, FbI' Norden & Saltikum : Misty MusicAS, Tryckt med tillstand, Notfal 180 ~ F Fadd9 Fs"s F F Fadde ~U~~-Il¥ I'm stuck on _ your heart _ _ hang on eve- ry word you said_ tear us a - part __ ba - by, I would rat - her be dead In your heart IBridge IBb -'Each time you leave me start los - ing con - trol _ you're walk - ing a - way _ _ with my heart _ _ and my soul _ I can feel you ev - en ISax solo I D G Gadd9 ,~ ~ ~ l ~ l l~ I .
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Man: Hey, Chris
Daytona Beach Housing Authority Special Board Meeting June 25, 2021 9:09 A.M. Terril Bates: Good morning. Kim Brown-Crawford: Good morning. Rick Gilmore: Good morning. Kim Brown-Crawford: Good morning. Kelvin Daniels: All right. So, good morning all. This is a special--I guess a special board meeting. Today is Friday, June 25, 2021. So, we have Holly for an hour and 45 minutes? Okay. All right. So, then, BCG, go ahead and get started. Rick Gilmore: Could I--if you don't mind, Holly, could I make a couple of comments before you get started? Holly? Holly Knight: Oh, I'm sorry. I'm sorry. Rick Gilmore: Oh, I'm sorry. Holly Knight: I thought you were waiting--. Rick Gilmore: --Terril--. Holly Knight: --Okay--. Rick Gilmore: --Tell me sooner or later to move closer to the mic. Terril Bates: Okay. 1 Holly Knight: Well, first of all, I would like to say thank you--. Rick Gilmore: --Holly. Kim Brown-Crawford: No. No. No. No. Rick Gilmore: Holly. Holly Knight: Yes? Rick Gilmore: I asked could I make just a couple of really quick comments just before you get started. Holly Knight: Sure. No problem. Rick Gilmore: I'll be--. Holly Knight: --This is your meeting. Rick Gilmore: I'll be--no, it's not my meeting, but I'll be uncommonly brief. The reason why I suggested--because I don't want this to be perceived as my meeting, but the reason I suggested--. Kim Brown-Crawford: --Terril said it--. Rick Gilmore: --That this occur is because-- Terril Bates: --They can't hear you if you're not talking into that mic.
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What Makes It Sound '80S?
MEGAN LAVENGOOD George Mason University Email: [email protected] What Makes It Sound ’80s? The Yamaha DX7 Electric Piano Sound ABSTRACT Popular music of the 1980s is remembered today as having a “sound” that is somehow unified and generalizable. The ’80s sound is tied to the electric piano preset of the Yamaha DX7 synthesizer. Not only was this preset (E. PIANO 1) astonishingly prevalent—heard in up to 61% of #1 hits on the pop, country, and R&B Billboard charts in 1986—but the timbre of E. PIANO 1 also encapsulates two crucial aspects of a distinctly ’80s sound in microcosm: one, technological associations with digital FM synthesis and the Yamaha DX7 as a ground- breaking ’80s synthesizer; and two, cultural positioning in a greater lineage of popular music history. This article analyzes the timbre of E. PIANO 1 by combining ethnographic study of musician language with visual analysis of spectrograms, a novel combination of techniques that links acoustic specificity with social context. The web of connections created by the use and re-use of DX7 presets like E. PIANO 1, among hundreds or maybe thousands of different tracks and across genres, is something that allows modern listeners to abstract a unified notion of the “’80s sound” from a diverse and eclectic repertoire of songs produced in the 1980s. KEYWORDS: ethnography, timbre, acoustics Plus there’s always something very distinct about ’80s music. When you hear it you just know. —Jerry Shen Despite the propagation of genres as diverse as punk, new wave, heavy metal, hip-hop, synth pop, and more, contemporary music culture is rife with language that generalizes the music of the 1980s into one “’80s sound.” For example, one episode of the NPR pod- cast All Songs Considered titled “The ’80s: Were They Really That Bad?” seems from its title to critique the music of the entire decade at once.
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Women Rock Sing Off RULES KSO
Schirmer Theatrical WOMEN ROCK® Sing Off Competition Rules See Addendum for additional rules for each competition location Quick Summary: A contest of musical vocal skill in conjunction with the WOMEN ROCK® live symphonic concert produced by Schirmer Theatrical. Qualified entrants submit their audition videos via Google Form to showcase their vocal skills by singing one of the official contest songs. Videos are not publicly released and will be viewed by an internal panel. The winner will have the opportunity to rehearse for and perform one song along with the orchestra or orchestra’s rhythm section during a live WOMEN ROCK® concert. It should be noted that the terms “Contest” and “Competition” are used in this document interchangeably. The terms “Contestant(s)” and “Entrant(s)” are also used interchangeably. Contest-Specific Addendum: These Competition Rules include the attached Addendum, with details on the geographic location, dates and deadlines specific to the Competition you are entering. 1. Eligibility: You must be enrolled as a student in grades 9-12, in a public, private, home school or virtual school program. We recommend you live in the vicinity of the orchestra or presenting organization hosting the Sing Off, as the Winner will be expected to travel to the live concert at their own expense. Contestants of all genders and gender identities are welcome. The Competition is only open to legal residents of the United States and is void where prohibited by law. Employees of Schirmer Theatrical, LLC, its affiliates, subsidiaries, advertising and promotion agencies, and suppliers, (collectively the “Employees”), and immediate family members and/or those living in the same household of Employees are not eligible to participate in the Competition.
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