Intermezzo Spanisch A1. Kursbuch Mit Audio CD

Controversial at the time, delayed because of fights with the record company over lyrical content and the original title (Volunteers of America), Volunteers was a powerful release that neatly closed out and wrapped up the '60s. Here, the Jefferson Airplane presents itself in full revolutionary rhetoric, issuing a call to "tear down the walls" and "get it on together." "We Can Be Together" and "Volunteers" bookend the album, offering musical variations on the same chord progression and lyrical variations on the same theme. Between these politically charged rock anthems, the band offers a mix of words and music that reflect the competing ideals of simplicity and getting "back to the earth," and overthrowing greed and exploitation through political activism, adding a healthy dollop of psychedelic sci-fi for texture.

Audiophile Reissue Sourced from the Original Master Tapes: Mobile Fidelity's Hybrid SACD Presents 1991 Album with Cinematic Sound and Transparent ClarityHypnotic Record Features 'Calling Elvis, 'Heavy Fuel,' and Introspective Title TrackDire Straits never made a big to-do about it's final run. In classic understated British fashion, the band simply let it's music speak for itself. And how. Originally released in September 1991, On Every Street became the group's swan song - a lasting testament to the influence, musicianship, and integrity of an ensemble whose merit has never been tainted by cash-grab reunions or farewell treks. It remains an essential part of the Dire Straits catalog and a blueprint of the distinctive U.K. roots rock the collective played for it's 15-year career.Sourced from the original master tapes and housed in mini-gatefold-LP packaging, Mobile Fidelity's hybrid SACD of On Every Street presents the album like it has always been meant to be experienced: in reference-grade audiophile sound.

This was Jimmy's best selling album ever but the title is very misleading in that these are all studio recordings, not live recordings, which means they weren't recorded at Carnegie Hall, but the tracks are in the order he performed them at a Carnegie Hall concert one week prior to recording the first dozen in the studio of this double album. This is actually the first time all of the original master tapes of this album were used as the songs recorded in mono were on all previous issues in rechanneled stereo while the true stereo tracks on this disc have always been in true stereo on every release. Steve Hoffman searched high and low for the first generation tapes of each song on the album in the Vee Jay vaults and as a result, Audio Fidelity has issued the definitive release of the album. Audiophiles and casual blues fans who like quality sound must pick up this issue of Jimmy Reed At Carnegie Hall as it contains most of his biggest hits in the best possible quality sound due to the work of Steve Hoffman.

When he recorded this album, his lone date as a leader, trumpeter Tommy Turrentine (who was a member of Max Roach's group along with his brother, the soon-to-be famous tenor Stanley Turrentine) seemed to have a potentially great future. Unfortunately, ill health would eventually force his retirement. Turrentine's set for Time (which has been reissued on CD by Bainbridge) actually features the musicians of Roach's quintet (including brother Stanley, trombonist Julian Priester, bassist Bob Boswell, and Roach himself) plus pianist Horace Parlan. The trumpeter contributed five of the seven songs (which are joined by Horace Parlan's "Blues for J.P." and Bud Powell's "Webb City") on this fine straight-ahead hard bop set. All of the musicians play up to par and the results are swinging and fit securely into the modern mainstream of the time.

Founding Rolling Stones bassist Bill Wyman essentially retired from music after leaving the band in 1993, choosing to dedicate time to his family and his restaurant, Sticky Fingers. He returned to music in 1997 with Bill Wyman's Rhythm Kings, a rotating old-time rock & roll, R&B, blues, and boogie collective of superstar musicians anchored by keyboardist Georgie Fame, guitarist Albert Lee, pianist Gary Brooker, and guitarist Terry Taylor. Their first album, Struttin' Our Stuff, appeared that year and it was followed two years later by Anyway the Wind Blows, which featured cameos from Peter Frampton, Geraint Watkins, Paul Carrack, and, notably, fellow Stone Keith Richards. Groovin' arrived in 2000, reaching a career peak of 52 on the U.K. charts. Next was Double Bill in 2001 and Just for a Thrill in 2004, before the band primarily dedicated itself to live performances. A pair of these were featured on the live albums Rhythm Kings Live (2005) and Live Communication (2011), but it took them until 2017 to deliver a new studio album with Rocking the Roots.

Hotel California is the fifth studio album by American rock band the Eagles, and is one of the best-selling albums of all time. Three singles were released from the album, each reaching high in the Billboard Hot 100: "New Kid in Town" (number 1), "Hotel California" (number 1), and "Life in the Fast Lane" (number 11). The album became the band's best-selling album after Their Greatest Hits (1971–1975). It has been certified 26× Platinum in the U.S., and has sold over 32 million copies sold worldwide. The album was ranked number 37 on Rolling Stone's list of "The 500 Greatest Albums of All Time".

Two classic easy-listening albums by famous French orchestra leader/arranger/composer Paul Mauriat, originally released in 1976 and 1973 on the Philips label, together on one CD and remastered from the original analogue stereo tapes for Vocalion's trademark crystal-clear sound.

Vocalion Ltd repackaged and re-released two Blood, Sweat and Tears LPs originally on Columbia – Mirror Image (1974) and New City (1975) – as a SACD Hybrid Multi-channel. Included on these mid-'70s releases are "Look Up to the Sky," "Are You Satisfied," "Ride Captain Ride," "One Room Country Shack," and "Got to Get You Into My Life." All tracks available in stereo and quadraphonic mixes.

Whether in its original serial form in the 1940s, in the low-budget films of the 1950s, in the television series of the 1960s, or even in the overgrown re-imaginings for blockbuster movies in the 1970s and beyond, the science-fiction genre on film (and videotape) has always had something cheesy about it, and that is part of its appeal. Even when the technical wizards at director George Lucas' Industrial Light and Magic are dreaming up the next Star Wars movie, there is, at heart, a sense of the earliest, silliest versions of the genre still present. In that spirit come Neil Norman's souped-up and synthesized treatments of the various scores for sci-fi films and TV series.