Stellar

Vinyle 33 Tours Vinyles Code EAN: 0822603234916 Genre musical: Métal Titre: Stellar Rubrique principale Vinyle: 33 Tours

Vinyle 33 Tours Vinyles Code EAN: 0822603134919 Genre musical: Métal Titre: Stellar Rubrique principale Vinyle: 33 Tours

CD Album CD Code EAN: 3359340144682 Genre musical: Techno Rubrique principale CD: CD Album Référence fabricant CD: HLT021 Titre: Stellar rain

CD Album CD Code EAN: 0011105016926 Classification Cd Primaire: Jazz Genre musical: Jazz Rubrique principale CD: CD Album Classification CDMail: Jazz Référence fabricant CD: 0511692 Titre: STELLAR REGIONS

Polaroid signed from Hyoeun (Stellar member), the polaroid is coming from Makestar. For more information or photo you can message me.

TITRES 1. No Sense - (featuring Layzie Bone/Ken Dawg) 2. Thinkin' Bout It 3. Point The Finger - (featuring Sean Levert) 4. Breaking My Heart 5. That's The Way I Feel About You - (featuring Mary J. Blige) 6. It's Your Turn 7. No I'm Not To Blame 8. No Man's Land 9. Men Like Us 10. Taking Everything 11. What About Me 12. Definition Of A Man 13. Humble Me - (featuring Lemicah Levert) Details Contributing artists: Antoinette Roberson, Ken Dawg, Layzie Bone/Young Noble, Lincoln "Link" Browder, Mary J. Blige, Roger Troutman, Sean LeVert Distributor: WEA Recording type: Studio Recording mode: Stereo SPAR Code: n/a Album notes Personnel includes: Gerald Levert (vocals, keyboards, drums, keyboard programming); Sean Levert (vocals); Lazy Bone, Ken Dawg, Shaqueen (rap vocals); Edwin "Tony" Nicholas (talk box, keyboards, drums, keyboard programming); Roger Troutman (talk box); Darrell "Delite" Allamby, Flavahood, R. Kelly (various instruments); Manuel Seal (guitar, keyboard programming, background vocals); Randy Bowland (guitar); Laura Russell, Mary Beth Ion, Janice Fields, Susan Britton (violin); Lisa Grossman (viola); Linda Anderson (cello); Sherry Luchette (bass); Joe Little III (keyboards, drums, programming); Allstar (keyboard & drum programming, background vocals); Stephen George (programming); Lincoln "Link" Browder, Antoinette Roberson (background vocals). Producers include: Gerald Levert, Edwin "Tony" Nicholas, Darrell "Delite" Allamby, Joe Little III, Manuel Seal. Engineers include: Ivan "St. Ives" Walker, Steve Croom, Darrell "Delite" Allamby, Paul Osborne, Angelo Quiglin. Spawned from a legendary musical father (Eddie Levert, Sr., founder of the O'Jays), Gerald Levert has achieved some major success of his own. LOVE & CONSEQUENCES tackles issues about love and relationships without ever sounding sappy. Levert belts a combination of sexually-charged yet vulnerable lyrics over various types of tracks. There are ballads ("Thinkin' Bout It"), Jeep- thumpers ("No Man's Land," which features Wyclef Jean) and mainstream R&B creations ("Point The Finger" and "Men Like Us," written by R. Kelly). LOVE & CONSEQUENCES also features contributions from some of R&B's hottest artists. "That's The Way I Feel About You" is an edgy re-make of the Bobby Womack classic, and features an appearance from Mary J. Blige. On "No Sense," Lazie Bone from BoneThugs rips the chorus into something unheard of on any previous Levert album. Although the album is filled with stellar additions from his music biz pals, Levert's powerful voice is the main attraction here. Editorial reviews...LOVE & CONSEQUENCE is more than just an homage to the glory days of yore....Gerald meshes his loverman attitude with a b-boy bounce... The Source  (09/01/1998) CD ........TRES    BON  ETAT BOITIER  CRISTALE.....il y a quelques petites traces de frottements   REGROUPER LES ACHATS (cela reduit les frais de poste)

ATTENTION PAS DE PAYPAL  NO PAYPAL Disc ex Pochette voir photo LP japan  press  30 stars françaises, 20 000 figurants, 400 techniciens, 100 chars remis en état, 178 lieux de tournage: ainsi que l’impose le genre de la « fresque historique surproduite », la légende de Paris brûle-t-il ? s’est écrite à grand renfort de chiffres. Adaptation pour l’écran du best-seller de Dominique Lapierre et Larry Collins, cette co-production franco-américaine prétendait renouveler en 1966 l’exploit et le succès planétaire rencontrés quelques années auparavant par Le Jour le plus long. La débauche de moyens au service du projet aurait pu écraser le style du réalisateur René Clément; il n’en est rien.  Le choix du noir et blanc et le traitement quasi-documentaire des séquences de combat de rue tranchent de façon radicale avec les images léchés et glacées qui sont habituellement le lot de ce type de production. D’où ce sentiment si particulier d’être plongé au cœur de l’action et plus encore, au cœur de l’Histoire en train de s’écrire. L’ingénieux scénario de Francis Ford Coppola et Gore Vidal n’est pas étranger à cette réussite, mariant brillamment scènes de la grande Histoire et petites histoires d’héros anonymes. En outre, René Clément tire d’efficaces effets de suspens et d’émotion du recours au montage parallèle. Par son rythme plus soutenu et ses gigantesques scènes de liesse, c’est la seconde partie du film qui convainc réellement et emporte l’adhésion du spectateur: René Clément y exalte avec force et panache les beautés de Paris et le pouvoir des masses. Un mot encore sur la musique efficace et entêtante de Jean-Michel Jarre: ponctuant tout le film, la mélodie « Paris en colère » gronde, se cherche, résonne çà et là en variations diverses avant d’exploser, dans les derniers instants du film, dans une vibrante version orchestrale. For the score, Jarre composed five thematic identities; first and foremost he created a waltz for the ages, the Valse Paris, a remarkable free flowing accordion rich French melody, which perfectly captured the beating heart of Paris. Lyricist Maurice Vidalin transformed it into a wonderful song popularized by singer Mireille Mathieu, under the title Paris en colère. For the German identities Jarre composed a march, the Mars Allemand, as well as two motifs, the Menace Motif and von Cholitz’s motif. The Mars Allemand is purposely plodding, grim, strident and oppressive. Twelve pianos were employed to simulate marching footsteps, and were supported by snare drums, timpani and clash cymbals. The attending Menace Motif is simply a shrill, grotesque and dissonant cluster chord, which sows danger and menace, while von Cholitz’s motif offers a stark, dire, and foreboding descending horn line, which never resolves. Throughout the film Mars Allemand and the Menace Motif often join in an unholy synergy, perfectly emoting the danger and ruthlessness of the Germans. Is Paris Burning? is based on the bestselling novel Paris brûle-t-il? by Larry Collins and Dominique Lapierre. Producer Paul Graetz liked the novel and secured film rights as he felt the story had to be brought to the big screen. For his passion project he hired a remarkable team to write the screenplay, which included Gore Vidal, Francis Ford Coppola, Claude Brulé, Jean Aurenche, and Pierre Bost. Graetz then brought in respected director René Clément to manage the project, and they assembled a stellar cast for the ages, which included Alain Delon as Jacques Chaba-Delmas, Jean-Paul Belmondo as Morandat/Pierrelot, Charles Boyer as Monod, Gert Fröbe as Gen. Dietrich von Choltitz, Leslie Caron as Francoise Labe, Orson Wells as Consul Raoul Nording, Kirk Douglas as General Patton, Anthony Perkins as Sergeant Warren, Simone Signoret as Café Owner, Glenn Ford as General Omar Bradley, Robert Stack as General Edwin Sibert, Billy Fick as Adolph Hitler and Yves Montand as Marcel Versini.

Edition remastérisée avec 1 bonus track et un livret 16 pages couleur publiée en 2020 par le label britannique ROCK CANDY sous la référence CANDY430, voir mes photos ! DESPITE ALL THEIR previous trials and tribulations, Legs Diamond released their sixth album in 1990 to wide acclaim, certainly attracting more attention and publicity than their first four records released in the 1970s and 80s. For Legs it was an incredible achievement, having been cast aside for much of the late 80s as a band without a prominent sales base or indeed any chance of a revival. Fortunately, as an underground favourite amongst the cognoscenti, their reputation preceded them with a new record deal (this time on Metal Blade Records) and a chance to actually make an album recorded with precision and finesse rather than pieced together on a shoestring budget. Issued in 1990, the record was considered a real return to form, many saying that it was the best release since their 70s heyday. It also signalled the welcome return of original guitarist Roger Romeo back into the band after several years pursuing other opportunities. With Rick Sanford supplying high octane vocals the band looked and sounded better than ever, with a creative surge that gave birth to twelve ‘gold standard’ songs’ including a blistering re-recording of ‘Stage Fright’ from their debut album. Pushing the envelope even more, the band were now in a financial position to finally tour the UK after years of being unable to afford such a trip. Naturally they received a hero’s welcome and a well deserved salute to their perseverance and tenacity. ‘Town Bad Girl’ is a record that contains a brace of stellar tracks, including ‘City Streets’, ‘Look Into Her Eyes’ and ‘Never Enough Time’, some of the greatest moments in the Legs Diamond cannon. 24-bit remastering from original source tapes, 4,000 word story of the making of the album, full involvement by the band, rare photos, one bonus track, all spread out over a superb 12 page full colour booklet. Track Listing: 1. TOWN BAD GIRL 2. CITY STREETS 3. STAGE FRIGHT 4. WORLD ON FIRE 5. CAN’T GET YOU (OUT OF MY MIND) 6. NEVER ENOUGH TIME 7. LOOK IN HER EYES 8. PAIN KILLER 9. CRY NO MORE 10. I AM FOR YOU 11. SHE DID IT FOR LOVE 12. NERVOUS 13. HEAVEN OR HELL BONUS TRACK 14.TOUCH AND GO

THIERRY DURBET Albatros Vinyle 1985 Koka Media Vol 31 Illustration Sonore. - A1 White Eagle 3:15 - A2 Stellar Troika 3:17 - A3 Albatros 3:05 - A4 Sunrise 2:00 - A5 Syzygie 2:59 - B1 Sound Of The Sand 5:15 - B2 Shape Of Winds 4:05 - B3 Stalactite Harmony 4:07 - B4 Space Sirens 2:20

Vinyle Soul, Funk, Blues en très bon état sorti en 2013. Geater Davis ‎– Lost Soul Format: Vinyle, 2xLP, Compilation Label: Luv N' Haight ‎– LHLP 069 Année: 2013 Pays: US Style: Soul, Funk, Blues Condition disque: VG+ (Excellent, vinyle n°2 COMME NEUF) Condition pochette: VG+ (Excellent hormis une marque sur une tranche, voir photo n°3) Envoi rapide et soigné via Mondial relay ou Colissimo. Tracklist A1 My Love Is So Strong For You A2 For Your Precious Love A3 I Love You B1 I Can Hold My Own B2 Cry, Cry, Cry B3 Don't Marry A Fool B4 St. James Infirmary C1 Wrapped Up In You C2 Sweet Woman's Love C3 I Know (My Baby Loves Me) C4 I'll Play The Blues For You C5 I'll Play The Blues For You [2nd Version] D1 Cold Love [Long Version] D2 Breath Taking Girl D3 I'll Get By D4 Best Of Luck To You Notes Geater Davis was a singer from Texas who had the chops to be one of the great men of the soul era, but bad luck and bad timing kept him from enjoying the success he deserved. Davis would have been a perfect fit at Stax or Atlantic in the mid- to late '60s, but his recording career didn't get rolling until the early '70s, when his brand of gruff but passionate blues-based R&B was losing ground in favor of funkier sounds. And while producer Allen Orange consistently drew fine performances from Davis in the studio and gave him powerful and sympathetic backing, Orange's record labels (House of Orange and Seventy-Seven Records) didn't have much muscle in the marketplace. Davis recorded for other labels over the course of his career, including Ace and Luna, but they didn't fare much better with him than Orange's imprints, and Davis was little more than a cult figure when he died in 1984 at the age of 38. The Lost Soul Man collects 25 tracks Davis recorded during his tenure with Orange, and while the presence of repeated alternate takes and unreleased tracks that didn't get the studio polish they need dull the impact of this set just a bit, it's still a potent testament to his talents. At his best, Davis' singing suggests the cool passion of Bobby "Blue" Bland blended with the gritty fire of Wilson Pickett, and he's good enough to merit both comparisons; the slow slink of "I'm Gonna Change," the lover's regret of "I've Got to Pay the Price," the potent groove of "Ain't Worrying About Jody," and the primal shouter "Hot Buttered Love" are all stellar performances and leave no doubt this man could and should have had some hits under more favorable circumstances. While Charly's Sad Shades of Blue offers a broader portrait of Geater Davis' career, The Lost Soul Man does restore some of the man's best moments in the studio to circulation, and fans of great Southern soul will want to give this a thorough listen. ~ Mark Deming