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andreapireddu73 liked a video
(2 days ago)
Presley Mac (P-Mac) feat Kish'a NyKhole
Dance The Night Away
Dir. S.Charles (Xbeats)
Album: Written Dreams
ForeRunna Publishing & Production Com...
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Presley Mac (P-Mac) feat Kish'a NyKhole
Dance The Night Away
Dir. S.Charles (Xbeats)
Album: Written Dreams
ForeRunna Publishing & Production Company
Music561.com
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andreapireddu73 liked a video
(3 days ago)
Billy Cobham & George Duke Band live at Montreux Jazz Festival in 1976.
Billy Cobham - Drums
George Duke - Moog Synthesizers
John Scofield - Guita...
more
Billy Cobham & George Duke Band live at Montreux Jazz Festival in 1976.
Billy Cobham - Drums
George Duke - Moog Synthesizers
John Scofield - Guitars
Alphonso Johnson - Bass
One of my priceless collection..
Enjoy!
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andreapireddu73 favorited a video
(3 days ago)
Billy Cobham & George Duke Band live at Montreux Jazz Festival in 1976.
Billy Cobham - Drums
George Duke - Moog Synthesizers
John Scofield - Guita...
more
Billy Cobham & George Duke Band live at Montreux Jazz Festival in 1976.
Billy Cobham - Drums
George Duke - Moog Synthesizers
John Scofield - Guitars
Alphonso Johnson - Bass
One of my priceless collection..
Enjoy!
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andreapireddu73 liked a video
(3 days ago)
Jones secured a record deal with Island Records in 1977, which resulted in a string of dance-club hits and a large gay following. The three disco a...
more
Jones secured a record deal with Island Records in 1977, which resulted in a string of dance-club hits and a large gay following. The three disco albums she recorded—Portfolio (1977), Fame (1978), and Muse (1979)—generated considerable success in that market. These albums consisted of pop melodies set to a disco beat, such as "All on a Summer's Night", "On Your Knees" and "Do or Die," and standards such as "What I Did for Love" from musical A Chorus Line, Jacques Prévert's "Autumn Leaves", "Send in the Clowns" from Stephen Sondheim's A Little Night Music and Edith Piaf's signature tune "La vie en rose".
Toward the end of the 1970s, Jones adapted the emerging New Wave music to create a different style for herself. Still with Island, and now working with producers Chris Blackwell, Alex Sadkin and the Compass Point All Stars, she released the acclaimed albums Warm Leatherette (1980) and Nightclubbing (1981). These included re-imaginings of songs by Sting ("Demolition Man"), Iggy Pop and David Bowie ("Nightclubbing"), Smokey Robinson ("The Hunter Gets Captured by the Game"), The Pretenders ("Private Life"), Roxy Music ("Love Is the Drug"), Flash and the Pan ("Walking in the Rain", The Normal ("Warm Leatherette"), Ástor Piazzolla ("I've Seen That Face Before (Libertango)"), and Tom Petty ("Breakdown").
In the mid-1980s, she worked with Trevor Horn for the conceptual musical collage Slave to the Rhythm and with producer Nile Rodgers for Inside Story (1986)—her first album after leaving the Island Records label. The well-received Slave to the Rhythm consisted of several re-workings of the title track (the single of which hit Number 12 in the UK), while Inside Story produced her last Billboard Hot 100 hit to date, "I'm Not Perfect (But I'm Perfect For You)," one of several songs she co-wrote with Bruce Woolley. Bulletproof Heart (1989) spawned the Number 1 U.S. Hot Dance Club Play hit "Love on Top of Love (Killer Kiss)", produced by C+C Music Factory's David Cole and Robert Clivilles.
Although she has yet to become a truly mainstream recording artist in the United States (with the exception of her featured work on the Arcadia hit single "Election Day"), much of her musical output is still popular on the Billboard's Hot Dance Club Play and Hot Dance Airplay charts, and many of her songs are regarded as classics to this day. Jones was able to find mainstream success in the United Kingdom, scoring a number of Top 40 entries on the UK Singles Chart.
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andreapireddu73 favorited a video
(3 days ago)
Jones secured a record deal with Island Records in 1977, which resulted in a string of dance-club hits and a large gay following. The three disco a...
more
Jones secured a record deal with Island Records in 1977, which resulted in a string of dance-club hits and a large gay following. The three disco albums she recorded—Portfolio (1977), Fame (1978), and Muse (1979)—generated considerable success in that market. These albums consisted of pop melodies set to a disco beat, such as "All on a Summer's Night", "On Your Knees" and "Do or Die," and standards such as "What I Did for Love" from musical A Chorus Line, Jacques Prévert's "Autumn Leaves", "Send in the Clowns" from Stephen Sondheim's A Little Night Music and Edith Piaf's signature tune "La vie en rose".
Toward the end of the 1970s, Jones adapted the emerging New Wave music to create a different style for herself. Still with Island, and now working with producers Chris Blackwell, Alex Sadkin and the Compass Point All Stars, she released the acclaimed albums Warm Leatherette (1980) and Nightclubbing (1981). These included re-imaginings of songs by Sting ("Demolition Man"), Iggy Pop and David Bowie ("Nightclubbing"), Smokey Robinson ("The Hunter Gets Captured by the Game"), The Pretenders ("Private Life"), Roxy Music ("Love Is the Drug"), Flash and the Pan ("Walking in the Rain", The Normal ("Warm Leatherette"), Ástor Piazzolla ("I've Seen That Face Before (Libertango)"), and Tom Petty ("Breakdown").
In the mid-1980s, she worked with Trevor Horn for the conceptual musical collage Slave to the Rhythm and with producer Nile Rodgers for Inside Story (1986)—her first album after leaving the Island Records label. The well-received Slave to the Rhythm consisted of several re-workings of the title track (the single of which hit Number 12 in the UK), while Inside Story produced her last Billboard Hot 100 hit to date, "I'm Not Perfect (But I'm Perfect For You)," one of several songs she co-wrote with Bruce Woolley. Bulletproof Heart (1989) spawned the Number 1 U.S. Hot Dance Club Play hit "Love on Top of Love (Killer Kiss)", produced by C+C Music Factory's David Cole and Robert Clivilles.
Although she has yet to become a truly mainstream recording artist in the United States (with the exception of her featured work on the Arcadia hit single "Election Day"), much of her musical output is still popular on the Billboard's Hot Dance Club Play and Hot Dance Airplay charts, and many of her songs are regarded as classics to this day. Jones was able to find mainstream success in the United Kingdom, scoring a number of Top 40 entries on the UK Singles Chart.
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All the best to you,
Gisle
To listen a preview of its sound capabilities I guess you have already checked my uploads on:
http://en.audiofarm.org/pages/ 842
Bye,
Andrea.
About WS2, I used the v. 2 and among manuals there was a little one that showed such difference. If I remember well, there was really little differences like,
for example, some timid improvement in midi management, some add in sound editing but, in general, nothing of radical new.
Dynamic multimode filters and a better wavetable rom started coming from WX machines.
Hope to be helpful! ;))
All the best,
Andrea.