From the American West to the Siberian coast, from Hollywood to the boxing ring, here are timeless tales of war, mystery, romance, crime, and punishment as only Louis L´Amour can tell them. These stories are vintage L´Amour: A hard-bitten cattle driver is pitted against a man trying to steal his woman, the disappearance of a thousand head of cattle, and a plot to frame him for murder....A private eye visits a remote mining town on a case involving a sexy widow, an uneasy lawman, and a fortune in gold buried in an abandoned mine shaft....A country boy with a good right hand must fight not only his vicious opponent in the ring but the ruthless gangsters who´ll do anything for profit-even commit cold-blooded murder....A young woman stranded in an isolated harbor must survive the wilderness and a brutal battle of wits with a sadistic fortune hunter. Here is the trademark blend of action, suspense, historical detail, and unforgettable characters that have made Louis L´Amour one of the world´s most extraordinary writers. 1. Language: English. Narrator: Terrence Mann. Audio sample: http://samples.audible.de/bk/rand/003703/bk_rand_003703_sample.mp3. Digital audiobook in aax.
(2011/ACE) 28 tracks of rare Rock´n´Roll, Doo Wop and Instumentals 1958-64. Slipcase packaging with 44 page booklet. - A one-man operation run at street level for more than two decades, Hollywood’s Doré label launched the careers of Phil Spector and Jan & Dean in the late 1950s and built upon these early triumphs with an extensive catalogue of pop, rock and soul 45s during the 60s before branching successfully into comedy in the early 1970s. - Doré began as a subsidiary of Era, a Hollywood label best known for mainstream pop hits such as ‘Chanson D’Amour’ and ‘The Wayward Wind’. Bedell had founded Era with his cousin Herb Newman before breaking away to run Doré alone. In 1958, it got off to a flying start with ‘To Know Him Is To Love Him’ by the Teddy Bears, a worldwide hit, followed a few months later by Jan & Dean’s ‘Baby Talk’. The major labels had lost touch with the street and it was largely left to LA’s scattering of independents to set teenagers’ turntables spinning on the West Coast. - t was the age of the walk-in deal on LA’s so-called record row, an area of Hollywood populated by small labels wheeling and dealing from storefronts or backrooms. Some went in the blink of an eye but Doré stayed, moving seamlessly from rock and pop into soul music in the mid-60s. In this climate of spontaneous deal-making and low recording costs, Bedell was regularly approached by would-be’s and wanna-be’s, some of whom may have had something on the ball. Herb Alpert, Shel Talmy and Mike Curb were just a few who brought their first productions to Doré and there are some interesting connections: aside from Spector and Jan & Dean, the Walker Brothers and Vince Taylor all come into the story. - 25 of the 28 tunes on this first volume of ´´The Doré Story” appear on legitimate CD for the first time, all taken from the original masters, including previously unissued rockabilly from cult figure Joel Scott Hill, two ultra-rare rock instrumentals by Bobby Fry, the guitarist Vince Taylor brought over with him from America in 1958. There’s exquisite doo wop, some featuring that cherished East LA ´´Barrio” sound, early teen rock from John Maus of the Walker Brothers and a rare instro featuring Scott Walker himself. Doré is becoming a collected label. Many of the original Doré 45s are now beginning to fetch quite big money, helped by the aura of mystique that surrounds the label and its distinctive logo. (Rob Finnis)
Here is a time when the old west became new - the 1930s-50s - as Louis L´Amour witnessed it first-hand in Southern California before and after World War II. Many people think the age of gunmen, scheming land barons, murderous bad guys, and the determined men who stood up against them, went out with the end of the Old West around the 1890s. But, in L’Amour’s own time in the New West, there were far more bad men toting guns and making grabs for far more wealth and valuable land than in the fabled days of the Old West. And it took far more courage and determination to oppose them in the days of the Tommy Gun and .45 automatic than in those of the six-gun and pump-action rifle. When Louis ´L´Amour finally moved to Los Angeles permanently in the late 1940s, the ´´Battle of Sunset Strip,´´ an all-out mob war between rival Mafia families for control of the lucrative west Los Angeles/Hollywood gambling and prostitution trade, was at its height. More than 30 gangland killings took place in a seven-year period (including that of the legendary Bugsy Siegel), and more than 100 were said to have been slain during its quarter century span. This war had brought the Old West roaring back into the New - and L’Amour recognized it. He began to write hardboiled crime stories filled with the same kind of stalwart, straight-shooting men, strong, resolute women, and vicious, unprincipled badmen that peopled his westerns. You will find many of the best of these true-to-life tales in this exciting collection of short novels and stories (including ´´Street of Corpses,” ´´Anything For a Pal,” and ´´Collect from a Corpse”), along with others equally tough (´´Death, Westbound” and ´´It´s Your Move”) based on L’Amour´s own experiences traveling the New West before the war. These are among his least reprinted stories, and we think they will prove a real treat for the author’s multitude of listeners. 1. Language: English. Narrator: Randal Schaffer. Audio sample: http://samples.audible.de/bk/acx0/140867/bk_acx0_140867_sample.mp3. Digital audiobook in aax.
Alfred Hitchcock was once so famous he was the only film director whose name appeared on the cinema marquee above the title. He disparaged actors and loathed location shooting since both threatened the precise realisation of the film he had already made in his mind. Yet, in his Hollywood heyday he forged some creative collaborations he truly valued: those with composers.From the start, Hitchcock knew that music was an invaluable aid to any director of suspense movies who wanted to put his audience through the emotional wringer. From Arthur Benjamin’s pivotal cantata in the 1934 version of ´The Man Who Knew Too Much´ to Bernard Herrmann’s jagged soundtrack for the landmark shocker ´Psycho´, the music was usually a visceral part of any Hitchcock movie. By the time John Williams scored Hitchcock’s final film ´Family Plot´ (1976), a whole generation of moviegoers would always remember their favourite Hitchcock film with, as it were, the soundtrack attached.Here, arranged for Piano, are some of the most evocative themes from some of Hitchcock’s most unforgettable films.Alfred Hitchcock Presents Family Plot (End Titles) Marnie (Prelude) North By Northwest (Conversation Piece) North By Northwest (Prelude) Psycho (Prelude/The Murder/Finale) Rear Window (Lisa) Rope (Mouvement Perpetuel No.1) Spellbound (Main Title) The Man Who knew Too Much (Que Sera, Sera) The Man Who Knew Too Much (Storm Clouds Cantata) The Trouble With Harry (Overture/The Doctor) The Wrong Man (Prelude) Vertigo (Carlotta’s Portrait) Vertigo (Prelude) Vertigo (Scene D’amour)
Livret : Cécile PrunetMusique : Bernard Col Du rififi à Montmartre est une comédie musicale qui a pour cadre le Paris des années 1950. Elle raconte l’histoire de Jeanne, jeune danseuse provinciale qui rêve de conquérir Paris, et d’Antoine, son voisin de palier, jeune inspecteur impatient d’enquêter sur des affaires palpitantes. Quand Jeanne découvre qu’il se trame quelque chose de louche dans son cabaret, elle fait appel à lui.La pièce met en scène deux univers, celui du cabaret et celui d’un commissariat de quartier, peuplés de figures hautes en couleurs et parfois burlesques : une meneuse de revue vieillissante, un directeur de cabaret prêt à tous les délits par amour pour elle, un commissaire corrompu. Intrigues, jalousies, déclarations d’amour enflammées rythment cette pièce, clin d’oeil amusé aux comédies musicales américaines des années 50.La partition alterne des numéros dialogués, chantés et dansés pour rôles solistes et pour deux choeurs, l’un masculin (celui des flics) l’autre féminin (celui des danseuses). Le style musical se réfère aussi bien à Hollywood qu’à Broadway. 1 A moi Paris 4´402 (texte parlé) 1´003 Duo dans l´escalier 3´404 (texte parlé) 1´005 Chez les flics 4´006 (texte parlé) 0´307 Une sale journée 0´508 En route vers le cabaret 1´009 Une sale journée 2´1010 (texte parlé) 1´3011 Des plumes et des paillettes 3´1012 Surpris par l´amour 3´0013 Conciliabule 3´1014 Le plan (texte parlé) 3´0015 En planque (texte parlé) 2´0016 Le vol des tableaux 2´4017 Arrestation (texte parlé) 1´3018 Commérages 3´3019 Casting 2´4020 Antoine et Jeanne 3´2021 Finale 4´20
DescriptionThis songbook contains 101 top hits, arranged for easy Piano.Featuring pieces from many different genres, Really Easy Piano: 101 Top Hits includes songs by Elton John, Snow Patrol, Frank Sinatra, Beyoncé, Abba and many more well-known artists.9 To 5 [Parton, Dolly] A Hard Day’s Night [The Beatles] A Thousand Miles [Carlton, Vanessa] Adagio Canabile (from ‘Pathétique’ Sonata) [Beethoven] All About Tonight [Lott , Pixie] All About You [McFly] All I Have To Do Is Dream [The Everly Brothers] Angels [Williams, Robbie] Barcarolle (from ‘The Tales of Hoffman’) [Offenbach] Battle Scars [Guy Sebastian Feat. Lupe Fiasco] Bennie And The Jets [John, Elton] Better Be Home Soon [Crowded House] Brindisi (from ‘La Traviata’) [Verdi] Bring Him Home [from Les Misérables] Bring Me Sunshine [Morecambe & Wise] Can’t Fight The Moonlight [Rimes, LeAnne] Candy [Williams, Robbie] Chasing Cars [Snow Patrol] Dear Darlin’ [Murs, Olly] Defying Gravity [from Wicked] Does Your Mother Know [Abba] Don’t Speak [No Doubt] Dream Catch Me [Faulkner, Newton] Everything At Once [Lenka] Eye Of The Tiger [Survivor] Fever [Lee, Peggy] Fly Me To The Moon [Sinatra, Frank] Foundations [Nash, Kate] Georgia On My Mind [Charles, Ray] Going Underground [The Jam] Goldfinger [from Goldfinger] Good Vibrations [The Beach Boys] Greatest Day [Take That] Happy Talk [from South Pacific] He Ain’t Heavy, He’s My Brother [The Hollies] Heaven [Sandé, Emeli] Hey Jude [The Beatles] Ho Hey The Lumineers] Home [Westlife] Hopelessly Devoted To You [from Grease] How We Do (Party) [Ora, Rita] Humoresque In Gb [Dvorak] I Don’t Want To Miss A Thing [Aerosmith] I Think We’re Alone Now [Tiffany] I Wanna Dance With Somebody [Houston, Whitney] I Won’t Let You Go [Morrison, James] If I Never See Your Face Again [Maroon 5] If I Were A Boy [Beyonce] I´m Yours [Mraz, Jason] Impossible [Arthur , James] It Must Be Love [Madness] Jar Of Hearts [Perri, Christina] Just Give Me A Reason [P!ink feat. Nate Ruess] Just The Way You Are [Mars, Bruno] Lightning [The Wanted] Live While We’re Young [One Direction] Make You Feel My Love [Adele] Man In The Mirror [Jackson, Michael] Marry The Night [Lady Gaga] Meditation (from ‘Thaïs’) [ Massenet] More Than Words [Extreme] Next To Me [Sandé, Emeli] One Fine Day (Madame Butterfly) [Puccini] One Way Or Another [Blondie] Paradise [Coldplay] Picking Up The Pieces [Faith, Paloma] Please Don’t Say You Love Me [Aplin, Gabrielle] Please Send Me Someone To Love [Mayfield, Percy] Pompeii [Bastille] Put Your Records On [Bailey Rae, Corinne] Rêverie [Debussy] Rhapsody On A Theme [Rach] Rocket Man [John, Elton] Rolling In The Deep [Adele] Run [Lewis, Leona] Russian Dance (Nutcracker) [Tchaikovsky] S.O.S. [Abba] Salut D’Amour [Elgar] Skinny Love [Birdy] Smoke Gets In Your Eyes [The Platter] Somebody Told Me [The Killers] Somewhere Only We Know [Keane] Stay [Rihanna] Stay Another Day [East 17] Sweet Dreams (Are Made Of This) [Eurythmics] Sweet Home Chicago [Johnson, Robert] The A Team [Sheeran, Ed] The Best Day Ever [The SpongeBob SquarePants Movie] The Birdcatcher´s Song (from ‘The Magic Flute’) [Mozart] The Man Who Can’t Be Moved [The Script] The Most Beautiful Girl In The World [Prince] The Power Of Love [Frankie Goes To Hollywood] The Tide Is High [Blondie] This Year’s Love [Gray, David] Under Pressure [Queen & David Bowie] Vertigo [U2] Video Games [Del Rey, Lana] Waterloo Sunset [The Kinks] Wherever You Will Go [Soraria, Charlene] Yellow [Coldplay] You’ve Got A Friend In Me [from Toy Story]