View artist page Founded in 1970, Asleep at the Wheel has been part of the American roots music landscape for more than 50 years. Although the band got its start on a farm in Paw Paw, West Virginia, Asleep at the Wheel became a cornerstone of the Austin, Texas, scene upon its arrival in 1973. Inspired by Western swing and honky-tonk country, the band has accrued 10 Grammy Awards, and is currently on the road in support of its recent career retrospective, Half a Hundred Years.
The Cutlass is a sword with a variety of special maneuvers, and is the only melee weapon in the game. A player can swing, block and dodge, connect three-hit sword combos and charge or lunge at the foe with the Cutlass. This makes it the most versatile out of all the weapons, with special hidden maneuvers known only to the most skilled of swordsmen. A single slashing attack deals 25% damage, while a lunge attack deals 60% damage.
New Jack Swing Gold Rar
JONAH JONES MASTERWORKS The Capitol Years Collectors Edition Issued in Digipack 2 LPs on 1 CD Original Cover Art and Liner Notes Hi-Fi and Stereo Recordings Newly Remastered Jonah Jones zoomed to popularity in the late 50s. He found a successful formula and used it to brighten the hit charts with a succession of bouncy albums on Capitol Records. His quartet was one of the three newcomers in the Top 10 wide variety of small groups listed in the favorite Instrumental Billboard lists in 1958. On this set Jonah Jones rides on top of an excellent rhythm section to blow very good muted and open horn on Swingin at the Cinema, a tribute to his considerable versatility and awesome courage to swing such masterworks as the 'Colonel Bogey March' or 'True Love.' Jones sets the pace for this package with I Dig Chicks!, which he chants to good effect. The group as usual swings in a commercial groove... For his efforts in the Capitol album I Dig Chicks!, Jones received a Grammy for Best Jazz Performance by an Orchestra.
"At 46, Jones' days of glory with Lunceford, Stuff Smith, and Cab Calloway must have seemed behind him when, in '55 he was booked at the Embers in New York. However, his light touch, muted trumpet and the occasional shuffle backing, proved a winning formula, with hits through to the early '60's. Those seeking a virtuosic performance may be disappointed. Recorded in '58 while signed to Capitol, this is commercial and somewhat eclectic stuff. He rarely stretches out, soloing for one chorus on most numbers, but as the liner notes say, it swings in a commercial groove and his swinging, fun style, elaborate glissandos, lip trills and vibrato inject both recordings with an infectious energy. Numbers like Gal in Calico and Colonel Bogey are full of life and though he was no Sinatra, his vocals are well worth hearing. All in all, this is a cheerful offering and provides a fine lesson on how to simply swing a tune." Ben Cummings * The Jazz Rag (October, 2014) (*) Ben Cummings has been much admired for his work with a variety of bands. Now he has stepped into the shoes of a fine British trumpeter who, like Jonah Jones, achieved mainstream popularity Kenny Ball. --------------------------------------------------------- -Swingin at the Cinema "One in a lengthy series of Capitol albums by trumpeter/vocalist Jonah Jones and his quartet (there were five in 1958 alone), this set finds Jones looking for gold by performing a dozen numbers that originally debuted in Hollywood movies. There were no hits this time around, but the LP sold fairly well. Jones, joined by pianist George Rhodes, bassist John Brown and drummer Harold Austin, uplifts such tunes as "True Love," "Colonel Bogey March," "Three Coins In the Fountain" and "Lullaby of Broadway." -I Dig Chicks! "The cover of this LP gives males three good reasons to "dig chicks." Trumpeter/vocalist Jonah Jones continues his "swinging with a shuffle" formula, performing 11 songs named after women, plus the title cut (which has one of his six vocals of the date). Jones, pianist Teddy Brannon, bassist John Brown and drummer George Foster have a good time romping on such numbers as "Mandy, Make Up Your Mind," "Tangerine," "Blue Lou," "Rosetta" and some lesser-known tunes. The overall results may be a bit lightweight and predictable, but the trumpeter gives this album enough exciting moments to make it worth getting." Both by Scott Yanow -All Music Guide
We've said it before, and we'll say it again: There's something special about '90s R&B. It's difficult to pinpoint why, exactly. It's not like it was new. The genre, which was given a name in 1948 by Jerry Wexler, who wanted to call it something other than "race music," has been in practice since at least the '30s. So what made the stuff of '90s so noteworthy? Perhaps it was the collision of rap, new jack swing, gospel, and soul that stretched the genre wide open. Or maybe it's because it felt like R&B ruled the world back then.
Did you know she can sing, too? For years now, Jane has sung original swing tunes and standards all over the country with a full band and everything. When we talked with Jane in 2016, Jane and her band had just recorded their first ever Christmas record, it's called A Swingin' Little Christmas.
"Head" plays the '90's soft-loud-soft game very well, with smoothness behind "I just want to go outside and run around" and attack on "Help me, I'm burning, I'm burning / Help me break a window" (threats of violence, possibly metaphorical, pop up on several songs). Next, on "Dock Ellis," the band adds swing and crunch to its Beatles influence. "Dream about my own personal hell / And make it sell" could be the Kurt Cobain story in a nutshell, but this surreal dream includes a person's "running faucet in my head," a "dorsal fin," a "head bone," "rum and charms," and a "joy new jar" (if the web lyrics are accurate).
Elvis' first Canadian performances were at the Maple Leaf Gardens in Toronto at 6 p.m. and 8 p.m. April 2, 1957. Elvis wore his stunning, sparkling gold suit for this show - and this was the last time he wore the full suit. For future performances, Elvis would only wear pieces from this suit, such as just the jacket, belt and shoes, and in some shows, just the jacket.
Elvis' career was in full swing, but he was still a bit of controversial figure. Parents and religious officials were concerned about their kids listening to rock 'n' roll and the potentially dangerous influence Elvis had on his fans (a funny notion nearly 60 years later, huh?). A local girls' school, the Notre Dame Convent, forbade its students to attend the concert and suspended eight of its students who ignored the rule. Elvis was booked to perform in Montreal, too, but that show was canceled due to civic concern and pressure from local Catholic officials.
The 26,500 fans in attendance went wild for the King of Rock 'n' Roll. The stage was set up on the empty football field, but fans wanted to be closer. Thousands bypassed security to find a place in front of the stage on the field. The show had to be stopped twice for safety concerns. Elvis' manager, Col. Tom Parker, suggested to Elvis that he tone down his show, but being a rock 'n' roll rebel, Elvis didn't listen to him. He did shorten the set, though, and - for safety reasons - he fooled the audience. He gave his gold jacket to a crew member to wear while getting into a car, so fans would think it was Elvis leaving. The fans followed the man in the gold jacket, and Elvis was allowed to calmly leave the stadium unharmed.
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