60 Results for : channelled
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I Want to Be Where the Normal People Are
'One of the funniest books of the year' - GuardianA collection of hilarious personal essays, poems and even amusement park maps on the subjects of insecurity, fame, anxiety, and much more from the charming and wickedly funny creator of Crazy Ex-Girlfriend."It's nice to know someone as talented as Rachel is also pretty weird. If you're like me and love Rachel Bloom, this hilarious, personal book will make you love her even more." - Mindy Kaling"Rachel is one of the funniest, bravest people of our generation and this book blew me away." - Amy SchumerRachel Bloom has felt abnormal and out of place her whole life. In this exploration of what she thinks makes her 'different', she's come to realise that a lot of people also feel this way; even people who she otherwise thought were 'normal'.In a collection of laugh-out-loud funny essays, all told in the unique voice (sometimes singing voice) that made her a star, Rachel writes about everything from her love of Disney, OCD and depression, weirdness, and female friendships to the story of how she didn't poop in the toilet until she was four years old. It's a hilarious, smart, and infinitely relatable collection (except for the pooping thing).Readers love I Want to Be Where the Normal People Are'I adore Crazy Ex-Girlfriend and this book was exactly what I needed it to be. Would highly recommend.' 5*'Rachel's voice is loud and clear from the first lines of the book. I've been missing it since Crazy Ex-Girlfriend . . . this time she's talking right to me, in my head, and it is like being part of this newfound Friendtopia.' 5*'Heartfelt. Honest. Genuine. And funny as hell . . . Rachel writes about the things that could have broken her, but didn't, in a very funny and raw way, and she doesn't hold back.' 5*'Crazy Ex-Girlfriend is a hilarious and honest show which does not hold back when confronting the truth of sex, love, mental illness and life. This same comedic and chaotic energy is channelled in Bloom's wonderful book which I would highly recommend, whether you are a previous fan of hers or not.' 5*- Shop: buecher
- Price: 9.99 EUR excl. shipping
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Messages From The Spirit Realm
Messages From The Spirit Realm - A Channelled Book: ab 3.99 €- Shop: ebook.de
- Price: 3.99 EUR excl. shipping
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Babies Words and the World
Babies Words and the World - A Channelled Message from Spirit to You: ab 4.99 €- Shop: ebook.de
- Price: 4.99 EUR excl. shipping
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Fox News Channelled Down Under:
Fox News Channelled Down Under: - The (so not) Contrarians: ab 6.49 €- Shop: ebook.de
- Price: 6.49 EUR excl. shipping
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Friends of the heart
Friends of the heart - Channelled childrens book: ab 17.99 €- Shop: ebook.de
- Price: 17.99 EUR excl. shipping
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Faster
Born in London, 24th August 1945, Kenneth (Ken) Hensley wrote rock history with Uriah Heep. ‘Lady In Black’, ‘Easy Livin‘,’ ‘Look at Yourself’, ‘Free Me’ or ‘Stealin‘‘ – were all written or co-written by Hensley. There is little doubt that the Hammond-organist, guitarist and singer played a key role in the success story of the band he finally left in 1980, not happy with the musical directions they were choosing at the time. After trying to put a new band together firstly in the UK (Shotgun), he later moved to the USA and played a few gigs in North America with the suggestive name of Ken Hensley Band.After joining Jacksonville’s southern rockers Blackfoot for a two album stint and having not much success in getting a new band together after that, it took Hensley a while to get rid of some personal demons. But the mid-nineties saw Ken sack all pre-retirement plans and starting to rebuild his reputation along with his lifelong passion and love for rock music again. With his latest release “Faster”, Hensley proves that he has lost nothing of his magical touch.Live Fire is the Norwegian live backing-band Hensley has been working with for five years now and is comprised of Tom Arne Fossheim on drums, Sid Rinsby on bass, Ken Ingwersen on guitar, and Eiríkur Hauksson next to Ken Hensley as singer.Recorded in Riga, Latvia in three weeks time with Live Fire, “Faster” offers everything you would expect from a classic Ken Hensley record – and more. “I just wanted to make a band record. Conceptually I wanted it to go back in time a little bit, to where a band plays together, plays a bunch of live shows, writes new songs and makes a record. The way it used to be“, Hensley says.Opening up with the mystical and mesmerizing melodic rock of ‘Set Me Free (From Yesterday)’, Hensley & Live Fire deliver the goods as well as setting the tone for an album that is nothing short of strong songwriting, hooks and pure playfulness. On songs like ‘I Cry Alone’ - that has classic rock ballad written all over it - or ‘Katrine’, Hensley’s storytelling approach becomes even more observantly challenged and channelled. “Faster” also features some straight-ahead, good-time rockers like its title track. A similar energy roars its way through the closing song of the album, ‘Fill Your Head (With Rock)’, in which Hensley takes the stand for rock’n’roll in anthemic fashion. “Faster” shows that Hensley’s head and soul are still full of rock, and hopefully will be for quite some more albums and shows to come.- Shop: odax
- Price: 10.91 EUR excl. shipping
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Road to the End of the World
Prophets of War are stretching the boundaries of what it means to be metal with the album 'Road to the End of the World'. The album is themed around the concept of life as a journey, full of the unexpected, of hope and despair, but ultimately a pleasure. The Christian faith of the band members is channelled with passion and fury into every song, underlying every word, riff and melody, binding them and uniting them. The album is both a work of art and a reflection of life. There is a predominantly progressive feel to the song structure, and taking influences from bands such as Opeth, they are not afraid to venture into the melancholy and delicate clean sections that many metal bands religiously reject. The guitars drive much of the music with soaring harmonies and cleverly layering. Brutal black metal riffs, followed by epic solos, and harnessed by a gentle vocal harmony are but a glimpse into what is 'Road to the End of the World'.- Shop: odax
- Price: 29.55 EUR excl. shipping
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Observare
Rebekka Fisher is unquestionably the resourceful type. When the Minneapolis jazz/funk musician found herself being treated as an ornament in a mostly-male band, she quit and formed her own band. Puzzled by the low number of female instrumentalists in the music industry, she started a networking organization for women artists and began publishing a newsletter. And just last July, after having a hard time getting a gig at a local club, she again took action. She teamed up with other female artists to hold a benefit concert there that wound up attracting over 300 people and raising $750 for the Family Violence Network. Fisher's strong sense of purpose has been evident since childhood when she began playing piano at age nine. She was the third of four girls. She inherited her father's gift of creativity - Ed Fischer's editorial cartoons are syndicated in over 100 newspapers nationwide and have won him many awards. (He altered the spelling of his last name for FischerToons to avoid being confused with another Ed Fisher.) When Fisher was 13 years old, she heard Carole King's 'Tapestry' album and knew what she wanted to do with her life. 'I also listened to Melissa Manchester,' she remembers. 'She has incredible vocal power. I saw her in concert. A couple of times during her show, she didn't even use a microphone, and everyone could still hear her.' The teenage Fisher was anxious to put her dream into action and tried to form a band. Unfortunately, she couldn't find the same commitment in her friends and had to settle for songwriting on her own and keeping a catalog of her work. The creative outlet also became a form of therapy when her parents began having difficulties in their marriage (they've since divorced). She took up guitar and drums and channelled her pain into her music. By the time she was fifteen, she wound up playing the piano at a resort where she'd taken a part-time job washing dishes. She abandoned the idea of forming her own band and joined an already established one. The format? Heavy metal. 'Yes, I played keyboards in a heavy metal band,' she laughs. 'I really wasn't sure what I was doing there!' She spent her adolescence moving from one band to another. Her first real gig, in keeping with the unusual turn her budding career was taking, was at a deaf school. 'Actually, it went over great,' she says. 'They danced to the vibrations of the music that they felt through the floor. The only glitch was when they started slow dancing to our cover of 'Wipeout.' I tried to tell them that it was a fast song, but they couldn't hear me!' Fisher went on to attend the University of Minnesota and earn a degree in Composition. As she began meeting other musicians and jamming with them, she noticed a difference in the professional behavior between men and women. 'When I'm jamming with women, they're more cordial and polite,' she says. 'I know it's a generalization, but so many times I've seen women jamming and saying, 'You do a solo,' 'No, you solo, it's your turn.' Meanwhile the song is almost over! Men I've jammed with, on the other hand, are more aggressive. They'll play right over you.' Fisher was initially intimated by the more aggressive playing style of the male musicians but still preferred jamming with them. Her determination to hold her own in a mostly-male jam led her to practice harder and sharpen her keyboard skills. Eventually, her more aggressive style of playing won her a nomination for Keyboardist of the Year by the Minnesota Music Academy. Unfortunately, stronger technical skills didn't solve all of her difficulties. 'When you're the only girl in the band, it's hard to feel like a part of the group no matter how well you play,' she says. 'I was left out of the 'guy talk,' which is an important part of band bonding. They just didn't want to talk that way with me around.' Fisher finally gave up the attempts at bonding when she formed the Rebekka Fisher Band. 'I'm more of the boss than a friend,' she says of her relationship with the three men who make up the rest of the band, 'and that's probably for the best.' The Rebekka Fisher Band's first CD was 1995's 'Dream World.' It was followed by a lucky break that led to 1998's 'Observare': an introduction to Matt Fink, formerly of Prince's band Revolution. Fink wound up producing 'Observare' in his home studio. 'I met him through a friend,' Fisher remembers. 'I needed a producer, so it worked out great. He's a nice guy. Since then, he's been a guest speaker at Music Tech, where I teach. He's running his own recording studio and writing music for publishing companies and commercials.' 'Observare' featured a wailing funk song called 'A Different Girl,' in which she recounts her experiences in a mostly-male band before quitting to form her own band: 'I was standing in a corner, behind the lights. I don't rock the boat, the leader gets so uptight. And I feel like I'm living in a vanity case. So get a different girl to take my place.' Not all her listeners were receptive. The press coverage of 'Observare' gave Fisher her first taste of negative reviews, which initially made her want to quit the business. 'That was really tough,' she acknowledges. 'This can be an awful business. But when those reviews came out, I was teaching a class at Music Tech about creating a positive environment, and that really adjusted my attitude. To teach something, you really have to know the material and believe in it.' As she rebuilt her confidence, she also joined the jobbing circuit, playing weddings, corporate events, jams, and fill-in situations. Again, she was struck by the differences between the sexes. She was often the only female instrumentalist. Most of the women artists were vocalists. 'It's hard to be that one person that stands out,' she says. 'I still don't completely understand why there are so few women instrumentalists and why they tend to focus on things like melody line instead of theory. That's mostly what led me to put together Women Sing.' Still in it's formative stage, Women Sing is the start of a networking and resource tool for female artists. The newsletter is written and distributed solely by Fisher and includes profiles of women musicians in history (the Fall/Winter 2000 issue features the 19th century composer Pauline Viardot-Garcia). Eventually, Fisher hopes to become more than a one-woman resource center. 'I'd love to turn the newsletter into a regular magazine covering schools, online classes and networking areas,' she says enthusiastically. 'The best thing would be to go around the country and do women artist showcases. I would love to do that!' She knows it will be a tough road. 'It's hard to promote women in music without coming across as male-bashing,' she says. 'That's not what I'm about, but sometimes the very act of focusing solely on women will be interpreted that way.' She once placed a bumper sticker on her car that read, 'In Goddess We Trust' and started finding pages from the Bible posted on her windshield. Still, she keeps looking for other people to contribute and help her make the organization grow. In the meantime, Fisher has other matters to attend to. She still teaches songwriting classes at Music Tech. She would like to do more benefit concerts. And she and her band recently found the time to release their fourth CD, a five-track collection called 'Inner Spaces.' The songs have an added, subtle electronica influence, adding more fire and intensity to the already powerful funk grooves. Her new work began attracting attention before it was even released. One of the songs, the cool and ominous 'Driving,' is being featured on the soundtrack of an independent film called 'Vixen Highway.' 'When I heard the title,' she says, 'I called to make sure it wasn't a porno film. What's funny is that one of my composition students turned out to be one of the film's directors, so I asked her what it was about. It's a dark comedy, something about a gang of women on the road who kill a lo- Shop: odax
- Price: 18.89 EUR excl. shipping
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V.Ashkenazy spielt Chopin,Rachmaninoff,Liszt
"Ashkenazy was in his early twenties when he set down these recordings ... It's inevitable that this evinces youthful fire but it's accompanied by a tempering rigorousness of mind and of execution ... where poetic richness is required it's channelled through an astute modernity. There is great clarity, no over-romanticism, pedalling is invariably astutely presented, and the rhythm is resilient." (MusicWeb)- Shop: odax
- Price: 11.48 EUR excl. shipping
