Nena feat. Nena
Nena feat. Nena known as 20 Jahre – Das Jubiläums-Album is a studio album by German pop singer Nena, it contains new versions of her hits, some of them are duets with other singers, including Kim Wilde, Joachim Witt and Udo Lindenberg. The album was first released in 2002 with a red cover and reissued with a blue cover in 2003. Both releases exist in either standard or limited edition, the latter being supplemented with a bonus CD of live tracks; the songs on the bonus CD are reworked, suggesting that Nena may have planned to update more of her back-catalogue, although there have been no further releases in this vein. Throughout her solo career, Nena had experimented with various styles, culminating in the 2001 technopop Chokmah album which preceded Nena feat. Nena; these had not matched the commercial success of the Nena band albums. Less imaginatively, Nena therefore chose to mark the 20th anniversary of the band's debut by recording the Nena feat. Nena album which, as its title implies, comprises updated versions of tracks from Nena's back catalogue with no new material.
12 of the 14 songs on the initial "red cover" version of the album were written and released in the 1980s and, with the other two coming from the 2001 Chokmah, Nena's four solo albums in the 1990s are unrepresented. The modifications for Nena feat Nena range from applying different tunes to those with different arrangements performed jointly with guest vocalists; the lyrics are significantly reworked in some songs, for example "Leuchtturm" and most the English sections for Kim Wilde's parts in "Anyplace, Anytime". While Nena remained active and popular after the demise of the band in 1987, releasing several albums for adults and children, she was unable to recapture the chart success she enjoyed in the early 1980s. Nena feat. Nena changed that, it was wildly successful in her native Germany, peaking at No. 2 to become her first top-ten album there since Feuer und Flamme in 1985. It reached No. 1 in Austria and No. 5 in Switzerland, remained in the charts for over a year in all three countries.
Nena feat. Nena has sold more than 1.5 million copies worldwide, making it one of the best-selling albums by a German artist in the new millennium. It reestablished Nena as international star. Having been absent from the German Top 40 singles charts for 13 years, three of the tracks from this album made the Top 10; the album itself peaked at No. 2, was in the charts for over a year and remains Nena's biggest selling album achieving triple platinum status in Germany.. Although Nena feat. Nena resurrected its creator's career, it remained the case that all Nena's best-selling material had been written in the 1980s all of it by 1986, prior to Nena going solo, it was not until the follow-up studio album in 2005, Willst du mit mir gehn, that Nena broke the 1980s' monopoly of her greatest hits and concert favourites. By 2010 Nena's live performances of tracks from the album had all reverted to their original versions, with the exception of "Leuchtturm". A double DVD called Nena feat. Nena Live was released on 24 March 2003.
It contains Nena's twentieth anniversary show recorded on 11 October 2002 at Frankfurt am Main. The show ran for nearly three hours, during which Nena invited many friends and fellow musicians to sing along with her: Joachim Witt, Udo Lindenberg, Kim Wilde, Markus Mörl, Hartmut Engler, Mike Tait, Howard Jones, TokTok, as well as the surviving members of Nena band: Rolf Brendel, Uwe Fahrenkrog-Petersen and Jürgen Dehmel; the second DVD contains footage of Nena and her band on tour and music videos for the new versions of the songs. On 26 May 2003, an abridged audio-only version of the same concert was released as one DVD-Audio disc. DVD 1 Haus der drei Sonnen Satellitenstadt Tanz auf dem Vulkan Oldschool Baby Carpe Diem Wunder gescheh'n 2002 Kleine Taschenlampe brenn Lichtarbeiter 2002 Silbermond Es regnet 2002 Lass mich dein Pirat sein 2002 Jetzt bist du weg 2002 Dafür ist das Leben zu kurz? 2002 Du kennst die Liebe nicht What Is Love? Anyplace, Anytime Leuchtturm Rette Mich Ganz Oben Nur Geträumt 2002DVD 2 99 Luftballons 2002 99 Luftballons Irgendwie, irgendwann Vollmond 2002 Manchmal ist ein Tag ein ganzes Leben Ich umarm die ganze Welt Ruby Tuesday No Expectations Zusammen Der Anfang vom Ende Bang Bang?
2002 Credits and Outro Nena feat. Nena at Discogs Nena feat. Nena at Discogs Nena feat. Nena Live at Discogs Nena feat. Nena Live at Discogs
Never Say Never (Kim Wilde album)
Never Say Never is the tenth studio album by Kim Wilde and was released in September 2006. It was a comeback album after being away from the music business for a number of years and her first studio album for eleven years; the album features several of Wilde's hits that have been updated with modern dance beats, interspersed with eight new songs. The album was co-produced by Uwe Fahrenkrog-Petersen, a former member of German band and Wilde's brother and long-time collaborator, Ricky. After a comparatively long period of negotiations, Kim Wilde signed a new record deal with the German division of EMI in late 2005. In July 2006, it was confirmed that a new album, entitled Never Say Never, would be released in Germany on 8 September 2006; the album has since been released in Germany, Italy, Netherlands, Sweden, France, Portugal, Poland, South Africa and Japan. A single, a re-working of Wilde's 1988 hit "You Came", preceded the album and became her biggest European hit in years. Wilde had announced that the sound of the album would be reminiscent of her earlier work.
The 14-track album featured eight new songs and six new versions of earlier hits, including "You Keep Me Hangin' On" as a duet with Nena and "Kids in America", as a duet with Charlotte Hatherley. "Cambodia" appears. The second single was "Perfect Girl", released in November 2006 and voted by fans through a poll on Wilde's official website. "Perfect Girl" spent 9 weeks in the German singles Top 100, reaching No. 52. It was released in Belgium, Switzerland and in the Netherlands. A third single, "Together We Belong", was released in March 2007, while a fourth, "Baby Obey Me", was released in August 2007 in two versions: the original album version and a remix featuring German rap artist Ill Inspecta; the album was a moderate success. It has sold more than 70.000 Copies in Europe. Never Say Never at AllMusic
New wave music
New wave is a genre of rock music popular in the late 1970s and the 1980s with ties to mid-1970s punk rock. New wave moved away from blues and rock and roll sounds to create rock music or pop music that incorporated disco and electronic music. New wave was similar to punk rock, before becoming a distinct genre, it subsequently engendered fusions, including synth-pop. New wave differs from other movements with ties to first-wave punk as it displays characteristics common to pop music, rather than the more "artsy" post-punk. Although it incorporates much of the original punk rock sound and ethos, new wave exhibits greater complexity in both music and lyrics. Common characteristics of new wave music include the use of synthesizers and electronic productions, a distinctive visual style featured in music videos and fashion. New wave has been called one of the definitive genres of the 1980s, after it was promoted by MTV; the popularity of several new wave artists is attributed to their exposure on the channel.
In the mid-1980s, differences between new wave and other music genres began to blur. New wave has enjoyed resurgences since the 1990s, after a rising "nostalgia" for several new wave-influenced artists. Subsequently, the genre influenced other genres. During the 2000s, a number of acts, such as the Strokes, Franz Ferdinand and The Killers explored new wave and post-punk influences; these acts were sometimes labeled "new wave of new wave". The catch-all nature of new wave music has been a source of much controversy; the 1985 discography Who's New Wave in Music listed artists in over 130 separate categories. The New Rolling Stone Encyclopedia of Rock calls the term "virtually meaningless", while AllMusic mentions "stylistic diversity". New wave first emerged as a rock genre in the early 1970s, used by critics including Nick Kent and Dave Marsh to classify such New York-based groups as the Velvet Underground and New York Dolls, it gained currency beginning in 1976 when it appeared in UK punk fanzines such as Sniffin' Glue and newsagent music weeklies such as Melody Maker and New Musical Express.
In November 1976 Caroline Coon used Malcolm McLaren's term "new wave" to designate music by bands not punk, but related to the same musical scene. The term was used in that sense by music journalist Charles Shaar Murray in his comments about the Boomtown Rats. For a period of time in 1976 and 1977, the terms new wave and punk were somewhat interchangeable. By the end of 1977, "new wave" had replaced "punk" as the definition for new underground music in the UK. In the United States, Sire Records chairman Seymour Stein, believing that the term "punk" would mean poor sales for Sire's acts who had played the club CBGB, launched a "Don't Call It Punk" campaign designed to replace the term with "new wave"; as radio consultants in the United States had advised their clients that punk rock was a fad, they settled on the term "new wave". Like the filmmakers of the French new wave movement, its new artists were anti-corporate and experimental. At first, most U. S. writers used the term "new wave" for British punk acts.
Starting in December 1976, The New York Rocker, suspicious of the term "punk", became the first American journal to enthusiastically use the term starting with British acts appropriating it to acts associated with the CBGB scene. Part of what attracted Stein and others to new wave was the music's stripped back style and upbeat tempos, which they viewed as a much needed return to the energetic rush of rock and roll and 1960s rock that had dwindled in the 1970s with the ascendance of overblown progressive rock and stadium spectacles. Music historian Vernon Joynson claimed that new wave emerged in the UK in late 1976, when many bands began disassociating themselves from punk. Music that followed the anarchic garage band ethos of the Sex Pistols was distinguished as "punk", while music that tended toward experimentation, lyrical complexity or more polished production, came to be categorized as "new wave". In the U. S. the first new wavers were the not-so-punk acts associated with the New York club CBGB.
CBGB owner Hilly Kristal, referring to the first show of the band Television at his club in March 1974, said, "I think of that as the beginning of new wave." Furthermore, many artists who would have been classified as punk were termed new wave. A 1977 Phonogram Records compilation album of the same name features US artists including the Dead Boys, Talking Heads and the Runaways. New wave is much more tied to punk, came and went more in the United Kingdom than in the United States. At the time punk began, it was a major phenomenon in the United Kingdom and a minor one in the United States, thus when new wave acts started getting noticed in America, punk meant little to the mainstream audience and it was common for rock clubs and discos to play British dance mixes and videos between live sets by American guitar acts. Post-punk music developments in the UK were considered unique cultural events. By the early 1980s, British journalists had abandoned the term "new wave" in favor of subgenre terms such as "synthpop".
By 1983, the term of choice for the US music industry had become "new music", while to the majority of US fans it was still a "new wave" reacting to album-based rock. New wave died out in the mid-1980s, knocked out by guitar-driven rock reacting against new wave. In the 21st-century United States, "new wave" was used to describe ar
Mickie Most was an English record producer, with a string of hit singles with acts such as the Animals, Herman's Hermits, the Nashville Teens, Lulu, Suzi Quatro, Hot Chocolate, Arrows and the Jeff Beck Group issued on his own RAK Records label. Most was born as Michael Peter Hayes in Hampshire; the son of a regimental sergeant-major, he moved with his parents to Harrow in 1951. He was influenced by skiffle and early roll in his youth. Leaving school at 15, he worked as a singing waiter at London's The 2i's Coffee Bar where he made friends with future business partner Peter Grant, formed a singing duo with Alex Wharton who billed themselves as the Most Brothers, they recorded the single "Takes A Whole Lotta Loving to Keep My Baby Happy" with Decca Records before disbanding. Wharton went on to produce the Moody Blues single "Go Now". After changing his name to Mickie Most in 1959, he travelled to South Africa with his wife Christina, formed a pop group, Mickie Most and the Playboys; the band scored 11 consecutive No. 1 singles there with cover versions of Ray Peterson, Gene Vincent, Buddy Holly and Eddie Cochran songs.
Returning to London in 1962, Most appeared on package tours as well as recording "Mister Porter", a No. 45 hit in the UK Singles Chart in July 1963 and had moderate success with'The Feminine Look' in 1963, this latter featuring Jimmy Page on lead guitar and heralding early British heavy rock. Becoming tired of touring clubs, Most decided to concentrate on other aspects of the music industry, his first job was selling records in stores and displaying them on racks before finding a niche with production for Columbia Records. After spotting The Animals at Newcastle's Club A-Go-Go, he offered to produce their first single, "Baby Let Me Take You Home", which reached No. 21 in the UK Singles Chart. Their follow-up 1964 single, "The House of the Rising Sun", became an international hit. Most had success with Herman's Hermits after being approached by their manager Harvey Lisberg at Derek Everett's suggestion, their first Most production, "I'm into Something Good", went to No. 1 in 1964, beginning a run of single and album sales, the group for a time challenging The Beatles in popularity in the United States.
His down-to-earth handling of the band, his business acumen and knack for selecting hit singles established Most as one of the most successful producers in Britain and kept him in demand throughout the 1960s and 1970s. In July 1964, Most scored another top 10 hit with the Nashville Teens' cover of the John D. Loudermilk song "Tobacco Road". In September 1964, with Most at the control board, Brenda Lee recorded "Is It True" and "What'd I Say". "Is It True" was released in England and in the US, it became a hit and a gold record. "What'd I Say" became another hit throughout Europe but was never released in the US. Most had equal success with other artists for whom he produced chart-topping albums and singles between 1964 and 1969, notably Donovan with "Sunshine Superman", "Mellow Yellow", "Jennifer Juniper", "Hurdy Gurdy Man", Lulu's hits "To Sir, with Love", "The Boat That I Row", "Boom Bang-a-Bang", "Me the Peaceful Heart", "I'm a Tiger". Most produced the final studio single of the 1960s by The Seekers, "Days of My Life", in 1968, Nancy Sinatra's "The Highway Song" in 1969.
Additionally in the 1960s, Most signed and produced artists such as singer-guitarist Terry Reid, all-girl rock band The She Trinity. Most's productions were backed by London-based session musicians including Big Jim Sullivan and Jimmy Page on guitar, John Paul Jones on bass guitar and arrangements, Nicky Hopkins on piano, Bobby Graham on drums, he produced Jeff Beck's hits "Love is Blue" and "Hi Ho Silver Lining" and the Jeff Beck Group albums Truth and Beck-Ola. He teamed the Beck group with Donovan for the single "Barabajagal". By 1967, after commercial and critical failure of The Yardbirds album Little Games, he decided to steer clear of rock groups; the Yardbirds objected to his insistence that every song be cut to three minutes and that albums were an afterthought following the singles. His focused approach led to a split with Donovan in late 1969. Most and Donovan reunited in 1973 for the album Cosmic Wheels on which Most was credited under his real name, Michael Peter Hayes. Despite these setbacks, Most set up his own production office at 155 Oxford Street, sharing it with his business partner Peter Grant.
It was through Most's association. In 1968, Most and Grant set up RAK Management, but Grant's involvement with The Yardbirds, which soon evolved into Led Zeppelin, meant Most had control in late 1969. RAK Records and RAK Music Publishing were launched in 1969. RAK Music Publishing has the copyright of such classic popular songs as "You Sexy Thing" composed by Hot Chocolate singer Errol Brown and a half interest in the song "I Love Rock'n' Roll" written by Alan Merrill and Jake Hooker of the band Arrows. Both acts were produced by Most. With RAK Records, Most's success continued with folk singer Julie Felix's hit "El Condor Pasa". Felix was the first artist signed to the label. Most produced Mary Hopkin’s 1970 hit "Temma Harbour" for Apple Records, followed by her Eurovision Song Contest entry, "Knock, Knock Who's There?". In 1970, Most approached Suzi Quatro for a recording contract after seeing her on stage at a Detroit dance hall with the band Cradle, while on a production assignment in Chicago.
Quatro was among a growing roster of artists signed to RAK Records
A music genre is a conventional category that identifies some pieces of music as belonging to a shared tradition or set of conventions. It is to be distinguished from musical form and musical style, although in practice these terms are sometimes used interchangeably. Academics have argued that categorizing music by genre is inaccurate and outdated. Music can be divided into different genres in many different ways; the artistic nature of music means that these classifications are subjective and controversial, some genres may overlap. There are varying academic definitions of the term genre itself. In his book Form in Tonal Music, Douglass M. Green distinguishes between form, he lists madrigal, canzona and dance as examples of genres from the Renaissance period. To further clarify the meaning of genre, Green writes, "Beethoven's Op. 61 and Mendelssohn's Op. 64 are identical in genre – both are violin concertos – but different in form. However, Mozart's Rondo for Piano, K. 511, the Agnus Dei from his Mass, K. 317 are quite different in genre but happen to be similar in form."
Some, like Peter van der Merwe, treat the terms genre and style as the same, saying that genre should be defined as pieces of music that share a certain style or "basic musical language." Others, such as Allan F. Moore, state that genre and style are two separate terms, that secondary characteristics such as subject matter can differentiate between genres. A music genre or subgenre may be defined by the musical techniques, the style, the cultural context, the content and spirit of the themes. Geographical origin is sometimes used to identify a music genre, though a single geographical category will include a wide variety of subgenres. Timothy Laurie argues that since the early 1980s, "genre has graduated from being a subset of popular music studies to being an ubiquitous framework for constituting and evaluating musical research objects". Among the criteria used to classify musical genres are the trichotomy of art and traditional musics. Alternatively, music can be divided on three variables: arousal and depth.
Arousal reflects the energy level of the music. These three variables help explain why many people like similar songs from different traditionally segregated genres. Musicologists have sometimes classified music according to a trichotomic distinction such as Philip Tagg's "axiomatic triangle consisting of'folk','art' and'popular' musics", he explains that each of these three is distinguishable from the others according to certain criteria. The term art music refers to classical traditions, including both contemporary and historical classical music forms. Art music exists in many parts of the world, it emphasizes formal styles that invite technical and detailed deconstruction and criticism, demand focused attention from the listener. In Western practice, art music is considered a written musical tradition, preserved in some form of music notation rather than being transmitted orally, by rote, or in recordings, as popular and traditional music are. Most western art music has been written down using the standard forms of music notation that evolved in Europe, beginning well before the Renaissance and reaching its maturity in the Romantic period.
The identity of a "work" or "piece" of art music is defined by the notated version rather than by a particular performance, is associated with the composer rather than the performer. This is so in the case of western classical music. Art music may include certain forms of jazz, though some feel that jazz is a form of popular music. Sacred Christian music forms an important part of the classical music tradition and repertoire, but can be considered to have an identity of its own; the term popular music refers to any musical style accessible to the general public and disseminated by the mass media. Musicologist and popular music specialist Philip Tagg defined the notion in the light of sociocultural and economical aspects: Popular music, unlike art music, is conceived for mass distribution to large and socioculturally heterogeneous groups of listeners and distributed in non-written form, only possible in an industrial monetary economy where it becomes a commodity and in capitalist societies, subject to the laws of'free' enterprise... it should ideally sell as much as possible.
Popular music is found on most commercial and public service radio stations, in most commercial music retailers and department stores, in movie and television soundtracks. It is noted on the Billboard charts and, in addition to singer-songwriters and composers, it involves music producers more than other genres do; the distinction between classical and popular music has sometimes been blurred in marginal areas such as minimalist music and light classics. Background music for films/movies draws on both traditions. In this respect, music is like fiction, which draws a distinction between literary fiction and popular fiction, not always precise. Country music known as country and western, hillbilly music, is a genre of popular music that originated in the southern United States in the early 1920s; the polka is a Czech dance and genre of dance music familiar throughout Europe and the Americas. Rock music is a broad genre of popular music that originated as "rock and roll" in the United States in the early 1950s, developed into a range of different styles in the 1960s and particular
Donald Clark Osmond is an American singer, dancer and former teen idol. Osmond has been a talk and game show host, record producer and author. In the mid-1960s, he and four of his elder brothers gained fame as the Osmonds. Osmond went solo in the early 1970s, earning several top ten hits including, "Go Away Little Girl," "Puppy Love," and "Soldier of Love." For more than 40 years, he and younger sister Marie have gained fame as Donny & Marie due to the success of their 1976–79 self-titled variety series, which aired on ABC and a string of gold records. The duo did a 1998–2000 talk show and have been headlining in Las Vegas since 2008. Osmond has been successful on two reality TV competition shows, having won season 9 of Dancing with the Stars and been the runner-up for the first season of The Masked Singer. Osmond was born on December 9, 1957, in Ogden, the seventh son of Olive May and George Virl Osmond, he is the brother of Alan, Jimmy, Wayne, Marie and Virl Osmond. Alan, Merrill and Donny were members of the popular singing group The Osmonds.
Osmond was raised as a member of The Church of Jesus Christ of Latter-day Saints in Utah along with his siblings. Osmond has traced some of his family ancestry back to Merthyr Tydfil in Wales. On the BBC's The One Show, a plaque was unveiled in the town to commemorate'the ancestors of Donny Osmond.' In his youth, Osmond held a ham radio license, KA7EVD. Andy Williams' father, Jay Emerson Williams, saw the Osmond Brothers perform on a Disneyland televised special as a barbershop quartet. In short order, the group was invited to audition for The Andy Williams Show. Williams had reservations about featuring children on the program, encouraged by his father to try them out, they proved in a short period of time to become an asset to the program, soon became regulars on the show and gained popularity quickly. In 1963, Donny Osmond made his debut on the show at the age of five singing "You Are My Sunshine"; the brothers continued to perform on the show throughout the 1960s along with a visit from their sister Marie.
Osmond became a teen idol in the early 1970s as a solo singer, while continuing to sing with his older brothers. Osmond, Bobby Sherman, David Cassidy were the biggest "Cover Boy" pop stars for Tiger Beat magazine in the early 1970s, his first solo hit was a cover of Roy Orbison's 1958 recording of "Sweet and Innocent", which peaked at No. 7 in the U. S. in 1971. Osmond's follow-ups "Go Away Little Girl", "Puppy Love", "Hey Girl/I Knew You When" vaulted him into international fame, further advanced by his November 20, 1972 appearance on the Here's Lucy show, where he sang "Too Young" to Lucille Ball's niece, played by Eve Plumb, sang with Lucie Arnaz. In the 1980s, all of the Osmonds abandoned their earlier image, crafted to appeal to young viewers, hoping to reach a more adult audience. While his brothers moved toward country music to modest success, Donny was able to revive his career in popular music, he made an unlikely appearance as one of several celebrities and unknowns auditioning to sing for guitarist Jeff Beck in the video for Beck's 1985 single "Ambitious" –, produced by Paul Flattery and directed by Jim Yukich – followed in 1986 by an unlikely cameo in the animated Luis Cardenas music video "Runaway".
He spent several years as a performer, before hiring the services of music and entertainment guru Steven Machat, who got Osmond together with English singer-songwriter Peter Gabriel to see whether Machat and Gabriel could turn the TV Osmond's image into a contemporary young pop act. They succeeded, returning Osmond to the US charts in 1989 with the Billboard Hot 100 No. 2 song "Soldier of Love" and its top twenty follow-up "Sacred Emotion". The campaign to market "Soldier Of Love" received considerable airplay with the singer being presented as a "mystery artist" before his identity was revealed. Launching an extensive tour in support of the Eyes Don't Lie record, he enlisted Earth Wind & Fire and Kenny Loggins guitarist Dick Smith along with keyboardist Mark Jackson. Osmond was reluctant to perform his earliest songs, in particular "Go Away Little Girl", but was convinced to sing the song live for KLOS-FM's Mark & Brian Christmas Show on December 21, 1990. Now he embraces his initial recording period with fondness, recognizes that his many fans around the world are always excited and appreciative to hear his earliest chart successes.
Osmond was the guest vocalist on Dweezil Zappa's star-studded version of the Bee Gees' "Stayin' Alive" which appeared on Zappa's 1991 album Confessions. The song included guitar solos from Zakk Wylde, Steve Lukather, Warren DeMartini, Nuno Bettencourt, Tim Pierce. Osmond sang "No One Has To Be Alone", but the song was heard at the end of the film The Land Before Time IX: Journey to Big Water, he sang "I'll Make a Man Out of You" for Disney's Mulan. In the 2000s, he released a Christmas album, an album of his favorite Broadway songs, a compilation of popular love songs. In 2004, he returned to the UK Top 10 for the first time as a solo artist since 1973, with the George Benson-sampling "Breeze On By", co-written with former teen idol Gary Barlow, from the 1990s UK boy band Take That, reaching number 8, his forthcoming 16th album The Soundtrack of My Life features a collection of cover songs with personal meaning to Osmond. He enlisted Stevie Wonder to play harmonica on track "My Cherie Amour".
Following Marie's stint on Dancing with
"Chequered Love" is the second single by British singer Kim Wilde. The song was released in the spring of 1981 to follow Wilde's successful debut "Kids in America"; as with that single, writing credits were given to Wilde's father and brother Marty and Ricky Wilde, with the latter being given production credits. The 12" version is no longer in length than the 7", however better sound quality is achieved by the grooves not being as compressed - a common practice for "marketing" during the 1980s; the song appeared on Wilde's self-titled debut album. "Chequered Love" became another hit for Wilde, reaching the number four on the UK Singles Chart, number one in South Africa, peaking inside the top 10 all around the world except North America. It has sold 245,000 copies in France, was certified gold in the UK, has sold over a million copies worldwide. 7" / 12"Chequered Love Shane 7" Chequered Love Everything We Know Lyrics of this song at MetroLyrics