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ANYONE else into music of the "Golden Era"? From Frank Sinatra to jazz :D

#1 User is offline   icetreeun 

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Posted 28 February 2006 - 08:53 PM

(Couldn't find the thread for this! '_';; )

The "golden era of music" always sounds so refreshing and much more soulful after listening to today's mainstream and whatnot.

I truly admire Frank Sinatra and Nat King Cole (of course smile.gif ) , Ella Fitzgerald, Bing Crosby, Louis Armstrong, Duke Ellington...

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#2 User is offline   &rea 

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Posted 28 February 2006 - 09:11 PM

Oh, I love this type of music...Everybody you mentioned, plus Etta James are my favourites =D
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#3 User is offline   HK Tequila 

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Posted 28 February 2006 - 10:47 PM

QUOTE(icetreeun @ Feb 28 2006, 08:53 PM) View Post


The "golden era of music" always sounds so refreshing and much more soulful after listening to today's mainstream and whatnot.




^ Couldn't agree more.

Frank Sinatra, Dean Martin, Nat King Cole, Etta James, Dinah Washington are some of my favorites.
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#4 User is offline   icetreeun 

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Posted 02 March 2006 - 06:50 PM

wah~ I didn't think anyone would really post anything.. ^o^

But yes~

Do you have any recommendations for some of the more obscure-underground artists during those decades? I can only think of the major singers..
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#5 User is offline   D_K 

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Posted 01 June 2007 - 10:19 PM

QUOTE(icetreeun @ Mar 2 2006, 08:50 PM) View Post
wah~ I didn't think anyone would really post anything.. ^o^

But yes~

Do you have any recommendations for some of the more obscure-underground artists during those decades? I can only think of the major singers..


Rosemary Clooney (of George Clooney fame). She has an amazing voice. Started as a pop singer and progressed to be one of the most influential/gifted jazz vocalists of all time. Not exactly underground, but not exactly a major singer either.

Nina Simone also get's no love, although I think she's pretty much one of the greatest jazz vocalists of all time.
"But when it ends and while it ends, something comes, after so much rage, persistence, obstinacy, extravagance; something entirely unexpected and touching in its mildness and goodness. With the motif passed through many vicissitudes, which takes leave and so doing becomes itself entirely leave-taking, a parting wave and call, with this D G G occurs a slight change, it experiences a small melodic expansion. After an introductory C, it puts a C sharp before the D. . .and this added C Sharp is the most moving, consolatory, pathetically reconciling thing in the world. It is like having one's hair or cheek stroked, lovingly, understandingly, like a deep and silent farewell look. . . . " (Mann: 55).
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