(Rhino/Murray Hill) 14 tracks (5 newly remastered in Stereo) - In order to examine the way rock ´n´ roll began as a marriage of black and white popular musics. one need only look at the number of racially mixed vocal groups that emerged dunng rock´s chaotic origin. The first to gamer national recognation was Pittsburgh´s Del Vikings who scored with Come Go With Me in late ´56 early ´57. But the group that would enjoy the longest run of hits with a mixed line up was Johnny Maestro And The Crests There would be others (The Marvels immediately comes to mind). but none succeeded in establishing a sound as well as Mr. Maestro and company. The Crests began as a black quartet in 1955. Patricia Van Dross. Harold Torres. Talmadge (Tommy) Gough and J.T. Carter formed the group at P.S. 160 Junior High School in Manhattan; Carter. originally from Brooklyn. lived on Delaney St. and the rest (all from Staten Island) lived in the Allred E. Smith projects in nearby Chinatown. Singing for local functions without a permanent name, the group naturally emulated the singing idols of the day. Harlem´s Cadillacs. Harptones. and Teenagers. At the same time. Brooklyn.born Johnny Maestro (or Mastroangelo. as he was christened) from near. by Mulberry St. was already singing in a racially integrated group —a necessity, according to Maestro. There just weren´t too many white kids interested in singing black R&B in lower Manhattan at the time. Maestro met the future Crests at the Henry Street Settlement House in 1956 and joined them soon after. ´Street´ vocal groups would seek any place that offered a good echo to add timbre and depth to their a capella singing. One natural refuge was the subway. One day in 1957 the group. recently named The Crests at the suggestion of member Carter. was in the subway practicing some of the gospel harmony they had been studying. A woman. riding the train from Brooklyn. heard them singing at the Brooklyn Bridge station The wife of arch´ estra leader Al Browne. she gave her husband´s business card to the group at the subway station. The group kneew that an Al Browne had backed up one of their favorite groups. The Heartbeats. and rushed to contact him. Browne knew the owners of a miniscule record label. Joyce Records. Maestro claims that Joyce Records was two guys who ran the company from the back of a record store in Brooklyn. something quite believable given the history of many of New York´s small independent record operations at the time. The group wrote both sides of what would be their last single. My Juanita , Sweetest One: and future royalty payments notwithstanding (Maestro claims the sum of $17.50 for this single). Sweetest One - actually made the national pop charts. peaking at #87 in July 1957. Two other recordings from that session. No One To Love and Wish She Was Mine were released on Joyce a few months later without fanfare or sales. While recording for Joyce. the group was intro-duced to singer. songwriter.rarranger Billy Dawn Smith. Smith was impressed with the group and brought them to the attention of music publisher George Paxton. With the group now signed to him— minus Patricia Van Dross, who as a 15-year-old girl was not allowed to travel with the boys—Paxton formed Coed Records in early 1958. Compared to Joyce. Coed was it big league operation. Paxton had contacts throughout the industry and provided the group with some Al the best writers and arrangers on the scene, including Luther Dixon. Bert Keyes and Otis Blackwell. Coed 501 Pretty Little Angel by The Crests— inaugurated the label. While it got local airplay and local chart placement. national atten. Lion was not to be. The group´s next release. however. was a different story: it would not only twome one of the best-selling ´oldies´ of all time, but the source of some controversy in the payola hearings that would take place two years atter its release That classic. 16 Candles was originally called Twenty One Candles before someone with marketing sense aimed the song at the burgeoning teenage audience. Trade ads of the day state that the record ´broke´ immediately; it was later shown that when Dick Clark bought it share of the publishing in the song. the record began being featured almost daily 011 American Bandstand. and success followed directly. The song peaked at 12 on the national charts and The Crests were on their way. Appearances with Clark and Alan Freed. among others. strengthened the group´s stage acumen: their show featured some
(Collectables) 18 tracks - Relatively few 1950´s vocal groups are fortunate enough to be remembered nearly 25 years after their rise to popularity, but such is the case for Johnny Maestro and the Crests. So talented and successful were the Crests that their late fifties records like 16 Candles, The Angels Listened In and Step By Step are still a part of every radio station´s oldies programming. The Crests story began in 1956 on New York City´s lower East side when foUr Black youth, J.T. Carter, Talmadge Gough, Harold Torres and Patricia Van Dross teamed up with a young White lead named Johnny Mastroangelo. After singing together for about a year, the group´s first break came in 1957 when they signed with Al Browne´s ´Joyce´ label. The Crests´ first record, My Juanita backed with Sweetest One was moderately popular in the New York area but in no way approached the success of the group´s later records. After an unsuccessful second release on Joyce, the Crests signed with the COED label in 1958. By this time; Pat Van Dross, the only female in the group, decided to give up singing, leaving just the four young men, The Crests´ first release for COED, Pretty Little Angel was by no means the national hit the group was looking for but it received enough attention to warrant a second COED release by the Crests. That second release was 16 Candles, one of the most popular rock & roll ballads of all time. Much of the success of ´´16 Candles´´ must be credited to Dick Clark who gave the record extensive play on American Bandstand. With the popularity of 16 Candles the Crests soon found themselves making TV appearances and touring with the biggest name acts in the country. Over the next three years, hit followed hit for the Crests. Songs like Six Nights A Week, Flower of Love, The Angels Listened In, A Year Ago Tonight, Step By Step, Gee, and Trouble in Paradise kept the group at the top of the charts and in constant demand for public appearances. Late in 1960, following the release of Journey of Love and a couple of successful records, Johnny Maestro and Crests broke up. Johnny Maestro, being groomed by COED as a solo artist struck out on his own. After several years of solo releases for a variety of labels, Johnny resurfaced in 1968 as the lead of the popular vocal group Brooklyn Bridge. The remaining Crests continued recording until 1964, when they called it quits. This album captures the magic of the golden years for Johnny Maestro and the Crests. Charlie Homer - Saturdays 1-3 PM, WXPN (88.9 FM) Philadelphia
Jonathan Martin Delaware Deseronto is a six-foot-five serial killer with a problem. He´s stuck out on I-476 in a heavy November rainstorm with two flat tires and the dead bodies of a cop and a coed named Marissa Madison in his trunk. Desperate to get off the highway, he drives his car on its back rims towards exit six. The car stalls on the ramp, and Deseronto uses the last of its momentum to plunge over the crest of a steep slope and crash into a length of concrete pipe below. The car comes to rest on the edge of a construction site where machines are positioned to tear down an old Motel 6. For Deseronto, the worst is yet to come. Marissa Madison had been a psychic of sorts while alive, using her ability to assist people in their personal journeys. Now the ghost of Marissa will utilize her strange gift, trapping Deseronto in the abandoned motel and forcing him to live the last fatal week of her own life as a passive passenger in her body.... Soon Deseronto will experience something truly horrific: the mind-numbing terror of being stalked by himself. 1. Language: English. Narrator: Jeremy Arthur. Audio sample: http://samples.audible.de/bk/adbl/025247de/bk_rhde_002536_sample.mp3. Digital audiobook in aax.
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