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Another Green World - Eno* - Another Green World (Vinyl, LP, Album)

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Namespaces Article Talk. Views Read Edit View history. When musicians of this ability come together they are better able to push past arbitrary limits. Ten years on there is a new guest in the lineup and as always there are new compositions from everyone. I hope that this recent gig is the prelude to a third album because together this iteration is crackling hot.

With guitarist Keith Price on board, they moved into fresh territory and alongside the burners, there were touches of big-vista Americana.

No wonder the gig was billed as the New Extra Strength Dog. At times it was Industrial strength. Although the group is co-led, Roger Manins is the compare. Any gig that he fronts will have X-factor and this was no exception. The first set opened with a tune by Price and it was blistering.

From the front row, it was like being in a jet-stream but it was not just bluster. Price is a terrific composer and this tune rode a freight train of tension and breathtaking harmonic shifts. That set the pace. With one exception the encorethese were all new tunes and each complemented the other. This was a feast of good writing, tunes played and written by musicians at the top of their game. In spite of their long association, it is obvious that these guys enjoy playing together.

The respect and warmth shine through the music. They are in sync because they respect the music and each other. The large club audience picked up on that, thus completing the virtuous circle. I have posted the first and last gig tunes as YouTube clips. Both of the DOG albums remain popular and they are available from stores or directly from Rattle and on Bandcamp.

We are lucky to have artists of this calibre in Auckland and if we show our support, more albums will surely follow. One was Ben Lerner, a saxophonist who had utilised his time in lockdown to write some new music. While he played only one set, it was satisfying and complete in itself. Lerner left New Zealand a while ago and his time in Sydney has seen him further mature as an artist. His sojourn there has been productive as he has performed alongside some well-known musicians such as Mike Nock and Steve Barry.

His sound is distinctive, even and beautiful, and can convey a variety of moods with his carefully controlled modulation. Perhaps this is a thing that alto players focus on more than tenor players?

The approach served his compositions well, for his ability as a musician extends beyond performance.

I have posted part four of that suite in a YouTube clip. All are superb readers and each contributed something of themselves to the project. A recent graduate of the UoA Jazz School and at present completing his postgraduate studies there. It is unusual to see such a polished performance in an emerging artists gig.

He plays well, very well, and he writes well also; but perhaps the most surprising thing to witness is how comfortable he looks while performing. A first-time leaders gig before a large discriminating Jazz audience must be daunting. I have seen students perform who have an abundance of good ideas and the ability to carry them out but they sometimes lack the confidence to commit to them fully.

I suspect that is the norm. Pipes gig was the counterfactual. They were melodic and engaging. Certain phrases reminded me of middle-eastern rhythms and whether intentional or not, enterprising. Improvisation like poetry is the fine art of appropriation and above all, it is stealing from and modifying your own best ideas. And to do this and not sound derivative is laudable. Exciting to hear.

The other ingredient, a solid and sympathetic line-up. Like Pipes, he is relaxed and confident on stage. On one gig he will play fusion, on another, straight ahead, or he will dial it down as an accompanist. Upfront, alongside Pipes, was saxophonist Daniel McKenzie. An emerging player and a strong improviser. The flow of his ideas revealing a narrative quality. Bass player Wil Goodinson has appeared many times at the club.

He has a solid reputation and he never disappoints. Lastly was drummer Rhohil Kishore. While the older drum styles are implicit, he always reaches for a fresh modern sound. The two art forms have complemented each other since the early twentieth century. Even before the talkies, a pianist would sit watching a flickering screen while he or she would churn out improvised music.

It is not always obvious that a Jazz musician Album) composed a movie soundtrack but a surprising number of films can lay claim to this connection. We have Jazz musicians in our own community who often appear in the credits Crayford, Langabeer etc. In the case of Ennio Morricone, the reverse is true. He was never a Jazz pianist but his compositions have become jazz standards. Price has turned the concept on its head and created something vital and new, and in this case, drawing on the film images to blaze a new trail.

Here, the images are subordinate or equal to the music and there is no incidental music to enhance the segments of dialogue. And because there is no spoken narrative something extraordinary occurs. We feel the music and absorb the images in new ways.

It comes to us through many Album), through ears, body and eyes. This is a through-composed work, but with space and opportunity for the musicians to react to the images and to each other. It features group improvisation, but there is nothing aimless about the work.

Each segment is built on what proceeds it with the charts guiding the ensemble forwards as they interact. The ensemble was a double quartet and this doubling up of instruments required skilful playing and very good writing. Luckily we got both, and although the gig was loud, the intensity never tumbled into chaos. Each musician took on agreed roles, resulting in a heady, textural mix. There were two keyboards piano and digitaltwo drummers, two basses one upright, the other electrica tenor saxophone and a guitar.

Price was on guitar and guiding the music with prompts. An unexpected plus for me was having the cinematography of Sergio Leone untethered from the screenplay. A new piece of music to a timeless movie.

He was a towering genius of the cinema and it was nice to be reminded of that as we appreciated the preternatural framing of each shot. Leone drew on Samurai tales for his Dollar Trilogy and in doing so he reached beyond genre. The function of archetypes is to live on through reinterpretation and thanks to Keith Price, this story lives on. It was a quartet devoid of chordal instruments. It was Coleman, not Mulligan. It was original music and an example of Coleman induced Lockdown creativity.

He drums musically and tells stories at every turn. His tune titles, his solos and his announcements are tales from a true raconteur. He is a storyteller with an open vocabulary. I am always enthusiastic about a Lockett gig and with Lucien Johnson in the line-up, it was a sinch. Like Lockett, he is adventurous and his musical fearlessness was an asset here.

While Lockett composed the tunes excepting two Monk tunesJohnson was the principal arranger. The resulting gig was a tribute to freedom. Colman never abandoned the rules, he just invented new ones.

I think that he would have enjoyed this gig as he never wanted followers. What he wanted, was fellow travellers and he found that with this band. Everyone took solos and the notes they blew added something worthwhile.

Behind them and pounding out meaty basslines was Umar Zakaria. We saw Zakaria recently when he fronted his own gig. Here, he was at his best, a Mingus like figure powering the music to greater heights. He was just the right anchor and the others benefitted from his solid earthy cushion. There had been much anticipation as the band is popular, and when the gig finally happened, everyone was excited. The Martyniuk Trio whether playing alongside Kiwi or Polish musiciansalways manages to capture a piece of that northern vibe for us.

I have previously reviewed Martyniuk gigs and they never disappoint. I like them because they are uplifting. I like them for their melodic and harmonic richness. Martyniuk is a gifted pianist, but his compositions and arrangements are real standouts. His tunes feel like modern standards and I never tire of hearing them interpreted afresh.

A case in question was a soulful tribute to Lyle Mays For Lyle. A reflective ballad, celebrating a creative giant now lost to us. The tune, captured the essence of Mays the musician while evoking sadness at his untimely passing. When tours stopped I recall wondering; when will I ever hear live music again? I listened to both Metheny and Martyniuk over the turbulent months that followed and recaptured the joy of those events.

We are lucky to have live music again, and especially when so many others are deprived of it. Another obvious reason for adding Metheny tunes to a programme of originals was the inclusion of Dixon Nacey in the band. During recent gigs, he has introduced many of these into his repertoire and to much acclaim. He was very much on form last week and his soaring smooth as silk delivery filled the room. His warm sound also complimented the richness of the Martyniuk compositions.

Videoing this gig proved extremely difficult, as the room was dark and the sightlines impossible. It was also a packed house and so capturing the sound from a suitable location was compromised Those who want to hear more of the group should buy an album or go see them live. While he remains here, do check his band out. First off, was that wonderfully evocative title and accompanying postersuggesting a balm to ease our way through troubled times. For a lover of forests and explorative sounds, it was irresistible.

During that time he has been associated with some diverse and interesting bands. This was his second CJC gig as a leader and the proof was to be in the pudding. The gig title suggested an elemental offering and in many ways it was. While it referenced many ideas and styles, all were distilled to their essence. Out of this, Gianan had forged a clear vision. It was a surprisingly mature offering and his strength as a leader became apparent as the sets progressed.

He knew exactly what he wanted from the musicians and he signalled his intentions as the tunes progressed. The compositions, while structured, did not confine the musicians.

They were pieces written with the ensemble in mind. It was particularly evident in the head arrangements, which were anchors for the developments which arose from them. Brief exchanges between guitar and saxophone, momentarily broke free of the structure, and this contrasted with the steady bass lines and drum pulses.

There were burners and ballads, and every twist and tune seemed to balance what had preceded it. His comping is supportive while the flurry of exchanges with the other musicians are to the point. His alto lines tight in the heads, and stretching during exchanges. His lines are often elided and I like that, he can say a lot with what he leaves out.

Knowing when to leave space is important and again this says something about the quality of the compositions. Completing the line up were two experienced musicians, Bass player Mostyn Cole and drummer Ron Samsom.

There were fragments of vibrato-tinged melody, played in unison; at other times a pumping groove. He was a late addition to the lineup and a good choice. We expect much from Samsom and we are never disappointed. He seemed to relish playing alongside his former pupil.

He was on fire. Unfortunately, the battery on my Rode mic gave out, so the filming relied on the camera mic. It is not ideal, but the music shines through. The tune titles were intriguing and added something to the vibe.

Enigmatic titles can add value and these felt like they belonged to the tunes. It is noticeable when a gig flows naturally.

Afterwards, something remains with you, an essence, not just a tune, but a sense of what the musician is communicating. At times, this gig evoked a wistful feel, but it mostly suggested what could be. I for one will wait for what comes next with interest.

The author is a professional member of the Jazz Journalists Association. Some of these posts appear on other sites by arrangement. Happenstance is the midwife to surprise and in the musical universe, random events occur often. They appear unheralded, bringing chaos or joy and for seasoned improvisers, they are welcome visitors.

So it was with Hot Foot, a band cobbled together in haste; a sonic singularity, a concentration of energy. The advertised gig was an organ trio, but at the last minute, that event was rescheduled, so with hours to spare, Roger Manins revived Hot Foot and how fortuitous that turned out to be.

There is provenance to Hot Foot, but the details remain sketchy. Leader Manins hinted that they had once played at a village market but a long time ago. He introduced the trio with a story about a Sydney band of similar configuration. For him, that had been a formative experience, a chance to play without the safety net of a chordal instrument.

A chance to cut his musical teeth alongside more experienced players and to road test the Sonny Rollins Way Out West trio thing. On Wednesday, the spirit of Rollins hung over the proceedings, the way Manins gnawed away at a tune and tugged at its fabric without losing the form. We were treated to long intros where a familiar melody was hinted at, then abandoned to a flurry of arpeggios.

It was riveting to watch and to hear. There were clear signals and subtle hints as the intros unfolded; sometimes accompanied by verbal exclamations or questions directed at the audience or to Jazz School students. The solos were extracted from the tunes by paring them back and then exposing the naked ideas; sometimes stopping at the brink of freedom. If this sounds chaotic it was not. It was a masterclass for Jazz lovers and it was realised in a spirit of joy and levity.

A saxophone trio reveals the melodic lines unadorned, but in doing so there are specific responses required from a bass player and a drummer. In this instrumental configuration, it is important that a bass player holds the form, and McArthur did so admirably. This not only gave the saxophonist the room he needed but opened up opportunities for the drummer.

Drummer Ron Samsom made the most of his space and his musical intelligence came to the fore. His was a modulated voice as there was nothing that intruded or jarred, there was a pulse but it was mainly implied. He explored the kits melodic possibilities and added flashes of colour. Improvisers function best in a high trust environment and that was what we saw last week. Another Green World - Eno* - Another Green World (Vinyl is here where experience counts and where a band manifests personality.

The gig also unleashed Manins alter ego, Comedian Roger. There are often flashes of humour in his musical performances and it is especially evident when he introduces tunes.

He never takes himself too seriously and this balances his serious commitment to his art form. His humour is unplanned and you never know what is coming next. The CJC audiences love to see this side of him. This is a favourite of mine and judging by the whoops of delight when the coda morphed into the tune, it is an audience favourite also. Ask Me Now is a question I am happy to answer. Yes, this was a very good night. For those unfamiliar with its history, the club was set up over a decade ago, as a place to bring original improvised music to discriminating listening audiences.

A secondary function was to ensure that emerging artists were given a shot on select gig nights. Frater is an undergraduate at the UoA Jazz School and for an emerging performer, his drum-work shows surprising maturity. In common with many up-and-coming performers, his approach is not confined to any particular style and this openness has informed his approach. The gig was billed as swing influenced, but leaning towards fusion, and the descriptor was accurate. Frater is a compelling drummer and he will further enrich the local scene.

The leader enrolled former and current students for this gig and in consequence, a shared vision was evident. CJC audiences are by now quite familiar with guitarist Michael Gianan and with keyboard wiz Joe Kaptein; both have featured often during the last year. The other band members were Jimmy Olsen on electric bass, Andrew Isdale on tenor saxophone and Jack Thirtle on trumpet.

Olson was a powerhouse with those urgent pumping bass-lines; the sounds of Jazz-fusion deserve slippery grooves like that. And Kaptein impressed as he always does, his calm demeanour belying what was flowing from his fingertips. He backed into the pieces like a pro and established grooves on top of grooves; then he reached underneath the bonnet and messed with the sound in a good way.

The groove tunes took a bold step in the direction of improvised Jazz electronica; the direction of Eivind Aaset in particular. I hope that Frater takes us further down that road. It has until now been a Nordic sound and it is extremely popular in the northern regions. This band gave it a Kiwi flavour, and I for one am ready for more. Clarke had assembled some formidable firepower. Clarke is a recent graduate from the UoA Jazz Programme and I first heard her when she was called on at short notice to replace Caitlin Smith at a live gig, just days before the first lockdown.

Many of the tunes were sung in Portuguese. Again, it is a credit to the Auckland University Jazz School that they nurture such diversity within their programme structure.

Out of this diversity, an Auckland sound is being forged. It can be daunting to find yourself in front of a large discriminating Jazz audience, but Clarke demonstrated her ability to win an audience over. She has a fine voice and she mastered the rhythmic complexities of her Latin tunes with ease.

Alex Pipes also nailed the rhythms, with Olsen, Samsom and Frater adding counter pulse and texture. Nathan Haines provided perfect fills and a gorgeous solo or two. His Latin Flute chops are legendary. I write from a warm Pacific Island. We have had two short sharp lockdowns this year and as we emerged from each of them, the music venues filled up with enthusiastic punters; so what better way to exit the last lockdown but with joyful noise. Ruckus is a genre defying, assemblage of anarchic improvisers under the guidance of David Ward.

Last week saw the inclusion of saxophonist J. Lee in the Ruckus lineup and his bold delivery added piquancy. There were three Monk tunes performed, and on these, Lee played Baritone saxophone. Ruckus is one of several local groups which invariably include Monk tunes in their repertoire.

There were folksy ballads and a tango referencing tune I have posted the latter. This time, there was less Americana influence but it was still evident. As always, Neil Watson alternated between pedal steel guitar and standard electric guitar. He and Ward are old hands at this material and they play off each other well. Eamon Edmundson Wells upright bass work stood out on this gig. He sounded great. This is the type of band where he is at his best, the type of band where a degree of freedom is afforded him.

Tristan Deck again proved his worth as a multi-faceted and capable drummer. I loved the stick work on the tango-esque number. Some of the posts also appear on other sites.

Album) will flow through the cracks until it has found its own level. The recent Kiwi lockdown was mercifully short, and in random and serendipitous ways new music found me. As always, I was happy when it did.

Below are three very different albums — check them out. During our recent lockdown I received an album in the post from Lionsharecords. Having recently travelled to New Orleans, I detected those influences in this band immediately.

Everything from swing to soulful gator-funk, from Sun Ra to the various free jazz offshoots. It is a living, breathing up to the minute music and one with its own flavour. I loved the album for its warmth and approachability. It is instantly engaging, but this is not a nostalgic romp. There is real depth here and many treasures are revealed to the deep listener. The interplay between the musicians is simply stunning and their time feel beyond caveat.

There are many moods and whether a gentle ballad or a hotter number, all Another Green World - Eno* - Another Green World (Vinyl uniquely to the whole. The tunes here were all penned by Scurry and he is also the co-arranger and producer.

He has been a popular feature of the Australian scene for many years and I wonder what took him so long to launch this particular project. The other arranger and horn arranger is trumpeter Eugene Ball. Ball is another veteran of the Melbourne scene and a Bell award winner. I associate him with the moderism of Andrea Keller. Here you are overwhelmed by the richness of his sound. He is perfect in these very different rolls.

The textures, tunes and uncanny interplay render this a terrific album. It may have its roots in traditional swing, but I defy anyone, whatever their taste in jazz, not to love this. All art-work by John Scurry. I am always keen to check out gigs or albums featuring Lucien Johnson, so I downloaded it on Bandcamp. There was no information about the band or the recording on the album page, but my ears began to fill in the gaps. John Bell had to be the vibes player, surely it was him an online search confirmed that?

Few south of the equator punch out modal grooves quite as convincingly as Bell.

Various - World Up! Vol. 1 (CDr, Album), Wasted Money - Little Moroccos - Demo (CDr), So Ist Halt Die Welt - Broilers - Verlierer Sehen Anders Aus (CD, Album), Dust In The Wind - Kansas (2) - Two For The Show (Vinyl, LP, Album), Power Of The Loser - Andru Donalds - Diamond Collection (CD), Red Hawthorn Tree - Current 93 - Sleep Has His House (CD, Album), Untergrund Connexion - Raptor (11) - Psychosomatik (CDr), Edemov Sad - Various - Weird Sounds From Russia And Ukraine (Cassette), More To This Life - Steven Curtis Chapman - More To This Life (CD), Louis Brooks And His Hi-Toppers - Bus Station Blues /Rollin Home (Shellac)

01.09.2021
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8

Malo Ćemo Da Se Kupamo - Crvena Jabuka - Malo Ćemo Da Se Kupamo / Ti Znaš (Vinyl)

Crvena Jabuka - Dolly Bell. Crvena Jabuka - Tuga, ti i ja. Crvena Jabuka - Imam Neke Fore. Crvena Jabuka - Minka. Crvena Jabuka - Dirli dirli dirlija. Crvena Jabuka - Tugo Nesreco. Crvena Jabuka - Bjezi kiso s prozora. Crvena Jabuka - Stari Moj. Crvena Jabuka - Hajde dodzi mi. Watch out, watch out Summer is coming again to our place from the south the sun brings golden waves Let's come down from the heights let's step out of Malo Ćemo Da Se Kupamo - Crvena Jabuka - Malo Ćemo Da Se Kupamo / Ti Znaš (Vinyl) and sinkholes down there dolphin is tearing up the net let's go down to the sea Darling, you and me we'll walk along the shore darling you speak to me so gentle on the coast Ref.

Watch out, watch out Here's a cream put some on your beloved man It would be lame if the sun fried him It would be crazy if the sun fried him by tonight 'cause in the evening he won't be useful at all,no Darling, you and me Lavender, sardines and others Malo Ćemo Da Se Kupamo - Crvena Jabuka - Malo Ćemo Da Se Kupamo / Ti Znaš (Vinyl) of our choir in Malo Ćemo Da Se Kupamo - Crvena Jabuka - Malo Ćemo Da Se Kupamo / Ti Znaš (Vinyl) of us the sea under us the oysters 2x.

This content is licensed under a Creative Commons License. Based on phpBB 2, translated by Simke, designed by. Prijateljski sajtovi MyCity. Napisano na dan: Strana: 1 2. Album "Za sve ove godine" nikad nije promoviran niti reklamiran, po zelji tri preostala clana, koji definitivno odlucuju prestati.

Niksa Bratos tu postaje njihov novi producent i gitarista. Album "Sanjati" izlazi u prodaju Taj album je prodan oko primjeraka. Malo Ćemo Da Se Kupamo - Crvena Jabuka - Malo Ćemo Da Se Kupamo / Ti Znaš (Vinyl) velika turneja CJ oko koncerata. U drugoj polovini 1. Odmah poslije albuma CJ krece na turneju gdje je u Domu sportova u Zagrebu snimljen dupli live album Malo Ćemo Da Se Kupamo - Crvena Jabuka - Malo Ćemo Da Se Kupamo / Ti Znaš (Vinyl) me kad hoces ti".

Na album ima Kemal Monteno kao gost. Nakon tog albuma je planirana turneja koja nije odrzana nazalost iz poznatih razloga, rat u Hrvatskoj i BiH. To uzrokuje ponovnu pauzu Cj i dosad najduzu. Zlaja napusta Sarajevo i odlazi u London, da bi god.

Niksa je vec od Sidjimo sa visina izadjimo iz skrapa i vrtaca dole dupin mrizu cipa spustimo se do mora Draga, ja i ti obalom cemo se setati na obali mi ti draga njezno govoris Ref. Pazi, pazi Evo ti krema svoga dragog namazi bilo bi bezveze da ga sunce isprzi Bilo bi blentavo da do noci izgori jer takav navece nizasta nije, ne Draga ja i ti lavanda, srdele i ostali pjesmice nase klapice ispred nas more pod nama kamenice 2x Ref.

In Havana The Stars - Royal City - At Rush Hour The Cars (CD, Album), Drumcode 01 A1 - Adam Beyer - Selected Drumcode Works (1996-2000) (File), Sylvias Mother - Dr. Hook And The Medicine Show* - Revisited (Vinyl, LP), Think About The Way - Various - The Best Of The Best Vol.02 (Vinyl, LP), Somebody Now In Love - Various - Cherry Moon Club Edition Vol.12 (CD), Night For Love (Premier Club Mix) - Shawn Christopher - Night For Love (Vinyl), Dont Leave Me This Way - Fats Domino - The Fats Domino Story Volume 2 - "Aint That A Shame", Better Best Forgotten - Steps - Step One (Cassette, Album), Black Soot And Red Blood - Panopticon (6) - Kentucky (Vinyl, LP, Album), Rain Check - Jermaine (2) - Jermajesty (CD, Album)

02.09.2021
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8

Various - The Vibes Vault - Funk, Jazz & Soul Rediscovered (CD)

Dal II secolo a. Nel mondo antico non godette di molta fortuna a causa del prezzo elevato rispetto a quello del papiro. Il libro in forma di rotolo consisteva in fogli preparati da fibre di papiro phylire disposte in uno strato orizzontale lo strato che poi riceveva la scrittura sovrapposto ad uno strato verticale la faccia opposta. La scrittura era effettuata su colonne, generalmente sul lato del papiro che presentava le fibre orizzontali.

Non si hanno molte testimonianze sui rotoli di pergamena tuttavia la loro forma era simile a quella dei libri in papiro. Gli inchiostri neri utilizzati erano a base di nerofumo e gomma arabica.

Dal II secolo d. La vecchia forma libraria a rotolo scompare in ambito librario. In forma notevolmente differente permane invece in ambito Various - The Vibes Vault - Funk.

Questo mezzo, permettendo l'accelerazione della produzione delle copie di testi contribuisce alla diffusione del libro e della cultura. Altri suoi distici rivelano che tra i regali fatti da Marziale c'erano copie di Virgiliodi Cicerone e Livio. Le parole di Marziale danno la distinta impressione che tali edizioni fossero qualcosa di recentemente introdotto. Sono stati rinvenuti "taccuini" contenenti fino a dieci tavolette.

Nel tempo, furono anche disponibili modelli di lusso fatti con tavolette di avorio invece che di legno. Ai romani va il merito di aver compiuto questo passo essenziale, e devono averlo fatto alcuni decenni prima della fine del I secolo d. Il grande vantaggio che offrivano rispetto ai rolli era la capienza, vantaggio che sorgeva dal fatto che la facciata esterna del rotolo era lasciata in bianco, vuota.

Il codice invece aveva scritte entrambe le facciate di ogni pagina, come in un libro moderno. La prima pagina porta il volto del poeta. I codici di cui parlava erano fatti di pergamena ; nei distici che accompagnavano il regalo di una copia di Omeroper esempio, Marziale la descrive come fatta di "cuoio con molte pieghe".

Ma copie erano anche fatte di fogli di papiro. Quando i greci ed i romani disponevano solo del rotolo per scrivere libri, si preferiva usare il papiro piuttosto che la pergamena. I ritrovamenti egiziani ci permettono di tracciare il graduale rimpiazzo del rotolo da parte del codice. Fece la sua comparsa in Egitto non molto dopo il tempo di Marziale, nel II secolo d. Il suo debutto fu modesto. A tutt'oggi sono stati rinvenuti 1.

Verso il d. I ritrovamenti egiziani gettano luce anche sulla transizione del codex dal papiro alla pergamena. Sebbene gli undici codici della Bibbia datati in quel secolo fossero papiracei, esistono Jazz & Soul Rediscovered (CD) 18 codici dello stesso secolo con scritti pagani e quattro di questi sono in pergamena. Non ne scegliemmo alcuno, ma ne raccogliemmo altri otto per i quali gli diedi dracme in conto.

Il codex tanto apprezzato da Marziale aveva quindi fatto molta strada da Roma. Nel terzo secolo, quando tali codici divennero alquanto diffusi, quelli di pergamena iniziarono ad essere popolari.

In breve, anche in Egittola fonte mondiale del papiroil codice di pergamena occupava una notevole quota di mercato. Sono tutti di pergamena, edizioni eleganti, scritti in elaborata calligrafia su sottili fogli di pergamena. Per tali edizioni di lusso il papiro era certamente inadatto. In almeno un'area, la giurisprudenza romanail codex di pergamena veniva prodotto sia in edizioni economiche che in quelle di lusso. La caduta dell'Impero romano nel V secolo d.

Il papiro divenne difficile da reperire a causa della mancanza di contatti con l' Antico Egitto e la pergamenache per secoli era stata tenuta in secondo piano, divenne il materiale di scrittura principale. I monasteri continuarono la tradizione scritturale latina dell' Impero romano d'Occidente. La tradizione e lo stile dell' Impero romano predominavano ancora, ma gradualmente emerse la cultura del libro medievale.

I monaci irlandesi introdussero la spaziatura tra le parole nel VII secolo. L'innovazione fu poi adottata anche nei Paesi neolatini come l'Italiaanche se non divenne comune prima del XII secolo. Si ritiene che l'inserimento di spazi tra le parole abbia favorito il passaggio dalla lettura semi-vocalizzata a quella silenziosa.

Prima dell'invenzione e della diffusione del torchio tipograficoquasi tutti i libri venivano copiati a Jazz & Soul Rediscovered (CD), il che li rendeva costosi e relativamente rari.

I piccoli monasteri di solito possedevano al massimo qualche decina di libri, forse qualche centinaio quelli di medie dimensioni. Il processo della produzione di un libro era lungo e laborioso. Infine, il libro veniva rilegato dal rilegatore. Esistono testi scritti in rosso o addirittura in oro, e diversi colori venivano utilizzati per le miniature.

A volte la pergamena era tutta di colore viola e il testo vi era scritto in oro o argento per esempio, il Codex Argenteus. Per tutto l'Alto Medioevo i libri furono copiati prevalentemente nei monasteri, uno alla volta. Il sistema venne gestito da corporazioni laiche di cartolaiche produssero sia materiale religioso che profano. Questi libri furono chiamati libri catenati. Vedi illustrazione a margine. L' ebraismo ha mantenuto in vita l'arte dello scriba fino ad oggi. Anche gli arabi produssero e rilegarono libri durante il periodo medievale islamicosviluppando tecniche avanzate di calligrafia arabaminiatura e legatoria.

Col metodo di controllo, solo "gli autori potevano autorizzare le copie, e questo veniva fatto in riunioni pubbliche, in cui il copista leggeva il testo ad alta voce in presenza dell'autore, il quale poi la certificava come precisa".

In xilografiaun'immagine a bassorilievo di una pagina intera veniva intagliata su tavolette di legno, inchiostrata e usata per stampare le copie di quella pagina. Questo metodo ebbe origine in Cinadurante la Dinastia Han prima del a. I monaci o altri che le scrivevano, venivano pagati profumatamente. I primi libri stampati, i singoli Various - The Vibes Vault - Funk e le immagini che furono creati prima del in Europa, sono noti come incunaboli. Folio 14 recto del Vergilius romanus che contiene un ritratto dell'autore Virgilio.

Da notare la libreria capsail leggio ed il testo scritto senza spazi in capitale rustica. Leggio con libri catenatiBiblioteca Malatestiana di Cesena. Anche nei suoi distici, Marziale continua a citare il codex: un anno prima del suddetto, una raccolta di distici viene pubblicata con lo scopo di accompagnare donativi.

Questa mole composta da numerosi fogli contiene quindici libri poetici del Nasone». Dal II secolo a. Nel mondo antico non godette di molta fortuna a causa del prezzo elevato rispetto a quello del papiro. Il libro in forma di rotolo consisteva in fogli preparati da fibre di papiro phylire disposte in uno strato orizzontale lo strato che poi riceveva la scrittura sovrapposto ad uno strato verticale la faccia opposta. La scrittura era effettuata su colonne, generalmente sul lato del papiro che presentava le fibre orizzontali.

Non si hanno molte testimonianze sui rotoli di pergamena tuttavia la loro forma era simile a quella dei libri in papiro. Gli inchiostri neri utilizzati erano a base di nerofumo e gomma arabica. Dal II secolo d. La vecchia forma libraria a rotolo scompare in ambito librario. In forma notevolmente differente permane invece in ambito archivistico.

Questo mezzo, permettendo l'accelerazione della produzione delle copie di testi contribuisce alla diffusione del libro e della cultura.

Altri suoi distici rivelano che tra i regali fatti da Marziale c'erano copie di Virgiliodi Cicerone e Livio. Le parole di Marziale danno la distinta impressione che tali edizioni fossero qualcosa di recentemente introdotto. Sono stati rinvenuti "taccuini" contenenti fino a dieci tavolette. Nel tempo, furono anche disponibili modelli di lusso fatti con tavolette di avorio invece che di legno. Ai romani va il merito di aver compiuto questo passo essenziale, e devono averlo fatto alcuni decenni prima della fine del I secolo d.

Il grande vantaggio che offrivano rispetto ai rolli era la capienza, vantaggio che sorgeva dal fatto che la facciata esterna del rotolo era lasciata in bianco, vuota.

Il codice invece aveva scritte entrambe le facciate di ogni pagina, come in un libro moderno. La prima pagina porta il volto del poeta. I codici di cui parlava erano fatti di pergamena ; nei distici che accompagnavano il regalo di una copia di Omeroper esempio, Marziale la descrive come fatta di "cuoio con molte pieghe". Ma copie erano anche fatte di fogli di papiro.

Quando i greci ed i romani disponevano solo del rotolo per scrivere libri, si preferiva usare il papiro piuttosto che la pergamena. I ritrovamenti egiziani ci permettono di tracciare il graduale rimpiazzo del rotolo da parte del codice. Fece la sua comparsa in Egitto non molto dopo il tempo di Marziale, nel II secolo d. Il suo debutto fu modesto. A tutt'oggi sono stati rinvenuti 1. Verso il d.

I ritrovamenti egiziani gettano luce anche sulla transizione del codex dal papiro alla pergamena. Sebbene gli undici codici della Bibbia datati in quel secolo fossero papiracei, esistono circa 18 codici dello stesso secolo con scritti pagani e quattro di questi sono in pergamena. Non ne scegliemmo alcuno, ma ne raccogliemmo altri otto per i quali gli diedi dracme in conto. Il codex tanto apprezzato da Marziale aveva quindi fatto molta strada da Roma.

Nel terzo secolo, quando tali codici divennero alquanto diffusi, quelli di pergamena iniziarono ad essere popolari. In breve, anche in Egittola fonte mondiale del papiroil codice di pergamena occupava una notevole quota di mercato. Sono tutti di pergamena, edizioni eleganti, scritti in elaborata calligrafia su sottili fogli di pergamena. Per tali edizioni di lusso il papiro era certamente inadatto.

In almeno un'area, la giurisprudenza romanail codex di pergamena veniva prodotto sia in edizioni economiche che in quelle di lusso. La caduta dell'Impero romano nel V secolo d. Il papiro divenne difficile da reperire a causa della mancanza di contatti con l' Antico Egitto e la pergamenache per secoli era stata tenuta in secondo piano, divenne il materiale di scrittura principale.

I Various - The Vibes Vault - Funk continuarono la tradizione scritturale latina dell' Impero romano d'Occidente. La tradizione e lo stile dell' Impero romano predominavano ancora, ma gradualmente emerse la cultura del libro medievale. I monaci irlandesi introdussero la spaziatura tra le parole nel VII secolo. L'innovazione fu poi adottata anche nei Paesi neolatini come l'Italiaanche se non divenne comune prima del XII secolo.

Si ritiene che l'inserimento di spazi tra le parole abbia favorito il passaggio dalla lettura semi-vocalizzata a quella silenziosa. Prima dell'invenzione e della diffusione del torchio tipograficoquasi tutti i libri Various - The Vibes Vault - Funk copiati a mano, il che li rendeva costosi e relativamente rari. I piccoli monasteri di solito possedevano al massimo qualche decina di libri, forse qualche centinaio quelli di medie dimensioni.

Il processo della produzione di un libro era lungo e laborioso. Infine, il libro veniva rilegato dal rilegatore. Esistono testi scritti in rosso o addirittura in oro, e diversi colori venivano utilizzati per le miniature. A volte la pergamena era tutta di colore viola e il testo vi era scritto in oro o argento per esempio, il Codex Argenteus. Per tutto l'Alto Medioevo i libri furono copiati prevalentemente nei monasteri, uno alla volta.

Il sistema venne gestito da corporazioni laiche di cartolaiche produssero sia materiale religioso che profano. Questi libri furono chiamati libri catenati. Vedi illustrazione a margine. L' ebraismo ha mantenuto in vita l'arte dello scriba fino ad oggi. Anche gli arabi produssero e rilegarono libri durante il periodo medievale islamicosviluppando tecniche avanzate di calligrafia arabaminiatura e legatoria.

Col metodo di controllo, solo "gli autori potevano autorizzare le copie, e questo veniva fatto in riunioni pubbliche, in cui il copista leggeva il testo ad alta voce in presenza dell'autore, il quale poi la certificava come precisa". In xilografiaun'immagine a bassorilievo di una pagina intera veniva intagliata su tavolette di legno, inchiostrata e usata per stampare le copie di quella pagina.

Questo metodo ebbe origine in Cinadurante la Dinastia Han prima del a. I monaci o altri che le scrivevano, venivano pagati profumatamente. I primi libri stampati, i singoli fogli e le immagini che furono creati prima del in Europa, sono noti come incunaboli. Folio 14 recto del Vergilius romanus che contiene un ritratto dell'autore Virgilio.

For an outline of the Librivox audiobook production process, please see The LibriVox recording process. We require new readers to submit a sample recording so that we can make sure that your set up works and that you understand how to export files meeting our technical standards. We do not want you to waste previous hours reading whole chapters only to discover that your recording is unusable due to a preventable technical glitch.

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9

Mama Kin - Guns N Roses - G N R Lies (Vinyl, LP, Album)

URL consultato il 6 febbraio URL consultato l'11 gennaio URL consultato il 23 maggio archiviato dall' url originale il 24 luglio URL consultato il 15 ottobre URL consultato il 18 aprile URL consultato il 16 luglio URL consultato il 25 gennaio URL consultato l'11 novembre archiviato dall' url originale l'11 agosto URL consultato l'8 ottobre archiviato dall' url originale il 2 marzo URL consultato il 12 maggio URL consultato il 20 novembre URL consultato il 27 maggio URL consultato il 23 settembre LP dall' url originale il 18 marzo URL consultato il 28 gennaio URL consultato il 29 agosto URL consultato il 22 gennaio URL consultato il 29 settembre URL consultato il 2 aprile URL consultato il 28 gennaio archiviato dall' url originale il 15 novembre URL consultato l'8 luglio Marketsu billboard.

URL consultato il 13 agosto URL consultato il 18 dicembre archiviato dall' url originale il 13 febbraio URL consultato il 9 luglio It includes remastered versions of Live?!

In addition to the music, the includes a page book with unreleased photos from Rose's personal archive, 12 lithographs visualizing each song on the album and assorted replica memorabilia.

A hidden tape of the band's five-song Mystic Studios demo session is included as an easter egg in one of the drawers of the Locked N' Loaded edition. A Pop-up shop was opened in London on the day of release, featuring Guns N' Roses themed drinks, a tattoo Album), merchandise, and a large screen showing the band's show at The Ritz.

The box set received universal critical acclaim, with Metacritic scoring it 95 out ofbased on nine reviews. Disc one is the original album.

A fifth disc is included; a Blu-ray disc, which has 96 kHz bit 5. Credits are adapted from the album's liner notes. From Wikipedia, the free encyclopedia. Redirected from Appetite for destruction.

This is the latest accepted revisionreviewed on 2 October For other uses, see Appetite for Destruction disambiguation. Guns N' Roses. This section needs expansion.

You can help by adding to it. January Guns N' Roses [ edit ] W. Archived from the original on June 30, Retrieved May 30, Rock June 16, Archived from the original on April 20, Retrieved June 9, Guns: "And then I lasted for about seven or eight months in that, and then Axl and I got into an extraordinary fight It just wasn't fun anymore. Stacy Creamer ed. It's so Easy and other lies. Collaboration by Tim Mohr. ISBN Archived from the original on December 8, Retrieved June 29, Archived from the original on December 6, Retrieved December 5, Los Angeles Times.

Archived from the original on July 23, Retrieved December 5, — via LA Times. Archived from the original on August 11, Retrieved November 11, Rolling Stone Australia Archived from the original on March 2, Retrieved October 8, Archived from the original on October 17, Retrieved October 17, It's So Easy and other Lies.

It Books. Geffen Records. Archived from the original on March 12, Retrieved November 20, Culture Creature. Archived from the original on June 27, Retrieved June 24, February 9, Archived from the original on August 17, Archived from the original on June 23, Archived from the original on August 15, Retrieved July 8, Archived from the original on October 28, Retrieved February 23, Archived from the original on May 19, Retrieved May 3, Archived from the original on July 22, Human beings are flawed and limited—"not everybody can be extraordinary, there are winners and losers in society, and some of it is not fair or your fault.

Once we embrace our fears, faults, and uncertainties, once we stop running and avoiding and start confronting painful truths, we can begin to find the courage, perseverance, honesty, responsibility, curiosity, and forgiveness we seek. While money is nice, caring about what you do with your life is better, because true wealth is about experience.

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That would certainly let me sail straight out of here. The course of wisdom, surely. With keen insight and mordant humor, Novik reminds us that sometimes it is not enough to rewrite the rules—sometimes, you need to toss out the entire rulebook. The magic of the Scholomance trilogy will continue in Bob Woodward. The transition from President Donald J. Trump to President Joseph R.

Biden Jr. But as 1 internationally bestselling author Bob Woodward and acclaimed reporter Robert Costa reveal for the first time, it was far more than just a domestic political crisis. Woodward and Costa interviewed more than people at the center of the turmoil, resulting in more than 6, pages of transcripts—and a spellbinding and definitive portrait of a nation on the brink.

This classic study of Washington takes readers deep inside the Trump White House, the Biden White House, the campaign, and the Pentagon and Congress, with vivid, eyewitness accounts of what really happened. Peril is supplemented throughout with never-before-seen material from Mama Kin - Guns N Roses - G N R Lies (Vinyl orders, transcripts of confidential calls, diaries, emails, meeting notes and other personal and government records, making for an unparalleled history.

The Wish. Nicholas Sparks. With exclusive travel photos and a special letter from the Author, only available for e-readers. From the author of The Longest Ride and The Return comes a novel about the enduring legacy of first love, and the decisions that haunt us forever.

Handsome, genuine, and newly admitted to West Point, Bryce showed her how much there was to love about the wind-swept beach town—and introduced her to photography, a passion that would define the rest of her life.

ByMaggie is a renowned travel photographer. She splits her time between running a successful gallery in New York and photographing remote locations around the world. But this year she is unexpectedly grounded over Christmas, struggling to come to terms with a sobering medical diagnosis. Increasingly dependent on a young assistant, she finds herself becoming close to him. As they count down the last days of the season together, she begins to tell him the story of another Christmas, decades earlier—and the love that set her on a course she never could have imagined.

The Jailhouse Lawyer. James Patterson. From James Patterson, the world's 1 bestselling author: a young lawyer takes on the judge who is destroying her hometown—and ends up in jail herself. In picture-perfect LP, Alabama, the most serious crimes are misdemeanors.

Speeding tickets. Contempt of court. Then why is the jail so crowded? And why are so few prisoners released? Sometimes the best education a lawyer can get is a short stretch of hard time. Anderson Cooper. Tabitha Brown. You are seen, you are loved, and you are heard! Tabitha grounds her lessons in stories about her own life, career, faith, and family in this funny, down-to-earth book, built around the catchphrases that her fans know and love, including: Hello There! Iron Widow.

Xiran Jay Zhao. An instant 1 New York Times bestseller! The boys of Huaxia dream of pairing up with girls to pilot Chrysalises, giant transforming robots that can battle the mecha aliens that lurk beyond the Great Wall.

It doesn't matter that the girls often die from the mental strain. When year-old Zetian offers herself up as a concubine-pilot, it's to assassinate the ace male pilot responsible for her sister's death. But she gets her vengeance in a way nobody expected—she kills him through the psychic link between pilots and emerges from the cockpit unscathed.

She is labeled an Iron Widow, a much-feared and much-silenced kind of female pilot who can sacrifice boys to power up Chrysalises instead. But now that Zetian has had a taste of power, she will not cower so easily. She will miss no opportunity to leverage their combined might and infamy to survive attempt after attempt on her life, until she can figure out exactly why the pilot system works in its misogynist way—and stop more girls from being sacrificed.

Sara Gottfried. New York Times best-selling author Dr. Sara Gottfried has spent her career demystifying hormones and helping patients improve their health more broadly with personalized medicine. In Women, Food, and Hormones, Dr. Gottfried presents a groundbreaking new plan that helps women balance their hormones so they can lose excess weight and feel better. Fece la sua comparsa in Egitto non molto dopo il tempo di Marziale, nel II secolo d. Il suo debutto fu modesto.

A tutt'oggi sono stati rinvenuti 1. Verso il d. I ritrovamenti egiziani gettano luce anche sulla transizione del codex dal papiro alla pergamena. Sebbene gli undici codici della Bibbia datati in quel secolo fossero papiracei, esistono circa 18 codici dello stesso secolo con scritti pagani e quattro di questi sono in pergamena.

Non ne scegliemmo alcuno, ma ne raccogliemmo altri otto per i quali gli diedi dracme in conto. Il codex tanto apprezzato da Marziale aveva quindi fatto molta strada da Roma.

Nel terzo secolo, quando tali codici divennero alquanto diffusi, quelli di pergamena iniziarono ad essere popolari. In breve, anche in Egittola fonte mondiale del papiroil codice di pergamena occupava una notevole quota di mercato.

Sono tutti di pergamena, edizioni eleganti, scritti in elaborata calligrafia su sottili fogli di pergamena. Per tali edizioni di lusso il papiro era certamente inadatto. In almeno un'area, la giurisprudenza romanail codex di pergamena veniva prodotto sia in edizioni economiche che in quelle di lusso. La caduta dell'Impero romano nel V secolo d. Il papiro divenne difficile da reperire a causa della mancanza di contatti con l' Antico Egitto e la pergamenache per secoli era stata tenuta in secondo piano, divenne il materiale di scrittura principale.

I monasteri continuarono la tradizione scritturale latina dell' Impero romano d'Occidente. La tradizione e lo stile dell' Impero romano predominavano ancora, ma gradualmente emerse la cultura del libro medievale. I monaci irlandesi introdussero la spaziatura tra le parole nel VII secolo. L'innovazione fu poi adottata anche nei Paesi neolatini come l'Italiaanche se non divenne comune prima del XII secolo. Si ritiene che l'inserimento di spazi tra le parole abbia favorito il passaggio dalla lettura semi-vocalizzata a quella silenziosa.

Prima dell'invenzione e della diffusione del torchio tipograficoquasi tutti i libri venivano copiati a mano, il che li rendeva costosi e relativamente rari.

I piccoli monasteri di solito possedevano al massimo qualche decina di libri, forse qualche centinaio quelli di medie dimensioni. Il processo della produzione di un libro era lungo e laborioso.

Infine, il libro veniva rilegato dal rilegatore. Esistono testi scritti in rosso o addirittura in oro, e diversi colori venivano utilizzati per le miniature.

A volte la pergamena era tutta di colore viola e il testo vi era scritto in oro o argento per esempio, il Codex Argenteus. Per tutto l'Alto Medioevo i libri furono copiati prevalentemente nei monasteri, uno alla volta.

Il sistema venne gestito da corporazioni laiche di cartolaiche produssero sia materiale religioso che profano. Questi libri furono chiamati libri catenati. Vedi illustrazione a margine. L' ebraismo ha mantenuto in vita l'arte dello scriba fino ad oggi.

Anche gli arabi produssero e rilegarono libri durante il periodo medievale islamicosviluppando tecniche avanzate di calligrafia arabaminiatura e legatoria. Col metodo di controllo, solo Album) autori potevano autorizzare le Album), e questo veniva fatto in riunioni pubbliche, in cui il copista leggeva il testo ad alta voce in presenza dell'autore, il quale poi la certificava come precisa". In xilografiaun'immagine a bassorilievo di una pagina intera veniva intagliata su tavolette di legno, inchiostrata e usata per stampare le copie di quella pagina.

Questo metodo ebbe origine in Cinadurante la Dinastia Han prima del a. I monaci o altri che le scrivevano, venivano pagati profumatamente. I primi libri stampati, i singoli fogli e le immagini che furono creati prima del in Europa, sono noti come incunaboli. Back Off Bitch.

Bad Obsession. Steve Jones Paul Cook. Black Leather. Marc Bolan Chris Cornell. Catcher In The Rye. Chinese Democracy. Civil War. Guns N' Roses - Dead Horse. Guns N' Roses - Don't Cry. Don't Damn Me. Double Talkin' Jive. Down On The Farm. Dust N' Bones. Guns N' Roses - Estranged.

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8

Year Your Wings - Various - Silver Rocket SR100 (CD, Album)

To his credit he did manage, once again, to drag his Album) group to chart success, becoming a stadium rock behemoth in the process. A rotating cast, together in some form or other for nearly a Album), Wings released seven studio albums. Some of them barely sound like the same band. The rough and ready Wildlife is a world away from the careful arrangements and expensive productions on Venus and Mars.

Nor is it a case of different but equal. Album) nice idea in theory but in practice it was a bit of drag for fans who just wanted Year Your Wings - Various - Silver Rocket SR100 (CD collection of new Paul McCartney songs. Tired of the lies? Tired of the spin? Are you ready to hear the hard-hitting truth in comprehensive, conservative, principled fashion? The Ben Shapiro Show brings you all the news you need to know in the most fast moving daily program in America.

Ben brutally breaks down the culture and never gives an inch! Monday thru Friday. My Cultura Podcasts. Celebrate Hispanic Latinx Heritage Month by listening to this special podcast lineup. My Cultura Podcast Network is dedicated to celebrating and elevating Latinx voices, stories, and content creators in English, Spanish, and Spanglish.

The shows are all about inclusivity, representation, and the beauty of culture. Retrieved 24 May Retrieved 7 October Australian Recording Industry Association. Archived from the original on 6 August Retrieved 8 July Recording Industry Association of New Zealand. Archived from the original on 19 July Retrieved 8 February Note: User needs to enter "Wingspan" in the "Search" field, "Title" in the "Search by" field and click the "Go" button. Retrieved 9 November Archived from the original on 25 February Retrieved 10 November Album) Canada.

Album) 28 September Wings over America Paul McCartney. A Hard Day's Night Help! Two of Us film. James Bond music. James Bond. Eon films secondary songs Non-Eon films secondary songs " Everything or Nothing ".

Namespaces Article Talk. Views Read Edit View history. Help Learn to edit Community portal Recent changes Upload file. Download as PDF Printable version. Paul and Linda McCartney performing with Wings in Released: 7 December Label: Apple.

Released: 27 May Label: Capitol. Released: 10 December Label: Capitol. Red Rose Speedway. US: Gold [63].

Live and Let Die. US: Gold [64]. Band on the Run US only. Band on the Run.

Allegro - Arthur Honegger - Sonate Nr. 2 Für Violine Und Klavier / Sonatine Für Violoncello Und Klav, Intro - Black Legion, Helvete (10) - Black Legion / Helvete (CDr), Beth Lyall - Various - Scotland - The Pipes And Drums (CD), Bommen In Boston - Greatminds* - Sticks*, Jiggy Djé, Winne, Dr. Moon* - Great Minds (CD, Album), Sea And Sand - The Who - Quadrophenia In 1996 (CD), Moderator - Chicago Jazzz - Hip-Gun-Rock (CD, Album), Thinking About His Baby - Blue Zone (4) - Thinking About His Baby (Vinyl), This Show Wont End (Máme Tu Pouť) - Citron - Tropic Of Cancer (Vinyl, LP, Album), Was Geschieht Mit Mir - Roy Black - Das Beste 2001 Roy Black Unvergänglich (CD), The Tracks Of My Tears - Smokey Robinson & The Miracles - The Best Of Smokey Robinson & The, Fourth Movement: Finale (Allegro Con Fuoco), Antonio Valente (2) - Gigasoup (File, MP3)

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8

Lovers And Losers - Bill Staines - Rodeo Rose (Vinyl, LP, Album)

Archived from the original on October 9, Retrieved December 3, AFP Top Singles. Retrieved July 14, Retrieved July 5, Swiss Singles Chart. Retrieved July 1, Retrieved July 6, July 2, Archived from the original on December 5, Retrieved December 6, Retrieved May 18, Polish Society of the Phonographic Industry. Retrieved March 24, Apple Music US.

Archived from the original on January 30, Retrieved April 26, Apple Music NZ. Retrieved May 5, January 27, Archived from the original on April 6, Archived from the original on January 27, Retrieved January 27, Radio Airplay SRL.

Add it Here. Watch the song video Rodeo Rose. Amarillo by Morning. Born to Follow Rodeo. John Ed Sang Cowpoke. Browse Lyrics. Our awesome collection of Promoted Songs ». The song features an unknown rapper, who provides the bridge and outro to the song, as well as ad libs throughout. Did you forget who you were seein', yeah? I'm not lettin' you off easy, I'm still sad [Unknown]: Uh [Lana Del Rey] I'm kissin' you hard, you got my lipstick on your face I stole your girlfriend's keys, kicked her out of your place Because I want you more than I did before-fore [Unknown]: Uh [Lana Del Rey]: I'm missin' you hard, give you my softcore baby face And then we start to fight, tumble down the staircase And when LP hit that floor, you want me even Album), more [Unknown]: Uh, the feeling's gone [Lana Del Rey]: And then you buy me roses and it's fine I forgive you almost all the time As long as you remember that you're mine I'll let you off easy, it's all right And then you buy me roses and it's fine I forgive you almost all the time As long as you remember that you're mine I'll let you off easy, it's all right You always buy me roses like a creep Askin' for forgiveness, unsexy What happened to the man you used to be?

Lana Del Rey Wiki Explore. The album was later released in Lovers And Losers - Bill Staines - Rodeo Rose (Vinylbut the song was not issued as a single. South's version was first released as an album track on his debut studio release, Introspect. It was cut at the Positive Record Production Studio in The session for the song was produced by South himself. The album was released on Capitol Records and appeared as the second track on the project.

Gray's version was the first to be released as a single to mainstream radio. The recording was a collaborative production effort among several producers including Brent Maher. InLynn Anderson 's exposure on the Lawrence Welk Show led to the major label Columbia Records signing her to their country roster.

Under Columbia, Anderson worked with her husband and producer Glenn Sutton. The pair began looking for new country pop material following her first Columbia single success. However, Sutton originally refused to record it. Like the line 'I could promise you things like big diamond rings' that a girl would not sing," Anderson recalled.

Sutton produced the track. Strings were also added to the second recording after Billy Sherrill had offered his string musicians to Sutton. He agreed and had arranger Cam Mullins write the string section for the track. The pair were spending time during the convention while Sutton was mixing "Rose Garden. That's her next single. Get that mixed. That's great, that's a smash. The song was officially released as a single in October It peaked at number one on the Billboard Hot Country Singles chart, spending five weeks at the top of the survey between and Anderson's version has been reviewed positively LP its release.

Since its release, Anderson's version of "Rose Garden" has been considered a country and crossover music standard. Mary Bufwack and Robert K. Anderson reflected on the song's legacy as well. It was perfectly timed. It was out just as we came out of the Vietnam years and a lot of people were trying to recover," she commented. Notable versions of "Rose Garden" appeared by music artists of various genres.

Johnny Mathis recorded the track for his studio album Love Story. Writer Joe Viglione praised the production of Mathis' cover. June Learn how and when to Lovers And Losers - Bill Staines - Rodeo Rose (Vinyl this template message. Top Adult Contemporary: Record Research. Billboard Publications, Inc. January 19,

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05.09.2021
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8

Tear Down The Walls - King Kobra (4) - King Kobra (CD, Album)

System of a Down Scars on Broadway. The Beatles Wings The Fireman. The Shins Broken Bells. Deftones Team Sleep Crosses Palms. Foxing Smidley. Alcest Amesoeurs Peste Noire. The Script Mytown.

The High Llamas Stereolab Microdisney. Gaither Vocal Band The Imperials. Escape the Fate Falling In Reverse. The Format. Eagles Poco Coral Reefer Band. Shearwater Okkervil River. Cage the Elephant. Bronski Beat The Communards. Alice in Chains Mad Season Class of ' The Police Strontium Bring Me the Horizon. Aerosmith Chain Reaction Kings of Chaos.

Change Chic. The Beach Boys California Music. Infinite Toheart. The Wilde Flowers Matching Mole. Radiohead Atoms for Peace. Owl City Windsor Airlift. The Rance Allen Group [22]. Justin Bieber [a]. Bono [b]. The Wrecking Crew. The John Denver Band. All'arrivo del Medioevocirca mezzo millennio dopo, i codici - di foggia e costruzione in tutto simili al libro moderno - rimpiazzarono il rotolo e furono composti principalmente di pergamena.

Quattro son troppi? Anche nei suoi distici, Marziale continua a citare il codex: un anno prima del suddetto, una raccolta di distici viene pubblicata con lo scopo di accompagnare donativi. Questa mole composta da numerosi fogli contiene quindici libri poetici del Nasone». Dal II secolo a. Nel mondo antico non godette di molta fortuna a causa del prezzo elevato rispetto a quello del papiro.

Il libro in forma di rotolo consisteva in fogli preparati da fibre di papiro phylire disposte in uno strato orizzontale lo strato che poi riceveva la scrittura sovrapposto ad uno strato verticale la faccia opposta. La scrittura era effettuata su colonne, generalmente sul lato del papiro che presentava le fibre orizzontali. Non si hanno molte testimonianze sui rotoli di pergamena tuttavia la loro forma era simile a quella dei libri in papiro.

Gli inchiostri neri utilizzati erano a base di nerofumo e gomma arabica. Dal II secolo d. La vecchia forma libraria a rotolo scompare in ambito librario. In forma notevolmente differente permane invece in ambito archivistico.

Questo mezzo, permettendo l'accelerazione della produzione delle copie di testi contribuisce alla diffusione del libro e della cultura. Altri suoi distici rivelano che tra i regali fatti da Marziale c'erano copie di Virgiliodi Cicerone e Livio. Le parole di Marziale danno la distinta impressione che tali edizioni fossero qualcosa di recentemente introdotto. Sono stati rinvenuti "taccuini" contenenti fino a dieci tavolette. Nel tempo, furono anche disponibili modelli di lusso fatti con tavolette di avorio invece che di legno.

Ai romani va il merito di aver compiuto questo passo essenziale, e devono averlo fatto alcuni decenni prima della fine del I secolo d. Il grande vantaggio che offrivano rispetto ai rolli era la capienza, vantaggio che sorgeva dal fatto che la facciata esterna del rotolo era lasciata in bianco, vuota. Il codice invece aveva scritte entrambe le facciate di ogni pagina, come in un libro moderno. La prima pagina porta il volto del poeta. I codici di cui parlava erano fatti di pergamena ; nei distici che accompagnavano il regalo di una copia di Omeroper esempio, Marziale la descrive come fatta di "cuoio con molte pieghe".

Ma copie erano anche fatte di fogli di papiro. Quando i greci ed i romani disponevano solo del rotolo per scrivere libri, si preferiva usare il papiro piuttosto che la pergamena. I ritrovamenti egiziani Album) permettono di tracciare il graduale rimpiazzo del rotolo da parte del codice. Fece la sua comparsa in Egitto non molto dopo il tempo di Marziale, nel II secolo d. Il suo debutto fu modesto.

A tutt'oggi sono stati rinvenuti 1. Verso il d. I ritrovamenti egiziani gettano luce anche sulla transizione del codex dal papiro alla pergamena. Sebbene gli undici codici della Bibbia datati in quel secolo fossero papiracei, esistono circa 18 codici dello stesso secolo con scritti pagani e quattro di questi sono in pergamena.

Non ne scegliemmo alcuno, ma ne raccogliemmo altri otto per i quali gli diedi dracme in conto. Il codex tanto apprezzato da Marziale aveva quindi fatto molta strada da Roma. Nel terzo secolo, quando tali codici divennero alquanto diffusi, quelli di pergamena iniziarono ad essere popolari.

In breve, anche in Egittola fonte mondiale del papiroil codice di pergamena occupava una notevole quota di mercato. Sono tutti di pergamena, edizioni eleganti, scritti in elaborata calligrafia su sottili fogli di pergamena. Per tali edizioni di lusso il papiro era certamente inadatto. In almeno un'area, la giurisprudenza romanail codex di pergamena veniva prodotto sia in edizioni economiche che in quelle di lusso.

La caduta dell'Impero romano nel V secolo d. Il papiro divenne difficile da reperire a causa della mancanza di contatti con l' Antico Egitto e la pergamenache per secoli era stata tenuta in secondo piano, divenne il materiale di scrittura principale.

I monasteri continuarono la tradizione scritturale latina dell' Impero romano d'Occidente. La tradizione e lo stile dell' Impero romano predominavano ancora, ma gradualmente emerse la cultura del libro medievale. I monaci irlandesi introdussero la spaziatura tra le parole nel VII secolo.

L'innovazione fu poi adottata anche nei Paesi neolatini come l'Italiaanche se non divenne comune prima del XII secolo. Si ritiene che l'inserimento di spazi tra le parole abbia favorito il passaggio dalla lettura semi-vocalizzata a quella silenziosa. Prima dell'invenzione e della diffusione del torchio tipograficoquasi tutti i libri venivano copiati a mano, il che li rendeva costosi e relativamente rari.

I piccoli monasteri di solito possedevano al massimo qualche decina di libri, Album) qualche centinaio quelli di medie dimensioni. Il processo della produzione di un libro era lungo e laborioso. Infine, il libro veniva rilegato dal rilegatore. Esistono testi scritti in rosso o addirittura in oro, e diversi colori venivano utilizzati Tear Down The Walls - King Kobra (4) - King Kobra (CD le miniature.

A volte la pergamena era tutta di colore viola e il testo vi era scritto in oro o argento per esempio, il Codex Argenteus. Per tutto l'Alto Medioevo i Album) furono copiati prevalentemente nei monasteri, uno alla volta. Il sistema venne gestito da corporazioni laiche di cartolaiche produssero sia materiale religioso che profano. Questi libri furono chiamati libri catenati.

Vedi illustrazione a margine. L' ebraismo ha mantenuto in vita l'arte dello scriba fino ad oggi. Anche gli arabi produssero e rilegarono libri durante il periodo medievale islamicosviluppando tecniche avanzate di calligrafia arabaminiatura e legatoria.

Col metodo di controllo, solo "gli autori potevano autorizzare le copie, e questo veniva fatto in riunioni pubbliche, in cui il copista leggeva il testo ad alta voce in presenza dell'autore, il quale poi la certificava come precisa".

In xilografiaun'immagine a bassorilievo di una pagina intera veniva intagliata su tavolette di legno, inchiostrata e usata per stampare le copie di quella pagina. Questo metodo ebbe origine in Cinadurante la Dinastia Han prima del a. I monaci o altri che le scrivevano, venivano pagati profumatamente. Assignment help Service Provider in Australia GoAssignmenthelp is a leading assignment help service provider in Australia, which provides assignment help solutions to students in need.

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They provide assignment help services for almost all the disciplines like law, management, nursing, engineering etc. Their support team is Tips to Manage Last Minute Changes in Your Change Management Assignment Change management is a discipline of management Album) guides an organization to plan, prepare, process, equip and support individuals to effectively adopt changes in order to meet organizational success along with the desired outcomes. As a management student, sooner or later you will get an assignment on change management.

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As one of the "Sister Colleges," a group of five top-ranked women's liberal arts colleges, You just come across a lucrative job opportunity. Sit in front of your PC or Laptop and open the Microsoft word document. Then you start listing your qualification, experience and skills in an organized manner.

You make sure that you have utilized keywords in your resume that have mentioned in the job description. Well, writing a resume is not that Popular Topics More ».

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07.09.2021
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9

You Gotta Believe In Him - Teddy Huffam and The Gems - The Inner Soul (Vinyl, LP, Album)

He put aside everything that belonged to Him and made Himself the same as a servant who is owned by someone. He became human by being born LP a man. Instead, he gave up his divine privileges; he took the humble position of a slave and was born as a human being. When he appeared in human form. And being found in human form. Instead, he emptied himself, and received the form of a slave, being born in the likeness of humans.

And then, having human appearance. Instead he emptied himself of his outward glory by reducing himself to the form of a lowly LP. He became human! But He emptied Himself and took on the form of a servant and the likeness of a man, having been made. But He emptied Himself— taking on the form of a slave, becoming the likeness of men and being found in appearance as a man. But He poured Himself out to fill a vessel brand new; a servant in form and a man indeed.

The very likeness of humanity. Previous Philippians Top. All rights reserved. Used by Permission. Used by permission. All Rights Reserved. Published by Tolle Lege Press. No part of this publication may be reproduced or transmitted in any form or by any means, electronic or mechanical, without written permission from the publisher, except in the case of brief quotations You Gotta Believe In Him - Teddy Huffam and The Gems - The Inner Soul (Vinyl articles, reviews, and broadcasts.

Used by permission of Tyndale House Publishers Inc. Published and distributed by Charisma House. All rights reserved worldwide. No part of this work may be reproduced or transmitted in any form or by LP means, electronic or mechanical, including photocopying, recording, or by any information storage and LP system, without permission in writing from the copyright owner.

The decorations were reminiscent of autumn leaves. Choose the answer that best matches the word "serene" I'm fond of autumn in the countryside-it's so serene. Choose the answer. What does the C represent? Choose to act wisely. Choose the best option. Choose the answer that best matches the word "infallibility" Conner's sense of his own infallibility has contributed to his own success to his success at chess.

Choose the answer that best matches the word "unfurled" The visitor unfurled the quilt she brought with her and began to talk about its history. A- lack of B- emotional C. One way to save money on electricity is to replace incandescent bulbs with compact fluorescent CF light bulbs. Choose the answer that best matches the word "millennia" For many millennia, people believed Earth was flat.

Choose the answer that best matches the word "scourge" Rats were considered the scourge of the Middle Ages. Loop: Song Forever. Category: Consecration. Lyrics: D. Music: S. Key: C Major. Hymn Code: Added to users' list. Share with a friend. Add to your website.

Make my hands full, I pray, dear Lord. Lead Sheet: PianoGuitarText. Loop once Loop twice Loop 3 times Loop 4 times Loop 5 times. Delay between songs: No delay 5 seconds 10 seconds 20 seconds 30 seconds. Start Playing. Hidden behind every scene, Lovingly, sweetly operating, One who is sovereign and wise, Patiently guides even our eyes.

Lord, we see You! Lord, we love You! In us a small Kingdom seed, Orders our steps, governs our deeds. Jesus, enthroned in our hearts, Gently He touches our every part.

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08.09.2021
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9

Misery - Jerney Kaagman - Made On Earth (Vinyl, LP, Album)

See the LP symbol shown by most browsers when you checkout. Your information will not be shared. And you can un-subscribe with one click at any time.

UK album chart. Click here for Album) info. Bring your Jerney Kaagman collection to us for a free appraisal - click here. Condition :. This item is in Album) condition or better unless it says otherwise in the above description.

We buy items as close to Mint condition as possible and many will be unplayed and as close to new as you could hope to find. However, christmas eve til the day after christmas can be a little quiet as these are family holidays. Traditionally speaking, many germans are catholic, meaning that attending midnight mass is LP part of the itinerary on christmas eve. Saving the best for last, one of the most anticipated german christmas traditions is the christmas dinner!

Start Misery - Jerney Kaagman - Made On Earth (Vinyl meal off with a hearty spoonful of maultaschensuppe, an aromatic dumpling soup and specialty of swabia… In conjunction with this celebration, most catholics don't eat meat before heading to church. On christ. We analysed data on 39 pmhp collected through interviews with pmhp, their carers, and community health volunteers who know them well. A qualitative study was conducted on the stigma experienced by pmhp including people with epilepsy and The suggestions are applicable to qualitative, quantitative, and humanities research, and they are guided by realistic examples in philippine settings.

Qualitative research is the opposite of quantitative research, which involves collecting and analyzing numerical data for statistical analysis.

The world war 2 was a vital part in the world's history books. Qualitative research p. Collectors Stores. Related Artists. Earth And Fire. Best Sellers. Black Sabbath. See Album) full list Language All tracks are sung in English, unless otherwise stated in our description. Additional info Deleted - A deleted or out-of-print item is one that is no longer manufactured.

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08.09.2021
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8

Solid Gone - Madness - Absolutely (Vinyl, LP, Album)

Drums — Bob Frazier tracks:toJerome Slosberg tracks: to,Red Holt tracks: to Engineer — Jim Cunningham tracks: toto, Mason Coppinger tracks: toto Woodwind — Ken Soderbloom tracks:toPaul Horn tracks: to Tracks taken from Next! Track 20 recorded circa No re-channeled stereo was employed in this recording. The Fairchild stereophonic disc mastering was use in transferring the original masters from tape to disc.

Posted by Jillem on Friday, October 01, Sometimes I'm in the mood for hip music and nothing else will do. He is now highly recognized as one of the foremost exponents of a sophisticated style of largely instrumental music that combines elements of lounge music and jazz with Latin flavors.

They're of such a similar qualitative standard that none can be singled out as definitive, or even recommended above the others. The 20 tracks are drawn from RCA releases spanning toincluding both original compositions and oddball versions of standards like "Harlem Nocturne," "Night and Day," "Malaguena," and "Take the 'A' Train.

Kansas City. Posted by Jillem on Thursday, September 30, Essential for all Prince Buster fans. One of the best from the man himself, worth every penny, now that it has been deleted.

Get it if you can. Very rare and amazing selection from the Prince's rarest sides; great sound, great artwork, pure ska and rocksteady masterpieces. Including the best whistling tune ever: "rock and shake", and "Dance Cleopatra", a total scorcher which was a minor hit in Holland in The Prince's recording plethoric recording output still begs for a proper reissue job. Until then, true enthusiasts will carry on an almost archeological quest for scratchy elusive Blue Beat singles.

Most of these tunes are worth five or ten times the price of this CD on 45, and not without reason. Get this while you can - its availability in Europe has been patchy to say the least. Possibly because he was part of a postwar, post-colonial social revolution, Prince Buster seems like some sort of ghetto supe- pioneer: a boxer, soundsystem operator, DJ, producer, live performer, humouristsocial and political commentator, owner of a record shop-label-and-jukebox empire, sharp dresser and all round coolest guy in Kingston, and therefore Jamaica, and therefore quite possibly the world at the time.

All his activities complemented and were complemented by the main event, which was his completely unique and inimitable voice, delivery and lyrics. He pronounced himself Prince, the Voice of the People, and made sure he lived up to his claims by being the best. Just as he apparently made sure he would win every boxing match, he made damn sure he only used the cream of Jamaican musicians, on the hottest and hardest rhythms for his backing tracks and productions.

When the time eventually came that he could no longer achieve that, I admire the fact that he largely quit the studio: nothing less than the best was ever going to be good enough for Prince Buster, and that ensured that his incredible output remains undiluted and in tact to this day. He continued with the occasional live appearance, some of which I saw and which were always of the highest possible standard.

I was lucky enough to travel with him to one gig and he really exuded the true meaning of cool a word which has become greatly abused now. It was funny to watch. That ghetto humour was at the heart of a lot of his lyrics and a huge part of his popularity in Jamaica.

It could be brutal, as could the ghetto morality that went hand in hand with it in his lyrics. On the stage when THAT voice was given free rein, it remained completely unspoiled — like his legacy — and came out exactly the same as ever. He had always mixed singing and speaking so seamlessly and tunefully that at times it is almost impossible to say which of those two things he is doing.

You would be very hard pressed to find anyone who has ever mixed those two things together better. He was the first real ambassador of Jamaican music worldwide, he was a voice of the third world — luckily for us, speaking in English, and that made him accessible to anyone in the rest of the world who spoke English and was willing to listen.

At first he was picked up in this country largely by working-class kids who could probably relate to the subject matter. Initially ska and reggae was mainly ignored or ridiculed by the mainstream and rock critics — maybe that was partly because Prince Buster was at the forefront of Jamaican lyricists, blatantly and unashamedly covering subject matter that was more or less unheard of in either Europe or America.

From ghetto violence and crime, to sex in detailfrom black power and black pride, to commenting on social injustice and poverty, from advocating freedom from colonialism and solidarity with Africa, to other important matters like ridiculing his musical rivals or consigning them to the boneyard, or describing the music on his own record itself and how good that was — nothing was off limits. In that way lyrically he influenced hip-hop and a lot that was to follow the world over.

Buster and some of his Jamaican peers were liberating the sort of real language and subject matter years before it would eventually Solid Gone - Madness - Absolutely (Vinyl commonplace not just in music, but in mainstream TV drama and comedy. Stylisticallythe very idea of reciting over an instrumental backing track, which Buster was a pioneer of, became the basis of hip-hop years later when the Jamaican DJ Cool Herc introduced it to the Bronx.

Buster was really the first king of Jamaican music and started an international process which, with the help of its second king, made reggae probably the most popular music in the world, only to be eventually surpassed in popularity by hip-hop, a form which it had itself helped create. Myself and all the Two Tone bands owe him an enormous debt of gratitude. New York. Drawn from tapes recorded with King Tubby's Soul Syndicate band, the music included on 'Reckless Roots Rockers' is deeply ingrained with fissures of rhythm and dub melodies - bringing a vast array of talent to bear on some fabulously low-end material.

With much of the album recorded in Jamaica, there were plentiful tributaries on which to draw, as the likes of Jah Carlos, Bullwackies Allstars and Joe Morgan all make fierce appearances. Opening through the Reckless Breed's 'Dub Full Of Girls', we're immediately transported to a humid smoke-draped environ - as the familiar melody snakes its way through jaunty rhythms and an overarching sense of light that is a welcoming salve for a dark November night.

For those who know about such things, the inclusion of Don Carlos' deadly 'Jah Man' will be of particular note - with this particular slice of dub fortitude crafted over a rhythm double-take of Wayne Jarrett's 'Bubble Up' unavailable anywhere else and now rightly resurrected for appreciative audiences to rediscover, whilst dubs of Wackies' vast Black Harmony rhythm crops up throughout like a welcome friend throughout.

Elsewhere, 'Exposure' from the Sylvesters is a lithe and uncluttered beast, Bullwackies Allstars 'Creation' contains some demon rhythms, whilst 'Chin Chow' from Reckless Breed will have you nodding till Sunday. Posted by Jillem on Wednesday, September 29, Killer heavy roots business.

Jah Lloyd, a. He looked the part of the artist down on his luck, his frame wizened by poor health, his gait slow; but his clothing was flamboyant and his eyes keen. Sitting on a shady porch, he allowed me to turn his attention from his daily struggle for a living to his great works done twenty years before. He spoke about his songs with great care, almost tenderness. We made plans to meet again, but by the time I returned to Jamaica he had died.

LP Under the name Pat Francis. And then I form a group called Meditators. A: I was about say 16, We used to sing and practice with the guitar lots of nights before we could go to studio. They used to have audition on Saturday where lot of artists come, then they pick the best from a lot of them. Out of a hundred they might pick 20, or 10 from that. At the same session I do two for Upsetter label. Q: Back up for a minute. A: Yes. And I find that my voice could able to deejay.

A: Jah Scuff. He just do that one song. He was never interested to do more. So I produce songs for a lot of artists like Heptones, Mighty Diamonds. A: Yeah it was my song. Produced by me. North Parade Street.

A: No. Douglas Boothe. He always say he was his brother, but then I find out it was not his real brother. Know ye that the Lord is God, cause He made us and not we ourself. We are His people and the sheep of His pasture. So we take that song from there. Follows Children of the Damned, inspired by the film of the same name which dealt with the story of six children with supernatural powers and whose harmony is known to anyone who has listened to this music for more than an hour.

From here on it's all a succession of hits, all full of high-level harmonic solutions, great taste and incisive solo crossings, linked and supported by the rattling bass of Steve Harris, always busy linking all the passages of the songs with his typical style. The Prisoner, inspired by a series from the 60s with Patrick Mc Goohan a secret agent wants to retire, but is kidnapped and transported to the "Village", where he becomes a number, 6, who decides to rebel to which the intro refers recited.

Then the famous The Number of the Beast, the second single extracted No. Intro performed by Barry Clayton and piece that is a candidate for a single manifesto of the 80s.

Unforgettable, also for its ingenuity, the accompanying video. Criticized at the time of its release because it was accused of commerciality? So remarkable as to be difficult to replicate live. The closing is for the best song: Hallowed Be Thy Name. Great atmospheres, great accelerations, great solos, beautiful lyrics, great emotional participation, the sum of all that a metal song must be.

As you may have noticed, the analysis does not go into the description of the individual pieces from a strictly musical point of view, given that these have been ultra-contextualized for decades, but instead provides some historical notes perhaps less known to most. That said, it is undisputed that the entire work represents a notable turning point in the history of heavy, if contextualized with respect to the state of the art of metal from the year of grace to the vocal possibilities of Bruce Dickinson, conveyed in the first place by a single like Run to the Hills, actually easier than the previous production, more impetuous and less elaborate, but still immensely less commercial than what could normally be heard at the time on mass media in England and beyond.

This brought the name of Maiden and therefore of heavy on everyone's lips, bringing people into contact with elaborate songs such as Children of the Damned and above all Hallowed Be Thy Name, real aptitude tests to establish who was really led by nature towards the 'heavy metal.

The Number of the Beast simply established a new canon, a new point of reference that stimulated an entire movement to evolve towards more mature shores, sometimes also to detach itself from the style of the band and find its own expressive forms, thus resulting absolutely essential both for the story of the group that, more importantly, everything for heavy metal.

There are not many records that can boast such qualities. As for 'Powerslave', it is a powerful, energetic and uplifting recording, kicking off with two awesome and kickass singles, those being 'Aces High' and '2 Minutes to Midnight'. As usual, the primary writer or rather, contributor to the essence of the album, is the band's brilliant bass player Steve Harris, undoubtedly one of the most important and influential bassists of his generation, the rest of the band is performing not worse.

Bruce Dickinson also sounds like a beast on this album, and there is a very strong Ian Gillan influence on several moments of his phrasing and screaming throughout the album. A multi-section epic, with shifting moods and tempos, it is a severely promising composition, and a side of the band's sound that would be best developed on the aforementioned 'Seventh Son'.

What I know is that 'Powerslave' is a bit polarizing for fans and critics of the band alike; For me - I know I have heard heaps of better albums, and I am certain that they have released much stronger LPs. Not a bad album by any stretch of the imagination, but not a mind-blowing and game-changing either. The band are in fine form too and deliver the music with great skill and conviction. I think Bruce Dickinson struggles slightly on the faster-paced tracks, but other than that slight issue his performance here is as commanding as ever.

Upon conclusion Solid Gone - Madness - Absolutely (Vinyl of the Dead, Legacy of the Beast: Live in Mexico City" is yet another high quality live album release by Iron Maiden to help make the waiting time before the band release a new studio album more bearable for the fans. After an incredibly successful decade with one amazing album after another and incessant touring that no mere mortal could sustain, by the time IRON MAIDEN reached the eight album "No Prayer For The Dying," it was beginning to be LP that the band was burning out a bit and although that album had some excellent tracks on board, the album itself was much weaker than anything that came before.

While "Fear of the Dark" was a bit of a step up, it too failed to reach the sheer perfection of the 80s output. He saw the writing on the wall and the next to depart was lead singer Bruce Dickinson who left after the "Fear of the Dark" tour in order to embark on a solo career.

With such impossible boots to fill, Steve Harris was forced between breaking up the band or finding a replacement. Yep, the 90s were not kind. Longtime producer Martin Birch retired and left another void in the band's status quo as well as the album cover art being the first not created by Derek Riggs.

The band's darkest days were reflected by the darker cover art and subject matter that was partially inspired by Steve Harris going through a divorce as well as an established 80s band suddenly losing its way in the alternative 90s wilderness. The band simply was unable to adapt to the 90s and clung on to many of the aspects that made MAIDEN such an excellent 80s arena metal band.

Only a few problems with that approach. It also didn't help the band that more extreme forms of metal like death metal, black metal and doom metal were making MAIDEN sound a bit outdated.

The band said that one of the singers they auditioned sounded shockingly identical to Bruce Dickinson but they wanted to find a different styled singer. Bad choice. MAIDEN sort of paralleled Judas Priest not only as the metal gods of the s but also in the fact that both bands lost their lead singers about the same time and decided to replace them.

Priest got the memo and learned how to adapt the music to the singer whereas MAIDEN simply added a singer and went back to the coffers to pad the music with ideas already presented. Another problem with this album is that it is WAY too long and at almost 71 minutes could have been trimmed down by about 20 minutes.

The opening "Sign of the Cross" is a powerhouse and by far the best track on the album with creepy keyboards and Gregorian chants ushering in a very progressive track that features dark lyrics and some of the most interesting instrumental workouts since "Seventh Son. Despite the weak vocal performances, musically this is an excellent album but due to the lack of a top dog like Dickinson at the helm feels woefully unbalanced due to MAIDEN's failure to adapt the music to the singer's ability.

The fact that Harris dropped Paul Di'Anno due to his inability to keep up with the band makes it all the more surprising that this didn't turn out so well. The rest of the album musically speaking is like the sequel to "Seventh Son" with keyboards provided by guest musician Michael Kenney adding eerie atmospheric backdrops to Harris' idiosyncratic bass playing and the twin guitar harmonies of Dave Murray and Janick Gers.

For the seasoned MAIDEN fan, you will hear snippets of past ideas ranging from the intro of "Children of the Damned" providing a recycled riff on "Look For The Truth" and many other examples of MAIDEN mining their past however the band also offers some interesting new ideas to their roster such as the bizarre guitar riffs on "Judgement of Heaven" which sounds somewhat familiar but slightly different.

The album is certainly not a waste of time on the music side of the equation and if this one happened to be rerecorded with Dickinson i would dare to say that this would be an excellent album and a major return to form.

Basically this album has 4 star music and 2 star vocals but it wasn't really Bayley's fault. His style just wasn't compatible with this demanding music that needed an operatic singer to bring it to full life.

What i would like to see happen is this album to be rerecorded with maybe a bunch of guest singers who could hit the higher notes. I rarely listen to this one due to the frustration of wanting Bayley to step up to the plate but alas it never happens! The recordings were initially created as a quadraphonic test by Parsons, who recorded each timepiece at an antique clock shop.

Several tracks, including "Us and Them" and "Time", demonstrated Richard Wright's and David Gilmour's ability to harmonise their voices.

To take advantage of this, Parsons used studio techniques such as the double tracking of vocals and guitars, which allowed Gilmour to harmonise with himself. The engineer also made prominent use of flanging and phase shifting effects on vocals and instruments, odd trickery with reverb[7] and the panning of sounds between channels most notable in the quadraphonic mix of "On the Run", when the sound of the Hammond B3 organ played through a Leslie speaker rapidly swirls around the listener.

The album's credits include Clare Torrya session singer and songwriter, and a regular at Abbey Road. She had worked on pop material and numerous cover albums, one of which convinced Parsons to invite her to the studio to sing on Wright's composition "The Great Gig in the Sky". She declined this invitation as she wanted to watch Chuck Berry perform at the Hammersmith Odeonbut arranged to come in on the following Sunday.

The band explained the concept behind the album, but were unable to tell her exactly what she should do. Gilmour was in charge of the session, and in a few short takes on a Sunday night Torry improvised a wordless melody to accompany Wright's emotive piano solo. She was initially embarrassed by her exuberance in the recording booth, and wanted to apologise to the band — only to find them delighted with her performance.

The case was settled Solid Gone - Madness - Absolutely (Vinyl of court for an undisclosed sum, with all post pressings crediting Wright and Torry jointly. Snippets of voices between and over the music are another notable feature of the album. During recording sessions, Waters recruited both the staff and the temporary occupants of the studio to answer a series of questions printed on flashcards. The interviewees were placed in front of a microphone in a darkened Studio 3, [47] and shown such questions as "What's your favourite colour?

Questions such as "When was the last time you were violent? Waters asked him about a violent encounter he had had with another motorist, and Manifold replied " His second wife, Patricia "Puddie" Watts now Patricia Gleasonwas responsible for the line about the "geezer" who was "cruisin' for a bruisin ' " used in the segue between "Money" and "Us and Them", and the words "I never said I was frightened of dying" heard halfway through "The Great Gig in the Sky".

Perhaps the most notable responses "I am not frightened of dying. Any time will do: I don't mind. Why should I be frightened of dying? There's no reason for it — you've got to go sometime" and closing words "there is no dark side in the moon, really. As a matter of fact it's all dark" came from the studios' Irish doorman, Gerry O'Driscoll. Following the completion of the dialogue sessions, producer Chris Thomas was hired to provide "a fresh pair of ears". Thomas's background was in music, rather than engineering.

In fact, there were never any hints that they were later going to fall out. It was a very creative atmosphere. A lot of fun. Thomas was responsible for significant changes to the album, including the perfect timing of the echo used on "Us and Them".

He was also present for the recording of "The Great Gig in the Sky" although Parsons was responsible for hiring Torry. When the record was finished I took a reel-to-reel copy home with me and I remember playing it for my wife then, and I remember her bursting into tears when it was finished.

And I thought, "This has obviously struck a chord somewhere", and I was kinda pleased by that. You know when you've done something, certainly if you create a piece of music, you then hear it with fresh ears when you play it for somebody else.

And at that point I thought to myself, "Wow, this is a pretty complete piece of work", and I had every confidence that people would respond to it. It felt like the whole band were working together. It was a creative time. We were all very open. Hipgnosis had designed several of the band's previous albums, with controversial results; EMI had reacted with confusion when faced with the cover designs for Atom Heart Mother and Obscured by Cloudsas they had expected to see traditional designs which included lettering and words.

Designers Storm Thorgerson and Aubrey Powell were able to ignore such criticism as they were employed by the band. For The Dark Side of the MoonRichard Wright instructed them to come up with something "smarter, neater — more classy". The artwork was created by their associate, George Hardie. Hipgnosis offered the band a choice of seven designs, but all four members agreed that the prism was by far the best. The final design depicts a glass prism dispersing light into colour.

The design represents three elements: the band's stage lighting, the album lyrics, and Wright's request for a "simple and bold" design. Inside the sleeve were two posters and two pyramid-themed stickers.

The band were so confident of the quality of Waters' lyrics that, for the first time, they printed them on the album's sleeve. As the quadraphonic mix of the album was not then complete, the band with the exception of Wright boycotted the press reception held at the London Planetarium on 27 February.

Newly appointed chairman Bhaskar Menon set about trying to reverse the relatively poor sales of the band's studio album Meddle. The Dark Side of the Moon was the last album that Pink Floyd were obliged to release before formally signing a new contract.

Menon's enthusiasm for the new album was such that he began a huge promotional advertising campaign, which included radio-friendly truncated versions of "Us and Them" and "Time". The mono side had the word "bullshit" removed from the song — leaving "bull" in its place — however, the stereo side retained the uncensored version. This was subsequently withdrawn; the replacement was sent to radio stations with a note advising disc jockeys to dispose of the first uncensored copy.

The Dark Side of the Moon became one of the best-selling albums of all time [89] and is in the top 25 of a list of best-selling albums in the United States.

In the UK, The Dark Side of the Moon is Album) seventh-best-selling album of all time and the highest selling album never to reach number one.

I think that when it was finished, everyone thought it was the best thing we'd ever done to date, and everyone was very pleased with it, but there's no way that anyone felt it was five times as good as Meddleor eight times as good as Atom Heart Motheror the sort of figures that it has in fact sold.

It was Industry sources suggest that worldwide sales of The Dark Side of the Moon total about 45 million. And this one was clear and concise. The cover was also right. I think it's become like a benevolent noose hanging behind us. Throughout our entire career, people have said we would never top the Dark Side record and tour. But The Wall earned more in dollar terms. The cover design was again by Storm Thorgerson, the designer of the original cover.

The original quadraphonic mix, [nb 10] created by Alan Parsons, [] was commissioned by EMI but never endorsed by Pink Floyd, as Parsons was disappointed with his mix. The band elected not to use Parsons' quadraphonic mix done shortly after the original releaseand instead had engineer James Guthrie create a new 5. Speaking inAlan Parsons expressed some disappointment with Guthrie's SACD mix, suggesting that Guthrie was "possibly a little too true to the original mix", but was generally complimentary.

Transparent glass, held in place by strips of lead, was used in place of the opaque colours of the original. The idea is derived from the "sense of purity in the sound quality, being 5. The Dark Side of the Moon was also re-released in on gram virgin vinyl mastered by Kevin Gray at AcousTech Mastering and included slightly different versions of the posters and stickers that came with the original vinyl release, along with a new 30th anniversary poster.

It's changed me in many ways, because it's brought in a lot of money, and one feels very secure when you can sell an album for two years. But it hasn't changed my attitude to music. Even though it was so successful, it was made in the same way as all our other albums, and the only criterion we have about releasing music is whether we like it or not. It was not a deliberate attempt to make a commercial album. It just happened that way. We knew it had a lot more melody than previous Floyd albums, and there was a concept that ran all through it.

The music was easier to absorb and having girls singing away added a commercial touch that none of our records had. The success of the album brought wealth to all four members of the band; Richard Wright and Roger Waters bought large country houses, and Nick Mason became a collector of upmarket cars. Although Waters and Gilmour have on occasion downplayed his contribution to the success of the album, Mason has praised his role.

But I still wake up occasionally, frustrated about the fact that they made untold millions and a lot of the people involved in the record didn't. Part of the legacy of The Dark Side of the Moon is its influence on modern music and on the musicians who have performed cover versions of its songs; moreover, the record gave rise to the " Dark Side of the Rainbow " theory, according to which the album matches up perfectly with the film The Wizard of Oz when they are played simultaneously.

The existence and art that pierces through conspicuous consciousness and dives to areas of unconsciousness due to death and pleasure. Controlled Death's incredible new work is released on a fivefold seven inch. The selection of the format is perfect for this composition: the analog support highlights the lo-fi recording and the choice of seven inches allows you to listen to the same song several times, or more songs without a preset order.

Each piece is a short sound vignette, which fills the air with its otherworldly beauty and goes away with the same speed with which it arrived, where the presence of the Viennese master always hovers. Like a cosmic journey, without a precise destination, we enter a new evolution of Controlled Death's work. The sound is darker, the darkness envelops you with its ancestral echoes, the use of synths is accompanied by inhuman screams, sounds on the edge of psychosis are lost in the infinite expanse of the gorges ''at the mountains of madness''.

A sound tunnel is created that leads to the depths of the earth. The myth of Cthulhu mingles with the mangled flesh of human beings. The legend moves towards the harsh reality.

Rotten, worm-eaten flesh lies beneath thousands of tombstones: boundless masses of flesh! The rumble of the synths becomes thunderous. But the result is not as sugary as Cluster or Harmonia tunes. Honey has become blood and flesh in Maso's hands and harmony gives way to obscure and desolate side. But if it had been recorded in West Berlin duringRolf-Ulrich Kaiser would have certainly wanted it for his Ohr label! Fivefold seven inch comes with solid black wooden box with laser engraving, gm black cardboard with gold letterpress hand numbered in copies and postcard.

A truly astounding piece of work. Grab it while you can! An absolute must!. First released in as vinyl only release Here Tesco offers this album in the typical art-style that all Genocide Organ records come in.

All the confessions made there were true and the presence proved them right. The Truth will be twisted and turned around as often as someone wilst it and then it becomes a lie and suddenly the lie becomes truth just to turn lie again. Plus as bonus for this special re-issue, a never heard, unreleased track of 30 minutes! The title, cover and music all suggest bloodied altars, unfathomable rituals and mystical learning.

The low and buzzing drone underscores a lava flow of chants, cellos and percussion. Whatever words are spoken during this procession of yearning melodies and utterly ethereal voices is perhaps best left for the Gods.

Whatever secrets the music holds, they are simultaneously a fountain of spiritual beauty and unknowable terror. It's as if its character changed with my dispositions: if I was feeling fear then fear is what I heard. If I was feeling joyous, then the joy of the Gods shone down upon me and relaxed every fibre of my being.

Masstishaddhu exploited this potential to create a music that sounds like a well-executed modern Free Folk album - ina good decade before the New Weird America scene spearheaded by the likes of Sunburned Hand Of The Man began revolutionizing the idea of Folk music operating under rhythmic constraints.

In this sense Shekinah is undoubtedly unique, perpetuating the 'ritual' side of ambient through disconcerting vocalizations and chants.

It is deeply embedded within the Folk influence that uses atmosphere to sculpt instrumental improvisations, again, much like well-executed modern Free Folk does. Finally a new band-premiere on Tesco!.

Far more raw, fierce and noisy production values than any of his albums. Vastly improved recent activity shows Moozzhead performing pedal harsh noise, recorded on analogue 4-track. Red hot signals of distortion and rumble for fanatics of harsh noise!.

Troum - Vorbei der Tod LP Raubbau: Raub Rubbau proudly features one of the most respected artists in the ambient genre - for over two decades German duo Troum have taken the clues from their dreams and translated them into a transcending sound of majestic beauty. The 'Vorbei der Tod' LP clocks in just over 40 minutes and emphasizes a sacral, ceremonial approach.

Troum follow their hands-on approach of using acoustic instruments and guitar sounds rather than electronics, and create a universe of sound from there: according to its thematic backdrop the a-side is dominated by what seems like the residue of organ sounds and religious chants, whereas the b-side is more serene, immersive and hallucinatory, before the final 'theme dream' provides a ceremonious finale. One is simply baffled just how expressive and captivating music so quiet and roomy can be.

Resonating and menacing heavy electronics with junk metal, charred frequencies, and vocals. More "traditional" power electronics than some of Masahiko 's more junk metal oriented work. In cardboard sleeve, lmtd Highly recommended. Highly morose and wretched death industrial, more minimal than 's "Misery Plan", but filled with every bit as much negativity and nihilism.

Cold, noxious tones and ultra bleak frequencies that worship at the altar of death. Lmtd 75 cassette with O-card sleeve. Includes download code by request. Rich Oddie, Christina Sealey, and Aron West had founded the project three years earlier, creating pitch black noisescapes inspired by early industrial music and the extreme fringes of metal.

ByWest had departed to focus on his absurdist noise project Tropism, while Oddie and Sealey began to push Orphx in a more rhythmic direction. Cassette releases on their own Xcreteria imprint reissued by Hospital Productions and Mannequin Records in quickly attracted the attention of Malignant, who offered to release the next album.

While early orphx recordings were primarily improvised direct to tape, this album places much greater emphasis on carefully constructed layers of sound, shaping their improvisational energy into powerful compositions that combines death industrial atmospheres and brutal power electronics with relentless, hypnotic percussion. The 'Fragmentation' reissue on Hospital Productions includes the original album, now remastered by Joshua Eustis telefon tel avivand over an hour of additional rarities and previously unreleased recordings.

This includes rare compilation tracks, selections from the obsession and progress cassette bloodlust! Richard Ramirez - Amplified Tactics 2LP Hospital Productions: HOS 'Amplified Tactics' collects 4 segments of live performances from Texas and Mexico inrolling back to an era when live noise shows were isolated mysterious affairs or opportunities to infiltrate mundane society via bars, tea shops, art galleries, youth centers and goth clubs. Richard Ramirez, who is one of the first and last standing harsh noise originators from the Texan deserts and humid turf that would spawn some of the most influential and dirtiest units to ever grace the xeroxed pages of zines ranging from industrial to grindcore.

Having touched all the most essential noise imprints of his time Tesco, Praxis Dr. Ramirez has explored on the eve of 30 years of existence. If you're looking for a entry point to probe the inner working of Ramirez's most iconic visions of noise - 'Amplified Tactics' is essential with its saturated ripping and wild envelopes, edited from the original 2xcdr originally released in an edition of Black vinyl edition, lmtd Dedicated to Marilyn Chambers Edition of on red vinyl.

Even if it feels somehow arrogant to worship something you just released. I immediately told this is simply too good to be copies tape what will disappear in current flood of north european noise. It goes right up there. It has all the necessary elements. Fierce and brutal sound full of energy.

Hands on approach with strong focus on physical object. Utmost care on textures and subtle details. Individual sounds sources. Even if cd includes some material previously heard on tape.

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08.09.2021
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