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Charles Aznavour - I Have Lived (Vinyl, LP, Album)


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 has 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 senses, 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. It 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 Album) 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 Album) the stick work on the tango-esque number. Some of the posts also appear on other sites. It 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 Album) a hotter number, all contribute 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. Of the remaining four musicians, two were known to me and two not. Michelle Velvin was on harp, Tom Callwood on upright bass, Cory Champion on drums and Riki Piripi on percussion listed under the undividual tks. The album features six compositions and each of these has an evanescent quality. Blue Rain, Forest Rendezvous, and Rubicon appear as if in a dream and as with the missing liner notes, we are encouraged to fill in the gaps with our imagination.

Johnson has chosen his bandmates well. Bell and Callwood are genre defying and have open-ears, and as with Johnson are well immersed in the freer regions of improvised music. I have seen Cory Champion several times, but never heard him in this context; very impressive.

Adding a harp player and percussionist added texture in finely hued layers, and this gave the album that delightful Alice Coltrane feel. They could get in each others way, but in skilled hands this is avoided and a shimmering pulse arises to good effect. Johnson is a musician we most often associate with the Wellington scene, but these days he is perhaps better termed an international musician. Belgique: or [ 18 ] Canada: platine France: or.

Believe in Me! The Time Is Now. His Love Songs in English. His Kind of Love Songs. A Man's Life: Charles Aznavour. I Have Lived. A Tapestry of Dreams. Royaume-Uni : or [ 19 ]. I Sing For We Were Happy Then. Aznavour ' You and Me. To die of love version 45 tours — For me Royaume-Uni : argent.

Al dormir junto a ti. Formi, formidable — La mamma [en espagnol] — Debes saber — Te espero. La mamma [en espagnol] — Venecia sin ti — La bohemia [en espagnol] — Debes saber. Placeres antiguos [ 1 re version] — Que solo estoy.

Iremos a Verona — Placeres antiguos [ 2 e version]. Aznavour Italiano Volume 1. Aznavour Italiano Volume 2. Charles Aznavour e le sue canzoni. Il bosco e la riva. Del mio amare te. Charles Aznavour Compagno.

Un Natale un po' speciale. Ave Maria. La prima danza. Canzoni da leggere e da cantare. Von Mensch zu Mensch. Vor dem Winter. Melodie des Lebens. Du und ich. Humperdinck's wife once said that she could paper their bedroom with all of the paternity lawsuits filed against her husband.

Inthe singer revealed that his wife Patricia had been suffering from Alzheimer's disease for 10 years. Humperdinck later described how the family had prayed with her and blessed her with water from Lourdes before she "slipped softly away". Humperdinck retains firm ties with Leicestershirewhere he spent much of his youth, and is a keen fan of Leicester City F. He has also been active in real-estate investments in Hawaii, Mexico, and the mainland United States.

In the latter half of the s, the singer bought the Pink Palace in Los Angeles, previously the home of Jayne Mansfield ; inhe sold the mansion to developers. The hotel flourished for a time, acquiring a reputation as an off-the-beaten-path gem.

In later years, however, his ownership of the property was successfully challenged. From Wikipedia, the free encyclopedia. English singer. This article is about the English singer. For the composer, see Engelbert Humperdinck composer.

Engelbert Humperdinck performing in Las Vegas MadrasBritish India. Patricia Healey. Musical artist. Audio sample from " A Man Without Love " Further information: Engelbert Humperdinck discography. Retrieved 2 April Official Charts.

PR Newswire. Retrieved 21 February London, UK: Telegraph. Retrieved 24 March Third Edition. BBC News. Retrieved 29 October Retrieved 12 July Retrieved 20 February Official Charts Company. Retrieved 23 September Retrieved 2 March Retrieved Charles Aznavour - I Have Lived (Vinyl February Retrieved 18 May Retrieved 5 April Colorado Springs Gazette-Telegraph.

Archived from the original on 26 February Retrieved 7 April Retrieved 3 May Retrieved 4 May Archived from the original on 1 September Retrieved 26 November ISBN 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.

Da notare la libreria capsail leggio ed il testo scritto senza spazi in capitale rustica. Leggio con libri catenatiBiblioteca Malatestiana di Cesena. Incunabolo del XV secolo. Si noti la copertina lavorata, le borchie d'angolo e i morsetti. Insegnamenti scelti di saggi buddistiil primo libro stampato con caratteri metallici mobili, Le macchine da stampa a vapore diventarono popolari nel XIX secolo.

Queste macchine potevano stampare 1. Le macchine tipografiche monotipo e linotipo furono introdotte verso la fine del XIX secolo. Hartla prima biblioteca di versioni elettroniche liberamente riproducibili di libri stampati. I libri a stampa sono prodotti stampando ciascuna imposizione tipografica su un foglio di carta.

Le varie segnature vengono rilegate per ottenere il volume. L'apertura delle pagine, specialmente nelle edizioni in brossuraera di solito lasciata al lettore fino agli anni sessanta del XX secolomentre ora le segnature vengono rifilate direttamente dalla tipografia. Nei libri Album) il formato dipende dal numero di piegature che il foglio subisce e, quindi, dal numero di carte e pagine stampate sul foglio. Le "carte di guardia", o risguardi, o sguardie, sono le carte di apertura e chiusura del libro vero e proprio, che collegano materialmente il corpo del libro alla coperta o legatura.

Non facendo parte delle segnaturenon sono mai contati come pagine. Si chiama "controguardia" la carta che viene incollata su ciascun "contropiatto" la parte interna del "piatto" della coperta, permettendone il definitivo ancoraggio. Le sguardie sono solitamente di carta diversa da quella dell'interno del volume e possono essere bianche, colorate o decorate con motivi di fantasia nei libri antichi erano marmorizzate.

Il colophon o colofone, che chiude il volume, riporta le informazioni essenziali sullo stampatore e sul luogo e la data di stampa. In origine nei manoscritti era costituito dalla firma o subscriptio del copista o dello scriba, e riportava data, luogo e autore del testo; in seguito fu la formula conclusiva dei libri stampati nel XV e XVI secolo, che conteneva, talvolta in inchiostro rosso, il nome dello stampatore, luogo e Charles Aznavour - I Have Lived (Vinyl di stampa e l' insegna dell'editore.

Sopravvive ancor oggi, soprattutto con la dicitura Finito di stampare. Nel libro antico poteva essere rivestita di svariati materiali: pergamena, cuoio, tela, carta e costituita in legno o cartone. Poteva essere decorata con impressioni a secco o dorature. Ciascuno dei due cartoni che costituiscono la copertina viene chiamato piatto. Nel XIX secolo la coperta acquista una prevalente funzione promozionale. Ha caratterizzato a lungo l'editoria per l'infanzia e oggi, ricoperto da una "sovraccoperta", costituisce il tratto caratteristico delle edizioni maggiori.

Le "alette" o "bandelle" comunemente dette "risvolti di copertina" sono le piegature interne della copertina o della sovraccoperta vedi infra. Generalmente vengono utilizzate per una succinta introduzione al testo e per notizie biografiche essenziali sull'autore. Di norma, riporta le indicazioni di titolo e autore. I libri con copertina cartonata in genere sono rivestiti da una "sovraccoperta".

Oltre al taglio "superiore" o di "testa" vi sono il taglio esterno, detto "davanti" o "concavo"e il taglio inferiore, detto "piede". I tagli possono essere al naturale, decorati o colorati in vario modo.

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